TED演讲:你在电影里听到的都是假的(4)
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。
And one the best ways to do that is to add reverb.
最好的方法之一是加一点回响。
So this is the first audio tool I want to talk about.
这是我要谈的第一个音效手段。
Reverberation, or reverb, is the persistence of the sound after the original sound has ended.
在原声结束后加入回响或混响可以延续声音。
So it’s sort of like the — all the reflections from the materials, the objects and the walls around the sound.
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。
Take, for example, the sound of a gunshot. The original sound is less than half a second long.
举个例子，枪声。原声只有不到半秒的时间。
By adding reverb, we can make it sound like it was recorded inside a bathroom.
加上回响后，我们可以做出好像在浴室里录制的声音。
Or like it was recorded inside a chapel or a church. Or in a canyon.
或者像是在礼拜堂或教堂里录制的声音。或者在大峡谷。
So reverb gives us a lot of information about the space between the listener and the original sound source.
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。
If the sound is the taste, then reverb is sort of like the smell of the sound.
如果把声音当成是味觉，回音就像是声音的气味。
But reverb can do a lot more.
回响还有很多其他的用处。
Listening to a sound with a lot less reverberation than the on-screen action
听一个很少有回响的声音而不看屏幕上的动作，
is going to immediately signify to us that we’re listening to a commentator,
将会立即让我们觉得我们在听一位解说员说话，
to an objective narrator that’s not participating in the on-screen action.
在听一位并未参与电影动作的旁白者说话。
Also, emotionally intimate moments in cinema are often heard with zero reverb,
另外，在电影院中的动情时刻通常听不到任何回响，
because that’s how it would sound if someone was speaking inside our ear.
因为那样才会听上去像有人在我们耳朵里说话。
音效设计是在骗局的基础上建立的——当你看一部电影或者一个电视节目时，你听到的所有声音几乎都是假的。在这个围绕音效的演讲中，塔索斯·弗兰佐拉斯将带你探索声音在叙事中的作用，然后你就能知道你的大脑是多么容易被听觉所蒙骗。