'The era of' Space Battleship Yamato 'Selection in 2202 AD' Interview with director Atsuki Sato, 'Fleet gathering' scene BGM is revived with a new record and the experience of the old series is reproduced
A special omnibus based on the two works 'Space Battleship Yamato 2199' and 'Space Battleship Yamato 2202 Love Warriors' 'The Age of' Space Battleship Yamato 'Selection of 2202 AD ' will be released on June 11, 2021 (Friday). Will be screened in theaters. The director of this work is Atsuki Sato, who works on video editing, VFX / CGI supervisors, and trailer production. We asked him how the 'Yamato Direct Hit Generation' finished this special work.
'Space Battleship Yamato' era 2202 AD selection
GIGAZINE (G):
In this work, Mr. Sato's title is credited as 'Director' instead of 'Director'. Does this mean something different from 'director'?
Director Atsuki Sato (hereinafter Sato):
The true director is Mr. Fukui. If anything, I was in charge of picking up what Mr. Fukui wanted to do and reconstructing and expressing it in the form of images. I am acting as a so-called director where necessary, such as directing, but I think that the true director of this work is Mr. Fukui. Mr. Aoyama, how about something like this?
Producer Katsuki Aoyama (hereinafter referred to as Aoyama):
' Voyage of the Space Battleship Yamato 2199 reminisce when there is', in the original series Yutaka Izubuchi Since the total director had, wondering what difficult to understand and use the 'supervision' name in the omnibus, Kado Homareotto doing as a 'director' to Mr. I heard that you received it. I am a director in the name because it should be difficult to understand this time as well, but I offered Mr. Sato to be a 'director'. We recognize that Mr. Sato and Mr. Fukui consulted with each other to proceed.
Sato:
For example, when Mr. Fukui and I had different opinions, we had a meeting and proceeded with 'Let's do this.' However, it does not mean that Mr. Fukui will realize what he wants to do 100%, and as a director, he talked about 'I think this is better' and 'I like this one, but how about it?'
G:
Is it a feeling that it is a little different from the 'director' of a general animated movie?
Sato:
In the first place, the method of making it is different from that of an ordinary animated film. Since Mr. Fukui's name appears at the end of the credit, I think that the general manager of the work will be Mr. Fukui.
G:
When I asked Mr. Fukui, 'What kind of person is Director Sato?', He said, 'If you leave it to me, good things will come up.'
Sato:
In 'Space Battleship Yamato 2202 Ai no Senshi', when making the notice, I did some things like making something that jumped over the main part. At the time of the theatrical screening, the four episodes of the TV series were put together in one, but I dared to make a notice that made the four episodes look like one story. Perhaps Mr. Fukui saw that and thought, 'If you leave it to this guy, he will do something about the troublesome things' (laughs).
'Space Battleship Yamato 2202 Love Warriors' Chapter 1 Book Notice (60 seconds ver.) --YouTube
G:
In an interview by VIDEO SALON that Mr. Sato received as a video editor, 'There are things that do not fit even if you look at the work edited by others. How do you bring it to the correct answer in yourself? That's the job of editing. ' What was the 'correct answer' in Mr. Sato in this work?
Sato:
There is something like the pleasure principle in video that I have. For example, 'It feels good if you connect in this way, sound effects and music enter here with a dawn, and the lines fit neatly.' It's very physiological, and I think it's a feeling that editors and film directors in the world have. In compiling the omnibus this time, I keep the pleasure principle in my video as faithfully as possible. Of course, this is something that all filmmakers around the world do with their own work, so it's not necessary to mention it again.
G:
We heard from Mr. Fukui and Mr. Minagawa about the episode in which Mr. Sato said, 'I want to make the song when Yamato started different.' You said that the song was a new record, but is this kind of song selection also because of 'comfort'?
Sato:
It's my favorite (laughs)
(Everyone laughs)
Sato:
Or rather, it's the source of my memory ... I dared to use the 'fleet gathering' used in the old TV series in the starting scene in '2199'. This reproduces the experience I saw on the rerun when I was a high school student. The fact that this song is played in that starting scene is a heavy part for fans of the series. There is also the option of 'In the original, this song was played here, but if you make a new song, you can play another song', but only there, I tried to follow the original.
G:
So that's it.
Sato:
That scene used the main part of '2199' uncut and put music in it, but interestingly, the end of the music fit perfectly. I just hit the music I received, but it fits really nicely. Perhaps even in the Izubuchi version of '2199', I might have thought about using that song at first, so I'd like to argue.
