Making a TED-Ed Lesson: Animating zombies

制作一节TED课程：制作动画僵尸

翻译人员: Yi Zong 校对人员: zicheng zhou

You might remember a pair of TED-Ed Lessons

你可能还记得一对TED-Ed课程

written and performed by two educators,

由两个教育工作者撰写和执行的，

Brad Voytek and Tim Verstynen.

布拉.德泰克和提姆. 威尔丝提那。

These two scientists used a drooling,

这两位科学家用流着口水，

巫婆面孔的动画僵尸

hag-faced, animated zombie

as a mechanism to model

作为一种机制以模拟

the symptoms and medical diagnosis process

多种病状和医疗诊断过程

for various neurological conditions.

基于各种神经系统情况。

For example, they spent time debating

例如，他们花时间辩论

whether the zombie's stiff gait

是否僵尸的僵硬的步态

was caused by basal ganglia damage,

是源于基底神经节损伤，

like that in Parkinson's patients,

就像帕金森病的患者，

or by severe damage to the cerebellum,

或者是严重的小脑损伤造成的，

which can cause ataxia.

这可能会导致共济失调。

In each Lesson, Brad and Tim certainly showed us

在每节课上，布莱德和蒂姆无疑向我们表明

僵尸如何可以帮助我们

how the walking dead can help us

understand neuroscience,

了解神经科学，

but how can the walking dead

但僵尸如何可以

help us understand animation?

帮助我们理解动画？

Or, more simply put,

或者，更简单地说，

how did this one-eyed, decaying,

怎样使独眼，腐朽，

和大部分已经坏死的像素走起来？

and very much dead pile of pixels walk?

Puppet animation is a relatively quick solution

木偶动画是一个相对快捷的解决方案

to creating 2-D animation of a hand-drawn character.

去创造一个手绘的 2-D 动画角色。

Since the character does not need

因为角色不需要

to be drawn over and over again,

绘制一遍又一遍，

it can be animated by moving each element individually.

它可以通过移动的每个元素分别进行动画处理。

Aside from their portrayal

除了他们的写照

in a few great modern zombie flicks,

在几部现代僵尸大片中，

these concocted carcasses are generally known

这些僵尸大致为人所知为

for limited, stiff movements.

有限，激烈的运动。

Their traditional stride is perfect

他们传统的步幅是完美的

for puppet-style animation.

对于木偶风格的动画。

When designing a 2-D zombie puppet,

在设计2-D 僵尸傀儡时

or any other type of puppet,

或任何其他类型的傀儡，

it is important to find a design

找到一种设计很重要

that is both fun and functional in a flat environment.

那就是乐趣和功能性共存的平面的环境。

For example, you might not want to puppetize, say,

例如，你可能不想要傀儡化比如说，

Julie Andrews in the "Sound of Music"

在"音乐之声"中的朱莉 · 安德鲁斯

as she spins in circles.

当她在圈子里旋转。

We used rotoscoping for her,

我们对她使用了动画特效捕捉，

but that's another lesson.

但那是另一个教训。

Always begin by sketching and designing your puppet

总是开始从通过草绘和设计你的木偶

in a neutral pose

处在中性的姿势

like this.

就像这个。

This will allow it to easily transition

这可以使它很容易转换

成为各种极端的姿势。

into and out of a variety of extreme positions.

Once a character transitions

一旦角色发生变化

from concept stetches

从概念

to final design,

到最终的设计，

the next step is to break up the pieces

下一步就要分解片断

以便完成一个傀儡

in order to assemble a puppet,

keeping in mind that each element

切记，每个元素

needs to have an appropriate amount of overlap

需要有适当的重叠数量

so that the Zombie can bend at his joints.

这样，僵尸才可以转动他的关节。

An understanding of anatomy is an integral part

了解解剖学是不可或缺的一部分

of designing any 2-D or 3-D animated character

在设计任何2D或3D动画角色中

that needs to move realistically

动作需要真实

in the context of its environment.

在它所处的环境中。

Regardless of the number of dimensions your character has,

无论你的角色有多少维数，

you'll need to create a skeleton,

你需要创建一个骨架，

which in animation terms is known as a rig.

