I want to start by doing an experiment. I'm going to play three videos of a rainy day. But I've replaced the audio of one of the videos, and instead of the sound of rain, I've added the sound of bacon frying. So I want you think carefully which one the clip with the bacon is.
Želim započeti eksperimentom. Pustit ću vam tri snimke kišnog dana. No, u jednoj snimci je zamijenjen zvuk, pa sam umjesto zvuka kiše dodao zvuk slanine dok se prži. Želim da dobro razmislite koja snimka sadrži taj zvuk slanine.
(Rain falls)
(Pada kiša)
(Rain falls)
(Pada kiša)
(Rain falls)
(Pada kiša)
All right. Actually, I lied. They're all bacon.
Dobro. Zapravo, lagao sam. To je sve zvuk slanine.
(Bacon sizzles)
(Slanina cvrči)
(Applause)
(Pljesak)
My point here isn't really to make you hungry every time you see a rainy scene, but it's to show that our brains are conditioned to embrace the lies. We're not looking for accuracy.
Nije mi cilj da ogladnite svaki put kad vidite kišnu scenu, nego pokazati da su naši mozgovi uvježbani prihvatiti laži. Ne tražimo točnost.
So on the subject of deception, I wanted to quote one of my favorite authors. In "The Decay of Lying," Oscar Wilde establishes the idea that all bad art comes from copying nature and being realistic; and all great art comes from lying and deceiving, and telling beautiful, untrue things. So when you're watching a movie and a phone rings, it's not actually ringing. It's been added later in postproduction in a studio. All of the sounds you hear are fake. Everything, apart from the dialogue, is fake. When you watch a movie and you see a bird flapping its wings --
Što se tiče teme zavaravanja, htio bih citirati jednog od mojih omiljenih autora. U "Ocvatu laganja," Oscar Wilde utvrđuje da sva loša umjetnost potječe od kopiranja prirode i realizma; dok sva velika umjetnost potječe od laganja i zavaravanja, izgovaranja lijepih, nestvarnih stvari. Pa, kad gledate film i zazvoni telefon, on zapravo ne zvoni. Dodan je kasnije u studijskoj postprodukciji. Svi zvukovi koje čujete su lažni. Sve, osim dijaloga, je lažno. Kada gledate film i vidite pticu koja lepeće svojim krilima --
(Wings flap)
(Lepet krila)
They haven't really recorded the bird. It sounds a lot more realistic if you record a sheet or shaking kitchen gloves.
Zapravo nisu snimili pticu. Zvuči mnogo realističnije ako snimite plahtu ili tresete kuhinjske rukavice.
(Flaps)
(Lepet)
The burning of a cigarette up close --
Gorenje cigarete izbliza --
(Cigarette burns)
(Cigareta gori)
It actually sounds a lot more authentic if you take a small Saran Wrap ball and release it.
Zapravo zvuči mnogo autentičnije kad uzmete lopticu Saran folije i otpustite je.
(A Saran Warp ball being released)
(Otpuštanje loptice Saran folije)
Punches?
Udarci?
(Punch)
(Čuje se udarac)
Oops, let me play that again.
Jao, dajte da čujemo ponovno.
(Punch)
(Čuje se udarac)
That's often done by sticking a knife in vegetables, usually cabbage.
To se često čini zabadanjem noža u povrće, obično u kupus.
(Cabbage stabbed with a knife)
(Zvuk kupusa probodenog nožem)
The next one -- it's breaking bones.
Sljedeći -- lomljenje kostiju.
(Bones break)
(Lomljenje kostiju)
Well, no one was really harmed. It's actually ... breaking celery or frozen lettuce.
Nitko nije stvarno ozlijeđen. To je zapravo ... lomljenje celera ili zamrznute salate.
(Breaking frozen lettuce or celery)
(Lomljenje salate ili celera)
(Laughter)
(U Brooklynu koriste kelj)
(Smijeh)
Making the right sounds is not always as easy as a trip to the supermarket and going to the vegetable section. But it's often a lot more complicated than that. So let's reverse-engineer together the creation of a sound effect.
Stvaranje pravih zvukova nije uvijek tako jednostavno kao izlet u trgovinu namirnicama i odlazak na odjeljak s povrćem. Često je puno složenije od toga. Hajdemo obrnutim inženjeringom objasniti stvaranje zvučnog efekta.
