Fantastic fun guy, features super satisfying time lapse footage that was filmed over the course of 15 years by this pioneering artist.

妙趣橫生的傢伙，具有超級令人滿意的延時鏡頭，是由這位先鋒藝術家在15年中拍攝的。

My name is Louie Schwartzberg.

我的名字是路易-施瓦茨堡。

I'm a filmmaker and I love to take audiences on journeys through time and scale and that, that's a real rush.

我是一個電影製片人，我喜歡帶領觀眾進行穿越時間和規模的旅行，那，那是一種真正的衝動。

Let's go behind the scenes and find out how these time lapses were made for fantastic fun guy.

讓我們走到幕後，看看這些時間片段是如何被製作成奇妙的有趣的傢伙。

Well, I think the biggest surprise for people watching the film is they think that it's all filmed outdoors and there's a lot of reasons why you can't film time lapse of plants and fungi outdoors.

好吧，我認為人們在觀看影片時最大的驚訝是他們認為這都是在戶外拍攝的，而有很多原因導致你不能在戶外拍攝植物和真菌的延時攝影。

Number one, there's wind, which would make the object shake and rattle and looked like a charlie Chaplin movie.

第一，有風，這將使該物體搖晃和響動，看起來像查理-卓別林的電影。

Number two, there are bugs and other elements that would interfere with the filming.

第二，有蟲子和其他會干擾拍攝的因素。

The light has to be constant.

光線必須是恆定的。

You know, even during the day to like fluctuates.

你知道，即使在白天到喜歡波動。

So I built the studio on top of my garage.

所以我把工作室建在我的車庫上面。

If I was shooting one frame every 15 minutes, that means I'm shooting for frames of our times.

如果我每15分鐘拍攝一幀，這意味著我在拍攝我們的時間的框架。

24 is 96 frames, 96 frames is four seconds of film.

24是96幀，96幀是4秒的膠片。

So the way it works is I have somebody build an interval ah meter for me.

是以，它的工作方式是我讓別人為我建立一個間隔啊表。

Interferometer means it triggers the camera one frame at a time.

干涉器意味著它每次都會觸發相機的一個幀。

There you go.

你去吧。

In 24 hours.

在24小時內。

We'll have one second of film.

我們將有一秒鐘的影片。

It also triggers the grow lights to come on and off and the photo lights and the photo lights is the beauty light, the gorgeous tabletop cinematography lighting.

它還能觸發生長燈的開關和照片燈，而照片燈就是美容燈，華麗的桌面電影攝影照明。

The grow lights are these sort of led lights that are kind of weird and pink.

種植燈是這種LED燈，有點奇怪，是粉紅色的。

I think they were developed for people growing cannabis and I'm able to program the grow lights to be like sunrise and sunset.

我認為它們是為種植大麻的人開發的，我能夠將種植燈編程為像日出和日落一樣。

If I leave the girl lights on 24 hours they die.

如果我讓女孩的燈24小時開著，她們就會死掉。

I set up shots in the morning.

我在早上設置了鏡頭。

I check them at night.

我在晚上檢查它們。

I realized I've turned it into a spiritual practice.

我意識到我已經把它變成了一種精神實踐。

It actually literally gets me up in the morning because as soon as I'm out of bed, I'm thinking, oh, I wonder what the flower did last night.

它實際上在早上讓我起床，因為我一下床就在想，哦，我想知道這朵花昨晚做了什麼。

Is it still in frame?

它還在框架內嗎？

Is it in focus?

它是在焦點上嗎？

I have to imagine what the framing and composition is gonna look like tomorrow or two days from now or a week from now.

我必須想象明天或兩天後或一週後的取景和構圖會是什麼樣子。

And that is a transformational experience because you have to put your mind into the mindset and the intention of the flower or the fungi thinking where it's going to grow, how big will it get And if you're right boy, it's a rush.

那是一種轉變的經驗，因為你必須把你的心思放在花或真菌的心態和意圖上，思考它將在哪裡生長，它將變得多大。

And if you're wrong, it means you just got to do it all over again, louis and his team consulted mike.

如果你錯了，這意味著你只需要重新做一遍，路易斯和他的團隊諮詢了麥克。

Ologists, fungi experts on how to grow mushrooms in an environment free from bacteria and bugs for the film, but which was the most photogenic fungus.

