美国电影摄影师杂志中英对照版(6月-8月)

美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 American Cinematographer 美 国 电 影 摄 影 师 杂 志 2012年6月至8月刊 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 1 All Together Now 齐聚英豪 Seamus McGarvey, ASC, BSC brings the Earth’s mightiest heroes to the big screen for Joss Whedon’s The Avengers. By Jon D. Witmer 美国电影摄影师协会和英国电影摄影师协会会员西穆斯.迈克加维为乔斯.韦 登的《复仇者联盟》将最强悍的英雄们聚集到大银幕上。作者：乔 D.维特莫 技术参数： 画幅：1.85：1 拍摄方式：数字、35mm 每格四齿孔胶片 摄影机：阿莱 Alexa，435；佳能 EOS 5DMarkⅡ,7D 镜头：潘那维申 Primo，Frazier镜头系统；佳能 EF 胶片：柯达 Vision3 500T 5219 后期：数字中间片，Stereoscopic转换 The Avengers builds on the foundation laid by the Marvel Studios features Iron Man (AC May ’08), Iron Man 2 (AC May ’10), The Incredible Hulk, Thor (AC June ’11) and Captain America: The First Avenger (AC Aug. ’11), and takes its cues from the long-running Avengers comic-book series, which first hit newsstands in 1963. In the film, Strategic Homeland Intervention, Enforcement and Logistics Division leader Nick Fury (Samuel L. Jackson) assembles Captain America, Thor (Chris Hemsworth), Iron Man (Robert Downey Jr.), Hulk (Mark Ruffalo), Hawkeye (Jeremy Renner) and Black Widow (Scarlett Johansson) to face the global menace posed by Thor’s nefarious brother, Loki (Tom Hiddleston), who unleashes an extraterrestrial army in a bid to rule the world. 《复仇者联盟》是以惊奇电影公司的故事片《钢铁侠》(美国电影摄影师杂志08年5月刊)、《钢 铁侠2》(美国电影摄影师杂志10年5月刊)、《无敌浩克》、《雷神》(美国电影摄影师杂志11年6 月刊)以及《美国队长：复仇者先锋》(美国电影摄影师杂志11年8月刊)为基础，并根据公司自 1963年以来长期发行的《复仇》漫画系列改编而成。影片中战略国土干预、执法及后勤部部长尼 克.福瑞(塞穆尔L.杰克逊饰演)召集了美国队长、雷神托尔(克里斯.海姆斯沃斯饰演)、钢铁侠 (小罗伯特.唐尼饰演)、绿巨人浩克(马克.鲁法格饰演)、鹰眼侠(杰瑞米.雷纳饰演)以及黑寡妇 (斯嘉丽.约翰逊饰演)来应对托尔邪恶的弟弟洛基(汤姆.希德勒斯顿)对地球的威胁，洛基带领 一个外星人部队企图统治整个世界。 Shooting digitally was a given because of the extensive digital effects and the producers’ original plan to capture in 3-D. But when the crew tested a 3-D workflow by shooting the “tag” that followed the end titles of Thor with Red Epic cameras and Panavision Primo lenses in an Element Technica rig, “it was not a successful day of shooting,” says McGarvey.“Although the native 3-D looked great, each setup took too long,” he explains. Marvel subsequently decided 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 2 to capture in 2-D and convert to 3-D in post, and McGarvey abandoned the Epic for the Arri Alexa. “I preferred the look of the Alexa in terms of its range and its ‘roundness,’” he says. “I recognize [its image] as more akin to a film look.” 由于大量的数字特效和制片人当初的3D拍摄计划使得采用数字拍摄成为理所应当的事情。 但是当剧组使用Element Technica公司装备中的Red Epic摄影机和潘那维申Primo镜头拍摄《雷 神》片尾字幕后的“结束语”以便测试一个3D工作流程时，“那天的拍摄并不成功。”迈克加维 说道。“虽然纯3D看起来很棒，但是每次拍摄的准备时间太长了。”他解释说。惊奇公司于是 决定用2D拍摄并在后期中转为3D，迈克加维放弃使用Epic而采用了阿莱Alexa。“我更喜欢 Alexa的宽容度和‘完满性’，”他说道。“我发现(它的影像)更近似于电影的观感。” “We shot with Primos, predominantly primes, but we also used 19-90mm and 24-270mm zooms, and occasionally we got a 3:1 long zoom,” he continues. “[With the zooms,] we tended to stay around 21mm and 27mm, or at the longer end, like 100mm.” McGarvey typically maintained a T4 or T5.6 for day exteriors, and T2.8½ in other situations. “I shot everything at [the Alexa’s base ISO of] 800. When I tried to rate it lower, like at 400, it seemed to build up in the shadows, and I didn’t feel it had the same range. So I simply used IR