Everything you hear on film is a lie | Tasos Frantzolas

翻译人员: Yan Gao 校对人员: dahong zhang

I want to start by doing an experiment.

我想用一个实验来开始我的演讲。

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

我将给你们播放三段雨天的视频。

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

不过我把其中一个视频里的 音频换成了别的，

and instead of the sound of rain,

它不再是下雨的声音，

变成了煎培根的声音。

I've added the sound of bacon frying.

我想让你们认真听， 找出哪个视频里是煎培根声。

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

(Rain falls)

（下雨声）

(Rain falls)

（下雨声）

(Rain falls)

（下雨声）

All right.

好的。

其实，我撒谎了。

Actually, I lied.

They're all bacon.

这些全都是煎培根的声音。

(Bacon sizzles)

（培根滋油声）

(Applause)

（掌声）

My point here isn't really to make you hungry

我的目的并不是让你们每次看到下雨

every time you see a rainy scene,

都觉得肚子饿，

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

而是想告诉你们我们的大脑 习惯于接受这些假象。

We're not looking for accuracy.

我们关注的并不是准确度。

So on the subject of deception,

在造假的这个主题里，

I wanted to quote one of my favorite authors.

我想引用我最喜欢的一位作家的话。

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

在“谎言的衰变”中， 奥斯卡·王尔德有这样的结论，

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

所有糟糕的艺术都源于 刻板的复制自然和现实；

那些伟大的艺术都是依靠造假和骗术，

and all great art comes from lying and deceiving,

叙说着美丽的，不真实的东西。

and telling beautiful, untrue things.

所以，当你在观看电影时，

So when you're watching a movie

and a phone rings,

电话铃响了，

it's not actually ringing.

那不是真正的电话铃响。

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

都是在后期制作中加进去的。

All of the sounds you hear are fake.

所有的声音都是假的。

除了那些对话，所有的声音

Everything, apart from the dialogue,

is fake.

都是假的。

看电影的时候你看到一只鸟 在拍打着它的翅膀——

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

(Wings flap)

（翅膀拍打声）

他们并没真正去给那只鸟录音。

They haven't really recorded the bird.

It sounds a lot more realistic if you record a sheet

实际上只是拍打一张纸，

or shaking kitchen gloves.

或抖动厨房手套的声音。

（拍打声）

(Flaps)

The burning of a cigarette up close --

近距离的香烟燃烧——

(Cigarette burns)

（香烟燃烧）

It actually sounds a lot more authentic

其实如果你紧握着一个

团成球的保鲜膜，然后松开，

if you take a small Saran Wrap ball

and release it.

那个声音会更真实。

(A Saran Warp ball being released)

（团成球的保鲜膜被放开的声音）

Punches?

拳打的声音？

(Punch)

（拳打声）

Oops, let me play that again.

让我再放一遍。

(Punch)

（拳打声）

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

那其实是把刀插入蔬菜的声音，

usually cabbage.

一般是卷心菜。

(Cabbage stabbed with a knife)

（刀插入卷心菜的声音）

The next one -- it's breaking bones.

下一个，是骨头断裂声。

(Bones break)

（骨头断裂的声音）

Well, no one was really harmed.

当然了，并没有人真的受伤。

其实这是——

It's actually ...

掰芹菜或冻生菜的声音。

breaking celery or frozen lettuce.

(Breaking frozen lettuce or celery)

（掰冻芹菜或生菜的声音） （在布鲁克林他们用的是羽衣甘蓝）

(Laughter)

（笑声）

Making the right sounds is not always as easy

制作真实的声音并不总是

as a trip to the supermarket

像去超市买菜

and going to the vegetable section.

那样简单。

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

其实往往要比那难很多。

那么，让我们一起用逆向工程体验一下

So let's reverse-engineer together

制作一个音效的过程。

the creation of a sound effect.

One of my favorite stories comes from Frank Serafine.

我最喜欢的段子之一 来自于弗兰克·塞拉凡尼。

He's a contributor to our library,

他是我们音效库的贡献者之一，

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

也是“创：战记”和“星际迷航” 及其他作品的伟大音效设计师。

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

他是派拉蒙公司那个 赢得奥斯卡的“猎杀红色十月”的

for "The Hunt for Red October."

