美国电影摄影师杂志中英对照
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Optimizing Digital-Camera
Workflows
优化中的数字摄影机工作流程
By Jay Holben
作者：简.赫本
The ASC and the Producers
Guild collaborate on the Image Control Assessment Series to seek industry-wide image-finishing
standards.
美国电影摄影师协会和制片人协会为了促成最终的全行业影像标准合作制定了影像控制评估体系。
Working hard to stay at the forefront of these shifts are the ASC’s Technology Committee and its various subcommittees.Chaired by Curtis Clark, ASC, the Technology Committee spends a great deal of
time investigating advances in technology to keep the ASC ahead of the curve.美国电影摄影师协会技术委员会和它各个分会正在为保持在变革之中的前沿地位而努力工作。技术委员会的主席是美国电影摄影师协会会员柯蒂斯.克拉克，他投入了大量的时间来研究技术的进步，以便保持美国电影摄影师协会的领先位置。
In the Camera Assessment Series,the ASC and PGA applied the most standardized workflow available at the time,which involved scanning and transforming all of the footage from each camera to a 2K 10-bit Cineon DPX workflow. Some criticized this decision, maintaining that it severely handcuffed the film stocks (by scanning at 4K and converting to 2K rather than maintaining 4K resolution) and the digital formats (because of the colorspace limitations of the 10-bit Cineon files). The Cineon files were created to emulate
the color space of print film, but they simply could not handle the larger gamut ranges of modern film stocks and many of the new digital cameras.在摄影机系列评测中，美国电影摄影师协会和美国制片人协会使用了当时最为标准化的工作流程，其中包括了从每台摄影机的所有拍摄素材到2K10比特Cineon DPX[1]格式进行扫描转换的工作流程。一些人质疑这个做法，认为它严重限制了电影胶片(4K扫描转化到2K而不是保持4K分辨率)和数字格式(10比特Cineon文件的颜色空间限制)的能力。Cineon文件的建立是用来模拟印片的色彩空间，但是无法处理现代电影胶片以及很多新式数字摄影机更大的色域。
ASC associate Leon Silverman, former president of LaserPacific and current general manager of the Digital Studio at Walt Disney Studios, played an instrumental role in both assessment tests. While pondering these new and varied post paths, he dubbed them “snowflake workflows” — no two are ever alike. The urgent need to eliminate these vicissitudes led the organizers of the second assessment series to focus on image control, a priority reflected in the name of the new test: the Image Control Assessment Series.
美国电影摄影师协会准会员莱昂.西尔弗曼曾任激光太平洋公司的总裁，他现在的职务是迪斯尼公司数字工作室的总经理，并帮助完成了两次测试。在仔细考察过各种后期处理流程之后，他将起称之为“雪花工作流”——没有两个是完全一样的。消除这些差异的迫切需要让第二次测试的组织者们将精力集中在了影像控制上，这在新近测试的名字上已有体现——影像控制系列评测。
The intent was not to compare the imaging qualities of the cameras, but to
find a single, standardized color management architecture that would work with
any new camera system, preserve the integrity of the image throughout the
entire post workflow, and eliminate the need to “reinvent the wheel” with each
new camera system, on each new production and at each post facility.
这次测试的目的不是要比较摄影机间的成像质量，而是要寻求一个单一、标准化的色彩管理架构，能够用于任何新型的摄影系统，在整个后期制作过程中保留影响的完整性，并且消除在每个新的摄影系统、每个新产品以及每台后期设备中“重新发明轮子”的需要。
Clark observes, “We knew we needed to change the post workflow to accommodate an expanded color gamut and wider dynamic range for any further assessments we did beyond the CAS. The Academy Color Encoding System, known as ACES, had matured since our 2009 test, and we, as a group, became much more aware of what it is and what it is doing. We therefore decided that it would be the foundation for the Image Control Assessment Series so we could use the expanded color gamut of ACES color space.
