John UM
From January 9th, the “+Ultra” file of the late-night animation of Fuji TV was launched, and the “revisions” of the whole story was released on Netflix from January 10th. It is a completely original 3DCG work challenged by Taniguchi and Lang. The story took place in Shibuya in 2017, and suddenly the entire block was transmitted to the future 300 years later. The encounter between five high school students centered on the male protagonist Dojima Daisuke and a future woman named Miro drives the intensive armor called “String Puppet” and the invading enemies. Fighting. With a strong sci-fi setting, and using 3DCG to fully reproduce Shibuya, depicting human behavior through abnormal events, these are the highlights of this work. Supervising Taniguchi Goro and CG Supervisor Hirokawa Hirakawa accepted interviews with IGN JAPAN, ORICON, and mantan-web before the animation began, and talked about the difficulties and ideas in the production
The basic setting of “revisions” is to completely transfer the radius of the radius of about 1 km to the future. It is not uncommon for modern people to reincarnate and transfer to a different world. In the past, there was also a masterpiece like “Drifting Classroom” like Yutuo, which transferred the entire primary school directly to the future setting. Taniguchi said that in fact, the “revisions” to transfer Shibuya to the future setting is based on the budget and production system. This production team is mainly centered on the CG supervisor Hirokawa Hirakawa of the White Group. Therefore, the number of art scenes and characters is limited to a certain extent at the beginning. This is also the first 12-page TV animation made by the White Group for the first time using 3DCG technology. The reason for these restrictions is to avoid unnecessary production accidents. Therefore, before the formal production, the number of art scenes and the number of characters need to be strictly calculated to ensure that nothing is lost. Therefore, after talking about the deep understanding of the series composition and script, Taniguchi made an idea to limit the stage setting to a certain range and to the future setting. Originally, Taniguchi planned to make a story that traversed into the future, but based on the limitations of the art, he finally chose to move the valley to the future. Taniguchi clearly understands that there will be viewers who look at “revisions”, think of other works, and have some uneasiness in this regard, but he said that the basic theme of “revisions” is different from other works, because this It is a story that can only be described on the stage of Shibuya
Will choose Shibuya, this is because the production committee put forward a request at the time, “revision” has to face the world, to carry out the popular multimedia development, including novels, comics, games and other forms. When it comes to the world, Taniguchi thinks that there is a game called “Tokyo Jungle” in the past. The stage setting of the game is in the area of Tokyo Shibuya, Harajuku, and Yoyogi after the collapse. All humans on the planet It is extinct, and only the world of animals is left. To some extent, there are still quite a lot of people who know this work, so they blurt out and then sent Shibuya to the future. People living in Shibuya are also good at work, and there are many foreign tourists. With Shibuya as the stage, it is possible to meet the requirements of the production committee for the “world-oriented”
“Revisions” is very challenging for the White Group. Hirakawa said that he can work with Taniguchi Supervisor and the production team as a whole is very motivated. When proposing to do the street scene in Shibuya, Hirakawa thought, if it is completed, it will be a great picture. It is better to say that if you want to make such a street scene, it is because if there is a prototype that exists, then you can Better use of 3DCG technology. Hirakawa made a joke because the White Group used to participate in the streetscape modeling of movies such as “The Sunset of Three Ding”. If Taniguchi’s supervision was to move the Tokyo Tower nearby, then the streetscape would not require a big fee. Zhou Zhang. However, Hirakawa is grateful for the streetscape that can challenge the production of Shibuya. This is also a very good experience. In addition, Hirakawa said that the “Ikebukuro” option was actually proposed at the beginning, but if it matches the “world”, it is still more appropriate for Shibuya. More importantly, the Sanxuan Tea Studio of Bai Group is nearby.Although the production schedule is not long, the budget is also the scale of normal TV animation. Taniguchi said that when he saw the Shibuya crossroads where Pingchuan and others would do well, he was shocked. “This is feasible!” Pingchuan said that they are confident. Reach the expected level
Then, Hirakawa added that the streets of Shibuya are now undergoing major renovations. The animation is transmitted in the “Year Valley in 2017”. This is because the production is in “2017”, so there will be no animation at the time. The building that exists. The animation was broadcast in 2019, so everyone will find that it is not “now Shibuya” when you look at it. However, viewers can recognize that this is Shibuya by seeing the iconic Shibuya Crossroads, so there is enough confidence even if there are restrictions on budget and production schedule
“Revisions” chose Netflix and Fuji TV “+Ultra”, which is of course one of the goals of the world. Taniguchi said that he did not make additional adjustments to the theme of the story because it was aimed at the world. When we learned that we want to carry out overseas expansion, we have a clear understanding: one side of the water and one person, the Japanese animation has developed an animated audience in Japan, and the Japanese animated audience likes the daily system and the cuteness of the two types in the world. There is no such big audience in the scope, so there is no need to do such animation. This is not a denial of Japanese animation. However, it is difficult to express the overseas strategic issue of “there is a tiger in the mountains.” Taniguchi still believes that the audience should focus on the fun of the plot itself, not the type
The setting of the situation of the young girl being transferred to the future is also questioned, which may coincide with the setting in “Infinite Livias”. Taniguchi said that “Infinite Livias” is about the internal chaos and external attacks encountered by young girls in the spaceship. It is essentially a group drama depicting the people, and “revisions” is centered on Daisuke. Describe the story of the individual and the surrounding, the same as the group drama, but the scope of the object is different. In addition, in “Infinite Livias”, the adults and society responsible for management in the initial stage disappeared, and it is necessary to reorganize a society. This is the beginning of the story. In the world of revisions, there are the lowest administrative agencies in Shibuya District police station and police station. The story is in these systems. The two situations are completely different from “from scratch” and “from the beginning.”
