#zhiyao chen

[swanlake1998]

li lin and chen zhiyao photographed as the title roles for septime webre's romeo & juliet (set in '60s hong kong) by swkit

[twocentertainment]

[Weibo Viral] Video: the male gods we chased during those years This is a lovely fanmade music video of 20 Chinese actors in ancient costume, created by weibo user 

[hockeychick57]

Hong Kong Ballet -  Creative: Design Army | Photography: Dean Alexander

Dancers: Gao Ge, Chaelee Kim, Liu Miaomiao, Lauma Berga, Zhang Xuening, Ye Feifei, Yang Ruiqi, Chen Zhiyao, Leung Chunlong, Li Jiabo, Shen Jie, Li Lin, Garry Corpuz, Wang Qingxin

[bokaishu]

Major Study Project Record

Complete

After all the videos were uploaded, I checked the fluency of the video and the effect of the tabs from the computer page, mobile phone, and tablet. I am very satisfied, and their application can be downloaded in the app store, and the whole platform is free.

Film Link:

https://video.helloeko.com/v/V1WWgG?autoplay=true

Tutor

Alex May

Ian Willcock

Director

Bokai Shu

Screenwriter

Bokai Shu

Producer

Bokai Shu

Main actors

Erick – Jingyao Sun

Jack – Zhaoyu Tan

Pierce – Abhay Joshi

Male AI Kristaps Locmelis

Female AI – Zeyu Liu

Female AI – Peizhao Wu

Paker – Zhiyao Zhao

Photography Guide

Yubei Fang

Zhihan Lv

Clip

Bokai Shu

Film art

Bokai Shu

Sound Design

Bokai Shu

Music/Composer

Mattijs ,Muller

Yan Pechuk

Tiny Music

Tenacious Orchestra

Jianan Chen

Bokai Shu

[mazhiyaozhao]

Annotated Bibliography

Zhiyao Zhao

 Research and Enquiry Module:7CTA1079

MA Animation 2018-2019

 Junjun PanJian J. Zhang,2011, Sketch-Based Skeleton-Driven 2D Animation and Motion Capture

pp 164-181 Part of the Lecture Notes in Computer Science book series (LNCS, volume 6758)

This paper presents a novel bone technique for 2D animation. It is based on 2D animation sketches and directly converts 2D into a 3D model under the animator's operation. There is no blunt feeling of traditional bone movements. The method consists of two parts, Part 1: 2D animation sequence generation and Part 2: Motion capture and retargeting. It preserves local geometric features and global regions. It reduces computational complexity and produces plausible results compared to existing methods. Because our technology is skeleton driven, we can capture the movement of joint positions by tracking them and repositioning them to new characters. This is a very beneficial technology for animators. Because he saves a lot of intermediate frames. This article is related to my practice. He proposed a new way to make it easier for the characters to move. This gives me a preliminary understanding of the character's action skeleton, but also allows me to master faster animation.

 Studio Ghibli,  Isao Takahata, Hayao Miyazaki ,2012 Studio Ghibli Layout Designs - Understanding the Secrets of Takahata-Miyazaki Animation

This book focuses on the production and behind-the-scenes of Hayao Miyazaki's animation. It introduces me to the importance of animation layout. Ghibli Studios showcases the strength of painting: from vast landscapes to detailed city details, from cookware Animals and plants have been well reflected in this book. They are a good source of research for selected angles and frameworks. At the same time, I also learned a lot of layout perspective methods (1, 2, 3 points disappear, isometric, fisheye or several , water distortion, etc.)

  Ed Ghertner ,2010,Layout and Composition for Animation

This book is an introductory book for beginners, and there is no formal animation learning. This book is full of examples of what combinations should look like and examples of poorly designed layouts. Through the Beauty and the Beast example and the Simpson character layout, he outlined how to arrange the animation workflow from start to finish. It also breaks the editing framework and performs parallax scrolling. I learned how to develop character layouts and background layouts, as well as a set of creative tools that use stunt examples and inspiring case studies to enhance writing styles. Finally, I provide some websites and some basic tutorials. I think he has greatly improved my basic animation composition and color layout.

  Susan J. Napier，2003 Anime: from Akira to Princess Mononoke, Experiencing Contemporary Japanese Animation

This book analyzes Japanese animations such as "Spirited Away", "Princess Mononoke" and "Akira". He pays attention to the influence of Japanese social environment on the creation of anime creators. He focuses on the different patterns of each animation (joy, tragedy, apocalypse, etc.). And based on identity theory and contemporary Japanese society to analyze it. In fact, the analysis of Japanese culture in this paper is more than the analysis of Japanese animation itself. But I understand why Japanese animation has a strong personal atmosphere. I know more about the history of Japanese animation.

 Peter Howell ,2009, CHARACTER VOICE IN ANIME SUBTITLES

Volume 14,  Issue 4 pp292-305

This article discusses some of the ways in which Japanese animated letters are translated into English. In the English subtitles of Japanese animation, there are two obstacles to rebuilding this function. From a textual point of view, the article describes how subtitle translation solves the character style of the character, focusing on Neil Nadelman's work in the movie "Firefly's Grave" ("Hotaru no Haka") and a single episode of two TV series, the revolutionary girl Utena ("ShōjoKakumeiUtena") and Slayers Try ("SureiyāzuTorai"), and David Fleming's work in the movie Akira ("Akira"). The first obstacle is the main pragmatic and sociolinguistic differences between Japanese and English, and the second is the technical limitation of subtitles as a translation model.

