鑽石舞台

This is a chase scene from 1924.

這是1924年拍攝的飆車場景。

It's from the movie Sherlock Jr.

它出自電影《福爾摩斯二世》。

And in it, Buster Keaton seems to almost get hit by a train.

在影片中，巴斯特·基頓差點被火車撞到。

With extremely limited special effects, the filmmakers had to come up with an innovative way to create the illusion.

由於特效極其有限，製片人們不得不通過一種創新的想法來創造視覺效果。

So they shot the sequence backwards, then reversed the film.

所以他們倒序拍攝，然後順序播放。

Since then, Hollywood has developed countless ways to make car chases feel more real and visceral to audiences.

從那以後，好萊塢開發了無數種方法，讓觀眾覺得飆車場景更真實、更震撼。

From modifying cars to placing cameras right in the seat of the action.

從改裝汽車到在拍攝座位上安裝攝像頭。

And without each of these innovations, we wouldn't have gotten to the ultimate spectacle.

如果沒有這些創新，我們就不可能看到最終的壯觀場面。

That is the Fast & Furious franchise.

這是《速度與激情》里的畫面。

Let's take a look at how the car chase has evolved over 100 years in Hollywood.

讓我們來看看100多年來好萊塢的飆車場面是如何演變的。

This is the scene that set the standard for all modern car chases.

這一幕設定了現代飆車畫面的標準。

It's from the 1968 Steve McQueen movie Bullitt.

它出自史蒂夫·麥奎因1968年的電影《布利特》。

And it's iconic partly because of the characters...

它之所以具有標誌性意義，部分原因在於其中的角色……

"Look, Chalmers.Let's understand each other.I don't like you."

「聽着，查爾默斯。讓我們互相了解一下。我不喜歡你。」

But also because of their cars.

也是因為他們的車。

This mean-looking Dodge Charger is a muscle car.

這輛外觀粗獷的道奇Charger是一輛「肌肉車」（馬力、扭力極其強勁）。

A type of car that exploded in popularity during the late '60s in the US.

一款在60年代末在美國大受歡迎的汽車。

This new, sleeker generation was basically built for informal drag racing, with big V-8 engines and rear-wheel drive.

這款新一代流線車型基本上是為非正式的街頭飆車而設計的,配備大型V-8發動機和後輪驅動。

The hero car in Bullitt was a Ford Mustang, the first major pony car.

《布利特》中的英雄車是福特野馬，第一輛大型小馬車。

A more compact, sporty take on the muscle car.

一款更小巧、更輕便的肌肉車。

And it's this combination of streamlined design and V-8 engines that made these cars powerful and maneuverable enough to pull off daring stunts.

正是這種流線型設計和V-8引擎的結合，使這些汽車具有強大的動力和足夠的機動性來完成大膽的特技。

Like racing through the hills of San Francisco at 110 miles per hour.

比如以每小時110英里的速度在舊金山的山丘上跑。

Bullitt also had another advantage: Smaller and more rugged cameras, which allowed shooting to happen in actual streets.

《布利特》還有另一個優勢：更小、更堅固耐用的相機，可以在真實的街道上拍攝。

Bullitt was one of the first big Hollywood movies to rely on the lighter Arriflex 35 II camera.

《布利特》是第一部使用輕便的Arriflex 35 II攝像機拍攝的好萊塢大片。

So the crew could shoot entirely on location and also take audiences inside the cars.

因此，攝製組可以完全在現場拍攝，也可以把觀眾帶到車內。

They mounted cameras on the hood, sides, and interiors of each vehicle.

他們在每輛車的引擎蓋、側面和內部安裝了攝像頭。

So viewers could feel every bump and lurch.

這樣觀眾就能感受到每一次顛簸。

This dynamic camera style was most famously used in the chase from the movie The French Connection.

這種動態攝像機風格在電影《法國販毒網》的飆車鏡頭中最為著名。

The filmmakers mounted cameras on the hood, front bumper, and dashboard of Gene Hackman's Pontiac.