To express in the animation about the transfer to the future, the application of quantum physics theory, such as “Schrodinger’s Cat”, Taniguchi said that it is very difficult to see the script. After implementing the animation and then the concept of science fiction, I finally have to come up with the idea of the image, so Taniguchi decided to show this concept only in the animation. For example, the flow of time is in a certain direction, then there will be a moment of intersection in the process of passing through… If you use the “line” to express it, you can make it clear at a glance. The “future observation of the past” setting, and whether it is correct in the sci-fi category, simply “observing” the word, it is easy to create a feeling of being monitored by the display, so choose to keep
As an orthodox sci-fi work, how to challenge the world. Taniguchi said that when he decided to use the theme of science fiction to decide the outcome, he decided to come up with a “realistic science fiction” that is rare in Japanese video works. Taniguchi wanted to do such a theme in the past, but it was not realized because of various problems. This time is also a great honor for myself
In 2010, Dasuke was abducted by unknown people when he was a child. Later, he was rescued by a woman named Miro. In 2017, five people who were centered on Daisuke met again. Event. Taniguchi said that the construction of the story should be extremely complicated to explain by theory, so I hope to make the performance of the audience as directly as possible. The idea is simple and clear, don’t test the audience’s image interpretation. What is the meaning of these behaviors, then show them in the appropriate form. Taniguchi also said that this orthodox sci-fi rationalists may be somewhat dissatisfied with this, but such images are more suitable for viewers who do not adapt to hard science fiction. Not only overseas audiences, Taniguchi hopes that the Japanese audience will be able to touch the sci-fi works, which is the reward for the sci-fi world
When Dojima Daisuke was rescued by Miro in 2010, he was told that “there will be a huge crisis in the future, and only you can protect the surrounding partners”, and he was crowned with the protagonist’s aura, while Dasuke was in high school. I have always lived in the attitude of “I want to protect you.” Taniguchi said that if the audience is annoyed with his attitude, it is the place where the character has been shaped successfully. The sound of Dojima Daisuke (CV: Neiyama Anghui) is also “indecent” is also intentional. There is no prototype for Dasuke’s character. He is actually not good at expressing. What he wants to do is “I want to be One Piece”, but unlike Lu Fei, it’s hard to resonate with the audience. In this regard, Taniguchi said that the protagonist of his past works has almost no type that can resonate with the audience. Although he had just told him when he was on the supervision, the producer’s hope was that there must be a protagonist who can resonate with the audience. However, Taniguchi takes the example of the Evangelion of the Evangelion. What he really feels in the true body is only the weak side. Does the audience resonate with him? Not, but it’s really hot. Therefore, Taniguchi said that there is no need to deliberately create a protagonist who resonates with the audience, as long as the story is established
The other 4 characters are Wenwu Shuangquan’s Zhang・凯・Steiner, sports omnipotent twin sister Zhang・露・Steiner, calm and calm hand, loves the bell, and plays a modest adjustment between the smashing Dasuke and the calm Kay. Taniguchi said that it is extremely necessary to assign the character’s personality so clearly. In the case of multiple roles, the TA must be left with a mark in a certain part. This mark must appear at least seven or eighty percent, otherwise the audience cannot tell who is who. If you don’t make it easy to understand, it will cause confusion for the audience. This is the case even if you do other works
At first, this book also considered the practice of adding 3DCG to the previous paintings, but ultimately decided to let the White Group challenges the production of the whole 3DCG. The first is the stage of the story. Shibuya needs to be added to the real shot to become “real”. This is too demanding for hand-painting. “Revisions” has the limit of hand-drawn animation, and Taniguchi does not want to see this limit in this work. In addition, if you follow the original idea, then the CG must be put into the work before the painting is done. If the production is not well controlled, there will often be an accident in which the CG lens is delayed. To this end, it is necessary to carry out unified management. This time, the management of production is handed over to the White Group, and the risk can be reduced while maintaining the quality of the image
