{"id":17538,"date":"2023-07-10T07:12:28","date_gmt":"2023-07-10T07:12:28","guid":{"rendered":"https:\/\/filmvilnius.com\/?p=17538"},"modified":"2026-04-28T09:31:49","modified_gmt":"2026-04-28T07:31:49","slug":"skaitmeninio-vaizdo-technikas-a-jablonskis-apie-mazai-zinoma-profesija-be-kurios-darbas-kino-aiksteleje-sustotu","status":"publish","type":"post","link":"https:\/\/filmvilnius.com\/lt\/skaitmeninio-vaizdo-technikas-a-jablonskis-apie-mazai-zinoma-profesija-be-kurios-darbas-kino-aiksteleje-sustotu\/","title":{"rendered":"Skaitmeninio vaizdo technikas A. Jablonskis \u2013 apie ma\u017eai \u017einom\u0105 profesij\u0105, be kurios darbas kino aik\u0161tel\u0117je sustot\u0173"},"content":{"rendered":"

Ar \u017einote, kieno rankose kino aik\u0161tel\u0117je atsiduria visa nufilmuota med\u017eiaga? Jos apdorojimas, pirmin\u0117 spalv\u0173 korekcija, tiesioginis bendravimas su operatoriumi <\/span>\u2013<\/span> tik dalis skaitmeninio vaizdo techniko u\u017eduo\u010di\u0173. Apie vien\u0105 misti\u0161kiausi\u0173 ir ma\u017eiausiai pa\u017eint\u0173 profesij\u0173, be kuri\u0173 darbas kino aik\u0161tel\u0117je papras\u010diausiai sustot\u0173, kalbame su \u0161ioje srityje jau ne vienerius metus dirban\u010diu Adomu Jablonskiu, prisid\u0117jusiu prie toki\u0173 projekt\u0173 kaip <\/span>\u201e<\/span>Grojara\u0161tis<\/span>\u201c<\/span>, <\/span>\u201e<\/span>Klarkas<\/span>\u201c<\/span>, <\/span>\u201e<\/span>Rojus<\/span>\u201c<\/span>, <\/span>\u201e<\/span>Ilgo metro filmas apie gyvenim\u0105<\/span>\u201c<\/span>, <\/span>\u201e<\/span>L\u0117ja<\/span>\u201c<\/span>, <\/span>\u201e<\/span>Dainos lapei<\/span>\u201c<\/span>.\u00a0 Anot jo, \u0161iame darbe nuolat reikia mokytis, o\u00a0 jei kino aik\u0161tel\u0117je nebelieka i\u0161\u0161\u016bki\u0173, tikriausiai, metas keisti profesij\u0105. Apie skaitmeninio vaizdo techniko darb\u0105 ir \u012fsimintiniausius projektus <\/span>\u2013<\/span> pokalbyje su A. Jablonskiu.<\/span><\/p>\n

\u2013 <\/b>Prad\u0117kime nuo prad\u017ei\u0173 <\/b>\u2013<\/b> kas jus atved\u0117 \u012f kino aik\u0161tel\u0119?<\/b><\/p>\n

\u2013 <\/span>Pasakojant trumpai, viskas prasid\u0117jo nuo fotografijos. Dirbau su \u017eurnalistu Romu Dabruku, kuris keliaudavo \u012f kar\u0161tuosius pasaulio ta\u0161kus. Su\u017einojau, kaip ruo\u0161iami reporta\u017eai, bendradarbiavome su tokiomis naujien\u0173 agent\u016bromis kaip BBC, CNN, Reuters. Per vien\u0105 i\u0161 projekt\u0173 susipa\u017einau su operatoriumi Algimantu Mikut\u0117nu, re\u017eisiere Inesa Kurklietyte, monta\u017eo re\u017eisieriumi Ri\u010dardu Mata\u010diumi, kurie mane v\u0117liau ir atved\u0117 \u012f kino aik\u0161tel\u0119, dav\u0117 vis\u0105 pagrind\u0105.<\/span><\/p>\n

Daugyb\u0117 jaun\u0173 \u017emoni\u0173 baig\u0119 kino mokyklas turi dideles ambicijas, nori tapti operatoriais, kino aik\u0161tel\u0117je u\u017eimti pirmaujan\u010dias pozicijas, bet tame kelyje gali save atrasti ir kitose srityse. \u0160iandien su tam tikrais projektais dirbu kaip operatorius, o did\u017eiosiose kino aik\u0161tel\u0117se esu <\/span>DIT\u2019as <\/span><\/i>\u2013<\/span> skaitmeninio vaizdo technikas.\u00a0<\/span><\/p>\n

