Everything you hear on film is a lie | Tasos Frantzolas

Prevodilac: Vesna Radovic Lektor: Ivana Krivokuća

I want to start by doing an experiment.

Želim da počnem sa jednim eksperimentom.

I'm going to play three videos of a rainy day.

Pustiću vam tri snimka kišnog dana.

But I've replaced the audio of one of the videos,

Međutim, zamenio sam zvuk na jednom snimku,

and instead of the sound of rain,

i umesto zvuka kiše,

I've added the sound of bacon frying.

dodao sam zvuk prženja slanine.

So I want you think carefully which one the clip with the bacon is.

Želim da pažljivo razmislite u kom snimku se čuje slanina.

(Rain falls)

(Pada kiša)

(Rain falls)

(Pada kiša)

(Rain falls)

(Pada kiša)

All right.

U redu.

Actually, I lied.

U stvari, lagao sam.

They're all bacon.

Na svima je slanina.

(Bacon sizzles)

(Slanina cvrči)

(Applause)

(Aplauz)

My point here isn't really to make you hungry

Poenta ovde nije da izazovem osećaj gladi kod vas

every time you see a rainy scene,

kad god vidite scenu sa kišom,

but it's to show that our brains are conditioned to embrace the lies.

već da vam pokažem da je naš mozak uslovljen da prihvata laži.

We're not looking for accuracy.

Mi ne tražimo tačnost.

So on the subject of deception,

Kada je u pitanju obmana,

I wanted to quote one of my favorite authors.

želim da citiram jednog od mojih omiljenih autora.

In "The Decay of Lying," Oscar Wilde establishes the idea

U „Propasti laganja“, Oskar Vajld je postavio ideju

that all bad art comes from copying nature and being realistic;

da sva loša umetnost potiče iz kopiranja prirode i realističnosti;

and all great art comes from lying and deceiving,

a sva sjajna umetnost proističe iz laganja i obmane,

and telling beautiful, untrue things.

i pričanja divnih, neistinitih stvari.

So when you're watching a movie

Tako, kada gledate film

and a phone rings,

i telefon zazvoni,

it's not actually ringing.

on zapravo ne zvoni.

It's been added later in postproduction in a studio.

To je dodato kasnije u postprodukciji u studiju.

All of the sounds you hear are fake.

Svi zvukovi koje čujete su lažni.

Everything, apart from the dialogue,

Sve, osim dijaloga,

is fake.

je lažno.

Kada gledate film i vidite kako ptica maše krilima -

When you watch a movie and you see a bird flapping its wings --

(Wings flap)

(Klepetanje krila)

They haven't really recorded the bird.

Oni nisu stvarno usnimili pticu.

It sounds a lot more realistic if you record a sheet

To zvuči mnogo realističnije ako snimite čaršav

or shaking kitchen gloves.

ili tresete kuhinjske rukavice.

(Flaps)

(Lepršanje)

The burning of a cigarette up close --

Cigareta koja gori izbliza -

(Cigarette burns)

(Cigareta gori)

It actually sounds a lot more authentic

Zvuči mnogo autentičnije

if you take a small Saran Wrap ball

ako uzmete malu loptu od plastične folije

and release it.

i pustite je.

(A Saran Warp ball being released)

(Loptica od folije je puštena)

Punches?

Udarci?

(Punch)

(Udarac)

Oops, let me play that again.

Ups, hajde da pustim opet.

(Punch)

(Udarac)

That's often done by sticking a knife in vegetables,

To se često radi tako što se nož zabode u povrće,

usually cabbage.

obično u kupus.

(Cabbage stabbed with a knife)

(Kupus uboden nožem)

The next one -- it's breaking bones.

Sledeće - lomljenje kostiju.

(Bones break)

(Lomljenje kostiju)

Well, no one was really harmed.

Pa, niko nije zaista povređen.

It's actually ...

To je zapravo...

breaking celery or frozen lettuce.

lomljenje celera ili zamrznute zelene salate.

(Breaking frozen lettuce or celery)

(Lomljenje zelene salate ili celera)

(Laughter)

(Smeh)

Making the right sounds is not always as easy

Pravljenje odgovarajućih zvukova nije uvek tako lako

as a trip to the supermarket

kao odlazak u supermarket

and going to the vegetable section.

i biranje povrća.

But it's often a lot more complicated than that.

Često je dosta složenije od toga.

So let's reverse-engineer together

Pa hajde da zajedno otkrijemo kako se otpočetka odvija

the creation of a sound effect.

stvaranje zvučnih efekata.

