【HP】《哈利波特神器寶典Harry Potter: The Artifact Vault》翻譯E

以下翻譯來自《燃情歲月》翻譯組@塵封的

chapter 3

the triwizard

tournament

"Hogwarts has been chosen to host a legendary event:the

Triwizard Journament."

——Albus Dumbledore,Harry Potter and the Goblet of Fire

第三章

三強爭霸賽

「霍格沃茨被選中舉辦一項傳奇性活動：三強爭霸賽。」

——阿不思·鄧布利多，《哈利·波特與火焰杯》

the goblet of fire

"Anyone wishing to submit themselves for the tournament merely write their

name upon a piece of parchment and throw it in the Hame（啥？）....Do not do so lightly. if chosen ,theres no turning back."

——Albus Dumbledore,Harry Potter and the Goblet of Fire

For hundreds of years,the three largest wizarding schools in Europe——Hogwards School of Witchcraft and Wizardry,Beauxbatons Academy of Magic,and Durmstrang Institute——have held a dangerous competition,the Triwizard Tournament.A champion from each school competes in three tasks that test their courage,cunning,and magical talents.The tournament begins with the reveal of the Goblet of Fire,into which prospective champions from each of the three schools will place their names.The Goblet of Fire is the first presented encased in a gilded and bejeweled casket.For the design,production designer Stuart Craig and graphic artist Miraphora Mina blended their research on medieval architecture and the decoration of English and Orthodox Russian churches."From these inspirations,"says Mina,"I had the idea of a stacked construction of arches,one on top of the other.I also wanted it to be heavily jeweled,like church mosaics,as that would be affected by the light around it."Prop maker Pierre Bohanna cast the different sections inscribed with runic or alchemic symbols,and they were variously inlaid with gold leaf and painted jewels,or other light-catching materials."Its almost like a religious reliquary,"says Craig,"but of a type thats never been seen before."The casket is visible for only a short time,and then "melts"away to reveal the goblet.Mina remembers being asked if that could be a practical effect,but it was quickly decided that it was easier done digitally."But the casket is a real physical object,no doubt,"Mina proclaims."I had to carry it into the Great Hall!"

Craigs original intention was for the cup to be small,metal,and encrusted with tiny jewels.But after their research,the Goblet of Fire become"basically a huge Gothic cup decorated with a Gothic motif thats been created from wood,"he explains."We found the best bit of timber we possibly could,with burrs and twists and knots and splits in it.So this creates a quality that its incredibly ancient,but at the same time organic."Pierre Bohanna and his team sculpted the five-foot-tall goblet out of an English elm tree trunk,with the addition of some plastic castings.Minas idea behind the goblet was that because the lower half is wood,which creeps up to meet the curve of the gobletss base,one couldnt be sure whether it was still growing."The impression to me is that its half complete,"says Craig."Half architectural and half natural,as if the carving of it hasnt been finished.And I think its as great in silhouette as its great in detail when you examine it closely."

72 THE ARTIFACT VAULT

火焰杯

「任何想參加比賽的人只要在羊皮紙上寫下他們的名字，把它扔在高腳杯里…請千萬三思而行，如果被選中，就沒有回頭路了。」

——阿不思·鄧布利多，《哈利·波特與火焰杯》

幾百年來，歐洲三大魔法學校 —— 霍格沃茨、布斯巴頓 、德姆斯特朗舉行著一個危險的比賽：三強爭霸賽。每個學校的勇士都有三個項目來考驗他們的勇氣，智慧和魔法才能。比賽開始於火焰杯的揭示，三個學校未來的勇士將在火焰杯里投入他們的名字。火焰杯首先被提議裝在一個鍍金的鑲滿寶石的盒子里。對於盒子的設計，藝術指導斯圖爾特·克雷格（Stuart Craig ）和美術設計師米拉芙拉·米娜（Miraphora Mina）將中世紀建築、英式裝飾和俄羅斯正教會的教堂裝飾的研究成果融合到了一起。「受到這些成果的啟發，」米娜說，「我有一個堆疊的拱形裝飾的想法，一個疊在另一個之上。我還想讓它鑲滿珠寶，就像教堂的鑲嵌方式，它就會受周圍光線的影響（而變幻）。」道具設計師皮埃爾·博漢納（Pierre Bohanna）在鑄造各個不同部位時刻畫上了符文或煉金符號，而且它們也被鑲上了不同的金葉子、彩色珠寶或其他感光材料。「這幾乎就像一個宗教聖物，」克雷格說，「但是一種以前從未有過的類型。」這個盒子只出現很短一段時間，然後它「融化」消失以顯出高腳杯。米娜還記得被問到過這個場景能否做出實際效果，但是他們很快發現這樣的效果用數字技術更容易做出來。「但是那個盒子是真實存在的物件，毋庸置疑，」米娜強調，「我當時還必須把它搬到大廳！」

克雷格最初的想法是火焰杯杯身要小，金屬材質，鑲有小寶石。但是經過他們的研究發現，火焰杯「基本上是一個巨大的，哥特式的杯子，它裝飾有哥特式的圖案，是由木材製造的，」他解釋道。「我們找到了一些我們可能找到的最好木材，上面有毛刺、曲折、結節和分裂。因此，這創造了一個驚人的效果，它是令人難以置信的古老，但同時它是有機的（有活力的）。」皮埃爾·博漢納和他的團隊從一個英國榆樹樹榦中雕出五英尺高的高腳杯，其中加入了一些塑料鑄件。米娜的想法是在高腳杯後面，由於下半部分是木頭，木頭往上延伸碰到高腳杯底座的曲線，讓人不敢肯定它是否在繼續生長。「這給我的印象是，它的一半完整，」克雷格說。「半人工半自然，彷彿它的雕刻工作還沒有完成。而且我認為，它遠處的輪廓和當你靠近檢查時看到的細節一樣棒極了。」

72 神器寶典

THE TRIWIZARD TOURNAMENT CUP

"Only one will hoist this chalice of champions,this vessel of victory,the Triwizard Cup!"

