Appleseed Alpha Page #3
- PG-13
- Year:
- 2014
- 93 min
- 136 Views
...New York to others
who are familiar with the location.
from the subway...
...to the front of Times Square
in the opening.
I felt like I was forced to challenge...
...the most difficult task...
...from the opening.
I was aware that it was going to be...
...the lifelike look, so the lighting...
...was the high-priority agenda for me.
When the light hits
this side of the face...
...the other side looks darker.
That's the fact that...
...we unconsciously see
on a daily basis.
Stuff like that is very subtle...
...but that's also the element that...
...makes you recognise
if the CG looks really real or fake.
the details of the object...
...or add glossiness to the object.
You can even see or feel
the coolness, coldness or hotness...
...depending on
the adjustments of the light.
For example, the only request
I got from the director...
...regarding the subway was...
...to make the entire scene
slightly dark.
Of course it has to look like...
...the subway in New York,
but since the usage of electricity...
...the story setting of the movie...
...the light must be dimmed...
...except in a few spots.
The more you tweak it...
...the more real it looks...
...but that lacks the sultriness.
I think the audiences
eventually get bored...
...if they keep looking at
only realistic things.
How you add the glossiness...
...to the object is really important...
...in adding the lighting.
L'm very aware that...
...it's extremely difficult
to create something...
...that looks real from nothing.
So in that sense,
to be honest with you...
...there are things that I'd rather avoid.
I don't mean to brag...
...but I think this is actually
a great opportunity...
...to show the world
that the Japanese can create...
...something this awesome.
At the beginning...
...I knew this was going to be hard...
...but I was ready to face the challenge.
You see very exaggerated
backgrounds...
...in conventional anime.
For instance, you see a building
in the distance...
...purposely enlarged.
They would enlarge...
...or shrink objects depending on
the size of the screen...
...but in lifelike animation...
...we must portray the objects...
...in their true sizes.
They're two similar methods...
...but the finalised pictures...
...look very different.
I was in charge of the ruins.
The story is set...
...right after the war ended...
...so you can imagine
things are pretty ruined...
in my head...
...but I had to work...
...on the ruins in New York,
so I went out...
...and searched for references...
...of New York as well as...
...references of ruins.
with the director...
...and discussed things like...
...how destroyed they should look...
...or how ruined the place should be.
That's how I defined...
...what the picture should look like.
As for the Humvees...
...you see four different types
in this movie.
One is the broken one
and the others are...
...in different colours.
They were used
in the different scenes.
I created them by...
...looking at an actual Humvee model.
Since we had to put...
...Landmates and Briareos...
...in the vehicle in this movie...
...I edited the size of the vehicle...
...according to
the size of the characters.
Pretend this is the stage.
There are dozens...
They capture the movements
of the actors...
...from every direction.
Each actor wears...
...the special suit with...
...about 30 to 40 reflective sensors
all over the suit...
...mainly on the joints.
Their movements...
...get captured from every direction.
All the movements are...
...recognised as 3-D movements...
...and saved as data in the computer...
...using the special software.
The system is called...
...motion capture.
You see Deunan in the CG.
...the movements of the actual actor.
So the movements of
the 3D character...
...match to the movements
of the actor...
you look at it from.
This allows you to switch
That's the technology we use.
Basically your movements...
...get captured as computer data.
Now it's in the chamber.
Slide it, put it in, and load it.
Put the safety on, then put it in.
We hired the action advisors...
...from the military.
They advised us on everything...
...from how to hold the gun,
move with it, and shoot it.
Both Briareos and Deunan are...
...the weaponry experts.
Since they look visually real...
...their movements must be
even more real.
They gave us
very detailed advice.
You can express how nervous you are
by raising or lowering your shoulders.
You can express the distance
between you and enemy by raising...
...or lowering your weapon. If you feel
the area is safe, you lower your weapon...
...but watch your surroundings.
When the enemy is approaching...
...you can express your nervousness
by raising your shoulders and weapon.
That's the type of instruction
I gave them. I'm detailed about it.
Mr. Hosokawa is
a military commentator...
...who used to be in
I used to belong to a team...
...that was specialised in...
...setting up or removing bombs.
I started off as a rocket gunner.
The team was sent overseas
one day.
The destination was Somalia.
During that time I received...
...beginner-level sniper training...
...so I worked as a sniper.
When I was watching him doing the
motion capture through the monitor...
...I realised Mr. Hosokawa's movements
were better than that of the actors.
So I asked him to put on the suit.
He did all of Deunan's scenes
by himself.
Because of his performance,
the picture looks so much better.
Stay here.
I was told that the movie's worldview
is close to the one...
...from the original Appleseed.
Judging from the information
that I knew about Deunan...
...I determined that she has a lot of
battlefield experiences.
So when I did the motion
capture for Deunan, I moved like...
...she was someone who's experienced
in running around the field...
...carrying heavy weapons
rather than...
...experienced with the latest
fighting techniques.
When you look at...
...how he holds guns...
...you can tell he's the real deal.
It's different from...
...how we try to look cool,
holding the gun ready...
When he does it, he looks like
he's going to shoot.
I could definitely tell
the difference in the studio.
I was hoping that would...
...be reflected in
the CG character's movements.
We use the storyboards...
...when we make a movie.
The storyboards contain...
...every shot of the movie...
...and each one shows the size...
...which actor is appearing...
...and what type of action
is being done in details.
Basically, we draw up
We used a method called
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Submitted on August 05, 2018
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"Appleseed Alpha" Scripts.com. STANDS4 LLC, 2024. Web. 27 Jul 2024. <https://www.scripts.com/script/appleseed_alpha_3033>.
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