Name: 反斗奇兵 2》皮克斯攝影師解析萊莉焦慮症發作的大場面 ('Inside Out 2' Pixar Cinematographers Break Down Riley's Big Anxiety Attack Scene)
Uploaded: 2024-06-26T04:07:35.000Z
Duration: 8 min 35 s

I'm one of the cinematographers on Inside Out 2.

我是《腦筋急轉彎2》的攝影師之一。

And I'm Adam Habib, the other cinematographer on Inside Out 2.

我是亞當-哈比卜 《腦筋急轉彎2》的另一位攝影師

Inside Out 2 is building on the first film.

腦筋急轉彎2 在第一部的基礎上更上一層樓。

We come back to Riley when she's 13 years old, and she's discovering all these new emotions that she now has.

我們回到萊莉 13 歲的時候，她發現了自己現在擁有的所有新情緒。

We're just kind of getting into what those new emotions feel like that are a little different from our original folks that we had.

我們只是想了解這些新的情緒是什麼感覺，它們與我們最初的朋友們有些不同。

Riley has gone away to hockey camp, and she really wants to make the varsity team to set up herself to make new friends in high school.

萊莉去參加冰球夏令營了，她非常想進入校隊，以便在高中結交新朋友。

And she's putting more and more pressure on herself as the story goes along.

隨著故事的發展，她給自己施加的壓力也越來越大。

And so the scene that we're going to talk about is really where it hits a kind of a crescendo.

是以，我們接下來要討論的這一幕才是真正的高潮部分。

And all this pressure, that anxiety has been helping to create on Riley, because she wants the best for her, because she wants her to make the team, kind of goes in an unexpected direction and actually leads to Riley having an anxiety attack.

焦慮一直在幫助萊莉減輕壓力，因為她希望萊莉得到最好的，因為她希望萊莉能入隊，但這一切卻朝著一個意想不到的方向發展，實際上導致了萊莉焦慮症發作。

The scene is really about how Joy and the rest of the emotions try to undo some of the damage that they've unintentionally done to Riley through wanting the best for her.

這一幕其實是在講述喬伊和其他情感成員如何試圖挽回他們無意中對萊莉造成的傷害，因為他們希望萊莉得到最好的。

One of the things that changed a lot technology-wise between the first film and this film was motion capture was a little newer then, and we were using that on all the human world shots then, which we did in this film as well.

第一部電影和這部電影在技術上發生了很大的變化，其中之一就是當時的動作捕捉技術比較新，我們當時在所有人類世界的鏡頭中都使用了動作捕捉技術，在這部電影中也是如此。

But we sort of used the motion capture a little bit differently to make it more of a collaboration tool and a way to actually bring the director and bring supervisors who might work in totally different software, like Jonathan does.

但我們對動作捕捉的使用方式略有不同，它更像是一種協作工具，一種讓導演和監製真正參與進來的方式，因為他們可能使用完全不同的軟件，就像喬納森一樣。

But we had an iPad that you could walk around the scene or walk around the set, if you will, the virtual set.

但我們有一個 iPad，你可以在場景中走動，或者在虛擬場景中走動。

For animation, a lot of it is the cinematography is trying to ground this world, which is very unique.

對於卡通片來說，電影攝影在很大程度上是為了將這個非常獨特的世界落地。

It's typically not a scene world, especially when we talk about the emotions in the mind.

這通常不是一個場景世界，尤其是當我們談論心靈中的情感時。

Even though these are fantastical characters, we wanna ground them.

儘管這些都是幻想中的人物，但我們還是想讓他們腳踏實地。

So we try to come at the cinematography from physical principles of light and camera.

是以，我們嘗試從光線和攝影機的物理原理出發進行電影拍攝。

And then when we look at what we did with the human world, we actually really try to emulate a cinematic world where we're doing cinematic cameras.

再看看我們對人類世界所做的一切，我們實際上是在試圖模仿一個電影世界，我們在那裡使用電影攝影機。

Lighting-wise, we're trying to approach it from a very physical sense, complete with flares and grain and trying to give a real filmic look.

在照明方面，我們試圖從物理角度出發，使用耀斑和顆粒，努力呈現出真正的電影效果。

A lot of things surprise me about cinematography and animation.

在電影和動畫方面，有很多東西都讓我感到驚訝。

One of them is my department, sometimes we call it camera and staging, which is the name that you'll see in the credits.

其中之一是我的部門，有時我們稱之為攝影和舞臺設計，這也是你在片頭會看到的名稱。

We are actually responsible for the blocking and the staging of the actors or the characters.

實際上，我們負責的是演員或角色的遮擋和舞臺佈置。

So as opposed to a live action set where you might walk on a set and the actors will kinda start walking through some ideas that they have themselves, we're actually building that blocking and that staging in addition to figuring out the shots, the compositions, the camera angles, and things like that.

