英文名称：Industrial Light & Magic: Creating the Impossible
年代：2011
推荐：千部英美剧台词本阅读
| 时间 | 英文 | 中文 |
|---|---|---|
| [00:18] | Industrial Light and Magic has created | 工业光魔创造了 |
| [00:21] | some of the most iconic imagery that cinema has ever seen. | 电影中最具标志性的影像 |
| [00:29] | For the past 35 years | 在过去的35年里 |
| [00:30] | they have transported us to worlds | 他们把我们带入了 |
| [00:32] | beyond the reach of our imagination. | 无法想像的世界中 |
| [00:36] | Their pioneering in breathtaking visual effects | 他们是创造激动人心视觉特效的先驱 |
| [00:39] | have transformed the way we see movies. | 已经改变了我们看电影的方式 |
| [00:44] | We are all devoted when we go to the movies we aren’t watching | 过去我们去看电影的时候都会很投入 |
| [00:46] | all kinds of stuff we are supposed to be looking for, | 并没有看那些我们该看的 |
| [00:48] | we are looking for the seams, | 我们努力找接缝 |
| [00:50] | we are looking for cracks, | 找拼接的痕迹 |
| [00:51] | but when they make you forget all that | 但是当他们让你忘记所有这些事 |
| [00:54] | and pull you into the magic that is the story, | 把你全身心带入故事里 |
| [00:58] | then they’ve succeeded. | 他们已经就成功了 |
| [01:00] | Through the masterful blend of art and technology, | 通过艺术和技术的完美融合 |
| [01:03] | they have revolutionized movie-making, | 他们彻底改变了电影制作过程 |
| [01:05] | and helped to define popular culture. | 重新定义了现代文化 |
| [01:07] | From the sublime to the ridiculous, | 从雄伟到荒谬 |
| [01:10] | from E.T. to the amazing “worth it” on transformers, | 从外星人到惊人的变形金刚 |
| [01:14] | ILM was defining different ways | 工业光魔开创了多种方式 |
| [01:17] | to telling stories visually. | 来视觉化地叙述故事 |
| [01:19] | They’ve made us wonder, | 他们让我们惊讶 |
| [01:20] | they’ve made us marvel, | 让我们大开眼界 |
| [01:22] | they’ve made us believe. | 让我们相信 |
| [01:24] | It’s wonderful to know that the tools are there, | 知道他们有那些工具 |
| [01:27] | to really begin to get what’s in here, you know, | 能让我们把头脑中的东西展现给全世界 |
| [01:33] | out there in the world, | 真的是太好了 |
| [01:35] | and ILM has been in the charge in that quest since begin. | 工业光魔从一开始就应运而生了 |
| [01:51] | The digital area that dominants modern day visual effects | 工业光魔引入了数字化技术 |
| [01:53] | was ushered in by ILM, | 使它占据了视觉特效的主要地位 |
| [01:55] | hundreds of artists were collectively | 数百个艺术家聚集到一起 |
| [01:57] | to create complex imagery, | 创造复杂的视觉图像 |
| [01:59] | from a variety of elements that combined to perform | 各类不同的元素混合到一起 |
| [02:01] | a masterful illusion. | 形成了这些大师级的视觉 |
| [02:03] | “Action!” | 开始 |
| [02:04] | through the technology | 通过工业光魔的这些技术成就 |
| [02:05] | ILM is given film maker the means to achieve anything. | 电影制作人能做到任何事 |
| [02:10] | Photo-realistic characters and environments | 可以从无到有地创造 |
| [02:12] | can be created from scratch, | 照片级真实的角色和环境 |
| [02:13] | such as an Iron Man to an Avatar. | 比如钢铁侠 阿凡达 |
| [02:17] | But these high-tech advancements not come easy, | 但是这些高科技来的很不易 |
| 本电影台词包含不重复单词：1504个。 其中的生词包含：四级词汇：323个，六级词汇：184个，GRE词汇：163个，托福词汇：280个，考研词汇：361个，专四词汇：308个，专八词汇：57个， 所有生词标注共：605个。 定制生词标注的台词本和单词统计，请访问生词标注台词本 | ||
| [02:20] | nor they come over night, | 也不是一夜就有的 |
| [02:22] | the roots of today cinema magic goes back over a hundred years, | 今天的电影魔术可以追溯到100年前 |
| [02:26] | but the revolution of modern visual effects | 当代视觉特效的变革 |
| [02:28] | began with a story in a galaxy far far away. | 在一个很遥远的星系的故事中开始了 |
| [02:32] | Industrial light and Magic was formed in 1975 | 工业光魔于1975年成立 |
| [02:36] | to realize the complicated special effects challenges for a new film | 为了实现一个新电影中的复杂特效 |
| [02:40] | called Star Wars. | 《星球大战》 |
| [02:42] | A space advanture dreamed up | 一个年轻电影制作人 |
| [02:43] | by a young film maker George Lucas, | 幻想出来的太空历险电影 |
| [02:46] | his vision was unlike anything Hollywood had heard before. | 他所想象的世界在好莱坞也是第一次听说 |
| [02:49] | The Star Wars, | 星球大战 |
| [02:51] | I wanna do an action picture, | 我想做一个动作片 |
| [02:52] | I wanna do in where I can pan with the spaceships, | 我想要做一个里面有宇宙飞船 |
| [02:54] | I wanna do with really short cuts, there was a lot of rhythm, | 我想要有很多短小的剪辑 充满节奏感 |
| [02:57] | 乔治·卢卡斯 电影制作人 | |
| [02:57] | a lot of pace, a lot of movement on the screen. | 步调和动作在画面中 |
| [02:59] | I want it to be very very cinematic, | 我想要它特别有电影的感觉 |
| [03:00] | and at that point in time, | 而在那时 |
| [03:02] | that was impossible, | 这是不可能的 |
| [03:03] | you just could not do that with special effects. | 用特效就是做不出来 |
| [03:06] | So when the studio said how are you gonna do this, | 所以当工作室问我该怎么做这个的时候 |
| [03:08] | I said ah don’t worry We’ll figure it out, | 我说哎呀没事 我们能搞定 |
| [03:09] | you know, I’ve got to you know, | 可是你知道我必须得这么说 |
| [03:10] | but I had no idea what I was gonna do with it. | 虽然我完全不知道该怎么搞定它 |
| [03:14] | At the time, | 这时 |
| [03:15] | the special effects departments at the major studios were all begone, | 许多大公司的特效部门都被撤掉了 |
| [03:19] | so George Lucas was able to buy up old equipment | 所以乔治·卢卡斯用了很少的钱 |
| [03:21] | for pennies on the dollar | 买到所需的旧设备 |
| [03:23] | and set up ILM in a Vanice California warehouse. | 并且在加州的威尼斯的一个厂房里建立了工业光魔 |
| [03:27] | The 20th Century Fox on board, | 20世纪福克斯那时候负责这个 |
| [03:29] | George Lucas and producer Garry Kurtz | 卢卡斯和制片人加里·库尔茨 |
| [03:31] | and photographic effect expert John Dykstra to lead the effort, | 还有光学特效专家约翰·戴克斯特拉来领导团队 |
| [03:35] | Dykstra brought together a rag teg group of college students, | 戴克斯特拉聚集到一个大杂烩的小组 |
| [03:38] | artists and engineers whose make skills in photography, | 里面有学院的学生 艺术家还有做摄影 |
| [03:41] | model making and mechanics. | 模型和机械的工程师 |
| [03:43] | with set the stage for the fantastical space saga. | 就这样开始了制作这个太空传奇的旅程 |
| [03:48] | Creating ILM to do the work for Star Wars | 为了给星球大战做特效 |
| [03:51] | was like gambling high odds bets, | 而建立工业光魔是一个很冒险的事 |
| [03:55] | we knew we were taking a huge number of risks, | 我们知道当时承担巨大的危机 |
| [03:58] | we were incredibly naive to think | 不知哪来的天真 |
| [03:59] | 约翰·戴克斯特拉 第一批ILM员工 星球大战负责视觉特效 | |
| [04:01] | that we were going to be successful | 就觉得我们最后能成功 |
| [04:03] | in doing that, and we were incredibly fortunate | 也很难以置信地知道卢卡斯甚至福克斯 |
| [04:06] | that George and even Fox in its own way will willing to back us. | 用它们的方式 愿意支持我们 |
| [04:13] | When I read the script, | 当我看剧本的时候 |
| [04:14] | I was just saying | 我就说 |
| [04:15] | “my god, what is this movie!?”, | 我的天 这是个什么片啊 |
| [04:17] | all these different genres | 所有的体裁风格 |
| [04:19] | were kind of together in this massive space film, | 都被放在这个太空大片里了 |
| [04:19] | 丹尼斯·穆伦 ILM资深视觉特效人 | |
| [04:22] | and you read in that last 30 40 pages, | 最后三四十页里 |
| [04:24] | in every page was full of another effects shot in the battle, | 每页都是新的战斗特效镜头 |
| [04:27] | every page, it’s like | 每一页都是 简直就 |
| [04:29] | “this thing will never get done”. | 这东西永远也做不完 |
| [04:30] | When I first read the script for Star Wars | 当我读到星球大战的剧本时 |
| [04:31] | 理查德·艾德兰德 星球大战 摄像师 视觉特效人 | |
| [04:32] | I think, I came across a few lines | 我只扫了几行 |
| [04:35] | and were worrisome. | 然后就感觉压力很大 |
| [04:40] | The description unlike anything you’ve ever seen before | 里面的描述不像以前见过的任何东西 |
| [04:44] | to most studio executives and to producers and even to directors | 任何大公司的领导和制片人甚至导演 |
| [04:48] | was daunting. | 都会望而生畏 |
| [04:49] | We have 365 shots to do for this movie | 我们有365个镜头在这电影里 |
| [04:52] | which is never really been done for effects movie, | 任何特效电影里都没做过这么多 |
| [04:54] | it was really fun ’cause we all know that we can do it, | 确实很有意思因为我们知道我们能做出来 |
| [04:57] | we have this nexus of talent that we were just outrageous. | 我们这个人才网络里所有人很不得了 |
| [05:02] | To create a believable universe in the pre-digital age, | 在早期数字时代 |
| [05:05] | known as the photochemical era, | 也被称作光化学时代 |
| [05:07] | ILM had to advance the use of | 创造这样一个让人信服的世界 |
| [05:08] | traditional handcrafted effects technique, | 工业光魔需要提升传统的手工特效技术 |
| [05:11] | such as animation and rubber mask creature work. | 比如动画和橡胶头套角色 |
| [05:14] | Artists would use matte paintings | 艺术家能够使用绘景技术 |
| [05:16] | to increase the scope and production value of scene, | 增加场景的范围和实际效果 |
| [05:19] | by extending environments painted on glass, | 用画在玻璃上的图像 |
| [05:21] | that will be photographed and combined with live action elements. | 拍摄之后和实拍的素材结合在一起 |
| [05:27] | Detailed miniatures and models were built and shot against blue screen | 精细制作的模型在蓝幕前拍摄出来 |
| [05:31] | to allow the placement of other elements into the scene. | 允许他们把其他元素放在场景中 |
| [05:35] | And a process called Optical Compositing, | 有个过程叫光学影像合成 |
| [05:38] | ILM retooled the Dooman optical printer | 工业光魔重新设计了Dooman光学印刷机 |
| [05:40] | that allowed for record number of several film strips | 可以记录多张光学软片 |
| [05:43] | to be rephotographed and combined onto a single layer of film. | 用来重复拍照 合成到单张胶片上 |
| [05:48] | I knew what I was up against, | 我知道我要面对什么 |
| [05:49] | I knew how I wanted to do it. | 知道该怎么做 |
| [05:50] | But I was constantly bumping against technology ceiling. | 但是我经常受到技术水平的限制 |
| [05:53] | Sometimes you have many as | 有时候你将上百个 |
| [05:54] | a hundred different elements going through | 不同的元素合在一起 |
| [05:56] | and it takes 24 hours to do it, | 可能花费一天一夜的时间来做 |
| [05:58] | and if you make one mistake on one element, | 这时候只要在任何一个元素上出了点错误 |
| [06:00] | you have to start over again. | 你就得全都重来 |
| [06:03] | There’s no second chance, | 没有第二次机会 |
| [06:04] | if anything goes wrong during something, | 如果有什么事情出错了 |
| [06:06] | it’s over | 就完蛋 |
| [06:07] | and you have to sort of stop and start the entire process over again | 你就得停下然后把所有程序从头到尾再来一遍 |
| [06:10] | and that is really difficult | 相当的难弄 |
| [06:11] | and that takes a good team and a lot of concentration | 需要一个好团队 每个人都十分专心 |
| [06:14] | that to get a high speed model to blow up quick enough in right way | 比如把一个模型炸开 速度还得恰到好处 |
| [06:17] | or stop motion characters to walk across a scene | 或者花12个小时的时间 |
| [06:21] | in over a period of 12 hour shoot | 拍摄一个角色走过一个场景的定格动画 |
| [06:22] | that was only going to last 4 seconds. | 而这个镜头最后只是出现四秒 |
| [06:24] | You can’t be anything wrong, | 你哪里都不能搞砸 |
| [06:25] | light bulbs can blow up | 灯泡可能突然坏了 |
| [06:26] | nothing in the way between each frame of the film, | 然后胶片里就什么都看不见 |
| [06:30] | so it’s really hard to do that. | 所以真的很费劲 |
| [06:32] | It had to look real, | 它得看着很真实 |
| [06:34] | so that was the trick we were pinning ourselves into a corner, | 所以我们把自己憋在一个小角落里 |
| [06:37] | you have to invent a way out of it. | 你得想出个方法来 |
| [06:39] | we all knew we could pin up each other, | 我们都知道我们可以联合起来 |
| [06:41] | there was this kind of spirit of camaraderie | 就是有这种意识 |
| [06:43] | and so many of us gave our best ideas to the show. | 大家都把自己最好的创意贡献给这个片子 |
| [06:47] | John Dykstra designed a revolutionary Dukstraflex, | 约翰·戴克斯特拉设计了革命性的Dukstraflex |
