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Tasos Frantzolas: Everything you hear on film is a lie
Tasos Frantzolas: Sve što čujete na filmu je laž
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Zvučni dizajn je zasnovan na obmani -- kada gledate film ili televizijsku seriju, gotovo svi zvukovi koje čujete su lažni. U ovom govoru bogatom zvukovima, Tasos Frantzolas istražuje ulogu zvuka u pripovijedanju i demonstrira kako jednostavno ono što čujemo zavarava naš mozak.
Tasos Frantzolas - Entrepreneur
Tasos Frantzolas lives and creates at the intersection of audio and technology. Full bio
Tasos Frantzolas lives and creates at the intersection of audio and technology. Full bio
Double-click the English transcript below to play the video.
00:12
I want to start by doing an experiment.
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Želim započeti eksperimentom.
00:16
I'm going to play three videos
of a rainy day.
of a rainy day.
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Pustit ću vam tri snimke kišnog dana.
00:20
But I've replaced the audio
of one of the videos,
of one of the videos,
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No, u jednoj snimci je zamijenjen zvuk,
00:24
and instead of the sound of rain,
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pa sam umjesto zvuka kiše
00:27
I've added the sound of bacon frying.
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dodao zvuk slanine dok se prži.
00:31
So I want you think carefully
which one the clip with the bacon is.
which one the clip with the bacon is.
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Želim da dobro razmislite
koja snimka sadrži taj zvuk slanine.
koja snimka sadrži taj zvuk slanine.
00:35
(Rain falls)
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(Pada kiša)
00:39
(Rain falls)
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(Pada kiša)
00:43
(Rain falls)
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(Pada kiša)
00:52
All right.
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Dobro.
00:55
Actually, I lied.
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Zapravo, lagao sam.
00:57
They're all bacon.
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To je sve zvuk slanine.
00:58
(Bacon sizzles)
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(Slanina cvrči)
01:04
(Applause)
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(Pljesak)
01:09
My point here isn't really
to make you hungry
to make you hungry
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Nije mi cilj da ogladnite
01:12
every time you see a rainy scene,
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svaki put kad vidite kišnu scenu,
01:14
but it's to show that our brains
are conditioned to embrace the lies.
are conditioned to embrace the lies.
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nego pokazati da su naši mozgovi
uvježbani prihvatiti laži.
uvježbani prihvatiti laži.
01:20
We're not looking for accuracy.
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Ne tražimo točnost.
01:23
So on the subject of deception,
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Što se tiče teme zavaravanja,
01:26
I wanted to quote one
of my favorite authors.
of my favorite authors.
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htio bih citirati jednog
od mojih omiljenih autora.
od mojih omiljenih autora.
01:29
In "The Decay of Lying,"
Oscar Wilde establishes the idea
Oscar Wilde establishes the idea
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U "Ocvatu laganja,"
Oscar Wilde utvrđuje
Oscar Wilde utvrđuje
01:36
that all bad art comes from copying
nature and being realistic;
nature and being realistic;
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da sva loša umjetnost potječe od
kopiranja prirode i realizma;
kopiranja prirode i realizma;
01:43
and all great art comes
from lying and deceiving,
from lying and deceiving,
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dok sva velika umjetnost
potječe od laganja i zavaravanja,
potječe od laganja i zavaravanja,
01:49
and telling beautiful, untrue things.
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izgovaranja lijepih, nestvarnih stvari.
01:52
So when you're watching a movie
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Pa, kad gledate film
01:56
and a phone rings,
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i zazvoni telefon,
01:58
it's not actually ringing.
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on zapravo ne zvoni.
02:00
It's been added later
in postproduction in a studio.
in postproduction in a studio.
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Dodan je kasnije
u studijskoj postprodukciji.
u studijskoj postprodukciji.
02:05
All of the sounds you hear are fake.
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Svi zvukovi koje čujete su lažni.
02:08
Everything, apart from the dialogue,
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Sve, osim dijaloga,
02:09
is fake.
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je lažno.
02:11
When you watch a movie and you see
a bird flapping its wings --
a bird flapping its wings --
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Kada gledate film i vidite
pticu koja lepeće svojim krilima --
pticu koja lepeće svojim krilima --
02:14
(Wings flap)
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(Lepet krila)
02:18
They haven't really recorded the bird.
