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  • you know, I'm I always told me to file my nails.

    你知道,我總是告訴我,我的指甲銼。

  • Otherwise, that might just end up scratching somebody.

    否則,最後可能就會劃傷別人。

  • But be mining around no more.

    但不要再到處挖礦了。

  • In she pause.

    在她頓了頓。

  • This is what a film might look like if cameras were set up, someone hit record and then just walked away.

    這就是一部電影的樣子,如果攝影機架好了,有人按了錄音鍵,然後就走開了。

  • There's no thought behind the framing or perspective, and it lacks any stylistic choices.

    畫面和視角背後沒有任何思考,缺乏任何風格選擇。

  • It's what might happen if someone like me is an onset.

    如果像我這樣的人是一個發病者,可能會發生什麼。

  • My name is Oliver, and I'm a camera operator.

    我叫奧利弗,我是個攝像師。

  • Let's go in to see all the different ways a camera operator might film a scene.

    讓我們進去看看攝像師拍攝場景的各種不同方式。

  • Rewind before we do anything else.

    在我們做任何事情之前,倒帶。

  • Let's get a camera operator in here.

    讓我們在這裡得到一個攝像師。

  • That's more like it.

    這還差不多。

  • Now let's get to it.

    現在讓我們開始吧。

  • Before the camera was completely stationary by utilizing pans, which are left and right movements and tilt, which are up and down movements, we can let our actors naturally moving the scene without running into weird prop frames.

    在攝影機完全靜止之前,通過利用左右移動的平移和上下移動的傾斜,我們可以讓我們的演員自然地移動場景,而不會遇到奇怪的道具框架。

  • Let's see the scene again with those in action.

    讓我們再來看看那些行動中的場景。

  • You know, I'm I always told me to file my nails, otherwise I might just end up scratching somebody, but denying around no more.

    你知道,我總是告訴我,我的指甲銼, 否則我可能只是結束了劃傷別人, 但否認周圍沒有更多的。

  • She, in addition, depending you can also physically move the camera to reveal scenes, characters or objects in dramatic ways.

    她,此外,根據你還可以物理移動相機,以揭示場景,人物或對象的戲劇性方式。

  • By putting the camera on a world platform called a Dolly, you could connect two shots into one with a single swift movement.

    通過將相機放在一個叫做 "多利 "的世界平臺上,你可以用一個快速的動作將兩個鏡頭連接成一個。

  • Let's see what that looks like in action, but the mining around no more.

    讓我們來看看是什麼樣子的行動,但周圍的採礦沒有了。

  • Each method provides its own stylized way of revealing different aspects of the scene.

    每種方法都提供了自己的風格化方式,以揭示場景的不同方面。

  • You mind telling me to get over here?

    你介意叫我過來嗎?

  • Have you no respect?

    你不尊重我嗎?

  • She's sleeping with the malls.

    她在和商場睡覺。

  • Sorry.

    對不起,我不知道

  • No disrespect to your mouth or me.

    沒有不尊重你的嘴,也沒有不尊重我的意思。

  • Marr, Mamma Mia!

    馬爾,《媽媽咪呀》!

  • Whatever.

    管他呢

  • But I'm not really the getting kidnapped type.

    但我不是那種被綁架的類型。

  • Notice the camera angles here, filming up that someone could make them seem or intimidating while filming down on someone could make them seem weaker.

    注意這裡的攝影角度,拍上那個人可以讓他們看起來或嚇人,而拍下那個人可以讓他們看起來更弱。

  • Since the hitman has the upper hand right now, we should probably swap these angles there.

    既然打手現在佔了上風,我們也許應該把這些角度換到那裡。

  • That's better.

    這樣更好。

  • This really helps put the hit man in a position of power.

    這確實有助於讓打手處於強勢地位。

  • Sorry, no disrespect to your Mao or me, Ma or Mamma Mia or whatever, but not really the getting kidnapped type.

    對不起,沒有不尊重你的毛澤東或者我,媽或者媽咪什麼的,但不是真的被綁架的那種。

  • Shut the hell up and tell me what you know about Joann's fabrics.

    閉上你的臭嘴,告訴我你對Joann's面料瞭解多少。

  • Listen, I don't want nothing to do with this close up shots on a single person like the ones we just saw could be good when trying to emphasize a moment or get a character's reaction.

