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00:00We're here! Oshikaru-chan!
00:02Welcome!
00:06This show is all about anime, games, manga, and more!
00:13It's a show where you can learn from the people who make the content!
00:18Today's theme is...
00:20Anime Dan-Da-Dan!
00:24Anime Dan-Da-Dan is in the making!
00:28It premiered on Shonen Jump Plus in 2021!
00:32It has 4 million views!
00:35It has 5.8 million views!
00:39It's a popular manga!
00:43I believe in aliens.
00:46A high school girl named Moboto was born into a family of prostitutes.
00:50I believe in ghosts, too.
00:52Okarun, who obtained the power of the curse as a classmate,
00:55encounters an overwhelming crisis that transcends understanding such as aliens and youkai.
01:01Okaru's story is full of gags, youth, and battles!
01:08Let me have a good time.
01:11The original manga is well-received overseas.
01:14At the premiere of the anime at the Anime Expo held in July,
01:182,000 fans gathered for the first time in a long time!
01:22What is that?
01:24That's amazing.
01:26Among all the Dan-Da-Dan,
01:28this is the one I'm most curious about!
01:34What kind of person is the director?
01:37What kind of points does he get?
01:39Let's go to the studio!
01:42The director of the anime Dan-Da-Dan,
01:44Mr. Fuga Yamashiro!
01:47Nice to meet you!
01:50Mr. Yamashiro is in charge of the production of various works
01:53such as the TV anime,
01:55the movie,
01:57and the costume director.
02:03As a director, this is his debut work!
02:07Congratulations!
02:10Thank you very much!
02:12Mr. Masaaki Iwata was in charge of the video.
02:15Yes, he's been taking care of me.
02:17I see.
02:18He taught me how to direct.
02:23I got a chance to do it alone.
02:27Did you go to the event where 2,000 people gathered?
02:29Yes, I did.
02:30That was the first time I appeared in the video.
02:34I was worried if the fans would really accept me.
02:40But they praised me so much that I was scared.
02:44I was able to sleep soundly.
02:48I'm glad to hear that!
02:51It's an anime with a lot of elements.
02:54Yes.
02:55It must have been hard to make the original anime.
02:57Yes.
02:58One of the characteristics of the original work is that the picture is beautiful,
03:01and there is a lot of detail in the picture.
03:05It's very difficult to animate it as it is,
03:08and the budget and schedule are limited.
03:10It's difficult to make the staff with that amount of detail.
03:13I wanted to make the viewers feel like they're on a roller coaster
03:17by increasing the density of the feeling
03:20by increasing the density of the feeling
03:22by increasing the density of the feeling
03:24by increasing the density of the feeling
03:26I see.
03:29Now, let's see Mr. Yamashiro's three points.
03:34First of all, here!
03:37The first appearance of a self-proclaimed saint!
03:40It's an impressive scene.
03:42I wanted to show what Mr. Tatsu was trying to express here
03:46in the video.
03:50Manga is very good at manipulating the pieces.
03:54I wanted to reduce the density of information,
03:56so I narrowed the field of view and turned to the next page.
03:58It was a big opening and overwhelmed me with information.
04:01First, let's take a look at the scene where Momo meets the self-proclaimed saint in the original manga.
04:07So, at the end, it gets smaller and smaller,
04:09and when I open it, it falls next.
04:12It's like a moment when time stops.
04:16I see.
04:17I was surprised.
04:19Animation and video are usually set on a 16 to 9 screen.
04:23You can change the frame,
04:25so there is no sense of immersion.
04:27So, I changed the planning a little.
04:29In the video, the light was shining at the end of the passage,
04:34but it was gone, and I could see a shadow from behind.
04:36I was like, oh, there he is.
04:39I want to see it.
04:41Now, let's take a look at Mr. Yamashiro's self-proclaimed saint scene,
04:45which is the first time for Momo to meet the self-proclaimed saint.
04:49Wait!
04:54The light is gone.
04:57It's not possible in real life.
04:58But it makes me feel strange.
05:00As you can see,
05:02UFOs are floating on the moon.
05:04The moon was actually a fake,
05:07and it will be recovered later.
05:09So, it's physically impossible.
05:13So, I wanted to increase the density.
