Everything you hear on film is a lie | Tasos Frantzolas

234,136 views ・ 2016-11-21

TED


请双击下面的英文字幕来播放视频。

翻译人员: Yan Gao 校对人员: dahong zhang
00:12
I want to start by doing an experiment.
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我想用一个实验来开始我的演讲。
00:16
I'm going to play three videos of a rainy day.
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我将给你们播放三段雨天的视频。
00:20
But I've replaced the audio of one of the videos,
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不过我把其中一个视频里的 音频换成了别的,
00:24
and instead of the sound of rain,
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它不再是下雨的声音,
变成了煎培根的声音。
00:27
I've added the sound of bacon frying.
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我想让你们认真听, 找出哪个视频里是煎培根声。
00:31
So I want you think carefully which one the clip with the bacon is.
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00:35
(Rain falls)
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(下雨声)
00:39
(Rain falls)
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(下雨声)
00:43
(Rain falls)
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(下雨声)
00:52
All right.
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好的。
其实,我撒谎了。
00:55
Actually, I lied.
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00:57
They're all bacon.
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这些全都是煎培根的声音。
00:58
(Bacon sizzles)
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(培根滋油声)
01:04
(Applause)
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(掌声)
01:09
My point here isn't really to make you hungry
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我的目的并不是让你们每次看到下雨
01:12
every time you see a rainy scene,
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都觉得肚子饿,
01:14
but it's to show that our brains are conditioned to embrace the lies.
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而是想告诉你们我们的大脑 习惯于接受这些假象。
01:20
We're not looking for accuracy.
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我们关注的并不是准确度。
01:23
So on the subject of deception,
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在造假的这个主题里,
01:26
I wanted to quote one of my favorite authors.
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我想引用我最喜欢的一位作家的话。
01:29
In "The Decay of Lying," Oscar Wilde establishes the idea
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在“谎言的衰变”中, 奥斯卡·王尔德有这样的结论,
01:36
that all bad art comes from copying nature and being realistic;
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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,
01:43
and all great art comes from lying and deceiving,
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叙说着美丽的,不真实的东西。
01:49
and telling beautiful, untrue things.
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所以,当你在观看电影时,
01:52
So when you're watching a movie
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01:56
and a phone rings,
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电话铃响了,
01:58
it's not actually ringing.
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那不是真正的电话铃响。
02:00
It's been added later in postproduction in a studio.
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都是在后期制作中加进去的。
02:05
All of the sounds you hear are fake.
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所有的声音都是假的。
除了那些对话,所有的声音
02:08
Everything, apart from the dialogue,
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02:09
is fake.
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都是假的。
看电影的时候你看到一只鸟 在拍打着它的翅膀——
02:11
When you watch a movie and you see a bird flapping its wings --
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02:14
(Wings flap)
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(翅膀拍打声)
他们并没真正去给那只鸟录音。
02:18
They haven't really recorded the bird.
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02:20
It sounds a lot more realistic if you record a sheet
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实际上只是拍打一张纸,
02:25
or shaking kitchen gloves.
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或抖动厨房手套的声音。
(拍打声)
02:27
(Flaps)
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02:30
The burning of a cigarette up close --
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近距离的香烟燃烧——
02:33
(Cigarette burns)
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(香烟燃烧)
02:37
It actually sounds a lot more authentic
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其实如果你紧握着一个
团成球的保鲜膜,然后松开,
02:40
if you take a small Saran Wrap ball
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02:42
and release it.
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那个声音会更真实。
02:44
(A Saran Warp ball being released)
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(团成球的保鲜膜被放开的声音)
02:47
Punches?
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拳打的声音?
02:49
(Punch)
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(拳打声)
02:50
Oops, let me play that again.
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让我再放一遍。
02:52
(Punch)
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(拳打声)
02:54
That's often done by sticking a knife in vegetables,
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那其实是把刀插入蔬菜的声音,
02:58
usually cabbage.
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一般是卷心菜。
03:00
(Cabbage stabbed with a knife)
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(刀插入卷心菜的声音)
03:02
The next one -- it's breaking bones.
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下一个,是骨头断裂声。
03:05
(Bones break)
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(骨头断裂的声音)
03:08
Well, no one was really harmed.
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当然了,并没有人真的受伤。
其实这是——
03:11
It's actually ...
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掰芹菜或冻生菜的声音。
03:13
breaking celery or frozen lettuce.
