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变形金刚之卷土重来音响设计使用MeyersoundHD-1

Transformers: Revenge of the Fallen Sound Designed on Meyer Sound HD-1s

变形金刚之卷土重来音响设计使用Meyersound HD-1

Few movies this year will be as high profile as Transformers: Revenge of the Fallen. Once again, Decepticon and Autobot Transformers are brought to life to do battle on the big screen. Filmmakers know that it is the sound, with all the organic and mechanical sound effects that breathes life into the created CGI characters that are as much the stars in this franchise as their human counterparts.

今年比较有影响力的几部影片,其中之一当算是《变形金刚之卷土重来》了。霸天虎和汽车人的活生生的打斗场面再一次被搬上了银幕。制片商非常清楚的是正式音响,和所有模拟的、机械的音响效果给这些电脑合成的角色带来了生命,赋予了他们和人一样的特权。

Creating a soundtrack for a two-hour-plus action film is both challenging and fun,with prerequisites of talent, technical skills and hard work. The talent behind the scenes are the supervising sound editors / sound designers Ethan Van Der Ryn and Erik Aadahl, back again for this sequel, and veterans of scores of high profile feature films.配备了天才、专业技能、努力工作的先决条件,给这部长度超过两个小时的动作片配乐即充满挑战也趣味十足。这些场景背后的天才正是监制音响师/音响设计师Ethan Van Der RynErik Aadahl,他们又一次对续集的支持,可谓是高票房故事片的老手。

Aadahl comments on 'keeping the sound elegant,' "We learned from the first Transformers that it can be real challenging to keep things contained, especially when you have bombastic music, huge action, more explosions than any director ever attempts to put into a movie. We sort of thought of it as like a symphony,with a beginning, middle, and end, with peaks and valleys. There needed to be a shape to it that was engaging and enjoyable but never overwhelming. We don't want to blow speakers, but more importantly, we don't want to blow ears."

Aadahl的评价是“保持一流的音响效果”,他说:“我们从《变形金刚》第一步认识到当你要把非常夸张的音乐、巨型动作、以及更多比别的导演尝试过的爆炸场面融入到影片中去,要保持这一切从容自然是相当具有挑战性的。我们用有点像交响乐的方式来对待,有开头,中间和结尾,有高潮和低谷。得有一个模型给它,是扣人心弦,令人愉快的但绝非压倒性的。我们不想只是推动音箱发出很大的声音,但更重要的是我们不想让观众受不了”

Van Der Ryn adds, "It steps out from where we left off with the last Transformers. Because there are some returning characters whose sonic signatures had been set on the first one, it meant that we were set with their palette, but then there is a whole lot of entirely new characters, new robots, which needed entirely new sound design."

Van Der Ryn补充说:“这次的音响设计是基于上一次《变形金刚》里没有完成的那部分,因为有一些角色重新启用,这些角色的声调在第一步影片中已经设置过了的,这意味着我们给它们定格了,但是接下来就是一大批全新的角色,新的汽车人需要全新的音响设计。”

Both sound designers have their edit rooms on the historic Sony-Columbia studio lot in Culver City, and Aadahl details their systems, "Both Ethan and I are using HD-1s, 5.1 configurations with UMS-1P subwoofers. All of the design for this movie was done on these setups."

这两位音响设计师在卡弗尔城著名的索尼-哥伦比亚电影摄影场都有自己的剪辑室,Aadahl来详细讲解系统,“Ethan和我都是使用HD-1UMS-1P5.1声道组合。所有这个影片的音响设计都是基于这套配置的。”

Van Der Ryn describes their edit room workflow on temp mixes, "With Monsters vs. Aliens, we actually ended up temp mixing the whole movie in our rooms on the Meyer HD-1s and we did the same thing on Transformers. We took it to a big stage for the initial temp mix and then we moved the stems over and kept it rolling for the next three or four months."

Van Der Ryn用临时混音来描述他们剪辑室工作流程,“在《怪兽大战外星人》里,我们实际上在我们剪辑室里选择了Meyer HD-1来完成临时混音,在《变形金刚》里我们还是采用相同的做法。我们把最初的临时混音放到影院进行展示,然后把精华的部分提取出来,在接下来的三四个月中财源滚滚而来。”

"The thing that I would emphasize is the trust that it gave us, to be doing work in a small room and just knowing that it's going to translate to a big theatre, because we were doing all this temp mixing in our small room on HD-1s and then taking it to a big stage to screen the movie. We had total faith in the translation."

