【幕后】破记录的《克隆人战争》将拜访卡米诺

August

（Record-Breaking Clone Wars Series to Visit Kamino）

2010年7月24日

作者：Pablo Hidalgo
翻译：August
校对：虫子

Since its start two years ago, the animated series Star Wars: The Clone Wars has surprised viewers with its visual complexity and compelling new stories. This past Friday it was time for the creators of the show to experience a surprise of their own: Supervising Director Dave Filoni, CG Supervisor Joel Aron and Lead Designer Kilian Plunkett took a pause from panel at Comic-Con International as Guinness World Records editor Craig Glenday took the stage to present the series with a certificate proclaiming The Clone Wars as the highest rated sci-fi animation currently on television.
自从两年前开播以来，动画系列剧《星球大战：克隆人战争》就以其复杂的视觉效果和扣人心弦的新颖故事为观众带来惊喜。上周五，本剧的创作人员经历了一次属于他们自己的惊喜时刻：总监戴夫·菲洛尼，CG总监Joel Aron和首席设计师Kilian Plunkett暂停在国际动漫展会上的演示，同时来自“吉尼斯世界纪录”的编辑Craig Glenday登台，向该系列献上一份证书，宣告《克隆人战争》是电视上目前为止最受好评的科幻动画片。

Producer Cary Silver; President and COO, Turner Animation Stuart Snyder; and Supervising Director Dave Filoni receive their Guinness World Record certificate. Photo by Nicole Love.
制片人Cary Silver；特纳动画的主席兼运作主管Stuart Snyder；以及总监Dave Filoni收到了他们的“吉尼斯世界纪录”证书。摄影：Nicole Love

Before that, the Clone Wars crewers were peeling back the curtain on the creative process required to bring a show that looks like no other animated television series to the screen every week. By targeting the trio of episodes that capped Season Two -- "Death Trap," "R2 Come Home" and "Lethal Trackdown," Filoni and team were able to offer specific examples of their unique approach.
在此之前，《克隆人战争》的工作人员正在向观众展示：为了让一个剧集与其他每周在荧屏上播出的剧集都不同，需要什么样的创作过程。以第二季最后三集——《死亡陷阱》，《R2回家》和《致命追查》——为对象，菲洛尼和小组成员得以用特定案例来介绍他们独特的方法。

The episodes begin with story concepts direct from George Lucas, who confers with Filoni and producer Cary Silver to plot out the big beats of a forthcoming season. "I have my notebook with me when I talk to George, and from the very beginning, while we're taking copious notes on script ideas, I start drawing visually what these things are going to look like in a very rough way," explained Filoni, showing samples from his sketchbook. "George is an extremely visual guy. The best way to sell any idea to him is to actually paint it, draw it, whatever, and get it in front of him."
这三集的故事概念直接源自乔治·卢卡斯，他与菲洛尼和制片人Cary Silver商讨，为即将到来的新一季定调。“我和乔治谈话时随身带着笔记本，从一开始，在我们为剧本点子记下大量笔记的时候，我就开始用一种非常粗略的方式把这些东西将要呈现的样子画下来。”菲洛尼说着，一边展示他的草稿本里的画稿样本。“乔治是一个极度倚重视觉的家伙。要向他兜售任何点子，最好的方式就是直接把它画出来，不管用什么形式，然后放到他眼前。”

