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发表于 2013-9-5 22:12:35 | 显示全部楼层 |阅读模式
My colleague, Csaba Pépp offered his help from thebeginning, and he linked the frames together in [the animation software] Toonsin good quality.
I love how slimy this character is-- from hisexpressions, to his hair, to his personally tailored suit which says a lotabout the kind of person he is.
Csaba Pépp是我同事,从一开始就用Toons(动漫软件)帮我很好的把画面连贯起来。我很喜欢这个反面人物-从他的表情、头发以及裁剪得体的西装都能充分揭示这是一个什么样的人。

How did you begin to envision this character?
你是怎么创作出这样一个人物的?

Based on the voice, I imagined a tall figure with alongish face. As he pronounces "...luull..., and to paciifyyyy..."words in a dazing voice, this took me in that particular direction. I thoughtof a character who is an impressive performer and the best [salesman]. He cantalk you into anything, as he dazes you with his voice and style, and he creepsinto your mind before you even notice, and takes control. In the beginning, Ihad a handsome man in a suit, but he did not have any particular feature – thehair helped a lot.
从他...luull...,paciifyyyy这种带尾音的发音,我想象这是一个有着长脸的人物。正是基于声音,使我有了大致的方向。我想找一个令人印象深刻的人物角色,他的声音、格调都会引人入神,让人不得不记住。一开始,我想把它画成一个英俊潇洒的西装男,但实在是没什么特色。

I really like your pose on "pacify"--especiallysince this is the moment when the audience recognizes that we are no longer ina literal location, but in this man's mindspace. It's a very symmetrical pose,but there are some very subtle bits that keep it from twinning too much (hishair, his eyebrows, the tilt in his head).
我很喜欢那个你“pacify”的那个造型-特别是当此刻观众不只是从表面上,而是从内心里了解我们。这个造型很匀称,但细微之处(如他的头发、眉毛和略倾斜的头)保留了些许不同,从而避免完全相同。
Can you talk a bitabout how you go about building a pose for a character and keeping goodasymmetry?
你可以跟我们谈一下你是如何在为人物创建出这个造型的同时恰到好处的保留出它的不对称呢?
That's why editing was needed in the animation, to moveto this world step by step.
这就体现出了为什么动漫编辑需要逐步将人物鲜活化了。
Since I progressed linearly in my work, this part came torealization quite slowly, because a lot of drawings were needed to set themovements in this drawn-out text. The movement of the character might be a bitboring here, but in context of the whole piece, it is placed at such a pointthat it is not disturbing, and I managed to fling it up with the locationelements.
I have to pay attention to asymmetry in general. I didn'tmanage to apply it in this scene, especially at the beginning. I deliberatelyleft rough key drawings in, where the first sketches are visible (you can see ared mass under the cleaned-up drawing). My original plan was, when we reach theend of the "pacify" phrase, the features of the character continuallyclear out and simplify until his figure is only a few distinctive lines infront of the ray of light. However, I didn't manage to fulfill it entirely.
由于我的工作是从线性化缓升的,这一块进行的很缓慢,这一冗长的剧本中,人物的运动需要很多幅画。介绍人物的运动可能有点枯燥,但在整部剧中,这一块是相当重要的,特别是在开始的时候,我曾试图用已有的图画来缩短这一块所需步骤,但在本剧中并没有成功。我特意预留了一个关键草图,第一幅草图很明显。(在终版图中你可以看到一个红点)。我原先是打算是完成“pacify”这个造型后,人物的特点就可以逐渐简明、清晰至只有要简单的勾勒几笔就可以完成。不过我最后还是没有达到这个目标。

