去年中旬，尊正市場部團隊為 BIRTV 2021 策劃了系列活動，其中一項是特別邀請了《魔戒》《阿凡達》《銀翼殺手2049》幕后大神級?DIT?杰森·納蘭（Jason Naran）?進行獨家書面專訪，帶大家近距離接觸創(chuàng)造電影魔力的幕后功臣。（https://www.bilibili.com/read/cv12698476點此回顧）

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在這篇去年的「獨家專訪」中，GaiaDaily 公眾號、尊正微博等自媒體賬號開放了讀者留言，收到了一些從業(yè)者的互動和提問。感謝大家的長期關(guān)注與支持！

今年，在尊正「12.20 十八周年慶」系列活動開啟預(yù)售與《阿凡達：水之道》即將上映之際，我們精選了部分讀者留言，再度采訪了這位 DIT 大神杰森·納蘭。
除了回復(fù)大家熱情的留言提問之外，杰森·納蘭還分享了自己的 DIT 工作經(jīng)驗，以及對尊正 BoxIO?的使用體驗，對未來在中國一起合作的展望。

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尊正市場部：

You’ve been working for many digital technology-driven projects, DITs have now become an integral part,?how important do you think a DIT is for Film & TV projects in present days?

你參與過眾多靠科技驅(qū)動的影視項目，DIT 如今已然成為劇組不可或缺的一部分，你認為對于如今的影視項目而言，DIT 有多重要？

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杰森·納蘭：

I am very lucky to have worked on many complex projects over the years. It’s given me a wide range of skills and experience that I take on every job.I have had DP’s tell me that they had never worked with a DIT before. And after completing a project with them, they need our service on every job from now on.This gives me confidence knowing that we are providing a really important service.

For any DP’s reading this – try find the most experienced DIT you can. They will improve your cinematography and will allow you more time to focus on story telling, lighting and making nice pictures. You will really benefit from having a good DIT on your team.

我非常有幸在這些年來參與了許多十分復(fù)雜的項目。它們給予了我豐富的技能與經(jīng)驗，讓我可以投入到每一次的工作中。曾有攝影指導(dǎo)告訴我，他們此前從未與 DIT 合作過。而跟他們完成了項目之后，他們此后的項目都會需要我們?DIT?的服務(wù)。這給了我信心，因為我確信我們提供的是至關(guān)重要的服務(wù)。

各位正在看的攝影指導(dǎo)們，盡量去找你能找到的最有經(jīng)驗的 DIT 吧。他們會助力你的攝影工作，能讓你有更多時間專注于故事敘述、布光和優(yōu)化影像。團隊中擁有一名優(yōu)秀的?DIT?能讓你如虎添翼。

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尊正市場部：

As digital technologies evolve so rapidly,?we are wondering is there any update to your cart? Also, we hope the BoxIOs are still helpful in your recent projects.

數(shù)字技術(shù)的發(fā)展日新月異，我們想了解一下你的 DIT 車是否也有所更新？此外，希望尊正?BoxIO?仍在助力你近期的項目。

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杰森·納蘭：

I have?3x BoxIO?installed in my Cart allowing me to manage up to 6x cameras. These BoxIO are very reliable and I use them everyday, they are the most trusted devices in my whole workflow. They will continue to be a part of my DIT cart for the future.

I recently made some updates to my Cart to help ensure I am ready for a 4K HDR workflow. All the internal BNC cabling is now 12G spec. I also updated to a 12G SDI router. We then updated all the power distribution as mentioned above – using DC 12v as much as possible.

( I look forward to seeing a 12G 4K BoxIO version soon…?)