We knew ACES would be able to accommodate the wider dynamic range and greater color bit depth of the newer digital cinema cameras, and that it would also better utilize film’s full potential and protect its attributes. We also changed from a 2K pipeline to a 4K pipeline to bring it up to the current parameters of high-end digital cinema.” 克拉克评价道，“对于摄影机系列评测之外更多其他的评测来说，我们知道需要改变后期工作流程以便适应一个扩展后的色域和更大的动态范围。学院色彩编码体系[2](英文缩写ACES)在2009我们进行测试的时候就已经成熟了，我们作为一个行业组织更加意识到它到底是什么，它能够做什么。因此我们决定采用它作为影像控制系列评测的基础，这样我们可以使用ACES色彩空间的扩展色域。我们知道ACES能够适应新型数字摄影机更大的动态范围和更多的颜色位深度，还可以更好地发挥胶片的全部潜能并保护它的特性。我们还将一个2K的工作流程转化为4K的工作流程，以便符合高端数字摄影机目前的参数要求。”Another criticism of the Camera Assessment Series was that the scenes the cinematographers blocked out and shot were too much like camera tests rather than real scenes with cinematic qualities. For the ICAS test, the cinematographers prepared only two narrative scenes, both of which told stories that could have been lifted
straight out of an actual film. The scenes were shot on the lot at Warner Bros.

Around the World in 65mm
65mm环游世界
Director/cinematographer Ron Fricke captures stunning large-format images
in 25 countries for Samsara.
By Iain Stasukevich
导演兼摄影师罗恩.费里克为拍摄影片《轮回》在25个国家中创作了叹为观止的大画幅影像。
作者：伊恩.斯塔苏科维奇
Filmed over a
period of five years in 25 countries on five continents, Samsara falls
into the category of what director and cinematographer Ron Fricke once called “impossible
films — non-verbal films that sustain themselves only on images and music.” Koyaanisqatsi (1983),
directed by Godfrey Reggio and photographed by Fricke, proved that such a film
was possible, and Fricke continued exploring the concept with partner and
collaborator Mark Magidson on Baraka (1992). Like its
predecessors, Samsara paints a powerful picture of the interconnectedness
that links the world’s sacred grounds, disaster zones, industrial complexes and
natural wonders.《轮回》的拍摄历经五年时间，横跨五大洲25个国家，导演兼摄影师罗恩.费里克一度称之为“不可能的影片——只靠影像和音乐贯穿全片而没有任何对白”。由高弗雷.雷吉奥执导并由费里克拍摄的《失衡生活》(1983)证实了这类影片是可行的，费里克和他的合作伙伴马克.玛吉德森在影片《天地玄黄》(1992)中继续探索了这种理念。《轮回》正如先前作品一样，描绘了一幅强有力的画面，体现出世界上神圣之地、灾难地区、工业复合体和自然奇观之间的关联性。
Fricke and producer/co-writer
Magidson were keen to return to the 5-perf 65mm format they used for Baraka, but the 24
fps-capable Todd-AO AP 65 camera systems employed on that film were no longer available.
Seeking to explore the possibility of a digital approach to image capture, they
brought on ASC associate Chris Reyna to help locate a suitable camera system.
