{"id":"hs-6f8ba7489825fb1f","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f","title":"别急着切：时间影像导演实验室","kind":"research_note","reviewStatus":"structurally_screened_not_individually_reviewed","language":"zh-CN","category":"声画与理论笔记","series":"声画与理论笔记","sourceVersionDate":"2026-08-09","publishedAt":"2026-09-08","modifiedAt":"2026-09-07T18:27:17+00:00","markdownUrl":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f.md","editionUrl":"https://a.p4theater.top/research/data/editions/hs-6f8ba7489825fb1f-85be73456101c7145178.md","markdownSha256":"85be73456101c71451788826257451f067c166c8b917a1f830b9051adff7de53","markdownBytes":76264,"characters":26454,"sourceEvidenceTier":"T3_SYNTHESIS_FROM_USER_PROVIDED_REPORTS_AND_PUBLIC_PRIMARY_SOURCES","sourceStatus":"draft","evidenceBoundary":"本文是基于用户提供的三份 DOCX、其中所列公开一手/二手资料及 2026-08-09 当前官方项目与消费者保护页面形成的 T3 课程产品综合；它不是南鑫或“南电”授权课程，不把工作坊称为学历学校，不把‘时间影像’冒充南鑫正式发表的理论，不承诺影展、就业、学历、奖项或确定培训效果。","editionNote":"本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。","imageUrls":[],"links":["https://a.p4theater.top/research/hs-c01af2f6779f8f88","https://a.p4theater.top/research/hs-f1753922fc3d5068","https://collab.sundance.org/catalog/Directing-Television-Intensive","https://htsfwb.samr.gov.cn/View?id=5aca0e73-9d84-49f4-aa03-89dcf5ea4653","https://scjgj.beijing.gov.cn/zwxx/scjgdt/202401/t20240126_3546050.html","https://www.filmindependent.org/programs/artist-development/directing-lab/","https://www.firstfilm.org.cn/entries/training-camp-entry/","https://www.samr.gov.cn/zw/zfxxgk/fdzdgknr/bgt/art/2024/art_0aea188276a44f0baf940ab95ee00e0a.html"],"relationMethod":"literal links and image references in the public edition; no inferred semantic support","paragraphCount":649,"markdown":"# 别急着切：时间影像导演实验室\n\n本文为研究档案公开版，保留来源版本的论述与限制。公开时间：2026-09-08；不表示已完成同行评审。 本文属于公开研究资料（历史笔记、研究稿或来源记录）：已完成格式、来源限制与重复项筛查，尚未完成逐篇独立事实复核；原文中的解释、候选判断和未确认内容均按其原有限制阅读。\n\n来源版本日期：2026-08-09\n\n证据边界：本文是基于用户提供的三份 DOCX、其中所列公开一手/二手资料及 2026-08-09 当前官方项目与消费者保护页面形成的 T3 课程产品综合；它不是南鑫或“南电”授权课程，不把工作坊称为学历学校，不把‘时间影像’冒充南鑫正式发表的理论，不承诺影展、就业、学历、奖项或确定培训效果。\n\n# 别急着切：时间影像导演实验室\n\n> [!info] 公开品牌更新（2026-08-09）\n> 本页继续作为课程产品、教学、运营、财务与合规全案。公开招生主品牌已改为 时间现场：21+10+90 作者电影创作计划（馆内参考，未随本文公开）；《别急着切》降为课程内部的持续时间练习与反馈语言，不再占据公开门头。\n\n## ¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持\n\n> **把你本来会剪掉的时间，拍成一部只有你能拍的电影。**\n>\n> 这不是一门“听懂时间影像”的课。它是一条完整的创作结果链：先诊断你为什么一直没有完成，再用十天让时间、空间和关系真正进入镜头，最后用九十天把作品修到能够公开呈现。\n\n**文档性质：**课程产品、教学、招生、运营、财务与合规全案。  \n**推荐版本：**首期验证版 v1.0。  \n**默认假设：**18 岁以上成人；线下集中创作；交通、住宿由学员自理；课程提供基础器材、每组制作金、场地、保险与公开/内部首映条件。若举办城市、讲师、住宿政策或场地条件变化，财务与合规章节必须同步重算。\n\n\n\n## 0. 一页决策摘要\n\n### 推荐产品定案\n\n| 决策项 | 推荐定案 | 为什么 |\n|---|---|---|\n| 主品牌 | **别急着切** | 有电影语言，也有行动态度；能长期扩展为系列 |\n| 完整名称 | **《别急着切：时间影像导演实验室》** | 同时解决记忆度与课程品类识别 |\n| 核心承诺 | **10 天完成创作闭环，90 天完成作品与作者方法档案** | 具体、可验收，不冒充“十天成为导演” |\n| 价格 | **¥8,888／人** | 价格建立在稀缺反馈、1:5 教学比、真实制作资源与 90 天支持，而非知识目录 |\n| 人数 | **15 人，申请制，硬上限 15** | 正好组成 5 个三人剧组；三位教学人员形成 1:5 反馈比 |\n| 核心期 | **10 天线下，建议 09:30–21:30** | 每天形成“看—写—拍—剪—放—改”的完整循环 |\n| 前置期 | **开营前 21 天** | 完成创作诊断、生活半径档案、技术测试与个别访谈 |\n| 后续期 | **结营后 90 天** | 四次线上诊所，把首映版推进为可展示/可投递版 |\n| 最终编组 | **5 组 × 3 人** | 每人必须跨工种；拒绝“只站在舒适工种里” |\n| 最终影片 | **5 部 6–10 分钟短片** | 尺度足够形成关系与时间，也能在十天内完成 |\n| 每组制作金 | **¥1,200，统一发放、统一报账** | 限制变成导演工具，同时避免个人追加资金造成不公平 |\n| 核心反馈 | **不解释看片法 2.0** | 先确认银幕上真实发生了什么，再讨论意图和修订 |\n| 公共结果 | **首映＋作品包＋90 天复映** | 结业不是证书墙，而是作品、方法和一次真实观看 |\n\n### 北极星\n\n> **每个学员至少完成两次个人导演练习，完整承担一次非舒适工种，参与一部 6–10 分钟短片从提案到首映，并在 90 天内拥有一份可复用的个人导演方法档案。**\n\n### 三项承诺\n\n1. 课程承诺提供清楚的任务、明确的截止、足够的制作条件和可追踪的反馈。\n2. 课程承诺每位学员获得至少两次个人口头/书面诊断、两次导演练习反馈和一份结营方法档案框架。\n3. 课程承诺五个最终剧组在安全、合法、按时交付的前提下获得首映机会与九十天修订支持。\n\n### 三项不承诺\n\n1. 不承诺十天“成为导演”、形成成熟个人风格或达到统一审美水平。\n2. 不承诺影展入围、平台发行、就业、融资、学历、学位或职业资格。\n3. 不承诺所有人的提案都会成为最终组片；但承诺每个人都完成个人导演练习，并在最终片中承担清晰、可记录的核心职责。\n\n### 为什么这门课会让人想报名\n\n它没有把价格解释成“十天讲多少知识”，而是把报名者最难独自购买的五种条件集中起来：**无法逃跑的截止、足够小的同伴群体、持续在场的专业反馈、真实但受控的制作资源，以及作品被看见以后继续修改的九十天。**\n\n\n\n## 1. 产品论：到底卖什么\n\n### 1.1 不是“时间影像理论课”\n\n本课程中的“时间影像”是一个课程工作定义，不是对任何导演理论身份的代签：\n\n> **时间影像，是让时间不再只是镜头长度，而成为人物关系、空间权力、画外事件、身体停顿和观众注意力发生变化的材料。**\n\n因此，课程不以“镜头越长越高级”为目标。它要求学生回答四个问题：\n\n- 为什么此刻不能切？\n- 镜头持续期间，谁的位置改变了？\n- 画面外发生了什么，如何改变画面内？\n- 如果在这里切掉，观众失去的是信息、感觉，还是关系？\n\n公开资料只足以确认南鑫相关工作坊存在长镜头、时空、触发事件、剪辑等作业痕迹，并采用高密度拍摄—剪辑—看片循环；没有证据支持“南鑫正式发表了时间影像理论”或“南电是学历电影学院”。证据底盘见 2026-08-08-南鑫南电与时间影像课程设计三份DOCX材料束（馆内参考，未随本文公开）。\n\n### 1.2 真正出售的是一次作者决策的形成\n\n报名者通常不缺观看量、参数知识或软件教程。他们缺的是把生活经验变成导演决定的机制。课程要完成下面这条转化：\n\n| 入营前的常见状态 | 课程中的关键冲突 | 可验证的离营状态 |\n|---|---|---|\n| “我什么都想拍，所以一直没拍” | 被迫在十个人、十个地方、十件未解决的事中选择 | 能用一句话说清谁想从谁那里得到什么 |\n| “我想拍得像电影” | 漂亮镜头被问：删掉会失去什么？ | 能解释一个镜头的必要性，而不是只说风格 |\n| “我没有设备、演员、预算” | 两地、四演员、¥1,200 的硬限制 | 能把资源清单反写成故事方案 |\n| “我本来想表达……” | 粗剪看片前八分钟不得辩护 | 能区分意图、银幕证据与观众反应 |\n| “再给我一点时间就能完成” | Day 10 必须交片，Day +90 必须归档 | 拥有一部完成作品和下一版明确修改单 |\n\n### 1.3 五个产品支柱\n\n1. **具体生活。**题材从生活半径、熟悉空间和真实关系开始，不从抽象主题开始。\n2. **持续时间。**镜头不切并非形式姿态，必须让注意力、权力或关系在内部变化。\n3. **微型事件。**用一个小触发改变平衡，防止“生活流”等于什么也没发生。\n4. **限制创作。**预算、地点、演员、交通和时间限制都必须转成形式选择。\n5. **作品先于解释。**反馈从银幕事实开始，语言只能服务下一次修改。\n\n### 1.4 课程的文化语言\n\n一门高价小班必须有自己的可重复语言，而不是堆积行业术语。全程只保留六句：\n\n> **先别解释。**  \n> **谁在等谁？**  \n> **谁想从谁那里得到什么？**  \n> **镜头里什么发生了变化？**  \n> **为什么在这里切？**  \n> **为什么这件事非你拍不可？**\n\n这六句既是教学问题，也是品牌资产、招生筛选标准、反馈表结构和结营复盘骨架。\n\n## 2. 人群：为谁设计、拒绝谁\n\n### 2.1 主要学员画像\n\n**A 类：技术已经够用，但作品不像自己。**电影、摄影、剪辑、编导相关学生或从业者；会操作机器，能完成作业，却长期依赖熟悉的“电影感”。他们购买的是作者判断和反馈强度。\n\n**B 类：拥有真实经验，但不会把它变成电影。**写作者、表演者、剧场工作者、设计师、纪录片初学者；知道身边有东西值得拍，却无法把关系、空间和时间组织成场面。他们购买的是转译方法和完成机制。\n\n**C 类：已经启动项目，但一直无法交片。**拍过短片、MV、广告或自媒体内容，拥有未完成素材或反复搁置的故事。他们购买的是截止、删减、粗剪反馈和九十天收尾。\n\n### 2.2 最低适配条件\n\n- 18 岁以上，能连续参加十天核心期；缺席超过一天原则上不录取。\n- 能使用手机或相机完成基本拍摄，并能在任一主流软件完成基础剪辑；不会软件者须在开营前通过技术补课。\n- 愿意在导演、摄影、声音、制片、表演、剪辑之间至少跨一次工种。\n- 愿意让作品被集体观看、接受具体修改命令，并能把批评指向作品而非人身。\n- 愿意遵守知情同意、肖像、音乐、场地、安全、数据备份与团队行为规则。\n\n### 2.3 明确不适合的人\n\n- 主要目标是获得“权威证书”、学历、学位、就业保证或影展保证。\n- 只想听名师经验，不愿每天交作业、重拍或重剪。\n- 希望把一个几十场景的长片项目在十天内完整制作。\n- 无法接受自己的提案可能不进入五部最终组片。\n- 把非职业演员、家人、恋人或地方居民当作“免费素材”，不愿处理同意和边界。\n- 把熬夜、危险动作、无许可拍摄或通宵驾驶当作电影人的浪漫。\n- 对团队成员进行羞辱、歧视、骚扰或以“艺术要求”为名越过他人边界。