《金剛川》是一部以抗美援朝故事為背景的戰(zhàn)爭(zhēng)題材電影，該片紀(jì)念中國(guó)人民志愿軍抗美援朝出國(guó)作戰(zhàn)70周年，講述志愿軍戰(zhàn)士在戰(zhàn)場(chǎng)與敵人英勇作戰(zhàn)的故事。對(duì)于這樣一部歷史加戰(zhàn)爭(zhēng)題材的影片，《金剛川》的拍攝方式非常特殊。趕在影片火熱上映之際，《金剛川》的攝影指導(dǎo)之一，同時(shí)也是國(guó)內(nèi)電影工業(yè)化制作實(shí)踐的先驅(qū)劉寅老師從拍攝的角度接受了我們的采訪，作為其中之一的電子伸縮炮器材供應(yīng)方，劉寅老師為我們分享了使用天蝎電子伸縮炮拍攝《金剛川》的幕后故事。《金剛川》講的是什么故事？獨(dú)特的敘事結(jié)構(gòu)對(duì)您的拍攝提出了哪些要求？劉寅老師（以下簡(jiǎn)稱劉）：《金剛川》講的是一個(gè)關(guān)于抗美援朝戰(zhàn)爭(zhēng)的故事，影片分別從炮兵、步兵、空軍等幾個(gè)視角講述了志愿軍戰(zhàn)士們?cè)跓o比艱難的情況下，以血肉之軀與敵人拼搏作戰(zhàn)的英勇事跡。《金剛川》看上去由幾部分組成，但講的是同一個(gè)故事，這幾部分的制作就分配給了不同的導(dǎo)演來拍攝，我和郭帆導(dǎo)演拍攝的是空軍視角這一部分。和《流浪地球》類似，我們?cè)谟芭锢锿ㄟ^實(shí)拍加后期特效合成的方式拍攝了天空視角的外景戲，這是我們非常熟悉的制作方式了，它對(duì)現(xiàn)場(chǎng)控制有非常高的要求。您用到了哪些移動(dòng)器材，想創(chuàng)作出什么樣的視覺效果？為什么選擇了天蝎17尺電子伸縮炮作為這次移動(dòng)機(jī)械拍攝器材之一？劉：這部電影給我們的籌備時(shí)間并不長(zhǎng)，用的器材都是我最熟悉的。這次用了兩臺(tái)四、五十尺規(guī)格的大型電子伸縮炮搭配減震頭或遙控頭，同時(shí)用了16米和8米的搖臂搭配三軸遙控頭或者大疆的云臺(tái)，這幾年開始加入一些小型的電子伸縮炮，比如Scorpio 10尺。《金剛川》這次還用了一臺(tái)全新的Scorpio 17尺，Scorpio 17尺用起來特別方便，承重也足夠大，可以裝我們的大機(jī)器使用。我們這次拍攝的內(nèi)容都是天上的飛機(jī)素材，在棚里拍攝的時(shí)候地面上有一個(gè)6軸的震動(dòng)平臺(tái)，演員在道具飛機(jī)里完成表演，跟《流浪地球》拍攝時(shí)類似，所有的機(jī)位都會(huì)升空。我們的拍攝時(shí)間特別緊張，前期設(shè)計(jì)時(shí)就決定同時(shí)使用3到4個(gè)機(jī)位來提升拍攝效率。我們要完全在棚里的空間去模擬不同時(shí)期的室外光影效果，比如黃昏的時(shí)候、晚上、清晨等時(shí)間，操作上非常復(fù)雜。最難的問題也是攝影機(jī)與燈光的配合，因?yàn)槲覀円龊芏嘁苿?dòng)光效，比如飛機(jī)在天上飛的時(shí)候一會(huì)兒有云一會(huì)兒沒云，掉頭轉(zhuǎn)向或者機(jī)位拉伸之后光效都會(huì)發(fā)生變化，我們要在很短的時(shí)間內(nèi)準(zhǔn)確拍到我們想要的運(yùn)動(dòng)鏡頭。我們還用到了BOLT，我們最早的設(shè)計(jì)還包括把一個(gè)飛機(jī)模型放在機(jī)械臂上，然后飛機(jī)可以做各種各樣的運(yùn)動(dòng)，攝影機(jī)裝在BOLT上面，通過配合軌道移動(dòng)來獲得模型飛機(jī)姿態(tài)的變化，機(jī)械臂和攝影機(jī)同時(shí)運(yùn)動(dòng)，獲得的數(shù)據(jù)用來給特效做參考。使用機(jī)械臂控制模型飛機(jī)姿態(tài)電子伸縮炮的機(jī)位是如何分配的？您用電子伸縮炮拍攝了哪些難忘的片段？其中對(duì)天蝎17尺這款電子伸縮炮有什么感受？劉：這么好的電子伸縮炮，當(dāng)然是用來給攝影機(jī)使用，架燈光我們不舍得這么好的設(shè)備。我們用那么多搖臂類器材，其中有兩臺(tái)機(jī)械搖臂是用來放燈具的，工作人員來回推拉這些燈位造成光影的移動(dòng)效果。放攝影機(jī)的伸縮炮和放燈的機(jī)械搖臂要密切配合，什么時(shí)間點(diǎn)移動(dòng)都非常有講究，此外還要在不穿幫的情況下拿到我們想要的光線角度。攝影機(jī)的運(yùn)動(dòng)反倒沒有特別復(fù)雜的運(yùn)用，印象有一個(gè)很復(fù)雜的360度旋轉(zhuǎn)鏡頭。