From these first sketches, Filoni next assigns Kilian Plunkett to flesh out and explore the designs required for the various stories. Plunkett presented some of his designs of the young Fett and Aurra Sing -- and discussed some of the headaches with the conflicting scale of the Slave I across both trilogies. "The miniature that George is most familiar with from Empire has Boba way bigger in the cockpit than in Episode II," said Plunkett. "For him, that was the scale. But for our story, it had to be bigger." In Episode II, the scale of the ship would actually change for the needs of the shot, something that could be afforded by the budgets of feature films, but such tinkering is too cost-prohibitive for the weekly TV series.
最初是草图，菲洛尼接着委派Kilian Plunkett对这些设计进行充实和探索，以用于不同的故事。Plunkett展示了一些他设计的小费特和奥拉·辛——并探讨了因两个三部曲中奴隶一号互相矛盾的比例尺寸而引发的一些头疼事。“乔治最熟悉出自《帝国反击战》的微缩模型，那个驾驶舱里的波巴比EP2里的要大得多。”Plunkett说，“对他来说，那才是（正确的）比例。但对我们的故事而言，驾驶舱必须要更大。”EP2里，飞船的比例会因为拍摄需要而进行切实的调整，电影的预算负担得起这一调整，但对于一部每周播出的电视系列剧来说，这样的修补工作就太过昂贵，让人负担不起了。

"In a movie, you could build specifically for a shot," said Filoni. "In The Clone Wars, when we build Slave I, it has to work for whatever we're going to do with it in the future, because we won't have time to rebuild it."
“拍电影的时候，你可以为一个镜头特地建造（某个场景），”菲洛尼说，“而在《克隆人战争》里，当我们建造奴隶一号时，它就必须能为未来我们将要做的任何事服务，因为我们没有时间再重建一个。”

The latter half of the presentation turned to discussion of Season Three, and a planet familiar to Star Wars fans that could not be previously represented on The Clone Wars. "One thing we could not do before is water," said Filoni. "Not just because it's very hard to render, but because we have a style on the show that keeps us from using some canned water effect."
在演示的后半部分，讨论转到了第三季，以及一个星战迷们熟知的星球，它在之前的《克隆人战争》中是无法再现的。“之前我们做不到的就是水，”菲洛尼说，“不仅因为水很难呈现，还因为这个剧集的风格让我们无法使用现成做好的水效果。”

Instead, the Clone Wars artists opt for a more painterly solution. "This is how we think of it: How a painter would render it? Not how we would simulate it. Not what its properties are," said Filoni.
相反，《克隆人战争》的艺术家们选择了一种更接近于绘画的方式。“我们考虑的是：一个画家会如何表现水？而不去考虑如何（用计算机）模拟水，不去考虑它的性质该是什么样的【译注：材料粗糙还是光滑，反光性如何等】。”菲洛尼说。

Aron showed sample clips from Kaminoan exteriors of huge rolling waves, which were not fluid simulations but rather painted surfaces that emulate the flow and turbulence of water. "It's a kind of cheat," he said. "I could achieve the water look without an expensive render. Our Kamino waves rendered at two minutes a frame. The maelstrom from the Pirates of the Caribbean movies would take days to render the sim." And that kind of heavy processing would be impossible to maintain on a television schedule and budget.
Aron播放了一些样本片段，展示出卡米诺室外翻滚的巨浪，这不是液体模拟，而是绘制出来的可模仿水的涡流及波动的表面。“这是一种骗术，”他说，“我可以不用昂贵的渲染程序就生成水的外观。我们的卡米诺波浪以两分钟一帧的速度进行渲染。而对电影《加勒比海盗》里的大漩涡进行类似渲染需要耗费数天的时间。”而这种繁重的加工过程对一部电视剧的进度和预算来说都是行不通的。

Before the panel ended, fans in the audience were able to get a brief glimpse of Kamino and more with the playing of a special Season Three trailer, the same trailer that is now available here at StarWars.com by clicking below.
演示结束前，听众中的影迷们得以观看一支第三季的特别预告片，包括对卡米诺的惊鸿一瞥以及其他更多的景色，同一支预告片现在已放上StarWars.com，可以点击这里观看。



出处：http://www.starwars.com/theclonewars/season3_comic_con/index.html

dkwt0412

我喜欢这加特林机枪。。。。

暴徒

我不喜欢这头盔==

Jediapprentice

第一季拿这枪的哈维英勇牺牲
怀疑这一位的命运。。