G:
Oh, that kind of thing. Regarding the work 'Space Battleship Yamato', Mr. Minagawa, who wrote the script for this work, is a generation centered on 'Farewell Space Battleship Yamato Ai no Senshi'. What was your impression of that generation, Mr. Sato?
Sato:
At that time, I was a junior high school student, and I couldn't see it at the timing of the main broadcast. My sister was watching 'Heidi the Girl in the Alps'.
G:
Oh, a strong enemy who always stands in the way of 'Yamato' ...
Sato:
I knew that I was doing a program that looked interesting, and when I could see it once in a while, I thought it was amazing. At that time, in the Tokai region where I lived, I was rebroadcasting various animations such as 'Star of the Giants' in the evening. Especially 'Tom and Jerry' is a heavy rotation, I think I've been doing it for about a dozen years.
G:
10 years! (Lol)
Sato:
Aside from that, when we were in junior high and high school, there was a place where the rebroadcast frame in the evening and summer vacation was more like 'golden time' than the main broadcast. So I watched 'Yamato' in the evening rebroadcast. It was the year when the first movie version of the old movie took, so it may have been a rebroadcast with the meaning of promotion. See it and go to the cinema. I don't think I was enthusiastically lined up from the night before, and I think I went to see it about the third week after the release. The following year, 'Farewell' also went to the cinema and it was so interesting that I went there two or three times. It was such an experience.
G:
So that's it. I saw information that you were in a brass band when you were a student, but do you feel like you're in parallel?
Sato:
The brass band was when I was in junior high school. When I was in high school, I used to live a strong nerd life with my best friend, making nightly doujinshi at the library. The rebroadcast is just around that time.
G:
Is that so. It wasn't the first step to the swamp, it was to accelerate the sinking momentum.
Sato:
I agree. I think that the second year of high school was the special feature of 'Yamato' in the second issue of 'OUT'.
G:
It's a very rich time. After this, Mr. Sato will go to the video industry once, but then go to another industry and come back again. It seems that the time when CG-incorporated works began to appear in Japan came back, but was there any inspiration from those days?
Sato:
I didn't have any particular work as a trigger, but my motive was 'I want to do this job after all.' Another thing is that wearing a suit and a tie and going to work on time every day didn't suit my skin. You can do what you want to do in this job.
G:
Mr. Sato is said to be the leading person who introduced digital editing into the trailer industry in 'Gamera 2 Attack of Legion' in 1996. Regarding editing software, you mentioned in an interview with VIDEO SALON in 2018 that 'it is in a transitional period', but what about the current situation after a while?
Sato:
Currently, there are almost two or three video editing software for PCs? I think it has been narrowed down to. Is it okay to do this topic in detail (laughs)
G:
By all means.
Aoyama:
This is also okay. I also want to hear.
Sato:
In addition to the previously used ' Avid Media Composer ,' ' DaVinci Resolve ' and ' Adobe Premiere, ' I think these two are becoming mainstream. I've seen news that Premiere, optimized for Apple's M1 chip, is out in beta and has a tremendous score, and so does DaVinci. In that sense, if you connect images on a PC, these two will take leadership in the future. When.
G:
So that's it.
Sato:
Avid also exists as another mountain, so it's three. At one point, Avid was 'the only one in the industry,' but now it's like Avid, DaVinci, and Premiere. Also, I had a job to direct a trailer for a horror movie in Taiwan, and I had the opportunity to actually work there, but in Taiwan, many people used 'Apple Final Cut Pro'. It seems that many people use Final Cut Pro in the United States, but I don't see it much in Japan.
G:
I heard that in the past, the momentum was such that only Avid was recognized in the video industry, but it has become quite diversified.
Sato:
I agree. Netflix version of ' The Grudge when you've done the work of the' studio editing Daiei's I saw a are using DaVinci. There is no doubt that it is a powerful software that can be used in the post-production editing room, but it was the first time I saw it used in professional video editing.
G:
In an interview that coincided with the release of 'Shin Godzilla' in 2016, it was mentioned that editing work is difficult remotely. Has this changed in four years?
Sato:
Certainly there are many problems that must be overcome in remote editing work. However, the 'remote work' performed in this work is different in nature from the time of 'Shin Godzilla', and the 'work over the network' that I aimed at at the time of 'Shin Godzilla' is 'remote editing'. It has a meaning. I aimed to hang the material on the main network so that it could be edited in various places, but the 'reality of the network environment' prevented that. So I made it possible to synchronize data to each local terminal using a Dropbox-like system, and worked in various places.
G:
So that's it.
