TEDGlobal 2012
Rob Legato: The art of creating awe
Robert Legato：創造驚奇的藝術
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Rob Legato 創造出極佳的電影特效，甚至（有時）更勝過事物原貌。在他親切又詼諧的演講中，他分享他是如何在電影中，更加增進美化事實原貌，如在電影《阿波羅13號》、《鐵達尼》和《雨果的冒險》中所展現的攝影藝術。
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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我參與過電影《阿波羅13》的製作
00:18
and when I worked on this film, I discovered something
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在那過程中，我發現一件事
00:20
about how our brains work, and how our brains work
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有關我們大腦的運作
00:22
is that, when we're sort of infused with
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這運作大概是這樣
00:25
either enthusiasm or awe or fondness or whatever,
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當我們充滿熱情、敬畏、喜愛等情緒的時候
00:29
it changes and alters our perception of things.
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它會改變我們對事物的看法
00:31
It changes what we see. It changes what we remember.
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改變我們所見、所記憶
00:33
And as an experiment, because I dauntingly create
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而我做過實驗。這是因為我不怕死的
00:37
a task for myself of recreating a Saturn V launch
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接下打造農神5號火箭升空的任務
00:41
for this particular movie, because I put it out there,
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必須在電影中出現給觀眾看
00:44
I felt a little nervous about it, so I need to do an experiment
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我覺得有些緊張，所以必須做個實驗
00:46
and bring a group of people like this in a projection room
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把一群人找來放映室
00:50
and play this stock footage, and when I played this
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並放映這個資料片段，當我這麼做時
00:53
stock footage, I simply wanted to find out
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我只想知道
00:55
what people remembered, what was memorable about it?
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人們記得什麼，什麼令人印象深刻
00:59
What should I actually try to replicate?
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而我應該要打造出什麼樣的東西
01:01
What should I try to emulate to some degree?
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哪些部分需要做得栩栩如真
01:05
So this is the footage that I was showing everybody.
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所以這是我放給大家看的影片
01:08
And what I discovered is, because of the nature
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而我發現，由於這部片的本質
01:10
of the footage and the fact that we're doing this film,
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以及我們是為了製作電影而放映
01:13
there was an emotion that was built into it
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它營造出一種情感
01:15
and our collective memories of what this launch meant to us
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是我們對這場發射的集體記憶
和對我們的意義
和對我們的意義
01:18
and all these various things.
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及所有其他的事情
01:19
When I showed it, and I asked, immediately after
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當播放完畢後，我立刻問大家
01:21
the screening was over, what they thought of it,
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他們的想法是什麼
01:24
what was your memorable shots, they changed them.
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印象最深刻的畫面，但他們卻改變了影片的內容
01:27
They were -- had camera moves on them.
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他們就像腦中有攝影機
01:29
They had all kinds of things. Shots were combined,
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有各種想法，把不同的畫面結合
01:32
and I was just really curious, I mean, what the hell
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而我非常好奇，我的意思是
01:35
were you looking at just a few minutes ago
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你們不是明明才剛看完這段影片
01:36
and how come, how'd you come up with this sort of description?
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為什麼，你們怎麼想出現這樣的陳述?
01:40
And what I discovered is, what I should do is not actually
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而我發現，我需要做的
01:44
replicate what they saw, is replicate what they remembered.
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並不是直接複製他們看到的畫面
而是他們所記得的部分
而是他們所記得的部分
01:47
So this is our footage of the launch, based on, basically,
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所以這是我們電影中火箭升空的畫面
01:51
taking notes, asking people what they thought, and then
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根據當時人們的想法
01:54
the combination of all the different shots and all
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混合各種不同的畫面
01:57
the different things put together created their sort of
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和不同的細節以創造
01:58
collective consciousness of what they remembered
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他們集體的感受和記憶
02:01
it looked like, but not what it really looked like.
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而非模擬實際發生的畫面
02:02
So this is what we created for "Apollo 13."
