共6个镜头，该分镜由光厂AI自动生成
| 镜号 | 景别 | 参考图 | 画面内容 | 台词/旁白 | 时长(秒) |
|---|---|---|---|---|---|
| 1 | 多景别 |  | 画面中心出现圆形红色Logo，内有男子插画及文字，背景为油画风格日本街景。Logo快速放大定格于人物眼部特写。 | For years I've kept a design journal, and it has taken me to exhibitions, talks, | 3.10 |
| 2 | 全景 |  | 画面中心快速堆叠出现红底黑字的奖项名称，左右两侧飞入带有纸张纹理的三维模型，镜头向文字中央推进。 | and even earned a few awards. Now I'm turning my journal in practice | 4.60 |
| 3 | 全景 |  | 画面中心出现贯穿左右的红色标语色带，上面印有黑色的5MIN字样，标语在镜头中不断向前推进并放大。 | into a series of short video stories. | 6.03 |
| 4 | 多景别 |  长镜头 | 镜头展示户外玻璃门，向左平移依次展现画廊内部的雕塑、墙面插画及坐在高凳上的男子。画面中央有红色圆形图标随切换改变形状。 | This is the spaces designed to slow you down. Snapshots from my art journal, impressions from exhibitions and the field, as well as conversations with fellow creatives. | 14.93 |
| 5 | 多景别 |  长镜头 | 黑猫与旧车插画切入，叠加标题后穿过相机镜头展现绿色放射状CGI黏液化为日记二字，随后卡片飞梭展示各地风光与排版海报等创作成果。 | Today I'll walk you through design journaling as I see it. A car with its hood open and a cat sitting calmly on top. Maybe curious, maybe just waiting for us to start. You look inside and you notice things you'd usually ignore. That quiet mix of curiosity and unfinished work, that's where creativity begins. When I started traveling, I took a lot of photos and it became the core of my journaling. I carried a set of Japanese camera equipment, making first steps to get along with Japan. Later I learned that this lens is radioactive. Well, radioactivity is one of the reasons that I stopped using it, but the main reason was the rise of social media. With it, the hobby kind of faded. Yet I realized the need for journaling still remained within me and I started looking for ways to reinvent it. I began replacing travel photography with CGI artifacts for each trip. A month in Patagonia, no signal, just wind, rain and granite peaks. That silence shaped the first CGI piece in my journal. One of my favorite works gathers impressions from multiple trips to Hong Kong where I walked the city and collected insights and peculiarities. Surely I needed to practice Japanese corresponding scripts. I did so for a study of the Arkada Museum in Hakone. I turned J's cicadas into a fictional poster with lively typography. And sometimes it became a way to respond to myself. Like when I read the book, imagined a different cover and designed it afterwards. Or when I watched a movie and the journal turned cinematic, studying how fear hides in a form and a color. Or when I stumbled upon a poem in Christchurch, New Zealand, etched on the river steps, white resilience in motion. These reflections often emerge spontaneously. | 132.30 |
| 6 | 多景别 |  长镜头 | 从艺术画册翻页展示向下移动至实拍的插在岩石上的木质登山杖。随后画面叠加字卡及印章动效，最后切至演职员名单界面。 | But I also began to ask what happens if journaling is tied to a specific project. Working on digital projects that I consumed fast and speaking at events where time is limited brought me to the idea of creating a printed edition of my journal. Instead of fast consumption, all my recent findings could be showcased chapter by chapter at the reader's own pace. The first chapter covers some of my work that predates my life in Japan, particularly the transition from photography to CGI, which I mentioned earlier. The second part focuses on my recent years, deeply influenced by the immersion into Japanese culture. As we learned, it is only natural for an artist or designer to channel daily inspirations into their work. The book was a limited print and it can only go so far, but it's not the point. It is about the journey of creativity and the tangible reminder of where journaling can lead. One time, this same focused approach led me to the top of Mount Fuji. No kidding. I studied the tradition of iron branding on walking sticks, collected all the stamps along the way, and interviewed station wardens to the best of my Japanese. Understanding the backstory of stations turned the hike into a kind of field study. If you want to learn more and study all the stations and all the stamps, visit the link in the description. But for now, let's move further to a complete view of my journaling. This balance between randomness and intention defines two parts of my journaling process. The first half is based on daily observations and deconstructions, a kind of natural evolution in the creative process. It emerges spontaneously. While it allows for unexpected discoveries, structure adds depths and purpose, ensuring that my work does not just evolve by chance but is also guided by intention. This channel is also a planned activity. By turning journaling into film, I also established the flow, as I did with chapter structure in the book. Focused stories, produced and directed like a movie or even a title sequence. So I encourage you to start your own journal, whatever form it takes. Because once you do, you'll see that every small reflection can grow into something larger than you expected. | 170.33 |