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    The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

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    • 在爱死机第三季专楼看到有人问Jibaro的导演和蜘蛛侠平行宇宙的制作组有什么关系,感兴趣去搜了搜,发现还挺有东西可写的。
      先介绍一下Alberto Mielgo,他是一位来自西班牙的动画艺术家,从担任迪士尼出品的动画《创:崛起》的艺术指导为人所知,到爱死机第一季第三集The Witness通过光怪陆离的独特风格给所有观众留下了深刻的印象,我也是那个时候开始关注他的。2021年他凭借The Windshield Wiper夺得奥斯卡最佳动画短片,算上之前的还拿了四座艾美奖和两座安妮奖。这次Alberto Mielgo携Jibaro再次出现在爱死机第三季,又一次通过近乎癫狂的艺术风格吸引了所有观众的注意。

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      就是右边这位老哥

      Alberto Mielgo作为艺术指导很早就加入了蜘蛛侠平行宇宙,主要负责早期概念设计,但之后在制作中途被索尼解雇。这一段经历后来被他写在他的个人网站上 链接,我渣翻完才发现很早以前就有人翻译过了

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙这个被索尼开除的艺术总监,到底什么来头?

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      在成片中,Alberto Mielgo作为Visual Consultant“视效顾问”出现在片尾字幕中

      下面是我的翻译:

      Please allow me to explain about my mysterious roll in Sony´s “ In to the spiderverse” film as a "Visual Consultant"
      3 years ago ( or a bit more? ) I was hired by Sony as the Production Designer / Art Director ( I always much prefer the sound of Art Direction than Production Design, despite the status or hierarchy ) and I was also contracted to direct a little clip that will ended up been called: "the animation test".
      Very early, So early that I had an entire empty huge massive 2nd floor just for myself, and it was like that for few months. No Directors or Producer was attached to the film at that point yet.

      请允许我解释一下我在索尼公司出品的《蜘蛛侠:平行宇宙》中担任的“视效顾问”这一奇怪职位。
      大概3年前(或者更久?),我被索尼公司聘请为制作设计师/艺术指导(尽管地位或等级不同,但比起“制作设计师”我更喜欢被叫做“艺术指导”),同时我也被委托执导一个最后被称为“动画测试”的小片段。
      我被聘请的时间非常早,早到最初整整几个月的时间里,一整个空荡荡的巨大二楼只属于我一个人。那时候还没有导演或制作人员参与到这部电影中来。

      My main goal at first was to explore the world, the comics , the past of Spiderman, the cinematography, the language, the style, the possibilities. To set the most amazing thing ever, basically.
      Something that either accidentally or on purpose I always want to do in my projects is to brake the repetitive and very succesful “look” and pipeline that all the big Giants Corps in animation had been smashing in our faces for the last decade, up to a point that is dificult to diferenciate who did what.
      Successfully achieved in early projects like “The Beatles Rock Band” , my Pinkman videos or later on with “Tron Uprising” . But this requires openess and colaboration.

      我最初的主要目标是探索这个世界、这部漫画、蜘蛛侠的过去、摄影手法、不同题材的语言、作品风格和各种各样的可能性。简单来说,就是要设计最令人惊奇的设定。
      在我的项目中,我总是有意无意地想做一些事情,那就是打破过去十年来所有动画界的巨头公司砸在我们脸上的重复的、非常成功的“外观”和套路,以至于你很难区分谁到底做了些什么。
      在我的早期作品中,如“The Beatles Rock Band”、我的Pinkman视频和后来的《创:崛起》,我都成功地实现了这一点。但这需要开放性和协作性。

      As soon as I got hired I worked super hard 7 days a week and hell of hours per day from day one. Painting, Drawing, Designing and Story Boarding. SONY responded amazingly with the first images and animatics.They were real happy. I felt powerful, super confident partially because I was doing good hard work but also partially because Sony made me feel that way.
      Sony was generous and open to anything. Everything I asked it was given to me. We hired my dream team : ALL my favourite artist and long time collaborators. ( Vaughan Ling ( heavypoly ), Yun Ling, Neil Ross, Craig Mullins, Beeple, Peter Chan, Jesus Alonso Iglesias, Wardelight, Robh Ruppel, Raffaello Vecchione ) They got me an Spiderman suit ( …for my references for the character… ) and trips to New York with a great location scout whom took me in to definitely NONE public super restricted areas to take million of photos and feel what must be to be Spiderman. HELL of Vertigo I must say, HOLLY FUCK. Getting up there and loosing myself around NewYork with my camera in search of locations was with no doubt some of the most amazing times on my career so far.
      Anyway, Sony very much allowed me all my eccentricities.

