動(dòng)畫設(shè)計(jì)外文翻譯—三維動(dòng)畫過程中的美學(xué)與設(shè)計(jì)

1、<p>　　字?jǐn)?shù)：英文2872單詞，15380字符；中文4908漢字</p><p>　　出處：Sekeroglu G K. Aesthetics and design in three dimensional animation process[J]. Procedia-Social and Behavioral Sciences, 2012, 51: 812-817.</p><

2、p><b>　　外文文獻(xiàn)：　</b></p><p>　　Aesthetics and design in three dimensional animation process</p><p>　　Abstract Since the end of the 20th century, animation techniques have been widely

3、 used in productions, advertisements, movies, commercials, credits, visual effects, and so on, and have become an indispensable part of the cinema and television. The fast growth of technology and its impact on all produ

4、ction industry has enabled computer-generated animation techniques to become varied and widespread. Computer animation techniques not only saves labour and money, but it also gives the producer the </p><p>　

5、　Keywords: three dimension, animation, aesthetics, graphics, design, film</p><p>　　1.Introduction</p><p>　　Centuries ago, ancient people not only expressed themselves by painting still images on

6、 cave surfaces, but they also attempted to convey motion regarding moments and events by painting images, which later helped establish the natural course of events in history. Such concern contributed greatly to the anim

7、ation and cinema history.</p><p>　　First examples of animation, which dates back approximately four centuries ago, represents milestones in history of cinema. Eadweard J. Muybridge took several photographs w

8、ith multiple cameras (Figure 1) and assembled the individual images into a motion picture and invented the movie projector called Zoopraxiscope and with the projection he held in 1887 he was also regarded as the inventor

9、 of an early movie projector. In that aspect, Frenchmen Louis and Auguste Lumière brothers are often credite</p><p>　　Figure 1. Eadweard J. Muybridge’s first animated picture </p><p>　　J. S

10、tuart Blackton clearly recognised that the animated film could be a viable aesthetic and economic vehicle outside the context of orthodox live action cinema. In particular, his movie titled The Haunted Hotel (1907) inclu

11、ded impressive supernatural sequences, and convinced audiences and financiers alike that the animated film had unlimited potential. (Wells, 1998:14)</p><p>　　“Praxinoscope” - invented by Frenchman Charles-&#

12、201;mile Reynaud - is one of the motion picture related tools which was developed and improved in time, and the invention is considered to be the beginning of the history of animated films, in the modern sense of the wor

13、d. At the beginning of the 20th century, animated films produced through hand-drawn animation technique proved very popular, and the world history was marked by the most recognisable cartoon characters in the world that

14、were produced th</p><p>　　Nazi regime in Germany leads to several important animation film productions. When Goebbels could no longer import Disney movies, he commissioned all animation studios to develop th

15、eatrical cartoons. Upon this, Hans Fischerkoesen began to produce animation films and by end of the war, he produced over a thousand cartoons (Moritz, 2003:320).</p><p>　　In due course, animated films became

16、 increasingly popular, resulting in new and sizable sectors, and the advances in technology made expansion possible. From then on, the computer-generated productions, which thrived in the 1980's, snowballed into the

17、indispensable part of the modern day television and cinema.</p><p>　　The American animated movie Aladdin grossed over 495 million dollars worldwide, and represented the success of the American animation indu

18、stry, which then led to an expansion into animated movies which targeted adults (Ayd?n, 2010:110).</p><p>　　Japan is possibly just as assertive in the animation films as America. Following the success of the

19、 first Japanese animation (anime) called The White Snake Enchantress 1958 (Figure 2)which resulted in awards in Venice, Mexico and Berlin film festivals, Japanese animes became ever so popular, which led to continuous in

20、ternational success. For example, the movie titled Spirited Away won an Oscar for Best Animated Feature Film, and became the winner of the top prize at this year's Berlin film festi</p><p>　　Figure 2. Th

21、e White Snake Enchantress 1958</p><p>　　2.Three Dimensional Animation</p><p>　　The development of animation techniques, a process that can be traced back to the 18th century brought with it a th

