📚 Year 8 CCEA Media: Formula & Theorem Quick Reference Handbook | Year 8 CCEA 媒体：公式定理速查手册
Welcome to your Year 8 CCEA Media formula and theorem quick reference guide. In Media Studies, we use 'formulas' and 'theories' to describe how images, sound, video and stories are constructed. These ideas help us analyse media texts and also create our own digital products. From the rule of thirds in photography to the way narrative unfolds, and from colour mixing to file‑size calculations, this handbook brings together the key concepts you need for CCEA Media work. Each entry is designed to be easy to understand and memorise, acting as your pocket toolkit for media literacy and production.
欢迎使用 Year 8 CCEA 媒体公式定理速查手册。在媒体研究中，我们使用“公式”和“定理”来描述图像、声音、视频和故事是如何被构建的。这些概念能帮助我们分析媒体文本，也能指导我们制作自己的数字作品。从摄影的三分法到叙事展开的方式，从色彩混合到文件大小计算，这本手册汇集了 CCEA 媒体课程所需的关键概念。每一条目都力求简单易懂、便于记忆，成为你媒体素养和媒体制作的随身工具箱。
1. Narrative Structure Formula | 叙事结构公式
Most stories in films, TV dramas and advertisements follow a simple pattern. Todorov's narrative theory suggests that a story moves through five stages: equilibrium, disruption, recognition, attempt to repair, and new equilibrium. We can think of it as a formula: Equilibrium → Disruption → Recognition → Repair Attempt → New Equilibrium. This structure keeps audiences engaged and is used across many media genres.
电影、电视剧和广告中的大多数故事都遵循一个简单的模式。托多罗夫的叙事理论认为，故事会经历五个阶段：均衡、破坏、认知、尝试修复和新均衡。我们可以把它看作一个公式：均衡 → 破坏 → 认知 → 尝试修复 → 新均衡。这种结构能保持观众的参与度，被广泛应用于各类媒体体裁中。
2. Rule of Thirds Composition Formula | 三分法构图公式
The rule of thirds is a visual design 'theorem' that places key elements along imaginary grid lines. Divide the frame into nine equal rectangles with two horizontal and two vertical lines. The formula states that the most visually pleasing compositions occur when the main subject is positioned at any of the four intersection points. This technique is used in photography, film and graphic design to create balance and interest.
三分法是一个视觉设计“定理”，它将关键元素放置在想象出来的网格线上。用两条水平线和两条垂直线把画面分成九个相等的矩形。这个公式表明，当主体物位于四个交叉点中的任意一点时，构图在视觉上最为舒适。这一技术被用于摄影、电影和平面设计，以创造平衡感和趣味性。
3. Shot Size + Emotion Connection | 镜头尺寸与情感联结
In moving image media, the camera's distance from the subject acts like a formula for emotional response. A close‑up shot (CU) reveals detail and intimacy; a medium shot (MS) shows body language and context; a long shot (LS) establishes the environment. The 'theorem' is: Closer shot = stronger emotional connection. Directors choose shot sizes deliberately to guide how we feel about a character.
在动态影像媒体中，摄影机与被摄对象的距离如同一个引发情感反应的公式。特写镜头（CU）展现细节和亲密感；中景镜头（MS）展示肢体语言和语境；远景镜头（LS）交代环境。这条“定理”就是：镜头越近 = 情感联结越强。导演会刻意选择镜头尺寸，以引导我们对角色的感受。
4. Colour Theory: RGB and CMYK Mixing | 色彩理论：RGB 和 CMYK 混合
Colour mixing in digital media follows two essential formulas. For on‑screen displays (additive colour), the primary colours are Red, Green, Blue. The mixing rule is: ed + Green = Yellow; Red + Blue = Magenta; Green + Blue = Cyan; Red + Green + Blue = White. For printed media (subtractive colour), the formula uses Cyan, Magenta, Yellow and Key (black): CMYK. Understanding these colour systems helps you create accurate graphics for screen or print.
数字媒体中的色彩混合遵循两个基本公式。对于屏幕显示（加色法），三原色是红、绿、蓝。混合规则为：红 + 绿 = 黄；红 + 蓝 = 品红；绿 + 蓝 = 青；红 + 绿 + 蓝 = 白。对于印刷媒体（减色法），公式使用青、品红、黄和黑色（K）：CMYK。理解这些色彩体系有助于你为屏幕或印刷品创建准确的图形。
5. Digital Image Resolution Formula | 数字图像分辨率公式
Every digital photograph is made of tiny squares called pixels. The total number of pixels determines the image detail. The resolution formula is simple:
Total Pixels = Horizontal Pixels × Vertical Pixels
pixels). When you are sourcing images for media projects, this formula helps you decide if a picture has enough detail for the required output size.
每张数字照片都由称为像素的小方块组成。像素总数量决定了图像细节。分辨率公式很简单：
总像素数 = 水平像素数 × 垂直像素数
例如，一张全高清图像有 1920 × 1080 = 2,073,600 像素（约 200 万像素）。在为媒体项目寻找图片时，这个公式可以帮助你判断图片是否有足够的细节用于所需的输出尺寸。
6. Image File Size Calculation | 图像文件大小计算
Once you know the pixel dimensions and colour depth, you can estimate the file size of an uncompressed image. The formula is:
File Size (bits) = Width × Height × Bit Depth
Often we convert bits to bytes by dividing by 8. For a 1920×1080 image with 24‑ Media producers use this theorem to plan storage and loading times for websites and apps.
