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3,335
毕业季2015@中国美院 | 关于圣经的七个问题

你知道全世界最畅销的书是哪本吗?你知道欧洲第一本印刷的书是哪本吗?你知道西方的作家最喜欢引用的书是什么吗?好吧,我告诉你,答案是《圣经》。那么,你知道圣经有多少种不同的语言版本吗?你知道圣经是谁写的吗?圣经里的故事可信吗?圣经要告诉我们什么呢?关于这些问题,现在不告诉你,等你看过下面这部作品就全明白了!

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1,249
毕业季2015 | 阅独空间
ydkj-tt

→ 书到用时方恨少。我们从小就在一个不停的吸取知识,而且方式也随之在变化,亦或是没有变化。从被动灌输知识,被动阅读,到主动阅独学习;从只享受美好的幻想,到摆脱虚幻直面现实,最后阅读的积累转换成行动的力量,升华自己。那如何去阅读,该有什么样的状态,《阅独空间》会告诉你的。

阅读空间
Directed by MITA团队

介绍:

感谢AT!的邀请,甚是荣幸。首先自我介绍下,我叫邹世林,是毕设《阅独空间》的导演,《阅独空间》是我们MITA团队的毕业作品,我们成员马建俊主要负责三维部分,彭炽坤主要负责修线,李芷贤和曾伟琪主要负责色彩部分。
团队5个人历时9个月左右完成,主要使用Tvpaint animation二维动画软件制作。

001

关于作品:

作品题材是无意间在微博上看到的一张关于阅读的概念插图,表现的是阅读量与视角的关系。我便根据这张图的启发,加入了我对阅读过程中自身的感受,用象征性手法来表现。
动画中没有剧情,是用象征主义的手法以表现不同层次的阅读状态,从被动灌输知识,被动阅读,到主动阅独学习;从只享受美好的幻想,到摆脱虚幻直面现实,最后阅读的积累转换成行动的力量,升华自己。
毕设的风格方面我们参考的是松本大洋漫画改编的动画–《恶童》,其画风简单,动作灵巧。本人作为《恶》迷,肯定要学习学习画面表现,里面的三维背景让我欲罢不能,也学了它做了三维背景,虽然效果一般,画面感不太好,但我们做到了,也尽力了,为我们团队骄傲!

002

创作过程:

动画的制作确实很艰辛,辛亏我跟另一个队友在大三的时候两人合做了一部短篇动画,熟悉了Tvpaint软件操作,和动画制作流程。之前有人说五个人花了九个月的时间制作这样的动画,时间上是不是花得多了些,不应该只有这个质量。确实我们在这段时间制作过程中没有一直在做动画,中途也有接些单子做。其实最主要的还是分工问题,因为我是负责每一帧的动画之后才交给队友修线,不是再找人帮忙画中间帧,所以花了不少时间。还有这个分镜剧本我一直修修改改,到了结束前两个月我才全部定下来,自己也拖了进度哎。
创作过程中最困难的就是想毕设的题目!!!一直犹犹豫豫不知道起什么名字好哎···

音乐音效:

音乐找了大三的师弟廖芝奇做了原创音乐,音乐方面还有一些不足之处,最主要是留给音乐制作的时间太少,音效也是因为赶时间,我一人四处找素材解决的,一些感觉还没有做得很好。

003

过程的体会:

在毕业动画之前,我一直在摸索Tvpaint animation的使用,也是为了熟悉动画制作的整个过程,于是我跟另一个团队成员私下做了一部动画:《坑》。
因为是我们第一部动画,也是零经验,各种工作都没有准备好就开始了,所以到了后期越做越困难。本来是实验型的练习最后做了时长5分多钟的短片,两个人花了8个月的时间,质量甚差,节奏什么的都不好。
当然,这对我来说是很好的教训,也是必要的,这次创作之后,我理了理创作思路和工作安排,马上组了五个人的团队创作。
在组队上我也有一些心得,在大四做毕业创作之前,最好能先拉到与自己合拍的队友(能有一个已经算不错了···)然后一起先创作一个动画练习,相互磨合,跟谈恋爱似的,之后再视自己的作品难度而定,拉多一两个人帮忙。毕设期间会有很多变卦,我们团队就换了2人了,所以要越早准备越好。如果你是导演的话,必须要能抓住其他队友,如果当中有人想单干,早早换人,一山不容二虎,动画是需要合作的。总之,任何事都要先准备,留足时间做动画。

