Making a TED-Ed Lesson: Animating zombies

譯者: Yu-Chen Chu 審譯者: Helen Chang

(殭屍能教我們哪些關於 大腦的運作和動畫？)

You might remember a pair of TED-Ed Lessons

你可能記得兩堂由兩位講者， 布萊德．沃泰克、及提姆．凡史提尼，

written and performed by two educators,

Brad Voytek and Tim Verstynen.

所共同編寫，搬上螢幕的TED-Ed課程。

These two scientists used a drooling,

這兩個科學家，用流口水、 妖魔模樣的殭屍，

hag-faced, animated zombie

as a mechanism to model

以動畫手法說明 各式各樣 與神經相關的症狀，及醫療診斷過程。

the symptoms and medical diagnosis process

for various neurological conditions.

For example, they spent time debating

例如，他們花時間辯論 殭屍生硬的步伐，

whether the zombie's stiff gait

was caused by basal ganglia damage,

是因基底核受損所造成， 如同帕金森氏症患者的情況；

like that in Parkinson's patients,

or by severe damage to the cerebellum,

或是因小腦嚴重受損， 導致運動失調。

which can cause ataxia.

In each Lesson, Brad and Tim certainly showed us

每堂課中，布萊德和提姆確確實實 利用活死人幫助我們了解神經科學。

how the walking dead can help us

understand neuroscience,

but how can the walking dead

但活死人怎麼教我們了解動畫?

help us understand animation?

Or, more simply put,

更直接地說，

how did this one-eyed, decaying,

這獨眼、腐朽、靜止的像素組合， 是怎麼走路的呢？

and very much dead pile of pixels walk?

(殭屍戲偶。)

Puppet animation is a relatively quick solution

偶動畫較容易被製成 手繪的平面動畫角色，

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

Since the character does not need

因不需要 一再重複繪製這些角色， 只要個別移動各部位來呈現動作。

to be drawn over and over again,

it can be animated by moving each element individually.

Aside from their portrayal

由本課程的描述，輔以一些 從現代殭屍影片剪出的片段，

in a few great modern zombie flicks,

these concocted carcasses are generally known

這些造出來的屍體有 眾所皆知的侷限、死板的動作。

for limited, stiff movements.

Their traditional stride is perfect

他們典型的步伐， 正適合以偶動畫呈現。

for puppet-style animation.

(音樂)

(如何製作平面殭屍戲偶。)

When designing a 2-D zombie puppet,

設計平面的殭屍戲偶， 或是任何種類的戲偶，

or any other type of puppet,

it is important to find a design

重要的是，在平面場景中，找到 兼顧趣味和實用可行的設計。

that is both fun and functional in a flat environment.

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

例如，我們通常應不會做 戲偶版的 茱莉安德魯絲

Julie Andrews in the "Sound of Music"

as she spins in circles.

在「真善美」中轉圈圈的樣子。

We used rotoscoping for her,

這裡用的是動態轉描技術。

but that's another lesson.

不過這離題了。

切記，先設計戲偶自然姿勢的草圖。

Always begin by sketching and designing your puppet

in a neutral pose

like this.

像這樣。

This will allow it to easily transition

這會使得各式動作的銜接、轉換更為容易。

into and out of a variety of extreme positions.

Once a character transitions

角色一旦從概念草圖 演變到定案的設計，

from concept stetches

to final design,

the next step is to break up the pieces

下一步便是拆解成部件， 再組裝成戲偶。

in order to assemble a puppet,

keeping in mind that each element

要注意的是，每一個部件 彼此間都得有適當的部分重疊，

needs to have an appropriate amount of overlap

so that the Zombie can bend at his joints.

如此一來，殭屍便能在關節處彎曲。

An understanding of anatomy is an integral part

擁有對於解剖學的了解，是使 所設計的平面或立體的動畫角色，

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

能夠在它所處的環境中，做出 合理動作，所不可或缺的一部分。

that needs to move realistically

in the context of its environment.

Regardless of the number of dimensions your character has,

不管角色設定的維度， 都需要建立骨骼，

you'll need to create a skeleton,

which in animation terms is known as a rig.

