關於 rehearse中文 ，我們在網路上蒐集到這些相關的討論、資訊與評價

有沒有孩子月考完畢，
已經開始認真收看網版呀？

俐媽這回錄了龍騰B2L7 “TED Talks: Spreading Ideas for a Better World”，
文中提到T, E, D各代表哪三個字，
為什麼演講者都被限制演說需在18分鐘之內？
有哪些名人曾受邀在TED演說？
主題又是什麼呢？

俐媽照例又介紹了兩本書，
英文版是TED Talks: The Official TED Guide to Public Speaking，
另外，還有它的中文版本。
作者Chris Anderson在書中提到更多演講時該注意的地方，例如演講風格、主軸思想、腳本的準備、會扣分的投影片、該穿什麼樣的衣著、如何不緊張⋯⋯及他個人大推的TED演說。
大家有興趣可以一讀！
也可以搜尋之前post過的 #俐媽英文教室演講篇 哦！
———————————————————
🙋🏻‍♂️ 俐媽英文教室—TED演講篇：
🎤 rhetorics (n.) 辭藻
🎤 throughline (n.) 主軸
🎤 topic (n.) 主題
🎤 structure (n.) 結構
🎤 issue (n.) 議題
🎤 connection (n.) 連結
🎤 narration (n.) 敘事
🎤 explanation (n.) 解釋
🎤 persuasion (n.) 說服
🎤 revelation (n.) 揭示
🎤 simulate (v.) 模擬
🎤 reason (v.) 論證
🎤 slide (n.) 投影片
🎤 script (n.) 腳本
🎤 memorize (v.) 背記
🎤 lectern (n.) 置稿臺
🎤 flash card (n.) 快閃卡；重點提示卡
🎤 format (n.) 形式；格式
🎤 procrastinate (v.) 拖延
🎤 ramble (n.) 漫談
🎤 context (n.) 前後文；背景
🎤 implication (n.) 含義
🎤 eye contact (n.) 眼神接觸
🎤 vulnerability (n.) 脆弱
🎤 parable (n.) 寓言
🎤 validation (n.) 驗證
🎤 dynamic (a.) 強而有力的
🎤 ignite curiosity 點燃好奇心
🎤 rehearse (v.) 預演
🎤 wardrobe (n.) 衣著
🎤 backup plan (n.) 備案
————————————————————
要增進知識？要練英聽？
要加點娛樂？要衝單字量？
這幾個APP都很好用哦！
.
#俐媽英文教室
#俐媽英文教室演講篇
#俐媽英文教室TED篇
#俐媽英文教室網版篇
#台大明明超專業
#台大明明很可靠

