UK shoot

7月26号：采访渔民
一机位架三脚架，拍摄渔民与访问者的近景或中景画面（以近景为主要拍摄景别）
二机位手持，拍摄渔民的特写
一机位需更换两至三次位置，分别为渔民与访问者正侧面、以渔民为目标的左45读角和右45度角
二机位与一机位处在交叉位置，只拍摄渔民的特写，如果渔民说起受伤等有动作时二机位需跟着渔民拍摄重要的动作。
注意：一机位和二机位不可以同一时间变换位置，访谈时必须有一个机位是保持清晰画面的。因录制声音的硬件不佳，需旁人安静。最好以船为背景拍摄。

7月27号：出海前和出海后拍摄
1.出海前的准备工作：一机位拍摄全景、远景或中景（视情况而定）、二机位拍摄渔民的特写，面部和手的动作为重点，也可拍摄一些近景作为素材
2.返航：一机位在港口处，等待渔船回来，从远景一直到近景。然后赶到鱼市场与二机位汇合。二机位在船的停靠点-鱼市场，等待渔船回来，拍摄回来的工作。
3.靠岸：一机位和二机位需相互调节拍摄渔民和工具的中景、近景和特写
4.上岸：一机位、二机位分别从左右两侧拍摄渔民卸货和运货的场景，一机位以拍摄远景为主，二机位以特写为主。
5.运货：拍摄他们运货与交易的场景。
空景：
从凌晨时拍摄一直到天亮，天黑时拍摄港口的场景直到天色变得亮起来。然后去山顶拍摄当地有名的教堂和整个城市与海的场景。

About Chinese fishermen question

When did you start to this work?

Flag

Why on your boat have the flag?

Do you cross paths with other countries fishermen’s or coast guard boats when you are at sea? 

If you run into them, do you say hello to them? How do you communicate with them? Do you use the boat’s light to communicate?

Which country you like it (or which country you don't like) Why?

Lighthouse

Is it very important for you? How Important?

Do you know any history about lighthouses?

If there weren’t lighthouses what things could happen?

Have you ever had an issue with a lighthouse? How did u solve it?

Mood

If a normal person goes out to sea, we’ll feel excited, but you often go to sea, how do you about venturing out to sea?

How does life at sea compare to life on land? 

Seasickness is very common for people. How about your first time, did you experience seasickness?

How did you overcome this problem? (How does one cope with seasickness?)

I know you are go to work very early and working long time on the boat, are you got some rest on the boat, what do you do during your break?

Be wounded

Can working on the boat be dangerous?

Can you describe/tell some common dangers while on the fishing boat?

How long time you are on the boat, when you go to sea?

Why you need so long time stay on the boat?

Do you want every day to back home?

Fish

Which kinds of fish you have caught?

Do you catch lobsters and crabs?(yes: do you like it, why?)

How do you store fish that you have caught?

When you are back on land, how do u distribute your fish? Do you sell them yourself or at markets?

Do you sell your fish to other countries? Like China?

Government

Do you have some rest period? Like in some periods, the fish is not good.

How about you perspective?

About UK fishermen's question

When did you start to this work?

Flag

Why on your boat have the flag?

Do you cross paths with other countries fishermen’s or coast guard boats when you are at sea? 

If you run into them, do you say hello to them? How do you communicate with them? Do you use the boat’s light to communicate?

Which country you like it (or which country you don't like) Why?

Lighthouse

Is it very important for you? How Important?

Do you know any history about lighthouses?

If there weren’t lighthouses what things could happen?

Have you ever had an issue with a lighthouse? How did you solve it?

Mood

If a normal person goes out to sea, we’ll feel excited, but you often go to sea, how do you about venturing out to sea?

How does life at sea compare to life on land? 

Seasickness is very common for people. How about your first time, did you experience seasickness?

How did you overcome this problem? (How does one cope with seasickness?)

I know u r go to work very early and working long time on the boat, are you got some rest on the boat, what do you do during your break?

