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Doktorski Umetnički Projekat <9 UNIVERZITET UMETNOSTI U BEOGRADU Interdisciplinarne studije Digitalna umetnost Doktorski umetnički projekat: Zasićenje Istraživanje digitalne manipulacije zvukom u audiovizuelnom delu autor: Ivan Uzelac mentor: Branislava Stefanović, red. prof. komentor: Aleksandar Davić, red. prof. Beograd, oktobar 2015. Apstrakt „Zasićenje“ je zamišljeno kao audiovizuelno delo koje se bavi čovekom u okruženju u kome dominiraju elektronski mediji, njegovom svakodnevnom interakcijom sa računarskom tehnologijom i uticajima apsorbovanja velike količine prvenstveno vizuelnih informacija. U radu se ispituju želje za informacijom i posledice njihovog upijanja kroz odvajanje vizuelne i auditivne ravni. Upravo su odnosi slike i zvuka suština istraživačkog rada koji kandidat želi da sprovede. Teorijsko istraživanje se oslanja na postojeće teorije filmskog zvuka a ima za cilj da pronađe nove moduse za dijegetsko određenje zvuka i istakne doprinos zvuka kao izražajnog sredstva u filmu i drugim audiovizuelnim umetnostima. Istraživanje koje je bilo neophodno za praktičnu realizaciju dela bilo je usmereno na alternativne MIDI kontrolere i uopšte hardverske i softverske alate za manipulaciju digitalnim zvukom. Ključne reči: digitalni audio, audiovizuelno, video art, filmski zvuk, glič, dizajn zvuka, zvučni efekat. Abstract ″Saturation" is conceived as an audio visual work which focuses on people found in environment dominated by electronic media, their daily interaction with computer technology and effects of absorbing vast quantity of information mainly in visual form. This work investigates the hunger for information and the consequences of information absorption by separating the visual and the aural planes. Relationships between image and sound are the very essence of the exploratory work the candidate has decided to undertake. The theoretical part of the exploration relies on the existing theories on cinematic sound and its main task is to find new modes for diegetic positioning of sound and to emphasize the contribution of sound as means of expression on film and in other audio visual arts. The exploration necessary for the practical realization of the work was primarily focused on alternative MIDI controllers as well as hardware and software tools developed for digital sound manipulation in general. Key words: digital audio, audio visual, video art, film sound, glitch, sound design, sound effects. 2 Sadržaj 1. Uvod ..................................................................................................................................................5 2. Razvoj zvuka na filmu - tehnološki, ekonomski, estetički činioci .......................................................6 2.1 Počeci zvučnog filma................................................................................................................6 2.2 Osvajanje publike .....................................................................................................................8 3. Teorija filmskog zvuka ..................................................................................................................... 10 3.1 Klasična teorija filmskog zvuka .............................................................................................. 10 3.2 Savremene teorije .................................................................................................................. 18 3.3 Diegesis ................................................................................................................................. 20 3.4 Zvuk i filmsko vreme............................................................................................................... 21 3.5 Zvuk i filmski prostor............................................................................................................... 23 3.6 Problemi savremene prakse u produkciji igranih filmova ........................................................ 25 4. Zvuk u video artu ............................................................................................................................. 27 5. Glič .................................................................................................................................................. 34 6. Dizajn Zvuka ................................................................................................................................... 37 6.1 Zvučni efekti ........................................................................................................................... 43 6.2 Govor ..................................................................................................................................... 47 6.3 Muzika .................................................................................................................................... 50 6.4 Obrada zvuka ......................................................................................................................... 52 7. Digitalizacija zvuka .......................................................................................................................... 59 8. Softver – savremeni alati za snimanje, montažu i obradu zvuka ..................................................... 62 8.1 Audio editori ........................................................................................................................... 62 8.2 Multitrekeri .............................................................................................................................. 63 8.3 Softverski sintisajzeri (softsynth) ............................................................................................ 65 8.4 Sempleri ................................................................................................................................. 68 8.5 Dodatni ili plug-in programi ..................................................................................................... 71 8.6 Programski jezici sa grafičkim interfejsom .............................................................................. 75 9. Hardverski alati (zvučne kartice, MIDI, USB, FireWire kontroleri) ................................................... 76 10. Analiza dela „Zasićenje” .............................................................................................................. 85 11. Zaključak ..................................................................................................................................... 88 12. Prilozi .......................................................................................................................................... 89 13. Literatura ..................................................................................................................................... 93 14. Biografija autora .......................................................................................................................... 95 3 Spisak slika Slika 1: Plakat štampan u Berlinu 1929. godine koji osuđuje zvučne filmove ............................................9 Slika 2: ‘’Story of Mr.Wolf“, David Szauder .............................................................................................. 36 Slika 3: Nagra IVs 1971........................................................................................................................... 45 Slika 4: Nagra VI 2008. ........................................................................................................................... 45 Slika 5: API 2500 audio kompresor ......................................................................................................... 55 Slika 6: API 2500 Waves plug-in, grafički interfejs softverske emulacije ................................................. 56 Slika 7: Obvojnica ili anvelopa signala .................................................................................................... 57 Slika 8: Daljinska kontrola za Lexicon 480L ............................................................................................ 59 Slika 9: TC Electronic ICON Remote, daljinska kontrola za System 6000 i druge uređaje ovog proizvođača ............................................................................................................................................. 59 Slika 10: Grafički interfejs softverskog semplera Kontakt ........................................................................ 70 Slika 11: Universal Audio UAD-2, PCIe kartica ....................................................................................... 72 Slika 12: UAD-2 Satellite, eksterna DSP kartica sa Firewire ili Thunderbolt konekcijom ......................... 72 Slika 13: EMT 140, plug-in simulacija uređaja za veštačku reverberaciju ............................................... 73 Slika 14: Waves C6, višepojasni dinamički procesor zvuka (VST plug-in) .............................................. 73 Slika 15: Altiverb plug-in sa učitanim impulsom Berlinske filharmonije.................................................... 74 Slika 16: M-Audio Delta 1010LT, PCI zvučna kartica .............................................................................. 77 Slika 17: RME FireFace UFX, USB/FW eksterna zvučna kartica ............................................................ 77 Slika 18: Klavijatura – kontroler i modul sa bazom semplova .................................................................. 80 Slika 19: Primer složenih veza preko MIDI interfejsa .............................................................................
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