一旦知道了像素尺寸和色彩深度，就可以估算未压缩图像的文件大小。公式为：
文件大小（比特） = 宽 × 高 × 位深度
我们通常通过除以 8 将比特转换为字节。对于一张 1920×1080、24 位色彩（每个 RGB 通道 8 位）的图像，原始数据大小为 1920 × 1080 × 24 = 49,766,400 比特，约合 5.93 MB。媒体制作人运用此定理来规划网站和应用中的存储与加载时间。
7. Bitrate Formula for Video and Audio | 视频与音频的比特率公式
Bitrate controls the quality and file size of digital video and audio. It is the number of bits processed per second. The basic theorem for a media file is:
File Size (bits) = Bitrate × Time (seconds)
80 Mb, or 60 MB. Choosing the right bitrate is a balancing act between quality and storage – a crucial skill when exporting a media project.
比特率控制着数字视频和音频的质量与文件大小。它是每秒处理的比特数。媒体文件的基本定理为：
文件大小（比特） = 比特率 × 时间（秒）
如果一个视频的比特率是 8 Mbps（兆比特每秒），时长为 60 秒，那么文件大小为 8 × 60 = 480 Mb，即 60 MB。选择合适的比特率需要在质量与存储之间找到平衡——这是导出媒体项目时的关键技能。
8. Nyquist Sampling Theorem for Audio | 音频中的奈奎斯特采样定理
When recording audio digitally, we must capture enough samples to represent the sound accurately. The Nyquist Theorem provides the golden rule: Sample Rate ≥ 2 × Highest Frequency. Human hearing ranges up to about 20 kHz, so CD‑quality audio uses a 44.1 kHz sample rate. Media students should recall this formula to understand why poor sampling leads to distorted or low‑quality audio in their projects.
在进行数字音频录制时，我们必须获取足够多的样本来准确地表现声音。奈奎斯特定理给出了黄金法则：采样率 ≥ 2 × 最高频率。人类的听觉范围大约最高到 20 kHz，因此 CD 品质的音频使用 44.1 kHz 的采样率。媒体专业的学生要记住这个公式，以理解为什么采样不当会导致项目中的音频失真或音质低下。
9. Encoding/Decoding Communication Model | 编码/解码传播模型
Stuart Hall's encoding/decoding theory acts like a social formula for understanding how media messages are produced and read. The process is: Producer encodes meaning → Text carries preferred meaning → Audience decodes meaning. However, audiences do not always accept the intended message; they can take a dominant, negotiated or oppositional reading. This theorem reminds us that communication is not one‑way and that audience background influences interpretation.
斯图亚特·霍尔的编码/解码理论就像一个解读媒体信息生产与接收的社会公式。其过程为：制作者对含义进行编码 → 文本承载首选意义 → 受众对含义进行解码。然而，受众并不总是接受预期的信息；他们可以采取主导式、协商式或对抗式的解读。这条定理提醒我们，传播并非单向的，受众的背景会影响其对信息的诠释。
10. SMCR Media Communication Formula | SMCR 媒体传播公式
The basic communication model often used in media studies is the SMCR model: Source → Message → Channel → Receiver. This formula helps you analyse any media product by asking: Who created it? What is the message? Through which medium? Who is the target audience? When you add Feedback and Noise, you get a more complete picture of how media communication works in the real world.
媒体研究中常用的基本传播模型是 SMCR 模型：信源 → 信息 → 渠道 → 接收者。这个公式帮助你分析任何媒体产品，只需提出以下问题：谁创作了它？传递了什么信息？通过哪种媒介？目标受众是谁？当你加入反馈和噪音时，就能更完整地理解媒体传播在现实世界中的运作方式。
11. Visual Weight Balance Equation | 视觉重量平衡方程
In graphic design and film composition, every visual element carries a 'weight'. The informal formula for a balanced frame is: Weight of Object × Distance from Centre = Constant (analogous to the physics lever principle). A large, dark object near the centre can be balanced by a smaller, brighter object near the edge. Media creators use this theorem to arrange text, images and empty space so that the audience's eye feels comfortable.
在平面设计和电影构图中，每个视觉元素都带有“重量”。平衡画面的非正式公式为：物体的重量 × 到中心的距离 = 常数（类似于物理杠杆原理）。一个靠近中心的大型深色物体可以被一个靠近边缘的较小亮色物体所平衡。媒体创作者运用这一定理来安排文字、图像和留白，让观众的眼睛感到舒适。
12. Montage Cutting Rhythm Formula | 蒙太奇剪辑节奏公式
Film editors think of cutting rhythm as a mathematical pattern. A quick‑cut montage formula might be: Shot Duration = Base Duration / Intensity of Action. Fast action and high emotion demand shorter shots (0.5–1 second), while calm scenes use longer takes (3–5 seconds). This 'timing theorem' shapes the energy and pace of a video sequence, influencing how the audience experiences time.
电影剪辑师会把剪辑节奏视为一种数学模式。一个快剪蒙太奇公式可能是：镜头时长 = 基准时长 / 动作强度。快速的动作和高情绪需要更短的镜头（0.5–1 秒），而平静的场景使用更长的镜头（3–5 秒）。这条“时长定理”塑造了视频片段的能量和节奏，影响着观众对时间的体验。
Published by TutorHao | Media Studies Revision Series | aleveler.com
更多咨询请联系16621398022（同微信）
或截图后用「扫一扫 → 相册」选择本图