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《复仇者联盟4:终局之战》背后的设计

原创文章 分类: 经验/观点 版权:
14213 54 358 9
2019-05-22
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受访者简介:

戴马蒂·罗曼西斯(Marti Romances)  Territory Studio 创意总监

戴马蒂·罗曼西斯(Marti Romances)是旧金山的艺术总监。他在后期制作公司ImasBlue开始了自己的职业生涯,之后在Freestylgame公司担任首席动效设计师。从2013年开始在Territory Studio工作,前期在伦敦担任艺术总监,2016年搬到旧金山办公室担任创意总监。凭借多媒体学位和对工作的热爱,马蒂为不同行业提供了充满各种视觉风格和高水准的创意解决方案。他对UI设计有着极大的热情,曾参与了大热一时的科幻巨制诸如:《机械姬》、《火星救援》等。在《复仇者联盟4:终局之战》中,马蒂和TS工作室设计了非常出色的FUI和动效设计。


Marti Romances is an art director from Barcelona based in San Francisco. He started off his career at the post-production house ImasBlue, before moving to Freestylgames as a lead motion graphic designer. Since 2013 have been with Territory Studio, first in London as art director, and then moved to the San Francisco office in 2016 as creative director. With a multimedia degree and a love for his work, Marti pushes himself to deliver the highest quality creative for a wide range of visual styles across different industries. With a big passion for UI design, he has worked on the globally acclaimed films from the Avengers franchise along with other major films such as Ex Machina and The Martian.

 

采访者简介:

郗鉴

站酷推荐设计师  参与过《二代妖精》、《幕后玩家》等电影的FUI设计工作。


X:Hi,好久不见!上次聊天的时候还是在复仇者联盟3上映之前,那次访谈在中国设计师圈里引起了很大的轰动:因为我们第一次认识了在《普罗米修斯》、《钢铁侠》等科幻电影背后的屏幕设计团队 - Territory Studio。这次TS团队又负责了复仇者联盟4的界面和动效设计,为这样一个全世界都在等待的电影工作是一种什么体验呢?压力是不是非常大?

Hi, long time no see! The last time we talked was before the release of avengers 3. The interview caused a big stir in the Chinese designer circle, because it was our first time meeting the design team behind Prometheus and iron man -- Territory Studio. This time the TS team is responsible for the interface and animation design of the avengers 4. What's  experience of working on a movie that the whole world is anticipating? Is it very stressful?



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《复仇者联盟4:终局之战》中 钢铁侠FUI界面 漫威版权所有


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《复仇者联盟4:终局之战》中 钢铁侠FUI界面 漫威版权所有


M:是的,压力很大——漫威电影取得了巨大成功,我们非常荣幸与其中五部漫威电影有过合作了。能和经验丰富的设计部门一起共事的感觉是很棒的,因为有很多人支持你把所有的细节都做到最好。漫威电影的美术指导查尔斯·伍德非常出色,我们互相非常了解,我们很熟悉他的工作方法,他也很熟悉我们之前参与的电影作品(比如《银河护卫队》、《复仇者联盟2:奥创纪元》等),所以我们了解彼此的期望和做事情的方式,这有助于减轻每天面临的压力。但是呢,是的,在这部电影即将上映的时候我们又有点紧张了,因为我们很快就会看到我们设计的界面在电影里是什么样啦,以及这些界面能否很好地支撑起剧情来。

Yes it can be – Marvel films are huge successes and we  have worked across 5 of them already. But working with an experienced art department team is great because there is so much support to get all the details right. And  Production Designer Charles Wood is great because we know him and he knows us from previous films (Guardian of the Galaxy, Avengers Age of Ultron) so we understand each other’s expectations and methods. So that helps take some of the stress out of the day to day. But yeah, coming up to release it gets a bit tense again, knowing that soon we’ll see what screens made it in shot and how they support the story.


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《复仇者联盟4:终局之战》中 飞船界面FUI 漫威版权所有


X:我知道你一定又要“无可奉告”我啦,但是我一定要问!到底谁死了?小蜘蛛没事儿吧?这次是不是钢铁侠牺牲自己了?还是美国队长?全世界都在焦急地等待!当你知道了这个世界级的秘密时,你是什么表情呀?和Marvel这样的公司合作,是不是需要签一份保密协议呢?

I know you have to say "no comment", but I have to ask! Who died? Is the spider all right? Did iron man sacrifice himself this time? What about Captain America? The whole world is waiting anxiously! What was your reaction when you learned this world-class secret? Does a deal with Marvel require a non-disclosure agreement?


