3InFocus Series by SHP+| 后期制作公司三部曲
中国市场广告片的视觉品质给人的印象越来越深刻，这在一定程度上要归功于制作流程中合作的加强和创意的提升。为了纪念这一积极的变化，SHP+将为大家呈现一系列文章，几家位于中国的后期制作公司带来了他们近期引以为傲的项目。
The visual quality of commercial work made for the China market is increasingly impressive, due in part to more collaborative and creative relationships in the production process. To celebrate the positive evolution, SHP+ presents 3InFocus a series in which China-based postproduction companies showcase three recent projects of which they are particularly proud.
Fin Design + Effects
SHP+采访了Fin Design + Effects联合创始人Emma Daines，她同时身兼总经理和执行制片的职务，我们还采访了上海工作室执行制片Billy Becket，探讨了今年他们作品的灵感源泉。
SHP+ speaks to Fin Design + Effects co-founder, managing director and executive producer Emma Daines, and Shanghai executive producer Billy Becket about the jobs that have inspired them this year.
Fin Design + Effects董事总经理兼执行制片人Emma Daines| Emma Daines, Managing Director & Executive Producer of Fin Design + Effects
同悉尼的蓝天碧海相比，上海可能相差甚远，但是一谈到在上海的业务，Emma Daines却非常乐观。“一听到谁说‘在中国办事可真不容易’，我就有点不爱听。因为我在这里经历的东西都很积极，”她说，“不论在哪里，都会有挑战。可能在中国解决问题的方法完全不同，但是其实在哪儿都是一样的挑战。我在中国的经历不错。确实有挑战性，但这不正是我们想要的吗？”
Shanghai may be a far cry from the blue skies of Sydney, but when it comes to operating in China, Emma Daines’ outlook is relentlessly sunny. “I get a little bit frustrated when I hear, ‘it’s really hard in China’. I’ve only had positive experiences”, she says. “There are challenges all around the world. How you work it out in China might be entirely different, but it is still the same sorts of challenges. China has been a great experience. Certainly challenging, but isn’t that what it’s all about?”
马自达广告，北京盛世长城 | Mazda for Saatchi & Saatchi Beijing
2001年，Daines跟人一起合作成立了Fin Design + Effects，这在当时与主导着澳大利亚市场规模巨大“类似工厂”一样的特效公司很不一样。这是一家高端且充满创意的工作室，项目都是由制片人带头，提供更为个性化的服务，从构思到设计再到最终作品的呈现，Fin都跟客户的合作贯穿到每一个步骤中。
Daines co-founded Fin Design + Effects in 2001 to offer an alternative to the large, “factory-like” visual effects companies dominating the Australian market at the time. A high–end, creative and producer led boutique shop providing a more personal service, Fin strives to collaborate with clients from the ideation and design stages through to the final product.
公司创立之初的几年，生意兴隆，在澳大利亚的细分市场上占有一席之地，同时跟欧美客户展开合作。然而，全球金融危机爆发后，毫无疑问，他们要开辟新的市场。
The company enjoyed prosperous early years, carving a niche in Australia and working with clients in the US and Europe. When the global financial crisis hit however, it became clear that a new source of work would be needed.
Challenger养老金，303 Lowe | Challenger Annuities, 303 Lowe
中国广告市场规模庞大，欣欣向荣，这块市场也一直是她垂涎的地方，一些老客户也敦促她考虑在上海成立工作室。如果真的要在这里开展业务，那么保持Fin的品牌尤为重要 – 专注的制作流程，与人合作的做事方法，紧密合作的服务都包括在内。Daines说，“大家不希望从外面找人。要想在中国成立工作室的话，那就一定得是Fin自己的人。”
China’s vast, burgeoning advertising market had been in Daines’ thoughts for some time and existing clients urged her to consider setting up in Shanghai. If that was to happen, preserving the Fin identity – the dedicated pipeline, the collaborative approach and the intimate service – was critical. “They didn’t want me to put in non-Fin people. If they wanted Fin, they had to get Fin,” says Daines.
2014年，Fin上海工作室成立了，它就坐落在常熟路上一个弄堂里的大房子里。Billy Becket在悉尼总部做了八年，他被任命为上海工作室的执行制片。
Fin opened its Shanghai studio in September 2014, nestled in a large lane house off Changshu Road. Billy Becket was appointed as executive producer following eight years with the company in Sydney.
