英语听力突破掌上宝talking-第8节

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　for　revival　is　there。
　　　　　　　Sharfstein：〃Eh；　my　father；　who　since　passed　away　and　I　started　this　company；　eh；　April　4；1968。　I　love　the　city；　I　love　what　it　stand　for　Eh；　and　I　think　that's　a；　it's　an　exciting；　eh；　vibrant　opportunist　place　for　people　to　participate。
　　　　　　　That　commitment　from　factory　floor　to　city　hall　perhaps　a　blueprint　for　other　cities　to　follow。
　　　　　　　Betsy　Karetnick；　the　Wall　Street　journal　report；　Chicago。
电影
　
＇　File　：　Magic。wav　＇
The　awesome　power　of　a　thundering　waterfall；　captured　up　close　from　a　breath　taking　perspective　one　could　not　safely　experience　first　hand。　For　most　film　cameras；　these　pounding　falls　would　be　far　too　hazardous　to　approach；　but　a　unique　cable　supported　system　has　been　developed　that　can　carry　the　camera　the　operator　safely　through　the　spray。　New　camera　technologies　are　revolutionizing　the　world　of　motion　picture　effects　photography；　creating　startling　shots　that　take　movie　audiences　where　only　birds　have　gone　before；　and　generating　explosive　images　to　keep　viewers　on　the　edge　of　their　seats。　
　　　　　　　Coming　up；　we'll　meet　the　innovators　of　special　effects　photography　whose　cutting　edge　cameras　and　supports　systems　are　giving　new　moves　to　movies。　From　a　soaring　flight　over　the　roof　tops　of　Europe　to　a　charging　ride　through　the　Amerian　west；　it's　truly　a　moving　experience。　Next；　on　Movie　Magic。
　　　　　　　The　Magic　of　Movies　allows　audiences　to　share　experiences　not　possible　in　daily　life。　Whether　the　destination　is　in　the　heavens　or　down　to　earth；　every　cinematic　journey　starts　with　the　camera；　From　the　beginning；　film　makers　have　pursued　ways　to　make　motion　pictures　move。　In　1903；　pioneering　cinematographer　Billy　Bitzer　filmed　some　of　first　moving　shots　by　placing　a　camera　on　the　back　of　a　milk　wagon　Early　car　chases　were　photographed　by　attaching　cameras　to　the　fronts　of　automobiles。　By　1916；　Bitzer　had　placed　a　camera　on　a　crane　to　provice　us　a　sweeping　high　angle　gerspective　of　a　backlock　Babylon　for　D。W。Griffith's　〃Intolerance〃。
　　　　　　　Over　the　years　cameras　have　rolled　down　tracks；taken　to　the　air　on　planes；　and　been　attached　to　basically　anything　that　gave　movement　to　a　shot。　On　today's　sound　stages；cameras　are　often　placed　on　cranes　atop　mobile　platforms　called　dollies。　State　of　the　art　camera　cars　such　as　〃the　shot　maker〃　incorporate　a　crane　arm　atop　a　fast　charging　vehicle　providing　smooth　shots　for　even　the　fastest　action　sequence。　But　locations　beyond　the　reach　of　traditional　camera　platforms　require　even　more　innovative　methods。　One　system　filling　this　gap　is　called　〃the　cable　cam〃；　a　movable　camera　platform　that　can　be　suspended　above　almost　any　terrain。　Creator　Jim　Rodnunsky　saw　a　need　for　this　device　when　earliner　in　his　career；　he　attempted　to　film　skiers　on　extremely　difficult　slopes。　〃The　cable　cam　is　essentially　a　dolly　suspended　by　cables　in　the　air　instead　of；　say；　being　mounted　on　a　truck　or　on　the　track　on　the　track　on　the　ground；　we　can　fly　down　rivers；　we　can　fly　over　waterfalls；　um；　down　mountainsides；　uh；　through　stadiums；　in　places　where　you　couldn't　drive　a　camera　car。　Maybe　a　helicopter　wouldn't　be　able　to　get　that　low；　or　get　that　closer　to　people；　or　animals；　that　kind　of　thing。〃
