All right, so we're gonna talk about some sound design, which is 好的 接下来我们就来聊聊声音设计
..arguably the most favorite part of my job, 可以说，这是我最爱的工作内容，
is when we actually get to create sounds and do things with them 是可以亲手创造声音并且创造性运用它们
And I consider sound design 我习惯把声音设计
all-encompassing. And this is a little controversial 进行全方位综合考虑 可能大家不完全认同
If you see movie credits you might see sfx editor, dialog editor.. 如果你看电影演职员名单，你会找到音效编辑，对话编辑。。
Uhh.. Foley 比如。。Foley（拟音）
foley artist, foley this... That was totally legit classifications 拟音艺术家 这些职位有非常明确的系统分类
..in unions and all that stuffs.. 在行业联盟里等等..
they have very specific things of what they do. But.. 对他们的工作有明确的定义 但是
Sound design to me is more of a holistic approach. 声音设计对我来说更像一个整体性的方法
And even the term sound designer wasn't something that..was a traditional thing at all. 甚至“声音设计师”也不是一个传统职业
But now more and more people are calling themselves "Sound designer" 但现在越来越多的人们自称为 声音设计师
I think it's good for the industry 我认为这样有利于行业发展
And it takes from a sound engineer to someone who's actually affecting emotion and an artist situations 这让传统意义上的“声音工程师”成为可以参与情感创作的艺术家
Cause I do feel like what's happening in sound design is a very artistic approach. 因为我确实觉得声音设计是非常具有艺术性的创作
And there's a lot of different thought processes that go into every single element, and you'll see that 你将会看到 多种不同的思维过程深入到每一个元素中去
Why is sound design important? 声音设计为何如此重要？
It's so much about like.. Sound design can be like rebuilding a world.. 声音设计可能需要你重新构建一个世界
Semi-realistically.. or not 不完全现实化的，或者完全不现实的
And I think of.. the thing for sound design for me is.. 声音设计对我来说
I'm much more concerned about believablity than realism 我更关注的是声音的可信度而非真实度
And a lot of sound people start at going.. 很多音效师会着眼于
what does that literal thing sound like.. we'll record that literal thing and then play that literal thing and then like.. 只关注目标声音的字面意义 然后按部就班地录制那个声音 然后播放那个声音 然后..
You can’t say anything because it's the literal thing 这样就无法传达其他信息 因为只关注字面意义
I don't think that's really what sound design is all about 我觉得这不是音效设计的意义所在
A lot of times, sound design is about, 通常 声音设计的意义在于
making the things sound like what you think it's supposed to sound like 让声音目标听起来 好像它就应该发出这样的声音
..like celery breaking for bones 比如 折断芹菜来拟音骨头碎裂
you know.. it's not real sound, and I wouldn't wanna use real sound to make something like that happened.. 你知道 这不是真的折断骨头的声音 我也不会想用真的声音
But sound design is.. We've also been trained that certain thing sounds a specific way 我们经过天生的训练 会大概知道什么东西会发出什么声音
If you see a big canyon, and a bird flying, like a hawk or something, 如果你看到大峡谷里有鸟（比如老鹰）在飞
you'll hear like "Garhhh.." like that's gonna just.. It's just that thing, that annoying "Garhhh.." thing 你自然会联想到鸟叫声
that not accurate at all 当然这个声音一点都不准确
It's just part of how we've grown up, part of what we expect certain things to sound like 这只是我们成长过程中的一部分，对声音的一种自发期待
So sound design is a bit of.. 声音设计是..
OK, what does it actually sound like, how do we make that enhanced, how do we make that hyperreal? 那么我们怎么让音效得到强化，达到超现实效果？
And a little bit of being movie kinda sorts and televison kinda sorts ourselves, 让自己掌握一些电影和电视中的声音设计技巧
and knowing what others have defined as what it's supposed to sound like 以了解其他行业对某个具体音效的定义
Now, I want to talk a little bit about emotional dynamics and what you are doing 现在 我想简单讲讲如何让音效与情感变化产生关联
and this is my favorite tweet ever, from my favorite Twitter account that I highly suggest you follow 这是我最爱的一条推特 来自我最爱的一个推主
把所有东西都加上音乐
Worst editor ever 他叫“最糟糕的剪辑师” 强烈推荐关注
in contexts of seeing all of the tweets around us, it's really funny, cause it just come across as.. 在看过其他很多tweet之后 你会觉得这句话很有趣 因为..
You know, I think it’s a perfect analogy, 你知道 我觉得这是句绝妙的讽刺
it's just blanket music everywhere （影视作品里）随便放上类似风格的音乐
Call it a day, sound is done 然后声音工作就算完事了
And I know that's a lot of.. It's the easy way.. to do something 我也知道 这样做音效就很简单
And music is super important, don't get me wrong 当然音乐是非常重要的 不要误会我
I don't wanna dock music, I love music, I work with composers all the time 我没有想要削减音乐 我爱音乐 我一直都在和作曲家合作
You know, music is something that we're.. that deeply ingrained in the sound design and all that.. 音乐在声音设计中的地位是根深蒂固的
But, it's not a catch-all for a lot of the other ways to tell a story 但音乐并不足以涵盖其他很多声音设计方法的叙事功能
Sound design isn't like something that you can really just "shoehorning" at the end 声音设计并不是可以在项目最后阶段硬塞进去的东西
One of the.. Something that can become frustrating is when we might work on a project 令人感到沮丧的是 有时候我们在制作一个项目时
that comes to us after a long process of writing, and blocking, and shooting, and then editing and all that stuffs 经过漫长的剧本创作 场景调度 拍摄 剪辑等等工作
and it gets to us like, you just need to do your magic 最后到了声音设计阶段 就让我们去“施展魔法”
I don't like that word at all, cause that's just shoehorning things 我一点都不喜欢“魔法”这个词 因为这就是让我们去硬塞
There's nothing to say that you're not that writers and directors and producers and cinematographers 我们没有发言权 因为我们不是编剧 不是导演 不是制片人 也不是摄影师
And everyone is invited to think about sound 可是我们欢迎所有人来讨论声音设计
And as I mentioned before 而且像我之前说的
Culturally, sound has been something has been very much relegated 习惯上 声音设计师的形象往往被理解为
to like an angry person, like don't touch my stuff, and don't talk about my thing 那种易怒的人 那种“不要碰我的设备” “不要评论我的工作”那种人
I'm not saying everyone is like that, there're some great people 我不是说所有人都这样 也有很多人品很好的从业者
But it's getting better and better and better as sound people become more of an artists 但是情况的确有所好转 因为音效师也逐渐被承认是艺术家
and we have to communicate what's being said 我们也有机会参与到整体创作的讨论中去
But saying that it's not something that just get shoehorned in the last minute 意思是 声音设计不应该是最后关头硬塞进去的东西
because, the editor has so much control, the cinematographer has so much control.. 因为 剪辑师 摄影师都有很大的控制权
of the way they frame, of everyone is thinking about sound, in the long run 他们可以控制构图 从而在整个制作过程中 可以影响大家对声音的判断
There're cinematographers that I love to see their work 有些摄影师的作品我非常欣赏
because they unconsciously think about.. 因为他们会下意识地考虑到..
they get so into this world that they're framing, that everything kind of disappears 他们对自己正在构图的这个世界如此入迷 以至于所有事物好像都消失了
there're cinematographers that have a huge affect on what we do 有些摄影师甚至会对我们的声音设计产生重要影响
and they don't even realize it 而他们自己甚至都没有意识到
And I've talk to some before and they were like "Whoa, I have no idea" 我之前和几位摄影师提过 他们会说 “哇 我都不知道”
And I say "No, but you did this, which leading to this” 我说 “你是不知道 但你这样做 就会导致那样”
Combined that with a great director and editor, and you get this thing that just naturally happens 然后再通过一流的导演和剪辑师配合 最后那种效果就自然出现了
And they know that's the right way to do, and we insert what we do, 他们知道这才是正确的做法 我们再加入我们的声音设计
and it's like, "Whoa, it's the full circle approach" 然后我们发现 这才是一个完整的创作流程
Yeah? (提问：例如哪个摄影师？)
应该指Khalid Mohtaseb 美国摄影师
Khalid. I'm not even gonna say his last name, Khalid is fantastic 哈利德 他很棒
He's great. Coupled with sound and ???, he's always like a guy that thinks sonically all the time 他总是会从声音的角度进行画面理解
Now he has a particular style 他有一种独特的风格
And Khalid has a particular style, even though they can do a lot of different things. 哈利德也有独特的个人风格 即使他们有能力做其它风格
But I was talking to Khalid, it's just the way that he thinks and frames things gives a lot of.. other options 他思考、构图的方式可以提供给我们很多其他可能
especially when we're talking about outside of the screen 尤其当我们讨论画面之外的信息传达时
Because some of what we do... as people who are doing picture stuff like you're limited by this frame here 比如那些做影像的人 创作空间被限制在画面中
and it's this flat plane thats way appear that you are trying to get some sort of.. 他们就按照这块屏幕显示的样子
dynamic controls through colors and depth and framing and all that stuff 试图通过色彩、景深和构图来对画面进行动态掌控
like you have no real control of that stuffs, it's all implied 实际上他们并没有对画面的明确控制 画面意图都是通过暗示展现的
and how we can support that as we can.. not imply it but put it there 那么我们怎样才能通过音效设计为画面提供支持 不再暗示 而是直接展示画面之外的内容
like put you in a space, clearly 直接明确地把你放在那个空间
And so we fill all this other space with sound, if it's needed 所以我们把画面外的空间铺上声音 如果需要的话
but then we also do things what we like hyperfocus to places, through the mix process 但我们也需要对某些地方进行高度关注 这通过混音来实现
If we want your eye to go in a particular place, we can do that through mixing certain sounds 如果我们想让观众关注到某个位置 我们可以通过混音来实现
In a certain way 用某种特定方式
And we always think about what's the most important thing that's been said here? 我们总会考虑这里最重要的信息是什么？
what's on screen.. that's telling us to go here 画面中的什么 暗示我们来到这个环境
so we can fill up all this stuffs 依此我们可以铺上声音
the other thing I like to think about is really just like erasing the boundaries of the screen 另外我喜欢考虑的问题就是 如何让屏幕的边界消失
Of course, if it's something that's highly stylized, you can think back to great movies 当然 有些特别风格化的作品 比如你能想到的过去的一些伟大的电影经典
and you can think about their framing, especially if being camera oriented 你会主动意识到它的构图 尤其是以镜头导向的作品
But there're a lot of the films that I can think back on and like.. 但是有很多电影我回想起来
I don't remember the framing at all, I just remember the story 我完全不记得它的构图 只记得它的故事情节
I felt like I was just drawn into a.. 我觉得我就是被拉进..
