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Tasos Frantzolas: Everything you hear on film is a lie
塔索斯·弗兰佐拉斯: 你在电影里听到的都是假的
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音效设计是在骗局的基础上建立的——当你看一部电影或者一个电视节目时，你听到的所有声音几乎都是假的。在这个围绕音效的演讲中，塔索斯·弗兰佐拉斯将带你探索声音在叙事中的作用，然后你就能知道你的大脑是多么容易被听觉所蒙骗。
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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我想用一个实验来开始我的演讲。
我将给你们播放三段雨天的视频。
00:16
I'm going to play three videos
of a rainy day.
of a rainy day.
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不过我把其中一个视频里的
音频换成了别的，
音频换成了别的，
00:20
But I've replaced the audio
of one of the videos,
of one of the videos,
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00:24
and instead of the sound of rain,
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它不再是下雨的声音，
变成了煎培根的声音。
00:27
I've added the sound of bacon frying.
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我想让你们认真听，
找出哪个视频里是煎培根声。
找出哪个视频里是煎培根声。
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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（下雨声）
00:35
(Rain falls)
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00:39
(Rain falls)
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（下雨声）
00:43
(Rain falls)
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（下雨声）
00:52
All right.
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好的。
00:55
Actually, I lied.
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其实，我撒谎了。
这些全都是煎培根的声音。
00:57
They're all bacon.
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（培根滋油声）
00:58
(Bacon sizzles)
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01:04
(Applause)
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（掌声）
01:09
My point here isn't really
to make you hungry
to make you hungry
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我的目的并不是让你们每次看到下雨
01:12
every time you see a rainy scene,
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都觉得肚子饿，
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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而是想告诉你们我们的大脑
习惯于接受这些假象。
习惯于接受这些假象。
01:20
We're not looking for accuracy.
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我们关注的并不是准确度。
01:23
So on the subject of deception,
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在造假的这个主题里，
01:26
I wanted to quote one
of my favorite authors.
of my favorite authors.
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我想引用我最喜欢的一位作家的话。
在“谎言的衰变”中，
奥斯卡·王尔德有这样的结论，
奥斯卡·王尔德有这样的结论，
01:29
In "The Decay of Lying,"
Oscar Wilde establishes the idea
Oscar Wilde establishes the idea
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01:36
that all bad art comes from copying
nature and being realistic;
nature and being realistic;
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所有糟糕的艺术都源于
刻板的复制自然和现实；
刻板的复制自然和现实；
01:43
and all great art comes
from lying and deceiving,
from lying and deceiving,
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那些伟大的艺术都是依靠造假和骗术，
01:49
and telling beautiful, untrue things.
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叙说着美丽的，不真实的东西。
所以，当你在观看电影时，
01:52
So when you're watching a movie
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01:56
and a phone rings,
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电话铃响了，
那不是真正的电话铃响。
01:58
it's not actually ringing.
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都是在后期制作中加进去的。
02:00
It's been added later
in postproduction in a studio.
in postproduction in a studio.
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所有的声音都是假的。
02:05
All of the sounds you hear are fake.
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02:08
Everything, apart from the dialogue,
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除了那些对话，所有的声音
都是假的。
02:09
is fake.
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看电影的时候你看到一只鸟
在拍打着它的翅膀——
在拍打着它的翅膀——
02:11
When you watch a movie and you see
a bird flapping its wings --
a bird flapping its wings --
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（翅膀拍打声）
02:14
(Wings flap)
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02:18
They haven't really recorded the bird.
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他们并没真正去给那只鸟录音。
02:20
It sounds a lot more realistic
if you record a sheet
if you record a sheet
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实际上只是拍打一张纸，
或抖动厨房手套的声音。
02:25
or shaking kitchen gloves.
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（拍打声）
02:27
(Flaps)
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02:30
The burning of a cigarette up close --
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近距离的香烟燃烧——
02:33
(Cigarette burns)
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（香烟燃烧）
02:37
It actually sounds a lot more authentic
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其实如果你紧握着一个
02:40
if you take a small Saran Wrap ball
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团成球的保鲜膜，然后松开，
那个声音会更真实。
02:42
and release it.
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（团成球的保鲜膜被放开的声音）
02:44
(A Saran Warp ball being released)
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02:47
Punches?
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拳打的声音？
02:49
(Punch)
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（拳打声）
02:50
Oops, let me play that again.
