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2016年2月9日 星期二

迪士尼‧彼思《The Good Dinosaur》有趣資料

迪士尼‧彼思《恐龍大時代》(“The Good Dinosaur” ;台譯:皮克斯《恐龍當家》)現正上映,本篇網誌特別綜合了所有本網曾在Facebook專頁上與大家分享的有趣電影資料,以作記錄。


~ 1 ~

       11歲的 阿勞(台譯:阿羅)是家中的孻仔,也是最細小的一個。他很想在家族農場能夠幫助家人,以證明自己的能力,但自小在溫室中長大的他,總是未能克服「驚青」性格。一次意外,阿勞跌了落河被水沖走至遠離家園十萬八千里,人生首度需要面對自己的恐懼,他要拿出最大的勇氣在蠻荒世界中展開漫長的回家之旅。途中,卻意想不到地與一個人類小孩 細細粒(台譯:小巴)結成好友,更在他的幫助下發現自己的無限潛能。

The last to hatch among his siblings, 11-year-old ARLO has yet to make his mark on his family’s farm. Though he is eager to help out with chores, this sheltered Apatosaurus just can’t seem to get past his fear of everything. To Arlo, the wilderness was a place to fear. Bad things happen there. But the wilderness is actually where he transitions from being a little boy, SPOT, to becoming that mature, brave dinosaur he always wanted to be.


~ 2 ~

       細細粒(台譯:小巴)是一個獨自在野外生活、勇猛頑強的人類野孩子。他不懂說話,只會發出咕咕嚕嚕或吼叫聲,但他充滿自信、天不怕地不怕,更擁有出色的求生技能。阿勞(台譯:阿羅)很快發現有 細細粒「拍住上」就「冇有怕」,更由此成為出生入死的好友。

SPOT is a wild, tough and tenacious human boy who has lived alone in the wilderness for much of his life. He speaks in only grunts and growls, but his strengths are clear: he’s fearless and confident. SPOT is the wild animal who shows up to help the boy—in this case, ARLO—in need. Spot is of this place. He is a survivor.


~ 3 ~

       美術人員把人類小孩 細細粒(台譯:小巴)的神態動靜設計得仿如一頭小狗,行為舉止較像動物,為此他們參考了多種動物的動態,包括貓狗、浣熊和松鼠,而小孩與恐龍經常一同出現,體積上的分別令鏡頭構圖增加了不少難度,製作人員要突出 細細粒 的細小比例,以提醒觀眾這是一個男孩與他的小狗的故事,只不過這頭小狗是一個人類。

To achieve the right look for SPOT, filmmakers looked at both human boys and animals. They referenced lots of animals—dogs, raccoons, cats and squirrels. The filmmakers wanted SPOT to move in a way that’s familiar to the audience, but not too literal and not too human. His expressions are more like an animal’s—simple in design, not as complex as a human’s. He’s often wide-eyed.


~ 4 ~

       製作人員 Harley Jessup 提到,團隊根據迷惑龍的資料,把主角 阿勞(台譯:阿羅)的真實尺寸圖樣打印出來,以感受牠的巨大感。在製作人員的設定下,阿勞 身高18呎重6噸,他的爸爸更高達46呎,比彼思總部的主樓還要高!為了加強對比,製作人員更把暴龍的體積設定誇大至身高38至50呎,其中暴龍老爸 彪叔 的體重更達45噸!

According to production designer Harley Jessup, the filmmakers did a deep dive into what’s known about the size of real Apatosauruses in an effort to add authenticity to Arlo and his family. “We created a life-size printout of Arlo to help imagine his gigantic scale,” says Jessup. “Arlo is 18 feet tall and weighs about 6 tons, and Poppa, at 46 feet, is taller than the main building at Pixar. We exaggerated the size of the T-Rexes for our story, and they range from 38 to 50 feet tall, with Butch weighing in at about 45 tons.”


~ 5 ~

       大自然在《恐龍大時代》(台譯:《恐龍當家》)中佔戲極重,而它本身就是一個重要的角色。製作人員必須把這個大自然世界呈現得廣闊壯觀真實,觀眾才能投入其中。於是製作人員把他們在 美國 西北部考察所走遍的Jackson山谷、Teton山脈、黃石公園的噴泉和瀑布、蒙大拿州的草原、懷俄明州紅沙漠的大平原,都化成了電影中的主要場景。

In “The Good Dinosaur”, filmmakers wanted to capture the full scope of the environments they researched. According to production designer Harley Jessup, their experiences in the American Northwest not only illustrated nature’s power, but also its beauty. “The area has a fantastic variety of landscapes, ranging from the Jackson Valley and the Tetons to the amazing geysers and waterfalls in Yellowstone. We studied the grasslands of Montana and the mesa’s in Wyoming’s Red Desert, then incorporated all of it in Arlo’s journey.”


~ 6 ~

       製作人員Gordon Cameron提到,團隊在《恐龍大時代》(台譯:《恐龍當家》)中打造了多達270種樹木植物和15種風力程度,每塊樹葉更可獨立搖動,以便因應場景隨時調配使用,令景觀更添層次感和真實感。

It was up to simulation & crowds supervisor Gordon Cameron and his team to add the movement to the trees and other vegetation. “We have about 270 types of vegetation, and 15 pre-made wind levels,” he says. “We generate 600-frame full simulation loops of those trees. We could layer on top of the procedural elements to get the look we wanted.”


