影视拍摄与后期制作外文翻译文献

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影视后期制作与编辑研究外文文献翻译

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。

影视字幕翻译论文：从中外影视作品的字幕翻译中分析归化和异化策略的应用

影视字幕翻译论文：从中外影视作品的字幕翻译中分析归化和异化策略的应用影视字幕翻译论文：从中外影视作品的字幕翻译中分析归化和异化策略的应用【中文摘要】在我国对外开放和社会经济日益发展的今天，影视作品作为文化的载体和媒介，具有更加丰富的文化内涵以及跨文化交流的使命。

影视作品的译制和传播不仅为加强各国家之间的了解和交流起着重要的作用，还对普通百姓的社会生活以及价值观产生越来越大的影响。

归化（domestication）和异化（foreignization）是对两种翻译策略的称谓。

按照Schuttleworth和Cowie编写的Dictionary of Translation Studies中给出的定义，归化是指译者采用透明、流畅的风格以尽可能减少译语读者对外语文本的生疏感的翻译策略；异化则指刻意打破语的规范而保留原文的某些异域语言特色的翻译策略。

为了处理好源语文化和文化的关系，在此过程中译者通常需要在两种基本翻译策略中做出选择。

本文通过对中外影视剧的分析来解读和探讨字幕翻译是如何运用这两种翻译策略的。

通过分析影视作品的具体翻译过程，作者得出结论，为了完成其具体翻译，在字幕翻译中应根据作者的意图、翻译的、文本类型以及读者因素等将归化与异化相结合运用。

本文在研究中采用定性与定量相结合的方法，在对影视翻译现象进行描述分析的过程中，选取恰当的实例加以解释或说明。

所选例子均经过认真思考和筛选，具有较强的代表性，避免主观和个人随感性的论述。

本研究中的实例为笔者本人在观看时根据屏幕下的中文或英文字幕如实记录而成，未经个人的改动，所选影视作品均来自官方机构正式发行或播出的译制作品。

本研究侧重对所采集的语料进行辨证性的分析和思考，这样得出的结论比单凭感性抽取一些实例更具有说服力。

除了引言和结论部分，本文共分四个部分。

第一章是文献综述部分。

这一章分为三小节。

第一节论述了影视翻译在国外的研究情况、成果及代表人物。

西方学者的研究起步较早，无论是在研究的广度和深度上，都有一些值得我国学者思考和借鉴的经验。

Adobe After Effect在影视后期制作的运用-电影论文-艺术论文

Adobe After Effect在影视后期制作的运用-电影论文-艺术论文——文章均为WORD文档，下载后可直接编辑使用亦可打印——影视制作论文编辑强烈推荐10篇之第七篇：Adobe After Effect在影视后期制作的运用摘要：随着时代的发展和社会的进步，影视制作技术也得到了长足的发展。

目前，Adobe After Effect作为一款简单易学的视频后期处理软件，在影视后期制作中得到了越来越广泛的应用。

该文就Adobe After Effect在影视后期制作的应用做了相关的阐述和分析。

关键词：Adobe After Effect; 影视后期制作；应用；在当今的时代里，计算机软件技术在影视制作领域中发挥着越来越重要的作用。

随着计算机软件技术的不断发展，逐步的了传统的影视后期制作设备，只需要通过各种功能性极强的视频编辑处理软件就可以完成影视作品的后期制作。

Adobe After Effect是一款功能强大的视频编辑处理软件，将其应用到影视作品的后期处理阶段中，不但能够有效地提升影视后期制作的效率，还能够有效地降低影视后期制作的成本。

1 影视后期制作概述随着科学技术的不断发展，影视后期制作领域也逐步的朝着专业化的方向发展。

在视频制作技术的迅猛发展之下，与之配套的视频制作软件的功能性也越来越完善，为影视后期制作工作的顺利开展创造出了良好的条件。

目前，影视后期制作的主要内容就是根据脚本的要求，将拍摄完成的影像资料进行相应的剪切和拼接，并结合实际的需求加入相应的文字、特效以及配乐，使之成为一部完整的影视作品。

由此可见，影视后期制作的过程就是将各种素材加工成一部影片的过程。

就影视后期制作而言，主要分为初剪和精剪两个阶段。

通常情况下，需要采用非线性编辑软件来完成初剪阶段的工作；对于精剪阶段而言，会采用相关的特效软件来完成相关的工作。

2 传统的影视后期制作与现代化的影视后期制作的区别对于传统的影视后期制作而言，需要借助于编辑器设备来完成相关的工作。

影视视频剪辑外文文献翻译字数3000多

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片尾字幕中英文对照

co-production 联合拍摄 production摄制 Consultant 策划project supervisor专案主管 executive producer执行监制 senior producer总监制assiatant producer助理监制Post-Production Supervisor 后期制片监制人 Producer 制片人 Production Controller 制片总监 Production Director 监制人 Production Supervisor 制片监制 Co-Producer 联合制片人 Associate Producer 助理制片人 Executive Producer 执行制片Produced by制作人 production co-ordinator/continuity外联制片/场记location manager 外联制片 production administration 行政制作administration supervisor行政主管 marketing producer制片主任production manager制片 production secreary制作秘书production accountant制作会计 unit manager 项目经理 clapper 场记板Chief Director 总导演 Director 导演 Assistant Director 助理导演 Associate Director 副导演Shooting Script 分镜头剧本 Original Story 原著 Adapted by 改编 Based on X’s Y （电影）根据X（作家）的Y（小说）改编 Writer编剧Written by / Scripted by 编剧 screenplay by 编剧 script translation剧本翻译english subtitles by英文字幕翻译Conducted by 指挥Director of Photography 总摄影 Cinematography摄影 Cinematography by 摄影 Associate Director of Photography 副摄影师 Cutter 剪辑师 Montage 剪辑（蒙太奇Film Editing剪辑 first cameta assistant 副摄影师 camera assistant摄影助理Fireworks 烟火 Lighting 灯光，照明 lighting assistant 灯光助理Art Design 美术设计 Scenic Artist 美工师Art Director 美工师 Associate Art Director 副美工 art directors美术指导 Art Direction by美术设计assistant editor剪辑助理 Editor 编辑 Animated by/ Animation 动画 animation design电脑动画制作 Digital Effect 电脑数字特效 visual affect artist视觉特效师 Visual Effect 视觉效果 Visual Effects Supervisor视觉特效Sound Engineer 特效化妆 Special Effect Make-up 特技效果摄影 Special Effect Supervisor 特技监制 Visual Effects by 视觉特效 film title designed by 片头设计senior animator/artist高级动画师 CG producer电脑特效监制animators动画员 digital intermediate post production数码后期senior telecine colorist高级配光师 assistant telecine colorist助理配光师digital editorial数码编辑 assistant digital editorial助理数码编辑digital output technical supervisors数码输出技术主管 digital output technicians数码输出技术员film music音乐制作Mixer 调音师 Recording Engineer 录音工程师 Music by 配乐 original music 原创音乐Music Composed by 作曲 Music Editor 音乐编辑 Music Supervised by 音乐监制 Orchestrated by / Orchestration 配器 Original Score 原创作曲改编 Lyrics by 作词 Song by 歌曲创作 Sound Design 拟音，音响效果 Sound Effect 音响工程师 Vocal by 演唱 Audio Coordinator 音响统筹人 Audio Supervisor 音响监制人Production Designer艺术指导 Military Advisor 军事顾问 legal consultant法律顾问Best Boy 剧务 Scrip Holder 场记 Set Decorator 布景 Set Designer 布景设计师Prop Master 道具师 Property 道具Wardrobe 服装 Costume Design 服装设计 Costume Designer 服装设计师 Wardrobe assistant 服装助理 properties masters道具 make-up artial化妆Make-up 化妆 Hairdresser 发型师 assitant hairstylist发型助理Starring / Co-Starring 主演/联合主演 Starring 演员表 Stunt 替身演员 The Crew 职员表 Casting by…挑选角色 special appearance 特别演出ADR&sound effect录音及音效Dubbing 配音/录音，电影译制 set construction音量工程 sound assistant 录音助理unit managers（） production sound mixers录音师 ADR recording配音室foley artists动效 foley recording效果录音EFX editor动效编辑 dialogue recording对白录音 dialogue editor对白剪接sound mixers混音 sound design音响设计titles subtitles by字幕制作mandrin recording supervisor国语配音导演 mandrin recordist国语配音录制cantonese dialogue coach粤语对白录制 making-of制作花絮（拍摄）camera and lighting equipment supplized by器材提供 film stock胶片提供print洗印 sponsored by/ the director wishes to thank鸣谢television & entertainment licensing authority影视娱乐事物管理处copies & laboratory copies & laboraory拷贝洗印加工单位all events, characters and incidents portrayed in this photoplay are fictional any similarity to any persons, living or dead, or to any actual event is coincidental and unitentional 本片纯属虚构,如有雷同纯属巧合Film movie motion picture 电影Cast 演职员表Adapted by 改编Animated by/ Animation 动画Art Design 美术设计Art Director 美工师Assistant Director 助理导演Associate Art Director 副美工Associate Director 副导演Associate Director of Photography 副摄影师Associate Producer 助理制片人Audio Coordinator 音响统筹人Audio Supervisor 音响监制人Based on X’s Y （电影）根据X（作家）的Y（小说）改编Best Boy 剧务创思英语 Casting by…挑选角色Chief Director 总导演Cinematography by 摄影Conducted by 指挥Consultant 策划Co-Producer 联合制片人Costume Design 服装设计Costume Designer 服装设计师Cutter 剪辑师Digital Effect 电脑数字特效Director 导演Director of Photography 总摄影Dubbing 配音/录音，电影译制Editor 编辑Executive Producer 执行制片Fireworks 烟火Hairdresser 发型师Lighting 灯光，照明Lyrics by 作词Make-up 化妆Military Advisor 军事顾问Mixer 调音员Montage 剪辑（蒙太奇）Music by 配乐Music Composed by 作曲Music Editor 音乐编辑Music Supervised by 音乐监制Orchestrated by / Orchestration 配器Original Score 原创作曲改编Original Story 原著Post-Production Supervisor 后期制片监制人Producer 制片人Production Controller 制片总监Production Director 监制人Production Supervisor 制片监制Prop Master 道具师Property 道具Recording Engineer 录音工程师Scenic Artist 美工师Scrip Holder 场记Set Decorator 布景Set Designer布景设计师Shooting Script 分镜头剧本Song by 歌曲创作Sound Design 拟音，音响效果Sound Effect 音响工程师Sound Engineer 特效化妆Special Effect Make-up 特技效果摄影Special Effect Supervisor 特技监制Starring / Co-Starring 主演/联合主演Starring 演员表Stunt 替身演员The Crew 职员表Visual Effect 视觉效果Vocal by 演唱Wardrobe 服装Written by / Scripted by 编剧。

