毕业论文外文翻译视频的前期拍摄与后期制作(适用于毕业论文外文翻译中英文对照)
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。
图像处理-毕设论文外文翻译(翻译+原文)
英文资料翻译Image processing is not a one step process．We are able to distinguish between several steps which must be performed one after the other until we can extract the data of interest from the observed scene．In this way a hierarchical processing scheme is built up as sketched in Fig．The figure gives an overview of the different phases of image processing.Image processing begins with the capture of an image with a suitable，not necessarily optical，acquisition system．In a technical or scientific application，we may choose to select an appropriate imaging system．Furthermore，we can set up the illumination system，choose the best wavelength range，and select other options to capture the object feature of interest in the best way in an image．Once the image is sensed，it must be brought into a form that can be treated with digital computers.This process is called digitization.With the problems of traffic are more and more serious. Thus Intelligent Transport System (ITS) comes out. The subject of the automatic recognition of license plate is one of the most significant subjects that are improved from the connection of computer vision and pattern recognition. The image imputed to the computer is disposed and analyzed in order to localization the position and recognition the characters on the license plate express these characters in text string form The license plate recognition system (LPSR) has important application in ITS. In LPSR, the first step is for locating the license plate in the captured image which is very important for character recognition. The recognition correction rate of license plate is governed by accurate degree of license plate location. In this paper, several of methods in image manipulation are compared and analyzed, then come out the resolutions for localization of the car plate. The experiences show that the good result has been got with these methods. The methods based on edge map and frequency analysis is used in the process of the localization of the license plate, that is to say, extracting the characteristics of the license plate in the car images after being checked up forthe edge, and then analyzing and processing until the probably area of license plate is extracted.The automated license plate location is a part of the image processing ,it’s also an important part in the intelligent traffic system．It is the key step in the Vehicle License Plate Recognition(LPR).A method for the recognition of images of different backgrounds and different illuminations is proposed in the paper.the upper and lower borders are determined through the gray variation regulation of the character distribution.The left and right borders are determined through the black-white variation of the pixels in every row.The first steps of digital processing may include a number of different operations and are known as image processing．If the sensor has nonlinear characteristics, these need to be corrected．Likewise，brightness and contrast of the image may require improvement．Commonly，too，coordinate transformations are needed to restore geometrical distortions introduced during image formation．Radiometric and geometric corrections are elementary pixel processing operations．It may be necessary to correct known disturbances in the image，for instance caused by a defocused optics，motion blur，errors in the sensor，or errors in the transmission of image signals．We also deal with reconstruction techniques which are required with many indirect imaging techniques such as tomography that deliver no direct image.A whole chain of processing steps is necessary to analyze and identify objects．First，adequate filtering procedures must be applied in order to distinguish the objects of interest from other objects and the background．Essentially，from an image（or several images），one or more feature images are extracted．The basic tools for this task are averaging and edge detection and the analysis of simple neighborhoods and complex patterns known as texture in image processing．An important feature of an object is also its motion．Techniques to detect and determine motion are necessary．Then the object has to be separated from the background．This means that regions of constant features and discontinuities must be identified．This process leads to alabel image．Now that we know the exact geometrical shape of the object，we can extract further information such as the mean gray value，the area，perimeter，and other parameters for the form of the object[3]．These parameters can be used to classify objects．This is an important step in many applications of image processing，as the following examples show：In a satellite image showing an agricultural area，we would like to distinguish fields with different fruits and obtain parameters to estimate their ripeness or to detect damage by parasites．There are many medical applications where the essential problem is to detect pathologi-al changes．A classic example is the analysis of aberrations in chromosomes．Character recognition in printed and handwritten text is another example which has been studied since image processing began and still poses significant difficulties．You hopefully do more，namely try to understand the meaning of what you are reading．This is also the final step of image processing，where one aims to understand the observed scene．We perform this task more or less unconsciously whenever we use our visual system．We recognize people，we can easily distinguish between the image of a scientific lab and that of a living room，and we watch the traffic to cross a street safely．We all do this without knowing how the visual system works．For some times now，image processing and computer-graphics have been treated as two different areas．Knowledge in both areas has increased considerably and more complex problems can now be treated．Computer graphics is striving to achieve photorealistic computer-generated images of three-dimensional scenes，while image processing is trying to reconstruct one from an image actually taken with a camera．In this sense，image processing performs the inverse procedure to that of computer graphics．We start with knowledge of the shape and features of an object—at the bottom of Fig. and work upwards until we get a two-dimensional image．To handle image processing or computer graphics，we basically have to work from the same knowledge．We need to know the interaction between illumination and objects，how a three-dimensional scene is projected onto an image plane，etc．There are still quite a few differences between an image processing and a graphics workstation．But we can envisage that，when the similarities and interrelations between computergraphics and image processing are better understood and the proper hardware is developed，we will see some kind of general-purpose workstation in the future which can handle computer graphics as well as image processing tasks[5]．The advent of multimedia，i. e. ，the integration of text，images，sound，and movies，will further accelerate the unification of computer graphics and image processing.In January 1980 Scientific American published a remarkable image called Plume2，the second of eight volcanic eruptions detected on the Jovian moon by the spacecraft Voyager 1 on 5 March 1979．The picture was a landmark image in interplanetary exploration—the first time an erupting volcano had been seen in space．It was also a triumph for image processing．Satellite imagery and images from interplanetary explorers have until fairly recently been the major users of image processing techniques，where a computer image is numerically manipulated to produce some desired effect-such as making a particular aspect or feature in the image more visible.Image processing has its roots in photo reconnaissance in the Second World War where processing operations were optical and interpretation operations were performed by humans who undertook such tasks as quantifying the effect of bombing raids．