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《何以中國（上）》紀錄片動畫——安戈力文化

影視廣告| 佳片精選 |二維動畫

—Client / 出品方

上海廣播電視臺

—Project name & type/項目名稱&類型

《何以中國》紀錄片動畫

—Production House / 制作方

UGLY/安戈力

—Production Date/產(chǎn)出時間

2023年23月10日

—Production cycle / 制作周期

180days

1. BACKGROUND PROJECT

The history of humanity spans millions of years, while the history of culture stretches over ten thousand years and the history of civilization over more than five thousand years. The vast and beautiful land of China has nurtured the only great civilization in the world that has continued unbroken and developed in the form of a nation to this day.

百萬年的人類史、一萬年的文化史、五千多年的文明史……中華大地錦繡河山，滋養(yǎng)了世界上唯一綿延不斷并以國家形態(tài)發(fā)展至今的偉大文明。

The documentary "Why China?" consists of eight episodes: "The Qin and Han Dynasties", "The Cradle", "The Stars", "Ancient Kingdoms", "The Center", "The Shang Dynasty", "Family and State", and "The World". The documentary has been selected for the "Documentary China" dissemination project of the Publicity Department of the Central Committee of the Communist Party of China and the key topics for documentaries during the "14th Five-Year Plan" period by the National Radio and Television Administration.

《何以中國》紀錄片由《秦漢》《搖籃》《星斗》《古國》《擇中》《殷商》《家國》《天下》8集組成，紀錄片入選中央宣傳部“紀錄中國”傳播工程項目、國家廣播電視總局“十四五”紀錄片重點選題。

2. STORYBOARD

The documentary "Why China?" begins with the Qin and Han dynasties, which were moving towards unification, and then traces back to the transition between the Neolithic and Paleolithic eras, witnessing the ancestors of the Chinese land moving towards agricultural settlement, forming families and societies, establishing early beliefs and cultural aesthetics, beginning exchanges among the five lakes and four seas, forming regional ancient states and early civilizations, initiating the dynastic era of Xia, Shang and Zhou, and finally establishing a unified multi-ethnic country in the Qin and Han dynasties. It presents a grand, profound, individual and vivid picture of the cultural times.

《何以中國》紀錄片從邁向一體化的秦漢王朝講起，進而溯源至舊、新石器時代之交，見證中華大地的先民走向農(nóng)業(yè)定居，組成家庭和社會，建立早期信仰與文化審美，開始五湖四海間的交流，形成區(qū)域古國和早期文明，開啟夏商周的王朝時代，直至秦漢建立統(tǒng)一多民族國家的偉大歷程，呈現(xiàn)著宏大、深邃在個體又生動的時代文化圖景。

This article starts from the first four episodes. The first episode, "Qin and Han", focuses on the individual. Through the flickering lights of history, we see one concrete and vivid person after another, striving to manage their own lives in the mountains, rivers, lakes and seas, gradually building the towering dynasties that stand in the long river of history.

我們此篇從前四集開始講起，第一集《秦漢》首先便將目光聚焦身上，透過歷史的燈影幢幢，我們看到一個又一個具體而鮮活的人，在山河湖海間努力經(jīng)營著自己的一生，慢慢壘就了矗立歷史長河中的巍巍王朝。

3. CHARACTER SETTING

The first episode tells of the significant developments in geography, politics and culture during the Qin and Han dynasties. Emperor Qin Shi Huang promoted cultural unification through his eastern tours and inscriptions on stones. The Qin Dynasty established a vast empire through a series of standardization measures. The capital of the Western Han Dynasty, Chang'an, had a grand layout, while the tomb of Liu He, the Marquis of Haihun, reflected the concept of "treating the dead as if they were alive". Wei Qing and Huo Qubing's expeditions to the northern deserts led to the establishment of four prefectures to control the Hexi Corridor, effectively defending against the Xiongnu. In the early Han Dynasty, the Nanyue Kingdom was brought under control through peaceful means, and the Silk Road promoted foreign exchanges and trade. Emperor Wu of Han also attempted to ally with the Wusun to counter the Xiongnu, demonstrating the international strategic thinking of the time. Overall, it depicted a powerful and vibrant ancient China.

