既然大家对上一期的专访内容很喜欢，我就继续给大家联系更多优质的作者，我们更多地去看看世界电影人都在做什么。也感谢大家的支持！这一次Hi VFX独家专访了捷克导演Adrián Adamec关于他的最新短片电影《NEVEN》。（感谢导演提供的大量资料，我花了好久做资料整理和再编辑，希望这一期大家看的够嗨！收获够多！）
用导演的话说《NEVEN》这个作品是一个关于爱、友谊和希望的故事。这部电影是他与斯洛伐克社区剧院Divadlo z Pasáže合作制作的，该剧的主演是患有唐氏综合症的演员Peter Hudec。这部短片电影探索的一个话题就是，当前方看起来无路可走的时候，继续生活意味着什么。
导演是捷克人，在做这部短片的时候恰好赶上疫情最严重的那三年。同时，导演的父亲也在那段时间去世了。同时，他们的邻国发生了战乱。可能也是由于遭遇了这些“不幸”，让这部短片整个基调与当时制作的社会背景和导演的经历有些共通的感觉。所以，短片里男主的迷茫与无助，独孤与悲伤，被导演用镜头和音乐诠释的很到位。
同时，也需要提一点的就是，这部短片我看的时候，对机器人，对AI似乎就少了一些恐惧与担忧。因为，导演在他的作品里，同时也赋予了这样一个机器人少有的温暖感觉。
讲真，这一期，写的我很暖心。
（首映当天）
（本期所有内容获得导演授权）
（还是先让大家欣赏下，导演Adrián Adamec的这个作品《NEVEN》）
(这期专访结尾可看NEVEN VFX Showreel 和幕后制作花絮）
1.你选择有唐氏综合症的演员参演的缘起是什么？他演的真的好棒！Thanks! For me, this project started with Peter Hudec (actor). A saw their theater play and fell in love. It was even before the idea for the film, I knew I wanted Peter to be the lead. He has pure kindness in his eyes. Pure soul behind them. He is acting because he loves art, it is everything for him. Didn’t start doing it because being an actor is “prestigious”. He just loves it. People like him can give me the drive to spend 2 years working on short films like this. I need people I really love around me. We are all working hard on something that is "ours" not just mine. I wanted for him to see himself on a big screen and feel what it is like to be a “hero” of his story. Not many actors with down syndrome do have opportunities to star in a role like this. His acting was very naturalistic and I saw that as a big advantage. He never repeated any action, every take was different and special. Of course working with actors with disabilities limits you in many ways. But that’s what filmmaking is about, its problem solving. You plan your movie and then you negotiate with reality. But it was all worth it and because of him this project is very special for me.谢谢，对我来说，这个作品《NEVEN》使用演员Peter Hudec，是因为从我第一眼看到他在剧院的表演，我就深深喜欢上了。甚至在早于这个电影本身的故事想法出来之前，我就希望这个作品的表现可以由他来主导。因为在他的眼中你可以看到纯粹的善意和在背后的干净的灵魂。他出演这些因为他爱艺术，艺术就是他的一切。他做这个并不是为了功名利禄。他就是纯粹地爱艺术。人们对他的喜爱也让我有两年的冲劲儿在这个短片电影中。我需要那些我真的很爱的人在我周围。我要与这些人在一起努力工作，那才是“大我”，而不仅仅只是“小我”。我想让他在大屏幕上看到他自己，我想让他感受到在他故事里成为一个“英雄”的感觉。很少有唐氏综合症的演员能有这样的机会在影片中出演。他的表演非常的自然，而且这种独特反倒成了他的一种优势。他从不重复表演任何的东西，每一镜他的表演都不同且很特别。当然，与身体有些欠缺的演员合作本身也会受到一些限制。但是，这不就是电影制作本身的意义吗？面对问题，解决它！你计划你的电影，然后你要与现实去协商很多问题。但是，一切都是很值得的。因为他的参演，这个项目对我来说意义非凡。
2.你花费了多久的时间来完成这个作品？它的视效镜头量有多大？Started
planning in summer 2020, production started in November of that year.
Production was delayed many times because of covid so we finished filming all
scenes with Peter in April of 2021 and two more filming days in June for
flashback scene. Then it took one year for me to edit the movie, create all
assets and do 200 vfx shots. I was one man army almost all the way. Few shots
were composited by Vladimir Valovič, he is a very experienced compositor
working on biggest Hollywood movies. He liked the project and jumped in to work
on a few shots.这个项目我是2020年夏天开始策划的，同年的11月开始进行拍摄。这期间，因为新冠，制作也被延迟了好多次。最终，我们在2021年4月完成了与Peter的所有场景的拍摄，并在6月又拍摄了两天的闪回场景。然后，我花费了一年的时间进行电影的剪辑，同时，制作所有的资产，和200多个视效镜头。我几乎就是一个人作战。有一小部分的镜头的合成工作交给了Vladimir Valovič,他是一个在很多大制作的好莱坞电影中有丰富合成经验的人。他很喜欢这个项目，就参与制作了几个镜头。
Probably
trying to execute it without a budget. I paid for one location with a little
bit of money and bought some food. We used equipment we owned and locations
that were easy to access. Then combining it with covid made it a bit harder.
