跟讀練習: Motion - 通過影片學習英語口語

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Movement is obviously a big part of films.

However, since storyboards and concept paintings are still images, they have to suggest movement to help tell a story.

In this video, we'll look how to create the illusion of movement in still images, focusing on two specific techniques, motion lines and line of action.

Motion lines extend from an object along its pathway of motion to make it appear like it's moving.

If I was drawing a car on a racetrack, I might add some lines like this.

The line of action is a little bit different.

Think of this as an imaginary line that runs down the spine of a character, which indicates the force and movement in that moment.

We use this line to imply movement by guiding the pose of the character, or in some cases, other objects.

Check this out.

Notice we can feel movement even though the drawing is static?

Now let's look at the UP storyboards and concept art with motion in mind.

The previous panel we've been looking at from UP, where we see the house taking off for the first time through a city, there's a lot of things about this composition that really help us feel.

Like even though these are static shapes that typically in our world wouldn't move on their own, suggest a sense of movement with this house.

That directional of the balloons fanning up helps pull the house upwards.

The shape of the house itself with a triangle pointing upwards helps move the house upwards.

The framing devices that are happening in the background actually help move the house through the panel as well.

As the trees go from medium to large size, they pull our eye forward.

And then if you look at the house, it's not quite vertical.

It's slightly askew, which shows that it's different than all the other surroundings.

Because the fact that it's flying, but also it's like a character in itself.

So there's like a slightly implied movement of going upwards and to the right.

One of the fun things we are sort of experimenting with with Ellie is even though you see her here, she's drawn with hands on hips, firmly painted on the ground, we wanted her energy to just feel like it was pointing upwards.

So we use these curves, which are sort of pointing you upwards.

We wanted it to sort of play in contrast to Carl, who has become even more square and even more hunkered down.

We wanted you to feel like age is just taking its toll on him.

He's become this sort of grumpy old man who's now burdened and sort of locked in and just anchored to the floor.

I really like the movement in this image because it's very simple.

It's like a really easy thing to do, but sometimes it gets overcomplicated.

If you look at McQueen here, you see how these tires are slightly diagonal, which makes him feel like he's leaning to the right,

as well as like this bottom here.

And then the overall line of action is a diagonal line going that way.

And then this car is back here's line is going that way as well.

And it just makes it feel like they're actually moving forward in space.

As well as the speed lines, which are always like a really quick and easy way to indicate movement in storyboarding.

And if you look at this guy back here, he's a little bit slower than these other two.

He's not quite as competitive in this moment as they are.

He's more examining about what's going on and admiring the competition between them.

So if you check him out, his line of action is more of a vertical line.

Like even the tires are very straight, which really contrasts what they're doing here.

So this set of images from Brave are great.

The character designer was exploring how Mom Bear would move as soon as she turns into Bear.

And of course, she was a woman who doesn't know how big she is now.

She's this gigantic bear.

And this is something really important when we create characters, the line of action.

It's this through line that goes from the top of the bottom of the character

that kind of tells you what the gesture and implies the movement that the character might have.

Mom Bear is not very graceful yet.

She doesn't quite know what to do with her body.

She doesn't know how to move, and she's a little bit off balance.

Now, a little bit later, when Monbert finds her footing, she becomes really graceful.

You look at these pictures, and you can just see this beautiful line of action through the body of Monbert.

She seems like she moves in a very graceful way.

And I really love that kind of simplicity of design that we see in these pictures.

As we've just seen, we can create a sense of motion with motionless images by thinking about the direction

and the quality of our lines, as well as the pose of the character and the objects within the frame.

In the next exercise, you'll have a chance to explore motion in more depth.

