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Structure Characterization of HSQ Films for Low Dielectrics Using D5 as Sacrificial Porous

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CHIN.PHYS.LETT.Vol.24,No.12(2007)3532 Structure Characterization of HSQ Films for Low Dielectrics Using D5asSacrificial Porous Materials∗YIN Gui-Qin( )∗∗,NING Zhao-Yuan( ),YUAN Qiang-Hua( )Department of Physics,Soochow University,Suzhou215006(Received3May2007)Low-density materials,commercially available hydrogensilsesquioxane(HSQ)offer a low dielectric constant.HSQ films can be obtained by spin on deposition(SOD).In this work,low-dielectric-constant HSQfilms are prepared by using D5(decamethylcyclopentasiloxane)as sacrificial porous materials.The dielectric constant of silicafilms significantly changes from3.0to2.4.We report the structural aspects of thefilms in relation to their composition after annealed at300◦C,400◦C,and500◦C for1.5h in nitrogen ambient and annealed at400◦C for1.5h in vacuum.Si–OH appears after annealed at400◦C for1.5h in vacuum.The results indicate that the proper condition is in nitrogen ambient.Intensity of the Si–H peak increases with the increasing temperature.Fourier transform infrared spectroscopy is used to identify the network structure and cage structure of Si–O–Si bonds and other possible bonds.Dielectric constant k is significantly lowered by annealing at350◦C for1.5h in nitrogen ambient.The I–V and C–V measurements are used to determine the dielectric constant,the electric resistivity and the breakdown electricfield.PACS:77.84.−s,81.20.Fw,81.15.Rs.Low dielectric constant(low-k)material is one of the central development targets in the electronics in-dustry.For example,microchip device densities con-tinue to increase,generating much demands for insu-lators with a lower dielectric constant than that of dense silicon dioxide(k=3.9−4.2).According to the international technology roadmap for semiconductors (ITRS),it is necessary to obtain thefilm with the lower dielectric constant and high conductivity metal for interconnects in order to reduce this delay and to increase the signal propagation speed.[1−3]Reducing the dielectric constant of afilm can be accomplished either by introduction of pores or by reducing the po-larization of chemical bonds.Many deposition tech-niques have been reported to fabricate porous low-k materials.Spin-on deposition(SOD)is a very poten-tial method because pore volume and pore size can be controlled at the chemical solution stage.Dielectric constant materials presently under investigation are MSQ,HSQ,SiCOH,porous silica and silica-carbon andfluorinated-carbon.[4−6]Among various low-k ma-terials,hydrogensilsesquioxane(HSQ)is one of the promising candidates at65nm technology.The low-k property of HSQ can be achieved by maximized the density of Si–H bonds and minimized the Si–OH bonds.HSQ is a high porous three-dimensional net-work structure,which has a low dielectric constant. The low-k materials must have high quality and re-liability,prepared by a simple process,and should be compatible to different processes employed during integration.[7]In this Letter,we focus on porous organic silicon by decomposing the sacrificial materials within the HSQfilms.This method has the advantage of high porosities and using homogeneous precursors to bet-ter control over composition and decomposition.We report the ordered hybrid porousfilms by using D5 (decamethylcyclopentasiloxane)and the structure of thesefilms annealed at300◦C,400◦C,and500◦C for 1.5h in nitrogen ambient and annealed at400◦C for 1.5h in vacuum.We took10mL HSQ and2mL D5solved in3mL methyl isobutyl ketone(MIBK)and stirred for20min by using magnetic stick.The P-Si(100)wafers cleaned by the standard RCA are spin-coated with this mix-ing of HSQ and D5and then baked on the hot plate at300◦C for1min.They are followed by furnace annealing at300◦C,400◦C and500◦C for1.5h in ni-trogen ambient and at400◦C for1.5h in vacuum.An untreated sample(without any post-treatment)was used as the reference.Thefilms thicknesses were measured by an ET350 profilometer.Thefilm chemical bonding and struc-ture were characterized by FTIR spectroscopy using a JASCO600Plus with4cm−1resolution.The dielec-tric constant k was extracted from the capacitance-voltage(C−V)characteristics measured at1MHz frequency by HP4294A.The C−V characteristics and the current-voltage(I−V)measurements by Keith-ley6517A were performed on MIS structures fabri-cated as Aluminum/MSQ/p-Si.The current-voltage (I−V)characteristics of these MIS structures were also measured to evaluate the leakage current.The FTIR spectrum of HSQ gives the following∗Support by the National Natural Science Foundation of China under Grant No10575074,and the Specialized Research Fund for the Doctoral Programme of Higher Education of China under Grant No20050285007.