Music.
Movies.
Dialogs.
The sound hungs and pursues us everywhere. And even in such a seemingly unpretentious business, like the voice acting of the characters loved by our heart, there is a lot of pitfalls. Most of the community endlessly argues about the quality of experience when using the original sound, or its adaptive localization.
I propose to figure out what factors affect the final result, which we later discuss on the Internet.
I categorically welcome you!
It’s time to start!
Which so strongly saturates the picture and involves the atmosphere of the film or the same game in the atmosphere? Of course the presence of external sounds that transmit the breathing of locations or create tension in their silence.
In the film "Old Men is not a place" from the directors of Itan and Joel Cohen is completely absent to the soundtrack. This idea allows you not to be distracted from the current events of the picture and in separate scenes gives a tip to reveal the feelings and emotions of the characters.
We hear their sighs more clearly.
In this episode, the protagonist joined the armed conflict with the antagonist. The scene shows how much sound affects the general background of the picture and how it complements the physical states of the heroes.
We notice their intonations.
This scene reveals the entire charm of the antagonist due to the original language.
And we can even determine
fatigue
on the shuffles of the soles about the floor.
An interesting moment with the sound takes place in this fragment. The whole film is haunted by an absolute maniac, an ideal weapon, but the sound lowers it to our feet making it absolutely helpless, wounded hunter.
But everything works far from quite correct when we are talking about localization. In this context, the sound of original voice acting is much better, since none of the actors will be able to convey speech turnover as the actor will do in the language of which the script was written.
It is worth noting that the original language has its own nuances.
Returning to the legendary interactive western "Red Dead Redemption 2"
I would like to recall the worldwide complaint of the players:
– Why should I read tons of text while I jump on a horse?
In our opinion, there are no problems with this.
But with regard to sound … It is definitely not enough here.
RDR 2 is famous for its voice acting:
– multinational accents;
– curses;
– interesting voices of the main characters;
But at the moment of moving on a horse, all this charm fades, because we hear around the non -fading wild West, and the pulsation of the studio in which our characters were recorded.
We do not know how the game would look if it is completely localized, probably, how “Ivan Vasilievich changes the profession” is too fresh and absurd.
Dialogs in RDR 2 do not prevail any fantastic descriptions. These are the same everyday speeches that we are doing with you every day. Therefore, absolute realism should dominate in this system. Arthur Morgan does not need the actor of voice acting, on the contrary, his entire charm is spinning around his facial expressions and the tongue of the original project.
In this video, you can see the actors of the voice actors of the key characters RDR 2 and once again make sure that Arthur Morgan is incomparable with the voice of its actor.
In turn, Geralt from Rivia could hardly have a pleasantly surprise you with a British accent, since the game is initially saturated with the wrong spirit.
We are in dark fantasy, where Slavic folklore prevails and to be honest, this is clearly visible in contrast with a popular series from Netflix.
Geralt in a series of games based on Sapkovsky’s books is rich in exquisite curses and various kinds of descriptions. Which, due to the complex design of the Russian language, play new colors. We hear:
– pleasant nomenclature of monsters pleasant to children’s memories;
– warm dialogs near bonfires and taverns.
Although the game is not trying to supplement the facial expressions with the facial expressions of his characters by virtue of his relatively elderly, but to feel like hired hunters for monsters for glory.
And for sure only here you can hear: “Here is the cholera!»So that it is really.
But the recently released remaster of the Mass Effect trilogy upset his voice acting in the first part.
The syndrome of heroic speech can be traced here, when every statement of the main characters in the dialogs sounds, as before a jump into a bottomless abyss.
You thought that trailers usually convey the most fierce epic from the game?
No. The whole game consists of such intonations and this bothers almost in the first scene.
This distracts and does not allow https://percysattheislandgamecasino.co.uk/games/ focus on the narrative. Breaks the characters’ characters and quickly bored. Their emotions and attitude to the situation cannot be caught behind the screen of epic statements. As if in front of us are not people and representatives of an alien race, but just Bolvana models.
The concentration of dynamism falls when interacting with the environment, since the transmitted drama is not responded to the main characters within our consciousness. We cannot reflect, because in all dialogs the emphasis of the narrative is initially lost.
What cannot be said about Cyberpunk 2077, which has no choice but to use language tools.
In my opinion, the game was to go out clearly at the same time at which it showed herself to the world, but based on the study of dialogs, the following conclusion can be drawn:
The Russian language of voice acting ideally complemented the Lawlaife aesthetics of the game. Curses and random discussions sound fresh and there are even no complaints here. The famous actors of voice actors are heard, which in most cases is only beneficial for the final work, but here, something went wrong. Players outraged the voices of bloggers and other public personalities, t. To. They do not look harmonious in the frame, are not an object of professional development of characters.
