毕业设计外文资料翻译-动画的时间掌握

1、毕业设计外文资料翻译学 院： 专业班级： 学生姓名： 学 号： 指导教师： 外文出处： Timing for Animation _附 件：1.HYPERLINK l _Java技术介绍外文资料翻译译文； 2.HYPERLINK l _Java_Technical_Description外文原文 指导教师评语：该英文资料选择合理，翻译准确度较高，译文较为流畅。翻译工作认真细致，严格按照规定，翻译材料能与原文保持一致，能正确的表达出原文的意思，希望能够将细节部分处理得更加得当。签名： 2015 年 10 月 14 日1外文资料翻译译文 动画的时间掌握画面剧本视觉上的自然流畅是任何影片特别是动画片

2、的主要目标。好的连贯性取决于角色动作、舞蹈设计、场景变换和镜头移动的协调。这些方面不能孤立的对待，必须全面统一的计划。同时还要把角色的态度行为考虑在内。故事情节是任何电影项目的蓝图，作为影片的第一视觉印象。这一阶段决定了影片主要内容的设计。人们普遍认为只有完成了令人满意的画面剧本，并考虑和解决了影片生产过程中可能产生的创作和技术上的主要问题之后，才能展开绘制工作。一部电影所需的草图的张数，取决于项目的类型、性质和内容。一般来说，大约每一分钟影片约要100张草图。但是，如果一部电影技术上是复杂的，草图的数量要翻倍。商业电视片，需要更多的草图，因为在较长的电影中有更多的场景变化和更多的动作。导演的

3、职责导演负责整个故事或其中某一特殊段落的总的设计和节奏。这将包括几分钟时间或仅仅几秒钟时间的连续镜头，他还必须决将这些镜头组织成场景。每一个镜头应该有多长时间？镜头中动作长度是多少？为了保持观众的兴趣，动作的节奏应该是怎样的？如何才能把最好的情节交代给观众？这是导演必须解决的问题。涉及到较短的段落，责任由导演同动画师分担，但导演仍掌控全局。动画师可以加入一些自己的想法去达到效果，正想一个演员演出时所做的那样。至于最小的单元个每一张画和格数-几乎完全是动画师的领地，这也是动画特殊技能的用武之地。球如何反弹？一个角色受惊时或捻动手指时是怎样的反应？这些都要动画师用他的感觉和学科知识来解决。一部动画

4、片通常需要很长的时间来制作。在这段时间内，导演应该保持固定的检查，如何制定生产进展，以及关注密切相关的时间和概念。一部动画片经常需要较长的生产周期。这是其中导演必须经常检查生产进度以及原来的时间掌握和设想是否已见诸实施。一个商业性电视片必须有准确的帧数目，较长的片子也可能只有少许的伸缩度。导演需要解决的问题之一就是使动作去适应规定的时间。首先把故事分为不同长度的段落。然后思考每一段落必须包括哪些情节。用秒表定下时间，将所有时间加起来得到总数。这有可能与预定数不大符合，如果比较接近，看看是否有某一段落能调整一下，使总数正好符合。如果太短，则要加入更多的部分填补时间。如果太长，有可能要删掉一整个段

5、落。动画中的基本单位动画时间掌握的基础是固定的放映速度，计每秒钟24帧格，电视里每秒25格，不过这区别是难以察觉的。如果一个动作在屏幕上一秒24帧的电影，半秒则12帧，以此类推。如果是“一拍一”，每一格需要一张画，一秒钟的动作需要24张画。如果同样的动作是拍双格的，每一张画连续拍摄两次，每秒只需要画12张。这两种情况所拍的画格数目相同，因而动作的速度也是相同的。屏幕上的动作无论是在什么情绪或节奏下，无论是疯狂的追逐或浪漫的爱情场景，都必须根据放映机每秒钟连续24格来计算时间。所以动画家掌握时间的单位是1 / 24秒。他必须学习的一个重要技巧，就是如何把握这1/24秒像在屏幕上的“感觉”。实践的

6、动画师也要熟悉类似的帧的倍数，8帧，12帧等。时间线上的时间当导演对影片的总体时间安排有一定的思考时，他进入了更详细的时间设置，同时记录在设计表上。这像音乐的乐谱纸，有几条平行线，上面记录对话、音响效果、音乐和动作。动画家记录动作时用的是独特的标记方式。设计表的横线上计有格数，并用粗线按16格一英尺标出英尺数。把表示动作的线画在表上，可以据此计算出片子的长度。如果音乐或对话是先期录音的话，应事前根据声带规定好的动作表明在设计表的相应位置上。动画家有他们自己特有的标志：一般来说，一条水平线表示停止，一根曲线意味着某种动作，一个环状线表示一个动作前的准备，一个波浪线意味着一个循环等。如果一个动作必