With the advent of satellite imagery in the late 1960s，much computer-based work began and the color composite satellite images，sometimes startlingly beautiful, have become part of our visual culture and the perception of our planet．Like computer graphics，it was until recently confined to research laboratories which could afford the expensive image processing computers that could cope with the substantial processing overheads required to process large numbers of high-resolution images．With the advent of cheap powerful computers and image collection devices like digital cameras and scanners，we have seen a migration of image processing techniques into the public domain．Classical image processing techniques are routinely employed bygraphic designers to manipulate photographic and generated imagery，either to correct defects，change color and so on or creatively to transform the entire look of an image by subjecting it to some operation such as edge enhancement.A recent mainstream application of image processing is the compression of images—either for transmission across the Internet or the compression of moving video images in video telephony and video conferencing．Video telephony is one of the current crossover areas that employ both computer graphics and classical image processing techniques to try to achieve very high compression rates．All this is part of an inexorable trend towards the digital representation of images．Indeed that most powerful image form of the twentieth century—the TV image—is also about to be taken into the digital domain．Image processing is characterized by a large number of algorithms that are specific solutions to specific problems．Some are mathematical or context-independent operations that are applied to each and every pixel．For example，we can use Fourier transforms to perform image filtering operations．Others are“algorithmic”—we may use a complicated recursive strategy to find those pixels that constitute the edges in an image．Image processing operations often form part of a computer vision system．The input image may be filtered to highlight or reveal edges prior to a shape detection usually known as low-level operations．In computer graphics filtering operations are used extensively to avoid abasing or sampling artifacts．中文翻译图像处理不是一步就能完成的过程。
如何进行毕业论文的外文翻译与写作
如何进行毕业论文的外文翻译与写作毕业论文的外文翻译和写作是研究生阶段的重要任务之一。
合理的研究方法和专业的写作技巧对于提高论文的质量和学术水平非常关键。
本文将介绍如何进行毕业论文的外文翻译与写作，以帮助学生顺利完成研究任务。
一、外文翻译1. 确定翻译目标：在开始翻译之前，必须明确翻译的目标语言是什么。
对于大部分中国学生而言，目标语言通常是中文。
确保自己熟练掌握外文的语法和词汇才能进行准确的翻译。
2. 分析文本结构：在翻译之前，要仔细分析外文文本的结构，了解作者的思路和论证方式。
将文本分段，并记录下每个段落的主题和核心内容，可以帮助翻译更加准确和有条理。
3. 词汇理解与选择：外文翻译中最常见的问题就是词汇的理解和选择。
要尽量保持原文的句子结构和逻辑关系，并根据上下文来选择合适的词汇。
同时，还要注意一些专业名词和术语的翻译，确保准确传达作者的意思。
4. 翻译修改与润色：在翻译完成后，要进行翻译修改和润色。
可以与导师或其他专业人士讨论，确认翻译是否准确并且符合论文的写作目标和风格。
二、外文写作1. 熟悉论文结构：在进行外文写作之前，要了解毕业论文的结构和要求。
例如，引言、文献综述、方法、结果和讨论等部分的写作方式和顺序。
2. 论文提纲的制定：根据自己的研究内容和结构安排，制定一份清晰的提纲。
提纲是论文写作的框架，在写作过程中可以帮助你组织思路和整理论证材料。
3. 文章段落的组织：无论是中文还是外文写作，良好的段落组织非常重要。
每个段落应该有明确的主题句，并展开论述，最后进行总结或过渡。
段落之间的逻辑关系和过渡词语也要特别注意。
4. 语法和拼写的检查：外文写作需要特别注意语法和拼写的准确性。
严谨的语法和正确的拼写可以提高论文的可读性和学术性。
5. 学术风格和引用格式的使用：在进行外文写作时，要遵循学术风格和引用格式的要求。
例如，使用正确的引用格式引用文献资料，并避免抄袭和剽窃的行为。
总结：毕业论文的外文翻译与写作需要综合运用语言能力、专业知识和写作技巧。
毕业论文外文翻译要求
毕业论文外文翻译要求The requirements for the translation of the foreign language section of the graduation thesis are as follows:1. Word Count: The translated foreign language section should be around 700 words.2. Accuracy: Ensure the translated text accurately reflects the original meaning and intent of the foreign language source. It should be free from any substantial errors or omissions.3. Language Style: Maintain a professional and academic tone throughout the translation. Use appropriate terminology and vocabulary to convey the subject matter effectively.4. Grammar and Syntax: Follow the rules of grammar and syntax in the target language. Pay attention to sentence structure, verb agreement, and correct word order.5. Consistency: Ensure consistency throughout the translation. Use the same terminology and style for recurring words, phrases, and concepts.6. Flow and Cohesion: Maintain the flow and cohesion of the translated text. Use appropriate transition words and phrases to connect ideas and ensure a smooth reading experience.7. Cultural Sensitivity: Take into account any cultural nuances or references that might require adaptation or explanation in the translated text. Consider the target audience's cultural backgroundand adapt the language accordingly.8. Formatting: Format the translated text to match the formatting requirements of the graduation thesis. Ensure proper indentation, paragraph spacing, and font style.9. Proofreading: Thoroughly proofread the translated text to identify and correct any typos, spelling errors, or grammatical mistakes.10. Delivery: Submit the translated foreign language section within the specified deadline. Provide the translated text in a compatible format, such as a Word document or PDF file.By adhering to these requirements, the translated foreign language section of the graduation thesis will meet the desired standards of quality and accuracy.。
毕业论文的外文翻译与论文写作
毕业论文的外文翻译与论文写作一、引言在当前全球化的背景下，外文翻译已经成为毕业论文写作过程中不可或缺的一部分。
外文翻译的质量直接关系到毕业论文的质量和学术水平。
本文将探讨毕业论文的外文翻译与论文写作之间的关系，以及如何提高外文翻译的准确性和完整性。
二、毕业论文的外文翻译1. 理解翻译文本的要求在进行毕业论文的外文翻译之前，首先需要充分理解研究课题的背景和内容。
这有助于准确把握外文翻译的重点和难点，确保所翻译的内容完整、准确。
2. 采用合适的翻译策略针对毕业论文中的外文文献，可以采用不同的翻译策略。
对于专有名词和特定术语，可以直接采用音译方式，确保与国际学术界的接轨。
对于涉及理论和论证的部分，可以采用意译的方式，确保翻译文稿更加通顺和易读。
3. 保持语言风格的一致性在外文翻译过程中，要特别注意保持语言风格的一致性。
如果毕业论文主要采用英文写作，外文翻译的语言风格应与之保持一致。
这有助于提高整篇论文的连贯性和可读性。
4. 核对翻译质量完成外文翻译后，需要对翻译质量进行核对和修正。
可以请专业人士进行审校，或者自己进行反复校对，以确保翻译的准确性和完整性。
三、论文写作中的外文引用1. 引用外文文献的方法在毕业论文的写作过程中，常常需要引用外文文献来支持自己的观点和证明论文的可靠性。
正确的引用方法有助于提高论文的学术信度。
可以采用直接引用和间接引用两种方式，但需注明出处和页码，避免抄袭问题。
2. 处理外文引文中的翻译问题当引用外文文献时，如果需要对其中的段落或句子进行翻译，需要在引用句子后方括号内注明“译者”并进行翻译，以区别于原文的引用。
这样可以提高读者对引用内容的理解。
3. 处理大量外文引用的情况如果毕业论文中存在大量外文引用的情况，可以采用适当的处理方式，比如将较长的外文引用单独作为一个小节，并加以分析和评论，以凸显自己的观点。
四、提高外文翻译与论文写作的能力1. 多读、多译、多写提高外文翻译与论文写作能力需要大量读书、翻译和写作的实践。
影视视频剪辑外文文献翻译字数3000多
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毕业设计(论文)外文文献译文格式及装订要求
“毕业设计（论文）外文文献译文”格式及装订要求
全校所有专业的学生在完成毕业设计（论文）的同时，必须完成一篇专业外文文献翻译工作（将外文文献翻译成中文），要求译出3000汉字以上的有关技术资料或专业外文文献，内容要与毕业设计（论文）内容相关。
书写时具体格式要求参考“毕业论文（设计说明书）缩写稿格式、版面要求”，装订时按以下顺序独立装订：1、封面；2、外文文献译文；3、外文文献原文。
附件：毕业设计（论文）外文文献译文封面
毕业设计（论文）
外文文献译文及原文
学生：
学号：
院（系）：
专业：
指导教师：
20 年月日。
毕业设计论文中英文翻译要求
毕业设计论文中英文翻译要求Graduation Thesis Translation RequirementsEnglish translation of Graduation Thesis:1. Accuracy: The English translation of the Graduation Thesis should accurately reflect the content and meaning of the original Chinese text. It should convey the same ideas and arguments as presented in the original text.2. Clarity: The translation should be clear and easy to understand. The language used should be appropriate and the sentences should be well-structured.3. Grammar and Syntax: The translation should follow the rules of English grammar and syntax. There should be no grammatical errors or awkward sentence constructions.4. Vocabulary: The translation should make use of appropriate vocabulary that is relevant to the topic of the Graduation Thesis. Technical terms and concepts should be accurately translated.5. Style: The translation should maintain the academic style and tone of the original Chinese text. It should use formal language and avoid colloquial or informal expressions.6. References: If the Graduation Thesis includes citations or references, the English translation should accurately reflectthese citations and references. The formatting of citations and references should follow the appropriate style guide.7. Proofreading: The English translation should be thoroughly proofread to ensure there are no spelling or punctuation errors. It should also be reviewed for any inconsistencies or inaccuracies.Minimum word count: The English translation of the Graduation Thesis should be at least 1200 words. This requirement ensures that the translation adequately captures the main points and arguments of the original text.It is important to note that there may be specific guidelines or requirements provided by your academic institution or supervisor for the translation of your Graduation Thesis. Please consult these guidelines and follow them accordingly.。
