Short animation 'Soba Toge' full of beauty in 3 minutes 'Ishii Toshiya' director & music · Kengo Ushio interview



The short animation “ Soba ” was created with the tag of “ Inclusion (Inclusion), ” one of the

Marui Group 's corporate philosophy, and Toho Animation and Orange, an animation production company such as the animation “ Jewel's Country ”, teamed up. A work that matches the fantastic atmosphere and the beautiful music.

It was not only about the work that I had the opportunity to talk to Shunsuke Ishii and Mr. Kensuke Ushio who worked on music with 'Soba' which is full size and less than 3 minutes. I've explored various things up to relatively personal topics.

Marui group original animation 'Soba'
https://www.0101.co.jp/sobae/

Mr. Ushio and Ishii who talked



Q:
How did Ushio join you this time?

Shunsuke Ishii (hereinafter referred to as Ishii):
I hear from the Toho Takehiro Katsuhiro producer, 'There are people who I really want to ask,' and I ask for your name and ask, 'Please!'

Q:
Did you know Mr. Ushio before?

Ishii:
Yes. There was a place that I thought 'I can do it together!'

Mr. Kengo Ushio (hereinafter referred to as Ushio):
I was told by Takei that 'let's do it!' At the Golden Street in Shinjuku and 'I'm fine!' (Laughs). And this is it.

Q:
Did you talk when you first met?

Ishii:
When I first met, it was a really practical feeling.

Ushio:
that's right.

Ishii:
It is not a feeling of meeting. Was it the time when the conting was done and the cut was finished?

Ushio:
I was able to shoot Conte. I was in a state where the time axis was understood by photographing the Conte.

Ishii:
While watching it, I said 'I will do something like this,' and I felt like ordering. Before that, we were talking via Takei-san, and Ushio-san brought me to the scene that there is an idea like this. If I had the opportunity, I might have wished I could drink alcohol first, but I felt that it was awkward and I came to this day (laughs)

Ushio:
I am a little nervous. I'm the most nervous about the director next door (laughs)

Ishii:
It feels like it's since dubbing.

Q:
Are you two years old?

Ishii:
I am 32 years old.

Ushio:
I am 36. What Tame language do you use? If you are a junior high school student, it is 'Go around'! (Lol)

(All laugh)

Ushio:
Leave it as a joke, the age is very close. The impression of the first meeting was 'it was awfully gentle and the atmosphere was soft', but when I put together work of dubbing and music together, it is very stubborn (laugh). I think people who can not give up with smiles are the type that most face the work. Also, it is also the type that is the most disliked by producers (laughs) First, I thought that I was 'very credible' because I had a strong authorship when I got a comment from the director.

Q:
What kind of image did the director tell Ushio-san?

Ishii:
After having you start planning, please have a look at the stage when you have made a contest ....

Ushio:
There was also a storyboard. I got some of the pictures on Design Works.



Q:
Is it something that came in from the visual?

Ushio:
I think that the first language exchange was at the time of the first meeting.

Ishii:
I am planning such a story, and there are themes 'rain' and 'inclusion'.

Ushio:
For me, 'inclusion' was a very pinnant theme. When I was talking with a producer and director Takei who had a name from a while ago, I was able to derive something like a structure from the concept on the spot, so I was able to go through to the end.

Q:
How did you make a sound by expanding the image from the theme of 'rain' and 'inclusion'?

Ushio:
There are a lot of things in the rain, but it's getting full and dripping. In the past, I have had my solo work on the theme of 'rain', but from a slightly more microscopic point of view, it was like every single track of rain. Thanks to that, there was a 'how to make' in my drawer, so this time I included the town and people, and thought based on what I could derive from a more macroscopic point of view. Various instruments are ringing with a phrase like a rain drop, and they become music as a whole.

If you have a song as a frame like this, it will create a state where the rain is falling and the whole is in a sequence and there is a melody as something to be included in the middle.



Q:
Various instruments 'rain'?

