TED英语演讲视频：你在电影里看到的都是假的（附视频+双语演讲稿）
声音设计建立于虚假──当你看一场电影或电视节目时，你听到的声音几乎全部都是假的。在这个声情并茂的演讲裡，塔索斯· 繁柔拉斯探索了声音在叙事中的作用，以及展示了我们的大脑是多么容易被我们所听到的所愚弄。
演说者：Tasos Frantzolas
演说题目：你在电影里看到的都是假的！
https://v.qq.com/txp/iframe/player.html?width=500&height=375&auto=0&vid=l0547av5ul2
00:12
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.
00:35
(Rain falls)
00:39
(Rain falls)
00:43
(Rain falls)
00:52
All right. Actually, I lied. They're all bacon.
00:58
(Bacon sizzles)
01:09
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.
01:23
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 -
02:14
(Wings flap)
02:17
They haven't really recorded the bird. It sounds a lot more realistic if you record a sheet or shaking kitchen gloves.
02:26
(Flaps)
02:30
The burning of a cigarette up close --
02:33
(Cigarette burns)
02:37
It actually sounds a lot more authentic if you take a small Saran Wrap ball and release it.
02:44
(A Saran Warp ball being released)
02:47
Punches?
02:49
(Punch)
02:50
Oops, let me play that again.
02:54
That's often done by sticking a knife in vegetables, usually cabbage.
03:00
(Cabbage stabbed with a knife)
03:02
The next one -- it's breaking bones.
03:05
(Bones break)
03:08
Well, no one was really harmed. It's actually ... breaking celery or frozen lettuce.
03:16
(Breaking frozen lettuce or celery)
03:21
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.
03:38
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.
04:29
(Underwater plunge)
04:31
Adding the overhead mic, it sounded a bit like this:
04:34
(Water splashes)
04:37
So now they took the sound and pitched it one octave down, sort of like slowing down a record.
04:44
(Water splashes at lower octave) And then they removed a lot of the high frequencies.
04:50
(Water splashes) And pitched it down another octave.
04:56
(Water splashes at lower octave) And then they added a little bit of the splash from the overhead microphone.
05:03
(Water splashes) And by looping and repeating that sound, they got this:
05:10
(Propeller churns)
05:16
So, creativity and technology put together in order to create the illusion that we're inside the submarine.
05:26
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.
06:00
Take, for example, the sound of a gunshot. The original sound is less than half a second long.
06:07
(Gunshot) By adding reverb, we can make it sound like it was recorded inside a bathroom.
06:15
(Gunshot reverbs in bathroom) Or like it was recorded inside a chapel or a church.
06:20
(Gunshot reverbs church)
06:22
Or in a canyon.
06:26
(Gunshot reverbs in canyon)
06:27
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.
06:42
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.
07:12
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.
07:32
(Laughter)
07:33
So --
07:34
(Applause)
07:37
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.
08:34
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.
09:06
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.
09:44
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.
10:11
(Voices, music)
10:17
And here's a recording of Times Square in New York.
10:20
(Traffic sounds, car horns, voices)
10:27
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.
10:36
(You can hear the ventilation, the boiler, the fridge and street traffic)
10:47
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.
11:10
(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.
11:32
(Machine noises)
11:39
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.
11:58
(Thunder)
12:03
Church bells can remind us of the passing of time, or perhaps our own mortality.
12:11
(Bells ring)
12:19
And breaking of glass can indicate the end of a relationship or a friendship.
12:26
(Glass breaks)
12:28
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.
12:46
(Brass and wind instruments play)
12:52
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.
13:54
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.
14:27
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.
15:01
(Toy squeaks)
15:04
(Typewriter)
15:07
(Drums)
15:10
(Ping-pong)
15:14
(Knives being sharpened)
15:17
(Record scratches)
15:21
(Saw cuts)
15:22
(Woman screams)
15:24
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.
15:46
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.
16:22
So thanks for listening.