我是國榮。來自澳洲昆士蘭省，讀中學時成績非常好，分數已足夠在大學選讀任何一科。當時我希望成為一名醫生，因為可以幫助他人。我在新南威爾斯大學讀醫科，第一年是住在雪梨北區一個朋友家中，第二年入住大學國際宿舍，宿舍規定最少有半數是留學生，不是澳洲人。最先兩年結識了不少香港、新加玻、馬來西亞的朋友，與他們很合得來，不過最重要是入住宿舍後，便遇到了香港的流行歌曲。有一天我行經走廊時，聽到一些很悅耳的音樂，我便問同學這是甚麽歌曲及可否借給我欣賞，他便借了給我。我已忘記是Leslie還是Alan的歌，但肯定是其中一位。因為很喜歡這些歌曲，便到唐人街購買，後來一邊聽歌一邊看歌詞，因此慢慢地學識了很多中文字。
因為喜歡唱歌，所以在大學的同學活動，開始演唱中文歌，也曾參加香港學生會舉辦的歌唱比賽，參賽歌曲是「愛的根源」，結果獲得亞軍。我很清楚記得，國際宿舍為了文化交流，每年舉辦一次國際晚宴，希望不同種族的學生可以表演和分享文化。Leslie在一九八五年 唱Monica獲得獎項，那是一首我很喜歡的歌曲，所以在文化交流晚會我便選擇唱Monica。當時同學覺得很驚奇，我怎可能唱Monica。我是跟着錄影帶，學習他的舞步和唱歌技巧。我不停地在公眾地方練習，其他同學看到我很用心練習，也過來幫助我。在台上表演時有幾位同學為我伴舞，當晚演出非常成功。
一九八五年Leslie和幾位香港天皇巨星，來澳洲開演唱會。演唱會的主辦公司，需要義務司機，朋友問我能否當義務司機。我答應了，後來知道是當Leslie的司機。有一天他放假不用排練，我們便駕車往坎培拉，當日天氣多雲有微雨，甚麽也看不清楚，喝過咖啡後便離開，回程是Leslie駕駛，他的英語非常好，途中我們愉快地暢談，這次旅程對我來說是很重要的事情。
一九八六年Alan到來澳洲，我又當了他的司機。在他入住的酒店，介紹人在偶像面前，誤把我的名字說成河詠麟，當時在偶像面前我也不懂怎樣矯正。大約有兩年很多人以為我是河詠麟。他的四位女和音，知道我懂得唱他的歌，所以告訴了他，在排練那天他叫我上台一起唱。認識Leslie 和Alan兩位巨星，對我的影響很大，聽到他們的歌，和看到觀眾的反應，我開始對香港的歌唱發展很重視。
因為常常想着唐人街和唱歌，沒有用功讀書，因此醫科的第三年考試不合格，需要重讀，在一九八六年重讀了三個月便決定退學。
後來做了三份洗碗碟工作，還做了個多月砌磚的工作，我把工作一年多，所得工資儲起來，買了一張單程機票和帶了一千澳元，便到來香港發展。唯一的準備是問一個朋友能否到他的家中居住。他的父親很勉強地答應，但需要收租金。我甚麽準備也沒有，只是刻意買了一張單程機票，是因為不想遇到少許困難便放棄，返回澳洲。
初到香港時甚麼都不認識，沒有計劃，也沒有朋友。我最先是住在廣播道，但我的朋友不是在那裡居住，因為他還在讀書。初來時沒有事做，所以在外面逛了幾天，有一天意外地行到紅磡體育館，中門外有四名男士在吸煙，他們竟然叫我河詠麟。原來他們是Alan的樂隊成員，在一九八六年見過面，但相隔一年，竟然還可以記起我，這就是緣分。當時Alan正在為演唱會排練，他們帶我進去體育館，這樣便再見到Alan。一九八七年的演唱會是三十一場，我看了三十場。本來打算看足三十一場，但是有少許問題出現，因為我住的地方有規定，晚上十時半後便會關門，不會再讓人進出。但演唱會是不會這麽早便完場，每晚看完演唱會，我會行去尖沙嘴，然後再步行回廣播道，然後在公園外的石椅小睡，到五時公園開門便進去睡覺，但最終因捱不住，有一晚沒有去看演唱會。有一次Alan突然問我，今晚可否上台唱歌，我說當然可以，便成為他的嘉賓。我第一次表演Alan十分開心，但第二次他在台上介紹，有一個外國人，唱他的歌十分出色，當他呼喚河詠麟出場，因為我不在場，所以沒有出現。後來他問我為何沒有出現，我便向他解釋原因，他便安排我入住酒店，直到演唱會完結。所以便有第三次呼喚我上台，這是我第二次成為嘉賓跟他一起唱「朋友」，真是十分興奮。到八月他的生日會也有邀請我做嘉賓，其實每一件發生的事情都是有關係的。
