cad數字簽名制作制作

The business of making movies has seen many changes over the past century, including the rise of the studio system in the U.S., the introduction of sync sound, and the emergence of rival visual media like television. Using a large set of film credits, I sought to measure how different roles in production have changed since the 1920s.

在過去的一個世紀中，電影制作業務發生了許多變化，包括美國影樓系統的興起，同步聲音的引入以及電視等競爭對手的視覺媒體的出現。 我使用大量的電影作品，試圖衡量自1920年代以來制作中不同角色的變化。

In a previous article I used a relatively short list of top films to get some basic data on how what departments have been credited in films since 1975. I was interested in finding how common digital forms of production work like visual effects and post-production had become and if other more traditional roles had fallen by the wayside. This article is the product of further research I have done that includes a much bigger dataset (about 45,000 movies on IMDB) with a broader historical scope. Seeing historical changes in production like the introduction of sound offers us some perspective on more recent changes relating to digital technology.

在上一篇文章中，我使用了比較短的頂級電影列表來獲取一些基本數據，以了解自1975年以來各部門在電影中的成績如何。我感興趣的是尋找常見的數字化制作形式(如視覺效果和后期制作)如何運作成為，如果其他更傳統的角色被拋棄了。 本文是我所做的進一步研究的結果，其中包括一個更大的數據集(IMDB上約有45,000個電影)，具有更廣闊的歷史范圍。 看到生產中的歷史變化，例如聲音的引入，使我們對與數字技術有關的最新變化有了一些看法。

A Note on the Data

數據說明

https://public.tableau.com/views/StartDateofAllEntrieesinIMDB_15979738592610/StartDateofAllEntriesinIMBD?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/StartDateofAllEntrieesinIMDB_15979738592610/StartDateofAllEntriesinIMBD?:language=zh-CN&:display_count=y&:origin=viz_share_link

This graph shows the extreme imbalance in the number of entries in IMDB. Because this dataset is so lopsided, I have decided to treat the eras before and after 1990s separately. While all live-action English language movies from before 1990 are included, only movies with budgets above 10 million are included after 1990. This means that we cannot directly compare these two periods, but the information in each block is stronger on its own because of this choice. I discuss this choice in more detail at the end of the article.

該圖顯示了IMDB中條目數量的極端失衡。 由于該數據集太不平衡，因此我決定分別處理1990年代之前和之后的時代。 盡管包括了1990年之前的所有真人英語電影，但1990年之后的預算都超過了1000萬部電影。這意味著我們無法直接比較這兩個時期，但是由于以下原因，每個區域的信息本身都更強大這個選擇。 我將在文章結尾詳細討論這個選擇。

In each year I count how many times a given department shows up and then divide it by the number of movies counted. Thus a result of 1.0 means all movies had that department, and a result of 0.25 means only one in four had that department.

每年我都會計算給定部門出現的次數，然后將其除以所計數的電影數量。 因此，結果為1.0表示所有電影都具有該部門，結果0.25意味著只有四分之一的電影具有該部門。

Every graph has a link beneath it that will take you to a fully interactive version where you can isolate each department.

每個圖下方都有一個鏈接，該鏈接將帶您到完全交互式的版本，在這里您可以隔離每個部門。

Some Departments Have Been Consistently Ubiquitous

一些部門一直無所不在

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveNotChanged?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveNotChanged?:language=zh-CN&:display_count=y&:origin=viz_share_link

There are several departments that have been standard since the 1920s. Cinematographers, directors, producers, and writers all appear consistently across the date range.

自1920年代以來，已有多個部門成為標準部門。 電影攝影師 ， 導演 ， 制片人和作家在整個日期范圍內均出現一致的現象。

Over Time Several New Departments Have Become Standard

隨著時間的推移，幾個新部門已成為標準

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeStandardby1935?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeStandardby1935?:language=en&:display_count=y&:origin=viz_share_link https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeCommonbythe1940s?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeCommonbythe1940s?:language=en&:display_count=y&:origin=viz_share_link

Staring in the 1920s you can see several departments becoming more and more common, to the point that they are in most film credits by the 1940s. This is likely the product of the formation of the studio system and the classic Hollywood aesthetic form. Titles like Assistant Director and Script Department suggest a more organized, systematic approach to filmmaking, and departments like Make-up, Costume, and Camera suggest more emphasis is being put on the “production values” of studio films. Another phenomenon at work here is the introduction of synchronized sound in the late 1920s, leading to departments like Music, Sound, and Composers. Perhaps the most surprising department to find in this group is Editors, which are very common some years but don’t seem to become a universal credit until the mid-1960s.

