去年中旬，尊正市场部团队为 BIRTV 2021 策划了系列活动，其中一项是特別邀请了《魔戒》《阿凡达》《银翼杀手2049》幕后大神级 DIT 杰森·纳兰 （Jason Naran） 进行 独家书面专访 ，带大家近距离接触创造电影魔力的幕后功臣。

在这篇去年的「独家专访」中，GaiaDaily 公众号、尊正微博等自媒体账号开放了读者留言，收到了一些从业者的互动和提问。感谢大家的长期关注与支持！ 在去年的采访中，尊正开放了观众留言提问，收到了读者们的回应与反馈。

今年，在尊正「12.20 十八周年庆」系列活动开启预售与《阿凡达：水之道》即将上映之际，我们精选了部分读者留言，再度采访了这位 DIT 大神杰森·纳兰。

除了回复大家热情的留言提问之外，杰森·纳兰还分享了自己的 DIT 工作经验，以及对尊正 BoxIO 的使用体验，对未来在中国一起合作的展望。

尊正市场部：

You’ve been working for many digital technology-driven projects, DITs have now become an integral part, how important do you think a DIT is for Film & TV projects in present days?

你参与过众多靠科技驱动的影视项目，DIT 如今已然成为剧组不可或缺的一部分，你认为对于如今的影视项目而言，DIT 有多重要？

杰森·纳兰：

I am very lucky to have worked on many complex projects over the years. It’s given me a wide range of skills and experience that I take on every job.I have had DP’s tell me that they had never worked with a DIT before. And after completing a project with them, they need our service on every job from now on.This gives me confidence knowing that we are providing a really important service.

For any DP’s reading this – try find the most experienced DIT you can. They will improve your cinematography and will allow you more time to focus on story telling, lighting and making nice pictures. You will really benefit from having a good DIT on your team.

我非常有幸在这些年来参与了许多十分复杂的项目。它们给予了我丰富的技能与经验，让我可以投入到每一次的工作中。曾有摄影指导告诉我，他们此前从未与 DIT 合作过。而跟他们完成了项目之后，他们此后的项目都会需要我们 DIT 的服务。这给了我信心，因为我确信我们提供的是至关重要的服务。

各位正在看的摄影指导们，尽量去找你能找到的最有经验的 DIT 吧。他们会助力你的摄影工作，能让你有更多时间专注于故事叙述、布光和优化影像。团队中拥有一名优秀的 DIT 能让你如虎添翼。

尊正市场部：

As digital technologies evolve so rapidly, we are wondering is there any update to your cart? Also, we hope the BoxIOs are still helpful in your recent projects 🙂 .

数字技术的发展日新月异，我们想了解一下你的 DIT 车是否也有所更新？此外，希望尊正 BoxIO 仍在助力你近期的项目 🙂 。

杰森·纳兰：

I have 3x BoxIO installed in my Cart allowing me to manage up to 6x cameras. These BoxIO are very reliable and I use them everyday, they are the most trusted devices in my whole workflow. They will continue to be a part of my DIT cart for the future.

I recently made some updates to my Cart to help ensure I am ready for a 4K HDR workflow. All the internal BNC cabling is now 12G spec. I also updated to a 12G SDI router. We then updated all the power distribution as mentioned above – using DC 12v as much as possible.

( I look forward to seeing a 12G 4K BoxIO version soon… 🙂 )

我的 DIT 车上装有3个 BoxIO，通过它们我能管理多达6台摄影机。这些 BoxIO 十分可靠，我每天都会用到它们，在我的整个工作流中，它们是最值得信赖的设备。BoxIO 未来会继续成为我 DIT 车的一部分。

近期我给自己的 DIT 车做了一些升级，有助于确保我能处理 4K HDR 工作流。所有的内部 BNC 缆线连接现在都是12G规格的。我的矩阵切换台也更新为了 12G SDI。还有前面提到的供电系统的更新——现在尽可能多使用的是直流电 12V。

（非常期待能看到12G 4K BoxIO 很快问世…… 🙂 ）

尊正市场部：

We’re working on it！

正在做~

尊正市场部：

Over the past year, the global film industry has gradually entered the post-pandemic era. Has the pandemic changed your way of working or any part of your workflow?

过去一年多以来，全球电影行业都逐渐进入了后疫情时代。疫情改变了你的工作方式或工作流的任何部分吗？

杰森·纳兰：

I used a lot of my down time researching new technology, new gear and refining my DIT routine. Thankfully I was able to keep working right after the pandemic, even with many restrictions, I kept busy shooting. The film industry in Australia is considered an essential service, so I was lucky to jump on some productions there.

