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字幕列表 影片播放

  • Hi my name is Tony and this is Every Frame a Painting.

    嗨,我是Tony,這是幀影幀畫

  • So here’s a fundamental question:

    這裡有個很基本的問題

  • When youre judging a shot, What’s the first thing you look for?

    評判一個畫面的好壞時,你會先看哪裡?

  • Is it balance?

    構圖的平衡感?

  • Leading lines?

    畫面的引導線?

  • Golden ratio?

    黃金比例?

  • Color? Light? Shapes?

    色調?

  • I think these are all essential, and theyre all part of good images.

    光線?

  • But there’s one thing I always notice first

    形狀?

  • Movement

    我認為以上都很重要 也都是築構好畫面的必要條件

  • --For me, Kurosawa is the Beethoven of movie directors

    但對我來說,我會先注意一點:

  • --It's that recognizable full sound that Beethoven had

    動態

  • --that is so unmistakable

    黑澤明對我來說是電影導演界的貝多芬

  • A Kurosawa film moves like no one else’s

    正如貝多芬音樂強烈的辨識性一樣

  • Each one is a masterclass in different types of motion

    你不會認不出來

  • and also ways to combine them.

    黑澤明的電影動態是獨一無二的

  • Over a career spanning half a century he made 30 films

    每一個動態安排及彼此結合都是大師級的

  • and in all of them, the movement is surprising and cinematic.

    半世紀的拍片生涯,他完成了30部電影

  • Wow. If you’d like to see the names of the films, press the CC button below.

    每一部都充滿了驚喜感及電影感的動態安排

  • So what types of movement did he like?

  • First, there’s the movement of nature.

    如果你想知道舉例的片名,請點擊下方CC鈕

  • In every one of his films, the background of the shot

    好,他喜愛的動態類別為何?

  • features some kind of weather.

    首先,大自然的動態

  • Wind

    他的每一部電影

  • Water

    多會以某種自然現象作為背景

  • Fire

  • Smoke

  • Snow

  • One advantage of this approach is that shots have a lot of visual interest.

  • Even when people are still, there’s rain in the background to draw your eye.

  • --Rain is a real emotional trigger that works in any film.

    這麼做的好處之一為 畫面會自然產生多種視覺效果

  • --You know, anything that’s excessive because it gives you

    就算人物都靜止不動 下雨的背景仍可吸引視線

  • --another layer that the audience can relate to sensually.

    我將歸去

  • Second, there’s the movement of groups.

    雨非常適合於任何影片作為感情觸發的工具

  • Kurosawa films usually feature large groups of people who band together

    你知道,任何其他的東西都會太濫情

  • or split apart.

    雨相當於是...

  • Crowds like this are really cinematic. When you put this many people in a shot,

    提供觀眾感官上與電影連結的另一個層面

  • any emotion feels big.

    第二,群體的動態

  • If you want a good reaction shot, try using four people

    黑澤明的電影通常都有大群人

  • Or twenty-five

    不論是集結成群

  • And if you want something really big...

    或分開

  • Which brings us to #3: the movement of individuals.

    這樣的群體很有電影感

  • One of my favorite things about Kurosawa is that

    當你把這麼多人放進畫面中時

  • that his blocking is unrealistic and exaggerated.

    任何情感都會被放大

  • If someone is nervous,they pace left and right.

    這裡已經沒有在下的事了

  • If theyre outraged, they stand straight up.

    如果你想要拍攝出一個好的反應鏡頭 試試使用四個人

  • And if theyre ashamed

    或是25個人

  • He would often tell his actors to pick one gesture for their character

    誘拐事件發生前一日被盜

  • and repeat it throughout the film.

    如果你想展現更龐大的效果....

  • That way, the audience can quickly see who’s who and how theyre feeling.

    回到你原來的位置!

  • Number four: movement of the camera.

    返回岡位!

  • One of the hallmarks of Kurosawa’s style are his fluid camera moves

    這也把我們帶到第三點:個體的動態

  • that go from close-up to full shot to OTS in a single unbroken take.

    我最欣賞黑澤明的地方之一

  • I did another essay about these shots, called the Spielberg Oner,

    是他超現實且誇張的動線安排

  • but what’s important here is that every camera move has a clear beginning

    如果有人很緊張,他們會左右踱步

  • middle

    如果很生氣,他們會挺身而起

  • and end.

    我不幹了!

  • Just by itself, this camera move tells a story.

    如果覺得羞愧...

  • And last, there’s movement of the cut.

    他時常指導他的演員為角色選擇一個特定體態

  • Kurosawa is one of the few directors who worked as his own editor.

    然後在片中不斷的重複使用

  • One of the reasons his movies just flow is that he tends to cut on movement.

    如此,觀眾可以快速的分辨角色 及理解他們的感受

  • Often, youre paying so much attention to someone who's moving

    我 來 參 戰 了 !

  • that you don’t see the edit.

    第四,鏡頭的動態

  • When he finishes the scene, he switches the rhythm

    黑澤明的特色之一就是他流暢的鏡頭移動

  • usually by ending on something static.

    從特寫到全景

  • and then cutting straight into movement.

    再到肩後鏡頭

  • By switching up the rhythm, he keeps you on your toes,

    全部一鏡到底處理

  • because you can’t guess the next cut.

    我在"史匹柏的一鏡到底"這篇中有提到這種用鏡

  • So with all that, let’s break down one scene and study the motion.

    但是這裡的重點是每一個鏡頭移動都有清晰的

  • This scene is from Seven Samurai. I won't tell you what itabout.

    開頭

  • See how long it takes you to figure it out. Ready?

    中間

  • The first shot shows the whole village, then just the important characters

    及結尾

  • then just the samurai.

