New Mindmap

New Mindmap

Definitie

Walter Murch the first person to be credited the title in recognition of his contribution to the film Apocalypse Now (Coppola 1979) the role of the sound designer is to take care of the overall treatment of sound in film (Thom 1998, 122). Equally, in general, sound design is considered as an artistic field covering all non-compositional elements of film sound.

O scurta istorie a sunetului in teatru

Antichitate

China

insotit de muzica

India

Natya Sastra

Grecia

Teatru mediaval

Commedia dell'Arte

Teatrul Restaurarii

Realism

1890 fonograf copil

Vodevilul

Radioul

Desenele animate

1928 Universal Pictures Show Boat musical mut

Inregistrareea sincrona a sunetelor cu filmul in studio

Jack Foley

1927 Jazz Singer cu sunet

Caracteristicile sunetului in film i teatru

Hiper realitate (Dakic2007,2)

Extrase din contextul vizual, adic ascultate fr a privi imagina, ele par exagerate, prea evidente. Sunetul are tendina de a se pierde n fluxul aciunii motiv pentru care trebuie accentuat, n copul de a-l face perceptibil.

Corelarea cu imaginea (Dakic2007,2)

Sunetul influeneaz percepia imaginii iar scenele pot fi receptate diferit n funcie de sunet. La modificarea percepiei contribuie muzica nondiegetic dar i aspecte calitative ale sunetelor diegetice cum ar fi nlime, timbru, durat, modul n care apar -brusc, firesc sau insinuate. Sunetul contribuie i la ritm. Scenele sunt percepute mai lungi ca durat n lipsa muzicii.

Rol narativ

Acest sunete spun povestea

Aduc informaii despre desfurarea aciunii n lipsa imaginii

Sunete acusmatice care preced sau continu aciunea n afara scenei. De exemplu dac auzim un autovehicul oprindu-se putem deduce c personajul ateptat a sosit.

Narator din off

Dialoguri acusmatice: de exemplu robotul telefonic

Dialog nondiegetic: de exemplu n imagine vedem un personaj n timp ce auzim dialogul altor dou personaje care l brfesc.

Rol de suport al narainii

Mresc tensiunea sau supansul

Sugereaz spectatorilor o emoie. De regul acest rol l are muzica nondiegetic, dar pot fi i sunete diegetice care au funcie de leitmotiv.

Suport tehnic

Mascheaz sau completeaza schimbari de decor (teatru)

Mascheaz taieturi de montaj ntre scene cu sunet de fond foarte diferit.

Tipuri de sunete

Sunete din scen (teatru). Sunt sunetele care apar direct pe parcursul spectacolului. Pot fi diegetice (dialoguri, zgomote datorate obiectelor) sau non diegetice (ventilatoarele reflectoarelor, mainria de scen, dar i cuvntul povestitorului).

nregistrri

Platou (film)

nregistrri ale scenei pe parcursul filmrilor. Acestea sunt folosite rareori n produsul finit. Se utilizeaz n produsul finit zgomotul ambiental al filmrilor exterioare. n acest sens este recomandat nregistrarea separat a 1-3 minute de "linite" pentru a surprinde acest zgomot ambiental.

Postsincron (dubbing )

Renregistrarea dialogurilor cu actorii protagoniti sau nlocuitori dac, din motive artistice, se dorete alt voce (Marny Nixon o dubla pe Marlyn Monroe n cntece) sau se dubleaz filmul n alt limb. Postsincronul cu actorii protagoniti este cel mai des ntlnit i are rolul de a mbunti calitatea sonor a dialogului. Exist i actori, cum ar fiyl Streep care utilizeaz postisincronul n scopuri artistice. Cea mai utilizat metod de postsincron este "Automated" sau "Automatic" Dialog Replacement (ADR).

Speciale

nregistrri de sunete destinate susinerii naraiunii. Acestea se fac separat de ctre inginerii de sunet.

Librrii de sunete

Sunt librrii cu sunete nregistrate special care pot fi utilizate n coloana sonor.

