Polygon Pictures的动画制作工作室（东京都港区） 日本的动画制作模式被认为始于电视动画系列《铁臂阿童木》等，有观点认为其给动画行业留下了低成 本、大批量制作的"负面"传统。有动画制作人指出，"经营者一味以低价承接业务的工作室依然存 在"…… "海外流媒体平台投入巨额制作费直接委托（动画工作室）制作动画的案例越来越多"，日本的动画制作 人平泽直这样指出。海外视频平台可以在世界各地获得收益，因此不惜投入高额制作费用来追求影像和 品质。有的动画作品1集30分钟的制作成本甚至超过1亿日元（约合人民币455万元）。 从事CG动画业务的Polygon Pictures（东京都港区）是少数能够满足流媒体巨头的高要求并收取高额制 作费的日本企业之一。 其总部工作室看不到堆积如山的资料和绘画纸张，与传统动画工作室给人留下的印象相去甚远。在装潢 得色彩缤纷的休息区里，陈列着美国漫画杂志和手办。这里制作了美国迪士尼的动画《星球大战：幻 境》等作品，累计5次获得被授予美国优秀电视作品的"艾美奖"最佳奖项。 Polygon Pictures公司的社长盐田周三表示："我们一直在探索如何用CG技术来呈现日本动画的表现 力"。 ...

"杭州AI动画制作师"劳务品牌成果展示 中泰竹笛展演现场 "家政节"活动现场 "直播滨团"直播间 商报记者张宇帆通讯员王聪胡迟 提起劳务品牌，不少人脑海中浮现的往往是"老师傅"与"老手艺"的传统画面。但在杭州，数字浪潮正在 重塑这幅图景：零基础的年轻人经过培训，便能成为"AI动画制作师"，用智能工具助力动画出海；传统 手艺的传承者转型为直播间的包子"主理人"，将地方小吃卖向全国；"AI应用工程师"则深入千行百业， 为企业量身打造"数字员工"提升效能。 大会现场，竹笛流淌出的悠扬清音，为品牌展演平添了一份古韵悠然。而这支竹笛，能奏响怎样的数字 乐章？ 当前，"中泰竹笛制作师"依托"中国竹笛之乡"产业基础，构建起集研发、生产、销售、培训于一体的产 业生态。据统计，竹笛年销售量可达到450万根，占全球市场份额85%以上，直接关联3.5亿元产业产值 与2000余名从业人员，同时，每年开展技艺培训800人次。值得一提的是，该非遗技艺还随航天器登上 太空，成为国家地理标志证明商标中的闪亮名片。 而这只是数字赋能传统技艺"老树开新花"的生动缩影。当前，"建德豆腐包师傅"已通过标准化生产流程 与直播电商赋能，累计培训持证师傅 ...

Core Viewpoint - The animated series "My Nezha and Transformers," co-produced by CCTV Animation Group and Hasbro, represents a significant upgrade in China's animation export strategy, moving from one-way output to deep co-creation with international partners [1]. Group 1: Production and Collaboration - The series consists of 52 episodes and features a storyline where a contemporary Chinese boy, Xiaozha, teams up with Nezha and Transformers to find four elemental stones and combat villainous forces [1]. - The collaboration is seen as a strategic practice of "borrowing a boat to go to sea," leveraging the global appeal of the Transformers IP to introduce Chinese cultural elements to a wider audience [3]. Group 2: Cultural Integration - The project aims to maintain the core of Chinese culture while creating a global narrative, showcasing that the essence of justice shared by both Nezha and Transformers resonates with international audiences [3]. - The series incorporates cultural details, such as the "Chinese knot" given to Bumblebee, symbolizing friendship and emotional connection, which reflects the value of "emotional ties" in Chinese culture [4]. Group 3: Market Reception - The series has garnered significant attention from overseas audiences, particularly at the Annecy Animation Festival, indicating a growing interest in Chinese animated content on the global stage [3].

参考消息网12月22日报道美国《哈佛商业评论》双月刊2026年1-2月号(提前出版)刊发题为《跳出转型跑 步机——过多变革会给你的组织带来创伤，解决办法是将这种需求降到最低》的文章，作者是达雷尔· 里格比和扎克·弗斯特。全文摘编如下： 提高系统整体适应性 研究发现，皮克斯和微软等公司通过打造并持续培育一个类似生态系统的企业模式，在实现卓越业绩的 同时，将创伤性转型(即那些从根本上改变组织核心战略、结构或运营的大规模项目)降至最少。当这个 生态系统健康时，就不必过多转型，即便真的需要转型，也会更有成效。 与其他复杂的生命系统类似，企业面临着各种不可预测的力量，最具适应性和竞争力的企业才能更好地 生存。研究表明，成功的企业领导者都是精通系统管理的高手。无论他们是否使用这一术语，他们都会 调整整个业务系统，以便在动态环境中蓬勃发展。 他们优化整体绩效，而非孤立地关注某个部分，因为他们明白，公司的总价值不仅仅是各个部分的总 和，还包括这些部分之间相互协同所产生的价值。这些领导者尊重不确定性，他们谈论各种情景和可能 性，而非不容置疑的预测。他们定期进行实验，让自己的想法和战略接受低风险的现实检验。他们坚持 更新信息，当 ...