neutral-density filters to bring down the stop for exteriors.” The production also carried 10 Canon DSLR cameras, eight EOS 5D Mark IIs and two EOS 7Ds, all fitted with Canon EF lenses. Their footage was recorded to SanDisk Extreme Pro memory cards. “I prefer the 5D to the 7D,” McGarvey notes. “I like its larger sensor and the way the depth of field falls off quicker. But we used the 7Ds for any slow-motion work [that involved DSLRs].” “我们采用Primo镜头拍摄，最主要的是定焦镜头，但我们也会用到19-90mm和24-270mm变 焦镜头，偶尔会用到一个3倍变焦的镜头，”他接着说。“(采用变焦镜头时)我们通常会保持在 21mm到27mm之间，或者更长一些，比如100mm。”迈克加维通常在日间外景中保持T4或T5.6的光 圈数，在其他情况下采用T2.8½的光圈。“我采用(Alexa的基准ISO)800拍摄了所有内容。当我 尝试降低一些，比方在400，看起来就像是在阴影之中，我觉得那样并没有同样的宽容度。所以 Cinematographer Seamus McGarvey, ASC,BSC (left) and director Joss Whedon keep the characters in their sights. 影片摄影指导，美国电影摄影师协会、英国电影摄影师协会会员西穆斯.迈克加维(左)与导演乔斯.韦登在影片 拍摄中。 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 3 我仅使用红外中灰滤镜来降低外景拍摄的光圈数。”摄制组还携带了10台佳能单反相机，即8台 EOS5DMarkll和2台EOS7D，全部配有佳能EF镜头。它们拍摄的素材片记录在SanDIsk Extreme Pro 存储卡上。“相对于7D而言，我更喜欢5D，”迈克加维评价道。“我喜欢它那更大的传感器和 更快的景深缩小方式。但是我们采用7D拍摄了所有(用到单反相机)的慢动作镜头。” Typically, when the filmmakers wanted to heighten an action moment with high-speed footage, they rolled a Panavised Arri 435 loaded with Kodak Vision3 500T 5219. “We mostly used slow motion for explosions at night, and film really holds the detail in both the flames and the low-key night exteriors,” says McGarvey. “I pushed [the 5219] one stop on a number of occasions, and though it looks grainy next to Alexa footage, generally speaking, the 35mm material intercuts really well. Shooting some film also meant we could carry that camera the whole time, and it was nice to have that flexibility.” 通常来说，当摄制人员采用高速胶片来增强某个时刻的动作时，他们会用一台装有柯达维 申3 500T 5219胶片的阿莱435摄影机拍摄。“我们主要采用慢动作来拍摄夜间的爆炸场面，这种 胶片确实可以同时记录火光和暗调夜间外景中的细节，”迈克加维说道。“我会在有些时候增 感(5219胶片)一档光圈，虽然这样和Alexa素材片比起来有颗粒感，但总的来讲35mm胶片能够很 好的进行交叉剪接。采用一部分胶片拍摄也意味着我们可以总是带着那台摄影机，这样一来的 灵活性是不错的。” The filmmakers chose to frame for 1.85:1. McGarvey recalls, “I was keen to shoot 2.40:1 because I felt itwould have offered more scope, but Joss was worried about the height of the cityscape, and he wanted to be able to create both vertical and horizontal movement in the frame. Also, we had to leave space for the Hulk. He’s scraping the ceiling of our frame, and in 2.40:1 the poor guy would have been beheaded!” 摄制人员选择了1.85:1的画幅比例。迈克加维回忆说，“我喜欢采用2.40:1拍摄，因为我 觉得这样可以有更多的范围，但是乔斯担心城市场景的高度，并且他想要在画面中同时制作垂 直和横向的移动。而且我们还必须要为浩克留出空间来。他卡到了我们画面的顶部，在2.40:1 画幅中这个可怜的家伙将会被斩首！” Equally integral to building a believable world was visual-effects supervisor and Iron Man 2 veteran Janek Sirrs, who worked with 12 vendors to complete about 2,200 visual-effects shots for The Avengers. “As a cinematographer on this sort of movie, you have to collaborate unequivocally with visual effects — they’re part of the cinematography,and vice-versa,” says McGarvey.“Janek has been incredible; he understands light, and he has great taste and vision.” The Third Floor provided previs and postvis services, which were supervised by Nick Markel and Gerardo Ramirez, respectively. Like previs, postvis generates preliminary versions of CG shots or elements, but combines those pieces with production photogra-phy in order to validate footage, provide placeholders for editorial and generally refine the effects. 