搬运的同时自己也看，翻译机翻仅供参考，附有原文
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Demon Slayer: Infinity Castle’ Cinematographer Yûichi Terao On Developing The Visuals Of The Infinity Castle “To Withstand The Big Screen
With how popular the Demon Slayer anime and the previous film Demon Slayer: Mugen Train have been, it’s no surprise that the Demon Slayer: Infinity Castle was met with just as enthusiastic a reception. As the cinematographer for both the series and the films, Yûichi Terao worked to blend 2D characters with 3D environments and action to create dynamic sequences the series is known for.
Taking place after the events of the fourth season, Demon Slayer: Infinity Castle is the first film in a trilogy that shows the Demon Slayer Corps’ final assault on the Infinity Castle, where Muzan Kibutsuji and the remaining upper rank demons reside. For Terao, the film presented a chance to build 3D spaces with unique physics and apply them to 2D characters.
‘Demon Slayer Kimetsu No Yaiba Infinity Castle’
Koyoharu Gotoge/Shueisha, Aniplex, ufotable
DEADLINE: Compared to the previous film, Demon Slayer: Mugen Train, were there any big differences in your job as cinematographer?
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YÛICHI TERAO: One of the biggest differences is the background of the film. We had to make the entire Infinity Castle because there are so many scenes where everything but the characters were rendered entirely in 3D, which hasn’t happened before, and what we can do with the camera changes completely. As a stage, the Infinity Castle doesn’t really have an up or down and gravity can shift throughout the battle.
The added challenge to that is the characters in our film are all hand-drawn. If you have 3D backgrounds and 3D characters, all you have to do is place the camera and everything is going to work and look the way you want it to. But now we’re dealing with 3D backgrounds and environments, but 2D hand-drawn characters that are animated. So, we have to make sure the camera and the character’s animation match perfectly or they’ll slide around.
DEADLINE: Was it difficult to find the right camera movements within the Castle, since directions and gravity can feel meaningless?
TERAO: Speaking towards my domain, the digital side, I would say in 3D, we would build out a scene and start placing the cameras in different angles and through trial and error, we would find the most intense dynamic way we can show this. Part of that is because when you place a camera, there is probably stuff happening outside the frame that can come into the frame, so it’s always important that we would place the camera but look at it more holistically to see how is this going to change and what’s going to come in and out.
‘Demon Slayer Kimetsu No Yaiba —The Movie: Infinity Castle’
Koyoharu Gotoge/Shueisha, Aniplex, Ufotable
DEADLINE: What would you say are the biggest differences in your job from working on the film compared to the series?
TERAO: When working in 3D, the visualization process or the concept art portion really expands for the theatrical version, and that’s because in our pipeline oftentimes there were certain scenes where, until we finished the compositing and put all the pieces together, we wouldn’t know what the scene looks like. In the television version, that’s because until the very, very end, until I hear the music and all the other elements that are going to come together to create that drama, I can’t decide on how the visuals are going to come together. So, I’ll be making fine tuning and adjustments until the last second.
In the case of the theatrical version, however, because the scale of the project is much, much bigger, and we have a lot more animators working on this before we go into production, we have a lot more concept art. So, there’s a unified vision of what the final screen should look like as everyone goes to work. For example, throughout the film there’s a color script, which is kind of how the colors will shift throughout the movie and how that journey is going to carry the audience. While I’m concepting what the visuals are going to look like throughout the film, even in that process, I’ll have new ideas for how to light certain scenes. That’s a little different from the TV series version, and another difference is for the theatrical version, the Infinity Castle needs to be able to withstand the big screen. So, there’s a lot of detail throughout the screen, and there’s so many areas to look at that we didn’t want any area to feel like it hasn’t been fully developed.
DEADLINE: What were some of the more challenging scenes or sequences to get right?
TERAO: I would say one of the challenging scenes is Azaka versus Tanjiro. In this battle sequence, one of our key animators would design action in a way where, in the span of one frame of animation, these characters would move or leap 50 to 100 meters. And in these action sequences where the character will leap a hundred meters at time, they’ll smash the environment or affect the surroundings, but the environments are rendered in 3D. So, we have to effectively use real-life physics to simulate some of the destruction. When you’re looking at this through the viewport, it looks like absolute chaos in our working environment, but when the audience sees it on the screen through the camera, it needs to make sense. So here we are taking this 2D action that defies all physics as we know it and we have to get all of our physics simulation to sort of match that. How the rubble and everything just shatters on screen needs to match what these characters are doing, and that was a lot of fun to design.
