欧美人文风情第122篇:浩克了不起的特效（打印版）

Dr. Banner, your work is unparalleled, and I'm a huge fan of the way you lose control and turn into an enormous green rage monster. Banner博士，你的工作是无与伦比的，而且对于你失去控制变成一个巨大的绿色狂怒怪物的方法，我可是个大粉丝。

One of the really successful design decisions in the beginning was to incorporate Mark into the Hulk. 一开始，把Mark融入浩克里面是其中一个非常成功的设计决策。

And there was a lot of debate back and forth on whether, you know, the Hulk should look like Mark, 而前前后后有很多的争论关于是否，你知道，浩克应该看起来像Mark，

but I think having that semblance of Mark Ruffalo, 但我认为拥有Mark Ruffalo的外观，

having the eyes and the area on the face where you feel like you can see him in there really grounds the character in reality. 拥有眼睛和脸部范围，在那里你感觉像是你可以在那看到他真的把这角色建立在真实的基础上。

Once the film was edited, and we knew exactly what the Hulk shots were gonna be, 当影片被编辑过，而且我们完全知道浩克会往哪边出拳，

ugh, he came up here with Joss, and we set up cameras that represented... 他跟Joss出现在这边，而我们设立摄影机代表...

here is where the film camera was, and here's a bunch of witness cameras. 这是主摄影机所在，而这里是一堆侧拍摄影机。

And we gave him a space to work in and let him run through every performance on the film. 而且我们给他一个在里面工作的空间并让他排练电影中每一个演出。

We sort of did a rough calculation and figured out the Hulk is somewhere between eleven hundred and sixteen hundred pounds. 我们有点像是做了一个粗约的计算并发现浩克大约在一千一百磅到一千六百磅之间。(约五百到七百二十五公斤)

And so, that kind of character, that kind of mass, is gonna react very differently than Mark does. 所以，那样的角色，那样的质量，将会表现得跟Mark所做的很不一样。

And I think that's where using Mark's performance and combining that with the incredible animation that's done here, 而我认为那就是使用Mark的演出并和出自这里的不可思议的动画结合所在，

that's where the artistry happens in the interpretation of how that performance needs to be augmented to become the Hulk. 也是诠释那表演需要如何被强化成为浩克的艺术效果发生之处。

When he's unleashed, he can fly, you know, he can jump huge distances, he can smash things. 当他被释放出来，他可以飞行，你知道，他可以跳超远，他可以粉碎东西。

We wanted to make sure that he was able to do all those things and still have sort of a human believable, 我们想要确保他可以做所有那些事情并仍然有某种人们可以相信的，

you know, locomotion to him. The first layer is getting the animation nailed. 你知道，他的运行方式。第一层是固定动画。

Then on top of that we had a whole process of simulation. 然后在那上面我们有一个完整的模拟过程。

So there's a muscle and bone structure under his skin that preserves the volume as he's moving. 所以当他在移动的时候有肌肉和骨骼架构在他的皮肤下面维持体积。

On top of that there's a dynamics part of it, which is a simulation that happens once the animation is done. 在那之上有个动态的部分，是个在一做完动画就产生的实境模拟。

That gives you the kind of jiggly parts of it, 那给你它的某种不稳定部分，

and I think one of the great decisions on this Hulk, was that he's not... 而且我认为其中一个对这浩克做的最棒的决定，是他不是...

he's not super cut all the time. 他不是永远都超级有线条。

We then have a cloth simulation on top of that, which we typically use for shirts and pants, 然后我们在那之上有一种布料模拟，我们一般是用在衬衫和长裤上，

but it actually works really well when it's constrained to give us all the little fine wrinkles in the skin. 但当它被限制用来产生我们皮肤里面所有的微小细部皱纹，它实际上效果很好。

And on top of that, there was a very thin layer of ugh, skin simulation that we did, 而且在那之上，有一层非常薄的，我们做的皮肤模拟，

just to get that final level of ugh, movement to the skin that, you know, is so hard to re-create it. 只是为了达到那一个最高等级的，皮肤的动作。那个，你知道，是非常难重建的。

Making sure that we were accurately getting...getting the performance that Joss was looking for, 为了确保我们是很准确的做到...做到Joss所想要的演出，

and also making him look real, that last fifteen percent ended up being a huge challenge for us. 并也让他看起来真实，结果那最后的百分之十五变成我们的一个巨大挑战。

欧美人文风情第122篇:浩克了不起的特效（在线收听）