2013年12月21日 星期六

Stroyboard study 分鏡練習

    I have some plots that will be cinematic footage. So i plan on choosing scene that i like from each film or trailer and doing them as boarding practice. Because we need  some outsource to help us make it become CG and make a contract before chinese new year, I have to finish them with two artists in 3-4 days.  

The image below is my study

2013年12月15日 星期日


I recently read a article about a cg artist who just know one app could be Eliminated. So I like to share with you.


3Q Digital tutor

If you’re an artist who has been focusing on mastering that one piece of software you learned in college, you might want to re-think that strategy. Knowing a single software program, no matter what program that is, won’t be enough to get you through your career – no matter the discipline. The reason is actually quite simple: big effects are being created by increasingly smaller budgets.


As the old adage goes, “You can have it fast, cheap or good. Pick two.” While this saying may have a glimmer of truth in it, the fact of the matter is that studios around the world are being asked every day to deliver on all three: fast, cheap and good. For studios to deliver big effects on shrinking budgets means they are always on the lookout for artists who are not only good (or even better, great) but are also fast and yes, cheap.

正如一句老話,你可以讓他" 快 " "便宜" 或 "好" 擇二。當這說法也許有一絲絲真理的曙光在裡面,事實的真相是全世界的工作室正在每天被要求給予這三項 : 快 便宜 好。對於工作室要交付預算縮減的大型特效,意味著他們總是在尋找不是只有好 (更好 或 極好),而且要"快" 當然 要"便宜"!!

Unfortunately the term cheap gets some negative connotations with it, so let’s make sure we’re on the same page on what we mean by cheap in this context. Cheap in this context doesn’t mean slashing salaries. In this context, fast and cheapactually mean the same thing. As yet another adage says, “Time is money.” An artist who can deliver quicker than their counterparts is delivering on both fast and cheap simply by saving the cost of the time. An artist who can deliver great work in this shortened time is truly an artist who is delivering on all three: Fast, cheap and great work.

不幸地,"便宜"這個詞有點負面的意思,所以讓我們確定我們是在同篇,對我們意指這篇正文的"便宜"。"便宜"在這篇文不是要削減薪水。正文裡,"快"和"便宜"事實上是同件事。如同另一句老話,時間就是金錢。一個可以交付比同行更快的藝術家也是正交付"快"和"便宜",只藉由"省下時間成本"。(換句話說:"省時"可以換到"快"和"便宜")。一位可以在"短時間"內交付出色作品的藝術家是真正的交付"快" "便宜" 和 "出色作品"的藝術家。

In the long run, it is actually cheaper for a studio to pay a higher salary to an artist who can consistently deliver great work fast than it is to hire an artist who spends a lot more time to deliver the same quality of work.


A great example of this long-term frame of mind can be found when a studio invests in creating custom tools to help speed up their artist’s workflow. Before they were available to the public, tools such as MARI were born out of the necessity to be able to deliver great work within a time-frame that simply wasn’t achievable with the tools that the artists had. Think about the amount of time, money and effort that goes into creating new software just so the artists that use the software can meet the expectations of delivering great work on time and on budget. Could the artists at Weta have created textures for Avatar without building a new tool? The capabilities for creating textures certainly existed. Given enough tweaking time, anything can be made to look great.

一個很棒的例子對於這種長久的思維可以被發現,當一間工作室投資在研發自製的工具去幫助加快他們美術的工作流程。在它們(工具)可以能夠被公開之前,工具如MARI的產生於可以在時程內交付出色作品需求,而不是實現藝術家的工具(可能是藝術家想要的)。思考一下時間,錢和心力,去製作新軟體,只是讓藝術家使用這軟體可以滿足在時間預算內交付出色作品。Wete的藝術家能夠為Avatar製作貼圖不用寫一個新工具嗎? 製作貼圖的功能當然存在。給足夠的調整時間,任何事都可以作的看起很棒!!

But what about the everyday artist?


Not everyone has the luxury of working for a studio that can develop proprietary tools. Then again, not every project requires brand new software to be developed for it to be successful. The key to success comes when you start to understand that all software, is just a tool that can be used to deliver great work. Regardless of the software you use, the faster you can deliver great work the more success you will have.


If you’re only using one software program for everything, try setting yourself up for success by looking at the tools available in your discipline. Existing software tools are constantly improved and new software tools pop up all the time. In the fast-paced CG industry, everyone benefits when they adapt positively to the change that is bound to happen.

