皮克斯最新力作《路卡的夏天》終於在 8/7 正式上映。義大利的小鎮風光、奇幻的海怪傳說、在地的鐵人三項比賽，都激起人們對於異地的好奇心，正想跟著主角路卡與艾伯托一同踏上充滿挑戰與未知的冒險。映CG 特別邀請到韓裔的皮克斯 Layout 藝術家 Sunguk Chun，與我們一同分享如何透過鏡頭設置，創造出幽默的喜劇畫面，傳達故事中動人的情感瞬間。 

Pixar new animated movie "Luca" is now in the Taiwan's theaters. We invite Pixar Layout artist Sunguk Chun to share with us how to create comedy sequences through camera setup and convey the moving emotional moments in the story.

身為 Layout 藝術家，可以聊聊你主要負責的工作內容嗎？

As Layout Artist, talk us about your main job and tasks in this project? 

Sunguk Chun：其實動畫中的 Layout 藝術家可以想成是真人電影中的攝影師。在分鏡師繪製好分鏡腳本後，我們就會在 3D 場景中設置攝影機位置，並思考如何根據分鏡，擺出最適合故事的鏡頭。通常當故事中的角色需要表達情緒時，我們會把鏡頭放得離角色近一點，而當要表現幽默的情節時，我會盡量用一顆完整的鏡頭表現。簡單來說，就是利用攝影機與拍攝的角度去完美地表達這個故事。

Sunguk Chun：My role is the same as the cinematographer in live action film. The storyboard artist draws the board based on the script. Then, we place the camera in the 3D space and think about how to express the script well from the board. When it needs to show the emotions, I put the camera closer to the characters. When I want to show a comical situation, I try to show a full shot to convey the situation. We use appropriate lens, camera angle, and camera movement to express story visually.

聊聊你在《路卡的夏天》負責的鏡頭？

Talk about the sequence you made in "Luca",how you set up the camera? 

Sunguk Chun：我總共負責四場戲的鏡頭設置。像是路卡第一次進入艾伯托秘密基地發現偉士牌摩托車海報，路卡與茱莉亞，艾伯托在海上練習游泳，路卡的母親與鎮上孩子們踢足球，以及最後高潮戲，自行車比賽的前 1/3。

每場戲的鏡頭擺放，都要根據該場戲想傳達的核心理念去設計，在艾伯托秘密基地中，路卡發現偉士牌摩托車海報是最關鍵的戲，因此在路卡找到海報前，我盡量不讓海報出現在主角的視線中。而關於游泳戲，我則在思考如何讓觀眾感受到路卡與艾伯托的恐懼，而情節推展到艾伯托被浪花襲擊，變成海怪，我想辦法設計躲藏的鏡頭，讓觀眾也開始跟著他緊張害怕。另外，像是踢足球的戲，怎麼踢變得很重要，因為已經決定讓路卡的母親繞著噴泉走動，所以必須思考怎麼簡單俐落地踢這些小孩。最後的鐵人三項比賽，由於是高潮戲，所以必須展示比賽的緊張與場景。

Sunguk Chun：I made a total of four sequences in 'Luca'. The sequence in which Luca first enters Alberto's hideout and discovers Vespa posters, the sequence in which Luca and his friends practice swimming in the ocean, followed sequence that Luca's mother playing soccer with the kids in the town, and the first third of the climax of the last bicycle race. Each sequence had a different camera setup.

In Alberto's hideout, Luca's discovery of the Vespa poster was an important point. So until Luca found the poster, I tried to keep it out of sight. And since the sequence in the ocean has some sort of action, I was thinking about how to make audience feel Luca and Alberto's fear until Alberto hits by the splash, and after that, I tried to make there be tension when Alberto hides because he turns into the sea monster. Also, the movement was important in the scene where Luca's mother played soccer with kids. Since I had to move around the fountain for the choreography, I thought a lot about how to show various actions with the clean movement. Lastly, I thought a lot about how to show the scenes of the race well because it was the climax and the only sequence to show the race.

在創作前，會收到怎樣的指令？

Layout artist always works with director or Director of Photography, and what kind of instruction you'll usually receive

Sunguk Chun：主要還是取決於你製作怎樣的電影或情節，畢竟每場戲要表達的內容不同，所以我從攝影指導那裡獲得該場戲的故事目的與方向。 然而攝影指導通常都規劃好整部電影的鏡頭設計。 因此在製作前，我們會先看他的規劃，並討論要如何運用運鏡與攝影機角度，述說這場戲。

Sunguk Chun：It depends on what movie or sequence I do because the sequences are all different in the movies. So I get different directions on the different sequences from DP. However, there are overall camera plan that DP intends. So we share them together before I make sequences and talk about what camera movements and angles we usually want to use.

如何把分鏡腳本轉換成 3D 鏡頭？

How you Translate storyboards and animatics into the 3D layout? 