    聽著,我不想沒事找事,像我們剛才看到的那種對一個人的特寫鏡頭,在試圖強調某個時刻或得到一個人物的反應時,可能是不錯的。

  • However, let's switch to an over the shoulder shot when two people are talking, these kinds of shots place him in the scene together, highlighting the relationship.

    不過,我們在兩個人說話的時候,換成過肩鏡頭,這類鏡頭把他放在一起的場景中,突出關係。

  • Sometimes we call it dirtying up the frame.

    有時我們把它叫做 "髒了框架"。

  • Look, I don't even want Beatrice is money.

    聽著,我甚至不想要Beatrice的錢。

  • Just take it.

    拿去吧

  • Take me out of this.

    帶我離開這裡

  • I said, Do yourself a favor and shut up when I'm talking to you.

    我說,幫個忙,我跟你說話的時候你就閉嘴。

  • Sorry, but when there's no a C, I got a little bit more.

    對不起,但是當沒有C的時候,我就多了一點。

  • So far, we have been using a tripod to film this scene.

    到目前為止,我們一直使用三腳架來拍攝這個場景。

  • Tripods provided more grounded static feeling.

    三腳架提供了更接地氣的靜態感覺。

  • Watch out smooth and stable.

    注意平穩、穩定。

  • Everything is in the next shot.

    一切都在下一個鏡頭裡。

  • You know, I used to say, Don't speak until you finish chewing your Cheerios.

    你知道嗎,我曾經說過,在你嚼完你的Cheerios之前不要說話。

  • If you keep your mouth shut, stay out of trouble.

    如果你閉上你的嘴,就不會有麻煩。

  • Wow, Maybe I didn't listen enough to that last one.

    哇,也許我沒有聽夠最後一個。

  • However, filming handheld can add a dramatic realism.

    不過,手持拍攝可以增加戲劇性的真實感。

  • It feels more spontaneous and could follow the actors movement at any moment.

    感覺比較隨性,隨時可以跟著演員的動作走。

  • Let's see that line again.

    我們再來看看這句話。

  • Shot handheld.

    手持拍攝。

  • You know, my used to say don't speak until you finished your in your Cheerios.

    你知道嗎,我以前常說,在你吃完你的Cheerios之前不要說話。

  • If you keep your mouth shut, stay out of trouble.

    如果你閉上你的嘴,就不會有麻煩。

  • Well, maybe I didn't listen enough to that last one.

    好吧,也許我沒有聽夠最後一個。

  • While camera moves on the tripod keep the film alive, adding handheld moves can keep the viewer engaged.

    三腳架上的攝影機動作可以讓影片保持活力,而增加手持動作則可以讓觀眾參與其中。

  • Sometimes the uneasiness of the camera can attention to the scene.

    有時候,鏡頭的不安會關注到現場。

  • Listen, I'm trying to help you before a guy a lot less nicer than May fit you in a Paris cement shoes.

    聽著,我是想在一個比梅好得多的人給你穿上巴黎水泥鞋之前幫你。

  • We're talking huge, nasty, tiny little big.

    我們說的是巨大的,討厭的,小小的一點大。

  • So is he bigger Z tiny?

    那麼他是大Z小嗎?

  • What a me ma say about hold up that cut to the phone right?

    什麼是我媽說的抱起來,切到手機吧?

  • There wasn't very dynamic.

    沒有很好的動態。

  • When there's a dramatic action, you can syrup the scene and inject a sudden burst of energy with a whip pain.

    當有戲劇性的動作時,你可以用鞭子痛的方式,將現場的氣氛合成,並注入突然爆發的能量。

  • A whip pan is a pan that happens so quickly that motion becomes blurred like this.

    鞭盤是指盤子發生得太快,運動變得模糊這樣。

  • Whip pans can also be used as a transition between two separate shots, creating an effect ful jarring and surprising.

    抹布平移也可以作為兩個獨立鏡頭之間的過渡,創造出一種充滿震憾和驚喜的效果。

  • Let's try adding one in as a transition to the ringing phone would have me must say about, see how much more exciting that felt with a whip pan.

