三维动画设计外文翻译文献

1、文献信息：文献标题：Aestheticsanddesigninthreedimensionalanimationprocess(三维动画过程中的美学与设计)国外作者：GokceKececiSekeroglu文献出处：Procedia-SocialandBehavioralSciences,2012,51(6):812-817字数统计：英文2872单词，15380字符；中文4908汉字外文文献：AestheticsanddesigninthreedimensionalanimationprocessAbstractSincetheendofthe20thcentury,animationtech

2、niqueshavebeenwidelyusedinproductions,advertisements,movies,commercials,credits,visualeffects,andsoon,andhavebecomeanindispensablepartofthecinemaandtelevision.Thefastgrowthoftechnologyanditsimpactonallproductionindustryhasenabledcomputer-generatedanimationtechniquestobecomevariedandwidespread.Comput

3、eranimationtechniquesnotonlysaveslabourandmoney,butitalsogivestheproducertheoptionofapplyingthetechniqueineithertwodimensional(2D)orthreedimensional(3D),dependingonthegiventimeframe,scenarioandcontent.Inthe21stcenturycinemaandtelevisionindustry,computeranimationshavebecomemoreimportantthanever.Imagi

4、narycharactersorobjects,aswellaspeople,eventsandplacesthatareeitherdifficultorcostly,orevenimpossibletoshoot,cannowbeproducedandanimatedthroughcomputermodellingtechniques.Nowadays,severalsectorsarebenefitingfromthesespecialisedtechniques.Increaseddemandandapplicationareashaveputthequestionsofaesthet

5、icsanddesignintoperspective,henceintroducinganewpointofviewtotheapplicationprocess.Comingoutofnecessity,3Dcomputeranimationshaveaddedanewdimensiontothefieldofartanddesign,andtheyhavebroughtinthequestionofartisticandaestheticvalueinsuchdesigns.Keywords:threedimension,animation,aesthetics,graphics,des

6、ign,film1.IntroductionCenturiesago,ancientpeoplenotonlyexpressedthemselvesbypaintingstillimagesoncavesurfaces,buttheyalsoattemptedtoconveymotionregardingmomentsandeventsbypaintingimages,whichlaterhelpedestablishthenaturalcourseofeventsinhistory.Suchconcerncontributedgreatlytotheanimationandcinemahis

7、tory.Firstexamplesofanimation,whichdatesbackapproximatelyfourcenturiesago,representsmilestonesinhistoryofcinema.EadweardJ.Muybridgetookseveralphotographswithmultiplecameras(Figure1)andassembledtheindividualimagesintoamotionpictureandinventedthemovieprojectorcalledZoopraxiscopeandwiththeprojectionheh

8、eldin1887hewasalsoregardedastheinventorofanearlymovieprojector.Inthataspect,FrenchmenLouisandAugusteLumierebrothersareoftencreditedasinventingthefirstmotionpictureandthecreatorofcinematography(1895).Figure1.EadweardJ.MuybridgesfirstanimatedpictureJ.StuartBlacktonclearlyrecognisedthattheanimatedfilmc

9、ouldbeaviableaestheticandeconomicvehicleoutsidethecontextoforthodoxliveactioncinema.Inparticular,hismovietitledTheHauntedHotel(1907)includedimpressivesupernaturalsequences,andconvincedaudiencesandfinanciersalikethattheanimatedfilmhadunlimitedpotential.(Wells,1998:14)“Praxinoscope-inventedbyFrenchman

10、Charles-EmileReynaud-isoneofthemotionpicturerelatedtoolswhichwasdevelopedandimprovedintime,andtheinventionisconsideredtobethebeginningofthehistoryofanimatedfilms,inthemodernsenseoftheword.Atthebeginningofthe20thcentury,animatedfilmsproducedthroughhand-drawnanimationtechniqueprovedverypopular,andthew

11、orldhistorywasmarkedbythemostrecognisablecartooncharactersintheworldthatwereproducedthroughtheseanimations,suchasLittleNemo(1911),GertietheDinosaur(1914),TheSinkingoftheLusitania(1918),LittleRedRidingHood(1922),TheFourMusiciansofBremen(1922)MickeyMouse(1928),SnowWhiteandtheSevenDwarfs(1937).Naziregi