影视后期的流程、方法、标准
影视后期的流程、方法、标准英文回答：The process of post-production in film and television involves several stages, including editing, visual effects, sound design, and color correction. Each stage has its own methods and standards that contribute to the overallquality of the final product.The first stage in post-production is editing, where the raw footage is organized and assembled into a cohesive story. This involves selecting the best takes, trimming unnecessary footage, and arranging the scenes in a logical order. The editor also works closely with the director to ensure that the intended vision is achieved.After editing, visual effects are added to enhance the visual elements of the film or TV show. This can range from simple tasks like removing wires or adding background elements, to more complex tasks like creating realisticcreatures or environments. Visual effects artists use specialized software and techniques to seamlessly integrate these elements into the footage.Sound design is another crucial aspect of post-production. It involves creating and manipulating audio elements such as dialogue, music, and sound effects to enhance the overall experience for the audience. Sound designers use various tools and techniques to achieve the desired result, such as Foley recording, ADR (Automated Dialogue Replacement), and mixing.Color correction is the final stage in the post-production process. It involves adjusting the colors and tones of the footage to create a consistent and visually appealing look. Colorists use specialized software and monitors to ensure that the colors are accurate and consistent throughout the entire film or TV show.In terms of standards, there are industry guidelines and best practices that post-production professionals follow. For example, the use of non-linear editing systemsis now standard in the industry, as it allows for more flexibility and efficiency in the editing process. Additionally, there are specific color grading standards, such as Rec. 709 for high-definition video, that ensure consistent color reproduction across different devices.In conclusion, the post-production process in film and television involves several stages, each with its own methods and standards. From editing to visual effects, sound design, and color correction, each stage contributes to the final quality of the product. Following industry guidelines and best practices ensures a consistent and visually appealing end result.中文回答：影视后期制作的流程包括剪辑、视觉效果、音效设计和调色等几个阶段。
毕业设计(论文)外文资料翻译【范本模板】
南京理工大学紫金学院毕业设计（论文）外文资料翻译系：机械系专业：车辆工程专业姓名:宋磊春学号:070102234外文出处：EDU_E_CAT_VBA_FF_V5R9(用外文写)附件：1。
外文资料翻译译文；2.外文原文.附件1：外文资料翻译译文CATIA V5 的自动化CATIA V5的自动化和脚本：在NT 和Unix上：脚本允许你用宏指令以非常简单的方式计划CATIA。
CATIA 使用在MS –VBScript中(V5.x中在NT和UNIX3。
0 )的共用部分来使得在两个平台上运行相同的宏。
在NT 平台上：自动化允许CATIA像Word/Excel或者Visual Basic程序那样与其他外用分享目标。
ATIA 能使用Word/Excel对象就像Word/Excel能使用CATIA 对象。
在Unix 平台上:CATIA将来的版本将允许从Java分享它的对象。
这将提供在Unix 和NT 之间的一个完美兼容。
CATIA V5 自动化：介绍（仅限NT）自动化允许在几个进程之间的联系:CATIA V5 在NT 上：接口COM：Visual Basic 脚本(对宏来说)，Visual Basic 为应用（适合前:Word/Excel )，Visual Basic。
COM（零部件目标模型)是“微软“标准于几个应用程序之间的共享对象。
Automation 是一种“微软“技术,它使用一种解释环境中的COM对象。
ActiveX 组成部分是“微软“标准于几个应用程序之间的共享对象,即使在解释环境里。
OLE（对象的链接与嵌入）意思是资料可以在一个其他应用OLE的资料里连结并且可以被编辑的方法(在适当的位置编辑）.在VBScript,VBA和Visual Basic之间的差别：Visual Basic(VB）是全部的版本。
它能产生独立的计划,它也能建立ActiveX 和服务器。
它可以被编辑。
VB中提供了一个补充文件名为“在线丛书“(VB的5。
毕业设计(论文)外文资料和译文格式要求
东北大学东软信息学院外文资料和译文格式要求一、译文必须采用计算机输入、打印，幅面A4。
外文资料原文（复印或打印）在前，译文在后，于左侧装订。
二、具体要求1、至少翻译一篇内容与所选课题相关的外文文献。
2、译文汉字字数不少于4000字。
3、正文格式要求：宋体五号字。
附：外文资料和译文封面、空白页外文资料和译文专业：班级：姓名：学号：指导教师：2010年12月23日5.2.5. Read/Write Spin LocksRead/write spin locks have been introduced to increase the amount of concurrency inside the kernel. They allow several kernel control paths to simultaneously read the same data structure, as long as no kernel control path modifies it. If a kernel control path wishes to write to the structure, it must acquire the write version of the read/write lock, which grants exclusive access to the resource. Of course, allowing concurrent reads on data structures improves system performance.Figure 5-2 illustrates two critical regions (C1 and C2) protected by read/write locks. Kernel control paths R0 and R1 are reading the data structures in C1 at the same time, while W0 is waiting to acquire the lock for writing. Kernel control path W1 is writing the data structures inC2, while both R2 and W2 are waiting to acquire the lock for reading and writing, respectively.Figure 5-2. Read/write spin locksEach read/write spin lock is a rwlock_t structure; its lock field is a 32-bit field that encodes two distinct pieces of information:∙ A 24-bit counter denoting the number of kernel control paths currently reading the protected data structure. The two's complement value of this counter is stored in bits 023 of the field.∙An unlock flag that is set when no kernel control path is reading or writing, and clear otherwise. This unlock flag is stored in bit 24 of the field.Notice that the lock field stores the number 0x01000000 if the spin lock is idle (unlock flag set and no readers), the number 0x00000000 if it has been acquired for writing (unlock flag clear and no readers), and any number in the sequence 0x00ffffff, 0x00fffffe, and so on, if it has been acquired for reading by one, two, or more processes (unlock flag clear and the two's complement on 24 bits of the number of readers). As the spinlock_t structure, the rwlock_t structure also includes a break_lock field.The rwlock_init macro initializes the lock field of a read/write spin lock to 0x01000000 (unlocked) and the break_lock field to zero.5.2.5.1. Getting and releasing a lock for readingThe read_lock macro, applied to the address rwlp of a read/write spin lock, is similar to thespin_lock macro described in the previous section. If the kernel preemption option has been selected when the kernel was compiled, the macro performs the very same actions as those of spin_lock( ), with just one exception: to effectively acquire the read/write spin lock in step 2, the macro executes the _raw_read_trylock( ) function:int _raw_read_trylock(rwlock_t *lock){atomic_t *count = (atomic_t *)lock->lock;atomic_dec(count);if (atomic_read(count) >= 0)return 1;atomic_inc(count);return 0;}The lock fieldthe read/write lock counteris accessed by means of atomic operations. Notice, however, that the whole function does not act atomically on the counter: for instance, the counter might change after having tested its value with the if statement and before returning 1. Nevertheless, the function works properly: in fact, the function returns 1 only if the counter was not zero or negative before the decrement, because the counter is equal to 0x01000000 for no owner, 0x00ffffff for one reader, and 0x00000000 for one writer.If the kernel preemption option has not been selected when the kernel was compiled, theread_lock macro yields the following assembly language code:movl $rwlp->lock,%eaxlock; subl $1,(%eax)jns 1fcall _ _read_lock_failed1:where _ _read_lock_failed( ) is the following assembly language function:_ _read_lock_failed:lock; incl (%eax)1: pausecmpl $1,(%eax)js 1block; decl (%eax)js _ _read_lock_failedretThe read_lock macro atomically decreases the spin lock value by 1, thus increasing