TEDGlobal 2012
Rob Legato: The art of creating awe
Robert Legato：制造敬畏的艺术
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Rob Legato擅长于制作电影效果，有时比真实的效果还真实。在这个温馨诙谐的演讲里，他分享了他在电影《阿波罗13》《泰坦尼克号》《雨果》里对提升真实度的一些见解。
Rob Legato - Visual Effects Guru
Rob Legato creates surprising and creative visual illusions for movies. Full bio
Rob Legato creates surprising and creative visual illusions for movies. Full bio
Double-click the English transcript below to play the video.
00:16
I worked on a film called "Apollo 13,"
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我参与过电影《阿波罗13》的制作
00:18
and when I worked on this film, I discovered something
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当我从事这项工作时，我明白了
00:20
about how our brains work, and how our brains work
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我们大脑是怎样工作的，其实是这样的
00:22
is that, when we're sort of infused with
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我们或多或少灌输有
00:25
either enthusiasm or awe or fondness or whatever,
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激情，畏惧，或喜爱或其他什么
00:29
it changes and alters our perception of things.
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这能改变我们对事物的感知
00:31
It changes what we see. It changes what we remember.
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也能改变我们的看法，还有我们所记的事物
00:33
And as an experiment, because I dauntingly create
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所以我做了个试验，由于
00:37
a task for myself of recreating a Saturn V launch
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我给自己一个重塑Saturn V（土星5号）发射时的艰巨任务
00:41
for this particular movie, because I put it out there,
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也因为这是在电影里给别人看的
00:44
I felt a little nervous about it, so I need to do an experiment
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我多少觉得有些紧张，所以我得做个试验
00:46
and bring a group of people like this in a projection room
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我把大概这么多的一群人带到了放映室
00:50
and play this stock footage, and when I played this
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放映了这段资料片，而当我在放映时
00:53
stock footage, I simply wanted to find out
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我只是想知道
00:55
what people remembered, what was memorable about it?
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人们记得些什么，有什么比较难忘的？
00:59
What should I actually try to replicate?
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我得去复制模仿些什么？
01:01
What should I try to emulate to some degree?
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我要达到怎样程度的仿真效果？
01:05
So this is the footage that I was showing everybody.
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这就是我给大家放映的片段
01:08
And what I discovered is, because of the nature
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由于这些片段的本质
01:10
of the footage and the fact that we're doing this film,
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还有我们在制作影片这个事实
01:13
there was an emotion that was built into it
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我发现，在这个影片中有我们注入的一种情感
01:15
and our collective memories of what this launch meant to us
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还有我们对这次发射的意义
01:18
and all these various things.
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以及其他事物的集体回忆
01:19
When I showed it, and I asked, immediately after
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放映后，就在屏幕变黑的那一瞬间，
01:21
the screening was over, what they thought of it,
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我问了大家有什么想法
01:24
what was your memorable shots, they changed them.
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最难忘的镜头是什么，因为他们换一种方式拍摄
01:27
They were -- had camera moves on them.
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火箭——上面是有摄像机在移动的
01:29
They had all kinds of things. Shots were combined,
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他们做了很多工作，镜头是经过剪辑的
01:32
and I was just really curious, I mean, what the hell
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而我真的很好奇，想一想
01:35
were you looking at just a few minutes ago
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刚才几分钟前看的是神马东西
01:36
and how come, how'd you come up with this sort of description?
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你们又是如何搞出这样的画面来的？
01:40
And what I discovered is, what I should do is not actually
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然后我发觉，我真正需要做的
01:44
replicate what they saw, is replicate what they remembered.
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不是复制人们看到的，而是他们记得的
01:47
So this is our footage of the launch, based on, basically,
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所以这是我们制作的发射片段，基本上
01:51
taking notes, asking people what they thought, and then
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来源于记笔记，询问人们的看法，之后
01:54
the combination of all the different shots and all
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再把不同的分镜剪辑到一起
01:57
the different things put together created their sort of
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这些放在一起的不同事物，形成了一种
01:58
collective consciousness of what they remembered
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人们所记得的集体意识
02:01
it looked like, but not what it really looked like.
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看起来很逼真，但却不是事实的真相
02:02
So this is what we created for "Apollo 13."
