十一長假結束啦～收心準備好好繼續學習和工作吧！開工第一天，HI VFX分享韓國視效總監 金皙中 關於韓國視效產業的相關介紹，以及中韓在不同影視項目中的視效工作差異等內容。
您是如何成為視效總監的？
How did you become a VFX supervisor?
我是畢業於韓國光州大學產業設計專業，在大學期間就有比較多的時間和機會去做與設計相關的練習。那個時候我還並沒有對視效領域有什麼想法和規劃，直到有一次我看到了工業光魔的《星際迷航》，當時我就被他們的視效表現深深的震撼到了。也就是那個時候我突然覺得我也想未來可以做跟它一樣的東西。從那之後我就開始了對視效的「探索」。後來畢業之後，就去了韓國的影視製作公司從一名合成師開始，慢慢地從項目中積累經驗，那個期間我合作的項目有：《高地戰》、《英雄》、《龍門飛甲》、《Doctor異鄉人》等等。就這樣經歷了幾年的工作歷練之後，我開始被公司任命為製作主任，又做了大概兩年的項目後，漸漸地，公司就提拔我成為了一名視效總監。在韓國的視效公司裡面，基本上對於視效總監的培養就是這樣的一個過程，他們會從這個視效人員基礎階段就培養，一步一步地，公司也會從員工的表現和擅長的領域去評估分析這個製作成員未來適合往什麼方向去發展，同樣，在這個期間，製作者自己也可以對公司提出下一步的發展想法。
I graduated from Kwangju University of Korea, majoring in industrial. design. I have more time and opportunities to do design-related exercises in college. At that time I didn't have any ideas or plans about visual effects until I saw the ILM 「Star Trek」, and I was struck by their visual effects. At that moment I realized I wanted to do the same thing in the future. Since then I have been "exploring" visual effects. After graduation, I went to a film and television production company in Korea as a compositor and gradually accumulated experience from the projects I cooperated with at that time, such as 「The Front Line」, 「Hero」, 「Flying Swords of Dragon Gate」, 「Doctor Gaijeen」 and so on. After several years of work experience, I was appointed production director and worked on projects for about two more years. Gradually, the company promoted me to be a VFX Supervisor. In Korea VFX company, basically for the cultivation of the VFX Supervisor is such a process, they will be from the visual-effects foundation stage is to cultivate, step by step, the company will from the employee's performance and good at analysis of the field to evaluate the production member suit what direction to develop the future, also, in the meantime, makers themselves may also be submitted to the company the next step for the development of ideas.
韓國的視效方面的教育是否在一些大學裡就會有比較專業的分科？
Does the VFX education specialized in some Korea universities?
1
其實韓國大學裡並沒有針對視效產業的特別針對性的科目學習，韓國大學裡很多設立的有像「數字媒體」或者「三維動畫」這種其實嚴格說起來離我們視效製作部分還有點「距離」的科目，它們都是四年學制的。不過，我們也有類似中國大專兩年制的「三維動畫」這種「技校」類型。以及社會上的一些專門的培訓班。
In fact, there is no specific subject study for the visual effects industry in Korean universities. Many subjects set up in Korean universities are like "Digital Media" or "3D Animation". Actually strictly speaking, there is still a little "distance" from our visual effects production. However, we also have a "technical school" type of "3D Animation" similar to the two-year "3D Animation" in China. And some specialized training courses in the society.
HI VFX小結：這麼看來，好像我們與韓國在視效領域的教育問題有點相似，目前高等院校裡並沒有專門為視效產業培養直接的人才，大多從業者還是要從社會的培訓辦學或者專科院校進行初步實踐性學習和操作。
為什麼會選擇來中國發展呢？
Why did you choose to work in China?
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其實主要還是我很看好中國未來的影視市場，以及對於視效產業我一直都抱有熱情，我希望可以做優秀的項目出來，也相信，在未來的中國，會有一大批優秀的項目需要有優秀的人才一起參與。韓國本土的視效公司其實也就那幾個，而且因為韓國本身的人口基數不大，所以本土的影視項目和視效從業員也都不多，在這裡面，韓國的影視項目和韓國本土的視效從業者懸殊又會更大，這也就造成了，在韓國本土其實視效產業競爭非常激烈。市場已經飽和，那麼這麼些人也就必須選擇其他出口去實現各自的理想。
In fact, it is mainly because I am very optimistic at China's future film and television market, and I have always been enthusiastic about the visual effects industry. I hope to do excellent projects, and I also believe that there will be a large number of excellent projects in China in the future that need excellent talents to participate in. Korean native visual-effects company not too many, and because Korea's population is not big, so the domestic film and television projects and visual-effects practitioners are also few, in the Korean film and television projects and visual effects of Korea's local practitioners disparity will be bigger, it is caused, the domestic actually visual effects industry competition is fierce. The market is saturated, so people must choose other outlets to realize their ideals.
