#SounDoer# Designing Sound 采访声音设计师 Ben Burtt

@SounDoer:来自 Designing Sound 的文章,Shaun Farley 采访了声音设计师 Ben Burtt 有关 Failure 的话题,关于各种音效录制的 Trial and Error,其中聊到了 Ben Burtt 是如何录制 Ricochet 的声音。
A Conversation with Ben Burtt on Perseverance
  1. A lot of what we heard in movies…a face punch, a ricochet, a rifle in a canyon…these are things we only heard in movies. We didn’t hear them in our every day life; so we tended to think that they sounded just like they did in that last John Wayne movie we saw. When I started designing sounds I found that not to be the case. When recording ricochets and gunshots, they didn’t sound like they did in the old movies. They sounded and recorded differently. There was some kind of translation taking place. I got frustrated, because I was hoping to get things much closer to the style of the older movies that I wanted to imitate…the things that I loved. And that sent me off on a quest every once in a while to search how something might have been done, until I got the right answer. I wanted to get something that was “classic,” in my sense of the term.
  2. I believe there’s a cinema language. What we expect in movies is based on what we’ve heard in the past.
  3. I was trained as a scientist. I was a physics major. My parents were professors, as well as my grandfather. So I knew what the scientific method was. My general approach was, first, look at something scientifically. Why does something sound the way it does? Take note of it, and then say, “Can I reproduce those circumstances?” Now that I understand those circumstances, can I move the variables around to get something, different, new or undiscovered.”
  4. 尝试了各种方法试图将枪声(Muzzle Blast)和 Ricochet 尽可能地分离开来;选用室内靶场用的子弹,威力较小,枪开火声较小。
  5. That kind of trial and error method is a scientific method…it’s empiricism. The empirical process is where you try things and keep track of your data; eventually, you’re able to predict what something will do. Failure led to that loosening up of my scientific approach, of trying to reason it out ahead of time.
  6. Context is important. It always hurts when you fail. It’s hard not to take it personally. You may feel sometimes that it’s career ending, but it happens to everyone. As time goes on, you learn that you can’t come up with something that pleases every one of your clients. You might have two hundred sounds to make in a movie that might be considered particularly special to the director, and you’re going to find cases where they just don’t hear what you did the way you do. It should also be important to note that it is often that collaboration that has taken me to a higher level. Whereas I might have stopped at a certain point and said, “I like that sound. Let’s go on to the next thing,” the client says, “It just isn’t right yet. It needs more low frequency, or it needs a voice.” Some pushing through failure results in wonderful undiscovered worlds that both client and sound designer never would have found alone.
SounDoer– Focus On Sound Design