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让我再放一遍。
（拳打声）
02:52
(Punch)
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02:54
That's often done by sticking
a knife in vegetables,
a knife in vegetables,
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那其实是把刀插入蔬菜的声音，
一般是卷心菜。
02:58
usually cabbage.
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03:00
(Cabbage stabbed with a knife)
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（刀插入卷心菜的声音）
03:02
The next one -- it's breaking bones.
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下一个，是骨头断裂声。
03:05
(Bones break)
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（骨头断裂的声音）
03:08
Well, no one was really harmed.
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当然了，并没有人真的受伤。
其实这是——
03:11
It's actually ...
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03:13
breaking celery or frozen lettuce.
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掰芹菜或冻生菜的声音。
03:16
(Breaking frozen lettuce or celery)
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（掰冻芹菜或生菜的声音）
（在布鲁克林他们用的是羽衣甘蓝）
（在布鲁克林他们用的是羽衣甘蓝）
03:18
(Laughter)
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（笑声）
03:21
Making the right sounds
is not always as easy
is not always as easy
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制作真实的声音并不总是
03:25
as a trip to the supermarket
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像去超市买菜
那样简单。
03:27
and going to the vegetable section.
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其实往往要比那难很多。
03:30
But it's often a lot more
complicated than that.
complicated than that.
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那么，让我们一起用逆向工程体验一下
03:33
So let's reverse-engineer together
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制作一个音效的过程。
03:36
the creation of a sound effect.
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我最喜欢的段子之一
来自于弗兰克·塞拉凡尼。
来自于弗兰克·塞拉凡尼。
03:38
One of my favorite stories
comes from Frank Serafine.
comes from Frank Serafine.
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他是我们音效库的贡献者之一，
03:41
He's a contributor to our library,
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也是“创：战记”和“星际迷航”
及其他作品的伟大音效设计师。
及其他作品的伟大音效设计师。
03:43
and a great sound designer for "Tron"
and "Star Trek" and others.
and "Star Trek" and others.
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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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他是派拉蒙公司那个
赢得奥斯卡的“猎杀红色十月”的
赢得奥斯卡的“猎杀红色十月”的
音效团队中的一员。
03:53
for "The Hunt for Red October."
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在这个九十年代的，
描述冷战期的经典影片里，
描述冷战期的经典影片里，
03:55
In this Cold War classic, in the '90s,
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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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他们需要制作潜水艇螺旋桨的声音。
但他们遇到一个小困难，
04:03
So they had a small problem:
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04:05
they couldn't really find
a submarine in West Hollywood.
a submarine in West Hollywood.
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他们当时在西好莱坞，
找不到潜水艇。
找不到潜水艇。
因此，简单来说，
他们想了这么个法子，
他们想了这么个法子，
04:08
So basically, what they did is,
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他们去了一个朋友的游泳池，
04:12
they went to a friend's swimming pool,
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弗兰克表演了一次炮弹入水。
04:15
and Frank performed
a cannonball, or bomba.
a cannonball, or bomba.
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04:21
They placed an underwater mic
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他们安装了一个水下麦克，
04:23
and an overhead mic
outside the swimming pool.
outside the swimming pool.
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还有游泳池外的水上麦克。
这是水下麦克录下的声音。
04:26
So here's what the underwater
mic sounds like.
mic sounds like.
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（水下跳水声）
04:29
(Underwater plunge)
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04:31
Adding the overhead mic,
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加上水上麦克的声音后，
04:33
it sounded a bit like this:
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它听起来是这样的：
04:35
(Water splashes)
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（水花四溅声）
04:37
So now they took the sound
and pitched it one octave down,
and pitched it one octave down,
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他们拿到这个声音后，
把它降了一个八度，
把它降了一个八度，
就好像慢放一个录音。
04:41
sort of like slowing down a record.
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04:44
(Water splashes at lower octave)
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（低八度后的水花四溅声）
04:47
And then they removed
a lot of the high frequencies.
a lot of the high frequencies.
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然后他们把很多高频的声音去掉。
（水花声）
04:50
(Water splashes)
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然后再降一个八度。
04:53
And pitched it down another octave.
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04:56
(Water splashes at lower octave)
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（又降一个八度的水花声）
然后他们又加入了一点点
04:58
And then they added
a little bit of the splash
a little bit of the splash
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水面上录制的水花四溅声。
05:01
from the overhead microphone.
