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  • Even before color film existed, filmmakers have been using color as a tool for

    甚至在彩色電影出現之前,電影人就已經將色彩作為一種工具,以達到以下目的

  • beauty and story telling and visual minded directors have created

    美和故事,以及具有視覺思維的導演創造了

  • color palettes almost as memorable as the films themselves.

    色彩調色板幾乎和電影本身一樣令人難忘。

  • So get out your paint samples and follow along, these are our picks for

    所以,拿出你的油漆樣品,跟著我們一起去看看,這些都是我們的選擇。

  • the top ten best colored films of all time.

    十大最佳彩色電影的所有時間。

  • (Music)

    (音樂)

  • Kicking us off at number ten, let's just get it out of the way and

    踢我們在十號,讓'我們只是得到它的方式和

  • go full balls to the wall, crazy colorama with our first slot.

    去充分的球到牆上, 瘋狂的Colorama與我們的第一個插槽。

  • We're talking movies that are somewhere between a Skittles Taste The Rainbow

    我們說的是介於 "嚐嚐彩虹 "之間的電影。

  • themed orgy, and a technicolor kaleidoscope acid trip.

    主題的狂歡,以及科技色彩的萬花筒酸之旅。

  • The hyper-colorful films that really make us go wow,

    超色彩的電影,真正讓我們驚歎。

  • are those like 'What Dreams May Come', 'Dick Tracy', 'The Cook, 'The Thief',

    是那些像'What Dreams May Come','Dick Tracy','The Cook,'The Thief'。

  • 'His Wife and Her Lover', 'The Holy Mountain', 'Gate of Hell', 'Life of Pi',

    '他的妻子和她的情人','聖山','地獄之門','皮的生命'。

  • and like everything "Bas Lerman's" ever directed.

    和像一切"巴斯-勒曼'的"曾經執導過。

  • But really, our pick's gotta be 'The Fall'.

    但實際上,我們的選擇'的得是'秋天'。

  • - The only way to stop a when it's very beautiful and interesting.

    - 只有當它非常美麗和有趣的時候,才能停止一個'的方式。

  • - "Tarsem Singh", 'The Fall's' madman director took four years to meticulously

    - "Tarsem Singh",'The Fall'的'瘋子導演花了4年時間,精心

  • create this multicolored wonderland across 24 different

    在24個不同的地方創造這個五彩繽紛的仙境。

  • countries to an effect that "David Fincher" described as what would have

    國家的影響,以"大衛-芬奇"形容為會有什麼。

  • happened if "Andrei Tarkovsky" had made the 'Wizard of Oz'.

    如果"安德烈-塔可夫斯基"拍了'綠野仙蹤&39;,就會發生。

  • He employs color in every possible way, from the space-like

    他用各種可能的方式來運用色彩,從空間一樣的色彩,再到色彩之間的關係。

  • orange dunes of the location to the sky-high, blood-red-soaked funeral banner

    橙色沙丘的位置,以高聳入雲,血紅色的葬禮旗幟。

  • of his set design to the primary color wheel costuming of his main cast.

    他的佈景設計到主要演員的主色輪服裝。

  • But the most important part is that he does it for

    但最重要的是,他這樣做是為了

  • good narrative reason, as a window into the vivid imagination of the little girl.

    好的敘事理由,作為小女孩生動想象的窗口。

  • The excess is explained, it is grounded, and it is so beautiful.

    過度的解釋,它是接地氣的,它是如此美麗。

  • Of course, more isn't always better, in fact, for the rest of our list,

    當然,更多並不總是更好,事實上,對於我們的其他列表。

  • we're looking at how filmmakers use less.

    我們'正在研究電影製作人如何減少使用。

  • Creating a distinctive color look of a film often comes down to

    打造一部影片獨特的色彩外觀,往往要歸結到以下幾個方面。

  • building a beautiful, evocative pallet.

