VIEW 研討會將於 2015 年 10 月 19-23 日在義大利都靈登場
VIEW 研討會將於10月19-23日在義大利都靈展開。此次會議的策劃是要慶祝其第16年，有講座、小組討論會、研討會、傑出作品的獎勵，而今年，VIEW 研討會呈現了出色的主講嘉賓和演講者，是全明星豪華陣容。
“We are honored and thrilled to welcome these four amazing artists to Turin for the VIEW conference,” says Professor Maria Elena Gutierrez, director of the annual conference. “I know their presence will inspire our audience of students and professionals.”
「我們非常榮幸、興奮地歡迎這四個驚人的藝術家來到都靈的VIEW會場，」年度會議董事 Maria Elena Gutierrez 教授說。「我知道他們的出席將激發會議中學生和專業人士的聽眾。」
“We always try to bring an intriguing group of artists to Torino from all areas of the digital arts – 2D and 3D computer graphics, interactive media, digital cinema, animation, gaming, and visual effects,” Conference Director Gutierrez says. “Our speakers inspire each other and the attendees. I can promise you that in addition to the spectacular keynote speakers we’ve just announced, this year’s guest speakers will astound and delight everyone who attends. Look for that announcement soon.”
「我們總試著將來自各個數位藝術領域的藝術家聚集至都靈，成為一個有趣的小團隊– 2D 和 3D 電腦製圖、互動式媒體、數位電影、動畫、遊戲和視覺效果，」會議董事 Gutierrez 說。「我們的演講來賓彼此與參與者相互啟發。我可以向您保證，除了我們剛剛宣布的引人注目的主題演講者，今年的演講嘉賓將會讓參加的人驚喜。敬請期待近日的公告。」
從2000年開始的虛擬會議 (Virtuality Conference)，在 2007 年第八次會議更名為VIEW：虛擬互動新興市場 (Virtual Interactive Emerging World)。同時，會議的內容也因多年的發展而有所改變與發展。雖然重點仍是「虛擬實境」，VIEW 研討會現在納入新興的數位技術與應用，包括動畫、特效、虛擬架構和電動遊戲。(來源：維基百科)
通過講座、會議、表揚、展覽、放映和樣本展示，VIEW 已揭示數位的新領域，席捲了從電影到建築、從汽車設計到廣告、以及從醫藥到電動遊戲。
“VIEW Conference has contributed over these years to the development and the embedding of a network of public and private entities involved in digital technology and multimedia, which now represents a significant and strategic portion of the local economic development.”
「VIEW 會議在這些年對公共與私人實體網絡的發展與參與作出貢獻，納入數位技術與多媒體，在當地經濟發展占重大且策略性的一部分。」
VIEW 大獎 + VIEW 社群競賽 + VIEWFest 2015
VIEW 研討會主辦兩項年度競賽– 2015 VIEW 大獎和 2015 VIEW 社群競賽。另外，VIEW 研討會也主辦了 2015 VIEWFest數位電影展，更多資訊請洽此網頁。ViewFest粉絲頁面：https://www.facebook.com/VIEWFest-249444793780/timeline/
Mark Osborne – The Little Prince
Mark Osborne will take us through the intensely challenging creative process that he and his team underwent in adapting the iconic classic French literary masterpiece LE PETIT PRINCE for global audiences. The plan was to both pay tribute to and honor the poetic and much beloved work, but to also tell an emotional story of friendship revolving around the power of the book, and the imaginative world that opens up for every reader that has cracked its spine.
Mark Osborne將帶領我們走過極具挑戰的創作過程，他與他的團隊歷經了為全球觀眾改編知名經典法國文學名著《小王子》。該計劃同時讚揚並尊敬這個富有想像力且受大家喜愛的作品，但也講述一個以友情圍繞為力量的感性故事，且每位熟讀此書到滾瓜爛熟的讀者皆已開啓了這個想像世界。
A daunting task for all involved, the project became nothing short of a mission to protect the book, fueled by the individuals involved who have been touched by the book. Osborne’s own experience with the story guided him through this treacherous adventure, and he will share the insights, inspirations, accidents and risks taken along the way in the hopes that the movie could both celebrate and introduce new readers to the fantastic world that Saint-Exupery created more than 70 years ago.
對於所有參與來說，這是一項艱鉅的任務，企劃幾乎成為了保護這本書的使命，激起被這本書感動的參與者。Osborne 以自己與這本書的經驗，引導他通過這場變化莫測的冒險，他將分享為了能使這部電影同時慶祝且引領新讀者進入這個 Saint-Exupery 在 70 年前創立的奇幻世界中，這一路製作過程的見解、靈感、機遇、和危險。
Mark Osborne – Mark is a multiple award-winning director of a beloved animated feature film, recently directed the animated feature film version of a beloved novel. Osborne received Oscar nominations for directing the animated feature film Kung Fu Panda, and for the short animated film More. He also won an Annie award for directing Kung Fu Panda as well as many film festival awards. His latest film is The Little Prince, based on Antoine de Saint-Exupéry’s novel.
