So here’s a fundamental question:

這裡有個很基本的問題

When you’re 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 they’re 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?

哇

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

風

Smoke

水

Snow

火

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

煙

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

雪

--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 they’re 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 they’re 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 they’re 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, you’re 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 it䏭 about.

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 they’re 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