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这个就是我们为《Apollo 13（阿波罗13号）》做出来的
02:05
(Launch noises)
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（发射时的噪音）
02:10
So literally what you're seeing now is the confluence
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基本你现在所看到的
02:12
of a bunch of different people, a bunch of different memories,
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是由一群不同的人，不同的记忆
02:14
including my own, of taking a little bit of liberty
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包括我对这个主题的一些自由发挥
02:18
with the subject matter.
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所加起来的一个总和
02:19
I basically shot everything with short lenses,
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我基本都用短焦镜头
02:22
which means that you're very close to the action,
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意思就是你和这些动作是非常靠近的
02:24
but framed it very similarly to the long lens shots
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但我把它弄得看起来像用长焦镜头拍摄的
02:26
which gives you a sense of distance, so I was basically
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这给人一种距离感
02:29
was setting up something that would remind you
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基本上我是有意构造一些意境来暗示你
02:31
of something you haven't really quite seen before. (Music)
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这些你前所未见的事物（音乐）
02:34
And then I'm going to show you exactly what it is
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我等下会给你们看
02:37
that you were reacting to when you were reacting to it.
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你们所见的一切的背后的真相
02:41
(Music)
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（音乐）
02:53
Tom Hanks: Hello, Houston, this is Odyssey.
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Ton Hanks：你好，休斯敦，这是奥德赛
02:56
It's good to see you again. (Cheers) (Music)
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很高兴再见到你们（欢呼）（音乐）
02:58
Rob Legato: I pretend they're clapping for me.
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Rob Legato：我就当作他们是在我为我鼓掌
03:01
(Laughter)
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（笑声）
03:03
So now I'm in a parking lot. Basically it's a tin can,
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现在你们看到我在一个停车场，火箭就是个锡罐
03:06
and I'm basically recreating the launch with
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我大概就是用灭火器，火
03:08
fire extinguishers, fire, I have wax that I threw
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还有一些丢在镜头前的蜡，这样看起来会像是冰
03:13
in front of the lens to look like ice, and so basically
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基本就是这些东西来重塑火箭发射的场景
03:16
if you believed any of the stuff that I just showed you,
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如果你相信我刚才放映的片段
03:19
what you were reacting to, what you're emoting to,
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那么你对此所产生的反应，所表达的情感
03:22
is something that's a total falsehood, and I found that
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也都是被我引导的，不真实的
03:24
really kind of fascinating.
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我觉得这挺神奇的
03:26
And in this particular case, this is the climax of the movie,
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在这个例子中，这里就是电影的高潮
03:29
and, you know, the weight of achieving it was simply
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要知道，要达到这种效果
03:32
take a model, throw it out of a helicopter, and shoot it.
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只需拿个模型，然后从直升机上丢出来，再拍摄
03:35
And that's simply what I did.
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很简单，我就是这么干的
03:37
That's me shooting, and I'm a fairly mediocre operator,
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这是我在拍摄，我是一个相当普通的摄影师
03:40
so I got that nice sense of verisimilitude, of a kind of,
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所以还是能拍出一种很美的逼真感，多少有点吧
03:43
you know, following the rocket all the way down,
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要知道，一路跟拍火箭下降
03:46
and giving that little sort of edge, I was desperately
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还要给画面留些边缘，所以我很努力地
03:48
trying to keep it in frame. So then I come up to the next thing.
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去把它拍进画面里。之后我开始了下一项工作
03:52
We had a NASA consultant who was actually an astronaut,
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我们有一位来自NASA的顾问，他本身就是宇航员
03:54
who was actually on some of the missions, of Apollo 15,
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曾在阿波罗15号上执行过任务
03:57
and he was there to basically double check my science.
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他基本就是来检验我的电影的科学合理性
04:01
And, I guess somebody thought they needed to do that.
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我想，估计是有人认为有这个必要吧
04:04
(Laughter)
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（笑声）
04:06
I don't know why, but they thought they did.
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我也不知道，但他们就觉得有必要
04:08
So we were, he's a hero, he's an astronaut, and
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他可是个英雄，一名宇航员
04:13
we're all sort of excited, and, you know, I gave myself
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我们都有点激动，而且我还自我安慰一下
04:15
the liberty of saying, you know, some of the shots I did
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比方说，我拍的一些镜头
04:18
didn't really suck that bad.
