A Study on the Sound Fidelity in Animation
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1 A Study on the Sound Fidelity in Animation Jihong KIM* *Tongmyong University of Information Technology, School of Art & Design, Dept. of Digital Video & Animation, 535 Yongdang-dong, Nam-gu, , Busan, Korea Abstract: Though visual image is the main element for producing animations, however, it may not be enough to express all the subtle and delicate emotional states without sound. For using sound in animation, it is required artistic abilities and senses of interpretation for visual and audio messages. In this paper, the sound fidelity in animation can be studied and defined. The sound fidelity divided into two different aspects. One is the location of sound source in animation. And the other is the originality of sound source in animation. It is the matter of whether the sound source is on screen or not, and whether the original sound source is similar to sound on screen or not. For the sound fidelity, when the sound source is on screen or the original sound is used in animation, it can be defined that the sound fidelity is high. And it is called that synchronous sound produces the new-ness and the reality in animation. On the other hand, when the sound source is not on screen or the original sound is not used in animation, the sound fidelity is low. It is asynchronous sound that sound can extend the visual imaginations out of screen and makes enrich the expression of animation. For the purpose of using the high sound fidelity is to reinforce the reality of animation with sound, and to produce different emotional impact. For studying this subject, the animation Shrek is analyzed. From this animation, it can be detected many different usages of sound fidelity and worth to be selected as material for this study. Key words: Sound, Sound Fidelity, Animation 1. Introduction Animation has been treated as the entertainment for children and so called childish adults. Because of such a notorious reputation, the animation could not awarded as the research subject for academia. Therefore, animators and researchers have to require tremendous efforts to establish the animation academia as independent subject. After late 1980 s, the animation finally acquired as the academia. Now, there are many Universities and Colleges to adapt as a regular curriculum and even major subject in the world. It, however, the history of animation is not younger than film history. Animation is consisting of two major elements that are the visual element and the audio element. The visual element of animation is the main element that cannot complete an animation without it. And it can visualize animator s imagination and actually audience can appreciate the information through their eyes. Shapes, colors, lights, movements are presented to the audiences as the visual elements. The audio element can be transmitted by air and detected by ears. The audio element could not gives an even weight of the visual element, however, the roles in animation are not less important than it. The audio element has three sub elements that are dialogue, sound effect, and music. At the silent movie time, it was impossible to produce sound in animation, it is not because of unnecessary of sound in animation, it because of the lack of technology. After that time, animators were very active to use sound in their animations. Sound can enrich the visual impact. Therefore, animators
2 devoted their efforts to develop the sound technique. But some of animations presented without sound such as the experimental animation or the Avant-Garde artist s works. But most of animators produce the visual element and audio element for animations. Using sound in animation is not only a method of communicating the information between animators and audiences but a way of provides a pleasure to the audience. Dialogue is a method of communication among characters and also the voice of narrators can be derived information for audience. Sound effect is Foley that create sounds of the real situation. From the sound effect, visual element can be enriched and increased the reality. And music can produce the mode of scenes. The explanation and introduction of an animation can be done by title music. Considering of creates animation process, sound is created after the completion of visual element. Sound created by animators under their sound schemes. This process of creating sound is to put effects for completing animation as art works with fulfillment of the completion and the aesthetic. For animation, sound is used the original materials or ready-made materials. It, however, is very often to create the sound that does not exist in real world. Therefore, animators requested great efforts, talents and senses of create the sound images. Sound is the final process of animation production. It should be undergo by the designated plan. This study is about the sound fidelity in animation. The sound fidelity is the location of sound source and the similarity from original sound. When the sound source in animation is on the screen, it is a high of the sound fidelity. And when the sound source in animation is not on the screen, it is low of the sound fidelity. Furthermore, the sound in animation is same from original sound; it is high of the sound fidelity. And the sound in animation is not same as original sound; it is low of the sound fidelity. The sound fidelity is not concern with sound quality. On this study, it will be investigated whether the sound fidelity is high or low. Shrek is material to be analyzed for this fidelity. The director, Andrew Adams from DreamWorks Pictures Production, produced Shrek in This animation is worth to use as studying material, because of sound technique as motion picture. Table1. The sound fidelity in animation Sound Fidelity The location of sound source The originality of sound source High Low Synchronous sound or diegetic sound (Visible Sound) Asynchronous sound or non-diegetic sound (Invisible sound) Original sound Commentative sound 2. The process of sound production planning For producing animation, there are three big steps that are pre-production, main-production, and post-production. For pre-production, animator should prepare for the very beginning processes that are rough idea, scenario, storyboard and design for character, background image. Main-production is drawing and coloring processes. In the computer animation, it is modeling, mapping, animation and rendering processes. At the post-production, animator can taping, editing visual images and sound. This post-production process, it can be considered, how to make sound and what kind of sound can be used. With visual image, sound can be defined and edited from the original plan for creating and editing sound. For sound image, it is all played that dialogue, sound effect and music.