Muzic

Creat pentru spectacol

Live

Inregistrat

Existent i adaptat

Categorii

Dialog

Dialog inregistrat la filmare (on set dialog)

Replici din off sau de efect

wild lines dialogue (dialoguri pe care actorii le nregistreaz sub coordonarea regizorului chiar la sfritul zile de filmare n atmosfera decorului). Ele sunt folosite n timpul editrii pentru a masca tranziii deoarece au o calitate sonor mai bun. n teatru, asemenea replici nregistrate i redate prin sistemul sonor de amplificare, uneori dup o procesare (reverb, de exemplu) au rol de leitmotiv.

Dialoguri in post-sincron (doar in film)

Muzic

la nceput avea rolul sa acopere sunetul proiectoarelor i s provoace anumite emoii

Pe msur ce filmele au devenit tot mai elaborate, importana muzicii a crescut. Un rol deosebit n promovarea muzicii de film l-a avut musical-ul. Muzica este compus dup, sau n timpul editrii. Prima etap este marcarea (spotting) momentelor muzicale pe viitoarea pelicul. Regizorul i compozitorul parcurg filmul brut i noteaz momentele n care ar fi nevoie de muzic i ce fel de muzic ar fi nevoie ct i durata precis a momentului muzical. Dakic 4

efecte sonore

Momente de sunet (Hard or cut effect)

Rare ori sunetele sunt reale

ele sunt create special si sunt editate cu scopul de a parea reale

hiperrealitate

Foley -

sunete mixate cu muzic

Sunete realizate in postsincron (film)

De ambient (background sound)

dau impresia prezenei spaiului

sunetul de abient rmane acelai publicul va avea impresia ca se afl in acelai loc

utilizarea surround

Daca este utilizat creaz spectatorilor impresia c se afl n mijlocul aciunii

Create sau inventate

Tehnicile Sound designului

nregistrare

mixare

Sincronizare

Sincronizarea temporala a sunetului cu evenimentul

Sincroniyarea in timpul naratiunii

Sincroniyarea in timpul sectacolului

editare sau redare

manipularea snetelor cu editoare de sunet sau mese de mixaj

Taiere brusc

Crosfade

Fade in-Out

Muzica

Sursa

Timp

While applying to sound in general, in traditional film making such temporal attributes are mostly exploited by means of a film score accompanying the picture. The reasoning behind this, according to Michel Chion, is that where other sound elements are obliged to remain clearly defined in their relation to diegetic space and to a linear and chronological notion of time, music, on the other hand, enjoys the status of being a little freer of barriers of time and space (Chion 1990, 81). Chion states that the spatiotemporal quality of music especially applies to what he himself calls pit music (1), with reference to the orchestral pit in the opera house (ibid.). In other words, pit music is the traditional music accompaniment to a film, often performed by an orchestra, residing outside the film's world. Accordingly he implies that screen music (2), that is music arising from a source within the film's world, may only in some cases attain the status of its aforementioned counterpart. A classic example occurs when music is heard over a car radio, linearizing an otherwise nonlinear montage of images showing a character travelling a long distance. The other sound elements, on the other hand, the structuring of which Chion considers subordinated to the spatiotemporal information within the film's world, could, besides dialogue, be regarded simply as sound effects.

Relatia sunetului cu imaginea

An early example of an entirely electroacoustic soundtrack, which defies the subdivision between film music and sound effects based on the differentiation between sound sources or qualities, is found in the 1956 sci-fi movie Forbidden Planet. Here all sounds, except the most basic Foley sounds such as foot steps, share the same electronic origin, timbre and identity. Nonetheless, we perceive some sounds as sound effects while others as musical, and often, being the most interesting case, we experience them as having both functions simultaneously. Our interpretation of the sounds at any given instant relies, here, entirely on the level of correspondence between sound and image.

components of correspondence between sound and image

Identity

correspondence between the identity of a sound-object associated with a visual action and the sound we instinctively expect to be produced by that action.

corespondenta

ideititate

close identity correspondence

the result of coupling sound with the imaged representation of its course

for example, when the sound of footsteps, whether real or sound-alike, accompanies the image of footsteps.

