翻译 美国电影摄影师 2011.2 文章《God of Love》

spanky

美国电影摄影师 2011.2刊 短片 《God of Love》《神之爱》

翻   译 ： 李  明

导演：卢克·梅瑟尼（Luke Matheny）
摄影：鲍比·韦伯斯特（Bobby Webster）

   

    “你无法控制你爱谁。你无法控制谁爱你。你无法控制它如何发生，或它什么时候发生或为什么发生。你无法控制任何关于爱的行为”本片的主角Ray（Luke Matheny）是一个酒吧歌手，他的疯狂的爱着Kelly（Marian Brock），Kelly是酒吧乐队的鼓手，但Kelly的眼里只有吉他手Fozzie(Christopher Hirsh)。随着情节的展开，当ray的感情爆发时，使用了一盒能产生伟哥（春药）作用的魔法飞镖，以此想要得到kelly的爱情。

   

    （主角ray的饰演者）也是本片的导演，这个片子是他纽约大学电影系研究生的作业。片子开始时是和同学以及摄影师（Bobby Webster）在一起讨论的，两人交流了很多点子，探讨应该是怎样的拍摄风格。Webster：“差不多现在的独立电影看起来都一样：肩扛加浅景深镜头。我们想要这部片子看起来有更多的取景及景深的组合方式，我庆幸使用了一些考虑周密的推轨镜头以及一些滑轨进行的拍摄，这些东西不经常能出现在小成本电影之内。”Matheny：“在片场我们经常说些笑话和黄色段子那样会让工作变的更轻松，当观众看电影的时候，我认为所有人都能从一些场景中发现点什么。”

   

    Webster 和 Matheny都很喜欢法国新浪潮的电影，他们很喜欢让·吕克·戈达尔的《Contempt》、《A Woman is a Woman》这部短片同样也受其影响。此外，他们看过《Beat-era jazz》（特别关注William Claxton拍的东西）“其实我很受claxton大师的启发，那些标志性的画面，清晰明快的黑白影像风格很好的体现了当时的著名爵士乐手的形象。” Webster说。

    早在他们上学的时候，Webster就让Matheny去写本子。Matheny回忆到： “当时我们的美学教授，让我们用论文的方式来表达电影。Webster差不多是逼着我写的《神之爱》，然后他看了本子我们讨论了很多，我记不清楚当时具体讨论了什么，只记得最后我们讨论的结论是：我们需要一些特写镜头，并且不能再有比这些特写更紧的镜头了，还有无论何时Webster都在讲，我们要多一些垂直线在画面里。”

    “当你准备拍电影之前，会有很多好的想法，我们总希望尽可能的去实现他们”摄影师说“当你尝试去解决取景问题的时候，想想之前的那些点子，我们的判断标准应该是留下最自然的镜头，我们要知道自己能做什么，还有我们能在镜头里加入哪些我们发现的新玩意。”

    Webster拍摄《神之爱》使用16：9的RED ONE ，他用自己电脑上的Adobe After Effects来做调色。“.r3D文件比你最终要的画面包含更多的信息量，他们所包含的信息量你可以随时拉回来。当拍外景的时候，我不用担心天空过爆；如果你看RAW文件的细节，你会发现你可以直接拉亮度KEY把天空的亮度给拉下来。”

   

    不过总有哪天的外景戏将要考研RED的动态范围能力。有天Webster在曼哈顿的一条人行道上的外景戏，那里有太多的不需要的杂反射光。他用了ND.6和ND.9滤片，自始至终都这么拍，他设置的ISO是320，通过校准的高清外监和直方图来看层次和曝光，在Redspace和RAW之间允许他来回的转换。（他们知道最终的影片是黑白片，所以不用怎么考虑色温的问题）

    一些场景在冒烟的爵士酒吧，那里是Ray和他的乐队演出的地方。Webster和灯光师利用高架的网格顶灯，以及使用特殊固定的工具，Hello Brooklyn在Red Hook里（我也不清楚这两个词什么意思？这两个英文都是地名，RED HOOK也是红色的钩子的意思，有谁知道帮忙给指正下~），环境光使用了两个1.2K的HMI透过12’X12’的丝质蝶布，Dimmable的1K和650W的钨丝灯用作主光，Kino Flo用作副光。灯光师说：“我们的主光全部都是漫射光，这些烟雾让这些光线变的更宽，更软。然后我们的天花板上的强聚光透过烟雾创造出一种线条分明的轴光（shafts of light）。这种布光是1950年时就使用的方法，当然他也来自于我们的Webster，我想它看来就像是逆光透过烟雾的效果。” Webster：“其中的好办法就是把灯升高，这样让他们看起来不是那么的做作，而更自然，在酒吧这场戏，我们想要更自由的戏剧表演效果，而不是用一堆灯把人包的严严实实，我们没有做太多的轮廓光，因为我们知道什么才是我们想要的。”