12、meinGermanyleadstoseveralimportantanimationfilmproductions.WhenGoebbelscouldnolongerimportDisneymovies,hecommissionedallanimationstudiostodeveloptheatricalcartoons.Uponthis,HansFischerkoesenbegantoproduceanimationfilmsandbyendofthewar,heproducedoverathousandcartoons(Moritz,2003:320).Induecourse,anim

13、atedfilmsbecameincreasinglypopular,resultinginnewandsizablesectors,andtheadvancesintechnologymadeexpansionpossible.Fromthenon,thecomputer-generatedproductions,whichthrivedinthe1980s,snowballedintotheindispensablepartofthemoderndaytelevisionandcinema.TheAmericananimatedmovieAladdingrossedover495milli

14、ondollarsworldwide,andrepresentedthesuccessoftheAmericananimationindustry,whichthenledtoanexpansionintoanimatedmovieswhichtargetedadults(Aydm,2010:110).JapanispossiblyjustasassertiveintheanimationfilmsasAmerica.FollowingthesuccessofthefirstJapaneseanimation(anime)calledTheWhiteSnakeEnchantress1958(F

15、igure2)whichresultedinawardsinVenice,MexicoandBerlinfilmfestivals,Japaneseanimesbecameeversopopular,whichledtocontinuousinternationalsuccess.Forexample,themovietitledSpiritedAwaywonanOscarforBestAnimatedFeatureFilm,andbecamethewinnerofthetopprizeatthisyearsBerlinfilmfestival.Followingtheirever-incre

16、asingsuccessinanimeproduction,JapanbecameoneofthemostsoughtafterhubsofanimationindustrybyEuropeanandAmericancompaniesinterestedincollaboration.Figure2.TheWhiteSnakeEnchantress1958ThreeDimensionalAnimationThedevelopmentofanimationtechniques,aprocessthatcanbetracedbacktothe18thcenturybroughtwithitathe

17、maticvarietyinanimationgenres.Today,animationtechniquesbasedoncartoons,puppets,stop-motion,shadow,cut-outandtimelapsecanbeappliedbothmanuallyandbasedondigitaltechnology.Furthermoretheuseof3Dcomputergraphicsinthe1976-datedfilmFutureworldopenedthewayforthistechnologytobeinhighdemandinavarietyofindustr

18、ies.3Danimationsoccupyacentralroletodayincinema,TV,educationandvideogamesalike,andtheircreativeprocessesinbothrealisticandsurrealtermsseemtoknownolimits.Thisnewmediumthatwithitsmagicalpowersmakestheimpossiblepossibleanddefiesthelawsofphysic(Gokearslan,2008:1)openadoorfordesignersandartiststoanunlimi

19、tedimagination.Inparticularinthemoviesofthe80s,computer-aidedanimatedeffectsturnedouttobelife-savers,andthefeaturefilmTerminator2(1991)inwhich3Danimationtechnologywasusedforthefirsttimereceivedpraisefrombothaudienceandfilmcritics(Kaba,1992:19).ToyStory(WaltDisneyPictures,1995),afilmthatbecameverypop

20、ularamongaudiencesofallagesduetoitsscript,characters,settingsandanimationtechnique,wasthefirstfully3Danimatedfeaturefilminhistory,andwasfollowedbytwosequels.Byhelpofthesupportcomingfromthehomeland,anditsformorientedrealisticformat,Disneycharactershavebeenamongstthetopanimatedcharacters.Inordertoachi

21、evearealisticproduction,Disneyevenkeptanimalssuchashorses,deer,andrabbitsinthestudios,whiletheartistsstudiedtheirform,movementsandbehaviour.Asforhumancharacters,famousmoviestarsoftheperiodwerehiredasareferencepointforhumanformandbehaviour.(Gdkgearslan,2009:80).AnotherAmericanmovieShrek(2001)createdb

22、yWilliamSteig,whosebookShrek(1990)formedbasisfortheDreamWorksPicturesfulllength3Danimationfilm,attractedmillionsofpeople.Themovieisagreatexampleofacleverandaestheticallypleasingcombinationofpowerfulimaginationandrealisticdesign.Also,bymeansofcertaindialoguesandjokes,thethemeofvaluejudgementissimplif

23、iedinawaythatitisalsounderstoodbychildren.Theseareamongsttwoundeniablefactorswhicharethoughttohavecontributedtotheworldwidesuccessofthemovie.Mostsuccessful3DanimationmoviesareofAmericanmake.Theimportanceofbudget,historicalandpoliticalfactors,aswellascontextualandstylisticfactorswhichbringinsimplicit

