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西山茂. 师师千千岁的编工师, has worked in the industry for more than 30 years. REAL-T Chairman, as a compilation, participated in the production of “Slam Dunk”, “Girl Revolution”, “Girls through Time and Space”, “Blood Front”, “Future of the Future”, “Wen Hao Wild Dog” and other works. .
Xishan believes that editing is the root of the work, and the compilation not only changes the rhythm of the work, but also affects the work in all other aspects. Although the compilation works with the performance and supervision, in Xishan’s view, the compilation is the original audience, and the compilation must watch the animation from the perspective of the audience. If you find a point worth discussing and communicating after watching the animation for the first time, you need to communicate with the supervisor in time, and often need to propose your own revisions. .
When young, Xishan’s master, Qian Zangfeng, told Xishan that the editorial technician was the unsung hero who silently supported the work behind him. At that time, Xishan did not agree with the master’s statement. As he grew older, Xishan gradually understood that if the supervision of cooperation would produce the idea that “this guy is very powerful,” he would be happy as a practitioner. Therefore, in the eyes of Xishan, the self-realization of the compilation work is when there is a trust relationship with the supervision. It is the source of Xishan’s sense of accomplishment at work when he understands what he wants, responds to the expectations of supervision, and brings happiness to the supervisor. .
In Xishan’s view, the biggest difference between real shots and animations is the extent to which they can be corrected later. The real shot will be used for the clips. The clips after the shoot are like animations that can increase the duration, or like punches in the guessing game. .
Real shots can change the story, but the animation can’t. Animations have scripts and sub-mirrors, and the editors can only use this as a basis to think about how to make the audience empathize. For example, a scene is created from the subjective perspective of a character, but after adding music and lines, it gives the impression that it becomes a scene of another character’s perspective. At this time, the duration of the scene of another character is lengthened. There are also some lenses that have been paused for too long, but the viewers don’t understand what the character is thinking about. The compilation often inserts some recall shots. .
Not only is real shooting and animation different, 3D animation and 2D animation are different. Disney’s 3D animation can capture the ideas put forward by the editorial department in the process of script and mirror production. This is the difference between 3D and 2D. Xishan has also done a lot of editing work on 3D animations. Nowadays, 3D animation in Japan can’t be done like a pipeline. Through the whole industry to complete animation, there will still be some differences in cooperation. Because I don’t understand the idea of CG STAFF, Xishan can only do the work that I should do while giving hints within my ability. This kind of disagreement makes Xishan feel interesting. .
Now you can also make a split shot according to the split mirror, then use the split mirror to record the sound effect and dubbing of the animation, and then hand over the material of each card to the compilation hand after compilation, and then edit the shot. Modification of the connection. This is a closer way of making a real shot, but it takes a long preparation period. .
The current editing studio not only has to do its job, but some companies are also responsible for title production, color correction, compression of animation material and format changes. REAL-T, where Xishan is located, is such a company, since digitization After that, Xishan began an online compilation (editing the material after the photography was completed). .
On the 2006 TV animation “TOKYO TRIBE2” ED, the position of Xishan is the online compilation. At that time, it was the period when Japanese animation was transformed into digitalization. The compilation of the ネガ (using the film for editing, the detailed can be seen: 16mm映画のネガ編集) became the online compilation, and the compilation became The offline compilation (a simple compilation before the online compilation, the material confirmation before the official editing, and the confirmation of the material arrangement), in “Know it! In the animation of Moonlight Masked King (1999-20000), the name of the digital compilation is also called. .
Xishan thinks that the selling point of himself as a compilation is “craft”. The so-called “art” does not refer to the specific content of “cutting off a few frames is better”, but refers to the rhythm of finding the lens as naturally as breathing, and editing the editing method of the lens link that reflects the hero’s mood. Xishan also often reminds young people in the community to work close to the work and to work with respect for the work.
Next, I talked about some of the animations that Xishan actually participated in, first of all, the recently released “Music Girl”. In the end, Chun stood on the stage and talked intermittently. Xiben supervision hoped to increase the length of time when this part of the spring did not speak, so Xishan greatly lengthened the length of this part. There is also a seventh sentence. After the lyrics were sneaked away, the rest of the members were motionless, as if the time was still, and then the riots began. This is Jutian’s own idea. .