It is obvious that marketers were going to attract a large audience at the expense of familiar heroes of our time, and one of them coped with a decent level and approached the issue with the entire degree of seriousness, as it later became known from an interview with voice actors working on Cyberpunk 2077 including.
The soundtrack is an important aspect of sound engineering of any content media. Take for example Hans Zimmer, whose music is in almost every playlist of fans of cinema.
There is a truly interesting story with his participation.
The fact is that the creation of the Interstellar film was quite painstaking and consisted of many difficulties.
To collect such a filly and present to people is still a feat, but here we will not affect the scientific aspect of creating a picture. Kip Thorne made the impossible, for which he was a separate gratitude, but today I would like to pay attention to the composer.
Kip Thorne and Christopher Nolan.
Thorne led the whole scientific question in the production of the film. He wanted the picture to be a scientific property for any layman of strings that are completely non -versed in theories and so.
During the writing of the soundtrack, Christopher Nolan wanted to implant a peculiar idea in Zimmer’s head. Based on the fact that the composer was also a father, Nolan invited him to create music, personifying the relationship between his father and son, not previously reporting the sexual belonging of Cooper’s offspring – the main character of the picture.
Nolan proposed absolute freedom in writing the compositions, to which Hans determined the main tool – the organ, explaining this by the fact that even at the instrumental level – this is the most lively tool. The soundtrack was recorded right in the church, where the local walls hugged the sounds with the corresponding native acoustics. Subsequently, we get the most recognizable soundtrack that accompanied the heroes throughout the story.
Cosmic splendor.
Total infinity.
This feature implants in the process of creating a picture creates a special charm. Gives her peculiar mental prints.
Emphasizing all of the above, I would like to pay attention to the instruments of the narrative again. Often, something non-obvious can completely destroy the overall picture, or reveal the figured brackets of the gaming formula and supplement visual images.
I am very glad that you
Read it
to the end!
Leave comments. Let’s communicate!
Also, a link to the video dedicated to this topic:
The best comments
As a fan of speculating about sound – categorically did not understand what it was generally about. On a piece with RDR2, my brain generally broke “Arthur Morgan does not need the actor of voice acting”, “We hear around the non -fading wild West, and the pulsation of the studio in which our characters were recorded”. Shshshshshshshshshshhto, sorry?
Arthur Morgan is a living person, not mime, waving his hands. He needs a voice to communicate with people around (and he does this O_O), including when he jumps on a horse. And given how carefully RDR2 works out the surrounding space, how well or bad we hear the people with whom we go, as for each riding dialogue it was written as much as two versions – when you can just speak (if the characters are close), and when you need to scream (when the player decided to second ahead or, on the contrary, lag behind), then, well, I don’t understand which cabin is generally talking about.
Although there is further-generally zero conversations about the sound and its directing, and some difficulties in finding the necessary intonnations. And they are not complete, because to present the heroic epic of the masses for the fact that it sounds like a Heroid epic-well, it’s like to blame Schwartz and Stallone that they poured vanliners in their famous militants and 90s.
And in the end, suddenly, we returned to the sound, but already through music.
In short, excuse me, I probably are the main blog grunter today, but I didn’t understand at all what the author wanted to say and what does the specific term “sound engineering” have to do with it, because only the very first piece is dedicated to it.
After categorically I greeted it immediately, it became clear that this is not an example of a minor moron.
Nuuuu and, firstly, the localization there is not even a “exemplary” level, it at best is not bad. I had a lot of questions to her on the move. So how much did CDPR really follow and patronized everything – hell knows. The normal work of the game on PS4 was also promised from the start. And Chota somehow not Alee.
Secondly, the quality of texts and voice acting in cyberpanca (in my opinion) is tangibly worse than RDR2. There are heroes much more clicked psychotypic, and the events exaggerated (though there is an exaggerated world there, so this is quite suitable for him, but this is another separate conversation.
I knew! I knew.
I categorically welcome you individually!
We talk about different things with you, buddy) Sorry that I did not live up to your expectations and spent your time
Yes, the essence is not in sounds, you simply give very random observations, uniting them with the word “sound”, which in specifically this situation gives an extremely weak understanding of what we will talk about and what you want to talk about (talking – well and useful, and “unsuccessful” experience is also important, because in fact the experience is not charged. Experience is experience, we give it emotional coloring ourselves. And it is important to receive not only a positive feedback, but also negative, to understand what can be improved, in which direction to develop, and t.D.)