it was just this thing that was all encompassing but the reality is all this.. just blackness outside of the screen 给我一种沉浸感 好像真正的现实存在在屏幕以外的这团黑色之中
and I love that full immerision 我爱这种全身心的沉浸式体验
and that's a real partnership between sound and visuals 这才是听觉艺术和视觉技术的真正结合
And that's not sound people necessarily just coming at the end 而并不是声音工作者在制作过程的最后阶段才加入
and saying: I'm gonna do my brilliance 然后说：我要开始表演了
It's all of those people who are visual-focus were thinking about what sounds was, what's happening 所有的视觉工作者都会在前期考虑某个画面对应的声音效果
And so there's a bit of misconceptions like sound people are just gonna step in and do their things 因此 目前有些误解认为 声音设计师会在最后才加入 然后“施展魔法”
No, every great sound project, I'll say almost every project on our website 不是这样的 我们网站上展示的任何一个优秀的项目 甚至说任何一个项目
started with an incredible person leading that to begin with 都是由一个非常棒的主创引领的
because they weren't scared of using sound 因为他们敢于去利用声音
and they are not scared to talk about sound 他们也敢于主动谈论声音设计
they are not scared of putting temp sound in 他们敢于使用实验性的音效
they are not scared of trying things on their side before they even come to us 他们敢于自己先行尝试 甚至在我们开始工作之前
That elevates things. It's not like you do your thing, and I do my thing. 这样才能提升制作水准 不是”我做我的 你做你的“这种工作方式
It's like here's what I'm thinking. And we go: "Whoa, ok, we gotta plus this, somehow" 而是你说你是这么想的 我会说：哇 好的 我们得再把它提高一下 通过某种方式
And then it's just a stretch 然后创作就得以延伸
So getting back to basics 那么 说回基础
What do we use to even start getting sounds into our projects 首先 我们该用什么工具把声音加入我们的工程呢？
So there's a lot of sfx libraries out there 目前市面上有很多音效库
Some of my favourites: Boom Library 我最爱的库包括： Boom Library
Sound Ideas has a really really massively huge library Sound Ideas 厂牌有很多大型音效库
Pro Sound Effects.com has a great relatively unexpensive large sound library that I think you.. Pro Sound Effects.com上面有相对便宜的大音效库
if you purchase a yearly subscription to it 如果你购买了他们的年度订阅
So you can buy all this things depending on what you do, particularly 你可以根据你在做的声音设计类型 来选择购买这些库
And if you're doing a lot of nature stuff, you can buy a whole pack that's just essential nature stuff 如果你正在做自然风格的声音设计 你就可以买个只包含自然素材的音效库
So Boom Library has that, but there are a lot of thing out there Boom Library就有这样的库 当然其他厂牌也有
What's the second one? Sound Ideas （刚才例举的厂牌）第二个是什么？Sound Ideas
We have a list of all of the sfx you just mentioned, and the libraries 我这里有刚才所有提到的音效库的列表
And there's so many new things coming out, because again, 而且有很多新东西在出现 因为像我说的
We're transitioning to a new era here, 我们正在向一个新时代过渡
where sound people are going on and just making libraries 声音工作者自己动手制作音效库
like sound designer wants to make extra bucks, 可能是声音设计师想多赚点钱
or maybe they are not, doing a ton of work 可能不是 收集素材需要很大工作量
think up and build a whole sfx library 然后就想到做个音效库
and people who are a little busier are like.. 然后手头正忙的人会觉得
Oh yes, I need that right now, I'll pay 75 bucks for your library 太好了 我正需要这个 我愿意花75美元买你的库
or for your multi-user liscence, spend however much 或者你的多用户授权 花多少多少钱
So that's the starting point is just that acquiring great sounds to begin with 这就是我们一开始获得好的声音素材的方法之一
We sometimes record our own stuff, we doing a lot of recording internally 我们有时也会自己来录 我们内部会做很多录音工作
when we talk about "foley", which we gonna get to 尤其在做Foley时 等下会讲到
But whenever it comes like recording things that are big and bold, 但当我们要录制大而猛的声音时
like car engines, explosions, things that are like "We need the right things" 比如汽车引擎 爆炸 那种我们需要效果明确的“对的声音”
we typically will buy those things, source those from just incredible sound designers who're already doing that 我们通常会从一些超棒的声音设计师那里 购买他们已经做过的这类音效
That almost rather support the industry that way too 这个现象对行业来说应该也是种促进
rather than like, shutting us down to go out and set up this whole thing 而不是拒绝分享 让我们从头开始制作这类音效
It's like, there're so much great stuff out there 现在市面上有特别多非常优秀的音效库
We've just crossed a , you know, three, four, five years ago. 我们正在经历.. 三、四、五年前..
crossed a whole new level of independent library quality 我们经历了独立音效库品质的巨大升级
And so there's so much incredible stuff, and.. 所以 现在真的有很多好东西 而且
you can pretty much find a lot of this from searching 你可以通过搜索找到很多这种库
But one website in particular, "DesigningSound.org", I believe it's ".org" 尤其一个网站叫 DesigningSound.org
DesigningSound.org is a place for sound designers who(are looking for) just fantastic sound content DesigningSound.org为声音设计师提供了极好的音效素材
A lot of relevant sounds and ideas and thoughts 上面有很多有意义的声音素材 理解和思考
it's really designed for sound designers 真的是为声音设计师量身打造的网站
there's tab on that says: Independent Sound Library 上面一个标签写着：独立音效库
It's a whole list of all of the independent ones. The most of these you can just purchase right out if you need it 下面全是独立音效 其中大多数你都可以直接按需购买
they'll have a sample of what's in there, you buy it 会给你提供试听
Now you have it. You get your pack of whatever you doing, you have it in there now 现在你有了你需要的音效库
How do you find stuff? Cause title search are brutal 那你怎么找到你要的资源？ 要知道只搜索标题的话是很原始的
So we use something like this 所以我们要用这样的工具
We use SoundMiner, which is pretty much the industry standard 我们用SoundMiner 可以说它是行业标准
It's not so much in the sense of Pro Tools, like it's so much of the industry standard on professional sound 这里说的并不是像Pro Tools那样的行业标准
people are almost hard to find people who knows the other things 人们很难找到其他同类产品
It's just a tricky balance to get the right....the people who currently know it.. the new people.. 有人已经认识它 有人还是刚接触 这是一个很微妙的平衡
there's multiple ways of doing the same thing here, but SoundMiner 搜索素材可以有多种方式来实现
..is very good. They have multiple versions that give you the biggest basic stuff 但SoundMiner的确非常棒 他们推出了不同版本供你选择
but I'll explain how this brought in 接下来我会解释它的功能
so we make a database, we dump all of our sfx in this database, we call it whatever we want 那么我们建立一个数据库 把所有素材导进去 数据库可以任意命名
And then we can search, you know, "Metal Impact Design" 然后我们就可以搜索（关键字） 比如说“金属 撞击 设计”
Well it doesn't have to be a search here, it doesn't have to be a title 不一定非要搜索标题
even though the title is gonna be the most important 即使标题可能是最重要的信息
This is the title of the sound effects library, just an abbreviation 这个是素材库的标题 缩写的
Sure. Sure. 当然 当然（回答提问）
So these are just the titles. But you need a lot more information than just titles 这只是标题信息 实际上你需要比这多得多的信息
Cause you can't put all of the nuances of what the sound is, in just the title 因为你不可能把体现这个音效的 所有细微差别都体现在标题里
So what you really need are like descriptions and metadata 所以你真正需要的信息是描述信息 和 Metadata（元数据）
And so that metadata.. you can just put as much information as you want over here 在Metadata里 你想写进多少信息都可以
and things like heavy firearm like impact with tonal, ringing element, very long reverb tail 比如像这个：重型火器类冲击声 有音调的 有高频鸣响的 混响尾巴很长的
So occasionally when we were just trying to find something like reverb hit, or reverb metal hit 有时候我们想搜索某个音效 比如说带混响的撞击声 或者带混响的金属撞击声
then it won't pop up here because it's not in the title 搜索结果不会在（标题搜索）这里展示出来 因为这些描述不在标题里
but it's all in the metadata 但Metadata里都记录着
That metadata carries tons of information like.. Metadata携带了大量的信息 比如
