2015年12月19日 星期六

2015年11月24日 星期二

My MRT sketch book vol 12


    I start to study UE4 recently. Matinee is powerful Director Tool like Edit program . It's good news for our team. We could make the cinematic animation  in game without script. I really admire our  Game Designer . They made 300 scenes in game with script !!

2015年9月29日 星期二

My MRT sketch book vol 11

Yesterday ,it's the first time i feel the power of typhoon is powerful. My house is too old to proof the rain . Heavy rain Outside, small rain inside. In my childhood, i just want a typhoon day, but recent years, the damage of typhoon is so heavy. Now ,i just only hope everyone be careful and safe.

show some sketchs i recently draw.

2015年8月30日 星期日


資料來源: : The rule of six

Murch with his protégé Sara Fgaier (copyright Rolex)
Multiple Oscar winning film editor & sound designer Walter Murch‘s distinguished 50-year career reads like a ‘best of’ list of feature films. His work as both editor and sound designer on classic films such as  Apocalypse NowThe Unbearable Lightness of BeingGhostThe Godfather II & IIIThe English Patient and the Talented Mr Ripley mean his word is virtually gospel when it comes to filmmaking. He has been the subject of numerous books and documentaries over the years and was also the first filmmaker awarded an Academy Award for editing on a digital system (Avid). Not one to rest on his laurels however, Murch is slated to edit Disney’s next animated classic Tomorrowland and he also spends time mentoring with the Rolex Mentors & Protégés program (pictured above with protégé Sara Fgaier).

多次奧斯卡電影剪輯和音效設計師,Walter Murch 輝煌的50年生涯,閱讀起來,就像是最佳特色電影的清單,他的作品,剪輯和音效在經典電影中,如 現代啟示錄 ,生命中不能承受之輕,第六感生死戀,教父第二集 第三集,英倫情人,天才雷普利。說到電影製作,他一言一句,幾乎是真理。這幾年,他已經是許多書籍紀錄片的主題,而且是第一個電影製作人在數位系統(AVID)上剪輯得到學院獎。但他沒有停下腳步,Murch被選為迪士尼下一部經典動畫 明日世界做剪輯,並且他也花時間授課。
Story by Nicole Boyd

Murch working with his FCP set-up

Within Murch’s book  In the blink of an eye: A perspective on film editing he discusses something he calls the ‘Rule of Six‘.

由於Murch的書  In the blink of an eye: A perspective on film editing ,他討論到他所稱之為六條規則。
Six elements to building the story within the edit, which he describes as a list of priorities:

“What I’m suggesting is a list of priorities. If you have to give up something, don’t ever give up emo­tion before story. Don’t give up story before rhythm, don’t give up rhythm before eye-trace, don’t give up eye-trace before planarity, and don’t give up planarity before spatial continuity.” (i)

These priorities can be used as a formative plan for your edit or a guideline to follow that ensures your edit keeps your audience invested in the film.

“The ideal cut is one that satisfies all the following six criteria at once.”

Walter Murch working on the sound design of 'Apocalype Now'.
Walter Murch working on the sound design of ‘Apocalype Now’.

1. Emotion

How will this cut affect the audience emotionally at this particular moment in the film?
Telling the emotion of the story is the single most important part when it comes to editing. When we make a cut we need to consider if that edit is true to the emotion of the story.
Ask yourself does this cut add to that emotion or subtract from it?
It is important to consider if the cut is distracting the audience from the emotion of the story, Murch believes that emotion “is the thing that you should try to preserve at all costs”,
“How do you want the audience to feel? If they are feel­ing what you want them to feel all the way through the film, you’ve done about as much as you can ever do. What they finally remember is not the editing, not the camerawork, not the performances, not even the story—it’s how they felt.” (i)
Walter Murch 904x346
Murch working in FCP

2. Story

Does the edit move the story forward in a meaningful way?
Each cut you make needs to advance the story. Don’t let the edit become bogged in subplot (if it isn’t essential) if the scene isn’t advancing the story, cut it.
Remember what Faulkner says “Kill all your darlings” (yes, he’s talking about writing but it’s also true in filmmaking).
If the story isn’t advancing, its confusing or worse boring your audience.


