Particle system

Particle system [p'ɑrtəkəl s'ɪstəm] - 粒子系統

source: http://en.wikipedia.org/wiki/Particle_system

The term particle system refers to a computer graphics technique to simulate certain fuzzy phenomena, which are otherwise very hard to reproduce with conventional rendering techniques. Examples of such phenomena which are commonly replicated using particle systems include fire, explosions, smoke, moving water, sparks, falling leaves, clouds, fog, snow, dust, meteor tails, hair, fur, grass, or abstract visual effects like glowing trails, magic spells, etc.

粒子系統是指一種電腦圖形技術來類比某些模糊的現象一詞，否則很難與傳統繪製技術重現。這種現象通常被覆制使用粒子系統，包括消防，如發光徑、 魔法技能等發生爆炸黑煙移動水、 火花、 落樹葉、 雲、 霧、 雪、 塵埃、 流星尾巴、 頭髮、 毛皮、 草或抽象視覺效果。

While in most cases particle systems are implemented in three dimensional graphics systems, two dimensional particle systems may also be used under some circumstances.

雖然在大多數情況下粒子系統在三個三維圖形系統中實現的也可用於兩個尺寸的粒子系統，在某些情況下。

Tire Tread Marks Animation Using Particle Flow

Tire Tread Marks Animation Using Particle Flow
輪胎踩使用微粒流程的標記動畫

Source:http://www.escalight.com/tutorials/3dsmax-tutorials/tire-tread-marks-animation-using-particle-flow.html

1. Download this file (ZIP). Open file "treadmarks_particle_start.max". This file contains a moving tank. Here I used a tank. Later you can change the tank with cars or any object with tire. Note: The tank caterpillar track is animated using technique described in Tank Caterpillar Track Animation Tutorial.In this file you can also find a treadmark object. This object is just two simple plane combined as one, representing two tread marks (left and right tire).
下載此文件（zip）。打開文件“treadmarks_particle_start.max”。此文件包含一個移動的坦克。在這裡，我使用了坦克。稍後，您可以更改缸車或任何物體的輪胎。注：坦克履帶賽道使用動畫技術describ。

2. Create PF Source icon in top viewport. In Modify tab, use Viewport Quantity Multiplier = 100% so you can view all particle in viewport. Position this icon at the middle of tank. Then, activate Select And Link tool. Link icon to tank body. Now, icon will moved together with tank.
建立公積金源在頂視圖中的圖標。在修改標籤，使用視口數量乘數 = 100％，使您可以瀏覽所有的粒子在視圖。這個圖標的位置，中間坦克。然後，選擇並激活鏈接的工具。鏈接圖標罐體。現在，圖標會提出與坦克。

3. In Left viewport, position PF icon exactly behind the tire (tank track). And make sure it is slightly above the ground (plane). You may need to zoom in.
在左視圖，位置正好公積金圖標背後的輪胎（坦克履帶）。並確保它是略高於地面（平面）。您可能需要放大英寸。



4. Open Particle View (Press 6 in keyboard). Change these values:In Birth 01 operator, enter Emit Stop=300, to make particle emits until the end of animation. For a while, leave Amount unchanged, we will adjust this value later.In Position Icon 01 operator, use Location=Pivot. Particle will be emitted at the middle of icon.Then in Speed 01 operator, use Speed=0. This value will make particle stop right ater emitted. Delete Rotation 01 operator. We don't need this operator.
打開粒子視圖（在鍵盤上按6）。更改這些值：在出生01運營商，進入發射停止= 300，使粒子發射，直到最後的動畫。有一段時間，休假金額不變，我們將調整此值後。在01位置圖標操作，使用位置=樞軸。粒子的排放量在中間的圖標。然後，在速度01運營商，使用速度= 0。此值將停止正確提爾顆粒排放。刪除旋轉 01運營商。我們不需要此操作。



5. Drag Shape Instance operator from Depot into Event 01, make sure it replaces Shape 01 operator. In Shape Instance 01 parameter, click button under Particle Geometry Object. Click "treadmark" object in viewport.In Display 01 operator change display type into Geometry. Now, you can see "treadmark" object appear as particle.
拖動形狀實例經營活動從倉庫到01，以確保它取代形狀 01運營商。在形狀實例 01參數，單擊按鈕下的粒子幾何對象。點擊“treadmark”對象口中。在顯示 01運營商轉變成幾何顯示類型。現在，你可以看到“treadmark”對象顯示為粒子。



6. Scrub slider to view the animation. Notice that, the distance between treadmarks (particle) is too narrow. In Birth 01 operator, decrease Amount to 60.
洗刷滑子觀看動畫。 注意那， treadmarks (微粒)之間的距離是太狹窄的。 在誕生01操作員，減少數額到60。


7. Congratulations. You have finished this tutorial. Video below shows sample of rendered animation.
祝賀。您已完成本教程。視頻列出了樣品呈現動畫。

