得知WALL.E无法在内地上映，我真是扼腕叹息啊！！

这里有2段幕后，PIXAR的环境和氛围，太令人向往了。一帮天才认真的玩出一部吸金大片~

幕后一 幕后二

我是真的

真的想就这样

做一个DEO出来玩玩！！

cowboy creation

暴雪终于公布了关于《Diablo3》的消息。在剩下的时间里，我们可以选择默默地等待亦或者是先睹为快看看《Diablo3》的三支预告片段。

我会选择后者，那么你呢？

作者：Andrew Gordon 于December 3rd, 2005
NeoVFX成员Victor Luo编译，本文谢绝转载

我觉得应该分享一些我几年前从书上看到的知识。名字叫做“Michael Caine - Acting in Film”。书是给演员的一些指南。其中有些对动画师也有帮助。当我做怪物公司中的Mike Wazowski时我开始真知对眼睛产生兴趣。基本上他是个大眼仔，所以我必须注意到眼睛工作时和在眼眶中运动时微妙的细节。这是更偏向于技术层面的东西。学习怎样做眨眼，改变眼皮的角度来适配观看的方向。。。所有这些都偏向于设计方面的东西，我们可以稍后讨论。我觉得书中有趣的地方是Caine先生对处理近景镜头的方法。
“当你是站在特写镜头前面的演员，绝不要切换你的焦距从一只眼到另一只。听起来很怪，是吗？不过当你看东西时，由一只眼做引导。所以在特写中，绝对要小心，无论哪只眼睛引导都不要改变。这是极其微笑的变化，但是在银幕上是看得出来的。镜头可不会错过任何细节！”
我猜想他可能谈的是眼睛的dart。很有趣，因为这是我正要在我的角色中放入的东西。对动画来说，这样做看起来更多了一点生动。你必须努力让你的角色看起来会喘气有生命。眼睛的dart对保持角色鲜活是很重要的。所以你要问我用多少帧做dart？等后面的帖子会有详图的。（通常我用两帧的eye dart。）
他谈到的另一个事情也和我们在动画中的方式相矛盾：
“而且我不眨眼。眨眼让你的角色看起来很弱。自己试试看：说两遍一样的台词，第一次这样然后不眨眼。当我有了这个发现后我就练习不眨眼，不过如果一直不眨眼可能会吓到许多人。记住：在电影上眼睛可能会有八英尺那么大呢。”

好的，我不确定这一点在动画中是否奏效。我的确赞成如果一个角色眨眼过多会看起来不可靠或者紧张。全是在于你怎样使用眨眼。眨眼有多快或多慢。两个眼睛眨动之间会有多接近。一些近期的MoCap制作的影片中的角色不怎么眨眼或者根本眉毛不怎么动。抱歉，他们看起来就像行尸走肉一样没有灵魂。。。
将来会谈到更多眼睛的话题。。。
感谢阅读。

Dr Gordon.

做的很漂亮的一个网站，3D互动很有趣。一派生机勃勃的景象充满灵性！

点击图片去玩哦

感谢artune提供信息~

台湾CG人TOM制作的一段视频。

变形挺不错的，合成的效果也不错，就是动画略微有点遗憾。

去看看他的flickr上的作品吧！

对我们这一代人来说，关于电影特效这个概念的最早启蒙，几乎全部是来自于90年代初期的一档名为《电影魔术》（The Movie Magic）的译制电视节目。而这个节目的忠实观众，应该都不会对“斯坦-温斯顿工作室”（Stan Winston Studio）这个名词感到陌生。2008年6月16日晚，一手建立起这个好莱坞传奇特效公司的巨人—斯坦-温斯顿 （Stan Winston），病逝于家中，享年62岁。斯坦-温斯顿的存在让我们明白：在CG技术无比发达的今天，模型特效依旧不可替代。对于这个曾经将异形、终结者和恐龙活生生地呈现在电影银幕上的大师，我们无法想象电影特效界假如曾经没有过他会是什么样子。而现在他的离去，留给我们的是无尽的悲伤和遗憾。斯坦-温斯顿好比我们这个时代的“雷-哈里豪森”，让特效无愧于“电影魔术”这个称号，而他生前却说过的一句颇值得我们玩味的话：“我做的不是特效!”

斯坦-温斯顿1946年出生在弗吉尼亚州的艾灵顿。1968年他从弗吉尼亚大学修完美术和戏剧课程，立志做一名演员，而最后却成为了一名特效化妆师。在迪斯尼做了三年的特效化妆学徒后，他一手创办了斯坦-温斯顿工作室（SWS）。对于他来说，这条道路一点也没有偏离他最初的表演梦想。因为特效化妆师正是通过他们所创造的角色模型在完成自己的表演。因此他后来说过：”我做的不是特效，而是表演“。对于他最著名的作品—《侏罗纪公园》中的恐龙，他如此评价：“我们（SWS）创造的这些恐龙都是真实的，我们为它们塑造了个性不同的角色。” 与其被称为“特效大师”，温斯顿也许更希望人们视他为“幕后的表演者”。