Be wounded

Can working on the boat be dangerous?

Can you describe/tell some common dangers while on the fishing boat?

In China, it’s common for many fishermen to go and live at sea for half a month; do British fishermen do the same?

What do you feel about being at sea for half a month? Would you like to do this?

Fish

Which kinds of fish you have caught?
Do you catch jellyfish?（yes: how about it?）
How do you store fish that you have caught?

When you are back on land, how do u distribute your fish? Do you sell them yourself or at markets?

Do you sell your fish to other countries? Like China?

Government

In China, it is forbidden to fish from May 16th to August 1st as a way to maintain marine life. Does England also impose a restricted time period of no fishing?

Are there any restrictions that the government of England imposes?
How about you perspective?

性女传奇幕后纪录片 Sex: The Annabel Chong Story 2 (1999)

Several people have commented on the insight this film gives into the porn industry. That may be true, but it's not what this film is about. The events which unfold over 90 minutes in "Sex: The Annabel Chong Story" are more about one girls trip through life and the choices she made along the way. Many of the reviews have been very judgmental and tend to present Grace as disturbed and in need if therapy. This may be true on a certain level (for example the scene of her self-mutilate "cutting" removes any doubt that self-destruction is in the forefront of her personality) but there is much more to this young woman than that. She has substance. She's intelligent. She has a drive to succeed in life and achieve approval from her peers. Many of her personality traits are in paradox to one another...But more to the question; "Is this a good film?" You're damn right it is. A very good documentary the places a vast array of players, institutions and mechanisms into orbit around Grace and unabashedly reveals her ventures into and out of each circumstance from seeking acceptance from family and friends to navigating through the denizens of the porn industry.
An interesting side note: In the scenes where Grace is visiting the set of porn-starlet Jasmin St. Clairs attempt at "shattering her record" of 251 men in 10 hours, Grace appears to be out of her element and somehow trapped in a place she'd rather not be. In comparison to the people around her, she almost seems innocent and out of place. The whole feel of this shoot (while technically the same style) is directly the opposite of her experience. Grace leaves the set feeling dejected and lost. Her naiveté is glaring in this moment. Don't know if anyone else picked up on this, but I did.
In the end, I like Grace. After watching her go through so much self-inflicted agony with such an air of bravado (real or imagined) I can't help myself. She's all heart. It's a shame that her triumphs (participating in the Cambridge Debate, attending USC, moving on to a grad degree) are overshadowed by the darker elements of the film. And lastly, many Thanks to Grace for having the guts to be honest in presenting the story of her life.

Two shooting plan

Way one:
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. The lighthouse when go to the sea
5. Fishing:  a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. Last time, the interview
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing:  a. cast net, b. catch, c. lay aside
6. Free time (talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when come back

Way two:
• Britain
1. National flag
2. Whitby’s morning
3. Bridge
4. Seafood market
5. Last time, the interview
The main: 4 and 5
• China
1. Make net
2. Bring the net go to boat and the national flag
3. The anchor was raised and the ship pulled out.
4. Wheelhouse（old）
5. Fishing:  a. cast net, b. catch, c. lay aside
6. Free time(talk some thing)
7. The scenery
8. Some problem: dangerous things，uncomfortable（seasickness）
9. The lighthouse when go and back
The main: 5 to 9

中国 Chung Kuo - Cina (1972)

In 1972, during Mao Zedong's Cultural Revolution, Michelangelo Antonioni was invited by the People's Republic of China to direct a documentary about New China. Only permitted to visit certain parts of the country, the director traveled with his crew for eight weeks in Beijing, Nanjing, Suzhou, Shanghai, and Henan. The result was a three and a half hour long film, divided into three parts. Mao and his wife Jiang Qing disliked it so much that Michelangelo Antonioni was consequently charged with being anti-Chinese as well as counterrevolutionary. The movie was finally shown at Beijing's Cinema Institute 30 years later.

