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【聚光燈下】斯科特·希爾 In the Spotlight: Scott Hill 為了慶祝Lightworks歷史中的具有重要意義的一天（2012.05.29發(fā)布 宣布開源后的第一個(gè)正式版本11.0），Editshare的戴夫·沙普頓與一位熱心的Lightworks專業(yè)用戶——斯科特·希爾——進(jìn)行了對(duì)話。斯 科特·希爾使用Lightworks剪輯的影片包括《肥佬教授》（助理剪輯和特效剪輯）和《冒牌天神》（剪輯） To celebrate one of the most significant days in Lightworks’ history, Editshare’s Dave Shapton talked to Scott Hill, one of its most enthusiastic professional users. Scott Hill’s credits using Lightworks include The Nutty Professor (Assistant and VFX Editor) and Bruce Almighty (Editor). 問(wèn)：你是怎樣開始剪輯生涯的？從什么時(shí)候開始知道自己想成為一名剪輯師呢？ 答：我在高中時(shí)倒騰著拍一些電影，然后進(jìn)入了南加州大學(xué)的電影電視學(xué)院。 Q：How did you get started with editing? When did you know that you wanted to be an editor? A：I played around making films in high school. I attended USC department of Cinema/TV. 問(wèn)：你剛開始剪輯時(shí)是使用哪種設(shè)備？ 答：那時(shí)我們使用16mm膠片拍攝，然后在Moviola上剪切，我個(gè)人也做了些35mm的獨(dú)立項(xiàng)目。 Q：What sort of equipment did you work with when you started editing? A：We were working with 16mm film, cutting on Moviola. I did some independent projects using 35mm as well. 問(wèn)：你第一次使用非編的經(jīng)歷是怎樣的？ 答：當(dāng)時(shí)我在電視劇《法律與秩序》劇組工作，我們有一條CMX 600激光視盤編輯系統(tǒng)，與上一代技術(shù)相比，激光視盤讓人驚嘆不已：圖片質(zhì)量十分優(yōu)秀，每一面可以裝入長(zhǎng)達(dá)一個(gè)小時(shí)的內(nèi)容，許多人過(guò)來(lái)圍觀這臺(tái)“科幻”設(shè) 備，但卻遠(yuǎn)不及我們拿到一套Lightworks系統(tǒng)時(shí)來(lái)圍觀的人數(shù)！這檔節(jié)目是用電影膠片拍攝的，我再用Lightworks進(jìn)行數(shù)字轉(zhuǎn)碼將其做成電視 電影，記錄在3/4英寸的磁帶上。 Q:What was your first experience of using an NLE? A:I was working on the Law and Order TV series. We had a CMX 6000 Laserdisc editing system. Compared to the previous generations of technology, Laserdiscs were amazing: the pictures were pretty good and you could get as much as an hour per side. Lots of people came in to see this “science-fiction” device, but nowhere near as many as came in to see Lightworks when we got one! The shows were shot on film, telecine’d to ?” tapes, which I digitized into Lightworks. 我們會(huì)得到一臺(tái)Lightworks系統(tǒng)是因?yàn)槲宜淼募糨嫀熓撬闹С终?，同時(shí)相比激光視盤，Lightworks是一個(gè)快速但又自然的發(fā)展改進(jìn)。當(dāng)時(shí)我們真的有了全新的突破，我記得我們的硬盤是用3GB x 5的塔陣構(gòu)造的。 We got a Lightworks system because the editor I was assisting was a proponent of it, and it was a quick, natural progression from the Laserdiscs. We were really breaking new ground at Universal. I remember our hard drives were made of 3GB x 5 towers. 如今最讓令人驚嘆的是，除了數(shù)字化以外，在剪輯師們看來(lái)工作流程一點(diǎn)也沒(méi)有改變——唯一改變的就是正在快速變化的世界，我們也因此能夠接觸到更多的事物。 Amazingly, today, with the exception of digitising, the workflow from the editors point of view hasn’t changed at all - except that everything is so fast these days that we’re able to experiment much more. 問(wèn)：你第一次使用Lightworks剪輯的電影是哪部？ 答：我在《法律和秩序》劇組工作時(shí)，夏天會(huì)有一個(gè)休整期（美劇是9月至次年4月為一季，中間停播），所以我就去 找點(diǎn)別的活干了。我被雇去培訓(xùn)其他剪輯使用Lightworks，然后經(jīng)過(guò)相互接觸，我被邀請(qǐng)至基努·里維斯擔(dān)當(dāng)主演的《云中漫步》劇組工作，同時(shí)還有 《肥佬教授》劇組，該片也是我參與喜劇片制作的開始。 