    片子里也有一些夜外的景，边走边说的戏，有Ray, Fozzie 和 Kelly，跟随他们到酒吧。那些场景就在西部第4和第6大街拍摄一个60秒的推轨镜头，那里有很长很宽的人行道，还有些在曼哈顿拍摄，这些地方都有很强的光从窗户中投射出来，足够曝光。Webster使用的是dolly-mounted。当演员走到街口转角停下的时候，用了一个1.2K的HMI透过8`X8`的丝质蝶布。

    Webster拍摄使用了一套蔡司的Super Speed primes镜头为了尽量利用他较少的灯光设备。“我知道我们一些场景不能用太多的灯。”他说，“这些镜头可能没有变形镜头那样的效果，但是我们尽量让画面看起来像1960年那样，我很庆幸他们有那么一些清晰，我们主要是拍摄一些很广的镜头，我希望背景无论何时都尽可能的看起来清晰。我们打亮酒吧那场戏，使用的光圈是T4。

    《神之爱》没有制作电影拷贝。“我们所有的展览都是从原生的文件输出1080P无损动画编码格式，通过HDCam发出。.r3D文件发往After Effects，”他说，“使用动画编码（Animation codec）会给你一个特别大的文件，但它绝对是我首选的主要格式。”

   

     我认为Red的 .r3D文件非常适合低成本电影，在现今的情况，数字电影记录的数据要比你发布的版本的信息量多，更像胶片，而且更多实用性的工具让你开发出数字信息的更多潜能。低成本电影的资金少，但时间充裕，当你使用RED，因为没有钱去支付其他工作岗位的开销，你可以用自己的时间去做那些事。比如我可能需要2个星期才能做完《神之爱》的调色，如果有个熟练的调色的师，可能几天做完了，但开销就要增加了，所以至少这也是一种没钱时候的选择。

   

    除了Matheny工作室的成功创建，《神之爱》获得了2010奥斯卡最佳学生奖。“每件事都可以拿来拍电影，关键看我们怎么去做。” Webster说，“屏幕上展示的一切都是我们想要的效果, 在自己拍过的影片中，只有这部我可以这么说”

“It’s the only film I’ve made where I can say that’s the case.”

第一次翻译文章 可能还有很多出入 希望大家能多多包含 今后我回陆续更新《美国电影摄影师》的翻译文章在这篇帖子里

下载地址是：
http://www.rayfile.com/zh-cn/files/15982b28-5f13-11e0-b887-0015c55db73d/

kanuoct

支持原创，加油1～

footage

好人，谢谢

shenghuoweiyuan

辛苦了，很期待呀，

LUZIDE

建议把内容直接贴出来，让更多的人看到

xabing

谢谢！需要这样的东西

老怪

谢了 ，向你致敬！多多发来哦

bordesign

也不清楚这两个词什么意思？这两个英文都是地名，RED HOOK也是红色的钩子的意思，有谁知道帮忙给指正下~

Red Hook 是纽约的一个小镇. Hello Brooklyn是当地的一个酒吧。It offers 6,000 square feet of split-level party room。。。地方很大。


最后一句话：
“它仅仅是电影,我制作的而已,在哪里我都会说那 只是个箱子。”

（Case在这里不是箱子，而是一个事件。泛指之前说的事）

原文：“Everything on the screen is exactly how we wanted it to be,” says Webster. “It’s the only film I’ve made where I can say that’s the case.”  

