I have heard thoroughly how to make "GANTZ: O" for digital frontier 9, Directed by Yasushi Kawamura

About the movie "GANTZ: O"character,background,Motion capture,animation,facial,setup,effect,CompositeI made an interview with the eight sections of the digital frontier I made, but sometimes it seems to be further visible by listening to the story once in a while. That is why again, Director Kawamura Yasushi asked stories about the details of the details than the previous interview.

The last interview is in Kore.

Interview with Director Yasushi Kawamura who completed "GANTZ: O" as an exquisite full CG animation movie with the first director - GIGAZINE


Director Yasushi Kawamura (Kawamura):
I had a question as to what the character's design process is like, so I will show you. This is Kyou's retouch (rough design). The base starts with CG images of Reika.


Kawamura:
This is not a design, it is the process of creating Kato's CG. This one that showed retouching and it came up to the first one was quite different from the completed image, so I checked back "Please correct retouched CG image immediately", then after the second CG Kato came up, but it was a little more, retouching the CG image and asking CG modeler "Please feel like this". Then, this may come up next time, although it may have been several times during that, it became very good, from there it tweaked a few times and it completed.


GIGAZINE (hereinafter, G):
it's amazing.

Production manager Toshi Funahashi (hereinafter Funabashi):
In the beginning, I was actually making facial expression test images for starting movies, there were two ways to make it realistic then, or to go to see Kawamura for landing. In those tests, Kawamura asked Mr. Kawamura to retouch that "If it's realistic, like this if it's realistic, like this when it's a 2D base," the goal begins with a story saying "rather than real rather than FF" It is.

Kawamura:
This is all retouching, it consists of collages of different CG characters and photos. I retouch to Muroya as a base and make it to an island tree or Oka.


Funabashi:
Women basically have Reika base.

Kawamura:
Animator looks at Vcon to make animatics. There are some scenes that Vcon does not handle much so much as a picture-story style, and there are Vcons that are considerably built.


The video of Vcon that was released for the making of the official site is kore.

CGMAKING_GANTZ: O_ 01 - YouTube


G:
After all, you can see the image when you watch a movie.

Kawamura:
There are places where angles are still different, but I make this all the shots. There are places to shed lightly, and there are places that add considerable hands like this scene.


G:
This is amazing. It is overwhelmingly easy to image.

Kawamura:
This is the place where my image is ambiguous, it is moving a lot. In the container, the place where "this can go" is still in a container.



G:
I see.

Funabashi:
This is a Vcon after editing once, but it was about 150 minutes before I cut the scale. In those days, the scenario was completed but the contest was still drawn with the control of the contents still being drawn, Mr. Kawamura officially became a director at the stage of organizing it.

Kawamura:
Next I will go to the part of Capture.

G:
Is this ... ... a flow diagram?

Kawamura:
It's a flow chart, since motion capture is taken in a studio that has been destroyed by concrete punching, we need this explanation. There are GANTZ jade and Kato is there. Because it will be taken at a stretch, Reika has secretly moved around here, and the camera draws such things as getting closer and closer to here. I guess it was not clear that the movement like a group shot was not sure, so I thought about first thinking about this and rehearsing it.

Funabashi:
Not just rehearsal, I was watching even in the production.

Kawamura:
The gangsters called in the GANTZ room have things like example suitcases and thrust Suzuki and hit the window glass. Is it such an arrangement?


Kawamura:
This is after moving from the GANTZ room. The gray mark is a corpse, Kato is there and there is the west ...... Since tooth black comes from the left side, it shows how such a camera is like.


Kawamura:
When youkai come over here, Kato will hide here and make a route to escape or escape.




Kawamura:
If you do not block this kind of things, the shooting will be chaotic, so if you do not decide this, it's not a set, so nobody gets to the play. I will decide in advance because I will fail if I do not decide "Here is a chair, this is a car". This is one of the simulations, perhaps because it works like this, of course I will do while watching the story, but as I get to know that this distance is not enough for a cone. I have to do this much if there are a lot of characters. I think while placing the camera in this position I think that the layout will be decided. It's a layout when the Osaka team came, there are lots of such things. This is a hat giant.



Kawamura:
I also had some animators to help me.

G:
It is written that there is "step difference", fine.

Funabashi:
Basically, I shoot without assembling a set, but it was reproduced to some extent by organizing it as Bamiri "This is the area."

Kawamura:
It is such feeling. There are lots of such plain sorts.

G:
Although it is plain, I understand that this is necessary.

