臺灣博碩士論文加值系統

本研究旨在探討利用電腦動畫重建日據時代擬真寫實戶外大場景動畫特
效畫面，研究者自國片《KANO》籌備前期即擔任該片視覺特效組的Coordinator，
負責該片中相關的後期特效與動畫製作相關拍攝規劃；並於後期製作期間，
擔任3D 動畫的團隊組長，並負責其中最重要鏡頭－空拍甲子園畫面的後製動
畫製作。
串連以上製作經驗，從空拍甲子園拍攝前期的前置作業與各項田野調查
及美術設定，到拍攝時期的現場資料收集和素材準備，逐一解構該鏡頭於製
作前的前製規劃過程；最後於後製動畫期間，整合所有的前期規劃資料與素
材，同時參考國內外相關的寫實大場景動畫製作經驗，分析研究影響視覺寫
實的各項條件，並提出影響畫面視覺寫實擬真的四項要素，達成利用3D 動畫
呈現視覺擬真的效果。
此四項要素分別為：(1)場景物件與周圍整體環境光的契合。(2) 陰影及
暗部的視覺重量感。(3) 空間與大氣環境的視覺透視。(4)鏡頭焦距及景深模擬
使用。本研究使用三項相關的CG Lighting 與Render 技術，以模擬現實環境
氣候及光照，輸出不同類型的合成圖像，供後期合成師有效運用，最終製作
出電影中的虛擬空拍寫實大場景。

This study aims at exploring the use of computer-animation to imitate and
give a realistic reconstruction of a big outdoor scene during the Japanese era via
animation effects. The researcher of this study served as visual effects group
coordinator during the pre-filming preparation of the local film “KANO” and was
responsible for special effects and animation-related production plan associated
with this film at the later stage. During post-production, the researcher served as
the 3D animation team leader and was responsible for the most important shot of
the animation after effects –– the aerial photography of Koshien Stadium.
In this study, the above series of production experiences, from the early
pre-production stage of taking an aerial photography of Koshien Stadium, all types
of fieldwork and art setting, to the field data collection and material preparation
during shooting, are the one by one deconstruction of the scene pre-production
planning process. Finally, during the stage of animation after effects, all
pre-planning information and materials were integrated. At the same time, relevant
domestic and international realistic big scene animation production experiences
were referred to in order to analyze the different conditions that affect visual
realism. The four elements that affect the picture’s visual realism and virtual
reality were discussed to achieve a realistic effect through the use of 3D
animation.
These four elements are: (1) the congeniality of the objects on the scene and
the overall ambient light around it, (2) visual sense of weight for shadows and
darkness, (3) visual perspective of space and atmospheric environment , (4) the use
of lens’ focal length and depth of field simulation. This study uses three related
CG Lighting and Render technologies to simulate real-world climate and light and
put out different types of synthetic images for effective use of the compositors at a
later stage. Ultimately, the virtually realistic big scene aerial photography used in
the film was created.

摘要 ................................................................................................................... Ⅰ
致謝 ................................................................................................................... Ⅲ
目錄 ................................................................................................................... Ⅳ
表目錄 ............................................................................................................... Ⅶ
圖目錄 ............................................................................................................... Ⅷ
第一章 製作理念.................................................................................................... 10
1.1 製作背景與動機 ................................................................................. 10
1.2 製作目的 ............................................................................................. 11
1.3 製作方向擬定 ..................................................................................... 11
1.4 製作架構與流程 ................................................................................. 12
第二章 學理基礎.................................................................................................... 14
2.1 IMAGE-BASED LIGHTING(IBL)環境光照 ............................................. 15
2.1.1. IBL 運作原理 .............................................................................. 15
2.1.2. IBL 運用實例 .............................................................................. 17
2.2 AMBIENT OCCLUSION(AO) ................................................................. 18
2.2.1 AO 運作原理 ............................................................................... 19
2.2.2 AO 運用實例 ............................................................................... 20
2.3 Z DEPTH .............................................................................................. 22
2.3.1 Z Depth 運作原理 ........................................................................ 22
2.3.2 Z Depth 運用實例 ........................................................................ 23
第三章 專案背景.................................................................................................... 25
3.1 電影前期籌備 ..................................................................................... 25
3.1.1 分鏡鏡頭設計 .............................................................................. 26
3.1.2 田野調查 ...................................................................................... 28
3.1.3 氛圍圖設計 .................................................................................. 30
3.1.4 Previz 製作 .................................................................................... 31
3.2 電影拍攝期 ......................................................................................... 32
3.2.1 環境光貼圖取得 ........................................................................ 33
V
3.2.2 貼圖素材取得 .............................................................................. 34
3.3 電影後製與動畫製作期 ..................................................................... 36
3.3.1 模型製作 ...................................................................................... 37
3.3.2 貼圖材質製作 .............................................................................. 38
3.3.3 場景佈局Layout .......................................................................... 41
第四章 方法技巧 .............................................................................................. 43
4.1 主光源陽光設置 ................................................................................. 43
4.2 全區域環境光設置 .............................................................................. 44
4.3 產生AMBIENT OCCLUSION .................................................................. 47
4.4 Z DEPTH 設置 ...................................................................................... 49
4.5 Z DEPTH 運用 ...................................................................................... 51
第五章 成果貢獻 ................................................................................................. … 53
5.1 在實務應用上之價值及對產業之具體貢獻 ....................................... 53
5.1.1 實務應用價值 .............................................................................. 53
5.1.2 對產業之具體貢獻 ...................................................................... 53
5.2 未來研發方向與展望 ......................................................................... 54
5.3 結論與建議 ......................................................................................... 55
參考文獻 ........................................................................................................... 56
英文文獻 ................................................................................................... 56
網路文獻 ................................................................................................... 57

英文文獻
[1] Catmull, E. E. (1974). A subdivision algorithm for computer display of
curved surfaces (PhD thesis). University of Utah.
[2] Debevec, P. (1998). Recovering High Dynamic Range Radiance Maps from
Photographs. Proceedings of the 24th annual conference on Computer
graphics and interactive techniques (SIGGRAPH '97), pp.369-378. ACM
Press/Addison-Wesley Publishing Co.
[3] Debevec, P. (2001). Lighting Probe Image Gallery.
[4] Landis H. (2002). Global illumination in production. ACM SIGGRAPH
2002 Course #16 Notes, July.
[5] O’Connor, J. (2011). Mastering mental ray：Rendering Techniques for 3D&
CAD Professionals.
[6] Winkenbach, G., & Salesin, D. H. (1994). Computer-generated pen-and-ink
illustration. SIGGRAPH '94 Proceedings of the 21st annual conference on
Computer graphics and interactive techniques (pp.91-100). New York.
[7] William Mark. (2008). Future Graphics Architectures. ACM QUEUE.
57
網路文獻
[1] Djx blog：Depth-of-field pass for maya or mentalray (2007)。
http://www.djx.com.au/blog/2007/12/11/depth-of-field-pass-for-maya-or-mentalray/
[2] RAY-TRACING.RU：Ambient Occlusion(2007)。
http://www.ray-tracing.ru/articles232.html
[3] WHISKYTREE：AthensTech Demo Siggraph 2013。
https://vimeo.com/71148018