我的 DIT 車上裝有3個?BoxIO，通過它們我能管理多達6臺攝影機。這些?BoxIO?十分可靠，我每天都會用到它們，在我的整個工作流中，它們是最值得信賴的設(shè)備。BoxIO?未來會繼續(xù)成為我?DIT?車的一部分。

近期我給自己的 DIT 車做了一些升級，有助于確保我能處理?4K HDR?工作流。所有的內(nèi)部?BNC?纜線連接現(xiàn)在都是12G規(guī)格的。我的矩陣切換臺也更新為了?12G SDI。還有前面提到的供電系統(tǒng)的更新——現(xiàn)在盡可能多使用的是直流電?12V。

（非常期待能看到12G 4K BoxIO 很快問世……）

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尊正市場部：

We're working on it！

正在做~

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尊正市場部：

Over the past year, the global film industry has gradually entered the post-pandemic era.?Has the pandemic changed your way of working or any part of your workflow?

過去一年多以來，全球電影行業(yè)都逐漸進入了后疫情時代。疫情改變了你的工作方式或工作流的任何部分嗎？

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杰森·納蘭：

I used a lot of my down time researching new technology, new gear and refining my DIT routine.?Thankfully I was able to keep working right after the pandemic, even with many restrictions, I kept busy shooting. The film industry in Australia is considered an essential service, so I was lucky to jump on some productions there.

One thing that the pandemic did for the whole industry was that it gave audiences time to watch a lot more.?Many people relied on streaming services and now demand for new content is higher than ever. I am thankful that this industry learnt to adapt and we have continued shooting safely.

我花了很多業(yè)余時間了解新技術(shù)、新設(shè)備和改善自己的例行 DIT 工作方式。所幸我得以在疫情之后立刻投入工作，雖然有諸多限制，但我仍保持著忙碌的拍攝。澳大利亞的電影業(yè)被界定為必要服務(wù)，因此我很幸運地參與了澳大利亞的一些項目。

疫情對整個行業(yè)的影響之一就是給予了觀眾觀看更多作品的時間。許多人靠流媒體度日，如今對新內(nèi)容的高漲需求是前所未有的。我很感激這個行業(yè)學(xué)著適應(yīng)了疫情，我們得以安全地繼續(xù)拍攝。

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陳鑫（調(diào)色師，尊正制作部）：

How do on-set colorists and?DITs and post colorists collaborate??What information or notes should be shared and exchanged?

現(xiàn)場調(diào)色師、DIT 和后期調(diào)色師如何協(xié)作？需要共享或交換什么信息或說明？

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杰森·納蘭：

At the start of the job I usually like to meet the team who manages the post production.?It’s important to get to know the dailies team, the editorial assistants, the VFX team and anyone involved in the post process. This means I can go directly to right person for any questions.

We also make a technical workflow document (a guide that outlines all the processes in place ) for each project. That way every one knows where each step is made and who is responsible for each action.?We then use an email chain to notify all teams about notes as we shoot. ie: DOP wants to make a change to something – then everyone gets that information. We send colour information, still reference images and pdf reports to the post house every day.

DIT 工作一開始，我一般喜歡和管理后期制作的團隊見一面。認識樣片團隊、剪輯助理、VFX 團隊和所有參與后期流程的人員至關(guān)重要。這意味著有任何問題我都可以直接去找相應(yīng)人員。

我們還會為每個項目制作一份技術(shù)工作流文檔（是一份大綱，列出所有流程環(huán)節(jié)）。這么一來，每個人都清楚每個節(jié)點在哪，以及每個工作的負責(zé)人是誰。隨后我們會在拍攝過程中用郵件鏈將這些說明通知全體團隊，比如：若攝影指導(dǎo)想要更改什么，那么所有人都會接收到相關(guān)信息。我們每天還會向后期公司發(fā)送色彩信息、靜幀參考圖和 PDF 報告。

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李明澤（本科在讀，尊正 HDR 調(diào)色班第12期學(xué)員）：

If there is disagreement on how to?solve technical problems between you and the DP, what would you do?

若和攝影指導(dǎo)在技術(shù)上意見有分歧，你會怎么做？

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杰森·納蘭：

My role as a DIT is to look after the DP to help them make beautiful images. I am always respectful of their creative intentions.?After working alongside most DP’s I can usually understand their visual style for the project, and can offer suggestions before they think of it. It is really satisfying to get to this point with all DP’s that I work with…

We have had feedback from many DP’s who say that once they have worked with a DIT – they can not work with out us.?They want us every time they shoot onset as they realise how important the our service is. The DIT makes their routine easier and more consistent.