開始鏡頭從飛機(jī)的尾部跟著飛機(jī)一直前進(jìn)，然后機(jī)位繞到駕駛員的一面，接著旋轉(zhuǎn)運(yùn)動(dòng)，最后鉆到飛機(jī)艙里面，這時(shí)候機(jī)位又變成一個(gè)往前看的主觀視角，為了防止穿幫以及方便做特效，我們用藍(lán)布把四周的背景以及設(shè)備都包了起來。全球第一臺(tái)序列號(hào)為001的17尺電子伸縮炮實(shí)際上我們這次用的是全球第一臺(tái)天蝎17尺電子伸縮炮，當(dāng)時(shí)看到它時(shí)我覺得非常震撼，而且能用上全世界第一臺(tái)Scorpio 17尺電子伸縮炮，我覺得特別榮幸。在此之前我也用過很多別的型號(hào)的Scorpio電子伸縮炮，最大的感受就是特別穩(wěn)、特別結(jié)實(shí)，然后承重也夠大，現(xiàn)場(chǎng)可靠性非常高，輕易不會(huì)出什么問題，用Scorpio的電子伸縮炮會(huì)覺得很有安全感。配上軌道以后，除了一些特別高的角度，平時(shí)我們使用率最高的攝影機(jī)運(yùn)動(dòng)用Scorpio17尺幾乎都能完成。只要用到電子伸縮炮的時(shí)候，我都會(huì)搭配軌道一起使用，這樣可以實(shí)現(xiàn)非常靈活的攝影機(jī)運(yùn)動(dòng)。劉：我跟我們的移動(dòng)機(jī)械組一起合作拍了很多年戲，大家的默契度很高，不管是大型還是小型的電子伸縮炮對(duì)我們的拍攝來說沒有太大區(qū)別，當(dāng)然Scorpio 17尺在這其中是屬于特別靈活的。比如音樂廳這樣的場(chǎng)景，用到伸縮炮的時(shí)候我們要放很多東西，像四、五十尺的這種大型的伸縮炮一旦要改機(jī)位就要拆很多東西。我們一旦定了位置，就不會(huì)輕易挪動(dòng)，重新布置現(xiàn)場(chǎng)要花很長(zhǎng)時(shí)間，Scorpio17這樣的尺寸就方便很多，三四個(gè)人就可以很快地完成帶軌道的現(xiàn)場(chǎng)預(yù)置工作。在高臺(tái)上的Scorpio 17尺電子伸縮炮對(duì)特效合成類的拍攝有什么感受？您如何看待中國(guó)的電影工業(yè)化制作？劉：是否使用特效方式拍攝，取決于每個(gè)導(dǎo)演的風(fēng)格，像諾蘭就喜歡實(shí)拍，實(shí)拍給現(xiàn)場(chǎng)演員和電影院里觀眾的感受都是不一樣的。但如果講方便或者可控性，棚拍肯定還是最安全的。我們這個(gè)團(tuán)隊(duì)很早就接觸特效類的拍攝了，現(xiàn)在使用特效方式拍攝已經(jīng)不像10年前是一件很神秘的事情了。目前我們所使用的拍攝方法已經(jīng)非常熟練了，設(shè)計(jì)鏡頭以及先在虛擬棚里預(yù)演拍攝，這些流程都是我們一再驗(yàn)證過的有效方法，我認(rèn)為這個(gè)流程一定會(huì)是特效量比較大的電影制作的最好生產(chǎn)方式，前期把所有需要精確準(zhǔn)備的東西準(zhǔn)備好，現(xiàn)場(chǎng)就只是復(fù)原，這樣在時(shí)間、節(jié)奏上、甚至是機(jī)器運(yùn)動(dòng)以及光影結(jié)構(gòu)上都會(huì)更加準(zhǔn)確，最重要的是拍攝效率也提升了。同時(shí)，移動(dòng)組長(zhǎng)肖利老師也接受了奈斯菲林的采訪。您是怎么跟《金剛川》這部戲結(jié)緣的，是什么時(shí)候開始入行的？肖利：從2012年開始我就跟著劉老師一起拍電影了，一開始是領(lǐng)班，后來做移動(dòng)器材攝影操作。劉老師對(duì)我非常照顧，也愿意給我機(jī)會(huì)，加上我自己也挺喜歡這個(gè)工作，一邊實(shí)踐一邊學(xué)習(xí)，工作也越來越上手，后來就堅(jiān)持一直做移動(dòng)攝影操作這個(gè)工作了。Scorpio 17尺電子伸縮炮完全伸展的工作狀態(tài)肖利：我自己獨(dú)立操作電子伸縮炮大概是在2015年，當(dāng)時(shí)使用的就是天蝎電子伸縮炮，是一款中大型的重型電子伸縮炮。一開始我非常擔(dān)心，因?yàn)榻?jīng)驗(yàn)不足，怕出錯(cuò)誤，但最后用下來發(fā)現(xiàn)并沒有想象中的那么難，雖然尺寸很大，但它的操作非常方便，運(yùn)動(dòng)也非常靈活。之前接觸的都8米、16米之類的機(jī)械類搖臂，但是這類機(jī)械式的機(jī)械臂不管是組裝還是操作都沒有電子伸縮炮方便。