The secret of sound effects

  It may be difficult for most people to realize that there are so many sounds in a movie. In the war film filled with fog and gunpowder, the girls panted heavily as they ran, the rustling of soldiers passing through the thick fog, the whirring of flames on the roadside, and the sound of horseshoes followed by the sound of irregular footsteps, hot The bullets slid through the wet mist and made a “chuck” sound. The bullets fell one after another and splashed with the sound of mud… Whether you pay attention or not, these sounds that have been carefully designed by the sound engineer may unknowingly reconstruct you Emotional experience, complete a deeper meaning reconstruction. The reverberator counted nearly 1,800 soundtracks under a few minutes of fighting scenes. The height and distance of the sound, the timbre and texture, the ups and downs of the rhythm, the layering of element superposition… There may be ten million kinds of sounds and changes in the movie.
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  sound engineer is the sound film era movie voice makers. The recording engineer Wang Danrong, who worked with Feng Xiaogang Octave, is used to interpreting “recording” as “sound design”. He thinks it is easier to understand this type of work as a kind of artistic creation, which is the overall control of the sound of the entire movie. In 2005, Tao Jing, the “big man” in the Chinese film recording industry, defeated the simultaneously nominated “Harry Potter” with “Ambush on Ten Sides”, and won the Oscar for film sound creation-the “Golden” by the American Film Sound Association. Reel Award”. He felt that the winning was justified: “Harry Potter made the right sound, but there was no emotion, no heart, no creativity.”
  The moment Shujuan was rescued in “Jinling Thirteen Hairpins”, Tong Daweiyi The gun hit the stained glass, “That is the best sound in life. When that piece of stained glass is broken, it makes people feel that it is not the sound of glass breaking, it is an angel’s ringtone.” Tao Jing analyzed his design “The moment Chen Daoming secretly came back to see Gong Li in “Return” and knocked on the door. This knock on the door will shape Chen Daoming’s psychology and Gong Li’s psychology. Will she open or not? The moment she will not open, She regretted it all her life.” Chen Daoming went home for the first time. Tao Jing and Zhang Yimou discussed the number of knocks, the rhythm, the severity, and the texture of the door five times. “Finally, the people in the animation department are going crazy.”
  Discussing with the director will inevitably lead to disagreements. Tao Jing feels that “no disagreement is meaningless”. In Tao Jing and Wang Danrong’s view, absolute obedience to the director is not true creation. Anyone who has worked with Tao Jing and Wang Danrong knows how harsh they are with details, and they are even known for their “greed” in the circle. Dialogue instructor Cheng Yin called Wang Danrong “Wang Tanrong”. He always asked Wang Danrong: “You are too greedy, how many records do you want to record?” Wang Danrong’s answer is: record as much as possible. Another apprentice of Tao Jing, Xiao Jing, commented that he is a greedy designer, “always squeezing.” In order to record the sound of stepping on broken flower pots when filming “Full of Golden Armor in the City”, Tao Jing found more than two thousand flower pots and asked the assistants to step on them in groups, and finally found what he wanted. “An overwhelming voice.”
  In “Jinling Thirteen Hairpins”, Tao Jing must carefully design all the details of the female students’ struggles-the strength of each person’s struggle and what kind of tone they use. The sound of the girl falling to death in front of Christian Bale alive, if you can hear her bones may be 7 broken, her skull cracked. Even the soaking of the urine that the Japanese soldiers gave was so long and urgent. After that, they let out a sigh of relief. They were all designed by Tao Jing, because “the Japanese soldiers have been holding back for three or four hours since they entered the city.”
  The time spent holding urine and a few broken bones are not written in the script. The sound engineer needs to consider and design in advance. Kung fu is seen here, but it is beyond the sound. Taiwanese sound master Du Duzhi has a habit of observing people’s behavior whenever he goes there, because his behavior will change the sound. “For example, some people are very cautious, so he walks like a cat.”
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  recording this line, there are a lot of manual labor segments: pre-radio, post-editing, foley, dynamic efficiency, recorded material, mixing, and so on. In the early days, the sound engineer had to “get it to the end” alone. There is a Chinese pharmacy that boils a lot of medicine in “Full of the City”. The sound of boiling medicine is not something that ordinary Chinese medicine can make. You have to put washing powder in it. But after adding detergent, there is too much foam, so add some vinegar to get rid of some foam. In Tao Jing’s view, this is just common sense that a sound engineer must possess. Many sound engineers know what they want, but they can’t achieve the corresponding effect.
  There will always be various reasons. The sound cannot be recorded or badly recorded at the same time as the film is being shot. This has to rely on the folio or animation artist to “make it out of nothing”.
  Long Lan, a fomphonist of the China Film Group, made a folio for “Tai囧”. In the scene where Wang Baoqiang massaged Huang Bo, there was a voice that Wang Baoqiang slapped Huang Bo’s face and needed Long Lan to do. “Of course it’s best to find a real person to record, but no one will let you do that.” After thinking about it, he found a piece of pork. “It’s probably so thick,” he said while drawing the thickness of the pork with his hand. It looked like seven or eight centimeters. “The one with pigskin, but the skin is too hard, really too hard, so I turned it over and took the pork belly. Face,’pop’, it’s done.”
  Compared with other subdivisions of sound, the Foley Master is probably the lowest key. At the end of the film, their names are often ignored in the cast and crew list, and even some film practitioners know little about the industry. Ge You’s father, Mr. Ge Cunzhuang, once said to Wei Junhua, a well-known folio player, “We are so familiar with each other. It is only through TV shows that I know that your voices came from this way.” Even in the most productive period of Chinese movies, the whole country There are only 17 folios, and now there are less than 5 regular folios registered by the SARFT.
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  film sound this business of everyone and everything in its own way to understand or agree with film-making, and become an important part of it.
  Du Duzhi and his company have spent a lot of effort collecting and sorting out the sound materials that have been made. He believes that the value of a sound engineer is not in the amount of equipment, but in how many databases you have. He believes that the truly distinctive voices such as the old Sichuan grandmother cursing others and rubbing mahjong at the house next door can only be collected by himself.
  Tao Jing admired the simultaneous sound of the scene. He just kept the sound he used, even if it was hard to obtain. This is related to his understanding of art, “Art is what you want to show must be unavailable in the world, not the same.”
  Yan Long, 30, has never been to a nightclub several times because the teacher reminded them to protect their ears when they first entered school. He said: “Some of my classmates even buy that kind of soundproof earplugs. He almost always wears earplugs and pays special attention to hearing protection.” But later discovered that because of long-term work in a large decibel environment, after the age of 40 or 50 Many sound engineers still have poor hearing.
  But Yan Long slowly discovered that the quality of hearing is not decisive. “As a recording engineer, he mainly relies on attention.” When taking a bus, he will notice the sound of the car starting. This change in the sound makes He found it interesting, but to ordinary people, it was just a reminder.
  It is a pity that every time we walk into the theater, the wonderful movements and narrative order hidden behind the sound engineers are often lost in the “crunch” of our popcorn and the whispers of people around us.

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