To develop China's animation industry, we should not only clearly understand the scientific and cultural connotation of animation industry as a high-tech and high-cultural industry, but also focus on solving the talent bottleneck problem that restricts the development of China's animation industry. The practice of American and Japanese animation industry provides reference for the development of China animation industry, and pays attention to scientific and technological connotation and cultural connotation. The cultivation of animation talents in China should embark on a road of quality education for animation talents with China characteristics, which pays attention to scientific and technological connotation and cultural connotation.

[Keywords:] animation industry, scientific and cultural connotation

At present, the development of animation industry in China can be described as internal and external troubles. To solve this passive situation, the key lies in solving the connotation problem of animation industry as a high-tech and high-cultural industry and solving the talent bottleneck problem that restricts the development of animation industry in China.

First, the animation industry development of scientific and technological connotation

As far as screen production is concerned, animation production technology has gone through three stages: hand-drawn screen shooting, computer two-dimensional animation production, computer three-dimensional animation and the application of network technology.

Traditional animations are all hand-drawn pictures. In the overall design stage, according to the script, draw a story picture like a cartoon. The technical term is called lens drawing. Generally, in just a few minutes, you need to draw hundreds or even tens of thousands of pictures. Then use a special electrostatic copier to copy the sketch to the acetate film, and then hand-draw the lines printed on the film, and then color it. Finally, shoot and make. It can be seen that the traditional animation production technology is time-consuming, laborious and inefficient, which restricts the development of animation industrialization.

Computer two-dimensional animation is to assist animators to make traditional animation. Two-dimensional computer animation also goes through four steps of traditional animation. The main difference is the use of computers. This method can be stored, retrieved, modified and deleted at any time. The process is greatly simplified, convenient and fast, and the efficiency is improved. Computer can be used to interpolate two key pictures and automatically generate the middle picture. Accurate, fluent, and free the animator from the tedious work. Computer animation aided coloring can alleviate boring and expensive manual coloring. Using computer to draw lines and color boundaries is accurate, without drying, cross-color, easy to replace, and does not affect color because of the number of layers, so it is fast and does not need to worry about color changes before and after. All kinds of characters in computer animation and their animation process can be stored in the gallery for reuse and modification.

Computer three-dimensional animation. Three-dimensional animation mainly relies on computer image generation technology (CG for short). After completing a series of pre-productions, such as literary script creation, storyboard creation, modeling design and scene design, it enters the animation segment production stage. The main work at this stage is modeling, materials, lighting, animation, camera control, rendering and so on. Firstly, according to the previous modeling design, the role model is drawn in the computer through three-dimensional modeling software. All characters and objects in the scene should be modeled. Commonly used softwares include 3DS Max, Auto CAD, Maya, etc. Modeling is not only a technology, but also requires creativity and artistic accomplishment. Because artistry is the pursuit of modeling. Modeling includes polygon modeling, spline curve modeling, subdivision modeling and so on.

After the modeling is completed, it is necessary to deal with the details and structure of the model surface. Such as color, transparency, reflectivity, reflection intensity, self-luminescence and roughness of the surface to be treated. Detail processing and structure processing must have vivid and realistic effects.

Then lighting simulation, animation fragment production, camera control and renderer rendering are carried out. Finally, according to the design of story board, animation clips, sounds and other materials are edited by nonlinear editing software to generate animated film and television files.

In terms of technological innovation of animation industry, American animation is the first fashion. 1995, Disney released the world's first 3D computer animation Toy Story, which is more realistic and stereoscopic than 2D plane animation. By the time the second 3D animation Bug Crisis was released in 1998, the 3D animation technology was more mature. Its spillover effect directly urges Warner, DreamWorks and other companies to apply 3D animation technology to make movies as soon as possible. When Disney released Toy Story 2 in 1999, its three-dimensional animation technology, by going up one flight of stairs, was smoother than the previous films. In 2000, Disney spent 350 million dollars to launch dinosaurs, and its three-dimensional animation technology has reached the point of perfection. The film's 1 300 special effects shots show moving, realistic and talking three-dimensional dinosaurs and lemurs, and the "realistic" visual effect of the film makes the audience dumbfounded.

This sense of reality comes from the attention to technical details. For example, in the animation of lemurs, in order to show the fine hairs on lemurs, technicians not only added more than 10,000 hairs to each lemur, but even exaggerated them. They also numbered these 10,000 hairs one by one with software, and with the help of this program nicknamed "Hairstylist", in the computer, according to the environment described in the scene and the wind direction, the direction and position of different numbered hairs, and even different coat colors, were determined. In order to let the audience experience a more real situation, the technicians specially designed a program to cut the muscles of these dinosaurs into thousands of polygons of different sizes according to their positions and characteristics, and stick them on the bones, so that the muscles and skin of the dinosaurs in the film can produce different folds or vibrations according to the direction, strength and speed of the whole bone movement.

