音频后期与声音设计入门An Introduction to Audio Post and Sound Design

简介Overview

什么是音频后期（Audio Post-Production）？先明确几个基本概念。音频后期指为动态画面制作声音轨道的全过程。这里的"动态画面"涵盖所有项目，从院线大片到流媒体视频，无一例外。Soundtrack（声音轨道）就是伴随成片呈现的所有音频内容。Let's start with a few basic terms. Audio post-production refers to the process of making a soundtrack for moving images. Notice the use of "moving images," which encompasses all projects great and small, from blockbuster theater movies to streaming videos and everything in between. A soundtrack is simply the audio that accompanies a finished project.

声音轨道极大影响观众对成片的体验。优秀的声轨能让观众沉浸数小时而不觉察其存在；而业余、粗糙的声轨哪怕只持续几秒，就会让观众脱离剧情，甚至离开影院或换台。How your audience experiences the finished project is greatly influenced by the soundtrack. In fact, a well-executed soundtrack may go unnoticed for hours by the audience while they are immersed in the show. On the other hand, it takes only a few seconds of an amateurish or sloppy soundtrack to lose the audience not only from the story but possibly from the theater or to a different channel.

如果你在海滩、游乐园等嘈杂场所录过或看过家庭录像，就会亲身体会到录制和回放现场声（production sound）的各种难题。环境杂音和干扰声大量存在，必须经过音频后期处理，将原始素材转化为清晰的台词、逼真的音效、丰满的声场，配合情绪饱满的音乐，组成成功的声轨。If you've ever recorded or watched a home movie, especially one shot at an exciting public place such as a beach or an amusement park, then you have firsthand experience with some of the inherent challenges in both recording and listening to natural production sound. All those excess environmental sounds and distractions create a need for audio post-production to transform raw sound into successful soundtracks with clear dialogue, realistic effects, and lush acoustic soundscapes wrapped in an emotionally powerful score.

音频后期的工作流程The Audio Post-Production Workflow

自从电影实现声画同步以来，音频后期第一铁律就是："画面未锁定（locked），绝不动声音。""锁定"意味着从这一节点起，画面剪辑不再做任何修改。Since the advent of sync'd sound in motion pictures, the first rule of audio post has been "Never start working on audio until the picture is locked." "Locked" suggests that there will be no more changes to the picture edit from this point forward.

现实中修改不可避免。这之所以关键，是因为声轨必须与画面保持逐帧（frame-accurate）的同步关系。一旦偏差一两帧，画面和声音就会明显错位，既影响观感又显得不专业，足以让观众出戏。In reality, changes always happen. Why does this matter? Because soundtracks must maintain a frame-accurate relationship with the picture to stay in sync. If they are off by as little as one or two frames, the sight and sound will be noticeably out of sync—a situation that is distracting, unprofessional, and likely to lose your audience.

在传统后期流程中，对已锁定画面的任何修改都会像滚雪球一样在音频环节引发连锁反应。而 DaVinci Resolve 是唯一内置完整数字音频工作站（DAW）的专业剪辑软件，无论画面怎样调整，你都能即时高效地更新项目。这意味着个人创作时可以在剪辑、调色、音频之间自由切换，极大提升创作灵活性。In a traditional post-production workflow, changes to the locked picture have a cascading snowball effect on audio post. But when you're working with DaVinci Resolve, which is the only professional editing software that includes a full digital audio workstation (DAW), no matter what editing changes are made, you can update your project immediately and efficiently. This gives you tremendous creative flexibility if you are working on your own because you can go back and forth between editing picture, audio work, and color correction as often as needed.

面对大型制作，DaVinci Resolve 将剪辑与音频后期统一在同一个项目里完成，无需导出或转码到其他系统，从根本上解决了文件更新、跨系统传递和版本对齐（conforming）的问题。音频后期可以直接沿用剪辑师使用的时间线，避免丢帧或失同步。音频工作启动后，剪辑师可在副本时间线（duplicate timeline）上继续修改，随后用 DaVinci Resolve 的时间线对比工具将改动合并回来。For larger productions, DaVinci Resolve solves the issue of updating, transferring files to other systems, and conforming projects between editorial and audio post because editing and audio post-production are done in the same project without ever leaving the application. Best of all, audio post-production can start on the exact same timeline that the editor used so you have zero chance of losing frames or getting out of sync. Once audio post begins, the editor can use a duplicate timeline to make any new changes. Then the audio editor can easily merge the changes between timelines with DaVinci Resolve's powerful timeline comparison tool.