Scorpio17尺除了非常靈活，甚至可以代替Dolly軌道車，高低角度的操作都非常簡(jiǎn)單，這是機(jī)械類搖臂很難實(shí)現(xiàn)的。《金剛川》的拍攝是我第一次接觸到天蝎17尺電子伸縮炮，它的穩(wěn)定性比我用過的很多型號(hào)都要好，而且非常輕便，承重也很好，我認(rèn)為比一些同級(jí)別的電子伸縮炮要靈活。這一次我們二十幾天全在影棚里拍攝，沒有電子伸縮炮根本就不可能完成這次拍攝任務(wù)。Mini Scorpio遙控頭搭配Scorpio 17尺電子伸縮炮移動(dòng)機(jī)械組在這部戲中扮演了什么角色？對(duì)天蝎17尺電子伸縮炮的人機(jī)工程設(shè)計(jì)有何感受？綜合怎么評(píng)價(jià)Scorpio 17尺？肖利：我們一天最多到4臺(tái)炮， 2臺(tái)電子伸縮炮，兩臺(tái)普通的升降用來架燈，拍攝調(diào)度方面除了操作復(fù)雜一點(diǎn)，拍攝并沒有什么問題，主要就是靠移動(dòng)機(jī)械器材來完成的?，F(xiàn)場(chǎng)的拍攝流程也實(shí)踐過很多遍了，每天我們會(huì)提前到現(xiàn)場(chǎng)把大致的機(jī)位下好，劉老師再定機(jī)器的具體位置以及燈光的位置。像Scorpio 17尺這樣的電子伸縮炮非常靈活，給我們的工作帶來很大的便利，拍攝效率也比以前更高。Scorpio 17尺在100平左右的環(huán)境下使用非常適合，幾十平的房間里也能進(jìn)得去。同等的尺寸下，我感覺Scorpio 17尺比一些同類設(shè)備的使用要快捷很多。我們?cè)诂F(xiàn)場(chǎng)也需要經(jīng)常拆卸組裝設(shè)備，有時(shí)候一天還要好幾次，比起老式的機(jī)械搖臂，Scorpio 17尺不需要減臂，調(diào)整下機(jī)械臂的角度就可以移動(dòng)機(jī)位了。Scorpio 17尺電子伸縮炮在不完全伸展時(shí)的工作狀態(tài)綜合來說，我個(gè)人對(duì)天蝎這個(gè)品牌的印象非常好，它非常清楚知道我們需要什么樣的設(shè)備，用起來很順手，Scorpio 17做得非常到位。Scorpio 17還有垂直補(bǔ)償?shù)墓δ?，是非常?shí)用的功能，無論是從遠(yuǎn)到近，還是從上到下都能得到順滑的攝影機(jī)移動(dòng)效果。
Grand production, Scorpio 17’ electronic telescopic crane as a great addition to "The Sacrifice" movie’s production!
The Sacrifice" is a war-themed movie with the story of the Chinese People's Volunteer Army going abroad to fight against U.S. aggression and to aid Korea. The film commemorates the 70th anniversary of this war. It tells the story of Chinese volunteer soldiers fighting the enemy bravely on the battlefield. For such a historical war film, the method of filming "The Sacrifice" is quite different. Just before the grand release of the film, Mr. Liu Yin received our interview. He is one of the directors of photography of "The Sacrifice", and a pioneer of China's industrialized film production. He shared with us the behind-the-scenes story of using Scorpio electronic telescopic crane for the filming.
“The Sacrifice” movie posterWhat story does "The Sacrifice" tell? What was imposed on the filming by the unique narrative structure of this film?
