>We have already showcased AirBnb’s Chinese New Year’s film in our CNY 2020 selection article, but we would like to revisit this spot again in more detail this time, because this cute and heartwarming little animation in reality employed an unbelievable amount of work force from four corners of the globe to produce.
在之前2020新年系列文章中，我们已经展示了爱彼迎的贺岁电影，但是这次我们想再回顾一下这部片子的更多细节，因为这部俏皮温馨的动画短片背后，实际上是一个庞大的制作团队，人员来自四个不同的国家。
This tremendous coordination of work between China, USA, Spain & Argentina was organized by Final Frontier production company out of Shanghai. To direct and execute the three- and-a half minute 3D film, “Final Frontier partnered up with director Shaofu Zhang and his studio, Taiko, with teams in Los Angeles and Wuhan.”
这次大规模的合作综合了来自中国、美国、西班牙和阿根廷的力量，是由位于上海的终极先锋实验室影视制作公司组织的。终极先锋与导演张少甫及其在洛杉矶和武汉的团队进行合作，来执导和执行这个时长为三分半钟的3D影片。
Final Frontier’s EP Chris Colman talks about how this “perfect fit” team paired up for this emotional film.
终极先锋的监制（EP）Chris Colman讲述了这个“完美组合”的团队是如何搭上这部情感丰富的电影的。
Behind The Scenes 幕后花絮
Titled “Fu”, the film tells the story of Jia Jia, a young nurse whose job in the city prevents her from returning to her hometown for the Spring Festival, which of course disappoints her parents, especially her father with whom she has a close relationship with.
这部电影的名字叫《福》，讲述了一个年轻护士佳佳的故事。因为工作原因，佳佳今年无法回家乡过年，她的父母都很沮丧，尤其是和她关系甚密的父亲。
At the core of the film is the age old Chinese New year tradition of hanging a ‘Fú’ (meaning ‘blessing’) banner upside down, symbolizing “good luck comes”, tying in to the overall campaign idea of turning traditional concepts on their head; Which in this case is bringing ‘home’ to Jia Jia as her parents come to the city and rent an Airbnb next door to her so that they can be with her during CNY.
贯穿影片核心的是中国自古以来的的新年传统——倒挂一面“福”字（意为“幸福”），象征着“福气倒（到）了”，切合整个宣传活动的理念，来唤醒人们记忆里的传统观念——在影片中，佳佳父母来到她工作的城市，通过爱彼迎在她隔壁租了个房子，让“家”来到佳佳身边，一家一起过新年。
Q：How did this collaboration with Shaofu Zhang come about? 是怎么想到和张少甫合作的呢？
Chris C: We’d been talking with Airbnb China’s creatives for quite a while about an idea they had to tell a CNY story using animation. At that stage we were brainstorming, trying to provide a bit of inspiration and sharing advice and recommendations, both creatively and practically for the proaction ahead.
有一段时间我们和爱彼迎中国的创意人员一直在沟通，他们坚持要做一个贺岁动画片。那个时候我们就开始头脑风暴，试着提供一些灵感，分享一些建议，来为接下来的创意上和技术上的行动作准备。
When we received the final brief for the production and we needed to present directors, Shaofu (Zhang) immediately sprang to mind. He and his team had that dream combination of genuine Chinese cultural insight combined with world-class storytelling sensibility and cutting edge execution developed over the years with Disney. It was the perfect fit.”
I’d been in touch with Shaofu (Zhang) and some of his team since way back, not too long after they’d opened Taiko, and met he and Andrew (Chesworth) and the other leadershp in LA while they were in early in production of One Small Step for which they earned an Oscar nomination for 2017 short. When the short came out and blew everyone away, I thought it’d be brilliant to work together one day.
“ 接到创意简报后，我立刻想到了少甫。他和他的团队将正宗的中国文化洞察力与世界级的叙事情感和迪士尼多年来发展起来的前沿执行力完美结合。这简直是完美组合。”
很早之前，就在他们创立太崆动漫工作室后不久，我和（张）少甫以及他的团队就有联系了。我见了Andrew（Chesworth）和其它洛杉矶分部的负责人。当时他们还在创作《冲破天际（One Small Step）》的初期阶段。这部片子后来获得2017年奥斯卡最佳动画短片奖提名。这个短片发布后，每个人都惊呆了。我想如果能和他们合作，那真是太好了。
Zhang Shaofu 张少甫
middle 中间
Q：Tell us about the choice of animation style? 可以说说是如何选择动画片的风格吗？
Chris C: From the outset, Airbnb were clear about their intention, it was important to find a different look to the animation, not just the classic 3D look we’ve seen time and again in the movies. The idea was to find a non-photoreal art style that felt more handmade somehow.Taiko did a great job creating the dry brushed edge feel that retained that graphic, 2D look, despite it actually being all made in 3D.