∗∗Email:yinguiq@c 2007Chinese Physical Society and IOP Publishing LtdNo.12YIN Gui-Qin et al.3533absorption peaks:(1)Si–H stretch mode (2250cm −1),(2)Si-O stretch cage-like peak (1130cm −1),(3)Si-O stretch network (1070cm −1),(4)Si-O bending net-work peak (860cm −1),(5)Si-O bending network peak (830cm −1).Fig.1.Structure of D5liquid.Figure 1shows the network structure of D5.Fig-ure 2shows the FTIR spectra of HSQ adding D5films with (a)annealed at 300◦C for 1.5h in N 2,(b)an-nealed at 400◦C for 1.5h in vacuum,(c)annealed at 500◦C for 1.5h in N 2,(d)untreated,(e)annealed at 400◦C for 1.5h in N 2.The results indicate that the intensity of Si–H (2250cm −1)stretch bonds at 500◦C is stronger than those at 400◦C and 300◦C.Thus it is good to keep Si–H bonds for low-k materials at higher annealing temperature.The Si–OH (about 3670cm −1)bonds appear after annealing at 400◦C in vacuum.The possible reason is that Si–CH 3(about 1260cm −1)bonds and C–H (about 2960cm −1)bonds were broken during the annealing,and then they form Si–OH bonds.Si–OH bonds correspond to moisture.The highly orientation polarized Si–OH components will increase the k value of the films.Furthermore,the Si–OH bonds in the HSQ films lead to moisture uptake,which is responsible for increases of the k value and the leakage current density.[8]These results indi-cate that films annealed in vacuum can not eliminate absorbed water,so the proper condition is in nitrogen ambient.Peak intensity of the Si–O cage-like struc-ture was less than that of the Si-O network structure shown in Fig.2(d).After annealed,the intensity of Si-O cage-like structure became stronger than without annealed.As we all know,the Si–O cage-like structure has low molecular density.Thus it is benefit to low-k materials.Therefore,annealing is necessary to keep Si–H bonds and Si–O cage-like structure.Fig.2(c)is similar to HSQ,which only has Si–H bond and Si–O–Si bonds.These show that D5has been decomposed after annealed,which can produce porosities in the HSQ films.The dielectric constant is calculated by the stan-dard expression k =Cd/ε0A,where C is the capaci-tance,d is the thickness of the film,ε0is the permittiv-ity (8.854×10−12Fm −1),and A is the electrode area.The thicknesses of these films are conducted by an ET350profilometer,which are (a)285nm,(b)283nm,(c)282nm,(d)281nm.Figure 3shows the dielectric constant of the HSQ films adding D5films with (a)un-treated,(b)annealed at 300◦C for 1.5h in N 2,(c)an-nealed at 400◦C for 1.5h in N 2,(d)annealed at 500◦C for 1.5h in N 2.The dielectric constant decreases after annealing.The structure of annealed films have been changed,e.g.,the absorbed water bonds (Si–OH)de-crease and the cage-like structure Si–O–Si bonds in-crease,which result in decrease of dielectric constant.The dielectric constant increases with increasing tem-perature.The reason is that the network structure Si–O–Si bonds increases with the increasing anneal-ing temperature,which result in increase of moleculardensity.Fig.2.FTIR spectra of HSQ adding D5films (a )an-nealed at 300◦C for 1.5h in N 2,annealed at 300◦C for 1.5h in N 2,(b )annealed at 400◦C for 1.5h in vacuum,(c )annealed at 500◦C for 1.5h in N 2,(d )untreated,(e )annealed at 400◦C for 1.5h in N 2.Fig.3.Dielectric constant of HSQ films (a)untreated,(b)annealed at 300◦C for 1.5h in N 2,(c)annealed at 400◦C for 1.5h in N 2,(d)annealed at 500◦C for 1.5h in N 2.Figure 4shows the leakage current density of HSQ films (a)annealed at 300◦C for 1.5h in N 2;(b)an-3534YIN Gui-Qin et al.Vol.24nealed at 400◦C for 1.5h in N 2;(c)annealed at 500◦C for 1.5h in N 2.The leakage current density in Fig.4(c)is less than the others.The same reason is that Si–OH disappears and molecular density increases.The leak-age current density in Fig.4(b)increases no less than one magnitude compared to the others.The reason is that at 400◦C,the intensity of the cage-like structure Si–O–Si bonds is higher than those at 500◦C and at 300◦C.Fig.4.Leakage current density of HSQ films (a)annealed at 300◦C for 1.5h in N 2,(b)annealed at 400◦C for 1.5h in N 2,(c)annealed at 500◦C for 1.5h in N 2.In summary,we have shown the structure of the HSQ films annealed at 300◦C,400◦C,and 500◦C for 1.5h in nitrogen ambient and annealed at 400◦C for 1.5h in vacuum by using D5(decamethylcyclopen-tasiloxane)as sacrificial porous materials.The results indicate that the proper annealing condition is in ni-trogen ambient.In nitrogen ambient,the cage-like structure Si–O–Si bonds increase and absorbed wa-ter bonds (Si–OH)decrease,leading to low dielectric constant of the films.The reason is that the charac-teristic of nitrogen is very stable,so it is the structural change of these films to lower the dielectric constant.We have also shown that the leakage current density and dielectric constant both can be improved after annealing in nitrogen ambient.The leakage current density decreases with the increasing annealing tem-perature.References[1]Seidel T E and Ting C H 1995Mater.Res.Soc.Symp.Proc.3813[2]Pai P L and Ting C H 1989Proc.IEEE VIMC Conference(Santo Clara 16–18June 1989)p 258[3]1997The Semiconductor Technology Roadmap for Semi-conductors (San Jose,CA:Semiconductor Industry Associ-ation)[4]Liu P T,Chang T C,Hsu K C,Tseng T Y,Chen L M,Wang C J and Sze S M 2002Thin Solid Films 4141[5]Gill A 2001Diam.Relat.Mater 10234[6]Maex K,Baklanov M R,Shamiryan D,Iacopi F,Brongersma S H and Yanovitskaya Z S 2003J.Appl.Phys.938793[7]Liu P T,Chang T C,Yang Y L,Cheng Y F and Sze S M2000IEEE Trans.Electron.Devices 471733[8]Liu P T,Chang T C,Su H,Mor Y S,Yang Y and ChungH,Hou J and Sze S M 2001J.Electrochem.Soc.148F30。

