AI学员风采 | 王丹:心窟映心,AI 悟行 —— 北影 AI 动画研修学习感悟

AI短片《心窟》

作为一名创业者，我长期被日常经营、管理事务与市场变化所包围，习惯用商业逻辑思考问题，却很少有机会触碰艺术与影像创作。在人工智能飞速发展的今天，我一直对新技术抱有好奇与观望，却始终是零基础的外行，从未想过自己会真正走进 AI 创作、走进北京电影学院，更不曾想到，我会用 AI 完成一部属于自己的动画短片。这段经历，对我而言不仅是学习，更是一场跨界的自我突破。

As an entrepreneur, I have long been surrounded by daily operations, management affairs and market changes. I am used to thinking with business logic, but rarely have the opportunity to touch art and visual creation. Today, with the rapid development of artificial intelligence, I have always been curious about new technologies, yet remained a complete novice. I never imagined that I would truly step into AI creation and the Beijing Film Academy, let alone complete an animated short film of my own with AI. This experience is not only study for me, but also a cross-border self-breakthrough.

我报名北京电影学院 AI 动画研修课程，没有功利目标，也不为转型跨界，只是出于一份最朴素的好奇。我想知道，AI 如何与艺术结合？新时代的动画创作究竟是什么模样？影像如何表达内心深处的情感与思考？带着这份简单而真诚的初衷，我暂时放下繁忙工作，以空杯归零的心态走进课堂，开启了为期五天的沉浸式学习。这五天很短，却足够改变我对技术、对艺术、对自我表达的认知。

I enrolled in the AI Animation Advanced Training Program at the Beijing Film Academy without utilitarian goals or for career transformation, but out of pure curiosity. I wanted to know: How does AI integrate with art? What does animation creation look like in the new era? How can images express emotions and thoughts deep in my heart? With this simple and sincere original aspiration, I temporarily put aside my busy work, entered the classroom with an open mind, and started a five-day immersive study. These five days were short, but enough to change my perception of technology, art and self-expression.

入学之初，我是完全的 AI 小白，对提示词、镜头语言、画面叙事、节奏控制一无所知，连基础操作都要从零学起。但在北影老师们系统、专业、耐心的引导下，我逐渐打开了 AI 影像创作的大门。孙立军教授在开班第一课便告诉我们：“AI 是新时代的画笔，但真正能打动人心的，永远是画笔背后的人心与故事。” 这句话深深触动了我，让我跳出 “技术崇拜” 的误区，明白技术只是工具，情感、思想、故事才是创作的灵魂。随后的课程里，王昊老师、陈翔宇老师、孙佳老师、何澄老师等从流程、实战、叙事、视听语言等不同维度给予我指导，帮我搭建起完整的创作认知框架，也让我慢慢跳出商业思维，学会用创作者的眼光观察世界、表达内心。

At the beginning of the program, I was a complete AI novice, knowing nothing about prompts, lens language, visual narration or rhythm control. I had to learn even basic operations from scratch. But under the systematic, professional and patient guidance of the teachers at BFA, I gradually opened the door to AI image creation. In the first class, Professor Sun Lijun told us: “AI is a paintbrush of the new era, but what truly touches people is always the heart and the story behind the brush.” This sentence deeply touched me, making me jump out of the misunderstanding of “technology worship” and understand that technology is only a tool, while emotion, thought and story are the soul of creation. In the following courses, Teacher Wang Hao, Teacher Chen Xiangyu, Teacher Sun Jia, Teacher He Cheng and other teachers guided me from different dimensions such as process, practical combat, narration and audio-visual language, helping me build a complete cognitive framework for creation. They also let me slowly jump out of business thinking and learn to observe the world and express my heart with the eyes of a creator.

