Name: 超現實的假髮是如何為4K電影和電視製作的|電影內幕|內幕 (How Hyperrealistic Wigs Are Made For 4K Movies & TV | Movies Insider | Insider)
Uploaded: 2023-01-31T02:20:31.000Z
Duration: 10 min 17 s

It belongs to Eleven on "Stranger Things."

Her signature buzz cut returned for the show's fourth season.

她的招牌寸頭在該影集的第四季回歸了。

Millie Bobby Brown couldn't shave her head this time around, so it was all up to the hair department.

這一次米莉·芭比·布朗沒辦法剃光頭，所以這個寸頭只能靠髮型師們創造了。

TV and movie wigs like these call for an especially high standard of detail, one that keeps rising with the advent of HD and 4K cameras.

像這樣的電視和電影用到的假髮需要極高標準的精緻度，隨著高清和 4K 攝像機的出現，這一標準不斷提高。

And at Wigmaker, Rob Pickens' studio, it's a long road to creating a hyper-realistic wig like Eeven's.

在 Rob Pickens 的工作室 Wigmaker，要製作像 11 那樣的超逼真假髮，需要花費很多工夫。

Wig makers can't just measure different parts of the actor's head for size.

假髮製造師不能只測量演員頭部不同部位的尺寸。

They need to record the nuances of shape, and even the template of the hairline.

他們需要記錄頭圍形狀的細微差別，甚至是髮際線的模板。

The initial fitting with the actor is our time to capture as much information as possible.

- [羅布]與演員的初步配合是我們捕捉儘可能多的資訊的時候。

First, they mold the precise shape of the actor's head with a head wrap, using cellophane and a lot of tape.

- [旁白]首先，他們塑造出精確的形狀的演員頭部有一個包頭。 使用玻璃紙和大量的膠帶。

Then, they get even more granular, tracing the intricate growth patterns at the hairline.

然後，他們變得更加細化。追蹤髮際線處複雜的生長模式。

All of the marking are our roadmap for the entire process.

- [Rob]所有的標記都是我們的路標在整個過程中。

Everything from where the actor's hairline ends to maybe we mark they have quite a slope at their neckline below the occipital.

從演員的髮際線結束的地方的一切到也許我們標記他們有相當的坡度 在其枕部以下的頸線處。

The head wrap goes onto a canvas block, which they shape to match the actor's head using a mix of cork and stuffing.

- [旁白]頭部的包邊會被放到一個帆布塊上。他們將其塑造成與演員的頭部相匹配的形狀 使用軟木和填充物的混合物。

This process is called padding the block. So, think of it like padding a pillow.

- [Rob]這個過程被稱為填充塊。是以，把它看作是墊枕頭一樣。

This step is laborious, but once it's done, a production shooting anywhere in the world can call in to have a wig made for an actor, even if the actor can't make it to a fitting.

- [旁白]這個步驟很費力。但是，一旦完成了，就會有一個生產拍攝 世界上任何地方的人都可以打電話給 在為一個演員製作假髮。 即使演員不能參加試鏡。

We're paying attention to the direction of the lace, how it's fitting the block.

- [Rob]我們注意到了方向的花邊，它是如何適應塊狀的。

This is where we start to dart and shape it to fit the actor's head.

這時，我們開始了飛奔並將其塑造成適合演員的頭部。

Just as the hairlines must be traced to the finest detail, the lace that forms the foundation of production wigs has to be a very fine denier.

- [旁白]就像必須追蹤髮際線一樣最細微的細節，構成基礎的花邊。 生產的假髮必須是非常精細的丹尼。

They used cotton lace in the early days, and it didn't show up because you were working with film.

- [Rob]他們在早期使用棉質花邊。而它沒有顯示出來，因為你在用膠片工作。

Film is much more forgiving than digital HD.

So, that's the thing, just as the cameras change, the hairlines have gotten finer, the lace has gotten finer.

所以，這就是問題所在，就像攝影機的變化一樣。髮際線變得更細，花邊變得更細。

The same goes for the silk base that's sometimes used to simulate skin under a wig.

- [旁白]絲綢基地也是如此有時用於模擬假髮下的皮膚。

It used to be a much heavier silk fabric.

- [Rob]它曾經是一種更重的絲織品。

On Eleven's wig, Rob sewed pieces of a super-light, semi-opaque silk to make it look like her scalp was visible through the buzz.

- [旁白]在Eleven的假髮上，Rob縫了幾塊超輕、半透明的絲質材料 以使它看起來像她的頭皮可以通過嗡嗡聲看到。

Sometimes silk isn't enough to complete the illusion, so the hair team will add a prosthetic piece under the wig's foundation.