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戏剧影视文学英文

戏剧影视文学英文

IntroductionDramatic television and film literature represent the pinnacle of artistic expression within the audiovisual medium, transcending mere entertainment to offer profound insights into the human condition, societal complexities, and the intricate tapestry of emotions that define us. A high-quality, standardized piece of dramatic content is not merely a sum of its technical prowess or star-studded cast; rather, it is an intricate interplay of narrative structure, character development, thematic depth, visual aesthetics, and socio-cultural relevance. This essay aims to provide a comprehensive, multifaceted analysis of these elements, examining their roles in creating a truly exceptional work of dramatic television or film literature.I. Narrative Structure: The Backbone of Dramatic CohesionThe narrative structure forms the skeletal framework upon which the entire drama rests. A well-crafted narrative is characterized by a coherent plot, logical progression of events, and effective use of literary devices such as foreshadowing, flashbacks, and nonlinear storytelling. High-quality dramatic content often employs intricate narratives that challenge the audience's expectations, offering twists and turns that keep viewers intellectually engaged and emotionally invested.Moreover, a standardized narrative structure adheres to the principles of narrative unity, ensuring that every subplot, character arc, and thematic thread contributes to the overall story. This cohesion allows for a seamless integration of diverse elements, preventing the narrative from feeling disjointed or meandering. For instance, the acclaimed series "Breaking Bad" masterfully weaves together multiple narrative threads, each meticulously connected to the central theme of moral decay, to create a gripping and cohesive narrative that captivates viewers from start to finish.II. Character Development: The Heart of Dramatic EmpathyCharacters are the lifeblood of any dramatic work, serving as the conduits through which themes are explored and narratives unfold. Exceptional characterdevelopment involves crafting complex, multi-dimensional personas who evolve over time, driven by plausible motivations, inner conflicts, and interpersonal dynamics. High-quality dramatic content avoids stereotypes and clichés, opting instead for nuanced characters whose actions and decisions resonate with authenticity and depth.Standardization in character development entails adherence to the principles of consistency and plausibility. Characters should behave in ways that remain true to their established personalities and backgrounds, even as they confront new challenges and experiences. Furthermore, their growth and transformation should be grounded in the story's context and driven by the narrative's internal logic. For example, Tony Soprano in "The Sopranos" undergoes a profound psychological metamorphosis throughout the series, yet his evolution remains anchored in his Mafia background, family dynamics, and personal demons, rendering it both plausible and deeply affecting.III. Thematic Depth: The Intellectual Core of Dramatic SubstanceThematic depth is the intellectual underpinning that elevates dramatic content from mere entertainment to thought-provoking art. High-quality dramas explore universal themes – such as love, loss, identity, power, morality, and social justice – in innovative and insightful ways, prompting audiences to reflect on their own lives and the world around them. These themes should be seamlessly integrated into the narrative and character arcs, resonating throughout the entire work and providing a unifying conceptual framework.Standardization in thematic exploration involves maintaining a consistent level of profundity and relevance across the narrative. Themes should not be treated superficially or introduced haphazardly, but rather developed with care and deliberation, allowing them to unfold naturally and organically within the story. The critically acclaimed series "The Wire" exemplifies this standard, as it intricately examines various interconnected themes –such as institutional corruption, urban decay, and the war on drugs –over its five-season run, presenting a nuanced and thought-provoking critique ofcontemporary American society.IV. Visual Aesthetics: The Emotional Impact of Dramatic ImageryVisual aesthetics play a crucial role in shaping the emotional landscape of a dramatic work, evoking feelings, moods, and atmospheres that enhance the narrative's impact. High-quality dramatic content harnesses the power of cinematography, production design, costume, and editing to create visually stunning and emotionally resonant imagery. These elements should not only be aesthetically pleasing but also serve a narrative purpose, reinforcing themes, revealing character traits, and advancing the plot.Standardization in visual aesthetics involves maintaining a cohesive and distinctive visual style throughout the work, reflecting the narrative's tone, themes, and setting. This consistency ensures that the visual language becomes an integral part of the storytelling, enhancing the audience's immersion in the dramatised world. The groundbreaking series "Mad Men," with its meticulous recreation of 1960s America and evocative cinematography, exemplifies the importance of visual aesthetics in establishing mood, atmosphere, and historical verisimilitude.V. Socio-Cultural Relevance: The Mirror of Dramatic RealismFinally, high-quality dramatic content holds a mirror up to society, reflecting its values, conflicts, and contradictions. It engages with contemporary issues, cultural norms, and historical contexts, offering nuanced perspectives and fostering critical discourse. Standardization in socio-cultural relevance entails ensuring that the drama accurately represents and respectfully engages with the cultures, communities, and historical periods it portrays, avoiding stereotypes, misrepresentations, and tokenism.For instance, the series "When They See Us" poignantly addresses the issue of systemic racism and the miscarriage of justice within the American criminal justice system, giving voice to the experiences of the Exonerated Five. By doing so, it not only serves as a powerful commentary on a pressing social issue but also fosters empathy, understanding, and a call for change.ConclusionIn conclusion, a high-quality, standardized piece of dramatic television or film literature is a masterful symphony of narrative structure, character development, thematic depth, visual aesthetics, and socio-cultural relevance. Each element plays a vital role in creating a cohesive, compelling, and thought-provoking work that resonates with viewers on multiple levels. As the medium continues to evolve, it is essential that creators and critics alike strive for these standards, ensuring that dramatic content remains not just a form of entertainment, but a powerful tool for artistic expression, social commentary, and human connection.。

