中文对比
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# t1 @) i* G; T$ P! I; Z+ V* M( WMovie audiences of the world are vastly and completely amazed by the beauty of the new movie 300. With its extremely distinctive style, quick-moving plot and — like Sin City, another of my favourites — relatively closely based on one of Frank Miller’s graphical novels, it’s got it goin’ on. . `3 l9 {0 G( N. b' ?
0 S- ] G" A+ A$ y8 i+ H7 P* m- f电影观众的世界有很大的和完全惊讶美丽的新电影300 。其极为独特的风格，快速移动的阴谋-像罪恶之城，另一个我的收藏-相对密切的基础上的一个弗兰克米勒的图形小说，它的了，走对。2 |$ j6 m5 F- E9 J
# w/ s6 z( B! e' L9 P3 Y- oIf you’ve seen the film, you can’t have failed to notice the amazing quality of the artwork involved: The CGI is amazing, of course, but even the live-action bits of the film is nothing short of stunning. So, how, exactly, can you recreate the effects? We interviewed graphic artist Jason Niedle to find out more…2 W R+ W6 M7 m- S* V4 ]# U
+ C: o, q: X8 l; s _% P如果你看过电影，你不能没有通知惊人的高质量的艺术作品所涉及的： CGI模式是惊人的，当然，不过，即使生活行动位的电影是没有什么短期的迷人。因此，如何，正是，你能再现的影响？我们采访了绘画艺术家杰森niedle ，以了解更多信息… @$ q* _; ^! d; ~
" R2 @) b# t5 o' ]: |300 was shot entirely using blue- and green-screen, which is a technology which allows you to create the backgrounds digitally. Of course, the actors use props etc, but the fact remains that nearly 90% of all the footage used in the film involves various types of visual effects. The film was in post production for nearly a year — ages, in film industry terms.
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* g# F0 `. T$ `% a8 [300枪，完全使用蓝色和绿色屏幕上，这是一种技术，从而可使您创建的背景数字化。当然，演员使用的道具等，但事实仍然是，近九成的所有画面用在影片中涉及各种类型的视觉效果。电影是在后期制作将近一年-年龄，在电影业的条款。
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Oh, so you’re a tech geek, are you? Well, let’s find out what IMDB tells us about the technology used:
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哦，所以你是一个高新技术发烧友，你呢？那么，让我们找出什么imdb告诉我们，约所使用的技术：
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1 ^0 F% \# X& D$ E( E+ AThe film was edited on an Avid, with an HD cut also maintained in Final Cut Pro The 3D was made using Maya, XSI, and Lightwave The 2D composites were made with Shake, Inferno, Fusion, and Combustion. The film makers prefer Macintosh, but large portions of the movie were made under Linux. Asset management was handled by custom software written in the Panorama development environment, made by Provue. Color management was handled by Truelight software. The film was scanned on a northlight scanner and was recorded on the arrilaser. Most of the film was shot at high speed, between 50 and 150fps. Normal film is at 24fps. The film was transferred to HD SR tape and quicktime, and HD quicktimes were the basis for the HD preview cuts. The working resolution for the film was 2K, at a working aspect ratio of 2.11 and a projected aspect ratio of 2.35.
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电影是编辑对热爱，与一房屋署削减也维持在Final Cut Pro三维取得使用玛雅，将xsi ，和光波的二维复合材料提出了动摇，地狱，融合，和燃烧。电影制造商宁愿Macintosh的，但很大一部分电影发了言： Linux下。资产管理是处理自定义软件在书面全景的发展环境，所作出的provue 。色彩管理处理truelight软件。电影是一扫描就northlight扫描，并记录在仪。大部分的电影被枪杀高速，介于50和150fps 。正常的电影是在24fps 。电影被转移到房屋署简磁带和QuickTime ，和HD quicktimes人的基础上，为房屋署预览削减。工作分辨率为电影及2k ，在一个工作小组，长宽比2.11 ，并预计长宽比2.35 。
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2 u' k! f$ H2 G9 h+ `* `$ d( _Err, right. If anyone fancies translating that into English, feel free to post a comment. That’s totally not why we’re here, though, and I’ve let my mind wander way off track (it does that a lot recently, I blame the fact that I’ll soon be visited by my lovely girlfriend, who I haven’t seen in more than two weeks. It does weird things to my mind. Oh, I’m waffling again. But then again, as a regular reader, I’m sure you’re used to that from me by now… Right?)$ [1 R7 m0 w, Z+ V
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错误，正确的。如果有人说，中意翻译成英文，请随时张贴评论。这是完全不为什么我们在这里，虽然，我已经让我想起漫步的方式偏离轨道（它有很多最近，我责怪的事实，不久我将访问我可爱的女朋友，谁i还没有看到，在两个多星期，它不该发生的事情在我看来。哦，我waffling再次，但后来再次，作为一个经常性的读者，我敢肯定，您习惯，从我现在…对不对？ ） ]: v% C2 W& r8 ~- ^6 X; [
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How did they achieve the special look of the film? As it turns out, the directors and film editors decided to do a ‘crush’ technique. This means that you extend the blacks (’crush’) to up the contrast and make a scene look eerie.
