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

以下來自燃情歲月翻譯組，譯者@Echo

禮堂

學院積分沙漏

「你們的出色表現會使你們所在的學院贏得加分，而任何違規行為則使你們所在的學院減分。年終時，獲最高分的學院可獲得學院杯。

——米勒娃·麥格n《哈利·波特與魔法石》

鑲嵌在禮堂長桌正對著的右面牆體上的是四個巨大的沙漏裝圓柱體，它們分別代表了斯萊特林，格蘭芬多、赫奇帕奇和拉文克勞學院。沙漏里裝滿了珍貴的「寶石」（綠寶石，黃鑽石，紅寶石和藍寶石）。沙漏會釋放寶石下降或上升，以此顯示每個學院學生的加分或扣分情況。製片設計師斯圖亞特·克雷格使用了數以萬計的玻璃珠來替代寶石，這導致了英國在這一用料方面的稀缺。積分沙漏是功能齊全的；值得注意的是，在每個學年開始時，這些珠寶都會集中在沙漏頂端較短的一部分，直到課堂真正開始。

THE GREAT HALL

HOUSE POINTS HOURGLASSES

「Yourntriumphs will earn your points. Any rule breaking, and you will lose points. Atnthe end of the year, the House with the most points is awarded the House Cup.」

——MinervanMcGonagall, Harry Potter and the Sorcerer』s Stone

Mountednon the wall to the right of the Great Hall』s High Table are four largenhourglass-shaped cylinders representing the Houses of the school, respectivelynin the order of Slytherin, Hufflepuff, Gryffindor, and Ravenclaw. Filled withnprecious 「germs」 (emeralds, yellow diamonds, rubies, and sapphires), thenhourglasses release these down or back up to indicate points won and lost by studentsnin each House. Instead of jewels, production designer Stuart Craig loaded thenhourglasses with tens of thousands of glass beads, which caused a nationalnshortage of these in England. The hourglasses were fully functional; attentionnwas paid at the beginning of each school year to having the beads occupy onlynthe shorter top portion of the glasses until classes started.

霍格沃茨的戰鬥騎士

「石墩出動！「

——米勒娃·麥格n《哈利波特與死亡聖器》（下）

在《哈利·波特與死亡聖器》（下）中，正義與黑暗勢力之間的最後大決戰——以及哈利·波特與伏地魔之間的衝突鬥爭——發生在霍格沃茨的場地和走廊上。學校教師、學生和其他人員，以及在此之前未被發現的守衛（戴著盔甲的騎士活了過來）共同保衛學校。塑像和鎧甲從支架上跳了下來，在麥格教授的命令下行軍抗戰（她一直想要使用這個咒語）。原畫美術史亞當·布魯克班可和安德魯·威廉姆森起草了配備有盔甲、帶鏈狼牙球、戰斧和盾牌的騎士形象。一些騎士清楚地顯示了他們所效忠的霍格沃茨四大學院。其中一個配備了蘇格蘭毛皮帶，,這是傳統的蘇格蘭高地服裝的一部分，通常穿著短裙。另一個則看起來更適合參加魁地奇比賽。實拍和數字效果的結合使騎士看上去活了過來。玻璃纖維模型的騎士被鑄造出來，並通過後期繪畫使他們看起來是像石制的。這些騎士模型通過計算機掃描而上傳到電腦中以形成動畫。

左頁：學院積分沙漏（拉文克勞學院在最右側）和學院杯；

頁面上方：由亞當·布魯克班可通過視覺發展藝術製成的具有個性化武器和盾牌的戰鬥騎士；

文字上方：戰鬥後躺在場地上的破碎的玻璃纖維騎士模型

THE FIGHTING KNIGHTS OF HOGWARTS

「PierstotumnLocomotor!」

—— MinervanMcGonagall, Harry Potter and the Deathly Hallows-Part2

InnHarry Potter and the Deathly Hallows-Part2, the final battle between good andnDark forces—and the final confrontation between Harry Potter and Lord Voldemort—is fought onnthe grounds and in the hallways of Hogwarts. Teachers, students, and othernschool personnel are involved, including defenders as yet unseen to this point:nthe statues of armor-suited knights that are brought to life to protect thenschool. Jumping down from their perches, they march to battle at the command ofnProfessor McGonagall (who always wanted to use the spell to do that). Conceptnartist Adam Brockbank and Andrew Williamson drafted knights equipped with chainnmail, maces, battleaxes, and shields, several of which show clear allegiance tonone of the four Hogwarts houses. One sports a sporran, the leather pouch thatnis part of traditional Scottish Highland attire, typically worn over a kilt,nand another seems better suited to play in a Quidditch match. The knights camento life thanks to a combination of practical and digital effects. Fiberglassnmodels of the knights were cast and then painted to look like stone. Thesenmodels were then cyber scanned into the computer for their knightly locomotion.

OPPOSITE:nThe House Points Hourglasses with Ravenclaw right then in the lead for thenHouse Cup; Top: Visual development art of the Fighting Knights by AdamnBrockbank featuring individualized weapons and shields; ABOVE Post-battle, thenfiberglass versions of the knights lie in pieces on the field.

