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Tasos Frantzolas: Everything you hear on film is a lie
塔索斯· 繁柔拉斯: 你在電影中聽到的一切都是謊言
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聲音設計建立於虛假──當你看一場電影或電視節目時，你聽到的聲音幾乎全部都是假的。在這個聲情並茂的演講裡，塔索斯· 繁柔拉斯探索了聲音在敘事中的作用，以及展示了我們的大腦是多麼容易被我們所聽到的所愚弄。
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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我想做一個實驗作為開端
[塔索斯· 繁柔拉斯]
00:16
I'm going to play three videos
of a rainy day.
of a rainy day.
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我現在要播放三個下雨的短片
00:20
But I've replaced the audio
of one of the videos,
of one of the videos,
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但我把其中一個短片中
下雨的聲音
00:24
and instead of the sound of rain,
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00:27
I've added the sound of bacon frying.
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我把它換成煎培根的聲音
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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所以請你們認真思考
到底哪個短片是煎培根的聲音
到底哪個短片是煎培根的聲音
00:35
(Rain falls)
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（下雨聲）
00:39
(Rain falls)
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（下雨聲）
00:43
(Rain falls)
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（下雨聲）
00:52
All right.
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好了
00:55
Actually, I lied.
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事實上，我說謊了
00:57
They're all bacon.
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它們全是煎培根的聲音
00:58
(Bacon sizzles)
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（煎培根的聲音）
01:04
(Applause)
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（掌聲）
01:09
My point here isn't really
to make you hungry
to make you hungry
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我的重點不是要你每當下雨的時候
01:12
every time you see a rainy scene,
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感到飢餓
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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而是證明我們的大腦
在一些條件下會接受謊言
在一些條件下會接受謊言
01:20
We're not looking for accuracy.
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我們不是在追尋準確性
01:23
So on the subject of deception,
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所以在欺騙的主題中
01:26
I wanted to quote one
of my favorite authors.
of my favorite authors.
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我想引用我最喜歡的作者
01:29
In "The Decay of Lying,"
Oscar Wilde establishes the idea
Oscar Wilde establishes the idea
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奧斯卡·王爾德在《謊言的衰頹》中
建立了這個觀點
01:36
that all bad art comes from copying
nature and being realistic;
nature and being realistic;
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那就是所有差勁的藝術
都來自抄襲大自然和接近現實
都來自抄襲大自然和接近現實
01:43
and all great art comes
from lying and deceiving,
from lying and deceiving,
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所有好的藝術都來自謊言和矇騙
01:49
and telling beautiful, untrue things.
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以此來述說美好，但是虛假的事情
01:52
So when you're watching a movie
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所以當你們看電影時
01:56
and a phone rings,
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電話響了
01:58
it's not actually ringing.
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但其實並不是真的在響
02:00
It's been added later
in postproduction in a studio.
in postproduction in a studio.
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其實是工作室後製做出來的
02:05
All of the sounds you hear are fake.
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你聽到的所有聲音都是虛假的
02:08
Everything, apart from the dialogue,
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除了人物對話
02:09
is fake.
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其他的都是虛假的
02:11
When you watch a movie and you see
a bird flapping its wings --
a bird flapping its wings --
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當你們在看電影時
看到一隻鳥在拍打翅膀
看到一隻鳥在拍打翅膀
02:14
(Wings flap)
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（拍打翅膀的聲音）
02:18
They haven't really recorded the bird.
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他們並沒有真的為鳥錄音
02:20
It sounds a lot more realistic
if you record a sheet
if you record a sheet
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它的聲音更像抖動床單的聲音
02:25
or shaking kitchen gloves.
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或是搖晃廚房的手套
02:27
(Flaps)
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（搖晃的聲音）
02:30
The burning of a cigarette up close --
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近距離看香菸燃燒的聲音
02:33
(Cigarette burns)
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（香菸燃燒）
02:37
It actually sounds a lot more authentic
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聽起來比較像
02:40
if you take a small Saran Wrap ball
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你把一個小的保鮮膜球
02:42
and release it.