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這是我們為《阿波羅13》所製作的畫面
02:05
(Launch noises)
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（發射的聲音）
02:10
So literally what you're seeing now is the confluence
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所以你眼前所見的，是匯聚不同人
02:12
of a bunch of different people, a bunch of different memories,
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不同的記憶
02:14
including my own, of taking a little bit of liberty
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包括我自己的
並根據主題
並根據主題
02:18
with the subject matter.
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加上一點自由創作
02:19
I basically shot everything with short lenses,
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我基本上用短鏡頭來拍所有的畫面
02:22
which means that you're very close to the action,
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也就是你可以很清晰的看到畫面上的動作
02:24
but framed it very similarly to the long lens shots
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但卻讓畫面看起來像是用長鏡頭拍攝的
02:26
which gives you a sense of distance, so I was basically
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讓你也有一種距離感
02:29
was setting up something that would remind you
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我想創造出一種感覺
02:31
of something you haven't really quite seen before. (Music)
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提醒觀眾這是前所未見的畫面
（音樂）
（音樂）
02:34
And then I'm going to show you exactly what it is
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等等我要給你看當你在看這段影片時
02:37
that you were reacting to when you were reacting to it.
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你實際在看的東西是什麼
02:41
(Music)
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（音樂）
02:53
Tom Hanks: Hello, Houston, this is Odyssey.
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湯姆漢克斯：哈囉，休士頓，這是奧德賽
02:56
It's good to see you again. (Cheers) (Music)
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很高興再見到你（歡呼）
（音樂）
（音樂）
02:58
Rob Legato: I pretend they're clapping for me.
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Rob Legato：我假裝他們在為我鼓掌
03:01
(Laughter)
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（笑聲）
03:03
So now I'm in a parking lot. Basically it's a tin can,
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我在停車場，用一個錫罐
03:06
and I'm basically recreating the launch with
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利用滅火器、火
03:08
fire extinguishers, fire, I have wax that I threw
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重新創造這個發射場景
03:13
in front of the lens to look like ice, and so basically
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我把蠟丟在鏡頭前，讓它看起來像冰
03:16
if you believed any of the stuff that I just showed you,
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所以如果你相信我剛給你看的畫面
03:19
what you were reacting to, what you're emoting to,
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你所產生的反應及情感
03:22
is something that's a total falsehood, and I found that
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都是根據完全不合實際的假象
03:24
really kind of fascinating.
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這讓我感到十分著迷
03:26
And in this particular case, this is the climax of the movie,
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這個例子，是電影中最高潮的一幕
03:29
and, you know, the weight of achieving it was simply
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要完成這個場景只需要拿一個模型
03:32
take a model, throw it out of a helicopter, and shoot it.
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把它從直升機丟下去，並拍攝
03:35
And that's simply what I did.
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這就是我所做的
03:37
That's me shooting, and I'm a fairly mediocre operator,
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這是我，在拍片
我的操作技術很普通
我的操作技術很普通
03:40
so I got that nice sense of verisimilitude, of a kind of,
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所以我有很精準的擬真效果
03:43
you know, following the rocket all the way down,
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跟著火箭一路下來
03:46
and giving that little sort of edge, I was desperately
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讓畫面看起來很厲害
我當時只想拚命的讓小艇保持在畫面中
我當時只想拚命的讓小艇保持在畫面中
03:48
trying to keep it in frame. So then I come up to the next thing.
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讓畫面看起來很厲害
我當時只想拚命的讓小艇保持在畫面中
我當時只想拚命的讓小艇保持在畫面中
03:52
We had a NASA consultant who was actually an astronaut,
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接下來我們請了一位NASA諮詢師
他以前也是太空人
他以前也是太空人
03:54
who was actually on some of the missions, of Apollo 15,
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出過阿波羅15的太空任務
03:57
and he was there to basically double check my science.
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他在那負責檢查我的科學
04:01
And, I guess somebody thought they needed to do that.
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而我猜有些人覺得這是必要的
04:04
(Laughter)
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（笑聲）
04:06
I don't know why, but they thought they did.