One of my favorite stories comes from Frank Serafine.

Jedna od mojih omiljenih priča dolazi od Frenka Serafina.

He's a contributor to our library,

On je donator naše biblioteke

and a great sound designer for "Tron" and "Star Trek" and others.

i veliki dizajner zvuka za „Tron“, „Zvezdane staze“ i ostale.

He was part of the Paramount team that won the Oscar for best sound

On je bio deo Paramauntovog tima koji je dobio Oskara za najbolji zvuk

for "The Hunt for Red October."

za „Lov na Crveni oktobar“.

In this Cold War classic, in the '90s,

U ovom klasiku o hladnom ratu, 90-ih,

they were asked to produce the sound of the propeller of the submarine.

tražili su im da proizvedu zvuk propelera na podmornici.

So they had a small problem:

Naišli su na mali problem:

they couldn't really find a submarine in West Hollywood.

nisu zapravo mogli da pronađu podmornicu u Zapadnom Holivudu.

So basically, what they did is,

Ono što su oni, praktično, uradili bilo je

they went to a friend's swimming pool,

da su otišli do bazena jednog prijatelja

and Frank performed a cannonball, or bomba.

i Frenk je izveo topovsko đule ili bombu.

They placed an underwater mic

Postavili su podvodni mikrofon

and an overhead mic outside the swimming pool.

i mikrofon izvan bazena.

So here's what the underwater mic sounds like.

Ovako je zvučao podvodni mikrofon.

(Underwater plunge)

(Skok pod vodu)

Adding the overhead mic,

Dodavanjem mikrofona van vode,

it sounded a bit like this:

zvučalo je otprilike ovako:

(Water splashes)

(Zapljuskivanje vode)

So now they took the sound and pitched it one octave down,

Onda su uzeli taj zvuk i smanjili ga za jednu oktavu,

sort of like slowing down a record.

nešto kao usporavanje snimka.

(Water splashes at lower octave)

(Voda prska za oktavu niže)

And then they removed a lot of the high frequencies.

I onda su uklonili dosta visokih frekvencija.

(Water splashes)

(Zapljuskivanje vode)

And pitched it down another octave.

I smanjili za još jednu oktavu.

(Water splashes at lower octave)

(Voda prska za oktavu niže)

And then they added a little bit of the splash

I onda su pridodali malo zapljuskivanja

from the overhead microphone.

iz mikrofona van vode.

(Water splashes)

(Zapljuskivanje vode)

And by looping and repeating that sound,

Vrtenjem u krug i ponavljanjem tog zvuka,

they got this:

dobili su ovo:

(Propeller churns)

(Okretanje propelera)

So, creativity and technology put together in order to create the illusion

Tako su kreativnost i tehnologija udruženi kako bi se stvorila iluzija

that we're inside the submarine.

da smo unutar podmornice.

But once you've created your sounds

Ali jednom kada stvorite zvukove

and you've synced them to the image,

i sinhronizujete ih sa slikom,

you want those sounds to live in the world of the story.

želite da ovi zvukovi žive u svetu te priče.

And one the best ways to do that is to add reverb.

A jedan od najboljih načina da se to uradi je da se doda reverberacija.

So this is the first audio tool I want to talk about.

Ovo je prvi tonski alat o kome želim da pričam.

Reverberation, or reverb, is the persistence of the sound

Odjek, ili reverberacija, je istrajnost zvuka

after the original sound has ended.

nakon što se originalni zvuk završio.

So it's sort of like the --

To je nešto kao -

all the reflections from the materials,

sva odbijanja zvuka od materijala,

the objects and the walls around the sound.

predmeta i zidova u okolini zvuka.

Take, for example, the sound of a gunshot.

Uzmite, primera radi, zvuk pucnja.

The original sound is less than half a second long.

Originalni zvuk traje kraće od pola sekunde.

(Gunshot)

(Pucanj)

By adding reverb,

Dodavanjem odjeka,

we can make it sound like it was recorded inside a bathroom.

možemo da napravimo zvuk koji kao da je sniman u kupatilu.

(Gunshot reverbs in bathroom)

(Odjek pucnja u kupatilu)

Or like it was recorded inside a chapel or a church.

Ili kao da je snimljen u kapeli ili crkvi.

(Gunshot reverbs church)

(Odjek pucnja u crkvi)

Or in a canyon.

Ili u kanjonu.

(Gunshot reverbs in canyon)

(Odjek pucnja u kanjonu)

So reverb gives us a lot of information

Tako nam odjek daje dosta informacija

about the space between the listener and the original sound source.

o prostoru između slušaoca i originalnog izvora zvuka.