DaVinci Resolve 提供达到顶级品质的音频后期工具，既适合小型项目，也能满足好莱坞和广电级制作需求。无论你是独立创作还是团队协作，都可以轻松把项目移交到大型制作机构，由专业声音设计师和混音师完成终混（mix）与母带处理（master）。DaVinci Resolve provides the audio tools needed for the highest-quality audio post-production and is ideal for small projects yet powerful enough for big Hollywood studios and broadcast productions to use as well. Whether you're working on your own or with a large post-production team, you can easily migrate projects to a large facility for experienced audio sound designers and engineers to mix and master the soundtrack.

下面拆解传统音频后期流程的各个阶段和岗位。在 DaVinci Resolve 中，这些步骤无论你独自完成还是与团队协作，都能按需灵活执行。Now, let's break down the different phases and jobs in a traditional audio post-production workflow. With DaVinci Resolve, you can perform all these steps as needed by yourself or with a team of audio professionals on your own projects.

声音定位（Spotting）Spotting the Soundtrack

声音总监和声音设计师（通常为同一人）会同导演、剪辑师和作曲师一起审片，列出需要新增、修改或重录的声音元素，整理成 spotting list（声音定位清单），逐项注明音乐 cue、关键音效、台词修复及其他音频备注。A spotting session is when the supervising sound editor and the sound designer (often the same person) sit down with the director, editor, and composer to look for soundtrack elements that need to be added, fixed, or re-recorded. Notes from a spotting session are combined into a spotting list that details music cues, important sound effects, dialogue fixes, and additional audio notes.

DaVinci Resolve 简化了这一流程：在 Edit页面或 Fairlight页面中使用时间线标记（timeline markers）即可完成定位。两边的 Index面板本身就是一份可交互的 spotting list，不仅能查看每条 marker 的信息，点击后还能将播放头直接跳转到对应位置。DaVinci Resolve has simplified these spotting sessions with the timeline markers that you can use in either the edit page or Fairlight page. The index in the edit and Fairlight pages serves as an interactive spotting list that not only includes information for each marker but also moves the playhead to the selected marker's position in the timeline.

对白剪辑（Production Dialogue Editing）Production Dialogue Editing

这是一项琐碎却关键的工作，包括把对白拆分到独立轨道、剔除杂音、为清晰度替换个别词句，以及平衡各片段的电平。其重要性在于：对白之于声轨，就像主唱之于流行金曲。对白剪辑师负责处理所有口语内容，涵盖台词、旁白（narration）和画外音（voiceover）。Dialogue editing is the tedious, behind-the-scenes task of splitting dialogue into separate tracks, removing unwanted sounds, replacing individual words or phrases for clarity, and balancing separate clip audio levels for consistency. Why go to all that trouble? Because spoken words are as important to a soundtrack as the lead vocals in a hit song. Keep in mind that dialogue editors are responsible for all spoken words, including dialogue, narration, and voiceover.

对白编辑首先要为每个角色创建独立音轨，再把该角色的所有对白片段归入对应音轨。这步很关键，因为不同角色的声音各有特点，需要分别做音量标准化、均衡和针对该声音的特效处理。Production dialogue editing starts with creating separate tracks for each character, and then moving all those dialogue clips into a specific track. This crucial step is necessary because each voice in a production is different and therefore must be processed individually with volume normalization, equalization, and effects specific to that voice.

接着，对白剪辑师要清理音轨，去除舌音、唇响等多余的人声噪声。能直接剪掉的分心声音就此时处理。插件和效果可以自动消除咔哒声、爆破音和底噪，但要注意：任何处理都可能影响人声本身。Next, the dialogue editor cleans up the tracks and removes any unwanted human sounds (like tongue clicks and lip smacks). If a distracting sound can be physically cut out, this is the time to do it. Plug-ins and effects can help eliminate unwanted clicks, pops, and noise automatically, but be aware that any processing you add to a clip can affect a voice as well.