Kawamura:
Yes, it is necessary. I think that I talked about a lot of cameramen, but since everything is a good material that connects Animatics and shooting, I edit it like this and the viewing angle is different, but I decide the editing point. It is a shot change and data cut. There is plenty of marvelousness, so it is quite sensible to decide where to cut, so if I decide where to use the data, the work will be very easy. Or put such an insert. I thought that Kato's nose play now is "good this!" At the scene, I made this shot divide. After Kato made his nose "huh", Kyou became "Uwa", so it was interesting that my breath was mixed and I asked the animator to say "I will do this because animation is done." I made a lot of direction animation for such animatics production.

CGMAKING_GANTZ: O_02 - YouTube


G:
I see.

Funabashi:
This is the basic instructional animation when animation. Instructions for setup and effects, simulation, and instructions at the time of the effect are similar, but there is a character here and it is from the timing that "There is a strong wind blowing from here" or the direction of the wind Kazuya Kawamura 's instructions are all such as the wind blowing.

Kawamura:
There is also a fire order map.

G:
Order of fire!?

Funabashi:
Since Nurarihyon will shoot a laser, after this shot, the building here is to burn.

G:
Oh.

Kawamura:
Afterwards, fog of the front, fog of the back, steam and smoke ...... All shots The directional movie that wants to show like this kind like this, the previous video is also very complicated, but because it is used to the design drawing, it is shown to everyone I will understand.


G:
I have to get this in the video benefit as soon as possible.

Kawamura:
Is not it going to enter? (Lol)

G:
It will be sold for just this!


Kawamura:
Will it be?

G:
This is amazing.

Kawamura:
With this kind of explosion place, what direction the beam went, and Kato, Yamasaki, the place of Reika. When the gauge accumulates from 0 to 1, it returns to 0, but this is the Nurarihyon Beam beam.

Funabashi:
It is an instruction of the light of the eyes of Nurarihyon, the timing when it shines and shines is 1.

Kawamura:
This shimmering light will also become a production of lighting, so let's decide and just let me have the lighting afterwards.

G:
I see.

Kawamura:
The area that will burn gradually over time will continue to increase. Even if you do not see Nurarihyon, you decide all the timing when the red light is illuminated. This is something I can tell you because I can use After Effects right away. It seems to be really confusing in the future, I had no choice but to make it because the lighting setting was too complex to know where it was burning. A lot of such plain something is packed.

G:
It's pretty fun for now.

Kawamura:
I have edited all of the actions before, but in reality there was a little longer action. After that, Reika 's commercial is made for a while, there are also capture, but there are also many parts that are not made into CG. Maybe the timing of such neon? It is just before the last battle, Yamasaki moves to Kato, but there is a neon behind. At that timing, the green neon behind has come, so that the eyes can be taken. It's a gaze guidance guy. The green of the neon sign has begun to come, there are Yamasaki just there, and neon is completed, making it easy to see.

It is adjusted at what timing the neon lights at the bottom right of the working screen.


G:
Oh, it's natural ... ....

Kawamura:
I do a lot of such details, such as whether red and black are better evil and better than doing too much colorful rattling like this. Since neon works as a directing tool, I am instructing you to use neon in various places.

G:
It is amazing.

Kawamura:
that's all.

G:
If you make so many things, you will cut down your soul.

Kawamura:
There is a limit if it is CG, but I do it if I try to do it. Because it is better to do it if it can do it.

G:
Even so you can do it, you are doing as much as "you do not normally do so until now". It also feels like CG that you can control fully.

Kawamura:
That's right.

G:
On the contrary it is a feeling that if it is not CG it will not be able to do such strict timing alignment.

Kawamura:
However, since it draws a background with hand-drawn if it is animation, is not it the best picture to draw with the stopped picture? I think that there is a way to approach CG video differently. Although it is not impossible at all, in the case of CG, it is also made with the picture layout of the shot and it can not be changed any more, so that is the only way I can cut it. That will be a realistic idea.

G:
I see.

Kawamura:
You have to think about the good points of animation and live action properly.

G:
Looking at this, I heard about the story, who was the Kubrick or who was filming with the cinema using the cityscape, thinking how to make miniature models in advance and think where to put the camera, I feel the same way. This is a work that can only be done by a person who can calculate and plan firmly, it is very difficult with just the sense ... ....

Kawamura:
Smoke comes out from the head (haha)

G:
This requires great planning power.

Funabashi:
And when I planned it, I will not stop for nothing "Please cut here" (laugh)

Kawamura:
When thinking that it was able to do it at a great price, "Because the man-hour is bad!" "Because the schedule is bad!" I will erase it! (Lol)

Funabashi:
But there are places that is increasing in the middle.

G:
It's like "I absolutely need it!"

Kawamura:
Oh yeah (laugh)

G:
Indeed, it is truly everything interlaced.