22、ematic variety in animation genres. Today, animation techniques based on cartoons, puppets, stop-motion, shadow, cut-out and time lapse can be applied both manually and based on digital technology. Furthermore the use of

23、 3D computer graphics in the 1976-dated film "Futureworld" opened the way for this technology to be in high demand in a variety of industries. 3D animations occupy a</p><p>　　By help of the support

24、 coming from the homeland, and its form oriented realistic format, Disney characters have been amongst the top animated characters. In order to achieve a realistic production, Disney even kept animals such as horses, dee

25、r, and rabbits in the studios, while the artists studied their form, movements and behaviour. As for human characters, famous movie stars of the period were hired as a reference point for human form and behaviour. (G

26、6;kçearslan, 2009:80).</p><p>　　Another American movie "Shrek" (2001) created by William Steig, whose book Shrek (1990) formed basis for the DreamWorks Pictures full length 3D animation film,

27、attracted millions of people. The movie is a great example of a clever and aesthetically pleasing combination of powerful imagination and realistic design. Also, by means of certain dialogues and jokes, the theme of &quo

28、t;value judgement" is simplified in a way that it is also understood by children. These are amongst two undeniable factors wh</p><p>　　Most successful 3D animation movies are of American make. The impor

29、tance of budget, historical and political factors, as well as contextual and stylistic factors which bring in simplicity and clarity to the movies is incontrovertible.</p><p>　　“The era of the post-photograp

30、hic film has arrived, and it is clear that for the animator, the computer is essentially "another pencil". Arguably, this has already reached its zenith in PIXAR's Monsters Inc. Consequently, it remains imp

31、ortant to note that while Europe has retained a tradition of auteurist film making, also echoed elsewhere in Russia, China, and Japan, the United States has often immersed its animation within a Special Effects tradition

32、, and as an adjunct to live action cinema.” </p><p>　　3.Aesthetics and Design in Three Dimensional Animations</p><p>　　Low-budget and high-budget 3D animation movies go through the same process,

33、 regardless. This process is necessary in order to put several elements together properly.</p><p>　　The first step is to write up a short text called synopsis, which aims to outline the movie plot, content a

34、nd theme. Following the approval of the synopsis, the creative team moves on to storyboarding, where illustrations or images are displayed in sequence for the purpose of visualising the movie (Figure 3). Storyboarding pr

35、ocess reflects 3D animator's perspective and the elements that are aimed to be conveyed to the audience. The animation artists give life to a scenario, and add a touch of th</p><p>　　Figure 3: Toy Story,

36、 storyboarding, Pixar</p><p>　　Story board artists are the staple of film industry, and they are the ones who either make or break the design and aesthetics of the movie. While they their main responsibility

37、 is to enframe the movie scenes with aesthetics and design quality in mind, they are also responsible for incorporating lights, shadows and colours in a way that it enhances the realistic features of the movie.</p>

38、<p>　　The next step following storyboarding, is "timing" which is particularly important in determining the length of scenes, by taking the script into consideration. In order to achieve a realistic and

39、plausible product, meticulous mathematical calculations are required.</p><p>　　The next important step is to create characters and environment in 3D software, and finalise the production in accordance with t

40、he story-board. While character and objects are modelled in 3D software, such as 3Ds Max, Cinema 4D , Houdini, Maya, Lightwave, the background design is also created with digital art programs such as Photoshop, Illustrat

41、or, Artage, depending on the type or content of the movie (Figure: 4). Three dimensional modelling is the digital version of sculpturing. In time, with </p><p>　　Figure 4: Examples of 3D modelling (left) and

42、 background (right).</p><p>　　In a movie, the colour, light and shadow elements affect the modelled character, setting and background to a very large extent. Three dimensional computer graphics software prov

43、ides a realistic virtual studio and endless source of light combinations. Hence, the message and feeling is conveyed through an artistically sensitive and aesthetically pleasing atmosphere, created with a certain combina

