摄影英语资料一
For the protection of travelers, all domestic airports use electronic devices and X-ray equipment to check passengers and hand-carried luggage. Film can tolerate some X-ray exposure but excessive anounts will resutl in objectionable fog (imcrease in base film density, and noticeable increase of grain). This is particularly true for very high-speed films. In the United States, passenger inspection inflicts only very low level rates of XS-rays which should not perceptibly fog most films fog most films (inspection stations can vary in radiation intensity). However, the effects of X-rays are cumulative, so repeated X-ray inspections can lead to an increase of fog and grain. Be cautious. You can avoid this danger to unprocessed film by hand carrying it, including film in cameras, and asking the attendant to hand inspect it, thus bypassing the X-rays.
protection 保护 protect(动)
domestic 国内的,家庭的
device 设施,设备,工具
check 检查
check in 登机,住进旅馆,实际上是指登机检票,旅馆预订房间后住进去时要核对
check out 离开旅馆,实际上指到柜台核对退房
exposure 暴露,露光 expose(动)
excessive 过度
amount 量
result in 得出的结果
objectionable 不好的,讨厌的
object 反对, (名)对象,物体,被摄体 objection 反对
fog 灰雾,亦可作动词用
base 片基,基础,基地
density 密度
noticeable 可以注意得到的 notice 注意, 通知(即引起注意)
grain 颗粒
increase 增加 decrease 减少
this is true 适合,符合
inspection 检查 inspect(动)
level 水平,级
radiation 幅射 radiate (动)
cumulative 增加,积累
intensity 强度,加剧,增高
lead to 导致,造成
leader 领袖,导片(一本片子前面的那一段起保护作用的胶片)
processed 曝过光的,经过加工处理的
attendant 服务人员
hand inspect 用手持设备来检查
bypassing 绕过,从旁通过
pass by 经过 pass through 通过

摄影英语教材 二
A Talk by Bill Fraker
My first picture was at Universal with Simone Signoret, and Katherine Ross, called Games, with Curtis Harrington directing and George Edwards producing. James Pratt, the production manager at Universal, cllled me and said that he had been watching me for a long time. He said, "You're a first cameraman and you did it on your own. You're the type of guy they need for this picture." The I panicked because I knew I had to go in and run a crew and Universal had their own family like they do now. But I said to myself, "I don't care. I've got to do it anyway. I got to do it because you only get one or two shots in your whole life to become what you want." You have to keep preparing youself for what your goal is and then when you get the chance to achieve that goal, you have to go out and do it. Right or wrong. That has stopped a lot of talented people. Anyway I did it and it didn't stop from that point on. For some reason, something generated a momentum and I don't think I had a week off from that point for three years. Next I did a picture with Mark Rydell called The Fox. I'm very proud of that film; it's one of my favorites. Then came The President's Analyst with Teddie Flicker directing. Then came Fade In, a film with Burt Reynolds, followed by Rosemary's Baby, Bullitt, Paint Your Wagon, and then I directed my first film, Monte Walsh.
Universal 环球影业公司的简称
production manager 这里指制片厂里管生产的经理
panick 惊惶失措
run 经营，管理
crew 一组人，一条船上的船员叫CREW，摄制组成员叫CREW，摄制组 里的摄影组成员也叫CREW
goal 目标 球门也叫GOAL， GOAL KEEPER 球门员
achieve 达到（目标）
stopped 停止，这里有“望而却步”的意思<
generated 发生，产生，GENERATOR 发电机，GENERATION 生下来的 一代<
momentum 动势
favorite 宠爱的东西，宠物

摄影英语教材 三

HOW DID FRAKER SET UP THE CHASE SEQUENCE IN BULLITT

The chase sequence sort of established a genre for automobile chase sequences. I got a lot of notoriety and a lot of acclaim for it. I give all the credit to Peter Yates, the director, and Frank Keller, the editor, who won an Oscar for the picture. The chase took three to five weeks to film. We could only tie up certain streets of San Francisco at certain times. We would do the chase periodically whenever we could get a clearance on a location; sometimes one day a week, sometimes two. Every inch of that chase sequence was choreographed; we literally drove each shot and then we got out and we walked the shot. We talked about each problem we felt we might have and then Peter and I would set the camera where we wanted. I think the success of the chase was the result of the placement of the camera. Because the audience auctually felt that they were participating in that chase. They were no longer observers. In old chase sequences, you would take a camera and pan as the car went by. Peter got the idea of placing the camera inside the car subjectively. So you got a feeling of participation. Also it gave you an outlet to take an automobile and smash it against another automobile; things that you always have wanted to do ever since you started to drive a car. And now you finally got a shot to do it. The secret of Bullitt is that shot it at twenty-four frames per second but the cars were actually going 100-120 miles per hour. There was no cheating, we didn't speed up the camera. Also, as I say, putting the camera inside the car and letting the audience participate was important.<BR>
For the exteriors of that sequence, there were no lights at all; we just shot. That was another innovation at that time: moving away from Hollywood and taking equipment up there, like arc lights and such, but then not using them. People said it couldn't be done but I had been doing it for years on commericals. But you see, at the time, it was a transitional period. We were just getting started as young cameramen. You would go to work for a major studio and they would hand you your equipment list. And you'd say, "What's this? I didn't order this." And they'd say, "This is what you're going to take." And you'd reply, "I don't want this equipment." And the'd say, "If you do a picture with this studio, you take this equipment." That was always a big fight and it still is today. It's the bureaucracy horseshit that I can't deal with. I don't want to deal with it and I won't deal with it. With the studios, you've got that overhead system os that you never get dollor-for-dollar value. The production ends up being charged twenty-five to forty percent overhead. And for what?
chase 追逐
sequence 段落
sort of, kind of 可称做是，算作是，一种?
establish 确立，建立 establishing shot 交代镜头（即确立镜头）
genre 类型 这个字借自法语，按法语?发音
notoriety 臭名（远扬）?
acclaim 称颂，认可
credit 名声 give credit 归功于， 承认某人的功绩
tie up 阻碍
periodically 周期性的 PERIOD 周期，期刊
whenever 任何时候
clearance 清仓
location 外景 ON LOCATION 拍外景
choregraph 舞蹈动作。有设计的摄影机运动
literally 逐字逐句的
placement 机位
audience 观众，听众
actually 实际上
participate 参预
no longer 不再
observer 观察者
pan 摇摄
subjectively 主观地
outlet 出口，发泄
smash 撞
secret 秘密
frames per second 画框／秒
miles per hour 英里／小时
cheating 欺骗
speed up 加速
exterior 室外 interior 室内
innovation 创新
arc 聚光灯、弧光灯
commercial 广告片
transitional 过渡的
equipment 设备
studio 制片厂
bureaucracy 官僚主义
horsehit 胡说
deal with 和....打交道
dollar-for-dollar 实搭实的,一分钱一分货
value 价值
charge 索取,冲击
overhead 超