Mirror shots are notoriously difficult to film without the camera being seen.

如果没有看到相机，镜像镜头是出了名的难以拍摄。

But a convincing mirror shot doesn't necessarily need to use a real mirror.

但是令人信服的镜像不一定需要使用真实的镜子。

And many of the mirror shots were incredibly active.

许多镜像镜头都非常活跃。

Then, to capture it all, a Steadicam operator referred to on set as " the human motion control" had to shoot every mirrored shot the exact same way.

然后，为了捕捉这一切，一名在片场被称为“人体运动控制”的斯坦尼康操作员必须以完全相同的方式拍摄每一个镜像镜头。

Otherwise, filmmakers have to make sure to avoid the double's face, as seen in this mirror shot from 1995's " La Haine." And this technique is also prone to human error.

否则，电影制作人必须确保避开替身的脸，正如 1995 年的“La Haine” 中的这面镜子所见。 而且这种技术也容易出现人为错误。

Take these mirror shots from 2014's " Birdman." To perfectly match the background shots, they had to make sure the lighting was identical in each pass, and the artists had to be careful where they cut.

从 2014 年的“鸟人”中拍摄这些镜像。为了完美匹配背景镜头，他们必须确保每次通过时的照明都相同，并且艺术家必须小心剪裁的地方。

Innovative mirror shots stretch back to the beginning of film, like when Orson Welles captured the now-iconic fun-house-mirror sequence in 1947's " The Lady from Shanghai." Of the 80 mirrors in the sequence, some were actually two-way mirrors.

创新的镜子镜头可以追溯到电影的开头，就像奥森威尔斯在 1947 年的“上海贵妇人” 中捕捉现在标志性的游乐园镜子镜头一样。 在序列中的 80 面镜子中， 有些实际上是双向镜子。