纳米二氧化硅的改性与应用及聚倍半硅氧烷结构和性能研究

纳米二氧化硅的改性与应用及聚倍半硅氧烷结构和性能研究

复旦大学碾士学位论文１．４．６复合材料中纳米二氧化硅的形貌表征图１—１１和１－１２是纳米二氧化硅ＳＰｌ和Ａ２００分散在丙烯酸树脂中的透射电镜照片。

与纳米二氧化硅在醋酸丁酯中的分散性一样，用ＭＡＰＴＳ改性的二氧化硅相对未改性的二氧化硅来说，具有较好的分散性，这点对于ＳＰｌ来说尤为明显（见图１—１ｌａ和１．１ｌｂ）。

另外，通过原位聚合制备的纳米复合材料中，二氧化硅的分散性优于通过共混法制各的（见图１－ｌｌｂ和】．１ｌｃ），这是由于改性的二氧化硅中含有可与丙烯酸酯单体反应的基团，在原位聚合中，与丙烯酸酯链段有较强作用，有利其分散。

然而这些对于纳米二氧化硅Ａ２００来说都不是那么明显（见图１－１２），无论是否改性，无论使用原位或者共混得方法，对于Ａ２００在丙烯酸树脂中的分散性没有很大影响。

这可能是纳米二氧化硅Ａ２００相对ＳＰｌ而言，本身就具有较小的比表面积以及较低的羟基含量，使其在丙烯酸树脂中具有比较好的分散性，所以通过ＭＡＰＴＳ对其改性，欲使其更易分散并没有在Ａ２００中体现出来。

