VFX Anna Tommy While working hard to deal with remote work, the VFX of monsters is realized in the right place, the movie "Monster War Guardian"

フォトリアルな画づくりと大物量を両立させるべく成熟した技法とワークフローの下、適材適所を徹底。We tracked down a backstage, which is also imminent in response to remote working.

This article is reproduced from CGWORLD + Digital Video Monthly 278 (October 2021 issue). *.

Ishii Yongfu (onion-shaped design) EDIT_ Numakura/Arihito Numakura (CGWORLD), Yamada Peach/Moomoko Yamda © 2021 "Monster War" Guard

The movie "Monster War Guard" is playing in the hot release: Directors such as Takao Osawa: Takashi Miike/Production Commander: Yoshihiko Kakawa, Hiroshi Okamata/Screenwriter: Yusuke Watanabe/Photography: Hideo Yamamoto/Lighting: Ono Akira/Art: Hiroshi Hayashi/Editor: Saga Naoichiro/Decoration: Sakamoto Lang/Installation Design: County hero, county hero, county hero: Kaori Ota/Monster Design: Terada Katsuya, Inoue Junya/Role Supervisor: Maeda Yongmi, Director of Monster Special Makeup Modeling: Ishino Daya/Monster Design: Xiang Mahongchong Production: OLM/Production Cooperation: Le Ying She/Distribution: Dongbao, KADOKAWAmovies.kadokawa.co.jp/yokai

The challenge of teleworking is communication

The film "Monster War Guard" is the latest work of the special film released in 1968 and the remake of "Monster War" in 2005. After the previous work, director Takashi Miike continued to direct, which is an adventure stunt film with many monsters on the rampage. Like the previous works, VFX is under the responsibility of OL EM Digital (hereinafter referred to as OLM), which has participated in many three-pool works.

The production started in the summer of 2019, and an emergency declaration was issued shortly after the completion of the film in 2020 the following year, so after April 7 (Tuesday), the post-production was changed to remote work. Splashtop is part of the Remote Desktop tool. Progress is managed using Google Spreadsheets and external file sharing using Google Drives. Although it works remotely, the synthesizer works 1~2 days a week, and works while checking in Masmoni. It is still difficult to adjust colors remotely. Sequence check, except masmoni, using Frankie. Frankie is a tool for directing screen specifiers in text or handwriting, and is used in conjunction with Google Meet (online meeting), which takes place almost every day in the company. On the other hand, digital artists welcome remote work without commuting time and guaranteeing their own time, but as managers, they also face many challenges. Originally, when artists do it alone, they tend to make it up at will. From the perspective of the whole scene, it is easy to have the problem of poor connection. If the seats are close together, you can easily look at the picture for comments, or you can check the progress with small talk in the process of passing by, but it is difficult to do this remotely. In addition, the process of preparing detailed articles when explaining to supervisors and giving instructions to operators has increased, highlighting the time needed to prepare for communication in remote work.「本作で苦労したところは何と言ってもコミュニケーションの大変さでした。In addition to improving CG technology, we must also consider improving communication. Mr Kaori Ota, director of VFX, said: "This is a major challenge as we continue to work remotely.

<1>Pre-Pro & Asset Making

VFX Cutting Ensures Ordering in Sequence, in the Right Place

In this work, the main camera is ALEXA, and the crane is shot by Sony Venice (aerial photography by unmanned aerial vehicle).納品のサイズは2Kで、シーンリニアワークフローによる制作。約570以上のVFXショットを、OLMをメインに、NEWPOT PICTURES（水龍シーン、群衆表現）、LiNDA（八百八狸や、スネコスリのモデル制作）、ナイス・デー（隠神刑部がバイクで走るシーン）、海外スタジオではOLM Asia SDN BHD、インドのAnibrain（妖怪獣の冒頭シーン）、マレーシアのFly studio（体育館シーン）などが参加した。担当を分けるにあたっては、「アニメーションやエフェクトなどの作業工程ごとに担当を分けると無責任になりがちで、修正が増えていきます。We specially give them in order, so that they can make them according to their own ideas. "(Ota Yuan) As he said, the distribution not only considers the simple efficiency, but also considers the producer's mood.