音效团队中的一员。

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

在这个九十年代的， 描述冷战期的经典影片里，

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

他们需要制作潜水艇螺旋桨的声音。

So they had a small problem:

但他们遇到一个小困难，

他们当时在西好莱坞， 找不到潜水艇。

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

So basically, what they did is,

因此，简单来说， 他们想了这么个法子，

they went to a friend's swimming pool,

他们去了一个朋友的游泳池，

and Frank performed a cannonball, or bomba.

弗兰克表演了一次炮弹入水。

他们安装了一个水下麦克，

They placed an underwater mic

and an overhead mic outside the swimming pool.

还有游泳池外的水上麦克。

这是水下麦克录下的声音。

So here's what the underwater mic sounds like.

(Underwater plunge)

（水下跳水声）

Adding the overhead mic,

加上水上麦克的声音后，

它听起来是这样的：

it sounded a bit like this:

（水花四溅声）

(Water splashes)

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

他们拿到这个声音后， 把它降了一个八度，

sort of like slowing down a record.

就好像慢放一个录音。

(Water splashes at lower octave)

（低八度后的水花四溅声）

And then they removed a lot of the high frequencies.

然后他们把很多高频的声音去掉。

(Water splashes)

（水花声）

然后再降一个八度。

And pitched it down another octave.

(Water splashes at lower octave)

（又降一个八度的水花声）

And then they added a little bit of the splash

然后他们又加入了一点点

水面上录制的水花四溅声。

from the overhead microphone.

(Water splashes)

（水花声）

And by looping and repeating that sound,

然后循环，反复播放，

they got this:

他们最终得到了这种效果：

(Propeller churns)

（螺旋桨声）

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

看吧，创造力和技术结合后能创造

我们身在潜水艇里的假象。

that we're inside the submarine.

But once you've created your sounds

不过，当你创造了声音

and you've synced them to the image,

并和画面同步后，

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

你希望这些声音可以在 叙事的世界中变得鲜活。

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

最好的方法之一是加一点回响。

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

这是我要谈的第一个音效手段。

Reverberation, or reverb, is the persistence of the sound

在原声结束后加入回响或混响

after the original sound has ended.

可以延续声音。

So it's sort of like the --

所以这就像是

all the reflections from the materials,

来自环绕在声音周围的

the objects and the walls around the sound.

物体和墙的全部反射。

Take, for example, the sound of a gunshot.

举个例子，枪声。

原声只有不到半秒的时间。

The original sound is less than half a second long.

（枪声）

(Gunshot)

By adding reverb,

加上回响后，

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

我们可以做出好像在浴室里录制的声音。

(Gunshot reverbs in bathroom)

（枪声在浴室里回响）

或者像是在礼拜堂或 教堂里录制的声音。

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

(Gunshot reverbs church)

（枪声在教堂里回响）

或者在大峡谷。

Or in a canyon.

(Gunshot reverbs in canyon)

（枪声在峡谷里回响）

So reverb gives us a lot of information

回响给了我们很多

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

关于听者和声音来源 之间的空间的信息。

If the sound is the taste,

如果把声音当成是味觉，

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

回音就像是声音的气味。

But reverb can do a lot more.

回响还有很多其他的用处。

Listening to a sound with a lot less reverberation

听一个很少有回响的声音

than the on-screen action

而不看屏幕上的动作

is going to immediately signify to us

将会立即让我们觉得

that we're listening to a commentator,

我们在听一位解说员说话，

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

在听一位并未参与电影动作的 旁白者说话。

Also, emotionally intimate moments in cinema

另外，在电影院中的动情时刻

are often heard with zero reverb,

通常听不到任何回响，

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

因为那样才会听上去 像有人在我们耳朵里说话。

在完全相反的情况下，

On the completely other side,

在语音里加入很多回响

adding a lot of reverb to a voice

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

会使我们感觉正在听回忆，

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

或者好像我们正在 一个角色的大脑中，

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

或者在听上帝的声音。

Or, even more powerful in film,

或者是在电影里更强大的

Morgan Freeman.

摩根·费里曼。

(Laughter)

（笑声）

So --

那么——

(Applause)

（鼓掌）

But what are some other tools or hacks

还有什么其他手段或是方式

that sound designers use?

是音效师在使用的呢？

Well, here's a really big one.

这里有一个很重要的。

It's silence.

就是无声。

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

短暂的安静无声使我们集中注意力。

And in the Western world,

在西方世界里，

we're not really used to verbal silences.

我们不太习惯在对话时安静下来。

They're considered awkward or rude.

