天降之物漫画现在出到哪一集了._百度知道
天降之物漫画现在出到哪一集了.
淘宝上的1-13册全集是正版的不,是连载到哪一集?
提问者采纳
恋驼节徽惬和界偷兢辣先声明 漫画和动漫的集数结算不一样汉化的漫画更新至61话
非汉化的好像是68话 这个不太清楚 很久没翻墙了一月一次 建议如果不是为了收藏
可以去网上看
因为出售的集数太少回答完毕 记得上分
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天降之物漫画的相关知识
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出门在外也不愁天降之物中哪一集伊卡洛斯和第二代人造天使打？_百度知道
天降之物中哪一集伊卡洛斯和第二代人造天使打？
我有更好的答案
按默认排序
在第二季的倒数第二集，并且 卡奥斯（就是二代天使）在第二集最后一集最后几分钟表示了有被小智收复的趋向
第二季，第8级吧，反正就在那一段。第二代小修女。
都看天降了，第一次庙会，真人CS
和妮芙打么？ 倒数第三集 或第二集
第2部 最后一集
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出门在外也不愁天降之物中哪一集是大家穿越去梦境里去的?_百度知道
天降之物中哪一集是大家穿越去梦境里去的?
提问者采纳
是第二部的第1集哦，他们是用DIVE GAME传送的吧。
提问者评价
O(∩_∩)O谢谢
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第二季第一集
天降之物第二季第一集哦！
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出门在外也不愁& 【翻译】【资源下载】《射手》是怎么炼成的——动漫制作 ...
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Animating ‘Archer’
《射手》是怎样炼成的？
原文地址：
素材提供：自找的
译者：storm111
Art director Neal Holman and animation director Bryan Fordney explain how Floyd County Productions brings us FX’s animated gem.
弗洛伊德小镇工作室的美术总监 尼尔o霍尔曼和动画总监 布莱恩o佛德尼 为我们带来 FX动画明珠 的幕后故事。
07:04:36 上传
Lana Kane (Aisha Tyler), Archer (H. Jon Benjamin) and Cheryl Tunt (Judy Greer) share a tense moment in the fifth season finale of Archer Vice. Copyright FX Networks.
第五季 邪恶射手 大结局 拉娜o凯恩 ，阿彻，和谢莉尔o唐特共度紧张时刻。版权所有，FX电视网
Adam Reed’s spy series Archer underwent a bit of a change this season, with the animated heroes forced by the FBI to jettison their spy business in exchange for lives of crime and cocaine-selling. And country western music production. As you can imagine, they’ve approached the crime business with the same bravado and dysfunction that they used to approach the spy business. Luckily, there’re still the same people keeping things running smoothly behind-the-scenes.&&Floyd County Productions has been there from the beginning, in fact, and with five seasons under their belt – and two more still to come – art director Neal Holman and animation director Bryan Fordney practically have the process down to a science.&&Overseeing a staff of sixty at their Atlanta-based studio, the duo open up about their economical approach to keeping Archer and his crew looking so darn good, using 3D software to create the 2D world of Adam Reed’s hilariously tight scripts.
亚当o里德的系列谍战剧《射手》，本季在剧情上做出了一些改变，在FBI的强迫下，主角们放弃了他们的间谍工作转而开始了贩售可卡因和犯罪生涯。作品还配上了乡村音乐。就如你所设想的，他们用当初进入情报圈的那一套虚张声势和装疯卖傻的手段开始了犯罪行当。幸运的是，在幕后保障这一切的还是同一批人。事实上，弗洛伊德小镇工作室几乎就是靠着这两个人的精熟技艺，把剧集从第一集，推进到了第五季，他们就是即将出场的，现在已经声名隆著的美术总监 尼尔o霍尔曼和动画总监 布莱恩o佛德尼。他们坐落在亚特兰大的工作室，拥有60名员工。因此，这对拍档，运用较为经济的手段开发剧集，还要让阿彻和小伙伴们的形象看上去不错。他们用3D软件在二次元中，重现了亚当o里德那充满笑料的紧凑剧本。
07:04:42 上传
Dan Sarto: Tell me a little bit about how this wonderful series comes together.&&What are your roles and what’s your production pipeline like?