As far as animation technology is concerned, the computer 3D animation technology in the United States is in a leading position in the world. Many animation products are completed by computer 3D animation technology. This adds technical content to the body language depiction of characters in animation works. The coherence and distortion rate of American animation is much better than that of Japanese animation. Relatively speaking, there are not many pure three-dimensional animation productions in Japan, and the computer three-dimensional animation production technology is just the icing on the cake for Japanese animation production. It should be said that American animation shows great vitality in animation production technology, especially in the application of computer three-dimensional animation production technology.

Second, the cultural connotation of animation industry development

As a category of cultural and creative industries, the core feature of animation industry is still creative content. Although creative content also contains elements of technological innovation, it is more about the innovation of cultural connotation.

The main reason why Japanese animation can compete with American animation is that its creative content is stronger than the latter. Compared with American animation, Japanese animation pays more attention to stories and characters. Osamu Tezuka, known as the Japanese "God of Animation", clearly emphasized that animation should pay attention to the plot and people's hearts. He grasps the artistic essence of cultural and creative industries in content, and pays attention to the shaping of typical characters and plots of animation creativity. This choice not only saves money, but also pays attention to and enhances the artistic taste of Japanese animation. This should be one of the main reasons for his success.

Miyazaki Hayao, another Japanese "god of animation", has the same artistic understanding of animation creation as Osamu Tezuka: "Animation is such a pure and simple art that we can give full play to our imagination." Later, Studio Ghibli's Miyazaki Hayao and director Takada Hiroshi were founded because they wanted to "pursue pure and high-quality animation, which can truly penetrate people's hearts and depict the joys and sorrows in people's lives". After the founding of Studio Ghibli, they devoted all their energy to every animated work. Their creative ideas and themes are more clearly defined as "never compromise on limited time and budget at the expense of quality" and "putting good movies first". Therefore, Studio Ghibli enjoys a good reputation in Japanese and even world animation film circles, and has established its world-class status as a model of animation creation and management.

Japanese animation writers represented by Osamu Tezuka not only pay attention to the artistry of animation creation, but also realize the authenticity of animation creation. For example, Tomoto Tomoto, who has the reputation of "the Holy of Japanese Animation", may be aware of the defects of Japanese animation planarization, and his animation works attach great importance to the truth of the details of characters and backgrounds.

Japanese animators are also aware of the reality of animation creation. Their eyes naturally aimed at the social theme of "depicting real life". Because Japanese animation comes directly from comics, its animation creation has strong philosophical and humanistic thinking, and pays more attention to revealing the laws of the world and the essence of human nature. Miyazaki Hayao's cartoon works contain more philosophical and human thinking. Almost all his works contain thoughts on human survival and life. This is also an important reason why Miyazaki Hayao's cartoons have aroused great popularity in Japan and even in the world. So is Miyazaki Hayao's collaborator Hiroshi Takada. The vitality of Dayou Shengbo's animation works is also related to its emphasis on the authenticity of animation creation.

Compared with American animation creation, Japanese animation shows profound connotation. Although the development of Japanese animation industry has grasped the root of the development of cultural and creative industries, it has shown a strong development momentum in quality. However, in the face of the mainstream market of mass culture in modern society and the increasingly open world market, the excessively artistic and philosophical content is easy to go to the pyramid of elite culture and developed country culture, and it is also easy to become the flaunt of national culture. At the same time, ignoring the industrialization development direction of animation creation will have a fatal impact on the development of animation industry.

Three. conclusion

To develop China's animation industry, we should not only clearly understand the scientific and cultural connotation of animation industry as a high-tech and high-cultural industry, but also focus on solving the talent bottleneck that restricts the development of China's animation industry. The practice of American and Japanese animation industry provides reference for the development of China animation industry, and pays attention to scientific and technological connotation and cultural connotation. The cultivation of animation talents in China should embark on a road of quality education for animation talents with China characteristics, which pays attention to scientific and technological connotation and cultural connotation.

References:

[1] Ye Lang, Editor-in-Chief: Annual Report on the Development of Cultural Industry in China in 2008 [R]. Hunan Literature and Art Publishing House, June 2008.

[2] Sun Buzhong, Zeng: "Analysis of the correlation between the development of cultural industry and scientific and cultural quality education" [J]. Caizhi Digest,No. 10, 2008.

[3] Zhang, Jian Gang editor:' Blue Book of Culture, 2007: China Cultural Industry Development Report' [R]. Social Science Literature Publishing House, 2008.