影视视频剪辑外文文献翻译字数3000多

外文文献翻译：原文+译文文献出处：Bird D. The study of film post-production and editing [J]. Screen Education, 2016，3（2）：78-89.原文The study of film post-production and editingBird DAbstractFilm and television post-production, sound of words, images and other audio-visual means a combination of highly integrated creation, is the last procedure of film and television program production, the level of production is directly related to the quality of the program, the following is the history of the development, characteristics, pay attention to the place to talk about the film and television post-production. In the process of development of film and television production, film and television post-production and editing and pre-production are equally important. If you want to do the film and television post-production, must according to the requirements of the film and television program production, choose the right means of editing.Key words: Film and television; Post-production; The editor1 IntroductionFrom Hollywood to create the illusion of the world, to the television news focus on the real life, to a frenzy of advertising, no do not affect our life. In the past, the film and television program production is the job of the professional personnel, for the public is ignorant. For decades, digital technology in the process of film and television production,comprehensive computer gradually replaced many of the original film and television equipment, and each link has played a major role in film and television production. The use of film and television production has been extremely expensive professional hardware and software, non-professional personnel it is difficult to see the equipment, not to mention, skilled use of these tools to make your own work. As PC performance significantly increase, prices falling, film and television production from the previous professional hardware equipment to gradually move on PC platform, the original identity of professional software also gradually transplanted to the platform, the price also is becoming more and more popular. At the same time, the application of film and television production from professional film and television production to expand to the computer games, multimedia, network, home entertainment, such as wider fields. Many homework personnel in the industry with a large number of movie lovers, now a computer can use their own hands, to make his TV programs. Digital non-linear editing not only combines the advantages of traditional film and television editor, also on the further development, is the significant progress video editing technology. Starting in the 80 s, digital non-linear editing in film production gradually replaced the traditional way, become a standard method of film editing. With the rapid development of technology of film and television production, post-production and take on the responsibilities of the play a very important: the production of special lens. Special lens is refers to the lens which cannot be obtained by direct shot. Early film and television special effects are mostly through the model production, special photography, and optical synthesis and so on traditional methods to complete, mainly in the process of shooting stage and developcomplete. The use of computers for special-effects provides more and better method, also make a lot of the past must be used to model and photography means complete special effects can be completed by computer, so more special effects become the post-production work. The production of special effects shots - refers to the special effects shots taken not directly get shot. Early film and television advertising, film and television special effects are mostly through the model production, special photography, the traditional methods such as optical synthesis, mainly in the stage of the film and print. The use of computer digital provides more better means for the production of special effects, also make a lot of the past must be used to model and the photography done special effects can be completed through the computer technology, so the more special effects become the post-production work. Can be seen from the above analysis, linear editing and nonlinear editing each have characteristics, in the later stages of the film and television program editing in both is be short of one cannot, in order to make the film and television late edit program, need according to the requirements of the program production, combined with the characteristics of two kinds of edit mode, selects the appropriate edit mode.2 The development of film post-production technologyIn the early 1990 s, developed countries such as Canada, the United States the use of computer technology, multimedia technology and the combination of film and television production, achieve success, launched a desktop editing studio, is today's nonlinear editing audio workstation. Nonlinear editing (Nonlinear Edit) is a product of traditional equipment with computer technology, which USES digital computer recordsall the digital files stored continuously update and Edit video program. Makes any fragments can watch immediately and any change at any time, in this way can finish "edit" original as efficient as possible, such as editing, switching and lens special transformation, and completed by computer digital video editing, and generates a complete video playback to the video surveillance equipment or transfer to the video. In essence, this technique provides a convenient, quick and efficient method of TV editing. Today, non-linear editor has become the late film and television production of an important means. Similarly, linear editor is another important way. Were, in fact, so-called linear editing by video recorder one-to-one or second team a desktop editing, video recorder mother will bring material by electric - electric copy in another video on second edition copy, among this completed such as access point Settings, transitions are analog signals to analog signals, because once the conversion is completed record became the track, so can't modify, once need to insert the new material or change a certain length of the lens, the later will all be redone. Nonlinear editing is relative to the case of linear editing. They both are important means of film and television production late edit. Before did not appear in non-linear editing, linear editor in the late film and television production plays an important role absolutely, now formed both in the film and television production late edit hand in photograph reflect, they both have their own characteristics and advantages. Linear editing and has a very close relationship between nonlinear editing, linear editing is nonlinear editing's predecessor, first of all, on the basic ideas and art concept, linear editing and nonlinear editing is the same, which is the core of post-production. Second, many professional concepts and terminology, and both arethe same. Nonlinear editing software such as the famous Speed Razor Pro user manual in the city's "key", "bright" and "downstream" of the concept of linear editing, and even the whole of this manual is according to the function of linear editing senior special machine to write.3 Characteristics of film post-production and editingAfter decades of development, the linear editing technique has been very mature, the use of weaving machine, catalog, the controller directly to video material for operation, intuitive interface, concise, simple operation, using the combination of edit, insert, edit, images and sound can be edited respectively, coupled with subtitles machine, special machine, time base corrector, etc., can fully meet the needs of production, finish like a lens, skill set, in and out of the point set, subtitles and graphic overlay, sound effects and music with addition of post-production. Linear editing system based on magnetic tape record carrier, linear array signal according to the time, looking for material VCR to roll with the search, can only on one dimensional time axis according to the order of the lens as a group search, cannot jump, the choice of the material is very time consuming. Difficult to show the modified electronic edit mode is based on linear record tape, normally only in editing order record, although into edit mode allows replacement has been recorded on magnetic tape sound or images, but required to replace the clips and tapes replaced clips at the same time, and not to add or delete, can't change the length of the program. For programs of this modification is very inconvenient, because any a TV, a TV program from samples to finalized often after a lot of editing. In the programmed production an important problem is the counterpart ofthe mother with the wear and tear. The essence of linear edit mode is the original material copied to another process on the tape. Because the signal is mainly analog video in linear editing system, when we were in the edit and take copy of signal in transmission vulnerable to external disturbance and editing process, resulting in loss of signal. On the basis of the previous edition, each version can cause the decrease of the quality of the image editor, or make a stunt there will be a loss of signal. Heavily damaged video recorder, tape is easy to damage. Edit a few minutes of TV, should choose to hundreds or even thousands of cameras, video search edit back and forth, make the VCR mechanical wear serious, VCR operation strength, and shorten service life. Other record tape shortcomings exposed constantly too, such as tensile deformation, distortion, brittle, magnetic and scratches will affect the quality of the tape. System structure is complex, operability is relatively lower. Linear editing system connection is complex, there are many different kinds of equipment and equipment performance is uneven, different indicators, when they connected together, can cause large attenuation of the video signal. In addition, a lot of equipment used at the same time, has left many operators, operating process is complex, and operability is relatively lower. Because of this, with the development of new technology, a new concept of audio and video production and the corresponding hardware equipment non-linear editing arises at the historic moment.4 Correct selection of film post-production editing modeEverything is relative, linear editing and nonlinear editing each have characteristics, each has advantages, both in the film and television post-production is be short of one cannot. If you want to do the film and television post-production, must according to therequirements of the film and television program production, choose the right means of editing. First, in the film and television commercials and documentaries, project opening is given priority to with nonlinear editing is suitable for production. Because, in the film and television advertising films need a lot of use multilayer superposition of images, motion, transparent, fast and slow motion picture, subtitles special processing, 3D, such as processing color, animation effect. In the documentary, project opening production, in addition to the application of special effects, but also the introduction of the extensive use of longer than 5 seconds. Using the nonlinear editing system to deal with these effects will be easier. Secondly, in the newsreel is used in the production of traditional linear editing suit. In order to increase the amount of information, TV news generally requires each lens length less than 5 seconds, and newsreel is rarely used special effects, most of the content is like a lens directly. Commonly used linear editing component connection, in which editors’newsreel, can reduce the loss in the process of signal transmission, in order to better ensure the quality of programs. Again, straight at the scene, live shows, entertainment, live classroom situation, general is given priority to with using linear editing system equipment. The record straight, the nature of the live recording the response speed of the equipment is very timely, especially live, can't stop once I start, can only be a success, not appear a little mistake, otherwise we are lost. In such cases, using traditional linear editing system is perfect. But in live sports match, because of the need to repeat some wonderful, special, two edit mode should be used at the same time, in a linear editing is given priority to with nonlinear editing system, in this way can both cooperate with each other very well meet the needs of some special.译文影视后期制作与编辑研究Bird D摘要影视后期制作是文字、声音、画面等多种视听手腕结合起来的高度综合创作,是影视节目生产的最后一道工序,制作水平的高低直接关系到节目的质量,以下就起进展的历程、特点、注意的地方来谈谈影视的后期制作。

