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 da počnem sa jednim eksperimentom. Pustiću vam tri snimka kišnog dana. Međutim, zamenio sam zvuk na jednom snimku, i umesto zvuka kiše, dodao sam zvuk prženja slanine. Želim da pažljivo razmislite u kom snimku se čuje slanina.
(Rain falls)
(Pada kiša)
(Rain falls)
(Pada kiša)
(Rain falls)
(Pada kiša)
All right. Actually, I lied. They're all bacon.
U redu. U stvari, lagao sam. Na svima je slanina.
(Bacon sizzles)
(Slanina cvrči)
(Applause)
(Aplauz)
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.
Poenta ovde nije da izazovem osećaj gladi kod vas kad god vidite scenu sa kišom, već da vam pokažem da je naš mozak uslovljen da prihvata laži. Mi ne tražimo tačnost.
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 --
Kada je u pitanju obmana, želim da citiram jednog od mojih omiljenih autora. U „Propasti laganja“, Oskar Vajld je postavio ideju da sva loša umetnost potiče iz kopiranja prirode i realističnosti; a sva sjajna umetnost proističe iz laganja i obmane, i pričanja divnih, neistinitih stvari. Tako, kada gledate film i telefon zazvoni, on zapravo ne zvoni. To je dodato kasnije u postprodukciji u studiju. Svi zvukovi koje čujete su lažni. Sve, osim dijaloga, je lažno. Kada gledate film i vidite kako ptica maše krilima -
(Wings flap)
(Klepetanje krila)
They haven't really recorded the bird. It sounds a lot more realistic if you record a sheet or shaking kitchen gloves.
Oni nisu stvarno usnimili pticu. To zvuči mnogo realističnije ako snimite čaršav 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 if you take a small Saran Wrap ball and release it.
Zvuči mnogo autentičnije ako uzmete malu loptu od plastične folije 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, usually cabbage.
To se često radi tako što se nož zabode u povrće, 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. It's actually ... breaking celery or frozen lettuce.
Pa, niko nije zaista povređen. To je zapravo... 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 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.
Pravljenje odgovarajućih zvukova nije uvek tako lako kao odlazak u supermarket i biranje povrća. Često je dosta složenije od toga. Pa hajde da zajedno otkrijemo kako se otpočetka odvija stvaranje zvučnih efekata.
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 omiljenih priča dolazi od Frenka Serafina. On je donator naše biblioteke i veliki dizajner zvuka za „Tron“, „Zvezdane staze“ i ostale. On je bio deo Paramauntovog tima koji je dobio Oskara za najbolji zvuk za „Lov na Crveni oktobar“. U ovom klasiku o hladnom ratu, 90-ih, tražili su im da proizvedu zvuk propelera na podmornici. Naišli su na mali problem: nisu zapravo mogli da pronađu podmornicu u Zapadnom Holivudu. Ono što su oni, praktično, uradili bilo je da su otišli do bazena jednog prijatelja i Frenk je izveo topovsko đule ili bombu. Postavili su podvodni mikrofon i mikrofon izvan bazena. Ovako je zvučao podvodni mikrofon.
(Underwater plunge)
(Skok pod vodu)
Adding the overhead mic, it sounded a bit like this:
Dodavanjem mikrofona van vode, zvučalo je otprilike ovako:
(Water splashes)
(Zapljuskivanje vode)
So now they took the sound and pitched it one octave down, sort of like slowing down a record.
Onda su uzeli taj zvuk i smanjili ga za jednu oktavu, nešto kao usporavanje snimka.
(Water splashes at lower octave) And then they removed a lot of the high frequencies.
(Voda prska za oktavu niže) I onda su uklonili dosta visokih frekvencija.
(Water splashes) And pitched it down another octave.
(Zapljuskivanje vode) I smanjili za još jednu oktavu.
(Water splashes at lower octave) And then they added a little bit of the splash from the overhead microphone.
(Voda prska za oktavu niže) I onda su pridodali malo zapljuskivanja iz mikrofona van vode.
(Water splashes) And by looping and repeating that sound, they got this:
(Zapljuskivanje vode) Vrtenjem u krug i ponavljanjem tog zvuka, dobili su ovo:
(Propeller churns)
(Okretanje propelera)
So, creativity and technology put together in order to create the illusion that we're inside the submarine.
