數位技術的概念與發展在今日動畫與動態影像的製作當中，除了因為技術的進步豐富了作品的類型與樣貌，更因為這些技術的產生而介入並改變了動畫與動態影像的發展和做法，產生出相當的影響力並成為影片討論的主題。《有影切片》由動畫探討數位概念的內容切入，延伸到數位技術的產生及進步是如何影響動畫的設計、製作與發展，端看數位技術與動畫技術是如何豐富動態影片的拍攝與製作。閩南話當中講到「真的」會說「有影」，在《有影切片》動畫展當中，我們試圖探索數位與動畫所建立起的關係，其背後真實倚賴的技術以及概念是如何生成。
與拍攝真人電影時錄製連續影片的方式不同，動畫是由單一影格所組成的影片，即便是製作3D電腦動畫，其動態設計及算圖過程亦是一種進行拆解與組合影格的動作，因此切片的概念其實存在於動畫的本質中。另一方面，切片過後我們得以穿透實體看到所組成的元素樣貌。奧斯卡．費辛格（Oskar Fischinger）於1922年發明切蠟機（Wax-slicing machine），一開始是利用彩色顏料、油脂，化學原料製造漩渦狀的混合物，再加上蠟、瓷土以後使之成為條狀固體，藉由每切下一片形成的物質肌理，結合照相機拍攝，直至切完為止，串連起來後成為〈蠟實驗〉（Wax experiments，1921-26）系列作品。若將動畫視為由混合物堆砌而成的身體，將這些混合物的組織作為材料，處理成薄片，並藉由透鏡（螢幕）觀看，除了理解身體本身的肌理與結構之外，透過切片，進一步取得組成影像的每個影格與元素，從切片的角度觀察動畫與數位技術在今日密不可分的關係。

展出影片從探索數位可攜式行動裝置興起的現象開始，到結合動畫及互動介面的數位化延伸，以及3D動畫製成2D扁平式的視覺效果呈現，然後轉到以動態追蹤方式、經真人演員表演後將其眼睛直接合成（移植）在已拍攝完畢的停格動畫影片，接著進一步使用空拍攝影機、Google Map、Google Earth搜集資料，再利用3D動畫及虛擬攝影機的鏡頭運動製成預視模擬影片（pre-visualization / previs），並有以雷射切割技術輔助，經印刷後保留木頭紋理，串連成為連續影像等討論。定位為動畫展而非影展的《有影切片》，期待能透過多重螢幕與觀眾互動的展示方式，從內容、空間與展場動線的設計去呼應數位與動畫當中的關係，以獨特的展覽策劃手法突破數位藝術節動畫展的過往形式。

Slices of Film
The concept and development of digital technology has a significant impact on the production of animation and motion pictures today. The influences include not only the continually advanced technology enriching styles and images of films, but also technology involving and altering the initiation also creation of animation and motion pictures, furthermore, turning into the subjectivity of a film. Slices of Film starts with animations that explore the concept of digital and continues with showing how the development and progress of digital technology have impacts on the design, production and progression of animation, as well as presents how the flourishing digital technology and animation technology becoming relevant in filming and process of production of motion pictures.
The production of animation is different from making a film. Animation is a film of series singular frame, and even while producing 3D computer animation, artists proceed a series of animated movements and calculations to dissemble and assemble frames. Therefore, the idea of slice actually exists in the essence of animation. Oskar Fischinger invented Wax-slicing machine in 1992. He mixed colour pigment, oil and chemical materials to create a spiral mixture and then added wax and porcelain to form a stripe object. He then photographed each slice of the mixed stripe object and connected the photographs to make the series work “Wax experiments”. Slices of Film adapts the concept of slice, and expects one may see each of the frames and components of a film as a slice in order to discover the intertwined relationship between animation and digital technology.

Slices of Film including animations approach the phenomenon of using digital mobile devices combining both animation and interactive interface, films make 3D animation and presenting it in a 2D animation way, works use motion tracking technology on human eyes then digitally composited it on the faces of stop motion puppets and last but not least, motion pictures take use of drones, Google Map and Google Earth to make the reference previs film then combining lasers and letterpress to keep the texture of wood with classic and 3D animation. Being designed as an animation exhibition instead of a regular film screening, Slices of Film aims to explore the relationship between technology and animation making today via presenting a multiple screen display in an exhibition space and intends to bring a breakthrough in the format of animation film screening presentation.