視覺(jué)效果設(shè)計(jì)的現(xiàn)實(shí)性

技術(shù)總監(jiān)和CGMA講師Keith Kamholz談到了視覺(jué)特效行業(yè)面臨的挑戰(zhàn)，以及解決問(wèn)題的滿(mǎn)足感……

Technical Director and CGMA instructor Keith Kamholz talks about the challenges faced in the visual effects industry, and the satisfaction of problem-solving...

視覺(jué)效果無(wú)疑是計(jì)算機(jī)動(dòng)畫(huà)行業(yè)中最激動(dòng)人心的產(chǎn)業(yè)之一，但它當(dāng)之無(wú)愧地成為了最復(fù)雜，最具挑戰(zhàn)性的產(chǎn)品之一。 實(shí)際上，視覺(jué)效果是各種專(zhuān)業(yè)的總稱(chēng)，但幾乎所有人都需要仔細(xì)和認(rèn)真的方法來(lái)實(shí)現(xiàn)程式化和現(xiàn)實(shí)之間的平衡，物理上的正確和藝術(shù)上的指導(dǎo)。

Visual effects is undoubtedly one of the most exciting and varied sectors in the computer animation industry, but it also deservedly has a reputation as one of the most complex and challenging. In truth visual effects is an umbrella term for a whole variety of specialties, but pretty much all share the same need for a careful and considered approach to the balance between the stylized and the realistic, the physically correct and the artistically directed.

作為Keith Kamholz - CGMA在Houdini Master Master Destruction中的講師，還有一個(gè)在Double Negative，ILM，Blue Sky和Tippett工作室擔(dān)任電影配角的外匯技術(shù)總監(jiān)，他在一系列的電影（包括侏羅紀(jì)世界，美國(guó)隊(duì)長(zhǎng)：冬日戰(zhàn)士和即將到來(lái)的環(huán)太平洋地區(qū)：起義） - 解釋說(shuō)，確定視覺(jué)效果序列何時(shí)需要模仿現(xiàn)實(shí)世界的行為，以及何時(shí)創(chuàng)造更具風(fēng)格的東西是至關(guān)重要的。

“作為CGI的藝術(shù)家，你經(jīng)常會(huì)發(fā)現(xiàn)自己被世界上最細(xì)微的細(xì)節(jié)所吸引，這可能是一個(gè)物體的光散射，一團(tuán)煙霧中的自然動(dòng)蕩場(chǎng)，一個(gè)活躍動(dòng)物的肌肉骨骼系統(tǒng)的可視化， 或者任何數(shù)量的現(xiàn)實(shí)世界中的任何一種，你可能需要重新創(chuàng)建數(shù)字，盡管好的參考是創(chuàng)造逼真效果的一個(gè)重要部分，但是知道什么時(shí)候要擺脫現(xiàn)實(shí)也是非常重要的，動(dòng)畫(huà)制作也許是最重要的 明顯的情況下，你會(huì)這樣做，因?yàn)榭ㄍㄎ锢砗透叨瘸淌交�的效果是�?lèi)型的視覺(jué)風(fēng)格的重要組成部分。

As Keith Kamholz - instructor on CGMA's Mastering Destruction in Houdini Masterclass and an FX Technical Director with film credits at Double Negative, ILM, Blue Sky and Tippett Studio on a raft of tentpole vfx movies (including Jurassic World, Captain America: Winter Soldier and the upcoming Pacific Rim: Uprising) - explains, it's essential to determine when a visual effects sequence needs to mimic real world behaviors, and when to create something more stylized.

"As a CGI artist, you often find yourself entranced by the smallest of details in the world around you. This could be light scattering through an object, the natural turbulence fields in a cloud of smoke, visualizing the musculoskeletal system of an active animal, or any one of a near infinite number of real-world phenomena that you may need to recreate digitally. Although good reference is an important part of creating realistic effects, it's also vital to know when to break from reality. Animated productions are perhaps the most obvious scenario in which you would do this, as cartoon physics and highly stylized effects are an essential part of the genre's visual style.

我想到的一個(gè)有趣的例子是，當(dāng)我在里約熱內(nèi)盧電影中播放一些落花的時(shí)候。做簡(jiǎn)單的基本滾落的花可能是可以接受的，但是通過(guò)添加一個(gè)非常有風(fēng)格的非現(xiàn)實(shí)的旋渦運(yùn)動(dòng)，這個(gè)序列就會(huì)呈現(xiàn)出一種獨(dú)特的、更有趣的氛圍。不過(guò)，這種藝術(shù)判斷并不局限于動(dòng)畫(huà)制作。 在逼真的電影視覺(jué)特效中幾乎同樣重要。 現(xiàn)實(shí)世界往往看起來(lái)不夠電影化，導(dǎo)演們通常都在爭(zhēng)取對(duì)世界進(jìn)行更精致的/程式化的解讀，而不是你的眼睛，甚至是相機(jī)實(shí)際上都能捕捉到的東西。 平衡真實(shí)和超現(xiàn)實(shí)可能是工作的一個(gè)微妙部分，總是看到最終結(jié)果偏離自然界總是很有趣的。

One fun example that comes to mind is when I animated some falling flowers in the movie Rio. It might have been acceptable to do simple basic tumbling flowers, but by adding a very stylized non-realistic swirling motion the sequence took on an extra unique, more playful vibe. This sort of artistic judgment isn't limited to animated productions, though; it's nearly as important in realistic film VFX. The real world often doesn't look cinematic enough, and directors are typically striving for a much more polished/stylized interpretation of the world than your eyes or even the camera would actually capture. Balancing the real and the hyper-real can be a delicate part of the job, and it's always interesting to see where the end result deviates from the natural world."

