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嘉暐 chiawei.studio@msa.hinet.net 聲音設計臨時工/ 一個文科背景的高雄人,誤闖高科技的錄音叢林

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目前日期文章:200905 (8)

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"UP" Sound for Film Profile from Michael Coleman on Vimeo.

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SoundField Ships UPM-1 Stereo-To-5.1 Converter

May 22, 2009 2:55 PM





SoundField, the UK-based manufacturer and supplier of multi-capsule mic systems for stereo and surround audio capture in the broadcast and audio recording markets, has begun shipping the UPM-1 stereo-to-5.1 converter. Aimed at the broadcast market, the UPM-1 is a 19-inch rack processor designed to create 5.1 content from old program material that only has a stereo soundtrack.



Such "legacy" programming is a problem for companies broadcasting in high-definition with 5.1 surround audio, because listeners find it distracting when modern HD shows are broadcast in 5.1 surround and then the audio narrows to a very "flat-sounding" two channels for older material. This kind of distracting switch can occur even within one show. All the modern content in an HD sports show will be in 5.1, but older clips of past sporting events usually have only a stereo soundtrack. To modern HD broadcasters, this kind of repeated expansion and contraction of the audio soundscape is unacceptable. The UPM-1 provides a fast, easy-to-use solution.



All of the material in the 5.1 mix that appears at the processor's outputs is derived from spatial information present in the original stereo signal. The UPM-1's processing is adaptive, changing with the input signal, rather than remaining constant irrespective of input.



The UPM-1 generates 5.1 from two channels by analyzing the original stereo audio using a patented algorithm that separates the audio into its so-called Direct and Ambient components. The former encompasses the "dryer," less reverberant components in the original sound (for example, those elements that would have been close to the microphone when the audio was recorded), while the latter refers to the more reverberant components (like those sound sources that would have been further away at the time of recording). These elements can then be processed separately and routed in different proportions to the 5.1 mix if required, using the UPM-1's simple front panel rotary controls. In addition to discrete controls for the input level and individual 5.1 output channels, the level of the direct sound component in the original signal may be adjusted independently from that of the Ambient sound in the rear channels, and the ambient component in the front three channels.



The UPM-1 also offers control over the perceived width of the front three channels, and over whether the material appearing at the front center of the 5.1 soundscape will be routed only to the center channel or equally to the left and right channels.


For more information, visit SoundField's U.S. distributor, TransAudio Group.

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Digital Cinema System Specification (Version 1.1)
(暫譯:數位電影院系統細則,版本1.1)
在2007年四月,由 Digital Cinema Initiatives LLC確立下來。

其中,Digital Cinema Distribution Master (DCDM),是指創建數位電影院影音格式的作業。
內容包括影像的畫素,聲音的頻率與bit數的規格校定,並使用特殊的清單格式做影音連結。

而DCP (Digital Cinema Package)被訂定為數位電影院播放的檔案模式。
是一組經過壓縮加密後的影音封包檔案。

Quvis 公司在2008年替Final Cut的使用者創建了新的plug-in Wraptor™`,來幫助一般的使用者建立DCP檔案。 以便在數位電影院發行。

另外,QubeMaster Xpress and QubeMaster Pro,是另一款在Windows界面下,高階的DCP Mastering 軟體,所費不貲。

杜比公司,因應未來數位電影的市場,自然推出了從製作端到放映端,整體的數位電影院系統。

Dolby SCC2000 Secure Content Creator 也是一款製作DCP檔案的硬體。




非常重要的參考資料:数字影院发展的现状和趋势 (作者:李枢平)

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LAS VEGAS, NV,—Apr 1, 2009

DTS Digital Cinema to Change Trade Name to Datasat Digital Entertainment
Market leading digital cinema technology company for exhibition product lines and audio licensing expands with additional support and distribution services

DTS Digital Cinema announced today that it will begin operating under the trade name Datasat Digital Entertainment from April 1, 2009. The company is a market leader in providing digital cinema technology to motion picture exhibitors and distributors. Founded in1993 the company was the first to provide 5.1 digital surround sound to the film industry. The company will maintain the DTS Digital Cinema brand name for all cinema related products and services.