記得 Faulkner 說得 (註一) 殺掉你的所愛  (沒錯他是在講寫作,不過對電影製作也是)


註一 kill your darlings 作者應該適當放棄自己的喜好,避免自視過甚。
Walter Murch speaking at Sundance
Walter Murch speaking at Sundance

3. Rhythm

Is the cut at a point that makes rhythmic sense?
Like music, editing must have a beat, a rhythm to it. Timing is everything.
“it occurs at a moment that is rhythmically interesting and ‘right'”
If the rhythm is off, your edit will look sloppy, a bad cut can be  ‘jarring’ to an audience.   Try to keep the cut tight and interesting.
These top three – emotion, story, rhythm – are essential to get right.
“Now, in practice, you will find that those top three things on the list…are ex­tremely tightly connected. The forces that bind them together are like the bonds between the protons and neutrons in the nucleus of the atom. Those are, by far, the tightest bonds, and the forces connecting the lower three grow progressively weaker as you go down the list.”





這前三名 - 情感 故事 節奏 是得到正確不可或缺的。


4. Eye Trace 

How does the cut affect the location and movement of the audience’s focus in that particular film?
You should always be aware of where in the frame you want your audience to look, and cut accordingly. Match the movement from one side of the screen to the other, or for a transition, matching the frame shape or symbol, e.g. Murch when editing Apocalypse Now uses the repetition of symbol, from a rotating ceiling fan to helicopters.
Break the screen into four quadrants, and try to keep the movement in one of those quadrants. For instance, if your character is reaching from the top left quadrant, and his eyes are focused to the right lower quadrant that is where  your audience’s focus will naturally move after the cut.


你應該留意你要觀眾在影片裡看的位置,並且有根據地的剪輯。匹配行為從影幕的一端到另一端,或是一個轉變,匹配外型或是信號,  e.g. Murch在剪輯現代啟示錄,使用了重複的信號,從旋轉的吊扇到直升機。


Remember to edit on the movement
and match the action
Remember to edit on movement and to match the action, keeping the continuity as close as possible.


5. Two Dimensional Place of Screen

Is the axis followed properly?
Make sure your cuts follow the axis (180º line). This will keep the action along it’s correct path of motion and maintain the continuity. Looking at your quadrants again, be sure the movement flows along the same path, for example a car leaving the left side of frame, would enter again via the right. Sticking to the 180º line (I’ll explain this more below) allows the audience to keep track of the spatial place of characters and objects in your film.




Using a reverse-angle in the preceding shot would be disconcerting to the audience, due to crossing the 180º line

6. Three Dimensional Space


Is the cut true to established physical and spacial relationships?

During shooting the 180º rule states that you draw an imaginary in between your characters and keep the camera on just one side of that line, this is true for editing also.

This rule should always be adhered to, unless you purposely break it. Breaking the 180º line works really well if you want your audience feeling confused, or to disorientate them.

A great example of which is Stanley Kubrick’s The Shining, scattered throughout are reverse-angle wide shots between characters, the freezer door opens from both sides of frame (from one cut to the next), even the architecture of the set makes no sense with doorways to rooms that spatially would be somewhere mid-air above stair ways. Even the managers office (where Jack is interviewed) has a window with a view to outside despite it being located in the middle of the hotel/set.

一個很棒的例子就是Stanley Kubrick’s The Shining(鬼店), 透過反轉角度的寬鏡頭在角色之間,冷凍櫃門打開從另一邊(從這Cut到下一cut),即使場景結構設置沒有意義,從走道到房間,空間上應該某個地方是中空的。即使經理辦公室(jack面試的所在),有一個可以看外面景致的窗戶,儘管它的位置在旅館中間。
Kubrick crossed the 180º line many times through out 'The Shining'
Kubrick crossed the 180º line many times through out ‘The Shining’
The point is, stick to the 180º rule, and spatially your edit will work, unless you really want to mess with your audience’s minds

Murch with his protégé Sara Fgaier (copyright Rolex)
Murch likes to edit standing up (copyright Rolex)

Murch states that above all else emotion is the most vital element, beyond that the top three should really be at the forefront of the edit. He even assigned values to each rule and its relevant importance.

Murch指出,以上所有最重要的就是 情感,除此之外,前三項應該真的被放在剪輯前面,他甚至為每個規則附予數值及其重要性。
“The values I put after each item are slightly tongue-in-cheek,” he writes, “but not completely: Notice that the top two on the list (emotion and story) are worth far more than the bottom four (rhythm, eye-trace, planarity, spatial continuity, and when you come right down to it, under most circumstances, the top of the list—emotion—is worth more than all five of the things underneath it.”