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我也不知道原因，但有些人覺得這很必要
04:08
So we were, he's a hero, he's an astronaut, and
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所以我們跟這個英雄，也是太空人
04:13
we're all sort of excited, and, you know, I gave myself
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大家都很興奮，我還覺得
04:15
the liberty of saying, you know, some of the shots I did
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某些畫面我其實拍的還蠻好的
04:18
didn't really suck that bad.
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沒那麼差
04:20
And so maybe, you know, we were feeling kind of a little
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也許，我們有點太過自我感覺良好
04:24
good about it, so I brought him in here, and he needed
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所以我們把他帶來
04:26
to really check and see what we were doing,
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而他必須看看我們所做的事
04:29
and basically give us our A plus report card,
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然後幫我們打個優等的分數
04:32
and so I showed him some shots we were working on,
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所以我給他看一些我們正在製作的畫面
04:33
and waiting for the reaction that you hope for,
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並等他用我們所希望的方式來回應
04:37
which is what I got. (Music) (Launch noises)
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他也的確這麼做
（音樂、升空的聲音）
（音樂、升空的聲音）
04:40
So I showed him these two shots,
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所以我給他看這兩段畫面
04:42
and then he basically told me what he thought.
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而他告訴我他的想法
04:45
("That's wrong") (Laughter)
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「這是錯的」（笑聲）
04:48
Okay. (Laughter)
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好吧（笑聲）
04:51
It's what you dream about.
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這是你夢寐以求的
04:53
(Laughter)
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（笑聲）
04:56
So what I got from him is, he turned to me and said,
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這是他的回應，他轉頭告訴我
04:59
"You would never, ever design a rocket like that.
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你根本不可能這樣設計火箭
05:03
You would never have a rocket go up
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根本不可能火箭一邊升空
05:04
while the gantry arms are going out. Can you imagine
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支撐架一邊脫落
05:06
the tragedy that could possibly happen with that?
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你能想像這樣會發生什麼樣的悲劇嗎？
05:08
You would never, ever design a rocket like that."
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你根本不可能這樣設計火箭
05:11
And he was looking at me. It's like, Yeah, I don't know
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他看著我，而我想
05:13
if you noticed, but I'm the guy out in the parking lot
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你難道沒發現，我就是在停車場
05:15
recreating one of America's finest moments with
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用滅火器創造美國最美的電影畫面之一
的那位老兄啊
的那位老兄啊
05:17
fire extinguishers.
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用滅火器創造美國最美的電影畫面之一
的那位老兄啊
的那位老兄啊
05:18
(Laughter)
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（笑聲）
05:21
And I'm not going to argue with you. You're an astronaut,
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而我也不會跟你爭辯
你是太空人
你是太空人
05:24
a hero, and I'm from New Jersey, so --
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是英雄，而我是紐澤西人......
05:26
(Laughter)
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（笑聲）
05:28
I'm just going to show you some footage.
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我說那我接下來給你看一些影片
05:30
I'm just going to show you some footage, and tell me what you think.
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並請你告訴我你的想法
05:32
And then I did kind of get the reaction I was hoping for.
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而我最後也得到我想要的回應
05:35
So I showed him this, and this is actual footage
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所以我再給他看的影片
05:37
that he was on. This is Apollo 15. This was his mission.
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是他出任務升空時
實際狀況的影片，阿波羅15
實際狀況的影片，阿波羅15
05:40
So I showed him this, and the reaction I got was interesting.
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所以我給他看這個，而他的反應很有趣
05:46
("That's wrong too.") (Laughter)
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「這也是錯的」（笑聲）
05:48
So, and what happened was, I mean, what I sort of intuned
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所以這個狀況就是，我想
05:52
in that is that he remembered it differently.
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他的記憶與實際狀況不同
05:54
He remembered that was a perfectly safe sort of gantry
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他記得支撐架系統是完美並安全的
05:57
system, perfectly safe rocket launch, because he's sitting
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能讓火箭安全升空，因為他坐在一個
05:59
in a rocket that has, like, a hundred thousand pounds
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有上千磅的推進力
06:01
of thrust, built by the lowest bidder.
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由最標價最低的廠商製作的火箭中
06:04
He was hoping it was going to work out okay.
