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好莱坞:3D数字放映成主流 和胶片影片说再见
发布时间:2011-12-28?? 浏览次数:5

In January digital projection will take over as the most common method for displaying new releases.
到明年1月,数字放映将取代胶片放映,成为最普遍的新影片播放形式。

 

 

The last mainstream theatres in the United States will no longer use 35mm celluloid prints by the end of 2013, and across Western Europe the change will be complete by the end of 2014, according to a report by global market research company IHS Screen Digest.
一份来自媒体分析企业IHS Screen Diges的全球市场调查显示,美国的主流影片院在2013年将不再使用35mm影片胶片,而大西洋对岸的西欧国家则在2014年完成这种放映形式的改革。

 

 

Celluloid will become a curiosity in art house cinemas determined to keep traditional film going.
为使传统影片继续延续下去,影片胶片将成为艺术家影片院的珍品。

 

 

David Hancock, an analyst at IHS, said: "Since 1889, 35mm has been the principal film projection technology, taking movie audiences from the slapstick of the silent age, through the great musicals of the sound era, to the epoch of the summer blockbuster."
IHS的分析师大卫·汉考克说道:“自1889年以来,35mm胶卷放映一直都是主要的影片播放技术,这也让观众从无声的默剧年代,经过拥有伟大音乐剧的有声时代,到现在处处暑假大片的新纪元。”

 

 

Only two years ago digital projection was used for just 15 per cent of the world's cinema screens. The swiftness of the cinematic digital revolution can be traced directly to the success of a single film – "Avatar" in 2009.
就在两年前,世界上只有15%的影片院使用数字放映。影片数字化的转折点就是2009年的大热影片——《阿凡达》。

 

 

James Cameron's science fiction epic became the highest grossing movie of all time, taking $2.8 billion (£1.8 billion) at the box office. It sparked a boom in 3D films and put pressure on cinemas to upgrade to digital projection.
詹皇·卡梅隆的史诗级科幻巨作《阿凡达》成为历史上的大卖影片,票房总额高达28亿美金(约18亿欧元)。《阿凡达》引发了3D影片的热潮,并迫使影片院的放映技术升级至数字放映技术。

 

 

As a result demand for 35mm cinema film is expected to decline from 13 billion feet a year in 2008 to just four billion in 2012. Another factor in its demise is the high price of silver, which is needed to make the rolls of film.
于是,35mm胶片影片的胶片的需求将从2008年的13亿英尺,预计降到2012年的4亿英尺。而用于制作影片胶卷的银的价格居高不下,也是导致胶片影片没落的另一因素。

 

 

A single celluloid print of a movie can cost more than £1,500. A big release can see millions of dollars spent on prints to distribute to cinemas.
一卷影片胶卷至少得花费1500欧元,而大制作的影片在剪片中则要花费好几百万美金。

 

 

With digital projection each copy of the film can be sent out on a hard drive costing just £150. The lower cost makes simultaneous worldwide releases more feasible, which in turn reduces the risk of piracy.
通过数字放映科技,每部影片的副本能储存在一个只花150欧元的硬盘里。低成本的硬盘实现了影片的全球同步上映,同时也降低盗版的风险性。

 

 

Earlier this year the two main companies making celluloid prints agreed to share out the remaining work from Hollywood.
在2011年初,两家制作胶卷影片的大企业同意将手头上剩余的、好莱坞的影片工作任务彼此分配。

 

 

Following a century of competition Technicolor and Deluxe said they were working together "as a result of digital image capture overtaking film capture."
影视后期企业Technicolor和洗印企业Deluxe已经竞争了超过一个世纪,他们表示,因为数字捕抓技术已经取代了影片采集技术,所以他们现在要同心协力。

 

 

Some Hollywood directors have enthusiastically embraced the use of digital projection because it gives a "cleaner" image, but others are already remembering celluloid wistfully.
一些好莱坞导演对于数字放映技术的使用表示“举双手双脚赞成”,因为他们认为这种技术能产出“更干净”的画质(感受)然而,还有些人却一直惦记着胶片技术。

 

 

In London the Turbine Hall of the Tate Modern is currently being used to showcase "Film," a tribute to the dying art of 35mm film-making by the British artist Tacita Dean.
现在,伦敦的泰特现代美术馆涡轮大厅成为了“胶片”展示厅,用以纪念英国艺术家塔希特·迪恩发明的、现正消亡的35mm影片胶卷技术。

 

 

In an accompaniment to the exhibition the director Steven Spielberg said: "My favourite and preferred step between imagination and image is a strip of photochemistry that can be held, twisted, folded, looked at with the naked eye, or projected on to a surface for others to see. Today, its years are numbered, but I will remain loyal to this analogue art form until the last lab closes."
在展览会中,导演史提芬·斯皮尔伯格说道:“想象和图像之间的连接方式,是用我最爱的、首选的那胶片的光化学带,因为大家可以拿着它,扭曲折叠,还能用裸眼查看,或者投影让别人观看。到了今天,影片胶片的日子也到头了,但是,不到最后一间实验室关门,我都不会放弃这模拟的艺术形式。”

 

 

According to Keanu Reeves, the actor, the biggest difference on set is that a 1,000ft roll of 35mm film lasts only around nine-and-a-half minutes before running out. A digital tape or recording card can last 90 minutes, reducing the pressure on the director to "cut" to save film.
演员基努·里维斯认为,两者在设置上的最大不同是,一卷1000英尺长的影片胶卷在使用完毕前只能录制9分30秒,而一盘数字磁带或一张记忆卡则能录制90分钟,减轻导演的剪片压力,从而保护了影片的完整性。

 

 

But Reeves said: "I will miss walking on to a photochemical film set. It has a magic to me. When the director says 'Action' and the film is rolling it feels like something is at stake."
然而,里维斯也表示:“我会怀念那走在胶片影片摄像机前的时光,对于我而言,它是不可思议的。当导演说喊‘开机’,胶片就滚动起来,也让我感觉到胶片正在不断地消失。”

 
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