我輸入在每一項後面的數值是有一點玩笑意味,他寫道,但也不全是。注意清單上的前兩名(情感和故事)是遠重要於底下四項(節奏,眼球追蹤,平面空間,三度空間連續性),並且當你遇見它,在任何情況下,清單的首選 --情感--是值得於其他五項。
“If you find you have to sacrifice [any one] certain of those six things to make a cut, sacrifice your way up, item by item, from the bottom.” (i)


1. Emotion (51%)
2. Story (23%)
3. Rhythm (10%)
4. Eye Trace (7%)
5. 2D Place of Screen (5%)
6. 3D Space (4%)

Below are two important videos of Murch.
The first is a short video of him explaining the ‘Rule of Six’ in his own words and the second is a masterclass from Murch discussing his body of work, from editing on the Steenbeck to the latest technical advancements in film editing and “examine the salient technical, artistic, and philosophical differences between the post-production of a theatrical scripted film and a feature-length documentary”.

第一支是他在解釋 ‘Rule of Six’。
They’re a great chance to listen to a master filmmaker discussing his art.


(i) Murch, W.  In the blink of an eye: A perspective on film editing. Silman-James Press, 1995

2015年7月27日 星期一

My MRT sketch book vol 10

Oh my~~ My last sketch was bloged at march. It's too long. But I still sketch sth now. Take a look

and enjoy it !

2015年6月30日 星期二

SWD6A Star read MV launch 軒轅劍外傳 穹之扉 星念MV

Wow oh~~ I edited the music video for SWD6A in this month. This time i added the parts of color

correction and color grading in my workflow. I feel these process made film glow and better. I use

AE effect : SA color finesse 3 ! It's useful CC tool!!






OK ,let's take a look !


2015年5月16日 星期六

The making of Tabatha Veazie - Animated 2D portrait - part 5 _ Tabatha Veazie幕後製作 - 動態2D肖像 - part 5


The making of Tabatha Veazie - Animated 2D portrait  Blog

Herald FB

Herald Game

Herald - An Interactive Period Drama 募資頁面

The last two days have been spent doing the mouth, setting the Y motion for the head and finally polishing everything.


Tabatha is pretty much completed! Aside from a few extra features like different hair and her hat that I will be adding later.


Here is how the teeth look underneath the mouth! Thank god people have lips.



You can really see how all the work pays off now. With the various motions you set up you can create pretty much any expression you want!



These are some expressions to test the various extremes she can emote in. Some may be a bit out of character, but it’s so fun to see the various facial expressions you can make her do that it’s sometimes hard to stop!



You can test your model with mouse tracking in Live2D’s model viewer. 

你可以用滑鼠追蹤,在live 2D測試你的模型。

I’m quite pleased with how she came out! 


Thanks again for all the interest and I hope you will look forward to seeing Tabatha in action in our future trailers and finally the game! We’ll be posting more blogs like these in the future, the next ones will be about the background and the story of Herald. Look out for these in the coming weeks!


2015年5月15日 星期五

The making of Tabatha Veazie - Animated 2D portrait - part 4 _Tabatha Veazie幕後製作 - 動態2D肖像 - part 4


The making of Tabatha Veazie - Animated 2D portrait  Blog

Herald FB

Herald Game

Herald - An Interactive Period Drama 募資頁面

Yesterday I finished working on the eyebrows and eyebrow shadow. Today I am working on the eyes!


The eyebrows gave me a bit of a headache at the start because I had to find the right hierarchy to put them in. I ended up with 14 deformers divided over 4 texture parts. The blue parts are the actual texture image.


Welcome to deformer hell. This wiggly brow is what all that work boils down to!


You know that thing you do when you draw an expression and your face automatically mimics it without you realizing it? Working on this makes me do the same thing. Needless to say, my eyebrows hurt now. I might still add a bit of shadow parts to emphasize the frown later on.
Not only the eyebrows but also the eyes are very important when conveying emotion. The eyes are often underestimated. Simply raising the lower eyelids works wonders for showing giddiness or anxiousness.


Blinking is next! This is a bit tricky to get right. As you may have seen in the texture sheet, I drew closed eyelids to move on top of the open eye. I also added an eyeline that is an exact match with the upper eyelid line. This is done to smooth out the blending between the open upper lid and the closed upper lid. It’s very hard to keep the dark eyeline from jagging up when deforming the lid for animation, so the single eyeline lies on top to make sure it looks correct.



Making characters blink is always one of my favorite parts in the animation process. Something so little can already add so much life.


Next up, the mouth and finishing up the head movement!


2015年5月13日 星期三

The making of Tabatha Veazie - Animated 2D portrait - part 3 _Tabatha Veazie幕後製作 - 動態2D肖像 - part 3


The making of Tabatha Veazie - Animated 2D portrait  Blog

Herald FB

Herald Game

Herald - An Interactive Period Drama 募資頁面

After all the preparation work I did the last two days, it’s now time for the fun part. Did I say fun? I meant the hardest and most tedious part, but also the most rewarding in the end!