05:16I wanted to increase the density of the performance.
05:20We also asked the people who appear in the staff role of DUN DUN DUN.
05:26I want to see it.
05:27The staff role search of DUN DUN DUN, which is now a hot topic.
05:32First,
05:36the opening animation director.
05:38He is Mr. Science Saru, who is making the animation of DUN DUN DUN.
05:46Hello.
05:47Hello.
05:48My name is Abel.
05:49I'm from Hungary.
05:50I'm the director of DUN DUN DUN's opening animation.
05:54Mr. Abel is from Spain.
05:57He made the opening animation of DUN DUN DUN, which is the face of DUN DUN DUN.
06:00He was also in charge of the opening animation of DUN DUN DUN.
06:04Why is he working in Japan?
06:09Mr. Yuasa and Mr. Enyon created Science Saru.
06:12It was a big opportunity for me to work with them.
06:15And I really liked their work for a long time.
06:19Japanese animation has the highest level.
06:23I think it's the place I can learn the most to become better.
06:27And it's always challenging.
06:31What is Mr. Abel's favorite anime?
06:34Future Boy Conan.
06:36Mirai Shonen Conan.
06:37Marco.
06:38Everybody in Spain knows.
06:40Even my grandmother would know.
06:43They were so popular.
06:44I think they were really masterpieces.
06:47The opening animation of DUN DUN DUN was made by Creepy Nuts.
06:52The opening clip of DUN DUN DUN was broadcasted on YouTube.
06:57It got more than 6 million views in two weeks.
07:01What is the concept of DUN DUN DUN?
07:03So we wanted to bring some ideas from there.
07:06That was also maybe the main inspiration for DUN DUN DUN.
07:10It's so Ultraman.
07:11I'm glad to hear that.
07:13But it's not a parody.
07:14I think it's good that it's digested into the work.
07:18Here is the scene where Mr. Abel praised himself.
07:28The point is the texture of the character in the silhouette.
07:33Maybe inspired a little by graffiti.
07:37In addition to the expression of the silhouette,
07:39he expressed the texture as if he had blown it with a spray.
07:50This is a more traditional animation style.
07:54Frame by frame, I added a lot of processing
07:58to make it look like the illustration that I was doing before.
08:02Trying to imitate the look of the other characters.
08:06I don't know, maybe it took like more than two months.
08:10It has to be very synchronized.
08:12So I have to listen even more than usual.
08:16100, 200, I don't know.
08:19In addition, there is a secret to the scene where the characters are dancing.
08:25We also have the characters dancing,
08:27which we don't see in the normal episode.
08:30I think it's very cool.
08:32They are all inspired by real dancers from music that I like,
08:37but I prefer the public to find out if they can.
08:43I don't know what that dance is about.
08:47What I asked for was a shadow like Tsuburaya Pro's work in the early Showa period.
08:52That's the impression and atmosphere that each work has.
08:56I wanted him to make the staff's name with big letters like Ichikawa-kun's typography.
09:05He did it in his own way, so it's cool.
09:09I think it was much better than what I did.
09:13It stops while moving, and the color changes again.
09:17It's digested into the work.
09:20That's really good, and it's for Dandan.
09:23I probably couldn't do that.
09:26Dandan's staff role search is a hot topic in the anime industry.
09:30Next, let's meet these people.
09:34Color design
09:37We asked them to tell us about their work.
09:41I'm Hashimoto, and I'm a color designer.
09:44I'm Kondo.
09:46I add colors to the characters and animations.
09:53Mr. Hashimoto is a very famous veteran color designer in this industry.
10:00This is a character chart that Mr. Onda, the character designer, drew.
10:06I add colors and shadows like this to decide the color.
10:15The color of the back of the eyes, the color of the neck, the color of the hair, etc.
10:19It's an important role to create an impression of the color of the character and the whole work.
10:30The behind-the-scenes story of the color setting of Okarun, the main character.
10:36When I first got Okarun, the tip of his hair was a blue gradation.
10:45I thought it would be better to make the tip of his hair blue.
10:51At first, I colored it.
10:53After that, I checked a lot of things.
10:55At the moment, it looks like this. It's reddish.
10:58When Okarun is fighting, I thought it would be cool if the red part of his hair fluttered.
