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These are the 61 scene changes in the screenplay for the movie 1917.
这些是《1917》剧本中的61个场景。
Almost every single one is labeled “continuous”.
它们几乎被被贴上了“一镜到底”的标签。
That’s because this movie is two hours of what appears to be one long, uninterrupted shot.
因为这部时长两小时的电影看上去就像是一个漫长而不间断的长镜头。
One-shot films like this are a stunning accomplishment of coordination and timing.
这种一镜到底的电影堪称是协调与时机完美衔接的成果。
And when done right, they make a movie feel like it’s unfolding in real time.
如果处理得当，就会给人一种故事是在实时展开的错觉。
But, of course, 1917 isn’t really one shot.
当然了，《1917》并不真的只有一个镜头。
The movie jumps between scenes shot all over the United Kingdom.
这部电影在英国很多地方都取了景，所以整部电影是在各个场景之间切换的。
They’re stitched together to look continuous.
只是将它们拼凑到了一起，让它们看起来像连续的一样。
A lot of that editing wizardry happens thanks to some extensive CGI.
这些剪辑魔法有很多都是靠大量的CGI实现的。
But it also relies on some basic tricks that have been around for over 70 years.
但也运用了一些70多年前电影圈就已经在用的一些基本转场技巧。
And it all starts right here…with a suit jacket.
而这一切…都要从一件西装外套说起。
When critics reviewed Alfred Hitchcock’s 1948 movie Rope,
影评人士点评阿尔弗雷德·希区柯克1948年执导的《夺魂索》时，
they described it as a movie that “introduces a new method of film-making
声称这部电影“引入了一种新的电影拍摄方法，
in which all cuts, dissolve, fade-outs, and other breaks in filming continuity have been eliminated.”
这种手法淘汰了之前使用的溶解、淡出等所有转场手法。”
That shooting plan is clear from the very first page of the script: “The action of the story is continuous.”
剧本的第一页就清楚地交代了这部电影的拍摄方案：“故事的动作要连续。”
That’s because Rope is based on a play.
这是因为《夺魂索》是根据戏剧改编的。
Having no visible edits would make the movie feel like it was playing out in real time, just like the play does.
隐去剪辑会让电影给人一种故事在实时上演的感觉，就像原来的戏剧一样。
But there was one problem.
但有一个问题。
The cameras at the time could only hold a thousand feet of 35mm film — or about 10 minutes of recording.
当时的相机只能容纳1000英尺的35mm胶片——换句话说就是拍摄只能持续10分钟左右。
Which meant that the filmmakers couldn’t just let the camera run.
这就意味着导演没办法让摄影机一直拍下去。
They had to find a way to hide cuts when they changed film rolls.
所有他们必须想办法把换胶片产生的剪辑工作隐藏起来。
This is what they came up with.
这就是他们想出来的办法。
The camera dollies in on a dark surface — like this jacket, and one color obscures the entire frame.
将摄影机对准一个深色表面，比如这件外套，推近拍摄，确保整个画面只有一种颜色。
Then the camera cuts, a new shot begins, and the camera dollies back out — creating the illusion of continuity.
然后暂停拍摄，开始拍摄新镜头，将摄影机退回原位，从而创造一种镜头连续的错觉。
Rope contains 10 edits over the course of 80 minutes.
时长80分钟的《夺魂索》其实包含了11个镜头。
Those transitions alternate between hard cuts and hidden cuts with matching colors.
镜头与镜头之间的过渡既有肉眼可见的硬剪辑，也有用相近颜色拼凑的隐性剪辑。
Transitions like this might look really obvious today.
这些转场现在看起来或许还挺明显的。
But it’s basically the same trick used here in Creed.
但其他电影使用的基本也是这一手法，比如《奎迪》。
Here in Birdman.
比如《鸟人》。
Here in Children of Men.
比如《人类之子》。
And here in Snake Eyes.
再比如《蛇眼》。
But if a camera is moving sideways, that color block doesn’t even have to take over the whole frame.
但如果摄影机是横向拍摄的，那么那个（遮挡镜头的）色块儿就无需占据整个画面了。
That is trick number two.
这就涉及到了第二种转场手法：
By putting together two similarly timed shots where an object passes in the foreground, editors can stitch two shots together.
剪辑师可以通过将两个时间较为吻合且都有物体在前景部分通过的镜头衔接到一起的方式实现转场。
Like in this long take from Children of Men — which is actually made of six different shots — where a dark car frame helps transition from one shot to another.
比如，《人类之子》里的这个长镜头——其实是由六个分镜头合成的——就是用黑色的车框帮助完成镜头之间的过渡的。
But if you speed up the camera movement a little bit, and you get a different kind of hidden cut.
但如果我们稍稍加快镜头摇动的速度，我们还能得到另外一种隐性剪辑手法。
In a whip pan, the camera moves so fast that the image becomes blurry.
快速摇摄时，由于镜头摇动速度很快，图像就会变得模糊。
By cutting from one shot to another right as the movement is at its fastest point, you can make two shots look like one.
在镜头摇动最快的瞬间进行镜头切换，也能让两个镜头看起来像一个镜头。
That’s how this scene from 1998’s Snake Eyes moves from one shot — to another — in what looks like a seamless take.
《蛇眼》（1998）中的这一幕就是利用这种手法从一个镜头切换到了另一个镜头，却让它们看起来像无缝衔接的一个镜头一样的。
So what does it look like when you put all of these tricks together?
那么问题来了，拍摄时将这些转场手法都用起来的电影会是什么样呢？
Well this shot from Spectre, the 2015 James Bond movie, starts out in a busy square in Mexico City,
2015年上映的007系列电影《幽灵党》里的这个镜头是从墨西哥城一个熙熙攘攘的广场上开始的，
it uses CGI and motion blur to transition to a shot filmed in a hotel a few blocks away,
接着，电影利用CGI技术和运动模糊这一转场技巧将镜头过渡到了几个街区外的酒店里，
then a color match from this black jacket to transition into a studio set near London,
又借助这件黑外套和颜色匹配的转场技巧将镜头推到了伦敦附近的一个摄影棚，
and a foreground object to take us back on-location in Mexico City.
最后又用前景遮挡将我们带回了一开始的墨西哥城。
But if the stunts get more complicated in a long take, you might have to do more than hide a cut.
但如果长镜头里的特技镜头比较复杂，那你要做的就不止是隐去剪辑了。
You might have to hide an actor.
你可能还得把演员都隐去。
That’s where the final trick comes in: the Texas Switch.
这也是我们今天要讨论的最后一个转场技巧：德克萨斯切换。
That’s when a performer and their double subtly swap places, which allows them to do stunts without cutting.
演员和他们的替身巧妙地换位，不切换镜头就能继续特技表演。
It’s how Captain America runs so fast…
正因为如此，美国队长才能跑那么快，
And how Dorothy changes colors.
多萝西的衣服才会变颜色。
All without the camera cutting.
还都不用切换镜头。
Filming digitally and using CGI means that we actually can capture entire movies in one true take, with none of these classic tricks.
有了数字化拍摄和CGI技术，无需借助这些已成经典的转场技巧我们就能实现一镜到底了。
And there have been some stunning examples of just that.
目前已经有一些电影在这方面做得非常棒了。
But the limitations of early film gave us the techniques to tell even more ambitious stories by hiding cuts.
尽管如此，早期电影拍摄因为这样那样的局限性，才催生出了这些转场技巧，通过隐去剪辑来讲述更为激动人心的故事。
And you can probably still see where they’re hidden.
或许你还能看出它们隐藏的地方。
If you know where to look.
如果你知道去哪里找的话。
