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Look at this famous deleted scene in Terminator 2: Judgment Day.
看看《终结者2：审判日》中被删除的著名场景。
We’re looking directly at Arnold Schwarzenegger and Linda Hamilton’s reflections.
我们正面看着阿诺德.施瓦辛格和琳达.汉密尔顿的镜像。
But we can’t see the camera capturing it all.
但我们没有看到拍下一切的摄像机。
That’s because that’s not really a mirror.
因为那不是真正的镜子。
And this reflection of Hamilton isn’t actually her.
而这个汉密尔顿的镜像实际上并不是她。
Filmmakers have mastered the art of hiding their cameras from a mirror–
电影制作人已经掌握了在镜子前把相机藏起来的技巧——
Using visual trickery and precise cameras and choreography.
运用视觉技巧、精确的摄像机和舞步编排。
Today, they can shoot mirrors in ways that once seemed impossible.
如今，他们能够以一种曾经看似不可能的方式拍摄镜子。
Innovative mirror shots stretch back to the beginning of film.
创新的镜面镜头可以追溯到电影的起源。
Like when Orson Welles captured the now-iconic fun-house-mirror sequence in 1947’s The Lady from Shanghai.
比如奥森.威尔斯在1947年的《上海小姐》中拍摄了这个现在已经成为标志性镜头的趣味屋镜子镜头。
Of the 80 mirrors in the sequence, some were actually two-way mirrors.
在这一序列中的80个镜子中，有些实际上是双向镜。
While Welles and Rita Hayworth acted on the reflective side of the glass, the camera could shoot everything from the non-reflective side without being detected.
当威尔斯和丽塔.海华斯在玻璃的反射面表演时镜子英文，相机可以从非反射面拍摄而不被发现。
Two-way mirrors are still useful today.
双向镜如今仍然适用。
It: Chapter Two used them for its terrifying fun-house sequence to switch between the reflections of this kid and Pennywise.
小丑回魂2把它们用在恐怖的趣味屋序列中，镜头在这个孩子和潘尼怀斯的镜像之间切换。
But a convincing mirror shot doesn’t necessarily need to use a real mirror.
但一个令人信服的镜像拍摄并不一定需要使用真实的镜子。
Like that scene from Terminator 2–
比如《终结者2》里的那个场景——
Where Sarah Connor removes the chip from the T-800’s head.
莎拉.康纳要从T-800的头上取下芯片。
The camera was directly behind the characters.
摄像机就在角色的正后方。
But it’s nowhere to be seen in the reflection.
但在镜像中却看不到。
That’s because for this trick, the mirror is actually a window looking into a duplicate version of the set.
这是因为这个拍摄小手段中，镜子实际上是一个窗口，透过它看到的是一个片场的复制画面。
Performers stand on either side of the reflection–
表演者站在镜像两边——
Mimicking each other’s movements.
来模仿对方的动作。
So Hamilton can be seen here.
所以这里可以看到汉密尔顿。
But her reflection is actually the actress’s twin sister next to Schwarzenegger.
但她的镜像实际上是施瓦辛格旁边的这位女演员的双胞胎妹妹。
And Schwarzenegger’s silhouette in the foreground?
那前景中施瓦辛格的镜像呢？
Well, that’s a very lifelike dummy.
那实际是一个非常逼真的假人。
The body-double trick works best with twin actors.
替身戏法找双胞胎演员效果最好。
Otherwise, filmmakers have to make sure to avoid the double’s face…
否则的话，电影制作人必须确保避开替身的脸……
As seen in this mirror shot from 1995’s La Haine.
正如1995年《怒火青春》中的这个镜像画面。
And this technique is also prone to human error.
而这种手段也容易出现人为错误。
Take this shot from 2011’s Sucker Punch.
来看看2011年的《美少女特工队》。
If you look closely, you’ll notice the timing of the actresses and their doubles is slightly off.
如果仔细观察，你会注意到女演员和替身的时间略有偏差。
To avoid this issue and let actors focus on acting instead of imitating a body double, filmmakers turn to CGI.
