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4 低成本电影制作的艺术是存在的艺术 The art of low-budget filmmaking is the art of being 字幕由CG Staion制作，更多教程，资源素材请访问www.cgstaion.com
充分准备，最大限度地利用你所拥有的。 thoroughly prepared and maximizing what you have.
你的准备工作是在设计故事板的每一个层面， And your preparation is at every level of design storyboarding,
技术侦察，选择你的位置， technical scouting, selecting your locations,
想要在一个地方获得最大的收益， trying to get the most bang for the buck out of a location,
而不是建立一个集合。 versus having to build a set.
你会牺牲一些控制力。 You'll sacrifice some control.
你会牺牲一些设计元素 You'll sacrifice some design elements
如果你有足够的预算就能做到 that you might have if you'd had the budget to build
100万美元一套。 a million dollar set.
但它是好的。 But it's okay.
不管怎样，故事的精髓都会被传达出来。 The essence of the story will come through regardless.
你要根据他们的能力来挑选船员 And you're going to select a crew for their ability
要想行动迅速，不留俘虏， to move fast and take no prisoners,
但仍能生成高质量的图像 but still generate images of high quality
他们的力量超出了他们的重量， that are punching above their weight,
所以你最终看到的电影看起来很棒， so that the film that you end up with looks great,
你看不到也感觉不到妥协 and you don't see and feel the compromises
你知道是你造成的。 that you know you've made.
你不会有一个电影明星，这 You're not going to have a movie star, which
在强迫你的意义上是一种祝福吗 can be a blessing in the sense that it forces you
作为一个电影人来赚取观众的 as a filmmaker to earn the audience's
对那个角色的兴趣。 interest in that character.
所以我认为它创造了工艺。 So I think it builds craft.
也许你得以更适中的价格拍两到三部电影 And maybe you have to make two or three films at a more modest
预算证明—— budget to prove--
为了证明自己，学习这门手艺， to prove yourself, and to learn the craft,
为了证明你已经学会的手艺， and to prove that the craft that you have learned to,
你知道的，那些权力，那些符号 you know, the powers that be, that sign--
在支票上签字。 that sign the checks.
35 选择一个可以在预算限制内完成的主题 Pick a subject that can be done within the budget constraints
你有。 that you have.
让我给你们举一个我自己经历的例子。 And let me give you an example from my own experience.
我闯进来的时候，拍了《终结者》 When I was breaking in, I made "The Terminator."
这是我第一次执导电影。 That was my first directing credit.
我写的时候就知道我 And I knew when I was writing it that I
我得写预算。 had to write it for a budget.
所以我知道我要去现场，所以我没有 So I knew I was going to be on location, so I wasn't
能够建立集合。 going to be able to build sets.
现在，建造一套城堡的区别 Now, the difference between building a set of a castle
去城堡，大建筑，大豪宅 and going to a castle or a large building or large mansion
使用位置是控制的一个不同之处。 and using the location is a difference in control.
你可以推倒一堵墙。 You can knock out a wall.
你可以用更长的镜头。 You can go back on a longer lens.
你可以在一个集合中做一些你不能做的事情 You can stylistically do things in a set that you cannot do
在一个位置。 on a location.
观众在乎吗? Does the audience care?
可能没有那么多。 Probably not that much.
你可能拿不到奥斯卡奖 You might not win an Academy Award
对于电影摄影或设计来说，由于局限性， for cinematography or design because of the limitations,
但你还是能拍出一部好电影。 but you'll still make a damn good film.
所以问题是，你什么时候 So it's a question of, when are you
你花钱的地方收益递减? getting diminishing returns for where you're spending money?
《终结者》也是如此 And so with "The Terminator," the idea
那里是非常日常的，非常普通的，而不是奇异的， there was to be very everyday, very commonplace, not exotic,
出于一个特定的原因，然后将外来元素放入其中。 for a specific reason, then drop the exotic element into it.
这是贯穿《终结者》的主题 And that was really a motif throughout "The Terminator"
大部分是电影。 films, for the most part.
当然，第一部电影是关于， Certainly, the first film was about,
这就是日常的洛杉矶。 this is everyday Los Angeles.
这是一家餐厅。 This is a restaurant.
这是夜总会。 This is a nightclub.
这是一条城市街道。 This is a city street.
非凡的元素进入其中 And the extraordinary elements came into it
来自未来的凯尔·里斯，还有终结者。 from the future, Kyle Reese, and the terminator.
即便如此，他们还是被迫交易 And even then, they were forced to deal
在武器等方面都有当代元素。 with contemporary elements in terms of weaponry, and so on.