影视毕业论文参考文献

影视毕业论文参考文献为撰写或编辑论文和著作而引用的有关文献信息资源，下面是搜集整理的影视参考文献，欢迎阅读参考。

参考文献一：[1]李和庆，薄振杰.规范与影视字幕翻译[J].中国科技翻译.2005(02)[2]钱绍昌.影视翻译──翻译园地中愈来愈重要的领域[J].中国翻译.2000(01)[3]陈莹.英汉节奏对比分析[J].西安外国语学院学报.2004(02)[4]余萍.论创造性叛逆视野下的《唐诗三百首》英译[D].安徽大学2011[5]尤杰.论网络盗版对电影产业收入流的影响[J].当代电影.2010(12)[6]肖维青.学术性·职业性·趣味性--“影视翻译”课程教学探索[J].外语教学理论与实践.2010(03)[7]龙千红.《花样年华》的英文字幕翻译策略研究--兼谈中国影片的对外译介[J].西安外国语学院学报.2006(01)[8]孙致礼.翻译与叛逆[J].中国翻译.2001(04)[9]胡心红.从孙致礼的《傲慢与偏见》译本看文学翻译中的创造性叛逆[D].湖南师范大学2008[10]赵菁婕.论文学翻译中的创造性叛逆[D].青岛大学2014[11]杨莎莎.亚瑟·韦利对《西游记》的创造性叛逆式翻译[D].首都师范大学2008[12]张锦兰.接受美学与复译[J].甘肃教育学院学报(社会科学版).2003(04)[13]麻争旗.翻译二度编码论--对媒介跨文化传播的理论与实践之思考[J].现代传播.2003(01)[14]钱梦妮.美剧字幕组的生存悖论[J].新闻世界.2011(01)[15]吴晓芳.字幕组：美剧“汉化”的背后[J].世界知识.2011(01)[16]麻争旗.影视对白中“节奏单位”的翻译探究[J].中国翻译.2011(06)[17]王平.“隐秘的流行”路在何方?--“字幕组”翻译面面观[J].电影评介.2009(17)[18]刘洪涛，刘倩.论林译小说《迦茵小传》中的创造性叛逆[J].北京师范大学学报(社会科学版).2008(03)[19]张春柏.影视翻译初探[J].中国翻译.1998(02)[20]麻争旗.论影视翻译的基本原则[J].现代传播-北京广播学院学报.1997(05)参考文献二：[1]王凯华.帕尔默文化语言学视角下的宋词英译意象传递研究[D].辽宁师范大学2014[2]高丽红.生态翻译学视角下《骆驼祥子》两个英译本对比研究[D].西北师范大学2014[3]吴十梅.“张掖大景区建设项目”翻译实践报告[D].西北师范大学2014[4]蔡莹莹.风景抒情唐诗英译的象似性研究[D].辽宁师范大学2014[5]赵菁婕.论文学翻译中的创造性叛逆[D].青岛大学2014[6]赵春梅.论译制片翻译中的四对主要矛盾[J].中国翻译.2002(04)[7]李运兴.字幕翻译的策略[J].中国翻译.2001(04)[8]李琼.《协商民主在中国》英译实践报告[D].西北师范大学2014[9]樊小花.“加拿大天然健康产品许可证申请指导文件”的翻译报告[D].西北师范大学2014[10]冉彤.二人互动模式下提示和重铸与二语发展[D].西北师范大学2012[11]赵爱仙.翻译美学视阈下陌生化在《围城》英译本中的再现与流失[D].西北师范大学2013[12]李文婧.基于功能派翻译理论的科技论文摘要的英译研究[D].西北师范大学2013[13]王番.概念隐喻理论视角下的情感隐喻翻译[D].南京工业大学2013[14]陈燕.互文视角下的诗歌翻译比较研究[D].南京工业大学2013[15]刘霖.基于构式语法的汉语明喻成语英译研究[D].辽宁师范大学2014[16]赵静.关联顺应模式下商标名称英译的文化缺省研究[D].西北师范大学2013[17]陆祖娟.语用翻译视角下《围城》中人物对话的汉英翻译研究[D].西北师范大学2014[18]王君.英语经济类语篇汉译实践报告[D].辽宁师范大学2014[19]姜姗.语境视域下的英语经济新闻文本汉译实践报告[D].辽宁师范大学2014[20]钱绍昌.影视翻译──翻译园地中愈来愈重要的领域[J].中国翻译.2000(01)[21]郭建中.翻译中的文化因素：异化与归化[J].外国语(上海外国语大学学报).1998(02)[22]王静.英语学习者词缀习得的实证研究及其启示[D].西北师范大学2012参考文献三：[1]张鑫.从关联理论视角看电影字幕翻译[D].内蒙古大学2010[2]熊婷.从关联理论角度看电影《赤壁》的字幕翻译[D].广东外语外贸大学2009[3]陈燕.字幕翻译的技巧研究[D].厦门大学2009[4]周昕.从功能主义的视角分析《老友记》字幕翻译的问题[D].苏州大学2010[5]唐立娟.场独立与场依存认知风格与大学生阅读附带词汇习得的相关性研究[D].西北师范大学2012[6]郭乔.关联理论指导下美剧字幕翻译的明示处理[D].上海外国语大学2009[7]李芸泽.南京沃蓝科技有限公司商务洽谈陪同口译实践报告[D].西北师范大学2014[8]马玉珍.认知语境视角下字幕翻译的“高效与经济”原则[D].中南大学2009[9]苏春梅.高中英语教师对教学研究的认知和理解[D].西北师范大学2014[10]姜泽宪.英语教师信念与职业认同的研究[D].西北师范大学2012[11]郭星余.字幕翻译的改写[D].中南大学2007[12]马子景.第三届中国河西走廊有机葡萄酒节陪同口译实践报告[D].西北师范大学2014[13]吴庆芳.大学英语精读课教师多模态话语分析[D].西北师范大学2013[14]Salvatore,Attardo.TranslationandHumor:AnApproachBasedontheGeneralTheoryofVer balHumor.TheTranslator.2002[15]杨帆.加拿大资助中国乡村女大学生基金会项目的口译实践报告[D].西北师范大学2014[16]王红霞.从关联理论视角研究影视剧字幕翻译[D].上海外国语大学2009[17]Bassnett-McGurie,Susan.TranslationStudies.JournalofWomensHealth.1980[18]李艳玲.基于Wiki的协作式写作教学对提高非英语专业学生写作水平的影响研究[D].西北师范大学2013[19]高东森.基于FIAS的新手-专家高中英语教师课堂言语行为对比研究[D].西北师范大学2013[20]程思.影视字幕翻译策略探究[D].上海外国语大学2009[21]费卫芝.韩国电影中文字幕翻译研究[D].湖南师范大学2010。

