WE'VE animation projects

INSECT MECH

Concept Short Film

長臂機動裝甲概念設計原形為台灣原生種scarab beetle，結合各種昆蟲器官而成的運載型裝甲。

The long-arm mobile armor concept design is inspired by Taiwan's native scarab beetle, combining various insect organs to create a transport-type armor.

專為概念短片中的載具，設計MAYA的骨架系統，以及完整的機械結構動態

Designed a Maya rigging system and complete mechanical structure dynamics specifically for the vehicle in the concept short film.

後艙門的卸貨動畫 | Rear Cargo Door Unloading Animation

機甲步行動畫，以及背部的連動 |
‍Mech Walking Animation and Back Mechanism Synchronization

盛宇 D-SHINE | 黑色羽毛

我們主要負責部分的Unreal場景去結合真人實拍的畫面
We were mainly responsible for certain Unreal scenes, integrating them with live-action footage.

透過鏡頭追蹤，將實拍的鏡頭導入到 Unreal 中。
Through camera tracking, we imported the live-action footage into Unreal.

這次也配合畫面為翅膀的展開製作動畫，並放入 Unreal 中組合畫面。
This time, we also created an animation for the unfolding of the wings to match the visuals, and integrated it into Unreal to assemble the scene.

BOUNCE MAN : Bomb the System

Maya Character Rigging and Animation Production

這是受邀台北的INTENTION 公司邀請，我們負責整隻動畫MV中的3D角色動畫，包含骨架綁定。
在長達半年的時間裡我們製作出了近3分鐘的全角色動畫，這對我們團隊來說也是一次具有挑戰的工作。

This project was completed in collaboration with INTENTION, a Taipei-based company that invited us to handle all 3D character animations in an animated MV, including rigging. Over the course of six months, we produced nearly three minutes of full character animation. It was a challenging yet rewarding experience for our team.

我們針對三個不同角色，製作不同的骨架，針對主角製作面部表情的綁定。

We created unique rigs for three different characters and designed facial expression rigging specifically for the main character.

我們在製作動畫時為了模擬手繪，使用每秒12幀的方式來製作動畫，甚至有些地方會使用2D動畫的技巧，來製作3D動畫。

To simulate a hand-drawn style during animation production, we used 12 frames per second for the animation. In some parts, we even applied 2D animation techniques to create 3D animations.

學籽《下一道光，》金馬電影線上課程

這個專案受到TPaddassoc. 的邀請，製作學籽文創與金馬電影線上課程的主視覺影片，以及網站的3D製作

This project was commissioned by TPaddassoc., where we created the key visual video for Xuezi Cultural and the Golden Horse Film online course, as well as the 3D production for the website.

我們主要負責3D的動畫質感，以及仿生物的動畫特效上

We were mainly responsible for the 3D animation textures and the biomimetic animation effects.

我們在探索植物與金屬的質感之間，來回了很多版本

We explored many versions in between the textures of plants and metal, constantly refining the design.

最終在探索的過程中，我們漸漸聚焦出最終的成品
‍
Through the exploration process, we gradually honed in on the final product.

Grand Archive TCG Trailer
Mortal Ambition

這次受到 Director｜Lit Jhan 的邀請，使用 Unreal 結合 2D，對我們來說也是一次挑戰，如何製作出與 2D 畫面無縫結合的場景，是這一次的挑戰。
‍
Invited by Director Lit Jhan, we used Unreal in combination with 2D. This was also a challenge for us, as the task was to create scenes that seamlessly integrate with 2D visuals.

我們需要製作一整片的軍隊，我們使用2D材質球，幫助我們後期合成，降低3D的違和感
‍
We needed to create a whole army, and we used 2D material spheres to assist with post-production compositing, reducing the sense of discord in the 3D elements.

我們前面使用 MEDIA PLAYER 來還原 2D 動態，接著錯位將前中後景切開，製造視覺的前後景。
‍
Initially, we used the MEDIA PLAYER to recreate the 2D dynamics, then offset the foreground, middle ground, and background to create a sense of depth in the visuals.