    光是鏡頭移動本身,就足以敘事了

  • Right about here...

    最後,動態中的剪接

  • most people get what’s happening.

    黑澤明是少數會親自剪接的導演

  • As Kikuchiyo sits down his mood ripples outwards to affect the whole village.

    他電影很流暢的原因之一 就是喜愛將剪接點安插於進行的動作中

  • Notice how much the wind adds to the scene. Even when people are still

    你常會太關注某一個角色的移動

  • there’s that little bit of wind to spice up the frame.

    而未察覺剪接的痕跡

  • So that’s pretty straightforward.

    每當結束一個場景,他會改變節奏

  • Now let’s jump 60 years into the future. This is The Avengers.

    常以靜止之物作結

  • Here, we start with a camera move into an establishing shot. But this time...

    ...來不及了

  • --These were in Phil Coulson's jacket.

    然後直接剪到動態畫面

  • We get dialogue right away.

    如此切換節奏,你得隨時保持注意力

  • Throughout this scene, the only things that move are the camera and Nick Fury.

    因為你無法預測下一個剪接點為何

  • Even though we have weather outside and actors in the background

    講了這麼多,我們來分析一個場景,學習動態

  • none of them are used.

    這是《七武士》的一幕

  • Notice that the camera movement doesn’t have a beginning or an end.

    我不跟你講內容

  • And there’s no variation. Each shot goes in the exact same direction

    試試你要花多久時間看出導演想表達的東西?

  • --Maybe I had that coming.

    準備好了嗎?

  • But in Seven Samurai...

    第一個鏡頭秀出整個村莊

  • The camera moves have a distinct beginning middle and end.

    然後只有重要人物

  • And each shot changes direction from the previous one.

    然後只有武士

  • As he climbs up, Kurosawa uses the movement of the flag

    然後差不多到這裡時...

  • to cut smoothly into this angle:

    大部人都看懂發生什麼事了

  • all seven samurai and their banner, together.

    當菊千代坐下時 他的行為放射性的帶動了整個村莊

  • This scene has every type of movement

    有注意到此幕風所帶來的效果嗎?

  • carefully pieced together and spaced throughout.

    就算全部人都靜止不動

  • The weather.

    仍然有點風來給畫面調味

  • The group.

    接下來才是辛苦的開端哪!

  • The individual.

    所以這段就一目瞭然了

  • The camera.

    現在我們跳到60年後,來到《復仇者聯盟》

  • The cut.

    這裡,畫面移進了定場鏡頭,但是

  • But this scene tells its story mostly through dialogue

    這些是菲爾.考森的夾克裡找到的

  • --called the Avengers Initiative.

    我們馬上就聽到對話了

  • Sure, the camera moves. But it’s pointless movement.

    整段唯一有動作的只有鏡頭及尼克.福瑞

  • For all the money that was put into it, this scene feels flat

    就算窗外有天氣設定,有演員們當背景

  • --It's an old-fashioned notion.

    都沒有被善用

  • But how could you improve this scene? Well...

    有注意到鏡頭沒頭沒尾的移動嗎?

  • if you know what the scene’s about, try to express it through movement.

    而且毫無變化

  • Start with the character. How are they feeling?

    每一個鏡頭的方向性都一模一樣

  • Is there any way the actor can convey that by moving?

    可能是我的錯

  • Okay, maybe that's too much. Let’s be more subtle.

    但是《七武士》

  • Take the feeling that’s inside the character

    鏡頭的移動有明顯的開始,中間和結束

  • and bring it out through the background.

    而且鏡頭轉換時

  • If a character is angry and menacing, you can do this

    都採用不同於上一個鏡頭的方向

  • Or if she's simmering with resentment.

    當他爬上去時 黑澤明利用旗幟飄揚的動態

  • Another option is to contrast one person against the group.

    行雲流水的切換到這個角度

  • So if somebody suffers a very public humiliation, this works.

    所有七武士、他們的旗幟,都在同一個畫面中

  • Or if theyre looking for a needle in a haystack

    這一場景包含了所有可能出現的動態

  • You can use camera movement to convey excitement

    小心的將其組合,妥當的構圖

  • You can cut on movement to show surprise

    天氣

  • And you can combine every type of motion into one amazing image

    團體

  • By the way, you don’t need to put every type of movement in every shot.

    個人

  • That’s just tiring.

    鏡頭

  • But there’s a nice middle ground with lots of variation and subtlety

    剪輯

  • and you won’t know what works best until you try it.

    但是這場景大部分只用對話來述說故事

  • If you combine the right motion and the right emotion

    稱之為"復仇者計劃"

  • you get something cinematic.

    鏡頭當然也有移動

  • --But just for me, I look at his movies two or three times a year

    但是沒有意義

  • --just to feel, oh wow, that’s why I wanted to be a filmmaker

    儘管耗資不菲

  • --and look what I’m doing now.

    這一幕感覺還是很平淡

  • --Special effects, and then another movie about special effects

    這是一個老式的概念

  • --and then a third movie about special effects.

    但是你又能如何加強此場景呢?

  • Now pick any of his films. Go to any scene.

    如果你知道此場景的目的,試著用動作來表達

  • And watch how everything moves together

    讓角色來開始,了解他們的感受

  • --You know, it’s the visual stimulation that hits the audience.

    是否有方法讓演員用動作就可呈現?

  • That’s the reason for film.

    好吧,這一個有點太過頭,我們細膩點

  • Otherwise, we should just turn the light out and call it radio.

    將角色的內心感受

Hi my name is Tony and this is Every Frame a Painting.

嗨,我是Tony,這是幀影幀畫

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