Author: hb/anitama Cover Source: Morning Glory and Kase Classmates. 》
ova theater animation "Morning Glory and Kase Classmates." "" is currently being released in Japan, and the soft, hazy light and shadow is a major feature of this work, and the soft picture like watercolor has left a deep impression on the audience, thanks to the excellent performance of the photography in this film. Newtype interviewed the game's supervisor, Takuya Sato, and the camera supervisor, Takeshi Kouba, to hear how they cast light and shadow magic.
Photography supervisor Kou Yuyi first briefly introduced the work of photography to the reader, photography is to combine painting, art background, cg and other materials, and then use filter plug-ins that can change the atmosphere of the picture to get the final picture. The reason why this morning glory can bring everyone a feminine impression is thanks to the help of the filter.
Supervisor Sato added that the watercolor-like soft picture style of this animation was set when the main visual picture poster was made, and since then, it has also become the basis for the animation clip "Your Light" and the theater ova.
In the production of this theater ova, Sato supervisor's most important point is the performance of light. Because the youth of Yamada and Kase is shining brightly and often flashes, in order to reflect this shining youth to the picture, the emphasis of light is very important. For this reason, Kouba and Sato repeatedly discussed how to express light.
In general, the light in the animation is generated directly by software. However, most of the light in this film is to draw the specific shape of the light by hand, and then get the final effect through post-processing. For example, the incident light, other animations are directly handed over to the photography with post-production software processing, but this film is first hand-drawn in and out of the light position, shape, and then handed over to photography.
In this way, Sato wants to express the light that does not exist in daily life. However, in order not to make the audience feel hot eyes, the final effect of the light is still determined by the mouth feather. For Kou yu, this is also his first attempt at hand-drawing and then photographic processing workflow. Now, using computers to make animated pictures is all in the direction of more realistic, but "Morning Glory and Kase Classmates." Although there is no strange picture, the scenery in the film is not a common landscape in daily life.
Sato supervises animation and attaches great importance to photography, because all the materials must be collected into the camera hand, and only when the photography work is completed can the animation production be completed, so when making this film, as long as there is a chance, Sato will run to The table of Guchiba, and then the two stare at the monitor together to see the picture effect, while discussing how to make a better effect.
Whether it is an experimental picture that Kouba himself made to try to see the effect, or the final picture that is completed, as long as it is a good picture, Sato will give it an evaluation, which gives Kouba a lot of help. Basically almost all the shots in "Your Light" in the insertion clip, Kouba was completed under discussion with Sato, without any predetermined routines, and the photographic treatment was a specific analysis of specific problems. For example, if the light dims at the same time as the shot pans upwards, it is where the mouth feathers are adjusted one by one.
The photography work of this theatrical version begins with two cards at the point where the petals fall to the ground and the entrance of the stairway. Since the background art department was also replaced by zexcs for animation production when making ova, the background of the ova is somewhat more realistic than that of "Your Light", so the photography work of the theatrical version starts with how to use a slightly different background.
The petals and the two cards at the entrance of the corridor also became an important reference for other scene photography in the future. The lens photography effect at the entrance of the stairway is relatively small, which has become the benchmark for daily scenes. Due to the use of the shadow expression method not used in "Your Light" in the ova, the card at the entrance of the stairway has also become an experimental shot of the new shadow. The shot with the petals falling to the ground is adjusted to match the atmosphere of the work without destroying the beauty of the hand-painted art background.
In addition to the above two shots, the dusk scene of Yamada and Kase kissing under the setting sun left a deep impression on Kouba. Initially, Kouba considered taking advantage of the hand-drawn background, so it was thought that it might be better to make a deep focus effect without pasting out the background. Although the background is not blurred in "Your Light", Sato finally chose to let Kouba blur the background in order to show yamada and Kase's state of mind in the theater ova.
However, Kouba also tried to make some shots to reduce the photographic effect for Sato to see, and after Sato watched it, he felt that the atmosphere of the shot made by Kouba was very good, even if it was used directly, it was no problem, which also gave Sato the courage to choose another photographic processing scheme in the heavier part of the second half of the theater version. Both "Your Light" and the first half of the ova are sunny summer, and in order to match the plot of the second half, Sato wants to divide the front and back parts of the work by expressing the humidity when it rains.
Compared with the different photographic effects processing before and after the ova, the photographic processing of "Your Light" is much simpler. Kou yu believes that this is because there is a difference in what the two want to express. In "Your Light", all the parts of the two people who put flash bombs are selected, so there is no photographic treatment such as para (shadow) that affects the atmosphere. Ova is much more emotional, so the photographic processing is also more complicated.
At the same time, Kouba also admitted that the film's photography is very, very brain-conscious no matter where it is, but he also hopes that the final climax of the film will attract everyone's attention. In order to match the final and increasingly high plot, Kou Yu also gradually increased his efforts in photographic processing. Sato also praised Kouba's interesting artist-like perspective, which allows him to make all the effects he wants through photographic processing. Kouba himself also likes to think like a performance, because he doesn't want to just complete the performance requirements, but also wants to make a better effect on top of it.
To emphasize the backlight effect of the setting sun, pull out the shoulder and hair lines, and then let the part of the lines shine brightly. The shadow on Kase's body is not a simple pure color shadow, and for Yamada's strong longing for Kase, a gradient effect is attached to Yamada's body.
In order to show the backlight effect, the faces of the two people were shaded, and the edges of the faces of the two people were added with a glow effect. The light in this lens is computer-generated. Sato, who checked the photographic effect in front of the monitor, said, "I want a stronger dramatic effect," and Kouba completed the photographic processing of this shot under Sato's guidance.
Scene of a school trip in Okinawa. The prototype of the incident light here is first drawn and then processed by photography. The reflected light of the glass is painted, emphasizing the position of Yamada standing in front of the water tank, and Yamada's posture is reflected through the sink. At the same time, the filter shows the moisture floating in the aquarium air.
Combining the painting characters and the art background, and then making the picture shine through photographic processing, basically all the light in this film is made in this way. Filters are then used to make the picture brighter than when the original material was combined, creating a non-everyday fantasy image that cannot be seen anywhere.
References: Newtype July issue
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