電影製作人在吉恩.哈克曼駕駛的旁蒂克的引擎蓋、前保險槓和儀錶盤上安裝了攝像機。

These multiple angles, along with handheld-camera work from the backseat of the car, showed all the action from the driver's perspective.

這些多角度鏡頭，連同汽車后座上的手持攝像機，從駕駛員的角度展示了所有的動作。

The result makes that Bond chase look like a casual spin.

這讓邦德的飆車看起來像是在隨意兜風。

But higher-stakes car cases can also be more dangerous.

但也可能讓高風險的汽車場景更危險。

The French Connection chase was filmed on uncleared streets in New York, without permits, among other drivers and passersby.

這場《法國販毒網》中的飆車是在未經許可的情況下，在紐約未清空的街道上拍攝的，周圍還有其他司機和路人。

These barely avoided collisions? They happened for real.

這幾乎避免了碰撞嗎？實際真的撞車了。

And this crash was entirely unplanned.

這次衝撞完全是意外。

At the wheel of the white Ford was a civilian driver who was uninvolved in the shoot.

駕駛白色福特汽車的是一名沒有參與拍攝的司機。

All this happened even with actors sometimes driving slower than what you see on film, a standard trick used to reduce risk.

為了降低風險，演員有時開得比你在電影上看到的慢，但即使如此，這一切還是發生了。

See how some cars' exhaust pipes are blowing smoke faster than normal?

看到一些汽車的排氣管排煙速度比平常快了嗎？

That's because filmmakers on French Connection used a technique known as undercranking--

這是因為《法國販毒網》的製片人使用了一種被稱為「減格拍攝」的技術

Where they film some of the scene at a lowered frame rate.

他們用低幀率拍攝了一些場景。

Capturing fewer frames makes movement look faster. Basically the opposite of slow motion.

捕捉更少的幀數讓運動看起來更快，基本上是慢動作的對立面。

You can also see this in Vanishing Point released the same year.

你也可以在同年上映的《粉身碎骨》中看到這一技巧。

Barry Newman's character bets he can drive his Dodge Challenger from Denver to San Francisco in 15 hours.

巴里·紐曼飾演的角色打賭他能在15小時內駕駛他的道奇Challenger從丹佛到舊金山。

That'd require a constant pace of some 80 miles an hour.

這需要80英里的恆定時速。

But in many sequences, like this hot race with a Jaguar, the actors were only driving at 50.

但在很多場景中，比如這場與美洲豹激烈比賽，演員們的車速只有50邁。

So the filmmakers created the illusion of speed by undercranking the camera to half its normal frame rate, making the cars look like they're flying.

因此，電影製作人通過將攝像機的幀速降低到正常幀速的一半來製造速度的假象，讓汽車看起來像是在飛行。

Undercranking is still used today.

減格拍攝至今仍在使用。

Most notably in the 2015 movie Mad Max: Fury Road.

最引人注目的是2015年的電影《瘋狂的麥克斯：狂暴之路》。

But heavy undercranking works best for settings that don't have a lot of people moving around.

但繁重的減格拍攝最適合沒有很多人移動的環境。

Mad Max and Vanishing Point were perfect fits, with scenes that take place in the desert.

《瘋狂的麥克斯》和《粉身碎骨》都是發生在沙漠中的場景，非常契合。

In scenes that have lots of pedestrians, the effect can make human movement look jerky and fake, Like what you see in old silent comedies.

在有很多行人的場景中，這種效果會讓人的動作看起來不流暢和虛假，就像你在老喜劇默片裡看到的那樣。

So city chase scenes can only use the technique sparingly.

因此，城市飆車場景只能謹慎地使用這種技術。

The Paris chase in the 1998 thriller Ronin, where Robert De Niro's Peugeot pursues a BMW, didn't use undercranking at all.

在1998年的驚悚片《浪人》中，羅伯特·德尼羅駕駛着標緻汽車追逐一輛寶馬，影片中的巴黎追逐完全沒有使用減格拍攝。

To actually drive at these daredevil speeds, you pretty much always need a stunt driver.

要想以如此大膽的速度駕駛，你幾乎總是需要一位特技駕駛員。

So the filmmakers have to find ways to make it look like the actor, not the stunt driver, is controlling the car.