the number of readers. The spin lock is acquired if the decrement operation yields a nonnegative value; otherwise, the _ _read_lock_failed( ) function is invoked. The function atomically increases the lock field to undo the decrement operation performed by the read_lock macro, and then loops until the field becomes positive (greater than or equal to 1). Next, _ _read_lock_failed( ) tries to get the spin lock again (another kernel control path could acquire the spin lock for writing right after the cmpl instruction).Releasing the read lock is quite simple, because the read_unlock macro must simply increase the counter in the lock field with the assembly language instruction:lock; incl rwlp->lockto decrease the number of readers, and then invoke preempt_enable( ) to reenable kernel preemption.5.2.5.2. Getting and releasing a lock for writingThe write_lock macro is implemented in the same way as spin_lock( ) andread_lock( ). For instance, if kernel preemption is supported, the function disables kernel preemption and tries to grab the lock right away by invoking_raw_write_trylock( ). If this function returns 0, the lock was already taken, thus the macro reenables kernel preemption and starts a busy wait loop, as explained in the description of spin_lock( ) in the previous section.The _raw_write_trylock( ) function is shown below:int _raw_write_trylock(rwlock_t *lock){atomic_t *count = (atomic_t *)lock->lock;if (atomic_sub_and_test(0x01000000, count))return 1;atomic_add(0x01000000, count);return 0;}The _raw_write_trylock( ) function subtracts 0x01000000 from the read/write spin lock value, thus clearing the unlock flag (bit 24). If the subtraction operation yieldszero (no readers), the lock is acquired and the function returns 1; otherwise, the function atomically adds 0x01000000 to the spin lock value to undo the subtraction operation.Once again, releasing the write lock is much simpler because the write_unlock macro must simply set the unlock flag in the lock field with the assembly language instruction:lock; addl $0x01000000,rwlpand then invoke preempt_enable().5.2.6. SeqlocksWhen using read/write spin locks, requests issued by kernel control paths to perform a read_lock or a write_lock operation have the same priority: readers must wait until the writer has finished and, similarly, a writer must wait until all readers have finished.Seqlocks introduced in Linux 2.6 are similar to read/write spin locks, except that they give a much higher priority to writers: in fact a writer is allowed to proceed even when readers are active. The good part of this strategy is that a writer never waits (unless another writer is active); the bad part is that a reader may sometimes be forced to read the same data several times until it gets a valid copy.Each seqlock is a seqlock_t structure consisting of two fields: a lock field of type spinlock_t and an integer sequence field. This second field plays the role of a sequence counter. Each reader must read this sequence counter twice, before and after reading the data, and check whether the two values coincide. In the opposite case, a new writer has become active and has increased the sequence counter, thus implicitly telling the reader that the data just read is not valid.A seqlock_t variable is initialized to "unlocked" either by assigning to it the value SEQLOCK_UNLOCKED, or by executing the seqlock_init macro. Writers acquire and release a seqlock by invoking write_seqlock( ) and write_sequnlock( ). The first function acquires the spin lock in the seqlock_t data structure, then increases the sequence counter by one; the second function increases the sequence counter once more, then releases the spin lock. This ensures that when the writer is in the middle of writing, the counter is odd, and that when no writer is altering data, the counter is even. Readers implement a critical region as follows:unsigned int seq;do {seq = read_seqbegin(&seqlock);/* ... CRITICAL REGION ... */} while (read_seqretry(&seqlock, seq));read_seqbegin() returns the current sequence number of the seqlock; read_seqretry() returns 1 if either the value of the seq local variable is odd (a writer was updating the data structure when the read_seqbegin( ) function has been invoked), or if the value of seq does not match the current value of the seqlock's sequence counter (a writer started working while the reader was still executing the code in the critical region).Notice that when a reader enters a critical region, it does not need to disable kernel preemption; on the other hand, the writer automatically disables kernel preemption when entering the critical region, because it acquires the spin lock.Not every kind of data structure can be protected by a seqlock. As a general rule, the following conditions must hold:∙The data structure to be protected does not include pointers that are modified by the writers and dereferenced by the readers (otherwise, a writer couldchange the pointer under the nose of the readers)∙The code in the critical regions of the readers does not have side effects (otherwise, multiple reads would have different effects from a single read) Furthermore, the critical regions of the readers should be short and writers should seldom acquire the seqlock, otherwise repeated read accesses would cause a severe overhead. A typical usage of seqlocks in Linux 2.6 consists of protecting some data structures related to the system time handling (see Chapter 6).5.2.7. Read-Copy Update (RCU)Read-copy update (RCU) is yet another synchronization technique designed to protect data structures that are mostly accessed for reading by several CPUs. RCU allows many readers and many writers to proceed concurrently (an improvement over seqlocks, which allow only one writer to proceed). Moreover, RCU is lock-free, that is, it uses no lock or counter shared by all CPUs; this is a great advantage over read/write spin locks and seqlocks, which have a high overhead due to cache line-snooping and invalidation.How does RCU obtain the surprising result of synchronizing several CPUs without shared data structures? The key idea consists of limiting the scope of RCU as follows:1.Only data structures that are dynamically allocated and referenced by meansof pointers can be protected by RCU.2.No kernel control path can sleep inside a critical region protected by RCU.When a kernel control path wants to read an RCU-protected data structure, it executes the rcu_read_lock( ) macro, which is equivalent to preempt_disable( ). Next, the reader dereferences the pointer to the data structure and starts reading it. As stated above, the reader cannot sleep until it finishes reading the data structure; the end of the critical region is marked by the rcu_read_unlock( ) macro, which is equivalent to preempt_enable( ).Because the reader does very little to prevent race conditions, we could expect that the writer has to work a bit more. In fact, when a writer wants to update the data structure, it dereferences the pointer and makes a copy of the whole data structure. Next, the writer modifies the copy. Once finished, the writer changes the pointer to the data structure so as to make it point to the updated copy. Because changing the value of the pointer is an atomic operation, each reader or writer sees either the old copy or the new one: no corruption in the data structure may occur. However, a memory barrier is required to ensure that the updated pointer is seen by the other CPUs only after the data structure has been modified. Such a memory barrier is implicitly introduced if a spin lock is coupled with RCU to forbid the concurrent execution of writers.The real problem with the RCU technique, however, is that the old copy of the data structure cannot be freed right away when the writer updates the pointer. In fact, the readers that were accessing the data structure when the writer started its update could still be reading the old copy. The old copy can be freed only after all (potential) readers on the CPUs have executed the rcu_read_unlock( ) macro. The kernel requires every potential reader to execute that macro before:∙The CPU performs a process switch (see restriction 2 earlier).