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05:03
(Water splashes)
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（水花声）
05:06
And by looping and repeating that sound,
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然后循环，反复播放，
他们最终得到了这种效果：
05:09
they got this:
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05:10
(Propeller churns)
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（螺旋桨声）
05:16
So, creativity and technology put together
in order to create the illusion
in order to create the illusion
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看吧，创造力和技术结合后能创造
我们身在潜水艇里的假象。
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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不过，当你创造了声音
并和画面同步后，
05:30
and you've synced them to the image,
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05:32
you want those sounds to live
in the world of the story.
in the world of the story.
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你希望这些声音可以在
叙事的世界中变得鲜活。
叙事的世界中变得鲜活。
05:37
And one the best ways to do
that is to add reverb.
that is to add reverb.
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最好的方法之一是加一点回响。
05:41
So this is the first audio tool
I want to talk about.
I want to talk about.
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这是我要谈的第一个音效手段。
05:45
Reverberation, or reverb,
is the persistence of the sound
is the persistence of the sound
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在原声结束后加入回响或混响
可以延续声音。
05:50
after the original sound has ended.
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所以这就像是
05:52
So it's sort of like the --
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05:54
all the reflections from the materials,
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来自环绕在声音周围的
05:57
the objects and the walls
around the sound.
around the sound.
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物体和墙的全部反射。
06:00
Take, for example, the sound of a gunshot.
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举个例子，枪声。
06:03
The original sound is less
than half a second long.
than half a second long.
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原声只有不到半秒的时间。
06:08
(Gunshot)
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（枪声）
06:09
By adding reverb,
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加上回响后，
06:11
we can make it sound like
it was recorded inside a bathroom.
it was recorded inside a bathroom.
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我们可以做出好像在浴室里录制的声音。
06:15
(Gunshot reverbs in bathroom)
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（枪声在浴室里回响）
06:17
Or like it was recorded
inside a chapel or a church.
inside a chapel or a church.
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或者像是在礼拜堂或
教堂里录制的声音。
教堂里录制的声音。
06:20
(Gunshot reverbs church)
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（枪声在教堂里回响）
06:23
Or in a canyon.
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或者在大峡谷。
06:26
(Gunshot reverbs in canyon)
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（枪声在峡谷里回响）
06:27
So reverb gives us a lot of information
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回响给了我们很多
06:30
about the space between the listener
and the original sound source.
and the original sound source.
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关于听者和声音来源
之间的空间的信息。
之间的空间的信息。
如果把声音当成是味觉，
06:35
If the sound is the taste,
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06:37
then reverb is sort of like
the smell of the sound.
the smell of the sound.
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回音就像是声音的气味。
06:42
But reverb can do a lot more.
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回响还有很多其他的用处。
06:44
Listening to a sound
with a lot less reverberation
with a lot less reverberation
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听一个很少有回响的声音
而不看屏幕上的动作
06:48
than the on-screen action
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06:50
is going to immediately signify to us
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将会立即让我们觉得
06:53
that we're listening to a commentator,
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我们在听一位解说员说话，
在听一位并未参与电影动作的
旁白者说话。
旁白者说话。
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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07:02
Also, emotionally intimate
moments in cinema
moments in cinema
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另外，在电影院中的动情时刻
07:06
are often heard with zero reverb,
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通常听不到任何回响，
因为那样才会听上去
像有人在我们耳朵里说话。
像有人在我们耳朵里说话。
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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07:13
On the completely other side,
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在完全相反的情况下，
07:15
adding a lot of reverb to a voice
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在语音里加入很多回响
会使我们感觉正在听回忆，
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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07:21
or perhaps that we're inside
the head of a character
the head of a character
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或者好像我们正在
一个角色的大脑中，
一个角色的大脑中，
07:25
or that we're listening
to the voice of God.
to the voice of God.
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或者在听上帝的声音。
或者是在电影里更强大的
07:28
Or, even more powerful in film,
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07:30
Morgan Freeman.
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摩根·费里曼。
（笑声）
07:32
(Laughter)
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那么——
07:33
So --
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（鼓掌）
07:34
(Applause)
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07:37
But what are some other tools or hacks
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还有什么其他手段或是方式
07:41
that sound designers use?
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是音效师在使用的呢？
07:44
Well, here's a really big one.
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这里有一个很重要的。
07:51
It's silence.
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就是无声。
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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短暂的安静无声使我们集中注意力。
07:57
And in the Western world,
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在西方世界里，
08:00
we're not really used to verbal silences.
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我们不太习惯在对话时安静下来。
人们会觉得奇怪或无礼。
08:02
They're considered awkward or rude.
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08:06
So silence preceding verbal communication
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因此，使一段正在进行的对话变成无声
08:11
can create a lot of tension.