　　　　　　　The　camera　carriage　rides　on　metal　track　wheels　that　grip　on　to　a　constantly　moving　cable。　The　cable　itself　runs　in　an　endless　loop　powered　by　a　hydraulic　engine。　While　the　word　〃cable〃　normally　suggests　〃steel〃；　the　cablecam　uses　ropes　made　of　synthetic　fiber。　〃This　is　what's　basicall　the　life　blood　of　everybody　on　the　system。　I　guess　maybe　one　of　the　reasons　why　you　call　it　a　cable　is　when　you　pull　about　ten；twelve　thousand　pounds　of　tension　on　this；　it　feels　like　steel　when　you　go　up　weighs　only　500　pounds；　a　comparable　steel　cable　would　weigh　at　least　ten　times　that；　and　be　far　too　difficult　to　move　and　install。
　　　　　　　The　cable　cam　system　can　cover　distance　of　up　to　half　a　mile；　quickly　accelerating　to　a　maximum　speed　of　60　miles　per　hour。　The　camera　can　be　operated　either　romotely　or　by　a　cinematographer　riding　on　the　carriage。
　　　　　　　The　system　has　kept　up　with　many　speeding　vehicles　from　motorbikes　to　kayaks。　But　here　at　legendary　race　track　Churchill　Downs；　the　challenge　is　to　follow　the　ponies　for　television　coverage　of　the　world's　most　famous　system　as　unobtrusive　as　possible；　the　camera　is　operated　remoteley　by　radio　control。　The　cable　cam　provides　the　derby　broadcast　with　a　never　before　seen　perspective　on　this　most　photographed　of　races。　Given　its　far　ranging　capabilities；　Hollywood　effects　artists　were　quick　to　seize　up　on　this　revolutionary　technology。　For　the　Canadian　television　adventure　series　Neon　Rider；　a　cable　cam　was　used　to　capture　a　galloping　herd　of　wild　horses。　In　the　past；　this　king　of　shot　was　nearly　impossible。　The　traditional　camera　trucks　or　helicopters　used　for　moving　shots　would　scare　the　horses；　denying　film　makers　such　close　proximity。　〃We　were　just　slightly　above　the　horses'field　of　view　and　right　beside　the　horses；　and　they　just　came　literally　right　up　and　bumped　into　the　dolly；　and　we　were　going　downhill。　It　was　about　1；400　foot　shot。〃
　　　　　　　For　the　magical　fantasy　film　〃Three　Wishes〃；　director　Martha　Coolighe　turned　to　the　cable　cam　for　a　crucial　effects　sequence。　In　the　story's　climactic　moment；　a　young　boy　soars　above　the　carnival。　A　helicopter　was　used　to　film　high　angle　aerial　shots。　But　it　was　too　dangerous　to　bring　the　chopper　close　to　the　carnival　rides　for　shots　representing　the　young　boy's　point　of　view。　For　these；　Coolidge　looked　to　the　cable　cam。　〃What　was　great　about　the　cable　cam　is　that　it　can　go　very　fast　and　change　its　perspective。　It　has　a　real　incredible　feeling　（of）　speed　and　flying　at　a　lower　attitude　than　a　helicopter　can　be。　〃Footage　of　the　young　boy　flying　was　photographed　against　a　green　screen；　a　temporary　background　often　used　in　filming　effect　shots。　The　images　from　the　cable　cam　and　green　screen　shots　are　combined　in　post　production　along　with　the　finishing　touch　of　computer　generated　fireworks。l　The　entire　sequence　is　overseen　by　Academy　Award　winning　visual　effects　supervisor　Phil　Tippete。
　　　　　　　In　the　completed　scene；　the　boy　takes　to　the　air　with　the　greatest　of　ease；　and　illusion　generated　by　a　battery　of　effects　and　a　highly　ingenious　camera　system。
The　End
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