Nanjing! Nanjing! The voice creation of 《

Nanjing! Nanjing! The voice creation of 《

Looking for a Gun, Hoh Xil and other works have seen the young director Lu Chuan's consciousness of seeking change, so it is particularly urgent to pay attention to Lu Chuan's works that grasp the theme of historical war this time.

I saw Nanjing! Nanjing! After that, I was impressed. In particular, the sound processing in the film is highly unified with the theme and style of the film, which enhances the sensory experience in audio-visual performance and makes the appeal of the film more deeply rooted in the hearts of the people.

The movie Nanjing! Nanjing! The selection of materials is based on the "Nanjing Massacre" which really existed in history, was put on the screen and TV many times, took place in China and shocked the world. The topic selection is very sensitive and challenging. The screenwriter deliberately avoided the perspective used in film and television dramas many times before. Seventy years after the real event, he boldly described this historical event from the perspective of Japan, an ordinary Japanese soldier who was the victim of the film-making country. This is an act with a vision of the times, and it also properly reveals that the direction of scriptwriting and drama is not only to reproduce the event, but to reflect "the right of human existence" through the event.

Personally, I think the film finally adopts a related two-stage structure for narrative. The first half mainly tells the story of patriotic fighters such as Lu, an elite unit of the National Government, who fought tenaciously and were finally captured and massacred. In the second half, the brutal tug-of-war between Chinese and Japanese occupation forces in the "safe zone" established in Rabe, Germany, finally brought back the humanity of Japanese soldier Kakukawa and told the story of his "saving lives" and suicide.

The characters in the play are mainly in two aspects:

On the one hand, there are various typical figures representing the military and civilian image of China: fearless rebel-Lu, dignified woman-Jiang, human-Mr. Tang, strong wife and mother-Mrs. Tang, the most beautiful victim-Xiao Jiang, and the hope of dawn-Xiao Dou.

On the other hand, the Japanese represent different attitudes towards the war: the return of human nature-Kakukawa, the extinction of human nature-benefiting farmland, and the consolation of sadness-Yuriko.

The combination of these roles, starting from the most basic individual unit, interprets a realistic war picture. German Rabe is only an arrangement of the event background in this film, and there is not much description.

The sound style and personal feeling of the whole movie are mainly documentary style, mainly exaggeration, which combines the styles of subjective music and emotional music. Compared with the first two films directed by Lu Chuan, Looking for a Gun and Hoh Xil, in terms of the complete documentary style of Hoh Xil and the prominent subjective voice style of Looking for a Gun, Nanjing! Nanjing! The sound in the film is more "brought in", and the sound processing of documentary style is highly unified with the hand-held photography style of black and white documentary style. This audio-visual expression is concentrated in almost all narrative paragraphs of the film, while lyric paragraphs are mostly "inadvertently revealed" by subjective music with emotions.

The dynamic range of sound processing in the whole film is very large, and the deafening gunfire and the use of percussion instruments dominated by drums throughout the film are in sharp contrast with the few dialogues in the film. As a result, when I was watching a movie, the girl sitting next to me often unconsciously "covered her ears and watched the movie" when she saw the scene of fierce and violent war.

According to relevant information, the film "Nanjing! Nanjing! At the same time, the recording is mainly used for the dialogue of the film. Some Japanese actors dubbed the dialogue in the later stage, and the later sound production was undertaken by Beijing Yijing Digital Technology Co., Ltd., and the music in the film was completed by Beijing Tianchang Sound Field Culture Development Co., Ltd., and finally the mixing was completed in the new digital production base of China Film Group. Due to the relatively little dialogue content in the whole film, a lot of sound processing and production was completed in the later stage, and the brand-new digital production base of China Film Group and brand-new technical equipment and talents ensured the excellent quality and production cycle of the film in sound production and final mixing.

The final screening copy of the film was recorded by Dolby's "dolby digital Surround Sound", that is, digital surround sound recording certified by Dolby. It ensures the artistic and technical requirements of the film such as sound quality, sound field positioning, sound space and sound reproduction.