44、tion of light and colours. Spot light, omni, area and direct lights are a few examples to the types of </p><p>　　Figure 5: “Ice Age”, Blue Sky Studios, 2001</p><p>　　Following the modelling and

45、finishing touches of other visual elements, each scene is animated one by one. “Actions assigned to each and every visual element within the scene have to have a meaningful connection with the story, in terms of form and

46、 content. In fact, the very fundamental principle of computer animations is that each action within the scene serves a certain purpose, and the design within the frame creates visual pleasure” . Underscoring element is a

47、lso expected to complement the v</p><p>　　In order to produce a meaningful final product in the editing phase, a careful process of storyboarding and timing have to be carried out. Skilfully executed editing

48、 can add rhythm and aesthetics to scenes. The integrity of time, setting, audio and atmosphere within a movie is also profusely important in terms of conveying the semantic rhythm. Meticulously timed fade-out, fade-in, r

49、adiance or smoke effects would allow the audience to follow the story more attentively and comfortably, and it woul</p><p>　　4. Conclusion</p><p>　　No matter how different the technological circ

50、umstances are today, and used to be back in the ancient times when humans painted images on cave surfaces, human beings have always been fascinated with visual communication. Since then, they have been striving to share

51、their experiences, achievements, wishes and dreams with other people, societies or masses. For the same purpose, people have been painting, acting, writing plays, or producing movies. Incessant desire to convey a message

52、 through visua</p><p>　　When recorded with a camera, the three dimensional aspect of reality is lost, and turned into two dimensions. In 3D animations, the aim is to emulate the reality and present the audie

53、nce an experience as close to the real life as possible. “Human eye is much more advanced than a video camera. infinite sense of depth and the ability to focus on several objects at the same time are only a few of many d

54、ifferences between a camera and the human eye. Computer-produced visuals would give the same resu</p><p>　　In conclusion, Art does not teach. Rather, art presents the full and concrete reality of the end tar

55、get. What art does is presents things "as they should be or could have been", which helps people attain such things in real life. However, this is just a secondary benefit of art. The main benefit of art is tha

56、t it provides people with a taste of what "things would be like if they were the way they were supposed to be" in real life. Such an experience is essential to human life. Surely, people can</p><p>

57、;<b>　　中文譯文：</b></p><p>　　三維動(dòng)畫過程中的美學(xué)與設(shè)計(jì)</p><p>　　摘要 自20世紀(jì)末以來，動(dòng)畫技術(shù)在生產(chǎn)、廣告、電影、商業(yè)、節(jié)目、視覺效果等方面得到了廣泛的應(yīng)用，并已經(jīng)成為影視業(yè)不可或缺的組成部分。技術(shù)的飛速發(fā)展及其對(duì)所有生產(chǎn)行業(yè)的影響，使得計(jì)算機(jī)生成的動(dòng)畫技術(shù)變得多樣化和普及化。計(jì)算機(jī)動(dòng)畫技術(shù)不僅節(jié)省了勞動(dòng)力和資金，而且還可以根

58、據(jù)給定的時(shí)間框架、場(chǎng)景和內(nèi)容，給生產(chǎn)者提供二維（2D）或三維（3D）技術(shù)的選擇。在21世紀(jì)的影視業(yè)，計(jì)算機(jī)動(dòng)畫變得比以往任何時(shí)候都重要。虛構(gòu)的人物或物體, 以及人、事件和地點(diǎn)，無論是困難的，還是昂貴的，甚至是無法拍攝的，現(xiàn)在都可以通過計(jì)算機(jī)建模技術(shù)來制作和生成動(dòng)畫。如今，有一些行業(yè)正在從這些專業(yè)技術(shù)中獲益。需求和應(yīng)用領(lǐng)域的不斷增加，將美學(xué)和設(shè)計(jì)問題納入了研究的視野，從而為應(yīng)用過程引入了新的觀點(diǎn)。不可避免，3D計(jì)算機(jī)動(dòng)畫為藝術(shù)和設(shè)計(jì)領(lǐng)域增