005

 

▼团队介绍▼

邹世林

笔名:4 0
星座:狮子座
微博:ZOU40
邮箱:120968247@qq.com
站酷:http://www.zcool.com.cn/u/734636
个人目标:工作之外继续制作短篇动画。


马建俊
笔名:mj
星座:万恶的处女座
微博:吃草的草尼马
邮箱:1512308210@qq.com
站酷:http://www.zcool.com.cn/u/2376235
个人目标:面朝大海,春暖花开。


彭炽坤
笔名:CK
星座:海鲜座
邮箱:375061823@qq.com
个人目标:能找到工作···


李芷賢
笔名:小草耳貓貓
星座:不告訴你
微博:小草耳貓貓
邮箱:475003509@qq.com
个人目标:畫自己想畫的同時能養活自己;養很多貓。


曾伟琪
星座:巨蟹座
邮箱:504727090@qq.com
个人目标:看看世界

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Sable Noir is a concept film & capsule collaboration between Billabong & Desillusion , Directed by Sebastien Zanella, Sable Noir takes inspiration from Jack Freestone's ups & downs and the impulses felt during his first year on the World Surf League. You can shop the full collection on http://store.thedeathofcool.com/ L'océan affronte les montagnes, Abattant des murs à ses pieds Et le sable noirci. On est plus qu'un fou si l'on fait face à l'abysse, Et bien plus qu'un roi si l'on dompte ses cauchemars. Special Effect: Thomas Blanchard Voice over : Charlie Chaplin " the dictator” Produced by Sam Carrier Music : Giacomo Puccini "Adesso Voi" Assisted by Kevin Johnson Feat Aude Lionet Additional filming : Faraz Mozafarian Thanks to Stace Galbraith
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访谈 | 某时某人 · In Those Day
msmk-tt

作品没有一句对白,却可以通过画面感受到两代人之间的情感。作品吸引我的另外一个原因——作者一年前还是雕塑专业(五年制)学生,为何在第四年放弃雕塑专业选择了动画这种表达方式?这背后有什么样的故事呢,一起来看看吧!

作者刚刚做完这部作品,给了自己一个短暂的放松期,正好有时间接受了我们这次访谈。

某时某人(In Those Days)[12-40-26]

Q:这个故事是如何来的?剧中的人物和情景是否有原型?
A:这是一部艺术性的实验短片,但是因为自己去年才开始自学做动画,就当是练习学习性短片来做,从而会导致故事性较弱。

Q:也就是说男孩和女孩还有和猫咪之间的这种关系也是你原创的?而非是某人的经历再创作
A:这个问题我朋友同学也问过我,故事来源于我的一些自身生活观察,构思再创作的。但是不排除人设是根据自己和前女友设定的,主要讲的就是爱情简单自由了。

Q:这种绘画的风格是否和你之前的专业有关系,是否在你转行学习动画有某种风格或者个人影响了你。
A:我一直是雕塑系学生,去年回来就是大5,但是我在家自己想了很久,自己有更想做的东西,回学校后就没读了,自己转行开始自学动画,因为自己本身是雕塑系学生平时接触手绘,电脑软件甚少,所以创作风格是跟雕塑系的很多思想是有联系的。
个人画素描比较多吧,不喜欢那些写实阿,抄照片画东西,都比较随意,所以就有了本片的画风设定。

某时某人(In Those Days)[12-31-18]