remote identity correspondence

If we replace the sound of footsteps with string pizzicati, provided these remain synchronized with the image

timp

Close time correspondence

occurs when sound and image are synchronized with each other, as in the example above.

remote time-correspondence

we locate the sound and visual action separate places in time, yet retaining the association between the two

spatiu

close space-correspondence

When spaces indicated by image and sound respectively match each other

remote space-correspondence

if there is a mismatch between the two

as there would be if we added a huge amount of reverberation to the sound of a car driving through the desert

The level of identity-, time- and space-correspondence may differ from each other at any given instant, and each may change dynamically over time.

principii

the closer the correspondence, the more that dimension contributes towards making the sound appear as originating from within the image.

When, for example, the sound of footsteps 1) reflects plausibly the sonic identity of the shoes and the material being walked on, 2) is synchronized with the movement of the character, and 3) matches the space in which the character is walking, we identify an overall close correspondence between sound and image.

Conversely the more remote the overall correspondence between sound and image, the more the sounds are pushed outside the film's world.

Pit music is a good example of sound which lacks correspondence with image in terms of identity, time and space.

intrisec

spatial properties such as texture and size respectively. The expectation as to how a given visual action will sound may be founded on both natural and culturally-related perceptual experiences.

extrisec

spatial properties such as room characteristics and size and the proximity of a given source.

sound effect or screen music

When sounds seemingly follow a filmic logic (for example the cluster sound determined by the piano player's head hitting the keyboard), they function as sound effects, whereas if the image (as that of the finger movements of the character playing the piano) follows a musical logic the sound will serve as screen music.

symbol correspondence continuum

Although sound may not correspond to image through identity, time and space altogether, it may do so in a symbolic fashion.

symbol correspondence dimensions

By means of culturally generated codes,

sound can take part in the moods of the images

it can tell us when to be alert, and through the imitation of musical styles or sound qualities,

through the imitation of musical styles or sound qualities, (e.g. analogue distortion) define the (relative) temporal setting of the images.

contextualize images

and hence to create a network of relations between otherwise separated elements of a film.

Bivliografie

Psihoacustic

Urechea

http://www.prosoundweb.com/article/perception_is_reality_psychoacoustics_from_an_audio_engineers_perspective/P2/

Raspunsul neliniar intensitate frecven

http://www.prosoundweb.com/article/perception_is_reality_psychoacoustics_from_an_audio_engineers_perspective/P3/

http://www.prosoundweb.com/article//perception_is_reality_psychoacoustics_from_an_audio_engineers_perspective/

Electro

Phantom

http://www.prosoundweb.com/article/ghost_in_the_machine_phantom_power/P1/

Clasificare

Dup tipul sursei

Sunete nemuzicale

Zgomote

Sunete nedorite

Uneori zomotele sunt inserate intenionat n coloana sonor pentru a obine un anumit efect.

Zgomotele pot forma "amprenta auditiv" a unuio anumit spaiu.

Sunete naturale

produse in natura

Sunete artificiale

produse de obiecte artificiale

Sunete umane

vorbire

interjecii, foneme

sunete ce exprim emoii

sunete fiziologice

sunete muzicale

cntec

instrumente

sintetizri

muzic

ce poate fi clasificat pe diferite genuri.

Cognitiv - dup cunoterea sursei

Sunete emblema

Sunt sunete care indic fr echivoc sursa, fiind emblematice pentru o comunitate. Exmplu:

Soundmark (sunetul "born geografica"): sunet caracteristic a unui anumit loc geografic (ex.: clopotele de la Big Ben pentru Londra)

Sunete definite conceptual

Sunete a cror surs este uor recogniscibil i se identific cu obiectul surs. Sursa lor nu trebuie definit vizual.

