讲座电影中场面调度.pptVIP

总之，场面调度涉及镜头构思的方方面面。对画面传达信息和意义的设计是导演功力的体现。 1. Dominant. Where is our eye attracted first? Why? 2. Lighting key. High key? Low key? High contrast? Some combination of these? 3. Shot and camera proxemics (空间关系). What type of shot? How far away is the camera from the action? 4. Angle. Are we (and the camera) looking up or down on the subject? Or is the camera neutral (eye level)? 5. Color values. What is the dominant color? Are there contrasting foils? Is there color symbolism? 6. Lens/filter/stock. How do these distort or comment on the photographed materials? 7. Subsidiary contrasts. What are the main eye-stops after taking in the dominant? 8. Density. How much visual information is packed into the image? Is the texture stark, moderate, or highly detailed? 9. Composition. How is the two-dimensional space segmented and organized? What is the underlying design? 10. Form. Open or closed? Does the image suggest a window that arbitrarily isolates a fragment of the scene? Or a proscenium arch, in which the visual elements are carefully arranged and held in balance? 11. Framing. Tight or loose? Do the characters have no room to move around, or can they move freely without impediments? 12. Depth. On how many planes is the image composed? Does the background or foreground comment in any way on the midground? 13. Character placement. What part of the framed space do the characters occupy? Center? Top? Bottom? Edges? Why? 14. Staging positions. Which way do the characters look vis-a-vis the camera? 15. Character proxemics. How much space is there between the characters? (Louis Giannetti: Understanding Movies, 9th edition, Page 89) 一个貌似简单的画面往往包含丰富的信息。 把自己观影者的位置调整到电影制造者的角度，可以更好地看到调度如何产生意义。 对相关画面的解读和欣赏体现观影者的成熟程度。 参考书籍 Roy Thompson Christopher Bowen. Grammar of Shot, 2nd edition. Kristin Thompson. Film Art: An Introduction, 8th edition. Louis Giannetti. Understanding Movies, 11 edition. Joseph M. Boggs Dennis W. Petrie. The Art of Watching Films, 7th edition. Andrew Lynn. A