共102个镜头，该分镜由光厂AI自动生成
| 镜号 | 景别 | 参考图 | 画面内容 | 台词/旁白 | 时长(秒) |
|---|---|---|---|---|---|
| 1 | 空镜 |  长镜头 | 纯黑的背景中逐渐浮现出密集的眼睛手绘图 | What are you looking at? Flickering white dots of old degraded film appear on a black screen. What are the words to describe what we see? Illustrations of eyes appear out of the gloom. | 19.30 |
| 2 | 大特写 |  | 人物一侧眼睛的大特写横向摇移至正面，展现深邃的双眼，画面为黑白胶片质感 | What are the words to describe ourselves? To describe our art? We are in murky territory. | 8.40 |
| 3 | 特写 |  | 对准一扇白色的门及其黑色圆形拉手，一名女性的手和侧脸先后出现在画面左侧，随后其侧脸贴近钥匙孔尝试窥视 | We're in the dark. | 3.80 |
| 4 | 全景 |  | 绿色背景中央，黄色字母排成类似视力测试表的金字塔造型 | Letters positioned like an eye test chart read, What are you looking at? | 7.10 |
| 5 | 近景 |  | 中年女性艺术家 Angela Charles 坐在工作室中面对镜头微笑，随后举起手并在脸部前方做出比划动作 | Angela Charles, an artist, sits in her studio. Caucasian, shoulder length hair, black T-shirt. | 4.60 |
| 6 | 近景 |  长镜头 | Angela 在室内低头整理头发，随后抬头对着斜上方微笑并交谈，期间伴随有沉思、大笑和拿起水杯喝水的动作 | Cause you want to give as much description as you can, but without something being totally not what you need. Angela sits facing the camera, engaging us with a bright smile. But how old is she? Gerbil coloured hair. Have you seen a gerbil? Angela, I would never say gerbil coloured. Visually impaired is the correct term at the moment. Visually impaired. But then, would you put it because you can't see it? | 29.53 |
| 7 | 近景 |  长镜头 | Angela 手托下巴坐在室内，眼神游移，若有所思地进行交谈，背景中有模糊的画作和视力表 | Whenever you have eye trouble, go and see an eye doctor. | 11.67 |
| 8 | 大特写 |  | 黑白画面中，一只女性的眼睛正视前方，随后眼睑下方出现阴影并在眼周活动 | So, one time I brought up with the opticians, I said, I really, really can't see in the dark, and they said, have you had a field of vision test? | 3.97 |
| 9 | 近景 |  | Angela 坐在室内，背景模糊可见艺术画作，面带表情地对着镜头进行叙述 | Black and white archival footage shows a patient taking an eye test. | 9.67 |
| 10 | 特写 |  | 黑白档案资料展示人类眼球结构的几何示意图，随后画面中心圆环逐渐放大 | And I was like, no, I've just had the usual one with the letters getting smaller. | 5.23 |
| 11 | 近景 |  | 一名佩戴验光试镜架的女性正对着镜头，医生正在为她的试镜架调整镜片 | They said, I think we ought to do one. | 1.80 |
| 12 | 特写 |  | 黑白画面中，一名男子手持放大镜贴近眼睛观察 | They shine lights around the edges | 2.40 |
| 13 | 特写 |  | 一只手在黑暗中伸向装满镜片的木盒，手指拨动并挑选镜片 | and you have to click a button every time you see one. | 2.77 |
| 14 | 多景别 |  | 从大特写切换到中景，显示医生正在为坐着的患者进行眼部检查 | I never clicked the button. | 4.23 |
| 15 | 近景 |  | 一名卷发女性侧脸对着麦克风说话，面前有弧形金属测试装置 | An eye test chart reads, The Queen of Bluff. | 2.77 |
| 16 | 近景 |  | Angela 对着镜头说话并露出笑容，背景隐约可见绘画作品和数字挂图 | I was working at the gallery as a curator. One time someone brought a video in of their work. I wanted to get the words to say | 1.50 |
| 17 | 特写 |  | 纯黄色背景上，蓝色的字母排列成视力测试表的样式 | Look, it's no good showing me that, but, I didn't, and I sat for the duration of this video, sort of nodding and smiling, and saying all the right things. | 9.27 |
| 18 | 近景 |  | Angela 在室内看向斜上方，带着微笑交谈 | It was really hard because I wanted to see it. | 4.07 |
| 19 | 中景 |  长镜头 | 老式电视机屏幕中播放着 Angela 谈话的影像，背景是斑驳的工业风格墙面 | Yeah look, I've got three pots, they could all be the same. They're not though, are they? | 12.13 |