IMAX

IMAX - Image MAXimum ['ɪmədʒ m'æksəməm] - 最大影像

Source: http://en.wikipedia.org/wiki/IMAX

IMAX (short for Image MAXimum) is a motion picture film format and projection standard created by Canada's IMAX Corporation. The traditional version of IMAX has the capacity to record and display images of far greater size and resolution than conventional film systems. A standard IMAX screen is 22 metres (72 ft) wide and 16.1 metres (53 ft) high, but can vary.
IMAX（Image MAXimum) 是由加拿大的IMAX Corporation創建的一種電影電影格式和投影標準。傳統版本的IMAX有記錄並顯示圖像更大尺寸和解析度比傳統膠片系統的能力。標準的套裝螢幕 22 米 （七十二呎) 寬、 16.1 米 (53 英尺) 高，但可能會有所不同。

The world's largest cinema screen and IMAX screen is in the LG IMAX theatre in Darling Harbour, Sydney. It is 29.42m (approximately 8 stories) high by 35.73m wide — covering an area of more than 1,015 square metres.
世界上最大的電影院螢幕和套裝螢幕是在 LG 套裝劇院的達令港，悉尼。這是 29.42 m (約 8 故事) 高乘 35.73 米寬 — 面積超過 1,015 方米。

IMAX is the most widely used system for large-format, special-venue film presentations. As of April 2009, there are 320 IMAX theatres in 42 countries, with about half of these located in the United States. About 60% of IMAX venues are commercial theatres with the other 40% being located in educational venues.
套裝是最廣泛使用的系統，為大幅面、 特殊地點的電影的演示文稿。截至四月 2009，有 320 套裝劇院的 42 個國家約一半的這些設在美國。約有 60%的套裝場地是商業劇院位於教育場地的其它 40 %。

Variations of the traditional IMAX format include IMAX Dome (using a tilted dome screen) which is sometimes called OmniMAX, IMAX 3D and IMAX Digital.
傳統的套裝格式的變化包括套裝罩 （使用傾斜的圓頂的螢幕） 有時稱為 OmniMAX，套裝 3D 和套裝數位。

背景音樂

Background music ['bæk.graυnd 'mjuzɪk] 背景音樂

背景音樂（Background music，簡稱BGM），也稱配樂，通常是指在電視劇、電影、動畫、電子遊戲、網站中用於調節氣氛的一種音樂，插入於對話之中，能夠增強情感的表達，達到一種讓觀眾身歷其境的感受。另外，在一些公共場合（如酒吧、咖啡廳、商場）播放的音樂也稱背景音樂。

BGM (Background music), also known as the soundtrack, usually refers to TV shows, movies, animation, electronic games, the site for regulating the atmosphere of a music, insert in its dialogue can enhance the expression of emotion, to a means of allowing the audience an immersive feel. In addition, in some public places (such as bars, cafes, shopping malls) where music is also known as background music.

Skeletal Animation

Source：http://www.3d-canvas.com/3DCanvasDocumentation/tutorialskeletalanimation.htm

Skeletal Animation is a technique used to pose character models. A skeleton is embedded in, and attached to, a character model. Once the skeleton is attached, the character model becomes the skin. Posing the skeleton causes the skin to be deformed to match the position of the underlying bones.
骨骼動畫是一種用於構成角色模型的技術。將骨架嵌入，並連接到一個角色模組。一旦骨骼連接，角色模組就成了這個骨架的皮膚。而這模擬出來的骨架將是這一句角色模型變型的依據。

Skeletal Animation has a major advantage over jointed models in that a one piece mesh is used, so there are no seams.
骨骼動畫是利用模組的網格去做變型，對節理模型具有顯著優勢，所以沒有接縫。

Motion Capture

Source：http://www.metamotion.com/motion-capture/motion-capture.htm

Motion capture is defined as "The creation of a 3D representation of a live performance." in the book Understanding Motion Capture for Computer Animation and Video Games by Alberto Menache. This is in contrast to animation that is created 'by hand' through a process known as keyframing.
在書中可以了解到 Motion Capture 是用於電腦動畫以及電玩上的一種技術，他被Alberto Menache定義為"利用現場演出建立3D塑像"。相對於一般動畫製成，這是一個能利用真的"手"去揮動並且完成動畫製作。

Motion capture (AKA Mocap) used to be considered a fairly controversial tool for creating animation. In the early days, the effort required to 'clean up' motion capture data often took as long as if the animation was created by an animator, from scratch. Thanks to hard work by the manufacturers of motion capture systems as well as numerous software developers, motion capture has become a feasible tool for the generation of animation.
動作捕捉（又名Mocap）在以往製作動畫時，是個非常有爭議性的工具。在早期，這種需要努力'清理'動作捕捉數據經常發生，只要如果動畫是由一個動畫師負責，便要從頭開始。多虧了勤於動作捕捉系統以及其軟體開發的人員，動作捕捉，已成為一個廣被使用的動畫製作工具。

皮克斯動畫製作流程 2

source :http://pixar20.blogspot.com/2009/08/how-pixar-do-it.html


８.場景設定 the sets are dressed
建出3D場景之後，需安置道具，像是椅子、窗簾、玩具等，創造一個可信的世界。場景設計師會和導演緊密接觸，確保他所理解和設計的結果符合導演的構想。

After constructing the 3D scene, must place the stage prop, is likely the chair, the window, the toy and so on, creates a credible world. The scene designer can contact closely with director, guaranteed that he understands and the design result conforms to the direction conception.