\n\n### 2.4 报名者真正要完成的工作\n\n| 功能性工作 | 情绪性工作 | 社会性工作 |\n|---|---|---|\n| 完成一部可以公开播放的短片 | 停止把未完成归因于条件不够 | 从“爱电影的人”变成“交过片的人” |\n| 建立低成本导演流程 | 知道哪些经验值得相信 | 找到能长期互相看片的创作同伴 |\n| 学会指导演员和删对白 | 能承受作品不成立而不自我崩溃 | 形成有证据、不过度吹嘘的作者表达 |\n| 获得作品包和修订路线 | 结束“我本来想”的循环 | 获得进入下一项目的可信履历材料 |\n\n## 3. ¥8,888 的价值架构\n\n### 3.1 采用“21 + 10 + 90”，而不是只卖十天\n\n| 阶段 | 时间 | 核心服务 | 学员带走什么 |\n|---|---:|---|---|\n| 入营诊断 | 开营前 21 天 | 60 秒报名片、问卷、30 分钟个访、生活半径档案、技术测试 | 个人创作阻塞诊断＋入营任务书 |\n| 核心实验室 | 10 天 | 每日练习、轮岗、看片、重做、最终制作与首映 | 至少两次个人导演练习＋一部组片首映版 |\n| 完成支持 | 结营后 90 天 | 4 次线上诊所、一次个别终评、作品包与投递决策 | 修订版影片＋作者方法档案＋公开材料包 |\n\n### 3.2 价格不是“课时包”，而是注意力配额\n\n十五人、三位教学人员形成 **1:5 的教学反馈比**。每位学员获得的最低注意力配额如下：\n\n- 一次 30 分钟入营个访与一次 45 分钟结营个别终评。\n- 两次个人导演练习的现场/书面反馈。\n- 每天集体看片中的可追踪反馈记录。\n- 最终组片至少三次版本反馈：绿灯前、粗剪、九十天终版。\n- 一份个人作者方法档案模板及导师终评意见。\n- 90 天内四次两小时线上诊所的持续访问权。\n\n核心期预计约 100 小时共同工作，加上前后支持约 11 小时；按 111 小时名义接触计算，¥8,888 约等于每名学员每接触小时 ¥80。这个数字不是“效果价值”宣传，而是内部判断价格与服务密度是否匹配的透明口径。\n\n### 3.3 每名学员的交付物\n\n| 类别 | 最低交付 |\n|---|---|\n| 个人影像 | 报名 60 秒片；至少 2 个导演练习；1 个声音/剪辑练习版本 |\n| 个人方法 | 生活半径地图；关系卡；时间设计表；个人导演方法档案 |\n| 团队作品 | 参与 1 部 6–10 分钟组片，并拥有清晰署名与岗位证据 |\n| 反馈证据 | 每日反馈单；个人复盘；一次同伴反馈；导师终评 |\n| 公共材料 | 中英文字幕、3 张剧照、海报、logline、导演阐述、预算与制作说明 |\n| 后续资产 | 90 天修订路线、投递/展示决策表、同届看片社群 |\n\n### 3.4 课程包含与不包含\n\n**包含：**十天课程与场地；三位教学人员和一位制片/安全/数据负责人；五套基础拍摄与声音装备的调度；五组各 ¥1,200 制作金；课程期间基础公共责任/意外保险（以实际保单为准）；首映场地；课程工作手册；九十天线上支持；基础作品包整理。\n\n**不包含：**学员往返交通与住宿；未写入课程方案的餐饮；超出组内制作金的演员、场地、置景和交通；商业音乐授权；影展报名费；DCP、翻译或专业混音等超出基础包的第三方费用；个人器材因违规或疏忽造成的损失。\n\n### 3.5 交片保障，不做结果保证\n\n对完成出勤、作业、授权、安全与备份义务但在 Day 10 未形成可播放版本的团队，课程提供一次 **30 天恢复诊所**：限定镜头补拍、剪辑重构或声音修复三选一，并给出一次额外集体看片。它保障的是完成流程，不保障审美评价、影展或商业结果。\n\n### 3.6 为什么必须是 15 人\n\n十五人不是稀缺营销数字，而是教学结构：\n\n- 5 个三人剧组，使每人都必须承担导演链条中的多个决定。\n- 3 位教学人员各负责 5 名学员的成长记录，同时交叉看片，避免单一导师口味垄断。\n- 每晚五部以内作品进入深度反馈，能够把每部片的讨论控制在 15–20 分钟。\n- 15 人足够产生差异，又不会让个体被躲进大班。\n\n若不足 12 人，建议延期或全额退款，不为了开班牺牲剧组结构；若超过 15 人，不增收第 16 人，而是建立候补名单。\n\n\n\n## 4. 教学架构：把抽象理论压进十次决定\n\n### 4.1 五条学习主线\n\n| 主线 | 学员要学会什么 | 课程如何验证 |\n|---|---|---|\n| 时间 | 区分剧情时间、镜头持续和观众感知 | 同一素材完成保留时间版与信息效率版 |\n| 空间 | 用距离、座位、出入画和画外空间组织权力 | 提交俯视调度图并拍成时空练习 |\n| 关系 | 用欲望、阻力、第三人和未说出口的信息产生戏 | 三人关系练习中必须出现可辨认的权力转移 |\n| 限制 | 把地点、演员、预算、交通和设备反写成形式 | 绿灯时逐笔回答“这项资源改变电影什么” |\n| 观看 | 区分创作意图、银幕证据与观众反应 | 不解释看片、修改清单和第二版回应 |\n\n### 4.2 十个导演动词\n\n十天不是十个知识点，而是十个动作：**看见、等待、安置、触发、删话、听见、取舍、拍摄、重剪、交片。**每一天只增加一个决定，前六天积累个人能力，后三天进入团队生产，最后一天让作品进入公共观看。\n\n### 4.3 可测量学习成果\n\n完成课程的学员应能够：\n\n1. 在生活半径内识别具体人物、空间和未解决关系，并写成可拍的一句话。\n2. 设计一个 2–3 分钟持续镜头，使镜头内部至少发生三次注意力或关系变化。\n3. 在少分切条件下用人物走位、前后景、出入画和画外声组织信息。\n4. 用一个微型触发事件改变关系，不依赖死亡、犯罪、车祸等刺激捷径。\n5. 用行为任务指导非职业或低经验演员，而不是只讲情绪。\n6. 为同一素材做出至少两种时间组织，并解释每一刀或每一次不切。\n7. 在两处主地点、四名主要表演者、¥1,200 制作金内完成可播放短片。\n8. 完成授权、预算、通告、数据、字幕、剧照与导演阐述等基本生产文件。\n9. 用“银幕证据—观众反应—下一次修改”处理反馈，不把映后解释当成影片内容。\n10. 说清自己的下一部片为什么必须由自己、在某个具体地方、以某种时间形式来拍。\n\n### 4.4 理论的使用顺序\n\n理论占核心期约 15%，并坚持“先撞墙，后命名”：\n\n- 学员先拍出一个什么也没发生的长镜头，再讨论持续时间与现实暧昧。\n- 学员先经历一次六秒沉默的失败，再讨论尴尬如何构成时间。\n- 学员先剪出两种版本，再讨论为什么“不切”需要剪辑意识。\n- 学员先面对画外声改变画内关系，再讨论空间不是背景。\n\n德勒兹、巴赞、塔可夫斯基等只作为观看工具，不被写成南鑫的直接理论师承，也不把理论词汇当成作品质量证明。\n\n### 4.5 教学团队\n\n| 角色 | 人数 | 核心责任 | 不承担什么 |\n|---|---:|---|---|\n| 艺术总导师 | 1 | 方法总线、每日任务、最终绿灯、关键看片 | 不垄断所有反馈，不靠羞辱制造权威 |\n| 驻营导师 A | 1 | 剧作、表演、关系与伦理 | 不替学生重写整部片 |\n| 驻营导师 B | 1 | 摄影、声音、剪辑与数据 | 不把技术漂亮当内容成立 |\n| 制片／安全／DIT 负责人 | 1 | 预算、许可、保险、通告、器材、备份、应急 | 不代替剧组做全部生产决策 |\n| 客座看片人 | 1–2 次 | 终映前后提供第二视角 | 未签约前不出现在招生物料 |\n\n艺术总导师与两位驻营导师各绑定 5 名学员建立成长记录；五部组片则由三位导师交叉评审。这样既保留连续照看，也防止“导师审美＝唯一答案”。\n\n### 4.6 轮岗规则\n\nDay 1–6 不固定最终剧组。每名学员必须完成以下最低轮岗：\n\n- 至少 2 次导演／场面组织。\n- 至少 1 次摄影或灯光。\n- 至少 1 次同期声音或画外声设计。\n- 至少 1 次剪辑主责。\n- 至少 1 次制片、场记或数据主责。\n- 至少 1 次表演或演员对手工作；因个人边界无法出镜者可用演员指导替代。\n\nDay 7 才根据项目、能力互补与合作记录组成五个最终三人剧组。任何人不得以“我只做导演”“我只做摄影”为由拒绝理解完整生产链。\n\n## 5. 完整学习旅程\n\n### 5.1 开营前 21 天\n\n| 时间 | 动作 | 学员交付 | 课程方动作 | 闸门 |\n|---|---|---|---|---|\n| T-21 | 合同、行为公约、作品权利与健康信息 | 签署文件；紧急联系人；可访问性需求 | 核对收费主体、合同、保险与信息最小化收集 | 未签核心文件不得进入拍摄 |\n| T-18 | 技术基线测试 | 30 秒画面＋同期声＋规范导出 | 技术导师判断是否需要补课 | 音画可读、可导出、可备份 |\n| T-14 | 个人创作诊断 | 过往作品 1 部；“我总在哪一步停下”问卷 | 30 分钟个访，形成阻塞诊断 | 每人收到一页入营任务书 |\n| T-10 | 生活半径档案 | 10 人、10 地、10 件未解决的事；不提交隐私原件 | 伦理预审：谁可以拍、谁不应被拍 | 至少 3 个可安全进入的素材方向 |\n| T-7 | 基线作品 | 《我知道这个地方，你不知道》60 秒，不剪、不配乐 | 三位导师独立评分并记录基线 | 完成比漂亮重要；不合格者一次补交 |\n| T-3 | 观影与方法预习 | 选择一场戏做“时间—关系—空间”三栏笔记 | 提供合法片段、术语边界与示范 | 不要求背理论，只要求具体描述 |\n| T-1 | 设备、出勤、旅行与场地确认 | 完成清单；安装软件；备份介质到位 | 发送最终手册、分组原则、天气与应急提示 | 所有缺口在开营前关闭 |\n\n### 5.2 十天总览\n\n| 天 | 导演动词 | 核心问题 | 主要交付 | 当日通过标准 |\n|---:|---|---|---|---|\n| 1 | 看见 | 什么东西别人路过却没看见？ | 生活半径地图＋60–90 秒观察片 | 结尾比开头多出一项可见事实 |\n| 2 | 等待 | 为什么此刻不能切？ | 2–3 分钟持续镜头 | 内部至少三次注意力/关系变化 |\n| 3 | 安置 | 这个空间里谁说了算？ | 调度图＋三人时空练习 | 位置和画外事件改变权力 |\n| 4 | 触发 | 一件小事怎样重排关系？ | 3 分钟微型事件片 | 事件前后人物计划可辨认地不同 |\n| 5 | 删话 | 真正目的不说出来，戏还能成立吗？ | 同场双版本＋删话清单 | 删除至少 30% 解释性对白后更清楚 |\n| 6 | 听见 | 看不见的人怎样占据现在？ | 画外声练习＋双时间剪辑 | 声音参与事件；两版时间感有差异 |\n| 7 | 取舍 | 哪五个项目值得用十天的全部资源？ | 五份绿灯包＋五个三人剧组 | 内容、伦理、资源、安全、备份全部通过 |\n| 8 | 拍摄 | 哪些镜头是电影真正需要的？ | 主体素材＋声音＋双备份＋日志 | A 级镜头和关键声音全部取得 |\n| 9 | 重剪 | 电影实际让观众经历了什么？ | 粗剪 V1＋补拍清单＋V2 | 修改用版本回应，不用解释回应 |\n| 10 | 交片 | 什么已经完成，什么仍需九十天？ | 内部首映版＋作品包 v0.8＋修订合同 | 可稳定播放、权利清楚、下一版明确 |\n\n### 5.3 结营后 90 天\n\nDay 10 是 **内部首映与作品完成闸门**，不是把粗糙版本包装成“影展母版”。正式对外展映建议放在 Day +45 或更晚。\n\n| 时间 | 诊所 | 核心任务 | 交付 |\n|---:|---|---|---|\n| Day +7 | 个人复盘 | 每人回看角色日志、反馈和基线片 | 个人作者方法档案 v0.5 |\n| Day +21 | 粗剪诊所 | 五部片逐一做时间码反馈；确定是否补拍 | 精剪 V3＋锁画计划 |\n| Day +45 | 完成与公开 | 声音、调色、字幕、授权、海报、剧照与放映测试 | 正式展映版＋公开/内部展映 |\n| Day +60 | 公共表达 | 导演阐述、映后问答、作品页与目标观众 | 中英文作品包＋30–45 秒预告 |\n| Day +90 | 下一部片 | 复盘方法是否可迁移；确定展示或投递路径 | 终版归档＋下一项目一页纸＋个人终评 |\n\n### 5.4 三次个人触点\n\n每位学员至少获得三次有记录的个人触点：\n\n1. T-14：30 分钟入营诊断。\n2. Day 5–7：20 分钟中段方法校准，由绑定导师完成。\n3. Day +90：45 分钟个人终评，完成方法档案与下一项目决策。\n\n它们与集体看片、剧组辅导分开计算，不能用“导师在现场”替代。\n\n\n\n## 6. 十天逐日教学与执行脚本\n\n### Day 1｜看见：只有你能拍的东西\n\n**当日转化：**从抽象主题回到具体的人、地方与未解决关系。  \n**中央问题：**一个镜头结束时，我们究竟多知道了什么？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:00 | 入场与规则 | 不以学校、器材、奖项做自我排序 | 设备、健康、边界确认 |\n| 10:00–11:00 | 基线片静默看片 | 先说看见什么，不猜主题 | 每人一条银幕事实 |\n| 11:00–12:15 | 生活半径地图 | 10 人×10 地×10 件未解决的事 | 三个候选关系 |\n| 12:15–13:30 | 午餐与休息 | 强制离开屏幕 | — |\n| 13:30–14:30 | 伦理与地点绿灯 | 同意、隐私、地方进入权 | 一处可拍地点 |\n| 14:30–17:30 | 观察拍摄 | 单镜头；先看后拍；最多三次重来 | 60–90 秒素材 |\n| 17:30–18:30 | 进餐与素材导入 | 两份备份后才格式化卡 | 文件命名通过 |\n| 18:30–19:45 | 最小剪辑 | 只做起止点、声音和技术修正 | 观察片 v1 |\n| 20:00–21:20 | 三组看片 | 每组 5 人；每片 6 分钟反馈 | 事实／失焦点／下一次修改 |\n| 21:20–21:30 | 收束 | 写一句“我真正想拍的是……” | 个人日记 |\n\n**作业硬规则：**不剪；不配音乐；不加旁白解释“生活、孤独、时间”；不偷拍私人主体；不为“有戏”制造冲突。\n\n**导师检查点：**镜头中的变化来自现实，不来自变焦或滤镜；地点不是猎奇背景；学员能指出开头与结尾之间的新增事实。\n\n**RETAKE 条件：**镜头只是漂亮构图；变化完全依靠偶然路人；作品必须靠标题或映后解释才能成立。\n\n### Day 2｜等待：别急着切\n\n**当日转化：**从“长镜头＝不剪”转向“持续期间内部必须有戏”。  \n**中央问题：**如果不切，观众在等待什么？