Heap Виталий Дёмочка 1

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Fairy tales of the Viennese wood

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Unmistakably can be argued that when a loud "talking" TV, you could not hear him. When operating the tractor engine - too. When there is a lively conversation at the table - as well. If only a mosquito or got you right in the ear.And the clock on hand throughout the day "do not fly" in your ears, though ticking sounds continuously. Only with complete silence in the apartment and focus your attention on hearing the sound of the clock mechanism, you may find that they have not stopped.As they say, the silence on the screen is created, expressed, expressed by amplifying and isolating the general background unnoticed usually weak sounds. The principle of the sixth. To give a specific character to the background sound is flat, poorly discernible pattern can be included or required fragmentary transient sounds.Individual sounds are not significantly affect the recognition of basic on the general background. Assume the task before the director to show that the action takes place in a rather noisy sound atmosphere. Heroes stand on a busy place where a lot of people and talk.Nearby, behind them, from time to time slam the car door, a loud knock female heels and even individual cries. All of this can be laid on a background soundtrack, almost no decrease in the volume of these sounds, without much damage to the understanding of speech.But aerobatics when creating such phonograms considered skill engineer put short sounds in the pauses between words or remarks. The principle of the seventh. Continuous sound can not be connected back to back, even if their sources are sounding objects in the frame, change the screen instantly.As in our visual perception exists inertia sight, so in the auditory perception of the mechanism of gradual shift of attention from one sound to another. When we change the object of interest of sound, the first sound as it fades in our perception of a distinct, and the second as if floated in a zone clearly audible.Naturally, that the installation, connection of adjacent continuous lolzhen consistent with our natural sound experience. In the scheme, it looks like on the display when the computer installation. The first sound dies down, and the second occurs.The duration of the transition from one sound to another may be different, even very short, but should always be noticeable to the ear. Imagine a sequence of frames and change their sound. The hero travels through the desert on a camel. Sound - the wind whistling. The hero is flying in an airplane. Sound - the roar of the engines. The hero goes to the vestibule of the train. Sound - the sound of the noise of the wheels.Hero - already in a motor boat. Sound - the roar of the engine. It turns out that we can not even hear the domestic SRI instantly switch from one sound to another.

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The rudeness of the real installation of continuous butt sounds quite obvious.And if you implement it in the product, the audience trizh dy "rezanut ears" hopping from one sound to another.To avoid unnatural and rough transitions in the final recording, the primary account is on different films or track, and then in the mix of sounds first gone, and the second simultaneously displayed on the volume.




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