OVA

OVA代表作

Original Video Animation [ə'rɪdʒənļ 'vɪdɪo ænə'meʃən] 縮寫 OVA

OVA，全稱Original Video Animation或Original Visual Animation，日式英文，直譯為「原創動畫錄影帶」。起初是OAV（Original Animation Video），在月刊Newtype強力宣導下OVA成為主流，現僅剩學研系動畫雜誌等仍用OAV。 OVA本指直接發行錄影帶而非在電視、電影等媒體上播放的動畫作品，但後來LD、VCD、DV等媒體逐漸普及，所以現時OVA中的「V」已不單純指錄影帶（Video Tape），而是泛指單獨發行的動畫作品，包括後來出現的OAD（Original Anime DVD/Disc）亦屬此類。

OVA, full title Original Video Animation or Original Visual Animation, the Japanese-style English, the literal translation is “the original animation videotape”. At first is OAV (Original Animation Video), OVA becomes the mainstream under the monthly publication Newtype force guidance, presently only remains study grinds is the animation magazine and so on still used OAV.

OVA originally points to directly publish a videotape rather than on TV, movie etc. the media up broadcast of animation work, but afterwards LD, VCD and DVD etc. the media are gradually universal, so"V" in nonce OVA already not pure point a videotape(Video Tape), but the animation work that indicates generally to publish alone, OAD(Original Anime DVD/Disc) that includes to afterwards appear also belongs to this kind.

Gini

source : http://www.pixar.com/artistscorner/andrew/interview.html


How do you animate characters in the computer?The characters are built on the computer as models. These models are then given avars. Avars are the controls assigned to each part of the model. There’s avars in the face, the limbs, etc. We use these avars as a puppeteer would use the strings on a puppet to get the desired movement. The movement of each avar on a character model gets recorded on the computer in distance and time. Adjustments are made accordingly until we are satisfied with the motion of the model.

你怎麼在電腦中作動畫的？

我們的人物都是在電腦裡面建立起來的模型，這些模型之後會加avars(animation variables，類似Maya之中Channel Box裡面的參數，或是Rig)上去，avars是那些放在人物各部分上面的控制器，臉部有avars，四肢也都有avars，我們使用這些avars來控制模型，就像傀儡師用線來控制傀儡一樣，我們不斷調整動作，這些avars的數字也同時不斷被電腦紀錄下來，直到我們滿意人物的表演為止

Avars(animation variables) 動畫變量 :是指變量控制動畫對象的部分位置，例如一個角色。

Gini

source : http://www.pixar.com/artistscorner/andrew/interview.html

It sounds fast-paced.We try to be creative but also work within the schedule of the shot. A shot sheet says how many frames a shot has and how much time you have to work on it. It’s important to work within the schedule allotted because the shot usually has to go through other aspects of film production, such as special effects, lighting and shading. In order for us to be able to put our movie out in time, we have to allow for time in each aspect of the production process but sometimes there are technical difficulties that happen that we can’t anticipate.

聽起來製作的節奏很快

我們在這樣的節奏中試著保持創造力，不過當然也要能夠準時完成鏡頭，鏡頭進度表(shot sheet)上頭會寫一個鏡頭有幾格，也會寫你有多少時間可以做，要能夠準時交出完成的鏡頭是非常重要的，因為之後鏡頭還得要打光或製作特效等等。所以要能夠準時完成影片，就得控制好進度，雖然常常也會有我們無法預期的技術問題發生。

Shot sheet: 鏡頭進度表， 表示一個鏡頭會有幾格，也會顯示你有多少時間可以完成

Neil

source : http://www.pixar.com/artistscorner/andrew/interview.html

We have an immediate supervisor, then the art directors, then the director. First, I show the shot to my supervisor. When my supervisor thinks it's ready, it's reviewed by the art directors (such as the lighting director, etc.). They would say do a little of this and that, and when they like it we show it to the director. At Pixar, you get to sit down right next to the director and receive suggestions and fixes. That one-on-one is a nice thing, you don't get that at all studios.

如何檢閱你的鏡頭

我們有一個直接的指導者，然後美術指導，最後導演。首先，我展示鏡頭給指導者看。當我的指導者覺得鏡頭是可以的，它會被美術指導再檢閱過(例如燈光指導…等) 他們會說做一點點這個和那個，當他們喜歡它時，我們會展示給導演看。在皮克斯，你要坐在導演旁邊，然後聽導演的建議及修改。一對一是一件很好的事情，你不用待在整個工作室裡。

Art director藝術指導: 指負責影片中布景設計的人。
Lighting director 燈光指導: 負責測量最佳的曝光值搭並搭配美術風格以打出完善的光影效果

Andrew

source : http://www.pixar.com/artistscorner/andrew/interview.html

You wear many hats at Pixar-you're both a director of photography and co-writer and -director of the short film One Man Band. First, tell me more about your work as a director of photography.

As director of photography for The Incredibles, I helped provide for director Brad Bird detailed story reels with camera moves and temporary effects before it went into production (this is also known as animatics). Because I have a background in live action, my role was to create that natural imperfection in the shots that people are used to seeing. Computers make everything perfect, so I would add the effect of what it would look like if a guy were holding a camera and it were real. I added camera shakes, imperfections and rotations to give a dynamic edge to the scenes. I would also supervise and work with the animators and layout, and supervise the transition of camera movement into 3-D.


在皮克斯，你戴很多帽子。你是《許願池》的攝影導演兼聯合作者及短片導演。首先，告訴我更多有關你當一個攝影導演的工作。

身為超人特攻隊的攝影導驗，在它進入到製作之前，我幫忙提供布萊德博德導演電影故事細節的膠捲和暫時的效果。(這也就是所知的動態腳本) 因為我有實況播送情節的背景，我的角色在攝影中去創造人們通常看得到的自然瑕疵。電腦使每件事都很完美，所以我增加點它看起來像假如有個人正在拿著攝影機攝影的效果。 在螢幕上有了力學的優勢，我增加了攝影機震動，瑕疵和旋轉。我也監督和動畫家一起工作及版面編排，並且監督把攝影機裡的影像轉換到3-D影像。

Interview With Gini

Gini

sorce:http://www.pixar.com/artistscorner/gini/interview.html

你的一天通常都是怎麼過的？

在影片製作階段，每天早上我們動畫師跟導演都會在一間小放映室開會，稱作dailies (日報)，對導演來說，他可以知道我們的進度，對我們來說，則可以知道我們做的東西方向對不對，這也是個藉由看同事的作品，讓自己獲得靈感的機會，導演會看每個鏡頭的表演是否感覺正確，該有的動作是否都有，會議之後我就開始工作，有時我會請同事看我的作品給些意見，我們也會有walkthrough(演練)，這時導演會來我們位子看我們這天做的東西。

During film production, the animators get together every morning in a small screening room with the director in what’s called “dailies.” It’s a chance for the director to see where we’re at in the shots that have been assigned to us, and for the animators to find out if they’re going in the right direction. It’s also a chance to become inspired by the other animators’ work. The director is looking at whether a shot is feeling the way it should, and the action is doing what it should. After that, I start working. Sometimes I call other animators in to get feedback on my work. We also have walkthroughs when the director comes around to see what we’ve worked on during the day.

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