Ando Mayu felt like he was numb.

The production of "The Witch of the Sword" has caused the entire production team to be numb.

How to say...

This work is considered a work that involves the animated animation.

Because Musashino animation uses a lot of techniques in this work.

For example, motion capture.

Well, yes, the "Sword Witch" uses motion capture technology.

The so-called "motion capture" concept is actually very broad. It is not a 3D motion capture that requires wearing a large number of equipment to be used to make motion capture. In fact, as long as it is a record of the movement of an object, it can be called a motion.

Capture.

However, this technology is called differently in different fields.

For example, motion tracking, motion tracking, and even somatosensory games, in a sense, are also motion capture technology, such as the kinet that Giant Hard can develop on another world line.

Oh, and in the more distant future, many mobile phones have made depth cameras and tof ideas, and then let mobile phones have air-to-air gesture recognition, which also falls into the category of motion capture.

If that is the case, Musashino will naturally use this technology.

Moreover, "The Witch of the Sword" initially used two sets of motion capture.

The first set of techniques is to redirect.

Because it is an experimental animation, "The Witch of the Knife" decided at the beginning that it would use a lot of new technologies.

The technique of turning and drawing has been despised since it was created, but it is undeniable that turning and drawing can make very smooth paintings.

But unfortunately, the action that was directly translated and drawn... is not useful.

If it's dancing or something, it's OK.

But it is a little bit worse to use it to express kendo and swordsmanship.

One of the characteristics of "The Witch of the Sword" is that it is close to real fighting, but after using the retelling technique, they were shocked to find that the performance of these actions is quite subtle.

One feature of the redirection and drawing technology is that the picture is smooth or even too smooth.

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

However, the fight after the redirection is too smooth, making the battle without courage. If the frame is drawn, the picture will look weird.

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

In "The Witch of the Knife", many shots are rotated, wide-angle or moving.

This kind of shot has high requirements for the coordination between the scene and the character, but simple retelling often makes the character and the background feel separated, which is unsolvable.

In general animations, the so-called fights are divided into several categories.

The cheapest thing is to give only one character and then let the character wave a weapon in front of the camera.

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

This kind of painting of a character waving a weapon is the simplest, it is so simple that it is brainless, and it doesn't even need the background.

And the more conscientious one is that the camera shows two characters fighting each other.

In this scene, there are two characters on the picture, and the entire confrontational action is much more conscientious than before, but similarly, the difficulty of painting is much higher.

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

Then there are a series of fights like "The Witch of the Sword".

Because the camera is constantly moving, the scene of the picture needs to move along, and the movements of the characters in the picture also need to be transformed all the time. It can be said that it is the best show of skills.

At the end of "The Sword Witch" in another world line, the battle between Konami Ueto and her mother belongs to this type, but this kind of battle is too expensive, so there is basically only a short section, and there are no five groups (

Production company) No money, can't afford to burn it!

Even a great god like Ando Mayu, after watching it for a long time, he thought this was not good.

To be precise, it is Musashino's technology, and it has not yet been thoroughly understood. Although the retelling is a technology that appeared in the 1920s, it really needs to be polished.

Although Musashino is the industry benchmark, they are not able to handle the application of new technologies easily.

But if you are purely hand-drawn, this part of the plot is not particularly easy to express. Theoretically, it can be achieved with any special effects of pure hand-drawn, but animators may not necessarily have the ability.

What's even more terrifying is that if you are purely hand-drawn, the entire animation cycle may be postponed until next year, and it may be the kind of "Chapter 0.5" to play two or three episodes.

Moreover, this is definitely a super money-burning animation. Five groups of paintings cannot be burned, and even the Dragon Son's paintings cannot be burned. The animation "Crow" produced by Dragon Son on another world line was directly burned away.

"The Witch of the Sword" is a good thing to burn money, but the money is not like this. If Musashino really dares to burn it, then one or two people from Horikawa Kenji and Makoto may be over, and other production companies will have a big chance of get out of class being eliminated. The probability is no longer that they dare to let them burn money and play.

Well... Except for the artist's technique next door that allows the artist to use ink painting, if you convert that painting, it will definitely cost money than all animations. Don't mention it, the master's few original paintings are likely to be able to do this directly.

One or two animation production companies have all the belongings.

So, Morika said that he wanted to do concept animation, which is a good reason, but this action is really not so easy to handle.

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

The 3D department was later merged with the A-society and conducted special motion capture and special effects research.

It's OK to find them.

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

That is, wearing black clothes and then covering all over his body with small white dots.

This technology is an optical capture method. After motion capture is performed through 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 little white points correspond to the joint nodes of the bound bones of the 3D character. When people move, the 3D model can also make corresponding actions, burning the human movements onto the 3D. Through these data, the

The 3D model restores the action.

Not to mention, the picture created by first capturing the character's motion on the 3D screen, and then adjusting the model's movements and drawing frames is really good, and it is higher than the most primitive twisting.

I don't know where I went.

Then, the production team of "The Witch of the Sword" suddenly became a big idea: Let's 3D the protagonist!

very good.

Everyone tried it.

And then...and then nothing happened.

Because of the rendering of the 3D model, the characters produced have a clear "3d" feeling. Such characters can be seen as very different from ordinary 2D.

However, this animation is not the so-called 3D animation. In the story, the mixing of 3D and 2D will also make the movements of the entire work even more weird.

this……

There is no way, Ando Mayu proposed an idea, which is to use these actions as references for hand-drawn.

This technology is called 3d_guide, and can also be called 3d_layout.

Not to mention, Musashino really has this technique.

In the long shot of the opening episode of "The Magical Girl Naha", the entire scene uses this technique to paint and show off.

The effect is so good.

However, if you use it in the sword-making witch, this technique is actually quite tormenting. However, without this technique, "The sword-making witch" is likely to be out of the ticket until next year.

Simply put, this is a technology that is demonstrated to improve the efficiency of painting.

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, while the latter is the original painting in the usual sense.

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

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

Many so-called paintings are actually caused by the inability to unify the original painting and the background due to the rush of construction period, which leads to the inconsistent photography angle and scene of the characters.

In "Naye", this technique was used to construct a 3D model reference first, thus solving this problem.

Of course, there is something even more amazing, that is, one person has the role of the original painting, one person has the background and character, and creates a smooth set of fighting.

The reason why Ando Mayuki's good friend Toshi Nakamura is called a "national treasure" is because he can handle these things alone.

Ando Mayu can do it, but he has to consider efficiency. As the annual show-off work, "The Sword Witch" also needs to consider efficiency.

After modeling, 3D capture, adjusting the camera, drawing frames, etc., the picture is transcribed again onto the 2D drawing plane, and the animation painting of "The Witch of the Knife" is finally presented.

This kind of operation is a big circle, but in this era, there is nothing we can do about it.

And more importantly, this kind of production has a great test for supervision, and many times the camera needs to be considered.

Simply put, some lenses need to be made with the tension of the picture.

For example, in one of the shots, 3D modeling expands the Edo Konami's Taidao triple the size.

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

Yes, many 3D animations in production, seemingly the same character, actually have two modelings.
To be continued...