“我想强调的是这套配置给我们的信任,在这间小房间里所进行的工作能让我们明白它足以胜任在大剧院里完美诠释出来,因为我们在自己小的剪辑室里用HD-1做临时混音,然后在大的影院来上映。我们完全相信HD-1的音响诠释能力。”

On favorite scenes, Van Der Ryn laughingly explained, "This movie is a candy store chock full of really fun scenes. Just off the top of my head, I can think of six or seven favorite scenes. There's one character that comes together from all these little bits, like ball bearings. Erik brought in these special magnets that he bought online at an educational supply place. We discovered that by throwing them up in the air, very close together, just ½" apart, you can get this weird, almost vocal-ish sound as they joined together, and that became one of the signature sounds for the Reedman sequences. It's just so cool, we were able to carve the music out of most of the sequence and it just plays very clean and spooky, it has very unique sound?I haven't heard anything like that before."

在谈到最欣赏的影片场景时,Van Der Ryn微笑着解释“这部影片正如一个糖果店满是趣味十足的场景。在我脑中浮现的的就有六七个经典的场景。有一个角色就是全由这些细小的部分组装起来的,想球状轴承一样。Erik把这些他在网上从一个教育用品的商店买来的东西进行了特殊的加磁,我们发现一个接一个抛到空中,间隔0.5秒,当他们粘在一起可以得到很神奇,几乎和人声一样的声音,用在Reedman 的续集里面。真是太奇妙了,使得我们能够可以从这样的序列创造出音乐来,非常清晰,令你毛骨悚然,这就是与众不同的声音,我从未听到过那样的声音。”

For a unique new sound for a new character, Aadahl describes how they brought a performance aspect to sound design, "There's one thing that we stumbled on, that was fun. For the main villain in the title, The Fallen, we were playing with a Theremin, and everyone knows that cheesy sci-fi sound that they make. On a brainstorm, we used the Theremin as an input device?as a signal generator for pitch and volume but then using that to trigger design chain plug-ins. So we had a very natural performance of us moving our hands three-dimensionally around the Theremin in real time to manipulate pitch and volume, to create a really synthetic electronic sound. We made a huge library of really weird twisted different sounds using this technique. Some of it is totally conceptual and atmospheric, some of it sounded a lot like vocals, big monster-like vocalizations, some of it sounded like science fiction kind of motors, bending up and down, and turning and modulating. This was one kind of fun tool that we used on this film that definitely had a different quality and sound to it."

为一个新的角色设计全新而且唯一的声音,Aadahl 描述了他们是如何在音响设计中加入了性能的处理,“有一样阻挡了我们,那就是趣味性。对于片头中的1号反面人物,阵亡者,我们用泰勒明电子琴来演奏,所有人都知道他们发出的俗气的科幻式声音。我们突发奇想地把泰勒明电子琴作为一个输入的工具-作为音调和音量的发生器,然后用它来触发设计链的插入组合部分。所以我们用自己非常自然的能力,三维立体地围绕泰勒明电子琴实时移动我们的手来操控音调和音量,来得到合成的电声。我们曾用这种方法在图书馆得到意想不到的扭曲了的声音效果。这些声音效果中一些是完全概念上和氛围上的,一些听起来像人声,大怪物的发出的声音,一些听起来像科幻类的马达声,有起有伏,有转弯有调节。这就是我们在这部影片中运用的一种很有意思的工具,使得我们的影片肯定会有不同的品质和音效。”

Asked if using high-quality sound design monitoring saved time or made the process more efficient, Aadahl quickly answered, "Absolutely, it was a big time saver for us. It meant that we didn't need to spend millions on the big stages doing the same kind of work, so it was a money saver as well. But the big thing is the aesthetics, being able to have such clarity and resolution, and trust in our monitoring is so important. We could make a track that we knew would translate.

当问及运用高质量的音响设计监听是否节省了时间或者处理更有效之时,Aadahl不假思索地回答道“当然这为我们节约了大量的时间,这意味着我们不用再花费数百万美元载大的舞台上做同样的工作,所以同时也为我们节省了大量的资本。但是很重要的是美感,使得音响效果有如此高的清晰度和透明度,对于监听的信任是如此的重要。我们做好的配乐肯定能够转换。”

"At one point in the process, we moved one of the HD-1 setups to the Picture Department at Bay Films and set up a room, just so we could show Michael [Bay] where we were with certain scenes. That saved us quite a bit too, not just in terms of Bay's confidence with certain scenes but also time."

“在处理中有一点,我们把其中的一套HD-1配置搬到了Bay Films公司的图片处理部门装配了一间房间,就是这样我们可以向Bay Films公司的迈克尔告知我们在特定场景上处理到哪一步了。这就节省了很多,不仅在与Bay Films公司取得一致方面,而且还有时间。”

July, 2009

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