Ologists，真菌專家對如何在沒有細菌和蟲子的環境中種植蘑菇進行了拍攝，但哪個是最上鏡的真菌。

Lion's mane have these little kind of tiny tentacles that would emerge and they would wiggle And this really beautiful wave like pattern, I'd say roughly, you know, the ratio of success to failure.

獅鬃有這些小小的觸角，它們會冒出來，它們會扭動，這種真正美麗的波浪狀的圖案，我說大致上，你知道，成功和失敗的比例。

It's roughly about one out of six, maybe one out of 10.

大概是六分之一，也許是十分之一。

It's extremely difficult to do when I'm shooting at the close up of the fungi growing.

當我在拍攝真菌生長的特寫時，這是極難做到的。

We create a miniature set moss and logs and rocks.

我們創造了一個微型的套裝苔蘚和原木及岩石。

Time lapse, macro cinematography.

延時攝影，微距電影攝影。

Your depth of field is very shallow.

你的景深是非常淺的。

We use macro lenses, 100 millimeter cannon, 180 millimeter canon and a 35 millimeter micro lens.

我們使用微距鏡頭、100毫米大炮、180毫米大炮和35毫米微距鏡頭。

So naturally audience won't be focusing on the background.

所以觀眾自然不會把注意力放在背景上。

If I'm doing a more of a master shot where we use for example, motion control, we will put up a blue screen and then we will composite in a sky or a forest to really make it believable to be able to move.

如果我在做一個更多的主鏡頭，我們使用例如運動控制，我們會放一個藍屏，然後我們會合成一個天空或森林，以真正使它可信，能夠移動。

The camera was something that was impossible to do in special effects prior to motion control cinematography.

攝影機是在運動控制電影攝影之前，在特效方面不可能做到的。

So with motion control data cameras and combined it with computers to do a repeat move meaning it shoots one frame, it stops, shoots another frame and stops.

是以，用運動控制數據攝影機，並把它與計算機結合起來，做一個重複的動作，意味著它拍攝一幀，它停止，拍攝另一幀並停止。

And you have this controlled dolly move while the mushroom is growing basically it's dolly track and a tripod head that now has little motors on it that enables the computer to program a pan a tilt and the length of the move on the dolly as well as control the camera and focus all these things have to be working together as if it was a real time shot.

在蘑菇生長的過程中，你有一個可控的鍛模移動，基本上是鍛模軌道和一個三腳架頭，現在上面有一些小電機，使計算機能夠在鍛模上編程平移、傾斜和移動的長度，以及控制攝影機和聚焦，所有這些東西必須一起工作，就像實時拍攝一樣。

But one critical component of the fungi story was impossible to film using traditional techniques.

但真菌故事的一個關鍵部分是不可能用傳統技術拍攝的。

The mycelium is like the tree and the mushroom is like the apple to the tree.

菌絲體就像樹，而蘑菇就像樹上的蘋果。

The mycelium, an underground route like system that branches out kind of like the internet connecting plants and trees to each other.

菌絲體，一個類似於地下路線的系統，其分支有點像連接植物和樹木的互聯網。

You got a couple of problems here.

你這裡有幾個問題。

A no light be smaller than the eye can see.

一個沒有光的地方要比眼睛能看到的小。

It's only one cell thick.

它只有一個細胞的厚度。

So what we did was we use scanning electron microscopic photography for the electron microscope to work.

所以我們所做的是我們使用掃描電子顯微鏡攝影，讓電子顯微鏡發揮作用。

They work in a lab on a giant slab of concrete because any vibration would ruin the shot.

他們在實驗室裡的一塊巨大的混凝土板上工作，因為任何振動都會破壞拍攝效果。

You take the specimen and you put it under the microscope and you bombarded with electrons and you get most extraordinary close of detail that is unimaginable to the human eye.

你把標本放在顯微鏡下，用電子轟擊，你會得到最非凡的近距離的細節，這是人眼無法想象的。

And we use those images as a reference for computer generated animators to use and we created these incredible shots of traveling through the mycelium network.

而我們用這些影像作為計算機生成的動畫師的參考，我們創造了這些不可思議的穿越菌絲網絡的鏡頭。

Throughout his career, Louis has pushed the envelope of our visual language, both in terms of tech and artistry.

