The fight sequence in a high school hall was a great example of our CG sequence. Everything in the scene is created digitally, including the characters and the environment, and as a result, it gives us lots of opportunities to do things we normally couldn't do if we're working with pre-existing photography.
這場在高中走廊打鬥畫面是我們電腦動畫鏡頭一個很好的例子。所有在這場景中的東西都是數位製作的，包括人物和環境，而如此一來，它給我們很多機會去做若用老攝影技術通常做不到的事情。
Process begins while producing a digital version of the set that matches the photography and other sequences. But the digital set and place director works with the layout department to design the fight choreography with simple representation of the character models. This layout becomes a starting template for editorial. From there, an initial team begins the process of executing believable performances with real weight in physics.
製作過程是從製作數位版的佈景開始，使用了相當新的攝影技術以及其他鏡頭。但數位布景場地導演和布局部門使用簡單的人物模型圖像來合作設計武打鏡頭。這布局變成一個編輯用的初始樣本。從那開始，初始團隊開始執行製作重量上合乎物理原理可信的演出。
The Lizard is a massive creature with brute strength while Spiderman is light, quick and agile. Physics of each character needs to be convincing. We need to sew each of their relationships to gravity in a believable way. This kind of natural animation is tricky enough for one character. The combining two uniquely different characters in hand to hand combat is always a challenge. Not only we're dealing with the gross weight in physics, but fine details on a smaller scale as well.
蜥蜴博士是個有著野獸般力量的龐然大物，而蜘蛛人是輕、快且敏捷的。每個人物的物理特性必須要有說服力。我們必須使他們符合地心引力作用的原理。這樣擬真的動畫，光是一個人物已經很難以處理了。結合兩個截然不同的人物在短兵相接的戰鬥一直都是個挑戰。我們不只是在處理物理學上的總重，還有更微小尺度的精密細節。
Notice the flexing muscles and tendons under the skin. These volumes are manipulated by animators. Then the skin is draped over that anatomy and treated as a simulated cloth material, so that you can literally see the muscles flexing or sliding underneath.
注意那皮膚下面收縮的肌肉和肌腱。這一大堆東西由動畫繪製者操控。然後皮膚被覆蓋過那解剖結構並處理成模擬布料，因此你可以真的看到肌肉在下面收縮或是滑動。
The effects team study lots of reptile references in order to duplicate the material properties of a real lizard skin. It had to be loose and leathery, with enough resolution to wrinkle and fold in natural ways as the creature moves. Simulations are applied to the internal anatomy as well as the skin, so that the volumes respond to external forces as well. Notice how the volumes jiggle and resonate in impact and the collisions need to affect the environment also.
效果團隊為了要複製真正蜥蜴皮的材質屬性，研究了很多爬蟲類資料。它必須是鬆垮垮且似皮革的，要有足夠的解析度，當這生物移動的時候，去很自然地產生皺紋並折疊起來。如同用在皮膚上，擬真也應用在內部解剖結構，所以那內部擬真物也回應到外部力量。注意到當遇到衝擊和碰撞而產生搖晃和共振時，這擬真物需要如何同時去影響場景環境。
A lot of destructions that you see like damage to these lockers were modeled and animated for a specific look, along with the damages to the walls, door jams on the props, all of which ground the action in a believable way. Once we flush the environment out with these high resolution models, further details are brought out in the surface rendering.
很多你所見到的破壞，像是對這些置物櫃的損害，被塑造和繪製成特殊的畫面，加上牆壁的損傷，架子上卡住的門，所有的這些將動作畫面建立在一個可信的基礎上。一旦我們用這些高解析度模型把場景環境給沖刷破壞掉，更多的細節就被帶進表面的繪製圖中。
Posters and fliers are hand-painted, and ID photos of image works team members were substituted for the class portraits. Lighting played a key role in grounding the scenery out, and it was artistically directed to support the story points. One of which is the power outage which gave us the opportunities for dramatic lighting. A large window at the end of the hall became the daylight source to backlight the characters and provide bright highlights throughout the scene, and light coming through the classroom doors broke up the interior and became the source of the highlight key moments. Even emergency lights were used to accent the action.
海報和傳單是手繪的，而影像作業組同仁的身分證照片被用來替換班級肖像。打光在使場景跳脫出來上面，扮演很重要的角色，而且它在藝術上被引導去強化故事情節。其中之一是停電，給我們取得戲劇性燈光效果的機會。一面在走廊底端的大窗戶變成日光的光源，成為人物的背光並提供整個場景明亮的精彩畫面，而且從教室門口透過來的光線劃分了室內，並成為關鍵時刻精彩鏡頭的光線來源。就連緊急照明燈都被用來加強動作效果。
Because this sequence is completely digital, entirely new shots and cam work can be made even at this late stage in production. As an example, the director can take a shot like this chase across the ceiling. When the animations are already complete, he's able to design more compelling cam work for series of shots: the support to the action, in a much more interesting and dynamic way, especially on a couple of effects details like dust, debris, sparks and atmosphere deskewing.
因為這個場景完全是數位的，整個新的拍攝和攝影作業甚至可以在這麼晚期的製作過程才去實行。作為一個範例，導演可以拍一幕像這樣橫過天花板的追逐。當動畫製作完成，他可以為一連串的景象設計更多令人注目的攝影作業：動作畫面的輔助，用一個更有趣且生動的方式，特別是針對一些效果細節像是灰塵、碎片、火星和大氣校正。
The final result puts audience front and center in a dynamic balance between nuanced character animation, and dramatic composition of light, color, modeling and effects.
最後的結果把觀眾放在非常重要的地位－－在微妙的人物動畫和戲劇性光線、顏色、造型和效果之間的動態平衡之中。
- 「非常重要的」- Front And Center
The final result puts audience front and center in a dynamic balance between nuanced character animation, and dramatic composition of light, color, modeling and effects.
最後的結果把觀眾放在非常重要的地位－－在微妙的人物動畫和戲劇性光線、顏色、造型和效果之間的動態平衡之中。
