Author: LIAR/Anitama Cover Source: Space Battleship Yamato 2202 Warriors of Love
"Space Battleship Yamato 2202 Warriors of Love" Chapter 6 "Rebirth" has been released in the theater on November 2, battleship battle as the highlight of "Space Battleship Yamato 2202", the modeling of the battleship is not to be underestimated, responsible for CG production is involved in the production of the PS4 game "PERSONA5", the theatrical version of the animation "Library War Wings of revolution", "Evangelion New Theater Edition: Q", "LoveLive!" Sunshine!! Supreme Corporation. On the occasion of the release of the sixth chapter, GIGAZINE interviewed tomotomo Ueho, the project leader and CG animator of The Supreme, Taiichi Kimura, director and CG director, and Yasuhiro Honma, CG designer Yasuhiro Honma. Find out from the answers of the 3 digits.
From the period of preparation to the release of the sixth chapter, more than 3 years have passed for the people of The Realization, and more than 3 years have passed, and if the gap between the white colt and the gap, there is no sense of reality at all. Taiichi Kimura, who is a CG director, said that 3D technology has also changed from the initial exploration period to the current commonplace, and when they watch the growing battle scenes on the big screen, they are also touched and feel valuable to be able to receive this job.
Kamiho received the project 2 and a half years ago, and he also had no real feeling about the 2 and a half years with the participation of CG animators, and for such a huge amount of information, Kamiho was also very fascinated, watching the animation while doing animation, and 2 and a half years passed in the blink of an eye. Kamiho also said that he has recently become accustomed to this way of working, as Kimura just said, and has become more involved in his work.
CG designer Yasuhiro Honma also agreed. Not only is the concentration of the plot high, but the density of the picture is also not inferior to the high plot, and the magnificent scenes are gradually increasing, especially from the beginning of the fifth chapter, the battle begins to intensify, and the story moves to the climax. Honma said he would do his best not to let CG drag him back.
The focus of SHANGHAI's work is mainly on project management. The main responsibility is to confirm the management of the schedule and progress of each person, as well as the data handover and business docking work with the customer XEBEC, which is equivalent to production. Kamiho is also a CG animator, and when he is in a hurry, he will personally help himself, helping to make about 1 to 2 CUT. The workload is more than expected, and by the seventh chapter, it is equivalent to the weight of 26 episodes in the second quarter, which is larger than the average TV animation, and it is not easy to manage.
Kimura said that in the first episode, he was actually just a small CG animator, but now he is more responsible for confirming the data, and all the processes and quality of CG must be strictly controlled. And their actual homework is not very much, mainly in the inspection. After all, each shot is responsible for a different person, so it is relatively scattered and the quality is relatively inconsistent, so it is necessary to summarize and summarize these fragments, comprehensively inspect, and then exchange opinions with Yubara Nobuyoshi supervisor and deputy supervisor Kobayashi Makoto, and then carry out repairs and other work until the supervision is satisfied.
As a designer, Honma is responsible for a lot of practical work. The main role is the data production of special effects such as beams. Different lenses, different beams of light are used, and the special effects are completely different, so in order to allow anyone to operate and get used to this data, Honma must design the data. Not only that, but some complicated CUTs, Honma also has to participate in the production, and even several CUTs in a whole sentence are corrected together.
The CG of "2199" was produced by SUNRISE D.I.D. Studio, using software and data that are different from Supreme, and it is impossible to directly use the data of the previous game. Therefore, it is necessary to convert the data available to the Software in The Simplicil, which takes about 3 to 4 months to convert 30 to 40 models.
However, Kamiho said that although it seems complicated, because it is equivalent to inheriting the assets of "2199", it saves a lot of time than starting from scratch. After the data conversion, as long as the shape of the Hull of the Yamato and other ships is adjusted according to the requirements of the supervision, the model is corrected, and then the model is made of the Andromeda-class battleship and the Karakmur-class combat ship that have appeared since the first episode. These preparations began about three years ago, at the beginning of 2016, followed by preparations for each CUT, until the completion of the storyboard in the summer of the same year, and the official animation work began. At the same time, it also began to prepare special effect beams, wave cannons and other data. The special effects are actually more complicated than battleships, because the software is used to build on the function, can not simply import the past data, so the completed image of "2199" is used as a reference, and the data is copied with the eyes, that is, redone. That's honma's job. The parts that cannot be used after the modeling transformation will be scattered by Honma, and then restored to similar modeling through LightWave, and sometimes polished through their own understanding.