    讓我們試著加一個進去作為過渡,電話鈴聲會讓我必須說一下,看看用鞭盤的感覺多刺激。

  • It really added some urgency to the moment.

    這確實給這一刻增添了一些緊迫感。

  • Ah strewn Zoo.

    斑駁的動物園啊。

  • Forgive me, kind sir, but I got to get this.

    原諒我,好心的先生,但我得去接這個。

  • How you doing?

    你好嗎?

  • Wonderful.

    妙不可言

  • Yeah, I'm looking at these big, beautiful head right now.

    是啊,我現在正看著這些又大又美的腦袋。

  • His kind guys were standing right at.

    他的好心人就站在。

  • Looks like a sweetheart.

    看起來像個甜心

  • I almost feel bad about all this.

    我幾乎對這一切感到抱歉。

  • Okay.

    好吧,我知道了

  • So far, the camera has been focused on the hit man for the whole phone call.

    到目前為止,整個電話通話過程中,鏡頭一直集中在打手身上。

  • Because of this, we miss something vital.

    正因為如此,我們錯過了一些至關重要的東西。

  • Let's rewind.

    讓我們倒帶。

  • Yeah, I'm looking at his big, beautiful head right now by doing what we call a rack focus.

    是的,我現在正看著他那顆美麗的大腦袋,我們稱之為 "機架聚焦"。

  • We can draw the viewers attention to new things, forming a connection between two items on screen that have the physical space between them.

    我們可以將觀眾的注意力吸引到新的事物上,形成螢幕上兩個物品之間的聯繫,它們之間有物理空間。

  • Watch how this technique can shift the focus from the hit man to the lawyer.

    看這個技巧如何將焦點從殺手轉移到律師身上。

  • His current guys were staring right at me.

    他現在的人正盯著我看。

  • He looks like a sweetheart.

    他看起來像個甜心

  • I almost feel bad about all this before this shot of the nail file seemed arbitrary.

    在這個指甲銼的鏡頭前,我幾乎覺得這一切都很糟糕,顯得很隨意。

  • Now the rack focus makes it clear that it's an item that has caught the lawyers attention.

    現在,架子重點說明,這是一個引起律師注意的項目。

  • I can't hear a word I'm saying.

    我說的話一個字都聽不見。

  • Can't say you made settling this easier on us, Mrs.

    不能說你讓我們解決這個問題更容易了,夫人。

  • F.

    F.

  • This is an important shot.

    這是一個重要的鏡頭。

  • But if we wanted to see me even more important, there are different ways we consume or Dolly in to emphasize objects or emotions.

    但如果我們想看到我更重要,我們有不同的消費方式或多利在強調對象或情感。

  • You could do a very quick snap.

    你可以做一個非常快速的捕捉。

  • Zoom this immediately shoves whatever it's focusing on into the audiences faces, but it has more of a documentary feel.

    放大這馬上把任何它所關注的東西都推到了觀眾的臉上,但它更有紀錄片的感覺。

  • It might not be the best thing to do in this instance.

    在這種情況下,這可能不是最好的辦法。

  • Instead, let's try doing a slow zoom by doing a slow zoom.

    相反,我們可以嘗試通過做慢速變焦來進行慢速變焦。

  • The background around the nail file fades away, and we focus more intensely on the object itself.

    指甲銼周圍的背景逐漸消失,我們更集中地關注對象本身。

  • This as important to it in a way a stationary shot can.

    這對它來說,重要的是以靜止拍攝的方式可以。

  • Additionally, you can achieve a different feeling by darling in on a subject watch.

    此外,你還可以通過親愛的在主題手錶上實現不同的感覺。

  • This dahling in brings the viewer physically closer to the subject, moving three dimensionally through the space.

    這種dahling in使觀眾在物理上更接近主體,在空間中三維移動。

  • It can add a very personal feeling and is great for a tense moment like this.

    它可以增加一種很個人的感覺,很適合這樣的緊張時刻。

  • Yeah, we're still still working it out.

    是的,我們還在解決這個問題。

  • Yeah, yeah, wonderful.

    是啊,是啊,太好了。

  • There are tons of different lens types for your camera, which each affect the shot in their own ways.

    你的相機有大量不同的鏡頭類型,它們都會以各自的方式影響拍攝。

  • Normally, it's the director or cinematographer's job to choose a lens, but a camera operator needs to know how every lens functions.