59、添了新的一面，并提出了這種設(shè)計(jì)中的藝術(shù)和審美價(jià)值問題。</p><p>　　關(guān)鍵詞：三維，動(dòng)畫，美學(xué)，圖形，設(shè)計(jì)，電影</p><p><b>　　1.引言</b></p><p>　　幾個(gè)世紀(jì)以前，古代人不僅通過在洞穴表面上畫靜止的圖像來表達(dá)自己，而且還嘗試通過繪畫來傳達(dá)關(guān)于時(shí)間和事件的示意，這后來有助于確立歷史事件的自然進(jìn)程。這種活動(dòng)極大地

60、推動(dòng)了動(dòng)畫和電影史的發(fā)展。</p><p>　　動(dòng)畫的第一個(gè)例子可以追溯到大約四個(gè)世紀(jì)以前，它代表了電影史上的里程碑。埃德沃德·邁布里奇用多個(gè)相機(jī)拍攝了好幾張照片（圖1），并將多個(gè)單個(gè)圖像組合成一幅運(yùn)動(dòng)畫面，還發(fā)明了名為動(dòng)物實(shí)驗(yàn)鏡的電影放映機(jī)，在1887年舉行了投影，他也被認(rèn)為是早期電影放映機(jī)的發(fā)明者。在這方面，法國(guó)人路易斯和奧古斯塔·盧米埃爾兄弟經(jīng)常被譽(yù)為發(fā)明第一部電影和電影攝影的創(chuàng)作者（1

61、895）。</p><p>　　圖1.埃德沃德·邁布里奇的第一部動(dòng)畫圖片</p><p>　　詹姆斯·斯圖爾特·布萊克頓清楚地認(rèn)識(shí)到，動(dòng)畫電影可能是正統(tǒng)的真人電影之外的可行的審美和經(jīng)濟(jì)工具。特別是，他的電影《鬧鬼的旅館》（1907）包含了令人印象深刻的超自然的鏡頭，讓觀眾和金融家們相信動(dòng)畫電影有無限的潛力（韋爾斯，1998：14）。 </p>&

62、lt;p>　　法國(guó)人埃米爾·雷諾發(fā)明的“活動(dòng)視鏡”是與電影有關(guān)的工具之一，它被及時(shí)地發(fā)展和改進(jìn)，從現(xiàn)代意義上來講，這種發(fā)明被認(rèn)為是動(dòng)畫電影歷史的開始。 20世紀(jì)初，通過手繪動(dòng)畫技術(shù)制作的動(dòng)畫電影非常受歡迎，動(dòng)畫電影歷史是以世界上最知名的卡通人物為標(biāo)志，這些卡通人物是通過動(dòng)畫制作的，如《小尼莫》（1911），《恐龍葛蒂》（1914），《盧西塔尼亞號(hào)》（1918），《小紅帽》（1922），《不來梅的四個(gè)音樂家》（1922），

63、《米老鼠》（1928），《白雪公主與七個(gè)小矮人》（1937）。</p><p>　　德國(guó)的納粹政權(quán)產(chǎn)生了幾部重要的動(dòng)畫電影作品。當(dāng)戈培爾不能再進(jìn)口迪士尼電影時(shí)，他委托所有動(dòng)畫工作室開發(fā)戲劇卡通片。在此之后，漢斯·費(fèi)什柯森開始制作動(dòng)畫電影，在戰(zhàn)爭(zhēng)結(jié)束時(shí)，他創(chuàng)作了一千多部卡通片（莫里茨，2003：320）。</p><p>　　在合適的時(shí)候，動(dòng)畫電影越來越受歡迎，產(chǎn)生了新的和相當(dāng)大的