对于斯坦-温斯顿人们最为津津乐道的，便是他使得传统模型特效从未过时。直至今年，SWS还为”钢铁侠“（Iron MAn）打造了一身酷劲十足的盔甲。不过也许不少人并不知道，这个把传统模型特效推向极致的人，也热情地拥抱数字技术。如今在业界鼎鼎大名的特效公司”Digital Domain“，当年便是由斯坦-温斯顿和詹姆斯-卡梅伦等人共同成立的。而后他还创办了”斯坦-温斯顿数字工作室“（SWD）。在他看来，真实存在的模型特效和虚拟的数字特效是互不可缺的。而这一点也是当今许多特效大师所坚信的。

在这个电脑主宰一切的时代，斯坦-温斯顿的离去仿佛更显沉重。让我们记住他，通过Fxguide的这张照片（4k*1k），我们来重温一下他所创造的经典角色吧！

斯坦-温斯顿生平点滴：

1972年：SWS成立，一个时代的神话拉开序幕
1974年：通过电视电影The Autobiography of Miss Jane Pittman获得艾美奖
1984年：第一部《终结者》让他和詹姆斯-卡梅伦走到一起
1986年：通过《异形续集》赢得第一座奥斯卡奖：最佳视觉效果
1988年：导演处女作Pumpkinhead成为了一部cult经典
1990年：创造了”剪刀手爱德华“这一经典银幕形象
1991年：《终结者：审判日》又为他带来两座奥斯卡奖杯
1993年：他为《侏罗纪公园》创造的模型恐龙让人们疯狂
同年：Digital Domain成立
2001年：协助斯皮尔伯格将库布里克未能实现的《人工智能》变为现实
2002年：SWD成立

NeoVFX成员manitou翻译，转载请注明出处

偶然在CGT看到了这篇06年的帖子，作者是Joe Harkins。这个帖子在论坛的讨论分坛设为置顶贴。文章很有启发性，尤其是对于即将进入CG行业的新人来说更是珍贵。Joe站在过来人的角度为新人们解答他们 最疑惑的问题，观点明确犀利，客观而中肯的向新人们介绍了一个竞争残酷的行业规则。

虽然其中很多观点可能是“陈词滥调”，但是仍然会给人很多启示，即便你不是新人，也绝对应该看看。

PS：翻译水平有限，如有疏漏错误，请大家一定指正过来。

同时欢迎大家热烈讨论， 各抒己见

The Unofficial Truth about The Industry
实话实说CG行业
After responding to probably a hundred e-mails, being a guest speaker at various schools, and having taught at Gnomon, Academy of Art San Francisco, Expression Center for New Media, and SIGGRAPH, I’ve come to realize that all students seek the same information: they want the truth about the value of their education. They want an honest and experienced person to critique their work. But most of all, more than anything else, they want a job, and they want to know how to get it.

作为一个在各个学校演讲的演讲者，一个在Gnomon，旧金山艺术学院新媒体传达中心和SIGGRAPH任教的老师，我会收到无数电子邮件。在回复了上百封邮件后，我逐渐认识到几乎所有的学生都关心这样一个信息：他们想知道他们所受的教育的真正价值有多少。他们需要一个真正诚恳的，有经验的人来评判他们的作品。最重要的，他们想知道如何才能获得一份工作。

After a certain number of e-mails I realized that I had compiled a FAQ of sorts. From that point on I simply responded to any e-mails with the relevant answers from my FAQ, rather than write the same advice over and over again. Many people sent pages of e-mails with life changing concerns and problems. Issues that I don’t feel qualified to respond to – like whether or not they should go to college, whether to sign that big loan, whether to pursue a dream or just give up.

回复了多封电邮后我发现我一直面对着很多相同的提问，我于是只选择部分有共同疑问的信件做回答，而不是一封封的回信。很多人写信来告诉我他们人生的转捩点和遇到的困惑。有些问题我觉得没有水准而并不值得回答，类似我是否应该去学校，是否应该办一个助学贷款，是追逐梦想是需要放弃。

After my last stint teaching at Gnomon, I sat down to write something I could give my students. Something they could walk away with, answering their questions, removing their concern, and hopefully giving them some hope and clear their mind of doubt. Unfortunately, I never found the time…until now. And since I am currently too busy with production to teach, I have no direct students. But there are hundreds of you who are, and so this one’s for you…

在结束了上一次在Gnomon的简短教学以后，我决定坐下来给我的学生们写点东西。回答他们的疑惑，指导他们的学习和选择，给他们希望。可惜我一直没有时间来做。现在终于有机会了！由于我一直很忙，所以我没有一个真正的亲授学生，但是这篇文章就是写给你们-众多的在读这篇文章的人的。有些问题你们可能已经听过很多，而这次仅仅是再一次的加强

Some of this will seem like information you’ve heard before, like common sense, like something someone should have sat down and told you. Maybe that’s the case, and maybe this is just affirmation of what you already know, but either way, I think you should read this.

I realize that you might not be a full-time student, and you might be working in the industry. In fact, some of you I know from work, and you’re just here to brush up or learn a new skill. Your continued education is evidence of the dedication you have, and that’s such a great thing to have! I admire those who want more when they already have what they need.