——Albus Dumbledore,Harry Potter and the Goblet of Fire

An ancient artifact ,the Triwizard Cup and its design echo the organic quality of the Goblet of Fire,while exhibiting enthralling craftsmanship at the same time.Miraphora Minas research revealed a precedent between Muggle and magical design,noing that a dragon motif was quite prevalent on the relics and chalices she referenced.The "tri"in Triwizard is evident in its three dragons,which represent the three schools that participate,and three crystal panels that from the trophy.Given the task of realizing the Cup in physical form,prop maker Pierre Bohanna felt that Minas concept easily gave him a strong impression of what the metalwork would be."We didnt want it to be too finished.We wanted it to look like it was a weighty casting,and a very old piece.You cant get that with a silver finish."Bohanna discovered a process combining alloys that would create a finishing that was almost lead-like,with a desired blue-gray coloring.Each piece of the cup had a mold that allowed it to be created in different materials for its different uses.Several were made in latex and rubber,because they had to go flying when the cup is used as a Portkey.Others were cast in metal or in resin.The three panels etched with the broken-up word TRY-WIZ-ARD echo the Goblet of Fire in that the relic is also unfinished."There are stylized flames and fernlike details inside the crystal that I consider are growing all the time,so its as though its something living,"Mina says.Bohanna used a blend of different chemicals that counter-reacted to each other,causing a fractured and cracked appearance.But his special ingredient for creating the effect was..."Cling wrap,"he admits."Tiny confetti-size chips of plastic cling wrap were thrown into the process,which cause the chemicals to pull away from one another."The idea came to him when he was analyzing natural materials that had folds and cracks."Nature always has the answer,"he affirms.

PAGE 70:The Golden Egg that will give the Triwizard Tournament champions a vital clue to the second task--if they can find a way to open it.Concept art by Miraphora Mina for Harry Potter and the Goblet of Fire;OPPOSITE TOP:A film still shows the resplendent casket that encases the Goblet;OPPOSITE BOTTOM:A side view of the realized Goblet of Fire;BELOW:The four slips of paper submitted to the Goblet of Fire that bore each schools champions name were spewed out digitally but caught in a physical form by Albus Dumbledore;RIGHT:A prop reference shot of the objective of the Triwizard Tournament:the Triwizard Cup.

THE TRIWIZARD TOURNAMENT 73

「只有一個人將舉起冠軍的獎盃，這勝利的象徵，三強杯！」

——阿不思·鄧布利多，《哈利·波特與火焰杯》

作為一件古老的神器，三強杯及其設計和火焰杯的相互聯繫 ，同時顯現出令人著迷的工藝。米拉芙拉·米娜（Miraphora Mina）的研究顯示麻瓜和魔法設計之間都存在這樣先例：在她所列舉的文物和酒杯里，龍形圖案是非常普遍的。三強爭霸的「三」對應獎盃上三條龍以及三塊水晶版，代表了參賽的三所學校。被賦予做出真正獎盃的任務，道具設計師皮埃爾·博漢納（Pierre Bohanna）覺得米娜給了他關於這個金屬製品外觀的一個很強的印象。 「我們不希望它的完成度太高。我們想要它看上去是一個沉重的古舊的鑄造物。但那樣的效果不是（仿）銀製品能有的。」 博漢納發現了一種混合合金的辦法，能創造一種像鉛一樣的質感，又帶有所需要的藍灰色的著色。杯子的每一塊都有一個模具，能根據不同的用途用不同的材料製造它們。有幾塊是用乳膠和橡膠製作的，因為當獎盃被當作門鑰匙使用時它們必須飛起來，其他部分是用金屬或樹脂做的。三塊杯壁上蝕刻的破碎的詞「三……強……爭霸」照應火焰杯那個同樣半完成的古老文物。「水晶里有格式化的火焰和蕨類植物般的細紋，它們一直在生長，好像某些活著的東西，」米娜說。博漢納用不同的化學製品混合，讓它們相互反應，做出杯壁內斷裂和破裂的樣子。但是創造這種效果的特殊成分是……「保鮮膜，」他承認道。「在製作過程中丟入小紙屑大小的碎塑料保鮮膜，讓化學物質互相分離開。」他在分析有褶皺和裂縫的天然材料時想到了這個主意。「大自然中總是有答案的，」他肯定地說。

70頁：金蛋，它會給三強爭霸賽的勇士們關於第二個項目的一個重要線索——如果他們能找到打開它的方法。根據米拉芙拉·米娜對《哈利·波特與火焰杯》的概念藝術製作；

上一頁（72頁）頂部：電影中出現的裝著高腳杯的華麗盒子；

上一頁（72頁）底部：火焰杯側面圖。

本頁下面：四片寫著參加火焰杯的來自每個學校的勇士的名字的碎片，被火焰杯吐出的效果是用數字技術做到的，但阿不思·鄧布利多拿著念的是真實存在的東西；

本頁右邊：參加三強爭霸賽拍攝的重要道具：三強杯。

三強爭霸賽 73

SHOOL TROPHIES

"What a charismatic quartet."

——Rita Skeeter,Harry Potter and the Goblet of Fire

The Trophy Room at Hogwarts is seen briefly in Harry Potter and the Goblet of Fire;its where the Triwizard Tournament champions gather after they are announced in the Great Hall.Filled with hundreds of trophies,the room might seem familiar:In Harry Potter and the Order of the Phoenix,it was transformed into the Room of Requirement,and in Harry Potter and the Half-Blood Prince,it was used as Horace Slughorns office.The props department referred to the books for inspirations as they created originals and altered purchased trophies in a wizardly http://fashion.In addition to Quidditch trophies,there were Medals for Magical Merit,Awards for Special Services to Hogwarts,and other plaques and shields for Transfiguration,Chess,Potions,Bravery,and Efforts.The prop makers inscribed these with names from the books as well as those of the films crew members.

74 THE ARTIFACK VAULT

學校榮譽

「多有魅力的四個人啊。」

——麗塔·斯基特，《哈利波特與火焰杯》

霍格沃茨的獎盃室在《哈利·波特與火焰杯》中一閃而過，這是勇士們在大廳里被揭曉後聚集的地方。這裡有成百上千的獎盃，你也許會覺得這個房間似乎很熟悉：在《哈利·波特與鳳凰社》里，它被轉化成有求必應屋，而在《哈利·波特和混血王子》里，它被用作霍拉斯·斯拉格霍恩的辦公室。道具部門提到小說是他們在製作和改造獎盃，使它們有巫師的時尚感的靈感源泉。除了魁地奇獎盃，那裡還有優秀品德獎章，對霍格沃茨的特別服務獎，以及其他與變形學、國際象棋、魔藥學、勇敢和努力有關的紀念匾牌和盾牌。道具設計師們在上面寫下了來自書小說里和電影劇組成員的名字。

74 神器寶典

QUICK-QUOTES QUILL

"Dont mind if I use a Quick-Quotes Quill,do you?"

