Wes Ball from OddBall Animation has completed the RUIN project, a stereo short he has been working on for six months. A graduate of Florida State film school, Ball has had a solid background of live action. In fact, his final year thesis film ended up being his first animated film, in fact the school’s first animated film project.
來自OddBall Animation的Wes Ball剛完成一部立體短片RUIN，花了六個月的製作時間。Ball畢業於美國佛羅里達電影學院，擁有很紮實的實拍電影背景，有趣的是他畢業時完成的是一部動畫影片，事實上也是該學院的第一部動畫作品。
RUIN 正片
Wes Ball went straight into working for himself after he left film school and had been using NewTek LightWave, and Luxology’s modo ever since. CGSociety spoke with him from his home in Los Angeles. “I want to be making movies,” he fires off. “I decided to make my own movie, like it was a real job. Devote myself to it. Count it as an investment.”Wes Ball畢業後下定決心為自己工作，並使用軟體LightWave和Modo。當CGSociety在他洛杉磯住處訪問他時，他直接就說：「我想拍電影。而且我打算拍自己想拍的電影，並把它當作是個真正的工作，全心全意的投入，視為一項投資。」
立體 3D Journey
3D Journey
The RUIN short was created and rendered out as a stereo movie. “It’s for real, I didn’t do any post conversion to stereo,” Ball explains. “Just straight up, rendered it out for two different eyes and everything! In a strange way, it also made compositing a whole lot easier. I couldn’t do any shortcuts, and I had to do it for real, so all my compositing is done in 3D space. All the dust, dirt and all that is true 3D.”
RUIN這支短片是一部立體電影，Ball解釋道：「他是真的立體，沒有透過任何後製轉換，就是很硬幹的方式，把左右眼和所有東西都算出來，說來有趣，因為要做立體的緣故，使得整部影片的合成變得非常簡單，沒有任何取巧，全部都是真的。所有合成都在3D環境完成，所有的煙灰、塵土，所有東西都是3D做的。」
如何製作廢墟 Rubble Tech
Rubble Tech
Three months were spent building assets for each of the sequences in the film. Roads, including all the surfaces. He created a replica of the Universal building in Los Angeles to house the opening sequence down the side. Trees, bushes, and the jungle of ivy that hangs off the walls of the roads. He’d save off different mattes for doing color correction tweaks, but essentially it was all done in-camera. Ball says he had been thinking about this story for a long time, approached a lot of the setups like it was a live action shoot, then exception being he would have to create everything he wanted in the shot.
Wes Ball has been playing around with using Recoil as a modeling tool to create quick complex building ruins. He talks about how he would just go ahead and make a few simple objects, then run the Recoil simulator, and things fall where they want to. He immediately copies those poly's and pastes into a new mesh layer, set that new mesh to a passive collision object, then run the simulator again. "After a few iterations, you get a pretty nice pile of rubble," says Ball. "My one pile is about 200,000 polys, which is really mean't for distant objects although it holds up fairly well at a medium distance. Replicating this object over a landscape and it's looking pretty nice. Almost all of the complexity of this film is done using replicators.”
另外，他還用一個來自iPad的小小應用程式(app) TreeSketch創造影片中數以百計的樹木，這個app可以讓你畫出樹木，用FBX的格式匯出，然後再匯入modo中使用。他用modo replicator創造了葉子，然後再複製出很多葉子就變成一棵樹Ball還提到一個無心插柳的意外，他本來並沒有要讓這些植物維持在持續生長的狀態，但是最後的蔓生結果所營造的畫面氣氛卻令他非常滿意。
“There is one modo file per shot,” explains Ball. “Then the character is rigged up in LightWave. The whole thing was also animated in LightWave.” When he says that the majority of the shots are created on the fly and in-camera, there is one exception in the tunnel where the lighting is created using an optical flare in After Effects, using depthmaps to control where the cutoff is in the illumination.