Tako su kreativnost i tehnologija udruženi kako 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.
Ali jednom kada stvorite zvukove i sinhronizujete ih sa slikom, želite da ovi zvukovi žive u svetu te priče. A jedan od najboljih načina da se to uradi je da se doda reverberacija. Ovo je prvi tonski alat o kome želim da pričam. Odjek, ili reverberacija, je istrajnost zvuka nakon što se originalni zvuk završio. To je nešto kao - sva odbijanja zvuka od materijala, predmeta i zidova u okolini zvuka.
Take, for example, the sound of a gunshot. The original sound is less than half a second long.
Uzmite, primera radi, zvuk pucnja. Originalni zvuk traje kraće od pola sekunde.
(Gunshot) By adding reverb, we can make it sound like it was recorded inside a bathroom.
(Pucanj) Dodavanjem odjeka, možemo da napravimo zvuk koji kao da je sniman u kupatilu.
(Gunshot reverbs in bathroom) Or like it was recorded inside a chapel or a church.
(Odjek pucnja u kupatilu) 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 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.
Tako nam odjek daje dosta informacija o prostoru između slušaoca i originalnog izvora zvuka. Ako je zvuk ukus, onda je odjek nešto 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.
Ali odjek može dosta više od toga. Slušajući zvuk sa dosta manje odjeka nego tokom akcije na ekranu će nam odmah naznačiti da slušamo komentatora, objektivnog naratora koji ne učestvuje u akciji na ekranu. Takođe, emotivno intimni trenuci u bioskopu se često čuju bez odjeka, zato što bi tako zvučalo kad bi nam neko pričao unutar uveta.
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.
Na potpuno drugom kraju, dodavanje dosta odjeka glasu će učiniti da mislimo da slušamo flešbek, ili da smo možda u glavi lika ili da slušamo glas Boga. Ili, što je još moćnije za film, Morgana Frimena.
(Laughter)
(Smeh)
So --
Tako -
(Applause)
(Aplauz)
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 to drugi alati ili trikovi koje dizajneri zvuka koriste? Pa, evo ga jedan stvarno veliki. To je tišina. Par trenutaka tišine će nam privući pažnju. A u Zapadnom svetu obično nismo navikli na verbalnu tišinu. Smatra se čudnom ili nepristojnom. Tako tišina koja prethodi verbalnoj komunikaciji može stvoriti dosta napetosti. Ali zamislite zaista veliki holivudski film, gde ima dosta eksplozija i automatskog oružja. Glasno prestaje da bude glasno, nakon nekog vremena. Po principu jing-janga, tišini je potrebna buka i buci je potrebna tišina da bi bilo koje od njih imalo efekta.
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 šta znači tišina? Pa, zavisi kako se koristi u nekom filmu. Tišina nas može smestiti unutar glave lika ili navesti na razmišljanje. Često tišinu povezujemo sa... razmišljanjem, meditacijom, zamišljenošću. Ali osim što ima jedno značenje, tišina postaje čisto platno na kome se gledalac poziva da naslika sopstvene 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.
Međutim, želim da razjasnim: ne postoji takva stvar kao tišina. Znam da to zvuči kao najuobraženija izjava ikada na TED govoru. Ali čak i kad biste ušli u prostoriju sa nultim odjekom i nultim spoljašnjim zvukom, i dalje biste mogli da čujete pumpanje krvi u vama. I u bioskopu, tradicionalno, nikad nije postojao trenutak tišine zbog zvuka projektora. A čak i danas u Dolbi svetu, ne postoji zaista neki momenat tišine ako slušate oko sebe. Uvek postoji neka vrsta šuma.
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.
E, sad, pošto tišina kao takva ne postoji, šta režiseri i dizajneri zvuka koriste? Pa, kao sinonim, često koriste zvukove okoline. Zvuke okoline čine jedinstveni pozadinski zvuci koji su specifični za svaku lokaciju. Svaka lokacija ima jedinstven zvuk i svaka prostorija ima jedinstven zvuk, koji se naziva ton prostorije. 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: the ventilation, the heating, the fridge. Here's a recording of my apartment in Brooklyn.