是以，與實景拍攝不同的是，在實景拍攝中，你可能會走到佈景前，然後演員們就會按照他們自己的想法開始表演，而我們除了要確定鏡頭、構圖、拍攝角度等內容外，還要搭建遮擋和舞臺。

You're almost a little bit part actor, a little bit part director.

You're kinda wearing a lot of hats at that moment that you're trying to make a scene come together.

那一刻，你身兼數職，要把一個場景演繹得淋漓盡致。

The beginning sequences take us a long time because the movie's still being sorted out story-wise, but also I think the visual language of the movie is all coming together.

開頭的片段花了我們很長時間，因為電影的故事還在梳理中，但我認為電影的視覺語言也在逐漸形成。

I think there's a big change that happens with the movie once you start seeing animation.

我認為，一旦開始觀看動畫，電影就會發生很大的變化。

You start seeing the performances and it starts informing things you wanna do in the movie, like visually, like in headquarters.

你開始看到他們的表演，然後你就能在電影中找到靈感，比如視覺上的，比如總部的。

There's all these different light sources to deal with.

You have the console glows, joy glows, all the emotions glow, the sense of self glows, memory spheres are glowing, the screen is glowing.

控制檯在發光，快樂在發光，所有的情緒在發光，自我意識在發光，記憶球在發光，螢幕在發光。

What's the visual hierarchy that's there?

And once you start seeing animation come in, all of a sudden you start making really interesting choices.

一旦你開始看到動畫出現，突然間你就會做出非常有趣的選擇。

So we have to get a little bit into the movie to actually start seeing all the pieces come together.

是以，我們必須在電影中稍作鋪墊，才能真正開始看到所有的碎片匯聚在一起。

We're constantly working back and forth with the editorial team.

我們經常與編輯團隊來回合作。

I know sometimes editors are cutting while they're shooting, but maybe more typically, it's like you shoot the scene, you give it over to the editor, they cut it.

我知道有時剪輯師會在拍攝的同時進行剪輯，但更常見的情況是，你拍攝好場景，然後交給剪輯師，他們再進行剪輯。

In animation and in our process, we're actually sending footage to the editor, we look at it together, and then we shoot more coverage, shoot different ideas.

在動畫製作和我們的製作過程中，我們實際上是把素材發送給剪輯師，我們一起看素材，然後我們拍攝更多的素材，拍攝不同的想法。

And so we're constantly evolving and iterating the scene with the editor.

是以，我們與編輯一起不斷改進和迭代場景。

We had a lot of conversations early on about how we wanted anxiety to feel.

我們很早就就焦慮的感覺進行了多次討論。

And so we started doing a lot of things like tightening up the shutter angle.

於是我們開始做很多事情，比如收緊快門角度。

是以，一切都突然變得清晰了許多。

And then when the anxiety attack hits, suddenly we flip almost everything.

當焦慮發作時，我們會突然翻轉幾乎所有的東西。

Focus goes extremely shallow, the world drops away.

And the other thing that we were always interested in was the kind of shaking background effect.

我們一直感興趣的另一件事是搖晃的背景效果。

We had talked about like, what if we start vibrating the background as Riley gets deeper into this panic attack?

我們討論過，如果在萊莉恐慌症發作時，我們開始震動背景呢？

It's one of those things where it's like, you want to show an image that is really compelling.

這就好比，你想展示一張非常引人注目的圖片。

It's not something you want to just like, throw out to the director of like this thing we haven't done before in a really rough image.

這不是你想要的東西，就像我們以前沒做過的那樣，以一個非常粗糙的形象扔給導演。

So we actually refined the image and lighting quite a bit.

是以，我們對影像和照明進行了大量的改進。

And then we added that element into it so that what we were showing is a pretty finished image with this concept in there.

然後，我們將這一元素加入其中，這樣，我們展示的就是一張帶有這一概念的精美圖片。

And you know, you want to try and get buy off on that kind of thing before you do it because it takes a lot of time to sort of mock that stuff up.

你要知道，在做這些事情之前，你要儘量得到別人的認可，因為模擬這些東西需要很多時間。

But in this case, it felt like the images were really trending in this beautiful direction with this flaring, lots of depth of field coming in the camera.

但在這種情況下，我感覺畫面真的在朝著這個美麗的方向發展，鏡頭中出現了大量的景深。

Really flooded this light coming around Riley as she's going through this moment.

當萊利經歷這一刻時，她周圍的光線真的被淹沒了。

And then adding that element in there really sold what happened.

加入這個元素後，所發生的一切就變得更加精彩了。

And then we were able to increase it as she gets more and more anxious.

然後，隨著她越來越焦慮，我們可以增加劑量。

And then as the panic attack dies down, it starts to mellow out, soften, and then starts to warm up.

然後，隨著恐慌發作的減弱，它開始變得成熟、柔和，然後開始升溫。

So we start changing the color from like a cooler to a warmer tone to start introducing that joy back into the frame.

是以，我們開始改變顏色，從冷色調轉為暖色調，開始將歡樂帶回畫面。

And I think the challenge is often how do we bring that familiar language to the audience and start to add, basically, pile on imperfections that you would get with physical camera equipment into our virtual camera.