One of my favorite stories comes from Frank Serafine. He's a contributor to our library, and a great sound designer for "Tron" and "Star Trek" and others. He was part of the Paramount team that won the Oscar for best sound for "The Hunt for Red October." In this Cold War classic, in the '90s, they were asked to produce the sound of the propeller of the submarine. So they had a small problem: they couldn't really find a submarine in West Hollywood. So basically, what they did is, they went to a friend's swimming pool, and Frank performed a cannonball, or bomba. They placed an underwater mic and an overhead mic outside the swimming pool. So here's what the underwater mic sounds like.
Jedna od mojih najdražih priča je ona Franka Serafinea. On je naš suradnik i odličan dizajner zvuka za "Tron", "Star Trek" i druge. Bio je član tima Paramount koji je osvojio Oscara za najbolji zvuk za "Lov na crveni Oktobar". Za ovaj klasik o Hladnom ratu, devedesetih godina, tražili su ih da proizvedu zvuk propelera podmornice. Imali su mali problem: nisu baš mogli naći podmornicu u Zapadnom Hollywoodu. Pa su, u principu, učinili ovo - otišli su dp bazena svoga prijatelja, Frank je izveo skok bombe. Postavili su podvodni mikrofon i jedan gornji van bazena. Evo kako zvuči podvodni mikrofon.
(Underwater plunge)
(Uron)
Adding the overhead mic, it sounded a bit like this:
Dodavanjem vanjskog mikrofona zvučalo je ovako:
(Water splashes)
(Prskanje vode)
So now they took the sound and pitched it one octave down, sort of like slowing down a record.
Zvuk su snizili za jednu oktavu, kao što se npr. usporava snimka.
(Water splashes at lower octave) And then they removed a lot of the high frequencies.
(Prskanje vode na nižoj oktavi) Potom su uklonili mnoge visoke frekvencije.
(Water splashes) And pitched it down another octave.
(Prskanje vode) Smanjili za još jednu oktavu.
(Water splashes at lower octave) And then they added a little bit of the splash from the overhead microphone.
(Prskanje vode na nižoj oktavi) Potom su dodali malo prskanja snimljenog gornjim mikrofonom.
(Water splashes) And by looping and repeating that sound, they got this:
(Prskanje vode) Ponavljanjem tog zvuka, dobili su ovo
(Propeller churns)
(Bućkanje propelera)
So, creativity and technology put together in order to create the illusion that we're inside the submarine.
Kreativnost i tehnologija se ujedine da bi se stvorila iluzija da smo unutar podmornice.
But once you've created your sounds and you've synced them to the image, you want those sounds to live in the world of the story. And one the best ways to do that is to add reverb. So this is the first audio tool I want to talk about. Reverberation, or reverb, is the persistence of the sound after the original sound has ended. So it's sort of like the -- all the reflections from the materials, the objects and the walls around the sound.
No, jednom kada ste stvorili zvukove i uskladili ih sa slikom, želite da ti zvukovi žive u svijetu priče. Jedan od najboljih načina da se to izvede je dodavanje odjeka. To je prvi zvučni alat o kojem bih htio govoriti. Dodavanje odjeka je postojanje zvuka kada izvorni zvuk završi. To je otprilike poput -- svih odraza materijala, predmeta i zidova oko zvuka.
Take, for example, the sound of a gunshot. The original sound is less than half a second long.
Uzmimo, primjerice, zvuk pucnja. Izvorni zvuk traje manje od pola sekunde.
(Gunshot) By adding reverb, we can make it sound like it was recorded inside a bathroom.
(Pucanj) Dodavanjem odjeka, možemo učiniti da zvuči kao da je snimljen u kupaonici.
(Gunshot reverbs in bathroom) Or like it was recorded inside a chapel or a church.
(Pucanj odjekuje u kupaonici) Ili kao da je snimljen u kapelici ili crkvi.
(Gunshot reverbs church)
(Pucanj odjekuje crkvom)
Or in a canyon.
Ili u kanjonu.