The models OLM is responsible for are: Great Fiend and Monster Beast (first and second forms). The design of the Great Fiend was made by Terada Katsuya, and the design painting even depicts how people enter it, which is acceptable to the audience. In the modeling of the Great Fiend, the AR function of smart phone is used to discuss the appropriate size of the suit. At the same time, it also made a 1/1 chest lifting shape, so it is a job to keep the integration with that side. Because the total height of the monster beast is 300 meters, it takes a lot of effort to shape the sense of scale. Because the form will also change, the assets are arranged for flexibility. In addition, Lespastvision uses the digital double made from the photo Gramme in the medium and long shot of the hero sitting on the shoulder of the great fiend. The shape of the Great Fiend is ingeniously combined with the editing of the actual child star ride, and I believe most viewers will not notice it at first sight.

The prototype of the eight hundred and eight raccoon dog is LiNDA (Grio Grove), who is highly praised for his long-haired role. This car uses XGen to create a model with real animal feeling. The company is also responsible for kitten pickpockets of animal monsters. In addition, use RealityCapture to capture the photography studio, and make the wizard model based on it for editing. If there is a correct assembly model, the camera can be placed in a realistic place for cutting, thus reducing errors and improving tracking accuracy, which is an important process. Tracing mainly uses PFTrack and partially uses SynthEyes. Recently, photo-based photo grafting is simpler and more helpful than previous laser measurements.

The Change of Monster Beast Model

Changes of models in the first and second forms of monster beast

▲ Combination example of the second form basic model

A model of the great fiend

▲ Because it is made at the same time as the bust model of the set, the model is made while maintaining the integration with the set

The model of eight hundred and eight raccoons

▲ Use XGen for hair

Digital duplex model

Watanabe Kay created for digital duplex

▲ The ultimate virtue Quadratic model

▲ The model (10 million polygons) established on the three-dimensional with photo GlatyCapture software is mainly the model of ZBrush's 800 raccoon dog. Use XGen to represent hairs, and use ZRemesher to re-topology each part

Group model

▲ A set of three-dimensional Maya scenes in RealityCapture

▲ RealityCapture's work

Next page:<2>妖怪獣VS大魔神

<2>Monster beast VS great fiend

With the 300-meter-high monster beast, it forms a flying fiend

The monster beast VS great fiend scene in the climax part, the quantity and quality of VFX are very good; This is a vibrant and worth seeing scene. The live shooting was carried out in STAGE G, the largest studio in KADOKAWA. In order to create a vast scene of monster beast rage with a size of 300 meters, the crew prepared a lot of scenery expansion. Monster Beast first placed the correct size model in the virtual device made by Photo Gramme, studied the layout, and then adjusted it by shear method. It is also very difficult to configure the lights. It is said that it is very hard to match the lights of the scenery and create depth at the same time. Also pay attention to telepresence. In 3DCG · Photography · Nuke, all kinds of smoke and Mars are superimposed repeatedly, and the volume is turned up repeatedly on the complex until the end. Hard work pays off, and a rich picture that is completely different from the scenery is completed.

The scene of the great fiend flying and cutting to the monster beast is one of the highlights of the work. Particularly laborious is the incision where the knife is elongated.「このカットは凄まじくコストが高かったです。VFX director Komata Longwen said: "After the completion of the hole system, the production was completed while modifying the assets." Hiroshi Ito, who is in charge of background resources including climax scenes, looks back. "Usually the staff are sitting next to them, so whenever there is a problem, just say hello, but remote working can't do this, so structure and rules need to be put in place." He said that leaders should formulate basic layout and production rules, and it is very important to lay tracks that operators can work without meditation.

A series of climax scenes are composed of a series of cut chest shots that exclude the situation. Through the excellent performance of director Sanchi, an image worth seeing is produced. The film was shot on the basis of sharing and understanding the characters' layout drawings drawn by the director on the spot, and the performers' line of sight position in each shot was very accurate, which made people appreciate naturally. When you really go to the cinema to watch, the dynamic performances are dizzying.

Grading first through off-line operation for pre-grading to determine the direction, VFX operation after this classification. The work was not completely handed over to the photographer, and the grading of scenes with VFX intervention must be carried out with Mr. Ota Yuan present while discussing. "In my impression, many VFX supervisors are not present for grading, but this is a very important job, so I will pay attention to respecting each other's wishes with photographers and clearly tell them why not deviate." (Ota Yuan).

