0

00:00:00,060 --> 00:00:05,220

好萊塢電影中一些最神奇的時(shí)刻是用光學(xué)特效創(chuàng)造出來的

Some of Hollywood's most magical movie moments are created using optical effects.

1

00:00:16,500 --> 00:00:22,900

把無法在一起拍攝的元素分開拍攝 然后無縫地組合成一張圖像

Elements which could never be shot together are filmed separately and then combined seamlessly into a single image.

2

00:00:26,570 --> 00:00:32,730

幾乎每一部電影都包含一些光學(xué)效果 有時(shí)甚至達(dá)到上百種

Almost every film ever made contains a number of optical effects ?and sometimes that number is in the hundred.

3

00:00:34,730 --> 00:00:40,330

四次奧斯卡獎(jiǎng)得主肯·拉斯頓被譽(yù)為當(dāng)代光學(xué)幻術(shù)大師

Four time Academy Award winner Ken Ralston is known as a modern day master of optical illusions.

4

00:00:43,000 --> 00:00:46,700

今天我們將探訪Ken 他開始了一個(gè)新項(xiàng)目

Today we'll catch up with Ken as he embarks on a new project

5

00:00:46,700 --> 00:00:51,200

就在他長久以來的家 喬治·盧卡斯的工業(yè)光魔

at his long-time home ?George Lucas's industrial light and magic.

6

00:00:51,230 --> 00:00:54,990

我們還將發(fā)現(xiàn)光學(xué)特技是如何讓"金剛"栩栩如生的

We'll also find out how optical effects help make King Kong come alive.

7

00:00:55,750 --> 00:01:01,150

還有傳奇人物林伍德·杜恩 他的光學(xué)影印機(jī)改變了膠片的制作方式

And will meet the legendary Linwood Dunn ?whose optical printer changed the way films were made.

8

00:01:03,530 --> 00:01:09,330

接下來 我們將揭開好萊塢光學(xué)魔術(shù)師的秘密 盡在電影魔術(shù)

Coming up ?we unveil the secrets of Hollywood's optical magicians. On movie magic.

9

00:01:38,600 --> 00:01:38,960

在那里

Over there.

10

00:01:44,260 --> 00:01:49,340

雖然光學(xué)特效有很多種 但其中最廣泛使用的是合成

While there are many types of optical effects ?one of the most widely used is the composite.

11

00:01:50,160 --> 00:01:57,040

將兩張或多張影片混合成一張圖像 這個(gè)過程并不像聽起來那么簡單

Which involves blending two or more pieces of film into a single image. This process is not as simple as it sounds.

12

00:01:58,300 --> 00:02:00,400

《絕地歸來》里的這一場景

This scene from Return of the Jeddi

13

00:02:00,400 --> 00:02:05,100

是由盧克·天行者和莉亞公主騎飛馳摩托的鏡頭

was created by combining a shot of Luke Skywalker and Princess Leah on a speeder bike

14

00:02:05,100 --> 00:02:10,400

與單獨(dú)拍攝的背景影片結(jié)合而成的?

with a separately film background.

15

00:02:10,430 --> 00:02:16,430

工業(yè)光魔的光學(xué)監(jiān)督約翰·埃利斯是這段動(dòng)作戲的光學(xué)攝影師

Industrial Light and Magic optical supervisor John Ellis was an optical cameraman on this action-packed sequence.

16

00:02:17,580 --> 00:02:21,540

背景是用固定在斯坦尼康上的攝像機(jī)拍攝的

The background was shot with a camera mounted on a Steadicam.

17

00:02:22,330 --> 00:02:28,650

斯坦尼康可以讓操作員在森林中行走 而不會受到人行走時(shí)的起伏震動(dòng)

In the steady camp ?allowed the operator to walk through the forest and not get the vibrations up and down of a person walking.

18

00:02:29,500 --> 00:02:33,600

然后每隔幾秒拍一幀 （播放時(shí)）加速?

And then take a frame every few seconds speeds up the action?

19

00:02:33,600 --> 00:02:39,000

讓你看起來像是在以150英里每小時(shí)的速度航行?

and makes it looks like you're sailing through there at 150 mph.

20

00:02:39,030 --> 00:02:42,510

演員是在工業(yè)光魔的布景上 在藍(lán)幕前拍攝的

The actors were shot here at ILM in our stage ?against the blue screen.

21

00:02:43,200 --> 00:02:49,600

這使我們能夠制作被稍后用于合成的元素 把演員合成到背影之中

That allows us to make elements that would later be used in compositing the actors into the background

22

00:02:49,600 --> 00:02:53,400

背景已經(jīng)被加速到每秒24幀的實(shí)時(shí)幀數(shù)?

that has been speeded up for up to real-time at 24 frames a second.

23

00:02:56,560 --> 00:03:03,760

在元素被拍攝后 元素被帶入光學(xué)部門 我們將在這個(gè)光學(xué)影印機(jī)上合成它們

After the elements are shot ?elements are brought into the optical department ?we will composite them here on this optical printer.

24

00:03:04,930 --> 00:03:09,090

這臺影印機(jī)是由工業(yè)光魔制造的一種特殊設(shè)備

This printer is a special piece of equipment that was built by Industrial Light Magic in.

25

00:03:10,070 --> 00:03:12,510

最初用在 帝國反擊戰(zhàn) 上

Was originally used on Empire Strikes Back.

26

00:03:13,240 --> 00:03:17,480

影印機(jī)由兩個(gè)投影儀頭組成 投放之前拍攝的鏡頭?

The printer consists of two projector heads ?which being previously shot footage.

27

00:03:18,110 --> 00:03:23,430

還有一個(gè)相機(jī) 可以重新拍攝圖像并將它們組合在一起 每次一幀?

And a camera that rephotographs the images and combines them together ?one frame at a time.

28

00:03:25,500 --> 00:03:32,600

如果我們只是簡單地將這兩幅圖像重復(fù)曝光 我們就會得到一張鬼影 你可以看穿樹 看穿飛車

If we just simply double expose these two images ?we'd have a ghost image ?you would see through the trees...you'd see through the speeder bikes?

