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《黑暗恐怖故事》里的怪物是怎么做出来的

How The 'Scary Stories To Tell In The Dark' Monsters Were Created | Movies Insider

Narrator: What makes”Scary Stories to Tell in the Dark” so,
是什么使《黑暗恐怖故事》如此恐怖
well, scary are the monsters.
其实恐怖的是那些怪物
The disfigured Jangly Man and the bulbous Pale Lady
丑陋的咆哮人以及圆滚滚的苍白女
look as if they’ve been simply lifted from the’80s children’s books and dropped onto the big screen.
就像是从80年代孩子们的故事书中直接跑到了荧幕上
But getting those creatures from 2D to 3D was no simple feat.
但把那些可怕的生物从2D转化为3D并非易事
To do it, producer Guillermo del Toro
为了实现这个目的 制片人Guillermo del Toro
and director André Øvredal enlisted the help of Spectral Motion.
和导演Andre Ovredal找到了制作公司Spectral Motion
Through a process of sculpting, painting,
通过一步一步雕塑 绘画
and careful scrutiny of the original images,
并仔细检查原始图像
here’s how the monsters for”Scary Stories” came alive.
把恐怖故事里的怪物变成“活的”
This is Mike Elizalde, president and creative director of Spectral Motion.
这位是Mike Elizalde 特效制作公司的总裁兼创意总监
You’ve seen their work.
大家一定都看过他们的作品
Mike Elizalde: The film that we’re known for is”Hellboy.”
我们的成名作是《地狱男爵》
Since then, we’ve done several other high-profile films,
之后我们还制作了其他几部备受关注的电影
including”X-Men,””Fantastic Four,””Attack the Block.”
包括《X战警》《神奇四侠》和《街区大作战》
We worked on the first season of”Stranger Things.” Narrator:
我们参与了《怪奇物语》第一季的特效制作
For” Scary Stories to Tell in
为了拍摄《黑暗恐怖故事》
the Dark,” del Toro picked Spectral Motion
del Toro选中了Spectral Motion这家特效制作公司
to bring the book’s iconic images to life. Now,
由他们将书中经典角色“复活”到荧幕上
usually, when creating characters
通常 从现有资源里创造角色
from an existing source, like in the case of”Hellboy,”
就拿《地狱男爵》来说
his team would have hundreds of illustrations
他的团队有数百张插画
to inform their designs.
作为设计参考
But for”Scary Stories,” in most cases,
但对于《黑暗恐怖故事》 多数情况下
they had only one illustration by artist Stephen Gammell. So,
他们仅有画家Stephen Gammell绘制的一张插图
to start, Spectral enlisted special-effects designers
所以 一开始 制作公司请来特效设计师
Mike Hill and Norman Cabrera to help bring the monsters to life.
Mike Hill和Norman Cabrera帮助他们把怪物“复活”
Mark Viniello: He was very vocal about, you know,
他直言不讳地表达自己对美术设计的意见
the art direction, and we would constantly send him updates.
我们会持续把更新的内容发送给他
But what I recall is the first edict was
但我记得第一条准则
they have to be as true to the source material as possible. Like,
是必须尽可能地忠实于原著
that’s bottom line.
这是我们的底线
They have to be a representation of that original art. So,
他们必须尽力还原原著
we had the pictures everywhere as a constant reminder
所以我们在工作室里贴满图片
to everybody, like, this is what we’re going for.
不断提醒我们 这是我们的目标
Norman Cabrera: You have one picture per story,
每个故事只有一张图
but they were just such great, strong, iconic single images
但每一张都非常经典 极具张力
that it was just really important to capture that feel. Narrator:
所以抓住那种感觉非常重要
One of the first things they had to decide was what type of creature
他们首先要决定的事情之一是
they were going to make
制作什么类型的怪物
Instead of making puppets,
不同于制作木偶
Spectral Motion wanted each one to be a performer,
特效公司要求每一个怪物都能由真人表演
which dictated how they would create the character. Cabrera:
这影响了他们如何制作角色的方法
We would literally take the drawing,
我们将Stephen Gammell的插画
the Stephen Gammell drawing, and in Photoshop, like,
放到图片编辑工具PS中
lay it over to make sure that all the lines
将原图覆盖到设计图上
are right where they should be and that sort of thing. Narrator:
确保每一条线都能对上
But these characters are gonna be in 3D.
但这些角色将会以3D形式呈现
In the case of the Scarecrow design,
就拿稻草人来说
Norman created a digital art version in this program, ZBrush, to start designing the angles
Norman在ZBrush软件中创造了一个数字艺术版本