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还不至于那么不给力吧
04:20
And so maybe, you know, we were feeling kind of a little
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所以某种程度上，我们多少觉得
04:24
good about it, so I brought him in here, and he needed
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应该还过得去吧，所以我把他带到这里
04:26
to really check and see what we were doing,
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他也确实需要来看下我们的作品
04:29
and basically give us our A plus report card,
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然后给我们一份A+的成绩单
04:32
and so I showed him some shots we were working on,
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之后我给他看了我们当时做的镜头
04:33
and waiting for the reaction that you hope for,
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然后等待期望中的答复
04:37
which is what I got. (Music) (Launch noises)
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就是这个（音乐）（发射时的噪音）
04:40
So I showed him these two shots,
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我就给他看这两个镜头
04:42
and then he basically told me what he thought.
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然后他就告诉我他的想法
04:45
("That's wrong") (Laughter)
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（“全错了”）（笑声）
04:48
Okay. (Laughter)
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好吧（笑声）
04:51
It's what you dream about.
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这是在你梦想的事
04:53
(Laughter)
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（笑声）
04:56
So what I got from him is, he turned to me and said,
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所以我得到的，是他转身告诉我
04:59
"You would never, ever design a rocket like that.
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“你绝对，绝对不会设计这样一艘火箭
05:03
You would never have a rocket go up
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你永远也不会让火箭
05:04
while the gantry arms are going out. Can you imagine
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在起重臂向外伸展时起飞
05:06
the tragedy that could possibly happen with that?
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你能想象这样做所产生的悲剧吗？
05:08
You would never, ever design a rocket like that."
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你绝对，绝对不会设计这样一艘火箭的。”
05:11
And he was looking at me. It's like, Yeah, I don't know
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当时他看着我，感觉就像，唉，我也没办法
05:13
if you noticed, but I'm the guy out in the parking lot
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要知道，我可是在停车场里
05:15
recreating one of America's finest moments with
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用灭火器重塑了美国最珍贵的时刻之一
05:17
fire extinguishers.
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的那个家伙啊
05:18
(Laughter)
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（笑声）
05:21
And I'm not going to argue with you. You're an astronaut,
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所以我不会和你纠结，你是个宇航员嘛
05:24
a hero, and I'm from New Jersey, so --
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是个英雄，我只不过是从新泽西乡下来的
05:26
(Laughter)
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（笑声）
05:28
I'm just going to show you some footage.
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我只不过给你看看我拍的镜头而已
05:30
I'm just going to show you some footage, and tell me what you think.
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就给你看下一些镜头，然后你告诉我你的看法
05:32
And then I did kind of get the reaction I was hoping for.
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之后我还真得到我想要的回应
05:35
So I showed him this, and this is actual footage
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我给他看了这个，这是真实的片段
05:37
that he was on. This is Apollo 15. This was his mission.
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他当时在上面，这是阿波罗15号，他在上面执行任务
05:40
So I showed him this, and the reaction I got was interesting.
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所以我给他看了这个，然后他的反应也很耐人寻味
05:46
("That's wrong too.") (Laughter)
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（“也全错了”）（笑声）
05:48
So, and what happened was, I mean, what I sort of intuned
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其实事情是这样的，我所做出来的
05:52
in that is that he remembered it differently.
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和他记忆中的是截然不同的
05:54
He remembered that was a perfectly safe sort of gantry
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他记得的是起重架系统十分安全
05:57
system, perfectly safe rocket launch, because he's sitting
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火箭发射也十分安全，因为他当时
05:59
in a rocket that has, like, a hundred thousand pounds
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就坐在火箭里面，火箭起码有上万磅的推力
06:01
of thrust, built by the lowest bidder.
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而且是最低的竞标者投资的
06:04
He was hoping it was going to work out okay.
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他当然希望火箭不要出什么篓子
06:06
(Laughter) (Applause)
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（笑声）（掌声）
06:09
So he twisted his memory around.