29

00:03:32,600 --> 00:03:38,200

所以我們必須通過一個(gè)摳像過程來保留我們想要把人放回去的地方

so we'd have to go through a matting process to hold the area where we want to put the people back in.

30

00:03:39,010 --> 00:03:42,250

約翰使用的摳像過程包括三個(gè)步驟

The matting process that John utilizes involves three steps.

31

00:03:42,960 --> 00:03:48,360

首先 他必須把飛車的剪影印在樹的背景上 這個(gè)剪影被稱為“保留遮罩”?

First ?he must imprint a silhouette of the speeder bikes called a holdout mat ?onto the tree background.

32

00:03:50,280 --> 00:03:53,360

接下來 藍(lán)色背景被從飛車的鏡頭中移除

Next ?the blue background is removed from the speeder bike shot.

33

00:03:54,410 --> 00:04:00,450

最后 單獨(dú)的飛車被印到背景上 取代了剪影 完成了整個(gè)鏡頭

Finally ?the isolated speeder bikes are printed onto the background ?replacing the silhouette and completing the shot.

34

00:04:01,810 --> 00:04:07,370

合成真的是一件很棒的事情 因?yàn)槟憧梢园讶藗兎旁诓淮嬖诘沫h(huán)境中

Composing is is really a great thing ?because you can put people in environments that don't exist.

35

00:04:08,100 --> 00:04:12,800

你可以改變環(huán)境 你可以讓它變快或變慢 你可以讓它變成白天或晚上?

You can change the environment ?you can make it faster or slower ?you can make it a day or night.

36

00:04:12,800 --> 00:04:19,000

你可以做無限多的事情來操縱人所在的時(shí)空

There's an unlimited amount of things that you can do to manipulate how people are in space and time.

37

00:04:22,990 --> 00:04:26,310

肯·拉爾斯頓(Ken Ralston)是《絕地歸來》的特效監(jiān)督之一?

One of the 'Return of the Jedi' affects supervisors was Ken Ralston.

38

00:04:27,190 --> 00:04:32,630

在憑借《絕地》獲得奧斯卡獎(jiǎng)后 肯又憑借《繭》

After winning an Academy Award for Jedai ?ken went on to capture three more Oscars for Cocoon.

39

00:04:34,250 --> 00:04:39,410

《誰陷害了兔子羅杰》 和以特效為賣點(diǎn)的喜劇《飛越長生》 獲得了三項(xiàng)奧斯卡獎(jiǎng)

'Who framed Roger Rabbit' and the effects-driven comedy ? 'Death becomes her'.

40

00:04:43,590 --> 00:04:47,070

我的背景使我懂得所有可以實(shí)現(xiàn)的不同效果

I have a background that I understand ?all the different effects that can be done.

41

00:04:47,930 --> 00:04:54,090

這只是個(gè)知道什么可以實(shí)現(xiàn) 和什么最有利于特定的鏡頭的問題

And it's just a matter of knowing what those can accomplish and what best benefits the particular shot.

42

00:04:55,050 --> 00:05:01,050

肯十幾歲的時(shí)候就開始嘗試光學(xué)效果 拍攝了他的小成本電影《想象的邊界》

Ken started experimenting with optical effects as a teenager with his no-budget film 'The Bounds of Imagination'.

43

00:05:03,200 --> 00:05:09,100

《想象的邊界》是我14歲時(shí)利用周末和所有的空閑時(shí)間拍攝的?

‘The bounds of imagination’ was shot when I was 14 years old ?on weekends and every spare moment we had?

44

00:05:09,100 --> 00:05:15,000

都是8毫米的 基本是由我和我的朋友格倫·安德森初創(chuàng)

it was all eight-millimeter and essentially ?it started off with a friend ?glen Anderson ?and myself.

45

00:05:15,980 --> 00:05:20,260

我只是想做一個(gè)包含很多不同效果的項(xiàng)目

Just wanting to do some kind of a project that encompassed a lot of different effects work.

46

00:05:20,800 --> 00:05:27,760

但我們擲硬幣來決定誰會出現(xiàn)在電影中 不幸的是 我贏了 或者輸了 所以我必須出演

But we flipped a coin to see who would be in the show ?unfortunately ?I won the toss ?so or lost the toss ?so I had to be in.

47

00:05:28,480 --> 00:05:34,440

我們都快抓狂了 我們在里面有很多分屏和雙重曝光 我們不得不躲進(jìn)壁櫥

So we were just going crazy. We have all these split screens in it and double exposures ?we had to run off into the closet.

48

00:05:35,220 --> 00:05:43,860

手動(dòng)把電影倒帶 從每個(gè)角色的第一部分開始 然后計(jì)時(shí)回到我們覺得分屏發(fā)生的地方

Back the film up by hand ?and started at the first part of each role ?and then time back to where we thought our split screens would take place.

49

00:05:46,020 --> 00:05:51,940

20世紀(jì)70年代初 高中剛畢業(yè)的肯為'瀑布影視'拍攝電視廣告?

In the early 1970s ?just out of high school ?Ken worked on television commercials for Cascade Pictures.

50

00:05:52,790 --> 00:05:59,950

在幫助創(chuàng)建這些特效場景時(shí) 他遇到了一個(gè)名叫丹尼斯·穆倫的效果藝術(shù)家 他即將與喬治·盧卡斯一起工作?

While helping create these effect scenes he met an effects artist named Dennis Muren ?who soon moved on to work with George Lucas.

51

00:06:01,000 --> 00:06:06,840

過了一段時(shí)間 丹尼斯拿到了一部電影《星球大戰(zhàn)》的劇本 他們想讓他參與其中?

After a while ?Dennis got some script for some obscure film called 'Star Wars' and they wanted him to work on it.

52

00:06:07,730 --> 00:06:14,850

我們一邊看劇本一邊笑 因?yàn)槲覀兌枷雽懲瑯拥目苹眯≌f劇本 但誰能做出這么大的作品呢?

And we were reading the script and we were just laughing because we would all want to write the same kind of science fiction script but who would make something so big.

53

00:06:15,160 --> 00:06:20,080

丹尼斯讓我當(dāng)攝影助理 我們還不知道《星球大戰(zhàn)》會怎么樣

Dennis brought me on as a camera assistant. We had no idea what Star Wars would turn into.