设计这么做的原因很简单。 And that was done by design for a very simple reason.
我们买不起别的东西了。 We couldn't afford anything else.
这个剧本写得很仔细 That script was carefully written
成为买得起的东西。 to be something that was affordable.
因为我知道我是作为一个初级电影人来的。 Because I knew I was coming in as an entry level filmmaker.
我知道我必须做出选择 I knew that I was going to have to pick
我与视觉效果的斗争在一个非常 my battles with the visual effects in a very
控制方式，使其在预算范围内可控。 controlled way, so that it was manageable within the budget.
所以我们会做一些假体效果。 So we'd do a few prosthetic effects.
我们把所有的武器都留到最后，内骨骼 We saved up all our big guns for the end, where the endoskeleton
被火所显露。 is revealed by the fire.
一路上我们做了一些假动作， We had a few prosthetic gags along the way,
我们有几个未来的序列可以更大 and we had a couple of future sequences that could be bigger
或者可以更小一些，因为胶片并不依赖于它， or could be smaller, that the film didn't hinge on,
我可以做一些影响工作 where I could do some of the effects work
我已经学会了怎么做 that I had learned how to do.
因为我问自己，我给这个故事带来了什么 Because I asked myself, what do I bring to this specific story
除了我创造了它 other than that I created it?
嗯，我知道战术电影制作。 Well, I know tactical filmmaking.
我知道视觉效果。 I know visual effects.
我做过一些动作的第二单元指导。 I've done a bit of action second-unit direction.
对于一个早期的项目，你想要带着一些 With an early project, you want to come in with something that
说明了你已经形成的优势， speaks to the strengths that you've already developed,
或者它最好是史上最好的剧本。 or it better be the best damn screenplay in history.
97 我想说，这真的更重要， It's really more important, I would say,
比对摄影艺术的技术理解更深刻 than the technical understanding of the art of photography
而灯光，就是要和导演有那种沟通 and lighting, is to have that communication with the director
的摄影。 of photography.
如果你和一个你从未见过的人合作 If you're working with someone you've never
以前一起工作过，花了很多时间 worked with before, spend a lot of time
那个人看电影，说你喜欢什么 with that person looking at films and saying what you like
你看到的和重要的东西。 and what you see and what's important.
问问摄影指导，我是怎么做到的? And ask the director of photography, how do I do that?
我们要怎么做呢? How will we do that?
我们怎么才能得到 How will we get that--
那种高度定向的柔和交叉光 that sort of highly directional soft cross light
从窗户进来吗? coming in through the window?
我们怎么得到这个? How can we get that?
我们怎样才能根据你的经验获得丰富的音调呢? How can we get that richness of tone based on your experience?
你过去是怎么做到的? How have you done that in the past?
那对我来说具体是什么 And what will that involve for me technically
在拍摄的时候? during the shooting day?
如果我想改变角度 And if I want to change my angle--
假设我要走到窗外， let's say I'm going to go outside the window,
那个人来到窗前， and the person comes to the window,
为什么它不会突然变得很平坦? how does that not suddenly look very flat?
因为我真的——我身后有灯 Because I'm literally-- I've got the lights right behind me
在这一点上。 at that point.
我们怎么骗过这个呢? Well, how will we cheat that?
我们将如何管理窗口反射? How will we manage window reflections?
我们在车里怎么拍摄? How will we shoot in cars?
我们将如何做所有这些事情? How will we do all these things?
所以，尽早开始对话。 So get that dialogue going as early as possible.
我拍《终结者》时雇了亚当·格林伯格。 When I made "Terminator," I hired Adam Greenberg.
我和他坐下来，我们一起看了两部电影。 And I sat down with him, and we watched two films together.
一个是《银翼杀手》，一个是《公路勇士》， One was "Blade Runner," and one was "The Road Warrior,"
《疯狂的麦克斯2》。 so "Mad Max 2."
这两部电影我们都看了。 And we watched both those films.
我说，我想把这两部电影都放进搅拌机里。 And I said, I want both of those films put into a blender.
他说，它们是完全不同的。 And he said, but they're completely different.
我说，没错，没错。 I said, exactly, exactly.
我们如何在这两部电影之间创造一个共同点， How do we create a common ground between those two films,
动态的，移动的摄像机，广角镜头，拖在前面 the kinetic, moving camera, wide lenses, hauling ass before
跟在车后面，很有活力，但同时， and following cars, very dynamic, but at the same time,
那种忧郁的，近乎黑色电影的特质， that moody, sort of almost noir, film noir quality,
德国表现主义的特质——强烈的阴影， German expressionist quality-- strong shadows,
深黑色，硬边灯，哪里 deep blacks, hard edge lights, where
你需要非常精确的照明控制来达到那种效果吗? you need very precise lighting control to get that effect?