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The Shawshank Redemption“Don't forget that there are … places … in the world that are not made up of stone，there is something … inside … that they can not get to … that is hope .It’s a classical sentence in the movie.The story was happened in 1947. The banker Andy’s wife had a lover. So he wanted to use the gun shot his wife and her lover, but he did not lay their hands on the coincidentally, is that night someone killed his wife and her lover.But,he didn’t do it. He was accused of murder and sentenced to life imprisonment. This means that he will be in shawshank through the rest of life. The movie had a freedom theme. In 1994, Oscar awards the film won seven nominations, including the best movie, the best actor, the best adapted screenplay, best cinemato graphy, best editing, best musical score and best mixing.The movie told us, freedom can rely on compromise to breathe stiffly, but can't rely on compromise to get free. It had to show the process of how to gain the freedom. Freedom was not so easy. It may be indented or in the darkness trembling. It told us that freedom was a difficult thing or even having to cross the dirty process. The film had a aim that the hope of freedom. What impressed me was using the radio play "the marriage of figaro",. The plot had a deeply emotion. Andy save to all the prisoners . So it had a quite significant and Andy also is a real redeemer. Andy Dufresne: That 's the beauty of music. They can' t take That away from you. I think the music in the film is the essence of the film. Perfect reflects the people who wanted to gain freedom and look forward to the hope. It was the inner feelings . Playing the music, I seemed to have a feeling of be released. That is a feeling of freedom. The voice abroaded in the prison and influenced in everyone whose heart was filled with music .There are many points in the movie that is worth to us.. Firstly, for the human nature. Such as,Rde want to go to the WC . So he want to report to the manager. Secondly, having the hope to the life.Remember,hope is a good thing,maybe the best of things and no good thing ever dies.There is another plot.If a man who has not the hope and ideal .And he would be a poor person.Thirdly, we should have enough courage. Fourthly, adhering to the action of perseverance. Using a little hammer hide in the book.With nearly 20 years to cut out a tunnel that fled to free .Finally, having a wisdom of the action. You will be praise of Andy's talent and wisdom in your heart. His plan is grand and perfect. Andy has the ability to receive the salvation that is by his wisdom.In the film ,Andy use his ability win the warden’s trust. Even so, but these still not erase his yearning for freedom. In his escape from sharksfort when he standing in the river under the storm.Meanwhile, looking down at the camera lens. It is too impress for us. In the film ,the last of the ocean. It can be said that the sea is free also hope to sea . And is also the sea of redemption. If it was me, I would choose to freedom.however, I was not free to pay anything, people are the quite different biological, craving and not pay. But now so far outweigh any language, I never thought, hope also can have so big strength. When Reed went to the tree, inertial like to visit stone, find the correspondence, I seem to be better than he is excited, this is not only a symbol of freedom, it is also a symbol of hope. The last two in the embrace, the Pacific is not your imagination of so blue, because there is hope shadow. So,Hope is a good thing,maybe the best of things,no good thing ever dies。