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03:16
(Breaking frozen lettuce or celery)
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(掰冻芹菜或生菜的声音) (在布鲁克林他们用的是羽衣甘蓝)
03:18
(Laughter)
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(笑声)
03:21
Making the right sounds is not always as easy
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制作真实的声音并不总是
03:25
as a trip to the supermarket
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像去超市买菜
03:27
and going to the vegetable section.
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那样简单。
03:30
But it's often a lot more complicated than that.
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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
03:33
So let's reverse-engineer together
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制作一个音效的过程。
03:36
the creation of a sound effect.
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03:38
One of my favorite stories comes from Frank Serafine.
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我最喜欢的段子之一 来自于弗兰克·塞拉凡尼。
03:41
He's a contributor to our library,
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他是我们音效库的贡献者之一,
03:43
and a great sound designer for "Tron" and "Star Trek" and others.
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也是“创:战记”和“星际迷航” 及其他作品的伟大音效设计师。
03:48
He was part of the Paramount team that won the Oscar for best sound
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他是派拉蒙公司那个 赢得奥斯卡的“猎杀红色十月”的
03:53
for "The Hunt for Red October."
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音效团队中的一员。
03:55
In this Cold War classic, in the '90s,
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在这个九十年代的, 描述冷战期的经典影片里,
03:58
they were asked to produce the sound of the propeller of the submarine.
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他们需要制作潜水艇螺旋桨的声音。
04:03
So they had a small problem:
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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。
04:05
they couldn't really find a submarine in West Hollywood.
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04:08
So basically, what they did is,
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因此,简单来说, 他们想了这么个法子,
04:12
they went to a friend's swimming pool,
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他们去了一个朋友的游泳池,
04:15
and Frank performed a cannonball, or bomba.
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弗兰克表演了一次炮弹入水。
他们安装了一个水下麦克,
04:21
They placed an underwater mic
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04:23
and an overhead mic outside the swimming pool.
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还有游泳池外的水上麦克。
这是水下麦克录下的声音。
04:26
So here's what the underwater mic sounds like.
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04:29
(Underwater plunge)
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(水下跳水声)
04:31
Adding the overhead mic,
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加上水上麦克的声音后,
它听起来是这样的:
04:33
it sounded a bit like this:
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(水花四溅声)
04:35
(Water splashes)
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04:37
So now they took the sound and pitched it one octave down,
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他们拿到这个声音后, 把它降了一个八度,
04:41
sort of like slowing down a record.
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就好像慢放一个录音。
04:44
(Water splashes at lower octave)
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(低八度后的水花四溅声)
04:47
And then they removed a lot of the high frequencies.
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然后他们把很多高频的声音去掉。
04:50
(Water splashes)
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(水花声)
然后再降一个八度。
04:53
And pitched it down another octave.
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04:56
(Water splashes at lower octave)
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(又降一个八度的水花声)
04:58
And then they added a little bit of the splash
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然后他们又加入了一点点
水面上录制的水花四溅声。
05:01
from the overhead microphone.
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05:03
(Water splashes)
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(水花声)
05:06
And by looping and repeating that sound,
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然后循环,反复播放,
05:09
they got this:
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他们最终得到了这种效果:
05:10
(Propeller churns)
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(螺旋桨声)
05:16
So, creativity and technology put together in order to create the illusion
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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。
05:23
that we're inside the submarine.
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05:26
But once you've created your sounds
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不过,当你创造了声音
05:30
and you've synced them to the image,
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并和画面同步后,
05:32
you want those sounds to live in the world of the story.
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你希望这些声音可以在 叙事的世界中变得鲜活。
05:37
And one the best ways to do that is to add reverb.
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最好的方法之一是加一点回响。
05:41
So this is the first audio tool I want to talk about.
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这是我要谈的第一个音效手段。
05:45
Reverberation, or reverb, is the persistence of the sound
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在原声结束后加入回响或混响
05:50
after the original sound has ended.
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可以延续声音。
05:52
So it's sort of like the --
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所以这就像是
05:54
all the reflections from the materials,
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来自环绕在声音周围的
05:57
the objects and the walls around the sound.
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物体和墙的全部反射。
06:00
Take, for example, the sound of a gunshot.
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举个例子,枪声。
原声只有不到半秒的时间。
06:03
The original sound is less than half a second long.
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(枪声)
06:08
(Gunshot)
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06:09
By adding reverb,
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加上回响后,
06:11
we can make it sound like it was recorded inside a bathroom.
