I have heard thoroughly how to make "GANTZ: O" for digital frontier Part 4 · Animation edition

"character"background"Motion capture", and gradually and movie "GANTZ: OMaterials for making "is gathered within the digital frontier company, and the next step is finally the creation of animation CG"animation"is. It is a glimpse of part of how the animation is made while paying careful attention from Previz which is the design drawing of how to make CG animation.

Production manager Toshi Funahashi (hereinafter Funabashi):
"Animation" is the next step of motion capture, you do the work of getting it from animation CG from the story core, storyboard.

Mr. Takeshi Kamekawa, head of animation room of CG production department (Kamegawa):
I tried to make a comparable video so that I can see what I'm doing. The upper right is the landscape of the motion capture you saw earlier, the left is the prebiz made before that motion capture. The bottom is animatics, the bottom right is animation.


Director Yasushi Kawamura (Kawamura):
Since it is from the prebiz in the time series, it is upper left, upper right, lower left, lower right.


Kamekawa:
Music is not included. It is one scene with this, but it will be difficult to see all these cuts together, as the timing will change as you begin making parts that change from the beginning. This is a scene where GANTZ Robo and Ukibi confront, there are also a few SDF units.

GIGAZINE (hereinafter, G):
I made quite a bit at the stage of the pre-biz.

Kamekawa:
Yes, elements are also included.

G:
Most elements are in the pre-biz.

Kamekawa:
Usually I do not make it so far, I shoot with a story and incorporate various elements at the stage of animatics, but with that flow, it was decided that various elements will be included though it is a prebiz.

G:
That's amazing, I thought that it was even easier to have built prebiz so far.

Kamekawa:
If you say ordinary pre-biz, there is no lighting and no effect, is not it?

G:
It is said that angle and composition are pretty much determined for this prelim.

Kamekawa:
Based on this, it may be taken at the time of motion capture shooting.

G:
Watching the video of the site while listening to the story of motion capture it was only when there was this preview that the shooting was proceeding very smoothly.

Kamekawa:
Although it is not making a preview of all the scenes, there is a thing with regard to a certain scene while looking at the prebiz. As Vcon got serifs, Mr. Kawamura made various things.

G:
I see. Vcon has appeared in the director interview before, did not he?

Kawamura:
Yes, I'm thinking to see somewhat concrete things later.

Funabashi:
It is around November 2014 to December that I started here. Motion capture shooting from January, rising up from March to April. From there, animatics takes around till May, it is like animation in about a month.

Kamekawa:
Both previews and animation, allMotionBuilderComplete with.

G:
Is it pretty rid like the level of the level that you showed me now? Or have you made such a pre biz before?

Kamekawa:
This is the first time.

G:
How was it actually made?

Kamekawa:
It is easy to understand when you enter the project. Containers and Vcons become easy to understand. Of course, it is easy to understand when shooting, and you can make various forecasts. Actually, as usual it is possible to fix various supposed elements after creating animatics, but I think that understanding at a much earlier stage as a prebiz might have merit as a whole flow. Also, when making animatics, basics are created with motion capture data, not handcuffs, but since it is free if it is previews, I think that it is easy for people making free animals to do it I will. There are restrictions, but the data is also light, and I think that you can hit your feelings without being caught up by the performance of the capture data. I think that there are many things to make for photography if it is a live-action image, but I think that if it is full CG it will be easier if you use it well later. However, I guess there were a lot of places that I could not use well this time.

G:
Did you have anything to do with how to do the next time you make a pre-biz, or is there a part that seems to be better?

Kamekawa:
Those who moved to some extent think that tension will also rise if you are doing it. If it is just Previz who is just moving normally, the side making it is not funny either. So, at the beginning I was talking about the fact that Preubizu is more rough, but after all it got done and it got a lot of stuff done.

Kawamura:
Oh yeah, everyone is surprisingly moved too much (laugh)

Kamekawa:
I was told that I was overdoing, but those who are doing this are fun and easy to understand.

G:
How was the director when he was watching the preview for the first time?

Kawamura:
Where I asked them to make a pre - biz is just the place I am lost. In other words, it's a place where you do not have to worry about it once you see it in 3D, so I would appreciate it if you can make it like this. Because there is a place where I think that "I can go with this" by seeing the pre-biz, and "I guess it is necessary to change this slightly" as soon as possible.

G:
Where was the scene I thought I had to see in 3D this time?