來到中國的時間並不久，目前您也在與中國的一些項目進行合作，會有什麼樣的感觸嗎？
It is not long since you came to China. Now you are cooperating with some projects in China. How do you feel about the cooperating?
我覺得好像中國的影視項目因為它自身的特殊性，跟我之前在韓國合作的項目會有很多地方不太一樣。首先，韓國的劇經常都是邊寫邊拍邊播，但是中國的劇都是寫完定稿了再拍，全部拍完了再播。但是有意思的是，按道理說，韓國的劇的這種拍攝製作方式會讓後期視效方面工作更緊張的，可是，情況好像並不是這樣。反倒是，中國的劇對我們視效後期來說更緊張。因為我發現，中國的劇的項目有一些項目方還是習慣全部自己拍完了再來找特效團隊，很多時候我就比較棘手。另外就是，在後期視效預算方面，好像中國的項目很多都是要跟著前期預算去走，就是，我們並沒有什麼話語權，只能按照項目方給到的預算情況去解決問題。所以，這樣就會給一些項目的最終呈現造成一定的影響。再有一個很有意思的地方就是，我在韓國比較少遇到的情況，就是有一次我在現場，看到都已經開拍了，竟然有一個工作人員電話響了，他就開始不慌不忙地接電話了。其實，我也是剛來中國工作不久，我也在適應的過程中。之前也合作過很多中國的項目，但是由於之前一些項目是從美國公司分包給到的我們，所以在對接流程上，具體操作上，以及預算把控上來說，就很少有這些問題。對於目前的狀況來說，我覺得也是一個很好的讓我了解中國和熟悉中國這個領域的工作方式的一個過程。
It seems to me that due to its particularity, Chinese film and television projects are different from those I cooperated with in Korea. First of all, Korean dramas are often shot and broadcast while writing, while Chinese dramas are shot and broadcast after they are finished. But what's interesting is that, in theory, this kind of shooting and production of Korean dramas would make the post-production work more intense. However, it seems that this is not the case. On the contrary, Chinese dramas are more intense for us in the later stages of visual effects. Because I found that some of the projects of Chinese dramas were still used to finding the special effects team after they had finished shooting all by themselves. In many cases, I was quite difficult. In addition, in terms of post-production budget, many projects in China seem to follow the pre-production budget, that is, we have no right of speech and can only solve problems according to the budget situation given by the project side. Therefore, this will have a certain impact on the final presentation of some projects. Another interesting thing that I seldom encounter in Korea is that once when I was on the scene, I saw that the shooting had already started, and a staff member's phone rang, and he began to answer the phone calmly. In fact, I have just come to work in China, and I am also in the process of adapting. We have cooperated with many projects in China before, but some of the projects were subcontracted to us from American companies, so there were few problems in the docking process, specific operation and budget control. For the current situation, I think it is also a good process for me to get to know China and get familiar with the way of working in this field.
HI VFX小結：之所以有一些中國的影視項目被韓國團隊承接製作，但是有的時候並不是中國項目方直接發包，而是由中國項目方先發包給美國團隊，然後美國團隊又找到了韓國團隊承接。所以這中間的成本就會增高。但是，從製片管理上來說，有的時候會比中國直接發包韓國在視效製片監管上來說會更有效率。這也就說明，如果中國視效行業的製片管理和視效指導工作可以提升上去的話，我們就可以有一大部分的成本可以更好的控制住。
您剛提到服務的「劇」的項目也比較多，那麼中國的「劇」相對韓國的「劇」來說在視效方面有什麼不一樣的地方嗎？
You just mentioned that there are a lot of drama services. Is there any difference in the visual effect between Chinese drama and Korean drama?
