| The development of 3D graphics and image technology and the in-depth study of human visual perception have become the prerequisites for the birth of 3D animation films.The animation uses exaggerated and deformed character modeling and peculiar and refined landscape design to map and interpret the complicated real life and imagination space,which is fascinating and fascinating.The technical aesthetics research of Chinese 3D animation films is,in the context of differences and mutual influences between Eastern and Western aesthetic concepts,how Chinese animation creators use the digital image technology developed on the basis of Western rational science,which is a manifestation full of A study of oriental poetry and the development process of telling the good stories of contemporary oriental China.Therefore,this paper regards Chinese 3D animation films as an organic living body,which is divided into five parts according to the roots,environment,development,results and value.In addition,in the research process,with the help of the historical timeline of 3D animation technology development.Finally,by linking with the history of science,the history of humanities and art,mass communication and sociology,it tries to establish a multi-reference system that combines the perspective of technological development and humanistic communication,and discusses how Chinese 3D animation films are in the advancement of technology and art.The interaction of technologies,etc.,is the background to raise questions and initiate research.In the first chapter,the philosophical viewpoints on life and movement that vary from person to person lead to different artistic creations in the process of technology application.Therefore,this chapter mainly studies the aesthetic gene composition of Chinese 3D animation films and the enlightenment of aesthetic thoughts.They interact with Western aesthetic concepts and complete the reorganization of visual perception genes from scatter perspective to threedimensional space.The evolution of the aesthetic concept of Chinese 3D animation films mainly includes the art revolution,the inheritance of art films to cartoons,and the historical uniqueness of Chinese animation growth is the reason why it is oriented towards children and carries an educational meaning.Chinese 3D animation films are constantly improving and innovating themselves.In the continuous practice of imitation of "other" technology and self-art "creation",down-to-earth precipitation of3 D animation technology.The second chapter analyzes the external ecological environment starts from the three climate camps of the United States,Japan and Europe.First,sort out the influence and significance of key frames,multi-layer photography technology,3D graphics technology,multicultural mixing,reconstruction and other technologies and creative methods of companies such as Disney,Pixar,and Dream Works on the development of 3D animation film types;Secondly,analyze the strategic layout of the ACG industry chain in Japan,which uses "manifest" to control "movement",and the business strategy of Japan’s 2D and 3D animations that shine and transform each other;Thirdly,it analyzes the ideology of the two major 3D animation film creation camps in Europe,Russia,Britain,France and Germany,including their postmodern ideology transition from confrontation to dialogue with each other,the United States,and Japanese animation;Finally,it analyzes the 3D trend of global animation films and the dilemma of homogenization.The second part analyzes the internal environment of China’s 3D animation film development,including system policy and market economy environment.How Chinese animation enterprises obtain funds,technologies and access to international markets through OEM,joint venture and co-production in the market economy environment.The second aspect is the analysis of the digital technology and cultural industry environment,focusing on the Internet + to achieve cross-media crowdfunding,publicity and dissemination,a new creative path from "technology sharing platform" to "Wanlongjia" application talent cloud gathering,gradually The process of forming cultural awareness and business win-win.The third chapter,in accordance with the principle of "material first,spiritual second" proposed by Marx,this chapter mainly analyzes the technical construction form of Chinese 3D animation films,including two parts: dimensional progression and space-time light and shadow coding.The first part combines specific film cases to analyze the dimensional coverage process of Chinese 3D animation films from individual 3D characters,partial 3D scenes to full 3D language through the continuous development of technology.The second part discusses how Chinese 3D animation films can gradually complete smooth and flexible action performance from three aspects: action,special effects and rendering.Simulate and present the artistic conception of oriental aesthetics through lighting rendering.In addition,the pattern repetition and discrepancy correction brought by the application of 3D motion capture and face capture technology are also discussed.Finally,combined with Real D 3D,IMAX,XR immersive spectacle experience,analyze the technological innovation of Chinese 3D animation in this field.The fourth chapter,verifying the quality of technical construction with audiovisual art effects,mainly discusses the artistic aesthetic effects of Chinese 3D animation films from four parts: shape,movement,color and language.First of all,it is the ordering and spectacle of modeling,using Baudrillard’s simulacrum theory and Jung’s myth theory to analyze the simulacrum and abstraction of body modeling;combining the "charm" theory proposed by Max Weber to analyze the "demon" identity modeling Enchantment and secularization and disenchantment of "god" and "chivalrous" identity modeling;combined with Guy Debord’s landscape society theory to analyze the reality and spectacle of scene modeling,including the reality of the scene of the fairy mountain and the spectacle of the paradise,as well as the threedimensional virtual-real-depth transformation of scatter perspective and focal perspective,etc.Secondly,in the part of action features and exaggeration of form,the analysis focuses on three action features: the transformation from static braking to vivid rhythm,the exaggeration of flying and displacement movements,the restraint of chasing and fighting movements,and the exaggeration of demeanor and emotion,etc.Thirdly,in terms of color,it mainly discusses the color imagery in Chinese 3D animation films from three aspects: the independent symbol of character color,the local symbol of scene color and the style symbol of overall color.The emotion and rhythm of the colors in a 3D animated film.Finally,it discusses the meaning of the phonology and symbols of the language in Chinese 3D animation films,including the multiple meanings and charms brought by dialects and sayings in the film,the sound and emotion of the background songs,and the emotional beliefs contained in important prop symbols.,Oriental imagery carried by cultural symbols,etc.The fifth chapter is a summary discussion of ecological environment,technical forms and artistic effects of Chinese 3D animation films.Under the technical framework driven by Western rational science,Chinese 3D animation films gradually learn to tell their own good stories and form the aesthetic characteristics of cultural awareness and cultural self-confidence.The thoughts and spirits contained in Chinese3 D animation films are the self-salvation and growth of "people-oriented" in the East.The beauty of the realm of beauty and selflessness,as well as the contemporary craftsman spirit represented by several phenomenal directors,as well as the national values and contemporary expressions of traditional culture contained in their works.The last part is thinking about the insufficient development of the animation film industry,including the gaps in the industrial system,the accumulation of visual effects and image implosion,the polishing of scripts,and other reflections from industry to pre-creation,as well as a confident outlook for the future of Chinese 3D animation films. |
