One of the things that we specialize in is creating tattoos for film and television.

我們擅長的事情之一是為電影和電視創作紋身。

It's sort of started back on a film called Pearl Harbor, we decided to create tattoos that looked like scratches and bruises and wounds and so on that film, we created burns and scratches that could be applied to the actors every single day that looked the same.

這可以追溯到一部名為《珍珠港》的電影，我們決定創造看起來像劃痕、瘀傷和傷口的紋身，所以在那部電影中，我們創造了燒傷和劃痕，可以每天應用在演員身上，看起來都一樣。

And from there, the company progressed into doing more graphical work that you've seen in Triple X Prison Break bullet, Train and Aquaman.

從那以後，該公司進展到做更多的圖形工作，你在《三國演義》的《越獄》子彈、《火車》和《水鬼》中都看到過。

We've specialized in coming up with methods of covering people's bodies with tattoos.

我們已經專門想出了用紋身覆蓋人們身體的方法。

I never knew fake tattoos would be a job.

我從來不知道假紋身會是一份工作。

So when I was originally contacted to do this, I was floored by the fact that you could make a living doing it.

是以，當我最初被聯繫來做這件事時，我被你可以以此為生的事實所震驚。

I have no tattoos, but I'm a huge fan of the tattoo culture, so being able to emulate that in any way is something that I'm really excited about doing.

我沒有紋身，但我是紋身文化的超級粉絲，所以能夠以任何方式模仿它是我非常興奮的事情。

We usually start with backstory, The script can explain a little bit about the character what they are presently, but not necessarily give you a back story from where they came from and who they are tattoos are a process.

我們通常從背景故事開始，劇本可以解釋一點關於人物目前的情況，但不一定給你一個背景故事，從他們來自哪裡，他們是誰，紋身是一個過程。

They're usually gathered over time.

它們通常是隨著時間的推移而收集的。

They're adding to them constantly different experiences in life, dictate the type of tattoo, different places you got them will dictate what the tattoos look like because it's not just about drawing a design, it's about supporting that character and explaining to the audience in a very brief moment who this person is.

他們在不斷給他們添加不同的生活經歷，決定了紋身的類型，你得到的不同地方會決定紋身的樣子，因為這不僅僅是畫一個設計，而是支持這個角色，在一個非常簡短的時刻向觀眾解釋這個人是誰。

You want to work in broad strokes with what we're creating because it's that mass of imagery that's really going to read most on camera.

你想用大筆畫來創作，因為大量的影像才是真正能在相機上讀到的。

It's not so much these finite details that are never really the shot.

與其說是這些有限的細節，不如說是從來沒有真正意義上的拍攝。

And a lot of times we don't have as much time as people do in their lifetime to think about what kind of tattoo they want.

而很多時候，我們沒有人們一生中那麼多時間來考慮他們想要什麼樣的紋身。

We're doing what people will take years to decide on and we're trying to put that into two weeks if we're lucky if we're lucky.

我們正在做人們要花幾年時間才能決定的事情，如果幸運的話，我們正試圖把它放到兩週內。

So the next phase really would be the design process.

是以，下一個階段實際上是設計過程。

We'll start with sketches, we'll start with inspiration boards.

我們會從草圖開始，我們會從靈感板開始。

We start with photographs of the actor.

我們從演員的照片開始。

We'll do some broad stroke imagery.

我們會做一些大筆的想象。

And that also gives us an idea on how we're going to chop up this tattoo in the long run because we're always thinking that he's got to apply it when it comes down to it.

這也給了我們一個想法，從長遠來看，我們要如何砍掉這個紋身，因為我們總是在想，當事情發展到這一步時，他必須要應用它。

Yeah, so it's like you've got to make this functional.

是的，所以就像你必須使這個功能。

You know, the best way we've described it over the years is it's taking a flat two D.

你知道，多年來我們描述它的最佳方式是它在採取平坦的兩個D。

Image and wrapping it around a basketball.

