Introduction 简介

With healthy budgets and creativity among brands and agencies on the rise, the Chinese commercial environment is ripe with opportunity and increasing numbers of postproduction studios are entering the market to capitalize. However, those companies should be aware that operating in China comes with significant challenges.

For this three part series, SHP+ interviewed a selection of China’s most experienced commercial postproduction leaders to discuss the industry in 2015 and what it takes to thrive in the China market. International or foreign-managed are dominating the market and provided our focus for the series, though we spoke with a number of Chinese practitioners and studio bosses along the way. Since SHP+ is focused on the craft and creativity in Chinese advertising, our primary interest was in postproduction for commercial projects, with movie VFX referenced primarily in its relationship with the commercial work.

Included throughout the article is a selection of examples of recent postproduction work done in China.

随着各个品牌和机构的预算越来越稳健，创意越来越多，中国商业环境所孕育的机会已经成熟。越来越多的后期制作公司进军中国市场赚取资本。然而，他们应该意识到，在中国运营公司也伴随着巨大的挑战。

SHP+采访了一些在中国最富有经验的商业后期制作公司的领袖，探讨2015年后期制作产业的格局以及如何能够在中国市场蓬勃发展，我们将文章分为三部分呈现给大家。虽然我们也采访了一些中国的从业人员和工作室老板，但这次讨论的一系列重点均来自于国际公司或是外国人管理的公司，因为他们是中国市场的主导者。SHP+关注的重点是中国广告业的技巧和创意，主要感兴趣的是商业项目的后期制作，同时也探讨了电影特效和商业作品之间的主要关系。

文章囊括了我们所精选的近期中国后期制作的一些作品实例。

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Part One 第一章

Landscape 格局

 

The Wild East 东部荒野

 

“In terms of procedures, how you interact with clients and the rules of the industry, China is still the Wild East. It’s a totally different market that’s still developing and finding its way.”

       – Jan Heinze, Executive Producer & COO Asia, Pixomondo Beijing

“就流程，还有如何与客户打交道，以及行业规则这几方面来说，中国仍然是一个东部荒野。这是一个完全不同的市场，它还处在发展阶段，正在找寻自己的路径。”

       – Jan Heinze，Pixomondo北京，亚洲区执行制片人&首席运营官

Alongside the ‘typical’ post-production services, most post houses are branching out into other lucrative opportunity-areas. This includes stepping up to meet the demand for media to fill the dozens of theme parks opening every year. The multitude of real estate developments have seen some studios move to offer architectural visualization and showroom graphics, while others are catering for the massive consumer products market with CG for TVCs and 3D still images. Live events for China’s enormous luxury goods markets, such as cars and fashion, represent a particularly big opportunity area.

现在，绝大多数后期制作公司除了提供‘典型’的后期制作服务外， 都已开始拓展其他一些更赚钱的机会领域中。他们不断地向媒体行业需求靠拢，以填补每年新开发的几十个主题公园的空缺。房地产开发发展蓬勃，因而有一些工作 室开始转向建筑可视化和展厅平面设计领域，还有一些工作室开始针对大规模消费品市场制作CG电视商业广告和3D静态影像。尤其是中国巨大的奢饰品市场的现 场活动，比如汽车和时尚行业，机会尤为巨大。

Image Unit for Jaguar event installation.  Images courtesy of Image Unit. Image Unit制作的捷豹广告。图片均由Image Unit 授权. 

It’s well known that China’s booming film industry is soon to become the biggest in the world. The growing number of companies entering the market to take advantage are mostly setting up shop in Beijing, the home of Chinese moviemaking, and tend to view commercials as stopgaps to occupy unused artists and generate quick cash. As a result, Beijing’s commercial marketplace remains relatively undeveloped.

当然，中国的电影行业欣欣向荣，很快就将成为全球最大的市场。越来越多的公司进军中国市场，抢占先机，这些公司多数都落户在中国电影之乡 – 北京，而且他们往往认为商业广告是一种权宜之计，是一种占领那些还未施展拳脚的艺术家，以及迅速赚钱的方式。相对来讲，北京的广告市场仍然不发达。

Shanghai, on the other hand, is China’s commercial heart, with the highest concentration of creative agencies, fashion and design brands. Though the government is developing Shanghai’s film industry, for most companies commercial work is the sole or predominant focus.