M:你猜对啦,我们所有的电影项目在设计周期内都签订了严格的保密协议,所以你说的“无可奉告”一点儿没错。老实说,这种大型的项目都会拆解为若干个需求,并且都有打包的保密协议,所以创意供应商也并不能单独掌握整个故事,我们的设计是一个巨大项目中的一小部分,所以其实我们也和粉丝一样非常期待《复仇者联盟4》的全景以及剧情,并且非常期待在电影里看到我们设计的部分。

Yes, all film projects come with very strict Non-disclosure agreements so you’re right about the ‘no comment’ answer. And in all honesty, these projects are wrapped in huge amounts of confidentiality so creative vendors are not always given access to the whole story – we work on a small part of a huge show and often are just as excited as the fans to see our work in context and how the story plays out.


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《复仇者联盟4:终局之战》中 复仇者联盟总部 关门状态FUI 漫威版权所有


X:漫威宇宙登上大荧幕已经十年了,在这十年当中TS参与了其中的大部分电影。这十年中漫威宇宙的FUI发生了什么样的改变?十年的最后一战,TS又有怎样的精彩超越?

It's been a decade since the marvel universe hit the big screen, and in that decade TS has been involved in most of those movies. How has the FUI of the marvel universe changed over the last decade? At the end of the decade, what do you think TS excelled in?


M:我可不敢说大部分哦!我们有幸参与了漫威宇宙十年系列电影中的五部:《银河护卫队》、《复仇者联盟2:奥创纪元》、《美国队长》、《复仇者联盟:无限战争》和《复仇者联盟:终局》。能够成为获得如此成功的系列电影中的一部分,并与真正重视屏幕图形设计的电影团队合作,这是非常美好的事情。

我们可以看到在《银河护卫队》和《复仇者联盟》这两部系列电影中,FUI正在进化。从我们参与了第一部《银河护卫队》电影开始,我们就为这个光怪陆离的新世界设定了属于它的视觉语言。尤其是米兰(那艘银河护卫队乘坐的飞船),它也是《银河护卫队2》中的一个亮点,并在《复仇者联盟:无限战争》中以一种新的形式再次出现。我们的追求是不断改进和迭代FUI,使它能够符合电影上映时观众对更先进技术的预期,当然了,也要符合导演和美术指导对于电影视觉的设定。所以我们在《复仇者联盟:无限战争》中看到的银河护卫队的飞船是比《银河护卫队》第一步中更先进的版本,我们一直努力让它的FUI视觉层面变得更抽象、交互变得更加智能。


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《复仇者联盟4:终局之战》中 飞船FUI 漫威版权所有


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《复仇者联盟4:终局之战》中 飞船FUI 漫威版权所有


在《复仇者联盟》系列中,我们也看到了复仇者联盟的总部和托尼·史塔克的实验室镜头中出现的FUI一直在不断进化,这间接向观众说明了电影中的科技也由于一些天才和像神盾局这样的机构一直在推动这些虚拟机构中设备的进步。我们会看到电影中的界面更加精密了,界面的进化也暗示了在剧情之外这些机构一直不断地在提升自己的科技水平。

我们在这次的设计中超越了什么?这是一个很难回答的问题。我们的动效设计师和视觉设计师在这次设计上一直在美术和特效部门中不停跨界,这是一个很有意思的体验。在设计方面,我们需要与导演、视效总监、美术指导、宣发设计师、摄影导演、灯光师、幕后工程一起工作,在特效方面,我们需要与特效总监和CG设计师一起工作,他们都有不同的工作流程和工作方法。在设计和特效上与这些人员对接非常具有挑战性,我们需要互相理解和尊重对方擅长的领域。所以我认为我们在整个产品线上具有独特的位置。

I wouldn’t say most! We’ve been involved in 5: Guardian of the Galaxy, Avengers Age of Ultron, Captain America, Avengers Infinity War and Avengers Endgame. It’s been amazing to be part of such huge hits and work with teams that really value the role that on-set screen graphics plays.

We've seen how the FUI has evolved across two of the franchises in particular – Guardians and Avengers. From the time we came on board the first Guardians of the Galaxy film we set the visual language for this world, especially the Milano which features again in GotG2 and in a new form in Infinity War.  The ask is always to evolve the FUI in line with expectations around more advanced technology and of course to fit into the director and production designer’s vision for the film. So Guardian of the Galaxy’s space ship seen in Infinity War is a more advanced version of the one seen in the first film, and we were asked to envisage a more abstract and organic intelligence to the FUI.

