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名词单数第二格口诀

软阴”指-ь结尾的阴性
阴性总是先去-а，
改-ы改-и先想七，
-я和软阴全改-и，
中性总是-о改-а，
-е改-я来莫记差。

名词单数第三格口诀

辅音加-у余改-ю，
-а、-я改-е要记熟，
软阴还是要改-и，
-о改-у来-е改-ю。

名词单数第四格口诀

死一活二要记住，
-а改-у来-я改-ю，
软阴结尾不用变，
-ия结尾改-ию。

名词单数第五格口诀

五格名为工具格，
-ом、-ем莫记错，
辅音-ом余-ем，
辅音不重有五个，
-а改-ой，-я改-ей，
有时-а要改-ей，
莫忘-а前那五个，
阴软、-ю、-е改-ем，
-о改-ом莫弄错。

名词单数第六格口诀

六格名为前置格，
加-е改-е数居多，
-ия、-ие改-ии，
软阴改-и不会错。

阳性的ь、-й
注：1）“余”指
2）“七”指г、к、х加唏（ж、ч、ш、щ）
3）“软阴”指-ь结尾的阴性

注：1）“辅音不重有五个”指ж、ч、ш、щ和ц结尾的，重音在前加-ем，重音在后加-ом。
2）“那五个”指ж、ч、ш、щ、ц。

动词第一变位法

чита-ть 读
去掉词尾(本词为-ть)后 后面是元音字母的，按下面变化
я чита-ю
ты чита-ешь
он/она чита-ет
мы чита-ем
вы чита-ете
они чита-ют

ид-ти 走
去掉词尾(本词为-ти)后 后面是辅音字母的，按下面变化
я ид-у
ты ид-ёшь
он/она ид-ёт
мы ид-ём
вы ид-ёте
они ид-ут

动词第二变位法

сто-ять 站
去掉词尾(本词为-ять)后 后面是元音字母的，按下面变化
я сто-ю
ты сто-ишь
он/она сто-ит
мы сто-им
вы сто-ите
они сто-ят

говор-ить 说
去掉词尾(本词为-ить)后 后面是辅音字母的，按下面变化，和上一个相同
я говор-ю
ты говор-ишь
он/она говор-ит
мы говор-им
вы говор-ите
они говор-ят

уч-ить 学习
去掉词尾(本词为-ить)后 后面是(г, к, х, ж, ш, ч, щ)这些字母的，按下面变化
я уч-у
ты уч-ишь
он/она уч-ит
мы уч-им
вы уч-ите
они уч-ат

注释：由于(г, к, х, ж, ш, ч, щ)这些字母不能和я, ю相拼，所以第一人称词尾-ю改为-у；-ят改为-ат，即为上词中的я уч-у，они уч-ат。

Obviously not a definitive list, just a few things to look out for.... please e-mail us with additions for these pages
see also: neg size comparisons. Connector pin-outs .

16mm & Super 16mm Cameras

Aaton A-minima www.aaton.com Contemporary small/ light (2kg) reflex super 16 camera . 200ft daylight loading. PL and Nikon lens mounts. Cons: propriatory Kodak daylight loading spools, (Fuji stock not avaliable on Minima spools).

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Arri Media (Heston, London). 0208 848 8881 fax 0208 756 0592

Arri 16ST circa 1960s noisy, poor viewfinder, slow lenses. value: £300-£1500. Typically: Arriflex 16 ST: arri bayonet mount c/w variable speed motor, 0-50 fps, 400' magazines, magazine motor, to Arriflex Super 16 ST: PL mount c/w variable speed motor, 0-50 fps, 400' magazines, magazine motor, matte box, 8 volt batts

Arriflex 16S/ 16ST Introduced in 1952 and the first Arriflex 16mm. designed as a MOS camera, uses a "bowtie" spinning mirror reflex design. 3-lens turret accepting Arri Standard mount lenses. Uses a straight viewfinder tube in the "door". Some 16S cameras have a Carl Zeiss Jena viewfinder with a non-removable eyepiece, Most 16S have the standard viewfinder with a detatchable eyepiece. The 16S has internal capacity for 100ft of film, divergent lens turret (designed to help prevent wide angle prime lenses from seeing the ends of longer primes mounted on the turret), the motor is mounted behind the camera allowing for a flat bottom, and the ground glass is mounted near the eyepiece. The 16S takes 400 ft magazines, or the rarer 200 foot magazines. The magazines use a separate torque motor that can be removed from one magazine and placed on another.