∙The CPU starts executing in User Mode.∙The CPU executes the idle loop (see the section "Kernel Threads" in Chapter 3).In each of these cases, we say that the CPU has gone through a quiescent state.The call_rcu( ) function is invoked by the writer to get rid of the old copy of the data structure. It receives as its parameters the address of an rcu_head descriptor (usually embedded inside the data structure to be freed) and the address of a callback function to be invoked when all CPUs have gone through a quiescent state. Once executed, the callback function usually frees the old copy of the data structure.The call_rcu( ) function stores in the rcu_head descriptor the address of the callback and its parameter, then inserts the descriptor in a per-CPU list of callbacks. Periodically, once every tick (see the section "Updating Local CPU Statistics" in Chapter 6), the kernel checks whether the local CPU has gone through a quiescent state. When all CPUs have gone through a quiescent state, a local taskletwhose descriptor is stored in the rcu_tasklet per-CPU variableexecutes all callbacks in the list.RCU is a new addition in Linux 2.6; it is used in the networking layer and in the Virtual Filesystem.5.2.8. SemaphoresWe have already introduced semaphores in the section "Synchronization and Critical Regions" in Chapter 1. Essentially, they implement a locking primitive that allows waiters to sleep until the desired resource becomes free.Actually, Linux offers two kinds of semaphores:∙Kernel semaphores, which are used by kernel control paths∙System V IPC semaphores, which are used by User Mode processesIn this section, we focus on kernel semaphores, while IPC semaphores are described in Chapter 19.A kernel semaphore is similar to a spin lock, in that it doesn't allow a kernel control path to proceed unless the lock is open. However, whenever a kernel control path tries to acquire a busy resource protected by a kernel semaphore, the corresponding process is suspended. It becomes runnable again when the resource is released. Therefore, kernel semaphores can be acquired only by functions that are allowed to sleep; interrupt handlers and deferrable functions cannot use them.A kernel semaphore is an object of type struct semaphore, containing the fields shown in the following list.countStores an atomic_t value. If it is greater than 0, the resource is free that is, itis currently available. If count is equal to 0, the semaphore is busy but noother process is waiting for the protected resource. Finally, if count isnegative, the resource is unavailable and at least one process is waiting for it.waitStores the address of a wait queue list that includes all sleeping processes that are currently waiting for the resource. Of course, if count is greater than orequal to 0, the wait queue is empty.sleepersStores a flag that indicates whether some processes are sleeping on thesemaphore. We'll see this field in operation soon.The init_MUTEX( ) and init_MUTEX_LOCKED( ) functions may be used to initialize a semaphore for exclusive access: they set the count field to 1 (free resource with exclusive access) and 0 (busy resource with exclusive access currently granted to the process that initializes the semaphore), respectively. The DECLARE_MUTEX and DECLARE_MUTEX_LOCKED macros do the same, but they also statically allocate the struct semaphore variable. Note that a semaphore could also be initialized with an arbitrary positive value n for count. In this case, at most n processes are allowed to concurrently access the resource.5.2.8.1. Getting and releasing semaphoresLet's start by discussing how to release a semaphore, which is much simpler than getting one. When a process wishes to release a kernel semaphore lock, it invokes the up( ) function. This function is essentially equivalent to the following assembly language fragment:movl $sem->count,%ecxlock; incl (%ecx)jg 1flea %ecx,%eaxpushl %edxpushl %ecxcall _ _uppopl %ecxpopl %edx1:where _ _up( ) is the following C function:__attribute__((regparm(3))) void _ _up(struct semaphore *sem){wake_up(&sem->wait);}The up( ) function increases the count field of the *sem semaphore, and then it checks whether its value is greater than 0. The increment of count and the setting of the flag tested by the following jump instruction must be atomically executed, or else another kernel control path could concurrently access the field value, with disastrousresults. If count is greater than 0, there was no process sleeping in the wait queue, so nothing has to be done. Otherwise, the _ _up( ) function is invoked so that one sleeping process is woken up. Notice that _ _up( ) receives its parameter from the eax register (see the description of the _ _switch_to( ) function in the section "Performing the Process Switch" in Chapter 3).Conversely, when a process wishes to acquire a kernel semaphore lock, it invokes the down( ) function. The implementation of down( ) is quite involved, but it is essentially equivalent to the following:down:movl $sem->count,%ecxlock; decl (%ecx);jns 1flea %ecx, %eaxpushl %edxpushl %ecxcall _ _downpopl %ecxpopl %edx1:where _ _down( ) is the following C function:__attribute__((regparm(3))) void _ _down(struct semaphore * sem){DECLARE_WAITQUEUE(wait, current);unsigned long flags;current->state = TASK_UNINTERRUPTIBLE;spin_lock_irqsave(&sem->wait.lock, flags);add_wait_queue_exclusive_locked(&sem->wait, &wait);sem->sleepers++;for (;;) {if (!atomic_add_negative(sem->sleepers-1, &sem->count)) {sem->sleepers = 0;break;}sem->sleepers = 1;spin_unlock_irqrestore(&sem->wait.lock, flags);schedule( );spin_lock_irqsave(&sem->wait.lock, flags);current->state = TASK_UNINTERRUPTIBLE;}remove_wait_queue_locked(&sem->wait, &wait);wake_up_locked(&sem->wait);spin_unlock_irqrestore(&sem->wait.lock, flags);current->state = TASK_RUNNING;}The down( ) function decreases the count field of the *sem semaphore, and then checks whether its value is negative. Again, the decrement and the test must be atomically executed. If count is greater than or equal to 0, the current process acquires the resource and the execution continues normally. Otherwise, count is negative, and the current process must be suspended. The contents of some registers are saved on the stack, and then _ _down( ) is invoked.Essentially, the _ _down( ) function changes the state of the current process from TASK_RUNNING to TASK_UNINTERRUPTIBLE, and it puts the process in the semaphore wait queue. Before accessing the fields of the semaphore structure, the function also gets the sem->wait.lock spin lock that protects the semaphore wait queue (see "How Processes Are Organized" in Chapter 3) and disables local interrupts. Usually, wait queue functions get and release the wait queue spin lock as necessary when inserting and deleting an element. The _ _down( ) function, however, uses the wait queue spin lock also to protect the other fields of the semaphore data structure, so that no process running on another CPU is able to read or modify them. To that end, _ _down( ) uses the "_locked" versions of the wait queue functions, which assume that the spin lock has been already acquired before their invocations.The main task of the _ _down( ) function is to suspend the current process until the semaphore is released. However, the way in which this is done is quite involved. To easily understand the code, keep in mind that the sleepers field of the semaphore is usually set to 0 if no process is sleeping in the wait queue of the semaphore, and it is set to 1 otherwise. Let's try to explain the code by considering a few typical cases. MUTEX semaphore open (count equal to 1, sleepers equal to 0)The down macro just sets the count field to 0 and jumps to the nextinstruction of the main program; therefore, the _ _down( ) function is notexecuted at all.MUTEX semaphore closed, no sleeping processes (count equal to 0, sleepers equal to 0)The down macro decreases count and invokes the _ _down( ) function withthe count field set to -1 and the sleepers field set to 0. In each iteration of theloop, the function checks whether the count field is negative. (Observe thatthe count field is not changed by atomic_add_negative( ) because sleepers isequal to 0 when the function is invoked.)