If the sound is the taste,

Ako je zvuk ukus,

then reverb is sort of like the smell of the sound.

onda je odjek nešto kao miris zvuka.

But reverb can do a lot more.

Ali odjek može dosta više od toga.

Listening to a sound with a lot less reverberation

Slušajući zvuk sa dosta manje odjeka

than the on-screen action

nego tokom akcije na ekranu

is going to immediately signify to us

će nam odmah naznačiti

that we're listening to a commentator,

da slušamo komentatora,

to an objective narrator that's not participating in the on-screen action.

objektivnog naratora koji ne učestvuje u akciji na ekranu.

Also, emotionally intimate moments in cinema

Takođe, emotivno intimni trenuci u bioskopu se često čuju bez odjeka,

are often heard with zero reverb,

because that's how it would sound if someone was speaking inside our ear.

zato što bi tako zvučalo kad bi nam neko pričao unutar uveta.

On the completely other side,

Na potpuno drugom kraju,

adding a lot of reverb to a voice

dodavanje dosta odjeka glasu

is going to make us think that we're listening to a flashback,

će učiniti da mislimo da slušamo flešbek,

or perhaps that we're inside the head of a character

ili da smo možda u glavi lika

or that we're listening to the voice of God.

ili da slušamo glas Boga.

Or, even more powerful in film,

Ili, što je još moćnije za film,

Morgan Freeman.

Morgana Frimena.

(Laughter)

(Smeh)

So --

Tako -

(Applause)

(Aplauz)

But what are some other tools or hacks

Koji su to drugi alati ili trikovi

that sound designers use?

koje dizajneri zvuka koriste?

Well, here's a really big one.

Pa, evo ga jedan stvarno veliki.

It's silence.

To je tišina.

A few moments of silence is going to make us pay attention.

Par trenutaka tišine će nam privući pažnju.

And in the Western world,

A u Zapadnom svetu

we're not really used to verbal silences.

obično nismo navikli na verbalnu tišinu.

They're considered awkward or rude.

Smatra se čudnom ili nepristojnom.

So silence preceding verbal communication

Tako tišina koja prethodi verbalnoj komunikaciji

can create a lot of tension.

može stvoriti dosta napetosti.

But imagine a really big Hollywood movie,

Ali zamislite zaista veliki holivudski film,

where it's full of explosions and automatic guns.

gde ima dosta eksplozija i automatskog oružja.

Loud stops being loud anymore, after a while.

Glasno prestaje da bude glasno, nakon nekog vremena.

So in a yin-yang way,

Po principu jing-janga,

silence needs loudness and loudness needs silence

tišini je potrebna buka i buci je potrebna tišina

for either of them to have any effect.

da bi bilo koje od njih imalo efekta.

But what does silence mean?

Ali šta znači tišina?

Well, it depends how it's used in each film.

Pa, zavisi kako se koristi u nekom filmu.

Silence can place us inside the head of a character

Tišina nas može smestiti unutar glave lika

or provoke thought.

ili navesti na razmišljanje.

We often relate silences with ...

Često tišinu povezujemo sa...

contemplation,

razmišljanjem,

meditation,

meditacijom,

being deep in thought.

zamišljenošću.

But apart from having one meaning,

Ali osim što ima jedno značenje,

silence becomes a blank canvas

tišina postaje čisto platno

upon which the viewer is invited to the paint their own thoughts.

na kome se gledalac poziva da naslika sopstvene misli.

But I want to make it clear: there is no such thing as silence.

Međutim, želim da razjasnim: ne postoji takva stvar kao tišina.

And I know this sounds like the most pretentious TED Talk statement ever.

Znam da to zvuči kao najuobraženija izjava ikada na TED govoru.

But even if you were to enter a room with zero reverberation

Ali čak i kad biste ušli u prostoriju sa nultim odjekom

and zero external sounds,

i nultim spoljašnjim zvukom,

you would still be able to hear the pumping of your own blood.

i dalje biste mogli da čujete pumpanje krvi u vama.

And in cinema, traditionally, there was never a silent moment

I u bioskopu, tradicionalno, nikad nije postojao trenutak tišine

because of the sound of the projector.

zbog zvuka projektora.

And even in today's Dolby world,

A čak i danas u Dolbi svetu,

there's not really any moment of silence if you listen around you.

ne postoji zaista neki momenat tišine ako slušate oko sebe.

There's always some sort of noise.

Uvek postoji neka vrsta šuma.

