牛逼的创意，超强的场景MV《True Loves》摄影师创作手记

2011-09-30 13:11

#创作手记# #设备体验#

Alex Takacs & Joe Nankin aka哥俩导演了一些极具创意的MV,其中包括去年在国外某网站做的全球MV排行中获得第七名的MV《Lovely Bloodflow》，《True Loves》则是兄弟俩今年的新作，延续了从前的风格，精彩依旧。以下为此MV摄影师的创作手记。

[flash]http://player.56.com/v_NjMyNTI4NzQ.swf[/flash]
MV《Lovely Bloodflow》

It has been a while since I’ve posted much on Cinematography.com so I am excited to get back into it! I have been keeping a professional blog (or at least trying to) in which I detail technical specs and techniques, but it is always great to get feedback on the forum! I hope no one minds that I steal a bit from the blog... 巴拉巴拉，很久没上更新自己的博客了：）
http://vimeo.com/22253725（这个应该是MV的地址，不用着急翻不了墙，我们老早就发布到国内了：）
If anyone knows how to embed a Vimeo video, that would be greatly appreciated :)

Just released this week is a music video for Hooray For Earth’s single \"True Loves\". The video was conceptualized and executed by directors Alex Takacs and Joe Nankin aka Young Replicant. The video is completely narrative, showing the journey of a man traveling his mindscape across all types of geographies. Location and costumes were all epic!

[flash]http://player.56.com/v_NjExOTY3NDk.swf[/flash]

MV是Hooray For Earth的单曲《True Loves》，导演是Alex Takacs and Joe Nankin aka哥俩，（他们的网址是：youngreplicant.com，得翻墙）
Partly the purpose of this post is to provide some feedback on shooting with the AF100. At the time we shot the video (January’11), the AF100 was relatively new on the market, so we were interested in seeing what it was capable of. We had the choice of going with the 7D (which we were all familiar with), but after some simple tests we figured the AF100 would give us what we needed. Initially we considered the camera because we wanted to shoot 60fps at 1080p. Further down the line we realized the video was going to be a bit more run and gun on location, so having the conveniences of a conventional video camera (like built in ND filters) felt like a safer choice for this project.
这个MV是今年1月份拍的，AF103当时刚上市（好吧，在欧美叫AF100），新品嘛，我们当然手痒想看看能拍出神马东西来。当时我们也可以用7D，我们用7D用了很多了，熟的不得了，而且，最初我们想用60fps 1080P的方式拍。不过，经过一些测试后，AF103给我们感觉很赞，应该能满足我们的需要，尽管60fps 1080P得放弃了，不过，我们深入讨论这个MV的拍摄计划后，认为这个MV的拍摄需要比较多的跑来跑去的转场、移动拍摄等，还是用传统的摄像机（你瞧，ND很重要）来拍摄貌似会更加保险，所以，最后用了AF103来拍。
For anyone unfamiliar with the AF100, you can spend a good deal of time sifting through Phillip Bloom’s review, which does a pretty good job covering all the bases in good detail. However, I hadn’t come across much feedback from narrative or music video DP’s, so I forward to seeing more work and hearing more experiences surface in the next few months.
他给PB做了个广告，有不熟悉AF103的可以看看PB的博客文章：）
I think the easiest way to describe this camera is it being a hybrid between an HVX and DSLR. The menus and on-board controls on this camera are very similar to that of Panasonic’s previous prosumer HD cameras. The scene files are all still there, white balance and gain ｓｅｌｅｃｔors in the same place, and XLR inputs. Nothing too crazy or groundbreaking in that regard. What’s new about this camera is that it offers HD-SDI and HDMI (and the HDMI doesn’t deactivate the on-board LCD!). Certain menu options have changed for the better, like the ability to reformat cards in Record Mode (so you don’t have to toggle to Playback when you ｉｎｓｅｒｔ a new card). But unlike the HVX or other cameras shooting on hard drive, the AF100 takes quite a bit longer to format than you would expect. I never clocked it, but formatting lasted several minutes.

