- 更多网络例句与镜头相关的网络例句 [注：此内容来源于网络，仅供参考]
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If you wish to set up a 2.40 rig using an A-lens (I am weary of typing out the phrase "anamorphic lens" so henceforth it shall be A-lens, or simply lens if the context is clear), the HC6800 has the capability of switching back and forth between 2.40 format movies or 16:9 material without moving the A-lens.
如果你想建立一个2.40钻机使用A -镜头（我厌倦输入4个字"变形镜头"，因此今后应是A镜头，或只是镜头如果上下文是明确的），该HC6800拥有2.40之间的交换格式的电影或16：9的材料不来回移动的A镜头的能力。
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When you pull out the lens, turn clockwise to lock it, when you want to push it back, always remember to turn the advance film knob first and after that press the button and turn the lens anticlockwise to keep it back and also to remember to pull out the lens when you want to rewind the film.
当你把镜头拉出来时，记得要顺时针转，当你要把镜头收回时，千万要记得过片先，然后按回收镜头键，在逆时针转，在收回去。还有，当回片时，千万计的要把镜头拉出来。
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All 12 lenses feature ARRI's Lens Data System, which displays real-time lens status and depth of field information either on the video assist or on a dedicated Lens Data Display.
所有12个镜头功能阿莱的镜头数据系统，该系统显示的实时状况和镜头景深的信息无论是在视频协助或专用镜头数据显示。
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Zeiss had become involved in camera lens design and fabrication giving the world such famous names as "Tessar","Biotar" and "Sonnar"(the latter developed by Dr. Ludwig Bertele - another famous name in optics design). In 1926 Carl Zeiss Jena combined five companies including "Contessa" to produce cameras and lenses.
蔡司也涉足照相机镜头设计制造业，并留下了天塞镜头、"Biotar"镜头和大光圈镜头的典范索纳镜头等经典产品（索纳镜头为1931年蔡司另一位著名的光学设计家，路德维希·雅可布·贝尔特勒博士发明）。1926年，蔡司联合5家公司包括"Contessa"公司生产照相机和镜头。
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It is the first important step in video analysis and will directly affects the effectiveness of indexing Shot boundary detection is one of our major research interests and we will tackle the following existing problems the ambiguity between gradual change and camera motion, the discontinuity during gradual change, false detection caused by illumination variation and flashlight, automatic threshold selection Firstly, we discuss shot boundary detection in non-compressed domain In chapter 2, we compare some of the commonly used detection methods which are based on frame difference and point out that single feature will not generate good results As a conclusion, we use fuzzy logic to combine multiple features Presently, most frame difference based shot boundary detection algorithms rely on threshold and hence the selection of such thresholds will greatly affect the performance of boundary detection We propose a membership function to define frame difference and calculate the membership with self adaptation according to the statistic distribution of frame differences to satisfy different type of video clips Experiments show that the proposed fuzzy shot boundary detection algorithm can be used with different video types and has a high detection precision and recall In chapter 3, we discuss model-based shot boundary detection algorithms regarding chromatic and spatial editing effects such as fade-in, fade-out, dissolve and wipe Various parameters are proposed to better describe the characteristics of each editing type.
镜头边界的检测是把视频自动地分割为一个个镜头，作为基本的索引单元，因此它是视频分析重要的第一步，直接影响到视频检索的成败。镜头边界的检测是本文研究的重点之一。目前镜头边界检测算法主要存在以下问题：渐变与镜头运动难以区别；渐变过程中的不连续与停顿、光照条件的变化及闪光灯等特殊情况会引起误检测；自动选择阈值比较困难等。本文首先针对非压缩域视频进行了镜头边界检测的研究。在第二章中我们采用了比较流行的基于帧间差的方法。在比较各种帧间差计算方法的基础上，指出使用单一的特征难以取得很好的检测效果，提出用模糊逻辑综合使用各种特征。目前大多数基于帧间差的镜头边界检测算法都采用阈值法进行镜头转换的判别。阈值选择的误差对检测性能有较大的影响，本文提出用隶属度函数定义帧间差较大、中等较大和较小等概念，并根据帧间差的统计分布自适应地确定隶属度，以适应不同类型的视频片断。实验结果表明这种基于糊逻辑的镜头边界检测算法可以适应不同的视频，并具有较高的检测精度和检出率。在第三章中采用基于模型的方法进行镜头渐变的检测，研究了淡入／淡出、慢转换和扫换的模型。
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"A shot in which figures appear small against their background is a long shot; a medium shot shows full figures just within the limits of the frame; a medium-close shot shows one figure from the waist up; a "close-up only the face; and a big close-up, only a portion of the face.