That was challenge #1 and then #2 was postproduction. It's a less stressful
part of filmmaking for me because I know I have a movie. I just need to edit it
and do all the vfx. When I wrote a list of all the vfx that needed to be done I
almost gave up. It was too many shots and I had to finish one vfx shot every
day. Some of them were easy pain outs but some of them were completely computer
generated shots. I said to myself “Okay, lets not
look at it from that high of a perspective but lets go step by step, shot by
shot. This month is all about this scene and this day is all about this one
shot. Don’t look at the top of the mountain, just look down and go step by step.”对我来说最大的挑战可能就是要在没有预算的情况下去完成这个事儿。我自掏腰包租了个外景，同时也买了一些食物。我们使用的设备都是自己的，外景也是很容易就到达的地方。但是遇到新冠的话，就让我们更难了。这算是我们的第一个挑战。第二个挑战就是后期制作了。这对我来说可能压力稍小一些，因为我知道我有个电影要去制作。我只要去剪辑好它，再把所有的特效做完就行了。当我整理出来一长列需要制作的特效内容的时候，我几乎都想放弃了。我每天要做太多的特效镜头了。有一些是很简单的抠图之类的就好，但是有一些是很难的数字特效镜头。我当时对我自己说：“好，让我们来换一个更高的格局看这个事儿。我们就一步一步、一个镜头一个镜头地去做它。这个月就做这场戏，这一天就完成这个镜头。我不去看山峰有多高，只看当下和一步步去接近它就好！”
4 . 在此之前的电影中你是否使用过UE?你觉得使用UE最大的优点和缺点分别是什么？Never
actually jumped on UE. I think it's an amazing tool and I like the results many
talented artists are able to create in UE. Usually I try to film plates, as
many as possible and add "fantastic" elements into it. Even if plates
aren't that amazing. It's important for me that it feels real. Story needs
that. I'm also okay with doing fully CG shots. Hate green screens. Suck the
excitement of filmmaking out of me.在此之前我从来没用过UE。我觉得它是一个很棒的工具，并且我非常喜欢很多艺术家用UE做出来的东西。我通常都会尽力地去拍很多素材，然后尽可能多的去添加很多很棒的元素。即是有的素材本身并不是很出彩。对我来说，它只要很真实就非常棒。故事往往就很需要真实。当然，全CG的镜头我也很喜欢。我不喜欢绿幕，它会让消减我制作电影时候的热情。
5. 是什么样的原因促使你去做这样一个短片？
I love
filmmaking. It's pure magic that can transport you to another world, or make
you understand one we live in. Movies helped me throughout my life so much, and
saved me in many many ways. When I found out as a kid that people were making
them, I knew what I wanted to be - a filmmaker. So right now I'm in the process
of learning how to make this magic come to life. I'm a total novice, and see
myself in the process of learning the basics, failing and learning from my
mistakes. I really hope that one day I will be able to create a movie that can
amaze someone, help them to escape reality for a few hours and inspire them to
create their own art. Power of storytelling is monumental. I want to learn as
much about it as I can.Projects like this are good
exercise. I'm also able to do what I always wanted to do and I like for every
new project to be a challenge for me . I loved every minute working on this
project and all the people I met along the way. I hope to make as many as
possible and learn as much as possible.我很喜欢电影。电影是个很有魔力的东西，它可以带你去到任何世界中，或者让你去了解我们所生活的地方。电影在我的人生中扮演很重要的角色，它同时，也拯救了我很多次。当我还是个孩子看到人们做电影的时候，我就认识到未来，我要成为一个电影人。所以，现在我也正在努力学习如何让这个魔法进入到我的生命中。我完全是个新手，我也在不断地学习基础的知识，不断地去纠正我的错误。我真心希望，未来有一天，我可以制作出惊艳所有人的电影，去帮助他们从现实中解放哪怕几小时，也希望可以激励他们去创作出他们自己的艺术来。故事讲述的能量是巨大的。我希望可以更多的学习如何讲好一个故事。
6. 您是零成本去做这个短片电影的吗？那您是如何解决道具、演员、特效等这些问题的呢？
Yes.
You learn from your favorite filmmakers, when they talk about their beginnings,
how they “thinking” about pulling projects off without money. Guillermo Del
Toro, Gareth Edwards, James Cameron, Robert Rodriguez... They all had to do it.