Kawamura:
One is a hat giant. I do not understand how much the size is proper, but it is not reflected at all when it is too big, and it is also put in the gap where people are hiding when it is small, so the proper size of the limit is Where is it?

G:
When asking for making a pre-biz, is it an indication that you make it because you are lost with such things?

Kawamura:
"This is where we are going to explore the size" or "I want to know the distance traveled". Once you know how long you have to move, you can see the "visible range of the background" first.

Funabashi:
It is a waste of labor if you make invisible places.

G:
It is meaningless.

Kawamura:
GANTZ About the scenes of Robo and Usbiki is a fancy scene, so do earnestly a lot of things, know how much information, how much you can see, and know how much you can see everyone, including the effect team I got it when I got it early to understand that "I must do this". So, at Previz, we are doing "good place to know information early".

G:
Indeed, it is such an image. It is already terrible at the stage of the prebiz.

Kamekawa:
If there is a preview everyone can proceed with the same image from the early stage, so shooting can be done without getting so confused as to where there is a preview.

G:
Have you had anything more troubling than making forever this time?

Funabashi:
Although it is not a prebiz, by the fact that I can see the picture at a later stage, it seems quite a pleasure that "I will not be addicted to the schedule that I made this time." So, "Director, please cut it a little more."

G:
Indeed, I see something like that. I feel like the correct way to use the prebiz.

Kawamura:
Rather than being able to understand later and not being able to make it at all, it would be better to say that "Please cut it because it is not enough" at all. It is a good thing to understand what is going on at an early stage.

Funabashi:
In fact it is best if you can imagine at the stage of a storyboard, but I think that it is impossible to be expected.

Kamekawa:
That's difficult as expected ... .... Even in this scene where various buildings come in the screen, you will be able to see that "the background can not be seen any more".

Funabashi:
That means to make the rooftop only visible.

Kamekawa:
Feelings, it became a drawing that I was about to draw more than when I was at Preubizu (lol)

G:
It is an impression that it is closer to the blueprint rather than normal Prebiz.

Kamekawa:
Regarding the place where there is a preview, I shoot the motion data into the character after shooting, while adjusting the scale, I adjust the camera work to the performance, but I will adjust little by little while referring to the pre biz. At first, MotionBuilder's working screen is also a still picture. It was the first time for me to be a head-mounted camera, so I tried to see it even on actual work, so that the camera image was displayed next to the face of the character on the viewer. When this animation side moves, the image of the face camera also moves.


G:
You can see it synchronized properly.


Kamekawa:
I tried to check the face of the character and the face of the actor by this. Shotwork 2 is unique, and the animation team starts managing various kinds of information on shots at the stage of creating animatics, but this is also working with shotguns, so that information on each cut can be seen in the list The start end, the size of the camera, the status of progress, work in progress, and retake are supposed to come out. This is the animatics work screen, I am displaying the camera, but there is a tool for the camera, I am setting various settings of various cameras. In the lens setting, pressing the button automatically enters the millimeter of the lens. I will do various settings such as rendering and doing all and near / fur setting. This is the screen of work that pushes the previous motion capture data into the character, but basically this is done automatically. Based on the information registered in the shotgun, I read the cut character and read the motion capture data. Since fingers are also taken, fingers are also made to enter automatically, afterwards put a little adjustment on each character and make a ground, since we are also taking data such as Prop, read the prop Pour in. And this crown of the orange feet is for checking the ground so as not to sink into the ground. Everything you are taking is like a youkai, but it is such a process.



G:
There are all the characters you are taking.

Kamekawa:
It is all characters.

G:
It is a terrible amount.

Kamekawa:
This is the whole flow.


Kawamura:
It's amazing, make something like this.

Kamekawa:
This is for newcomers from before.

G:
This is the flow.

Kamekawa:
I am worried about MotionBuilder as the whole work in the animation room, but from there I read in while shooting various information in the shotgun, start shot or diversion etc, and the asset that comes up in that cut Each information also decides after making an animatics, and decides that this character will appear in this cut.

G:
Just watching this workflow is a terrible effort. Is this just a simple overview ... ....

Kamekawa:
It is in the animation team and it is part of the whole. We finally publish the data for each asset supplemented by the tool with each tool, and finally publish the data for each asset, build the scene once in Maya, and if it is not constructive it will go with it. First of all this is the base. The basics are almost automatic, so if you get an error, it is it, but if it goes well it will flow without any problems.