    構建一個美麗的、令人回味的托盤。

  • And building a pallet involves selecting a limited range of colors from the vast

    而建立一個調色板需要從大量的顏色中選擇有限的顏色範圍。

  • assortment of all of those available, instead of just throwing them all at

    所有這些可用的品種,而不是僅僅把它們全部扔到。

  • the screen like a Home Depot paint aisle explosion.

    螢幕上像家得寶油漆過道爆炸。

  • Think "Tim Burton" in his darker work, we notice the colors he likes to use so

    想想"蒂姆-伯頓"在他的暗色系作品中,我們注意到他喜歡使用的顏色,所以。

  • much because of all the other ones he avoids.

    多,因為其他的他都避之不及。

  • Or it can also create a gap, like in '500 Days of Summer', or 'American Beauty', or

    或者它也可以創造一個空白,就像在'夏日500天&39;,或者'美國美女&39;,或者。

  • the 'Red Shoes', where saving certain colors for moments and characters

    的'紅鞋&39;,在這裡,為時刻和人物保存某些顏色。

  • lends those colors far more power than they might have with less of a vacuum.

    賦予這些顏色更多的力量,而不是在真空度較低的情況下。

  • "Mishima", 'A Life in Four Chapters", limits its palette for different segments.

    "三島",'人生四章",為不同的段子限定了它的調色板。

  • 'The Aviator' limits it to mimic the two strip and

    '飛行者'限制它模仿兩個條和。

  • three strip color processes of the era.

    時代的三條色工藝。

  • And 'Do The Right Thing' painted everything, including its buildings,

    並'做正確的事情'塗抹一切,包括其建築物。

  • red and orange to contribute to the feeling of a heat wave.

    紅色和橙色來促成熱浪的感覺。

  • However, for our number nine pick we loved the look of O Brother,

    不過,對於我們九號的選擇,我們很喜歡O哥的樣子。

  • Where Art Thou?, and its milestone history to boot.

    你在哪裡,以及它的里程碑式的歷史。

  • - The color guard is colored.

    - 護色是彩色的。

  • - "Roger Deakins", 'O Brother's' cinematographer,

    - "Roger Deakins",'O Brother'的攝影師。

  • set out to create a dusty, vintage, storybook type of look for 'O Brother,

    著手為'O哥 "打造一個塵封的、復古的、故事書式的造型。

  • Where Art Thou?', and spent nearly three weeks in the film lab mucking about with

    並花了近三週的時間在電影實驗室裡搗鼓。

  • various photochemical processes to no avail.

    各種光化學過程都無濟於事。

  • You see, "Deakins'" palette was meant to specifically avoid green, but they'd shot

    你看,"迪肯斯'"調色板本來是要特別避免綠色的,但他們'拍了。

  • in Mississippi in mid-summer which looked, as he described it, greener than Ireland.

    在密西西比州的仲夏時節,正如他所描述的那樣,這裡看起來比愛爾蘭還要綠。

  • So he turned to digital color grading, a mainstay in modern features, but

    於是,他轉而採用了現代功能片中的主力軍--數字色彩分級,但。

  • a never before used technology at the time, and changed film color history and

    當時從未使用過的技術,並改變了電影色彩的歷史和。

  • the look is incredible.

    樣子是不可思議的。

  • All the lush greens and blues of the mid-summer south are transformed into

    南方仲夏鬱鬱蔥蔥的綠色和藍色都化作了

  • yellows and oranges and browns and burnt ochers,

    黃色、橙色、棕色和燒焦的赭石。

  • evoking a dusty autumn feel without just tinting everything sepia.

    喚起塵封的秋天的感覺,而不只是把一切都染成深褐色。

  • It's a more controlled refined look that comes from singling out and

    它是一種更有控制力的精緻外觀,來自於單挑和。

  • affecting some colors while leaving the others alone.