Background setting in Wu Shen's flight scene

Nuke's Compound Work on Flight Scenes

▲ All nodes used for merging

Controlled key points of flight scene

▲ UAV real shot plate

▲ Great fiend and cutting effect are combined to complete the lens

Permutation mapping representation

In the play, the monster beast The model of the first form is divided into two halves, but because the section making is not considered, the model is cut according to the angle of Wu Shen cutting monster beast, the section is closed by plane, and the interior is represented by displacement diagram

▲ Disconnect the model

▲ Replacement maps prepared for internal presentation

Synthesis work

Monster beast (First form) a compound operation of a scene in two halves

▲ General materials for synthesizing Mars and smoke

Compound controlled

Composition of "beauty, CG + glow, glow2" materials and FX materials of Mars

▲ Complete the lens

Monster beast long shot Maya scene

▲ Set the Maya scene with a long shot of monster beast (the first form) with a total height of 300 meters. The bright object in front of the picture is a three-dimensional photography studio with photo Guerra. Before that, the scene was constructed in order to make the background expand continuously. The flat part without the building was paved with rubble with MASH

The state of compound work

▲ The overall situation of the complex. This is a complex node structure

▲ Place buildings, flames and smoke in appropriate positions in 3D space

Flames and smoke are also arranged between monsters and characters

Breakdown

Next page: <3>The mass performance of eight hundred and eight raccoons

<3>The mass performance of eight hundred and eight raccoons

Explore the workflow in the new normal era

In the mass performance of 880 raccoons, nearly 808 raccoons were arranged. Because XGen is used in hair, the rendering cost will increase accordingly. However, by using Arnold's StandIn, the loading of geometric data will be kept before rendering, which makes the scene in the job lightweight and easy to operate.

The first form of the monster beast, with the aura of the face and body as the leading effect, has been revised many times in order to convey the huge sense of scale of the monster beast with the effect. It is said that this work has many effects, and Mr. Haruhara Tree, who leads the effect, is also worried about communication. "A lot of people are attending for the first time, but soon they are remote and have to change the workflow. When using multiple effects in one shot, there will be delays in sharing data, which is very difficult. In the future, I want to realize to create an environment where people can talk more easily. The problem of communication also applies to complexes. "I couldn't see the people next to me and it had a bigger impact than I thought. Usually, when you pass by inadvertently, you will notice a lot of situations in small talk, "said Mr. Nakano Wu Lang, who is the compound director.

The second form of monster beast collapsed, and the scene effect of trees growing out of it was also impressive. Because the monster beast's body is unexpectedly slender, it uses a cutter to adjust the trees growing from it. The collapse is caused by the separation of inside and outside.また、海外のスタジオへ発注したカットについては、想定していたテイストと異なるものが上がってきたりと調整に苦労したが、監督はかえって日本人らしくない部分を面白がり採用したこともあった。"The director is a person who doesn't have to do this, so this is saved" (Ota Yuan).

This work is not only a climax, but also a large number of VFX are used everywhere. "How do we approach the director's vision without time? The coach will also keep an eye on the last minute when it can be done. I think, in doing and doing, doing and doing a lot of work, everyone really worked hard. "Mr. Ota Yuan recalled. On the other hand, he expressed environmental uneasiness for newcomers who may enter in the future. "Newcomers have taught from 1 to 10 so far. If they are remote subjects, there will be fewer opportunities to teach, and they are worried about whether there will be differences in skills. "There is no answer yet, but because the world is like this, I intend to create an environment that fits in with it," he said of his vision for the future.

Mass performance

▲ The masses showed that in order to avoid the scene becoming heavy, they used Arnold's StandIn. Use virtual objects, determine the configuration and replace it with StandIn. In addition, in order to reduce the cost, each island is mapped

The state of compound work

▲ Mars, general material smoke synthesis

Various synthetic materials for crowd scenes

▲ Beauty materials of civet cats and rocks in front of us

(AOV of civet cats. In order to adjust the intensity of flame reflection with Nuke, Per Light AOV is used for output

The 3DCG Operation of the Great Fiend's True Overlooking Lens

▲ Watanabe Kay and Watanabe Day sitting on their shoulders use digital doubles

Composite work of shearing

▲ Node overall diagram

Compound controlled

The scene of the monster beast collapsing

Use the scene of the monster beast (second form) about to collapse in Maya

▲ Destroy the simulated work

Position Pass adjustment

The reflection of the flame was adjusted with NukeX's Position Pass

Breakdown

Original shear composite breakpoint

▲ Per Light AOV of the monster beast layer in front of you

▲ Complete the lens