~ 7 ~

       特別效果技術的大量運用,令《恐龍大時代》(台譯:《恐龍當家》)成為PIXAR史上最大型的特效作品。一般動畫,特效畫面大約佔30%,但《恐龍大時代》卻超出雙倍,多達60%、全片有超過900個特效畫面!

With its sweeping landscapes, the wholly exterior set of “The Good Dinosaur” presented filmmakers with a host of challenges and opportunities. “It’s the biggest effects film we’ve done in Pixar history, by far,” says effects supervisor Jon Reisch. “Typically, about 30 percent of a film’s shots are effects shots. For ‘The Good Dinosaur,’ it’s more than twice that—60 percent of the film, over 900 shots out of about 1500, featured the work of the effects department.”


~ 8 ~

       在《恐龍大時代》(台譯:《恐龍當家》)中,製作人員以先進電腦技術打造了由微微細雨以至傾盆大雨的不同「雨區」,可自由分佈在鏡頭前的不同距離,令落雨場面更具層次感。

In “The Good Dinosaur”, as to push the sense of depth in the image and keeping our rain from feeling too “CG” and flat. To tackle this, in each sequence the effects team layered several rain boxes at different distances from camera. These rain boxes are literally a box in space that’s filled with a pre-simulated rain look, whether it was a light drizzle or a blustery downpour. The FX artists could quickly mix and match different rain boxes to build up the weather in a sequence, while our lighting artists could adjust the lighting and depth of field of each box separately to accentuate the feeling of depth they were going for.


~ 9 ~

       在《恐龍大時代》(台譯:《恐龍當家》)中,製作人員打造了河流資料庫,可因應場面把一段一段的河流自由組合,還有細意鑽研模擬水流的動態和光暗,務求令畫面上的一切都更具真實感。

In “The Good Dinosaur”, the effects team also created a river library, developing chunks of moving river water that could be assembled in unique ways to achieve the many river shots that appear in the film.


~ 10 ~

       攝影總監 Mahyar Abousaeedi 提到,雖然以真實的恐龍為藍本,但美術人員也加入了卡通化和人性化元素,務求令角色的特色和性格更為突出。例如身高18呎身長25呎的主角 阿勞(台譯:阿羅),是隻欠缺自信心的少年恐龍,美術人員故意把他的咀部、腳部和尾巴調較得不合比例,令他給人一種格格不入的古怪感。姿勢神情方面,阿勞 總是不會站直,重心永遠傾後,經常眼光光和抬起眉毛,一臉疑惑。

At 18 feet tall and 25 feet long, Arlo is still a sizable creature. “There’s a big separation between his eyes and his mouth, which can feel off model without the right lens,” says director of photography-camera Mahyar Abousaeedi. “We wanted to avoid elongating the snout, so we defined a lens package that would be ideal for shooting close-ups on Arlo. “We also had to place the camera back far enough in a close-up,” continues Abousaeedi, “so we could read the facial animation and the movement of Arlo’s mouth—he’s a very animated character. We tried avoiding the ‘sock puppet’ look as much as possible by framing his head and neck with another part of his body for a stronger composition.”


~ 11 ~

       由於一家三口的暴龍家庭以畜牧為生,美術人員特別為其添上西部牛仔的特色。當他們跑動時,下半身像奔騰中的馬,上半身就像騎著馬的牛仔。美術人員為此觀看了大量西部牛仔電影作參考。另外,製作人員更特意用上最闊的鏡頭和超低角度拍攝,讓他們看起來更有氣勢更得人驚!

The duo encounters an array of intriguing characters, including raptors, pterodactyls and a family of T-Rexes. In the world of “The Good Dinosaur,” herbivores have taken up farming, while carnivores became ranchers. Filmmakers wanted to give Butch and his T-Rex children the look of true cowboys. When they’re running, their lower bodies mimic that of galloping horses, while their upper bodies have the feel of the riding cowboys. The team also used camera placement to drive home the fact that T-Rexes are scary—at least at first—and they’re very big!


~ 12 ~

       力求完美,在故事、視覺、特效以外,《恐龍大時代》(台譯:《恐龍當家》)在音樂和聲效方面亦請來大師級助陣,包括《少年Pi 的奇幻漂流》(Life of Pi)金像音樂家 Mychael Danna 和 艾美獎提名音樂家 Jeff Danna,為電影譜寫樂曲;金像提名聲效設計師 Craig Berkey 更為電影配上最完美的大自然聲效。

“The Good Dinosaur” takes Arlo—and the audience—on an emotional journey of self-discovery. Filmmakers opted to tell the story in a new way, relying less on dialogue, while leaning into the power of nature, compelling characters and music that captures the imagination. Academy Award® -winning composer Mychael Danna and Emmy®-nominated composer Jeff Danna are teaming up to create the score, while Oscar®-nominated sound designer Craig Berkey capitalizes on his mountainous homestead in Canada to capture the wild sounds for the film.



Disney, & Pixar

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