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:20 | 昨日精选复盘 | 全班只看 3 个有代表性的成功/失败片段 | 三种时间失败 |\n| 10:20–11:20 | 摄影机位置实验 | 同一场面换三个机位，不拍完整片 | 机位理由卡 |\n| 11:20–12:15 | 内部变化设计 | 注意力转移、人物位置、关系变化 | 三步变化表 |\n| 13:30–14:15 | 排练 | 不开机排练两次，再决定是否移动摄影机 | 走位标记 |\n| 14:15–17:30 | 一镜到底拍摄 | 2–3 分钟；最多六次完整拍摄 | 选定 take＋备选 take |\n| 17:30–19:30 | 导入与声音整理 | 只允许起止点与基础同步 | 可播放版本 |\n| 19:45–21:20 | 分组看片＋全班案例 | 先问关系何时变化，再谈摄影 | 时间变化时间码 |\n\n**作业硬规则：**镜头 120–180 秒；不得以“一个人一直走、摄影机一直跟”为唯一结构；不得用配乐替代内部节奏；至少出现三次可辨认的注意力或关系变化。\n\n**PASS 条件：**即使摄影机不动，观众仍能感到人物位置、信息或权力改变；每一段持续都能说出它在等什么。\n\n**进阶挑战：**同一场面再拍一个更短版本，比较删去持续时间后失去的不是信息，而是哪种感觉或伦理位置。\n\n### Day 3｜安置：这个房间里谁说了算\n\n**当日转化：**用空间而非解释性对白组织人物权力。  \n**中央问题：**一个人离开画面以后，怎样继续控制场面？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:30 | 场面调度拆解 | 画人物、摄影机、门、光源与画外空间 | 俯视图示范 |\n| 10:30–11:30 | 三人权力练习 | 只换座位、距离和视线，不改台词 | 三种空间版本 |\n| 11:30–12:15 | 画外事件设计 | 一人离画后仍通过声响／反应影响两人 | 画外事件卡 |\n| 13:30–14:30 | 技术走台 | 光、声音、门窗、背景人物统一测试 | 调度图 v1 |\n| 14:30–17:30 | 拍摄 | 一个空间、三人、至少一次出入画 | 2–3 分钟时空片 |\n| 18:30–19:30 | 剪辑与空间连续检查 | 不用补拍特写修补基本调度 | v1＋调度图 |\n| 19:45–21:20 | 看片 | 谁占据中心、谁控制入口、谁控制声音 | 权力转移时间码 |\n\n**硬规则：**三名人物；一个主要空间；至少一人离画但继续影响场面；至少一次前后景关系变化；不得用台词直接宣布“谁有权”。\n\n**RETAKE 条件：**摄影机只是记录会议；人物从头到尾坐在同一权力位置；离画人物消失后对戏完全没有影响。\n\n### Day 4｜触发：把水搅浑\n\n**当日转化：**理解小事件如何启动关系，而不是追求高刺激情节。  \n**中央问题：**事情发生以后，谁原来的计划不再可能？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:20 | 事件前／后练习 | 用两张照片描述平衡如何变化 | 状态 A／状态 B |\n| 10:20–11:10 | 微型事件库 | 来客、借钱、错发、误认、不走、第三人加入 | 一件小事 |\n| 11:10–12:15 | 关系因果 | 事件只改变关系，不负责解释主题 | 三拍事件图 |\n| 13:30–14:15 | 45 秒闸门排练 | 事件须在开头 45 秒内发生 | 可执行走台 |\n| 14:15–17:30 | 拍摄 | 最多 5 个镜头，优先少切 | 3 分钟事件片 |\n| 18:30–19:30 | 剪辑 | 删除所有“解释事件意义”的对白 | v1 |\n| 19:45–21:20 | 看片 | 事件发生前后，人物计划与站位是否变化 | 状态变化说明 |\n\n**禁用捷径：**死亡、枪、绑架、车祸、突然绝症、犯罪秘密、梦醒等高刺激手段，除非现实素材与安全伦理均能充分支撑；首期默认禁用。\n\n**PASS 条件：**观众能说出事件前后至少一名人物的计划或关系发生变化；即便删掉一句解释台词，事件仍成立。\n\n### Day 5｜删话：有些话不能说出来\n\n**当日转化：**从“写人物心理”转向“给演员可执行的欲望与行为”。  \n**中央问题：**人物不说真正目的，观众还能看见它吗？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:30 | 三人关系公式 | A 想从 B 得到东西；B 真正在意 C；C 知道 A 不知道的事 | 关系三角 |\n| 10:30–11:30 | 行为指令 | “让他留下，但不能挽留”；不用“更悲伤” | 每人两条行动 |\n| 11:30–12:15 | 台词清除 | 标记事实、策略、解释和重复 | 可删 30% 清单 |\n| 13:30–15:15 | 第一版排演与拍摄 | 允许原始对白 | 版本 A |\n| 15:15–17:30 | 删除与重拍 | 删除至少 30% 对白，改变停顿与行动 | 版本 B |\n| 18:30–20:10 | A/B 看片 | 比较信息、张力、表演和观看负担 | 差异表 |\n| 20:10–20:50 | 中段个别校准 1 | 绑定导师与 5 名学员分批进行 | 个人方法卡 |\n| 20:50–21:00 | 提前收束 | 恢复睡眠与后半程体力 | — |\n\n**反馈纪律：**不说“演员不够专业”；先判断导演给出的行动是否可执行、对手是否真正影响表演、摄影机是否允许沉默发生。\n\n**RETAKE 条件：**人物用台词把人物小传说完；沉默只是空白；删除对白后剧情完全无法理解，说明行动和场面没有承担信息。\n\n### Day 6｜听见：画外的人也在场\n\n**当日转化：**让声音成为空间与时间的组织手段，并第一次比较两种剪辑时间。  \n**中央问题：**不进入画面的人，怎样改变画面里的现在？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:15 | 声音散步 | 闭眼记录方向、距离、重复与遮挡 | 声音地图 |\n| 10:15–11:15 | 画外人物设计 | 重要人物始终不出画，只通过声与反应存在 | 声音事件表 |\n| 11:15–12:15 | 同期声与安全 | 增益、监听、房间底噪、授权 | 声音技术通过 |\n| 13:30–16:30 | 固定画面练习 | 90–150 秒；三件关键事由声音获知 | 画外声片 |\n| 16:30–18:30 | 双版本剪辑 | A 时间保留版；B 信息效率版 | A/B 两版 |\n| 19:00–20:30 | 全班看片 | 五组精选，不追求全员长评 | 两版观看差异 |\n| 20:30 | 强制结束 | 不安排夜拍，不通宵写最终提案 | — |\n\n**PASS 条件：**关掉声音以后叙事或关系明显受损；两版不是单纯“长版／短版”，而是让观众处于不同的等待、预期或判断位置。\n\n**Day 6 晚上只布置一页提案。**不允许学员用通宵写作制造虚假优势。\n\n### Day 7｜取舍：¥1,200 绿灯\n\n**当日转化：**把个人冲动压缩为五个安全、可执行、值得投入全班资源的项目。  \n**中央问题：**删到只剩必要条件以后，这还是一部必须拍的电影吗？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:30–10:00 | 选片规则公开 | 内容、时间关系、在地性、执行、伦理、团队适配 | 评分表确认 |\n| 10:00–11:15 | 15 个两分钟提案 | 不播煽情音乐；只答五个核心问题 | 15 张一页纸 |\n| 11:15–12:15 | 匿名独立评分 | 三位导师先独立评分，再讨论 | 候选 7–8 个 |\n| 13:30–14:30 | 可执行性复核 | 地点、演员、权利、安全、交通、天气、预算 | 绿／黄／红清单 |\n| 14:30–15:30 | 五个项目定案 | 可合并相近项目，但需重新确认作者与署名 | 五个项目 |\n| 15:30–16:30 | 剧组匹配 | 能力互补、合作记录、岗位志愿，不做人情投票 | 5 组×3 人 |\n| 16:30–18:00 | 团队章程 | 决策权、署名、素材、冲突、退出、宣传授权 | 已签章程 |\n| 19:00–21:30 | 绿灯包冲刺 | 梗概、调度、镜头优先级、预算、通告、风险、备份 | 绿灯包 v1 |\n\n**五个提案问题：**谁想从谁那里得到什么？什么小事打破平衡？为什么只能在这个地方拍？持续时间在哪里产生意义？¥1,200 如何改变电影而不是装饰电影？\n\n**绿灯必须同时通过六项：**内容、演员、地点、权利、安全、数据。任何一项为红灯都不得开拍；黄灯必须在 Day 8 开机前关闭。\n\n**未入选项目的价值保护：**每位未入选者得到一张“下一部片卡”，记录项目的核心价值、未入选原因和 90 天内可继续的最小版本；其个人导演练习仍是正式个人交付，不被降格为“失败提案”。\n\n### Day 8｜拍摄：只拍必要的镜头\n\n**当日转化：**在时间、团队和资源压力下做出不可回避的导演决定。  \n**中央问题：**删掉这个镜头，电影究竟失去什么？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 08:30–09:00 | 全组安全与天气确认 | 交通、健康、场地、演员、应急 | 开机许可 |\n| 09:00–09:30 | 设备与卡检查 | 五组统一编号、时间、帧率和声音 | 器材签出 |\n| 09:30–13:00 | 主体拍摄 A | 先完成不可替代的 A 级镜头和声音 | 午间素材核查 |\n| 13:00–14:00 | 午餐与强制休息 | 禁止边驾驶边复盘 | — |\n| 14:00–18:30 | 主体拍摄 B | 完成 B 级镜头；C 级装饰镜头最后考虑 | 拍摄日志 |\n| 18:30–19:30 | 收工与返程 | 最晚收工；禁止疲劳驾驶 | 人员清点 |\n| 19:30–21:30 | 双备份与素材报告 | 两份独立介质；关键素材抽查播放 | 素材、声音、日志、校验 |\n\n**拍摄限制：**两处主要地点；四名主要表演者以内；建议 12 个有效镜头设计以内；不得私自追加个人资金；不得未经制片负责人批准夜拍、驾驶、火、水、高处或人群动作。\n\n**导师覆盖：**三位教学人员各覆盖 1–2 组，制片／安全／DIT 负责人保持机动；主导师不承诺同时出现在五个现场，而按关键场面预先排班。\n\n**数据闸门：**卡在确认两份可读备份、关键镜头抽查通过、日志完整之前不得格式化。任一素材只有一份即视为未备份。\n\n### Day 9｜重剪：杀掉你最喜欢的镜头\n\n**当日转化：**从“我拍到了什么”转向“电影需要什么”。  \n**中央问题：**作品在没有解释时，让观众真正经历了什么？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:00–11:30 | 五组装配粗剪 | 先完整，再精致；先关系，再颜色 | V1 可播放 |\n| 11:30–12:30 | 内部自检 | 黑帧、缺声、跳轴、授权、补拍可能 | 问题单 |\n| 13:30–15:30 | 不解释看片 1 | 每片 15–20 分钟；创作者先不辩护 | 观众事实与失焦时间码 |\n| 15:30–16:00 | 30 分钟静默决策 | 剧组不立即争论，先写修改优先级 | 修改清单 |\n| 16:00–18:00 | 限定补拍／补声 | 只补 A 级缺口；不扩写故事 | 新素材已备份 |\n| 19:00–21:30 | 重剪 | 用版本回应三条最高优先级反馈 | V2＋变更日志 |\n\n**三条修改优先级：**先修看不懂的关系，再修时间失焦，最后修技术瑕疵。不得先调色、做片头或选海报来逃避结构问题。\n\n**创作者最终权：**导师可以给出明确实验命令，但不拥有成片最终剪辑权。剧组若不采用建议，必须在变更日志中用银幕证据说明替代方案，而不是以“我就喜欢”结束讨论。\n\n### Day 10｜交片：先把电影放出来\n\n**当日转化：**把“永远可以再改”变成一个诚实、可播放、可继续修订的版本。  \n**中央问题：**什么已经完成，什么必须被写进九十天修订合同？\n\n| 时间 | 活动 | 方法 | 交付／检查 |\n|---|---|---|---|\n| 09:00–11:30 | 锁定内部首映结构 | 只修阻断观看的问题 | V3 锁画候选 |\n| 11:30–13:00 | 声音、字幕、片尾与权利 | 基础响度、字幕校对、署名、音乐与授权核对 | 放映包 v0.8 |\n| 14:00–15:30 | 技术 QC | 从头到尾实播；检查音画、黑帧、字体、文件 | QC 单签字 |\n| 15:30–16:30 | 个人方法档案 | 对照 Day 1 基线，写出三项保留／三项停止 | 档案 v0.5 |\n| 16:30–18:00 | 内部首映 | 五部片连续播放；不在片前解释 | 观众反馈 |\n| 19:00–20:30 | 终评圆桌 | 作品、团队、伦理、失败与下一版 | 90 天修改合同 |\n| 20:30–21:00 | 归档与离场 | 素材归属、硬盘、设备、费用和联系方式清账 | 交接完成 |\n\n**Day 10 最低作品包：**6–10 分钟可播放文件；临时或校对版中英文字幕；3 张剧照候选；logline；300 字导演阐述草稿；预算实际表；署名与权利清单；修改合同。海报、预告、精混、精调和正式母版进入 Day +45 完成阶段，不强行在一天内假装专业完成。\n\n**结营句：**\n\n> 你的意图不是辩护牌。我们先看影片实际让观众经历了什么，再决定下一刀是否必要。\n\n## 7. 反馈、考核与结营：让严格不等于羞辱\n\n### 7.1 “不解释看片 2.0”完整协议\n\n“不解释”只用于检验影片能否独立成立，不用于取消作者人格、语境或最终决定权。每次看片严格按十步进行：\n\n1. 创作者只报片名、版本号和片长，不做意图陈述。\n2. 从头到尾连续播放，中途不暂停、不教学。\n3. 黑场后全场静默三十秒，每人先写再说。\n4. 前三分钟只报告银幕事实：看见什么、听见什么、何时失去方向；暂不评价“好坏”。