【文献综述】TheFunctio...

【文献综述】TheFunctio...文献综述英语The Functional Equivalence in Movie Subtitle Translation fromEnglish to ChineseEntering into the 21st century, the exchange and communication of the international media culture is becoming more and more frequent with the growing globalization and more multinational cultural communication. The medium is destined to become an important carrier of people’s civilization. Film takes a quite large scale part of the medium. Since it emerged, the film has passed over one hundred years, going through various developments and changes from the silent film to the sound film, from the black-white film to the color film, from the normal screen to the wide screen. We cannot ignore the appearance of different scientific inventions, such as optical lenses, sensitive film for it has been thought as the basic drive force to push the film forward and speed up its growth.During the last century, as the foreign films began to be introduced into our nation, a new area began to rise—it was the translation of the films and television programs. One of the widely used ways is the dubbed foreign film. At first, it just related to the kind of film which was the silent film with the Chinese subtitles used by the lantern slide. Then, it evolved into the kind of film which was explained by “Miss Interpreter.” At last, the real dubbed foreign film came out which was dubbed into Chinese. People in our nation started to get used to this kind of foreign film gradually and to get popular amongst the publicsoon. As a linguistic program combining both the listening and watching instead of a simple linguistic program, the translation of the films and television programs involves the branch of linguistics, the branch of translation, the branch of communication and the like.A good dubbed foreign film played an important role in the process of producing a good quality of a film. So many scholars began to do research about the dubbing translation of the films. Basically speaking, there are three elements for it:1. Its dubbed language should be understood by the foreign watchers;Language is regarded as the carrier of the culture which should be responsible for reflecting the original cultural essence. So the dubbed language should not be considered as a kind of language but also be in line with the watchers’ way of thinking. As we know, there exists a big difference between the Chinese culture and the western countries’ for the sentences used by Chinese people are chiefly connected by the meaning while those used by western countries’ people are joined together mainly by grammar, conjunctions and so on.2. It must follow the oral artFilm, as a kind of medium for us to enjoy, should get close to our daily life. Almost a whole film is combined with dialogues. So the dubbed language should be vivid and vigorous and as well as straight, otherwise, as long as using stiff and formal language, both dubbers and watchers would feel uncomfortable for the dubbers would speak unnaturally while dubbing into Chinese and the watchers would find the films hard for them to get a clear idea about the films.3. Its voice must be lip-synchronism.Except listening, film is a kind of medium which should be watched. Besides, the order and the pause of the English sentences differ from those of Chinese. Therefore, it’s quite important to make the lip synchronized as much as possible. If not, the watchers may find the actors on the screen keeping speaking whereas the voice is already finished or the actors stopping speaking whereas the voice is still spoke.But with the development of the films’ technology, the dubbing films are no longer so popular as before. People turn to the films in original language with subtitles gradually. So there are more and more scholars starting to do research about the subtitles’ translation. Just as some research paper pointed out, because the history of films and television in China is not very long, most of the interpreters in the field of films and television do their work depended on their experience. Hence, it becomes reasonably essential and important to gain a good knowledge of the factors and tactics of the film subtitles’ translation.In the aspect of the film translation, there two areas: dubbing translation and subtitles’ translation. The dubbing translation relates to the art that the dubbers make use of their voice on the basic of the original figures’ character, combining with intonation to reveal the figures’ emotion in the films.Regarded as an especial branch of the literary translation, of course, the translation of the foreign films must abide by the generic disciplines of the literary translation firstly. But as a linguistic program combining both thelistening and watching instead of a simple linguistic program, this kind of translation must also follow disciplines only possessed by itself and its own specification for both the theory and linguistic art. For example, common literary works are writtenon the paper which readers are able to go over and over again while the subtitles are passing quickly on the screen which requires the words and sentences easily understood.For the subtitles’ translation, its factors can be concluded in four parts: make the language oral, make the voice lip synchronized, make the figures emotional and make the language in a popular style. After knowing these factors, it’s also necessary to find out what the directors of the films try to tell their watchers. Then, the subtitles translation can be conducted in a proper way. In other words, before choosing the tactics of the subtitles’ translation, the film workers have to get to know the whole story of the films. There are mainly two elements to restrict the subtitles’ translation: the time and the space. The element of time relates to the voice and the pictures should be synchronized though it is not so strict as the dubbing. Besides, for the purpose that the watchers can have enough time to sweep both the pictures and the subtitles, the element of the space should be paid attention as well. In usual, the subtitles take one to two rows on the screen. Considering these two elements, the translations should carry out these following tactics:1. Employ simple words, employ simple sentence structure2. Abridge original sentences on the basis that comply with the original meaning.But how can these two elements be implemented in a good way. Here, in many scholars’ paper, they mention a famous and important theory—the functional equivalence put forward by the famous linguist Eugene A.Nida. As Nida proposed the concept of the dynamic equivalence (the same meaning with the functional equivalence) at first, people got confused about this new concept.In order to avoid it, Nida changed the name “dynamicequivale nce” over to the “functional equivalence”. Nida suggested that the issue of weighting a translation work considered first be to find out what the readers react to it then to compare both the readers who read the original work and ones who read the translation work. The definition of translation Nida raised was “The nature of translating consist in reproducing in the receptor language the closest natural equivalent of the source language message, first in terms of meaning and secondly in terms of style.”According to his view, translation is a process of convert from the source language to the target language, namely, transmitting the original information by using the closest and most natural target language both in the meaning and the style. As Nida once men tioned, “Target language readers can be able to understand the translation work in the way that the source language readers think,” this theory lays its foundation on the readers’ reaction. So the functional equivalence became a significant guide in the field of literary translation. Many pieces of research paper about translation involve the application of this theory, such as in the field of advertisement translation, literary works’ translation and the like. Certainly, the area of the films and television translation takes a large scale of the application of the functional equivalence. Among it, the most popular one must be the films’ title translation. In some research paper, it has pointed out the differences between the functional equivalence translation and the metaphrase and the transcribe. The examples in the following table are a good comparison for it.Original titles Titles translatedby metaphraseTitles translatedby transscribeTitles translatedby the functionalequivalence1. “catch me if you can”《有种你来捉我》《神鬼交锋》《猫鼠游戏》2. “ghost”《幽灵》《第六感生死恋》《人鬼情未了》3. “the matrix”《矩阵》《二十世纪杀人网络》《黑客帝国》4. “pretty woman”《漂亮女人》《麻雀变凤凰》《风月俏佳人》5. “seabiscuit”《斯比克斯》《奔腾时代》《马到成功》6.“wings of the dove”《鸽之翼》《三颗翼动的心》《欲望之翼》From such kind examples given in some research paper, the application of the functional equivalence really possesses some unique advantages which other translation methods cannot be reached. But there is another fact is that for the functional equivalence theory, there are two main points to be stressed:1. Equivalence rather than identity.The translator must strive for equivalence rather than identity. In a sense this is just another way of emphasizing the reproduction of the meaning rather than conversion of the formof the original text.2. The closest equivalentBecause of the difference between cultures, there exist cultural blanks. What will a translator do to cope with this situation? Just to find the closest equivalent. It still means a natural equivalent, it mainly talks about the differences between a linguistic and cultural translation.From the upper two points, it’s not hard for us to find the fact just because of the upper emphasis pointed out they are also the limitations of this theory. As we know, the equity is relative instead of absolute which is quite different from the totally loyal to the original work. Nowadays, more and more scholars in the field of translation identity this statement, “Translation is equal to communication.” Yet commu nication must relate to the communicators and the social culture where they live. So the cultural diversity contributes to the failure of the equality. For example, people in different positions may unscramble a same situation in different ways.By the analysis of some research paper, the limitations of the equality can be concluded into three points:When the purpose of the original work and the one of the translation work, the aim of the equality can be hardly achieved; for the different cultural backgrounds and reading experience, the readers’ reaction come out differently; because of the different understandings between the original writers and the translators, small changes in the translating works may occur.Despite of these limitations, the application the functional equivalence still play a vital role in the field of translation. Therefore, it’s still necessary to be involved while talking about the translation.With the constantly rapid multinational communication, more and more films from the western countries flooded into our country. As a result, the film translation becomes more and more important and more and more scholars step into the field of film translation. In course of it, a quite number of pieces of research paper have investigated the fi lm titles’ translation but a few come down to the film subtitles’translation. So my research paper would like to come to the area of the subtitles’ translation lying on the theory of the functional equivalence translation as well as the limitations of it in a relatively easy way.参考文献[1] Eugene A.Nida. Language and Culture—Contexts in Translating[M]. Shanghai:Shanghai Foreign Language Education Press, 2009a.[2] Eugene A.Nida. Toward a Science of Translating [M]. Shanghai: Shanghai ForeignLanguage Education Press, 2009b.[3] Huang Gui. Functional Equivalence and Translation of Brand Names [J]. Journal ofHuangshan University, 2005(01).[4] Wolfram Wilss. The science of translation—Problems and Methods [M]. Shanghai:Shanghai Foreign Language Education Press, 2010.[5] Zhou Jun. On the Translation of Idioms in Terms of Functional Equivalence-TheScholars [J]. Science&Techonology Information, 2009.[6] 陈鸿秀.影视基础教程[M]. 北京：中国电影出版社，2008[7] 陈晓云.电影学导论[M]. 杭州：浙江大学出版社，2008[8] 崔燕.论文化缺省与字幕翻译的连贯重构[J]．湖北：现代商贸工业，2008.[9] 顾铁军. 外国新影片：翻译与研究[M]. 北京：中国传媒大学出版社，2006.[10] 华凌磊.全球化背景下的好莱坞电影及中国电影发展对策研究[J]. 长沙：众传媒职业技术学院学报，2006.[11] 李翔，戢焕奇.谈《集结号》英文字幕翻译[J]．北京：中国科技信息杂志，2008.[12] 刘大燕.电影译名中的“功能对等”—奈达的翻译理论在电影译名中的应用[J]．重庆：重庆交通大学学报（社科版），2008.[13] 马建丽.从译制片《2012》看影视翻译语言艺术[J]．北京：现代传播,2010a.[14] 马建丽. “动态对等理论”在影视谐音双关语言翻译中的运用[J]．北京：College English Academic Edition, 2010b.[15] 史可杨. 视传播学[M]. 广州：中国传媒大学中山大学出版社，2006[16] 张美芳.从语境分析看动态对等论的局限性[J]．上海：上海科技翻译，1999.。