真正进入《心窟》的创作阶段，我才开始理解什么是导演思维。导演思维不是把画面做得好看，而是让每一个镜头都有目的、每一段节奏都有情绪、每一组画面都服务于主题。我为自己的作品确立了清晰的创作理念：以敦煌开窟为意象，以大写意、泼墨晕染、大面积留白为视觉风格，用东方禅意表达创业路上的内心修行。整体叙事沿着 “孤僧独行 — 凿窟坚守 — 佛光普照” 的脉络推进，对应人生 “迷茫 — 沉淀 — 觉醒” 的情绪曲线。我刻意以远景、全景为主，强化人物渺小与石窟宏伟的对比，让画面有呼吸感、有仪式感、有精神力量。从那一刻起，我不再是被动生成图片，而是主动用镜头讲述一段心路历程。

When I really entered the creation stage of Heart Cave, I began to understand what directorial thinking is. Directorial thinking is not to make the pictures beautiful, but to make every shot purposeful, every rhythm emotional, and every group of pictures serve the theme. I established a clear creative concept for my work: take the excavation of Dunhuang grottoes as the image, adopt bold freehand brushwork, ink wash rendering and large-area blank space as the visual style, and express the inner practice on the road of entrepreneurship with Oriental Zen. The overall narrative advances along the context of “Lone Monk Walking Alone – Persevering in Carving Caves – Buddha’s Light Shining Everywhere”, corresponding to the emotional curve of “confusion – accumulation – awakening” in life. I deliberately focused on long shots and panoramic views to strengthen the contrast between the smallness of the figure and the grandeur of the grottoes, so that the pictures have a sense of breath, ritual and spiritual power. From that moment on, I was no longer passively generating images, but take the initiative to tell a spiritual journey with lenses.

创作的过程充满挑战与挫折，也让我对 “导演” 二字有了更真实的体会。一开始，我完全不懂提示词的逻辑，只会堆砌描述，生成的画面要么杂乱拥挤、佛像呆板，毫无禅意；要么风格割裂，大写意的洒脱与写实细节互相冲突；要么光影失衡，佛光刺眼或无力，意境完全出不来。更让我焦虑的是，我手里有很多零散画面，却没有叙事主线，没有起承转合，没有情绪递进，只是一堆好看却不感人的碎片。那段时间，我反复调试、不断推翻、熬夜修改，一边挫败一边坚持，真正体会到：创作的成长，往往从接受失败、修正失败开始。

The creation process was full of challenges and setbacks, and also gave me a more real understanding of the word “director”. At first, I didn’t understand the logic of prompts at all, I only piled up descriptions. The generated pictures were either messy and crowded with stiff Buddha statues without any Zen; or the styles were split, the freedom of bold freehand brushwork conflicted with realistic details; or the light and shadow were unbalanced, the Buddha’s light was dazzling or weak, and the artistic conception could not come out at all. What made me more anxious was that I had many scattered pictures in hand, but there was no main narrative line, no continuity, no emotional progression, just a pile of beautiful but unimpressive fragments. During that time, I adjusted repeatedly, overturned constantly, stayed up late to revise, persisted while frustrated. I truly realized that the growth of creation often starts from accepting failure and correcting failure.

幸运的是，在我最困惑的时候，老师们给予了精准及时的指导。孙见昕老师、严湘宁老师手把手教我优化提示词，让画面稳定呈现大写意风格；国天依老师从审美角度启发我，让我理解 “创造美与接纳意外”；张元老师耐心指导我镜头组接、音乐卡点、节奏控制，把零散素材串成完整故事。在一次次修改与打磨中，我逐渐突破瓶颈：提示词越来越精准，风格越来越统一，镜头越来越有叙事力，情绪传递越来越自然。我终于把内心想表达的隐忍、坚守、自省与觉醒，真正放进画面里。

Fortunately, when I was most confused, the teachers gave me precise and timely guidance. Teachers Sun Jianxin and Yan Xiangning taught me to optimize prompts hand by hand, so that the pictures stably presented the freehand style; Teacher Guo Tianyi inspired me from an aesthetic perspective, letting me understand “creating beauty and accepting accidents”; Teacher Zhang Yuan patiently guided me in shot editing, music synchronization and rhythm control, stringing scattered materials into a complete story. In the process of revision and polishing, I gradually broke through the bottlenecks: the prompts became more and more accurate, the style became more and more unified, the shots became more and more narrative, and the emotional transmission became more and more natural. I finally put the tolerance, perseverance, introspection and awakening I wanted to express into the pictures.

