Like these fibers on Mr. Incredible's shirt.

像超能先生襯衫上的這些纖維。

And the tree stump and grass in this scene from "Up."

還有「天外奇蹟」中的這個樹樁和草。

Or the glimmering, out-of-focus bokeh behind Bo Peep.

或者在牧羊女身後閃閃發光、失焦的虛化效果。

And it's not just Pixar.

而不僅只有皮克斯這麼做。

These movies look so similar you can barely tell they're from different animation studios.

這些電影看起來很像，因此你幾乎分辨不出它們是來自不同的動畫工作室。

But when you look at these movies it's clear that something different is happening.

但當你看到這些電影時，你可以很輕易就發現有些不同之處。

These lights don't just illuminate; they reveal a texture.

這些燈不只是在發光而已，它們還呈現了一種紋理。

This tree in the background isn't out of focus. It's just got a simplified look.

背景中的這棵樹並沒有失焦，它只是外觀被簡化。

And this hair looks more like brush strokes than human hair.

而這頭頭髮看起來更像是刷子的筆觸，而不是人的頭髮。

These films are part of a new trend that's steering animation away from replicating the real world and into somewhere new.

這些電影是一種引領動畫業擺脫不斷複製現實生活的一種新潮流，讓動畫界駛向新的領域。

Crafting beautiful animation in CG films requires a lot of dedicated artists to perform specialized tasks, like rendering.

在CG電影中製作精美的動畫需要很多專門的藝術家來完成專門的任務，像渲染。

Rendering is the process by which a computer takes geometry, textures, lighting, camera inputs and does a bunch of math to apply that information into a final image, like this one.

渲染是一個過程，通過這個過程，電腦會進行幾何圖形、紋理、照明、相機輸入，並做一堆數學運算來將所有這些資訊應用到最終的影像中，比如這個。

Most render engines, like the one I'm using here, are physically based, which essentially means that it tries to replicate the real world physics of light, shadow, reflection, and more.

大多數渲染引擎，比如我現在所使用的，是基於物理概念，也就是說它試圖複製現實世界中的光、影、反射等物理現象。

You can see this type of rendering all over Pixar's work, even going back to their first movie. Rex looks like he could exist in the real world.

在皮克斯的作品中，你可以到處看到這種類型的渲染，甚至可以追溯回他們的第一部電影。 抱抱龍看起來好像真的能存在於現實世界中。

Every meeting we would have, everybody brought up like the Pixar look.

我們每次開會，每個人都會提到像皮克斯的呈現。

The Pixar look was something that was very high quality, very successful at the box office, so everybody kind of wanted "the Pixar look."

皮克斯所呈現的東西是質量非常高，有很成功的票房，所以每個人都希望能呈現的像皮克斯一樣。

And my name is Christos Obrenetov.

我的名字是Christos Obrenetov。

Christos is the CEO of Lollipop Shaders, a company that builds custom shaders and plugins for 3D software.

Christos是Lollipop Shaders的CEO，是一家為3D軟體建立定製著色器和插件的公司。

He has worked on tons of films, including "Life of Pi", "A Christmas Carol," and the upcoming "Across the Spider-Verse."

他參與了大量的電影製作，包括《少年Pi的奇幻漂流》、《聖誕夜怪譚》和即將上映的《蜘蛛人：穿越新宇宙》。

But before all that he worked on a bunch of films that tried to replicate that Pixar look.

但在這一切之前，他參與了一堆試圖複製皮克斯造型的電影。

Because it was reliable, popular, and safe.

因為那很可靠、受歡迎，而且是安全牌。

Part of doing a feature film is, you know, a lot of money and a lot of time, so they were kind of chasing that Pixar dream of having that kind of a success.

做一部劇情片有一部分是要花大量的錢和大量的時間，所以他們有點在追逐一種成為下一個皮克斯的夢想，希望能取得那樣的成功。

So to go and spend, you know, 100 million dollars or more.

所以要去花，你知道，1億美元或更多的錢。

You know, the investors and what not they are probably saying: "It's got to look like Pixar or Disney, right?"

投資者和其他人可能會說：「它之後看起來會像皮克斯或迪士尼那種感覺，對嗎？」

That was the case for a long time, even when studios wanted to try something different.

而且有很長一段時間情況都是如此，就算工作室想嘗試不同的東西時也是。

Disney would come up and interview for a movie that ended up being called "Bolt."

迪斯尼發想然後開會討論一部最後會叫《雷霆戰狗》的動畫。

They were showing us this really cool concept art and they're like, "Oh, it's going to be super stylized."

他們向我們展示了這個非常酷的概念藝術，他們說：「哦，它之後會很有風格」。

"It's going to look like sort of like the concept art."

「會看起來像某種概念藝術」。

And it was very exciting. I was like, "Oh, this is great."

聽起來令人非常興奮，我當時想：「哦，太好了」。

And then when the movie did come out, I mean, "Bolt" is fantastic, but they made it very, you know, that same look.

然後當電影真的推出後，我想表達的意思是，《雷霆戰狗》非常棒，但他們做得非常，你知道， 呈現還是大同小異。

Movies like "Monster House" and "A Christmas Carol" were intended to look stylized too, but ultimately they settled back into that tried-and-true physically based rendering look.

像《怪怪屋》和《聖誕夜怪譚》這樣的電影本來也是為了看起來很有風格，但最終他們還是回到了那個屢試不爽的基於物理的渲染外觀。

There were glimmers of more stylized approaches in short film tests and small sequences like in Disney's Moana, but this stylized sequence is only about 30 seconds out of the hour and 43 minute-long film.