最开始让动画有一个不同的风格很重要，不仅仅是电影里常见的那种经典3D效果就行了。我们的想法是去找一个非照片的艺术风格，某种程度上更像是手工制作的。太崆做的很好，创造了干笔刷边缘的感觉，保持了平面的2D外观，尽管它实际上全是在3D环境下制作的。
Colour is an important aspect to storytelling. There is a clear contrast between the scenes where the family is together, where it’s warm, red and gold shades, versus those scenes when Jia Jia (the protagonist) is alone, and things turn darker and desaturated.
在叙事中，色彩是一个很重要的方面。不同的场景在影片中有很明显的对比。一家人在一起的时候，整个色彩是温暖的红色和金色，相比之下，当主人公佳佳独自一人时，一切都变暗，并褪色。
Q：Why do you think it’s a relatable story for most viewers? 你为什么觉得这个故事能引起大多数观众的共鸣呢？
Chris C: Each year, CNY sees the biggest human migration on earth, in which hundreds of millions of people travel home to be with their families. It’s an emotional time, especially for those that cannot make the trip for whatever reason – which is an increasingly common reality for many. For me, this story really empathizes with that plight and hits just the right note.
每年的春节返乡可谓是地球上最大规模的人类迁徙，数以百万计的人们旅行回家，和家人一起过年。人们在这个时候会变得情绪化，特别是因为种种原因不能回家团圆的那些人——这已经发生在越来越多的人身上。对于我来说，这个故事塑造了这种困境，切中要点，引起了共鸣。
Q：How has the film been received in China? 中国观众对这部影片的反应如何？
Chris C: It’s been hugely well received. The comments I’ve seen have noted how strongly the story resonated with them, lots talking about how it moved them to tears. Of course, we and Taiko have been delighted to hear people love the animation, and gratified by the comments noting the details in the design, especially the sequence of Jia Jia growing up.
广受好评。我看到有评论说，这个故事引起了强烈共鸣，很多人说他们都被感动哭了。当然，听说大家都喜爱这部动画，我们和太崆都非常开心。有人留言说注意到了设计上的细节，尤其是佳佳长大的片段。我们也很感激这些留言。
Lots have said it made them nostalgic about growing up during a period of enormous development and change in China. Since Taiko’s designers are the target audience, many sharing a similar experience to Jia Jia, they were able to put in a lot of touches that really fitted that period, including a city being built before your eyes in the background.
很多人说，伴随着中国取得巨大发展和变化，这个影片让他们怀念自己一路的成长。因为太崆的设计师们也是观众中的一员，他们中的很多人都有着和佳佳相似的经历，所以他们才能够在影片中加入很多与时代相符的细节，包括故事背景里你我有目共睹的城市发展。
Q: What were the challenges? 这次的挑战是什么？
Chris C: From a storytelling perspective, Airbnb were clear that they didn’t want a fantasy, but rather a story that Chinese audiences could really relate to.
For us, the timeline was probably the biggest challenge, as it often is. Three-and-a-half minutes in high end 3D, with a special painterly look, along with all the other supporting deliverables, is a tall order in just under four months.
从叙事上看，爱彼迎很清楚他们不想要一个童话，而是想要一个中国观众能真正产生共鸣的故事。
对我们来说，和以往一样，时间可能是最大的挑战。三分半钟的高品质3D效果，加上独特的插画外观和所有其他辅助的产出，在仅仅四个月里完成这样一个项目是非常难的了。
From a technical standpoint, creating that dry brushed edge feel and retaining the graphic 2D look was a major challenge. Taiko and MNPRX worked together to develop a system that could achieve the style, but because of the time pressure, it was about figuring out how to implement it as the film was being made.
FF’s 24-hour pipeline was vital in making it work within the timeframe. With our producers here in Shanghai and Buenos Aires, supporting artists in Spain and Brazil, and working with Taiko in LA and Wuhan, the work pureIy much never stopped. For us it was an exercise in efficient scheduling and professionalism.
从技术角度来讲，创造那种干笔刷边缘的感觉，同时也保持平面2D外观是一个主要的挑战。太崆和MNPRX合作开发了一个系统来实现这种风格，但是因为时间很赶，就在制作影片的同时研究如何实现这种效果.
终极先锋的全天候流水线作业对于按时完成项目十分关键。加上在上海这边和布宜诺斯艾利斯的制片人，还有在西班牙和巴西支持项目的艺术家，以及太崆洛杉矶和武汉分部的协力合作，整个项目从未停下来。对我们来说，这次项目是进行高效规划和高度专业的实践。
*interview excerpts from LLB’s Adam Bennett’s article Jan 13th
节选自1月13日 Adam Bennett（LLB）的采访文章
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