Now, since there's no such thing as silence,

E, sad, pošto tišina kao takva ne postoji,

what do filmmakers and sound designers use?

šta režiseri i dizajneri zvuka koriste?

Well, as a synonym, they often use ambiences.

Pa, kao sinonim, često koriste zvukove okoline.

Ambiences are the unique background sounds

Zvuke okoline čine jedinstveni pozadinski zvuci

that are specific to each location.

koji su specifični za svaku lokaciju.

Each location has a unique sound,

Svaka lokacija ima jedinstven zvuk

and each room has a unique sound,

i svaka prostorija ima jedinstven zvuk,

which is called room tone.

koji se naziva ton prostorije.

So here's a recording of a market in Morocco.

Evo snimka sa pijace u Maroku.

(Voices, music)

(Glasovi, muzika)

And here's a recording of Times Square in New York.

A evo snimka Tajms Skvera u Njujorku.

(Traffic sounds, car horns, voices)

(Zvuk saobraćaja, sirene kola, glasovi)

Room tone is the addition of all the noises inside the room:

Ton prostorije je zbir svih zvukova unutar prostorije:

the ventilation, the heating, the fridge.

ventilacije, grejanja, frižidera.

Here's a recording of my apartment in Brooklyn.

Ovo je snimak iz mog stana u Bruklinu.

(You can hear the ventilation, the boiler, the fridge and street traffic)

(Možete čuti ventilaciju, bojler, frižider i saobraćaj sa ulice)

Ambiences work in a most primal way.

Zvuci okoline deluju na najjednostavniji mogući način.

They can speak directly to our brain subconsciously.

Oni se direktno obraćaju našem mozgu podsvesno.

So, birds chirping outside your window may indicate normality,

Tako kada ptice cvrkuću na prozoru može ukazivati na normalnost,

perhaps because, as a species,

možda zato što smo kao vrsta

we've been used to that sound every morning for millions of years.

naviknuti na taj zvuk svakog jutra milionima godina.

(Birds chirp)

(Ptice cvrkuću)

On the other hand, industrial sounds have been introduced to us

Sa druge strane, sa industrijskim zvucima smo upoznati nešto skorije.

a little more recently.

Even though I really like them personally --

Iako mi se lično stvarno dopadaju -

they've been used by one of my heroes, David Lynch,

koristio ih je jedan od mojih heroja, Dejvid Linč,

and his sound designer, Alan Splet --

i njegov dizajner zvuka, Alan Splet -

industrial sounds often carry negative connotations.

industrijski zvuci često imaju negativne konotacije.

(Machine noises)

(Zvuci mašina)

Now, sound effects can tap into our emotional memory.

E, sad, zvučni efekti mogu da se urežu u naše emocionalno pamćenje.

Occasionally, they can be so significant

Povremeno, oni mogu biti toliko značajni

that they become a character in a movie.

da postanu lik u filmu.

The sound of thunder may indicate divine intervention or anger.

Zvuk grmljavine može naznačiti božansku intervenciju ili bes.

(Thunder)

(Grmljavina)

Church bells can remind us of the passing of time,

Crkvena zvona nas mogu podsetiti na prolaženje vremena,

or perhaps our own mortality.

ili možda na našu smrtnost.

(Bells ring)

(Zvone zvona)

And breaking of glass can indicate the end of a relationship

A razbijanje stakla može nagovestiti kraj veze

or a friendship.

ili prijateljstva.

(Glass breaks)

(Lomljenje stakla)

Scientists believe that dissonant sounds,

Naučnici veruju da nas disonantni zvuci,

for example, brass or wind instruments played very loud,

primera radi, glasno sviranje limenih i duvačkih instrumenata,

may remind us of animal howls in nature

mogu podsetiti na urlik životinja u prirodi

and therefore create a sense of irritation or fear.

i stoga mogu stvoriti utisak razdražljivosti ili straha.

(Brass and wind instruments play)

(Čuju se limeni i duvački instrumenti)

So now we've spoken about on-screen sounds.

Do sada smo pričali o zvukovima na ekranu.

But occasionally, the source of a sound cannot be seen.

Međutim, povremeno, izvor zvuka se ne može videti.

That's what we call offscreen sounds,

To zovemo zvukovima van ekrana,

or "acousmatic."

ili „akuzmatičnim“ zvucima.

Acousmatic sounds --

Akuzmatični zvuci -

well, the term "acousmatic" comes from Pythagoras in ancient Greece,

termin „akuzmatičan“ potiče od Pitagore iz Stare Grčke,

who used to teach behind a veil or curtain for years,

koji je imao običaj da predaje iza vela ili zavese godinama,

not revealing himself to his disciples.

ne otkrivajući se učenicima.

