本文選題：光影 + 場面調(diào)度�。� 參考：《中國美術(shù)學(xué)院》2011年碩士論文

【摘要】：場面調(diào)度中關(guān)于布光等光影藝術(shù)的研究最早起源于舞臺戲劇,在電影出現(xiàn)以后,逐漸地成熟起來,極大地豐富了其所依附的藝術(shù)形式,同時也建立起了一套相當(dāng)完備的理論研究系統(tǒng)。而在動畫中,三維動畫因模擬現(xiàn)實(shí)空間的獨(dú)特性,使之在調(diào)度和布光等理論上幾乎可以完全借鑒于電影和戲劇。二維動畫因其獨(dú)特的藝術(shù)特質(zhì)而對調(diào)度和布光有著完全不同于立體空間等真實(shí)環(huán)境的特殊要求。 本文在基于場面調(diào)度和光影設(shè)計(jì)的理解探索之上,結(jié)合理論發(fā)展相對成熟的影視戲劇以及繪畫攝影對于這方面的研究,嘗試對目前中國和歐美日等動漫發(fā)達(dá)國家的二維動畫中的范例進(jìn)行歸納和分析,不同級別不同題材類型的二維動畫都有其各自的標(biāo)準(zhǔn)和普適性方法。希望對中國動畫教育和研究提供可供參考的經(jīng)驗(yàn)。
[Abstract]:The study of light and shadow art in scene scheduling originated from stage drama. After the appearance of the film, it gradually matured, greatly enriching the art form it depended on. At the same time, a set of relatively complete theoretical research system has also been established. In animation, 3D animation, because of the unique simulation of real space, can be used for reference in theories such as scheduling and lighting. Due to its unique artistic characteristics, two-dimensional animation has a special requirement for scheduling and lighting, which is completely different from the real environment such as three-dimensional space. Based on the understanding and exploration of scene scheduling and light and shadow design, this paper combines the relatively mature theory of film and television drama and painting photography to study this aspect. This paper attempts to sum up and analyze the examples of two-dimensional animation in developed countries such as China, Europe, America and Japan. The two dimensional animation with different levels and different themes has its own standard and universal methods. Hope to provide reference experience for animation education and research in China.
【學(xué)位授予單位】：中國美術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2011
【分類號】：J218.7

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本文編號：2072805