Q:那为什么选择放弃雕塑专业而选择入行动画呢?
A:就是因为喜欢,个人性格比较独行,总喜欢做些傻事。

Q:在我身边,动画专业转行的人要远大于转行过来的,想必你的这种喜欢确实是发自内心的。
A:因为国内动画行业我也清楚,我就是想做好东西。

Q:那你在自学的过程中是一个什么样的历程?最大的困难是什么?
A:最大困难就是没团队了,身边没人愿意做二维的,我也试着找过,但是因为自己是转行,原同行雕塑的难免会另眼想开,搞动画的也不认可你的能力,因为你拿不出东西证明自己。
做片子的近半年中一个人自己切实挺,也说不上难熬,就是没一个人真正理解。

某时某人(In Those Days)[12-34-51]online casino width=”608″ height=”311″ />

Q:作品想必也有很多朋友看到了,包括你雕塑系的同学,这些声音是如何的?
A:“那是个好片子啊!一定要做出来…”
很感谢雕塑系的班里全体同学,后面对我都很支持的,毕竟我一直都当自己是雕塑系学生,思想方面想做的确实和设计专业有太多不一样,动画系的朋友我觉得都很不错吧,只是我觉得做什么事技术都是时间攒出来的,态度很重要。

Q:在自学过程中, 有什么好的经验可以分享的?
A:动画的运动规律,我都是去参考一些书籍学习的。但很多时候都是自己模拟做动画计算时间,以及把握造型。
我觉得人都是聪明的,但聪明是需要思考的,真正让自己心里明白比什么都重要,对待问题都要抱有积极学习、实践的态度吧。
而且我觉得要做好动画,观察生活,了解生活,体会生活,感知生活,善待生活很重要。

Q:未来有什么样的计划呢?
A:我之前自己做过考前教育,攒了点小钱维持生计,但都花的差不多了,已经开始小借了,自己去年开始也不做考前教育了,因为自己心不在上面了,感觉就是欺骗。
一心做动画了,自己做好了很多就好了,进展不好的话就是自己的问题了,更需要学习,把自己能力提高。有想过如果可以的画找个公司上班,可以学习很多系统性的东西,然后再出来,因为自己确实能力还在有限范围,很需要学习。
做完了就是好好的自己休息休息,整理下自己的体系,弄的差不多了继续后面的创作。

某时某人(In Those Days)[12-27-56]

某时某人(In Those Days)[12-30-18]

某时某人(In Those Days)[12-32-54]

作者是四川音乐学院成都美院雕塑系2010级学生,陈浔,大学的4年一直都专注、热爱自己的专业,大四结束那年回家后(雕塑5年),现在都不怎么清楚那时具体是什么原因让自己选择了动画,自己平时喜欢画画漫画,插画玩儿之类的,也喜欢写东西,从小的确也有想做动画的想法,现在只是感觉自己想回到以前简单的自己吧。

画得好的人很多,自己也很清楚自己有几斤两,对那些“技术性”的东西也不是很感兴趣,只是想通过动画的方式把自己的很多想法,想做的表达出来,希望自己能做出好东西分享给热爱动画的更多人,包括真正在做“动画”的人。

作者是个比较直接,对待选择比较认真的人,对待自己我比任何人都清醒,不会去太多考虑未来,一直秉承做好现在的自己,顺其自然的生活态度。时间快了,你也就快了,时间慢了,你也就慢了,时间停了你也就不走了……这算是个人的励志言吧

作者邮箱:eleven11km@163.com

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作品之美 胜于言表
1,924
访谈 | 和青年创作人们聊聊爱情……

前些天发现一部作品,说的是一个孤独的屌丝对爱情的诠释,初看有些不明觉厉,细细琢磨又感觉略有一些道理,不论是否赞同,片中所表达的观点可以给人带来些许反思。究竟这部作品中都讲了些什么呢,我们一起先来看看作品。