其實韓國的很多的「劇」都是現代題材或者青春家庭題材為主，它不像中國的「劇」可以涉及到的古代的、玄幻的、武俠的、科幻的……很多。所以，韓國的「劇」一般來說，對於視效的需求不會很大，通常來說佔比整個劇的10-15%，而且韓國的「劇」的視效計費也是按照鏡頭來的。首先我們會梳理一遍整個劇本裡涉及到的視效的內容，然後由我們視效總監將這部分內容以一個一個鏡頭的方式去進行估價。但是，在中國，基本所有的「劇」的視效都是按照分鐘來計費的。這一點，其實跟韓國差別很大。因為，其實按照鏡頭計費的方式也就是電影的視效計費方式。所以在韓國，做「劇」其實和做「電影」的視效報價，從方式上來說是一致的。只不過電影和電視劇從視效的鏡頭數和價格來說，差別肯定是有的。再一個就是，在韓國我們合作視效部分的時候，一定是在劇本階段就參與進去，並且會把概念設計部分提前就規劃好。目前好像中國的「劇「的項目對於概念設計的部分還不太在意。很多劇本裡涉及到的描述型的內容都很抽象，並且主創團隊也並不清楚他們要什麼，這就讓我們在參與一些項目或者討論一些項目的時候遇到一些尷尬。所以，我覺得對於中國的項目來說，視效團隊與主創多交流多溝通就很有必要了。
In fact, a lot of "drama" in Korea are modern themes or. youth family themes, it is not like Chinese "drama" can be involved in the ancient, fantasy, martial arts, science fiction. A lot of. Therefore, generally speaking, the demand of "drama" in Korea is not very large, which usually accounts for 10-15% of the whole drama. Moreover, the charging of "drama" in Korea is also based on the lens. First of all, we will review the visual effects involved in the whole script, and then our visual effects director will evaluate the content in the way of shot by shot. However, in China, almost all the "drama" is paid by the minute. This is actually very different from Korea. Because, in fact, the way you pay for a shot is the way you pay for a movie. Therefore, in Korea, making "drama" is actually the same as making "movie" in terms of visual effects. It's just that there's definitely a difference between movies and dramas in terms of the number of shots and the price. Another thing is that when we cooperate with the visual effect part in Korea, we must participate in the script stage and plan the conceptual design part in advance. At present, it seems that Chinese "drama" projects do not pay much attention to the conceptual design part. A lot of the scripts are very abstract, and the creative team doesn't know what they want, which makes it awkward to be involved in some projects or discuss some projects.
Therefore, I think it is necessary for the project in China for the visual effects team to communicate more with the main creators.
對於您個人來說覺得現在中國發展的最大的問題是什麼？
What do you think is the biggest problem of China's development?
其實我在出組的時候經常會遇到一些比較尷尬的問題就是，現場很多的視效相關的工作其實我頭腦中是有很清晰的解決方案和設計的，但是由於語言不通，經過現場翻譯解釋過後，再由導演、製片人配合執行之後，我會發現它並不是我要的結果，這可能並不是我在中國發展最大的問題，但肯定是一個很關鍵的問題。其實這就是「語言「的問題給我帶來的最直接的問題。所以，現在我也在努力學習中文，因為作為國外的視效藝術家來中國，想要未來合作好項目，語言交流上不順暢，及時藝術方面再好，也會在落地執行上產生很多問題。
Actually when I was in a group is often encountered some issues which may be embarrassing, live a lot of visual effects related work in fact my in the mind is a clear solution and design, but because of the language, after the translation after explanation, performed by the directors, producers, cooperate again, I found that it is not I want results, this may not be my the biggest problem in China's development, but it must be a very critical problem. In fact, this is the most direct problem that the "language" problem brings to me. Therefore, I am also trying to learn Chinese now, because as a foreign visual effect artist, I want to cooperate with good projects in the future. The language communication is not smooth, and even if the art is good, there will be many problems in the implementation.
您個人未來希望在中國合作什麼類型的項目？或者說您自己比較喜歡那種類型的項目？
What kind of projects do you hope to cooperate with in China in the future? Or what type of projects do you prefer?
我個人還是非常喜歡像《流浪地球》這類的科幻項目，以及中國武俠或者古裝的影視項目的。因為我覺得韓國其實在很多文化和東方理念上還是與中國很一致的。並且，中國的很多影視項目具備更多元素的視效設計和製作，對我來說也是一個很棒的挑戰和機會。
Personally, I am very fond of science fiction projects like "The Wandering Earth", as well as Chinese martial arts or ancient costume films and TV programs. Because I think Korea is in line with China in many aspects of culture and Oriental ideas. Moreover, many film and television projects in China have more elements of visual effect design and production, which is also a great challenge and opportunity for me.
HI VFX發現越來越多的國外視效藝術家在湧入中國電影市場，這在對我們自己提出學習好英文這門語言要求的同時，也對這些不同過來來的藝術家提出了學習中文的需求，作為非本土的視效藝術家，如果不能首先攻克語言的關卡，那麼即使你有再好的藝術造詣，不能準確地表達自己和執行甲方的訴求，那麼勢必也會對職業發展造成一定的影響。
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