——Rita Skeeter,Harry Potter and the Goblet of Fire

The questionable investigative tactics of Rita Skeeter,reporter for the Daily Prophet,are very much in view when she interviews Harry Potter,the youngest Triwizard Tournament champion,in Harry Potter and the Goblet of Fire.Skeeter uses a Quick-Quotes Quill,which rewrites a subjects responses into sensationalist journalism.The animated nib is connected to an acid green-dyed feather that complements her outfit.

OPPOSITE:(clockwise from top left)A production reference shot of the trophy room;a trophy awarded to two Quidditch seekers and a victory trophy for Ravenclaw house;ABOVE:The camera used by the Daily Prophet photographer who accompanies Rita Skeeter during the first task of the Triwizard Tournament;BELOW LEFT:Miranda Richardson(Rita Skeeter)on set inside of the champions tent in Harry Potter and the Goblet of Fire.

THE TRIWIZARD TOURNAMENT 75

速記羽毛筆

「我用速記羽毛筆來做記錄，你不會反對吧?」

——麗塔·斯基特，《哈利波特與火焰杯》

《預言家日報》的記者麗塔·斯基特的可疑的採訪手段，在《哈利波特與火焰杯》里，她採訪三強爭霸賽最年輕的勇士哈利·波特時多次用到。

斯基特使用著一隻會把受訪者的回答寫成天花亂墜不切實際的新聞的速記羽毛筆。那靈活的筆尖連接著搭配她服裝的，染成耀眼綠色的羽毛。

上一頁（74頁）右上角：獎盃室的一個參考鏡頭；一個兩名魁地奇找球手的獎盃和一個拉文克勞學院的勝利獎盃；

本頁左上：在三強爭霸賽第一個項目陪同麗塔·斯基特的《預言家日報》攝影師使用的照相機。

本頁左下：《哈利波特與火焰杯》中米蘭達·理查德森（Miranda Richardson）即麗塔·斯基特在勇士們的帳篷里。

三強爭霸賽 75

THE GOLD EGG

"Come seek us where our voice sound,we cannot sing above the ground.An hour long youll have to look,to recover what we took."

——the merpeoples clue for the second task,Harry Potter and the Goblet of Fire

The first task of the Triwizard Tournament is to capture a golden egg being protected by a dragon.Once opened,the egg will reveal a clue to the second task.Designer Miraphora Mina first decided that the outside decoration of the egg would be quite formal：「It has an etching of a city——not a mythical,magical city,but maybe a historical place somewhere.」Mina like of the props exterior appearing to be enameled(although it actually wasnt),and having alchemic symbols etched into http://it.In the book Harry Potter and the Goblet of Fire,the interior of the egg is described as a song."So it needed to be something ethereal,"says Mina."Something where you couldnt quite work out whether the song is its content or if its on the surface.So we imagined a crystal structure where things were possibly going on inside,but you couldnt easily work out what they were."

Another theme that Mina tried to incorporate in her designs for the films was the idea of discovery.For the golden egg,one of her areas of research was Fabergé eggs,created for the Imperial Russian family from the 1880s to the first decades of the twentieth century.These gold and silver eggs would open to reveal scenes created with jewels and enamel."I think,to discover something,you need to work for it,"Mina says.The mechanism to open it was a practical effect."Its quite simple,really,"she concedes."I wanted something that would spring open automatically,as if you had the right code."Mina designed the device as a little owls head that sits atop three wings,the number of which ties into the Triwizard Tournament."And its always interesting to have an uneven number,"she adds,"so I knew it would break into three segments.Not like you were cracking an egg in half!"The device was hinged inside with a cantilevered arm so that the top layer of it would turn,lift,and release the three metal wings.The exterior of the egg was gold-plated."We used gold plating quite a lot,"says prop maker Pierre Bohanna ,"because this prop and others have the reputation of being special.Its not cheap,but its not that expensive,and it works beautifully on film.Its got a quality that reflects light that you cant replicate with paint."

Once the top is turned,"its as if you go down to another layer,"says Mina."I wanted there to be a contrast between the outer shell and the inside.It looks as though its actually alive inside in a way."The bubbles within the egg are "not really bubbles in the sense of what bubbles are,"Bohanna adds.The bubbles were created using small acrylic balls that became suspended in the resin solution used to make the core."When any substance,like the resin we used,goes from a liquid state to a hard one,"Bohanna continues,"it tends to shrink or expand.This particular product didnt stick to the plastic balls;it shrank away from them,and we got an incredibly convincing bubble effect."During the same process,pearlescent pigments were added that,in their own conversion from liquid to solid,"swirled"within the mix."Our chief molder,Adrian Getley,was able to introduce the pigment at just the right time to catch it and allow it to create movement that looked like eddies and currents,and then stop before it traveled too deep as it set."

The egg was completely waterproof as it would need to be submerged during the many takes for the scene.It also weighed over ten pounds."It would sink right to the bottom if you gave it half a chance,"Bohanna http://admits.In order to keep the egg from tipping over when it was opened underwater,Daniel Radcliffe(Harry Potter)wore an invisible plastic clip around one hand that connected to a clip on the egg.This freed his fingers so that he could handle it without having to use both his hands.

OPPOSITE:Designer Miraphora Minas concept art for Harry Potter and the Goblet of Fire displays an aerial view of the opened Golden Egg;ABOVE:A reference photo of the Golden Egg reveals the amazing bubbling effect created by the prop makers by suspending small acrylic spheres and pearlescent pigments within the resin mold.