64、產(chǎn)業(yè)，并隨著技術(shù)的進(jìn)步持續(xù)擴(kuò)展。自此，計(jì)算機(jī)產(chǎn)生的作品在20世紀(jì)80年代蓬勃發(fā)展，成為了現(xiàn)代影視業(yè)不可或缺的一部分。</p><p>　　美國(guó)動(dòng)畫電影《阿拉丁》的全球票房超過4.95億美元，代表了美國(guó)動(dòng)畫產(chǎn)業(yè)的成功，這導(dǎo)致了針對(duì)成人的動(dòng)畫電影得到進(jìn)一步發(fā)展（艾登，2010：110）。</p><p>　　像美國(guó)一樣，日本在動(dòng)畫電影方面也同樣非常出色。繼第一部日本動(dòng)畫（動(dòng)漫）《白蛇傳》（19

65、58）（圖2）獲得成功，在威尼斯、墨西哥和柏林的電影節(jié)中獲獎(jiǎng)后，日本的動(dòng)漫變得如此受歡迎，導(dǎo)致了在國(guó)際上的連續(xù)成功。例如，這部名為《千與千尋》的電影獲得了奧斯卡最佳動(dòng)畫片獎(jiǎng)，并成為當(dāng)年柏林電影節(jié)的最高獎(jiǎng)項(xiàng)得主。隨著他們?cè)趧?dòng)漫制作上的日益成功，日本成為歐洲和美國(guó)公司最想合作的動(dòng)漫產(chǎn)業(yè)中心之一。</p><p>　　圖2.白蛇傳（1958）</p><p><b>　　2.三維動(dòng)畫&

66、lt;/b></p><p>　　動(dòng)畫技術(shù)的發(fā)展，其過程可以追溯到18世紀(jì)，帶來了動(dòng)畫流派的主題變化。今天，基于漫畫、木偶、定格、投影、裁剪和延時(shí)的動(dòng)畫技術(shù)，既可以手動(dòng)應(yīng)用，也可以基于數(shù)字技術(shù)。此外，在1976年的電影《未來世界》中使用3D計(jì)算機(jī)圖形，為這項(xiàng)技術(shù)在各種行業(yè)中的高需求開辟了道路。3D動(dòng)畫在電影、電視、教育和視頻游戲方面都占據(jù)著重要地位，它們的創(chuàng)作過程無論在現(xiàn)實(shí)還是超現(xiàn)實(shí)中都是不受限制的。這種具

67、有魔力的新媒介使不可能成為可能，違背了物理學(xué)規(guī)律（Gökçearslan，2008：1），為設(shè)計(jì)師和藝術(shù)家打開一扇無限的想象之門。“特別是在八十年代的電影中，計(jì)算機(jī)輔助的動(dòng)畫效果最終成了救星，電影動(dòng)畫《終結(jié)者2》（1991）首次使用3D動(dòng)畫技術(shù)，受到了觀眾和影評(píng)人的好評(píng)”（卡巴，1992：19）?！锻婢呖倓?dòng)員》（華特迪士尼影片，1995）因其劇本、人物、背景和動(dòng)畫技巧而廣受各年齡段觀眾的喜愛，是歷史上第一部完整的3D

68、動(dòng)畫長(zhǎng)片，之后是兩部續(xù)集。</p><p>　　借助于來自本土的支持和形式化的現(xiàn)實(shí)格式，迪士尼角色躋身于動(dòng)畫角色之首。為了實(shí)現(xiàn)逼真的制作，迪士尼甚至在工作室里飼養(yǎng)動(dòng)物，如馬、鹿和兔子，而藝術(shù)家們則研究它們的形態(tài)、動(dòng)作和行為。至于人物特征，聘請(qǐng)了著名的電影明星作為人類形體和行為的參考點(diǎn)（Gökçearslan，2009：80）。</p><p>　　另一部美國(guó)電影《怪物史