| 20 | 近景 |  | Angela 在室内微笑，身体微微摆动望向侧方 | Angela prepares painting materials in her studio. | 5.60 |
| 21 | 近景 |  | 低头忙碌的 Angela 视线转动，画面转向桌面的颜料罐，手在整理罐子 | You do go through those stages and one of the stages is denial and I did deny it. | 8.87 |
| 22 | 特写 |  | Angela 用沾满蓝色和红色颜料的画笔在白杯中搅拌红色油漆 | That's the colour I think I wanted. | 2.60 |
| 23 | 近景 |  | 工作台上放着手机、颜料罐和杂物；背景中 Angela 在走动，地上躺着金毛犬 | So I was still taking work to galleries and things with a guide dog | 3.57 |
| 24 | 近景 |  | Angela 侧身坐在灯下，拿着带有橙色色块的纸片比划 | and leaving Flynn in the van. Dave, my husband would be taking in the artworks, and this dog is locked in there with a big guide dog thing on his collar. I'm thinking oh - no. | 2.93 |
| 25 | 近景 |  | Angela 在台灯下微笑，拿着调色板观察 | In an open studio someone came round and they said something like, Oh, your work's got a lot brighter, and I was like, oh yeah, that's because I'm really happy, and I said it, and I thought it's not, it's because of your eyes, and I just thought I can't say that again. | 6.07 |
| 26 | 近景 |  | Angela 对着镜头说话，背景为工作室环境 | I didn't know how to tell galleries about it, but I didn't know how to tell anyone because it was such a big thing to have to say. It was only when it really nosedived and a lot more of my sight went that I had to really face up to it. | 2.37 |
| 27 | 全景 |  长镜头 | 一只拉布拉多犬趴在画室地上休息，Angela 走近并抚摸它 | She paints: a wide grey stroke, a fast black, scratch marks, thumb wipe, dry, scrub, sand, a dab of red. | 10.47 |
| 28 | 近景 |  | Angela 微笑看向侧方，右手轻抚颈部并揉搓眼部 | My parents weren't artists, we didn't really go to galleries or anything like that. I just knew I wanted to do art and didn't really care about anything else at school. | 2.43 |
| 29 | 近景 |  | Angela 弯腰在画具中挑选调色罐，墙上挂着工具 | I was quite shy and somehow through painting I just went in my own little world and really enjoyed it and enjoyed my own company doing it. | 7.50 |
| 30 | 近景 |  | Angela 对着镜头大笑，露出羞涩神情用手轻触眼角 | So I spent three years at Goldsmiths at the time of the YBA movement really and quite an exciting time to be in London and to be at art college. Yeah, it was great. | 8.97 |
| 31 | 中景 |  | Angela 在画室低头微笑，用刷子搅拌颜料 | Angela, her husband Dave and her yellow Labrador Flynn explore a pebbly beach at low tide. | 5.13 |
| 32 | 近景 |  长镜头 | Angela 朝侧前方进行访谈讲述 | When I moved down here, I didn't set out to use the landscape and my surroundings as inspiration for the work, but, I think I couldn't help it. If you'd told me I'd have been a landscape painter when I left Goldsmiths I would have laughed at you. | 16.23 |
| 33 | 特写 |  | 宽刷子蘸着白色颜料在画板边缘垂直刷下一道灰色笔触 | The trio disappears behind a horizon of rocks, grass and sea thrift. | 2.80 |
| 34 | 特写 |  | 沾满黑色颜料的画笔在画布上涂抹出黑色纹理 | I'd been brought up around Brighton where you have a road, the sea front, the sea, and they're all very much sort of separate. | 1.37 |
| 35 | 特写 |  | 带有抽象线条和刮擦痕迹的蓝色调油画局部 | Moved here, and the sea almost goes into the countryside, which I found fascinating. | 1.60 |
| 36 | 特写 |  | 大拇指涂抹画布上的黑色厚涂颜料，随后移开露出笔触 | Angela holds a square mirror obscuring her face, the reflection shows fragments of the coastal scenery. | 1.63 |
