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Q/A With Simon Otto--supervising animator

(2006-11-05 02:45:37)
分类: 动画资源
Simon Otto, supervising animator of DreamWorks Animation and Aardman Animations latest feature film, Flushed Away took time to answer some questions which we sent over.
西蒙.奥托,梦工厂动画最新的动画制作《FLUSHED AWAY》的动画师指导,最近回复了一些我们提出的问题
 
Q/A <wbr>With <wbr>Simon <wbr>Otto--supervising <wbr>animator

1. Your latest project was "Flushed Away" as a supervising animator; what exactly does that role involve?
你最近作为动画指导参与了制作<Flushed away>,那究竟这个职位具体负责什么呢?

In my case that meant working on this film for 2 1/2 years. I began at the start of the character development phase during which I helped create the CG puppets and define the animation style. Once we had that all figured out, I developed Rita, the female lead more specifically. About a year into that process we started with the production, where a supervising animator's role is to lead a sequence with the help of a team of animators.
我花了大概2年半时间在这部电影制作上。一开始我是先从角色的设计阶段开始工作的,我帮忙创作了好些CG角色的模型,并且确定下动画的风格。一旦这些工作都按部就班以后,我便制作出了剧中的角色Rita,她是戏分吃重的女主角。持续将近1年的时间,我们开始了真正的生产制作,这个阶段,动画指导的作用就是对动画师团队的协助和指导。

2. We noticed that you were also working on "Over the Hedge" that came out for DreamWorks Animation earlier this year, which we thought was great by the way - were you involved in the earlier stages or was it a lot of working on the two projects at once?
我们发现你还同时参与了梦工厂早些时候《翻越藩篱》(Over the Hedge)的制作,我们非常喜欢这部电影。你也参与了它的前期准备工作?还有两部影片同时制作是不是要做很多的工作?

I was only involved with it in development and in character design. A few characters that I designed actually made it on screen, for example the baby porcupines. I am happy that they went this far, I think they're very funny!
 
我只参与了它的前期开发和角色设计阶段的工作。几个我设计的角色已经出现了最终的银幕上,比如那个小箭猪。我很高兴最后他们的形象能够呈现给大家,我觉得他们非常的有趣。

3. This being your first Aardman film, was it much different from working the previous DreamWorks Animation films you have worked on? Is there a different thought process involved?
这是你参与的第一部Aardman影业公司的动画电影,这跟你以前参与梦工厂的作品有什么不同么?制作过程的想法有什么不一样么?

There is definitely a slightly different animation philosophy in Aardman films. The comedy is more based on the silly nature of the characters and the impossible situations that they are put in. Very little of the humor comes solely from lines. That is an excellent starting point for us animators, because it puts a lot of the comedy potential into our hands. This of course influences the way we approach the animation. A lot of it needs to stay simple in order to fully realize the comedy idea. "Less is more" was one of the most important animation philosophies on this production. ÷
 
Aardman公司的动画制作理念稍微有些不同。它的动画戏剧效果更基于角色本身憨态可掬的性格特征,以及让角色出现在几乎不可能出现的情景状况下。台词本身很少幽默的元素在里面,这对我们动画师来说绝对是一个新的挑战,因为所有的戏剧效果都来源于我们手中制作的动画。这个特色指引着我们全部的动画制作过程。很多情况下,我们需要只是做些简单的动作,来实现这种喜剧效果。“少即是多”是这个公司动画制作的一个最重要的原则。



4. From what we've seen in the past, Aardman films have always focused on telling us a very strong story line. "Flushed Away" is no different, but this time, the movie had a ton of fast action sequences starting pretty much from the beginning of the film - what's your secret in keeping all these sequences original and different from one another?据我们观察,Aardman公司更专注于影片的故事情节编排,“FLUSHED AWAY”似乎也不例外,这部电影从一开始就有大量的动作情景罗列,你是如何保持这些镜头画面的原创性,而避免和其他雷同呢?

