"Even though it feels like live action, there were a lot of shots where Bob cut loose. Amazing shots. Impossible with live action actors."

那段裡面並沒有提到省錢的問題.



事實上人眼的觀感跟攝影機拍到的結果就不會一樣,
所以自然與否事實上並不取決於是否拍攝於現場燈光原來如何,
很多不是 3D 的電影最後的呈現出來的結果,
跟實際拍攝的光線是不同的,
例如 The Mummy 中一段在夜晚沙漠中的戲,
拍的時候是在白天拍的.

套一段美國自然界攝影大師的話.
『攝影機拍攝出來的照片是『脫離現實』的，它所表現的型態和比例都常常與我們的眼睛所看見的不相同。例如，我的作品一般都認為是『現實』的，但是實際上，在我的大部分作品中，從影調值的關係上講並不是如實地反映現實的。我採用種種控制方法來創作『相當於我所看到和感覺到』的形象，要是我做得成功的話，觀眾就會認為這是現實的本來面貌，並對之作出情感上和藝術上的反應。但可以說，沒有兩個人對周圍世界的看法是完全一樣的。』(ansel adams)



偶沒說一樣,
偶一早就說了心機掃描的呈現方式跟他的內容有關,
跟貝武夫是不同的,
而把被武夫的 3D 等等跟心機掃描扯在一起的人也不是偶.
偶單純是針對貝武夫的部分提出有 source 的 quote.



偶沒說新機掃描這樣拍是要省錢.

"After principal photography was finished, the film was transferred to Quicktime for a 15-month animation process: interpolated-rotoscoping. A Scanner Darkly was filmed digitally using the Panasonic AG-DVX100 and then animated with Rotoshop, a proprietary graphics editing program created by Bob Sabiston. Rotoshop uses an animation technique called interpolated rotoscope, which was previously used in Linklater's film Waking Life. Linklater discussed the ideas and inspiration behind his use of rotoscoping in a UK documentary about him in 2004, linking it to his personal experiences of lucid dreaming. Rotoscoping in traditional cel animation originally involved tracing over film frame-by-frame. This is similar in some respects to the rotoscope style of filmmaker Ralph Bakshi. Rotoshop animation, however, makes use of vector keyframes, and interpolates the in-between frames automatically.[4]

The animation phase was a trying process for Linklater who said, "I know how to make a movie, but I don't really know how to handle the animation."[1] He had gone the animation route because he felt that there was very little animation targeted for adults.[1] Each minute of animation required 500 hours of work with 50 animators working full-time every day." (http://en.wikipedia.org/wiki/A_Scanner_Darkly_(film))