凝視著1920年代，您會看到幾個部門變得越來越普遍，以至于它們在1940年代的大多數電影學分中都占有一席之地。 這可能是工作室系統和好萊塢經典美學形式形成的產物。 諸如助理導演和劇本部之類的標題暗示著一種更加有條理，更系統的電影拍攝方法，而諸如化妝，服裝和照相機等部門則暗示著工作室電影的“生產價值”得到了更多的重視。 在這里工作的另一個現象是1920年代后期引入了同步聲音，從而導致了音樂 ， 聲音和作曲家等部門。 在這個小組中找到的最令人驚訝的部門也許是編輯人員 ，這在幾年中很常見，但直到1960年代中期才似乎不被普遍認可。

Some Departments Associated with Studio Production Temporarily Declined in the 1970s

與制片廠生產有關的某些部門在1970年代暫時下降

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/The1970sDip?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/The1970sDip?:language=zh-CN&:display_count=y&:origin=viz_share_link

Certain departments grew in popularity during the studio era but then stared to see moderate decline through the late 1960s and 70s. This is worth noting because it supports what we already know about film-making trends during this time period. The Paramount Decree of 1948 was the start of a gradual decline in the power of Hollywood studios, and the late 1960s saw low budget sleeper hits like Bonny and Clyde and Easy Rider popularize stripped-down modes of film-making. Given these economic and aesthetic shifts, it is not surprising to see jobs like Art Director, Costume Designer, and Set Decorator declining. The drop in Composer and Music Department is somewhat surprising, though it is possibly related to these shifts as well, since films like Easy Rider popularized the idea of soundtracks with non-original popular music.

在錄音室時代，某些部門變得越來越受歡迎，但隨后又注視著在1960年代后期和70年代后期有所下降。 值得注意的是，它支持了我們在這段時間內對電影制作趨勢的了解。 1948年的《至高無上法令》是好萊塢制片廠實力逐漸下降的開始，并且在1960年代后期，像Bonny和Clyde這樣的低預算沉睡者大受好評，而Easy Rider則使電影制作的精簡模式普及化。 鑒于這些經濟和美學上的變化，看到像Art Director ， Costume Designer和Set Decorator這樣的職位下降并不奇怪。 作曲家和音樂系的下降有些令人驚訝，盡管這也可能與這些變化有關，因為像Easy Rider這樣的電影通過非原創的流行音樂普及了配樂的想法。

Many Departments that Had Been Around for Decades Became Standard in the 1980s

在1980年代，許多曾經走過幾十年的部門都成為標準

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeStandardby1989?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/DepartmentsThatHaveBecomeStandardby1989?:language=en&:display_count=y&:origin=viz_share_link

One might expect that Editorial Department, Production Managers and Stunts would have been standard since the studio era. This graph shows that while they did appear in about half of all productions, they did not become standard (appearing in 80% of productions) until the end of the 1980s. Equally surprising, things like Production Design, Location Management, Transportation Department, Casting Director, and Casting Department were relatively uncommon even in the 1970s before they rose rapidly to become standard by 1989.

自工作室時代以來，人們可能會希望編輯部 ， 制作經理和特技表演已成為標準。 該圖顯示，盡管它們確實出現在所有作品的大約一半中，但直到1980年代末才成為標準(出現在作品的80％中)。 同樣令人驚訝的是，即使在1970年代，生產設計，位置管理，運輸部，鑄造總監和鑄造部等東西在1989年前Swift成為標準之前，還是相對罕見的。

Productions Have Generally Increased in Complexity Over Time

隨著時間的流逝，制作的復雜性通常會提高

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/AllDepartments?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/AllDepartments?:language=zh-CN&:display_count=y&:origin=viz_share_link

This graph combines all departments, where a score of 32 in a given year would indicate every film having credits for every department. The complexity of English language film-making seems to have consistently risen over its history.

此圖組合了所有部門，其中給定年份的32分表示每部電影在每個部門都有榮譽。 在歷史上，英語電影制作的復雜性似乎一直在上升。

Digital Forms of Production Have Risen Comparably to Past Changes

數字化生產形式已經與過去的變化相比有所上升

https://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/VisualEffectsSpecialEffectsCompaniesandAnimationDepartments?:language=en&:display_count=y&:origin=viz_share_linkhttps://public.tableau.com/views/ChangesinProductionDepartmentsPart2_15979699420200/VisualEffectsSpecialEffectsCompaniesandAnimationDepartments?:language=zh-CN&:display_count=y&:origin=viz_share_link

The data from after 1990 see most departments credited in most movies. This is consistent with trends present in the preceding graphs, but it is also likely exacerbated by the fact that the post-1990 data is limited to films with budgets over 10 million. The only departments that are not standard in the 1990s are Visual Effects, Special Effects Companies, and Animation Department. These are also the three departments that have seen the most change since 1990. By 2003 Visual Effects and Special Effects Companies were becoming as standard as any other department. Animation Departments went from being in about 5 percent of live-action movies in 1980 to being in over half by 2017. This is particularly striking because this is from a very large list of English language movies, not just the top blockbusters. These changes were no more significant or rapid than the rise of Sound Departments in the late 1920s and 30s, or of Casting and Transportation Departments in the late 1970s and 80s though.