相反，上海作为中国的广告中心，创意机构、时尚品牌和设计品牌在这里最为集中。虽然上海政府大力发展电影产业，但多数公司仍旧将广告业务作为其唯一或最主要的核心业务。

Unsurprisingly, the potential in Shanghai’s postproduction market has attracted major international companies to set up shop in the city over the last two years. Australian Fin Design + Effects and Oriental Post from Thailand have opened for business, Pixomondo returned with a new look creative studio and MPC added their 10^th worldwide office at the beginning of 2015.  Alongside the big players, there are a growing number of boutique and freelance studios, while many production houses also now offer their own in-house postproduction service.

不出所料，上海的后期制作市场很有潜力，在过去的两年中，国际大公司纷纷被吸引，在上海设立公司。澳大利亚的Fin Design + Effects，泰国的Oriental Post已然开展业务，Pixomondo带着全新的创意工作室卷土重来，2015年年初，MPC全球第十家公司在上海成立。除了这些大公司之外，也有越来越多的精品工作室和自由工作室，而且现在很多的制作公司自身也可以提供后期制作服务。

 

Healthy Budgets Vs. Rising Costs 预算良好与成本攀升

 

One major pull factor to China is the bumper client budgets, which are still on the increase. Marcus Roth, General Manager of Image Unit and formerly Pixomondo Shanghai, confirms, “Budgets are in a very good situation, even compared to the west. The people I talk to in Hong Kong always say they don’t have the big mainland budgets like we have.”

客户充足的预算是中国主要的拉动因素，而且预算还在不断攀升。Marcus Roth此前曾是Pixomondo的总经理，现在担任Image Unit总经理，他说道，“中国的预算情况很好，即使同西方相比也如此。我在香港时总有一些人说，香港的预算没有大陆这么充裕。”

Budgets can however, be hard to ascertain, making quoting for jobs a shot in the dark. There is no clear pricing structure and often clients will ask for quotes without revealing their budget, or even a sense of time.

但是，我们很难探明预算到底是多少，所以在报价时总是乱猜。没有清晰的定价结构，客户在提出报价的时候，不会说明他们的预算是多少，甚至也没有时间观念。

The flip side to the healthy budgets is the increasing costs brought about by general inflation and rising wages. China has long moved on from being the cheap outsourcing destination of old.

与良好的预算相对的一面是，通货膨胀和工资上涨也导致了成本的增加。中国早已不再是廉价的外包之地。

Moreover, the existence of tax subsidies in certain territories overseas has given visual effects companies in that market an advantage over their worldwide competition. This was a significant factor that led to Pixomondo closing a handful of offices, including Shanghai, in 2012.

此外，海外某些领域的税收补贴政策也使得当地的一些特效公司更有全球竞争力。这也正是导致Pixomondo在2012年关闭了包括上海在内的多家分部的重要因素。

BaseFX founder and CEO Chris Bremble stressed that China faces this same challenge closer to home, “If you’re just competing on price and quality, and you’re a small to mid sized Chinese studio, you’re going to get crushed by Korea. They’re cheaper and probably better.”

BaseFX创始人兼CEO Chris Bremble强调，中国也面临着邻国的冲击，“如果只是想在价格和质量上进行竞争，同时又是国内的中小型公司，那就会被韩国挤垮。韩国的公司不仅价格更低，而且质量可能还更好。”

Do Chinese clients look outside China for postproduction work?  The truth is, a significant volume of post work is already being sent overseas. In some cases, local post companies are working simply as an aggregator, securing projects and sending the work to Korea.

那么，国内的客户是否会开始向海外寻求后期制作服务呢？ 事实上，已有大量的后期制作工作发往海外。有时候，中国本地的后期制作公司仅仅是在充当整合者的角色，他们确保项目进行，把制作发给韩国制作。

For the lower budget jobs, Animation Director Brian Dowrick, in the market since 2007, suggests that clients will generally only use a domestic post house if they are content with less than world-class results, “Clients are always looking for a bargain and the quality in China is going up, but it’s still not close to matching the western studios. If the Client has the money, they normally look outside China, or they get the less complicated shots done here to even out their budget and spend the big money where it is needed.”