我作為 DIT 的職責(zé)就是輔助攝影指導(dǎo)拍出精美的畫面。我向來尊重他們的創(chuàng)作意圖。在與大部分?jǐn)z影指導(dǎo)一起工作后，我一般都可以理解他們的項目視覺風(fēng)格，并能在對方想到之前就提出相關(guān)建議。能與我合作過的攝影指導(dǎo)達到這樣的協(xié)作關(guān)系真的讓人很有滿足感……

我們從眾多攝影指導(dǎo)口中得到的反饋就是，只要跟 DIT 合作過，就離不開我們了。每次現(xiàn)場拍攝，他們都希望我們在場，因為他們認識到了 DIT 服務(wù)有多重要。DIT?能讓攝影指導(dǎo)的日常工作更輕松，并且保持一致性。

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孫崇偉（DIT，尊正 HDR 調(diào)色班第13期學(xué)員）：

If you are monitoring both HDR and SDR simultaneously on set, would you use 2 systems to adjust their looks separately or you’ll make a HDR look first and then down-convert it to SDR via hardware?

如果在拍攝現(xiàn)場同時監(jiān)看 HDR 與?SDR，你會用兩套系統(tǒng)分別調(diào)整風(fēng)格，還是先調(diào)整?HDR?版風(fēng)格再通過硬件來下變換到?SDR?版？

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杰森·納蘭：

HDR is really exciting as it is closer to how human vision sees colour and contrast in real life. We have been testing HDR for a while and will soon provide a primary HDR grade on future shows.?Unfortunately there is no easy way to get the SDR look at the same time via hardware. So for now it still needs careful DIT attention. We hope that as we build our workflow we can provide a full 4K HDR onset experience from DIT to video to post thru to the final audience.

HDR 確實十分令人興奮，因為它更接近人眼在現(xiàn)實世界看到的色彩與對比度。我們已經(jīng)對?HDR?做了一段時間的測試，很快在未來的影視作品當(dāng)中能提供?HDR?一級調(diào)色。遺憾的是，還沒有簡單的辦法可以通過硬件同時得到 SDR 風(fēng)格。所以目前，仍需要?DIT?非常仔細處理。我們希望在搭建我們工作流的時候，可以提供一套從?DIT?到視頻到后期的完整?4K HDR?現(xiàn)場體驗，直至（將?HDR?效果）傳遞給最終觀眾。

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張楊嘉誠（DIT，尊正?HDR?調(diào)色班第13期學(xué)員）：

There are a lot of electrical gear and equipment on your cart, how do you ensure power supply for them?

你的 DIT 車上有相當(dāng)多電子設(shè)備，如何確保它們的供電？

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杰森·納蘭：

In my cart I have about 25 devices that need various types of power. Just recently I spent a lot of time switching the power brick units to DC 12v. I did this to reduce the messy cables and space needed. By also going to DC 12v – I draw less and my cart is more power efficient overall.?In the near future I want to use a power station like an EcoFlow Delta or similar. This means I can very quickly move my cart and will be ready to shoot within a few minutes.

在我的 DIT 車上有25個需要各種類型供電的設(shè)備。就在最近，我剛花了很多時間把電源組換成了直流電?12V。我這么做是為了減少混亂的線纜，還能少占些空間。并且換成直流電12V，能耗降低，我的?DIT?車整體上更節(jié)能了。在不遠的將來，我想要使用類似 EcoFlow Delta 這樣的電源站。這意味著我可以快速移動?DIT?車，幾分鐘內(nèi)就可以做好拍攝準(zhǔn)備。

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尊正市場部：

How to properly manage signals for a large crew/production?

