
Chinese: 
這些蝗蟲的照片取自於2006年BBC的
《地球脈動》系列
而這個鏡頭則來自全新的系列《地球脈動 2》
你可以發現影片從高畫質變為「超」高畫質
另一個大改變是，畫面不再只是一群蚱蜢在移動
攝影機也跟著動了
這項動態追蹤拍攝技術是《地球脈動2》 成為BBC
最具電影特色的影片的部分原因
我們知道一旦提到電影
鏡頭不會是靜態的
畫面總是在移動著、追逐著、甚至飛翔著
而我們想用一種方法把動態呈現出來
不只是為了維持影片的本質
更重要的是動態鏡頭的呈現必須
是讓人身歷其境並產生連結感
看《地球脈動2》就像在看好來塢特效電影一樣

English: 
These images of a swarm of locusts are from the
BBC’s groundbreaking Planet Earth series in 2006.
And this footage comes from the brand new
sequel to that program — this is Planet Earth 2.
You might notice the improvement in resolution
from HD to Ultra-HD.
But another big change is that in Planet Earth
2, it’s not just the grasshoppers that are moving.
The cameras are moving too.
These dynamic tracking shots are part of the
reason why Planet Earth 2 is the BBC’s most
cinematic wildlife film yet.
GUNTON: We know when we go to the cinema now
the camera’s never static. It's always on
the move, it’s always on a steadicam, it’s
always on tracks, it’s always flying.
And I think we wanted to reflect that in our
approach. Not just because we wanted to
do homage to cinema but because the reason
why cinema does that is because as soon as
you have that sense of moving camera it feels
more immersive, it feels more connected.
Watching Planet Earth 2 feels a bit like watching
a hollywood blockbuster.

English: 
You almost forget that these actors are hiding
in remote corners of the globe
and they do not follow scripts.
The BBC’s Natural History Unit in Bristol
has been producing wildlife films for 60 years.
Their frequent presenter, sir David Attenborough,
is most recognizable voice of the genre.
“This extraordinary creature is half blind,
half deaf, and this is just about as fast
as it can move”
And through the decades, they’ve continually
raised the bar for the look and feel of nature
films, too.
That evolution, as we’ll explore in this
3-part series, is in large part a story of technology.
The first big breakthrough was lightweight,
16mm film cameras.
NIGHTINGALE: If you remember, television began
as a studio operation.
It just had ginormous video cameras that were
larger than a person.

Chinese: 
你幾乎忘記演員們就躲在鏡頭拍不到的死角
只是這些野生演員並不照腳本走
位於英國布里斯托的BBC自然歷史部門拍攝野外生態影片已經長達60年
其中最常出現的主持人 大衛 · 艾登堡 
顯然成為此類型影片最好辨認的聲音
"這個不可思議的生物幾乎看不見也聽不見，
而且你看到的已經是牠能做到最快的移動速度了"
幾十年來，
他們持續地提升大自然與野生動物影片的品質
我們可以從這部分成3個部分的影集中看到這些變化
來看看「技術篇」
第一項大突破是「微型」攝影機
如果你還記得，
以前的電視節目是在一間工作室裡頭拍攝的
當時只有幾台比人還大的攝影機

English: 
Then in the film industry, of course, that
was all movies, and again, they were very,
very cumbersome.
There simply weren't cameras that you could
take into the jungles and deserts and so on.
16mm cameras were portable, but they were
controversial inside the BBC, seen as amateur
cameras, since 35mm film was the broadcast
standard at the time.
But Attenborough insisted on the smaller cameras
for his first trips overseas.
And sure enough, he came back with footage
of animals that had never before been filmed,
like these Indri lemurs in Madagascar.
Fifty-six years later, filming the Indri means
moving the camera around them and traveling
with them through the trees, but the technology
they used to do this has only come around
in the past few years.
The issue is stabilization.
You can see the shaking in these rare handheld
shots from the BBC’s 1990 series The Trials of Life.
Aerial shots had the same problem.
And if they tried to zoom in, those bumps
just got magnified.

Chinese: 
包括電影，所有的影視產業技術都尚未成熟
設備也非常笨重
根本不可能帶到叢林或沙漠等野生環境拍攝
16毫米的可攜式「微型」攝影機看似可行，但在BBC內部產生爭議，被認為是不夠專業的
在當時，35毫米是標準大小
但艾登堡堅持要帶微型攝影機踏上他的第一次海外旅程
想當然地，他帶著從未被拍到的動物影像回來
像是這群馬達加斯加的大狐猴
56年後，拍攝大狐猴意味著鏡頭必須隨時跟著牠們在樹梢間大幅移動
然而這項技術卻是在近年來才被頻繁使用
穩定性是一項難題
在1990年BBC的大自然系列可以很明顯看出手持攝影機造成的晃動
空拍機也有一樣的問題
一旦試著將鏡頭拉近，晃動程度也隨著被放大