Arriflex 16 SB: the most common variant of the 16S. The SB has one stainless steel Arri Bayonet mount and two Arri Standard mounts.

Arriflex 16M, essentially a 16S without internal film capacity. It uses a different 400ft film magazine than the 16S.All 16S accessories, except magazines and torque motors are compatible with the 16M. The magazines, although similar to the 16BL magazines are not compatible with the 16BL.

The 16S was designed as a standard 16mm camera (its design predates the Super16 format by 20 years). It is not an easy camera to convert to Super16 because of the design of the gate and mirror. However Arriflex did make around 25 Super16 Arriflex ST's (with the Bayonet mount turret).

Arri SRI value: around £10k but dependant on accessories and condition

Arri SRI - SRII Camera Manuals

Typically: Arriflex 16 SR II highspeed PL: c/w integral crystal motor, 24/25 fps, variable speed 8-150 fps, 400' mags, 12 volt batts, extension viewfinder, eyepiece leveller or Arriflex 16SRII PL: c/w integral crystal motor 24/25 fps, variable speed 5-75 fps, 180 degree shutter, 172.8 for super 16, 400' mags, extension viewfinder, eyepiece leveller,12 volt on board batteries, 16mm ARRI follow focus.Or Arriflex 16 SR III PL: c/w integral crystal motor, 24/25 fps, variable speed 5-75 fps, adjustable shutter 45, 90, 135, 144 172.8 and 180 degrees, 400' mags, extension viewfinder, eyepiece leveller, 24 volt on board batts, heated eyepiece, pistol grip, time code.

If running at 25fps or less you can reduce camera noise by reducing the size of the loop on the film magasine by one frame. Reducing it by much more than one frame may cause the film to snap.

SRII built in light meter is just behind the lens above the mirror, in the light path to the viewfinder and is very suceptable to damage by blowing air (can-air etc) into the lens port (which you should never do...). it's an expensive repair (upto £1000).

Old batteries don't last long and are expensive to replace. Most power per buck to be had with external 12v lead acid (pref lead acid gel batteries) on an external lead or similar with NiCads. eg Maplin type: YUASA rechargeable NP 2.1-12 (about £17) and charger Maplin RPL405 (£35). Don't use Lithium-ion batteries, they have a high contact/start voltage that can damage older circuit boards without over-voltage protection. Power plug on the camera is a 4 pin XLR, Pin1=0v, Pin4=12v, Pin2 & Pin3 not connected.

Arri SR2/S16, with zoom, studio matte & follow focus, extension & 35mm eyepiece see Camera Manuals

SRI-II S16 conversion, several companies have proprietory S16 conversions, only the Arri conversion seems to rate with users as a consistently reliable mount.

Viewfinders: SRII if hiring for a super 16 shoot ask for a 35mm eyepiece (35BL), the standard 16mm doesn't quite cover the full s16 ground glass without moving your eye from side to side.

lenses: SRI/SRII = Arri Standard mount, most S16 conversions = PL mount. Arri S to PL adaptors are avaliable (Optex) and most original standard primes 12mm or longer will cover S16 gate, wider than 12mm they tend to vingnette (crop the corners). Optex converted Zeiss 12-120 zoom becomes more like 15-135mm in it's S16 reincarnation. (see http://www.optexint.com/sales/lensacc/lensmoun.htm )

SR2 values, body circa £10k, mags £1k etc (2002)

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Beulieu R16

There were 2 models one with built in autoexposure (R16RX), one with just a built in centre weighted light meter. Don't expect the cesium cell used to work the autoexposure to work in a camera now almost 40 years old! Value: £300-£800 depending on condition, attachments etc. £900 full kit, cased, mint.(1999)

Pros: small and light, not too noisy (though it is said they were not popular with cameramen durring the vietnam war....).
Lack of use tends to gum up the film spool transport such that the take up spool mechanism doesn't slip as it is supposed to and drags film over the claw and backplate, you get to know this when 100ft of film goes through the gate in under a minute and the rushes are dark and blurred. If the camera hasn't been used in a while run a few spools of used film through it with the side cover off. The problem WILL clear. More problematic are worn claw mechanism which can affect pull down through the gate, the lab will notice erratic frame position and possible nicking of the neg. sprocket holes.

Good original batteries for this camera, that form part of the hand held grip, are hard to come by but they can be "repaired". See widescreencentre, London. Alternatively buy rechargeable 7.5v model car battery from Maplin and fit to 5 pin DIN plug to power the camera from the external supply socket. You can work out which pins by putting a multimeter on the pins while the camera is powered from the original battery.