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他只希望能一切運作順利
06:06
(Laughter) (Applause)
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（笑聲、鼓掌）
06:09
So he twisted his memory around.
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所以他改變他的記憶
06:11
Now, Ron Howard ran into Buzz Aldrin, who was not
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後來朗霍華（導演）碰到 Buzz Aldrin（前太空人）
06:14
on the movie, so he had no idea that we were faking
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他沒有參與製片，所以不知道這些片段是假的
06:16
any of this footage, and he just responded
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而他的反應很自然
06:19
as he would respond, and I'll run this.
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我播給你看
06:21
Ron Howard: Buzz Aldrin came up to me
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朗霍華：Buzz Aldrin 向我走來
06:24
and said, "Hey, that launch footage, I saw some shots
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並說："那個發射的影片，我看到一些從未看過的畫面
你們是從什麼資料庫取得這些影片的？"
你們是從什麼資料庫取得這些影片的？"
06:28
I'd never seen before. Did you guys, what vault did you find
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並說："那個發射的影片，我看到一些從未看過的畫面
你們是從什麼資料庫取得這些影片的？"
你們是從什麼資料庫取得這些影片的？"
06:33
that stuff in?" And I said, "Well, no vault, Buzz,
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而我說："Buzz，不是從資料庫
06:36
we generated all that from scratch."
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我們是重頭做起的呀。"
06:39
And he said, "Huh, that's pretty good. Can we use it?"
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而他說："看起來很不錯，我們可以使用嗎"
06:43
(Explosion) ("Sure") (Laughter)
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（爆炸聲）「當然」
（笑聲）
（笑聲）
06:46
RL: I think he's a great American.
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我覺得他是個很棒的美國人
06:48
(Laughter)
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（笑聲）
06:52
So, "Titanic" was, if you don't know the story,
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電影《鐵達尼號》，如果你不知道這個故事
06:55
doesn't end well.
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它的結尾不太好
06:57
(Laughter)
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（笑聲）
07:00
Jim Cameron actually photographed the real Titanic.
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詹姆斯卡麥隆（導演）事實上拍過真的鐵達尼號
07:03
So he basically set up, or basically shattered
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所以他創造了，或基本上是粉碎
07:05
the suspension of disbelief, because what he photographed
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人們對他的懷疑，因為他拍的是真的船
07:08
was the real thing, a Mir sub going down, or actually
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一艘潛艇到海裡，事實上是兩艘
07:11
two Mir subs going down to the real wreck,
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往海底找到真正的船墟
07:14
and he created this very haunting footage.
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創造出美得不可思議的片段
07:16
It's really beautiful, and it conjures up all these
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真的很美，喚起各種不同的感覺
07:18
various different emotions, but he couldn't photograph
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但他沒辦法拍下所有的東西
07:21
everything, and to tell the story,
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而為了電影劇情
07:23
I had to fill in the gaps, which is now rather daunting,
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我必須填補其中空白，現在聽起來很恐怖
07:25
because now I have to recreate back to back
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因為我必須創造出
07:28
what really happened and I had, I'm the only one
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能與這畫面水準相當的影片
07:31
who could really blow it at that point.
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而我是唯一可能毀掉這件事的人
07:35
So this is the footage he photographed,
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所以這是導演拍的畫面
07:37
and it was pretty moving and pretty awe-inspiring.
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很動人並且令人嘆為觀止
07:42
So I'm going to just let it run, so you kind of absorb
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所以我繼續讓你們看下去
07:44
this sort of thing, and I'll describe my sort of reactions
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讓你吸收並感受到這股氛圍
07:48
when I was looking at it for the very first time.
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我第一次看到這段影片的時候
我的反應是這樣
我的反應是這樣
07:50
I got the feeling that my brain wanted to basically
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我覺得我的腦基本上
07:55
see it come back to life.
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希望這艘船能重現當時情景
07:56
I automatically wanted to see this ship,
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我很自動地想要看到這艘船
07:59
this magnificent ship, basically in all its glory,
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無與倫比的輪船
在它最榮耀輝煌的時刻
在它最榮耀輝煌的時刻
08:02
and conversely, I wanted to see it not in all its glory,
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然後我又想看到它回到沉船的樣子
08:05
basically go back to what it looks like.