对白清理完毕后，需要平衡各条对白轨的音量，使听感保持一致。如果某段对白因损坏、噪声或含糊而无法使用，就必须重录或用其他镜次的音频替换。这种对白重录叫做自动对白替换（ADR），也叫 looping。After the dialogue is cleaned up, the volume levels are balanced to be consistent on each dialogue track. If dialogue can't be used because it is damaged, noisy, or unclear, it must be re-recorded or replaced with audio from other takes. The process of re-recording production dialogue is called automatic dialogue replacement (ADR), or looping.

对白编辑既耗时又费精力。同样，DaVinci Resolve 提供了便捷的导航、精确的剪辑工具和快捷键，可以大幅简化流程、提高效率。Dialogue editing can be time consuming and laborious. Once again, DaVinci Resolve includes easy navigation, precision editing tools, and shortcuts that can simplify and speed up the process.

声音设计与音效编辑Sound Design and Sound Effects Editing

对白编辑完成后，创意环节才真正开始！声音设计师在声轨上的创作角色，相当于摄影指导（DP）在画面上的角色。他们负责为观众营造整体的声音体验，并统筹管理构成声轨的众多独立音轨（包括对白、环境声、硬音效和 Foley 音效，下文分别定义）。Once the dialogue editing is finished, the creative process begins! The sound designer's creative input to the soundtrack is like that of the director of photography (DP) for the picture. Sound designers are responsible for the overall acoustic experience for the audience. They also oversee the many individual tracks of sound and music that make up the soundtrack. These audio tracks include dialogue, ambience, hard sound effects, and foley sounds (as defined below).

声音设计师不仅决定声轨的听觉幻象和情绪氛围，还要创造、录制并强化只存在于他们想象中的声音元素。毕竟很多项目需要现实中根本不存在的音效——龙、外星人、僵尸的声音哪里去录？这些必须从零开始设计或创作，综合运用真实声音、模拟声音以及大量的处理和效果。Not only do sound designers determine the aural illusion and mood of the soundtrack, but they also create, record, and enhance sound elements that only exist in their imagination. After all, many projects need sound effects that don't exist in the real world. Where do you go to record dragons, aliens, or zombies? Those sounds must be created or designed from scratch using a combination of real sounds, simulated sounds, and a lot of processing and effects.

声音设计师决定音效轨的层次与细节，声音效果剪辑师则把每个音效放置到对应音轨中。音效主要分为四大类：While the sound designer determines the depth and detail of the sound effects tracks, the sound effects editor places each sound effect in corresponding tracks. Sound effects fall into four main categories:

— 自然声（natural sound，也称 nat sound 或 production sound）：指拍摄现场用麦克风收录的、除对白之外的所有声音。— Natural sound, also known as nat sound or production sound, is anything other than dialogue recorded by a microphone on location during the shoot.

— 环境声（ambience / ambient sound）：用于建立场景空间感的真实声音集合，例如海边场景中节奏性的浪涛声和海鸟鸣叫。— Ambience, or ambient sound, is the realistic conglomerate of sounds that establish a location, such as waves crashing rhythmically and seabirds chattering for remote seaside ambience.

— 硬音效（hard sound effects）：因为必须与画面精确同步而得名，是剧情或场景必需的声音元素，典型如关门声、汽车喇叭、打耳光等。— Hard sound effects are so named because they need to be physically sync'd to picture and are necessary for the story or scene. Hard sound effects are typically elements like door slams, car horns, and face slaps.

— Foley 音效：所有由角色在银幕环境中互动产生的声音效果。Foley 音效用于替代原始同期录音，涵盖打斗、脚步和衣物摩擦等各种声音。— Foley sound consists of any character-driven sound effects caused by characters interacting with their onscreen environments. Foley sound replaces the original production audio for everything from fistfights to footsteps and clothing movement.

DaVinci Resolve 的 Fairlight页面专为音效所需的精确剪辑和定位而设计；同时其片段变速功能也非常适合高级声音设计和变调（pitch）效果。Audio editing tools in DaVinci Resolve's Fairlight page are designed specifically for the precision editing and placement required when editing sound effects. And DaVinci Resolve's clip speed changes are perfect for advanced sound design and pitch effects.