| [06:51] | this computer control system allow for the programming | 这个计算机控制系统能编写程序 |
| [06:53] | of dynamic and repeatable camera moves. | 来控制动态的可以精确重复的摄影机动作 |
| [06:56] | The Dukstraflex facilitated to combine numerous elements | Dukstraflex使大量的元素 |
| [07:00] | into a single dynamic shot, | 混合到一个动态镜头中成为可能 |
| [07:01] | freeing up the stationary camera | 解放了100年来 |
| [07:03] | that had been normed in model photography for over 100 years. | 摄像机只能静止拍摄的束缚 |
| [07:08] | It wasn’t like | 就好象 |
| [07:09] | we were in Florence during the renaissance | 我们当时是在文艺复兴时期的佛罗伦萨 |
| [07:10] | 比尔·乔治 ILM视觉特效人 星球大战3：武士复仇 模型工 | |
| [07:13] | there were so few places that did that type of visual effects | 能做的艺术家也很少 |
| [07:17] | and there were so few artists can do it, | 那时很少有地方做这种特效 |
| [07:19] | it was very rare, very wonderful, | 太罕见了 不过很爽 |
| [07:20] | and it was that rebirth of the industry. | 真算是这个行业的新生 |
| [07:24] | Star Wars was the beginning of the renaissance of visual effects, | 星球大战是视觉特效复兴的开始 |
| [07:28] | and Star Wars woke up the sleeping giant, | 摇醒了这个沉睡的巨人 |
| [07:32] | George anthropologically look out the world, it’s um, | 乔治用全人类的角度看这个世界 |
| [07:34] | “What’s missing here?” | 还缺什么呢 |
| [07:43] | First day that I saw Star Wars, | 我第一天看星球大战的时候 |
| [07:45] | I was one of those people along with my wife Cheryl | 我和我妻子和那些人一样 |
| [07:46] | 朗·霍华德 电影制作人 | |
| [07:47] | that saw and immediately went back | 看完一遍立刻冲回到后面 |
| [07:49] | and got into the 2 hour line again to see it right away. | 继续排两个小时的队再看一遍 |
| [07:52] | I saw it twice in the first day | 我在那天看了两遍 |
| [07:53] | and it was just this transformative mind blowing cinematic experience, | 简直就是一种全新的无法比拟的观影体验 |
| [07:58] | and I called George, | 然后我打给乔治 |
| [07:59] | he said, “unfortunatelly we only got maybe 30 40 percent | 他说很不幸我们只能做出三四成 |
| [08:02] | of what I really want it there. | 我们真正想要达到的东西 |
| [08:05] | I’ll never forget seeing Star Wars for the first time, | 我死也忘不了第一次看星球大战 |
| [08:08] | 约翰·拉塞特 电影制作人 | |
| [08:09] | I was in film school and it was like, | 我当时在电影学院 |
| [08:11] | I was there an opening weekend, | 那个周末首映 |
| [08:12] | the Chinese Theaters, standing in line for 6 hours | 在中国剧院 我排队排了六个小时 |
| [08:16] | and the way that film entertained audience | 那电影用历史上从没有过的方式 |
| [08:21] | was unlike any film in the history. | 娱乐了观众 |
| [08:24] | For the world famous Chinese Theater come the stars | 世界闻名的中国剧院迎来了 |
| [08:27] | of the biggest blockbuster*** success in motion picture’s history. | 电影史最大的成功之作 |
| [08:32] | I think the success of Star Wars | 我觉得星球大战的成功 |
| [08:34] | opened the doors for a whole series of genres of film | 为一系列不同风格的影片打开了一扇新的大门 |
| [08:39] | that hadn’t been done before | 从没有人完成过的 |
| [08:40] | because people simply couldn’t figure out how to make the images. | 因为他们不知道该怎么创造这些图像 |
| [08:48] | ILM was born out of sort of rebirth of the beginning of cinema, | 工业光魔在一场电影重生的戏码中诞生 |
| [08:53] | which is I say it’s all a trick, | 要我说这就是一场魔术 |
| [08:56] | and we are in the business of, we are the tricksters. | 我们就是变魔术的人 |
| [09:04] | The historic success of Star Wars | 星球大战历史性的成功 |
| [09:06] | allowed George Lucas to establish a film making center | 让乔治建立了一个电影制作中心 |
| [09:09] | outside of Hollywood, | 不在好莱坞 |
| [09:11] | he relocated to Marin county, northern California, | 而是北加州的马林郡 |
| [09:13] | and eventually built Skywalker Ranch. | *最终建成了Skywalker Ranch |
| [09:16] | ILM was set up shop in a nearby town San Rafael | 工业光魔在圣拉斐尔的 |
| [09:19] | inhabiting a nondescript building | 一个平淡无奇的大房子里建立了工作室 |
| [09:20] | known as Kerner Optical, | 名叫Kerner Optical |
| [09:22] | their home until 2005. | 他们2005年之前的家 |
| [09:25] | They immediately began work on the next Star Wars film, | 他们随即开始了下一部星球大战的电影 |
| [09:28] | The Empire Strikes Back. | 《帝国反击战》 |
| [09:32] | All in all the real episodiv of ILM | 归根结底工业光魔就是为了 |
| [09:35] | was to keep a core group of creative people | 维系一组核心的创意型人才 |
| [09:37] | and the highly technological environment they needed functioning. | 以及他们用武之地的高科技环境 |
| [09:42] | It was really clear that | 显而易见 |
| [09:45] | in order for ILM to sustain, | 为了维持工业光魔 |
| [09:48] | we did have to find a model that would work for , | 我们得找到可行的工作模式 |
| [09:51] | become a viable business | 将其打造成有市场的行业 |
| [09:53] | and working for multiple film makers. | 并为了不同的电影制作人工作 |
| [09:57] | ILM opened its stores to the outside film community, | 工业光魔打开了影视圈以外的市场 |
| [10:00] | becoming the first independent visual effects studio | 成为第一个独立视觉效果工作室 |
| [10:02] | to realize the visions of directors with unique stories to tell. | 意识到视觉导演有其独特地位 |
| [10:07] | First time I collaborate with ILM | 我第一次同工业光魔合作 |
| [10:08] | one was the “Raiders Of The Lost Ark”. | 是在《夺宝奇兵》这个片子 |
| [10:11] | Most of the effects of raiders came in the end | 最后他们打开失落的约柜时 |
| [10:14] | where they opened the ark of the covenant, | 大部分骑兵们的特效 |
| [10:16] | and the effects involved, you know, | 以及相关的特效 你知道 |
| [10:18] | creating the power of God I guess, | 我想就是要创造出上帝之力 |
| [10:21] | what was coming out the actual ark, | 从真正的约柜中跑出来的 |
| [10:23] | the spirits. | 那些灵魂 |
| [10:33] | It were a lot challenges one with the scene | 有很多有挑战性的场景 |
| [10:35] | were one bad Nazi’s face, | 那个邪恶的纳粹分子的脸 |
| [10:37] | kind of implodes, | 有点变形了 |
| [10:39] | and where Col’s head melts, | 还有考尔的脑袋化掉的部分 |
| [10:41] | and where Belloq’s head explodes, | 和贝洛奇的脑袋爆炸的部分 |
| [10:44] | I didn’t know how to do this, | 我不知道怎么处理 |
| [10:46] | and I just left it to these guys that had done Star Wars. | 我就把它们留给完成《星球大战》这些人 |
| [10:48] | Well they can do Star Wars, | 他们都能做出《星球大战》 |
| [10:50] | they can certainly melt a head. | 做个化掉的脑袋不成问题 |
| [10:51] | And they did figure out how to melt this wax head they built, | 他们知道怎么化掉这些造出来蜡质的脑袋 |
| [10:54] | it was kind of genius. | 算是天才了 |
| [11:04] | And that was all the beginning of my relationship with ILM. | 这就是我同工业光魔的合作开端 |
| [11:09] | While ILM continue push the boundary of photo chemical effects, | 工业光魔不断发展化学特效成像 |
| [11:12] | George Lucas conceive the potentials from entirely new way | 乔治·卢卡斯发挥潜能 找到全新的方式 |
| [11:16] | of creating cinema magic. | 来制造电影特效 |
| [11:19] | In the same way, George has so much vision about | 同样 乔治有很多想法 |
| [11:21] | marrying computers to cameras optical printers, | 将计算机和摄影光电打印机结合 |
| [11:24] | he felt that there were probably ways to create all kinds | 他觉得这样或许能用计算机创造所有那些 |
| [11:27] | of the things he did in Star Wars in the computer, | 他在《星球大战》里做的东西 |
| [11:30] | he felt there were ways to do editing with computers, | 他觉得用计算机剪辑是可行的 |
| [11:34] | he thought there were ways to | 他觉得用计算机 |
| [11:36] | create and manipulate music with computers, | 创作或合成音乐是可行的 |
| [11:38] | and those 3 things led him to start the Lucasfilm computer graphics | 这三样想法让他雇佣Catmull并开创了 |
| [11:42] | division he hired Catmull to start. | 卢卡斯影业电脑绘图部 |
| [11:46] | I was asked to bring in computer knowledge * | 我要求他引入计算机技术 |
| [11:48] | and computer science, with the very sort | 计算机科学 这些东西 |
| [11:53] | to bring this into this industry. | 将这些引入这个行业 |
| [11:55] | Among PHD students, Ed Catmull relieved advanced computer technology, | 计算机高才生中 艾德·卡姆尔应用高级计算机技术 |
| [12:00] | was the ability to create smooth curved surfaces, | 能够创造出曲线平滑的表面 |
| [12:03] | and wrap textures around them. | 并在外表加入质地 |
| [12:04] | This was a pioneering leap in computer graphics, | 这是计算机图像处理的新飞跃 |
| [12:08] | known as CG. | 也就是所谓的CG技术 |
| [12:10] | I think the charger was to make a system that might make images, | 我觉得管理人想要一个能创作图像的系统 |
| [12:14] | ultimately images, on the film that’ll look photo-real, | 在电影中看起来像真实拍摄出来的图像 |
| [12:18] | and in the process of that, | 为了做到这个 |
| [12:19] | the apple came out, | 苹果机诞生了 |
| [12:21] | and Denis Muren had said | 而丹尼斯·穆伦说道 |
| [12:23] | “Can I take 6 months’ off and | 我能请六个月假 |
| [12:25] | just learn how to use this apple”, | 去学学怎么用苹果机吗 |
| [12:28] | so he was wonder put foot in the water, | 而他想加入其中 |
| [12:31] | and learned what the guys are all doing. | 学学这些家伙做的东西 |
| [12:35] | And that started a link, | 而从此一发不可收拾 |
| [12:37] | so that I can transfer the technology | 所以我才能转变这个技术 |
| [12:39] | that the computer division was developing over into the ILM, | 将电脑绘图引入工业光魔 |
| [12:43] | which the world was meant to be. | 以顺应潮流 |
| [12:44] | very risky things to George to fund this, | 乔治投资这个冒了很大风险 |
| [12:47] | also very visionary because all really did pay off, | 同样也很有远见 因为一切都有回报了 |
| [12:56] | Today the powerful computer generated imagery, | 今天强大的计算机成像技术 |
| [12:59] | owe it’s roops to this early CG, | 源自于早期的CG技术 |
| [13:02] | by 1982 Paramount proved the vary skill | 在1982年派拉蒙公司用这种技术 |
| [13:04] | to create a sequence to Star Trek, | 创造了《星际迷航》系列之 |
| [13:07] | Star Trek: The Wrath of Khan, | 《星际迷航:可汗之怒》 |
| [13:09] | While developing hardware and software, | 在发展硬件和软件的同时 |
| [13:11] | they spent 5 months advancing texture mapping, | 他们用了5个月提高了材质贴图 |
| [13:14] | motion blur, digital matte painting, and compositing programs | 运动虚化 场景数码绘画和编辑程序 |
| [13:17] | to create the first visual effect shot, | 实现了第一个计算机合成的 |
| [13:20] | made in the computer for motion picture. | 电影中的视觉特效镜头 |
| [13:23] | There was blind for the time, | 那时候还是很盲目 |
| [13:25] | now of course it’s all fast, | 现在当然都很快了 |
| [13:26] | but it was quite a learning the way in. | 但那确实是借鉴了这个方法 |
| [13:29] | And the minute Denis Muren saw the type of things | 当丹尼斯·穆伦发现那些东西 |
| [13:33] | that can be done in computer graphics. | 可以用电脑绘图完成的时候 |
| [13:34] | It led Denis to use things in computer graphic to create | 丹尼斯用电脑绘图制作了 |
| [13:37] | the stained glass man, in Young Sherlock Holmes. | 《少年福尔摩斯》里的彩色玻璃人 |
| [13:41] | Denis came over to us, | 丹尼斯来到我们这 |
| [13:42] | and said why wouldn’t we try computer animation, | 然后说为什么我们不试试用电脑动画 |
| [13:46] | and this was very innovative and very forward thinking, | 这是很新兴很超前的想法 |
| [13:49] | it was really exciting. | 真的很振奋人心 |
| [13:55] | I mean it’s a lot of work back in the days we don’t have the tools, | 我是说 过去很多工作我们没有工具借助 |
| [13:58] | I literally have to take the footage and projected it | 基本我要把脚本投射到 |
| [14:01] | onto my computer screen and matched, | 计算机屏幕上进行对比 |
| [14:03] | animated, the camera move by hand. | 动画模拟 要手动移动摄像机 |
| [14:08] | I don’t know if I’ve ever worked harder | 我这辈子从没这么努力工作过 |
| [14:09] | on 6 shots in my life, | 拍摄这个6个场景 |
| [14:13] | but it was worth it, | 但是很值得 |
| [14:15] | because when Young Sherlock Holmes came out, | 因为当《少年福尔摩斯》出来时 |
| [14:18] | people who worked in the special effects industry | 在特效行业工作的人 |
| [14:20] | had no idea how it was done. | 都不知道这么是做到的 |