| 37 | 特写 |  | 一支沾满干涸油漆的蓝色喷漆罐静置在工作室中 | The solitude of being there I really enjoyed and that sort of translated into the paintings. | 1.47 |
| 38 | 大特写 |  | 手拿抹布在画布上用力擦拭 | Details of Angela's paintings fill the screen. | 0.87 |
| 39 | 大特写 |  | 带有灰尘的手拿砂纸在板材上打磨 | They were obviously abstracted landscapes, not true representations, just sort of memories of place or feelings that you have when you're there. | 1.03 |
| 40 | 特写 |  | 红色画笔在黑白底色的画布上涂抹 | It was quite hard to take because my whole world revolves around the visual arts. | 9.00 |
| 41 | 近景 |  | Angela 对着镜头微笑交谈 | Angela holds the reflection on a boat far out on the sea. Back in her studio, Angela looks off thoughtfully. | 3.80 |
| 42 | 大特写 |  | 画笔在画布上涂抹青蓝色颜料，露出下方黑色底色 | I stopped at the gallery and took time out from painting and just wondered where I would go really. I think everyone just sort of assumed I would stop I think in a way. | 4.43 |
| 43 | 特写 |  | 画笔蘸红色油彩在画布上反复涂抹 | Angela holds a square of thin red lighting gel in front of us, blurring her face, she frames other objects in the studio with it. | 8.60 |
| 44 | 近景 |  长镜头 | Angela 对着镜头微笑交谈，背景是工作室 | I've got no central vision at all, but the peripheral is blurred and can only see high contrast and certain colours like red. If it's really bright light I'm a lot better and I can see a lot more, but if it's dark I'm totally blind. | 12.03 |
| 45 | 全景 |  | Dave 和 Angela 带着黄狗 Flynn 在退潮的海滩草地散步 | In a way I think I needed a kick up the backside and I think I needed a change and perhaps this isn't the change that I'd envisaged but it has been good for me. | 8.73 |
| 46 | 远景 |  | 三人背对镜头站在草坡上眺望远方海岸 | Dave and Angela ride a tandem bicycle on a country road. | 8.13 |
| 47 | 远景 |  | Dave 和 Angela 带着狗向海边石滩走去 | Apart from my wonderful guide dog Flynn and my husband Dave, Daniel is the other key member of the team. | 5.97 |
| 48 | 远景 |  | 两人在海岸乱石滩交谈，狗在石堆间寻觅 | Daniel is the voice of my iPhone, text messages, emails, post, the weather, maps, websites, crucially, he reads my paint colours. What is this? | 4.03 |
| 49 | 中景 |  | 一男一女并肩行走在鹅卵石海滩上，女子扶着男子的手臂 | Angela scans the barcode on a paint tube with her phone. Processing... Liquitex heavy body acrylic fifty nine megalitres manganese blue S3. Cool. | 3.53 |
| 50 | 远景 |  | 两人带狗走过鹅卵石斜坡消失在土坡边缘 | Angela, what scares you? | 8.63 |
| 51 | 远景 |  | 海滨长廊的一处青色凉亭内，老人坐在长椅上 | That people wouldn't view my work in the same way, I didn't want to be this novelty artist, | 1.07 |
| 52 | 多景别 |  | 三分割画面：街道建筑、冰淇淋售货摊位、海滨沙滩 | and I hate the thought that I might forget what colour things are. I know what the sea looks like, I know what the sea looks like when it's got a shadow over it, so I'm still able to paint remembering those colours. | 6.37 |
| 53 | 中景 |  | Angela 站在海边高地，双手举着带有纹理的方形瓷砖，望向开阔的海滩 | Single colours fill the screen. Cadmium Yellow. Common Gorse. My favourite sandals. | 5.73 |
| 54 | 近景 |  | 两只手拿着正方形小镜子，反射出海岸线与小船 | Manganese Blue Hue. Fishing boats. Italia 90. | 4.27 |
| 55 | 近景 |  | 模糊的人影在海边举起双手围成框状 | Chromium Oxide Green. Trees and grass. My Dad's old Morris Traveller with me, my brother and Auntie Helen facing out the back. | 3.70 |
