one thing in common.

有一個共同點。

No, it's not all the audience laughter.

不，這不是所有觀眾的笑聲。

They all kind of look…the same.

他們看起來... ...都是一樣的。

And the shots and lighting all are kinda the same.

而且鏡頭和燈光都還挺像的。

These are three camera sitcoms, with very familiar camera angles and lighting.

這三部鏡頭情景劇，鏡頭角度和燈光都非常熟悉。

And the guy who perfected the style of light that would one day shine upon Urkel's face?

而那個完善了光的風格的傢伙 有一天會照在厄克爾的臉上？

“Did I do that?”

"是我做的嗎？"

It's Karl Freund.

這是卡爾的朋友。

The same guy who made...this.

就是那個做了......這個的人。

He was the German cinematographer behind the look of “Metropolis,” the 1927 classic.

他是1927年經典之作《大都會》造型背後的德國攝影師。

And there was actually a good reason that a genius decided that going from this

而其實有一個很好的理由，一個天才決定，從這個。

to this was a challenge worth betting his career on.

到這是一個值得他賭上自己職業生涯的挑戰。

This right here is cinematic history.

這就是電影的歷史。

It's from 1924's “The Last Laugh.”

這是1924年的 "最後一笑"。

For this movie, Karl Freund invented what was probably the first dolly shot in history

為了這部電影，卡爾-弗羅恩德發明了可能是歷史上第一個鍛模鏡頭。

- that's when a camera moves on a cart or a track.

- 那是當攝影機在小車或軌道上移動時。

When Freund moved from Germany to Hollywood, he continued to make visual masterpieces from

當Freund從德國搬到好萊塢後，他繼續從視覺上製作傑作。

directing the original “The Mummy,” to being the cinematographer on “Dracula.”

執導原版《木乃伊》，成為《德古拉》的攝影師。

This scene from Dracula is emblematic of his work, with shadows and light serving as powerful

德古拉》中的這一場景是他作品的象徵，陰影和光線作為強大的象徵。

tools in the scene.

場景中的工具。

With 1937's “The Good Earth,” he won an Academy Award for Cinematography.

憑藉1937年的《美好的地球》，他獲得了奧斯卡攝影獎。

Freund's art came from powerful imagery and stark contrasts, like in this scene from

弗雷恩德的藝術來自於強大的想象力和鮮明的對比，就像在這個場景中，從

Metropolis.

大都會

I Love Lucy looked good - but pretty flat.

我愛露西》看起來不錯--但很平淡。

That's why it's so surprising that he thought it could be a breakthrough.

所以，他才會認為這可能是一個突破口。

We know Freund was nervous about making a transition from movies like this to television

我們知道Freund對從電影到電視的轉變很緊張。

filmed in front of a live audience.

在現場觀眾面前拍攝的。

Traditional movie lighting wouldn't work in that environment and on a tight TV schedule.

傳統的電影燈光在那種環境下是行不通的，而且電視時間也很緊張。

Here's why.

這就是為什麼。

Dramatic lighting is cool.

戲劇性的燈光是很酷的。

But if I move, the way people move in sitcoms, I lose the light and the shot.

但如果我動了，就像情景喜劇裡的人移動一樣，我就會失去光線和鏡頭。

You also can't reset and move that light in front of a live audience.

你也不能在現場觀眾面前重置和移動那盞燈。

The shot also has to be lit so that it can be shown by three different cameras at the same time.

鏡頭也要打光，這樣才能由三臺不同的攝影機同時顯示。

That challenge appealed to Freund, and, laugh track jokes aside, he wrote that a live studio

這種挑戰對Freund很有吸引力，撇開笑料不談，他寫道："現場演播室是一個很好的選擇。

audience had “an astonishing effect in stimulating performers.”

觀眾有 "刺激表演者的驚人效果"。

There were earlier experiments with live taping, but Freund perfected it.

早期曾有過現場錄音的實驗，但Freund將其完善。

You can see how he did it in I Love Lucy's very first episodes and in this on set picture.

你可以在《我愛露西》的第一集和這張片場照片中看到他是如何做到的。

First, he put three cameras on his trademark dollies - which is why these are called three

首先，他在他標誌性的臺車上安裝了三個攝像頭--這也是為什麼這些臺車被稱為三臺。

camera sitcoms.

攝像情景喜劇。

Usually it has one camera in the middle, for wide shots, and two on the sides for closeups.

通常它的中間有一個攝像頭，用於廣角拍攝，兩邊有兩個攝像頭，用於近景拍攝。

You can see it here, as well as in the tape he used to mark the cameras' positions.

