景别先决定观众与主体的距离：远景交代空间，全景展示动作，中景承载关系，近景和特写把注意力收束到表情或细节。先按叙事目的选景别，再决定镜头焦段，避免只因为画面好看而频繁切换。 Shot size controls the viewer's distance from the subject. Use wide shots for geography, medium shots for relationships, and close-ups for emotion or detail. Choose the story purpose first, then select the focal length.

低机位让主体更有压迫感或力量感，高机位则会削弱主体的支配感。构图时先锁定视线方向和画面重心，再用前景、线条与留白引导观众，而不是把主体永远放在正中央。 Low angles can add power or pressure; high angles can reduce dominance. Establish the eyeline and visual weight first, then use foreground, leading lines, and negative space to guide attention instead of centering everything.

每一次运镜都应回答一个问题：展示新信息、跟随人物，还是改变情绪。开始和结束都留出稳定段，速度曲线保持连续；没有叙事动机时，固定机位通常比无意义的移动更有力量。 Motivate every camera move with a purpose: reveal information, follow a subject, or change emotion. Leave a stable handle at both ends and keep the speed curve continuous. A locked-off shot is often stronger than movement without intent.

横摇适合把观众从已知主体带向新信息。先固定起始构图，再以匀速或平滑加减速转向目标，结尾停住至少一秒，让观众读完新画面。 Use a pan to move attention from a known subject to new information. Compose the starting frame, rotate with a smooth speed curve, and hold the ending frame long enough for the audience to read it.

垂直摇镜可以建立人物与环境的尺度关系，例如从脚步摇到脸部，或从桌面摇到高处的建筑。让起点和终点分别有明确信息，中间不要为了填满时长而拖慢。 A tilt can establish scale, such as moving from feet to face or from a tabletop to a tall building. Give both the start and end frames clear information; do not slow the middle merely to fill time.

推拉或轨道移动会改变前景、中景和背景的相对速度，产生视差和空间感。让前景承担可感知的运动，背景保持层次；移动距离应服务于情绪变化，而不只是模拟变焦。 Dolly moves change the relative speed of foreground, midground, and background, creating parallax and depth. Give the foreground something to reveal and use the travel distance to express an emotional change rather than imitating a zoom.

对话剪辑中保持 180 度轴线，给双方预留看向对方的视线空间。切换前后让眼睛高度、头部方向和镜头高度连续，观众就能把两个画面理解为同一场对话。 In dialogue coverage, keep the 180-degree axis and leave looking room toward the other speaker. Match eye height, head direction, and camera height across the cut so the shots read as one conversation.

先锁定交付比例，再设计主体的安全区域。竖屏需要更强调垂直动作和近距离关系，宽画幅适合并置人物与环境；拍摄时给裁切和字幕留出边界。 Lock the delivery ratio before composing. Vertical frames favor vertical action and intimate relationships; wide frames support people in environments. Leave safe margins for crops and captions during capture.

用主光确定方向和质感，用辅光控制阴影对比，再用轮廓光把主体从背景中分离。先关掉所有灯逐个建立关系，最后才补环境光，这样更容易复现。 Use a key light for direction and texture, a fill for contrast, and a backlight to separate the subject. Build the relationship one light at a time before adding ambient light so the setup remains repeatable.

光源相对主体越大、越近，阴影边缘越柔和。把硬光打进柔光布或反射面，而不是单纯降低亮度；记录光源大小、距离和角度，换场景时才能复现。 A source becomes softer as it gets larger and closer relative to the subject. Bounce or diffuse a hard source instead of merely dimming it, and record size, distance, and angle for repeatability.

先校正曝光和白平衡，再统一对比度与肤色，最后才做风格化色调。把风格层放在可开关的节点或调整层中，便于比较原始画面与最终情绪。 Correct exposure and white balance first, match contrast and skin tones second, and stylize last. Keep the look in a toggleable adjustment layer so the original and final mood can be compared.

粗剪阶段先保证信息顺序和动作连续，再处理节奏。每个切点都应带来新信息、视线转移或情绪变化；如果相邻镜头没有变化，优先缩短而不是添加转场。 In the rough cut, protect information order and action continuity before polishing rhythm. Every cut should add information, redirect attention, or change emotion; if adjacent shots do not change, shorten them instead of adding a transition.

在动作发生过程中切换机位，可以利用观众对动作的预期隐藏剪辑。让两个镜头的动作方向、速度和接触点尽量一致，切点会比静止时切换更自然。 Cut during an action to hide the edit behind the viewer's expectation. Match direction, speed, and the point of contact between shots; the transition will feel smoother than cutting on a static pose.

审片文件和交付文件分开：审片优先稳定播放和较小体积，母版保留更高码率和原始帧率。导出前固定分辨率、帧率、色彩空间与音频采样率，避免平台二次转码放大问题。 Separate review files from delivery masters. Reviews favor reliable playback and smaller files; masters retain higher bitrate and the original frame rate. Lock resolution, frame rate, color space, and audio sample rate before export.

每个场景结束时录一段没有对白的环境声。剪辑时用它填补对白之间的空隙，能避免背景噪声突然断掉；同时记录麦克风位置和增益，方便补录。 Record a clean room-tone pass at the end of every scene. Use it under dialogue edits to prevent the background from dropping out, and note microphone placement and gain for pickups.

把声音分成对白、环境、动作和音乐层。先让对白清楚，再用环境建立空间，用动作声强调剪辑点，最后以音乐控制情绪；每层都保留独立音量控制。 Separate dialogue, ambience, action, and music into functional layers. Make dialogue intelligible first, use ambience for space, action sounds for edit points, and music for emotion. Keep independent level control for every layer.

拟音不必追求真实音量，而要追求与画面同步和材质清晰。先按脚步、衣物、道具拆轨，再录制距离和力度不同的版本，混音时用短促的峰值帮助观众感知动作。 Foley should prioritize sync and material clarity over natural loudness. Track footsteps, cloth, and props separately, record variations in distance and force, and use short transients to make actions readable.

慢动作拍摄时提高帧率，并保持与帧率匹配的快门角度，动作边缘会更清晰。剪辑阶段再决定放慢比例，拍摄时不要过早把时间解释锁死。 For slow motion, raise the capture frame rate and use a shutter angle appropriate to that rate for clean motion edges. Decide the final slowdown in the edit instead of locking the interpretation during capture.

抠像先处理背景均匀度，再处理边缘和色溢，最后做前景颜色匹配。主体与背景保持距离能减少绿光反射；边缘问题不要用单一的收缩参数硬修。 Key in passes: even out the background, refine edges and spill, then match foreground color. Keep the subject away from the screen to reduce green bounce; do not solve every edge issue with one choke setting.

室内访谈样本使用固定机位、窗边背景和一盏柔和的后景灯，画面重点落在说话者的表情。这个组合适合做对话基线：先固定构图，再只改变光线或景别。 An indoor interview sample uses a locked camera, a window background, and one soft practical light behind the subject. It is a useful dialogue baseline: lock the composition first, then change only lighting or shot size.