《金刚川》是一部以抗美援朝故事为背景的战争题材电影，该片纪念中国人民志愿军抗美援朝出国作战70周年，讲述志愿军战士在战场与敌人英勇作战的故事。对于这样一部历史加战争题材的影片，《金刚川》的拍摄方式非常特殊。赶在影片火热上映之际，《金刚川》的摄影指导之一，同时也是国内电影工业化制作实践的先驱刘寅老师从拍摄的角度接受了我们的采访，作为其中之一的电子伸缩炮器材供应方，刘寅老师为我们分享了使用天蝎电子伸缩炮拍摄《金刚川》的幕后故事。《金刚川》讲的是什么故事？独特的叙事结构对您的拍摄提出了哪些要求？刘寅老师（以下简称刘）：《金刚川》讲的是一个关于抗美援朝战争的故事，影片分别从炮兵、步兵、空军等几个视角讲述了志愿军战士们在无比艰难的情况下，以血肉之躯与敌人拼搏作战的英勇事迹。《金刚川》看上去由几部分组成，但讲的是同一个故事，这几部分的制作就分配给了不同的导演来拍摄，我和郭帆导演拍摄的是空军视角这一部分。和《流浪地球》类似，我们在影棚里通过实拍加后期特效合成的方式拍摄了天空视角的外景戏，这是我们非常熟悉的制作方式了，它对现场控制有非常高的要求。您用到了哪些移动器材，想创作出什么样的视觉效果？为什么选择了天蝎17尺电子伸缩炮作为这次移动机械拍摄器材之一？刘：这部电影给我们的筹备时间并不长，用的器材都是我最熟悉的。这次用了两台四、五十尺规格的大型电子伸缩炮搭配减震头或遥控头，同时用了16米和8米的摇臂搭配三轴遥控头或者大疆的云台，这几年开始加入一些小型的电子伸缩炮，比如Scorpio 10尺。《金刚川》这次还用了一台全新的Scorpio 17尺，Scorpio 17尺用起来特别方便，承重也足够大，可以装我们的大机器使用。我们这次拍摄的内容都是天上的飞机素材，在棚里拍摄的时候地面上有一个6轴的震动平台，演员在道具飞机里完成表演，跟《流浪地球》拍摄时类似，所有的机位都会升空。我们的拍摄时间特别紧张，前期设计时就决定同时使用3到4个机位来提升拍摄效率。我们要完全在棚里的空间去模拟不同时期的室外光影效果，比如黄昏的时候、晚上、清晨等时间，操作上非常复杂。最难的问题也是摄影机与灯光的配合，因为我们要做很多移动光效，比如飞机在天上飞的时候一会儿有云一会儿没云，掉头转向或者机位拉伸之后光效都会发生变化，我们要在很短的时间内准确拍到我们想要的运动镜头。我们还用到了BOLT，我们最早的设计还包括把一个飞机模型放在机械臂上，然后飞机可以做各种各样的运动，摄影机装在BOLT上面，通过配合轨道移动来获得模型飞机姿态的变化，机械臂和摄影机同时运动，获得的数据用来给特效做参考。电子伸缩炮的机位是如何分配的？您用电子伸缩炮拍摄了哪些难忘的片段？其中对天蝎17尺这款电子伸缩炮有什么感受？刘：这么好的电子伸缩炮，当然是用来给摄影机使用，架灯光我们不舍得这么好的设备。我们用那么多摇臂类器材，其中有两台机械摇臂是用来放灯具的，工作人员来回推拉这些灯位造成光影的移动效果。放摄影机的伸缩炮和放灯的机械摇臂要密切配合，什么时间点移动都非常有讲究，此外还要在不穿帮的情况下拿到我们想要的光线角度。摄影机的运动反倒没有特别复杂的运用，印象有一个很复杂的360度旋转镜头。开始镜头从飞机的尾部跟着飞机一直前进，然后机位绕到驾驶员的一面，接着旋转运动，最后钻到飞机舱里面，这时候机位又变成一个往前看的主观视角，为了防止穿帮以及方便做特效，我们用蓝布把四周的背景以及设备都包了起来。实际上我们这次用的是全球第一台天蝎17尺电子伸缩炮，当时看到它时我觉得非常震撼，而且能用上全世界第一台Scorpio 17尺电子伸缩炮，我觉得特别荣幸。在此之前我也用过很多别的型号的Scorpio电子伸缩炮，最大的感受就是特别稳、特别结实，然后承重也够大，现场可靠性非常高，轻易不会出什么问题，用Scorpio的电子伸缩炮会觉得很有安全感。配上轨道以后，除了一些特别高的角度，平时我们使用率最高的摄影机运动用Scorpio17尺几乎都能完成。只要用到电子伸缩炮的时候，我都会搭配轨道一起使用，这样可以实现非常灵活的摄影机运动。刘：我跟我们的移动机械组一起合作拍了很多年戏，大家的默契度很高，不管是大型还是小型的电子伸缩炮对我们的拍摄来说没有太大区别，当然Scorpio 17尺在这其中是属于特别灵活的。