Name: 長鏡頭的藝術 (The Art Of The Long Take)
Uploaded: 2024-08-01T07:51:55.000Z
Duration: 18 min 19 s

基礎被動語態

This video is sponsored by Squarespace, the one-stop shop for setting up your website.

本視頻由 Squarespace 贊助，Squarespace 是建立網站的一站式商店。

分詞構句

If each cut in a movie can be compared to taking a breath, then doing a long take is like closing your mouth, pinching your nose and seeing how long you can go on one lung full of air.

如果把電影中的每一個剪輯比作呼吸，那麼長鏡頭的拍攝就像是閉上嘴巴、捏住鼻子，看看你的一個肺能呼吸多長時間。

On average editors and directors will cut to a new shot around every three seconds.

剪輯師和導演平均每隔三秒鐘左右就會切換一個新鏡頭。

However, sometimes filmmakers prolong this by shooting and holding on a single shot for 3 minutes, 5 minutes or even an unbelievable 87 minutes at a time.

然而，有時電影製作者會延長拍攝時間，將一個鏡頭拍攝並保持 3 分鐘、5 分鐘甚至長達 87 分鐘。

In this video, let's take a look at what makes long takes effective, why filming these shots can be challenging and identify the various ways and pieces of equipment which can be used to pull them off.

在這段視頻中，讓我們來看看是什麼讓長鏡頭變得有效，為什麼拍攝這些鏡頭會很有挑戰性，以及可以用來完成長鏡頭的各種方法和設備。

If you've been on a film set, you'll know that sometimes even the simplest looking shots on paper can be incredibly challenging to pull off.

如果你曾在電影拍攝現場工作過，你就會知道，有時即使是紙上看起來最簡單的鏡頭，要實現起來也是極具挑戰性的。

So what are some reasons why filmmakers make their lives more difficult by even bothering to try ambitious long takes?

那麼，是什麼原因導致電影製片人費盡心思嘗試雄心勃勃的長鏡頭，從而使他們的生活變得更加艱難呢？

The longer a shot plays out in real time, the more of an immersive experience it provides.

一個鏡頭的實時播放時間越長，就越能帶來身臨其境的體驗。

This allows audiences to engage with sequences with a sense of real-time continuity.

這樣，觀眾就能以一種實時連續的感覺參與到序列中。

This can feel a bit more realistically representative and true to how we experience time in real life, rather than movies which chop up actions into loads of tiny little pieces and fragments of time.

這比電影中將動作分解成大量細小的片段和時間碎片的做法更有真實代表性，也更符合我們在現實生活中體驗時間的方式。

Like this famous 4 minute long take from Children of Men, which plays out some light-hearted human moments before gradually ramping up the action into a tense, immersive chase sequence, which all takes place in real time in a single shot.

就像《人類的孩子》（Children of Men）中這段著名的 4 分鐘長鏡頭，先是演繹了一些輕鬆愉快的人性片段，然後逐漸升溫到緊張刺激、身臨其境的追逐場面，而這一切都發生在一個個鏡頭中。

Part of the reasons we choose to tell Children of Men in very fluid long takes was to take advantage of the element of real time.

我們選擇用非常流暢的長鏡頭來拍攝《男人兒女》，部分原因是為了利用實時元素。

For this reason, long takes are sometimes used in action or even dialogue sequences to make audiences feel engaged and like they are watching things unfold more viscerally in real time.

是以，長鏡頭有時會被用在動作甚至對白片段中，以讓觀眾有一種參與感，彷彿他們正在更直觀地觀看事情的實時發展。

At the beginning I compared editing to breathing, which can either be done with slow, deep, relaxed breaths which are spaced apart, with short choppy panic gasps for air, or in the case of long takes by holding a breath for an extended period of time.

一開始，我把剪輯比作呼吸，可以是間隔開的緩慢、深長、放鬆的呼吸，也可以是短促、慌亂的喘氣，或者是長時間的屏住呼吸。

How filmmakers space out cuts has an unconscious emotional impact on audiences.