Q：What was the first film you used Lightworks on? A：When I was working on Law and Order, we had the summers off, so I could work on other stuff. I was hired to train other editors on Lightworks, and through the contacts I made I was asked to work on “Walk in the Clouds” with Keanu Reeves. I also worked on the Nutty Professor, which was the start of my association with the comedy genre. 問(wèn)：是什么讓你選擇了Lightworks而不是其他非編？ 答：Lightworks正是我所尋找的，能最高效地將故事搬到熒幕上的工具。它是一個(gè)出色的編輯器，同時(shí)也附 帶了制作特效必需的所有組件。我從不需要借助外部軟件來(lái)完成特效，Lightworks在這一領(lǐng)域的的能力超過(guò)了人們的想象——你不應(yīng)該低估它作為一個(gè)全 能后期軟件的能力。 Q:What is it about Lightworks that makes you choose it over other NLEs? A:Lightworks is simply the tool I have found to be the most streamlined way to put a story together on film. It’s a great editor but all the essential tools are available for VFX as well. I never go to external software. Its capabilities in this area are more than people would imagine - you shouldn’t undersell Lightworks’ abilities as an all-round post-production tool! 在膠片變成文件的這些年里也許技術(shù)發(fā)生了改變，但制作工序是相同的。我仍可以在Lightworks上進(jìn)行比在其他軟件上更快速的剪輯，這一點(diǎn)我已經(jīng)向許多人證明了，他們也表示了贊賞，特別是他們看到操控臺(tái)時(shí)（Lightworks的硬件控制面板） While the technology might have changed over the years as we’ve moved from Film to File, the process is the same - and I can still cut faster on Lightworks than on any other tool. I’ve demonstrated this so many times to so many people - and they love it - especially when they see the console (Lightworks’ hardware control surface). 問(wèn)：你作為剪輯師時(shí)的典型工作流程是怎樣的？ 答：第一件事是查看素材并估量下成色——目的是尋找精致的“寶石”。你通?？梢园l(fā)現(xiàn)導(dǎo)演從演員身上發(fā)掘出來(lái)的閃光點(diǎn)，而且不止一處。瀏覽所有的素材，然后找出能一下抓住你的或演員的某個(gè)瞬間或一個(gè)特別的鏡頭，再圍繞這些“金塊”來(lái)搭建場(chǎng)景。 Q：What would your typical workflow as an Editor be? A：The first thing you do is to look at the footage to evaluate performances - always looking for little “gems”. You can often find things that the director’s been able to get out of the actors; often more than one thing. Watch all the footage. Find what grabs you or the actors - maybe a performance or a specific shot - and then build the scene around those nuggets. 從技術(shù)層面講，Lightworks中所有素材的管理是極其簡(jiǎn)單的，所以當(dāng)我必須轉(zhuǎn)到別的系統(tǒng)工作時(shí)，我的助理會(huì)向上帝祈求讓我回到Lightworks! On a technical level, all the clip management in Lighworks is extremely simple. When I have to work on other systems, my assistants beg me to go back to Lightworks! 問(wèn)：那你覺(jué)得Lightworks還能像膠片時(shí)代一樣適用于今天基于文件的工作流程嗎？ 答：是的，必須的！ Q:And do you think Lightworks is as relevant now in the days of File-based workflows as it was with film? A：It is. Absolutely! 問(wèn)：你是否使用了Lightworks的高級(jí)功能比如多機(jī)位？ 答：我經(jīng)常使用這個(gè)功能，從《肥佬教授》一直到今天。通常每個(gè)鏡頭都會(huì)有兩到三臺(tái)攝影機(jī)記錄，因?yàn)槟銢](méi)有機(jī)會(huì)再 重新捕捉一個(gè)獨(dú)特的表現(xiàn)瞬間。我們通常會(huì)使用三臺(tái)攝影機(jī)，在拍攝特效鏡頭和動(dòng)作鏡頭時(shí)會(huì)多至六到七臺(tái)。在其他工業(yè)標(biāo)準(zhǔn)的系統(tǒng)上我會(huì)對(duì)如何鎖定對(duì)臺(tái)攝影機(jī)感 到無(wú)力，比如說(shuō)我不能鎖定序列，但在Lightworks上我可以。因此我可以同時(shí)操作多個(gè)鏡頭，只需將他們鏈接對(duì)位好。在Lightworks上我可以 將四臺(tái)攝影機(jī)放到一起然后同時(shí)瀏覽它們。 