（ａ）复旦大学硕士学位论文（ｃ）图１－ｌｌ含有ＳＰｌ的复合涂层的ＴＥＭ照片（ａ）含有共混的未改性的二氧化硅（ｂ）含有共混的改性的二氧化硅（ｃ）含有原位生成改性的二氧化硅Ｆｉｇｕｒｅ１－１１ＴＥＭｐｉｃｔｕｒｅｓｏｆｃｏｍｐｏｓｉｔｅｓｃｏｎｔａｉｎｉｎｇＳＰＩｐｒｅｐａｒｅｄｂｙ【ａ）ｂｌｅｎｄｉｎｇｗｉｔｈｕｎｍｏｄｉｆｉｅｄｎａｎｏ－ｓｉｌｉｃａ，（ｂ）ｂｌｅｎｄｉｎｇｗｉｔｈｍｏｄｉｆｉｅｄｎａｎｏ·ｓｉｌｉｃａａｎｄ（ｃ）ｉｎ—ｓｉｔｕｍｅｔｈｏｄｗｉｔｈｍｏｄｉｆｉｅｄｎａｎｏ－ｓｉｌｉｃａ（ａ）（ｂ）复旦大学硕士学位论文（ｃ）图１－１２含有Ａ２００的复合涂层的ＴＥＭ照片（ａ）含有共混的未改性的二氧化硅（ｂ）含有共混的改性的二氧化硅（ｃ）古有原位生成改性的二氧化硅Ｆｉｇｕｒｅ１－１２ＴＥＭｐｉｃｔｕｒｅｓｏｆｃｏｍｐｏｓｉｔｅｓｃｏｎｔａｉｎｉｎｇＡ２００ｐｒｅｐａｒｅｄｂｙ（ａ）ｂｌｅｎｄｉｎｇｗｉｔｈｕｎｍｏｄｉｆｉｅｄｎａｎｏ－ｓｉｌｉｃａ，（ｂ）ｂｌｅｎｄｉｎｇｗｉｔｈｍｏｄｉｆｉｅｄｒｉａｎｏ－ｓｉｌｉｃａａｎｄ（ｃ）ｉｎ－ｓｉｔｕｍｅｔｈｏｄｗｉｔｈｍｏｄｉｆｉｅｄｎａｎｏ．ｓｉｌｉｃａ１．４．７改性对复合树脂Ｔｇ的影响图１．１３至图１．１５为纳米复合树脂的ＤＭＡ损耗曲线。

