Sadie66 筆譯 文學 /設計/藝術/創意/新聞稿 中英互翻 - 翻譯

工作身分：兼職／筆譯
服務內容及費率：英翻中每字0.5-0.6元 中翻英每字1.2元
擅長領域：藝術/創意/設計/插畫/新聞稿 中英互翻
擅長類型：報告 /期刊 /雜誌/工作自傳/報導/書信/一般文件
試譯: 一個段落或一百字以內
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聯絡方式：MSN: [email protected] 0939-530-193

聯絡時間：白天7點至晚上十點半(假日亦可)
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學　歷: 台北科技大學英美文學系
翻譯經歷《IDN數位設計雜誌》特約譯者 《XFUNS放肆創意設計》雙月刊編輯
工作經歷：曾任報社記者長達兩年以上的時間，在翻譯界服務長達三年左右，
合作對象多為類似《藝術家》與設計類、插畫類等藝術書刊。
現為翻譯社專職筆譯。
證照：TOEFL CBT 247分
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自我介紹：我攻讀英美文學系長達十年左右，平時最大的興趣是翻譯英譯中
的設計類文章，擅長將流行文化，藝術類型的報導從英文翻成中文，
偶爾也會接一些中譯英的案子，要視案件內容而定。也曾經將故事或廣告
文案翻譯成100頁專文。目前在出版單位專職翻譯。

翻譯作品：《XFUNS放肆創意設計》雙月刊的其中一篇(英翻中作品)，僅供參考。
@ 欄目: CG Art
@ 字數: 9648
@ 編輯: Audrey

@ 《戰鎚 ONLINE》數位總監
@ Jerome Denjean

Jerome Denjean
Age年齡：39
Horoscope 星座：Pisces 雙魚座
City 城市：Los Angeles 洛衫磯
Art Tools / Techniques 工具／技巧 : architectural rendering特效設計
Specialty：CG Supervisor 數位總監

@前言
Jerome Denjean is employed as a CG supervisor at Blur Studio. He has been
working for Blur for 8 years, and in charge the project of "Warhammer Online
cinematic", working closely with Mythic each step of the way from concept
and modeling to final renders. Jerome Denjean brings us the 3D game
character designs and personal concepts of creation.

Jerome Denjean 在Blur Studio 任職CG總監，工作長達八年之久，他負責《
戰鎚Online》的專案，與遊戲研發原廠 EA Mythic 有密切的互動，從概念的發想、
建製模形、與最後的繪圖作業。訪談中，Jerome Denjean 為我們講述 3D 遊
戲角色設計與個人創作理念。


X: Please introduce yourself to XFUNS readers.
My name is Jerome Denjean and I'm currently employed as a CG
supervisor at Blur Studio. I've been working for Blur for 8 years now,
first as a character modeler and lighter/compositor, and later as a
CG supervisor - even though I still get to do some modeling and work
on shots on most of the projects I'm leading.

Before working at Blur I did many jobs including high school tutor
and website designer. My real job in the industry came in 97 when
I started working for a company doing architectural rendering in
my hometown of Lyon, France. I then moved to Paris to work for a no
w defunct video game company called Cryo. I lived in Paris for almost t
hree years before I applied to Blur, got hired and moved to California.

X: Please share with us your role in Blur Studio. How do you feel like
being a member in Blur Studio?

CG Supervisor means I'm responsible for one of the many projects
Blur is working on at any given time. Early in a project I am in
contact with the client to help them define what we can do based
on their budgets, scope of work, etc ... Sometimes they'll come up
with very precise concepts of what they want, storyboards or even
animatics, while sometimes they only have a vague idea of what can
be done so they'll let us write a script and come up with something
cool that fits their budget.

Then once that's set, I organize and supervise the work of all the
wonderful artists on the team, from concept artists to modelers all
the way down to lighters and compositors. I set up the art direction
and even get to work on lighting and compositing a few shots. I'll
be in contact every day with the client to make sure they know what's
going on and that they're happy with the work we're doing. Depending
on the size of the project, I'll also get a chance to model a
character or two, but that's getting more and more rare.

I love working at Blur, it's a very special family to me. We all work
in the same big room, and there's a lot of passionate exchanges
amongst the artists - everybody sees what everybody's working on
just walking around the studio and it's so inspiring. Our boss Tim
Miller even has his desk set up right in the middle of the room with us.

What I also love about Blur is how varied the work we get is. We get
to work on commercials, ride films for amusement parks, TV spots,
FX work for film, game cinematics, and the style ranges from very
cartoony to photoreal. It's great to be able to work on such a varie
ty of styles and media.