妖精和巨怪盔甲

電影製作人一直在不斷探索優化位置和動作序列的方法。為《哈利·波特與混血王子》設計的禮堂入口大廳樓梯處的巨怪和妖精雕像，通過數字動畫特效製作而看起來活了一樣。但是這個特別的概念最後並沒有在這本電影中被使用，但卻在《哈利·波特與死亡聖器》（下）的電影中得以實現，武裝的妖精也加入了他們。擁有敏銳眼睛的觀眾可以在厲火摧毀前的有求必應物中看到製作出來的巨怪和武裝的妖精。

本頁:原畫設計師羅博·布利斯通過視覺發展藝術，為《哈利·波特與混血王子》製作的巨怪模型，正站在亞當·布魯克班可為《哈利·波特與死亡聖器》設計的妖精旁邊。此處配圖並不遵循實際比例——事實上妖精幾乎只有巨怪的鞋子那麼高。

nnnnnnnn背面：由艾瑪·凡恩製作的武裝巨怪的草圖；在哈利·波特穿著隱形衣走過時，費爾奇先生和洛麗斯夫人被一隻藏在巨怪盔甲里的老鼠分散了注意力。

ELF AND TROLL ARMOR

The filmmakers constantly explored ideas that might enhance locations or action sequences. For Harry Potter and the Half-Blood Prince it was proposed that armored troll and elf statues in the entrance hall stairway of Hogwarts would come to life via digital animation. This particular concept didn』t end up making it into that movie, but was realized in Harry Potter and the Deathly Hallows—Part 2 shows that armored elves might have joined them. Sharp eyes can spot manufactured troll and elf armor in the Room of Requirement before it is destroyed by Fiendfyre.

THIS PAGE: Concept artist Rob Bliss』s visual development for troll armor for Harry Potter and the Half-Blood Prince stands next to Adam Brockbank』s development art of elf armor for Harry Potter and the Deathly Hallows—Part 2. The two suits of armor are not to scale—the elf would barely top the troll』s armored shoes; BACKGROUND: Draft work by Emma Vane of the troll armor; which Mr. Filch and Mrs. Norris are distracted by a mouse scurrying within troll armor as Harry Potter walks by unseen.

赫敏：現在，記住，斯拉格霍恩習慣提前慢慢用餐，散一下步，再回到他的辦公室。

哈利：現在。我要去海格那兒。

赫敏：什麼？不，哈利——你應該去見斯拉格霍恩。我們有一個計劃的——

費爾奇和洛麗斯夫人在巨怪石像的腳邊尋找老鼠。哈利在他們身邊走過……

從武裝巨怪的上方的視角看，老鼠正坐在巨怪的肩膀上。費爾奇兩手環住石雕怕了上來抓老鼠。哈利從他的身後走過……

2007年11月14日

HERMIONE: Now remember, Slughorn usuallyneats early, takes a short walk and then returns to his office.

HARRY: Right. I』m going down to Hagrid』s.

HERMIONE: What? No, Harry——you』ve gotnto go see Slughorn. We have a plan ——

Flich fumbles around the foot of the armournfor the mouse with Mrs Norris

Harry walks past…

Cut high above Troll armour. The mouse isnsitting on the armours shoulder. Flich climbs up between its arms to get thenmouse. Harry walks past behind.

14

th

nNovember 2007

霍格沃茨城堡的肖像畫

「西莫，這幅畫在動！」——納威·隆巴頓《哈利·波特與魔法石》

在《哈利·波特與魔法石》中，哈利到達霍格沃茨的第一天里最神奇的瞬間之一就是見到了可以活動的肖像畫和移動的樓梯，這也獨特地預示著學生們真正融入了魔法世界。現代技術也許可以為我們提供視頻和「活動的照片」，但還不能夠創造一幅能和人真正對話的圖像。「藝術總監的主要任務之一，」負責道具的「布景師斯蒂芬妮·麥克米蘭解釋道，「是研究和委任完成肖像畫。」在拍攝的系列中，露辛達、亞歷克斯·沃克和海蒂負責這項工作。他們的研究覆蓋了每一個時期和各種風格。「我們真的瀏覽了所有不同歷史時期的繪畫。」美工設計師斯圖亞特·克雷格說，「從埃及時期直到二十世紀經典。」許多靜止的繪畫是基於著名的皇室和文學、藝術和社會名人肖像，使各個時期階段的藝術品得以創造。「我們的一個藝術家，莎莉·凡，喜歡在乾淨的白色畫布上畫油畫，我想她非常精通於此。」克雷格說。「我們會給她設定主題，她會重新創造它們。另外的一些肖像則是「騙人的假象」。「我們會從直接從一張現有的照片入手，畫家將根據已有的輪廓重新上色，使它看起來就像一幅真的油畫。」十位畫家為第一部電影大約創造了兩邊福肖像，在接下里的系列電影中又有更多的畫被創造出來，以便於完善整個故事細節。

至於移動的肖像，除了以上相同的做法，還需要額外的步驟完成。一旦肖像畫的概念草稿被確立，它的背景就會被先繪製和拍攝，而移動的人物常常由招募的演員和工作人員扮演。服裝部門將設計他們的服裝，如果需要的話，布景設計也會與道具部門協調。接下來的動作拍攝會在綠色屏幕前完成。賈妮·特麥米擔任了從《哈利·波特與阿茲卡班的囚徒》直到系列結束的服裝設計師，她認為這是一個有趣的任務。「我喜歡做肖像。我們會創造16世紀或是18世紀的巫師，也會把一個已有的經典人物形象『巫師化』。」