９.鏡頭設定 the shots are laid out
將故事轉為3D場景，陳列人員會將角色安排至場景內，並使用虛擬攝影機拍攝不同的鏡頭，捕捉情緒氛圍和故事重點。此時通常會做出各種鏡頭版本，提供給編輯部門進行剪接，發揮整個故事的內容。一旦場景剪接完成，最終的版本便會交由動畫部門安排動作。

Transfers the 3D scene the story, will exhibit the personnel the role arrangement to the scene, and will use the hypothesized camera to photograph the different lens, the capture mood atmosphere and the story key point. This time usually will make each kind of lens edition, will provide carries on the film editing for the edition department, the display entire story content. Once the scene film editing completes, the final edition will then hand over by the animation department arranges the movement.

１０.畫面動作安排 the shot is animated
由於角色、模型、場景、對話、音效都已經設定完成，皮克斯動畫師們不需要進行任何繪圖的工作。他們就像演員或傀儡師，使用皮克斯的動畫軟體，他們安排每個場景的角色動作和臉部表情。使用電腦控制和角色控制點來定義這些關鍵姿勢，之後電腦則會自動做出關鍵影格之間的連續動作，但通常還是得經過動畫師的調整。

Because the role, the model, the scene, the dialog, the sound effect already established complete, Pike the Si animators do not need to carry on any cartography the work. They look like the actor or the puppet teacher, uses the Pike Si's animation software, they arrange each scene the role movement and the face expression. The use computer control and the role control point define these essential postures, afterward the computer automatically will make between the essential shade standard the consecutive action, but will usually undergo animator's adjustment.

１１.場景和角色著色 sets and characters are shaded
物件的形體是由模型來決定，而表面色彩和紋理則是由著色決定。著色的過程是由"shaders"完成，這個軟體程式能作出複雜的色彩變化。

The thing physique is decided by the model, but the superficial color and the texture are by the coloring decision. The coloring process is by " shaders" Completes, this software program can make the complex color change.

１２.燈光完成整個外觀 lighting completes the look
數位燈光就像舞台燈光一樣會打亮整個場景，利用主光源、補光、反射光和空間來強化各個場景的情緒和氛圍。燈光設定的靈感來源為當初藝術部門創作的彩色腳本。

Several lights will look like the stage lighting equally to hit the bright entire scene, will use the main photo source, to make up the light, the reflected light and the space strengthens each scene the mood and the atmosphere. The light hypothesis's inspiration originates the colored script which to initially the artistic department create.

１３.電腦資料算圖 the computer data is "rendered"
算圖是將所有檔案資料（包括場景、色彩、角色動作等），透過皮克斯算圖農場(Renderfarm)的電腦系統，轉換成影片中的單一影格。每一個影格代表電影中的1/24秒，算圖通常需要花費四個小時，但是有些影格甚至會耗費90小時來算。

The nomographic chart is possesses the reference material (including scene, color, role movement and so on), by Pike Si the nomographic chart farm (Renderfarm) computer system, transforms in the movie the sole shade standard. Each shade standard represents in movie's 1/24 second, the nomographic chart usually needs to spend for four hours, but some shade standard will even consume 90 hours to calculate.

１４.最後的潤飾 final touches are added
由編輯部監看成品，再加上電影配樂、其他音效和特殊效果，photoscience部門會錄下適合數位放映的格式畫面。

Supervises by the editorial department looks at the end product, in addition the movie will dub in music, other sound effect and the special effect, the photoscience department will take down suits several showing the form pictures.

從這些過程中，我們看到皮克斯的做事方式非常有計畫，通常都會訂出一個大方向，確保一部電影在經過多年的製作過程，不至於脫離主要架構。此外每一個步驟並非單向進行，而是經過不斷反覆的磨合，才能獲得最完美的結果。

From these processes, we saw Pike Si works the way to have the plan, usually can subscribe a general orientation, guaranteed that a movie is passing through many year manufacture processes, as for is not separated from the main construction. In addition each step carries on one way by no means that but is process unceasingly repeated wearing, can obtain the most perfect result.

DreamWorks Uses Linux-based HP Technology to Create New Animated Film "Sinbad"

Source：http://h41131.www4.hp.com/uk/en/press/DreamWorks_Uses_Linux-based_HP_Technology_to_Create_New_Animated_Film_Sinbad.html

HP's advanced Linux-based technology played a critical role in the creation of "Sinbad: Legend of the Seven Seas," the newest animated movie from DreamWorks which opens to audiences tomorrow. The first film ever created entirely on Linux, Sinbad was developed on HP workstations and industry-standard servers.

