Project Pailut
Categories
IP Story Design
IP Story Design
Client
CAI TOOO
CAI TOOO
Project
Project Pailut
Project Pailut
Services
品牌塑造
艺术与设计
动态影像
blender/c4d/lovart/ps/ae
品牌塑造
艺术与设计
动态影像
blender/c4d/lovart/
ps/ae
品牌塑造
艺术与设计
动态影像blender/c4d/lovart
/ps/ae
Year
2026
2026
在纽芬兰的暴风雪夜，纽芬兰犬"大家伙"与主人在马戏团门口发现了一个被遗弃在铁桶里的婴儿。尽管马戏团生计艰难，大家伙却用自己的体温救活了孩子，众人因此收养了他，取名佩鲁特(小桶)。佩鲁特在马戏团中与大家伙相依为命，度过了快乐的童年。四岁生日那晚，马戏团失火，大家伙两次冲入火海救出昏迷的佩鲁特，自己却重伤后悄然离开，独自面对死亡。马戏团解散后，佩鲁特拒绝被收养，独自回到废墟等待大家伙归来。他用捡来的河马头套扮演河马表演家，创建了“河马马戏团”，日复一日练习杂技、四处表演。在饥一顿饱一顿的岁月里，他始终坚信一-总有一天，会与大家伙重逢
在纽芬兰的暴风雪夜，纽芬兰犬"大家伙"与主人在马戏团门口发现了一个被遗弃在铁桶里的婴儿。尽管马戏团生计艰难，大家伙却用自己的体温救活了孩子，众人因此收养了他，取名佩鲁特(小桶)。佩鲁特在马戏团中与大家伙相依为命，度过了快乐的童年。四岁生日那晚，马戏团失火，大家伙两次冲入火海救出昏迷的佩鲁特，自己却重伤后悄然离开，独自面对死亡。马戏团解散后，佩鲁特拒绝被收养，独自回到废墟等待大家伙归来。他用捡来的河马头套扮演河马表演家，创建了“河马马戏团”，日复一日练习杂技、四处表演。在饥一顿饱一顿的岁月里，他始终坚信一-总有一天，会与大家伙重逢
角色场景及服装款式设计，趋近于故事发生的17世纪的纽芬兰地区所属背景时代，材质质感以及道具组成均采用做旧风格
The character, scene, and costume designs are close to the 17th-century Newfoundland setting of the story, with the materials and props all featuring an aged, distressed style.
角色场景及服装款式设计，趋近于故事发生的17世纪的纽芬兰地区所属背景时代，材质质感以及道具组成均采用做旧风格
The character, scene, and costume designs are close to the 17th-century Newfoundland setting of the story, with the materials and props all featuring an aged, distressed style.
角色场景及服装款式设计，趋近于故事发生的17世纪的纽芬兰地区所属背景时代，材质质感以及道具组成均采用做旧风格
The character, scene, and costume designs are close to the 17th-century Newfoundland setting of the story, with the materials and props all featuring an aged, distressed style.
基于故事外的视觉延展画面，多用于周边，壁纸，再设计物料等，结合跨界影视与现实故事画面，增加角色趣味性，
围绕童趣现实梦幻进行(Lovart,Nanobananpro,GPT Image 2)再创作
Visual extensions beyond the story are frequently used in merchandise,wallpapers, and redesigned materials.
These images combine crossover filmand television with real-life narratives to enhance character appeal, creatingworks that revolve around a childlike, realistic, and fantastical theme (Lovart,Nanobanan Pro, GPT Image 2).
基于故事外的视觉延展画面，多用于周边，壁纸，再设计物料等，结合跨界影视与现实故事画面，增加角色趣味性，
围绕童趣现实梦幻进行(Lovart,Nanobananpro,GPT Image 2)再创作
Visual extensions beyond the story are frequently used in merchandise,wallpapers, and redesigned materials.
These images combine crossover filmand television with real-life narratives to enhance character appeal, creatingworks that revolve around a childlike, realistic, and fantastical theme (Lovart,Nanobanan Pro, GPT Image 2).
基于故事外的视觉延展画面，多用于周边，壁纸，再设计物料等，结合跨界影视与现实故事画面，增加角色趣味性，
围绕童趣现实梦幻进行(Lovart,Nanobananpro,GPT Image 2)再创作
Visual extensions beyond the story are frequently used in merchandise,wallpapers, and redesigned materials.
These images combine crossover filmand television with real-life narratives to enhance character appeal, creatingworks that revolve around a childlike, realistic, and fantastical theme (Lovart,Nanobanan Pro, GPT Image 2).
部分黑白线稿的制作，所有画面基于线稿-静态画面-动态画面的制作
The creation of some black and white line art; all images are based on the creation of line art, static images, and dynamic images.
部分黑白线稿的制作，所有画面基于线稿-静态画面-动态画面的制作
The creation of some black and white line art; all images are based on the creation of line art, static images, and dynamic images.
部分黑白线稿的制作，所有画面基于线稿-静态画面-动态画面的制作
The creation of some black and white line art; all images are based on the creation of line art, static images, and dynamic images.
一张故事中出现过的合照彩蛋，帕伊鲁特和"大块头"在阳光明媚的午后于森林中拍摄的照片。
The story includes a photo of the two of them, which can be considered anEaster egg: the photo shows Pairut and "Big Guy" taking pictures in the foreston a sunny afternoon.
The story is not over yet...
一张故事中出现过的合照彩蛋，帕伊鲁特和"大块头"在阳光明媚的午后于森林中拍摄的照片。
The story includes a photo of the two of them, which can be considered anEaster egg: the photo shows Pairut and "Big Guy" taking pictures in the foreston a sunny afternoon.
The story is not over yet...
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