Ushio:
Yes. I imagined that each one was a violin, a xylophone, or a piano. And I was able to derive from the first concept that Haruka Fukuhara's voice could be put in the future, so if I think of it as an inclusion, I will decide the composition at this stage. Having said that ..., it is strong that the final form has been seen to some extent from the stage of the first meeting.



Q:
When you make a song, do you see such a picture when there is an offer?

Ushio:
I often make it concept-based, so basically I make a story or concept, a part like 'core of work' first, and then I often make a song so that it can be derived deductively from there. This time it was very clear.

Q:
Is this kind of picture floating soon?

Ushio:
I just floated from the character side.

Q:
How was your impression of Mr. Fukuhara's voice?

Ushio:
That figure came to mind, while lyrical parts came out of pictures and colors. It was like the feel of a melody and the warmth of the tone, and I often got inspiration from visual parts, and this time I wanted to use a soft sound, so I wanted to use unvoiced sound. It is not a sound that shakes the vocal cords like 'Da' or 'Gi' in the voice, but it sounds like 'Ha', 'Hi', and 'Tohji'. And, because I have to copy a lot of raindrops, I do not make the sound rise like 'Mu' or 'Nu' so as not to be late for the rhythm, but make a good sound with 'ta' 'tei' 'toi' I wanted to. Women's voices had a strong possibility of being buried in the rain, but Mr. Fukuhara made a voice that appeared before while holding something like the kindness of the character, so it is very attractive I thought it was.

Q:
Is that easy to use?

Ushio:
Well, I think it was great because it was 'easy to make' and had a good voice to build.

GIGAZINE (hereinafter, G):
In an interview with Mr. Haruka Fukuhara, who is published on the official site, 'Ishii entered the scene with the image that he finished with a feeling close to the cell ... but the approach was completely different (laughs) You are saying that, but specifically, what was the difference?

Ishii:
The usual work is to draw a story by yourself, order from animator, and check what has come up. Recently, that's gone, but looking at the time sheet, 'I'm sorry I shouldn't!' (Laughs). However, this time I use motion capture from the first stage to get actors to move, so I can not do that. As the actor plays, '6 frames early' or '2 shots' is not valid. So, I have a play with a feeling of live and I may have a toothache, but I think that this may be the case. The timing was changed at the production stage, but it was totally different where and where to be careful and check.

G:
Motion capture was the first thing, but what was the part other than timing?

Ishii:
Usually, I can not explain the feeling of the play with my own body or voice.

G:
I see.

Ishii:
When the picture comes up, it's about to comment that 'the face expression is so much' and 'the hand spreads so much'. But when it comes to actually playing, I can not say too much. The actor also thinks and plays, so if it gets stuffed too much, it probably won't move cleanly. 'Next do this, do this ...' becomes a programmed action and 'it's different'. As for how to go up and down stairs and how to run, 'It's like drawing as a picture with animation, but when you actually run it's like this.' When I put it in a model and made it into a picture, I realized that I wanted to have a little extra connection. This time, there are parts that I was careful in various ways, and there are places that I could not find or do. If you do your work with motion capture next time, you may be able to reflect from the Conte stage.

G:
What is the point of reflection or difficulty in motion capture?

Ishii:
I was thinking that I would make a movement that would be a point, as it was decided that I would do something with one cut. However, if you use motion capture, you will be asked to play without deciding on a long cut, or 'This cut will move the character's emotion from here to here' or 'You will stand from sitting in a line' I thought it would be better to leave it to the actor and let it move by keeping it as simple as possible.

G:
Oh, I see.

Ishii:
Usually, when I'm drawing a Conte, I'm thinking, 'I will stand at this speed at this timing,' or something, but with motion capture I can get the thoughts and ideas of others, so leave it there, to what extent I am It seems that you can pick it up, or how much you can not give up, and there will be a lot of works that do not break the cut at all.

G:
Mr. Ushio had previously commented that 'a man who can not give up with a smile', but what kind of part did Ishii give up with a smile?