| 56 | 特写 |  | 小方镜反射出远处的海岸线，背景为散落的鹅卵石 | A paint brush swirls clean in a sink drain. | 3.07 |
| 57 | 中景 |  | 人影背对背景，双手举方镜挡住面部，镜中映出海边景象 | An eye test chart reads, What are you not looking at? | 3.50 |
| 58 | 近景 |  | 双手持透明正方形取景框，框内显示草地岩石细节 | If you Google audio description, I think the first thing that comes up is how do I turn it off? Audio description is the best thing in the world, it's like, saved me. It gives you what you're missing. There's a few that are my favourites. Christopher Flowers is the top though, he is the Don. | 3.20 |
| 59 | 特写 |  | 抽象画局部，有灰色底色、黑色线条和棕白大块色彩 | Now Angela, you'll make me blush. So, yeah. | 5.10 |
| 60 | 特写 |  | 充满表现力色彩的抽象风景画，灰、白、黄、红不规则交织 | When I write or narrate audio description, I try to walk the fine line between newscaster and storyteller, offering no opinion, sharing only what is on screen, and let the listener fill in the gaps, exactly as a sighted person does, while watching. | 6.07 |
| 61 | 特写 |  | 带有大面积灰白及点状黄、黑笔触的抽象主义油画 | What is sight anyway? Could it translate as a sound, an object, a feeling? | 4.63 |
| 62 | 近景 |  长镜头 | 模糊的女子双手举起小方镜，反射海滩与船只 | An eye test chart reads Words can stumble where art flies. I am registered blind. In three years I went from being able to read the bottom of the eyesight chart to not being able to read the big letter at the top. I can still see something, just not a lot. | 18.60 |
| 63 | 近景 |  长镜头 | Angela 在室内托腮思考，随后望向镜头微笑 | We travel between Angela sitting in her studio and at the seashore. The artist Bedwyr Williams has been my mentor for the past year. Bedwyr was the first artist I spoke to about losing my sight and its effects on my artwork, which was quite liberating to speak to someone. | 17.57 |
| 64 | 特写 |  | 艺术家的手举起半透明红胶片观察镜头，面部虚化 | I think he's acted more like a therapist in a way. | 8.07 |
| 65 | 中景 |  | 人手持红透明塑料板遮在白色大狗上方观察 | When Angela spoke to me about telling people the truth, I said, it's like she sets off a hand grenade in the room. They simply don't know what to say. I hope the exhibition of her new work will help soften that. | 3.67 |
| 66 | 特写 |  | 手捏住红胶片边缘，背景模糊显示工作台 | The Arts Council funding, it's allowed me to really concentrate on doing something which is solely about coming out as a blind painter and be freer about talking about sight loss within my work and collaborate with other people as well, and even get people involved with work doing things that perhaps I might once have done, but am now unable to. | 3.63 |
| 67 | 近景 |  | Angela 微笑，双手举起红胶片遮挡在双眼前方 | I felt like I was bottling up something, this sort of guilty secret. | 3.57 |
| 68 | 近景 |  | 双手拿红薄片展示在镜头前，背景模糊 | Angela grins through a face hole in a full sized painting of herself with Flynn painted on the canvas beside her. | 2.77 |
| 69 | 近景 |  | Angela 微笑，举起红薄膜挡在双眼前方 | What are you looking at? In this instance it's looking at me, I'm the same person I always was, I just can't see very well now. | 5.17 |
| 70 | 近景 |  长镜头 | Angela 对着镜头说话，背景墙挂有视力表 | The painting has been taken from a photo, it was the first one where I had Flynn and proud to have Flynn and proud to be someone who needed a guide dog. This is me, this is who I am. | 14.67 |
