這是ㄧ篇與各位攝影指導分享的文章,基於台灣的攝影團隊跟國外的拍攝團隊有越來越多的趨勢,我發現此文章有幾個特點是值得關注的, 為了保持內容的完整, 我將原文轉載入下, 有些特別的資訊會以藍字標出, 有些來自我個人的見解, 我會以紅字標出....宏達
WOLF TOTEM 狼圖騰
by Jean-Jacques Annaud
Production China Film Co., LTD / REPERAGE
Cinematography : Jean-Marie Dreujou AFC
攝影指導網站介紹 Jean-marie-dreujou.comProduction China Film Co., LTD / REPERAGE
Cinematography : Jean-Marie Dreujou AFC
Adapted from Jiang Rong’s best-seller in China, the shooting of Wolf Totem has just finished. The movie has been shot for 3D in China. Cinematographer Jean-Marie Dreujou AFC talks about his experience with Angénieux lenses on the movie :
2014 電影狼圖騰介紹 http://movie.mtime.com/112443/
來自中國暢銷書改編而拍攝的主流電影, 這種製作模式之後應該越來越多.
此電影將在 2014 年上映.
來自中國暢銷書改編而拍攝的主流電影, 這種製作模式之後應該越來越多.
此電影將在 2014 年上映.
Please tell us about the shooting and your Chinese experience :
JMD : Wolf Totem is my second chinese movie experience. I shot in 2001 “Xiao ai feng “/” Balzac and the little chinese Seamstress” of Dai Sijie. For this movie, I used a 25-250 HR that I mixed with a Zeiss serial Distagon. We were, by that time, 4 french people to make this movie, entirely in Chinese. Wolf Totem is my forth movie with Jean-Jacques ANNAUD, it takes place in 1969. A young student coming from Beijing is sent in Central Mongolia, in a tribe of nomadic shepherds. In this infinite, hostile and vertiginous country, he will learn a lot about community, freedom, responsibility and also about the most frightening but venerated creature of the steppes.. the wolf !
攝影指導與中國攝影團隊拍攝頗有淵源.
What about the mixing of the teams ?:
JMD: I shot all over the world, I already found myself alone to shoot in a foreign team. Presently, we have 450 persons in the team, 9 of whom are French. The image team is made up of 27 technicians on camera, 17 on machinery, 19 for electricity, one translator… because only my Chinese gaffer speaks English. Thanks to the cinema language being universal, and to the technicians skills, we always manage to understand each other. Denis Scozzesi, my Head Rigger accompanies me. His skill and our complicity are essential to coordinate every camera movement.
攝影的專業拍攝, 只要是專業的養成,其實是不太受語言的限制.
What are the equipment you use on the shooting ?:
JMD : I shoot with 5 cameras !: (3) 2D cameras and (2) 3D cameras. I use a Screenplane for 3D cameras, on which I set either 16-42 3D packs or 30-80 3D packs. On 2D cameras, I mainly use Angénieux zoom.: 15-40 & 45-120, 24-290 & 28-340. We shoot about ¼ in native 3D and ¾ in 2D. The movie will then be entirely “spacelized” to go out on cinema screens in 3D.
本部電影 ¼ 由 3D拍攝完成, 3D攝影系統使用鏡頭: Optimo DP 16-42mm Zoom , Optimo DP 30-80mm Zoom.JMD : I shoot with 5 cameras !: (3) 2D cameras and (2) 3D cameras. I use a Screenplane for 3D cameras, on which I set either 16-42 3D packs or 30-80 3D packs. On 2D cameras, I mainly use Angénieux zoom.: 15-40 & 45-120, 24-290 & 28-340. We shoot about ¼ in native 3D and ¾ in 2D. The movie will then be entirely “spacelized” to go out on cinema screens in 3D.
本部電影 ¾ 由 2D拍攝完成, 2D攝影系統使用鏡頭: Optimo 15-40mm Zoom , Optimo 45-120mm Zoom , Optimo 24-290mm Zoom , Optimo 28-340mm Zoom.
JMD : I liked to use the new 28-340 on Wolf Totem with the Angenieux 2x extender. I appreciate its very homogeneous optic quality. When I started as an operator, I frequently used Panavision lenses such as 24-275, with a 2.8 aperture, which was an enormous advantage when shooting in 35 argentic mm. I alternated this lens with the Angénieux 25-250 HR which had an inferior aperture. I used the 24-290 Optimo as soon as it came out, as it exactly matched my need in term of quality of skins and in colorimetry. It was for me the ideal lens. I also found these qualities, of course, with the 28-340, as well as with the lightweight Optimo 15-40 & 45-120. I could switch from a fixed camera with long focal to a shoulder camera with harmony. My shooting method is really focused on that. I usually mix with Cooke S4 and it works very well because I find the same quality.