THE TRIWIZARD TOURNAMENT 77

金蛋

「尋找我們吧，在我們聲音響起的地方，我們在地面上無法歌唱。你只有一個鐘頭的時間，要尋找和奪回我們拿走的物件。」

——第二個項目里人魚的線索，《哈利·波特與火焰杯》

三強爭霸賽的第一個項目是獲取被一條龍保護的金蛋。金蛋一旦被打開，就會提供一條關於第二個項目的線索。設計師米拉芙拉·米娜（Miraphora Mina）首先決定金蛋外的裝飾非常正式：「它表面刻有一座城市——不是那種神話般的、魔法般的城市，而可能是某處的歷史遺迹。」米娜想要給這個道具的外表面噴漆（雖然它實際上沒有），以及給它刻上煉金符號。在《哈利·波特與火焰杯》的小說里，金蛋的內部有一首歌。「所以它應該是某種空靈的東西，」米娜說。「某種你不能弄清那歌聲是它的內容本身或是在它的表面上的東西。所以我們想出了一種水晶結構，有些東西可能在裡面運行著，但你不能輕易搞清楚它們是什麼。」

米娜想用她的設計，融入電影的另一個主題是關於發現的想法。對於金蛋，她研究領域之一的法貝熱彩蛋， 它是19世紀80年代到二十世紀的頭幾十年里專為俄羅斯皇室家族製作的。這些金蛋或銀蛋打開後會引出由珠寶和琺琅製作的精緻場景。「我認為，要想發現什麼東西，你得為之努力鑽研，」米娜說。打開金蛋的機關是真實的。「這非常簡單，真的，」她承認道。「我想要某種能自動彈開的東西，就好像你輸入了正確的密碼。」米娜設計的裝置像一個小貓頭鷹的頭，落在三個翅膀上，這個數字對應三強爭霸賽。「而且使用奇數總是非常有趣，」她補充道，「所以我知道它會分成三瓣。跟你把一隻蛋分成兩半的感覺是不一樣的！」該裝置內部與懸臂鉸接，所以它的頂部可以旋轉、上升，然後鬆開三隻金屬翅膀。蛋的外表面是鍍金的。「我們非常多地用到鍍金，」道具設計師皮埃爾·博漢納（Pierre Bohanna）說，「因為金蛋和其他道具都有特殊的名氣。它不便宜，但也不是非常貴，而且在電影里它運作得非常美麗。它反射光線的那種效果不是噴上油漆能夠得到的。」

一旦頂部被打開，「你就好像走到了另一層，」米娜說。「我希望有一個外殼和內部之間的對比。在某種程度上它的內部看上去好像有生命一樣。」金蛋里的氣泡「不是真正意義上的氣泡，」博漢納補充道。這些氣泡是小塑膠球做的，這些小球懸浮在樹脂溶液中用於製造核心。「當任何物質，如我們使用的樹脂，從液態到固態的過程中，」博漢納繼續道，「它傾向於收縮或擴展。這種特殊的材料不會粘在塑膠球上；它收縮遠離他們，我們就得到了令人難以置信的逼真的氣泡效果。」在此過程中，珠光顏料加入其中，它本身從液態轉化成固態，與混合物一起「旋轉」。「我們的首席模型師阿德里安·加特雷（Adrian Getley），能夠在恰好的時間引入顏料來捕捉它，並允許它產生漩渦和電流般的運動，然後在它們到太深的地方之前停止。」

金蛋是完全防水的，因為在許多採用的場景中它都要被淹沒在水中。而且它的重量還超過了十磅。「如果你給它一半的機會，它就會下沉到底部，」博漢納承認道。為了防止金蛋在水下打開時翻倒，丹尼爾·雷德克里夫（Daniel Radcliffe）即哈利·波特一隻手上戴著一個看不見的塑料夾，連接著金蛋上的的夾子。這釋放了他的手指，以便他可以不必用他的兩隻手就能舉起它。

前一頁（76頁）：米拉芙拉·米娜為《哈利·波特與火焰杯》所作的，打開的金蛋的概念藝術俯視圖；

本頁中間：一個金蛋的參考照片，顯示了道具設計師用懸浮在樹脂模具里的小塑膠球和珠光顏料做出的令人驚奇的氣泡效果。

三強爭霸賽 77

LIFECASTS

"Last night something was stolen from each of our champions.A treasure of sorts.These four treasures,one for each champion,now lie on the bottom of the Black Lake."

——Albus Dumbledore,Harry Potter and the Goblet of Fire

The second task of the Triwizard Tournament took place under the murky waters of the Black Lake,where the champions needed to rescue people dear to them who had been charmed into an enchanted sleep and were floating in the merpeoples village."There was no way we were going to tie an actor to the bottom of a tank for three weeks of filming!"exclaims Nick Dudman,special makeup effects artist for the Harry Potter film series.And so lifecasts of the four actors were taken and used to create their submerged doubles.

Creating a lifecast of an actor for a movie is a technique that harkens back to the earliest days of filmmaking,and it is more commonplace today than its ever been.Lifecasts are made when prosthetics need to be fashioned for complicated makeups or to create a face mask for the actors stunt double.Todays needs include requiring a liftcast for animatronic or computer effects."The reason for that is actually really simple,"explains Dudman."Quite often,we need to cyberscan someone,and when youre cyberscanning somebody with a laser,its inevitable theyll move.They cant keep that still.If you scan and have a cup made,the copy is perfect.If you scan somebodys head,when you get it back from the scanning company,its blurred.The detail is smudged on it,and its because in the time the camera takes to go around or to slide down or whatever its doing,there are tiny little movements.However,if we take a lifecast of somebody and scan that,its absolutely nonmoving.So the quality of the scan the CG people obtain is ten times better."

The lifecasting process has evolved over the years,but the basic material——dental alginate——is still the main ingredient.First,a plastic cap is used to protect the actors hair.Then the alginate,in powder form,is mixed with water.This turns into a rubbery consistency after three minutes."Before it sets completely,"Dudman explains,"you put it all over the whole head and shoulders,or the whole body,if thats what you need."Breathing holes are created as the alginate solidifies.Then the alginate is covered with a layer of plaster bandages that keeps the material in place until it dries."When its finished setting,"he continues,"you cut it apart at a predetermined seam,take the actor out,reassemble the pieces,and fill it with plaster to make a perfect double.Its a very old-fashioned method,but its still unsurpassed because plaster is the best material for giving you the data you need.It gives you all the skin texture down to a ridiculous level of detail——every single freckle,pore,and line."The plaster mold can then be used to create a double in whatever casting material is desired.Individual eyelashes and eyebrow hairs are punched in,as well as a full head of hair,and then the lifecast is painted with an amazing amount of detail."If done properly,"Dudman concludes,"they are incredibly accurate representations."