\u2013 <\/span>Tikriausiai, nesuklysiu sakydama, kad daug kas apie \u0161i\u0105 specialyb\u0119 girdi pirm\u0105j\u012f kart\u0105. Kokia skaitmeninio vaizdo techniko rol\u0117 filmo k\u016brimo procese?<\/b><\/p>\n

\u2013 <\/span>DIT\u2019o <\/span><\/i>(ang. <\/span>digital imaging technician<\/span><\/i>) darbas apima daugyb\u0119 u\u017eduo\u010di\u0173 <\/span>\u2013<\/span> nuo pasiruo\u0161imo filmavimams, kameros nustatym\u0173 parinkimo iki atsargini\u0173 filmavimo med\u017eiagos kopij\u0173 darymo filmavimo aik\u0161tel\u0117je, med\u017eiagos apdorojimo bei pirmin\u0117s spalv\u0173 korekcijos. Skaitmeninio vaizdo technikas tiesiogiai dirba su operatoriumi ir priklauso kameros departamentui. Dar prie\u0161 prasidedant filmavimams aptariame, su kokiais formatais bus dirbama, ko pagrindinis operatorius nori, koki\u0105 \u012frang\u0105 naudosime tam, kad be trikd\u017ei\u0173 gal\u0117tum\u0117m apdoroti nekompresuot\u0105 (RAW) vaizdo med\u017eiag\u0105, planuojame ir apskai\u010diuojame kiek projekto med\u017eiaga u\u017eims vietos kietuosiuose diskuose. Patvirtinus biud\u017eet\u0105 nuomojama \u012franga, o tuomet prasideda darbas aik\u0161tel\u0117je. Filmavimo aik\u0161tel\u0117je reikia nuolat steb\u0117ti situacij\u0105, pakeisti kameros atminties korteles, <\/span>nukrauti<\/span><\/i> duomenis \u012f kietuosius diskus (daromos ma\u017eiausiai 3 atsargin\u0117s kopijos). Padarius atsargines kopijas, vykdoma vaizdo kokyb\u0117s kontrol\u0117 (<\/span>quality check<\/span><\/i>), tikrinama ar n\u0117ra elektroninio broko filmuotoje med\u017eiagoje, nereikaling\u0173 daikt\u0173 kadre ar komandos nari\u0173 atspind\u017eiuose, taip pat atliekamos pirmin\u0117s spalv\u0173 korekcijos, filmavimo scen\u0173 nuotraukomis pasidalinama su operatoriumi, kuris pateikia pastab\u0173 ir gairi\u0173, pagal kurias atitinkamai atliekami pakeitimai.<\/span><\/p>\n

DIT\u2019o<\/em> darbas svarbus visiems departamentams. Pavyzd\u017eiui, darome dienos kadr\u0173 suma\u017eintas versijas (<\/span>dailies<\/span><\/i>), prie kuri\u0173 suteikiama prieiga komandos nariams <\/span>\u2013<\/span> nuo grimo departamento iki kostium\u0173 ir pan. Tai reikalinga filmo ar serialo scen\u0173 t\u0119stinumui susekti, kad komanda gal\u0117t\u0173 per\u017ei\u016br\u0117ti kiekvienos scenos detales, v\u0117liau jas atkurti filmuojant kitomis dienomis. Taip pat paruo\u0161iame med\u017eiag\u0105 ir monta\u017eui, surenkame vis\u0105 reikaling\u0105 informacij\u0105 (scena, kadras, dublis, kameros naudoti nustatymai ir pan.), sinchronizuojame gars\u0105 su vaizdu ir tai perduodame monta\u017eui.<\/span><\/p>\n

\"\"
Asmeninio archyvo nuotr.<\/figcaption><\/figure>\n

\u2013 <\/span>Su kokia technika dirba DIT\u2019ai<\/em>?<\/b><\/p>\n

\u2013 <\/span>Tam, kad geb\u0117t\u0173 apdoroti duomenis, DIT\u2019o<\/em> darbui reikia galing\u0173 kompiuteri\u0173 ir specialios programin\u0117s \u012frangos, spalv\u0173 korekcijai <\/span>\u2013<\/span> tinkamo monitoriaus, kuris b\u016bt\u0173 kalibruotas, bei atitikt\u0173 kino industrijos keliamus standartus. Yra kamer\u0173, kuriomis nufilmuota viena valanda u\u017eima du terabaitus, tod\u0117l duomen\u0173 saugojimui dirbame su disk\u0173 masyvais, kuriuose galima saugoti vis\u0105 film\u0105.\u00a0<\/span><\/p>\n