“We started looking at film and digital cameras, but in 2006 we had only one 4K
option: the Dalsa Origin,” says Reyna. “Based on our testing, the Dalsa offered
good image quality, but Ron didn’t like it because it was too big, and I didn’t
like it because it was still too prototypical. I knew we could do better.”费里克和制片人兼联合编剧马吉德森都热衷于回归到曾在《天地玄黄》中使用的5齿孔65mm格式，但是用在那部影片中的24格Todd-AO AP65摄影系统无法再使用了。他们请求美国电影摄影师协会准会员克里斯.雷纳帮助寻找一套合适的摄影系统，以探寻数字化拍摄方式的可能。“我们开始寻找胶片和数字摄影机，但是在2006年我们只有一个4K的选择：Dalsa Origin，”雷纳说道。“根据我们的测试情况，Dalsa提供了良好的影像质量，但是罗恩因为它太大了所以不太喜欢，我不喜欢它是因为它尚处于原型阶段。我知道我们可以做的更好。”
The filmmakers turned their attention
to finding a suitable 65mm film camera. They still had Fricke’s custom-built
65mm motion-control system to shoot time-lapse sequences, and soon learned of
the five 65mm cameras housed at Panavision’s Woodland Hills, Calif. complex:
two Panaflex System 65 studio cameras, and three high-speed 65mm HR Spinning
Mirror Reflex cameras, commonly known as HSSMs. It was the smaller, lighter high-speed
cameras, with their 500' magazines and wide range of frame rates (2-72 fps),
that Fricke sought.摄制人员们把精力转向寻找一种合适的65mm胶片摄影机。他们仍旧使用费里克定做的65mm动态控制系统来完成延时段落的拍摄，并且很快了解到在加州潘那维申公司的伍德兰山上还存有5台65mm摄影机。它们是：两台Panaflex系统65studio摄影机，三台高速65mmHR旋转镜面反光摄影机，通常被称为HSSM。后者正是费里克所寻找的更小更轻的高速摄影机，配有500英尺片盒以及大范围的格速调整(2-72格每秒)。
A visual motif of Samsara is a shot in which
the subject stares into the camera lens, unspeaking and often unblinking, for
so long that the viewer may begin to question who is watching whom. “All of the
portraits are stylized after the great still photographers that I love, like
Yousuf Karsh, Irving Penn, Mary Ellen Mark and Annie Leibovitz,” says Fricke.
“Something is revealed in their portraiture, and when a person stares into the
camera, if you’re lucky, you can get the essence of who that person is.”《轮回》的一个视觉主题是拍摄对象直视着镜头，不说话也不怎么眨眼睛，时间长到观众开始怀疑谁正在看着谁。“所有的人物肖像画面都模仿了我所喜爱的图片摄影师的风格，比如尤瑟夫.卡什、欧文.佩恩、玛丽.艾伦.马克和安妮.莱博维茨，”费里克说。“在他们的人像作品中一些内容被表现出来，当一个人直视着镜头时，如果你幸运的话便能够看到那个人的本质。”
A visual motif of Samsara is a shot in which
the subject stares into the camera lens, unspeaking and often unblinking, for
so long that the viewer may begin to question who is watching whom. “All of the
portraits are stylized after the great still photographers that I love, like
Yousuf Karsh, Irving Penn, Mary Ellen Mark and Annie Leibovitz,” says Fricke.
“Something is revealed in their portraiture, and when a person stares into the
camera, if you’re lucky, you can get the essence of who that person is.”《轮回》的一个视觉主题是拍摄对象直视着镜头，不说话也不怎么眨眼睛，时间长到观众开始怀疑谁正在看着谁。“所有的人物肖像画面都模仿了我所喜爱的图片摄影师的风格，比如尤瑟夫.卡什、欧文.佩恩、玛丽.艾伦.马克和安妮.莱博维茨，”费里克说。“在他们的人像作品中一些内容被表现出来，当一个人直视着镜头时，如果你幸运的话便能够看到那个人的本质。”
One of Fricke’s favorite portraits
— a shot of Marcos Luna, an ex-gang member living in Los Angeles — also became
one of Samsara’s most revelatory
moments. “We went to his apartment thinking it was going to be another ‘stare
into the lens’ kind of setup,” says Fricke. “We put the Panavision camera [with
a 50mm lens] on the mo-co dolly, with the jib arm and the pan-and-tilt head.
The idea was to move over the top of his head and move down his face to find
his eyes, but when his wife placed this beautiful baby girl in his arms, he
began rocking back and forth, kissing and cuddling the baby. The ‘Tattoo Man’
became ‘Tattoo Daddy,’ which transformed the portrait into something really wonderful.”