在《钢铁侠2》中经历丰富的视觉特效总监贾内克.瑟斯同样是打造这个逼真世界的核心，他 和12家公司一起为《复仇者联盟》完成了大约2200个视觉特效镜头。“作为这样一部影片的摄影 师，你必须要明确地配合完成视觉特效——它们是电影摄影的一部分，反之亦然，”迈克维加 说道。“贾内克令人难以置信；他懂得用光，并且他有很强的鉴赏和视觉观察能力。”The Third Floor公司提供了前期预览和后期预览服务，分别由尼克.马克尔和杰拉多.拉米雷兹担任 总监。正如前期预览那样，后期预览初步生成CG镜头或对象，但为了确认素材片，这些内容会 和实际拍摄内容进行合成，为剪辑提供参考位置并增强总体效果。 The production’s work in Ohio also included filming in NASA’s Space Power Facility in Sandusky. The heart of the facility is a 100'-wide, 122'-high aluminum vacuum chamber that Chinlund dressed to appear as an active SHIELD laboratory. Prof. Erik Selvig (Stellan Skarsgard) has been using the 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 4 lab in an effort to tap the energy of the tesseract, a cosmic cube that promises near-unlimited power to those who can harness it. Unfortunately for SHIELD, the tesseract opens a portal through which Loki appears, and the cube’s growing energy output causes the entire facility to collapse. The Space Power Facility “was one of our most spectacular locations,”says McGarvey, “but it was tricky to light because we wanted to look all around.” The solution was to utilize a shallow trough that circled the base of the chamber. After gaffer Chris Napolitano and his crew rigged the trough with about 1,500 MR16 globes,“the light bounced everywhere and lit the entire dome,” says McGarvey. 摄制组在俄亥俄州的工作还包括在位于桑德斯基的NASA太空动力仓中的拍摄。这个太空仓 的核心是一个30余米宽高的铝制真空室，美术总监钱兰德将它布置成神盾局。太空仓“是最重 要的拍摄地之一，”迈克加维说。“由于我们要看到四处，所以布光挺麻烦的。”解决办法是 利用环绕真空室基座四周的窄槽。在灯光师克里斯.纳波利塔诺和他的团队使用约1500只MR16球 形灯装在槽中之后，“光线被反射到每一处角落，并照亮了屋顶。”迈克加维说道。 “Over the center of the area, we built a 12-by-12 rig with daylight Kino Flos and a few [Philips Vari-Lite] VL3000 moving lights that we could focus down to highlight pieces of the set,”adds Napolitano. The rig was suspended on chain motors so it could be adjusted for the frame line.“CG swirls of energy were to be added to the chamber, but Janek wanted us to provide an interactive, blue glow at the top of the space as the facility is about to collapse,” says McGarvey. “We used 6K Pars and an 18K ArriMax to light the top of the dome, and the grips used flags to create a pulsating effect.”“I’m a big proponent of shooting some real-world reference as a guide for digital work,” Sirrs notes in an e-mail interview with AC. “And Seamus was always keen to light shots for [virtual] characters; he’d use props such as a partial Iron Man suit or silicone Hulk bust. We always rolled on the stand-in props so we could see how they truly read in-camera.” “在这片区域中心的上面，我们安置了一个带有凯诺弗洛灯和(飞利浦Vari-Lite)VL3000 移动灯的12乘12设备，这样我们可以集中对场地几个地方进行高光照明，”纳波利塔诺补充 说。这个灯光设备悬挂在传送机上，这样它可以根据画面边界线进行调整。“这个真空室会加 入CG制作的能量漩涡，但是贾内克希望我们在仓体将要倒塌的时候在顶部提供一种互动式的蓝 色辉光，”迈克加维说道。“我们使用6K帕灯组和一台18K阿莱迈克斯灯来对顶部照明，助手们 利用灯旗来制造出跳动的效果。”“我非常支持拍摄一些真实世界的参照物作为数字化工作的 指导。”瑟斯在一次电子邮件访问中谈到。“西穆斯总是热衷于为(虚拟)人物布光；他会使用 The production turned the aluminum vacuum chamber at NASA’s Space Power Facility in Sandusky, Ohio into a SHIELD center where an experiment goes horribly awry. MR16s ringed the chamber’s perimeter, and a 12'x12' rig with Kino Flos and VL3000s offered additional illumination. 摄制组将位于俄亥俄州桑德斯基的NASA 太空动力仓改造为神盾局，其中进行了 毁灭性的实验。