动画术语中称为Rig。

Once the rig is finalized

一旦确定Rig

and the range of motion is determined,

和活动的范围

the next step is to choose anchor points.

下一步是选择定位点。

Each piece of artwork has its own anchor point,

每一件艺术品有其自身的定位点，

which essentially assigns the limb a hinge,

这基本上是给肢体确定一个链接，

which in this case is a joint.

在这种情况下，一个关节。

Next, line the artwork up

下一步，排列图稿

so that the anchor point for the forearm-elbow

这样，前臂肘的定位点

sits on the upper arm's elbow area.

可以坐落在上臂的肘关节区域。

Once all the artwork is in place,

一旦所有图稿都准备好了，

you can use an expression script

你可以使用表达脚本

that creates links between the body parts.

来创建身体部位之间的联系。

In this case, we used the expressions

在这种情况下，我们使用表达式

provided in After Effects.

在后期制作软件里有提供。

By parenting one layer to another,

从培养由一图层到另一个图层

you could teach the forearm

你可以教会前臂

to follow the upper arm

要遵循上臂

and the hand to follow the forearm.

以及手要遵循前臂。

This is what's called forward kinematics.

这就是所谓的正向运动学。

The alternative is inverse kinematics,

另一种是逆向运动学，

in which a separate set of scripts control the motions.

这是一套独立的动作控制脚本。

In this case, a controller is attached

在这种情况下，一个控制器被附加

to the anchor point of the hand.

给手的关键点。

The animator then uses the controller

漫画家之后使用这个控制器

to position the hand.

去控制手的位置。

The scripts will then use an algorithm

然后，脚本将会使用一种算法

to make sure that the rest of the arm

为确保其余的胳膊部分

和身体调谐。

and body follows along.

Once the character is rigged,

一旦角色可以操纵了，

we can start animating.

我们就可以开始进行动画处理了。

Often times, puppet animation is done

很多时候，木偶动画结束于，

as straight-ahead action,

，向前的动作，

which means moving a character frame-by-frame

这意味着移动角色--‘一帧接着一帧’

从开始到结束。

from beginning to end.

Another approach is pose-to-pose animation,

另一种办法是姿势到姿势动画，

which involves choosing your key poses first,

其中涉及首先要选择你的关键姿势，

and then filling in the intervals,

之后填充间隔，

or in-betweens, later.

或中间，后面。

Regardless of the method of motion,

无论动作的方法

重要的是想象你的2-D木偶

it's important to think of your 2-D puppet

是一张纸。

as a piece of paper.

It can move across a surface

它可以在平面移动

in a variety of poses,

以各种各样的姿势，

but it cannot move in perspective.

但它不能在立体中移动。

If your character needs to turn its head,

如果你的角色需要回头，

then you will need to create additional art.

那你将需要创建额外的画。

We created three different zombie heads

我们创建了三种不同的僵尸头

and six different hands

和六个不同的手

to achieve different movements and angles

以实现不同的运动和角度

that the neutral pose couldn't accommodate.

以中立的姿势是不能完成的。

You can recreate almost everything

你可以重新创建几乎所有的东西

you've seen in this Lesson

你见过这一课

with a pen, paper, and a camera.

用一支笔、 纸和照相机。

The method is called cut-out animation,

这个方法叫做剪纸动画，

and it was around well before the age of software.

并且在软件时代之前，它很完美。

To create a stumbling 2-D zombie,

若要创建一个蹒跚2-D僵尸，

or a speeding narwhal,

或一只快速的独角鲸，

or even an abstract character

或甚至是一个抽象的角色

with some semblance of joints,

具有某种类似的关节，

simply print,

只需打印，

cut,

and fasten your character's limbs together

切，

并且固定好你的角色的四肢

in a neutral pose.

在一个中性的姿势。

You can use fasteners,

你可以使用固定工具，

string,

细绳，

or even just place and move them each time.

或甚至只是每次放置和移动它们。

All the same rules and theories

全部都是相同的规则和理论

that we use in the computer

我们使用计算机中的

apply to cut-out animation,

适用于剪纸动画，

except under the camera,

除了在相机中，

the only way to animate is straight ahead.

动画的唯一方法是一直向前。