AI动画作品《渡己》|勇于沉溺,以创作渡心

AI短片《渡己》

大家好，我是思羽，一名深耕摄影行业12年的创作者。我拿了12年的相机，一直在真实物理世界中建构有限的想象。

Hello everyone, I'm Siyu, a creator who has been deeply rooted in the photography industry for 12 years. I have held a camera for 12 years, and have always been constructing limited imagination within the real physical world.

一直以来，我的脑海中有个“东方”梦，但这个“东方”和大家普遍理解的东方审美不太相同。东方元素向来素雅，克制，含蓄。但我的东方元素里，总是多了些旖旎，绚丽，张力。

For as long as I can remember, an "Eastern" dream has lingered in my consciousness — yet this East diverges sharply from the prevailing aesthetic of quiet elegance. Where traditional Eastern art embraces simplicity, restraint and understatement, my vision of the East brims with lush romance, dazzling vibrancy and dramatic tension.

但是在没有AI的年代，创作满是不可复刻的偶然，也常伴随着大量试错与遗憾，“眼高手低”的可能性太大，于是只能保留它“似有若无”的概念。

In the days before AI, creation was a fragile dance with unrepeatable chance, marked by endless experimentation and lingering disappointment. The chasm between what I could imagine and what I could physically create was often insurmountable, leaving these ideas as mere whispers in the back of my mind.

在学习和了解了AI的各项技术和思维后，我尝试了“复活”这些概念，让那些曾囿于现实的奇思妙想，变成了鲜活可触的画面，这份前所未有的力量，最终凝结成了我的首部AI动画作品——《渡己》。

But after immersing myself in AI technologies and their creative possibilities, I finally found a way to breathe life into these long-dormant concepts. The fantastical visions that were once confined by the limits of physical reality now bloom into vivid, tangible frames. This extraordinary, transformative power has culminated in my debut AI animation — Crossing Oneself.

作品的故事灵感来自于一本影响我很深的书，黑塞的《悉达多》，这本书重塑了我的艺术观，也曾陪我走出人生的精神困境，我太想把我领悟到的哪怕一点点“真谛”以影像的方式传递出去了，也太想讲东方的故事以不同的画风展现。

The story of this work was inspired by a book that has deeply influenced me — Hermann Hesse's Siddhartha. This book reshaped my artistic philosophy and accompanied me through the spiritual crises of my life. I have an overwhelming desire to convey even the tiniest bit of the "profound truths" I have comprehended through the medium of images, and to present Eastern stories in a distinct visual style.

于是当AI走进我的创作，那个在修行路上辗转求索的悉达多，便在我脑海里有了清晰的模样。我对原著做了全新解构，核心想探讨的，是“勿使惹尘埃”与“何处惹尘埃”的修行之辩。于是我把故事的主角，设定成了一位深陷创作瓶颈、被精神压力困住的钢琴家。在极致的痛苦与焦灼里，他的精神世界分裂出了两个截然相反的化身。

Thus, when AI entered my creative process, Siddhartha, who had wandered and sought on the path of spiritual practice, took on a clear form in my mind. I have completely deconstructed the original work, and the core theme I wish to explore is the spiritual debate between "lest it gather dust" and "where can dust alight". Therefore, I set the protagonist of the story as a pianist trapped in a severe creative block and overwhelmed by mental pressure. In the depths of extreme pain and anxiety, his spiritual world split into two diametrically opposed avatars.

一个是沉溺爱恨、踏遍红尘的「赤」，他在爱欲、荣华、极致的痛苦里打滚，在众生的苦难里，选择了“勇敢沉沦”，于尘世中寻得大彻大悟；一个是洁身自好、不染尘埃的「素」，他执着于精神的绝对纯粹，守着内心的清规戒律，在众生的苦难面前，依旧停留在“吃斋念佛”的自我圆满里。那么到底什么是佛？到底哪一条，才是我们人生真正的修行之路？这个问题，我没有在作品里给出标准答案。也许赤和素，是我们每个人人生路上左右摇摆的两面性。

One is Chi (the Red), who indulges in love and hatred and has traversed the mortal world. He rolls in desire, glory, and extreme suffering, and chooses "courageous immersion" amid the sufferings of all beings, attaining great enlightenment within the secular world. The other is Su (the Pure), who keeps himself unspotted from the world and clings to absolute spiritual purity. He abides by his inner moral precepts and remains in self-perfection through ascetic practices, even in the face of universal suffering. So what exactly is Buddha? Which path is the true path of spiritual practice for our lives? I have not given a standard answer to this question in the work. Perhaps Chi and Su are the two sides that each of us wavers between on the journey of life.