exactly where they came from, where the category is, the actual library creation date 该素材确切的出处、它的分类、所属库的创建日期
all the description stuff, duration.. I mean everything for that 所有常用的描述信息比如 时长 等等
But the thing we use a lot are metadata 但我们用的比较多的还是Metadata
Even if we make our own sfx, we pack full of metadata 甚至我们也会在自己制作的音效库里加上很多Metadata
There's a lot of sfx libraries that have weak meatadata and we still go in and change the metadata for our own purposes 很多音效库没有详细的Metadata 我们会按自己的需求给它们添加上
Cause we have short hand among our own sound designers 因为我们内部的声音设计师之间会有固定的速记法
We have this thing called "Twinklers", that are things are very airy but might have a little bit of wind chime in it 比如“Twinklers” 指的是那种很有空气感 而且可能包含一点风铃声的音效
For more positive, or like a TLC promo type of thing 往往用于积极的情景 像TLC片头那种的
But that's.. You definitely need some sort of sfx management tools, and these aren't very expensive 你肯定需要有一个音效库管理工具 它们其实也不贵
This is SoundMiner. Basehead does pretty much the exact same thing 这个是SoundMiner 除此之外还有Basehead 它们功能基本一致
It's typically little bit cheaper, but you can organize things by folders I believe, and there's a lot of different ways (Basehead)更便宜一点 我记得它是通过文件夹来整理素材的 也有很多其他整理方式
but it still does the metadata, the searcher are all the same, all of this are very fast (Basehead)也支持metadata 搜索引擎和SoundMiner一样 两个软件速度都很快
And why you need this rather than do a "Finder" search? 那你为何需要这种软件 而不是直接用Finder？
Even if the Finder could find metadata, it has to spin through the hard drive to find everything 就算Finder可以搜到metadata 它每次搜索都要扫描整个硬盘
so it takes a second to find it 所以要花不少时间
The reason you have databases (I'll go back), here, 之所以这些专业软件会有一个数据库
is that whenever you first drop things in, it scans every single thing 每当你第一次导入素材时 它会把所有东西扫描一遍
it scans all the waveform, it scans all the metadata 它会扫描所有的波形 扫描所有的元数据
So these databases are basically, I'm guessing, some sort of text files sitting somewhere that include all of this information 所以我猜测 这些数据库 就是一些记录了所有这些扫描信息的文本文件
Any then whenever you search for it, it's an instant search 所以你随时去搜 搜索结果都是即时呈现的
so whenever you put it in and it's in there, it's there 所以任何时候 只要库里有你要搜的东西 你就能即刻搜到它
there's not any sort of spinning up when trying to find something 不再需要全盘扫描
Whenever you're talking about doing a hundred sfx or a thousand sfx or ten thousand sfx 当你的音效做的越来越多 成千上万时
all those microseconds of waiting to find stuff start to add up 每次等待搜索结果 哪怕多花了几毫秒 也会累计成很长的时间
And anytime it takes a little bit longer can really bring our flow down 而且每次多花一点时间 都会减慢我们的工作流程
So Basehead does something very similar. Really great program Basehead也是功能类似的软件 也是很好的软件
Do you have any questions about the tools? 现场有人还有关于工具的问题嘛？
of how to.. You know, we've got the libraries and we've got them in there 目前我们已经介绍了 如何获取音效库 以及如何管理它们
All pretty self explanatory 基本都挺好理解的
So let's talk about the actual elements that we think about whenever comes to actual sound design 那接下来我们聊聊 我们想到的具体的声音设计元素吧
I think it's typical that you kinda just go: Oh, all of that other stuff that's not dialog and music 我觉得很常见的想法是： 音效不就是除了音乐和对话之外的那些东西嘛
But we have very specific parameters on each thing 但实际上 我们对每个元素 都有很具体的范围定义
we can.. I show you those splits before 我之前展示过
There are some times we have to split things out based out of all of the different sfx parameters 有时我们要基于不同的音效类别 对需要配音的声音目标进行区分
So starting with backgrounds 那就先从背景声开始
so these are things that are, all encompassing in a scene 背景声在一个场景里是有一定连续性的
typically something that would not cut between shot moves 通常是不随镜头切换而剪切的
so things like wind, rain, weather, walla, which is just a lot of people talking 背景声包括 风声 雨声 气候 Walla(群杂声) 也就是一群人在说话的声音
trafiic, birds, environment, ambiences, atmosphere, 交通 鸟叫 环境声 氛围声 气氛..
things that kind of set this whole tone 以及所有这种决定整体基调的声音元素
And we have a lot of.. That I can do a lot 我们有很多.. 我能做很多..
And I know that when you look at this you were like: Wind through wheat, white noise, shhhh~ 我知道当你看到这个画面 你会联想到：风吹麦田 白噪声 刷刷刷~
But this thing gets colored in a different way, and it becomes moody, 但这个画面调色比较特别 让人觉得比较感伤
that we might want to make something more dissonant. So we can make.. 我们可能想做一个非和谐色彩的音效
Typically whenever we're going into tonal stuff, we push that into another catagory called, more of “emotional effects” 通常 当我们要制作有调性的音效时 我们会把它归类到另一个分类 我们叫“情绪化音效”
But in this case, we do have a lot of control over whether something is very dead-sounding or alive-sounding 但在这个例子里 我们可以控制声音的听感 是死气沉沉 还是生机勃勃
We have control over if it's very harmonic or dissonant sounding 我们可以控制声音的色彩 是和谐的 还是不和谐的
The next example that I'm gonna show you is about backgrounds 我接下来展示的例子是关于背景声的
specifically we could‘ve made this very wind through tree sounding, just white noise with nothing else 这里我们本可以使用那种风吹过树林的声音 就是单纯的白噪 不加别的
but the director was very specific and he wanted to be very lifelike 但导演非常具体地要求 这里的音效要有生机感
And so this is from a short film called "Ambers and Dust" 这个片段出自短片《琥珀与灰尘》
And it's this kid, who.. 主人公是个孩子
We don't that if this is like an imaginary thing or he seeing an alien, or it's all just his child..like, imagination 我们不知道这个小男孩是真的看到了外星人 还是只是他童年的想象
But we want to project us even on every level, that this was like childlike wonder 但我们想让自己在任何层面上 都把它当作一个童话故事来理解
And that nothing was scary, but still intriguing 也就是没有恐怖元素 但还是很引人入胜
And in this case he wanted all of the background to stay very lifelike 因此 导演希望所有的背景声都是生机勃勃的
So we wanted frogs and bugs and all that stuff 所以我们加入了蛙鸣虫鸣等等
We could've made it "Shhhh.." wind through trees 我们也可以做成“刷刷刷”风吹树林的声音效果
But in this case it was a totally opposite effect. We wanted life, life, life, life, hyper.. life 但在这个例子里 这么做就完全背道而驰了 我们要的是鲜活的生机感
And so this is the background track, alone, on this 这就是最后完成的单独背景声轨效果
So you can hear that we even pulled it back whenever the "alien things" happened 你可以发现我们会在出现外星人的时候 把背景声拉下来
because there're other things that are more important in those moments, but 因为在那个时候有其他声音更重要
There's a time when we're like: Ok, backgrounds are very important 但有时我们会说：现在背景声很重要
ok, this needs to get out of the way 所以这个要让出空间
and we're gonna bring it back whenever it comes back to this real situation 等到真正属于它的时刻 我们再让它出现
So you have backgrounds 那么背景声就介绍到这儿
Do anybody has questions on specifically backgrounds? Is there any haziness on what backgrounds are specifically 有人有关于背景声的问题吗？
(Q: How much of that would've been pulled from the orginal source files?) （提问：刚才这段影片里有多少是从同期声里采集的？）
(Q: I mean, not in this case, but do you've ever used the background that are included in footage?) （提问：不一定指这个片段 你之前用过同期录制的环境声嘛？）
Ahh, Almost never. Unless we're doing a documentary 几乎从来不用同期声 除非是纪录片
that we have to do turnaround in a really quick amount of time, and they have b-roll in it 因为我们得快速地转场 里面还会有辅助镜头
that would be the only time that we use the backing tracks 这是我们会用到同期声的唯一情况
but in a case like this, there's not a single thing in the scene that came from the set at all 但在这个例子里 没有任何一个声音是从片场录制的
And that's most of the time 这也是大多数情况下的做法
Just because there's always gonna be.. 因为片场里总会有..