我们的影视报道英文作文Title: The Impact of Media Coverage on the Film and Television Industry。

In today's interconnected world, media coverage plays a pivotal role in shaping public opinion and influencing various industries, including the film and television sector. From red carpet events to behind-the-scenesexposés, the media's portrayal of t he entertainment industry can have far-reaching effects on audiences, celebrities, and stakeholders alike. In this essay, we will explore the multifaceted impact of media coverage on the film and television industry.First and foremost, media coverage serves as a powerful promotional tool for films and television shows. Through trailers, interviews, and reviews, media outlets generate buzz and anticipation for upcoming releases, helping to attract audiences to theaters and television screens. Positive coverage can significantly boost box officerevenues and viewer ratings, while negative publicity can deter potential viewers and tarnish a production's reputation. Thus, filmmakers and studios often invest substantial resources in securing favorable media coverage to maximize the success of their projects.Moreover, media coverage plays a crucial role in shaping public perception of celebrities and industry professionals. Tabloid gossip columns, paparazzi photos, and celebrity interviews contribute to the construction of celebrities' public personas, influencing how they are perceived by fans and the general public. While some celebrities actively court media attention to enhance their fame and popularity, others struggle to maintain their privacy in the face of relentless scrutiny. In extreme cases, intrusive media coverage can have detrimentaleffects on celebrities' mental health and personal lives, leading to issues such as stress, anxiety, and substance abuse.Furthermore, media coverage can influence industry trends and decision-making processes within the film andtelevision sector. Industry professionals closely monitor media coverage to gauge public opinion, track competitors' activities, and identify emerging trends. Critical acclaim from reputable media outlets can propel a film or television show to award nominations and industry recognition, while negative reviews can signal potential problems with a production's quality or appeal. Additionally, media coverage of industry scandals, controversies, and innovations can prompt policymakers, regulators, and industry stakeholders to enact changes or implement new measures to address emerging issues and challenges.However, it is essential to recognize the potential pitfalls of excessive media coverage within the film and television industry. Sensationalized reporting, biased narratives, and invasive paparazzi tactics can distort reality, perpetuate harmful stereotypes, and undermine the integrity of journalism. Moreover, the relentless pursuit of sensational stories can detract from more substantive issues facing the industry, such as diversity and representation, creative freedom, and ethical laborpractices. Therefore, media outlets must exercise responsibility and integrity in their coverage of the entertainment industry, prioritizing accuracy, fairness,and respect for the individuals and communities affected by their reporting.In conclusion, media coverage plays a significant rolein shaping the dynamics of the film and television industry, influencing everything from audience perceptions toindustry trends. While positive coverage can drive success and visibility for productions and personalities, negativeor sensationalized reporting can have adverse effects on individuals' lives and the industry as a whole. As such, stakeholders within the film and television sector must navigate the complexities of media coverage thoughtfully, balancing the benefits of publicity with the need for integrity, authenticity, and respect. Only by doing so can the industry continue to thrive in an ever-evolving media landscape.。