动画导演Brian Dowrick表示，自2007年以来，就市场上一些预算较低的项目而言，如果客户自身可以接受那些低于世界水准的制作，那他们一般只会找国内的制作公司，“客户总在寻求一种价格上的平衡，虽然中国的制作水平越来越高，但是还不能和西方制作相匹敌。所以，如果客户有钱的话，一般还是会找海外的公司，或者只是把那些不那么复杂的镜头交给国内的公司制作，这样可以平衡预算，把大部分预算用在真正需要的地方。”

Cgfish for iQiyi.  Images courtesy of Cgfish.  Cgfish制作的爱奇艺广告。图片均由Cgfish授权。

For the bigger budget work, Roth suggests that the presence of international post houses in China means there is little price incentive for clients to travel overseas. “If you go to a post company in Shanghai, they will fly people in from overseas. The agency and production company going overseas wouldn’t change much in the cost structure.”

Roth表示，如果客户的预算更高一些，那就没必要为了价格跑去外国，因为有一些国外的后期制作公司在中国就有分支 。“如果你去一家上海的后期制作公司，他们会让海外的人来中国。广告公司和制作公司如果去海外的话，也不会改变太多的成本结构。”

This is where international houses have a distinct advantage over local Chinese competitors. It’s not easy for Chinese clients, with less experience dealing with international companies, to look abroad, where the mentality, business style and working process are different. Pixomondo can, as Heinze puts it, provide a convenient “gate to the world, but the clients don’t have to control it.” For the post house itself, the benefits are obvious – scalability and the ability to meet specialized skill requirements with talent at other facilities worldwide.

这正是国外制作公司同中国本土制作公司相比所具有的独特竞争优势。对于那些没太和国外公司打过交道的中国客户，他们不愿意去国外找制作公司，因为国外的思维方式，经营方式和工作流程都跟他们自身不同。正如Pixomondo亚洲区首席运营官Jan Heinze所说，Pixomondo可以给客户打开一扇便利的“通往世界的大门，但是客户又不用去控制它。”就后期制作公司自身而言，好处也很明显 – 由于他们在全球各地都有人才，他们可以不断扩充，也有能力满足特定技能的要求。

Furthermore, personal contact is a key factor in keeping local clients working with them.  As Bremble outlines, domestic clients like “the tangibility of walking into our Beijing office, seeing the work being done, talking to the artists, engaging us and being able to affect the outcome. Our local clients are very hands on and want to interact with the talent.”

如Bremble所说，进一步而言，国内客户喜欢“触手可及的感觉 – 来到我们北京办公室，看看工作的进展，跟制作人员说说话，融入到我们中间，也可以促进我们的成果。我们的本地客户都愿意亲身实践，愿意和制作人员打交道。”

Heinze agrees, “Our work is all about communication, understanding each other, producing work mostly for this market. In that sense, we have a big advantage producing it in China.”

Heinze也赞同这一点，亲身接触是保持和本土客户关系的关键因素，“我们工作的关键就在于沟通，要彼此理解，让制作出来的东西符合市场。从这个角度来讲，在中国进行制作我们有着巨大的优势。”

Is there a danger that the growing number of companies undercut each other on price? With an abundance of work to go around, company leaders seem unfazed. Each of the high-end houses is sufficiently confident in their quality offering that competition is not a concern. Rather, those interviewed unanimously agreed that competition of genuine quality is positive, as it will raise the general level of the domestic industry. Roth explains, “I’m very happy that the big names are here. It means more clients will consider doing something locally in Shanghai rather than going somewhere else, which develops the demand and the supply side.”

既然公司越来越多，这会不会导致价格恶性竞争呢？其实工作绰绰有余，所以这些公司老板似乎并不为此苦恼。每一个高端的制作公司都对自己的制作质量信心满满，并不担心竞争。相反，我们所走访的这些公司老板都一致赞同，真正比质量是一种良性的竞争，可以提升这一行业在国内的普遍水准。Roth解释说，“我非常高兴看到有很多巨头公司在上海都有分部。这就意味着有更多的客户愿意考虑把工作交给在上海的公司，不用找外面的公司，这也有助于供需的发展。”

It will, Heinze suggests, give rise to companies pushing themselves to achieve excellence, “If there are more companies who value quality and produce great work, that’s a great thing for a market. It pushes us all.”