Funabashi:
It is a feeling that the animation team here basically carries out the data taking over the information registered from the animation team and that data, such as effect and simulation.

G:
I see. What is this looking now?

Kamekawa:
This is a camera rig.


Kamekawa:
Eventually this node is for publishing, but it is separate from working camera, I do not mess around with this up vector much, but at this node it is automatically f There is a node for putting the fluctuation of 1, separating movement and rotation. Based on this, some people add nodes. It is a characteristic of our company that there is really no way to tamper with the camera with a fairly single node and each node is controlled separately. I think that there are many people who usually animate interests though.

Kawamura:
That is the worst.

Kamekawa:
The repair will not work later.


Kawamura:
We make it here with trans and rotation. It is hard to make such movements with this movement.

Kamekawa:
I feel like this in consideration of ease of control. I think I can do about 10 pieces in the tree when I do not do it well.

Kawamura:
Is it for when you shake something?

Kamekawa:
It is easier to control if you divide the axes and you can handle anything for correction.

G:
This is what the director told in an interview "I will correct it while saying something" is not it.

Kawamura:
That's right.

G:
In the interview "Because I think I can go around because I think I can go," I was thinking, I thought I wondered if I could go through such a procedure, but because there is such a thing.

Kamekawa:
However, there are also places where it is hard to handle if it does not get used, and it may be easy for those who were doing a grouping at the viewer by nature to do it.

Kawamura:
If you say something to get used to, you can decompose space in the brain to "X axis, Y axis, Z axis". At the moment I saw the rotation of the motion, this means that it became familiar as it became clear that X rod and Y rod were to be found. Even if you split nodes if you can not do that, you can not use it. Since I was also an animator, it has a habit of decomposing XYZ in motion, and it is quite fast if I get used to dividing nodes.

G:
It is amazing.

Kawamura:
So, the ability of the cell picture animator and the animator of the CG have similar things, but what is completely different is to grasp the space or the coordinate axis.

Kamekawa:
This is also the work screen. Since Usuki uses HumanIK, his forefoot is here.

Kawamura:
Is it treated as a forefoot?

Kamekawa:
It will become like this when pouring the capture. However, since there are other controllers of the basic hands basically, we are controlling with that, but as for Robo it is adjusted by human type as it is.

G:
It is a feeling like monster big battle fight.

Kamekawa:
I made it for that purpose.

G:
Even when I saw motion, I thought "that motion is well matched", but when I look at this, it is like "I see!

Kamekawa:
It is a tough place as the amount of editing increases as it is no humanoid. There is a terrible scene like a specialist frame even in the animation room, there are people who are good at animation, there are great people there.

Kawamura:
In essence, I can only animate with a person who can manage, but a specialist who is incredibly good at making animation makes me choose it by myself.

Kamekawa:
There are several such people, and people with difficulty are given to those people.

G:
What is the point of being a specialist limit?

Kamekawa:
The higher level of difficulty is the part that needs more directing, either in a story or a V - con.

G:
What is it said to need more directing?

Kawamura:
Because it is a place that can not express well in a story, is it a place of a woman's body?

Kamekawa:
It is true that the woman, and the place where Nishiki rides a motorcycle.

Kawamura:
It is said that I do not know until I try to capture it. Because that specialist is a Joker card for me, I thought that it was "good!" And assigned it there.

G:
As I decide to do it. It is an image that really completes with everything in combination.

Kawamura:
It is true so.

G:
The director is already putting out OK for everything indeed.

Kawamura:
I said about 15,000 times OK.

G:
Even if each one is made by a specialist, it can not be just a director, but of course it can not be completed. People who say "Anything is fine, should I make a CG?" Should have seen this making landscape. "You can not do anything so much" You can see that. Looking at this, I feel that it is understandable what is difficult of CG.

Kawamura:
Speaking of my own position, I did not have much trouble because I got the work done by Mr. Kamekawa and specialist (laugh) They were their sense, so it was almost OK . However, some people have no competence, so we discussed them in such a situation. There will be no explanation when it comes to it.

Kamekawa:
Although it is a little more, something is missing, there is a sense of incompatibility.

Kawamura:
I did it in a way that I heard something like "Wondering what's wrong with the layout somewhere?" "It is like this".

Kamekawa:
For example, I cut the cut with the prebiz at the cut (embroidery cut of the cow demon), but I feel as though it is very long as long as possible by making the 1 turtle better as possible. The way of appearance after that was fixed by animatics, but in animation it is a little longer. The speed also changed according to it, changed the way of movement, and changed a lot. In fact I thought that it would be good if I had another cut, but when I do it too much, it's a volume.

