ARK IMAGING - Unusual Career From Creative To Post Production | 从创意人到后期制作人
“从一个摄影工作室发展到视觉效果公司、一个内容产出公司。这不是一个简单事儿。”谈及2013年将平面摄影公司Cliq与Amana合作时，Jonathan Tay如是说。Amana是一家庞大、多面的日本视觉制作公司。这两家公司的合作，辅以资金支持以及对于制作行业的热情，以及对于影视、插画、动画、创新的服务，使得amanacliq能够在上海这样一个多变乃至诡遇的市场中生存壮大。
“It was about going from a photography company to a full visual company, to a content production company. It was a no brainer”, explains Jonathan Tay of the decision in 2013 to partner his print photography production company Cliq with Amana, a vast, multi-faceted and publicly listed Japanese visual production group. The strength of that partnership, backed up by dedication to quality, large reserves of cash and diversified range of services including video production, illustration, animation and innovation services, has enabled amanacliq to survive and prosper in Shanghai’s hazardous production industry.
amanacliq reel | amanacliq作品合集
对于amanacliq来说，在如此多的部门中，最重要的一项即是平面后期部门，Ark Imaging，一个2014年成立于东京的团队，人数达150人之众，7位艺术家和3位制作人来自上海的工作室，Studio Ark。在过去几年中，上海Ark Imaging以及逐渐成为公司中最重要的部门，为客户诸如耐克，阿迪达斯和可乐，百事，宝洁，联合利华
One of the company’s key offerings is a print postproduction department, Ark Imaging, a team of 150 artists in Tokyo and, since 2014, seven artists and three producers in amanacliq’s Shanghai studio, Studio Ark. Over the years, Ark Imaging Shanghai has played an increasingly important role in the company's overall operations, executing jobs for clients like Nike, Adidas, Coke, Pepsi, P&G and Unilever, with plans to add a CGI team to its ranks.
上海Ark Imaging的主管魁魁，前盛世长城与麦肯创意群总监出身，如今是团队中一名为明星修图的艺术家。SHP+邀请这位台湾籍艺术家了解更多有关该团队的故事：
Leading the Ark Imaging team in Shanghai is Kui Kui, former Group Creative Director of Saatchi & Saatchi Taiwan and McCann Shanghai turned celebrity photo retouching artist. SHP+ joined the Taiwanese to learn more about his unusual career trajectory and plans for building his team.
魁魁在Studio Ark | Kui Kui at Studio Ark
关于Ark Imaging在上海的团队，你们的优势是什么？你们在项目的哪个阶段开始与制作团队进行合作？
我们希望自己是能在摄制阶段就能开始与团队一起合作的，这样就能给予摄制团队一些建议，使得我们在后期处理时能够更加完善。不过并不是所有时候都行得通，但最后我们总能找到一个可行的方案，我们的团队非常多元，有的擅长效果与合成，有的对于美和时尚有着天然的嗅觉／敏感。我们所注重的是细节的处理，即使是最细微的部件，对于我们来也说至关重要的。
Tell us about the Ark Imaging team here in Shanghai. What are your strengths? When do you like to get involved in projects?
We aim to be involved before the shooting stage so we can advise on everything that will be needed to finish up the job. Sometimes it doesn't work out like that, but we will always find the right solution to make sure its executed to the highest standard. We have a very diverse group of artists; some are stronger on effects and composition, some are more sensitive to beauty and fashion. I think it's fair to say we’re all very detail-oriented, even on what might seem the most simple subject.
你个人的经历呢？
我最早是在台北最大的广告公司——联广广告里做一名插画师。那时的广告公司里连电脑都没有，如同石器时代一般。我们得用手绘出所有作品。之后我又去了台北麦肯做创意总监，那时我才第一次接触Photoshop。之后Photoshop成为了我必不可少的工具，我可以用它来绘图和客户交流。2005年我被派遣到麦肯上海作为创意群总监，担任了欧莱雅，美宝莲和羽西的广告制作。那段时间里我也大量参与到投标阶段的工作中。
What is your personal background?
I started in Taipei with the then largest advertising agency, Unite Advertising, as an illustrator. This was during the “stone age” era, when computers did not exist in agencies and most execution was either shot or hand-drawn. After that, I moved to McCann in Taipei as a creative director and that was when I first experimented with Photoshop. It became my essential tool to create visuals with which I can really communicate with clients. In 2005, I got transferred to McCann Shanghai as Group Creative Director, and was in-charge of L’Oreal, Maybelline and Yue Sai. I was also heavily involved with pitches.