人在画面中显得很小的镜头叫远景镜头，刚好拍出人物全身的叫中景镜头，腰部以上的镜头叫中近景镜头，只拍面部的叫特写镜头，只拍面部某一部分的叫大特写。
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If you wish to set up a 2.40 rig using an A-lens (I am weary of typing out the phrase "anamorphic lens" so henceforth it shall be A-lens, or simply lens if the context is clear), the HC6800 has the capability of switching back and forth between 2.40 format movies or 16:9 material without moving the A-lens.
如果你想建立一个2.40钻机使用A -镜头（我厌倦输入4个字&变形镜头&，因此今后应是A镜头，或只是镜头如果上下文是明确的），该HC6800拥有2.40之间的交换格式的电影或16：9的材料不来回移动的A镜头的能力。
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ZEBASE includes samples of singlets, doublets, achromats, triplets, eyepieces, magnifiers, afocal systems, beam expanders, air spaced triplets, inverse telephotos, retrofocus, wide angles, telephotos, Petzval lenses, microscope objectives, double Gauss lenses, endoscopes, periscopes, riflescopes, mirror telescopes, scanning lenses, projection lenses, zoom lenses, and more.
ZEBASE包含简单的单透镜、双透镜、复消色差透镜、库克透镜、目镜、放大镜、和无焦系统、光束放大器、AIR SPACED的库克透镜、远心系统、广角镜头、Petzval透镜、显微镜物镜、双高斯镜头、内窥镜、展望镜头、机枪瞄准镜、发射式望远镜、扫描镜头、投影镜头、变焦镜头等等。
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I'll describe a shot from the Exterior Brookfield sequence of an exterior of a row apartment on fire with an explosion blasting out the third story windows. The shot was composited on an Inferno by Bob Wiatr. We started with a live plate of the street scene. Our first task was to remove a foreground chainlink fence and camera crew. We recreated the fg matching the flashing ambulance lights. To create a snowy, misty look we used a number of logic ops of the bg with a mist plate which was basically the bg heavily blurred and multiplied back onto itself, graduating to create a sense of dimensionality. Glows were added around lights and flames using Sapphire plug-ins and light beams were added to streetlights. Four or five layers of 3d particle snow created in Maya were combined with practical elements varying in size and focus depending on distance from the camera.A miniature explosion element was incorporated into the comp, also with added glows, interactivity with the building, and rotoscoping of foreground objects. The entire comp was then time warped for editorial matching with the subsequent cut.
我可以描述一个Exterior Bookfield的几个镜头，那是一排的公寓着火，在三楼窗户引起爆炸，这个镜头是Bob Wiatr用Inferno合成的，我们用一个现场的街道镜头开始，我们的第一个任务是删除一个在前景中的链条状的篱笆和摄像人员，我们重新制作了前景以期与前景中的闪烁的救护车灯匹配，为了制作一个下雪的雾蒙蒙的效果，我们用了大量的logic ops，用了一个雾层，这个层基本上就是把背景尽量模糊然后再把它重新加到背景上面，渐变式的制作出一个层次感，自发光用Sapphire插件加在灯光和火焰的周围，而光线被加到路灯上，在maya中制作的四到五层的三维的粒子雪用来和不同大小的真实的素材混合在一起，焦距则依赖镜头的景深，同时在楼房爆炸的地方加入了一个缩小了的爆炸素材，以及爆炸的辉光效果，和重新放置的前景物体，整个的镜头接着匹配时间用来做最后的剪辑制作。
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Our company offers you a very wide range of optical lenses, including spherical lenses, cylindrical lenses, aspherical lenses, windows, prisms, crystal, mirrors and high precision optical samples etc. In addition, we specilize in customizing photographic lenses and accessories, such as telephoto lens, projector lens, fisheye lens etc.