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他们是如何实现的特殊外观的电影？作为原来，董事及电影编辑决定做'粉碎'技术。这意味着你延长黑人（ '粉碎' ）了对比，并作出现场看看令人毛骨悚然。% m) c6 P2 P5 \, K3 S# }
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Let’s illustrate. Starting with a straight-up photo of the lovely Christine, where she’s looking ever-so-slightly devious:
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让的说明。一开始用直起来的照片可爱的克里斯汀，她在那里的寻找以往任何时候都那么轻微引人：( ]3 h0 Y* o0 D9 W2 }* d7 @
. ~3 r2 G( D. X: A; y+ T' |Now, to apply the ‘crush’ technique, you need to adjust the levels on your image so the black comes out stronger. Obviously, you need to do these changes only to a selection of your image, otherwise, it’ll come out way too dark. % W# v: k7 P2 V8 H
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现在，申请'粉碎'技术，你需要调整的水平，在您的形象，因此，黑色出来的坚强。显然，您需要做的这些变化，只有一个选择您的形象，否则，它会出来的方式太暗。
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现在，随着一些审慎的选择和一些激烈的图像编辑，您可以打开此照片到一些已远远高于影响，并提供了很多更多的对比工作。这是很重要的，特别是因为contrasty的作风， 300将无法再现无，犯错，对比度。/ F+ X( @0 P' p( D8 S5 T( @' z
5 o5 x | ~8 h Q. L; ?. }; }When you’ve got the contrast right, you’ve got to start playing with the colour — it’s got to be right, after all.
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当您得到了相反的权利，你要开始玩的颜色-它必须是正确的，毕竟。
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When Jason saw the movie, he explains, he wanted to re-create the effect. Re-visiting a photo he took a while ago, he combined the photograph with some stock stuff, and came up with the image to the right.
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7 t0 ~$ e" g% _ w$ h0 t当杰森看到电影，他解释说，他要重新创建的效果。重新访问的照片，他花了一段时间前，他结合照片，与一些股票的东西，来与形象的权利。
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“我花了一点时间平衡的亮度的图像” ，他回忆说，如昏暗的背景和决策模型，站出来。随后，他补充说：一深褐色调，以形象：
b& [9 ]9 O+ K2 }9 {+ o/ G9 j2 [… Which brings the photograph in line with the colour feel of 300, apart from the whole ‘300 being in colour’ bit. What next? “Well, I liked the effect quite a lot, but it didn’t quite cut it. For one, it wasn’t nearly colourful enough”, Jason explains, “so I took the base image, made a copy of the layer and put it right back on top”. By using the ‘multiply’ channel layer and fine-adjusting the opacity of the new layer in Photoshop, it adds some of the colour back into the image, and amicably imitates the ‘crush’ feel of 300. + ]6 M7 }8 U+ j x0 s- t# c9 k9 J
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… …从而使照片在符合肤色的感觉300 ，除了从整个'300被在颜色'位。下一步怎么办？ “好，我很喜欢的效果了不少，但却没有相当削减。一，它不是近色彩缤纷的不够“ ，杰森解释说： ”所以我采取了相应的形象，作出了副本层和把它的权利，返回顶页“ 。用'乘'渠道层和精细调整的不透明，新层在Photoshop中，它增加了一些颜色回的形象，和和睦模仿'粉碎'的感觉300 。
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We’re getting close now, but the lighting- and director of photography of 300 had shot the film with rather dramatic lighting. In addition, a lot of the scenes in 300 has the models oiled up (or, at the very least, sweating like pigs. Wouldn’t you, in the heat of battle?), so the powerful lighting reflects off the models in a wicked way. “Basically, I added a motion blur to the background, and added it as a separate layer to the Photoshop file”, Jason explains.
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The final result? Judge for yourself:
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/ T. v, _# w3 `我们正在贴近现在，但照明和主任摄影300开枪电影而戏剧性的照明。此外，在很多的场面，在300的模式，油（或，至少，出汗一样，猪。不会你，在激烈的战斗呢？ ） ，因此，强大的照明反映了小康的模式，在一邪恶的方式。 “基本上，我增加了一个议案，以模糊的背景，并补充说，它作为一个单独的层到Photoshop文件” ，杰森解释说。 . l3 {( Q. w# G6 S
最终的结果呢？法官为自己：
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Jason suggests that the original photo could have done with more powerful, side-on lighting, but the basic feel of the 300 movie posters is there… Wouldn’t you agree?
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贾森表明，原始照片可以做得更强大，副作用，对照明，但基本的感觉300电影的海报是有…不会，您同意吗？