Chatting with the unique picture transition in “Ya Ren Sai has something to say”, when it is connected with a smooth, rhythmic lens, Xishan bluntly said that this is the talent of Andoliang’s supervision. The rhythm of animation is very good from the beginning, so Xishan only needs to consider from the plot and acting skills in his work. Xishan asserts that Andoya will become the leader in the industry in the near future. .
REAL-T’s chairman is Xishan, referring to REAL-T’s T, REAL-T’s official website explaining the technology for technology, the work of the thing, the root of the trunk, the era of Time, the gentle Tenderness, but In fact, the most important meaning of this T is actually the T of Xishan Master Tikura. When the company was founded, Xishan also obtained permission from Master, so the real meaning of REAL-T is true. Today, whenever there is a movie with a big project, Xishan will send the film to the master’s office and ask the elderly to check it. After the Master finished reading the work, they chatted together while drinking, and the two also talked about some very interesting topics. .
The works that have far-reaching influences on Xishan have the deepest “Two Wars of Renyi” and Chen Desen’s “Sun Wen’s Yi Shi Tuan”. The two films are in place and the content is also very good. Xishan can feel from these two films that STAFF and CAST should all work in the state of enjoying work, and Xishan likes this lively and cheerful production atmosphere. .
As a compilation practitioner, Xishan himself never picks a piece of work, and there is no distinction between works. Xishan believes that as a professional person must do this. In the spare time, Xishan has to watch a movie every day, and he will go out to drink. .
There are many young people in Xishan’s company. Xishan will talk to young people about movies and talk about life, and ask young people about new things in animation recently. Xishan understands that the times have changed, and digitalization has been around for 20 years. The topic of the past era has not been of much significance. On the contrary, young people know more about computer than themselves. The current era can no longer be called the old and the new, but the ancient and the broken. Therefore, Xishan understands the dialogue with the younger generation and keeps up with their importance. And Xishan enjoys this process very much, because when Xishan was young, Qianzang also got along with him. .
Xishan is very fond of movies when he is in Tokyo. So when he was at school, he was wondering how he could enter the film industry. At that time, TAVAC Co., Ltd., the recording and editing department of Toei Animation, was in the recruitment studio, so Xishan entered TAVAC. Xishan’s job is to project the film to be used on the dubbing to the screen, and at the same time read the NG part of the dubbing. .
After nearly two and a half years of work as a projectionist, Xishan became an assistant to Qianzang. Qianzang is the compilation of the Yamato series after “Goodbye to the warriors of the universe battleship Yamato”, and is also doing the editing of the real film, which is called “the emperor of the compilation”, also mentioned above. The film “The Battle of No Benevolence” edited the direct disciple of Miyamoto Shinto, the highest level of practitioners at that time. .
Because I often make mistakes when I try to kill Qianzang, I have been squandered many times and often called a useless guy. Although this made Xishan sad, but Xishan was a stubborn and unyielding person, so he tried hard to practice. Now Xishan looks back, if there is no spur of the original, it may not continue to do this. .
Xishan officially serves as a compilation assistant for Qianzang. The first time it appears in the STAFF table of animation is “オーディーン Photon Sailing スターライト” (1985). Before this film, Xishan knew that his ability had not reached the level of an editor, so he requested never to name himself. Because “オーディーン Photon Sailing スターライト” is the first name of Xishan at the end of the film, so I will remember.
Although the life of the first two years as a projectionist was very difficult, the days after becoming assistants slowly improved. At that time, Xishan received a lot of attention from Huajing Zhengming, who was under the Qianzangmen. Xishan and Huajing were basically inseparable. Huajing is very cool, and often invites Xishan to eat and drink. Thanks to the help of Huajing, the problem of eating no longer plagues Xishan. .
Xishan as the editor’s debut is “Beidou Shenquan 2” (1987-88), because at that time Huajing had other work, Xishan made 12 episodes. At that time, Qianzang asked Xishan to try to imitate the effect of Huajing. Because of its close relationship with Huajing, Xishan can completely imitate Huajing. .
Xishan was cut too much in the “Beidou Shenquan 2” because of the cut action scene, and it was found that the duration was not right. In the era of film editing, you can’t use the editing software to increase the length of the lens as it is now. Therefore, Xishan imitated the practice of Huajing, adding white flavor (pure white screen) to some shots to support the time, as for the performance of the white flavor part to the seiyuu play. .