Lifecasts were made of the key cast members from the first film in the series,but what was unique about the Harry Potter films was that they needed to be redone at the start of every film,as the young actors were(literally)growing up.And lifecasts were an absolute necessity to

78 THE ARTIFACK VAULT

真人倒模

「昨晚，我們從各個勇士那兒，取走了一樣東西，一個珍寶，這四個勇士的珍寶，都被安置於黑湖湖底中。」

——阿不思·鄧布利多，《哈利·波特與火焰杯》

三強爭霸賽第二個項目在黑湖黑暗的水下進行，勇士們必須在那裡營救他們心愛的人，這些人質被施了魔法，陷入沉睡，在人魚的村莊里漂浮著。「我們沒辦法把一個演員綁在水池的底部拍攝三個星期！」《哈利·波特》系列電影特效化妝師尼克·杜德曼（Nick Dudman）感嘆道。所以他們採用四個演員的真人倒模，作為他們被淹沒時的替身。

為一部電影製作演員的真人倒模是一項可以回溯到電影產業最早時期的技術，在如今，它更是前所未有的常見。真人倒模用於製作假體的複雜結構或為演員的特技替身做面具。如今的需要包括，製作真人倒模以協助完成電子和計算機特效。「這麼做的理由其實真的非常簡單，」杜德曼解釋道。「我們經常需要數碼掃描某個人，而當你用激光掃描某個人的時候，他們不可避免地會移動。他們不能完全保持靜止。如果你掃描並複製一個杯子，複製品會非常完美。如果你掃描一個人的頭，當你從公司拿到它時，它會是模糊不清的。在細節上它不會清晰，這是因為相機在掃描的時候需要轉一圈或往下滑，無論怎樣，它都會有微小的相對移動。然而，如果你給一個人的真人倒模掃描，那是絕對不動的。所以獲得的CG人像的質量比以前好了十倍。」

這些年真人倒模技術在不斷發展，但基本材料——海藻酸鹽，仍然是主要成分。首先，用一個塑料帽來保護演員的頭髮。然後是粉末狀的海藻酸鹽，與水混合。三分鐘以後，它轉化成了橡膠質的狀態。「在它完全轉化之前，」杜德曼解釋道，「你要把它塗在整個頭和肩膀上，或者整個身體，如果你需要的話。」在海藻酸鹽固化過程中，會給演員做呼吸孔。然後海藻酸鹽會被一層石膏繃帶覆蓋，以便讓材料在它干之前保持在它該在的地方。「當材料完成轉化以後，」他繼續道，「你沿著預留的縫把它切開，讓演員出來，重新組裝各個部件，然後在裡面填滿石膏，就能得到一個完美的替身了。這是一個非常老式的辦法，但它仍然是無與倫比的，因為石膏是反應你需要的人體細節的最好材料。它給你的所有皮膚紋理，都細緻到一個難以置信的地步——細緻到每一個雀斑、毛孔、皺紋。」有了石膏模具，你就可以用任何你想要的材料製作替身。每個人的睫毛和眉毛，以及一整頭頭髮被穿孔植入其上，然後真人倒模上被畫上大量驚人的細節。「如果做得好，」杜德曼總結道，「他們是難以置信的精細替身。」

真人倒模是由這個系列第一部電影的製作成員製作的，但不同的是，《哈利·波特》系列電影需要在每部開拍前重做倒模，因為小演員們在長大。而真人倒模是講述這個故事的必需品。

78 神器寶典

tell the story.When the victims of the Basilisk released from the chamber below Hogwarts in Harry Potter and the Chamber of Secrets are rendered immobile by the gaze of the serpent,they are petrified,essentially turned to stone,until an antidote can revive them.It would be unreasonable to expect the actors playing Colin Creevey,Justin Finch-Fletchley,Nearly Headless Nick,and Hermione Granger to lie or stand motionless over and over again during filming,and so lifecasts saved the day.(The petrified Mrs. Norris was an animatronic version of the cat.)

The same need arrived in the fourth film for the underwater scenes,but the doubles of Ron Weasley,Hermione Granger,Cho Chang,and Fleur Delacours sister,Gabrielle,needed to show some movement. Animatronic dummies were made from lifecasts of the actors with a flotation tank inserted into them.The tank could have air pumped in and out in order to create the illusion of floating,and release bubbles from their mouths.Additionally,water was pumped into the bodies from outside the holding tank.This would transfer the water from one place to another within the figure,but because water shifts slowly,it created a gentle and natural movement.

Lifecasts were also used for characters who needed to be suspended in air:Katie Bell in Harry Potter and the Half-Blood Prince and Charity Burbage in Harry Potter and the Deathly Hallows-Part 1.Visual effects producer Emma Norton echoes Nick Dudmans sentiments:"You cant hang an actress upside down for ten hours of filming every day!"These dummies were mechanized so that the bodies could writhe and their faces could reflect their pain.Two versions of a lifecast of Micheal Gambon were created for Harry Potter and the Half-Blood Prince.It was intended that,after Dumbledores fall from the tower,Hagrid would carry the deceased wizard across the Hogwarts grounds.However,because Hagrid is a half-giant,the Dumbledore lifecast needed to be produced a second time in a reduced version to keep the characters scale in mind,and in the lightest weight possible,as Martin Bayfield,who played the full-scale Hagrid in long shots,was already carrying many pounds of costume and animatronics.Eventually,it was decided not to shoot this particular scene,but the knowledge gained from the task informed Dudmans crew when they created a supposedly deceased and definitely smaller scale Harry Potter to be carried by Hagrid in Harry Potter and the Deathly Hallows-Part 2.

OPPOSITE:Lifecasts in their early stages for Harry Potter and the Half-Blood Prince.Once the alginate is removed,the molds are covered with a fiberglass fabric for stability before being filled with plaster;LEFT:The lifecast of Hermione Granger for Harry Potter and the Goblet of Fire was fitted with a flotation tank inside that created the illusion of her floating in water and emitting air bubbles from her mouth;TOP:The second task required four students to be suspended underwater for many days of shooting:not something you would ask actors to do!ABOVE:Hagrid carries a supposedly dead Harry Potter into the Hogwarts courtyard in Harry Potter and the Deathly Hallows-Part 2.