(Gunshot reverbs in canyon)
(Pucanj odjekuje kanjonom)
So reverb gives us a lot of information about the space between the listener and the original sound source. If the sound is the taste, then reverb is sort of like the smell of the sound.
Odjek nam daje puno informacija o prostoru između slušatelja i originalnog izvora zvuka. Ako je zvuk okus, tada je odjek otprilike kao miris zvuka.
But reverb can do a lot more. Listening to a sound with a lot less reverberation than the on-screen action is going to immediately signify to us that we're listening to a commentator, to an objective narrator that's not participating in the on-screen action. Also, emotionally intimate moments in cinema are often heard with zero reverb, because that's how it would sound if someone was speaking inside our ear.
No, odjek može mnogo više od toga. Slušanje zvuka s puno manje odjeka nego što ima ekranske radnje odmah će nam značiti da slušamo komentatora, objektivnog pripovjedača koji ne sudjeluje u ekranskoj radnji. Također, emocionalno intimni trenuci u kinu često se ne čuju s ikakvim odjekom, jer, tako bi zvučalo da nam netko govori u uhu.
On the completely other side, adding a lot of reverb to a voice is going to make us think that we're listening to a flashback, or perhaps that we're inside the head of a character or that we're listening to the voice of God. Or, even more powerful in film, Morgan Freeman.
S druge strane, dodavanjem puno odjeka glasu pomislit ćemo da slušamo flashback, ili da smo u glavi lika ili da slušamo Božji glas. Ili, još snažnije na filmu, Morgana Freemana.
(Laughter)
(Smijeh)
So --
Pa --
(Applause)
(Pljesak)
But what are some other tools or hacks that sound designers use? Well, here's a really big one. It's silence. A few moments of silence is going to make us pay attention. And in the Western world, we're not really used to verbal silences. They're considered awkward or rude. So silence preceding verbal communication can create a lot of tension. But imagine a really big Hollywood movie, where it's full of explosions and automatic guns. Loud stops being loud anymore, after a while. So in a yin-yang way, silence needs loudness and loudness needs silence for either of them to have any effect.
Koji su neki drugi alati ili trikovi koje koriste zvučni dizajneri? Evo jedan važni. To je tišina. Par trenutaka tišine će nas prisiliti da pozorno pratimo. U zapadnom svijetu, nismo baš navikli na verbalne tišine. Smatraju se neugodnima ili bezobraznima. Tišina koja prethodi verbalnoj komunikaciji može stvoriti veliku napetost. No, zamislite veliki holivudski film, pun eksplozija i pucnjeva. Glasno prestane biti glasno nakon nekog vremena. Na neki yin-yang način, tišina treba galamu i galama treba tišinu da bi ijedno od njih imalo učinka.
But what does silence mean? Well, it depends how it's used in each film. Silence can place us inside the head of a character or provoke thought. We often relate silences with ... contemplation, meditation, being deep in thought. But apart from having one meaning, silence becomes a blank canvas upon which the viewer is invited to the paint their own thoughts.
Ali, što znači tišina? Pa, ovisi kako se koristi u filmu. Tišina nas može smjestiti u glavu nekog lika ili nagnati na razmišljanje. Često poistovjećujemo tišinu s ... mozganjem, meditacijom, dubokim razmišljanjem. No, osim što ima jedno značenje, tišina postane prazno platno kojim se gledatelja poziva da slika vlastite misli.
But I want to make it clear: there is no such thing as silence. And I know this sounds like the most pretentious TED Talk statement ever. But even if you were to enter a room with zero reverberation and zero external sounds, you would still be able to hear the pumping of your own blood. And in cinema, traditionally, there was never a silent moment because of the sound of the projector. And even in today's Dolby world, there's not really any moment of silence if you listen around you. There's always some sort of noise.
Da pojasnim: tišina ne postoji. Znam da ovo zvuči kao najpretencioznija izjava na TED govoru ikad. Ali, da uđete u prostoriju bez odjeka i bez vanjskih zvukova, svejedno biste mogli čuti pumpanje vlastite krvi. U kinu, tradicionalno, nikad nije bilo nijemih trenutaka zbog zvuka projektora. Čak i danas u svijetu Dolby-ja, ako poslušate oko sebe, ne postoji nijedan trenutak tišine. Uvijek postoji neka vrsta buke.