On Avengers we have also seen an evolution of the FUI for both Avengers Compound and Tony Starks lab that suggests technological innovation appropriate to the tech-genius character and type of organisation that SHIELD is. This tends to be expressed in more refined and intuitive interface design, the suggest a seamless intelligence operating behind the scenes.

What do we excell in? That’s a tough one – we’re motion graphic designers and visual problem solvers that straddle both art and vfx departments and that makes our work very interesting. On the production side we work with directors, production designers, art directors, props designers, director of photography, lighting technicians, and playback technicians, and on the vfx side we work with vfx supervisors and CG artists applying very differnet workflows and pipelines. It’s great to be able to work on both sides, getting to understand and appreciate the challenges and advatages of each, so in that sense I think we occupy a special place in the whole production cycle.


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《复仇者联盟4:终局之战》中 复仇者联盟总部 平板电脑FUI 漫威版权所有


X:这次《复仇者联盟4》的界面工作量和动效工作量有多少?有多少名TSer加入了这场End Game?当项目杀青时,你们怎么庆祝这场胜利呢?如果是我,可能会带着我工作室的同时去喝一杯:P

What is the interface workload and motion graphics workload for avengers 4? How many members of Territory participated in the End Game? How did you celebrate the victory when the project is finished? If it were me, I might take my studio for a drink at the same time: P


M:我们在《复仇者联盟4》中总共交付了超过了40项需求。这40项需求主要出现在:史塔克实验室,老实验室(托尼父亲所在的实验室),东京卡拉ok吧,彼得·奎尔/星爵的宇宙飞船和复仇者联盟总部中。我们的团队中参与本次项目的有4名设计师,1位创意总监和1位项目主管。这次项目的时间跨度其实一共只有2个月,并且有些是在片场设计并合成进镜头里的。

We delivered over 40 assets across 4 sets:

Starks Lab, Old Lab, Tokyo Karaoke bar, Peter Quill / Star Lords space ship and Avengers Compound.

There were 4 artists, 1 creative director and 1producer on our team

And the timescales were just 2 months, some of it embedded on set.


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《复仇者联盟4:终局之战》中 飞船屏幕显示FUI 漫威版权所有


X:《复仇者联盟4》中的FUI设计是由制片方下达需求,还是一起创作的过程呢?有哪些地方是由我们设计师来自由发挥的,哪部分又是由编剧和导演来确定的呢?这次项目遇到最棘手的问题是什么?

Did the FUI design for "avengers 4" come from the studio or was it a collaborative process? Which parts are developed by designers and which parts are determined by the writers and directors? What was the toughest problem with the project?


M:每个设计都是在场景和故事节奏的环境中考虑并创作出来的,所以图形和动效的主要目的是承载剧情。并且制片方给了我们设计风格的参考,比如在设计日本卡拉OK场景时,我们参考了在日本的流行音乐和一些视频链接,我们根据这些参考设计了很多概念图。在我们和美术指导与设计总监讨论后,我们确定了一版设计,也就是一组机器“猫咪”。这个卡拉OK场景也是最难的挑战,但是也是hi 我们认为最有趣的。它经历了很多的讨论和不同版本的迭代才最终决定了这个设计。

Each graphic was discussed in the context of the set and story beat, so what story did the graphic animation support. And stylistic references were given, for example for the Tokyo Karaoke sequence (K-pop and you tube links) and we used these to inspire a series of character concepts. In discussion with the production designer and art director we finalized one route and the result is a group of robotic ‘cats’. This karaoke sequence was also the toughest challenge, but also the most fun for us. It involved a lot of discussion and iterations to get the character look and choreography right.


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《复仇者联盟4:终局之战》中 东京卡拉OK场景设计 漫威版权所有


X:我听到了一个传言,这次TS设计了一款机器人的卡拉OK FUI?我们在中国过年除了打麻将和吃年夜饭,去的最多的地方就是卡拉OK店了。设计这么一个有趣的,但有真实原型的交互界面,是不是极具挑战性呢?

I heard a rumor that TS designed a robot karaoke FUI? Apart from playing mahjong and having dinner on New Year's eve, the most popular place we go to during Chinese New Year is a karaoke bar. How challenging is it to design such an interesting interface with real prototypes?


