Professional directors shoot with non-professional equipment? Do you think you can shoot big movies with your mobile phone in the future?
It's not that easy! The problem is the sound!
The main body of the picture is the center of the picture, attracting the attention of the audience. However, the sound seems to be unfocused and scattered around the audience, and you can't even recall and sketch it clearly in your mind after the movie.
The instantaneity and fuzziness of sound just prove that it has great tolerance and can accommodate a huge amount of information. Whether in or out of the picture, sound always exists in the space where the camera is located.
In the final analysis, the picture is always two-dimensional (or quasi-three-dimensional), and what really makes us feel on the spot is the sound.
Film is not only the art of vision, but also the art of hearing.
In the early silent film era, in order to eliminate the boredom without sound, people often joined live bands to accompany them on the spot; That is to say, before the film can speak, people began to pay attention to the important role of "sound" in the expression of artistic emotion.
This year marks the 20th anniversary of the birth of Alfred Hitchcock, a famous American suspense film director. He is a master of moving from silent film to audio film.
Hitchcock created excellent suspense films such as Rear Window, Psycho, North by Northwest, etc. Although the director himself has made superb use of various sounds in the film, due to the limited technology at that time, the rough sound texture can not be compared with today's digital sound system in terms of scene sense and realism.
Before the arrival of the digital age, the production of sound was based on a vocal dialogue track, a soundtrack track and several important sound effects. Some people say that this is not enough?
No, these tracks alone are not enough. Our ears are actually very sensitive Facing the noisy world, they receive rich auditory information. Even if we are in a quiet indoor environment, we can still feel the slightest sound. Without ambient sound, our ears seem to be in a vacuum world.
This year's Oscar-winning foreign language film, Alfonso Cuarón's "Rome" is said to have hundreds of tracks. Although this is a 2D movie, it needs to be in Dolby's professional logic screening hall to truly appreciate its charm.
Ambient sound constructs a sense of space and three-dimensional sense for us, and it is extremely complicated and difficult to deal with.
In the film and television production industry, there are many links in sound production, especially after the requirements of realism are integrated into sound works, different occupations-recording, imitating sound, mixing ... Today, I want to introduce you to the little-known workers who imitate sound.
Let's show you a short film first ~
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(Short film: Onomatopoeia)
In the film, onomatopoeia simulates a series of very ordinary sounds full of life details from the protagonist's getting up to going out through various props.
After reading it, do you think the imitator's work is very interesting? The sound of noodles washing their hair, the sound of fans dropping clothes, the sound of props guns opening the door ... did such ingenious movements immediately interest you?
This is only a film and television work of real people, and a lot of sound information can still be input from the scene. However, as an animation work that needs fictional creation from the main body of the picture, the scene environment to various sounds inside and outside the painting, isn't the production of sound a very huge project?
Of course, in the production of film and television sound, not all sounds need to be completed by imitators. For example, the background noise of the environment needs to be recorded in the early stage, and some sounds with strong space requirements will also be recorded on the spot. As early as the movie era, some people tried to record with actual sound, but this method has a huge disadvantage, that is, it wastes negative film.
Generally speaking, the voice that can be done on the spot must be done on the spot. The sound effects that cannot be highlighted at the scene are handed over to the sound imitators. Most of the food sound effects of China on the tip of the tongue, which provoke the taste buds, are done by onomatopoeia, but it is still difficult for the current recording equipment to separate this subtle sound from the environmental noise and stand out.
For imitators, thunder and lightning, gunfire, shelling, dripping and falling snow can all be done in a small imitator's studio. With their sensitivity to sound and movie emotions, the staff seems to have created a grand world.
Generally speaking, the sound production process is roughly like this: first, the sound engineer makes the actual recording on the spot, then the onomatopoeia makes the important sound effect, and finally, Andhadhun lays the audio track for the film.
To be an excellent imitator, the first thing to do is to go deep into nature, our real life, understand the characteristics of each sound, and understand the emotions and colors conveyed by the sound.
In other words, being an imitator is not as interesting and simple as you think.
Edward Zhang, a college student, fell in love with the art of onomatopoeia in film and television. She used the winter vacation to come to an onomatopoeia studio in Pichun, Beijing.
This onomatopoeia studio is not as gorgeous as everyone imagined. On the contrary, it is more like a "little black room" in everyone's mouth.
Wei Junhua, the studio owner, worked in Beijing Film Factory in his early years, and was known as the leader of the Northern School in the field of imitating music, while directors such as Chen Kaige and Xiaogang Feng regarded him as a national treasure. After coming out of Beijing Film Factory, she and her lover set up such an onomatopoeia studio and completed the sound production of many famous films.
Edward Zhang is only 19 years old, and Wei Junhua was worried when he first accepted his apprentice. Because imitators not only need rich life experience, but also need a manual job.
Many girls, who just came into contact with this industry for a long time, stopped. After Edward Zhang came to the studio, he practiced for a long time for a horseshoe sound effect.
In addition to understanding the characteristics of various sounds, imitators also need to know what props can make this sound. You are surprised that these imitators can come up with so many wonderful sounds, but have you ever thought that this actually comes from the experience world that is strong enough in his mind?
We should devote ourselves to every detail of life, understand every sound keenly, and accumulate constantly, so that we can come and go freely and skillfully in sound production.
However, this industry seems to have come to an end.
Nowadays, many sound producers are used to digital onomatopoeia, and there is no need to reproduce sound in a closed studio like the traditional mode. However, the imitator's point of view is that every voice has feelings, whether it is natural or human.
The emotions conveyed by film creators will be materialized and reflected in every picture and sound element. This is the key reason why digital onomatopoeia can't replace artificial onomatopoeia.
Imitators are definitely not a quick career, and it takes time to settle down. There has never been a one-to-one sound formula like "noodle-shampoo", and each sound has its own specific emotional and epochal attributes, which is why it can be expressed in film and television art.
The documentary Onomatopoeia from Taiwan Province Province presents very precious materials.
From dubbing era to onomatopoeia era, from recording discs to digital devices, sound creation and film and television industry have experienced many ups and downs.
The film tells the story of the career of synchronous sound engineer Hu, thus opening a heavy film history of Taiwan Province. In this film, you will see famous Taiwan Province filmmakers such as Hou Hsiao-hsien, Cai Mingliang and Huai-en Chen, and their various relationships with voices.
Technology can only exist as a tool forever, and what really makes it full of life and emotion is the craftsman spirit embodied in the people who use technology.
Hu came from the "infancy" of movies. Faced with such a huge film industry, he seems to be at a loss. His identity is in an awkward position in the new era, but his love and loyalty to the film Conservation as One will not change.
Although the film needs capital and technical operation, it looks like a strict industrial system; However, as a contemporary art, film still needs to be devoted to Hu, an imitator. As long as these people exist, movies will not become a cruel tool for realizing money.
Today's interaction: # Will imitators be replaced by digital devices? #
Pictures and videos come from the Internet.
Gift picture: Wan Ting