I love the way the suit ripples in the wind. I love the crazy angles. I love the music.

我喜歡這套衣服在風中盪漾的樣子。我喜歡這些瘋狂的角度。我喜歡這些音效。

And how Andrew Garfield's Spider Man waits until the absolute last second before shooting a web.

以及由Andrew Garfield所扮演的蜘蛛人是如何靜待好時機並恰好在最後一秒前射出蛛網。

It's the epitome of Spider Man .

這是蜘蛛人常見的形象。

But of course, we're not really seeing Andrew Garfield here.

但很顯然，Andrew Garfield並沒有真正出現在這一幕當中。

This is a "digidouble," a fully digital version of the character.

它其實是「數位替身」，是用全數位的方式來表現該角色。

In fact, this whole scene is digital.

事實上，這整個場景都是數位的。

Obviously, right?

一看就知道，對嗎？

A real person couldn't do this.

真人是不可能做到的。

Digital doubles aren't just used for impossible action sequences, though.

不過，數位替身不只用於難以真正實現的動作場景。

Take these three clips of Spider Man.

以蜘蛛人的這三個片段為例。

First is from the original Spider Man from 2002.

首先是來自2002年的《蜘蛛人》原作。

Second is Spidey's first appearance in the MCU in 2016's "Captain America: Civil War."

其次是蜘蛛人於2016年的《美國隊長：英雄內戰》中首次出現在漫威宇宙裡。

Third is Spidey surrounded by drones in the Illusion sequence in 2019's "Far From Home."

第三個是2019年《蜘蛛人：離家日》裡蜘蛛人在一段假影片中被無人機包圍的片段。

Can you guess which on is filmed with an actor and which one is a digidouble?

你能猜到哪個是以真身拍攝的，而哪個又是數位替身嗎？

Okay, it's kind of a trick question.

好吧，這個問題還滿讓人頭痛的。

None of these are real people.

這些片段都不是用真身。

They're all digidoubles.

他們都是數位替身。

In fact, a ton of superheroes are just digital replacements, even in the most mundane scenes.

事實上，就算是在最普通的場景中，一堆的超級英雄也都只是數位替身的替代品。

But, why?

但為什麼呢？

Superhero movies and digidoubles have always paired well together.

超級英雄電影和數位替身總是相得益彰。

And not just because of the stunts.

而不只是因為其中的特技表演。

It's because of the costumes and the masks.

是因為服裝和面具的關係。

Now might be time to admit that I'm a little bit of a Spider Man fan.

現在該是我承認自己是一個小蜘蛛人粉的時候了。

Anyway, replicating a fabric or metallic costume is way easier than replicating skin or a human face, which gives the effects artists a lot of leeway.

總之，複製一個織物或金屬的服裝比複製皮膚或人臉容易許多，這給了特效師很多的發揮空間。

They can mix real and digital elements for maximum realism.

他們可以虛實混合以獲得最大的真實感。

Like keeping a bit of an actor's face and replacing everything else digitally, like in this scene from "Spider Man."

比如保留一點演員的臉，然後把其他部分都用數位來替換掉，就像《蜘蛛人》中的這個場景。

Or maybe they just replace everything from the neck down, like with Iron Man, and then they add a digidouble of War Machine next to him.

或者他們把脖子以下的所有東西都替換，就像鋼鐵俠那樣，然後在旁邊加了一個戰爭機器的數位替身。

Or maybe they'll just replace everything from the ankle down to create toes worthy of a super soldier.

又也許，他們會直接替換掉腳踝以下的所有東西，創造出能配得上超級戰士的腳趾。

Okay, that one is a little less common, but more often than not, they'll cut from a real actor on film to a digital recreation without too much friction.

好啦，那個比較不常見，但更多時候他們會將真實的演員的從影片中剪輯出來，然後順暢地加到數位場景中。

And, while some of these digital replacements are planned from the beginning, sometimes they're not.