我想你也许不是一个“全职”学生，你可能已经进入行业在工作了。我知道你们有些人是工作以后再回来充电的。这说明你很努力，这是非常珍贵的！我很欣赏有着强烈求知欲的人！

I believe that no matter what and where you choose to learn, be it at a public institute, a private school, or even in front of your computer at home, you should feel comfortable with your decision. You should feel like you’re learning and that you’ve been given the tools you need to succeed in this extremely tough industry.

无论你在哪里想学什么，无论是公立学校，私立学校甚至在家自学，你一定要确信这是你自己的选择，你要知道你将要学习掌握这些能让你在这个竞争极其激烈的行业里成功的钥匙！

Should you go to college and get a degree?

Whether or not you should go to college is not the question. Once you graduate, no-one cares anymore. They don’t need to hear about your education and how well you did in school. It’s no longer “What’s your major?” that you’ll get asked everyday, but “What do you do for a living?”

我应该去学校拿一个学位吗？
是否上学拿学位并不是关键。毕业了以后没有人会在意你这个了。他们不想知道你在哪里毕业，学校里成绩多牛。他们不会问你“你主修什么？”他们更可能会说：“你会做什么？”

To be completely honest, this industry is not skilled enough to concern itself with education as much as doctors or lawyers, or even business people. Yes, there are computer programming geniuses with advanced degrees from Ivy League schools working in our industry, and they are a valuable component to what we do, but they are the minority. Many more of us are regular people, who have found something we enjoy, have some natural talent, and have worked really hard to be good at something we are passionate about.

说实话，这个行业还没有专业，高端到去顾及每个从业人员的学历，这不同于医生和律师，甚至是商业行业。的确，这个行业里有一些从Ivy League学校毕业的电脑程序天才，他们对于我们这些人来说，是价值连城的。但是那些毕竟是极少数。更多的是普通人，他们做着自己喜欢的事情，他们有天赋并且很努力去做着他们热爱的事情。

Do you need to go to college to get a job in this industry? No, but it doesn’t hurt your chances to have a degree, and it won’t be frowned upon if you don’t.

你是否一定需要一个大学学历才能在行业里生存？并非如此，但并不是说去上学没有意义，只是说如果你没有学历，也不要郁闷。

Do employers require a degree to get a job?

Yes, some of the larger studios do require a degree for some of their more advanced TD, software engineering, and infrastructure related jobs.

公司是否要求员工的学历？
是的，有些大的工作室对他们的高级TD，软件工程师等职位，有学历上的要求。

What about non technical jobs, do those require a degree?

No. While some schools hold a certain amount of clout with many large studios and their degrees are in fact well respected, like Ringling or Cal Arts for example, artistic jobs do not require a degree.

非技术性职位呢，也需要一定的学历吗？
不需要，虽然一些学校的毕业生在一些很大的工作室中数量可观，而且他们的学历也很受人尊重，但是艺术性工作并不要求学历。

Do I need to be artistic?

Yes. Hands down it all comes down to your natural, raw, artistic talent, your eye for detail, your ability to take criticism for your own work, and your ability to critique others.

我需要有艺术素养吗？
毫无疑问，所有能力都需要依赖于你天生的艺术天赋，你观察细节的眼力，你评价他人和自己作品的能力。

What if I’m technical though, do I still need to be artistic?

At the end of the day, the answer is yes. While it’s acceptable to not have any artistic talent and be completely scientific in many of the job functions, if you truly want to excel in Computer Graphics, you need at least basic artistic abilities to get by. It will only make you a stronger technical candidate.

如果我走技术路线，我需要有艺术素养么？
答案当然是YES，虽然很多纯技术性工种并不要求你艺术方面的能力，但是如果你想在CG方面变的更优秀，你仍然需要具备基本的艺术素质。这会让你成为一个综合实力很强的技术工作者。

So should I go to college or not?

Are you talented enough to get a job without it? Are you completely sure about your artistic ability and what you want to do? Do you need more time to work on your portfolio and demo reel? Do you have the discipline and determination to get a job with your current abilities? Keep asking yourself questions, and eventually you’ll figure it out. Some people need college, while others don’t.

那么我到底应不应该去大学读书呢？
你是不是有才华到不读书就可以找到工作？你是否很确定你的能力，知道你想做什么？你是否需要更多的时间去做好你的简历和Demo reel？你现在是否有足够的能力和决心得到一份工作？不断问你自己这些问题，你就会知道答案。有些人需要去好好的读书，而有些人不需要。

What if I get a degree in something else?

That’s fine if you want to have something to “fall back” on, so to speak. Conservative people recommend this option to avoid pigeonholing yourself. I personally think that you should get a degree in whatever it is you want to do as a career. You can minor in something else, like business, while still majoring in art or computer science, for example. Either way, it’s not a bad thing, but it does raise a question as to how determined are you to make it in this industry if you’re already making a backup plan?

我有一个和CG毫不相干的学历怎么办？
这也不赖，至少你有一个后路可以做别的。保守派建议这种方式，以免让自己在一棵树上吊死。我个人觉得你需要选择一个你真正将要投身的行业，然后拿一个学位。你可以主修艺术或者计算机，然后辅修别的科目比如商业。学的多并不是一个坏事。但是有一个问题，既然你都做好了改行的准备，那么你究竟又多少的决心投身到CG行业呢？（太经典了）

How do I know if I am getting what I need out of school or not?