7、须在某个特定的帧中进行，可在这一格上画一个十字记号。动作设计同时应用文字记录场景指示、重复动作指示还以及其他有关指示。在制作一部动画电影之前，导演在设计表上拍摄的时间。他决定分镜头剧本，每一个镜头的实际长度以及每一格镜头有哪些动作。他同时设计故事的步伐，决定哪里要推拉摇移和叠化等，使故事情节以最好的方式表现出来。在设计表上规定动画时间是一个高度技术性的工作，导演需要大量的经验，在实际绘制未开始前，通过深入思考将整个片子的时间确定下来。当他把自己的想法写在设计表上时，他就是用电影语言来讲述故事了：那就是切换镜头，规定动作、时间和节奏。他必须反复思考故事的情节，把故事的不同部分用戏剧语言连接起来。

8、同时，他也必须不断地判断，来判断一个观众的初次观感是什么。导演在电影开始时，知道要发生什么，但是观众不指导。因此，电影开始的时候节奏要慢一点，直到观众已经了解了影片的场合、角色和基调。如果它是一个短片，在这之后将会走向高潮；如果是长片，将会形成几个高潮。设计表规定了影片全部的镜头顺序，有长度和其他说明指示，用处很多，它可作为作曲的基本依据。最后，又可供剪辑参考。生产图表的细目。在导演已经决定的时间、分镜头以后，就记载在这张生产图表上，表明镜号、英尺数、背景编号等等。当镜头绘制结束时，将图标上相应的小方格涂上颜色，可是制作进度一目了然。摄影表当导演完成了影片的设计表后，导演奖每一个镜头的指示意见

9、分别记下分给动画工作者们。动画时间用印好的摄制表记录，一些工作室在每张纸上分96帧为一单元。有些主要为电视片工作的单位，在电视上的速度是每秒25帧，使用每张100帧的摄制表。导演在摄制表的左边一栏上规定了时间，动画师以此作为依据，在另外一栏上定出完成每一动作所需要的动画张数。这些规定对动画师、他们的助手和摄影师等动画制作单位的所有成员都有用处。在制作动画时，还有赛璐珞片的层次排列和拍摄指导。某一镜头的一个完整的摄制表的一部分。每一横格代表影片的一格。导演对动画时间的指示列在左边栏内，对摄影的指示列在右边。动画师将动画的编号写在中间六栏中。动画与物质的特性动画师不断问自己的基本问题是：“发生这样

10、的对象时，外力作用，它将是什么？。他的动画的成功很大程度上取决于他如何回答这个问题。自然界中的所有事物都有其自身的重量、结构和程度的灵活性，因此当受力作用于它时，每个行为都有其自身的行为。这种行为，是位置和时间的组合，这是动画的基础。动画是由图画组成的，它们既没有重量，也没有任何力量作用于它们。在某些抽象动画种，图纸可以被视为活动的平面图案。为了赋予动作的真实感，动画师必须参照牛顿运动定律。它包含所很多方面，其中包含着使角色、物体活动起来的一切必要知识。牛顿定律对本书中提到的许多方面是重要的，当然，不是从字面上去理解这些定律而是从对物体运动的观察中去理解。例如，每个人都知道物体不会从静止突然开

11、始运动即使是一发炮弹，发射时也要加速到最大速度。物体也不会从运动中突然静止一辆汽车撞在水泥墙上，在最初的撞击后，仍然向前冲，随后才成为残骸。动画动作的精髓或核心不是物体重量的夸张，而是去夸张重量。一个动画场景的时间掌握有2个方面：1、无生命物体运动的时间掌握。2、有生命角色运动的时间掌握对无生命物体来说，直截了当是动力学问题。“一扇门关上需要多长时间？”“云在天空中有多快？”，“一辆蒸汽压路机失去控制，冲下坡去，穿过一道墙需要多长时间？”对有生命的角色来说也存在相同的问题，角色是血肉之躯，让它移动也必须受力的支配。但是，要使这个角色在荧幕上有生气地活动，就必须再加上他精神上的作用。他必须像是有