G:
Everything is really a fight indeed.

Kamekawa:
In the case of animation stuffing work, I put a wire on the character for a while to make poses and movements easy to understand. Here I added a finger of a fine foot with animation too, the orientation of how this bull 's howling can not be decided so quickly, at first it seemed like a monster like a villain like a mask rider. So I changed the movement and adjusted the speed.

G:
If you do not actually create animatics, you do not know such discomfort.

Kamekawa:
At first, the forelimbs were just flapping like a spider normally, but with instructions from Mr. Kawamura, I changed it with animation so that I could properly lower the position of the feet of beef birds.

G:
I see.

Kamekawa:
After that, I added the search light of helicopter and another one with proper animation already, properly, this scene was all the search light of the helicopter and Mr. Kawamura issued all instructions. Again, adding a helicopter to make it easier to understand with animation, after all I do not add such elements since after the animatics finished, but I did it after all. After that there is a body of a youkai.

G:
That's right.

Funabashi:
I think that there are not many people watching, but after being killed once.

Kamekawa:
It was quite a big deal to have such a simple appearance. I do not know where to put it, where I put that place.

G:
If it is CG, I have to make it all. If it is a live-action camera, I can do it by changing the position of one turtle.

Kamekawa:
Also, as much as possible, I was not "shotwork or something else than you" but I was responsible for taking out elements of cutting properly, so the area was also serious.

G:
Indeed, are there any other things you want to tell everyone else? This was hard work, I guess.

Kamekawa:
It's all! (Haha) Of course it is hard for the drama part, but everyone has experienced themselves as it is, and there were quite a few places to say that the position of the camera or the camera can be surprisingly done. But the action was really hard, so I'd like you to see it.

G:
It is a tremendous amount of action.

Kamekawa:
I tried as much as possible to erogro violence action.

G:
Also, have you discovered anything that you thought you could actually make this kind of work this time and use it for your next work?

Kamekawa:
I'd like to make use of things like doing the prebizes properly, such as being able to divert well as data. In addition, I am controlling the kind of camera shake that is automatically shaken by camera work, but that is mainly rotation. But since it actually contains more transformers, I think that it is good to make things like libraries easily by making libraries so that there is no variation in quality while inserting them It was. As for animation, there is nothing like "There is this tool", so not much.

G:
Indeed, when you compile all of the story so far, there seems to be a fairly future for CG animation. Because the quality will also go up as you make the work.

Kamekawa:
I agree.

G:
It is like a culmination of work that everyone really does, it is a masterpiece. It makes me feel like crystallizing in reverse of dirty as I make a work. This is amazing.

Kamekawa:
Since animation of motion capture data and animation of hand-made youkai, both of which have it, I think that it is still interesting. When I am editing motion capture data, it is fun because somehow I feel like I'm working with actors. Actually it was such a movement.

G:
I see.

Kamekawa:
So, in yourself Kato is actor'sShinji KasaharaIt is an image of. I feel very close.

G:
Although it seems strange to put an abstract thing like a movement to a specific numerical value, still feeling an actor is incredible. If it is told, the data that is completed is this.

Kamekawa:
Moreover, since it is a human being, it has a habit of how to put weight on whether it is walking or not, and looking at that kind makes a sense of intimacy stronger.

G:
Even though it's a digital work, it feels like a very analog feeling. That's why I feel full handmade.

Kamekawa:
Of course we can not automate and there is absolutely handmade parts.

Kawamura:
The amount of information is completely different from animation.

G:
There is a lot of information in different dimensions.

Kawamura:
There are quite a few things raised automatically, but I think that it is a different kind of video expression because I have to put on something that is not enough there.

G:
It is certainly a video expression that I have never seen before. If it's an ordinary movie, it's about how the camera shoots, but it's a completely different dimension because it's full CG.

Kawamura:
That's right.

G:
This is something completely different is required. A studio that makes such a thing can not do such a bonbon.

Funabashi:
I think it would be a short measure, but it is hard if it is a long film.

G:
The level will rise considerably.

Funabashi:
Because I have to do all the elements.

G:
It's a tremendous stacking, thank you.

· Continued
That 5 th · facial version that I've asked thoroughly how to make "GANTZ: O" for digital frontier - GIGAZINE