24、yandclaritytothemoviesisincontrovertible.“Theeraofthepost-photographicfilmhasarrived,anditisclearthatfortheanimator,thecomputerisessentiallyanotherpencil.Arguably,thishasalreadyreacheditszenithinPIXARsMonstersInc.Consequently,itremainsimportanttonotethatwhileEuropehasretainedatraditionofauteuristfil

25、mmaking,alsoechoedelsewhereinRussia,China,andJapan,theUnitedStateshasoftenimmerseditsanimationwithinaSpecialEffectstradition,andasanadjuncttoliveactioncinema.”(Wells,2002:2).AestheticsandDesigninThreeDimensionalAnimationsLow-budgetandhigh-budget3Danimationmoviesgothroughthesameprocess,regardless.Thi

26、sprocessisnecessaryinordertoputseveralelementstogetherproperly.Thefirststepistowriteupashorttextcalledsynopsis,whichaimstooutlinethemovieplot,contentandtheme.Followingtheapprovalofthesynopsis,thecreativeteammovesontostoryboarding,whereillustrationsorimagesaredisplayedinsequenceforthepurposeofvisuali

27、singthemovie(Figure3).Storyboardingprocessreflects3Danimatorsperspectiveandtheelementsthatareaimedtobeconveyedtotheaudience.Theanimationartistsgivelifetoascenario,andaddatouchoftheirpersonalitytothecharactersandenvironment.“GoneWithTheWindisthefirstmoviewherethestoryboardingtechnique,whichwasinitial

28、lyusedinWaltDisneyStudiosduringtheproductionprocessofanimatedmovies,wasusedforanon-animationmovie,andsincethe1940s,ithasbeenanindispensiblepartofthefilmindustry.Figure3:ToyStory,storyboarding,PixarStoryboardartistsarethestapleoffilmindustry,andtheyaretheoneswhoeithermakeorbreakthedesignandaesthetics

29、ofthemovie.Whiletheytheirmainresponsibilityistoenframethemoviesceneswithaestheticsanddesignqualityinmind,theyarealsoresponsibleforincorporatinglights,shadowsandcoloursinawaythatitenhancestherealisticfeaturesofthemovie.Thenextstepfollowingstoryboarding,istimingwhichisparticularlyimportantindeterminin

30、gthelengthofscenes,bytakingthescriptintoconsideration.Inordertoachievearealisticandplausibleproduct,meticulousmathematicalcalculationsarerequired.Thenextimportantstepistocreatecharactersandenvironmentin3Dsoftware,andfinalisetheproductioninaccordancewiththestory-board.Whilecharacterandobjectsaremodel

31、ledin3Dsoftware,suchas3DsMax,Cinema4D,Houdini,Maya,Lightwave,thebackgrounddesignisalsocreatedwithdigitalartprogramssuchasPhotoshop,Illustrator,Artage,dependingonthetypeorcontentofthemovie(Figure:4).Threedimensionalmodellingisthedigitalversionofsculpturing.Intime,withever-changingtechnology,plasticar

32、tshaveimprovedandbecomevaried,leadingtoanewformofdigitalart,whichalsoprovidesaestheticintegrityintermsoftechniqueandcontent.Sameasmanuallyproducedartwork,3Dcreationsarealsoproducedbyhighlyskilledartistwithextensiveknowledgeofanatomy,patterns,colours,textures,lightsandcomposition.Suchartistsanddesign

33、ersareabletomakeuseoftheirimaginationandcreativity,andtakecareofbothtechnicalandaestheticaspectsofcreatingananimatedmovie.Figure4:Examplesof3Dmodelling(left)andbackground(right).Inamovie,thecolour,lightandshadowelementsaffectthemodelledcharacter,settingandbackgroundtoaverylargeextent.Threedimensiona

34、lcomputergraphicssoftwareprovidesarealisticvirtualstudioandendlesssourceoflightcombinations.Hence,themessageandfeelingisconveyedthroughanartisticallysensitiveandaestheticallypleasingatmosphere,createdwithacertaincombinationoflightandcolours.Spotlight,omni,areaanddirectlightsareafewexamplestothetypes