你可以在這裡看到，也可以在他用來標記攝影機位置的錄音帶上看到。

This is how it worked — letting cameras move on the fly, without relighting.

這就是它的工作原理--讓攝影機在飛行中移動，而不需要重新照明。

Cameramen coordinated at all times using headsets and they were connected to the control room.

攝影師始終使用耳麥進行協調，他們與控制室相連。

To light this set up, Freund used an overhead grid of lights like these and even put floor

為了照亮這套裝置，Freund使用了像這樣的架空燈網，甚至把地板上的

lights on the bottom of each camera to flatter actors' faces.

每臺攝影機底部的燈光，使演員的臉部更加平坦。

This?

這個？

This is not like I Love Lucy.

這不像《我愛露西》。

He also placed microphones around the set so they wouldn't get in the way.

他還在佈景周圍放置了麥克風，這樣就不會妨礙到他們。

Lucy and Ethel could bounce around the living room without needing to stop taping — or

露西和艾瑟爾可以在客廳裡蹦蹦跳跳，而不需要停止錄音--或者是

stop the laughter.

停止笑聲。

All of this let them keep a strict shooting schedule with minimum reshoots after the show.

這些都讓他們嚴格保持拍攝進度，在演出結束後儘量減少重拍。

For Freund, all this visual work was in service of making one sound possible.

對Freund來說，所有這些視覺工作都是為了讓一種聲音成為可能而服務的。

This is still kind of how it's done today.

這還是今天的一種方式。

Freund's tricks established a template for the three camera sitcom that's still in

弗雷德的把戲為三鏡頭情景喜劇建立了一個模板，至今仍在使用。

use today. As you can see it in “Vox” - the first workplace sitcom where people

今天使用。正如你在 "Vox "中所看到的那樣--第一部職場情景喜劇，在這部喜劇中人們

actually work.

實際工作。

Anyway, as you can see, there's no need to relight Dean as he crosses the room in

反正，你也看到了，沒有必要重新點燃院長，因為他在房間裡穿行。

this scene, only to be ignored by Ashley, because she's too busy working.

這一幕，卻被阿什利忽略了，因為她太忙於工作。

Freund's techniques did have drawbacks, some of those drawbacks are visible in today's

弗雷恩德的技術確實有缺點，其中一些缺點在今天的

sitcoms, and some are specific to the time in which he worked.

情景喜劇，有的則是他工作的具體時間。

He had to put darker makeup on his actors so they wouldn't be blown out by the lights

他必須給演員化深色的妝，這樣他們就不會被燈光照到了。

- and you can see it on Lucy and Ethel here.

- 你可以在Lucy和Ethel上看到它。

In this scene, they were probably wearing pastel clothing as well, because nothing could

在這個場景中，他們可能也穿著粉色的衣服，因為沒有什麼可以

be too bright — film processing gave everything higher contrast than normal.

太亮了--膠片處理使一切都比正常的對比度高。

Even today the three camera sitcom has a less adventurous look — as you can see

即使是今天的三鏡頭情景喜劇，也沒有那麼冒險的樣子--你可以看到

as AJ and Ashley go through all their unread emails.

當AJ和阿什利去通過他們所有的未讀郵件。

It affects focus, too - look at the Big Bang Theory next to its prequel, Young Sheldon.

它也會影響焦點--看看《大爆炸理論》旁邊的前傳《年輕的謝爾頓》。

Big Bang Theory, the 3 camera sitcom, looks pretty much like I Love Lucy.

Big Bang Theory，3個鏡頭的情景喜劇，看起來很像《我愛露西》。

There are very few, or faint shadows, everything's in focus, and the camera angles are familiar.

陰影很少，或者說是微弱的陰影，一切都在焦點上，鏡頭角度也很熟悉。

Young Sheldon is single camera, like a movie, and that allows it to have light and shadow

年輕的Sheldon是單鏡頭的，就像電影一樣，這讓它有了光和影子

and a gorgeous blurred background.

和絢麗的模糊背景。

But Freund's innovation did help a live audience — and us — see Friends, and Seinfeld,

但Freund的創新確實幫助現場觀眾--還有我們--看到了Friends，還有Seinfeld。

and Frasier.

和Frasier。

As he wrote in 1953: “To have had the opportunity to play a part in the success of the I Love

正如他在1953年寫道"有機會參與到《我愛》的成功中來

Lucy show, which is now the No. 1 rated Television show in the nation assures me the efforts

Lucy節目，現在是全國收視率第一的電視節目，保證我的努力。

to overcome the handicaps have not been in vain.”

克服障礙的努力沒有白費。"

Karl Freund was a genius.

Karl Freund是個天才

And sometimes even genius has a sense of humor.

而有時即使是天才也有幽默感。