危险的日子：银翼杀手制作始末（2007）

小一点的模型在后，越后面的越小
And from the camera to what appears to be the horizon is only about 15 feet.
从摄影机到所谓的地平线只有大约 5 米
And it’s just a plywood table that’s
那是个三夹板桌子
about 20 feet wide at the back but only about 5 feet wide at the front
后面是大概 6 米宽，前面大概是 1.5 米宽
because the field of view is looking out.
因为视野是往外看
So you don’t build anything an inch outside that field of view.
所以我们不在视野外做东西
That’s just wasted money and wasted time.
那是在浪费金钱和时间
So we designed it for the focal length of that camera lens.
所以一切都是基于摄影机镜头的焦距长度设计的
Mark Stetson and his crew had developed a very good system of photoetching.
马克·斯泰特森跟他的工作小组研发出很棒的光化学腐蚀系统
Basically, you would draw you would do intricate drawings
基本上你可以画出很细致的画
比尔·乔治，模型师
and that would be applied photochemically to a piece of brass
然后运用光化学作用涂在一块铜片上
and they would apply acid to it which would eat away the areas where the lines weren’t.
他们在上面加酸液腐蚀掉没有线条的地方
And so you get this really fine filigree detail that really, really was nice.
你可以看到非常棒的细线部分
And all those spires
那些螺旋形
you just draw kind of a side view of all those
你从侧面来画
and then you can replicate hundreds and thousands of them
然后大量复♥制♥
very, very easily with the etched brass.
用蚀刻板很容易做
Even though the acid-etched brass components are two-dimensional flat cutouts
尽管酸蚀铜板技术是平面的设计，只能做出平面效果
if you put enough of them together you kind of imbue
但是如果数量够多的话
it with more three-dimensionality than is really there.
你可以做出逼真的立体空间感
I like to get in there
我喜欢到那里去
because I like to see what the lighting was.
因为我喜欢去看灯光的感觉
And I pushed hard for smoke.
我会加很多的烟
When you’re shooting things that are only 10 feet away from you
如果你想拍摄离你只有三米远的东西
and it has to look like it’s two or three miles
但在画面看起来必须有三、五公里远时
the only way to build up the sense of aerial perspective
唯一的方法是建立起透视感
at that time was to fill the miniature room full of smoke
那时的办法是让模型间充满烟雾
and create things blurring off
创造出一些东西，把它们弄得面目模糊
and graying off into the distance.
看起来灰蒙蒙地，制♥造♥出距离感
It had to be in the camera
那一定得在镜头前完成
and that’s where Doug came in and again put his brain to it, saying
那是道格的工作，他绞尽了脑汁后说
“l know what to do.”
“我知道该怎么做了”
Again, he went off and did a lash-up with fans, electric fans, smoke detectors.
他想岀应急的办法，用电风扇跟烟雾侦测器
And we absolutely tented in the area with black drapes and then plastic so we contained it.
我们在现场拉起黑布跟塑料布来控制范围
And then the smoke detector would sense that
烟雾侦测器会侦测到
the smoke was dropping in the room would trigger a puffers
房♥间里的烟雾浓度下降时，会触动喷雾口
which puffed smoke into the room maintain the level in the room.
将烟雾喷进屋里，保持房♥间里烟雾的浓度
Because if you’re only doing frame-by-frame animation which is what we were
因为我们只能一格格拍动画
then you’re gonna get flicker
我们得来回不断拍摄
because the smoke’s gonna vary.
因为烟雾的状况一直变化
It’s gonna flutter.
有时会飘散开
And there was no flutter.
有时又停滞不动
If two towers were only three inches apart but there was a lot of smoke in there
如果两座塔只有 10 厘米远，之间却有很多烟雾
they would separate from each other.
感觉起来会离很远
One would be a little more crisp
一个看起来比较清楚
and the one behind it would be darker
后的比较暗
and the lights on the one behind would create an edge
后高塔的灯光会营造出一种感觉
and it would just take on this huge amount of scale.
看起来尺寸会变大
And there’s kind of a magical point
那真的很神奇
where the smoke density gets to be so dense that the horizon almost disappears.
烟雾变得非常浓时地平线会几乎消失不见
That’s kind of where you get to the magic point.
那就是神奇的地方
Where you suddenly get all the separation between these little cutout layers.
突然间模型层次差得非常远
I just had this scheme.
我计划这么做
I just wanted to do it as a series of silhouettes in smoke.
我希望把它拍成烟雾中的剪影
And I wanted the smoke to really be the light, and the light to light it up.
我希望烟雾飘到灯旁边，灯光将它打亮
Everything about that miniature had to be lights.
模型的重点在于灯光
I think it was 20,000 fiber-optic light tubes coming up into all of these points.
我想那是 2 万根光纤亮管，分布在这些点里
And in the foreground, we had some towers that were about this big.
前景的塔楼有这么大
And we set them in there
我们将它们放在那里
and set little interactive lights on them
装上互动灯光
because nothing exists in space without reflection and light affected by everything else.
因为所有东西都会有倒影，光线会受到物品的影响
And that really started to bring it to life.
那为它带来生气
It still looked pretty crazy to look at but I don’t know.
现在看起来还是觉得很疯狂，但我不知道
Like I said, we were stupid back then.