T
his documentary was taken in Chinese Cultural Revolution period, and is divided into three parts:

The first part contains some scenes in Beijing captured by the director, such as the famous Tiananmen Square, the Great Wall, the Forbidden City, Wangfujing, visible recess activities in primary schools arranged by the Chinese government, acupuncture production in hospital, factory workers’ family life and the status of the producers’ cooperatives, and so on.

In the second part, the director was arranged to Linxian, Henan province to visit the Hongqi Canal, collective farms and the ancient city of Suzhou and Nanjing, but he put large spaces on randomly observed Chinese expressions.

The third part is a brief observation of Shanghai by the director, from the streetscape to the birthplace of Chinese Communist Party, from new residential buildings to the Roll Lumbricus in colonial period, from teahouse to the large factory, from the Bund to the boatman on the Huangpu River. Relatively, the film reflected Shanghai people’s lives objectively.

In my eyes, this documentary is very quiet and the scenes move slowly. Instead of pleasing us and adapting to the illusions in our mind by cutting the lives, the film forced us to see life show itself slowly with its own rhythm.

Shooting conditions: Obviously, the route and the scene were designated and arranged in advance, and the freedom of the director is very limited. Under the fact of an overall false, a strong sense of reality was reflected from the film just by shooting techniques and some scenes by force and grabbing. We saw the gesture, facial expressions and manners of speaking of people in that era again. Antonioni did not meddle with the Chinese government by standing on the ideology. On the contrary, he knelt down and stared at the real life, making the real life penetrating by his film. Like Jia Zhangke, he knew how to explore the poetry of ordinary life. Those low, dark and even sneaking corners of life can become a poem because of staring, which is the Zen in hard life.

I think art and memory have the same process.

这部拍摄于中国文革时期的纪录片分为三个部分：
第一部分是导演在北京对一些场景的捕捉，有著名的天安门广场、长城、故宫、王府井，有中国政府安排的参加小学可见课间活动、医院的针灸生产、工厂的工人家庭生活、生产合作社的状况等。
第二部分是导演被安排去河南林县参观红旗渠、集体农庄、古城苏州和南京，但他却将大量的篇幅放在了随意观察的中国人的面孔上。
第三部分是导演对上海的短暂观察，从街景到中国共产党诞生地，从新建的居民楼到殖民地时期的滚地龙，从茶馆到大工厂，从外滩到黄浦江上的船户，相对客观地反映了当时上海民众的生活。
在我眼中这部纪录片的镜头很安静，移动缓慢，不是切割生活来讨好我们，来适应我们头脑里的假象，而是强迫我们去睁眼看生活，看它自己的节奏，自己慢慢的展现。
拍摄条件：很明显，路线是被指定的，场景是被安排好的，导演的自由度非常有限。只是在全盘虚假的算盘底下，仅仅靠拍摄手法和几个强拍抢拍的镜头，胶片中渗出一种强烈的真实感。我们重新看到那个时代的人们的动作，表情，说话方式。安东尼奥尼不是站在意识形态的高度指手画脚，他蹲下来，凝视，让生活自己从画面中渗透出来。和贾樟柯一样，他懂得发掘平凡生活的诗意。那些低下、灰暗、甚至委琐的人生角落，因着凝视，也能够成为诗，这是一种艰苦生活中的禅意。
我想艺术与记忆是同一个过程。

Adaptation story

Once there was a mother pig who had three little pigs. She was so poor, however, that she could no longer take care of the young pigs. So she decided to send them away。

　　It is time for you to go out into the world now. You are old enough to live on your own. Remember that hard work never hurts a pig. But I warn you, if you are lazy and get fat, than you will be too slow to run away from you know who. The hungry old wolf! The three pigs were scared and shouted. So the three little pigs left their safe home and went out into the world. They each went a different way, and they each built themselves a new home.

　　The first little pig was very nice and happy, but he was also very lazy. He didn’t like hard work. He always looked for the easy way to do things. Knowing he had to build a house for himself, the first little pig went go the market to look for supplies. When he saw a man selling straw, he said to himself, how easy it would be to build a house out of straw!