Now, since there's no such thing as silence, what do filmmakers and sound designers use? Well, as a synonym, they often use ambiences. Ambiences are the unique background sounds that are specific to each location. Each location has a unique sound, and each room has a unique sound, which is called room tone. So here's a recording of a market in Morocco.
Kako tišina ne postoji, što koriste filmski snimatelji i zvučni dizajneri? Često koriste ambijente kao sinonim. Ambijenti su jedinstveni pozadinski zvukovi koji su specifični za svaku lokaciju. Svaka lokacija ima jedinstven zvuk, i svaka prostorija ima jedinstven zvuk, koji se zove prostorski ton. Pa, evo snimke tržnice u Maroku.
(Voices, music)
(Glasovi, glazba)
And here's a recording of Times Square in New York.
Evo i snimke Times Squarea u New Yorku.
(Traffic sounds, car horns, voices)
(Zvukovi prometa, automobilskih truba i glasova)
Room tone is the addition of all the noises inside the room: the ventilation, the heating, the fridge. Here's a recording of my apartment in Brooklyn.
Prostorni zvuk je dodavanje svih glasova unutar prostorije: ventilacija, grijanje, hladnjak. Evo snimke moga stana u Brooklynu.
(You can hear the ventilation, the boiler, the fridge and street traffic)
(Možete čuti ventilaciju, bojler, hladnjak, ulični promet)
Ambiences work in a most primal way. They can speak directly to our brain subconsciously. So, birds chirping outside your window may indicate normality, perhaps because, as a species, we've been used to that sound every morning for millions of years.
Ambijenti funkcioniraju na najprimitivniji način. Direktno i podsvjesno obraćaju se našem mozgu. Ptice koje cvrkuću na vašem prozoru mogu biti znak normale, možda zato što smo, kao vrsta, naviknuti čuti taj zvuk svako jutro već milijunima godina.
(Birds chirp) On the other hand, industrial sounds have been introduced to us a little more recently. Even though I really like them personally -- they've been used by one of my heroes, David Lynch, and his sound designer, Alan Splet -- industrial sounds often carry negative connotations.
(Cvrkut ptica) S druge strane, industrijske zvukove smo upoznali tek nedavno. Iako ih osobno stvarno volim -- koristili su ih neki od mojih junaka, David Lynch, i njegov tonski dizajner, Alan Splet -- industrijski zvukovi često nose negativne konotacije.
(Machine noises)
(Zvukovi mašina)
Now, sound effects can tap into our emotional memory. Occasionally, they can be so significant that they become a character in a movie. The sound of thunder may indicate divine intervention or anger.
Zvučni efekti mogu posegnuti u naše emocionalno pamćenje. Povremeno mogu biti tako važni da postanu filmski lik. Zvuk groma može označavati božansku intervenciju ili ljutnju.
(Thunder)
(Grmljavina)
Church bells can remind us of the passing of time, or perhaps our own mortality.
Crkvena zvona nas mogu podsjetiti na prolaznost vremena ili možda na našu vlastitu smrtnost.
(Bells ring)
(Zvonjava crkvenih zvona)
And breaking of glass can indicate the end of a relationship or a friendship.
Lomljenje stakla može označavati kraj veze ili prijateljstva.
(Glass breaks)
(Lom stakla)
Scientists believe that dissonant sounds, for example, brass or wind instruments played very loud, may remind us of animal howls in nature and therefore create a sense of irritation or fear.
Znanstvenici vjeruju da disonantni zvukovi npr., limeni ili puhački instrumenti kada se glasno sviraju, mogu podsjetiti na zvukove zavijanja životinja u prirodi i stoga stvoriti osjećaj nelagode ili straha.
(Brass and wind instruments play)
(Sviraju limeni i puhački instrumenti)
So now we've spoken about on-screen sounds. But occasionally, the source of a sound cannot be seen. That's what we call offscreen sounds, or "acousmatic." Acousmatic sounds -- well, the term "acousmatic" comes from Pythagoras in ancient Greece, who used to teach behind a veil or curtain for years, not revealing himself to his disciples. I think the mathematician and philosopher thought that, in that way, his students might focus more on the voice, and his words and its meaning, rather than the visual of him speaking. So sort of like the Wizard of Oz, or "1984's" Big Brother, separating the voice from its source, separating cause and effect sort of creates a sense of ubiquity or panopticism, and therefore, authority.