電影製作者如何拉開剪輯空間，會對觀眾產生潛移默化的情感影響。

Prolonging cutting or withholding the audience from taking a breath can be a great tool for building a feeling of tension, anticipation and intensifying emotional moments.

延長剪輯或不讓觀眾喘氣是營造緊張感、期待感和強化情感時刻的絕佳工具。

Hunger holds on a locked shot of a key dialogue scene between two characters for an incredible 17 minutes, intensifying the drama, giving the dialogue a real-time rhythm and locking the audience's focus in as the scene builds a powerful atmosphere.

飢餓》將兩個人物之間關鍵對話場景的鎖定鏡頭保持了令人難以置信的 17 分鐘，強化了戲劇性，賦予了對話實時的節奏感，並在場景營造出強大氛圍的同時鎖定了觀眾的焦點。

Once you cut away, then you give the audience an excuse.

一旦切掉，就給了觀眾一個藉口。

It's no longer real, it becomes a film at that point.

它不再是真實的，而是一部電影。

But if the shot carries on, then there is no escape.

但如果繼續射擊，那就無法逃脫了。

The audience, if they're engaged with the story and they're engaged with the characters, are drawn deeper and deeper into that scene by not cutting.

如果觀眾投入到故事中去，投入到角色中去，那麼不剪輯的場景就會吸引他們越陷越深。

It actually heightens the emotional impact of the story by giving you nothing else.

它實際上是通過讓你一無所知來增強故事的情感衝擊力。

Another effect which long takes may have is to build the world of the story, the space it takes place in and the characters which inhabit that world.

長鏡頭的另一個作用是構建故事的世界、故事發生的空間以及故事中的人物。

By having the camera flow with characters through a space, it can both introduce the location itself to the audience, as well as how different characters interact with each other, what their relationships are and the hierarchy or power dynamic that exists between them, all without interruption.

通過讓攝影機與人物一起在空間中流動，既可以向觀眾介紹地點本身，也可以介紹不同人物之間的互動方式、他們之間的關係以及他們之間存在的等級或權力動態，而這一切都不會被打斷。

Filmmakers can also use long takes to tell the story in one of two styles.

電影製片人也可以使用長鏡頭，以兩種風格之一來講述故事。

A more subjective style where the camera is latched mainly onto one or a couple of characters as they move through a space, like this 4 minute shot from Goodfellas.

主觀性更強的風格，鏡頭主要對準一個或幾個人物在空間中的移動，如《好傢伙》中這個 4 分鐘的鏡頭。

Or in a more objective style like the opening shot of Boogie Nights where the camera flows from an establishing shot into showing various different members of the ensemble cast as the camera progressively roams around a nightclub.

或者採用更客觀的風格，比如《魔盜夜行錄》的開場鏡頭，鏡頭從開場鏡頭切換到展示不同的演員，隨著鏡頭在夜總會里逐漸遊走。

These two ways of shooting long takes are informed by the director's overall perspective on the story.

這兩種拍攝長鏡頭的方式都是根據導演對故事的整體視角來決定的。

One contains voice over narration by and is mainly seen through the eyes of a single protagonist.

其中一部包含配音旁白，主要通過一個主角的眼睛來觀察。

The other alternates between various storylines and scenes between various characters and their relationships throughout the movie.

另一部電影則在不同的故事情節和場景之間交替進行，不同的人物和他們之間的關係貫穿整部電影。

Now that we know some of the reasons filmmakers may have for wanting to shoot these extended shots, what are the different ways in which these shots can be pulled off?

既然我們已經知道了電影製作人想要拍攝這些延伸鏡頭的一些原因，那麼有哪些不同的方法可以實現這些鏡頭呢？

The most technically simple long take technique is to film a shot from a stationary camera position which is either locked off or operated based on the movements of characters.

技術上最簡單的長鏡頭拍攝技術是從一個固定的攝影機位置拍攝一個鏡頭，這個攝影機要麼被鎖定，要麼根據人物的動作進行操作。

These stationary shots will be filmed from a tripod head which could be attached to various bases depending on the height of the shot required and the gear available.