3 3. The sound fidelity in animation The Sound fidelity is the matter of location and originality of sound source in animation. The location of sound can divide into two ways. Whether the sound source is on the screen or off the screen. First, sound source is on the screen that is synchronous sound or diegetic sound and visual sound. In this case the sound fidelity is high. Second, sound source is off the screen that is asynchronous sound or non-diegetic sound and invisual sound. In this case the sound fidelity is low. The originality of sound can also divide into two ways. Whether the sound source is as same as the sound on the screen. If the sound source is as same as the sound on the screen, it is an actual sound and the sound fidelity is a high. If it is not as same as the sound source and sound on the screen, it is a commentive sound and the sound fidelity is a low. Actual sound makes believe that the audience is in the real world. A commentative sound, however, can evoke the audience to imagine over the screen and implicate the visual image symbolically. Table 1. is on the sound fidelity in animation. In the next chapter, it will be illustrated the sound fidelity of the sound location and the sound originality in animation 3.1 The location of sound The sound source is on the screen that is synchronous or diegetic sound. That is the high sound fidelity. The sound source is visible on the screen that can easily detect the information directly. From this, audience will not be in confused it. The synchronous sound enhances the reality and the now-ness with an intuitive reaction in animation. From this audience absorb and involve the situation as real and natural ways. This sound can be found in monologue, dialogue, music performing, song with lyrics, and sound effect for animations. The sound source is off the screen that is asynchronous or non-diegetic sound. That is the low sound fidelity; it can be more evoked audience s imagination than the visual sound in animation. This asynchronous sound can substitute, contrast, and juxtapose with sound and visual. In voice over, monologue, dialogue, music performing, song with lyrics, sound effect can be used as invisual sound. Without visual image and sound alone, the fear and the suspense can be triggered by the sound. Using the invisible sound, frame can visualize the situation over the sound and express character s the emotional reaction when they hearing sound. It brings very strong emotional impact to the audience and makes it humorous and dramatic. Table 2. is the sound fidelity by the location of sound source. Table2. The sound fidelity by the location of sound source The location of sound source Sound fidelity High Low Synchronous sound or diegetic sound Asynchronous sound or non-diegetic sound On-screen space Reinforced reality Enhanced now-ness Off-screen space Extended over the screen 3.2 The originality of sound The originality of sound can also divide into two ways. Whether the sound source is as same as the sound on the screen. If the sound source is same as the sound on the screen, it is an actual sound. If it is not same as the sound source and sound on the screen, it is a commentive sound. The actual sound is the high sound fidelity. And the commentative sound is the low sound fidelity. The actual sound gives more weight on the sound similarity than the technique for producing sound and the sound quality. The actual sound illustrates the situation in
4 animation accurately. And presenting real sound that concretes the belief for audience with the direct perception. The reality of animation is promoted by the actual sound; therefore audience makes believe the situation as real in animation. The commentative sound is a music that explains the situations in animation. Mickey mousing is a commentative sound and the sound fidelity is low. Using the mickey mousing is that character has dynamic and comic gesture to express its action. Therefore, the commentative sound presents a situation comically and dramatically. Table3. is the sound fidelity by the originality of sound source. Table3. The sound fidelity by the originality of sound source The originality of sound source High Actual sound Reinforced reality Sound fidelity Low Commentative sound Mickey mousing Comic 4. Applicable examples of sound fidelity 4.1 The location of sound Those are examples of sound fidelity for the location of sound. Fig.1, fig2, fig3 are high sound fidelity. Therefore, those scenes showed that the sound sources are on the screen. Fig. 1 is two characters are talking each other and the voice is clearly detects on the screen. Fig2 is the mirror is talking to people. And fig. 3 is for the scene that people are talking together. Fig. 1 Shrek is talking with Donkey. Fig. 2 A mirror is talking
5 Fig. 3 Three people are talking together Fig.4, fig.5 are low sound fidelity. Therefore, those scenes showed that the sound source is off the screen. Fig.4 is the voice over that it can be heard the voice to read a storybook. For this scene nobody can presume the reader in the animation while it is reading a book. Fig. 5 is the scene that the mirror is introducing the bride Fiona. It is the voice of mirror that is not appears on the screen while the mirror is speaking on and off. Fig. 4 Reading a story book with voice over. Fig. 5 Introducing the bride Fiona by the voice of mirror 4.2 The originality of sound The sound source is as same as the sound on the screen, which is an actual sound. Fig. 6 is high sound fidelity and Shrek makes a noise that is a fart in the water. The sound is almost real so that audience can receive the information without any distortion.
6 Fig. 6 Shrek makes a fart in the water. The sound source is not as same as the sound on the screen that is low sound fidelity. Fig. 7 and fig. 8 are the commentive sound. Fig. 7 is the scene that a soldier running away. It is using a Mickey mousing for making comic situation. Fig. 8 is Shrek is coming back to his home with sang a sad song that imply the depressed mind. The song is the commentative sound. Fig. 7 A soldier is running away because of Shrek. Fig. 8 A sad song can express Shrek' a sad mind. 6. Conclusions Obviously the visual element is the main part and to make exist a form of animation. Animation can be possibly created without sound. It is impossible to be created animation with sound alone, however, the sound is not less important than the visual image. There are words on the sound. Kurosawa Akira said, When I am working on sound editing for my film, I can feel a trilling. And even, director Francis Coppola said that sound is a half of film. In animation, the procedure of sound producing is stared just after the finish of visual production. Sound producing and editing is working under the production plan. Therefore, animator should calculate and predict the
7 effects of sound in animation. In this study, the sound fidelity is one of important facts for producing sound in animation. The location and the originality of sound in animation is one way of expression for animation language. Whether the sound source is on the screen or not, the sound fidelity will be high or low. And whether the sound source is as same as the original sound or not; the sound fidelity goes to high or low. When it comes to the sound fidelity, it can be enriched the expression of animation. The purpose of using sound can be created mood, feeling, speed and stress in animation. Consequently, sound dose not have to be use only synchronous and original sound, asynchronous sound can also be used as good ways of expression in animation. References 1. Jayne Pilling, A reader in Animation Studies, John Libbey, (1997) 2. David Bodwell, Christin Tompson,/ Ju jin sook, Lee Kwan young, The Art Film, Theory and Practice, 371 (1993) 3. Director Andrew Adams, Shrek, A PDI/DreamWorks, (2001) 4. Hwang sun gil, Animation Scenario, Bamwoo-sa, (1999)
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