影像，並將其包裹在一個籃球上。

Like how do you do that if you're a muscular fella or a woman and you've got a lot of bumps in your arms.

如果你是一個肌肉發達的男人或女人，而且你的手臂上有很多凸起，你怎麼做呢？

It's gonna make it difficult for that paper to start to hug that we like soft people, soft, shapeless human beings are the best wonderful and once we finalize that we can decide on how this is going to be applied on a daily basis.

這將使那份文件很難開始擁抱，我們喜歡柔軟的人，柔軟的、沒有形狀的人是最好的美妙，一旦我們最終確定，我們就可以決定這將如何在日常中應用。

We usually start that with getting the actor in and doing what we call a pattern cast, which is a three dimensional wrap of the actor.

我們通常從讓演員進來開始，做一個我們稱之為模式化的演員，也就是對演員進行三維包裹。

So we can create our two dimensional imagery from that knowing that it'll wrap back around that individual's body.

是以，我們可以創建我們的二維影像，知道它將圍繞個人的身體。

Of course with technology, we've been doing a lot more scanning of actors behind us is Aquaman, this is Jason Momoa as body and that becomes a lot easier for us to work with because we have the actor at our availability at all times.

當然，隨著技術的發展，我們已經在做更多的演員掃描，在我們身後是水鬼，這是傑森-莫莫亞作為身體，這對我們的工作變得更加容易，因為我們在任何時候都有演員在我們的身邊。

Exactly.

正是如此。

And we were able to dial it in and really take the time to get it to work.

我們能夠撥動它，並真正花時間讓它發揮作用。

The way it should work if it's applied any different than the way I've designed it.

如果它的應用方式與我的設計方式有任何不同，它應該工作。

That will change where it lands on the body.

這將改變它在身體上的落點。

So you always have to put in some kind of negative space that allows for that little gap that may change when it's applied.

所以你總是要放一些負的空間，允許那一點間隙，當它被應用時可能會發生變化。

Let's say you have some smoke that's rising or flames or there's space in between those flames or in between those smokes where the skin is going to come through, we call that negative space and those are great places where we can cut without actually interfering with the image.

比方說，你有一些正在上升的煙霧或火焰，或者在這些火焰之間或在這些煙霧之間有空間，皮膚將通過這些空間，我們稱之為負空間，這些是我們可以在不影響影像的情況下進行剪切的好地方。

You know, the other thing that we talked about internally that we don't normally share is the fact that ac actors adjust in size and weight before a film starts.

你知道，我們在內部談論的另一件事是我們通常不分享的，那就是ac演員在電影開始前調整尺寸和體重。

So by the time we get them weeks, maybe even months prior to shooting, they're still going through either special diets, exercise routines or they're gaining weight.

是以，當我們在拍攝前幾周，甚至幾個月得到他們的時候，他們仍然在經歷著特殊的飲食、運動程序或者他們正在增加體重。

This makes adjustments to our designs that we've already started, that we have to now compensate for usually very last minute.

這使得我們對已經開始的設計進行調整，而我們現在必須在最後一分鐘對其進行補償。

It does make it for a difficulty at four in the morning when you're, yeah, after we are done designing the tattoos, we've created groups of aging tones that we can apply to the tattoo.

它確實讓你在凌晨四點的時候遇到困難，是的，在我們完成設計紋身後，我們已經創造了幾組老化的色調，我們可以應用到紋身上。

So if a director says this tattoo should feel 30 years old, we have presets in the software that we can apply to that artwork that then gives it an aged quality.

是以，如果一個導演說這個紋身應該有30年的感覺，我們在軟件中就有預設，我們可以應用於該藝術品，然後給它一個老化的品質。

Things like the ink looks like it's bleeding a little bit more into the skin scarring during the process of the tattooing.

事情是這樣的：在紋身的過程中，墨水看起來像是多流了一點到皮膚上的疤痕。

Love that because tattooing now is so dense and it's almost impossible to get out of your skin.