\n5. 观众回答五题：关系何时变化？注意力何时游移？哪句对白可删？哪个镜头只剩漂亮？结束后留下什么？\n6. 创作者前八分钟只记录，不辩护、不解释制作困难。\n7. 创作者随后只可提出两个澄清问题，不逐条反驳。\n8. 记录员把反馈标成四类：银幕事实、观众反应、方法假设、下一版实验。\n9. 导师最多给三项高优先级实验，并说明其对应的银幕证据。\n10. 作者保留最终选择，但在变更日志中写明“采用／不采用／替代实验”和原因。\n\n禁止把审美偏好伪装成事实。禁止人格判断、讽刺、围攻、替作者讲“真正想表达什么”，也禁止用行业资历压过影片证据。导师可以说“02:13 后关系信息消失了”，不能说“你根本不懂电影”。\n\n### 7.2 十五人如何得到真实反馈\n\n每日个人练习采用三个五人看片室平行运行，每室由一位导师或受训助教主持；每人获得约十二分钟结构化反馈，并带走时间码记录。全班只复盘三至五个具有代表性的案例，避免十五份作业被公开点评拖成“少数人获得全部注意力”。五部核心短片则在全班完整放映。\n\n| 反馈层级 | 对象 | 频率 | 标准时长 | 留痕 |\n|---|---|---|---|---|\n| 自评 | 每位学员 | 每个练习后 | 8 分钟 | 创作日志 |\n| 五人看片室 | 每位学员 | Day 1–6 每日 | 12 分钟／人 | 时间码反馈单 |\n| 导师个诊 | 每位学员 | 三次 | 30＋20＋45 分钟 | 个人方法档案 |\n| 剧组看片 | 五部短片 | Day 9、10、+21、+45 | 20–30 分钟／片 | 版本变更日志 |\n| 全班复盘 | 代表案例 | 每日一次 | 60–75 分钟 | 方法卡 |\n\n### 7.3 三态考核，而不是虚假分数游戏\n\n每项练习只给三种教学状态：\n\n- **PASS：**约束已真正改变创作决定，作品可进入下一步。\n- **RETAKE：**关键约束未出现或交付损坏，须在限定窗口重做最小版本。\n- **KEEP：**作品未必“成功”，但暴露出值得保留的方法发现；进入个人方法档案。\n\n最终短片使用百分制量表，但分数只用于诊断，不对外宣称排名：\n\n| 维度 | 权重 | 可观察标准 |\n|---|---:|---|\n| 人物关系与变化 | 20 | 不靠作者解释也能辨认欲望、阻力与变化时刻 |\n| 持续时间 | 20 | 镜头长度产生等待、压力、犹豫或转变，而非只是“长” |\n| 空间组织 | 15 | 站位、距离、进出画和画外空间参与叙事 |\n| 表演与对白 | 15 | 行动先于说明；对白有对象、有策略、可被沉默替代 |\n| 声音与画外 | 10 | 声音不是补丁，至少一次改变观众对画内事件的理解 |\n| 剪辑与删减 | 10 | 每次切换有关系依据；能说明删除带来的结构变化 |\n| 限制转化 | 5 | 时间、预算、地点限制被转化为形式决定 |\n| 伦理、权利与交付 | 5 | 授权、署名、数据、字幕、文件与安全记录完整 |\n| 合计 | 100 | 70 分为完成线；任一权利／安全红线未关闭则不得正式结营 |\n\n### 7.4 防止“只有五位导演毕业”\n\n五部短片不等于只有五个人拥有成果。每位学员必须完成：两项个人导演练习、一个核心短片明确岗位、一份个人贡献日志、一份个人方法档案和一条下一部片计划。剧组每日互评“承诺、协作、判断、照料”四项；导师结合拍摄日志和文件版本核验贡献，不允许以片尾署名替代实际劳动。\n\n### 7.5 结营条件与补交窗口\n\n“参加过”与“完成课程”分开。正式结营需同时满足：核心营出勤不少于 90%；两项个人导演练习通过或完成补拍；核心短片岗位履约；权利、安全、数据无未关闭红灯；Day +45 提交正式作品包；Day +90 完成方法档案终稿。因健康、家庭或不可抗力缺席者可进入一次等价补交窗口，不以熬夜惩罚替代学习。\n\n正式作品包包括：放映母版、网页审片版、中英文字幕、海报、三张剧照、logline、300–500 字导演阐述、完整演职员表、音乐与肖像／场地授权索引、最终预算、版本日志和素材归档清单。\n\n## 8. 制作与运营系统：把创作自由放在可靠地板上\n\n### 8.1 五个三人剧组的岗位设计\n\n每组三个主要岗位为导演／编剧、摄影／灯光、录音／制片；剪辑由组内一人主责、另一人复核。岗位可在个人练习中轮换，但 Day 7 绿灯后，短片最终决策链必须固定。\n\n| 决策 | 第一责任人 | 必须会签者 | 无法一致时 |\n|---|---|---|---|\n| 表演、调度、镜头与最终剪辑 | 导演 | 摄影、录音／制片 | 导演决定并记录代价 |\n| 曝光、焦点、机位可行性 | 摄影 | 导演 | 先完成安全可用版本 |\n| 声音可录性与现场安静 | 录音 | 导演、制片 | 声音红灯可暂停拍摄 |\n| 预算、授权、通告和安全 | 制片 | 导演、课程制片 | 课程制片拥有安全否决权 |\n| 数据格式化 | DIT／数据责任人 | 制片、素材持有人 | 未双备份一律禁止 |\n| 署名与公开传播 | 全组 | 课程方 | 按签署章程处理，不默认授权 |\n\n团队章程在 Day 7 现场签署，至少写清：角色、决策权、署名顺序、费用权限、素材持有、成片所有权、对外投稿、宣传授权、冲突升级、成员退出和项目终止。\n\n### 8.2 设备与场地最低配置\n\n课程方准备五套同级基础包和一套机动备件。每套包含可锁定参数的摄像机／相机、两块以上电池、足量存储卡、标准变焦或两枚基础定焦、脚架、ND、基础 LED 灯、无线或吊杆收音、监听耳机、场记与读卡器。另设五个剪辑席、校准方向一致的放映空间、共享存储和两套独立备份介质。\n\n设备不是卖点中心。招生页只承诺“完成任务所需的基础制作条件”，不以昂贵器材制造虚假价值。自带设备须在 T-3 前完成格式、供电、声音和导入测试；课程方不保证支持未经申报的特殊机型。\n\n### 8.3 每组 ¥1,200 创作金\n\n| 类目 | 建议上限 | 用途 |\n|---|---:|---|\n| 交通 | ¥300 | 演员与必要设备的本地交通 |\n| 演员餐食／交通补贴 | ¥300 | 非工资性质的基础照料；专业演员另行审批 |\n| 道具与服化 | ¥200 | 只购买镜头中不可替代之物 |\n| 场地与沟通 | ¥100 | 小额许可、打印或管理成本 |\n| 耗材 | ¥100 | 胶带、电池、存储转接等 |\n| 机动 | ¥200 | 经制片负责人批准的不可预见成本 |\n| 合计 | ¥1,200 | 报销需票据或可核验记录 |\n\n学员不得通过私自加钱改变组内权力和影片规模。确有必要的新增支出须全组书面同意并经课程制片审批；否则不报销、也不得把个人垫资变成额外署名或最终剪辑权。\n\n### 8.4 素材、命名与备份\n\n项目代码统一为 `TI26-G01` 至 `TI26-G05`；文件夹固定为 `01_CAMERA / 02_AUDIO / 03_PROJECT / 04_EXPORT / 05_DOCS / 06_RIGHTS`。文件名采用 `项目_日期_场次_镜次_条次_设备`。每日收工必须完成：源卡只读导入、两份独立介质复制、文件数量与容量核对、关键片段抽播、声音同步抽检、摄制日志入库、两名责任人签名。只有完成以上动作才能清卡。\n\n交付统一为原始项目帧率的 1920×1080 H.264 审片文件、48kHz 音频、中英文 UTF-8 字幕和无字幕干净版；正式母版参数由实际放映渠道确定，不提前用“电影节规格”包装普通文件。\n\n### 8.5 安全红线与开机条件\n\n默认只招收年满十八周岁的学员。以下内容未经书面风险评估、专业负责人和课程制片批准不得拍摄：机动车行驶中表演或操作设备；夜间偏远地点；水域、高处、火焰、烟雾、武器或仿真武器；打斗、裸露或亲密场面；未成年人；大型人群、封路、动物；进入限制区域；偷拍可识别个人；让非专业人员承担特技。\n\n每日开机卡必须确认人员健康、天气、交通、场地许可、演员同意、紧急联系人、最近医疗点、撤离路线、饮水餐食、收工时间、设备安全和数据责任人。任何人都可因即时危险喊停；课程方的安全否决权高于导演决定。严重天气、公共卫生事件或场地撤权时，优先执行备用场景，不以“艺术需要”逼迫成员冒险。\n\n### 8.6 权利、隐私与作品归属\n\n表演者、场地、音乐、档案素材和可识别私人信息均需有可追溯授权。街景中的偶然人物应尽量规避、虚化或取得同意；敏感真实经历不得因“纪录感”而绕过知情同意。\n\n默认原则是：课程方不因授课自动取得学员作品的永久、独家或无偿商业使用权。五个剧组须在团队章程中明确作品共同权利、导演版本权、投稿决定和收益分配。课程方若要在下一期招生中使用片段、剧照或学员评价，必须另设可撤回范围明确的宣传授权；拒绝宣传授权不影响录取、教学或结营。\n\n### 8.7 无障碍、身心与冲突处理\n\n招生前公开场地通行条件、每日时长、夜间安排、字幕和饮食信息，并提供合理便利申报。现场设置可短暂离开的安静区、固定用餐和强制休息；不把通宵、羞辱、喝酒应酬或身体透支当作“电影人仪式”。\n\n冲突按四级升级：当事人十分钟事实对齐；组内制片主持；课程制片与导师联合调解；涉及骚扰、歧视、暴力、严重安全或权利问题时立即隔离并由课程负责人处理。所有投诉须有独立联络渠道，投诉者不得因此失去作品或学习机会。\n\n## 9. 招生系统：不是抢座，而是互相选择\n\n### 9.1 首期漏斗假设\n\n首期不要用“名额快没了”代替真实筛选。以下数字是供预算和排期使用的试点假设，开售后每周复盘，不作为传播承诺：\n\n| 环节 | 目标数 | 转化假设 | 判断标准 |\n|---|---:|---:|---|\n| 高相关落地页访问 | 300 | — | 完整阅读或停留达到设定阈值 |\n| 有效申请 | 80 | 26.7% | 申请表、60 秒作品和时间承诺齐全 |\n| 书面评分 ≥70 | 40 | 50.0% | 至少两位评审独立评分 |\n| 面谈 | 25 | 62.5% | 20 分钟结构化面谈完成 |\n| 录取与候补 | 18＋5 | — | 兼顾能力、角色和群体安全 |\n| 完成签约付款 | 15 | 83.3%／录取 | 合同、健康与权利告知完成 |\n\n若有效申请不足四十，不降低标准制造满班；可延长招募或将开营下限设为十二人。十二人以下应延期或取消，并按合同退款，因为导师比例、剧组结构和财务均已改变。\n\n### 9.2 申请不是作品炫技比赛\n\n申请人提交：一部不超过六十秒、可用手机完成的“等待某件小事发生”单镜头；一百五十字说明自己删掉了什么；一件做完过的小作品链接；十天全时段与后续九十天可用性；最想改掉的一个创作习惯；合作冲突实例；健康、无障碍和设备信息。允许无电影专业背景者申请，不要求昂贵器材或成熟 showreel。\n\n| 书面评分维度 | 权重 | 评审提示 |\n|---|---:|---|\n| 观察力 | 25 | 是否真的看见关系、动作和环境变化 |\n| 具体性 | 20 | 是否用可拍的事实，而非宏大概念回答 |\n| 完成能力 | 20 | 是否有把小东西做完、修订和交付的证据 |\n| 合作能力 | 15 | 能否说明冲突中的责任与调整，不只归咎他人 |\n| 接受反馈 | 10 | 能否区分作品问题与自我价值 |\n| 时间与技术可行性 | 10 | 是否能完整投入并完成基本文件工作 |\n| 合计 | 100 | 两位评审差距超过 15 分时进入第三评审 |\n\n一票否决只用于安全与共同体风险，例如：明确拒绝授权和安全规则；公开表达骚扰、歧视或报复意图；要求保证获奖、升学、签约；无法参与关键日期且拒绝等价安排；作品存在明显权利侵害且拒绝修正。审美不同、器材普通、学历不足不是拒绝理由。\n\n### 9.3 二十分钟结构化面谈\n\n| 分钟 | 问题 | 要观察的不是“标准答案” |\n|---:|---|---|\n| 0–3 | 为什么是现在？ | 真实阻力与投入理由 |\n| 3–7 | 逐秒复盘申请片 | 能否看见自己做过的决定 |\n| 7–11 | 最近一次没做完什么？ | 对失败的归因与修正能力 |\n| 11–15 | 如果你的提案没被选中？ | 合作、岗位价值与自我边界 |\n| 15–18 | 接受一条现场反馈并提出实验 | 是否能把防御转成行动 |\n| 18–20 | 双向问答与风险确认 | 对课程强度、费用和非保证边界是否知情 |\n\n面谈结束后分别记录“录取、候补、暂不适合”和理由，不边聊边许诺。录取构成应兼顾导演冲动、摄影感、声音敏感、组织能力和不同生活经验，避免十五位都只想争夺导演署名。\n\n### 9.4 录取与支付流程\n\n申请免费。录取通知同时提供完整课程表、费用包含／不含、师资与实际投入、退出与退款、作品权利、安全规则、隐私告知和合同样本；至少给申请人合理阅读期。付款只进入合同主体账户并开具合法凭证，不收个人转账、不以“内部名额”绕开合同。\n\n## 10. 让人想报名的销售叙事\n\n### 10.1 核心定位\n\n这不是“十天学会导演”，而是一套把观察、等待、空间、关系、声音和删减变成可重复导演动作的创作实验室。¥8,888 的价值不由课时堆积证明，而由稀缺注意力、真实制作、个人诊断、完整交付和九十天修订闭环共同证明。\n\n**一句话：**十五个人，用十天把五段真实时间拍成电影，再用九十天把一次冲动变成自己的方法。\n\n**传播钉子：**\n\n- 你不是没有故事。你只是太快把它剪掉了。\n- 不是来听懂“时间影像”，是来让一段时间在你的镜头里真正发生。\n- 不是来听课，是来交片；不是 Day 10 假装毕业，是 Day +45 真正交付。\n- 电影真正开始的地方，往往是你本来想剪掉的那几秒。\n\n### 10.2 公开招生页成稿\n\n#### 首屏\n\n> **你不是没有故事。你只是太快把它剪掉了。**  \n> **《别急着切》｜时间影像导演实验室**  \n> 15 人｜10 天核心营｜5 部短片｜90 天完成支持｜¥8,888  \n> 不是来听懂时间影像，是来让一段时间在你的镜头里真正发生。  \n> **主按钮：提交 60 秒申请片**　**次按钮：查看完整十天日程**\n\n首屏下方必须直接显示城市、核心营日期、每日时段、申请截止、面谈日期、开营下限和费用不包含项，不把重要成本藏到 FAQ。