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希望畫面回到現在的樣子
08:07
So I conjured up an effect that I'm later going to show you
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所以我創造出等下我會給你們看的這個效果
08:11
what I tried to do, which is kind of the heart of the movie,
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我嘗試做的，是這部電影的核心
08:13
for me, and so that's why I wanted to do the movie,
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對我而言，這也是為什麼我想拍電影
08:17
that's why I wanted to create the sort of things I created.
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為什麼我想要創造出我所創造的畫面
08:20
And I'll show you, you know, another thing that I found
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另一件我覺得很有趣的事
08:22
interesting is what we really were emoting to
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也就是我們看一個畫面受到感動時
08:24
when you take a look at it.
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到底看到的是什麼
08:26
So here's the behind the scenes, a couple of little shots here.
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這是幕後花絮，有幾個場景
08:29
So, when you saw my footage,
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當你看我的影片
08:31
you were seeing this: basically, a bunch of guys
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你看到的是：一群男生
08:33
flipping a ship upside down, and the little Mir subs
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把一艘船翻過來，而小潛水艇的尺寸
08:36
are actually about the size of small footballs,
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大約跟小橄欖球一樣大
08:39
and shot in smoke.
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並且在煙霧中拍攝
08:41
Jim went three miles went down, and I went about
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詹姆斯到海平面下三英里處拍攝
08:43
three miles away from the studio
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而我則到攝影棚三英哩外拍攝
08:45
and photographed this in a garage.
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並在車庫裡拍
08:47
And so, but what you're emoting to, or what you're looking
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所以你們的感受，或你們正在看的
08:50
at, had the same feeling, the same haunting quality,
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其實感受都相同，畫面都同樣有動人的好品質
08:53
that Jim's footage had, so I found it so fascinating
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就像詹姆斯拍的畫面一樣，我覺得很不可思議
08:56
that our brains sort of, once you believe something's real,
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因為我們的腦，一旦你相信什麼是真的
09:00
you transfer everything that you feel about it,
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你就會改變一切去感受那種氛圍
09:03
this quality you have, and it's totally artificial.
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你有這種能力
即使畫面都是人工的
即使畫面都是人工的
09:06
It's totally make-believe, yet it's not to you,
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都是造假的
但你並不這麼覺得
但你並不這麼覺得
09:09
and I found that that was a very interesting thing
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我覺得這點很有趣
09:11
to explore and use, and it caused me to create the next
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值得繼續探討和使用
所以使我想創造
所以使我想創造
09:14
effect that I'll show you, which is
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我接下來要給你看的片段
09:16
this sort of magic transition, and all I was really attempting
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是種很奇妙的改變
09:19
to do is basically have the audience cue the effect,
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而我想要做的是希望
觀眾主動去下效果出現的指令
觀眾主動去下效果出現的指令
09:23
so it became a seamless experience for them,
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所以對他們而言這畫面接得毫無縫隙
09:26
that I wasn't showing you my sort of interpretation,
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而我不是給你們看我對這段畫面的詮釋
09:28
I was showing you what you wanted to see.
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而是給你們看
你們想看到的畫面
你們想看到的畫面
09:31
And the very next shot, right after this --
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緊接著這個畫面之後......
09:38
So you can see what I was doing.
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你可以知道我在做的
09:39
So basically, if there's two subs in the same shot,
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基本上如果在同一個畫面中有兩艘潛艇
09:41
I shot it, because where's the camera coming from?
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就是我拍的，不然攝影機要從哪來
09:44
And when Jim shot it, it was only one sub,
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當詹姆斯拍的時候
只有一艘潛艇
只有一艘潛艇
09:46
because he was photographing from the other,
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因為他在另一艘拍攝這一艘
09:47
and I don't remember if I did this or Jim did this.
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而我不記得這畫面是我拍的
還是詹姆斯
還是詹姆斯
09:49
I'll give it to Jim, because he could use the pat on the back.