為了確保肖像內的視野與演員或是動作相匹配，現場拍攝工作會在一個綠屏帆布框架內完成。接下來視覺特效團隊在了解視線方向後，才能進行演員們「在畫框內」的拍攝。一旦所有的元素被視覺特效團隊合成後，「移動的肖像畫會通過數位技術被賦予紋理」，視覺效果主創艾瑪·諾頓這樣解釋道，「通過陰影或是光源的補充，使畫面看上去具有龜裂感，看起來就像一幅舊油畫。」肖像最後也可能會經過複製而得到靜止的效果，以確保它們出現在場景中適合的牆體內。有些畫像遙遠到甚至看不到它任何運動。而在樓梯上的場景中，這些畫像也不會和角色之間有多餘的互動。城堡的牆面仍然鑲滿了肖像畫，但其中只有幾幅在動。「你在觀看電影中的角色，」諾頓解釋說，「而不應該是盯著肖像。你不會希望看到過多的活動肖像，因為它們會分散觀眾注意力。所以我們應該呈現少數活動的畫像來對故事中的人物和動作給予合適的反映。它們的存在必需能夠增強故事性，而不僅僅是因為我們能夠在此處設置畫像。」

照明肖像是極其重要的。舉例來說，鄧布利多辦公室的接待室牆面上掛滿了歷代男女校長的肖像，許多畫像被掛在牆壁上窗戶之間的頂部，因此設置光源需要經過非常仔細的思考。根據房間的高度,攝影師羅傑·普拉特必須創建幾個不同的照明源。「我不想使用蠟燭照明，」他解釋說，「因為我總覺得蠟燭的光極易使人分心。所以我們選擇了油燈，它們會持續發光，也使我能夠創造一種溫暖與柔和感。接待室更高的位置會被清冷的月光照亮，月光柔和地從窗戶穿過。

美術、道具和服裝部門的另一個任務，是完成《哈利·波特與密室》里黑魔法防禦術教授吉德羅·洛哈特教室中的巨大肖像。這是一幅他自己本人的巨幅肖像……這一畫像類似於1638年安東尼·范·戴克的一幅作品，這個巨型洛哈特形象和其他活動肖像一樣被拍攝和製作。最初，斯圖爾特·克雷格和斯蒂芬妮·麥克米蘭提出了一個視覺效果，讓洛克哈特從肖像內走進教室。但最終效果被簡化了，洛哈特戲劇性地從他的辦公室走下樓梯，和他本人的畫像僅僅互相眨了眨眼睛。

在兩本電影中，許多肖像內的人物離開了他們本來所在的畫框。在《哈利·波特與阿茲卡班的囚徒》中肖像因為恐懼小天狼星·布萊克的到來而在城堡里的畫框間逃跑，而在《哈利·波特與死亡聖器》霍格沃茨最後決戰中，肖像里的人物也因為害怕戰爭而逃離躲避。n「這些靈感是劇本和導演創意的結合，」麥克米蘭說。《哈利·波特與阿茲卡班的囚徒》中，「導演阿方索·卡隆非常精心安排了所有滑稽有趣的情境和人物逃跑的場景，」她繼續說道，「接下來，藝術總監海蒂·斯托雷回合一位概念美術師合作，根據肖象人物的活動，創建他們跑進其他畫框的場景。這些活動的角度需要特別被注意。「這些運動是非常複雜的，」艾瑪·諾頓說，「因為你的視角也在改變，這些人物需要根據不同的縱橫比移動，因此我們需要考慮處理所有的線索。」

nnnnnnnnnnnnnnnn「除了招募的演員和工作人員被製成肖像人物，一些電影的製作者和部門負責人也被』巫師化』。」根據斯圖爾特?克雷格的說法：「在鄧布利多的辦公室，道具大師巴里·魏林森的肖像出現在那裡。以及製片人大衛·巴倫。我在肖像在那裡。《哈利·波特與阿茲卡班的囚徒》導演阿方索·卡隆的妻子和孩子也在一幅肖像畫內。而另一幅肖像是藝術總監亞歷克斯·沃克。《哈利·波特與魔法石》的導演克里斯·哥倫布也有他的畫像，但沒有在這部電影中使用。我必需說，這是一幅極好的肖像。」維奧萊塔·哥倫布——導演的女兒——被製成了一個手捧鮮花行屈膝禮的女孩肖像畫，出現在《哈利·波特與魔法石》的第一年中。

THE PAINTINGS OF HOGWARTS CASTLE

「Seamus,nthat picture』s moving!」

n——Neville Longbottom, Harry Potter and the Sorcerer』s Stone

Onenof the most magical moments on Harry Potter』s first day at Hogwarts in HarrynPotter and the Sorcerer』s Stone that unequivocally signifies an immersion intonthe wizarding world is the students』 encounter with the moving paintings andnportraits on the walls of the grand staircase. Modern technology may have givennus video and 「live photos,」 but there』s nothing yet that will top a paintingnwith which you can have an actual conversation. 「One of the major tasks of thenart director in charge of props,」 explains set decorator Stephenie McMillan, 「wasnto research and commission the portraits and get them painted.」 Over the coursenof the series, Lucinda Thomson, Alex Walker, and Hattie Storey had thisnresponsibility. Their research covered every time period and style. 「We lookednat the whole history of painting, really.」 Says production designer StuartnCraig, 「 from classical Egyptian to the twentieth century.」 Many of thenunmoving paintings were based on well-known portraits of royalty or celebritiesnfrom literature, art, and society. Creating the artwork involved variousnprocesses. 「One of our artists, SallynDray, preferred to paint on a clean white canvas. Very intimating, I think,」nCraig says. 「 We would give her the subject, and she would create it fromnscratch.」 Others were 「cheats.」 We would start with a photograph, and thenartist would give it a painterly texture including the appearance aged varnish,nso it would look exactly like an oil painting.」 Ten artists painted annestimated two hundred portraits for the first film; more were added throughoutnthe series to address story points.