MR16灯环绕仓体四周， 一个带有Kino Flos灯和VL3000s的 12'x12'灯架用来提供补光。 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 5 诸如部分钢铁侠的制服或硅胶做成的浩克半身像。我们经常会试拍替身道具以便观察它们是如 何真正在摄影机中 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 现的。” The footage shot in downtown Cleveland is all part of the battle that dominates The Avengers’third act, when the heroes must stand united against the onslaught of Loki’s alien hordes. East 9th Street provided the backdrop for one of the sequence’s most explosive pieces, in which the aliens strafe the street, sending cars and trucks airborne amid pillars of flame and billowing smoke. “The hero angle Fury confabs with Iron Man and Hulk’s alter egos, Tony Stark and Bruce Banner, respectively. These before-and-after frames showcase the window-replacement work the visual-effects team performed in the Helicarrier’s laboratory, and also illustrate the CG content that plays on the set’s monitors. The set was lit practically, predominantly with built-in B&M Lighting Mac Tech LED tubes. 福瑞分别和钢铁侠和浩克的好友托尼.斯塔克及布鲁斯.巴纳进行交谈。这两张前后对比画面揭示了特效团队在天空 母舰的实验室里进行的窗口替换工作，同时也是现场监视器中播放的 CG 内容。这个场面用实际光源布光，主要是 内置的 B&M 公司的 LED 灯管。 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 6 looked straight down the street as the explosions came toward us,”McGarvey details. “It was a spectacular image, and it really was incamera. Dan Sudick, the special-effects supervisor, is a genius at choreographing this kind of mayhem.”All of the production’s cameras, plus additional Alexas and 435s special ordered for the day, were used to capture the effect. Most of the DSLRs were placed in crash housings and positioned in the midst of the action; one 5D was given to a stunt performer who filmed as he ran through the chaos, providing what McGarvey calls “wonderful, immersive footage.” 在克利夫兰市中心拍摄的场景是《复仇者联盟》以战斗为主第三部分的全部内容，这个时候 英雄们必须团结在一起对抗洛基的外星部队攻击。一些最具爆炸性的场面是以东9街区为背景拍 摄的，在这里外星部队沿街扫荡，在火光和滚滚浓烟中将汽车和卡车抛到空中。“当爆炸逼近 我们的时候英雄们看到的是整个街道，”迈克加维详细解释道。“那是一幅惊人的画面，而且 实际上是用摄影机拍摄的。视觉特效总监丹.苏迪克在编排这种暴力场面上非常在行。”摄制组 所有的摄影机，包括当天特地租借的Alexa和435都投入到这段拍摄中。大部分单反相机放置在 倒塌中的建筑和拍摄过程中间；一名特技演员使用一台5D相机在他跑过暴乱之处时进行拍摄， 作为迈克加维所说的“精彩、沉浸式的片段”。 At press time, McGarvey was nearing the end of a six-week digital grade at EFilm with colorist and ASC associate member Steven J. Scott. The first four weeks were devoted to the 2-D grade, and the last two weeks were spent grading the 3-D conversion, which was done by StereoD. McGarvey describes his work in the DI as “quite straightforward. We’re doing a lot of windows and some very sophisticated timing, but it’s not a strident look. The Avengers is quite sharp and crisp. We wanted to make it feel believable, like it’s really happening.” During the shoot, McGarvey and Whedon found “key moments that we knew would play well in 3-D, but we weren’t trying to make things leap out of the screen,” the cinematographer notes. “The great thing about shooting 2-D and converting in post is that there was no sense of being corralled by 3-D while we were shooting; it was just going to be an enhancement at the end of the day. 在影片发行的时候，迈克加维在EFlim公司与调色师、ASC准会员史蒂夫J.斯科特一起为期6 周的调色工作已至尾声。前面四周的时间用来进行2D的调色，后面两周进行3D转换，这部分工 作由StereoD公司来完成。迈克加维形容他在数字中间片上的工作“非常直接。我们制作了很多 窗口和非常复杂的配色，但看起来并不扎眼。《复仇者联盟》非常清晰明快。我们希望它让人感 到可信，就好像故事真的发生了一样。”