3DCG Anime movie masterpiece "Starship Troopers" Director Shinji Aramaki Director Masaru Matsumoto & Director & Theater Version Infini-T Force Mr. Atsushi Matsumoto Director Talks

From Saturday, February 10, 2018, the movie "Starship · Troopers Red Planet"And from February 24 (Saturday) to"Infini-T Force Theatrical Version Saraba FriendThen, 3DCG animated movies will be released to theaters in a row.

I got an opportunity to tell stories about the work of each other and about 3DCG, so I got the director at the forefront how to work I tried hitting a question whether I was making it.

Q:
Mikata said that each other's works were seen, but how was it?

"Starship · Troopers Red Planet" Matsumoto Masaru (hereinafter, wins):
The impression I received was that SF color was stronger than I expected. As for the hero stuff, that part seems to be a bit fluffy, but I thought that it was drawn properly.


"Starship · Troopers Red Planet" Director Shinji Aramaki (Aramaki):
I saw the TV series, I caught the flu a bit, but after seeing it I saw the theatrical version as well. Was the TV series and the theater version work in parallel?

"Theater version Infini-T Force / Gachaman Saraba Friend" Director Atsushi Matsumoto (Jun)
We supervised the TV series on about a schedule where the video work of the TV series and the screen work of the theater version overlapKiyohisa SuzukiMr. san to do theatrical version is also tough, so I was in charge.

Aramaki:
That was it. When I looked at Infini-T Force, I thought that "look is interesting". Including TV series, CG animation is toon rendering is majority. The real direction we are doing is a minority in Japan, I thought that Infini - T Force is aiming for a direction neither of which is awesome. When I first saw it in the preview, I thought, 'Is this going to happen?' (Laugh)

Jun
I also thought so when I saw the pilot version (laugh). At the time the theatrical version of the script was written, there was no final look and the perfect video image came up as I was doing the story work "I see." As I was watching it, my sense of incompatibility gradually came to disappear, rather it seemed to me that it had more taste than toon shaders.

Aramaki:
I thought that it would be very positive whether not to hide the CG likelihood.

Wins
Although the background was also a TV series, there was a hand-drawn style, but there is an impression that it is not so in the movie version.

Jun
It is said that the stuff was also part of the "tug of war" and the producer thought that "Toon shader is better". As for me, it seems that one of theatrical versions was made based on assets and workflows made in the TV series, and the story is not connected as it is, but in one package with TV series and theater version It has an image that it is becoming.

Aramaki:
In the movie version there is a part like the review of the TV series at the beginning. It is said that everyone is together with that.

Jun
It is a place where a magical tool called "case" that appeared in the TV series is also connected to the movie version for a while.

Aramaki:
Was not it hard to say that it took charge of the theater version after receiving it?

Jun
It seems that some of the producers seemed to be troubled, and at the beginning it seems there was also an opinion that I should not go out Emi.


Aramaki:
Then there is not too much flower (laugh)

Jun
There is also a problem of flower and I ended up like that because the last round of the TV series ended so it was better to have continued, so I settled in this shape. I got a comment from Mr. Matsumoto "SF-like", but this is due to my request. In our generation, the tatsunoko hero of that era has the impression of SF, so you want to put something that people who have such impression will be pleased.

Aramaki:
Although the TV series was not SF, it is the impression that I was waving to the SF of the royal road in the movie version which was "to draw social story stories like SF".

Jun
In a style of orthodox SF, using the "lie technology" to some extent, the story progresses with the technology bound. I caught on the television series that it is because in the world of Emi's mind that various things proceed as desired.


Aramaki:
I see.

Jun
So ...... Actually I have a lot of emotions in 'Starship Troopers'.


Aramaki:
"Starship Troopers" has only a person who has a feeling (laugh)

(All lol)

Jun
I think that the first work of the movie is really misunderstood. My brother likes "Starship Troopers", but when I try to talk, I do not notice that "punch", and explain that "That's like this" is "ふ ん." Bahhoven is taking pictures more clearly than "Total Recall", but I think there is a part that there is no appeal power if you do not notice yourself. So, a series has been made, but I was curious that "How is Mr. Aramaki going" how the people making the original motif of Hainline will twist each time? .

Aramaki:
Thank you very much. ...... This time may not be very twisted.