为了避免这个问题，让演员专注于表演，而不是模仿替身，电影制作人转向了CGI。
First, the crew will shoot the actor in front of a mirror.
首先，摄制组将在镜子前拍摄这位演员。
Then they will film just the background behind the actor.
然后他们将只拍摄演员背后的背景。
VFX artists then wipe away the camera by swapping in pieces of the clean plate of the reflected background.
视觉特效艺术师随后在干净的镜像背景中擦除掉摄像机。
This allows for the kinds of shots once thought to be impossible.
这使得那些曾经被认为是不可能的镜头得以出现。
However, the process isn’t as easy as it sounds.
然而，这个过程并不像听起来那么容易。
Take these mirror shots from 2014’s Birdman.
看看这些2014年《鸟人》的镜像画面。
To perfectly match the background shots, they had to make sure the lighting was identical in each pass.
为了与背景拍摄完美匹配，他们必须确保每次拍摄的灯光都是相同的。
And the artists had to be careful where they cut.
视觉特效艺术师们必须小心地切割画面。
For this one close-up, you’ll see green tape on the camera.
这张特写，你会看到相机上的绿色胶带。
This helped the VFX artists avoid cutting out any of Michael Keaton’s hair.
这有助于视觉特效师避免剪掉迈克尔.基顿的头发。
The process gets even trickier if the camera is moving.
如果摄像机在移动，这个过程会变得更加复杂。
Take this legendary shot from 1997’s Contact–
这是1997年《超时空接触》中的传奇镜头——
Where one shot seemingly turns into the reflection on a medicine cabinet mirror.
其中一幕似乎切换成医药箱镜子中的镜像。
To make this work, director Robert Zemeckis broke it up into multiple shots.
为了让拍摄成功，导演罗伯特.泽米吉斯把它分成了多个镜头。
And he replaced the entire mirror with CG.
他把整个镜子换成了CG。
First, Zemeckis had actress Jena Malone run towards the camera instead of filming her from behind.
首先，泽米基斯让女演员耶娜.马龙跑向镜头，而不是从后面拍摄她。
The camera was placed on a Steadicam–
摄像机被放在一个稳定器上——
Allowing for smooth shots and repeated takes.
这使得画面流畅和得以重复拍摄。
After running down the hall, Malone reached for the knob of the medicine cabinet.
马龙跑过大厅，伸手去抓药柜的把手。
But instead of a mirror, there was a blue screen.
但是那里没有镜子，而是一个蓝色的屏幕。
Then the crew shot the bathroom background on its own.
摄制组随后自己拍摄了背景中的浴室。
And they placed it as well as the texture of a mirror on top of the blue screen.
他们把它和镜面效果添加到蓝色屏幕上。
This one shot was so influential.
这个镜头很有影响力。
You still see similar styles decades later.
几十年后，你仍然可以看到类似的风格。
Like in this episode of HBO’s Euphoria.
就像HBO的这一集《亢奋》。
All these tricks and more were used in 2021’s Last Night in Soho.
所有这些技巧和更多的技巧都在2021年的《Soho区惊魂夜》中运用到。
Production designer Marcus Rowland and VFX supervisor Tom Proctor of DNEG had to build a world of mirrors while avoiding cameras in the final shot.
制作人马库斯.罗兰和DNEG的视觉特效总监汤姆.普洛克特在最后的镜头中不得不避开摄像机，搭建一个由镜子组成的世界。
The Cafe de Paris set alone was lined with an estimated 178 mirrors–
仅巴黎咖啡馆就摆放了大约178面镜子——
Which all needed accurate reflections.
这些都需要进行精确的镜像反射。
But they had to do much more than remove the camera…
但他们要做的远不止去除画面中的相机……
Since Eloise, played by Thomasin McKenzie, frequently looks in the mirror and sees Sandie, played by Anya Taylor-Joy…
因为托马辛.麦肯齐扮演的埃洛伊丝经常在照镜子时看到安雅.泰勒-乔伊扮演的桑迪……
And vice versa.
反之亦然。
And many of the mirror shots were incredibly active.