Mark Osborne – Mark 是個深獲喜愛的動畫長片的導演，獲獎無數，最近執導了心愛的小說的動畫電影。Osborne 因執導動畫電影「功夫熊貓」與動畫短片「More」而獲得奧斯卡提名。他還因執導「功夫熊貓」而贏得了 Annie Award與眾多電影節大獎。他的最新電影是根據 Antoine de Saint-Exupery 的小說「小王子」所改編的。
After initial screenings, the animated story of a pilot who meets a little boy from another planet received a 100% approval rating from critics tallied on the “Rotten Tomatoes” website. At VIEW, Osborne will pilot attendees through the challenging creative process he and his team underwent to translate the classic French story into an animated feature.
最初的放映結束後，這個飛行員遇見來自另一個星球的男孩的動畫故事，在「爛番茄」評論網站獲得 100% 的支持率。在VIEW，Osborne 將帶領觀眾至他和他的團隊將這經典法國故事變成動畫的富有挑戰的創作過程。
Randy Thom – The Peanuts Movie
Even as artists working in a collaborative medium we tend to wear blinders, focusing only on OUR craft, not appreciating that our dance partners have the potential to make our moves even more beautiful. So it is too often with visuals and sound. My presentation, “Teaching the Camera to Listen, from Apocalypse Now to Peanuts” is about enhancing visuals with sound, and enhancing sound with visuals. In truly great film sequences the images and the sounds become one thing.
即使身為在合作媒體中工作的藝術家，我們易於受限只注重於我們的手藝，而不欣賞我們的舞蹈合作夥伴有讓我們的動作更加美麗的潛能。因此，這情況往往發生在視覺效果與聲音的搭配上。我的演說「教導相機聆聽，從現代啟示錄到史努比電影」是關於加強視覺與聲音的相互合作。在真正偉大的電影系列中，圖像和聲音合為一體。
The result is a WOW experience that defies analysis, but that is exactly what we will do: analyze in detail how sound and image can work together to transcend the potential of either working in isolation. Using clips from a wide variety of films we will deconstruct the visual and sonic nuts and bolts that hold them together, and use those clues to build even better movies in the future.
成果是一個令人驚嘆、挑戰分析的經驗，但這正是我們將會做的：詳細分析如何使聲音與圖像可以一起合作以超越兩者單獨運作的潛力。使用來自各式各樣電影的影片，我們將解構把視覺與聲音抓在一起的螺母和螺栓，並利用這些線索在未來打造更好的電影。
Randy Thom – Randy is the Director of Sound at LucasFilm’s Skywalker Sound, received Oscar awards for Best Achievement in Sound Editing for Disney/Pixar’s The Incrediblesand for Best Sound for the live action feature film The Right Stuff. He has also received 14 Oscar nominations for sound and sound editing on live-action and animated films, and two BAFTA nominations.
Randy Thom – Randy 是LucasFilm的 Skywalker 聲音的音效總監，以迪士尼/皮克斯的「超人特攻隊」榮獲奧斯卡金像獎音效剪輯最佳的成就講，以及在真人電影部分獲得最佳音效獎。他還在真人電影與動畫片的音效與音效效剪輯方面獲得14項奧斯卡提名，和兩個BAFTA提名。
This year, Thom was supervising sound designer and supervising sound mixer for director Robert Zemeckis’s The Walk, supervising sound designer for director Guillermo del Toro’s Crimson Peak, and director Steve Martino’s animated film, The Peanuts Movie. In his keynote, titled “Teaching the Camera to Listen: From Apocalypse Now toThe Peanuts Movie, ” Thom will use film clips to deconstruct the visual and sonic “nuts and bolts” that hold films together, and show how to use sound to build better movies in the future. Fox/Blue Sky’s The Peanuts Movie releases in the US and Italy on November 6.
今年，Thom 在導演 Robert Zemeck的「The Walk」中擔任音效設計總監和混音總監，也在導演 Guillermo de Toro 的「Crimson Peak」和 Steve Martino 的動畫片「史努比」中擔任音效設計總監。在他的主題演講中，題目為「教導相機聆聽：從現代啓示錄到史努比電影」，Thom 將使用電影片段來解構將視覺和聲音綁在一起的「螺母和螺栓」，並展示未來如何用聲音來建立更好電影。Fox/Blue Sky 的史努比電影將於 11 月 6 日在美國與義大利上映。
Jorge R. Gutierrez – Every Picture Tells a Story
Gutierrez will take the audience on a wild 25 year journey from his Emmy winning student film, his first animated web series for Sony, various TV pilots for Disney, his Nickelodeon series “El Tigre, The Adventures of Manny Rivera” and end on his first feature film, “The Book of Life” for Reel FX and 20th Century Fox.