In fact, in the theatrical version of "Space Battleship Yamato 2199 Star Cruiser Ark", Sublimation participated in this work, but at that time, they did not expect to take over in "2202". Kimura said that in the past, when he was working on "Ghost in the Shell STAND ALONE COMPLEX", Mr. Eiji Inomoto, the representative of Orange, who has now established himself as a portal, also used 3ds Max to do the animation of Tachikma, but this was separate from the main part. Due to the difference in the use of software like them, taking over a previous game is a very rare example in the industry.
Kamiho added that in the case of complete inheritance of data from such a project, CG animation is almost difficult to do while the series is still unfolding. If it is only a partial scene, even different software is completely fine. But it is indeed a bit difficult to inherit the whole work.
Although the software itself has its own conversion function, it does not mean that the data can be perfectly matched. Kamiho continued to add that the details such as the Yamato are actually fine, because they cannot be automatically changed, so they are all redesigned. In addition, the battleships of Gatlantis are also added with a lot of intricate details. In order to be able to show these details line by line, the parameters are also adjusted little by little.
Of course, because it is a sequel, in addition to inheriting the data of the previous game, there are many new battleships and airframes that need to be remade, which are naturally modeled based on the design draft submitted by the mechanical design. For example, compared with the Yamato of 2199, the galaxy has a wider belly, the shape of the engine spout has changed, and the shape of the bow has changed more obviously. This is all a modification of the original machine. Andromeda, capital ships, cruisers and frigates on the Earth side, large warships on the Gatlantis side, the super-large air mother Balsai ship, deslas on the seated ship Noy deUsra, and the guided-missile ship Grande are all completely newly designed.
Shangbao provides a comparative explanatory map of the old and new, in which the red wheel line represents the Yamato of "2199", and the black wheel line is the Yamato of "2202".
It can be clearly seen on the front that there is some "blessing" in the belly of the ship.
In the side comparison, the engine spouts in the stern are also larger than in "2199".
Information on the commander tower, rear bridge, rocket anchor. Kamiho said that don't look at the rocket anchor is the simplest, the most complex of which is actually the rocket anchor...
The Great Battleship of Gatlantis
XEBEC sends setting information, based on which it is produced and then forwarded to XEBEC for inspection by supervisors and designers. Sometimes, XEBEC will propose instructions such as adding lines, slightly modifying the description, or adjusting the angle. It usually takes 4 to 5 months to complete. Honma added that the general modeling takes 4 months, followed by textures and some fine-tuning, for a total of 5 months. Kimura said that in particular, the addition of lines to the big battleships is terrible.
Shangbao said that the main reason is that everyone has enough time, so it will be asked by the supervision and designers to add more lines and improve the quality, which is more complicated than the design in the early stage of the preparation period. The lines in 3D are basically the same as those of the big battleships in the Mecha Collection, and the details of the engine part are even richer. Almost every inspection is indicated with additional details. Mainly because after changing to 3D perspective, the angle that can be observed is more than the three-sided diagram, so there will be some falling details that need to be supplemented, of course, there are indications to reduce the line.
Design of the turret. It is basically based on the rotary turret of the Gatlantis system.
The lines of the bridge
Details of the rear of the hull
These are also the lines that followed, and these are the parts that could not be drawn in the original three-sided drawing.
Close-up of details
Shangbao said that some modeling is basically divided into two versions of close-up and long-range as designed, and there are three kinds of situations. For example, the large number of dense "Legion Cannons" (German: Regionale Kanone) appeared in the third chapter needed to be replaced by a more "low-quality" design. If you use high-precision design, it will definitely not work on this scene.
At the time of "2199", it was still Yamato vs. Gamilas, and by "2202" it had become a mixed force of Earth & Garmilas vs Gatlantis. Therefore, hundreds of warships will often appear in one shot, and if the software cannot hold up, it will suffer.
Beginning with chapter five, the number of battleships began to increase again. Therefore, whether the software can survive this is quite critical.