00:12
我想用一个实验来开始我的演讲。 我将给你们播放三段雨天的视频。 不过我把其中一个视频里的 音频换成了别的， 它不再是下雨的声音， 变成了煎培根的声音。 我想让你们认真听， 找出哪个视频里是煎培根声。
00:35
（下雨声）
00:39
（下雨声）
00:43
（下雨声）
00:52
好的。 其实，我撒谎了。 这些全都是煎培根的声音。
00:58
（培根滋油声）
01:09
我的目的并不是让你们每次看到下雨 都觉得肚子饿， 而是想告诉你们我们的大脑 习惯于接受这些假象。 我们关注的并不是准确度。
01:23
在造假的这个主题里， 我想引用我最喜欢的一位作家的话。 在“谎言的衰变”中， 奥斯卡·王尔德有这样的结论， 所有糟糕的艺术都源于 刻板的复制自然和现实； 那些伟大的艺术都是依靠造假和骗术， 叙说着美丽的，不真实的东西。 所以，当你在观看电影时， 电话铃响了， 那不是真正的电话铃响。 都是在后期制作中加进去的。 所有的声音都是假的。 除了那些对话，所有的声音 都是假的。 看电影的时候你看到一只鸟 在拍打着它的翅膀——
02:14
（翅膀拍打声）
02:17
他们并没真正去给那只鸟录音。 实际上只是拍打一张纸， 或抖动厨房手套的声音。
02:26
（拍打声）
02:30
近距离的香烟燃烧——
02:33
（香烟燃烧）
02:37
其实如果你紧握着一个 团成球的保鲜膜，然后松开， 那个声音会更真实。
02:44
（团成球的保鲜膜被放开的声音）
02:47
拳打的声音？
02:49
（拳打声）
02:50
让我再放一遍。
02:52
（拳打声）
02:54
那其实是把刀插入蔬菜的声音， 一般是卷心菜。
03:00
（刀插入卷心菜的声音）
03:02
下一个，是骨头断裂声。
03:05
（骨头断裂的声音）
03:08
当然了，并没有人真的受伤。 其实这是—— 掰芹菜或冻生菜的声音。
03:16
（掰冻芹菜或生菜的声音） （在布鲁克林他们用的是羽衣甘蓝）
03:21
制作真实的声音并不总是 像去超市买菜 那样简单。 其实往往要比那难很多。 那么，让我们一起用逆向工程体验一下 制作一个音效的过程。
03:38
我最喜欢的段子之一 来自于弗兰克·塞拉凡尼。 他是我们音效库的贡献者之一， 也是“创：战记”和“星际迷航” 及其他作品的伟大音效设计师。 他是派拉蒙公司那个 赢得奥斯卡的“猎杀红色十月”的 音效团队中的一员。 在这个九十年代的， 描述冷战期的经典影片里， 他们需要制作潜水艇螺旋桨的声音。 但他们遇到一个小困难， 他们当时在西好莱坞， 找不到潜水艇。 因此，简单来说， 他们想了这么个法子， 他们去了一个朋友的游泳池， 弗兰克表演了一次炮弹入水。 他们安装了一个水下麦克， 还有游泳池外的水上麦克。 这是水下麦克录下的声音。
04:29
（水下跳水声）
04:31
加上水上麦克的声音后， 它听起来是这样的：
04:34
（水花四溅声）
04:37
他们拿到这个声音后， 把它降了一个八度， 就好像慢放一个录音。
04:44
（低八度后的水花四溅声） 然后他们把很多高频的声音去掉。
04:50
（水花声） 然后再降一个八度。
04:56
（又降一个八度的水花声） 然后他们又加入了一点点 水面上录制的水花四溅声。
05:03
（水花声） 然后循环，反复播放， 他们最终得到了这种效果：
05:10
（螺旋桨声）
05:16
看吧，创造力和技术结合后能创造 我们身在潜水艇里的假象。
05:26
不过，当你创造了声音 并和画面同步后， 你希望这些声音可以在 叙事的世界中变得鲜活。 最好的方法之一是加一点回响。 这是我要谈的第一个音效手段。 在原声结束后加入回响或混响 可以延续声音。 所以这就像是 来自环绕在声音周围的 物体和墙的全部反射。
06:00
举个例子，枪声。 原声只有不到半秒的时间。
06:07
（枪声） 加上回响后， 我们可以做出好像在浴室里录制的声音。
06:15
（枪声在浴室里回响） 或者像是在礼拜堂或 教堂里录制的声音。
06:20
（枪声在教堂里回响）
06:22
或者在大峡谷。
06:26
（枪声在峡谷里回响）
06:27
回响给了我们很多 关于听者和声音来源 之间的空间的信息。 如果把声音当成是味觉， 回音就像是声音的气味。
06:42
回响还有很多其他的用处。 听一个很少有回响的声音 而不看屏幕上的动作 将会立即让我们觉得 我们在听一位解说员说话， 在听一位并未参与电影动作的 旁白者说话。 另外，在电影院中的动情时刻 通常听不到任何回响， 因为那样才会听上去 像有人在我们耳朵里说话。
07:12
在完全相反的情况下， 在语音里加入很多回响 会使我们感觉正在听回忆， 或者好像我们正在 一个角色的大脑中， 或者在听上帝的声音。 或者是在电影里更强大的 摩根·费里曼。
07:33
那么——
07:37
还有什么其他手段或是方式 是音效师在使用的呢？ 这里有一个很重要的。 就是无声。 短暂的安静无声使我们集中注意力。 在西方世界里， 我们不太习惯在对话时安静下来。 人们会觉得奇怪或无礼。 因此，使一段正在进行的对话变成无声 可以制造很多紧张感。 但是想象一下在好莱坞大片中 全都是爆炸和机枪声。 嘈杂的声音过一会儿就不觉得嘈杂了。 就像阴阳理论中说的 无声需要嘈杂，嘈杂也需要无声 （静中有动，动中有静）， 两者相辅相成。
08:34
那么无声意味着什么呢？ 这取决于每个电影如何使用它。 无声可以让我们进入角色的思绪， 或是引发思考。 我们通常从无声联想到—— 凝视， 冥想， 陷入深思。 但是，并不是只有一种意义， 无声是一块空白的画布， 让观看的人把自己的想法画上去.