「辛巴達：七海傳奇」融合傳統與數位動畫，角色兼具手工繪製、3D動畫的視覺效果，與高解析度，而創造出在視覺令人歎為觀止的可怕怪物、混亂女神、錯綜複雜的海底景觀，以及使用特效的船隻航行。所有的核心製作工程均採用HP的Linux工作站與伺服器，顯示電影娛樂工業正展開策略性的一步，擁抱開放系統與平台的先進能力。

More than 250 HP workstations running Red Hat Linux comprised the core of DreamWorks' graphics platform. The price and high-performance advantages of Linux-based HP workstations and servers enabled DreamWorks animators to create more movie in less time, saving significant time and money.

在整部電影的製作過程中，運用了超過250台，執行Red Hat Linux系統的HP工作站組成夢工場的繪圖核心平台。HP的Linux工作站與伺服器提供高效能成本比，讓夢工場的動畫製作人員能在更快的速度製作更多的電影，節省可觀的時間與成本。

"HP understands that today, innovative technology and truly cutting-edge digital animation go hand-in-hand," said Shane Robison, chief strategy and technology officer, HP. "Our goal in our alliance with DreamWorks is to continue to deliver more inventive technology that helps DreamWorks to continue to push the envelope of possibilities in digital animation - and in the process, to help them to retain their reputation as one of the premier Hollywood animation studios."

HP的策略長與技術長Shane Robison指出：「HP瞭解在現今創新性的技術和真正尖端的數位動畫技術是密不可分的，」「我們和夢工場的策略聯盟是不斷提供更多研發的科技，使夢工場能持續創作更新數位卡通動畫的可能性，同時，在過程中協助夢工場維繫是好萊塢中數一數二動畫工作室的美譽。」

"Creating a movie that is centered on scenes with water is a huge technical challenge in digital animation, and a challenge met successfully using HP's Linux-based workstations and servers," said Martin Fink, vice president of Linux, HP Enterprise Servers and Storage. "Our customers are using the flexibility of Linux on industry-standard hardware and open systems to save money and set new standards within their industry."

「創造一部以水為中心的數位動畫電影，在技術上是一大挑戰，然而HP的Linux工作站及伺服器，成功地克服挑戰。」HP 企業儲存裝置與伺服器部門副總經理Martin Fink說。「我們的客戶運用彈性的Linux工業標準硬體及開放系統，不但大幅度節省支出，並且在電影事業中設立了一個新的里程碑。」

With HP Linux-based hardware, DreamWorks also developed Digital Animation Review Tool, an uncompressed and full resolution color accurate playback solution on the desktop. This tool replaced an Irix-based solution that was cost-prohibitive and limited in functionality. This new system is so cost effective that DreamWorks was able to build more director-review areas, which assisted in the efficiency of the production of Sinbad.

藉由HP Linux硬體設備，夢工廠發展出一套數位動畫片檢視工具，使得電腦上能呈現出沒有壓縮、全解析度正確色彩的畫面。這個工具取代了原本費用高昂，然而功能有限的Irix-based解決方案。新的系統不但具有成本效益，並且協助工作人員有效率的完成「辛巴達」的製作工作。 由於HP與夢工廠的技術合作，辛巴達劇組中的每一位畫家，都使用HP 3D加速雙螢幕工作站系統。雙螢幕的作業環境使畫家們可以同時開啟多個視窗，進而加快製作的工作流程。在以往，這種類型的作業架構，不但花費高昂，而且只有在廣泛使用的時候才會採行。不過運用HP Linux工作站，讓夢工廠在維持創作水準的同時，同時兼顧節省成本的需求。

NURBS(Non-Uniform Rational B-Splines)

Source：http://en.wikipedia.org/wiki/NURBS

Development of NURBS began in the 1950s by engineers who were in need of a mathematically precise representation of freeform surfaces like those used for ship hulls, aerospace exterior surfaces, and car bodies, which could be exactly reproduced whenever technically needed. Prior representations of this kind of surface only existed as a single physical model created by a designer.
NURBS的發展始於1950年代，它是由需要像在車體和船殼中使用的自由曲面的數學上的精確表示的工程師們所發現的，它可以在任何技術上需要的時候精確的複製出來。以前這類曲面的表示只存在於設計者創建的實體模型。