In addition, in addition to CG modeling, all ships, carrier-based aircraft and other machinery are also hand-drawn. There are also some "cameo" battleships that do not provide 3D data, such as another Andromeda ship that only appears in the sixth chapter with 1CUT, and the Earth Fleet's attack footage also has some past battleships mixed in, which you can pay special attention to when watching. As for the model, Kamiho said that because the hand-drawn data was not given to them, it could not be grasped. However, Kimura adds that the time fault in episode 21 should be clearer, and these "unseen guys" can be distinguished at a glance.
Kimura said that when he first got the information, he thought it should be similar to "2199", and the explosion scene at close range was hand-drawn, but this time the explosion scene was almost 3D, and the scale was larger than he imagined. Kamiho recalls that when he was doing the first episode, he was originally going to draw it by hand at close range, but the supervisor asked to change it to 3D when inspecting. Kimura said that when the storyboard was first discussed, it was considered that 3D would be used. However, at that time, it was thought that 3D should be used as a reference for painting, or 3D modeling should be used as a painting aid, and I did not expect to use 3D directly.
However, Honma said it was completely fine. At the beginning, the explosion scene of 1CUT was done first, and it was clear that "I can only do this, if not, I can only paint", but Habara supervisor is quite satisfied, probably because of this 1CUT relationship, all the 3D explosion shots are used.
Kimura, who is the CG supervisor, initially took over this burden with the first goal of not being inferior to the previous one. After getting used to it, the requirements given by the supervisor became higher and higher, "next time it was done", "more intense", "the explosion can be like this here", but Kimura laughed and said that this is not a chore for him.
After all, After all, After seeing such a quality, Habara will definitely think that there is still room for improvement, so his request, Sublimation, will also try to meet him and make the special effects better. For example, the scene where the prologue and the Yamato pass by, it is the Request of The Supreme to lengthen the length. First of all, the requirement of "not losing to 2199" is already very high for them, and when they first said it, they deeply felt that it was not a simple thing, but after that it became "this is feasible→ no problem→ can be a little more atmospheric→ do a good job", and then the data has become more, in addition to spending time, there is nothing particularly distressing.
Going back in time to compare the initial explosion with now rising more than one level. Kamiho said that it has also begun to be shown on TELEVISION now, and if you have seen the fifth chapter, you will probably think, "Was the first episode originally like this?" Shangbao said with grievance, even this is what we have worked.
In the second half of the explosion scene, it is basically the preference of Habara Supervisor and Deputy Supervisor Kobayashi, "It is good to have a little light, and the firepower is a little stronger" It seems that the initial ordinary explosion can no longer meet them. Kimura said that even he was influenced by them and could no longer do what he felt at the beginning, and would only get better and better. Honma, who designed the explosion effect, said that he was just giving you some explosion data, and then it was all handed over to you to play, and everyone had different personalities and was very free. Kamiho added that not only the explosion scene, but also the shape of the hull and the way of being shot, the direction of fire and smoke are different, these are also completely entrusted to their respective responsibilities, self-polishing, because everyone is very good, in this regard, they will also compare with each other, so it is almost impossible to find the same explosion. However, the completed test film still has to pass through Kimura's pass first, if it is a strong explosion, if the heat is not felt from the light, it will be returned by Kimura, and finally confirmed by Habara Supervisor, only the image passed from Habara Supervisor's hand is the final picture that everyone sees.
Finally, regarding the commercialization of models and superalloys, Sakata said that Supreme will provide Bandai with 3D data, and it is not known whether they will be used 100% after that. In addition to the 3D data, the logos of each battleship, the name of the ship, and the texture data used in this article will also be provided for the reference production of stickers and details. Speaking of recently, Shangbao said that after looking at the DWG262 Zvarg (Kimann special machine) on the PV, he found several places that were different from the 3D data. In addition, the Yamato's hull curves are very numerous, and the feeling of "blessing" is also better than 3D data. Therefore, Shangbao said that you can't blindly stick to 3D data, and eventually implement it into the animation or the product, there will be changes, or increases or decreases, as for how the finished product is, please confirm it in the animation with your own eyes.
<h5>[References].</h5>
GIGAZINE: We've heard about how subremation, which produces CG for "Space Battleship Yamato 2202: Warriors of Love," created a great battleship.
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