35、ofoptionsthatcanbeusedontheirownorasacombination.Forexample,in3Danimationsthedirectlightsourcecanbeusedoutdoorsasanalternativeforthesun,whereasthearealightwhichusesverticalbeamscanhelpsmoothoutthesurfacebyspreadingthelightaround,whichmakesitidealforindoorssettings.BlueSkyStudios3Dmoviecalled“IceAge”

36、(Figure5)producedin2001achievedakindofuniqueandimpressivetechnology-drivenrealistictechniquewithcleveruseoflightsandcolours,becomingoneofthefirstexceedinglysuccessful3Danimationsoftheperiod.Figure5:“IceAge”,BlueSkyStudios,2001Followingthemodellingandfinishingtouchesofothervisualelements,eachsceneisa

37、nimatedonebyone.“Actionsassignedtoeachandeveryvisualelementwithinthescenehavetohaveameaningfulconnectionwiththestory,intermsofformandcontent.Infact,theveryfundamentalprincipleofcomputeranimationsisthateachactionwithinthesceneservesacertainpurpose,andthedesignwithintheframecreatesvisualpleasure”.Unde

38、rscoringelementisalsoexpectedtocomplementthevisualsandbeinharmonywiththescene.Itisanacceptedfactthatagoodvisualispresentedalongwithsuitablemusic,affectstheaudienceinemotionalandlogicalsensealotmorethanitwouldhavedonesootherwise.Forthatreason,underscoresarejustasimportantasotheraudioelements,suchasvo

39、iceoversandeffects,whenitcomestovisualcomplements.Soundisanindispensablepartoflifeandnature,thereforeitcanbeconsideredasafundamentalmeansofstorytelling.Cleverandappropriateuseofsoundisveryeffectiveinmaintainingtheaudiencesattentionandinterest.Inordertoproduceameaningfulfinalproductintheeditingphase,

40、acarefulprocessofstoryboardingandtiminghavetobecarriedout.Skilfullyexecutededitingcanaddrhythmandaestheticstoscenes.Theintegrityoftime,setting,audioandatmospherewithinamovieisalsoprofuselyimportantintermsofconveyingthesemanticrhythm.Meticulouslytimedfade-out,fade-in,radianceorsmokeeffectswouldallowt

41、heaudiencetofollowthestorymoreattentivelyandcomfortably,anditwouldalsoestablishconsistencyintermsofaestheticsofthemovieitself.ConclusionNomatterhowdifferentthetechnologicalcircumstancesaretoday,andusedtobebackintheancienttimeswhenhumanspaintedimagesoncavesurfaces,humanbeingshavealwaysbeenfascinatedw

42、ithvisualcommunication.Sincethen,theyhavebeenstrivingtosharetheirexperiences,achievements,wishesanddreamswithotherpeople,societiesormasses.Forthesamepurpose,peoplehavebeenpainting,acting,writingplays,orproducingmovies.Incessantdesiretoconveyamessagethroughvisualcommunicationbroughtabouttheinventiono

43、fthecinema,andsincethe18thcentury,ithasbecomeanessentialmeansofpresentingideas,thoughtsorfeelingstomasses.3Danimations,whichweremainlyusedinadvertisements,commercials,educationandentertainmentrelatedproductionsinthe2000s,broughtaboutmanyblockbuster3Dmovies.Whenrecordedwithacamera,thethreedimensional

44、aspectofrealityislost,andturnedintotwodimensions.In3Danimations,theaimistoemulatetherealityandpresenttheaudienceanexperienceasclosetothereallifeaspossible.“Humaneyeismuchmoreadvancedthanavideocamera.infinitesenseofdepthandtheabilitytofocusonseveralobjectsatthesametimeareonlyafewofmanydifferencesbetw

45、eenacameraandthehumaneye.Computer-producedvisualswouldgivethesameresultsasthecamera.Sameaspaintingandphotography,itaimstointerpretthethreedimensionalworldinatwodimensionalform.”Asaresult,3Danimationshavebecomejustasimportantasrealapplications,andthankstotheirabilitytoproducescenesthatareverydifficul

46、t,evenimpossibletoemulate,theyhaveactuallybecomeabetteroption.BigcompaniessuchasWaltDisney,Pixar,andTreeStarhavebeenmaking3Danimationswhichappealtobothchildrenandadultsworldwide.Successfulproductionsincludetheelementsofappropriateideas,decentcontent,combinedwithexpertartistsanddesignerswithtechnical

