老電影中瘋狂的視覺特效：英語精讀講義

This is a scene from Stanley Kubrick's 2001: A Space Odyssey,

這是史丹利·庫柏力克《2001太空漫遊》中的一個場景，

released in 1968.

電影於1968年上映。

This was before computers and digital effects.

那是在電腦和數位特效出現之前。

So, how do you think he made this pen float in space? 文法

那麼，你認為他是如何讓這支筆在太空中漂浮的呢？

The obvious answer is string.

顯而易見的答案是用線。

But this would get tangled up every time the pen rotated 片語動詞

但這樣每次筆旋轉時，線都會纏繞起來，

and would ultimately be impossible to hide.

最終根本無法隱藏。

The real trick behind the shot was simple but extremely effective.

這個鏡頭背後的真正戲法既簡單又極其有效。

The pen was attached to a large piece of glass with double-sided tape

他們用雙面膠將筆黏在一大塊玻璃上，

and placed in front of the camera.

然後放置在攝影機前。

The glass was attached to bearings that allowed an operator to slowly move and rotate the glass to mimic the floating movement.

玻璃固定在軸承上，操作員可以緩慢移動並旋轉玻璃，來模仿漂浮的動作。

It was incredibly simple,

這非常簡單，

but the end result was perfect.

但最終的效果卻非常完美。

This is just one of many creative tricks that allowed filmmakers to pull off crazy visual effects, 片語動詞

這只是讓電影製作人能夠完成瘋狂視覺特效的眾多創意技巧之一，

all before computers and CGI.

所有這些都在電腦和CGI出現之前。

They managed to duplicate heads,

他們設法複製頭部，

make characters invisible,

讓角色隱形，

turn miniatures into enormous movie sets, 文法

將微縮模型變成巨大的電影佈景，

and even invent a green screen alternative that worked better than today's digital methods.

甚至發明了一種比現代數位方法更好用的綠幕替代方案。

This scene from The Man with the Rubber Head is over 120 years old,

《橡皮頭人》中的這個場景已經有120多年的歷史了，

and it shows filmmaker Georges Méliès inflating a copy of his own head.

它展示了電影製作人喬治·梅里愛將他自己頭部的複製品充氣變大。

But how did he pull this off in 1901?

但他在1901年是如何做到的呢？

You might think that these are two separate films layered on top of each other,

你可能會認為這是兩部獨立的電影疊加在一起，

but that's not the case. 語氣意圖

但事實並非如此。

In fact, everything was captured in camera. 用詞

事實上，所有內容都是在攝影機內拍攝完成的。

And so what came out was the finished film,

拍出來的就是成片，

and it didn't require editing.

完全不需要剪輯。

To pull this off, he'd record the first scene with a black sheet placed in the area where the head was going to appear.

為了實現這一點，他會在頭部即將出現的區域放置一塊黑布，然後錄製第一個場景。

Then, he'd rewind the film back to the start and set up the second scene

接著，他把底片倒回開頭，佈置第二個場景，

with only his head visible against a black background.

在黑色背景前只有他的頭部可見。

This time, he'd record directly over the same strip of film used to record the first scene. 片語動詞

這一次，他直接在記錄第一個場景的同一段底片上進行錄製。

Because this was being recorded onto a transparent film negative,

因為這是錄製在透明的底片上，

the dark areas around his head essentially remained transparent,

他頭部周圍的暗區基本上保持透明，

since almost no light was hitting the film.

因為幾乎沒有光線照射到底片上。

This meant that as he recorded over the original scene,

這意味著當他在原場景上層疊錄製時，

only his head was exposed onto the film strip,

只有他的頭部曝光在底片上，

combining the two shots perfectly.

從而將兩個鏡頭完美地結合在一起。

But the real trick was how he managed to make his head grow and shrink. 片語搭配

但真正的戲法在於他如何讓自己的頭變大和縮小。

The obvious idea would be to use a zoom lens to slowly make his head fill the frame. 文法

最容易想到的方法是使用變焦鏡頭，讓他的頭慢慢填滿畫面。

But zoom lenses didn't even exist yet. 文法

但變焦鏡頭當時甚至還不存在。

Instead, Méliès set up a ramp where he could sit in a cart and be slowly pulled towards the camera.