Mr. Liu Yin (hereinafter referred to as Liu): " The Sacrifice " tells a story about our war of Resist US Aggression and Aid Korea. The film tells the Chinese volunteer soldiers heroic fighting against the enemy under extremely difficult circumstances, from the perspectives of artillery, infantry, and air force. " The Sacrifice " consist of several parts, but they all tell the same story. The production of these parts was assigned to different directors to shoot. Director Guo Fan and I shot the part from the perspective of the Air Force. Like "The Wandering Earth", we shot the aerial perspective scenes in the studio through live-action and special effects combined. This is a production method we are very familiar with and it requires a very high level of control on-site.“The Sacrifice” open ceremonyWhat mobile equipment did you use and what kind of visual effects do you want to create? Why did you choose the Scorpio 17‘ telescopic crane as the main mobile equipment?
Liu: We didn’t have much time for the preparation of this movie, so we chose to use the equipment that I am most familiar with. I usually have a 45’ or50’ large telescopic crane with a stabilized head, and a 16-meter or a 8-meter rocker arm with a three-axis remote stabilized head. In recent years, some small electronic telescopic cranes have been added, such as the Scorpio 10’. This time we also got a brand-new Scorpio 17’, because Scorpio 17’ is very convenient to use, its load-bearing capacity is large enough to be used with our large cameras and lenses. Our part of the film is all about aircraft scenes in the sky which we shot in the studio. There is a 6-axis vibration platform on the ground. The actors did most of acting in the prop aircraft, similar to "The Wandering Earth", all cameras were lifted in the air. Our production time was very tight, so we decided to use 3 to 4 telescopic cranes at the same time to increase efficiency.