Usually the back-focus on the original Angeneux zooms is good enough to use the zoom to focus (ie zoom in to focus, pull back and the focus will stay).However the Beulieu R16 is different to other cameras that have a fixed ground glass in the same plane as the film neg., the reflex viewfinder MUST be set up correctly for the cameraman's eye or else you cannot rely on it to focus in sync with the film plane. This done with the (hopefully original) Angeneux zoom lens at full zoom, full aperture and set to infinity: adjust the eyepiece to focus on the object (so you must be pointing at the moon, stars or something a long way away....). Now point the camera at an object 5 feet away and focus pull the lens to the 5ft mark (still on full zoom),(mine had a 5ft mark, chose something around 4-7ft that is marked on the lens barrel): the object should still be in good focus, adjust the eyepiece to check. If the 2 settings are different there is maybe a back-focus problem with the lens or it isn't screwed in to the lens turret properly. Usually you would assume all is OK and just set the eyepiece up for the crosshairs in the viewfinder. You can't know if the lens barrel markings are correct for this camera except by examining footage shot. So be careful of fitting other c-mount lenses to the Beulieu, eg those off a Bolex (where the distance between the lens centre and the backplate is shorter than the Beulieu). In theory if you setup the eyepiece with the original Angeneux, it should be right for other lenses on the turret -so you could check if the barrel marks tally.

In regard to film-making the problem with this camera is it was designed as a newsreel camera, and is fine as setup above for one cameraman, on set however everyone is peering down the lens and someone is going to be unable to resist adjusting the eyepiece to suit their vision (the image WILL appear wrong for say someone who is short sighted, like wearing someone elses glasses, compared with the person who focused it). From then on the viewfinder is out for the cameraman, who will naturally adjust the lens to focus....

Mags: internal daylight loading 100', optional external 200' mag. The external mag has it's own take up motor and can be noisy (but so is the camera!).
Lenses: came with Angenieux 12-120 lenses. C mount. The Beulieu R16 doesn't lend itself to S16 modification, mainly because of the reflex prism not covering the s16 frame. Some have been sucesfully modified by enlarging the gate... but the viewfinder only covers the standard 16 area, and is off centre for s16.
Neg: Beulieu has a single claw pull down, you can use single or double perf stock.

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Bolex

Bolex H16 originally just a clockwork camera (1936), a reflex model H16RX was introduced in 1956. Lenses: C mount. Clockwork/motor attachment. value £300-500. (S16 conversion add ~£750) full size pictures: Bolex RX4 H16 camera with a Switar 18-86mm f2.5 lens OE H16RX Bolex RX5 with POE Zoom lens 16-100mm

All the RX models have variable shutter angle and can be fitted with a fader, enabling in-camera fades and lap disolves. note the RX models require lenses with an RX designation (or else they focus infront of the film plane...) although longer focal length C mount lenses will focus, but the barrel markings are inaccurate or need re-callabrating.

Bolex E16 lenses: C mount. Motorised, good S16 modified examples around.

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Cinema Products CP16R
Crystal Sync Speeds of 24 or 25 fps; Variable speeds of 12, 16, 20, 28, 32, 36 fps. Film Capacity: 400 ft.(PLC-4) or 1200 ft. magazines Shutter opening: 156º Semi-Automatic Exposure Control System Chrystaslate System (adds an auto-slate frame marking lamp/ bloop tone signal/ sync pulse output signal) typically Angenieux 10 - 150 mm f2.3 zoom lens J-5 Zoom motor control system 20V Batteries.

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Eclair NPR Camera Manuals cons: heavy, awkward shape, dark viewfinder. pros: PL lens mount for more modern lenses. There are S16 modified NPRs around. Bit noisy, most of it through the lens.

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Wolensak FASTAX WF-41 High Speed rotating prisim 16mm camera. Holds 400' spools. 2 motors, 38lbs, approx 16" high

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35mm CAMERAS Camera Manuals

Arriflex 35mm. often used as second unit cameras. brief history: was the first reflex 35mm camera (1937). 3 lens port turret, arri bayonet lenses. Variously updated, 35-II (1946), Arri IIA (1953), Arri IIB(1960 a variable shutter added), Arri IIC (1964,.fixed 180 degree shutter), Arri 3C: PL mount lens and adjustable 165 degree shutter. Picture is a Arri IIB Weight: 17lb (400ft load) Motors: Variable:16vDC, 24-28vDC. 80fps - 32vDC. but governor, synchronous and animation type motors also available. Mags: 200ft and 400ft (displacement type). lenses: Arri standard mount lenses (same as 16mm)

Arriflex III MK II outfit BNCR PV PL, 24/25 integral crystal motor, variable shutter 15-180 degrees, 400' mags, 12v batteries, variable speed control 5-130, forward and reverse.