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Zapravo nisu snimili pticu.
02:20
It sounds a lot more realistic
if you record a sheet
if you record a sheet
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Zvuči mnogo realističnije
ako snimite plahtu
ako snimite plahtu
02:25
or shaking kitchen gloves.
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ili tresete kuhinjske rukavice.
02:27
(Flaps)
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(Lepet)
02:30
The burning of a cigarette up close --
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Gorenje cigarete izbliza --
02:33
(Cigarette burns)
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(Cigareta gori)
02:37
It actually sounds a lot more authentic
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Zapravo zvuči mnogo autentičnije
02:40
if you take a small Saran Wrap ball
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kad uzmete lopticu Saran folije
02:42
and release it.
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i otpustite je.
02:44
(A Saran Warp ball being released)
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(Otpuštanje loptice Saran folije)
02:47
Punches?
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Udarci?
02:49
(Punch)
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(Čuje se udarac)
02:50
Oops, let me play that again.
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Jao, dajte da čujemo ponovno.
02:52
(Punch)
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(Čuje se udarac)
02:54
That's often done by sticking
a knife in vegetables,
a knife in vegetables,
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To se često čini zabadanjem
noža u povrće,
noža u povrće,
02:58
usually cabbage.
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obično u kupus.
03:00
(Cabbage stabbed with a knife)
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(Zvuk kupusa probodenog nožem)
03:02
The next one -- it's breaking bones.
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Sljedeći -- lomljenje kostiju.
03:05
(Bones break)
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(Lomljenje kostiju)
03:08
Well, no one was really harmed.
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Nitko nije stvarno ozlijeđen.
03:11
It's actually ...
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To je zapravo ...
03:13
breaking celery or frozen lettuce.
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lomljenje celera ili zamrznute salate.
03:16
(Breaking frozen lettuce or celery)
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(Lomljenje salate ili celera)
(U Brooklynu koriste kelj)
03:18
(Laughter)
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(Smijeh)
03:21
Making the right sounds
is not always as easy
is not always as easy
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Stvaranje pravih zvukova
nije uvijek tako jednostavno
nije uvijek tako jednostavno
03:25
as a trip to the supermarket
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kao izlet u trgovinu namirnicama
03:27
and going to the vegetable section.
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i odlazak na odjeljak s povrćem.
03:30
But it's often a lot more
complicated than that.
complicated than that.
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Često je puno složenije od toga.
03:33
So let's reverse-engineer together
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Hajdemo obrnutim inženjeringom
03:36
the creation of a sound effect.
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objasniti stvaranje zvučnog efekta.
03:38
One of my favorite stories
comes from Frank Serafine.
comes from Frank Serafine.
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Jedna od mojih najdražih priča
je ona Franka Serafinea.
je ona Franka Serafinea.
03:41
He's a contributor to our library,
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On je naš suradnik
03:43
and a great sound designer for "Tron"
and "Star Trek" and others.
and "Star Trek" and others.
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i odličan dizajner zvuka za "Tron",
"Star Trek" i druge.
"Star Trek" i druge.
03:48
He was part of the Paramount team
that won the Oscar for best sound
that won the Oscar for best sound
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Bio je član tima Paramount
koji je osvojio Oscara za najbolji zvuk
koji je osvojio Oscara za najbolji zvuk
03:53
for "The Hunt for Red October."
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za "Lov na crveni Oktobar".
03:55
In this Cold War classic, in the '90s,
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Za ovaj klasik o Hladnom ratu,
devedesetih godina,
devedesetih godina,
03:58
they were asked to produce the sound
of the propeller of the submarine.
of the propeller of the submarine.
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tražili su ih da proizvedu zvuk
propelera podmornice.
propelera podmornice.
04:03
So they had a small problem:
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Imali su mali problem:
04:05
they couldn't really find
a submarine in West Hollywood.
a submarine in West Hollywood.
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nisu baš mogli naći
podmornicu u Zapadnom Hollywoodu.
podmornicu u Zapadnom Hollywoodu.