在拍摄过程中，迈克加维和韦登发现了“在3D中有好 效果的重点时刻，但是我们不想让画面内容从银幕跳出来，”这位电影摄影师说。“2D前期拍 摄在后期转成3D的好处是我们在拍摄的时候不会被3D束缚；那只是到最后一种效果增强手 段。” 本文出自美国电影摄影师杂志12年6月刊 美国电影摄影师协会(ASC)网址： www.theasc.com 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 7 Blood Relatives Bruno Delbonnel, ASC, AFC helps Tim Burton give Dark Shadows a satirical’70s twist. By Benjamin B 嗜血之亲 美国电影摄影师协会及法国电影摄影师协会会员布鲁诺.德尔邦内尔协助蒂 姆.伯顿为《黑影》赋予了一个70年代讽喻般的扭曲。 作者：本杰明.B 技术参数： 画幅：1.85：1 拍摄方式：35mm胶片 摄影机：阿莱Arricam Studio和Arricam Lite 镜头：库克S4，安琴Optimo 胶片：柯达Vision3 500T 5219 后期：数字中间片 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 8 Tim Burton’s Dark Shadows is loosely adapted from a daytime soap opera featuring vampires, witches and werewolves that aired on U.S. television from 1966-1971. Asked whether he would describe his film as a comedy, Burton replies, “It’s a real mixture of feelings and emotions, which makes it difficult to place in a genre. It’s not like we were remaking the TV show; the movie has more to do with my memory of it. Setting the story in 1972 brought back that time for me. You go through weird ages in life, and 14 is one of them. You forget about it until you explore it a little [as an adult] and realize how disturbing the whole thing was!” 蒂姆.伯顿的《黑影》改编自1966年至1971 年在美国播出的电视节目。当被问到是否会 把他的电影视为喜剧时，伯顿答道，“它是 一个感受和情绪的汇集，因此难以归于某种 电影类型。我们并不是重拍这个电视节目； 电影版更多地是与我对它的记忆有关。将故 事时间置于1972年让我重返那个年代。人生 中会经历若干个奇特的年纪，而14岁便是其 中之一。直到你(作为一名成年人)对其探究 一二并意识到一切是如此烦扰时才会想起它 来！” Dark Shadows cinematographer Bruno Delbonnel, ASC, AFC recalls that by following Burton’s lead, he imagined a mélange of genres in the approach to the picture,“something between a soap opera, which is overlit and where you see everything, and a dramatic film, with a little taste of a horror film. I wanted to create an image that corresponded to Tim’s world, a world that is elegant, subtle and poetic.” 《黑影》的摄影师布鲁诺.德尔邦内尔是 美国电影摄影师协会及法国电影摄影师协会 会员，他回忆在伯顿的指引下，想象用一种 混合类型的方法塑造影像，“那介于过度打 光看清各处的肥皂剧和带有点恐怖味道的戏 剧片之间。我希望创造出的影像符合蒂姆的 世界，优雅、微妙并富有诗意。” To make the story’s 1972 setting convincing, the filmmakers decided to shoot on 35mm and avoid 3-D. “I wanted this to look like a Seventies movie,” says Burton. Delbonnel shot the entire picture on Kodak Vision3 500T 5219 negative stock, pushing it to ISO 800 “because all of the sets were very dark mahogany, and we needed to see them properly. I pushed in order to keep my lighting list down. I usually shot at T2.8. We needed a rich negative for the DI work I had planned.” 为了让1972年的布景真实可信，摄制者 们决定采用35mm胶片拍摄并避开3D。“我希 望这看起来像是一部70年代的影片，”伯顿 说道。德尔邦内尔采用了柯达Vision3 500T 5219负片并增感到ISO800来进行拍摄。“由 于所有的布景都有深色的红木，而我们需要 清楚地看到它们。为了能够节省布光的成 本，我进行了增感。通常我把光圈设定在 T2.8。我们需要为计划中的数字中间片流程 准备一套厚实的负片。” Tapping Panavision London for his camera package, Delbonnel shot mostly with an Arricam Studio and Cooke S4 prime lenses, which he calls “absolutely magnificent.” Both Burton and Delbonnel favor fairly short focal lengths; the lens of choice was the 27mm, followed by the 21mm, and the 32mm was used for close-ups. Both Delbonnel and camera operator Des Whelan stress the elegance and simplicity of Burton’s mise en scène, suggesting that the director’s unusual visions are delivered in a classical form. Whelan surmises that Burton’s beginnings as an animator might underlie his economy: “Animators are very aware of what’s needed to tell a story, and they don’t shoot more than that. Tim doesn’t like loads of coverage; he wants to make the story as lean as possible, with no fat. You can almost take the clapperboards off and make the movie. 