Arri III MK I outfit PV BNCR PL, 24/25 integral crystal speed motor, 4-50 fps, variable shutter 135/144/172.8/180 degrees, 400' mags, 12v batts

Arriflex 435 outfit PV 24/25 integral crystal motor, variable shutter 15-180 degrees, pivoting door, 400' mags, 24v batts, variable crystal speed 1-150 fps, forward/reverse, levelling eyepiece.

Mitchell NC The Mitchell rack-over BNC was the camera of choice for major motion picture production from just before the beginning of World War II through to the advent of the Mitchell BNCR in December 1967. The first was made in 1934, the second in 1935, and third 1937. Because of the war, there was only one camera made between 1939 and 1946, (sno.18, in June 1941). After the war production by Mitchell Camera Corp. increased dramatically and by 1947 they were making 32 a year!, (serial nos 32 - 64). The age of Hollywood in the 1950s' was about to roll and a Mitchell BNC was still the camera of choice, but Mitchell were unable to satisfy world demand, for several years a copy was made under licence by Newall Engineering Ltd. in Peterborough, England. Mitchell manufactured 364 BNCs, #1-365, (there is no #13), many now over 60 years old, are still the work horses of the animation and motion control industry, renowned for the precision and accuracy of the film transport mechanism -better that of many modern cameras. NC stood for News Camera, BNC was the blimped version (a huge aluminium cast housing). more on the Newall

lenses: most sold with Bausch+Lomb Baltar lens BNC, or Cooke, Cooke pancros (in BNC mount).

Mitchell 35R
The NC but now as a reflex camera... from 1967 to 1980s.
The picture shows a model (sn around 175) with 110 Volt Mitchell Synchronous Motor and rotating 3 lens turret, other versions have single BNCR mounts, video assists, Fries (24/25 & variable crystal speed 4-150fps) or more sophisticated Jackson Woodburn (digital crystal speed 0-150 fps) for/rev, 28v motors. Variable shutter, 400/1000' mags top or rear mounted. The Panavision Gold uses the same film transport/gate mechanism, see Panaflex.

lenses: most sold with Bausch+Lomb Baltar lens, at best f2. but there are Canon, Arri and various anamorphic lenses etc in BNCR. Some cameras are modified to PL mount.

PANASTAR:
MK II: 24/25 integral crystal motor, variable shutter 45-180 degrees, Panaglow, levelling eyepiece, follow focus, 500' mags, matte box, 24v batteries, variable crystal speed 4 - 120 fps in one frame increments, forward/ reverse.

Eyemo Bell and Howell model 71 (type A-7) originally featuring 3 arm offset turret, direct viewing through the lense by means of a prismatic focusing magnifier combined with the use of an alignment gauge, critical focusing on ground glass, offset drum eye piece with positive finders. 400 ft magazines, speeds ranging 8-12-16-24-32-48 FPS, used with ratchet winding key or motor (as picture). The white lenses in the picture are Miltar "c" type. .

Often used as a stunt camera. With a crash box housing this is a small indestructible camera (without a magasine the body accomodates 100ft of film) Eyemo JAR conversions from the original winding film advance to 24v DC motor and the addition of a Nikon mount:

35mm Sync Sound Cameras

PANAFLEX PLATINUM : 24/25 integral crystal motor, speeds from 4-36 fps, for/rev, variable shutter 50-200 degrees, Panaglow, levelling eyepiece, follow focus, left hand grip, right hand grip, 500' mags, matte box, 24v batts.

PANAFLEX GII: 24/25 integral crystal motor, variable shutter 50-200, Panaglow, levelling eyepiece, follow focus, 500' mags, matte box, 24v batteries, variable speed 4-36 fps. Based on the Mitchell R35 (but different motor, lighter and quieter mags).

PANAFLEX: lightweight 24/25 integral crystal motor, speeds from 4-32 fps, fixed shutter 172.8 or 180.

Arriflex BL IV: BNCR/PL Arriglow system. 24/25 integral crystal motor, variable shutter 144/172.8/180 degrees, 400' mags, 12v batteries, extension viewfinder, variable speed control 5-32 fps, pistol grip, follow focus, matte box, eyepiece leveller.