    通常,選擇鏡頭是導演或攝影師的工作,但攝像師需要了解每個鏡頭的功能。

  • Right now, we're using a wide lens that is fairly close to the lawyer.

    現在,我們使用的是離律師相當近的廣角鏡頭。

  • This allows us to see a lot in the background of the shot and makes the hitman seem far away.

    這樣我們可以看到很多鏡頭背景,讓打手看起來很遠。

  • However, switching to a longer lens that is further back shrinks the space between them and brings them closer to one another.

    然而,換成更遠的長鏡頭,就會縮小它們之間的空間,使它們彼此更接近。

  • This could make things feel more compressed, intense.

    這樣可以讓人感覺更加壓縮、激烈。

  • It's gonna take the fall, destroy that tape.

    它要去承擔的秋天,破壞了錄音帶。

  • It's in the bag.

    它在袋子裡。

  • The bag Bada bing.

    包巴達乒。

  • Slap my face and call me Charlie.

    打我的臉,叫我查理。

  • Gotta go.

    去吧去吧。

  • Gotta know Tea boy on our hands.

    我知道我們手上有茶葉男孩

  • Now let me get this straight.

    現在讓我把話說清楚

  • So, Greg, Sammy or whatever the hell his name is was just a patsy.

    所以,Greg,Sammy或者不管他叫什麼名字,都只是個替罪羊。

  • Mrs.

    太太

  • Fontana wanted her ex hubby fried since his Rottweiler scrambled up her workplace cause this whole section, the lawyer transitioned from a weaker character into a more powerful one.

    方塔娜要她的前老公炸了,因為他的羅威納犬爭搶了她的工作場所,原因這一整節,律師從一個較弱的角色過渡到一個較強的角色。

  • However, the camera didn't reflect this by altering the camera angle during the scene.

    不過,在拍攝過程中,攝影機並沒有通過改變拍攝角度來體現這一點。

  • We can change how the audience subconsciously views someone.

    我們可以改變觀眾潛意識中對某人的看法。

  • Let's try that again.

    讓我們再試一次。

  • But move the perspective from a high angle to a low one.

    但把視角從高角度移到低角度。

  • Now let me get this straight.

    現在讓我把話說清楚

  • So Greg or Sami, whatever the hell his name is was just a patsy Mrs for Todd.

    所以Greg或者Sami,不管他叫什麼名字,都只是Todd的馬屁精。

  • I wanted directs Hubby fried since his Rottweiler scrambled up her workplace.

    我想直接把老公炒了,因為他的羅威納犬在她的工作場所裡亂竄。

  • Listen, Donatello.

    列表,多納泰羅。

  • No, you listen.

    不,你聽。

  • She was having trouble bringing home the bacon.

    她很難把培根帶回家。

  • So now she's over hard with the mob.

    所以現在她和黑幫的關係已經很好了。

  • So you guys turned Joann's fabrics into burnt toast and she goes and collects the insurance there.

    所以你們把Joann的布料變成了燒焦的吐司,她去那裡收保險金。

  • That shit really highlights how the status has changed in this moment.

    這破事真是凸顯了此刻地位的變化。

  • You should have put your right track shot and shoot your Cheerios.

    你應該把你的正確軌道拍攝和拍攝你的Cheerios。

  • Give me my say hi to your ma for me.

    替我向你媽問好。

  • Now that the scene is coming to a close, a nice way to exit a scene is with a gym move a gym, is a piece of equipment with a camera on one end and counterweights on the other and allows for a sweeping our commotion.

    現在場景已經接近尾聲了,退出場景的一個好辦法就是用健身器移動健身器,是一種一端有攝像頭,另一端有配重的設備,可以掃視我們的騷動。

  • It's a great way to establish the scenes beginning or ending how cameras utilized has an incredible impact on the way a story is told and could greatly influence that types of emotions.

    這是一個偉大的方式來建立場景開始或結束如何利用相機有一個令人難以置信的影響的方式一個故事被告知,並可能會大大影響該類型的情緒。

you know, I'm I always told me to file my nails.

你知道,我總是告訴我,我的指甲銼。

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    林宜悉 發佈於 2020 年 09 月 06 日
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