视频弹幕外文文献翻译外文文献翻译原文及译文原文Screen popping method and system for videoBackgroundIn the video, can be a way to comment barrage, barrage is to make a comment on the screen drifting from side to side, when a large number of comments drifting away from the screen, the screen effect is similar to flying shooter barrage , screen of the barrage is mainly in the form of message titles, text messages directly covering the video playback screen, the location and time can be freely set users on the network. There may be a lot of subtitles with the video film is superimposed as a result of the barrage when, in this way affect the viewing of video effects, the impact of the prior art way video viewing screen shot of the issue, has yet to come up with effective solutions. DISCLOSURE The present invention provides a method and a barrage of video systems to at least solve the prior art screen shot way affect the video viewing problems.To achieve the above object, according to one aspect of the invention, there is provided a method of video barrage.According to the present invention, the video barrage method comprising: obtaining a first screen video program schedule; obtaininguser to the first screen in the video program Review; generating a barrage of commentdata corresponding to the content; and The second screen shows an image data corresponding barrage.Further, users get the first screen video program reviews include: Get the user to the first screen in the video program Review and comment period, the second screen shows an image corresponding to the barrage of data comprising: The second screen synchronized with the corresponding image data barrage.Further, the simultaneous display on the second screen and the barrage of image data corresponding to include: video generation timetable timeline; acquisition time point corresponding to the comment period on the timeline; and a control point and a second screen at a time image data corresponding to the barrage.Further, users get the first screen video program reviews include: Get on the social networking site related comments and video program content, the second screen shows an image corresponding to the barrage of data comprising: displaying a second screen barrage data corresponding image; and the second screen displays and video program content corresponding to the comment on the social networking site images.Further, access to social networking sites associated with the video program reviews include: preset selection policy to select Review,comments on the second screen image corresponding to the contents include: the second screen shows the selected Review corresponding image.[Further, after the second screen image corresponding to a barrageof data, said method further comprising: the barrage of data corresponding to the image to the social networking site.Further, users get the first screen video program reviews include:Get the user to the first screen in the video program Review; and obtaining review content corresponding user's identity information, displayed on the second screen play screen data corresponding to an image comprising: displaying barrage in the second image data corresponding to the screen; and a user's identity information in the second screen display. To achieve the object, according to anotheraspect of the invention, there is provided a video of the barrage system, which is used in any kind of video present invention provides a methodof performing barrage. According to another aspect of the present invention, there is provided a video of the barrage system. The video barrage system comprising: back-end server, for generating and storing data barrage; the first screen, connected back-end server, screen data corresponding to the image for display; and a second screen connected to the back-end server for display image data corresponding barrage.Further, the above barrage system further comprises: a social networking site server, connect with back-end server, where back-endserver as the default policy on the social networking site to obtain data about the videocontent corresponding to the comment server through social networking sites and users Comments or screenshots barrage images posted to social networking sites to spread.The present invention, since the playback of video data and barrage of data provided in the different screen, so you can screen experience through a barrage of fun, but at normal viewing video on another screen, thus solving art screen shot way affect the video viewing problems, and thus to improve video viewing effect and raise the user experience.Brief DescriptionThe drawings constitute a part of this application to provide a further understanding of the present invention, exemplary embodiments of the present invention and are used to explain the present invention, the present invention does not constitute an undue limitation. In the drawings:FIG. I is a block diagram of a video of an embodiment according to the present invention barrage systems;FIG. 2 is a schematic view of the interface on the second screen; and FIG. 3 is a flow diagram of an embodiment of the video barrage method of the present invention.DETAILED DESCRIPTIONIt should be noted that, without conflict, the present application examples and examples of features can be combined with each other. Below withreference to the accompanying drawings and described in detail with an embodiment of the present invention.The embodiment of the invention there is provided a video of the barrage system, the following examples provided video barrage system of the present invention are described.FIG. I is a block diagram of an example of a video barrage system according to embodiments of the present invention.Figure I shows, the video barrage system 11 includes a back-end server, the first screen 12 and second screen 13.back-end server 11 for generating and storing data barrage. In general, the back-end server 11 may be a computer. The timing associated with the back-end server can record and store 11 user-published content, and implement video content and users of content. Example embodiments of the present invention includes a video forms of video network video or TV show video.The first screen 12 and 11 are connected back-end server, screendata corresponding to the image for display.The first screen is used to play the video, viewing considerations, generally relatively large, usually a TV screen or PC screen. The second screen 11 is connected to the backend server 13, an image corresponding barrage data for display.The second screen is used to play barrage, energy-saving considerationsand other aspects, in general, smaller than the first screen,usually intelligent terminals and other mobile phone or pad, through its built-in application, you can achieve barrage fly screen display content. In this embodiment, since the playback of video data and barrage of data provided in the different screen, so you can screen experience through a barrage of fun, but at normal viewing video on another screen, thereby achieve improved video viewing effect and raise the user experience. In order to increase the entertainment and interactive barrage system, the system can also include social web server, a social networking site server and back-end server connection, the interface according to preset policies on social networking sites get through social networking sites on the first server back-end server On one screen of video content corresponding comment, and a new generation of user comments or screenshots barrage of images posted to social networking sites to spread.In some special circumstances, may be the first screen and thesecond screen integrated into a screen, that is, an area of the screenis the first screen, the other area is the second screen.FIG. 2 is a schematic view of the interface on the second screen. 