you know, there's probably a generator somewhere off the screen, 可能屏幕之外就有个发电机
it probably doesn't even sound that good 片场的同期录音不会太好的
maybe some people talking, maybe the director saying like: oh, no, look, more surprised, all this.. 也许有人正在说话 也许导演会说话 如此种种
But in this case, there was... I seriously doubt any of that was that was lifelike on the set 而且在这个例子里 我严重怀疑同期录制的声音会有“生机感”
So we don't really use a lot of that stuff 所以我们其实不太用同期声的
if you just put a mic out there, you'll probably just hear.. white noise 你要是在现场放个话筒 录下来的基本就是 白噪
which is worth talking about a little bit 不过（白噪）值得简单讲讲
white noise.. Identify what's white noise and actual wind, like if you have wind.. 白噪声.. 定义白噪声和真实的风声
One of the things that I try to make sure of is.. 我一直想弄清楚的一件事就是
when we have something like wind, there're so many samples out there that just sound like white noise 我们制作风声时 很多市面上的素材听起来就像白噪一样
Shhh.... has no movement\Shhh.. 没有动态
It's just white noise, it's just all frequencies. It's not very pleasant, it's just noise 就只是白噪 全频的 听着没什么感觉
So identifying like what is noise, and what has textures 那么定义哪种只是噪音 哪种才有质感
If I'm doing wind, I want make sure that wind has some sort of textures beyond just white noise 如果我做风声 我要确保风声有某种细节质感 区分于白噪
And the things you can pull, five out of every ten samples for wind that gonna sound like "Shhhhh..." 事实上 你能在10个风声里找到5个听起来就是“Shhhh...”
And that's why a lot of times like wind doesn't even wind 因此很多时候你听到的风声 甚至都没有刮风的感觉
like the whole whistly mountain wind that you'd imagine if there's somebody's climbing Everest in a movie that "Whoo~~" 比如说想象电影里攀爬珠峰时呼啸的风声 “Whoo~~”
That's like the traditional sound. From that came from.. 这是传统惯用的声音 后来还发展出
somebody has some sort of, I don't even know the material was this.. 有人会用一些.. 我都不确定材料是什么的..
heavy wood board, with maybe some sort of like, vinyl? or some sort of thing and 可能是重木板 或是黑胶的 还是别的什么材料
dragging it through the hallway as skywalker sound, and that was the sound of that 沿着走廊拖动 高空攀岩的声音就是这么做的
So like things like mountain wind, it's incredibly hard to recreate, you go, not the one 所以像山间风声这种音效 很难重现出来
Cause you go mountain wind, you go through 500 samples and it's like "Shhh...." 可能你找来500个山风的素材 听起来都是“Shhhh...”
and it's not the exciting, this "we're climing Mountain Everest" and this "battle between man and beast" situation 就不能体现这种 令人兴奋的 “正在攀登珠峰的” “人与自然作斗争的” 激动场面
Cause we know it as: Whooooooooo~~~~~~ all that. 因为我们想要的风声是更有动态变化的..这种的
All that. And that's not necessarily what top the mountain sounds like 而现实中的山顶风声听起来不一定就是这样的
And so again that's like things like.. what do we.. 所以还是像刚才说的..
Sometimes when we cannot find the sample of what you're hearing in your head.. 有时我们找不到脑海里“听”到的那个声音素材
..is because that was not real to begin with 是因为你想像的声音本来就不是现实里的声音
And that was something that was our fictitious version of what we think it sounds like now 它是我们自己虚构出来的一种声音
and we have to play into that, and that's fine 而我们不得不遵循这种规律 但这样其实没问题
cause a lot of film making is smoke and mirrors, and misdirection, and that's the point 因为电影本来就是迷惑性的 欺骗性的 这就是电影的重点
so whenever I'm thinking about wind, I'm always hyper-sensitive to: 所以每当我考虑设计风声时 让我最敏感的总是：
Is it just bringing noise to the signal? Or is it bringing texture? 这个素材是只能带来噪声？ 还是会带来质感？
So if I'm hearing wind, even if it's calm wind, I want motion, And I want it to be"Whoooo~~~~" 所以即使是制作平缓的风声 我也要让它有动感
things that are moving 是持续变化的
Because just "Shhh.." doesn't bring anything 因为只是“刷刷刷”的声音不会带来任何质感
It just makes it sound like mechanical.. noise or something 只会让声音听起来像机械噪声什么的
What's up? 怎么了？
How are you treating those background noises? As far as you talking about early this day, with compression, eq..? 就你刚才讲的 你是怎么处理背景噪声的？加压缩？EQ？
We almost never put anything on it. It's usually.. 我们几乎从来不做处理 通常是..
Most of the time, the vast majority of the time, it's just clean, straight as it is 大多数情况下 我们都直接拿来用的
usually we're not doing a lot of processing into our sfx stuff. Unless.. 通常我们不会对音效素材做大量处理
..there's a very unique situation in mixing where we need something to cut through a little bit more.. 除非 在极特殊情况下 做混音时我们需要某个声音更突出一点
..we might do like a brighter curve on it 我们可能会给它做个更明亮的EQ曲线
But that is so rare 但这种情况特别少见
That is a tip for people are actually watching who're sound designers 不过 对正在观看的声音设计师们来说 这也是个技巧
..and your sound effects aren't cutting through the mix and you really want to cut those things to the mix 假如你的某些音效没有在整个混音中凸显出来 而你想让它凸显出来
I've put it even on a bus that boosting at 4kHz and reducing 250Hz stuff.. that “brightness curve” that I have 我甚至会把这些音效放到一个总线上 增益4kHz 衰减250Hz 这就是我说的那个“明亮曲线”
A lot of times it's like: All I need is a little bit of brightness to a sound effects track and it can cut through a lot more 大多数情况下 我们只要让某个音效轨稍明亮一点 它就能从混音中突出很多
Sometimes it's just getting lost in all of the mark of all these thousand Hertz and below.. stuff 但有时在这些几千赫兹以下的声音成分里 我们很容易失去判断
So that'll be the only time that we're really doing a lot of design specifically on that 所以这就是我们需要做特殊设计的唯一情况
is if we want something to cut through a little bit more. I am 就是当我们想要凸显一些东西时
But the vast majority of time, we don't really do that 但大多数情况下 我们不会这么做的
(Q: Peter said "I actually tried recording the summit of Mount Marcy in new york in February （提问：Peter说他试过在二月份去纽约的马西山峰顶去录音）
(Q: ..other than it nearly freezed my fingers off, it sounded pretty terrible) （结果手指都快冻掉了 录的东西却很糟糕）
Ahahahah 嘿嘿嘿
(Q: Any tips on recording and recreating accurate ambient sound in that case?) （对于录制或再现这种要求准确的环境声 有没有什么好的建议？）
Oh.. This goes to the “Realism versus Believability” question 这就牵扯到“真实度 vs 可信度”的问题了
A lot of what we think, we want to be capturing, whenever it comes to the top of the mountain top.. 有许多我们以为必须要到现场去录的声音 必须要爬到山顶上才能录到的风声
..was never wind to begin with 其实压根就不是风声
it was somebody dragging some piece of fabric on a floor 而是人拖着一块布料在地上滑过的声音
..or there's this little wind machines, found in a library recently 或者用一种鼓风机 最近在一个音效库里发现的
those little machines that make sound of wind 用这种小鼓风机制作风声
it's not real wind, but it puts hiss and whisle and all that stuff 虽然不是真的风 但是却有风的“嘶嘶”声、“咻咻”声..
