原文節(jié)選自《馴龍高手設(shè)定集》，由龍崖社·龍之書(shū)翻譯組漢化整理，本合集僅供Bilibili，愛(ài)發(fā)電（最先更新），Lofter平臺(tái)龍崖社社團(tuán)官方賬號(hào)發(fā)布，未經(jīng)授權(quán)禁止轉(zhuǎn)載！??

布局設(shè)計(jì)部門(mén)首先通過(guò)將角色和道具放入模型環(huán)境中準(zhǔn)備好電影的舞臺(tái)，然后打開(kāi)攝像機(jī)。他們的工作就是用“相機(jī)”來(lái)支持故事。

《馴龍高手》中的攝影技術(shù)比人們?cè)贑G世界中預(yù)期的要真實(shí)得多，在CG世界里，幾乎任何鏡頭的移動(dòng)都是可能的。電影布局負(fù)責(zé)人吉爾·齊默爾曼解釋說(shuō)：“由于我們的電影是設(shè)計(jì)的非常真實(shí)的，所以我們的電影設(shè)計(jì)需要類(lèi)似實(shí)景實(shí)人的相機(jī)運(yùn)動(dòng)，以幫助支持我們故事中強(qiáng)烈的、往往是嚴(yán)肅的情感，”布局設(shè)計(jì)主管Gil Zimmerman解釋說(shuō)。

布局設(shè)計(jì)部門(mén)在舞臺(tái)布置上的決定也極大地影響了3D立體體驗(yàn)。Zimmerman補(bǔ)充道：“在搭建布景時(shí)，我們確保布置了很多層次的樹(shù)葉，因?yàn)楫?dāng)各種構(gòu)圖中，布景里都有很多物體時(shí)，3D立體電影的制作才能最好地表達(dá)出那種深度?！?/p>

在幾乎沒(méi)有對(duì)白的場(chǎng)景中，比如卡嗝第一次看到森林里倒下的龍時(shí)，攝影作品也通過(guò)強(qiáng)調(diào)視角在視覺(jué)上傳達(dá)了情感變化。齊默爾曼解釋說(shuō)：“在這個(gè)場(chǎng)景中，我們?cè)噲D從卡嗝的視角來(lái)體驗(yàn)這一發(fā)現(xiàn)。例如，在卡嗝第一次看到龍的鏡頭中，我們用攝影機(jī)穩(wěn)定器跟隨他，就像觀眾正和卡嗝一起走一樣。鏡頭越過(guò)卡嗝肩膀移動(dòng)到山脊上，只是捕捉到了龍的一瞥，然后切下鏡頭，等待觀眾有機(jī)會(huì)和他一起體驗(yàn)這種欣喜若狂的時(shí)刻，” Zimmerman 解釋道。

原文：

The layout department sets the stage for the film by placing characters and props in the modeled environments, and then turns the camera on. It is their job to use the "camera" to support the storytelling.

The cinematography in?How to Train Your Dragon?is more realistic than one might expect in the CG world, where almost any camera move is possible. "Since our film is very realistically designed , our cinematic design calls for live action-inspired camera motion to help support the strong and often serious emotions in our story," explains Head of Layout Gil Zimmerman.

The layout department also greatly affected the 3D stereoscopic experience through its set dressing decisions. "While assembling sets, we made sure to establish many levels of foliage because 3D stereoscopic film making is at its best when a set gives us plenty of objects in any composition to convey that depth," adds Zimmerman.

In scenes where there is little dialogue, such as when Hiccup first sees the downed dragon in the forest, camerawork also conveys the emotional arc visually by accentuating point of view. " In this scene, we try to experience the discovery from Hiccup's perspective. For instance, in the shot where Hiccup first catches a glimpse of the dragon, we follow him with a Steadicam as if the audience is walking right alongside Hiccup. The camera travels to the ridge over Hiccup's shoulder and just captures a glimpse of the dragon before cutting away to wait for the audience to have a moment to experience the elation with him," explains Zimmerman.