　　How much is that straw, sir? I will sell it to you for two cents, little pig. I’ll take it. So the first little pig bought the straw, and he built his house. Well, that was easy. I didn’t have to work very hard, and now I have a new house. This is great! The first little pig went inside and relaxed in his new home。

　　Now, the second little pig was a little different from the first. Because he liked to have lots of time to play, he always looked for the fastest way to do things. The second little pig also went to the market in search of supplies for his new house. When he saw a man selling sticks, he said to himself。

　　I could really build a house quickly with those sticks. Sir, how much for those sticks? I will sell them to you for three cents. Great! I’ll buy them. So the second little pig bought the sticks and started to build his house。

　　Mom said that we would have to work so hard, but this is so easy. Look how quickly I built my house with these sticks. Now I will have plenty of time to play。

　　The third little pig was very different from his brothers. He was a very hard worker. He wasn’t worried about finding the easiest way or the fastest way. He wanted things done the right way. When he went to market to buy supplies for his house, he looked for something sturdy that would last。

　　Wow! You have some really good bricks here, sir. I bet they would make a strong house. These bricks will help you build the finest house money can buy. How much for all of them? I will sell them to you for five dollars. Oh, I don’t have enough money right now. Can you wait until tomorrow? Okay, I will wait until tomorrow, but not any longer。

　　The third little pig quickly left to find work so that he could earn enough money for the bricks. He worked very hard that day. When he was finished, he had the money he needed. Early the next morning, he took his money and bought the bricks, and began building his house. It took him a long time, but he knew the bricks would make his house strong and safe。

　　When his house was finally finished, the third pig called his two brothers over to see his new home. They came and admired his work. Your house looks great. Now you have to come and play with us. Yeah! Let’s go into the forest to play. You two go on ahead. I still have some work to do. Wow, I get tired just WATCHING him work。

　　Remember, mother pig warned us not to get fat and lazy. Oh, he is so silly, he loves to work, and he never plays. So the first little pig and the second little pig went into the forest to play while the third little pig stayed home and worked. What the pigs did not know was that in that same forest there was a scary, smart and very hungry old wolf。

　　Chapter 2

　　The wolf usually ate squirrels, chickens, chipmunks, and other small animals. But today he was hungry for something different. Today he wanted a tender, delicious pig. BACON! PORK CHOPS! HAM! That’s what I want for dinner。

　　Wait! What is that I smell? Could it be a tender, delicious pig? Just then, the scary, smart and very hungry wolf saw the two little pigs playing. He was a sneaky wolf and decided to try to join in their game. Hello, little pigs. I am a friendly wolf and would like to play with you。

　　I … I… I don’t think so. Yeah, our mother warned us about you. The two little pigs stopped what they were doing and quickly ran back to their homes. The wolf followed them and came to the first little pig’s house. Little pig, little pig, let me in please. Never! No! No! No! No! No! You will never get in here! Then I will huff, and I will puff, and I will BOLW your house down!!

　　So the wolf huffed, and he puffed, and he blew the house down. The first little pig was so afraid. He ran as fast as he could to the second little pig’s house and began banging on the door. Help me! Help me! The hungry old wolf is coming after me。

　　Come inside, brother pig. We will be safe in my house. Shortly after the first little pig was safely inside, they heard a knock on the door. Little pigs, little pigs, let me in. it’s the nice wolf. Never! No! No! No! No! We will never let you in. Then I will huff, and I will puff, and I will BLOW your house down!! So the wolf huffed, and he puffed, and he blew the house down. The two little pigs were really afraid now。

　　They ran as fast as they could to the third little pig’s house, so the wolf would not eat them. Little brother! Little brother! Help us! The wolf is trying to eat us. I thought this would happen. Come into my house. Hurry! No, little brother. We should run away. The hungry old wolf will blow this house down! He isn’t going to blow MY house down. It’s made of bricks。