We have to simulate different natural light and shadow effects in the studio, such as dusk, early morning, evening, etc.. This means the operation is complicated. In fact, the most difficult operation is the coordination between the camera and the light, because we wanted to achieve a lot of moving light effects. For example, when the plane is flying in the sky, there will be clouds for some time and there will be no clouds for other times. The light effects will change after turning around or moving away the camera. We had to accurately capture the motion shots we want in a short time.
We also used BOLT. Our earliest design included putting an airplane model on the robotic arm, and then the airplane can perform various movements. A camera was mounted on the BOLT, via moving on a track we can capture the airplane’s different positions. The robotic arm and the camera move at the same time, and the data obtained from them are used as references for the special effects, because we were on a very tight schedule.BOLT with the aircraft modelHow are the positions of the electronic telescopic cranes allocated? Which memorable shots did you shoot with the electronic telescopic crane? How do you feel about the Scorpio 17’ electronic telescopic crane?
Liu: Scorpio 17’ is such a great electronic telescopic crane, of course, is used for the important cameras. We are not going to use such good equipment for putting up lights. We used many mechanical rocker arms, two of which are used to place lights, and the lighting crew pushes and pulls these rocker arms back and forth to create a moving effect of light and shadow. Cameras and lights needed to be coordinated closely, and their movement at any time is very particular. In addition, we must make sure we get the light angle we want without making goofs.
On the contrary, camera movement was not particularly complicated. I can only recall a complicated 360-degree rotating camera movement. In the beginning, the camera followed the plane from the tail, and then it moved to the side of the pilot, then rotating, and finally drilled into the cabin of the plane. At this time, the camera is shooting from a first-person perspective looking forward.World’s first Scorpio 17’, serial No. 001For our film we used the world's first Scorpio 17’ electronic telescopic crane. I was very impressed when I first saw it, and it was a great honor to be able to use the world's first Scorpio 17’. I have used many other models of Scorpio electronic telescopic cranes before, my feeling is that Scorpio cranes are very stable, very robust, and the load-bearing capacity is large. They are very reliable during filming, you feel safe and comfortable to use Scorpio cranes. With the track, except for some extremely high angles, almost all the common camera movements can be done with a Scorpio 17’. As long as I use an electronic telescopic crane, I use it with the track, this combination allows us to achieve very flexible camera movement.Scorpio 17’ crane on trackWhat do you think of the efficiency of shooting with Scorpio 17’?
Liu: I have been working with our mobile equipment team for many years, everyone has a high degree of understanding. Whether it is a large or small electronic telescopic crane, there is not much difference for our shooting, but for sure, Scorpio 17’ is one of the nimblest. For example, in a scene like a concert hall, we need to put a lot of things on a telescopic crane. Once a large crane like 45’ or 50’ with a camera needs to be moved, a lot of things need to be taken down and reset. So once we set the position, we won't move easily, because it takes a long time to re-arrange the site. Scorpio 17’ is very convenient, only need three or four people to quickly complete the site preset work with tracks.How do you feel about special effects composite shooting? What do you think of China's industrialized film production?
Liu: Whether to use special effects to shoot depends on the style of each director. For example, Nolan likes live action shooting. Live action shooting has different effects on actors and audiences, but if we speak of convenience or controllability, studio is definitely the safest. Our team has been doing special effects shooting for a long time, and now shooting with special effects is not as mysterious like 10 years ago. At present, the shooting methods we are using are already very proficient. The process of designing the shots and rehearsing in the virtual studio is an effective method that we have repeatedly verified. I think this is the best practice for a film production with a relatively large amount of special effects. To prepare everything that needs to be accurately prepared in the early stage, and then just recreate the same scenes on site. So, we are more accurate on the time, rhythm, the camera movement and the light and shadow structure. The most important thing is that the shooting is more efficient.Behind the scenes of "The Sacrifice" shootingMr. Xiao Li, the head of the mobile equipment team also accepted an interview with NiceFilm Tech.How did you become working in "The Sacrifice" production team and when did you start your career?
