穹彻智能 NOEMATRIXNOEMATRIX

从屏幕到现实From Screen to World

我以「力」为叙事线索，为穹彻智能构建一支品牌影片的创意方案，让具身智能与真实世界的关系变得可感知。I developed a brand film treatment for NOEMATRIX, using force as a narrative thread to make the relationship between embodied intelligence and the physical world tangible.

创意方案由我全程制作，分镜与 AI 生成由我和团队共同完成。I created the entire creative treatment. Storyboarding and AI generation were developed collaboratively with the team.

我把「力」作为线索，连接自然的痕迹、机器的动作与智能的反馈。I used force to connect traces in nature, the actions of machines and the role of feedback.

同一个动作，在片头与片尾获得不同的意义。One gesture takes on a different meaning at the beginning and end of the film.

四段叙事，一次转变Four stages. One transformation.

我将两分钟的影片规划为四次推进，让概念逐步落实到具体的接触与行动。I structured the proposed two-minute film in four stages, bringing the concept into specific interactions and actions.

屏障Barrier

从工具与工业演进，进入屏幕中的智能。From tools and industry to intelligence on a screen.

入口Entry

屏幕成为入口，感知向物理世界展开。The screen becomes an entrance into the physical world.

力Force

通过接触、阻力与反馈，让行动被理解。Contact, resistance and feedback make action legible.

生长Growth

从一次接触，走向生活与工作的真实场景。From a single interaction to everyday working and living environments.

每个段落都需要回答：观众此刻看见了什么，又理解了什么？Each stage asks what the audience is seeing, and what it helps them understand.

自然中力的痕迹Traces of force in nature

NOEMATRIX 力的反馈与捕捉NOEMATRIX — Force feedback and capture

从概念到画面From concept to image

在共同的叙事与视听方向下，我和团队一起推进分镜与 AI 生成。Working from a shared narrative and audiovisual direction, I developed the storyboards and AI-generated imagery with the team.

从概念到分镜，再到 AI 生成，我始终关注画面之间的关系。From concept to storyboard to AI generation, I focus on the relationships between images.

关于项目与我的工作About the project & my approach

从品牌信息中找到一个问题Finding a question within the brief

穹彻智能的品牌资料涉及具身大模型、机械操作、数据采集，以及技术进入真实场景的愿景。我的起点，是把这些信息整理成一个观众可以进入的问题：智能如何从屏幕中的计算，走向与物理世界的接触？

围绕这个问题，我将创意概念凝练为「From Screen to World」。它为整支影片提供了方向，也成为我组织画面、旁白和段落关系的依据。

NOEMATRIX's brand materials brought together embodied AI models, robotic manipulation, data collection and a vision of technology entering everyday environments. I began by shaping that information around a question an audience could enter: how does intelligence move from computation on a screen to contact with the physical world?

I distilled this into the concept From Screen to World. It gave the film a direction and a basis for connecting its images, voiceover and narrative stages.

用「力」串起自然、机器与智能Connecting nature, machines and intelligence through force

我选择「力」作为贯穿影片的线索。风穿过树冠、水流改变地表、接触使材料发生形变；机械夹爪接近、抓取和移动物体，同样会产生阻力、摩擦和反馈。这些现象让自然画面与机器动作之间有了具体的联系。

在方案中，我把轨迹线、点云、光流和压力场放在这些变化发生的位置，让视觉效果承担解释作用：观众能够看到动作怎样留下痕迹，反馈又怎样影响下一步行动。

I chose force as the thread running through the film. Wind moves through a canopy. Water reshapes the ground. Contact deforms a material. A robotic gripper approaching, grasping and moving an object also encounters resistance, friction and feedback. These interactions create a concrete relationship between images of nature and the actions of a machine.

In the treatment, I placed trajectories, point clouds, optical flow and pressure fields where those changes occur. The visual effects have an explanatory role: to show how an action leaves a trace, and how feedback can inform the next action.

把两分钟组织成四次推进Giving two minutes a narrative progression

我将影片规划为「屏障、入口、力、生长」四个阶段。开场从工具与工业演进进入数字时代，用机械手触碰屏幕提出问题；随后，屏幕成为通往自然与物理空间的入口。第三段聚焦接触与反馈，最后把视野展开到真实生活与工作场景。

这条结构有一个明确的首尾呼应：片头触碰屏幕，片尾触碰真实物体。同一个动作在前后获得不同的意义，让「进入物理世界」成为观众能够记住的画面。

I structured the proposed film in four stages: Barrier, Entry, Force and Growth. The opening moves from tools and industrial development into the digital age, introducing the central question through a mechanical hand touching a screen. The screen then becomes an entrance into nature and physical space. The third stage focuses on contact and feedback, before the final stage opens out into everyday working and living environments.

One gesture connects the beginning and the end: touching a screen, then touching a real object. Its meaning changes across the film, giving the audience a concrete image of intelligence entering the physical world.

在方案里建立视听关系Developing image and sound together

我在每个段落中同时梳理画面、旁白、声音和叙事作用。机械运转、电流与电子脉冲建立开场的距离感；风、水流和树叶摩擦打开感知；纸盒、玻璃与布料的接触声，把注意力带到具体的材料与动作上。

这种安排让概念落实到可讨论的镜头和节奏，也为后续分镜与生成提供共同的创作依据。

For each stage, I considered imagery, voiceover, sound and narrative purpose together. Mechanical movement, electrical noise and electronic pulses establish the opening sense of distance. Wind, water and rustling leaves open up the field of perception. Contact sounds from cardboard, glass and fabric bring attention to specific materials and actions.

This made the concept something we could discuss through shots and rhythm, and gave storyboarding and generation a shared creative foundation.

与团队把概念推进成画面Developing the images with the team

创意方案由我全程制作，涵盖核心概念、叙事结构以及视听方向。进入制作阶段后，分镜与 AI 生成由我和团队共同完成，我们把方案中的段落进一步落实为具体画面。

对我来说，这个项目里持续要回答的问题是：这一镜在讲什么，它如何连接前后两镜，技术与品牌的关系能否被看懂。AI 参与画面的生成，而这些判断让不同阶段的工作沿着同一条叙事推进。

I created the full creative treatment, including the central concept, narrative structure and audiovisual direction. Storyboarding and AI generation were then developed collaboratively with the team, translating the treatment's stages into specific images.

Throughout the project, I kept returning to a few questions: what does this shot communicate, how does it connect to the shots around it, and can the relationship between the technology and the brand be understood? AI participates in image generation; those decisions carry the narrative through each stage of the work.

客户Client: 穹彻智能 / NOEMATRIXNOEMATRIX
年份Year: 2026
创意方案Creative treatment: PENG
AI 生成AI generation: PENG

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