Gutierrez 將帶領觀眾至 25 年的旅程，從以學生影片贏得艾美奬開始，他的第一個 Sony 動畫網路連續劇、Disney 的多個電視試播集、他在 Nickelodeon 的連續劇「El Tigre, The Adventures of Manny Rivera」，最後以他第一個故事片 Reel FX 和 20th Century Fox 的「The Book of Life」作結。
Jorge R. Gutierrez – Jorge received an Annie nomination this year for directing the animated feature film The Book of Life, and an Annie for the character design in that film. Previously, he received a Daytime Emmy Award for the Nickelodeon animated television series “El Tigre: The Adventures of Manny Rivera,” as well as many Annie nominations for the series. At VIEW, during his talk titled “Every Picture Tells a Story,” Gutierrez will take attendees on a wild, 25-year journey by presenting work from his Emmy Award-winning student film, his first animated web series for Sony, TV pilots for Disney, his Nickelodeon series, and his first feature film. In doing so, the Mexican animator, painter, writer, and director’s journey will inspire all attendees whether students or professionals.
Jorge R. Gutierrez – Jorge 因執導動畫電影 The Book of Life 獲得安妮獎的提名，且因該片的角色設計獲得了安妮獎。先前，他因 Nickelodeon 的動畫影集 El Tigre 獲得了日間艾美獎，同時該劇也獲得許多安妮獎提名。他在VIEW的演講「每個畫面都述說一個故事」中，Gutierrez 將透過呈現他榮獲艾美奬的學生電影、他的第一個 Sony 網路動畫影集、迪士尼的電視試播片、他的 Nickelodeon 影集、以及他的第一個故事片，帶領觀眾進入一個狂野的 25 年的旅程。在此過程中，墨西哥動畫家、畫家、作家、和導演的旅程，將激勵所有與會者，不管是否為學生或專業人士。
Shannon Tindle – The Free and Challenges of Maing Google Spotlight Stories “ON ICE”
Shannon Tindle is the director of Google ATAP’S latest Spotlight Story, will share his experience telling a virtual story. How is it the same as conventional filmmaking? How is it different? He’ll share all the freedoms and some of the challenges of working in a new space.
Shannon Tindle是 Google ATAP最新矚目故事的導演，將分享他關於虛擬故事的經驗。虛擬故事和傳統電影是有多麼相像？又有多麼不同？他將分享在這新領域工作的所有自由與挑一些挑戰。
Shannon’s keynote address will lead directors, storytellers, and other VIEW attendees into a future that would have astonished Antoine de Saint-Exupéry. Tindle’s short sci-fi film “On Ice,” which premiered during Google’s Comic-Con panel, features a giant bear on ice skates. The 360-degree video designed for mobile devices allows people to explore all angles of the wacky story. It’s Google’s newest Spotlight Story and it uses a brand new SDK (software development kit). Before directing “On Ice,” Tindle was a character designer on three features, The Croods, Coraline, and Curious George and numerous television series and movies including Foster’s Home for Imaginary Friends,for which he received a Primetime Emmy.
Shannon 的演講將帶領導演、說故事的人、和其它 VIEW 的與會者進入未來世界，將使 Antoine de Saint-Exupery 感到驚訝。Tindle的短篇科幻電影「On Ice」在 Google 的動漫展首播，主題是一隻巨大的熊在冰上溜冰。為手機設備設計的360度影片，讓人們從各個角度探索這古怪的故事。這是 Google 最新的矚目故事，採用了全新的SDK (軟體開發組件)。在執導「On Ice」前，Tindle在三個故事片中擔任角色設計者：「古魯家族」、「好奇喬治」、與多個電視影集和電影，包含讓他獲得艾美奬的「親親麻吉」。
This is the second VIEW conference for keynote speaker Randy Thom who says,“Mixing the finest media artists on the planet with fresh Northern Italian white truffles, aged Barolo and Nebbiolo, and the ambience in Turin, ensures that the VIEW Conference this year is going to be delicious. I’ve experienced the VIEW once before, and I can’t wait to go back this year – Turin is fantastically beautiful in October! The VIEW presentations are great, and the conversations in the hallways, restaurants, and bars are exquisite. At the VIEW event, you can catch up on the latest in media art, and rub shoulders with some of the coolest people around. Yay the VIEW!”
主講人 Randy Thom 第二次參加 VIEW 研討會說：「將這星球上最優秀的媒體藝術家與新鮮的義大利北部白松露、陳年的 Barolo 和Nebbiolo酒、和氛圍都結合於都靈，今年的 VIEW 研討會保證美味。我過去曾參與過 VIEW 一次，而我今年已等不及再回來參加–十月的都靈是美不勝收啊！ VIEW 的展示非常龐大，在走廊、餐廳、酒吧的對話都很精彩。在 VIEW 的活動中，您可以得到最新的媒體藝術消息、與一些最酷的人們摩肩擦踵。VIEW 真是太棒了啊！
Dale Herigstad – Advanced Interaction Consultant, Co-founder, SeeSpace
Now living in London, Dale Herigstad spent 30 years in Hollywood as a Creative Director for motion graphics in TV and film. His mission has been to apply the principles of rich media design to interactive experiences. He began designing interfaces for Television more than 20 years ago, and was a founder of Schematic, which grew and merged with other digital agencies to later become the global agency POSSIBLE.
