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These images of a swarm of locusts are from the BBC’s groundbreaking Planet Earth series in 2006.
这些密密麻麻的蝗虫视频来自BBC2006年拍摄的开创性系列纪录片——《地球脉动》。
And this footage comes from the brand new sequel to that program, this is Planet Earth 2.
这个片段则来自于该系列新出的续集《地球脉动2》。
You might notice the improvement in resolution from HD to Ultra-HD.
或许，你已经注意到，前后两部影片的分辨率从高清变成了超高清。
But another big change is that in Planet Earth 2, it’s not just the grasshoppers that are moving.
然而，两部影片之间还有另一个重要的变化：在《地球脉动2》里，移动的不仅是这些蝗虫，
The cameras are moving too.
还有摄影机。
These dynamic tracking shots are part of the reason why Planet Earth 2 is the BBC’s most cinematic wildlife film yet.
《地球脉动2》之所以能成为BBC目前最接近影院水平的野生动物纪录片，部分原因就在于有这些跟拍镜头。
We know when we go to the cinema now the camera’s never static.
大家都知道，现在，拍摄影院影片时摄影机从来都不是静止的，
It's always on the move, it’s always on a steadicam, it’s always on tracks, it’s always flying.
而是一直在移动，一直都在稳定器上，一直都在推轨上，或是一直都在飞的（航拍）。
And I think we wanted to reflect that in our approach.
我们希望把这些技术也用在我们的影片里。
Not just because we wanted to do homage to cinema
不仅仅是因为我们想向影院电影致敬，
but because the reason why cinema does that
也是因为影院电影之所以采用这些拍摄方式
is because as soon as you have that sense of moving camera, it feels more immersive, it feels more connected.
又是因为一旦观众能感知到摄像机的移动，影片就会让人感觉更有带入感、更真实。
Watching Planet Earth 2 feels a bit like watching a hollywood blockbuster.
看《地球脉动2》有点儿像是在看好莱坞大片。
You almost forget that these actors are hiding in remote corners of the globe
大家似乎已经不觉得这些演员（动物）不仅深藏在世界各个隐秘的角落，
and they do not follow scripts.
也没有什么剧本。
The BBC’s Natural History Unit in Bristol has been producing wildlife films for 60 years.
BBC位于布里斯托尔的自然历史团队拍摄野生动物影片已经有60年了。
Their frequent presenter, sir David Attenborough, is most recognizable voice of the genre.
该团队经常合作的旁白解说员David Attenborough爵士算是这类电影最具辨识度的声音了。
“This extraordinary creature is half blind, half deaf, and this is just about as fast as it can move”
“这种奇妙的精灵半聋半瞎，它活动的速度基本上就这样了.”
And through the decades, they’ve continually raised the bar for the look and feel of nature films, too.
其次，几十年来，该团队也一直在努力提升纪录片的清晰度和观影感受。
That evolution, as we’ll explore in this 3-part series, is in large part a story of technology.
这些进步，我们会用这个长达三期的视频来探索，很大程度上都与技术有关。
The first big breakthrough was lightweight, 16mm film cameras.
第一个重大突破是16mm的轻质电影摄影机。
If you remember, television began as a studio operation.
如果大家还记得的话，电视刚开始是在摄影棚里拍摄的。
It just had ginormous, you know, video cameras that were, you know, larger than a person.
那时候的摄影机特别大，比人都大。
Then in the film industry, of course, that was all movies,
后来有了电影，当然了，拍出来的都是电影
and again, they were very, very cumbersome.
用的摄影机还是非常笨重。
There simply weren't cameras that you could take into the jungles and deserts and so on.
也就是说，那时根本就没有可以带到丛林或是沙漠那种地方去的摄影机。
16mm cameras were portable, but they were controversial inside the BBC,
虽然16mm摄影机比较方便携带，但是这种摄影机在BBC内部还是很有争议的，
seen as amateur cameras, since 35mm film was the broadcast standard at the time.
因为那个年代35mm摄影机才是广播电视的标配，大家觉得16mm的只是业余的摄影机
But Attenborough insisted on the smaller cameras for his first trips overseas.
然而，在首批海外拍摄行程中，Attenborough坚持要用小型的摄影机。
And sure enough, he came back with footage of animals that had never before been filmed,
果然，他带回来了从未有人拍摄过的动物影片
like these Indri lemurs in Madagascar.
比如马达加斯加的大狐猴。
Fifty-six years later, filming the Indri means moving the camera around them and traveling with them through the trees,
56年后要再次拍摄这些狐猴就得让摄影机跟随它们左右，跟他们穿越丛林。
but the technology they used to do this has only come around in the past few years.
然而，他们用到的技术几年前才出现。
The issue is stabilization.
这种拍摄的关键问题就在于画面的稳定性。
You can see the shaking in these rare handheld shots from the BBC’s 1990 series The Trials of Life.
这是BBC1990年拍摄的《生命之源》系列纪录片，这些手持拍摄的画面会有抖动。
Aerial shots had the same problem.
航拍也有同样的问题。
And if they tried to zoom in, those bumps just got magnified.
放大之后，这种抖动也会被放大。
Producers could achieve cinematic motion with cranes, dollies, and sliders where it was practical to do so.
有条件的时候，制片商可以用起重机、移动式摄影车以及轨道来完成拍摄。
But for decades almost all the shots that weren’t underwater
然而，数十年来，几乎所有的水上拍摄，
involved a camera on a tripod-panning, tilting and zooming to follow the action.
无论是摇拍、俯仰拍还是变焦，都会用到三脚架。
There’s definitely no shortage of incredible animal behavior to film that way.
当然了，这种方法捕捉到的不乏有精彩的画面。
But it all changed around 2002.
然而，2002年上下，一切都变了。
That's when BBC switched from film to digital HD cameras for the Planet Earth series.
从那时起，BBC在拍摄《地球拍动》系列时，从胶卷拍摄转向了数字高清摄像机。
That switch gave them access to a tool called the Cineflex heligimbal,
这一改变让他们可以用到一种叫Cineflex heligimbal的工具，
a stabilization system for a helicopter-mounted camera.
这是一种用在安装在直升机上的摄像机上的稳定系统。
The heligimbal delivered the smooth sweeping scenic shots that defined the epic look of that series.
就是该系统输出的稳定且优美如画的全景式镜头成了该系列史诗级画面的标志性特征，
But it also let them film individual animals from a kilometer up in the sky,
该系统也让团队得以在距离动物一公里之外的空中拍摄个别动物，
and zoom way in to follow them without the noise of the chopper scaring them off.
通过变焦跟拍避免了直升机的噪音让这些动物受惊而逃，
And that changed the way they could capture behaviors like hunting.
该技术还改变了他们抓拍追捕猎物等场景的方式。
If you look at how people shot and edited hunting sequences,
看一看人们怎么拍摄和剪辑追捕猎物的片段，
because of the nature of where you had to put the camera,
因为要把相机放在那种环境下拍摄，
you could never get long continuous shots
就没有办法排出持久的连续性画面，
because you would you get a shot on a tripod, the wolf would run off,
因为等你把相机架在三角架上，狼已经跑了，
you had to jump up and get in the land rover, run across, put the tripod down and get another shot.
这样你就不得不赶紧扛起摄影机跳上越野车跟过去，再把三脚架架好，再接着拍
So it always had to be quite edited and quite constructed.
这样一来，拍出来的片子就是经过多次剪辑多次加工的。