2, includes the following components:barrage of screen background skin 201 can be set to change color or background image, the operator can also set in this region and in the broadcast video-related advertising picture as a background. 202 is a hidden toolbar toolbar, when the user touches the screen, the toolbar appears, click on the 201 area again, the toolbar is hidden. Toolbar button 203 is provided with a release, screenshots sharing button 204and the switching button 205.When the barrage content users publish button 203 is pressed, this button is released through text, voice, pictures and short video content. Short video is a video server automatically sliced according to the timeline generated tens of seconds of video files.Alternatively synchronized to the social networking site users. pressing screenshots sharing button 204, the processor automatically on the second screen of the second panel being barrage screen capture content generated image, shared by the user to the respective social networking sites.switching button 205 for grafting barrage of forms, including theform of horizontal scrolling marquee and vertical list is updated form, bubbling animation and so on.barrage content 206 may be a text message, voice message, a short video message or picture message, further, it may also include a user ID or user avatar. If users click on the barrage, you can see the detailsof the publisher, and thus can be other social events (reply, greeting, add friends, gifts, etc.).The present invention further provides a video of the barrage, the methodcan be performed based on the video barrage system.FIG. 3 is a flow diagram of an embodiment of the video barrage method of the present invention.As shown in Figure 3, the video barrage method comprising the steps of S302 to step S308.step S302, the acquisition schedule of the first screen in the video program.by getting the schedule of the first screen of the video program, to ensure that the video program and user comments withStop / J / Ostep S304, users get the first screen video program Review. Content can be uploaded by users, it can be downloaded from the Internet, in particular, can be sent through a mobile terminal user, it can also be found on social sites crawled by certain strategy.In order to ensure the synchronization of video programming and comment in getting users to first screen video program Review, you can also get the comment period corresponding comments, the comment period to ensure that in a subsequent step video program and Exposition corresponding content.Specifically, the synchronization method may comprise the steps of: First, generate timetable timeline. Since the video program iscontinuous, so you can make schedule timeline each time point corresponds to theirvideo. [0052] Then, the acquisition time point comment on thetimeline corresponding time. Since the barrage of data in time is discrete, so you can get each time point barrage data appears.Finally, the control point of the second screen in time with the barrage of data corresponding to the image. For example barrage data corresponding time is I minute and 30 seconds, then, when the video player when I minute and 30 seconds, barrage data corresponding image is displayed on the second screen, you can achieve synchronous video and barrage. In order to further improve the barrage of interactivity can also be content on social networking sites with content related comments that crawl through the various social networking sites and video-related content and comments as barrage content. Specifically, in step S304, you can get on a social networking site-related comments and video program content, for example, to determine whether the comment and video content based on reviews whether a particular site, a particular region, a particular time or contains a specific keyword program-related.Further, in access to social networking sites associated with the video program review content, you can also select the policy according to some content of these comments are selected so as not to cover each screen shot when the screen too. Choose a variety of strategies, such as user level according to the level of choice, according to region selection or random selection.On the other hand, it may be a barrage of data corresponding to the image to the social networking site. Through interaction between the above social networking sites, increasing the fun and interactive barrage. In order to have a better interaction between the user, in this step, you can still get review content corresponding to the user's identity information, such as user avatar and personal information. This information can be acquired for the user to call in a subsequent step.step S306, the generated content and comments barrage corresponding data.The content of the comments set some properties or add picture effects, you can generate a barrage of data.step S308, the display image data corresponding barrage in the second screen.When the aforementioned steps also get a barrage of information corresponding to the user's identity, the step S308 can also display more than one identity. For example, the information is displayed directly on the barrage, or to display the identity information upon receipt of the clicks, and viewing requests otherwise. The current user can further identity information corresponding to the user socialize and interact, for example, add friends, reply, say hello, send virtual gifts and so on. If the foregoing step of acquiring a social networking site-related comments and video program content, then in step S308, the displayimage data corresponding barrage in the second screen can also correspond to the content of the comments on the second screen display images.From the above description, it can be seen that the present embodiment of the invention changes the traditional barrage of messages and video on the same screen overlay, which allows the audience watching the video from overlapping interference.It should be noted that the steps illustrated in the drawing process can be performed in a set of computer-executable instructions, such as computer systems, and, although the flow chart shown in logical order, but in some case, the order may be different from that here steps illustrated or described.Obviously, those skilled in the art should understand that each module or each step of the present invention described above can be used to achieve universal computing device, they can focus on a single computing device or distributed across multiple computing devices network composed, alternatively, they may be implemented in program code executable by a computing device, so that they can be executed by a computing device stored in the storage means, or they are made into respective integrated circuit modules, or They will be produced in a plurality of modules or steps into a single integrated circuit module. Thus, the present invention is not limited to any specific combination of hardware andsoftware. [0066] The foregoing is only preferred embodiments of the present invention but not to limit the invention, for those skilled in the art, the present invention can have various modifications and changes. Any modification within the spirit and principles of the present invention, made, equivalent replacement, or improvement should be included within the scope of the present invention. ?译文视频的弹幕方法及弹幕系统背景技术在视频中，可以以弹幕的方式发表评论，弹幕就是使评论在屏幕上从一端飘向另一端，当大量评论从屏幕飘过时，画面效果类似于飞行射击游戏中的弹幕，视屏中的弹幕主要是字幕形式的留言，留言的文字直接覆盖在影片播放的屏幕上，位置及时间可以网络中的用户自由设置。