音乐编辑Music Editing

音乐编辑把不同的音乐元素放入声轨，以烘托情绪或推动叙事。声轨音乐分两类：场景内角色能听到的音乐，称为 source music 或 diegetic music（叙事内音乐）；以及在后期为观众添加的非叙事内音乐（non-diegetic music），例如背景配乐。Music editing involves placing different music elements into the soundtrack to enhance the mood or story. All soundtrack music falls into one of two categories: music occurring within the scene that the characters can hear, called source music or diegetic music, and non-diegetic music that is added in post for the benefit of the audience—e.g., the background score.

Diegetic music 需要特别留意音量、定位、效果和存在感是否契合场景语境。Diegetic music needs special attention to make sure that the volume levels, placement, effects, and presence fit the context of the scene.

在后期为营造情绪或冲击而添加的非叙事内音乐包括配乐、stingers 和 stabs。Stingers 是单个音符或和弦，用来营造紧张和悬念；stabs 是短促的音乐爆奏，作用类似感叹号，用来突出故事或叙述中的某件事或某个人。Non-diegetic music added in post-production for emotional effect or impact includes the score, stingers, and stabs. Stingers are singular notes or chords that build tension and suspense. Stabs are quick bursts of music that work like an exclamation point to draw attention to something or someone in the story or narration.

音轨的增强与润色Enhancing and Sweetening Tracks

对白、音效、音乐各就各位后，就要对每条音轨做细致的润色，让它们在混音中彼此协调。这跟调色师针对单个镜头做调整的思路非常相似。DaVinci Resolve 本身就是一站式的后期工具，调色和声音又是后期流程中不可分割的两条线，所以把音频调整和调色放在一起类比讲解再合适不过。Once the dialogue tracks are edited and the sound effects and music added, it's time to make subtle improvements to the sound of each track so that they work in context with the other tracks in the mix. The tools used to improve the sound in a track are similar in many ways to the tools that colorists use to improve individual shots within a scene. Because you are learning to use DaVinci Resolve, and color correction is an integral part of the post-production process, it seems fitting to show the similarities between adjusting audio and color.

本质上这就是"音频调色"。要让各轨在终混中各司其职，需要对四个基本元素做调整：音量（volume level）、动态（dynamics）、声相（pan）和均衡（equalization）。DaVinci Resolve 在每条音轨上都内置了这四类控件，无需额外插件或跳线。For all intents and purposes, this process could be called "audio correction." You manipulate four fundamental elements to enhance or "sweeten" audio tracks, so they work together as intended in the final mix: volume level, dynamics, pan, and equalization. DaVinci Resolve controls all four of these elements on every track without the need for additional plug-ins or patching.

— Volume 音量：用来按分贝（dB）刻度调节音轨响度，作用类似调色里的 luminance（亮度）。音量与亮度都受严格的广播标准约束，通常也是观众在每个场景里最先察觉的要素。音量可以在每个 clip、每条 track 以及主输出上分别调整，就像亮度（黑白电平）能分别针对单条 clip、单个场景和最终输出来调。在 DaVinci Resolve 中，clip 的音量可在时间线或 Inspector 中修改；track 音量由调音台上的 fader 控制；还可以用 automation 随时间动态改变音量。— Volume controls are used to adjust the loudness of a track on a decibel scale and are similar to luminance (brightness) because both volume and luminance have strict broadcast standards and are usually the first thing the audience notices in each scene. Volume levels can be adjusted on each clip, track, and the main output, just as luminance (black and white levels) can be adjusted on individual clips, scenes, and output. In DaVinci Resolve, you can change the volume level of a clip in the timeline or Inspector. Track volume is controlled by faders in the mixer. You can also change the volume levels over time using automation.

— Dynamics 动态：用来调整 dynamic range（动态范围），即一条音轨上最响峰值与最静时刻之间的差值。这和单个镜头的视频对比度非常相似。动态范围大的音轨中会出现忽大忽小的元素，例如同场戏里角色先低语后尖叫；动态范围小则听起来很平，例如广告旁白，从头到尾音量几乎不变。如果你用过 Color页面里的 Waveform 或 Parade 示波器，动态控制就跟调节 clip 的白电平和黑电平一模一样——把白当作你能达到的最大响度（-3 dB），黑当作最安静。— Dynamics controls adjust the dynamic range, which is the difference between the loudest peaks and quietest moments in a track. A track's dynamic range is very similar to video contrast within a shot. A track with a high dynamic range has very loud and quiet elements within the track, such as a character whispering and then screaming in the same scene. A low dynamic range would be rather flat, such as a commercial voiceover in which the volume level of the talent is very even from start to finish. If you have ever worked with a Waveform or Parade scope in the color page, controlling a track's dynamics is very similar to adjusting the white and black levels of a clip. Just think of white as the loudest you can get (-3 dB) and black as the quietest.