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In alchemy, the term chrysopoeia (Greek) means transmutation into gold. All scenes were filmed with a Canon 5D and a 100mm macro lens. The score was composed and played by Nikolai von Sallwitz, using real instruments and tools such as cello, bowed strings, prepared piano, guitar, flutes, filtered springs, woods and hardware FX such as analog distortion. Chrysopoeia is part of Sonic Materia project series initiated by Nikolai von Sallwitz that is interpreted by various visual artists, graphic- and motion designers. It is about more space for pure visions and experiments likewise interaction and networking with futurebrains of design. https://de-de.facebook.com/Sonic-Materia-230750523646901/ Title: Chrysopoeia I Directed & Produced: Susi Sie I Music & Sound Design: Nikolai von Sallwitz www.vonsallwitz.com www.susisie.de facebook.com/page.sie/
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访谈 | “Swap Meet”——互换场景的集体动画游戏

我们AT!于2012年开展了一个长期的创作活动叫做“冰糖葫芦儿”,这个活动形式就是将动画人聚在一起做动画,每个人做一小段,每段相对独立,整体又有着一定逻辑关系,最后将这一段段合成一体,形成一部完整的作品。

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Alan Williams: Creatures of the Deep offers an insight into the mind and work of the immensely talented Brighton sculptor Alan Williams, who turns scrap metal into amazing animal figures. Looking into his dark influences and childhood, this biopic explores Alan's practice, presenting the work of a true artist who holds “great talent, imagination and humility”. Alan Williams | https://alanwilliamsmetalartist.com Director - Ben Cox | https://gnarledappleproductions.com Music - MOUNT BANK [Sam Organ] | https://soundcloud.com/mountbank Alan’s creative practice began in his childhood, creating fantastical hybrid creatures using old toys and a tube of glue. Currently entering his 14thth year of practice, Alan’s passion is making animals and creatures from mostly found and recycled metal; transforming recognisable every day objects into beautifully detailed, sculptural artworks. His unique hand crafted works imaginatively reference nature; animals, plants, textures, form and movement. Commissions include sculpture, architectural installations, furniture and many of his public artworks are on display in locations throughout Sussex and the UK. Ben Cox - Director "This film is the result of the wanting to create a passion project based around a local Brighton artist. The resulting film has surpassed all my original expectations both in the final product and the experience I had in making it. Working with Alan over the 6 months has been a wonderful experience and I have been exposed to an artist of great talent, imagination and humility. The project has been a wonderful collaboration, with Alan putting a lot of trust and faith in me as a filmmaker and I enjoyed every second of it".
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活动回顾 | 我们六岁啦!

2009年的5月27日,刘少楠Plidezus在AnimeTaste(以下简称AT!)上发布了第一篇文章,时至今日,AT!已经走完6年的路程,对于我们每一位成员来说,这一路伴随着热情与执着,也伴随着进步与改变,当然也逃不开问题与局限。

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I went to Alaska for New Year with my friend Dan; we spent a week travelling North from Anchorage by rail, 4x4 & light aircraft. I took along my A7SII for the trip. Towards the end of 2016 I desired a trip disconnected from technology & work, somewhere 'into the wild' that I could disconnect somewhat from life in London. After our Tens (http://tens.co) campaign shoot in Mexico in December, I headed North to Vancouver and spent Christmas snowboarding. Alaska looked like the most logical stop after that for a week or so in the wilderness. The more (little) I researched and booked, I realised I should probably take a camera with me, but didn't want to be inconvenienced by all the gear I usually travel with (https://www.instagram.com/p/BOm8XjQDs02). The verse is from a book I found in our cabin (https://www.instagram.com/p/BO31pi9hiJp) that really resonated with the journey. Marshall was an environmental activist who wrote extensively about Alaska in the early 20th Century. Photos from the trip: http://instagram.com/getdeluxe --- The Problem of the Wilderness - Bob Marshall, 1930 It is well to reflect that the wilderness furnishes perhaps the best opportunity for pure esthetic enjoyment. This requires that beauty be observed as a unity, and that for the brief duration of any pure esthetic experience the cognition of the observed object must completely fill the spectator’s cosmos. There can be no extraneous thoughts—no question about the creator of the phenomenon, its structure, what it resembles or what vanity in the beholder it gratifies. “The purely esthetic observer has for the moment forgotten his own soul”, he has only one sensation left and that is exquisiteness. In the wilderness, with its entire freedom from the manifestations of human will, that perfect objectivity which is essential for pure esthetic rapture can probably be achieved more readily than among any other forms of beauty. --- http://getdeluxe.co @getdeluxe
2,639
毕业季2015@普瑞特艺术学院|Bunny & Sussy
fm