47、backgrounds.Forthatreason,inordertoestablishgoodqualityvisualcommunicationandmaintaintheaudiencesattention,artanddesignmustgohandinhand.Sometimes,beingtruetoallthefundamentaldesignprinciplesmaynotbeenoughtoachieveanaestheticallypleasingscene.Inordertoachieveanaestheticallypleasingscene,warmthandsinc

48、erity,whicharetypicalattributesofhumanbeings,mustbeincorporatedintothemovie.Themodellingteam,whichfunctionsasthesculptorandcreatesauthenticmaterialslikeapainter,teamsupwithcreativestory-boardartists,andtextureandbackgroundartists,toachieveanartisticallyvaluablework.Inordertoachieveplausibilityandana

49、estheticallyvaluablecreation,itisimportantthatcolour,light,shadowandtexturesusedduringtheprocessaretruetoreallife.Cameraangles,speedanddirectionofmovement,thesequenceofthescenesandtheirharmonywiththeunderscoringareessentialindeterminingtheschematicandaestheticqualityofamovie.Inconclusion,Artdoesnott

50、each.Rather,artpresentsthefullandconcreterealityoftheendtarget.Whatartdoesispresentsthingsastheyshouldbeorcouldhavebeen,whichhelpspeopleattainsuchthingsinreallife.However,thisisjustasecondarybenefitofart.Themainbenefitofartisthatitprovidespeoplewithatasteofwhatthingswouldbelikeiftheywerethewaytheywe

51、resupposedtobeinreallife.Suchanexperienceisessentialtohumanlife.Surely,peoplecannotwatchamoviewiththeschematicoraestheticqualityofitinmind.However,asthemovieprogresses,avisuallanguagesettlesintothespectatorssubconsciousness,creatingasenseofpleasure.WalterBenjaminclaimsthataspectatoranalysingapicture

52、isabletoabandonhimselftohisassociations.However,thisisnotthecaseforpeoplewatchingamovieatthecinema.Rather,thecinemaaudiencecanonlybuildassociationsaftertheyhavewatchedthemovie,thereforetheprocessofperceptionisdelayed.（Benjamin,1993:66）.中文译文：三维动画过程中的美学与设计摘要自20世纪末以来，动画技术在生产、广告、电影、商业、节目、视觉效果等方面得到了广泛的应用

53、，并已经成为影视业不可或缺的组成部分。技术的飞速发展及其对所有生产行业的影响，使得计算机生成的动画技术变得多样化和普及化。计算机动画技术不仅节省了劳动力和资金，而且还可以根据给定的时间框架、场景和内容，给生产者提供二维（2D）或三维（3D）技术的选择。在21世纪的影视业，计算机动画变得比以往任何时候都重要。虚构的人物或物体,以及人、事件和地点，无论是困难的，还是昂贵的，甚至是无法拍摄的，现在都可以通过计算机建模技术来制作和生成动画。如今，有一些行业正在从这些专业技术中获益。需求和应用领域的不断增加，将美学和设计问题纳入了研究的视野，从而为应用过程引入了新的观点。不可避免，3D计算机动画为艺术和

54、设计领域增添了新的一面，并提出了这种设计中的艺术和审美价值问题。关键词：三维，动画，美学，图形，设计，电影引言几个世纪以前，古代人不仅通过在洞穴表面上画静止的图像来表达自己，而且还尝试通过绘画来传达关于时间和事件的示意，这后来有助于确立历史事件的自然进程。这种活动极大地推动了动画和电影史的发展。动画的第一个例子可以追溯到大约四个世纪以前，它代表了电影史上的里程碑。埃德沃德迈布里奇用多个相机拍摄了好几张照片（图1）,并将多个单个图像组合成一幅运动画面，还发明了名为动物实验镜的电影放映机，在1887年举行了投影，他也被认为是早期电影放映机的发明者。在这方面，法国人路易斯和奥古斯塔卢米埃尔兄弟经常被

55、誉为发明第一部电影和电影摄影的创作者（1895）。图1.埃德沃德迈布里奇的第一部动画图片詹姆斯斯图尔特布莱克顿清楚地认识到，动画电影可能是正统的真人电影之外的可行的审美和经济工具。特别是，他的电影闹鬼的旅馆（1907）包含了令人印象深刻的超自然的镜头，让观众和金融家们相信动画电影有无限的潜力（韦尔斯，1998：14）。法国人埃米尔雷诺发明的“活动视镜”是与电影有关的工具之一，它被及时地发展和改进，从现代意义上来讲，这种发明被认为是动画电影历史的开始。20世纪初，通过手绘动画技术制作的动画电影非常受欢迎，动画电影历史是以世界上最知名的卡通人物为标志，这些卡通人物是通过动画制作的，如小尼莫（191