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所以这多少扭曲了他的记忆
06:11
Now, Ron Howard ran into Buzz Aldrin, who was not
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之后Ron Howard去见了Buzz Aldrin（宇航员），
06:14
on the movie, so he had no idea that we were faking
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Buzz并没有在这部电影里，所以他也不知道
06:16
any of this footage, and he just responded
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我们这些片段是做出来的，所以他很自然地
06:19
as he would respond, and I'll run this.
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给了我们答复，我现在播给你们看下
06:21
Ron Howard: Buzz Aldrin came up to me
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Ron Howard：Buzz Aldrin过来跟我说，
06:24
and said, "Hey, that launch footage, I saw some shots
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“嗨，那段发射片段，有些镜头
06:28
I'd never seen before. Did you guys, what vault did you find
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我之前都没见过，这些，你们是从哪个地下室
06:33
that stuff in?" And I said, "Well, no vault, Buzz,
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找到的？”然后我说，“Buzz，其实吧，没有什么地下室，
06:36
we generated all that from scratch."
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这些都是我们自己做出来的。”
06:39
And he said, "Huh, that's pretty good. Can we use it?"
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然后他说，“噢，蛮不错的嘛。那这我们可以用吗？”
06:43
(Explosion) ("Sure") (Laughter)
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（爆笑）（“当然可以用”）
06:46
RL: I think he's a great American.
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RL：我觉得他是我们美国人的骄傲
06:48
(Laughter)
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（笑声）
06:52
So, "Titanic" was, if you don't know the story,
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再说《泰坦尼克号》，不知道的话没关系
06:55
doesn't end well.
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反正结局很惨烈
06:57
(Laughter)
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（笑声）
07:00
Jim Cameron actually photographed the real Titanic.
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Jim Cameron他确实拍到了泰坦尼克号
07:03
So he basically set up, or basically shattered
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他创造了，或者说他瓦解了
07:05
the suspension of disbelief, because what he photographed
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观众的质疑，因为他拍摄到的
07:08
was the real thing, a Mir sub going down, or actually
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是真实的东西，利用米尔潜艇潜到水里
07:11
two Mir subs going down to the real wreck,
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可能是两艘潜艇潜到真正沉船的地方
07:14
and he created this very haunting footage.
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所以他拍出了这一难忘的片段
07:16
It's really beautiful, and it conjures up all these
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真的很漂亮，它使我们各种不同的情绪
07:18
various different emotions, but he couldn't photograph
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都涌上心头来，但他确实做不到把全部都拍下来
07:21
everything, and to tell the story,
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来还原故事的完整性
07:23
I had to fill in the gaps, which is now rather daunting,
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而我得去填补当中的空白，这放到现在来说也是很困难的
07:25
because now I have to recreate back to back
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因为我得十分紧凑地重塑
07:28
what really happened and I had, I'm the only one
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当时真实的情景，并且我是那时唯一一个
07:31
who could really blow it at that point.
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能把这件事搞砸的人
07:35
So this is the footage he photographed,
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这是他拍摄到的片段
07:37
and it was pretty moving and pretty awe-inspiring.
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确实很感人，很令人敬畏
07:42
So I'm going to just let it run, so you kind of absorb
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我就让视频播着，让你们感受一下
07:44
this sort of thing, and I'll describe my sort of reactions
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我描述一下我第一次看时
07:48
when I was looking at it for the very first time.
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心里的一些想法
07:50
I got the feeling that my brain wanted to basically
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我有种很强烈的欲望，心里很想
07:55
see it come back to life.
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看到它重现眼前
07:56
I automatically wanted to see this ship,
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我很自然而然地想目睹这艘船
07:59
this magnificent ship, basically in all its glory,
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这艘充满光辉和雄伟的船
08:02
and conversely, I wanted to see it not in all its glory,
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但是，我又想看看它不怎么辉煌的一面
08:05
basically go back to what it looks like.
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基本就是它现在这个样子
08:07
So I conjured up an effect that I'm later going to show you
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所以我在脑海里浮现一种效果，我等下会播给你们看
08:11
what I tried to do, which is kind of the heart of the movie,
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对我来说这算是整部电影的核心所在
08:13
for me, and so that's why I wanted to do the movie,
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这也是我为什么想参与到这部电影中来的原因
08:17
that's why I wanted to create the sort of things I created.