Fornthe moving portraits, the same process was followed with a few extra steps.nOnce the painting was sketched out in concept, the background would be paintednand filmed. The moving subjects are would then be cast—actors andnvery often crew members were recruited for the roles. The costume departmentnwould create their clothing, set design would coordinate with the propsndepartment to put together a setting if needed, and the action would be filmednby the second unit in front of a green screen. Jany Temime, costume designernfrom Harry Potter and the Prisoner of Azkaban through the end of the series,nconsidered this a fun task. 「I enjoyed doing the portraits, creating littlentableaus of a sixteenth-century wizard or an eighteenth-century wizard. Or wenwould take a classic painting and wizard up the people in it.」

Innorder to ensure that the portrait』s subject had the correct eye line to thenactors or action, the scene would be filmed first with a green-screen canvasninside the frame. Then the visual effects team would be able to film the actornor actors 「in」 the painting with the knowledge of where they should be looking.nOnce all the elements were composited together by the visual effects team,」 thenmoving portrait would be given a texture digitally,」 explains visual effectsnproducer Emma Norton, 「a source of light for shadow or reflection, and oftennthat crackling effect that you get on old oil paintings.」 The final portraitnmight also be duplicated in a nonmoving form if the painting needed to be innits position on the wall in the background of a scene. As it would be too farnaway to tell, it wouldn』t warrant any motion in it. For scenes on thenstaircases here there was no interaction between the characters and thenportraits, the walls would still be filled with paintings but with only a fewnthat were animated. 「You』re watching the characters,」 Norton continues. 「You』re not looking at the portraits, and younwouldn』t want too many moving ones because it would be distracting. Therenshould be a few that could show a reaction to the conversation or the action,nbut only if they were there to enhance the story, not to be there just becausenyou could put them there.」

Lighting thenportraits was of extreme importance. Or example, the anteroom to Dumbledore』snoffice featured walls filled with portraits of the previous headmasters andnheadmistresses of Hogwarts, and many of these paintings had been hung on thenupper portion of the walls between windows, so the light source needed to benconsidered very carefully. Due to height of the room, cinematographer RogernPratt had to create several distinct lighting sources.」 I didn』t want to usencandles for lighting,」 he explains, 「because I always feel that candles arendistracting. So we opted for oil lamps, which would be on and around the tablesnand would allow me to create a certain amount of warmth and softness.」 Highernup, the anteroom would be lit by cool moonlight, softly coming through thenwindows.

Another task fornthe art, props, and costume departments was the classroom for Defense Againstnthe Dark Arts professor Gilderoy Lockhart in Harry Potter and the Chamber ofnSecrets, which featured a large painting of Lockhart painting a portrait ofn…himself. The static inset portrait is reminiscent of a 1638 painting bynAnthony van Dyck; the larger Lockhart was filmed in the same way as all othernmoving portraits. Initially, Stuart Craig and Stephenie McMillan proposed that,nin a visual effect, Lockhart would walk out of the portrait into the classroom,nbut eventually it became simply that Lockhart descends down the staircase fromnhis office in a dramatic entrance and only exchanges a wink with his paintedndouble.

In two of thenfilms, many subjects of the paintings leave their frames: in Harry Potter andnthe Prisoner of Azkaban in fear of the possibility of Sirius Black being in thencastle, and in Harry Potter and the Deathly Hallows—Part 2 in fear during thenBattle of Hogwarts. 「The inspiration for these was a combination of what was innthe script and the director』s ideas,」 says McMillan. For Harry Potter and thenPrisoner of Azkaban, 「Director Alfonso Cuarón very carefully choreographed allnthe small ridiculous situations and people running away,」 she continues. 「Thennart director Hattie Storey worked with a concept artist to create a master plannfor the choreography, according to which various subjects traveled from onenportrait to the next.」 Perspective needed to be attended to carefully. 「The movementsnwere very complex,」 says Emma Norton, 「because you were also changing scale.nThe subjects would be moving through different aspect ratios, and so we』d havento work out all those cues.」

nnnnnnnnnnnnnnnnnnIn addition to the actors and crew members usednas portrait subjects, some of the people 「wizarded up」 included the films』nproducers and department heads, as recounted by Stuart Craig: 」In Dumbledore』snoffice, prop master Barry Wilinson』s there. Producer David Barron. I』m there.nHarry Potter and the Prisoner of Azkaban director Alfonso Cuarón』s wife andnbaby are in one, and another features art director Alex Walker. Harry Potternand the Sorcerer』s Stone director Chris Columbus had his portrait painted, butnit didn』t make the film. Very good portrait, I have to say.」 There is anColumbus on the wall of Hogwarts, however. Violet Columbus, the director』sndaughter, portrays the girl holding flowers who curtseys to the first years innHarry Potter and the Sorcerer』s Stone.

霍格沃茨大禮堂牆上可以看到的肖像包括：左上方：伊麗莎白·伯克，她可能是卡拉克塔克斯·伯克,的親戚，伯金·伯克的創始人之一；右上方：丹姆·安東尼婭·克雷斯沃希；右下角：珀西瓦爾·普拉特，他是一個著名詩人；上方圖片：正在拍攝《哈利·波特與魔法石》中移動的樓梯。在後期製作中，腳手架和地板通過數位技術刪除，或是被替換為別的鏡，這幅場景和他們的移動元素組合而成。左邊：「白卡」模型被創建用來統一肖像的位置和阻擋放置和阻塞(舞動)的場景。

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TOPnLEFT: Storyboard artwork by Stephen Forrest-Smith for Harry Potter and thenHalf-Blood Prince depicts an unfilmed scene where Harry Potter sneaks out ofnHogwarts undetected after having imbibed Felix Felicis; TOP RIGHT AND OPPOSITEnBOTTOM RIGHT: An unidentified Headmaster; RIGHT: Visual development art of SirnCadogan by Olga Dugina and Andrej Dugin for a moving portrait to be seen innHarry Potter and the Prisoner of Azkaban. Sadly, this brave knight』s scenesnwere left on the cutting room floor; OPPOSITE TOP RIGHT: Professor ArmandonDippet, Headmaster when Tom Riddle attended Hogwarts and the Chamber of Secretsnwas first opened; OPPOSITE TOP AND BOTTOM LEFT: Newt Scamander, author of thenbook Fantastic Beasts and Where to find Them, a standard work in the Care ofnMagical Creature curriculum.

