Tokyo Gentleman Story

Ando Zhenyu felt that he was numb.

The production of the sword maiden has already numbed the entire production team.

how to say

This work can be regarded as the work of Musashino Animation.

Because Musashino Animation used a lot of techniques in this work.

Like motion capture.

Well, yes, inside the Swordsman Miko, motion capture technology is used.

The so-called "motion capture" concept is actually very broad, and it is not a 3D motion capture that requires a large amount of equipment to do it. In fact, as long as it is a recording of the movement of an object, it can be called motion capture.

It's just that this technology is called differently in different fields.

For example, motion tracking, motion tracking, and even somatosensory games, in a sense, belong to motion capture technology, just like the kinect that the giant will develop on another world line.

Oh, in addition, in the more distant future, many mobile phones are equipped with depth cameras and tof ideas, and then let mobile phones have gesture recognition in the air. These are also in the category of motion capture.

If this is the case, Musashino will naturally use this technique too.

Moreover, the Swordsman Miko used two sets of motion capture at the beginning.

The first set of techniques is reposting.

Because it is an experimental animation, the Swordsman Miko decided to use many new technologies from the beginning.

The technique of retracing has been rejected since its creation, but it is undeniable that retracing can make very smooth paintings.

But unfortunately, the directly redrawn action is not useful.

If it is dancing or something, it is still possible.

But used to express kendo and swordsmanship, it is a bit short.

One of the characteristics of the sword maiden is that it is close to real fighting, but after using the tracing technique, they are surprised to find that these actions are quite subtle.

One characteristic of the reticle technology is that the picture is smooth, or even too smooth.

Although high frame rate and high painting will make the picture very smooth, sometimes for animation, too high painting will make the picture lose its courage, so in some places, it is necessary to draw frames.

However, the fight itself after redrawing is too smooth, which makes the fight lacking courage, and if the frame is drawn, the picture looks weird.

Of course, it's not just a matter of movement.

Among the Knife Maidens, many lenses are rotated, wide-angled or moved.

This kind of lens requires a high level of coordination between the scene and the character, but the simple retouching often creates a sense of separation between the character and the background, which is unclear.

In general animation, the so-called fighting is also divided into several categories.

The cheapest of these is to give only one character, and then let this character swing the weapon facing the camera.

This kind of shot is very common in animation works. Many animation works fight. Once you see this shot, you can basically determine one thing: animation is lazy here.

This kind of painting of a character wielding a weapon is the easiest. It is so simple that it doesn’t even need a background.

The more conscientious thing is that the camera shows two characters fighting each other.

In this scene, there are two characters on the screen, and the entire confrontation action is more conscientious than the previous single-player shooting, but again, the difficulty of painting is much higher.

But with this kind of lens, the background is also fixed, so the difficulty is not very high.

After that, it was the knives that made the shrine maidens turn around.

This kind of fight, because the lens is constantly moving, the scene of the picture needs to move with it, and the actions of the characters in the picture need to be deformed all the time, which can be said to be the most dazzling skill.

At the end of the sword maiden on another world line, the battle between Kanami Eto and her old mother belongs to this type, but this kind of battle is too expensive, so there is basically only a short period, and there are no five groups (production company ) No money, can't afford to burn!

Even a great **** like Ando Masahiro, after watching it for a long time at first, felt that this was not enough.

To be precise, it is Musashino’s technology that has not been fully understood. Although the reposting is a technology that appeared in the 1920s, it really needs to be polished.

Although Musashino is a benchmark in the industry, they are not completely able to handle the application of new technologies like this.

But if purely hand-painted, this part of the plot is not particularly easy to show that in theory, purely hand-painted special effects can be achieved, but animators may not have that skill.

What's even more frightening is that if it is purely hand-painted, the entire animation cycle may be postponed to next year, and it may be a kind of "0.5 words" to be played in two or three episodes.

Moreover, this is definitely a super money-burning animation. Five sets of paintings can't be burned, and the paintings of Dragon's Son can't burn the animation crow produced by Dragon's Son on another world line, so the company is directly burned.

It’s true that the sword maiden burns money, but the money is not burned like that. If Musashino really dares to burn, then Kenji Horikawa and Maoshitoko may have one or two people, and there is a high probability that other production companies will be dismissed. Don't dare to let them burn money for fun.

Um, except for a technique that allows the artist to paint with ink and water. If you convert that painting, it will definitely cost you money than all the animations of the mud bomb. Don’t say anything, the master’s few original paintings will have a high probability. All the belongings of an animation production company.

Therefore, Morinka said here to do a concept animation. This is a good reason, but this action is really not so easy to get.

However, at this moment, another person suddenly slapped his forehead: Let's ask the 3D department for help!

The 3d department was later merged with a company and engaged in special motion capture and special effects research.

You can also find them.

The motion capture here is naturally the most common motion capture for people.

That is, wearing black clothes, and then covered with white spots all over the body.

This technology is an optical capture method. After the motion capture is performed by the camera, the computer can obtain a complete set of motion data.

The accuracy of this data depends on the specific technology.

The general principle is that these small white dots correspond to the joint points of the bound bones of the 3d character. When people move, the 3d model can also make corresponding actions, and the human actions are burned onto the 3d. Through these data, let The 3d model restores the action.