作文《剪辑》800字左右剪辑。

英文回答：Editing is an art form that allows us to craft stories, evoke emotions, and convey messages through the manipulation of visuals and sounds. It is a skill that requires both technical expertise and creative vision. As an editor, I find great joy in the process of piecing together various elements to create a cohesive and impactful final product.One of the key aspects of editing is the ability to make smooth transitions between shots, scenes, and sequences. This involves selecting the most appropriate shots and arranging them in a way that flows seamlessly. For example, in a film about a character's journey, I would carefully choose shots that show the character's progression, such as starting with a wide shot of them intheir normal environment, then cutting to a close-up oftheir face to capture their emotions as they face challenges.In addition to transitions, pacing is another crucial element in editing. It determines the rhythm and tempo of a film or video. By manipulating the length of shots and the timing of cuts, I can create different effects. For instance, in an action sequence, I would use quick cuts and fast-paced editing to heighten the intensity and excitement. On the other hand, in a dramatic scene, I might use longer shots and slower cuts to build tension and allow the audience to fully immerse themselves in the emotions of the characters.Furthermore, sound plays a significant role in the editing process. It helps to enhance the visuals and evoke specific emotions. By carefully selecting and manipulating audio elements such as dialogue, music, and sound effects,I can create a more immersive and engaging experience for the audience. For example, in a horror film, I might use eerie music and sudden bursts of sound to create suspenseand frighten the viewers.中文回答：剪辑是一门艺术，通过对视觉和声音的处理，我们可以编织故事，唤起情感，传达信息。

剪映开头作文模板英语英文回答：As the era of digital storytelling dawns upon us, it is imperative to harness the power of video editing tools like CapCut to craft compelling narratives that resonate with audiences. Whether you are a seasoned filmmaker or an aspiring content creator, CapCut provides an intuitive and comprehensive suite of features that empower you to transform raw footage into captivating visual masterpieces.The opening of a video plays a pivotal role in capturing the viewer's attention and setting the tone for the rest of the narrative. A powerful opening can ignite curiosity, evoke emotions, and establish a connection with the audience. CapCut offers a myriad of creative options to craft captivating beginnings that will leave a lasting impression.One of the most effective ways to grab the audience'sattention is to employ a visually stunning hook. This could be a captivating image, an eye-catching animation, or a compelling video clip that immediately draws the viewerinto the story. CapCut's extensive library of templates, transitions, and effects provides ample resources to create visually stunning openings that will captivate the viewer from the very first frame.Another effective strategy is to utilize text overlays or voiceovers to convey key information or set the context for the narrative. CapCut's user-friendly interface makes it easy to add text and audio elements to your videos, allowing you to deliver important messages or establish the backstory without sacrificing visual impact.Additionally, consider incorporating music or sound effects to enhance the emotional impact of your opening. CapCut's vast music library and customizable audio controls empower you to create a soundscape that perfectly complements the visuals and evokes the desired emotions in the viewer.Beyond the technical aspects, it is equally important to consider the narrative structure of your opening. Start by identifying the key message or emotion you want to convey to the audience. Craft a clear and concise introduction that establishes the premise of the video and sets the stage for the story to unfold.Remember, the opening of your video sets the foundation for the entire narrative. By harnessing the power of CapCut's editing tools and carefully crafting a compelling beginning, you can captivate your audience from the very first moment and ensure that your video leaves a lasting impression.中文回答：随着数字叙事时代的到来，充分利用 CapCut 等视频编辑工具的力量对于制作出与受众产生共鸣的引人入胜的叙事至关重要。