The pioneers of this development were Pierre Bézier who worked as an engineer at Renault, and Paul de Casteljau who worked at Citroën, both in France. Bézier worked nearly parallel to de Casteljau, neither knowing about the work of the other. But because Bézier published the results of his work, the average computer graphics user today recognizes splines — which are represented with control points lying off the curve itself — as Bézier splines, while de Casteljau’s name is only known and used for the algorithms he developed to evaluate parametric surfaces. In the 1960s it became clear that non-uniform, rational B-splines are a generalization of Bézier splines, which can be regarded as uniform, non-rational B-splines.
該發展的先驅包括：皮埃爾·貝茲（Pierre Bézier）， 他曾是Renault的工程師，以及Paul de Casteljau，他在Peugeot工作，兩個都是法國人。貝茲基本是和de Casteljau獨立發展的，兩人互相不知道對方的工作。但是因為貝茲發表了他的工作的結果，今天的一般的計算機圖形學用戶認為樣條 -- 通過在曲線上的控制點表示的那類 - 為貝茲樣條，而de Casteljau的名字僅作為他為計算參數化曲面所設計的演算法而為人所知。在1960年代，人們認識到非均勻有理基本樣條是貝茲曲線的一個推廣，而貝茲曲線可以視為非均勻有理B樣條。

皮克斯動畫製作流程

source :http://pixar20.blogspot.com/2009/08/how-pixar-do-it.html


這裡我們要來介紹皮克斯的動畫電影是怎麼創造出來的，皮克斯官方網站裡面有十分詳細的介紹，共有14個階段（難怪一部片可以花上好幾年製作），說明皮克斯動畫工作室內部精細的分工與各個部門之間的合作關係。

Here we must introduce how the Pike Si's animation movie does create, Pike inside the Si official website has the very detailed introduction, altogether has 14 stages (no wonder a piece to be possible to spend on several year manufacture), explains Pike between the Si animation work room interior fine division of labor and each department's cooperation.

１.故事創作討論 a story idea is pitched
首先皮克斯人員會將點子提案給開發部門的其他成員，感覺很像是推銷商品，因為得要說服「觀眾」，才有機會被採用。

First Pike the Si personnel the drop proposal for development department's other members, will feel that very likely sells the commodity, because must convince “the audience”, only will then have the opportunity to use.

２.故事先以文字敘述 the text treatment is written
在著手繪圖之前，先用簡短的文字敘述來說明故事的核心概念，並在符合具體構想的情況下，由開發部門與故事板藝術家天馬行空地思考劇情發展的各種可能性，延伸出更多版本。

Before beginning the cartography, uses the brief writing narration to explain that the first story the core concept, and in tallies with in the concrete conception situation, by the development department and story board artist powerful and unconstrained style ponder plot development's each possibility, extends more editions0.

３.繪製故事板 storyboards are drawn
故事板就像是電影版的手繪漫畫，作為動作與對白設計的藍圖。每一個故事板藝術家會拿到腳本或故事大綱(beat outline)，當中說明角色性情的轉變，以及如何藉由動作來表達。被分配到不同的鏡頭後，故事板則扮演引導的角色，幫助他們發想、把想法畫出來，並徵求導演檢核同意。

The story board likely is the movie version's handpainted cartoon, designs the blueprint as the movement and the dialog. Each story board artist will attain the script or the story program (beat outline), middle explained that the role personality the transformation, how as well as will express because of the movement. Assigns after the different lens, the story board acts the guidance the role, helps them to send thought that comes out the idea picture, and solicits the direction control agreement.

４.開始錄製角色配音 voice talent begins recording
一開始皮克斯的藝術家們會為之後的故事板影片，先錄製「聲音草圖("scratch" voices)」作為暫時的版本。之後才會請到專業的演員來錄製角色的聲音，他們依照腳本唸稿，但也會有即興發揮的時候。演員們（或配音員）會錄製不同的版本，再從裡面選出效果最好的來進行未來的動畫製作。有時候皮克斯藝術家們錄製的聲音草圖十分逼真，就會被延用下去，不另找專業配音員，像是皮克斯故事督導Joe Ranft就曾為玩具總動員的企鵝Wheezy、蟲蟲危機的毛毛蟲Heimlich、海底總動員的蝦蝦Jacques、汽車總動員的消防車小紅Red的配音。

From the very beginning the Pike Si's artists after the story board movie, will record “the sound schematic diagram first (" scratch" voices)” takes the temporary edition. Afterward only then welcome do record the role to the specialized actor the sound, they will read the manuscript according to the script, but will also have extemporaneously display time. The actors (or dubbing) will record the different edition, will select the effect from inside to carry on future animation manufacture well again. Sometimes Pike the Si artists record the sound schematic diagram is very lifelike, will be extended with, will look for specialized dubbing not in addition, was likely Pike the Si story directs Joe Ranft once for toy general mobilization penguin Wheezy, insects crisis's caterpillar Heimlich, seabed general mobilization shrimp shrimp Jacques, the automobile general mobilization fire engine small red Red dubbing.

５.故事板影片製作 editorial begins making reels
故事板影片是將先前的故事板剪輯而成，當初故事能被採用跟說故事的人說得好有很大的關係，所以此時故事板影片必須排除其他影響因素，來確認各個鏡頭和時間點能讓觀眾瞭解。

The story board movie was becomes the formerly story board editing, initially the story could use to said story the human said well has the very much big relations, therefore this time story board movie must remove other influencing factor, confirmed that each lens and the time spot could let the audience understand.