A 12'x12' silk was rigged overhead to soften the light falling on Luna, and
flags were placed close in for negative fill.费里克最喜欢的人物镜头之一——一名生活在洛杉矶的前帮派成员马考斯.鲁纳——成为了《轮回》中最具启示意义的镜头之一。“我们到他公寓的时候还想着这将是另一个‘注视镜头’之类的安排，”费里克说道。“我们将(配有50mm镜头的)潘那维申摄影机架设在带有摇臂和全景云台的mo-co轨道[4]上。起初的想法是越过他的头顶向下移至面部拍摄他的眼睛，但是当他的妻子讲漂亮的女婴放到他的臂弯中时，他便开始前后摇晃，亲吻并搂抱着婴儿。‘纹身男人’变成了‘纹身老爸’，这种转化让人物变得非常棒。”在鲁纳上方有一块12x12英寸的丝绸来柔化打在他身上的灯光，灯旗放在临近的地方提供填充光。



Hair-Raising Heroics
毛骨悚然的英勇
Tristan Oliver helps to create a live-action sensibility for ParaNorman, a 3-D stop-motion feature
about a bullied boy who saves his town from a witch’s curse.
By Rachael K.
Bosley
特里斯坦.奥利弗为3D定格动画片《通灵男孩诺曼》营造了一种真人实景的感觉，该片讲述了一个遭受欺凌的男孩从一名女巫的诅咒中拯救他所在小镇的故事。
作者：瑞秋 K.伯斯利
U.S.animation studio Laika
attracted attention for breaking new ground with its first feature, Coraline (AC Feb.’09), and its second, Chris Butler and Sam Fell’s ParaNorman,advances the 3-D stopmotion- animation genre further still. Written by Butler,the story follows a boy whose ability to communicate with the deceased makes him a social pariah, until everyone in his town realizes he might be the only one who can avert the supernatural
tsunami that threatens to destroy the town on its 300th anniversary.美国Laika动画工作室因其首部故事片《鬼妈妈》(美国电影摄影师杂志09年2月刊)以及第二部由克里斯.巴特勒和山姆.菲尔导演的《通灵男孩诺曼》开辟出新的天地而受到瞩目，它们将3D定格动画这种类型的影片向前推进了一步。编剧是巴特勒，故事讲述了一个能够与逝者交流的男孩遭到社会的遗弃，直至小镇中的所有人发现他可能是唯一能抵抗在300周年庆典中要毁灭小镇的邪恶海啸的人。
English cinematographer Tristan Oliver traveled across the pond to lead the camera department on ParaNorman, his first 3-D feature. He was attracted not only by the script, which Butler has described as
“John Carpenter meets John Hughes,” but also by the prospect of working with Butler and Fell — he’d been friends with Fell for 20 years, since their freelance days at Aardman. Preproduction and production kept Oliver at Laika’s studio in Hillsboro, Ore., for nearly two years, 84 weeks of which were devoted to
principal photography.英国电影摄影师特里斯坦.奥利弗穿过大西洋来带领《通灵男孩诺曼》的摄影组拍摄他的首部3D动画片。他不仅是受到巴特勒所谓“约翰.卡彭特遇到约翰.休斯”剧本的吸引，而且还因为希望与巴特勒及菲尔共事——他之前已经与菲尔是20年的朋友了，早前他们因同为阿德曼公司的自由职业者而相识。奥利弗在俄勒冈州希尔斯波洛的Laika工作室为完成前期拍摄和后期制作度过了将近两年的时间，有84周的时间用在了摄影上。
American Cinematographer: On our set visit, Sam
and Chris talked about their desire to avoid a visual style that simply
‘presented the animation’ and instead give this movie a live-action sensibility.
Tristan Oliver: That was a big attraction for me. We were
always given a fair amount of free reign at Aardman to make things look the way
we wanted, but there was always the caveat that you had to see the animation,
and that tends to flatten things off because you have to put in more light. We
wanted the environments in ParaNorman to look as they would in the real world. For example, day
exteriors look lit by a single sun source, and some interiors look lit only with
existing light, with some of the frame very dark and some of it overexposed. Most
of our visual references were live-action movies, including Atonement [AC Dec. ’07], Pulp Fiction, and the
martial-arts movies Hero [AC Sept. ’03], Crouching Tiger [Hidden Dragon; AC Jan. ’01] and House of Flying Daggers [AC Dec. ’04]. For me,another reference was Road to Perdition [AC Aug. ’02], which I absolutely love as a movie,and which is spectacular in the way it braves that dark/light juxtaposition.