Cart

Animation

INSECT MECH

Concept Short Film

盛宇 D-SHINE | 黑色羽毛

BOUNCE MAN : Bomb the System

Maya Character Rigging and Animation Production

我們針對三個不同角色，製作不同的骨架，針對主角製作面部表情的綁定。

We created unique rigs for three different characters and designed facial expression rigging specifically for the main character.

學籽《下一道光，》金馬電影線上課程

我們主要負責3D的動畫質感，以及仿生物的動畫特效上

We were mainly responsible for the 3D animation textures and the biomimetic animation effects.

我們在探索植物與金屬的質感之間，來回了很多版本

We explored many versions in between the textures of plants and metal, constantly refining the design.

最終在探索的過程中，我們漸漸聚焦出最終的成品
‍
Through the exploration process, we gradually honed in on the final product.

Grand Archive TCG Trailer
Mortal Ambition

我們需要製作一整片的軍隊，我們使用2D材質球，幫助我們後期合成，降低3D的違和感
‍
We needed to create a whole army, and we used 2D material spheres to assist with post-production compositing, reducing the sense of discord in the 3D elements.

我們前面使用 MEDIA PLAYER 來還原 2D 動態，接著錯位將前中後景切開，製造視覺的前後景。
‍
Initially, we used the MEDIA PLAYER to recreate the 2D dynamics, then offset the foreground, middle ground, and background to create a sense of depth in the visuals.

Check more works

Animation

INSECT MECH

Concept Short Film

盛宇 D-SHINE | 黑色羽毛

BOUNCE MAN : Bomb the System

Maya Character Rigging and Animation Production

我們針對三個不同角色，製作不同的骨架，針對主角製作面部表情的綁定。We created unique rigs for three different characters and designed facial expression rigging specifically for the main character.

學籽《下一道光，》金馬電影線上課程

我們主要負責3D的動畫質感，以及仿生物的動畫特效上We were mainly responsible for the 3D animation textures and the biomimetic animation effects.

我們在探索植物與金屬的質感之間，來回了很多版本We explored many versions in between the textures of plants and metal, constantly refining the design.

最終在探索的過程中，我們漸漸聚焦出最終的成品‍Through the exploration process, we gradually honed in on the final product.

Grand Archive TCG Trailer Mortal Ambition

我們需要製作一整片的軍隊，我們使用2D材質球，幫助我們後期合成，降低3D的違和感‍We needed to create a whole army, and we used 2D material spheres to assist with post-production compositing, reducing the sense of discord in the 3D elements.

我們前面使用 MEDIA PLAYER 來還原 2D 動態，接著錯位將前中後景切開，製造視覺的前後景。‍Initially, we used the MEDIA PLAYER to recreate the 2D dynamics, then offset the foreground, middle ground, and background to create a sense of depth in the visuals.

Check more works

我們針對三個不同角色，製作不同的骨架，針對主角製作面部表情的綁定。

We created unique rigs for three different characters and designed facial expression rigging specifically for the main character.

我們主要負責3D的動畫質感，以及仿生物的動畫特效上

We were mainly responsible for the 3D animation textures and the biomimetic animation effects.

我們在探索植物與金屬的質感之間，來回了很多版本

We explored many versions in between the textures of plants and metal, constantly refining the design.

最終在探索的過程中，我們漸漸聚焦出最終的成品
‍
Through the exploration process, we gradually honed in on the final product.

Grand Archive TCG Trailer
Mortal Ambition

我們需要製作一整片的軍隊，我們使用2D材質球，幫助我們後期合成，降低3D的違和感
‍
We needed to create a whole army, and we used 2D material spheres to assist with post-production compositing, reducing the sense of discord in the 3D elements.

我們前面使用 MEDIA PLAYER 來還原 2D 動態，接著錯位將前中後景切開，製造視覺的前後景。
‍
Initially, we used the MEDIA PLAYER to recreate the 2D dynamics, then offset the foreground, middle ground, and background to create a sense of depth in the visuals.