很多镜子镜头都是动态的。
So like Contact before it, they used Steadicams–
就像之前的《超时空接触》一样，他们使用了摄影机稳定器——
Relying on the consistent movements from Chris Bain to get shots like this and this over and over.
依靠克里斯.贝恩连贯的动作，一遍又一遍拍摄这样和这样的画面。
For key scenes with multiple multifaceted mirrors and large camera moves, the team relied on motion-control cameras.
对于有多个多面镜和大型摄像机移动的关键场景，该团队依赖于动态控制拍摄。
Since their moves are programmed in advance, it made it easier to do separate takes of both actresses walking down the stairs.
因为她们的动作是事先设定好的，所以分开拍摄两位女演员走下楼梯的镜头比较容易。
And to make sure the leads matched their movements precisely, Soho brought in a movement coach for weeks of preparation.
为了确保主角们的动作准确无误，《Soho》剧组请来了一位运动教练，进行了数周的准备。
To allow the stars to interact more directly, the Soho team had to build several double sets.
为了让演员们更直接地互动，《Soho》团队必须建造几个同样的场景。
This shot here, where Eloise first walks into the Cafe de Paris and sees Sandie in the mirror…
这个镜头中，埃洛伊丝第一次走进巴黎咖啡馆，从镜子里看到了桑迪……
The two actresses were actually facing each other on set.
这两位女演员在片场实际上是面对面的。
Rowland built a double lobby–
罗兰建了两个一样的大厅——
Allowing for direct interaction between the actresses.
允许女演员之间的直接互动。
And just like in Terminator 2, they used a real set of twins to tie the illusion together.
就像在《终结者2》中一样，他们使用了一对双胞胎来将幻象联系在一起。
But the shot could go from just Eloise’s reflection to Sandie’s with no visible cuts thanks to adjustable mirrors.
但多亏了可调节的镜子，镜头可以从埃洛伊丝的镜像变成桑迪的，而不会有明显的切割痕迹。
When the attendant takes off Eloise’s jacket, they’re standing in front of a real mirror.
当服务员脱下埃洛伊丝的外套时，他们正站在一面真正的镜子前。
Then one of the twins walks in front of the camera.
然后双胞胎中的一个走到镜头前。
This gave the crew just enough time to push the mirror away–
这给了摄制组足够的时间把镜子推开——
Allowing Sandie to step in.
让桑迪介入。
And as a viewer, you’d never know there wasn’t a mirror there, thanks to this very subtle bevel added to the edge of the mirror with CGI.
作为观众，你永远不会知道镜子是否真实存在，这多亏了这个和CGI一起插入，镜子边缘的微妙斜面。
Every mirror scene presented its own challenges.
每个镜子场景都有自己的挑战。
So in some cases, the team had to rely on two tricks at once.
所以在某些情况下，团队不得不同时使用两种技巧。
Like here, where Taylor-Joy stands in front of a mirror with Matt Smith, whose real reflection is caught in the mirror.
比如这里镜子英文，泰勒.乔伊和马特.史密斯站在镜子前，镜子里是他的真实镜像。
Smith is in front of a real mirror.
史密斯站在一面真实的镜子前。
But the rest of the glass is CGI.
但其余的玻璃都是电脑合成的。
For the final touches, Soho utilized the most subtle VFX improvements to avoid any continuity errors.
对于最后的润饰，《Soho》利用了最微妙的视觉效果改进，以避免任何连续性错误。
For example, Proctor and his team inserted green-screen shots of extras into many final shots to cover up the rough edges of where a camera was cut out.
例如，普罗科特和他的团队将临时演员的绿屏镜头插入到许多最终镜头中，以掩盖相机被剪掉的粗糙边缘。
And for any mismatched mirror movements, visual effects artists used digital re-timing tools.
对于任何不匹配的镜像运动，视觉特效艺术家使用数字工具进行动态重调。
They could get into shots frame by frame and individually speed up or slow down individual characters–
它们可以一帧一帧地进入镜头，分别加速或减慢单个角色的动作——
Bringing them into perfect alignment.
把它们排列成完美的直线。
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