Chinese: 
更實際的做法是利用腳架、推車、軌道等工具
來進行拍攝
幾十年來，只要是陸地上的拍攝都使用三腳的腳架進行
搖攝、傾斜、拉進等操作
這種方法無庸置疑地可以清楚拍出野生動物們各種行為
但到了2002年，就不是這麼回事了
《地球脈動》系列中BBC從傳統的攝影機改為使用數位相機
這項轉變使他們得以使用更穩定的裝置 — 空拍直升機
也就是在直升機上安裝數位相機
空拍直升機傳送順暢的自然景觀影像，使《地球脈動》成為史詩級的經典系列
他們也能夠從幾公里的高空拉近鏡頭拍攝動物們
並且不會因為發出聲音嚇跑牠們
這個拍攝手法大大增加了以往拍不到的珍貴畫面，像是狩獵等行為
如果你看到以前怎麼拍攝和剪輯那些狩獵的畫面
由於必須將攝影機架在野外某個定點，根本不可能拍出連續的長鏡頭

English: 
Producers could achieve cinematic motion with
cranes, dollies, and sliders where it was
practical to do so.
But for decades almost all the shots that
weren’t underwater involved a camera on
a tripod — panning, tilting and zooming
to follow the action.
There’s definitely no shortage of incredible
animal behavior to film that way.
But it all changed around 2002. That's when BBC switched
from film to digital HD cameras for the Planet Earth series.
That switch gave them access to a tool called
the Cineflex heligimbal, a stabilization system
for a helicopter-mounted camera.
The heligimbal delivered the smooth sweeping
scenic shots that defined the epic look of that series.
But it also let them film individual animals
from a kilometer up in the sky, and zoom way
in to follow them without the noise of the
chopper scaring them off.
And that changed the way they could capture
behaviors like hunting.
GUNTON: If you look at how people shot and
edited hunting sequences, because of the nature
of where you had to put the camera, you could
never get long continuous shots because you

English: 
would you get a shot on a tripod, the wolf
would run off, you had to jump up and get
in the land rover, run across, put the tripod
down and get another shot.
So it always had to be quite edited and quite
constructed.
Compare that to the wolf hunt in Planet Earth.
GUNTON: Once that wolf started hunting you
could just fly along, keep your distance and
in one shot, you just see how that drama played
out.
And you just do not know what's gonna happen:
is it gonna stumble, is gonna catch it, is
the little caribou gonna run away, is it gonna
stumble?
It was so gripping because it was unmediated.
The Cineflex system required digital cameras
because it separates the lens from the camera’s
data storage, which at the time was digital
video cassette tape.
You just can’t do that with film.
The 400mm zoom lens is mounted inside a series
of rings called a gimbal, that isolate it
from the movement of the helicopter, with
the help of small sensors called gyroscopes.
Those sensors detect changes in orientation
so that motors can correct for those movements
almost immediately.

Chinese: 
因為當狼群看見三角架上的機器而逃跑時，你必須馬上跳上吉普車追牠們
然後再重新架三腳架繼續拍
所以勢必要重複的拍攝和剪輯才能做出完整的畫面
相較《地球脈動》中的狼群
一旦狩獵行動開始，只需要控制空拍直升機保持距離跟著狼群
就可以從這一次性的連續鏡頭捕捉到整場精彩戲碼
而你完全不知道接下來會發生什麼，
是會絆倒? 被抓到?
還是小馴鹿會成功逃跑
你會非常緊張，因為那是最原始沒有被編輯過的
空拍機系統之所以使用數位相機是因為鏡頭與記憶體是分離的
就是當時所謂的數位錄影帶
傳統的攝影機是無法如此的
400毫米的變焦鏡頭裝在由許多環組成的穩定器，用以區隔直升機本體的移動
加上一個稱為「陀螺儀」的小型感應器輔助
陀螺儀偵測到方位的改變
使直升機能夠立即修正飛行方向

English: 
So the camera operator can control the
lens with a joystick inside the helicopter
and zoom in without losing any stability.
Ten years later, that stabilization technology
comes in smaller, much more affordable forms.
It’s embedded in drones, and built into
rigs that you can hold in your hands.
And that technological change aligned perfectly
with what the BBC wanted to do with Planet Earth 2.
GUNTON: We wanted to push the proximity, getting close to the animals because we wanted to see
the world's landscapes, our planet, through the animals' eyes.
Gyro-stabilized drones provided more intimate
aerials,
and handheld shots showed what it feels like
to really move through these habitats.
WHITE: I think we've gone for a much more
emotional narrative in these.
It's much more trying to put you in their
world and what would that animal be feeling.
Trying not to be anthropomorphic about it,
but just sort of taking the viewer on a journey
where they can start to relate to how that
animal might work in that world.