54

00:06:21,000 --> 00:06:24,400

它驚到我們了 絕對是最棒的體驗(yàn)

It floored us ?it was absolutely the greatest experience

55

00:06:24,400 --> 00:06:27,000

繼《星球大戰(zhàn)》的成功之后?

Following the success of Star Wars.

56

00:06:27,000 --> 00:06:30,900

肯為《帝國反擊戰(zhàn)》作特效攝影師?

Ken worked as an effects cameraman on the 'Empire Strikes Back'.

57

00:06:30,900 --> 00:06:36,700

三年后 他在《絕地歸來》中升任特效主管?

Three years later ?he rose to the rank of effect supervisor on 'The return of the Jedi'.

58

00:06:36,700 --> 00:06:41,800

此時(shí) 喬治·盧卡斯已經(jīng)穩(wěn)固地建立起他卓越的特效公司?

By this time ?George Lucas had firmly established his pre-eminent special effects company?

59

00:06:41,800 --> 00:06:46,200

工業(yè)光魔(ILM)

industrial Light and Magic ?or ILM.

60

00:06:46,220 --> 00:06:53,940

喬治開始熟悉如何去拍一些特效鏡頭 使'帝國反擊戰(zhàn)'得到一定的提高

As George got comfortable with how to go about doing some of the effect shots that caused Empire Strikes Back to expand to a certain degree.

61

00:06:55,100 --> 00:06:59,400

在此基礎(chǔ)上 當(dāng)《絕地》問世時(shí) 它勢如破竹?

And based on that ?when 'Jedi' came along ?it went through the roof.

62

00:06:59,400 --> 00:07:03,600

我們有三個(gè)主管 理查德·埃德溫·丹尼斯·米林和我?

We had three supervisors doing it ?Richard Edwin Dennis Mirin and myself.

63

00:07:03,600 --> 00:07:08,300

我們每個(gè)人接手了電影中的一個(gè)片段或者說一個(gè)段落 因?yàn)樗甏罅?

And we each took a sequence ?or a segment of the movie to do ?because it was so big.

64

00:07:08,300 --> 00:07:15,700

我負(fù)責(zé)的主要是太空戰(zhàn)斗片段 與之前電影中的其他太空戰(zhàn)役相比

The main sequence that I was responsible for was the space battle Sequence. Compared to the other space battles in the previous films.

65

00:07:16,500 --> 00:07:22,000

這個(gè)更大 有更多獨(dú)立的元素 有更多的船

This one was much larger ?had a lot more separate elements ?a lot more ships involved

66

00:07:22,000 --> 00:07:27,700

但由于有大量的宇宙飛船 需要通過光學(xué)影印機(jī)處理的次數(shù)很多?

but because of the sheer number of spaceships and how many passes It has to go through the optical printer?

67

00:07:28,500 --> 00:07:35,200

任何小錯(cuò)誤都可能把事搞砸 藍(lán)幕如果不是很好、遮罩不太好、

Any little error can cause a screw-up. The blue screen if it isn't exactly right ?well ?your masks don't work quite right.

68

00:07:35,200 --> 00:07:41,200

顏色平衡 如果一艘船不是時(shí)機(jī)恰當(dāng)?shù)靥幱?0艘船之中……

The color balance ?if one ship isn't time ?just right ?in amongst fifty ships...

69

00:07:41,800 --> 00:07:44,200

只要你看到了 就得把整個(gè)鏡頭重拍一遍?

Then you have to do the whole shot over again if you can see it.

70

00:07:44,200 --> 00:07:50,900

總有一些小問題會出現(xiàn) 有些拍攝有錯(cuò)誤 但你看不到?

There's always some little problem that can come up ?and some of the shots have mistakes in them ?but you can't see them.

71

00:07:50,940 --> 00:07:59,100

盡管有其局限性 工業(yè)光魔特效團(tuán)隊(duì)仍然有效使用光學(xué)影印機(jī) 為星球大戰(zhàn)傳奇帶來了震撼人心的結(jié)局?

Despite its limitations ?the optical printer was effectively used by the ILM effects team to bring the Star Wars saga to a thrilling conclusion.

72

00:08:01,170 --> 00:08:07,210

隨著他們的名氣越來越大 肯·拉斯頓和工業(yè)光魔被要求創(chuàng)造更加困難的合成鏡頭?

As their reputation grew ?ken Ralston and ILM were called on to create ever more difficult composite shots.

73

00:08:08,080 --> 00:08:13,800

在《回到未來2》的這一幕中 影星邁克爾·j·福克斯飾演了三個(gè)不同的角色?

In this scene from 'Back to the future II' ?star Michael J. Fox appears as three different characters.

74

00:08:15,680 --> 00:08:22,840

為了達(dá)到這個(gè)效果 ?？怂箷劝缪菀粋€(gè)角色 改換妝扮 然后在同一場景里扮演另一個(gè)角色

To achieve this effect ?fox would perform as one character ?had his makeup changed ?and then perform another role on the same set.

75

00:08:23,730 --> 00:08:28,050

然后 這三場表演被組合在一起 印在一張膠片上

The three performances were then combined together and printed onto a single piece of film.

76

00:08:29,260 --> 00:08:36,380

吃披薩的戲持續(xù)拍了三天 我們必須掌握拍攝過程中的每一個(gè)細(xì)微差別

Pizza shot went on for three days ?and we had to be on top of every little nuance going on in these shots to make it work.

77

00:08:37,480 --> 00:08:46,360

盡管直到最近像這樣的復(fù)雜場景才成為可能 合成鏡頭早在光學(xué)影印機(jī)出現(xiàn)之前很久 就已經(jīng)是電影的重要組成部分了

While complex scenes like this have only recently become possible ?composite shots have been an important part of motion pictures since long before the optical printer.

78

00:08:49,630 --> 00:08:55,230

在早期 《火車大劫案》等影片的合成鏡頭都是直接用攝影機(jī)完成的

In the early days ?composite shots for films like 'The Great Train Robbery' were done right inside the camera.