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然後放開來
02:44
(A Saran Warp ball being released)
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（把保鮮膜球弄開）
02:47
Punches?
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搥打呢？
02:49
(Punch)
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（搥打聲）
02:50
Oops, let me play that again.
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噢，我再放一次
02:52
(Punch)
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（搥打聲）
02:54
That's often done by sticking
a knife in vegetables,
a knife in vegetables,
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通常是用一把刀刺入蔬菜
02:58
usually cabbage.
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通常是用高麗菜
03:00
(Cabbage stabbed with a knife)
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（一把刀刺入高麗菜中）
03:02
The next one -- it's breaking bones.
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下一個是骨頭斷掉的聲音
03:05
(Bones break)
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（骨折的聲音）
03:08
Well, no one was really harmed.
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沒有人真的受傷了
03:11
It's actually ...
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事實上是
03:13
breaking celery or frozen lettuce.
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把芹菜或是冷凍的生菜折斷的聲音
03:16
(Breaking frozen lettuce or celery)
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（把冷凍的生菜或芹菜弄斷）
03:18
(Laughter)
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（笑聲）
03:21
Making the right sounds
is not always as easy
is not always as easy
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製作適合的聲音
並不像去一趟超市
03:25
as a trip to the supermarket
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03:27
and going to the vegetable section.
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去蔬菜區一樣簡單
03:30
But it's often a lot more
complicated than that.
complicated than that.
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通常是比那個更加複雜
03:33
So let's reverse-engineer together
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因此，讓我們一起來
03:36
the creation of a sound effect.
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將音效的製作反向操作
03:38
One of my favorite stories
comes from Frank Serafine.
comes from Frank Serafine.
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我最喜歡的一個故事
來自法蘭克·沙瑞菲尼
來自法蘭克·沙瑞菲尼
03:41
He's a contributor to our library,
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他是我們聲音庫的贊助者
03:43
and a great sound designer for "Tron"
and "Star Trek" and others.
and "Star Trek" and others.
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他是《創：光速戰記》
和《星際迷航》等電影的聲效設計師
和《星際迷航》等電影的聲效設計師
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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他是派拉蒙圑隊的一個成員
因《獵殺紅色十月》
這部電影獲得奧斯卡獎
這部電影獲得奧斯卡獎
03:53
for "The Hunt for Red October."
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03:55
In this Cold War classic, in the '90s,
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在這部 1990 年代
敍說冷戰時代精典電影裏
敍說冷戰時代精典電影裏
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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他們被要求製作出潛艇螺旋槳的聲音
04:03
So they had a small problem:
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他們有一個小問題
04:05
they couldn't really find
a submarine in West Hollywood.
a submarine in West Hollywood.
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就是他們在西好萊塢
找不到一艘潛水艇
找不到一艘潛水艇
04:08
So basically, what they did is,
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所以基本上，他們做的就是
04:12
they went to a friend's swimming pool,
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去一個朋友家的游泳池
04:15
and Frank performed
a cannonball, or bomba.
a cannonball, or bomba.
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法蘭克發射了一個砲彈或炸彈
04:21
They placed an underwater mic
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他們放置了一個水底麥克風
04:23
and an overhead mic
outside the swimming pool.
outside the swimming pool.
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泳池外再用一個高架麥克風
04:26
So here's what the underwater
mic sounds like.
mic sounds like.
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所以這就是水底麥克風錄到的聲音
04:29
(Underwater plunge)
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（掉入水池中）
04:31
Adding the overhead mic,
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加入高架麥克風的聲音效果
04:33
it sounded a bit like this:
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聽起來有點像這個
04:35
(Water splashes)
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（水花四濺聲）
04:37
So now they took the sound
and pitched it one octave down,
and pitched it one octave down,
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所以他們把聲音調低八度
04:41
sort of like slowing down a record.
