How to shoot a moive翻译docWord格式.docx

How to shoot a moive翻译docWord格式.docx

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llshootwiththegreatest,mostinimitablecameraofthemall-thehumaneye.Thenwe'

llshootthesameactionwithamotion-picturecamera.

Nowforouraction.Wewantsomethingordinaryandevery-day,suchasoneperson'

svisitinganother.Tobringitclosertohome,wemakeitanevent,whichhasdoubtlessoccurredinthelivesofmanyofourreaders-profitably,wetrust,forsome:

asalesman'

scallonaprospectivecustomer.

YouenterthedoorofMr.Prospect'

soffice.Thesceneisnewtoyou,soyouhesitateforaninstanttoorientyourselfandtosatisfyyourcuriosity.Youreyehasautomaticallystartedtoshoot.Inasplit-secondglance,ithasswepttheroom,registeringwalls,ceiling,window,charts,desk,andmostimportant,Mr.Prospectseatedatthetelephone.Youreye,inshort,hasestablishedthelocaleandyoursubjectinit.

Nowyourcameramustdoforamovieaudiencewhatyoureyedidforyou,sothatwhattheaudienceseesonthescreenwillbewhatyoureyehasseeninreallife,sothatitwillknowwithoutaskingquestionsthatitislookingatanoffice.Thisfirstshotwhichestablishesthesceneisthelongshot,the"

LS."

Well,then,takeit.Pickupyourcameraand,guidedbywhatyoureyeseesintheviewfinder,shoot.Don'

tmoveyourcamerasofast!

Shootwhatyoureyesees,butdon'

ttrytoshootitinthesameway.There'

snocamera

madethatcanimitateyoureyeinthrowingaglancearoundtheroomwith

lightningspeed.Tryitwithyourcameraandyou'

llhaveaweird,waving

effect（blurred,too.ifyoudoitfastenough）thatwillforceyouraudiencetoshutitseyesbecauseitissopainfultolookat.

Manyanover-ambitiousbutunder-experiencedbeginnerhaslosthisaudiencebysellinghisphotographicsoulfora“flashy”pan.Youcan"

pan"

later-ontherightoccasion.RightnowyourLScanbetakenfromanice,steady,stationaryposition.Fromwhereyoustandinthedoorway,youarefarenoughbacktotakeinyoursubjectandagreatdealofhissurroundings

-enoughtoestablishthelocale.Ifyouarefussyaboutcomposition,youcanmovebackevenmore,andshoottheofficeinteriorwiththedoorway

asaframeoneitherside.Itwon'

tbeworthit.Throughityoucutofftoomuchoftheinterior,orifyoursubjectissofarawaythatheseemslost.It

is,afterall,hisoffice;

hedominatesit.Youdon'

twanttosuggestthereverse.Thisisjustasimplehome-mademovie,notadeep,darkpsychologicaldrama.

Bynow,thelongshotanditsfunctionshouldbewellestablishedinyourmind.Goonintotheoffice,withyoureyeagaindoingtheshooting.You

andyoureyewanttogetasclosetoyoursubjectasyoucan.AsyoumoveintowardMr.Prospect,youreyeinstantly,automatically,andcontinuouslykeepsreadjustingitselftothechangingperspectiveandproportionsofthe

scene.IttakesinincreasinglymoreandmoreofMr.Prospect,hisface,hair,shoulders,tie,shirt,thearticlesonhisdeskandlessandlessoftherestofhissurroundings,suchasthewall,thewindow,andthebodyofthedesk.Thisisthewayyouwantit.Afterall,thevitalpartofthesceneisMr.

Prospect,nothislocation.Youwanttocutoutasmuchoftheextraneous,distractinglocaleasyoucan,andcomeasclosetohisfaceasyoureye,andpoliteness,willallow.Thisisyourcloseup,theheartofyourpicture.

TheMediumShot

Butbeforediscussingthecloseup,wemustlookatthetechniquebywhichweduplicatetheeye'

stransitionfromlongshottocloseupwiththe

camera.Thisbringsforththeinevitablequestion.Whyisatransitionshot

neededatall?

Theargumentisasfollows:

Wesaythatthecloseupistheheartofthepicture.WetaketheLS,whichnoonedisputesisessentialforestablishingthelocationofthescene.So,oncethesceneisestablished,whywastetheaudience'

stimeandthephotographer'

sfilmonatransitionshot,whynotgo

directlytothecloseup?

Itisagoodquestion,butonewhichoverlooksavitalfactor.Neverforgetthatyourcameraismimickingthehumaneye.

SupposeyouweresuddenlyblindfoldedasyoustoodatthedoorofMr.Prospect'

soffice;

thenhischarmingsecretarytookyoubythehand,ledyourightuptohim,andabruptlyremovedtheblindfoldsothatyoufoundyourselfstaringatMr.Prospectwithinafootofhisface.Whatwouldyourreactionbe?

Youwouldcertainlybelostmomentarily.Thejumpfromthegenerallongshottotheintimate,concentratedcloseupwouldhavebeen

toomuchfortheeye.Instinctively,itwouldseektoreorientitselfbybackingupinordertoplaceMr.Prospectinrelationtohissurroundings.