左上：故事板由史蒂芬·福瑞斯特·史密斯根據作品《哈利·波特與混血王子》描繪而成的一個尚未拍攝的場景，哈利·波特偷偷溜出霍格沃茨，而未被後面的菲利希斯·費爾希發現；右上角和下頁右下角：一個身份不明的校長；右：根據安德魯·杜根的形象，通過視覺發展藝術設計而成的奧爾加·杜金那·卡多根爵士形象。這幅移動的肖像出現在《哈利·波特與阿茲卡班的囚徒。令人悲傷的是，這位勇敢騎士的畫面在剪輯中被刪除了；下頁右上方：阿芒多·迪佩特教授——湯姆·里德爾第一次打開密室時期的霍格沃茨校長。下頁左上與左下：紐特?斯卡曼達——《神奇動物在哪裡》作者。這本書是保護神奇動物課程的指定書目。

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TOP: Annunidentified Headmaster; ABOVE RIGHT: Actress Elizabeth Spriggs poses for hernportrait as the Fat Lady in full costume and with some set dressing for HarrynPotter and the Sorcerer』s Stone; RIGHT: Professor Gilderoy Lockhart paints hisnown portrait, Harry Potter and the Chamber of Secrets; OPPOSITE: The portraitnof Professor Albus Dumbledore (Michael Gambon) was placed in the Headmaster』snOffice after the events of Harry Potter and the Half-Blood Prince

上方：一位身份不明的校長；右：女演員伊麗莎白·斯普里格扮演胖婦人肖像的造型和完整服飾《哈利·波特與魔法石》；右：教授吉德羅·洛哈特正在畫自己的肖像《哈利·波特與密室》；下頁：阿不思·鄧布利多教授的肖像(邁克爾甘本飾)在《哈利·波特與混血王子》事件後被放置在校長辦公室。

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OPPOSITE TOPnRIGHT: A wizard chess match set on the walls of the Gryffindor Common Roomnviewed in deleted scene from Harry Potter and the Prisoner of Azkabanndemonstrates the coordination of the production design, set decoration, and artndepartments: The paintings on the wall of the painting are also visible on thenwalls of Hogwarts including OPPOSITE TOP LEFT: An unidentified witch; OPPOSITEnBOTTOM LEFT AND RIGHT: Two unidentified Headmasters; ABOVE LEFT: CottismorenCroyne, better known as David Heyman, the producer of the Harry Potter films;nABOVE RIGHT: Stuart Craig, production designer for the Harry Potter films, isnimmortalized on the Grand Staircase as Henry Bumblepuft; FAR LEFT: The Girlnwith flowers was portrayed by Violet Columbus, daughter of director ChrisnColumbus; LEFT: Barry Wilkinson, property master for the Harry Potter films,nwas the model for Tobias Misslethorpe, founder of Witch Weekly.

左頁右上方：巫師棋比賽，位於格蘭芬多公共休息室的牆上，這個場景在《哈利·波特與阿茲卡班的囚徒》中被刪除，這展現了協調的藝術設計：結合了設計、裝飾和和藝術部門；這幅畫也可以牆在霍格沃茨的牆上看到。左頁左上方：一位身份不明的上方；左頁的底部左右：兩位身份不明的校長。左上：柯蒂斯莫·克羅恩，他的另一個名字更為大家所熟知：大衛·海曼——《哈利·波特》系列電影的製片人；右上：斯圖爾特·克雷格——哈利·波特電影製片設計師，他正站以他為形象化成的亨利·本布萊普福特肖像的樓梯；左下：捧著鮮花的女孩——維奧萊塔·哥倫布——克里斯·哥倫布導演的女兒；左：巴里·威爾金——《哈利·波特》預算總編，他是托比亞斯·米塞特羅普（《女巫周刊》創始人）的模型。

CHAPTER 2

THE SORCERER』SnSTONE

「Of course! There arenother thins defending the Stones, aren』t there? Spells…enchantments.」

——Hermione Granger，Harry Potternand the Sorcerer』s Stone

第二章 《魔法石》

「當然！那裡當然有其他保護魔法石的防禦，難道不是嗎？咒語……和其他魔法。」——赫敏·格蘭傑n《哈利·波特與魔法石》

SEARCHING FORnTHE SORCERER』S STONE

As the book andnmovie title suggest, the story of Harry Potter and the Sorcerer』s Stone is thenpursuit by Harry Potter, Ron Weasley, and Hermione Granger of a magical objectnthat is, as Hermione describes, 「a legendary substance with astonishing powers.nIt will turn any metal into pure gold and produces the Elixir of Life, whichnwill make the drinker immortal.」 In order to prevent Voldmort from acquiringnthe stone, the staff of Hogwarts have hidden it and created four securitynobstacles: the three-headed dog, Fluffy; a temperamental plant; a door that cannonly be opened by a winged key; and a life-size game of chess that must be won.nVoldemort, who is still noncorporeal and so shares Professor Quirinus Quirrell』snbody, has passed them all. These tests will call upon each hero to contribute anskill that delineates their character: Hermione for her knowledge of spells,nHarry for his broomstick-flying talents, and Ron for his proficiency at wizard』snchess.