Sato:
In the case of this work, based on the script that Mr. Fukui gave, once connect the images and create a movie for checking, show it to Mr. Fukui and others, and after gathering opinions, fix it. I repeated that on the network. Before the corona sickness, I was planning to have them connected in a rough manner and have everyone gather in the editing room of my office to discuss while looking at the pictures, but in this situation I could not do it, so I sent what I made. It was a repetition of returning.
G:
Oh, in that way.
Sato:
Instead of making and sending everything from the beginning, I sent only the first 10 minutes of the omnibus part of '2199' and asked 'Is it okay at this pace?' Please do it, 'said Mr. Fukui, and next time I'll fix it, and it's like the whole' 2199 '. I was relieved that 'this pace is okay', but there was also a carelessness, and later I would suffer from over-scale ...
G:
(Laughs) When I was face-to-face, I checked through and the correction points went up at once, but it became a form of repeating exchanges remotely. In that case, the check time increased and it became difficult to manage the time.
Sato:
I think that's what I've fallen into for the better. I was able to think carefully about the completed edit and catch the ball, 'Let's do it.' Normally, the editing work of such a omnibus is done at once in a couple of weeks, but this time it feels like I've gradually created it. Now that I think it might have been good. I have time to think slowly.
G:
We had time to think about each other.
Aoyama:
It was also great that there was an environment where Mr. Sato could work at his home because of the corona. Mr. Sato and Mr. Fukui worked together.
Sato:
From April 2020, I stopped going to the office and stayed at home all the time. On the way to the office, I just went to pick up my luggage by bicycle, and I was doing the work at home.
G:
Did your home have the same environment as your office?
Sato:
Before the state of emergency in April, I was working at home on a 13-inch MacBook Pro. However, I felt that it was a little powerless, so I bought a hanging Mac mini that was suitable for Hachioji's Bic Camera and worked on it all.
G:
With a 'hanging Mac mini' ...
Sato:
Instead, I used 32TB of storage. I was worried about how much capacity I needed, so I bought a big one, but as a result, I didn't use it that much. I thought I would use about 10TB, but it was only 6TB. Although it is a RAID with two HDDs, I was able to edit full HD material without any stress. It's such an era now (laughs)
G:
What is the part of 'this was done well' after working this time?
Sato:
I was worried about whether to use vocals in the music production part.
Aoyama:
It's 'Great Harmony'.
Sato:
I was nervous about how to use the song at the climax. The script says that 'Great Harmony' will be used here (laughs). However, I was asked to use it as an instrumental because the conversation drama continues. However, I couldn't stand it and just used the vocal part ... The producer rushed to process the rights (laughs). Also, the main title will appear once more in the last, but I was worried about the timing of the appearance for about a week, not like that.
G:
It's a very particular way of doing things. At the end, it has nothing to do with 'Yamato', but Mr. Sato is called 'Trailer Scammer' by Mr. Shinji Higuchi ....
Sato:
That's right (laughs)
G:
Regarding this story, Mr. Sato thought that Mr. Higuchi was not a bad talk because he was a friend who called him 'Higu-chan', and when 'Avalon' was released in 2001, Mr. Higuchi wrote 'Our company' in Weekly ASCII. I found that he wrote 'Mr. Sato, who is active as a trailer scammer while being a CG director of.' Is this something that Mr. Higuchi has come to say in connection with 'Gamera 2'?
Sato:
I was in charge of the TV spot video of a certain science fiction horror movie. When I saw the commercial, director Shinya Tsukamoto, who had a serialization in the same Weekly ASCII, thought that it was 'extremely interesting' and went to the theater to see it, but in reality it was 'not so'.
G:
(Lol)
Sato:
I think it happened a lot ... I don't know (laughs)
G:
I'm not calling myself (laughs)
Sato:
I don't mean to be a scam at all. However, I wonder if there are some works that I have done so much that I have done so much. I've shown my own originality and used songs that aren't in the main story, and even tried to the limit, saying, 'Why don't you! This will look interesting' ... Well, it's usually overkill. Then I was warned and gradually realized that my reputation was not good. In particular, I am conscious of making a well-made work a trailer that does not twist or devise too much, but puts out the material itself as sashimi so that you can taste it.
G:
I'm sorry to hear something strange at the end. I'm looking forward to more 'Yamato' videos. Thank you for today.
'The Age of' Space Battleship Yamato 'Selection of 2202 AD' will be screened in theaters on June 11, 2021 (Friday).
'The Age of' Space Battleship Yamato 'Selection of 2202 AD' This Notice (60 Seconds) --YouTube
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