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我們說是詹姆斯拍的好了
他需要被鼓勵
他需要被鼓勵
09:52
(Laughter)
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（笑聲）
09:58
Okay. So now the Titanic transition.
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所以這就是《鐵達尼號》畫面的轉變
10:01
So this is what I was referring to where I wanted to basically
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基本上我想說的是
10:04
magically transplant from one state of the Titanic
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我想要神奇地將鐵達尼
從一種狀態轉變為另一種
從一種狀態轉變為另一種
10:07
to the other. So I'll just play the shot once. (Music)
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我把這畫面播一次（音樂）
10:11
(Music)
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（音樂）
10:14
And what I was hoping for is that it just melts in front of you.
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而我希望這畫面在你面前融出
10:25
Gloria Stuart: That was the last time Titanic ever saw daylight.
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「這是鐵達尼號最後一次見到日光」
10:30
RL: So, what I did is basically I had another
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這是我在放映室的另一個經驗
10:32
screening room experience where I was basically tracking
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當我在追蹤我在看的目標
10:35
where I was looking, or where we were looking,
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或我們在看的地方
10:38
and of course you're looking at the two people on the bow
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當然你們在看站在船首的兩人
10:40
of the ship, and then at some point,
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但接著
10:42
I'm changing the periphery of the shot,
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我開始改變畫面的內容
10:44
I'm changing, it's becoming the rusted wreck,
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讓它改變成腐鏽船骸
10:47
and then I would run it every day, and then I would find
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然後我每天播放
10:50
exactly the moment that I stopped looking at them
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直到發現在哪個時間點
我會停止看著這兩人
我會停止看著這兩人
10:53
and start noticing the rest of it, and the moment
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而開始注意畫面其他的地方
10:55
my eye shifted, we just marked it to the frame.
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當視線改變時，我就在這時間點做上記號
10:57
The moment my eye shifted, I immediately started
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當我的視線移動，我馬上改變畫面
11:00
to change them, so now somehow you missed
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所以你會忘了
11:02
where it started and where it stopped.
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它什麼時候開始和結束
11:04
And so I'll just show it one more time.
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我再播一遍
11:07
(Music) And it's literally done by using what our brains
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（音樂）這畫面事實上是在利用我們大腦
11:10
naturally do for us, which is, as soon as you shift
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自然的運作方式
當你改變你的注意力
當你改變你的注意力
11:14
your attention, something changes, and then I left
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畫面就改變了，我讓絲巾的影像繼續留著
11:15
the little scarf going, because it really wanted to be
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因為因為我希望它有點像殘留鬼影
11:18
a ghostly shot, really wanted to feel like they were still
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像是他們仍然在船骸上
11:21
on the wreck, essentially. That's where they were buried forever.
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是他們兩人永遠埋葬的地方
11:25
Or something like that. I just made that up.
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或之類的，這是我瞎掰的
11:27
(Laughter)
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（笑聲）
11:29
It was, incidentally, the last time I ever saw daylight.
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而這剛好也是我最後一次看到日光
11:31
It was a long film to work on. (Laughter)
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這部電影的工作時間實在太長了（笑聲）
11:35
Now, "Hugo" was another interesting movie, because
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《雨果的冒險》是另一部有趣的電影
11:37
the movie itself is about film illusions.
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因為這部電影是有關電影的幻象
11:39
It's about how our brain is tricked into seeing a persistence
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關於電影的產生是利用視覺殘留
11:42
of vision that creates a motion picture,
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欺騙我們的腦
11:45
and one of the things I had to do is, we —
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而其中一件我必須做的事是
11:48
Sasha Baron Cohen is a very clever, very smart guy,
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薩夏拜倫柯恩是一位很聰明的喜劇演員
11:52
comedian, wanted to basically do an homage to the kind of
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他想要對巴斯特·基頓（演員）致敬
11:54
the Buster Keaton sort of slapstick things, and he wanted
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尤其是基頓的鬧劇之類
11:56
his leg brace to get caught on a moving train.