Heinze说，这也会促使很多公司不断追求卓越，“如果有更多的公司注重品质，愿意提升制作质量，那这对市场来说是件好事。这会推动所有人前进。”

Creativity & Craft 创意与手艺

 

China’s creative industries are an exciting place to be in 2015. With the atmosphere frequently compared with that of New York in the 1960s, there is vibrancy within the arts and industry, particularly amongst advertising agencies.

2015年，中国的创新产业振奋人心。人们经常会把上海的氛围和20世纪60年代的纽约进行对比，艺术和工业领域充满活力，广告行业尤为突出 。

Unlike a decade ago, where products in a free-spending and relatively uncompetitive market sold regardless of how well they were marketed, brands have recently had to up their game. The need to stand out has necessitated smarter creative ideas and clients being more strategic with their resources.

十年前的市场特点是消费无度，竞争相对较小，不论营销做的如何，产品都会卖出去，但是最近情况不同了，品牌不得不增加自己的筹码。要想让自己的品牌脱颖而出，就需要有更加精明又有创意的想法，客户也要增加资源的战略性。

“Brands are changing from saying ‘I have to produce something’ to ‘I have to produce something that’s better than my competitors’ says Heinze, “ The international brands and some Chinese companies are really starting to appreciate this and hiring people who have an understanding for design, advertising and marketing.”

Heinze说，“以前品牌只需要说‘这是我们做的’，但是现在却要说‘我们的产品比竞争对手要好’，国际品牌还有国内公司都真正开始意识到了这一点的重要性，愿意雇佣那些懂得设计、广告和营销的人才。”

Creatives in the business are relishing this new era. Steven Marolho, General Manager of MPC Shanghai, explains, “Everyone is being challenged to deliver inspiring work. Directors, creatives and artists are all enjoying the process much more. That’s a welcome change. Good work propagates good work, so as the bar goes up, we can expect a higher level of execution to become the norm.”

业界的创意人员品味着全新的时代。 MPC上海总经理Steven Marolho解释说，“每个人都在接受着挑战，如何创作出鼓舞人心的作品。导演、创意人员、艺术家都更享受工作过程。这是一种受人欢迎的转变。一部好的作品繁衍出更多好的作品，随着标准的提升，我们的期待也更高，这是自然而然的事情。”

MPC Shanghai for Coca Cola. Read about how MPC Shanghai created the T-Rex for Coca Cola here.  Images courtesy of MPC.

MPC上海制作的可口可乐广告。详情请点击MPC上海是如何打造可口可乐广告一文。图片均由MPC授权。

 It is only recently that the quality level in China’s advertising industry has markedly improved. For a long time the much-discussed stereotypes were all too true. Uninspired work gave rise to unoriginal output, even direct copycat Chinese versions of western commercials. Storytelling was lazy and the visual effects fell short of international standards. Through it all was a feeling that it didn’t really matter anyway, since the audience was relatively unsophisticated.

中国广告行业的质量水平直到近期才显著提高。在很长的时间里，人们一直讨论的陈词滥调一成不变。工作缺乏灵感导致作品缺乏原创性，甚至还有直接照搬西方广告的中国山寨版本。故事讲的很慵懒，视觉特效达不到国际标准。但是，因为中国的观众相对来说没那么精明，所以这些缺点也不会成为真正的问题。

In recent years however, with access to the internet and video sharing sites becoming almost universal nationwide, and the rapid growth of cinema screens across all tiers of city, the Chinese consumer is being increasingly exposed to the best that Hollywood visual effects and international commercial production has to offer. Tastes are gradually becoming more sophisticated and with it there is a greater expectation of quality. Marolho explains that, “It’s changed enormously. We always used to hear ‘but it’s China’, but now there are fewer separations between an international and a China commercial. It’s more about staying on-brand than trying to appease a particular market.”