Xiao Li: I have shot movies with Mr. Liu Yin since 2012. At first, I was a foreman, then a cameraman, and then I did all the photography operations on mobile equipment. Mr. Liu watches over me and was willing to give me a chance, I also really enjoy this job. I learned while practicing, and I became more and more familiar with the work, so I became persistent on doing mobile photography operations.Scorpio 17’ arm fully extendedWhat is your first impression of the Scorpio 17’ telescopic crane?
Xiao Li: I independently operated the electronic telescopic crane for the first time in 2015. It was a Scorpio electronic telescopic crane, which is a medium-large heavy-duty one . In fact, I was very worried at the beginning, because I lacked experience and was afraid of making mistakes, but in the end, I found it was not as difficult as I imagined. Although it is large in size, but its operation was easy and the movement was very flexible. Previously, I used mechanical rocker arms of 8 meters and 16 meters, but such mechanical arms’ assembling and operation are not as easy as electronic telescopic cranes. Apart from being very flexible, Scorpio 17 ’can even replace Dolly carts. Operations at high or low angles are very simple, which is difficult to do with mechanical rocker arms.
On "The Sacrifice" production is my first time using Scorpio 17’ electronic telescopic crane. Its stability is better than many models I have used before. It is light and can bear heavy load. I think it is nimbler than many other cranes in the same range. This time we shot in the studio for twenty days, without the electronic telescopic crane, it would have been impossible to complete the mission.Scorpio 17’ plus Scorpio Mini stabilized headWhat role does the mobile equipment team play in this production? How do you feel about the ergonomic design of the Scorpio 17’ electronic telescopic crane? What’s your evaluation of Scorpio 17’ overall?
Xiao Li: We have up to 4 cranes on site a day, 2 electronic telescopic cranes, and two common ones for the lights. There wasn’t any real problem, expect the operation is more complicated. Everything was rehearsed many times. Every day we will arrive on site in advance to set the approximate camera positions, and Mr. Liu will determine the precise positions of the cameras and the lights. Electronic telescopic crane like the Scorpio 17’ is very nimble, which brings great convenience to our work, and made the production more efficient than before. Scorpio 17’ is very suitable for an environment of about 100 square meters, and you can also use it in slightly smaller environment. Compare to other cranes of the same size, I feel that the Scorpio 17’ is much faster to set up. We need to disassemble and assemble equipment frequently on site, sometimes several times a day. Compared with the old-fashioned mechanical rocker arm, the arm of Scorpio 17’ doesn’t need to be taken down, only to adjust the angle of the lower arm then you can move it.
On the whole, I personally have a very good impression of the Scorpio products. They know exactly what kind of equipment we need,Scorpio is comfortable to use. Scorpio 17’ has great full functionalities.It also has a vertical compensation function which is very practical, whether it is from distance to close, or from top to bottom, you can always get a smooth camera movement.Thanks to Mr. Liu Yin & Mr. Xiao Li for accepting NiceFilm Tech’s special interview. NiceFilm Tech is a reseller of a full range of Scorpio electronic telescopic cranes and stabilized heads. If you want to purchase, lease, or need a quote or technical advice, please contact us!聲明：轉(zhuǎn)載此文是出于傳遞更多信息之目的。若有來源標(biāo)注錯(cuò)誤或侵犯了您的合法權(quán)益，請(qǐng)作者持權(quán)屬證明與本網(wǎng)聯(lián)系，我們將及時(shí)更正、刪除，謝謝。
文/NiceFilm Tech. 來源/影視工業(yè)網(wǎng)（ID：iloveCineHello）
原文：https://mp.weixin.qq.com/s/uM6BZmO_xyD99hS6Aaq2Ng
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