机翻
《鬼灭之刃：无限城篇》摄影监督寺尾：打造适配大银幕的无限城视觉体系
《鬼灭之刃》系列动画及前作剧场版《无限列车篇》热度居高不下，续作《鬼灭之刃：无限城篇》自上映以来也收获了观众的热烈反响。寺尾作为该系列动画及剧场版的摄影监督，始终致力于将二维角色与三维场景、动作场面相融合，打造出了该系列标志性的动感镜头。
本作的故事承接第四季的剧情，作为三部曲系列的首部剧场版，它聚焦于鬼杀队向无惨及剩余上弦鬼盘踞的无限城发起的最终决战。对寺尾而言，这部作品为他提供了一个全新契机 —— 构建拥有独特物理规则的三维空间，并将其与二维角色进行结合创作。
《好莱坞报道者》：相较于前作《无限列车篇》，你担任摄影监督的工作有哪些显著变化？
寺尾：最大的差异在于影片的故事背景设定。这次我们需要构建出完整的无限城场景，片中大量镜头里，除角色外的所有元素都采用全 3D 制作，这在系列创作中尚属首次，也彻底改变了摄影运镜的创作逻辑。无限城作为一个特殊的战场，本身没有固定的上下方位，重力方向甚至会在战斗过程中随时发生改变。
而这一设定带来的额外挑战是，影片中的角色全部采用手绘二维动画的形式呈现。如果场景和角色都是 3D 制作，只需要调整好摄影机位置，就能呈现出预期的画面效果。但在本作中，我们要面对的是 3D 背景与二维手绘动画角色的融合，必须确保摄影机运动轨迹与角色的动画表现完全匹配，否则就会出现角色在画面中 “漂移” 的违和感。
《好莱坞报道者》：无限城的空间中方向与重力的概念都很模糊，在这样的场景里设计合适的镜头运动是不是很困难？
寺尾：从我的负责领域 —— 数字影像制作的角度来说，我们会先搭建好 3D 场景，然后尝试在不同角度架设虚拟摄影机，通过反复试错，找到最具冲击力和动感的呈现方式。这其中的关键在于，摄影机机位确定后，画面外往往还存在着即将进入镜头的元素，因此我们不能只局限于当前画面，而是要以全局视角考量镜头的运动逻辑，预判画面内容的增减变化。
《好莱坞报道者》：相较于制作电视动画，剧场版的摄影工作最大的不同之处是什么？
寺尾：在 3D 制作环节，剧场版的视觉呈现设计和概念图绘制阶段的工作量会大幅增加。这是因为在我们的制作流程中，有不少场景必须等到合成环节、将所有素材整合完毕后，才能确定最终的画面效果。
而在制作电视动画时，往往要等到最后阶段 —— 搭配好配乐等所有元素、烘托出完整的戏剧氛围后，我才能最终敲定视觉呈现的方案。所以在电视动画的制作中，我会一直进行细节的微调与修改，直到制作周期的最后一刻。
但剧场版的制作模式有所不同，由于项目规模要庞大得多，在正式进入制作阶段前，就有大量动画师参与筹备工作，同时我们也会绘制更多的概念设计图。这样一来，所有制作人员在投入工作前，就对最终呈现在银幕上的画面有了统一清晰的构想。
举个例子，整部剧场版都配备了完整的色彩脚本，这份脚本明确规划了影片全程的色彩变化脉络，以及如何通过色彩引导观众的情感动线。在构思全片视觉风格的过程中，我甚至会不断迸发新的灵感，去优化特定场景的光影设计。
这一点和电视动画的制作有明显区别。另外一个不同之处在于，剧场版里的无限城必须要 **“经得起大银幕的检验”**。因此画面的每一处都充满了丰富的细节，可供观众欣赏的视觉元素非常多，我们力求让画面的任何一个角落都显得精雕细琢，没有丝毫敷衍之感。
《好莱坞报道者》：在制作过程中，哪些场景或镜头的创作难度最高？
寺尾：我认为最难的场景之一是猗窝座与炭治郎的对决戏。在这段打斗镜头的创作中，我们的核心动画师设计了极具冲击力的动作 —— 角色在单帧动画的时间里，就能移动或跳跃 50 到 100 米的距离。
在这类角色动辄飞跃百米的动作场景中，角色的动作会破坏周遭的环境，但这些场景都是以 3D 技术构建的。因此我们必须运用真实的物理引擎，去模拟环境被破坏后的效果。在制作过程中，当我们在制作软件的视窗里查看这些画面时，场景效果看起来杂乱无章。但最终呈现在银幕上时，必须让观众觉得画面逻辑通顺、合理可信。
简单来说，我们要做的就是让三维物理模拟效果，去适配这些完全打破现实物理规则的二维动作设计。角色的动作必须与画面中碎石飞溅等环境破坏效果精准匹配，这个设计过程虽然充满挑战，但也带来了极大的创作乐趣。
来自：Bangumi