dc.contributor.author | Høier, Svein | |
dc.date.accessioned | 2020-10-27T08:20:10Z | |
dc.date.available | 2020-10-27T08:20:10Z | |
dc.date.created | 2014-03-01T10:47:31Z | |
dc.date.issued | 2014 | |
dc.identifier.citation | The New Soundtrack. 2014, 4 (1), 59-72. | en_US |
dc.identifier.issn | 2042-8855 | |
dc.identifier.uri | https://hdl.handle.net/11250/2685141 | |
dc.description.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; and 5) permanence – stability over time. The conclusion discusses how these five sound qualities can be combined to create a believable post-synchronised voice. | en_US |
dc.language.iso | eng | en_US |
dc.publisher | Edinburgh University Press | en_US |
dc.title | The believability of redubs and post-synchronised voices: Merging new voices with existing audio-visuals | en_US |
dc.type | Peer reviewed | en_US |
dc.type | Journal article | en_US |
dc.description.version | acceptedVersion | en_US |
dc.source.pagenumber | 59-72 | en_US |
dc.source.volume | 4 | en_US |
dc.source.journal | The New Soundtrack | en_US |
dc.source.issue | 1 | en_US |
dc.identifier.doi | 10.3366/sound.2014.0052 | |
dc.identifier.cristin | 1119510 | |
dc.description.localcode | © 2014 Edinburgh University Press. DOI 10.3366/sound.2014.0052 | en_US |
cristin.ispublished | true | |
cristin.fulltext | postprint | |
cristin.qualitycode | 1 | |