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像是把唱片的聲音調慢
04:44
(Water splashes at lower octave)
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（低八度下的水花四濺聲）
04:47
And then they removed
a lot of the high frequencies.
a lot of the high frequencies.
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然後他們把很多高音頻拿掉
04:50
(Water splashes)
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（水花四濺聲）
04:53
And pitched it down another octave.
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然後再往下調低八度
04:56
(Water splashes at lower octave)
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（調低八度的水花四濺聲）
04:58
And then they added
a little bit of the splash
a little bit of the splash
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然後他們從高架麥克風錄到的聲音
05:01
from the overhead microphone.
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擷取一點點的水濺聲
05:03
(Water splashes)
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（水濺聲）
05:06
And by looping and repeating that sound,
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然後重覆那個聲音
05:09
they got this:
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他們得到這個
05:10
(Propeller churns)
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（螺旋槳轉動）
05:16
So, creativity and technology put together
in order to create the illusion
in order to create the illusion
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因此，把創造力和科技放在一起
創造了我們在濳艇裡的錯覺
05:23
that we're inside the submarine.
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05:26
But once you've created your sounds
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一旦你創作出你的聲音
05:30
and you've synced them to the image,
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和影像同步後
05:32
you want those sounds to live
in the world of the story.
in the world of the story.
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你要讓那些聲音在故事裡栩栩如生
05:37
And one the best ways to do
that is to add reverb.
that is to add reverb.
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做這件事最好的方法
是加一點殘響效果
是加一點殘響效果
05:41
So this is the first audio tool
I want to talk about.
I want to talk about.
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這是我要談的第一個音頻的工具
05:45
Reverberation, or reverb,
is the persistence of the sound
is the persistence of the sound
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殘響或混響是把聲音在原聲結束後
05:50
after the original sound has ended.
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再做聲音的遲續
05:52
So it's sort of like the --
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所以這就像是
05:54
all the reflections from the materials,
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所有環繞在聲音周圍的原材料
05:57
the objects and the walls
around the sound.
around the sound.
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物體和牆的反射
06:00
Take, for example, the sound of a gunshot.
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舉一個例子來說，槍擊的聲音
06:03
The original sound is less
than half a second long.
than half a second long.
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原始的聲音不到半秒長
06:08
(Gunshot)
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（槍響聲）
06:09
By adding reverb,
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加上殘響後
06:11
we can make it sound like
it was recorded inside a bathroom.
it was recorded inside a bathroom.
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我們可以做出
好像在浴室裡錄到的聲音
好像在浴室裡錄到的聲音
06:15
(Gunshot reverbs in bathroom)
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（槍響在房裡迴盪的聲音）
06:17
Or like it was recorded
inside a chapel or a church.
inside a chapel or a church.
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或是像是在禮拜堂
或教堂裡錄製的聲音
或教堂裡錄製的聲音
06:20
(Gunshot reverbs church)
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（槍響迴盪在教堂）
06:23
Or in a canyon.
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或是在峽谷
06:26
(Gunshot reverbs in canyon)
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（槍響迴盪在峽谷）
06:27
So reverb gives us a lot of information
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這個殘響給了我們很多
06:30
about the space between the listener
and the original sound source.
and the original sound source.
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關於聽者和聲音來源之間的空間資訊
06:35
If the sound is the taste,
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把聲音當成是口味來說
06:37
then reverb is sort of like
the smell of the sound.
the smell of the sound.
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殘響就像是聲音聞起來的味道
06:42
But reverb can do a lot more.