    影響一些顏色,而讓其他顏色單獨存在。

  • (Noise) Moving into more specific color palettes that come from limiting colors in

    噪聲)進入更具體的調色板,來自於限制顏色在

  • predictable ways, the first and

    可預見的方式,第一個和

  • most obvious is the selected saturation palette.

    最明顯的是選擇的飽和度調色板。

  • This is limited to the extreme, everything is in black and white except for

    這僅限於極致,一切都以黑白為主,除了

  • a focal object that gets the most vivid of color.

    一個焦點物體,得到最鮮豔的色彩。

  • This was actually one of the earliest forms of color on film back when colors

    這其實是膠片上最早的色彩形式之一,當時的色彩

  • were only achieved by stenciling on the stock, think the 'Great Train Robbery'.

    只有通過股票上的模板來實現,想想'火車大劫案&39;。

  • 'Pleasantville' makes this a part of its narrative while,

    '歡樂谷'使之成為其敘述的一部分,而。

  • while 'Schindler's List' uses it to heart-wrenching emotional effect.

    而'辛德勒'名單'則將其運用到了令人心痛的情感效果中。

  • However, for our slot, we think that 'Sin City's' color is pretty hard to beat.

    然而,對於我們的檔期,我們認為,'罪惡之城'的'顏色是相當難打的。

  • 'Sin City' takes the color grading process of ' Brother Where Art Thou?' and

    '罪惡之城'採取的是'兄弟你在哪裡?'的色彩分級流程。

  • dials it up beyond 11.

    把它撥到11歲以上。

  • It uses color so sparingly, that they take on a massive emotional and

    它很少使用色彩,以至於它們承擔了巨大的情感和。

  • narrative significance.

    敘事意義。

  • The decision to include any one color is so clearly intentional,

    包含任何一種顏色的決定都是如此明顯的故意。

  • that the audience has no choice but to snap to attention.

    以至於觀眾別無選擇,只能加快腳步。

  • Inspired by the art style of "Frank Miller's" comic,

    靈感來自"弗蘭克-米勒'的"漫畫的藝術風格。

  • 'Sin City's' use of color is more akin to graphic design than photography, and

    '罪惡之城'的'色彩的運用更類似於平面設計而非攝影,而且。

  • it makes for one of the most extreme possible examples of a limited palette.

    它是有限調色板中最極端的例子之一。

  • Next up in color palettes,

    接下來是調色板。

  • slightly less limited than the selective saturation is the monochrome palette and

    比選擇性飽和度稍小的限制是單色調色板和單色調色板。

  • it's pretty simple, as far as colors go, you just get one.

    它'很簡單,至於顏色,你只要得到一個。

  • Sure, maybe you deviate in brightness or saturation a little bit, but

    當然,也許你在亮度或飽和度上會有一點偏差,但... ...

  • you pick a spot on the color wheel and stick with it.

    你在色輪上選擇一個點,並堅持下去。

  • It's used by design in 'Buried',

    它'的設計使用在'Buried'。

  • naturalistically in "Kieślowski's" 'Three Colours Trilogy', Intolerance used

    自然地在"基耶斯洛夫斯基'的"'三色三部曲&39;中,不忍心用。

  • revolutionary monochromatic tinting to separate out its timelines.

    革命性的單色調,以分離出其時間線。

  • While 'Hero' is probably the most iconic and

    雖然'英雄&39;可能是最具代表性和

  • readily accessible example of this over and over and in every different way.

    現成的例子,一遍又一遍,以各種不同的方式。

  • But we've picked it enough times on our list that we're gonna keep looking.

    但我們'在我們的名單上已經選了足夠多的次數,我們'要繼續尋找。

  • In its place, we're making room for a film we don't talk enough about 'Citizen Kane',

    在它的位置上,我們'正在為一部我們不'不夠談論的電影騰出空間'公民凱恩'。

  • no I'm just kidding, I couldn't even finish it.

    不我'開個玩笑,我甚至不能完成它。

  • Our number seven slot is actually going to 'Cries and Whispers'.