Becasue I think this is something that sound designers are stuggled with, since the beginning of sound design 因为我认为 从行业诞生的时候 声音设计师就一直纠结于这个问题：
Wind is not something that sounds really great, most of the time 大多数情况下 （现实里的）风声听起来效果并不好
It's just usually like a white noise type of situation 通常听着就像白噪似的
so we're always trying to reach for how do we give it texture, how do we give it movement, 所以我们总想尽可能给风声带来 细节质感 动态变化
how do we give it harmonic, how do we give it dissonant 怎么让它的色彩变得和谐 或者不和谐
how to make it happy, and how to make it sad 怎么让它表现快乐 又怎么让它表现悲伤
And rallying the white noise of it, is very difficult, unless you really really really luck out 而控制好素材里白噪的那部分是非常困难的 除非你运气特别好
So with sound designers, there are a lot of things like that you recognize it as this, but it's actually this, because of that 所以对声音设计师来说 很多东西你认知的是这样 但实际上是那样 原因就在于此
(Q: Last question, when you say cut though, you mean filter out? Or pass through?) （最后一个问题 你说的“Cut Through” 是指把声音过滤出去？ 还是指让声音通过？）
Not pass through, cause that would imply on and off 不能说是“Pass Through” 因为这暗示着“打开/关闭”
Cut through, making something a little brighter, high pitched, more boosting of the high pitch, "Cut through" 指的是让音色更明亮一点 把高频提升一点
can make things push through the mix more 可以让被处理的音效在混音中更加凸显出来
That goes for everything too. We talked about it in dialogue specifically 这种做法对任何声音都适用 像我们之前讲解对白声时就提到过
Because dialogue is King, almost all the time 因为对白最重要 几乎在任何情况下
And so sometimes if it gets a little muddy and it's getting a little mumbly with the music, you can brighten that 所以有时候如果对白混在音乐里 听起来有点糊 你可以把对白声调明亮
And I keep using the term "Brighten", but what I mean is 我一直在用“提亮”这个词 实际上我指的是
boost higher frequencies like, four thousand hertz, three, four, five, and above 提升高频成分 大概3k、4k、5k以上的频率
You start to get, a point of diminishing. a term we called "super high", 当频率高到某个点之后 提升效果会开始减弱 这个点我们叫“超高频”
because a lot times you can't hear it 因为大多数情况下你都听不到
And as we age, we naturally lose those high frequencies anyway 而且随着年龄增长 听觉自然衰退 我们会听不到这些超高频成分
but the real meat of the harmonics of our voices and stuff is at 4k 但是人声的高次谐波最主体的部分就是在4k左右
So we talked about it, “Cutting Through” so whenever I say "Cutting Through", I mean boosting high frequencies 所以像刚才所说 当我说"Cutting Though"时 我的意思就是提升高频
or lowering mid-range frequencies 或者衰减中频
So hopefully that answers the questions, and you have any questions? 希望这样可以回答你的问题 你还有什么问题？
(Q: Yeah, an example of manipulating your sound design) （提问：有个关于如何处理声音设计的例子）
(we had a scene when we were dropping some coping on a half-pipe) （我有一个场景 里面是我们在给一个滑板U池两端装上铁杆）
(So I had foley of the copping hitting, which sounded like "coping hitting") （所以我找来了敲击铁杆的foley素材 听着就像在“敲击铁杆”）
What is.. what hit? (Coping, on a half-pipe, the metal pipes that go along) 你说的是什么东西？（Coping 就是U池两边的金属杆）
(..but it wasn't like, really.. It wasn't hitting. I can hear it but I couldn't feel it) （但这个打击感不强 我能听到 但感受不到冲击力）
(I was boosting some of the mids and lows to make it feel meatier) （所以我就提升了下中低频 让它听着更结实一点）
(Would you manupulate that sample a little bit to get the experience you want?) （如果是你 你会对素材进行一些处理以达到这种效果嘛？）
(Or you just gonna go "That's not what we want") （还是说你会觉得 这个声音不是我想要的）
(And actually just find a different sound that is believable but not realistic) （然后去找一个别的素材 更有可信度 但不真实）
I probably add different sounds for every single element 我很可能会给其中每个声音元素都配上不同的音效
Like if we want a harder hit, there're tons of different flavors of hits 比如说你想要更有打击感的Hit 有很多种风格的Hit音效可供选择
Metal, non-metal, wood, all kinds of stuffs 金属的 非金属的 木质的 各种材质的
We'll get really hyper-focus on the mechanics of everything 对于所有事物的机械结构 我们都会高度关注
and go, okay, what do we wanted here 然后考虑这里需要的是什么
And I'm not exactly sure what that term is specifically, is that like a skateboard term? Okay 我还不能完全确定你说的Coping是什么 是一个滑板专用名词嘛？
(Yeah, the coping is the metal part that goes along the top of a skate ramp that you can slide across) （没错 Coping指的就是滑板U池两端的金属杆 用来停板的）
Okay I got you. So I'm thinking of the mechanics of the skateboard 我明白了 那我会考虑到滑板的机械结构
When we hear of a skateboard that fly off and hit, we think of that rattle of the wheels hitting 当我们想到滑板飞来飞去时 我们想到的是它轮子碰撞发出的格格声
And we'll get hyper-sensitive like, how do we make a little metal rattle, in addition to that 我们会高度敏感于 一小块金属是如何发出震颤声的
cause sometimes the sound is so transient, like such a hard loud hit it might just sound like "Ts.." 因为有时候声音瞬态太大 听着可能就“嗞”得一下
But what we wanna do is really getting into the meat of what that.. little rattle hit thing 但我们想要的是那个声音的主体 震颤撞击的声音
We'll talk about that in a little bit, anything else on background specifically? 还有什么关于背景声的问题吗？
I do have one quick question. Aaron from 31 films. Hi Aaron~ 还有个小问题 来自31 Films的Aaron
(Q: How do you determine whether or not the background audio will cut or be affected differently within the shots) （你怎么决定要不要跟随镜头切换来进行背景声切换或其他处理？）
(So in example you showed, the nature sound sounded like one constant track, that didn't change with perspective) （刚才你展示的例子里 自然环境声是没有变更的 也没有随着视角改变）
(So the shots don't get quieter or louder friom wide to tight shots, for example) （比如说镜头从宽变窄时 背景声并没有随之变化）
Okay. So that's a very good question. That's a very good question. I love this 好的 这个问题非常好 我很喜欢
I do not like perspective.. With backgrounds, you gotta be really careful about perspective shifts, because.. 对背景声来说 你要非常小心地处理视角变化 因为..
Listen, listen to.. Next time you're watching any sort of like TV shows or movies or anything 当你下次看电视 电影或者什么的时候
Think about what they are doing with the backgrounds here 想想它们对背景声是怎么处理的
Typically backgrounds are tying things together, and so you're not going to do a lot.. 通常来说 背景声的作用是连接其它声音的 所以你不会做太多的(视角变化)
If two people're talking from one to another 假如有两个人在对话
you're not gonna shift perspective based off hyper-sensitivity to the camera 这里就不该运用“高度敏感”的技巧 让背景声跟随视角切换
Because I don't think that's really what our intend is, it's just showing the characters.. 因为我认为这并不是我们的真正意图 我们只需要表现对话过程就好
So we use backgrounds as a lot as glue to hold shots together 我们把背景声当作“胶水” 来连接一个个镜头
where as all of the other shots we can do things independently 从而让我们可以针对每个镜头单独配音效
So if stylistically you need to go out to a super wide shot.. 如果你是出于风格化考虑 那你需要在一个特别宽广的镜头里
to show the breath and depth of the situation that you're in, 为了展示你当前所处的环境的呼吸感和景深感
..then yes. That could be a stylistic choice 那就可以做（环境声的视角切换） 作为一种风格化的选择
But, most of the time, whenever we were doing backgrounds, 但是 大多数情况下 当我们做背景声时
in here, we didn't do many perpective changes, but you did hear we pull it back, in a certain place 但在这里 我们没做视角变化 但你能听到我们在某些地方把背景声拉下来了
And that's on purpose for another element to come through 这是我们有意为之的 为了让别的声音元素凸显出来
Backgrounds are kind of like, felt but not heard 背景声与其说是被听到的 不如说是被感受到的
It's very heard. You're hearing it 当然 你绝对听得到
But it's very much like, felt not heard 但还是感到远多于听到
I don't like doing big perspective. I typically is like "less is more" whenever it comes to doing perpective shifts 我不喜欢做夸张的视角变化 在这方面我通常喜欢“少即是多”
Cause then I think we're getting a little bit too heady with.. 因为这样我们会偏执于..
We're getting a little bit too "technical brain" than "storytelling brain" 我们会变得过于“技术思维” 而不是“叙事思维”
And we don't want the backgrounds themselves to take us out of the story 我们也不希望背景声干扰到故事情节
not to say you won't do perpective shifts. And we do perspective shifts occasionally 也不是说我们不做视角切换 有时我们也做
but in this case there's really no prospective shifts needed, because we're still in the woods 但在这个例子里 真的不需要做视角切换 因为我们还在树林里
And I did't think it was necessary to highlight a camera move in that, so 我也觉得这里没必要强调镜头移动 所以..
Yeah (Q: I've got a really basic background question for you) （我有个关于背景声的很基础的问题要问你）
(And sorry if it's a review for everybody) （抱歉如果大家都知道了）
Say you have a 3 minutes scene that you need background through, and you've got a 15 seconds sample 比如说 你有个长达3分钟的场景 但你只有一个15秒钟的素材
(What's the.. Is there any tips, tricks to bring that sample through the whole thing without a feeling like a looped background?) （有没有技巧可以让这个素材铺满整个场景 而且让人感觉不到声音在循环播放？）
No. Not really. You just gotta get a longer sample 没有办法 你只能找个长点的素材
You can.. It depends on how.. again, I would say that.. 你可以.. 这取决于.. 可以这么说
As I was mentioning with movement 我刚才提到关于动态变化的时候
If it was white.. If it was fifteen seconds and you'll never heard that loop in 3 minutes 如果你这个15秒的素材 在3分钟内都听不出循环感的话
There's probably a good chance of that thing doesn't have enough characteristics to it to make a difference 那很有可能这个素材本身没什么特点 不能做出区分
and it might not really be bringing impact to it. It might, and it might not 而且可能不会带来什么影响 可能会 可能不会
But if your sample is too small.. Especially with backgrounds, there're so much great contents out there 但如果你的素材太短.. 尤其在背景声这方面 市面上有很多很好的素材的
There's another website, FreeSound.org, I believe it's .org. It has some really great stuff 还有个网站 叫FreeSound.org 上面有很多好东西
You have to check with the licensing agreements on things like that to see if you can use it on commercial 你得查一下这些素材的使用许可协议 看看能不能用于商业用途
But there's a lot of really great samples out there 但市面上还有很多很好的素材的
So yeah, if you're working with like, little building blocks, I'll probably just find another place to grab it free 所以 如果你想通过小的音频块拼接叠加的话 可以找些能免费拿到素材的地方
So why don't we talk about Foley, which is a very fun topic 那接下来我们聊聊Foley（拟音） 这个话题很有趣的
So foley are things that typically the..this is an extension of the character on screen Foley通常是指..屏幕上的角色（在屏幕外）的延伸
It is part of the acting experience of the human doing something most of the time 通常是指人类做某些事情的动作体验的一部分
So these're most notably footsteps 这里最明显的 就是指脚步声
whenever someone's walking around 每当有人走动时
Because whenever you're thinking about.. 因为当你考虑到..