我说，我们要想办法做到这一点。 I said, we need to figure out how to do that.
我们谈了很多。 And we talked about it a lot.
我们甚至开车在镇上转了一圈 And we even went out and drove around the town
用测光表找出哪些街道够亮 with a light meter to find out what streets were bright enough
我们可以在晚上拍摄自然光线 that we could shoot essentially natural light at night
或者晚上有光。 or available light at night.
因为我们不需要带 Because we wouldn't have to bring
秃鹰，灯光，还有我们买不起的东西。 in condors and lights and things that we couldn't afford.
我们刚刚发现了水银蒸汽灯 So we just found mercury vapor lights
在更明亮的街道上。 on streets that were brighter.
还有一个很好的提示，那里有汽车停车场，二手车停车场 And a good tip there is car lots, used car lots
或者新车场。 or new car lots.
他们总是有明亮的灯光。 They always have bright lights.
在每个城市，都有一排汽车经销店。 In every city, there's a row of, like, car dealerships.
就在那条街上拍吧，因为一切都 Just shoot on that street, because everything's all
亮了起来。 lit up.
而且你不需要任何额外的灯。 And you won't need any additional lights.
当然，这些天，相机 Of course, these days, the cameras
更敏感。 are much more sensitive.
但我们当时是用底片拍摄的。 But we were shooting on negative at the time.
所以你知道，我们得，我们得想个办法 So you know, we had to-- we had to find a way
在没有很多灯光的情况下拍摄。 to shoot without a lot of lights.
亚当说，我们要在大范围内拍摄。 And Adam said, we're going to be shooting wide open.
我们将用定焦镜头拍摄F1.4。 We'll be shooting at F1.4 on prime lenses.
所以你知道，我自学成才 So you know, I had schooled myself
关于镜头和摄影的本质就足够了 on the nature of lenses and photography enough
到那时我才明白我没有变焦镜头。 by that point to understand I won't have a zoom lens.
所以如果我要换镜片，那要花很多时间。 So if I need to change lenses, that's going to take us time.
我得把这个因素考虑到我的拍摄中。 I have to factor that into my shooting day.
你知道，我想要斯坦尼康。 And you know, I wanted a Steadicam.
我们买不起斯坦尼康。 We couldn't afford a Steadicam.
所以DP用一些高速铁路做了一个钻机 So the DP made a rig with some speed rail
把相机放进去的油管， tubing to drop the camera down into it,
像斯坦尼康低模式类型的位置。 like a Steadicam low-mode type position.
他只是把它和肩带绑在一起。 And he just kind of wore it with some straps over his shoulder.
而他恰好是一个非常优秀的人 And he happened to be an extremely good
手持操作符。 handheld operator.
所以他创造了，低模式的斯坦尼康镜头， So he created, essentially, low-mode Steadicam shots,
我们就是这样做的。 and we just did it that way.
所以你知道，你必须使用 And so you know, you have to use--
你必须使用书本上的每一个技巧，然后发明新的。 you have to use every trick in the book and invent new ones.
整部电影大约用了42天拍摄完成。 The whole film was shot in about 42 days.
当我完成了，当我完成了整个拍摄过程， And when I got it done, when I got that body of shooting done,
我还需要一些镜头。 there were still some shots I needed.
所以我带着五个人偷偷溜回去了 So I snuck back out with five people
拍摄了一个星期，五个人。 and shot for a week, five people.
我自己操作相机。 And I operated the camera myself.
我自己点燃的。 I lit it myself.
我都做到了。 I did all that.
所以你必须做好实现目标的准备 So you have to be prepared to accomplish your goal
以巧妙的方式，知道在什么地方可以妥协 in ingenious ways and know where it's okay to compromise
在没有的地方。 and where it isn't.
而且要提前排练好。 And rehearse the crap out of it ahead of time.
因为排练很便宜，甚至是免费的，而且很划算。 Because rehearsals are cheap or free, and they pay off.
并且有非常非常好的沟通 And have very, very good communication
和你的摄影指导一起 with your director of photography,
这样你就知道自己怎么样了 so that you know exactly how you're
什么都要拍。 going to shoot everything.
准备好B计划和C计划，以防万一 And be prepared with a plan B and a plan C, in case
下雨了，或者是别的什么事 it's raining, or there's something else that
阻碍了你的命运。 stands in your way on the day.
因为在那种预算下，你 Because at that kind of budget, you're
再也回不去了。 not going to be able to get to go back.
