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原文節(jié)選自《馴龍高手設定集》，由龍崖社·龍之書翻譯組漢化整理，本合集僅供Bilibili，愛發(fā)電（最先更新），Lofter平臺龍崖社社團官方賬號發(fā)布，未經(jīng)授權禁止轉載?

編輯團隊的獨特優(yōu)勢在于電影制作過程中的各個制作階段的，因為幾乎每個部門都會在鏡頭完成后將制作成果交給編輯部中心。

視角也許是編輯團隊要考慮的最重要的主線。在剪小嗝嗝和無牙在小山凹里相識的鏡頭剪輯在一起時，編輯團隊非常留意兩者的立場、會有什么樣的情感以及情感產(chǎn)生的原因。這些基于角色的考慮將決定鏡頭里出現(xiàn)的是單角色還是雙角色，是人物側面還是特寫。編輯Darren Holmes回憶道。“一段友誼是如何從躊躇走向真正享受與有趣的呢？這個過程就是我們所要展示的一切?！?/p>

編輯團隊還享受了更類似于以實景方式拍攝的獨特機會，編輯團隊也有獨特的機會以更真實的方式工作。當小嗝嗝和無牙與紅死神決一死戰(zhàn)時，制片采取了一種方法，他們通過制作一個很長的“主鏡頭”，然后像實景團隊一樣剪輯，在現(xiàn)場拍攝這一序列?！拔覀円缽膭∏槟_本中尋找到了什么，然后我們構建了基本動畫，并將臨時效果、燈光和云分層到一個大的Maya文件中”，布局負責人Gil Zimmerman解釋道。接下來，“previs”在鏡頭中加入了各種有趣的鏡頭動作，試圖以電影的方式捕捉到它?！叭缓蟮搅松缯摚屛覀冋业揭粋€具有活力的剪輯，這讓導演們有機會找到這部電影，而不是像往常一樣，在拍攝過程的早些時候試圖一個鏡頭一個鏡頭地叫出它，”霍姆斯繼續(xù)說。導演們批準了插播社論后，這一序列又回到了排版部門的制作流程中，然后像電影中的所有其他鏡頭一樣，在隨后的部門中繼續(xù)前進。

原文：

The editorial crew has the unique advantage of seeing the film at all stages of production because nearly every department in the pipeline delivers its shots to the edit bay as it completes its work.

Perspective is perhaps the most important through-line for the editorial team to consider. When editorial cut together the sequence where Hiccup and Toothless are getting acquainted in the cove, the team was very mindful of each character"s point of view, what emotion each would be feeling, and why he would be feeling such a way in each shot. Those character-based considerations inform the decisions of whether to go with two-shots, profiles, or closeups in each moment. "It was all about discovering the idea of what it"s like to go from a very tentative relationship to one that is truly joyful and fun," recalls Editor Darren Holmes.

The editorial team also had the unique opportunity to work in more of a live-action style. When Hiccup and Toothless battle the Red Death, the production took the approach that they were shooting this sequence in live-action by creating a long "master shot" which editorial then cut like a live-action team would. "We got the sense of what the storyboards were looking for, then we built basic animation and layered temporary effects, lighting, and clouds into one big Maya file," explains Head of Layout Gil Zimmerman. Next the "previs" put a variety of interesting camera moves into the shot to try to capture it cinematically. "Then it came down to editorial to let us find an organic cut, which gave the directors opportunity to find the movie instead of trying to call it out shot-by-shot much earlier in the process, as is the norm," continues Holmes. After the directors approved of the cut in editorial, the sequence went back into the production pipeline at the layout department and then moved forward through the subsequent departments like all other shots in the film.

標簽： 馴龍高手 現(xiàn)場拍攝 鏡頭剪輯 LIGHTING