04:08
So basically, what they did is,
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Pa su, u principu, učinili ovo -
04:12
they went to a friend's swimming pool,
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otišli su dp bazena svoga prijatelja,
04:15
and Frank performed
a cannonball, or bomba.
a cannonball, or bomba.
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Frank je izveo skok bombe.
04:21
They placed an underwater mic
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Postavili su podvodni mikrofon
04:23
and an overhead mic
outside the swimming pool.
outside the swimming pool.
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i jedan gornji van bazena.
04:26
So here's what the underwater
mic sounds like.
mic sounds like.
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Evo kako zvuči podvodni mikrofon.
04:29
(Underwater plunge)
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(Uron)
04:31
Adding the overhead mic,
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Dodavanjem vanjskog mikrofona
04:33
it sounded a bit like this:
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zvučalo je ovako:
04:35
(Water splashes)
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(Prskanje vode)
04:37
So now they took the sound
and pitched it one octave down,
and pitched it one octave down,
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Zvuk su snizili za jednu oktavu,
04:41
sort of like slowing down a record.
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kao što se npr. usporava snimka.
04:44
(Water splashes at lower octave)
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(Prskanje vode na nižoj oktavi)
04:47
And then they removed
a lot of the high frequencies.
a lot of the high frequencies.
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Potom su uklonili
mnoge visoke frekvencije.
mnoge visoke frekvencije.
04:50
(Water splashes)
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(Prskanje vode)
04:53
And pitched it down another octave.
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Smanjili za još jednu oktavu.
04:56
(Water splashes at lower octave)
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(Prskanje vode na nižoj oktavi)
04:58
And then they added
a little bit of the splash
a little bit of the splash
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Potom su dodali
malo prskanja
malo prskanja
05:01
from the overhead microphone.
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snimljenog gornjim mikrofonom.
05:03
(Water splashes)
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(Prskanje vode)
05:06
And by looping and repeating that sound,
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Ponavljanjem tog zvuka,
05:09
they got this:
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dobili su ovo
05:10
(Propeller churns)
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(Bućkanje propelera)
05:16
So, creativity and technology put together
in order to create the illusion
in order to create the illusion
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Kreativnost i tehnologija se ujedine
da bi se stvorila iluzija
da bi se stvorila iluzija
05:23
that we're inside the submarine.
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da smo unutar podmornice.
05:26
But once you've created your sounds
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No, jednom kada ste stvorili zvukove
05:30
and you've synced them to the image,
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i uskladili ih sa slikom,
05:32
you want those sounds to live
in the world of the story.
in the world of the story.
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želite da ti zvukovi žive u svijetu priče.
05:37
And one the best ways to do
that is to add reverb.
that is to add reverb.
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Jedan od najboljih načina
da se to izvede je dodavanje odjeka.
da se to izvede je dodavanje odjeka.
05:41
So this is the first audio tool
I want to talk about.
I want to talk about.
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To je prvi zvučni alat
o kojem bih htio govoriti.
o kojem bih htio govoriti.
05:45
Reverberation, or reverb,
is the persistence of the sound
is the persistence of the sound
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Dodavanje odjeka je
postojanje zvuka
postojanje zvuka
05:50
after the original sound has ended.
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kada izvorni zvuk završi.
05:52
So it's sort of like the --
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To je otprilike poput --
05:54
all the reflections from the materials,
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svih odraza materijala,
05:57
the objects and the walls
around the sound.
around the sound.
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predmeta i zidova
oko zvuka.
oko zvuka.
06:00
Take, for example, the sound of a gunshot.
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Uzmimo, primjerice, zvuk pucnja.
06:03
The original sound is less
than half a second long.
than half a second long.
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Izvorni zvuk traje manje od pola sekunde.
06:08
(Gunshot)
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(Pucanj)
06:09
By adding reverb,
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Dodavanjem odjeka,
06:11
we can make it sound like
it was recorded inside a bathroom.
it was recorded inside a bathroom.
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možemo učiniti da zvuči
kao da je snimljen u kupaonici.
kao da je snimljen u kupaonici.
06:15
(Gunshot reverbs in bathroom)
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(Pucanj odjekuje u kupaonici)
06:17
Or like it was recorded
inside a chapel or a church.
inside a chapel or a church.
