影視拍攝與后期制作外文文獻(xiàn)翻譯

影視拍攝與后期制作外文文獻(xiàn)翻譯(含：英文原文及中文譯文)文獻(xiàn)出處：JohnWiley.Videopre-productionandpost-production[J].FrontiersinPsychology,2014,5(5):262-271.英文原文Videopre-productionandpost-productionJohnWileyFilmandtelevisionmediahavebecomethemostpopularandmostinfluentialmediatypes.FromthefantasyworldcreatedbyHollywoodmovies,tothereallifethattelevisionnewsfocuseson,tooverwhelmingtelevisioncommercials,ithasprofoundlyinfluencedourworld.Inthepast,theproductionoffilmandtelevisionprogramswasjustajobforprofessionals.Itseemedtobecoveredwithamysteriousveil.Formorethanadecade,digitaltechnologyhasfullyenteredthefilmandtelevisionproductionprocess.Computershavegraduallyreplacedmanyexistingvideoandtelevisionequipmentandplayedasignificantroleinallaspectsoffilmandtelevisionproduction.Butuntilrecently,theuseofvideoandtelevisionproductionhadalwaysbeenextremelyexpensiveandspecializedhardwareandsoftware.Itwasdifficultfornon-professionalstohavetheopportunitytoseethesedevices,nottomentionproficientlymasteringthesetoolstoproducetheirownworks.WiththesignificantincreaseinPCperformanceandthecontinuousdecreaseinprices,filmandtelevisionproductionhasgraduallyshiftedfromthepreviousprofessional-gradehardwareequipmenttothePCplatform.Theoriginalhigh-valueprofessionalsoftwarewasgraduallytransplantedtothePCplatform,andthepricehasbecomeincreasinglypopular.Atthesametime,theapplicationoffilmandtelevisionproductionhasalsoexpandedfromaprofessionalfilmandtelevisionfieldtoabroaderfieldofcomputergames,multimedia,networks,andhomeentertainment.Manypractitionersintheseprofessionalfieldsandalargenumberoffilmandtelevisionloverscannowusetheircomputerstomaketheirowntelevisionprograms.ManypeoplehavecomeintocontactwiththeproductionofmoviesandTVprograms.Theystartedwith3Dcomputeranimation.Untilnow,therearemanypeoplewhounderstandandevenmaster3Dcomputeranimation.Manybookshavebeenintroducedinthisarea,butmostofthemarenotsuitableforfilmandtelevisionpostproduction.Understandthatrelatedbooksarealsoless,andgenerallyonlyconcernedwiththeoperationanduseofacertainsoftware.However,theydonotpaymuchattentiontothebasicflowandprinciplesoffilmandtelevisionpost-production.Ihopereaderscanusethisbooktonotonlyunderstandandmasterthesoftware.Use,butalsoamorecomprehensiveunderstandingoftheentireprocessoffilmandtelevisionpost-production.1FilmandTelevisionPostProductionOverview:Theproductionoffilmandtelevisionshowsisarathercomplicatedprocess.Duetothediversificationofthefilmandtelevisionprogramsthemselves,itcanbesaidthatthereisaworldofdifference,fromexpensivefilmproductiontopersonallyproducedhomevideos.Althoughtheuseintentionsoftheseprograms,theproductionbudgets,andthemanpowerandmaterialresourcesinvestedareallverydifferent,theirproductionprocessesarequitesimilar.Ingeneral,theproductionoffilmandtelevisionprogramscanbedividedintopre-production,real-timeproduction.Shooting,andpost-productionofthethreemajorstages.Pre-productionisthestageofplanningandpreparation.Forfilmproduction,thisprocessmostlystartswiththescript,followedbyaseriesofcomplicatedprocessessuchassettingbudgets,raisingfunds,selectingshootinglocations,selectingactors,andformingphotographygroups.Forpersonalcreators,thismaybenothingmorethanawhim,andthenpickupyourcameraandtakeafewminutesofinteractionwiththesurroundingenvironmentalfigures.Theshootingphaseistheprocessofrecordingapictureusingacamera.Atthistime,thematerialshotcanbesaidtobethecornerstoneofconstructingthefinalfinishedmovie.Whenthemainshootingworkiscompleted,itreachesthepost-productionstage.Traditionally,themaintaskofthisstageisediting,andeditingthescatteredmaterialfromtheshootingstageintoacompletemovie.Generallyduringtheshootingofamovie,thematerialactuallyshotisseveraltimesoreventensoftimesthelengthofthefinalcut.Theeditorwantstopickthemostsatisfyingmaterialfromalargeamountofmaterialandorganizestheminanappropriateway.Post-productionalsoincludestheproductionandsynthesisofsounds.Generallyonlyatthisstage,whentheextramaterialhasbeenremoved,thelenseshavebeencombinedinseries,thepictureandsoundhavebeensynchronized,andthefullpictureofthemoviecanbeseen.Becauseofthelargeamountofinformationandmeaningofthefilm,itisnotincludedinthepictureofacertainlens.Itisincludedinthecombinationofaseriesofpicturesandincludedintheconnectionbetweenthepictureandthesound.Itisnoexaggerationtosaythatthefilmandtelevisionartisverylarge.Totheextentitismanifestedinpost-production.Traditionalmovieclipsaretrulysplices,andtheresultingfilmisprocessedtoproduceasetofworksamplesforediting.Theeditorselectsthedesiredlensfromalargenumberofsamples,cutsthefilmwithscissors,sticksthemwithtapeorglue,andthenwatchestheeffectoftheclipontheeditingtable.Thisrepeatedprocessofcuttingandpastingisrepeatedcontinuously.Untilthelastlookwhensatisfiedwiththeresults.Thisprocessisstillverycommonuntilnow.Althoughitmayseemprimitive,itisnon-linear.Theeditordoesnothavetoworkfrombeginningtoend,becausehecancutthesamplesatanytimefromthemiddle,insertashot,orcutoutsomepicturesdirectly,withoutaffectingthewholemovie.However,thismethodispowerlessformanyproductiontechniques.Theeditorcannotcreateaspecialfusionscreenbetweenthetwoshots,norcanheadjustthecolorofthescreen.Allthesetechniquescanonlybecompletedduringtheprintingprocess,andthemanualoperationofscissorsandpasteisalsoinefficient.TraditionalTVeditingisdoneontheeditingdevice.Theeditingequipmentusuallyconsistsofaplayerandavideorecorder.Theeditorselectsasuitablepieceofmaterialthroughtheplayer,recordsitonthetapeintherecorder,andthenlooksforthenextshot.Inaddition,theadvancededitingequipmentalsohaspowerfulspecialeffectsfunctions,whichcancreatevariousscreensforfusionandspecialeffects,canadjustthecolorsofthescreen,andcanalsocreatesubtitles.However,becausethetaperecordingscreenissequential,itisnotpossibletoinsertalensbetweenexistingscreens,anditisnotpossibletodeleteasinglecameraunlessallsubsequentscreensarererecorded.Sothiskindofeditingiscalledlinearediting,whichbringsalotofrestrictionstoeditors.Wecanseethatwhilethetraditionaleditingmethodshavetheirowncharacteristics,theyhavegreatlimitations,whichgreatlyreducethecreativityoftheeditingstaffandwastevaluabletimeinthecumbersomeoperationprocess.Thedigitalnon-lineareditingtechnologybasedoncomputertechnologymakestheeditingmethodagreatspaceforadvancementanddevelopment.Thistechnologyrecordsmaterialonacomputerdiskandusesthecomputer'scalculationsanddatareadingandstoragetoperformtheeditingprocess.Itusesanon-linearmodeofmovieediting,butwithsimplemouseandkeyboardoperationsinsteadofscissorsandpaste-typemanualoperations,theeditingresultscanbeplayedbackimmediately,thusgreatlyimprovingtheproductionefficiency.23DComputerAnimationandSynthesisWiththerapiddevelopmentoffilmandtelevisionproduction,post-productionhasshoulderedaveryimportantresponsibility:theproductionofspecialeffectslens-specialeffectslensreferstotheshotcannotbedirectlyobtained.Mostoftheearlyfilmandtelevisionspecialeffectswereaccomplishedthroughtraditionalmethodssuchasmodelmaking,specialphotography,andopticalsynthesis,andtheyweremainlycompletedduringtheshootingandprintingstages.Theuseofcomputernumbersprovidesbetterandmoreeffectivemeansforspecialeffectsproduction.Italsoenablesmanyspecialeffectsthatmustbecompletedusingmodelsandphotographictechniquestobeproducedthroughcomputertechnology.Therefore,morespecialeffectshavebecomepost-production.jobs.Therearetwomainreasonswhyaspecialeffectlenscannotbephotographed.First,thesubjectorenvironmentdoesnotexistinreallife,oritmaynotbephotographedifitexists,suchasadinosauroranalien;thesecondisthesubjectandenvironmentoftheshooting.Althoughitexistsinreallife,itcannotbeinthesamespacetimeatthesametime.Forexample,theprotagonistofamovieescapesfromadramaticexplosionscene.Forthefirstdifficulty,wemustuseotherthingstoimitatethesubjectofphotography.Commonmeansincludemakingmodels,usinghumanmakeuptoimitateothercreaturesand3Danimationsofcomputers.Infact,3Dcomputeranimationisalsoamodel.Itisnotonlythatitisavirtualmodelthatexistsinthecomputer.Inshort,tosolvethistypeofproblem,weneedtouseamethodthatisoutofnothing.Theseconddifficultsolutionissynthesis.Sincethesubjectsoftheshootingareallpresent,theycanbephotographedseparatelyandthentheseshotstakenseparatelyarecombined.Inthepast,synthesisreliedmainlyontechniquesforspecialeffectsphotographyandprinting,buttherapiddevelopmentofcomputerdigitalsynthesistechnologymadethesemethodsobsolete.Therapiddevelopmentofspecialeffectsmoviesinrecentyearshasalsoledtothegrowthoftheentirefilmindustry.Thecomputerdigitalsynthesistechnologyisverydifferentfromthe3Dcomputeranimation.Itisnotakindoftechnologyitself,butitusestheexistingmaterialscreenstobecombined,andatthesametime,alargenumberofimagescanbemodifiedandbeautified.Itcanbesaidthatitisakindoftechnologythaticingonthecake.Fortelevisionprograms,wecanoftenseesuchapicture.Thepictureitselfiscomposedofmanyunrelatedobjects.Obviouslynotthroughshooting,butthroughsynthesis.Forexample,manytelevisiontitles,advertisements,MTVandotherprogramsarelikethis.Theprimaryescapeconditionforsynthesisatthistimeisnotasenseofreality,butapurelyaestheticandformalsense,butthereisnotmuchdifferencefromthesyntheticsynthesisinthewayofsynthesis.Throughtheaboveintroduction,wehaveroughlysummarizedtheappearanceoffilmandtelevisionpost-production:usingfootagefromreal-lifeshootingtoproducespecialeffectsshotsthrough3Dcomputeranimationandsynthesis,andthencombiningtheshotstogethertoformacompletefilm.,Andmakesoundsforthemovie.Inthefollowingfigurewecanseethebasicflowofdigitalpost-productionoftelevision.Atpresent,mostofthetelevisionprograms,suchasadvertisements,titles,MTVs,andTVdramasareproducedinthisway.However,intheprocessofsynthesis,thefollowingrequirementsmustbemet:(a)ThescreeniscleanThecleanscreenincludesthefollowingaspects:1Noclipframeisacompletelensconnection,thereisnoextrathinginthemiddle.Ifwedidnotcutattheendoftheshotwhenweeditedit,wetookthecontentsofthenextshotattheback,andthesethingswereaddedduetomistakes.Wedidnotneedto.Thisistheclipframe.Andwhenweconnectthetwolenses,thereisnoblackfieldinthemiddle.Thisisalsoaclipframe.Oneofthemostimportanttaskswheneditingisusuallytocutthescreen.2.Theeditingmodeofthelenscompletelensisdynamicandstaticandthenstatic.Thereisnotmuchtosayaboutmovinghere,andthelensmustbecompletewhenitisdocked.Thestilllensmustmaintainacertainlength,suchas5-8secondsinthemiddlescene.Sportsshotsmusthaveakickandakick.3,Themovinglensmustbesettledfinally,themovinglenscannotbecalledtheendofthescreen,sothefinalpointofthelensmustbestill.Evenifyouusedynamicconnection,thelastlensmustalsobequiet.Thesubjectstopsmovingordraws.(B)ThesoundiscleanThisiswhatthenoviceusuallyignoresintheediting,includingseveralaspects:1WordstocompleteWhetheritistheoriginalsoundtrackorthenarration,onecannotsayonesentence.2ThesoundshouldbepureSpecialnoisysoundscannotbeusedandmustbeunderstoodbytheaudience.3ThevolumeofthesoundshouldbeappropriateThevolumeofaprogrammustbeunifiedandcannotbehighorlow.Theproportionofbackgroundmusicvolumeshouldbeappropriate,sothatthesoundofbackgroundmusiccannotaffectthesoundofspeech.