Regarding the benefits of 3DCG, Taniguchi said that in the “revisions”, the mechanical design is responsible for the white group centered on Hirakawa, and it is progressing rapidly. If it is painting, when it is busy, from the mechanical design of the order to the completion of the painting, it takes at least one or two months, which is not enough to wait for them. In addition, CG Supervisor Hirakawa said that this time the armor “drawing doll” and Miro’s motorcycle are designed by people who draw 2D in the white group, and then modeled. The designers themselves know 3D well.They are also more clear about the detailed design of the joints. For example, the construction here should use the spherical joints, etc. They will calculate before designing, and then negotiate with the design of the internal model to decide. At the time of “ID-0”, Taniguchi learned a little from the experience of mechanical design of Hakaikawa and Wuna. Hai Laichuan’s design is based on the premise of CG production, and then retouching, so that the part of the joint is not easily seen. With such experience, Taniguchi himself did not feel the pressure for this challenge, and the efficiency could be improved
Taniguchi said that it is the “line doll” to say that non-CG is not acceptable. The “drawing man” is a state of integration of mechanics and characters. It is basically impossible to do TV animation by hand. There is currently no studio dedicated to painting. For the actual finished product, Taniguchi expressed his satisfaction and expressed his sincere gratitude to the staff of the Hirakawa Supervisory White Group who was able to do their own excessive demands
Because it is an original work, everyone is afraid of the future. For example, the number of words originally scheduled to appear suddenly changed, and some details need to be changed. I plan to use only one character and props, and I will be able to make a number of appearances in the future. Conversely, the original intention to use a few times, the result only appeared once, that is to waste labor, which is the most worry about the full 3DCG animation. Taniguchi has been an assistant director of real-life movies in the past, and he has also helped in the stage of the stage play. When he was reading the drama, Taniguchi thought that these experiences played a considerable role in doing CG animation. For example, when doing art scenes, you will think of having to build a roof to consider the layout of the entire scene. If you haven’t done a real shot, you probably won’t realize this effect right away. You can’t waste any characters or props that appear in the show
In addition to movies such as “The Sunset of Three Ding”, the White Group has also produced high-level 3DCG animated films of the same style, “Gala Gambar and My Companions”. The team led by Hirakawa used to be based on 3D to 2D, and participated in a lot of games and animations of Pachinko. This time, it can be said that everything is ready for the wind. TV animation used to participate in the production of “Drying the Soul” in the past. Although it is the role of the Q version, it has accumulated a lot of experience for future topics
Not only did the 3D modeling of Street View go to work, but the role was not too sloppy. This time, the character used a motion capture technique such as capturing facial expressions. Taniguchi said that the actors in this area also played an important role. Originally, even hand-drawn animations will have a “table error”, and the ability to use the capture technology in 3DCG is much better. On the one hand, it is easy, on the other hand, it improves efficiency. Hirakawa said that almost every shot in the play, the character’s expression will change, this is also to leave a deeper impression on the audience, and will never be the same expression. There is a walking scene in the second sentence. Taniguchi hopes that everyone can pay attention when watching. The pace and speed of the characters are different. Of course, they are also the “acting skills” of the characters. Such details, because they are too complicated, will not be used in general TV animations. This is also the “smart technique” of “revisions”. Hirakawa added that on the rooftops, the flustered little tricks of the students when they rushed to the exit were also the thoughts of Taniguchi
Taniguchi said that he actually couldn’t think of using the actors to catch up. When I was doing “ID-0”, I was thinking about the idea made by SANZIGEN. The idea of using motion capture was also proposed by Hirakawa of the White Group. Hirakawa said that this is because Taniguchi has put forward a request, hoping to make actions like real people, thus reflecting the true tension. If you don’t need to capture the action, you can actually do it with a certain post-editing, but it is not efficient enough to use motion capture. In the first half of the words, Dasuke is also a police chief. These roles are very personal. How should they move? At that time, the group was very confused. So I came to Taniguchi to supervise and mobilize the actors to guide the walking posture and standing posture of this character. After the first half was decided, the second half basically did not need to be re-commissioned. When everyone has mastered it, it will be handy