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这也是我创作出这些东西的灵感
08:20
And I'll show you, you know, another thing that I found
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跟你们说，我还发现一件挺有意思的事儿
08:22
interesting is what we really were emoting to
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就是当我们看到这艘船时
08:24
when you take a look at it.
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我们会表达出什么
08:26
So here's the behind the scenes, a couple of little shots here.
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这儿有些幕后的镜头
08:29
So, when you saw my footage,
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所以当你在看我的片段时
08:31
you were seeing this: basically, a bunch of guys
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你看到的是这样的：基本上，一群爷们
08:33
flipping a ship upside down, and the little Mir subs
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把一艘船给弄翻过来，那些小米尔潜艇
08:36
are actually about the size of small footballs,
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其实也就跟足球一样大而已
08:39
and shot in smoke.
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然后在烟雾中拍摄
08:41
Jim went three miles went down, and I went about
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Jim（导演）他到了海里3英里以下去拍摄
08:43
three miles away from the studio
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而我则在摄影棚3英里远的地方
08:45
and photographed this in a garage.
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在一个车库里面进行拍摄
08:47
And so, but what you're emoting to, or what you're looking
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所以，你们所反应出来的情感，或者你们所看到的
08:50
at, had the same feeling, the same haunting quality,
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都和Jim拍出来的片段一样，有着都有同样的感觉
08:53
that Jim's footage had, so I found it so fascinating
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同样令人难忘，所以我觉得我们的大脑蛮有意思的
08:56
that our brains sort of, once you believe something's real,
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只要你相信某事是真的
09:00
you transfer everything that you feel about it,
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那么你就会有一种身临其境
09:03
this quality you have, and it's totally artificial.
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感同身受的感觉，尽管它完全是人造出来的
09:06
It's totally make-believe, yet it's not to you,
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虽然是完全虚构的，但对你来说却不是如此
09:09
and I found that that was a very interesting thing
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我发现了其中的值得探索和利用
09:11
to explore and use, and it caused me to create the next
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的乐趣，这让我创造了另一种效果
09:14
effect that I'll show you, which is
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我播给你们看
09:16
this sort of magic transition, and all I was really attempting
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有种乾坤扭转的感觉，而我试图想达到的
09:19
to do is basically have the audience cue the effect,
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就是让观众自己去领悟这种效果
09:23
so it became a seamless experience for them,
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所以对他们来说，这融合得天衣无缝
09:26
that I wasn't showing you my sort of interpretation,
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我其实并不是要给你们看我的个人想法
09:28
I was showing you what you wanted to see.
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我只是把你们想看到的展现出来
09:31
And the very next shot, right after this --
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然后接下来的这个镜头，紧接这个的--
09:38
So you can see what I was doing.
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你可以看到我当时在做什么
09:39
So basically, if there's two subs in the same shot,
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这么说吧，如果在同一个镜头里有两艘潜艇
09:41
I shot it, because where's the camera coming from?
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那就是我拍的，摄影机就是在我这拍的
09:44
And when Jim shot it, it was only one sub,
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而Jim拍的那些，都只有一艘潜艇而已
09:46
because he was photographing from the other,
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因为他是从其中的一艘潜艇中拍的
09:47
and I don't remember if I did this or Jim did this.
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这个我已经不记得是Jim拍的还是我拍的了
09:49
I'll give it to Jim, because he could use the pat on the back.
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就当Jim拍的好了，给他一点鼓励也好
09:52
(Laughter)
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（笑声）
09:58
Okay. So now the Titanic transition.
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好吧，现在我们来看泰坦尼克号的切换
10:01
So this is what I was referring to where I wanted to basically
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这就是我所指的，像魔法般
10:04
magically transplant from one state of the Titanic
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把泰坦尼克号从一种状态
10:07
to the other. So I'll just play the shot once. (Music)
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切换到另一种状态，我现在播一遍。（音乐）
10:11
(Music)
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（音乐）
10:14
And what I was hoping for is that it just melts in front of you.
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我想要的效果就是这个画面在你们眼前融化
10:25
Gloria Stuart: That was the last time Titanic ever saw daylight.