THE TRIWIZARD TOURNAMENT 79

《哈利·波特與密室》中蛇怪的受害者在霍格沃茨地下室被蛇怪的目光凝住，他們被嚇呆了，基本上都石化了，直到解毒劑恢復他們。要求扮演科林·克里維、賈斯廷·芬列里、差點沒頭的尼克以及赫敏·格蘭傑的演員們一遍又一遍躺著或站著不動來拍攝顯然是不合理的，所以真人倒模節省了很多時間。（石化的貓洛麗絲夫人是電腦合成的。）

同樣的需要在第四部電影的水下場景中出現了，但羅恩·韋斯萊、赫敏·格蘭傑、秋·張以及芙蓉·德拉庫爾的妹妹加布麗需要表現出一點活動。他們在演員的真人倒模做的機械人體模型上插入浮槽，浮槽能擠入或擠出空氣，以製造漂浮的假象，並從它們嘴中放出氣泡。另外，水池裡的水泵入這些身體里。這將把水從一個地方轉移到另一個地方，但因為水是慢慢地移動的，它就創造了溫和自然的活動。

真人倒模還被用於需要懸停在半空中的角色：《哈利·波特與混血王子》中的凱蒂·貝爾和《哈利·波特與死亡聖器（上）》中的凱瑞迪·布巴吉。視覺特效製作師艾瑪諾頓（Emma Norton）和尼克·杜德曼（Nick Dudman）很有共鳴：「你不能每天把演員倒掛十小時拍攝！」這些假人機械化了，所以，它們的身體可以翻騰，臉可以反映他們的痛苦。《哈利·波特與混血王子》中製作了邁克爾·甘本（Micheal Gambon）兩個版本的真人倒模。它的目的是，在鄧布利多從塔上墜落後，海格將把已故巫師抱到霍格沃茨。然而，因為海格是一個半巨人，鄧布利多真人倒模需要再做一個縮小版來保證角色的尺寸合適，而且要儘可能減少重量，因為遠景拍攝中扮演海格全身形象的馬丁·貝菲爾德（Martin Bayfield），已經戴上了很多磅的服裝和特效裝備。他們最終決定不拍攝這個特定的場景，但從這項任務中獲取的經驗提醒了杜德曼和他的團隊，在《哈利·波特與死亡聖器（下）》中，他們製作了一個據說死了的小尺寸哈利·波特給海格抱去霍格沃茨。

本頁左下：《哈利·波特與火焰杯》中，赫敏·格蘭傑裝有浮槽的真人倒模，它創造了她浮在水裡和嘴裡吐出氣泡的假象；

本頁右上第一張：第二個項目里需要四個學生在水下懸浮拍攝很多天：這不是你會要求演員親自去做的事！

本頁右上第二張：《哈利·波特與死亡聖器（下）》海格把據說死了的哈利·波特抱去霍格沃茨庭院。

三強爭霸賽 79

CHAPTER 4

BROOMS

"Look at it;the new Nimbus 2000!Its the fastest model yet!"

——boy at Quidditch Supplies,Diagon Alley,Harry Potter and the Sorcerers Stone

第四章

飛天掃帚

「看哪，那是新型的光輪2000！現在最快的版本！」

——對角巷魁地奇用品店的男孩，《哈利·波特與魔法石》

If theres one artifact ubiquitous to a story set in a wizarding universe,it would be flying brooms.For Harry Potter,learning to ride a broom is akin to passing a rite of passage in the wizarding community,and excelling at playing their most popular sport,Quidditch,endears him to them and them to him.But leave it to the concept artists,designers,and prop makers to deliver a new twist to an old angle.

The brooms used by the young wizards in their first lesson at Hogwarts in Harry Potter and the Sorcerers Stone seem as old as the school itself.They are knobby,crooked,and scraggly.But it shouldnt matter what the broom looks like;its all about the skill of the rider,and Harry demonstrates immediately what a talented flyer he is.As a storytelling element,Harrys gain and loss of brooms in the story is a way to develop his character and his relationships:When Professor McGonagall observes Harrys natural abilities in his first flying lesson in Harry Potter and the Sorcerers Stone,and he becomes the new Seeker for Gryffindors Quidditch team,it is she who provides Harry with the best broom of the time:the Nimbus 2000.Similarly,when he loses that broom during a game in Harry Potter and the Prisoner of Azkaban,due to his vulnerability to Dementors,it is Sirius Black who gifts him with a replacement——an even better broom.The Firebolt his godfather sends him is a clear symbol of the affection in their new relationship.

Both the Nimbus 2000 and the Firebolt showcase the fine art of broom-making,with their aerodynamic construction and neatly trimmed bristle heads.But "these werent just props that the kids carry around,"explains Pierre Bohanna."They have to sit on them.They have to be mounted onto motion-control bases for special effects shots,and twisted and turned to imitate flying,so they had to be very thin and incredibly durable."To keep the brooms lightweight but strong,an aircraft-grade titanium center was used in their construction.This was covered by mahogany wood,and then birch branches were added for the bristle head.The better the broom,the sleeker the http://branches.In order to make broom-riding more comfortable,for the third film,Harry Potter and the Prisoner of Azkaban,foot pedals were added and bicycle seats,which were hidden by the players robes,were attached to the brooms.(Also,padding was added to the rear part of the Quidditch uniforms

PAGE 80:A detail from the broom of Order of the Phoenix member Nymphadora Tonks;

OPPOSITE:Daniel Radcliffe(Harry Potter)with a Nimbus 2000 and Tom Felton(Draco Malfoy)with a Nimbus 2001 show off their Quidditch brooms in a publicity still for Harry Potter and the Chamber of Secrets;

OPPOSITE BACKGROUND:Blueprints for brooms used in Harry Potter and the Half-Blood Prince by Amanda Leggatt and Martin Foley;

ABOVE:The Firebolt;

BELOW:(left to right)Freddie Stroma(Cormac McLaggen),Daniel Radcliffe(Harry Potter),and Bonnie Wright(Ginny Weasley)await their"Action"cue as their brooms sit upon computerized rig arms in a specially prepared bluescreen room during the filming of Half-Blood Prince.

BROOMS 83

如果說一個巫師世界有一樣無處不在的魔法用品，那一定是飛天掃帚。對哈利·波特來說，學會騎掃帚就像是他融入巫師社會的第一步，而且擅長玩巫師們最喜愛的運動，魁地奇，使哈利和魔法世界的人們互相喜歡起來。但它留給概念藝術家、設計師和道具製作師一個任務，把一樣老東西做出新花樣。

《哈利·波特與魔法石》中，小巫師們在霍格沃茨的第一節課就用到了的飛天掃帚，看上去跟學校本身一樣古老。它們是多節的、彎曲的、蓬亂的。但它不會影響到掃帚的外觀；騎士的技巧至關重要，而哈利很快展現出了他是一個多麼有天分的騎手。作為一個敘述故事的元素，在故事中展開哈利關於掃帚的得與失是塑造他性格和講述人物關係的一種重要手法：《哈利·波特與魔法石》中，當麥格教授在哈利第一次飛行課上發現他的天賦後，他成為了格蘭芬多魁地奇球隊的新找球手，也是她送給了哈利當時最好的飛天掃帚：光輪2000。同樣的，《哈利·波特與阿茲卡班的囚徒》中，當哈利在比賽中由於無力抵抗攝魂怪而 失去這個掃帚後，小天狼星·布萊克給他換了一個更好的飛天掃帚做禮物。教父送給他的火弩箭顯然是他們關係進步的信號。

