John UM
Ozaki Takayama, born in Hakodate, Hokkaido in 1972, moved to Kitami City, Hokkaido. After graduating from Sapporo University, he worked in a car company and also worked as an insurance agent. Later, he resigned in order to better develop his talents. In 1998, at the “Tokyo International Fantasy Film Festival”, I entered the Sapporo studio in Satelight with the award of the poster project. I accumulated experience in coloring and 3DCG, and then transferred to Satelight Tokyo, where I was mainly responsible for photography. Later, he also worked as a photography supervisor at MADHOUSE. Ozaki Takayama because he has done almost all the experience in the animation process, the first color, 3DCG, photography and other digital work to the “Iron Man: The Rise of the Nano Devil” (2012) conceptual design, “Martian alien” (2014 The deputy supervision, art design, and the original painting of “Fist in Superman” (2015), I am afraid that the Japanese industry cannot find practitioners whose job experience is more complicated than that of Ozaki. Recent work is the supervision of “PERSONA5 THE ANIMATION THE DAY BREAKERS” (2016), “Girls’ Final Travel” (2017), and the “Göblin Killer” still in production. .
First ask when to feel the sense of accomplishment when doing animation supervision and performance. Ozaki thinks that the supervision and performance of animation is a conduit for connecting various links. At the same time, it is necessary to decide the guidelines for the operation. There are elements of comprehensive art. For example, the paintings of the painting itself and the music of the music itself are all available for appreciation. And how to combine these things in a limited time can be called a comprehensive art, and Ozaki himself likes this feeling very much. .
Ozaki has always been very good at art in school. Besides painting, he prefers clay modeling and plastic models. Compared with people around him, he prefers robot models such as Gundam, and he prefers landscapes, castles, character models, and monster models. However, these are foreign-oriented, and there are few related products in Japan, so I once tried to create a creation from scratch. I grew up and liked the statue very much. When I traveled to Europe, I took a lot of statues. Not only the art gallery, but also a lot of scattered streets. .
Ozaki feels that the experience of creating with his own hands is very helpful for 3D work and can enhance the imagination of space. .
When it comes to the influence of some works, Ozaki said that there was a wave of horror movies from 1970 to 1980, which was greatly affected by this, and most of them liked the work directed by Dalio Ajido. The picture is beautiful, imitating the first person subjective lens, and unlike Hollywood, it has a unique European flavor. It may have something to do with the style mentioned above. There is no CG in that era, so the horror elements of many horror movies are made up of makeup or by hand model, which is limited to the technology at the time. Although there are flaws, many places can see The production staff made a lot of effort. .
And Ozaki used some techniques learned from Dalio Aquito in the performance. Although Ozaki is a 3D origin, but does not often use 3D to compose a picture, but like Dalio Aki. There are more compositions like the human eye that have a sense of presence. In addition, it is more like to insert a seamless switch than the switch mode that gradually fades out. .
Ozaki hopes to achieve the same achievement as the director of Leo Aquido in animation. The other is the work that makes people feel the unique image aesthetics. Although it is completely different from the style of Dalio Aquito’s director, but can achieve unique image aesthetics, there are two encounters in Ozaki’s work experience, namely Lin Tailang (りんたろう, real name: Lin Zhongxing, masterpiece: animated film “ Metropolis” and Kawasaki Sasaki (representative: animated film “Beast Guardian”, because of working at MADHOUSE, I have the opportunity to work with both, although there is nothing in common with these two people, but Ozaki Still very respectful of these two. .
In the “Mars Heterogeneity” (2014), the deputy supervisor assisted Miyazaki Boss to supervise, because there was a cooperation experience in “The End of the Soul” (2003), when Ozaki was responsible for photography supervision, the two were very good, like The works are similar, so there are also successive collaborations. Ozaki has also learned a lot from Miyazaki Boss. For example, the work that would require “David Lynch’s feelings” is probably a game of Miyazaki. .
Personal performance style
Ozaki’s image orientation is not inclined to be on either side, and can be balanced to the role, music, art, etc., but there are not many works that can be considered now. Ozaki also said that not all paintings should take into account all aspects, and there are also works that show roles. .