∙If the count field is negative, the function invokes schedule( ) tosuspend the current process. The count field is still set to -1, and thesleepers field to 1. The process picks up its run subsequently insidethis loop and issues the test again.∙If the count field is not negative, the function sets sleepers to 0 and exits from the loop. It tries to wake up another process in thesemaphore wait queue (but in our scenario, the queue is now empty)and terminates holding the semaphore. On exit, both the count fieldand the sleepers field are set to 0, as required when the semaphore isclosed but no process is waiting for it.MUTEX semaphore closed, other sleeping processes (count equal to -1, sleepers equal to 1)The down macro decreases count and invokes the _ _down( ) function withcount set to -2 and sleepers set to 1. The function temporarily sets sleepers to 2, and then undoes the decrement performed by the down macro by addingthe value sleepers-1 to count. At the same time, the function checks whethercount is still negative (the semaphore could have been released by theholding process right before _ _down( ) entered the critical region).∙If the count field is negative, the function resets sleepers to 1 andinvokes schedule( ) to suspend the current process. The count field isstill set to -1, and the sleepers field to 1.∙If the count field is not negative, the function sets sleepers to 0, tries to wake up another process in the semaphore wait queue, and exitsholding the semaphore. On exit, the count field is set to 0 and thesleepers field to 0. The values of both fields look wrong, becausethere are other sleeping processes. However, consider that anotherprocess in the wait queue has been woken up. This process doesanother iteration of the loop; the atomic_add_negative( ) functionsubtracts 1 from count, restoring it to -1; moreover, before returningto sleep, the woken-up process resets sleepers to 1.So, the code properly works in all cases. Consider that the wake_up( ) function in _ _down( ) wakes up at most one process, because the sleeping processes in the wait queue are exclusive (see the section "How Processes Are Organized" in Chapter 3).Only exception handlers , and particularly system call service routines , can use the down( ) function. Interrupt handlers or deferrable functions must not invoke down( ),because this function suspends the process when the semaphore is busy. For this reason, Linux provides the down_trylock( ) function, which may be safely used by one of the previously mentioned asynchronous functions. It is identical to down( ) except when the resource is busy. In this case, the function returns immediately instead of putting the process to sleep.A slightly different function called down_interruptible( ) is also defined. It is widely used by device drivers, because it allows processes that receive a signal while being blocked on a semaphore to give up the "down" operation. If the sleeping process is woken up by a signal before getting the needed resource, the function increases the count field of the semaphore and returns the value -EINTR. On the other hand, if down_interruptible( ) runs to normal completion and gets the resource, it returns 0. The device driver may thus abort the I/O operation when the return value is -EINTR.Finally, because processes usually find semaphores in an open state, the semaphore functions are optimized for this case. In particular, the up( ) function does not execute jump instructions if the semaphore wait queue is empty; similarly, the down( ) function does not execute jump instructions if the semaphore is open. Much of the complexity of the semaphore implementation is precisely due to the effort of avoiding costly instructions in the main branch of the execution flow.5.2.9. Read/Write SemaphoresRead/write semaphores are similar to the read/write spin locks described earlier in the section "Read/Write Spin Locks," except that waiting processes are suspended instead of spinning until the semaphore becomes open again.Many kernel control paths may concurrently acquire a read/write semaphore for reading; however, every writer kernel control path must have exclusive access to the protected resource. Therefore, the semaphore can be acquired for writing only if no other kernel control path is holding it for either read or write access. Read/write semaphores improve the amount of concurrency inside the kernel and improve overall system performance.The kernel handles all processes waiting for a read/write semaphore in strict FIFO order. Each reader or writer that finds the semaphore closed is inserted in the last position of a semaphore's wait queue list. When the semaphore is released, the process in the first position of the wait queue list are checked. The first process is always awoken. If it is a writer, the other processes in the wait queue continue to sleep. If it is a reader, all readers at the start of the queue, up to the first writer, are also woken up and get the lock. However, readers that have been queued after a writer continue to sleep.Each read/write semaphore is described by a rw_semaphore structure that includes the following fields:countStores two 16-bit counters. The counter in the most significant word encodesin two's complement form the sum of the number of nonwaiting writers(either 0 or 1) and the number of waiting kernel control paths. The counter inthe less significant word encodes the total number of nonwaiting readers andwriters.wait_listPoints to a list of waiting processes. Each element in this list is arwsem_waiter structure, including a pointer to the descriptor of the sleepingprocess and a flag indicating whether the process wants the semaphore forreading or for writing.wait_lockA spin lock used to protect the wait queue list and the rw_semaphorestructure itself.The init_rwsem( ) function initializes an rw_semaphore structure by setting the count field to 0, the wait_lock spin lock to unlocked, and wait_list to the empty list. The down_read( ) and down_write( ) functions acquire the read/write semaphore for reading and writing, respectively. Similarly, the up_read( ) and up_write( ) functions release a read/write semaphore previously acquired for reading and for writing. The down_read_trylock( ) and down_write_trylock( ) functions are similar todown_read( ) and down_write( ), respectively, but they do not block the process if the semaphore is busy. Finally, the downgrade_write( ) function atomically transforms a write lock into a read lock. The implementation of these five functions is long, but easy to follow because it resembles the implementation of normal semaphores; therefore, we avoid describing them.5.2.10. CompletionsLinux 2.6 also makes use of another synchronization primitive similar to semaphores: completions . They have been introduced to solve a subtle race condition that occurs in multiprocessor systems when process A allocates a temporary semaphore variable, initializes it as closed MUTEX, passes its address to process B, and then invokes down( ) on it. Process A plans to destroy the semaphore as soon as it awakens. Later。