M:东京卡拉ok的场景是一个很好玩的设计,因为它不同于我们以往专注的FUI领域,我们从草图创造了这个角色并且编排了它在巨大的内嵌LED屏幕中的的动效。

The Tokyo Karaoke sequence was great to work on because it was so different from the FUI we tend to focus on. Creating the characters from scratch and following that through to choreography and animation and then seeing this played on a giant curved wall LED screen as a ‘live’ act was amazing.


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《复仇者联盟4:终局之战》中 东京卡拉OK场景设计 漫威版权所有


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《复仇者联盟4:终局之战》中 东京卡拉OK场景设计 漫威版权所有


X:在设计外星科技的FUI界面时,Territory Studio的设计师们会怎样进行创作呢?也会设计一些原型图或手绘稿吗?因为每次看到你们设计的外星FUI时,我就会想“噢,这肯定不是地球货”。

When designing the FUI interface of alien technology, how do the designers of Territory Studio make creations? Do you design some prototypes or freehand sketches? Because every time I see your alien FUI design, I think, "oh, this is definitely not from earth."


M:您说的两者都有。有的时候我们的灵感来自草图,有的时候我们的灵感来自我们从其他领域得到的,不一定是UI和UX的领域才能带给我们灵感。我们观察自然,从离我们遥远的星云或星系碰撞,到地球上那些和我们非常接近的微观世界,比如原子的形成……在它们身上,我们发现了设计师创作需要的灵感,比如色彩、形式、动态……

我们也在软件方面做了很多实验。从非常复杂的3D软件到简单的软件我们都会去实验。新出现的一些的算法和编程语言能让我们去尝试创作分形艺术,这可以产生非常多细节并且设计出来非常快,这要归功于我们使用的一些优秀的GPU渲染引擎。我们认为我们需要打破传统的想法,不一定是“工具第一”。这样我们在创作来自另一个星系的视觉科幻语言时才能够足够天马行空,在设计时碰到那些有趣的意外。通过这些年和漫威的合作我们学习到了漫威世界的奇幻精神,我们不一定只可以创造出观众一定要看得懂的界面,即使是界面设计我们同样可以天马行空,在探索中做设计。我们一直在打破旧的设计并寻求新的视觉语言,并且也许这些创意在不久的将来也会走进现实世界里。

Both, sometimes ideas come from a sketch, sometimes from inspiration we get from other fields that are not necessarily around UI and UX. We look at nature, from a far away nebula or galaxy collisions to very close elements we have in earth like microscopic views of atoms forming bridges... on them we discover potentials as a designer inspiration, colour, form, behaviours...

We also do lots of experimentation within the software realms. From very complex 3D simulations to experiments with our toolset. New algorithms and scripts allowed us to explore fractals to great detail and very rapidly thanks to some GPU rendering engines we got to use. We think that our approach to inverting the process, and not necessarily thinking "function first’, allows us to be disruptive and find those happy accidents when prototyping those kind of sci fi or fantasy visuals that come from another galaxy. After all these years of creating graphics for different Marvel characters, we’ve come to learn that their fantasy worlds are what allowed us to be different as designers – sometimes we do not need to create graphics that humans would understand because that won’t be answering the brief or story narrative. In that exploration, creating things that we don’t necessarily need to understand, is where we find ourselves disrupting and finding new visual languages that could be easily applied to more functional designs in a near future.


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《复仇者联盟4:终局之战》中 飞船屏幕显示FUI 漫威版权所有


X:你一直都在挑战自己,Territory Studio也一直在使用更先进的工具来设计FUI,比如之前我就看到Territory Studio在尝试使用Adobe XD来设计FUI的界面骨骼了,那么这次复仇者联盟4的屏幕设计都使用了哪些设计软件呢?

You have been challenging yourself all the time, and Territory Studio has been using more advanced tools to design FUI. For example, I saw that Territory Studio used Adobe XD to design the interface skeleton of FUI before, so what design software was used in the screen design of avengers 4 this time?


M:我们使用的软件包括Adobe CC套装,Cinema 4D和After Effects。这些都是视觉和动效设计的标准软件。在这次设计中,我们也使用了Maya。

We used our standard motion graphic toolset which includes Adobe CC Suite, Cinema 4D and After Effects. We also used Maya on this project.