Webster说“屏幕上展示的一切都是我们想要的效果, 在自己拍过的影片中，只有这部我可以这么说。

原文如下：

God of Love Aims for Amour I By Iain Stasukevich

“You can’t control who you love. You can’t control who loves you. You can’t control how it happens or when it happens or why it happens. You can’t control any of that stuff,” muses Ray (Luke Math- eny),theprotagonistoftheshortfilm GodofLove. Rayisalounge singer, and he’s desperately in love with Kelly (Marian Brock), the drummer in the lounge band, but Kelly only has eyes for the guitarist, Fozzie (Christopher Hirsh). The plot thickens when Ray’s fervent wish for Kelly’s affections are answered with a box of magical darts that have aphrodisiacal powers.
Matheny also directed God of Love; it was his thesis project for N ew York University’s graduate film program. When he began discussing the movie with classmate and cinematographer Bobby Webster, the two quickly realized they shared many ideas about how it should be photographed. “Almost every modern independent film has exactly the same kind of look: handheld with a shallow depth-of- field,” says Webster. “The look we wanted forGod of Love was more about composition and framing and depth.I was excited about doing thoughtful dolly shots and using the camera as part of the blocking. That’s something I don’t see very often in low-budget films.” Math- eny adds, “There are some jokes and punch lines that work better when you can see everything that’s happening in the frame. The audience feels like they’ve discovered something in the scene.”

Webster and Matheny share a fondness for French New Wave films, and they cite Jean-Luc Godard’s Contempt and A Woman is a Woman (both photographed by Raoul Coutard) as strong influences on God of Love. Additionally, they looked at Beat-era jazz photogra- phy, especially the work of William Claxton. “I’m really inspired by his great, iconic images, those crisp black-and-white photographs of the famous jazz musicians of the day,” says Webster.
During prep, Webster assigned Matheny an exercise from their early semesters at NYU. Matheny recalls, “Our aesthetics profes- sor, Gail Segal, would make us write papers to describe our approach to our film. Bobby practically forced me to write a paper [for    God of Love], which he then critiqued heavily. I don’t remember what it was like in its original form, but I remember what we concluded: There would be a certain number of close-ups, and we would never get any tighter than that, and whenever Ray prayed, there would be some kind of vertical line in the frame.”
“You get a lot of great ideas when you’re preparing a film, and I wanted to capture them,” the cinematographer says of the writing exercise. “When you’re on set trying to work out the fram- ing, it helps to have something to remind you of those ideas. Our decisions still felt organic, but we knew what we were doing going in, and we could add to it when we found something new.”

Webster shot God of Love in 16x9 with a Red One (Build 17), which enabled him to do the color timing on his own computer with Adobe After Effects. “.r3D files have more information than you need for the final image,” he notes. “As with 35mm film, there’s all this information you can pull back. For the exterior scenes, I didn’t worry too much about the sky blowing out; if you see detail in the RAW image, you can use a luma key to pull the sky back in.”
Nevertheless, some day exteriors did challenge the Red’s dynamic range. In partic- ular, Webster found he was getting too much unwanted bounce off of Manhattan’s sidewalks. To combat that, he positioned upside-down ND.6 and ND.9 grad filters in front of the lens. Throughout the shoot, he rated the camera at ISO 320 and judged his lighting with a histogram and a calibrated high-definition monitor, which allowed him to switch back and forth between Redspace and RAW. (They knew their final image would be black-and-white, so they could cast color-temperature cares to the wind.)
A number of scenes take place in the smoky jazz club where Ray and his band perform. Webster and gaffer Lydia Sudall took advantage of the overhead lighting grid and other practical fixtures at the loca- tion, Hello Brooklyn in Red Hook, and set an ambient level with two 1.2K HMIs through a 12'x12' silk. Dimmable 1K and 650-watt tungsten sources were used for key lights,
and Kino Flo Diva-Lites were used for fill. “Our key lights all had diffusion on them, and the smoke helped to give a broad, soft light,” says Sudall. “Then we used hard over- head sources as kickers, which the smoke picked up to create shafts of light. The idea came from the 1950s photography, but it also came from Bobby. I’ve come to learn he really likes backlighting.” Webster adds, “One of the nice things about a heightened look is that it’s easier to get away with unmo- tivated light. In the jazz-club scenes, we had the freedom to light for dramatic effect rather than motivation. We didn’t do much overall lighting [of the location] because we knew exactly what shots we wanted.”

