I have heard thoroughly how to make "GANTZ: O" for digital frontier Part 6 · Setup

Filed under acclaimed movie "GANTZ: OWas too good as a CG animation movie, so I made itDigital FrontierI went to the staff and listened to the story thoroughly, so I interviewed them, but one of the reasons was "Reika's sway is great!That was that. This is a movement that acclaimed by the original author, Hiroya Oku, how I can tell you how beautiful breaking can be done so far, the secret of the rigging artist Mr. Kensuke Morita and Ms. Takayuki Tsuzawa talked to him.

CG Production Headquarters CG Department Rigging Artist Kensuke Morita (Morita):
This time Mr. Morita has served as supervisor of GANTZ setup, so-called rigging and simulation. And it was because I wanted to hear the story of Reika's swaying ...

CG Production Department Rigging artist Takayuki Sajisawa (hereinafter referred to as Hasezawa):
It is Mr. Azawa who was in charge of Rika's rigging.

GIGAZINE (hereinafter, G):
Original author'sInterview with Hiroya OkuWhen I did, I learned that "This is ideal" about Reika's tiltingInterview with KawamuraWhen telling it, I told you that it was a job of "big tits rocking artist", so it was decided to call on this story. Thank you.

Morita:
First of all, I will briefly explain what "setup" is, and then I'd like to explain that "How do you make breake of Reika?" As a flow of setup, our company uses two different types of 3DCG software, Maya and Motion Builder. The animation team is working with Motion Builder, which is an animation software, so you need to bring the set up in Maya to Motion Builder once. There are two setups of LD setup and HD setup when you split the setup greatly, but this LD setup is the setup work to bring it to the so-called Motion Builder. Although this is actual Maya data, I will bring this data to Motion Builder, but Motion Builder has some restrictions, Maya's deform etc. can not be used. So it will be what you are setting up on a joint basis.


Director Yasushi Kawamura (Kawamura):
There was LD and HD, but in short, it stands for "low detail" and "high detail."

Masuzawa:
Even if it says Row Detail, it uses quite a high mesh polygon, it is almost a silhouette of both high mesh and low mesh, with no difference between LD and HD.

G:
Although it says "low", it seems to be such a level that "this is really low?"

Morita:
At the stage of this LD it is said that it is prime mover, with no chest swinging or such rigs in it. The silhouette is almost fixed, but there is not a fine rig. In addition to the main joint, bones to adjust the silhouette are said to be called auxiliary bones, but the actual subsidiary bones are in this area, there are roughly about 60 joints in it, I am doing adjustment of the silhouette of the body with 60 of them. It is a jointed number of places where this is called LD. If it is too much, it will be heavier when working with Motion Builder, so I am doing it at the limit.


G:
Ohh ....

Kawamura:
It is nice to be surprised so much.

Morita:
In Maya, since we are using motion capture instead of manual animation, we actually bring it to Motion Builder, and we are doing editing work with HumanIK. So, there is no controller to move hands here. It is small, but this screen on the left is Motion Builder, it is a rig called HumanIK. This is the contents of LD setup. After the LD setup, animation team attached animation in Motion Builder, brought the animation data to Maya once again, next it builds a scene with Maya data and flows to the back stroke .

G:
Although it is a reference level, I think that it depends on the number of people how much time it takes this LD setup itself.

Masuzawa:
In the case of GANTZ this time, I wear similar clothing called Gantz suit, so the model itself was made to be almost the same, the first one took about 5 days in LD setup.

G:
It is what you can do in 5th ... ....

Morita:
Well, it was automated to some extent to save useless points, there is something like a tool like bone striking, so we will organize it based on that, so we decided to adjust the silhouette on that 5th It is a form of time spent.

G:
So, after the second character it will be a little faster.

Morita:
Well, it will take around 2 days or 3 days, because it is diverted in the form of using the first character 's use.

G:
Still it is amazing. What is it that you can be with Bang Bang so much?

Morita:
That will be the flow of LD setup. Next will be the flow of HD setup, but here is what we have to do with racking up Maya's place which we could not do with Motion Builder. What I was looking at is Reika of LD setup, but this is Reika of HD setup. Although it is a bit hard to understand, the left side is HD setup and the right side is LD setup. You can see it when you see it, I use a model that is almost together.


Morita:
As for what is different between HD and LD, as I said earlier, I added what I can do with Maya. It is difficult for the LD person to feel aspid of, especially if it is a joint base to express the feeling of meat when bent, but the HD can firmly express it. The knee is the same, the LD becomes a knee pointed feeling, but the direction of the HD is properly done. I feel like expressing the puddle feeling of thigh here with Maya. However, if you do too much with Maya alone, Motion Builder is doing the ground and so on, so if it collapses to a large extent it will float or fill up on the ground next time. I am working while thinking about the balance around that.


Morita:
When going to the chest, LD does not put the controller in particular in the chest. So it does not work, but the HD controller has such a controller. In most cases, there is only one controller, but as this does not give you softness of your chest, it expresses the controller as doubled.


