本文選題：遮罩繪景 + 數(shù)字遮罩繪景　； 參考：《河北科技大學》2013年碩士論文

【摘要】：《不會哭的男孩》是我聯(lián)合中國傳媒大學導演專業(yè)的研究生同學一起制作的一部藝術(shù)類型微電影。講述了一個曾在童年因父母離異受到嚴重壓抑和限制的年輕人，如何一步步克服心理障礙，正視童年經(jīng)歷，走出童年陰影，迎接美好未來的故事。本片由于時間和空間的調(diào)度極大，同時伴有現(xiàn)實場景和虛擬場景的轉(zhuǎn)換。因此在影片的拍攝中需要應用大量的數(shù)字遮罩繪景技術(shù)和后期特效技術(shù)。我在片中主要負責完成后期制作部分。 遮罩繪景是最早出現(xiàn)的電影特效之一，它在電影技術(shù)發(fā)展史中占有很大的比重。20世紀末進入數(shù)字電影時代，遮罩繪景更煥發(fā)出了前所未有的活力。新的數(shù)字技術(shù)使傳統(tǒng)的遮罩繪景有了翻天覆地的變化。數(shù)字遮罩繪景技術(shù)相比傳統(tǒng)遮罩繪景技術(shù)，無論是在畫面的逼真度上還是在鏡頭的靈活性上都有了很大的提高和增強。由于可以擺脫一部分的現(xiàn)實場景或環(huán)境限制，使導演們的創(chuàng)意思想得到了大幅度的解放。以至于在當今的電影產(chǎn)業(yè)中，絕大部分電影都或多或少的應用了這項技術(shù)。 數(shù)字遮罩繪景技術(shù)通過構(gòu)建虛擬的場景，一方面節(jié)省了劇組在搭建場景的時間和經(jīng)費，另一方面更解決了真實場景表現(xiàn)力不足的問題。而且由于無需搭建場景，不對壞境產(chǎn)生任何污染和損壞。本片中數(shù)字遮罩繪景的設計和制作可對同類型微電影中的數(shù)字遮罩繪景的應用提供有意義的借鑒和參考。
[Abstract]:The Boy who won't cry is an art-type micro-film that I made with my graduate student majoring in director at Communication University of China. This paper tells the story of a young man who was seriously depressed and restricted by his parents' divorce in his childhood, how to overcome psychological obstacles step by step, face up to his childhood experience, walk out of the shadow of childhood, and meet the story of a better future. Due to the scheduling of time and space, this film is accompanied by the transformation of realistic scene and virtual scene. Therefore, a large number of digital shading techniques and special effects techniques are needed in the film shooting. I am mainly responsible for the post-production part of the film. Mask painting is one of the earliest film effects, which occupies a large proportion in the development of film technology. At the end of the 20th century, it entered the digital film era. The new digital technology has revolutionized the traditional shading landscape. Compared with the traditional mask painting technology, the digital mask painting technology has greatly improved and enhanced both the fidelity of the picture and the flexibility of the lens. The creative ideas of directors are greatly liberated because they can get rid of some real scenes or environmental constraints. So that in today's film industry, the vast majority of films are more or less the use of this technology. By constructing virtual scene, digital mask technology saves the time and expense of the crew in setting up the scene, on the other hand, it solves the problem of the lack of expression of the real scene. And because there is no need to build a scene, there is no pollution or damage to the environment. The design and manufacture of digital mask in this film can be used as a reference for the application of digital mask painting in the same kind of micro film.
【學位授予單位】：河北科技大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J91

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