让你的摄影机来一段Freestyle！不是所有运动控制系统都叫MOCO让你的摄影机来一段Freestyle！不是所有运动控制系统都叫MOCO影像麦客百家号随着影视行业的蓬勃发展，硬件技术也随之大跨步的发展，从最初的小摇臂、轨道发展到现今的多轴摄像轨道（延时导轨），可以说见证了我国影视行业整体制作水平的提高，但我们也存在一些误区，例如MOCO与多轴摄像轨道（延时导轨）就有很多人会混为一谈，或者误认为多轴摄像轨道（延时导轨）就是MOCO,其实他们之间还是有很大区别的。MOCO常见的款式G-ka（基卡特拍）公司旗下的：绿巨人、小黑妞儿、小萝莉。绿巨人小黑妞儿小萝莉G-ka特拍MOCO最新视频集锦（视频时长6分09秒，点击链接即可观看）。MRMC公司旗下的：Milo、Bolt、Bolt Jr..MiloBoltBolt Jr.（轻量化版Bolt）Bolt Jr.轻量版介绍视频（视频时长44秒，点击链接即可观看）。Bolt MOCO最新视频集锦（视频时长2分11秒）：MOCO的发展及分类广义的讲MOCO和多轴摄像轨道（延时导轨）都可以算作motion control系统，直译过来就是运动控制系统。它是用最先进的工业技术精准的设定和控制摄影机运动轨迹的一种设备。其实在国外MOCO已经有将近30年的历史了，只是在我们国家它才刚刚开始起步。从最早的《星球大战》到我们能想到诸多大片大约有70%的视效电影都用到了motion control技术。但这两者还是有本质的区别，我们先从motion control的发展说起。MOCO发展到今天经历了四代的技术革新：第一代MOCO只是简单的实现单一轴向的摄影机重复运动，还做不到复杂的轨迹控制。第二代MOCO增加了更多的轴和关节，相当于轨道+摇臂+遥控头，但第二代MOCO特征是：每个轴都是独立地记录自己的动作，虽然它可以完成比第一代更复杂的运动轨迹，但每个关节无法依靠算法协调匹配动作，因此那种极为复杂的运动轨迹依旧无法实现。多轴摄像轨道（延时导轨）就属于这一代的技术。第三代MOCO是在第二代的基础上增加了插补算法，可以利用电脑运算出复杂的轨迹，但因为受限于“轨道+摇臂+遥控头”机械特性的缺陷，很多逻辑性的复杂运动轨迹是无法实现的。例如在狭小空间内做复杂的运动轨迹是无法实现的，因为摇臂的后面要配平。第四代MOCO大多依托于工业多轴匹配技术，革命性的关节设计和更为精准的算法让MOCO能完成几乎所有可以想象到的动作轨迹。通过上面的发展历程我们不难看出两者在技术层面的区别了。再次总结一下，具体有三大区别：第一个区别就在于操作方式的不同：首先多轴匹配就如同很多人组成一个团队，每个人负责一个轴，做任何动作都需要多人协调一起完成。而非多轴匹配就如同每个人只管自己如何动，不会考虑其它人（轴）对自己或者自己对别人（轴）的影响，因此就带来了操作方式的不同。MOCO由于具有多轴匹配算法，因而摄影师只需要看着监视器移动摄影机的位置与角度即可，具体每个轴如何完成摄影机的位置与角度其内部有一套运算机构，无需人去考虑。那么大多数的多轴摄像轨道（延时导轨）就需要摄影师对每个轴进行位置与角度的控制，要考虑每个轴如何运动才能达到摄影机所需的位置与角度。第二个区别就是速度：很多MOCO具有高速拍摄的功能，而多轴摄像轨道（延时导轨）的速度通常是比较缓慢的运行。这是由两点原因造成的：首先是自身重量过轻，因为主打方便携带，所以在自身质量不够的情况下是难以实现摄影机高速运行的，急起急停可能会翻倒；第二个原因就是受限于开环的步进系统，开环步进电机的工作原理就相当于我让你走一米你就去走吧，走到走不到我不清楚，让你走多快你就去走吧，速度达没达到我也不管。而MOCO采用的大多是闭环的伺服系统，它的原理截然不同，我让你走多远你必须走完，让你走多快你就必须达到，否则系统会加以干预完成。所以多轴摄像轨道（延时导轨）通常用作逐格摄影或者延时摄影比较多，因为不牵扯速度因素。第三个区别就是承载力：由于采用开环步进电机与轻量化结构的因素使得多轴摄像轨道（延时导轨）通常适合单反相机拍摄，不过目前已经有部分型号可以安装了RED等机型拍摄。MOCO通常承重在15-20公斤，最小的承重大约6-7公斤，还有一些如Bot&Dolly和绿巨人等甚至可以承重200公斤。承载储备越大，可发挥的能力就越强。总而言之，并不是所有的多轴摄像轨道（延时导轨）系统都可以叫MOCO，现代MOCO的最主要特征就是要具有多轴匹配的运算能力。MOCO扩展阅读：这样的美食与运动高速摄影让你无法抗拒！高速美食摄影师Ronald Koetzier作品集锦当高速摄影机Phantom Flex4K遇到高速机械臂Bolt，能迸发出什么神奇效果？不用三维动画，这些堪比特效的广告都是实拍！看似简单的15秒汉堡视频，背后居然是一整套复杂的系统工程！本文来自影像麦客特邀作者：坏小孩。欢迎在文后留言吐槽，加入各种专业影像创作与技术交流群、如需获取文中原始资源用于学习可私信影像麦客。本文仅代表作者观点，不代表百度立场。系作者授权百家号发表，未经许可不得转载。影像麦客百家号最近更新：简介:专业影像制作资讯，器材点评与制作技巧作者最新文章相关文章29被浏览2,262分享邀请回答0添加评论分享收藏感谢收起当前位置：