Kawamura:
Is softness put out by shifting it?

Masuzawa:
I agree. After moving it a lot, I will give you a soft feeling by moving it with this fellow.


Kawamura:
When did you come up with such a thing (laugh)

G:
I do not usually think of it.

Masuzawa:
While taking over the director's retake several times, it turned into such a form as "It's kinda hard."

Kawamura:
I got it from the way (laugh)

Masuzawa:
It is becoming like this gradually as we retake.

Kawamura:
Since one controller does not give out OK, it is one more.

G:
It is a wonderful discovery that you need two.

Masuzawa:
I properly come out to the place like the bulge of the chest when pushing the arm.

G:
This is amazing. It is easy to understand that it is working properly.

Morita:
This is the part that moves automatically and the part that can be controlled by hand afterwards. This is a movie in Motion Builder which is said to be animatics. At this time, the breasts and hair of the Reika have not been simulated yet, even if you raise your shoulder, your breasts will not come. And, as I brought it to Maya, I have not simulated my hair yet, so it's going to be stupid, because my chest has not been done yet and my controller is not moving, it's hard. Although it is becoming attached to the shoulder slightly, it is still hard. After that, it becomes a simulation work, but in addition to shaking the chest of Reika with the controller like this in this way, hair simulation actually expresses the sway of milk in the hair simulation. There is a curve that shakes my heart with such feeling, I am shaking with two of a long and a short one.

Kawamura:
Why is it long and short?

Masuzawa:
There is a reference movie but ...... Movie moving in the chest.

Kawamura:
I gathered the reference so much! Is it?

Morita:
I examined the state of various kinds of milk shaking before actually starting work. I saw this again and again.

Masuzawa:
As a result of seeing it is said that there is a slight difference between pitch and roll, the pitching motion must be set longer, the movement is moving, the roll is moving shorter by rotation It is said. As a result of the research, it did so. I am simulating milk by combining a long curve and a short curve, a pitching curve and a rolling curve in that we can not deal with a single curve a bit.

G:
If it is not told, it seems to be just rocking simply, but if you say it like that, it looks like that (laugh) That is not noticing movement as soon as you look at your chest .

Masuzawa:
I've been watching for about a day.

G:
That's great.

Kawamura:
The breast finally saw the eyes of the day.

G:
When I interviewed Professor Oka, when asked, "Why are all the beautiful girls appearing in Professor Oku 's work breasts?", "Because there is a weight feeling, a sense of dynamism and a feeling of movement, that kind of three - dimensional I want to draw something "and when I saw the CG this time, I got an answer that I thought" It's awful shaking! ", So I thought" Oh, I see. " .

Masuzawa:
When it sticks to this animation, it automatically shakes like this.

G:
This is amazing, is not it? Can you do such a thing?

Masuzawa:
Once again this is a curve so it tends to be pretty monotonous so I made it to 2 pcs.

G:
So it seems like it looks like that. Even if it is said to be said that it is said "Whether you have seen such a scene in fact", but even in the previous director interview "Although it can not exist in reality it feels like a reality Because I got this opportunity this time by saying "Why?"

Morita:
Actually, this GANTZ project was the first time to put two curves, it was one until now.

G:
Well, until now, there is no knowledge about pectoral shaking, is not it?

Morita:
Initially, the pectoral tremor was often shaken with such a hand-controlled controller rather than a simulation, but since it takes time all the time after all, it can not be simulated, so it can be a hair or a cross That means that one of trial and error is taking place.

G:
It is amazing to do such things automatically.

Masuzawa:
Eventually it will be such a windy shake.

Kawamura:
It is not full scale because it has been cut considerably before and after editing.

Masuzawa:
So, it's like this kind of strings supported by Gantz suit, as it actually rose above it got thinner as it stretched out.

G:
Probably, it looks real by the accumulation of such things.

Masuzawa:
It is feeling that what I could not do with LD is stuffing in this HD setup.

G:
Indeed, it's not just plain texture. If you are told that you are aware of the short scenes and notice it, I have confidence that I can not notice it unless I can explain it, but I still realize that such a thing supports the real existence. Even this alone can tell that it is a stack of all the details.

Masuzawa:
Thank you very much.

G:
Looking at this, there is a strange excitement. I have seen various works of CG, but I was surprised as to whether I really want to do it because I am forced to do it. Separately the director requested this to be "done so far!" Is not it?

Kawamura:
Well, but I will not give OK saying "It's not soft", so it turned out that I watched the movie all day after all.

G:
So I managed to soften it somehow and it reached here at the end.

Kawamura:
I noticed that there are two axes.

Morita:
Before actually entering the simulation work, I will issue a check to the director as "Are you OK with this quality?" So, after deciding the quality line, I will start the actual simulation work, but I tried and error it because that OK did not come out easily.

G:
"I understand why the director's OK can not be issued, but I do not know how to do it, probably it should be done, but I do not know if OK will come or not."