\n\n#### 你可能卡在这里\n\n你写了很多故事，却不知道镜头为什么必须留在这里；你一紧张就加对白，一无聊就切镜头；你拍过片，但现场总被器材、演员和时间拖着走；你收到过很多“挺有感觉”的夸奖，却没人告诉你观众到底在哪一秒失去关系；你参加过课，笔记留下了，作品没有。\n\n这门课不替你发明一个宏大故事。它会把你放进一系列越来越难的限制：只拍生活半径，只用一个长镜头，用空间改变权力，让声音制造画外，让一句对白从电影里消失。到第七天，十五个提案只留下五个；到第十天，五个剧组交出能从头播到尾的内部首映版；此后九十天继续完成修订、字幕、权利与正式作品包。\n\n#### 十天之后，你会带走什么\n\n每位学员带走两项个人导演练习、一部核心短片的明确主创岗位、至少三次个人诊断记录、一份时间码反馈档案、一份个人导演方法档案和一条九十天下一部片计划。全班共同完成五部 6–10 分钟短片，每组获得 ¥1,200 创作金和基础制作条件。\n\n我们保证提供已经写进交付清单的教学、反馈、设备、制作和修订支持；不保证获奖、入围、升学、就业、签约、流量或“十天成为导演”。作品是否进入公开放映，取决于 Day +45 的完成度、全部权利状态和创作者自愿。\n\n#### 你会经历的十个动作\n\n第一天，看见；第二天，等待；第三天，占据空间；第四天，触发；第五天，删对白；第六天，听画外；第七天，选择；第八天，承担；第九天，重剪；第十天，交付。每一天都有可播放作业、约束、看片、时间码反馈和通过／重做条件。\n\n#### 适合谁\n\n适合做过零到三部短片、正处于“会拍但不知道为什么这样拍”的年轻创作者；写作者、摄影者、演员、声音创作者和制片也可申请，只要愿意真正完成作品、承担剧组岗位、让影片在不解释的情况下接受观看。\n\n不适合只想旁听、无法完整投入十天、拒绝合作岗位、需要结果保证、把昂贵器材等同于电影、拒绝授权与安全规则，或只希望导师替自己完成作品的人。\n\n#### 为什么只有十五人\n\n因为每日个人作业需要分成三个五人看片室；因为每位学员有三次个人触点；因为五个三人剧组已经是主导师和制片安全系统可以真实照看的上限。十五不是稀缺话术，而是教学结构。\n\n#### 费用\n\n¥8,888／人。包含申请后入学诊断、十天核心教学、基础拍摄与剪辑条件、每组 ¥1,200 创作金、三次个人诊断、九十天版本支持、作品包模板和内部首映。不包含往返城市的交通、住宿、个人餐饮、个人硬盘、超出绿灯方案的演员／场地／美术支出、第三方节展报名和个别作品的特殊版权采购。\n\n先申请，后录取，再签约付款。若课程方取消，按合同退还已收未履行费用；学员退出按书面合同、当地适用规则、已履行服务和已实际发生且可核验的第三方成本处理。不会用“概不退款”替代清晰规则。\n\n#### 如何申请\n\n用手机拍一条不超过六十秒的单镜头：等待一件小事发生。再用一百五十字告诉我们，你删掉了什么、为什么。提交申请表后，入围者参加二十分钟线上面谈。我们看观察、具体、完成与合作，不看学校光环、器材价格和粉丝数。\n\n#### 最后一句\n\n> 如果你愿意把镜头多留三秒，把解释少说一句，把一个小小的关系变化做到底——把那六十秒发来。我们从那里开始。\n\n### 10.3 六周招募节奏\n\n| 周次 | 内容主题 | 核心资产 | 行动目标 |\n|---|---|---|---|\n| W-6 | 宣布命题 | 45 秒主片＋创始说明 | 进入等候名单 |\n| W-5 | 为什么“别急着切” | 三条逐镜案例，不使用未授权片段 | 阅读方法页 |\n| W-4 | 十天怎么发生 | 日程图、导师工作方式、设备边界 | 参加线上说明会 |\n| W-3 | 展示过程证据 | 匿名反馈单、绿灯包、版本日志样例 | 开始申请 |\n| W-2 | 回答价格与强度 | 费用包含／不含、一天实录、非保证声明 | 完成申请片 |\n| W-1 | 面谈与最后答疑 | 公开问题汇总，不制造虚假倒计时 | 截止申请 |\n\n内容比例建议：40% 方法演示，25% 学习过程，20% 人与创作困境，10% 运营透明，5% 直接招生。首期没有真实学员结果时，禁止编造评价或借用他人经历；以教案、反馈表、试看片和导师具体工作证明产品。\n\n### 10.4 五封转化邮件／私域长消息\n\n1. **你为什么总在真正发生前切掉？** 给一个三镜头前后对照，引导完成六十秒练习。\n2. **一天不是一节课，而是一轮创作。** 展示“命题—拍摄—看片—重做—归档”的真实节奏。\n3. **¥8,888 买的不是十天座位。** 透明列出 21＋10＋90、三次个诊、创作金和作品包。\n4. **提案没被选中，是否就白来了？** 解释两项个人作品、贡献日志和下一部片卡。\n5. **报名前请先确认五件事。** 时间、强度、合作、费用不含、无结果保证；给出申请截止和咨询入口。\n\n### 10.5 常见异议的诚实回答\n\n| 异议 | 回答 |\n|---|---|\n| 十天能学会导演吗？ | 不能。十天建立一套可重复动作，九十天用于把动作变成方法。 |\n| 我没专业相机能来吗？ | 可以。申请用手机；核心营提供基础拍摄条件，但需会基本文件操作。 |\n| 我的提案没选上怎么办？ | 仍完成两项个人导演练习、核心短片主创岗位、个诊和个人方法档案。 |\n| 能保证成片进电影节吗？ | 不能。我们保证交付支持，不保证任何第三方结果。 |\n| 为什么不是公开卖票？ | 因为十五人必须能协作并完整投入，申请也是双方确认风险和期待。 |\n| 价格为什么是 ¥8,888？ | 价值由小班导师注意力、真实拍摄、创作金、三次个诊与九十天完成闭环构成，明细公开。 |\n| 可以只上理论课吗？ | 不可以。作品和反馈是主课程，理论服务于当日决定。 |\n| 住宿和餐饮包含吗？ | 默认不含；城市、合作场地或住宿方案确定后必须在付款前书面披露。 |\n\n## 11. 财务模型：先证明 ¥8,888 能兑现\n\n### 11.1 满班基准损益\n\n十五人每人 ¥8,888，含税前口径总收入为 **¥133,320**。以下是首期内部预算假设，必须在城市、主体税务、师资和场地报价确定后重算，不可直接当作财务承诺：\n\n| 成本项 | 预算 | 说明 |\n|---|---:|---|\n| 主导师 | ¥22,000 | 备课、核心营、关键看片与后续节点 |\n| 两位导师／助教 | ¥18,000 | 平行看片室、剧组覆盖、个诊和复盘 |\n| 课程制片／安全／DIT | ¥8,000 | 绿灯、安全、数据、设备与交付统筹 |\n| 场地与内部放映 | ¥9,000 | 教室、剪辑空间、基础放映与管理 |\n| 设备与数据 | ¥5,000 | 五套基础包补足、存储、备件和损耗 |\n| 五组创作金 | ¥6,000 | 每组 ¥1,200，专款专用 |\n| 保险、权利与基础音乐 | ¥3,000 | 以实际产品、授权和地区要求为准 |\n| 入学诊断与后续支持 | ¥5,000 | 三次个人触点和四个版本节点 |\n| 材料、打印与字幕模板 | ¥2,000 | 学员包、表单、现场耗材 |\n| 直接成本机动 | ¥5,000 | 约占上述直接成本 6.4% |\n| 直接交付成本合计 | **¥83,000** | 不含获客、支付、税与长期管理成本 |\n\n满班直接贡献为 ¥50,320，直接贡献率约 37.7%。再预留首期内容制作、获客、支付渠道等 ¥12,000 后，运营贡献约 ¥38,320，约占收入 28.7%，仍未扣税、固定人员和机构间接成本。\n\n这个模型成立的前提是住宿、跨城交通和学员个人餐饮不包含在 ¥8,888 内；若课程方希望包住、包餐或邀请高成本明星嘉宾，必须增加赞助、压缩其他成本或重新定价，不能事后减少导师注意力和创作金。\n\n### 11.2 开营下限与现金规则\n\n建议合同写明十二人开营下限。按满班模型，十二人收入为 ¥106,656；部分创作金、支付和材料随人数下降，但师资、场地与制作核心成本不会同比下降，因此十二人只代表可谨慎执行，不代表仍有满班利润。\n\n课程不得把报名款与导师个人生活账户混用。设置项目成本中心，创作金、退款准备和税费单列；开营前保留足以承担课程取消退款的现金，不把下一期收入用于填补本期交付。所有临时削减都必须先守住三项：教学比例、作品安全、学员已承诺交付。\n\n### 11.3 折扣与奖学金\n\n不建议公开使用“原价 ¥19,800，首期 ¥8,888”这类无真实成交基础的锚定价。若要降低门槛，可设一至两席有明确资金来源的创作支持金，由同一评审标准录取，金额和义务透明；不得要求获助者用好评、宣传肖像或额外劳动交换。付款分期需依法、书面、同价或明确成本，不以消费贷弱化总价感知。\n\n## 12. 合同、退款与传播边界\n\n### 12.1 合同必须逐项写清\n\n签约主体、课程名称、城市与场地、日期时段、总费用与支付、包含和不含、师资最低配置、开营人数、设备条件、作品交付、个人诊断次数、缺席补交、课程变更、退出退款、课程方取消、不可抗力、健康安全、数据隐私、投诉渠道、肖像与宣传授权、作品权利、争议处理和法律适用。\n\n课程内容、价格、退款方式、违约责任等不应只留在聊天记录。预付式服务应以清晰书面合同承载，具体文本由运营地熟悉教育／文化培训和消费者规则的律师复核。\n\n### 12.2 建议退款机制的原则版本\n\n- 申请阶段不收费；录取后提供合同样本和合理阅读期。\n- 课程方未达到约定开营条件而取消，退还已收未履行费用；已代购且可退的第三方费用同步退回。\n- 学员在开营前退出，按合同退还未履行部分，可扣除须事前披露、已实际发生且不可退且可举证的第三方成本；不得笼统写“定金一律不退”。\n- 开营后退出，按已履行服务、已占用且不可回收资源和当地适用规则结算；计算公式须在付款前可见。\n- 课程重大改期、城市变更、核心师资不符合约定或交付显著缩水时，提供继续、转期或依法退款的真实选择。\n- 健康、家庭紧急情况和不可抗力设置转期或等价补交，不用个案善意替代一般规则。\n\n此处只给产品原则，不构成特定地区法律意见。最终条款必须根据运营城市、办学／培训属性、预付资金管理、税务和场地规则审查。\n\n### 12.3 可说、慎说、不能说\n\n| 层级 | 示例 |\n|---|---|\n| 可核验后公开 | 15 人；10 天核心营；五个三人剧组；每组 ¥1,200 创作金；三次个人触点；90 天版本支持；交付清单 |\n| 需加边界 | “时间影像方法”应表述为本课程对公开实践的教学重构；“南电”若使用，须有商标、品牌与主体授权且不得造成学历学校误认 |\n| 不应公开 | 保证获奖／入围／升学／就业／签约；“官方指定”“某院校同等学历”“唯一正统”；无法证明的导师战绩、学员收入、满员倒计时和虚假原价 |\n\n三份材料足以支持一个高强度十天创作工作坊及相关公开练习，却不足以证明“南电”具有学历教育资质，也不足以证明“时间影像”是南鑫导演公开命名并系统发表的独立理论。因此品牌若无完整授权，建议公开主品牌只用《别急着切｜时间影像导演实验室》，把“南电”留在内部研究背景，不作为机构资质暗示。\n\n### 12.4 师资与嘉宾承诺\n\n销售页应公示实际承担教学的人、角色和最低在场节点，不把只来一场分享的嘉宾放在主导师同等位置。嘉宾未签约前只能标注“拟邀”，不能以头像和作品促成付款。主导师发生不可替代变化时，按合同提供透明通知和选择，不用“同等师资”四字单方决定。\n\n## 13. 八周上线作战图\n\n| 时间 | 负责人 | 必须完成 | 放行条件 |\n|---|---|---|---|\n| W-8 | 课程负责人＋法务／运营 | 锁主体、城市、日期、预算、合同原则 | 八个关键决策全部有负责人 |\n| W-7 | 教学组 | 完成任务书、量表、反馈协议、导师培训 | 三位教学者用同一案例校准 |\n| W-6 | 制片＋场地 | 场地、设备、保险、风险与备用方案 | 五组可同时拍剪存储 |\n| W-6 | 招生负责人 | 落地页、申请表、隐私告知、主片 | 所有公开数字可核验 |\n| W-5 至 W-2 | 招生＋内容 | 说明会、内容发布、申请答疑、周报 | 不以虚假稀缺促单 |\n| W-3 至 W-1 | 双评审＋主导师 | 书审、面谈、录取、候补、签约 | 评审记录完整、利益冲突披露 |\n| W-1 | 全组 | 学员诊断、分组信息、设备测试、应急演练 | 红色风险为零 |\n| Day 1–10 | 教学＋制片 | 按闸门执行核心营 | 每日收工报告 |\n| +7 至 +90 | 后期导师＋制片 | 四次版本节点、作品包、方法档案 | +45 权利与 QC 通过 |\n| +100 | 课程负责人 | 项目复盘与下一期开关 | KPI、投诉、财务、作品证据齐全 |\n\n### 13.1 最小 RACI\n\n| 工作 | 最终负责 A | 执行 R | 咨询 C | 知会 I |\n|---|---|---|---|---|\n| 教学标准与最终选片 | 主导师 | 三位教学者 | 制片、学员评审 | 全班 |\n| 安全、场地与绿灯 | 课程制片 | 各组制片 | 主导师、场地方 | 全员 |\n| 数据与设备 | 课程制片 | DIT／设备负责人 | 各组摄影 | 全员 |\n| 招生与广告表述 | 课程负责人 | 招生负责人 | 法务、主导师 | 教学组 |\n| 合同、退款与隐私 | 运营主体 | 运营／法务 | 财务、招生 | 学员 |\n| 作品权利与宣传授权 | 作品共同权利人 | 各组制片 | 课程方 | 相关表演者 |\n| 后续版本与结营 | 主导师 | 后期导师、各组 | 制片 | 全班 |\n\n### 13.2 首期验收仪表盘\n\n| 指标 | 首期目标 | 预警线 | 证据 |\n|---|---:|---:|---|\n| 有效申请 | 60＋ | <40 | 完整申请记录 |\n| 付费学员 | 15 | <12 延期／取消评估 | 合同与凭证 |\n| 核心营平均出勤 | ≥90% | <85% | 签到与补交 |\n| 完成两项个人导演练习 | 15／15 | <13 | 可播放文件与反馈单 |\n| Day 10 可播放内部版 | 5／5 | <4 | QC 记录 |\n| Day +45 正式作品包 | ≥4／5 | <3 | 权利、字幕与母版 |\n| Day +90 方法档案 | ≥12／15 | <10 | 个人档案终稿 |\n| 数据丢失／重大安全事故 | 0 | 任何一次即停盘复盘 | 事故与备份日志 |\n| 结构化满意度 | ≥8.5／10 | <7.5 | 匿名问卷；不换取宣传授权 |\n| 获客成本 | ≤¥800／付费人 | >¥1,200 | 可归因支出；仅为试点目标 |\n\n不以获奖数量作为首期核心 KPI。