如果你只用一種軟體處理任何事情,為了成功試著調整自己,在你的訓練裡找尋可用工具 。現有的軟體工具是持續的進步並且新軟體不斷的產生。在步調快速的CG工業中,每個人受益當他們積極適應改變就會必然發生。

While the specific tools you end up adding to your repertoire will vary depending on your discipline, here are some of our favorite methods for taking that next step and transitioning from a single-software artist to an artist with an arsenal of tools.


Learn the fundamentals. When you know the fundamentals of 3D, it’ll be a lot easier to bounce between different 3D programs.

學習基本原則. 當你知道3D的基礎原則,就容易跨不一樣的3D軟體

Find a part of your workflow that you want to spend less time doing. Chances are pretty good that you’re not the only one who doesn’t enjoy doing certain parts of your workflow. That usually means someone has taken the time to figure out how to speed it up.


Add something extra to your work. Sometimes it is necessary to learn new software to take your work from good to great.


Learn about the steps around you. Knowing about the parts of the pipeline around your discipline can help you create assets that fit into the pipeline better. This means less revisions and, by extension, faster end results.


So, after i read it, I thought that i am on the right  way. But, I should make my mental peace to face the disorderly society  of Taiwan. 

2013年12月3日 星期二

Edit _ Edit a trailer for your movie,game,promos and the commercials. 剪接_剪輯你的電影 遊戲 簡介 和商業的宣傳預告片

      Not only I responsible for environment prop,assets, I also have to supervise animation. Especially, our game will be published . I have to edit a trailer for it. Now, i want to share a article about "How to  edit a trailer for your movie ? "


Below are my translated from How to edit a trailer for your movie… by the guy who cuts trailers for movies!

以下是我的翻譯從這網頁How to edit a trailer for your movie… by the guy who cuts trailers for movies!

__1.A good piece of marketing material is a bonus and a must for any film, on any budget level.


__2.Don’t get bogged down trying to explain everything from A to Z, that’s the film’s job.


__3.Choose the story through line and stick to it.


__4.Don’t introduce too many motifs or characters choose whose journey it is – if you’re fortunate            to have a known performer, albeit in a minor role, utilise that fact.

不要導入太多的主題或選擇角色的任務 - 如果你很幸運,有一個有名的演員,儘管是一個次要的角色,利用這個元素。

__5.Don’t name check people who nobody knows.


__6.Know the end, the theme and feeling you want to leave the viewer with.


__7.The trailer doesn’t have to be as linear as the film – often better if it isn’t.

預告片不必要和電影一樣直述  - 通常最好不要

__8.Don’t have random moments that come out of nowhere – sounds contradictory to the above point but you can put scenes in any order as long a the through story is being followed, don’t be afraid of mixing it up.


__9.Writing copy (the voice over or captions) is tough, unless you have a way with words, don’t try and be too smart, serve the film rather than attempting to be clever with you words. The copy should encapsulate your through line story and can be helpful to skip through this. However, if you don’t need copy, don’t use it. If the film is strong enough let it do the talking.


__10.Stick with simple graphic captions – often the best way if you’re not graphically skilled.

堅持使用簡單的平面字幕 - 通常是最好的方式,如果你沒有平面設計的技術的話。

__11.Voice over is not a must, and bad VO can alienate the viewer (don’t cheapen it with a fake American accent, if you’re a Brit and can read the lines, be a Brit, just be confident. Failing that, stick with captions)


__12.Don’t let shots and moments out stay their welcome. The perfectly constructed moment you created in your film CAN be trimmed right down in the trailer, don’t worry it doesn’t ruin your film. It will always be perfect in the film.


__13.Say something once, for example you may have two characters saying pretty much the same point in two different ways, cut one out you don’t need the other. Move on.


What’s the score? 


Now, music is also a big tool and I find it super important. If you are cutting your own trailer and have no more cash in the bank then you won’t be able to afford the new big music cue, or the old classic track that may set your tone up perfectly.


How long?


A good length is from 90 seconds to 2 minutes, any extra is unnecessary. Hollywood movie trailers generally run at 2’30”, but often I feel they are too much, and they certainly can labour the point.


The final image is important, if your film is a horror, end with horror, it’s a comedy, go out on a great gag, if you’ve made a rom-com, then make sure you end on some rom and com.


Let's go ahead and start watching the trailer 《軒轅劍陸》天外之章宣傳影片