後來我在北角僑冠大厦租了一間劏房居住，有一次從北角行到中環，看到一間職業介紹公司的招聘啟示，我便前往應徵。當時職員說我可以教英文，但我不是教師，他認為沒有問題，便介紹我到一間補習社工作。在補習社工作了幾個月，有一位同事看到一張電視台的海報，需要招聘 一個西方人，但要懂得說中文。我致電應徵，他是一位獨立經紀，我說沒有經驗和廣東話也不是很好，他說沒有問題。我便去見一位電視台女監製，她給我一段英文劇本，要我讀出來。因為很緊張，五分鐘都不能出聲，我跟自己說，不嘗試會後侮一生。那一段對白是警官責備下級，責備人一定是很大聲的，所以我便很大聲說出來。當時她正在做自己的事，沒有再理會我，但我的叫聲使她大吃一驚。因為沒有其他外國人給她選擇，她無奈地聘請了我，這套劇集需要兩個西方人，另外一位是當主角，從那時開始，便在電視台工作了二十年。
二零一四年九月我在N o w T V的一個音樂節目做嘉賓，在一間音樂室裡我和三位節目主持人，唱歌和談論音樂。到最近才知道，他們三位是100毛的老闆。到聖誕100毛找我拍攝雜誌封面，我不知為何找我拍攝封面，原來三位老闆是認識我的，只是我自己不知道。
二零一五年八月他們聯絡我，他們有一首歌，問我會否願意演唱，那首歌曲我很熟悉，歌詞十分口語化，應該可以學到的。但當時是星期五，表演是在星期日，只得兩天時間作準備，所以我很用心練習。舞台是有電視屏幕可以看到歌詞，但我盡量避免看電視屏幕，只是有需要時才看一看，便可以放心地唱。能夠上台非常開心，我可以扮了演一個角色，唱一首悅耳和有趣的歌，觀眾很熱鬧和興奮，真是十分難得。我知道這是一生一次，這不是自己可以做到，是他們給我機會。那首歌很受歡迎，而且登上了流行榜。聖誕節前他們聯絡我，表示將會舉辦總選，問我會否參加，我便欣然答應了。當天每位表演者，會有兩首歌曲，在十二月廿六日接到新歌，我從沒有聽過那首歌，是一首說唱歌曲，而且歌詞很陌生，對我來說十分困難，所以我不停地練習了四百多次。當晚表演由Now T V直播，有七十萬人觀看，想不到自己能夠獲得香港區最受歡迎男歌星獎，當宣佈我的名字時，極度開心，無人能想到，唱出真香港的歌曲，是由一個西方人唱出，可以感動到別人。這是天時地利人和，超乎現實，簡直是一個奇蹟。因為那首歌不是我揀選，是別人給我的，練習這首歌時眼睛常常都會充了滿淚水和很感動。
西方人在香港發展演藝事業是十分困難的，機會不多，只能扮演一些無關重要的角色，但我從來沒有想過放棄。五年前我計劃灌錄一張唱片，因為胃酸倒流，把聲帶灼傷，使我聲音變得沙啞，這件事使我非常懊惱，因為辛苦練習多年，卻發生了這個問題，後來我矯正了唱歌方法，問題得以改善，可以繼續唱歌，現在準備為唱片再進行錄音工作。
最近有很多關於少數族裔的事情出現在我身上 ，現在我為一個港台節目做旁白，是關於少數族裔在香港。他們在本地娛樂圈發展是十分困難，因為在一個有九成是同一種族的地方，看電視或電影，也是會看自己的種族，未必會看少數族裔。如果他們幾個人合作，做一個節目，然後在網上發放，是有機會成功。香港有很多少數族裔居住，有些人的中文比我好，他們也愛香港。
我心目中的香港人，是要做香港人做的事，吃香港人吃的食物，關心香港，不看膚色，希望他們也能說廣東話，最重要是覺得香港是自己的家，這便是真正的香港人。

