景深

The packed planes imply a cramped space (as John Locke's "Private Room of Mind"), either overly lit or too dim because of camera flash, and the observer behind the camera. The flat square disarranges the domain allotment between subject and object or the observer and the observed. The lack of depth gives the observer a superior status as a judge in a secretive trial that has been carefully arranged by the artist. The scene provokes a lot of doubt in the mind of the audience and they feel they are exiled.

尹朝辉的作品多以拥挤的画面象征忧郁狭小的房间（暗喻洛克John Locke的「心灵所在的私室」），光线过亮或不足、强烈急促的光影表现，隐喻了闪光灯和观察者的存在，压平的四方造型拉近且打乱了主体和客体／观察者和被观察者的场域分配，毫无景深的视觉提示则赋予房间内的主动观察者更高阶的审判者的地位，但艺术家刻意营造的匿名性却又将这一连串的审判过程私密化，徒留给被动观察者一连串的疑问，以及成为局外人的被抛弃感。

Then hold on to your chair as Vitaly puts you front and center in front of his monitor as he retouches a beauty image captured with the Hasselblad H3D 39 Megapixel camera from start to finish, explaining every step and decision along the way.

本视频教程分两部，PART ONE所呈示的PS的各个修饰工具在商业人像具体应用，内容涵盖了图像的图像色彩控制、光线、人物轮廓、磨皮、景深、锐化等多项内容。

More interesting candid pictures happen when the photographer moves around the subject, tilts the camera, and stoops down of finds a higher point of view.

家庭生活场景是摄影师用来练习构图和布光技巧的很好的素材，要深入体会各种视角、镜头、焦距对于景深和画面的影响。

Research on uncalibrated self-adaptive 3D reconstruction algorithm. For different or varible scene, the intrinsic and extrinsic parameters of camera may be required to modify, for example, change focus length for different depths, change aperture size for different light intensity, change the skew angle between optics axises of camera and projector for ideal viewfield, etc.

对于不同的或变化的场景，摄像机的内部参数与外部参数可能需要调整，如对于不同的光强需要调整光圈的大小，对于不同的景深需要调整焦距的长短，甚至需要调整摄像机的光轴与编码投影系统的光轴之间的倾角，以使采样范围正好落在被照明的范围内。

Then I worked on, depth of field and placed supporting elements like monitor, creepers with plugs and pins connecting them.

然后我处理景深效果，添加一些支持元素，例如显示器，带插头的爬藤，他们之间还连着插脚。

The relationship between the wavelet scale and particle diffraction scale is discussed and based on which the effects of wavelet scale on the resolution,depth of field,signal-to-noise and gray distribution in axial direction of the reconstructed particle image are extensively investigated.

在小波尺度参数取值范围研究的基础上，探讨了小波尺度和粒子衍射波尺度的关系，深入研究了小波尺度对重建图像分辨率、景深、信噪比以及粒子图像灰度分布的影响。

TIM: I do my best to use the elements that are under my control; lighting, focus, lenes, depth of field, model, etc to increase my chances of being in the right place and right time for when that something special happens.

我尽最大努力利用那些我可以控制的元素：光、焦距、镜头、景深、模特等等来增大我在正确的时间出现在正确的地点等待某些特别的事情发生的几率。

On the basis of the method of determining the boundary of the bright and dark springes, which is defined in the paper, the sizing methods of 2D holographic image and 3D holographic pattern are offered, so that the range of the field depth and the efficiency of image processing can be improved.

并且在本文提出的明暗斑条纹边界确定方法的基础上，给出了确定颗粒尺寸的二维全息影象测定法和三维全息图判别法，从而提高了测量的景深范围和图象处理效率。

A large number of relaxation schemes for feature mapping, claimed to be invariant to transformation, have been reported. However, most of them can deal with transfor-mations involving only rotation and translation, but not scaling. To stay away from the issue of scaling, unrealistic assumptions have to be imposed, such as the conjectures that range data are available so that objects can be rescaled before mapping, and that object shapes are complete so that ratios between object shapes and prototypes can be figured out beforehand. In this paper, we propose a relaxation scheme which is able to be in-variant at a time to rotation, translation, as well as scaling.

截至目前为止已有不少供几何特徵匹配用之松弛法架构被提出来，这些架构虽然宣称可以对空间转移具有不变性，但是实际上，大部分只能处理和旋转及平移有关的转移，对於具有尺度因素的转换泽尽量避免，因此，便有各种不同的假设被加诸於所考虑的问题，例如假设我们已知景深值，因此可以先将物件的尺度正规化后再比对，或者假设物形式晚整的，於是物形和模型间的尺度比率事先可以推知。

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。

Lugalbanda was a god and shepherd king of Uruk where he was worshipped for over a thousand years.

Lugalbanda 是神和被崇拜了一千年多 Uruk古埃及喜克索王朝国王。

I am coming just now,' and went on perfuming himself with Hunut, then he came and sat.

我来只是现在，'歼灭战perfuming自己与胡努特，那麼，他来到和SAT 。