From frames 261 - 274, I really love how the characterenters the shot in a very amorphous shape. It reminds me very much of how theGenie in Aladdin would move from pose to pose. Talk about animating in thisstyle, and coming up with his moves and gestures in this moment.
我非常欣赏261-274帧中人物以一种飘逸的方式进入银荧。与《阿拉丁中灯神》中Genie相似,姿势的变化都很精准,我非常喜欢这种风格。一谈到这种风格的动画,就会让人想到它的动作以姿势啊。
I really liked drawing this part, partly because I wasover the frightening part of doing the brain transformation. I had the chanceto carry out an experiment here! I haven't done this kind of stretching before.Since my character moved a bit stiffly in the previous scene, a little shift inthe style was possible here. After he pulled his hand in front of the dazedfamily, I had to bring back the figure, so that he could catch the brain andstep into the next scene with the globe. I wanted a little floating here, likehe was a ghost and this was matching with this floating in, as he enters.
在一定程度上由于我很不擅长转换思维,所以我很喜欢画这一部分。在这里我有机会开拓新的领域!由于之前我没有这方面的相关经验,所以人物动作比较生硬,因此可以在这里进行一下小小的风格变换。我得修改下他在迷惑的家人面前拉住他的手的图,这样他才可以跟上节奏而逐步进入下一个场景。我想把这里把它做的跟幽灵一样飘逸一点,这样与他刚出场时的飘逸就相配了。
And yes, I watched Mr. Goldberg's work all over and overagain in Aladdin.
同时,我反复仔细研读了Goldberg作品中的阿拉丁
How have your peers helped you with this scene?
在这部剧同事对你起到了什么样的帮助?

After I was finished with the animation and cleanup, Iscanned all the drawings in good quality. After that, the frames landed withCsaba Pépp, who linked them in Toons. I wanted a little spatial with the zoomin, so that is to his credit, too. If I had several options, I would always askhis opinion. It is very useful if you have somebody who is objective, and hecan see the effect of each scene and can react to your work, what is workingand what is not, or what is strange.
动漫制作及善后工作完成后,我再次游览了一遍,确保所有的画面都没有问题后,Csaba Pépp用Toons将画面连贯起来。同时他也帮我做到在放大时留一点小小的空间。在需要做选择的时候,我也总是会征询他的意见。这样可以客观的看出每一副画的好劣,这对我是很有帮助的。

Did you find yourself struggling with any part of theanimation?
In the beginning I was most afraid of the moving of thebrains. My main concern was, (and this only cleared up in the last days beforeuploading) how would I portray "power." First I thought that amushroom cloud should burst out from the fist of the promoter, which would havetransformed from the TV itself. Then I thought that a bolt of lightning wouldstrike the TV, and electric sparkles would pierce it through. The TV would havegrown bigger, but it seemed rather complicated to carry out. This was the partI asked most people about at my workplace. I asked them point blank, duringlunch or early in the morning going to work. Finally, I decided to go with thesimplest version, the flickering lightning, and to my surprise, it disturbednobody. Later, with the sound, its function became obvious.
动漫的哪一块让你觉得比较棘手?
开始的时候我最怕的是moving of the brains.最让我头痛的是要怎么刻画“能量”(仅在上传前几天的清稿中才会有)。开始的时候我准备用蘑菇云来刻画,但这会改变动漫本身想要表达的意思。然后我想到用一道闪电,这样比较有冲击力。在早晨或中午工作前的空档跟很多同事聊天的过程中,大家都表示虽然电视业迟早会壮大起来,但这也不是件轻而易举的事。最后,我决定用最简单的闪电,但令我意想不到的是,大家都很喜欢。然后是声音,声音的作用是很显然的

Talk about any new concepts you were introduced to (orre-introduced to) through the eCritique.
Thanks to Mike Walling for the critique!
I definitely have to pay attention to some importantthings. In the middle, I completely forgot about the facialexpression.  So Mike is right, I could have exploited it to
网上的评论有没有什么让你获得一些新的理念?
非常感谢Mike Walling提出的评论性意见!我通常会注意大的一些方面,然而有的时候却忽略了面部表情。Mike的批评让我意识到自己的问题。
But in my future work I will try to pay attention toavoid the same mistakes.
我以后的工作将会更多的注意这一点,避免犯同样的错误
Is there anything you'd like to add about yourthought-process or experience in October's competition?
十月份的比赛你经历了怎样的思想历程或者说有什么经验?
After the voting, when the announcement of the resultscame, I was so nervous that I went to the cinema instead. I ceased all contactwith the outside world and went into the safest place to watch Inglourious Basterds again.I saw this film immediately before the uploading of my first competition piece,but I couldn't concentrate on it. When it ended I switched on my mobile phonewith trembling hands, and immediately came a message from one of my colleaguesthat I won!
在要宣读投票结果时,我紧张到不行就去电影院看电影。我关了机中断与外界的联系,然后找了个最舒服的位置重温《无耻的坏蛋》。我的第一部作品上传前我就开始看电影,但是完全不能集中精神。电影看完后,我用颤抖的手开了机,这时就收到同事的消息说我赢得了比赛。
And the film was good, too! So I was in Heaven!
In the picture below you can see myalways–devoted-and-determined project manager (on the left side) with thecompleted scenes, and my master who is my personal trainer as well.
这部动漫获得好评了!我仿若置身天堂!!
在下面的照片中你可以看到我的项目经理(左边),他是个很有毅力有决心的人,他不仅是我的领导更是我的导师。