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Ili kao da je snimljen
u kapelici ili crkvi.
u kapelici ili crkvi.
06:20
(Gunshot reverbs church)
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(Pucanj odjekuje crkvom)
06:23
Or in a canyon.
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Ili u kanjonu.
06:26
(Gunshot reverbs in canyon)
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(Pucanj odjekuje kanjonom)
06:27
So reverb gives us a lot of information
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Odjek nam daje puno informacija
06:30
about the space between the listener
and the original sound source.
and the original sound source.
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o prostoru između slušatelja
i originalnog izvora zvuka.
i originalnog izvora zvuka.
06:35
If the sound is the taste,
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Ako je zvuk okus,
06:37
then reverb is sort of like
the smell of the sound.
the smell of the sound.
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tada je odjek otprilike kao miris zvuka.
06:42
But reverb can do a lot more.
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No, odjek može mnogo više od toga.
06:44
Listening to a sound
with a lot less reverberation
with a lot less reverberation
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Slušanje zvuka s puno manje odjeka
06:48
than the on-screen action
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nego što ima ekranske radnje
06:50
is going to immediately signify to us
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odmah će nam značiti
06:53
that we're listening to a commentator,
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da slušamo komentatora,
06:56
to an objective narrator that's not
participating in the on-screen action.
participating in the on-screen action.
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objektivnog pripovjedača koji
ne sudjeluje u ekranskoj radnji.
ne sudjeluje u ekranskoj radnji.
07:02
Also, emotionally intimate
moments in cinema
moments in cinema
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Također, emocionalno intimni
trenuci u kinu
trenuci u kinu
07:06
are often heard with zero reverb,
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često se ne čuju s ikakvim odjekom,
07:08
because that's how it would sound
if someone was speaking inside our ear.
if someone was speaking inside our ear.
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jer, tako bi zvučalo da nam netko
govori u uhu.
govori u uhu.
07:13
On the completely other side,
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S druge strane,
07:15
adding a lot of reverb to a voice
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dodavanjem puno odjeka glasu
07:17
is going to make us think
that we're listening to a flashback,
that we're listening to a flashback,
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pomislit ćemo da slušamo flashback,
07:21
or perhaps that we're inside
the head of a character
the head of a character
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ili da smo u glavi lika
07:25
or that we're listening
to the voice of God.
to the voice of God.
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ili da slušamo Božji glas.
07:28
Or, even more powerful in film,
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Ili, još snažnije na filmu,
07:30
Morgan Freeman.
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Morgana Freemana.
07:32
(Laughter)
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(Smijeh)
07:33
So --
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Pa --
07:34
(Applause)
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(Pljesak)
07:37
But what are some other tools or hacks
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Koji su neki drugi alati ili trikovi
07:41
that sound designers use?
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koje koriste zvučni dizajneri?
07:44
Well, here's a really big one.
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Evo jedan važni.
07:51
It's silence.
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To je tišina.
07:53
A few moments of silence
is going to make us pay attention.
is going to make us pay attention.
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Par trenutaka tišine
će nas prisiliti da pozorno pratimo.
će nas prisiliti da pozorno pratimo.
07:57
And in the Western world,
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U zapadnom svijetu,
08:00
we're not really used to verbal silences.
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nismo baš navikli na verbalne tišine.
08:02
They're considered awkward or rude.
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Smatraju se neugodnima ili bezobraznima.
08:06
So silence preceding verbal communication
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Tišina koja prethodi
verbalnoj komunikaciji
verbalnoj komunikaciji
08:11
can create a lot of tension.
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može stvoriti veliku napetost.
08:13
But imagine a really big Hollywood movie,
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No, zamislite veliki holivudski film,
08:16
where it's full of explosions
and automatic guns.
and automatic guns.
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pun eksplozija i pucnjeva.
08:22
Loud stops being loud
anymore, after a while.
anymore, after a while.
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Glasno prestane biti glasno
nakon nekog vremena.
nakon nekog vremena.