在微電影和小片段中有嘗試呈現更具風格的呈現方式，像迪斯尼的《海洋奇緣》。 但這個不同風格的片段在長達1小時43分鐘的影片中只有大約30秒。

A lot of studios have been playing with this for a long time.

很多工作室很久以來都是這麼做。

But to take that risk to do a full feature film that's very stylized in 3D, I think people were scared.

我想大家都會怕要在3D電影中冒險把它整部都做得很獨具風格。

And that fear kept studios from making bold choices.

而這種恐懼使電影公司不敢做出大膽的選擇。

Until 2017 when the trailer for "Into the Spider-Verse" dropped.

直到2017年《蜘蛛人：新宇宙》的預告片發佈。

It had simplified graphic bursts that felt like comic book panels.

它有突然突出簡化的圖像，感覺像一格一格的漫畫書。

There was no motion blur or depth of field and everything, from the characters to the environments, was full of texture.

沒有動態模糊或景深問題和其他一切，從人物到環境，都充滿了質感。

According to one of the animation supervisors for the project after a year and a half of work, the studio was still nervous that people were going to hate the visuals, because they felt like they were taking too many risks.

根據該項目一位動畫監督員的說法，僅管在這上面花了一年半的時間，工作室仍然很緊張，擔心人們會討厭這種視覺效果，因為他們覺得這之中有太多的風險。

Instead of leaning into the safe, physically based, rendering look, "Into the Spider-Verse" chose to use non-photorealistic rendering.

相較於傾向打安全牌，使用基於物理概念的、渲染的呈現方式，《蜘蛛人：新宇宙》選擇使用非逼真的渲染法。

To pull this off, they essentially had to break their physically-based renderer.

為了實現這一目標，他們基本上得突破基於物理概念的渲染器。

Instead of inputting data from lights, camera, and materials and receiving a realistic looking render, they combined all that data with custom data passes that tweaked things like the focus plane or the way the light worked in an image.

他們沒有從燈光、相機和材質中輸入數據來打造真實的渲染感，而是將所有這些數據與自定義數據通道相結合，從而調整焦平面或光線在圖像中的呈現方式。

This combo allowed the renderer to produce stylized results.

這種組合讓渲染器能產生風格化的效果。

For example, in "Into the Spider-verse," out of focus elements aren't blurry.

例如，在《蜘蛛人：新宇宙》中，失焦的元素並不模糊。

Instead, the colors split as if the screen printing on an actual comic book was done poorly.

相反，配色彷彿實際漫畫書上呈現很差的絲網印刷。

Lighting and shadow were approached in new ways, too.

照明和陰影也以新的方式處理。

Light often reveals halftone dots, and shadows create sketchy hatch marks.

光線常常會以半色調網點來表現，而陰影則表現素描的草稿標記。

But there's more than just shading magic happening here.

但它不僅僅只是陰影魔法。

Non-photorealistic renderings often use linework, 2D elements like speed lines and doubles, and variable frame rates to pull these frames further away from reality and often, closer to the concept art.

非寫實性的渲染通常使用線稿、二維元素如速度線和雙重影像，以及可變幀率，將這些幀數進一步拉離現實，而且往往更接近於概念藝術。

Just two months after its release, "Into the Spider-Verse" became the highest grossing film Sony Pictures animation had ever made.

僅僅在發佈兩個月後， 《蜘蛛人：新宇宙》成為索尼影業卡通片中有史以來收入最高的動畫片。

It doesn't hold a candle to Pixar in terms of lifetime gross: "Incredibles 2" sits at the number one spot while Spider-verse doesn't even crack the top 50.

儘管於皮克斯迄今的總收入比不值一提：《超人特攻隊2》收入穩坐第一， 而《蜘蛛人：新宇宙》甚至沒有進入前50名。

But, much like Pixar did in the first wave of CG animated features, "Into the Spider-Verse" redefined the visual goals for animation studios.

但是，就像皮克斯當初在第一波CG卡通片中所做的那樣，《蜘蛛人：新宇宙》重新定義了動畫工作室的視覺目標。

2021's "The Mitchells V.S. the Machines" and 2022's "Puss in Boots" take non-photorealistic rendering in a different, more painterly direction where out-of-focus objects become simplified shapes

2021年的《智能大反攻》和2022年的《鞋貓劍客》，在有別于往常、更有繪畫性的方向上進行非寫實性的渲染，在這裡，失焦的物體變成了簡化的形狀。

Emulating the way artists may use simplified marks in backgrounds, "In the Mitchells V.S. the Machines", shadows create different marker textures.

模仿藝術家可能在背景中使用簡化標記的方式，《智能大反攻》中的陰影呈現出不同的筆觸質感。

"Puss in Boots" is simplified 2D cutaways mimic the graphic bursts of "Into the Spider-verse."

《鞋貓劍客》簡化了旁跳鏡頭，模仿了《蜘蛛人：新宇宙》突然出現的突出畫面。

People were like, "Oh, this looks really good and it's different."

人們的反應是：「噢，這真的看起來很好，而且很不一樣。」

So now, like all like future projects at studios from DreamWorks and Imageworks and Pixar— you know, they're looking at the next whatever, five years or whatnot.

因此，現在從動畫夢工廠、索尼影業和皮克斯等工作室的所有未來項目都在尋找未來五年或是之後的發展。

It's all like very stylized.

這一切都非常風格化。

And that's really exciting, because non-photorealism allows animated movies to take advantage of the things that make them special.

而這真的很令人興奮，因為非逼真性使得動畫電影可以發揮他們的自身特色。

They can be anything the imagination allows.

它們可以是任何想像力所創造出來的東西。