11:05The turbo bar bar is also reddish like a youkai.
11:13I made a theme color for each youkai and alien.
11:20The turbo bar bar is dyed red.
11:22Okarun is red because he has that power.
11:26I work on the image of the director, the image of the original author, and where the landing point is good.
11:36What is the anime work that was influenced by these two professionals who decide the color?
11:42I saw it when I was a kid.
11:44I wanted to do this kind of work because of Nausicaa.
11:50For example, the processing of light and the expression of things.
11:55The picture is like that, but the color is very realistic.
11:59At that time, it was a shock, so it had an impact.
12:05I like the work called Veggie Carat.
12:09The character is very cute.
12:12I designed a color that would look good on plushies and goods.
12:17It was my favorite work.
12:19And here is the scene where the two color designers bragged about themselves.
12:25I'm looking forward to it.
12:33The scene where Momo awakens in the first episode of the space battle.
12:38It's a picture of a kick.
12:42This is Momo's base color.
12:44In this scene, it looks like this.
12:48When Momo awakens, she says she wants to be a different tone.
12:53It's like a blue-green tone.
12:57When Momo is attacked, I control it in detail, such as the light of green.
13:08After this, he went to the editing room of the anime Dandadan.
13:14I think it's about 1.25 times faster.
13:22Now the anime Dandadan, which is a hot topic, is being searched by the staff.
13:27Next is editing.
13:33Hello.
13:34Hello.
13:35Hello. I'm Hirose, an editor of Dandadan.
13:38It's all thanks to Hirose.
13:43What is the job of an anime editor?
13:48It's a little different from a T-shirt.
13:51The camera angle and the order of the cut are basically decided by the designer.
13:58From there, the main job is to adjust the rhythm.
14:06The editing of the anime is an important section where the voice actors create a frame while imagining the time of the lines based on the storyboard.
14:19This is the scene where Hirose praised himself.
14:25I don't believe in aliens, but I believe in ghosts.
14:31There's no way there's a ghost.
14:34If you say that, you're denying it.
14:38Don't underestimate me.
14:40In the first episode, Momo and Okarun are talking in the hallway.
14:45The rhythm of the conversation is short, short, short.
14:49I want to connect the tempo well.
14:51I want to overlap the lines.
14:53I want to be able to speak faster.
14:55I've been filling in the lines.
15:00When Okarun speaks, he's about to eat Momo's lines or react right away.
15:07He's not thinking about Momo.
15:09He's just talking about what he wants to talk about.
15:13When Momo starts talking, she's taking a break.
15:16That's what I'm trying to do.
15:21By the way, when this scene was originally uploaded as a storyboard, it was 9 seconds and 22 frames.
15:28And after editing the length, it was 9 seconds and 2 frames.
15:33It seems that it was shortened by about 1 second for 20 frames.
15:38I think it's a lot faster than normal anime.
15:41I think it's about 1.25 times faster.
15:46I think it's different from the live-action.
15:49The play comes after that kind of control.
15:53In the live-action story, the rhythm of the play is the basis.
16:00I think it's interesting to be able to make it together from the beginning.
16:08That's interesting.
16:09I think the tempo of the story has improved a lot compared to the old anime.
16:16I think so, too.
16:17There was a lot of information in the story.
16:20That's right.
16:21However, if it's just fast, it's different.
16:23You have to get the timing right where you need it.
16:25If it's fast, even if you can't get the timing right, you can feel it for a long time.
16:31I think it's a good idea to take advantage of the strength of the video and make it into a form.
16:38When I was shooting the voice acting, the voice actor said,
16:41It's so fast.
16:42That's right.
16:43I was very worried about whether it would really work.
16:46But I was confident that I could make it interesting if I could do it right.
16:50The main characters, Hanae and Wakayama, did a great job.
16:54I think it's a work that makes it easier to get the timing right.
17:01Director Yamashiro's way of speaking is about 1.25 times faster.
17:04That's right.
17:05That's the kind of brain you have.
17:07That's right.
17:09By the way, what kind of anime did you admire and watch?
17:13I'm curious.
17:14I enjoyed watching the anime, such as the Castle of Caliostro.
17:18I see.
17:19There was also a visual play.