| [14:25] | The stained glass knight was the first computer generated character | 那个彩色玻璃骑士是第一个计算机合成的 |
| [14:28] | for the motion picture, | 电影人物 |
| [14:29] | and the film was nominated for Academy Award for Best Visual Effects. | 这个电影得以提名奥斯卡最佳视觉效果奖 |
| [14:33] | A testimony for growing impact computer technology. | 是计算机技术影响力不断增大的证据 |
| [14:37] | ILM works on stop animation, and optical effects | 工业光魔致力于将动画和光电效果 |
| [14:41] | would advance further into the digital round with George’s next movie, | 会在乔治的下部电影里更加进步 |
| [14:44] | a fantasy epic he asked Ron Howard to direct. | 一部他让朗·霍华德导演的幻想史诗 |
| [14:47] | Denis Muren called George and I over his office | 丹尼斯·穆伦把我和乔治叫道他办公室 |
| [14:52] | and he said, | 然后他说 |
| [14:53] | we’re beginning to use computers to work with the film digitally | 我们要开始结合计算机完成数字拍摄 |
| [14:57] | first ever, you know, heard that for images, | 你知道 我第一次听说 |
| [15:00] | to sort of blend film images, | 那个可以和摄影结合 |
| [15:03] | so there was this one transformation that we need to make in movie, | 这是我们要在电影中完成的一个转变 |
| [15:07] | I assume we have to do the way | 我觉得我们要做得 |
| [15:09] | the werewolf transformation that we’ve done, | 像以前做过的狼人变形那样 |
| [15:10] | dissolves, cuts, | 淡化特效 剪辑 |
| [15:12] | and he thought we can do it in one shot, | 他觉得我们可以一次成形 |
| [15:15] | which was really interesting notion to me. | 对我来讲真的是有趣的想法 |
| [15:18] | I can’t guarantee it’s gonna work, | 我不能保证肯定成功 |
| [15:19] | but you know, it just might, | 但是你知道 那可能 |
| [15:21] | it was the first morphing shot ever done. | 那是有史以来第一个变形镜头 |
| [15:28] | And it was really more like kind of magic that you see on stage | 真的更像你在舞台上看到的魔术一般 |
| [15:32] | because there’s no camera trickery, | 但是那没有用任何摄像的把戏 |
| [15:34] | it just happened, and of course, | 就这么成了 当然了 |
| [15:36] | there were a lot of technology behind it. | 这背后有很多的技术支撑 |
| [15:38] | all breakthrough stuff, that was amazing for me. | 非常有突破性的东西 让我很惊讶 |
| [15:44] | By the late 1980’s, | 在20世纪80年代后期 |
| [15:46] | the computer was threatening the analog visilog, | 计算机威胁到了模拟仿视机的地位 |
| [15:49] | the Lucasfilm computer group had developed | 卢卡斯影业计算机组已经发展出了 |
| [15:51] | astounding tool that remains today’s industry standard, | 惊人的工具 至今仍是行业标准 |
| [15:55] | the first digital editing system, | 第一个数字剪辑系统 |
| [15:57] | the first digital audio editing system, | 第一个数字音频剪辑系统 |
| [16:00] | a film laser scanner, | 一个胶片激光扫描仪 |
| [16:01] | and a powerful graphics computer for | 和强有力的图形处理计算机 |
| [16:04] | digital compositing and high resolution imagery. | 来实现数字合成和处理高分辨率图像 |
| [16:07] | The Pixar Image Computer | 皮克斯图像计算机 |
| [16:08] | and it’s processing software called Renderman | 和旗下名为渲染器的处理软件 |
| [16:11] | enable the group to create breakthrough | 让这组人能够完成突破性的 |
| [16:13] | computer animated short film |
电脑动画短片《安德鲁和威利》 |
| [16:16] | which inspired them to pursue their far off goal, | 这鼓舞他们追求更远的目标 |
| [16:19] | the full length animated feature film. | 完成长篇的动画影片 |
| [16:22] | At the time it’s the vagary for finance come up and down | 那个时候金融市场波动起伏难以预测 |
| [16:25] | and just realized we couldn’t afford all of this, | 而我们意识到了我们无法负担这些 |
| [16:28] | there are so many things going on. | 有太多要做的东西了 |
| [16:30] | So we have to meet with George and say | 所以我们去见乔治然后说 |
| [16:33] | we really want to make an animated film | 我们真的很想做动画电影 |
| [16:35] | and so well that’s what I wanna do now. | 而且这就是我现在就想做的事 |
| [16:37] | He wanted the technology. | 他想要技术 |
| [16:38] | So we started on the path of selling off the group | 我们只好卖掉这个组 |
| [16:43] | to be a seperate company which was what became Pixar. | 成为其分公司 也就是皮克斯 |
| [16:49] | So we set up our own CG group within ILM, | 我们在工业光魔中建立了自己的CG组 |
| [16:52] | so Lucasfilm. | 卢卡斯影业也是 |
| [16:53] | That’s purpose was to do CG work only for films, | 其目的是专门为电影做CG处理 |
| [16:57] | and it was great, | 而那真的很棒 |
| [16:58] | and it took a couple of years or so to really get it going with it, | 而那用了好几年的时间将它们引入正轨 |
| [17:01] | so while removal stuff and I mean, | 那会儿正在人员调整 而我的意思是 |
| [17:02] | the best way that the we did “the Abyss” | 这是我们完成《深渊》的最佳途径 |
| [17:05] | It was the best I think in many ways | 各方面我觉得它都是最棒的 |
| [17:08] | put a large stick in the ground | 建立一个强大的支柱 |
| [17:09] | for the notion of digital characters | 做出好像计算机合成的 |
| [17:13] | in live action films created by the computer. | 数字人物在演动作片的效果 |
| [17:19] | It ended up being about 90 seconds of animation, | 它最后成了90秒的动画 |
| [17:22] | and used a mix of computer graphics | 混合了计算机成像 |
| [17:25] | and traditional optical compositing techniques, | 和传统的光学合成技术 |
| [17:27] | so it was kind of like a transitional step. | 所以它有点像一个过渡期 |
| [17:30] | That was something very new for us. | 这对我们来说是很新的概念 |
| [17:32] | There were not a lot of established procedures | 那个时候不是有很多有名的制作人 |
| [17:34] | for doing any of this work at the time so, | 会做这些工作 所以 |
| [17:37] | we just domaint to making up as we went along. | 我们只能独自探索这些 |
| [17:41] | It was just so exciting to be able to see | 我们只是觉得很兴奋 因为能看到 |
| [17:44] | that would’ve been problems for so long, | 这些问题很快就会解决 |
| [17:47] | and so difficult to do because no one really ever done it before, | 而又很难做到因为没人真的做到过 |
| [17:50] | the tools are now in place, the software was in place, | 现在工具都到位 软件到位 |
| [17:52] | the hardware was sort of in place, | 硬件也算是到位了 |
| [17:54] | it was a matter of applying them. | 问题是怎么使用它们 |
| [17:57] | What happened after “the Abyss” came out was | 《深渊》出品之后 |
| [18:00] | a number of projects that have been sort of | 很多以前无法完成的 |
| [18:03] | circling needing effects that couldn’t been accomplished before, | 算是周期需要的特效工程 |
| [18:08] | really started to rise up, | 都开始崛起了 |
| [18:10] | one of them came out as a director’s order of the Abyss | 其中有一个是应《深渊》的导演要求 |
| [18:12] | which was terminator II. | 就是《终结者2》 |
| [18:16] | After James Cameron felt that we’ve successfully created | 在詹姆斯·卡梅隆觉得我们已经成功实现 |
| [18:19] | what he wanted for the Abyss with CG animation. | 他想要的《深渊》中的CG动画后 |
| [18:22] | He then created a character in Terminator II | 他便创造了《终结者2》中的一个人物 |
| [18:27] | that had to be done in computer graphics. | 必须用计算机制图完成 |
| [18:30] | That was a real breakthrough film also for CG, | 对CG和电影而言这都是个突破 |
| [18:33] | we did all our work with digital compositing for the first time, | 我们第一次用数字合成技术完成所有工作 |
| [18:36] | there’s no sign in any sort of matte line around anything | 没有出现任何形式的环绕的雾面线 |
| [18:39] | or any graininess matching, | 或任何用于在特效镜头中 |
| [18:41] | that used to tip people off to an effects shot. | 凸显人物的粒度匹配 |
| [18:43] | It looked like it was right in the scene. | 看上去他就是在那个场景之中 |
| [18:45] | So, we’ve got 52 shots in it, | 而我们在其中有52个镜头 |
| [18:47] | and most people I don’t think have any idea how we did that work. | 我想许多人都不知道我们怎么做到的 |
| [18:53] | In order to create the shape shifting T-1000 terminator, | 为了创造出变形中的T-1000终结者 |
| [18:57] | ILM employed a revolutionary laser scanning process | 工业光魔使用了创新的激光扫描程序 |
| [19:00] | to capture Robert Patrick’s form | 来拍摄罗伯特·帕特里克的体态和表情 |
| [19:01] | and expressions that will enable them to animated | 从而能够模拟和塑造 |
| [19:04] | and model a realistic computer version of the actor. | 那个演员逼真的计算机形态 |
| [19:11] | It was a lot of breakthrough we have to get that show done, | 我们运用很多突破性技术去完成那部电影 |
| [19:14] | to get the CG to work, | 完成CG效果 |
| [19:16] | all the reflection map on him | 他身上所有的反射位图 |
| [19:18] | not having just rip the geometry apart. | 不仅仅分割了几何图形 |
| [19:19] | And being able to pan the computer camera | 通过追拍 计算机摄像机能够 |
| [19:21] | to match the background live action camera, | 与拍摄现场背景的摄像机达到同步 |
| [19:24] | so we can follow the guy’s feet | 这样我们才能 |
| [19:26] | as he walked across the checker board floor | 跟拍他走过棋盘地板的脚步 |
| [19:28] | and up from that grows this head. | 以及地板上冒出的人头 |
| [19:31] | And that was really really tough stuff to do. | 这是非常艰巨的任务 |
| [19:33] | you know, it was on the cutting edge. | 是最前沿的技术 |
| [19:35] | So everybody in this industry is saying, | 所以这行的同仁都说 |
| [19:36] | wow everything is changing now. | 一切都在变 |
| [19:38] | So then there’s this general awareness | 然后大家都意识到 |
| [19:41] | that the technology is coming into this industry. | 科技进驻到了这个产业 |
| [19:45] | So with that film may they aware | 希望通过那部电影大家能够意识到 |
| [19:47] | that something biggest thing is coming. | 重大的改革即将到来 |
| [19:58] | I was perfectly happy to do the dinosaurs, | 能够参与恐龙制作 我非常开心 |
| [20:01] | the technique that fill tipped head | 对充满填充物的头部 |
| [20:03] | honed to a fine point, | 进行精确打磨的技术 |
| [20:05] | and we have settle down that for Jurassic Park, | 已被运用到《侏罗纪公园》当中 |
| [20:09] | Personally I did’t think the CG | 我个人认为对于《侏罗纪公园》来说 |
| [20:11] | was ready to do Jurassic Park, | CG技术还不够成熟 |
| [20:12] | ferly for the close-ups of the dinosaur, | 恐龙的特写奇景 |
| [20:14] | I thought maybe we can do like | 我认为我们或许可以制作 |
| [20:16] | some stained PE sequences, | 一些彩色的计算机序列 |
| [20:18] | ’cause what computer are good at is | 因为计算机最擅长复制 |
| [20:21] | like a progress that you can clone something in any times, | 就像是某个程序可以把某样东西克隆许多次 |
| [20:23] | you can copy a word and | 你可以拷贝一个字 |
| [20:23] | duplicate 100 times on the page or anything you want, | 在纸上复制一百次 或者更多 |
| [20:26] | was true also a model, so you can do with dinosaurs, | 恐龙模型也是如此 |
| [20:29] | you can make one gallimimus dinosaur | 你可以制作一只似鸡龙 |
| [20:32] | and colone 20 of them, | 然后复制20份 |
| [20:34] | and have them all running the same run cycle, | 让它们以同样的周期奔跑 |
| [20:36] | that’s some sort of thing hard to do | 在自停技术中 |
| [20:38] | in stop motion or anything like that. | 这很难做到 |
| [20:40] | But we started doing these tests | 不过在电影上映前 |
| [20:42] | in CG before the show was going on. | 我们还是在用CG技术 做类似的测试 |
| [20:44] | and our tests are looking better and better. | 测试结果越来越令人满意 |
| [20:47] | And until one day | 直到有一天 |
| [20:48] | Denis Muren came over to me and said, | 丹尼斯·穆伦来找我说 |
| [20:50] | you know I really think we should do this in the computer, | 我觉得我们真的应该利用计算机来做测试 |
| [20:54] | and let me shoot the test and show you. | 我来做给你看 |
| [20:56] | Denis was working off in the corner, | 丹尼斯在角落工作 |
| [20:59] | we’re going along with normal | 我们应该这样做 |
| [21:01] | Denis then got the audience with Steven, | 丹尼斯把斯蒂文和观众们聚集到一起 |
| [21:05] | and part of it is to convince Steven | 一来是为了说服斯蒂文 |
| [21:08] | and part of it was me think, we can do this, | 二来是我认为我们可以做到 |
| [21:10] | I’ll guarantee it, it’ll be fabulous. | 我敢保证 效果一定会非常好 |
| [21:13] | The test was a herd of running gallimimus, | 测试中是一群奔跑中的似鸡龙 |
| [21:17] | and he didn’t flush them out, | 他并没有将它们制作完整 |
| [21:19] | he just basically put the bones in motion, | 行进中的只是一群骨架 |