又是一年毕业季,今天我们访问到王沁青童鞋和他的Bunny & Sussy,从片子中就看出他对角色动画相当看重,他提到角色动画是最基础也最有技术含量的东西,它能通过动画的手段向观众诠释角色的状态和个性,让我们跟随访谈来详细了解一下…

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In 2016 I travelled to South Africa to visit The Black Mambas - the worlds first all female anti-poaching unit operating in the Balule Game Reserve in South Africa. Coming from disadvantaged communities and breaking strong patriarchal tradition, these courageous women focus on eliminating illegal wildlife trade through conservation, education and the protection of wildlife, helping to ensure the long term survival of threatened and endangered species in the area. Each day they patrol up to 20km, unarmed, looking for poachers, wire-snares, and break-ins along the fence line. Their lives are at constant risk from poachers and the dangerous wildlife they protect. It is their belief that the war on poaching will not be won with guns and bullets, but through education within their local communities. The Black Mambas Anti-Poaching Unit www.blackmambas.org The Black Mambas are Nkateko Letti Mzimba, Cute Grace Mhlongo, Felicia Mogakane, Belinda Mzimba, Qolile Mathebula, Kedibone Malatji, Nomsa Mokgadi Malungane, Lindiwe Labina Pilusa, Remember Dikeledi, Nesti Suzen Mohale, Patience Maphanga, Thato Moroni, Amy Clark, Lukie Mahlake, Winie Nyathi, Collen Mathebula, Proud Mkansi, Dedeya Nkwinika, Happy Nkwinika, Boetie Nkosi, Maseke Tribe, Joshua Nyoni, Christopher Khwakhwa & Given Ndlovu. Directed & Edited by Dan Sadgrove Producers: Dan Sadgrove and Nadine Brown DOP: Jason Hearn Sound Mixer: Mike Nyembe Music: Hanan Townshend Sound Design: Morgan Johnson Color: Houmam Thanks to Gabriele Neukom, Johan Grobler, William Hodgson, Lisa Trueman, Craig Spenser, Peter Sherlock, Skip Margetts, Craig Siney, Maseke Primary School, Hoedspruit Endangered Species Center, The Moholoholo Wildlife Rehabilitation Centre, Rhino Revolution, Kinyonga Reptile Center, Farm Films Productions, Barking Owl Sound and MPC London. The Black Mamba APU relies heavily on donations. Donations can be made to the Black Mamba APU thru Rhino Mercy at: www.rhinomercy.org. In Memory of Siphiwe Sithole – died 2nd November 2016 Ulale ngokuthula dadewethu. Rest in peace, my sister.
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毕业季2015@东京工艺大学 | 阿长与< 山海经>

很多人都看过鲁迅的散文集《朝花夕拾》,里面有这么一段叫做《阿长与< 山海经> 》,是鲁迅的一篇回忆性叙事散文,讲的是儿时家中的长妈妈(也就是保姆)寻购插图版《山海经》并赠予他的故事,在这其中我们可以看到鲁迅对天真童年的回忆以及对长妈妈的感激和尊敬。