X:马上要上映复仇者联盟4了,我突然想起了Stan Lee,这十年的漫威电影传奇中,Stan Lee也以各种可爱的出镜陪了我们整整十年。请问在TS与Marvel这些年的合作中,有没有与Stan Lee的接触呢?他对界面设计在电影中的角色怎么看呢?

With the release of the avengers: End Game coming up, I'm reminded of Stan Lee. Stan Lee has been with us for over a decade in the marvel cinematic universe. Did you have any contact with Stan Lee during the years of cooperation between TS and Marvel? What did he think of the role of interface design in the movie?


M:遗憾的是,我们从未有幸在工作中见到斯坦李,但是我们非常感谢李把这个神奇的宇宙带给了我们。我们离斯坦李最近的一次是在《银河护卫队1》中,我们为斯坦李客串的角色上设计了一些界面!

Sadly we have never had the honour to meet Stan but we owe him big time for bringing this universe to us. The closet we ever got was when in the first Guardians of the Galaxy film we created some UI that ended up overlaid on one of his legendary cameos!


X:在科幻电影中,每一个FUI都承载着一定的剧情。我突然想到,有一些电影会采取这样的形式:根据上映地区的语言文字更改画面,让界面更加本土化。而漫威系列电影中的界面通常是英文,在电影的字幕中解释界面的含义。您觉得这两种方案哪一种更好呢?

In science fiction movies, each FUI carries a certain plot. It suddenly occurred to me that some movies would take the form of a more localized interface by changing the screen based on the language and text of the release area. In the marvel movies, the interface is usually in English and is explained in the subtitles. Which do you think is better?


M:如果预算不是问题,并且使用本土语言(外星人语言除外),那么本土化FUI中的文字将是一个很好的主意,但这是一个巨大的挑战。我们为漫威制作的界面有很多都是导入设备并在现场拍摄的,所以不能直接在设计中替换。如果要为很多语言反复替换再拍摄的话,成本就变得巨大了。除非我们的电影发展到了如游戏一样可以动态地制作的时候,在那之前我觉得这个想法还无法实现。

If budget wasn’t an issue, and real langauges (not alien langaugaes) were used,  localised FUI versioning would be great idea. But that’s a huge challenge. Our screens for Marvel are mostly used live on-set as part of the shoot, so they can’t be swapped out in the same way. They would need to be swapped out in post and changing language characters is time consuming and detailed work with cost implications. Until we get to a point where films are dynamically generated in the same way that games are, I’m not sure this would be an option.


X:作为经常和钢铁侠、小浣熊、外星人“合作”的设计师,我想知道你眼中的未来UI会是什么样的呢?未来界面设计的趋势会是怎么样的,比如HUD、全息投影、AR?我看到漫威电影中的科技也在不断的进化。

As a designer who "works with" iron man, raccoon, and aliens, I wonder what you think the UI will look like in the future. What will be the future trends of interface design, such as HUD, holographic projection, AR? I've seen that the technology in marvel movies is constantly evolving.


M:是的,全息投影技术或者是立体成像技术这些科技非常受欢迎,我们越来越多的看到它们出现在科幻电影世界里。这些先进的技术都是托尼·史塔克的科技中的重要部分,漫威也在比如《黑豹》中经常使用它们。我们在一些大项目中设计过全息投影和立体成像这些技术,比如在《攻壳机动队》(Ghost in the Shell)、《环太平洋 2》(Pacific Rim Uprising)、以及《头号玩家》(Ready Player One)和其他几部即将上映的电影中都有涉及。我真的认为,全息投影和立体成像之所以会如此受欢迎是因为大家觉得他们会是将来的热门——你看,通过增强现实和虚拟现实技术,很多图像和场景看起来和感觉上都变得极其真实。现在需要的是必须有人想出来如何在现实世界中普及它们。

AR和MR也是大趋势,我认为像谷歌Glass这样的眼镜智能设备,也会搭载随着AR和MR的应用回归。只是它们目前被用于其他领域,如制造业等等。但是它们回到消费者市场只是一个时间问题,当然我希望回归前一定要解决好隐私问题呀。

《复仇者联盟4:终局之战》中 复仇者联盟总部 电梯FUI 漫威版权所有

另一个趋势是语音界面,当视觉上的界面逐渐减少时语音界面就应该登场了—你可以在钢铁侠的虚拟人工智能助手贾维斯和星期五中看到这一点。托尼·史塔克只是用语言来让他们做一些事情,而不是摆弄UI。电影《她》让我们感觉这一切都正在成为可能,随着越来越多的聊天机器人和虚拟助手(如Alexa、Siri和Cortana)使用自然语言和语音识别技术,我们离这一目标越来越近。令人兴奋的是机器学习和人工智能将加快这一进程的推进。

同样令人兴奋的是,汽车行业正在开发自动驾驶应用程序——从自动泊车到自动驾驶,就在最近几天,特斯拉宣布,特斯拉汽车已经可以自动提车,从停车位自动开到你面前。如果再结合语音界面,我们应该很快就能驾驭1982年电视剧《霹雳游侠》中的凯特了!