You know, if you're trying to get my dialogue really clear on camera 如果你在拍摄时想让我的语音非常清晰的话
this is a perfect example. I have a lav right here 这就是个完美的例子 我现在就带着领夹麦克风
But if my feet movement and my human movement were really important 但如果现在需要关注我的脚 或者身体动作的话
And we don't have a mic anywhere near my feet 我的脚边并没有放置麦克风
and if you could pick it up in here, it's just really weak, and you just don't hear anything 而就算能从领夹麦收到声的话 也会很微弱 你基本听不到什么
So all of this that has to be recreated in a, typically, foley room 所以 通常我们需要在专门的Foley棚去重现这类声音
So we might get really, really close. We try to get really close to the same materials 我们会把话筒放得很近 我们使用同样的材质
We try to find.. We have a lot of different surfaces that we walk on 我们有多种不同的表面 可以踩在上面
We have like, wood surfaces, concrete surfaces, we have.. 我们有木质的 混凝土的
..carpet. Carpet is a hard one, cause there's really not a whole lot of noises happen to that 还有地毯 地毯比较难搞 因为基本发不出什么声音
We have dirt and stuff that we'll toss out there to get a little bit of grit on it 我们还有尘土啥的 可以撒到那些表面上 增加一点碾压声
All of the different types of shoes, are things that make a big difference 各种各样的鞋 也起到很重要的作用
You can add weight to a character, through foley, just the feet 你可以利用Foley给角色增加分量感
And I've definitely seen situations where foley doesn't match the screen, or the character there 我也见过不少Foley并不匹配画面 或者角色的情况
But other things like foley are included really like anything that the actor or the subject touches 除此之外 Foley包含了角色对象触碰到任何东西所发出的声音
Now, to be fair, I would say that, most documentaries won't go into foley 客观的说 大部分的纪录片是不做Foley的
It's just something that like documentary or anything on that realm most of the time, doesn't 在纪录片这类领域里 大多数情况下 不会做Foley
We've worked on documentaries where we do full foley passes 我们也给某些记录片做过完整的Foley
but they kind of like getting into this, upper echelon of budgets and time and things like that 因为那部影片有非常充裕的预算和时间等等
But if I was to like, pick this thing up, that will be part of foley. We'll do that 如果我现在把这个东西拿起来 那这就属于Foley 我们就要做
Pick things up., all my cloth movement, like some clothes make noise, and so cloth movement, 拾起物品 以及布料运动 比如我的衣服摩擦发出的噪声
and cloth pass is important, you don't even hear it a lot 布料运动的录制流程也很重要 虽然你听到它的时候不多
Foley just really draws you into the characters human movements. And so very much so Foley真的可以让你近距离感受角色的动作
and it's very much like an extension of the acting 而且它真的很像是表演的一种延伸
Well, even like the jingle of the keys in someone's pocket 甚至像是一个人兜里的钥匙叮当作响
anything that somebody moves, any of those things 任何被人移动的东西 等等
it looks kind of ridiculous when you're doing it, 做Foley时 看起来有点蠢
cause you're staring at a screen and you just like ".." 因为你得盯着屏幕然后..
doing this really funny movements and trying to make it work, but it brings a lot. 做着很搞笑的动作 费劲地去完成它 但Foley确实能带来很多好处
You just can't cut in footsteps 但是 不能通过剪切来制作脚步声
Trying to get footsteps and cut them in, I've never successfully made some great 我试过通过剪辑的方法加入脚步声 但从来都没得到过好的效果
But it's so much easier to just get the mic out, and start recording 但如果你拿起麦克风亲手去录音 事情就变得简单多了
and this is just a general tip across the board 而且这是一个普遍适用的技巧
There's a lot of time we're more like.. 很多时候我们更像是..
you know, that should really sound like "Shhhhaaa", like that's what I wanna hear 比如我需要的是“Shhhhaaa”这样的声音
and that's like, microphone "Shhhaaa" 然后我就拿麦克风录制我嘴巴发出的“Shhhaaa”
and then we'll affect it in a way where it doesn't sound like my voice 然后我们对素材进行处理 让它听起来不再像我发出的声音
we'll put some, we'll play around with it, and really kinda just like destroy it a little bit till it doesn't sound like human 我们会进行各种尝试 甚至加上点破坏性处理 直到它听起来不再像人发出的声音
But a lot of.. You'd be surprised by how much stuff just used by the voice 你会惊讶于有多少音效是利用人声制作的
And how much time you can save 以及这样可以节省多少时间
There's a balance as I lead a team of sound designers 我领导声音设计团队时意识到 需要有这么一个平衡
There're so many times, where I get this thing 这种问题发生过太多次了
And it's no one's fault. It's just we get so heady and we get so much into SoundMiner 这也不是谁的错 只是有时候我们会变得固执 非要在SoundMiner里找到合适的素材
..like "Guy, can I find this one sample of a broomstick falling down.. on a hard floor" 像这样：“我说 我怎么才能找到一个 扫把丢到木地板上的声音”
and I've been looking and looking and looking, does anybody has a clue?" “让我找呀找 找呀找.. 有谁有这个素材吗？”
And I'm like "Go to the closet. Get the broom out. And drop it on the floor!" 我就会说 “去壁橱 把扫帚拿出来 然后扔地板上！”
And he's like: Oh, that's obvious 然后他说 “哦 我咋没想到”
So there's always this balance between.. like what's faster? Do I search, search, search? Or just make it 所以一直都会考虑这个平衡问题 就是怎么做更快？ 是搜搜搜？ 还是自己录？
And we have microphones, we can make things 而且我们有麦克风 我们可以自己来录
And we all have the ability to make our own sounds and it's fun to do 我们也都具备自己录制素材的能力 这样也很好玩
And there's incredible sounds all over the place that you can capture 而且到处都能录到很棒的声音
especially when you put that "sound designer" cap on, and you really start thinking about the sounds sitting around you 尤其当你以“声音设计师”的身份来认真考虑身边的声音时
There're so many great cheap tools or you can just build your own sfx 有很多便宜又好用的工具 你也可以自己来做音效
And even if you wanted to not pay for things, you can go out and get some great field recording 就算你不想用需要付费的东西 你也可以自己出去录些不错的现场录音
It's this tiny things you can keep in your backpack. And whenever you find yourself in a great place 这类小设备可以放进背包里 当你找到好地方的时候
and you just pop it out and record it and then take it on back 可以随手拿出来开始录音 然后再放回背包里
But back to Foley, human movements 说回Foley 人体动作
So we'll play that exact same scene, with only foley 我们会播放同样的片段 但这次只有Foley
Again, there's a couple of ways we could've done this 其实我们当时可以有很多做法
We could've made it a lot drier, or wetter 我们可以把声音做得更干一点 或者更湿一点
like, we could've made the leaves very wet sounding 比如我们也可以让树叶听起来很湿 （加效果器）
We could've made them less leaves 我们也可以让树叶听起来更不像真实的树叶（超现实化）
Cause I don't think you see a ton 因为我认为你没有（在画面里）看到很多（树叶）
We‘ve specifically made it very foley-idge heavy, very dry leaves to give it a lot of characters in that 所以我们有意地让树叶听起来非常有“Foley感” 非常干 让声音具有树叶的特质
Now, this was some other scene we may have focused more on the cloth rustle, other things like that 不过这是另一个场景 其中我们更关注于衣料摩擦等等
We'll go ahead and play it 那我们就开始播吧
So the only voice that this kid had in this scene was through sound of his movements 这个片段里 小主人公唯一的人声是伴随着一个（摔倒）动作发生的
And actors are more than just speakers. 演员们不止是配音者
They do facial expressions, they do movements, they are all-encompassing 他们也做面部表情 他们要做肢体动作 等等全方位的工作
So we're really trying to match what his doing out there, even just a movement 所以我们尽力去匹配他做的所有事情 哪怕只是很小的动作
Things like.. an alien or something 那个不明物 像是个外星人之类的
We want to make sure that, all the things that kind of terrifing.. 我们希望确保 所有吓人的东西..
