AI学员风采 | 80 后创业者跨界北影 AI 影像:《去有雨的地方》,一场关于生命共生的微观寓言

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大家好，我是 AIGC短片《去有雨的地方》导演张亚西，同时也是一家科技公司的负责人。

Hello everyone, I am Zhang Yaxi, director of the AIGC short film Where the Rain Falls, and also the founder and head of a technology company.

首先，由衷感谢 2026 中国高校智能影像 AI 工作坊发起人孙立军老师，搭建专业创作平台，让我们这群来自各行各业的一线 “外行”，得以走进北影专业场域，系统研习 AI 智能影像创作。同时感谢所有授课老师倾囊相授，从技术实操路径到影像创作思维，为我们打通了艺术视野。

First of all, I would like to sincerely thank Professor Sun Lijun, the initiator of the 2026 China University Intelligent Imaging AI Workshop, for building such a professional creative platform. It allowed a group of frontline “outsiders” from different industries like us to step into the professional field of Beijing Film Academy and systematically study AI-powered intelligent image creation. I would also like to thank all the instructors for generously sharing their knowledge, from technical workflows to cinematic thinking, helping us broaden our artistic vision.

作为一名 80 后创业者，我是被时代浪潮一路裹挟成长的一代人。自新媒体时代到来，我始终在 “学习 — 创业 — 再学习 — 再创业” 的循环中不断前行。AIGC浪潮来得迅猛，过往积累的商业思维与行业知识，渐渐难以支撑全新的影像内容创作需求，我迫切需要专业、正统的影视艺术与影像叙事思维补足自身短板。

As an entrepreneur born in the 1980s, I belong to a generation that has grown along with the waves of the times. Since the rise of new media, I have constantly moved forward in a cycle of “learning — entrepreneurship — relearning — re-entrepreneurship.” The wave of AIGC arrived with tremendous speed. The business thinking and industry knowledge I had accumulated in the past gradually became insufficient for the new demands of visual content creation. I urgently needed professional and systematic training in film art and visual storytelling to make up for my shortcomings.

直到真正走进北京电影学院，完成十天沉浸式 AI 影像研修，我才真正明白：这次学习不只是简单的技能补课，更是一场跨越商业与影视艺术的自我跨界突破。

It was not until I truly entered Beijing Film Academy and completed the ten-day immersive AI imaging program that I realized this learning experience was not merely a simple technical supplement, but a self-driven breakthrough across the boundaries of business and cinematic art.

《去有雨的地方》以东方 “灵龟承世” 传统神话意象为根基，打造一部以微观苔藓森林为叙事空间的无对白 CG 奇幻寓言短片。

Where the Rain Falls is rooted in the traditional Eastern mythological image of the “spiritual turtle carrying the world.” It is a wordless CG fantasy fable set within a microscopic moss forest.

《山海经》早有玄龟载山、载地、承托世间万物的记载，玄龟是古人心中承载万古、护佑苍生的精神象征；《列子・汤问》亦记录天帝令巨鳌背负神山，方才稳住天地五座仙山。龟，自古便是撑起天地的温柔脊梁。

In The Classic of Mountains and Seas, there are early records of the black turtle carrying mountains and land, bearing all things in the world. The black turtle was a spiritual symbol in ancient imagination, representing endurance across ages and protection for all living beings. Liezi · Tang Wen also records that the Heavenly Emperor ordered giant turtles to carry divine mountains on their backs, thereby stabilizing the five immortal mountains between heaven and earth. Since ancient times, the turtle has been seen as the gentle backbone that supports the world.

本片故事创意，源于我对生命依存关系的深度思考： 玄龟托举天地，是东方神话里最厚重温柔的浪漫意象。它静默无言、一无所求，仅凭厚重脊背承载世间万物的生息轮回。苔藓、虫蚁、软体小生灵全部栖身龟背微观森林，浑然不知自己赖以生存的家园，本就生长在另一个庞大生命的躯体之上。

The story was born from my deep reflection on the interdependence of life. The black turtle carrying the world is one of the most profound and tender romantic images in Eastern mythology. Silent and asking for nothing in return, it bears the cycles of life for all things upon its massive back. Moss, insects, ants, and small soft-bodied creatures all inhabit the microscopic forest on the turtle’s shell, unaware that the home they depend on is growing upon the body of another vast living being.