Fairlight页面的调音台把四种最常用的动态控件集成在同一个面板中：compressor（压缩器）通过压低最响的峰值来收窄动态范围，让最响和最静部分更接近；expander（扩展器）则相反，扩大最响与最静之间的差距；limiter（限幅器）和 gate（噪声门）都像声学"砖墙"，前者阻止声音超过目标电平，后者把低于设定阈值的低响度声音直接静音。The Fairlight page mixer includes the four most common dynamics controls in one easy-to-use panel. The compressor is used to narrow the dynamic range by lowering the loudest peaks and bringing them closer to the lowest peaks. The expander, in contrast, expands the dynamic range to increase the difference between the loudest and quietest peaks. The limiter and gate both work as acoustic "brick walls" to limit sound from exceeding a target level (limiter) and to prevent sounds lower than a set threshold from being heard (gate).

— Pan 声相：把音轨的声音摆放在立体声场的某个位置上。正如摄影师在画面里构图一样，声相用来构建声学上的空间感。音轨可以被精确定位到从最左到最右的任意位置，营造出画外声源或画面内部某处发声的效果。DaVinci Resolve 在 Edit页面和 Fairlight页面都提供了高级声相控制，支持 2D（立体声）和 3D 声场摆位，可用于环绕声系统。— Pan controls place the sound of a track within a panoramic stereo field. These controls are used to compose the acoustic experience just as a cinematographer composes the visuals of a shot. Tracks can be precisely located anywhere from left to right to sound as if they come from an offscreen source, or somewhere within the frame. DaVinci Resolve includes advanced pan controls in both the edit page and Fairlight page with both 2D (stereo) and 3D sound placement for surround sound systems.

— Equalization（EQ）均衡：通过操控特定频率来美化整体音色，原理与调色里调整 color、saturation 和 hue 完全相同。例如人声都有一个被数亿人共享的基频，而在此之上叠加的泛音则为声音"上色"，赋予它独特且可辨识的音色。均衡的核心功能是压低那些破坏听感的频率，提升有利的频率，从而让整体声音更好听。Fairlight页面调音台为每条音轨都配备了 six-band parametric equalizer（六段参数化均衡器），是音轨润色的理想工具。— Equalization (EQ) controls manipulate specific frequencies to enhance the overall sound, and are just like working with color, saturation, and hue in color correction. For example, the human voice is based on a fundamental frequency shared by millions, while the additional frequencies add tonal qualities to "color" the voice and make it unique and recognizable. The primary function of equalization is to lower frequencies that detract from the voice and boost the positive frequencies to improve the overall sound. The Fairlight page mixer includes a six-band parametric equalizer on each track, which is the perfect tool for enhancing and "sweetening" audio tracks.

混音与母带处理Mixing and Mastering

音频后期的最后一步就是混音与母带处理。如果前面各步都已完成，这一步并不复杂。混音与母带处理的目标是平衡各轨音量，使整体听起来和谐统一。方法包括对各轨电平做细致调节，或者把同类音轨合并为子混（submix），用一根 fader 统一控制。最终的母带既要听起来出色，又要符合响度（loudness）方面的交付规范。好在 Fairlight页面已经内置了完整的混音工具和响度表，能帮你精准把控电平。The last step of audio post is mixing the tracks and mastering the output. If all the other steps were completed prior to the mix, the process is straightforward. The goal of mixing and mastering is to balance the levels coming from each track, so they sound good as a whole. This is accomplished by making subtle changes to the track levels or combining similar tracks into submixes to make them easier to control with one fader. The final master needs to sound great and meet delivery standards for loudness. Fortunately, the Fairlight page includes everything you need to mix tracks and loudness meters to make sure the levels are right on target.

到这里，你已经掌握了音频后期工作流中关键的技术步骤和创作工具。本课接下来的章节就让我们上手实操，把这些知识运用到自己的项目里吧！Now that you understand some of the technical steps and creative tools that are essential in an audio post-production workflow, you can dive in to the rest of this lesson and start putting them to use on your own projects!