I am Gregory. I hail from Queensland, Australia. During my high school years, my grades were excellent. They were good enough for me to enroll in any subject that I wanted to in university. At that time, I wanted to become a doctor because I could help others. I studied Medicine at the University of New South Wales. In my first year, I lived in my friend’s home located in North Sydney. During my second year, I lived in International House at the university. It was a rule for the school campus to have at least 50 percent overseas students. They cannot be Australians. I met a lot of Hong Kong, Singaporean and Malaysian friends in my first two years. I was able to get along with them very well. But what is most important was that after living in International House, I came across Hong Kong pop music. One day I was walking along the corridors and overheard beautifully melodic music. I asked my classmate what music he was listening to and if he could lend me the music to listen to. He leant it to me.
I have forgotten whether it was the music of Leslie or Alan. But I am sure it was one of them because I really liked that kind of music. I went to Chinatown to buy it. Eventually, I listened to the music as I read the lyrics. In turn, I slowly picked up a lot of Chinese characters.
I attended many different functions to perform Cantonese songs in university because I really liked to sing. I also attended a singing competition organized by the Hong Kong student association. The competition song was ‘Root of Love’. In the end I won second runner-up. I clearly remember International House wanted to organize cultural exchanges so they held international banquets each year. Their hope was for students from different ethnic backgrounds to perform and share their culture.
In 1985, Leslie won an award for singing ‘Monica’. It was a song that I really loved. During the international cultural exchange banquet, I chose to sing ‘Monica’. At that time my classmates were very surprised. How can I sing ‘Monica’? I followed the videos to learn the dance steps and singing techniques. I kept on practicing in public. Other students witnessed how hard I was practicing and came over to help me out. A few classmates became my accompanying dancers as I danced on stage. The performance that night was extremely successful.
Leslie and a group of Hong Kong superstars visited Australia to hold concerts in 1985. The concert organizer needed a voluntary driver. My friends asked me whether I wanted to be the voluntary driver. I accepted the offer. In the end I found out that I would become Leslie’s driver. There was one day when he was on break and did not need to rehearse. We drove to Canberra. It was cloudy and there was light rain on that day. We could not see clearly. After having a coffee, we left. Leslie was next to drive. His English was very good. During the journey back we chatted happily. The trip was very important to me.
In 1986, Alan came to Australia. I was also his driver. Our mutual friend misread my name as “Ho Wing Lun” in front of my idol during his stay at the hotel. I was not able to correct him at the time because Alan (“Wing Lun”) was my idol. Many people thought I was called “Ho Wing Lun” for around two years. His four back-up singers knew I was able to sing Alan’s songs. That was why they told him about it. During rehearsal day, he told me to sing with him on stage. Knowing superstars like Leslie and Alan had a great impact on me. To be able to listen to their songs and to witness the reactions from the audience led me to become interested in a singing career in Hong Kong.
I did not put in a lot of effort in my studies because I always thought of Chinatown and singing. Consequently, I failed my medical examinations in my third year. I had to re-take my subjects. In 1986, I re-took my studies for three months but then I decided to quit school.
In the end I juggled three dish washing jobs and also many months of brick laying work. I saved up a whole year of my salary and bought a one-way ticket to Hong Kong. I also carried $1000 Australian dollars on me. I then went to Hong Kong to develop my career. I only asked my friend whether I could stay at his place as preparation to living in my new homeland. His father reluctantly agreed but had to receive rent. I did not have anything equipped or prepared. I only purposely bought a one-way ticket because I did not want to easily give up when I encountered minor difficulties and return to Australia.
When I first arrived in Hong Kong, I did not know anything. I did not have any plans. I also did not have any friends. Initially, I lived in Broadcast Drive but my friend did not live there because he was still studying. I did not have anything to do at first. That was why I hung around Hong Kong for several days. One day, by coincidence, I came across Hung Hom Coliseum. At the entrance, there were four men smoking. They noticed me and surprisingly called out “Ho Wing Lun”. They were, in fact, members of Alan’s band. We have first met in 1986. Surprisingly, they remembered me after a whole year. That is called fate. At that time, Alan was preparing for his concert. The four men brought me inside the Coliseum. I saw Alan. There were 31 shows in his 1987 concert. I watched 30 of them. I intended to watch all 31 shows but there was a slight problem. There were rules at my guest house. After ten thirty each night, the door to the home will be locked. Nobody was allowed to enter or leave the house. But concerts do not end so early. So, after watching each concert in the evening, I would walk to Tsim Sha Tsui and then walk back to Broadcast Drive. I would sleep on the concreate seats outside the park. When the park opens at five in the morning, I will go in and sleep. Eventually, I was unable to handle it. One night I cannot watch a show. Once Alan asked me “Can you sing on stage tonight?” I told him “Of course I can.” I became his special guest. Alan was extremely happy when I first performed. By the second show, he announced that: “There is a westerner who can sing my songs very well.” He called out my name “Ho Wing Lun!” But because I was not at the scene, I did not show up. Eventually, he asked me why I did not show up. I explained my reason to him. He then arranged a hotel for me to stay at until the end of the concert. That was why he was able to call me out the third time! That was my second time as special guest singing “Friends” with him. It was exhilarating. In August, he introduced me as a special guest at his birthday party. Actually, everything happens for a reason and everything is interconnected.