更重要的是：所有人是否真正被看到、影片是否完成、反馈是否改变版本、权利是否干净、团队是否安全、课程是否按承诺交付。\n\n## 14. 直接可用的运营模板\n\n### 14.1 申请表\n\n1. 基本信息、城市、年龄与紧急联系人；是否年满十八周岁。\n2. 上传“等待某件小事发生”的六十秒单镜头，并说明拍摄设备。\n3. 用一百五十字写：你删掉了什么，为什么？\n4. 分享一件你做完过的作品；说明你在其中实际承担的岗位。\n5. 最近一次没有做完的创作是什么？卡在哪里？\n6. 描述一次合作冲突：你做错了什么，后来如何处理？\n7. 如果你的提案未入选五部短片，你愿意承担哪些岗位？\n8. 你最想停止的一个创作习惯是什么？\n9. 能否完整参加全部核心日期和四个后续节点？\n10. 设备、健康、饮食、无障碍、用药和需要私下沟通的信息。\n11. 确认已阅读费用、强度、非保证、隐私与作品权利概要。\n\n### 14.2 一页绿灯单\n\n**项目：**片名／代码／导演／剧组／版本。  \n**必要性：**一句关系、一件触发事件、一个不可替代地点、一段必须持续的时间。  \n**执行：**片长／演员／地点／镜头上限／拍摄时段／天气备份／交通／预算。  \n**权利：**演员、场地、音乐、档案、商标、隐私。  \n**安全：**健康、动作、夜间、交通、水火高处、未成年人、亲密／暴力、紧急联系人。  \n**数据：**机型、格式、卡、双备份、责任人。  \n**判定：**内容□绿□黄□红；执行□绿□黄□红；权利□绿□黄□红；安全□绿□黄□红；数据□绿□黄□红。任一红灯不得开机。\n\n### 14.3 不解释看片反馈单\n\n- 片名／版本／片长／观看日期。\n- 我第一次明确人物关系的时间码：____。\n- 关系真正改变的时间码：____；发生了什么：____。\n- 我第一次失去注意力的时间码：____；银幕事实：____。\n- 一句可删对白：____；删后可能得到：____。\n- 一个只剩漂亮的镜头：____；它没有完成：____。\n- 一个值得保留的声音／空白／动作：____。\n- 三项优先实验：①____ ②____ ③____。\n- 类型勾选：□银幕事实 □观众反应 □方法假设 □修改实验。\n- 创作者决定：□采用 □不采用 □替代；版本日志编号：____。\n\n### 14.4 每日安全与 DIT 收工单\n\n- 人员全部安全离场；无未报告伤病、骚扰或冲突。\n- 场地、演员、道具与设备已交接，无待处理损坏。\n- A 卡源素材导入主盘；B 盘独立复制；容量与文件数核对。\n- 随机抽播关键画面；声音文件打开并与场记对应。\n- 摄制日志、声音报告、费用凭证、授权变更归档。\n- 两位责任人签名；明确“可清卡／禁止清卡”。\n- 次日天气、交通、演员、场地和高风险动作重新确认。\n\n### 14.5 正式作品包终检\n\n- 片长、片名、片尾、版本号一致；全片从头到尾实播。\n- 无黑帧、离线媒体、错误字体、爆音、明显不同步或字幕越界。\n- 中英文字幕校对，专名与片尾署名取得本人确认。\n- 表演者、场地、音乐、档案与特殊元素授权索引完整。\n- 放映母版、审片版、干净版、字幕、剧照、海报和文本齐全。\n- 原始素材、工程文件、字体／插件依赖、最终音频与导出记录归档。\n- 全组确认最终署名、投稿决定、宣传授权和素材保管人。\n\n## 15. 开售前必须锁定的八个决定\n\n1. **品牌权利：**《别急着切》、“时间影像”、“南电”分别由谁拥有、谁可公开使用。\n2. **主体与城市：**谁签合同、收款、开票、处理退款和投诉；当地具体规则是什么。\n3. **师资排班：**三位教学者与制片／安全／DIT 是否真实签约，三次个诊如何计入工时。\n4. **日期与时长：**十天是否连续、每日最晚收工、Day 8 拍摄交通与备用日期。\n5. **住宿餐饮：**默认不含是否可接受；若提供，价格、责任和取消如何重算。\n6. **设备场地：**五组是否能同时拍、剪、看、存；无障碍与保险条件是否满足。\n7. **合同文本：**退款、变更、隐私、宣传授权、作品共同权利和争议机制是否审查。\n8. **首期证明：**开售前能公开哪一份教案、反馈样例、试拍或导师工作证据；绝不填造学员成功故事。\n\n八项中任一涉及品牌授权、收款主体、核心师资、场地安全或退款文本的决定未锁定，均不建议开放付款。可以先开放免费等候名单和申请片练习，以真实反馈继续校准产品。\n\n## 16. 研究边界与外部参照\n\n本全案以三份本地 DOCX 为一手材料束：2026-08-08-南鑫南电与时间影像课程设计三份DOCX材料束（馆内参考，未随本文公开）。可确认的核心是：约十天、高强度、小规模的提案—写作—拍摄—剪辑—讲评工作坊实践，以及空间、触发事件、长镜头、剪辑等公开作业线索。不能据此确认“南电”为学历学校，不能把教学重构后的“时间影像”包装成已由南鑫本人完整发表的理论，也不能把材料中的估算、转述或搜索摘要升级为招生事实。\n\n为校准产品机制，本案另参考以下当前官方公开页：\n\n- [FIRST 青年电影展 2026 训练营征片页](https://www.firstfilm.org.cn/entries/training-camp-entry/)：用于比较申请、作品材料与筛选流程，不作为价格锚点。\n- [Sundance Collab 导演线上密集课页](https://collab.sundance.org/catalog/Directing-Television-Intensive)：用于比较申请式小班、时间投入和付款信息披露，不视为同类本地产品。\n- [Film Independent 导演实验室页](https://www.filmindependent.org/programs/artist-development/directing-lab/)：用于比较场景排练、创意导师、反馈与行业表达模块；其项目状态和周期与本课程不同。\n- [国家市场监督管理总局《消费者权益保护法实施条例》页面](https://www.samr.gov.cn/zw/zfxxgk/fdzdgknr/bgt/art/2024/art_0aea188276a44f0baf940ab95ee00e0a.html)：用于预付服务合同与消费者信息边界。\n- [北京市市场监督管理局教育培训广告提示](https://scjgj.beijing.gov.cn/zwxx/scjgdt/202401/t20240126_3546050.html)：用于招生效果承诺与机构背书边界；最终须按实际运营地审查。\n- [市场监管总局合同示范文本库中的文化艺术类校外培训服务合同](https://htsfwb.samr.gov.cn/View?id=5aca0e73-9d84-49f4-aa03-89dcf5ea4653)：只作为透明条款结构参考，不当然适用于所有地区和成人课程。\n\n## 17. 最终产品判断\n\n¥8,888 可以成立，但成立的不是“十天听南鑫讲电影”，而是一个边界清楚的 **21 天入学准备＋10 天核心创作＋90 天完成支持** 系统。它必须同时兑现十五人上限、三位教学者、三次个人触点、两项个人作品、五部剧组短片、每组创作金、结构化反馈、版本闭环和可靠的安全／权利／数据地板。\n\n如果只能交付讲座、集体看片和五位导演的作品，这个价格不成立；如果能把上述注意力和完成系统做实，价格就不再靠名人、焦虑或虚假结果证明，而靠学员在离开以后仍能重复使用的方法证明。\n\n> **真正值得 ¥8,888 的，不是十天被激励，而是从此知道：镜头为什么留下，什么时候才该切。**\n\n## 相关概念与后续\n\n- [现场流](/research/hs-f1753922fc3d5068)：本课程借用“让事件在持续时间中发生”的工作原则，但不把不同创作体系混称为同一理论来源。\n- [影像制度](/research/hs-c01af2f6779f8f88)：课程把观看、反馈、权利、数据和结营做成可审计的制作制度。\n- 后续应在品牌授权、城市、主体、日期、师资和合同锁定后，生成对外正式版招生页、合同附件、导师手册与学员手册。","paragraphs":[{"id":"hs-6f8ba7489825fb1f#p-fb8b2be37aa651fd-1","anchor":"p-fb8b2be37aa651fd-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-fb8b2be37aa651fd-1","kind":"h2","headingPath":["别急着切：时间影像导演实验室"],"text":"别急着切：时间影像导演实验室","textSha256":"845a0d36c4acfe1398b6fd25d1d1e98fc8919df04ddf6fe9ad7c6c9f64f10e9b","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-3792372999fcdc1e-1","anchor":"p-3792372999fcdc1e-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-3792372999fcdc1e-1","kind":"p","headingPath":["别急着切：时间影像导演实验室"],"text":"[!info] 公开品牌更新（2026-08-09）\n本页继续作为课程产品、教学、运营、财务与合规全案。公开招生主品牌已改为 时间现场：21+10+90 作者电影创作计划（馆内参考，未随本文公开）；《别急着切》降为课程内部的持续时间练习与反馈语言，不再占据公开门头。","textSha256":"164596e204fe58d727c71378d69c2ccb861aef72216b7db6d025ed35b9f8e9e5","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-041f6726d3433311-1","anchor":"p-041f6726d3433311-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-041f6726d3433311-1","kind":"h2","headingPath":["¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持"],"text":"¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持","textSha256":"3374005e149102ff356921cd0b3a3eed3ac36b0143aea7971103b70f7f686348","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-155b18c137fa5157-1","anchor":"p-155b18c137fa5157-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-155b18c137fa5157-1","kind":"p","headingPath":["¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持"],"text":"把你本来会剪掉的时间，拍成一部只有你能拍的电影。","textSha256":"44944357d1ffa9600ed8e015214f5f3ad30dd0b2eb897c3b5359f3d5206ab8b5","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-c8ffb8d4938eb6a4-1","anchor":"p-c8ffb8d4938eb6a4-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-c8ffb8d4938eb6a4-1","kind":"p","headingPath":["¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持"],"text":"这不是一门“听懂时间影像”的课。它是一条完整的创作结果链：先诊断你为什么一直没有完成，再用十天让时间、空间和关系真正进入镜头，最后用九十天把作品修到能够公开呈现。","textSha256":"725414172565da015d97fa0b1319a479a4b0537c27a3a65c84954cef2019b311","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-294ba5952a89b44d-1","anchor":"p-294ba5952a89b44d-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-294ba5952a89b44d-1","kind":"p","headingPath":["¥8,888 × 15 人 × 10 天核心营 × 90 天完成支持"],"text":"文档性质： 课程产品、教学、招生、运营、财务与合规全案。 推荐版本： 首期验证版 v1.0。 默认假设： 18 岁以上成人；线下集中创作；交通、住宿由学员自理；课程提供基础器材、每组制作金、场地、保险与公开/内部首映条件。若举办城市、讲师、住宿政策或场地条件变化，财务与合规章节必须同步重算。","textSha256":"0ea63e4db09daaac0ce4836fb8f80f8a8b05e30bcb715452aba6cd5df9820d67","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-4cbdbcedccfea987-1","anchor":"p-4cbdbcedccfea987-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-4cbdbcedccfea987-1","kind":"h2","headingPath":["0. 