作业帮英语翻译专业名词和人名不用翻译成中文,就把句子翻译就好了!The cinematographer helped main
来源：学生作业帮 编辑：作业帮 分类：英语作业 时间：2024/04/27 15:00:37
英语翻译
专业名词和人名不用翻译成中文,就把句子翻译就好了!
The cinematographer helped maintain the muted,period color palette created by production designer Jeannine Oppewall and costume designer Jusdianna Makovsky by eschewing gels on lights and filtration on the lens(aside from an 85).He filmed most of Seabisuit on Kodak Vision 200T5274 and Kodak Vision 500T 5218; the latter came on the market in the midst of filming,and Schwartzman was so impressed by it that he switched from the Vision 500T 5279 he had been using.“The new stock more closely resembled the color qualities of 5274 than 5279 does,” he explains.“The 79 has a tendency to go a little green in the shadows are really clean.It’s a beautiful stock.” Because of the filmmakers’ rigorous planning,Seabisuit came in at 78 shooting days—one day under schedule.Schwartzman calls it his best filmmaking experience so far.“Gary and I both felt that the beauty[of the film]is inherent in the story.It’s a period movie set in beautiful locations,and we had great to ratchet it up in any way.Our work wasn’t about trying to be appropriate,and that’s the hardest thing to do as a cinematographer.”
专业名词和人名不用翻译成中文,就把句子翻译就好了!
The cinematographer helped maintain the muted,period color palette created by production designer Jeannine Oppewall and costume designer Jusdianna Makovsky by eschewing gels on lights and filtration on the lens(aside from an 85).He filmed most of Seabisuit on Kodak Vision 200T5274 and Kodak Vision 500T 5218; the latter came on the market in the midst of filming,and Schwartzman was so impressed by it that he switched from the Vision 500T 5279 he had been using.“The new stock more closely resembled the color qualities of 5274 than 5279 does,” he explains.“The 79 has a tendency to go a little green in the shadows are really clean.It’s a beautiful stock.” Because of the filmmakers’ rigorous planning,Seabisuit came in at 78 shooting days—one day under schedule.Schwartzman calls it his best filmmaking experience so far.“Gary and I both felt that the beauty[of the film]is inherent in the story.It’s a period movie set in beautiful locations,and we had great to ratchet it up in any way.Our work wasn’t about trying to be appropriate,and that’s the hardest thing to do as a cinematographer.”
这位摄影师摒弃了灯光上的gel和镜头的滤片（除了一个85滤片外）,帮助维持了由艺术指导Jeannine Oppewall 和服装设计师Jusdianna Makovsky 营造的无声的、具时期特征的色调.他在拍摄《奔腾年代》时,绝大多数时间使用的是Kodak Vision 200T5274 和Kodak Vision 500T 5218.后者在电影拍摄中才投入市场,Schwartzman对其好感如此之强以致于把一直在使用的Vision 500T 5279 换成了它.他解释道：“新机器比5279更近似5274的色质.79在阴影部分会显得更绿一些,这个非常棒,是个完美的机器.”由于导演的严格规划,《奔腾年代》于78天内完成拍摄——比预定计划少一天.Schwartzman称这是他至今最美好的摄影经历.“Gary和我都觉得影片的美好来源于故事本身.这是一个置身于美丽场景中的旧时代故事,我们想尽办法让它更上一层楼.我们的工作并不是力图让它恰如其分,那可是摄影师最难以做到的事情.”
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