技术总监和CGMA讲师Keith Kamholz谈到了视觉特效行业面临的挑战，以及解决问题的满足感……
Technical Director and CGMA instructor Keith Kamholz talks about the challenges faced in the visual effects industry, and the satisfaction of problem-solving...
视觉效果无疑是计算机动画行业中最激动人心的产业之一，但它当之无愧地成为了最复杂，最具挑战性的产品之一。 实际上，视觉效果是各种专业的总称，但几乎所有人都需要仔细和认真的方法来实现程式化和现实之间的平衡，物理上的正确和艺术上的指导。
Visual effects is undoubtedly one of the most exciting and varied sectors in the computer animation industry, but it also deservedly has a reputation as one of the most complex and challenging. In truth visual effects is an umbrella term for a whole variety of specialties, but pretty much all share the same need for a careful and considered approach to the balance between the stylized and the realistic, the physically correct and the artistically directed.
作为Keith Kamholz - CGMA在Houdini Master Master Destruction中的讲师，还有一个在Double Negative，ILM，Blue Sky和Tippett工作室担任电影配角的外汇技术总监，他在一系列的电影（包括侏罗纪世界，美国队长：冬日战士和即将到来的环太平洋地区：起义） - 解释说，确定视觉效果序列何时需要模仿现实世界的行为，以及何时创造更具风格的东西是至关重要的。
“作为CGI的艺术家，你经常会发现自己被世界上最细微的细节所吸引，这可能是一个物体的光散射，一团烟雾中的自然动荡场，一个活跃动物的肌肉骨骼系统的可视化， 或者任何数量的现实世界中的任何一种，你可能需要重新创建数字，尽管好的参考是创造逼真效果的一个重要部分，但是知道什么时候要摆脱现实也是非常重要的，动画制作也许是最重要的 明显的情况下，你会这样做，因为卡通物理和高度程式化的效果是类型的视觉风格的重要组成部分。
As Keith Kamholz - instructor on CGMA's Mastering Destruction in Houdini Masterclass and an FX Technical Director with film credits at Double Negative, ILM, Blue Sky and Tippett Studio on a raft of tentpole vfx movies (including Jurassic World, Captain America: Winter Soldier and the upcoming Pacific Rim: Uprising) - explains, it's essential to determine when a visual effects sequence needs to mimic real world behaviors, and when to create something more stylized.
"As a CGI artist, you often find yourself entranced by the smallest of details in the world around you. This could be light scattering through an object, the natural turbulence fields in a cloud of smoke, visualizing the musculoskeletal system of an active animal, or any one of a near infinite number of real-world phenomena that you may need to recreate digitally. Although good reference is an important part of creating realistic effects, it's also vital to know when to break from reality. Animated productions are perhaps the most obvious scenario in which you would do this, as cartoon physics and highly stylized effects are an essential part of the genre's visual style.
我想到的一个有趣的例子是，当我在里约热内卢电影中播放一些落花的时候。做简单的基本滚落的花可能是可以接受的，但是通过添加一个非常有风格的非现实的旋涡运动，这个序列就会呈现出一种独特的、更有趣的氛围。不过，这种艺术判断并不局限于动画制作。 在逼真的电影视觉特效中几乎同样重要。 现实世界往往看起来不够电影化，导演们通常都在争取对世界进行更精致的/程式化的解读，而不是你的眼睛，甚至是相机实际上都能捕捉到的东西。 平衡真实和超现实可能是工作的一个微妙部分，总是看到最终结果偏离自然界总是很有趣的。
One fun example that comes to mind is when I animated some falling flowers in the movie Rio. It might have been acceptable to do simple basic tumbling flowers, but by adding a very stylized non-realistic swirling motion the sequence took on an extra unique, more playful vibe. This sort of artistic judgment isn't limited to animated productions, though; it's nearly as important in realistic film VFX. The real world often doesn't look cinematic enough, and directors are typically striving for a much more polished/stylized interpretation of the world than your eyes or even the camera would actually capture. Balancing the real and the hyper-real can be a delicate part of the job, and it's always interesting to see where the end result deviates from the natural world."
视觉效果：大图
当没有在胡迪尼大师班(Houdini Masterclass)上运行CGMA的 《掌握毁灭》(master Destruction)时，基思卡姆霍尔兹(Keith Kamholz)在《神奇动物》(Fantastic Beasts)等电影中担任FX技术总监，在那里可以找到他们、正义联盟(Justice League)和变形金刚(Transformers: Age of Extinction)。在这里，他讨论了在无尽复杂的视觉效果设计世界中寻找简单的重要性。Visual Effects: The Big Picture
When not running CGMA's Mastering Destruction in Houdini Masterclass, Keith Kamholz works as an FX Technical Director on films such as Fantastic Beasts & Where To Find Them, Justice League and Transformers: Age of Extinction. Here he discusses the importance of finding simplicity in the endlessly complex world of visual effects design.
“在从事任何有创意的项目时，无论是视觉艺术还是音乐，或者其他什么东西都是完全的，重要的是在排除广泛的笔触之前，不要过分地注意细节，例如在销毁镜头中，通常是浪费 在加入较小规模的碎片之前，先在刚体模拟中修正一些不准确的地方，因为这些元素可能很好地隐藏了这些不准确的地方，并且在碎片中修复一些小问题可能是浪费时间， 被一层沉重的灰尘覆盖！记住一个有用的技巧就是问问自己，如果将HAD拍摄完成并放入成品，最重要的变化或补充是什么。
"When working on any creative projects, be it visual art or music or something else entirely, it's important to not get too caught up in the fine details before sorting out the broad strokes. In destruction shots, for example, it's often a waste of time to fix the little inaccuracies in a rigid body simulation before adding the smaller scale debris, because those elements may very well hide those inaccuracies. And by extension, fixing little issues in the debris may be a waste of time, as they then may be covered up by a heavy dust layer! One helpful trick to keep in mind is to ask yourself what's the most important change or addition to make if the shot HAD to be finalized and put into the finished product."
“另一件需要注意的事情是，将解决VFX挑战的方案复杂化，而这往往是以艺术的控制为代价的。对于一些受此影响的艺术家/开发者来说，这样的过度设计实际上是一个自豪感，尽管这并不是必要的！作为一个破坏专家，我想到的第一个例子与这种类型的工作有关，例如，有时先进的弯曲/折皱/变形模拟是最好的选择，但是通常更多难度大，耗时又难以控制，加入一些简单的手工雕刻和程序化非模拟变形，可以更加快速地产生美丽的效果，并且可以让您更容易地对笔记作出响应，这些原理并不局限于复杂FX;它们同样适用于生产线的其他部分，当你考虑到许多产品都是在极其紧张的预算和最后期限内完成的时候，保持这种优雅的简单性就显得尤为重要了。
"Another thing to be aware of is that it's very common for people to overcomplicate solutions to VFX challenges, often at the expense of artistic control. For some artists/developers that fall prey to this, such over-engineering is actually a point of pride, even though it's really not necessary! As a destruction specialist myself, the first examples that come to mind are related to that type of work. For instance, sometimes advanced bending/crumpling/deforming simulations are the best option, but it's often much more difficult & time-consuming & tough to control. Incorporating some simple manual sculpting and procedural non-simulated deformations can yield beautiful results much more quickly, and by extension allow you to respond to notes much more easily. These principles aren't limited to complex FX; they're equally applicable to other parts of a production pipeline. It becomes even more important to keep this elegant simplicity in mind when you consider that many productions are done on an extremely tight budget and deadline!"
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