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Compare that to the wolf hunt in Planet Earth.
把这个跟《地球脉动》里狼捕食的场景相比较。
Once that wolf started hunting you could just fly along, keep your distance
狼群开始捕食，我们的摄影机就可以一直跟拍，只需跟狼群保持一定的距离
and in one shot, you can just see how that drama played out.
这场拉锯战是如何展开的，一个镜头就可以呈现出来。
And you just do not know what's gonna happen: is it gonna stumble, is gonna catch it,
你完全不知道会发生什么：狼会失手吗？会抓到猎物吗？
is the little caribou gonna run away, is it gonna stumble?
小驯鹿能成功逃走吗？小鹿会失手吗？
It was so gripping because it was unmediated.
因为画面没有任何剪辑，所以显得格外扣人心弦。
The Cineflex system required digital cameras
使用Cineflex系统需要配备数码摄影机
because it separates the lens from the camera’s data storage, which at the time was digital video cassette tape.
因为数码摄影机的镜头和数据存储是分开的，而当时的数据存储用的是数字录影带。
You just can’t do that with film.
用胶片是没办法实现镜头和数据存储分开的功能的。
The 400mm zoom lens is mounted inside a series of rings called a gimbal,
把400mm的变焦镜头安装多个万向节里，
that isolate it from the movement of the helicopter with the help of small sensors called gyroscopes.
在小型传感器，也就是所谓的陀螺仪的帮助下，使镜头免受直升机运动的影响。
Those sensors detect changes in orientation so that motors can correct for those movements almost immediately.
这些传感器能检测出方向的变化，以便电机能及时提供运动矫正，从而实现画面稳定。
So the camera operator can control the lens with a joystick inside the helicopter and zoom in without losing any stability.
摄影师就用直升机内置的控制单元来控制镜头，放大时也不会影响画面的稳定性。
Ten years later, that stabilization technology comes in smaller, much more affordable forms.
《地球脉动》播出十年后，摄影机的稳定器体型更小了，价格也变得亲民得多。
It’s embedded in drones, and built into rigs that you can hold in your hands.
不仅可以安装在无人机上，也可以放到手持拍摄套件上。
And that technological change aligned perfectly with what the BBC wanted to do with Planet Earth 2.
这一技术进步和BBC拍《地球脉动2》想呈现的效果不谋而合。
We wanted to push the proximity, getting close to the animals
我们想把拍摄的距离拉得更近，希望能够接近那些动物，
because we wanted to see the world's landscapes, our planet, through the animals' eyes.
因为我们想呈现给大家的是动物视角下的世界，动物眼中的地球。
Gyro-stabilized drones provided more intimate aerials,
靠陀螺仪实现稳定的无人机能更近距离地航拍，
and handheld shots showed what it feels like to really move through these habitats.
手持拍摄则能真实地呈现动物们在这类栖息地上的活动情况。
I think we've gone for a much more emotional narrative in these.
我觉得，我们是带着丰富的感情在讲述这些故事。
It's much more trying to put you in their world and what would that animal be feeling.
我们更多的是努力带大家进入动物的世界，带大家了解动物的感受。
Trying not to be anthropomorphic about it,
我们尽可能地减少了人为因素的干扰，
but just sort of taking the viewer on a journey where they can start to relate to how that animal might work in that world.
我们只是想带观众开启一段探索之旅，让他们亲自了解动物世界的真实情况。
It's a slightly warmer, closer take on Planet Earth.
在《地球脉动》的基础上，《地球脉动2》多了些许温情，些许亲密。
Hollywood filmmakers have been able to get stabilized walking shots for decades using a Steadicam.
数十年来，好莱坞电影制作人一直是靠着摄影机稳定器(Steadicam)完成稳定的手持拍摄任务的。
That’s a bigger, more complicated rig that stabilizes the camera with balanced weights and a spring-loaded arm attached to a vest that the operator wears.
然而，这种稳定器体型庞大、也更复杂，拍摄稳定画面靠的是它的平衡支柱和可以绑在摄影师背心上的一个伸缩臂。
Those long walk-and-talk shots that ER and The West Wing made famous, those are all Steadicam shots.