６.藝術部門創造外觀和感覺 the art department creates the look and feel
以最初的故事大綱為基礎，經過不斷的腦力激盪創意發想，藝術部門創造出能鼓舞人心的作品來描繪角色與世界，包括設計場景、道具、視覺外觀和色彩，並以粉彩繪製彩色腳本，強調場景中的光線安排，提供給燈光部門做為燈光設定的依據。

Take the initial story program as the foundation, passes through the unceasing mental ability to surge the creativity to send thought that the artistic department creates can the encouraging work describe the role and the world, including the design scene, the stage prop, the visual outward appearance and the color, and by the famille rose plan colored script, stressed that in the scene the optical fiber arrangement, provides for the light department does for the light hypothesis basis.

７.角色建模與骨架設定 models are sculpted and articulated
Character TD使用藝術部門提供的模型組件（一系列的圖片參考清單），建造角色、場景和道具的實體模型，再由電腦建立3D模型（有時會略過實體模型的步驟），3D模型上的控制點能讓動畫師設定角色的動作，玩具總動員的woody光是臉部就有100個控制點。

Character the TD use art department provides the model module (a series of picture reference detailed list), the construction role, the scene and stage prop's full-scale mockup, will establish the 3D model by the computer (sometimes slightly to cross full-scale mockup again step), on the 3D model's control point can let the animator establish the role the movement, the toy general mobilization woody light is the face has 100 control points.


comming soon

光線 LIGHT

Pixar: Art and Design

皮克斯：藝術與設計

Bill Cone 比爾．孔恩

source : http://pixar20.blogspot.com/2009/08/blog-post_10.html

在汽車總動員Cars － 這部場景幾乎發生在戶外的動畫片，需精準地表現光的變化，除了用粉彩做光線研究，改變他看待光線的向度外，Bill更將攝影機架設在山上，紀錄一天24小時的天空色彩轉換的連續影像，觀察地球陰影、物體直接光照與折射受光之下的色彩變化與亮度，也發現大自然的美是超越想像的。然而日光只是各種光源的其中一種，還須區分螢光燈、街燈、車燈的差異；一種燈光與多種燈光的交互作用；車燈照射在街景的亮度呈現的遠近感；室內室外的光線、白天夜晚的改變等，再將這些細微的變化表現在彩色腳本colorscripts中，呈現整體感與和諧的漸層與明暗。

Occurs nearly in automobile general mobilization Cars - this scene in the outdoors animated cartoon, must display the light accurate the change, except uses the famille rose to do the optical fiber research, will change him to regard the optical fiber to beyond consideration, Bill the camera framework will be located on the mountain, records continual phantom which one day of 24 hour sky color will transform, will observe the Earth shadow, the object direct illumination and the refraction the light under color change and brightness, also discovered that the nature US will surmount the imagination. However the sunlight is only each kind of photo source one kind, still needs to differentiate the fluorescent lamp, the street light, headlight's difference; One kind of light and many kinds of light correlations; The headlight shines in vista brightness presents far and near feels; The indoor outdoor optical fiber, the daytime night's change and so on, displays again these slight changes in colored script colorscripts, presents the associative perception and the harmonious gradually level and the light and shade.

除了真實物件的光影變化，他們也做出角色和場景的雕塑，光線照射在陶土雕塑上的產生明暗對比，幫助他們進行更細部的觀察，而建造雕塑來模擬光線配置，不僅能獲得想要的效果，花費的成本也比電腦低。

Except the real thing's light shade change, they also make the role and the scene sculpture, the optical fiber shine in the pottery clay sculpture the production light and shade contrast, helps them to carry on the detail observation, but constructs the sculpture to simulate the optical fiber disposition, not can only obtain the wish the effect, the expenditure cost is also lower than the computer.

縝密的觀察得到的光線研究只是安排場景色調的考量因素之一，還需同時反映故事主角的心情，即便在相同的時空之下，一旦麥昆McQueen的心情轉變，也須做出不同的安排。也因此每一場景的色彩搭配，都是經過精心的規劃與安排，Bill認為使用色彩傳遞訊息是最強而有力的方式。

The meticulous observation obtains the optical fiber research only arranges one of scene tone consideration factors, but must simultaneously reflect the story lead's mood, even if under same space and time, once wheat elder brother McQueen mood transformation, must make the different arrangement. Also therefore each scene's color matching, is undergoes the careful plan and the arrangement, Bill thought that the use color bush telegraph is the most powerful way.