Sunguk Chun：一旦收到負責戲的分鏡腳本，我會先確認故事重點，有可能是情感訴說、動作表演、喜劇演出等，而我會在場景及道具部門建好的 3D 場景中設置攝影機的位置，探索怎樣的角度或運鏡才能表現該場戲的重點，這叫做「location scout」(位置偵查)。在過程中，我會盡可能提出關於鏡頭設置的想法，並與導演確認，才會開始之後建立鏡頭等工作。

Sunguk Chun：Once I receive a storyboard of a sequence, I need to check the story point. It could be the point of the emotion, the action, or the comedy, etc. And I set up the cameras in the actual 3D set to explore which location would be proper, or which angle or lens would be better. This is called the 'location scout'. In the process, I explore my ideas with all the possibility. Then, I check with the director and move on the the actual shot build.

在《路卡的夏天》遇到最大的挑戰？

As a layout Artist in "Luca", the challenge that impresses you the most? 

Sunguk Chun：最大的挑戰是艾柯雷和他的壞朋友們來到海面上，欺負練習游泳的茱莉亞、和路卡跟艾伯托。畢竟大海如此廣闊，所以要計劃好兩艘船的整體動向，以及如何向艾伯托潑水、如何讓茱莉亞上船，要安排這些動作在鏡頭上非常不容易。這場戲最後呈現的鏡頭，與當時分鏡差很多，因此在 Layout 上發生很大的變化，找了許多方法，讓每個鏡頭都有用處，影像節奏變得更加流暢。

Sunguk Chun：The biggest challenge in 'Luca' was the sequence where Ercole and his friends came and bullied Luca and his friends while practicing swimming in the ocean. The ocean was so spacious and unobstructed, so it was not easy to plan the overall movement of Ercole's boat to Luca's boat, how to give a splash to Alberto, and how to get Giulia on board. Compared to the storyboard, the idea changed a lot while working on the layout. So I had to think about the solutions to this a lot.

皮克斯與其他動畫工作室有何不同？

Is working at Pixar different from other companies? 

Sunguk Chun：由於我沒有去過太多工作室，所以很難比較，但我在皮克斯時，感受到很強烈的創作文化，每個員工都是電影工作者，都為了製作電影齊聚一堂，打造有趣且令人興奮的故事。在這樣的氛圍下一起工作，會有許多分享想法與創意的機會，每個人都能實際參與電影，說出自己對電影的看法，因此也能從中吸收別人的想法，轉換成創作的靈感與動能。

Sunguk Chun：It's a bit hard to compare companies because I haven't experienced many companies.But based on my experience, I feel that it is little different. But we are all a filmmaker. I get the feeling that we're all making our films together as filmmakers. It's a very fun and exciting job. And we also think about people who make the film. I feel I work in a fairly horizontal atmosphere culturally. There are many opportunities to share ideas and thoughts where everyone can share their opinions on the films they participate in. 

皮克斯營造出非常尊重每個藝術家風格的氛圍，因此每天都會不斷產生新鮮有趣的想法。
And it's fun to get a lot of inspiration from each other while working on the show because there's an atmosphere here that respect each artist's style.

by Layout artist Sunguk Chun

給想成為 Layout 藝術家的新鮮人一些建議？

If someone wants to become a 3d layout artist, what kind of knowledge would you recommend him to learn? 

Sunguk Chun：建議多看電影，特別是 Layout 藝術家必須用視覺鏡頭來表現故事，而不單單只是擺放攝影機，如果還能表現出說故事的觀點與想法，並更熟悉電影製作，會更加分。因此最好還是透過各種類型的電影開發你的感官，深入挖掘影像的魅力。

Sunguk Chun：First of all, I recommend to watch a lot of films. Especially, layout artist needs to think about how to express this story visually, not just setting up the camera. And it would be even better if we could show new perspectives and ideas as a storyteller and a filmmaker. So I recommend you to develop your senses by watching various movies.

最近關注的技術與研究？

Share trends or technologies in the animation industry that you are currently following? 

Sunguk Chun：動畫產業是技術與創意的結合，所以不停在推出新的技術，例如使用 Unreal 或 VR 進行即時渲染。儘管因為工作關係，鮮少碰這些技術，但在疫情期間，我一直在用 VR 工作。畢竟我的工作需要運用放映室的大銀幕檢查每一場戲，如果只是運用電腦螢幕，會很難看到正確的取景尺寸與角度。所以我們使用 VR 打造虛擬戲院，透過虛擬大銀幕來做檢查的工作。

Sunguk Chun：The industry uses a lot of technologies such as real-time rendering with Unreal or VR.Personally, I haven't had many opportunities to use these technologies. But I've been using VR because of the Covid situation. We need to check the sequences in the screening room with the big screen because it is hard to see the correct size of the framing or angle with the computer monitor. So once we use VR, there is a virtual theater. Then, we could check the proper size of angle or feelings with the virtual big screen.

文章授權來源：映CG