What advice would you offer to someone who was juststarting their animation education?
I'm going to mention some simple, trivial things.
对于一个初学动漫的人你有什么建议?
我想说几件很简单琐碎的事。
First of all, sit bolt upright! Especially if you sit infront of the computer a lot, and don'' forget to blink. Seriously! If you wantto produce in this wonderful profession for long, you have to pay attention tothese things, too.
首先,要坐直!特别是当你要经常坐在电脑前,并且要经常性的眨眼。如果你想在这一行长时间做下去的话,这是很重要的,你必须要注意这些东西。
Be persistent! And don't be frightened of bigger tasks.Dare to set about it. It might sound commonplace, but it's true: the first stepis always the most difficult. If you get past that, the rest just comesspontaneously. If you are working under deadlines, you have to find the rightorder, not to run away from it.
要有毅力!不要因为困难大就被吓到。要敢于克服。听起来都是些老生常谈的事,但这是真理:第一步都很困难。只要你跨出第一步,剩下的也就水到渠成了。如果需要赶工的话,你要先列出相应的顺序,而不是逃避问题。
Watch the work of professionals, and a lot of animation.Take a closer look of your favorite scenes step by step, frame by frame. Thenwatch those scenes which at first did not arouse your interest.
多观察那些优秀的专业人士,同时也需要看大量动漫。逐步逐帧的去看你喜欢的动漫。再认真思索哪些初始时并没有激起你的兴趣。
Finally, some inspiring citations which escort me in mylife as well as in my work:
最后,一些激人深思的引文不仅对我的工作产生影响,同时也影响了我的人生:
"There is no impossible just incapable!”
“世界上没有不可能的事,只有无能的人”
That's from an anonymous author. Or as I heard it fromTom Hanks inPhiladelphia:
"Every problem has a solution.”
记不太清楚,但这句话应该是Tom Hanks在费城时说过的
“所有的问题都有解决的方法”
And...
另外还有
Don't give up 5 minutes before the Miracle!”
山穷水复疑无路,柳暗花明又一村!
I heard this when I was collecting material and lookedthrough several films and extras. I'm not sure who said it.
这是我在收集资料看电影时听到的,也不太记得是谁说的了。
And I would like to thank again Csaba Pepp's help in mywork, and for Andrea Gabanyi the absolutely wonderful and ornate translation -because I don't speak English very well.
再三感谢Csaba Pepp对我工作上的帮助,另外我口语不好,在此我要非常感谢Andrea Gabanyi生动而精准的翻译
And finally, for inspiration, here are 11 personalfavorites from the multi-coloured palette of the Silver Screen that I can watchanytime over and over:
最后要说的是,正是由于荧屏上多彩多色11个人,让我可以随时随地的看这些电影。
  The first andmost significant of my animation experiences. Film in the film: Up, The MarriedLife. The perfect unity of the picture and music. Just a few emphasized parst:Right at the beginning, at the wedding in the first row a couple shakes eachother in joy / Ellie's movements at 1:11 / at 1:25 scene at the doctor / andthen as Michael Giacchino's sensitive music doesn't let us grieve but changesto a more vivacious tempo.
我从事动漫后的第一次经历也是影响最大的一次。影院上映的《婚后生活》中图片与音乐的完美结合。只注重强调了几个场景“婚礼刚开始的时候,第一排的一对夫妻在尽兴的跳舞/1:11分时Ellie的造型/1:25分时医生的画面/ 然后是Michael Giacchino那有感知力的音乐,非但不低沉,反而将气氛推到高潮。
  Animation withliving characters. One of the episodes of Paris, I Love You: TourEiffel. The story of a pantomime pair, from the director of The Triplets of Belleville,Sylvain Chomet.
真人版的动漫。《我爱你巴黎之艾菲尔铁塔之游》中的一幅插图。由《疯狂约会美丽都》的导演Sylvain Chomet联袂