12、意识的在活动。通过动作应该可以看出他经过思考做出决定，根据自己意志力和肌肉的动作移动自己的身体。一组没有重量的连续的动画稿。在屏幕上动画的成功与否很大程度上取决于这些图画以怎样夸张的方式反应重量和力量对他们的作用。动作与夸张我们周围的大多数日常物品的运动是由力作用于物质的作用引起的。物体的运动对我们来说是如此的熟悉，在潜意识里，这些运动给了我们很多关于物体本身的信息，以及对它们的作用力。这不仅是无生命的物体，而且生物尤其是人。动画师的工作是赋予适当的创造性，使运动看起来自然。动画电影的表现形式是漫画化的。每一个主体的特征及其表达的运动都是夸张的。对象可以被认为是漫画化的力作用于漫画化的物体。动

13、画电影同样也是戏剧性的表现形式。这种特性可用加快动作速度和高度夸张的动画时间等方式来达到。一个动作所包含的漫画性、幽默感或戏剧性的区别是很微妙的。对于动画的时间掌握有了足够经验，才有可能去强调这种区别。漫画化的物体和自然状态的物体有着同样的特性，只是前者更夸张一点。要了解动画片中物体是如何行动的，必须先对自然界中物体如何行动进行深入细致的观察。动画是漫画化的一种形式，自然的写实的动作在动画中显得软弱无力。要观察现实生活中的动作是如何发生的，将动作简化，提炼出重点，然后给予大胆的夸张。因果关系一个力加在一个物体上，会产生一系列的因果关系。这就是力通过一个更能变形的物体的结果。这是一个好的动画动作

14、的一个方面。一个动画师必须了解物体的自然运动力学，然后把这个知识存储在他脑子里，当他从事动画创作时，才能画好一个个动作，创造情绪和表达正确的感觉。 牛顿运动定律每个物体都有它的重量，每一个对象只有当一个力应用到它身上时才移动。这是牛顿第一定律：静止的物体倾向于保持静止或匀速移动除非一个力作用于它。物体的重量越重，它的质量越大，就越需要改变其运动的力。一个沉重的身体比一个轻的身体有更多的惯性和更多的动能。一个静止的重物，如炮弹，需要很大的力来移动它。当大炮发射的炮弹，炸药的力量作用于炮弹，由于炸药的力量确实是非常大的，这是足以加速炮弹以相当快的速度。一个较小的力作用时间很短，例如短时间的脚踢，对

15、于炮弹可能没有影响。事实上，它更可能伤害到球员的脚。然而，持久地施加不是很强的力，会逐渐开始使炮弹滚动，它最终会相当快地滚动。一旦炮弹是移动的，它倾向于保持同速运动，而需要一定的力量来阻止它。如果它遇到一个障碍，取决于障碍物的速度来让它停止。如果是在粗糙的表面上滚动，很快便会停止，但如果在光滑的平面上滚动，需要相当长的摩擦来让它停止。在处理非常沉重的物品时，导演必须允许足够的时间来表现开始、停止或改变方向，以使他们的体重看起来更有说服力。动画师的任务是画出大量的力量作用于炮弹的起动、停止或改变方向。轻的物体抵抗力小得多，所以力量对他们的行为有很大的不同。一个玩具气球需要很少的时间来使它移动。手

16、指轻弹足以使它迅速加快。当移动时，它因为动能很小，空气的摩擦阻力使速度减缓，所以它不会运行很远。一只气球只需要一个小的力量去移动它，但空气阻力很快就让它停止。在这两个例子中，一个圆圈是动的。它的动作的时间可以使它看起来沉重或轻的屏幕上。一个对象在屏幕上的重量感，完全取决于动画的间距，而不是图形本身。如果炮弹在运动时不象一个炮弹，画稿上的炮弹画的再逼真也没有用。同样情况适用于气球或任何其他对象物体。抛过空中的物体如果一个物体垂直向上，其速度逐渐减小为零。然后又开始加速向下。它上升的高度取决于它被抛出的速度，但减速的速度与加速度完全相反。事实上，同一分格可以用于加速和减速。2.外文原文Timing

17、 for AnimationThe storyboardA smooth visual flow is the major objective in any film, especially if it is an animated one. Good continuity depends on co-ordinating the action of the character, choreography, scene changes and camera movement. All these different aspects cannot be considered in isolati

18、on. They must work together to put across a story point. Furthermore the right emphasis on such planning, including the behaviour of the character, must also be realised.The storyboard should serve as a blueprint for any film project and as the first visual impression of the film. It is at this stag

19、e that the major decisions are taken as far as the films content is concerned. It is generally accepted that no production should proceed until a satisfactory storyboard is achieved and most of the creative and technical problems which may arise during the films production have been considered.There

20、 is no strict rule as to how many sketches are required for a film. It depends on the type, character and content of the project. A rough guideline is approximately 100 storyboard sketches for each minute of film. If, however, a film is technically complex, the number of sketches could double. For a