我認為，我們面臨的挑戰往往是如何將這種熟悉的語言帶給觀眾，並開始在虛擬攝影機中加入，基本上是將實體攝像設備中的瑕疵堆砌到虛擬攝影機中。

So as Jonathan was saying, we kind of have these two different worlds that the movie is set in.

是以，正如喬納森所說，我們的電影有兩個不同的世界。

And for that, we took a very physical camera idea or cinematography idea.

為此，我們採用了一種非常物理的攝影機理念或電影拍攝理念。

在我們的電影中，它是變形的。

And then the mind world camera, that one we think of a little bit more as virtual or perfect.

然後是 "心靈世界 "照相機，我們認為它更像是虛擬的或完美的。

And it's almost like a 1930s studio camera.

它幾乎就像一臺 20 世紀 30 年代的攝影棚攝影機。

Like everything's very choreographed and the movement is a lot more precise.

一切都經過精心編排，動作也更加精確。

One of the things that was fun about this film was like we really, early on, we're like, okay, we want it to feel like the inside-out world that people know, but we don't want to stop there.

這部電影最有趣的一點是，我們一開始就想，好吧，我們想讓它給人的感覺就像人們熟知的那個由內而外的世界，但我們又不想止步於此。

我們希望找到走得更遠的方法。

One of the things was just right from the beginning of the movie, it's widescreen.

其中一件事是，電影從一開始就是寬銀幕的。

Sometimes it drove our animators crazy as there were too many characters and that makes it rather expensive to animate.

有時我們的動畫師都快被逼瘋了，因為角色太多，動畫製作成本相當高。

But for me, I would a lot of times find myself arguing like, no, but that's the comedy.

但對我來說，很多時候我會覺得自己在爭辯："不，但這就是喜劇。

You want to see embarrassment and sadness on opposite sides of the screen, both clocking kind of the same moment and having either a similar reaction or different reactions.

你希望在螢幕的兩側看到尷尬和悲傷，兩者在同一時刻出現，要麼反應相似，要麼反應不同。

And it extends a lot to like our film grain.

它還能延伸出很多像我們的膠片顆粒一樣的東西。

We apply film grain to the images and we have a grain for the human world versus the mind world to sort of further identify towards like a live action kind of human world and then a more perfect mind world.

我們將膠片顆粒應用到影像中，我們為人類世界和心靈世界設計了不同的顆粒，以進一步識別類似於實景拍攝的人類世界和更加完美的心靈世界。

We have a team of layout artists and these are the artists who actually are building each shot in the computer.

我們有一個排版藝術家團隊，這些藝術家在電腦中實際構建每個鏡頭。

So they're blocking out rough animation and then they might shoot that animation from four or five, six, we figured out.

所以他們會先繪製出粗略的動畫圖片 然後再從四到五到六的動畫圖片中進行拍攝 我們想出了這個辦法

Every shot in the movie, there was about six alternate angles that we delivered to the editorial team to try to find the best one.

電影中的每一個鏡頭都有大約六個不同的角度，我們把它們交給編輯團隊，試圖找到最好的角度。

And then we'll show it to the director or we'll work with the editor to get a pass together.

然後，我們會把它給導演看，或者與編輯合作，共同完成一份通行證。

Sometimes at that stage even, we'll be like, okay, something's clearly missing or these shots don't cut or you see how they're using it and they ask you for something else.

有時在這個階段，我們甚至會想，好吧，有些東西明顯缺失了，或者這些鏡頭沒有剪切好，或者你看到他們是如何使用它的，然後他們要求你提供其他東西。

Those story beats and those moments are getting reshuffled on the fly and you just have to be comfortable with rolling with it and we just keep generating new stuff and we might get a call in the morning and have something out by lunch and then there's a new version of the scene out.

這些故事的節奏和片段都會隨時被重新調整，你必須適應這種變化，我們會不斷創造出新的東西，可能早上接到一個電話，中午就會有新的東西出來，然後就會有一個新版本的場景出現。

Because we're rendering this imagery, it takes a lot of computing power to do that and we don't often see the finished images until the last possible moment, like the highest quality, actual done stuff.

因為我們要渲染這些影像，這需要大量的計算能力，而且我們往往要到最後一刻才能看到完成的影像，比如最高品質、實際完成的影像。

Everything up to that point is some sort of rough render, it's broken, hair is going all over the place, characters are intersecting each other, nothing works and every department refines it and refines it and refines it and then finally at the end, you see a finished image.

在這之前，所有的東西都是某種粗略的渲染，它是壞的，頭髮亂糟糟的，人物互相交錯，沒有任何東西是可行的，每個部門都在不斷地完善它，完善它，最後在最後，你會看到一個完成的影像。

It just kind of completes the whole thing in a way that you just don't get to see until the very end.

這讓整部影片更加完整，直到最後你才會看到。