【摘要】：動(dòng)畫是運(yùn)動(dòng)的藝術(shù)，“動(dòng)”代表著“變”，而時(shí)間就是變的第一種形式，，時(shí)間掌握成為衡量一部動(dòng)畫好壞的至關(guān)重要的標(biāo)準(zhǔn)，在動(dòng)畫創(chuàng)作中起著非常關(guān)鍵的作用。動(dòng)畫大師哈里斯在他的《動(dòng)畫的時(shí)間掌握》一書中揭示了動(dòng)畫時(shí)間的綜合性，動(dòng)畫時(shí)間包括時(shí)間速率和間隔距離，迪斯尼動(dòng)畫巨匠格里姆·乃特維克曾說：動(dòng)畫的一切皆在時(shí)間點(diǎn)（Timing）和空間幅度（Spacing）。從最初巖洞多腿的雛形的誕生，到如今令人稱贊的二維和三維，時(shí)間給動(dòng)畫帶來了不懈前進(jìn)的動(dòng)力，動(dòng)畫經(jīng)歷了一個(gè)全面發(fā)展的歷史流變過程。動(dòng)畫創(chuàng)作者對(duì)時(shí)間應(yīng)用的研究從未停止，但基本傾向于動(dòng)畫時(shí)間的放映速度及對(duì)單個(gè)動(dòng)作時(shí)間的探討。 技術(shù)不斷發(fā)展和審美大眾化的背景下，尤其是當(dāng)代影視動(dòng)畫創(chuàng)造中各種軟件技術(shù)的廣泛應(yīng)用，“時(shí)間技巧”以一種新的姿態(tài)展示其獨(dú)特作用，再以單一的動(dòng)作時(shí)間去考慮影視動(dòng)畫中時(shí)間應(yīng)用，已經(jīng)顯得遠(yuǎn)遠(yuǎn)不夠。如何在新的思維層面去認(rèn)識(shí)影視藝術(shù)語言的活力—時(shí)間，并將其應(yīng)用到創(chuàng)作實(shí)踐中成為有待解決的問題。 本文以影視動(dòng)畫為研究主題，對(duì)影視動(dòng)畫的分類、特點(diǎn)、主題進(jìn)行分析和概述；闡明動(dòng)畫時(shí)間的概念、基本單位、功能與作用，對(duì)成熟風(fēng)格美國、日本的動(dòng)畫進(jìn)行集群分析，提煉歸納時(shí)間在其作品中的不同應(yīng)用狀況；聯(lián)系動(dòng)畫作品的成功案例，解析時(shí)間在作品中的具體呈現(xiàn)，進(jìn)而論述“時(shí)間技巧”在動(dòng)畫創(chuàng)作流程中的復(fù)雜性，它涉及到角色塑造、動(dòng)作設(shè)計(jì)、鏡頭安排、劇情節(jié)奏、制作技術(shù)等方面；最后針對(duì)當(dāng)下二維、三維不斷發(fā)展，各有優(yōu)勢(shì)的發(fā)展現(xiàn)狀，從“時(shí)間技巧”的綜合性角度出發(fā)，深入挖掘其在影視動(dòng)畫中的實(shí)際應(yīng)用情況，從而完善動(dòng)畫時(shí)間的理論體系，使之成為提升動(dòng)畫制作的一個(gè)突破口。
[Abstract]:Animation is the art of movement, "movement" means "change", and time is the first form of change. The mastery of time becomes a crucial standard to measure the quality of an animation, and plays a very important role in animation creation. In his book "the timing of Animation," animation master Harris reveals the comprehensiveness of animation time, which includes time rate and interval distance. Disney animator Grimm Netvik once said, "everything in the animation is (Timing) in time and (Spacing). In space." From the birth of the rudiments of multi-legged caverns to the praiseworthy 2D and 3D, time has brought unremitting impetus to animation, and animation has undergone an all-round development of historical evolution process. The research on the application of time has never stopped, but the animator is inclined to discuss the time of animation and the time of individual action. With the continuous development of technology and the popularization of aesthetics, especially the extensive application of various software technologies in the creation of contemporary film and television animation, "time skills" show its unique role in a new posture. Then a single action time to consider the application of time in film and television animation, has been far from enough. How to understand the vitality of film and television art language in a new way of thinking and how to apply it to creative practice has become a problem to be solved. This article takes the movie and television animation as the research topic, analyzes and summarizes the classification, characteristic and theme of the film and television animation; This paper clarifies the concept, basic unit, function and function of animation time, analyzes the mature style of American and Japanese animations in clusters, and abstracts the different applications of time in his works. Connecting with the successful cases of animation works, this paper analyzes the specific presentation of time in the works, and then discusses the complexity of "time skills" in the animation creation process. It involves character shaping, action design, lens arrangement, plot rhythm, Production technology and other aspects; Finally, in view of the current development situation of 2D, 3D, and each has its own advantages, from the comprehensive angle of "time skills", it deeply excavates its actual application in film and television animation, thus consummates the theory system of animation time. To make it a breakthrough to improve animation production.
【學(xué)位授予單位】：陜西科技大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J954

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相關(guān)期刊論文 前2條

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2 胡曉晶;;當(dāng)代影視動(dòng)畫造型特征分析[J];大眾文藝(理論);2009年01期

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