65mm环游世界——转载自《美国电影摄师》杂志2012年9月刊
发布时间：
Around the World in 65mm
65mm环游世界
Director/cinematographer Ron Fricke captures stunning large-format images in 25 countries for Samsara. By Iain Stasukevich
导演兼摄影师罗恩.费里克为拍摄影片《轮回》在25个国家中创作了叹为观止的大画幅影像。
作者：伊恩.斯塔苏科维奇
本文出自《美国电影摄师》杂志12年9月刊 美国电影摄影师协会网址：www.theasc.com
翻译：王洋 （邮箱）
TECHNICAL SPECS
5-perf 65mm
Panavision 65mm HSSM,
Custom 65mm time-lapse
Kodak Vision2 500T 5218,
Vision3 500T D 5207
Panavision, Hasselblad,
4K Digital Intermediate
画幅：2.39:1
格式： 5齿孔65mm
摄影机：潘那维申65mm HSSM，订制65mm延时拍摄摄影机
胶片：柯达Vision2 500T 5218，250D 5205，50D 5201；Vision3 500T 5219，250D 5207
镜头：潘那维申，Hasselblad，施耐德
后期处理：数字中间片
Filmed over a period of five years in 25 countries on five continents, Samsara falls into the category of what director and cinematographer Ron Fricke once called “impossible films — non-verbal films that sustain themselves only on images and music.” Koyaanisqatsi (1983), directed by Godfrey Reggio and photographed by Fricke, proved that such a film was possible, and Fricke continued exploring the concept with partner and collaborator Mark Magidson on Baraka (1992). Like its predecessors, Samsara paints a powerful picture of the interconnectedness that links the world’s sacred grounds, disaster zones, industrial complexes and natural wonders.
《轮回》的拍摄历经五年时间，横跨五大洲25个国家，导演兼摄影师罗恩.费里克一度称之为“不可能的影片——只靠影像和音乐贯穿全片而没有任何对白”。由高弗雷.雷吉奥执导并由费里克拍摄的《失衡生活》(1983)证实了这类影片是可行的，费里克和他的合作伙伴马克.玛吉德森在影片《天地玄黄》(1992)中继续探索了这种理念。《轮回》正如先前作品一样，描绘了一幅强有力的画面，体现出世界上神圣之地、灾难地区、工业复合体和自然奇观之间的关联性
Opposite: Chinese dancer Tai Lihua performs the “1,000 Hands Goddess Dance” in Samsara. This page, top: The film opens with three Balinese girls made up like traditional Tari Legong dancers. Bottom: Director/cinematographer Ron Fricke filmed views of the Temples of Bagan in Myanmar from the basket of a hot-air balloon. 第一幅图：中国舞者邰丽华在《轮回》中表演“千手观音舞”。第二幅图：影片的开头中有三名巴厘岛女孩装扮成传统的塔利雷贡舞者。第三幅图：导演兼摄影师罗恩.费里克从热气球的吊篮中拍摄了缅甸蒲甘寺景观。
Fricke describes Samsara as “more urban, more about people than Baraka. We didn’t have what you would call a script. I like to think of it more as a guided meditation, and Samsara is a meditation on cycles: birth, death and rebirth.”