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我们可以做出好像在浴室里录制的声音。
06:15
(Gunshot reverbs in bathroom)
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(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。
06:17
Or like it was recorded inside a chapel or a church.
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06:20
(Gunshot reverbs church)
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(枪声在教堂里回响)
或者在大峡谷。
06:23
Or in a canyon.
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06:26
(Gunshot reverbs in canyon)
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(枪声在峡谷里回响)
06:27
So reverb gives us a lot of information
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回响给了我们很多
06:30
about the space between the listener and the original sound source.
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关于听者和声音来源 之间的空间的信息。
06:35
If the sound is the taste,
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如果把声音当成是味觉,
06:37
then reverb is sort of like the smell of the sound.
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回音就像是声音的气味。
06:42
But reverb can do a lot more.
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回响还有很多其他的用处。
06:44
Listening to a sound with a lot less reverberation
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听一个很少有回响的声音
06:48
than the on-screen action
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而不看屏幕上的动作
06:50
is going to immediately signify to us
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将会立即让我们觉得
06:53
that we're listening to a commentator,
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我们在听一位解说员说话,
06:56
to an objective narrator that's not participating in the on-screen action.
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在听一位并未参与电影动作的 旁白者说话。
07:02
Also, emotionally intimate moments in cinema
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另外,在电影院中的动情时刻
07:06
are often heard with zero reverb,
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通常听不到任何回响,
07:08
because that's how it would sound if someone was speaking inside our ear.
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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,
07:13
On the completely other side,
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在语音里加入很多回响
07:15
adding a lot of reverb to a voice
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07:17
is going to make us think that we're listening to a flashback,
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会使我们感觉正在听回忆,
07:21
or perhaps that we're inside the head of a character
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或者好像我们正在 一个角色的大脑中,
07:25
or that we're listening to the voice of God.
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或者在听上帝的声音。
07:28
Or, even more powerful in film,
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或者是在电影里更强大的
07:30
Morgan Freeman.
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摩根·费里曼。
07:32
(Laughter)
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(笑声)
07:33
So --
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那么——
07:34
(Applause)
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(鼓掌)
07:37
But what are some other tools or hacks
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还有什么其他手段或是方式
07:41
that sound designers use?
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是音效师在使用的呢?
07:44
Well, here's a really big one.
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这里有一个很重要的。
07:51
It's silence.
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就是无声。
07:53
A few moments of silence is going to make us pay attention.
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短暂的安静无声使我们集中注意力。
07:57
And in the Western world,
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在西方世界里,
08:00
we're not really used to verbal silences.
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我们不太习惯在对话时安静下来。
08:02
They're considered awkward or rude.
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人们会觉得奇怪或无礼。
08:06
So silence preceding verbal communication
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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。
08:11
can create a lot of tension.
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但是想象一下在好莱坞大片中
08:13
But imagine a really big Hollywood movie,
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08:16
where it's full of explosions and automatic guns.
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全都是爆炸和机枪声。
08:22
Loud stops being loud anymore, after a while.
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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
08:26
So in a yin-yang way,
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08:27
silence needs loudness and loudness needs silence
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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。
08:31
for either of them to have any effect.
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08:34
But what does silence mean?
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那么无声意味着什么呢?
08:35
Well, it depends how it's used in each film.
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这取决于每个电影如何使用它。
08:39
Silence can place us inside the head of a character
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无声可以让我们进入角色的思绪,
08:42
or provoke thought.
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或是引发思考。
08:44
We often relate silences with ...
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我们通常从无声联想到——
08:48
contemplation,
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凝视,
08:50
meditation,
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冥想,
08:53
being deep in thought.
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陷入深思。
08:56
But apart from having one meaning,
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但是,并不是只有一种意义,
08:59
silence becomes a blank canvas
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无声是一块空白的画布,
09:01
upon which the viewer is invited to the paint their own thoughts.
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让观看的人把自己的想法画上去.
09:06
But I want to make it clear: there is no such thing as silence.
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我要说清楚的是, 并不存在一种叫做无声的东西。
09:11
And I know this sounds like the most pretentious TED Talk statement ever.
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我知道这说法听起来 差不多是TED里最自负的。
09:16
But even if you were to enter a room with zero reverberation
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但是,即使你进入一个 没有任何回响的房间,
09:22
and zero external sounds,
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也完全没有外部声音,
09:24
you would still be able to hear the pumping of your own blood.
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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,
09:28
And in cinema, traditionally, there was never a silent moment
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09:32
because of the sound of the projector.