Masuzawa:
Well, I did not get a weight, as I showed it to the first one fairly like a water balloon and it was not a lump of meat. It was fairly difficult.

Kawamura:
However, although I am actually an animator, I have experiences of setting up, so I do understand somehow that it is probably going to happen, while I do not say anything that I absolutely will not.

G:
It is a guy who is irresponsible even if he is unreasonable.

Kawamura:
Yes Yes.

G:
As a person asked, I can attack a very tough line. Indeed, how long it took to work this time, or "Is this OK?" "Please do this" until it got here. Was it taking a relatively long time, or did it already "do it anyway"?

Masuzawa:
As the actual work is not only doing chest but doing hair style and various places, as it is the shape that we are also doing breasts, so we say that hair simulation setup, but with hair and chest together, roughly It's about 5 days.

G:
It is a fairly clear translation to this, is amazing.

Masuzawa:
So, when Reika got OK, there is already a female character named Yamasaki Yamasaki, but since it can be diverted to this rig based on this, the time taken for Yamasaki will be shorter.

G:
I see.

Kawamura:
The advantage of CG is that it is a nice thing because once the standard of preparation is decided, even if it takes time to do so, then there will be more scales and merit of scale after all.

G:
I will depend on how small you do first at the very beginning.

Masuzawa:
Once the base is decided, you can divert it.

G:
When actually seeing that it is finished with this and it is swinging, it is a translation that says somewhere "Oh, I can stay with this" is not it?

Kawamura:
Well, that's right. As I became a suit and turned black, I also thought there was how much I could not see it because of it.

G:
Certainly it is actually black, so it must be hard to think about how to look around.

Kawamura:
It is serious.

Masuzawa:
There were times when it was returned depending on the shot that it was not swinging too much.

Morita:
Yes. At the beginning of the simulation we had quite a feeling like "Let's shake" and I thought, "Because I made it, I will shake it."

G:
If that is overkill, adjustments will come in that way. Nevertheless, this time the work was not a hand-drawn animation, so where was it supposed to be judged that "This is automatic only?"

Morita:
Because Reika itself comes out about 380 shots, if it is handcuffed that it takes a tremendous amount of time to do it all by hand, variations in softness will come out . There was also a desire to make it uniform by simulation.

G:
Indeed, in short, the first set-up is hard, but from that point it will feel like shaking in the same way.

Morita:
Well, if you first make time for a performance and then touch it to some extent, the same quality will come to you. Still, there are individual differences depending on the person who is going to do, and I will make the parameters too strong and shake it too much. Well if it is about that, I can control to some extent.

Masuzawa:
It is difficult because the parameters are quite different between walking and running. Because it is rocking with a curve, it is attached to the base when you are running, and it shakes as it is when it is fierce, but it gets pretty hard when walking. Because it is making it based on intense spots, it does not move so much as it moves a little bit normally.

G:
I see, i see.

Masuzawa:
On the contrary, if you make it too soft, it shakes tremendously in the place you are running.

Kawamura:
It will be like a control.

G:
It is a difficult place. This is a tremendous amount of work.

Morita:
I also do simulations and setups suitable for each character, such as youkai other than human beings.

G:
It's all characters, is not it awesome. Now we are just looking at the finished item, so it's OK, "huh, wow ... ...", but when you are making this, is the goal visible? In short, it is about how much time it will be like this, as I mentioned in the interview, and it is probably what it will come up with.

Kawamura:
After all, when you look at the container and ask me "How do you shake your chest?" They will give us extra man-hours. So when I look at animatics once more, it will increase as "It must be more shaken" or "It's okay here", so the professional of each team is greatly larger I will make a schedule. I will understand it.

G:
I see. Although it says the same thing certainly when making a program, it is quite a workmanship to pay within the time period, although it is almost unlikely to go on schedule or get messed up or even delayed by Microsoft.

Kawamura:
That is probably becoming the most important, because schedule = money.

G:
When thinking carefully, this giant female body is also one piece one.

Morita:
Although I can not see it very closely, as I see one by one, it says one breast is swaying one by one. But this is even more difficult.

Masuzawa:
Well, this is a different thing because the weight feeling differs between the small chest shake and the big chest shake.

G:
It is a story that it seems like I did it a while ago it is still living in that one.

Morita:
Yes. But Reika is the most gorgeous, but this is like a simplified version of it.

G:
When that happened with the original, I thought, "Absolutely animation can not be done." Surely it is totally shaken when you are told. It was a scene too much in the play so I used it as a pocane, but I see it shaking certainly when I look at it again. When I saw it, I only saw the whole thing, it was about feeling that "somehow a tremendously funny thing came out".

Morita:
In the movie theater, I would like to confirm that each one is shaking.

That's why Reika's chest swing and hair simulation work movie looks like this. People who are not yet watching the movie, please visit the cinema to see this completed version.

CGMAKING_GANTZ: O_03 - YouTube


· Continued
I have heard thoroughly how to make "GANTZ: O" for digital frontier Part 7 · Effect version - GIGAZINE