The nearlyn100-percent-digital Fluffy (his drool was a practical effect) could be subduednby music. Getting through Devil』s Snare involved relaxation (impossible fornHarry and Ron when wrapped in the Snare』s tentacles) or a source of light,ncreated by Hermione. Devil』s Snare was surprisingly a practical effect (as andigital one would have proved incredibly costly). Puppeteers positioned belownthe plant slowly pulled off vines that had been wrapped around the actors. Thennthe film was played backward so it appeared that the plant was entangling themninstead of the other way around.

尋找魔法石

正如書的名字和電影標題表明的那樣，《哈利·波特與魔法石》里的魔法石，正是哈利·波特、羅恩·韋斯萊和赫敏·格蘭傑尋找的東西。如同赫敏所描述的那樣，「這是一個擁有驚人力量的傳奇物質。它可以點石成金，以及生產製作靈丹妙藥，使飲用者長生不朽。」為了防止伏地魔獲得魔法石，霍格沃茨的教職員隱藏了魔法石並創建了四個防禦障礙：看門狗路威；一種易被刺激的植物；一道只能被一個帶翅膀的鑰匙打開的門；和一局必須取勝的真人大小的國際象棋遊戲。伏地魔此時還沒有形體，所以寄居在奎里納斯·奇洛教授身上，一起通過了所有的障礙。這些測試要求每個英雄施展出與他們性格相匹配的技巧：赫敏的咒語及魔法知識，哈利騎掃帚飛行的天賦，和羅恩下象棋的能力。

nnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnn三頭大狗路威幾乎全部由數位技術製作（他的口水是實際效果），它可以被柔和的音樂催眠。通過魔鬼網的方法包括全身放鬆（但對於被魔鬼網觸角纏繞的哈利和羅恩是不可能的）和使用光源，這束火苗由赫敏施咒產生。魔鬼網陷阱的場景是十分驚人的實景拍攝（假如由數位技術合成，成本將非常昂貴）。傀儡操縱師在魔鬼網下方，緩緩拉動纏繞在演員身上的藤蔓。然後在電影中反向播放這段拍攝，所以看上去是藤蔓漸漸捲住了他們，而不是鬆開的場景。

長翅膀的鑰匙

「有趣。我從沒有見過這樣的鳥。」

「這不是鳥，這是鑰匙。」

——赫敏·格蘭傑和哈利·波特 《哈利·波特與魔法石》

nnnnnnnn通過三個頭的大狗路威和魔鬼網的陷阱後，下一個接近魔法石的挑戰是通過一扇鎖著的門。赫敏試圖用阿拉霍洞開打開它，但讓她沮喪的是，這個咒語並沒有奏效。羅恩和哈利意識到他們必須在一群長翅膀的小鳥中找到並抓住正確的鑰匙，儘管鑰匙的設計相對簡單，但它們「應該是可怕的和狂野的，但也不能太可怕或太瘋狂，」視覺總監羅伯特·萊吉托這樣解釋道，「你把一個東西設計得越美麗，它就顯得越沒有危險性。」萊吉托知道需要對鑰匙的形狀設計進行把控，使其變得不那麼令人恐懼和害怕。另一點需要考慮的是它們的動作：「它們實際上被綁在一起，活動會影響它們在屏幕上的樣子和點亮屏幕的方式，」他說。最終設計經過測試和批准後，被製作成了數字樣片。可以打開門鎖的飛鳥鑰匙的翅膀由一種彩色的絲綢製成。

WINGED KEYS

「Curious. I』vennever seen birds like these.」

「They』re notnbirds, they』re keys.」

——Hermione Grangernand Harry Potter，Harry Potter and the Sorcerer』s Stone

nnnnnnnnnnAfter sidestepping Fluffy and dropping throughnDevil』s Snare, the next challenge to get closer to the Sorcerer』s Stone is tonget through a locked door. After Hermione tries the charm Alohamora, which, tonher frustration, does not work, Ron and Harry realize that they must find andncatch the right key in a swarm of winged keys flying through the room. Whilenthe design of the keys was relatively simple, they 「had to be scary and wild,nbut not too scary or too wild,」 explains visual effects supervisor RobertnLegato. 「The more beautiful you make something, the more nonthreatening itnbecomes.」 Legato knew it was a fine line between the keys being frightening andnbeing intimidating. Another consideration was their movement: 「They are innessence tied together, the way they move, which affects the way they』ll looknand the way they』re lit on-screen,」 he says. After the final design was testednand approved in a digital animatic, the many keys were made to move in concertnlike a flock of birds. The wings of the key that opens the door were crafted innan iridescent shot silk.

60頁：羅恩·韋斯萊在真人大小的巫師棋遊戲中坐在騎士的馬上指揮下棋。羅恩犧牲了他自己使得哈利·波特可以勝利和找回魔法石。哈利·波特系列的第一本電影《哈利·波特與魔法石》；左頁上方：羅恩、赫敏和哈利落在魔鬼網上的靜止畫面；左頁下方：由塞瑞拉·諾伯各通過視覺發展技術製作而成的哈利、赫敏和羅恩來到巫師棋遊戲房間接受挑戰的場景；上方：哥特·史蒂芬為帶翅膀的飛鳥鑰匙設計的概念藝；頂端：哈利·波特在一群長著翅膀的鑰匙間飛行；右：用於打開鎖住的門的戴翼飛鳥鑰匙。

Page 60: RonnWeasley directs the life-sized wizard chess game from atop his knight』s horse.nRon sacrifices his piece so that Harry Potter can win and retrieve the Sorcerer』snStone in the first Harry Potter film; OPPOSITE TOP: A film still of Ron,nHermione, and Harry after landing in Devil』s Snare; OPPOSITE BELOW: Visual developmentnartwork by Cyrille Nomberg illustrates the arrival of Harry, Hermione, and Ronninto the room of their chess game challenge; TOP: Concept art for the wingednkeys by Gert Stevens; ABOVE: Harry Potter flies among a swarm of winged keys;nABOVE RIGHT: The winged key prop used to open the locked door.

