身為攝影師，你或許已經知道足夠多的攝影技巧了。但是有時候當局者迷，或許需要你抽身出來好好思考，才能想通一些奧秘。
本文一共彙總了30條電影攝影值得注意的事項，或許就有一條能讓你茅塞頓開，突破一直以來掙脫不了的瓶頸。
要記住，電影攝影是一場持久的修行。
1
THINK OUTSIDE THE BOX
創造性思考
斯坦利·庫布里克和他的電影攝影師約翰·奧爾科特設計用燭光來拍攝一個場景，結果這樣的方式就如同進行繪畫一般擺脫了種種束縛。
為你所要呈現的視覺效果，設計一個具有創造性的解決方案，這是個提升拍攝技術的絕佳途徑。
外 語 版 ：
Stanley Kubrick and his cinematographer, John Alcott set out to film a scene with candlelights. The result of this solution is nothing short of painterly. Finding the next great camera technique may just be a matter of devising a creative solution to achieve your visual goals.
2
MOTION IN THE FRAME
讓畫面動起來
保持觀眾視覺的活躍度與吸引力，對於鏡頭設計來說至關重要。
雖然導演決定了影片的整體風格，但是為鏡頭設計一些具有性價比的運動調度，將會使影片更加鮮活真實的呈現在觀眾面前。
外 語 版 ：
How you use your frame is critical. You want to keep things active and visually engaging. A director has a lot on a film set to manage. Strategize on where you can insert some cost effective camera movements that will help bring the project to life.
3
EXPERIMENT WITH LENS SIZES
試試不同的焦段
試著用廣角鏡頭來拍攝特寫，或者使用長焦鏡頭來拍定場鏡頭。
在時間允許的條件下，任何符合電影的敘事試驗都是值得去嘗試的。沒準會因此而發現更獨特的視角來提升故事的表現力。
外 語 版 ：
Try slapping a wide lens on for a close up, or a long lens for an establishing shot. Of course you only want to do that if it works for the story you’re telling. But experimenting never hurts. Don’t ever be afraid to give something a look.
Time permitting, of course.
4
THE RIGHT GEAR FOR THE JOB
選擇適合的設備
要儘可能的熟悉所有類型的相機和鏡頭，如果導演需要一些與眾不同的東西，你需要做好準備，不僅要提出建議還需要有必要的知識來執行拍攝。
掌握多種實現目標效果的解決方案也會讓你成為製片們的最愛，也就意味著更多的工作機會。
外 語 版 ：
Get familiar with ALL types of cameras and lenses. If and when the director asks for something out of the ordinary you’ll need to be ready with not only suggestions, but also the requisite knowledge to implement them.
Knowing how to achieve the same end goals will make you favorite of producers as well. Which likely means more jobs.
5
KNOW THE SCRIPT
學會分析劇本
攝影組的成員甚至是攝影指導，有時候甚至不清楚當前的拍攝處於劇本的哪個階段。
然而對於電影攝影師來說，技術和意識缺一不可，你需要在拍攝之前就弄清楚要拍的內容是什麼、要表達的又是什麼。記住，你也是在為電影的敘事與表達進行創作，而不只是一個攝影技工。
外 語 版 ：
Far too often camera crews and even DoP’s don’t know the>
6
MANAGE TIME WISELY
提前做好時間規劃
使用分鏡頭表管理軟件，最好和與製片團隊一起完成所有的拍攝安排。這意味著用日程規劃軟件進行日程管理，可以更瞭解整個項目的安排。
你的組員都期待能在你的帶領下前進，記住不要讓他們失望。
外 語 版 ：
Use shot list software, and go over all the scheduling you can with the AD team. That means working with scheduling software and getting to know it’s ins and outs. The crew will often look to you to move forward. Be prepared. Don’t let them down.