影视拍摄与后期制作外文文献翻译

影视拍摄与后期制作外文文献翻译(含：英文原文及中文译文)文献出处：John Wiley. Video pre-production and post-production [J]. Frontiers in Psychology, 2014, 5(5):262-271.英文原文Video pre-production and post-productionJohn WileyFilm and television media have become the most popular and most influential media types. From the fantasy world created by Hollywood movies, to the real life that television news focuses on, to overwhelming television commercials, it has profoundly influenced our world. In the past, the production of film and television programs was just a job for professionals. It seemed to be covered with a mysterious veil. For more than a decade, digital technology has fully entered the film and television production process. Computers have gradually replaced many existing video and television equipment and played a significant role in all aspects of film and television production. But until recently, the use of video and television production had always been extremely expensive and specialized hardware and software. It was difficult for non-professionals to have the opportunity to see these devices, not to mention proficiently mastering these tools to produce their own works. With the significant increase in PC performance and the continuous decrease in prices, filmand television production has gradually shifted from the previous professional-grade hardware equipment to the PC platform. The original high-value professional software was gradually transplanted to the PC platform, and the price has become increasingly popular. At the same time, the application of film and television production has also expanded from a professional film and television field to a broader field of computer games, multimedia, networks, and home entertainment. Many practitioners in these professional fields and a large number of film and television lovers can now use their computers to make their own television programs.Many people have come into contact with the production of movies and TV programs. They started with 3D computer animation. Until now, there are many people who understand and even master 3D computer animation. Many books have been introduced in this area, but most of them are not suitable for film and television post production. Understand that related books are also less, and generally only concerned with the operation and use of a certain software. However, they do not pay much attention to the basic flow and principles of film and television post-production. I hope readers can use this book to not only understand and master the software. Use, but also a more comprehensive understanding of the entire process of film and television post-production.1 Film and Television Post Production Overview:The production of film and television shows is a rather complicated process. Due to the diversification of the film and television programs themselves, it can be said that there is a world of difference, from expensive film production to personally produced home videos. Although the use intentions of these programs, the production budgets, and the manpower and material resources invested are all very different, their production processes are quite similar. In general, the production of film and television programs can be divided into pre-production, real-time production. Shooting, and post-production of the three major stages.Pre-production is the stage of planning and preparation. For film production, this process mostly starts with the script, followed by a series of complicated processes such as setting budgets, raising funds, selecting shooting locations, selecting actors, and forming photography groups. For personal creators, this may be nothing more than a whim, and then pick up your camera and take a few minutes of interaction with the surrounding environmental figures. The shooting phase is the process of recording a picture using a camera. At this time, the material shot can be said to be the cornerstone of constructing the final finished movie.When the main shooting work is completed, it reaches the post-production stage. Traditionally, the main task of this stage is editing, and editing the scattered material from the shooting stage into a complete movie. Generally during the shooting of a movie, the material actuallyshot is several times or even tens of times the length of the final cut. The editor wants to pick the most satisfying material from a large amount of material and organizes them in an appropriate way. Post-production also includes the production and synthesis of sounds. Generally only at this stage, when the extra material has been removed, the lenses have been combined in series, the picture and sound have been synchronized, and the full picture of the movie can be seen. Because of the large amount of information and meaning of the film, it is not included in the picture of a certain lens. It is included in the combination of a series of pictures and included in the connection between the picture and the sound. It is no exaggeration to say that the film and television art is very large. To the extent it is manifested in post-production.Traditional movie clips are truly splices, and the resulting film is processed to produce a set of work samples for editing. The editor selects the desired lens from a large number of samples, cuts the film with scissors, sticks them with tape or glue, and then watches the effect of the clip on the editing table. This repeated process of cutting and pasting is repeated continuously. Until the last look when satisfied with the results. This process is still very common until now. Although it may seem primitive, it is non-linear. The editor does not have to work from beginning to end, because he can cut the samples at any time from the middle, insert a shot, or cut out some pictures directly, without affectingthe whole movie. However, this method is powerless for many production techniques. The editor cannot create a special fusion screen between the two shots, nor can he adjust the color of the screen. All these techniques can only be completed during the printing process, and the manual operation of scissors and paste is also inefficient.Traditional TV editing is done on the editing device. The editing equipment usually consists of a player and a video recorder. The editor selects a suitable piece of material through the player, records it on the tape in the recorder, and then looks for the next shot. In addition, the advanced editing equipment also has powerful special effects functions, which can create various screens for fusion and special effects, can adjust the colors of the screen, and can also create subtitles. However, because the tape recording screen is sequential, it is not possible to insert a lens between existing screens, and it is not possible to delete a single camera unless all subsequent screens are rerecorded. So this kind of editing is called linear editing, which brings a lot of restrictions to editors.We can see that while the traditional editing methods have their own characteristics, they have great limitations, which greatly reduce the creativity of the editing staff and waste valuable time in the cumbersome operation process. The digital non-linear editing technology based on computer technology makes the editing method a great space for advancement and development. This technology records material on acomputer disk and uses the computer's calculations and data reading and storage to perform the editing process. It uses a non-linear mode of movie editing, but with simple mouse and keyboard operations instead of scissors and paste-type manual operations, the editing results can be played back immediately, thus greatly improving the production efficiency.2 3D Computer Animation and SynthesisWith the rapid development of film and television production, post-production has shouldered a very important responsibility: the production of special effects lens - special effects lens refers to the shot can not be directly obtained. Most of the early film and television special effects were accomplished through traditional methods such as model making, special photography, and optical synthesis, and they were mainly completed during the shooting and printing stages. The use of computer numbers provides better and more effective means for special effects production. It also enables many special effects that must be completed using models and photographic techniques to be produced through computer technology. Therefore, more special effects have become post-production. jobs. There are two main reasons why a special effect lens cannot be photographed. First, the subject or environment does not exist in real life, or it may not be photographed if it exists, such as a dinosaur or an alien; the second is the subject and environment of theshooting. Although it exists in real life, it cannot be in the same spacetime at the same time. For example, the protagonist of a movie escapes from a dramatic explosion scene.For the first difficulty, we must use other things to imitate the subject of photography. Common means include making models, using human makeup to imitate other creatures and 3D animations of computers. In fact, 3D computer animation is also a model. It is not only that it is a virtual model that exists in the computer. In short, to solve this type of problem, we need to use a method that is out of nothing.The second difficult solution is synthesis. Since the subjects of the shooting are all present, they can be photographed separately and then these shots taken separately are combined. In the past, synthesis relied mainly on techniques for special effects photography and printing, but the rapid development of computer digital synthesis technology made these methods obsolete. The rapid development of special effects movies in recent years has also led to the growth of the entire film industry. The computer digital synthesis technology is very different from the 3D computer animation. It is not a kind of technology itself, but it uses the existing material screens to be combined, and at the same time, a large number of images can be modified and beautified. It can be said that it is a kind of technology that icing on the cake. For television programs, we can often see such a picture. The picture itself is composed of manyunrelated objects. Obviously not through shooting, but through synthesis. For example, many television titles, advertisements, MTV and other programs are like this. The primary escape condition for synthesis at this time is not a sense of reality, but a purely aesthetic and formal sense, but there is not much difference from the synthetic synthesis in the way of synthesis. Through the above introduction, we have roughly summarized the appearance of film and television post-production: using footage from real-life shooting to produce special effects shots through 3D computer animation and synthesis, and then combining the shots together to form a complete film. , And make sounds for the movie. In the following figure we can see the basic flow of digital post-production of television. At present, most of the television programs, such as advertisements, titles, MTVs, and TV dramas are produced in this way. However, in the process of synthesis, the following requirements must be met:(a) The screen is cleanThe clean screen includes the following aspects:1 No clip frame is a complete lens connection, there is no extra thing in the middle. If we did not cut at the end of the shot when we edited it, we took the contents of the next shot at the back, and these things were added due to mistakes. We did not need to. This is the clip frame. And when we connect the two lenses, there is no black field in the middle. This is also a clip frame. One of the most important tasks when editing isusually to cut the screen.2. The editing mode of the lens complete lens is dynamic and static and then static. There is not much to say about moving here, and the lens must be complete when it is docked. The still lens must maintain a certain length, such as 5-8 seconds in the middle scene. Sports shots must have a kick and a kick.3, The moving lens must be settled finally, the moving lens can not be called the end of the screen, so the final point of the lens must be still. Even if you use dynamic connection, the last lens must also be quiet. The subject stops moving or draws.(B) The sound is cleanThis is what the novice usually ignores in the editing, including several aspects:1 Words to completeWhether it is the original soundtrack or the narration, one cannot say one sentence.2 The sound should be pureSpecial noisy sounds cannot be used and must be understood by the audience.3 The volume of the sound should be appropriateThe volume of a program must be unified and cannot be high or low.The proportion of background music volume should be appropriate,so that the sound of background music cannot affect the sound of speech.中文译文视频的前期拍摄与后期制作作者：约翰·威利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。