| [21:22] | it did’d have that artificial look, | 看上去没有人工制作的痕迹 |
| [21:25] | it looked completely realistic, | 非常真实 |
| [21:26] | like skeletons come to life | 就像是一群恐龙骨架被赋予生命 |
| [21:28] | and running out through Hawaii, | 奔跑着穿越夏威夷 |
| [21:30] | and all onus of stop motion photography | 自停摄影技术背负的重担 |
| [21:32] | was suddenly eradicated, | 一下子消失了 |
| [21:34] | We were both kind of wondrous about the promising, | 我们都为这个产业的前景 |
| [21:39] | this industry. | 感到惊奇 |
| [21:42] | We literally doesn’t know | 我们真的无法预知 |
| [21:43] | from one day to another how stuff is gonna look, | 事物日新月异的变化 |
| [21:46] | everyday we’d be looking at the daily thing, | 每天 我们看到日常事物 |
| [21:48] | and saying did we do this, | 会问自己 这是我们制作的吗 |
| [21:49] | did people make these images, | 这些图像是我们制作的吗 |
| [21:51] | never seen anything like this before, | 以前从来没见过 |
| [21:53] | you know, where is the tricker we’ve been | 我们看了八十年的电影 |
| [21:55] | seeing movie for, you know, eighty years | 幕后的魔术师在哪里 |
| [21:57] | there’s nothing there, it looks real. | 其实什么都没有 它看上去很真实 |
| [21:59] | The visual effects shots start with a line | 视觉特效的拍摄开始于 |
| [22:02] | in the script that describe something, | 剧本中一条叙事的线索 |
| [22:05] | let’s say a dinosaur runs across the field, | 比如说一只恐龙在陆地上奔跑 |
| [22:07] | you start by going in the live action set | 我们首先到达实景地 |
| [22:09] | and shooting what’s called a plate, | 拍摄一个背景 |
| [22:11] | the plate is the background | 最终我们会将 |
| [22:12] | that you ultimately you’re going to | 数码动画角色 |
| [22:14] | insert that digital character in this example. | 插入到这个样品中 |
| [22:16] | the plate comes back to the artists, | 画家拿到这个背景后 |
| [22:18] | they create a virtual topography | 会绘出一个虚拟的地貌 |
| [22:21] | that would reflects what they’ve seen in that shot. | 也就是背景中我们所看到的景象 |
| [22:24] | They build a character in the computer, | 然后他们在计算机中绘出一个角色 |
| [22:26] | They build its bones, they build its structure, | 包括骨架 结构 |
| [22:28] | they then come up with surfaces and skins, | 然后是表面 皮肤 |
| [22:31] | Before they color it, they give it eyes, | 在上色之前 他们会画出眼睛 |
| [22:33] | they give it emotion, they give it fingernails, | 赋予它们表情 画出指甲 |
| [22:36] | they rig it so that it can be animated. | 他们操纵角色 使它鲜活 |
| [22:39] | So they take that photograph background play, | 然后他们拿来做好的背景图片 |
| [22:41] | they take that character, | 以及角色 |
| [22:42] | and they animate the character in the computer space | 使角色在计算机空间中活动起来 |
| [22:45] | to fit into that photographic play. | 以融入背景图片 |
| [22:48] | When that’s done to the director’s satisfaction, | 当导演满意之后 |
| [22:50] | they acctually composite it into the scene, | 他们将它与场景进行合成 |
| [22:53] | Once it is composited it into the scene, | 合成之后 |
| [22:55] | it is film without the computer, | 它就成为了不依托于电脑的胶片 |
| [22:57] | and cut into the film and | 进行剪辑之后 |
| [22:58] | hope that everybody loves it in the movie house. | 就能在电影院与观众见面了 |
| [23:02] | Here there was not even going to be a thought in the audiences’ mind | 观众们不假思索便知 |
| [23:06] | that ward they were seeing was not absolutely real. | 电影中的魔杖并非完全真实 |
| [23:10] | And because Stan Winston | 斯坦·温斯顿制作了一个 |
| [23:12] | did some amazing job of creating full size | 标准尺寸的食肉恐龙 |
| [23:14] | life replicates of a T-Rex, | 塔雷克斯的复制品 |
| [23:15] | we were able to effortlessly | 由于这一惊人创举 |
| [23:18] | cut together, the digital dinosaurs | 我们可以毫不费力地 将数码动画恐龙 |
| [23:21] | with the Stan Winston full size dinosaurs. | 与标准尺寸的恐龙模型剪辑到了一起 |
| [23:25] | And the audience was as confused as which was which. | 观众根本无法分清真伪 |
| [23:34] | The major breakthrough really was | 重大的转折在于 |
| [23:36] | when Stev bought all for the idea of making | 斯蒂文开始接受由模拟信号 |
| [23:40] | that link from analogue to digital. | 到数字信号的转变 |
| [23:42] | And that really was changed everything. | 这改变了一切 |
| [23:44] | Once we did those dinosaurs, | 当恐龙制作完成后 |
| [23:45] | I saw that we have unlimited posiibilities. | 我预见到了未来无限量的可能性 |
| [23:50] | From the point view of the industry, | 从电影产业的角度来看 |
| [23:51] | the turning point was Jurassic Park. | 《侏罗纪公园》是一个转折点 |
| [23:54] | When Jurassic Park happen, then that was like | 《侏罗纪公园》制作完成后 |
| [23:57] | this big switch was thrown, | 转变开始发生 |
| [23:59] | like the world has changed. | 仿佛世界被改变了 |
| [24:09] | It started kinda of a revolution, | 这是一场变革 |
| [24:12] | and revolution that began to move faster than the speed of light. | 其速度甚至超越光速 |
| [24:17] | It’s a… It’s a dinosaur. | 那 那是个恐龙 |
| [24:20] | I was amazed of how much ** was able to accomplish | ***的成就令我感到惊奇 |
| [24:23] | and go beyond the dinosaurs | 在接下来的几年中 |
| [24:25] | with everything else I did in the next several years. | 我所做的每项工作都在试图超越侏罗纪 |
| [24:42] | Transfering the culture from | 从模拟信号 |
| [24:43] | an analogue culture to a digital culture | 到数字信号的文化转变 |
| [24:45] | was huge, huge problem. | 举步维艰 |
| [24:47] | Lots of pain, lots of heartache, | 几多痛苦 几多悲叹 |
| [24:49] | lots of emotions for people who ware, | 被迫转变的人们 |
| [24:52] | you know, getting crunched and shift. | 有很多不满 |
| [24:56] | It cause[s] concern for the people who were | 对于习惯于制作传统效果的人 |
| [24:59] | used to doing traditional effects. | 这种转变令他们担心 |
| [25:02] | You know, would their jobs become obsolete some day. | 他们会想 将来有一天我会失业吗 |
| [25:06] | When I started working in computer graphics training, | 当我开始接受电脑绘图培训时 |
| [25:10] | They referred to me is going to work for the dark side. | 他们指责我说我在为邪恶势力效力 |
| [25:13] | The model shop were threatened by this, | 由于我们之间产生的分歧 |
| [25:16] | by this whole division that was going up. | 模型室受到了威胁 |
| [25:18] | And I was one of the few people who made | 我是最先几位从模型室 |
| [25:20] | the first jumping to CG from the model shop. | 转攻CG技术的人之一 |
| [25:22] | Since then been many and we’ve all been | 我们后来作为一个团体 |
| [25:24] | most on the whole, been very successful. | 取得了很大成功 |
| [25:26] | But at first it was not considered | 但最初这被认为是 |
| [25:29] | to be loyal to the shop. | 对模型室的不忠 |
| [25:31] | I had an interesting experience where we had a shot | 我有一段很有趣的经历 |
| [25:34] | in the movie that was just really bad. | 那次我们拍摄了一个很糟糕的镜头 |
| [25:37] | It was optical composite. | 那是一个光学复合镜头 |
| [25:38] | And we re-did that comp with some frustration, | 我们很失望 重做了那个复合镜头 |
| [25:43] | and people don’t wanna do it, with digital, with photoshop, | 大家很不情愿地使用了数码技术和图像软件 |
| [25:47] | and it’s like night and day. | 夜以继日地忙碌 |
| [25:48] | So I show this to one of the old time optical guys | 完成之后 我向一位制作光学镜头的同事展示 |
| [25:51] | who’ve done with the first time, | 那是他第一次参与数码制作 |
| [25:53] | show him both versions, | 我给他看了两个版本 |
| [25:55] | and I said which one do you like, | 我问他喜欢哪一个 |
| [25:57] | ’cause I wanna to bring him into the digital world. | 因为我想把他引入数码世界 |
| [25:59] | and he liked, he picked the old one. | 但他却说喜欢旧的版本 |
| [26:01] | And I thought what the heck are you seeing, | 我想说 你到底看到了什么 |
| [26:03] | what’s going on. | 这是怎么回事 |
| [26:05] | and I realize then there was problem here. | 然后我意识到问题所在 |
| [26:09] | You know there’s fear going on, | 当时存在一种恐慌 |
| [26:10] | denial is going on, | 一种否定的情绪 |
| [26:12] | but he ended up being our best digital compers | 他克服了那种情绪之后 |
| [26:15] | once he came over to it. | 成为了数码合成中的佼佼者 |
| [26:18] | and it’s all what he could do. | 这也成了他的终身事业 |
| [26:22] | Right around the same time, | 几乎在同一时期 |
| [26:24] | *** Forrest Gump, | 《阿甘正传》 |
| [26:26] | and Forrest Gump had a similar importance | 对于电影产业的变革 |
| [26:31] | in terms of changing the industry, | 《阿甘正传》有着同等重要性 |
| [26:33] | what Jurassic Park did in terms of big in your face visual effects, | 《侏罗纪公园》中的视觉特技 近在咫尺 |
| [26:38] | big characters, bringing fantasy in sci-fi to the foreground. | 庞大的角色将科幻带入近景 |
| [26:44] | Forrest Gump did in exactly the opposite | 而《阿甘正传》却以相反及低调的方式 |
| [26:46] | and understated way – invisible effects. | 制作了令人觉察不到的特技 |
| [26:49] | Doing things that you couldn’t do before, | 这部电影做了前人做不到的事情 |
| [26:51] | changing people’s performances | 通过改变演员的腿部动作 |
| [26:53] | by changing the way their legs move, | 来改变他们的表演 |
| [26:55] | changing the skies in pictures | 通过改变画面中的天空 |
| [26:57] | to create a different mood, | 来渲染不同的情绪 |
| [26:59] | all kinds of little things that | 所有的这些细节 |
| [27:01] | had you been able to photograph that way originally | 看似可以用镜头捕捉到 |
| [27:04] | you would’ve but you couldn’t, | 但却无法实现 |
| [27:06] | so you manipulated everything | 于是它通过操控细节 |
| [27:08] | to enhance the story-telling. | 来加强故事的叙述 |
| [27:11] | At one point in Forrest Gump, | 《阿甘正传》中有一段情节 |
| [27:13] | he’s playing ping-pong, | 阿甘在打乒乓球 |
| [27:16] | and he’s playing at this phenomenal speed, | 速度相当惊人 |
| [27:18] | Might ask how do | 你也许会问 |
| [27:19] | Tom Hanks know how to play ping-pong | 汤姆·汉克斯怎么会打乒乓球 |
| [27:22] | the answer of course is he doesn’t, | 他当然不会 |
| [27:24] | he just move the paddle, | 他仅仅在挥拍而已 |
| [27:25] | and somebody is putting the ball in. | 而乒乓球是后期 |
| [27:27] | And it’s just, it’s used Renderman. | 利用Renderman制作而成的 |
| [27:30] | So it’s simple little thing | 这不过是雕虫小技 |
| [27:32] | but Renderman was a starting point | 但是Renderman却为电影制作 |
| [27:34] | we’re going to movie, | 开创了新的开端 |
| [27:35] | the audience doesn’t know we’re care about it. | 我们在乎的细节 观众却毫无察觉 |
| [27:38] | And we reached that point where | 进入这一阶段之后 |
| [27:40] | it’s not about special effects any more, | 重要的便不再是特效 |
| [27:42] | it’s about telling the story. | 而是故事情节 |
| [27:44] | So suddenly visual effects has a place | 很快地 视觉特效 |
| [27:46] | in dramatic films and comedies, | 在戏剧电影和喜剧电影 |
| [27:49] | all types of things that it just | 及其他形式的影视作品中 |
| [27:51] | didn’t fit into before. | 也占有一席之地 |
| [27:52] | And at that point in time everybody tried to | 这时候 |
| [27:54] | figure out how to dust off those old scripts | 大家都在尝试拍摄 |
| [27:57] | they had that they didn’t know how to make before. | 那些过去无法完成的电影剧本 |
| [28:00] | As ILM approached 100 movies, | 在工业光魔制作了近100部电影之际 |
| [28:03] | they will be challenged to the next level of realism. | 他们将挑战更高层次的现实主义 |
| [28:06] | That was the beginning I was | 那时我刚刚开始 |
| [28:07] | kind of working with CG creatures. | 与CG生物进行合作 |
| [28:10] | Cause I remember when there’s a wall blew open | 因为我记得当墙体轰然倒塌 |
| [28:12] | and then a guy came through, here’s the rhino, | 有人冲出来对我说 这是犀牛的位置 |
| [28:14] | OK. Run away from the rhino. | 往逃离犀牛的方向跑 |
| [28:17] | and that was the beginning of kind of OK, | 从那时起 |
| [28:19] | imagine now that’s the rhino, | 我开始想象 这里是犀牛 |
| [28:22] | the one on the right is the elephant, | 右边的是大象 |
| [28:23] | Phil is the hippopotamus. OK, | 河马在菲尔的位置 |
| [28:25] | ok I got it. let’s do this. | 明白了 实拍吧 |
| [28:30] | Run, it’s a stampede! | 快跑 是场动物大暴乱 |
