bityz'Blog

07年上海国际车展4月22-28号在上海新国际展览中心举办，这次车展是世界5大车展之一，聚集了世界上很多顶级的汽车产商，法拉利是我最喜欢的一家，我曾经在恒隆广场看到过一次，这次人真多，几万号人在展馆来会穿梭，够热闹的，先把照片放上来在说。

超人归来（Superman Returns）

导演：布莱恩-辛格 Bryan Singer
片长：154分钟
出品公司：华纳兄弟公司
特效团队：
Pixel Liberation Front
Rhythm & Hues
Rising Sun Pictures
Sony Pictures Imageworks
The Orphanage
Tippett Studio
上映日期：2006年6月28日


回首06特效大片：《超人归来》

　　“超人”的连环漫画自1938年首次面世以来，便以25种语言在世界各地超过40个国家发行。第一部现代版“超人”电影《超人》于1978年问世以来，就在在全球持续制造着不断的热潮。该片由理查德-多纳执导，影片中的“超人”一角由已故演员克里斯托弗-里夫扮演，电影传奇人物马龙-白兰度扮演他的父亲加尔。《超人归来》的导演布赖恩-辛格当年就是看到这部电影后喜欢上“超人”的，他回忆说：“这部影片给这个角色赋予了如此迷人的生活，它非常怀旧，同时又富于现代感，融合了不同时代的特征。”布赖恩-辛格曾经执导过两部大获成功的影片：《X战警》与《X战警2》。


　　《超人归来》可谓是前两部超人电影精神上的延续，这部影片由华纳兄弟电影公司酝酿了整整十年之久，投资两亿五千万美元为这位倍受世人爱戴的超级英雄传奇谱写全新的篇章，以完全不同的新视角展示了前所未有的视觉特技技术，同时以现代化的大都会城生活为背景，从更人性化的角度讲述了一个温情脉脉的故事: 一个男人无法实现的爱情以及他为寻找自己的位置而付出的努力。


超人”的继任者成为本片一大热点话题
谁是新一代的超人？



　　为了找到已故演员克里斯托弗-里夫的令人信服的继任者,在为本片挑选“超人”的扮演者时，导演辛格要求此人必须能够体现出克拉克·肯特以及“超人”所具有全部品质。辛格说道：“我所需要的演员必须能够把我们所有人印象中的‘超人’表现出来，而且外貌酷似‘超人’。”而他从一开始就打算选择一位不知名的演员扮演新一代“超人”，因为扮演‘超人’的演员绝不能背着电影明星的包袱。



　　经过在美国、英国、加拿大和澳大利亚的海选之后，当时年仅26岁、身高6.3英尺的布兰登-罗斯被导演看中，他的长相酷似那位从连环漫画书中走出来的超级偶像，而且这位演员出身于中西部普通家庭的背景也正中导演下怀，于是他便拍板请罗斯出演新一代银幕超人。


马龙-白兰度“起死回生”



　　在《超人归来》我们再次看了到已故明星马龙-白兰度的“精彩表演”，只不过这次表演大部分是通过数字特效技术实现的。著名后期特效公司Rhythm&Hues搜集了1978年原版《超人》中马龙·白兰度的表演片断，结合高精度的CG模型重新拼凑了一个马龙·白兰度的面部模型，配上先进的口型动画和足以乱真的材质纹理，马龙-白兰度又“活生生”地出现在了荧幕上。（观看制作过程技术展示）

CG技术将马龙-白兰度“复活”！
水晶飞船

　　本片的视觉总设计师盖-亨德里克斯-迪亚斯说：“对于整部影片的视觉风格，导演要求我以现有的有关‘超人’世界的漫画、电视剧和电影为参考，每当设计一个环境时都要考虑到‘超人’以往的形象。我们的目标是更新‘超人’的世界，而不是重新创造它。”



　　迪亚斯从78年《超人》的布景设计中获得灵感并且为“超人”建造了一条“水晶飞船”，该飞船宽150英尺，进深135英尺，大约有3层楼高。这个布景有意识地模仿了当年在首部“超人”影片中把“超人”送往地球的那个水晶舱，它能使我们想起很多人在孩提时代做过的水晶增长科学试验。这个由“超人”自己独有“水晶技术”创造的飞船看上去别具一格，它的内部熠熠发光，外观优美而且带有异域情调。另外，Dyas本着同样的设计原则创作“超人”的“孤独城堡”，采用新技术将水晶创意大大向前推进。例如，在1978年的影片中只能从一个方向观看“孤独城堡”，他们却可以做出一种360度的景观让摄影机能围绕着这个迷人的环境进行摇摄。