X: You are a CG supervisor for the "Warhammer Online cinematic",
working closely with Mythic each step of the way from concept and
modeling to final renders, would you like to share us with your experience?
Warhammer Online was a very long project by Blur standards. We did
two trailers for them, the first one when they announced the game
at E3 in 2006, and then a much bigger one for the launch of the game
in the Spring of 2008. They were great to work with, because they
had lots of great concepts and stories, but they gave us a lot of
creative freedom to write the script and direct the two trailers.
We worked very closely with them because everything had to fit
the very recognizable universe of Warhammer, but they were very open
to new ideas and they really let us make sure we'd have the most
spectacular cinematics possible. The first trailer took about 3 months
to complete, while the second one almost took a year from start to finish.

X：If there were different ideas during making "Warhammer Online
cinematic", how do you handle the situation?

Well I don't know if I would do anything differently, but I know we'd
be able to do in about a quarter of the time if we were to start
again today :) The main difficulty for this project was switching
renderers between the two trailers. We moved from Brazil, which we
had been using for more than 5 years and knew very well, to mental
ray. It was a little painful to work with a new renderer on a project
that complicated, but we all think the final quality was well worth
it. But we made a lot of rookie mistakes that we'd probably wouldn't
repeat today, just because we have a lot more experience with mental
ray after a couple years using it.

X: When making characters and environments for "
Warhammer Online cinematic", you said you come up the inspiration with
the concept of the book, may you elaborate more details about it?

We didn't do a lot of concepts for these two trailers because the
Warhammer Universe has existed for almost 25 years, and they have
A LOT of stuff. The video game is based off a very popular board game
in Europe, made by a company called Games Workshop. They've made
millions of concepts, books, over the years, and they made sure that
what WE were doing was in line with the universe they created a long
time ago. So we had some creative freedom, but it had to strictly
follow what was both in the videogame and the boardgame.

X: Would you like to share with us about more of your feelings
or anything else you like to mention on working the project
"Warhammer Online: Age of Reckoning"?

This has been a very special project to me, it was a lot of fun to work
on, very painful to finish, but the public reaction to it when it came
out was very touching. I'm amazed even a year later at how much work
everybody put into it, and I'm very proud to have been a part of a project
with so many talented artists. It's a very humbling place, because every
one of the people who worked on this project can do something that
nobody else can.

X: Do you have a sort of policy or philosophy that applies to all
the work you do?
I try to remind all the wonderful artists at Blur that we're not in
the business of making art, but we're in the business of making cool
stuff. Most of the time you can do both at the same time but not always.
And sometimes artists get caught up trying to apply all those rules
they learned in art school and forget that the only thing we want is
people to stop what they're doing and say "WOW ! "Sometimes it means
breaking a few rules to make that explosion a bit more colorful, or
the curves on that female character a bit more spectacular.
But at the end of the day we also need people who know nothing
about art to stop what they're doing and say "WOW, this is cool!"

X: What projects are you currently working on?
We have a lot of projects going on right now, which I can't
really talk about. But I'd encourage everybody to look at the
"Star Wars" and "Dragon Age" trailers we released at E3 last month.
We have some very exciting things coming out this summer, so people
should check back on the Blur website sometime in ... August ?

X:請向讀者打招呼吧。
我是 Jerome Denjean，目前在 Blur Studio 任職 CG 總監，工作長達八年之久
。一開始，我是角色建模師與燈光師，然後我升格成為 CG 總監，不過我仍需處
理模型建構，並主導負責某些專案的分鏡製作。

來到Blur工作之前，我曾經做過許多工作，包括高中老師、網站建構師。
1997年，我真正進入動畫產業工作，在位於法國老家里昂（Lyon）的構圖公司
上班。後來，我搬到巴黎，為「Cryo」遊戲公司工作。在巴黎住了三年，
直到受雇於 Blur 工作室之後，我搬到美國加州。

X:談談你在 Blur Studio 的工作，分享你的經驗。
所謂的 CG 總監，意謂著我必須負責 Blur 所指派的專案。在早期的時候，我在
專案中擔任的角色，是和顧客接洽，配合對方的預算與談定工作的範圍等等。
有時候，顧客會針對自已的要求，提出精準的概念，包含故事情節與動畫短片;
有時候，顧客並不清楚他們要的是什麼，所以讓我們自已發揮劇本，在討論中
提出有趣的構想，前提是符合預算。

一旦案子敲定，我負責安排旗下小組人員的工作內容，監督他們的作業流程，
其中包含概念藝術師、建模師、燈光師、還有分鏡人員。除了藝術指導以外，
我每天與顧客保持聯繫，確保他們掌握我方的工作進度。視專案的重要程度
而定，有時我也會參與製作一兩個角色製作，但是這樣的情況已經愈來愈少見了。
我非常喜歡在 Blur 工作，對我來說， Blur 好比是一個大家庭。我們在同一個
屋簷下工作，藝術家彼此間有許多熱情的互動……… 只要在工作室晃一下，就
知道每個人手邊在忙什麼，靈感在空氣中交流互動。老闆 Tim Miller
坐在辦公室的正中央，和我們一起工作。

另外，讓我喜歡在 Blur 工作室的原因，在於工作非常的多樣化。我們的業務
範籌包含廣告、美國主題樂園（amusement parks）的短片、最新電影預告、
影片介紹、遊戲短片，風格從卡通化到影像般真實，樣式多變。我非常喜歡待
在風格千變萬化的多媒體公司。

X:你任職《戰鎚 ONLINE》的數位總監，與遊戲研發原廠 EA Mythic 有密切的
互動，像是概念的發想、建製模型、與最後的繪圖作業，可否與我們分享這些過程?