视频的后期制作与编辑外文文献翻译2014年译文3400字

文献出处: Alessandrini P. The Post-production and Editing of Film and Television Video [J]. Review of Film Video, 2014, 15(2): 261-307.（声明：本译文归百度文库所有，完整译文请到百度文库）原文The Post-production and Editing of Film and Television VideoAuthor: Alessandrini PAbstractIn the process of film and television production, the production and editing of the late is as important as the prophase work. Pre-production is the film and television planning and preparation, and as the film and television post-production be finished before the end of the procedure, it is combined with sounds, words and images such as a variety of audio-visual methods in the integration of professional high comprehensive creation. A good film and television works or not, depends largely on the later production and editing, according to the requirements of the film and television production, to choose the right means of post-processing, society. with for film and television program. In this paper, from the understanding of the film and television post-production and editing, video post-processing technology is analysed and the correct selection method.Keywords: knowledge; Technology; chooseFilm and television production is divided into three stages, namely the preparation, the actual filming and post-production. Preparation of film and television works planning and preparation; The actual filming scenes, film and television works in the recording process; And post-production is on the basis of the previous good pictures, according to the requirement of the film and television works expressive force, etc, to a certain animation and synthesis technology to make special effect lens, then each set of lens splicing clip together, made into a full and there's a very rich visual and sound effects. As a result, the film and television late work directly affects the whole quality of film and television works.1 The understanding of film and television post-production and editingBoth the audience and producer of the film and television works, more and more people begin to pay attention to the film and television works in scope, therefore the post-production and editing of the film and television works work also gradually improve requirements, through long-term exploration is gradually perfect. In the process of film and television post-production, more traditional methods were taken editor based on good material to choose the appropriate lens, will be extra footage off, then the joining together of lens, completed the film and television works. Generally in the filming of a film and television work, editors to choose from a large amount of material the best represents material characteristics and theme film and television works, and then organize, and the number of the original material tend to reach several times or even dozens of times the length of the film and television works. It should be pointed out that, "clips" is not equal to simple to work "cutting" of theoriginal material, clip a technique, which is including splicing, more emphasis on is the creation of the creator consciousness, and is not a simple "cut" and "pick up", but rather to visual and sound effects on the camera and editing. From the perspective of the development of digital technology, enhance its quality and properties of film and television works, to a large extent depends on the development of digital technology. And from the point of development prospect, post-processing, film and television works mainly in order to strengthen the expressive force of work. Mainly in the development of linear editing system gradually to stall, and nonlinear editing system has a good development situation, this makes the film and television production more convenient and quick. The integrated use of various software, or a fantastic visual and sound effects to the film and television works, also brought a great visual impact to the audience. At the same time because of the rapid development of the PC platform, prices are lower, film and television post-production is from the previous professional hardware gradually shift to the PC platform, the application of film and television production has not only confined to the movie and TV is made, but more to the games and the Internet, multimedia, entertainment, family, and more areas. Film and television post-production and clips, in the process of development of modern media is playing a very important role.2 Post-production and cutting technologyIn today's digital technology rapid development, the film and television post-production and editing process technology has developed to the point of very mature, also all kinds of software and hardware development and development, in particular, more film and television post-production provided convenient conditions, let the audience to appreciate more dazzling audio-visual feast. Based on the purposes of the hardware and software can be roughly divided into the high school low-end, and each level has different requirements and the hardware configuration, in general, the more high-end products for hardware requirements will be high, the corresponding output video quality is relatively higher. So according to the theme of the film and television works and asked to choose the appropriate level of software and hardware, nature can achieve twice the result with half the effort. Tell from the processing techniques, the film and television post-production can be divided into linear editing and nonlinear editing, both in today's post production and editing work supplement each other, at the same time have their own advantages and disadvantages.2.1 Linear editingThe so-called linear editing is recorded at the early stages of the film and television works, after completing a job editor for material selecting, editing, and then new lens together. Connect the new lens method generally used combination of editing, if you want to replace a part of the lens is with insert editing but need to replace of the same length. The disadvantages of this method is mainly it needs to be made in chronological order, it is difficult to on the basis of the original material to shorten or lengthen the middle part, unless it is recorded that after a while. This is a traditional film and television works edit mode.2.2 Nonlinear editingNonlinear editing is relative to the case of linear editing, if linear editor is editing according to time sequence, then the nonlinear editor nature is achieved by leaps and bounds, editor of technology. It is the perfect combination of computer technology and digital television technology, almost all of its jobs are done in the computer, for very little dependence on external devices, for the use of the material also can choose at will, rather than as according to the time order of the single linear editing, choose the material is very fast and convenient, the compiling system gives the producer of the film and television works great creative freedom space, so it is very suitable for the montage film editing and stream-of-consciousness way of thinking, and the vast majority of the film and television works in the modern application of most of the nonlinear edit system.3 Choose appropriate editing and production methodsTo choose the right means of film and television post-production and editing linear editing and nonlinear editing their respective advantages and disadvantages, decided the both in the process of production of film and television works complementary relationship, both be short of one cannot. Only according to the requirement of the film and television works and characteristics, select the appropriate technology and methods, to present a good film and television works to the audience. In feature films, documentaries, advertising, and in the process of the opening of film and television program production, usually use edit mode is nonlinear editing. This choice is because in the opening of film and television programs, advertising, you need to theme is very outstanding, let the audience impressed is shown in the video content, so there are relatively high requirements for image processing. In this a few kind’s films, often need special treatment on subtitles, color, heavy use of multilayer superposition of images, such as sports, transparent effect, to fast, slow motion picture carefully. In addition, in this a few kinds of film and television work, also often use longer than 5 seconds, linear editing is hard to do such a request, and with nonlinear editing, is much more easy to implement.Live entertainment, interview programs generally use the traditional linear editing, etc. Because live, live straight record the response speed recording equipment used by the program requirements in a timely manner, recorded from the beginning would have been recorded to the end of the show, middle can't stop, don't make any more mistakes. Therefore, this type of program recording with traditional linear editing. But for programs have special requirements, if you need to playback or processing of images, also combined with a nonlinear editing to use, in order to achieve better visual effect.For news of the production process, application is given priority to with linear editing. Because the news is mainly to the audience more news, current affairs and to be in a relatively short period of time will spread out, a lot of information on the screen, and it need to shorten the time of each lens, press the requirements of each lens length is not greater than 5 seconds. Because the news authenticity requirement, in the process of dealing with almost no special effects shots, but the lens group together directly, most is the late dubbing voice or the same period and late dubbing mix, therefore in the process of news production using linear editing is perfect. Linearediting is commonly component connection use more, which reduces the loss of signal, program quality is guaranteed.4 Art characteristics of post-productionAfter the late preliminary editing, careful editing and delicate clipping three stages, complete the whole editing tasks of film and television works. And the process of editing, editors will not work in order to achieve the length of several of the camera is rigidly stitching together or stiffly for use, the effect will be a lens to use special effects, in the process of handling of material, editors to consider action transitions, modelling, the art characteristic of three aspects of time and space to deal with the lens.4.1 Action transitionsAction is an important way of scene transitions. In order to make the lens more in line with the law, are ornamental, in the process of editing action selection and combination of carefully and must be handled. Due to the character's psychological action, language, action and body movements, and many other body movements to express people's personality traits, character emotions, has played a great role in promoting the plot development, so the editor for processing is attached great importance to the action, at the same time, it also can change the monotonicity of action. For example, is the most widely use slow motion, with slow motion to highlight action or faster action.4.2 Plastic artsUse sharpening, mask and feature technology to optimize the film and television in the modelling, can play a rendering, more stress the theme of the film and television works. Editor, often through the character modelling, modelling and environmental modelling picture processing, to achieve the desired effect. Environmental modelling to neutral shade, to coincide with the style of the film and television works, not too thick or too light, should not only have the rendering effect of film and television works, but not a presumptuous guest usurps the host's role. Film and television works with images of the stereo configuration of the modelling is going through the picture, surface structure, space depth, the outline form and features such as color change, multi-angle editor, to enrich the connotation of the film and television works.4.3 The space and timeTime and space is a big background of film and television works, also became editor for editing, and action and modelling processing mainly to highlight the theme of the film and television works, apply colours to a drawing atmosphere and so on, in order to achieve the purpose of the audience and the formation of resonance, let the audience was impressed by the film and television works. In addition to deal with the film and television works should reflect the time characteristic, will handle with these time in line with the appearance and characteristics of the space. Editor to correctly use all kinds of editing effects, reflects the different aspects of the art features, in order to fully reflect the creative intention of writer and director, the audience enjoy the transformed literary artistic conception of the script into the perfect audio-visualfeast.5 ConclusionIn the process of creation of film and television works, post-production and editing work should be more and more attention, this is not only the demands to the film and television post-production workers, also is a good film and television works the most basic guarantee.译文影视作品视频的后期制作与编辑亚历山德里尼摘要在影视制作过程中，后期的制作与剪辑和前期的工作一样重要。