第一集講述了秦漢時期中國在地理、政治、文化上的重大發(fā)展。秦始皇通過東巡和刊石勒銘推動文化統(tǒng)一，秦朝則通過一系列標準統(tǒng)一措施建立了遼闊帝國。西漢都城長安布局宏偉，而?；韬顒①R的墓室設(shè)計體現(xiàn)了“事死如事生”的理念。衛(wèi)青、霍去病遠征漠北后設(shè)立四郡控制河西走廊，有效防御匈奴。漢初通過和平方式使南越歸順，并通過絲綢之路促進了對外交流與貿(mào)易。漢武帝還嘗試聯(lián)合烏孫對抗匈奴，展現(xiàn)了當時的國際戰(zhàn)略思維。整體描繪了一個強大且充滿活力的古代中國形象。

The second episode of "How China Was Made", titled "Cradle", takes us back to the ancient history of China, from geographical changes to the emergence of human civilization. About 65 million years ago, the uplift of regions such as the Qinghai-Tibet Plateau and the Loess Plateau formed China's unique three-step topography, laying the basic framework of the Chinese land. Over time, around 8,000 years ago, the Xinglongwa culture saw a special burial custom, where individuals of special status were buried in the living quarters for the living to worship, indicating a clear social hierarchy at that time.

《何以中國》第二集“搖籃”帶領(lǐng)我們回顧了中國的遠古歷史，從地理變遷到人類文明的萌芽。大約6500萬年前，隨著青藏高原、黃土高原等地區(qū)的抬升，形成了中國特有的三級階梯式地貌，奠定了中華大地的基本格局。隨著時間的推移，在距今8000年左右，興隆洼文化中出現(xiàn)了特殊葬俗，即在居室內(nèi)埋葬具有特殊地位的人物，供生者祭祀，這表明當時社會已經(jīng)有了明顯的等級分化。

Moving further back to about 8,300 years ago, the sea level rose in the ancient Ningbo Bay, and seawater invaded the northern foot of the Siming Mountains. The current Jingtou Mountain site in Yuyao was close to the coast at that time, showing significant changes in the coastline of this area. About 6,900 years ago, the Yangshao culture began to rise in the Yellow River Basin, and its characteristic agricultural villages gradually spread across the land, symbolizing the prosperity of early agricultural civilization.

再往前推進至8300年前，古寧波灣海平面上升，海水侵入四明山北麓地區(qū)，今天的余姚井頭山遺址在當時是緊鄰海岸的地方，顯示了這一區(qū)域的海岸線發(fā)生了顯著變化。約6900年前，仰韶文化開始在黃河流域興起，其標志性的農(nóng)業(yè)村落逐漸遍布這片土地，象征著早期農(nóng)耕文明的繁榮。

At the Banpo settlement, archaeologists discovered a complex of house sites, storage pits and livestock enclosures, indicating that the social organization was already quite mature at that time. Each family lived in a single house, and the entire settlement formed a clan unit with clear functional divisions such as public cemeteries and kilns. These discoveries provide important clues to understanding the social structure of ancient China.

半坡聚落，考古學家在這里發(fā)現(xiàn)了由房址、窖穴和牲畜圍欄組成的復(fù)雜遺跡，顯示出當時的社會組織已經(jīng)相當成熟，每個家庭居住在一個房屋內(nèi)，整個聚落構(gòu)成了一個氏族單位，且有明確的功能分區(qū)如公共墓地和窯場。這些發(fā)現(xiàn)為我們提供了了解古代中國社會結(jié)構(gòu)的重要線索。

"Starlight" narrates the growth of ancient Chinese civilization in a relatively closed environment, surrounded by deserts, mountains and seas in the north, west, east and south. Nevertheless, with the spread of millet farming populations, the Miaodigou painted pottery culture expanded to the Central Plains' River-Luo region and further radiated to a wider area. In the narrow plain at the junction of Shanxi, Shaanxi and Henan provinces, large-scale central settlements of the Yangshao culture emerged, such as Yangguanzhai in Gaoling and Quanhucun in Huaxian, which witnessed complex architectural techniques. Meanwhile, the Dawenkou culture rose from the area around Mount Tai and its surrounding regions, with its influence spreading throughout present-day Shandong Province and adjacent areas. The episode also mentions a special tomb (Tomb 2005), which showcases the burial customs and lifestyle of the people at that time.