　　“这部影片的视觉风格就像这个故事本身一样充满了浪漫主义色彩，” 导演辛格说道：“我认为我们成功地将1987年影片中那种设计风格和40年代的浪漫风格融合在一起，不论是画面的色调、视觉设计还是建筑物的装饰风格、大都会城中闪闪发光的摩天大楼，都显然不是出自于某一特定时期，它融合了各种新旧元素，给人一种超越时间的感觉。”

“创世纪”Genesis数字摄像机



《超人归来》使用了大量的先进技术，其中有些在两年前还闻所未闻，比如“创世纪”（Genesis）数字摄像机，它是一种由Sony与Panavision联手研发的新式设备，本片也是第一部全片都采用这种机器拍摄完成的电影。据导演回忆说：“我们利用意向中的超35mm格式以及70mm格式做了银幕试验。当这两种摄影系统拍摄的胶片加工出来以后，我们发现70mm的样片在清晰度、深度、颗粒方面都显得出类拔萃，两种格式的效果产生了很大差距。”



　　导演辛格开始寻求利用70mm格式进行拍摄的途径，但有太多的理由证明它不切实际，无论在摄影机灵活性还是在胶片方面都存在很大的局限性。在那段时间里，与辛格长期合作的摄影师向他推荐了一种新型的Genesis数字摄像机。导演便开始用它在室外拍摄了各种条件下的试验片，其中包括柔光、暖光、深夜、正午、黄昏、清晨、内景、服装、发型以及化装等等，然后和摄影师两人坐在放映间里看了所有的试验片，经过比较俩人一致决定采用Genesis数字摄像机完成这部影片的拍摄。尽管这部崭新的摄影系统为他们带来了许多技术难题，使用它拍摄出的画面令他们非常满意，给与“超人”世界比以往更多的广角镜头和更大的画幅。导演说他的电影制作观本来非常传统，数字摄像对他和本片的摄像师来说都是新生事物，但这个新的摄影系统恰恰如同这部影片的很多其他方面一样，也是新旧融合的一个范例。

概念
One morning, I was tidying up my art studio and came across some sketches that I had done more than five years ago. The brief at that time had been to design a bike for a thirty-something "born again" biker who wanted to rediscover his youth with a stunning, aggressive, and evil looking bike. This bike would make the owner feel youthful and turn other bikers green with envy.

I decided to resurrect, revise, and model this design as my first submission to earn the coveted CG Choice Award. The original spark for this concept had come from seeing a hooded man. When viewing the front portion of the bike, you can see an evil figure whose eyes/headlights are peeping from underneath the hood. To compliment this evil and aggressive design I named the bike “Dacoit”, an old Hindi word for a class of robbers in India who act in gangs and are usually armed and dangerous.

草图
The majority of the sketches were created years ago which gave me a head start for this new challenge. The initial designs still felt fresh and contemporary, however I decided to continue sketching and revise some parts of the bike. For this project I created three distinct design directions. A semi-finished 2D Photoshop rendering was created for two of the design directions (orange bikes below). One idea was to combine many of the elements together into one final bike. I resisted that idea and focused on the strong linear/non-organic visual identity of the selected third design direction (sketches above). Some elements from the other two designs were incorporated into the final bike and some were used as inspiration, like the seat back rest, front mud guard, rear swing arm, and the brake disc area. In the near future I plan on revising and bringing the other two designs to life as well.

建模布光及渲染
Dacoit is a concept bike and close to a fully engineered bike. For the general measurements I studied many existing bikes. I had a clear vision of how I wanted the bike to look so the modeling process was straight forward. A combination of Nurb, poly and sub-d modeling was used and I moved between them as needed. When the modeling was nearing completion I did several Final Gather test renders (render results below). I was pleased with the direction but not fully satisfied with the renders so I continued to do additional test renders using Global illumination (like the one below). Apart from a few artifacts I was happy with the GI test render, although my PC’s rendering time did test my patience on a few occasions. At this stage, something else bothered me about the model. I was not happy with some design details so I jumped back into modeling mode and re-modeled the following areas:
a) Front mud guard was revised and made more aesthetically pleasing
b) Indicator lights were added on the front fairing (just above my logo)
c) The seat and thigh area of the bike was thinned out and made more ergonomic d) I created a new circular display stage for the bike.

The resulting wire frame screen grabs of the final revised model are below.