Arriflex BL III: BNCR/PL 24/25 integral crystal motor, variable shutter 144/172.8/180 degrees, 400' mags, follow focus, matte box,12v batts, extension viewfinder, variable speed control 5-32 fps, eyepiece leveller, pistol grip.

35mm: Through the video assist of an Arri 3C, (though the 185/166 figures have been added for clarity). The overall frame is approx 3x4.

Lightmeters:

Minolta

Gossen

Links:
Optex
Arriflex Arri Media (3 Highbridge Oxford Road Uxbridge Middlesex UB8 1LX ) Tel: 01895 457100 Fax: 01895 457101
Van Diemen
Old Camera database http://www.xs4all.nl/%7Ewichm/cinelist.html

      前两天看凤凰卫视DV新时代的半年展的入闱的片子，对于DV创作生发出一句感慨：别拿方便当随便。DV是一种手段的革新，
极大方便了影象的记录和创作，但如果有任何人认为拿起DV，就可以无拘无束，就可以为所欲为的话，
还是先看看这些最起码的“戒律”吧。没有绝对自由的创作，就如同没有绝对客观的纪录片一样。
我不想树立什么陈腐的戒条,只是想和大家交流一下关于DV电影的血泪经验。之所以起这个名字，
是为了向我敬重的奇斯洛夫斯基大师表示我小小的致意。

另外这里说到的问题我想一般会在比较认真的DV小组里才会碰到。但作为我的一些经验教训，
想拍DV电影的人看看一定会有所启发。毕竟有些弯路不必再走一遍就能知道怎么避开是一件好事。

一、任何人不要试图在片场挑战导演的权威

大家聚在一起拍一个片子，职位的分工是必须明确的。至于咱们中国人的恶习??谁也不服谁的问题必须要加以克服。
我的一个朋友Moviefly告诉我，艺术不能讲究民主，必须独裁。现在我已经把这句话象圣经一样挂在我的墙上，
每晚睡觉前背诵一遍才敢睡着。
电影是导演的艺术。无论谁都不要试图在拍片现场挑战导演的权威。如果有意见，请私下里讨论，但是到了现场，
无论好坏都是由导演负全责。其他职位的任务就是协助导演完成他的构想。作为一个建议，在大家开拍一个DV电影之前，
职位上一定要明确，而且不要随意更改。不要人人都能对片子插上一手，那样出来的东西必定是一个妥协的产物，
而DV电影最宝贵的个人风格就荡然无存了。

二、一个好制片是成功的保证。

我在多种场合都强调过制片的重要性。作为大家合伙拍片，必然会有金钱、时间、劳动等问题的协调。
这时一个好制片就非常重要了。他可以安排拍摄经费的使用，所有成员的后勤问题，拍摄场地的协调调度，
如果有临时演员还要负责找人和迎来送往，等等。而这些琐碎的问题如果没有一个专门的人负责，会很轻易的拖垮一个临时组建的电影小组。
毕竟电影是一门合作的艺术，而一堆人在一块就一定会有事出来。制片就是那个专门负责消灭麻烦的人。

三、画面要尽可能拍得稳，除非你能给我一个理由先

前有杜可风，后有DOGMA95，大家现在对那些晃来晃去的画面都有了足够的忍耐力。但是这并不是唯一的选择。
从人的视觉心理上来说，稳定的画面仍然是最好的选择。我想从DV电影起步的朋友对影视语言的掌握并不是到了随心所欲的地步，
那么作为一种学习和探索，还是先从第一步走起比较好些。只有了解了束缚你的东西是什么，才有可能去冲破它的束缚。
一味的盲目反叛只能成为一种笑话。
当然对画面的处理还是要根据导演的需要。只要你觉得有必要这样做，那就去做。

四、不要盲目追求画面的质量

DV机就它的体积和成像质量来说已经是非常不错的了，但它毕竟还不够成熟，在追求家庭化的同时，必然损失掉专业品质，
比起专业摄像机都还有很大不足，更不要说比胶片了。这样在处理很多画面的时候我们就必须要考虑到这个特点，
不能盲目的追求画面的质量。例如我们不能在画面里将光比处理的太大。人肉眼看到的世界层次之丰富远非机器所能达到的，
在我们看来层次丰富的一个场景到了DV机里就变成了只有亮暗两个区域的画面。如果不掌握这种机器的特性，很多画面会令我们失望之极。

而且由于为了降低成本，很多DV机的镜头变焦范围相对都不大，而且在广角段一般都不够广。
这就意味着很多镜头只能靠移动来弥补这个缺陷了。这样有些画面的处理上就要多考虑到这个特点，
在安排一些突出广角的场景时考虑一下：有没有其他的方式来完成这个段落？

