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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 

编辑团队的独特优势在于电影制作过程中的各个制作阶段的，因为几乎每个部门都会在镜头完成后将制作成果交给编辑部中心。

视角也许是编辑团队要考虑的最重要的主线。在剪小嗝嗝和无牙在小山凹里相识的镜头剪辑在一起时，编辑团队非常留意两者的立场、会有什么样的情感以及情感产生的原因。这些基于角色的考虑将决定镜头里出现的是单角色还是双角色，是人物侧面还是特写。编辑Darren Holmes回忆道。“一段友谊是如何从踌躇走向真正享受与有趣的呢？这个过程就是我们所要展示的一切。”

编辑团队还享受了更类似于以实景方式拍摄的独特机会，编辑团队也有独特的机会以更真实的方式工作。当小嗝嗝和无牙与红死神决一死战时，制片采取了一种方法，他们通过制作一个很长的“主镜头”，然后像实景团队一样剪辑，在现场拍摄这一序列。“我们要知道从剧情脚本中寻找到了什么，然后我们构建了基本动画，并将临时效果、灯光和云分层到一个大的Maya文件中”，布局负责人Gil Zimmerman解释道。接下来，“previs”在镜头中加入了各种有趣的镜头动作，试图以电影的方式捕捉到它。“然后到了社论，让我们找到一个具有活力的剪辑，这让导演们有机会找到这部电影，而不是像往常一样，在拍摄过程的早些时候试图一个镜头一个镜头地叫出它，”霍姆斯继续说。导演们批准了插播社论后，这一序列又回到了排版部门的制作流程中，然后像电影中的所有其他镜头一样，在随后的部门中继续前进。

原文：

The editorial crew has the unique advantage of seeing the film at all stages of production because nearly every department in the pipeline delivers its shots to the edit bay as it completes its work.

Perspective is perhaps the most important through-line for the editorial team to consider. When editorial cut together the sequence where Hiccup and Toothless are getting acquainted in the cove, the team was very mindful of each character"s point of view, what emotion each would be feeling, and why he would be feeling such a way in each shot. Those character-based considerations inform the decisions of whether to go with two-shots, profiles, or closeups in each moment. "It was all about discovering the idea of what it"s like to go from a very tentative relationship to one that is truly joyful and fun," recalls Editor Darren Holmes.

The editorial team also had the unique opportunity to work in more of a live-action style. When Hiccup and Toothless battle the Red Death, the production took the approach that they were shooting this sequence in live-action by creating a long "master shot" which editorial then cut like a live-action team would. "We got the sense of what the storyboards were looking for, then we built basic animation and layered temporary effects, lighting, and clouds into one big Maya file," explains Head of Layout Gil Zimmerman. Next the "previs" put a variety of interesting camera moves into the shot to try to capture it cinematically. "Then it came down to editorial to let us find an organic cut, which gave the directors opportunity to find the movie instead of trying to call it out shot-by-shot much earlier in the process, as is the norm," continues Holmes. After the directors approved of the cut in editorial, the sequence went back into the production pipeline at the layout department and then moved forward through the subsequent departments like all other shots in the film.

标签： 驯龙高手 现场拍摄 镜头剪辑 LIGHTING