Wins
I agree. Rather, I have been going in a different direction from "what everyone saw as a sequel as a sequel", so this time I returned to the origin and drew three of my activities.


Aramaki:
Certainly, since it has been a twisting work since then, there is a feeling that it has gone around a whole circle (laugh)

Wins
And, in a form close to the original of Hainline, powered suit.

Aramaki:
Is it strange that it is close to the original, or the studio Nuu designed for illustration? That is a powered suit for us, so we are committed.


Jun
In "Starship Troopers 3", powered suit named "Maroder" came out, but it was a bit disappointing.

Aramaki:
I agree. Because the staff on site called the powered suit as "Maroder", "Do not say Marauda!" (Laugh)

Jun
It was "Oh ... it seems ... ..." from the expectation that "I will finally get out" in that third movie, so this time I said "This is it, it feels like this," and the drinking fell great and it was fun . I thought that this series is also easy to understand, and where the powerful person is comical.

Aramaki:
In that case, Ed New Meyer entered in the script and was doing thinking "I wonder if I can do so far?" Ed was in charge of the script for the first work, the second work, and the third work for the script, but he told me that he forgot about the third work.

(All lol)

Jun
How was Ed New Meier being involved in this work?

Aramaki:
When I met as an executive producer at the "Starship Troopers Invasion" of the previous work and thought that we made an interesting movie, when we met at Comiccon or something, "Let's do again next time" He told me. At that time, I thought "I'm sure you will be socializing," but I was really contacted about 2 years later. "This time, Ed wants to write a script" "I really do?" (Laugh) I made a lot of effort in the previous scenes and action scenes, so I think that he can do anything with CG .

(All lol)

Aramaki:
It was hard to explain that "You can do with theory, but your budget ... ...". As I did not get into that kind of thing this time, I got a plot mainly made by Mr. Matsumoto and gave it to Ed, but after six months the enormously scenario came back and said "I could not do it!" (Laugh)

Wins
"I want to draw a high school era!" (Laugh)

Aramaki:
From me, "I already did it in real life, right?"

Jun
Is there a tangle of school caste that sticks to that? Although I do not know how much Bahhoven's intention is included in the first work, obviously there is malice against the upper layers of the school caste. Even though I was a star at school, when I enter the military I will be made chapped.

Aramaki:
There is. Ed said that he was trying to paint the misfortune of young people of Hitler's Yugent who was a Dutchman from the Netherlands misunderstood during the war and was praising the war. But we have not experienced so much or heavy thing so far, even if we trace only the surface layer, the depth does not come out, so we thought about what would happen if we look at the world view from a modern perspective. Now, the top of the United States is President Trump, but I did not expect it to be that time, so there was sometimes unexpectedly realistic that I was laughing at that time "No way". It is Ed 's idea that a young woman stands at the top and is going to Guigui, "If it is so young it is difficult to give persuasive power ... but can it be interesting to see?"


Wins
It is realistic to mind only the support rate.

Jun
It is said that dizziness occurs when the support rate drops.

Aramaki:
You smiled, "Oh, were you serious?" I was thinking, "I wonder if you can do so with a gag like this".

Wins
We are okay because we share ideas with these policies, but the staff at the work site are working according to the instructions of the contest and saying, "This is going to be a gag, is it a control, is it OK?" Because I became uneasy and asked (lol)

Jun
There was something like "Starship Troopers" from the first movie.

Aramaki:
Whether it is a gag scene or dead bloody.

Jun
Tattoos on my arms are taking pictures briefly to show them to the camera, and hints are stretched, but I forget until I see the end. I was watching "Red Planet" and remembered the things when I was reading children Asymov, Hainline, Clark, I felt nostalgic.


Aramaki:
My SF is stopping around there ... ....

Jun
I have not read much of recent days. Someone said that SF is interesting while the reader side has the "future", but when the reader does not get on the future, it will become a time novel rather than SF. Thinking about it, the SF of that time is no longer a novel novelist. But, when I see "Blade Runner 2049" continuing from "Blade Runner" and Clark-like SF movies are made, I wonder if the era is coming back again, I was glancing at Osassu's turn . For me, Tatsunoko Hero is attractive to be SF but Jun Kumagai who was in charge of the script for theater version Infini-T Force was a young person, so I felt there was a difference between what I was imagining .