Ton prostorije je zbir svih zvukova unutar prostorije: ventilacije, grejanja, frižidera. 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. 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.
Zvuci okoline deluju na najjednostavniji mogući način. Oni se direktno obraćaju našem mozgu podsvesno. Tako kada ptice cvrkuću na prozoru može ukazivati na normalnost, možda zato što smo kao vrsta naviknuti na taj zvuk svakog jutra milionima 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.
(Ptice cvrkuću) Sa druge strane, sa industrijskim zvucima smo upoznati nešto skorije. Iako mi se lično stvarno dopadaju - koristio ih je jedan od mojih heroja, Dejvid Linč, i njegov dizajner zvuka, Alan Splet - industrijski zvuci često imaju negativne konotacije.
(Machine noises)
(Zvuci 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.
E, sad, zvučni efekti mogu da se urežu u naše emocionalno pamćenje. Povremeno, oni mogu biti toliko značajni da postanu lik u filmu. Zvuk grmljavine može naznačiti božansku intervenciju ili bes.
(Thunder)
(Grmljavina)
Church bells can remind us of the passing of time, or perhaps our own mortality.
Crkvena zvona nas mogu podsetiti na prolaženje vremena, ili možda na našu smrtnost.
(Bells ring)
(Zvone zvona)
And breaking of glass can indicate the end of a relationship or a friendship.
A razbijanje stakla može nagovestiti kraj veze ili prijateljstva.
(Glass breaks)
(Lomljenje 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.
Naučnici veruju da nas disonantni zvuci, primera radi, glasno sviranje limenih i duvačkih instrumenata, mogu podsetiti na urlik životinja u prirodi 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. 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.
Do sada smo pričali o zvukovima na ekranu. Međutim, povremeno, izvor zvuka se ne može videti. To zovemo zvukovima van ekrana, ili „akuzmatičnim“ zvucima. Akuzmatični zvuci - termin „akuzmatičan“ potiče od Pitagore iz Stare Grčke, koji je imao običaj da predaje iza vela ili zavese godinama, ne otkrivajući se učenicima. Smatram da je ovaj matematičar i filozof razmišljao da, na ovaj način, njegovi učenici mogu da se više koncentrišu na glas, njegove reči i njihovo značenje, nego kada ga vide da govori. Nešto poput Čarobnjaka iz Oza ili Velikog brata iz „1984“, odvajajući glas od njegovog izvora, odvajajući uzrok i posledicu, nekako stvarajući osećaj sveprisutnosti ili panopticizma, te stoga i 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 jaka tradicija akuzmatičnog zvuka. Monahinje u manastirima u Rimu i Veneciji imale su običaj da pevaju u prostorijama, u galerijama blizu plafona, stvarajući iluziju da slušamo anđele na nebu. Rihard Vagner je stvorio čuveni skriveni orkestar koji je smešten u prostor za orkestar između bine i publike. 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, 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.
Smatram da je ono što su svi ovi majstori znali je da skrivanjem izvora stvarate osećaj misterije. Ovo se u bioskopima viđa iznova i iznova, sa Hičkokom i Ridlijem Skotom u „Vanzemaljcu“. Čuti zvuk, a ne znati mu izvor će stvoriti određenu vrstu napetosti. Takođe, to može smanjiti vizuelna ograničenja koja reditelji imaju i mogu pokazati nešto što nije bilo tu tokom snimanja. I ako sve ovo zvuči pomalo teoretski, 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 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 pokušavam da pokažem sa ovim alatima je da je zvuk jezik. Može nas zavarati premeštajući nas geografski; može promeniti raspoloženje; može podesiti brzinu; može nas nasmejati 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.
Lično sam se zaljubio u taj jezik pre nekoliko godina, i nekako sam uspeo da ga pretvorim u neku vrstu zanimanja. I mislim da našim radom kroz zvučnu laboratoriju, pokušavamo da proširimo rečnik tog jezika. A na taj način želimo da ponudimo prave alate dizajnerima zvuka, filmskim stvaraocima i dizajnerima video igrica i aplikacija da bi nastavili da pričaju još bolje priče i stvaraju još lepše laži.
So thanks for listening.
Hvala što ste saslušali.
(Applause)
(Aplauz)