Q：Do you use Lightworks’ advanced features like Multi Camera? A：I use it constantly: all the way since Nutty professor. Frequently there are shots with two or more cameras because you don’t get the chance to capture a unique performance again. We’d often have three cameras, and as many as six or seven in VFX or Action shots. On other industry-standard systems I’m very limited in how I can lock up multiple cameras. I can’t lock up sequences, for example - but on Lightworks I can. So I can work with several takes - just zipping through them. I can put all four cameras in Lightworks and just run through all the takes. 問(wèn)：你怎么看利用低成本攝影機(jī)、可重復(fù)使用媒介和免費(fèi)剪輯軟件實(shí)現(xiàn)的電影“平民化” 答：這是件非常棒的事，給這個(gè)世界提供了更好的制作電影的機(jī)會(huì)。然而可以肯定的是，這并不能讓你直接變成優(yōu)秀的講故事者！但可以為那些天賦異稟的人打開一扇門。 Q:What do you think of the “democratization” of cinema through lower cost cinematic cameras, reusable media and free editing software? A：It’s giving the world a greater opportunity to make films, which is terrific, but of course, it doesn’t make you a good storyteller! But it does open the door for genuinely talented people. 問(wèn)：你參與制作的的電影中哪部是你的最愛(ài)？ 答：下一部！當(dāng)然我心中始終有一個(gè)位置是給2003年的《冒牌天神》，然后湯姆·沙迪亞克是最棒的合作導(dǎo)演，沒(méi)有之一。 Q：What’s your favourite film that you’ve worked on? A：The next one! And of course there’s always a place in my heart for Bruce Almighty in 2003, and no one better than the director, Tom Shadyac, to work for. 問(wèn)：你認(rèn)為我們?cè)鯓硬拍茏孡ightworks回歸高端剪輯的前沿呢？ 答：制片廠強(qiáng)迫人們使用了其他的系統(tǒng)。最新的Lighworks軟件對(duì)我們有極大的幫助，比如我正在Lightworks中使用DNxHD(Avid的高清壓縮編碼），總的來(lái)說(shuō)，它已經(jīng)通過(guò)技術(shù)革新在好萊塢實(shí)現(xiàn)了部分的回歸。 Q：How do you think we can bring Lightworks back to the forefront in high-end editing? A：Studios have been forcing people to use other systems. The latest Lightworks software helps immensely - for example the fact that I can use DNxHD in Lightworks. All round, it’s back on par with the technology in Hollywood. 當(dāng)我用Lightworks Alacrity（2004年歸屬Gee Broadcast公司時(shí)推出的一套解決方案）剪輯《輕舞飛揚(yáng)》(2009年的一部惡搞片）時(shí)，我們完全沒(méi)有技術(shù)上的問(wèn)題。我們輸出EDL給音頻制作人 員，每個(gè)人都為這個(gè)流程是如此精彩而感到激動(dòng)萬(wàn)分，但制片廠感到很詫異，因?yàn)锳lacrity只兼容AVI。現(xiàn)在有了DNxHD，我們要回歸了！ When I did Dance Flick on [Lightworks] Alacrity, we had no technical issues whatsoever. We exported EDLs, output lists to the Sound people: everyone was thrilled with how wonderful the process was - but the studios looked at me strangely because Alacrity only worked with AVIs. Now that we have DNxHD, we’re back in there! 問(wèn)：你如何總結(jié)Lightworks在非技術(shù)方面的表現(xiàn)呢？ 答：Lightworks一直都是一個(gè)剪輯工具，現(xiàn)在它是搬到了電腦上而已，并不是一臺(tái)有編輯器的電腦。在剪輯師跟電影中間絕對(duì)不存在技術(shù)屏障，你永遠(yuǎn)不需要擔(dān)心創(chuàng)作過(guò)程中會(huì)出現(xiàn)這樣的技術(shù)障礙。 謝謝你，斯科特 Q：How would you sum up Lightworks in non-technical terms? A：Lightworks has always been an editing tool that happened to be a computer, and not a computer that’s an editor. There’s absolutely no technical barrier between the Editor and the film. You never have to worry about the technology getting in the way of the creative process. Thank you Scott! |
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來(lái)自： 看見(jiàn)就非常 > 《CG》