费里克将《轮回》描述为“比《天地玄黄》更加关注城市和人。我们没有所谓的脚本。我倾向于更多地将其视为一段经过指引的冥想，而《轮回》正是一段关于循环的冥想：出生、死亡和重生。”
Fricke and producer/co-writer Magidson were keen to return to the 5-perf 65mm format they used for Baraka, but the 24 fps-capable Todd-AO AP 65 camera systems employed on that film were no longer available. Seeking to explore the possibility of a digital approach to image capture, they brought on ASC associate Chris Reyna to help locate a suitable camera system. “We started looking at film and digital cameras, but in 2006 we had only one 4K option: the Dalsa Origin,” says Reyna. “Based on our testing, the Dalsa offered good image quality, but Ron didn’t like it because it was too big, and I didn’t like it because it was still too prototypical. I knew we could do better.”
费里克和制片人兼联合编剧马吉德森都热衷于回归到曾在《天地玄黄》中使用的5齿孔65mm[1]格式，但是用在那部影片中的24格Todd-AO[2] AP65摄影系统无法再使用了。他们请求美国电影摄影师协会准会员克里斯.雷纳帮助寻找一套合适的摄影系统，以探寻数字化拍摄方式的可能。“我们开始寻找胶片和数字摄影机，但是在2006年我们只有一个4K的选择：Dalsa Origin[3]，”雷纳说道。“根据我们的测试情况，Dalsa提供了良好的影像质量，但是罗恩因为它太大了所以不太喜欢，我不喜欢它是因为它尚处于原型阶段。我知道我们可以做的更好。”
Magidson adds, “When you go to 25 countries, you want to bring back the material in a format that’s going to stand the test of time. Digital was just not there when we started. But shooting film and moving it in and out of so many locations has its own set of problems.”
玛吉德森补充道，“当走遍25个国家时，你会希望能带回来的素材是采用经受得起时间考验的格式。数字化在我们开始拍摄时并不能达到这个标准。但是用胶片拍摄并在很多地方进进出出也有其自身的问题。”
The filmmakers turned their attention to finding a suitable 65mm film camera. They still had Fricke’s custom-built 65mm motion-control system to shoot time-lapse sequences, and soon learned of the five 65mm cameras housed at Panavision’s Woodland Hills, Calif. complex: two Panaflex System 65 studio cameras, and three high-speed 65mm HR Spinning Mirror Reflex cameras, commonly known as HSSMs. It was the smaller, lighter high-speed cameras, with their 500' magazines and wide range of frame rates (2-72 fps), that Fricke sought.
摄制人员们把精力转向寻找一种合适的65mm胶片摄影机。他们仍旧使用费里克定做的65mm动态控制系统来完成延时段落的拍摄，并且很快了解到在加州潘那维申公司的伍德兰山上还存有5台65mm摄影机。它们是：两台Panaflex系统65studio摄影机，三台高速65mmHR旋转镜面反光摄影机，通常被称为HSSM。后者正是费里克所寻找的更小更轻的高速摄影机，配有500英尺片盒以及大范围的格速调整(2-72格每秒)。
The opportunity to shoot 65mm was worth the time and effort. “Because there are no actors, the image becomes the main character,” says Fricke. “We wanted to capture the essence of the people and places we were photographing, and a 65mm camera is the best tool to do that.” Principal photography began with Kodak Vision2 500T D 5205 and 50D 5201 the filmmakers switched to Vision3 500T 5219 and 250D 5207 when those negatives were introduced.