比如音乐厅这样的场景，用到伸缩炮的时候我们要放很多东西，像四、五十尺的这种大型的伸缩炮一旦要改机位就要拆很多东西。我们一旦定了位置，就不会轻易挪动，重新布置现场要花很长时间，Scorpio17这样的尺寸就方便很多，三四个人就可以很快地完成带轨道的现场预置工作。对特效合成类的拍摄有什么感受？您如何看待中国的电影工业化制作？刘：是否使用特效方式拍摄，取决于每个导演的风格，像诺兰就喜欢实拍，实拍给现场演员和电影院里观众的感受都是不一样的。但如果讲方便或者可控性，棚拍肯定还是最安全的。我们这个团队很早就接触特效类的拍摄了，现在使用特效方式拍摄已经不像10年前是一件很神秘的事情了。目前我们所使用的拍摄方法已经非常熟练了，设计镜头以及先在虚拟棚里预演拍摄，这些流程都是我们一再验证过的有效方法，我认为这个流程一定会是特效量比较大的电影制作的最好生产方式，前期把所有需要精确准备的东西准备好，现场就只是复原，这样在时间、节奏上、甚至是机器运动以及光影结构上都会更加准确，最重要的是拍摄效率也提升了。您是怎么跟《金刚川》这部戏结缘的，是什么时候开始入行的？肖利：从2012年开始我就跟着刘老师一起拍电影了，一开始是领班，后来做移动器材摄影操作。刘老师对我非常照顾，也愿意给我机会，加上我自己也挺喜欢这个工作，一边实践一边学习，工作也越来越上手，后来就坚持一直做移动摄影操作这个工作了。Scorpio 17尺电子伸缩炮完全伸展的工作状态肖利：我自己独立操作电子伸缩炮大概是在2015年，当时使用的就是天蝎电子伸缩炮，是一款中大型的重型电子伸缩炮。一开始我非常担心，因为经验不足，怕出错误，但最后用下来发现并没有想象中的那么难，虽然尺寸很大，但它的操作非常方便，运动也非常灵活。之前接触的都8米、16米之类的机械类摇臂，但是这类机械式的机械臂不管是组装还是操作都没有电子伸缩炮方便。Scorpio17尺除了非常灵活，甚至可以代替Dolly轨道车，高低角度的操作都非常简单，这是机械类摇臂很难实现的。《金刚川》的拍摄是我第一次接触到天蝎17尺电子伸缩炮，它的稳定性比我用过的很多型号都要好，而且非常轻便，承重也很好，我认为比一些同级别的电子伸缩炮要灵活。这一次我们二十几天全在影棚里拍摄，没有电子伸缩炮根本就不可能完成这次拍摄任务。Mini Scorpio遥控头搭配Scorpio 17尺电子伸缩炮移动机械组在这部戏中扮演了什么角色？对天蝎17尺电子伸缩炮的人机工程设计有何感受？综合怎么评价Scorpio 17尺？肖利：我们一天最多到4台炮， 2台电子伸缩炮，两台普通的升降用来架灯，拍摄调度方面除了操作复杂一点，拍摄并没有什么问题，主要就是靠移动机械器材来完成的。现场的拍摄流程也实践过很多遍了，每天我们会提前到现场把大致的机位下好，刘老师再定机器的具体位置以及灯光的位置。像Scorpio 17尺这样的电子伸缩炮非常灵活，给我们的工作带来很大的便利，拍摄效率也比以前更高。Scorpio 17尺在100平左右的环境下使用非常适合，几十平的房间里也能进得去。同等的尺寸下，我感觉Scorpio 17尺比一些同类设备的使用要快捷很多。我们在现场也需要经常拆卸组装设备，有时候一天还要好几次，比起老式的机械摇臂，Scorpio 17尺不需要减臂，调整下机械臂的角度就可以移动机位了。Scorpio 17尺电子伸缩炮在不完全伸展时的工作状态综合来说，我个人对天蝎这个品牌的印象非常好，它非常清楚知道我们需要什么样的设备，用起来很顺手，Scorpio 17做得非常到位。Scorpio 17还有垂直补偿的功能，是非常实用的功能，无论是从远到近，还是从上到下都能得到顺滑的摄影机移动效果。
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!声明：转载此文是出于传递更多信息之目的。若有来源标注错误或侵犯了您的合法权益，请作者持权属证明与本网联系，我们将及时更正、删除，谢谢。
文/NiceFilm Tech. 来源/影视工业网（ID：iloveCineHello）
原文：https://mp.weixin.qq.com/s/uM6BZmO_xyD99hS6Aaq2Ng
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