被《急诊室》和《白宫风云》带火的这种边走边聊的长距离拍摄都是用这种稳定器完成的。
The producers of Planet Earth 2 used Steadicams for a few sequences, like this footage of a serval cat hunting in South Africa.
《地球脉动2》的制片人在拍摄部分片段时也用了这种稳定器，比如这个南非薮猫捕食的镜头。
But it most cases Steadicams have been too cumbersome, and inflexible or expensive for shooting in the wild.
但这种稳定器一般都太过笨重、太过昂贵或是不够灵活，所以不适合野外拍摄。
Instead, the Planet Earth 2 team relied heavily on smaller handheld stabilizers.
相反，《地球脉动2》的拍摄很大程度上都是靠比较稳定的小型手持摄影机完成的。
Like the heligimbal, these rigs have gyroscopes that measure orientation along 3 axes and motors that counteract those movements.
就拿heligimbal来说，这种摄影机有三个陀螺仪，可测量方位且位于不同轴上，还有能够矫正运动的电机。
These rigs are so small and versatile that they can often replace several other tools like sliders and cranes.
这些装置不仅小巧,而且功能齐全，一般可以替代轨道和摇臂等多种工具。
On some of the trips, like the trip to film the penguins, we took a crane with us, we talked about taking sliders.
在拍摄部分素材时，比如这个企鹅的素材，我们带的是摇臂，我们也讨论过带轨道拍，
The reality is it didn't come out of the box.
只是最后没有达成。
Everything was done with a cameraman holding a camera on a gimbal.
所有的拍摄都是摄像师扛着带防抖万向节的摄影机完成的。
In an environment like that, just to be able to move around quite freely,
在那种环境下，我们不仅能够自由地走动，
have a camera that you can put down at penguin level
能够水平拍摄企鹅，
but be able to pick up and get above the penguins was just so useful.
还可以俯拍，能做到这些对我们来说已经相当不错了。
Handheld stabilizers are most effective when you can get close to the animal,
能够近距离拍摄动物的时候，带有手持稳定器的摄影机本来是最理想的，
but a lot of animals don’t like that, so they’ll never replace tripods.
但很多动物都不喜欢这种摄影机，所以基本上还是得靠三脚架。
Rather they add to the rapidly growing arsenal of tools becoming available, not just to pros, but to everyone, to be able to get shots that look like hollywood blockbusters.
现在不断有能够帮助专业人乃至普通人拍出好莱坞大片水平的影片的摄影工具涌现出来，确切地说，稳定的手持摄影机就是一例。
But ultimately, what makes a movie great isn’t just the pictures, it’s the story.
然而，说到底，一部影片是否出色，靠的不仅仅是画质，影片的内涵也很重要。
The Natural History Unit’s style has shifted over time from more educational to more cinematic, but they haven’t forgotten that.
随着时间的推移，BBC自然历史团队的风格已经从教育型纪录片转向了影院级别的纪录片，但他们并没有忘记这一点。
The imagery, of course, is that first thing that catches the eye, catches the attention
画质当然是博取观众眼球、吸引观众注意力的首要因素，
but without the revelations the storytelling brings, in the end, it palls quite quickly.
但如果我们讲述的故事不够深刻，最终我们的影片将不过是过眼烟云。
So no technology will ever replace the ability to be able to tell a story that grips and fascinates and emotionally connects with an audience.
所以，我们要讲述能抓住观众的心，能吸引观众并且让观众产生情感共鸣的故事，这种能力是任何技术都取代不了的。
Thank you for watching! You can find Planet Earth 2 on BBC America. It will be airing Saturdays through March 25th.
感谢大家收看本期视频，从3月25日起，《地球脉动2》将会在BBC美国频道播出，播出时间是周六，大家可以去看看。
You can also find tons of clips from their archive on BBC Earth’s mobile app.
你也可以下载BBC地球的手机客户端，里面有超多好玩的剪辑。
It’s called Story of Life and it’s actually where I found a lot of the clips that I used in this video. And it’s free! So check it out.
客户端的名字叫“生命的故事”，本期视频的很多素材就是在这个客户端里找的。还是免费的，大家去看看吧。