文献出处：Amidi, Amid. Cartoon modern: style and design in fifties animation. Chronicle Books, (2006):292-296.原文Cartoon Modern: Style and Design in Fifties AnimationDuring the 1970s,when I was a graduate student in film studies, UPA had a presence in the academy and among cinephiles that it has since lost. With 16mmdistribution thriving and the films only around twenty years old, one could still see Rooty Toot Toot or The Unicorn in the Garden occasionally. In the decades since, UPA and the modern style it was so central in fostering during the 1950s have receded from sight. Of the studio's own films, only Gerald McBoing Boing and its three sequels have a DVD to themselves, and fans must search out sources for old VHScopies of others. Most modernist-influenced films made by the less prominent studios of the era are completely unavailable.UPA remains, however, part of the standard story of film history. Following two decades of rule by the realist-oriented Walt Disney product, the small studio boldly introduced a more abstract, stylized look borrowed from modernism in the fine arts. Other smaller studios followed its lead. John Hubley, sometimes in partnership with his wife Faith, became a canonical name in animation studies. But the trend largely ended after the 1950s. Now its importance is taken for granted. David Bordwell and Ifollowed the pattern by mentioning UPA briefly in our Film History: An Introduction, where we reproduce a black-and-white frame from the Hubleys' Moonbird, taken from a worn 16 mm print. By now, UPA receives a sort of vague respect, while few actually see anything beyond the three or four most famous titles.All this makes Amid Amidi's Cartoon Modern an important book. Published in an attractive horizontal format well suited to displaying film images, it provides hundreds of color drawings, paintings, cels, storyboards, and other design images from 1950s cartoons that display the influence of modern art. Amidi sticks to the U.S. animation industry and does not cover experimental work or formats other than cel animation. The book brings the innovative style of the 1950s back to our attention and provides a veritable archive of rare, mostly unpublished images for teachers, scholars, and enthusiasts. Seeking these out and making sure that they reproduced well, with a good layout and faithful color, was a major accomplishment, and the result is a great service to the field.The collection of images is so attractive, interesting, and informative, that it deserved an equally useful accompanying text. Unfortunately, both in terms of organization and amount of information provided, the book has major textual problems.Amidi states his purpose in the introduction: "to establish the place of 1950s animation design in the great Modernist tradition of the arts". In fact, he barelydiscusses modernism across the arts. He is far more concerned with identifying the individual filmmakers, mainly designers, layout artists, and directors, and with describing how the more pioneering ones among them managed to insert modernist style into the products of what he sees as the old-fashioned, conservative animation industry of the late 1940s. When those filmmakers loved jazz or studied at an art school or expressed an admiration for, say, Fernand Léger, Amidimentions it. He may occasionally refer to Abstract Expressionism or Pop Art, but he relies upon the reader to come to the book already knowing the artistic trends of the twentieth century in both America and Europe. At least twice he mentions that Gyorgy Kepes's important 1944 book The Language of Vision was a key influence on some of the animators inclined toward modernism, but he never explains what they might have derived from it. There is no attempt to suggest how modernist films (e.g. Ballet mécanique, Das Cabinet des Dr. Caligari) might have influenced those of Hollywood. On the whole, the other arts and modernism are just assumed, without explanation or specification, to be the context for these filmmakers and films.There seem to me three distinct problems with Amidi's approach: his broad, all-encompassing definition of modernism; his disdain for more traditional animation, especially that of Disney; and his layout of the chapters.For Amidi, "modern" seems to mean everything from Abstract Expressionism to stylized greeting cards. He does not distinguish Cubism from Surrealism or explainwhat strain of modernism he has in mind. He does not explicitly lay out a difference between modernist-influenced animation and animation that is genuinely a part of modern/modernist art. Thus there is no mention of figures like Oskar Fischinger and Mary Ellen Bute, though there seems a possibility that their work influenced the mainstream filmmakers dealt with in the book.This may be because Amidi sees modernism's entry into American animation only secondarily as a matter of direct influences from the other arts. Instead, for him the impulse toward modernism is as a movement away from conventional Hollywood animation. Disney is seen as having during the 1930s and 1940s established realism as the norm, so anything stylized would count as modernism. Amidi ends up talking about a lot of rather cute, appealing films as if they were just as innovative as the work of John Hubley. At one point he devotes ten pages to the output of Playhouse Pictures, a studio that made television ads which Amidi describes as "mainstream modern" because "it was driven by a desire to entertain and less concerned with making graphic statements". I suspect Playhouse rates such extensive coverage largely because its founder, Adrian Woolery, had worked as a production manager and cameraman at UPA. At another point Amidi refers to Warner Bros. animation designer Maurice Noble's work as "accessible modernism".This willingness to cast the modernist net very wide also helps explain why so many conventional looking images from ads are included in the book. Amidi seemsnot to have considered the idea that there could be a normal, everyday stylization that has a broad appeal and might have derived ultimately from some modernist influence that had filtered out, not just into animation, but into the culture more generally.There was such a popularization of modern design in the 1940s and especially the 1950s, and it took place across many areas of American popular culture, including architecture, interior design, and fashion. Thomas Hine has dealt with it in his 1999 book, Populuxe: From Tailfins and TV Dinners to Barbie Dolls and Fallout Shelters. Hines doesn't cover film, but the styles that we can see running through the illustrations in Cartoon Modern have a lot in common with those in Populuxe. Pixar pays homage to them in the design of The Incredibles.Second, Amidi seeks to establish UPA's importance by casting Walt Disney as his villain. Here Disney stands in for the whole pre-1950s Hollywood animation establishment. For the author, anything that isn't modern style is tired and conservative. His chapter on UPA begins with an anecdote designed to drive that point home. It describes the night in 1951 when Gerald McBoing Boing won the Oscar for best animation of 1950, while Disney, not even nominated in the animation category, won for his live-action short, Beaver Valley. UPA president Stephen Bosustow and Disney posed together, with Bosustow described as looking younger and fresher than his older rival. Disney was only ten years older, but to Amidi, Bosustow's "appearance suggests the vitality and freshness of the UPA films whenplaced against the tired Disney films of the early 1950s".That line perplexed me. True, Disney's astonishing output in the late 1930s and early 1940s could hardly be sustained, either in quantity or quality. But even though Cinderella (a relatively lightweight item) and the shorts become largely routine, few would call Peter Pan, Alice in Wonderland, and Lady and the Tramp tired. Indeed, the two Disney features that Amidi later praises for their modernist style, Sleeping Beauty and One Hundred and One Dalmatians, are often taken to mark the beginning of the end of the studio's golden age.In Amidi's view, other animation studios, including Warner Bros., were similarly resistant to modernism on the whole, though there were occasional chinks in their armor. The author selectively praises a few individual innovators. A very brief entry on MGM mentions Tex Avery, mainly for his 1951 short, Symphony in Slang. Warner Bros.' Maurice Noble earns Amidi's praise; he consistently provided designs for Chuck Jones's cartoons, most famously What's Opera, Doc?The book's third problem arises from the decision to organize it as a series of chapters on individual animation studios arranged alphabetically. There's at least some logic to going in chronological order or thematically, or even by the studios in order of their importance. Alphabetical is arbitrary, rendering the relationship between studios haphazard. An unhappy byproduct of this strategy is that the historically most salient studios come near the end of the alphabet. After chapters on many small,mostly unfamiliar studios, we at last reach the final chapters: Terrytoons, UPA, Walt Disney, Walter Lantz, Warner Bros. Apart from Lantz, these are the main studios relevant to the topic at hand. Amidi prepares the reader with only a brief introduction and no overview, so there is no setup of why UPA is so important or what context Disney provided for the stylistic innovations that are the book's main subject.译文现代卡通，动画风格和设计在20世纪70年代，当我还是一个电影专业的研究生时，美国联合制片公司UPA就受到了学院和影迷们的关注。