Core Viewpoint - The animated series "My Nezha and Transformers," co-produced by CCTV Animation Group and Hasbro, has received positive feedback for its innovative blend of mythology and science fiction, as well as its high production quality, resonating with both experts and audiences [1][3]. Broadcast Performance and Social Response - The series achieved high viewership ratings, becoming the most significantly increased youth program on CCTV during its broadcast, and topped various streaming platforms' charts, including ranking first on iQIYI's children's rising list and second on Tencent Video's mecha list [3]. - The show generated over ten million total reads on social media platforms like Weibo and Douyin, indicating strong cross-platform engagement and influence [3]. - Experts from academia and media praised the series for its cultural innovation, highlighting its ability to break cultural and thematic boundaries while promoting shared values [3][4]. Artistic Breakthrough and Narrative Innovation - The series creatively connects the two major IPs, Nezha and Transformers, through the dream of a contemporary Chinese boy, establishing a coherent and imaginative cross-cultural adventure world [6]. - It employs a unique visual style using "3D production and 2D rendering," effectively merging the mechanical precision of Transformers with the fluidity of traditional Chinese animation [6]. - The narrative emphasizes the core value that "true power comes from within," using dreams as a backdrop for the intersection of mythology and science fiction, and illustrating a hero's journey from external validation to internal awakening [7]. Cultural Export and Civilizational Exchange - The collaboration model of "My Nezha and Transformers" represents a new approach for Chinese animation to go global, moving from single content output to deep co-creation with international IPs [8]. - The project aims for "genuine cultural sharing" rather than one-way cultural export, focusing on presenting Chinese heroes and wisdom with respect and equality [8]. - The creative team conducted multiple rounds of validation and overseas testing to ensure the narrative resonates with both Chinese and global audiences, integrating Eastern wisdom into the storyline naturally [8][9]. Industry Implications - The series has planted seeds of expectation in viewers, addressing themes of heroism, inner strength, and cultural heritage for children, while also highlighting the importance of innovative integration and cultural confidence for the industry [11].

奶龙为何会在海外爆火？12月17日，出品方第七印象文化传媒（深圳）有限公司的品牌负责人胡云馨告诉南都N视频记者，奶龙的海外传播并不依赖复杂 台词，而是通过表情、肢体、节奏与情绪推进故事，使其具备跨语言理解能力。一位来自印度尼西亚的网友透露，奶龙的周边在当地很容易买到，他也买 了一个钥匙扣。 近日，动画《奶龙之奇妙冒险》正在热播。而在海外平台上，奶龙也积累了超高人气。TikTok单条视频收获上百万点赞、表情包全球下载量突破50万次、 YouTube单集播放量直逼500万......这一原创IP正是出自广东深圳。 谈及是否会根据不同国家的情况作出相应调整，胡云馨解释，IP形象是品牌识别的基础，不会轻易改变。但在内容表达层面，会进行适度本地化调整。 她举例，"不同地区在节奏偏好、笑点密度、内容尺度上存在差异，我们会通过数据分析进行内容微调，而不是'一条内容打全球'。在情节设置上，则会 避免过度文化特指，减少理解门槛，让不同地区的观众都能看得懂并喜欢。" 奶龙的周边也受到热捧。南都记者注意到，在海外社交平台上，有不少网友在交流购买攻略。 奶龙多条视频在海外平台收获上百万点赞。 海外用户热衷二创 奶龙是动画片《奶龙之奇 ...

（原标题：舞之动画：AI赋能动画制作，大湾区动画IP产业蓄势待发） 据郑利嘉介绍，公司原来创作一个IP可能要投入上千万元，成本极高，但借助AI技术，这一成本被大大 降低，可以实现快速出新，快速试错。"随着AI技术的用应用，我们的生产周期缩短了40%+，人力成本 降低了30–50%，现在我们能够高效孵化自己的IP，通过不断试错，来打造自己的IP矩阵。" 未来，舞之动画不仅要实现原创IP孵化 ，还计划做IP衍生品的商业化，包括AI短剧、番剧与电影项目 和视频平台、品牌方动画制作服务。"打造国内领先的 AI + 三维动画工业化公司 "，这是郑利嘉对于公 司未来发展的规划。 在现场，中科科创首席执行官谢勇对郑利嘉的分享进行点评并提出建议，表示欢迎舞之动画到广东 来。"我们做动画片，在做内容的同时更希望把动画IP产业化。南方的衍生品产业集群非常健全，包 括'潮玩之都'东莞、广州、深圳集聚了衍生产品设计、开发、生产、销售的企业。"郑利嘉表示，他非 常乐意携原创IP赴穗寻"资本合伙人"。 在11月28日举办的2025粤港澳大湾区文化产业投资大会数智创意路演专场上，苏州舞之动画股份有限公 司董事长郑利嘉透露了这一计划。 随着 ...