這些靜態鏡頭將使用三腳架雲臺拍攝，根據拍攝高度要求和現有設備，三腳架雲臺可以安裝在不同的底座上。

Most commonly this base support would either be tripod legs, a dolly which is locked into position or a high hat for shots which need the camera to be positioned low to the ground.

通常情況下，這種底座支撐可以是三腳架支腿、鎖定到位的鍛模或高帽，用於拍攝需要將攝影機放置在離地面較低位置的鏡頭。

The second and probably most common way of doing a long take is by employing camera movement.

第二種，也可能是最常見的長鏡頭拍攝方法是利用鏡頭移動。

There are a wide variety of ways to do this and it's very situational depending on the quality of the movement, the position of the camera and what gear will be most practical for the operator and technicians.

有各種各樣的方法可以做到這一點，這取決於運動的品質、攝影機的位置以及對操作員和技術人員來說最實用的裝備。

The method that requires the least gear is to film the long take handheld, most commonly by balancing it on the shoulder for increased stability while being supported from behind by a grip to make sure the operator doesn't topple over, trip or hit an object when they are moving backwards.

最不需要裝備的方法是手持拍攝長鏡頭，最常見的方法是將鏡頭放在肩上以增加穩定性，同時從後面用手柄支撐，以確保操作人員在向後移動時不會翻倒、絆倒或撞到物體。

If filmmakers want the practical flexibility that comes from being able to move a handheld camera through various spaces at different angles but with movement that is more fluid, smooth and has a bit more stability, then a great option is either a steadicam, a trinity or a 3-axis gimbal.

如果電影製片人希望手持攝影機在不同空間、不同角度移動時具有實用的靈活性，而且移動更流暢、更平滑、更穩定，那麼穩定器、三位一體或三軸雲臺都是不錯的選擇。

For overhead long takes, a camera mounted on a remote head to a crane, a technocrane or a cable suspended spider cam could also be used.

在進行高空長鏡頭拍攝時，也可以使用安裝在起重機遙控雲臺上的攝影機、技術起重機或懸掛在電纜上的蜘蛛攝影機。

This allows a camera to move pretty much anywhere vertically and horizontally within a dedicated volume of space.

這樣，攝影機就可以在專用空間內垂直和水準移動到幾乎任何地方。

However, a large crane arm or overhead cabling will sometimes be limited by objects like ceilings, which means outside of a studio it isn't always the best tool for long takes that need to move through an environment.

不過，大型起重機臂或架空電纜有時會受到天花板等物體的限制，這意味著在攝影棚外，它並不總是需要在環境中移動的長鏡頭的最佳工具。

Another method that offers maximum stability is to commit to only moving the camera along one straight line.

另一種能提供最大穩定性的方法是隻沿著一條直線移動攝影機。

This can be done with the camera mounted on top of a tripod head on top of a dolly, which is pushed along a series of straight track lengths which are connected and levelled by grips.

相機可以安裝在三腳架雲臺的頂端，而三腳架雲臺則安裝在滑車的頂端，滑車沿著一系列筆直的軌道推進，這些軌道通過夾具連接並調平。

Although this movement is supremely smooth, it does limit the motion to one straight axis, unlike shooting handheld with a gimbal or a steadicam where the operator can turn corners, loop around and easily change their directional line.

雖然這種運動極為流暢，但它確實將運動限制在一個直軸上，而不像使用雲臺或穩定攝影機進行手持拍攝時，操作員可以轉彎、繞圈並輕鬆改變方向。

An exception to this is if the long take is shot using a dolly in a soundstage or a location with a perfectly smooth levelled floor where the dolly can be wheeled around without needing to use tracks to get it over uneven terrain.

但有一個例外，那就是長鏡頭的拍攝是在舞臺或地面完全平整的場地進行的，在那裡可以用輪子推著拍攝，而不需要使用軌道在不平整的地面上移動。

Finally, some filmmakers who want to employ different kinds of movement within a single shot, such as starting with the jib, which moves into stabilised movement on the ground, can be done by using combined camera movements.