Chinese: 
攝影師即能在不失去平衡的狀況下
使用直升機內的操控桿調整、拉近鏡頭
十年後，這項技術變得更加成熟、體積更小、成本更低
裝置被嵌入無人機飛行器骨架中，並且能使用手上的控制器進行操控
而此技術創新正好完美符合BBC《地球脈動2》的需求
我們想要盡量地更接近動物
因為我們想要藉由動物們的眼睛觀看地球的美景
使用無人機可以用各種視角拍攝
能更清楚的瞭解動物們的生態習性
我們總是用太多的自己的情緒看待牠們
應該試著把自己融入牠們的世界
才能知道動物們真正的感受
試著別將牠們擬人化
用牠們的視角來觀看這趟旅程
去瞭解每種動物在地球生態中扮演的角色

Chinese: 
如此更有溫度、更接近我們的地球
數十年前好來塢電影工作者就已經能夠拍出穩定行走中的畫面
用的是攝影機穩定器
那是更大、更複雜的的穩定器結構，
還必須在體積和重量上取的平衡
並將附有彈簧的操縱桿連接至攝影師身上的背心
知名影集《急診室的春天》和《白宮風雲》裡頭邊走邊談話的片段
都是用這種手法拍攝
《地球脈動2》也不乏看見這種拍攝手法
像是南非大貓狩獵的畫面
但大多數時候在野外使用穩定器拍攝仍過於笨重、行動不便、成本也較高
於是拍攝團隊更依賴小型手持穩定器
和空拍直升機一樣，手持穩定器擁有三軸陀螺儀
以修正方位並抵銷多餘的移動
這項設備比以往更小更實用
甚至能連接在軌道和腳架等設備上
有幾次像是拍攝企鵝時
我們用了腳架、用了軌道

English: 
It's a slightly warmer, closer take on Planet
Earth.
Hollywood filmmakers have been able to get
stabilized walking shots for decades using
a Steadicam.
That’s a bigger, more complicated rig that
stabilizes the camera with balanced weights
and a spring-loaded arm attached to a vest
that the operator wears.
Those long walk-and-talk shots that ER and
The West Wing made famous,
those are all Steadicam shots.
The producers of Planet Earth 2 used Steadicams
for a few sequences, like this footage of
a serval cat hunting in South Africa.
But it most cases Steadicams have been too
cumbersome, expensive, or inflexible for shooting
in the wild.
Instead, the Planet Earth 2 team relied heavily
on smaller handheld stabilizers.
Like the heligimbal, these rigs have gyroscopes
that measure orientation along 3 axes and
motors that counteract those movements.
These rigs are so small and versatile they
can often replace several other tools like
sliders and cranes.
WHITE: On some of the trips, like the trip
to film the penguins, we took a crane with
us, we talked about taking sliders.

Chinese: 
事實上那些都藏在一個箱子裡
只需要一個攝影師和一台攝影機就完成了整個拍攝
在這樣的環境中，可以這樣任意的調整鏡頭方向
隨著企鵝活動升高或降低高度
真的非常好用
手持穩定器在與動物很靠近時很好用，
但野生動物通常不喜歡主動接近
所以他們絕對不設置三腳架
相反地，他們大量增加拍攝設備
為的是能夠拍出向好萊塢鉅片一樣精彩的野生大地
然而，讓《地球脈動2》如此完美的不只是那些畫面，
最美的是畫面中的故事
BBC的自然歷史單元也隨時間轉變為更具教育意義、更加電影化的內容
但他們不會忘記的是
畫面的呈現最重要的是必須抓住觀眾的眼睛

English: 
The reality is it didn't come out of the box.
Everything was done with a cameraman holding
a camera on a gimbal.
In an environment like that, just to be able
to move around quite freely, have a camera
that you can put down at penguin level but
be able to pick up and get above the penguins
was just so useful.
Handheld stabilizers are most effective when
you can get close to the animal, and a lot
of animals don’t like that, so they’ll
never replace tripods.
Rather they add to the rapidly growing arsenal
of tools becoming available not just to pros,
but to everyone, to be able to get shots that
look like hollywood blockbusters.
But ultimately, what makes a movie great isn’t
just the pictures, it’s the story.
The Natural History Unit’s style has shifted
over time from more educational to more cinematic,
but they haven’t forgotten that.
GUNTON: The imagery of course is that first
thing that catches the eye, catches the attention

Chinese: 
若是缺少這個重點，那麼無論內容再精彩，都很快就會被其他東西淹沒
所以說故事技巧和製作具有吸引力的作品，
還有如何和觀眾取得連結的能力
是任何科技都取代不了的
感謝你的觀賞 !
你可以在BBC的官網找到《地球脈動2》相關資訊
《地球脈動2》將於3/25星期六播出
也可以下載手機app找到大量很棒的短片
它叫「Story of Life」
我就是從裡面找到很多資訊並用來做這次的影片
 
而且免費哦 !
快去看看吧 !

English: 
but without the revelations the storytelling
brings, in the end, it palls quite quickly.
So no technology will ever replace the ability
to be able to tell a story that grips and
fascinates and emotionally connects with an
audience.
Thank you for watching!
You can find Planet Earth 2 on BBC America.
It will be airing Saturdays through March
25th.
You can also find tons of clips from their
archive on BBC Earth’s mobile app.
It’s called Story of Life and it’s actually
where I found a lot of the clips that I used
in this video.
And it’s free!
So check it out.