片中玄龟隐喻地球，龟背上所有微观生灵对应人类族群。短片借这份微观寓言传递内核：人与自然本是不可分割的生命共同体，我们应当敬畏自然、守护家园。

In the film, the black turtle serves as a metaphor for the Earth, while all the microscopic life forms on its back correspond to human society. Through this microscopic fable, the short film conveys its core message: humanity and nature are an inseparable community of life. We should revere nature and protect our shared home.

家从不是一块固定不变的土地；真正的家园，是所有生命一同奔赴前路的方向。

Home is never merely a fixed piece of land. A true homeland is the direction toward which all lives move together.

剧本是整部作品的地基

The Script Is the Foundation of the Entire Film

《去有雨的地方》全程无对白，这意味着片中每一处生物动作、每一次大地震动，都要承担完整叙事功能。没有台词辅助解释剧情，所有情绪、冲突与思考，都只能依靠纯粹的影像语言传递。

Where the Rain Falls contains no dialogue throughout the entire film. This means that every biological movement and every tremor of the earth must carry a complete narrative function. Without dialogue to explain the story, all emotions, conflicts, and reflections must be conveyed purely through visual language.

这部短片剧本我前后打磨出四个版本，即便进入画面制作阶段，仍持续微调优化。工作坊指导老师给出极具针对性的专业点拨，点出初版剧本 “重奇观视觉展示、轻角色情感递进” 的核心问题，也点透微观生态短片的核心魅力不在于放大猎奇，而在于生命共情；同时协助我删减冗余场景，收紧无对白叙事节奏，让画面叙事更有力量。

I revised the script of this short film through four versions. Even after entering the visual production stage, I continued to make detailed adjustments and refinements. The workshop instructors provided highly targeted and professional guidance. They pointed out the core issue in my first draft: it placed too much emphasis on spectacular visual display while lacking emotional progression in the characters. They also helped me understand that the true charm of a microscopic ecological short film does not lie in magnifying novelty, but in creating empathy with life. At the same time, they helped me remove redundant scenes and tighten the rhythm of the wordless narrative, making the visual storytelling more powerful.

这段学习经历让我深刻意识到：剧本是短片创作的根基。唯有提前夯实故事框架，用镜头语言梳理完整叙事逻辑，后续 AI 画面生成、后期制作才能事半功倍。

This learning experience made me deeply realize that the script is the foundation of short film creation. Only by solidifying the story structure in advance and organizing the complete narrative logic through cinematic language can the subsequent AI image generation and post-production process achieve twice the result with half the effort.

视觉风格与角色设计

Visual Style and Character Design

视觉风格决定一部影片的整体气质。对于《去有雨的地方》这种融合微观纪实质感与东方神话寓意的作品，视觉风格落地效果，直接决定观众能否沉浸式走进这片专属微观平行世界。

Visual style determines the overall temperament of a film. For a work like Where the Rain Falls, which combines microscopic documentary texture with Eastern mythological meaning, the execution of visual style directly determines whether the audience can fully immerse themselves in this unique microscopic parallel world.

全片最终确立混合视觉体系：微观自然纪录片写实质感 + 东方上古神话氛围感 + 轻奇幻电影级 CG。整体以 PBR 物理渲染为核心标准，兼顾有机生物细腻真实的材质肌理，搭配层次丰富的电影级光影，平衡纪实真实感与奇幻诗意。

The film ultimately established a hybrid visual system: the realistic texture of microscopic nature documentary, the atmosphere of ancient Eastern mythology, and light fantasy cinematic CG. The overall visual standard is based on PBR physically based rendering, balancing the delicate and realistic textures of organic life forms with richly layered cinematic lighting, achieving a balance between documentary realism and poetic fantasy.

角色设计，本质就是动画影片的 “选角”。作为导演，必须清晰明确故事需要什么样的形象承载情绪与主题；鲜明、贴合内核的角色设定，是让观众记住影片的第一前提。

Character design is essentially the “casting” of an animated film. As a director, one must clearly understand what kind of image the story needs to carry its emotions and themes. A distinctive character design that fits the core of the story is the first prerequisite for making the audience remember the film.