论文外文文献翻译流程
论文外文文献翻译流程翻译外文文献是在研究论文撰写过程中非常重要的一步。
下面是一个大致的翻译外文文献的流程：1. 确定翻译的目标和目的。
首先要确定你为什么要翻译这篇文献，是为了理解相关研究领域的最新发现，还是为了引用该文献来支持你的论点。
确立明确的目标可以帮助你更好地理解文献内容并选择合适的翻译方法。
2. 阅读原文。
在开始翻译之前，先通读一遍原文，了解文章的整体内容和结构。
如果你对该领域有一定了解，那么在阅读原文时你可以更好地理解其中的专业术语和概念。
3. 逐句翻译。
在翻译开始之前，先确定翻译的起点。
可以从文章的开头开始逐句翻译，或者从你感兴趣的部分开始翻译。
将原文中的每一句话进行逐字逐句地翻译成中文。
4. 查阅专业词典和研究资料。
在翻译过程中，遇到生词、专业术语或者特殊短语时，可以查阅相关的专业词典、学术论文和翻译资源来帮助你理解和翻译。
5. 确保正确理解作者的意图。
在翻译过程中要尽量保持原文的完整性和准确性，不要对原文的意义进行任意解释或省略。
尽量将作者的论点和观点准确地传递到中文文献中。
6. 做好注释和解释。
在翻译的过程中，有时难免会遇到一些难以理解的地方，这时可以做好注释和解释。
在翻译后的文献中，在原文的附近或者文末加上对该部分内容的注释和解释，以帮助读者更好地理解原文的意义。
7. 校对和润色文献。
在完成初步翻译后，可以进行校对和润色。
检查翻译的准确性、流畅性和连贯性，并进行必要的调整和修改。
还可以请教其他同行或专业人士来帮助你校对和提出建议。
8. 引用文献。
在翻译文献的过程中，注意保留原文的引用和出处信息，避免侵权和误传。
在引用原文时，尽量保持原文的原貌，可以用引号或斜体表示原文。
总之，翻译外文文献是一项需要耐心和细致的工作，需要充分理解原文的意义和目的，并准确地传递到目标语言中。
通过这个流程，希望能够帮助你更好地进行外文文献的翻译工作。
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 techniquesBelk 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 and sound 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 the information 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 together in 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, form a 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, let the 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 of the 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。
毕业设计(论文)外文资料及译文(模板)
大连东软信息学院
毕业设计（论文）外文资料及译文
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大连东软信息学院
Dalian Neusoft University of Information
外文资料和译文格式要求
一、装订要求
1、外文资料原文（复印或打印）在前、译文在后、最后为指导教师评定成绩。
2、译文必须采用计算机输入、打印。
3、A4幅面打印，于左侧装订。
二、撰写要求
1、外文文献内容与所选课题相关。
2、本科学生译文汉字字数不少于4000字，高职学生译文汉字字数不少于2000字。
三、格式要求
1、译文字号：中文小四号宋体，英文小四号“Times New Roman”字型，全文统一，首行缩进2个中文字符，1.5倍行距。
2、译文页码：页码用阿拉伯数字连续编页，字体采用“Times New Roman”字体，字号小五，页底居中。
3、译文页眉：眉体使用单线，页眉说明五号宋体，居中“大连东软信息学院本科毕业设计（论文）译文”。
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文
大连东软信息学院毕业设计（论文）译文。
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。
电影制片与后期制作外文翻译文献
电影制片与后期制作外文翻译文献
1. 论文概述
这篇论文旨在介绍电影制片和后期制作的过程，以及这个行业的变化和趋势。
文章中介绍了工作室的内部管理和制作流程，包括编剧、策划、拍摄和后期制作。
同时也提到了电影制作经历了数字化的进程，包括特效、动画和剪辑等方面。
最后，作者基于目前行业现状，探讨了未来的趋势和挑战。
2. 电影制片的流程
电影制片的流程一般分为编剧、策划、拍摄和后期制作几个阶段。
其中编剧阶段主要是编写剧本，策划阶段则是确定拍摄地点和备选演员阵容等。
拍摄阶段包括布景、灯光、取景等。
最后的后期制作则包括音效、音乐和调色等后期制作。
3. 后期制作的数字化
后期制作也随着数字化的进程发生了变化，传统的剪辑和特效已经通过数字技术迈向了一个新的阶段。
数字技术可以提供更加精细的剪辑和特效，也可以更好地满足导演和观众的需求。
同时数字化也让后期制作效率提高，更加节省时间和成本。
4. 电影制作的未来
电影制作行业未来的发展趋势是数字化和创新。
数字化会继续
发挥其优势，提高制作效率和降低成本，同时也会创造更加丰富多
彩的电影产品和视觉效果。
创新则会带来更多的精彩故事和更好的
观影体验。
同时，电影工作者们也需要关注环保、社会责任等问题。
5. 总结
电影制作是一个涉及多个领域和环节的复杂过程，需要团队协
作和专业技术的支持。
数字技术和未来的创新将为这个行业带来更
多的可能性和机遇。
毕业论文外文翻译视频的前期拍摄与后期制作(适用于毕业论文外文翻译中英文对照)
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。
前期制作是筹划与准备的阶段，对于电影制作来说，这个过程多半是从剧本开始,然后是制定预算、筹募资金、选定拍摄地点、挑选演员、组成摄影小组等一系列复杂的过程。
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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。
前期制作是筹划与准备的阶段，对于电影制作来说，这个过程多半是从剧本开始，然后是制定预算、筹募资金、选定拍摄地点、挑选演员、组成摄影小组等一系列复杂的过程。
而对于个人制作者来说，这也许不过是突发奇想，然后拿起自己的摄影机，拍摄周遭环境人物短短数分钟互动的事。
拍摄阶段就是利用摄影机记录画面的过程，这时拍摄的素材可以说是构造最终完成片的基石。
当主要的拍摄工作完成后，就到了后期制作阶段。
传统上这个阶段的主要工作是剪辑，把拍摄阶段得到的散乱素材剪辑成为完整的影片。
一般在电影的拍摄过程中，实际拍摄的素材是最终剪辑完成影片长度的数倍甚至数十倍。
剪辑师要从大量的素材中挑出最满意的素材并把它们按照适当的方式组织在一起。
后期制作还包括声音的制作与合成。
一般只有到这个阶段，当多余的素材已经去掉，镜头已经组合串联在一起，画面与声音已经同步，才可以看到影片的全貌。
因为影片的大量信息和涵义，并不是包含在某一个镜头的画面中，而正是包含在一连串画面的组合当中，包含在画面与声音的联系中，毫不夸张地说，影视艺术有很大的程度上正是表现在后期制作之中的。
传统的电影剪辑是真正的剪接，拍摄所得到的底片经过冲洗，要制作一套工作样片，利用这套样片进行剪辑。
剪辑师从大量的样片中挑选需要的镜头，用剪刀将胶片剪裁，再用胶带或胶水把它们黏在一起，然后在剪辑台上观看剪辑的效果，这个剪裁、黏贴的反复过程要不断重复直到最后看当满意的结果。
这个过程直到现在仍然很常见，虽然看起来很原始，但这种剪接却是非线性的。
剪辑师不必从头到尾顺序地工作，因为他可以随时将样片随时从中间剪裁，插入一个镜头，或者直接剪掉一些画面，都不会影响整个片子。
但这种方式对于很多制作技巧是无能为力的。
剪辑师无法在两个镜头之间制作一个特效融合的画面，也无法调整画面的色彩，所有这些技巧都只能在冲印过程中完成，同时剪刀和浆糊的手工操作效率也很低。
传统的电视编辑则是在剪辑设备上进行的。
剪辑设备通常由一台放影机和一台录像机组成，剪辑师通过放影机选择一段适合的素材，然后把它记录到录像机中的磁带上，然后在寻找下一个镜头。
此外，高级的剪辑设备还有很强的特效功能，可以制作各种画面的融合与特效过场，可以调整画面的颜色，也可以制作字幕等。
但是由于磁带记录画面是顺序的，无法在已有的画面之间插入一个镜头，也无法删除一个镜头，除非把其之后的画面全部重新录制一遍。
所以这种编辑叫做线性编辑，它给编辑人员带来了很多限制。
我们可以看到传统的剪辑方法虽然各有特点，但又都有很大的局限性，大大减低了剪辑人员的创造力，并使宝贵的时间浪费在烦琐的操作过程当中。
基于计算机科技的数字化非线性编辑技术使剪辑的方法得到很大的进步发展的空间。
这种技术将素材记录到计算机磁盘中，利用计算机的运算与数据读取与储存进行剪辑的过程。
它采用了电影剪辑的非线性模式，但用简单的鼠标及键盘操作替代了剪刀和浆糊式的手工操作，剪辑结果可以马上回放观看，所以大大提升了制作的效率。
二、随着影视制作的迅速发展，后期制作又肩负起了一个非常重要的职责：特效镜头的制作—特效镜头是指拍摄无法直接得到的镜头。
早期的影视特效大多是通过模型制作、特殊摄影、光学合成等传统手段完成的，主要在拍摄及冲印的阶段中完成。
计算机数字的使用为特效制作提供了更好更多的手段，也使许多过去必须使用模型和摄影技术完成的特效可以透过计算机科技来制作完成，所以更多的特殊效果就成为了后期制作的工作。
特效镜头无法拍摄到一般是由于两种原因，一是拍摄对象或环境在现实生活中根本不存在，或者即使存在也不可能拍摄到，例如恐龙或是外星人；二是拍摄的对象和环境虽然在实际生活中存在，但无法同时出现在同一个时空中，例如影片的主角从剧烈的爆炸场景中逃生。
对于第一种困难，就必须利用别的东西来模仿拍摄的对象，常用的手段包括制作模型，利用对人的化妆来模仿其它生物以及计算机的3D动画，实际上3D计算机动画也是一种模型，只不是它是存在在计算机中的虚拟模型而已。
总之要解决这类问题，需要用一种无中生有的办法。
对于第二种困难解决的方法就是合成。
既然拍摄的对象都是存在的，就可以单独拍摄他们，然后在分别把拍摄的这些画面合成起来。
过去，合成主要依靠特效摄影和冲印时的技巧来完成，但计算机数字合成技术的快速发展使这些方式都相形落伍了。
在近年来特效电影的迅速发展，并带动了整个电影工业的成长。
计算机数字合成技术与3D计算机动画有很大的差别，它本身不是无中生有的一种技术，而是利用已有的素材画面进行组合，同时可以对画面进行大量的修饰、美化。
可以说是一种锦上添花的一种技术。
对于电视节目来说，我们经常可以看到这样的画面，画面本身就是由很多没有关联的物体组合而成，显然不是透过拍摄，而是透过合成得以的。
例如很多电视片头，广告，MTV等节目就是如此。
这时合成的首要逃条件不是真实感，而是纯粹的审美和形式感，但从合成的技术方式来说与拟真的合成没有太大的差别。
经由以上的介绍，我们大致总结出影视后期制作的样貌：利用实景拍摄所得到的素材，透过3D计算机动画和合成的技术来制作特效镜头，然后把镜头剪接组合在一起，形成完整的影片，并且为影片制作声音。
在以下图中我们可以看到电视数字后期制作的基本流程。
目前大部份的电视节目，比如广告、片头、MTV、电视剧等都是按这样的工作方式制作出来的，但在合成的过程中必须符合以下要求：（一）画面干净画面干净包括以下几个方面：1、没有夹帧就是完整镜头连接，中间没有多余的东西。
我们在剪辑时如果在镜头结束时没有剪，后面带着下一个镜头的内容，而这些东西是由于失误加上的，我们并不需要。
这就是夹帧。
还有我们在连接两个镜头时，中间没有连接好有黑场，这也是夹帧。
通常在剪辑时，很重要的一个任务就是把画面剪干净。
2、镜头完整镜头的剪辑方式有动接动、静接静两种方式。
动接这里就不多说了，静接时镜头必须完整。
静止镜头要保持一定的长度，比如中景5-8秒。
运动镜头必须有起幅、落幅。
3、动镜头最后必须定下来，动镜头不能称为结束画面，所以剪辑点动的镜头最后必须静止下来。
即使使用动接，最后一个镜头也必须静下来。
主体停止运动，或者出画。
（二）声音干净这是新手在剪辑中通常被忽略的内容，包括几个方面:1、话要完整无论是现场原音还是旁白，不能让人说半句话。
2、声音要纯净特别嘈杂的声音不能使用，必须让观众听明白。
3、声音的音量高低要合适一个节目的音量要统一，不能有高有低。
背景音乐的音量比例要合适，不能让背景音乐的声音影响到说话的声音原文出处：John Wiley & Sons.Press,Mark Gerhard Jeffrey M . Harper.Mastering Autodesk 3ds Max Design 2011[M].Publisher: John Wiley& Sons,2012.22-32.In the early period of the video filming andpost-productionFilm and television media has become the most popular, the most influential media type. From created the fantasy world of Hollywood moviesto television news focus on the reality of life, into a frenzy of television advertising, which profoundly affects our world. In the past, film and television program production is only professional work, seemsto be gathering cover with a layer of mysterious veil.For decades, digital technology comprehensively in the process of film and television production, calculator gradually replaced many of the original film and television equipment, in film and television production each link has played a very important role. But until recently, the use of film and television production has always been extremely expensive specialized hardware and software, non-professional personnel it is difficult to havethe chance to see these equipment, let alone familiar with the tools to create their own works. As the PC performance significantly increased andthe lower price, film and television production from the previous levelof professional hardware equipment to gradually shift on PC platform, the original value is extremely high professional software gradually transplanted to the PC platform, the price also becomes more and more popular.At the same time, the application of film and television production, film and television from the professional field expanded to computer games, multimedia, network, home entertainment, such as wider areas. Many practitioners in these fields and a lot of movie and TV fans can now be used his computer to make his film and television programmes.Many people come into contact with the film and television programme production, starts from the 3 d computer animation, until now, to understand and master the 3 d computer animation production personnel many, introduce the many books, too, for the film and television post-production, most people don't know, books are less, and generally only care about a software operation, basic process and