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动画类翻译实训课程

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类别 听译培训课程/听译培训课程/
内容名 动画类翻译实训课程
编号 TYS-1
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   如果您有教学或者文档需要翻译,请联系我们的工作人员。
 
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动画制作类 英文听说译 培训课程

动画类翻译实训课程-----本课程针对有一定听说译能力基础的学员,在本课程中,我们的陈老师将带领大家口译各类原版动画英文视频,解答学员们在听说译过程中碰到的各种问题,帮助学员们提升听说译的能力。同时学员们也可以在自己翻译实践的过程中,或者是通过教师或其他同学翻译实训翻译出来的各类动画教学学习最新动画知识。

在本课程中,学员可以自由提出希望进行用于口译的动画视频,教师将带领学员们一起进行翻译实践。

本辅导课程由多年教学视频翻译经验的陈老师辅导。本实训课程周期按年度收费,从学员加入的日期起算。

动画类翻译实践实例示范
 

本周翻译实践计划列表

时长
1 Jason Ryan讲解动画角色Jeeves 吹口哨的动画制作过程--Jeeve动作的分解制作 2小时
   
 
本课程现有翻译实践项目列表

实践项目名称

时长
1 Ken Fountain Animating a Basic Acting Shot(梦工厂动画师讲解基本场景动画制作) (已完成) 3小时18分
2 Keith Lango VTS and Animation Tutorials All-in-one(Keith Lango动画原理动画大师培训课程1-64全集)(已完成) 60小时
3 Jason Ryan Animation Tutorials(迪斯尼/梦工厂动画总监Jason Ryan讲解 动画制作教学) (进行中) 26小时
4 动画基础 故事板教学(已完成) 45分钟
5 iAnimate的Richard Oud评讲学生作品(已完成) 11分钟
6 跟资深动画师Brendan Body学做动画(已完成) 4分钟
7 迪士尼动画师Zach Parrish和Brent Homman讲解 角色动画大师课(排队中) 18小时
8 跟着Jim Van der Kely学行走动画技巧(已完成) 4分钟
9 跟着Ianimate动画教师Brett Pacal学习动画制作技巧(已完成) 3分钟
10 Jason Ryan讲解动画角色Jeeves 吹口哨的动画制作过程(进行中) 10小时
11 Introduction to Maya Animation: Walk Cycle(MAYA动画入门:循环行走)(已完成) 2小时35分
12 跟迪士尼/华纳兄弟资深动画师德莫特学平面动画 动物行走循环 (排队中) 2小时35分
13 跟迪士尼/华纳兄弟资深动画师德莫特学平面动画 飞行动物动画制作(排队中) 2小时35分
14 跟迪士尼/华纳兄弟资深动画师 德莫特 学平面动画制作(排队中) 2小时35分
更多翻译实践项目等待你的提出,投票与参与......  
   
 
辅导教师:陈杰 专业八级 多年翻译经验 毕业于中山大学外国语学院 听译作品,未经许可,不得转载
如果你对自己参加学习掌握的听译能力能做什么不太了解的话,可以参考以下内容,按我们的课程计划学习完,您应该拥有翻译如下视频的能力

Hi, everybody, welcome to the first video tutorial service tutorial,April 2005. my name is Keith , I am your host for this evening or this morning depends on when you download the file. Anyways the first topic we are gonna cover in our tutorial services is posing. We are gonna cover posing for a while. There is a reason why I'm gonna cover posing for a while, because it's really important. In fact I'm of the mind that posing is probably the most important thing you can do in animation, everything else is gravy. I’ve got somebody to back me up on that Ham luske is one of the nine old men. Who is past on now, but he was one of the nine old men at Disney. And he has a quote here for animation. He said your animation is only as good as your poses. You can have good timing and good overlapping action, good follow through, but your poses are not strongly into the point meaning telling story, you don't have good animation. I believe that's very true, i see a lot of emphasis on polish in the cg animation these days. I see a lot of emphasis on making sure that lots little things are ok, either overlaps and stuff, but the things it's lacking is a sense of good posing. Understanding what communicates a character, in every image of pose could be an illustration. It has to be an illustration. It has to read instantly, it has to be something that you get right away, and the thing about posing is that it's the gateway to character, and because it’s the gateway to character, that is the gateway to telling your story. They say that stories is king, story is not necessarily king. It’s more like a prince, crown prince perhaps, but the only reason that story means anything to us is because we care about our characters. If we don't care about our characters we don't really care about what happens to them, therefore the story is meaningless. Let’s take a look at the letters here, there is two things allow you to understand the character and they are found in the pose. Those two elements are appeal and emotion. Come from two sides of the same coin: the first part of the pose has to be appealing, appealing doesn’t necessarily means it's fuzzy bunnies with big brown eyes and looks cubical all, appeal just means something that people can respond to. They are naturally drawn to, they can look at character immediately identify who they are and have the structure within themselves to understand what the characters thinking. Good character design is very important for this. That’s why some of the best characters and simplest ones because her easy to read immediately and figure out: hi, I know that person, or i can at least recognize that person, and i can tell the difference between when they are sad, when they are happy. That’s why stuff like Wallace and Gromit is great. Gromit, the dog has absolutely no mouth whatsoever to work with. It because he so easily understandable from his appeal we can understand exactly what he is talking about while he is not even talking. And that appeal is a gateway to understanding their emotion and that emotion shows who they are as a character. So emotion has to be able to be something that you can draw out of a characters and so we can understand who they are. So appeal and emotion together are our elements of the pose and the character is in the pose. Buzz holds themselves differently than woody, shere khan holds themselves differently than bagheera, moakley holds himself differently than blue and it's just a single image can communicate this entire thing, and it's only appeal in communicating emotion, and there is your character.......

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