Soon after, I rented a tiny flat at a building in North Point to live in. I walked from North Point to Central once. I came across a recruitment agency looking to hire. I went in to give it a shot. At that time, the staff said I could teach English but I was not a teacher. The staff said it was not a problem and introduced me to work at a learning center. After working there for a few months, a colleague saw a TV station’s poster. They were looking to recruit a westerner but that person needs to be able to speak Cantonese. I called to give it a try. The person who answered was an independent agent. I told that agent I had no experience and my Cantonese was not very good. The agent told me it was not a problem. I went to see the TV station’s female producer. She gave me an English script and wanted me to read it out. I was so nervous that I did not utter a word in five minutes. I told myself, if I do not try, I will regret it for life. The dialogue depicted a police telling off a subordinate. When you tell someone off, you must be very loud so, I read my lines out very loudly. At that time, the female producer was doing her own work and did not care about me but because I was so loud, I frightened her! As there were no other westerners for her to choose from, she had no choice but to hire me. The TV show required two westerners. The other westerner played the main character. From then onwards, I worked at the TV station for twenty years.
In September 2014, I appeared as a guest on a NowTV music program. I was in a band room with the three show hosts. We sang and discussed music. Only recently, I found out that they were the Founders of 100 Most. When it was Christmas, 100 Most invited me to appear on the cover of their magazine. I did not know why they wanted me to do it – only to find out that the Founders of the magazine already knew who I was! It was just me who did not know that.
In August 2015, 100 Most contacted me and asked me whether I wanted to sing this particular song. I was very familiar with the song lyrics. The lyrics were very colloquial. I should be able to learn it. It was Friday. The performance was on Sunday. I only had two days to prepare for it. That was why I practiced very hard. The stage showcased the lyrics. But I tried my best not to look at them. I would only glance at them when I needed to. I felt more confident and assured as I sang.
I was extremely elated to be able to perform on stage. I can play a role singing a wonderful and amusing song. The audience was super warm and excited. It was a moment to be treasured. I know this can only happen once in my life. It cannot be done by myself. It is because I was given a chance by 100 Most. The song was very popular and hit the charts. Before Christmas, 100 Most contacted me and expressed that there would be a final election of the songs. They asked me whether I would like to participate. I was more than happy to give it a try. On the day of the show, each contestant would have two songs.
On the 26th of December, I received the new song. I have never heard of the song before. It was a rap song. I was very unfamiliar with the lyrics. I found them very difficult. That was why I kept practicing it for more than four hundred times. The show was broadcasted live by NowTV. Around seven hundred thousand people watched the broadcast. I cannot imagine winning the Best Hong Kong Male Singer. When my name was announced, I was extremely delighted. Nobody can imagine that a westerner was able to sing a song about ‘real Hong Kong’. It can touch people. It was something that happened at the right place and at the right time. It was also surreal and a complete miracle. It is because the song was not selected by me. It was given to me by others. My eyes were often wet from practicing this song. I was very touched.
It is very difficult for westerners to develop their artistry in the entertainment industry. Chances are slim. They can only play roles that are irrelevant and unimportant. But I never thought of giving up. Five years ago I planned to record my own album. But because of stomach acid reflux, my vocal chords got damaged. My voice became hoarse and coarse. It brought me a lot of frustrations because I have worked hard for many years. Then this happened. I then amended my singing techniques and the issue improved significantly. I was able to sing again. I am now working on re-recording my new album.
A lot of ethnic minority issues materialized around me as of late. I am currently the voice over for a RTHK program about ethnic minorities in Hong Kong. It is very hard for them to develop their career in the local entertainment industry. It is because when 90 percent of the people share the same skin color comes together in a particular place, those watching TV or film will tend to watch people of their own skin color. They may not watch ethnic minorities. If a group of ethnic minorities work together to create a program for the web, it may work out. There are a lot of ethnic minorities residing in Hong Kong. Some of their Chinese is better than mine. They also love Hong Kong very much.
‘Hong Kongers’, to me, are people who need to do things ‘Hong Kongers’ do. Eat Hong Kong food. Care about Hong Kong. And do not look at skin color. I hope they can also speak Cantonese. Most importantly, they should regard Hong Kong as their home. Then, they are ‘real Hong Kongers’.