最後，有些電影製作人希望在一個鏡頭中採用不同的運動方式，例如從搖臂開始，到地面上的穩定運動，可以通過組合攝影機運動來實現。

But before we get there, I'd like to thank our sponsor Squarespace.

但在此之前，我要感謝我們的贊助商 Squarespace。

If you want to get work as a filmmaker then you need a website.

如果你想獲得電影製片人的工作，那麼你需要一個網站。

One of the best ways to create and manage one is at Squarespace.

創建和管理網站的最佳途徑之一就是在 Squarespace。

Squarespace makes setting up your website simple and intuitive with their new guided system Squarespace Blueprint.

Squarespace 利用其全新的指導系統 Squarespace Blueprint，使網站設置簡單直觀。

All you need to do is select from their custom curated layouts and styling options to build an online presence custom tailored to your style and needs.

您只需從他們定製的佈局和風格選項中進行選擇，就能根據自己的風格和需求量身打造在線形象。

Then integrate and connect your social accounts seamlessly to promote your brand and use their optimised SEO tools to get eyes onto your work.

然後整合並無縫連接您的社交賬戶，以推廣您的品牌，並使用其優化的搜索引擎優化工具來吸引眼球。

So head over to Squarespace to get started with their free trial and then when you're ready to launch your site go to squarespace.com.in to save 10% off your first purchase of a website or domain.

是以，請前往 Squarespace 開始免費試用，當您準備好啟動網站時，請訪問 squarespace.com.in，首次購買網站或域名可享受 10% 優惠。

A popular combined camera movement is called the crane step-off.

一種常用的相機組合動作被稱為 "起重機步進"。

This is where a steadicam operator starts by standing on a platform on a rideable crane to which they are harnessed.

穩像機操作員首先要站在可乘坐起重機上的平臺上，並用繩索將其固定在平臺上。

The crane is then jibbed around or down to the ground.

然後，起重機繞著地面或向下俯衝。

At this moment grips will simultaneously unharness the operator and secure the crane to ensure the change in weight doesn't cause the unbalanced crane to shoot up.

此時，抓手會同時解開操作員的繩索並固定起重機，以確保重量的變化不會導致不平衡的起重機飛起。

The steadicam op will then step off the platform onto the ground and continue the rest of the motion such as tracking with the character.

然後，穩定攝影機操作員將從平臺上走到地面上，繼續其餘的動作，例如與角色一起跟蹤。

Another combined camera movement is a gimbal pass off.

另一種組合相機運動是萬向節傳遞。

Depending on the situation the gimbal or stabilised head can be rigged onto a bar and attached to some kind of tracking rig such as a technocrane which does a telescoping motion or a cable rig that the camera slides along.

根據具體情況，雲臺或穩定雲臺可以安裝在一根杆子上，並連接到某種跟蹤裝置上，例如可以伸縮的技術起重機或攝影機可以滑動的纜索裝置。

Once the gimbal comes to ground it can be unhooked from the first rig by an operator who can then grab the gimbal off the bar and begin a smooth motion along the ground.

萬向節到達地面後，操作員可以將其從第一套鑽機上解開，然後從橫杆上抓住萬向節，開始沿地面平穩移動。

Some high budget filmmakers wanting a long take with movement in unusual spaces can enter the world of custom grip builds, such as this 2-axis dolly rig from Children of Men which was built onto the roof of the car.

一些高預算的電影製片人希望在不尋常的空間內進行長鏡頭拍攝，他們可以進入定製握把的世界，例如《男人幫》中的這套雙軸鍛模設備，它是安裝在車頂上的。

This rig could move an underslung remote head along a track both forwards and backwards and left and right.

該設備可以沿著軌道前後左右移動懸掛式遙控頭。

This was mounted onto the car's cut-off roof.

While an operator stationed on top of a space rigged onto the car's roof could also pan the camera around 360 degrees on a sparrowhead inside the car's interior.

同時，在車頂空間裝置上的操作員還可以通過車內的麻雀頭 360 度旋轉攝像頭。

The car was placed on a low loader platform that could be driven forwards and backwards by two low mounted professional drivers at the front and rear of the car who sat out of sight of the camera.

