原文節(jié)選自《馴龍高手設(shè)定集》，由龍崖社·龍之書翻譯組漢化整理，本合集僅供Bilibili，愛發(fā)電（最先更新），Lofter平臺龍崖社社團(tuán)官方賬號發(fā)布，未經(jīng)授權(quán)禁止轉(zhuǎn)載！?

動畫師控制角色的身體運(yùn)動，就像演員提供聲音一樣，動畫師在開始刻畫角色之前，會考慮每個場景中的角色動機(jī)。無牙是《馴龍高手》中最具挑戰(zhàn)性的動畫角色，因為他在電影中很重要，而且缺乏語言交流。例如，在制作小嗝嗝第一次接近受傷的無牙的鏡頭時，動畫是需要考慮各種各樣的場景，比如：“野生動物被捕獲之后會怎么行動？”在拍攝卡嗝第一次接近受傷的無牙的鏡頭時。角色動畫主管Simon Otto回憶道：“在故事的這個部分，我們知道我們需要把無牙塑造成一個動物，而不是一個人，所以我們找來了一個動物行為顧問，以便深入了解。她告訴我們，它會試圖立即逃脫，但出于戲劇性的目的，我們認(rèn)為讓無牙更爽快地聽天由命，坐以待斃的話，這樣能更容易引起小嗝嗝和觀眾的同情?！?/p>

動畫團(tuán)隊還花了很多時間?；舜罅康臅r間和精力把“禁忌友誼”的鏡頭拍好，因為他們知道卡嗝和無牙第一次認(rèn)識對方的場景是“電影的核心，如果我們失敗了，我們就會在故事結(jié)束時失去觀眾?！皧W托說。團(tuán)隊在研究故事版之后，把這組鏡頭里的關(guān)鍵姿勢確定了下來，然后把具體的鏡頭分配給了動畫師。他們還測試了無牙的綁定，以確保它能完成某些有創(chuàng)意的動作，比如直立地坐在尾巴上。

角色特效團(tuán)隊負(fù)責(zé)確保在最終所有元素都加入場景中后，動畫角色還能保持原先希望的樣子。為了支持這部電影中動感十足的動畫場面，角色特效團(tuán)隊需要處理眾多的飛行鏡頭。在這些場景中，人和龍的移動速度超過了每小時100英里。因為這遠(yuǎn)超一般的衣服和頭發(fā)自然運(yùn)動的范圍，所以團(tuán)隊需要做出可信的有強(qiáng)風(fēng)迎面吹來的效果，包括他們的衣服抖動，頭發(fā)飄動，以及如小嗝嗝的小抄在內(nèi)的道具隨風(fēng)抖動的效果。視覺效果主管Craig Ring解釋說：“要讓這些東西看起來很漂亮真的很有挑戰(zhàn)性。角色特效團(tuán)隊需要恰到好處地融合真實的風(fēng)，同時保持角色發(fā)型還算好看。正是因為他們出色的工作，才造就了這些飛行鏡頭中的速度感。”

原文：

Animators provide the physical acting for the characters, and just like the actors providing the voices, animators think about character motivation in each scene before embarking on their portrayal. Toothless was the most challenging character to animate in?How to Train Your Dragon,?given his importance in the film and lack of verbal communication. For example, animators had to think through scenarios like "how would a wild animal act in captivity? " while working on the sequence where Hiccup first approaches the injured Toothless. "At this point in the story, we knew we needed to establish Toothless as a creature, not a personality, so we brought in an animal behavior consultant to gain some insight. She taught us that it would try to get away immediately, but for dramatic purposes, we thought that having Toothless be more nobly resigned to his fate, just laying down his neck to be killed, would be a draw for compassion from both Hiccup and the audience," recalls Head of Character Animation Simon Otto.

The animation team also spent an extraordinary amount of time and focus to get the "Forbidden Friendship" sequence right, because they knew the scene when Hiccup and Toothless first get to know one another was "the heart of the movie, and that if we failed that we would lose the audience at the end of the story," says Otto. The team studied storyboards and set up key poses for the entire sequence before assigning specific shots to animators, and they also tested the Toothless rig to see if it could handle certain inventive movements, such as sitting upright on its tail.

The character effects department is responsible for making sure that the animated characters look the way they were intended when final and all the elements are placed into the scene. ln support of the action-packed animation in this film, the character effects team had to contend with numerous flying sequences, in which humans and dragons are moving at rates exceeding one hundred miles per hour. Way beyond the normal scope of making clothing and hair move naturally, the team had to believably portray the effects of having a strong wind in the characters' faces, where their clothes flutter, the hair blows around, and props, like Hiccup's cheat sheet, flap in the wind. "It's really challenging to make these things look good. The character effects team has to hit just the right blend of realistic wind, keeping the characters' hair in a pleasing shape. When they've done their job well, it makes a huge difference in the feeling of speed in the flying shots," explains Visual Effects Supervisor Craig Ring.