65mm拍片的机会是值得付出时间和努力的。“由于没有演员，影像便成为了主角，”费里克说。“我们希望能够捕捉到我们拍摄的人物或地点的本质，65mm摄影机是这样做的最佳工具。”拍摄工作开始的时候采用了柯达Vision2 500T D 01胶片；当Vision3 500T D 5207出现后摄制人员将胶片更换为这两种型号。
A visual motif of Samsara is a shot in which the subject stares into the camera lens, unspeaking and often unblinking, for so long that the viewer may begin to question who is watching whom. “All of the portraits are stylized after the great still photographers that I love, like Yousuf Karsh, Irving Penn, Mary Ellen Mark and Annie Leibovitz,” says Fricke. “Something is revealed in their portraiture, and when a person stares into the camera, if you’re lucky, you can get the essence of who that person is.”
《轮回》的一个视觉主题是拍摄对象直视着镜头，不说话也不怎么眨眼睛，时间长到观众开始怀疑谁正在看着谁。“所有的人物肖像画面都模仿了我所喜爱的图片摄影师的风格，比如尤瑟夫.卡什、欧文.佩恩、玛丽.艾伦.马克和安妮.莱博维茨，”费里克说。“在他们的人像作品中一些内容被表现出来，当一个人直视着镜头时，如果你幸运的话便能够看到那个人的本质。”
The film opens with a striking close-up of a young Balinese girl costumed and painted with the makeup of a traditional Tari Legong dancer. Fricke, who prefers to shoot with natural light in the subject’s natural environment whenever possible, photographed her hypnotic dance in a school courtyard in the small Balinese town of Ubud.
影片的开头是一个震撼人心的年轻巴厘岛女孩的特写镜头，她身着一套传统的塔利雷贡舞者的装扮。费里克喜欢在自然环境中尽可能的使用自然光拍摄，他在巴厘岛的小镇乌布中的一个学校院子里拍摄了她催眠的舞蹈。
“That was mostly natural light, with a little bit of grip to bounce here and there, but [the approach was] very minimalistic,” says 1st AC J.C. Earle, who also served as gaffer and grip when the situation called for it, as well as associate producer and assistant editor. “Ron and I placed the dancers under an eave so they received a soft, natural front light from the clouds. Of course, the challenge with natural light is that it changes, so if you watch that scene closely, the contrast ratio moves around.”
“绝大部分是自然光，带着一点点四处的反射光，但是(这种方式)是极其少量的，”摄影大助理J.C.厄尔说，在情况所需的时候他也是灯光师和轨道师，同时还是制片助理及剪辑助理。“罗恩和我将舞者安排在了一个屋檐下面，这样她们得到了从云中出来的柔和自然的前侧光。当然，自然光的挑战在于它是变化着的，所以如果你仔细观察这个场景，会发现光比是在变化中的。”
One of Fricke’s favorite portraits — a shot of Marcos Luna, an ex-gang member living in Los Angeles — also became one of Samsara’s most revelatory moments. “We went to his apartment thinking it was going to be another ‘stare into the lens’ kind of setup,” says Fricke. “We put the Panavision camera [with a 50mm lens] on the mo-co dolly, with the jib arm and the pan-and-tilt head. The idea was to move over the top of his head and move down his face to find his eyes, but when his wife placed this beautiful baby girl in his arms, he began rocking back and forth, kissing and cuddling the baby. The ‘Tattoo Man’ became ‘Tattoo Daddy,’ which transformed the portrait into something really wonderful.” A 12'x12' silk was rigged overhead to soften the light falling on Luna, and flags were placed close in for negative fill.
费里克最喜欢的人物镜头之一——一名生活在洛杉矶的前帮派成员马考斯.鲁纳——成为了《轮回》中最具启示意义的镜头之一。“我们到他公寓的时候还想着这将是另一个‘注视镜头’之类的安排，”费里克说道。“我们将(配有50mm镜头的)潘那维申摄影机架设在带有摇臂和全景云台的mo-co轨道[4]上。起初的想法是越过他的头顶向下移至面部拍摄他的眼睛，但是当他的妻子讲漂亮的女婴放到他的臂弯中时，他便开始前后摇晃，亲吻并搂抱着婴儿。‘纹身男人’变成了‘纹身老爸’，这种转化让人物变得非常棒。”在鲁纳上方有一块12x12英寸的丝绸来柔化打在他身上的灯光，在周围用黑旗进行挡光。
Top: This tattooed couple was among the many portraits taken for the film. Fricke muses, “When a person stares into the camera, if you’re lucky, you can get the essence of who that person is.” Bottom: French performance artist Olivier de Sagazan sits at a desk before transforming himself into a mud monster in the “Transfiguration” scene.