69、萊克》（2001）由威廉·史塔克創(chuàng)作的，他的書《怪物史萊克》（1990）是夢(mèng)工廠電影制作的3D動(dòng)畫電影的基礎(chǔ)，吸引了數(shù)百萬人。這部電影是強(qiáng)大的想象力和現(xiàn)實(shí)設(shè)計(jì)的巧妙和美觀的組合的一個(gè)很好的例子。此外，通過某些對(duì)話和笑話，“價(jià)值判斷”的主題被簡(jiǎn)化了，也能被兒童所理解。這些都是兩個(gè)不可否認(rèn)的因素，有助于電影在全球范圍內(nèi)的成功。</p><p>　　最成功的3D動(dòng)畫電影是美國(guó)制作的。預(yù)算、歷史和政治因素，以及

70、語境和文體因素，在促成電影的簡(jiǎn)潔和清晰方面，其重要性毋容置疑。</p><p>　　“攝影后電影的時(shí)代到了，很明顯，對(duì)于動(dòng)畫師來說，電腦本質(zhì)上是‘另一支鉛筆’。可以說，這在皮克斯的《怪獸電力公司》中達(dá)到了頂峰。因此，值得注意的是，雖然歐洲也和俄羅斯、中國(guó)、日本一樣，保留了傳統(tǒng)的導(dǎo)演主創(chuàng)論電影制作，而美國(guó)經(jīng)常沉浸在其動(dòng)畫特效的傳統(tǒng)中，并將其作為真人電影的附加部分?！保f爾斯，2002：2）</p>&

71、lt;p>　　3.三維動(dòng)畫的美學(xué)與設(shè)計(jì)</p><p>　　無論是低預(yù)算的3D動(dòng)畫電影，還是高預(yù)算的3D動(dòng)畫電影，都經(jīng)歷了相同的過程。為了將幾個(gè)元素正確地放在一起，這個(gè)過程是必要的。</p><p>　　第一步是寫出一個(gè)簡(jiǎn)短的故事大綱，其目的是概述電影情節(jié)、內(nèi)容和主題。在大綱獲得批準(zhǔn)之后，創(chuàng)意團(tuán)隊(duì)繼續(xù)創(chuàng)建故事板，其中插圖或圖像按順序顯示，以便可視化電影（圖3）。故事板過程反映了3D動(dòng)

72、畫師的觀點(diǎn)，以及旨在傳達(dá)給觀眾的元素。動(dòng)畫藝術(shù)家賦予了場(chǎng)景以生命，并為角色和環(huán)境增添了個(gè)性。 亂世佳人》是首例在動(dòng)畫電影制作過程中最初使用華特迪士尼工作室的故事板技術(shù)的非動(dòng)畫電影，自20世紀(jì)40年代以來，它一直是電影業(yè)不可缺少的一部分。</p><p>　　圖3：《玩具總動(dòng)員》，故事板，皮克斯</p><p>　　故事板藝術(shù)家是電影業(yè)的主要人物，他們是創(chuàng)造或打破電影設(shè)計(jì)和美學(xué)的人。雖然他們

73、的主要責(zé)任是將心中高質(zhì)量的美學(xué)和設(shè)計(jì)制作成電影場(chǎng)景，但他們也負(fù)責(zé)整合燈光、陰影和色彩，以增強(qiáng)電影的逼真性。</p><p>　　故事板之后的下一步是以腳本為出發(fā)點(diǎn)來“定時(shí)”，這在確定場(chǎng)景長(zhǎng)度方面尤其重要。為了完成一部逼真可信的作品，需要進(jìn)行精確的數(shù)學(xué)計(jì)算。</p><p>　　接下來的重要步驟是在3D軟件中創(chuàng)建人物和環(huán)境，并根據(jù)故事板完成創(chuàng)作。雖然人物和物體是在3D軟件（如3Ds Max,

74、 Cinema 4D , Houdini, Maya, Lightwave）中進(jìn)行建模的，但還可以使用數(shù)字藝術(shù)軟件（如Photoshop, Illustrator, Artage）創(chuàng)建背景設(shè)計(jì)，具體取決于電影的類型或內(nèi)容（圖4）。三維模型是雕刻的數(shù)字版。隨著技術(shù)的不斷變化，造型藝術(shù)也得到了改進(jìn)和多樣化，形成了一種新的數(shù)字藝術(shù)形式，在技術(shù)和內(nèi)容方面也提供了美學(xué)完整性。與手工制作的藝術(shù)作品一樣，3D創(chuàng)作也是由具有豐富剖析、圖案、顏色、紋理、

