16-10-26【幕后故事】最新美剧《柏林情报站》拍摄揭秘

最新美剧《柏林情报站》拍摄揭秘

“ALEXA Mini的工作效率很高，而且画面和其它ALEXA机型完全匹配。而电影用到的M系列镝灯都有相同的特点：安静、结实、控制简便，而且无论是直射或是反射，光质和光量都非常高。”

—— 摄影指导 哈根•鲍格丹斯基

摄影师哈根•鲍格丹斯基采用一系列来自ARRI的产品与服务立足柏林拍摄美国谍战剧集。

《柏林情报站》（又译《柏林谍影》）以CIA特工丹尼尔•米勒调查柏林情报站（剧中的虚拟机构）一起泄密事件为故事主线，派拉蒙电视和Anonymous Content两家制作公司联手为客户EPIX娱乐电视网制作，这部全新打造的谍战剧集是第一个获得德国电影基金支持的项目。ARRI Rental和ARRI Media总部位于柏林，而且ARRI集团在德国境内90%的主管部门也设立于此，这部剧集完美体现了来自ARRI Rental和ARRI Media种类丰富又有机结合的服务产品是如何让德国成为吸引国际制作团队的工作站。摄影师哈根•鲍格丹斯基（Hagen Bogdanski）向ARRI新闻的记者讲述了他在这部剧集中的工作经历。

《柏林情报站》的画面风格是什么走向？

哈根•鲍格丹斯基：这是一部谍战剧，但是我们不想重复冷战片的套路，相反地，我们希望让柏林呈现出更现代化的风格。因此，摄影机运动会更加流畅，因为会用到斯坦尼康和手持拍摄方式，所以常常只能依靠现场光。除了CIA总部的场景是在棚内搭建，其它的内容几乎全部是实景，每天要辗转几个实景场地，这种大戏是对创作者真正的考验，所以摄影机部门必须有快速应变能力。为了满足以上这些要求，我们准备了几套ALEXA摄影机。

您在剧中经常要多机位拍摄？

哈根•鲍格丹斯基：大部分时间都是双机位，我负责主机，卡林•拉玛尼（Karim Rahmani）跟焦，B机用斯坦尼康，摄影师是罗伯特•帕泽尔特（Robert Patzelt），跟焦员是朴望素（Won-suk Park）。罗伯特的工作做得非常出色，他是我现场的另外一双眼睛，我相信假如不是因为有两套ALEXA加集成化的附件带来的灵活性，还有优秀的跟焦员和一个兢兢业业的团队，我们根本不可能一天之内拍得完那么多页剧本。

您是如何利用ALEXA Mini的？

哈根•鲍格丹斯基：这是我第一次用这个小机器，所以有点迫不及待。因为常规搭档是两套ALEXA XT，我最初的想法是ALEXA Mini偶尔可以拿来充当第三机位，预先装好附件待命以及在小空间里使用，不过，事情的发展很快就超出我的预料。最终我们将它装上斯坦尼康、用来手持拍摄——它和另外两台XT摄影机都成为了我们片场的主力。在我看来，Mini不是一台精简版的摄影机，它的工作效率很高，而且画面和其它ALEXA机型完全匹配，其它品牌的小型摄影机总是会有画质下降导致无法混剪的问题。

为什么会选择Ultra Prime镜头？

哈根•鲍格丹斯基：我喜欢Ultra Prime出于好几个原因。它们的制造品质很高，外形小巧，但最重要的是——特别是搭配数字摄影机——它们的画面有电影感，不会锐利过头或是数码感强烈，但也不会过于艺术范，没有多余的眩光，角落和中心成像一样清晰。它们身上完美结合了这些优点，凭我的观感，Ultra Prime的成像有胶片的味道。另外不用说了，它们是绝对可靠的镜头，在这部戏制作阶段每天拿进拿出，上千次的使用没有半点失误，非常棒的镜头。

