One of the best compliments you can give a movie is that it just feels alive

這是 Every Frame a Painting 頻道

There’s something in there that has a pulse, that's unpredictable.

對一部電影最好的評價一是它讓人覺得有生命力

It’s not just the story or the actors

電影裡某些元素會讓人產生無法預測的感受

it’s in the frames themselves.

不只是故事本身或演員的關係

Consider this short scene from Nicolas Winding Refn’s "Drive"

而是畫面本身

At first glance, it doesn’t seem all that special.

以導演尼可拉斯‧溫丁‧黑芬執導的電影《落日車神》為例

Check this out. Cover up half the frame. Notice that the right side of frame

第一眼 畫面看起來不怎麼特別

tells an entire story about these characters on its own

仔細看

and the left side tells another complimentary story.

把左半邊畫面蓋掉

So a shot that could have told one thing actually tells two.

可以發現右側畫面就能透露角色在劇情中的發展

And instead of being bored, our eyes are constantly switching

左側畫面則代表另一個角色的主線劇情

between the two halves of the screen.

只透露一件事的畫面

This time, the dynamic isn’t left and right,

事實上，可以表達兩件事

but top and bottom.

不會感到無聊

--Hi --Hi

因為我們的雙眼在左右畫面間快速往返

--Oh you two know each other. --Don't

這次，亮點不再是畫面左側或右側

Up here, we have a beautiful triangle of faces,

而是上與下的畫面

and a composition full of vertical and diagonal lines.

嗨

But check out what’s happening below.

嗨

Even though we’re not consciously thinking about it,

你們認識嗎？

the bottom half of this frame tells an entire story

別亂猜

through the hands of the actors.

上方畫面

--Oh you two know each other. --Don't

人物的臉部構成經典的三角構圖

--Oh look at that. --We're neighbors.

畫面充滿垂直和對角線的構圖

--Neighbors? Well, we'll try to be neighborly, too.

但看畫面下方發生什麼事

And when we say a film is alive, this is part of what we mean.

即便我們不刻意意識

There are subtleties of storytelling and behavior not just where we look,

畫面下方透過演員的手來已傳達了故事劇情

but where we don’t look. And as you watch Drive you start to see the pattern

你們認識嗎？

Almost every shot has a compositional balance

別亂猜

between left and right, and also top and bottom.

你看看你

A quadrant.

我們是鄰居

At first, this might seem restrictive. But using this basic tool,

鄰居？

watch how the director takes a conventional scene

真好

and does unconventional things.

我們喜歡敦親睦鄰

As the Driver enters, he’s up in the top-left

我們說一部電影充滿生命張力

So naturally we assume the next shot will have the other person in top-right

就是這個意思

But instead...

劇情的細節、行為表現不僅僅是表面看到那般

Once the shots move closer, we get two characters short-sided like this

看《落日車神》時

with tons of space behind them. Even though they want to talk...

你會注意到這種構圖方式

there are other obligations.

幾乎每個畫面都有考慮構圖上的平衡

Once the two men confront each other, notice they occupy the same quadrant,

左邊與右邊 上面與下面

with their eyes in the same spot because they’re fighting for the same position.

四分構圖法

Meanwhile, Irene is framed top-right or dead-center, the object of

一開始，看起來滿受限的

their affections. Even though she’s out of focus watch her performance.

但這個基本的方法

The scene finally pays off in this image,

提供你找到導演在普通場景中特別安排的巧思

balanced between top-left and bottom-right, letting us

司機走進來時

visually compare the two men and see the long shadow one casts towards the other.

他的位置在畫面左上角

Even though we’ve seen this exit door

我們很自然以為下個鏡頭出現的人物會出現在右上角

since the first shot of the scene, the visual payoff is actually unexpected.

但正好相反

And the director by emphasizing different quadrants, can create shots

鏡頭拉近

that are both tightly-composed

看起來兩人的視覺效果

and weirdly unpredictable.

後方留下很大的空間

--All these priceless cars.

儘管他們想要對話

--One would think you'd have better locks.

還有其他任務在身

If you enjoyed this, feel free to play around with quadrants.

兩個男人面對彼此時

They’re a very old simple tool.

都在畫面的左上方

And you shouldn’t copy Refn, just start with the same toolbox

他們的眼睛也在相同的位置

and see what you come up with.

因為他們正爭取相同的構圖位置

Remember you don't need steadicams, cranes, drones or the latest 4K whatever

同時，女主角艾琳位於畫面右上角以及中心的位置

You need top, bottom, left, right

儘管位置畫面失焦

and the good sense for how to put them all together.

觀察她的表演 儘管位置畫面失焦

Subtitles by the Amara.org community

觀察她的表演