      从我被聘用的第一天起,我就非常努力地每周工作7天,每天工作数小时。画图、上色、设计和画分镜。索尼公司对我初期制作的图片和动画的反响非常好,他们非常满意。我也感到充满了活力和自信,部分原因是我努力工作而且结果很好,也有部分原因是索尼的肯定让我有了这种感觉。
      索尼很慷慨,对任何事情都很开放。我所要求的一切都得到了满足。我们聘请了我梦想中的团队:所有我最喜欢的艺术家和长期合作者(包括Vaughan Ling (heavypoly), Yun Ling, Neil Ross, Craig Mullins, Beeple, Peter Chan, Jesus Alonso Iglesias, Wardenlight, Robh Ruppel, Raffaello Vecchion)索尼给我买了一套蜘蛛侠的衣服(…为我的角色做参考用的…),还让我和一个厉害的采景员一起去了纽约。采景员带我去了完全没有任何公众的绝对禁区,我拍了无数张照片并体会到了是什么样的环境铸就了蜘蛛侠。我必须说,那地方简直是个迷魂阵,**刺激。在那里,我带着我的相机在纽约四处寻找取景地点,毫无疑问,这是我职业生涯中最令人惊叹的时光之一。
      总之,索尼公司对我所有的古怪行为都非常宽容。

      The animation test ended up just few clips to explore the technique and the style.
      Again Sony 5 Starts gave me full most luxurious team of super high profile technicians, artist, software , hardware, animators, 3D artists and modelers. People with lots of patience that didn’t understand very much what I had in my brain at first. But together and thousends of paintings , layers , renders and hell amount of art we all develop the most spectacular 3 or 4 shots I ever seen. ( at least at the time ) I hope Sony will publish them some day. ( And hope they dont give me an "Advisor" Credit for that…! )

      在用几个片段来探索技术和风格后,动画的测试阶段就结束了。
      五星索尼公司再次为我提供了由超高水准的技术人员、美工、软件、硬件、动画师、3D美工和建模师组成的最豪华的团队。这些人都很有耐心,虽然他们一开始并不理解我的想法,但是我们一起完成了数千幅绘画、图层、渲染和大量的艺术作品,制作出了我所见过的最壮观的3到4个镜头(至少在当时看来)。我希望索尼有一天能把它们放出来(希望索尼不要在那些镜头里还给我按一个“顾问”的名头了)。

      Sorry this is getting too long.
      At this point of your reading you provably figured out that I get fired some time in this story.
      After almost 2 years ( or year and 1/2 ) I guess Sony and me didnt get along that well and I was fired . Where the decision came from or where it was initiated is still a mystery. This was very much a painful surprise for me and my team and many others. We had mostly technical and style discrepancies but I didn’t know they were so major. The way I wanted to do things and the way Sony wanted to do things, at least at the time, were different.
      I think it was really difficult time for Sony too.
      As a very intense and eccentric artist that I am, I rented a U-haul , emptied my office in few hours, left the building as quick as I could and pretty offended unfriend every one in facebook!!!!!!. ( This now explains my raging post back in December 2017 with the release of the first animation teaser . I hope this answers your questions, I will not delete that post, but I apologies if I disrespect the artists involved on such a piece of animation. )

      抱歉,这篇文章写得有点太长了。
      当你读到这里时,你也许会发现在这段故事的某个时间,我被解雇了。
      经过近两年(或者一年半)的合作之后,我想索尼和我相处的没有那么好,于是我被解雇了。这个决定从何而来或从何开始,仍然是个谜。这对我和我的团队以及其他许多人来说都是一个非常痛苦和震惊的消息。我们主要在技术和风格上存在差异,但我不知道差异原来如此之大。我想做的事情和索尼想做的事情,至少在当时,是不同的。
      我认为这对索尼来说也是一段非常困难的时期。
      作为一个非常尖锐和古怪的艺术家,我租了一辆搬家卡车,在几个小时内清空了我的办公室,以最快的速度离开了大楼,并在facebook上删除了所有人的好友!!!(这也解释了我在2017年12月这部动画的第一个预告公开时怒发一贴。我希望这能解答你的疑问,我不会删除那个帖子。如果我冒犯了其他参与到这样一部动画的艺术家,我感到十分抱歉。)