\u2013 <\/span>Atrodo, kad tai <\/b>\u2013<\/span> labai daug atsakomyb\u0117s turintis darbas.\u00a0<\/b><\/p>\n

\u2013 <\/span>Skaitmeninio vaizdo techniko darbas <\/span>\u2013<\/span> \u017emon\u0117ms, kurie moka grie\u017etai laikytis savo nustatytos tvarkos, nebijo atsakomyb\u0117s. \u010cia negali bla\u0161kytis, nes DIT\u2019as<\/em> saugo vis\u0105 filmavimo med\u017eiag\u0105, o viena nufilmuota scena gali kainuoti keliasde\u0161imt t\u016bkstan\u010di\u0173 eur\u0173. Tad saugomos med\u017eiagos vert\u0117 <\/span>\u2013 <\/span>did\u017eiul\u0117 ir jos vert\u0117 did\u0117ja su kiekviena diena. Jei i\u0161 kameros i\u0161\u0117mei kortel\u0119 <\/span>\u2013 <\/span>neisi pietauti, darytis kavos ar kalb\u0117tis su kolegomis. Ties\u0105 sakant, visus t\u0105 akimirk\u0105 gali pasi\u0173sti velniop, nes kol nepasidarei atsargini\u0173 kopij\u0173, bla\u0161kydamasis ir nuklyd\u0119s gali labai greitai padaryti kritin\u0119 klaid\u0105 <\/span>\u2013<\/span> prarasti filmuot\u0105 med\u017eiag\u0105.<\/span><\/p>\n

\u2013 <\/span>Ar pasitaik\u0117 atvej\u0173, kai tos kritin\u0117s klaidos i\u0161vengti nepavyko?<\/b><\/p>\n

\u2013 <\/span>Kartais su kolegomis juokiam\u0117s, kad nesi tikras DIT\u2019as<\/em>, jei nesi padar\u0119s klaidos.\u00a0<\/span><\/p>\n

\u2013 <\/span>Kuo jus darbas kino aik\u0161tel\u0117je labiausiai \u017eavi, traukia?<\/b><\/p>\n

\u2013 <\/span>Kino aik\u0161tel\u0117 mane \u017eavi tuo, kad \u010dia egzistuoja grie\u017eta tvarka, ai\u0161ku, kas u\u017e k\u0105 yra atsakingas, n\u0117ra chaoti\u0161ko bla\u0161kymosi. Man taip pat svarbi m\u016bs\u0173 kino \u0161eima. Lietuva <\/span>\u2013<\/span> ma\u017eas kra\u0161tas, ma\u017ea \u0161alis, tad dirban\u010di\u0173 kino industrijoje n\u0117ra tiek daug, visi vieni kitus gerai pa\u017e\u012fstame, smagu kolegas sutikti naujuose projektuose.<\/span><\/p>\n

\u2013 <\/span>\u201e<\/b>Grojara\u0161tis<\/b>\u201c<\/b>, <\/b>\u201e<\/b>Klarkas<\/b>\u201c<\/b>, <\/b>\u201e<\/b>Rojus<\/b>\u201c<\/b>, <\/b>\u201e<\/b>Ilgo metro filmas apie gyvenim\u0105<\/b>\u201c<\/b>, <\/b>\u201e<\/b>L\u0117ja<\/b>\u201c<\/b>, <\/b>\u201e<\/b>Dainos lapei<\/b>\u201c<\/b> \u2013<\/span> film\u0173 ir TV serial\u0173, prie kuri\u0173 dirbote, s\u0105ra\u0161as labai ilgas. Kurie projektai jums pa\u010diam buvo \u012fsimintiniausi, svarbiausi?\u00a0<\/b><\/p>\n

\u2013 <\/span>\u012edom\u016bs visi projektai, kuriuose turi galimyb\u0119 glaud\u017eiai dirbti su operatoriumi bei prie projekto prisid\u0117ti k\u016brybi\u0161kai. Manau, kad ne visi kino operatoriai pilnai \u201ei\u0161naudoja\u201c skaitmeninio vaizdo technikus <\/span>\u2013 <\/span>mes tikrai galime pad\u0117ti \u012fgyvendinti j\u0173 sumanymus.<\/span><\/p>\n