08:26
So in a yin-yang way,
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Na neki yin-yang način,
08:27
silence needs loudness
and loudness needs silence
and loudness needs silence
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tišina treba galamu
i galama treba tišinu
i galama treba tišinu
08:31
for either of them to have any effect.
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da bi ijedno od njih imalo učinka.
08:34
But what does silence mean?
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Ali, što znači tišina?
08:35
Well, it depends how
it's used in each film.
it's used in each film.
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Pa, ovisi kako se koristi u filmu.
08:39
Silence can place us inside
the head of a character
the head of a character
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Tišina nas može smjestiti
u glavu nekog lika
u glavu nekog lika
08:42
or provoke thought.
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ili nagnati na razmišljanje.
08:44
We often relate silences with ...
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Često poistovjećujemo tišinu s ...
08:48
contemplation,
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mozganjem,
08:50
meditation,
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meditacijom,
08:53
being deep in thought.
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dubokim razmišljanjem.
08:56
But apart from having one meaning,
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No, osim što ima jedno značenje,
08:59
silence becomes a blank canvas
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tišina postane prazno platno
09:01
upon which the viewer is invited
to the paint their own thoughts.
to the paint their own thoughts.
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kojim se gledatelja poziva
da slika vlastite misli.
da slika vlastite misli.
09:06
But I want to make it clear:
there is no such thing as silence.
there is no such thing as silence.
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Da pojasnim:
tišina ne postoji.
tišina ne postoji.
09:11
And I know this sounds like the most
pretentious TED Talk statement ever.
pretentious TED Talk statement ever.
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Znam da ovo zvuči kao
najpretencioznija izjava na TED govoru ikad.
najpretencioznija izjava na TED govoru ikad.
09:16
But even if you were to enter
a room with zero reverberation
a room with zero reverberation
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Ali, da uđete u prostoriju bez odjeka
09:22
and zero external sounds,
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i bez vanjskih zvukova,
09:24
you would still be able to hear
the pumping of your own blood.
the pumping of your own blood.
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svejedno biste mogli
čuti pumpanje vlastite krvi.
čuti pumpanje vlastite krvi.
09:28
And in cinema, traditionally,
there was never a silent moment
there was never a silent moment
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U kinu, tradicionalno,
nikad nije bilo nijemih trenutaka
nikad nije bilo nijemih trenutaka
09:32
because of the sound of the projector.
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zbog zvuka projektora.
09:34
And even in today's Dolby world,
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Čak i danas u svijetu Dolby-ja,
09:38
there's not really any moment of silence
if you listen around you.
if you listen around you.
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ako poslušate oko sebe, ne postoji
nijedan trenutak tišine.
nijedan trenutak tišine.
09:42
There's always some sort of noise.
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Uvijek postoji neka vrsta buke.
09:44
Now, since there's no such
thing as silence,
thing as silence,
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Kako tišina ne postoji,
09:47
what do filmmakers
and sound designers use?
and sound designers use?
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što koriste filmski snimatelji
i zvučni dizajneri?
i zvučni dizajneri?
09:51
Well, as a synonym,
they often use ambiences.
they often use ambiences.
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Često koriste ambijente kao sinonim.
09:56
Ambiences are the unique background sounds
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Ambijenti su jedinstveni
pozadinski zvukovi
pozadinski zvukovi
10:00
that are specific to each location.
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koji su specifični za svaku lokaciju.
10:03
Each location has a unique sound,
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Svaka lokacija ima jedinstven zvuk,
10:05
and each room has a unique sound,
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i svaka prostorija ima jedinstven zvuk,
10:07
which is called room tone.
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koji se zove prostorski ton.
10:08
So here's a recording
of a market in Morocco.
of a market in Morocco.
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Pa, evo snimke tržnice u Maroku.
10:11
(Voices, music)
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(Glasovi, glazba)
10:17
And here's a recording
of Times Square in New York.
of Times Square in New York.
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Evo i snimke Times Squarea u New Yorku.
10:20
(Traffic sounds, car horns, voices)
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(Zvukovi prometa,
automobilskih truba i glasova)
automobilskih truba i glasova)
10:27
Room tone is the addition of all
the noises inside the room:
the noises inside the room:
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Prostorni zvuk je dodavanje svih
glasova unutar prostorije:
glasova unutar prostorije:
10:31
the ventilation, the heating, the fridge.