| 71 | 远景 |  | 男女骑双人自行车在乡村道路行驶 | Archival footage shows how light and lenses process images. Angela, why are you working in a medium that excludes you? | 9.23 |
| 72 | 特写 |  | 导盲犬侧身特写，注视右上方 | This is a degenerative eye condition that probably leads me going totally blind. But where does that leave my painting? I think with technology getting better and better, audio description getting better and better, I just think there will be other ways of experiencing art. | 1.30 |
| 73 | 全景 |  | 夫妇骑双人自行车在乡间小路行进 | Angela, but why are you still making visual art if you can't see it? | 3.97 |
| 74 | 特写 |  | 智能手机静置在工作台上，屏幕映出窗户倒影 | It almost doesn't matter what the end result looks like, it's something that is in me that has to get out. It's almost like I'm possessed, I have to do it, I have to do it. | 9.17 |
| 75 | 特写 |  长镜头 | 手持手机在桌面操作扫描条形码，桌上有颜料具 | Who knows what will happen in the future with my painting with new technologies, new mediums, it's all really exciting. You can't stand still with your painting anyway, so it's going to progress, but who knows in what direction? | 10.37 |
| 76 | 近景 |  长镜头 | Angela 放下手机开始挤深色颜料 | Angela stands before a lush hillside, holding the square mirror reflecting the cloudy sea. | 13.47 |
| 77 | 多景别 |  长镜头 | 女性说话片段穿插纯色背景切换及洗手池洗笔特写，定格在字母视力表 | Credits appear. With thanks to Bedwyr Williams, Christopher Flowers, Felicity Charles, Simon Lee Dicker, Chantelle Henocq, James Hankey, David Blackwell, Flynn and Daniel, Charlottes Tandems. | 65.00 |
| 78 | 近景 |  长镜头 | Angela 在室内背景前微笑交谈 | Produced by OSR Projects. | 16.53 |
| 79 | 空镜 |  | 纯黑背景，底部显示白色英文字幕 | This project was made possible with funding from a National Lottery Project grant from Arts Council England. | 2.73 |
| 80 | 近景 |  | Angela 托额微笑，随后仰头大笑 | Archival footage: 'The Eyes Have It' Wellcome Collection. 'Vision, the structure of the Eye' Wellcome Collection. | 3.70 |
| 81 | 全景 |  长镜头 | 身穿深色卫衣的人背离画布走出画面 | A film by Liberty Smith. Featuring Angela Charles. Narrated by Christopher Flowers. | 29.43 |
| 82 | 全景 |  | 视力表样式的深绿色背景排版文字 | 7.03 | |
| 83 | 中景 |  长镜头 | Angela 穿黄色针织衫在工作室讲述 | 17.50 | |
| 84 | 中景 |  长镜头 | Angela 在海边草地平静注视侧方后露出笑容 | 20.20 | |
| 85 | 中景 |  | Angela 穿黄色毛衣在工作室对着镜头说话并大笑 | 5.17 | |
| 86 | 近景 |  长镜头 | 草丛缝隙天然画框中，Angela 侧身站在海滩前严肃看向镜头 | 11.30 | |
| 87 | 中景 |  | Angela 在工作室操作手机并露出笑容，桌上有画具 | 7.97 | |
| 88 | 近景 |  | 画室桌面放着留白面部的肖像画，背景为模糊画架 | 4.67 | |
| 89 | 特写 |  | 深绿色调抽象小画作及绿色置物架上的白色颜料管 | 4.70 | |
| 90 | 全景 |  | 室内低角度拍摄导盲犬画片，背景见自行车等生活杂物 | 4.73 | |
| 91 | 特写 |  | 抽象色块卡片前置，背景为模糊画具及工作室杂物 | 5.93 | |
| 92 | 近景 |  | Angela 穿黄色针织衫在工作室背景前交谈微笑 | 6.03 | |
| 93 | 中景 |  长镜头 | Angela 脸露在本人半身像布景孔洞中，左右张望大笑 | 20.13 | |
| 94 | 全景 |  长镜头 | 画室中，真实导盲犬走入画面停在画有女子与犬的巨型立式画板旁 | 14.40 | |
| 95 | 全景 |  长镜头 | 老式放映机对着圣母雕像，转为手绘光学示意图并演变成眼球成像 | 22.10 | |
| 96 | 中景 |  | 黑白解剖图展示眼球横截面成像，带RETINA标注 | 3.27 | |
| 97 | 大特写 |  | 镜头由特写转为深邃眼睛正面，呈现黑白复古风 | 9.17 | |
| 98 | 特写 |  | 女子侧脸靠近门锁，随后镜头划过房门变暗至黑 | 5.97 | |
| 99 | 近景 |  | Angela 穿黄毛衣在堆放杂物的工作室谈话微笑 | 8.90 | |
| 100 | 全景 |  长镜头 | 女子举方镜映出水面，背景为绿植山坡 | 27.03 | |
| 101 | 全景 |  长镜头 | 蓝底黄字以视力表排列展示职员名单和版权等信息 | 44.97 | |
| 102 | 全景 |  | 纯黑背景中方块和短线条交替移动并消失 | 7.57 |