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殘響可以做更多的事
06:44
Listening to a sound
with a lot less reverberation
with a lot less reverberation
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聽到一個不能配合
06:48
than the on-screen action
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螢幕上的動作，沒有殘響的聲音
06:50
is going to immediately signify to us
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比較容易讓我們立刻覺得
06:53
that we're listening to a commentator,
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我們聽到的是評論員
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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没有參與到螢幕動作的旁白
07:02
Also, emotionally intimate
moments in cinema
moments in cinema
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再者，在電影中情感動人的當下
07:06
are often heard with zero reverb,
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通常聽不到任何殘響
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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因為你應該感覺
好像有人在你耳朵裡說話一般
好像有人在你耳朵裡說話一般
07:13
On the completely other side,
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在完全相反的情況下
07:15
adding a lot of reverb to a voice
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在聲音裡加入很多殘響
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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會使人想到我們正在聽的
是聲音的倒敘
是聲音的倒敘
07:21
or perhaps that we're inside
the head of a character
the head of a character
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或是正在聽演員腦袋裡的聲音
07:25
or that we're listening
to the voice of God.
to the voice of God.
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還是我們正在聽上帝的聲音
07:28
Or, even more powerful in film,
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或甚至在電影更強而有力的是
07:30
Morgan Freeman.
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摩根·費里曼
07:32
(Laughter)
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（笑聲）
07:33
So --
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因此
07:34
(Applause)
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（鼓掌）
07:37
But what are some other tools or hacks
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還有什麼其它工具或是方式
07:41
that sound designers use?
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是音效師所使用的呢？
07:44
Well, here's a really big one.
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這裡有一個很重要的
07:51
It's silence.
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就是無聲
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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幾秒的無聲使我們專心注意
07:57
And in the Western world,
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在西方世界裡
08:00
we're not really used to verbal silences.
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我們不太習慣在講話時靜默下來
08:02
They're considered awkward or rude.
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人們會覺得是很怪或是無禮的行為
08:06
So silence preceding verbal communication
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因此， 無聲在一個
正在進行的口頭交談中
正在進行的口頭交談中
08:11
can create a lot of tension.
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可以製造出很多張力
08:13
But imagine a really big Hollywood movie,
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想像一下在一部好萊塢的大片中
08:16
where it's full of explosions
and automatic guns.
and automatic guns.
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有很多爆破和自動槍械
08:22
Loud stops being loud
anymore, after a while.
anymore, after a while.
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吵雜聲音在一段時間後
就不覺得的吵雜了
就不覺得的吵雜了
08:26
So in a yin-yang way,
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就像陰陽
08:27
silence needs loudness
and loudness needs silence
and loudness needs silence
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安靜需要聲響，聲響需要安靜
08:31
for either of them to have any effect.
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才能得到其中的效果
08:34
But what does silence mean?
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無聲在電影裡是什麼意思呢？
08:35
Well, it depends how
it's used in each film.
it's used in each film.
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這就取決於每一部電影如何使用它
08:39
Silence can place us inside
the head of a character
the head of a character
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無聲可以使我們
像是在角色的腦子裡一樣
像是在角色的腦子裡一樣
08:42
or provoke thought.
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或是激起一些想法
08:44
We often relate silences with ...
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我們通常把無聲想成與
08:48
contemplation,
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沉思
08:50
meditation,
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冥想
08:53
being deep in thought.
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陷入沈思有關
08:56
But apart from having one meaning,
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但是除了有某種意義
08:59
silence becomes a blank canvas
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無聲變成了一塊空白的畫布
09:01
upon which the viewer is invited
to the paint their own thoughts.
to the paint their own thoughts.
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讓觀看的人把自己的想法畫上去
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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我要說清楚的是
没有一個東西是無聲的
没有一個東西是無聲的
09:11
And I know this sounds like the most
pretentious TED Talk statement ever.
pretentious TED Talk statement ever.