| [28:33] | Basically it’s a fighter flight, | 基本上那是一场追逐戏 |
| [28:34] | most time you’re just running, | 大部分时间都在奔跑 |
| [28:35] | it’s not a creature that’s, you know, having a dialog, | 那些生物不会对话 |
| [28:38] | there’s nothing that’s talking to you. | 没人和你交流 |
| [28:39] | it’s basically chasing you, | 它们只是单纯地追逐 |
| [28:40] | or confronting you or running from you | 或者与你对峙 或者逃离你 |
| [28:42] | or you both in state of fear, | 或者双方同时陷入恐惧 |
| [28:44] | I was amazed by all the larger creatures | 我被那些庞大生物的美 |
| [28:47] | insanely beautiful, | 深深吸引了 |
| [28:49] | and I found out that | 我意识到 |
| [28:50] | they’ve taken some of the programs from jurassic park | 其中的某些技术曾使用于《侏罗纪公园》 |
| [28:53] | and apply them to elephants and rhinos. | 而现在应用到了大象和犀牛身上 |
| [28:57] | and they are working you through going you can’t go there, | 工作人员会告诉你不能走这边 |
| [28:59] | you have to look over there | 你要往那边跑 然后他们又会说 |
| [29:01] | and they’re going literally this area is no go, | 这个区域不能通行 |
| [29:02] | especially you’re thinking Can I run over there, | 特别是当你在想 我能从那走过去么 |
| [29:04] | no, why , that’s a pit, | 不能 为什么 因为那是个陷阱 |
| [29:07] | ok cool.. | 好的 酷 |
| [29:08] | “There’s a twister!There’s a twister!” | 龙卷风 有龙卷风 |
| [29:16] | The tornado was sort of all to me just that be strikingly real, | 龙卷风对我来说惊人地真实 |
| [29:20] | compare with other stuff I’d seen. | 跟其他我看过的东西相比 |
| [29:23] | It was beautiful also to look at, it has this, | 看上去也很漂亮 有这种 |
| [29:25] | I’ve never seen that done before. | 我从来没见过有人做成功过 |
| [29:27] | And I don’t think it’s ever been even done since. | 我认为也没有人做过 |
| [29:29] | The swell, that sort of beautiful cylindrical design. | 汹涌的样子 漂亮的圆柱形的设计 |
| [29:34] | ILM was consistantly breaking new ground, | 工业光魔不断地开辟新的世界 |
| [29:37] | and I think that the visual effects industry requires that. | 我认为这正是视觉特效行业需要的 |
| [29:39] | Twisters, I remember, got green led | 龙卷风 我记得 需要有大型电子显示器 |
| [29:41] | because of a special fact shot that ILM did | 由于ILM的一个特别镜头 |
| [29:44] | and we did a test and we send a screen | 而且我们做个一个测试 |
| [29:45] | everybody love the shot so much, and | 每个人都很喜欢那个镜头 |
| [29:46] | that’s when the movie | 就是在哪个时候 |
| [29:48] | got a green led that moment. | 那个电影得到的LED |
| [29:51] | When we started working on Twister, | 当我们开始着手制作龙卷风的时候 |
| [29:53] | we were just dealing with really organic materials things | 我们要处理非常有机的物质 |
| [29:56] | like dust and debris and tornados and water. | 比如灰尘 碎片 龙卷风 水等等 |
| [30:00] | And those things haven’t been solved in creating those elements | 而它们在数字世界里 |
| [30:03] | in the digital world, it’s extremely difficult. | 从来没被成功解决过 所以特别的难 |
| [30:05] | We had to develop our own particle system, | 我们得开发我们自己的粒子系统 |
| [30:08] | and a way of rendering particles that was realistic. | 还有一套能很真实地渲染那些粒子的方法 |
| [30:15] | In doing anything photoreal, | 要把任何东西做成照片级真实 |
| [30:17] | you need to look at the real world around you, | 你得观察你身边的真实世界 |
| [30:19] | to see how light bounces off of things or illuminates us, | 看光线如何在物体上反射 照亮我们 |
| [30:22] | how cloth bend | 看布料怎么弯曲 |
| [30:24] | and how people move and animals move. | 看人和动物是怎么运动的 |
| [30:27] | ILM’s stock in trade is photo-realism, | 工业光魔的拿手戏就是照片级真实 |
| [30:29] | that we made stuff that you can really believe it’s real. | 我们制造你能相信是真的东西 |
| [30:34] | A lot of the painters, a lot of modellers | 有很多画家 很多模型师 |
| [30:36] | tend to either fall into what we call a hur** camp | 都倾向把心思投入进我们称作在**军的东西里 |
| [30:39] | which is like things spaceships and hardware. | 比如太空飞船和一些硬件 |
| [30:41] | And then you’ve got your organic creature type stuff, | 可是还是会碰到这种有机的角色类型的东西 |
| [30:44] | what helps me is to go back to real things, | 回到真实的事物中能帮助我很多 |
| [30:47] | to study nature, | 去研究自然 |
| [30:49] | to see how a feature functions. | 看一颗羽毛怎么运作 |
| [30:51] | How it’s actually constructed, so brilliantly | 它具体是怎么构造的 这么完美 |
| [30:54] | and if I can take some of that enthusiasm and curiosity, | 如果我能抓到一点那些热情和好奇心 |
| [30:59] | I can bring that into my work. | 我就能把它们加入到我的作品里 |
| [31:02] | To create the reality, | 为了要创造真实 |
| [31:03] | the visual effects supervisors lead the army of production managers, | 特效总监领导生产经理 |
| [31:06] | artists and technicians to realize the most complicated imagery, | 艺术家和技术人员组成的大军实现最复杂的视觉图像 |
| [31:10] | on time and on budget. | 不超时 不超预算 |
| [31:11] | The starting point begins with the ILM Art Department. | 一切这些开始于工业光魔的艺术部 |
| [31:16] | The concept artist in the Art Department gernally | 艺术部的概念艺术家 |
| [31:18] | sort of the front in the group or the spear head, | 基本上是在整个组的最前面 或者说是刀尖 |
| [31:21] | to get everybody on the same pages, starting point. | 确保每个人都是在一条战线上 |
| [31:25] | In a lot of cased audience ILM we did the effects sequences, | 许多时候在工业光魔我们做客户脑中的 |
| [31:29] | or the creature or the environments of worlds of our clients, | 世界里的特效 生物或者环境 |
| [31:35] | the directors we work with. | 也就是那些导演 |
| [31:37] | As often happens, | 导演要求工业光魔 |
| [31:38] | directors ask ILM to create imagery | 创造从来没有过的影像 |
| [31:40] | that has never been done. | 这事经常发生 |
| [31:41] | The visual effects supervisor bring these challenges | 特效总监把这些挑战 |
| [31:44] | to ILM’s Research & Development department. | 交给工业光魔研究与开发部门 |
| [31:46] | One of the greatest things about ILM is that, | 工业光魔的最爽之一 |
| [31:49] | you have an R&D department, | 就是他们有个研发部门 |
| [31:51] | I can go to them and say | 我可以过去跟他们说 |
| [31:52] | “You know what, I need controllable smoke, | 那个 我要能控制的烟 |
| [31:56] | and just test to do this.”, | 测试做一下吧 |
| [31:57] | and you’ve got a brilliant team of smart people who can say | 然后你就有一组聪明谢顶的人可以对你说 |
| [32:00] | “Ok you know what, we’re gonna make a smoke system | 好嘞 我们这就去做一个烟雾系统 |
| [32:02] | and they’ll come up with goods. | 果然他们就能亮出真本领 |
| [32:04] | Everything that you see on the screen, | 你在屏幕上看到的一切 |
| [32:07] | is meticulously assembled out of hundreds | 都是几百个甚至几千个 |
| [32:10] | or thousands of different elements, | 不同的素材仔细地被组合在一起 |
| [32:12] | and those are all there because the artists put them there. | 都是艺术家放在那里的 |
| [32:16] | So much of it is about giving them tools to layer | 基本上我们是要给艺术家提供工具 |
| [32:18] | and greater and greater complexity, | 能叠更多层更复杂的素材 |
| [32:20] | but always with the control that’s necessary | 必须要有这样的控制能力 |
| [32:23] | to give the director the images that he’s after. | 才能做出导演需要的画面 |
| [32:27] | On set, | 在片场 |
| [32:28] | the visual effects supervisor is responsible | 特效总监负责把实拍素材搞定 |
| [32:30] | for delivering the live action elements to ILM’s artists. | 交给工业光魔的艺术家们 |
| [32:33] | When you’re on business before photography, | 当你工作在拍摄之前的环节 |
| [32:35] | you have 300 and 350 people in the crew | 你有300到350人的剧组 |
| [32:37] | and, you know, you days cost 350, 000 dollars a day. | 一天要花费35万美刀 |
| [32:40] | And there’s a question that you need to answer that question | 片场一旦有需要你回答的问题 |
| [32:43] | everybody turns to you, | 所以人都在盯着你看 |
| [32:44] | and you have about 2 seconds to say | 你有两秒时间去告诉他们 |
| [32:46] | exactly what you need these people to do | 你到底要这些人做什么 |
| [32:48] | and they do it. | 然后他们去做 |
| [32:50] | One of the things I love about this place | 我喜欢这个地方的一点就是 |
| [32:51] | is the ILM methodology, you know, | 工业光魔的方法 |
| [32:54] | we try to create an atmosphere here | 我们试着创造这样一种氛围 |
| [32:56] | where creative people are free to share their opinions about things. | 有创造力的人可以自由的分享他们的观点 |
| [33:01] | Somebody has a good idea about a shot, | 关于一个镜头谁有好的点子 |
| [33:02] | say, and when people are honest about what they think, | 就说 当大家都真诚的说出自己的想法 |
| [33:05] | the work is better. | 这个作品就会更好 |
| [33:06] | It’s amazing times when you’re struggling with something, | 当你在尽力争取一些东西的时候感觉很好 |
| [33:09] | you’re maybe working on for days and weeks, | 你也许会连续几天几周的工作 |
| [33:11] | everybody thinking about how to solve a certain problem, | 每个人都在想怎样解决某个问题 |
| [33:14] | and you really get a sence of community art | 你就会真正感觉到团体的美妙 |
| [33:17] | going on at that time where everybody is, | 在每个人都在其中 |
| [33:20] | it’s all been worty it, | 这都是非常值得的 |
| [33:21] | and they come together and contribute to something | 他们聚集在一起 致力于一些 |
| [33:23] | that’s never been done. | 从来没有被做过的事情 |
| [33:27] | Nearing the dawn of the new millennium, | 在周年纪念的前夕 |
| [33:28] | George Lucas returned to ILM as a client | 乔治·卢卡斯作为一个客户回到工业光魔 |
| [33:31] | With the daunting task of making 3 new Star Wars prequels. | 带着令人畏缩的任务 做3个新的星战前篇 |
| [33:35] | George had to wait to do the prequels, | 要做星战前篇乔治必须等待 |
| [33:37] | because his vision was so grand and so big, | 因为它的视觉效果非常的宏大 |
| [33:40] | and he wanted to so much, | 而且他非常想要 |
| [33:43] | that we had to wait the technology to catch up. | 所以我们必须等待设备的完善 |
| [33:46] | And I think what he saw in ILM and the work ILM | 而且我认为他在ILM看到的 |
| [33:50] | was doing throughout the 1990’s, | 还有ILM从1990年开始做的工作 |
| [33:53] | sort of encourage him to believe that finally the time had come | 鼓励他相信最后的时刻到来了 |
| [33:56] | and was absolutely possible to achieve greatness. | 并且很有可能创造奇迹 |
| [34:00] | I can sort of come in and push things forward | 我有时会过来推动工作的进展 |
| [34:03] | as the owner and as the client. | 即作为所有者也同样是客户 |
| [34:08] | “You know we’re pushing the envelope in a few places, | 你知道我们在把包装推向一个新的领域 |
| [34:09] | but the biggest issue is volume. | 但是 最大的问题是容量 |
| [34:12] | its just amount of huge stuff.” | 非常多的东西 |
| [34:14] | We were attempting a scale of visual effects | 我们在尝试一种视觉效果 |
| [34:18] | that had never been done before, | 从来没有人做过的视觉效果 |
| [34:20] | and over 90 percent of that movie | 并且影片中超过90%比例 |
| [34:22] | has some sort of visual effect in it. | 都有这种效果在里面 |
| [34:25] | We over doubled the size of our | 我们把制作这部电影的电脑的图形图像 |
| [34:27] | computer graphics department for that movie, | 扩大了两倍 |
| [34:30] | xxxx As well xxxxx | |
| [34:32] | because we are growing so much | 因为我们成长的太迅速 |
| [34:34] | so there was this trepidation of | 所以有这样的担心 |
| [34:36] | what have we been enough more than we can control | 我们能控制的范围到底有多大 |
| [34:38] | and can we do this. | 我们能做到么 |
| [34:40] | “It’s not just we have to do with this picture, | 我们要做的并不只是这张照片 |
| [34:42] | we have to do for 2 more pictures, | 我们还要多做2张照片 |
| [34:43] | and also if this picture works, | 并且 如果这张照片管用的话 |
| [34:45] | and anybody else wants it done for their picture, | 其他人也想这样做这张照片 |
| [34:48] | and what are we gonna do?” | 那么我们怎么办呢 |
| [34:50] | We had over 2000 of effect shots | 我们有超过2000张效果图 |
| [34:52] | and there were so many aspects of what need to depicted | 而且有许多方面都需要描述 |
| [34:55] | and couldn’t be done with the tools we had at the time.. | 如果没有工具的话是我们定期是完不成的 |
