分镜头脚本设计在动画创作中的应用研究

发布时间：2018-06-06 00:05

本文选题：分镜头 + 动画　；参考：《昆明理工大学》2014年硕士论文

【摘要】：一部优秀的动画作品的产生离不开很多因素的支撑,比如好的剧本、好的人设、场设、熟练地剪辑和特效的制作、优秀的配音和分镜头脚本的设计。在一部动画剧本创作完成之后,导演就会开始着手分镜头脚本的设计,分镜头脚本的设计会直接影响和制约着后面其他因素的发展。分镜头脚本是动画剧本的图画式语言的表达方式,简单地说,就是运用图片的方法讲述剧本故事,直接把剧本镜头形象化。它是动画里可以直接传达导演意图和剧本拍摄构思的一种语言,人物、场景的设计、逐帧的制作、后期的剪辑、配音等工作都是根据分镜头脚本来的。因此,我们可以称分镜头脚本为动画作品的预设和蓝本,它在动画作品的创作中扮演着重要的位置。而创作一个优秀的动画分镜头脚本需要理解分镜头作为动画视听语言背后的语义、文化溯源、创作法则、内在逻辑等多方面的内容。因此,本文从分镜头脚本与动画创作之间的关系入手,对其表达方式、民族审美需求、创作技法进行一一论述。首先,本文对动画分镜头语言的文化溯源进行了归纳和总结。在研究分镜头脚本时,笔者发现分镜头语言特点与其所处在的地域文化形态有着很大的关系。不同国家的分镜头脚本语言呈现出不同的风格特点,它们受到所处的社会环境、风俗习惯、审美倾向的影响。换个角度来说,不同地区的分镜头语言可以体现出当地的文化溯源。例如,中国动画在上个世纪八十年代时,创立了辉煌的“中国学派”,创作出一批优秀的艺术动画片,其分镜头语言也体现着中国传统绘画中写意的特点和中国人含蓄的审美倾向。然而现在,中国的动画开始走下坡路,分镜头语言也开始“失语”,逐渐丧失了中国本土特色,大量抄袭外国动画的镜头语言,失去了自己的特点。本文通过对比不同国家的镜头语言和其背后的文化特征之间的关系,试图帮助中国动画找回自己的镜头语言。其次,本文对动画分镜头脚本的创作技法和镜头内在逻辑进行了详细的说明。动画是一种具有高度假定性和自由的文化传播方式,其分镜头的设计所受到的现实制约比电影少。但是,动画分镜头脚本的创作还是要遵循视听语言的客观规律。其表现手法、创作技法、画面逻辑、轴线和蒙太奇的运用都有一定的法则,这些法则会在文中一一阐述。笔者认为,只有既遵守了这些创作法则,又充分发挥了主观想象力进行创新,才可以创作出好的分镜头脚本。最后,本文将对分镜头语言的未来走向提出展望,分镜头语言特点将随着科技的进步、社会的发展、文化形态的衍变、和人类审美倾向的改变而发生变化。而这种变化是良性的,将会推动分镜头的发展,从而推动动画产业的进步。
[Abstract]:The production of an excellent animation works can not be separated from the support of many factors, such as good script, good human settings, field settings, skilled editing and special effects production, excellent dubbing and sub-lens script design. After the completion of an animated script, the director will begin to design the shot script, which will directly affect and restrict the development of other factors. Split shot script is the expression of graphic language of animated script. In short, it is to tell the story of the script by using the method of picture, and directly visualize the scene of the script. It is a kind of language which can convey the director's intention and the script shooting idea directly in the animation, the character, the scene design, the frame by frame production, the post editing, the dubbing work and so on are all according to the sub-lens script. Therefore, we can call sub-shot script the presupposition and blueprint of animation works, which plays an important role in the creation of animation works. The creation of an excellent animation sub-shot script needs to understand the semantic, cultural traceability, creative rules, internal logic and so on behind the sub-lens as the language of animation audiovisual. Therefore, this paper starts with the relationship between the script and animation creation, discusses its expression, national aesthetic needs and creative techniques one by one. Firstly, this paper summarizes the cultural origin of the language of animation sub-lens. In the study of the script, the author found that the language characteristics of the sub-lens has a great relationship with the regional cultural form in which it is located. Different countries have different stylistic features, which are influenced by their social environment, customs and aesthetic tendency. In other words, the local culture can be traced to the different parts of the language. For example, in the eighties of the last century, Chinese animation created a brilliant "Chinese school," and created a number of excellent artistic cartoons. It also reflects the characteristics of freehand brushwork in traditional Chinese painting and the implicit aesthetic tendency of Chinese people. However, now, the animation of China begins to decline, the language of dividing lens also begins to "aphasia", gradually lost the Chinese native characteristic, plagiarizes the foreign animation lens language, has lost its own characteristic. This paper attempts to help Chinese animation find its own lens language by comparing the relationship between the lens language of different countries and the cultural characteristics behind it. Secondly, this paper gives a detailed description of the creative techniques and the internal logic of the animation shot script. Animation is a highly hypothetical and free way of cultural communication. However, the creation of animation script should follow the objective law of audiovisual language. The methods of expression, creative techniques, picture logic, axis and montage use have certain rules, which will be elaborated in the article. The author thinks that only if we abide by these creative rules and make full use of subjective imagination to innovate, we can create good sub-shot script. Finally, this paper will put forward the prospect of the future direction of the sub-lens language. The features of language will change with the progress of science and technology, the development of society, the evolution of cultural form, and the change of human aesthetic tendency. This change is benign, will promote the development of the camera, thus promoting the progress of the animation industry.
【学位授予单位】：昆明理工大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J954

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