人们会觉得奇怪或无礼。

So silence preceding verbal communication

因此，使一段正在进行的对话变成无声

可以制造很多紧张感。

can create a lot of tension.

但是想象一下在好莱坞大片中

But imagine a really big Hollywood movie,

where it's full of explosions and automatic guns.

全都是爆炸和机枪声。

Loud stops being loud anymore, after a while.

嘈杂的声音过一会儿就不觉得嘈杂了。

就像阴阳理论中说的

So in a yin-yang way,

silence needs loudness and loudness needs silence

无声需要嘈杂，嘈杂也需要无声 （静中有动，动中有静），

两者相辅相成。

for either of them to have any effect.

But what does silence mean?

那么无声意味着什么呢？

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

这取决于每个电影如何使用它。

Silence can place us inside the head of a character

无声可以让我们进入角色的思绪，

or provoke thought.

或是引发思考。

We often relate silences with ...

我们通常从无声联想到——

contemplation,

凝视，

meditation,

冥想，

being deep in thought.

陷入深思。

But apart from having one meaning,

但是，并不是只有一种意义，

silence becomes a blank canvas

无声是一块空白的画布，

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

让观看的人把自己的想法画上去.

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

我要说清楚的是， 并不存在一种叫做无声的东西。

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

我知道这说法听起来 差不多是TED里最自负的。

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

但是，即使你进入一个 没有任何回响的房间，

and zero external sounds,

也完全没有外部声音，

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

你仍然可以听到自己血液流动的声音。

历史上，电影院里从来没有无声的时刻，

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

because of the sound of the projector.

因为放映机会发出声音。

And even in today's Dolby world,

即使是在如今的杜比音响世界，

如果你倾听四周，没有一刻是无声的。

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

There's always some sort of noise.

总会有某种噪音存在。

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

现在，既然说没有真正的无声，

what do filmmakers and sound designers use?

电影制作者和音效设计师用什么呢？

Well, as a synonym, they often use ambiences.

他们通常用氛围声，跟“无声”差不多。

Ambiences are the unique background sounds

氛围声是独特的背景音，

that are specific to each location.

具体到每一个地点的背景音。

Each location has a unique sound,

每个地点都有独特的声音，

每个空间也有独特的声音，

and each room has a unique sound,

这叫做环境声。

which is called room tone.

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

这是在摩洛哥的一家市场里的录音。

(Voices, music)

（说话声，音乐）

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

这是在纽约时代广场的录音。

(Traffic sounds, car horns, voices)

（交通声，车喇叭声，说话声）

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

环境声是房间里所有噪音的叠加：

通风设备，供暖设备，冰箱。

the ventilation, the heating, the fridge.

Here's a recording of my apartment in Brooklyn.

这是我布鲁克林区公寓的录音。

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

（你能听到排风，热水器，冰箱，街上的交通）

Ambiences work in a most primal way.

环境声以最原始的方式起着作用。

They can speak directly to our brain subconsciously.

它们可以在潜意识里 直接对我们的大脑说话。

So, birds chirping outside your window may indicate normality,

所以，你窗户外面的鸟叫可以代表常态。

perhaps because, as a species,

或许因为，我们作为一个物种，

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

数百万年来，已经习惯每天早上听到它。

(Birds chirp)

（鸟叫声）

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

另一方面，近些年来我们听到越来越多

a little more recently.

工业的声音。

Even though I really like them personally --

虽然我个人很喜欢工业的声音——

工业的声音被 我的偶像之一，大卫·林奇，

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

and his sound designer, Alan Splet --

和他的音效师艾林·斯普莱特所采用——

industrial sounds often carry negative connotations.

但工业的声音常常有负面的意义。

（机器噪音）

(Machine noises)

音效还可以进入我们的情感记忆。

Now, sound effects can tap into our emotional memory.

Occasionally, they can be so significant

有时候，它们会特别重要，

that they become a character in a movie.

以至于变成一部电影的角色。

The sound of thunder may indicate divine intervention or anger.

雷声可以代表上天的干预或愤怒。

(Thunder)

（打雷声）

Church bells can remind us of the passing of time,

教堂钟声可以提醒我们时光流逝，

or perhaps our own mortality.

或者也许提醒我们自己的死亡。

(Bells ring)

（钟声）

And breaking of glass can indicate the end of a relationship

玻璃破碎的声音可以表示一段爱情

或友谊的结束。

or a friendship.