| [34:58] | It’s painful, it’s scary, a lot of things, | 非常的痛苦 害怕 太多的事情 |
| [35:01] | and we need somebody there to hold your hands and say, | 我们需要有人在那里握住你的手说 |
| [35:03] | look, I’ll take the blame, | 听着 我会承担责任的 |
| [35:05] | if it doesn’t work, | 如果没能成功的话 |
| [35:06] | I take the blame. | 我承担责任 |
| [35:08] | And that’s why we want it done in my own movies. | 这就是我希望它在我的电影里完成的原因 |
| [35:26] | We had very dense scenes | 我们有非常密集的场景 |
| [35:27] | with hundreds of thousands of characters in them, | 有成百上千的角色在里面 |
| [35:30] | and we have to do rigid body dynamics, | 而且我们必须做刚体动力学 |
| [35:32] | cloth simulations, synthetic terrains. | 场景模拟 人造地形 |
| [35:36] | The least of things that we needed to | 我们至少需要 |
| [35:39] | develop new tools for was quite large and intimidating. | 开发新的又大又惊人的工具 |
| [35:42] | “The real point is that how can we manage to | 重点是我们如何设法 |
| [35:44] | change of operating procedures in that way | 改变操作程序 只有这样 |
| [35:46] | that we can put the revolutionised way in movies, | 我们才能将变革带到电影里 |
| [35:49] | so that, this is all doable. | 那么 这是可行的 |
| [35:51] | We’d have discussions about back and forth in the beginning, | 我们会在开始时不断的重复讨论 |
| [35:54] | you know, the supervisor is myself and now | 我们监督管理人 现在 |
| [35:56] | I want to do this, I want to do that, | 我想这样做 我想那样做 |
| [35:57] | and I think, WELL… | 而我想 |
| [35:59] | And sometimes I’d say, | 有时我会说 |
| [36:00] | we’re gonna do it anyway. | 我们无论如何都要完成它 |
| [36:01] | They said “No, we can’t.”, | 他们说 不 我们完不成 |
| [36:03] | and I said, we’re gonna do it, | 而我说 我们会完成的 |
| [36:04] | I know, I know we can do this. | 我知道我们会完成的 |
| [36:06] | What he brought to us was something | 他带给我的是 |
| [36:09] | that had never been sort of accomplished before, | 一些以前从未完成的任务 |
| [36:12] | and he really pushed us as a company to grow | 而且他确实像公司一样推动我们成长 |
| [36:15] | and learn how to creat a large vision. | 让我们学习如何创造更大的梦想 |
| [36:27] | Do a complicated show like this, | 做这样一个大的节目 |
| [36:29] | we’ve developed some confidence in the process of, | 我们已经在解决这些大问题与小问题的 |
| [36:32] | take big problems and break them down to smaller problems, | 过程中培养出了某种自信 |
| [36:35] | and you break these smaller problem down yet into smaller problems, | 你不断的解决了这些小问题中的小问题 |
| [36:37] | until you get to a scale where it’s tractable by a single person. | 直到你可以独立的完成它 |
| [36:41] | And so when a new big project comes in | 当产生新的问题时 |
| [36:43] | with some kind of scary unknown aspect to it | 并且这个问题有某些不为人知的方面 |
| [36:45] | and you have to comfort yourself with the fact that, | 你必须安慰自己面对现实 |
| [36:48] | we’ve been doing this for long time | 我们已经做这行很久了 |
| [36:50] | and this process works, always works. | 而且这个过程很有效 总是有效 |
| [36:54] | When I was asked to paint Yoda’s computer generated character, | 当我被给犹达大师这个电脑人物上色时 |
| [36:57] | I really remembered | 我清楚的记得 |
| [36:59] | what it was like for me when I first saw Yoda on the screen | 它第一次出现在屏幕上给我的感觉是怎样 |
| [37:02] | and what cost has done with him as a character, | 作为一个角色所需的代价 |
| [37:04] | that was real honor to be asked to work on him. | 我非常荣幸可以为它工作 |
| [37:08] | To get Yoda’s expression, | 制作它的表情 |
| [37:10] | to get his character | 人物性格 |
| [37:11] | was terribly important to we get that right. | 对我们非常重要 |
| [37:17] | “The fear of loss is a path to the dark side. “ | 惧怕失败将会走向黑暗 |
| [37:22] | In the CG universe, | 在CG[计算机图形学]世界里 |
| [37:23] | performers are now chanllenged to act in virtual worlds | 不同以往的是 演员们要尝试在虚拟空间中 |
| [37:26] | with invisible characters unlike ever before. | 与看不见的角色对戏 |
| [37:29] | That was the time we created the Jar Jar Binks’s character, | 我们刚开始设置佳佳·宾克斯这个角色时 |
| [37:33] | and a lot of people feel different ways about Jar Jar Binks, | 很多人会从别的角度看待它 |
| [37:35] | but the fact that the matter was, | 但是事实上 |
| [37:37] | you had a living, breathing character | 电影中的大部分时间 |
| [37:40] | who is acting alongside the actors | 演员们要和这个活生生的角色 |
| [37:43] | for a large portion of that film. | 一起演戏 |
| [37:45] | And it really showed you could have digital characters | 这证明了数码动画角色 |
| [37:48] | integrated with live action people and make that work. | 和真正的演员共处 是可行的 |
| [38:04] | I remember meeting Liam Neeson | 我记得有次遇到利亚姆·尼森 |
| [38:06] | after he’d done one of the Star Wars movies anyway, | 当时他刚拍完某部《星球大战》 |
| [38:08] | I don’t know more, I really don’t wanna act, | 他说 我已经才思枯竭 不知如何表演 |
| [38:10] | I’ve given up, I don’t really think I can. | 我想放弃 我怀疑自己的能力 |
| [38:13] | I think I’ve just spent some time looking at an axe. | 拍戏的时候我经常要盯着把斧子看 |
| [38:15] | I don’t what it’s about any more really, | 我不知道拍戏的意义何在 |
| [38:17] | I’m trying to do amazing things | 我想要有所成就 |
| [38:19] | but now I’ve been looking at an axe for a long time. | 而现在我却要一直盯着斧子看 |
| [38:21] | And after I saw him, | 见到他之后 |
| [38:23] | oh no, they’ve got poor Liam, | 我知道 他们把利亚姆也拉下水了 |
| [38:25] | dear god, dear god. | 上帝啊 |
| [38:30] | What I’d like to avoid was the Yoda character, | 我不太想提起犹达大师这个角色 |
| [38:32] | that would’ve been fun, | 虽然本应挺有趣的 |
| [38:32] | ’cause I’ve worked with him up | 因为我们曾合作过 |
| [38:34] | and I can deal with the fact that there’s a guy under | 我能接受地上有个家伙 |
| [38:37] | I work with the puppet, I see you, | 和玩偶对戏 近在眼前 |
| [38:38] | it’s OK. | 没有问题 |
| [38:41] | syntax none have, | 说话没章法 |
| [38:43] | “The dark side clouds everthing. | 阴暗面笼罩着一切 |
| [38:48] | Impossible to see the future is.” | 看不到未来 |
| [38:53] | They will bring the puppet Liam, | 他们会用玩偶利亚姆拍戏 |
| [38:54] | so you could see it | 你能看到它 |
| [38:55] | and got a visual of how tall he was or where he is gonna be, | 知道它大体的高度和位置 |
| [38:58] | and sometimes I had to walk with him | 有时候我要和它对戏 |
| [39:00] | and talk with him which is just a kind of new tube, | 它和别的道具没有太大区别 |
| [39:02] | ’cause he usually didn’t walk and talk, | 因为它一般不说话也不动 |
| [39:03] | that was a whole bunch of new stuff | 有很多新事物 |
| [39:05] | that they were able to do with themselves. | 他们可以自己完成 |
| [39:07] | I just have to pick up stuff and kind of do it. | 我愿意尝试新鲜事物 |
| [39:09] | I kind of like that, | 我挺喜欢的 |
| [39:10] | I’m an only child, | 我是个独生子 |
| [39:11] | so I play by myself a lot in my room and, | 我经常自己一个人在房间表演 |
| [39:14] | I made up stuff, | 我自己编情节 |
| [39:15] | and I’m used to fighting things that aren’t there, | 和不存在的东西对打 |
| [39:18] | talking to people that aren’t there, | 和不存在的人物说话 |
| [39:19] | it’s perfect for me. | 我很享受 |
| [39:21] | So when actors complain about it | 所以当有演员抱怨时 |
| [39:22] | I just kind of look at them and go | 我就会对他们说 |
| [39:24] | “Where is your imagination? | 有点想象力好吗 |
| [39:26] | This is the perfect time to do what you want.” | 这是自由发挥的绝佳时机 |
| [39:29] | I was very happy to know that I was a part of something that was | 我很高兴自己能参与到此事当中 |
| [39:32] | changing the way people are gonna make, | 尤其是它将永远改变大家 |
| [39:34] | watch and create film through the rest of the time. | 拍摄 观看以及制作电影的模式 |
| [39:40] | “魅影”魅力非凡 星战I超越原著 享誉全球 | |
| [39:41] | The Phantom Menace was released on May 19th 1999, | 《魅影危机》于1999年5月19日公映 |
| [39:44] | and became a highest engrossing Star Wars film of all. | 成为星战系列的登峰之作 |
| [39:47] | its success paved a way for the next 2 films | 它的成功为接下来的两部续集奠定了基础 |
| [39:49] | that was shot completely on digital high definition cameras, | 它们完全由高清数码摄像机拍摄而成 |
| [39:52] | showcasing the most extensive use of virtual characters | 体现了虚拟人物和场景的 |
| [39:55] | and environments ever. | 最广泛应用 |
| [39:57] | George brought the original Star Wars back | 乔治用全新的方式将原版的《星球大战》 |
| [39:59] | in the popular culture, in a whole new way. | 呈现给当今观众 |
| [40:04] | You’re George Lucas. | 你是乔治·卢卡斯 |
| [40:06] | I take you’re here for the star wars picture | 我猜你是来要星战照片的吧 |
| [40:09] | OMG George Lucas… | 天啊 乔治·卢卡斯 |
| [40:17] | All of the films that Lucas has made | 卢卡斯拍摄的所有电影 |
| [40:19] | becomes the culture significant one way or another, | 都在某种程度上成为了文化潮流 |
| [40:22] | people have emotional connection to props and costumes | 人们对电影中的道具 服装和艺术品 |
| [40:26] | and artwork | 都很有感情 |
| [40:27] | because it’s part of something much larger effected them. | 因为电影对他们的影响力太大了 |
| [40:31] | So when I walked around here, | 所以每当我来到这里 |
| [40:32] | everything that I see fills me with memories of | 每件道具都会唤起我 |
| [40:36] | you know movies that I watched, experiences that I had. | 有关电影和拍摄经历的记忆 |
| [40:40] | it’s pretty incredible to see all the costumes | 看到那些服装和数不胜数的道具 |
| [40:43] | it was like myriad products | 会感到很不可思议 |
| [40:45] | Of then I was 12. | 仿佛回到童年 |
| [40:47] | That’s so cool. | 太酷了 |
| [40:57] | no matter how much romantic size weapon | 不管这些虚构的武器 面具 服装 |
| [41:01] | or mask or costume or a character, | 还是人物有多大 |
| [41:02] | you come and touch it somebody had to paint it and build it | 凡是有人碰过 就要重新粉刷 塑形 |
| [41:05] | and cast a lot of foam or wood or plastic what have you | 铸造各种泡沫 木头或塑料 |
| [41:09] | It’s really wonderful and heart-warming for me to come up here and see | 欣赏我三十年前所铸造的模型 |
| [41:13] | these models I’ve built almost 30 years ago. | 感觉很棒 很窝心 |
| [41:15] | cause it brings back so many memories | 因为它们唤起了 |
| [41:17] | you don’t think about these things for so long | 我尘封多年的记忆 |
| [41:18] | and you see them and OH Gosh I remember when I built that | 看到它们就想起当时制作的场景 |
| [41:25] | oops, 10 people just died. | 糟糕 十个人牺牲了 |
| [41:28] | it’s odd though we didn’t build them to last for ever | 奇怪的是我们没想要永久保存这些道具 |
| [41:31] | and certainly didn’t build it to go out and travel shows | 更没想到要做巡回展览 |
| [41:34] | and be in museums. | 放进博物馆 |
| [41:35] | so it’s odd to see them up here | 如果我们只能看 不能摸 |
| [41:37] | and they won’t let us to touch them. | 那感觉会很奇怪 |
| [41:38] | and if something breaks off, | 如果有道具损坏了 |
| [41:40] | they photograph where they came off | 他们还要拍摄零件脱落的位置 |
| [41:42] | and put a little plastic bag and seal it up. | 然后再把它粘回原处 |
| [41:45] | When you see them and you realize when they lit them, | 看到它们 你会想到他们电影中的形象 |
| [41:48] | that they had a life , they were creature. | 他们是生物 他们也有生命 |
| [41:50] | Yoda, to see Yoda like , | 犹达大师会说 |
| [41:52] | er.. moving not CG tech work is.. | 电影不只是CG技术而已 |
| [42:00] | In 2001, | 2001年 |
| [42:01] | ILM brought history to life like never before | 珍珠港 这史诗般的二战战役 |
| [42:04] | with the epic world War II battle sequences in Pearl Harbor, | 前所未有地 被工业光魔搬上银幕 |
| [42:07] | another series of landmark achievements for the company. | 这是该公司又一个影响深远的电影系列 |
| [42:11] | In 2004, | 2004年 |
| [42:12] | they created the first extreme close-up of a realistic digital human | 他们为影片《雷蒙·斯尼奇的不幸历险》 |
| [42:16] | for Lemony Snicket’s A Series of Unfortunate Events, | 制作了第一个极近特写的真实数码动画人类 |
| [42:18] | ushering in a new era for digital actors. | 为数码动画演员开创了新时代 |