Dale Herigstad現在住在倫敦，在好萊塢花了30年在電視和電影動畫創意總監的工作上。他的使命一直是以豐富媒體設計的原則應用於互動式體驗。20 多年前，他開始為電視設計介面，且為 Schematic 的創始人之一，之後發展與其他數位機構機構合併成為全球代理 POSSIBLE。
Dale has developed a unique spatial approach to designing navigation systems for various screen contexts. He was a part of the research team that conceptualised digital experiences in the film “Minority Report,” and is now leading development in gestural navigation for screens at a distance. And as screens begin to disappear, Dale is focusing on navigation and display of information and graphics that are “off screen”. Virtual space and place are new frontiers of design.
Dale 為各種螢幕背景開發了一種獨特的空間方法來設計系統操作。他過去所待的研究團隊是將數位體驗在電影「關鍵報告」中概念化，而現在則領導開發螢幕前一定距離的手勢操縱。如同螢幕開始消失，Dale 著重於「關閉螢幕」操作與展示信息與圖像。虛擬空間和場所是新的設計領域。
He has an MFA from California Institute of the Arts, where in 1981 he taught the first course in Motion Graphics to be offered to designers in the United States. He served on the founding advisory board of the digital content direction at the American Film Institute in Los Angeles, and also was an active participant in the development of advanced prototypes for Enhanced TV at the American Film Institute for many years. Dale has 4 Emmy awards.
他有一個加州藝術學院的 MFA 學位，他在1981年在美國教授第一堂提供給設計師的動畫課。他曾在洛杉磯的美國電影協會創立數位內容領域的顧問委員會，同時也有在美國電影協會有多年經驗積極參與開發先進的加值型電視的原型。Dale 榮獲4座艾美獎。
More recently, Dale co-founded SeeSpace, which recently delivered its first product. InAiR places dynamic Web content in the space in front of the Television, perhaps the first Augmented Television experience. And Dale is now researching and developing the design methodology for navigating virtual information for AR and VR.
最近，Dale 共同創辦了SeeSpace，該公司最近發表了第一項產品。InAir在電視機前放置動態Web內容，也許是第一個電視增強體驗。Dale 目前為 AR 和 VR 研發操作虛擬訊息的設計方法。
Motion graphics and computer graphics have always been about objects in a space. As the world moves “beyond the screen”, interaction is more complex and requires greater levels of simplicity. I will show past and current experiments that explore how we can navigate these new spatial frontiers.
動畫和電腦製圖一直是與空間物體有關。隨著世界移動「超出螢幕範圍」，互動更加複雜，需要更高程度的簡化。我將展示過去和現在的實驗，探討如何操縱這些新的空間領域。
Henry LaBounta -Chief Visual Officer Zynga
Henry recently joined Zynga as Chief Visual Officer bringing together his 25+ years of entertainment experience in games, film visual effects, feature animation and television. Most recently Henry was at Microsoft Studios working with the Xbox One launch team and multiple internal game teams.
Henry 最近加入了Zynga擔任首席視覺長，匯集超過25年的遊戲娛樂經驗、電影視覺效果、故事動畫及電視。最近 Henry 在微軟工作室與Xbox One 上市團隊和多個內部遊戲團隊一起工作。
Henry started in games as a Senior Art Director on “SSX3″ and wrapped up his work at EA art directing “Need for Speed Hot Pursuit” at Criterion Games. Henry’s game contribution credits include “Skate”, “Skate 2″, “NBA Street”, “Need for Speed Hot Pursuit 2″, “Need for Speed Most Wanted”, “Burnout Paradise” and many EA Sports games. Henry is also the Chairman of the board of the San Francisco ACM SIGGRAPH chapter.
Henry 在「SSX3」中以資深藝術總監作為踏入遊戲領域的開端，並完成在 EA藝術指導Criterion Game 的「Need for Speed Hot Pursuit」的工作。Henry 在多款遊戲中有所貢獻包括「Skate」、「Skate 2」、「NBAStreet」、「Need for Speed Hot Pursuit 2」、「Need for Speed Most Wanted」、「Burnout Paradise」、以及許多EA的體育遊戲。Henry 也是ACM SIGGRAPH舊金山分會的董事會主席。
Henry began his career in New York doing animation work for commercials and network television before moving to film visual effects and feature animation. At PDI/DreamWorks Henry was Visual Effects Supervisor for the Steven Spielberg films “Minority Report” and “A.I.”. His filmography includes “Mission Impossible 2″, “The Prince of Egypt” and at Industrial Light & Magic “Star Trek VII Generations”, “Casper” and “Twister” for which he won a BAFTA award and was nominated for an Academy Award for Best Visual Effects.