7
MIXING COLOR TEMPERATURE
別讓色彩太過單一
只要拍攝方法得當，把一種顏色與其對比色一起放進畫面裡，可以使視覺層次更豐富。
雖然其中大部分來自美術部門的設計，但是也需要燈光、服化等其它部門相互配合才能呈現出最佳的視覺效果。
外 語 版 ：
Colors pop more when they are laid alongside contrasting colors, and photographed properly. Some of this comes down to production design, but it’s also where filmmaking techniques from other departments begin to co-mingle.
8
PUT STORY FIRST
把敘事放在第一位
請將演員納入你整體創作的考量之中，因為當燈光照亮演員以其周圍的環境時，你也是在用燈光塑造整體氛圍。
雖然要根據制定的燈光標記來給演員布光，但在某些情況下你也可以根據調度來調整布光，甚至有時臨場的隨機應變還會給拍攝帶來意外的驚喜。
外 語 版 ：
Consider your actors into your overall creation. When you light the space around them, you’re ultimately lighting the overall mood.
This film technique allows you to experiment with blocking. Separate lighting for actors follows up to lighting specific marks but then your lighting has to change.
Occasionally, a quick adaptation will come be great into your shot.
9
STAY INSPIRED
保持靈感的蒐集
你認為有史以來最好的電影攝影出自哪部片子？你最喜歡的攝影師又是誰？或許每個人的審美品位都不同，但是從其它作品中汲取靈感並不是什麼可恥的事情。
奧遜·威爾斯從不否認自己在約翰·福特的《關山飛渡》中汲取到攝影上的靈感，也正是對所獲靈感進行的再創新，才讓《公民凱恩》得以在影史留名。
外 語 版 ：
What do you think is the best cinematography ever? Who is the best cinematographer?
Of course it’s partly a matter of taste. Some of the greatest cinematic creations came partly through that very source of inspiration.
Orson Welles considered Ford’s work to have some of the best cinematography ever. His inspiration for his own cinematography ideas was so powerful, it led him right into his own all time classic. And new innovations.
10
BE AN ARTIST
成為一名藝術家
嘗試去精通視覺藝術的表達和設計語言，並且多花些時間去了解那些偉大的藝術作品。
創造偉大影像的工具可能會變，但是百年來這個基本原則卻沒有改變。你要把每一個鏡頭、每一幀畫面都當做藝術品一樣，在反覆推敲後精雕細琢。
外 語 版 ：
Be versed in visual art and design terminology. Take some time to familiarize yourself with great artwork. The tools of creating powerful images may have changed, but the basic principles have remained the same for hundreds of years. Treat your shots, and each frame, like a work of art you want to get right.
11
LOOK THROUGH THE FRAME
通過取景框去觀察
如果沒有監視器，不管是傳統的導演取景器、照相機、你的手指，或者哪怕是個帶框的東西，去觀察畫面都是可以的！
因為觀眾只能看到框內的東西，所以你也要通過這個框來構想畫面。從長遠來看，任何能培養你的眼睛以畫框的角度去觀察世界的設備，都會幫助你成為一個更好的攝影師。
外 語 版 ：
Even if you aren’t looking through a monitor, it’s vital that you look at your shoot through a frame of some kind. Whether it’s an old-school director’s viewfinder, a still camera, or just your fingers. This frame is what the audience will ultimately see, and you have to be able to picture what’s going into it.
Any device that helps train your eye to think of the world in terms of the frame will make you a better cinematographer in the long run.
12
EXPERIMENT WITH HARD AND SOFT LIGHT
進行硬/柔光試驗
硬光與柔光可以營造出截然不同的感覺。硬光相對柔光來說更容易控制，硬光可以變柔，但柔光卻不能變硬。
如果你想要控制陰影，並且不希望光飛得到處都是，菲涅爾透鏡要比KINO省事得多。
外 語 版 ：
Hard and soft lighting create very different feelings. Hard light is way easier to control than soft light. Hard lights can be softened, but soft lights can’t be hardened. If you really need to control shadows and keep light from spilling everywhere a fresnel will make your life easier than a kino.