死者之手
格雷格.弗莱瑟为安德鲁.多米尼克的影片《温柔地杀戮》拍摄到一种具有电影冲击力的刚毅氛围。作者:本杰明.B
Upon its world premiere at this year’s Cannes Film Festival, Killing Them Softly attractedattention for its powerful performances and stylish filmmaking. Its cinematographer,Greig Fraser, recalls, “Watching James Gandolfini and Brad Pitt act together was one of the highlights of my career so far. That’s the part of the job that really amazes me — not shooting out of helicopters, but watching these actors do their thing.”在今年戛纳电影节的全球首映礼上，《温柔地杀戮》凭借出色的表演和现代风格的制作过程而引起了人们的关注。影片的摄影师格雷格.弗莱瑟回忆道，“看到詹姆斯.甘多菲尼和布拉德.皮特同台演戏是我职业生涯迄今为止的亮点之一。不是从直升机上拍摄，而是观看这些演员工作——这是我工作中真正令我惊喜的地方。”
A new film stock, Kodak 500T 5230, proved to be key, according to Fraser.
“We were the first feature to use it, and it has a beautiful creamy quality,” he
says. “I didn’t test much of it, mind you, because we didn’t have enough time.
We shot some as we drove around L.A., printed it, and thought the results
looked amazing. We then put in an order for about 200,000 feet of it, which
gave them a little shock up there in Rochester! But they came through.
弗莱瑟觉得一种新型的电影胶片柯达500T 5230起到了关键的作用。“我们是首部使用这种胶片的影片，它有一种美妙的淡黄色画质，”他说。“说真的我并没有对它做很多测试，因为我们没有足够的时间。我们在洛杉矶附近行车的时候拍摄了一些，然后洗印出来，觉得效果非常好。之后我们订购了大约20万英尺的这种胶片，这给那些在罗切斯特的人一点震惊！但是他们还是搞定了。”
“We shot most of the movie on that
stock, all the night interiors and exteriors,” he continues. “It’s not as contrasty
as [Kodak Vision3 500T] 5219. Comparing 5219 to 5230 is like comparing photo
prints on glossy paper and matte paper. 5219 is glossy, and 5230 is matte. 5219
zings; it’s sharp. With 5230, the blacks absorb you a bit more; they take a
little more effort to welcome you in. You can almost feel the textures and
touch the tones.”
“我们用那种胶片拍摄了影片的大部分内容，所有的夜间室内外场景，”他接着说。“它不像(柯达Vision3 500T)5219有那么大的反差。对比5219和5230就好像是对比在光面相纸和绒面相纸上洗出的照片一样。5219是光面的，5230是绒面的。5219是直接的；有锐度。5230中的黑色更吸引人一些；它们更努力一点把你带入其中。你几乎可以感觉到那种质感并触碰到那种影调。”


For extreme-high-speed close-ups of bullets flying from the barrel of Jackie’s
gun, the filmmakers shot at 12,000 fps with a rotating-drum Millisecond High
Speed Camera from Cordin Co. “The Phantom is great for recording details like
droplets of water and ricocheting shells at high speed, but we needed a camera even faster than
that to capture those bullet closeups,” notes Fraser. “We could set the Millisecond
to spin at X revolutions per second [and sync it] to expose the film when the gun was fired.”
为了拍摄从杰克枪管中射出子弹的超高速特写镜头，摄制人员使用了一台产自Cordin公司的旋筒式Millisecond超高速摄影机以12000格每秒的速度拍摄。“Phantom摄影机对于记录像水滴和飞出的子弹的细节表现很好，但是我们需要一台更快的摄影机来拍摄那些子弹的特写，”弗莱瑟说。“我们可以设置Millisecond摄影机以每秒X分辨率旋转(并同步)拍摄以便在枪开火的时候对胶片曝光。”

推广“起因”

小米哈.马拉迈尔为戏剧片《大师》组合使用35mm和65mm胶片进行拍摄。
作者：伊恩.斯塔苏科维奇
The opening shot of Paul Thomas Anderson’s The Master
fills the frame with roiling ocean waves. As the water churns in the wake of
some great nautical vessel, almost every bubble is visible in the white foam.
