看影片學英文
https://www.youtube.com/watch?v=rb5P271k5f4
Dr. Banner, your work is unparalleled, and I'm a huge fan of the way you lose control and turn into an enormous green rage monster.
Banner博士，你的工作是無與倫比的，而且對於你失去控制變成一個巨大的綠色狂怒怪物的方法，我可是個大粉絲。
Thanks.
謝啦。
One of the really successful design decisions in the beginning was to incorporate Mark into the Hulk. And there was a lot of debate back and forth on whether, you know, the Hulk should look like Mark, but I think having that semblance of Mark Ruffalo, having the eyes and the area on the face where you feel like you can see him in there really grounds the character in reality.
一開始，把Mark融入浩克裡面是其中一個非常成功的設計決策。而前前後後有很多的爭論關於是否，你知道，浩克應該看起來像Mark，但我認為擁有Mark Ruffalo的外觀，擁有眼睛和臉部範圍，在那裡你感覺像是你可以在那看到他真的把這角色建立在真實的基礎上。
Once the film was edited, and we knew exactly what the Hulk shots were gonna be, ugh, he came up here with Joss, and we set up cameras that represented…here is where the film camera was, and here's a bunch of witness cameras. And we gave him a space to work in and let him run through every performance on the film. We sort of did a rough calculation and figured out the Hulk is somewhere between eleven hundred and sixteen hundred pounds. And so, that kind of character, that kind of mass, is gonna react very differently than Mark does. And I think that's where using Mark's performance and combining that with the incredible animation that's done here, that's where the artistry happens in the interpretation of how that performance needs to be augmented to become the Hulk.
當影片被編輯過，而且我們完全知道浩克會往哪邊出拳，他跟Joss出現在這邊，而我們設立攝影機代表…這是主攝影機所在，而這裡是一堆側拍攝影機。而且我們給他一個在裡面工作的空間並讓他排練電影中每一個演出。我們有點像是做了一個粗約的計算並發現浩克大約在一千一百磅到一千六百磅之間。(約五百到七百二十五公斤)所以，那樣的角色，那樣的質量，將會表現得跟Mark所做的很不一樣。而我認為那就是使用Mark的演出並和出自這裡的不可思議的動畫結合所在，也是詮釋那表演需要如何被強化成為浩克的藝術效果發生之處。
When he's unleashed, he can fly, you know, he can jump huge distances, he can smash things. We wanted to make sure that he was able to do all those things and still have sort of a human believable, you know, locomotion to him. The first layer is getting the animation nailed. Then on top of that we had a whole process of simulation. So there's a muscle and bone structure under his skin that preserves the volume as he's moving. On top of that there's a dynamics part of it, which is a simulation that happens once the animation is done. That gives you the kind of jiggly parts of it, and I think one of the great decisions on this Hulk, was that he's not…he's not super cut all the time.
當他被釋放出來，他可以飛行，你知道，他可以跳超遠，他可以粉碎東西。我們想要確保他可以做所有那些事情並仍然有某種人們可以相信的，你知道，他的運行方式。第一層是固定動畫。然後在那上面我們有一個完整的模擬過程。所以當他在移動的時候有肌肉和骨骼架構在他的皮膚下面維持體積。在那之上有個動態的部分，是個在一做完動畫就產生的實境模擬。那給你它的某種不穩定部分，而且我認為其中一個對這浩克做的最棒的決定，是他不是…他不是永遠都超級有線條。
We then have a cloth simulation on top of that, which we typically use for shirts and pants, but it actually works really well when it's constrained to give us all the little fine wrinkles in the skin. And on top of that, there was a very thin layer of ugh, skin simulation that we did, just to get that final level of ugh, movement to the skin that, you know, is so hard to re-create it.
然後我們在那之上有一種布料模擬，我們一般是用在襯衫和長褲上，但當它被限制用來產生我們皮膚裡面所有的微小細部皺紋，它實際上效果很好。而且在那之上，有一層非常薄的，我們做的皮膚模擬，只是為了達到那一個最高等級的，皮膚的動作。那個，你知道，是非常難重建的。
Making sure that we were accurately getting…getting the performance that Joss was looking for, and also making him look real, that last fifteen percent ended up being a huge challenge for us.
為了確保我們是很準確的做到…做到Joss所想要的演出，並也讓他看起來真實，結果那最後的百分之十五變成我們的一個巨大挑戰。
Hulk! Smash!
浩克！粉碎吧！
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