Vienas i\u0161 daugiausiai i\u0161\u0161\u016bki\u0173 k\u0117lusi\u0173 projekt\u0173 <\/span>\u2013 <\/span>\u201eNetfilx\u201c TV serialas \u201eKlarkas\u201c. 75 filmavimo dienos, trys \u0161alys <\/span>\u2013 <\/span>Kroatija, Lietuva ir \u0160vedija, trys nuolat filmuojan\u010dios kameros ir ilgos darbo valandos. Ne ma\u017eiau \u012fdomus buvo ir \u201eGrojara\u0161tis\u201c <\/span>\u2013<\/span> prad\u017eioje dirbome su patyrusiu operatoriumi, kuris buvo labiau susikoncentrav\u0119s \u012f darb\u0105 aik\u0161tel\u0117je, o v\u0117liau darb\u0105 per\u0117m\u0117 kitas operatorius, kuris kiekvien\u0105 dien\u0105 pateikdavo nauj\u0173 u\u017eduo\u010di\u0173, keit\u0117si pasteb\u0117jimais. Pamenu, kad pamainos pral\u0117kdavo labai greitai.\u00a0 \u201eRojus\u201c <\/span>\u2013<\/span> dar vienas labai didelis projektas, kurio metu operatorius m\u016bs\u0173 departamente praleisdavo bent kelias valandas per dien\u0105 <\/span>\u2013 <\/span>kartu dirbome<\/span> prie pirmin\u0117s spalv\u0173 korekcijos.\u00a0<\/span><\/p>\n

I\u0161 kiekvieno operatoriaus, jo stiliaus, darbo princip\u0173 daug i\u0161moksti, jei prisidedi prie spalv\u0173 korekcijos, prisidedi ir prie k\u016brybos, padedi i\u0161spr\u0119sti tam tikras problemas. Skaitmeninio vaizdo techniko darbe visada mokaisi.\u00a0<\/span><\/p>\n

\u2013 <\/span>Ar skiriasi darbo specifika, stilius, dirbant prie lietuvi\u0161k\u0173 ir prie u\u017esienio projekt\u0173?<\/b><\/p>\n

\u2013 <\/span>Darbo stilius lietuvi\u0161koje ar tarptautin\u0117je kino aik\u0161tel\u0117je nesiskiria <\/span>\u2013<\/span> visi laikosi auk\u0161\u010diausio profesionalumo lygio. Biud\u017eetas yra tai, kas kartais apriboja tavo galimybes, labiausiai tai lie\u010dia \u012frang\u0105, nes ji praple\u010dia\u00a0 galimybes. Tikiuosi ateityje lietuvi\u0161ko kino biud\u017eetai augs tiek, kad kino k\u016br\u0117jai gal\u0117s \u012fgyvendinti id\u0117jas neaukodami savo sumanym\u0173.<\/span><\/p>\n

\u2013 <\/span>Pabaigai <\/b>\u2013<\/span> ar yra projekt\u0173, galb\u016bt tam tikro \u017eanro film\u0173 ar serial\u0173, prie kuri\u0173 jums b\u016bt\u0173 \u012fdomu dirbti ateityje?<\/b><\/p>\n

\u2013 <\/span>Viskas \u012fdomu <\/span>\u2013<\/span> n\u0117 vienas projektas n\u0117ra toks pat, svarbu, kad b\u016bt\u0173 kur gal\u0117tum save i\u0161m\u0117ginti. Kiekvienam \u012fdomu dirbti sferoje, kurioje sutinki i\u0161\u0161\u016bki\u0173. Kai dirbi ir sakai \u201eAi jau \u017einau, nebe\u012fdomu\u201c, tikriausiai, tada reikia susim\u0105styti apie profesijos keitim\u0105.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Ar \u017einote, kieno rankose kino aik\u0161tel\u0117je atsiduria visa nufilmuota med\u017eiaga? Jos apdorojimas, pirmin\u0117 spalv\u0173 korekcija, tiesioginis bendravimas su operatoriumi \u2013 tik dalis skaitmeninio vaizdo techniko u\u017eduo\u010di\u0173. Apie vien\u0105 misti\u0161kiausi\u0173 ir ma\u017eiausiai pa\u017eint\u0173 profesij\u0173, be kuri\u0173 darbas kino aik\u0161tel\u0117je papras\u010diausiai sustot\u0173, kalbame su \u0161ioje srityje jau ne vienerius metus dirban\u010diu Adomu Jablonskiu, prisid\u0117jusiu prie toki\u0173 projekt\u0173 […]<\/p>\n","protected":false},"author":6,"featured_media":17546,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[161,58],"tags":[],"class_list":["post-17538","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviu","category-news"],"acf":[],"yoast_head":"\nSkaitmeninio vaizdo technikas A. 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