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co-production 联合拍摄 production摄制 Consultant 策划project supervisor专案主管 executive producer执行监制 senior producer总监制assiatant producer助理监制Post-Production Supervisor 后期制片监制人 Producer 制片人 Production Controller 制片总监 Production Director 监制人 Production Supervisor 制片监制 Co-Producer 联合制片人 Associate Producer 助理制片人 Executive Producer 执行制片Produced by制作人 production co-ordinator/continuity外联制片/场记location manager 外联制片 production administration 行政制作administration supervisor行政主管 marketing producer制片主任production manager制片 production secreary制作秘书production accountant制作会计 unit manager 项目经理 clapper 场记板Chief Director 总导演 Director 导演 Assistant Director 助理导演 Associate Director 副导演Shooting Script 分镜头剧本 Original Story 原著 Adapted by 改编 Based on X’s Y （电影）根据X（作家）的Y（小说）改编 Writer编剧Written by / Scripted by 编剧 screenplay by 编剧 script translation剧本翻译english subtitles by英文字幕翻译Conducted by 指挥Director of Photography 总摄影 Cinematography摄影 Cinematography by 摄影 Associate Director of Photography 副摄影师 Cutter 剪辑师 Montage 剪辑（蒙太奇Film Editing剪辑 first cameta assistant 副摄影师 camera assistant摄影助理Fireworks 烟火 Lighting 灯光，照明 lighting assistant 灯光助理Art Design 美术设计 Scenic Artist 美工师Art Director 美工师 Associate Art Director 副美工 art directors美术指导 Art Direction by美术设计assistant editor剪辑助理 Editor 编辑 Animated by/ Animation 动画 animation design电脑动画制作 Digital Effect 电脑数字特效 visual affect artist视觉特效师 Visual Effect 视觉效果 Visual Effects Supervisor视觉特效Sound Engineer 特效化妆 Special Effect Make-up 特技效果摄影 Special Effect Supervisor 特技监制 Visual Effects by 视觉特效 film title designed by 片头设计senior animator/artist高级动画师 CG producer电脑特效监制animators动画员 digital intermediate post production数码后期senior telecine colorist高级配光师 assistant telecine colorist助理配光师digital editorial数码编辑 assistant digital editorial助理数码编辑digital output technical supervisors数码输出技术主管 digital output technicians数码输出技术员film music音乐制作Mixer 调音师 Recording Engineer 录音工程师 Music by 配乐 original music 原创音乐Music Composed by 作曲 Music Editor 音乐编辑 Music Supervised by 音乐监制 Orchestrated by / Orchestration 配器 Original Score 原创作曲改编 Lyrics by 作词 Song by 歌曲创作 Sound Design 拟音，音响效果 Sound Effect 音响工程师 Vocal by 演唱 Audio Coordinator 音响统筹人 Audio Supervisor 音响监制人Production Designer艺术指导 Military Advisor 军事顾问 legal consultant法律顾问Best Boy 剧务 Scrip Holder 场记 Set Decorator 布景 Set Designer布景设计师Prop Master 道具师 Property 道具Wardrobe 服装 Costume Design 服装设计 Costume Designer 服装设计师 Wardrobe assistant 服装助理 properties masters道具 make-up artial化妆Make-up 化妆 Hairdresser 发型师 assitant hairstylist发型助理Starring / Co-Starring 主演/联合主演 Starring 演员表 Stunt 替身演员 The Crew 职员表 Casting by…挑选角色 special appearance 特别演出ADR&sound effect录音及音效Dubbing 配音/录音，电影译制 set construction音量工程 sound assistant 录音助理unit managers（） production sound mixers录音师 ADR recording配音室foley artists动效 foley recording效果录音EFX editor动效编辑 dialogue recording对白录音 dialogue editor对白剪接sound mixers混音 sound design音响设计titles subtitles by字幕制作mandrin recording supervisor国语配音导演 mandrin recordist国语配音录制cantonese dialogue coach粤语对白录制 making-of制作花絮（拍摄）camera and lighting equipment supplized by器材提供 film stock胶片提供print洗印 sponsored by/ the director wishes to thank鸣谢television & entertainment licensing authority影视娱乐事物管理处copies & laboratory copies & laboraory拷贝洗印加工单位all events, characters and incidents portrayed in this photoplay are fictional any similarity to any persons, living or dead, or to any actual event is coincidental and unitentional 本片纯属虚构,如有雷同纯属巧合Film movie motion picture 电影Cast 演职员表Adapted by 改编Animated by/ Animation 动画Art Design 美术设计Art Director 美工师Assistant Director 助理导演Associate Art Director 副美工Associate Director 副导演Associate Director of Photography 副摄影师Associate Producer 助理制片人Audio Coordinator 音响统筹人Audio Supervisor 音响监制人Based on X’s Y （电影）根据X（作家）的Y（小说）改编Best Boy 剧务创思英语Casting by…挑选角色Chief Director 总导演Cinematography by 摄影Conducted by 指挥Consultant 策划Co-Producer 联合制片人Costume Design 服装设计Costume Designer 服装设计师Cutter 剪辑师Digital Effect 电脑数字特效Director 导演Director of Photography 总摄影Dubbing 配音/录音，电影译制Editor 编辑Executive Producer 执行制片Fireworks 烟火Hairdresser 发型师Lighting 灯光，照明Lyrics by 作词Make-up 化妆Military Advisor 军事顾问Mixer 调音员Montage 剪辑（蒙太奇）Music by 配乐Music Composed by 作曲Music Editor 音乐编辑Music Supervised by 音乐监制Orchestrated by / Orchestration 配器Original Score 原创作曲改编Original Story 原著Post-Production Supervisor 后期制片监制人Producer 制片人Production Controller 制片总监Production Director 监制人Production Supervisor 制片监制Prop Master 道具师Property 道具Recording Engineer 录音工程师Scenic Artist 美工师Scrip Holder 场记Set Decorator 布景Set Designer布景设计师Shooting Script 分镜头剧本Song by 歌曲创作Sound Design 拟音，音响效果Sound Effect 音响工程师Sound Engineer 特效化妆Special Effect Make-up 特技效果摄影Special Effect Supervisor 特技监制Starring / Co-Starring 主演/联合主演Starring 演员表Stunt 替身演员The Crew 职员表Visual Effect 视觉效果Vocal by 演唱Wardrobe 服装Written by / Scripted by 编剧。