2015使命召唤游戏 | 2015 “Call of Duty” Game
是什么促使你从一个创意群总监转职为一个修图师？
我刚开始做创意群总监的时候非常困难。其中最大的挑战就是我需要能够找到符合我想法的执行人才。另一方面我认为是我对于视觉艺术的热情促使我重回插画，并使得我跳出当下这个安逸的环境。在麦肯上海干了两年后，我意识到与其做一个创意，不如重新拾起Photoshop做一个修图师。
What prompted you to make the move from GCD to become a retouching artist?
It was really challenging when I started in China as a Group Creative Director. One of my major challenges was finding execution talent to match my expectations. I think it was also my passion for visual art and a desire to go back to my illustration roots that pushed me to move out of my comfort zone. After two years with McCann Shanghai, I decided that rather than remain as a creative, I would master Photoshop and switch to become a retouching artist.
2016美宝莲 | 2016 Maybelline
之前在广告公司的经历对于你在制作行业中的工作起到什么帮助了吗？
我认为我对于客户洞察的理解，以及作为创意的一员让我能够更好的理解创意本身，认识到工作中的难点，并且最终拿出可行的解决方案。
How did your previous experience help you in transitioning to production?
I think having experience in understanding client’s insight and also being part of a creative team before helped me to understand creative objectives, understand creative challenges and ultimately provide solutions.
在从广告创意到制作的转型过程中你遇到什么挑战了吗？
对于一个创意出身的人来说，这个转型无疑难度十足——从一个提出创意的人到一个升华创意的人。这同时还包括了从甲方到乙方的转变，让我必须得摆正自己的位置，调整我对于整个工作的看法呀与态度——我现在需要的是关注执行的步骤，而不是创意理念。
What were the challenges you faced in making this transition?
For someone who started as a creative, the transition was hugely challenging - to transform from the one having the idea to the one able to elevate other’s ideas. It’s also a transition from “upstream” to “downstream”. It required me to adjust my identity, to change my way of seeing ideas. It is important for me not to be disturbed by the concept of creativity, but to focus on the execution.
从广告公司到制作公司，你会不会觉得是一种退步？你对于你的工作感到满意吗？
来到制作公司后我也学到了很多。对于我来说，在生活中把握机会做出转变是必不可少的，更重要的是要追随自己的内心，去做自己喜欢的事情。我对于现在的工作十分满意，这让我有机会全身心投入到我所钟爱的东西上。
Is moving to implementation from agency like taking a step down? Are you happy that you made that move?
I’ve learned a lot since making the change. I think that in life taking chances is important, and pursuing individual passion is crucial. I am happy that I am able to fully concentrate on one discipline that I am passionate about.
2016 运动：阿迪达斯、耐克与纽百伦 | 2016 Sports: Adidas, Nike and New Balance
你是如何加入Ark Imaging的？
2014年底的时候，我与amanacliq在一个美宝莲的项目上有过合作。我当时就被amanacliq所折服——这样一支来自日本的国际化的团队，如此强大的执行力以及投入程度都让我震惊。作为一名来自台湾的创意人，我一直对于日本的美学理念融入多元文化的艺术十分着迷。这种对于制作的专业投入态度正是国内行业目前所欠缺的。于是我联系了Jonathan (Tay），随后就加入了Ark Imaging。
How and why did you come to join Ark Imaging?
At the end of 2014, I collaborated with amanacliq on a Maybelline campaign. I was immediately impressed - it was an international team with a really strong dedication to execution from its Japanese foundations. As a creative from Taiwan, I found the fusion of diverse types of art and unique Japanese aesthetics quite tempting. I felt that the rigorous attitude of the production team was exactly what the domestic advertising industry needed. I hit it off with Jonathan (Tay), and soon joined Ark Imaging.
Ark Imaging的下一步计划是什么？
我们在不断进步，也在寻找一条通过技术手段来加强最终作品的路。目前我们正在尝试通过动画模拟我们的静态影像，以此来应对发展迅速的数字媒体市场。接下来我们将会在上海成立一个CGI团队。
What’s next for Ark Imaging?