然而，近几年，互联网和视频分享网站遍布中国各地，一二三线城市的电影院均迅速发展，中国消费者看到了越来越多最顶级的好莱坞视觉特效，所以也要有国际化的广告制作水准。人们的品位越来越精致，对品质的期望也越来越高。Marolho解释说，“变化太大了，以前人们总是说‘中国就是这样的’，但是现在国际广告和中国广告之间的界限已经越来越模糊了。现在更多的是要追求品牌，而不是要满足某个特定的市场。”

For the luxury goods especially, client expectations of quality are higher than ever, seeing them place more value on high-end postproduction and allocating budget accordingly to match the front-end investment.

尤其是奢侈品，客户对质量的期望比以往任何时候都要高，他们更注重高端后期制作的质量，而且也会相应地将更多的预算分配到后期制作方面，进而匹配前期的投资。

There is still a key distinction to be made between the major cities and the rural areas though, with different levels of aesthetic experience and expectation between the major east coast cities and vast swathes of the rest of China. Achieving a world-class standard across the country is unrealistic, even unnecessary for most clients. Dowrick believes ambition among many studios is still only to reach a ‘China standard’, “They have a borderline cusp where they try to get really close to a western standard but they don’t quite make it and they’re comfortable with that.”  

大城市和农村地区之间仍存在一些主要差异，东部沿海城市和其他地方的审美体验和预期还处在不同的层面上。想在全国范围内都达到世界级的标准是不现实的，尽管这对大多数客户来说都是必要的。Dowrick认为，很多工作室的野心仍然只是要达到‘中国水平’，“他们试图靠近西方的标准，处在这样的临界点，但是又不太能做到，而且他们也觉得无所谓。”

Post Production Office for Nissan. Images courtesy of Post Production Office.  PO朝霆制作的日产广告. 图片均由PO授权.

Post Production Office for Canon. Images courtesy of Post Production Office.  PO朝霆制作的佳能广告. 图片均由PO授权. 

Post Production Office for JMC.  Images courtesy of Post Production Office.  PO朝霆制作的江铃汽车广告. 图片均由PO授权. 

There are still creative hurdles to overcome, including the enduring, dreaded copycats commercials. Phenom Films Creative Director Sam Khorshid explains, “Directors come in, show me another commercial and just say ‘we want this’”.

做创意的时候，还有一些障碍要克服，包括那些持久又令人恐惧的山寨广告。天工异彩影视的创意总监Sam Khorshid解释说，“导演找到我，给我看一则广告，然后告诉我说‘我就想要这样的’”

Moreover, there often remains a tendency toward VFX in place of good ideas or storytelling, “Sometimes VFX are used to make up the gaps but when the idea isn’t clear you can’t hide behind it” says Marolho, “For us that’s a big challenge.”

此外，经常有一个趋势，就是有的人想要用视觉特效代替好的想法，或者代替讲故事，“有时候可以用视觉特效弥补不足，但是如果想法本身不是很清晰的情况下，不可能用特效来掩盖这种不足”，Marolho说道，“这对我们来说是很大的挑战。”

The sheer size and unpredictability of the Chinese consumer base means that for all the creative zeal, the risk associated with a radical new campaign is magnified, leading to a cautious tempering of ambition. Many studios agreed that there remains a kind of blueprint that must be followed, especially for the car TVC market.

中国的消费群体基础规模巨大，又难以预测，所以，对于那些有创意热忱的人来说，要想做出一个根本性的全新的广告，风险会被放大，所以这就限制了他们的野心，他们会比较谨慎。很多工作室都一致认同，应该有一个可以遵照的蓝图，尤其是对汽车电视商业广告而言更是如此。

It’s here that world-class international post houses can play an important role in inspiring confidence that amazing results can be achieved, emboldening clients and agencies to strive for more audacious campaigns.

在这里，世界级和国际化的后期制作公司可以发挥重要的作用，他们可以鼓舞人们的信心， 让人们相信他们可以做出很棒的制作，让客户和公司更大胆，在做广告时更加无所畏惧。

 Cgfish for Tencent.  Images courtesy of Cgfish.  Cgfish制作的腾讯广告. 图片均由Cgfish授权.

Cgfish for BMW.  Images courtesy of Cgfish.  Cgfish制作的宝马广告.  图片均由Cgfish授权.

 

Commercial Postproduction in China, Part Two: The China Schedule, exploring the unique challenges associated with working with Chinese clients.