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Gloria Stuart：那是铁达尼号最后一次见到日光
10:30
RL: So, what I did is basically I had another
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RL：我其实只是在另一间
10:32
screening room experience where I was basically tracking
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放映室里播放我所拍摄的
10:35
where I was looking, or where we were looking,
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我所看到的，或者说我们所看到的
10:38
and of course you're looking at the two people on the bow
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你们会自然而然地看着船头的那两个人
10:40
of the ship, and then at some point,
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然后在某个时刻
10:42
I'm changing the periphery of the shot,
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我慢慢改变镜头的边缘
10:44
I'm changing, it's becoming the rusted wreck,
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与此同时，船就变成了锈迹斑斑的沉船了
10:47
and then I would run it every day, and then I would find
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我每天都会播放这片段，直到我找到了
10:50
exactly the moment that I stopped looking at them
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我不再看着这两个人而开始关注其他事物
10:53
and start noticing the rest of it, and the moment
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的那个时间点
10:55
my eye shifted, we just marked it to the frame.
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当我视线转换时，我们就把这个画面嵌接起来
10:57
The moment my eye shifted, I immediately started
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在视线转换的时候，我立即
11:00
to change them, so now somehow you missed
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对片段进行转换，所以在不知不觉中
11:02
where it started and where it stopped.
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你们就忽略了它是哪儿开始和哪儿结束的
11:04
And so I'll just show it one more time.
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我再给大家放多一遍
11:07
(Music) And it's literally done by using what our brains
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（音乐）说白了就是利用
11:10
naturally do for us, which is, as soon as you shift
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我们大脑的自然反应，就是当你转移
11:14
your attention, something changes, and then I left
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注意力的时候，有些东西变了
11:15
the little scarf going, because it really wanted to be
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然后我留下一些衔接的地方，因为要让画面
11:18
a ghostly shot, really wanted to feel like they were still
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变得很鬼魅，要让人觉得那两个人
11:21
on the wreck, essentially. That's where they were buried forever.
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依旧还在船骸上，那就是两个人长相厮守的地方
11:25
Or something like that. I just made that up.
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或者类似这样的感觉，反正我随便编的
11:27
(Laughter)
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（笑声）
11:29
It was, incidentally, the last time I ever saw daylight.
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刚好那次也是我最后一次看到日光
11:31
It was a long film to work on. (Laughter)
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因为制作这部电影确实花了我很长时间（笑声）
11:35
Now, "Hugo" was another interesting movie, because
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另外，《雨果》（Hugo）也是一部很有趣的电影
11:37
the movie itself is about film illusions.
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因为它本身就有很多虚幻的东西
11:39
It's about how our brain is tricked into seeing a persistence
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它阐述了当我们看到一串连贯的画面片段时
11:42
of vision that creates a motion picture,
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我们的大脑是如何被蒙混过关的
11:45
and one of the things I had to do is, we —
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我们需要做的事情里，我们--
11:48
Sasha Baron Cohen is a very clever, very smart guy,
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Sasha Baron Cohen是个非常非常聪明的家伙
11:52
comedian, wanted to basically do an homage to the kind of
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很优秀的喜剧家，他想对Buster Keaton那种
11:54
the Buster Keaton sort of slapstick things, and he wanted
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趣剧表达一种敬意，所以他有一个念头
11:56
his leg brace to get caught on a moving train.
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他想让自己的脚套被一辆行进的火车勾住
11:59
Very dangerous, very impossible to do, and particularly
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这很危险，基本没办法拍的
12:02
on our stage, because there literally is no way to actually
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尤其在我们棚里，因为真的没什么办法可以
12:05
move this train, because it fits so snugly into our set.
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让火车开动，因为火车是和布景紧密相嵌的
12:10
So let me show you the scene, and then I basically
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我播给你们看
12:12
used the trick that was identified by Sergei Eisenstein,
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我就用了Sergei Eisenstein（蒙太奇发明者）的一招
12:16
which is, if you have a camera that's moving with a moving
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就是如果你的摄影机也跟着移动物体而移动
12:19
object, what is not moving appears to be moving,
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那么没移动的物体看起来就像在移动了
12:22
and what is moving appears to be stopped,
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而本来就在移动的看起来却像是静止了
12:24
so what you're actually seeing now is the train is not
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所以你们现在所看到的，其实火车是压根儿就没动的
12:27
moving at all, and what is actually moving is the floor.
