You merely adopted the dark.

你只是適應了黑暗。

I was born in it, molded by it.

我出生在其中，由它形塑。

That's my impression of Bane in 2012's "The Dark Knight Rises" when he's chastising Batman for using the dark to his advantage.

這是我模仿 2012 年《黑暗騎士：黎明昇起》中的班恩，他當時利用黑暗作為優勢譴責蝙蝠俠。

Now, my impression sucks, but there's arguably no character more associated with movie darkness than Batman.

我的模仿很爛，但是可以說沒有任何一個角色比蝙蝠俠更與電影中黑暗有所連結。

With 13 on-screen appearances across nearly 60 years, Batman is one of the longest-running franchises.

近 60 年的時間裡在銀幕上出現了 13 次的蝙蝠俠是持續時間最長的系列電影之一。

And when you take films from across different eras and compress them into one big barcode-looking thing,

而當你把不同時代的電影放在一起，並將它們壓縮成一個大型條碼樣貌的東西時，

they can serve as a sort of proxy for a story about the darkening of movies and TV in general.

它們可以作為一種關於所有電影和電視節目逐漸變暗的代表故事。

In the 1960s, "Batman" movies burst with color and brightness, but by 2022's "The Batman"...

在 1960 年代，《蝙蝠俠》系列電影充滿了色彩和亮度，但到了 2022 年的《蝙蝠俠》⋯⋯

I mean, just look at it.

我是說，看就知道了。

It's a movie that lives and breathes darkness.

這是一部視黑暗為生命的電影。

So much darkness that some audience members have complained that it's almost too dark.

它的黑暗成分多到一些觀眾抱怨幾乎是太暗了。

You can see the same pattern in the "Harry Potter" films and in "Game of Thrones" and the "Spider-Man" franchises.

你可以在《哈利波特》系列電影、《權力遊戲》和《蜘蛛俠》系列電影中看到同樣模式。

So, yeah, it's not just you complaining.

所以，是的，不是只有你在抱怨。

Movies and TV shows are getting darker, and there are a few reasons why.

電影和電視節目變得越來越暗的原因有幾個。

Check out this graph by Stephen Follows, a data researcher for the film industry.

請看電影業數據研究員 Stephen Follows 製作的圖表。

He charted the top 100 grossing films in the US from 2000 to 2015 and what type of camera they were shot on.

他繪製了 2000 年至 2015 年美國票房前 100 名電影以及其用於拍攝的攝影機類型。

This point here, it's where movies flipped from film to digital.

這個時間點是電影從膠片轉換到數位的地方。

And this shift from film to digital is part of the reason for this shift.

而這種從膠片到數位的轉變是這個轉變的部分原因。

The biggest difference between shooting dark scenes on film versus digital is not knowing exactly what you have.

用膠片和數位手法拍攝黑暗場景的最大區別用在於不知道你到底拍了什麼。

My name is Brett Jutkiewicz, I'm a cinematographer.

我的名字是 Brett Jutkiewicz，我是電影攝影師。

Some of my recent work includes "Ready or Not", "The Black Phone", "Scream", and "Stranger Things" season four.

我近期的一些作品包括《弒婚遊戲》、《闇黑電話》、《驚聲尖叫》和《怪奇物語》第四季。

When shooting a movie on film, there is way less room for error and way more opportunities to make mistakes.

當用膠片拍攝電影時，少了更多犯錯的空間，卻多了很多犯錯的機會。

For one, there are no monitors that'll show filmmakers exactly what a shot is gonna look like before they're recorded.

首先，沒有螢幕可以讓電影製作人準確地知道畫面在錄製前會是什麼狀態。

There are video taps for film cameras, but they're really just a reference for framing.

膠片攝影機有影像輔助，但它們其實只是框架的參考。

It's really not representative of how the image will actually look.

對於實際影像如何不完全具有代表性。

It's using a light meter and measuring the light in the scene and trusting that you're getting what you want.

它利用測光表和測量場景中的光線以及相信自己可以得到你想要的畫面。

If you do shoot a dark scene on film, there isn't much room to correct it later because the information in the darkest parts of the image is essentially lost.

如果你真的用膠片拍攝一個黑暗場景，之後沒有什麼矯正空間，因為影像最黑暗的部分基本上已經喪失了。

The overall image just becomes grainier.

整體影像只會變得更有顆粒感。

And in Hollywood, there's little room for error.

而在好萊塢，幾乎沒有出錯的餘地。

You really can't do a scene again.

你真的不能重新拍攝一個場景。

Just paying for the day, the location, there's really no room for going back and redoing something if it comes out too dark or if it's not exactly what you want.

只支付一天的場地費，如果一個畫面拍得太黑或是不完全是你想要的，也真的沒辦法再回頭重拍。

Take a look at these two shots.

看看這兩個拍攝畫面。

This one from 2002's "Spider-Man" was shot on film.

這張截取自 2002 年《蜘蛛人》的畫面是用膠片拍的。

This one from 2012's "The Amazing Spider-Man" was shot on digital.

這張截取自 2012 年《蜘蛛人：驚奇再起》的畫面則是用數位拍攝。

See how much brighter Spider Man and Mary Jane's faces are?

看看蜘蛛俠和瑪莉珍的臉亮了多少？

With film, the safest bet is to shoot with plenty of light, even if scenes are meant to be dark.