Since Xishan has also been the editor of “Slam Dunk”, there are also many experiences in doing sports animation. For example, the space between the ball and the screen should be cut off as much as possible. Try to make the lens connect faster, so that the picture has a sharp feeling. In the production of “Ace Pitcher’s Vibrating Arms”, Xishan was still a fast-paced editing method, so Shuidaou would ask Xishan to slow down the picture because “Ace Pitcher” is a youth drama, and the male owner is also weak. Qi, so pay attention to the meticulous performance of emotions. .
The reason why REAL-T was to be established was because Xishan wanted to pick up works other than Dongying and try his own ability. However, when the company was just established, the days were not good. When Xishan was at TAVAC, as long as it explained to others that it was the West Mountain of TAVAC, it would be fine. However, after the establishment of the company, Xishan called the production company, and the employees of the production company said that they had not heard of REAL-T. At the beginning of the establishment, REAL-T did not have its own mechanical room, and it also shared a room with menu. Qtec. .
However, at the time, REAL-T was a subsidiary of animation company HAL FILM MAKER (now YUMETA CO., LTD.), and it also had business dealings with J.C.STAFF, so it worked hard to get better. .
Referring to HAL FILM MAKER, I must mention Supervisor Sato Shunichi, who has cooperated with Sato Shun in the three films of “The Twin Princess of the Incredible Planet”, “arita” and “Jade”. Sato is a supervisor who overlooks the work from the whole and does not ask too much attention to the work of Xishan. Since Xishan and Sato exchanged and cooperated, there has not been a conflict with Sato. .
Sato is a performer from Toei. Fifty Fathoms and a few of the original Kunihiko are also from Toei, and they have cooperated with them in the TAVAC era. Xishan is also the compilation of several original animated films, “Spiral Penguin Can”. The crystal princess debuted the name of the survival strategy and passed the hand of Xishan. Because Xishan had also done the “Girl Revolution” before, and had the same experience, so I understood the sense of treasure that the original supervisor wanted, so I edited it according to this effect. .
In the “Wen Hao Wild Dog” cooperating with the Fifty Fathoms Supervisor, Xishan proposed to the Fifty Fathoms that the characters would look at each other for a while, and then suddenly it would be more interesting to play, so the characters in “Wen Hao Wild Dog” are confrontational. The scene, the shot is cut very frequently. .
Xishan believes that his career is the “Mechanical Giant” and “Girl Revolution”. “Girl Revolution” is the last work of the film era, film photography technology reached its peak, and then began to turn to the digital age. Xishan was a compilation of the growth of the film era, so I felt that one of my own assets was left in that era. .
Nishiyama can’t tell what was left in that era, just that the animation color of the film era is beautiful. From 1998 to 2000, due to the beginning of digitalization, the color of the picture was difficult to see, and the photography technique became unfamiliar. Therefore, Xishan occasionally felt that film was better than digital. Probably digitally recreating past animations will not be the same as animations with film shots.
The work that impressed Xishan during the transition period was “StarCraft 5555: The Secret of the Alien Dream System”, which was an animation for Thomas Bangalter’s album “discovery”. At that time, when Thomas and the supervisors Nishio Daisuke, Takeuchi, and Kyuji went to Xishan’s studio for final inspection, Xishan cut out two frames in order to make the front and rear shots collaborate. Thomas pointed out that this change was not synchronized with the song. Xishan was shocked by Thomas’s reaction, and I thought that the first-class artists were so sharp and different. .
In Xishan’s view, the necessary qualification ability as an animator is a curiosity. Only when you are curious about a variety of things can you enjoy life. In order to enrich the life of REAL-T members, Xishan will even show you subsidies for movies and drama. Interested in watching art performances, the commotion of the talents, the repetition of the slang, and the timing of the characters in the stage play and the lines of the lines will naturally be remembered. On the contrary, software knowledge is not very important. Compared with technology, Xishan believes that it is more important to understand the movie and understand the editing between the lens and the lens. .
There is a lot of editors and technicians who have finally become supervised, but Xishan has not considered supervision at all, and it is good to support the work silently behind it. For Xishan, as long as you can continue to guard the works behind you, you are already very happy. .
References: . 編集技師・西山茂ロングインタビュー！（アニメ・ゲームの“中の人” 第29回）