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ventilacija, grijanje, hladnjak.
10:33
Here's a recording
of my apartment in Brooklyn.
of my apartment in Brooklyn.
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Evo snimke moga stana u Brooklynu.
10:36
(You can hear the ventilation, the boiler,
the fridge and street traffic)
the fridge and street traffic)
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(Možete čuti ventilaciju, bojler,
hladnjak, ulični promet)
hladnjak, ulični promet)
10:47
Ambiences work in a most primal way.
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Ambijenti funkcioniraju
na najprimitivniji način.
na najprimitivniji način.
10:52
They can speak directly
to our brain subconsciously.
to our brain subconsciously.
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Direktno i podsvjesno
obraćaju se našem mozgu.
obraćaju se našem mozgu.
10:56
So, birds chirping outside your window
may indicate normality,
may indicate normality,
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Ptice koje cvrkuću na vašem prozoru
mogu biti znak normale,
mogu biti znak normale,
11:02
perhaps because, as a species,
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možda zato što smo, kao vrsta,
11:05
we've been used to that sound
every morning for millions of years.
every morning for millions of years.
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naviknuti čuti taj zvuk svako jutro
već milijunima godina.
već milijunima godina.
11:10
(Birds chirp)
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(Cvrkut ptica)
11:17
On the other hand, industrial sounds
have been introduced to us
have been introduced to us
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S druge strane, industrijske zvukove
smo upoznali tek nedavno.
smo upoznali tek nedavno.
11:21
a little more recently.
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11:23
Even though I really like
them personally --
them personally --
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Iako ih osobno stvarno volim --
11:26
they've been used by one
of my heroes, David Lynch,
of my heroes, David Lynch,
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koristili su ih neki od mojih junaka,
David Lynch,
David Lynch,
11:28
and his sound designer, Alan Splet --
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i njegov tonski dizajner, Alan Splet --
11:30
industrial sounds often carry
negative connotations.
negative connotations.
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industrijski zvukovi često nose
negativne konotacije.
negativne konotacije.
11:33
(Machine noises)
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(Zvukovi mašina)
11:40
Now, sound effects can tap
into our emotional memory.
into our emotional memory.
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Zvučni efekti mogu
posegnuti u naše emocionalno pamćenje.
posegnuti u naše emocionalno pamćenje.
11:46
Occasionally, they can be so significant
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Povremeno mogu biti tako važni
11:49
that they become a character in a movie.
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da postanu filmski lik.
11:52
The sound of thunder may indicate
divine intervention or anger.
divine intervention or anger.
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Zvuk groma može označavati
božansku intervenciju ili ljutnju.
božansku intervenciju ili ljutnju.
11:58
(Thunder)
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(Grmljavina)
12:03
Church bells can remind us
of the passing of time,
of the passing of time,
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Crkvena zvona nas mogu podsjetiti na
prolaznost vremena
prolaznost vremena
12:07
or perhaps our own mortality.
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ili možda na našu vlastitu smrtnost.
12:11
(Bells ring)
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(Zvonjava crkvenih zvona)
12:19
And breaking of glass can
indicate the end of a relationship
indicate the end of a relationship
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Lomljenje stakla
može označavati kraj veze
može označavati kraj veze
12:24
or a friendship.
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ili prijateljstva.
12:26
(Glass breaks)
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(Lom stakla)
12:28
Scientists believe that dissonant sounds,
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Znanstvenici vjeruju da disonantni zvukovi
12:32
for example, brass or wind
instruments played very loud,
instruments played very loud,
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npr., limeni ili puhački instrumenti
kada se glasno sviraju,
kada se glasno sviraju,
12:38
may remind us of animal howls in nature
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mogu podsjetiti na zvukove
zavijanja životinja u prirodi
zavijanja životinja u prirodi
12:42
and therefore create a sense
of irritation or fear.
of irritation or fear.
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i stoga stvoriti osjećaj
nelagode ili straha.
nelagode ili straha.
12:46
(Brass and wind instruments play)
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(Sviraju limeni i puhački instrumenti)
12:52
So now we've spoken
about on-screen sounds.
about on-screen sounds.