五、前期一定要重视声音的处理

声音作为画面的辅助是非常非常重要的。但是很多人对此不够重视。我想原因之一是我们对它毫无办法，只能听之任之。
因为DV机的随机话筒收音范围很大，大家一定要注意在拍摄时不要在附近说话。声音一旦录进来，后期的剪辑比画面还难处理。

不过这个录音的问题受器材限制比较大，可能有很多很有创意的想法被器材限制住了。利用我们手中简陋的器材，
我们可以作到的是给出一个专门的声道用来收录画面中主要元素的同期声，而另一个声道用来收录环境声。
现在大部分DV机都有监听耳机插孔，要养成现场监听声音的习惯。这样如果在声音上出现了问题马上就可以发现。
而在后期剪辑中对声音的处理是一个很复杂的问题，如果在前期中就开始有意识的处理音响，在后期的时候你一定会明白，
“付出的总有回报”！

六、剪辑时不要被特技所诱惑

现在大部分人剪辑DV电影都是在电脑上利用视频编辑软件完成的，例如Adobe Premiere就是一种非常好的视频编辑软件，
在目前大家的个人电脑配置下完全可以担任这种任务。但是在这样的一种工作环境下很容易被各种各样的特技所诱惑，
只不过用鼠标一点一拽，特技就加上了。但是在一部DV电影中过多的特技就等同于灾难。我一直坚持的一点是除了切、隐黑以及叠化以外，
避免使用其他的特技。从电视台开的头，滥用特技已经成为中国电视的一个无可容忍的弊病。它导致了对剪辑的忽视，
是一种典型的急功近利的做法。

七、不要滥用音乐来填补声响的空白

由于一个剧情片情节发展的需要，片中必然会有无音源的音乐出现。
但是不要一见到片中出现了无对白或同期声的段落就加上一段音乐来填补空白。这样做的后果将会是灾难性的。
音乐的出现是为了更好的烘托主题，而不是单独存在的。每当你想加一段音乐上去的时候，
都先问自己：需要吗？不需要吗？需要吗？不需要吗？

八、灯光上要尽可能的简洁

我个人一直坚持在灯光上保持不采用任何外来的人工光源的态度。不过由于大家对剧情的不同需求，可能会出现必须要用人工光源的情况。
但是由于通常我们使用的白炽灯都是3200K左右的色温，而日常傍晚(一般是这种时候才需要补光)的阳光色温非常多变，
这会导致背景上的色温以及主体的色温平衡是非常困难的，对于现场没有彩色监视器的DV小组来说，
仅凭DV上的小屏幕是很难完成平衡色温的工作的。而且一旦灯光加多了，想掩饰灯光的痕迹就会非常困难。
所以我个人坚持要充分利用现场的灯光，而不要人为的去增加光源。

九、不要忽视场记的工作

绝大多数的剪辑错误都是由于场记的疏忽导致的。所以如果不想在后期剪辑的时候才发现那些基本很难弥补的错误，不如亡羊补牢，
在前期时盯紧场记。

比如两个人在对话时，由于这个镜头一般来说要分成几次拍完，那么场记同志就一定要记住两个人的所有细节（注意：所有细节），
并盯紧他们在坐回原位的时候把这些细节都恢复回来。不能出现镜头一切，发现5秒之前的半杯水变成了满杯的，而谈话过了仅仅几分钟，
桌子上的蜡烛就只剩个头了。

如果有条件，我建议用一个宝丽来相机把这些场景拍下来，这样可以很快的对比出场中的错误。
不过，由于这种问题是连好赖物这种大制作影片中都经常会出现的问题，所以我们也不必太内疚。俗话说的好：影视是一门遗憾的艺术嘛！

十、反对一切戒条，打破一切束缚

我们为什么要用DV来拍“电影”？是因为我们不满足现有的电影体制和他们那些陈腐的叙事。那么为什么我们又要给自己加上枷锁？
所以一定要牢记：没有什么是不可以打破的，没有什么是不可以违反的（当然包括本十诫在内），只要你觉得可以去尝试，就去尝试吧。
我们失去的只是一无所有，我们得到的是一个新的电影世界。