And about Arthur – well, Rockstar, therefore, prohibits the reappeeling of his games, because it spends a phenomenal amount of time and effort on the selection of actors, on their compliance, on their play. Therefore, if you do localization with a similar amount of forces spent forces and resources, it will be good (even still debatable whether the original will come out). But no one will obviously do this.
Yes, I saw the post, but it is so big. But I have nothing to say on the topic – I played Cyberpank on the release, so I just remember that I had the feeling “I look at the book – I see the figure” from the translation and I quickly switched to the original.
Yes, the work was done simply colossal, well done guys, if only because with this amount of work, the final result is not “the train made a boom” and “so and well-well”. Of course, there were rustling, but it was very naive (especially on my part) to believe that they are so easy to avoid.
the locations do not have motivation to “do your work amazingly”. They just have a task – to do their work.
I actually, as it seems to me after the dialogue with you, is a very one -sided idea of the work of the localizer. They are letters in Africa letters, and I poorly imagine that it can force a person to translate a fairly unambiguous phrase with a completely different subtext, which is why I am more categorical in such judgments. Ultimately, it was these people who received a denyuzhka for this localization, and I only pour out the bile on the Internet, even if I try to do it justified and not be a dugr.
This, of course, is entertaining to read, but where does the sound engineering?
Tried to reflect part of the same sound engineering with examples from films and famous games. The topic is immense, and it cannot be described even in a dozen such texts)
Of course, I could be mistaken, but I always thought that sound engineering is more technical work directly with the sound: sound recording, effecting effects, work with volume levels, etc.D. The article has more about the work of films directors, dubbing directors, composers.
I partly agree with you. I initially do not claim to be some professional and detailed analysis of the topic. But for example in music – this is a little different. For example, the conceptual album of Oximiron "Gorgorod" is not an example of the sound of sound, as a tool cell. But the whole album is built on a whole story, which indicates the symbiosis of these two concepts – the sound ~> directing. But this is all only my understanding. I just wanted to share his observations)
Just opening an article about sound engineering, I expect to read, in fact, about sound engineering) in the music of sound engineering – the same as everywhere everywhere. In the case of Oxy, there is rather an analogy with the director of the film.
Regarding Arthur Morgan, he described a little, he does not need an actor of Russian voice acting, I talked about this.
After the first experience of writing here – I realized that there are many outstanding sounds and signed that there are no technical features on the blog. As I wrote above, I just decided to share my observations.
Experience and experience. Thank you so much for the constructive criticism.
I completely agree with you. I have no negative reaction). I am glad that in the first block they gave me feedback. I will try and do better. For this I came here!
Wait, Van, but what about the unfortunate Cyberpunk?
There, all localizations were generally sawn at the same time and everything under the auspices of CDPR.
Sorry for the self -promotion (and the author of the blog is also sorry), but just the other day I had a blog on this topic, it would be great to hear your opinion. You obviously have something to say to that.
Well, so, I sawed more than six months 🙂 Big blogs are bad now?
There are actually a bunch of small and dubious moments and solutions that you did not find, playing in the original. I just raised the topic that localization seems to tell the same story, and in fact we have a retelling from memory, because the localizers were too indulgent with synonyms and formulations.
And on the release, everyone was not at all up to localizations. Unless from each iron there was a “many mat”, and only.
No, large blogs are not bad, but I personally have no time for them almost never. And, frankly, the format of “difficulties of translation” for me has always been about jokes from Denis, because I perfectly imagine that the games are by no means in the mode of “you have access to everything everywhere and always, a million years of reserve and any resources for localization”, so even missing the difficulties that are directly related to the translation of the phrase from English into Russian, and the localizers have to overcome the difficulties that are of difficulties that are difficult. inevitably pour into small jambs, large jambs, etc.D. And this is not due to the fact that they put the fifth grader to translate, but with the technical process itself. Because of what “difficulties” these are often not “translation”, but precisely its “production”-management, maneuvering in conditions of limited resources, understanding the context of a work, etc.D., What I can only guess about.
Of course, from the perspective of the end consumer-I should do not care, I paid for the product, I have the right to expect, demand, knock on the table (blah blah blah). In the right is right, only to anyone easier? Well, perhaps to me, because I thus released the negative. But I prefer not to save it initially and is ready in advance that the translation is an inevitably rubbed source. Therefore, I just prefer to consume everything in the language of the original and not steam about the losses. Sometimes – they do not care about them, for example, in Left 4 Dead, where one thing is important to me – so that the heroes are delighted and expressively yelling.
Therefore, to sit down and meticulously show that translations are far from always good-it is useful for users and spectators in order to clearly show the benefits from knowledge of the language, something like that.