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我知道這個陳敍聽起像是
TED 演講裡最自負的
TED 演講裡最自負的
09:16
But even if you were to enter
a room with zero reverberation
a room with zero reverberation
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如果你進到一個
没有任何殘聲的房間裡
没有任何殘聲的房間裡
09:22
and zero external sounds,
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没有任何外部的聲音
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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你仍然可以聽到自己血液流動的聲音
09:28
And in cinema, traditionally,
there was never a silent moment
there was never a silent moment
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傳統的電影裡從來没有無聲的時刻
09:32
because of the sound of the projector.
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因為投影機會發出聲音
09:34
And even in today's Dolby world,
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甚至是在今日的杜比音響世界
09:38
there's not really any moment of silence
if you listen around you.
if you listen around you.
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如果你聽你的四周
没有任何一個時刻是無聲的
没有任何一個時刻是無聲的
09:42
There's always some sort of noise.
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總是會有某種聲音
09:44
Now, since there's no such
thing as silence,
thing as silence,
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現在， 既然說没有真正的無聲
09:47
what do filmmakers
and sound designers use?
and sound designers use?
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電影製作者和音效設計師用什麼呢？
09:51
Well, as a synonym,
they often use ambiences.
they often use ambiences.
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他們經常使用環境音聲作為代替
09:56
Ambiences are the unique background sounds
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環境音聲就是
每個地點獨特的背景聲音
每個地點獨特的背景聲音
10:00
that are specific to each location.
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10:03
Each location has a unique sound,
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每個地點都有特殊的聲音
10:05
and each room has a unique sound,
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每個空間也有特殊的聲音
10:07
which is called room tone.
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這叫做室內環境音
10:08
So here's a recording
of a market in Morocco.
of a market in Morocco.
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這是一個在摩洛哥的市場錄音
10:11
(Voices, music)
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（聲音，音樂）
10:17
And here's a recording
of Times Square in New York.
of Times Square in New York.
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這是在紐約時代廣場的錄音
10:20
(Traffic sounds, car horns, voices)
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（交通聲，車子喇叭聲， 聲音）
10:27
Room tone is the addition of all
the noises inside the room:
the noises inside the room:
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室內環境音是一個房間內所有的雜音
10:31
the ventilation, the heating, the fridge.
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通風系統，暖氣，冰箱
10:33
Here's a recording
of my apartment in Brooklyn.
of my apartment in Brooklyn.
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這是我在布魯克林區公寓的錄音聲
10:36
(You can hear the ventilation, the boiler,
the fridge and street traffic)
the fridge and street traffic)
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（你可以聽到通風管聲音，
煮沸聲，冰箱聲和街道的聲音）
煮沸聲，冰箱聲和街道的聲音）
10:47
Ambiences work in a most primal way.
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環境音聲用最原始的方法起著作用
10:52
They can speak directly
to our brain subconsciously.
to our brain subconsciously.
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它們可以直接與我們的潛意識講話
10:56
So, birds chirping outside your window
may indicate normality,
may indicate normality,
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所以，鳥在你的窗戶外面叫
也許可以代表常態
也許可以代表常態
11:02
perhaps because, as a species,
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或許是因為，我們作為一個物種
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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百萬年來，我們已經太習慣
每天早上聽到那個聲音
每天早上聽到那個聲音
11:10
(Birds chirp)
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（鳥叫聲）
11:17
On the other hand, industrial sounds
have been introduced to us
have been introduced to us
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在另一方面，我們在近期已經聽過
很多工業的聲音
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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雖然我個人來說是很喜歡工業聲音
11:26
they've been used by one
of my heroes, David Lynch,
of my heroes, David Lynch,
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我的英雄之一 ，大衛·林區
11:28
and his sound designer, Alan Splet --
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和他的音效師
艾林·斯普萊特曾使用過
艾林·斯普萊特曾使用過
11:30
industrial sounds often carry
negative connotations.
negative connotations.
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工業聲音時常有著負面的意涵
11:33
(Machine noises)
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（機器聲）
11:40
Now, sound effects can tap
into our emotional memory.
into our emotional memory.