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而真正在移动的，则是地板
12:32
So this is the shot. That's a little video of
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就是这样拍的，那儿的小视频
12:35
what you're looking at there, which is our little test,
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就是你在现场所看到的，是我们的一个试验品
12:39
so that's actually what you're seeing, and I thought it was
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基本就是你看到的这样，然后我觉得
12:41
sort of an interesting thing, because it was, part
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确实很有意思，虽然这不是我发明的
12:43
of the homage of the movie itself is coming up with this
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但我们还是用这种高超的手法借这部电影
12:47
sort of genius trick which I can't take credit for.
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来表达向发明者的一种敬意
12:49
I'd love to but I can't, because it was invented
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我很想把它占为己有，但这是不可能的
12:52
like in 1910 or something like that, is I told Marty,
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因为它是在约1910年的时候发明的
12:57
and it's kind of one of those mind things that it's
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我跟Marty说，这还挺费脑筋的
12:58
really hard to really get until you actually see it work,
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除非你看到它成功运作，不然真的有些难懂
13:01
and I said, you know, what I was going to do, and he said,
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我又说，你知道我会做什么
13:04
"So, let me see if I can get this straight. The thing with the wheels?
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他说，“那你看我说的对不对，那个有轮子的东西
13:06
That doesn't move."
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它都没动。"
13:08
(Laughter) (Applause)
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（笑声）（掌声）
13:11
"And the thing without the wheels, that moves."
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“然后那个没有轮子的，是它在移动。”
13:15
Precisely. (Laughter)
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完全正确。（笑声）
13:18
Brings me to the next, and final --
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我们进入下一部分，最后--
13:20
Marty's not going to see this, is he? (Laughter)
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Marty应该不会看到这视频吧，对吧？（笑声）
13:24
This isn't viewed outside of -- (Laughter)
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应该不会在外面放映的吧--（笑声）
13:28
The next illustration is something that, there's like
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下一个例子，有点一镜到底的感觉在里面
13:33
all one shot theory. It's a very elegant way of telling a story,
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用这种方式讲述故事会显得很优雅
13:36
especially if you're following somebody on a journey,
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尤其是你在跟着某人踏上旅途
13:38
and that journey basically tells something about
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这个旅途会把人物的性格特点
13:40
their personality in a very concise way,
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十分详尽地描述出来
13:42
and what we wanted to do based on the shot in "Goodfellas,"
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我们在《好家伙》里面尝试过
13:45
which is one of the great shots ever,
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这算得上史上拍得最好的镜头之一了
13:47
a Martin Scorsese film, of basically following Henry Hill
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一部Martin Scorsese的电影，镜头跟着主人公
13:50
through what it feels like to be a gangster walk
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Henry Hill成为黑帮分子后的情绪起伏
13:52
going through the Copacabana and being treated in a special way.
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漫步在Copacabana那里，受到不一样的对待
13:55
He was the master of his universe, and we wanted Hugo
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他掌控了自己的世界，所以我们希望Hugo
13:58
to feel the same way, so we created this shot.
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也能有同样的感觉，所以我们制作了这一段
14:01
(Music)
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（音乐）
14:04
That's Hugo. (Music)
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他就是Hugo。（音乐）
14:09
And we felt that if we could basically move the camera
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我们觉得如果能让镜头一直跟着他
14:12
with him, we would feel what it feels like to be this boy
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我们就能感觉得到
14:15
who is basically the master of his universe,
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这个男孩有着自己的一个世界
14:18
and his universe is, you know, behind the scenes
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而他的世界，就是我们所谓的幕后这些
14:20
in the bowels of this particular train station
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这个特殊的火车站的管道
14:23
that only he can actually navigate through
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只有他清楚怎么在这些管道中
14:25
and do it this way, and we had to make it feel that
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穿梭前进，所以我们想营造一种
14:27
this is his normal, everyday sort of life,
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让人觉得这是他平凡的日常生活的感觉来
14:30
so the idea of doing it as one shot was very important,
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所以一镜到底这个想法就变得很重要了
14:32
and of course, in shooting in 3D, which is basically
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当然，拍摄成3D
14:35
it's a huge camera that's hanging off of a giant stick,
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就需要一个大摄像机在巨臂上移晃
14:39
so to recreate a steadycam shot was the task,
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所以我们要用稳定相机来拍
14:42
and make it feel kind of like what the reaction you got
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而且要让观众看后的反应
14:46
when you saw the "Goodfellas" shot.