上图：这对纹身的夫妇是影片的众多拍摄人物之一。费里克若有所思地说，“当一个人注视着摄影机时，如果你幸运的话便能够看到那个人的本质。”下图：法国著名表演艺术家奥立佛.德.萨戈赞坐在一个桌子旁，之后他会在一个“变形术”的场景中把自己变为一个泥巴怪物。
Some of the portraits required more artificial lighting, such as the “1,000 Hands Goddess Dance,” which was performed by renowned Chinese dancer Tai Lihua at a studio outside Beijing. A local Chinese crew was on set to help capture the sequence. “It’s a performance, so it had to look more theatrical than any of the things we photographed under natural conditions,” says Fricke. Earle bounced a tungsten 10K off a 20'x20' UltraBounce for the key light while 800-watt Joker Bugs provided hard, blue kickers from both sides of the frame. Carefully placed LEDs helped break up the inky background with tiny blue bokehs, which resemble small stars in the distance.
一些人物拍摄需要更多的人工照明，比如由中国著名舞蹈家邰丽华在北京之外的一个工作室表演的“千手观音舞”。一个中国当地团队在现场协助进行场景拍摄。“这是一次演出，所以必须要比我们在自然条件下拍摄的任何内容具有更多的戏剧化效果，”费里克说道。厄尔将经过20x20英寸的Utrabounce反光材料反射后的10K钨丝灯的光做主光，用800瓦Joker Bug灯从画面两侧提供硬调的蓝色修饰光。精心布置的LED灯用微小的蓝色光点打破了漆黑的背景，就像远处的小星星一样。
Fricke himself built the second version of the camera for Samsara, assembling it with a mix of custom designed parts and pieces from other cameras. To create a 65mm magazine for the camera, Fricke took two 400' Arri III 35mm magazines, chopped the back off one and welded it to the front of the other. Both generations of the camera are controlled by the same program that operates the motion- when shooting, Magidson was usually found at the computer interface while Fricke remote-operated the camera.
费里克自己为《轮回》搭建了第二种摄影机，这是利用定制的组件以及其他摄影机的部件组装而成的。为了给摄影机做一个65mm的输片盒，费里克拿来两个400英尺阿莱III35mm输片盒，把一个片盒的后部切掉并焊接到另一个片盒的前端。这两种摄影机均由同样的程序来操作运动控制系统；在拍摄的时候，玛吉德森通常都会在费里克遥控操作摄影机的时候出现在电脑界面的旁边。
Some of the most striking images in Samsara were time-lapse sequences captured by the motioncontrol system, including moonlight crossing the faces of beheaded statues on Nemrut, in T the night sky spinning through the branches of a dead acacia tree in the N and the setting sun caressing the facade of Al Khazneh, in Petra. “I love shooting time-lapse because it gives you these extraordinary perspectives on very ordinary things,” says Fricke.
《轮回》中一些最震撼人心的画面是通过运动控制系统（MoCo）拍摄的延时片段，包括掠过土耳其内姆鲁特人头雕像表面的月光；夜空转过纳米比亚沙漠中枯死的金合欢树枝杈；还有夕阳抚慰下的佩特拉古城中卡兹尼神殿外围。“我热爱延时拍摄，因为它可以给非常普通的事物极其特别的视角，”费里克说道。
Top: Moonlight plays across the faces of beheaded statues on Nemrut, in Turkey. Middle: Producer/co-writer Mark Magidson helps set up the 65mm motion-control system used to capture this timelapse sequence. Bottom: Fricke (left) and Earle ready the Panavision 65mm HSSM camera at the location.
上图：月光照向土耳其内姆鲁特人头像的面部。中图：制片人兼联合编剧马克.玛吉德森协助架设用于拍摄延时段落的65mm运动控制系统。下图：费里克(左侧)和厄尔在拍摄地准备好潘那维申65mmHSSM摄影机。
The speed of the time-lapse shot is usually determined by the subject or the action, “but it’s hard to have a general rule,” says Earle. “Sometimes it’s determined by how long we’re in a location. For the night shots we used a 1-minute exposure, so the length of the night determined the length of the shot. You need the right weather conditions for clouds, sunrises or sunsets, and you have to shoot at the right frame rate.”