TOM觉得AF103的一句话描述就是：HVX和DSLR的混合体。菜单和操控界面和松下之前的HD摄像机灰常的相似，场景文件也那个样子，白平衡和增益键啥的也在同样的位置，XLR了，巴拉巴拉，没啥疯狂的或者突破性的可说滴。比较新的一个东东是AF103有HD-SDI和HDMI接口。TOM特别提了下AF103的这个HDMI端口不会说一接上，就机器上的LCD屏就看不了了（各位童鞋，你应该懂他为啥要特别提得吧，哈哈)。TOM觉得SD卡可以在拍摄模式下格式化这点很好，（这真的很好吗？哈哈）。但是貌似格式化需要的时间有点长，感觉需要几分钟。（这个俺测试过，应该和电脑里格式化差不多时间，没啥奇怪的，32G或者16G格式化需要长点，正常：）

\"\"

The on-board monitor is set up slightly different than before. Possibly one of the biggest let downs is the focus check that used to be on the HVX, that little button that gives you a pixel-for-pixel display to make sure things are nice and sharp. The AF100 offers the EVF detail, which makes for a pretty ugly image, and a Focus Assist that can be programmed as one of the user keys (there are 3 user keys on the camera). The latter option is similar to the focus assist on the RED ONE; it goes off contrast and highlights the sharp areas in red over a B&W image. What’s unfortunate about using this feature on the fly is that it can’t really account for the motion blur of a moving object, so it’s basically useless if you have to do any real focus pulling on your own. For this shoot we had a Marshall 7\" that primarily served as a director’s monitor, but certain shots it was definitely needed to pull focus off of.
讲得关于聚焦辅助等等的功能，有需要翻译的童鞋，说一声：）
I can say one of the best additions to this camera is the option to add frame guides. This video was shot in 2.35:1, so it was easy to add those guidelines via the Display Setup. So many times I’ve had to scotch tape the 7D off a framing chart, which is never as easy as it sounds...
TOM觉得这机器的画幅选项显示真的很不错啊，这个MV是2.35:1的，用这机器拍超级方便啊。不像之前用7D，见面不如闻名，の。。。。。
The image sensor on this camera is 4/3\", which I was pretty disappointed about when I first heard about the AF100. This camera is meant to compete with the DSLR’s, but I think it also caters a bit to the live shooters and ENG style cameramen that don’t have a perversion for shallow depth of field. This smaller chip size gives an even tighter crop factor than the 7D, which offered a little bit of confusion at first on choosing lenses for the camera. AbelCine has a really helpful tool that helps visualize the difference in sensor size here. So we had to account for crop factor and make we were covered for our wide lenses. We shot Zeiss Superspeeds with a custom PL Mount made to fit Panasonic’s AF100 mount. Having the Superspeeds really helped us overcompensate and achieve a film-like DOF. We shot wide open mostly and in certain cases having the extra stop saved us from using too big of a lighting package or shooting later in the day. We shot 200iso and in some cases had to bump up to 400iso which gave us quite a bit more noise than I had hoped for. Unfortunately the AF100 doesn’t seem to do too well in low light.
这机器M4/3的感光元件尺寸，第一次听说的时候，我真是觉得失望啊（啥年代了，哈哈）。据说这机器是和DSLR竞争的，不过我觉得这机器更迎合那些现场直播拍摄以及ENG摄像师，他们不会疯狂迷恋浅景深啊。这尺寸甚至比7D的都小。刚开始的时候，对于镜头选择还真是个麻烦事啊，会搞糊涂（童鞋们懂的，焦距换来换去的，糊涂啊），真花了我们不少功夫啊，尤其是找广角镜头啊。
我们后来选择了Zeiss Superspeeds的PL镜头，这个镜头组牛逼啊，在实际拍摄中真是帮了大忙了，而且也很好的实现了画面电影感*（筒子们，可换镜头的机器，镜头很关键啊）。拍摄时，我们开大光圈啊，超大光圈啊，少用多少灯啊，省不少功夫，介是镜头好啊。大部分场景我们用的ISO200，有些时候用到400，,400的时候真的是有噪点啊。AF103在低照下真的是需要努力啊（松下的筒子，赶紧的啊，嘿嘿）
Regarding other aspects of the production, this video is definitely a testament to having a good idea, strong locations, wardrobe, etc. I could just about find any frame and it would look beautiful! The directors also had the whole thing story boarded to a T, and we stayed very close to those original frames. Lately a lot of my work has been on a shorter timeframe, so storyboards usually get left in the dust, so it was refreshing to work on a project that had so much forethought put into the visuals.
这个MV绝对是牛逼的创意，超强的场景，绝赞的服装造型。。。每个画面都很美。导演有完整的故事版，故事版做的真是赞啊，我基本上是按照故事版来实现的。说实话，最近我做的其他工作，像这样故事版做成这样的，木有啊，故事版基本都会被扔进垃圾桶的哦。
All the exteriors were naturally lit, with a flex-fill bounce flown in occasionally. Most of the interiors were based off of natural lighting and haze. Only when the sun went down (the bedroom scene in particular) or when we needed to add in occasional backlight did we bring in units. But we were limited to 2x 4’4bank Kinos and 1 2k tungsten fresnel. Because of the contrasty nature of the video, it took a bit of thinking but we were able to get by ok with only those few units. The haze was crucial to filling in the space and providing illumination in the frame. Otherwise, I believe there’s just one shot when the hero cracks the rock and a glow is cast on his face. For this we had a bare bulb plugged into a battery and inverter rig that we simply moved closer to his face to \"dim\" up when we wanted the glowing effect.