從1990年以后的數據來看，大多數部門都將其歸功于大多數電影。 這與前面圖表中的趨勢一致，但是由于1990年以后的數據僅限于預算超過1000萬的電影，這一事實也可能會加劇。 1990年代唯一不規范的部門是視覺效果 ， 特殊效果公司和動畫部門。 這些 這也是自1990年以來變化最大的三個部門。到2003年， 視覺效果和特殊效果公司已成為所有其他部門的標準配置。 動畫部門的比例從1980年的約5％的真人電影上升到了2017年的一半以上。這尤其引人注目，因為這是來自很大數量的英語電影的清單，而不僅僅是頂級大片。 這些變化沒有比1920年代末和30年代的音響部門或1970年代末和80年代后期的鑄造和運輸部門的崛起重要或Swift。

This increase in Visual Effects and Animation also does not seem to have replaced any other forms of labour, as no other departments saw significant decrease during this period of time.

視覺效果和動畫的增加似乎也沒有取代任何其他形式的勞動，因為在此期間沒有其他部門看到顯著減少。

Conclusion

結論

While we might imagine that the norms for film production were relatively standardized between the beginning of the studio era and the introduction of digital technology, this study shows that was clearly not the case. Many roles we might assume to be common were not. Film production seems to generally grow in complexity over time, although shifting economic and stylistic trends in the 1960s and 70s saw a temporary decrease in some departments.

盡管我們可以想象，在制片廠時代開始到數字技術的引入之間，電影制作的規范是相對標準化的，但這項研究顯然并非如此。 我們可能假設許多角色并不常見。 電影的制作似乎隨著時間的推移通常會越來越復雜，盡管1960年代和70年代經濟和文體風格的變化趨勢使某些部門暫時減少。

Consistent with my findings in my previous research, while certain departments like Visual Effects and Animation are indeed on the rise, they do not seem to be replacing other departments. Indeed, the case is even stronger here, as we see no departments in decline at all after 1990. This does not tell us anything about the stability of work or of the changing role of unions, and we cannot count invisible and uncredited labour contributions though. Job titles may also be changing much more within departments themselves. This article looks specifically at job titles within these departments in the film industry.

與我以前的研究結果一致，雖然視覺效果和動畫等某些部門的確在增加，但似乎并沒有取代其他部門。 的確，這里的情況更加嚴峻，因為我們看不到1990年以后所有部門都沒有下降。這并不能告訴我們有關工作穩定性或工會角色變化的任何信息，盡管我們不能算作無形和無信用的勞工貢獻。 各部門內部的職位頭銜也可能發生很大變化。 本文專門研究電影行業中這些部門的職位。

Data Sources and Methods

數據來源和方法

This project used a list of 45,000 movies from movielens.org. I pared down this list in several ways to ensure I could get a like-with-like comparison. First, I removed all animated films, using genre tags from Movielens. Removing animation was a difficult decision, because I believe we should be considering the increase in animated features as part of global production trends. However, removing them allowed me to see how live-action film production has been integrating more animation work. I also pared the list down to English language only, to ensure there were no translation issues with titles.

該項目使用了來自movielens.org的45,000部電影的列表。 我以幾種方式縮減了此列表，以確保可以得到類似的比較。 首先，我使用Movielens的流派標簽刪除了所有動畫電影。 刪除動畫是一個艱難的決定，因為我認為我們應該考慮將動畫功能的增加作為全球生產趨勢的一部分。 但是，刪除它們使我看到了真人電影制作如何整合更多的動畫作品。 我還將該列表縮減為僅英語，以確保標題沒有翻譯問題。

I used Davide Alberani’s IMDBPy library for Python to retrieve the data. I encountered an issue using IMDB’s API where they, understandably, cut me off after requesting the data for about 2000 films. Thus, to keep the list a manageable size and to balance the number of earlier and later films, I cut movies with budgets under 10 million after 1990. This means we may be missing some of the lowest-budget trends in the past few decades. I had considered removing random movies, but many of the low and no budget movies from the past few decades have flawed data and are not what I would consider industrially significant. Many didn’t even return results on Google searches. The number of movies counted each year after 1990 was still much greater than before, even after adding this filter.

我將Davide Alberani的IMDBPy庫用于Python以檢索數據。 我在使用IMDB的API時遇到了一個問題，可以理解的是，在請求大約2000部電影的數據后，它們切斷了我的聯系。 因此，為了使列表的大小易于控制并平衡早期和后期電影的數量，我削減了1990年以后預算在1000萬以下的電影。這意味著我們可能會錯過過去幾十年中預算最低的趨勢。 我曾考慮過刪除隨機電影，但是過去幾十年中許多廉價電影或預算不高的電影都存在有缺陷的數據，而且在我看來也不具有工業意義。 許多人甚至沒有在Google搜索中返回結果。 即使添加了此濾鏡，1990年之后每年計數的電影數量仍然比以前多得多。

This article is part of a series on the special effects, visual effects, and animation industries. It is based on research supported by:

本文是有關特殊效果，視覺效果和動畫行業的系列文章的一部分。 它基于以下研究的支持：

• Le Fonds de Recherche Québécois sur la Société et la Culture Postdoctoral Fellowship
  法國興業銀行與文化研究博士后獎學金
• The University of California, Berkeley’s Department of Film & Media
  加州大學伯克利分校電影與媒體系

• Photo by Avel Chuklanov

  攝影： Avel Chuklanov

翻譯自: https://medium.com/@jordangowanlock/changes-in-film-production-departments-by-the-numbers-8149fda272cd

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