他還提到影片中大多數的shot要不是快速閃過，就是很近拍的鏡頭。Ball繼續解釋：「所以每個shot都有一個對應的modo檔案，角色rigging用LightWave解決，動畫部分也是用LightWave來完成，只有一個在隧道裡的shot例外，那個shot是用AE的外掛optical flare配合深度資訊(depthmap)直接做出來的。」
動作 Action
Action
In the chase through the roads in the film, Ball had a live-action style to capture that motion. He created the road in the shot then made a line which would have bumps, up and down, left and right. Then he’d set up the null (which would be his camera truck). He would set up the bike out front as an asset, run the asset along the line in LightWave collecting keyframes along the way. “This is a poor man’s motion capture,” he laughs.
Ball仿照實拍影片的手法完成影片中飛車追逐的橋段。沿著設定好的追逐路線，他先創建了一條起起伏伏、忽左忽右的線段，然後他會設定好另一條線段當作攝影機的軌道。接著他會將摩托車視為在攝影機前的一個物件，然後讓車子沿著線段前進並沿路設定keyframe。他笑說：「這是窮人的動態捕捉工具。」
Wes readily admits as an effects guy, he is a frustrated film maker. The best lesson he has learned from making the film was that it is not about the shot; it’s about the sequence. “We effects guys work in the world of frames, and you just can’t do that when you’re making a short like this. You’ve got to find the shortcuts and you take them.”
Wes大方地承認自己是個特效咖(effects guy)，失敗的製片家。他從製作短片中學到最大的收穫不是製作單一的鏡頭，而是如何有效率的製作一組鏡頭。「我們特效咖在一張一張frame的世界裡做事，但是做短片時你不能這麼搞，你必須找到更快的方法，然後接受它。」
公路電影 Ride Film
Although it wasn’t his plan at the beginning of the project, Wes Ball’s plan is to show RUIN in Europe as a ride-film. He initially wanted to make the RUIN 3D short was to learn how to do the creative in 3D. Wes Ball has been in animation a long time making all kinds of graphics after winning a few awards with this final year film out of college. “I’ve just been doing motion graphics, animation and digital effects and every years I kinda do bigger and bigger projects,” explains Ball. “The only reason I really wanted to do it was to stretch the muscles, y’know.”
儘管這不是他最初設定要完成的案子，RIUN本來應該是一部以歐洲為背景的公路電影。做這支動畫只是為了測試3D立體效果而已。Wes Ball在大學畢製得了一些獎之後其實就做了不少動畫、特效相關的作品。「我大都是在做motion graphics、動畫、還有特效，而且每一年似乎都在挑戰更大的案子。」Ball繼續解釋：「我做這些事的理由不過就是為了鍛鍊我(拍片？)的肌肉罷了。」
"This film IS basically a ride film," Wes Ball jokes, speaking at the LA modo User Group in January when he showed his short. There are plenty of unashamed references to scifi action movies. First of all the motorbike chase through the drains is a solid nod to the amazing Terminator 2, and the build of the aircraft is almost completely from Aliens. The ‘dragon’ missiles are based on real-life drones. He’d says he’d like to see more animation being produced that is in the spirit of live action. “I love Pixar and I love DreamWorks, and then Avatar was really one of the first animated live-action movies, told by a guy who really knows how to create a great live-action movie.”
「這支短片基本上也算是部公路電影。」Ball開玩笑地說：「不過裡面有很多特效動作片的影子，像是奔馳的機車就是從魔鬼終結者2阿諾的坐騎取材，而追殺男主角的飛行器幾乎就是異形裡的翻版，窮追不捨的導彈其實是參考真實世界的無人轟炸機。」他很樂見愈來愈多動畫片是根據實拍影片的精神來製作。「我喜歡Pixar，也喜歡DreamWorks，然後在我看來Avatar是第一部真正用動畫做的實拍電影，而且導演同時也是個實拍電影的大師。」
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