雖然其中一些數位替換從一開始就計劃好了，但有時也不全然如此。

Which is what happened with Spider Man's first appearance in the MCU.

這就是蜘蛛人首次在漫威宇宙裡出現的情況。

He was a digidouble in every shot.

每個鏡頭他都是用數位替身。

Both when he's swinging around Giantman's legs and when he's just standing there, talking.

包括當他在蟻人的腿上盪來盪去時，以及當他只是站在那裡說話時都是如此。

That's because he almost wasn't in "Captain America: Civil War" due to lengthy negotiations between Sony and Marvel about how to share the web-slinger.

那是由於漫威和索尼對於蜘蛛人版權歸屬漫長的協商，而導致在《美國隊長：英雄內戰》中幾乎看不到蜘蛛人的身影。

Tom Holland wasn't even cast until June of 2015, a month after filming began.

Tom Holland 甚至在2015年6月，開拍後的一個月，才被選中。

So once he was confirmed, there was a huge rush to get him in the movie, as Holland explains on "Live with Kelly and Ryan."

所以一旦他獲得角色，就要爭分奪秒地將他製作在電影中，正如Holland在《凱莉和瑞恩直播秀》中說的那樣。

The suits typically take 10 to 15 weeks to make, right, and they didn't have enough time to make one for me.

套裝通常需要10到15周的時間來製作，對嗎？但他們沒有足夠的時間為我做一套出來。

So, I was gonna wear my stunt double's one.

所以我要穿上我的特技替身的衣服。

What he ended up wearing on set, which you can see in this behind-the-scenes footage, was not finalized by the costume department, which is where the digidouble comes in.

在這個幕後花絮中，你可以看到他最後在片場所穿的並不是服裝部門所訂定的最終版，而這時數位替換就派上用場了。

VFX artists changed his entire costume in post; none of the final version is real fabric.

視覺特效師在後製改變了他整個服裝；最終版本用的都不是真正的布料。

And it's different from the suit worn on set, too.

而且它與片場時穿的衣服也不同。

You can see that the spider symbol on the chest is refined and the webbing across the body isn't raised like previous renditions of the suit.

你可以看到，胸前的蜘蛛符號做得很細緻，而且衣服各處的蛛絲也不像先前版本那樣是突起的。

It's stitched in and more subtle.

它被縫進服裝中而且細節更精緻。

Holland did some motion capture for the scenes, but that was just the base of the digital double.

Holland為這些場景做了一些動作捕捉，但這只是作為數位替身的基礎。

Animators had to clean it up and push it further with the new digital suit.

動畫師們要把它修乾淨，並用數位套裝來進一步製作這個鏡頭。

Animators like, kind of, take things and they like to exaggerate movement.

動畫師有點喜歡把動作變得更誇張一些。

And sometimes, it's what feels right, you know, not what is right, especially for superheroes.

而有時，特別是對超級英雄來說，這就是感覺上正確的作法，這不是實際上正確的做法。

You may want more exaggerated movement that a human cannot do.

你可能想要常人無法做到的更誇張一些的動作。

Lon Molnar is the Co-president of the VFX company──Monsters Aliens Robots and Zombies.

Lon Molnar是視覺特效公司Monsters Aliens Robots 和 Zombies的聯合總裁。

They worked on full CG versions of "Vision" and "Moonknight," as well as de-aging for the villains in "Spider-Man: No Way Home."

他們參與了《幻視》和《月光騎士》的全CG版本製作，並且為《蜘蛛俠：無家日》中的反派人物減齡。

Hello, Peter.

Peter，你好啊。

Even when motion capture is involved, VFX artists still consider characters to be digidoubles.

即使過程中有包含動作捕捉，視覺特效師們仍認為角色是數位替身。

In our sense, in our world, it is a digidouble still, because you're recreating everything digitally.

在我們的認定上，我們的世界中，它仍然是一個數位替身，因為你在用數位的方式重新創造一切。

You're relighting the suit, you're re-composing, you're erasing the main performance.