When it comes to performance characteristics, Ozaki feels that his performance features are boldly added to the symbolic lens in the realistic style (イメージショット, which is not related to the plot, but symbolizes the theme or character). Such lenses are often not made in realism, abstractly expressing feelings and emotions. Most of these lenses may not be like commercial entertainment products, so they also pay attention. However, when it comes to here, Ozaki also expressed a desire to develop in the direction of art. .
In the ninth episode of “Girls’ Final Travel”, there is a lot of symbolic shots, because one of the titles of this episode is “life”, but it does not show life itself to the audience, but shows a lot Things other than life “water flow”, “water drop”, “button vibration” and so on. It is not a show of living creatures, but something that shows no life but seems to have life in sports. It also implies that this episode is related to robots. This theme is very popular. .
The performance is also about the focal length of the lens, and the rhythm of the sound. Although it is often said that “lens segmentation needs to be based on the axis”, Ozaki can pay more attention to sound, so there may be cases where it does not follow the axis. Although it looks inconsistent from the picture, it is coherent from a sound perspective. Ozaki once wanted to start with the waveform of the sound, but if it fails, it may be a mess. .
The fifth episode of “Girls’ Final Travel” is very aware of the sound. One of the titles of this episode is “Rain Sound”, because the protagonist Qianhu and Yuli have not heard the music so they drop on the rain. These sounds on the bottles and jars create a misunderstanding of music. In this chapter, how to add sound to the production of the scorer mirror needs to be considered. It is necessary to pay attention to the dubbing and effect sound. It is also helpful to the sound supervisor and the staff responsible for sound effects. At this point, it is not actually starting from the fifth episode. The first episode begins with the sound of dripping. .
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The first episode begins with a dripping sound, followed by a dripping screen. .
“Girls’ End of the Road” character design has a high-gloss eye, but the original comics have no high-light eyes except for the big close-up, although the original fans may not be satisfied, but they can’t pass the eyes without the highlights. To do some of the commonly used acting in animation, the sacrifice is even bigger. .
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Original style. .
In addition, in the “Re: Life from a different world from scratch”, the seventeenth episode of Ozaki is responsible for part of the mirror. Here, Ozaki thanked the production team headed by the political supervision of Watanabe, because the animation was drawn by each original artist. So, every time I put the mirror out, I have no bottom, and I can realize the power of the production team. In this episode, the protagonist’s swaying lens uses a fisheye lens, because the focal length and angle of the lens are very important for the performance. When the psychological activity is described, the focal length is enlarged, and when it is objective, the telescope head is used instead. The specific situation is mixed. In addition, this lens here is absolutely impossible to do in real shooting. .
Although I have a picture that I like to make as a performer, but for the original adaptation, Ozaki still feels that the original fan is the first. If you want to use comics, you still need to refer to the comics, which will remind the viewers who have seen it. original. In addition, if you follow all your preferences, then you will become your own work, I am afraid it will not be acceptable to the audience. The “Girls’ Final Travel” is similar to Ozaki’s own style. Although it is a comic book, the balance between the vision and the close-up is very good. It also emphasizes the depth of the space and makes it easier to understand the life and world view of the character in space. .
In the script above, Ozaki did not have the idea of moving the outline of the play, and the lack of performance would find a way to make up for it. In “Girls’ Final Travel”, when there are some mirrors, there are some elements that are not in the script. It is basically a small detail around the character, such as turning around and talking, or talking and turning, which character speaks first, etc.. The main difference is that images and scripts are basically different.
The character design of “Girls’ Endless Travel” has been co-operated in the “Small Girl”, and the two film production company WHITE FOX’s Yoshikawa Yuki producer introduced it quickly. It is. It is possible that in addition to Toda, other people can’t do well in the design of the character of “Girls’ Final Travel”, and because of Toda’s work can do this. .
“In order to be responsible for the end, I have done it.”