喜歡這一點，因為現在的紋身是如此密集，幾乎不可能從皮膚上脫落。

But if you think of sailor jerry era tattoo ink, that stuff broke down and changed color.

但是，如果你想到水手傑裡時代的紋身墨水，那東西就會分解並改變顏色。

My uncle had a panther that was just a blob after a while.

我叔叔有一隻豹子，過了一段時間就變成了一個圓球。

So they take on their own life in that skin.

所以他們在那張皮囊中承擔了自己的生命。

And depending on where you got the tattoo, you know, if you're in prison, your ink maybe a different color completely, you're not going to have just, and they're using tools that aren't as professional, they're literally using pen tips and electric razors to get the needles to go in and I've always told Dick, it's like, I'm really good at doing those designs because I'm not as clean of an illustrator as Dick.

而且取決於你在哪裡得到的紋身，你知道，如果你在監獄裡，你的墨水也許是完全不同的顏色，你不會有隻是，而且他們使用的工具沒有那麼專業，他們簡直是用筆尖和電動剃刀來讓針頭進去，我總是告訴迪克，這就像，我真的很擅長做那些設計，因為我不像迪克那樣是個乾淨的插畫家。

So it's like if it needs to look like a bad tattoo, I got this one, I'll make it look blurry After we treat the tattoos, then we go to a printing process with a special kind of ink that allows it to be water resistant, waterproof adhesives that we use our medical grade, that allows it to hold very well to the skin.

是以，這就像如果需要看起來像一個糟糕的紋身，我有這個，我會讓它看起來很模糊 在我們處理完紋身後，然後我們去用一種特殊的墨水進行印刷，使它能夠防水，防水粘合劑，我們使用我們的醫療等級，使它能夠很好地固定在皮膚上。

Sometimes these tattoos when they're applied can last days depending on the chemistry of the actor's skin, the type of environment they're in.

有時，這些紋身在使用時可以持續數天，這取決於演員皮膚的化學成分和他們所處的環境類型。

Like if you're working 20 days in a row, but you're in the winter in new york, they're gonna be different than if you're in 100 and 10 degrees in florida, what kind of wardrobe they're going to be wearing?

就像如果你連續工作20天，但你是在紐約的冬天，他們會和你在佛羅里達州的100和10度不同，他們會穿什麼樣的衣櫃？

Are they going to be having suits of armor versus t shirts and jeans or no clothing at all.

他們是否會有盔甲套裝，而不是T恤和牛仔褲，或者根本就沒有衣服。

Location of the tattoo is also something to consider because if you're putting a neck tattoo on her hand tattoos, those are high traffic is what we like to call them and they're going to break down faster.

紋身的位置也是需要考慮的，因為如果你把脖子上的紋身放在她的手部紋身上，那些是高流量是我們喜歡叫它們的，它們會分解得更快。

It's one of the most common questions I get from other makeup artists when they, when they call and say the tattoos are falling off the hands constantly.

這是我從其他化妝師那裡得到的最常見的問題之一，當他們，當他們打電話說紋身在不斷地從手上掉下來。

I'm replacing them twice a day when you got to tell the actor stop putting their hands in their pocket, stop, you know, putting on jackets five times a day, right to stop using your hands.

我每天更換兩次，當你要告訴演員不要再把手放在口袋裡，不要再，你知道，每天穿五次夾克，對，不要再使用你的手。

The neck is a tricky one because people are usually in callers, the oils work differently here, kind of like your T zone on your face.

頸部是一個棘手的問題，因為人們通常在打電話，精油在這裡的作用是不同的，有點像你臉上的T區。

So those are like you said high traffic areas that need a little bit more attention as opposed to something flat on the back or the arm.

是以，這些都是像你說的那樣需要更多關注的高流量區域，而不是平放在背部或手臂上的東西。

We've had situations where the tattoo is so elaborate and it takes so long to apply that we kind of take extra special care with that actor because production of course doesn't want to go through another three or four hour application.