一页决策摘要"],"text":"0. 一页决策摘要","textSha256":"14fb56e586aa7df43b2a8f7a719459233c3d89c22a9f5a7a2ec9187fed0f660f","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-f73b9ce379425a79-1","anchor":"p-f73b9ce379425a79-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-f73b9ce379425a79-1","kind":"h3","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"推荐产品定案","textSha256":"f13529db92798292a2f6d2409927e862f146c9600eec56626bb399d6f16fca8b","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-e3f6032394130c5c-1","anchor":"p-e3f6032394130c5c-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-e3f6032394130c5c-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"决策项 推荐定案 为什么","textSha256":"23160b69c96564d462f228e14c7e945acf346a717f18ff39aa63e2dbca46d8a8","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-3c3c97ed44488395-1","anchor":"p-3c3c97ed44488395-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-3c3c97ed44488395-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"主品牌 别急着切 有电影语言，也有行动态度；能长期扩展为系列","textSha256":"85423e089eb3753d72d54abc13185fcbbf57e2e803cd5cfe392b229137993818","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-b27afe8149d2fb00-1","anchor":"p-b27afe8149d2fb00-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-b27afe8149d2fb00-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"完整名称 《别急着切：时间影像导演实验室》 同时解决记忆度与课程品类识别","textSha256":"172d01ce43f575d8969ccacc2fc0d5c1f64ee697c5ca87459d4aa3c45c3afe41","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-a2a26f5886a333e2-1","anchor":"p-a2a26f5886a333e2-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-a2a26f5886a333e2-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"核心承诺 10 天完成创作闭环，90 天完成作品与作者方法档案 具体、可验收，不冒充“十天成为导演”","textSha256":"b3eed8960f2af3a214f158f1934afcfd686abaa47288e0991d9f891cff79fd94","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-900ba607d1b4a35e-1","anchor":"p-900ba607d1b4a35e-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-900ba607d1b4a35e-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"价格 ¥8,888／人 价格建立在稀缺反馈、1:5 教学比、真实制作资源与 90 天支持，而非知识目录","textSha256":"39a82f391591bcda06e545a4f38e309100ba708bae06a5561a0c0b92eb686cd2","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-d33d46804cd32fe1-1","anchor":"p-d33d46804cd32fe1-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-d33d46804cd32fe1-1","kind":"tr","headingPath":["0. 一页决策摘要","推荐产品定案"],"text":"人数 15 人，申请制，硬上限 15 正好组成 5 个三人剧组；三位教学人员形成 1:5 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事情发生以后，谁原来的计划不再可能？","textSha256":"6fe30c15efa9feeb0068aaeb7e985cae849e7ee50624cce19d710536785461c5","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-e4e179076d8f9d54-4","anchor":"p-e4e179076d8f9d54-4","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-e4e179076d8f9d54-4","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 4｜触发：把水搅浑"],"text":"时间 活动 方法 交付／检查","textSha256":"49b96208974374271e67bef3b31557ec794af8d3afb35862a2fa4f263f3c2afe","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-5382af891657a6f0-1","anchor":"p-5382af891657a6f0-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-5382af891657a6f0-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 4｜触发：把水搅浑"],"text":"09:30–10:20 事件前／后练习 用两张照片描述平衡如何变化 状态 A／状态 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三拍事件图","textSha256":"475b41e786576e4daa39f9e651593d4446e1f77b51b2676d7096fa7cd6521dd8","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-84cbc514b7874d6f-1","anchor":"p-84cbc514b7874d6f-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-84cbc514b7874d6f-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 4｜触发：把水搅浑"],"text":"13:30–14:15 45 秒闸门排练 事件须在开头 45 秒内发生 可执行走台","textSha256":"700e8afc3943be1e0b5548e21b67708e7340c56d6cde8b8cd5c02856ba7260a4","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-a2f128f83039bcdb-1","anchor":"p-a2f128f83039bcdb-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-a2f128f83039bcdb-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 4｜触发：把水搅浑"],"text":"14:15–17:30 拍摄 最多 5 个镜头，优先少切 3 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观众能说出事件前后至少一名人物的计划或关系发生变化；即便删掉一句解释台词，事件仍成立。","textSha256":"16d1e94e275e5c3886eab01699395fa07488ef9760661b851b93d9f3af7d428b","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-4f6491d2b87fc8fc-1","anchor":"p-4f6491d2b87fc8fc-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-4f6491d2b87fc8fc-1","kind":"h3","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"Day 5｜删话：有些话不能说出来","textSha256":"a968726f7cad044a9788aa7a4ed38c32329e393209ab3b0b30b491c862ae988b","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-d4acb58c168a1bc3-1","anchor":"p-d4acb58c168a1bc3-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-d4acb58c168a1bc3-1","kind":"p","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"当日转化： 从“写人物心理”转向“给演员可执行的欲望与行为”。 中央问题： 人物不说真正目的，观众还能看见它吗？","textSha256":"d7478135703eb8419b580e5705d3ebd06acebd56c0c9455f9aa2494602f4db67","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-e4e179076d8f9d54-5","anchor":"p-e4e179076d8f9d54-5","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-e4e179076d8f9d54-5","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"时间 活动 方法 交付／检查","textSha256":"49b96208974374271e67bef3b31557ec794af8d3afb35862a2fa4f263f3c2afe","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-78e88bd96878e202-1","anchor":"p-78e88bd96878e202-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-78e88bd96878e202-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"09:30–10:30 三人关系公式 A 想从 B 得到东西；B 真正在意 C；C 知道 A 不知道的事 关系三角","textSha256":"20f298dc1695266bfbbbf2dbaea4021949e325dffdca1696d12ce23bfb828561","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-ce7d5cba661e546b-1","anchor":"p-ce7d5cba661e546b-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-ce7d5cba661e546b-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"10:30–11:30 行为指令 “让他留下，但不能挽留”；不用“更悲伤” 每人两条行动","textSha256":"59da9222824ad9c805ca47016b370627837335c74d06b6825a8708d4c4feecf4","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-204e471f470d6a3b-1","anchor":"p-204e471f470d6a3b-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-204e471f470d6a3b-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"11:30–12:15 