After many hardships, I finally arrived at the legendary planet Teresat’s Yamato, waiting for them not only the goddess Teresa, but also the fate of the past, Desla. The Yamato battled the Desla Fleet, which assembled the old system of Camillas. The new Sabella was awakened in Gatlantis, and the official invasion of the Earth finally began. Gatlantis, which attempts to annihilate all civilizations and lives, is in fierce conflict with the flocking gun fleet centered on the flagship Andromeda. What is the true attitude of an urban empire that is sleeping in the depths of a huge white comet? The story of the people around “Dahe” and “Love” is about to usher in a new situation. .
Chapter 4 “Tian Ming Pian” 4 months after the release of the Destiny article, “The Warrior Battleship Yamato 2202 Love Warriors” Chapter 5 “Purgatory” was released in the Japanese theater on May 25th. On the occasion of the release of the fifth chapter, Akihabara’s general researcher also interviewed Komatsu, the animation producer of XEBEC, an animation company that is working overtime. Unlike the main creators, the animated filmmaker can tell the story of “2202” behind the stage. .
Komatsu is the on-site producer of XEBEC, who is in charge of the entire production site, mainly to ensure that designers, painters and other talents are assigned to them at specific points in time, and negotiate with the production committee and manufacturers. Work period and other work. Regarding the works, the helm is of course the supervision of Yuyuan Xinyi, the story is handled by Fukui Harumi, and the mechanical and fine art is centered on the deputy supervisor Xiao Lincheng. In the animation industry all the year round, Yuhara will listen to the opinions of many parties, and then choose from them, and distinguish them one after another. In order to make the work of Yuhara’s supervision smoother, the responsible personnel and time adjustment is Komatsu’s work. .
Komatsu did not participate in the “2202” project, but participated in the middle. After all, the “Dahe” was a gold signboard, and Komatsu was deeply disturbed when he took the job. However, the actual investment in the work is more interesting than imagined! Taking over such a big job, you can directly hear the feedback from the audience. Komatsu also saw a lot of comments on the Internet. The response was very enthusiastic and the content was very dense. I can see that everyone’s love for this work, seeing everyone’s discussion, and letting Komatsu feel more fully taking over the job. Value. Of course, there are places where he feels pressure, but this is also the source of work. .
This year is Komatsu entering the 7th year of XEBEC. When he first entered the industry, Komatsu chose not to paint or perform, but to make it, and “2202” was his first to participate as an animator. S work. Compared with those works in the past, the production of “2202” is quite complicated, and it is also the first time he has been exposed to so many animations used by 3DCG. When preparing 3D material, you must immediately start an order for the art background… These are the order in which “2202” is different from other works. From the beginning to the correct grasp of these sequences, Komatsu spent a lot of effort. .
From the first chapter to the fifth chapter, Komatsu believes that each chapter is very difficult. Whether it is the content of the work or the communication and cooperation between the production teams, each stage is constantly groping, and it is difficult to continue. In the first and second chapters, even if it was a bit reckless and desperate, let him be “on the right track”. As a result, in the third chapter, Komatsu believed that he did not function properly, resulting in a very tight production schedule. Instead, it was finally stabilized in the fourth chapter. .
“2202” The scenes using 3DCG are very many. The initial modeling took a lot of time. Over time, it became a habit. The previous fatigue was made for the subsequent production, and the 3D model and explosion were prepared. And other special effects, in the later period, are constantly used in animation, so the construction period has also stabilized, and the use of this aspect also makes Komatsu feel the feeling of “eruption”, these previous efforts are worthwhile. .
Each chapter is undergoing different attempts. The second chapter is the scene of the Yamato launch, painting and 3D-made sprays and droplets. The fourth chapter of the main gun launching lens is also trying to use the combination of painting and 3D, in order to prevent the audience from feeling between the two. Difference, Komatsu is also very good at this.
When Komatsu was a primary school student, he first contacted the “Space Battleship Yamato” and caught up with the replay on the NHK-BS. It is a very old work, but it is incredibly natural. His father also explained to him on the side. Komatsu’s father was also a “big brother”, and the theatrical version of “The Goodbye Space Warship Yamato” was released to the cinema in the first time and was given a high rating. At the moment when the “2202” animation producer was on the scene, the first thing was to show off to his father. “The next work I want to do is the remake of “Goodbye Space Warship Yamato”.” Komatsu’s past work, Even if he told his father, it was just a reaction to “I have never heard of it.” This time Komatsu’s father was also very interested in his job. This is what makes him happy. .