Cut to a close-up of U.S. Navy Seaman Freddie Quell (Joaquin Phoenix). The
camera is so close that only his eyes are in sharp focus; the background fades
into a soft, impressionistic view of the battleship that carries him. He stares
off-camera, focused on a point in the distance.
保罗.托马斯.安德森导演的《大师》开场镜头中充满着波涛汹涌的海浪。随着巨大海轮搅动水花向前翻滚，几乎所有气泡都可以在泡沫中看到。镜头转切到美国海军水手弗莱蒂.奎尔(杰昆.菲尼克斯饰演)。摄影机靠的非常近，只有他的眼睛是在对焦范围内；背景中是一片柔和的印象主义视觉景观，那是他所乘的战舰。他没有看摄影机，凝视着远处的某一个地方。
The Master was shot by Mihai Malaimare Jr., who was introduced to Anderson by Francis Ford Coppola after Coppola worked with the cinematographer on Youth Without Youth, Tetro and Twixt. Malaimare recalls that from the outset, Anderson was intent on shooting some of The Master on a large format, primarily as a nod to the story’s period. “Most iconic stills from the World War I-World War II years were taken with the Speed Graphic 4x5 medium-format camera,” says Malaimare. “Photographers were also shooting with Crown Graphic.” Furthermore, Anderson wanted to use large format in an unconventional way: for portraiture rather than wide shots or landscapes.《大师》由小米哈.马拉迈尔拍摄，他是经弗朗西斯.福特.科波拉推荐给安德森的，之前科波拉与这位摄影师合作了《没有青春的青春》、《泰特罗》和《此处与日出之间》。马拉迈尔回忆说一开始安德森就想要用一种大画幅格式来拍摄《大师》，主要是为了符合故事发生的年代。“大部分拍摄于一战和二战的标志性照片都是采用SpeedGraphic 4x5中画幅相机，”马拉迈尔说。“摄影师还使用Crown Graphic相机拍摄。”另外安德森希望以一种不寻常的方式使用大画幅格式：针对人像而非全景镜头或风光。

They decided to work with both of Panavision’s 5-perf
65mm cameras, the Panaflex System 65 Studio 65SPFX and the HR Spinning Mirror
Reflex 65HSSM. The 65SPFX is a larger, silent camera, whereas the 65HSSM is a
smaller and lighter MOS body more appropriate for handheld and remotehead
operation. Both cameras can accommodate 400' and 1,000' loads.他们决定采用两台潘那维申5齿孔65mm摄影机，即Panaflex System 65 Studio 65SPFX相机和HR Spinning Mirror Reflex
65HSSM。65SPFX是更大一些比较安静的摄影机，而65HSSM是一台小一些并且更轻些MOS机身的摄影机，更适合手持和遥控操作。两台摄影机都可以容纳400英尺和1000英尺的胶片。
Anderson and Malaimare then enlisted 1st AC Erik Brown to
help them test almost every lens available at Panavision’s Woodland Hills
facility. They chose several Panavision System 65 prime lenses ranging from
T1.9-T3.5. Panavision optical engineer Dan Sasaki also provided them with a
T2.8 300mm medium-format lens built from a Hasselblad telephoto lens with Zeiss
optics, which Malaimare calls “a great close-up lens.” The crew dubbed this
“The Doris Lens,” naming it for Quell’s hometown sweetheart (played by Madisen
Beaty), the subject of some of The Master’s most striking
portraiture.安德森和马拉迈尔之后找来了摄影大助理埃里克.布朗协助他们在潘那维申公司在伍德兰山的办公室测试所有可用的镜头。他们选择了一些光圈值在T1.9至T3.5之间的镜头。潘那维申的光学工程师丹.佐佐木还提供给他们一支T2.8光圈300mm中画幅的镜头，改造自采用蔡司光学配件的Haseelblad
telephoto镜头，马拉迈尔称之为“一支很好的特写镜头”。摄制组戏称为“多丽斯镜头”，名字来自《大师》中最具吸引力的人物奎尔家乡的心上人(马蒂森.比蒂饰演)。