Aramaki:
It may be different from ourself "SF Fujisa" and the people of different generations thinking "SF __ !!" itself. In the past, SF novels, mystery novels, horror novels and ordinary novels were largely divided, but now they melt together.

Jun
In the past SF was set, mystery was a unique charm of the method, but when it comes to doing with a general novel, it may be said that such a method became difficult to do.

Aramaki:
In the past, there were many things to read because I would like to know about the world I do not know about SF novels, but now it is impossible to follow if anyone does not know too much. Even in "Red Planet", it was a story that fought against a bug in the far away world where it was originally unknown, but Matsumoto's idea was what Mars became. Even if it was good on the earth, it costs too much for it, so if it is a Mars it's probably OK as the distance is not so far.

Wins
I wanted to have reality, so I chose Mars that is becoming somewhat familiar.

Q:
How was the CG expression?

Jun
It will be a talk from a little far away, but I also like Japanese anime as well as overseas animations like "Tom and Jerry" and Disney. At the time, a little famous person criticized Disney and it was said that staff of a generation a little lower than me saw Disney without being told that it was useless, "Little Mermaid" and "Aladdin" come out again There was a trend to be evaluated, but since I was watching from childhood, Disney 's light and dark expression and lighting expression are great, so I have always thought that if that could be done in Japan. I think that I will do the work that I am in charge, but the staff are not used to it, and moving the shadow caused the character to collapse and I could not do it often.

Aramaki:
There are things that do not fit into the existing workflow.

Jun
However, in CG, you have to hit lights in any way, so you can do various writing. I also like real life as much as anime, so I was very happy to be able to do it. I thought it was difficult for cameras. Although I also have hand-drawn animation, when I move the cameraFlickerThere was also a part that slowed down the speed of the camera this time this time, and there is also a part convinced that "Because flicker is happening even in live action".

Aramaki:
There is, it is real, so it's okay with that (laugh)

Jun
It seems that flickering becomes full when showing "the seven samurai" 4 K digital remastering, if the picture is too clear, when screening in the theater. Listening to such a story, I think that in theater the flicker will not happen if it is 30 or 60 instead of 24 frames, I think that the camera can move more freely.

Aramaki:
I went to see HFR (High Frame Rate) screening at "Hobbit", but I can see what everyone is doing, even if the camera moves while the big crowd is fighting. As usualBlurBecause it seems that even a small character of a long shot becomes "I was supposed to be destroyed but it was helped" that I will not be able to see, I think that this is scary.

Wins
Rather, there are parts to cheat with blur ...

Q:
I felt that the picture making was like live-action movies, like Japanese anime, or mixed.

Jun
I often hear that the container is like a live-action picture.

Aramaki:
Extreme upshots were less, I thought that it was quite often done by drawing.

Jun
It is not because there was no real idea that it would lead to a reduction in the schedule if the movement of the actor's person is used as it is, rather than handling the motion (laugh), since it is usually a work that gets stuck in the desk It is because of the desire to see the actor moving in front of me and to make use of that power as much as possible.


Jun
By the way, where did "Red Planet" get motion capture?

Aramaki:
In Square Enix, since the screenplay is English, I chose an American actor in an audition, and I came for about two weeks. .

Jun
Are you an action coordinator in Japan?

Aramaki:
A Japanese stunt team did the scene where some action coordinator entered. The actor shoots a gun and the actor is doing it.

Jun
I was watching scenes talking and I thought that this would not be an actor in Japan.

Aramaki:
I feel that there is a big difference between Japanese people playing real characters and Americans doing it. To some extent, I think that the difference will become smaller as it becomes an animated character.

Jun
In Infini - T Force, I divided the motion actors for each character, how was it with Red Planet?

Aramaki:
Basically, in the same way, there was allocation "This role must be taken care of by yourself", but since the absolute number of actors is small, I cast a role so that the scene will not be covered, and I am taking a role as a cash role . Did you actually witnessed motion capture this time too?

Jun
In the TV series, it was a motion capture after consolidating movement in another place, but there are also things that the actors have gotten used to in the movie version, so advance as soon as the confirmation of movement is completed It went by. I am not too early in the work, but I think about one day to shift 5 mm or 1 cm in the layout, but the motion capture is performed by the actor in front of me and various judgments on the spot It was also my first experience as I had to do it, and I thought that it would be tough for those who would make a live - action picture.