    我們的七號位其實是要'哭聲與私語&39;。

  • - (Foreign) - Now, our last few slots

    - (外國)--現在,我們的最後幾個時段。

  • have gone to films leveraging the digital intermediate technology of the 2000s, but

    已經去利用2000年的數字中間技術的電影,但。

  • good color has been around long before the turn of the millennium.

    好的顏色在千禧年之前就已經存在了。

  • You see, before colorists had digital trickery, production designers and

    你看,在調色師還沒有數字技巧之前,製作設計師和。

  • cinematographers controlled color the old fashioned way, through meticulous design.

    電影攝影師通過細緻的設計,用老式的方式控制色彩。

  • Films can follow just as strict a palette by carefully selecting and

    電影可以遵循同樣嚴格的調色板,通過精心選擇和處理。

  • coordinating the costuming, location choices, set design, makeup and

    統籌服裝、場地選擇、佈景設計、化妝和。

  • lighting and 'Cries and Whispers' does just that.

    照明和'哭聲與私語'就是這樣。

  • Beyond a few relieving scenes of green and yellow,

    除了一些緩解的青黃不接的場景。

  • everything in 'Cries and Whispers' takes place in a world that is blood red.

    在'哭聲與私語&39;中的一切都發生在一個血紅的世界裡。

  • "Bergman" famously said all of my films can be thought of in terms of black and

    伯格曼有句名言:"我所有的電影都可以用黑與白的方式來看待。

  • white except 'Cries and Whispers' and you can see why.

    白色除了'哭聲和私語',你可以看到為什麼。

  • The overwhelming pervasiveness of the crimson has such a moving effect like

    鋪天蓋地的深紅色有這樣一種動人的效果,就像

  • a sensory deprivation tank of color that you can't help but be emotionally moved.

    一缸感官剝奪的色彩,讓你不禁感慨萬千。

  • Adding one more color into the mix, next we get to the complementary color scheme.

    再加上一種顏色,接下來我們就來看看補色方案。

  • You take one color and combine it with its opposite, and

    你把一種顏色和它的相反顏色結合起來,然後...

  • boom, you've got yourself a scheme that's automatically compelling.

    轟,你'了自己的計劃,'的自動引人注目。

  • It's the source of the ever popular, every frustrating orange-teal

    它'是永遠流行的源頭,每一個令人沮喪的橙黃色。

  • Hollywood blockbuster look, which look we get it, it's fun to complain about and

    好萊塢大片的樣子,哪種樣子我們都懂,這很好玩,抱怨和。

  • it can definitely get stale if used to the exclusion of all else.

    如果不顧一切地使用,肯定會變味。

  • But filmmakers use it for

    但電影人用它來

  • a reason, it's color contrast that best emphasizes the look of human skin.

    一個原因,它'的顏色對比,最能強調人類皮膚的外觀。

  • 'Mad Max Fury Road' is maybe our favorite example of this contrast, but

    '瘋狂的麥克斯憤怒之路'也許是我們最喜歡的這種對比的例子,但。

  • you can also spin the color wheel further and get to less common contrasts.

    你還可以進一步旋轉色輪,得到不太常見的對比。

  • Yellow and purple, as in 'The Curse of the Golden Flower' and the very difficult,

    黃色和紫色,如'金花的詛咒&39;和非常困難。

  • red-green, most notable in "Amelie", 'The City of Lost Children' and our pick for

    紅綠相間,最引人注目的是"Amelie"、'失落的孩子之城&39;和我們選擇的"Amelie"。

  • number six, 'Vertigo'.

    六號,'迷魂記&39;。

  • - The color of your hair.

    - 你頭髮的顏色。

  • - No!

    - 不!

  • - There's hardly a film that used technicolor so

    - 幾乎沒有一部電影使用技術色彩如此。

  • brilliantly as 'Vertigo' and there's perhaps no other film that evokes

    也許沒有任何一部電影能讓人想起《迷魂記》。

  • such a strong impression of a color palette as does its red and green.