Ishii:
As for the picture, it's the size of the movement, etc. When I did motion capture, I used to move my hand with my hand expanded and jumped, but the height of the jump was not enough. Even if you ask the actor to hurry, if you make it a picture, it is not. It says '3 run in 1 piece', but if it is not as fast as possible, it will not appear to move quickly in the picture. A poncho is caught on a signboard, and then a cut (1: 19-) that will come to the front of the screen does not actually advance that distance by that number of steps (lol). If you look from the side, you will be in a state of jumping considerably. I can not shoot with such extra-cuts in motion capture, so I asked CG, 'Please give priority to the picture surface'. There is an animator of orange knowing that it has the know-how so far, and it says that 'let's go for a little more time' saying something that 'makes me?' I have an impression.

G:
Also in the interview on the official site , Director Ishii 'I felt pressure when I first heard about Mr. Ushio's music' 'I give Mr. Ushio a rough cutting based on a storyboard and add a song to it I was asked, but when I listened to what came up, the upsurge and other things to match the video were also built in well. ' Mr. Ushio, did you think that pressure would come in this way?

Ushio:
No, yes (laughs) There was a big flow, 'I lost the umbrella, I found it, I gave it up at the bus stop and danced it out', and I was making music and excitement according to the time, so if pressure If it feels like it, I think it's a place like 'Don't change!' (Laughs) It's very apologetic.

Ishii:
The degree of perfection was high from the beginning, and it matches the image in me. There is a rise in the feeling that 'The sounds are gathered here and you are looking at me is absolutely happy,' and it is amazing.

Ushio:
Most of the time between rough and mastering, I just tweaked it.

Ishii:
I agree. Let me tell you selfishly (lol)

Ushio:
Because I can not give it with a smile (laughs)

Ishii:
When the work was finished, it was a sort of thing I could never say something like 'This time there is music ...'.

Ushio:
I can not blame the music. I'm happy.

Ishii:
'Because the music is perfect, let's bring it to perfection,' said the punch. Perhaps the first punch was concept art by Nagasaga Hiroshi, and then it was a feeling that it was one of the big steps in taking the punch with music ... and finally bringing it to the finish.

Ushio:
The concept art was very good. This orange guy. Is this the director?

Ishii:
I talked with Mr. Nagasuna before the contest went up, and it was drawn.

Ushio:
It may be the reason that the director was also based on this concept art, not too much.

Ishii:
As for the orange image of the last part of the main story, it was a picture that says, 'This is all right with this work', so it did not deviate from that.

Q:
Were there any tweaks since the entire anime was done?

Ishii:
There is almost no there.

Ushio:
I was very interested in this work, but I first took a Conte film drawn by a director called Conte Filming, and after that I have not yet made a picture of an animation like Prebiz, but I still have CG motion There is a video of a certain state, and it is a place where it was possible to apply the sound to the video of that state. It was easy to see the finished form, and it was a new discovery.

Q:
Is that because you know the sequence?

Ushio:
It is easy to match the sound as a picture that the stickman is doing the same movement as the completed form. For example, there is a place where the sound of the piano 'Dahn' hits a jump, but the timing is easy, and it is easy to take a combination if you can see a picture. It is easy to understand that 'that place there is such a thing.'

G:
In an interview published on steinberg's site, Ushio said, 'I was a PC geek, so it looks like the operation of Pro Tools was unusually fast,' he said in college. Also, 'Computer is Dell's Workstation Precision. I am a computer geek, so I can create my own, but Dell's workstation has great support.' 'Outside work computer is Lenovo ThinkPad' You mentioned, what kind of PC are you using now?

Ushio:
Recently, I have not been able to break my PC too much. It used to be a long time ago (laughs) ... like this, can I do that?

G:
It's okay.

Ushio:
I've been using my 'Opteron' dual, and I've been doing my own work with multiprocessors before the time when I was told something like dual core. I like semiconductors (laughs) It was tough at the time. I didn't move at all, it would soon drop ... I had been doing that for IRQ competition, measuring latency, and so on, but it would be a problem if my PC was broken the day before the deadline. However, with a DELL workstation, a maintenance contract will bring back parts within 24 hours.

G:
I understand ... I have also been repaired inside.