Henry 在紐約以廣告和網路電視的動畫開啟了他的職業生涯，爾後轉移至電影的視覺效果和故事動畫。在PDI/夢工廠，Henry 是 Steven Spielberg 的電影「關鍵報告」和「人工智慧」的視覺效果總監。他的影片錦集包括「不可能任務2」、「埃及王子」，以及在 Industrial Light & Magic 的「星艦迷航 VII 日換星移」、「鬼馬小精靈」，且「龍捲風」餵他贏得了 BAFTA 獎項，並獲得奧斯卡最佳視覺效果的提名。
Alessandro Carloni – Director Dreamworks
Alessandro Carloni is currently directing DreamWorks Animation’s Kung Fu Panda 3, the follow-up to the Academy Award®-nominated feature films Kung Fu Panda and Kung Fu Panda 2. While at DreamWorks Animation, Mr. Carloni has worked on many feature films including: 2014’s How to Train Your Dragon 2 (as co-head of story), 2011’s Kung Fu Panda 2 (as story artist), 2010’s How to Train Your Dragon(as head of story), 2008’sKung Fu Panda (as supervising animator and story artist), 2006’s Over the Hedge (as story artist and animator) and 2003’s Sinbad: Legend of the Seven Seas (as animator).
Alessandro Carloni目前執導夢工廠的「功夫熊貓3」，是奧斯卡獎提名故事片「功夫熊貓」和「功夫熊貓2」的續集。雖然是在夢工廠動畫，Carloni先生曾在許多故事片有所貢獻，包括2014年的「馴龍高手2」 (共同故事領導者)、2011的「功夫熊貓2」 (故事版繪師)、2010的「馴龍高手」 (故事領導者)、2008 的「功夫熊貓」 (作為動畫監督和故事版繪師)、2006的「森林保衛戰」 (故事版繪師與動畫師) 和 2003 的「辛巴達：七海傳奇」(動畫師)。
Before DreamWorks Mr. Carloni worked in leadership roles in various media and numerous studios all over the world: he worked in Denmark as an Animation Supervisor and Sculptor for the feature film A Fish Tale, in Germany he was the lead animator for the Warner-Brothers affiliated studio Munich-Animation where among other projects he Co-directed and was the Animation Director for the Short film The Shark and the Pianowith his friend Gabriele Pennacchioli, a film that went on to win over 15 awards at festivals world wide.
在夢工廠工作之前，Carloni先生曾在各種媒體與世界各地無數個工作室中扮演領導角色：他曾在丹麥為「A fish Tale」擔任動畫總監與Sculptor；在德國，他是華納兄弟旗下的 Munich-Animation 工作是的首席動畫師，其中除了他共同執導的其他項目，他還和他的朋友 Gabriele Pennacchioli擔任短片「The Shark and the Piano」的動畫總監，該片持續在全球各地的影展中贏得了超過 15 座獎項。
In Italy, France and England Mr. Carloni directed numerous Commercials and Music Videos for international stars, among which he co-created the Music Video for BustahRymes and Mariah Carrey You Know I Got It, which was nominated for an MTV award for best Rap video of the year.
Carloni先生在義大利、法國和英國位國際巨星執導了大量商業廣告和音樂錄影帶，其中包括他與別人共同製作BustahRymes和瑪麗雅凱莉的「You know I Got It」的音樂錄影帶，這被提名為MTV年度最佳饒舌音樂影片。
ILM – 40 Years of Creating the Impossible
Presenting by Ben Snow, Lorne Peterson, Tim Alexander. For 40 years, Industrial Light & Magic has set the standard for visual effects, creating some of the most memorable images in the history of modern cinema.
由 Ben Snow、Lorne Peterson、Tim Alexander 呈現。40年來，Industrial Light & Magic 已為視覺效果設定一個標準，在現代電影史中創造一些最難忘的影像。
From advances in the photo-chemical process, optical compositing, motion control, and models and miniatures, to the company’s pioneering efforts in computer graphics, digital compositing, film scanning and recording, morphing, digital environments, performance capture, character animation and modern digital pipelines, ILM consistently breaks new ground in visual effects for film, television, themed attractions, and new forms of entertainment. The presenters discuss the company’s work from its earliest days and breakthroughs along the way.
從光化學過程中的進展、光學合成、運動控制、和模型與迷你模型，到公司在電腦繪圖、數位合成、底片掃描和錄製、變形、數位化環境、表演捕捉、人物動畫和現代數位管道，ILM一貫地在電影、電視、主題景點、以及新娛樂形式的視覺效果中開闢了新天地。主持人從早期開始討論公司的工作，並搭配討論公司的突破。
The Park is Open: Journey to “Jurassic World” with Industrial Light & Magic
Presenting by Glen Mclntosh and Tim Alexander – In 1993 ILM brought living, breathing dinosaurs back from extinction, a move that would help shape the future of cinema itself. Steeped in the Jurassic franchise, the ILM panelists share the advanced on-set visualization tools used during production and the new visual effects techniques developed for modeling and texturing, environment creation, and advanced motion capture retargeting technology that allowed ILM to breathe life into “Jurassic World”, the latest installment directed by Colin Trevorrow.
