We're looking directly at Arnold Schwarzenegger and Linda Hamilton's reflections, but we can't see the camera capturing it all.

我們正在直視阿諾·史瓦辛格和琳達·漢彌頓的倒影，但我們卻看不到相機捕捉到這些畫面。

That's because that's not really a mirror, and this reflection of Hamilton isn't actually her.

那是因為這不是真正的鏡子，漢彌頓的倒影其實也不是她本人。

Filmmakers have mastered the art of hiding their cameras from a mirror, using visual trickery and precise cameras and choreography.

電影製作公司已經掌握了將相機從鏡子中隱藏起來的藝術，使用視覺技巧和精確的相機和編舞。

Today, they can shoot mirrors in ways that once seemed impossible.

現在，他們可以用曾經看似不可能的方式拍攝「鏡子」場景。

Innovative mirror shots stretch back to the beginning of film, like when Orson Welles captured the now-iconic fun-house-mirror sequence in 1947's "The Lady from Shanghai."

創新的鏡子場景可以追溯到電影的初期，就像奧森·威爾斯在 1947 年的《上海小姐》中捕捉在現在看來具有標誌性的遊樂園鏡子場景。

Of the 80 mirrors in the sequence, some were actually two-way mirrors.

在這組鏡頭中的 80 面鏡子中，有些其實是雙面鏡。

While Welles and Rita Hayworth acted on the reflective side of the glass, the camera could shoot everything from the non-reflective side without being detected.

當威爾斯和麗塔·海華斯在玻璃的反光面拍攝時，攝影機可以從非反光面拍攝而不會被發現。

Two-way mirrors are still useful today.

雙面鏡在現在仍然有用處。

"It Chapter Two" used them for its terrifying fun-house sequence to switch between the reflections of this kid and Pennywise.

《牠：第二章》在恐怖的遊樂場的鏡頭中，使用它們來切換這個孩子和潘尼懷斯的倒影。

But a convincing mirror shot doesn't necessarily need to use a real mirror.

但是令人信服的鏡子場景不一定需要使用真實的鏡子。

Like that scene from "Terminator 2" where Sarah Connor removes the chip from the T-800's head.

就像《魔鬼終結者2》中莎拉·康納從 T-800 的頭上取下芯片的場景。

The camera was directly behind the characters, but it's nowhere to be seen in the reflection.

攝影機就在演員的正後方，但在鏡子的反射中卻無處可尋。

That's because for this trick, the mirror is actually a window looking into a duplicate version of the set.

那是因為使用的這個技巧，鏡子其實是一個窗戶，可以看到一模一樣的另一個場景。

Performers stand on either side of the reflection mimicking each other's movements.

演員站在倒影的兩側，模仿彼此的動作。

So Hamilton can be seen here, but her reflection is actually the actress's twin sister next to Schwarzenegger.

所以在這裡可以看到漢密頓，但她的倒影她的雙胞胎妹妹扮演的，站在史瓦辛格旁邊。

And Schwarzenegger's silhouette in the foreground?

那史瓦辛格在畫面前面的倒影是誰呢？

Well, that's a very lifelike dummy.

那是一個非常逼真的假人。

The body-double trick works best with twin actors.

雙人戲法最適合雙胞胎演員來詮釋。

Otherwise, filmmakers have to make sure to avoid the double's face, as seen in this mirror shot from 1995's "La Haine."

否則，電影製作公司必須確保不會拍到替身的臉，如 1995 年的《恨》中的這個鏡子場景。

And this technique is also prone to human error.

而且這種技術也容易出現人為錯誤。

Take this shot from 2011's "Sucker Punch."

以 2011 年的《殺客同萌》中的這個片段為例。

If you look closely, you'll notice the timing of the actresses and their doubles is slightly off.

如果你仔細觀察，你會注意到女演員和她們的替身動作的時間略有不同。

To avoid this issue and let actors focus on acting instead of imitating a body double, filmmakers turn to CGI.

為了避免這個問題並讓演員專注於表演而不是模仿替身，電影製作公司轉向使用 CGI。（CGI 為電腦合成影像）

First, the crew will shoot the actor in front of a mirror.