“I feel lost…” I’ve heard that one a lot. I honestly want to tell you to consider doing something else with your life if you feel lost and are already taking classes for your major. If you’re just wondering whether or not you’re getting what you need from school, then you should probably ask yourself what it is you expect. You’re only going to get out of it what you put in.

当我毕业时，我如何知道自己已经达到要求了呢？
“我很迷茫”我经常听到这样的话。我想说当你毕业的时候觉得你自己很迷茫，最好考虑去做点别的事情。如果你不知道你是否学到你想要的东西时，最好问问自己你到底要的是什么。有的时候跳出来想想会更好。

Should I focus on art or science?

That’s for you to decide. Unless you’re absolutely sure you want a technical job that requires a degree, the B.A. vs B.S. is not worth arguing over. You need to pick something that fits your goals, but remember that it’s probably irrelevant later on anyways.

我应该把精力放在那方面呢？艺术还是技术？
这是你自己的选择，除非你打定注意，这样的艺术技术的争论没有丝毫意义。你需要为了目标奋斗，但是有可能这些奋斗走错了方向。

My school seems more interested in my money, is this normal?

Many schools are cashing in on students desire to learn computer graphics. They are almost all the same as far as what you end up with on paper. As far as actual teaching quality, instructor experience, and overall reputation, that all depends on your school. It’s without argument that the most experienced instructors are in LA, SF, and surrounding areas, because this is a central place for our industry. But, each school is different, and it’s hard to say.

我的学校好象更象在赚我们的钱，这正常吗？
很多学校是根据学生学习CG的愿望来定。费用基本差不多，取决于你毕业的学位。不同的学校，教学质量，教师经验，学校名气都不同。毫无疑问LA 和SF和周边地区有着最富经验的教师，因为这里是行业的中心！不同学校收费不一样，这不太好说。

If you feel like your school is just seeking a profit, then your hunch is right, it is. The difference will be in the graduating students. You should talk to recent grads to find out the truth. Look at where grads are working, not so called “job placement” numbers that the school puts out. Just remember, it’s your responsibility to teach yourself and get a job, not anyone else, no matter how much money you spend on school or how much they promise to help after graduation.

如果你觉得你的学校只是在赚钱，那么你的预感肯定没错，他们就是在赚钱。你去问问刚毕业的学生们，看看他们都在哪里工作，而不要去看学校所谓的“就业率”。记住一点：学习和找工作是你自己的事情，只有你对你自己负责，而不是别人。无论你花了多少钱读书，或者学校给你什么样的承诺，都不重要。

What software should I learn?

First and foremost, forget about the software for a minute. If you are interested in the technical side of things, then you are going to need a strong background in math and science. You’ll also need programming experience.

我该学什么软件好呢？
首先，也是最重要的，先忘记软件这个东西吧！如果你对技术性的东西有兴趣，那么你需要一个很强悍的数学和科学基础。当然还要会编程！

If you’re mainly an artist then you need to focus on traditional skills such as drawing, painting, and sculpting, among other things. Work on your 2D skills before trying your hand at 3D.

如果你走艺术路线，那么你需要在传统技法上下工夫，比如速写，色彩，雕塑等。先打好扎实的2D基础，再来玩3D。

The software is only a tool.
软件仅仅是一个工具而已~

To answer the question though, the software most commonly used for 3D in the industry is Maya. For 2D, PhotoShop is still the standard application to know. For compositing you’re best bet is to learn Shake and/or Combustion, possibly After Effects. For rendering, Renderman and Mental Ray have the strongest markets. For motion capture, MotionBuilder is the most widely used. Houdini is sometimes popular with FX artists, but Maya also has a stronghold in that market, especially with Maya Fluids.

回到问题上来，行业里用到最多的3D软件是MAYA，2D方面，PhotoShop仍然是一个必会项目。说到合成，你学好Shake 或者Combustion不会有错，会AfterEffect更好。渲染部分，Renderman和Mental Ray所占比例最大。动作捕捉方面MotionBuilder用的最多。特效家们有的时候爱用Hudini，不过MAYA仍然是用的最多的，尤其是它的流体。

Many larger studios have proprietary packages that are very unique to their pipeline. You will not be expected to know all of these packages, but a basic understanding of each will help you out in the longrun. The more you know, the better you’ll understand everything.

许多大的工作室拥有专门的软件包，是专门针对他们的流程而开发的独特的软件。你不可能掌握这些所有的软件，但是对这些软件有一个基础的了解会对你有好处。你了解的越多，那么你就越容易理解所有的事情。

It can matter what software you learn, because they are complicated packages that require training and time to understand. The less experience you have with the most commonly used software, the less valuable you will be. This isn’t about what software package is better, that is a pointless argument. It’s about what the industry is using the most, and that’s what makes knowing certain packages more valuable than others.

学什么软件还是很重要的，因为这些复杂庞大的软件学习起来好花费大量的时间和精力。对一个流行的软件你懂的越少，那么你就越不值钱。这并不是说哪个软件更好，这争论毫无意义。关键的是行业中用的最多的软件是什么，这才是决定学什么软件更有价值的关键！！

I am about to graduate, what should I do?

There are a few steps to preparing for graduation and entering this industry. They are pretty simple.