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可以制造很多紧张感。
08:13
But imagine a really big Hollywood movie,
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但是想象一下在好莱坞大片中
全都是爆炸和机枪声。
08:16
where it's full of explosions
and automatic guns.
and automatic guns.
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08:22
Loud stops being loud
anymore, after a while.
anymore, after a while.
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嘈杂的声音过一会儿就不觉得嘈杂了。
08:26
So in a yin-yang way,
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就像阴阳理论中说的
08:27
silence needs loudness
and loudness needs silence
and loudness needs silence
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无声需要嘈杂，嘈杂也需要无声
（静中有动，动中有静），
（静中有动，动中有静），
两者相辅相成。
08:31
for either of them to have any effect.
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08:34
But what does silence mean?
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那么无声意味着什么呢？
08:35
Well, it depends how
it's used in each film.
it's used in each film.
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这取决于每个电影如何使用它。
08:39
Silence can place us inside
the head of a character
the head of a character
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无声可以让我们进入角色的思绪，
或是引发思考。
08:42
or provoke thought.
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我们通常从无声联想到——
08:44
We often relate silences with ...
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08:48
contemplation,
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凝视，
08:50
meditation,
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冥想，
08:53
being deep in thought.
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陷入深思。
08:56
But apart from having one meaning,
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但是，并不是只有一种意义，
无声是一块空白的画布，
08:59
silence becomes a blank canvas
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让观看的人把自己的想法画上去.
09:01
upon which the viewer is invited
to the paint their own thoughts.
to the paint their own thoughts.
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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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我要说清楚的是，
并不存在一种叫做无声的东西。
并不存在一种叫做无声的东西。
09:11
And I know this sounds like the most
pretentious TED Talk statement ever.
pretentious TED Talk statement ever.
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我知道这说法听起来
差不多是TED里最自负的。
差不多是TED里最自负的。
09:16
But even if you were to enter
a room with zero reverberation
a room with zero reverberation
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但是，即使你进入一个
没有任何回响的房间，
没有任何回响的房间，
09:22
and zero external sounds,
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也完全没有外部声音，
你仍然可以听到自己血液流动的声音。
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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09:28
And in cinema, traditionally,
there was never a silent moment
there was never a silent moment
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历史上，电影院里从来没有无声的时刻，
因为放映机会发出声音。
09:32
because of the sound of the projector.
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09:34
And even in today's Dolby world,
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即使是在如今的杜比音响世界，
09:38
there's not really any moment of silence
if you listen around you.
if you listen around you.
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如果你倾听四周，没有一刻是无声的。
09:42
There's always some sort of noise.
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总会有某种噪音存在。
09:44
Now, since there's no such
thing as silence,
thing as silence,
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现在，既然说没有真正的无声，
09:47
what do filmmakers
and sound designers use?
and sound designers use?
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电影制作者和音效设计师用什么呢？
他们通常用氛围声，跟“无声”差不多。
09:51
Well, as a synonym,
they often use ambiences.
they often use ambiences.
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09:56
Ambiences are the unique background sounds
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氛围声是独特的背景音，
10:00
that are specific to each location.
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具体到每一个地点的背景音。
10:03
Each location has a unique sound,
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每个地点都有独特的声音，
10:05
and each room has a unique sound,
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每个空间也有独特的声音，
这叫做环境声。
10:07
which is called room tone.
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这是在摩洛哥的一家市场里的录音。
10:08
So here's a recording
of a market in Morocco.
of a market in Morocco.
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10:11
(Voices, music)
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（说话声，音乐）
10:17
And here's a recording
of Times Square in New York.
of Times Square in New York.
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这是在纽约时代广场的录音。
10:20
(Traffic sounds, car horns, voices)
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（交通声，车喇叭声，说话声）
10:27
Room tone is the addition of all
the noises inside the room:
the noises inside the room:
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环境声是房间里所有噪音的叠加：
10:31
the ventilation, the heating, the fridge.
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通风设备，供暖设备，冰箱。
这是我布鲁克林区公寓的录音。
10:33
Here's a recording
of my apartment in Brooklyn.
of my apartment in Brooklyn.
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10:36
(You can hear the ventilation, the boiler,
the fridge and street traffic)
the fridge and street traffic)
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（你能听到排风，热水器，冰箱，街上的交通）
10:47
Ambiences work in a most primal way.
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环境声以最原始的方式起着作用。
10:52
They can speak directly
to our brain subconsciously.
to our brain subconsciously.