首先，劇組會在鏡子前拍攝演員的動作。

Then they will film just the background behind the actor.

再來他們會拍攝只有演員背面的場景。

VFX artists then wipe away the camera by swapping in pieces of the clean plate of the reflected background.

然後視覺特效師會通過交換反射背景的乾淨面板來將相機的畫面刪掉。（VFX 為視覺特效）

This allows for the kinds of shots once thought to be impossible.

這讓曾經被認為是不可能成功的鏡頭可以被成功拍攝。

However, the process isn't as easy as it sounds.

然而，這個過程並不像聽起來那麼容易。

Take these mirror shots from 2014's "Birdman."

以 2014 年的《鳥人》中拍攝的這些鏡頭為例。

To perfectly match the background shots, they had to make sure the lighting was identical in each pass, and the artists had to be careful where they cut.

為了完美匹配背景鏡頭，他們必須確保每次燈光光線都相同，而且劇組必須小心畫面剪裁的地方。

For this one close-up, you'll see green tape on the camera.

這一個特寫鏡頭，你會看到相機上的綠色膠帶。

This helped the VFX artists avoid cutting out any of Michael Keaton's hair.

這有助於視覺特效師不會剪掉麥可·基頓的任何頭髮。

The process gets even trickier if the camera is moving.

如果相機在移動，這個拍攝過程會變得更加棘手。

Take this legendary shot from 1997's "Contact," where one shot seemingly turns into the reflection on a medicine cabinet mirror.

以 1997 年的《接觸未來》中的這個經典鏡頭為例，其中一個鏡頭似乎變成了藥櫃鏡子上的倒影。

To make this work, director Robert Zemeckis broke it up into multiple shots and replaced the entire mirror with CG.

為了完成這個拍攝，導演勞勃·辛密克斯將其分解為多個鏡頭，並用 CG 把整面鏡子換掉。

First, Zemeckis had actress Jena Malone run towards the camera instead of filming her from behind.

首先，辛密克斯讓女演員吉娜・馬隆跑向鏡頭，而不是從後面拍攝她。

The camera was placed on a Steadicam, allowing for smooth shots and repeated takes.

攝影機安裝在攝影機穩定器上，可以進行流暢和重複的拍攝。

After running down the hall, Malone reached for the knob of the medicine cabinet, but instead of a mirror, there was a blue screen.

跑下大廳後，馬隆伸手去摸藥櫃的把手，但那裡不是鏡子，而是藍幕。

Then the crew shot the bathroom background on its own and placed it as well as the texture of a mirror on top of the blue screen.

然後劇組單獨拍攝了浴室背景，並將其與鏡子的紋理一起放置在藍幕之上。

This one shot was so influential you still see similar styles decades later, like in this episode of HBO's "Euphoria."

這一個鏡頭造成的影響力非常大，以至於幾十年後仍然會在電視上看到類似的風格，就像 HBO 的《高校十八禁》的這一集。

All these tricks and more were used in 2021's "Last Night in Soho."

在 2021 年的《迷離夜蘇活》中使用了以上提到的以及更多的技巧。

Production designer Marcus Rowland and VFX supervisor Tom Proctor of DNEG had to build a world of mirrors while avoiding cameras in the final shot.

DNEG 的製作設計師 Marcus Rowland 和視覺特效總監 Tom Proctor 必須在最後一個鏡頭中避開攝像機的同時構建一個鏡子世界。

The Café de Paris set alone was lined with an estimated 178 mirrors, which all needed accurate reflections.

光是巴黎咖啡館的佈景，估計就有 178 面鏡子，這些都需要精確的反射。

But they had to do much more than remove the camera, since Eloise, played by Thomasin McKenzie, frequently looks in the mirror and sees Sandie, played by Anya Taylor-Joy, and vice versa.

但他們要做的不僅僅是移除相機的畫面，因為湯瑪遜·麥肯錫飾演的埃洛伊絲 經常照鏡子，並在鏡中看到安雅·泰勒-喬伊 飾演的珊蒂，反之亦然。

And many of the mirror shots were incredibly active.

許多鏡子場景都是動態的。

So like "Contact" before it, they used Steadicams, relying on the consistent movements from Chris Bain to get shots like this and this over and over.