《星斗》敘述了古中國文明在相對封閉的環(huán)境中成長，其北、西、東、南方向分別被荒漠、山脈和大海所環(huán)繞。盡管如此，隨著粟作農(nóng)業(yè)人群的擴散，廟底溝彩陶文化影響擴展至中原河洛地區(qū)，并進一步輻射到更廣闊的地域。在晉陜豫交界處的狹長平原上，出現(xiàn)了仰韶文化的大型中心聚落，如高陵楊官寨、華縣泉護村等，這些地方見證了復(fù)雜的建筑工藝。同時，大汶口文化自泰山及周邊地區(qū)崛起，影響力遍及今山東省及鄰近區(qū)域。文中還提到了一處特別的墓葬（2005號墓），展示了當時人們的喪葬習俗和生活面貌。

In addition, the discovery of the ruins in the Nuerhutu Mountain area, including temples, stone mounds and buildings with a central axis layout, reflects the religious beliefs and social organization of that time. All these indicate that around 5,500 years ago, various regional cultures flourished on this land, laying the foundation for the multi-ethnic and integrated pattern of Chinese civilization. Through increasingly frequent cultural exchanges and interactions within the region, it accumulated strength for a unified China in the future.

另外，努魯兒虎山深處牛河梁一帶發(fā)現(xiàn)的遺跡，包括神廟、積石冢以及采用中軸對稱布局的建筑群，體現(xiàn)了當時的宗教信仰和社會組織形式。這一切表明，在距今約5500年前后，這片土地上的各個區(qū)域文化各自繁榮發(fā)展，為中華文明多元一體格局奠定了基礎(chǔ)。通過區(qū)域內(nèi)日益頻繁的文化交流與互動，為未來統(tǒng)一的中國積蓄了力量。

The fourth episode describes the development of several important ancient states and their cultures in the late Neolithic period, emphasizing their role in shaping early Chinese civilization. It begins with the Liangzhu Ancient City, which had a complex water conservancy system, including high and low dams and an impressive dike system. The city was divided into different areas, with the Mojiaoshan area housing the royal and noble families, while the handicraft area concentrated the high-end manufacturing population. The division of burial areas also reflected social hierarchy. Overall, the development of these ancient states and their cultures laid a diverse foundation for the Chinese civilization and provided the necessary ecological, cultural and human resources for its subsequent growth. Eventually, the progress of all these regions jointly contributed to the formation of a vast China.

第四集講述了中國新石器時代晚期幾個重要古國及其文化的發(fā)展情況，特別強調(diào)了這些古國在構(gòu)建早期中華文明中的作用。首先描述的是良渚古城，這座古城擁有復(fù)雜的水利系統(tǒng)，包括高水壩群和低水壩群，以及壯觀的堤壩體系。城內(nèi)分為不同的區(qū)域，如莫角山居住著王族和貴族，而手工業(yè)區(qū)則集中了高端制造業(yè)的人群。墓葬分區(qū)也體現(xiàn)了社會等級的不同?？偟膩碚f，這些古國及其文化的發(fā)展為華夏文明奠定了多元基礎(chǔ)，并為其后續(xù)的發(fā)展提供了必要的生態(tài)、文化和人口資源。最終，所有這些地區(qū)的進步共同促成了廣域中國的形成。

4. CAMERA VOICE DESIGN

The lens utilizes digital elevation models and other technical means to showcase the complex water conservancy system of the ancient city and its surrounding areas, including the dam groups in different directions and the long embankment in front of the mountains, aiming to highlight the grandeur and complexity of this system. This visual presentation helps the audience better understand the magnificence and technical achievements of ancient engineering.

鏡頭利用數(shù)字高程模型等技術(shù)手段來展現(xiàn)古城及其周邊復(fù)雜的水利系統(tǒng)，包括不同方向的堤壩群和山前長堤，旨在突出這一系統(tǒng)的宏大與復(fù)雜。這種視覺呈現(xiàn)方式有助于觀眾更好地理解古代工程的壯觀和技術(shù)成就。

The scenes showcase different areas within the Liangzhu ancient city, such as the residential area for the royal and noble families on the Mojiao Mountain, the handicraft production area within the city, and the small settlement areas outside the city, with particular emphasis on the social hierarchy in the burial area. Such lens design aims to reveal the hierarchical and organizational nature of the social structure at that time. For example, when describing the Longshan culture in Shandong, the lens might compare the growth in the number and scale of settlements between the Dawenkou culture period and the Longshan culture period, demonstrating the significant changes in social development over time. Additionally, it may present the connections between core city sites through maps or animations, helping the audience intuitively grasp the development trajectory of these regions.