台词清除 标记事实、策略、解释和重复 可删 30% 清单","textSha256":"3e1cd34f228ef8e638b2c05528ec09a95dda2b888d834d05385628ae95eb6857","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-311feda0bd5ca396-1","anchor":"p-311feda0bd5ca396-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-311feda0bd5ca396-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"13:30–15:15 第一版排演与拍摄 允许原始对白 版本 A","textSha256":"94e5be13f2ab3685ec4549cdfac31513ec6a4f7b7497bd2718bb3f132988291d","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-c70b3a9da8fe1c43-1","anchor":"p-c70b3a9da8fe1c43-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-c70b3a9da8fe1c43-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"15:15–17:30 删除与重拍 删除至少 30% 对白，改变停顿与行动 版本 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个人方法卡","textSha256":"e134eec70a1dbbfac78f8ca194b0bcd136ea45d28c08e7a11232d1928bf37265","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-5c488eeef01b8332-1","anchor":"p-5c488eeef01b8332-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-5c488eeef01b8332-1","kind":"tr","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"20:50–21:00 提前收束 恢复睡眠与后半程体力 —","textSha256":"5ce4d2ebe23179a1996a795671f515a92c76914a72042f573c8da900c82be3b0","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-590f45e6a59df325-1","anchor":"p-590f45e6a59df325-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-590f45e6a59df325-1","kind":"p","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"反馈纪律： 不说“演员不够专业”；先判断导演给出的行动是否可执行、对手是否真正影响表演、摄影机是否允许沉默发生。","textSha256":"2e08c61a9733428b286e49e76f2725e3dc79ee10fe5b4ce51f40b078f4703055","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-939b225077f93e0a-1","anchor":"p-939b225077f93e0a-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-939b225077f93e0a-1","kind":"p","headingPath":["6. 十天逐日教学与执行脚本","Day 5｜删话：有些话不能说出来"],"text":"RETAKE 条件： 人物用台词把人物小传说完；沉默只是空白；删除对白后剧情完全无法理解，说明行动和场面没有承担信息。","textSha256":"298a9d1340d0d94a3ef4d6abd5bb991492e418be90a45a1a42d6635a1f3d02b5","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-115373f364154163-1","anchor":"p-115373f364154163-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-115373f364154163-1","kind":"h3","headingPath":["6. 十天逐日教学与执行脚本","Day 6｜听见：画外的人也在场"],"text":"Day 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时间、强度、合作、费用不含、无结果保证；给出申请截止和咨询入口。","textSha256":"a333104b8e39d7a1d69c65ef629b731d841db97958ed37e63d40873af1eb66e6","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-67448e706b237d43-1","anchor":"p-67448e706b237d43-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-67448e706b237d43-1","kind":"h3","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"10.5 常见异议的诚实回答","textSha256":"4ebd0ea347518bf248d64ed67bebcc893940dc279015536d79e4e17b733d0588","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-cc4f831ea1b9f49a-1","anchor":"p-cc4f831ea1b9f49a-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-cc4f831ea1b9f49a-1","kind":"tr","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"异议 回答","textSha256":"68be3c2a60d762c9a8936750e27ecba3f79d78e7e467fdb51ba7a326bd1911d3","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-3e03460888acc8b9-1","anchor":"p-3e03460888acc8b9-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-3e03460888acc8b9-1","kind":"tr","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"十天能学会导演吗？ 不能。十天建立一套可重复动作，九十天用于把动作变成方法。","textSha256":"0d09c241b935cd3f0613cf5d6b465650174795c3743873bb2cc19c61a693812b","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-3b467c721cce2511-1","anchor":"p-3b467c721cce2511-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-3b467c721cce2511-1","kind":"tr","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"我没专业相机能来吗？ 可以。申请用手机；核心营提供基础拍摄条件，但需会基本文件操作。","textSha256":"75af85b5ddcae803d39774a205c24c4901108cf690cf3aa179418a82904fbe67","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-9e33ef63f731be85-1","anchor":"p-9e33ef63f731be85-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-9e33ef63f731be85-1","kind":"tr","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"我的提案没选上怎么办？ 仍完成两项个人导演练习、核心短片主创岗位、个诊和个人方法档案。","textSha256":"8cd0d3757828df16357092afa6750468833bc6165e5d221ff7586c30d687055c","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-dbc87ee856e76953-1","anchor":"p-dbc87ee856e76953-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-dbc87ee856e76953-1","kind":"tr","headingPath":["10. 让人想报名的销售叙事","10.5 常见异议的诚实回答"],"text":"能保证成片进电影节吗？ 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默认不含；城市、合作场地或住宿方案确定后必须在付款前书面披露。","textSha256":"645d15ec536538323cbb77cb675159969343d331783adb16e1fdf569f9d418f3","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-920af1bf89e1c42c-1","anchor":"p-920af1bf89e1c42c-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-920af1bf89e1c42c-1","kind":"h2","headingPath":["11. 财务模型：先证明 ¥8,888 能兑现"],"text":"11. 财务模型：先证明 ¥8,888 能兑现","textSha256":"ea9c9e7200326a07d6e7add3352c13d039167a450584bcb3a8c525d9b0156a63","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-c55b162c05e9735b-1","anchor":"p-c55b162c05e9735b-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-c55b162c05e9735b-1","kind":"h3","headingPath":["11. 财务模型：先证明 ¥8,888 能兑现","11.1 满班基准损益"],"text":"11.1 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教室、剪辑空间、基础放映与管理","textSha256":"a90d12b7dafc9286469098ec42032f682cc4a321a231d3e76590b62d28de106a","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-a2d42253f548543f-1","anchor":"p-a2d42253f548543f-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-a2d42253f548543f-1","kind":"tr","headingPath":["11. 财务模型：先证明 ¥8,888 能兑现","11.1 满班基准损益"],"text":"设备与数据 ¥5,000 五套基础包补足、存储、备件和损耗","textSha256":"35d84765af77c2911db4a6accbc7c1b65d23dd1ac07cbdf63a37e634bc597fec","links":[],"images":[]},{"id":"hs-6f8ba7489825fb1f#p-62d8acc720a8d4c2-1","anchor":"p-62d8acc720a8d4c2-1","url":"https://a.p4theater.top/research/hs-6f8ba7489825fb1f#p-62d8acc720a8d4c2-1","kind":"tr","headingPath":["11. 财务模型：先证明 ¥8,888 能兑现","11.1 满班基准损益"],"text":"五组创作金 ¥6,000 每组 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