德尔邦内尔选择潘那维申伦敦公司为他 提供摄影套件，主要是采用一台阿莱摄影机 和库克S4定焦镜头拍摄，他称之为“绝对的 豪华”。伯顿河德尔邦内尔都喜欢短焦距拍 摄；镜头的选择是21mm和27mm，还有32mm用 作特写拍摄。德尔邦内尔和掌机德斯.维兰都 着重表现了伯顿式场面调度中的优雅和简 美国电影摄影师杂志 weibo.com/cinematography 电影摄影及制作 9 洁，建议用一种常规的形式来表现这位导演 不同寻常的视角。维兰觉得伯顿在开始拍摄 的时候基于他的预算考虑就像个动画师： “动画师很清楚讲述一个故事需要什么，并 且他们不会在那之外增加拍摄内容。蒂姆不 喜欢大面积地覆盖拍摄；他想让故事尽可能 地简洁，没有任何脂肪。你几乎可以将场记 板扔掉来拍摄这部影片。” According to Whelan, Burton avoided over-the-shoulder shots, preferring clean singles that were often placed in the middle of the frame, with the actor looking almost straight into the camera. “We’d have eyelines inside the matte box,” he recalls. “The actors couldn’t see beyond the camera, which was literally a foot away from their face. It’s almost like we were X-raying them! Tim likes to bring the audience right up close.” Burton notes, “This movie is based on a soap opera, so it was important that it have an intimacy to it. It not a special-effects movie. We wanted to emphasize the actors.” 蒂姆依据维兰的情况避免使用过肩镜 头，而是采用通常在画面中间的单一角度， 演员几乎会看到摄影机里面去。“我们会让 视线集中在遮光斗以内，”他回忆道。“摄 影机大约离演员有一英尺远，演员无法看到 摄影机之外的范围。我们就像是用X光照射他 们！蒂姆喜欢让观众近距离观察。”伯顿说 道，“这部影片来源于一出肥皂剧，所以重 要的一点是和肥皂剧有种亲切感。这部片子 不是特效电影。我们想要去突出演员。” A key to the movie’s painterly look is the fashioning of what could be called “DI dailies” in the production’s on-set theater, which was manned by colorist Peter Doyle. Burton stresses the importance of defining the look during production. “You know, you can do anything in the DI, but you can do so much that it feels kind of pushed,” he observes. “We were trying to achieve the look early on, in the original photography. Of course, there was a little room to [refine things in post], but Bruno and I both feel that you should get it while you’re shooting it. When we did find the right tone with the color timing, it just felt right. It felt like the Seventies movies that I recall from my youth.” 影片绘画一般的画面关键是源自摄制现 场剧场中所谓的“数字中间片样片”加工， 由调色师彼得.道尔所操作。伯顿强调了在摄 制过程中画面定位的重要性。“你知道在数 字中间片过程中可以做任何事情，但是你能 做太多的事情，以至于有不自然的感觉，” 他评论道。“我们努力在之前就拍出想要的 样子，也就是说在之前的实拍之中。当然(在 后期制作中做精调)还有一些空间，但是布鲁 诺和我都觉得应该在拍摄的时候就做到这一 点。当我们真的在调光的时候就找到正确的 色调，那感觉就对了。就像是我所回忆中的 年轻时的70年代影片。” Delbonnel calls Doyle, with whom he first collaborated on 2009’s Harry Potter and the Half-Blood Prince, “an essential partner” in creating the look of Dark Shadows. “Peter is my right-hand man. I have absolute confidence in him. He has a great taste, and he knows what I like. We developed software for our work that goes very far.” 德尔邦内尔首次与道尔合作是2009年的 《哈利.波特与混血王子》，他将道尔成为在 创作《黑影》画面过程中“不可或缺的搭 档”。“彼得是我的左膀右臂。我对他有着 完全的信任。他的鉴别能力很强，并且知道 我的喜好。我们一起为工作开发了软件，使 用了很长时间。” Doyle notes that getting the look right in the dailies enables filmmakers to avoid the pitfalls of DI work that goes against the grain of the shoot. “If you bend the image around too much in post, I think the audience can feel it. They may not be able to define it, but it puts a little veil between them and the performances.” 道尔觉得在样片中获得正确的画面能够 让摄制者避免数字中间片中背离拍摄颗粒感 的误区