We are constantly evolving and always looking at how to enahance our final output with technology. Recently we have been experimenting with animating our still images to increase communication with the rapidly evolving digital media. The next major step is establishing a CGI team here in Shanghai.
Check out Green United Music Shanghai
music makers and artists driven by the need to create
[the craft + creativity of the
Chinese advertising industry]
为中国广告全资讯而生
Source | 原件
“It was about going from a photography company to a full visual company, to a content production company. It was a no brainer”, explains Jonathan Tay of the decision in 2013 to partner his print photography production company Cliq with Amana, a vast, multi-faceted and publicly listed Japanese visual production group. The strength of that partnership, backed up by dedication to quality, large reserves of cash and diversified range of services including video production, illustration, animation and innovation services, has enabled amanacliq to survive and prosper in Shanghai’s hazardous production industry.
amanacliq reel | amanacliq作品合集
对于amanacliq来说，在如此多的部门中，最重要的一项即是平面后期部门，Ark Imaging，一个2014年成立于东京的团队，人数达150人之众，7位艺术家和3位制作人来自上海的工作室，Studio Ark。在过去几年中，上海Ark Imaging以及逐渐成为公司中最重要的部门，为客户诸如耐克，阿迪达斯和可乐，百事，宝洁，联合利华
One of the company’s key offerings is a print postproduction department, Ark Imaging, a team of 150 artists in Tokyo and, since 2014, seven artists and three producers in amanacliq’s Shanghai studio, Studio Ark. Over the years, Ark Imaging Shanghai has played an increasingly important role in the company's overall operations, executing jobs for clients like Nike, Adidas, Coke, Pepsi, P&G and Unilever, with plans to add a CGI team to its ranks.
上海Ark Imaging的主管魁魁，前盛世长城与麦肯创意群总监出身，如今是团队中一名为明星修图的艺术家。SHP+邀请这位台湾籍艺术家了解更多有关该团队的故事：
Leading the Ark Imaging team in Shanghai is Kui Kui, former Group Creative Director of Saatchi & Saatchi Taiwan and McCann Shanghai turned celebrity photo retouching artist. SHP+ joined the Taiwanese to learn more about his unusual career trajectory and plans for building his team.
魁魁在Studio Ark | Kui Kui at Studio Ark
关于Ark Imaging在上海的团队，你们的优势是什么？你们在项目的哪个阶段开始与制作团队进行合作？
我们希望自己是能在摄制阶段就能开始与团队一起合作的，这样就能给予摄制团队一些建议，使得我们在后期处理时能够更加完善。不过并不是所有时候都行得通，但最后我们总能找到一个可行的方案，我们的团队非常多元，有的擅长效果与合成，有的对于美和时尚有着天然的嗅觉／敏感。我们所注重的是细节的处理，即使是最细微的部件，对于我们来也说至关重要的。
Tell us about the Ark Imaging team here in Shanghai. What are your strengths? When do you like to get involved in projects?
We aim to be involved before the shooting stage so we can advise on everything that will be needed to finish up the job. Sometimes it doesn't work out like that, but we will always find the right solution to make sure its executed to the highest standard. We have a very diverse group of artists; some are stronger on effects and composition, some are more sensitive to beauty and fashion. I think it's fair to say we’re all very detail-oriented, even on what might seem the most simple subject.
你个人的经历呢？
我最早是在台北最大的广告公司——联广广告里做一名插画师。那时的广告公司里连电脑都没有，如同石器时代一般。我们得用手绘出所有作品。之后我又去了台北麦肯做创意总监，那时我才第一次接触Photoshop。之后Photoshop成为了我必不可少的工具，我可以用它来绘图和客户交流。2005年我被派遣到麦肯上海作为创意群总监，担任了欧莱雅，美宝莲和羽西的广告制作。那段时间里我也大量参与到投标阶段的工作中。
What is your personal background?
I started in Taipei with the then largest advertising agency, Unite Advertising, as an illustrator. This was during the “stone age” era, when computers did not exist in agencies and most execution was either shot or hand-drawn. After that, I moved to McCann in Taipei as a creative director and that was when I first experimented with Photoshop. It became my essential tool to create visuals with which I can really communicate with clients. In 2005, I got transferred to McCann Shanghai as Group Creative Director, and was in-charge of L’Oreal, Maybelline and Yue Sai. I was also heavily involved with pitches.