 Christopher Hart ，2002 Anime Mania: How to Draw Characters for Japanese Animation

This article discusses the reasons why Japanese animation is currently popular. It differs a lot from Western animation; heavy shadows, dramatic photographic angles and beautifully rendered effects, as well as exquisite A special painting used for waves, explosions, etc It explains and explains how Japanese animators draw information from modern fashion, create very rich animated characters and scenes, and express the role of storyboards in animation, sketch and character design art, as well as in miniseries of perspective. I think this article is closely related to my course. It introduces me to the development of Japanese animation, let me understand the evolution of Japanese anime style, and how to use modern popular information to work on my own.

 Priyanka Patel，Heena Gupta，Parag Chaudhuri，2016 Sketching 2D Character Animation Using a Data-Assisted Interface

This articleVISIGRAPP 2016: Computer Vision, Imaging and Computer Graphics Theory and Applications pp 135-152 introduces a system called "TraceMove". This is a software to help novice animation draw character motion animation. It can store human motion video in the form of frame in software, and store it as a painter in the form of outline suggestion, so that the artist can easily use software to draw the action and pose of the character. He also predicts the motion of the next animation and provides sketches that animators can edit as needed. Although the system is more for the help of novice, but I think he can help animators complete the middle frame of the character action. When I draw difficult movements, he can help me find characters faster, more accurately, more dynamically, more perspective.

 Joseph Gilland ，2009 Elemental Magic, Volume I: The Art of Special Effects Animation: The Classical Art of Special Effects Animation

This article describes the hand-drawn style of classical magic effects, how animators should deal with liquids, flames, smoke, explosions, and other magic. These chapters are divided into design concepts, discussion of scale and perspective, and then decomposition of energy, action paths and time sequences.

And explained some props, such as branches, leaves, plants, textiles and so on. Animation effects are basically animated energy. Throughout the book, there are many detailed explanations of how different elements and objects interact. I learned how to use hand-painted ways to reduce the difficulty of some difficult animation effects, such as the way of flame spray, the way of painting, etc.

  Tezuka Productions， 2003 Tezuka School of Animation, 1: Learning the Basics

This book tells the work of the famous Japanese artist Osamu Tezuka. From Osamu Tezuka's work, find out his description of the effects of weight, walking speed, dynamic movement and fire and water. He used his most famous character, Atong Wood, to guide the reader. This means that readers can learn some faster skills. By mastering the action, time, form and expression of the animated characters, the relationship between the animated characters and daily life is obtained.

 Chen MaoSheng Feng QinDavid Wright， 2007

Sketch-Based Virtual Human Modelling and Animation

pp 220-223

This article introduces a novel method and sketch interface for drawing 3D virtual characters or animations in the novice area. He developed a gesture method that makes 3D poses from 2D. He mimics the human perception system and transforms 2D sketches. For the 3D human form, the muscles and joints of the characters can also be imitated. And the system is also based on sketches of crowd animation and 2D multi-role interactive 2D storyboards.

[gerrymotion]

Threshold from Zhiyao Chen on Vimeo.

Personal short animation depicting different interior atmospheres and attempting to convey the experience of transitioning into a new space through an architectural threshold.

Visuals: Zhiyao Chen Music: Where Is My Mind by Maxence Cyrin (maxencecyrin.net)

Tools: 3ds Max / SpeedTree / Vray / Photoshop / AfterEffects Still frames: zchen.ca/works/threshold

[swanlake1998]

zhiyao chen photographed performing as juliet in septime webre's romeo & juliet by conrad dy-liacco

*(set in '60s hong kong)

[swanlake1998]

zhiyao chen and garry corpuz photographed performing in septime webre’s second movement by conrad dy-liacco

[swanlake1998]

daniel camargo and zhiyao chen photographed performing as the title roles in septime webre's romeo & juliet by tony luk and conrad dy-liacco

*(set in '60s hong kong)

[swanlake1998]

zhiyao chen and wei wei photographed performing as juliet and juliet’s father in septime webre's romeo & juliet by conrad dy-liacco

*(set in '60s hong kong)

[swanlake1998]

daniel camargo and zhiyao chen photographed performing as the title roles in septime webre's romeo & juliet by conrad dy-liacco

*(set in '60s hong kong)

[swanlake1998]

zhiyao chen photographed performing as the sugar plum fairy in septime webre’s the nutcracker by conrad dy-liacco

[swanlake1998]

zhiyao chen photographed performing as juliet in septime webre's romeo & juliet by tony luk

*(set in '60s hong kong)

[swanlake1998]

li lin and chen zhiyao photographed as the title roles for septime webre's romeo & juliet (set in '60s hong kong) by dean alexander

[swanlake1998]

zhiyao chen photographed performing in septime webre’s second movement by conrad dy-liacco

[swanlake1998]

zhiyao chen photographed performing as the title role in septime webre's alice (in wonderland) by conrad dy-liacco