有時絲綢並不足以完成幻覺。是以，髮型組將添加一個假體部分 在假髮的基礎上。

That was the case on "Blonde," where three prosthetic pieces concealed Ana de Armas' darker hairline,

在《金髮女郎》中就是這種情況，其中有三件假肢掩蓋了安娜-德-阿瑪斯較深的髮際線。

and on "Pam and Tommy," where a forehead prosthesis under Lily James' wig replicated Pam Anderson's naturally higher hairline.

以及在 "帕姆和湯米 "中，額頭上的假體在莉莉-詹姆斯的假髮下，複製了帕姆-安德森的假髮。 自然較高的髮際線。

The same considerations apply to the next step, the ventilating process, where they stitch in each hair one by one.

同樣的考慮也適用於下一個步驟。通風過程，他們在那裡縫合 在每根頭髮上逐一進行。

We use a variety of knotting techniques, one of which is called point knotting,

- [Rob] 我們使用各種打結技術。其中之一被稱為點結法。 其中涉及到一種特殊的綁發方式

which involves a particular way of tying the hair so that the cuticle allows the hair to push down as close to the scalp as possible.

這樣，角質層就可以讓頭髮推到儘可能地靠近頭皮。

This technique allows short-haired wigs like Eleven's to be virtually undetectable.

- [旁白]這種技術允許短髮的假髮像Eleven's這樣的人幾乎無法被檢測到。

It's also useful for the back and sideburns of men's wigs.

它對男士假髮的背部和鬢角也很有用。

It's all about matching the idiosyncratic natural patterns of the actor's head.

這都是為了配合特異性的演員頭部的自然模式。

So for example, temples either go back or down.

- [Rob]所以，比如說，寺廟要麼往回走，要麼往下走。

This particular actor grew down, so the hair was knotted that direction.

這個特別的演員成長下來了。所以頭髮是朝那個方向打結的。

We actually tie in crown swirls, growth patterns.

我們實際上是在冠狀漩渦、生長模式中進行搭配。

We've built it and knotted it naturally so that you can part the hair anywhere on top of the head, just as you would your own head of hair.

我們已經建立了它並自然地結成了它這樣，你就可以在頭頂的任何地方把頭髮分開。 就像你對自己的頭髮一樣。

Hairdressers use synthetic wigs from wig shops all the time to use for background characters.

- [Rob]美髮師使用假髮店的合成假髮一直以來都是用於背景人物。

But it won't measure up for hero wigs, which require real human hair.

- [旁白]但它不會衡量英雄的假髮。這需要真正的人類頭髮。

Synthetic hair has more of a sheen to it than natural human hair, which is kind of something we're always trying to fight.

- [Rob]人工合成的頭髮有更多的光澤度它比自然人的頭髮更有吸引力。 這也是我們一直在努力爭取的東西。

Sometimes Rob even adds mohair to hairlines to mimic the soft baby strands that naturally grow there.

- [旁白]有時Rob甚至在髮際線上添加馬海毛以模仿自然生長在那裡的柔軟的嬰兒股。

Like for Olivia Wilde's wig in "Don't Worry Darling," and Ana de Armas' in "Blonde."

就像為奧利維亞-王爾德在 "別擔心，親愛的 "中的假髮。和安娜-德-阿瑪斯在 "金髮女郎 "中的表現。

The hair they choose also helps tell the story.

他們選擇的頭髮也有助於講述故事。

When making hair pieces for a film or TV character, Rob might have to convey something a wig would normally try to disguise, like aging or ill health.

當為電影或電視角色製作發片時。羅布可能要傳達一個假髮通常會有的東西 試圖掩飾，如衰老或健康不佳。

That was the case for Tom Hardy's wigs in "Capone," which showed the aging mobster at a time when he was living with syphilis.

湯姆-哈迪在《卡彭》中的假髮就是這種情況。其中顯示了這位年邁的黑幫老大在當時的情況下 當他帶著梅毒生活時。

The hair texture speaks to that in the specific situation of "Capone" and the origin of the hair was actually a bit sickly before we texturized it.

- [Rob]頭髮的質地說明了這一點，在具體的卡彭 "的情況和頭髮的來源 在我們對其進行紋理處理之前，實際上是有點病態的。

Capone's hair was also thinning at that age, so Rob thinned out the density of the hair at the crown and temples, and gave him a more wiry texture in some areas, with a softer texture in others.

- [旁白]卡彭的頭髮在那個年齡段也很稀疏。是以，羅伯把頭頂上的頭髮密度變薄了 和太陽穴，並使他有了更多的毛髮紋理 在一些地區，質地較軟，在其他地區。

Then comes the coloring process, which requires a close understanding of a scene's lighting, and how that might interact with the wig.