　　The two little pigs went inside the third little pig’s house, and moments later, they heard a knock on the door. Little pigs, little pigs, let me come in. it’s the nice wolf. Never! No! No! No! No! We will never let you in! Then I will huff, and I will puff, and I will BLOW your house down. So the wolf huffed and puffed and huffed and puffed, but he just couldn’t blow the house down! The three pigs cheered, and the wolf went home without a delicious pig in his stomach. I must have those pigs to eat. I will have to think of a new plan. I am a smart wolf, and I will just go back to their house tomorrow and trick them。

　　Chapter 3

　　The next day, he went back to the third little pig’s house with a really big, friendly smile。


　　Little pigs, you are so smart. You are much smarter than me. I am sorry I tried to hurt you. Let’s be buddies. I know a really good field with lots of carrots. Do you want to go with me? Hmmm. That sounds nice. Where is the field, and when do you want to go? The field is very close. It’s on the side of farmer jack’s barn. I will come back tomorrow at six in the morning。

　　When the wolf left, the first little pig and the second little pig turned to their brother and said. Are you crazy? He is going to eat you! He doesn’t want to eat carrots, he wants to eat you! The wolf will have to find me first. Don’t worry. Just wait and see. That night, the wolf was thinking to himself, finally, tomorrow I will be able to eat a tender, delicious pig. He fell asleep dreaming of pork chops, bacon and ham。

归途列车 Last Train Home (2009)

Every spring, China's cities are plunged into chaos as 130 million migrant workers journey to their home villages for the New Year's holiday. This mass exodus is the world's largest human migration-an epic spectacle that reveals a country tragically caught between its rural past and industrial future. Working over several years in classic verité style Chinese-Canadian filmmaker Lixin Fan (with the producers of the award-winning hit documentary Up the Yangtze) travels with one couple who have embarked on this annual trek for almost two decades. Like so many of China's rural poor, Changhua and Sugin Zhang left behind their two infant children for grueling factory jobs. Their daughter Qin-now a restless and rebellious teenager-both bitterly resents their absence and longs for her own freedom away from school, much to the utter devastation of her parents. Emotionally engaging and starkly beautiful, Last Train Home's intimate observation of one fractured family sheds light on the human cost of China's ascendance as an economic superpower.

The conflicts in “Last Train Home” are important watching focus. Either the conflict between the migrant worker before going home and the policeman, these people who maintain order or the conflict between the main characters Mr. Zhang Changhuas and their daughter after they came back home at the Spring Festival has touched the hearts of many viewers. Such conflicts in the movie are the creative approaches: dramatization which is used in documentary, and people are more and more familiar with it.

The story technique has been used in documentary for a long time. It has been used in the documentary of “Nanook of the North” made in 1922. More and more documentary filmmakers recognized that story technique is the only way to realize documentary internationalization.

When recalling the creative process of the “Last Train Home”, Fan Lixin mentioned that we may think “Spring Festival travel” as a very easy way to film. Foreigners have never seen it, and it was certainly easy to get the money. I also have had this idea, but soon I found it would be naive. As a film, the story itself is more valuable than the subject matter. ① Considering the overseas audiences, the “Last Train Home” identified the its story strategy. In order to overcome this cognitive impairment, the director chooses the family problems as the entry point cleverly. Outwardly, the “Last Train Home” tells a family’s journey to home, but in fact, it talks about the common human emotions. This is a good point of penetration.

During filming process, apart from being a good observer and recorder, the photographer also need to handle the relationships with the subject properly, so that the subject can show their true side, which is an important work for the photographer. In process of filming, the photographer spent a lot of time in establishing a good relationship with the subject in order to let the subject maintain a natural ease status in front of the camera. Photographer’s efforts ensure the film’s authenticity as much as possible.