principle for the film and television post-production has not very seriously, hope I can through this book, readers can not only understand and master the use of software, but also to the whole process of film and television post-production has a more comprehensive understanding.A profile of film and television post-production：Film and television program production is a quite complex process. Due to the diversity of film and television program itself, made from expensive movie-making to personal home videos, it could not be more different. Intention while the use of these programs, the budgeted production budget, investment of manpower to have very big difference, but its production process has much in common, in general, film and television program production can be divided into pre-production, live action, and post-production three main stages.Pre-production is planning and preparation stage, for film production, the process often begins with script, and then the budget, raise money, the selected location, select group of actors, photography and a series of complex process. The ?Is the process of using the camera to record the picture shooting stage, then the footage is the foundation of the construction finished, so to speak.When after the completion of the work, like the post-production stage. Traditionally the main job of this phase is the clip, the shooting stage get scattered material cutting complete film. General in the filming process, the actual final cut finished filming material is film lengthseveral times or even dozens of times. Editor, a large amount of material is from selected the satisfaction of material and put them together according to the proper way. Production and post-production include voice synthesis. Generally only at this stage, when the material has been removed, excess lens is in series with the combination of picture and sound is synchronous, can only see the outline of the film. Because of the large amount of information and meaning of the film, is not included in a lens painting ?Traditional movie clips were taken real splicing, the resulting film after wash, to make a working sample, use these samples for clips. Clips from a large number of samples selected need to shot, the film with scissors, tape or glue to stick them together again, and then watch a clip on JianJiTai effect, the cut and paste the process is repeated until (till) the final see repeatedly when satisfied with the results. This process until now is still very common, although look very primitive, but this kind of splicing is nonlinear. Editors don't have to order from beginning to end, because he can keep samples at any time from the middle clipping, insert a lens, or directly cut off some of the pictures, will not affect the entire film. But ?Traditional TV editing is performed on editing equipment. Editing equipment generally consists of a projector and a video recorder, editor by projector choose a suitable material, and record it into the video tape, and then looking for the next shot. In addition, advanced editing equipment and effects of the strong function, can make all kinds of image fusion and special effects played, can adjust the color of the picture, also can make subtitles and so on. But due to tape record the order of images is, not in existing images inserted between a camera, can't delete a lens, unless all the after picture to record it again. So the editor called linear editing, it brought many restrictions to editors.Although we can see that the traditional editing methods have different characteristics, but also have very big limitation, greatly reducing the editing staff's creativity, and waste precious time in the operation process of cumbersome. Based on computer technology, digital non-linear editing technology makes them ways to get great progress in the development of space. This technique will material records to the computer disk, using the computer calculations and data is read and stored in editing process. It USES a film clip of the nonlinear model, but with a simple mouse and keyboard instead of a scissors and paste type of manual operation, the editing results can playback watch right away, so greatly improve the efficiency of production.With the rapid development of film and television production, post-production and shoulder an important responsibility: Production refers to the special effects shots -- special effects shots taken cannot directly get the lens. Early in the film and television special effects are mostly through the model making, special traditional means such as photography, optical synthesis, mainly in the stage of the film and print completed. Digital computer used for special effects production provides more better method, also makes a lot of the past must be used to model and photography done special effects can be completed through the computer technology, so that more special effects became a post-production work. Special effects shots can't shooting, due to two reasons, one is the subject doesn't exist in real life or the environment, or even impossible to shoot, also such as dinosaurs or aliens; Second, the subject and ?For the second solution is difficult. Since the subject is there, they can be taken separately, and then in combining the different of these pictures, respectively. In the past, the synthesis relies on special effects of photography and print techniques to complete, but the computerthe rapid development of digital synthesis technology to make these in way behind The Times. In recent years the rapid development of the special effects film, and led to the growth of the whole film industry. Computer digital synthesis technology and 3 d computer animation has very big difference, it itself is not out of a technology, USES the existing material images are combined, but at the same time, the picture can be a lot of decoration and beautification. A technology is a kind of icing on the cake, so to speak. For TV showsThrough the above introduction, we summarize the film and television post-production appearance: using the live action of material, through 3 d computer animation and synthetic technology to produce special effects shots, then the scene splicing together, form a complete film, and sound for film production. In the following figure, we can see the basic process of TV digital post-production. At present most of the TV show, from advertising, opening, MTV, TV series and so on all is according to this way of working.一、Body clean clean pages including the following respects1、No clamp frame is a complete lens connection, no superfluous things. If when we clip at the end of the lens is not cut, followed the next content of the lens, and is due to mistakes with these things, we don't need. This is clip frames. And when we connect two lenses, no good connection there is black, this is clip frames. Usually in the clip, it is an important task is to cut the screen clean.2、Camera lens cutting complete move by dynamic and static static in two ways. Movements meet here is not much said, still answer the lens must be complete. Static shots to keep a certain length, such as middle 5-8 seconds. Sports camera must have picture, picture.3、move the lens must be decided finally Even using dynamic, last scene also need to calm down. The main body stop motion, or out of the picture.二、Sounds clean and this is usually neglected in novice in editingcontent, including several aspects1、Something to completeWhether the original sound or narrator, not let people say half sentence.2、To pureCan not use the special noise, must let the audience understand it.3、The volume of the sound to the rightThe volume of the one show to unification, cannot have high low.Background music volume percentage to the right, can't let the background music sounds affect the voice.。