21、 TV commercial, more sketches are produced as a rule because there are usually more scene changes and more action than in longer films.Responsibility of the directorThe director is responsible for decisions regarding the overall pacing and planning of the whole story or a particular sequence of it.T

22、his can involve sequences of several minutes duration or of only a few seconds. He must also decide how these sequences should be organised into scenes.How long should each scene be? What should be the pace of the action in the scene? What should be the pace of the action in order to hold the intere

23、st of the audience? How can ideas in the story best be put over to the audience? These are the problems the director must solve. Going down to yet shorter periods of time, to individual actions, the responsibility is shared between the director and the animator. But the director still has overall co

24、ntrol.The animator should, however, add some ideas of his own as to how certain effects can be achievedjust as an actor would in live action. The smallest unitsindividual drawings and framesare almost entirely the animators province, and this is where his particular skill lies. How does a ball bounc

25、e? How does a character react in surprise, or snap his fingers? These are problems the animator must solve by his feeling for and knowledge of the subject.An animated film usually takes a long time to produce. During this period it is essential that the director should keep a constant check on how t

26、he production is progressing and how closely the original timing and concept have been followed.Most animated films are made to a predetermined length. A TV commercial must be an exact number of frames and a longer film will probably have to fit between fairly narrow limits. One of the directors pro

27、blems is to fit the action to the time available.First divide the story into sections or sequences of convenient lengths. Run through each section mentally as many times as necessary to absorb all the important story points. Then run through each section again, timing it mentally with a stop watch.

28、Add up all the timings to give an overall total. This is sure to be more or less wide of the mark. If it is fairly close, see whether a sequence can be adjusted to bring the total about right. If it is much too short, more business must be invented to fill the time available. If it is much too long,

29、 maybe a whole sequence must be omitted.The basic unit of time in animationThe basis of timing in animation is the fixed projection speed of 24 frames per second (fps) for film and video. While other projection speeds have been used in the past the standard projection rate for film of all formats16m

30、m, 35mm and 70mm remains 24 fps. On television and video this becomes 25 frames per second (PAL) or 30 fps (NTSC), but the difference is usually imperceptible.The thing to remember is that if an action on the screen takes one second it covers 24 frames of film, and if it takes half a second it cover

31、s 12 frames and so on.24 frames of film go through the projector every second (25 on television). This fixed number of frames provides the basis on which all actions are planned and timed by the director.For single frame animation, where one drawing is done for each frame, a second of action needs 2

32、4 drawings. If the same action is animated on double frames, where each drawing is photographed twice in succession, 12 drawings are necessary out the number of frames and hence the speed of the action would be the same in both cases.Whatever the mood or pace of the action that appears on the screen

33、, whether it be a frantic chase or a romantic love scene, all timing calculations must be based on the fact that the projector continues to hammer away at its constant projection rate. That is24 fps for film and either 25 fps or 30 fps for television and video depending on format. The unit of time w

34、ithin which an animator works is, therefore, 1/24 sec, 1/25 sec or 1/30 sec and an important part of the skill, which the animator has to learn is what this specific timing feels like on screen. With practice the animator also learns what multiples of this unit look like3 frames, 8 frames, 12 frames

35、 and so on.Timing on bar sheetsWhen the director has given some thought to the overall timing of a film, he proceeds to more detailed timing and puts this down on paper on specially printed bar sheets. These are much like music manuscript paper, with several horizontal lines having spaces for dialog

36、ue, sound effects, music and action. He is concerned with timing the action and this is entered in the spaces very much as music is written, but in a kind of animators shorthand.The horizontal lines of the bar sheet are marked in frames with heavy lines marking every foot, that is, every 16 frames.

37、The footage divisions on the required number of bar sheets are then numbered for the length of the film, and the timing of the action is ready to begin. If there is prerecorded music or dialogue to which the action must fit, this is charted beforehand from the soundtrack and entered into the appropr

38、iate spaces on the bar sheets.People have their own individual shorthand, but generally a horizontal line means a hold, a curve means an action of some sort, a loop means the anticipation to an action, a wavy line means a repeat cycle and so on. If an action must take place on a certain frame, this

39、is marked with a cross on the required frame. The action is also written out verbally with stage directions, repeat animation instructions and other relevant information.Before production of an animated film starts, the director works out the timing of the film on bar sheets. He decides on scene con

40、tinuity, the exact length of each scene and what action takes place within it. He also plans the pace of the storytelling and decides where tracks, pans, mixes etc, are needed to put the story over in the best possible way.Timing on bar sheets is an extremely skilled operation. The director needs a