        0和1原本是极其单调的两个数字，但计算机的出现，使其神奇地展现出了无穷的魅力，整个世界好

      象要被数字化了。我们今天要讲的就是数字电影的主题。 什么是数字电影? 每个人或多或少都会有过

      使用计算机看电影或动画短片的经历，其实这时我们就已经在和数字电影打交道了。数字电影在很多

      地方也被叫做数字视频，但鉴于大多数视频文件播放的同时都有同步音频输出，所以数字电影的叫法

      应该更确切一些。数字电影应用广泛，它不仅是传统电影、电视的补充载体，还可以应用于课件制作、

      产品演示节目、多媒体编程、网络视频节目广播等方面。所以有人说数字电影的发展给了计算机第二

      次生命，我觉得一点也不为过。 为什么会出现数字电影呢？ 让我们先看看原始视频播放的数据流程：

      NTSC（National Television Standard Committee）是众所周知的522线制，4:3的比率意味着横穿每

      行有640个象素。如果640*480。然后乘以3（因为有红、绿、蓝三种颜色），那么一帧NTSC的一个24位

      位图图象的字节数为0.9MB，NTSC TV系统每秒显示29.97帧，即当你看电视时，所看到的大约是每秒

      26.9MB的原始数据闪烁，并且这不包括声音。如果要想在计算机上播放一个“原始的”全尺寸的视频

      文件，电脑不得不从硬盘驱动器上以每秒32MB的速度将数据搬到屏幕上，而现今的大部分计算机只可

      达到每秒4MB，大部分的数字视频从CD-COM中以每秒300~900KB的速度播放，从因特网上以每秒1~5KB的

      速度播放，由此可见，数字电影的魔力就是其灵巧而且高效的数据压缩和解压缩模式，将数据量减少在

      易于控制的速率。 数字电影庞大数据是怎样被压缩的呢？ 目前使用最多的视频文件压缩方案Microsoft

      公司的Video for Windows、Apple公司的QuickTime for Windows以及目前正在飞速发展的MPEG1、MPEG2

      压缩方案。从根本上来看Video forWindows、QuickTime、MPEG的目的都是尽可能有效的压缩庞大的视

      频文件，使其占用较小的存储空间，并保持图象质量的前提下以较快的速度解压和回放，QuickTime和

      Video for Windows的Code（即压缩和解压缩）的核心技术是Intel公司的Indeo技术，该技术回放的特

      点是对硬件要求低，是目前大多数数字电影所采用的压缩方案。MPGE1能为当今多媒体个人电脑提供最

      好的视频图象。不过用此方式压缩的视频图象在回放时对硬件要求相对较高，但随着高速CPU和图形加

      速卡的迅速普及，软解压回放成为了绝对的主流。MPEG2标准在DVD（数码多用途碟Digtal Versatile  

      Disc）上的实施将为多媒体个人电脑带来一场数字视频的革命，鲜艳细腻的视频图象、高保真的音响

      效果加上DVD海量的存储能力，其前景一片光明。

数字电影常见的格式有哪些呢？

1、Video for Windows 和ActiveMovie Windows 3.X和windows 9.X使用的标准视频软件是Video for Windows。  所使用的文件称为“音频-视频交错文件（Audio-Video Interleaved）”，其扩展名为AVI。顾名思义，AVI格式文件是将视频和音频信号混合交错的储存在一起。原始（未压缩）的AVI文件是将整个视频流中的每一幅图像逐幅记录，信息量大得惊 人。譬如用视频捕捉卡来将一段来自摄像机或电视的视频信号捕捉为标准的PAL视频格式 短短几秒钟文件体积就将超过10M！Video for Windows作为Windows操作系统标准组成部分，是一种可扩展的视频体系，其采用的主要压缩方式有Cinepak、Indeo和RLE等。ActiveMovie是扩展VFW（Video for Windows）文件格式的一种ActiveX模块，对于使用Windows 95 OSR2以上视窗操作系统的用户，由于系统内置了ActiveMovie,因此可方便地高质量播放包括MPG、DAT、QT和MOV等格式的视频文件。

2、QuickTime QuickTime是Apple计算机公司于1991年出版的数字视频格式标准，其使用的数字视频文件的扩展名为MOV，QuickTime原是Macintosh系列计算机使用的一种视频软件，随着大量原本运行在Macintosh上的多媒体软件向PC/Windows环境的移植，导致了QuickTime视频文件的流行。曾有传言，国际标准组织将正式签署文件，确认QuickTime文件格式为MPEG4标准文件格式，可见这种格式在电脑多媒体世界的地位。