Neal Holman: Archer is not your average cartoon.&&We work very, very quickly and the department heads and production heads have all worked together for so long that our process is really streamlined.&&A script is written and then things start to sort of branch outward.&&I will start working with the storyboard team and while they’re busy storyboarding a scene, my associate art director Chad Hurd and I will be designing backgrounds and then working with our character designers.&&At the same time, we’re working with our 3D department helping to build the background designs into 3D environments. On the other side of the track, the producers are casting and doing the voice recording with our actors.&&By the time they are done with an audio edit, we will have storyboards to put to their audio and then pass that off to our illustration and background directors.&&That’s when they start building Archer in a jungle suit or Archer in a tuxedo.&&The background department will be painting over renders from our 3D environments.&&Bryan takes all of these elements and the animatic with audio and he’ll line up all of the elements to go with it and begin animating and compositing.
Bryan Fordney: Another unique thing about the Archer pipeline is that the animation process is actually done separate from the drawing.&&The drawings are done based on the storyboards and the illustration director also sort of directs drawing sequences.&&We use Adobe After Effects for the character acting, which is almost more similar to 3D animation than it is to traditional animation because we are essentially creating rigs, like 3D character puppets, but we are doing it in 2D.&&That allows us to work very quickly and it allows us to add various subtleties that we wouldn’t be able to do with traditional animation.
记者：告诉我一些这个让人惊艳的连续剧的制作过程吧。你们心目中的角色和你们的制作流程是什么样的？
尼尔o霍尔曼（美术总监）：《射手》不是一般意义上的卡通片。我们工作起来非常、非常迅速，各部门的负责人们长期通力协作，形成了真正的流水化作业。剧本一写出来，就来到了我们这些分支中。当分镜组设计一个场景时，我也会参与。我和我的助理美术总监扎德o赫德会与人物设定者们一起为之设置背景。同时，我们会和3D动画组一起，把设计好的背景放到3D环境中。而在另一条生产线上，制作者们会进行配音，给我们的配音演员录制音轨。等到他们录完，我们会在分镜中加入他们的音频，然后把它交给我们的绘图和背景导演审核。这时候，我们才决定，阿彻是穿丛林套装还是晚礼服。这时候，背景组就画好了我们提供的3d场景。然后，布莱恩接手所有的材料和带音频的动态脚本，他会把所有元素有机组合，然后开始动画制作和影像合成。
布莱恩o佛德尼（动画总监）：《枪手》制作流程中另一个独特的事情是，动画和绘图流程其实是分离的。制图是由分镜脚本组完成的，绘图导演也有部分参与。我们用Adobe 的AE（后期特效工具）制作角色的动作。实际上，我们使用工具，比如3D人物木偶，更接近3D动画，而非传统动画，但是我们仍把它做成了2D的。这些东西让我们的工作非常迅速，让我们能添加传统动画所表现不出来的特效。
07:04:45 上传
DS: So the backgrounds are done using 3D software tools?
NH: Yes.&&The way we get a design going is Chad Hurd and I will work on something that we think best suits the needs of the scripts and the aesthetic that Adam is going for in his scene.&&We’ll get his thoughts on it and once a design is locked, we give it to our 3D team and they build that environment.&&Once it’s built, we can put our camera anywhere inside it and kick out a render and then pass it on to our background team, our painters, who pain over that render.&&So, it’s not just an out-of-the-box render that goes straight to television.&&It goes through our painters first so it looks more like a painting than it does a stale 3D render.
DS: Now, am I mistaken or is some of the 3D animation done somewhere else in the Midwest?
BF:&&Trinity Animation does a lot of 3D work with us, like the 3D environment builds I’m talking about.&&We rely on them pretty heavily.&&They’re at Lee’s Summit, Missouri.
记者：那么背景是用3D软件工具做的了？
美术总监： 是的。我和扎德o赫德会选取最能体现亚当【即编剧】艺术构想的，最适合于剧本的设计方案。我们会把他的想法表现出来，一旦设计方案确定，我们就交给3D组，他们就去构筑3D环境。一旦建模完成，我们就能把镜头在空间里自由移动，在剔除渲染后，再把它交给背景组——我们的画家痛恨渲染。所以《射手》不是那种用了开箱即用式的大众化渲染后，直接就扔到荧屏上的作品。它先经过了我们画家的手，所以，比起那些老套的3D作品，《射手》更像是手绘的。
记者：现在我有个问题，有部分3D动画是在（美国）中西部的其他地方制作的，是我误会了，还是确有其事呢？
动画总监：三一动画公司和我们有很多3D合作，比如我们正谈及的3D建模。我们非常倚重他们。他们在密苏里州的里斯萨米特。
07:04:48 上传
DS: What program do you use for the 2D characters?