Ushio:
It was easy because he had an uncle like 'Mazabo and every scratch, made it new and returned', but recently, I could not go home with it because my PC was broken no matter what I did, but a suitable BTO You're done. For the past three years, I have used Saicom's BTO. It is 6950X that was 5820K with X99. Multicore is not very good for music like DAW.

G:
Oh, that's right.

Ushio:
Since there is no choice but to have a large number of cores, I kill hyper-sledsing and do early overclocking.

G:
Is that better?

Ushio:
I agree. For example, this time, for the voice of Mr. Fukuhara, using the equalizer, adjusting the sound quality and adjusting the volume with the compressor, adding a reverb echo, there is a process to adjust the sound field, Adjustment and sound field adjustment can not be performed simultaneously in time series.

G:
Oh, I have to do it in order.

Ushio:
It is impossible to process in parallel, because the next process can not be performed unless the previous process is done in order. So Cubase needs about 8 cores.

G:
Is it meaningless beyond that?

Ushio
It's meaningless and the CPU is playing. If you have a voice, a violin and an oboe, and you want to adjust the overall sound quality after putting it together, it is not meaningful because you can not move the whole adjustment thread unless you have made adjustments for each sound. is.

G:
Are you familiar with these parts naturally as you use them?

Ushio:
It was simultaneous. It feels like a computer nerd doing music.

G:
As I mentioned Cubase in the same interview, “The name Cubase was known from high school as I liked table tennis, but I couldn't afford it so I bought only the Cubase VST commentary and read it. There is a story that says 'Don't care (laughs).' Why did you want to read the manual even though you did not have the main unit?

Ushio:
I decided to become a musician (laughs).

G:
Should I just buy Cubase?

Ushio:
I have no choice but to buy. It was so from elementary school.

G:
primary school! ?

Ushio:
As I was in the fourth grade of elementary school, it was time for Mr. Tetsuya Komuro, so I decided to see “I will be a musician” by seeing Daisuke Asakura or Mr. Tetsuya Komuro. I'm reading a MIDI book, but I don't have a PC.

G:
I always read books first.

Ushio:
I read a book. So I got to work with Ishino table tennis, and I used a lot of software I had not used since the first day. I have always read it.

Ishii:
'I know ...!' (Lol)

Ushio:
'Let's move!' (Laughs) I really felt like, 'I know.'

G:
Ushio's mean that 'loved the original animation', Na published an interview to the tally as the 'anime otaku, come Shasharide a guy like you've never engaged in also the site once until now animation I don't want to see it (laughs). 'There is a local geek friend and I watched only one episode of' Kokolo Library 'once a year and everyone is crying,' he says.

Ushio:
I also saw this year (laughs)

G:
(Laughs) Furthermore, even when I was a high school student, I was searching for and buying a cover on which G's was scratched and not drawn by Nishimata .

Ushio:
I want you to stop that kind of talk on a site with many PV! (Lol)

G:
And in the Animate Times interview , the name of “girl revolution Utena” is rising as a particularly favorite work, and in the university days, events where the whole story of “The Legend of the Galactic Heroes” has been reviewed every year, etc. There is also an episode that it was the 'El Hazard' series, but ... What was the reason for starting to watch anime?

Ushio:
As our generation had 'Evangelion', it was not clear to see the animation ... for girls, but for boys it felt like 'it's a bit cool' or 'it's different from people'. When it comes to opportunities, when I was a kindergarten elder, I came out with a volume of 'Oh Goddess'. It is an opportunity to read it.

G:
That's right.

Ushio:
I wondered, 'What is this heart feeling of my heart?', And in the fourth grade of elementary school, read Akamatsu Ken's manga 'A · I can not stop!' As a result, when I was in kindergarten or elementary school, I was always stuck in the “girl falling cartoon”. In elementary school 5 or 6 years, I thought that 'something, it would be interesting if you look at animation rooted in it'. I watched the 'Voice ・ Yu Club' which I did in the evening in the Tele East, and there is a 'Tokimeki Memorial', 'Chu in Shibuya' and 'Evangelion'.