我们公司为您提供了非常广泛的光学镜头，包括球面镜片，圆柱镜头，片非球面镜片，窗户，棱镜，晶体，镜子和高精密光学样品等此外，我们在定制specilize摄影镜头和配件，如远摄镜头，投影镜头，鱼眼镜头， etc。
- 更多网络解释与镜头相关的网络解释 [注：此内容来源于网络，仅供参考]
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anamorphic lens：变形镜头,变形镜头,畸变透镜
anamorphic effect 变形效应,宽银幕镜头 | anamorphic lens 变形镜头,变形镜头,畸变透镜 | Anamorphic lens 艾奈莫尔费像变透镜
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bridging shot：衔接镜头
衔接镜头 (BRIDGING SHOT) 用来掩饰时空跳跃或其它不连戏情形(与剧情不连续)的镜头. 叙事蒙太奇 (NARRATIVE MONTAGE) 以交待情节、展示事件为主旨,按照情节发展的时间流程、逻辑顺序以及因果关系,来切分组合镜头、场面和段落,表现动作的连贯,
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objective changer：镜头转塔,镜头转换盘
objective carrier 镜头座 | objective changer 镜头转塔,镜头转换盘 | objective grating 物镜光栅
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dolly shot：推拉镜头
推拉镜头 (DOLLY SHOT) 将摄影机各某个场景推进或拉出所摄得的镜头. 推拉镜头可以把行动中的人物和景物交织在一起,产生强烈的动态和节奏感,不同的内容、情景、节奏,运用推拉镜头,可产生不同的效果. 特丽七彩 (DE LUXE COLOR) 即采用伊士曼彩色底片拍摄,
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lens holder：透镜架,镜头支架,镜头支架
lens grinding 透镜磨光 | lens holder 透镜架,镜头支架,镜头支架 | lens hood 镜头遮光罩,镜头遮光罩,透镜遮光罩,遮光罩,物镜遮光罩
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Lens hood：镜头遮光罩
镜头遮光罩(lens hood)的主要用途是避免不必要的光线进入镜头,引起画面上产生眩光. 这种遮光罩除非是为某些镜头特殊设计的,否则意义不大. 因为现在一般的镜头上已加有一层防眩光的薄膜. 目前有一种可以调节的遮光罩比较实用.
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Lens hood：镜头遮光罩,镜头遮光罩,透镜遮光罩,遮光罩,物镜遮光罩
lens holder 透镜架,镜头支架,镜头支架 | lens hood 镜头遮光罩,镜头遮光罩,透镜遮光罩,遮光罩,物镜遮光罩 | lens impaction 晶状体嵌塞
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medium shot：中景镜头
与画面构图深具电影技巧,特别是经常以大远景镜头(extreme long shot )呈现自然的奇偶像剧在取景上通常以中景镜头(medium shot)或远景镜头(long shot),强调被摄物的出场时,经常被 割成 格或三格的画面,并且以360 的旋转镜头,
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NIKON D：相机 给 信息 距离 传递 可以 镜头 表示 镜头
1.5 倍率 系统, 画幅 小 Nikon DX: . | 相机 给 信息 距离 传递 可以 镜头 表示 镜头 Nikon D: . | 调节 直接 可以用手 不再 控制, 电子 机内 由 光圈环 镜头, Nikon G: .
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anamorphic lens：变形镜头,变形镜头,畸变透镜
anamorphic effect 变形效应,宽银幕镜头 | anamorphic lens 变形镜头,变形镜头,畸变透镜 | Anamorphic lens 艾奈莫尔费像变透镜