It's very important to adjust your ideas, setting and props to your
environment. I knew we could access someabandoned locations for free so I was writing with that in mind. I know what kind of locations are in my country so I will write with them in mind. We used or borrowed old props. I live in a small city so it's easy to find help. People lend us many props, trucks they were not using during the weekends or generators. I knew a guy who was a good climber and he was able to create wire rigs for us. Another friend is a welder and a great technician so he was able to create air cannons from junk… and you go like that. You put on the “table” all things you have access to and think how you can tell a story with them.是的。我们可以从我们最喜欢的电影人那里去学习，听听他们讲述最初他们是如何思考在没钱情况下做电影的。Guillermo Del Toro, Gareth Edwards, James Cameron, Robert Rodriguez...（感觉我要恶补）这些人他们都要面临这个问题。所以，在没钱的情况下，调整你故事的想法，场景的设置，环境里的道具等等都是非常重要的。我知道我们可以免费进入一些废弃的地点，所以我在构思故事时就考虑到了这一点。我知道我的国家内有什么样的地方，所以我就把这些记在心里。我们借用旧的道具。因为我生活在小城市中，所以寻求帮助也是比较容易的。大家借给我们很多道具，周末不用的卡车或发电机。我认识一个攀岩高手，他能帮我们做钢丝架。另一个朋友是焊工，也是一名优秀的技术人员，所以他能够用废品做出空气炮……然后你就把这些全都摆到台面上来，就去思考如何用这些去讲述一个故事。
7. 在这部作品中您在概念设计、资产制作上大概都花费了多少的时间呢？It
took 2-3 months to create assets. I don’t know the exact number but I created a
CGI double, robot Neven and Black Maria (bad robot) in two versions – normal
and damaged. Drones, burned bodies and some small props. Anti Air-missile
robots just for one shot in the background... Maybe I'm forgetting some. Pretty
straight forward process for me, I did it many times and created many assets
for my previous projects. I like to create them on my own. I'm not using
components from 3D packs, but creating every single screw. I don’t mind using packs
for environment shots, but “hero” assets like this I like to create. Didn’t
have much time in pre-production for proper conceptual art / designs. I did
boards of art and designs I like and did a mashup of those - straight to 3D
modeling. It's a mix of things I like. But I love concept art and putting more
time into them for my next project. Love collecting artbooks.我在资产制作上大概花费了2-3个月的时间。我记不清具体的数字了。Neven（小机器人） 和 Black Maria（机器坏人）做了两个版本：一个正常的，一个损毁的。以及一些胳膊、烧坏的身体和一些小部件。还有防空反导弹机器人，只有一个镜头在背景里出现。可能我还忘记了一些。对我来说，这个易如反掌。因为我之前的项目做过很多资产。我喜欢创作他们。我不是用三维包中的组件来完成，而且我去创建每一个零部件来完成它们。我并不介意在环境镜头中用资产包。但是，对于一些“关键镜头”我还是喜欢亲手去打造它的每一个地方。在这个项目中，我并没有很多时间去进行前期的概念设计工作。我当时做了我喜欢的艺术板，然后将它们进行混搭，直接进3D建模。这就是我喜欢的东西的混合体。但是我会希望在我下一个作品中投入更多的时间在概念设计上。我太喜欢收集艺术书籍了。（导演诚不欺我，给到我的概念图就六张，哈哈哈哈）
8.在这个作品中您如何解决表达机器人与人类的情感交流的问题呢？You
prep as much as you can, play a movie in your head, shotlist it, storyboard it,
shoot it and hopey that it will work. For the practical side of filmmaking, we
created a puppet for the cameraman to focus on and Peter to look at. Also great
lighting reference. Many times I was sitting next to Peter standing-in for
Neven and he was looking at me. Then in post-production I was looking at some
videos of dogs and bots as reference. But it was mostly based on my gut feeling
and doing keyframe animation. I did rotomation for Big Robot, filming myself
doing the action and then keyframing it based on that.你要尽可能多的去做准备，要在你的脑海中去走完一整部电影，列出制作清单，做好故事板，拍摄它，然后它肯定就有效果。从电影制作的实践这一方面来说，我们制作了一个木偶，让摄影师专注于拍摄，也让Peter知道往哪里看。当然，很棒的照明参考也很必须。很多时候，我都会作为Neven的替身坐在Peter旁边让他看着我。然后到了后期阶段，我就通过看一些狗和机器人的视频作为制作参考。但它主要还是基于我的直接感觉和做关键帧动画。我为大机器人（坏机器人）做了一些ROTO,然后我拍摄了我自己的动画，再在这个基础上K关键帧 。
仔细看，可以看出导演自己一个人如何一步步爬上困难的高峰！《NEVEN》花絮里的导演独白，可以仔细听，温暖且有力量的电影人
如果你有希望分享的影视制作观点或者内容，欢迎后台留言～
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