In May of 2008 DTS Digital Cinema was purchased by the primary owner of Datasat Communications Ltd., a satellite network solutions business based in the United Kingdom. The Company’s new trade name is derived from its sister company and is being adopted to better suit the company as it begins offering expanded support and distribution services in the entertainment market.

“Over the last 16 years DTS Digital Cinema has built itself into a company recognized around the world for excellence in film exhibition technology,” said Chris Thomas, the Company’s President and CEO. “We supply surround sound to over 30,000 screens in over 100 countries and have gained a solid reputation for securely delivering digital content in a timely manner.”

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MUTO這部由Mercurio Film製作的動畫,在2008年,引起不少網友的注目。
每每看到這樣的作品,心裡都不免悸動,想再回頭看看自己那些資源不多,
器材有限的大學生活。

在分工細密的大製作公司之外的藝術家們,他們的作品,依然精彩。

就聲音設計的部份而言,在這般作品背後的創作意念驅動之下,何須分工?
需要有人特地搞音效,有人特地搞編曲,有人特地搞Foley嗎?
拿起麥克風,搞點聲音就是了...

至於,是不是5.1聲道?
能不能符合戲院播放的標準?
能不能做Dolby License的DVD發行?

恩,我在online video上,用廉價的筆電喇叭,聽得也很爽。
而且,可能不打算,拿很貴的喇叭來測試這個動畫。
它,已經非常amazing了。

喔,是這整件事,都非常amazing!

MUTO a wall-painted animation by BLU from blu on Vimeo.

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(Introduced by filmsounddaily.blogspot.com)
Resources From: Michael Coleman's videos
Produced by Michael Coleman of Colemanfilm Media Group
colemanfilm.com

Director Carroll Ballard on Sound Designer Alan Splet from Michael Coleman on Vimeo.


Director Peter Weir on Sound Designer Alan Splet from Michael Coleman on Vimeo.


Director Phillip Kaufman on Sound Designer Alan Splet from Michael Coleman on Vimeo.


"There will be Blood" Sound for Film Profile from Michael Coleman on Vimeo.


"Sicko" Sound for Film Profile from Michael Coleman on Vimeo.


"We Own the Night" Sound for Film Profile from Michael Coleman on Vimeo.


"The Soloist" Sound for Film Profile from Michael Coleman on Vimeo.


"Iron Man" Sound for Film Profile from Michael Coleman on Vimeo.


"Ratatouille" Sound for Film Profile with Randy Thom from Michael Coleman on Vimeo.


"The Curious Case of Benjamin Button" Sound for Film Profile from Michael Coleman on Vimeo.


"WALL•E" Sound for Film Profile with Ben Burtt from Michael Coleman on Vimeo.


"Dark Knight" Sound for Film Profile from Michael Coleman on Vimeo.


"Indiana Jones and the Kingdom of the Crystal Skull" Sound for Film Profile with Ben Burtt from Michael Coleman on Vimeo.

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                                                                                      文/陳嘉暐
Worldizing(暫譯:聲音臨場化)一詞,是由著名好萊塢聲音設計師
Walter Murch 所創造。是指,把錄製的聲音,帶到與電影場景中
相似的殘響空間,(例如:大教堂,廁所..)用喇叭回放
後,再用麥克風,在離喇叭相對的距離下,重新抓下逼真的聲音環
境。

Walter Murch 認為,錄音師必須認知,透過麥克風到錄音機錄下的聲音,
不是發出聲響的物件本身,而是發出聲響後的能量在空間裡迴盪的綜合。
所以,空間和物件之間的關係,比物件本身來得重要得多。

在Walter Murch替 THX:1138 和 American Graffiti設計聲音的七零年
代,殘響效果器(reverberation),或是虛擬的效果插件,都還不易
取得,也相對昂貴。於是,把聲音帶回電影中的舞台,以重現聲音
的臨場感,是便利,也是刺激的創作歷程。