79

00:08:56,400 --> 00:09:00,800

導(dǎo)演埃德溫·s·波特先蓋住了鏡頭的一部分 拍攝了移動(dòng)的背景

Director Edwin S. Porter shot the moving background first ?covering a portion of the lens.

80

00:09:01,540 --> 00:09:05,980

然后他把膠卷倒回去 蓋住鏡頭的另一部分 拍攝演員

He then rewound the film ?covered the other portion of the lens ?and shot the actors.

81

00:09:08,940 --> 00:09:14,340

在20世紀(jì)30年代 電影制作者開始研發(fā)光學(xué)影印機(jī)作為合成圖像的手段?

In the 1930s ?filmmakers began to develop the optical printer as a means of combining images.

82

00:09:19,570 --> 00:09:27,730

林伍德·鄧恩當(dāng)時(shí)是一名攝影師 他很快就以《金剛》(King Kong)等影片的最佳光學(xué)效果實(shí)踐者而聞名?

Linwood Dunn ?a cameraman at the time ?quickly became known as the finest practitioner of optical effects with films such as King Kong.

83

00:09:31,600 --> 00:09:36,700

我為工作室做光學(xué)影印 所以當(dāng)我有一天走進(jìn)他們的片場

I did the optical printing for the studio ?and so when I walked in on their stage one day

84

00:09:36,700 --> 00:09:42,500

看到他們試圖用比光學(xué)影印機(jī)更難的方法把照片拼在一起?

and saw them trying to put shots together in a more difficult way than they could on an optical printer.

85

00:09:42,500 --> 00:09:47,700

然后我說 看 你把它們分開拍攝 我來把它們放在一起?

And I then said ?look ?you shoot those things separately ?and I'll put them together?

86

00:09:47,700 --> 00:09:55,300

如果你想改變對比度 或者讓顏色變淺或變深 我只要再把它們做一遍?

and if you want to change the contrast or make it lighter or darker ?I just run them through again.

87

00:09:59,700 --> 00:10:05,100

五年后 在1938年 唐遇到了一個(gè)特別困難的光學(xué)挑戰(zhàn)

Five years later ?in nineteen thirty eight ?don was presented with an especially difficult optical challenge.

88

00:10:05,700 --> 00:10:09,400

他要把大明星瑟琳·赫本和加里·格蘭特的鏡頭

He had to combine shots of stars ?Katherine Hepburn and Cary Grant

89

00:10:09,400 --> 00:10:13,200

與一只名叫“Baby”的成年豹子的鏡頭結(jié)合起來

with a full-grown leopard named Baby.

90

00:10:13,270 --> 00:10:16,030

光學(xué)影印機(jī)用來把“Baby”放進(jìn)來

The optical printer was used in bringing on 'Baby'.

91

00:10:17,430 --> 00:10:23,630

因?yàn)樗麄冊谂臄z一開始就發(fā)現(xiàn) 這只受過訓(xùn)練的豹子太危險(xiǎn)了 不能和主要演員在一起

Because they found early in the film that the trained leopard was a little too dangerous to have in with the principal actors.

92

00:10:24,390 --> 00:10:32,950

例如 在這個(gè)鏡頭里 加里·格蘭特穿過走廊 進(jìn)了電梯 豹子跟著他們 然后赫本跟著豹子?

The shot ?for example ?where up in the hallway Cary Grant walks through ?gets in an elevator ?the leopard follows them ?and then Hepburn follows the leopard.

93

00:10:34,280 --> 00:10:40,240

我們都是分開拍的 但總是得先拍豹子因?yàn)槲覀兿肟此叩糜卸嗫?

We're all shot separately ?but we always had to shoot the leopard first because we wanted to see how fast he walked.

94

00:10:42,730 --> 00:10:47,570

唐最終為近1000部電影創(chuàng)造了復(fù)雜的光學(xué)特效 包括《壯志千秋》?

Don eventually created complex opticals for nearly A thousand films ?including 'Cimarron'.

95

00:10:48,700 --> 00:10:53,020

《巴黎圣母院的駝背人》和奧森·威爾的《公民凱恩》?

'The hunchback of Notre Dame' and Orson Well's 'Citizen Kane'.

96

00:10:57,440 --> 00:11:04,040

在《公民凱恩》中 當(dāng)Awson Wells來到演播室時(shí) 當(dāng)然 他從沒聽說過光學(xué)影印機(jī)?

On 'Citizen Kane' ?when Awson Wells came to the studio ?of course ?he never heard of an optical printer and.

97

00:11:05,370 --> 00:11:07,490

終于有一天 我們把它介紹給了他?

Finally one day ?we introduced him to it.

98

00:11:08,300 --> 00:11:13,900

讓他知道這是一臺神奇的機(jī)器 可以用它做很多事情?

And let him know that it was a magic machine ?and there are many things that could be done with it.

99

00:11:13,900 --> 00:11:20,000

他會要求一些很荒謬的事情 而從實(shí)際角度來看 你是不會去嘗試的?

He would ask for actually ridiculous things that from a practical standpoint ?you wouldn't attempt them.

100

00:11:20,000 --> 00:11:26,400

我說 不 不能 這不現(xiàn)實(shí) 他又問我 這是不可能的嗎?

And I would say ?no ?can't It isn't practical to do ?and he replied to me ?is it impossible?

101

00:11:26,400 --> 00:11:30,600

我說 沒有什么是不可能的 只是時(shí)間和金錢的問題?

And I'd say ?nothing's impossible ?just a matter of time and money.

102

00:11:30,630 --> 00:11:38,630

于是我進(jìn)入了一個(gè)前所未見的光學(xué)影印領(lǐng)域 而且多數(shù)情況下都很成功

So I got into a realm of optical printing that I never had before ?and in most of all cases that came out successfully.

103

00:11:44,950 --> 00:11:52,470

在這個(gè)場景中 鄧恩用他的光學(xué)影印機(jī) 把威爾斯的動(dòng)作 過道里的人以及演員雷·柯林斯

For this scene ?Dunn used his optical printer to combine live actions elements of Wells ?the people in the aisle ?and actor Ray Collins?