电影特效材料中英文材料解析

电影特效材料中英文材料解析

大学英-中文翻译材料英文题目Film effects and compositing 中文题目电影特效合成学院：计算机科学与技术学院专业：学生姓名：指导教师：二O一六年六月Film EffectsIn the movie, artificially manufactured illusion and hallucinations, known as movie special effects (also known as special effects). In the movie birth, he has had to change electrical cover, said to be a spectacular revolution too. More and more computer-generated image is applied to the production of films in the works. Sometimes the charm of its visual effects has greatly exceeded the film story itself. "Another feature of the film is used as a visual media exists."We can say that the film was born in the beginning, we've got movie special effects initiation. Also like movie special effects movie of the same roots and long brothers in more than a century of years to witness this door thrive movie special art. And ushered in a new century, a new one more.Early years, by the use of special effects during the initial part of the films produced by the computer to the effects of all changes in the film, people have seen the impact and shock visually. It seems that in modern times, we have been hard to find ingredients without any special effects in a film. Visible, all shadow effects initiation. Also like movie special effects movie of the same roots and long brothers in more than a century of years to witness this door thrive movie special art. And ushered in a new century, a new one more.60s of last century, with the computer or that digital technology is mature and "seventh art" invasion led to the film as a visual art form has been earthshaking multiple categories of filmmakers with the majority of fans have also stepped special effects for the film on the assiduous no return.After the birth of the first climax: the first stage of movie special effectsMoving images eventually evolved into the final film in the hands of wise men Daumier brothers. And with the continuing integration of various technologies, as the seventh art films have their own unique charm. "Movie special effects," the term given to the film followed the birth can explore the place more. In the late nineteenth century to the early twentieth century, the film also ushered in the birth of the effects after the first surge of development. Wonders and amazing images of various monsters frequent leaps onto the big screen.The second phase of movie special effects: sustainable development, classic highlightsAfter the initial stages of exploration and summary, movie people have a more profound understanding of the term "movie special effects." More importantly, the development of filmmaking technology, special effects movie taste to a whole new level. Also, people on Earth from outer space fantasy also enriched this time special effects movie content, the "special effects people" who have a broader space to play. During this period there have been like <A Space Odyssey "and" Planet of the Apes> kind of classic. History of the development of special effects for the film adds permanent flash highlights.The third phase of movie special effects: the rapid take-off, masterpiece again and againAs a young man named George Lucas • few simple manuscripts gradually forming in his mind that the field of "Star Wars," then fired, and fired the special effects in movies revamped grand campaign. In the seventies and eighties of the twentieth century, this short period of two decades, movie special effects in the new creative ideas and technical course, including revamped computer imaging technology and has undergone enormous changes. Naturally, at this time, it is a "Star Wars" series, "Superman," "Indiana Jones," "Alien" and <abyss> so that sort of movie masterpiece. Not only rich people to the wonders of film gradually inflated demand, leaving the film itself has a wider space to play, shooting can not be done previously by means of a variety ofspecial effects to complete, perfect.The fourth stage of movie special effects: steady progress, excellenceBut the clock to turn of the century, film special effects has shown quite mature look. Effects depend on a variety of manufactured grand scenes, better films have emerged, though, and the seventies and eighties as a wide range, but also have their unmatched features. Among these, the "Lord of the Rings" series of unprecedented vast, simply become a milestone for the movie history. Even more amazing is that the "Lord of the Rings" also appeared in an unprecedented technology to produce full CG character "Gollum", the action vivid, lifelike facial expressions, the film seems to be all over the real role of acting, called the movie miracle. The same as the magical theme "• Harry Potter" series, tough hot <Terminator "series, puzzling Network World story," The Matrix "series, all reflect the effects of the great charm of the film, after mature. I believe that in the coming time, the special effects in movies based on constantly enhanced technologies and creative ideas on, will bring us more surprise.Special effects technologies includeMiniature model: people, monsters, buildings, and transportation models have been used to make the movie special effects. When the model must be moved, we can move through the following three ways in which any one of: hand, mechanical, electrical, or to make them move. Use hand takes a long time to move them, because the model activity on the screen within a second species, at least there are 24 action.The illusion of the film: at normal speed, motion picture film in every 24 seconds to shoot still pictures. Change the number of pictures taken within seconds of each can create some basic effects. Footage per second more than 24, will produce a slow-motion effect. Conversely, if the picture within less than 24 sec, then the movie will accelerate the action, this will become more intense, exciting.Computer generated image: people use computers, making the film special effects production speed and quality has made tremendous progress.Designers simply enter minimal information, the computer can automatically synthesize complex image and screen clips.List of movie special effects1 "Lord of the Rings" series, director Peter Jackson • In 2001 filming of "Lord of the Rings", the latest movie classic fantasy justifiably claim to special effects, the series trilogy swept the Oscar for best visual effects award three years, creating several one hundred million yuan at the box office astronomical.2 "Star Wars" series, "Star Wars" trilogy (1977-1982) was a "milestone in the history of cinema, one of the most important cultural events of the 20th century" and its influence is felt throughout the world. "Star Wars" movie focused on the use of the most advanced high-tech computers and digital production tools, creating an unprecedented space in the world.3 "Titanic" director James Cameron • Following the "Terminator," "True Lies" successful, well-built 1997 disaster love blockbuster "Titanic." Very powerful video effects, the highlight of the night wreck scenario, production staff increased keyframe animation in motion capture from the performers, the splashes when the collision between the falling debris from the ship, and the ship's sea spray, rope, smoke, fluctuations sails, iceberg, ice on the deck, crashing glass, and miserable people crashed into the sea during the phase, all looks very Era significance.4 "Terminator" series, James • Cameron produced in 1984 <Terminator>, about war 士卡尔雷斯voluntary return in 1984 toprotect Sarah, against the computer "Skynet" sent a robot through the passage of time. Great movie action scenes, T-800 machine skeleton human appearance, bullet beat to death scenes are very alarming. 