56、1），恐龙葛蒂（1914），卢西塔尼亚号（1918），小红帽（1922），不来梅的四个音乐家（1922），米老鼠（1928），白雪公主与七个小矮人（1937）。德国的纳粹政权产生了几部重要的动画电影作品。当戈培尔不能再进口迪士尼电影时，他委托所有动画工作室开发戏剧卡通片。在此之后，汉斯费什柯森开始制作动画电影，在战争结束时，他创作了一千多部卡通片（莫里茨，2003：320）。在合适的时候，动画电影越来越受欢迎，产生了新的和相当大的产业，并随着技术的进步持续扩展。自此，计算机产生的作品在20世纪80年代蓬勃发展，成为了现代影视业不可或缺的一部分。美国动画电影阿拉丁的全球票房超过4.95亿美元，代

57、表了美国动画产业的成功，这导致了针对成人的动画电影得到进一步发展（艾登，2010：110）。像美国一样，日本在动画电影方面也同样非常出色。继第一部日本动画（动漫）白蛇传（1958）（图2）获得成功，在威尼斯、墨西哥和柏林的电影节中获奖后，日本的动漫变得如此受欢迎，导致了在国际上的连续成功。例如，这部名为千与千寻的电影获得了奥斯卡最佳动画片奖，并成为当年柏林电影节的最高奖项得主。随着他们在动漫制作上的日益成功，日本成为欧洲和美国公司最想合作的动漫产业中心之一。图2.白蛇传（1958）三维动画动画技术的发展，其过程可以追溯到18世纪，带来了动画流派的主题变化今天，基于漫画、木偶、定格、投影、裁剪和

58、延时的动画技术，既可以手动应用,也可以基于数字技术。此外，在1976年的电影未来世界中使用3D计算机图形，为这项技术在各种行业中的高需求开辟了道路。3D动画在电影、电视、教育和视频游戏方面都占据着重要地位，它们的创作过程无论在现实还是超现实中都是不受限制的。这种具有魔力的新媒介使不可能成为可能，违背了物理学规律G&kgearslan，2008：1），为设计师和艺术家打开一扇无限的想象之门。“特别是在八十年代的电影中，计算机辅助的动画效果最终成了救星，电影动画终结者2（1991）首次使用3D动画技术，受到了观众和影评人的好评”（卡巴，1992：19）。玩具总动员（华特迪士尼影片，1995）因其剧

59、本、人物、背景和动画技巧而广受各年龄段观众的喜爱，是历史上第一部完整的3D动画长片，之后是两部续集。借助于来自本土的支持和形式化的现实格式，迪士尼角色跻身于动画角色之首。为了实现逼真的制作，迪士尼甚至在工作室里饲养动物，如马、鹿和兔子，而艺术家们则研究它们的形态、动作和行为。至于人物特征，聘请了著名的电影明星作为人类形体和行为的参考点（Gokgearslan，2009：80）。另一部美国电影怪物史莱克（2001）由威廉史塔克创作的，他的书怪物史莱克（1990）是梦工厂电影制作的3D动画电影的基础，吸引了数百万人。这部电影是强大的想象力和现实设计的巧妙和美观的组合的一个很好的例子。此外，通过某些

60、对话和笑话，“价值判断”的主题被简化了，也能被儿童所理解。这些都是两个不可否认的因素，有助于电影在全球范围内的成功。最成功的3D动画电影是美国制作的。预算、历史和政治因素，以及语境和文体因素，在促成电影的简洁和清晰方面，其重要性毋容置疑。“摄影后电影的时代到了，很明显，对于动画师来说，电脑本质上是另一支铅笔。可以说，这在皮克斯的怪兽电力公司中达到了顶峰。因此，值得注意的是，虽然欧洲也和俄罗斯、中国、日本一样，保留了传统的导演主创论电影制作，而美国经常沉浸在其动画特效的传统中，并将其作为真人电影的附加部分。”（韦尔斯，2002：2）三维动画的美学与设计无论是低预算的3D动画电影，还是高预算的3D