\"\"（以前一直说这个片子用了很多灯的童鞋注意了哦）所有的外景拍摄都是用的自然光，只有部分场合用了flex-fill bounce flown。大部分的内景都是基于自然光和烟雾机（HAZE）。只有当太阳下山了（特别是卧室场景），或者我们需要用到一些背光的时候，我们用了一些灯。不过，也就只有2x 4’4bank Kinos 和 1 2k的钨丝灯。烟雾机非常的关键，要让烟雾充满空间，还要提供照明。

另外，MV中英雄凿开石头后，脸上照满光辉。这个场景的实现是这样滴：拿一个灯泡（接着电池和变压器）直接很近的对着脸照着，很简单吧（的确是很简单，哈哈）
As I think I mentioned earlier, this video was fairly low budget and run-and-gun. We \"stole\" a lot of our locations, so we tried to keep a low profile at all times. We were able to schlep a doorway dolly down to the beach location (El Matador Beach in Malibu), but for a lot of the small lateral dolly moves, we simply used a skateboard on a long piece of wood. It worked surprisingly well! We also relied a lot on a monopod with a weight attached to the bottom to do some faux steadicam moves, although we did have a lightweight steadicam one of the crew members owned. But the monopod was a quick and easy way to get shots, and we were able to go Low Mode just by holding the camera upside-down ...not the safest thing!\"\"
我之前说过了，这个片子是很低成本的，“游击队”式的拍出来的（注：就是经常用场地不付钱，快速用完就跑的那种）。所以为了尽快的进入拍摄和撤出，我们尽可能的减少了我们的装备。我们可以把一个轨道车拉到海滩去拍，不过，大部分时候，我们都是直接把一滑板搁在一长条木板上就成了，告诉各位，效果出奇的好。我们也用脚架下绑个重物来实现那种斯坦尼康运动拍摄的感觉，尽管我们组里一哥们真的有一个小斯，不过用脚架的话，很方便，拍起来也很快速，而且我们还可以直接倒过来拍摄低角度的镜头，の，，，有点危险哦……
The VFX add an incredible amount of production value to this music video. There was a lot of work done in FumeFX (I think that’s what its called) and then a good amount of matte painting and composting to create the surreal landscapes. One of the directors and I spent three days color correcting, which is an extremely rare and luxurious amount of time to color usually. I had just finished reading The Color Correction Handbook, so I had a lot of fun experimenting and incorporating some tricks I had learned. I would highly recommend the book to anyone! The general approach was a low contrast look, keeping a theme of purple in the shadows. We tried to give each look some sort of variety while keeping a consistent overall pallet. I’ve been coloring my own work for a while, so ’ve come to grow accustomed and liberal with using \"power windows\" to give shape to the frame. A lot of the EXT shots, especially the hiking shots, appeared flat without any work. So we did our best to provide a little more contrast in these shots by hiding as many power windows as we could. Overall I’m happy with the coloring and would love to go into more detail if anyone is interested.
特效无疑大大提升这个MV作品的品质，期间有很多工作是通过FumeFX做的，也有大量的麦喷和合成工作，以创造超现实的场景（嗯哼：看过片子的人都能感受到超现实吧）。我刚再看Color Correction Handbook(调色手册，是本书），所以当时我真的充满兴趣的在这个片子上做了很多尝试，哈哈。最重要的一个工作是实现一个低对比度的画面感，保持一种紫色的影调。我们尽力在保持整个影片的某种一致性的前提下，让每个画面看起来都具有某种更丰富的涵义。那些外景拍摄，尤其是跋山涉水的那些镜头，如果不做后期处理的话，画面看起来就会比较平，所以我们在后期尽可能的增加了对比度。
This post has been edited by Tom Banks: 28 April 2011 - 03:32 PM
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