G-Force

Source：http://www.disney.com.tw/bvi/Gforce/story.html

迪士尼2009年暑假熱門電影，結合真人實景和數位老鼠所完成的作品，由迪士尼和傑瑞布洛克海默共同合作，也是首部同時推出數位3D版的迪士尼非動畫類長篇劇情片。

Disney's 2009 summer hit movie, combined with live rats completed Virtual and digital works, by Disney and Jerry Bruckheimer co-operation, but also the Department has also introduced the first digital 3D version of Disney's non-animated full-length drama class film.

為了阻止邪惡富翁統治地球的計畫，美國政府秘密將四隻天竺鼠訓練成擁有高科技裝備的特務，由隊長「Darwin」（山姆洛克威爾配音）領軍，加上性感武術高手「Juarez」（潘妮洛普克魯茲配音）、武器專家「Blaster」（Tracy Morgan配音）和擅長電腦的「Speckles」（尼可拉斯凱吉配音）等成員，一同攜手拯救世界！

In order to stop the evil plan rich rule the Earth, the U.S. government secretly trained four guinea pigs, the agents have a high-tech equipment from the captain "Darwin" (Sam Rockwell voice) leader, together with sexy martial arts master "Juarez" ( Penelope Cruz dubbing), weapons experts "Blaster" (Tracy Morgan voice), and good at computers "Speckles" (Nicolas Cage voice) and other members, join hands to save the world!

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

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。

環保動畫<鐵馬少年>

Source: http://www.cyberone.tw/ItemDetailPage/MainContent/05MediaContent.aspx?MMContentNoID=56668&MMMediaType=cti_customer

從現在開始看動畫也能學習節能減碳救地球的方法！搶搭現今最夯自行車運動風潮，曼迪傳播最新代理動畫《鐵馬少年》即將在3月全台首發DVD！動畫如其名，《鐵馬少年》就是以「自行車運動」為題材，正好搭上近來最夯的節能減碳風潮。
描寫一位誤打誤撞進了自行車部的少年，以環法自行車賽世界冠軍為目標的奮鬥故事。雖然一般人或許並不需要將騎自行車作為競賽目標，但故事中對例如正確騎車的方法、甚至是車輛零件等細節都有考究描繪，對於新手入門十分有幫助，而在《鐵馬少年》中除了鼓勵大家多騎單車減碳救地球外，在那揮灑著汗水的自行車競技背後，還蘊含了一種靠自身力量來挑戰自我極限的精神力量，而這就如同呼應了人們現在雖然身陷於不景氣當中，但只要自己肯努力，莫不能夠闖出自己的一片天！準備好關注你家的自行車了嗎？三月起就跟隨著《鐵馬少年》一同熱血上路吧！

From now on, to see animation can also learn from switching to energy-saving method of the earth! Rushing to ride the current wave of cycling's most rammer, Mandy spread of the latest proxy animated 《鐵馬少年》 is about starting in March in Taiwan DVD! Animation to its name, 《鐵馬少年》 is a "bicycle movement" as the theme, just to catch the most recent wave of hot products save energy and reduce carbon.

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.

A Christmas Carol

Source: http://www.bvi.com.tw/news.asp?n_no=145

【阿甘正傳】奧斯卡金獎導演勞勃辛密克斯是好萊塢最熱於擁抱高科技的導演，他是最早推出利用「真人捕捉」技術拍攝的電影先驅之一。今年十一月他將要推出首度與金凱瑞合作的電影【聖誕夜怪譚】，每次電影都有新花樣的勞勃辛密克斯，這回將推出影史上首度出現的「3D立體阿飄」，讓今年的聖誕節不但是提早到來，更是一個充滿阿飄的聖誕節!

從【北極特快車】開始到【貝武夫：北海的詛咒】勞勃辛密克斯導演每次都帶給觀眾最先進的視覺享受，【北極特快車】是第一部真人捕捉技術拍攝的立體電影，觀眾戴上眼鏡隨著湯姆漢克飾演的列車長以小朋友主人翁一起搭上開往北極的特快車。到了【貝武夫：北海的詛咒】勞勃辛密克斯再次以真人捕捉技術拍攝，挑戰英國文學中最古老的故事，這次他讓性感美女安琪莉娜裘莉幾乎全裸立體地出現在銀幕前。

Directed by Oscar-winning 【Forrest Gump】 Robert Zemeckis secret Fox is the hottest in Hollywood to embrace high-tech director, he was among the first to launch a "live capture" technology, films by one of the pioneers.

From【The Polar Express】Starts【BEOWULF】Director Robert Zemeckis dense gram Si each time takes to the audience the most advanced vision to enjoy,【The Polar Express】Is the first honorable person catches the technical photography the three-dimensional film, the audience puts on the eyeglasses head of train crew who plays along with Tom Hanks to make contact with together by the child host leaves for North Pole's express train. To【BEOWULF】 Robert Zemeckis dense gram Si catches the technical photography once more by the honorable person, challenges in the British literature the most ancient story, this he lets sexy beautiful woman peaceful Angelina Jolie nearly entire bare three-dimensional appear before the silver screen.

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。