从“无镜头”到“虚拟镜头”的动画影像变迁研究  

Research on the Transition of Animation Images from"No Shot"to"Virtual Shot"

作　　者：李荣邦 段艳红[2] LiRongbang;Duan Yanhong(Guangzhou Huashang College,Guangzhou 511300,China;Art and Design College,Tianjin University of Science and Technology,Tianjin 300222,China)

机构地区：[1]广州华商学院,广州511300 [2]天津科技大学艺术设计学院,天津300222

出　　处：《艺术与设计（理论版）》2024年第1期80-83,共4页Art and Design

基　　金：广州华商学院青年学术科研项目《从“无镜头”到“虚拟镜头”的动画影像变迁研究》项目编号:2023HSQX014。

摘　　要：动画创作从手绘到拍摄,再到数字建模的发展历程带动图像生成模式从模仿、记录到创造不断变迁。文章基于以上逻辑,围绕着镜头和影像的关系,聚焦无镜头的现实影像,有镜头的胶片影像和虚拟镜头的合成影像三方面。深入阐述了动画图像从创作主体对自然动态的静态模仿,到摄影机对静态影像的动态记录,再到数字化技术对现实影像的虚拟建构的过程中影像的发展变化,最后发现动画艺术美学风格的形成是建立在镜头和影像纷繁复杂的关系之上。development process of animation creation from hand drawing to shooting,and then to digital modeling has driven the continuous transformation of image generation modes from imitation,recording to creation.Based on the above logic,this article focuses on the relationship between lens and image,focusing on three aspects:real images without lenses,film images with lenses,and synthetic images with virtual lenses.This article delves into the development and changes of animation images from the static imitation of natural dynamics by the creative subject,to the dynamic recording of static images by the camera,and finally to the virtual construction of real images by digital technology.It is found that the formation of animation art aesthetic style is based on the complex relationshipbetweenthelens andimages.

关 键 词：动画技术 镜头 图像 数字动画 

分 类 号：J01[艺术—艺术理论]