本文選題：前期創(chuàng)意　切入點(diǎn)：概念設(shè)計(jì)　出處：《沈陽師范大學(xué)》2013年碩士論文

【摘要】：在動(dòng)畫電影的項(xiàng)目中，前期創(chuàng)意是整部電影十分重要的環(huán)節(jié)，在整個(gè)項(xiàng)目的創(chuàng)作中屬于統(tǒng)領(lǐng)全局的指導(dǎo)性樣本。具體涵蓋很多單元：、劇本、場(chǎng)景、人物、道具、分鏡等等。而其中每個(gè)環(huán)節(jié)的創(chuàng)意都各有不同各具特點(diǎn)，但同時(shí)要求在一個(gè)框架體系中被充分的統(tǒng)一。動(dòng)畫前期創(chuàng)意除了一些常規(guī)的制作流程外，其實(shí)，概念設(shè)計(jì)的才是它最為核心的部分，而所謂“概念設(shè)計(jì)”則是將抽象的概念化思維結(jié)合現(xiàn)實(shí)存在總結(jié)出的一套設(shè)計(jì)方法，并將這樣的方法用視覺語言這樣的形式表達(dá)出來。把對(duì)概念的宏觀方案和微觀創(chuàng)新有機(jī)的統(tǒng)一在一個(gè)體系內(nèi)。 本文以概念設(shè)計(jì)中的思維方法做為議論點(diǎn),分析了概念設(shè)計(jì)與動(dòng)畫電影前期創(chuàng)意的緊密聯(lián)系,展示了概念的思維模式和對(duì)動(dòng)畫電影前期創(chuàng)意產(chǎn)生的重要影響,即一部動(dòng)畫電影的成功和失敗與概念的準(zhǔn)確提出息息相關(guān)。作為一種嶄新的創(chuàng)意性思維模式，其實(shí)概念設(shè)計(jì)本身并不是動(dòng)畫電影前期創(chuàng)意中的設(shè)計(jì)環(huán)節(jié)，但在動(dòng)畫電影前期創(chuàng)意的各個(gè)流程中，它早已滲透其中。主要場(chǎng)景氛圍人物的概念設(shè)計(jì)都是運(yùn)用概念設(shè)計(jì)圖來制定最終的藝術(shù)風(fēng)格，也就是我們常說的影片大的基調(diào)，，大多強(qiáng)調(diào)的是“概念”，而不是局限于一些小情節(jié)，這樣可以引導(dǎo)和啟發(fā)導(dǎo)演的設(shè)想。本文要研究的就是在動(dòng)畫電影前期創(chuàng)意中概念設(shè)計(jì)對(duì)其的影響及具體應(yīng)用，從借鑒學(xué)習(xí)的角度剖析皮克斯優(yōu)秀動(dòng)畫影片,通過舉例分析的方法對(duì)其進(jìn)行詳細(xì)解讀，說明概念設(shè)計(jì)在動(dòng)畫電影前期創(chuàng)意中取得的良好效果，使研究成果更為科學(xué)可信。第一章，引言部分，說明本文研究的理論意義及寫作背景研究的目的和主要研究?jī)?nèi)容。第二章，概述動(dòng)畫電影中前期創(chuàng)意的概念極其重要意義，為之后概念設(shè)計(jì)的引入做好鋪墊，更好的說明為什么概念設(shè)計(jì)對(duì)動(dòng)畫電影的前期創(chuàng)意如此重要。第三章，從宏觀的角度上介紹概念設(shè)計(jì)作為一個(gè)新型詞匯的具體定義及其意義。第四章，以微觀的視角介紹概念設(shè)計(jì)，具體表現(xiàn)在影視動(dòng)畫的領(lǐng)域里，何為動(dòng)畫電影的概念設(shè)計(jì)。第五章，屬于具體研究方法的一章，通過舉例法的研究，對(duì)《飛屋環(huán)游記》《魔比斯環(huán)》這兩部?jī)?yōu)秀動(dòng)畫電影中的前期概念設(shè)計(jì)做出詳細(xì)的解讀。第六章，結(jié)論部分，根據(jù)前幾章研究的成果作出結(jié)論與展望。
[Abstract]:In the animated film project, creative is an important part of the whole movie guide belongs to the whole sample in the entire project creation. The specific unit, covering many plays, scenes, characters, props, and so on. The storyboard of each part of the creative has different characteristics, but? At the same time requirements are adequately in a unified framework. Besides the regular creative animation pre production process, in fact, conceptual design is the most core part, and the so-called "conceptual design" is the abstract concept of thinking with reality of a set of design methods are summarized. And in this way the visual language in the form of expression. The scheme of macro and micro innovation concept of organic unity in a system.
Based on the thinking method of conceptual design for discussion point, analyses the relation of concept design and animation creative, show the mode of thinking concept and important influence on early creative animation film, the animated film's success and failure and the concept of accurate put forward as a new kind of closely related. The creative mode of thinking, in fact the concept of design itself and design link is not the animated film in the early stage of creative process, but in the animated film in the early stage of creative, it has already penetrated the main scene? Atmosphere? Conceptual design characters are used to make the final design concept of artistic style, namely we often say the movie big tone, most of the emphasis on the concept of "", but not limited to the number of small plots, which can guide and inspire the director's vision. This research is on the move The concept of painting film in the early stage of creative design and application, from learning from the perspective of outstanding Pixar Animation film, a detailed interpretation of the example analysis method, good effects of conceptual design in the animated film made in the early stage of creative, make the research results more scientific and credible. The first chapter, the introduction part description, theoretical significance and background of this study? The purpose of the study and the main content of the study. The second chapter, concept of animated films in early creative extremely important significance to pave the way for the design after the introduction of the concept, better explain why early creative conceptual design of the animated film is so important. The third chapter introduced as a specific the definition of a new vocabulary and conceptual design from the macro perspective. The fourth chapter introduces the concept of design to the micro perspective, the specific performance in the film As the animation field, what is the concept of animated film design. The fifth chapter, a chapter is the specific research methods, through the study of the method for example, < > up? < > this concept Moebius two excellent animation in the film to make a detailed interpretation. The sixth chapter is the conclusion part. Make a conclusion and outlook according to the previous chapter's research results.