Aramaki:
I do not need to decide a camera or motion capture, so I love it so much that I want to do as much (laughs)

Jun
There were scenes saved by actor 's ad - lib or something that was not something in the instructions of the story or screenplay.

Q:
I mentioned earlier that motion capture was the first experience, but did you have anything else that was challenging for the first time anyway else?

Jun
Because I helped at the time of the launch of "Battle Fairy Snow Wind" and I've done "Ghost in the shell ___ STAND ALONE COMPLEX", 3DCG was not the first time, but it is called 3DCG to the background Because it was the first time, I felt that I could do a lot of things with lights and camera work and I had to calculate more.

Q:
In terms of calculation, what kind of part is it?

Jun
It seems to be more than I expected or does not look beyond expectation, is not it? (Lol) For example, where the camera moves so as to wrap around the character around 360 degrees, flickering may occur, It is.

Aramaki:
I would like to show it to impress, do not you?

Jun
Even though it was visible at the time of animatics, there are times when it becomes invisible when this rendering is done.

Q:
Do you have such an Aramaki coach?

Wins
Actually, it is often there.

Aramaki:
As it may be said that it is different from what I had thought at all when I got a background, so as not to be so, I'm thoroughly stating "Keep this background behind in order to get atari". Since that place has gone through a lot of painful experiences in the past ... (lol)

Wins
In the past, there was no idea as to which key light to do, but when it was rendered, it was about saying "Which key light is it? Because the previous cut is this one, is this?"

Aramaki:
At that time, the things that were visible in Animatics are completely shadowed and disappear from the sight (lol) Checking the characters, the background and the effects separately, it is summarized as "Take a closer look" Looking at things, there is something like "what is this". "I made a background so hard, I guess it's a shadow of people, can not you see?" There are things. Since the process was not known at the beginning ... ....

Q:
This time it was difficult to challenge, what part was to make it hard to make it hard?

Wins
What I wanted to challenge a bit is "Character collapse".

Aramaki:
It's a look.

Wins
There is a scene that "curling is caught and receiving electric shock" "Wow, it is !!", but CG tends to carefully make it.

Aramaki:
Ikemen is like a handsome guy, but since beautiful minds like being beautiful do not collapse, there are parts where the staff will brake. Some descent scenes do a lot of hard work and doing various things among them.

Jun
Well ... ... This is not limited to CG but also hand-drawn, but it is easy to be transmitted if it is doing well like routine work, but I think that it is difficult to convey things you do not do normally I will. So, I have to see other works as a reference, I actually draw and tell it.

Q:
Is there any difficulty for Mr. Aramaki with such a point?

Aramaki:
In the case of myself, as with the corrected original of animation, there are times when you receive a movie and scatter one frame at a time, but it is not that tight, but it fixes. We may ask you to refer to the video, but for reference only, it may be different from what I imagined. I understand that it is not beneficial for the staff to show the results directly, but because the schedule is involved in making the work.

Jun
This time, I also made a bit of images with simple software and handed it over.

Wins
Trying to tell this in words makes it much more extensive and it does not convey properly.

Aramaki:
There is another thing that associates from the same word, so you have to make things to fill it. So, I think that if you follow words and tell it directly, you will follow well.

Jun
Even with hand-drawn, there may be redrawing, but it's very tough and only things I can draw up.

Aramaki:
Because we do it together, plus alpha must come out, right?

Q:
What was the part that Matsumoto made better things than he did this time?

Jun
As I said a little, there is a part that became better with the actor 's ad lib. And it is a barrier. I was not planning to put the details until that time, I thought that it would be "I wonder there would be something", but since those who are doing it in a specialty, I wanted more elaborate things It produced.

Q:
How about with Red Planet?