5 "The Matrix" series, the Wachowski brothers in 1999 to build the <Matrix> Mourinho tells hackers successfully become a savior, and adventures in the virtual world wars the enemy, but unexpectedly became a blockbuster sci-fi special effects milestone. The film combines elements of Hong Kong action movies, kung fu, bullet everything, actor skip building the scene, there are professionals called "bullet time" effects processing, great pioneering spirit.Television synthesisSince the film, television appeared on our planet, synthesis technology to become an essential part, synthesis refers to the process a variety of source material mixed in a single composite picture of the process in animation production, it can be divided conventional synthetic techniques and digital synthesis. Traditional synthesis technology is mainly used in the film, filming the process of tape and film photofinishing process to achieve, although behind the process, but the result was very good, in the Disney animated film "Tom and Jerry", we can see Successful use of traditional synthesis techniques, and digital synthesis technology is compared to conventional synthesis technology is concerned, the main use of advanced computer graphics to learn the principles and methods to a variety of source material collected inside the computer, and the computer will be mixed into a single process complex images and then output to tape or film in this series complete the process.In the field of computer graphics into quite a long time, digital synthesis technology has been in the animation process, a more widely used, and its synthesis technology has reached a very high level, which we can from the "Rainbow Cat and Blue Rabbit Seven Xia Chuan "in those dazzling, incredible stunts but very realistic, fully demonstrated. With fat people improve theoretical computer and computer image processing speed, digital synthesis technology has been widely used. Animation artists in the use of computer-synthesized diversity strongly felt during the operation of digital synthesis technology brings great convenience and means. The effect of synthetic work more attractive than conventional synthesis techniques, more incredible, this synthesis technique for promoting the development of great power.Synthesis techniques using the lensShooting angle lens angle can be divided into objective and subjective perspective. Objectivity angle footage as if the audience time to participate in the process at the site to observe the activities of people and enjoy the scenery scenery in general, the picture is approachable, to life, it uses up to on television; subjective point of view due to the anthropomorphic viewpoint movement its way, often easier to mobilize the audience a sense of participation and attention, prone to intense psychological sense.(A) Pull the lensA pull-up features (1) Pull the lens shift after the formation of the visual effects; (2) pull the lens to make the subject into small, surrounding environment from small to big. 2, pull the lens (1) the relationship between the performance of the main body and the environment in between; (2) through a variety of interrelated factors visual vertical and longitudinal orientation of the space, you can generate suspense, contrast, Lenovo's artistic effect ; (3) Pull the lens inside the tight rhythm pine, compared with the push-up, better able to exert emotional finish, resulting in many subtle emotions.(B) shift lens1, the shift lens features (1) shift the lens movement is not bound by the body (2) Lens shift in favor of the performance scenes. 2, the lens shift function (1) to develop a picture of the shape of the space, creating a unique artistic effect; (2) the performance scenes, with magnificent results when modeling complex scenes great depth, multi-level, multi-shadow matter ; (3) can be a strong subjective color shift lens effect to show a more realistic feel and live; sense of participation (4) caused immersive, marching figures used subjective lens.(C) with the lens 1, with the characteristics of the lens (1) screen always follow a moving subject; (2) the subject position of relative stability in the drawing board; (3) with the camera lens is different from the position of pushing forward the lens, also from the forward movement of the camera position before moving the camera. 2, with the function of the lens (1) Contact Lens and detailed performance can be continuously moving subject; it not only highlight the main, but also explain the main direction of motion, the relationship between speed, posture and its environment;(2) follow shot with the lens form a body of constant motion, stationary background change shape effect, help the environment by lead character; (3) follow shot with the lens from behind the characters, because the audience and the subject of the same viewpoint character can exhibit a kinds of subjective camera; (4) with the lens of the characters, things, scenes follow records are important in documentary programs.(D) pan1, panning features (1) people like panning or turning the head to look around a little while to realize another point by the visual effects; (2) a complete shake-up include: starting pieces, shaking off pieces of three mutually continuous process; (3) a motion panning from web sites to fall, forcing the audience to constantly adjust their visual attention. 2, panning function (1) of exhibition space, expanding horizons (2) in favor of more visual information through an inclusive Scene screen; (3) can be introduced to explain the intrinsic link the two subjects in the same scene;(4) to facilitate the performance of dynamic body movement momentum, direction of movement and trajectory; (5) can roll out to the accident, suspense, plus the formation of visual attention and downs in one shot.(E) Push the lens1, pushing the lens features (1) forming a visual effects forward; (2) have a clear objective body; (3) to make the subject from small to big, from big to small surrounding environment. 2, pushing the lens function (1) highlight the main character, highlighting key figures; (2) highlight detail, focused detail factors; (3) describes the relationship between global and local, with the main task of the objective environment in one shot; (4 ) can strengthen or weaken the sense of movement of the moving object; (5) can be used to adjust the screen rhythm generated outside of the emotional force.(Six) elevating the lens1, lift the lens features (1) Lift the lens down movement brought the expansion and contraction of the screen depending on the field; (2) continuously changing camera viewpoint movements formed a multi-angle, multi-faceted multi-patterned effect. 2, lifting the mirror function (1) is conducive to the performance of each local tall objects; (2) in favor of the relationship between the performance of deep space, the surface points; (3) can be used to display objects or scenes scale, momentum and atmosphere; (4 ) scheduling content conversion can be achieved within a shot; (5) can be expressed in changes in emotional state of the screen. (G) a comprehensive sports lens, the lens features a comprehensive sports (1) produce a morecomprehensive picture of the complex modeling results; (2) a comprehensive form of exercise each lens screen, its trajectory is multi-directional; multi-way movement One result after. 2, features comprehensive sports lens (1) record and performance in favor of a relatively complete a scene shot in one episode. (2) continuous dynamic integrated movement of the lens is conducive to the process of life; (3) in favor of pluralism formed by the direction of the screen ideographic structure ambiguity; (4) integrated in a longer continuous motion picture camera, you can with the rhythm of the music changes with each other "in tune" to form a sense of rhythm and music integrated screen image.