场景美术与 AI 视觉生成

Scene Art and AI Visual Generation

色调把控是本次北影研修中我收获最大的知识点。授课老师让我真正读懂色彩的叙事力量：色调不只是单纯的视觉装饰，更是撬动观众潜意识情绪的隐形开关。同一套场景画面，冷暖色调细微偏移，带给观众的感受会从安宁平和转为压抑危机。精准统一的色彩体系，能让无对白短片实现 “无声胜有声” 的叙事感染力。

Color tone control was one of the most valuable things I learned during this Beijing Film Academy program. The instructors helped me truly understand the narrative power of color. Color tone is not merely visual decoration; it is an invisible switch that activates the audience’s subconscious emotions. In the same scene, even a subtle shift between warm and cool tones can change the audience’s feeling from peace and calm to pressure and crisis. A precise and unified color system can allow a wordless short film to achieve a narrative impact where “silence speaks louder than words.”

以此为创作依据，我为影片划分四段递进式情绪色谱，让色彩成为隐形叙事线，跟随剧情同步起伏：

Based on this creative understanding, I divided the film into four progressive emotional color stages, allowing color to become an invisible narrative line that rises and falls with the story:

清晨开篇：湿润青绿色调，林间薄雾轻薄，宁静氛围下暗藏隐隐不安；

Morning opening: moist blue-green tones, thin mist drifting through the forest, with a quiet atmosphere that subtly conceals unease.

干旱危机：低饱和灰赭、土黄基调，苔藓干枯卷边，露珠持续蒸发，生存危机逐步显现；

Drought crisis: low-saturation gray ochre and earthy yellow tones, with moss drying and curling at the edges, dew continually evaporating, and the survival crisis gradually emerging.

龟壳裂谷：昏暗朦胧柔光，龟壳螺旋纹路在微光中若隐若现，悬疑感拉满；

Turtle-shell rift valley: dim and hazy soft light, with spiral patterns on the turtle shell faintly appearing in the glimmer, creating a heightened sense of suspense.

雨后新生：通透鲜亮新绿，雨后嫩芽破土而出，满是治愈与希望。

Rebirth after rain: transparent and vivid fresh green, with tender shoots breaking through the soil after rainfall, full of healing and hope.

四段色调分别对应角色心境与剧情转折，观众无需任何台词，仅凭画面色彩变化，就能直观读懂故事走向。

These four color stages correspond respectively to the characters’ emotional states and the turning points of the plot. Without any dialogue, the audience can intuitively understand the direction of the story simply through changes in visual color.

音乐创作：影片的第二套情绪语言

Music Creation: The Film’s Second Emotional Language

在视频生成过程中，"只要音效，不要 BGM" 是我加在每个提示词中的硬性约束。《去有雨的地方》全片无对白，这意味着音效和音乐必须承担全部的情绪叙事功能 —— 它们不是画面的配角，而是与影像平行的另一套语言系统。

During the video generation process, “sound effects only, no BGM” was a strict requirement I added to every prompt. Since Where the Rain Falls contains no dialogue, sound effects and music must carry the full emotional narrative function. They are not merely supporting elements of the image, but another language system running parallel to the visuals.

配乐部分，我全部是用 Suno AI 完成的。以前我觉得 AI 作曲就是 "丢个关键词进去，出来什么算什么"，这次学习才让我明白，Suno AI 真正的用处不是代替作曲家，而是让像我这样的外行导演，也能亲手去 "捏" 出自己想要的情绪。调整乐器配置、节奏、情绪关键词，就像调色盘一样，一点点试，直到和画面的呼吸对上。

I completed the score entirely with Suno AI. In the past, I thought AI music creation simply meant entering a few keywords and accepting whatever came out. Through this learning experience, I came to understand that the real value of Suno AI is not to replace composers, but to allow an outsider director like me to personally “shape” the emotions I want. Adjusting instrument arrangements, rhythm, and emotional keywords is like working with a color palette, testing bit by bit until the music breathes in sync with the visuals.