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本課的詞彙與口語要點

影片中反覆出現的詞有：movement, character, upwards, motion, action。這段影片共有 56 個句子、880 個單詞可供跟讀。講話部分時長為 4:41。說話人語速較快，每分鐘約 188 個詞，會出現較多連讀和弱讀。 87% 的單詞屬於英語最常用的 3,000 詞，詞彙容易理解。

影片中的重點詞彙

影片中最難的 15 個單詞，附發音和釋義：

單詞	發音	釋義
graceful 形容詞	/ˈɡɹeɪsfʊl/	優雅 /優雅, 優美 /優美
storyboard 名詞		分鏡圖 /分鏡圖, 分鏡 /分鏡
imply 動詞	/ɪmˈplaɪ/	意味著
diagonal 形容詞	/daɪ̯ˈæɡ(ə)nəl/	對角 /對角
tire 動詞	/ˈtaɪ̯ɚ/	勞累 /勞累, 累
vertical 形容詞	/ˈvɝ.tɪ.kəl/	豎的 /豎的, 垂直
grumpy 形容詞	/ˈɡɹʌmpi/	性情乖戾的
hunker 動詞	/ˈhʌŋkɚ/	蹲下
racetrack 名詞	/ˈɹeɪsˌtɹæk/	跑馬場 /跑馬場, 跑道
gigantic 形容詞	/d͡ʒaɪˈɡæntɪk/	巨大的
surroundings 名詞	/səˈɹaʊndɪŋz/	周圍 /周圍
imaginary 形容詞	/ɪˈmæd͡ʒɪˌn(ɛ)ɹi/	幻想
gesture 名詞	/ˈd͡ʒɛs.t͡ʃɚ/	手勢 /手勢, 姿勢 /姿勢
balloon 名詞	/bəˈlun/	氣球 /氣球
triangle 名詞	/ˈtɹaɪˌæŋɡəl/	三角, 三角形

影片中的語法

說話人最常用的結構，並附上影片中的原話：

結構	影片中的用法
定語從句 who / which + 從句 — 補充說明人或事物	curves, which are · diagonal, which makes · lines, which are
現在完成時 have/has + 過去分詞 — 過去發生但與現在仍有關聯的事	has become · we've just seen

需要注意的發音

說話人用了 10 次縮略和弱讀形式，例如 doesn't, they're, we've。請按聽到的簡短形式來說。

“sh” 和 “zh” 音: directional /dɪˈɹɛk.ʃə.nəl/, motionless /ˈmoʊʃənlɛs/, illusion /ɪˈl(j)uːʒ(ə)n/
長單詞——注意重音位置: diagonal /daɪ̯ˈæɡ(ə)nəl/, directional /dɪˈɹɛk.ʃə.nəl/, simplicity /sɪmˈplɪsɪti/, imaginary /ɪˈmæd͡ʒɪˌn(ɛ)ɹi/

中文母語者容易讀錯的音：

/v/ — 不要讀成 /w/，上齒輕觸下唇: vertical /ˈvɝ.tɪ.kəl/, curve /kɚv/
詞尾子音 — 要讀清楚，後面不要加母音: upwards /ˈʌpwɚdz/, static /ˈstæt.ɪk/, pose /poʊz/, motionless /ˈmoʊʃənlɛs/, racetrack /ˈɹeɪsˌtɹæk/
/r/ 和 /l/ 的區別: graceful /ˈɡɹeɪsfʊl/, directional /dɪˈɹɛk.ʃə.nəl/, triangle /ˈtɹaɪˌæŋɡəl/

如何用這段影片練習

先完整聽一遍影片，不要開口，記下不認識的單詞。
先用 0.75 倍速逐句跟讀，熟練之後再回到正常速度。
錄下自己的聲音並與原聲對比，特別注意 graceful, storyboard, imply 這類單詞。

什麼是跟讀法？

跟讀法 (Shadowing) 是一種有科學依據的語言學習技巧，最初開發用於專業口譯員的培訓，並由多語言者Alexander Arguelles博士普及。這個方法簡單而強大：您在聽英語母語原聲的同時立即大聲重複——就像是一個延遲1-2秒緊跟說話者的影子。與被動聽力或語法練習不同，跟讀法強迫您的大腦和口腔肌肉同時處理並模模擬實的講話模式。研究表明它能顯著提高發音準確性，語調，節奏，連讀，聽力理解和口語流利度——使其成為雅思口語備考和真實英語交流最有效的方法之一。

影子跟讀法: 閱讀完整分步指南 →

跟讀練習: Motion - 通過影片學習英語口語

選擇練習模式

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