13
BRING A QUALITY STILL CAMERA ON SCOUTS
堪景時請帶上照相機
如果勘景忘了帶相機，可以使用手機拍照記錄。但是理想情況下，你需要一臺與攝影機感光元件尺寸相同的單反相機或是微單。
另外，你還應該帶一個包含你所構想的鏡頭焦段的變焦鏡頭，這樣你就可以在堪景時測試不同的焦距，找到適合的機位。
外 語 版 ：
When all else fails, you can use your phone, but
ideally you want a DSLR with the same size sensor as your shooting camera. You should also bring a zoom that has the same approximate focal range as the lenses you’ll be shooting on.You can test out different focal lengthsand find exact camerapositions.
14
MAKE A SHOT LIST
製作分鏡頭表
在技術堪景完成之後，你應該開始製作分鏡頭表，列出該場戲中你所需要的鏡頭與焦段。
在拍攝時，一個排列有條理的分鏡頭表，會成為你在現場最有用的工具之一。
外 語 版 ：
You’ll want to make a shot list right after a tech scout to determine what lenses you need. A well organized shot list is going to be one of your best tools on set.
15
CHOOSE THE RIGHT LOCATION
選擇一個適合的外景拍攝地
瞭解你所選定的外景地在一年裡或是一天裡的光線都會有什麼變化，並儘可能地記錄下來。
外景拍攝選擇的地點、位置越好，你所獲得的視野與風光也就越好，這也會在一定程度上減少你團隊的工作壓力。
外 語 版 ：
Understand what the light will look like there at different times of the year, or day (more on that later). The better your locations, the better your look with potentially less work from you and your crew.
16
KNOW THE MANY WAYS TO ADD DEPTH
掌握多種增加縱深感的方法
你可能已經知道，我們在電影中所感受到的縱深感本質上都只是一種錯覺。你的大腦在欺騙自己相信，相信所看到的平面影像擁有立體的空間感。
雖然為畫面製造“深度”有很多種辦法，但如果想把攝影水平提升到更高的級別，就要擺脫一些小把戲，去真正打開思維進行創作。
外 語 版 ：
You probably already know that all depth in film is, essentially, an illusion. You’re tricking the eye into believing that a flat picture has a third dimension it really doesn’t have. There are many ways you can add depth, and moving beyond one trick is essential if you want to move to the next level of cinematography.
17
NEVER SAY “FIX IN POST”
永遠不要說“讓後期去修”
不要過於依賴後期！那些具有代表性的最佳電影攝影通常都是取決於置景與燈光效果。如果現場沒有正確捕捉到需要的內容，在後期進行重新創作的時候將會耗費更多的時間與金錢。
給自己點時間去創作，要記住你被聘請過來是因為你專業的攝影技術與能力！你的製片人會很感激你為他省了這麼多錢的，要知道比起讓美術組去修補一些小瑕疵，後期修復的花費可是要貴好幾倍的！
外 語 版 ：
Try not to depend on it. The best cinematography typically comes from your locations and lighting. Plus, whatever you can’t capture naturally on-set, might take way more time and money to recreate in post. Give yourself TIME to create it.
Remember, you are being hired for your expertise in cinematography techniques. Your producer will love you for saving him thousands. Post fixes are way more expensive than having the Art Dept touch up a flaw.
18
YOU’RE ONLY AS GOOD AS
THE TEAM YOU WORK WITH
不要太過於自負
記住！你未必是現場最有拍攝經驗的人！甚至，那些擁有多年電影製作技術與經驗的人，可能正在為你工作！尤其是你的燈光師和機械組組長，他們或許都是訓練有素並且具有創造力的人。
試著把你的問題分給他們去解決，肯定不會讓你失望的！
外 語 版 ：
You may not be the most experienced person on set. In fact the most experienced person may be working for you, with years of filmmaking techniques and experience under their belts.
Your gaffer and key grip in particular are both highly trained creative individuals. Use them to help solve problems.
