任何聲音,都能夠由數以萬計的正弦波組合而成。
有趣的是,以這個觀念出發,卻不以千萬個正弦波來組合。
上個世紀中科幻片的聲音合成(Synthesis),只用了十幾個,或是幾百個,
交叉拼湊出來的聲音,例如,飛碟引擎,雷射光等等,
由於聲音細節太過單純,卻又不至於單調呆板,(真實的世界太過吵雜)
給了我們一種逼近真實的魔幻,恰恰與似夢似真的科幻世界一拍即合。
現在的流行音樂,很多也使用了大量的合成樂器。
過去很多人批評它的不真實....
現在卻是個很好的時代,來思考何謂真實?
FACEBOOK 請敲here
無差別音效實驗室 http://chiaweistudio.blogspot.com
"Ice Age: Dawn of the Dinosaurs" Sound for Film Profile from Michael Coleman on Vimeo.
Randy Thom 說:“很多人問我如何替3D動畫製作聲音,我說聲音早就是 3D了~~“
PS: 大恐龍的叫聲其實是大象......
這不是定律(大象也可以幫別的動物叫~),每一部動畫的聲音,都是從大量的聲音蒐集,開始工作的。
這些工具,即便不便宜,也不致於昂貴到誇張。
這意謂著,或許有些事情,一般玩家也可以試試。
假使家裡有了一套高級的環繞音響設備,除了拿Hollywood動作片試試音效之外,
你還有兩個選擇:
可以考慮自己創造一件環繞的聲音作品,
或是考慮整套送給我。
http://www.neyrinck.com/Pages/scde.html
SoundCode For Dolby E
SoundCode For Dolby E Features
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.
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.”
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.
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.
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。