光輪2000和火弩箭的氣動結構和修剪整齊的掃帚頭都顯示了飛天掃帚製作的良好工藝。但「這些不僅僅是孩子們隨身攜帶的道具，」皮埃爾·博漢納（Pierre Bohanna）解釋道。「他們必須騎上去。為了特殊效果的拍攝，它們必須被安裝到動力控制基礎設施上。翻騰轉向模擬飛行，所以他們必須非常薄且極其耐用。」為了使掃帚輕而堅固，他們用航空級的鈦製作軸心。用紅木覆蓋，然後加上樺樹枝作掃帚頭。掃帚越好，枝條越光滑。第三部電影《哈利·波特與阿茲卡班的囚徒》中，為了使掃帚騎得更舒服，他們在掃帚上安上了腳蹬 ，還有球員的長袍隱藏著的鞍座。（同時，襯墊被接在魁地奇球服褲子後面。）

80頁：鳳凰社成員尼法朵拉·唐克斯的飛天掃帚的細節圖；

前一頁（82頁）：丹尼爾·雷德克里夫

（Daniel Radcliffe）即哈利·波特與光輪2000以及湯姆·費爾頓（Tom Felton）即德拉科·馬爾福與光輪2001，他們為《哈利·波特與密室》的宣傳展示他們的魁地奇掃帚；

前一頁（82頁）背景：用於《哈利·波特與混血王子》的掃帚圖紙，由阿曼達·利格特（Amanda Leggatt）和馬丁·福利（Martin Foley）繪製；

本頁右上：火弩箭；

本頁下：在《混血王子》的拍攝中，（從左至右）弗雷迪·史卓瑪（Freddie Stroma）即考邁克·麥克拉根、丹尼爾·雷德克里夫即哈利·波特、以及邦妮·賴特 （Bonnie Wright）即金妮·韋斯萊在掛著特殊藍幕的房間，等待「開拍」指示，他們的掃帚被安在由電腦控制的機械臂上。

飛天掃帚83

pants.)The bicycle seats on the brooms were specially molded."Every actor came in,"recalls visual effects supervisor John Richardson,"adopted the flying position on their own broom,and we literally molded their bottom to suit,and then fitted that on the broom.So everybody that went on a broomstick not only had their own broom,they also had their own molded seat."

The brooms created for the members of the titular Order in Harry Potter and the Order of the Phoenix were designed to match their characters personality."If I remember this correctly,"says concept artist Adam Brockbank,"I showed Stuart Craig a drawing of a kind of Easy Rider broomstick for Mad-Eye Moody,where he would sit on it with his legs forward,like a chopper."Craig refined the concept and the artwork was passed back and forth between them several times before the final version was agreed upon."It was beautifully made,although you cant see much of it [in the film].You can see by the way he sits in it that its different from the others."

Brockbank worked on several other brooms,including Remus Lupins,which reflects the poverty of his character in its unkempt and roughhewn appearance,and Nymphadora Tonkss broom,which in an early iteration sported ribbons and other adornments.The final broom for Tonks was constructed with differently colored sticks in its bristle head.Actress Natalia Tena loved its"manky"look."I know everyone wanted to take their wands with them at the end of shooting,"she recalls,"but I wanted my broomstick."Brockbank had previously designed Bulgarian Quidditch Seeker Viktor Krums broom for Harry Potter and the Goblet of Fire."We designed a special broomstick for Krum,"explains Brockbank,"although Quidditch moves so quickly,you might not notice it.It was more streamlined than most,and quite flat on top with a spine underneath.The top and bottom were in different colors."

TOP:Blueprint of Alastor "Mad-Eye"Moodys broom;

MIDDLE RIGHT:A close-up of a broom in the prop makers workshop;

RIGHT:Different views of Moody』s broom by Adam Brockbank;

OPPOSITE:(top to bottom) Visual development art of Nymphadora Tonks,Kingsley Shacklebolt,and Alastor"Mad-Eye"Moody in flight by Adam Brockbank for Harry Potter of the Order of the Phoenix.

84 THE ARTIFACT VAULT

掃帚上的自行車座椅是專門定製的。「每一個演員都來了，」視覺特效總監約翰·理查德森(John Richardson)回憶道，「確定採用了他們騎在自己的掃帚上的位置，然後我們字面意義上的根據他們的臀部定製鞍座，然後裝在掃帚上。所以每個騎在掃帚上的人，不僅有自己的掃帚，還有自己的專屬鞍座。」

在《哈利·波特與鳳凰社》中為有名頭的鳳凰社成員製作的掃帚是根據他們的角色性格設計的。「如果我記得沒錯的話，」概念藝術家亞當·布羅克班克（Adam Brockbank）說，「我給斯圖爾特·克雷格（Stuart Craig）看了一張給瘋眼漢穆迪設計的類似《逍遙騎士》摩托風格的飛天掃帚草圖，瘋眼漢穆迪可以腿向前申坐在上面，就像一把斧子。」克雷格改良了它，而在最終版本過審之前，設計方案在他們手裡來回改進了好幾次。「它被造得很漂亮，即使你在電影里不能完全看到它。但你可以看到瘋眼漢騎它的方式，不同於其他人。」

布羅克班克也為其他幾個掃把工作過，包括萊姆斯·盧平的，它蓬亂、粗糙的外觀反映出這個角色的貧窮，還有尼法朵拉·唐克斯的掃帚，是早期的樣式，留著緞帶和其他裝飾物。唐克斯最終的掃帚的掃帚頭是用不同顏色的枝條做的。演員娜塔莉亞·特納（Natalia Tena）愛死它「壞壞」的樣子了。「我知道每個人在拍攝結束後都想把自己的魔杖帶走，」她回憶道，「但我想要我的飛天掃帚。」布羅克班克以前為《哈利·波特與火焰杯》設計出了保加利亞魁地奇找球手維克多·克魯姆的掃帚。「我們為克魯姆製作了一把特別的飛天掃帚，」布羅克班克解釋道，「雖然魁地奇運動如此迅速，你可能不會注意到它。它比大多數掃帚更流線，而且柄頭上表面非常平坦，下表面卻有一個脊凸。掃把頂部和底部顏色不同。」