NH:&&Adobe Illustrator is where we’re building all of the elements for the character rigs.&&We’ll draw Archer standing in a tuxedo, but that one illustration of Archer in his tuxedo is split up into several different layers, so that his hand is on a layer, his forearm is on a layer, his bicep is on a layer, etc.&&In After Effects, we’ll link those three layers together, so that when I move the bicep, the forearm and the hand move with it.&&It becomes like a puppet rig.
BF: The heads themselves are like a whole other beast, though.&&When we draw on a body, we put a dummy head on it because the actual head is a really complicated rig that takes a long time to develop and we stick on everybody that we draw.
NH:&&It’s all about economy and getting the most of what you are doing.&&There’s a lot of smoke and mirrors.&&We try to make it look like a lot of animation, but we’re very economical.&&If we are going to build a head then that head rig is going to be really good.&&We’ll build it once and use it throughout the year.&&We are trying to use every bit of everything and nothing really goes away.&&Any body that Archer is drawn in, like a suit or polo shirt or whatever, you will see repurposed on drones in the background throughout the season.&&Nothing goes to waste here with our illustrations and our rigs!
记者：你们怎么制作的2D人物呢？
美术总监：我们用Adobe Illustrator 组建出人物所需的一切元素。 我们要绘制阿彻身穿晚礼服的站姿图：这一个图像要分解成几个不同的涂层。要让他的手在一个涂层，他的前臂一个涂层，他的二头肌也要占一个涂层，等等。在AE里，我们会把这三个涂层连接起来，这样当我们移动大臂的时候，前臂和手也会一起动。就像个木偶那样。
动画总监：但是，头部这里是个怪胎。在绘制身体的时候，我们会用一个假头像，因为真正的头部很复杂，要花很长时间去做。然后我们会把它贴到画好的每一个身体上。
美术总监：一切都是为了省钱省力。那些东西大都华而不实。我们也想跟许多动画一样，但我们财政紧张。如果，我们可以先做头部模块，那么头部看起来肯定会更好。我们一旦把整个模型做好，就会用上一整年。我们尽一切可能去改善这一点，可惜没什么改观。《射手》里画好的每个身体都像一个西服套装或者球衣之类的东西。你会在一整季里发现很多重复利用的场景。我们这的绘图和配件毫无浪费！
07:04:52 上传
DS: But on the flip side, when you look at the finished episodes, it doesn’t look like a minimalist visual presentation.&&It looks very stylized.
NH: That’s the goal.
BF: There has to be a balance, but we really do feel like the important thing about Archer is just how it looks.
DS: Right, right.&&He is all about his looks!&&Turning the subject to Adam Reed for a second, does he send you a finished script and then you work with him on the creation of the storyboards?
BF: We usually get a script that isn’t quite locked, but not far from it.&&When he’s ready to get FX’s response, that’s the draft we get and start building from.&&Adam is just such a strong writer that we can go ahead and start moving forward with the major builds.&&And after that, once we have done a pass of Act One, we will send him a PDF of the storyboards along with some notes to guide him through it and he’ll send back whatever feedback he has.&&After all these seasons, I have a pretty decent idea of what Adam is going for when he writes a script or a scene, so the notes have been pretty minimal.
There is another storyboard revision after we add in the audio.&&In most shows, storyboard goes straight to audio and that is a luxury that we don’t have because of our schedule.&&We generally finish storyboards for a full episode in two weeks and two days, and that’s moving really quickly for four people.&&Sometimes when the audio comes in, an actor’s read will be much different than how we were reading it when we were doing the boards, so we have to make revisions.&&One of the best things about our production is that we can turn on a dime and still keep things move pretty fluidly.
NH: Also, we don’t just start one episode, work it until it is done and then start another – they are all overlapping in various stages.&&So, while one episode is being written, the previous episode is being storyboarded and the episode before that is being built and the episode before that is being animated.&&We generally have four or sometimes five episodes going in production at one time.