104

00:11:53,100 --> 00:11:56,340

還有畫著威爾斯的海報(bào)和坐著的觀眾結(jié)合在了一起

with matte paintings of the poster of Wells and the seated audience.

105

00:11:59,560 --> 00:12:05,960

我們在后期制作中創(chuàng)建的一個(gè)更有趣的鏡頭是 在暴風(fēng)雨中 攝像機(jī)爬上了建筑的一側(cè)?

One of the more interesting shots we created in post-production was the one where the camera went up the side of the building in the storm.

106

00:12:06,590 --> 00:12:10,310

越過屋頂 穿過天窗下到夜總會

Over the roof and through the skylight down into the nightclub.

107

00:12:11,200 --> 00:12:15,800

它們是兩個(gè)獨(dú)立的場景 當(dāng)威爾斯想把它們合并成一個(gè)連續(xù)的場景時(shí)?

They were two separate scenes ?and when Welles wanted to combine it into a continuous scene?

108

00:12:15,800 --> 00:12:25,700

我在光學(xué)影印機(jī)上制作了一個(gè)合成的閃電 用失焦把它與向下進(jìn)入夜總會的拉近鏡頭混合起來?

I produced a synthetic lightning flash on the optical printer combined it by an out-of-focus mix with the reverse zoom going down into the nightclub.

109

00:12:30,400 --> 00:12:34,960

到1942年 好萊塢使用了幾十臺光學(xué)影印機(jī)?

By the year 1942 ?dozens of optical printers were in use in Hollywood.

110

00:12:35,830 --> 00:12:43,390

這些影印機(jī)都是定制設(shè)計(jì)的 林伍德·鄧恩被雇來制造一種光學(xué)影印機(jī) 這種影印機(jī)可以被軍隊(duì)大批量生產(chǎn)?

Each one of these printers was custom designed. Linwood Dunn was hired to create an optical printer which could be mass produced by the military.

111

00:12:44,560 --> 00:12:51,400

二戰(zhàn)中 訓(xùn)練影片對光學(xué)影印機(jī)的需求變得非常明顯?

The need for an optical printer in the training films in World War II became very apparent.

112

00:12:52,010 --> 00:12:55,770

當(dāng)弗蘭克·卡珀這樣的導(dǎo)演為通信部門服務(wù)時(shí)

When directors like Frank Capper got into the service in the signal corp.

113

00:12:56,400 --> 00:13:01,400

他們被委托制作一些培訓(xùn)電影和宣傳片?

And they were commissioned to make certain kinds of training films and propaganda films?

114

00:13:01,400 --> 00:13:06,500

他們對電影的復(fù)雜性很熟悉?

and so they were used to having the certain sophistication that motion pictures have.

115

00:13:07,500 --> 00:13:11,700

他們不能訂購 因?yàn)樗幌裾障鄼C(jī)那樣是貨架上的商品?

They couldn't order them because it was not a shelf item ?like a camera.

116

00:13:11,700 --> 00:13:20,300

所以柯達(dá)委托我設(shè)計(jì)影印機(jī) 并確保它們是為美國政府生產(chǎn)的?

So Kodak commissioned me to design printers and see that they were manufactured for the United States Government.

117

00:13:21,970 --> 00:13:24,930

Acme Dunn光學(xué)影印機(jī)很快成為標(biāo)準(zhǔn)?

The Acme Dunn optical printer quickly became the standard.

118

00:13:25,410 --> 00:13:31,370

鄧恩獲得了學(xué)院技術(shù)成就獎(jiǎng) 在1981年又升級為奧斯卡獎(jiǎng)?

And Dunn was honored with an Academy technical achievement award ?which was upgraded to an Oscar in 1981.

119

00:13:32,400 --> 00:13:39,000

我相信我的職業(yè)生涯是非常幸運(yùn)的 因?yàn)樗w了從無聲片到有聲片的許多美好年代?

I believe I've been very lucky in my career because it covered a good many years from the silent days through sound?

120

00:13:39,000 --> 00:13:43,500

和所有這些新技術(shù) 但我認(rèn)為最值得的?

and into all this new technology. But I think the most rewarding part of it.

121

00:13:44,700 --> 00:13:50,100

就是我與大量優(yōu)秀的人一起共事過 我熱愛我所做的一切

is the number of wonderful people that I've worked with. I loved what I did?

122

00:13:50,100 --> 00:13:57,400

我得到了極大的滿足感 因?yàn)槲医裉炜梢栽谄聊簧峡吹轿易龅臇|西?

and I have the benefit of tremendous satisfaction because I can look on a screen today and see things I did.

123

00:13:58,500 --> 00:14:05,100

我們能讓眼睛移動(dòng) 嗯 手嘛 如果你把這件襯衫再往外擴(kuò)一點(diǎn)?

We can have the eyes move. Um ?the hands ?if you extended this shirt out to here a little bit more?

124

00:14:05,100 --> 00:14:10,400

然后我們就可以（讓）木偶師把關(guān)節(jié)都做在衣服下面 這樣看起來就不壞了?

then we could then ?puppeteer make the do all the joints inside the clothes ?so it doesn't look bad.

125

00:14:10,450 --> 00:14:18,450

和林伍德·鄧恩一樣 肯·拉斯頓也是一名特效藝術(shù)家 擅長將多幅圖像合成成一個(gè)吸引眼球的鏡頭?

Like Linwood Dunn ?Ken Ralston is an effects artist who specializes in compositing multiple images into a single eye catching shot.

126

00:14:19,560 --> 00:14:27,440

他的奧斯卡獲獎(jiǎng)作品《飛越長生》 利用他在光學(xué)特效上的背景 以及尖端的數(shù)字技術(shù)?

His academy-award-winning work in ‘Death becomes Her’ ?utilized his background in optical effects ?along with cutting edge digital technology.

127

00:14:28,500 --> 00:14:36,200

Goldie Hawn身上帶洞的鏡頭 看來是最需要電腦技術(shù)的 也是真正漂亮的特寫?

The hole shots in Goldie Hawn ?the ones that seem to need the computer graphics the most are the real beauty shots ?the closeups?

