88位电影摄影师与ASC成员将透露他们在职业生涯中获得的大有助益的想法,建议,技巧以及注意点。他们的回应从复杂到简单,从显而易见到具体细节——但所有人都乐于帮助你在电影行业中尽力奋斗。

    这是一个有名的问题,它常在《美国电影摄影师》杂志的“ASC特写”栏目中出现。这个栏目是与多位ASC(美国电影摄影师学会)成员进行的简短访谈。这是一个深入本质的问题,它要求ASC会员们去努力搜寻hui对自己来说最有用,最有效的那一条建议。这不是通用的指导规则,也不是还行的建议,而是最好的建议。

    在读者Martin Warrilow建议之下,EVAN LUZI遍览了《美国电影摄影师》杂志网上存档,整理了来自88位电影摄影师的答案,有一些答案已经众所周知,但另外一些还少有关注。然而,所有回答中都蕴含了至为重要的洞见、智慧,知识,它们可能也会对你的电影制作事业有所帮助。

    “你得到过最棒的专业建议是什么?”

    When I was an AC, a gaffer told me, ‘Don’t run on a set,’ because you show everyone that you probably forgot something. I still don’t run on set, and I try not to forget too many things.

    当我还是个助理摄影师时,一个灯光师告诉我,‘别在现场奔跑’。因为你给别人留下的印象就是你可能忘记了什么事情。直到现在,我都不会在现场奔跑,而且我会努力不要太健忘。_布鲁诺·德尔邦内尔(Bruno Delbonnel《天使爱美丽》《巴黎,我爱你》《漫长的婚约》摄影)

    ‘Keep it simple.’ It’s always exciting to try a new piece of gear, but sometimes two grips pulling a camera on a blanket is still the best solution.

    ‘保持简单。’尝试新设备总会让人兴奋,但是两个场务助理在毯子上拉摄影机有时仍是最好的选择。_Glen MacPherson, ASC

    ‘Never pass up the opportunity to keep your mouth shut!’ What they don’t tell you in cinematography training is that your job is 50 percent cinematography and 50 percent diplomacy. I’ve learned the hard way that when things go south, as they sometimes do, it’s best to pause and reflect on what’s happening and why before opening your mouth and blurting out what first comes to mind. No one remembers what you didn’t say, but they will certainly remember something you said in haste.

    ‘不要错过闭嘴的机会!’他们在电影摄影学习中没有告诉你的就是你的工作一半是摄影,另外一半则是交际。我自己学到当事情与期望相左时,最好要停下来反思现在发生了什么,为何发生,而不是想到什么张嘴就说。没有人会记得你没说出口的话,但是他们会记得你匆忙之间说出的话。_Bill Bennett, ASC

    When I was in college, Nick Ray came to show his films, and I spent the whole night talking to him in the lobby rather than watching the films. As he left, he said, ‘Remember, it’s a way of life.’
我上大学时, Nick Ray过来展示他的电影,我花了一整个晚上在大厅跟他聊天而不是看电影。他离开时说,‘记着,这是一种生活方式’。_Steven Fierberg, ASC

    I’ve learned so much from reading American Cinematographer, and the best professional advice I ever received was from an interview with Gordon Willis. In it, he stressed the importance of always having a point of view when approaching a scene. It’s the first question I ask myself when I’m designing my coverage: what is the point of view, or whose? Once I’ve answered this question, everything falls into place with much more ease.

    我从阅读《美国电影摄影师》中学到的,得到的最好的专业建议来自对Gordon Willis进行的采访。他在里面强调了处理场景时心中一定要有个观点。这是我在设计简要分析时最先问的问题:观点是什么,这个观点是谁的?一旦我回答了这个问题,一切就会容易很多。_Ernest Dickerson, ASC

    From editor Irving Lerner: ‘Cut out all the comin’s and goin’s.’

    剪切师Irving Lerner说过:‘剪去所有的将要来和将要去。’_Jack Couffer, ASC

    ‘There’s only one way to shoot this thing: two ways.’

    ‘拍这个东西的办法只有一种:两种办法。’_Barry Markowitz, ASC

    From Owen Roizman: ‘There’s no need to have an ego as a man. Let your work on that screen be your ego.’

    Owen Roizman说的:‘不要保留身为个人的自我。让你在银幕上拍摄的东西成为你的自我’。_Crescenzo Notarile, ASC

    Jim Danforth taught me the value of critical thinking, especially about your own work, and how to see your work as the audience will see it. And during The Empire Strikes Back, George Lucas showed me a helicopter shot and asked if I could add a creature running on the ground, which at the time seemed impossible because of the six-axis camera motion. He said, ‘Give it some thought,’ and within 15 minutes I had a solution. That taught me that a right answer might be one thought away.

    Jim Danforth教会了我批判性思维的重要性,特别是关于你自己的工作,还有如何以观众的眼光看待自己的作品。在拍摄《星球大战V:帝国反击战》时,乔治·卢卡斯给我看了一场直升机戏,然后问我能不能添加某个生物在地面奔跑的镜头。那个时候因为摄影机是六轴运动,这件事看起来不可能实现。他说,‘想一想吧’,然后15分钟之内我便想到了解决方法。这件事告诉我正确的答案只要再想想便可入手。Dennis Muren

    Don’t shoot your demo reel. Be true to the story.

    不要拍摄你的样片。忠实于故事。_Tobias Schliessler

    From George Miller: ‘Just be bold, Dino! Be as bold as you want!’

    来自George Miller:‘胆子大点,Dino!想多大胆就多大胆!’_Dean Semler,ASC, ACS《与狼共舞》《2012》摄影

    I received early encouragement from Woody Omens, ASC; and Walter Lassally, BSC taught me many crucial concepts over the course of several projects. I also appreciated the opportunity to be on the set of Fat City, where Conrad Hall was executing innovative ideas like using 8K (4x2K) umbrella lights for the fight scenes. In dailies, John Huston would just put his head down and listen, trusting Conrad to deliver their visual plan.

    我早期时得到过来自Woody Omens[ASC]的鼓励;还有Walter Lassally,BSC在数个项目过程中教过我许多关键的概念。我也很珍惜能在《富城》(Fat City)现场工作的机会,在那儿Conrad Hall将很多创新的念头付诸实践,比如说用8K(4x2K)伞灯来为打斗场景照明。在处理素材时,John Huston会低下头倾听,十分信赖Conrad来执行他们的视觉计划。_Tom Houghton, ASC

    It was actually given to my son when he was getting ready to direct his thesis film at the American Film Institute. Jay Fortune, a New York gaffer I’d just completed a film with, suggested to him, ‘Don’t lose your sense of humor, even when everything seems to be going in the opposite direction.’

    这条建议其实是给我的儿子的,当时他准备在美国电影学会拍摄主题影片。Jay Fortune,一位刚跟我拍完电影的纽约灯光师,对他说:‘就算每件事情都背道而驰,也不要丧失你的幽默感。’_但丁·斯宾诺蒂(Dante Spinotti, ASC, AIC《惊曝内幕》《洛城机密》摄影)

    Life is like an airplane: you either get onboard, or you don’t. It’s up to you.

    生活就像飞机:要么上去,要么不上去。你自己做决定。_Xavier Grobet, ASC, AMC

 

注:本文转载自,转载目的在于传递更多信息,并不代表本网赞同其观点和对其真实性负责。如有侵权行为,请联系我们,我们会及时删除。