原文節(jié)選自《馴龍高手設(shè)定集》，由龍崖社·龍之書翻譯組漢化整理，本合集僅供Bilibili，愛發(fā)電（最先更新），Lofter平臺龍崖社社團官方賬號發(fā)布，未經(jīng)授權(quán)禁止轉(zhuǎn)載！? ?

這個小峽谷是電影中一個重要的地方，因為它是小嗝嗝和無牙建立關(guān)系的隱蔽避難所。為了讓這個海灣給人一種避風(fēng)港的感覺，藝術(shù)指導(dǎo)要求“色彩柔和，在樹上加上苔蘚，在湖面上添加上平靜的水面，”表面處理負責(zé)人Sabrina Riegel回憶道。建模主管Matt Paulson補充道：“即使是巖石，風(fēng)格也更柔和，邊緣更柔軟，形狀更圓潤，就像砂巖一樣?！彼诘牟块T還負責(zé)用樹葉和樹根裝飾巨大的石墻，以提供更宜人的背景。

雖然平靜的水面似乎會比波濤洶涌的大海更好制作，但是谷中湖泊卻帶來了一系列特有的技術(shù)挑戰(zhàn)。海洋上空的相機拍攝時通常都在移動，而且往往是高速的，但海灣里的相機工作在大部分時間是鎖定的。靜止的鏡頭讓人們更容易關(guān)注到水面的反射，這在3D立體電影中是很難解決的。

“當我們嘗試更快的環(huán)境映射反射時——這就是懸崖壁最初投射到水面上的方式——會出現(xiàn)奇怪的深度問題，使得湖在3D下很難看，所以我們最終使用了光線跟蹤來代替，”——特效負責(zé)人Matt Baer

峽谷里還有一個可愛的瀑布，它是為電影中的另一種用途而制作的，然后放置在這個位置。它使用完全的流體模擬來使水在巖石上流動并流下去，它需要粒子渲染工具，使其可以破碎成水霧。“把瀑布做好了之后，并與之保持適當距離，它就會在背景中增加很好的復(fù)雜性，”視覺效果主管Craig Ring指出。

?在電影中所有布景里，這個峽谷是我們偽造光照最多的地方。說實話，這其實就只不過是地上的一個坑，光線很難照進去——所以我們讓光從樹之間濾過，從巖壁上反射，一路引導(dǎo)光線，直到我們的鏡頭能拍出我們想要的故事。

——制作設(shè)計師Kathy Altieri

原文：

The cove is a prominent location in the film, as it is the hidden sanctuary in which Hiccup and Toothless establish their relationship. To give the cove a sense of being a safe-haven for these characters, art direction called for "softer colors, the application of moss along trees, and calm water on the lake," recalls Head of Surfacing Sabrina Riegel. "Even the rocks are softer in style, modeled with softer edges and more rounded shapes like sandstone," adds Modeling Supervisor Matt Paulson, whose department also had the task of set-dressing the massive stone walls with foliage and tree roots in order to provide a more pleasant backdrop.

Although a calm body of water seems like it would be easier to produce than a stormy ocean, the lake in the cove presented its own set of technical challenges. Whereas the cameras over the ocean shots were generally moving, and often at a high speed, the camera work in the cove is locked off?or a majority of the time. The stiII camera?draws more attention to reflections on the water, which are difficult to resolve in a 3D stereoscopic film. "When we tried faster environment map reflections- which is how the cliff walls were initially projected onto the water-weird depth problems would occur, making the lake hard to look at in 3D, so we ended up using ray tracing instead," explains Head of Effects Matt Baer.

THERE TS ALSO?a lovely waterfall in the cove, which was built for another use in the film and then installed in this location. It uses full fluid simulation to make water flow across rocks and down, and it calls for particlerendering tools that allow it to break in the mist. "Once you get a waterfall going and stay a safe distance from it, it adds a nice complexity in the background," notes Visual Effects Supervisor Craig Ring.

Of all the sets in the film, we cheated the lighting the most in the cove. Honestly, it's really just a hole in the ground, very difficult to get light into-- so we filtered light through the trees, bounced it off the walls, pushed it and pulled it until our shots told the story we were looking for. --Kathy Altieri, Production Design