19
KNOW HOW TO MANAGE YOUR CINEMATOGRAPHY CREW
學會管理你的攝影團隊
其實，關於電影製作的建議中最重要的並不是拍攝技巧，而是用人的技巧。劇組的成員們都習慣尊重清晰、明確的決策安排，他們可能會很樂意做這些工作，但是如果你總因為一件事情而反覆折騰他們，他們肯定會很不高興。
所以要保持頭腦清晰並尊重他們，為自己的錯誤承擔責任，成為一個有擔當的領導。
外 語 版 ：
Some of the most important filmmaking tips aren’t actually cinematic techniques, but people skills. Crews respect clear, fast decision making.
They’re probably happy to do the work but will become unhappy if they find themselves being told to take down a light and then they have to put it right back 15 minutes later. So be clear and respectful.Take the blame for mistakes. Be a responsible leader.
20
BE READY TO DO IT ALL
做好周全的解決方案
有時候你可能不得不自己搬運設備、佈置燈光、架設軌道，甚至是進行美術置景。你應該瞭解劇組每個崗位的工作內容，這樣你也可以更理解和尊重其他人的工作。
拍攝現場會出現各種問題，這也意味著你必須清楚問題應由哪個崗位來負責，以便更有效率地解決問題。
外 語 版 ：
On some jobs you’ll have to serve as your own gaffer. And electric. And grip. And… production designer. You should have a working knowledge of every role on a set. It’s also so you can understand and respect the process of everyone else’s work. The set needs to flow, which means you need to be in sync with everyone else.
21
YOUR REEL IS MORE IMPORTANT THAN YOUR CAMERA GEAR
用作品去展示你的技術
東西會損壞，設備會過時，有時候花費十幾萬購置高端攝影機與設備並不會為你帶來工作。
攝影這個工作就是要學會評估自己的設備的侷限性與優勢，根據現有的條件結合你的拍攝技巧實現最佳的畫面效果。
外 語 版 ：
Things break, gear gets obsolete, and spending 100K on fancy camera gear will not make jobs come to you. The job is to know how to evaluate the limitations and advantages of your gear, reach into your bag of film techniques, and make the best image under those conditions.
22
DON’T GO INTO DEBT FOR CAMERA GEAR
千萬不要借錢去攢設備
投資一定要謹慎，要知道了解自己的優勢並保持良好的合作關係，遠比你擁有多少設備更重要。
一旦讓製片人知道你擁有這些“高端”設備，他們會僱傭你，但是卻可能只是想要免費使用這些設備，或者至少要打折很多。這樣下去，你的設備投資可能永遠都回不了本。
外 語 版 ：
Invest carefully. Know that your quality of work, and how it is to work with you, will factor in more than how much gear you own. Once Producers know you own some cool gear, they might hire you hoping to get it for free. Or at least heavily discounted.
23
UNDERSTAND MODERN DRONE
TECHNOLOGY
瞭解無人機技術
如果想要和你的無人機操作員保持良好的溝通，你必須要了解無人機能做什麼、不能做什麼。雖然這種技術知識是關於無人機的，但是無人機拍攝已經變得越來越重要了，你必須重視起來。
盡你所能地去研究它們，至少要知道在什麼時候，可以用何種方式來發揮無人機的效果。
外 語 版 ：
Understanding what a drone can and cannot do is important if you want to have a good relationship with your drone pilot. While this ‘technique’ is about Drones, it really applies to any and all technology that comes along. Research them as best you can. Know how and when to use them.
24
A GOOD CINEMATOGRAPHER REEL KNOWS WHEN TO END
一個優秀的攝影師應該懂得適可而止
請記住！觀眾注意力的持續時間是很短的！儘可能保持精簡，大部分導演和製片人也就只能堅持看完前30秒。
不要讓你的作品集做得太複雜，時間要短質量要高，刪掉那些連你都覺得一般的鏡頭吧！
外 語 版 ：
Remember that people have VERY short attention spans. Keep it short. Many directors and producers will decide to turn it off in the first 30 seconds. Don’t pad your reel. Shorter and higher quality is better than a few more shots, some of which aren’t the best.
