影视技术 / UE Development
祝庆 Zhu Qing
我是祝庆，目前正在北京电影学院学习影视技术，致力于影视后期、游戏开发（虚幻引擎）与近代史研究。
- 影视后期流程 三年 ISFVF 国际影展字幕组经验。贯通从剪辑、DaVinci 调色到院线级 DCP 制作与放映的完整标准后期流水线。
- 游戏开发 专注引擎全流程。曾深度复刻《底特律：化身为人》影视级关卡，会使用 UE5 蓝图、nDisplay LED 虚拟制片及实时渲染流。
- 数字人创作 全栈数字人管线。掌握基于 Light-Stage（光台）资产到 MetaHuman 的超写实角色重建，高斯泼溅融合作品荣获 2025 行业赛事奖项。
▶ 展开完整介绍
我一直很着迷于影视后期、虚幻引擎开发和视觉设计之间那个交叉的地带：技术怎样才能更好地服务于故事，又怎样能催生出新的视觉语言。
我在学校 ISFVF 电影节当了三年的字幕组组长，无论是内嵌字幕、XML 外挂字幕，还是自媒体平台的各种发行版本，我都很熟悉。另外，利用学校的放映机资源，我也掌握了 DCP 的制作和放映。能亲手完成电影院放映的最后一环，真的很令人兴奋。
在 UE5 的自学中，我复刻过《底特律：化身为人》的一个章节，也熟悉 nDisplay 虚拟拍摄 LED 背景墙的流程。同时，借助系里的光台资产，我研究了如何把真人复刻成 MetaHuman 数字人。我还做了一个纯原创的作品，结合高斯泼溅与数字人技术，拿到了 2025 年中国创新影像大赛数字人赛道的奖项。游戏技术让我着迷，尤其是过场动画的设计，要是有一天我也能做动画就好了。
在剪辑和调色方面，我有幸参与了一些短片和商业项目的后期制作，合作方包括小红书、国家地理。目前我也在尝试将 3D 立体拍摄、CG 制作与调色流程结合起来：这个过程很有挑战，也让我兴奋。
I am Zhu Qing, currently studying Film and Television Technology at Beijing Film Academy, with a focus on post-production, game development (Unreal Engine), and modern history research.
- Post-production pipeline Three years of subtitle-team experience at the ISFVF International Film Festival. I work across a standard post-production pipeline, from editing and DaVinci Resolve color grading to cinema-grade DCP creation and screening.
- Game development Focused on the full engine workflow. I have deeply recreated a cinematic level from Detroit: Become Human, and work with UE5 Blueprints, nDisplay LED virtual production, and real-time rendering pipelines.
- Digital-human creation A full-stack digital-human pipeline. I work from Light Stage assets to photoreal MetaHuman reconstruction, and a Gaussian Splatting hybrid project received a 2025 industry competition award.
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I have long been fascinated by the space where post-production, Unreal Engine development, and visual design overlap: how technology can better serve story, and how it can give rise to new visual languages.
For three years, I led the subtitle team at my school's ISFVF film festival. I am comfortable with embedded subtitles, XML sidecar subtitles, and the many delivery versions required by social media platforms. With access to the academy's projection facilities, I have also learned DCP creation and screening. Completing the final step before a film reaches the cinema screen still feels genuinely exciting.
In my self-directed UE5 practice, I recreated a chapter from Detroit: Become Human and became familiar with nDisplay workflows for LED virtual production backgrounds. Using light-stage assets, I also researched how to reconstruct a real person as a MetaHuman digital human. I created an original work combining Gaussian Splatting and digital-human techniques, which received an award in the Digital Human category at the 2025 China Innovative Image Competition. Game technology fascinates me, especially the design of cinematics, and I hope I can make animation myself someday.
As an editor and colorist, I have been lucky to join post-production on short films and commercial projects, with collaborators including Xiaohongshu and National Geographic. I am now experimenting with combining stereoscopic 3D shooting, CG production, and color workflows: a demanding process, and one that keeps me excited.