汽車被放置在一個低矮的裝載平臺上，可由兩名低矮的專業司機前後駕駛，他們分別坐在車頭和車尾，不在攝影機的視線範圍內。

Something interesting happens right at the end of the long take.

在長鏡頭的最後，發生了一件有趣的事情。

The camera swings around, somehow exits the car door, operated with a handheld motion and pans over without seeing any of the rigging gear or drivers.

攝影機旋轉著，不知不覺地從車門中退出來，用手持的方式進行操作，然後平移過去，卻看不到任何索具或駕駛員。

The camera is hard mounted onto a remote head inside the car and cannot be easily detached.

攝像頭硬安裝在車內的遙控頭上，不能輕易拆卸。

I'd argue it was done with a technique called an invisible cut.

我認為這是用一種叫做隱形切割的技術完成的。

This is quite a widely used trick when it comes to long takes.

在長鏡頭拍攝時，這是一個被廣泛使用的技巧。

The idea is to actually break these sequences down into a number of different shorter shots which are more manageable to shoot, then stitch them together in the edit.

我們的想法是將這些鏡頭分解成許多不同的短鏡頭，這樣拍攝起來更容易管理，然後在剪輯時將它們拼接在一起。

These transitions are hidden by using invisible cuts, which if done seamlessly will mask that there was an editing point at all.

這些過渡是通過隱形剪輯隱藏起來的，如果剪輯做得天衣無縫，就會掩蓋剪輯點的存在。

The easiest method of performing an invisible cut is by ending a shot on a block of solid dark colour, cutting, then resuming filming a new shot which starts on the same block of colour.

進行隱形剪輯最簡單的方法是在一個純深色的色塊上結束一個鏡頭，剪輯，然後在同一色塊上重新開始拍攝一個新鏡頭。

Some invisible cuts, like the one in Rope, are quite easy to identify as they almost always involve tracking into a dark close up of an object.

有些隱形剪輯（如《繩索》中的剪輯）很容易識別，因為它們幾乎總是需要追蹤到一個物體的暗部特寫。

However, when this technique is combined with a wipe, it can hide the cut quite effectively.

不過，如果將這種技術與擦拭結合起來，就能非常有效地掩蓋傷口。

A wipe is where, unlike a regular cut, the second shot gradually moves across the screen, usually from side to side, until it takes up the whole frame.

與普通剪輯不同，擦拭是指第二個鏡頭在螢幕上逐漸移動，通常是從一側移動到另一側，直到佔據整個畫面。

If shot 1 ends with the camera tracking or panning quickly from side to side, and shot 2 begins with the same quick motion, and a wipe is then applied to this, sometimes with some added CGI work, this is called an invisible wipe.

如果鏡頭 1 以攝影機從一側到另一側的快速跟蹤或平移結束，而鏡頭 2 以同樣的快速運動開始，然後在此基礎上進行擦拭，有時會添加一些 CGI 工作，這就是所謂的隱形擦拭。

This technique has been used in movies such as Birdman or 1917 to break up the longer takes into more manageable and easily filmable smaller shots, while maintaining the illusion that it was shot as a one-er.

在《鳥人》或《1917》等電影中，這種技術被用於將較長的鏡頭分割成更易於管理和拍攝的小鏡頭，同時保持了作為一個整體拍攝的錯覺。

Another reason that these invisible cuts were used to stitch together shots in movies from the past was due to the running time of 35mm film cameras.

在過去的電影中，這些隱形剪輯被用來拼接鏡頭的另一個原因是 35 毫米膠片攝影機的運行時間。

Although it depends on the film gauge and magazine size, shooting on 35mm with a 1000 foot mag gave around 11 minutes of run time at 24 frames per second.

雖然這取決於膠片規格和彈匣大小，但在 35 毫米膠片上使用 1000 英尺彈匣拍攝時，以每秒 24 格的速度計算，可拍攝約 11 分鐘。

So the longest that a single shot could be when shooting on film was 11 minutes, unless a special magazine was used which could accommodate more than a 1000 foot of film.