It is clear from the first words that the way of walking and Dasuke’s walking is completely different. Dasuke had some hunchbacks, and his birthday was waving his schoolbag. If you use light hand to express this, it will be difficult for the animator, but it is not a joke. But if you use 3DCG, you can do it because you can communicate directly with the actors. That’s great. After the discussion of Hepingchuan, Taniguchi took the position of acting director and expressed his honour. Taniguchi said that in addition to being able to explain the sharing and character of each character directly to the actor, he can also eat the delicious lunch prepared by the white group
Regarding the impact of “revisions” on the future animation industry, Taniguchi said that he has never considered such a problem. When I was doing the “Star Clearer”, after all, this was something that the real shot industry couldn’t do at the time. Although I thought I could have an impact on the real shot industry, when I saw the photography system of Gravity. , Taniguchi said that the real shot is also fully feasible. Animation can be expressed in a variety of ways, from clay animation to puppet animation, in a variety of forms. Taniguchi believes that the beauty of Japanese animation is that the form is not single. There is no need to say that you have to use animation to make animations. This is the diversity of animation. There is a lot of people who are looking forward to animation like Ghibli, but are they all that? Taniguchi said that the line between animation and real writing is beginning to become awkward. It is better to say that it is the performance media of images. Animation is just one of them. Just like multimedia, comics and other multimedia developments, there will naturally be a possibility of making games in the future
Since the release of the world’s first full 3DCG animated film “Toy Story” in 1995, Disney, Pixar and other companies have launched a number of full CG animation. Japanese animation, since 2000, more than half of the works shared by painting and CG. With the increase in the number of 3DCG works such as “The Sound of Cyan Steel – Ars Nova” and “The Knight of Sidney”, the Taniguchi Supervisor who also produced “ID-0” and this “revisions” also expressed this. The trend will continue and the full 3DCG will become more in the future
The reason for this is that Taniguchi said that the number of animation works is increasing now, and the original painters who can draw hand-drawn animations are decreasing. Some animations use static painting more, which is detrimental to the fun of the image itself. Taniguchi is an example of a ramen shop, just like the original ingredients can’t catch up, and the other ingredients are changed, and the price is reduced. If you can’t keep the trust and performance of the past, the guests will not be able to keep it. This is not worth the candle. If the progress of the animation falls due to the relationship between the production system and the time that should be met, the reputation of the animation company on the TV station will be lost
With the increase in 3DCG animation, the number of animators participating in CG production is increasing. Taniguchi said that the low salary of the animators, the shortage of talents, and the harsh working environment are all common problems. The CG production club, at least the rest will take a break, naturally there will be more people who want to enter the industry to work in such a company. Painting will certainly remain in the future, but there will be no such amount
So, what kind of animation is suitable for 3DCG? In response to this, Taniguchi’s answer is, Miss Conch. To some extent, this “match” should be determined by the number of debut characters and the number of stages. After all, anyone who wants to do the modeling is as much as possible and not wasted. In addition, Taniguchi believes that “Breadman”, “Doraemon” and “Detective Conan” are also suitable. The prisoners and victims in “Detective Conan” are suitable for some 3DCG, but in fact It takes a certain amount of time for the audience to adapt and the current technical skills
Finally, in “revisions” about the part that I hope everyone pays attention, Hirakawa said that if everyone pays attention to the image part, it is naturally the street view of Shibuya, the CG of the “line doll” and the action of the enemy. In order to make these production teams painstakingly, all the elements of this project are fundamentally produced at a high level. To this end, at the stage of conceiving the script, we are racking our brains to ensure high quality. Therefore, Hirakawa hopes that everyone can combine all the elements, not limited to one side
Taniguchi also said that this is a work that can be seen by both men and women. It is also a response to the extent to which 3DCG animations can be represented. I hope that anyone who has finished reading this work can feel a certain possibility. The hand-drawn animation is also good for 3DCG animation. If you can join the industry, you will be grateful. Excellent people please come to the white group
[References].
- IGN:テレビアニメ『revisionsリヴィジョンズ』谷口悟朗监督及平川孝充CG Supervisorインタビュー.
- Mantan-web: Late Nightアニメ:3DCGが増える? “リヴィジョンズ”の戦 戦.
- Oricon NEWS: Who%% @ @%% @ @%% @ @%% @%%% @ @% “Shibuya %% @ @ %% @ @ street” %% @ @%% @ @ @ Stage %% @ @%% @ @ New Work%% @ @ @ Animation% @ @ @ ‘revisions %% @ @ Revisions %% @ @’