視覺(jué)效果：大圖

當(dāng)沒(méi)有在胡迪尼大師班(Houdini Masterclass)上運(yùn)行CGMA的 《掌握毀滅》(master Destruction)時(shí)，基思卡姆霍爾茲(Keith Kamholz)在《神奇動(dòng)物》(Fantastic Beasts)等電影中擔(dān)任FX技術(shù)總監(jiān)，在那里可以找到他們、正義聯(lián)盟(Justice League)和變形金剛(Transformers: Age of Extinction)。在這里，他討論了在無(wú)盡復(fù)雜的視覺(jué)效果設(shè)計(jì)世界中尋找簡(jiǎn)單的重要性。Visual Effects: The Big Picture

When not running CGMA's Mastering Destruction in Houdini Masterclass, Keith Kamholz works as an FX Technical Director on films such as Fantastic Beasts & Where To Find Them, Justice League and Transformers: Age of Extinction. Here he discusses the importance of finding simplicity in the endlessly complex world of visual effects design.

“在從事任何有創(chuàng)意的項(xiàng)目時(shí)，無(wú)論是視覺(jué)藝術(shù)還是音樂(lè)，或者其他什么東西都是完全的，重要的是在排除廣泛的筆觸之前，不要過(guò)分地注意細(xì)節(jié)，例如在銷(xiāo)毀鏡頭中，通常是浪費(fèi) 在加入較小規(guī)模的碎片之前，先在剛體模擬中修正一些不準(zhǔn)確的地方，因?yàn)檫@些元素可能很好地隱藏了這些不準(zhǔn)確的地方，并且在碎片中修復(fù)一些小問(wèn)題可能是浪費(fèi)時(shí)間， 被一層沉重的灰塵覆蓋！記住一個(gè)有用的技巧就是問(wèn)問(wèn)自己，如果將HAD拍攝完成并放入成品，最重要的變化或補(bǔ)充是什么。

"When working on any creative projects, be it visual art or music or something else entirely, it's important to not get too caught up in the fine details before sorting out the broad strokes. In destruction shots, for example, it's often a waste of time to fix the little inaccuracies in a rigid body simulation before adding the smaller scale debris, because those elements may very well hide those inaccuracies. And by extension, fixing little issues in the debris may be a waste of time, as they then may be covered up by a heavy dust layer! One helpful trick to keep in mind is to ask yourself what's the most important change or addition to make if the shot HAD to be finalized and put into the finished product."

“另一件需要注意的事情是，將解決VFX挑戰(zhàn)的方案復(fù)雜化，而這往往是以藝術(shù)的控制為代價(jià)的。對(duì)于一些受此影響的藝術(shù)家/開(kāi)發(fā)者來(lái)說(shuō)，這樣的過(guò)度設(shè)計(jì)實(shí)際上是一個(gè)自豪感，盡管這并不是必要的！作為一個(gè)破壞專(zhuān)家，我想到的第一個(gè)例子與這種類(lèi)型的工作有關(guān)，例如，有時(shí)先進(jìn)的彎曲/折皺/變形模擬是最好的選擇，但是通常更多難度大，耗時(shí)又難以控制，加入一些簡(jiǎn)單的手工雕刻和程序化非模擬變形，可以更加快速地產(chǎn)生美麗的效果，并且可以讓您更容易地對(duì)筆記作出響應(yīng)，這些原理并不局限于復(fù)雜FX;它們同樣適用于生產(chǎn)線的其他部分，當(dāng)你考慮到許多產(chǎn)品都是在極其緊張的預(yù)算和最后期限內(nèi)完成的時(shí)候，保持這種優(yōu)雅的簡(jiǎn)單性就顯得尤為重要了。

"Another thing to be aware of is that it's very common for people to overcomplicate solutions to VFX challenges, often at the expense of artistic control. For some artists/developers that fall prey to this, such over-engineering is actually a point of pride, even though it's really not necessary! As a destruction specialist myself, the first examples that come to mind are related to that type of work. For instance, sometimes advanced bending/crumpling/deforming simulations are the best option, but it's often much more difficult & time-consuming & tough to control. Incorporating some simple manual sculpting and procedural non-simulated deformations can yield beautiful results much more quickly, and by extension allow you to respond to notes much more easily. These principles aren't limited to complex FX; they're equally applicable to other parts of a production pipeline. It becomes even more important to keep this elegant simplicity in mind when you consider that many productions are done on an extremely tight budget and deadline!"