大型劇組如何合理地進行信號管理？

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杰森·納蘭：

When we work on large sets we always rely on a wireless system from each camera. My DIT assistant looks after the antennas to receive pictures from all cameras. Once my cart has those, we apply the colour and manage the exposure and camera settings to get the best results.?Then the video person can share with the Director to view. My cart provides pictures to many others onset like the camera operators, lighting team, focus pullers, sound and grips using cranes, etc. They can all get reliable pictures from my cart.

在大型片場工作時，我們用的都是來自每臺攝影機的無線系統(tǒng)。我的 DIT 助理負責(zé)管理天線以接收來自所有攝影機的圖像。當(dāng)圖像給到我的?DIT?車時，我們就應(yīng)用調(diào)色并管理曝光和攝影機設(shè)置以得到最佳效果。然后負責(zé)視頻的人會共享給導(dǎo)演查看。我的 DIT 車會把圖像給到很多現(xiàn)場其他工作人員，比如掌機、布光團隊、跟焦員、錄音師、使用搖臂的機械組的成員等等。他們都會從我的?DIT?車獲得可靠的圖像。

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陳鑫：

In general, how many preset LUTs should be prepared for each scene?

一般來說，每個場景應(yīng)該準(zhǔn)備多少預(yù)設(shè) LUT？

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杰森·納蘭：

We usually prepare LUTs depending on the story?– many decisions about locations, storylines, themes, characters or events help decide how many we might use. The is no set number as each narrative requires a different approach. Ie: if a scene is set in the past or has flash backs – maybe different looks are required.?We often make different LUTs that work for day time and ones for night exterior verses night interiors.

我們通常會依據(jù)故事來準(zhǔn)備 LUT?—— 關(guān)于拍攝地、故事線、主題、角色或事件的諸多決定會幫助我們判斷大概需要多少。并沒有一個固定的數(shù)量，因為每個故事都需要不同的處理手法。比如，某個場景設(shè)置在過去，或有閃回片段的話，可能就需要不同的風(fēng)格。我們通常會做幾個不同的 LUT，分別給日戲、夜戲外景和夜戲內(nèi)景。

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尊正市場部：

Has the role of DIT changed with the development of virtual production?What does a DIT do on a virtual production set? How to collaborate with the onset VFX department?

隨著虛擬制作的發(fā)展，DIT 的工作職責(zé)是否有變化？在虛擬拍攝現(xiàn)場，DIT 需要做些什么，以及如何與現(xiàn)場特效部門進行對接？

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杰森·納蘭：

Virtual Production is becoming a more complex and interesting area of film making now.?We are starting to see options to control the look of the LED screens – allowing the DIT to control the colour and brightness levels of these.?We also see more camera and lens tracking requirements onset. All of this starts with good preparation and communication with the VFX Producers to know what is required. The DIT is usually involved in all of the conversations to ensure that every department gets what they need from the workflow.

虛擬制作如今正成為影視制作一個更復(fù)雜而有趣的領(lǐng)域。我們開始見到一些功能選項可以控制 LED 屏的影像風(fēng)格，讓?DIT?得以控制圖像的色彩和亮度水平。我們還看到片場出現(xiàn)了更多攝影機與鏡頭跟蹤的需求。所有這些都是建立在妥善的準(zhǔn)備以及與 VFX 制片人關(guān)于具體需求的良好溝通之上。DIT?通常會參與到所有的溝通中，以確保每個部門都能從工作流中得到各自需要的東西。

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尊正市場部：

As a DIT, is it better to work as a freelancer or for a company?

作為一名 DIT，做自由職業(yè)者比較好，還是加入一家公司比較好？

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杰森·納蘭：

Because DIT is a relatively new position – only becoming common in the past 10 years, I had to set up my own company to provide these services. I slowly brought the gear and built my Cart. I find it best to develop a routine with the DP and camera team and then make my gear work best for everyone. This way I can adjust very quickly, providing the best for the production we are working on.?I would suggest to others to work for a company who can support you when you are starting out. Then try to go freelance once you are confident and knowledgeable about the whole process.