中文譯文視頻的前期拍攝與后期制作作者：約翰·威利電影電視媒體已經(jīng)成為當(dāng)前最為大眾化,最具影響力的媒體型式。從好萊塢電影所創(chuàng)造的幻想世界,到電視新聞所關(guān)注的現(xiàn)實(shí)生活,到鋪天蓋地的電視廣告,無不深刻地影響著我們的世界。過去,影視節(jié)目的制作只是專業(yè)人員的工作,似乎還攏罩著一層神秘的面紗。十幾年來,數(shù)字技術(shù)全面進(jìn)入影視制作過程,電腦逐步取代了許多原有的影視設(shè)備,在影視制作的各個(gè)環(huán)節(jié)發(fā)揮了很重大的作用。但是直到不久之前,影視制作使用的一直是價(jià)格極端昂貴的專業(yè)硬件及軟件,非專業(yè)的人員很難有機(jī)會(huì)見到這些設(shè)備,更不用說熟練掌握這些工具來制作自己的作品了。隨著PC性能的顯著提升以及價(jià)格上的不斷降低,影視制作從以前專業(yè)等級(jí)的硬設(shè)備逐漸向PC平臺(tái)上轉(zhuǎn)移,原先身價(jià)極高的專業(yè)軟件逐步移植到PC平臺(tái)上,價(jià)格也日益大眾化。同時(shí)影視制作的應(yīng)用也從專業(yè)的電影電視領(lǐng)域擴(kuò)大到計(jì)算機(jī)游戲、多媒體、網(wǎng)絡(luò)、家庭娛樂等更為廣闊的領(lǐng)域。許多在這些專業(yè)領(lǐng)域的從業(yè)人員與大量的影視愛好者們現(xiàn)在都可以利用手中的計(jì)算機(jī)來制作自己的影視節(jié)目。許多人接觸到影視節(jié)目制作,是從3D計(jì)算機(jī)動(dòng)畫開始的,直到目前,了解乃至掌握3D計(jì)算機(jī)動(dòng)畫制作的人員很多,介紹這方面的書籍也不少,而對(duì)于影視后期制作,多數(shù)人并不太了解,相關(guān)的書籍也較少,而且一般也只關(guān)心某一軟件的操作使用,而對(duì)于影視后期制作的基本流程和原理卻不甚重視,希望讀者能透過本書,不但可以了解和掌握軟件的使用,同時(shí)也對(duì)影視后期制作的整個(gè)過程有一個(gè)比較全面的了解。1影視后期制作概況:影視節(jié)目的制作是一個(gè)相當(dāng)復(fù)雜的過程。由于影視節(jié)目本身的多樣化,從耗資巨大的電影制作到個(gè)人制作的家庭錄像帶,可以說有天壤之別。雖然這些節(jié)目的使用意圖,編列的制作預(yù)算,投入的人力物力都有很大的區(qū)別,但其制作過程卻有相當(dāng)?shù)墓餐?一般來說,影視節(jié)目的制作可以分為前期制作,實(shí)景拍攝,和后期制作三個(gè)主要階段。前期制作是籌劃與準(zhǔn)備的階段,對(duì)于電影制作來說,這個(gè)過程多半是從劇本開始,然后是制定預(yù)算、籌募資金、選定拍攝地點(diǎn)、挑選演員、組成攝影小組等一系列復(fù)雜的過程。而對(duì)于個(gè)人制作者來說,這也許不過是突發(fā)奇想,然后拿起自己的攝影機(jī),拍攝周遭環(huán)境人物短短數(shù)分鐘互動(dòng)的事。拍攝階段就是利用攝影機(jī)記錄畫面的過程,這時(shí)拍攝的素材可以說是構(gòu)造最終完成片的基石。當(dāng)主要的拍攝工作完成后,就到了后期制作階段。傳統(tǒng)上這個(gè)階段的主要工作是剪輯,把拍攝階段得到的散亂素材剪輯成為完整的影片。一般在電影的拍攝過程中,實(shí)際拍攝的素材是最終剪輯完成影片長度的數(shù)倍甚至數(shù)十倍。剪輯師要從大量的素材中挑出最滿意的素材并把它們按照適當(dāng)?shù)姆绞浇M織在一起。后期制作還包括聲音的制作與合成。一般只有到這個(gè)階段,當(dāng)多余的素材已經(jīng)去掉,鏡頭已經(jīng)組合串聯(lián)在一起,畫面與聲音已經(jīng)同步,才可以看到影片的全貌。因?yàn)橛捌拇罅啃畔⒑秃x,并不是包含在某一個(gè)鏡頭的畫面中,而正是包含在一連串畫面的組合當(dāng)中,包含在畫面與聲音的聯(lián)系中,毫不夸張地說,影視藝術(shù)有很大的程度上正是表現(xiàn)在后期制作之中的。傳統(tǒng)的電影剪輯是真正的剪接,拍攝所得到的底片經(jīng)過沖洗,要制作一套工作樣片,利用這套樣片進(jìn)行剪輯。剪輯師從大量的樣片中挑選需要的鏡頭,用剪刀將膠片剪裁,再用膠帶或膠水把它們黏在一起,然后在剪輯臺(tái)上觀看剪輯的效果,這個(gè)剪裁、黏貼的反復(fù)過程要不斷重復(fù)直到最后看當(dāng)滿意的結(jié)果。這個(gè)過程直到現(xiàn)在仍然很常見,雖然看起來很原始,但這種剪接卻是非線性的。剪輯師不必從頭到尾順序地工作,因?yàn)樗梢噪S時(shí)將樣片隨時(shí)從中間剪裁,插入一個(gè)鏡頭,或者直接剪掉一些畫面,都不會(huì)影響整個(gè)片子。但這種方式對(duì)于很多制作技巧是無能為力的。剪輯師無法在兩個(gè)鏡頭之間制作一個(gè)特效融合的畫面,也無法調(diào)整畫面的色彩,所有這些技巧都只能在沖印過程中完成,同時(shí)剪刀和漿糊的手工操作效率也很低。傳統(tǒng)的電視編輯則是在剪輯設(shè)備上進(jìn)行的。剪輯設(shè)備通常由一臺(tái)放影機(jī)和一臺(tái)錄像機(jī)組成,剪輯師通過放影機(jī)選擇一段適合的素材,然后把它記錄到錄像機(jī)中的磁帶上,然后在尋找下一個(gè)鏡頭。此外,高級(jí)的剪輯設(shè)備還有很強(qiáng)的特效功能,可以制作各種畫面的融合與特效過場(chǎng),可以調(diào)整畫面的顏色,也可以制作字幕等。但是由于磁帶記錄畫面是順序的,無法在已有的畫面之間插入一個(gè)鏡頭,也無法刪除一個(gè)鏡頭,除非把其之后的畫面全部重新錄制一遍。所以這種編輯叫做線性編輯,它給編輯人員帶來了很多限制。我們可以看到傳統(tǒng)的剪輯方法雖然各有特點(diǎn),但又都有很大的局限性,大大減低了剪輯人員的創(chuàng)造力,并使寶貴的時(shí)間浪費(fèi)在煩瑣的操作過程當(dāng)中?；谟?jì)算機(jī)科技的