25
DON’T ARGUE WITH ANYONE IN FRONT OF THE CREW
不要在你的組員面前和其他人爭吵
在拍攝製作中，意見產生分歧是很正常的。但是你應該聽聽對方所說的優點，而不是盯著缺點不放。
當著所有人的面質疑導演或是其它部門主管，會讓他們更抗拒建議，因為這樣看起來就像是他們已經失去了控制權一般。
嘗試在私下裡進行溝通，也可以消除這種尷尬，畢竟大家都是為了讓影片變得更好。外 語 版 ：
Disagreements happen all the time. The first thing you should try and do is see where the other person might be right. Directors can get defensive if challenged in front of people, because they look like they’re not in charge.
Talking privately eliminates that fear of embarrassment.
26
HAVE AND FOLLOW A WORKFLOW
制定並且遵守工作流程
正如攝影師阿特·亞當斯所說：“調度，燈光，排練，微調，拍攝。重複，重複之前的每一個步驟去調整，去完成拍攝。”這真的很重要！
如果演員無法到場，就需要使用光替，並且要確保他們至少身高體型和膚色相近。要知道，世界上所有的拍攝技術都無法照亮一個不在場的人！
外 語 版 ：
As cinematographer Art Adams puts it:
“Block. Light. Rehearse. Tweak. Shoot. Repeat. Every. Single. Setup.”
It really is that important. If you can’t light the actors, use stand-ins. Make sure they’re at least same height and approximate skin tone.
All the film techniques in the world can’t light someone who isn’t there.
27
ALWAYS CHECK THE CALL SHEET
養成查看通告的習慣
製片部門每天都會給你發送通告，你也一定想要知道哪些內容最重要。在通告中製片部門會詳細地列出下一天拍攝的重要細節，你一定要仔細認真的查看每天的通告。
因為，作為一名攝影師，可能會有很多人會向你諮詢。
外 語 版 ：
This is what production will send you EACH day. You’ll want to know where everything important is on it. They will put in important details about the next days shoot. Many of them you will be consulted on.
28
ALWAYS PERFORM CAMERA TESTS
拍攝前先進行攝影機測試
學會如何使用分辨率板、色卡與人體模型進行傳統的相機測試，並在第一次拿到攝影機時都進行這些測試。
培養自己養成固定的測試習慣，這樣可以讓你在拍攝前清楚的瞭解到攝影機的情況，並可以提前調整燈光和拍攝方式。
外 語 版 ：
Learn how to do traditional camera tests with a chip chart, color chart, and human models, and then do them once you get your hands on the camera. With proper testing, you can see exactly how the camera reacts before you get on set and determine a lot of lighting and shooting strategies beforehand.
29
CHOOSE A WORKING STOP
選擇一個適合的光圈檔位
每個鏡頭都改動光圈檔位會使景深變化過於明顯，還會導致畫面的銳度變的不同。對於每一場戲你都應該確定一個基礎曝光參數，並且同一場戲中，每個角度都使用這個曝光參數進行拍攝。
要記住，光圈開到最大往往意味著畫面銳度的損失，請確定自己是否一定需要這麼淺的景深。
外 語 版 ：
Changing stops shot to shot leads to depth of field inconsistencies, since lens sharpness changes at different stops. For every scene you should be able to choose a single exposure and stick to it for every angle. Shooting wide open almost always means less sharpness when the lens is in focus.
30
TAKE CREATIVE CHANCES
嘗試去創新
請時刻督促自己去創新！雖然前面提到過，但是這裡要強調的是“捨不得孩子套不著狼”，敢於冒險才能帶來收穫。不要害怕打破這些前輩們定下的規矩，畢竟規矩就是用來打破的。
不過，在你養成一個良好的拍攝習慣之前還是要保證安全。不只是你，還有你的設備！
外 語 版 ：
Push yourself creatively. We covered this a bit in other sections. But the overall idea here is to emphasize that taking risks can pay off. Don’t be afraid to break some of those rules you’re instructors drilled into your heads. Rules were made to be broken. Plus, playing it safe leads to getting into the habit of average/mundane shooting.