来到学院学习，一边夯实理论基础，一边紧迫地制作着自己的第一步作品。我很庆幸第一步作品是在电影学院的环境中完成的。于我而言，多年的摄影基础让我对画面有十足的把握。和其他同学不同的是，我是先有了自己非常喜欢的“画风”再有的故事。我在主角的色彩设计和关键帧的笔触配色上花了大量的功夫，前九天一直都在做这项工作。画风确定了才反推叙事。但是我一直担忧的是故事线太过“单薄”，作品容易变成“华而不实”的画面堆砌。

I came to the academy to study, consolidating my theoretical foundation while working urgently on my first work. I am very grateful that my first work was completed in the environment of a film academy. For me, years of photography experience have given me complete confidence in visual composition. Unlike other students, I developed my own beloved "visual style" before crafting the story. I devoted a great deal of effort to the color design of the protagonist and the brushstroke color matching of key frames, working exclusively on this for the first nine days. Only after the visual style was finalized did I reverse-engineer the narrative. However, I have always been concerned that the storyline might be too "thin", and the work could easily become a "flashy but empty" accumulation of images.

这是一次“反向创作”，在剧本打磨过程中，孙佳老师给了我一个至关重要的建议---跳出“从画面到音乐”的常规逻辑。做一次“从音乐到画面”的反向创作，用画面去“贴”音乐节奏，禅意的片不要有太多台词，会比较克制。而且她建议，做完片子后给大家看，如果没有台词大家看不懂，再加核心台词也不迟。于是我采取了这样的方式，把奇幻的艺术风格、莫奈式的油画笔触，定成整部作品的视觉基调，再沉下心打磨音乐，最后再穿故事线。

This was a "reverse creation" process. During the script refinement, Professor Sun Jia gave me a crucial suggestion: to break away from the conventional logic of "from visuals to music". Instead, conduct a reverse creation of "from music to visuals", aligning the images to the rhythm of the music. A film with Zen connotations should not have too many lines; it should be more restrained. She also suggested that after finishing the film, I should show it to others, and only add the core lines if people couldn't understand it without them. So I adopted this approach: I first established the fantasy art style and Monet-esque oil painting brushstrokes as the visual tone of the entire work, then focused intently on polishing the music, and finally wove the narrative thread together.

音乐的感觉大概确定了，开始做画面测试，我遇到了极大的挑战---画风不统一。 Midjourney出来的关键帧和角色到了做视频环节就变了样，东西还是那个东西，但是风格，色彩明度，画风，笔触，完全不同。这给了我极大的挫败感。（如下图左）

Once the general feel of the music was established, I began conducting visual tests, where I encountered an enormous challenge — inconsistent visual style. The key frames and characters generated by Midjourney would change completely when moved to the video production stage. The subjects remained the same, but their style, color brightness, artistic approach, and brushstrokes were all entirely different. This filled me with an overwhelming sense of frustration. (As shown in the left image below)

MJ生成的审美好，但是提示词描述画面不准确，香蕉模型根据提示词生成的画面是表现力极强，但是风格是油画风，缺少我想要的“空灵感”，且缺乏“融合性”，两者各有利弊。我的创作一度陷入了僵局。但是时间紧迫，看到大家也在没日没夜地做，我做了一个比较“挑战”的决定，将所有关键帧都用MJ“洗”一遍，再“手搓“首尾帧的脚本构建故事，相对于主体参考，等于这个作品保持了画风，但牺牲了连贯叙事。