To je što se tiče zvukova s platna. Ali ponekad ne možemo vidjeti izvor zvuka. To zovemo off-screen zvukovima (zvukovima van platna) ili "akuzmatikom". Akuzmatični zvukovi -- pa, termin dolazi od Pitagore iz drevne Grčke, koji je godinama podučavao iza zastora, neotkrivajući se svojim sljedbenicima. Mislim da je taj matematičar i filozof mislio da se tako njegovi učenici mogu više usredotočiti na glas, njegove riječi i njihovo značenje nego na prizor njega dok govori. Slično kao Čarobnjak iz Oza ili Veliki Brat iz "1984" odvajajući zvuk od svoga izvora, odvajajući uzrok i ishod, stvara se osjećaj sveprisutnosti ili panopticizma i, stoga, autoriteta.
There's a strong tradition of acousmatic sound. Nuns in monasteries in Rome and Venice used to sing in rooms up in galleries close to the ceiling, creating the illusion that we're listening to angels up in the sky. Richard Wagner famously created the hidden orchestra 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.
Postoji velika tradicija akuzmatičnog zvuka. Časne sestre u rimskim i venecijanskim samostanima običavale su pjevati u galerijskim prostorijama blizu stropa stvarajući iluziju da slušamo anđele na nebu. Richard Wagner je slavno stvorio skriveni orkestar koji je bio smješten u prostoru između pozornice i publike. Jedan od mojih junaka, Aphex Twin, sakrivao se u tamnim kutevima klubova.
I think what all these masters knew is that by hiding the source, you create a sense of mystery. This has been seen in cinema over and over, with Hitchcock, and Ridley Scott in "Alien." Hearing a sound without knowing its source is going to create some sort of tension. Also, it can minimize certain visual restrictions that directors have and can show something that wasn't there during filming. And if all this sounds a little theoretical, I wanted to play a little video.
Mislim da su svi ovi majstori znali da skrivanjem izvora stvarate osjećaj misterije. To je viđeno na filmu nebrojeno puta s Hitchcockom, i Ridley Scottom u filmu "Alien". Čuti zvuk bez znanja o njegovom izvoru stvorit će nekakvu napetost. Smanjit će neka vizualna ograničenja s kojima se suočavaju filmski redatelji i pokazati nam nešto što tamo nije bilo tijekom snimanja. Sve ovo zvuči možda previše teoretski, pa bih vam pustio video snimku.
(Toy squeaks)
(Cvičanje igračke)
(Typewriter)
(Pisaća mašina)
(Drums)
(Bubnjevi)
(Ping-pong)
(Ping-pong)
(Knives being sharpened)
(Oštrenje noževa)
(Record scratches)
(Grebanje vinil ploče)
(Saw cuts)
(Pilanje)
(Woman screams)
(Ženski vrisak)
What I'm sort of trying to demonstrate with these tools is that sound is a language. It can trick us by transporting us geographically; it can change the mood; it can set the pace; it can make us laugh or it can make us scared.
Ono što želim prikazati ovim alatima je da je zvuk jezik. Može nas prevariti prenoseći nas geografski; može promijeniti raspoloženje; može postaviti ritam; može nas nasmijati ili uplašiti.
On a personal level, I fell in love with that language a few years ago, and somehow managed to make it into some sort of profession. And I think with our work through the sound library, we're trying to kind of expand the vocabulary of that language. And in that way, we want to offer the right tools to sound designers, filmmakers, and video game and app designers, to keep telling even better stories and creating even more beautiful lies.
Osobno, zaljubio sam se u taj jezik prije nekoliko godina i nekako uspio to učiniti profesijom. Mislim da našim radom u zvučnoj biblioteci pokušavamo proširiti vokabular toga jezika i, na taj način, ponuditi prave alate toncima, filmskim snimateljima i dizajnerima video igrica i aplikacija kako bismo nastavili pričati još bolje priče i stvarati još ljepše laži.
So thanks for listening.
Pa, hvala vam na slušanju.
(Applause)
(Pljesak)