評(píng)論
打印
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.
不過(guò)，當(dāng)你創(chuàng)造了聲音并和畫面同步后，你希望這些聲音可以在敘事的世界中變得鮮活。
And one the best ways to do that is to add reverb.
最好的方法之一是加一點(diǎn)回響。
So this is the first audio tool I want to talk about.
這是我要談的第一個(gè)音效手段。
Reverberation, or reverb, is the persistence of the sound after the original sound has ended.
在原聲結(jié)束后加入回響或混響可以延續(xù)聲音。
So it's sort of like the -- all the reflections from the materials, the objects and the walls around the sound.
所以這就像是來(lái)自環(huán)繞在聲音周圍的物體和墻的全部反射。
Take, for example, the sound of a gunshot. The original sound is less than half a second long.
舉個(gè)例子，槍聲。原聲只有不到半秒的時(shí)間。
By adding reverb, we can make it sound like it was recorded inside a bathroom.
加上回響后，我們可以做出好像在浴室里錄制的聲音。
Or like it was recorded inside a chapel or a church. Or in a canyon.
或者像是在禮拜堂或教堂里錄制的聲音。或者在大峽谷。
So reverb gives us a lot of information about the space between the listener and the original sound source.
回響給了我們很多關(guān)于聽者和聲音來(lái)源之間的空間的信息。
If the sound is the taste, then reverb is sort of like the smell of the sound.
如果把聲音當(dāng)成是味覺，回音就像是聲音的氣味。
But reverb can do a lot more.
回響還有很多其他的用處。
Listening to a sound with a lot less reverberation than the on-screen action
聽一個(gè)很少有回響的聲音而不看屏幕上的動(dòng)作，
is going to immediately signify to us that we're listening to a commentator,
將會(huì)立即讓我們覺得我們?cè)诼犚晃唤庹f(shuō)員說(shuō)話，
to an objective narrator that's not participating in the on-screen action.
在聽一位并未參與電影動(dòng)作的旁白者說(shuō)話。
Also, emotionally intimate moments in cinema are often heard with zero reverb,
另外，在電影院中的動(dòng)情時(shí)刻通常聽不到任何回響，
because that's how it would sound if someone was speaking inside our ear.
因?yàn)槟菢硬艜?huì)聽上去像有人在我們耳朵里說(shuō)話。