說明早期由使用 Panavision 轉到 Angénieux 的由來, 強調 Optimo 28-340mm 優質影像的表現, 與Cooke S4 非常搭配.
Concerning cameras, what do you use ?:
JMD: In 2D I shoot with some ALEXAS, and in 3D, with RED. I register in RAW, so that we quickly link the two systems. Olivier Garcia accompanies me. He has set up a laboratory on site and fixes all the issues. We also link quickly, thanks to Angénieux lenses.
JMD: In 2D I shoot with some ALEXAS, and in 3D, with RED. I register in RAW, so that we quickly link the two systems. Olivier Garcia accompanies me. He has set up a laboratory on site and fixes all the issues. We also link quickly, thanks to Angénieux lenses.
本部電影2D攝影系統使用: Alexa
本部電影3D攝影系統使用: Red
According to you, to what does this Angenieux distinctiveness come from ?
JMD: to a very good manufacturing quality. With the Alexa associated to OPTIMO, I can find exactly what I obtained with argentic. The mixing is bluffing !
How do you make your technical choices according to the constraints ?:
JMD: I often have a camera on a crane and two others on travelling or slider, with the zoom lenses. We can quickly choose adapted focal, especially when we have to catch the looks of our wolves. The difficulty comes from the fact the movie takes place over several seasons. In Mongolia, going from one to the other is visible daily. The yellow quickly turns from brown to green (between winter and spring) and from green to brown (between summer and fall).
The second difficulty remains in following the evolution of a small wolf (one character of the movie) from its birth in April until the beginning of fall. We created a complex work plan in order to conciliate those two constraints. Andrew Simpson has raised 16 wolves, whose 4 youngest were filmed for the main role. We started to shoot very wide plans, in summer of august 2012, with a very small team, in very isolated spots in Mongolia – which could not fit the whole team. Then, we shot a complicated winter stage : wolves attacking horses in the night and a blizzard. It was terrible, but men and equipment resisted ! When the little wolves were born in April, the shooting went on. Two more cuts have again been necessary, in order to let them grow up and also to respect the season’s evolution. We are now starting the winter’ stage shooting, in the cold and snow.
以不同的拍攝地點,氣候與環境的技術分享.JMD: I often have a camera on a crane and two others on travelling or slider, with the zoom lenses. We can quickly choose adapted focal, especially when we have to catch the looks of our wolves. The difficulty comes from the fact the movie takes place over several seasons. In Mongolia, going from one to the other is visible daily. The yellow quickly turns from brown to green (between winter and spring) and from green to brown (between summer and fall).
The second difficulty remains in following the evolution of a small wolf (one character of the movie) from its birth in April until the beginning of fall. We created a complex work plan in order to conciliate those two constraints. Andrew Simpson has raised 16 wolves, whose 4 youngest were filmed for the main role. We started to shoot very wide plans, in summer of august 2012, with a very small team, in very isolated spots in Mongolia – which could not fit the whole team. Then, we shot a complicated winter stage : wolves attacking horses in the night and a blizzard. It was terrible, but men and equipment resisted ! When the little wolves were born in April, the shooting went on. Two more cuts have again been necessary, in order to let them grow up and also to respect the season’s evolution. We are now starting the winter’ stage shooting, in the cold and snow.
How do you manage between prime lenses and lenses ?:
JMD : I use very few prime lenses. Generally speaking, since we have 15-40 and 45-120, I almost don’t use them anymore.
攝影指導自從使用了Optimo 15-40 and 45-120,就幾乎不用單鏡頭了.JMD : I use very few prime lenses. Generally speaking, since we have 15-40 and 45-120, I almost don’t use them anymore.
But yet, OPTIMO lightweight are not the most used in China vs Europe or United States…
JMD: This is evolving quickly ....my Chinese team has immediately seen that those lenses are of high quality .
Optimo 15-40 and 45-120 在中國雖然不常用,但這次中國攝影劇組立即看見這些鏡頭的高品質表現.
Your next plans ? :
JMD: Some more adventures, as nice as : «Wolf totem» !
攝影指導希望拍攝更多類似«Wolf totem»的電影.
JMD: Some more adventures, as nice as : «Wolf totem» !
攝影指導希望拍攝更多類似«Wolf totem»的電影.