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和看了《好家伙》后的反应一样
14:47
So what you're now going to see is how we actually did it.
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接下来你们所看的，就是我们的如何做到的
14:51
It's actually five separate sets shot at five different times
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事实上是有5个分镜，分5次来拍
14:54
with two different boys.
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有两个不同的男孩
14:55
The one on the left is where the shot ends,
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左边那个就是第一镜头的结尾
14:58
and the shot on the right is where it takes over,
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右边那个就是接上来的
15:03
and now we switch boys, so it went from Asa Butterfield,
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现在我们换了男孩，从Asa Butterfield
15:07
who's the star of the show, to his stand-in. (Music)
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我们的小男主角，换到了他的替身。（音乐）
15:10
I wouldn't say his stunt double. There's a crazy rig
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还说不上是他的特技演员
15:12
that we built for this. (Music)
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我们还专门造了这么一个疯狂的钻探。（音乐）
15:15
And so this is, and now this is set number three
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然后我们看到的是第三个镜头
15:18
we're into, and then we're going to go into, basically
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我们就是这样穿过了，大概就这样
15:23
the very last moment of the shot is actually
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这个镜头的最后
15:25
the steadycam shot. Everything else was shot on cranes
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是用斯坦尼康拍的，其他都是用吊臂来拍
15:28
and various things like that, and it literally was done
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或者其他类似的拍摄手法，基本上
15:30
over five different sets, two different boys, different times,
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分为五个场景，两个不同的男孩，不同的时间
15:33
and it all had to feel like it was all one shot, and what was
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这全部要让人感觉是一镜到底的
15:36
sort of great for me was it was probably
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我觉得很棒的一点是
15:40
the best-reviewed shot I've ever worked on,
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这算得上我参与过最受好评的镜头了
15:43
and, you know, I was kind of proud of it when I was done,
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嘿嘿，在完工的时候我还挺自豪的
15:46
which is, you should never really be proud of stuff, I guess.
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我觉得吧，还是不要自豪过头变骄傲了
15:50
So I was kind of proud of it, and I went to a friend of mine,
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所以我就有那么点自豪，然后我去找了个朋友
15:53
and said, "You know, this is, you know, kind of
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说，“知道不，这个，大概
15:55
the best-reviewed shot I've ever worked on.
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算得上我参与过最受好评的镜头了
15:57
What do you think was the reason?"
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你知道为什么吗？”
16:00
And he said, "Because no one knows
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然后他说，“因为没人知道
16:01
you had anything to do with it."
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这能和你扯上什么关系。”
16:03
(Laughter)
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（笑声）
16:06
So, all I can say is, thank you,
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好吧，我所能说的，就是谢谢了
16:10
and that's my presentation for you. (Applause)
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这就是我的演讲。（掌声）
16:15
(Applause)
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（掌声）
ABOUT THE SPEAKER
Rob Legato - Visual Effects GuruRob Legato creates surprising and creative visual illusions for movies.
Why you should listen
Did we really see what we thought we saw? Rob Legato creates visual illusions for movies -- thinking deeply both about vfx's expanding tech power and the truly new creative processes that can result. Legato won his first Oscar in 1998 for his work on James Cameron's Titanic, after several years in television supervising effects on two Star Trek series. His 2012 Oscar win for Hugo, the 3D film about a boy who lives alone in a Paris train station, underscores his fascinating partnership with Martin Scorsese -- doing digital effects on documentaries and new classics like The Departed.
He's worked with the big effects houses like Sony Imageworks and Digital Domain, but is now fascinated with the nimble new workflows made possible with digital tools. He designed the "virtual cinematography pipeline" that let James Cameron shoot Avatar like a feature film, not a software project. We know that fx can create new worlds -- but how can these tools unlock new creativity?
Rob Legato | Speaker | TED.com