记者：可话说回来，看到剧集的完成品时，他们一点也不像简约抽象派的作品，他们看上去非常有型。
美术总监：就是那样。
动画总监：这要把握好尺度，但我们觉得《射手》播出的效果如何，才是重要的。
记者：是啊，是啊。结果好才是真的好！让我们稍微谈一下亚当o里德吧。他是交给了你们一个写好的剧本，然后你们和他一起创造分镜脚本吗？
动画总监：我们拿到的常常是个没有最后定稿的剧本，但也相差不多。他交给FX等候回复的那份草稿，就是我们编制动画的蓝本。亚当是个很强悍的作家，他使得我们能够放手施为，先行做出动画的主要构架。然后，一旦我们做出了一幕，我们就会送给他一个PDF文档，然后在上面标注出，需要他再加以解释的地方，不管怎样，他总能给我们反馈。合作这么多季之后，我对亚当写剧本或情景时的想法，也有了很好的理解。所以，这样的标注，已经非常少了。
在我们添加完音轨后，还会进行一次分镜脚本修订。很多连续剧的分镜脚本是直接拿去配音的，可因为日程原因，对我们来说，这就是奢望了。我们通常在两天或两周内完成一整集的分镜脚本，这对于四个人来说，已经是非常快的进展了。有时，录音来了，我们会发现演员的配音和我们给定的台词有很大出入。所以我们要做修订。最值得称道的就是，虽然制作时意外频频，可一切进展还算顺利。
美术总监：而且，我们不是做完一集再做一集——我们是不同阶段同步推进。所以，当一集写完了，前一集已经写好分镜脚本了，再前一集，已经开始建模，而再之前的，已经做动画了。我们通常同时做4-5集。
07:04:56 上传
DS: What’s the total timeframe for the production of an episode?
NH: I think it’s ten weeks, is that right Bryan?
BF: Yes, that sounds about right.
DS: Do you do the post yourselves at Floyd County Productions?
NH: A strange thing about this show is that the post work is done in After Effects, the same program that we use to do the character animation.
BF: The editing is done in Final Cut by an editor, but we often have to make adjustments in After Effects for timing and everything.
NH: The only thing that’s really not done in-house is the recording and audio mixing.
记者：做一集的整个用时是多少？
美术总监：我想是10周，是吧布莱恩？
动画总监： 嗯，差不多。
记者：你们亲自在弗洛伊德小镇工作室做后期吗？
美术总监：这个番的一个奇怪之处在于，做后期的软件和做人物动画时一样，都是AE。
动画总监：剪辑的定裁由编辑决定。但我们常常在AE中对时间点和各种各样的东西进行调整。
美术总监：唯一不在我们手底下修改的就是录音和混音了。
07:04:58 上传
DS: Adam Reed told me recently that the team at Floyd County regularly manages to make the gags in the script so much funnier than he ever imagined…
NH: Well, one example that comes to mind is episode 402, I think…the one with Lucas Troy, who was Timothy Olyphant last season….
DS: Oh, yes, his close buddy…
NH: …Archer’s best friend.&&That episode ends with a just a silent shot of Archer, Lana and the car.&&The comedy in it comes from Archer’s facial expression – that tells the whole story.&&We just stay on their faces as they think about the horrors they’ve just gone through.&&It was kind of funny in the script, but just seeing the way Bryan’s team really sold that makes it stand out in my mind as one of the best examples of our character acting.
BF: Yeah, the cool thing about that was it was the last step in the production.&&One of our animators just decided, “Oh I’m going to make these really hilarious frowny faces on these characters at the very end.”&&It really wasn’t planned out that way.
NH: Because we have such talented improv actors on our cast, I think a lot of people believe the show is primarily improv and I’d say…95% of it is written.&&What seem like improvised jokes are actually written on the page and that speaks to Adam’s natural talent as a writer.&&He is really incredible.&&We’re a little spoiled in that we get Adam Reed scripts every two to three weeks.&&When we have to shift and work on other projects, I always hold [the other writers] to that same standard and there is always a disconnect at first, because they are not Adam.