In terms of sound, because of the particularity of the subject matter, the film has fully played its role in sound design. The theme of war itself provides a possibility of expression in many aspects such as region, space, humanity, performance, effect, dynamics and emotion.

In the language and sound design of the film, there are three national languages, namely, Japanese representing the Japanese occupation army, English of German Rabe and his assistant, and Chinese of China, while Chinese includes Nanjing dialect with strong regional characteristics and standard Mandarin with several characters. At the same time, there are non-native languages spoken by people of different nationalities to match the narrative content of the film. Such as Mr. Tang's English dialogue and Japanese dialogue; Some Japanese people's simple English and Chinese pronunciations are well restored from the reality of the incident with full consideration of these elements. In particular, the typical Nanjing dialect of Mrs. Tang, Xiao Jiang, Tang Xiaomei and others in the film reasonably reflects the location of the incident through the dialogue of the characters in the sound design of the language. The Japanese role played by the real Japanese in the film is also a good use of authentic Japanese dialogue to reflect the film's attitude of pursuing realistic restoration of sound language processing. At the same time, Jiang's standard Mandarin is also in line with her teacher's role. Some details in the film, such as the Chinese accent when Lu and some soldiers of the National Government prevented Nanjing defenders from leaving the city, the dialect grammar of Mrs. Tang's bid when playing mahjong with citizens in the safe area at night, and Tang Xiaomei's singing of Yue Opera, are full of rich regional characteristics and real life texture.

The tone expression of the actor's lines and dialogues closely combined with the narrative rhythm of the story also played a very positive role in promoting the narrative realism in the emotional expression of different paragraphs and roles in the whole film. For example, in the film, the China Resistance Army ambushed the Japanese patrol at 17:20 seconds, and the intense language dialogue between the Japanese soldiers who were ambushed and the tense and concise dialogue between the China Resistance Army closely matched the battle scene and atmosphere described in the film, making the fierce and tragic resistance scene real and shocking. Another example is the 45:00-second scene of Japanese troops chasing China soldiers and civilians outside the security zone. Jiang's line "Go back to the tent, hurry up ... Go back to the tent" also plays a vital role in the atmosphere and the mood of the characters.

Sound design plays a key role as the sound of movies. The theme, scene, action, machinery, environment, details, effect and style of the film are fully reflected in the sound design of the film.

In the environmental space, such as the long shot of Jiaochuan outside Nanjing, it is the embodiment of the environment in the outdoor open space. The deafening sound of tank engine and crawler slowly moved from the right side of the head to the left side, intersecting with the dispatching action of Kakukawa, which explained the whole environmental characteristics of the scene from the sound modeling. Audio-visual means are simple, but the role is clear.

From the beginning of the film 10:55 seconds, the Japanese patrol pushed open the wooden door of the church. The film brings us into a larger closed space. In this larger "empty" environment, the appearance of appropriate sound "reverberation", "delay" and "reflection" effects makes the environment in contact with vision reflect the real space environment and brings the audience into a serious and horrible atmosphere. In the sound processing that matches the scene of the lens, the sound also has this clear sense of distance and depth. In close-range shooting, the sound distance is very close, while in panoramic shooting, the obvious reverberation and delay produce an auditory sense of spatial scene.

When Kakukawa was ordered to rush out of the church and call for reinforcements, Kakukawa's crying echoed, but it was obviously different from the effect in the church. The spatial difference between the two shots was logically related in sound. The sound direction of the "bellows alarm" issued by the reinforcements who arrived later has obvious changes in volume, movement and distance in the spatial position during the scheduling process of camera movement and actor movement, creating a spatial feature beyond the limited picture in sound modeling.

The fiercest war scene in the film begins at 17:20 seconds and ends at 2 1:00. This highly realistic war scene is a place to fully display the sound design skills of the film.