当《心窟》最终成片时，我内心充满感慨。这部短片以敦煌凿窟比喻创业之路，路途中有迷茫、有孤独、有焦虑、有压力，但更有向内扎根的坚定与自我治愈的力量。外在是世事起伏，内在是心境修行。我用 AI 影像完成了一场与自己的深度对话，把多年创业的沉淀与思考，转化为可被看见、可被感受的视觉语言。对零基础的我而言，这不仅是一部作品，更是一次勇气的证明、一次内心的觉醒。

When Heart Cave was finally completed, I was filled with emotion. This short film uses the excavation of Dunhuang grottoes as a metaphor for the road of entrepreneurship. There is confusion, loneliness, anxiety and pressure along the way, but also the firmness of rooting inward and the power of self-healing. Externally, there are ups and downs of the world; internally, there is the practice of mood. I completed a deep dialogue with myself through AI images, transforming the accumulation and thinking of years of entrepreneurship into visible and feelable visual language. For me, a complete novice, this is not only a work, but also a proof of courage and an awakening of the heart.

五天的北影学习，远远超出我的预期。我不仅掌握了 AI 创作的核心方法，更重要的是，我建立了真正的导演思维：懂得用主题统领画面，用节奏带动情绪，用意象传递思想，用故事打动人心。我也深刻意识到，AI 从来不是取代创作者，而是降低了创作门槛，让每一个有故事、有情感的人，都能拥有表达的机会、都能完成属于自己的作品。

The five-day study at BFA far exceeded my expectations. I not only mastered the core methods of AI creation, but more importantly, I established real directorial thinking: I know how to guide pictures with themes, drive emotions with rhythm, convey ideas with imagery, and move people with stories. I also deeply realized that AI never replaces creators, but lowers the threshold of creation, so that everyone with stories and emotions can have the opportunity to express and complete their own works.

成果汇报时，我怀着忐忑的心情展示这部从零开始完成的短片。孙立军教授的肯定与鼓励，让我备受鼓舞；邢昊老师的细致点评，为我后续优化指明了方向。被认可的那一刻，我更加确信：只要心怀热爱、愿意尝试，任何人都可以跨越边界，完成自己曾经不敢想象的事。

At the final presentation, I showed this short film completed from scratch with anxiety. The affirmation and encouragement from Professor Sun Lijun inspired me greatly; the detailed comments from Teacher Xing Hao pointed out the direction for my subsequent optimization. At the moment of being recognized, I was more convinced: as long as you have love and are willing to try, anyone can cross boundaries and accomplish what you once dared not imagine.

心窟映心，AI 悟行。《心窟》是我在北影的学习答卷，是我第一部完整的导演作品，更是我作为创业者的内心独白。未来，我会带着这份学习收获与创作热忱，保持对未知的好奇，坦然面对时代的变化，在事业中沉稳前行，在表达中不断向内探索。我相信，技术会不断迭代，但人心与故事永远是最动人的力量。

Heart Cave reflects the heart, and AI enlightens the path. Heart Cave is my study answer sheet at BFA, my first complete directorial work, and also my inner monologue as an entrepreneur. In the future, I will carry this study harvest and creative enthusiasm, maintain curiosity about the unknown, face the changes of the times calmly, move forward steadily in my career, and constantly explore inward in expression. I believe that technology will continue to iterate, but the heart and stories will always be the most moving power.