所以電影製作人必須想辦法讓它看起來像演員，而不是特技司機在控制汽車。

In Ronin, they had right-hand-drive cars fitted with fake left-side steering wheels.

在《浪人》中，他們駕駛的是配有假左方向盤的右駕駛汽車。

The actor, in this case Robert De Niro, would pretend to drive for the close-ups...

演員，也就是羅伯特·德尼羅，會假裝開車拍特寫……

While the stunt driver to their right did all the actual maneuvering on a steering wheel positioned out of shot.

而在他們右邊的特技駕駛員在鏡頭外的方向盤上完成了所有的實際操作。

But having the stunt performer in the other seat limits the angles you can shoot.

但讓特技演員坐在另一個座位會限制拍攝的角度。

And what if the stunt driver can't be in the vehicle at all?

如果特技演員根本不能在車裡呢?

The solution came from a movie with exactly zero car chases: Seabiscuit.

答案來自一部完全沒有飆車場面的電影：《奔騰年代》。

The stunt team on that movie built a special rig for filming horse-race scenes.

那部電影的特技團隊為拍攝賽馬場景建造了一套特殊的裝備。

Eventually, that rig evolved into a smaller, more versatile version designed specifically for filming car chases.

最終，這個裝置演變成了一個更小、更多功能的版本，專門為拍攝飆車場面而設計。

Known as the Biscuit, it's basically a vehicle that you can put other vehicles on, one that can be reassembled into different configurations, Like a giant Lego truck.

它被稱為Biscuit，基本上是一種你可以把其他車輛放在上面的交通工具，它可以被重新組裝成不同的配置，就像一輛巨大的樂高卡車。

The rig makes it look like an actor is doing the driving, while a stunt person actually steers from the driver's pod.

這個裝置讓影片看起來像演員在開車，而替身演員實際在駕駛艙里駕駛。

This pod can be mounted anywhere on the platform.

這個吊艙可以安裝在平台的任何地方。

So filmmakers can basically get any angle they want.

所以電影製作人基本上可以從任何角度拍攝。

The Biscuit rig made it possible to film some of Hollywood's most famous car scenes over the past two decades.

在過去的二十年裡，Biscuit裝置使拍攝出好萊塢一些最著名的飆車場景成為可能。

Today's filmmakers build on all the tools we've previously seen but have to deal with a whole other set of challenges.

今天的電影製作人在所有以前見過的工具基礎上發展，但必須應對另一系列的挑戰。

The cars themselves are another common hurdle.

汽車本身是另一個常見的障礙。

Chase cars aren't built the same way today.

現在用於飆車的汽車已經不一樣了。

Since the decline of the muscle car beginning in the late '70s, models have been getting safer and safer.

自上世紀70年代末肌肉車開始衰落以來，車型變得越來越安全。

Cars have always been reinforced and modified for stunts, but recent movies take customization much further.

為了特技，汽車一直在進行加固和改裝，但最近的電影在特製方面做得更全面了。

For cars used in production for the "Fast & Furious" movies,

以《速度與激情》中使用的汽車為例，

the crew removes the airbags from the cars and disables features like traction control and the antilock braking system.

機組人員拆除了汽車上的安全氣囊，並禁用了牽引力控制和防抱死制動系統等功能。

They also fortify the frames and bodies of the vehicles so they can withstand heavy-duty stunt work.

他們還加固了車架和車身，使它們能夠承受重型特技工作。

This can also mean building new cars from scratch.

這有時也意味着要從零開始生產新車。

But just as it took 100 years to get the tech to where we are now, it can still take months to build up an epic car shot, even a short one.

但就像我們花了100年的時間才讓這項技術達到今天的水平一樣，製作一部史詩級的飆車鏡頭也可能需要幾個月的時間，哪怕是很短的畫面。

So even if these cars are going fast, it's the slow work of production that's gotten chase scenes to where they are today.

所以，即使這些車開得很快，也是由於製作過程的緩慢，才使得飆車場面達到了今天的水平。