One thing that the pandemic did for the whole industry was that it gave audiences time to watch a lot more. Many people relied on streaming services and now demand for new content is higher than ever. I am thankful that this industry learnt to adapt and we have continued shooting safely.

我花了很多业余时间了解新技术、新设备和改善自己的例行 DIT 工作方式。所幸我得以在疫情之后立刻投入工作，虽然有诸多限制，但我仍保持着忙碌的拍摄。澳大利亚的电影业被界定为必要服务，因此我很幸运地参与了澳大利亚的一些项目。

疫情对整个行业的影响之一就是给予了观众观看更多作品的时间。许多人靠流媒体度日，如今对新内容的高涨需求是前所未有的。我很感激这个行业学着适应了疫情，我们得以安全地继续拍摄。

陈鑫（调色师，尊正制作部）：

How do on-set colorists and DITs and post colorists collaborate? What information or notes should be shared and exchanged?

现场调色师、DIT 和后期调色师如何协作？需要共享或交换什么信息或说明？

杰森·纳兰：

At the start of the job I usually like to meet the team who manages the post production. It’s important to get to know the dailies team, the editorial assistants, the VFX team and anyone involved in the post process. This means I can go directly to right person for any questions.

We also make a technical workflow document (a guide that outlines all the processes in place ) for each project. That way every one knows where each step is made and who is responsible for each action. We then use an email chain to notify all teams about notes as we shoot. ie: DOP wants to make a change to something – then everyone gets that information. We send colour information, still reference images and pdf reports to the post house every day.

DIT 工作一开始，我一般喜欢和管理后期制作的团队见一面。认识样片团队、剪辑助理、VFX 团队和所有参与后期流程的人员至关重要。这意味着有任何问题我都可以直接去找相应人员。

我们还会为每个项目制作一份技术工作流文档（是一份大纲，列出所有流程环节）。这么一来，每个人都清楚每个节点在哪，以及每个工作的负责人是谁。随后我们会在拍摄过程中用邮件链将这些说明通知全体团队，比如：若摄影指导想要更改什么，那么所有人都会接收到相关信息。我们每天还会向后期公司发送色彩信息、静帧参考图和 PDF 报告。

李明泽（本科在读，尊正 HDR 调色班第12期学员）：

If there is disagreement on how to solve technical problems between you and the DP, what would you do?

若和摄影指导在技术上意见有分歧，你会怎么做？

杰森·纳兰：

My role as a DIT is to look after the DP to help them make beautiful images. I am always respectful of their creative intentions. After working alongside most DP’s I can usually understand their visual style for the project, and can offer suggestions before they think of it. It is really satisfying to get to this point with all DP’s that I work with…

We have had feedback from many DP’s who say that once they have worked with a DIT – they can not work with out us. They want us every time they shoot onset as they realise how important the our service is. The DIT makes their routine easier and more consistent.

我作为 DIT 的职责就是辅助摄影指导拍出精美的画面。我向来尊重他们的创作意图。在与大部分摄影指导一起工作后，我一般都可以理解他们的项目视觉风格，并能在对方想到之前就提出相关建议。能与我合作过的摄影指导达到这样的协作关系真的让人很有满足感……

我们从众多摄影指导口中得到的反馈就是，只要跟 DIT 合作过，就离不开我们了。每次现场拍摄，他们都希望我们在场，因为他们认识到了 DIT 服务有多重要。DIT 能让摄影指导的日常工作更轻松，并且保持一致性。

孙崇伟（DIT，尊正 HDR 调色班第13期学员）：

If you are monitoring both HDR and SDR simultaneously on set, would you use 2 systems to adjust their looks separately or you’ll make a HDR look first and then down-convert it to SDR via hardware?

如果在拍摄现场同时监看 HDR 与 SDR，你会用两套系统分别调整风格，还是先调整 HDR 版风格再通过硬件来下变换到 SDR 版？

杰森·纳兰：

HDR is really exciting as it is closer to how human vision sees colour and contrast in real life. We have been testing HDR for a while and will soon provide a primary HDR grade on future shows. Unfortunately there is no easy way to get the SDR look at the same time via hardware. So for now it still needs careful DIT attention. We hope that as we build our workflow we can provide a full 4K HDR onset experience from DIT to video to post thru to the final audience.