* Start looking at job openings and preparing your resume
* Start putting together a portfolio and/or demo reel
* Start trying to make professional contacts who can review your work

我马上要毕业了，我该做什么呢？
对于即将毕业进入行业的学生，这里有些简单的准备工作需要做：
1 开始关注招聘季的信息，准备好你的简历
2着手制作你的作品展示或者一个demo
3尝试去正式接触和联系那些看过你作品的公司。

What should I have when I graduate?

The most important thing you need in hand is a demo reel or portfolio with your work on it. You need a resume obviously, but that is far less important than the demo reel. Almost everyone gets reviewed solely on their demo reel, unless it’s strictly infrastructure or engineering, you’re going to need that demo reel. If you don’t have that when you graduate then you are not prepared for the battle in front of you.

毕业的时候，我应该具备些什么呢？
最重要的东西就是你手中的demo或者是一个作品展示。当然你还需要一个简历，但是那相对是次要的东西。几乎所有的人的demo都会被单独看过，如果你是做基础性技术工作或者是工程师，则不在此列。如果你毕业的时候没有这些东西，那么你绝对没有作好竞争的准备。

I graduated, now what?

Now is when you flood the market. You are new, you are unknown, and you need a job. Flood is the key word here. Send out as many reels and resumes as you can. Take time and make cover letters for each one, and make them specific to that company. Don’t write a generic cover letter, it will get you tossed in the trash with the others. Don’t overdo it either, simple and to the point. Cover letter, resume, and demo reel, 3 things, that’s it.

我已经毕业了，接下来该怎么做？
毕业了，你就进入了这个行业的大海开始“漂”的生活。你是新人，没人认识你，但是你需要一份工作。“漂”这个词很重要。尽可能多的发送你的reel和简历。花时间给每个公司写cover letter，而且要保证这些信是针对这个公司而不是泛泛而写。绝对不要写那种很没个性的信，那会让你失去工作的机会。但是也别做的太过火，简单到位就是最好的。Cover letter，简历，Demo reel这3样东西都准备好了，就够了。

As far as demo reels go, here are my rules:

* 2 minutes or less, anything more is too much without experience
* Tbe best work goes first, never repeat anything, and don’t put anything less than your best on the reel just to fill time.
* Forget the music; it’s on mute and being watched in fast forward, sorry.
* Name, phone and email all over the place, don’t forget contact info.

关于demo reel，我个人有以下几点法则：
*不要超过2分钟，任何过多的内容都是没有经验的表现。
*最好的作品放在第一个，绝对不要重复表现什么内容，更不要把一些不能体现你最佳水平的东西放进去充数。
*忘记配乐吧，你的reel基本都是关掉声音而且是被快进看完的。很遗憾。
*名字，电话和电子邮件要显醒目，千万别忘记这些联系方式。

What to put on it?

Only your best work. As someone who has been directly in charge of hiring and having seen quite a bit of reels, I can say that anything less than your best will cost you the job – literally. If you don’t think it’s great, no-one else will.

reel里该放些什么？
当然只放你最牛比的作品！如果那些不是你最好的作品，我很难保证那些看过无数reel的招聘官会录用你。如果你自己都不觉得作品好，那么绝对不会有其他人会。

You should really get as much feedback from people as you can before you cut your demo reel. You need to find out what your best work really is. It could be that one piece that is really great that gets you the job, but if you throw in five others that are terrible, it’s going to cause people to question your ability.

你在剪辑reel之前，需要尽可能多的询问别人的意见。你需要知道到底什么才是你最好的作品。有可能一个很棒的作品帮你找到了工作，但是如果你放进去另外五个很差劲的作品，别人会怀疑你的能力了。

Regarding specifics – tailor your reel to the job that you would like. If you’re a modeler, show models. If you want to animate, show animations. Don’t try to show more than one or two skillsets, even if you want to do everything. You cannot possibly be good at everything, and your weakest areas are going to shine through, not your strongest. Be aware that all of your work shown is being judged, not just what you say you want to do. Not fair? Then don’t put it on your reel!

关于专一性–为你想从事的工种来量身定做reel。如果你是模型师，那么秀你的模型。如果你想做动画，把他们放进你的reel。即使你想什么都做，也千万别在reel里展现多于2个的技能。你不可能对所有东西都了如指掌，暴露的最明显的是你的弱点而不是你的强项。要记住reel中所有的东西都是要被评审的，并不是你想如何就如何。不够牛比？那么就别放进你的reel！

How much is your demo reel worth?

Technically, it’s priceless. A foot in the door in this industry is tough to get, and you are up against many willing and talented people who want that opportunity as bad if not worse than you do. So, it’s priceless. If you spend one week hacking together a reel, it’s obvious. All the talent in the world won’t make up for rushed work, laziness, or procrastination. Be proactive, and don’t doubt it for a second – there is competition.

你的demo reel究竟有多少含金量？
从某种程度上说，它是无价的！进入行业的机会是十分难得到的，你会和许多极富天赋的人来竞争一个工作。如果你用一个星期的时间作出一个reel，很显然它会很有价值！世界上所有的天才艺术家绝对不会对自己的作品草草了事，不会偷懒和拖拖拉拉。作好准备吧，这里充满了竞争。

All that matters is the reel. The demo reel is your only friend, it is your only way in the door, and it should get the majority of your attention.

reel决定了所有的事情。它是你唯一靠的住的伙伴，也是你进入行业唯一的敲门砖。他会集中大部分的注意力！

That’s about half the questions. Usually most people want to know about school and the demo reel, and then they get to the ones I don’t really want to answer, like how much money can they make?