用膠片時，最安全的做法是在光線充足的情況下拍攝，即使場景應該是黑暗的。

Shooting digitally allows you to take more chances with darkness because digital shoots usually have high-quality digital monitors.

用數位方式拍攝讓你可以做出與明暗相關的大膽嘗試，因為數位拍攝通常備有高畫質數位監視器。

The way that it allows people to see the image as it will be when it's finished lends itself to taking more risks.

它允許人們看到影像拍攝完成後的樣貌，所以可以承擔更多風險。

Plus, digital cameras are generally more sensitive to light.

另外，數位攝影機一般對光線更敏感。

They do capture more into the highlights and more into the shadows than a film stock can.

他們確實會捕捉更多亮點並比電影膠片更容易捕捉陰影。

Digital cameras, like the one we're using to film this right now, shoot in what's called a "log format".

像是我們現在用來拍攝這部影片的數位攝影機是以所謂「日誌格式」拍攝。

This, essentially, is when the camera sensor is capturing a really flat, grayish image in order to preserve information in the highlights and the shadows.

這基本上表示攝影機傳感器捕捉到一個非常平坦、灰暗的影像，以便保留光、影中的資訊。

Once you bring that footage into a color-grading software, you have tons of room to push that footage around.

一但你將那個畫面丟入調色軟體，就會有很多調整影像的空間。

And, instead of losing detail in the darkest parts of the image, like you would with film, you can push it way brighter and still retain that detail.

所以與其像是膠片拍攝一樣失去畫面最暗處的細節，你可以將它調得更亮、保留更多細節。

And the overall image doesn't get super grainy, either.

而且整體畫面也不會很有顆粒感。

Now, I know what you're thinking.

我知道你現在在想什麼。

Lots of very successful dark scenes have been shot on film, from "The Godfather" to "The Dark Knight" to "Euphoria".

很多非常成功的黑暗場景都是用膠片拍攝的，包括《教父》、《黑暗騎士》和《極樂世界》。

It's not impossible to do dark scenes on film; it's just harder and riskier.

在膠片拍攝黑暗場景並不是不可能，只是難度、風險都更高。

Regardless of film or digital, shooting dark scenes is always a balance between information and artistic intentions.

不論是膠片還是數位，拍攝黑暗場景一直都是資訊和藝術意圖間的平衡。

There was an episode in "Severance".

影集《人生切割術》有一集節目。

There's shots in that sequence where you really are only seeing just a sliver of his face and this sea of darkness.

那系列中有很多個畫面是你只能在一片黑暗中窺見角色臉部輪廓的一小部分。

And watching it, I was struck by it.

我觀看時受到衝擊了。

There's instances where you really want to focus on one thing in the frame, and using darkness as (a) tool to kind of guide the eye in that way.

有一些狀況是你真的想要聚焦在畫面中的一個物件上，而進而利用黑暗作為引導視線的工具。

Darkness only feels like a problem when it feels like we're missing out on visual information that we think we're supposed to see.

只有在我們覺得錯過了應該看到的影像資訊時，黑暗才會感覺像是個問題。

It's tricky because at the same time as you want to create a mood and a feeling for the audience,

這很棘手，因為在你想要為觀眾營造氛圍和感受的同時，

you don't want to also get in the way of them enjoying the show.

你也不想妨礙他們享受節目的過程。

It's a balance.

這是一種平衡。

Filmmakers are using the best screens the world has to offer in perfectly dark rooms when tweaking the brightness of the content that we're all watching.

電影製片人使用全球最好的螢幕，在完全黑暗的房間裡調整我們觀看內容的亮度。

So, filmmakers choose to make something look right on the best screen,

所以說，製片人會選擇在最好的畫面上呈現最完美的畫面，

and they expect that vision to trickle down to whatever screen you end up watching it on later on down the line.

然後他們預期這個畫面可以延續到你最終觀看的任何螢幕。

It's impossible to know how people are going to watch it in the end.

你不可能知道人們未來會如何觀看它。

And if you make it look good on a low-quality television, then when people are in the theater, it's not gonna look right for them.

如果你讓它在低畫質的電視上完美呈現，那當人們在電影院時，觀看的畫面就不對了。

So, yes, what you're watching is dark, but it's also exactly what the filmmaker wanted you to see.

所以，是的，你看到的是黑暗的畫面，但那也正是製片人想讓你看到的。

There's hope that movie darkness is still evolving for the better.

還是有一個希望，電影的黑暗正往好的方向演化。

"Ad Astra" and "Nope" were filmed using regular cameras and infrared cameras.

《星際救援》和《不！》都是用普通攝影機和紅外線攝影機拍攝的。

Infrared cameras allow filmmakers to essentially steal light from the sections of the light spectrum that are invisible to the human eye.

紅外線攝影機讓製片人基本上能夠竊取光譜中人眼不可見的光線。

It also creates a black sky, which is useful for compositing.

它還可以創造一個黑色的天空，對合成很有用。

When blending the two images together, it can produce a darkness that allows you to peer much deeper into the dark expanse than normal movie darkness would.

當把兩個影像混合在一起時，它可以產生比一般電影黑暗更能讓你窺探廣袤黑暗空間的黑暗感。