這個靈感,首次具體地發生在,與George Lucas 合作的American Graffiti裡。
當時,他們希望能創造一段特殊的聲音環境:
    
         "城市裡,所有的汽車都在播放同一個廣播節目。"

Murch 和 Lucas 就帶著一段二個小時的廣播節目的錄音帶,到了一座郊
區的後院,面對著馬路,用Nagra錄放機大聲回放。馬路的另一頭,是
距離50步的麥克風與另一台Nagra錄音機。接著,他們藉著搬動喇叭,
以及移動麥克風,創造了節目聲響在環境裡迴盪的數種殘響效果。

在錄音室裡,Murch 歸類了三種他們所獲得的素材,首先是,非常dry,
乾淨清楚的,直接的廣播節目錄音帶。二是,在戶外,用麥克風面對喇叭
所收到的聲音。最後則是,喇叭背對麥克風時,所收到的聲音。利用這三
種聲音,他就足以創造,“車子內的廣播聲音“,“車子開到鏡頭前的廣播聲音“,
以及“車子離開鏡頭後的廣播聲音“,如此以來一個專屬American Graffiti的特殊
聲音情境就被創造出來了。

星際大戰中揮舞的光劍,Ben Burtt 也用了類似的技巧(雖然和wordlizing本意有出入。)
他先令喇叭播放一不間斷的白噪音,接著讓麥克風直接對著喇叭揮舞。利用,
改變白噪音到麥克風之間的距離壓縮及相對位置,來創造自己的聲音光劍。
(相關的物理聲學,作者還未深究)

現今,科技發達與便利的同時,不只讓我們忘了實驗創作技法的可貴。更
讓很多年輕的創作者,多了偷懶的藉口,少了為難自己的勇氣。再不好的設
備,都有創作的可能。我們可能沒有經費,做出高品質的聲音軌,卻有可能
做出令人驚嘆的聲音實驗作品。


人生苦短,讀創作,讀媒體,何其幸運,好好帶著自己的傢伙玩樂去吧。


參考資料:http://www.filmsound.org/terminology/worldizing.htm (Filmsound.org)
(修改日期:2009/05/05)

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NOWnews 更新日期:2009/05/01 12:50 記者王志煌/新竹報導

新竹市文化局「台灣電影技術與新竹電影人特展」,以台灣與新竹二十世紀電影發展歷程為主軸,透過館藏文物及資深影音專業人士的生平軌跡,為觀眾呈現一世紀的璀璨光影旅程。五月份將推出整個活動的壓軸專題人物--資深錄音師杜篤之專題影展。


杜篤之出身中影第一屆技術人員訓練班。曾與侯孝賢、楊德昌、蔡明亮、許鞍華、王家衛、朱延平等導演合作影片錄音工程。從八O年代迄今,不斷求新求變,將台灣的電影錄音工程技術,提升至傲人境界。至今足跡橫跨兩岸三地,提攜新秀導演不遺餘力。二OO一年,曾榮獲坎城影展高等技術大獎。

杜 篤之獲獎無數,本影展將精選具有指標性意義的影壇傑作,包括1985年首度獲得亞太影展最佳錄音獎的「小逃犯」;1988年首度採用同步錄音作業的「悲情 城市」;1992年首度採用杜比立體聲的「少年,安啦」;榮獲坎城影展高等技術大獎的「千禧曼波︰薔薇的名字」、「你那邊幾點」;榮獲金馬獎最佳錄音獎的「超級市民」、「戲夢人生」、「好男好女」、「松鼠自殺事件」、「最遙遠的距離」;以及與港台知名導演合作的各類型傑作,包括「花樣年華」、「姨媽的後現代生活」、「奇蹟的夏天」等。

16日下午二時,將邀請杜篤之與文化大學戲劇系井迎兆教授共同出席專題座談,以多部精采短片為例,印證微妙有趣的電影錄音技術工程。熱愛電影者請勿錯過。

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