| [42:22] | The realism paved a way for the highly anticipated | 这为众望所期的《加勒比海盗》系列电影 |
| [42:25] | Pirates of the Caribbean films. | 铺就了道路 |
| [42:27] | When the script for the Pirates come in, | 拿到《海盗》的剧本后 |
| [42:29] | a gag of our crew of pirates occurs | 得知一群海盗船员 |
| [42:32] | when they appeared in the moonlight, | 在身处月光下时 |
| [42:33] | they were these tattered skeletons, | 会变身为衣衫褴褛的骷髅架 |
| [42:36] | which immediately brought back | 这让我立即想起了 |
| [42:39] | memories of Jason and the Argonauts. | 《杰森和阿尔戈英雄们》 |
| [42:41] | There’s a scene of fighting skeletons that’s iconic scene, | 电影中有骷髅决斗的场景 非常经典 |
| [42:46] | that image came immediately to my mind when I read that script. | 当我读到剧本时 那个画面立马呈现在脑海 |
| [42:49] | So really fun opportunity to pay homage to Ray’s work | 这不仅是个向雷致敬的契机 |
| [42:53] | to update to some newer technology. | 也是个开发先进技术的机会 |
| [42:57] | The Pirates of the Caribbean series make extensive use of | 《加勒比海盗》大量运用了 |
| [43:00] | in-camera motion capture technology, | 镜头动作捕捉技术 |
| [43:02] | otherwise known as iMoCap. | 又称iMoCap |
| [43:04] | This advanced system of sensors records | 这个先进系统的传感器记录了 |
| [43:06] | actions of human actors | 人类的肢体动作 |
| [43:08] | and uses the information to animate digital characters. | 利用这些信息来使数码角色更加生动 |
| [43:12] | The characters were all created by visual effects. | 这些角色均运用视觉特效制成 |
| [43:14] | There wasn’t make-up, they were walking around in grey suits. | 他们不用化妆 只穿灰色制服 |
| [43:17] | You know, it’s very difficult, you know for actors | 有时演员很难和 |
| [43:19] | sometimes to interact with character in a grey suit. | 穿灰色制服的角色进行互动 |
| [43:23] | But since our actors are so well-trained and professional, | 但由于我们的演员专业而训练有素 |
| [43:26] | they did a fantastic job. | 他们的表现很出色 |
| [43:29] | The most challenging thing on Pirates was Davy Jones. | 戴维·琼斯是整部电影最难处理的角色 |
| [43:34] | We had motion capture trackers on him, | 他身上有动作捕捉跟踪器 |
| [43:38] | we have all these silly dots on his face, | 他脸上还有可笑的传感点 |
| [43:40] | but Bill, he was that character. | 但比尔就是那个角色 |
| [43:42] | And I think for me that was the first time | 这大概是我第一次 |
| [43:44] | I really saw a direct transference | 看到某人的表演 |
| [43:46] | of someone’s performance onto a CG creature. | 被直接转换为一个CG生物的动作 |
| [43:49] | And it was so complex and so layered, | 这非常错综复杂 |
| [43:52] | we’ve got all these tentacles, | 我们做了很多触角 |
| [43:54] | trying to get that to operate | 想要实现这一点 |
| [43:55] | like they really would is a major challenge, | 是个很大的挑战 |
| [43:58] | because in the computer although you’ve got the shape of the tentacles | 因为即使在电脑里做好了触须的形状 |
| [44:01] | if they’re going in different directions, | 好像在向四周延伸 |
| [44:03] | they’ll just penetrate right through each other. | 它们也仅仅是彼此交错而已 |
| [44:05] | The idea that they will hit and react | 而互相撞击反弹的效果 |
| [44:07] | and it’s not just in the computer and has to be worked out, | 是无法由电脑生成的 只能由人工制作 |
| [44:10] | and it takes a lot of calculations | 要想做出那样的效果 |
| [44:12] | to make something like that work. | 非常费工费时 |
| [44:14] | It was just so incredibly detailed | 细节非常繁杂 |
| [44:17] | and the work that the model builders and the texture painters | 塑形师 纹理素描师以及所有工作人员 |
| [44:20] | and all the guys contributed to that show, | 都将心血倾注于此 |
| [44:23] | all the different ways just bring this immensely complicated | 用各种方法使极其复杂的船员和船体 |
| [44:28] | crew and ship to life. | 鲜活起来 |
| [44:30] | Technology changes very quickly and gets better and better | 技术日新月异 不断精进 |
| [44:33] | and so give the artists elements | 这给了画师们更多素材 |
| [44:35] | and supervisors more fun to play with more toys | 也给了总监们更多制作的乐趣 |
| [44:38] | and it pushes the limits that’s what we wanted to do. | 也使我们实践的领域更加广阔 |
| [44:43] | We thrive on developing new techniques to achieve something | 我们努力开发新技术 |
| [44:46] | that’s never been done before, | 以求突破 |
| [44:48] | so imagination is unencumbered. | 所以说 想象无极限 |
| [44:53] | Inspired by the original 1953 version of War of the Worlds, | 受到1953年原版《世界大战》的启发 |
| [44:57] | Steven Spielberg teamed with ILM once again | 史蒂芬·斯皮尔伯格再次与工业光魔合作 |
| [44:59] | to push visual story-telling to a whole new level. | 使视觉讲述故事的能力上了一个新的台阶 |
| [45:05] | While I have this crazy idea when I was enduring my storyboard, | 我在制作故事脚本的时候 冒出一个疯狂的想法 |
| [45:08] | I sketch 3 minutes dialogs | 我起草了一段三分钟的对话 |
| [45:09] | in between the 2 kids and Tom Cruise in the car | 在汤姆·克鲁斯和两个孩子之间进行 |
| [45:12] | after the escape in New Jersey, | 发生在新泽西逃亡之后 |
| [45:14] | we began skepting in cuts, | 我们开始逐镜分析 |
| [45:17] | close-ups and profiles and over shoulder shots | 特写 侧面镜头 过肩镜头 |
| [45:21] | and I threw all that stuff out, | 但这些想法都被我放弃了 |
| [45:22] | that wasn’t exciting enough, | 因为那不够刺激 |
| [45:24] | and I thought there’s gotta be a way to do this, | 一定有办法让电影更加精彩 |
| [45:26] | what if I do this all in one shot. | 何不一镜到底 |
| [45:28] | then I had these previz guys came in | 然后我遇到一位镜头设计员 |
| [45:30] | and I prevized the entire scene with moving camera. | 我用移动摄像机设计了整个镜头 |
| [45:33] | they actually went through the car | 镜头先从车内穿过 |
| [45:34] | one point went to the back window and another point | 再从车后窗移动到公路中央 |
| [45:36] | went out to the middle of the turnpike to make room | 为车子行进的镜头让路 |
| [45:38] | for the that are passing and went back into the window again, | 然后再回到车窗内 |
| [45:41] | that was not possible dream, | 这是个不可能完成的任务 |
| [45:43] | I knew it was not achievable. | 我知道这不可能 |
| [45:45] | cause I didn’t know how to blend it, | 因为我不知道该怎么整合 |
| [45:47] | where would the blend line it’s gonna be. | 整合线应该在哪 |
| [45:49] | How do we glue the stirred pieces together | 该怎么把分镜组合起来 |
| [45:52] | to get a seamless one shot. | 做成无缝的一镜 |
| [45:54] | So when I showed to Denis Muren the previz, | 当我把设计好的镜头给丹尼斯·穆伦看时 |
| [45:56] | then he said right away this time | 他立刻就说 |
| [45:58] | you didn’t even have to think about it | 你这次无需多想 |
| [46:00] | and he said, you can do it in 2 shots, | 他说 两个镜头就能搞定 |
| [46:02] | I say where’s the break, and he said, | 我问 从哪断开呢 |
| [46:03] | when you came back to the car through the back of the car. | 他说 从车后窗回到车内时 |
| [46:05] | and then when you pull back out to the high crane shot | 然后再转到车外的高摇臂镜头 |
| [46:09] | at the end of the car moving out to the vanishing point. | 最后让车子消失在画面里 |
| [46:11] | and Denis thought that was gonna be no problem. | 丹尼斯认为这毫无问题 |
| [46:22] | I don’t think there’s much clue their scene have in fact those things. | 我觉得那些镜头拍得不露痕迹 |
| [46:25] | because there’s no camera cuts | 因为没有镜头剪辑 |
| [46:26] | and it’s done much more like documentary style | 更像是纪录片的风格 |
| [46:28] | and that’s gonna really great | 那个镜头会很出彩 |
| [46:30] | since with surprise when that happens | 因为一旦拍摄出来 |
| [46:32] | it’s much more realistic immediately. | 会立即显得很真实 |
| [46:34] | and that’s hard to do with any kind of effects. | 即使用尽各种特效 这仍然是个挑战 |
| [47:00] | every little thing as a collection of what we do | 每个细节组合在一起 |
| [47:03] | In the history of all the film we’ve done, | 在我们制作过的电影中 |
| [47:05] | kind of goes into every movie that we’re doing right now. | 很多特技都在这部电影中使用 |
| [47:11] | Transformers represent colossal collection | 《变形金刚》是集所有 |
| [47:14] | of all these stair steps of ideas on the way. | 智慧之大成 |
| [47:17] | By this point in time, computer graphics | 此时 我们所学的 |
| [47:19] | we had learnt how to do hard shiny objects. | CG可以制作坚硬发光的物体 |
| [47:22] | Yes! But we have really conquered how they’re lit. | 是的 但是我们是否真正了解发光原理 |
| [47:26] | Have we really conquered a more realistic style of animation, | 我们是否做好将动画制作成真人版的准备 |
| [47:30] | or a cooler style? Let’s say. | 起码做的像样 |
| [47:32] | No! We’re constantly reassessing what can we do better? | 没有 我们总是讨论什么最佳方案 |
| [47:41] | Then we started designing the robots. | 然后才开始动手设计机器人 |
| [47:43] | I think initially a lot of the robots were make up | 我记得刚开始设计的机器人 |
| [47:45] | with all these questionable materials | 都是由一些看起来 |
| [47:47] | that look very CG-ish. | 很CG的材料做成的 问题很多 |
| [47:50] | And we actually started building a couple of robots | 后来我们开始用人体骨架 |
| [47:52] | out of like these bony fragments that’ll look like you know | 建造机器人 他们看起来 |
| [47:55] | what is it, alien base stuff we don’t know what it is. | 就像外星人 四不像 |
| [47:58] | Michael Bay our director | 迈克·贝 导演 |
| [48:00] | and myself went back and forth. | 和我 我们思前想后 |
| [48:01] | You know what? This is not working, let’s just go to car parts, | 结果是 这都不行 还是回到汽车零件上 |
| [48:04] | and just start drawing from real world. | 从现实角度绘画 |
| [48:08] | Because you and I go to the movie | 因为当我们进入电影时 |
| [48:10] | and we see something we don’t quite understand, it looks fake. | 看到一些我们都看不懂的东西 这就假了 |
| [48:13] | If you wanted to look photoreal, | 如果你想让电影更真实些 |
| [48:16] | what would that mean, it’s got to look like people made it. | 这些机器人就应该像是人制造的 |
| [48:20] | And so that’s why we will gravitated all tools design | 这就是为什么我们让机器人倾向于 |
| [48:24] | more or less things that we know. | 这种设计理念 |
| [48:27] | I think the Transformation scenes from the first movie, | 《变形金刚》系列从第一部片子起 |
| [48:30] | you know we’re something that people had never seen before. | 就让观众大开眼界 |
| [48:32] | So there were about 10, 000 moving parts, | 有将近1万个可活动零件 |
| [48:42] | all those pieces have to move particulate with each other | 而每个零件间还要配合运转 |
| [48:46] | Technology was the stuff instit before, | 按照惯例技术都是关键 |
| [48:47] | so again put ILM on the leading land | ILM在技术上的突破 |
| [48:48] | with of technology break through. | 将其再次推向顶峰 |
| [48:57] | Where Iron man we drew from what they learnt on Transformers. | 《钢铁侠》的技术取自于《变形金刚》 |
| [49:02] | And that might be extremely comfortable | 当着手于《钢铁侠》制作时 |
| [49:03] | with how ambitious to get with Iron man. | 似乎容易多了 |
| [49:06] | Cause I’ve always been skeptic about CGI. | 但我始终对CGI持怀疑态度 |
| [49:09] | I think primarily hasn’t been done right in many cases. | 我觉得它在很多案例中做的并不好 |
| [49:13] | A challenge I think initially to impress him | 为了打动他 最开始我 |
| [49:16] | with the idea that we could make the Iron man suit | 想到的挑战是 我们可以把钢铁侠的盔甲 |
| [49:19] | looks pretty seamless and realistic, | 制作得天衣无缝 真假难辨 |
| [49:26] | the other issue was that | 另一个问题是 还有一些 |
| [49:27] | there were some beautiful practical suit | 工作室比如斯坦温斯顿 |
| [49:30] | created by what as they know Stainwinston studio. | 他们能制作出很精美的真盔甲 |
| [49:33] | Robert he was finding that suit uncomfortable to wear | 罗伯特发现穿着盔甲并不舒服 |
| [49:36] | and so we usually put one or two pieces on him, | 所以我们只让他穿一两片 |
| [49:39] | so he have more freedom and thumb movement. | 这样他就可以自由活动手指 |
| [49:42] | It was clearly still constricting. | 但明显还是行动受限 |
| [49:44] | And so we pull more and more pieces | 然后我们就一片片往下减 |