We didn't want it to sound scary but.. 我们不希望听起来是恐怖的
..it's kind of scary to have super loud leaves whenever you're coming upon what potentially could be an alien.. 但是 如果让一个很可能是外星人的不明物 周围的树叶声太响 会有点吓人
that we don't know if it's good or bad 何况我们还不确定这个外星人是好是坏
So we kind of heightened all of that stuff just to be like, this might be the reality of the worst case scenario 我们会放大其中的细节 制造出现实中最“糟糕”的情况
But yeah, that extends to everything, human movement 没错 这种做法也适用于其他类音效 比如人体动作声
But a lot of times even in foley though, they'll try to stretch a little bit more into sfx.. 但很多时候 Foley也会包含一小部分其他类音效
..if they see something like that were in a room, they're like "Ok, that's a cool random sound" 比如他们看到房间里有些别的什么东西（在出声 ） 他们会觉得 “这是个不错的随机音效”
They'll grab something like "I don't even try to make that sound" 他们会拿来一些（加进Foley里） 可能是之前都没想过要做的音效
So it steps over into sfx creation quite a bit too 所以Foley过程中也会掺入一些其他类音效的创作
But yeah, human movements. Anybody has any questions on foley? 但没错 Foley主要还是指人体动作声 谁有关于Foley的问题？
(Q: The question is if when to decide to add something that doesn't make a sound in real life) （问题：如果某些东西在现实中不会发出声音 什么情况下可以给它加些声音？）
(So like were there any moments in there where you added something where.. that object doesn't make a sound but you've given it a sound) （你之前有没有给现实中没有声音的东西加上声音？）
The... So I haven't made to the alien part 我还没讲到外星人那个场景
But the.. (Wait. Are you trying to tell us that aliens aren't real?) 但是..（等等 你是想告诉我们 外星人不存在是嘛？）
I'm not saying that, because that's wrong 我没这么说 因为这么说是错的
That's a whole different talk. That'll be on June 这就是另外一回事儿了 我六月份会开讲座 (-_-)
But..So it's kind of two parts to that, I don't think this's what to answer the question 这个问题可以说是由两部分组成的 我觉得我要说的（外星人）并不能回答这个问题
so nothing came over for us on that thing 对于画面里的这个不明物 我们什么都不清楚
But adding sounds weren't necessarily there? Yes! 但要不要给不存在的事物加上声音？ 要！
Like, we heighten sounds a lot, like whenever we fell over the stick 我们经常会对声音做夸张处理 比如我们被一根树枝绊倒了
I'm pretty sure that on the set it probably didn't sound that "sticky" 我敢肯定在片场的树枝可能听起来没那么像”树枝“
But we want to make sure that, you know for sure, without a shadow of doubt, that he tripped over a stick 但我们想确保 观众（听到树枝的音效时） 毫无疑义地认为小男孩被树枝绊倒了
And we wanna make sure that all of the stick characteristics are very clean and clear 而且我们也要确保所有树枝音效的”树枝“特质 都清晰清楚
And here's a tip, from kind of a next level kinda stuff 这里再讲一个更高级的技巧
Sometimes it's really hard (if you're a sound designer) to get fully,, or ticky stuff, 有时候很难找到完整的、尖锐的音效
especially if things are very "Ts Ts Ts" 尤其像这种“Ts Ts Ts”
You know like footsteps or leaves or tripping over a stick 比如 脚步声 树叶声 树枝绊倒声..
sometimes it's just like "God, it just sounds like a 'tick'" 有时候你只能描述它为“Tick”
For example, if you go and you're actually recording an massive explosion, what's it gonna sound like? 例如 你正在录制一个强烈的爆炸声 听起来会是什么样子呢？
It's gonna sound like "Ooo"? Or just like "Ta!" type of thing 听起来会像这样
Because it's so transient. It's such a loud pressure wave 因为瞬态很大 声压很强
So what we've learned over years is that when we wanna get more meat out of a footstep.. 所以根据我们多年经验 当我们想要让脚步声更有实在感时
..we just completely shave off that transient with a limiter 我们就用Limiter把瞬态完全削掉
And what does is it brings up all of the meat, of the things we're trying to actually hear 这样做的目的就是把脚步声的主体凸显出来 也就是我们想听到的那部分东西
So sometimes it's like.. If you are trying to hear this grit like.. 所以有的时候 如果你想听到碾压声
See I put some dirt here, or some very fine rugs, and I was walking on it 假如我在这儿撒点土 或者铺块非常精细的地毯 然后我在上面走路
You have the "tah-dah" "tah-dah" "tah-dah" and you're gonna get a lot of that stuff 你会听到很多“嗒嗒”“嗒嗒”“嗒嗒”声
But maybe you really wanna highlight just: this is a very dirty place, or dirty room 但如果你更想强调 这里是个灰尘很多的地方 或者房间
Getting rid of that.. You still gonna hear that "tah-dah" "tah-dah", but you really gonna bring up all that "Hrr..""Hrr.." （加了限制器以后）你还是可以听到“嗒嗒”声 但是碾压尘土的声音更被凸显出来了
Cause you've now gotten rid of all of that stuff that just blasting though 因为你已经去掉了之前隆隆作响的“嗒嗒”声了
So that's another way of using a limiter, it's just getting rid of transient that don't necessarily need to be there 这就是Limiter的另一个用法 就是去除无用的瞬态
So that's little tip we've learned whenever things.. especially when you are mixing with music, 所以这就是我们学到的另一个技巧 尤其当你加入音乐一起混音时
..you are mixing with all this things, you really need to bring up the bottom meat of all this stuff like, and get rid of that 或者加入其他东西时.. 你真的需要把那些音效的主体部分凸显出来 然后去掉它（瞬态）
And usually you can't hear at all, you can even tell 然后通常(那些瞬态)你就听不到了
So, foley 那么Foley就介绍完了
So next step, I'll talk about two things a bit simultaneously, hard effects, and emotional effects 那么接下来 我们会同时来介绍两件事情：Hard FX（硬音效）和 Emotional FX（情绪音效）
Now in this case there's not many hard effects 这个例子里 没有多少Hard FX
But there're a couple of examples and I'm gonna give here in a minute that have a lot of hard fx 但我接下来会举几个例子 其中包含大量的Hard FX
Hard FX are sounds like a firework, like fireworks going off, Hard FX包括像烟花燃放这种的
or like the crunch of the car crash and the debris that happens afterward 或者像汽车相撞 以及之后的碎片声这种的
like the pounding of a machine gun 或者像机关枪的重击声
Really like debris, or like anything that's built from a library 或者残骸碎片声等等 基本上包含所有可以通过音效库里的素材拼叠成的音效
But you can't really just do all those things in a foley room 你不可能在Foley棚里录这样的音效
I mean of course, some big huge foley rooms might have some doors, and some squeaks and stuff, so that can be a part of it 当然有些很大的Foley棚 里面可能有很多东西 的确可以拿来录
But usually hard fx are things that.. These are real things affects you typicallly will find in an "explosion pack" sfx library 但通常 Hard FX的制作都是使用 “爆炸库”之类音效库里的现成素材
You will buy that, and you'll bring that in 你会把库买下来 然后用进去
Most of the time when you bring something in, from a sound library 大多数情况下 当你直接使用库里的素材时
Most of the time, it's gonna be like a hard fx, (more than) an emotional fx 我是说大多数情况下 你更可能是在做Hard FX 而不是Emotional FX
"Hard FX" is just the traditional term, I don't know if it's the best term out there Hard FX是一个惯用术语 我不知道有没有更好的术语
cause it just sounds weird to me, it's just a weird term, 因为这个词听着比较奇怪
but it's just a term that just been in the industry calling things "hard fx" 但行业里一直把这类音效就叫“Hard FX”
Emotional FX are really things that.. 而说到Emotional FX
Traditionally in the industry, I've never have been told to call something "emotional fx" 反正我在行业里 从没听人说过这个词
I think that's still kind of put into the hard fx category 我觉得可能还是算在Hard FX里
Hard FX, thinks like, door slam, things like a real sound and.. Hard FX就是像关门声这种 真实的声音
..Emotional sounds, where we might start to get tonal, we're really trying to craft Emotional FX则是 我们需要考虑调性的音效 我们需要运用“手艺”
Build a hybrid between that grey area between music and sound design. That's what I consider Emotion FX 在音乐 和 声音设计 之间的灰色地带建立融合 这就是我认为的Emotional FX
So we've been doing, like in my studio, more and more and more emotional fx, it's just a stretch in music 所以在我们工作室 我们做的Emotional FX越来越多 它就是音乐在音效空间的延续
Some composers like to stretch into sound designs a little bit 有些作曲家喜欢介入一些声音设计的工作
..and we meet in the middle and decide what's good 那我们（声音设计师）就会和作曲家在分界处汇合 判断怎么做效果更好
So in this case 那么在这个例子里
we'll put a little pin on hard fx for a second, cause I wanna show some examples 我们会在Hard FX出现时打上标记 因为我想给你举出明确的例子
But this one has a lot of emotion fx, cause we wanted.. 但这里面也有很多Emotional FX 因为我们想..