Not to mention, after first capturing the character's motion on the 3d screen, then by adjusting the model's motion and drawing frames, the resulting screen is really very powerful, which is as high as the most primitive retouching. I don't know where it went.

Then, the production team of the Swordsman Miko suddenly had a brainstorm: let's 3d the protagonist!

well.

Everyone tried it.

Then there was no more.

Because of the rendering of the 3D model, the characters produced have an obvious "3d" feeling. Such a character is very different from the ordinary 2d.

But this animation is not the so-called 3d animation. Mixing 3d and 2d in the story will also make the action of the whole work strange.

This

No way, Ando Masahiro came up with an idea, which is to use these movements as a reference for hand-painted.

This technique is called 3dguide, or 3dyout.

Not to mention, Musashino really has this technology.

In the long shot of Magical Girl Lyrical Nanoha, the whole scene uses this technique to paint and show off skills.

The effect is called a good one.

But when used in the sword maiden, this technique is actually quite torturous, but without this technique, the sword maiden is really going to skip the ticket until next year.

To put it simply, this is a technique to improve painting efficiency.

In the animation production process, the person who draws the background and the person who draws the characters cannot be the same person. The former is the background and art, and the latter is the original painting in the usual sense.

Since it is not the same person, there will definitely be deviations in thinking.

For example, when the camera is looking down, both the characters and the background must be drawn at the same angle.

Many of the so-called painting collapses are actually caused by the inconsistency of the original painting and the background due to the rush to the construction period, resulting in the inconsistent photography angle and scene of the character.

In Nanoha, through this technology, a 3D model reference was first constructed to solve this problem.

Of course, there is even more powerful, that is, the super one person is responsible for the original painting, and one person can make a set of smooth fights by covering the background and characters.

The reason why Ando's good friend Toyotomi Nakamura is called a "national treasure" is that one person can handle this.

Masahiro Ando can also do it, but he has to consider efficiency. As an annual show of skill, the sword maiden also needs to consider efficiency.

After modeling, 3D capture, camera adjustment, frame drawing, etc., the screen was transcribed to a 2d painting plane again, and the animation of the knife maiden was finally presented.

This kind of operation belongs to the production that goes around a big circle, but in this era, it is also impossible.

And more importantly, this kind of production is very challenging for supervision, and many times the lens selection needs to be considered.

To put it simply, some lenses need to consider the tension of the picture when making them.

For example, in one of the shots, 3D modeling expanded Kenami Eto's Tachi to three times the size.

This picture is only useful in this lens, and its purpose is to make the knife in this lens reflect the boldness of the picture.

Yes, many 3D animations are being produced, and there are actually two models for the same character.

In a more extreme case, in order for a character to show different actions, it even needs a lens to build a model, otherwise the picture will collapse because the model will become ugly at different angles, so this needs to be taken into consideration.

After making these 3Ds, these contents need to be redrawn in 2D, which is really troublesome.

But if you don't do this, it's even more troublesome.

It’s 2002, and the sword maiden has been produced since 2001. The production resources of this era cannot be compared with that of more than ten years later. In many cases, this kind of native method can only be used.

"Ando, ​​the first eight words of Sword Art Online have come out, do you want to take a look?"

While Ando was thinking about the camera when Kanami Eto was moving quickly, he suddenly heard a voice.

It is Kenji Horikawa.

"Ah, it's so fast over there." Ando was surprised when he heard it.

Because the sword maiden made it, it was obviously much slower than the opposite Sword Art Online. The former can be said to be slow, but the speed of the latter is indeed abnormally fast.

"Yeah, that guy Monte is too good, and there are more literary dramas over there, so he does it very quickly."

Hearing the name "Monte", Ando was also quite moved: "This person is really a genius."

"Yeah, hey, I said, what he is good at is the kind of surreal fighting, don't even think about pulling people over!"

Since Mashiro Ando joined, he has encouraged Kenji Horikawa to bring a lot of technical experts over~www.readwn.com~ and other production teams have opinions.

So after hearing what Ando said, Kenji Horikawa over there quickly spoke.

"It can't be said to be surreal. I think his own actions are quite realistic. Many of the actions themselves, I think there is no sense of contradiction when applied to the real works. But his style and our extremely realistic sword Compared with the witch, it is really different."

Kenji Horikawa was still a little nervous when he heard the first half of the sentence by Masahiro Ando, ​​but he finally breathed a sigh of relief when he heard the second half.

"The kid Monte is on the Black Rock shooter's side. There are too many people who **** him. If we want, we really can't get it." Ando said, "But I think the background of Sword Art Online is quite good. ."

"Ah, I like the short film he made himself."

The background of Sword Art Online was made by Xin Haicheng. And Masuhiro Ando knew each other because Makoto Shinkai made a short animation of her and her cat. This literary work made Mashiro Ando feel that this young man is quite good. In fact, Makoto Xin Haicheng did have a background in the background of the sword maiden as a producer. He did not appear in person because he is currently shooting an animated film.

"Go and see Sword Art Online first."

Masahiro Ando had a headache.

Now that I was half tired, it was really uncomfortable to keep on doing this.

It's better to check the animation over there first.

Maybe there will be new inspiration. Even if there is no inspiration, to appreciate the movements designed by Montetum, the pleasing battle itself is also a kind of relaxation.

Toyotomi Nakamura is really good, because they have hard power, but now the Internet is a little bit brainless and it is simply advanced black

Two-in-one meow meow~