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薩夏希望他的腳被卡在移動的火車上
11:59
Very dangerous, very impossible to do, and particularly
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非常危險、不可能做到
又特別是在我們的攝影棚
又特別是在我們的攝影棚
12:02
on our stage, because there literally is no way to actually
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因為根本沒有辦法讓火車移動
12:05
move this train, because it fits so snugly into our set.
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火車是被牢牢固定在佈景中
12:10
So let me show you the scene, and then I basically
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讓我放這段影片給你們看
12:12
used the trick that was identified by Sergei Eisenstein,
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我是用Sergei Eisenstein（俄國導演）發明的方式
12:16
which is, if you have a camera that's moving with a moving
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當你的攝影機和移動的物體一起移動
12:19
object, what is not moving appears to be moving,
255
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不動的物體看起來就像在移動
12:22
and what is moving appears to be stopped,
256
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而移動的物體看起來是靜止的
12:24
so what you're actually seeing now is the train is not
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所以你看到的火車其實完全沒有動
12:27
moving at all, and what is actually moving is the floor.
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真正移動的是地板
12:32
So this is the shot. That's a little video of
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所以就是這一幕
12:35
what you're looking at there, which is our little test,
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螢幕左下角短片是我們的小測試
12:39
so that's actually what you're seeing, and I thought it was
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這才是真正發生的樣子
12:41
sort of an interesting thing, because it was, part
262
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我覺得這很有趣
12:43
of the homage of the movie itself is coming up with this
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因為這部電影要致敬的典範中
12:47
sort of genius trick which I can't take credit for.
264
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就包括這樣的天才技術，不能歸功於我
12:49
I'd love to but I can't, because it was invented
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雖然我很想居功但不行
12:52
like in 1910 or something like that, is I told Marty,
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因為這是在1910年左右所發明的
12:57
and it's kind of one of those mind things that it's
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我告訴馬丁史柯西斯（本片導演）
這很難解釋
這很難解釋
12:58
really hard to really get until you actually see it work,
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除非你真正看到它運作的樣子
13:01
and I said, you know, what I was going to do, and he said,
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我告訴他我要做什麼，他說（學馬丁說話）：
13:04
"So, let me see if I can get this straight. The thing with the wheels?
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「讓我看看我有沒有搞懂
有輪子的東西
有輪子的東西
13:06
That doesn't move."
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它不會動?」
13:08
(Laughter) (Applause)
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（笑聲）（掌聲）
13:11
"And the thing without the wheels, that moves."
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「而沒有輪子的東西，它會動」
13:15
Precisely. (Laughter)
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沒錯（笑聲）
13:18
Brings me to the next, and final --
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這讓我們來到下一點，也就是最後
13:20
Marty's not going to see this, is he? (Laughter)
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馬丁不會看到這個吧，會嗎？（笑聲）
13:24
This isn't viewed outside of -- (Laughter)
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這沒有被錄下來讓人觀賞吧（笑聲）
13:28
The next illustration is something that, there's like
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下一個幻象是一鏡到底
13:33
all one shot theory. It's a very elegant way of telling a story,
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是電影敘事很優雅的方式
13:36
especially if you're following somebody on a journey,
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特別是你跟著某個人物踏上旅程
13:38
and that journey basically tells something about
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而那段旅程簡潔地透露
13:40
their personality in a very concise way,
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該人物的性格
13:42
and what we wanted to do based on the shot in "Goodfellas,"
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而我們試著根據《四海好傢伙》的一幕拍攝
13:45
which is one of the great shots ever,
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是影史上最精彩的一幕之一
13:47
a Martin Scorsese film, of basically following Henry Hill
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也是馬丁導的電影，跟著Henry Hill（主角）
13:50
through what it feels like to be a gangster walk
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感受一個黑幫老大是如何在
13:52
going through the Copacabana and being treated in a special way.
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Copacabana夜總會穿梭，並受到特別待遇
13:55
He was the master of his universe, and we wanted Hugo
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他就像宇宙的主宰
我們也希望《雨果的冒險》
我們也希望《雨果的冒險》
13:58
to feel the same way, so we created this shot.
