In order for your program to have value and a lasting, it must in some way affect the audience emotionally.
6. As computer-controlled editing techniques (n.编辑技术)and postproduction special effects (n.特殊效果) have become more sophisticated, editing has gone far beyond the original concept of simply joining segments in a desired order. Editing is now a major focus of production creativity.
Armed with the latest digital effects, the editing phase can add much in the way of razzmatazz (n.华丽堂皇) to a production. In fact, it’s pretty easy to become enthralled (v.着迷 )with the special effect capabilities of your equipment. 7. In large-scale productions everyone is typically working under pressure.
Directors must be able to control own tension and anxiety while being sensitive to the differing abilities and temperaments of talent and crew---not an easy task when they have responsibility for everything.
A heavy-handed approach with the wrong person can temporarily destroy that person’s effectiveness and turn a bad situation into a disaster. Conversely, a mealy-mouthed approach that elicits no respect or leadership ability can be just as bad.
8. When you zoom, you optically enlarge smaller and smaller parts of the picture to fill the screen. When you dolly a camera you physically move the entire camera toward or away from subject matter. The latter is similar to how you would see the central and surrounding subject matter if you were to walk toward or away from it. Some directors, especially in motion pictures, prefer the more natural effect of a dolly, even though it’s much harder to achieve smoothly.
9. and we refer to the various specific numerical points throughout this range as f-stops (n.光圈系数).
The “f” stands for factor. An f-stop is the ratio between the lens opening and the lens focal length. More specifically, the f-stop equals the focal length divided by the size of the lens opening.
10. The largest lens opening (smallest f number) at which a lens can be set. A fast lens transmits more light and has a large opening than a slow lens. Determined by the maximum aperture (n.孔径) of the lens in relation to its focal length. The speed of a lens is relative to it’s focal length. A 400 mm lens with a maximum aperture of f/3.5 is considered extremely fast, while a 28 mm f/3.5 lens is thought to be relatively slow.
11. Theoretically, if we focus a camera at a specific distance, only objects at that exact distance will be what we might consider completely sharp, and objects in front of and behind that point will be, to varying degrees, blurry (adj. 模糊的 ). In actuality, areas in front of and behind the point of focus may be
acceptably sharp. The term acceptably sharp is subjective. A picture doesn’t abruptly become unacceptably blurry at a certain point in front of or behind the point of focus. The transition from sharp to out of focus is gradual.
12. Hard light casts a sharp, clearly defined shadow. When hard light is used to illuminate a face, imperfections in the skin stand out. The result is less than
flattering. But in other applications, such as bringing out the texture in leather, or the engraving on a piece of jewelry, this can be an advantage.
13. Soft light sources are used in production to created a broad, even are of light. In the field, videographers (n.摄像师) often rely on umbrella reflectors (n.反光伞) to create a soft lighting effect.
Because soft light tends to hide lines, wrinkles and blemishes, it’s desirable in doing glamour work. A soft light source placed close to the camera minimizes surface detail. The effect is commonly referred to as flat lighting (n.平射光).
14. Continuity editing primarily suggests guiding an audience through a sequence of events, and, in the process, showing them what they want to see when they want to see it. In the end, you’ve told a story or logically traced a series of events to their conclusion. In dramatic television good editors sometimes break from the expected to achieve a dramatic effect. Unfulfilled expectations can be used to create audience tension.
15. Non-linear editing (n.非线性编辑) for film and television postproduction is a modern editing method which involves being able to access any frame in a video clip (n.视频剪辑) with the same ease as any other. This method is similar in concept to the “cut and paste” technique used in film editing from the beginning. It can also be viewed as the audio/video equivalent of word-processing. However, when working with film, it is a destructive process, as the actual film negative must be cut. Non-linear, non-destructive methods began to appear with the introduction of digital video technology.
16. Compared to the linear method of tape-to-tape editing, non-linear editing offers the flexibility of film editing, with random access and easy project
organization. With the edit decision lists, the editor can work on low-resolution（低分辨率） copies of the video. This makes it possible to edit both
standard-definition (n.标准清晰度) broadcast (n.广播) quality and high definition (n.高清晰度) broadcast quality very quickly on normal PCs which do not have the power to do the full processing of the huge full-qualityhigh-resolution（高分辨率） data in real-time (n.实时).
17. Linear video editing (n.线性编辑) is the process of selecting, arranging and modifying the images and sound recorded on videotape (n.录影带) whether
captured by a video camera, generated from a computer graphics (n.计算机图形学) program or recorded in a studio. Until the advent of computer-based non-linear editing in the early 1990s “linear video editing” was simply called “video editing” (n.视频编辑).
18. The basic goal off-line editing (n.离线编辑) is to create a list of edit decisions. Before digital and tapeless camcorders(n.磁带摄像机), this involved using a copy of the original videotape footage. This was important in protecting the
original videotape from damage during the often arduous process of making edit decisions.
Off-line editing involves reviewing footage and compiling a list of time-code numbers that specify the “in” and “out” points of each needed scene.
19. In on-line editing (n.线上编辑) (at least in the traditional sense of the phrase) you are using original footage to create the final edited version of a program, complete with audio and video effects , color correction, etc.
Since this process can be rather expensive if full-time engineers and costly, high-quality on-line equipment are involved, an off-line phase will reduce editing expenses and allow time for greater experimentation.
20. Special effects are traditionally divided into the categories of optical effects (n.光学效果) and mechanical effects(n,机械效果). With the emergence of digital film-making tools a greater distinction between special effects and visual effect(n,视觉效果 ) has been recognized, with “visual effects” referring to digitalpost-production and “special effects” referring to on-set mechanical effects and in-camera optical effects.
21. Optical effects ( also called photographic effects), are techniques in which images or film frames are created photographically, either “in-camera” using multiple exposure (n.多重曝光), mattes (n.遮幕效果), or the Sch u fftan process (n.舒夫坦合成地---又叫镜子接戏法，一种老式剪辑方法), or in
post-production processes using an optical printer (n. 光学印片机). An optical effect might be used to place actors or sets against a different background. 22. Mechanical effects (also called practical or physical effects), are usually
accomplished during the live-action (n.现场运作----操作) shooting. This includes the use of mechanized props(n.道具), scenery(n.场景), scale models(n.成比例模型), pyrotechnic (n.烟火使用) and Atmospheric Effects(n.大气效果) :creating
physical wind, rain, fog, snow, clouds etc. Making a car appear to drive by itself, or blowing up a building are examples of mechanical effects. Mechanical effects are often incorporated into set design and makeup. For example, a set may be built with break-away doors or walls, or prosthetic makeup (n.修复化妆术) can be used to make an actor look like a monster.
23. Videotape (n.录像带) resembles audiotape (n.录音带) in its makeup. It consists of a strip of plastic backing coated with a permanent layer of microscopic metal particles embedded in a resin(树脂) base. These particles are capable of holding a magnetic charge(磁荷). 24. The dB level going through audio equipment must be carefully controlled. If the signal is allowed to pass through equipment at too low a level, noise can be
introduced when the level is later increased to a normal amplitude (audio level).
If the level is too high (significantly above 0 dB or into the red areas on the VU meter), distortion will result– especially with digital audio. To ensure audio quality, you must pay constant attention to maintaining proper audio levels.