然後是塗色過程。這需要對場景的照明有一個密切的瞭解。 以及這可能與假髮的互動。

Reds can be quite the nightmare sometimes.

- [Rob]紅軍有時可能是相當大的噩夢。

If we create a red wig and they put a blue filter over the entire thing, it could look brown.

如果我們創造了一個紅色的假髮，他們放了一個藍色的過濾器在整個事情上，它可能看起來是棕色的。

A lot of our job is alchemy, and color theory, and figuring out how that's going to play in the final product.

我們的很多工作都是鍊金術，和色彩理論。並弄清楚這將如何發揮作用 在最終產品中。

For example, for "Mank," we knew the entire project was going to be shot in black and white.

例如，對於 "曼克"，我們知道整個項目要用黑白兩色拍攝。

So, when I was doing Amanda Seyfried's wig, in choosing the blonde hair,

所以，當我在做阿曼達-塞弗裡德的假髮時。在選擇金髮的時候，我們進行了一些 採樣，並實際把它們放在相機上 在類似的背景下，他們將使用

we ran a number of samples and actually put them on camera against similar backgrounds they would be using before we ever put a hair in the foundation of the wig,

在我們把一根頭髮放在基礎上之前確信金黃色的假髮能在短時間內被人發現。 並不打算看起來是灰色的。

to make sure that the blonde wasn't going to look gray, it wasn't going to look too white, it had enough dimension at the root to look like it was grounded in her head.

它不會看起來太白。它在根部有足夠的尺寸 以至於看起來像是在她的腦袋裡接地氣。

There were similar considerations on "Stranger Things."

- [旁白] 也有類似的考慮在 "陌生的事物 "上。

Because of the way the show was filmed, everything showed up darker on screen, even Eddie's wig.

因為該劇的拍攝方式。一切都在螢幕上顯示得更暗，甚至埃迪的假髮。

His wig was actually like a level seven/eight ash brown, but it was more of a green ash.

- [Rob]他的假髮實際上像是七/八級的。灰褐色，但它更像是綠色的灰。

So, when we do more of a green ash and then they put a darker filter on it, it appears a much darker brown.

是以，當我們做更多的綠灰時然後他們在上面放了一個較暗的過濾器。 它看起來是一種更深的棕色。

Meanwhile, some period pieces call for very era-specific hair colors that we may not see around very much anymore.

- [旁白]同時，一些時期的作品徵集特定時代的髮色 我們可能不會再經常看到他們了。

There's a very specific apricot-blonde that you notice in older women, because it was the way the oxidative dye was showing up on the gray hair.

- [Rob]有一個非常特殊的杏黃色皮膚的人。你在老年婦女身上注意到的，因為這是一種方式。 氧化性染料在白髮上顯示出來。

When the actor's playing a real person, it's even more crucial to nail every detail of the wig's design from texture to color.

- [旁白]當演員在扮演一個真實的人時。釘住每一個細節更為關鍵 假髮的設計，從質地到顏色。

For the wigs in "Blonde," Rob and hair department head, Jaime Leigh McIntosh sourced hair with Marilyn's exact natural density and tightness of curl,

對於《金髮碧眼》中的假髮，羅布和頭髮部門負責人。詹姆-利-麥金託什用瑪麗蓮的頭髮做了精確的採購。

even though it'd later get styled into her signature pin curls.

自然的密度和捲曲的緊度，即使是它後來被塑造成她標誌性的針狀捲髮。

And to achieve Pam's almost reflective shade of platinum in "Pam and Tommy," the show's hair designer, Barry Lee Moe, combined four different shades of blonde on Rob's wigs.

為了達到帕姆幾乎是反光的鉑金色澤在《帕姆和湯米》中，該劇的髮型設計師巴里-李-莫伊。 在羅布的假髮上結合了四種不同色調的金髮。

Those four shades created little bursts of light and shadow, preventing the high-level blonde from looking flat on camera.

這四種色調創造了小的光影爆裂。防止高級別金髮女郎 在鏡頭前看起來很平淡。

We can use as many colors as we would like, upwards of five or six, depending on what we're creating, but at least three.

- [Rob]我們可以使用任意多的顏色，只要我們願意。五個或六個以上，取決於什麼 我們正在創造，但至少有三個。

So, here we're just painting on a root shadow

所以，在這裡我們只是在根部陰影上作畫

to add a little bit of depth at the base of the wig.

以便在假髮的底部增加一點深度。

For "The First Lady," the team used the same technique on the six wigs Rob made for Michelle Pfeiffer as Betty Ford.

