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The believability of redubs and post-synchronised voices: Merging new voices with existing audio-visuals

The believability of redubs and post-synchronised voices: Merging new voices with existing... This article addresses the question: how do different sound qualities contribute to the believability of post-synchronised voices? Production examples are discussed where the post-synchronised voices balance on the border between the `believable' and the `unbelievable'. The discussion also draws on examples of `redubs' ­ a term that is used when creative but non-professional online users add new voices to popular film and television clips. Redubbed amateur productions as well as some non-traditional examples from professionally produced films, are used as means to explore the issues surrounding the production of post-synchronised voices. Five central aspects of voices structure the discussion: 1) synchrony ­ connecting voice and character movements, usually lip movements; 2) physicality ­ voice qualities connected to a character's physiology; 3) spatiality ­ the matching of spatial qualities between character voice and visually presented character surroundings, weighted against the need for intelligibility; 4) contextual dependencies ­ how other elements in the soundtrack influence the experience of post-synchronised voices; KEYWORDS film sound dubbing redubs looping post-synchronised voices voices in film The New Soundtrack 4.1 (2014): 59­72 DOI: 10.3366/sound.2014.0052 # Edinburgh University Press www.euppublishing.com/SOUND 1. Post-synchronised voices created by professionals may be called `dubbing', `looping', `ADR' (Automated Dialogue Replacement) and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The New Soundtrack Edinburgh University Press

The believability of redubs and post-synchronised voices: Merging new voices with existing audio-visuals

Høier, Svein
The New Soundtrack , Volume 4 (1): 59 – Mar 1, 2014
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Publisher
Edinburgh University Press
Copyright
© Edinburgh University Press
Subject
Articles; Film, Media and Cultural Studies
ISSN
2042-8855
eISSN
2042-8863
DOI
10.3366/sound.2014.0052
Publisher site
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Abstract

This article addresses the question: how do different sound qualities contribute to the believability of post-synchronised voices? Production examples are discussed where the post-synchronised voices balance on the border between the `believable' and the `unbelievable'. The discussion also draws on examples of `redubs' ­ a term that is used when creative but non-professional online users add new voices to popular film and television clips. Redubbed amateur productions as well as some non-traditional examples from professionally produced films, are used as means to explore the issues surrounding the production of post-synchronised voices. Five central aspects of voices structure the discussion: 1) synchrony ­ connecting voice and character movements, usually lip movements; 2) physicality ­ voice qualities connected to a character's physiology; 3) spatiality ­ the matching of spatial qualities between character voice and visually presented character surroundings, weighted against the need for intelligibility; 4) contextual dependencies ­ how other elements in the soundtrack influence the experience of post-synchronised voices; KEYWORDS film sound dubbing redubs looping post-synchronised voices voices in film The New Soundtrack 4.1 (2014): 59­72 DOI: 10.3366/sound.2014.0052 # Edinburgh University Press www.euppublishing.com/SOUND 1. Post-synchronised voices created by professionals may be called `dubbing', `looping', `ADR' (Automated Dialogue Replacement) and

Journal

The New Soundtrack – Edinburgh University Press

Published: Mar 1, 2014

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