國際象棋棋子

「這很顯然，不是嗎？我們必須走贏這盤棋才能通過這個房間。哈利，你站在主教的位置，赫敏，你去站在城堡的空位。至於我。我來做一個騎士。」

——羅恩·韋斯萊 《哈利·波特與魔法石》

在哈利·波特與伏地魔的最終決鬥前，他們需要贏得一場巫師棋比賽。比起電腦技術製作，克里斯·哥倫布更偏愛可以實際移動的棋子，電影動作和特效道具部門都很高興遵守。32個棋子的全尺寸模型被製造出來，其中一些棋子有十二英尺高，重量高達五百磅，它們由粘土和各種材料雕刻而成。道具組還製作了劍、狼牙棒、盔甲，甚至是主教的城堡都有特製的武器。「接下里我們要讓棋子可以移動」，特效總監約翰·理查森說，「因為他們的尺寸和重量限制，以及可以活動的空間有限，這成為了一個挑戰。」理查森和他的團隊用無線電操縱的部分需要移動控制項。「我們（最終）可以使馬前進，然後轉向，非常利落地停止。」

「棋子的設計全部完成，可以通過開關控制」視覺特效製作人艾瑪·諾頓說，「它們不是鉸接而成的。所以當你看到不僅只會向前移動的棋子時，它們是電腦升級製作的。但當我們使用CG後，我們可以藉助技術更全面地展現模型。為了在屏幕前拍攝，這些棋子被精心繪製。然後我們再進行拍攝，電腦掃描，運用藝術特效部門提供的所有素材創造紋理和質地感，之後我們逐一建立CG模型和包裝。通過這一系列有目的的製作後，觀眾最終見到了的實際成品。

這些場景中最需要考慮的是，當棋子轉向背面時會發生爆炸，這意味著演員們也會處在爆炸的實景中，面對飛濺的爆炸廢墟，理查森和他的團隊使用了一種可控的壓縮空氣設備，通過遙控器激活並控制爆炸規模，而不是用煙火替代。「這會產生一些火焰和煙霧，所以拍攝時的空氣、火焰、炸藥和其它東西幾乎都會受到影響。」理查森說。那些爆炸後產生的「破碎」棋子，並不是由原有的棋子模型爆炸砸碎製成，而是劇組專門重新製作和拋灑的碎片。更多的塵埃和碎片在現場拍攝後通過數字特效加入。「大理石」棋盤方格由一種著名的藝術技術製成，將油漆植入一大桶水——在這種情況下，使用一個六英尺寬的水槽——把紙張鋪上表面來吸收顏色。然後對這樣得到的最好版本進行掃描，數字化優化，然後才完成這項裝置。「這是令人難以置信的裝置，」演員魯伯特·格林特(羅恩·韋斯利的扮演者)回憶道。「在這個這麼酷的場景中，布滿了打碎的棋子，我們被爆炸圍繞。我代表的騎士所乘的馬也變成了碎片！」

CHESS PIECES

「It』s obvious,nisn』t it? We』ve go to play out way across the room. All right. Harry, you takenthe empty Bishop』s square. Hermione, you』ll be the queenside castle. As for me.nI』ll be a knight.」

——Ron Weasley, HarrynPotter and the Sorcer』s Stone

The finalnchallenge before Harry Potter』s confrontation with Voldmort is to win a game ofnwizard』s chess. Director Chris Columbus』s preference was always to see if thenaction could be created practically instead of digitally, and the specialneffects and props departments were glad to comply. Full-size models of thenthirty-two chess pieces, some of them twelve feet high and weighting up to fivenhundred pounds, were sculpted in clay and cast in various materials accordingnto their use. The prop makers produced the swords, maces, armor, and even thenbishop』s staffs that were their armaments. 「Then we had to make the chessnpieces move,」 says special supervisor John Richardson, 「which was a challengenbecause of their size and weight, and the fact that their bases were verynsmall.」 Richardson and his team rigged the pieces that needed to move withnradio controls. 「We could drive a horse forward and then stop, and then move itnsideways and stop very cleanly.」

「While the pieces on the set were fully builtnand could shift across the board,」 says visual effects producer Emma Norton, 「theynweren』t articulated. So when you see one of those pieces do more than just movenforward, they』re computer-generated versions. But when we create something innCG, we will borrow as much as we can from the model, which has been painted tonbe photographed on-screen. So we photograph it, cyberscan it, take texturesnfrom the prop and from whatever the art department has provided and treat itnlike skin, the teture skin. Then we build a CG model and wrap that texturenaround it .So for all intents and purposes, you』re looking at the real thing.