我們曾遇到過這樣的情況：紋身是如此精細，而且需要這麼長的時間，我們對演員採取了特別的照顧，因為製作方當然不希望再經歷三四個小時的應用。

The next morning shows like Prison Break Blind spot where they're fully covered in tattoos.

第二天早上的節目，如《越獄》盲點，他們全身都是刺青。

You know, these types of tattoo applications can take a very long time.

你知道，這些類型的紋身應用可能需要很長的時間。

We take extra special care and sealing them and protecting them so the actor can go home and sleep in them, still shower, come back the next day and get right back into work removal is another big aspect of what we do.

我們採取了特別的護理措施，對它們進行密封和保護，這樣演員就可以回家，穿著它們睡覺，仍然可以洗澡，第二天回來，並馬上回到工作崗位上，這是我們工作的另一大方面。

It's something you got to be really, really careful with.

這是你必須非常、非常小心對待的事情。

You can really hurt somebody if you don't do it properly and because the tattoos hold so well.

如果你做得不好，你真的會傷害別人，而且因為紋身的保持力很強。

Yeah, and by the end of the day, of course, the actor just wants to go home.

是的，到了一天結束時，當然，演員只想回家。

It's been 14 hours already and so it's common human nature to want to rub and scrub and and think that somehow that exfoliation is going to get it done faster and the truth of it is, is we essentially soak them, you let it sit for about five minutes and then it all just sort of falls off.

已經過了14個小時了，所以想要揉搓和擦洗，並認為以某種方式去角質會讓它更快完成，這是人類的普遍天性，而事實是，我們基本上是浸泡它們，你讓它坐了大約5分鐘，然後它就這樣掉下來了。

One of the big challenges for both productions finances as well as our job is to create tattoos for stunt people and it's not just stunt people emulating the actors fake tattoos.

對於這兩部作品的財務以及我們的工作來說，其中一個很大的挑戰是為特技人員創造紋身，這不僅僅是特技人員模仿演員的假紋身。

It's sometimes emulating the actor's real tattoos to be put onto stunt people for example, in bullet train brad Pitts tattoos in that film are all his own.

它有時會模仿演員的真實紋身，放到特技人員身上，例如，在《子彈列車》中布拉德-皮茨在該片中的紋身都是他自己的。

And so we had to recreate all his tat to go on to the stunt double as opposed to somebody like tangerine or white death where we just had to create duplicates of those tattoos that fit the stunt actor and another place that we use duplicating tattoos a lot are in commercials, something that you think is Lebron James, but it's not when you just see an arm coming into frame or like you said, Lebron James and you just need that shot of the lower half of the body.

是以，我們不得不重新制作他所有的紋身，以用於替身，而不是像橘子或白色死亡那樣，我們只需要複製那些適合特技演員的紋身，另一個我們經常使用複製紋身的地方是在廣告中，一些你認為是勒布朗-詹姆斯的東西，但它不是，當你只是看到一隻手臂進入畫面，或者像你說的，勒布朗-詹姆斯，你只需要拍攝下半身。

This is really where it plays into with the stunt tattoos and the recreating also come into the idea that we've done shirts and things like that.

這確實是它與特技紋身和重現的地方，也進入了我們做襯衫和類似東西的想法。

So this all started back on a show years and years ago, it was a film called torque and I remember the producer coming to me and talking to me about the cost of all these tattoo applications for the actors for the stunt people.

是以，這一切都要追溯到多年前的一個節目，那是一部名為《轉矩》的電影，我記得製片人來找我，跟我談起所有這些為演員申請紋身的特技人員的費用。

And that's kind of where the idea came from.

這就是這個想法的由來。

Well what if we could take a mesh type material and then slipped over the body to look inherently like their own skin and the tattoos, you go From a to our application to a 32nd application, it's magic.

