泰坦尼克号

风格提示词

一张工程蓝图变成偏写实的 3D。蓝图只占开头 1–2 秒、不超过全片 15%：普鲁士蓝晒图纸（#12306B 到 #244D8F）上的白色棱线，线宽约画面 1/800，被挡的线画虚线，人物和地形用等高线；曝光不匀，有折痕、手写标注和图签。滑动变焦让立面图立成透视，再从主角往外显出全彩，显影边是带暖光的软边，幽灵线一秒内淡掉。之后是风格主体：黄金时刻的真实 3D，低太阳，暖琥珀高光 #F2B860，深暖阴影 #3A2530，水面阳光碎金，薄雾，浅景深，轻泛光，细颗粒；再到蓝调时刻和夜晚，暖灯亮起。一个不间断运镜：推近、立起在蓝图段，之后低掠主角、升起环绕、下降平分余下时间。对标摄影师 Russell Carpenter（《泰坦尼克号》，1997）。避免：在图上停太久；硬切；平而干净的 CG 光。

English:

A blueprint turning into photoreal-leaning 3D. Opening only (1–2 s, under 15% of the film): white edge lines about 1/800 of frame width on Prussian-blue paper (#12306B to #244D8F), hidden lines dashed, figures and terrain as contours, uneven exposure, folds, lettering. A dolly-zoom stands the elevation up into perspective; colour spreads from the hero along a soft warm edge, ghost lines fading within a second. Then the signature look: golden-hour real 3D, low sun, amber highlights #F2B860, warm shadows #3A2530, sun glitter on water, soft mist, shallow focus, gentle bloom, fine grain; then blue hour and night, warm lights coming on. One unbroken move: push in and stand up (blueprint), then, in equal shares, drift low past the hero, rise and orbit, descend. Reference: cinematographer Russell Carpenter (Titanic, 1997). Avoid: lingering on the drawing; hard cuts; flat CG light.

补充

技法关键词

船厂总布置蓝图,按真实尺寸建模的 three.js 船,Russell Carpenter 的色彩,一镜到底

导演说明

Clawd 扮杰克，围一条藏青羊毛围巾。16 拍一个镜头不切：1.5 秒蓝图展开完，2.4 秒显影完，Clawd 在罗丝身旁张开双臂；从夕阳到夜晚是运镜中的延时，冰山在最后两秒出现，Clawd 转身报警落在最后几拍。

成片里的分镜

1. 一镜到底：在总布置图上推向船头；线稿立起成透视，从两人身上向外显影成夕阳；低机位贴近罗丝的逆光剪影，Clawd 在她身旁张开双臂；镜头升起、绕过左舷船头，太阳沉下，船灯亮起；越过艏楼进入夜色，罗丝从栏杆上下来；再降到 Clawd 身后，冰山从海雾里出来，Clawd 转身举臂报警。（6.7s）

参考出处

James Cameron, Titanic (1997),Russell Carpenter (cinematography),Titanic (1997) poster,Harland & Wolff general-arrangement drawings