【學(xué)位授予單位】：沈陽師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J954

【參考文獻(xiàn)】

相關(guān)期刊論文 前10條

1 張冉;;《飛屋環(huán)游記》的延續(xù)與突破[J];影視制作;2010年04期

2 李玉婷;;淺談動(dòng)畫前期策劃的重要性[J];大舞臺(tái);2011年01期

3 程思;;中國首部三維數(shù)字動(dòng)畫電影《魔比斯環(huán)》之析[J];電影評(píng)介;2006年24期

4 馮麗;;失愛消沉 因愛重生——從發(fā)展心理學(xué)來看《飛屋環(huán)游記》[J];大眾文藝;2010年10期

5 金國平;陳明;楊玉潔;;《魔比斯環(huán)》——中國動(dòng)畫突圍[J];電視字幕(特技與動(dòng)畫);2006年06期

6 孟巖;;天外傳奇《飛屋環(huán)游記》[J];大眾電影;2009年12期

7 張銘倩;;《飛屋環(huán)游記》——夢(mèng)想與現(xiàn)實(shí)只有一線[J];大眾文藝;2011年23期

8 姚一鳴;;淺論對(duì)于娛樂領(lǐng)域中概念設(shè)計(jì)的誤讀[J];科教導(dǎo)刊(中旬刊);2011年04期

9 郭宇;;淺談幻想影視中的概念設(shè)計(jì)[J];美與時(shí)代;2006年08期

10 韓敘;;從《飛屋環(huán)游記》剖析動(dòng)畫影片制作中的概念設(shè)計(jì)[J];美與時(shí)代(上);2012年01期

本文編號(hào)：1680590