3、MPEG（运动图像专家组Moving PictureExperts Groups） 使用MPEG方法可以用于压缩全运动视频图象，即成为目前多媒体电脑上全屏幕活动视频标准文件：MPG文件。MPG格式文件在1024*786的分辩率下可以用每秒25帧（PAL制式）或30帧（NTSC制式）的速率同步播放128000种颜色的全运动视频图象和CD音乐伴音，并且其文件大小仅为AVI文件的六分之一。1993年推出的MPEG2压缩技术，采用可变速率（VBR Variable Bit Rate）技术，能够根据动态画面的复杂程度，适时改变数据传输率获得较好的编码效果，目前使用的DVD就是采用了这种技术。MPEG-4是一个正在制定的国际标准,它支持用于通信、访问和数字视听数据处理的新方法(特别是基于内容的)。考虑到低损耗、高性能技术提供的机会和面临迅速扩展的多媒体数据库的挑战,MPEG-4将提供灵活的框架和开放的工具集,这些工具将支持一些新型的和常规的功能。由于快速发展的技术使得工具软件的下载极为便利,因此这种方式极具吸引力。

4、Video CD和Karaoke CD 该种格式的数据文件的扩展名为DAT，其结构与MPG格式基本相同，播放是也需要一定硬件的支持，标准VCD图象的分辩率只有352*240大小，于AVI或MOV格式视频相差无几，由于VCD的帧率要高得多，加上有CD音质的伴音，所以整体的观看效果要比前者好得多。

几种特殊的数字电影形式？

我们来看看我们经常看到的DVD、QuickTime、Realplay及SVCD、DVCD各是什么：

1、DVD可以说是CD、LD及VCD的替代产品,这是按照MPEG2标准制作的高清晰画面（水平分辩率可达540线）高品质音响（杜比AC-3音效处理、48K声音采样频率），的存储介质,与VCD简单的比较,VCD单张盘片只能容纳74分钟的相当于录相带的低质量双声道的动态数据, 而DVD 单张盘片可容纳两个小时以上的高清晰全动态视频数据, 支持6声道环绕音响, 通过附加的数据轨道能实现多种语言的配音和字幕, 并且具有更强的究错能力。现在，这种有着无可比拟优越性的DVD也可以在电脑上直接播放了。

２、QuickTime QuickTime提供了两种标准的数字视频格式，分别是基于Indeo压缩法的MOV格式和基于MPEG压缩法的MPG格式。QuickTime原是在Mac机上使用的视频标准，随着个人多媒体电脑的迅速普及，Apple公司也适时推出了QuickTime for Windows版本。利用QuickTime MoviePlayer。 播放MOV和MPG数字电影，对系统硬件要求较低，在许多低档机上也能流畅放映，这也是导致QuickTime视频文件流行的一个原因，QuickTime视频文件同时也是互联网上十分流行的数字电影形式，很多网站就提供这种类型的电影下载。

3、RealPlayer RealPlayer (试用版免费)是一种辅助应用程序，可以附加到浏览上，通过HTTP调用RealMedia文件的指令激活、启动播放器，使你能看到、听到文件内容。使用最新版本的RealPlayer G2播放器, 支持从28.8Kmodem到T1专线连接的在线即时欣赏,音频/视频效果都不错。因此RAM视频文件格式已经成为因特网上最为流行的数字电影文件格式之一。

4、SVCD是英文“Super VCD”的缩写，它采用MPEG-2编码及解压缩技术，拥有４声道或双立体声，图像分辨率为480*576，水平清晰度达３５０线。SVCD标准是在我国国家有关权威部门参与指导下，由中国录制设备标准化委员会与国内10家最具有实力的影碟机生产厂家共同制订的，它是电子行业第一个由中国人自己研究制定的产品标准。这一标准的公布意味着未来在DVD的版权中将有中国的一席之地。该标准还得到了索尼、松下、JVC和飞利浦等跨国公司的支持。被有人称为“中国版权，国际标准”。 近来，市场上还出现了一种名为“DVCD”的影碟，并以“DVD+VCD”的面目出现。由于这些碟片是碟片是打着“DVCD”的容量是VCD的两倍的旗号出现在市场上，因此，一些人对此产生了兴趣。DVCD其实是一种高密度光碟，为ＣＤ改进型产品，但其物理格式已不同于ＣＤ，用ＣＥ头光可以读取，也就是说：品质较好的ＶＣＤ机才可以播放。ＤＶＣＤ的特点是：用一张光碟可以储存９０分钟左右的电影，其图像和伴音采用ＭＰＥＧ１方式压缩，清晰度和音质同ＶＣＤ一样。但是因为DVCD碟没有统一的标准，DVCD碟其实是一种没有行业标准，没有国家标准，更谈不上是国际标准的音像产品。