和ARRI Media合作的感觉怎么样？

哈根•鲍格丹斯基：ARRI Media非常热心，他们告诉我们可以省略DIT，只要安排一位数据管理员就行了——剩下的所有事情都交给ARRI Media搞定。每天12小时的拍摄后，我哪里会有时间再花三个小时去给素材样片调色，所以我与ARRI的调色师麦肯•普利德曼（Maiken Priedemann）整整合作了六个月，她对我的帮助有多大可以说难以言喻。麦肯按照我的需要创作画面风格，给日景调色，给夜景调色，外景、内景、第二摄影组的素材——她替我处理一切色彩工作，实在太棒了。我开心，制片人也开心，这个素材样片工作流程效率特别高。

那么最终的调色改动不大？

哈根•鲍格丹斯基：正是，这就是我的目的。我希望在洛杉矶和另外一个调色师见面做最后调色时能够对他说：“请看素材样片，那就是我们要的风格。”当然，比如窗口的过曝这些小细节还是要做一点修正的，但就整体画面风格而言，我们在前期就完成了90%。

鲍格丹斯基和他的灯光师杰诺西•沃斯（Janosch Voss）决定完全采用现场光为剧中的CIA总部照明，他们与美术、设备部门合作将工业级的LED灯光设备安装到了天花板里。但是到了实景拍摄的部分，他们仍然需要借助电影灯光。接下来沃斯也加入这次访谈，他与鲍格丹斯基谈到了ARRI的M系列、SkyPanel灯光设备如何帮助他们应对困难的布光环境和紧张的拍摄日程。

你们是如何利用M系列灯光的？

哈根•鲍格丹斯基：大部分都用在外景地，只要需要打日光，那就上M系列。我真切地认为M系列是ARRI的另一个伟大发明，M18是一个1.8 kW的灯头，但是它的输出是过去4 kW灯头的亮度，所以可想而知，这些设备太不可思议了，那么小却那么亮。M系列不但帮我们控制住成本，还提升了工作效率，因为布置起来太快捷了。另外一个优点是品质过硬，我们的拍摄持续了整整一个冬季，柏林的冬天不光冷得吓人还很潮湿，但你可以放心地把M系列留在室外，没有问题，照常工作。

杰诺西•沃斯：我们的拍摄从第一年十月持续到第二年的四月，一般都是日光场景。前四个月差不多就是德国每年日照时间最短的季节，所以我们必须想办法让室内与室外的场景光线尽可能连戏，很多时候，我们就用升降车从远处打蝴蝶光反射M90的光线。外景更换得很频繁，有时候一天会遇到四个不同的场地，我们必须选择一种快捷高效的方案，还不能牺牲光质，M90比更大更重的螺纹透镜灯安装起来要快多了。

M系列产品家族包含功率大小不同的各种型号，这样的划分帮助大吗？

哈根•鲍格丹斯基：当然，如果日程特别紧张，那么最好不要混用多个品牌和系统。我们的灯光车上有M系列的一整套设备，所以不管遇到任何场合，我们都能快速决定是用小号、中号或是大号的灯光。M18、M40和M90的设计风格和体积输出比都是相同的，我认为这样非常有帮助。

杰诺西•沃斯：我们还有这个系列里最新的一个型号——M8，我发现这个尺寸的型号是M系列一个非常有益的补充。整个M系列家族都有相同的特点：安静、结实、控制简便，而且无论是直射或是反射，光质和光量都非常高。需要用强反射光给室内场景照明的时候，我喜欢用M40或M18，现在用M8也可以了。

那么SkyPanel是用在什么地方的？

杰诺西•沃斯：拍室内场景时用LED灯光是最快捷的方案，不需要用到色纸，一下子就能从日光色温调成钨丝灯色温。我的助手麦克斯•德鲁西（Max Dreusch）和我做了一些柔光箱，有些装上滚轮，有些挂起来，在里面放上一个LED灯头——大部分时候就是SkyPanel，这样的光源应付日景或夜景都绰绰有余，非常柔和，还能通过蛋格束光架控制。我特别喜欢SkyPanel的柔光品质，更不用说一个旋钮就能给我任何色温。