到这里回答了问题的一半。通常大部分人都回关心学校和reel的问题，接下来他们会问到我最不愿意回答的问题：他们可以拿到什么样的工资？

Yes, I know, you have a student loan to payback, and yes, I know you’re probably scraping by on nothing or mooching off of someone else. Yes, I know, you really need a job.

是的，我知道你们需要还助学贷款，我也知道可能你们生活艰难，你们需要一份工作。

So, how much money can you make?

It depends on the market that you’re in. Let’s take LA for example. An entry level artist at a 3D job might work for anywhere between $12 and $20 an hour, depending on the company, the work required, and your negotiating skills. That could be a 3D tracker, modeler, character TD, animator, lighter, or even a compositor. At this point, it’s almost all the same; you’re looking at equal pay across the board for most entry level jobs.

那么究竟你们可以挣到多少钱呢？

这取决于你在哪里做。以洛杉矶为例，一个初级3D工作者的价格可能在每小时12到20美圆，取决于公司，工作要求还有你的谈判技术。职位可能是跟踪师，模型师，角色TD，动画师，灯光师或者是合成师。现在这个级别，工资几乎都差不多。你需要一个新手的均价。

What if I don’t get a job right away?

That’s normal! You’re going to have to keep trying, and be persistent. Keep applying, keep making phone calls, browsing job ads, and keep refining your work and your reel. Cut a new version of your reel every week if you have to, just keep making it better and better until you get that first job. The first job is so important and so hard to get, you have to really want it.

如果我暂时还没找工作呢？
这很正常！你要继续不断尝试，一定要坚持。要不断的应聘，不断打电话，浏览招聘广告，不断的完善你的作品和你的reel。如果需要的话，每周都剪辑一个新的reel版本，不断的完善它直到你找到第一份工作。第一份工作是极其重要而且难以获得的，你需要破釜沉舟。

How long does it take to hear back once you’ve applied?

Unless they’re interested, you won’t hear anything. If they are, usually a couple of weeks at most unless there’s an enormous amount of candidates or someone else fell through. Calling HR a week after is acceptable, but don’t call everyday.

应聘以后多长时间可以得到回复？
除非他们对你感兴趣，否则你不会得到任何的消息。如果他们有意，通常最多几周就可以回复你，除非有太多的应征者或者有些别的什么事耽误了。通过后一周给人力资源部门打电话，但是别每天都打~

It’s been a really long time, should I send in another reel?

Call them first, ask them what the status is of the position. Ask if you can reapply. If they say yes, then go for it! If not, then don’t waste the postage.

已经等了很长时间了，我是否应该另寻其他的公司？
给他们打电话问问现在进展如何了，问问是否可以再次申请。如果他们说可以，那么就去做。如果答案是否，那么别再浪费邮资了。

I got an interview…so what do I say?

Just be yourself, take extra reels and resumes and be on time and prepared. Most importantly, be honest; don’t lie about what you can do, because that won’t get you the job. Don’t dress up, but at least look presentable. Be confident, they’re interested in you; try to sound interested in them.

我有面试的机会拉，但是我该说什么呢？
做你自己！带上内容更多的reel和简历作好准备，准时去面试。最重要的是要诚实，别夸大你的能力，那不会有什么帮助。别过分打扮，但是至少要得体。你要保持自信，他们对你有兴趣，你也要表现的对他们也很感兴趣。

What should I ask for as far as money goes?

Ask them what the job pays when they ask you how much you want. Ask them what they feel is fair. If you feel it is just too low, then ask for 5-10% more, but be careful with your approach. The ball is totally in their court, not yours. If this is your first job take what you can get, ask for more, hope for more, but take what you can get.

关于薪酬我该怎么问呢？
当他们问你你想要什么样的工资时，你就问他们这个工作的价格。问他们多少他们认为合适。如果你觉得价钱太低，那么你可以多要5-10%，但是一定要谨慎，毕竟这是他们的地盘不是你的。如果这是你的第一份工作，把所有的东西都展现出来，要求的和希望的更多，但是一定要先展现自己。

Is it ok to take an unpaid internship?

Yes, and in fact many colleges will give you credit for doing so. You should try to do this while you’re still living off of student loans or are still living at home. Unpaid should be no longer than 3-6 months. If they ask you to work longer than that for free, then it’s not really an internship. Most larger companies offer internships and have a standard application process. This is a good way to get your foot in the door, make contacts in the industry, find out how much you really know, and helps you build your experience and demo reel. Look at it this way - unpaid now equals paid later.

可以无报酬试用吗？
可以，事实上很多学校都会给你些钱让你度过这段时间。可能这段时间你住在家里或者在外租房。无报酬试用不得超过3-6个月。如果他们要求你更长的无报酬试用期，那么这便不是一个真正的试用。大多数大型公司对于无报酬试用都有一个正规的申请程序。这是入行的很好的方法，这样可以接触到真正的行业，可以知道你自己到底懂多少，也可以增加你的经验值，并且可以丰富你的reel。对于无报酬工作可以这么看 - 现在的免费意味着未来的收入。

How do I get experience when all the job ads require experience and I have none?