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      Alberto Mielgo发帖怒喷

      It was very hard time. Specially because I had to leave all my artists , all my art, lots of painting tutorials and all my ideas behind. If you are an artist you can imagine the feeling.
      Other artists , other directors and art directors and production designers join the team. A difficult task for all of them. Brave people with new energy ready to continue what I left.
      I want to congratulate absolutely everybody, my original team and the huge amount of artist that came after. Everybody, Artist, Producers and Technicians. My original vision for sure could had been a different film. Worst film or better film, thats not important. A film, same a life, has many possible futures. The movie in fact talks about dimensions. Thats very much my point. The film I imagined happily lives in another dimension.
      And I can feel they were all very inspired from that early vision, the initial base.

      那是一段非常艰难的时光。特别是我不得不离开我一手组建的团队,我所有的艺术创作,许多绘画材料和我所有的想法。如果你是一个艺术家,你可以想象这种感觉。
      其他艺术家、其他导演、艺术指导和制作设计师加入了这个团队。对他们所有人来说这都是一项艰巨的任务。充满新活力的勇敢的人们准备好继续我未竟的事业。
      我想祝贺每一个人,包括我的原始团队和许多后续加入的艺术家。每一个人,每一名艺术家、制作人员和技术人员。如果按我最初的设想肯定会有一部不同的电影诞生。也许是最差的电影,也许是更好的电影,这并不重要。一部电影和一个生命一样,都有许多可能的未来。这部电影实际上就是在探讨多维宇宙。这也是我的观点。我心中的电影正快乐地生活在另一个维度里。
      而且我可以感觉到他们都是从我创作的早期设想,那个最初的基础上得到的灵感。

      Believe me Im not trying to claim any authorship because this film has many authors: hundreds of artists, producers, animators, 3 directors, modelers, groomers, shaders, 2D artists, Storyboard artists, writers, assistants, in resume HUGE AMOUNT of brains creating a brave pipeline…
      Please keep in mind that when I left : STILL THERE WAS A FULL MOVIE to be made !
      Animation is so collaborative and inclusive. More than any art that I know. Everybody are all authors and responsibles of this film.
      I know so well that this film hasn´t been easy . Was not easy when I was there, was not easy when I left. More than 100 minutes of animation are a lot of minutes.
      And the film preserves the most important part: To create something different from what we generally see in mainstream animation.

      相信我,我并不是要宣称自己是原创作者,因为这部电影有很多创作者:数百名艺术家、制作人员、动画师、3名导演、建模师、渲染师、上色师、2D艺术家、分镜师、剧本作者、助理,总之许许多多智慧的头脑创造了一个伟大的作品…
      请记住,当我离开的时候:仍然有一整部电影要去制作!
      动画制作是如此充满协作性和包容性。比我所知的任何艺术都要好。团队中的每个人都是这部电影的创作者和责任人。
      我清楚地知道,制作这部电影并不容易。我还在那里时就不容易,我离开时也不容易。100多分钟的动画背后需要无数的时间。
      而这部电影保留了最重要的部分:创造一些与我们在主流动画中总看到的不同的东西。

      Sorry I was long. I just wanted to explain about this weird Visual Consultant credit that I ended up having in the film. People keep asking.
      The reason why Sony, directors or producers do not mention my work that much out there, or if my mysterious "Visual Consultant" credit is not bad, or not good , fair , or unfair is more a problem of myself getting poor legal advice. I dont care as long as I can write a text about it and at least have few people reading it. Even though I think I have a pretty sweet mention in the book. May be no, Im not sure.
      Thank you Sony for investing during that time. The film is finished. WOuhh… look at the general reaction! Sensational. Well deserved.