上海Fin Design + Effects董事总经理兼执行制片人Billy Becket | Billy Becket, Managing Director & Executive Producer of Fin Design + Effects Shanghai
Daines对上海和悉尼的团队一视同仁，她强调说，“虽然在两个城市，但是确同属一家公司。我们在悉尼有什么样的团队，中国团队都可以利用。”两个工作室几乎都是同步的，用的是同一个服务器，唯一的区别就是三小时的时差。“感觉上海工作室迟早也会像悉尼工作室一样，”Becket说道，“严格来说，一些都很完美，两个工作室项目合作上没出现任何问题。”
Daines makes no distinction between the Shanghai and the Sydney teams, emphasising that Fin is, “one company spread over two cities. Whatever team we have in Sydney, it’s a team that China can tap into.” The two studios work almost simultaneously, off the same server, separated by just a three-hour time difference. “It feels like Sydney could be just down the road,” says Becket, “Technically everything works perfectly. There are no issues with us working on projects collaboratively,”
吉百利广告，盛世长城 | Joyville, for Saatchi & Saatchi
Fin的核心团队包括上海的15名员工和悉尼的25名员工。一旦有具体项目需要，他们也能从世界各地找到一些自由职业者，增加10到20个人手。Daines觉得Fin最大的成就就是保持着坚固的核心团队：最初的五名初创人员还剩下四个，这几个人都紧密参与到全球的业务中。
Fin’s core currently comprises 15 people in Shanghai and 25 in Sydney. When projects call for it, the team is able to expand by a further 10 to 20 artists from a freelance pool around the world. Daines considers one of Fin’s greatest achievements to be maintaining a solid core: four of the original five founders are still with the company, all of whom remain deeply involved in global operations.
Fin Design + Effects上海办公室 | Fin Design + Effects’ Shanghai Office
1. 阿迪达斯 | Adidas
Daines觉得在中国Fin所面临的是一个急于寻找更好创意和技术的市场。她指出他们给阿迪达斯和McCann上海做的项目就完美地印证了这一点。
In China, Daines feels Fin has encountered a market eager to embrace the possibilities in improved creative and technology. She highlights a project for Adidas with McCann Shanghai as a perfect example.
“这是设计、CG、复杂的合成和调色的完美结合。”
Daines：这个任务也是随着项目的不断进行，创意和特效有了不断的完善。有几次我们的创意似乎跟预算和制作时间起了冲突，无法前进，但是我们跟团队坐下来，一起探讨想法和技术，如何能有效应对这些困难，最终结果还是令人满意的。我们（客户、广告公司、制作公司、后期制作公司）都参与进来。如果能有这样的团队劲头的话，就能找到很好的平衡。没什么规律，只需要去享受就行了。这个作品可以纳入到我们的作品集里面。
“This was a great combination of design, CG, intricate compositing and grading.”
Daines: The job evolved as it progressed, in creative and in visual effects. A couple of times we stumbled on ideas that were perhaps too ambitious for the budget and schedule, but it was rewarding that we were working with a team that could sit around the boardroom table on a few occasions to workshop ideas, techniques and tackle the hurdles efficiently. We [client, agency, production company, post house] were all in it together. If you get that group dynamic, it makes a really good equation. No real rules, let’s have a bit of fun. I’d put it on my reel anytime.
鸣谢
- 客户：阿迪达斯
- 广告公司：TBWA上海
- 制作公司：Radical Media上海
- 导演：Dave Meyers
- 后期制作：Fin Design + Effects
Credits
- Client: Adidas
- Agency: TBWA Shanghai
- Production Company: Radical Media Shanghai
- Director: Dave Meyers
- Post Production: Fin Design + Effects
2.杜蕾斯 | Durex
另外，有一个杜蕾斯的广告，Fin也是从最初就参与进来
Similarly, a job for Durex saw Fin involved from the earliest stage.
“事实证明，相互尊重的合作最有效”
Daines：广告文案是要表现出一些顽皮的成熟，同时要保持高雅气质，又不会索然无味或者俗套。我们从最开始就参与进来。（广告公司）特别希望我们能接这个活，因为我们在角色动画开发方面经验丰富。请容我说，我们之间的沟通其实非常亲密。
动画和视觉是最大的特色。我们的角色设计、动画人物的着色还有顽皮的动画都很表现出了文案所要求的高雅和成熟的外观。在整个过程当中，每一个阶段完成后，我们的沟通都很充分，相互支持，无缝对接。
“A great example of respectful collaboration working at its best.”