相反，梅里愛搭建了一個斜坡，他坐在推車裡，被慢慢拉向攝影機。

As he got closer,

當他越來越近時，

his head would grow from the neck until it eventually filled the entire frame.

他的頭就會從脖子處長出來，直到最終填滿整個畫面。

The result was incredible by 1901 standards, 片語搭配

以1901年的標準來看，結果令人難以置信，

and this multiple exposure technique went on to be mastered in Kubrick's 2001. 文法

而這種多重曝光技術後來在庫柏力克的《2001太空漫遊》中被發揮到了極致。

For these space shots,

對於這些太空鏡頭，

he'd first shoot the moon on its own,

他會首先單獨拍攝月球，

with one half of the frame being completely dark. 文法

畫面的另一半是完全黑暗的。

Then, sometimes months later,

然後，有時在幾個月後，

he'd rewind the film and record the spacecraft shots directly over the same strip of film.

他會把底片倒回，直接在同一段底片上錄製太空船的鏡頭。

By doing it this way, 表達脈絡

透過這種方式，

instead of combining separate films into one, 文法

而不是將獨立的底片合成在一起，

there was no quality loss,

就不會有畫質損失，

and the film that came out of the camera was essentially the finished shot,

從攝影機裡拿出來的底片基本上就是成片，

as if the moon and the spaceship had been filmed together. 文法

就像月球和太空船是一起拍攝的一樣。

Filming everything in camera was another key feature of this next trick from the 1927 classic Metropolis.

接下來這個來自1927年經典電影《大都會》的戲法，其另一個關鍵特徵也是將一切在攝影機內拍攝完成。

These scenes placed real actors in enormous futuristic-looking sets.

這些場景將真實演員置於充滿未來感的巨大佈景中。

But not only was this all done in camera, 文法

但不僅所有操作都在攝影機內完成，

it was all done in one take,

且全是一鏡到底，

without the need to record over the film strip.

不需要覆蓋錄製底片。

For this shot,

在這個鏡頭中，

the actors were walking down a platform far away from the camera in order to appear much smaller.

演員們在遠離攝影機的平台上行走，以顯得小得多。

Then, directly in front of the camera,

然後，直接在攝影機正前方，

they placed a mirror at 45 degrees,

他們以45度角放置了一面鏡子，

which reflected a detailed miniature model of the futuristic city into the camera.

它將未來城市的精細微縮模型反射進攝影機中。

By cutting out a very precise portion of the mirror, 文法

透過刮掉鏡子上非常精確的一小部分，

it allowed the camera to see through the mirror to the actors in the distance.

攝影機就能透過鏡子看到遠處的演員。

The same trick was used for this scene.

這個場景也使用了同樣的戲法。

The massive demon mouth wasn't massive at all.

這個巨大的惡魔之口其實一點也不大。

It was actually a much smaller miniature just off to the side of the camera.

它實際上是一個非常小的微縮模型，就放在攝影機的一側。

But, when everything lined up perfectly, 片語動詞

但是，當一切對齊得完美無缺時，

it looked like the actors were walking straight into its mouth.

看起來就像演員們直接走進了它的嘴裡。

Just 2 years before this,

就在這之前的兩年，

the film Ben-Hur pulled off a similar trick of turning miniatures into massive sets,

電影《賓漢》也完成了類似將微縮模型變成巨大佈景的戲法，

but without the use of mirrors.

只不過沒有使用鏡子。

These epic chariot racing scenes required an enormous coliseum filled with crowds.

這些史詩般的戰車競速場景需要一個巨大且擠滿人群的羅馬競技場。

But the studio didn't have the budget or time to build a full-scale set. 片語搭配

但片廠沒有預算和時間來搭建全比例的佈景。

Instead, they built the bottom half of the set for real and faked the rest with miniature sets hanging in front of the camera.