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To je što se tiče zvukova s platna.
12:56
But occasionally, the source
of a sound cannot be seen.
of a sound cannot be seen.
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Ali ponekad ne možemo vidjeti izvor zvuka.
13:00
That's what we call offscreen sounds,
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To zovemo off-screen zvukovima
(zvukovima van platna)
(zvukovima van platna)
13:03
or "acousmatic."
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ili "akuzmatikom".
13:05
Acousmatic sounds --
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Akuzmatični zvukovi --
13:07
well, the term "acousmatic" comes
from Pythagoras in ancient Greece,
from Pythagoras in ancient Greece,
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pa, termin dolazi od Pitagore
iz drevne Grčke,
iz drevne Grčke,
13:12
who used to teach behind
a veil or curtain for years,
a veil or curtain for years,
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koji je godinama podučavao iza zastora,
13:16
not revealing himself to his disciples.
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neotkrivajući se svojim sljedbenicima.
13:19
I think the mathematician
and philosopher thought that,
and philosopher thought that,
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Mislim da je taj matematičar
i filozof mislio da se tako
i filozof mislio da se tako
13:23
in that way,
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13:25
his students might focus
more on the voice,
more on the voice,
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njegovi učenici mogu
više usredotočiti na glas,
više usredotočiti na glas,
13:29
and his words and its meaning,
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njegove riječi i njihovo značenje
13:31
rather than the visual of him speaking.
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nego na prizor njega dok govori.
13:34
So sort of like the Wizard of Oz,
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Slično kao Čarobnjak iz Oza
13:37
or "1984's" Big Brother,
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ili Veliki Brat iz "1984"
13:42
separating the voice from its source,
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odvajajući zvuk od svoga izvora,
13:45
separating cause and effect
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odvajajući uzrok i ishod,
13:48
sort of creates a sense
of ubiquity or panopticism,
of ubiquity or panopticism,
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stvara se osjećaj
sveprisutnosti ili panopticizma
sveprisutnosti ili panopticizma
13:52
and therefore, authority.
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i, stoga, autoriteta.
13:55
There's a strong tradition
of acousmatic sound.
of acousmatic sound.
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Postoji velika tradicija
akuzmatičnog zvuka.
akuzmatičnog zvuka.
13:59
Nuns in monasteries in Rome and Venice
used to sing in rooms
used to sing in rooms
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Časne sestre
u rimskim i venecijanskim samostanima
u rimskim i venecijanskim samostanima
običavale su pjevati
u galerijskim prostorijama blizu stropa
u galerijskim prostorijama blizu stropa
14:05
up in galleries close to the ceiling,
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14:09
creating the illusion that we're listening
to angels up in the sky.
to angels up in the sky.
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stvarajući iluziju da slušamo
anđele na nebu.
anđele na nebu.
14:14
Richard Wagner famously
created the hidden orchestra
created the hidden orchestra
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Richard Wagner je slavno stvorio
skriveni orkestar
skriveni orkestar
14:18
that was placed in a pit
between the stage and the audience.
between the stage and the audience.
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koji je bio smješten u
prostoru između pozornice i publike.
prostoru između pozornice i publike.
14:21
And one of my heroes, Aphex Twin,
famously hid in dark corners of clubs.
famously hid in dark corners of clubs.
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Jedan od mojih junaka, Aphex Twin,
sakrivao se u tamnim kutevima klubova.
sakrivao se u tamnim kutevima klubova.
14:27
I think what all these masters knew
is that by hiding the source,
is that by hiding the source,
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Mislim da su svi ovi majstori znali
da skrivanjem izvora
da skrivanjem izvora
14:32
you create a sense of mystery.
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stvarate osjećaj misterije.
14:33
This has been seen
in cinema over and over,
in cinema over and over,
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To je viđeno na filmu nebrojeno puta
14:35
with Hitchcock,
and Ridley Scott in "Alien."
and Ridley Scott in "Alien."
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s Hitchcockom,
i Ridley Scottom u filmu "Alien".
i Ridley Scottom u filmu "Alien".