我说过，当时我们很傻
And it worked.
不过我们成功了
One of the things about the Hades landscape is that
地狱景观的问题之一
it is almost totally abstract and
在于它非常抽象
so you don’t have a lot of cues to tell you how big it’s really supposed to be.
你对它到底有多大几乎没什么概念
And we had this idea that there would be these kind of smokestacks.
我们认为得多多利用烟雾
You know, like venting a burning-flame gas off of some cracking plant or something.
像是工厂大量的将烟排出
And that was one of the elements that really added a lot of scale
那样的方法能将空间感扩大
and a lot of excitement to that miniature.
为模型带来生气
Doug had previously shot these huge explosions of flammable material.
道格已经用易燃物品拍完大型爆破戏
Big fireballs.
大火球
And he had those on 35 mm.
他用 35 毫米摄影机拍
We took those and put little white cards in back of the tower
我们利用那些并在塔后面放白纸板
and literally just projected with a 35 camera
用 35 毫米摄影机做投影
and then re-photographed with our 65 camera
再用 65 毫米摄影机拍一次
that explosion in place, in situ.
拍出现场的爆破感
So for every explosion, that’s another exposure through the camera.
每次爆♥炸♥，对镜头来讲都是一次曝光
So the camera has to do that shot over and over and over
摄影机得一再拍摄那个镜头
and they’re all in-camera superimposures onto one piece of film.
在镜头前将画叠到另一个画面上
That opening shot, I think, had 17 passes.
我想开场镜头就拍了 17 次
So they ran it, stopped, wound it back, ran it again, wound it back.
他们拍好后，停下来，放到后面再拍，再放到后面
Very tricky work.
非常复杂的过程
If you make one mistake, you have to start over.
一犯错就得重新再来
And that’s where guys like Dave come in and make that magic happen.
这时，得靠像大卫这些人来再显神迹
It was a very different time for visual effects.
对视效来说那真的很辛苦
It was all optical composites, and quality was a major concern.
影像合成跟质量是关键
When you re-photograph something like you would in a still photo–
好像你在拍平面照片一样，拍摄一个镜头
If you have a negative and you take a snapshot–
有一张底片，如果你翻拍
If you take a snapshot– A new negative of that snapshot
如果你翻拍那张底片
which is what you’re doing in opticals
就像进行光学测验一样
you’ll notice that there’s a little loss in quality.
你会注意到新的底片影像质量会变差
It’s called one generation away.
那叫做退化
Back then, every time you did an optical composite, it lost quality.
那时每次做影像合成，品质都会变差
And at EEG, they used 70 mm film to shoot the elements.
EEG, Entertainment s Group，特效公♥司♥
所有者为道格拉斯·川柏，负责为 银翼杀手 制♥作♥特效
在 EEG，他们用 70 毫米摄影机来拍摄
So when you degrade that optical
当你让影像退化
when you add imagery together on a large format
把画面放大之后再重叠上去
you do lose quality.
品质会变差
But if you start with a large format
但是如果你一开始就放大
that quality cuts more easily with the original.
质量跟原始画面就不会差很多
And many times, instead of doing it as an optical composite
我们通常不做影像合成
we would do multiple exposures.
而是多重曝光
Which was risky
那么做很危险
because you’d shoot one pass roll the film back
因为你拍完一次后，得卷好底片
shoot another pass, roll the film back
再拍一次，再把底片卷好
and I remember a couple times, they’d open up the camera and there’d be nothing but shredded film inside.
我记得好几次，我打开摄影机时，发现底片都卷成一团了
You know, recently finished Close Encounters of the Third Kind.
那时 第三类接触 刚拍完
Blade Runner was the beneficiary of having all that equipment already in place.
银翼杀手 因为设备齐全而受惠
All the lenses, the cameras, the motion control.
镜头、摄影机跟动作控制
It all had been worked out.
效果非常好
We were working with tools, by today’s comparison, that were very crude.
我们用来工作的工具，以现在的标准来看，很原始
Just to program a move, sometimes, would take all day long
有时候为了设计一动作得花掉我们一整天的时间
because it was done with a system almost the same as Etch A Sketch.
因为它使用的系统跟旋转绘图板很像
You’d sort of mark a trajectory and then mark another one and mark another one
你得画好几道轨迹，一道又一道
and then run a motion test with black-and-white reversal film–
然后一般用黑白负片做动作测试
No such thing as a computer video at that point.
那时没有计算机摄影机
–and then process it, look at it and go
做好处理，看过后说
“Well, that was all wrong. What were we thinking?”
“那不对，我们在想什么？”
And go back and…
然后从头再来一次
You know, and after a while, it became clear to me
过了一阵子我便明白
that we had to previs in our heads.
我们得预先设想好
We had learned to work that way with Doug
我们学习跟道格用那种方法来做
because of his use of the smoke room and how much that obliterated detail.
因为他利用烟雾室，细节变得很的模糊
But it was so totally dependent on light
但是也要靠灯光
that miniatures really became, like, substrates for light.
模型成了灯光的基础
Dave Dryer, when he came onboard, had the same philosophy.
大卫·德赖尔加入，他的准则也一样
He said, you know, “If there’s a problem, solve it with light.”
他说：“如果有问题的话，用灯光来解决”