相反，他們真實建造了佈景的下半部分，並用懸掛在攝影機前的微縮佈景來偽造其餘部分。

By placing them close to the camera,

透過將它們靠近攝影機放置，

these miniatures became enormous movie sets,

這些微縮模型變成了巨大的電影佈景，

matching the scale of the real set perfectly.

完美地與真實佈景的比例相匹配。

The miniatures even had fake audience members that could be mechanically moved up and down to simulate a cheering crowd.

微縮模型上甚至還有假觀眾，可以透過機械方式上下移動，來模擬歡呼的人群。

To pull all these tricks off,

為了完成所有這些戲法，

the filmmakers had to make the most out of the tools that were available. 慣用語

電影製作人必須充分利用現有的工具。

Nowadays, things are done very differently with digital effects and AI tools.

如今，有了數位特效和人工智慧工具，做事的方式大不相同。

That's where Outskill today's sponsor comes in. 表達脈絡

這就是今天贊助商 Outskill 的切入點。

It's the world's first AI-focused learning platform.

它是世界上第一個專注於 AI 的學習平台。

This weekend,

這個週末，

they're doing their AI Mastermind,

他們將舉辦 AI Mastermind 活動，

a 2-day learning experience that will take your AI skills to the next level.

這是一個為期兩天的學習體驗，將把你的 AI 技能提升到一個新的層次。

AI can't do everything,

AI 不能做所有事情，

but if it's used right,

但如果使用得當，

it can be an amazing tool to help you monetize your skills and your business.

它可能成為一個極好的工具，幫助你的技能和業務變現。

Outskill's AI Mastermind will teach you how to simplify your day-to-day tasks,

Outskill 的 AI Mastermind 將教你如何簡化日常任務，

build AI agents that plan and create your workflow,

建構能夠規劃和建立工作流程的 AI 代理，

and AI automations that connect sheets,

以及能連接表格、

Notion,

Notion、

and other tools to help you tie your business together.

和其他工具的 AI 自動化功能，來幫你將業務整合在一起。

The Mastermind will be taking place this Saturday and Sunday from 10:00 a.m. to 7:00 p.m.

Mastermind 活動將在本週六和週日上午10:00到晚上7:00舉行。

The best part is, this would normally cost $395,

最棒的是，這通常需要花費395美元，

but with Outskill's holiday offer,

但憑藉 Outskill 的節日優惠，

you can join the Mastermind for free.

你可以免費參加 Mastermind。

Not only is it absolutely free,

它不僅完全免費，

you'll also receive extra bonuses worth $5,000.

你還將獲得價值5000美元的額外獎勵。

Outskill's Mastermind has been attended by more than 10 million people worldwide,

已經有超過1000萬全球用戶參加過 Outskill 的 Mastermind，

helping learners go on to monetize their business.

幫助學習者繼續實現業務變現。

Check out the link in the description to grab your seat now before it expires.

查看簡介中的連結，在優惠過期前馬上搶佔名額。

So far, all of the tricks we've looked at were about adding more things into the scene. 表達脈絡

到目前為止，我們看過的所有戲法都是在場景中添加更多東西。

But what if you wanted to make something disappear? 文法

但如果你想讓某些東西消失呢？

That's exactly the kind of trick that was mastered in the 1933 film The Invisible Man.

這正是1933年的電影《隱形人》中運用到極致的那種戲法。

The main character drinks a potion that makes him invisible,

主角喝下了一種讓他隱形的藥水，

and he ends up going on a rampage while the police try to track him down. 講解

他最後變得暴虐無道，而警察則試圖追蹤他。

Throughout the film,

在整部電影中，

multiple exposures were used to make the man invisible.

劇組使用了多重曝光來讓這名男子隱形。

But it's this shot of the man running through the snow that we're going to look at. 文法

但我們要看的是這個男人在雪地裡奔跑的鏡頭。

In order to pull this off,

為了實現這一效果，

a fake wooden floor was created,

他們製作了一個假木地板，

and footprint-shaped holes were cut into the wood.