(H) the empty lensEmpty lens is a kind of special lenses, used to introduce environmental background, explain time and space, to express the characters emotions in the film can be produced by physical metaphor for love, see King hygiene conditions, scenes, rendering mood, heighten the atmosphere, caused by Lenovo and other artistic effects. A good cartoon is the result of the integrated use of various lenses, of course, "Rainbow Cat and Blue Rabbit Seven Chivalrous Biography" is no exception, it is due to the combined use of various lenses, plus a unique combination of digital effects, making this film with magnificent momentum, shocking images, eye-popping.Screen lens design and synthesis technologyAnimation is a screen shot of the final design of the carrier appears, if the screen is viewed as the picture, then the footage this screen are designed around the screen, the design of the lens to the screen, the main terms from three directions.1, compositionComposition is the key essence of the picture, naturally footage design. "Rainbow Cat and Blue Rabbit Seven Chivalrous Biography" episode that the opening few shots, the composition is very reasonable, in order to show Zhangjiajie this particular content and visual sense, the various modeling objects in front of the lens is the performance and photography Factors organic organization, published in the screen, and the screen to form some form of psychological audience left a very deep impression, make people feel Zhangjiajie is a fascinating tourist destination, a paradise on earth, flowers, mountain springs, people initiation of a "He who has never been to the Great Wall is not a true man" feeling. Visible role in the composition in the cartoon is great.2, the colorCartoon color is the most abundant, because all the elements created by designers in the picture are by themselves to set the color, the color for the human mind has a fundamental effect, when the designer to set the story based on literary tone , rendering the atmosphere is warm and cold colors contrast, the best way to heighten the environment, such as "Rainbow Cat and Blue Rabbit Seven Chivalrous Biography" are used in the context of all realistic expression, its color is quite rich in rendering the atmosphere, the environment at the same contrast, Habitat also added the film can be ornamental. In addition, the effect of color uniform characters in the film, full of oriental flavor visual tone, has also become an important factor in the success of the film. In summary, the expression of emotional color cartoon style tone, rendering the atmosphere has an important role.3, lightLight has a very important role in the cinematography, the same picture is also quite a lot in the cartoon. In the cartoon is very particular about the use of light and shadow in the design, the designers have to assume that some of the light, when these different angles of incident lightpoints will produce different effects on the body. For example, in the "Rainbow Cat and Blue Rabbit Seven Chivalrous Biography" effect on the character set, it is a good proof of the great role light plays in the movie. Lens design is not just about the means to the story, it is a reflection of the style of the movie, the screen design and lens design both influence each other, mutual restraint as footage design is a combination of organic natural lens and screen.Synthesis of digital effectsTruth is the basic principle of artistic creation, both as unlike real life and life itself is the same, but also not true that science can and restore, cartoon people give full play to the imagination, it is a good cartoon hauntingly works of art, but no one wants to see those who are commonplace scene. Digital special effects make this more exciting, as one of the cartoon creation means the creation of digital effects also follow the basic rules of artistic creation - true. Specific operation, I believe that because of the attention to the following points:1, human scenery, sound and light color fidelityHuman scenery, sound and light colors are the most important element audiovisual language, they constitute a major component of picture information, principles of digital visual effects processing these elements is to recover the overall relationship among them, whether it is virtual generation, or synthetic keying , are the scenes which should be combined with an environment light conditions, uniform color, color, texture restoration, in order to achieve a realistic effect, which is done, which is to make the audience aware of the results of digital effects, resulting from the gradual sense, examples of this aspect, in front of the text has been talked about, there is no longer dwell on.2, a reasonable view of the lens movement, and the movement trajectory of the objectViewpoint is the audience's point of view of the lens, its location is still reasonable to follow the principles of true feelings, its rationality is built around people accustomed to a certain degree of visual development, such as aerial remote sensing camera that allows the audience to appreciate overlooking the earth, according to the head beings feeling. Lens movement also has its own rules, the traditional camera movement has to be very strict, mature specification, digital effects still can not be broken, if free to let the camera movement will cause the results form from content.Is a groundbreaking digital effects ax, the traditional view is that digital effects is to be repaired some undesirable pre-shoot camera, generate some interesting pictures. Some creators of digital effects in order to pursue fashion means to fill some of the special effects shots in the frame, so that the effects of formal, detached from the overall style and structure of the film, digital effects has become a manifestation of the way, it has changed the traditional way of making cartoons , a form of digital effects is an effect of animation is an animation production process will not be a lot of content, it is conceivable if there is no digital effects in the background, the development of what will be a cartoon look.In summary, the synthesis tool is not just post-processing of the material, but throughout an important part of every animation production process, and even planning, screenwriter can not forget the factor synthesis technology generates virtual characters than do some other functions of the work, but to create a realistic, but a vivid reality does not exist. Is a form of performance art, creators of audiovisual language tells a moving story, the characters express emotion, infection audience. With the development of computer technology will be a new face synthesis show in front of people, will create a new style of film language and style, providing unlimited imagination of the creators.电影特效在电影中，人工制造出来的假象和幻觉，被称为电影特效(也被称为特技效果)。

film genres

film genres


Intended to horrify 以使人害怕为目标 Intended to thrill 以使人激动为目标
The Main Film Genres include:
Action/Adventure, Comedy ,Crime/Gangster , Drama , Epics/Historical , Horror ,Musicals , Science Fiction ,War ,and Western.
By the end of the silent era, many of the main genres were established: the western, the horror film, comedies, and action-adventure films . Musicals were inaugurated with the era of the Talkies, and the genre of science-fiction films wasn't generally popularized until the 1950s.
Action/Adventure films usually include high energy, physical stunts and chases, designed for pure audience escapism. The James Bond series is a typical example. A major sub-genre is the disaster film. Adventure films are usually exciting stories, with new experiences or exotic locales, very similar to or often paired with the action film genre.