评论
打印
Hi, my name is Tony and this is a quick Every Frame a Painting.
大家好，我是托尼，这里是一期简短的电影艺术评价。
One of the best compliments you can give a movie is that it just feels alive.
对一部电影最好的赞美之一就是“它很生动”。
There's something in there that has a pulse, that's unpredictable.
就好像电影里的什么东西存在脉搏，让人无法预测。
It's not just the story or the actors, it's in the frames themselves.
这不仅仅是指故事或演员，还有画面本身所具有的活力。
Consider this short scene from Nicolas Winding Refn's "Drive".
想想尼古拉斯·温丁·雷弗恩的《亡命驾驶》中的这个小片段。
At first glance, it doesn't seem all that special.
乍一看，它似乎并没什么特别之处。
But check this out.
但让我们这样做。
Cover up half the frame.
遮住一半的画面。
Notice that the right side of frame tells an entire story about these characters on its own and the left side tells another complimentary story.
请注意，右侧画面已经讲述了主角的全部剧情，而画面左侧还提供了其它一些内容。
So a shot that could have told one thing actually tells two.
本应涉及主线剧情的画面实际上还提供了一条支线。
And instead of being bored, our eyes are constantly switching between the two halves of the screen.
因此我们不会感到无聊，而是不断地在屏幕的左右两部分之间移动目光。
This time, the dynamic isn't left and right, but top and bottom.
与刚刚的左右切分不同，这个场景通过上下切分展现出了动态感。
-Hi.
-嗨。
-Hi.
-嗨。
-Oh you two know each other.
-哦，你们两个认识。
-Don't.
-别。
Up here, we have a beautiful triangle of faces, and a composition full of vertical and diagonal lines.
在这里，三个人的位置形成了美丽的三角构图，背景中存在大量垂直线和对角线。
But check out what's happening below.
但看看下面这部分发生了什么。
Even though we're not consciously thinking about it, the bottom half of this frame tells an entire story through the hands of the actors.
在我们没关注到的地方，演员通过他们的手部动作讲述了一个完整的故事。
-Oh you two know each other.
-哦，你们两个认识。
-Don't.
-别。
-Oh look at that.
-哦，你看看你。
-We're neighbors.
-我们是邻居。
-Neighbors?
-邻居？
-Very good.
-真好。
-Well, we'll try to be neighborly, too.
-好吧，我们也会试着和睦相处的。
And when we say a film is alive, this is part of what we mean.
我们说一部电影很生动，这就是原因之一。
There are subtleties of storytelling and behavior not just where we look, but where we don't look.
剧情的细节和角色的行为都存在微妙之处，无论是我们关注的地方，还是关注不到的地方。
And as you watch Drive you start to see the pattern.
《亡命驾驶》中存在很多类似构图。
Almost every shot has a compositional balance between left and right, and also top and bottom.
几乎每个画面左右或上下的构图都是平衡的。
A quadrant.
四分构图法。
At first, this might seem restrictive.
乍一看，这似乎有很强的限制性。
But using this basic tool, watch how the director takes a conventional scene and does unconventional things.
但让我们看看导演是如何利用这个基本的方法，让普通的场景充满活力的。
As the Driver enters, he's up in the top-left, so naturally we assume the next shot will have the other person in top-right.
男主进入画面时，他的头部在左上角，所以我们自然而然地认为下一个角色会从画面右上角出现。
But instead...
而实际上……
Once the shots move closer, we get two characters short-sided like this with tons of space behind them.
一旦镜头拉进，我们会看到两个角色都只占屏幕的一边，他们身后的背景占了很大一部分画面。
Even though they want to talk...
即使他们表示想谈谈心……
There are other obligations.
但各自还有其它事情要做。
Once the two men confront each other, notice they occupy the same quadrant, with their eyes in the same spot because they're fighting for the same position.
这两个男人开始对峙时，他们在画面上处于相同的位置，眼睛也在相同的位置上，因为他们在为同一个位置而战。
Meanwhile, Irene is framed top-right or dead-center, the object of their affections.
与此同时，女主角艾琳会出现在画面右上角，或是画面正中心的位置，作为两个男人的情感对象。
Even though she's out of focus, watch her performance.
虽然她不是这一幕的主要人物，但看看她的表演。
-That's very nice.
-那太好了.
-That's nice of you.
-你人真好。
-Thank you.
-谢谢。
The scene finally pays off in this image, balanced between top-left and bottom-right, letting us visually compare the two men and see the long shadow one casts towards the other.
这一幕最后以这样的构图结束，在画面左上角和右下角之间保持了平衡，我们可以把注意力放在这两个人身上，他们的影子彼此交错。
Even though we've seen this exit door since the first shot of the scene, the visual payoff is actually unexpected.
这一幕的第一个镜头就已经拍到了这个出口，但最终呈现出来的视觉效果是让人意想不到的。
And the director, by emphasizing different quadrants, can create shots that are both tightly composed and weirdly unpredictable.
导演通过强调不同象限的构图，创造出了画面紧凑又十分出人意料的镜头。
-All these priceless cars.
-这些车价值连城。
-One would think you'd have better locks.
-还以为你的锁很难开。
If you enjoyed this, feel free to play around with quadrants.
如果你喜欢这种象限构图，可以亲自试试。
They're a very old simple tool.
这是一种非常质朴的拍摄手法。
And you shouldn't copy Refn, just start with the same toolbox and see what you come up with.
你不需要模仿雷弗恩，只要利用相同的构图手法，看看你会得到怎样的画面。
Remember, you don't need steadicams or cranes or drones or the latest 4K whatever.
记住，你不需要画面稳定器、摇架、无人机或最新的4K摄影机。
You need top, bottom, left, right, and the good sense for how to put them all together.
你只需要上、下、左、右，以及创造完美构图的强大直觉。