Another look at Ozaki’s resume can be found that he is also responsible for a series of splits and performances. Ozaki feels that there are more and more cases in which the industry’s mirrors and performances are handled by different people, but he tries to avoid This form does not want to be a mirror of “do it and run.” Even if “I can actually draw a Hollywood film-level mirror”, what can be done because of the budget, schedule, and staff level constraints, the ideal split mirror is not the pursuit of good results, but considering the reality can be achieved Which step. Therefore, Ozaki hopes that he can be responsible for the end, as far as possible to separate the mirror and the show. .
Then I mentioned that Ozaki once worked as a masterpiece, 3DCG, art setting, etc. Although these types of work contain many elements, the first thing is to like “painting” itself, and then the complex lens that will be mixed because of painting and 3D. Sometimes, it’s just that Ozaki has taken it all by himself, and there is a little something left in the setting, but it’s a shot anyway, and the budget is tight. In the end, it’s going to be “anyway, I’ll paint it myself. “Case. .
In addition to these reasons, it is one of the reasons to maintain a variety of work. Although supervision has been done, supervision is not a planner or a craftsman. It is still necessary to master the various techniques actually produced and understand the hard work of the staff. After all, animation is a hand-painted culture. If you don’t practice it, the level of painting may be unfamiliar. .
In addition to the work that has already been touched, Ozaki is also interested in sound supervision, but as a supervisor, I don’t want to trouble the surrounding staff. If I want to do it, I hope that a skilled staff can help. .
From 3D animation to hand-drawn animation performances.
According to the introduction, Ozaki first made photography. At that time, the channel for performing the performance was raised by setting the level of production or painting itself to a certain extent, and there was no practice of performing 3D and photography. I have a voice that I want to do a show, but I have been ignored for the first time. In MADHOUSE, I participated in the 3D and photography work of Suzutaro and Kawasaki Shinji, and each time I had the opportunity to express myself. .
Later A-1 Pictures was established, and Ozaki was invited as an initial employee. At that time, I was also considering the development of 3D animation, because if 3D animation is developed in the future, then I can perform 3D animation. At that time, A-1 also wanted to make a 3D pv through the strength of the community. Ozaki also took the initiative to take charge of the supervision, which is “NECRO DRAGON”. With “NECRO DRAGON” as the boundary, Ozaki began to slowly contact the performance work. “NECRO DRAGON” is an early three-shake animation, with the experience of participating in the 3D animation “Apple’s nuclear war”, but unfortunately only in the United States Anime Expo in 2007 and Japan Expo in Japan in 2008, after the snow, and so far I didn’t start the production of this theatrical version, because it was originally a film that featured the European and American markets, but after I got to Europe and the United States, I found that Europeans and Americans seemed to be less interested. There are two versions of PV, 90 seconds each, and Ozaki is basically responsible for all the work except music, including supervision, character design, 3DCG, art, photography, and editing. .
Hobbies, I like motorcycles very much at Sapporo University in Hokkaido, and I brought them to Tokyo, but I sold them seven or eight years ago, and I traveled by myself. I borrowed the “Girls’ Final Travel” and remembered the things at the time – wearing a motorcycle helmet when driving out to rain, forgetting to bring a helmet with a plastic film cover, and supporting the rain in the parking lot, it is very enjoyable. Thing. I have also traveled once a year recently, taking a week or two of leave and saying that I will leave. When I was young, I would have to drive out the motorcycle once every two months. However, recently, because of the busy supervision work, I really can’t find time to travel, and the pressure is great.
Ozaki’s ability to supervise is first of all to guide the ability of the production staff, to direct direction from the perspective of the director, to motivate their initiative, and to have their own strength. The other is the observation of the daily life, not the need for animation, the sensitivity in daily life and the sensitivity in communication are necessary. As the age increases, it may be step by step to individualism, which is what older generations of performers need to pay attention to. .
Referring to the future goals, Ozaki still wants to be an original work that is planned by herself and is responsible for script supervision. I used to want to do full 3D, but it doesn’t matter now. Since I have painted original paintings and mirrors, I found that the charm of hand-drawn two-dimensional animations is not tolerated. Even if I do more and more 3D animations later, I still hope that in some The aspect retains the charm of painting. .
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