The sound processing of this movie is very shocking. The dynamic range is so large that only in the cinema can we really feel the visual and auditory shock of this clip. To be sure, the audience has hardly ever really experienced the battlefield, and has no actual listening experience for the shooting sound of tanks, mortars and rifles. However, through these four-minute war scenes, we can fully appreciate a fierce and desperate fighting atmosphere. Compared with the war scenes in Spielberg's Saving Private Ryan, in terms of sound effects, we think Nanjing! Nanjing! The sound processing of this war scene is more exaggerated and slightly documentary. Every shot is like an explosion at a different distance from the ear. The sound is short and burst, and the direction and distance of the lens are very clear. Bullets hit the wall, ground, helmet or human body at high speed, and scattered stray bullets and explosive fragments can be clearly distinguished; The shooting sounds of different caliber weapons are different, all dynamic effects are highly consistent with the contents presented in the picture, the overall frequency distribution is very clear, and the high, medium and low frequencies are rich, while the sense of distance and orientation of the sound is very clear, mixed and not chaotic. In the dynamic range and volume level of characters' lines and dynamic special effects, the sense of quantity of shooting and explosion is highlighted, and the characters' lines are drowned with dynamic special effects sound, resulting in great oppression and fear.

As the scene and the lens get closer, the details and distance of the sound deepen. The lens shuttles through this dilapidated semi-closed space, capturing every most representative picture and performance in this chaotic scene at a very close distance. For example, the beans pull bullets out of the chain, the rifle that rotates the gun pulls the bolt to load the bullets, the grenade powder with the safety cover removed burns, and the bullet continues to fly after hitting the target and hits another object, all of which enrich the authenticity of this intense scene through sound details.

Impressively, in 19: 17 seconds, two Japanese troops broke through and rushed into the hidden building in Lu, ready to sneak attack. After hiding behind the wall and dropping two grenades, Lu turned and quickly shot at the Japanese army stunned by the Grenade array under the stairs. In this narrow space, the huge air energy released by the explosion of bullets and gunpowder drives the air in the stairwell to produce violent vibration, and this vibration inhibits the spread of this sound because of the small shielding space of this hardware wall. "Bang" and "Bang" two kinds of shooting sound, in a very short time, quickly reflected many times in this space, high-speed vibration, forming a very real quilt. It can be said that only when the sound engineer has a high understanding of the characteristics of this space environment and props can this unforgettable little detail be realized so deeply.

In the follow-up picture of close-up, the secondary sound scattered in the background also tries to expand the space of this scene. Even if you can't see it, you can feel the progress of war in space and background through the transmission of sound.

Combining the above aspects of sound processing, hand-held photography, close-up and other documentary techniques, coupled with the wonderful performances of the actors, this epic "The Rise of the Army and the People in China" is expected!

Nanjing! Nanjing! There is not much music space in the whole film, and "ambush" and "scattering" are everywhere in the film. When watching movies, including the faded picture at the end of the film and the soundtrack of emotional paragraphs after the subtitles appear, they are unconsciously inciting the emotions of the viewers. In terms of music creation and design, the most impressive thing is the intermittent performance of drums throughout the whole story. The use of drums echoes the deep psychological hints such as shock and awakening in the film, and carries the emotional changes of complex psychological roles presented by Kakukawa from the perspective of Kakukawa in the whole narrative.

In the first part of the film, the use of drums is presented as subjective emotional music, mostly combined with tragic pictures of killing, forming a counterpoint between sound and painting, suppressing suffocation, driving people's heartbeat and making people nervous, excited and angry. At the end of the film, at the ceremony to celebrate the Japanese occupation of Nanjing, drum performance appeared as an objective and realistic music form. Celebration is actually a memorial service for the soldiers killed in the Japanese occupation of Nanjing. In the form of ritual giant drum dance that can't be verified, the strange movements of Japanese soldiers, including Kakukawa, and the drums that resounded through the sky formed an audio-visual performance, which had obvious irony and expressed the director's anti-motive intention to the Japanese celebration behavior. On the other hand, it means that this shocking drum beat Carcaba's confused heart at any time, and this state continues below, which is a more urgent drum music. When he beat Carcaba, he was struggling to carry the drum.

Some shortcomings of film sound are limited to my intuitive feelings about film sound processing, which does not have the function of objective evaluation, so I will not discuss the works here. Integrate all the sound elements of the film, "Nanjing! Nanjing! The design and production of movie sound, the creation of music and the synthesis of the most comprehensive mixed records are still quite excellent. In China's films, both artistry and technicality are amazing. ;