This is the catch 22 of any industry. Students looking for work are two things to employers A) unknown B) cheap. Since you are cheaper than everyone else, you actually have a shot at filling in an entry level position, even if you have no experience and the ad says seeking experienced artists only. It’s a way to weed out candidates, but companies know that students are still going to apply. Just make sure that whatever job you’re applying for, you can actually do! Your unknown factor makes you a possible liability, and so they are taking a risk by giving you a chance. You should be thankful for the opportunity to prove yourself.

所有的招聘都要求工作经验，但是我没有经验，我该怎么办？
这是一个存在于任何行业中的悖论。对于公司来说，毕业生代表者无名和廉价。虽然招聘要求是只需要有工作经验的人，但是正因为你比其他人廉价，所以你有机会去填补那些比较菜鸟的职位空缺，虽然你没有任何工作经验。工作经验的要求是为了筛选人，但是公司知道毕业生仍然会不断投送简历。只要你确定这个工作你可以胜任，那么你就投简历吧！正因为你的不知名，所以你充满了可能性，公司愿意给你一次尝试的机会。如果你得到了能证明自己的机会，你该为自己高兴！

What about after this first job?

You can expect to suffer for a little while during your period of being a grunt. It will be hard. Don’t expect them to hand you anything important, and don’t expect them to give you a huge raise. Just do the best you can, everyday, and learn what you can. You’re building your resume, that’s it, bottom line. Live with roommates or friends or family if you can’t afford the market you’re in, but don’t quit just because you can’t afford it! The job experience is more valuable than your pay. Think about your career long-term, not the job short-term.

拥有了第一份工作以后我该怎么做呢？
当你还是一个新人你肯定要度过一段难熬的日子。别指望他们告诉你重要的东西，别指望他们来提拔你。你要做的就是埋头尽最大努力工作，尽可能的学习。你正在充实你的履历。如果你经济上困难你可以找人和租或者住在家里，但是不要因为这样就放弃。工作经验比工资来的重要的多。以长远眼光来考虑你的事业，别仅仅目光短浅的盯在这份工作上。

After your first few projects, you might have earned enough respect to do a few things. A) You might have enough experience on your resume to get a job at a different company with a better position or B) you might get a raise at your current company and more responsibilities or C) You might get to try something new at your current job that allows a shift in position. This could take anywhere from a year to two years, but you should see results within that time, otherwise you’re in a stale environment and need to move on.

完成了最初的几个项目后，你可能在某些方面赢得了一些重视。
第一，你可能有足够的经验去另外的公司找到一个更好的职位。
第二，你可能在本公司升职且得到更多的尊重。
第三，如果可以的话，你可以试着做些新的工作，换些不同的岗位。
第一年或者第二年间可以尝试上面这些。但是你需要在这期间看到结果如何，否则你会陷在一个乏味的环境里。

What about later on? What is my earning potential?

Honestly, the sky is the limit. In LA there are unions for some of the larger shops, and the rest is pretty much standard hourly rates or salary. Many places require overtime to finish projects during deadlines. The lifestyle will be quite comfortable if you reach your earning potential. Supervisor and lead roles pay better, but also require very experienced talent, and companies are willing to pay for that experience.

再以后呢？我的收入潜力如何？
其实这并没有上限。在洛杉矶有一些大型的公司联盟，其他的都是标准的按小时付帐的。很多地方在截止日快到的时候需要加班。如果你达到了你预期的收入目标，那么日子会变的比较舒服。监督和组长级别的人会有更高的薪水，但是他们有非常丰富的经验和超人的才华，公司愿意为这些支付费用。

Keep in mind there are dry spells, periods where you won’t have work. Almost all CG work is project based, even full time employees have to worry about projects at their place of employment, because if there’s not projects coming in, it could mean staff layoffs. It’s not uncommon to save two or more months of rent and other living expenses just in case. In fact, you’re playing a risky game if you don’t. Even the most talented artists get laid off from time to time.

要知道有可能会遇到青黄不接的时候，你没有工作可做了。几乎所有的CG工作都是项目制，即便是全职员工也要担心他们的雇佣地位。因为如果没有新的项目可做，那么就意味着解雇。所以一定要随时保留可以支持两个月以上的存款。如果你没有准备，那么你便冒着很大的风险了。即便是最出色的艺术家也经常被解雇。

The result is a tighter knit community. Many of your future job opportunities will come from past relationships with other employees. As you work at other companies, so are they and you will likely cross paths again. Remember that burning bridges in this industry can hurt your career, not just your current job. Chances are good that you’ll work with many different people, and many of them will know you and each other quite well. In short, yes, politics matter.

这样的结果便是形成一个互相紧密交织的行业社会。很多你未来的工作都来自于你之前的人际关系。当你在一个新公司工作，他们也是，而且你们也许会重新变成同事。记住，不好的人际关系不仅会影响到你的工作，更会成为你职业生涯的一大致命伤。你会和很多不同的人一起工作，他们互相之间都很了解，也包括对你。简而言之，都是待人处世的艺术。

What are people looking for in a candidate?