128

00:14:36,200 --> 00:14:39,900

你像是真的從洞里看到紋理 即使這是一個(gè)精妙的特效?

where you really see the texture inside the hole ?even though it's a subtle effect.

129

00:14:40,650 --> 00:14:46,970

這種使用數(shù)碼技術(shù)的經(jīng)驗(yàn) 對于越來越復(fù)雜的特效拍攝來說 正變得越來越必要

This experience with digital technology is becoming increasingly necessary for effect shots that are ever more complex.

130

00:14:48,000 --> 00:14:56,500

如果能在這里更多【聽不清】就好了 這樣我們就能... 你懂 讓他的胳膊能彎得再多一點(diǎn) 這樣就不會那么僵硬了?

It might be nice to get more happening here ?so we could do more ?you know ?bend his arm a little bit more ?so it's not just such a stiff ?feeling like that.

131

00:14:56,500 --> 00:15:01,300

在我們所有的木偶中 這一個(gè)比其它的有潛力做更多的動(dòng)作?

Out of all the puppets we have ?this one has the potential to do a little more movement than some of them do.

132

00:15:02,540 --> 00:15:10,500

今天 肯開始制作一個(gè)大預(yù)算的電視廣告 講的是一支玩具軍隊(duì)攻擊一個(gè)裝滿汽泡水的冰箱?

Today ?ken is starting work on a big-budget television commercial about a toy army that attacks a refrigerator filled with Perier ?sparkling water.

133

00:15:11,410 --> 00:15:17,530

這將需要幾個(gè)實(shí)景元素 如動(dòng)畫玩偶 自行車和玩具汽車

This will require several live action elements such as animated dolls ?a bicycle and a toy car.

134

00:15:18,470 --> 00:15:23,910

這些元素將與電腦生成的（或稱CGI）玩具士兵結(jié)合在一起?

These elements will be integrated with toy soldiers created as computer-generated imagery or CGI.

135

00:15:24,950 --> 00:15:27,430

這需要一些復(fù)雜的合成技術(shù)

This will require some elaborate composting techniques.

136

00:15:29,360 --> 00:15:36,040

肯首先會見制片人克林特戈德曼和制造設(shè)計(jì)師哈利杰瑟普 計(jì)劃如何實(shí)施效果

Ken first meets with producer Clint Goldman and production designer Harley Jessup to plan how the effects will be executed.

137

00:15:36,900 --> 00:15:39,400

騎車人將是藍(lán)幕上的木棍木偶

The bicyclists will be blue screen rod puppets

138

00:15:39,400 --> 00:15:44,600

我想說 你覺得在真實(shí)場景中拍攝自行車會不會比在藍(lán)幕上拍攝更好?

I was going to say ?do you think it would help it all to shoot the bicycle in the actual shot instead of shooting it against blue screen?

139

00:15:44,600 --> 00:15:47,500

我很想在實(shí)景里拍 但是 實(shí)景?

I would love to shoot it in the set ?but ?the sets?

140

00:15:47,500 --> 00:15:55,600

我們的自行車得做得比布景大 才能讓木棒木偶工作 所以我們必須在藍(lán)幕上拍攝它們 后期再合成

we'll have to make the bicycle larger scale than the set ?just to get the rod puppets to work ?so we'll have to shoot them in blue screen and mat them In later.

141

00:15:55,650 --> 00:15:56,570

和肯一起工作很棒?

It's great ?working with Ken.

142

00:15:57,300 --> 00:16:03,000

一是因?yàn)橛腥?他真的很有趣 另一個(gè)是技術(shù)上說他知道自己在做什么?

One because it's fun ?he's really funny. The other is that technically he knows what he's doing?

143

00:16:03,000 --> 00:16:08,500

任何圖景對他來說都是可能的 這對于一個(gè)藝術(shù)總監(jiān)來說真的很令人興奮?

any image is possible to get with him ?and it just makes it for an art director ?really exciting.

144

00:16:09,100 --> 00:16:16,100

在看過故事板之后 肯與工業(yè)光魔的模型制作師合作 制作了這些將被賦予生命的玩具?

After looking over the storyboards ?Ken works with ILM modelmakers to produce the collection of toys which will be brought to life.

145

00:16:16,100 --> 00:16:26,100

我想讓他更活躍 比如他坐在這 然后跑回來 然后再溜出去然后再跑回來再溜出去... 只是想通過這些東西偷看一眼?

I have him ?be more active ?like sitting here. And then he runs back here ?and he sneaks out here and he runs and he sneaks out here ?and he's just kind of trying to get a peek through all this stuff.

146

00:16:26,800 --> 00:16:33,200

肯請他的模型師理查德·米勒(Richard Miller)制作另一個(gè)節(jié)目中的角色 一個(gè)機(jī)械的古董娃娃?

Ken engage his modelmaker Richard Miller to produce another of the show's characters ?a mechanical ?antique doll.

147

00:16:33,540 --> 00:16:36,300

玩偶的設(shè)計(jì)是基于一系列的概念圖

The dolls design is based on a series of concept drawings.

148

00:16:37,200 --> 00:16:41,400

她也會出現(xiàn)在廣告的最后一個(gè)鏡頭里 理查德給她做了雕塑?

She's also going to be in the last shot in the commercial ?and Richard sculpting her up?

149

00:16:41,400 --> 00:16:47,800

用陶土制成的機(jī)械木偶 再放進(jìn)玻璃外殼里?

a mechanical puppet to be used ?of modeling clay ?and casting in the glass shell.

150

00:16:49,300 --> 00:16:52,100

所以你要把機(jī)械放在里面 眼睛能動(dòng)?

So you put the mechanism inside. ?The eyes move.

151

00:16:52,100 --> 00:16:59,000

這是一個(gè)無線電控制的眼睛機(jī)構(gòu) 用于我們的娃娃的眼睛運(yùn)動(dòng)?

This is a radio-controlled eye mechanism for our dolls‘ eye movement.

152

00:16:59,020 --> 00:17:04,660

是這樣的 這個(gè)發(fā)射器會向這個(gè)小馬達(dá)發(fā)送一個(gè)信號

What happens is this ?this transmitter will send a signal to this little motor.