14:39
Hearing a sound without knowing its source
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Čuti zvuk bez znanja o njegovom izvoru
14:41
is going to create some sort of tension.
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stvorit će nekakvu napetost.
14:46
Also, it can minimize certain visual
restrictions that directors have
restrictions that directors have
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Smanjit će neka vizualna ograničenja
s kojima se suočavaju filmski redatelji
s kojima se suočavaju filmski redatelji
14:52
and can show something
that wasn't there during filming.
that wasn't there during filming.
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i pokazati nam nešto što
tamo nije bilo tijekom snimanja.
tamo nije bilo tijekom snimanja.
14:55
And if all this sounds
a little theoretical,
a little theoretical,
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Sve ovo zvuči možda previše teoretski,
14:57
I wanted to play a little video.
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pa bih vam pustio video snimku.
15:01
(Toy squeaks)
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(Cvičanje igračke)
15:04
(Typewriter)
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(Pisaća mašina)
15:07
(Drums)
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(Bubnjevi)
15:11
(Ping-pong)
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(Ping-pong)
15:14
(Knives being sharpened)
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(Oštrenje noževa)
15:17
(Record scratches)
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(Grebanje vinil ploče)
15:21
(Saw cuts)
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(Pilanje)
15:22
(Woman screams)
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(Ženski vrisak)
15:24
What I'm sort of trying
to demonstrate with these tools
to demonstrate with these tools
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Ono što želim prikazati ovim alatima
15:29
is that sound is a language.
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je da je zvuk jezik.
15:32
It can trick us by transporting
us geographically;
us geographically;
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Može nas prevariti
prenoseći nas geografski;
prenoseći nas geografski;
15:36
it can change the mood;
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može promijeniti raspoloženje;
15:38
it can set the pace;
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može postaviti ritam;
15:41
it can make us laugh
or it can make us scared.
or it can make us scared.
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može nas nasmijati ili uplašiti.
15:46
On a personal level, I fell
in love with that language
in love with that language
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Osobno, zaljubio sam se u taj jezik
15:50
a few years ago,
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prije nekoliko godina
15:51
and somehow managed to make it
into some sort of profession.
into some sort of profession.
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i nekako uspio to učiniti profesijom.
15:57
And I think with our work
through the sound library,
through the sound library,
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Mislim da našim radom u
zvučnoj biblioteci
zvučnoj biblioteci
16:00
we're trying to kind of expand
the vocabulary of that language.
the vocabulary of that language.
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pokušavamo proširiti vokabular toga jezika
16:07
And in that way, we want
to offer the right tools
to offer the right tools
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i, na taj način,
ponuditi prave alate
ponuditi prave alate
16:11
to sound designers,
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toncima,
16:12
filmmakers,
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filmskim snimateljima
16:14
and video game and app designers,
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i dizajnerima video igrica
i aplikacija
i aplikacija
16:16
to keep telling even better stories
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kako bismo nastavili pričati
još bolje priče
još bolje priče
16:20
and creating even more beautiful lies.
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i stvarati još ljepše laži.
16:23
So thanks for listening.
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Pa, hvala vam na slušanju.
16:24
(Applause)
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(Pljesak)
ABOUT THE SPEAKER
Tasos Frantzolas - EntrepreneurTasos Frantzolas lives and creates at the intersection of audio and technology.
Why you should listen
Tasos Frantzolas is a Greek entrepreneur with roots in sound design and music. He is best known as the founder of Soundsnap.com, a sound effects and music library with over one million users and top clients such as HBO, Vice, Apple, NASA, Konami, Microsoft and Pixar.
Growing up in Athens, Greece with a studio under his house, Frantzolas began producing and writing music at the age of 13. He holds a diploma in audio engineering, a BA in sonic arts and an MA in music production and music business. After his education, he enjoyed a brief stint in the UK's music and post-production industries, including sound design work for the BBC and DJing in east London nightclubs. A keen student of electronic and Jamaican music, he has co-written songs with reggae legends such as Horace Andy and Mykal Rose of Black Uhuru.
Frantzolas's business philosophy focuses on the harmony of art and hi-tech and the use of technology to enrich and enable creativity.
Tasos Frantzolas | Speaker | TED.com