给演员的面部打光，您也用这些SkyPanel光源的柔光箱吗？

哈根•鲍格丹斯基：是的，有时候在棚内，但大部分时间是外景。这些装了滚轮的柔光箱可以直接推来推出，打开开关就行了，这样才够快，加上它们的亮度可以调、色彩可以调，因此钨丝灯色温、日光色温或任何混合色温我们都能调出来。时间压力太大，如果没有M系列和SkyPanel这种工具，我们肯定还需要更长的拍摄周期。但是日程固定在那里，厚厚的剧本在你手里，那就必须按时完成。我们的剧组能够准时杀青，整个ARRI家族起到的推动作用之大是局外人无法想象的。

《柏林情报站》预告片

了解更多有关ALEXA Mini摄影机与M系列镝灯、SkyPanel LED平板柔光灯的信息，请查看以下链接：

轻便紧凑型摄影机ALEXA MINI

ARRI M系列灯具

Behind the Scenes Story of "Berlin Station"

"For me, the Mini is a full camera; it is fast to work with and you can cut seamlessly between it and other ALEXAs. Moreover, the M-Series helped us stay on budget and also on schedule, as they are so fast to set up."

—— Cinematographer Hagen Bogdanski

Cinematographer Hagen Bogdanski uses a range of ARRI products and services on the Berlin-based US espionage drama series. 

Following the efforts of CIA agent Daniel Miller to investigate a leak from the titular Berlin station, this new spy series – produced by Paramount TV and Anonymous Content for EPIX – was the first project to be supported by the German Motion Picture Fund. Based in Berlin and with 90% German heads of department, the series demonstrates how the uniquely wide range of integrated products from ARRI Rental and services from ARRI Media provides efficiencies that make Germany an attractive destination for international productions. Cinematographer Hagen Bogdanski spoke with ARRI News about his work on the show. 

What drove the look of Berlin Station?

Well it’s a spy story, but we wanted to avoid any clichés from the Cold War and instead present a modern look for today’s Berlin. That meant a lot of fluid camerawork, including Steadicam and handheld, often working with available light. Apart from our main CIA headquarters set, which was in a studio, almost everything was shot on location. On a big show like this it can be a real challenge to shoot at several locations per day, so the camera department had to be fast and flexible. Choosing ALEXA cameras helped us meet all these requirements. 

Were you usually shooting with more than one camera? 

We shot with two cameras most of the time; I was on the A-camera with Karim Rahmani on focus and Robert Patzelt was B-camera Steadicam operator with Won-suk Park on focus. Robert did an amazing job being another pair of eyes and I think that without the flexibility of two ALEXA cameras with integrated accessories, great focus pullers and a committed crew, we’d never have got through so many script pages a day. 

How did you use the ALEXA Mini? 

It was the first time I’d used it, so I was eager to try it out. We had two ALEXA XTs and my initial idea was that the Mini would be an occasional third camera, useful for pre-rigging and tight spaces, but it quickly went beyond that. We ended up using it on the Steadicam, for handheld – it became as much of a workhorse as the other two cameras. For me, the Mini is a full camera; it is fast to work with and you can cut seamlessly between it and other ALEXAs, which was always a problem with small cameras from other brands. 

Why did you choose the Ultra Prime lenses? 

I love the Ultra Primes for different reasons. They’re solidly built and a compact size but most of all – especially with digital cameras – they’re cinematic: not overly sharp or technical, but also not too arty, not too many flares, not soft in the corners. It’s a perfect mix that, to my eyes, has the look of film. And of course they are totally reliable – in and out of the box every day, thousands of times over the course of the production, and they just work. Great lenses. 

How did you find working with ARRI Media? 