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音效可以進入我們的情感記憶之中
11:46
Occasionally, they can be so significant
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偶爾來說，它們可以是很重要的
11:49
that they become a character in a movie.
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可以變成一個電影的特徵
11:52
The sound of thunder may indicate
divine intervention or anger.
divine intervention or anger.
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打雷聲可以是指神的干預或是憤怒
11:58
(Thunder)
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（打雷聲）
12:03
Church bells can remind us
of the passing of time,
of the passing of time,
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教堂鐘響聲可以提醒我們時間的消逝
12:07
or perhaps our own mortality.
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或者是我們自己的死亡
12:11
(Bells ring)
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（鐘響聲）
12:19
And breaking of glass can
indicate the end of a relationship
indicate the end of a relationship
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玻璃破掉的聲音可以表示是一段愛情
12:24
or a friendship.
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或友誼的結束
12:26
(Glass breaks)
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（玻璃破碎聲）
12:28
Scientists believe that dissonant sounds,
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科學家相信不合諧的聲音
12:32
for example, brass or wind
instruments played very loud,
instruments played very loud,
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例如，銅管樂器或管樂器
吹奏出非常大的聲音
吹奏出非常大的聲音
12:38
may remind us of animal howls in nature
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讓我們想到在大自然中動物的叫聲
12:42
and therefore create a sense
of irritation or fear.
of irritation or fear.
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因此可以創造出一種令人害怕的氛圍
12:46
(Brass and wind instruments play)
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（銅管及管樂器演奏聲）
12:52
So now we've spoken
about on-screen sounds.
about on-screen sounds.
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我們現在已經說了在螢幕上的聲音
12:56
But occasionally, the source
of a sound cannot be seen.
of a sound cannot be seen.
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但是偶爾這個聲音的源頭會被藏起來
13:00
That's what we call offscreen sounds,
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我們稱之為螢幕外的聲音
13:03
or "acousmatic."
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或是「幻覺的聲音」
13:05
Acousmatic sounds --
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幻覺的音效
13:07
well, the term "acousmatic" comes
from Pythagoras in ancient Greece,
from Pythagoras in ancient Greece,
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「幻覺」這個詞是來自於
古代希臘的畢逹哥拉斯
古代希臘的畢逹哥拉斯
13:12
who used to teach behind
a veil or curtain for years,
a veil or curtain for years,
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他在紗或是簾子後面教學多年
13:16
not revealing himself to his disciples.
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没有現身在門徒面前
13:19
I think the mathematician
and philosopher thought that,
and philosopher thought that,
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我想數學家和哲學家認為
13:23
in that way,
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採用那種方法
13:25
his students might focus
more on the voice,
more on the voice,
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他的學生可以比較專注在聲音
13:29
and his words and its meaning,
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和他的話語和意義上
13:31
rather than the visual of him speaking.
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而不是在他說話的視覺樣子上
13:34
So sort of like the Wizard of Oz,
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有點像是《綠野仙踪》
13:37
or "1984's" Big Brother,
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或是《一九八四》裡的 「老大哥」
13:42
separating the voice from its source,
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把聲音和它的來源分開
13:45
separating cause and effect
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把原因和結果分開
13:48
sort of creates a sense
of ubiquity or panopticism,
of ubiquity or panopticism,
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像是在製迼一種無處不在
或是全景敞視感覺
或是全景敞視感覺
13:52
and therefore, authority.
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產生某種意義的權威感
13:55
There's a strong tradition
of acousmatic sound.
of acousmatic sound.
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幻覺聲效由來已久
13:59
Nuns in monasteries in Rome and Venice
used to sing in rooms
used to sing in rooms
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羅馬和威尼斯修道院的修女
過去經常在靠近天花板
走廊旁的房間內唱歌
走廊旁的房間內唱歌
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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製造出一種我們正在聆聽
天空上的天使歌唱的幻象
天空上的天使歌唱的幻象
14:14
Richard Wagner famously
created the hidden orchestra
created the hidden orchestra
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理查德·華格納創造出隱藏樂團
14:18
that was placed in a pit
between the stage and the audience.
between the stage and the audience.