给电影业者的一堂课，讲得太好了，专业！
Young Jr Don Hoe Joeson Khor Wong Annzz II Jean Tan Kean Chin Qian Kung Jestinna Kuan LeOng JeFfrey Hoong Ling Yong Sampson Chew Jackson Yew Sam Loo Sam Khor
#wingstalent
#fullbillionentertainment
#latistry

故事片拍攝現場管理與流程值得向好萊塢借鑒的一環

溫文杰 HKSC

導演|攝影指導

香港浸會大學電影學院高級講師

記得二十多年前，筆者還在香港的電影圈工作時，印象中現場操作喊聲四起，胡亂催促，表面上看好像氣氛熱烈、緊張，實際上是一片混亂；表面上看分秒必爭，實際上是毫無效率。及後筆者進入美國的電影工業，親身感受現場工作的流程與氣氛，發現與港式做法大相徑庭，現場氣氛相對安靜，工作人員各司其職，有條不紊，真正做到緊張而有秩序，十二個小時的拍攝天里能完成的劇本分量不見得比港產片要少，值得我們參考。

其實拍片的流程並沒有成規，也沒有聖經的指引，沒有必然正確的準則，大家都是摸著石頭過河，只是在這幾十年以致一百年的實踐中，洋人較早縷出一套比較合理的程序，提高了整體效率而已。遺憾的是，二十多年後的今天，筆者重新在香港掌機，感覺情況並沒有多大的變化，仍然在一片混亂中緩步前行，所以想在這提供這套流程供同業參考。

要現場運作流暢離不開精密的籌備工作，有效的籌備工作離不開完整的劇本。在這方面，香港的業界的確有長足的進步，比較二十多年前，今天拍片有完整的劇本了（真汗顏）。有了完整的劇本，制片部門可以與副導演緊密合作做周詳的計劃。考慮到演員的服裝、化妝變換所需時間和其他大量因素後，再征詢過導演意見，訂出具體的拍攝計劃，基于這個拍攝計劃（包括鏡頭朝向、景別等等），首先定好各部門擺放器材對象的位置，臨時化妝、服裝間所在（如果用實景，沒有化妝車的話），盡可能爭取這些位置是整天拍攝鏡頭都看不到的地方。如果中途要移位，也應該有序地，合理地把移動次數降到最低。

要注意，在美國的體系中，副導演向制片人負責，不是向導演盡忠，在整個拍攝過程中有相對的權威性。創作的問題當然是導演、攝影指導說了算數，但現場的管理安排，大家都得听副導演的，副導演的重大責任之一是按計劃完成當天的拍攝內容，所以它是現場推動得最緊的人。然而，他/她的推動、催促並不是毫無根據地喊叫，盲目地讓各部門盡快進行，而是具體了解各部門要準備好拍攝每一個鏡頭所需的條件和實際時間，盡量協調部門與部門之間的工作，務求大家在差不多的時間點完成準備，可以開機拍攝。

拍攝流程

一般來說，導演除了前期籌備的時候跟各部門頭溝通他的要求外，現場拍攝時，每一場的開始，他可以向全體工作人員簡單講解該場戲的拍攝要求和方案，然後各自分散做自己的事。每個鏡頭的具體操作，可以分為五個步驟，詳列如下。

1. 走位 （Block）

副導演把該場戲的所有演員集中在演區，攝影師、助理、燈光師、美工人員和燈光替身等在旁聆听觀察，導演指揮或帶領演員走位，用最簡單的方法把該鏡頭的內容粗略演一次，然後與攝影師共同研究，有時透過肉眼，有時利用工具，例如導演取景器（Director’s Viewfinder） 等定好機位、景別和運動方法，精準到軌道的起幅、落幅，鏡頭的焦距和高低位置等都有記錄。決定好排位後，攝影助理則應忙于給演員走位做記號，更要為攝影機的移動位置作記號。

這一道程序攸關重要，只有這樣做，各部門才會清楚了解這個鏡頭的設計、所見範圍和所需元素，最好不要像某些導演那樣完全依賴口述，“A演員從這里走到那邊，B演員從外沖入與A相遇，一起走到這邊質問C演員……”或者舉起兩個拳頭代表演員對話等等，結果做成盲目打光，最後要麼效果不好，要麼要重做，浪費時間。

