In addition, just as the texture of the material itself is also an important part of the aesthetic feeling of the material animation image, it has a sense of strength and form. For example, Professor Zhang Xun said in the process of expounding material animation: "Material animation can make the image more layered and convincing through lighting, material selection and technology, and additional conditions. These two points may be the fundamental charm that material animation has always attracted audiences and creators for more than 100 years. "
1 material animation program
Material animation program, like general animation, is very complicated, but it is simply divided into three parts:
Pre-planning, including scene design, character design, production designers and so on. , is organized by the director to create scenes and shapes such as scene environment, character characteristics, costumes, props, architecture and special effects. The fineness of the animation in the early stage directly determines the quality of the film.
Chinese production includes checking the design draft, conceiving the design action, and inserting the key frames of the action of the animated character of the material, in which the middle frame part is the main link to realize the smooth and coherent animation of the material, and the action should be exaggerated and coherent.
Post-synthesis stage In today's increasingly popular computer technology, post-production mainly needs to check the consistency of motion synthesis, edit dubbing soundtrack and sound effects, and finally adjust the test film before it can finally be put on the film.
Two kinds of materials in material animation
(1) in the form of animated couples.
In material animation, dolls are made of various materials and shapes, and puppets are divided into model joint puppets, assembled puppets and paper puppets. Among them, the specific operation method of model joint couple involves the design of model, activity link, facial expression and installation scheme. The shooting method is to locate a complete action with a foot nail or an auxiliary bracket, decompose it into several fixed frame-by-frame action pictures, and shoot them in turn, for example, when playing continuously, restore it to a relatively realistic moving picture.
3 scene design in material animation
The material animation scene is a specific spatial environment in which the material animation scene unit plays. The scenes in animation are the times, social background, specific natural environment and region involved in the script, and also include the places and spaces where the main characters live. In material animation, it is very important to grasp the overall atmosphere and overall tone of this scene and achieve the unity and harmony of colors on the basis of bright colors.
Scene elements should have characteristics, and need to have symbolic meaning of the scene and even the times, so that the scene has symbolic props. "Indoor scenery is divided into private space and public space, and there must be props and decorations that can represent the characteristics of the scene. For indoor private space, indoor public space is easier to distinguish the characteristics of the city. " Supermarkets, subway stations, interior of landmark high-rise buildings, stadiums, bars, etc. These buildings themselves have obvious urban symbolic significance.
4 material animation design requirements and principles
4. 1 Starting from the script, starting from life
(1) A good material scene or character designer must first understand the advantages of material making and combine the historical background and characteristics of the times; Distinctive regional and national characteristics; Analyze characters; Determine the film type and style; Go deep into life and achieve the harmony and unity of scene modeling style and character style.
(2) The sense of line that the scene and the role are unified. "Line sense" means that there should be clear outline processing in scene production. The outline and structural lines of the scene need not be described by lines, but they should be clear and definite, and the modeling styles of the characters and the scene must be harmonious and unified, so that the characters can really live in the scene space.
(3) Adding texture on the basis of realism, the texture effect of material animation is the highlight of the whole animated film, and the unique texture of material is not available in many plane animated films. The mechanism of the surface of an object is not fixed, it can change obviously according to the observation angle, light and field of vision, thus producing a unique dramatic effect. For example, ordinary sweaters, hats, and glass sheets, if the effect of the mechanical device is photographed as a macro, the full close-up of the mechanical device makes us both familiar and surprised. If observed with a microscope with different magnifications, it will take on a completely new look. "In order to achieve a vivid artistic feeling, modern mainstream animated films are more and more vivid imitations of characters, scenery, space, modeling, light, color, lines and other shapes, which are closer to the visual effect of feature films." Material films give people a kind of "intimacy", which is more likely to produce feelings and a sense of belonging. Not only in the painting, but also by your side.