BF: There is a real confidence in the scripts.&&Like, if we are confused partway through the production because, “This joke just isn’t working,” and then we look back at the script we’re like, “Oh. That’s because we didn’t do it by the script!”
记者：亚当o里德最近告诉我。剧本上的笑料经过你们的加工，爆笑程度远超他的想象。
好吧，有个点子是在402集时蹦出来的。我想想ooo这个点子是卢卡斯o特洛伊也就是上一季里面的蒂莫西o奥利芬特提出来的。
记者：哦，他是个好基友ooo
美术编辑：ooo阿彻最好的润滑油。那一集以阿彻、拉娜和车的无声镜头结束。喜感都在阿彻的脸上了——那个表情讲述了整个故事。而如果我们单看他们的表情，我们会觉得他们在回味之前遭受的“袭击”。这一段在剧本上就很有趣，但一经布莱恩团队的加工，它就作为体现人物个性的高光时刻，留在了我的脑海中。
动画编辑：是的，那一刻的妙处还在于它是剧集的结尾。我们的一个动画师说：“我要把这些角色让人爆笑的愁容放在整集的结尾。”原来不是那么编排的。
美术总监： 因为我们阵中有极具天赋的即兴表演家，我想许多观众认为，这个连续剧其实是即兴发挥出来的，而我要说，我们95%的内容都是剧本写好的。那些看起来像即兴发挥的笑话，完全是在纸上写好了的。这只能说是亚当作为一个作家的天赋使然。他真是太不可思议了。我们已经被亚当里德每2-3周就有一份的剧本宠坏了。当我们转向其他作品的时候，我总是用同样的眼光审视其他作家的稿子，一开始真是不来电，因为他们不是亚当。
动画总监：剧本中有一股真正的自信。比如，如果我们因为“这个笑话不好笑”这类原因对剧情感到困惑，我们回看剧本会发现，原来“我们没有按着剧情来！”
07:05:03 上传
DS: The stuff is brilliant on a lot of different levels.&&I think the visual design of this show so beautifully compliments the tone and the comedy that I cannot think of another visual style that would make it any better.
NH: Yeah.&&When we were doing the pilot we wanted something with really bold line work, thick heavy lines.&&We just didn’t want to look like another Family Guy or Simpsons.&&A lot of the cartoons that we were seeing had this razor thin line work and that’s not to knock those cartoons – it was just something we didn’t really want to follow suit with.&&We wanted something that would be different and give a more graphic appeal to the characters.&&We wanted the backgrounds to have these lush painted textures.&&At first it was looking more like a ‘60s comic book but it has sort of morphed from there.
DS: Last question – what are the biggest challenges you face day-to-day and week-to-week in bringing Archer together?
NH: Some of it is dealing with how best to do really cinematic sequences with limited animation and limited time.&&That is something I actually really enjoy because it gives you constraints to work against.&&We definitely don’t have an unlimited budget and we definitely don’t have unlimited time…but we swing for the fences in our storyboards and really try to make the biggest, baddest car chase we can and then boil that down into logistical elements that we can actually do.&&It’s one thing to board a giant fight scene and it’s quite another to plan it out to where you can do it without killing all of your animators.
BF: Yeah, and on these big action episodes, you’re really trying to find a balance between the action-packed sequences and the natural comedy of the voiceover work, which is the core of the show.&&With normal episodes, that just comes along naturally, but when we get to these crazy episodes with tons of adventure, it’s vital to find a balance.
记者：这个剧真是极好的，在各种意义上。这个剧在视觉设计上如此完美地匹配了语气和笑料。我想不出还有比这更好的表现风格了。
美术总监：是的，当我们尝着创作它的时候，我们打算添加些一些粗线条，厚重的粗线条。我们只是不想让它看上去像另一个恶搞之家，或者 辛普森一家。许多卡通运用了剃刀细线，但是这种做法却没有成就这些卡通——我们只是不想随大流而已。我们想做些不同寻常的事情，让角色变得更富视觉冲击力。所以，我们就让背景纹理变得更艳丽。起初，这样做的效果，只是让背景看来更像60s漫画书，但是后来，我们发展出了一些变体。
记者，最后一个问题：在你们经年累月地制作《射手》的时光中，面临的最大挑战是什么？
美术总监：比如，怎样才能用有限的时间，有限的动画表现出媲美电影的效果。这是我非常感兴趣的事情，因为这样能给你的工作带来紧迫感。我们注定无法拥有无限的预算，无法拥有无限的时间ooo但我们要用自己的脚本撼动这铁篱，我们在理性头脑所允许的范围内，竭尽所能造出最大、最炫的汽车。因为要一个宏大的战斗场面是一回事，而不会因此累死你的动画师们又是另外一回事了。
动画总监：是的，在这种有大场面的剧集里，你真的要在激动人心的画面和轻松自然的配音之间找到平衡点，这是这部连续剧的精髓所在。在普通的剧集里，这一切顺理成章，但是当我们进入有无尽冒险的疯狂剧集里时，把握好分寸就至关重要了。
Dan Sarto is Publisher and Editor-in-Chief of Animation World Network.