153

00:17:07,350 --> 00:17:14,630

馬達(dá)轉(zhuǎn)動(dòng)連桿 連桿再轉(zhuǎn)動(dòng)這些眼睛?

Motor turns the arm ?which in turn rotates these eyes right.

154

00:17:17,570 --> 00:17:24,490

這意味著我們不需要把棍或任何東西放入頭部 我們可以僅通過移動(dòng)這些操縱桿?

What this means is we don't have to have rods or anything going into the head. We can just by way of moving these joysticks.

155

00:17:26,670 --> 00:17:28,950

發(fā)射機(jī)在這里 我們可以控制它?

Transmitter here ?we can have control over that.

156

00:17:29,850 --> 00:17:35,210

這個(gè)娃娃將乘坐由ILM資深模型制作師Ira Killer制作的雪鐵龍模型?

The doll will ride in a model Citroen fabricated by veteran ILM model maker Ira Killer.

157

00:17:36,400 --> 00:17:41,900

它就像真的玩具上鍍了鉻 因?yàn)椤?/p>

Like it's ?it's a chrome-plated tin on the real toy ?because ?uh...

158

00:17:41,900 --> 00:17:45,100

沒關(guān)系 它越像玩具越好?

It's fine. It's more toy-like ?the better.

159

00:17:45,100 --> 00:17:46,420

我們要拍攝這輛車的藍(lán)幕

We're going to shoot this car blue screen.

160

00:17:47,800 --> 00:17:49,360

攝像機(jī)會在這一邊 拍它

Camera will be on this side ?looking at it.

161

00:17:50,100 --> 00:17:53,400

我們會有很好的底盤彈跳效果 讓它看著像有點(diǎn)故障

We'll have a nice chassis bounce to it ?so it looks like it's having some trouble.

162

00:17:53,400 --> 00:17:59,200

這個(gè)娃娃將駕駛雪鐵龍 他的頭和手臂將在鏡頭中移動(dòng)?

This doll will drive the Citroen ?his head and arms will move in the shot.

163

00:17:59,200 --> 00:18:04,000

他的手臂是可動(dòng)的 所以其實(shí)是輪子在驅(qū)動(dòng) 看起來像他在駕駛?

His arms are flexible ?so the wheel actually does the work ?so it looks like he's steering?

164

00:18:04,000 --> 00:18:07,800

頭部會有一個(gè)棍棒木偶 做一點(diǎn)旋轉(zhuǎn) 他不怎么做動(dòng)作?

and the head will be a rod puppet ?to do a little turning. He doesn't do much action.

165

00:18:07,800 --> 00:18:11,300

另一種重要的車型是環(huán)法自行車?

Another important model is a Tour de France bicycle.

166

00:18:12,830 --> 00:18:18,710

這看起來還沒有完成 因?yàn)槲覀児室庾屗雌饋砗艽植?像一個(gè)鉛雕塑?

This doesn't look finished because we're deliberately making it look rough and like a lead sculpture here.

167

00:18:19,810 --> 00:18:24,490

一旦完成 汽車 自行車和玩偶就會在藍(lán)幕前拍攝

Once complete ?the car ?bicycle and dolls are filmed in front of a blue screen.

168

00:18:25,400 --> 00:18:28,300

藍(lán)幕稍后將被背景照片取代?

The blue screen will later be replaced with the background shot?

169

00:18:28,300 --> 00:18:34,700

但對于這次合成 計(jì)算機(jī)將取代光學(xué)影印機(jī)來組合這些元素?

but for this composite ?a computer will be used to combine the elements ?instead of an optical printer.

170

00:18:34,730 --> 00:18:36,650

這個(gè) 挺好的 有點(diǎn)環(huán)顧四周的感覺

This is ?is nice ?is kind of looking around and.

171

00:18:37,600 --> 00:18:41,300

用光學(xué)影印機(jī) 藍(lán)幕可以用照相技術(shù)除去?

With an optical printer ?the blue screen is removed photographically?

172

00:18:41,300 --> 00:18:47,100

但這需要把合成膠片沖洗后才能看到合成后的鏡頭?

but that requires composited film to be developed before the composite shot can be seen.

173

00:18:47,150 --> 00:18:52,310

而數(shù)字合成可以使過程的每一步都能在屏幕上即時(shí)顯示

Digital compositeing allows every step of the process to be displayed on screen instantaneously.

174

00:18:53,790 --> 00:18:56,670

用光學(xué)影印機(jī)的話 如果你的遮罩上有一個(gè)錯(cuò)誤

In optical ?if you have an error on your mat.

175

00:18:57,300 --> 00:19:02,400

你得回去花一整天的時(shí)間重建所有不同的元素?

You have to go back and spend an entire day rebuilding all your different elements.

176

00:19:02,400 --> 00:19:10,700

用數(shù)碼技術(shù) 你看到一個(gè)錯(cuò)誤就能立即糾正它 所以拍攝所需的時(shí)間大大縮短了?

in digital ?you can see an error and immediately correct it ?so the time is reduced tremendously on how long it takes to do a shot.

177

00:19:11,240 --> 00:19:13,360

完美 完美 然后拍最后一幕?

Perfect. Perfect. Then to shoot the final.

178

00:19:15,500 --> 00:19:16,500

么!

Yao!

179

00:19:16,800 --> 00:19:20,900

雖然這則廣告的大部分元素都是藍(lán)幕拍攝的實(shí)體模型?

While most of the elements in this commercial are physical models shot blue screen?

180

00:19:20,900 --> 00:19:26,500

但肯決定玩具士兵要用CG技術(shù)來生成?

Ken has decided that the toy soldier will be created as computer generated imagery.

181

00:19:26,550 --> 00:19:32,590

這使得動(dòng)畫師可以制作一個(gè)士兵 然后用電腦將其復(fù)制成整個(gè)軍隊(duì)

This allows the animators to make one soldier and then use the computer to replicate it into an entire army.

182

00:19:35,920 --> 00:19:41,000

挑戰(zhàn)始于工業(yè)光魔的模型作坊 理查德·米勒在那里制作了一個(gè)士兵模型?

The challenge begins in ILM's model shop ?where Richard Miller fabricates a model soldier.