延时拍摄的曝光时间通常取决于拍摄主题或者是拍摄内容，“但是难以有一个通用的规则，”厄尔说道。“有的时候取决于我们在一个地方的时间。夜间场景中我们采用一分钟的曝光，所以夜晚的时间决定了镜头的时长。你需要有合适的天气拍摄云层和日出日落，并且必须要以合适的格速拍摄。”
“The mo-co gave us a really important creative element to combine with the more standard frame-rate footage,” says Magidson. Despite Fricke’s affection for the effect, only about 10 percent of Samsara’s running time comprises time-lapse cinematography. “We engineered an interface between the Panavision camera and the mo-co system, bringing a wider range of frame rates and lenses to the palette,” says Earle.
“mo-co提供给我们一个非常重要的创新性组件来配合完成更加标准化的格速拍摄，”玛吉德森说道。虽然费里克热衷于这种效果，但是延时摄影只占据了《轮回》中大约百分之十的时间。“我们在潘那维申摄影机和mo-co系统之间安装了接口，这样便可以有更大范围的频率以及镜头调整，”厄尔说道。
On the first leg of production, Fricke and Earle travelled to Mecca with the intent of photographing Muslim pilgrims and their circumambulation around the ancient Kaaba during Ramadan prayers. “Accessing that location took more than a year,” says Magidson.
在摄制过程的第一站，费里克和厄尔来到麦加，他们希望在斋月祈祷期间拍摄穆斯林朝圣者以及他们围绕古克尔白的场景。“进入这个地方花费了一年多的时间，”玛吉德森说道。
Fricke enthuses, “It’s just the most amazing event. There must have been four million people there in and around the mosque.” The filmmakers found themselves with the motion control and Panavision cameras atop a new hotel/apartment building right next to the Sacred Mosque. However, the vantage point was reserved for a powerful family, and the production’s local fixer had failed to gain all the necessary permissions to film there.
费里克热情地说，“这是最为惊人的活动。在清真寺内部以及周围肯定有四百万人。”摄制人员们携带着运动控制和潘那维申摄影机在禁寺旁的一座崭新酒店式公寓屋顶上拍摄。然而这个有利的位置被一个有权势的家族占有，摄制组在当地的中间人没有能够获得在那里拍摄的所有必要许可。
The filmmakers photographed this high-angle view of Muslim pilgrims in Mecca from the vantage of a hotel next to the Sacred Mosque.
摄制人员在麦家从禁寺旁的一座旅馆最佳位置处拍摄了这个高角度的穆斯林朝圣者场面。
“I humbly said to [the sheik] that what was happening here was so beautiful that the whole world should be able to see it,” Fricke recounts. “He said, ‘You’re welcome to stay and film after prayer time.’ I don’t know if I was being a good diplomat or not, but I nearly jumped off the building when he said that. I was really afraid of losing one of the best sequences of the film.” Fortunately, without having to jump, Fricke was able to reach an agreement with the family and get the shots that appear in the final film.
“我谦恭地(对酋长)说这里进行的事情是如此的美妙，全世界都应该看到它，”费里克描述道。“他说，‘欢迎你们在这里并在祈祷之后拍摄。’我不知道自己是否是一个好的外交家，但是当他说这番话的时候我几乎从楼上跳下去了。我真的担心会丢掉影片中最精彩的段落之一。”幸运地是，费里克没有从楼上跳下便能够和那个家族达成协议，拍摄了出现在最终影片里的若干镜头。
There were also physically demanding locations, such as Ladakh, India, where the crew braved freezing temperatures and a 12,000' altitude to reach Thiksey monastery, where they filmed monks crafting an intricate sand mandala. “Then we almost gassed ourselves to death in a volcanic sulfur mine in Eastern Java,” Fricke adds. “That was pure poison gas. We choked and our eyes burned when the wind changed and blew into our faces.”