影视拍摄与后期制作外文翻译文献(文档含英文原文和中文翻译)视频的前期拍摄与后期制作电影电视媒体已经成为当前最为大众化，最具影响力的媒体型式。

从好莱坞电影所创造的幻想世界，到电视新闻所关注的现实生活，到铺天盖地的电视广告，无不深刻地影响着我们的世界。

过去，影视节目的制作只是专业人员的工作，似乎还拢罩着一层神秘的面纱。

十几年来，数字技术全面进入影视制作过程，计算器逐步取代了许多原有的影视设备，在影视制作的各个环节发挥了很重大的作用。

但是直到不久之前，影视制作使用的一直是价格极端昂贵的专业硬件及软件，非专业的人员很难有机会见到这些设备，更不用说熟练掌握这些工具来制作自己的作品了。

随着PC性能的显著提升以及价格上的不断降低，影视制作从以前专业等级的硬设备逐渐向PC平台上转移，原先身价极高的专业软件逐步移植到PC 平台上，价格也日益大众化。

同时影视制作的应用也从专业的电影电视领域扩大到计算机游戏、多媒体、网络、家庭娱乐等更为广阔的领域。

许多在这些专业领域的从业人员与大量的影视爱好者们现在都可以利用手中的计算机来制作自己的影视节目。

许多人接触到影视节目制作，是从3D计算机动画开始的，直到目前，了解乃至掌握3D计算机动画制作的人员很多，介绍这方面的书籍也不少，而对于影视后期制作，多数人并不太了解，相关的书籍也较少，而且一般也只关心某一软件的操作使用，而对于影视后期制作的基本流程和原理却不甚重视，希望读者能透过本书，不但可以了解和掌握软件的使用，同时也对影视后期制作的整个过程有一个比较全面的了解。

一、影视后期制作概况:影视节目的制作是一个相当复杂的过程。

由于影视节目本身的多样化，从耗资巨大的电影制作到个人制作的家庭录像带，可以说有天壤之别。

虽然这些节目的使用意图，编列的制作预算，投入的人力物力都有很大的区别，但其制作过程却有相当的共同之处，一般来说，影视节目的制作可以分为前期制作，实景拍摄，和后期制作三个主要阶段。

作文《剪辑》800字左右英文回答：Editing is a crucial part of the filmmaking process. It involves selecting and arranging the footage to create a cohesive and engaging story. As an editor, I have the power to shape the narrative and evoke specific emotions from the audience.One of the main reasons why editing is so important is because it allows us to control the pacing of the film. By manipulating the length and order of shots, we can create tension, build suspense, or create a sense of urgency. For example, in an action scene, quick cuts and fast-paced editing can make the audience feel the adrenaline rush.Another reason why editing is essential is because it helps to enhance the performances of the actors. Through editing, we can choose the best takes and remove any mistakes or inconsistencies. We can also use editingtechniques such as close-ups or reaction shots to highlight the emotions and reactions of the characters. This can make the audience feel more connected to the story and the characters.Furthermore, editing allows us to convey informationand tell the story in a more concise and effective way. We can use techniques such as montages or parallel editing to show multiple events happening simultaneously or to compress time. This not only saves time but also keeps the audience engaged and interested.In addition, editing plays a significant role insetting the mood and tone of the film. Through the use of color grading, sound design, and music, we can create a specific atmosphere that complements the story. For example, by using dark and desaturated colors, we can create a sense of mystery or suspense. By adding upbeat music, we can make a scene feel more lighthearted or energetic.Overall, editing is a creative and powerful tool in filmmaking. It allows us to shape the story, control thepacing, enhance performances, convey information, and set the mood. Without editing, a film would lack coherence and fail to engage the audience.中文回答：剪辑是电影制作过程中至关重要的一部分。