Mai sunt numite i "fixed sounds" (chion1994audio, p 10)

"fixed sound" este un sunet care nu va avea variaii indiferent de situaia n care este auzit. Aceast calitate este caracteristic unor anumite sunete de origine artificial: ex. sunetele fomrii unui numr de telefon, yumyetul unui difuzor is that which entails no variations whatever as it is heard. This characteristic is only found in certain sounds of artificial origin: a telephone dial tone, or the hum of a speaker. p.10

Ex.: soneria telefonului

Sunte nedefinite

Sunt sunete a recogniscibile sau nu, dar a cror surs trebuie definit vizual. Ex.: Se aude un foc de arm din off. Trebuie, ntr-un anumit mod, s aflm cine a tras.

Sunete existente dar greu recogniscibile

Sunt sunete care nu sunt general cunoscute i trebuie definit clar sursa lor. De exemplu, dac se aude sunetul cntecului unor canari, doar unii dinstre spectatori l vor recunoate, majoritatea, ns, l vor recunoate doar ca un cntec de pasre.

Sunete inexistente dar imaginate

Ex.: rgetul animalelor preistorice, sunetul dispozitivului de teleportare n filmele SF.

Categoriile cognitive nu sunt fixe, ele depind de fondul cultural al spectatorilor. De exemplu sunetul teleportorului, dei imaginat a devenit un sunet emblem pentru fanii SF deoarece a fost preluat cvasi-identic in aproape toate filmele.

Dup apartenena la naraiune sau nu a sursei sunetului

Diegetica- sursa sunetului se afl n timpul i spaiul naraiunii, indiferent dac este vizibil sau nu (acusmatic).

Nondiegetic- Sursa sunetului este n afara naraiunii. De cele mai multe ori este muzica care acompaniaz scena de teatru sau secvena muzical. Numit i pit music(muzica din fos) sau muzic de fundal.

conventional background music (nondiegetic)

Dup manifestarea lor n timp

de lung durat

Suete care se manifest n timp. Ele descriu mediul n care se petrece aciunea i pot creea o anumit atmosfer. De asemenea pot ajuta la percepia timpului naraiunii daca nu sunt repetitive (bucle).

Keynote.URL

evenimente sonore

Sunete de scurt durat care descriu o aciune, un eveniment. Ex.: o u trntit, un foc de arm, etc.

Sound_Event.URL

Dac sursa sunetului este vizibil sau nu

sunet acusmatic

Sunete pe care le auzim ns nu le vedem sursa

Acousmatic, a word of Greek origin discovered by Jerome Peignot and theorized by Pierre Schaeffer, describes "sounds one hears without seeing their originating cause." 5

offscreen sound in film is sound that is acousmatic, relative to what is shown in the shot: sound whose source is invisible, whether temporarily or not.

sunet vizibil

Schaeffer proposed "direct,"

visualized sound

onscreen sound that whose source appears in the image, and belongs to the reality represented therein.

Funcii

Descrierea spaiului n care se desfoar aciunea

Ambient Sound (Territory-Sound)

Narativ

Descriu sonor aciunile din naraiune. Confer acestora aspectul de realitate sonor de fapt o hiperrealitate.

sublinierea unei aciuni foarte rapide, care altfel ar trece neobservat

sometimes it succeeds in making us see in the image a rapid movement that isn't even there. p.12

First, for hearing individuals, sound is the vehicle of language, and a spoken sentence makes the ear work very quickly; by comparison, reading with the eyes is notably slower, except in specific cases of special train ing, as for deaf people. The eye perceives more slowly because it has more to do all at once; it must explore in space as well as fol- low along in time. The ear isolates a detail of its auditory field and it follows this point or line in time. p.10 #psihoacustica#

relevarea strii psihice a unui personaj

Internal sound is sound which, although situated in the present action, corresponds to the physical and mental interior of a char- acter.

These include physiological sounds of breathing, moans or heartbeats, all of which could be named objective-internal sounds.

Also in this category of internal sounds are mental voices, mem- ories, and so on, which I call subjective-internal sounds.

Poteniator al unei emoii

mresc tensiunea sau supansul

Sugereaz spectatorilor o emoie.

Suport tehnic

Mascheaz sau completeaya schimbari de decor

Mascheaz taieturi de montaj cu socuri sonore