还有一些像印度拉达克这样需要耗费体力的地方，摄制组冒着刺骨严寒和12000英尺的海拔到达了帝释寺，他们在那里拍摄正在制作一个精美沙坛城的僧侣们。“然后我们在东部爪哇中的一个火山硫磺矿中几乎被毒气毒死，”费里克补充说。“那是纯毒气。当风改变并吹到脸上来的时候我们呼吸困难，并且灼伤了我们的眼睛。”
Far removed from the hell of the sulfur mines were the majestic Temples of Bagan in Myanmar, which Fricke filmed from the basket of a hot-air balloon. Aerials over Los Angeles were shot from a helicopter with the Panavision HSSM on a Gyron mount from Nettman Systems, undercranked at 11/2 fps, which Fricke calls “my favorite continuous time-lapse frame rate. It’s also great for filming clouds.”
远离恐怖硫磺矿的是壮观的缅甸蒲甘寺，费里克在一个热气球的吊篮中完成了拍摄。洛杉矶的航拍是在一架载有潘那维申HSSM的直升机上进行的，HSSM装在了一个来自Nettman系统公司的Gyron接口上，格速降为11/2格每秒，费里克称之为“我最喜欢的延时拍摄格速。它对于云层的拍摄也很理想。”
Fricke (at viewfinder) films monks crafting an intricate sand mandala inside the Thiksey monastery in Ladakh, India. Assisting Fricke is J.C. Earle, who also served as Samsara’s gaffer, grip, associate producer and assistant editor.
费里克(取景器旁)在拍摄印度拉达克帝释寺中正在制作一个精美沙坛城的僧侣。协助费里克的是J.C.厄尔，他还是《轮回》的灯光师、轨道师、助理制片人以及助理剪辑师。
The cinematographer’s senses were finely tuned enough to bring more than 20 hours of footage to the editing room in Los Angeles. FotoKem in Burbank transferred the 65mm negative at
resolution on a Cintel Millennium datacine for the offline edit. Fricke, Magidson and Earle cut the film using ProRes 422 HQ media in Final Cut Studio 2 before sending their EDLs back to FotoKem, where 65mm selects were digitized at 8K on an Imagica 12K Bigfoot 65mm scanner in the first step of a post workflow modeled after Baraka’s 2008 restoration. The 8K files, at 200MB per frame, were backed up and simultaneously down rezzed to 4K for visual effects and cleanup work. According to Reyna, the only times 70mm prints were struck from the original camera negative were for the “definitive doublecheck” for vignetting and focus in selected shots.
这位摄影师的感觉经过细致的修整后足足将超过20小时的素材片带到了洛杉矶的剪辑室中。位于伯班克的FotoKem公司将65mm胶片通过一台Cintel千禧年胶转磁机[5]胶转磁成分辨率的高清剪辑素材，作为剪辑代理文件。费里克、玛吉德森和厄尔采用Pro Res 422 HQ[6]在Final Cut Studio2软件中进行粗剪，粗剪完成后，将他们的EDL文件重新送回FotoKem进行套底，类似于《天地玄黄》2008年重建过程，后期工作流程的第一步是在一台Imagica 12K Bigfoot 65mm扫描机[7]上进行65mm素材进行8K数字化处理。每幅画面200M的8K文件在备份的同事压缩到4K，用于视觉特效和清理工作。据雷纳介绍，70mm的印片来自于摄影机中拍摄的原底片，用于针对选择镜头的黑边和对焦问题进行“确认性重复验证”。
FotoKem’s Digital Film S its subsidiary, Spy P and Venice, Calif.-based Griffiti Studios used a variety of tools, including Apple’s Shake, Blackmagic Design’s DaVinci Revival and Autodesk’s Inferno, to stabilize aerial shots, smooth and paint out time-lapse artifacts, and dust-bust. Colorist John Persichetti performed the 4K digital intermediate on a FilmLight Baselight at Sony Pictures Colorworks in Culver City.
FotoKem公司的数字影片服务部、该公司的子公司SpyPost以及威尼斯的位于加州的Griffiti工作室采用了多种工具，包括苹果公司的Shake、Blackmagic Design公司的达芬奇复兴以及Autodesk公司的Inferno，它们用于航拍镜头的稳定化处理，让延时摄影的人工痕迹和尘埃变得平滑和被遮盖。调色师约翰.佩斯切蒂在位于卡尔弗的索尼电影Colorworks公司中利用一套Film Light Baselight软件处理4K数字中间片。
“Even though [this is] not an effects film, bringing the footage into a digital realm allowed us to do things we just couldn’t do in film, and when you scan at 8K all the quality of the large 65mm negative is contained in the digital file,” says Magidson. “Basically, we’ve taken a 50-year-old camera system and combined it with cutting-edge digital technology. It worked for us because of the nature of this kind of filmmaking. From the very beginning we wanted the highest quality, most beautiful images we could possibly make.”