not captured in the illustration.
来设计插画中没有捕捉到的角度
But the most important thing was to nail the front shot.
但最重要的是还原插画的正面图像
Once they got approval from del Toro and Øvredal,
一旦得到del Toro和Ovredal的同意
they finished a more detailed sculpt, made a mold,
他们便完成更细节的雕刻 制作模型
and filled it with foam latex.
然后用乳胶填充
The pieces are designed to fit specific actors.
这些部件都是为特定演员设计的
In some instances, the actor’s physicality directly informs
某些情况下 演员的身型
the look and feel of the character they were playing.
直接影响了角色外表和给人们的感觉
The Toeless Corpse, for example, was played by Javier Botet,
比如无趾女尸的扮演者Javier Botet
who’s worked with del Toro on”Crimson Peak” and”Mama.” Viniello:
他在《猩红山峰》和《尸人保姆》中和del Toro合作过
Javier Botet is an incredible creature-suit performer.
Javier Botet是绝佳的怪物装表演者
He has very unique physical characteristics
他独特的身型特点
that we were able to, starting with that as our foundation,
使我们可以以他的身体做基础进行制作
really helped in the translation from a 2D drawing into something 3D. Narrator:
这对从2D到3D的转换有很大的帮助
Another creature actor, Troy James,
另一位怪物演员Troy James
who played the Jangly Man, brought a new level
他在影片中扮演了咆哮人
of physicality that required more attention because of the amount
他的角色需要做许多扭曲弯折的动作
of bending and twisting the character had to do. Viniello:
他的表演为该角色增色不少
We had some new ground to break,
我们要克服新的困难
as far as having him come in maybe a little more frequently
比如说 与一般情况相比
than we normally would for a creature suit
他需要更加频繁地试穿怪物戏服
because of the unique physicalities of the character and how we had to work around that. So,
因为我们必须对这个角色特殊的肢体动作进行处理
it’s just a matter of having the actors available
所以我们要打造一件
to come in repeatedly.
穿脱容易的戏服
And we’ll put him in the suit and we’ll take video.
然后让他穿上怪物服装拍摄视频
We’ll see, OK, this is working, this isn’t.
看看哪里好哪里不好
We’ve got to address this. Narrator:
再修改不好的地方
I want to point out
我要强调的是
that these moves are not done with wires or CGI.
这些动作不是靠威亚或者CGI来完成
He can really move like that. Elizalde:
他真的可以像这样移动
When we first learned about
当我们第一次了解到
what the Jangly Man had to do,
咆哮人要做什么之后
we started scratching our heads and asking each other,
我们绞尽脑汁 互相问
“Who’s gonna play this character?”
由谁来演这个角色呢
And then we became aware of an actor named Troy James,
随后我们注意到一位叫Troy James的演员
who had done a spot on”America’s Got Talent,”
他曾在《美国达人》上表演过
and we took a look at his work and we thought:
看了他的表演之后
“He’s the guy. This guy can do anything.” Narrator:
我们觉得就是他了 他无所不能
Once in costume, the next stage was painting.
穿上怪物服 下一步就是上色
Both the suits and the performer’s skin were painted with acrylics.
戏服和演员的皮肤都要涂上丙烯颜料
This stage had its own set of challenges.
这一步颇具挑战
For the Pale Lady,
比如苍白女
del Toro and Øvredal wanted it to appear
del Toro和Ovredal要求呈现出
as if the creature’s dress had merged with her skin.
服装和皮肤融为一体的效果
To do so, Mike Hill had to create a smooth paint job
为此 Mike Hill必须要非常小心
void of any garment lines on her skin. Cabrera:
不能有衣服的痕迹出现在她皮肤上
It was really cool.
这太赞了
I know Guillermo was particularly happy with this one,
我知道Guillermo对这个形象尤其满意
because it was such a large and,
因为它很庞大 也很具体
not abstract, but, you know, it’s one of those things
这是一个值得欣赏的作品
that could be widely interpreted, like, what you’re looking at.
就像你看到的那样
Stephen’s drawings, they have a sketchy vibe to them,
Stephen绘制的插图都是粗略的
so not every line is realized, so to speak,
可以说 不是所有线条
you know, in the real world. Narrator:
都能在现实中找到对应
The Pale Lady costume
苍白女的戏服
had to be put on almost like a giant snowsuit.
像一件巨大的防雪装
Once in, to create the seamless look,
穿好之后 为了呈现服饰的无缝连接
they glued up the seams and painted over them. Now,
他们将有缝隙的地方粘合 在表面着色