Kawamura:
That has happened. After all, know-how of CG movie production has not been established yet. So I was doing it thinking that there would be interlacing everywhere.

G:
Still it must be completed by the time we decided.

Kawamura:
Actually, there are people Hollywood, Pixar, and others who are doing enormous energies, and I think that "How far can you get full power?"

G:
Well ... .... If you think Kawamura is fighting with everything, I feel like I'm challenging the battle for everything. How difficult it is to make a work with CG ... ....

Kawamura:
I think that it will be transmitted more.

G:
Even if you tear your mouth, you can not easily say "I can do it to CG".

Funabashi:
Some people are supposed not to cost money with CG.

G:
"What does it cost money with CG" depends on everything.

Kawamura:
Because it does not mean that we only need to render what we make.

G:
It is a work that has only that action scene, and this length, well, you can do something stuffed up so much ...... That's why nobody ever made such a work.

Kawamura:
It is difficult, is not it?

G:
I already feel that "this work, well done".

Kawamura:
There was a kind of obsession like curse that CG had been away all the time. Because it is a CG shop, it gets scattered everywhere ... There are a few refreshed feelings like that kind of paranoia.

G:
This time I got convinced that it was necessary to interview everyone in the section which made "GANTZ: O" and to have those things only to make things only. You can not do that, you can not do that.

Kawamura:
I really can not. I was originally an in-house CG director, and I think that it was also a point that we grasped the capabilities and specialty fields of everyone to a certain extent.

G:
I do not know at all what I should do if I do not understand it, and it is understood that giving instructions also means "It is not a level of instructing simply." Every time I do something, everything will move as I mentioned earlier.

Kawamura:
That's right.

Funabashi:
After proceeding to a certain extent, for example, just say "Please raise your arms a bit more", you have to change the shaking of your chest to move your arms, since your hair is hurt, you also have to change their movements, rendering and I have to do lighting ... ....

Kawamura:
If effects are involved, we also have to render the effect.

G:
I have to give instructions to "change" with that preparedness. It is decided by how much we are making at the beginning at the beginning as much as possible, and color key, it is V con. ...... Again, I felt that the director was not a superhuman.

Kawamura:
It is only that I can handle CG and I have done Sanzan CG. Anyway, as a director, we only have to simulate in the brain to improve cost performance. If you do it with ordinary director direction, you probably will not fit on budget at all. I think that if you run out of the budget, you will spend even more money or will you quit again.

G:
Although I do not know exactly where to pull out where I am watching (laugh), I have decided that kind of thing as well.

Kawamura:
As a sharp mind, I have decided that "I will give OK here for a while" or "I will not put out here". Even so, perhaps an accident happens, so if I had some extra power as a buffer, when I noticed it at the time of the effect I thought that this was "I do not have this". Was it from about December?

Funabashi:
No, it is around November to March (lol)

G:
How does it feel when looking from the end?

Funabashi:
I do not mind.

Kawamura:
When it is about January, it will be in a state where you only have to do it.

G:
How did it feel when this was completed?

Kawamura:
I was doing until about May ... Oku Teacher had raised "Toshiba Movie" on Twitter around April. Before that it is totally stunned, or composites are done only with picture work, so the brain gradually disappears only in painting ability ... Inside of me there are several modes in the brain, such as "talking mode" In the middle of "modeling mode" or "composite mode", the final stage was dazzling as everything goes to Composite. Naturally, I was about to do composites in my dreams.

Funabashi:
When the rendering was over, I was able to see the last picture in the middle of March, so it will not go as far as compositing, but I previewed the movie with all the elements in it.

Kawamura:
Finally, as a client, you can see the picture and become "Oh, good!" It is about two weeks before the end, but before that time there is no choice but to come with a pin at all There was a feeling that there was a person who did not have much excitement. CG is still in a state where everyone is still unable to understand if the final picture of "last last" is not finished.

Funabashi:
So, it was around the middle of May that it finally ended completely.

G:
I see. It is hard, is not it?

G:
Pardoned, until completion, I thought, "GANTZ, animating CG animation, it will be alright, what will it be ...". But, when you look it is "amazing" anyway. In the case of this work, "I feel like I saw a tremendous thing, what the heck, what the hell did you see now ...?", Theory I felt that I was robbed my mind instead. In this way, I could hear a detailed story from the director and staff, and I understood that "it is different from the work of the same strain so far".

Kawamura:
Is that so. Thank you very much.

G:
Thank you so much for this time.

Over the total of nine times, we delivered a story about the actual production of how we made "GANTZ: O" from the director of Yasushi Kawamura of Digital Frontier and the people of each section.