在他的職業生涯中，路易斯在技術和藝術方面都推動了我們視覺語言的發展。

He also pioneered the stock footage industry.

他還開創了電影膠片行業。

The company he formed to license his vast library of clips was eventually bought by Getty Images.

他為授權其龐大的剪輯庫而成立的公司最終被蓋蒂圖片社收購。

I started shooting time lapse four decades ago by looking at time lapse clouds back in 1970 when I pioneered the 1st 35 millimeter cameras that could go outdoors and shoot one frame at a time shooting fungi and flowers and plants.

四十年前，我開始拍攝延時攝影，早在1970年，我就開始觀察延時雲，當時我率先推出了第一臺35毫米相機，可以到戶外拍攝，每次拍攝一幀，拍攝真菌和花草。

I basically have a camera rolling 24 hours a day, seven days a week from commercials to imax two feature films.

我基本上每天24小時、每週7天都有一臺攝影機在轉動，從廣告到IMAX兩部劇情片。

It's impossible to not have seen the work of Louie Schwartzberg at some point in your life.

在你的生活中，不可能沒有見過路易-施瓦茨堡的作品。

I love to film hummingbirds again.

我喜歡再拍蜂鳥。

Looking at life from their point of view enables you to realize that all of life has a different metabolic rate and I think all of life has a different frame rate.

從他們的角度看生活，使你能夠意識到所有的生命都有不同的新陳代謝率，我認為所有的生命都有不同的幀率。

So, for example, a mosquito on your arm, you know, having a little drop of blood, takes a look at that hand coming towards it in ultra slow motion and has plenty of time to take off because its metabolic rate.

是以，例如，你手臂上的一隻蚊子，你知道，有一滴血，以超慢動作看了看向它走來的那隻手，有足夠的時間起飛，因為它的新陳代謝速度。

It's lifespan is way shorter than our lifespan and our lifespan is way shorter than the redwood trees lifespan.

它的壽命比我們的壽命短得多，我們的壽命也比紅木樹的壽命短得多。

This reality of, you know, real time.

這種現實的，你知道的，真實的時間。

Human point of view is not the only point of view and that's really the beauty of cameras and time lapse cinematography.

人類的觀點並不是唯一的觀點，這確實是攝影機和延時攝影的魅力所在。

It's actually a time machine.

它實際上是一臺時間機器。

And you know, you can talk about this stuff in scientific terms, You get to have Einstein explained the theory of relativity, but until you see it, you really don't get it.

你知道，你可以用科學術語談論這些東西，你可以讓愛因斯坦解釋相對論，但直到你看到它，你真的不明白。

The longest thing I've ever shot was a mouse rotting.

我拍攝過的最長的東西是一隻正在腐爛的老鼠。

You can say that decomposition is the end of life.

你可以說，分解是生命的終結。

I argued that it's the beginning of life.

我認為，這是生命的開始。

You see this kind of rippling of the for and then that kind of dissipates.

你看到這種漣漪，然後這種漣漪就消散了。

And then you see some bones and then you see the grass grow up in between to observe the pattern and the rhythm of how it decomposes is actually really beautiful Louise.

然後你看到一些骨頭，然後你看到草在中間生長起來，觀察它如何分解的模式和節奏，實際上是非常美麗的路易斯。

Art has given him a unique perspective on nature time and the nature of time.

藝術讓他對自然時間和時間的本質有了獨特的看法。

What I'm really engaged with is really trying to understand the intelligence of nature and how we can live in harmony with it.

我真正從事的是真正試圖瞭解大自然的智慧，以及我們如何能夠與它和諧相處。

And that means at times using time lapse camera to be able to observe it in their time frame.

而這意味著有時會使用延時攝影機，以便能夠在他們的時間範圍內觀察。

It's a shared economy under the ground where nutrients and food are shared for ecosystems to flourish without greed.

這是一個地下的共享經濟，養分和食物被共享，使生態系統在沒有貪婪的情況下蓬勃發展。

And I personally believe that should be the model for how we should live our lives.

而且我個人認為這應該是我們應該如何生活的模式。

We should take that wisdom from below the ground and bring it above the ground.

我們應該把這種智慧從地底下拿出來，帶到地上。

Yeah.

是的。