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With their impeccable storytelling and emotionally complex characters, Pixar's come to dominate the animated feature industry.
凭借其无可挑剔的故事讲述和情感复杂的角色，皮克斯逐渐主导了动画行业。
And in spite of the child-oriented narratives, the moviemaking powerhouse imbues each of their movies with a certain maturity.
尽管有以儿童为导向的叙事，但这个电影制作巨头的每一部电影都有一定的成熟度。
But if you look past the narratives and unique characters, there's a lot at work.
但如果你不去看故事和独特的角色人物，你会发现有很多因素在起作用。
Masterfully lit textured and modeled landscapes helped to bring the world to Pixar's films to life.
巧妙的灯光和建模的景观帮助皮克斯电影生动地展现了这个世界。
And nowhere is this more true than the natural environments of the studio's 2015 movie The Good Dinosaur.
这一点在该工作室2015年的电影《恐龙当家》中的自然环境中表现得最为真实。
Movie's landscapes force your jaws to drop and at times seem to be indistinguishable from their real-life counterparts.
电影中的风景让你目瞪口呆，有时似乎与现实生活中的风景没有什么区别。
So today I want to dive into how Pixar has managed to create such beautiful computer-generated natural imagery and also interrogate why movies like The Good Dinosaur strive for realistic natural world when everything else is so stylized.
所以今天我想深入探讨皮克斯是如何成功地创造出如此美丽的计算机生成的自然图像的，同时也想问问像《恐龙当家》这样的电影在其他一切电影都是如此程式化的情况下还要努力追求真实的自然世界的原因。
In part, the photo realism of The Good Dinosaur's landscapes can be attributed to extensive location scouting and geological research.
在一定程度上，《恐龙当家》景观的照片逼真度可以归因于广泛的地点侦察和地质研究。
The movie director and some of the crews spend time exploring the wilderness areas in and around Jackson Wyoming in hopes of gaining inspiration for the movies imagery and tone.
这部电影的导演和一些工作人员花时间去探索怀俄明州杰克逊镇及其周围的荒野地区，希望为电影的意象和基调获取灵感。
And Wyoming's natural vistas clearly made their mark.
怀俄明州的自然景观显然留下了它们的印记。
In conjunction with this fieldwork set, supervisor David Mooney and his team adapted over 64,000 square miles of terrain data from the US Geological Survey in order to accurately reflect America's natural environment.
与此同时，为了准确反映美国的自然环境，监制大卫·穆尼和他的团队采用了美国地质调查局超过6.4万平方英里的地形数据。
Needless to say, a lot of time and technical expertise went into making a computer-generated world seem like a real one.
不用说，为了让计算机生成的世界看起来像一个真实的世界，他们投入了大量的时间和技术。
But the natural landscapes of the protagonists are low.
但主人公的自然景观会相对差点。
Traverses aren't just there to look pretty.
横穿画面不只是为了看起来漂亮。
They actually play a key role in shaping the emotional themes of the movie.
它们实际上在塑造电影的情感主题方面起到了关键作用。
Indeed the environment of The Good Dinosaur demonstrate the visual power of nature to imbue scenes with emotion.
事实上，《恐龙当家》的环境展示了大自然的视觉力量，使场景充满情感。
In speaking about the movie's environments, director of photography Sharon Callahan notes: "we want to support the film emotionally. It's more than just the light. It's how the weather and the colors and everything makes you feel."
在谈到这部电影的环境时，摄影导演莎伦·卡拉汉指出：“我们想从情感上支持这部电影。它不仅仅是光线，还有天气、颜色和一切给你带来的感觉。”
And you see this use of landscape to creat sentiment in shots like this.
你可以在这样的镜头中看到这种利用风景来营造情感的手法。
Here Arlo finally realizes just how far from home he really is.
阿洛最终意识到他离家有多远。
The helicopter asked shots position are low in such a way that he seems to be almost consumed by the surrounding trees and mountains.
直升机要求拍摄的位置很低，这样他似乎几乎被周围的树木和山脉所吞噬。
The vastness simultaneously becomes a beautiful image and a seemingly insurmountable obstacle.
广袤的大地在成为一幅美丽的画面的同时，也成为了一道看似不可逾越的障碍。
So just by seeing the endless expanse of trees we immediately empathize with our lows dire situation.
因此，只要看到一望无际的森林，我们立刻就会感同身受，感受到自己的低谷和可怕的处境。
The photo realism of The Good Dinosaur's landscape also lends a certain reality and urgency to our load's world, because we can almost reach out and touch the swaying trees or flowing water.
《恐龙当家》景观的照片逼真度也给我们的世界带来了一定的真实感和紧迫感，因为我们几乎可以伸手触摸到摇曳的树木或流动的水。
The movie gains of physicality, despite the stylized aesthetics of its characters.
尽管这部电影中的角色具有程式化的美学，但它还是增加了肉体感。
Callaghan reveals that Pixar one of the movie to be believable if Arlo fell and hit his knee, it would hurt.
卡拉汉透露，这部电影是令人信服的，如果阿洛摔倒了，撞到了膝盖，那会很疼。
That the water seems cold, that you can breathe the air and feel the wind.
水似乎很冷，你可以呼吸到空气，感受到风。
So Callaghan lends authenticity and tangibility to an otherwise supernatural world by placing the protagonist in photorealistic environments that echo ones, many of us have experienced.
所以卡拉汉把主人公放在与我们许多人都经历过的真实环境相呼应的影片环境中，从而为一个原本超自然的世界增添了真实性和可触性。
Thus when we see the computer-rendered image of Clawtooth Mountain, we know what that might feel like, because we've seen or experienced the Tetons in Wyoming.
因此，当我们看到计算机制作的爪牙峰图像时，我们就知道那可能是什么感觉，因为我们见过或体验过怀俄明州的大提顿峰。
Or when we watch Arlo and his friends wrangle, a herd of Longhorns, we're reminded of imagery of Buffalo roaming the Midwestern Plains and can immediately conjure up the smell of dust in the air or the sight of a wide-open sky.
或者，当我们看到阿洛和他的朋友们争吵，一群长角牛时，我们会想起水牛在中西部平原漫步的画面，立刻就会联想自己嗅到空气中的灰尘气味或看到广阔的天空。
Ultimately The Good Dinosaur's groundbreaking natural elements reveal a common theme among movies that invest time in highlighting the grandeur of the protagonists surroundings.
最终，《恐龙当家》开创性的自然元素揭示了电影的一个共同主题，即投入时间突出主角周围的宏伟环境。
It not only shows that nature imagery can at times capture the essence of emotions more effectively than any dialogue ever could, but it also lends a realism to an otherwise unreal experience.
它不仅表明，自然意象有时可以比任何对话更有效地捕捉情感的本质，而且它还为原本不真实的体验增添了现实主义色彩。