James Gartler is a Canadian writer with a serious passion for animation in all its forms. His work has appeared in the pages of Sci Fi Magazine, and at the
有空把吐槽部分补了吧~这帖还能加评钱.
总评分:&金钱 + 50&
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美漫《射手》资源占位
注：本剧码率不齐
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吐槽部分站位
§~游侠动漫组【活跃】游侠UNI宣传部【组员】?游侠NBA首席特约评论员?北歐之神?奧丁
UID5345839主题阅读权限80帖子精华0积分16034金钱12813 荣誉310 人气3873 在线时间9709 小时评议5
Lv.8游侠钻石会员, 积分 16034, 距离下一级还需 13966 积分
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UNI向你敞开大门
?銀髪邪眼の姫狐?游侠动漫组【原创】☆ツンデレの討ち手茱兒?
UID852114主题阅读权限100帖子精华1积分14221金钱122182 荣誉631 人气3709 在线时间15748 小时评议10
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我和小夥伴驚呆了~
縦の糸はあなた&&横の糸は私&&逢うべき糸に&&出逢えることを&&人は&&仕合わせと呼びます
みなみ ことり游侠动漫组【空气】Minalinsky ? 南小鸟僕らのLIVE 君とのLIFE
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dick803gd 发表于
UNI向你敞开大门
又在拉皮条
圣域念力高手·斯巴达西班牙
锋线杀手 托雷斯
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枪手 是子弹喂出来的
?????????★天上人间☆?????????:黑暗聖鬥士·黑暗天馬
UID7831996主题阅读权限100帖子精华0积分3819金钱8916 荣誉44 人气1327 在线时间3257 小时评议3
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翻译的不错~
没有梦想就没有希望 没有希望就没有目标 没有目标就没有计划 没有计划就没有行动
没有行动就没有成果 没有成果就没有满足 没有满足就没有幸福 没有幸福就没有努力
一生最爱.千反田爱瑠游侠动漫组【风纪】
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亲~一个月翻译15帖拿一等原创工资不是梦~
§~游侠动漫组【活跃】游侠UNI宣传部【组员】?游侠NBA首席特约评论员?北歐之神?奧丁
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Lv.8游侠钻石会员, 积分 16034, 距离下一级还需 13966 积分
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丹羽長秀 发表于
亲~一个月翻译15帖拿一等原创工资不是梦~
估计得累到送医院..
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本帖最后由 storm111 于
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丹羽長秀 发表于
亲~一个月翻译15帖拿一等原创工资不是梦~
一等工资这么难拿啊···如果15贴的话，因为能力和时间有限，就不是这个质量了。估计会有很浓的翻译腔。
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sppggyy 发表于
翻译的不错~
因为水平低，所以格外用心，感谢鼓励
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nfek 发表于
我和小夥伴驚呆了~
吐槽不能，只好用这个水水了
?????????★天上人间☆?????????:黑暗聖鬥士·黑暗天馬
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storm111 发表于
因为水平低，所以格外用心，感谢鼓励
等待你的到来
没有梦想就没有希望 没有希望就没有目标 没有目标就没有计划 没有计划就没有行动
没有行动就没有成果 没有成果就没有满足 没有满足就没有幸福 没有幸福就没有努力
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Lv.4游侠高级会员, 积分 929, 距离下一级还需 71 积分
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感谢楼主分享!!!
游侠剑阁工作组组长游侠游戏库大师
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感觉看到了不得了的东西。
　★　　★　　?《银河英雄传说》
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