G:
Wow ...

Ushio:
It is a feeling of self-genius education.

G:
Do you still watch anime?

Ushio:
I've been working on anime for several years now, and I'm also working as a musician. It sounds weird, but now, anime has a budget and production is gorgeous. A lot of works by really talented people are made using professional orchestras. The level of performance of anime is very high, and it looks like you're going to get dented (laughs). 'It's amazing. I can't do this.'

G:
How ....

Ushio:
In me, animation and music were not very attached, and I liked music for music. This is a parable about the music knowledge that I often do, but it is the music of animation that should be done by people who can do anything, such as the National Diet Library. But I was only listening to electronic music in my life, and when I was a high school student, I was youth who said, 'I don't listen because I'm singing this song!' Or 'I don't listen because this is the guitar.' If the people doing anime music, drama music, and movie music are in the Diet Library, I have nothing but a list of items like Kanda's science fiction store (laughs).

G:
(Lol)

Ushio:
Instead, they are divided into genres in the genre that everyone is putting together with 'SF', and it is a specialty store that it is the first edition. So it was a little bit tough now, and I couldn't see the animation. Even when you talk to me, it's like 'it's an interesting collection of funny books,' so I think it's good not to get bored. There are a lot of great composers, so I feel like I'm collecting old SFs.

G:
I see……. Then I would like to ask Director Ishii, but in the interview on the official website of the work Vol. 3 'I was majoring in physics at university, but I entered the ani research institute and noticed the fun there, I came to the industry. ' Why did you major in physics?

Ushio:
What is physical?

Ishii:
Yes. Originally, I liked physics from high school, and I wanted to do research work in space and so on. So, when I went to university, I asked my parents 'Physical fun!' And went to university. And in the 4th grade, 'A little anime Iku' (laughs) Parents also cry, though. It was amazing.

G:
You mentioned that you were at Ani Research, what happened at one ani research?

Ishii:
When I entered Physics, I thought it would be good if I could get a research job or work in a research institute. On the other hand, watching anime as a primary school student, I stopped seeing it once and came back to the second half of junior high school. When I was in high school, I saw anime and found that 'animation seems to be made by individuals'. Just because lettuce light and so on came out and I knew that I could make it, I also felt that I wanted to make an animation. So I made a digital animation using lettuce at the university's Ani Research Institute, so I thought it was interesting. Even though you are making animation in groups, there are 20 people, and from the point of view of how to make animation today, it was quite a mess.

G:
Is it messy?

Ishii:
People who say 'I want to do this kind of work' raise their hands, and somehow draw a story. Since there is a screening meeting where Ani Research Institute of Kanto gathers twice a year, we will make it in summer and winter to bring it there. If there are approximately 50 cuts, it is said that 'many' and is reduced. Even now, I divide one scene into about half, and I have animator bring it together to work, but at Ani Lab, every person who reads Conte thinks that 'I want to draw here' every cut I will take I don't care about ties (laughs)

G:
(Lol)

Ishii:
There is no director and no director, so when I get a cut, I draw, paint, paint the background, and even shoot.

G:
It is a great way to make it

Ishii:
It is finally checked by the person who wrote the director or the Conte. However, I do not fix it even if it says 'This is like this' (laughs)

G:
It's amazing (laughs)

Ishii:
Since there are stories and lines in the contest stage, I can see what I can see as a flow. So I found out that group production was quite fun, and I was listening to the story because I was a senior at the university who entered the studio as a movie man. When I'm doing in a circle, at first, I enjoy drawing, but at that time, the special feature of Yasuhiro Irie and the like was made in the anime magazine, and when I saw the original, 'I can not become an animator if I can not draw like this. I thought, 'I can not be an art man. I was able to sift through it like 'It's absolutely impossible'. 'But if I can get involved, I know that there is a way to go in production and directing,' and there were seniors who were directing, so listen to the story and 'I'm going to do it anyway,' Yes.

G:
I see.

Ishii:
If there is a connection between animation production and physics, is it something like 'control something'? In physics, you can predict many things with mathematical formulas, but with animation you can control many things with time sheets. Depending on the control, it is very interesting to be able to make something that says 'This is the best feeling'.