183

00:19:42,320 --> 00:19:44,240

這是一個(gè)12英寸模型的照片?

These are photographs of a 12-inch maquette?

184

00:19:45,100 --> 00:19:51,600

這是理查德·米勒做的一個(gè)雕塑 哈利繪制了鉛皮士兵的基本形象?

which is a sculpture that Richard Miller did ?and Harley painted up for the basic idea of what the lead soldiers will look like?

185

00:19:51,600 --> 00:19:54,600

即使它們只會被縮小成大約那么高?

even though they'll only be scale to this ?they'll probably be about that high.

186

00:19:54,600 --> 00:20:02,300

這為用電腦圖像設(shè)計(jì)雕塑的樣子打下了基礎(chǔ)?

And this gives computer graphics a starting point as to how the sculpture should look in its design.

187

00:20:02,500 --> 00:20:07,800

接下來 該模型被掃描到計(jì)算機(jī)中 生成士兵的3D圖像?

Next ?the model is scanned into a computer to create a 3D image of the soldier.

188

00:20:09,900 --> 00:20:16,800

電腦圖形主管道格·史密斯 和動(dòng)畫師喬·帕斯夸里 為人物添加了色彩、細(xì)節(jié)和動(dòng)作?

Computer graphic supervisor Dug Smith and animator Joe Pasquali add color detail and motion to the figure.

189

00:20:18,100 --> 00:20:22,400

手臂動(dòng)作有些奇怪 盡管你讓他們整齊劃一了?

Something strange about our arm action here ?even though you matched it to what they were doing.

190

00:20:22,400 --> 00:20:27,900

在前面的位置有點(diǎn)過了 看起來就像是超級興奮 或者…是的?

It's a bit extreme in the forward position. It almost looks like they're hyper exciting ?or...

Yeah.

191

00:20:28,000 --> 00:20:33,600

尤其是這里 他不是一直向后擺動(dòng) 他是這樣擺動(dòng)的 [聽不清]

This one ?especially ?he's not swinging all the way back ?he's swinging like that.[Inaudible]

192

00:20:33,670 --> 00:20:36,990

基于肯的成果 CGI團(tuán)隊(duì)完成了動(dòng)畫?

With Ken's input ?the CGI team completes the animation.

193

00:20:39,500 --> 00:20:46,200

太棒了 我喜歡這個(gè)光影 光線在他們周圍這樣移動(dòng)真是太棒了?

That's fantastic ?I love what the shadows are doing here. That's really great working how the lights is shifting around them like that.

194

00:20:46,300 --> 00:20:50,600

完成廣告的最后一個(gè)要素就是蘇打水本身了?

The last element needed to complete the commercial is the sparkling water itself.

195

00:20:50,700 --> 00:20:57,300

[聽不清]鎖定 比這稍微寬一點(diǎn) 但這是完成這些測定的一個(gè)好的起點(diǎn)?

[Inaudible]Locked off ?slightly wider than what this is. But this is a good starting point to get these measurements done.

196

00:20:57,820 --> 00:21:03,900

一旦士兵襲擊了冰箱 瓶子就會爆炸 給所有的玩具洗個(gè)泡泡水澡

Once the soldiers attacked the refrigerator ?the bottles will explode ?drenching all the toys with a sparkling shower.

197

00:21:05,260 --> 00:21:10,020

預(yù)備 開拍！ 一個(gè)加壓系統(tǒng)被用來創(chuàng)造這種物理效果

Ready and action ?a pressurized system is used to create this physical effect.

198

00:21:10,600 --> 00:21:14,640

用高速攝影機(jī)以每秒120幀的速度拍攝?

Which is filmed on a high-speed camera at 120 frames per second.

199

00:21:22,010 --> 00:21:27,770

當(dāng)電影放慢到每秒24幀時(shí) 水柱的速度就會慢到足夠在畫面上呈現(xiàn)?

When the film is slowed down to 24 frames per second ?the blast of water will appear slow enough for the scene.

200

00:21:28,900 --> 00:21:32,300

它還不賴 很好了 而且以120（幀每秒的速度） 我們有很多（素材）可以用?

It wasn't bad ?that was so nice ?and at 120 ?we got plenty to use.

201

00:21:33,980 --> 00:21:38,580

最后 所有的CGI和真人動(dòng)作元素都通過數(shù)字技術(shù)結(jié)合在一起

Finally ?all of the CGI and live action elements are combined together digitally.

202

00:21:39,350 --> 00:21:45,510

這包括將所有孤立的元素傳輸?shù)接?jì)算機(jī)上 然后將每個(gè)元素匹配到背景上?

This involves transferring all of the isolated elements onto computer and then matting each element onto the background.

203

00:21:55,810 --> 00:22:02,090

最終 一個(gè)完美的CGI渲染軍隊(duì) 在一個(gè)史詩級的機(jī)械玩具世界中被賦予了生命?

The result is a perfectly rendered CGI army brought to life in a mechanical toy land of epic proportions.

204

00:22:06,500 --> 00:22:10,000

在工業(yè)光魔 奇觀已成為習(xí)慣?

At ILM ?the spectacular has become the expected.

205

00:22:10,400 --> 00:22:14,800

但肯·拉斯頓和他的同伴們并未止步 仍在繼續(xù)向前看

But that doesn't stop Ken Ralston and his cohorts from continuing to look forward.

206

00:22:15,300 --> 00:22:17,700

你總是想突破極限?

And you're always trying to push that envelope?

207

00:22:17,700 --> 00:22:24,700

給觀眾和制作人員一些獨(dú)特的東西?

give the audience and the production people something that will be unique?

208

00:22:24,800 --> 00:22:29,100

追尋下一段獨(dú)特的影像是個(gè)持續(xù)的挑戰(zhàn)

and trying to find that next unique image is a constant challenge.

209

00:22:29,100 --> 00:22:36,600

我覺得它讓我們靈感迸發(fā) 讓我們瘋狂 我認(rèn)為它是最能激勵(lì)我們的?

And I think that keeps ?you know ?those juices flowing ?and it's what drives us crazy ?and ?I think ?it's what inspires us the most.