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Phụ đề của (—) (2009)

tiếng Anh
Tháng sáu 03 2010 23:25:10
đã đăng theo Niffiwan
Aleksandr Petrov. Moya lyubov, sotvoreniye filma.2009.en.1..1275607510.srt ⭳
Điểm: Tốt

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1 00:00:00,000 --> 00:00:00,399 (subtitles by Niffiwan) 2 00:00:00,400 --> 00:00:04,000 At the first stage of his work, the director created a screenplay 3 00:00:04,301 --> 00:00:09,001 which consists of a series of pencil sketches of various scenes from the film. 4 00:00:09,602 --> 00:00:14,202 These drawings serve as the outlines for images done in the "living painting" technique, 5 00:00:14,403 --> 00:00:20,603 also called "paint-on-glass", which Aleksandr Petrov considers an ideal medium for auteur cinema. 6 00:00:21,104 --> 00:00:24,104 So what are the distinguishing traits of this unique method? 7 00:00:24,605 --> 00:00:31,005 The frames of the film "My Love", like the frames of the four previous animated films, are painted on glass. 8 00:00:31,606 --> 00:00:35,306 Brushes are needed only for the final touch-ups. 9 00:00:35,807 --> 00:00:40,807 Slow-drying oil paint that allows light to pass through is used. 10 00:00:41,808 --> 00:00:46,408 The glass panels are located on two levels. 11 00:00:46,409 --> 00:00:49,509 The first is for backgrounds, and the second is for characters. 12 00:00:50,110 --> 00:00:53,310 Then each scene is filmed frame-by-frame, 13 00:00:53,411 --> 00:00:57,111 formerly with a film camera, now with a digital still camera. 14 00:00:57,912 --> 00:01:02,512 When the film or still images are projected at 24 frames per second, 15 00:01:02,813 --> 00:01:07,913 the result is the continous motion which we, the viewers, see on the screen. 16 00:01:11,714 --> 00:01:14,614 To be frank, computers really help. 17 00:01:15,015 --> 00:01:19,615 They take off the stress which is always there when you work on film 18 00:01:19,616 --> 00:01:23,416 because when you work on film, you don't know if the scene turned out right, 19 00:01:23,417 --> 00:01:29,017 if the exposure was right, if the animation itself turned out as you wanted... 20 00:01:30,018 --> 00:01:32,318 You see this only after a week or two; 21 00:01:32,619 --> 00:01:38,019 when the film is developed and the positive printed, you watch it in a theatre and think "Ok, it came out as I planned" 22 00:01:38,020 --> 00:01:45,220 or you watch it and think, "Disaster! Everything's bad!", go back and completely redo the entire work. 23 00:01:45,221 --> 00:01:49,021 After beginning the work in 2003, as usual together with his cinematographer, 24 00:01:49,322 --> 00:01:53,922 after a year the director realized that he was falling behind schedule. 25 00:01:54,523 --> 00:01:58,523 For modern digital technology, the help of experienced programmers was needed, 26 00:01:58,524 --> 00:02:02,024 while the scope of the work required the help of other painters. 27 00:02:02,325 --> 00:02:06,125 Ater all, one second of screen time consists of 20 paintings. 28 00:02:06,606 --> 00:02:14,526 it follows that for one minute, one must make 1200 paintings. 29 00:02:14,827 --> 00:02:21,327 And for the full length of 26 minutes, about 35,000 paintings. 30 00:02:21,528 --> 00:02:27,428 To help, we called for my colleagues, with which I had worked or studied before. 31 00:02:27,529 --> 00:02:33,209 along with young artists who didn't know a thing about animation, but did want to try it out. 32 00:02:35,010 --> 00:02:39,500 So they tried, got attracted to cinema, and so we got a group... 33 00:02:40,001 --> 00:02:44,101 of artists, painters, computer-people and animators; 34 00:02:44,402 --> 00:02:50,702 in other words, the kind of team with whose help the film finally got done. 35 00:02:51,703 --> 00:02:54,303 Tatyana Pavlovich helped me with the text. 36 00:02:54,504 --> 00:03:07,004 We discussed, sorted, and chose phrases; she basically was invited to work on the dialogues. 37 00:03:07,005 --> 00:03:09,005 Mikhail Tumelya came after a year. 38 00:03:09,006 --> 00:03:12,606 I asked him to be the second director. 39 00:03:12,607 --> 00:03:15,307 He also worked on the screenplay a lot. 40 00:03:15,308 --> 00:03:20,408 We put each scene "through its paces", as he liked to put it. 41 00:03:20,609 --> 00:03:26,909 We would choose a block of material, setting aside 1-3 days 42 00:03:26,910 --> 00:03:33,210 in order to play out this material, and make it internally interesting. 43 00:03:34,211 --> 00:03:37,611 to make it dynamic, or the opposite; plastic, smooth... 44 00:03:39,112 --> 00:03:46,012 and only after this would I move on to drawing the characters... 45 00:03:46,013 --> 00:03:50,713 or rather, not the characters but the scenes, and delegating tasks to other artists. 46 00:03:52,414 --> 00:03:56,815 Heaven's colour, colour blue, 47 00:03:57,315 --> 00:04:00,515 Since my youth have I loved you. 48 00:04:00,716 --> 00:04:07,599 In that youth, you seemed to me shade of changes that could be.