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它们可以在潜意识里
直接对我们的大脑说话。
直接对我们的大脑说话。
10:56
So, birds chirping outside your window
may indicate normality,
may indicate normality,
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所以，你窗户外面的鸟叫可以代表常态。
11:02
perhaps because, as a species,
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或许因为，我们作为一个物种，
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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数百万年来，已经习惯每天早上听到它。
11:10
(Birds chirp)
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（鸟叫声）
11:17
On the other hand, industrial sounds
have been introduced to us
have been introduced to us
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另一方面，近些年来我们听到越来越多
工业的声音。
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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虽然我个人很喜欢工业的声音——
工业的声音被
我的偶像之一，大卫·林奇，
我的偶像之一，大卫·林奇，
11:26
they've been used by one
of my heroes, David Lynch,
of my heroes, David Lynch,
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和他的音效师艾林·斯普莱特所采用——
11:28
and his sound designer, Alan Splet --
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但工业的声音常常有负面的意义。
11:30
industrial sounds often carry
negative connotations.
negative connotations.
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（机器噪音）
11:33
(Machine noises)
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11:40
Now, sound effects can tap
into our emotional memory.
into our emotional memory.
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音效还可以进入我们的情感记忆。
11:46
Occasionally, they can be so significant
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有时候，它们会特别重要，
11:49
that they become a character in a movie.
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以至于变成一部电影的角色。
11:52
The sound of thunder may indicate
divine intervention or anger.
divine intervention or anger.
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雷声可以代表上天的干预或愤怒。
11:58
(Thunder)
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（打雷声）
12:03
Church bells can remind us
of the passing of time,
of the passing of time,
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教堂钟声可以提醒我们时光流逝，
或者也许提醒我们自己的死亡。
12:07
or perhaps our own mortality.
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12:11
(Bells ring)
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（钟声）
12:19
And breaking of glass can
indicate the end of a relationship
indicate the end of a relationship
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玻璃破碎的声音可以表示一段爱情
或友谊的结束。
12:24
or a friendship.
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12:26
(Glass breaks)
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（玻璃破碎声）
12:28
Scientists believe that dissonant sounds,
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科学家相信，刺耳的声音，
12:32
for example, brass or wind
instruments played very loud,
instruments played very loud,
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例如铜管乐器声或管乐器
演奏的巨大声响，
演奏的巨大声响，
12:38
may remind us of animal howls in nature
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会让我们想到大自然中动物的叫声，
12:42
and therefore create a sense
of irritation or fear.
of irritation or fear.
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因此可以制造刺激或恐惧的感觉。
12:46
(Brass and wind instruments play)
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（铜管乐器演奏声）
12:52
So now we've spoken
about on-screen sounds.
about on-screen sounds.
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那么，我们已经谈到了
屏幕上的声音。
屏幕上的声音。
12:56
But occasionally, the source
of a sound cannot be seen.
of a sound cannot be seen.
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但有时候，声源是看不到的。
我们称之为画外音，
13:00
That's what we call offscreen sounds,
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13:03
or "acousmatic."
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或者是“盲听”。
13:05
Acousmatic sounds --
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盲听的声音——
13:07
well, the term "acousmatic" comes
from Pythagoras in ancient Greece,
from Pythagoras in ancient Greece,
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“盲听”一词来自古希腊的毕达哥拉斯，
13:12
who used to teach behind
a veil or curtain for years,
a veil or curtain for years,
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他曾在面纱或帘子后面教学多年，
从未在门徒面前现身。
13:16
not revealing himself to his disciples.
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13:19
I think the mathematician
and philosopher thought that,
and philosopher thought that,
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我想这位数学家兼哲学家认为，
13:23
in that way,
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采用那种教学方法，
13:25
his students might focus
more on the voice,
more on the voice,
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他的学生会更专注于语音，
专注于他的词语及其意义，
13:29
and his words and its meaning,
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而不是专注于他讲话时的样子。
13:31
rather than the visual of him speaking.
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13:34
So sort of like the Wizard of Oz,
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有点像“绿野仙踪”（Oz国的魔法师），
或是电影“1984”的“老大哥”，
13:37
or "1984's" Big Brother,
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把语音和来源分开，
13:42
separating the voice from its source,
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13:45
separating cause and effect
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把因和果分开，
13:48
sort of creates a sense
of ubiquity or panopticism,
of ubiquity or panopticism,
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就像制造一种无处不在
或全景环视的感觉，
或全景环视的感觉，
因此产生了权威感。
13:52
and therefore, authority.
