Name: 玩具總動員4 竟然有這麼假的「假相機」？！ (The Real Fake Cameras Of Toy Story 4)
Uploaded: 2026-02-05T17:03:17.000Z
Duration: 6 min 43 s

程度副詞

So there's this shot in Toy Story 4 that completely blew my mind, and

所以在《玩具總動員4》裡有個鏡頭，真的讓我驚豔到不行，

情態助動詞 B1

而且原因跟你想的不太一樣喔。

Well, this is what's called a split diopter shot.

嗯，這就是所謂的 split diopter shot。

A split focus diopter is a glass attachment that covers a portion of a camera lens so that you can have two focal planes in the same frame.

split focus diopter 是一種玻璃配件，會覆蓋鏡頭的一部分，讓你可以在同一個畫面裡有兩個焦平面。

It's often used to simulate deep focus when you don't have the light or the equipment to achieve it.

當你沒有足夠的光線或設備來達成深焦距時，常常會用它來模擬 deep focus。

For real, split diopter shots can be virtually seamless, like these from Star the motion picture, Mr.

說真的，split diopter shot 看起來可以非常自然，就像《Star Trek》這部電影裡的鏡頭一樣，Sulu。

Or they can be used stylistically like these from Brian De Palma's work or Tarantino's.

又或者，像 Brian De Palma 或 Tarantino 的作品裡，它們也可以用來創造獨特的風格。

好的，回到《玩具總動員 4》。

This is very clearly a split diopter shot.

這就非常明顯是個 split diopter shot。

嗯，你可以看出來，因為 Gabby。

Gabby is in focus here in the foreground, while this plate and brush are out of focus behind her.

Gabby 在前景這裡對焦清楚，而她後面的盤子和刷子卻是模糊的。

And yet even further back, you and that plate are in focus.

但更遠處的你和那個盤子卻又對焦清楚了。

Again, that's just not possible with a single lens.

再說一次，這單靠一個鏡頭是不可能辦到的。

我是什麼？我是說，在跟一個運動說話。

This is all ridiculous because there are no lenses in Toy Story 4.

這一切都很荒謬，因為《玩具總動員 4》裡根本沒有鏡頭。

Why would the filmmakers animate a shot with an effect that would only be need real life?

為什麼電影製作人要動畫化一個只有在現實生活中才需要的效果？

I think the answer might have something to do with this man.

我想答案可能跟這位先生有關。

Patrick Lynn, director of photography on Toy Story 4, as well as Inside out, up, the Incredibles and the 2013 animated short the Blue Umbrella.

Patrick Lynn，《玩具總動員 4》以及《腦筋急轉彎》、《天外奇蹟》、《超人特攻隊》和 2013 年的動畫短片《藍色傘》的攝影指導。

Lin has helped to bring real cameras into the computer generated world of Pixar.

Lin 協助將真實攝影機帶入了 Pixar 的電腦生成世界。

On the Blue Umbrella, for example, he pioneered a camera capture technique where the movement of a camera is tracked in the same way as an actor who's doing motion capture.

舉例來說，在《藍色傘》中，他開創了一種攝影捕捉技術，攝影機的移動方式跟做動態捕捉的演員一樣被追蹤。

The result is came that retains a human touch.

Pixar continued to use this technique on Inside out, where Lin and his colleagues contrasted the inner and outer worlds by using different kinds of camera movement.

Pixar 在《腦筋急轉彎》中繼續使用這項技術，Lin 和他的同事們透過使用不同種類的攝影機運動來對比內在和外在的世界。

Inside Riley's head, the camera is graceful and perfectly smooth.

在萊莉的腦袋裡，攝影機是優雅且完美流暢的。

Outside, you see a more shaky handheld camera, particularly as Riley grows more anxious toward the end of the movie.

在外在世界，你會看到更晃動的手持攝影機，尤其是在電影結尾萊莉越來越焦慮的時候。

Inside out was also the first Pixar film to model the look of its virtual cameras on on real lenses.

《腦筋急轉彎》也是第一部以真實鏡頭來模擬其虛擬攝影機外觀的 Pixar 電影。

In the mind world, they use Arri Zeiss Ultra Primes, which have very little lens distortion.

在心靈世界裡，他們使用 Arri Zeiss Ultra Primes，鏡頭畸變非常小。

And in the real world, they modeled Cooke S4 lenses which distort light, color and shape.

而在真實世界裡，他們模擬了 Cooke S4 鏡頭，這種鏡頭會扭曲光線、顏色和形狀。

More significantly, Now, I say significantly, but that's in terms of lenses.

更重要的是，我說更重要，但這是在鏡頭方面的考量。

As a viewer, the difference may not be something you notice, but it will be something you feel.

作為觀眾，你可能不會注意到這種差異，但你會感受到它。

That's even more true for Toy Story 4, the first film in the franchise to be composed in in a 2.39 aspect ratio.

這對於《玩具總動員 4》來說更是如此，這是該系列第一部以 2.39 畫面比例構圖的電影。

This gave the virtual camera team the opportunity to model anamorphic lenses, which ratchet up those distortion effects and give everything a more cinematic feel.

這讓虛擬攝影機團隊有機會模擬變形鏡頭，這能加劇這些畸變效果，讓一切都更有電影感。

You can see a number of those effects in this shot.