G:
This time, the director said that 3D is the first challenge, and 3DCG's unique visual expression was interesting. Did you feel uncomfortable when compared to ordinary animation?

Ishii:
It was not. Even though the movement of the character is a very strange movement, the expression of water and so on was rational, and I was asked to do it by simulation. That fairy's poncho is also in simulation.

G:
It's a transparent guy hooked on a sign that came out earlier.

Ishii:
It was a lot of fun to see. So, if you want to swing the poncho a little larger as a way to show it, you can put a weight on it in a pseudo manner, or change the gravity if you want to move the raindrops attached to the window glass a bit more slimly. So I changed the parameters of gravity, viscosity of water and air resistance, and it was very nice to be able to adjust it as 'If you actually fit it, it would be better for you to send it a little more to this cut'.

G:
It's not 'as it is real,' but it's adjusted. I thought it was not natural.

Ishii:
I'm adjusting so much. For example, a cut with a foot and a foot in a puddle, it has been slowing from the middle, and if it is a time sheet, it is about to open a gap between the originals and hit a lot of points, but changes the air resistance on the way.

G:
In the middle! ?

Ishii:
That doesn't mean that the movie is stretched out there, but it changes with time. When I heard that, I thought, 'Wow!'

G:
If you wonder how you are taking it ...

Ishii:
I am changing the water by applying various forces. But that's how I can make a lasting impression.

G:
In this work, I said that I made a color script. It seems that not every work has a color script, but why did you decide to make it with this work?

Ishii:
At first, Mr. Nagassan's concept art came up, and if it is a regular animation, I would have an art director draw it as an art board. However, since it took me some time to ask Art to work from the condition that the contest was up and there was concept art, I was asked that I could get some color. The boards are not connected in a simple linear fashion, and sometimes there are steps suddenly, so it was great to be able to see through them once. It is easy for the art director to draw if there is an image first, and it was very nice to say at this stage that 'Please make this look like' about where the colors are different due to the change of the scene.

G:
Did the director give instructions such as 'I like this' for rain expressions, etc?

Ishii:
Well ... at first I was asked to raise in the simulation and explain that 'I'm doing this,' but it was very strange that such a picture surface could be made with just that alone. When I say 'I want a drop on this side,' the one with the drop comes up soon. After all, I think that it is great if you are working. There are many ways to approach it, such as 'If you get raindrops here,' or 'This way it works'.

G:
How was the feeling and impression when you first saw the finished product of this work?

Ushio:
It's a very happy thing that you can complete the concept-based process.

G:
Happy?

Ushio:
If you can 'do as you expect,' multiplication will occur and it will be better than expected. It is nice to be able to confirm that.

G:
Are you agreeable to see the so-called mini-Ushio who is in Ushio-san?

Ushio:
I'm saying, 'Don't do it!'

Ishii:
When I was in the field, I was looking through and I thought, 'Oh, I did a lot more!' At the delivery stage, but when I saw it on the screen at the chance to preview, 'Oh, it was good, it was over. ', The impression has changed. The feeling that it might have become something to be able to see properly has come to me after the preview. As for music, the final form came up from the beginning, and this felt pressure (laughs), but if Ushio's music is from the beginning, please make a video that matches it. I think that it is the place where it will be 'it was good ......'. That's what I really wanted to say thank you to me, because I got it for my rough cutting. This work was completed under my own responsibility, thank you, I am very sorry.

Ushio:
You can't objectively see 'I'm hot' right after you finish it. Even in music, I do mastering work through the hands of people, but after that it is possible to see objectively suddenly when I return to my own environment as usual. I think, 'That's right.'

Ishii:
As it is published on YouTube, I get comments from various people, but 'Failed' came to say 'Don't it'. 'It's fine' to 'like music' (laughs)

Ushio:
I'm afraid!

G:
Thank you for your talk today.

Short Animation 'Soba ni' Full Ver.-YouTube


in Interview,   Anime, Posted by logc_nt