老师还点了我一个之前完全没意识到的细节：音乐的情绪转折必须和画面的情绪转折点卡在一起，哪怕差半秒，观众都会 "出戏"。 这一认知让我在后续创作中，把配乐提示词的设计提到了与分镜同等重要的位置。

The instructor also pointed out a detail I had never truly noticed before: the emotional turning points in the music must align precisely with the emotional turning points in the visuals. Even a half-second mismatch can pull the audience out of the film. This realization made me raise the design of music prompts to the same level of importance as storyboard creation in my subsequent work.

视频制作：TapNow 智能画布全流程落地

Video Production: Full-Process Implementation with TapNow Intelligent Canvas

成片制作阶段，我全程使用 TapNow 平台智能画布功能完成全流程 AI 镜头生产。

During the final production stage, I used the Intelligent Canvas feature of the TapNow platform throughout the entire process to complete AI shot production.

TapNow 智能画布最核心的优势，是支持在同一画布内自由调用多款 AI 生成工具。创作《去有雨的地方》时，我使用最多的便是九宫格布局与全能参考图功能： 同一画布可同时排布多版分镜、角色设定、场景参考样片，AI 生成镜头时可同步读取全部参考素材，从根源统一全片角色造型、场景色调、光影质感。对于本片这种对微观材质统一度要求极高的短片，该功能大幅降低角色变形、场景材质穿帮、画风割裂等常见 AI 创作难题。

The core advantage of TapNow Intelligent Canvas is that it allows multiple AI generation tools to be freely used within the same canvas. When creating Where the Rain Falls, the features I used most were the nine-grid layout and the all-purpose reference image function. Multiple storyboard versions, character designs, and scene reference samples could be arranged on the same canvas at the same time. When generating shots, the AI could simultaneously read all reference materials, unifying character design, scene color tone, and lighting texture from the source. For a short film like this, which requires a very high level of consistency in microscopic materials, this function greatly reduced common AI creation problems such as character deformation, scene material inconsistencies, and visual style fragmentation.

以 AI 为创作伙伴，表达独属于自己的思考

Using AI as a Creative Partner to Express One’s Own Thinking

《去有雨的地方》是我首部独立完成的AIGC短片，仅耗时 30 小时，从单张角色概念图落地为完整成片。这次极限创作，让我真切感受到：AI 不只是高效的生产工具，更是并肩协作的创意伙伴。

Where the Rain Falls is the first AIGC short film I completed independently. It took only 30 hours to develop from a single character concept image into a complete finished film. This extreme creative process made me truly realize that AI is not only an efficient production tool, but also a creative partner working side by side with the creator.

如果没有 AIGC 技术，我很难将脑海中关于生命共生的微观寓言完整具象化。但创作过程中我也愈发清晰地认清一个核心：AI 能提升创作效率，拓宽视觉表达边界，但创作的方向、作品的精神内核，永远由创作者本人定义。

Without AIGC technology, it would have been difficult for me to fully visualize the microscopic fable of life symbiosis that existed in my mind. But throughout the creative process, I also became increasingly clear about one core truth: AI can improve creative efficiency and expand the boundaries of visual expression, but the direction of creation and the spiritual core of the work are always defined by the creator.

未来我会持续拥抱 AI 创作工具，把它作为内容创作的得力助手。但一部作品真正的灵魂、独有的思考与价值表达，永远根植于创作者自身的认知与阅历。我会依托 AI 强大的视觉生产能力，持续输出带有个人独立思考、人文温度的影像作品。

In the future, I will continue to embrace AI creative tools and use them as powerful assistants in content creation. But the true soul of a work, its unique thinking and value expression, will always be rooted in the creator’s own understanding and life experience. With the powerful visual production capabilities of AI, I will continue to create visual works that carry independent personal reflection and human warmth.

北影 AI 高研班这段学习经历，更让我坚定这份创作认知：AI 负责搭建画面、镜头、特效等创作框架；而支撑影片长久生命力、打动观众的内核，永远是创作者内心沉淀的思考与人文热忱。

This learning experience in the Beijing Film Academy AI advanced program has further strengthened this creative belief for me: AI is responsible for building the creative framework of images, shots, and visual effects; but the core that gives a film lasting vitality and truly moves the audience will always be the thoughts and humanistic passion accumulated within the creator’s own heart.