《驯龙高手》中博克岛上小海湾的场景介绍

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！   

这个小峡谷是电影中一个重要的地方，因为它是小嗝嗝和无牙建立关系的隐蔽避难所。为了让这个海湾给人一种避风港的感觉，艺术指导要求“色彩柔和，在树上加上苔藓，在湖面上添加上平静的水面，”表面处理负责人Sabrina Riegel回忆道。建模主管Matt Paulson补充道：“即使是岩石，风格也更柔和，边缘更柔软，形状更圆润，就像砂岩一样。”他所在的部门还负责用树叶和树根装饰巨大的石墙，以提供更宜人的背景。

虽然平静的水面似乎会比波涛汹涌的大海更好制作，但是谷中湖泊却带来了一系列特有的技术挑战。海洋上空的相机拍摄时通常都在移动，而且往往是高速的，但海湾里的相机工作在大部分时间是锁定的。静止的镜头让人们更容易关注到水面的反射，这在3D立体电影中是很难解决的。

“当我们尝试更快的环境映射反射时——这就是悬崖壁最初投射到水面上的方式——会出现奇怪的深度问题，使得湖在3D下很难看，所以我们最终使用了光线跟踪来代替，”——特效负责人Matt Baer

峡谷里还有一个可爱的瀑布，它是为电影中的另一种用途而制作的，然后放置在这个位置。它使用完全的流体模拟来使水在岩石上流动并流下去，它需要粒子渲染工具，使其可以破碎成水雾。“把瀑布做好了之后，并与之保持适当距离，它就会在背景中增加很好的复杂性，”视觉效果主管Craig Ring指出。

在电影中所有布景里，这个峡谷是我们伪造光照最多的地方。说实话，这其实就只不过是地上的一个坑，光线很难照进去——所以我们让光从树之间滤过，从岩壁上反射，一路引导光线，直到我们的镜头能拍出我们想要的故事。

——制作设计师Kathy Altieri

原文：

The cove is a prominent location in the film, as it is the hidden sanctuary in which Hiccup and Toothless establish their relationship. To give the cove a sense of being a safe-haven for these characters, art direction called for "softer colors, the application of moss along trees, and calm water on the lake," recalls Head of Surfacing Sabrina Riegel. "Even the rocks are softer in style, modeled with softer edges and more rounded shapes like sandstone," adds Modeling Supervisor Matt Paulson, whose department also had the task of set-dressing the massive stone walls with foliage and tree roots in order to provide a more pleasant backdrop.

Although a calm body of water seems like it would be easier to produce than a stormy ocean, the lake in the cove presented its own set of technical challenges. Whereas the cameras over the ocean shots were generally moving, and often at a high speed, the camera work in the cove is locked off or a majority of the time. The stiII camera draws more attention to reflections on the water, which are difficult to resolve in a 3D stereoscopic film. "When we tried faster environment map reflections- which is how the cliff walls were initially projected onto the water-weird depth problems would occur, making the lake hard to look at in 3D, so we ended up using ray tracing instead," explains Head of Effects Matt Baer.

THERE TS ALSO a lovely waterfall in the cove, which was built for another use in the film and then installed in this location. It uses full fluid simulation to make water flow across rocks and down, and it calls for particlerendering tools that allow it to break in the mist. "Once you get a waterfall going and stay a safe distance from it, it adds a nice complexity in the background," notes Visual Effects Supervisor Craig Ring.

Of all the sets in the film, we cheated the lighting the most in the cove. Honestly, it's really just a hole in the ground, very difficult to get light into-- so we filtered light through the trees, bounced it off the walls, pushed it and pulled it until our shots told the story we were looking for. --Kathy Altieri, Production Design