影视视频剪辑外文文献翻译字数3000多

影视视频剪辑外文文献翻译字数3000多文献出处：Belk R. The research of film and television video editing techniques [J]. Qualitative Market Research: an international journal, 2016, 8(2): 132-141.原文The research of film and television video editing techniques Belk RAbstractVideo clip is indispensable to film and television art important constituent, it to a certain extent determines the communication effect of film and television works. Practice has proved that the mature video editing skills can make the film and television work more attractive. Based on the video clip of the related theory on the basis of further explore some video clips of the skill. The film and television works has become the general public today to be reckoned with in the important part of everyday life. The French cafes in Paris the limier brothers showed his first film and television works, marked the film was born. But when the limier brothers just use camera to record what happened around, didn't realize the important role of clips, until the American director Griffith began using a shooting like a shot, video, film and television works of clip art to be the contact and appreciate the people gradually. Keywords: Video; Processing; Skills1 Related conceptsImages, sound clip is the film in a special and meaningful way selection, decomposition and elsewhere, eventually forming a coherent and fluent, clear theme, artistic appeal. A film and television works even if the previous play, shoot picture andsound collection, cast strong enough, but the lack of the improvement of the video clip and packaging, late also unable to produce the desired viewing effect.At the beginning of video clips in general to go through several steps: cutting, after cutting, fine cut, etc. Early shear is based on directed intention, according to a shooting like a copy of material; After cut is on the basis of the initial shear and supplement for the perfection of video for further; Fine cut is editing personnel on double shear repeated verification, examination, on the basis of combining with the special means, the montage and be more careful cutting, after repeated revision, editing video editing techniques to achieve director intention, film narrative and the performance of the double goals are met. Excellent editors on a large number of video clips, to try to grasp the integral style of the works, the intention of the director, programs, etc. Also need to make the film and television works stand out, independent, excellent editing procedure and editing skills. Each clip like people blink an eye, editing final purpose is to meet the needs of the audience and recognition, to work, and ultimately achieve good communication effect.2 TechniquesEditing style, namely video director will own intentions to video editors, editors to show the overall understanding and grasp, eventually form their overall creation idea of editing. Some film let the audience the feeling of being in style is not consistent, most part of the reason is the preparation and editing personnel without a unified style. For the realization of the expected effect of viewing and editing personnel in contact with the video material, must first communicate and choreographer, read a script or a shooting copy, and then choose according to theinformation unified editing style and make it through the whole video. Clip the ultimate goal is to reach and program, structure, content and form of the theme of the harmonious unification, editors must not throw director intention and the creation of the work itself, according to the individual subjective intend to arrange video editing style along with the gender. Editing style is roughly divided into the following categories:2.1 The traditional editing styleTraditional clip is the basic editing video clip gimmick, it is able to prevent confusion between the lens, the role is to ensure a smooth film and television video conversion, 2 it is to make the film and television works the paragraph is clear, the plot of the narrative time, place, detail and clear, avoid to cause the audience confused feeling. The traditional editing style in film editing the proportion is very big, is also must master the basic skills of editing staff.To grasp the traditional editing style need to pay attention to the following three aspects: first of all, the linkage between the lens directions cannot be disorder. Figurewalking direction, the spatial relationship between the characters to maintain consistent, not because of the transformation of the lens for the confused feeling. For example, to show the characters from the lotus pond in the park to seat walk over and characters from the picture on the left side of the entering and going out from the right, then the next shot, the characters go to the seat should be still from the left into the picture. Otherwise it will let the audience feel a sense of confusion on the vision, especially pursuit, fighting like a lens, etc. Secondly, the change in the lens to be coordinated. The so-called "dynamic", "static", is the video similar material group togetherin rhythm, form a kind of coordination and stable effect. "Move" is commonly used in the characters' bodies, for example, when a man slapped the other one, a lens is held up his hand before, a camera and then have a fan up continuous motion. Or in the push, pull, shake, shift, with movement in the lens, when the lens is from one scene to another scene, the camera can be directly to switch to another direction, speed close pan, forming a natural transition. "Static" are often used during transitions, two relatively stationary camera can bring harmony on the look and feel, at the same time let the audience play imagination and thinking.Finally, omit unnecessary process.In real life, the audience is familiar with the actions or behaviors, in the process of video editing often can be omitted, only a few key action, forma compact clips of coherent effects.2.2 Creative editing styleCreative editing style aims to improve the effect of the film and television works of art to watch, it including the dramatic effect clip, clip and rhythmic effect clip expressive effect. Dramatic effect clip by changing the lens of sequence and timing, change the lens clips point, finally let each shot in the plot, the best time to bring the audience find everything new and fresh, an Epiphany viewing experience. For example, in the film, props repeatedly appears in the film, it is one of the important props will film to a climax. Expressive