2. 打光 （Light）

排位結束，副導演請演員移步到演區外，繼續讓導演講解角色的動機、性格、心理狀態和表演要求等等，掌機員會帶領攝影組和 Grips （攝影、燈光的兼容工作組，無法找到合適的中文翻譯）按照攝影指導的意思裝置攝影機，鋪排軌道，排練運動 （如果有的話），攝影指導則與燈光師合作，利用 “光替” 打光 （如果預算允許雇用光替的話）。

錄音助理也可以利用這段時間為有台詞的演員安裝無線話筒，美工人員會與掌機員合作，自動自覺地按照攝影機的起幅、落幅（也就是鏡頭所見範圍）清理場地，添置、整理道具，副導演則安排背景的群眾演員走位，增加真實感和氣氛渲染，如果鏡頭內還有放煙、灑水、吹風、爆破等現場效果的話，它的協調工作就更繁重了。廣義來說，一個副導演如果從不檢查攝影機拍攝範圍就安排工作，那就不能說是個稱職的副導演。

3. 排練 （Rehearse）

等打光大致完成，各部門所需的工作也接近收尾，副導演會請演員和導演回到演區，讓導演指導他們盡量按照原先畫好的記號走位演戲，這時導演可以要求表演作細節調整，排練到導演基本滿意為止。

4. 微調 （Tweak）

演員排練到基本滿意後，可以留在演區補妝，整理服裝，攝影燈光部門可按排練結果做出相應的微調，跟焦員也應于此時量度準確演員距離，準備跟焦。特別想提一下，某些缺乏經驗的梳頭、化妝、服裝人員由于怕人說他們怠惰，往往盲目地在任何時候跑出來，站在演區、鏡頭前面補妝、弄頭發，既徒勞又阻礙其他部門工作，有經驗的副導演就會安排他們適當的時候做他們該做的事，提高效率。

5. 開機拍攝 （Shoot）

顧名思義，當所有微調完成，演員進入狀態，就可以正式拍攝。每一條停機後，導演要給予明確指示，要麼滿意收貨，要麼重來；如果重來，要明確地告知各單位、演員重來的原因，不能因為自己缺乏自信而含糊地要求演員重做。如果一個鏡頭 OK 了，副導演會有序地安排演員撤退，機器移位，準備重復以上程序，拍攝下一個鏡頭。

以上程序，從文字上看貌似復雜，其實只要有具經驗的副導演在現場嚴格執行一段短時間，各部門人員應該很快就能適應過來，大家嘗到秩序和效率的甜頭，並有了默契之後，過程就會更加流暢。當然，以上程序需要演員們配合，大家準時到達現場，並有專業操守，願意給其他角色在畫外搭戲，中港地區的導演未能按這個流程工作往往因為演員不齊，無法排位。

記得上個世紀八十年代香港的電影生意特別火，演員跨組厲害，某花旦曾有 “鄭九組”的外號（同時接了九部戲），瘋狂刮錢以外，並引以為自豪，風氣敗壞，同一場的演員往往不同一時間在場，幕後人員完全無法認真地拍好一場戲。搞笑的是，不少導演還喜歡自詡自己會跳拍、用替身帶肩拍攝等小技巧，讓不同時間來到現場的演員（有時相隔幾天、幾周）拍成好像同場對答的特殊（扭曲）能力，不知道他們是在苦中作樂還是真心感到驕傲。

還有一個可以提高拍攝效率和攝影燈光質量的操作方法，就是先拍廣角全景鏡頭，同時拍攝 “主鏡頭” （Master Shot）， 把整場戲連續不斷地拍下來，不要從一場戲的中間、近景鏡頭開始拍攝。從廣角機位開始，攝影師、燈光師把難度最大的景別搞定，然後移進拍攝中近景，就能確保光效連接，而且鏡頭與鏡頭之間基本上不用調整，可以直接跳近拍攝，省時省力。如果從近景開始，效果則剛剛相反了。至于拍攝 “主鏡頭”，在沒有膠片成本壓力的今天絕對值得采納，選擇兩到三個機位把整場戲從頭到尾拍一遍，如果有出錯，可從中間出錯的地方開始，接續拍攝，然後再補拍個別角色的特寫反應鏡頭。這樣的話，演員會更專心，表演情緒更連貫，剪輯的可能性、彈性大增，也能提升拍攝進度

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