God of Love also includes a few night-exterior walk-and-talks with Ray, Fozzie and Kelly, following their performances at the club. For these scenes, Webster and Matheny scouted a long, wide stretch of sidewalk at West 4th Street and 6th Avenue, one of the few places in Manhattan where the light from the windows is bright enough to expose a 60' dolly shot. Webster used a dolly-mounted Diva-Lite for fill. When the actors stopped at the corner, they were lit with a 1.2K HMI through an 8'x8' silk frame.

Webster shot with a set of Zeiss Super Speed primes in order to make the most of his small lighting package. “We knew we’d have scenes that didn’t have a huge amount of light,” he says. “They may not be the sharpest lenses in the world, but for the 1960s-ish look we were going for, I was happy to have a bit less clarity. We mostly shot wide open, but we wanted to be able to see the backgrounds clearly whenever possible. We lit the jazz club so we could shoot at T4.”
No film prints of God of Love were made. “All of our exhibition has been on HDCam struck from a 1080p lossless Anima- tion-codec master file output directly from the original .r3D footage from After Effects,” says Webster. “Using the Animation codec gives you a very big file, but it’s definitely my preferred master format.
“I think that the Red’s .r3D files are transformative for low-budget filmmaking,” adds the cinematographer. “It’s the first and, at this point, the most affordable digital camera that records substantially more infor- mation than your release format, like film, and the availability of tools that allow you to access that information opens up a lot of possibilities. Low-budget filmmakers are typically cash-poor but time-rich, and with the Red, you can make up for lack of money for extensive post work by spending your own time to do it. It took me two weeks to do the work on God of Love that a skilled colorist probably could have done in a few days, but at least that was an option.”

In addition to marking the successful conclusion of Matheny’s studies, God of Love won a 2010 Student Academy Award. “Everything on the screen is exactly how we wanted it to be,” says Webster. “It’s the only film I’ve made where I can say that’s the case.”

spanky

非常感谢你的指正~~~~

bordesign

就是美国摄影师杂志2011年2月刊啊。电子版本很多。随便下载。

spanky

嗯 3月的现在还没找到呢。。 你有3月的么？
我说的是一些网站他们没有注明翻译的文章 从哪里转载的

yezen

It’s the only film I’ve made where I can say that’s the case.
不好意思。。这句话肯定不是这么翻的。。
case既不是箱子也不是事件，在这里应该是案例的意思，但其实不重要
only表达仅仅的意思的时候是表语，比如
It‘s  only a film that……
做形容词的时候意思应该是唯一
比如 my only son 我的独子
where在这里不是哪里，到处。是状语从句的一个标志。。。
that‘s the case 不知道很正常，其实这是固定用法，美剧里面还挺常出现的。这句话是对别人说的表示同意的时候说的。比如A说拍电影是个好论坛，B就说That‘s the case－－－就是这样，是这样没错，是这个例子
所以这句话的意思，应该联系前文：
“每件事都可以拿来拍电影，关键看我们怎么去做。” Webster说，“这是我唯一一部可以拿来印证这句话的电影。”
所以翻译其实挺有难度的，往往得意译，v版的英文比我还好，不知道怎么翻为佳

yezen

啊，已经有人回复拉，恩，解释得更清楚啊，惭愧惭愧，原来语境是那样D～

spanky

都非常感谢大家的指正啊~~ 呵呵~~

sunshine6_9

辛苦了，在这个坛子里学习气氛很浓！！

vvhh1234

我的英语也就半瓶子晃荡，这种专业翻译的文章其实要考虑并不是本身英文单词的意思，而是整体理解后用中文表达出来
天空的信息量我觉得翻译为细节大家会更舒服。动态范围可能说宽容度更好
其他的主要是句子结构调整，第一改变顺序，第二尽量简略，因为翻译相对容易罗嗦
“我很庆幸他们有那么一些清晰” 这句不用太在意原意，其实作者的意思就是“都这么老的镜头了，还能有不错的锐度表现很让人欣慰”
翻译本身是比较枯燥的事情，能传播分享知识还是要鼓励的。

色和尚

感觉是翻译软件弄的

bulutuo

已经很好了，多鼓励多进步！谢谢楼主

bordesign

回复 yezen 的帖子

看翻译文章一定要参考原文对照。这样才可以按照上下文看出来意思。英文里面很多意词，前后关联翻译起来就容易很多。

bordesign

回复 spanky 的帖子

3月的我看到有，还没下。

影人

最好把 神之爱 影片 的视频地址也贴上来

nao1254

谢谢分享！