Komatsu said that the place that best reflects the difficulty of the Yamato is the mirror. Obviously, it is a mirror imaged by a script, but it does not reflect the essence of the script. After all, there are too many settings behind it. The person responsible for the mirror must read a lot of settings. After the completion of the split mirror, it is necessary to delete and modify according to the specified length. These are not the original intention of Komatsu. .
In addition, because it is a “fleet” work, the size and the huge sense of the battleship itself need to pay special attention. And this is the work to be displayed on the big screen and big screen, which makes it even more difficult. Komatsu often feels uneasy about this. If it is placed on the screen in the same size as 3D modeling, it is often not very sensible, so the model is sometimes magnified several times depending on the scene. Or, by changing the speed of the lens, because the speed is too fast, the ship looks “weightless” and looks light. Yuhara’s supervision and Xiaolin’s deputy supervision are particularly sensitive to this aspect, and the requirements for 3D’s role are not soft. It is also common to request rework for 3D performance. .
In addition to 3D, it is equally difficult to draw characters. As the character design, Yuki Shine has a very slim line for the character, which is a test of the strength of the original artist. Not everyone can paint the feeling of the teacher. It is the painting supervisors who also have their own preferences. Some are good at drawing this role, and it is not a big deal to change a character. Komatsu often listened to them, especially the ancient Jin, Sen Xue and Desla, which was a headache for them. .
Unlike the general TV series, “2202” takes the same form as the previous “2199” and is divided into seven chapters in the form of the theater’s first release, so the schedule is not the same. Although the time is longer than the TV series, it is still not to be taken lightly. In the TV series, it is not possible to put it on the “Dahe”. The number of repairs is also higher than that of the TV series. Therefore, the seemingly loose production schedule is actually pressing the dead line. .
Try to let everyone see the details of the machine, this is also the fun of this game. These shot should let the audience see what, how to show the mechanical part of the lens, Yuyuan supervision and Xiaolin deputy supervision will also be very concerned about this. The vast majority of the mechanical parts of “2202” were built with 3D modeling and added details on it. However, this is also very difficult. Xiaolin Deputy Supervisor will personally take the details of the painting. .
For example, in the second chapter, the scene of the Yamato ship in the submarine dock was at the time when the image was basically completed. However, Yuhara’s supervisor was dissatisfied with the details, so the work of adding details was temporarily added. Everyone has no regrets about the good intentions of supervision. As long as they can complete the images that everyone can be satisfied with, they will express their gratitude. At the same time, Komatsu is also very grateful to the scene for having such excellent production staff, and how to make additional orders can be completed as required. In order to create a superior working environment for the animators who help, this is Komatsu’s work. .
Compared with Yuyuan’s Xinyi Supervisor, Xiaolin Cheng’s Deputy Supervisor, and script Fukui Harumi, Komatsu is completely the new generation’s combat power in this studio. Compared with their older generations, Komatsu believes that the Indo-Harada is enough to satisfy his motivation. Yuhara supervised them from the past series to the present, not only the audience, but also the people who participated in the production. It is very exciting to work around them, and naturally they are extremely trustworthy. At the same time, their enthusiasm for the work can also infect the entire production team, leading this excellent team to set sail.
In addition to the leader of Yuhara’s supervision and scripting, Fukui Harumi, the team’s contribution to “2202” is not small. From setting to mechanic to art, Komatsu will discuss with him. Not only that, but the settings that were not conceived during the scripting phase can be supplemented later. .
Painting Supervisor Maeda Mingshou is also an extremely important member of this team. In addition to the work of painting supervision, sometimes it is necessary to take over the work of master painting supervision according to the needs. For example, as mentioned above, when the painting supervisor encounters a character that is not good at it, Maeda will take the initiative to ask for help. In the 18th, Yuki Shine, who plays the role design, will also participate in the supervision of painting. Therefore, the painting after the fifth chapter is more worthy of attention. .
Another person who has to mention is the supervisor of Takagi Hiroki who died in February this year. Like Maeda, I also helped Komatsu in painting. “2202” can successfully reach the fourth chapter, thanks to the help of Takagi. Takagi left the studio. At that time, Komatsu felt very uneasy. In order not to leave regrets for the final participation of Takagi Hiroki, Komatsu said that he would do his best to work with the production team on the spot. The final chapter of 2202. .
From the first half of the fourth chapter to the fifth chapter, the story will be centered on Desla, this chapter will tell the unknown side of Desla, and in the latter half it will be an unprecedented fleet battle. The unstoppable fleet battle scene will surely make the audience stunned, and I look forward to the last two chapters. .
[References].
Akihabara General Research: . 「宇宙戦艦ヤマト2202愛の戦士たち」 第五章 煉獄（れんごく）篇、上映せまる！ 制作現場の中枢・小松紘起アニメーション・プロデューサーインタビュー