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Showing posts from February, 2011

轉貼一篇很棒的電影感想

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我是先讀下面的文章, 才看黑天鵝的, 在看時讓我很能投入電影世界中. 片中對白如:percection is not about control, it's about letting go, surprise yourself, surprise the audience 或形容 beth 時 dark impulse, dangerous , thrilling to watch, but destructive, 馬上產生了共鳴. 電影最美的地方就是每個人看了都有不同的感受 the most beautiful thing about film is the pure subjectivity of it (quoted from themovieblog ) 轉貼文章: 看了TRUE GRIT和BLACK SWAN,發覺兩片有一個共通處。就是片中的女主角起初都是極度自律、保守,有一種與年紀不符的老成,仿佛早就長熟透了。但電影不約而同地在她們身邊安排了一個“老頑童”般的男性長輩角色(謝夫布列治和Vincent Cassel)在她們的追尋之路做引導。 吊詭地,他們除了年齡相貌之外,仿佛都要比正直花樣年華的女主角們感覺年輕,充滿著活力和狂野。作為長輩不僅不對後輩開口閉口的道理(BLACK SWAN中的Vincent Cassel更是Fuck不離口),更總是肆無忌憚地離經叛道,但卻間接或直接地為兩名女孩提供了性啓蒙(謝夫布列治喋喋不休地談論著自己的前妻們;為 Hailee Steinfeld吸出蛇毒;Vincent Cassel為引發Natalie Portman潛質的各種性挑逗),從而讓她們達成身心的真正成長,電影更視覺化地拍出了成長的代價(Portman最後腹部的血如泉湧;Ross的斷臂)。需然充滿血與淚(電影也總是比較極端),但誰人在長大的過程中能倖免呢? 最近的這幾部奧斯卡提名電影(加上127),很好地為今天的中國人注解了成長的定義,絕對不是多少歲時要有份怎樣的工作;多少歲時便要成家這麼無聊。 看完TRUE GRIT出來,女友在電話中和我提出分手,說我們距離太遠,也許她是不相信有女朋友的人會老是一個人去看電影。我想她需要一個離經叛道的老男人來讓她長大,可惜今天中國喜歡小妹妹的老男人大多數有的都只是“財”而不是“

工作筆記本 - 動畫的筆記

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( 一 ) Particle  A ) 死了又生 vs. 汽球上升 死了又生 (框框裡不會亂跑) lifespan mode - random range lifespan - 5 lifespan random - 2.5 汽球上升, 全體位移 (容易跑出攝影機範圍) lifespan mode - live forever B ) Turbulence 低 frequency 波長波長 -1 高 frequency 扭來扭去 -5 3d phase x, y, z - 3d 立體空間的錯位 (不是2D 扭動 ) C ) 口訣 conserve - 皓呆 ( 大絕招, 影響整體 ) attentaution - 0 為完全影響 ( 往上加為函數衰減值 ) max distance - 不打勾 為全局影響 ( 無範圍 ) D ) 閃動 bug rate 大於 max count ( particle 會馬上出現 ) rate 小於 max count ( particle 會慢慢出現 ) E ) 注意 timeline 設定成 - play every frame particle shape 和 nucleus 要調整 start time 至預備位置 (ex. -25 frame) 想法: 場景不要乾 (太大片, 線太直) 蟲子: 粒子不要流星, 鏡頭不正常斗動, 角色不正常抽動 如何 cheat ( 節省資源 ) 發射器 ( emitter ) 如果從 plane 發射, 是根據 normal 方向 ( 調 normal 的參數 ) ( 二 ) material: A ) bug: expression 寫 ramp 不能 right-click, 可從 hypergraph connections or hypershade 找 material normal pass 如果附屬在有上 use background 的 model 底下 render 時會變黑色 B ) steps: 材質球上按右鍵 - select object with material 會幫你選有用到此 material 的 model 選 geometry 方式: hierarchy 往上按 > view selected > 框選 ( 三 ) Nuke: A

Work of Art: The Next Great Artist

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episode 1 - portraits judge says: wants to be surprised, see a different angle, show inner world to outer world. miles portrait of nao - morbid feeling, death portrait ( historical context), sense of drowning. nao's portrait of miles - only showing movement of dots and lines, simon says: not only conceptual but needs visuals, the judges need to see whats going on. good art is not what it looks like, but what it makes us feel. episode 2 - sculptures jon kessler: objects have memory, they have a life, something romantic, mysterious about them. does your piece reflect you as an artist? where are you in this piece? does this sculpture have life? energy? judges: the spirit of this challenge is making the electronic junk personal. judith: piece needs direction, trong: needs a new layer - 4 tv's cant become 4 tv's episode 3 - book cover distinguish itself in the marketplace (example: use damien hirst's painting for darwin's origin of species) simplicity is important inte

表情 emotions revealed

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0:55 - "gestures are diverse as language, but emotion is universal" "手勢跟語言ㄧ樣分歧, 但表情確是共通的" 5:30 - "Each emotion prepares the body for a specific action" meaning when a person is angry blood surges to the arms preparing you for a fight. When a person is scared blood flows to the feet preparing for an escape." “每一個表情都讓身體準備進行某一個特別動作, 人生氣時血液會衝到手部準備打架, 人害怕時血液會衝到腳部準備逃跑“ 9:17 - "Microexpression" - concealed emotion "微表情" - 人的情緒在刻意掩飾下還是會有一閃即逝的表情出現