effect clip that the whole narrative content in fluency, on the basis of editing combined with their own experience, bold selection, focus some analogy to the lens, so that the film formation reveals a certain meaning, apply colors to a drawing atmosphere effects of editing style. Rhythmic effect cliprefers to the lens time is short, the scene changes quickly, letthe audience feel urgency, the effect of psychological tension, this clip effect can't disorderly use, must be combined with the overall structure and the characteristics of the plot to use film.3 The video clips rhythmsThe tempo of the film and television works determines its overall style, some works even depend entirely on the rhythm to infect the audience's emotions and feelings. Editing rhythm to organize various art elements in film and television works effectively, depicting the hero image, create a special artistic conception, and effectively push forward the plot. As a result, the overall pace of film and television works to shape the overall artistic atmosphere, improve work grade having the effect that cannot ignore, even decided to work success or failure, rhythm grasp accurate or not is one of the important factors in evaluating a film and television works.The rhythm of the film can be divided into external and internal rhythm. Internal rhythm refers to the contradiction of the plot itself, the change of character psychology and external rhythm refers to the switching speed of the camera itself, often by means of montage, lenses and other sports. In addition to film the overall rhythm, each fragment, the scene also should have certain rhythm, according to the characters' emotions, drama, image to master, in order to ensure that every scene express a complete and accurate. Editing rhythm of film and television works by images of your body movement rhythm, the rate of movement of the camera, the influence of the length of the lens, transform, the narrative plot and characters in the film and television works mood changes speed to a certain extent, determines the merits of the work.To shoot early photographers according to the director ofthe creation intention, the overall style of the works and their own professional choice taking lens, on the basis of this formed the basis of film rhythm. After the completion of the preliminary work, editing personnel according to the development of the plot "priorities" to form a relaxation of the editing work. Whether editing rhythm, the rhythm of the film as a whole, or the rhythm of the film passage between, to ensure that all of the appropriateness of rhythm, can't let the audience psychological uncomfortable feeling.But throughout the whole style doesn't mean the whole works always keep the same pace, but rather too appropriately according to the plot unfolds, the formation of the climax of paragraphs and low, as the pace of the film to the audience emotional fermentation. In the film "run Lola run", the three paragraphs respectively represents the three end of Laura and her boyfriend, revealed many details of life often different events that can lead to the final result. Film, Laura lost money trying to save for her boyfriend, she's crazy running lens to form a kind of fast rhythm, at the same time, the roller run of the camera and turn the lens in the clock on the wall switch, enhanced narrative sense of urgency and the sense of crisis, the audience cannot help for the lens the fate of the characters in the tension and fear.4 Apply video clip gimmickPicture like a clever can form special effects, editing, from the video images through a meaningful set, you can generate a constant association and the feeling that find everything new and fresh. The film inception, for example, in like manner, using a variety of means of montage, bring the audience into a special trip to fantasy. Like a smooth way between lens, lens the link between the way there are a lot of, for example, fade, fade in,dissolve, to make use of the means to make smooth and natural to switch between scenes, also can be used directly to the switch, jump cut, flashbacks, make the film forming a rhythm quickly, strong impact effect.译文影视视频剪辑技巧研究Belk R摘要视频剪辑是电影、电视艺术不可或缺的重要组成部分，它在一定程度上决定了影视作品的传播效果。

电视节目后期制作技术

电视节目后期制作技术Abstract：The post-production of TV programs is the last process in the production of TV programs，which has an important effect on the quality of the whole TV programs. In a sense，TV program production technology includes all aspects of the content，such as recording，editing and post-processing and creation. Each post-operation error will affect the quality of the entire television program. The following paper makes a detailed analysis of and discussion on several key technical problems in the post-production of TV programs，hoping to provide some reference for the relevant practitioners through the brief discussion of the article，to provide quality basis for the subsequent production of television programs so that they continue to provide the ratings of television programs.Keywords：television programs；editing；post-production1 后期編辑对于电视节目的重要性电视节目作为人们生活中必不可缺少的重要部分，随着人们生活质量的逐渐提高，对于电视节目的欣赏度和审美度也在逐渐的提高。

影视文本翻译的译后编辑实践分析

影视文本翻译的译后编辑实践分析
陈欣萌
【期刊名称】《河北画报》
【年(卷),期】2022()8
【摘要】当今全球化背景下东西方交流日益加深,尤以文化交流首当其冲。

如今风靡世界的大量英文原版作品被引进我国,越来越受到国人的追捧。

影视作品借助现代科技手段已经成为喜闻乐见的大众文化。

因此,影视作品翻译已经引起了中外翻译界的重视。

它要求通过简单、流畅的语言来最大限度地向译入语观众直接传递有效信息。

【总页数】3页(P163-165)
【关键词】计算机翻译;专有名词翻译;字幕翻译
【作者】陈欣萌
【作者单位】安徽新华学院外国语学院
【正文语种】中文
【中图分类】H31
【相关文献】
1.影视文本翻译的译后编辑模式研究
2.影视文本翻译的译后编辑实践分析——以国产仙侠剧香蜜的经典台词为例
3.影视文本翻译的译后编辑实践分析——以国产仙侠剧香蜜的经典台词为例
4.影视文本翻译的译后编辑模式研究
5."机器翻译+译后编辑"模式下的经济史文本翻译研究
——以《20世纪经济理论知识史(1890—1918):
资本主义黄金时代的经济学》自译章节为例
因版权原因，仅展示原文概要，查看原文内容请购买。

cinematography 学术翻译

cinematography 学术翻译基本解释●Cinematography：电影摄影术●/ˌsɪnəməˈtɒɡrəfi/●n. 电影摄影术具体用法●n.:o电影摄影术o例句：●The cinematography in that film was breathtaking, capturingthe essence of the landscape in every frame. (那部电影的摄影令人叹为观止，每一帧都捕捉到了风景的精髓。

)●She studied cinematography at the university to pursue herdream of becoming a director. (她在大学学习电影摄影术，以追求成为导演的梦想。

)●The use of natural light in the cinematography added arealistic touch to the movie. (电影摄影中自然光的使用为影片增添了真实感。

)●His innovative approach to cinematography has influencedmany young filmmakers. (他对电影摄影术的创新方法影响了许多年轻的电影制作人。

)●The cinematography effectively conveyed the mood of thestory, enhancing the audience's emotional experience. (电影摄影术有效地传达了故事的情感，增强了观众的情感体验。

)●The director collaborated closely with the cinematographerto achieve the desired visual style. (导演与摄影师密切合作，以实现所需的视觉风格。