    如同它的紅色和綠色一樣,給人留下了強烈的印象。

  • Red for caution and green for envy.

    紅色代表謹慎,綠色代表羨慕。

  • Red for Scottie and green for Madeleine and

    紅色代表Scottie,綠色代表Madeleine和

  • the color scheme is felt even in scenes of its absence.

    的場景中也能感受到它的色彩搭配。

  • The lack of these powerful colors feels like a lack of powerful emotion.

    缺少這些強大的色彩,感覺就像缺少強大的情感。

  • It's a color scheme so memorable, we actually feel it when it's gone,

    它'的配色讓人記憶深刻,當它消失的時候,我們其實是有感覺的。

  • which makes it a must include on this list.

    這使得它必須列入這個名單。

  • (Music)

    (音樂)

  • Adding in even more colors, we wind up in triadic and tetradic color schemes and

    再加上更多的顏色,我們就會出現三元和四元的配色方案,以及。

  • in their most extremes lands you somewhere between a "Pete Mondrian" painting and

    在他們最極端的土地你之間的"皮特-蒙德里安"繪畫和。

  • a game of 'Twister'.

    一場'扭蛋器&39;的遊戲。

  • But they can make for effective color schemes, ones that tend to seem fun and

    但它們可以使有效的配色方案,那些往往看起來有趣和

  • carefree and stereotypically colorful.

    無憂無慮,色彩刻板。

  • Films like 'A Clockwork Orange',

    像'發條橙&39;這樣的電影。

  • 'Women on the Verge of a Nervous Breakdown', 'The Last Emperor',

    '神經瀕臨崩潰的女人','末代皇帝'。

  • 'Kurasawa's Dreams' and 'The Umberellas of Cherbourg' all live within this world.

    '倉澤'的夢'和'瑟堡的翁貝勒'都生活在這個世界裡。

  • However, if there's a film that does it best, we think it's "Godard's" 'Contempt'.

    然而,如果有一部'的電影做得最好,我們認為它'的"戈達爾'的"'蔑視;。

  • - (Sound) That's what I think of that stuff up there.

    - (聲音)這就是我對上面那東西的看法。

  • - "Godard" has always had a love affair with colors.

    - "戈達爾"一直對色彩情有獨鍾。

  • And in 'Contempt', they find their expression in the triadic colored red,

    而在'嗟來之食&39;中,它們在三合彩紅中找到了自己的表達方式。

  • blue, yellow that establishes itself early on and

    藍色、黃色,早早建立了自己和

  • then saturates the screen to greater or lesser extents.

    然後使螢幕或多或少地飽和。

  • But they are never overbearing or garish, instead they are beautiful and striking

    但它們從不張揚,也不華麗,相反,它們很美,很引人注目

  • and thoughtful and memorable, orchestrated by a master to masterful effect.

    和思想,令人難忘,由大師精心編排,達到精湛的效果。

  • (Music)

    (音樂)

  • Of course, color palettes don't always come from limiting hues.

    當然,調色板並不總是來自於限制性的色調。

  • Sometimes focusing on some specific lightnesses or

    有時專注於一些特定的輕度或

  • saturations can produce a stunning cinematic effect as well.

    飽和度也可以產生驚人的電影效果。

  • For our number four, we wanna look at a more recent trend,

    對於我們的第四條,我們想看看最近的一個趨勢。

  • that of the neon palette.

    的霓虹燈調色板。

  • Keep your colors bright and ultra saturated, and you might wind up with

    保持你的色彩明亮和超飽和度,你可能會出現以下情況

  • the in your face Tokyo shop front aesthetic of 'Springbreakers',

    春風破浪》的東京店面美學。

  • 'Enter The Void', 'Suspiria', or our number four pick, 'Only God Forgives'.

    '進入虛空','Suspiria',或者我們的第四號選擇,'Only God Forgives'。