動畫的術語，稱為「骨架」。

(接好僵屍的肢幹。)

Once the rig is finalized

一旦骨架設定完成， 動作的限度也確定下來，

and the range of motion is determined,

the next step is to choose anchor points.

下一步是確立定錨點。

Each piece of artwork has its own anchor point,

每一個作品都有自己的定錨點， 是肢幹的轉折處，也就是關節。

which essentially assigns the limb a hinge,

which in this case is a joint.

Next, line the artwork up

接下來，排列前臂和手肘，

so that the anchor point for the forearm-elbow

以確保前臂跟手肘的定錨點， 正位於上臂與肘的附近。

sits on the upper arm's elbow area.

Once all the artwork is in place,

一旦各肢體的組成部份都已備好， 就可以依腳本，連結成身體。

you can use an expression script

that creates links between the body parts.

In this case, we used the expressions

此處，我們用 After Effects 軟體 所提供的指令來描述。

provided in After Effects.

By parenting one layer to another,

藉由建立圖層的從屬關係， 可以命令前臂跟隨上臂而動作，

you could teach the forearm

to follow the upper arm

and the hand to follow the forearm.

以及，手跟隨前臂而動作。

This is what's called forward kinematics.

這稱為「正向運動」。

The alternative is inverse kinematics,

另一種是「反向運動」，

in which a separate set of scripts control the motions.

也就是由各獨立的腳本控制動作。

In this case, a controller is attached

這樣，手的定錨點連接著控制器。

to the anchor point of the hand.

The animator then uses the controller

動畫師利用控制器來擺放手的位置。

to position the hand.

The scripts will then use an algorithm

腳本用演算法來確保手臂的 其他部位和身體，都會跟著動。

to make sure that the rest of the arm

and body follows along.

(讓殭屍動起來。)

Once the character is rigged,

一旦角色成形，就可以開始做動畫。

we can start animating.

Often times, puppet animation is done

通常戲偶的動作，是直線前進，

as straight-ahead action,

which means moving a character frame-by-frame

也就是說從頭至尾，「逐格」移動角色。

from beginning to end.

Another approach is pose-to-pose animation,

另一種方式是「逐姿」動畫， 先定義關鍵的主要動作，

which involves choosing your key poses first,

and then filling in the intervals,

再回頭完成中間的間隔， 或是關鍵動作之間的過渡格，

or in-betweens, later.

Regardless of the method of motion,

不管設定動作的方法是什麼，

要記得平面的戲偶 就像一張紙一樣，

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

as a piece of paper.

It can move across a surface

它可以用不同的動作滑過平面，

in a variety of poses,

but it cannot move in perspective.

但不能改變角度。

If your character needs to turn its head,

如果角色需要轉頭， 就需多畫些圖形。

then you will need to create additional art.

We created three different zombie heads

我們做了三個不同的殭屍頭， 加上六種手勢，

and six different hands

to achieve different movements and angles

才能呈現以初始的自然姿勢 所無法呈現的動作和角度。

that the neutral pose couldn't accommodate.

(聽起來很複雜？才不呢！)

You can recreate almost everything

你可以靠著一支筆、一張紙、一台相機， 重製你在影片中看到的每樣東西。

you've seen in this Lesson

with a pen, paper, and a camera.

The method is called cut-out animation,

這種方法叫做「剪紙動畫」。

and it was around well before the age of software.

在軟體普遍之前，早已相當普遍。

To create a stumbling 2-D zombie,

要製作跌跌撞撞的殭屍， 或是一隻遨遊的角鯨，

or a speeding narwhal,

or even an abstract character

甚至是，只看得出有關節的抽象角色，

with some semblance of joints,

simply print,

只要印製，剪下，然後將 肢幹組合成自然的姿勢。

cut,

and fasten your character's limbs together

in a neutral pose.

You can use fasteners,

可利用鈕扣、弦線，甚至就 簡單放著，每次移動若干部位。

string,

or even just place and move them each time.

All the same rules and theories

各式用於電腦繪製的規則 、 理論，皆適於剪貼動畫。

that we use in the computer

apply to cut-out animation,

except under the camera,

除擺在相機下，一直連續動下去，就對了。

the only way to animate is straight ahead.