I think what's great about "Flushed Away", if you allow me to answer your question like this, is that it is the best of two worlds. On the one hand you have the Aardman characters and Aardman's legendary inventiveness. The worlds that they create are always very particular and have a lot of charm. That charm influences everything including the action scenes. But these scenes in Flushed Away also have a lot of the DreamWorks trademarks that audiences have come to love. The firepower that DreamWorks brought to this production is most evident in those scenes. The grandeur and spectacle of the underground world was created by incredibly skilled artists working here in Glendale. I think something very special and unique came out of that alliance of talent.
请允许我这样回答你的这个问题,“FLUSHED AWAY”之所以优秀是因为它在两个领域里做到了最好。一方面,你看到的角色和传奇故事都是打着“Aardman”标签的(特征鲜明的)。他们创造的角色总是很有特色,又非常吸引人。这种迷人的特质甚至影响到了那些表演镜头内容。(另一方面)当然这部电影的镜头同时也受梦工厂方面的影响,可以多少看到些痕迹,这样他们忠实观众们也更容易接纳这部电影。可以说梦工厂的神奇力量在制作中是处处可见的。比方说那些宏大的地下景观的描绘就是由Glendale的十分出色的艺术家们绘制的。我想所有这些的卓尔不群的特色都是和这些天才艺术创作分不开的。


5. Was there a lot of training needed for the artists at Aardman to move them over from claymation?
Aardman公司的艺术家们原来都是从事黏土动画制作的,他们转到三维动画制作需要特别的训练么?
The biggest chunk of the animators that worked on "Flushed Away" were DreamWorks animators. Maybe about a fifth of the animation crew came over from Bristol. Most importantly Jeff Newitt, our Head of Character Animation and one of the Supervising Animators, Jason Spencer-Galsworthy who had previously worked on "Shrek 2" and "Madagascar" with us.制作这部电影的大部分动画师都是梦工厂的动画师。有大概五分之一的动画师是来自Bristol。特别是作为首席角色动画师的Jeff Newitt,以及动画制导Jason Spencer-Galsworthy 和我们一起负责动画的制作。

The most important skill to have as an animator is the ability to act; to perform in an entertaining and believable way. The rest is understanding the principles of animation and physics and knowing which buttons to push in order to move the character. So most of the training we did, was about performance, style and character. So, whichever your background was, equal amount of training and study was necessary. 动画师的最重要的一个技能是“表演”,而且表演既要有娱乐性还要自然到位。然后才是对动画基本原理以及对自然规律的理解,知道怎样操作才能让角色动起来。所以他们大部分时间是接受表演训练,分析体会角色的特点。所以不管你的背景是什么,相同的训练和学习都是必须的。

6. We heard from Sam Fell that one of the primary reasons claymation was not used for this movie was because of the water scenes. After the project was announced to be 3-D animation, I'm sure the door was left wide open for what all you all could do, what other bits of the movie did your team of artists focus on which we would not have likely been seen in the claymation bits?

 据Sam Fell所讲,你们没有选择黏土来制作这部电影,是因为其中有大量和水有关的场景。我想当你们宣布做成3D电影以后,你们一定有大量的工作要去完成。你们是如何向人们展示和以往黏土动画不同的东西的呢?

think its complexity and subtlety. The two main characters for example are more complex in their rig (cg-armature) setup. We were able to do more with our puppets than we could have done in clay. The result is that we were able to caricature human body motion more accurately and go further with it. It becomes obvious in some of the action scenes. For example, in one of the scenes I animated, Rita jumps down a building like one of those Parisian free-runners. That would have been next to impossible to animate with a traditional Aardman puppet. Plus, certain puppets have scale that would have made it very difficult to be animated in clay. The Toad for example would have been too heavy as a clay puppet. There actually is an infinite amount of reasons why it made sense for this story to be animated in CG.看看它的复杂程度和精致程度就知道我们需要付出多的多的努力才行。比方说那两个主要角色,我们给他们做绑定的时候就比纯黏土动画复杂的多。正因为如此,我们操作这些角色会比黏土动画中自由许多,这就让我们能精准的创作出更复杂多变的动画出来。这从一些动作镜头里看的非常明显。举例来说,在我制作的一个动画镜头里,Rita从一个建筑上跳下来,就像Parisian 自由跳爱好者一样。如果做一个黏土动画玩偶来做几乎是不可能的。此外,有些地方需要模型被缩放,这在黏土动画里是很难做到的。譬如Toad那个角色如果用黏土来做就会非常的重。所以实际上有很多的因素决定了我们必须用CG来制作这部“黏土”风格的电影。


 The color in the sewers was quite vibrant, and the world seemed quite alive and vast - and much more interesting than what the human world had (aside from that large television). Was there any difficulty in translating certain parts of the scenery onto the big screen - being it was in the sewers but yet, so different? 这部电影里地下世界的色彩非常跳跃,显得非常真实,看上去比人类真实的生存空间还要有趣(除了那台大电视机)。把现实搬到屏幕上会有多大的难度?为什么地下世界也能描绘的如此丰富有趣?