你可以在這個鏡頭裡看到不少這些效果。

Anamorphic lenses generally have a shallower depth of field, and

變形鏡頭通常有較淺的焦平面，而且

they're known for how well they separate a subject from the background.

它們以能將主體與背景完美分離而聞名。

Bo Peep, right here, just pops from what's behind her.

就像這裡的牧羊女，她就從身後的背景中脫穎而出。

Anamorphic lenses also produce these signature oval shapes in the bouquet of out of focus light reflections.

變形鏡頭還會產生這些標誌性的橢圓形散景光點。

This anamorphic look is something the filmmakers mostly reserved for Bo Peep, who Lyn notes, embraces change.

這種變形鏡頭的風格，電影製作人主要保留給牧羊女，琳提到，她擁抱改變。

For Woody, who is resistant to change, they chose spherical lenses.

對於抗拒改變的胡迪，他們則選用了球面鏡頭。

Just look at the difference between these two close ups in the same location.

看看在同一個地點拍攝的這兩個特寫鏡頭有什麼不同。

The animation for Toy Story 4 is astounding in so many ways.

《玩具總動員 4》的動畫在許多方面都令人驚嘆。

The details in the toys and their surroundings, the particulates in the air that give the antique store so much texture and reality.

玩具和周遭環境的細節，空氣中的微粒讓這間古董店充滿質感和真實感。

Jean Claude Calais, the other DP on the film in charge of lighting, calibrated every light in the carnival down to the bulb, so that they essentially had a fully functioning set of realistic lights.

電影的另一位攝影指導 Jean Claude Calais 負責燈光，他校準了嘉年華裡的每一盞燈，連燈泡都仔細調整，所以他們基本上擁有一套功能齊全的真實燈光。

And it was the same for the antique store, where the main challenge wasn't where to add lights, but

古董店也是一樣，主要的挑戰不是在哪裡加燈，

The question was, how do you use the realistic lighting of the space selectively to augment the story?

問題是，要如何選擇性地運用空間裡的真實燈光來增強故事性？

Which finally brings me back to the split diopter shot.

這終於讓我回到 split diopter shot。

Though it can be hidden well, there is something essentially stylistic about a split diopter because we know how cameras see things, and

雖然它可以巧妙地隱藏，但 split diopter 本質上帶有一種風格感，因為我們知道攝影機看東西的方式，

there's just a wrongness to an image with more than one focal plane.

而且一個影像出現多個焦平面，總會讓人覺得有點不對勁。

The best uses of split diopters match this sense of uneasiness with an uneasiness in the story.

split diopter 最好的運用方式，是將這種不安感與故事中的不安感相呼應。

And that's why I think Patrick Lynn or director Josh Cooley or the whole team chose to use this very analog solution in this very digital movie.

這就是為什麼我認為 Patrick Lynn 或導演 Josh Cooley 或整個團隊，在這部非常數位的電影裡，選擇使用這個非常類比的解決方案。

Gabby is trying to manipulate Forky into giving her information.

Gabby 試圖操控 Forky 讓他說出資訊。

The split diopter broadcasts that there's something bogus about her sweetness.

split diopter 傳達了她甜美外表下的某種虛偽。

Animation has always drawn from the lessons of live action film, from the visual language of cinematic storytelling.

動畫一直以來都從真人電影、從電影敘事的視覺語言中汲取養分。

Everyone who worked on Toy Story 4 understands that the imperfections, the way a lens distorts or a camera operator shakes or a light bounces, contain their own expressive potential.

《玩具總動員 4》的每位工作人員都明白，鏡頭的畸變、攝影師的晃動或燈光的反射等不完美之處，都蘊含著獨特的表現力。

And when you combine these with the limitless world of animation, the results can be stunningly tactile.

當你將這些與動畫的無限世界結合時，成果會令人驚豔地觸手可及。

Thank you so much for watching this one was so much fun to make.

非常感謝大家收看，製作這個真的超有趣的。

This episode was brought to you by Squarespace.

Now, if you don't know, you can use Squarespace to make beautiful websites for anything you might need.

如果你還不知道，你可以用 Squarespace 打造任何你需要的精美網站。

A personal site, a wedding website, a site for your business or portfolio, and

個人網站、婚禮網站、商業網站或作品集網站，

in just a few clicks, you can have that website up and running.

而且只要點幾下，你的網站就能上線運作了。

Their design team has crafted amazing templates that work on computer browsers and on mobile switching packages perfectly between the two.

他們的設計團隊打造了超棒的範本，無論是在電腦瀏覽器或手機上都能完美運作，並在兩者之間無縫切換。

You can integrate your own photos and videos with just a few clicks.

你只要點幾下，就能整合你自己的照片和影片。

And you can even link your social account so you can auto post to Twitter and Facebook all from within Squarespace.

而且你甚至可以連結你的社群帳號，這樣你就可以直接從 Squarespace 自動發布到 Twitter 和 Facebook。

Head over to squarespace.com for a free trial, and

when you're ready to Launch, go to squarespace.com nerdwriter for 10% off your first purchase.

然後當你準備好上線時，到 squarespace.com nerdwriter 購買你的第一個產品可享八折優惠。

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玩具總動員4 竟然有這麼假的「假相機」？！ (The Real Fake Cameras Of Toy Story 4)

essentially

incredible

ridiculous

technique