由 Glen Mclntosh和 Tim Alexander –在 1993 年，ILM將活生生、有呼吸的恐龍從滅絕時代帶回來，此舉將有助於塑造電影本身的未來。沉浸在侏羅紀連鎖企業中，ILM小組成員共享製造過程中所使用的先進初期可視化工具，以及為模組與結構所開發的新視覺特效技術，環境創造，與先進的動作捕捉再導向技術，讓ILM活在「侏羅紀世界」當下，由 Colin Trevorrow執導的最新一集。
Avengers: Age of Ultron, Hulk, Vision and the gang
Chris Townsend is VFX Supervisor for Avenger: Age of Ultron. Chris is going to talk about the design, development, and implementation of some of the key characters in Marvel’s Avengers: Age of Ultron. Some of those characters, like Hulk, have been on screen before, so this will show how we have taken what we’ve learned, and how we’ve developed him further.
Chris Townsend 是「復仇者聯盟：奧創紀元」的視覺特效總監。Chris 將要談談設計、開發、與完成漫威的「復仇者聯盟：奧創紀元」的關鍵角色。其中一些角色，如綠巨人浩克，過去一直在銀幕上，所以這次將展示我們如何採取我們所學的，且我們如何更進一步地開發他。
Others, like Pietro, Wanda and Vision, are new to the Marvel Cinematic Universe, and the processes of creation are as unique as the characters themselves. Special attention will be paid toward the title character in the film, Ultron, where I will delve into his origins, his intelligence, and how he goes from his broken down initial incarnation, to his ultimate development as Ultron Prime.
其他如快銀 (Pietro)、緋紅女巫 (Wanda) 和幻視，是漫威電影宇宙的新角色，和創造的過程如其他角色一樣，本身都是獨一無二的。我們將特別注意片名的角色–奧創，在此我將深入探索他的出身、智力，以及他如盒從他最初壞去的化身，最終發展成為終極奧創。
Game On! The VFX Behind Pixels
Daniel Kramer, VFX Supervisor at Sony Pictures Imageworks. Daniel will discuss Sony Imageworks’ contributions to the film “Pixels”, from realistic environments to the creation of “voxelated” game characters and stylized destruction. Pixels provided the unique opportunity to integrate distinctly non-photoreal characters and effects into live action photography and he’ll go into detail exploring the creative and technical challenges the team faced along the way.
Daniel Kramer 是 Sony 電影公司的視覺特效總監。Daniel 將從現實環境到創建「立體像素排列」的遊戲人物與格式化的破化。「世界大對戰」提供了獨特的機會，將顯然是非照片般逼真的人物和效果融入實景拍攝，他將詳細探討團隊在一路上所遭遇的創意和技術挑戰。
Night at the Museum: Secret of the Tomb
Veteran VFX Supervisor Erik Nash will be attending the annual View Conference in Turin, to reveal the magical VFX work behind Night at the Museum: Secret of the Tomb.
資深視覺特效總監 Erik Nash 將參加在都靈舉辦的年度 VIEW 研討會，揭開博物館驚魂夜 3 的幕後神奇視覺特效。
Directed by Shawn Levy, the third instalment of Night at the Museum had more than 1240 VFX shots, with Nash overseeing the work of studios including MPC, Cinesite and Digital Domain.
博物館驚魂夜第三集已有超過1240個特效鏡頭，由 Shawn Levy 執導與 Nash 監督包含 MPC、Cinesite和 Digital Domain 等工作室的工作。
In this talk, Nash will give an overview of the varied VFX work created for the movie, including creating the numerous creatures which come to life in the British Museum, miniatures for the Youtube sequence and the FX work required for the Planetarium scene.
在這次演講中，Nash 將概述位電影創建的各種視覺特效工作，包含創造無數個在大英博物館復活的角色、為Youtube連續鏡頭設立的迷你模型、以及為了天文館場景所創造的特效。
STEVE EMERSON, Visual Effects at Laika. Steve joined LAIKA in 2008. His diverse background in visual effects is highlighted by his work as Co-VFX Supervisor on The Boxtrolls.
STEVE EMERSON是Laika的視覺效果。Steve 在 2008 年加入萊卡。他在視覺效果多樣的經歷，因身為 The Boxtrolls的 Co-VFX 總監而顯得突出。
As a supervisor, compositor and technical director, he has contributed to a number of feature films including: Paranorman, Coraline, The Matrix Revolutions and Transformers.
身為一個總監、排版和技術導演，他曾參與一些長篇電影如：派拉諾曼：靈動小子、第十四道門、駭客任務完結篇：最後戰役、和變形金剛。
ABOUT LAIKA: Founded in 2005, Oregon-based LAIKA is an animation studio specializing in feature films. Travis Knight serves as President and CEO of the company, which is owned by Nike co-founder and Chairman Philip H. Knight. Highlighting the artistry of award-winning filmmakers, designers and animators, LAIKA has produced three Oscar-nominated stop-motion movies: Coraline (2009), ParaNorman (2012) and The Boxtrolls (2014) as well as the all-CG short Moongirl (2005).