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因为放映机会发出声音。
09:34
And even in today's Dolby world,
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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。
09:38
there's not really any moment of silence if you listen around you.
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09:42
There's always some sort of noise.
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总会有某种噪音存在。
09:44
Now, since there's no such thing as silence,
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现在,既然说没有真正的无声,
09:47
what do filmmakers and sound designers use?
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电影制作者和音效设计师用什么呢?
09:51
Well, as a synonym, they often use ambiences.
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他们通常用氛围声,跟“无声”差不多。
09:56
Ambiences are the unique background sounds
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氛围声是独特的背景音,
10:00
that are specific to each location.
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具体到每一个地点的背景音。
10:03
Each location has a unique sound,
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每个地点都有独特的声音,
每个空间也有独特的声音,
10:05
and each room has a unique sound,
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这叫做环境声。
10:07
which is called room tone.
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10:08
So here's a recording of a market in Morocco.
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这是在摩洛哥的一家市场里的录音。
10:11
(Voices, music)
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(说话声,音乐)
10:17
And here's a recording of Times Square in New York.
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这是在纽约时代广场的录音。
10:20
(Traffic sounds, car horns, voices)
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(交通声,车喇叭声,说话声)
10:27
Room tone is the addition of all the noises inside the room:
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环境声是房间里所有噪音的叠加:
通风设备,供暖设备,冰箱。
10:31
the ventilation, the heating, the fridge.
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10:33
Here's a recording of my apartment in Brooklyn.
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这是我布鲁克林区公寓的录音。
10:36
(You can hear the ventilation, the boiler, the fridge and street traffic)
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(你能听到排风,热水器,冰箱,街上的交通)
10:47
Ambiences work in a most primal way.
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环境声以最原始的方式起着作用。
10:52
They can speak directly to our brain subconsciously.
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它们可以在潜意识里 直接对我们的大脑说话。
10:56
So, birds chirping outside your window may indicate normality,
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所以,你窗户外面的鸟叫可以代表常态。
11:02
perhaps because, as a species,
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或许因为,我们作为一个物种,
11:05
we've been used to that sound every morning for millions of years.
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数百万年来,已经习惯每天早上听到它。
11:10
(Birds chirp)
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(鸟叫声)
11:17
On the other hand, industrial sounds have been introduced to us
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另一方面,近些年来我们听到越来越多
11:21
a little more recently.
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工业的声音。
11:23
Even though I really like them personally --
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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,
11:26
they've been used by one of my heroes, David Lynch,
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11:28
and his sound designer, Alan Splet --
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和他的音效师艾林·斯普莱特所采用——
11:30
industrial sounds often carry negative connotations.
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但工业的声音常常有负面的意义。
(机器噪音)
11:33
(Machine noises)
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音效还可以进入我们的情感记忆。
11:40
Now, sound effects can tap into our emotional memory.
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11:46
Occasionally, they can be so significant
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有时候,它们会特别重要,
11:49
that they become a character in a movie.
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以至于变成一部电影的角色。
11:52
The sound of thunder may indicate divine intervention or anger.
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雷声可以代表上天的干预或愤怒。
11:58
(Thunder)
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(打雷声)
12:03
Church bells can remind us of the passing of time,
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教堂钟声可以提醒我们时光流逝,
12:07
or perhaps our own mortality.
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或者也许提醒我们自己的死亡。
12:11
(Bells ring)
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(钟声)
12:19
And breaking of glass can indicate the end of a relationship
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玻璃破碎的声音可以表示一段爱情
或友谊的结束。
12:24
or a friendship.
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12:26
(Glass breaks)
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(玻璃破碎声)
12:28
Scientists believe that dissonant sounds,
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科学家相信,刺耳的声音,
12:32
for example, brass or wind instruments played very loud,
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例如铜管乐器声或管乐器 演奏的巨大声响,
12:38
may remind us of animal howls in nature
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会让我们想到大自然中动物的叫声,
12:42
and therefore create a sense of irritation or fear.
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因此可以制造刺激或恐惧的感觉。
12:46
(Brass and wind instruments play)
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(铜管乐器演奏声)
12:52
So now we've spoken about on-screen sounds.
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那么,我们已经谈到了 屏幕上的声音。
12:56
But occasionally, the source of a sound cannot be seen.
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但有时候,声源是看不到的。
13:00
That's what we call offscreen sounds,
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我们称之为画外音,
13:03
or "acousmatic."