中国的商业化后期制作格局，第二部分：中国式制作日程，探索与中国客户打交道所面临的独特挑战

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Contributors 参与者

 

Jan Heinze

Executive Producer & COO Asia, Pixomondo | Pixomondo 亚洲区执行制片人兼首席运营官

Jan Heinze joined Pixomondo in Germany in 2000 and played a key role in the establishment of their Beijing studio in 2009.  He has since been undertaking strategic and operational management for the company in Asia, with a focus on the Chinese market, taking on roles including business development, facility development and integration, project management and intercultural communication.

Jan Heinze于2000年加入Pixomondo德国工作室，并且是促成2009年北京工作室成立的关键力量。此后便一直负责亚洲区的战略与运营管理，其主要工作重点是针对中国市场，承担的责任包括：商业开发、设备开发和集成、项目管理和跨文化沟通。

Pixomondo is an international creative design, media production and visual effects studio, best known for award-winning visual effects work. The company maintains a diversified portfolio of business activities including corporate communication, interactive digital content, live events, theme park entertainment experiences and original IP. Pixomondo China operates in Beijing and Shanghai to serve the domestic film, entertainment and advertisement industry.

Pixomondo是一家集合了创意设计、媒体制作和视觉特效的国际化工作室，最为人熟知的当属其视觉特效获奖作品了。公司业务涵盖了多种多样的商业活动，包括企业传播、交互式数字内容、现场活动、主题公园娱乐体验以及原创IP。Pixomondo中国在北京和上海均设有工作室，旨在为中国的电影、娱乐以及广告行业提供服务。

 

Brian Dowrick

Animation Director & VFX Supervisor｜ 动画导演兼视效总监

Brian Dowrick has twenty years animation experience, including twelve years with Rhythm & Hues and almost ten in China, during which time he has run his own training school and led animation departments for five studios in Beijing.

Brian Dowrick在动画行业已有20年的从业经验，曾在Rhythm & Hues工作过12年，而且在中国待过近10年，在此期间，他还开办了自己的培训学校，而且在北京担任五家工作室的动画部门负责人。

 

Chen Gang 陈刚

Founder & Director, Cgfish Beijing｜Cgfish北京创始人、总监

Chen Gang is a VFX artist, director and producer with over ten years experience, entirely in the China market. He founded Cgfish in 2003.

陈刚既是一位视效艺术家，同时还是导演和制片人，在该领域有着十多年的经验，而且完全是在中国的市场领域。他于2003年创立了Cgfish公司.

Cgfish is a Beijing company founded in 2003, offering high-end animation and visual effects work for commercials, events and television.

Cgfish是一家北京公司，成立于2003年，专注做广告、活动和电视相关的高端动画和视觉特效。

Chris Bremble

Founder & CEO, Base FX ｜ Base FX创始人兼首席执行官

Chris Bremble founded BaseFX in 2006 in Beijing and has since guided the company to create visual effects for over 150 movies and television series from both Hollywood and China.

Chris Bremble自2003年起来到中国，并于2006年在北京创建BaseFX，此后，他带领公司为好莱坞和中国打造了150多部影视作品的视觉特效。

BaseFX is an award-winning high-end visual effects company with offices in Beijing, Wuxi and Xiamen serving the film, television and commercial industries, with 450 full time artists and staff. The company has struck up a strategic alliance with Hollywood visual effects company Industrial Light & Magic (ILM) and content agreements with Tencent.

BaseFX是一家高端特效公司，曾获得过多个奖项，在北京、无锡、厦门均设有办公室，总共有450名全职艺术家和员工，该公司专注于影视行业和广告行业。且已开始和好莱坞特效公司工业光魔搭建起战略联盟，而且已经和腾讯签订了内容协议。

 

Steven Marolho

General Manager, MPC Shanghai ｜ MPC上海总经理

Steven Marolho has been executive producing visual effects for over ten years, first coming to China in 2009 as EP for Smoke & Mirrors before joining Technicolor in 2012. He has been General Manager for MPC Shanghai since they opened for business in January 2015.

