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室内剧是大陆电视作品中的新兴品种,它除了人物集中、场景集中等特点外,还同时向表演、摄影、剪辑、美术、服装、化妆、道具等各个创作——制作部门提出了一系列独特的要求。室内剧向录音部门提出的特殊要求可以用“同期录音”这四个字来概括,也就是说,录音部门只有采用同期录音的生产工艺才能与摄像部门的多机拍摄、剪辑部门现场切换等相匹配,才能跟上室内剧每天拍摄15——30分钟,大约3——4天完成一集的进度,否则,室内剧将失去它“高速度、高效率”的特点。A 在通常观念中,同期录音只是一个工艺术语,它的内涵一般都被确定为完成或者体现创作意图,它是工具或手段,本身并不参与创作。室内剧的表层特征似乎也支持着这种认识。因为就大众所见,室内剧一般并不出现表意画面或情绪画面,人或物的实景上绝大多数,几乎没有声画分立的情况,这种状况导致室内剧一般不要求录音部门提供整体的声音设计,由此,认为室内剧的声音只有共时性,没有历时性,似乎是合乎情理的。但是,应该指出,这种观点对于室内剧及其同期录音是一种粗糙的理解,起码,它把“声
In addition to the characteristics of concentrated people and concentrated scenes, in-room dramas are emerging varieties in mainland television productions. In addition, the series presents a series of unique features to various creative and production departments such as performances, photography, editing, art, clothing, makeup and props Request. Indoor theater to the recording department of the special requirements can be “simultaneous recording” these four words to summarize, that is, the recording department only use the same period of recording production technology and camera department of multi-machine shooting, editing department on-site switching phase Match, in order to keep up with indoor drama shooting 15--30 minutes a day, about 3 - 4 days to complete the episode of a set, otherwise, the indoor drama will lose its “high speed, high efficiency” features. A In the common sense, the same period of recording is only a technical term, and its connotation is generally determined to complete or reflect the creative intent, it is a tool or means, itself does not participate in the creation. The surface features of the in-house dramas also seem to support this recognition. Because on the public view, the interior drama does not appear ideographic or emotional picture, the vast majority of people or things on the scene, there is almost no separation of sound and picture, this situation led to indoor drama generally do not require the recording department to provide the overall Sound design, therefore, that the sound of the indoor drama only synchronicity, there is no diachronic, seems reasonable. However, it should be pointed out that this view is a crude comprehension of room plays and their contemporaneous recordings. At the very least,