3D rendering

source : http://pixar20.blogspot.com/2009/07/3d-computer-graphics.html

3D動畫的製作流程通常可大略分為三個階段：建模與材質貼圖、場景動作設定、算圖。建模（3D modeling）的意義就像傳統的實體雕塑，差別在於技術，它是透過3D建模工具與軟體的操作，塑造角色的型態、骨架的過程；再經由材質貼圖的步驟，將紋理質感、色彩變化等附蓋在模型之上（有時此步驟會到比較後面才做決定）。

the 3D animation's manufacture flow usually may greatly slightly divide into three stages: The modelling and the material quality paste the chart, the scene movement hypothesis, the nomographic chart. Modelling (3D modeling) the significance looks like traditional the entity sculpture, the difference lies in the technology, it is penetrates the 3D modelling tool and the software operation, the mold role state, skeleton's process; Pastes chart again by way of the material quality the step, (sometimes the texture sense of reality, the color change and so on will attach covers this step will arrive at behind comparison above the model only then decision making).

場景動作設定（layout and animation）則是將上個階段完成的建模放置於場景中，形成與空間的關係，根據腳本的規劃，安排角色的動作與週遭環境的互動。有了角色與場景，仍不能稱做動畫，得經過最後一個階段-算圖，才能完成。

The scene movement hypothesis (layout and animation) is the modelling which completes a on stage lays aside in the scene, forms with the spatial relations, according to script plan, arrangement role movement and all around environment interaction. Had the role and the scene, still could not be called as the animation, must pass through the last stage - nomographic chart, can complete.

算圖（也就是渲染，3D rendering）是將前面兩個步驟產生的結果，透過電腦程式的演算，轉換成動畫影像的形式。在這個過程中，必須顧及整體的燈光與氣氛，光線如何游移在角色身上，而角色本身又是如何與光線產生交互作用，以及透過觀看角度的操控，將3D的物件場景捕捉成視覺上可觀賞的2D影像。以皮克斯來說，每格動畫（1/24秒）需要耗時六小時來算圖，但像是怪獸電力公司裡面的毛怪，他身上二百三十萬根藍綠色毛髮的柔軟飄逸，就是電腦以每格十一小時的時間來算圖，而每當毛怪走動便創造出不同方向的毛髮波動，都是極大的工程。

The nomographic chart (is also exaggerates, 3D rendering) is the result which has the front two steps, by computer program's calculation, transforms the animation phantom the form. In this process, can take into consideration the whole the light and the atmosphere, how the optical fiber to waver on the role body, but how does the role itself also have the correlation with the optical fiber, as well as by the onlooking angle's control, catches the 2D phantom which the 3D thing scene in the vision may watch. By Pike Si, each standard animation (1/24 second) needs to last for six hours to come the nomographic chart, but is inside monster Electricity company's Mao Guai likely, on his body 2,300,000 cyan color hairs soft elegant, is the computer comes the nomographic chart by each standard 11 hour time, but whenever Mao Guai takes a walk then creates the different direction the hair fluctuation, is the enormous project.

A look at Disney and Pixar's 3-D movie technology

探究迪斯尼和皮克斯的3D電影技術

3D電影早已普遍。然而，經過技術處理的照片看起來十分亮眼，但幕後的過程卻相當繁瑣（那些笨重的眼鏡），且在片長稍長的電影時，很多觀眾都抱怨會使頭痛。 不過，這是舊的3D技術。迪斯尼公司在星期二宣布，它將釋放幾乎前所未有的3D動畫電影，其中包括幾名來自及其附屬皮克斯（“向上”，“玩具總動員3”和重新發布的“玩具總動員”、“玩具總動員2 “以及”汽車總動員2“）。在此之前，類似的宣布：夢工廠。 電影公司可以藉由現代的3D顯示技術達成，依賴於數位投影，而不是電影製作3D圖像。
下面是它的工作：要查看圖像在3D，你的兩個眼睛必須顯示略有不同的圖片，當這樣做是正確的，你的大腦兩個圖像解釋的方式，成為立體，或認為圖片是有深度的。 上一代使用的3D電影膠片要做到這一點：一個投影機將顯示兩個不同的照片在屏幕上同時進行。每個圖像是通過一根不同的線性極化濾波器，即每個圖像解碼只能通過一個特殊的過濾器-這些過濾器安裝在您的3D眼鏡。

A look at Disney and Pixar's 3-D movie technologyThree-dimensional movies have long gotten a bad rap. Sure, when the technology worked the pictures looked pretty good, but the process was cumbersome (those bulky glasses), and in feature-length films, many in the audience complained of headaches. But that was the old 3-D technology. On Tuesday Disney announced that it would release nearly all of its future animated movies in 3-D, including several from its subsidiary Pixar ("Up," "Toy Story 3" and re-releases of "Toy Story" and "Toy Story 2," and "Cars 2"). The move follows a similar announcement from Dreamworks. The studios can do this thanks to modern 3-D display technology, which relies on digital projection rather than film to produce 3-D images. Here's how it works: To see an image in 3-D, each of your eyes must be shown a slightly different picture; when this is done correctly, your brain interprets the two images in a way that creates "stereopsis," or the perception of depth in the picture. Last-generation 3-D movies used film to do this: A projector would display two different pictures on the screen simultaneously. Each image was fed through a different a linear polarization filter, meaning that each image could only be decoded through a special filter -- these were the filters mounted in your 3-D glasses.