Core Insights - The article highlights the transformation of urban areas in Hangzhou through systematic urban renewal efforts, showcasing successful projects that enhance living conditions and integrate industrial development with urban life [3][5][8] Group 1: Urban Renewal Achievements - Hangzhou has implemented a four-level transmission system for urban renewal, leading to significant achievements, including being recognized as a leading city in urban renewal projects in Zhejiang province [3][8] - The city has successfully transformed old industrial areas into modern communities, with projects like the Chongfu community serving as a model for sustainable urban development [5][8] Group 2: Community Development - The Chongfu community has seen a demographic shift with over 10,000 residents, leading to diverse needs that have been addressed through new facilities such as children's centers and fitness areas, with an investment of 9.15 million yuan [5][6] - The community has developed a self-sustaining model by utilizing collective assets to fund public services, generating approximately 6 million yuan in annual rental income from a repurposed cultural center [6] Group 3: Environmental and Economic Impact - The Yuhu Lake area has undergone significant ecological improvements, increasing water surface area from 2.15 hectares to 14.54 hectares and achieving a stable water quality standard, which enhances the area's attractiveness for innovative enterprises [7][8] - The integration of cultural heritage and modern industry in the Yuhu Lake area has created a vibrant ecosystem, attracting over 300 companies and fostering a blend of headquarters economy and digital content [8] Group 4: Future Plans - Hangzhou aims to establish a sustainable urban renewal model that is replicable and promotes significant demonstrative effects, contributing to the development of a world-class modern socialist international metropolis [8]

Core Insights - The article commemorates the 30th anniversary of Pixar's "Toy Story" and features an unpublished interview with Steve Jobs, emphasizing the enduring nature of storytelling and the importance of talent in creative industries [1][2]. Group 1: Talent and Management Philosophy - Jobs highlights that the core of any enterprise is talent, and he aimed to create an environment where exceptional individuals could thrive without bureaucratic obstacles [5][10]. - Pixar's unique culture allows it to attract top talent from both Hollywood and Silicon Valley, which is rare in the industry [7][8]. - The company has successfully maintained high-quality standards while expanding its workforce from approximately 175 to 300 employees within a year [12]. Group 2: Business Model and Industry Challenges - Jobs discusses the challenges faced by the advertising and special effects sectors, noting a decline in profitability and the difficulty of retaining talent in these areas [18]. - Pixar has exited the advertising business to focus on creating original content, as the need for talented individuals outweighs the benefits of short-term projects [18][20]. Group 3: Storytelling and Technological Advancement - The essence of storytelling remains unchanged despite technological advancements; a good story cannot be transformed by technology alone [26]. - Jobs reflects on the longevity of stories, citing Disney's "Snow White" and the continued relevance of "Toy Story" as examples of timeless narratives that resonate across generations [21][26]. - The complexity of visual storytelling has increased significantly, with rendering times remaining consistent despite advancements in technology, indicating a constant pursuit of higher visual ambitions [23][25].

Core Insights - The sequel to "Chinese Mythology," titled "Chinese Mythology 2," is set to launch on New Year's Day 2026, while the animated film "Wang Wang Mountain Little Monster," derived from "Chinese Mythology," will be released online on November 21, 2025, achieving a box office record of 1.717 billion yuan, making it the highest-grossing 2D animated film in history [1][3][4] - The cumulative sales of IP derivatives have reached nearly 250 million yuan, with over 40 co-branded products and more than 800 derivative items across various fields [1][3] - The project has highlighted an imbalance in the development of creators and IP, raising questions about whether the "Mythology Universe" can empower more works and creators [3][12] Development of "Chinese Mythology" - The first season featured 11 directors presenting eight stories, while the upcoming second season will include 12 directors and nine new stories, with a mix of returning and new directors [4][6] - The platform aims to provide an open space for aesthetic experimentation and narrative exploration for animation creators, with plans for more short stories and potential expansions into other artistic forms [6][12] IP Development and Commercialization - The disparity in IP development is evident, as only "Little Monster's Summer" achieved significant commercialization among the eight stories in the first season, with other stories seeing limited peripheral product development [9][10] - The emotional connection between the audience and the "Wang Wang Mountain Little Monster" IP has driven consumer interest in derivative products, with a proactive approach to commercial development initiated a year before the film's release [10][11] Challenges and Future Prospects - The current strategy of focusing on emotionally resonant stories may inadvertently disadvantage more experimental and author-driven works, raising concerns about the diversity of content creation [11][12] - While "Chinese Mythology" has sparked public discussion on original Chinese animation, the effectiveness of the platform in amplifying individual creators and building a robust IP matrix remains to be seen, with the second season expected to address these gaps [13]