結束我過去兩天的準備工作之後,現在是最有趣的部分了,我是說有趣嗎? 我覺得最困難和最無聊的部分,但也是最後能得到回報。

Yesterday I set up all the texture parts with their deformers, making sure they are in the right hierarchy and also in the right draw order [like stacked objects in Illustrator]. If you did not properly name your drawing layers before, using this program will force you to become very organized, otherwise it’s simply impossible to keep track of what and where everything is. You’re going to have to switch between all the different layers, a lot.


With everything set up, I can start working on the movements I want Tabatha to be able to make. With live2D you have many possibilities, but I chose to limit the movements of Herald’s portraits somewhat because of the detailed painting style my portraits are in. I did this mainly to reduce the uncanny valley feeling these kind of animations can sometimes give you if they move too much.


By far, setting up the head movement takes the longest and is the hardest to get right, so naturally I chose to start with that. Things are going to look very weird and well…deformed for a while.

目前為止,設定頭部運動最花時間,也是最難使它正確。所以很自然地我選擇從頭開始作,事情將會從看起來很怪 ~~恩.......再變形一下好了。


Starting with the head turn on the X axis, I set up how many keyframes I want, and then on each keyframe placing, deforming and tweaking every facial feature until it looks right. It’s at this phase that I learned that being a meticulous perfectionist can actually be a good thing. Also, lots of patience! It really comes down to tiny details, if only a small thing is off your animation will look weird. So you have to be hyper aware of every detail and how it’s moving and deforming along the grid.



After the X axis head turn started to look somewhat decent, I quickly did the eye rotation, which is easy to do in comparison. I start with the X axis again, then after that is set up, adding the keyframes to the Y axis and linking it to the X. Thus you get this fun 9 point keyframe square.



It’s alive!


This phase takes the longest time, so there will be no update tomorrow. I will return coming Friday with some more fun and freaky looking gifs, as I continue to add movement to her!


2015年5月9日 星期六

The making of Tabatha Veazie - Animated 2D portrait - part 2_Tabatha Veazie幕後製作 - 動態2D肖像 - part 2


The making of Tabatha Veazie - Animated 2D portrait  Blog

Herald FB

Herald Game

Herald - An Interactive Period Drama 募資頁面

First of all, thanks for all the positive reactions so far! I hope you enjoy the rest of the series. I must warn you though, things are going to get a bit weird.

首先,感謝目前所有的熱情回應! 我希望你們可以更熱衷在這系列,我必須警告你一下,事情將會有點詭異。

Today I prepared Tabatha’s texture map, which looks like an assembly box for a freaky paper doll of some kind, which is pretty much exactly what it is!

今天我準備了 Tabatha 的貼圖,它看起來類似那種奇異紙娃娃的零件箱,但它的確是這樣沒錯!


With the previous portrait I did, I was able to copy a large amount of animations I had already created, so I tried to do that again this time, unfortunately that didn’t really turn out as planned.


Just take my word for it, it was the stuff of nightmares, especially with all the animations of the previous portrait still intact.


It would take more time to fix this up then to just start from scratch, so I started with a clean slate!



After loading the texture in Live2D, the next step is to draw these elaborate webs over every single piece of your image. The way the web is placed is very important as it determines how well you will be able to manipulate the pieces later on. The more elaborate the web, the more control you have over it.

將貼圖匯入Live 2D後,下一 步畫出這些精細的網格覆蓋在你的每一塊圖片,網格放置的方式很重要,因為它將決定你等下能如何操作這些圖片,越精細的網格,你將透過它得到越多控制。


After that is all done, it’s time to put Tabatha back together. Using a guide image as reference, I again placed every part of the portrait back on the canvas, basically re-creating what I had in my original painting program.



Almost to the fun stuff, but not quite there yet. In order to manipulate the webs I drew over the parts in more detail, you add deformers to the mix. These are grids that work much like the Transform > Distort function in Photoshop. Again, going over every part you want to animate, adding deformers, linking the texture parts to them and placing them in the right hierarchy.

有趣的事情快發生了,為了更精細操作我所繪製佈滿的網格,你增加一個變形器(deformer)去混合使用。這些格線的作用很像Photoshop裡面的變形->歪曲功能。再一次,為你要做動作的每一個零件,增加變形器(deformer),連接零件的每個部分,並且整理在層級欄( hierarchy)裡。

Just pull at a point in the deformer and.. tadaa! Angry Tabatha! Sort of. Now, after all this preparation, the real fun can finally start! 

只要拉變形器的點並且....完成!(效果音)! 憤怒的Tabatha! 現在,在這些準備之後,真正有趣的部分終於要開始了!!

Stay tuned for more!