“虽然(这)不是一部特技电影，但是将素材带到数字领域处理让我们能够做那些我们无法在胶片中做的事情，并且当你用8K扫描时所有65mm底片的所有品质都会包含在数字文件中，”玛吉德森说道。“总体来说我们采用了一套50岁的摄影系统并结合了前沿的数字技术。由于这种摄制过程的本质特点，它对我们来说是管用的。从一开始我们便需要有最好的品质以及我们能够创造出的最美影像。”
[1]5齿孔65mm：一种电影胶片的规格。比标准的35mm胶片有更高的画面质量。65mm是胶片的宽度，用来拍摄记录影像，在70mm胶片中，包括了另外5mm宽度的6条声音轨道。每一格画面占据5个齿孔的长度，一格画面的长宽比为2.20:1。在电影发展的早期便出现了65mm胶片，但是没有得到大规模使用，1952年出现了宽银幕电影Cinerama，创始人之一是Mike Todd，这种宽银幕电影采用了三台同步运转的35mm放映机形成带有弧形的银幕，这种方式虽然令人耳目一新但也存在诸多缺点，于是Todd离开这家公司并研发出一套名为“Todd-AO”的系统。这套系统采用70mm胶片，齿孔的尺寸和标准的35mm胶片一样都是4.75mm，每一格有5齿孔，画面的尺寸是宽48.56mm，高20.73mm，比例为2.2:1。其他公司特别是Panavision也研发出了可以拍摄65mm或70mm格式的设备。这里的65mm是纵向卷片的，应与横向卷片每格15齿孔的IMAX区别开。
[2]Todd-AO：上世纪50年代早期Mike Todd与美国光学公司(American Optical)合作研制的一种宽银幕格式。Todd-AO也是公司的名字。Todd-AO65mm及70mm获得了较为广泛的使用，成为其他摄影机厂商接受的标准，而此前65mm及70mm格式应用范围很有限。
[3]Dalsa Origin：Dalsa Origin是首款商用的4K数字摄影机，在2003年的拉斯维加斯NAB展会上展出，2006开始进入市场，由Dalsa公司研制。Dalsa公司在2008年撤销了生产数字摄影机的部门，而升级版的型号Origin Ⅱ目前只能通过租赁的方式获取。
[4]mo-co轨道：mo-co全称为Motion Control System，即运动控制系统，mo-co轨道是实现运动控制拍摄的轨道。mo-co借助计算机软件实现了对拍摄的精确控制，拍摄者能够按照自己的意图精确并自动地控制摄影机的拍摄过程，能够进行多种运动的拍摄，轨道移动是其中的一种。mo-co系统在特校拍摄中有重要的作用，前期拍摄时即可与电脑画面合成，预览特效制作后的效果，实现真实拍摄与虚拟画面的完美结合。
[5]Cintel千禧年胶转磁机：由Cintel公司生产的一种胶转磁机器，具有极大的灵活性，是唯一一部可以处理从8mm到65mm及70mm格式的机器。Cintel是一家位于英国的公司，研制生产电影后期处理设备。
[6]ProRes 422 HQ：苹果公司配合FinalCut引入了ProRes 422编码格式，这种格式采用4:2:2采样，10bit量化编码，HQ是指High Quality，即高质量，因此ProRes 422 HQ比ProRes 422具有更高的视频质量，码流也更高。这种编码格式采用了I-Frameonly编码方式，可变比特率编码，普通格式码率为147Mbit/s，HQ格式码率为220Mbit/s，专门用于FinalCut后期影视制作中。
[7]Imagica 12K Bigfoot 65mm扫描机：Imagica是日本的一家后期制作公司，12K Bigfoot 65mm扫描机以12K分辨率扫描65mm底片，其中Bigfoot是昵称，原本的名字是XE。
友情链接：
中国影视摄影师学会
地址：北京电影学院逸夫楼G楼
摄影师语录
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