在科洛桑暴走，斯洛巨兽反击

August · 发表于 2010-4-16 16:01

（Unleashed on Coruscant, the Massive Zillo Beast Strikes Back）

2010年4月12日

Managing to sustain the creature's unbridled fury before it can completely ravage its home planet, the Jedi are ordered to transport the tenuously subdued Zillo Beast to Coruscant for scientific study. An indestructible monster of indescribable power on the galaxy's most densely populated planet -- what's the worst that can happen? Find out when "The Zillo Beast Strikes Back" in an all-new episode of Star Wars: The Clone Wars airing at 9:00 p.m. ET/PT Friday, April 16 on Cartoon Network.
绝地成功在斯洛怪兽对其母星进行彻底破坏前压制其不受控制的怒火，然后得到命令，将这头被勉强制服的生物运往科洛桑以供科学研究。一头拥有难以形容的强大力量而又刀枪不入的怪兽来到了银河系人口最密集的星球——还能发生什么更糟的事吗？在《星球大战：克隆人战争》的最新一集《斯洛怪兽反击战》里去发现答案吧，该集将于东部/太平洋时间4月16日星期五晚9点在卡通频道播出。

One of the largest CG-models ever created for The Clone Wars, the Zillo Beast cuts an intimidating first impression by virtue of its sheer size. But daunting though it may be from a physical perspective, the Zillo's true terror comes not from its corporeal enormity alone; its instantly iconic sound design complements the creature's features by giving the giant beast just the right mix of power, personality and pain.
斯洛怪兽是迄今为止为《克隆人战争》制作的最大CG模型之一，它凭借自己庞大体形的优势，造成了一个令人生畏的第一印象。虽然斯洛的威慑力也许来自于其躯体的全貌，但它真正的恐怖并非只出自其巨大的身躯；凭借赋予这头巨兽力量、个性和痛苦的完美混合体，其标志性的声音设计立即完善了这个生物的特征。

"There was a lot of trial and error getting there," says Dave Acord, sound editor on The Clone Wars and creator of the Zillo's distinctive cry. "I tried a number of animals, musical instruments, cars -- but ultimately, the Zillo roar is 75% horse. Pitched down, of course, and boomed. The other 25% is varying combinations of bobcat and lion, mostly for the growls and some of the heavier bellows. The complexity of the horse whinny seemed to have the right appeal in terms of expression and otherworldliness. At times, the roar can sound terrible and menacing. Other times, you can hear the pain in his voice. The Zillo has a lot of character, and we've tried to match that with our sound design."
“为了达到目的（我们）做了许多试验，犯了许多错误。”《克隆人战争》的音效剪辑以及斯洛兽那与众不同的叫声的创造者戴夫·阿科德说，“我试了许多动物，乐器，汽车的声音——但最终，斯洛的咆哮有75%是马鸣。当然，音调被调低，变得低沉有力。另外25%则是各种各样山猫和狮子叫声的混合体，绝大部分是低吼，一些是更厚重的咆哮声。就情感表达以及想象世界（的生物）而言，马嘶的复杂性似乎有恰到好处的感染力。有时，这种咆哮可以让人听着觉得恐怖而险恶。而另一些时候，你可以从它的声音里听出它的痛苦。斯洛有许多特性，我们力图用声音设计体现出这一点。”

Citing musical beginnings as an influence on his notions of cinematic sound design, Acord has worked to develop a keen ear -- an essential requirement for creating the aural foundation of that "galaxy far, far away." The process itself tends to be an iterative one, he says -- but that's all part of the fun.
阿科德举例说明音乐的前奏对他电影音效设计理念的影响，他已经发展出一对敏锐的耳朵——这对创造那个“遥远的银河系”的听觉基础是一项必要条件。其过程本身常常是重复的，他说——但那正是乐趣所在。

"When designing a new creature, for example, I may record some animal -- or I might have recorded something previously," says Acord. "But often in the creation of the effect, the idea evolves. I might decide a 'death scream' needs a better shriek -- and maybe a table scraping on a concrete floor will be the right sound sweetener. That's really still the best way to get what you want -- get out there and record! Sometimes what I start with ends up being something else entirely by the time I'm finished."
“比方说，要设计一个新生物的时候，我也许会去录一些动物的声音——或者事先我已经录了一些。”阿科德说，“但往往在音效的创作过程中，那点子发生了变化。我也许决定一个‘垂死的惨叫’需要更好的尖叫——也许一张桌子在混凝土地面上刮擦的声音会是正确的音效增甜剂。要达到你想要达到的目的，这仍然是真正的最佳方式——走出去录音！有时作品完成的时候，已经和我开始时用的是完全不同的素材了。”

Given that so many of the creatures, vehicles and aliens of The Clone Wars don't exist in our galaxy, much of Acord's job requires that he design and develop the rich Star Wars sound-scape from scratch. The result is a daily routine which is anything but monotonous -- and a resume which is anything but typical.
要给《克隆人战争》中那么多我们的银河系里不存在的生物、运载工具和外星人赋予声音，阿科德的许多工作需要他从零开始设计并发展出丰富的《星球大战》音景。其结果是一个决不单调乏味的日常业务——和一份决非寻常的履历。

"I get to create all the new sounds for the show," he says. "I was really happy with the way the spider-assassin droids turned out [in 'Voyage of Temptation']. Very creepy little springy servos and metallic screams. Some of my other favorites have been the Malevolence and its ion weapon, the darksaber and the commando droids. Dave Filoni has even cast me a few times in the show, too, The most fun is collaborating with some really talented people, like Dave, Matthew Wood, George Lucas and Ben Burtt -- to name just a few. I am so proud of the work we do for The Clone Wars; it's an incredibly dense and detailed show, and we manage to create a 5.1 mix for every episode, which is no easy feat!"
“我得以为这个节目创作所有的新声音，”他说，“我对[《诱惑之旅》里]那些蛛形刺客机器人的表现方式真的感到很豪兴。非常让人毛骨悚然的有弹性的小型伺服系统以及金属质的尖叫声。其他一些我最喜欢的则是‘毒牙号’和它的离子武器，黑剑以及突击队机器人。有几次戴夫·菲洛尼甚至分配我给剧中角色配音。最有趣的部分则是和一些真正有才华的人合作，比如戴夫，马修·伍德，乔治·卢卡斯和本·伯特——仅举几例。对我们为《克隆人战争》所做的工作我感到非常骄傲；这是个极其密实而精细的节目，我们设法为每一集创造5.1的混音，那可不容易！”

出处：http://www.starwars.com/theclonewars/zillobeaststrikesback_weekly/index.html