小红书 2022 Chinese New Year Box「过 “年” 好」新年礼盒

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项目初衷是为了宣传小红书2022年度的新年礼盒。我们将设计中已有的“年”的卡通形象，传统的“年”的故事以及礼盒中的产品结合起来进行了视频故事创作。传统故事中的“年”惧怕声、光、红色，相对应的视频中的“年”惧怕礼盒里面的游戏铃铛、野营灯和红包。视频以“年”的视角将礼盒中的产品逐一引出并展示。

This animation is about Xiaohongshu's 2022 New Year Box. It based on the story of "Nian", which is a fictional monster in Chinese traditional tales of new year. The video combines the characteristics and traditional story of "Nian", as well as the products in the box. In conventional stories, "Nian" is afraid of sound, light, and the color red. In context, in this new story, "Nian" is scared of the bell, camping light, and Red envelope, which are the products in the box. From the perspective of "Nian", it presents all the products in the New Year Box.

故事版

Storyboard

动态分镜

Animatic

后期制作

Post-production

动画展示

Animation

道具制作

Props Making

在剧情前半部分，“年”的形态由一个圆形变成本体。由于形态变化大，我们需要将“年”每一帧的形变都重新做出来。为了保证动画的流畅度，我们需先绘制出动态分镜来明确形变的运动规律。在剧情后半部分，“年”没有较大的形变，只需要在基本模型的上去重塑一些小的变化。

At the beginning, "Nian" appears as a small point, transforming into its real shape. Due to the big shape changes, we needed to re-making the shape of every frame, to ensure the movements' fluency. Also, we created the animatic before making props. "Nian" ’s shape-changing is subtle in the other part, so we only needed to re-sculpt the puppet.

拍摄

Shooting

这是一个分层定格动画。分层拍摄最大的优点是可以制作明显的景深和画面层次，就像绘画中的分图层绘制一样。我们可以同时拍摄主角，背景和前景。利用好不同的打光方式，还可以制造出更惊喜的效果。本次是双层拍摄，我们将主要的拍摄对象放在顶层的透明玻璃上，下面则垫有一层绿幕背景，从而给后期制作提供更多的可能性。

This is a multi-plane animation. The biggest strength is to create significant depth of field and layers of frames, making it more convenient for us to shoot the main character, foreground, and background at the same time. Using different lighting can surprisingly make a good output. We put the main puppet at the top of a layer of transparent glass. Below the top glass, there is another background glass, along with the green screen. The reason why we use this method is to increase the possibility and flexibility of post-production.

影片中的“年”和手发生的互动实际上并不是同时发生的。类别大致可以分为二维黏土定格和三维实拍定格。为了降低拍摄的错误成本并且模糊二维和三维的一个边界，我们选择分开拍摄，后期将两部分合成。

In this video, the interaction between "Nian" and people is not happening simultaneously. We separated the production into two parts: the clay stop-motion animation and Pixilation. To increase the efficiency of group work and blur the boundary between the stop-motion and Pixilation, we decided to shoot at different times and edit them together in the post-production.