Name: 與「SINNERS」視覺特效團隊同步挑戰！| 華納兄弟娛樂 (TWINNING with the SINNERS Visual Effects Team | Warner Bros. Entertainment)
Uploaded: 2026-03-04T16:58:26.000Z
Duration: 4 min 57 s

This film is a cinematic triumph, and it's a cinematic triumph in multiple ways.

這部電影是個cinematic triumph，而且是多方面的cinematic triumph。

You see Mike as Smokin Stack the first time after that first interaction with Hogwood.

你第一次看到Mike飾演Smokin Stack，是在他跟Hogwood第一次互動之後。

Most audience members completely forget that it's Mike playing both characters.

大多數觀眾完全忘了這兩個角色都是Mike演的。

They're so distinctly two characters who have such a distinct interaction with one another that I think this actually supports people sleeping on the movie as a visual effects film because it was too good.

他們是如此明顯地兩個不同的角色，而且彼此之間的互動如此獨特，我認為這反而讓大家忽略了這部電影的視覺效果，因為它太出色了。

A lot has been made about the shots to light each other's cigarettes, which to me came off as a wink to the audience, like, hey, we ain't playing with y'.

關於互相點菸的鏡頭，大家討論了很多，在我看來，那就像是對觀眾的致意，像是說，嘿，我們不是在開玩笑。

My whole thing was I wanted to use that shot to cement the believability of the twins.

我整個想法是，我想要用那個鏡頭來鞏固雙胞胎的可信度。

而且奏效了，你知道嗎，像是，怎麼說？

So my whole pitch was like, let's do this the way that.

所以我的提案就是，我們來這樣做。

That all our peers would say, you're absolutely batshit crazy.

我們的同儕都會說，你根本是瘋狂至極。

我的意思是，你知道，像是，為了。

To a point where, like, we're gonna do exactly what no one else would expect us to do because it's just too hard.

到一個程度，像是，我們要做的就是別人絕對想不到的，因為它實在是太難了。

So what you would normally do is have that whole shot play out with a body double.

所以你通常會做的就是讓整個鏡頭都由替身來完成。

And then replace the head of the body double as the, you know, the.

然後替換掉替身的頭部，你知道，那個。

The cigarette is handed back and forth and all that.

香菸就這樣來來回回地遞過去，諸如此類的。

And that's exactly what we did not want to do.

但我感覺這會造成很大的不同。

To see Michael full body for both smoke and stack.

看到 Michael 的全身，無論是煙霧還是 Smokin Stack。

It was blatantly obvious all of a sudden how different he was playing the twin.

突然就明顯地看出他扮演雙胞胎時有多麼不同。

It was one of the most remarkable things about the post production process.

這是後製過程中，最令人驚嘆的事情之一。

Having seen Michael perform on set and to see the differences between the characters, but

看到 Michael 在片場的表演，以及角色之間的差異，但

then to see it come together in the edit and see the scenes play out next to each other and then have a full appreciation for the.

然後在剪輯時看到它們組合在一起，看到場景並排呈現，然後就能完全體會到。

The expertise he was putting into those characters.

他投入在這些角色裡的專業表現。

This is far in the way, the best he's ever been.

這絕對是他至今為止最棒的表現。

And this is not only a cinematic feat, but I think it's an achievement in performance.

這不僅是 cinematic triumph，我認為這也是演技上的成就。

I looked at this and I was like, wow, man, you deserve every good thing coming to you from this film.

我看了這部片，心想，哇，老兄，你絕對值得這部電影帶給你的一切美好。

We would shoot scenes with Mike as smoke.

我們會拍攝麥克飾演煙霧的場景。

Then we would have to do this pass where he would wear this thing that was about as big as one of these lights.

然後我們還得進行一個拍攝，他會戴上一個大概跟其中一個燈一樣大的東西。

It's a rig that he would put on his head like he was in Back to the Future that had multiple cameras.

這是一個他戴在頭上的裝置，就像《回到未來》裡的造型，上面有好幾個攝影機。

所以，是你們創造了 Halo rig 嗎？

We were talking about what information we needed to do the digital head replacements.

我們在討論我們需要什麼資訊來進行數位頭部替換。

Michael sketched out the Halo rig on a napkin.

麥克在餐巾紙上畫出了 Halo rig 的草圖。

And this was all in conversation with Guido because we knew Guido was going to do the work.

這一切都是跟 Guido 討論的結果，因為我們知道 Guido 會負責執行。

Guido, they are specialists when it comes to, like these full head replacements.

Guido，他們在這方面是專家，像是這種全身的頭部替換。

And, you know, so what visual effects people usually do is hockey mask.

然後，你知道的，所以視覺效果人員通常會做的是曲棍球面具。

You basically take somebody's face and put it on another person's head.

你基本上就是把一個人的臉，然後放到另一個人的頭上。

When we showed that to Mike for the first time, he immediately said, those are not my ears, that's not my hairline, that's not my fall in the neck.

第一次給 Mike 看的時候，他立刻就說，那不是我的耳朵，那不是我的髮際線，那也不是我脖子後面的線條。

And then we were like, oh, I mean, yeah, makes perfect sense.

然後我們就說，喔，我的意思是，對啊，完全說得通。

Because Mike is not just an actor, but he's a director as well.

因為 Mike 不只是一位演員，他同時也是一位導演。

So unlike me, he knows what his ears look like.

所以跟我不一樣，他知道自己的耳朵長什麼樣子。

So that was the first moment where like, oh, this is going to get a little bit more complicated because we're going to have to replace his entire head.

所以那時候我們就意識到，喔，這件事情會變得有點複雜，因為我們必須要替換掉他整個頭。

And this is specifically for scenes where there's so much interaction, physical interaction, you know, fighting, punching, I don't know what.

而且這特別是針對有很多互動、肢體互動的場景，像是打鬥、拳擊，我不知道還有什麼。

Where they're into each other that we cannot do as split screen because we were always going the hard route when it came to, like, those swingshots.

他們之間有很強的化學反應，我們無法用分割畫面呈現，因為在拍攝那些搖鏡頭時，我們總是選擇最困難的方式。

We tried as much in camera as we could every single time.

我們每次都盡量在鏡頭內完成。

I think that was new for you guys as well, was we need full heads.

我想這對你們來說也是新的，就是我們需要完整的頭部。

And then the second thing was that Ryan kept telling us, look, we're here because of Michael B.

然後第二件事是 Ryan 一直告訴我們，看，我們在這裡是因為 Michael B.

Jordan is the guy who gives us, who keeps us all employed because, you know, people want to see him.

Jordan 是那個讓我們大家都有工作的人，因為，你知道的，大家想看他。

And so whenever we do this, it has to be his performance and not.

所以每當我們做這件事時，都必須是他演出的樣子，而不是。

You know, and that's the other thing with the hockey mask approach.

你知道，這也是關於冰球面具方法的另一件事。

Because normally when visual effects people do that, then it's usually the performance of the double.

因為通常當視覺效果人員這麼做時，那通常是替身的表演。

You would end up with a person who looks like Michael B.

你最後會得到一個長得像 Michael B.

Jordan in the face, but at somebody else's head, and then the performance of that.

Jordan 的臉，但頭卻是別人的，然後是那個人的表演。

那個人的表演，這樣是行不通的。

So those were two non negotiable parameters at that point in time.

所以在那時候，這兩個是不可協商的參數。