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他們被安排在一個
在舞台和觀眾之間的小區塊裡
在舞台和觀眾之間的小區塊裡
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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我的英雄之一：艾夫斯·特文，
以躲藏在酒吧黑暗的角落而聞名
以躲藏在酒吧黑暗的角落而聞名
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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我認為這些大師都知道
借用隱藏聲音的來源
借用隱藏聲音的來源
14:32
you create a sense of mystery.
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你可以創造一個神秘的場景
14:33
This has been seen
in cinema over and over,
in cinema over and over,
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這種手段你可以在電影院
一遍又一遍的看到
一遍又一遍的看到
14:35
with Hitchcock,
and Ridley Scott in "Alien."
and Ridley Scott in "Alien."
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希區柯克和雷德利·斯科特
在《外星人》中也用到
在《外星人》中也用到
14:39
Hearing a sound without knowing its source
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在聽到聲音的同時，不知道它的源頭
14:41
is going to create some sort of tension.
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可以產生一種的緊迫感
14:46
Also, it can minimize certain visual
restrictions that directors have
restrictions that directors have
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並且，它也可以盡量減少
導演在視覺上的限制
導演在視覺上的限制
14:52
and can show something
that wasn't there during filming.
that wasn't there during filming.
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同時，它也可以表達一些
電影錄製時沒有的東西
電影錄製時沒有的東西
14:55
And if all this sounds
a little theoretical,
a little theoretical,
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如果這些聽上去有些理論化
14:57
I wanted to play a little video.
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我想播放一段影片
15:01
(Toy squeaks)
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（玩具的吱吱聲）
15:04
(Typewriter)
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（打字）
15:07
(Drums)
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（敲鼓）
15:11
(Ping-pong)
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（玩乒乓球）
15:14
(Knives being sharpened)
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（磨刀）
15:17
(Record scratches)
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（倒碟）
15:21
(Saw cuts)
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（鋸子聲）
15:22
(Woman screams)
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（女人尖叫）
15:24
What I'm sort of trying
to demonstrate with these tools
to demonstrate with these tools
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我嘗試用這些工具想表達的是
15:29
is that sound is a language.
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聲音是一種語言
15:32
It can trick us by transporting
us geographically;
us geographically;
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它可以通過轉移我們的
地理位置欺騙我們
地理位置欺騙我們
15:36
it can change the mood;
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它可以改變心情
15:38
it can set the pace;
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它可以設置步調
15:41
it can make us laugh
or it can make us scared.
or it can make us scared.
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它可以讓我們大笑或者感到害怕
15:46
On a personal level, I fell
in love with that language
in love with that language
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對於我個人而言
我在幾年前愛上了這種語言
15:50
a few years ago,
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15:51
and somehow managed to make it
into some sort of profession.
into some sort of profession.
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我不知怎地讓它成為我的專業
15:57
And I think with our work
through the sound library,
through the sound library,
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我認為，通過我們使用聲音庫的工作
16:00
we're trying to kind of expand
the vocabulary of that language.
the vocabulary of that language.
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我們試圖擴張這種語言的詞彙
16:07
And in that way, we want
to offer the right tools
to offer the right tools
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並且在這種方法下
我們希望提供合適的工具
我們希望提供合適的工具
16:11
to sound designers,
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給音效設計師
16:12
filmmakers,
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電影製作人
16:14
and video game and app designers,
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以及視頻遊戲和應用程式製作人
16:16
to keep telling even better stories
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讓他們講述更加完好的故事
16:20
and creating even more beautiful lies.
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並且創造更加美麗的謊言
16:23
So thanks for listening.
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謝謝大家的聆聽
16:24
(Applause)
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（鼓掌）
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