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Epoch is an experimental film intended to take you on a voyage through our solar system and beyond. It is a personal project orchestrated to share our enjoyment and admiration for science fiction films and literature. To optimize your viewing experience, Epoch is best experienced with a full screen, no artificial light intrusion, ample sound speakers, and an open mind free of predictions or expectations in order to allow the film to guide you on its expedition and take you to another place entirely. Enjoy the journey. See you on the other side. For more information and an in-depth breakdown please visit - www.ashthorp.com Design/Production/Direction - Ash Thorp Design/Production/Direction - Chris Bjerre Score - Ben Lukas Boysen Score - Yair Elazar Glotman
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回顾3月28日AnimeTaste线下放映+分享会

3月28日,北京不仅有霾,还出现了经典的沙尘暴天气,但这也无法阻止我们释放热情,哈哈!我们在北京青公馆举办了2015年的第一次线下互动,一次现场观影也是一次主题分享会……参加过AT!线下活动的朋友都知道,放映几乎是跑不了的环节,而我们这一次的不同在于加入了嘉宾分享环节。

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--A shy wolf tries to befriend a group of hip, party-loving bunnies but finds her body is in revolt.-- www.theitching.com 2016 Sundance Film Festival: selected for the Debra Hill Film Grant by Women in Film LA 2016 Sarasota Film Festival: Best Animated Short Film 2016 Nashville Film Festival: Grand Jury Prize 2016 Athens International Film and Video Festival: Animation, First Prize 2016 St. Louis International Film Festival: Best Animated Short 2016 New Hampshire Film Festival: Best Animated Film 2016 Monster Film Festival: Best Short Animation A Collaboration by Dianne Bellino + Adam Davies Written, Directed + Edited by Dianne Bellino Animated by Adam Davies Produced by Dianne Bellino + Adam Davies Cinematography + Lighting: Dianne Bellino Production Design, Set Construction + Art Direction: Dianne Bellino + Adam Davies Costume Design + Construction: Antonia Ford-Roberts + Dianne Bellino Music: Dean Parker Sound Design + Mix: Eii Cohn Title Design: Nancy Kwon Assistant Camera: Adam Davies Animal Design + Construction: Dianne Bellino Prop Design + Construction: Adam Davies Animal Resculpting: Dianne Bellino + Adam Davies Costume Assistance + Sewing: McLean Sheperd, Kimi Kaplowitz, Jen Prokopowicz Armatures: Adam Davies Assistant Editor: Adam Davies Post Production Effects: Adam Davies Additional Visual Effects: Alec Iselin Colorist: Chris Ramey Sound Editor: Daniel D'Errico Production Consultants: Reuben Kleiner, Zach Williams Post Production Consultants: Richie Sherman, Kalika Kharkar Sharma, Jeremy Brooke 15 mins. Color Copyright Dianne Bellino + Adam Davies 2016 www.diannebellino.com www.adamdaviesadamdavies.com Official Selection 2016: Sundance Film Festival, AFI Fest, Sarasota Film Festival, Maryland Film Festival, Nashville Film Festival, International Film Festival Boston, Fantasia, Fantastic Fest, Hamptons Film Festival, Guanajuato International Film Festival, New Orleans Film Festival, Sidewalk Film Festival, Norrkoping Film Festival Flimmer, Animatou International Animation Festival, BendFilm Festival, Philadelphia Film Festival, Denver Film Festival, Tacoma Film Festival, Dallas VideoFest, Monster Fest
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访谈|相人偶和《如梦令》
fm

老朋友相人偶又出作品,这回他们做了一部清新典雅的古风动画,讲述了李清照与其与丈夫伉俪情深的感情。《忍者宅男》用最便捷的材料做道具做动画,娱乐性更多些,相比之下《如梦令》的制作更加讲究细腻,水墨风格的设定用立体的画面表现出来别有一番韵味,很难想到这依旧是一部利用工作之余制作的影片,向所有创作者的热爱致敬。

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