你知道，我讲了几个小时关于所有便宜的房子 And you know, I go on for hours about all the cheap house
我们在《终结者》里用的把戏 tricks that we used on "Terminator" to tell that--
讲述这个故事。 to tell that story.
但重要的是服务 But the important thing is to serve--
就是为故事服务。 is to serve the story.
找到一种服务于故事的方法，并赋予它一些风格。 Find a way to serve the story and give it some style.
211 如果我现在正在拍摄一部低成本电影， If I were shooting a very low-budget film right now,
我每天都要做很多准备工作 and I need to get a lot of setups a day,
我每天都会有一个比赛计划 I would have a game plan for every day
涉及到灯光的性质的拍摄。 of shooting that involved the nature of the lighting.
因为你在打光上浪费了很多时间。 Because you lose a lot of time to lighting.
它的技术。 And it's technical.
它明白这需要时间来改变。 It's understanding it's going to take time to move.
如果你以这种方式设计场景 If you've designed the scene in such a way
你有一个大的照明变化，照明变化是 that you have a big lighting change, that lighting change is
这需要时间，你知道的。 going to take time, you know.
通常，人们称之为转身。 Typically, people call it turning around.
你在这个方向拍摄了这个场景， You've shot the scene in this direction,
而且不能使用相同的照明。 and the same lighting can't be used.
如果你带着相机来个180度大转弯 If you bring the camera around to do your 180
倒转或者你的倒转肩膀， reverses or your reverse over the shoulders,
它看起来是平的。 it's going to look flat.
看起来很可怕。 It's going to look horrible.
灯光也必须全部被欺骗 And the lighting has to be all cheated
所以这种颠倒看起来很赏心悦目。 so that that reverse actually looks pleasing to the eye.
我记得有一次，为了向自己证明这一点， I remember once, just to prove the point to myself,
在我拍完《泰坦尼克号》和其他大电影之后 after I had made "Titanic" and done these big films, "Titanic"
《真实的谎言》之类的电影， and "True Lies" and films like that,
我拍了一个系列的最后一集 I did the last episode of a series
我制作的《黑暗天使》 that I was producing called "Dark Angel."
为了证明我能做到， And just to prove that I could do it,
我一天做了117次准备。 I did 117 setups in one day.
我是这样做的。 And I did it in the following way.
我说过，你不能带C字支架或国旗 I said, you will not bring a C stand or a flag
或者把沙袋或任何照明设备放进片场。 or a sandbag or any lighting instrument into the set.
我们将从街对面点燃布景 We will light the set from across the street
带着四台一万氙气，我会把每一个镜头都对准光。 with four 10k Xenons, and I will move every shot to the light.
我们不会把灯光移到镜头前。 We won't move the lights to the shot.
这是一场很大的悬疑动作打斗戏。 And it was a big kind of suspense action fight scene.
一天安排了117次。 It was 117 setups in one day.
我都是手持拍摄的。 I shot it all handheld.
是我和另一个接线员。 It was myself and another operator.
我们不让工作人员进入工作空间。 We kept the crew out of the workspace.
我们让特技演员站在一旁 We had the stunt people standing by
一接到通知就去找演员 to pop in for the actors at a moment's notice
在打斗舞蹈中。 within the fight choreography.
我们把所有的效果都拍成了碎玻璃 We had all our multiple takes of our effects breaking glass
还有木门断裂之类的 and breakaway wood doors, and things like
这些都是事先安排好的。 that, all set up in advance.
我从来没有对同一个插科打诨做过第二遍。 I never did a second take of the same gag.
但我已经准备好了五次插科打诨 But I did have five takes of the gag ready of somebody getting
从窗户扔出去的。 thrown through a window.
我们把它们从一个窗户扔了出去 We threw them through one window,
然后我们把它们从隔壁窗户扔了出去， and then we threw them through the next window,
我们把它们从窗户扔了出去。 and we threw them through the window.
我确保这些都能切到一起。 And I made sure that it would all cut together.
你可以做一些这样的技巧。 So there are tricks like that that you can do.
这和罗伯特有点竞争 And it was a little bit of a competition with Robert
罗德里格斯，因为我觉得他做过， Rodriguez, because I think he had done, like,
他的一部电影在一天之内布置了105个装置。 105 setups or something in one day on one of his films.
当然，罗伯特写了很多书，做了很多事 And Robert, of course, has written much and done much
传播他的低预算理念。 to disseminate his ideas for how you do low budget.
所以重点是这是可以做到的，而且 So the point is it can be done, and it
可以用相对较低的妥协水平来完成。 can be done with relatively low level of compromise.