是以，使用膠片拍攝時，除非使用可容納超過 1000 英尺膠片的特殊彈匣，否則單次拍攝的最長時間為 11 分鐘。

Nowadays digital cameras which record onto large capacity cards or hard drives offer a much longer running time than physical film did, and have largely made this issue irrelevant.

如今，數碼相機可以將影像記錄在大容量的存儲卡或硬盤上，比膠片的運行時間要長得多，這在很大程度上解決了這個問題。

However, there are still plenty of technical challenges which come with shooting long takes.

然而，拍攝長鏡頭仍然存在很多技術挑戰。

This is required both to transmit a video signal to a monitor for the director to review the take as it unfolds, as well as for the first AC to evaluate focus, and to then transmit a signal from the wireless follow focus to the camera to pull said focus.

這既需要將視頻信號傳輸到監視器上，供導演在拍攝過程中查看，也需要第一 AC 評估焦距，然後將信號從無線跟焦器傳輸到攝影機，以拉近焦距。

In ordinary setups this isn't a problem, however if the camera needs to move a great distance during a take away from where the monitor and focus puller is set up, then either a stronger transmitter will be required that transmits a further distance, or the focus puller and director will need to be close to the camera at all times during the take.

在普通的設置中，這並不是問題，但如果攝影機在拍攝過程中需要遠離監視器和拉焦器的設置位置很遠的距離，那麼要麼需要一個更強的發射器來傳輸更遠的距離，要麼拉焦器和導演需要在拍攝過程中始終靠近攝影機。

The more space as the camera moves through, the more continuous lighting fixtures will need to be set up to illuminate and balance the exposure levels, so that no area is too dark or too bright, and so that the levels of natural light do not shift too much during shooting.

攝影機移動的空間越大，就需要設置更多的連續照明燈具來照明和平衡曝光水準，使任何區域都不會太暗或太亮，並使自然光的水準在拍攝過程中不會發生太大變化。

One way to aid with balancing exposure is to do an iris pull, where a motor on a lens's aperture ring can be shifted during a take to either open up and make the image brighter, or stop down to darken it.

幫助平衡曝光的一種方法是拉光圈，即在拍攝過程中移動鏡頭光圈環上的馬達，使光圈開大使畫面變亮，或光圈縮小使畫面變暗。

If it's done slowly and subtly, this effect will likely not be picked up by audiences.

如果做得緩慢而巧妙，這種效果很可能不會被觀眾接受。

It's especially necessary when shooting exterior long takes, where the sun may go behind a cloud and darken, or come out and brighten halfway through a shot.

在拍攝外景長鏡頭時尤其需要這樣做，因為在拍攝過程中，太陽可能會躲在雲層後面變暗，或者中途出來變亮。

Another consideration with lighting is to plan the lighting and camera moves so that there's never a light source between the camera and the subject, to avoid casting a camera shadow.

照明的另一個注意事項是，在規劃照明和攝影機移動時，永遠不要讓光源位於攝影機和拍攝對象之間，以避免產生攝影機陰影。

This is why long takes through interiors will often rely on rigging light from a higher position on the ceiling, so that shadows will be cast straight down.

這就是為什麼室內長鏡頭往往需要從天花板較高的位置打光，這樣陰影就會直接投射下來。

Once all of these technical challenges have been figured out, the real biggest challenge is actually shooting the shot, by getting both the performance and blocking of the actors, as well as the motion of the camera operator to happen simultaneously in perfect harmony.

在解決了所有這些技術難題之後，真正最大的挑戰在於實際拍攝，即如何使演員的表演和遮擋以及攝像師的動作同時完美協調地進行。

As always thanks to all of you for supporting the channel by watching, commenting and especially to those that get the videos early on Patreon.

一如既往地感謝大家通過觀看、評論來支持我們的頻道，尤其要感謝那些通過 Patreon 提前獲得視頻的用戶。

 Otherwise until next time, thanks for watching and goodbye.

否則，下次再見，感謝觀看，再見。