| [49:46] | and at the end, I say let ‘s pull it all off. | 直到最后 我说 还是全脱下来吧 |
| [49:49] | I have confidence based on what we’ve done, | 我们的经验让我有足够的信心 |
| [49:51] | we can replace the whole thing. | 我们可以代替这一切 |
| [49:53] | And so we did, we pull it all off, | 然后我们就成功了 我们真的拿掉了盔甲 |
| [49:55] | and I was putting the marks on Robert. | 我在罗伯特身上贴上标记 |
| [49:58] | And he said “I love you”. | 他对我说 我爱死你了 |
| [49:59] | Because it was so heavy, | 因为盔甲实在太沉了 |
| [50:01] | and how he’s just act them on | 拍戏时他表现得穿着盔甲 |
| [50:03] | and we add it digitally later. | 然后我们再用特效加上 |
| [50:05] | At one point in the process I was giving notes on shots, | 开始有段时间 我总是在镜头上做记号 |
| [50:10] | say how i didn’t believe | 标记那些看起来 |
| [50:12] | the reflection looks fake to me, | 盔甲有点假的镜头 |
| [50:14] | and that’s when Ben Snow who is the ILM supervisor said, | 直到本·斯诺 ILM总监对我说 |
| [50:20] | that’s the real suit. | 那就是真正的盔甲 |
| [50:23] | So I was giving notes on the real suit | 然后我就在真正的盔甲上标记 |
| [50:25] | thinking it was CGI suit, | 把它想象成CGI盔甲 |
| [50:28] | and that’s when I knew I crossed that line, | 那一刻 我知道我已经跨过了那条线 |
| [50:30] | and from that moment on I realized that technology is a good one. | 从那时起 我意识到技术是个好东西 |
| [50:33] | It passed the point where you can tell the difference. | 当我跨过了总是分辨真假的一刻 |
| [50:35] | And then it became about how best to design the shots | 就开始考虑怎样设计镜头 |
| [50:38] | to make fully use of what it can do well, | 来充分的利用技术 |
| [50:41] | and not to ask of those shots so the technology wasn’t good at, | 且不去考虑那些技术达不到的镜头 |
| [50:45] | so it takes a lot of time | 这经历了很长时间 |
| [50:46] | and now when you see bad CGI, | 现在当你看到效果不好的CGI |
| [50:48] | it’s because of poor planning on behalf of the film maker | 这可能是因为制片人的策划的不好 |
| [50:51] | as supposed to the artists that’s working on. | 而不是艺术家的问题 |
| [50:54] | that’s a big leap, a big change. | 这是一个大飞跃 一次大改变 |
| [50:58] | So now I think it’s coming upon the film makers to learn | 所以现在我认为影片效果取决于电影制作人 |
| [51:00] | more about CGI because it’s a tool let’s here stay. | 对CGI的学习 因为它是最先进的技术 |
| [51:08] | The suit is a star. | 那件盔甲就是明星 |
| [51:10] | You know of animated movies. | 我们看过动画片 |
| [51:12] | We watched that suit do stuff that’s what we go there for | 然后看到盔甲就像我们想象的那样 |
| [51:15] | When the school come out | 那它出现时 |
| [51:17] | The boots come on | 靴子自动穿上 |
| [51:19] | Base * arm | 还有机械臂 |
| [51:21] | You really wish you have one of those thing, | 你真希望自己也能拥有那些能力 |
| [51:23] | and the ability to make you want to be that particular character. | 希望自己能成为那个角色 |
| [51:28] | It’s the dream. | 它就是梦想 |
| [51:31] | I’m sure all guys working in those particular places would think | 我想在那里工作的人们一定会想 |
| [51:34] | It would be so cool, what if it do this. | 如果它能这样 就会很酷 |
| [51:37] | They make us want to be those characters. | 他们使我们希望成为那些角色 |
| [51:39] | They make us want to see that stuffs happen. | 使我们盼望着新奇迹的出现 |
| [51:41] | In 2009, | 在2009年 |
| [51:43] | Director J.J. Abrams, | J·J·艾布拉姆斯导演 |
| [51:44] | Reinvigorate the original Star Track universe | 要重塑《星际迷航》宇宙世界 |
| [51:47] | to help ILM solutions | 并求助于ILM |
| [51:49] | The first chanllege being a new design for the starship Enterprise | 第一个挑战就是重新设计进取号飞船 |
| [51:53] | The thing about the Enterprise was | 进取号飞船的设计 |
| [51:55] | you can’t really play with it, | 可不是闹着玩的 |
| [51:56] | too much design iconic. | 太多的标志性设计 |
| [51:57] | I just make it dealing with very vocal fans, | 我把它交给那些《星际迷航》的粉丝们 |
| [52:02] | who would be piss off what we did. | 他们会把我们臭骂一顿 |
| [52:04] | Let’s update a little bit, | 让我们只是改进一点 |
| [52:06] | let’s maintain its essential sailor vat. | 保留飞船的精华部分 |
| [52:10] | There is certain level of pressure of that too, | 这当然会有一定压力 |
| [52:12] | because we gonna did the new Enterprise | 因为我们要为J·J·艾布拉姆斯的 |
| [52:14] | for J.J. Abramss’ Star Trek | 《星际迷航》设计新的进取号 |
| [52:16] | In the first image of review to the public, | 第一次展现在公众面前时 |
| [52:18] | that’s sound like it would kill us, they could find out. | 他们好像要杀了我们 |
| [52:21] | So we talking about the artists relocation programme is coming. | 所以艺术家们需要重新设定方案 |
| [52:23] | Oh my god, they got so upset. | 天啊 他们因此很沮丧 |
| [52:26] | When it came out and he love it. | 而当最终的进取号设计出来时 他爱死它了 |
| [52:28] | You know the amazing thing is ILM | ILM最棒的是 |
| [52:29] | took these designes that would done, | 他们一定会成功完成设计 |
| [52:32] | and make these things living breathing, | 并且那些设计栩栩如生 |
| [52:35] | it brought the ship live. | 他们让飞船活了起来 |
| [52:37] | Star Wars made it impossible to do anything new | 《星球大战》让一切不可能变成现实 |
| [52:41] | There is nothing weather assistance, | 没有天气的约束 |
| [52:43] | little rain and entironment, | 干燥环境的约束 |
| [52:45] | the charaters’ colour and number of arms and legs. | 角色能五颜六色 甚至三头六臂 |
| [52:48] | There is nothing you can’t did, you can did everything. | 你无所不能 你可以完成一切 |
| [52:50] | Like it’s in last three films | 比如在最后的三个镜头中 |
| [52:53] | probability accidentialy more than | 可能已经无意中 |
| [52:56] | all science suppose to put together. | 使用了所有的科学技术 |
| [52:58] | …remember Star Trek came for Star Wars | 当拍完《星际迷航》 开始《星球大战》时 |
| [53:01] | it doesn’t help me, | 我无从下手 |
| [53:03] | destroy already done. | 场景都被毁了 |
| [53:06] | ILM made the most practical vision fact magic | ILM通过分镜头多角度拍摄 |
| [53:09] | by shooting to very different worlds side by side. | 又一次创造了视听奇迹 |
| [53:12] | Just 13 feet part in the parting stadium, | 仅仅使用了一个13英尺的体育馆停车场 |
| [53:16] | 18 creating curt straddle down the icy, | 在冰上下搭建幕布 |
| [53:18] | plant down by partial side under the bomy sky of Los Angeles. | 以洛杉矶的天空为背景 简单搭建部分场景 |
| [53:25] | It’s really a fun magic trip to get | 当你没有看到整体 |
| [53:27] | hand those things to closely | 而只是靠近看到部分时 |
| [53:28] | and yet haven’t seem so most part. | 真是一个奇妙的旅行 |
| [53:32] | There is a step, | 有一段时期 |
| [53:33] | wondering and just unnervingly imagine. | 你很想知道效果 却又想象不出 |
| [53:36] | When you get there, it’s like “oh” | 而最终效果出来时 就会 哇 |
| [53:37] | You can work on months, | 你工作数月 |
| [53:40] | you got what the movie working on this, | 给电影加各种效果 |
| [53:43] | you know, you see the audience react. | 但你看到观众的反应时 |
| [53:45] | Wa, that’s awesome! | 哇 太棒了 |
| [53:47] | so it’s feeling from that aspect. | 那感觉是最棒的 |
| [53:50] | It require a incredible organization just | 我们需要这样一个出色的组织 |
| [53:53] | recognize to get the fact is | 来实现想象 事实是 |
| [53:54] | it works as well as it does | 他们真的很出色 |
| [53:56] | * to how I like it built and work there. | 我喜欢他们的设计和工作 |
| [53:59] | It’s a amazing team, | 这是一个出色的团队 |
| [54:01] | a huge amazing team. | 庞大并出色的团队 |
| [54:06] | In 2005, | 2005年 |
| [54:08] | ILM moved from Marin county across the Golden Gate bridge | ILM跨过金门大桥从马林县搬到了 |
| [54:11] | to a 23 acre complex at his Presidio. | 现在普西迪基地这个23英亩的土地上 |
| [54:18] | Within this house the Star Wars was built, | 在这座楼里创作了《星球大战》 |
| [54:20] | ILM’s team of visual effects with continue to push the envelope, | ILM视频特效团队从威尼斯的 |
| [54:25] | from their humble beginnings in a Vanice warehouse | 一个仓库里起家不断挑战极限 |
| [54:28] | to a state of the art facility, | 最终引领着艺术特效发展的道路 |
| [54:29] | They’ve single-handedly transformed the Photo Chemical days | 他们独自将胶片时代 |
| [54:32] | of old into a new digital era, | 改写成全新的数字时代 |
| [54:34] | changing the industry one film at a time. | 通过一部部电影改变了整个电影工业 |
| [54:38] | Over the last 35 years, | 在过去的35年中 |
| [54:39] | ILM has created visual effects in nearly 300 movies, | ILM在近300部电影中制作视频特效 |
| [54:43] | their innovation in artistry has been recognized | 他们在艺术上的创新 |
| [54:46] | with 15 Visual Effects Academy Awards. | 被授予了15次奥斯卡最佳特效奖 |
| [54:49] | 23 additional nominations | 23次奥斯卡提名 |
| [54:51] | and awarded the National Medal of Technology. | 以及国家技术奖章 |
| [54:54] | In dark theaters everywhere, | 在世界各地的电影院中 |
| [54:56] | they transport us to other worlds with their cinema magic, | 他们通过电影艺术把我们带到了另一个世界 |
| [54:59] | always inspired to create the impossible. | 永远激励着我们去挑战不可能 |
| [55:03] | I think ILM’s greatest challenge is their own reputation, | 我想ILM最大的挑战就是自己的名誉 |
| [55:08] | you know, continuing to grow and expand, | 总是在成长扩大 |
| [55:10] | and live up to the standards they’ve set. | 履行自己设定的标准 |
| [55:13] | The work is very complicated and is very labor intensive, | 工作其实很复杂 非常辛苦 |
| [55:17] | but it’s to some extent the | 但是从某种程度上讲 |
| [55:20] | expectation is that the more of this we are doing this, | 我们仍追求不断进步 |
| [55:23] | it should get cheaper and cheaper and cheaper. | 我们要花更少更少的钱 |
| [55:25] | The competition from overseas especially | 来自海外的竞争压力很大 |
| [55:28] | is been really hard when the salary is so much less than here, | 因为那里的工资很低 |
| [55:30] | so how do we work faster and better and still keep the quality. | 所以我们在保证质量的同时 要更快更好 |
| [55:34] | And we had a lot of people who’ve gone through ILM, | 同时很多同事离开ILM |
| [55:36] | set up other companies around, | 开立了自己的公司 |
| [55:38] | they’re doing great work also, | 他们也做的很好 |
| [55:40] | and try to keep on top of it and come up with next thing | 要永远的保持领先 与时俱进 |
| [55:44] | that’s better than what someone else is doing. | 比别人做的更好 |
| [55:48] | ILM’s body of work is something that’s extremely proud of, | ILM的成就是我们所骄傲的 |
| [55:51] | I mean when you go back and look at all the things that ILM has done, | 当你回首看ILM所做的工作 |
| [55:54] | it’s just, it’s the history of movies | 那简直就是20世纪末至 |
| [55:57] | at the last part of 20th century and another 21st century. | 21世纪初整个电影的历史 |
| [56:04] | Lightening is just keep striking ILM, | ILM受到世人瞩目 |
| [56:06] | that’s the remarkable thing about ILM, | 它最与众不同的一点是 |
| [56:08] | it’s not like the, had their moment and it’s moved on, | 他们不会原地踏步 而是不断前进 |
| [56:12] | they find ways to reinvigorate | 通过突破新的领域来 |
| [56:14] | that facility by breaking new ground. | 不断完善自己 |
| [56:17] | I think ILM’s biggest accomplishment isn’t any one show, | 我想ILM最大的成功不是它的哪部电影 |
| [56:20] | it’s that they’ve managed to realize the dream | 而是他们在努力实现 |
| [56:23] | that any film maker would have, | 所有电影制作人的梦想 |
| [56:25] | which is the ability to do anything. | 那就是他们可以创造一切 |
| [56:29] | The ability to continue to make us believe what we see | 他们真正的才能是不断让我们 |
| [56:34] | is the true genius of what these guys do. | 相信我们所看到的 |
| [56:38] | George made his company available to every studio | 乔治以及他的团队可以帮助 |
| [56:41] | and to every film maker and a sense | 所有工作室和电影制作人 去实现 |
| [56:45] | it was the first time that had ever happened before, | 一切不可能发生的场景 |
| [56:47] | were company for all of us to be able | 他们为我们实现了 |
| [56:50] | to achieve our impossible dreams, | 所有不可能的想象 |
| [56:53] | and George made that possible for all of us. | 是乔治让我们梦想成真 |