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有那樣的感覺，所以拍了這一幕
14:01
(Music)
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（音樂）
14:04
That's Hugo. (Music)
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他就是雨果（音樂）
14:09
And we felt that if we could basically move the camera
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我們認為如果可以讓攝影機跟著他移動
14:12
with him, we would feel what it feels like to be this boy
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我們會覺得這男孩
14:15
who is basically the master of his universe,
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很像是他自己世界的主宰
14:18
and his universe is, you know, behind the scenes
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而他的世界就是遠離人群
14:20
in the bowels of this particular train station
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在這火車站的深處
14:23
that only he can actually navigate through
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只有他能夠如此穿梭
14:25
and do it this way, and we had to make it feel that
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而我們必須讓這一幕顯出
14:27
this is his normal, everyday sort of life,
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這對男孩是件稀鬆平常的每日生活
14:30
so the idea of doing it as one shot was very important,
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所以必須能一鏡到底是非常重要的
14:32
and of course, in shooting in 3D, which is basically
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而3D攝影就像是把巨大的攝影機
14:35
it's a huge camera that's hanging off of a giant stick,
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掛在巨大的竿子上
14:39
so to recreate a steadycam shot was the task,
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所以要讓它看起來
不像手持攝影很困難
不像手持攝影很困難
14:42
and make it feel kind of like what the reaction you got
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又要讓它展現出《四海好傢伙》
14:46
when you saw the "Goodfellas" shot.
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那樣的效果
14:47
So what you're now going to see is how we actually did it.
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所以你現在看到的
是我們實際拍攝的樣子
是我們實際拍攝的樣子
14:51
It's actually five separate sets shot at five different times
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其實是5個場景，分5次拍攝
14:54
with two different boys.
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用2位不同的男孩
14:55
The one on the left is where the shot ends,
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左邊是鏡頭結束的地方
14:58
and the shot on the right is where it takes over,
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右邊是另一鏡接下去的地方
15:03
and now we switch boys, so it went from Asa Butterfield,
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現在我們換了男孩，從Asa Butterfield
15:07
who's the star of the show, to his stand-in. (Music)
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本片的男童星，到他的代替人
（音樂）
（音樂）
15:10
I wouldn't say his stunt double. There's a crazy rig
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我不想說是特技替身
15:12
that we built for this. (Music)
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這是我們為了本片蓋的溜滑梯
（音樂）
（音樂）
15:15
And so this is, and now this is set number three
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現在我們要進入第三場景
15:18
we're into, and then we're going to go into, basically
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這一景的最後一幕
15:23
the very last moment of the shot is actually
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是由攝影穩定架拍攝的
15:25
the steadycam shot. Everything else was shot on cranes
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其他都是用升降鏡頭或其他方式拍的
15:28
and various things like that, and it literally was done
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這真的是在5個不同的場景
15:30
over five different sets, two different boys, different times,
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2個男孩、在不同的時間拍的
15:33
and it all had to feel like it was all one shot, and what was
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卻要讓人覺得是一鏡到底
15:36
sort of great for me was it was probably
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而對我而言最棒的可能是
15:40
the best-reviewed shot I've ever worked on,
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這是我拍過最受好評的一幕
15:43
and, you know, I was kind of proud of it when I was done,
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當它拍好時我很自豪
15:46
which is, you should never really be proud of stuff, I guess.
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但我猜，你其實不該為某事而驕傲
15:50
So I was kind of proud of it, and I went to a friend of mine,
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但我真的蠻驕傲的，我去找我朋友
15:53
and said, "You know, this is, you know, kind of
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並說：「你知道嗎，這是我所拍過
15:55
the best-reviewed shot I've ever worked on.
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最受好評的一幕
15:57
What do you think was the reason?"
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你覺得原因是什麼？」
16:00
And he said, "Because no one knows
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而他說：「因為沒有人知道
16:01
you had anything to do with it."
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你跟這一幕有任何關係。」
16:03
(Laughter)
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（笑聲）
16:06
So, all I can say is, thank you,
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所以我只能說聲，謝謝
16:10
and that's my presentation for you. (Applause)
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以上是我今天給各位的報告（掌聲）
16:15
(Applause)
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（掌聲）
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