Appleseed Alpha Page #5
- PG-13
- Year:
- 2014
- 93 min
- 141 Views
I thought I couldn't add...
...any facial expressions to it,
so I asked them if it was okay...
...to change pretty much everything
around his mouth.
I basically remodelled it and sent it back
to the character department...
...and had them work on it again.
Much trial-and-
error helped create this character.
That was challenging.
To tell you the truth
I didn't think too much about...
...adding facial expressions
onto a cyborg's face.
if his eyebrows move.
That was the extent of it.
But I saw so many detailed...
...expressions on his face.
I asked him, ''Are you sure you're...
...going to do that much to his face?"
He said yes, so I let him.
At the end he turned into
such an interesting character.
I think he's the funniest
character in this movie.
We worked on character models...
...mecha models
and background models.
They're tangible items...
...that actually exist...
...in the real world.
But when it comes to weapons...
...such as rifles
and pistols, for example...
...you can't actually shoot them...
...while filming the movie.
later in CG and add them...
...to the picture, such as the muzzle
flash, the sparks that come out...
...of the gun muzzle...
...and/or car explosions.
That's called the effects.
Backgrounds...
...people, and so on look very
realistic in this movie...
...so the effects that go with them...
...must be as realistic as they are.
realness in the effects...
...so I worked hard
to meet his expectations.
There's a scene
where the train explodes.
In order to make
the scene look real...
...as if it were happening right
in front of your eyes...
gather references and materials.
the bombs that have been set up in it.
So I did the research on
how the bombs explode...
...and recreated that in the movie.
I guess the director is really particular
when it comes to...
...weapons like guns
and rocket launchers.
I spent a lot of time
on detailed things...
...such as the muzzle flash...
...or the sound of a bullet
landing on the target.
The muzzle flash...
...is the sparks...
...that come out of the muzzle...
...when you shoot.
I made sure those things...
...looked realistic as well as cool.
My job is compositing.
Compositing is...
...just like traffic control.
There are departments that are
specialised in the backgrounds...
...characters and effects,
and so forth.
Once they submit
the finalised materials...
...I take them and
combine them into one image...
...while emphasising what's to be
focused on in the particular shot.
I finalise each shot by
using various methods...
...such as blurring the backgrounds...
...or adjusting the colour saturation...
...brightness and atmosphere.
That's called compositing.
Mr. Matsumoto's job is to unify
the look of the entire movie.
He does things such as deciding
on the brightness for each scene...
of the entire movie.
He also worked as...
...a CG director for this movie.
He's been in charge of
the overall CG-related issues...
...including...
...technical issues...
...from the planning phase.
Things are looking very realistic...
...and the performance of the actors...
...have a lot of weight in this movie...
...so in that sense...
...I think he's been...
...the most appropriate person
for the job.
His way of handling...
...the camera is orthodox. He doesn't
move around the camera too much.
You see his camera work is very stable
so you can really see what's going on...
...in the screen, but towards the end of
the movie, the camera work gets...
...pretty crazy along with all the action.
We wanted to show off...
towards the end...
...so the camera work in the first
half of the movie is calm.
I think it's well balanced...
...and came out nicely.
I can truly entrust...
...Mr. Matsumoto with everything.
I like how the iris looks here.
It really leaves an impression.
Mr. Matsumoto in the CG department...
...is in charge of compositing
visually.
I pretty much manage
everything else.
My title is compositing lead...
...and it basically means that...
...I manage and...
...oversee the scheduling...
...and resourcing.
My job is to make sure
to finish our work...
...as a team in a timely manner.
In order to run the production
effectively and smoothly...
...the tools that we use
play a big role.
We use the tool to
minimise the manual labour.
The tool automatically creates...
...the pictures to a certain point.
We send the requests to Jung...
...the technical director.
It took him...
...about a month...
...to create the tool for us.
There were so many textures...
...so managing them was challenging.
There's a thing called base comp.
You take it and
switch in the other shot.
Sometimes all you have to do
is switch...
...while in another instance
the user...
...can tweak it after switching it.
You can switch...
...textures by...
...pushing a button.
That's the tool I made.
Basically, we let the computer...
...do the work without any mistakes...
...which normally we would do by hand.
That's what the tool does.
Computers can do repetitive...
...or simple works with no problem...
...but they can't determine...
...which texture is good or bad
or contains errors.
So the designers have to work...
...on what computers can't do.
I worked on...
...compositing myself too.
Managing textures...
...was a hard task.
Well, I think Sola Digital Art itself...
You know, Aramaki and I and
our partner, Mr. Kawada, we kind of...
The three of us kind of thought,
"Well, look, I mean, let's start..."
We were frustrated with the fact...
...that there are titles we wanted to do,
films we wanted to do...
...but we couldn't really quite get other
studios to work with us 100 percent.
So I wanted to kind of set up
a system...
...where it, you know,
works for the director...
...rather than, you know, director
having to really persuade the studio...
...to move his way,
you know, to do his bidding.
a production around him...
...so that things will become
much more efficient.
And also, you know,
we will do our best...
what he's able to do.
For... l mean, for example, this time
in Appleseed, we wanted the...
We wanted the production to try
as much as possible...
...to really realise his vision on-screen.
You know, whether
it comes to design, modelling...
...you know, action, camera work...
...anything, so that he would
actually have full control.
Now, for Appleseed, we did form
a system like that for the director.
But, I think, going forward,
we're also thinking that...
...you know, any director who comes in
to, you know...
that's how we would like it to be.
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Submitted on August 05, 2018
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"Appleseed Alpha" Scripts.com. STANDS4 LLC, 2024. Web. 24 Nov. 2024. <https://www.scripts.com/script/appleseed_alpha_3033>.
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