09:06
我要说清楚的是， 并不存在一种叫做无声的东西。 我知道这说法听起来 差不多是TED里最自负的。 但是，即使你进入一个 没有任何回响的房间， 也完全没有外部声音， 你仍然可以听到自己血液流动的声音。 历史上，电影院里从来没有无声的时刻， 因为放映机会发出声音。 即使是在如今的杜比音响世界， 如果你倾听四周，没有一刻是无声的。 总会有某种噪音存在。
09:44
现在，既然说没有真正的无声， 电影制作者和音效设计师用什么呢？ 他们通常用氛围声，跟“无声”差不多。 氛围声是独特的背景音， 具体到每一个地点的背景音。 每个地点都有独特的声音， 每个空间也有独特的声音， 这叫做环境声。 这是在摩洛哥的一家市场里的录音。
10:11
（说话声，音乐）
10:17
这是在纽约时代广场的录音。
10:20
（交通声，车喇叭声，说话声）
10:27
环境声是房间里所有噪音的叠加： 通风设备，供暖设备，冰箱。 这是我布鲁克林区公寓的录音。
10:36
（你能听到排风，热水器，冰箱，街上的交通）
10:47
环境声以最原始的方式起着作用。 它们可以在潜意识里 直接对我们的大脑说话。 所以，你窗户外面的鸟叫可以代表常态。 或许因为，我们作为一个物种， 数百万年来，已经习惯每天早上听到它。
11:10
（鸟叫声） 另一方面，近些年来我们听到越来越多 工业的声音。 虽然我个人很喜欢工业的声音—— 工业的声音被 我的偶像之一，大卫·林奇， 和他的音效师艾林·斯普莱特所采用—— 但工业的声音常常有负面的意义。
11:32
（机器噪音）
11:39
音效还可以进入我们的情感记忆。 有时候，它们会特别重要， 以至于变成一部电影的角色。 雷声可以代表上天的干预或愤怒。
11:58
（打雷声）
12:03
教堂钟声可以提醒我们时光流逝， 或者也许提醒我们自己的死亡。
12:11
（钟声）
12:19
玻璃破碎的声音可以表示一段爱情 或友谊的结束。
12:26
（玻璃破碎声）
12:28
科学家相信，刺耳的声音， 例如铜管乐器声或管乐器 演奏的巨大声响， 会让我们想到大自然中动物的叫声， 因此可以制造刺激或恐惧的感觉。
12:46
（铜管乐器演奏声）
12:52
那么，我们已经谈到了 屏幕上的声音。 但有时候，声源是看不到的。 我们称之为画外音， 或者是“盲听”。 盲听的声音—— “盲听”一词来自古希腊的毕达哥拉斯， 他曾在面纱或帘子后面教学多年， 从未在门徒面前现身。 我想这位数学家兼哲学家认为， 采用那种教学方法， 他的学生会更专注于语音， 专注于他的词语及其意义， 而不是专注于他讲话时的样子。 有点像“绿野仙踪”（Oz国的魔法师）， 或是电影“1984”的“老大哥”， 把语音和来源分开， 把因和果分开， 就像制造一种无处不在 或全景环视的感觉， 因此产生了权威感。
13:54
盲听声音有一个强大的传统。 罗马和威尼斯的修道院里的修女 往往在接近天花板的顶层房间里唱歌， 制造出一种我们正在聆听 天空中的天使歌唱的幻觉。 理查德·瓦格纳创造出了著名的 隐藏起来的管弦乐队， 乐队被安排在舞台 与观众之间的一处区域。 我的偶像之一：埃夫斯·特文 以躲藏在酒吧的黑暗角落而闻名。
14:27
我认为这些大师都懂得 通过隐藏声音来源， 来创造神秘的感觉。 这种手段你会在电影院里反复看到， 希区柯克和雷德利·斯科特 在“外星人”中也有使用。 听到声音的同时，看不到来源 可以产生一定程度的紧迫感。 同时，还可以尽量减少 导演的特定视觉限制， 并呈现一些 录制电影时没有的东西。 如果这些听上去比较理论化， 我想播放一个视频。
15:01
（玩具的吱吱声）
15:04
（打字声）
15:07
（敲鼓声）
15:10
（玩乒乓球声）
15:14
（磨刀声）
15:17
（打碟声）
15:21
（锯割声）
15:22
（女人尖叫声）
15:24
我尝试用这些手段来表达的是， 声音，是一种语言。 它可以使我们感觉 好像移动了地理位置； 它可以改变心情； 它可以设置步调； 它可以让我们开怀大笑或深感恐惧。
15:46
对我个人而言，我在几年前 爱上了这门语言。 努力实现了把它当做一种职业。 我认为，通过我们的声音库的工作， 我们在扩展这门语言的词汇。 并且用这种方法，我们希望 提供合适的呈现手段 给音效设计师， 电影制作人， 以及视频游戏和应用软件设计者， 让他们讲述更加完美的故事， 并创造更加美丽的假象。
16:22
谢谢大家的聆听
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