75、燈光和構(gòu)圖知識(shí)的高技能藝術(shù)家制作的。這些藝術(shù)家和設(shè)計(jì)師能夠利用他們的想象力和創(chuàng)造力，在制作動(dòng)畫電影的同時(shí)又能兼顧技術(shù)和美學(xué)方面。</p><p>　　圖4：3D建模（左）和背景（右）的示例</p><p>　　在電影中，色彩、光和影元素在很大程度上影響了塑造的角色、設(shè)置和背景。三維計(jì)算機(jī)圖形軟件提供了一個(gè)逼真的虛擬演播室和無盡的光源組合。因此，信息和感覺是通過一種藝術(shù)敏感和審美愉悅的氣氛傳

76、達(dá)的，它是由光和色彩的某種組合創(chuàng)造出來的。聚光、泛光、區(qū)域光和直射光是可單獨(dú)使用或作為組合使用的選項(xiàng)類型的幾種例子。例如，在3D動(dòng)畫中，“直射光”可以當(dāng)作太陽的替代品在室外使用，而使用垂直光束的“區(qū)域光”可以通過散射光線來平滑表面，這使得它非常適合室內(nèi)環(huán)境。藍(lán)天工作室在2001年制作的3D電影《冰河世紀(jì)》（圖5），巧妙地運(yùn)用燈光和色彩，實(shí)現(xiàn)了一種獨(dú)特的、令人印象深刻的技術(shù)驅(qū)動(dòng)的現(xiàn)實(shí)技術(shù)，成為當(dāng)時(shí)第一個(gè)非常成功的3D動(dòng)畫。</p&g

77、t;<p>　　圖5：《冰河世紀(jì)》，藍(lán)天工作室，2001</p><p>　　在其他視覺元素的建模和潤(rùn)色之后，每個(gè)場(chǎng)景都是一個(gè)接著一個(gè)的動(dòng)畫。“從形式和內(nèi)容上看，分配給場(chǎng)景中每個(gè)視覺元素的動(dòng)作都必須與故事有一個(gè)有意義的聯(lián)系。事實(shí)上，計(jì)算機(jī)動(dòng)畫的基本原理是，場(chǎng)景內(nèi)的每一個(gè)動(dòng)作都有一定的用途，框架內(nèi)的設(shè)計(jì)創(chuàng)造了視覺快感。”強(qiáng)調(diào)元素也有望補(bǔ)充視覺效果, 并與場(chǎng)景相協(xié)調(diào)。良好的視覺和適當(dāng)?shù)囊魳芬黄鸪尸F(xiàn)，在情

78、感和邏輯感上對(duì)觀眾的影響比原先要大得多，這是一個(gè)公認(rèn)的事實(shí)。因此，在視覺補(bǔ)充方面，影片伴奏樂與其他音頻元素（如畫外音和配音）一樣重要。聲音是生命與自然中不可或缺的一部分，因此它可以被認(rèn)為是講故事的基本手段。巧妙而恰當(dāng)?shù)剡\(yùn)用聲音對(duì)保持聽眾的注意力和興趣非常有效。</p><p>　　為了在編輯階段產(chǎn)生有意義的最終產(chǎn)品，必須要仔細(xì)地進(jìn)行故事板和定時(shí)處理。嫻熟的編輯可以為場(chǎng)景添加節(jié)奏和美學(xué)。在傳達(dá)語義節(jié)奏方面，電影中時(shí)

79、間、場(chǎng)景、聲音和氣氛的完整性也非常重要。精心的定時(shí)淡出、淡入、燈光效果或煙霧效果會(huì)讓觀眾更用心、更舒適地追隨故事，并且還將在電影本身的美學(xué)方面建立一致性。</p><p><b>　　4.結(jié)論</b></p><p>　　無論今天的技術(shù)環(huán)境有多大的不同，在遠(yuǎn)古時(shí)代，人類在洞穴表面上畫圖像時(shí)，人類就一直著迷于視覺傳達(dá)。從那時(shí)起，他們總是努力地與其他人、社會(huì)或觀眾分享他們