Steven Marolho十多年来一直担任视觉特效制作的高管，2009年他来到中国，最初担任的是Smoke & Mirrors的执行制片人，后于2012年加入特艺。自2015年1月MPC上海工作室创立以来，他便一直担任总经理。

MPC, a Technicolor company, has consistently won the highest industry awards for both their commercial and feature film work, having a hand in numerous household-name blockbusters.  Headquartered in London, the company has facilities in ten locations worldwide, most recently opening a studio in Shanghai.

MPC隶属于特艺（Technicolor）集团，不论是在广告还是电影方面，这家公司一直都是行业内诸多最高奖项的得主，很多家喻户晓的大片都有MPC的参与。MPC总部位于伦敦，全球总共开设了十家公司，包括最近在上海新开设的工作室。

 

Marcus Roth

General Manager, Image Unit ｜ Image Unit（上海）总经理

Marcus Roth has been managing VFX and visual production studios for over 25 years. He has over ten years experience in China, including four years as General Manager of Pixomondo Shanghai before co-founding Image Unit in 2013.

Marcus Roth有着超过25年的视觉特效和视觉制作工作室的管理经验。在中国也有着10多年的经验，其中有四年担任Pixomondo上海总经理，之后在2013年与人共同创立了Image Unit。

Image Unit focuses on visual design, high-end CGI and visualization located in Shanghai, serving clients in China and around the world. The company has just opened a facility in Stuttgart to serve their German clients.

Image Unit位于上海，专注于视觉设计、高端CGI和可视化业务，服务对象包括中国客户和全球客户。该公司近期又在德国斯图加特创立了工作室，从而可以为德国客户提供服务。

 

Amanda Wu

General Manager, Post Production Office (PO) ｜ PO朝霆总经理

Amanda Wu is a Shanghai native with ten years experience in marketing and project management positions including four as General Manager of Post Production Office Group.

Amanda Wu是上海人，有着十年的市场营销和项目管理经验，其中有四年是担任PO朝霆集团的总经理。

Post Production Office (PO) is one of Asia’s largest and longest running postproduction companies offering CG, visual effects, offline and online editing through to color grading for commercials, television and film. Established in 2003 in Hong Kong, the company has since expanded to offices in Shanghai and Beijing, recently adding two more in Hangzhou and Taiwan.

PO朝霆专注于广告和影视CG、视觉特效、离线剪辑和在线剪辑以及调色。该公司于2003年在香港成立，后来又拓展到上海和北京，近期又在杭州和台湾开设了工作室。

 

Sam Khorshid

VFX Supervisor & Creative Director, Phenom Films ｜天工异彩视效总监兼创意总监

Sam Khorshid has spent 15 years in the entertainment industry, including five in China, working in feature film, commercials, television, ride films and games. He has worked on such feature films as 2012, Alice in Wonderland, Iron man, and Kung Fu epic Flying swords of Dragon Gate Inn.

Sam Khorshid在娱乐产业已有15年的经验，其中还包括在中国工作的5年，他的业务领域包括电影广告、电视、动感电影和游戏。参与的影片包括《2012》、《爱丽斯梦游仙境》、《钢铁侠》，以及功夫片《龙门飞甲》。

 

Wayne England

Creative Director, Ride Film & Commercials Director, VFX Supervisor & Producer, Phenom Films ｜ 天工异彩创意总监、动感电影与广告总监、视效总监兼制片人

Wayne England is a CG and VFX artist with over 20 years industry experience, now serving as Creative Director, Ride Film & Commercials Director, VFX Supervisor and Producer for Phenom Films, moving between Beijing and Los Angeles.

Wayne England是一位CG和特效艺术家，已有20多年的从业经验，现任天工异彩的创意总监，同时还是动感电影与广告总监，视效总监兼制片人，他经常往返于北京和洛杉矶之间。

Phenom Films, based in both Beijing and Los Angeles, is the largest privately owned production company in China. The studio offers a complete start to finish post production solution including award winning VFX operations for major motion pictures, commercials and game cinematics. Phenom also specializes in stereo interactive ride films and immersive themed installations.

天工异彩在北京和洛杉矶均设有工作室，它是中国规模最大的私有制作公司。可以提供从头到尾的全套后期制作解决方案，该公司为很多大电影、广告和游戏电影艺术制作的多部视效作品都得过奖。立体交互式动感电影和沉浸式主题装置也同样是他们的专长领域。