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13:55
There's a strong tradition
of acousmatic sound.
of acousmatic sound.
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盲听声音有一个强大的传统。
13:59
Nuns in monasteries in Rome and Venice
used to sing in rooms
used to sing in rooms
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罗马和威尼斯的修道院里的修女
14:05
up in galleries close to the ceiling,
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往往在接近天花板的顶层房间里唱歌，
制造出一种我们正在聆听
天空中的天使歌唱的幻觉。
天空中的天使歌唱的幻觉。
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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14:14
Richard Wagner famously
created the hidden orchestra
created the hidden orchestra
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理查德·瓦格纳创造出了著名的
隐藏起来的管弦乐队，
隐藏起来的管弦乐队，
14:18
that was placed in a pit
between the stage and the audience.
between the stage and the audience.
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乐队被安排在舞台
与观众之间的一处区域。
与观众之间的一处区域。
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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我的偶像之一：埃夫斯·特文
以躲藏在酒吧的黑暗角落而闻名。
以躲藏在酒吧的黑暗角落而闻名。
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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我认为这些大师都懂得
通过隐藏声音来源，
通过隐藏声音来源，
来创造神秘的感觉。
14:32
you create a sense of mystery.
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14:33
This has been seen
in cinema over and over,
in cinema over and over,
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这种手段你会在电影院里反复看到，
希区柯克和雷德利·斯科特
在“外星人”中也有使用。
在“外星人”中也有使用。
14:35
with Hitchcock,
and Ridley Scott in "Alien."
and Ridley Scott in "Alien."
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14:39
Hearing a sound without knowing its source
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听到声音的同时，看不到来源
14:41
is going to create some sort of tension.
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可以产生一定程度的紧迫感。
14:46
Also, it can minimize certain visual
restrictions that directors have
restrictions that directors have
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同时，还可以尽量减少
导演的特定视觉限制，
导演的特定视觉限制，
14:52
and can show something
that wasn't there during filming.
that wasn't there during filming.
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并呈现一些
录制电影时没有的东西。
录制电影时没有的东西。
如果这些听上去比较理论化，
14:55
And if all this sounds
a little theoretical,
a little theoretical,
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14:57
I wanted to play a little video.
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我想播放一个视频。
15:01
(Toy squeaks)
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（玩具的吱吱声）
15:04
(Typewriter)
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（打字声）
15:07
(Drums)
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（敲鼓声）
15:11
(Ping-pong)
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（玩乒乓球声）
15:14
(Knives being sharpened)
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（磨刀声）
15:17
(Record scratches)
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（打碟声）
15:21
(Saw cuts)
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（锯割声）
15:22
(Woman screams)
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（女人尖叫声）
15:24
What I'm sort of trying
to demonstrate with these tools
to demonstrate with these tools
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我尝试用这些手段来表达的是，
15:29
is that sound is a language.
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声音，是一种语言。
15:32
It can trick us by transporting
us geographically;
us geographically;
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它可以使我们感觉
好像移动了地理位置；
好像移动了地理位置；
15:36
it can change the mood;
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它可以改变心情；
15:38
it can set the pace;
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它可以设置步调；
15:41
it can make us laugh
or it can make us scared.
or it can make us scared.
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它可以让我们开怀大笑或深感恐惧。
15:46
On a personal level, I fell
in love with that language
in love with that language
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对我个人而言，我在几年前
爱上了这门语言。
15:50
a few years ago,
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努力实现了把它当做一种职业。
15:51
and somehow managed to make it
into some sort of profession.
into some sort of profession.
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15:57
And I think with our work
through the sound library,
through the sound library,
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我认为，通过我们的声音库的工作，
16:00
we're trying to kind of expand
the vocabulary of that language.
the vocabulary of that language.
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我们在扩展这门语言的词汇。
16:07
And in that way, we want
to offer the right tools
to offer the right tools
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并且用这种方法，我们希望
提供合适的呈现手段
提供合适的呈现手段
给音效设计师，
16:11
to sound designers,
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16:12
filmmakers,
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电影制作人，
16:14
and video game and app designers,
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以及视频游戏和应用软件设计者，
16:16
to keep telling even better stories
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让他们讲述更加完美的故事，
16:20
and creating even more beautiful lies.
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并创造更加美丽的假象。
16:23
So thanks for listening.
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谢谢大家的聆听。
16:24
(Applause)
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（鼓掌）
Reviewed by dahong zhang
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