I think the mathematician and philosopher thought that,

Smatram da je ovaj matematičar i filozof razmišljao da,

in that way,

na ovaj način,

his students might focus more on the voice,

njegovi učenici mogu da se više koncentrišu na glas,

and his words and its meaning,

njegove reči i njihovo značenje,

rather than the visual of him speaking.

nego kada ga vide da govori.

So sort of like the Wizard of Oz,

Nešto poput Čarobnjaka iz Oza

or "1984's" Big Brother,

ili Velikog brata iz „1984“,

separating the voice from its source,

odvajajući glas od njegovog izvora,

separating cause and effect

odvajajući uzrok i posledicu,

sort of creates a sense of ubiquity or panopticism,

nekako stvarajući osećaj sveprisutnosti ili panopticizma,

and therefore, authority.

te stoga i autoriteta.

There's a strong tradition of acousmatic sound.

Postoji jaka tradicija akuzmatičnog zvuka.

Nuns in monasteries in Rome and Venice used to sing in rooms

Monahinje u manastirima u Rimu i Veneciji imale su običaj da pevaju u prostorijama,

up in galleries close to the ceiling,

u galerijama blizu plafona,

creating the illusion that we're listening to angels up in the sky.

stvarajući iluziju da slušamo anđele na nebu.

Richard Wagner famously created the hidden orchestra

Rihard Vagner je stvorio čuveni skriveni orkestar

that was placed in a pit between the stage and the audience.

koji je smešten u prostor za orkestar između bine i publike.

And one of my heroes, Aphex Twin, famously hid in dark corners of clubs.

I jedan od mojih heroja, Efeks Tvin, koji se skriva u mračnim delovima klubova.

I think what all these masters knew is that by hiding the source,

Smatram da je ono što su svi ovi majstori znali je da skrivanjem izvora

you create a sense of mystery.

stvarate osećaj misterije.

This has been seen in cinema over and over,

Ovo se u bioskopima viđa iznova i iznova,

with Hitchcock, and Ridley Scott in "Alien."

sa Hičkokom i Ridlijem Skotom u „Vanzemaljcu“.

Hearing a sound without knowing its source

Čuti zvuk, a ne znati mu izvor

is going to create some sort of tension.

će stvoriti određenu vrstu napetosti.

Also, it can minimize certain visual restrictions that directors have

Takođe, to može smanjiti vizuelna ograničenja koja reditelji imaju

and can show something that wasn't there during filming.

i mogu pokazati nešto što nije bilo tu tokom snimanja.

And if all this sounds a little theoretical,

I ako sve ovo zvuči pomalo teoretski,

I wanted to play a little video.

želeo sam da pustim kratak snimak.

(Toy squeaks)

(Igračka cvili)

(Typewriter)

(Pisaća mašina)

(Drums)

(Bubnjevi)

(Ping-pong)

(Stoni tenis)

(Knives being sharpened)

(Noževi se oštre)

(Record scratches)

(Grebanje ploča)

(Saw cuts)

(Testera seče)

(Woman screams)

(Žena vrišti)

What I'm sort of trying to demonstrate with these tools

Ono što pokušavam da pokažem sa ovim alatima

is that sound is a language.

je da je zvuk jezik.

It can trick us by transporting us geographically;

Može nas zavarati premeštajući nas geografski;

it can change the mood;

može promeniti raspoloženje;

it can set the pace;

može podesiti brzinu;

it can make us laugh or it can make us scared.

može nas nasmejati ili uplašiti.

On a personal level, I fell in love with that language

Lično sam se zaljubio u taj jezik

a few years ago,

pre nekoliko godina,

and somehow managed to make it into some sort of profession.

i nekako sam uspeo da ga pretvorim u neku vrstu zanimanja.

And I think with our work through the sound library,

I mislim da našim radom kroz zvučnu laboratoriju,

we're trying to kind of expand the vocabulary of that language.

pokušavamo da proširimo rečnik tog jezika.

And in that way, we want to offer the right tools

A na taj način želimo da ponudimo prave alate dizajnerima zvuka,

to sound designers,

filmmakers,

filmskim stvaraocima

and video game and app designers,

i dizajnerima video igrica i aplikacija

to keep telling even better stories

da bi nastavili da pričaju još bolje priče

and creating even more beautiful lies.

i stvaraju još lepše laži.

So thanks for listening.

Hvala što ste saslušali.

(Applause)

(Aplauz)