Aramaki:
In common with the scene which suffered, this time with Mr. Matsumoto, with the goal of "doing something that fills the horizon up to the bug", we have scheduled scenes with software and talent for that purpose Even though I know that everything will be a bug in theory reason, it is not quite a bug. I always got an explanation, "Because this square block becomes a bug," then "When will it be a bug?" (LOL) When finally completed, there was a bug where the limbs of a bug are exactly intertwined , "I am glad about this ... ... but I guess it's going to be a little too"


(All lol)

Aramaki:
With that, I decimated a bit and looked at the completed one ... "... then, I wonder if I tried thinning out at that time" (laugh)

Q:
Indeed (lol) This is a bit of technical interest and I'm asking,CG World Vol.234In an interview in the special feature movie "Starship Troopers Red Planet" featured in the poster, Director Matsumoto says, "Since there are a lot of browsing on the web and smart phones in recent years, I am conscious of being able to see properly even if compression is applied "I tell you. How is this?

Aramaki:
"Make it easy to compress" (laugh)

Wins
Noise is on the film, so even if you take it to various media, noise helps for a good touch, even if you expand or compress it does not deteriorate so much, the gradation looks beautiful. However, in digital, the Mach band (the boundary line that appears when the lightness difference is large) has come out. there"Silver leavingIt is like trying to reproduce digital things digitally.

Jun
that isColor correctionDo you do it at the stage of compositing, not at the stage of?

Wins
Where to do is always a tug of war (laugh)

Aramaki:
In fact it is better to keep the information fresh as it is until the end of the last minute, but I have to get in front properly.

Wins
It takes rendering cost when I make cuts, and even if I do it at the time of editing "It will be a week" and it will be a tug of war.

Q:
In the same interview, when I did grading at the Dolby studio, "I think that this work is made properly and there are few collapse often occurred frequently" from the video staff, it was popular and I thought that it was Mr. Matsumoto indeed "There is a part written. What kind of collapse often happens often?

Aramaki:
This is a story when doing work that spreads the color gamut by the HDR work, and if you are doing violent painting, strange noise and Mach band will come out as the gradation increases. I heard that it is a common thing, so I worked carefully, so it is a story that the gradation of the dark area has been properly done.

Q:
I see, I did not understand. Thank you very much for talking about various details.

Movie 'Starship Troopers Red Planet' is being screened for 2 weeks only from Saturday, February 10, 2018.

Starship · Troopers Red Planet Book notice - YouTube



From Saturday, February 24, 2018 "Infini - T Force theatrical version / Farewell my friend" will be released.

"Theater version Infini-T Force / Gachaman Saraba Friend" preliminary announcement - YouTube


Since it is an opportunity to see a full 3D CG movie of very high quality continuously, if you are interested, please visit the theater. "Infini-T Force" also sells advance tickets and bibikka cards that can be seated.


Purchase privilege clear file is using illustrations depicting the way Emi and Ken trying to make cakes.


◆ Starship · Troopers Red Planet
·cast
Johnny Rico: Koyama Koya
Dizzy: Sumire Uesaka
Karl: Kenji Ono
Carmen: Eriashi Kitamura
Amy: Aya Uchida
Baba: Terashima Kota
= LOVEOther

·staff
Director: Shinji Aramaki, Masamoto Matsumoto
Screenplay: Ed New Meier
Producer: Joseph Chow
Executive Producer: Casper Van Dean, Ed New Meier, Eikichi Kamata
Producer: Nishi Masaro, Hashimoto Tomisabrow
Music: Tetsuya Takahashi
Production: SOLA DIGITAL ARTS
Planning and production: Lucent Pictures Entertainment, Sony Pictures Worldwide Acquisitions
Distribution: KADOKAWA
Acclaimed release
© 2017 Sony Pictures Worldwide Acquisitions Inc., All Rights Reserved.

◆ Theater version Infini-T Force / Gachaman Farewell Friends
·cast
Gatchaman / Takeshi Washio: Seki Seki
Tekkaman / Nanjo 2: Takahiro Sakurai
Polymer / Armor Bushi: Kenichi Suzumura
Casshern / Higashi Tetsuya: Mary Saito
Kando smile (Emi): Ai Kino
Dr. Nanbu: Eiichiro Funakoshi
Condor Joe / George Asakura: Suzuki Kazuma
Sasaoka: Aya Endo

·staff
Director: Jun Matsumoto
Series composition: Jun Kumagai
Music: Yutaka Yamada
Character design draft: Ohgishi Sakimoto
Hero design draft: Sato Keiichi
Suit · Mechanic Design: Koji Nakakita
Distribution: Shochiku
February 24, 2018 (Sat) National road show
© Tatsunoko Pro / Infini-T Force Production Committee