杂谈：关于灯光
原文节选自《驯龙高手设定集》，由龙崖社·龙之书翻译组汉化整理，本合集仅供Bilibili，爱发电（最先更新），Lofter平台龙崖社社团官方账号发布，未经授权禁止转载！
因为环境里有很多细节，所以我们要让角色在这些场景里显得简洁。Roger真的帮助我们超乎想象地体现出了“简洁”这一点。
——Chris Sanders,导演
灯光部门需要通过在每一个画面中，给每一个元素都设定合适的光影组合，来表现出导演对于电影最终效果的构想。对于驯龙高手电影而言，导演Chris Sanders和Dean Deblois想要在布景上使用北欧风格的光照，同时以一种精致的方式表现出这个故事的戏剧性。在此介绍实景电影摄影技师Roger Deakins，他的工作，尤其是在《神枪手之死》和《神秘村》的工作极大地启发了本电影的制作。通过向他咨询，电影制作团队得到了巨量关于柔和的电影灯光以及强对比的应用的知识，“这补足了故事的基调，让电影看上去更加漂亮。”制作设计师Kathy Altieri说。
为了体现出光照在某些地方差距能有多么大，在一些场景里，仅有的光源只不过是两支小蜡烛。这是动画电影世界里很勇敢的做法，因为这样不能表现出大量花了很多时间去设计，建造，渲染的细节。“在采用自然主义和采用创新的风格，或是加入一些反差巨大的效果之间有一种平衡。”Deakins说。他的目标就是捕捉灯光，让灯光包裹在一个东西上（而不使用传统的背光照亮轮廓），同时保证角色的表情仍然清晰可辨。
Deakins的光照风格不仅能体现出镜头下的所有细节，还能让观众看着场景里的景象自己想象出来故事。观众的主动思考能让他能更加投入于总体的影片观感，去在整个故事里积极地思考和感受，并在潜意识里面更加与角色一起参与进故事里。“这就像是电影界的印象画。”Altieri说。
原文：
Because there are a lot of details in the environment, we want to make the characters look concise in these scenes. Roger really helped us embody the "simplicity" beyond imagination.
——Chris Sanders,Director
The lighting department must deliver the directors' vision for the final look of the film by setting up proper light and shading combinations on each and every element, in each and every shot. For How to Train Your Dragon Directors Chris Sanders and Dean DeBlois wanted to cast a Nordic light on their sets while playing to the drama of the story in a sophisticated style. Enter live-action Cinematographer Roger Deakins, whose work in particular on The Assasssiination of Jesse James by the Coward Robert Ford and The Village inspired the production. His consultation brought a vast knowledge of soft, cinematic lighting, plus a strong use of contrast, "which complements the tone of the story and gives the film a visual handsomeness," describes Production Designer Kathy Altieri.
To give a sense of just how dramatic the lighting can be, in some scenes, the only light source is little more than two small candles. This is a brave choice in the CG world, where it's tough not to show off every little detail that time was taken to design, build, and texture. "There's a balance between using naturalism and giving some creative style to it, or adding some dramatic effect to it," says Deakins, whose goal was to take light and wrap it across a form (without using a traditional rim light in the back) while still helping to deliver clear, readable character expressions.
Deakins' style of lighting involves notshowing every single detail of what is in a shot and letting the audience create its own story about what is happening within that scene. This cognitive effort on the part of the viewer makes him more invested in the overall cinematic experience by having to actively think and feel his way through the story, subconsciously giving him a deep level of involvement with the characters. "It's the film equivalent of an impressionist painting," says Altieri.