The ARRI Media team was very supportive and told us we didn’t need a DIT, just a data wrangler – they took care of everything else. After a 12-hour day I didn’t have time to spend three more hours grading dailies, so I worked with the ARRI colorist Maiken Priedemann for the whole six months and that was invaluable. She did a tremendous job achieving the look I wanted and was able to grade day scenes, night scenes, exteriors, interiors, second unit – everything. I was happy and the producers were happy; it was a very efficient dailies workflow. 

So will you not have to change much in the final grade? 

Exactly, that was my goal. I wanted to go into the final grade in LA with a different colorist and say, “Look at the dailies – this is what we want.” Of course you still have to do detailed little things like working with windows, but in terms of the look we are 90% there. 

Bogdanski and his gaffer Janosch Voss opted to light the main CIA headquarters set entirely with practicals, working with the art department and rigging crew to build industrial LED lighting into the ceiling. For location shooting, however, they were reliant on film lights. Here, Voss joins Bogdanski to discuss how ARRI M-Series and SkyPanel fixtures helped them cope with difficult conditions and a tight schedule. 

How did you use the M-Series lights?

Hagen Bogdanski: We used them mostly on location, for punching in daylight wherever we needed it. I really think the whole M-Series is another great ARRI invention. If you use the M18, which is a 1.8 kW lamp, it has an output like a 4 kW from the old days. So these fixtures are unbelievable; they’re small and they have an enormous output. The M-Series helped us stay on budget and also on schedule, as they are so fast to set up. The other thing is that they are reliable; we shot through the whole winter and it can be very cold and wet in Berlin, but we could leave the M-Series lamps outside and they just worked, which was great. 

Janosch Voss: The fact that we shot from October until April often guided our approach to daylight scenes. The first four months of the shoot were basically the darkest days of the year in Germany, so we had to think about how to create continuity of light between interior and exterior scenes. Very often we just had butterflies attached to cherry pickers and bounced in M90s from a distance. With so many different locations, sometimes four per day, we had to find fast, efficient solutions, without sacrificing the quality of our lighting. The M90 is much quicker to rig than bigger and heavier Fresnels. 

Is it helpful that the M-Series is a full family of fixtures? 

HB: Of course, the less you have to change between different brands and systems, the better – especially on a tight schedule. We had the full M-Series range on the truck, so for any situation we could quickly decide if we wanted a small, medium or large fixture. The same design concept and size-to- output performance is shared by the M18, M40 and M90 – I think that is very helpful. 

JV: We also had the newest member of the family with us, the M8, which I found is a very good size to complete the M-Series. The whole family shares the same features: they are quiet, ruggedly constructed, easy to handle and whether you light directly or indirectly, the quality and output is very high. When I need stronger bounce for interiors I love to use the M40 or M18, and now I have the M8 as well. 

What were the SkyPanels used for?

JV: For interior scenes the fastest way to work was with LED lights, so we could easily switch from daylight to tungsten without gels. My best boy Max Dreusch and I developed soft boxes, some on wheels and some to hang. Inside we placed an LED lamp, mostly the SkyPanel, giving us a light source for either day or night scenes that was very soft, but still controllable with eggcrates. I really love the soft quality of the SkyPanel, and the fact that I can adjust to any color temperature at the turn of a knob. 

Were you lighting the actors’ faces with these SkyPanel soft boxes? 

HB: Yes, sometimes in the studio but mainly on location. The soft boxes on wheels could just be rolled in and turned on, so they were very quick to set up. And they were dimmable, color controllable, so we could dial in tungsten, daylight or any mix we wanted. There was a lot of time pressure on us and without tools like the M-Series and SkyPanel we might have needed more shooting days. But you get the schedule, you see the script and you have to get it done; the whole ARRI family was unbelievably helpful in achieving that. 

"Berlin Station" Trailer

For more information of ALEXA Mini and M-Series, please click the following link：

ALEXA Mini

ARRI M-Series Lighting