好吧，如果我們可以採取網狀類型的材料，然後滑過身體，看起來本質上就像他們自己的皮膚和紋身，你從一個到我們的應用程序到第32個應用程序，它是魔術。

In fact, I got an example right here.

事實上，我這裡就有一個例子。

So this is an aquaman tattoo, it's much more tan than I am, but you can see when it, when it goes on, it just represents the tattoo in the skin tone.

是以，這是一個水鬼紋身，它比我晒得更黑，但你可以看到，當它，當它去的時候，它只是在膚色上代表紋身。

And as we progressed over the years, we ended up doing 250 of these suits on John Carter from Mars an instant army of tattooed Martians and same with Mad Max Fury Road all the way.

隨著我們這些年的進展，我們最終在《火星上的約翰-卡特》上做了250套這樣的衣服，一個即時的紋身火星人軍隊，與《瘋狂的麥克斯-憤怒之路》一路同行。

Yes, as an example, we have a lot of tattoos over here on the wall, we have blind spot, we have some tattoos from Westworld and then these red designs, those are actually scarification tattoos for Fury Road.

是的，舉個例子，我們在這裡的牆上有很多紋身，我們有盲點，我們有一些來自西部世界的紋身，然後這些紅色的設計，那些實際上是為《狂怒之路》的傷疤紋身。

So these would go on to the actor's body layers of makeup and white mud would then kind of go over that and you would have this believable three dimensional scarification look for a lot of the background where they didn't have to put prosthetics on every day.

是以，這些會在演員的身體上化一層妝，然後用白泥塗在上面，你會有這種可信的三維疤痕外觀，很多背景他們不必每天都戴上假體。

Part of the idea of wounds differently than graphic designs is you have to treat the tattoo more like make up one of the tricks with wound tattoos is to understand how color translates onto skin through transparency.

傷口與圖形設計不同的部分想法是，你必須把紋身更多地當作化妝，傷口紋身的技巧之一是瞭解顏色如何通過透明性轉化到皮膚上。

So there are certain wounds that look better on different skin types.

是以，有一些傷口在不同的皮膚類型上看起來更好。

It becomes a whole trick in itself.

這本身就成為一個完整的技巧。

It's an illusion.

這是個幻覺。

It's magic trick essentially.

這本質上是魔術。

Well, what I also like about them is that you can get a wound tattoo to look raised using negative space, it creates the highlight so the scab could look like it's, it's butting up against something and we can show you some examples of the tattoos.

好吧，我也喜歡他們的是，你可以用負空間讓傷口紋身看起來凸起，它創造了亮點，所以痂皮可以看起來像它，它正對著什麼，我們可以給你看一些紋身的例子。

There's some scabs.

有一些結痂。

So these are, these are some of my favorites, the pimples, right?

所以這些是，這些是我最喜歡的一些，丘疹，對嗎？

Yeah, if you got to do acne, you know, you get some little highlights in the middle there, some of the skin irritation, even with scab, this is a little bit fresher of a scab.

是的，如果你得做痤瘡，你知道，你在中間那裡得到一些小亮點，一些皮膚的刺激，即使有結痂，這也是一個有點新鮮的結痂。

Another great thing that we can always do is we can create aging with these wounds so we'll create a scab that's more fresh and then we'll start to diminish that scab and make it look more brown and yellow as it starts to heal.

我們可以一直做的另一件好事是，我們可以用這些傷口製造老化，所以我們會製造一個更新鮮的痂，然後我們會開始減少這個痂，並在它開始癒合時使它看起來更像棕色和黃色。

Always kind of fun and fascinating.

總是有點有趣和迷人的。

It's so funny that you mentioned not being tattooed because that's probably one of the questions that I get asked all the time.

你提到沒有紋身真是太有趣了，因為這可能是我經常被問到的問題之一。

Well, how many tattoos do you have?

那麼，你有多少個紋身？

I'm like zero.

我就像零。