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This is how it worked — letting cameras move on the fly, without relighting.
下面是工作原理 - 让摄像机在飞行中持续移动，不要停。
Cameramen coordinated at all times using headsets and they were connected to the control room.
摄影师自始至终用耳机进行协调，并且连接到控制室。
To light this set up, Freund used an overhead grid of lights like these
为了照亮整个场景，弗洛伊德在空中安了这样一个网格灯，
and even put floor lights on the bottom of each camera to flatter actors’ faces.
甚至还在每个摄像机的底部安了一个地板灯让演员脸部的光线更均匀。
This? This is not like I Love Lucy.
这个？这可不像《我爱露西》的拍摄手法。
He also placed microphones around the set so they wouldn’t get in the way.
他还将麦克风放到了片场的边缘，这样就不会带来麻烦。
Lucy and Ethel could bounce around the living room without needing to stop taping —or stop the laughter.
露西和埃塞尔可以在客厅四处走动，而无需停止录音 - 或停止拍摄。
All of this let them keep a strict shooting schedule with minimum reshoots after the show.
这些调整让摄制组能够严格按照拍摄日程拍摄，并且很少需要重拍。
For Freund, all this visual work was in service of making one sound possible.
对于弗洛伊德而言，所有这些视觉工作都是为了使一个声音成为可能。
This is still kind of how it’s done today.
即便是今天的情景喜剧用的还是这种拍摄手法。
Freund’s tricks established a template for the three camera sitcom that’s still in use today.
弗氏的技巧为今天仍在使用的三位摄像机系统情景喜剧拍摄法创立了一个模板。
As you can see it in “Vox” - the first workplace sitcom where people actually work.
我们的“Vox”，首部真的有人在工作的职场情景喜剧就是如此。
Anyway, as you can see, there’s no need to relight Dean as he crosses the room in this scene,
不管怎样，正如大家看到的那样，Dean进入房间的这个镜头是不需要重新开始拍摄的，
only to be ignored by Ashley, because she's too busy working.
只不过他被Ashley忽略了，因为她实在是太忙了。
Freund’s techniques did have drawbacks,
弗氏的技术也确实有一些不足，
some of those drawbacks are visible in today’s sitcoms,
其中有些不足是我们今天的情境喜剧里依然存在的，
and some are specific to the time in which he worked.
另外一些则只有他那个时代的作品中才有。
He had to put darker makeup on his actors
比如，他需要给演员画浓妆，
so they wouldn’t be blown out by the lights - and you can see it on Lucy and Ethel here.
这样才不会曝光过度 - 这个镜头里的露西和埃塞尔就是例子。
In this scene, they were probably wearing pastel clothing as well, because nothing could be too bright —
而在这个场景中，她们很可能穿的是色彩比较柔和的衣服，因为所有的颜色都不可以太亮，
film processing gave everything higher contrast than normal.
电影处理会让一切的对比都变得更加明显。
Even today the three camera sitcom has a less adventurous look —
即使在今天，三位摄像机系统情景喜剧的外观也并没有很大突破——
as you can see as AJ and Ashley go through all their unread emails.
比如，这个镜头里AJ和Ashley就是在浏览未读邮件而已。
It affects focus, too - look at the Big Bang Theory next to its prequel, Young Sheldon.
对焦也受到了影响 - 我们来看《生活大爆炸》和它的先行片《少年谢尔顿》。
Big Bang Theory, the 3 camera sitcom, looks pretty much like I Love Lucy.
《生活大爆炸》这部三位摄像机系统情景喜剧看起来就和《我爱露西》很像。
There are very few, or faint shadows, everything’s in focus, and the camera angles are familiar.
里面很少会有阴影，有也很微弱，所有的东西都有对焦，拍摄的角度也很熟悉。
Young Sheldon is single camera, like a movie,
《少年谢尔顿》则是单镜头拍摄的，就跟电影一样，
and that allows it to have light and shadow and a gorgeous blurred background.
因此才有了光影和模糊得非常到位的背景。
But Freund’s innovation did help a live audience — and us — see Friends, and Seinfeld, and Frasier.
但弗氏的创新确实很好地提升了现场观众 - 还有电视机前的我们 - 看《老友记》，《宋飞传》和《欢乐一家亲》的体验。
As he wrote in 1953: “To have had the opportunity to play a part in the success of the I Love Lucy show,
正如他1953年写的那样：“有机会为《我爱露西》这部
which is now the No.1 rated Television show in the nation
目前排名全国第一的电视剧的成功尽一份力
assures me the efforts to overcome the handicaps have not been in vain.”
让我确信，克服障碍的努力没有白费。”
Karl Freund was a genius.
卡尔·弗洛伊德是个天才。
And sometimes even genius has a sense of humor.
有时天才也是有幽默感的。