2015使命召唤游戏 | 2015 “Call of Duty” Game
是什么促使你从一个创意群总监转职为一个修图师？
我刚开始做创意群总监的时候非常困难。其中最大的挑战就是我需要能够找到符合我想法的执行人才。另一方面我认为是我对于视觉艺术的热情促使我重回插画，并使得我跳出当下这个安逸的环境。在麦肯上海干了两年后，我意识到与其做一个创意，不如重新拾起Photoshop做一个修图师。
What prompted you to make the move from GCD to become a retouching artist?
It was really challenging when I started in China as a Group Creative Director. One of my major challenges was finding execution talent to match my expectations. I think it was also my passion for visual art and a desire to go back to my illustration roots that pushed me to move out of my comfort zone. After two years with McCann Shanghai, I decided that rather than remain as a creative, I would master Photoshop and switch to become a retouching artist.
2016美宝莲 | 2016 Maybelline
之前在广告公司的经历对于你在制作行业中的工作起到什么帮助了吗？
我认为我对于客户洞察的理解，以及作为创意的一员让我能够更好的理解创意本身，认识到工作中的难点，并且最终拿出可行的解决方案。
How did your previous experience help you in transitioning to production?
I think having experience in understanding client’s insight and also being part of a creative team before helped me to understand creative objectives, understand creative challenges and ultimately provide solutions.
在从广告创意到制作的转型过程中你遇到什么挑战了吗？
对于一个创意出身的人来说，这个转型无疑难度十足——从一个提出创意的人到一个升华创意的人。这同时还包括了从甲方到乙方的转变，让我必须得摆正自己的位置，调整我对于整个工作的看法呀与态度——我现在需要的是关注执行的步骤，而不是创意理念。
What were the challenges you faced in making this transition?
For someone who started as a creative, the transition was hugely challenging - to transform from the one having the idea to the one able to elevate other’s ideas. It’s also a transition from “upstream” to “downstream”. It required me to adjust my identity, to change my way of seeing ideas. It is important for me not to be disturbed by the concept of creativity, but to focus on the execution.
从广告公司到制作公司，你会不会觉得是一种退步？你对于你的工作感到满意吗？
来到制作公司后我也学到了很多。对于我来说，在生活中把握机会做出转变是必不可少的，更重要的是要追随自己的内心，去做自己喜欢的事情。我对于现在的工作十分满意，这让我有机会全身心投入到我所钟爱的东西上。
Is moving to implementation from agency like taking a step down? Are you happy that you made that move?
I’ve learned a lot since making the change. I think that in life taking chances is important, and pursuing individual passion is crucial. I am happy that I am able to fully concentrate on one discipline that I am passionate about.
2016 运动：阿迪达斯、耐克与纽百伦 | 2016 Sports: Adidas, Nike and New Balance
你是如何加入Ark Imaging的？
2014年底的时候，我与amanacliq在一个美宝莲的项目上有过合作。我当时就被amanacliq所折服——这样一支来自日本的国际化的团队，如此强大的执行力以及投入程度都让我震惊。作为一名来自台湾的创意人，我一直对于日本的美学理念融入多元文化的艺术十分着迷。这种对于制作的专业投入态度正是国内行业目前所欠缺的。于是我联系了Jonathan (Tay），随后就加入了Ark Imaging。
How and why did you come to join Ark Imaging?
At the end of 2014, I collaborated with amanacliq on a Maybelline campaign. I was immediately impressed - it was an international team with a really strong dedication to execution from its Japanese foundations. As a creative from Taiwan, I found the fusion of diverse types of art and unique Japanese aesthetics quite tempting. I felt that the rigorous attitude of the production team was exactly what the domestic advertising industry needed. I hit it off with Jonathan (Tay), and soon joined Ark Imaging.
Ark Imaging的下一步计划是什么？
我们在不断进步，也在寻找一条通过技术手段来加强最终作品的路。目前我们正在尝试通过动画模拟我们的静态影像，以此来应对发展迅速的数字媒体市场。接下来我们将会在上海成立一个CGI团队。
What’s next for Ark Imaging?
We are constantly evolving and always looking at how to enahance our final output with technology. Recently we have been experimenting with animating our still images to increase communication with the rapidly evolving digital media. The next major step is establishing a CGI team here in Shanghai.
Check out Green United Music Shanghai
music makers and artists driven by the need to create
[the craft + creativity of the
Chinese advertising industry]
为中国广告全资讯而生
Source | 原件