(4) Increasing the sense of light and making good use of light can add a lot of color to the film. The so-called "light and shadow magician" is a good interpretation of the position of light in visual art, which can show visible modeling and extremely beautiful side under certain lighting conditions, and can also highlight some temperament or characteristics of characters. For example, (Figure 1) uses the bright moonlight to show the melancholy side of Corpse Bride vividly, while Corpse Bride is also slightly beautiful. The hue of light image affects the psychological reflection of the viewer.
(5) Pay attention to color sense, which is one of the most striking visual factors. Art masters have spent their whole lives studying the mystery of color and accumulated rich experience. Cao Chong is the representative work of China's material animation, for example (Figure 2). The animation is made of folk puppets, which makes the character modeling and scene naturally present the mechanism color of wood. At the same time, different characters are made of wood with different background colors, such as black military commanders, white Cao Cao, yellow civil servants and brown elephants, with distinct personalities and distinct layers.
4.2 Describe the details of life
Material animation can show the details well, while warm animation depicting the details of life makes people pursue a sense of spiritual relaxation and pleasure.
(1) Details reveal the truth of life, such as Invincible Dog (Figure 3). In this animated film full of British local customs, ordinary daily scenes are simple and trivial, the urban background is real and delicate, and the British life scene is realistic and natural, full of warmth. The film brings a pile of mud and all kinds of strange mechanical mixed British humor to the extreme, making exquisite, exquisite and realistic scene design, vivid and elastic exaggerated action performance, which is quite realistic and makes the audience deeply immersed in this miniature world shaped by mud.
(2) The collective memory of the grassroots spirit, The Invincible Dog was born in the British society with highly concentrated economy and the highest degree of social prosperity. As the protagonist of animation, it tries to return to an ordinary, away from the noise, mud animation needs to be brought to the people of Britain and even the world in the memento mori of the post-90 s grassroots.
4.3 Comparison of formal beauty and modeling of material animation
Because things themselves contain connotations, they are transformed into information through people's thinking, and then affect people's psychological activities. Ideology without substantive connotation can also be conveyed visually, which makes people feel shocked, aware, exciting or beautiful. "The reason why visual objects give people excitement or beauty lies in the' tension' shown by the object form, and art uses this' tension' to express the stimulation and appeal of the object image form under contradiction and strong contrast."
The comparison of (1) shapes should first emphasize the difference in volume. If there is no direct sense of formal contrast in volume, there will be a feeling of boredom, monotony, emptiness and powerlessness, and there will be no direct sense of integrity in the animation of image materials.
(2) The gradual change and mutation of the shape, and the recorded gradual change and mutation of the shape are better realized in the animation of the clay sculpture of the material, which can make up for the visual impact brought by the late special effects of the blank painting of the material. The abrupt contrast formed by the disparity in shape or size will give people a strong feeling and meet the visual needs. Make animation more vivid and elegant.
(3) The image contrast of personality requires that the material character design should have its own obvious image characteristics. For example, (Figure 4) rich and mellow images can well illustrate the overbearing and arrogant characteristics of characters, and the basic shapes of characters also represent different personalities, which serve the characters well and emphasize the characters. The two complement each other and complement each other.
An object may not be precious, but it is regarded as a treasure by its owner. It has important significance, or carries special memories far beyond the object itself. In fact, the beauty of materials is widely endowed with various spiritual connotations and symbolic meanings. Articles often have various practical functions and application associations, and we will find that the application of materials is inexhaustible. Schwimmer doesn't care about the identity of the so-called animated filmmaker. He believes that "animators are too technical, and he is more concerned with creating illusions and making everyday objects' restore' life. The purpose of this restoration gave schwimmer a unique imagination, and the unique philosophical speculative color of the master flashed everywhere in the film. " In fact, many artists believe that there is cosmic life in the world, but our increasingly scientific and material vision has seriously turned the world into an orderly and logical reality. Returning to a primitive impulse, material animation can bring us endless inspiration and is also the best interpretation of animation.
Excerpted from Baidu netizens, thank you.