Midjourney excels in aesthetic quality, but its prompt-based image generation lacks precision. The Banana model produces images with exceptional expressive power based on prompts, but its style is oil-painting oriented, lacking the "ethereal quality" I desired and suffering from poor "visual coherence". Each tool has its own advantages and disadvantages. My creation once fell into a deadlock. However, with time pressing and seeing everyone else working day and night, I made a rather "challenging" decision: to re-render all key frames using Midjourney, and then manually craft the opening and closing frame sequences to structure the story. Compared to traditional subject-based reference animation, this approach preserved the artistic style of the work but sacrificed narrative continuity.

我问自己，“如果时间有限，你最想要的是什么”，我的直觉还是告诉我“画风”，于是坚定地使用了更难的方式。其实这件事让我意识到了即便AI是个好助手，它能帮你很多，但是最极致的东西还是需要“匠心”打磨。

I asked myself, "If time is limited, what do you want the most?" My intuition still told me "artistic style". So I resolutely chose the more difficult approach. In fact, this experience made me realize that even though AI is an excellent assistant that can help you in countless ways, the most extraordinary things still require meticulous craftsmanship to perfect.

画面确定了，基本镜头大大小小确定后，音乐的衔接又遇到了问题。最后交作业的一天，大家都熬了通宵，但是教室里紧张的氛围还如同打了鸡血，这给了我很大的鼓励。张圆老师坐在我旁边，我们从10个音乐里去截取选择，选一个感觉还可以了，但是某些画面还是没那么“冲击“，就这样无限次的打磨，这个时间简直过的飞快，早餐摆在桌上硬是没时间吃一口。我觉得这更是一场心灵的战场，看着这么多和自己有着同样追求的同学们在努力，自己也想再坚持坚持，这个氛围是极其珍贵的。

Once the visuals were finalized and all the shots, large and small, were determined, I encountered problems with the musical transitions. On the final day before the deadline, everyone pulled an all-nighter, yet the tense atmosphere in the classroom was also charged with intense energy, which greatly encouraged me. Professor Zhang Yuan sat beside me, and we sifted through and selected excerpts from ten pieces of music. We would find one that felt acceptable, but certain shots still lacked the desired "impact". We polished and refined endlessly, and time flew by so quickly that I didn't even have a chance to take a bite of the breakfast sitting on my desk. I felt this was more like a battle of the soul. Seeing so many classmates with the same aspirations working hard made me want to keep pushing through. This atmosphere was truly invaluable.

最后片子放映在学院的大屏幕上，海报上呈现的那句“未经众生苦，何以渡众生”，我的心也跟着震动。那一刻深深觉得，AI时代的惊喜大过吃过的苦。结束后又将片子进行了修改，我采纳了朋友的建议：在音乐高潮处也是纸醉金迷处硬切至“骤冷”的素，极致的拉动感官，更加放大这部作品的视觉张力。

When the film was finally screened on the academy's large screen, I was deeply moved by the line on the poster: "Without enduring the sufferings of all beings, how can one save all beings?" At that moment, I truly felt that the surprises brought by the AI era far outweighed all the hardships I had endured. After the screening, I revised the film further, adopting a friend's suggestion: to make an abrupt cut to the "suddenly cold" Su at the musical climax, which is also the scene of indulgence and luxury. This extreme sensory contrast greatly amplified the visual tension of the work.

这是我AI动画创作的起点，却远不是终点。AI于我而言，从来不是对手，而是并肩创作的挚友。未来我会尝试更多风格，用影像表达更多心底的故事，以创作，渡己，也渡人。

This is the starting point of my AI animation creation, but by no means the end. For me, AI has never been a rival, but a close friend who creates side by side with me. In the future, I will experiment with more styles, express more stories from the bottom of my heart through images, and deliver myself and others through creation. The full film Crossing Oneself has been officially released.

《渡己》全片已正式上线，期待与你一同，在光影里，见修行，见自己。

I look forward to joining you in witnessing the path of spiritual practice and encountering our true selves in the light and shadow.