The set designers of Iron Chef America have a raw task: translating a personal sensory experience into a spectator sport. Though the series has been on our menu for six years (preceded by six more in Japan), the set changes every season to incorporate new technologies and trends in food wizardry. The key, explains art director Arthur Chadwick, who will serve on his ninth tour of duty for the US show this month, is "getting right up into the action." Action requires cameras, and cameras require room to maneuver. That's a tall order when you're already fitting two kitchens, seating for 50-plus audience members, three judges, and host Alton Brown into a small studio above New York's Chelsea Market. The Iron Chef solution: Make the cameras part of the show. From his iMac-powered perch, Brown acts as a sort of real-time director, constantly selecting from a pantry of lenses that can capture anything from a superwide angle to a macroshot showing eyery freckle on a rare truffle's cap. Here's how all the ingredients come together.
展开▼
机译：美国铁厨师的布景设计师有一个原始任务：将个人的感官体验转化为观众的运动。尽管该系列已经出现在我们的菜单上了六年（在日本之前是六次），但每个季节都会更改该设置，以结合食品巫术的新技术和趋势。艺术总监亚瑟·查德威克（Arthur Chadwick）解释说，关键是“马上行动起来”，他将在本月参加美国第九次美国巡回演出。行动需要摄像机，而摄像机需要回旋余地。当您已经安装了两个厨房，可容纳50多名观众的座位，三名法官并主持奥尔顿·布朗进入纽约切尔西市场上方的小工作室时，这是一个很高的要求。 Iron Chef解决方案：使摄像机成为节目的一部分。从iMac驱动的栖息处开始，Brown扮演着一种实时导演的角色，不断地从一堆镜头中进行选择，这些镜头可以捕捉从超广角到微距拍摄的任何东西，在稀有松露的帽子上显示出雀斑雀斑。这是所有成分融合在一起的方式。
展开▼