所以就像之前的《接觸未來》一樣，他們使用了攝影機穩定器，依靠克里斯貝恩一致的動作來一遍又一遍地拍攝這些鏡頭。

For key scenes with multiple multifaceted mirrors and large camera moves, the team relied on motion-control cameras.

對於具有多個多面鏡和大型攝像機移動的重要場景，該團隊依賴軌跡攝影。

Since their moves are programmed in advance, it made it easier to do separate takes of both actresses walking down the stairs.

由於她們的動作是預先設定好的，因此可以更輕鬆地分別拍攝兩位女演員走下樓梯的鏡頭。

And to make sure the leads matched their movements precisely, "Soho" brought in a movement coach for weeks of preparation.

為了確保主演們的動作精確匹配，《迷離夜蘇活》劇組請來了一名動作教練進行了數週的準備。

To allow the stars to interact more directly, the "Soho" team had to build several double sets.

為了讓明星們更直接的互動，《迷離夜蘇活》團隊必須搭建多個雙重場景。

This shot here, where Eloise first walks into the Café de Paris and sees Sandie in the mirror.

這是埃洛伊絲第一次走進巴黎咖啡館並在鏡子裡看到珊蒂的鏡頭。

The two actresses were actually facing each other on set.

這兩位女演員在拍攝現場其實是面對面的。

Rowland built a double lobby, allowing for direct interaction between the actresses.

羅蘭建造了一個雙層大廳，讓女演員之間可以直接互動。

And just like in "Terminator 2," they used a real set of twins to tie the illusion together.

就像在《魔鬼終結者 2》中一樣，他們利用了一對真正的雙胞胎來將幻覺聯繫在一起。

But the shot could go from just Eloise's reflection to Sandie's with no visible cuts thanks to adjustable mirrors.

但是由於可調節的鏡子，鏡頭可以從埃洛伊絲的倒影轉換到珊蒂的倒影卻不會出現明顯的切口。

When the attendant takes off Eloise's jacket, they're standing in front of a real mirror.

當服務員幫埃洛伊絲脱下外套時，他們正站在一面真正的鏡子前。

Then one of the twins walks in front of the camera.

然後雙胞胎中的一個走到鏡頭前。

This gave the crew just enough time to push the mirror away, allowing Sandie to step in.

這給了工作人員足夠的時間將鏡子推開，讓珊蒂的畫面出現。

And as a viewer, you'd never know there wasn't a mirror there, thanks to this very subtle bevel added to the edge of the mirror with CGI.

作為觀眾，你永遠不會知道那裡沒有鏡子，這要歸功於用 CGI 添加到鏡子邊緣的這個非常微妙的斜角。

Every mirror scene presented its own challenges, so in some cases, the team had to rely on two tricks at once,

每個鏡子場景都有各自不同的挑戰，所以在某些情況下，團隊得同時依靠兩種技巧，

like here, where Taylor-Joy stands in front of a mirror with Matt Smith, whose real reflection is caught in the mirror.

就像這裡，泰勒-喬伊 和麥特·史密斯站在鏡子前，鏡子中捕捉到了他真實的倒影。

Smith is in front of a real mirror, but the rest of the glass is CGI.

史密斯站在一面真的鏡子前，但鏡子的其餘部分是 CGI 合成的。

For the final touches, "Soho" utilized the most subtle VFX improvements to avoid any continuity errors.

對於最後的潤色，《迷離夜蘇活》使用了最細微的視覺特效來優化，避免任何連續性錯誤出現。

For example, Proctor and his team inserted green-screen shots of extras into many final shots to cover up the rough edges of where a camera was cut out,

例如，Proctor 和他的團隊在許多最後鏡頭中插入了臨時演員的綠幕鏡頭，以掩蓋攝像機被剪掉的粗糙邊緣，

and for any mismatched mirror movements, visual effects artists used digital re-timing tools.

對於任何不同步的鏡中動作，視覺效果師使用數位的時序規劃工具。

They could get into shots frame by frame and individually speed up or slow down individual characters, bringing them into perfect alignment.

他們可以逐幀進入鏡頭，並單獨加快或減慢單個角色，讓它們完美同步。