《归途列车》展现的矛盾冲突是它的一个很重要的看点，无论是片中打工者回家之前在火车站与警察和维持秩序的人发生冲突，还是主角张昌华夫妇春节回家后与女儿的冲突，都打动了很多观众的心。影片中的这种矛盾冲突，实际上是纪录片越来越为人们所熟悉的一个创作手法：故事化。
纪录片使用故事化手法由来已久。1922年拍摄的纪录片《北方的纳努克》，采用的就是现在已为我们所熟悉的故事化手法。越来越多的纪录片制作者认识到故事化手法是纪录片国际化的必经之路。
范立欣在回忆《归途列车》创作过程时提到，大家一定都想到“春运”很讨巧，外国人没见过，一定容易拿到钱。这样的想法我也有过，但很快我发现这样想很幼稚。作为一部影片，比题材更有价值的应该是故事。①正是面向海外观众的考虑，使《归途列车》确定了故事化的策略。为了克服这样的认知障碍，编导很巧妙地从家庭问题切入。《归途列车》表面上讲一个家庭归乡的旅途，其实讲的是人类共通的情感。这是一个很好的切入点。
在拍摄中，拍摄者除了做好观察者和记录者外，一个很重要的工作是处理好与拍摄对象的关系，让拍摄对象能够呈现他们真实的一面。在拍摄的过程中，拍摄者花了大量的时间与拍摄对象建立良好关系，其目的就是让拍摄对象在镜头前保持自然自如的状态。拍摄者的努力最大限度地保证了该片的真实性。

Location and shoot

Most of the films are taken under controlled environment, such as the Sound Stage in a studio (Sound Stage); there must be some shootings that need to be taken outdoors, so they must be filmed outdoor.

When filming in the studio, the quality of the film would be greatly guaranteed. But when filming outside, we must consider many problems. For example, sound, when recording live sound there are a lot of noise and sudden sounds; light, natural light is very unstable and not easy to control; and the control of surrounding sceneries, vehicles, crowd; weather, sometimes the sudden changes in weather are difficult to forecast.

Several special shooting methods
1. Changing frame rates: when filming, the speed of the filmstrip is higher or lower than the normal rate of 24 frames per second to produce the screen effects of “slow-motion” and “fast action”. It is a common approach to shooting in present films.
2. Single frame filming: also known as sub-grid shooting. The documentary is filmed by “by-frame motor”, which drives the camera to shoot frame-by-frame to display the processes of blossom, cell division, and sunrise and so on.
3. Cinemicrography: shoot the images enlarged by optical microscope on the film by movie camera, which is widely used on the analysis and study of the microscopic world.
4. Aerial Shooting: film the scenes through shoot methods of films and televisions, etc. by aviation aircraft.
5. Underwater shooting: it is a shoot method in which camera and photographer dive underwater to film the movies.
6. Infrared shooting: in this method, infrared ray is used as light source and infrared film is used.

大部分的电影都是在可以控制的环境下拍摄，例如制片厂的摄影棚（Sound Stage）；也有必须在室外拍摄的部份，就必须出外景。
在摄影棚内拍摄，质量会得到很大的保证。但是拍摄外景时，我们就必须考虑很多问题。比如声音，在录制现场声音时会有很多噪音和突发声音；光线，自然光很不稳定所以很不好控制；周围景色，车辆、人流的控制；天气，有时天气的突然变化也是不可靠预测的。
几种特殊的摄影方法
1.变速摄影：在拍摄时使胶片的速度高于或低于正常每秒24格的速率。产生“慢动作”和“快动作”的画面效果，在现在的电影中是一种常用的摄影方法，
2.逐格摄影：也称为分格摄影。使用“逐格电动机”驱动摄影机一个画面一个画面地逐格拍摄。如要表现花开、细胞分裂、日出等。
3.显微摄影：将光学显微镜放大的影像用电影摄影机拍摄到胶片上。广泛用于微观世界的分析和研究。
4.航空摄影：用航空飞行器对景物进行电影、电视等的摄影方法。
5.水下摄影：将摄影机和人潜入水下进行拍摄的一种摄影法。
6.红外线摄影：用红外线为光源和用红外线胶片的摄影方法。