由于 DIT 是一個相對比較新的崗位?——?它是過去近10年內(nèi)才變得比較普及的，從前我不得不成立自己的公司來提供?DIT?服務(wù)。我慢慢整合了各種設(shè)備，并搭建出自己的?DIT?車。我覺得最好能與攝影指導(dǎo)和攝影團隊形成固定合作模式，然后讓我的設(shè)備以最佳方式服務(wù)于所有人。這么一來，我可以快速做出調(diào)整，為參與的項目提供最優(yōu)?DIT?服務(wù)。我會建議，加入一家可以在你剛起步的時候給予你支持的公司。然后，當(dāng)你足夠有自信并且充分掌握全流程知識的時候，再嘗試自由職業(yè)。

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尊正市場部：

What’s your Christmas plan? Where would you visit for vacation?

你有什么圣誕計劃？準(zhǔn)備去哪兒度假？

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杰森·納蘭：

We have completed the last project for 2022 – after 197 days of shooting & managing 500+ TB of data on the Gold Coast, I get to have a vacation now. It’s time to head to Paris, Marseille and maybe London to see family and relax.We are still working out details for our next job – so I hope to be back onset soon in 2023.

我們剛完成2022年的最后一個項目?——?在（澳大利亞）黃金海岸經(jīng)歷了197個拍攝日，管理的數(shù)據(jù)量達?500+TB，現(xiàn)在終于能休假了。我會去法國巴黎、馬賽，然后可能去英國倫敦跟家人聚一聚放松一下。我們還在計劃下一個項目的工作細節(jié)，我希望2023年能很快回歸片場。

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尊正市場部：

In China, the film industry is recovering in the new normal. We look forward to more in-person events next year. If BIRTV 2023 resumes, would you be interested in visiting China and visiting us?

在中國，影視行業(yè)也在新常態(tài)中逐漸恢復(fù)。我們很期待明年能有更多實體活動。如果2023年BIRTV恢復(fù)線下舉辦，你是否有興趣來中國、來尊正看看？

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杰森·納蘭：

I would be very interested to visit China to see how the industry works. I would like to see how the BoxIO and other products are made and to meet the teams behind them. I would also like to meet some China based DP’s… maybe we can collaborate on a project soon too.

Please let me know when BIRTV 2023 is confirmed – let’s make a plan then..!

Thanks to Lori and the Zunzheng team for making this article possible – I hope it inspires you with your work.

我非常有興趣到中國看看影視行業(yè)的情況。我很想了解 BoxIO 和其他尊正產(chǎn)品是如何制造的，并認識一下幕后的團隊。我還想見見一些中國的攝影指導(dǎo)……也許很快我們還能合作個項目呢。

如果2023年?BIRTV?確定恢復(fù)舉辦，請通知我，我們到時候計劃計劃！

感謝翻譯 Lori 與尊正團隊為本次采訪做出的努力，希望這篇采訪能對你們的工作有所啟發(fā)。

感謝 DIT 杰森·納蘭接受尊正市場部的本次采訪，感謝大家對我們的長期關(guān)注和支持！杰森·納蘭的工作室?NEKTAR?是一家位于新西蘭的?DIT?數(shù)字服務(wù)公司，網(wǎng)址：https://nektar.co.nz/，提供從拍攝現(xiàn)場到后期制作的視頻播放與DIT服務(wù)，為影視項目的現(xiàn)場監(jiān)看、數(shù)字影像技術(shù)、視頻播放系統(tǒng)與安全數(shù)據(jù)管理保駕護航。

NEKTAR 團隊成員包括世界級頂尖?DIT、視頻操作員、3D?立體攝影師、電子工程師、動作捕捉技術(shù)員和動作控制專家等。公司位處新西蘭電影之都惠靈頓，長期與維塔數(shù)碼和維塔工作室、石街制片廠、公園路后期制作公司、樸茨茅斯租賃公司合作，其團隊參與完成了過去10年來的大部分大制作影片。期待未來尊正能與杰森·納蘭及?NEKTAR?團隊有更多合作！

策劃：謝然?｜翻譯：Lori

圖片來源：杰森·納蘭/尊正

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