80、的經(jīng)歷、成就、愿望和夢(mèng)想。出于同樣的目的，人們一直在畫畫、演戲、寫劇本或制作電影。通過視覺傳達(dá)信息的愿望帶來了電影的發(fā)明，自18世紀(jì)以來，電影已經(jīng)成為向大眾表達(dá)想法、思想或情感的重要手段。在21世紀(jì)，3D動(dòng)畫主要用于廣告、商業(yè)、教育和娛樂相關(guān)的產(chǎn)品，并帶來了許多轟動(dòng)性的3D電影。</p><p>　　當(dāng)用照相機(jī)記錄時(shí)，現(xiàn)實(shí)的三維面就丟失了，變成了二維。在3D動(dòng)畫中，目標(biāo)是模仿現(xiàn)實(shí)，向觀眾展示一種盡可能貼近現(xiàn)實(shí)生活

81、的體驗(yàn)?！叭搜郾葦z像機(jī)要先進(jìn)。無限的深度感和同時(shí)聚焦于多個(gè)物體的能力只是照相機(jī)和人眼之間的一些差異。計(jì)算機(jī)制作的視覺效果和照相機(jī)的效果是相同的。與繪畫和攝影一樣，它旨在以二維形式詮釋三維世界?！币虼?，3D動(dòng)畫已經(jīng)變得和實(shí)際應(yīng)用一樣重要，并且由于它們能夠制作出非常困難的場(chǎng)景，甚至不可能模擬的場(chǎng)景，所以它們實(shí)際上已經(jīng)成為一個(gè)更好的選擇。像迪斯尼、皮克斯和樹星等大公司一直在制作3D動(dòng)畫，吸引了全世界的兒童和成人。成功的作品包含的元素有：適當(dāng)?shù)?/p>

82、想法，合適的內(nèi)容，以及具有技術(shù)背景的專業(yè)藝術(shù)家和設(shè)計(jì)師。因此，為了建立良好的視覺傳達(dá)，保持觀眾的注意力，藝術(shù)與設(shè)計(jì)必須攜手并進(jìn)。有時(shí)，忠實(shí)于所有基本的設(shè)計(jì)原則， 可能不足以達(dá)到一個(gè)審美賞心悅目的場(chǎng)景。為了實(shí)現(xiàn)一個(gè)美觀的場(chǎng)景，溫暖和真誠(chéng)是人類的典型特征，必須融入到電影中。建模團(tuán)隊(duì)，扮演著雕刻家的角色，像畫家一樣創(chuàng)造真實(shí)的材料，與創(chuàng)意故事板藝術(shù)家、紋理和背景藝術(shù)家合作，實(shí)現(xiàn)了藝術(shù)上有價(jià)值的作品。為了達(dá)到合理性和審美價(jià)值的創(chuàng)造，在過程中使用的

83、色彩、</p><p>　　總而言之，“藝術(shù)不教。相反，藝術(shù)呈現(xiàn)了終極目標(biāo)的全面而具體的現(xiàn)實(shí)。藝術(shù)所做的是呈現(xiàn) “他們應(yīng)該或可能是”的東西，這有助于人們?cè)诂F(xiàn)實(shí)生活中獲得這些東西。然而，這僅僅是藝術(shù)的次要好處。藝術(shù)的主要好處是它給人們提供了一種在現(xiàn)實(shí)生活中“如果他們本來就是這樣”的體驗(yàn)。這樣的經(jīng)歷對(duì)人類生活至關(guān)重要。當(dāng)然，人們看不到電影的圖式或?qū)徝榔焚|(zhì)。然而，隨著電影的發(fā)展，一種視覺語言沉淀到觀眾的潛意識(shí)中，創(chuàng)造出