如果你的頭尺寸剛好，你和你的左眼、右眼將各自看到一個完全不同的畫面，“船長行政主任”會是什麼樣子，他就在那兒。 但是，如果你沒有將你的頭擺對位置，圖像會有破裂-你的左眼會看到一個輕微的殘餘圖像影響著你的右眼，和你的右眼將會看到位的圖片影響著你的左邊。此破裂引起的頭痛。 新的3D技術由 Beverly Hills 發明並命名為 Real D。正相反兩幅圖像的顯示屏幕上同時，Real D用一個特殊的數位投影不斷的在您的右眼左眼顯示圖片。
REAL D 3D電影每秒顯示144幀，是正常電影放映機的6倍。這些照片迅速在您的右眼不斷切換，您的左眼為鏡頭和黑色框架。 你還是必須戴上3D眼鏡，但REAL D 3D這裡增加了一個創新。圖片意味著每個眼睛是“圓偏振”，也就是說它們的製造工藝更看不到，不是為了看到他們-這減少了圖像的遺漏，從讓觀賞電影更為舒適。 不是每個影院能夠放映電影。迪斯尼的第一個3D電影是2005年的“Chicken Little”;全國只有不到100家有配備去播放3D電影。但是，這並沒有影響電影的賣座，以及隨後的3D版本-例如，“Hannah Montana”的演唱會電影，今年早些時候發布的-一直很受歡迎。 你可以找到附近的3D影院在Real D的網站。此外，去嘗試Ray-Ban's那精美的3D眼鏡。

If you held your head just right, your left eye and your right eye would each see a different picture, and "Captain EO" would look like he was right there.
But if you didn't hold your head correctly, the images would "leak" into each other -- your left eye would see a slight remnant of the image meant for your right eye, and your right eye would see a bit of the picture meant for your left. This leak caused headaches.
The new 3-D technology was built by a Beverly Hills start-up called Real D. Instead of showing two images on screen at the same time, Real D uses a special digital projector to show pictures for both your right eye and your left eye in rapid succession.
Real D projectors show 144 movie frames every second, six times faster than a normal film projector. The pictures rapidly alternate between frames for your right eye, frames for your left eye, and black frames.
You've still got to wear 3D glasses, but Real D adds another innovation here. Images meant for each eye are "circularly polarized," meaning they're made much more invisible to the eye not meant to see them -- this cuts down on image leak between the eyes, making for a much more comfortable experience.
Not every theater is capable of showing these films. Disney's first 3D movie was 2005's "Chicken Little"; fewer than 100 theaters nationwide were equipped to show the film in 3-D. But those that did were well attended, and subsequent 3-D releases -- for instance the "Hannah Montana" concert film, released earlier this year -- have been very popular.
You can find a nearby 3-D theater at Real D's site. Also, check out Ray-Ban's stylish 3-D glasses.

The maker of information :97116112

Renderman

皮克斯工作室中的RenderMan專業服務器


Source: http://translate.google.com.tw/translate?hl=zh-TW&sl=en&tl=zh-TW&u=http%3A%2F%2Fwww.51render.com%2Fpost%2FRenderman.php


2004年6月5日PIXAR動畫公司發布了RenderMan Pro Server。該軟件包是該公司RenderMan 3D渲染軟件的升級。 RenderMan Pro Server捆綁了很多在影片和視頻中經常用到的工具。 新的版本價格為$3500。軟件為複雜的場景提供細微的光照效果，並完全利用先進的多處理器系統以新的渲染模式提升渲染能力。


June 5, 2004 PIXAR Animation Studios has released RenderMan Pro Server. This package is the company's RenderMan 3D rendering software upgrade. RenderMan Pro Server bundled with a lot in the film and video in the frequently used tools. The new version is priced at $ 3500. Software for complex scenes to provide subtle lighting effects and full use of advanced multi-processor system with a new rendering mode of rendering the ability to upgrade.


RenderMan具有功能強大的shader編譯器和抗動畫模糊功能，能夠讓設計者創造出非常棒複雜效果的動作片。同時RenderMan的還有一個功能是它的真實性，RenderMan能夠渲染出照片級真實的圖片，因此在工業界裡的運用很受歡迎。同時RenderMan的還有一個功能是它的真實性，RenderMan能夠渲染出照片級真實的圖片，因此在工業界裡的運用很受歡迎。


RenderMan has a powerful animation shader compiler and anti-blur feature that allows designers to create complex effects of great action movie. At the same time also a function of RenderMan is its authenticity, RenderMan to render a photo-realistic images, so in the industrial sector where the use of very popular. At the same time also a function of RenderMan is its authenticity, RenderMan to render a photo-realistic images, so in the industrial sector where the use of very popular.

The maker of information:9711625