並在木頭上挖出了腳印形狀的洞。

The floor was covered in powdered snow,

地板上鋪滿了粉末狀的雪，

and one by one,

然後一個接一個地，

the wooden cutouts were released,

這些木製鏤空被鬆開，

causing the snow to fall and make footprints in the ground. 文法

導致雪往下掉，在地上留下了腳印。

This blew people away in 1933, 慣用語

這在1933年讓人們大吃一驚，

and the invisibility effect looked incredibly realistic.

而且隱形效果看起來令人難以置信地逼真。

But what about scenes that aren't meant to look realistic at all, 文法

但對於那些原本就不想表現得很逼真的場景呢，

like these scenes from Kubrick's 2001?

比如庫柏力克《2001太空漫遊》中的這些場景？

These shots were so abstract that they couldn't be achieved by simply pointing the camera at something. 文法

這些鏡頭極其抽象，單純用攝影機對準某個東西是無法拍出來的。

In order to pull it off,

為了完成它，

the visual effects supervisor had to get inventive.

視覺特效總監必須發揮創造力。

He placed the camera on rails and pointed it towards a black screen with a thin slit in the middle.

他將攝影機放在軌道上，對準一個中間有條細縫的黑幕。

Behind the screen was a super long piece of artwork that was backlit by bright lights.

螢幕後面是一幅超級長的藝術畫作，由明亮的燈光進行背光照明。

The camera was tilted slightly off-center,

攝影機稍微偏離中心傾斜，

so that when it moved forward,

這樣當它向前移動時，

the slit would travel from the middle of the frame to the edge of the frame.

細縫就會從畫面的中間移動到畫面的邊緣。

By keeping the shutter open for the whole duration of the move,

透過在整個移動過程中保持快門打開，

it created a streak of light across the frame,

它在整個畫面上創造出了一道光軌，

just like when you take a long exposure image of a car at night.

就像你在夜間給汽車拍長曝光照片一樣。

As the camera moved forward,

當攝影機向前移動時，

the colorful background would move a few inches to the right,

色彩繽紛的背景會向右移動幾英寸，

revealing different parts of the artwork through the streak.

透過這條光軌展示出藝術畫作的不同部分。

This single movement only created one frame,

這一單次移動僅創造了一幀畫面，

and so the process had to be repeated hundreds of times to get the full sequence.

因此這個過程必須重複幾百次才能得到完整的序列。

To record the other half of the frame,

為了錄製畫面的另一半，

the camera was tilted in the opposite direction,

攝影機向相反方向傾斜，

and the entire process was repeated,

並重複整個過程，

using the multiple exposure trick to record directly onto the original film.

使用多重曝光戲法直接錄製在原底片上。

The amazing thing is,

令人驚嘆的是，

this machine was completely automated,

這台機器是完全自動化的，

and it ran constantly for several hours at a time to create these shots.

它每次都會持續運作數小時，以創造出這些鏡頭。

But perhaps the most impressive of all of these techniques is one that no longer exists,

但在所有這些技術中，最令人印象深刻的或許是一項已經不復存在的技術，

but it was so perfect that even the digital techniques today struggle to match it.

但它是如此完美，以至於即使是如今的數位技術也難以匹敵。

You're probably familiar with green screens.

你可能對綠幕很熟悉。

Put anything in front of one,

把任何東西放在綠幕前，

key out the background, 片語動詞

去背抠掉背景，

and replace it with anything you can imagine.

然後替換成你能想像到的任何東西。

This trick has been around since the 1940s, 文法

這種戲法自20世紀40年代就存在了，

when it was more common to use a blue screen.

當時更常見的是使用藍幕。

But this whole technique had major drawbacks that still exist today.

但這整項技術有著直到今天仍然存在的巨大缺陷。

Actors were constantly surrounded by this horrible blue glow.

演員周圍總是縈繞著這種可怕的藍光。

Any kind of motion blur would reveal the blue background.

任何形式的動態模糊都會暴露出藍色背景。

Detailed parts like hair would lose their sharpness,

像頭髮這樣細節豐富的部分會失去清晰度，

and transparent objects simply became invisible.

透明的物體乾脆就變隱形了。

The problem is that even if the background is perfectly blue, 文法

問題在於，即使背景是完美的藍色，

the camera doesn't see it that way.