This is has no music, this next one still no music 同样 这里面也不包含音乐
I'm gonna show the entire project with music in a second 等下我们会加上音乐展示整个项目
But it has a lot of emotional fx 但是里面有很多Emotional FX
And again, the director on this was like: we don't want to be scary 再次说明 本片导演不希望有恐怖效果
We want it to be childlike wonder 我们要的是儿童奇幻风格
And so we kept it in this realm where.. and you'll hear it 所以我们就保持在这个范围里 你将听到
There's realm where it's like: Uhh..It might be a little eerie... No it's not a little eerie. 在这个范围里 当你觉得可能会有点诡异时 并没有变得诡异
Uhh..It might be a little scary... No it's not a little scary 当你觉得可能有点吓人时 也并没有变得吓人
So we did that on purpose. Childlike wonders in this very eerie environment 我们是有意为之的 即在诡异环境里发生的一个儿童奇幻故事
And so.. very much emotional fx 所以 有很多Emotional FX
..things that really kind of tug the listeners 这种可以牵扯观众情绪的音效
Or even like, sometimes we'll do this 甚至有时候我们会这么做
Like when the sun comes up. We have a shot of sun peeking through a little pinpoint of light into the camera 比如太阳升起的画面 阳光通过一个很小的点照射进摄像机
We'll do a little shimmer of something just to give somebody the feeling 我们会配上一个闪烁类的音效 给观众一种感觉
They might not notice that actually sounds was there, but they feel a little bit more impacted by that sun shimmer 他们可能没注意到那个音效 但他们会更明显地感觉到阳光的闪烁
that maybe a cinematographer did ..在摄影师拍摄画面的基础上
And so we do a lot of bits of things like that 所以我们做了很多这种设计
So this is the emotional fx track of that scene, 接下来就是这个片段加上Emotional FX轨的效果
So no foley, no backgrounds, just our tugging at what we want you to think sonically 也就是没有Foley 没有背景声 只有我们想影响你对画面感受的那部分音效
So very sound design-ey, （这类音效）非常有声音设计感
but very emotional, getting pushing tonal 但也很情绪化 有调性感觉
If that was the music track that the composer delievered to the director 如果这个是作曲家交给导演的音乐轨
He'd be like "What was that?" Like "That's not music" 导演会说 这是啥？这不能算音乐吧
But that's why we're trying to stretch a little down this pass a little bit 但这也是为什么我们（声音设计师） 要把音效稍稍延伸到音乐领域
A good example of all emotional sound design is trailers and stuff, like trailer hits Emotional FX的典型应用就是各种预告片中的音效
If you imagine like, most of the stuff in the trailer is not really happening on the screen 想想预告片 很多音效其实都没有在画面中对应的事物
..for emotional hits, and impacts and booms, and whines, and cymbal scrapes, and stuff like that 比如像表现情绪的打击声 撞击声 爆炸声 呜呜声 钹片刮擦声等等
I consider that trailer sound design to be like all emotional, to a very epic level most of the time 我认为预告片的声音设计 在大多数情况下是高度情绪化的
And whereas like hard fx, like door shut 而反观Hard FX 比如关门这种的声音
like things were clearly taking from a library is the easiest way to get from point A to point B cause it's just pulling from the library 这类明显需要从库里获得的音效 制作过程就很简单了
So does anybody have any questions on emotional fx? 那么有关于Emotional FX的问题嘛？
(Q: What were some of those things) （提问：刚才片段里的音效都是用什么做的？）
So there's a lot of reverse. I believe that some of the stuffs in the beginning 用了很多反向 比如开头那部分的很多音效
The things that I loved about this clip, is that it's the first one that I can see the dust in the air, because of the sound 我之所以喜欢这段片段 是因为 这是第一个通过声音设计能让我看到空中的尘土的片段
(even though I've seen this hundreds of times)So I didn't even notice the dust in the air in the past two versions, （虽然这个片段我看过几百遍） 但在上两次播放时 我自己甚至都没注意到空中的尘土
because there was no sound that kind of signify it 因为当时没有相应的音效提示
But just listen to.. Like now just focus on the dust here. I won't play the whole thing 但这次请关注这里的灰尘 我不会播放整个片段
But just now you can actually see the dust in the air because of these reversed, sparkly sound effects 但这次你就能看到空中的尘土了 因为这次有这些经过反向处理的 闪闪烁烁的音效
That's what we're trying to think about.. We're like.. OK, what we gonna do here 这就是我们认真考虑的问题
Let's make this childlike wonder tonal, like how we gonna make this more emotional 我们要让这个儿童奇幻故事更富色彩 更富情绪
Like "OK, let's focus on the dust in the air. What would that sound like from an emotional level?" "好的 那我们就来关注空中的尘土 从情绪层面理解 它们的声音应该是什么样子的?"
And then we're like, ok let's do a lot of reverse 然后我们会说：我们要做很多反向处理
I'm imagining it's probably, could be like a wind chime, maybe tapping on a wind chime or something, reversed 我猜这里用的应该是风铃声之类的 再把它反向
And then I don't even know what the groans are 我甚至都不知道那个低吟声是什么做的
I think that's probably a lot of happy accidents after experimenting with a ton of different things 我想应该是通过大量声音实验得到的巧合
And that was just so fun to do stuffs like this 做这些工作是非常有趣的
This is where you get to go with all those other effects 这就是你在制作这类音效时的选择方向
You have no ideas of what they do, and you can just go crazy 你也不清楚它们有没有用 你可以疯狂地实验
because it doesn't matter, you can do whatever you want 因为没关系 你想怎么做都可以
If it sounds cool? Awesome. You don't even have to justify it 如果听起来效果不错？ 那太棒了 你都不需要证明它是否合理
So that's when we get to experiment with all these crazy effects 这时候我们就可以开始疯狂地实验了
And we were like: what would happen if we reverse the entire signal 像这样：如果我们把整个信号反向
then put a reverb on it, and a delay, but then we reverse it back, and then we zoom and went into it 然后加个混响 再加个延迟 然后在反向回来 然后再去其中找有用的部分
It's just manipulation in its purist form, it's so much fun 这就是最纯粹的声音处理 非常有趣
There's no specs that you have to make sure you hit, and there's no anything 没有什么需要参照的技术标准等等
If it sounds cool, and it works. Like, by all means, go for it 如果听起来效果不错 也适用于场景 那就没问题 就这么干
And so that's what I love about doing more emotional effect type of stuff 这就是我为何喜欢制作情绪类音效的原因
I'll skip that, and then.. 这个我就跳过了..
Yeah, if there're any more questions on the Emotional FX? 那么 有没有关于Emotional FX的问题？
(I have more questions but I'm gonna save them until last part) （剩下的问题等最后部分再说吧）
So this is the entire, the exact scene 这个是那个确定的场景
And I think what I love about the scene, is the foley, 这个场景里让我喜欢的 是Foley
It's the emotional fx. It's the backgrounds. And it's the music 是Emotional FX 是背景声 还有音乐
And you heard all those things independently， which all felt like it was missing something 你之前听到的都是单独的音轨 总会让你感觉少了点什么
Then whenever you watch this, it's like, ok now that's a movie 然后当你看到接下来的版本时 你会觉得 这才是完整的电影
like now it sounds like a movie 现在听起来才像电影
Cause every element has been so clearly.. had much thought brought to it 因为现在每个元素都很清晰地.. 都有很多思考在里面
And now all these elements are working together. So it's like going another step up 现在所有这些声音元素都结合起来了 声音效果会有一大步提升
So I'll say that another little thing that I remembered is.. 所以我想说另一件让我记住的事情是
when we are doing emotional fx, it's very important to know what the music is doing 当我制作Emotional FX时 了解同步音乐是什么样子 是很重要的
Very hard to do with temp music, because 很难参考临时音乐来制作 因为
..the key might changes, and things can really affect.. 因为音乐的可能会变调 这些东西（对Emotional FX）影响很大
So we typically won't do much of emotional stuff until we have full final music so we can play off of that 所以我们通常会等到最终完整版的音乐出来时 才开始对照着去做情绪化的音效
So there's a lot of like, what's the music doing, what can we get away with 所以有很多这种（考虑） 同时的音乐正在发生什么 我们能做些什么
Overall, just a good school of thought here, dissonants, 总的来说 作为一种好的思维模式
And I'm just gonna say it, even it can be controversial, that: Dissonant is easy 虽然会有争议 但我还是要说： “制作不和谐音效是简单的”
Like "Scary" is easy 吓人的音效也是简单的
Because you can just throw a bunch of stuff at the wall without any thought, and it's probably gonna be dissonant 因为你可以随便把一堆东西扔到墙上 然后就应该能得到一个不和谐的音效
So then therefore it's cool to go like, "Ahh, that's super scary. sounds horror", like a horror soundrack or something 因此 想制作吓人的音轨是不难的
It's just because it's like, it's just not h.. 因为..
Having order to something, and thinking of all of these elements that come together perfectly, in some sort of perfect harmony or whatever, that's hard 按照某种规则 让这些声音元素 以某种和谐的频程关系结合起来 这个才难
Very easy dissonant, very easy to throw things in the wall 制作不和谐的音效很容易 就像往墙上摔东西一样容易
..very hard to have some sort of order and harmonic aspects 而让声音服从某种规则 某种和谐的结合是很难的
So we were doing a lot of like, playing around with the music being played forefront 所以我们做了很多这种工作：让音乐在前面播着
then all of our stuffs are just being accents to it 而我们要让所有的音效 作为音乐的“重音（accent）”出现
Now there's times, that dissonant is needed, especially when we were doing scary things, and things like that 的确有时候 是需要不和谐的音效的 尤其在做惊悚恐怖类作品时
But I like to keep in mind that, overall that, dissonant is easy 但我还是喜欢这么理解： 大多数情况下 制作不和谐音效是简单的
Even if you're doing dissonants, realize it like 哪怕在你自己做不和谐音效的时候 你也会意识到
your first a few attemps might just be kind of the most obvious, easy things that you're throwing at it 你最开始做的尝试应该是最直白 最简单的事情了吧