(Glass breaks)

（玻璃破碎声）

Scientists believe that dissonant sounds,

科学家相信，刺耳的声音，

for example, brass or wind instruments played very loud,

例如铜管乐器声或管乐器 演奏的巨大声响，

may remind us of animal howls in nature

会让我们想到大自然中动物的叫声，

and therefore create a sense of irritation or fear.

因此可以制造刺激或恐惧的感觉。

(Brass and wind instruments play)

（铜管乐器演奏声）

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

那么，我们已经谈到了 屏幕上的声音。

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

但有时候，声源是看不到的。

That's what we call offscreen sounds,

我们称之为画外音，

or "acousmatic."

或者是“盲听”。

Acousmatic sounds --

盲听的声音——

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

“盲听”一词来自古希腊的毕达哥拉斯，

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

他曾在面纱或帘子后面教学多年，

not revealing himself to his disciples.

从未在门徒面前现身。

I think the mathematician and philosopher thought that,

我想这位数学家兼哲学家认为，

in that way,

采用那种教学方法，

his students might focus more on the voice,

他的学生会更专注于语音，

and his words and its meaning,

专注于他的词语及其意义，

rather than the visual of him speaking.

而不是专注于他讲话时的样子。

So sort of like the Wizard of Oz,

有点像“绿野仙踪”（Oz国的魔法师），

or "1984's" Big Brother,

或是电影“1984”的“老大哥”，

separating the voice from its source,

把语音和来源分开，

separating cause and effect

把因和果分开，

sort of creates a sense of ubiquity or panopticism,

就像制造一种无处不在 或全景环视的感觉，

因此产生了权威感。

and therefore, authority.

盲听声音有一个强大的传统。

There's a strong tradition of acousmatic sound.

罗马和威尼斯的修道院里的修女

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

up in galleries close to the ceiling,

往往在接近天花板的顶层房间里唱歌，

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

制造出一种我们正在聆听 天空中的天使歌唱的幻觉。

Richard Wagner famously created the hidden orchestra

理查德·瓦格纳创造出了著名的 隐藏起来的管弦乐队，

乐队被安排在舞台 与观众之间的一处区域。

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

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

我的偶像之一：埃夫斯·特文 以躲藏在酒吧的黑暗角落而闻名。

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

我认为这些大师都懂得 通过隐藏声音来源，

来创造神秘的感觉。

you create a sense of mystery.

This has been seen in cinema over and over,

这种手段你会在电影院里反复看到，

with Hitchcock, and Ridley Scott in "Alien."

希区柯克和雷德利·斯科特 在“外星人”中也有使用。

听到声音的同时，看不到来源

Hearing a sound without knowing its source

is going to create some sort of tension.

可以产生一定程度的紧迫感。

Also, it can minimize certain visual restrictions that directors have

同时，还可以尽量减少 导演的特定视觉限制，

并呈现一些 录制电影时没有的东西。

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

And if all this sounds a little theoretical,

如果这些听上去比较理论化，

I wanted to play a little video.

我想播放一个视频。

(Toy squeaks)

（玩具的吱吱声）

(Typewriter)

（打字声）

(Drums)

（敲鼓声）

（玩乒乓球声）

(Ping-pong)

(Knives being sharpened)

（磨刀声）

(Record scratches)

（打碟声）

(Saw cuts)

（锯割声）

(Woman screams)

（女人尖叫声）

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

我尝试用这些手段来表达的是，

is that sound is a language.

声音，是一种语言。

It can trick us by transporting us geographically;

它可以使我们感觉 好像移动了地理位置；

it can change the mood;

它可以改变心情；

it can set the pace;

它可以设置步调；

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

它可以让我们开怀大笑或深感恐惧。

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

对我个人而言，我在几年前

爱上了这门语言。

a few years ago,

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

努力实现了把它当做一种职业。

And I think with our work through the sound library,

我认为，通过我们的声音库的工作，

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

我们在扩展这门语言的词汇。

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

并且用这种方法，我们希望 提供合适的呈现手段

to sound designers,

给音效设计师，

filmmakers,

电影制作人，

and video game and app designers,

以及视频游戏和应用软件设计者，

to keep telling even better stories

让他们讲述更加完美的故事，

and creating even more beautiful lies.

并创造更加美丽的假象。

谢谢大家的聆听。

So thanks for listening.

(Applause)

（鼓掌）