  Roman Holiday:The Mount of Truth. This scene is an unforgettable childhood memory. I justlove how Audrey Hepburn snatches her hand away with her childish laugh. And asthis fragile beauty jumps and throws herself at Gregory Peck to help him out.What a moving distress!
罗曼假日:《真理之都》,这部剧是我童年时代不可泯灭的记忆。我很喜欢看奥黛丽.赫本孩子般无邪的笑着抽出她的手。这种脆弱的美丽让她与格里高利·派克一见如故,同时也将格里高利推至巅峰。这是怎样一段让人为之哀恸的故事!
  From Stephen Chow,from Hong Kong (on whom Chaplin's art had a great effect), one of the topscenes of Kung FuHustle. Big moment of the Screen, when Chow, who has the lead role,glances back at the knife stubbed in his shoulder, as if it were a rear-viewmirror. Compelling creativity and humour.
香港艺人周星弛,《功夫》里的巨星之一(深受卓别林影响的一位影星),主演周星弛在关键时刻瞥了一眼藏在肩膀上的刀,好像那把刀就是后视镜一样,非常的有创造力及幽默感。
  The Jungle Book (1967). One of the best songs from thehistory of Disney films, with high quality animation, I Wanna Be Like You.The most wondrous parts: all of the scenes until Baloo and the others arrive /as King Louie tries to catch Mowgli's hand to shake it / at the feeding ofMowgli: as the chimpanzee opens Mowgli's mouth, then puts the peel on his head/ King Louie points to himself with all his limbs / the dancing monkey at 2:35/ and as King Louie folds out his ears to get to know the secret of people, howto light a fire.
《我想像你一样》,不仅是迪斯尼电影历史中最好听的歌曲之一,同时也是一部高品质的动漫。经典时刻有:Baloo和其它人出场之前的所有画面/国王Louie准备跟Mowgli握手的时候/给Mowgli喂食时:黑猩猩掰开Mowgli的嘴巴,却把皮放在他头上/Louie国王四肢都指向自己时/2:35分时跳舞的猴子/国王偷听关于老百姓是如何生火的秘密。
  The Band Wagon.Delightful choreography from the stylized world of musicals. And those who tellus the story in the language of the dance: Fred Astaire and the beautiful CydCharisse.
《蓬车队》。经典音乐剧里优美的编舞。弗雷德·阿斯泰尔和美丽的赛德.查里斯向我们展示了舞蹈的语言。
  Remains of the Day,the book scene. Beautiful moment, as Anthony Hopkins does a vague, defensivehand-movement. I won't tell you when. Painfully nice!
《去日留痕》书中的场景。安东尼·霍普金斯欲拒还迎的手势是多么的优美,仿若痛苦的美丽。
  The Green Mile.The great Tom Hanks and the slightly bigger Michael Clarke Duncan's scene. JohnCoffey's monologue, with Thomas Newman's wonderful music.
《绿里奇迹》伟大的汤姆·汉克斯和年长一点迈克尔克拉克邓肯电影。约翰·科菲在托马斯·纽曼的美妙的音乐下的独白
  The biggestboxing parody of the Screen. Charlie Chaplin: City Lights. Asthe fight starts and 3 of them are dancing in the ring, with the referee in themiddle, or as Chaplin tries to force down his opponent. And so on and so on.
卓别林《城市之光》中,拳击开始时,他们中的三个围着站在擂台中间的裁判跳舞,或是卓别林跟对手决斗时等的时候,都是是荧屏史上最经典之作。
  And again,Chaplin in 1 second. Another moment from City Lights: at01:15, as he turns back and shrugs with negligence. Also, I like his facialexpression, too. Genius!
另外,卓别林《城市之光》在01:15中的姿势也是经典之作,我很喜欢他转过身满不在乎的耸耸肩时的表情。真是天作之才啊。
  And finally, oneof my favourite Hungarian scenes, about the important things in life from Mese a 12 találatról (TheTale of the 12 Winnings Numbers). And I also like the playful directness as thecamera addresses the characters.
最后要说的是一部我很喜欢的的匈牙利电影,MESE12találatról中讲述的生命中最重要的东西。另外我也很喜欢电影中幽默的编排。
I am happy to be here.
很高兴来到这里
Nice work from everybody!
跟大家合作愉快
And sit bolt upright! - Yes, You, too.
另外一定要坐直啊!-你,你都坐直了。


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