The idea was to make the sewer world more interesting and rich in order to underline how Roddy feels about it in contrast to the sterile world he's been living in all this time. It was one of the most interesting projects not only for us animators who were able to play our characters in this world, but also for the art directors, modelers and surfacers that had to find all these human objects that they turned into buildings and silly props. The biggest challenge was to come up with the insane amount of ideas it needed to fill those scenes of this underground rat city. There are so many ideas that were found that never made it into the film unfortunately. Finding it and having a laugh though was the best part of it.这是因为我们一开始就打算把地下管道世界描绘的更加丰富有趣,吸引人,和Roddy一直生活着的无趣的(地上)环境造成鲜明对比。这个项目特别之处在于不仅能让我们这些摆弄动画模型的动画师们感到十分的有趣,而且让那些建模师,场景师们也能从在地下世界里塑造人类世界里的摆设当中获得乐趣。最大的挑战莫过于丰富这些老鼠们(角色)的饮食起居的生活空间,遗憾的是很多天马行空的想法最终没能在这部电影里最终得以实现。但奇思妙想的构思过程和常常被逗的开怀大笑的时光才是我们最大的收获。

8. The usage of gadgets from the human world were great, using Lego as flowers to an electric stirrer as a jet-ski was just priceless. Do you have any favorites? Looking back, was there any pieces of our world you would have liked to put in there?
从人类世界当中获得灵感是非常不错的,象把花做成了jet-ski的电动摇柄的创意就非常棒!你最欣赏的是哪个呢?你曾经把你熟悉的事物添加到里面了么?


I really loved the sponge that Rita turned into a futon. I am also glad that the sock that they turn into sleeping-bags made it into the final film. A couple of us animators pitched the idea that Roddy would have to hop across the deck with it. It turned out to be too expensive a gag. 我非常喜欢Rita变成蒲团的那个片断。我也非常高兴的看到最后在电影里能看到袜子最后成为他们的睡袋这个创意。我们几个动画师都非常喜欢那场镜头,RODDY蹬着这个袜子最后在桌子上蛙跳着离开那个片断,非常有趣!

9. As always, with any animated feature, you have the video games. This time published by D3, was there any role that you took part in or rules you set for any of the games coming out for the PS2, DS, GBA and Gamecube? 按照惯例,动画电影制作完成后总会跟着出游戏版,在D3公司负责出品的游戏里,你参与制作了么?或者你帮助制作了PS2,DS,GBA等游戏平台关卡设计了么?

Well, other than sparking the creators of the games with our character ideas and gags that we used in the film, unfortunately not. It's fun to be a pure consumer for once. I love the AOL online game and play it every day. 哈,很遗憾我没参与后续游戏的开发,除了电影里那些我们使用的角色概念可能会给他们一些启发之外。纯粹做消费者也是很不错,我就非常喜欢AOL的在线游戏,天天在玩。



10. Should we be looking for any inside jokes or easter eggs in the movie? If so, got any scenes in particular?我们能在影片中找到隐藏的笑话或者彩蛋什么的么?真的会隐藏在某个特别的场景之中么?

Don't miss the wedgie that Rita pulls out at one point. That's one of my favorite Rita scenes. We tried to find a lot of little acting ideas that are amusing to attentive viewers. There are also a couple of Wallaces and Gromits hidden in the movie. I'm curious to see how many people catch them.别放过Rita脱掉高跟鞋的那一刻,那是我欣赏的镜头之一。我们经常试图发掘一些小的表演细节创意来逗观众开心,还有很多隐藏在电影里的有趣的东西,我非常期待观众能找到它们。

There are also a bunch of leftovers. One of the henchrats is holding a pickle at one point towards the climax. It goes back to a gag, where The Toad reveals all the tadpoles and tells everybody how he's going to repopulate the sewer with these, pointing at a jar full of pickles that stands in front of all the tadpoles. And everybody goes "Pickles?", to which Spike replies: "I knew it!" They took it out for pacing reasons. Hopefully it will be in a director's cut version of the film one day. It was hilarious. 这段大家看剧情吧。。。


未完。。待续!

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