41、great deal of experience to time out a film mentally before any drawing is done. When he commits his ideas to paper on the bar sheets, he is telling the story in terms of film, that is, cutting, timing and pace (movement).He must run forwards and backwards through the story many times in his mind, r

42、elating the different parts of the story to one another in terms of dramatic flow. At the same time, he must be trying continually to judge what the effect will be on an audience who come fresh to it and who see the film through once only.At the beginning of the film the director knows what is about

43、 to happen but the audience does not. The timing at the start of a film is, therefore, probably rather slow until the audience has been introduced to the location, the characters and the mood of the film. Once this has been done the pace may build up to the climax if it is a short film. If it is a l

44、onger film it may build up to a series of climaxes.The bar sheets can also be useful in that having defined the complete continuity of the film, with scene lengths and other information, they can also serve as the basic reference for the composer, and for the editor when the final film is assembled.

45、Part of a production breakdown chart. After the director has decided on the timing, scene continuity and so on, this information is transferred to a chart showing scene numbers, footages, background numbers etc. As scenes are passed out and completed, boxes are shaded in on this chart so that the st

46、ate of production can be seen at a glance.Exposure chartsWhen the director has completed the bar sheets for a film, the information is split up scene by scene ready for distribution to the animators.The timing is transferred to printed exposure charts (known as dope sheets in the USA). Some studios

47、use charts with units of 4 seconds (96 frames) on each sheet. Others who primarily work in television where the speed of projection is 25 frames per second, use sheets in 100 frame units which provide 4 seconds of running time for television.Animation timing is usually indicated by the director in t

48、he left column of exposure charts, so that the animator can work out the number of drawings required to complete each action in the other columns. This information is useful to all members of an animation unit; the animators, their assistants and the cameraman. Alongside the production of animation,

49、 the exposure charts are filled in according to the levels of celluloids to be photographed and eventually serve as guides for photography.Part of a completed exposure chart for an individual scene. Each horizontal division represents one frame of film. The directors timing is in the lefthand column

50、 and the camera instructions are on the right. The animator has written the numbers of his drawings in the middle six columns.Animation and properties of matterThe basic question which an animator is continually asking himself is: What will happen to this object when a force acts upon it?. And the s

51、uccess of his animation largely depends on how well he answers this question.All objects in nature have their own weight, construction and degree of flexibility, and therefore each behaves in its own individual way when a force acts upon it. This behaviour, a combination of position and timing, is t

52、he basis of animation. Animation consists of drawings, which have neither weight nor do they have any forces acting on them. In certain types of limited or abstract animation, the drawings can be treated as moving patterns. However, in order to give meaning to movement, the animator must consider Ne

53、wtons laws of motion which contain all the information necessary to move characters and objects around. There are many aspects of his theories which are important in this book. However, it is not necessary to know the laws of motion in their verbal form, but in the way which is familiar to everyone,

54、 that is by watching things move. For instance, everyone knows that things do not start moving suddenly from resteven a cannonball has to accelerate to its maximum speed when fired. Nor do things suddenly stop deada car hitting a wall of concrete carries on moving after the first impact, during whic

55、h time it folds itself rapidly up into a wreck.It is not the exaggeration of the weight of the object which is at the centre of animation, but the exaggeration of the tendency of the weightany weightto move in a certain way.The timing of a scene for animation has two aspects:The timing of inanimate

56、objectsThe timing of the movement of a living characterWith inanimate objects the problems are straightforward dynamics. How long does a door take to slam?, How quickly does a cloud drift across the sky?, How long does it take a steamroller, running out of control downhill, to go through a brick wal

57、l?.With living characters the same kind of problems occur because a character is a piece of flesh which has to be moved around by the action of forces on it. In addition, however, time must be allowed for the mental operation of the character, if he is to come alive on the screen. He must appear to

58、be thinking his way through his actions, making decisions and finally moving his body around under the influence of his own will power and muscle.Animation consists of sequences of weightless drawings. The success of animation on the screen depends largely on how well these drawings give the impress

59、ion of reacting in an exaggerated way when weight and forces are made to act upon them.Movement and caricatureThe movement of most everyday objects around us is caused by the effect of forces acting upon matter.The movement of objects becomes so familiar to us that, subconsciously, these movements g

60、ive us a great deal of information about the objects themselves and about the forces acting on them. This is true not only of inanimate objects, but also of living thingsespecially people.The animators job is to synthesize movements and to apply just the right amount of creative exaggeration to make