你在重新製作衣服，你在重新構圖，你在抹去原本的表演。

Everything in the shot is taken over by us.

鏡頭裡的一切都被我們接管了。

Costume issues come up all the time.

服裝問題不斷出現。

The timesuits from "Avengers: Endgame" weren't finalized until after everything was shot.

直到一切拍攝完畢後才真正確定《復仇者聯盟：終局之戰》中的時空旅行衣。

Neither was the integrated suit from "No Way Home."

《蜘蛛人：無家日》中也是如此。

That's all iterating, iterating.

就是一直反覆，一直反覆。

Marvel loves to iterate, and tweaks after the fact just make it look more superheroish, right?

漫威喜歡反覆調整，只是為了讓它看起來更像超級英雄，對嗎？

And looking superheroish is another big reason for digidoubles.

而看起來像超級英雄的樣子是數位替換的另一個重要原因。

As an animator myself, one of the things, traditionally, that you learn is how strong posing is really important, that silhouette.

作為一個動畫師一直以來所學到的東西之一是擺姿勢，也就是輪廓呈現的樣子，是很重要的。

In this scene from "Civil War" where Black Panther is also always a digidouble, you can see how, in the final version, the hands are moved out so that they don't blend into the body, and the body position is more upright.

在《美國隊長：英雄內戰》的這一幕中，黑豹也一直使用數位替身，在最終版本中你可以看到它是怎麼突出手的部分讓它看起來不會和身體合而為一，而身體也站得更筆直。

Digidoubles are even used to make superheroes look more like comic-book superheroes, as the VFX team on the first Iron Man describe.

根據第一部《鋼鐵俠》視覺特效團隊的描述，數位替身甚至被用來讓超級英雄看起來更像漫畫中的超級英雄。

We try to get what we've been calling a "Marvel moment," which is, sort of, you know...

我們試圖創造被稱為「漫威驚奇時刻」的畫面，也就是你知道的……

Here, where he's really flying through the air, he's got his fist up.

像在這裡，他真的飛到空中，然後把拳頭舉起來。

They're trying to match maybe a comic book image, so the fans just...

他們試著要和漫畫書中的形象一致，所以粉絲們就會……

Their heads explode and say,"That's that shot!"

他們整個被震撼到，然後會說：「就是那個鏡頭！」

And, you know they want it to be perfect.

而你知道粉絲他們想要完美。

And with a full CG replacement, they can... they can... they can hit that.

所以如果有一個完整的CG來替換，就可以，就能達到這個目標。

Integrating digidoubles seamlessly can convince audiences that a regular human is super.

完美地將數位替身融入畫面裡，可以讓觀眾相信一個普通人也能是一個超級英雄。

That means that these live-action films are often way more animated than we give them credit for.

這意味著，這些 「真人 」電影往往比我們所認為的更具有動畫性。

According to the DVD extras on the film, 96% of all the shots making up "Avengers: Infinity War" had some kind of VFX.

根據《復仇者聯盟：無限之戰》的DVD光碟，96%的鏡頭都有某種視覺特效組成。

That's fairly common for Marvel.

這對漫威來說相當常見。

All of their movies have thousands and thousands of VFX shots, and those often include digidoubles.

他們所有的電影都有數以千計的視覺特效鏡頭，而這些鏡頭往往包括數位替身。

This gives filmmakers the space and flexibility to get things exactly how they want them.

這給了電影製作人更多空間和靈活性，讓他們能夠準確地獲得他們想要的東西。

With Marvel, they're making it a tool in the toolbox to allow them to get over some of these challenges because they know that VFX companies can make things look so real.

漫威正在把這當作一種能使他們能夠克服一些挑戰的工具，因為他們知道視覺特效公司可以讓一切看起來跟真的沒兩樣。

So, it's a great tool for them to have full confidence in.

所以，這是一個讓他們充滿信心的不容小覷的工具。