關於LAIKA：成立於2005年，以俄勒岡州為總部的 LAIKA 是一間專門負責故事電影的動畫工作室。Travis Knight擔任公司的總裁與執行長，該公司是由 Nike 的聯合創始人兼董事長Philip H. Knight所擁有。屢獲殊榮的電影製作人、設計師和動畫師而有突出的藝術性，LAIKA 制作了3部奧斯卡提名的逐格動畫短片：第十四道門 (2009 年)、派拉諾曼：靈動小子 (2012 年)、和怪怪箱 (2014 年)，同時還有全電腦繪圖短片Moongirl (2005年)。
Scott Carroll, Supervising Animator at Blue Sky Studios. Scott is Bringing the iconic characters of Charles Schulz’s beloved comic strip “Peanuts” to life in CG was an exciting and unprecedented opportunity for the creative and technical teams at Blue Sky Studios. To begin the development process, a small group of artists, along with director Steve Martino decided on two key elements that would affect the outcome of the film’s aesthetic: the design and animation style.
Scott Carroll是 Blue Sky Studios 的動畫監督。Scott 將 Charles Schulz 心愛漫畫「史努比」的知名人物帶入電腦繪圖，對 Blue Sky 工作室的創意和技術團隊而言，是相當令人興奮且前所未有的機會。在開始發展的過程，一小群藝術家，和導演 Steve Martino 決定兩個將影響到電影美學成果：設計與動畫風格。
Scott Carroll, Animation Supervisor, will discuss these style choices, the artistic and technical challenges they presented for the studio’s production pipeline and how the Blue Sky team brought the classic pen lines of Charles Schulz to the big screen.
動畫總監Scott Carroll將討論這些風格的選擇、為工作室流程所呈現的藝術與技術挑戰、以及 Blue Sky 團隊如何將 Charles Schulz 的經典之筆帶至大螢幕。
Michael Kurinsky is Production Designer at Sony Pictures Animation. Michael shares insights on how the unique style of the original “Hotel Transylvania” guided the creation of a brand new world in this second fangtastic adventure.
Michael Kurinsky是 Sony 電影動畫的製作設計師。Michael 分享觀點關於「尖叫旅社」的原風格是多麼的獨特，在第二場奇妙冒險中帶領創造全新的世界。
Kim White, Director of Photography – Pixar Animation Studios. Kim will be discussing the lighting of Inside Out. Inside out provided some unique lighting opportunities. The movie had two distinctly different worlds to light, the familiar human world and the fantastical world of the mind.
Kim White 是皮克斯動畫工作市的攝影指導。Kim 將討論「腦筋急轉彎」的燈光。「腦筋急轉彎」提供一些獨特的燈光機會。該電影有兩個截然不同的世界燈光，熟悉人類世界與心靈的幻想世界。
The main character, Joy, was herself a light source, something we had never attempted in a Pixar movie. In this presentation I will talk about the creative vision for the lighting of Inside Out along with the artistic challenges we encountered as we lit the movie.
主角是歡樂，自己便是光源，這是我們在皮克斯電影中從未有過的嘗試。在這場演講中，我將談談「腦筋急轉彎」燈光的創意構想，搭配著我們在電影中照明時所遭遇的藝術挑戰。
Presented by Richard Starzak and Paul Kewley – Richard Starzak and Paul Kewley will explain how Aardman Animations took their multiple Emmy award winning TV series SHAUN THE SHEEP from seven minute episodes to a feature film.
主講人 Richard Starzak與 Paul Kewley– Richard Starzak與 Paul Kewley將解釋Aardman Animation 如何將榮獲多座艾美奬的電視劇 SHUAN THE SHEEP 從一集七分鐘的篇幅變成故事電影。
Remaining true to the existing format and telling a universal story with no recognisable dialogue proved a huge challenge, but one which everyone involved in the movie embraced with open arms. The result? A film that has punched way above its weight around the world.
忠於現有的格式、講述個一般的故事、沒有可以辨認的對話，證明是一個巨大的挑戰，但涉及電影的每個人張開雙臂擁抱。結果呢？這部片早已在全球以小博大地展開旋風。
Presented by Jason Reisig ( Head of Character Animation – Dreamworks ) If you’ve seen one Post-apocalyptic-alien-invasion-buddy-road-movie, you’ve seen them all, right? Well, forget everything you know about those movie archetypes. The Head of Character Animation of HOME, Jason Reisig, will present how they solved the challenges of making alien invaders cute and likable.
由Jason Reisig (夢工廠的角色動畫總監) 所呈現。如果你看過一個大滅絕後加上外星人入侵加上搭檔加上公路的電影 (Post-apocalyptic-alien-invasion-buddy-road-movie) ，那麼你就已經看過全部了，對吧？恩，請忘了你對這些電影原型所知的一切。「好家在一起」的角色動畫的負責人 Jason Reisig將告訴大家他們是如何解決挑戰使外來侵略者可愛又討人喜歡。
How can a post-apocalyptic world be fun and friendly? What would make advanced alien technology devastating yet silly? In addition, he’ll cover the complexity behind “simple” alien characters who have 6 legs and whose look/color was controlled by animation and challenges with a young girl who uses her constantly changing hairstyles to express her character arc.