攝影機看到的也不是這樣。

Areas close to the actor blend together and become vastly different shades of blue.

靠近演員的區域混合在一起，變成了完全不同色調的藍色。

Even with modern digital techniques,

即使使用現代數位技術，

it's almost impossible to avoid these problems when keying out backgrounds.

在進行去背時也幾乎不可能避免這些問題。

But in the 1964 film Mary Poppins,

但在1964年的電影《歡樂滿人間》中，

Disney somehow nailed this effect. 用詞

迪士尼不知怎麼地就完美實現了這種效果。

The semi-transparent veil blends in perfectly. 片語動詞

半透明的面紗完美融合。

The salt leaves no trace, 片語搭配

鹽粒不留痕跡，

and the actors are even wearing blue and green clothes throughout the film.

演員們甚至在整部電影中都穿著藍色和綠色的衣服。

The edges are so perfect,

邊緣如此完美，

better than almost anything that's possible today.

比當今幾乎任何可能的技術都要出色。

So, how did they do it?

那麼，他們是如何做到的呢？

Instead of a blue or green screen,

他們沒有使用藍幕或綠幕，

the actors were standing in front of a white screen,

而是讓演員站在白幕前，

which was lit by powerful sodium vapor lights.

白幕由強力的鈉燈照亮。

These lights emitted a very specific wavelength of light at 589 nanometers,

這些燈發出一種589奈米的非常特定波長的光，

and so it was very easy to separate only this wavelength without affecting any other colors.

因此很容易單獨分離出這種波長，而不影響任何其他顏色。

Inside the camera was a special prism with a coating that was extremely sensitive to this exact wavelength. 片語搭配

攝影機內部有一個特殊的稜鏡，它的塗層對這種特定波長極其敏感。

As the light entered the camera,

當光線進入攝影機時，

the regular color light passed through onto a strip of film,

常規顏色的光穿過並投射到一段底片上，

but the sodium light was separated and directed onto a different strip of black and white film.

但鈉光被分離開來，並導向了另一段黑白底片上。

The result was a black and white silhouette that perfectly masked the shape of the actors. 用詞

結果產生了一個完美遮罩出演員形狀的黑白剪影。

This silhouette could be used as a transparency mask.

這個剪影可以被用作透明度遮罩。

Essentially, everything that was white became transparent, 表達脈絡

基本上，所有白色的東西都變成了透明的，

and everything that was black remained in the shot.

所有黑色的東西都保留在鏡頭中。

But it wasn't just black or white.

但它不僅僅是黑色或白色。

For blurry or semi-transparent areas,

對於模糊或半透明的區域，

the silhouette matte would be a shade of gray and essentially allow some of the original image through.

剪影遮罩會呈現出不同深淺的灰色，基本上允許一些原始影像穿透。

If the original footage had been filmed on a bright blue background, 文法

如果原始畫面是在明亮的藍色背景下拍攝的，

this would simply allow part of that blue to leak through. 片語動詞

這就會導致部分藍色滲漏出來。

But with the sodium vapor technique,

但是使用鈉燈技術，

there was essentially no background at all.

基本上就完全沒有背景了。

The color film didn't detect the sodium light,

彩色底片沒有檢測到鈉光，

and so almost no light from the background would end up on the film strip.

因此幾乎沒有來自背景的光最終會落在底片上。

When it came to those semi-transparent areas, 表達脈絡

當處理到那些半透明區域時，

there was no light beneath the matte to shine through,

遮罩下方沒有光線可以透出，

creating perfect transparency.

從而創造了完美的透明度。

By the '80s,

到了80年代，

this technique was largely forgotten about,

這種技術基本上被遺忘了，

since it was almost impossible to replicate the prism.

因為幾乎不可能複製出這種稜鏡。

Nowadays,

如今，

digital effects have taken over the film industry, 片語動詞

數位特效已經接管了電影工業，

but it shows just how much creativity went into the magic of these old movies. 文法

但這恰恰展示了這些老電影的魔力中傾注了多少創造力。

Thanks for watching,

感謝觀看，

and I'll see you in the next video.

我們下期影片再見。