ARRI ALEXA拍摄《TEEN WOLF》

2011-05-24 15:38

#幕后制作#

ARRI ALEXA takes on MTV’s TEEN WOLF

文章来源ARRI官网：http://www.arri.com/

MTV describes TEEN WOLF, its modern take on the classic Michael J. Fox film, as a “sexy thriller set against the drama of high school life, with a forbidden romantic love story at its core.” The 12-episode series, which begins airing in June, is directed by Russell Mulcahy and stars Tyler Posey as the title’s werewolf, Dylan O’Brien as his friend, Crystal Reed as the mysterious new girl in town and Tyler Hoechlin as the more experienced werewolf.
DoP Jonathan Hall, a graduate of the Brooks Institute for Photography in Santa Barbara, cut his teeth on extreme sports videos and then went on to lens indie features (ASIAN STORIES, CHARLIE VALENTINE and GIVE ‘EM HELL MALONE, the latter directed by Mulcahy) as well as operate on some Hollywood films, including AVATAR. When Mulcahy offered Hall the chance to shoot TEEN WOLF, the young cinematographer jumped at it.
No dropped frames; no interruptions; no corrupt data. It’s been shockingly flawless.
DoP Jonathan Hall on shooting with ALEXA

DoP乔纳森霍尔，它是一个摄影师在圣巴巴拉从事拍摄工作，参与了上的一些好莱坞电影制作。

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DoP乔纳森霍尔与Alexa拍摄
When it came to picking a camera system for the show, Hall notes, \"I still primarily shoot film. I had only shot one digital project before this, on the Sony F35.\" The ARRI ALEXA, however, was the digital camera he had been waiting for. \"ARRI has always been a trusted name, from my school days all the way into professional filmmaking,\" he says. \"The 16SR 2 and 16SR 3 have been workhorses for indies and documentaries for over 20 years. You can drop them down a flight of stairs, dust them off and do another take; they’re also as light and compact as possible.\"

霍尔指出，“我主要还是拍电影。我之前只有一次数字制作用的是索尼F35。”而阿莱Alexa，是他一直在等待想使用的。

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Hall says he \"snatched up\" the ALEXA in September and started shooting right away, directly to on-board SxS cards. \"Russ and the producer Joe [Genier] and screenwriter Jeff [Davis] were into pushing the creativity as much as possible,\" he notes. \"They were all about getting the camera smaller and using it to get coverage from handheld to cranes.\" Since TEEN WOLF, which is shot outside Atlanta, often uses nighttime exteriors as well as \"low-light creepy sets,\" the ALEXA fit right into Hall’s shooting plans. \"The ALEXA can shoot with very little light,\" he says. \"I’d normally be nervous to shoot with an ISO of 320; the ALEXA, out of the box, is a true 800. Last night, we shot scenes in 1280 ISO without any problem.\"

霍尔就想表达Alexa的低照度非常好，他说 “我通常使用320 iso拍摄; 对Alexa来说800 iso也很好，昨天晚上，我们使用了1280 iso拍摄也完全没有任何问题，。”

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ALEXA’s sensitivity helped Hall in other ways. \"We’re trying to keep away from shooting with prime lenses,\" he explains. \"[Other digital cameras] tend to be coupled with primes so they can shoot with an open stop, but then you have to reset for every shot. It really slows things down and limits your focus puller’s ability to chase focus.\" How much time does Hall save? \"A ton,\" he says. \"Not just logistically with the camera, but also with lighting. We can do half as much lighting; instead of broadly lighting everything and hoping it’s consistent, we put up the key light and then look at where we need to add accents.\"
Alexa的灵敏度在其他方面也都有帮助。 “我们在试图不使用定焦要镜头拍摄，”他解释说。 “[其他数码相机]往往需要与定焦镜头配合，他们才能够使用开放档拍摄，但那是你必须重新设置。那样会减慢速度，并限制摄影助理的跟焦能力。”能节省多少时间？ “很多”他说。 “不只是后勤与摄像，而且有照明，我们大多只需要做到一半，大致照明一切，我们提出了主光，然后再看看我们需要添加的重点。”

The production shoots ProRes 444 onto SxS cards. \"MTV’s single-camera shows have always been tape-based,\" says Hall. \"They were a bit skeptical about tapeless. But I said that since turnarounds would have to be so quick, it would be silly not to take advantage of this pipeline. We can literally shoot the footage, download it onto a hard drive, send it to Chainsaw Digital in Los Angeles and the people can edit in full resolution on an FCP workstation...and simultaneously color correct it.