After updating the model I was satisfied with the design and started to re-focus my energies on rendering the bike. I concentrated on using Final Gather without Global Illumination to keep the render times relatively low. After some experimenting I produced this render on the left. The render had an appealing black and white photographic feel, so I continued to render the other views with the same set-up.

The setup uses a light panel that is placed right above the bike as the main light source. A couple of weak spotlights are added to achieve relevant shadows and highlights. All of the following final images are rendered in Maya using Mental Ray with Final Gather and no GI.




相关信息
Dacoit is a one seater street bike designed for pure selfish pleasure. It is not a full-blown sports bike. The seat back rest is inspired by the shape of a shark fin. The rider’s knee hugs the orange circle area. Part of the orange strip on the inner wheel is self-illuminating, making the bike more visible at night plus providing an interesting look when in motion. The gear change controls are on the hand grip area.

Footrest and handlebars are adjustable for comfort. There are two footrests for leaning in and the upright position. The footrest is adjustable and rotates like a clocks arm and it can extend inward and outward. The back of the bike is short to enhance the "man sitting on an engine" concept and to give it an evil Hyena-like feel, with the short back-end. The underside of the bike takes its inspiration from a warrior’s shield and protects the underside from street debris. The headlight mimics an evil criminal who looks towards the ground due to a “guilty conscience”.

Note - Light beams are thrown straight ahead and not downward. Only the external casing points down and not the internal parts that creates the light beam. The gills on the side release and channel the air that gets rammed through the open front. The inner wheel has a mesh area that allows the crosswind to pass through. The bike can be easily customized with a front visor to improve aero-dynamics.
纹理
Most of the shaders are Blinn and Lambert. The orange parts use a Phong shader. I experimented and tweaked the shader settings to get the look that was most pleasing to me. The background images are photos taken with my Nikon D70 DSLR.

They are mapped to a simple rectangular background plate. I achieved the background texture by adding graffiti, dirt and cloning some parts. Simple textures were also added to the control dials on the bike. No major compositing work was involved apart from tidying and color correcting the rendered images in Photoshop. I thought about adding some dirt on the bike in post, but decided to keep it nice and clean just like a new show bike.

由于动画本身是一门综合性非常强的艺术，涉及的艺术门类很多，同时又是实践性和操做性很强的专业，因此，对动画人员的综合素质有较高的要求．
　　１文学修养
　　　　　他的水平直接影响动画人员的专业水平，不同层次的文学修养会使动画片的主题创作和表现手段产生很大变化，直接影响动画片的质量．
　　２绘画能力
熟练的绘画技巧是动画专业人员应具备的业务条件，每个动画工作者都应该具备扎实的绘画基本功，具有素描　色彩　速写的造型能力．
　　３表现想象能力
　　　　　动画工作人员要学习各种表演艺术知识，这是动画创作的必不可少的技能之一，同时，还必须具有丰富的想象力．
　　４丰富的生活经验和广泛的知识
　　　　　包含：音乐　历史　科技　自然　摄影　电影技术处理和电影镜头艺术等等．
　　５动画语言的应用
　　　　　动画语言是动作语言，表情语言，是肢体语言的综合体现．
　　　　　动画语言的应用，不光是掌握，更重要的是要有熟练的动画技巧，并能熟练灵活的应用．
　　６动画人员要具备团队精神
　　　　 动画不是个体的创作，而是一个群体的创作，一部动画片的完成，既要有个人的明确分工又要有群体的合作，发挥优势互补的团队精神，影片才能顺利的完成．

过年一直是一个中国最喜庆的节日,不管男女老少,似乎都有着浓厚的感情.今天距离过年还有5天,但是上海的人似乎都还在忙着工作,因为工作的好坏会影响到过年的心情,可能现在都是这样,过年对在外面工作的人来说,过年意义不在是以前那么简单了,回家意味着很多人来分享你的去年一年来的喜悦或着不愉快,当然很多人都会回避这些话题,也有人过年不回家.因为回家不是一件简单的事情,对于我来说确实是一件复杂的事情,回家首先要去买票,买票这种很难受的事,我可能要花很长的时间去买一张不那么值钱的票,或许还要受到各种挫折,上海或者其他大城市都有这样的问题,虽然现在买票的方式很多.做车也是麻烦事情,车上都是人挤人,好像从来都是这样,还有各种难闻气味会让人窒息,而且这么短的一个假期让你过个匆忙的年,似乎意犹未尽,好了,不多写了,祝自己有个良好的心情回家,开心才是主旨.Take it easy!