Yeah, holographics or volumetric graphics are really popular and we see them more and more in films. They’ve always been a big part of Tony Stark’s technology and Marvel have also used them in Black Panther. Territory Studio worked on some big projects that featured holographics and volumetric graphics, like Ghost in the Shell and Pacific Rim Uprising, and Ready Player One and a few other films that come out later this year. I really think the popularity is driven by the expectation that this is the next big thing – look at how Augmented and Virtual Reality make these graphics look and feel real. Now someone just has to figure out how to make it happen in the real world.

AR & MR are also big ones and I think glasses, like Google Glass, will make a comeback too with embedded AR and MR applications. They are currently used in other fields like manufacturing and it’s just a matter of time before they come back as consumer technology – hopefully having resolved privacy issues!

Other trends are voice interfaces where UI actually becomes invisible – you see this in Stark’s virtual AI assistants like Jarvis and Friday. He just asks them to do stuff instead of fiddling with UI. The film Her made this feel possible in the real world, and we’re getting closer to that with natural language and voice recognition in growing number of chatbots and virtual assistants like Alexa, Siri and Cortana. And of course more sophisticated machine learning and AI applications will speed this up.

It’s also exciting that the automotive sector is developing autonomous applications – from self-parking to self-driving and just in the last couple of days Tesla announced cars that will autonomously un park themselves and pick you up. Combined with voice interface, we’ll all soon be driving KITT, from Knight Rider, the TV series from 1982!


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《复仇者联盟4:终局之战》中 操作界面FUI设计 漫威版权所有


X:中国科幻电影在今年也开始起航了,不知道你是否关注到了年初的《流浪地球》,TS是否考虑进军中国市场呢?如果和中国电影方合作,你最在意哪些问题呢?

Chinese science fiction films have also started to set sail this year. I wonder if you have paid attention to Wandering Earth released at the beginning of this year. Is TS considering to enter the Chinese market? What do you care about most if you cooperate with Chinese film companies?


M:是的,当然,我们的伦敦工作室目前正在进行一个大型的中国电影项目。

Yes, absolutely, and our London studio is currently working on a big Chinese film project now…


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《复仇者联盟4:终局之战》中 飞船屏幕显示FUI 漫威版权所有


X:在Territory Studio为Marvel设计惊人的界面时,是否在工作室也有一些黑科技呢?平时团队是如何了解诸如全息投影、MR、AR等最新科技的呢?

When Territory Studio designed Marvel's amazing interface. In China we have the term “black technology” which refers the latest technology advancements that go beyond the imagination and understanding of the audience, enthralling them. Does Territory Studio have some black technology toys in the studio that served as inspiration? How does the team understand the latest technologies such as holographic projection, MR and AR?


M:在旧金山的时候,我们有幸与硅谷的黑科技亲密接触。其实,当我们不跟进电影项目时,我们也会专注于与世界上最先进的科技公司合作,为现实世界的产品设计原型。有时候,我们尝试和使用的一些技术甚至比你在科幻电影中想象的还要疯狂。正是这种从电影里的天马行空与现实世界的创新技术交叉,使我们成为了如此独特的一个工作室。

Being in San Francisco we have the luxury of being very close to technological advancements coming from Silicon Valley.  And, when we are not working on film projects we are focused on prototyping new real world products and benchmarking technologies with some of the most advanced tech companies of the planet. Sometimes some of the technology we try out and get to work with is even crazier than something you would expect from a sci-fi film. And it’s this crossover from speculation for film to innovation technology that makes us so unique as a studio of creators.


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《复仇者联盟4:终局之战》中 复仇者联盟总部 大门FUI 漫威版权所有


X:感谢您接受我的采访!我已经迫不及待地要去电影院看灭霸被踢屁股了!

Thank you for your interview! I can't wait to go to the movie theater to see Thanos  having his ass kicked!


M:谢谢你!

Thank you!

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