nnnnnnnnnnThe most important consideration of the scenenwas that when a piece was taken by the opposite side, it would explode, meaningnthe young actors would be involved in a scene with blasts and bursts and flyingnrubble. Instead of pyrotechnics, Richardson and his team used compressed airndevices activated via remotes to blow the pieces up in a very controlled way. 「Therenwas some flame on the set, and smoke, so we had air and fire and bangs andnpretty much a little bit of everythingnelse we come across in effects,」 Richardson explains. The 「broken」 pieces seennafter the explosions were individually sculpted and cast, and not just smashednoriginals. Digital dust and debris were added after the scene was shot. The 「marble」nof the chessboard』s squares was created using a well-known art technique ofnsquirting oil paint into a vat of water —in this case, a six-foot-square tank—and then placing paper on top to absorb thenswirling colors. The best versions were scanned, enhanced digitally, and thennlaid down on the set. 「That was an incredible set,」 actor Rupert Grint (RonnWeasley) recalls. 「And such a cool scene, with pieces being smashed andnexploding around us. I』ve still a broken piece of the horse I was riding!」

下方和右方：由克瑞羅·諾伯格和拉維·邦薩爾通過視覺發展藝術製成的黑色棋子衛兵和城堡；右下：一個國際象棋國王的棋子正在進行收尾工作；下頁：近景拍攝的白色棋子：車、騎士、主教和其他棋子，其中一些通過無線電控制。

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nnBELOW AND TOP RIGHT: Visual development art ofnthe black side』s pawn and queenside castle chess pieces by Cyrille Nomberg andnRavi Bansal; BELOW RIGHT: Finishing touches are added to one of the chess set』snkings; OPPOSITE: A close-up reference photo of the white side』s chess piecesnfeatures the rook, knight, bishop, and pawns, some of which moved via radioncontrols.

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TOP,RIGHT,ANDnOPPOSITE TOP: Concept art by Cyrille Nomberg and Ravi Bansal of the wizardnchess pieces, experimenting with different weaponry, postures, and girths;nABOVE RIGHT: Harry Potter approaches the twelve-foot-high white queen in anreference photograph taken on the set of Harry Potter and the Sorcere』s Stone;nOPPOSITE BOTTOM: Behind each side of the chess board were pits where thenexploded and taken pieces ere piled up.

魔法石

「我可以看到自己拿著石頭。但是我該怎麼得到它？」

——奎里納斯·奇洛 《哈利·波特與魔法石》

nnnnnn在第一部電影中，有什麼道具可以比魔法石更重要？當設計部門詢問J.K.羅琳魔法石應該是什麼樣子的時候，她將它描述成一塊未經雕琢的寶石。幾種塑料石頭道具被創造出來，它們看上去更像巨大的紅寶石糖果。為了讓它具有珠寶閃閃發光的特點，製片人運用了101燈光照明。在石頭內部可以看到的反射光線，這其實是一束設置在拍攝照相機上方的小火苗。

THE MIRROR OFnERISED

「It shows usnnothing more or less than the deepset, most desperate desires of our hearts.」

——Albus Dumbledore,nHarry Potter and the Sorcerer』s Stone

Though thenMirror of Erised plays an important part in Harry Potter』s defeat of thencombined Professor Quirrell/Lord Voldemort, he first encounters the mirrornduring his escape from the Restricted Section of the library after anninterrupted search for information on Nicholas Flamel, the owner of the Sorcere』snStone. The mirror is a mashup of different architectural styles: the outernsides are Corinthian columns that bracket an inner set of smaller Doric columnsnembellished with a knot pattern. The principal style is Gothic; seven graduatednlancet-style arches are framed by a larger one. (The number seven appearsnfrequently within the wizarding world.) Above this is a triangular arch adornednwith palmettes that supports the final toppers —two obelisks. Thenwriting that apeears over the biggest arch of the mirror reads: Erised stranehru oyt ube cafru oyt on wohsi. It』snnot a magical language, but rather the mirror image of the sentence, 「I innunique combinations. Unlike most props, which are duplicated for different usesnand in case of breakage during filming, only one Mirror of Erised was everncreated.

厄里斯魔鏡

「它使人看到自己內心深處最迫切，最強烈的渴望。」

——阿不斯·鄧布利多 《哈利·波特與魔法石》

儘管厄里斯魔鏡在哈利·波特中打敗奇洛教授/伏地魔的過程中扮演了重要的角色，但他第一次遇到魔鏡，卻是在查照尼克·勒梅的信息時，從圖書館禁書區匆匆逃離的過程中見到的。魔鏡混合了各種不同建築風格；外來科林斯式列，拱頂內部是多利安式列裝飾結模式，主要風格是哥特式。七個柳葉型小拱環鑲嵌其中(七這個數字經常出現在魔法世界)。上方的三角拱形裝飾著棕葉飾，指向兩個方尖碑。頂部符籙刻著：Erised stra ehru oyt ube cafru oyt on wohsi. 這不是一種魔法語言，而是這個句子的鏡像文（我所顯示的不是你的臉，而是你心裡的渴望。）n「這是一個神奇的組合。它不像其他的道具一樣，在系列的拍攝中被反覆被使用。只有厄里斯魔鏡是這樣被設計創造的。」

TOP RIGHT: In anmovie still from Harry Potter and the Sorcerer』s Stone, Harry holds thenSorcerer』s Stone, which shows up, to his surprise, in his pants pocket; TOPnLEFT: A close-up of the Sorcerer』s Stone; ABOVE: Professor Quirrel (IanHart)nsees his reflection in the Mirror of Erised; OPPOSITE: A props reference shotnof the Mirror of Erised.

nnnnnnnnnnnnnnnnnnnnnn右上：在《哈利·波特與魔法石》的電影中，哈利攥著魔法石，顯出驚訝的表情，令他吃驚的是魔法石突然出現在了他的褲子口袋裡；左上：魔法石的特寫；上圖：奎利納斯·奇洛（伊恩哈特）看到了他在厄里斯魔鏡的反射。下頁：厄里斯魔鏡的道具。I show not your face but your hearts desire. （我所顯示的不是你的臉，而是你心裡的渴望。）