- [旁白]對於 "第一夫人"，團隊使用了在羅布製作的六頂假髮上採用了同樣的技術 為米歇爾-菲弗飾演的貝蒂-福特。

Each of those wigs has anywhere from five to six colors to carry through the color of the previous wig into the next era of Betty,

- [Rob]這些假髮的每個地方都有從五種到六種顏色，以貫穿整個顏色。 的前假髮進入下一個時代的貝蒂。

so that way, you're not jarred, her going from a dark brown wig to a lighter blonde.

這樣，你就不會被震傷。她從一個深棕色的假髮變成了一個較淺的金色。

Making sure those were rooted in the same color palette was really important.

確保這些都紮根在同一個調色板真的很重要。

To look like it was a natural progression of the same human being over their lifetime.

為了看起來像一個自然發展的過程同一個人在其一生中的表現。

Sometimes wigmakers have to make multiple versions of the exact same wig.

- [旁白]有時假髮師必須做出多個版本的完全相同的假髮。

These are a variety of stunt wigs we've created for photo doubles, stunt performers.

- [Rob] 這些是各種特技假髮我們為攝影替身、特技表演者創造的。

They're cutting from a shot of the actor close up in the custom wig to the stunt performer shot from the side.

他們從演員的特寫鏡頭切入在定製的假髮中，從側面拍攝的特技表演者。

The hair better look exactly the same as it did in the shot before.

頭髮最好看起來完全一樣就像之前的鏡頭那樣。

But creating identical wigs is notoriously difficult.

- [旁白]但創造相同的假髮是臭名昭著的困難。

We do that through a variety of dipping processes using oxidative dyes, non-oxidative dyes, silk colors,

- [Rob]我們通過各種浸漬工藝做到這一點。使用氧化性染料、非氧化性染料、絲綢顏色。

and different texturizing processes to make sure that we get the wig right down to the root to look exactly like the custom wig we've created.

和不同的紋理處理，以確保我們把假髮弄到了根部 以使其看起來與我們創建的定製假髮一模一樣。

It can get especially tricky matching stunt wigs to hero wigs with totally different hair types.

- [旁白]它可以變得特別棘手的匹配特技假髮到英雄假髮的頭髮類型完全不同。

Hero wigs usually get natural hair, and stunt wigs get synthetic hair for durability.

英雄的假髮通常會有自然的頭髮，而特技假髮得到合成毛髮的耐用性。

They need to hold up for take after take of rolling down the stairs, jumping off the building, et cetera.

- [羅伯]他們需要撐起一個又一個的滾動。下樓梯，跳樓，等等。

Synthetic hair also dries more quickly between takes, and stunt wigs need to be faster in general, with minimal application processes for comfort and safety.

- [旁白]人工合成的頭髮也幹得更快在兩次拍攝之間，特技假髮需要更快。 一般情況下，只需極少的應用 舒適和安全的過程。

You want to use a limited number of pins in case something goes awry with the stunt.

- [Rob]你想使用有限數量的針腳以防特技出現意外。

Wigmakers might also have to make multiple hero wigs, like Eleven's on "Stranger Things," which the team had to spend an hour and a half resetting and remolding after each wear.

- [旁白]Wigmakers可能也要做出多個英雄的假髮，就像《異鄉人》中Eleven的假髮，" 該小組不得不花一個半小時的時間 每次磨損後都要重新設置和重塑。

To allow for this, the team alternated between three or four different matching wigs throughout filming.

為了做到這一點，該小組在三或四人之間交替進行。在整個拍攝過程中使用不同的配套假髮。

When applying the wig, the show's hair department head, Sarah Hindsgaul, had to make it sit naturally on top of Millie's armpit-length hair, which was all bundled up at the crown of her head.

在應用假髮時，節目中的頭髮部頭。Sarah Hindsgaul，不得不讓它自然地坐下來 在米莉的腋下長髮之上。 這一切都被捆綁在她的頭頂上。

She didn't go with the traditional braiding method.

That would've added bulk, risking a cocoon head effect.

這將增加體積，有可能造成繭頭效應。

It's a variation off of an old school wrap called a fracture wrap, that using gauze and pins to really create tension and lay the hair as flat as possible on the head.

- [Rob]這是一個老式包覆的變種。稱為骨折包紮，即使用紗布和針頭進行包紮。 以真正創造張力和鋪設頭髮 儘可能平放在頭上。

Even a look as simple as Eleven's required duplicate wigs, ingenious application, and painstaking work at the foundation and hairline to pull it off convincingly on screen.

- [旁白]即使是像Eleven那樣簡單的表情需要重複的假髮，巧妙的應用。 並在基礎和髮際線上進行艱苦的工作 在螢幕上令人信服地完成它。

The stakes are just that high with film and TV wigs.

電影和電視假髮的風險就是這麼高。

They can either take us out of the story or keep us immersed in it.

他們可以把我們從故事中帶出來或讓我們沉浸在其中。