keep in mind, these are black-and-white drawings.
要记住 这些都是黑白画中的怪物
For a character like the Toeless Corpse, they chose a color palette
像无趾女尸这个角色 他们采用了一系列色彩
to give her a”nicotine-stained” feel,
例如采用了褐腐色以及大地色系
using rotted browns and earth-toned colors.
给她塑造出一种烟熏色调的感觉
They also had to tackle the challenge
他们还有另一个难题要解决
of giving this character’s face a skeletal look.
就是让这个角色的脸部看起来像骷髅
To do so, they added pronounced teeth
所以他们加上了一圈外露的牙齿
outside the actor’s mouth,
突出到嘴唇之外
a technique used for zombies on”The Walking Dead.”
这是在《行尸走肉》里用过的技术
They painted a majority of the actor’s body and covered him
演员身体大部分涂上了颜色 他几乎被颜料覆盖了
with almost 30 individual applications
人们用了大约30块材料
to create the finished look.
才呈现出最后的样子
But the one thing crucial to the design required a missing toe.
最关键的是 这个角色缺少一个脚趾
So Spectral designed a foot that would be finished later in post-production.
所以Spectral Motion做了一个后期可以P掉的脚趾
The hair for those two were custom-made wigs by Lynne Watson.
这两个角色的假发由Lynne Watson制作
She’s done costume hair work for”Planet of the Apes,”
她曾和《决战猩球》《独行侠》
“Lone Ranger,” and my personal favorite,
以及我个人最喜欢的
“Team America: World Police.”
《美国战队:世界警察》合作过
Each wig took over three weeks to make
每个假发耗时三个星期
and are both made with human hair.
它们都是由真发制成的
When designing the Scarecrow, Cabrera and the team asked:
在设计稻草人时 Cabrera和他的团队问道
What would farmers in the world of this movie
电影里那个世界的农民
make a scarecrow out of, and how well
会用什么材料来做稻草人呢?
would they have built it?
他们能做成什么样呢?
They decided to give the Scarecrow a look
他们决定给稻草人做一个
as though it had a 2-by-4 skeletal frame
2×4的骨骼框架
and was completely beaten up by the elements.
并做出被狂风暴雨摧残的效果
For the Jangly Man,
咆哮人的身体
the character made up of different limbs and body parts,
由不同生物的肢体和身体部位组成
each segment of the creature would therefore have different levels of rot. So,
因此他身体的每个部分腐烂程度不同
although several designers all worked on this one suit,
所以 即使设计师要共同完成这套戏服
they would each work on various limbs separately,
他们也要单独琢磨不同肢体部位
focusing on a unique level of rot.
应该有怎样的腐烂效果
Del Toro would visit and guide the artists
Del Toro会参观并指导设计师们
on how rotted certain parts would be and how they should look.
调整某些部位的腐烂程度和戏服的外观
Once they were in the suit, painted up, detailed,
演员穿上戏服之后就开始着色 完成细节部分
and ready to shoot, the final step
然后准备拍摄
was getting the movement of the characters right.
最后一步是让演员的动作到位
Along with the direction of Øvredal and del Toro,
除了邀请Ovredal和del Toro来指导拍摄
production hired motion coaches to develop the performance.
制片方还请来动作指导设计演员的动作
The actor, director, and even the creature designer
演员 导演和怪物设计师要齐心协力
would all work together to give the monster that perfectly terrifying presence on camera. Cabrera:
才能最终在镜头前呈现出非常可怕的怪物
It is like a Dr. Frankenstein kind of thing,
这有点科学怪人的感觉
you know? Like, you’re making a monster.
就好像你在创造一个怪物
This thing has to live.
这个怪物是活的
And even though it’s not living in real life,
即使在现实中他根本不存在
it’s living in a movie. So,
但电影里他是活生生的
you’re taking this from nothing
所以 要把现实中
that didn’t live before, and now it’s alive.
不存在的怪物做成“活的”
And that’s, like, a great feeling
这是一种美妙的感觉
when you finally see it on film and it’s this living,
你最终看到这个怪物出现在荧幕上 如此逼真
breathing thing that’s convincing
在激动人心的故事情节里
’cause it’s in the dramatic context of a movie.
人们相信他的存在
And that’s the best reward there is.
这就是最好的回报

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视频概述

该视频讲述了恐怖片里那些令人毛骨悚然的怪物形象是如何制作出来的,制作团队精湛的技术和一丝不苟的精神,为我们创造了一个又一个可怕的角色。

听录译者

收集自网络

翻译译者

Spencer

审核员

审核员BY

视频来源

https://www.youtube.com/watch?v=BotW2MLTvTk

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