Daines: The brief was to bring a playful sophistication, maintaining elegance without reverting to anything tasteless or tacky. We were involved on calls from the very beginning. [The agency] really wanted our take on it because of our experience in developing character animation. We got into very, dare I say, intimate conversations.
The animation and the look was the biggest thing. We met the brief through the design of the characters, the elegant and sophisticated look of the shaders of the characters and the playfulness of the animation. At all times throughout the process, signing off at each stage, the communication was fluent, supportive, and seamless.
鸣谢
- 客户：杜蕾斯
- 广告公司：汉威士北京
- 制作公司：Blue Moon Films
- 导演：Arghaël
- 后期制作：Fin Design + Effects
Credits
- Client: Durex
- Agency: Havas Beijing
- Production Company: Blue Moon Films
- Director: Arghaël
- Post Production: Fin Design + Effects
3.饿了么 | Eleme
此外，Fin给饿了么做的电视广告恰好是一个展示工作室才华的契机，这也多亏了客户对他们的信任和支持。
The TVC for food delivery service Eleme was an opportunity for Fin to showcase a range of their capabilities, aided by the trusting support of the client.
“我们做过很多非常成功的项目，感觉就像真的在体育馆里一样。正因如此，客户完全信任我们，让我们自己执行项目，管理项目，没有太多指手画脚。”
Daines：科比其实是在美国拍的，而王祖蓝是在中国拍的。但是我们必须要让他们看起来是在同一个地方，而且要让体育馆里看起来人很多，像真实的画面一样。真正的挑战是制作周期 – 现在很多情况都这样。所以我们就要看看怎么样优化我们的流程，怎么优化时间管理，最行之有效。关键就是找到合适的人才，按照流程完成。有时候客户往往忽略了在项目开始阶段就要考虑到这些流程，相信我们可以把工作做好。关键来讲，我们要打好基础。当然，如果我们跟导演、制作公司还有广告公司已经打过交道的话，就会比较容易，这样就可以实现无缝对接。
“We have done many, many successful stadium photo-real projects. As a result, we were given complete trust to execute and manage the project without too much intervention.”
Daines: [Kobe] was shot in the US and [Zulan] in China. We had to make it look like they were both in the same place, then fill a stadium with people and make it look photoreal. The challenge was the schedule – schedules are pretty much always the struggle these days. That leads us to look at the processes and optimise our efficiency on how we time-manage. It’s about getting the right talent and following a streamlined process. This involves the client sometimes not seeing progress for the earlier part of the project, trusting us that the work is getting done. In essence, we are laying the foundations on which to build. It certainly helped that we had already developed a relationship with the director, and that the production house and agency were on the same page, which helped develop the project to its seamless standard.
鸣谢
- 客户：饿了么
- 广告公司：McCann上海
- 制作公司：MT Media
- 导演：Mark Toia
- 后期制作：Fin Design + Effects
Credits
- Client: Eleme
- Agency: McCann Shanghai
- Production Company: MT Media
- Director: Mark Toia
- Post Production: Fin Design + Effects
未来 | The Future
除了广告项目，Fin在美国、澳大利亚和中国已经开始参与一些电影项目，也在探索虚拟现实和增强现实这块“肥肉”，还在悉尼工作室成立了新部门，叫做“Fin Immersive”。对于未来，Daines非常兴奋，“我们总是想不断成长，不论是公司规模上，还是创新机会上。我绝不会停下前行的脚步，一定要这样。关键就是要保持强大、精良、体贴、乐于分享的公司核心价值。”
Alongside the commercial work, Fin have started work on film projects in the US, Australia and China and are exploring the “massive” opportunities in virtual and augmented reality with a new department, Fin Immersive, based out of their Sydney office. Daines is excited about the future, “We’re always looking to grow, whether that’s in size or in embracing innovative opportunities. I will never stop growing, because you have to. The trick is to keep that strong, boutique, caring, sharing company core.”
BAM Music Library Brings Edgy, Indie Sounds to Chinese Creatives