      抱歉,我又说得太长了。我只是想解释一下关于我最终在电影中担任的这个奇怪的“视效顾问”的职位。人们一直在问我。
      索尼公司、导演们或制作人员没有在外面提及我的工作的理由,或者说我奇怪的“视效顾问”的职位是好还是不好,是公平还是不公平,更多的是我自己得到的法律建议不好的问题。我不在乎,只要我可以写一篇关于它的文章,至少有一些人能读到它。尽管如此我觉得我所描述的这件事还算颇为和谐,也可能并没有,我不确定。
      感谢索尼在那段时间的各种投入。电影已经制作完成。哇……看看观众们的反应吧!一鸣惊人。当之无愧。

      全文地址 链接,这里面还有Alberto Mielgo做的效果图和人设图,挑一些有意思的放在下面:

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      Miles一家跟成片差别不大

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      看到这个格温,我就很赞同索尼的决定了

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      这个Peni绝对是从The Witness片场过来的

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙蜘蛛侠-平行世界 故事版分镜展示-帅到炸裂!出自ALBERTO MIELGO

      As I mentioned before, I was hired to direct the animation test for the new Spiderman film.
      Here you can see my original storyboards and animatics that I produced for such a test. My main intention was to explore the language of comics and cinema and merge them together. We finished only 4 of this shots. And everyone ended up pretty exhausted!!!
      The shots that we produced with an incredible technical team were some of the most amazing thing Ive seen, and Im extremely proud of them and the team involved. With those shots we open a door to a pipeline and possibilities and help to estimate the overall film.
      I hope Sony will allow me to share the finished shots some time in the future .
      Im really happy to see that most of my shots on this early boards made it to the final film. Again I would like to congratulate the whole team that finished the final film for preserving the compositions and the original intention of these shots. It shows that everyone felt inspired and that they really cared for this particular vision.
      As you can see the 3 versions are very different in tone. It was early and I was not too sure yet what would be the final mood of this film yet.
      I work with pencil, photoshop, I do the comp in After FX and my edits in Premiere, with my own sounds and all bunch of crap in Audition… Did I ever say how much I love adobe?
      Music on this obviously temp score just for the edit.
      My pick temp track artist:
      v1: SON LUX
      v2: LEFTFIELD
      v3: MAXIMONO

      正如我之前提到的,我被聘用来执导新蜘蛛侠电影的动画测试。
      在这里,你可以看到我为这样的测试制作的原始分镜和动画。我的主要意图是探索漫画和电影的语言并将它们融合在一起。我们只完成了其中的4个镜头。而每个人最后都筋疲力尽了!!
      我们与一个令人难以置信的技术团队制作的这组镜头是我见过的最了不起的事情,我为它们和参与制作的团队感到非常自豪。通过这些镜头,我们打开了一扇通往制作可行性和可能性的大门,并帮助评估整个电影。
      我希望索尼能允许我在未来的某个时候分享这些完成的镜头。
      我真的很高兴看到我在这个早期分镜上的大部分镜头都进入了最终的电影。我想再次祝贺完成最终影片的整个团队,他们保留了这些镜头的构图和原意。这表明每个人都感受到了灵感,他们真的很关心这些特别的想法。
      正如你所看到的,这3个版本的色调非常不同。因为当时还是制作早期,我还不太确定这部影片的最终情绪是什么。
      我用铅笔和Photoshop工作,在After FX中进行压缩,在Premiere中进行编辑,在Audition中使用我自己的声音和所有的废话。我有说过我有多喜欢adobe吗?
      这部影片的音乐显然是为了这段剪辑而制作的临时乐谱。
      我挑选的临时曲目艺术家。
      v1: SON LUX
      v2: LEFTFIELD
      v3: MAXIMONO

      最后Alberto Mielgo介绍了他为Miles设计的蜘蛛图标:

      And lastly, at least for me, this logo that I did for Miles, mugs, t-shirts and all sort of marketing paraphernalia.
      Originally done with spray can over big cards of paper.
      I really like that it was kept as is because still maintains the hand and imperfections on it, even printed in a mug I can see where I fucked it up.
      It was inspired / based on that ANARCHY symbol that I always liked to draw almost everywhere when I was a teenager. I never revealed the meaningful origins though, but I faithfully follow Anarchy on animation.

      最后,至少对我来说,这个标志是我为Miles、马克杯、T恤衫和所有种类的营销用具做的。
      最初是用喷漆罐在大纸片上做的。
      我真的很喜欢它被保持原样,因为它仍然保持着那种手感和不完美的地方,即使印在马克杯上我也能看到我把它搞砸的地方。
      它的灵感/基础是那个ANARCHY符号,我在十几岁的时候总是喜欢到处画。虽然我从未透露过这个有含义的来源,但我一直在动画上关注着无政府主义。

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

      The Witness, Jibaro导演Alberto Mielgo与蜘蛛侠平行宇宙

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