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或者是“盲听”。
13:05
Acousmatic sounds --
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盲听的声音——
13:07
well, the term "acousmatic" comes from Pythagoras in ancient Greece,
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“盲听”一词来自古希腊的毕达哥拉斯,
13:12
who used to teach behind a veil or curtain for years,
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他曾在面纱或帘子后面教学多年,
13:16
not revealing himself to his disciples.
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从未在门徒面前现身。
13:19
I think the mathematician and philosopher thought that,
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我想这位数学家兼哲学家认为,
13:23
in that way,
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采用那种教学方法,
13:25
his students might focus more on the voice,
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他的学生会更专注于语音,
13:29
and his words and its meaning,
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专注于他的词语及其意义,
13:31
rather than the visual of him speaking.
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而不是专注于他讲话时的样子。
13:34
So sort of like the Wizard of Oz,
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有点像“绿野仙踪”(Oz国的魔法师),
13:37
or "1984's" Big Brother,
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或是电影“1984”的“老大哥”,
13:42
separating the voice from its source,
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把语音和来源分开,
13:45
separating cause and effect
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把因和果分开,
13:48
sort of creates a sense of ubiquity or panopticism,
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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。
13:52
and therefore, authority.
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盲听声音有一个强大的传统。
13:55
There's a strong tradition of acousmatic sound.
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罗马和威尼斯的修道院里的修女
13:59
Nuns in monasteries in Rome and Venice used to sing in rooms
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14:05
up in galleries close to the ceiling,
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往往在接近天花板的顶层房间里唱歌,
14:09
creating the illusion that we're listening to angels up in the sky.
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制造出一种我们正在聆听 天空中的天使歌唱的幻觉。
14:14
Richard Wagner famously created the hidden orchestra
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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。
14:18
that was placed in a pit between the stage and the audience.
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14:21
And one of my heroes, Aphex Twin, famously hid in dark corners of clubs.
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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。
14:27
I think what all these masters knew is that by hiding the source,
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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。
14:32
you create a sense of mystery.
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14:33
This has been seen in cinema over and over,
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这种手段你会在电影院里反复看到,
14:35
with Hitchcock, and Ridley Scott in "Alien."
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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
14:39
Hearing a sound without knowing its source
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14:41
is going to create some sort of tension.
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可以产生一定程度的紧迫感。
14:46
Also, it can minimize certain visual restrictions that directors have
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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。
14:52
and can show something that wasn't there during filming.
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14:55
And if all this sounds a little theoretical,
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如果这些听上去比较理论化,
14:57
I wanted to play a little video.
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我想播放一个视频。
15:01
(Toy squeaks)
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(玩具的吱吱声)
15:04
(Typewriter)
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(打字声)
15:07
(Drums)
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(敲鼓声)
(玩乒乓球声)
15:11
(Ping-pong)
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15:14
(Knives being sharpened)
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(磨刀声)
15:17
(Record scratches)
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(打碟声)
15:21
(Saw cuts)
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(锯割声)
15:22
(Woman screams)
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(女人尖叫声)
15:24
What I'm sort of trying to demonstrate with these tools
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我尝试用这些手段来表达的是,
15:29
is that sound is a language.
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声音,是一种语言。
15:32
It can trick us by transporting us geographically;
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它可以使我们感觉 好像移动了地理位置;
15:36
it can change the mood;
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它可以改变心情;
15:38
it can set the pace;
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它可以设置步调;
15:41
it can make us laugh or it can make us scared.
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它可以让我们开怀大笑或深感恐惧。
15:46
On a personal level, I fell in love with that language
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对我个人而言,我在几年前
爱上了这门语言。
15:50
a few years ago,
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15:51
and somehow managed to make it into some sort of profession.
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努力实现了把它当做一种职业。
15:57
And I think with our work through the sound library,
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我认为,通过我们的声音库的工作,
16:00
we're trying to kind of expand the vocabulary of that language.
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我们在扩展这门语言的词汇。
16:07
And in that way, we want to offer the right tools
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并且用这种方法,我们希望 提供合适的呈现手段
16:11
to sound designers,
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给音效设计师,
16:12
filmmakers,
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电影制作人,
16:14
and video game and app designers,
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以及视频游戏和应用软件设计者,
16:16
to keep telling even better stories
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让他们讲述更加完美的故事,
16:20
and creating even more beautiful lies.
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并创造更加美丽的假象。
谢谢大家的聆听。
16:23
So thanks for listening.
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16:24
(Applause)
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(鼓掌)
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