HDR 确实十分令人兴奋，因为它更接近人眼在现实世界看到的色彩与对比度。我们已经对 HDR 做了一段时间的测试，很快在未来的影视作品当中能提供 HDR 一级调色。遗憾的是，还没有简单的办法可以通过硬件同时得到 SDR 风格。所以目前，仍需要 DIT 非常仔细处理。我们希望在搭建我们工作流的时候，可以提供一套从 DIT 到视频到后期的完整 4K HDR 现场体验，直至（将 HDR 效果）传递给最终观众。

张杨嘉诚（DIT，尊正 HDR 调色班第13期学员）：

There are a lot of electrical gear and equipment on your cart, how do you ensure power supply for them?

你的 DIT 车上有相当多电子设备，如何确保它们的供电？

杰森·纳兰：

In my cart I have about 25 devices that need various types of power. Just recently I spent a lot of time switching the power brick units to DC 12v. I did this to reduce the messy cables and space needed. By also going to DC 12v – I draw less and my cart is more power efficient overall. In the near future I want to use a power station like an EcoFlow Delta or similar. This means I can very quickly move my cart and will be ready to shoot within a few minutes.

在我的 DIT 车上有25个需要各种类型供电的设备。就在最近，我刚花了很多时间把电源组换成了直流电 12V。我这么做是为了减少混乱的线缆，还能少占些空间。并且换成直流电12V，能耗降低，我的 DIT 车整体上更节能了。在不远的将来，我想要使用类似 EcoFlow Delta 这样的电源站。这意味着我可以快速移动 DIT 车，几分钟内就可以做好拍摄准备。

尊正市场部：

How to properly manage signals for a large crew/production?

大型剧组如何合理地进行信号管理？

杰森·纳兰：

When we work on large sets we always rely on a wireless system from each camera. My DIT assistant looks after the antennas to receive pictures from all cameras. Once my cart has those, we apply the colour and manage the exposure and camera settings to get the best results. Then the video person can share with the Director to view. My cart provides pictures to many others onset like the camera operators, lighting team, focus pullers, sound and grips using cranes, etc. They can all get reliable pictures from my cart.

在大型片场工作时，我们用的都是来自每台摄影机的无线系统。我的 DIT 助理负责管理天线以接收来自所有摄影机的图像。当图像给到我的 DIT 车时，我们就应用调色并管理曝光和摄影机设置以得到最佳效果。然后负责视频的人会共享给导演查看。我的 DIT 车会把图像给到很多现场其他工作人员，比如掌机、布光团队、跟焦员、录音师、使用摇臂的机械组的成员等等。他们都会从我的 DIT 车获得可靠的图像。

陈鑫：

In general, how many preset LUTs should be prepared for each scene?

一般来说，每个场景应该准备多少预设 LUT？

杰森·纳兰：

We usually prepare LUTs depending on the story – many decisions about locations, storylines, themes, characters or events help decide how many we might use. The is no set number as each narrative requires a different approach. Ie: if a scene is set in the past or has flash backs – maybe different looks are required. We often make different LUTs that work for day time and ones for night exterior verses night interiors.

我们通常会依据故事来准备 LUT —— 关于拍摄地、故事线、主题、角色或事件的诸多决定会帮助我们判断大概需要多少。并没有一个固定的数量，因为每个故事都需要不同的处理手法。比如，某个场景设置在过去，或有闪回片段的话，可能就需要不同的风格。我们通常会做几个不同的 LUT，分别给日戏、夜戏外景和夜戏内景。

尊正市场部：

Has the role of DIT changed with the development of virtual production?What does a DIT do on a virtual production set? How to collaborate with the onset VFX department?

随着虚拟制作的发展，DIT 的工作职责是否有变化？在虚拟拍摄现场，DIT 需要做些什么，以及如何与现场特效部门进行对接？

杰森·纳兰：

Virtual Production is becoming a more complex and interesting area of film making now. We are starting to see options to control the look of the LED screens – allowing the DIT to control the colour and brightness levels of these. We also see more camera and lens tracking requirements onset. All of this starts with good preparation and communication with the VFX Producers to know what is required. The DIT is usually involved in all of the conversations to ensure that every department gets what they need from the workflow.

虚拟制作如今正成为影视制作一个更复杂而有趣的领域。我们开始见到一些功能选项可以控制 LED 屏的影像风格，让 DIT 得以控制图像的色彩和亮度水平。我们还看到片场出现了更多摄影机与镜头跟踪的需求。所有这些都是建立在妥善的准备以及与 VFX 制片人关于具体需求的良好沟通之上。DIT 通常会参与到所有的沟通中，以确保每个部门都能从工作流中得到各自需要的东西。

尊正市场部：

As a DIT, is it better to work as a freelancer or for a company?