就 Blur Studio 的標準而言，《戰鎚 Online》是一個很花時間的專案。我們曾為
顧客製作兩部遊戲預告，第一部發片在 2006 年，遊戲研發原廠 EA Mythic對外
公佈發表 E3 的遊戲。另外一部遊戲預告的發佈是在 2008 年春天，這部預告算
是比較大型的專案。遊戲研發原廠 EA Mythic是非常好的顧客，他們有許多極佳
的概念與故事，任由我們發揮創意來寫劇本，編導兩部預告。我們和EA Mythic
保持密切互動，以便讓每個畫面都符合《戰鎚 Online》想呈現的視野。
然而，EA Mythic 也能夠接受創新的點子，讓我們確信能夠製作最壯觀的遊戲預
告。第一部預告片製作費時三個月，第二部預告片從開始製作到最後完成，
幾乎花了整整一年的時間。

X：在製作《戰鎚Online》時，製作團隊是否曾發生意見不同的情況?
如果有，你如何解決?
我不知道自已處理狀況的態度是否有所不同，但是，如果任何一件事得重新開始
的話，時間是站在我們這邊的。製作這部專案，最困難之處在於，在繪圖處理的
時候轉換兩部不同的預告畫面。我們搬到巴西，駐點長達五年之久，專門處理特
效設計。處理這件複雜的專案，重新繪圖是非常累人的事，可是我們認為最終做
出來的成效很棒，過程很值得。雖然其中也曾犯錯，但今日可不會再重蹈覆轍;
經過這些年來，我們已在特效設計的製作方面，累積許多經驗。

X: 在設計《戰鎚 Online》的角色和背景環境時，你提到靈感來自原著小說
，請談談這部份的細節。

在《戰鎚Online》這部遊戲短片概念設計案中，我們並沒有做太多的構思，因為
原著小說已經有25年的歷史背景，內容豐富。原始的遊戲是根據歐洲人氣桌面
遊戲來架構，製作那部遊戲的公司是「Games Workshop」。幾年內，他們創作
出上萬的概念與書籍，也確認過我們所進行的工作，是依據他們長久以來所研發
出來的創意視野。我們有很多的創意空間可以發揮，但是必須嚴格遵守遊戲和桌
面遊戲的原本理念。

X:請分享製作《戰鎚 Online:決戰世紀》的心得感想。

對我而言，這是一個非常特別的專案。過程非常有趣，結果也很累人。但至少
，玩家反應熱烈。經過了一年多後，我仍對所有同仁所費的心力，感到不可
思議，有幸參與這部遊戲的製作，與許多天才藝術設計師合作，令人驕傲。
每位參與專案的工作人員，皆完成史前破天荒的任務。

X:你有一套自已的工作哲學或是理念嗎?

我想要提醒每位Blur工作人員的是，我們所處的產業並非藝術設計，但是做出
來的成品是非常酷的。很多時候，你可以同時做藝術和遊戲，然而這樣的情形
不常見。某段時間，藝術家會因為受限於學校所教的事，忘卻最終目的是讓
大眾停下手邊的工作，對我們做出的成品感到驚艷不已。另外，遊戲設計也代表
著打破規則，創作出視覺的震撼效應，或是讓女性角色的曲線格外有型。最
後，我希望會有那麼一天，讓從不留意藝術的人們，能停下手邊的工作，說
出「哇，這玩意兒超屌的耶!」

X: 你最近在忙哪些案子?
目前我們手邊有許多案子在進行，不能透露細節。我鼓勵大家去看
上個月我們為E3所發行的《星際大戰》和《龍騰世紀：Dragon Age》
的遊戲短片。今年夏天，我們準備發行許多刺激的遊戲，人們應該來
Blur 的網站，先睹為快，也許是在八月會公佈吧。

X: 對於想從事數位設計的人，你有什麼建議可供參考?
我不確定自已是否有足夠的資歷，能夠提供建議給任何人參考…… 。
這行非常的辛苦，卻很誘人且刺激。我所能提供的唯一建言就是，儘可能
讓你的作品充滿能見度，希望得到大眾完整和真實的迴響。不管是同學們
、老師、或是任何你所認識的遊戲設計人，以及家人和朋友們，詢問他們的意
見，因為這些人最能完整瞭解你的藝術作品，又能買單。

譯者個人網站:無，來稿請寄信箱，我會立刻回覆。謝謝。

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