大滅絕後的世界怎麼可以這麼有趣、親切？是什麼讓先進的外星科技具毀滅性卻又很傻？此外，他將討論由動畫控制外觀/顏色的 6 條腿「簡單」外星人物誰背後的複雜性，以及一個年輕女孩使用她不斷變換的髮型表現角色轉折的挑戰。
Presented by Glenn Entis( Computer Animation and Video Game Pioneer ) Pacific Data Images was a pioneering computer animation studio, and when it finally shut its doors in January 2015, it had been in continuous operation for almost 35 years, making it one of the oldest CG studios in the business.
由 Glenn Entis呈現 (電腦動畫和電玩先鋒) Pacific Data Images 是首創的電腦動畫工作室，當它終於在 2015 年 1 月結束時，它已連續營運了近35年，成為業界最古老的電腦繪圖工作室。
Beginning with flying logos for television, PDI left behind a memorable catalog of commercials, music videos, special effects, and award winning feature films such as Antz, Shrek (and its sequels), Madagascar (and its sequels), and many others.
從電視的飛行商標開始，PDI留下許多令人難忘的廣告、音樂影帶、特效，和屢獲殊榮的故事片，如小蟻雄兵、史瑞克(和續集)、馬達加斯加 (和續集)，還有許多其它精彩的片子。
How did it start, why did it thrive, why did it last so long as competitor after competitor folded, what was the PDI spirit that brought out the best in people and generated a legendary legacy of community and teamwork? Join Glenn Entis, one of the 3 co-founders of PDI, for a rare, candid discussion of the stories behind the studio.
這是如何開始的？它為何茁壯成長？在競爭者失敗後，為什麼還能以競爭者的身份維持這麼長的時間？究竟這股出版人類中最優秀的東西並創造社會和團隊的傳奇遺產的PDI精神是什麼？參加 PDI 三位聯合創始人之一的 Glenn Entis的座談，將有關於工作是背後故事的坦誠討論。
David Misch( Author and Comedian – Mork& Mindy, Saturday Night Live ) is the author of “Funny: The Book / Everything You Always Wanted To Know About Comedy” and is also a playwright, songwriter, blogger, teacher and recovered stand-up comic, and has lectured at Columbia University, Oxford University, the Smithsonian, the University of Sydney (Australia), the VIEW Cinema Conference (Torino, Italy), the Burbank Comedy Festival, USC, UCLA and AFI. Too much more at davidmisch.com, not to mention (yet here I am mentioning) funnythebook.com, funnythebook (Facebook) and @funnythebook (Twitter).
David Misch (作者和喜劇演員–Mork& Mindy、週六夜現場) 是《有趣：你一直想知道有關喜劇的一切的書》的作者，同時也是一個編劇家、作曲家、部落客、教師、和博客，教師和脫口秀，並任教於哥倫比亞大學、牛津大學、史密森尼學會、雪梨大學 (澳洲)、VIEW 電影研討會 (都靈，意大利)、伯班克喜劇節、南加州大學、加州大學洛杉磯分校和AFI。還有更多詳情，請至davidmisch.com，更不用說 (但我仍在此提及) funnythebook.com、funnythebook (臉書) 和@funnythebook (推特)。
Among David Misch’s TV and movie credits are the Emmy-nominated “Mork& Mindy”, the Emmy-losing “Duckman”, the Emmy-engorged “Saturday Night Live”, and the Emmy-ineligible “The Muppets Take Manhattan”.
在David Misch曾參與過的電視和電影中，有艾美獎提名的「Mork& Mindy」、角逐艾美奬失敗的「Duckman」、艾美奬獲獎無數的「週六夜現場」、和未獲艾美獎提名的「The Muppets Take Manhattan」。
Michael Rubin ( Creative Technologies Lab Adobe Systems ) has been a photographer for more than 35 years. His entrepreneurial work has spanned publishing, consumer retail, entertainment media and technology industries.
Michael Rubin (Creative Technologies Lab Adobe Systems)已當了超過 35 年的攝影師。他的創業成果已跨越出版、消費零售、娛樂媒體和技術產業。
His career highlights include product positions at Lucasfilm and Netflix, and with post production roles on a number of television and film projects, including the CBS miniseries “Lonesome Dove” and the Bertolucci feature film, “The Sheltering Sky.”
他的職業生涯重點包括盧卡斯電影公司和Netflix，並擔任多家電視和電影企劃的後治角色，其中包括CBS電視劇「Lonesome Dove」和Bertolucci故事電影「The Sheltering Sky」。
Rubin is also the author of a dozen textbooks, primarily on digital filmmaking, and a history of Pixar and Lucasfilm, Droidmaker.
Rubin 也是十多本教科書的作者，主要關於數位電影與皮克斯和盧卡斯電影公司、Droidmaker的歷史。
Most recently he is an accomplished fine art photographer as well as the director of an historic collection of 20th century photography. For the past 3 years he has been a Senior Innovator at Adobe, developing future media products.
最近，他是一個多才多藝的藝術攝影師，同時是20世紀攝影的歷史收藏的主管。最近3年以來，他擔任Adobe公司的資深創新者，培養未來的媒體產品。
Content & Image Source: VIEW Conference, Wikipedia