作为一名 DIT，做自由职业者比较好，还是加入一家公司比较好？

杰森·纳兰：

Because DIT is a relatively new position – only becoming common in the past 10 years, I had to set up my own company to provide these services. I slowly brought the gear and built my Cart. I find it best to develop a routine with the DP and camera team and then make my gear work best for everyone. This way I can adjust very quickly, providing the best for the production we are working on. I would suggest to others to work for a company who can support you when you are starting out. Then try to go freelance once you are confident and knowledgeable about the whole process.

由于 DIT 是一个相对比较新的岗位 —— 它是过去近10年内才变得比较普及的，从前我不得不成立自己的公司来提供 DIT 服务。我慢慢整合了各种设备，并搭建出自己的 DIT 车。我觉得最好能与摄影指导和摄影团队形成固定合作模式，然后让我的设备以最佳方式服务于所有人。这么一来，我可以快速做出调整，为参与的项目提供最优 DIT 服务。我会建议，加入一家可以在你刚起步的时候给予你支持的公司。然后，当你足够有自信并且充分掌握全流程知识的时候，再尝试自由职业。

尊正市场部：

What’s your Christmas plan? Where would you visit for vacation?

你有什么圣诞计划？准备去哪儿度假？

杰森·纳兰：

We have completed the last project for 2022 – after 197 days of shooting & managing 500+ TB of data on the Gold Coast, I get to have a vacation now. It’s time to head to Paris, Marseille and maybe London to see family and relax.We are still working out details for our next job – so I hope to be back onset soon in 2023.

我们刚完成2022年的最后一个项目 —— 在（澳大利亚）黄金海岸经历了197个拍摄日，管理的数据量达 500+TB，现在终于能休假了。我会去法国巴黎、马赛，然后可能去英国伦敦跟家人聚一聚放松一下。我们还在计划下一个项目的工作细节，我希望2023年能很快回归片场。

尊正市场部：

In China, the film industry is recovering in the new normal. We look forward to more in-person events next year. If BIRTV 2023 resumes, would you be interested in visiting China and visiting us?

在中国，影视行业也在新常态中逐渐恢复。我们很期待明年能有更多实体活动。如果2023年BIRTV恢复线下举办，你是否有兴趣来中国、来尊正看看？

杰森·纳兰：

I would be very interested to visit China to see how the industry works. I would like to see how the BoxIO and other products are made and to meet the teams behind them. I would also like to meet some China based DP’s… maybe we can collaborate on a project soon too.

Please let me know when BIRTV 2023 is confirmed – let’s make a plan then..!

Thanks to Lori and the Zunzheng team for making this article possible – I hope it inspires you with your work.

我非常有兴趣到中国看看影视行业的情况。我很想了解 BoxIO 和其他尊正产品是如何制造的，并认识一下幕后的团队。我还想见见一些中国的摄影指导……也许很快我们还能合作个项目呢。

如果2023年 BIRTV 确定恢复举办，请通知我，我们到时候计划计划！

感谢翻译 Lori 与尊正团队为本次采访做出的努力，希望这篇采访能对你们的工作有所启发。

感谢 DIT 杰森·纳兰接受尊正市场部的本次采访，感谢大家对我们的长期关注和支持！杰森·纳兰的工作室 NEKTAR 是一家位于新西兰的 DIT 数字服务公司，网址：https://nektar.co.nz/，提供从拍摄现场到后期制作的视频播放与DIT服务，为影视项目的现场监看、数字影像技术、视频播放系统与安全数据管理保驾护航。

NEKTAR 团队成员包括世界级顶尖 DIT、视频操作员、3D 立体摄影师、电子工程师、动作捕捉技术员和动作控制专家等。公司位处新西兰电影之都惠灵顿，长期与维塔数码和维塔工作室、石街制片厂、公园路后期制作公司、朴茨茅斯租赁公司合作，其团队参与完成了过去10年来的大部分大制作影片。

期待未来尊正能与杰森·纳兰及 NEKTAR 团队有更多合作！

DIT 杰森·纳兰常用的 BoxIO 也在尊正十八周年特惠活动中，欢迎移步尊正商城查看详情！

策划：谢然 | 尊正市场部

编译：LorianneW | 盖雅翻译小组

图源： 杰森·纳兰 / 尊正