本頁上：瘋眼漢阿拉斯托·穆迪的飛天掃帚設計圖；

本頁右中：道具設計師工作間的一把掃帚的特寫；

本頁右下：由亞當·布羅克班克繪製的穆迪掃帚的不同視角圖；

下一頁（85頁）：（從上到下）《哈利·波特與鳳凰社》中，尼法朵拉·唐克斯、金斯萊·沙克爾以及瘋眼漢阿拉斯托·穆迪飛行狀態概念圖。

84 神器寶典

spells look as if they are burned/branded into the wood（possibly as part of the gold lettering process）

close up of spells showing wood grain beneath

metal has soft embossed from underneath feel to it

Broomstick 4 detail showing treatment of wood

side view

top view

TOP:Members of the Order fly over the London landscape in Harry Potter and the Order of the Phoenix in artwork by Adam Brockbank;

ABOVE:Concept artist Dermot Powers work offers possible textures and finishes for the Firebolt broom handle in Harry Potter and the Prisoner of Azkaban,including broom shafts debossed with spell symbols;

OPPOSITE:A shot-by-shot storyboard sequence of Harry Potter and the members of the Order flying over the Thames River after he has been rescue from Privet Drive in Order of the Phoenix.

BROOMS 87

字母看起來好像是被燒/烙進了木頭的（可能是刻金字過程的一部分）

放大的部分掃帚柄，木紋背景上的字母

掃帚下方金屬部分好像有柔軟的浮雕圖案

掃帚4細節顯示對木材的處理

側視圖

前視圖

本頁上：亞當·布羅克班克繪製的，《哈利·波特與鳳凰社》中鳳凰社成員飛越倫敦地景地景圖；

本頁中：概念藝術家德莫特·鮑爾(Dermot Power)的作品，為《哈利·波特與阿茲卡班的囚徒》中火弩箭的掃帚柄提供了可行的紋理圖案最終稿，包括掃帚柄上的字元凹印；

前一頁（86頁）：《鳳凰社》電影拍攝中用的，一列哈利·波特從女貞路被救回後和鳳凰社成員飛越泰晤士河分鏡頭腳本。

飛天掃帚 87

More members of the Order got their own brooms in Harry Potter and the Deathly Hallows-Part 1,when Harry is escorted away from Privet Drive,including Arthur Weasley,whose broom was designed by graphic artist Miraphora Mina.It sports actual Muggle bicycle pedals instead of the footrest and a bicycle seat instead of the usual saddle.(Like any good bicycle,it also has a basket for carrying things.)One initial idea was that the brooms carrying two wizards would be adapted to accommodate two seats.The idea was scrapped,but Mina admits she would have liked a chance to upgrade Arthur Weasleys broom."I thought that the fact that he loves all things Muggle that he might have turned a double-seat broom into something like those two-person paddle boats,and then might have taken bits of other Muggle things and used them to invent a way to protect his robes from getting caught."

In order to escape the Fiendfyre set off in the Room of Requirement in Harry Potter and the Deathly Hallows-Part 2,Ron Weasley finds a cache of ancient broomsticks and tosses one each to Harry and Hermione(this is the only time we see Hermione ride on a broom in the film series).Adam Brockbank gave the brooms a straighter silhouette,but instead of footrests,they sported filigreed stirrups and a more complicated metal construct.Their almost rifle-like appearance has a built-in saddle and can easily accommodate two riders.

OPPOSITE:A continuation of the storyboard sequence of the flight over London by the Order of the Phoenix;

FAR RIGHT:Arthur Weasleys broom,designed for Harry Potter and the Deathly Hallows-Part 1 by Miraphora Mina;

RIGHT AND MIDDLE:Concept artist Adam Brockbank designed an ancient broom able to carry two passengers for Harry Potter and the Deathly Hallows-Part 2;

TOP:Concept drawings by Adam Brockbank show how Ron Weasley (left)and Harry Potter,with Draco Malfoy,would escape the Fiendfyre in the Room of Requirement on the two-passenger brooms in Deathly Hallows-Part 2;

ABOVE:A film still shows the Order of the Phoenix preparing to depart Privet Drive.

88 THE ARTIFACT VAULT

鳳凰社更多人在《哈利·波特與死亡聖器（上）》里當哈利被護送離開女貞路時，得到了他們的專屬掃帚，包括亞瑟·韋斯萊，他的掃帚是由圖形藝術家米拉芙拉·米娜（Miraphora Mina）設計的。它裝著的實際上是麻瓜自行車踏板，而不是擱腳板和座椅或尋常的掃帚鞍座。（像任何好的自行車，它也有一個籃子可以攜帶物品。）一個最初的想法是，承載兩個巫師的掃帚將被改裝上兩個座位。這個方案作廢了，但米娜承認，她希望有機會升級亞瑟·韋斯萊的掃帚。「我認為，事實上，他喜歡一切麻瓜的東西，他可能已經改裝了一種類似雙人槳船那樣的雙座掃帚，然後可能用一點其他的麻瓜物品 ，創造出保護他的長袍不被抓住的方法。」

《哈利·波特與死亡聖器（下）》中，為了逃出有求必應屋燃起的魔鬼火焰，羅恩·韋斯萊找到藏著的古代飛天掃帚，然後給了哈利和赫敏各一把（這是唯一一次我們在電影系列裡看到赫敏騎上掃帚）。亞當布羅克班克（Adam Brockbank）把掃帚的輪廓做得更直，但比起擱腳板，它們裝著精緻的腳鐙和一個更複雜的金屬構造。它們有著幾乎是步槍般的外觀，和一個嵌入式的坐墊，可以輕鬆承載兩個騎手。

下一頁（89頁）： 接86頁鳳凰社成員飛越泰晤士河的分鏡頭腳本；

本頁最右：亞瑟·韋斯萊的掃帚，米拉芙拉·米娜為《哈利·波特與死亡聖器（上）》設計的；

本頁右中：一種能承載兩人的古代掃帚，概念藝術家亞當·布羅克班克為《哈利·波特與死亡聖器（下）》設計的；

本頁上：亞當·布羅克班克繪製的概念圖，展現了《哈利·波特與死亡聖器（下）》中，羅恩·韋斯萊（左）和哈利·波特與德拉科·馬爾福會如何騎著雙人掃帚逃出有求必應屋的魔鬼火焰；

本頁左中：鳳凰社成員正準備離開女貞路的電影劇照。

88 神器寶典