On The Avengers, there is a massive shot, where every single hero on the team comes together, and they finally fight as a team.
在《復仇者聯盟》裡，有一個大場面的鏡頭，在這鏡頭裡隊裡的每個英雄聚在一起，而他們終於團結奮戰。
The great thing about the tie-in shot where all the Avengers are working together to battle the aliens is that it used four different virtual New York locations that we had to tie in together as Iron Man's flying between them.
所有復仇者合作對抗外星人，這個合成鏡頭最精彩的部分是，它使用了四個不同的虛擬紐約場景，我們必須在鋼鐵人飛行其間時將諸場景合成在一起。
From the day that we saw the previs for these shots, we realized this was gonna be a massive undertaking, because it's a very long shot, no cuts, where we go from hero to hero, and we fly around New York, seeing how they're fighting off the alien horde. In some cases, you know, we've got an actor on the set, a partial set with blue screen behind them. But a lot of these characters were CG, like Iron Man and The Hulk and all the aliens they are fighting, of course, and New York was CG behind them.
從看了這些預覽鏡頭的那天起，我們就了解到這將是一項大工程，因為這是一段時間非常長的鏡頭，沒有剪接，我們在英雄與英雄間遊走，而且我們繞著紐約飛，看著他們如何擊退外星人大軍。在某些情況，你知道的，我們有個演員在攝影棚，一個身後有藍幕(數位影像去背後可後製合成)的半攝影棚。但這些角色很多都是電腦動畫(Computer Graphic)，像是鋼鐵人以及浩克還有他們所對抗的所有的外星人，當然，還有他們身後的紐約也是電腦動畫。
We had two location leads that went around Manhattan in both mid-town and lower Manhattan and filmed twelve hundred different locations. That allowed us to build up our virtual New York.
我們有兩位地點專員穿梭在曼哈頓，在曼哈頓中城以及下曼哈頓，並且拍攝了一千兩百個不同的地點。那讓我們得以打造我們的虛擬紐約。
Those images are then stitched together to create what people usually refer to as a panosphere or panoramic image of that location.
這些影像接著被編結在一起，打造出人們通常所指的該場景的全景場域或全景影像。
We can fly and go anywhere we want in New York. We can fly Iron Man down the streets. We can have Scarlett flying on the chariot. So we had to sort of choreograph with the director what it was he wanted to see in the shot and the flight path, and then action with what spheres we had that can support that action.
我們可以飛到、去到紐約任何我們想要的地方。我們可以讓鋼鐵人飛越街道。我們也能要史嘉莉喬韓森駕著太空戰車飛行。所以我們必須要稍微和導演一起編輯他在鏡頭以及飛行路徑上想看到的，接著以我們所擁有的、可以支持那動作場景來付諸實現。
One of the challenges was Captain America. They had shot an element of Captain America on set, but when we got down to the final shot, we realized this shot is about showing the Avengers coming together and finally working as a team. So we had an opportunity when Iron Man flew in next to Captain America to show not only are they just fighting around each other, but that they are helping each other, and that they are trading off blows to kind of win as a team. And to do this, we realized we had to change Captain America's motions, which meant that that went from, you know, a blue screen play of Captain America, to an all-digital human.
挑戰之一便是美國隊長。他們已經在攝影棚拍攝了美國隊長的一個素材，但當我們開始專心致力於最後一個鏡頭時，我們才了解這個鏡頭是要表現出復仇者們聚集在一起並終於團結合作。所以當鋼鐵人飛過來到美國隊長身旁時，我們就有機會去表現他們不僅是在彼此身旁戰鬥，還彼此幫忙，而且他們交互攻擊有點像是團隊獲勝。而為了做到這個，我們了解到我們必須改變美國隊長的動作，這表示那個從，你知道，從美國隊長的藍幕表演，到一個完全數位的人物。
And, so, luckily we had taken our Captain America digital double to a point where that could be done. So because the shot was so massive, we had to break it into sections, so that we could give each section to separate groups of artists and work on them as though they were a single shot, and we had a separate team, whose job was to pull all those sections back together and make a cohesive shot out of it, and making sure that at the blend points that it still worked, that it worked as a cohesive shot and that it all felt like the same shot all the time.
然後，所以，幸運地，我們已將我們的美國隊長的數位影像加倍到一個那可以完成的標準。所以因為這個鏡頭是如此地巨大，我們必須將它分成好幾個片段，才能把各個片段分給不同的美術團隊，並處理他們仿佛它們是個單一鏡頭，然後我們有個不同的團隊，他們的工作是將所有那些片段拉回來在一起，並從中做出一個整合的鏡頭，並確保在交疊點上它仍行得通，它運作得如同一個整合鏡頭而且它始終完全感覺是同一個鏡頭。
- 「團結、聚集」- Come Together
On The Avengers, there is a massive shot, where every single hero on the team "comes together", and they finally fight as a team.
在《復仇者聯盟》裡，有一個大場面的鏡頭，在這鏡頭裡隊裡的每個英雄聚在一起，而他們終於團結奮戰。 - 「合在一起、結合為一體」- Tie In
The great thing about the tie-in shot where all the Avengers are working together to battle the aliens is that it used four different virtual New York locations that we had to "tie in" together as Iron Man's flying between them.
所有復仇者合作對抗外星人，這個合成鏡頭最精彩的部分是，它使用了四個不同的虛擬紐約場景，我們必須在鋼鐵人飛行其間時將諸場景合成在一起。 - 「打造、建立」- Build Up
We had two location leads that went around Manhattan in both mid-town and lower Manhattan and filmed twelve hundred different locations. That allowed us to "build up" our virtual New York.
我們有兩位地點專員穿梭在曼哈頓，在曼哈頓中城以及下曼哈頓，並且拍攝了一千兩百個不同的地點。那讓我們得以打造我們的虛擬紐約。 - 「通常所指、稱之為」- Refer To As
Those images are then stitched together to create what people usually refer to as a panosphere or panoramic image of that location.
這些影像接著被編結在一起，打造出人們通常所指的該場景的全景場域或全景影像。 - 「仿佛、好像」- As Though
So because the shot was so massive, we had to break it into sections, so that we could give each section to separate groups of artists and work on them "as though" they were a single shot,
所以因為這個鏡頭是如此地巨大，我們必須將它分成好幾個片段，我們才能把各個片段分給不同的美術團隊，並處理他們仿佛它們是個單一鏡頭，