它拍摄出ProRes 444记录在SxS卡上。 “他们一些人对无磁带持怀疑态度。但我觉得，磁带的工作效率没有这么快。我们可以把拍摄的录像，直接下载到硬盘上，把它以数字数据在FCP上编辑，同时调色。

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\"There is no such thing as an online anymore,\" he continues. \"That’s one line item that came right off the budget, with hundreds of thousands of dollars in online material and time saved. You never have to duplicate everything and then go back to a full-res version. You can send the full-res version to visual effects; color; sound.\"
Hall has become accustomed to the advantages of shooting digitally with Filmlight’s Baselight digital intermediate system on set. \"We are running everything through the Baselight, so we can shape the look as we’re shooting,\" he says. \"We can cool off the picture, bring the blacks down...and we see in real-time what it would look like.\" That also saves time in postproduction, at Chainsaw Digital in Los Angeles. \"We save the information on-set and send it over to Chainsaw, so the post people can get started on color correction with the look we’ve saved on set,\" he says.

总之，这样很节省预算……

The advantage of the tapeless workflow continues to storage. \"Hard drives are very cheap,\" says Hall. \"My guesstimate is that we used 40 terabytes for the whole 12-episode order. We doubled that and that’s our system. So we’re doing ProRes, uncompressed for fewer than 100 terabytes and shooting three or four cameras at times. Compare that with anything linear: $50 a tape for 40 minutes. Those elements can now be taken off the docket.\"

无带化工作流程的优势是可以连续地进行存储。 “硬盘驱动器是非常便宜，”。

Saving time and money means nothing if the look of the camera is not satisfactory, but Hall says he was \"blown away by the latitude of the ALEXA.\" He notes: \"That’s the only thing we cinematographers transitioning from film to digital wanted. We don’t want to sit in a tent and look at vectorscopes to make sure we have data. I never wanted to contain my lighting to make it all look flat.

如果摄像机不令人满意的话节省时间和金钱并没有意义。但霍尔说“Alexa打破了这个界限。”他指出：“这是摄影师从胶片过度到数字想的唯一事情，我们不想在帷幕里，看着示波器来确保我们的数据。我从来不想用控制照明的方式来使这一切看起来平直。

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\"The ALEXA shoots with a stop range of the Kodak 5218 Vision2 500T film that I’ve loved,\" he continues. \"Out in daylight, if you open up the aperture to a baseline, you’d easily be able to capture the range of the 5218 without tweaking anything.\"
“在Alexa和我曾爱的柯达胶片5218 Vision2 500T有着一样的曝光级数”他继续说。 “暴露在阳光下，如果你打开光圈到一个标准，你能够轻松地捕获5218的范围而不需要任何调整的。”
And Hall has put ALEXA through its paces. As Mulcahy and his producers hoped, the production has put the camera in nearly every shooting scenario imaginable. \"We strapped Steadicams to an off-road vehicle as we flew through the woods,\" he says. \"We’ve shot handheld; Technocranes; dolly; greenscreen; a HydroFlex bag; high-speed circle tracks; we’ll have one on a helicopter in a week. The ALEXA has been everywhere with us.\"

他们带着它越野，穿过树林，手持拍摄，在高速循环的轨道上，在直升机上……“ALEXA一直与我们无处不在。”

Pioneers often get arrows in the back and since Hall took on the ALEXA when it was new, he \"kept waiting for something not to work as well as we’d hoped.\" However, he notes, \"We have yet to have any major problems. There has never been a roadblock; the camera has delivered. We’ve shot more than 1,000 cards without any hiccup - no dropped frames; no interruptions; no corrupt data. It’s been shockingly flawless.\" 

霍尔说“我们尚未有任何重大问题，没有故障。我们拍摄了超过1000张卡，无掉帧、没有中断，没有损坏的数据。这是令人吃惊的完美。”

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