Nowsupposeanaudience,lookingatyourfilmonthescreen,issuddenlyconfrontedwiththatcloseupafterseeingthelongshot.Itcannotreorientitselfoutsidetheboundariesofthescreen.Imaginehowmuchgreatertheshockwouldbeforit!

No,thisgreatjumpwillnotdo.Itistooabrupt.Theremustbeamidwayortransitionshotthemediumshot.

Whatdoyoudothen-mimictheeyeasitmovesfromlongshottocloseupbygrindingawayconstantlywithyourcameraasyoumoveinonMr.Prospect?

Thatwouldbewasteful,tedious,andgiveaveryjumpypicture,unlessyouusedaspecialdevicesuchasa"

dolly"

orazoomlens.The"

isastableplatformonwheels,whichkeepsyourcamerasteadyas

itmoves.Thezoomlensenablesyoutomoveincloseonthesubjectwithoutmovingyourcamera.Noteverycameramanisequippedwiththese

devices.Theyareelaborateandexpensive.Theyarecertainlyuseful-andwewilldiscussthematgreaterlengthlateron-buttheyarenotindispensable.

Onestationaryshotaboutmidwaywillbeperfectlyadequate.Bymovingclosertoyoursubject,youeliminatealotofbackgrounddetailnolongerofinterest.Whatismore,yoursubjectgrowslargeronthescreen;

interestisbeingconcentratedonhim;

andsmoothlynaturally,unobtrusively,heisbeingbuiltupfortheultimatecloseup.Themediumshot,or"

MS,"

istransitionshotbridgingthejumpfromlongshottocloseup,andbuildingupthesubject.

Beforeproceeding,itisessentialtoclearupanyuncertaintyaboutjustwheretoplacetheMS.Wecalleditamidwayshot,butthatterm,likesomanyothersinmotion-picturephotography,iselastic.Themediumshot

doesnothavetobeamathematicalhalfofthedistancebetweenlongshotandcloseup.Itcanbenearereitherone,whicheverservesthepurposebetter.Itdependsonthecircumstances;

longshot,mediumshot,andcloseupareallrelative.Bearinmindonlythatyouwantyourtransitiontobesmooth,andyoursubjecttobebuiltupgradually.Forthecaseinpoint,anMStakinginthetopofMr.Prospect'

sdeskandalittleofthebackgroundsuitsyourpurposenicely.Thedeskisnownotjustanotherpieceoffurniture,butthemainproptosetoff-andfocusattentionon-Mr.Prospect.

TheCloseUp

Itisthecloseup,the"

CU."

towhichtheLSandMS,properlyexecuted,pavetheway.Yourhumaneye,wenoted,cameasclosetoMr.Prospectasitcould.Andthatclosenesscreatedintimacyandwarmth.Youreye'

s

CUgratifiedanaturalurgetoseeMr.Prospectfromapointwherehisfacialexpressionsmightbestudiedcloselyandindetail.

Thuswhenyourcameratakesitscloseup,youraudiencewillseeMr.Prospect'

sface,hisheadandshouldersfillingthescreen,hiseveryexpressionvividandalive.Inthefullmeaningoftheterm,hewillbe"

bigaslife."

Certainthingsabouthimthatmighthavebeenvagueorlosttotheaudienceinalongormediumshot,hisprominentnose,hisdappermustache,hisfancytie.allelementsofhispersonality,willnowstriketheaudiencewithgreatemphasisandclarity.It.too,willbefacetofacewith

Mr.Prospectandheabletoobserveandrespondtotheplayofemotionhisfaceshows.Thecloseupisthemostrevealing,mostexpressiveofmotion-

pictureshots.

TheuseoftheCUcanbeagreatart;

itsmereintroductionbyDavidWarkGriffithrevolutionizedearlyfilmtechnique.Sodon'

ttakeitforgranted,ordismissitasobvious.Itisobviousenoughwhenseen,butmanyyearsofmoviemakingpassedbeforeGriffithfirstusedit.Itissadlyneglectedbythehomemoviecameramantoday.

Action-NotPosing!

Thereisawordwehaveusedwithgreatfamiliarity,aworddescribingsomethingsoinherentinmotion-picturecontinuity,somuchtakenforgranted,thatitisoftenpassedbywithoutpropermention.Thewordisaction.Letusholdontoitforamomentandgiveitdueemphasis.Itisa

characteristicoftheanimated-snapshot,pseudo-movietohavethesubjectsposing,doingnothingbutobviouslyawareofwhatisgoingon.Now,pictorialcontinuitymustcreateamotion-picturestory.Toachievetheeffectofastory,getyoursubjectstodosomething;

don'

tletthemstandorsitstifflyandstareintothecamera.（Theverybadthingaboutstaringintothecameraisthattheaudienceimmediateperceivesthattheactorisawareofthecamera.Thisdestroysthatenjoyableillusionofbeingprivilegedtopeepintoascenewhereintheplayersareunconsciousofspectators;

itdestroysthescene'

snaturalness.）

Gettingasubjecttodosomethingisverysimple.InsteadofleavingMr.Prospectjustsittingth