場景通過展示良渚古城內(nèi)部的不同區(qū)域，如莫角山上的王族貴族居住區(qū)、城內(nèi)手工業(yè)生產(chǎn)區(qū)以及城外的小型聚落區(qū)，并特別強調(diào)了墓葬區(qū)的社會等級劃分。這樣的鏡頭設(shè)計意在揭示當時社會結(jié)構(gòu)的層次性和組織性。例如在描述山東龍山文化時，鏡頭可能會對比大汶口文化時期和龍山文化的聚落數(shù)量及規(guī)模的增長情況，顯示出隨著時間推移社會發(fā)展的顯著變化。此外，還可能通過地圖或動畫形式展示核心城址之間的聯(lián)系，幫助觀眾直觀感受到這些地區(qū)的發(fā)展脈絡(luò)。

5. SPECIAL EFFECTS

6. SPECIAL EFFECTS

7. ON SITE

8. HD WALLPAPERS

—STORYBOARD /分鏡

SISSI

—CONCEPTION /元素設(shè)計

SILI / YITONG HU

ERSHISANMU

—ORIGINALPAINTER /原畫師

SILI / YITONG HU

ERSHISANMU

—SCENE TEACHER /場景師

SILI / YITONG HU / ERSHISANMU

—COLOR SETTING /色定

SILI / YITONG HU / ERSHISANMU

—DIRECTOR /導演

PENGFEI YANG

—PRODUCTION /制片

PENGFEI YANG / YUE FENGSISSI

—ANIMATOR /動畫師

M/GUO / YUROU CHEN / SHENGBAI CHEN

—SPECIAL EFFECT /特效師

M / GUO / YUROU CHEN / SHENGBAI CHEN

—CHECKER /動檢師

PENGFEI YANG / YUE FENG / M

9. UGLY INTRODUCTION

中國蕞丑的一家MG動畫公司——（UGLY），專門服務(wù)國內(nèi)廣告同行、代理方、4A、甲方、乙方、丙方或丁方公司。在合作過程中以耿直、宅心仁厚的特點深受合作伙伴的熱捧及引薦，迅速在業(yè)界打開名聲。

UGLY, the ugliest Motion Graphics company in China, specializes in serving the domestic advertising peers, agents, 4A, Party A, Party B、Party C or Party D companies. In the process of cooperation, it was highly praised and recommended by partners with its honest and kind-hearted characteristics, and quickly opened its reputation in the industry.

自2014年成立至今，（上海、廈門）擁有在職技術(shù)性專業(yè)人才97位，全國居家辦公370多位；運用AE、C4D、逐幀、代碼等高技術(shù)手段制作前沿風格MG動畫作品，服務(wù)1148個項目準時交付率高達92.9%，每月可以同步進行近 50 條MG動畫生產(chǎn)線，服務(wù)的品牌項目既有眾多耳熟能詳?shù)拇笃放埔灿谐鮿?chuàng)及小眾品牌，屬于名副其實的動畫代理源頭廠家。

Since its establishment in 2014, UGLY (In Shanghai and Xiamen) has 97 in-service technical professionals and more than 370 domestic office workers nationwide; Using high-tech means such as AE, C4D, frame-by-frame code and other high-tech methods to produce cutting-edge style MG animation works .The on-time delivery rate of more than 1148 projects has reached 92.9%, and nearly 50 MG Motion Graphics production lines can be synchronized every month. The brand projects served include many well-known brands as well as start-ups and niche brands, which are worthy of the name of the animation agency source manufacturer.

取名于英文單詞UGLY（丑英譯），公司Slogan“丑從未如此藝術(shù)”，現(xiàn)業(yè)界的評價：MG動畫=安戈力，安戈力=MG動畫，已形成行業(yè)符號，提到國內(nèi)MG動畫基地，你會想起安戈力。

UGLY is named after the English word UGLY (Ugly English translation). The company Slogan "Ugly has never been so artistic". Now the industry's evaluation: MG animation=UGLY, UGLY=MG animation, has formed an industry symbol. When you mention the domestic MG animation base, you will think of UGLY.

?UGLY安戈力

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