We don’t care where you went, how long you went there, if you were top or bottom of your class. Show us you can do it by showing us a great demo reel and portfolio. Follow that up with a great humble attitude that shows a willingness to learn and the ability to take direction. Then, show up everyday, on time, and do the best you can until it’s time to go home. Show us that you are resourceful and can find answers to problems on your own before asking those around you. Show us you how bad you really want it, and above all, show us the passion, and remind us of how we felt when we were first looking for a job, were filled with energy, and didn’t know what was going on. That’s what everyone really wants in a candidate, entry level or not.

众多候选人中，他们更看重什么？
我们不关心你从哪里来，你努力了多久，你在学校是尖子生还是垫底的。我们只需要你拿出你的作品来证明你可以做什么。同时你需要有谦虚好学的精神，愿意接受指导。持之以恒，按时完成工作，努力工作直到下班为止。让我们看的出你是一个聪明的人，愿意自己解决问题而不是想都不想就请教别人。让我们知道你是多么想把事情做好，最重要的是你的热情！让我们重新回到当初找工作的那种努力的感觉，充满了活力。这些就是我们希望在侯选者中看到的。无论是不是新人。

It’s all about your demo reel, your attitude, and of course your talent.
关于你的demo，态度还有才华，以上这些就是答案。

Yes, this was long, but you had a lot of questions though, didn’t you?
的确写了很多，但是你们本来就问了很多问题，不是吗？

Feel free to pass this around!

Weight - Materials 重量感 - 材料
NeoVFX成员Victor Luo 编译 于 2008/05/28
Carlos Baena剖析了铁人的预告片的片段，深入探讨了重量感 - 材料的话题。很不错，进来看看。

我想要写一些在做动画创建重量感时容易忘却的因素。这个从《钢铁侠》的预告片中我个人非常喜欢的片段引起了我的注意:
I wanted to bring up something that sometimes it’s easy to forget in the mix of weight things to pay attention to while animating. This clip from the IronMan trailer that I personally enjoyed very much got my attention:

我不确定是ILM还是Orphanage做的这个。谁做的我都喜欢。现在，我注意到角色不仅感觉具有人类的重量感。。。而且，看起来还具有那些金属部件的重量。这是很大的不同。有时候从一个镜头做到另一个，做出一样的重量感是很容易的。我做过，许多人也做过。也许只有我们动画师才会注意到那些事情。但是是否留心影响角色重量感的所有因素，会使得两者有很大的不同。

I’m not sure if it was ILM or the Orphanage who did it. Either way I really liked it. Now, what I noticed in here was that the character not only it felt like it had human weight…but also, it felt as if he also had all those metal parts in him as well. It’s a big difference. Sometimes it’s easy to animate weight very similarly from one shot to another. I’ve done it…a lot of people have done it. Maybe it’s just us animators only paying attention to those things. But it makes a huge difference to pay attention to each of the factors that can affect weight in any character.
其中一些因素可以是这样的：
Some of these can be:
· 材料Materials
(像在这个片段里一样，去动画一个人，和动画一个人穿了额外的50磅的金属重物在身上是不一样的)。Timing和Overlap都会很清楚的受到影响。
(like in this clip, it’s not the same to animate a human, than a human with an extra 50 pounds of metal weight in it). Timing and overlap will be clearly affected.
· 阻力Resistance
飞离的地面是什么做的？有风吗？下不下雨？是在太空吗，那里可没有重力？或者在水下？也要考虑这些。
What’s the ground made off? Is there wind? Is it raining? Is it in space, where there is no gravity? or underwater? Think of those as well.
· 交互作用Interaction.
在有交互的时候，要考虑重量是以怎样的途径在角色的身上传递。
Think about how weight travels through characters if they are interacting.
· 相异性
一直要记住，身体不同部分的重量是不同的。那会很明显的影响到每个身体部分的Timing/Spacing/Overlap的。头和手腕有不同的timing，诸如此类。
Always remember, different parts of the body weight differently. That’ll obviously affect the timing/spacing/overlap of each of these parts. The head will have different timing than the wrists, and so on.
· 娱乐性Enterntainment:
有时候娱乐性要比真实性更要偏重一些。是不是有时候重量感非常接近于客观实际，但是却损失了一些娱乐的价值，或者失去了一些亮彩之处呢？如果在电影《汽车总动员Cars》中整个电影过程中所有的汽车都看起来完全和真车的运动方式一模一样，那会有让电影变得平庸乏味的危险。导演John Lasseter和动画总监们，在那盯着，确保在一些时候，恰当的选择娱乐性而牺牲一部分真实性，这样才能让镜头在视觉上更具娱乐性。这些是做的时候要想到的一些要点。
Sometimes enterntainment can be favored more than realism. Is the weight so close to reality, that’s losing some of the enterntainment value, or maybe losing some spark? If all cars in the movie Cars were animated exactly how a car would move throughout the entire film, it would of had the danger of become a very boring film. Instead the Director John Lasseter and the Animation Supervisors, saw it appropiate to sometimes make enterntaining choices that while not close to reality, it would make for more visually enterntaining shots. Something to think about.
Have a good one.
Carlos.

一段WALL-E的幕后制作。有谁来翻译翻译?

check it out~

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