17:21It's not possible in real life, but you exaggerate the emotions of the characters.
17:25I think it's great that you can exaggerate and deform them.
17:29There were a lot of things like that in the past.
17:31That's right.
17:32So I tried to keep the density in various places.
17:35I tried to show the beauty of the picture as much as possible.
17:39I designed it so that the viewer could see the screen.
17:42I used a lot of colors and various things.
17:44And I tried to shift the fighting atmosphere.
17:47I'm making it now with a strategy, not a way of fighting.
17:50It's the opposite.
17:51It's the difference in color.
17:52I tried to change the color when I thought about how to visually express the feeling of changing the air in a moment.
17:58I think I did a good job.
18:00The tunnel turned red, and the green and yellow came out.
18:05I made a gap in various places and shook the hearts of the viewers.
18:11If you can feel the density as a feeling,
18:15If you can feel the density as a feeling,
18:17I'm glad I did it.
18:19It's hard to express that quality.
18:21I think it's right to say that the picture is beautiful.
18:25I want you to see the animation expression.
18:29I want to prove that there are many things I can do.
18:35Let's introduce Director Yamashiro's self-praising points.
18:40Special effects
18:44Director Yamashiro's self-praising points
18:49It's not all white.
18:51It's an expression I've never seen.
18:56What is the special effect that Director Yamashiro of the anime JANDA JAN praised?
19:02I think it's a scene in the anime UFO.
19:04The light is hazy.
19:06The light is hazy.
19:08Director Jiso Akiyo is a famous special effects director.
19:14He used to do optical processing.
19:16He used to blur the light.
19:19Was it like that?
19:21It's true.
19:23It's hazy.
19:25It's not hazy.
19:27It's like this in the same direction.
19:31It's not hazy.
19:33It's hazy.
19:35This is good.
19:37You can take a picture of this in real life.
19:39If you apply vaseline to the lens of the camera, it will look like this.
19:43What is that?
19:45It's a light that's hazy.
19:47It's a light that's hazy.
19:49It's a light that's hazy.
19:51With vaseline?
19:53He used to do that.
19:55It's a bit dreamlike.
19:57It's a dreamlike.
19:59It's like when you wake up after you faint.
20:01It's like when you wake up after you faint.
20:03It's an expression I've never seen.
20:05I think it's better to do it because I don't do it.
20:07Actually, the staff role of the craftsman.
20:09The director of the shooting also explained the scene.
20:13Izumita, the director of photography, taught us how to create a special effect in a space battle scene.
20:21He really did the basics of the picture.
20:23I'm really getting a headache.
20:25The main thing is written like this.
20:27The main thing is written like this.
20:29Put a cell on top of the DG.
20:31Put a cell on top of the DG.
20:33Put a cell on top of the DG.
20:35Put a cell on top of the DG.
20:37This is the base state.
20:39Director Yamashiro gave instructions like this.
20:41Director Yamashiro gave instructions like this.
20:43Direction.
20:45Vasiline filter, I want it under the screen.
20:47On top, too.
20:49On top, too.
20:53The picture is made with a white and black mask.
20:55It isn't applied to the white part.
20:57It isn't applied to the white part.
21:01I'm making a black-inflammatory mask that causes the treatment.
21:03First of all.
21:05I'm making a black-inflammatory mask that causes the treatment.
21:07The dots are kinda too much.
21:10And if you combine them together, it may look something like this.
21:19I like the way it looks on the character!
21:21Ah, I see.
21:24Did you like the special effects?
21:26When I was young, I watched Ultraman Tiga.
21:29I was like, I'll throw in all the things I've learned.
21:32By the way, do you have any favorite works besides special edition?
21:37What I want to do is to process 2 or 3 elements of Back to the Future in one cut.
21:45Oh, is that so?
21:46That's why I raise the tempo.
21:48Do you process 2 or 3 elements in one cut?
21:50For example, there was a scene where I had to pour water on the desk and take the reaction of the person who received it.
21:58Normally, I would pour water on the desk and take the reaction of the person who received it.
22:02But if I put the glass on the desk and reflect it,
22:06I would pour water on the desk and take the reaction of the person who received it.
22:10I see!
22:12So I raise the tempo.
22:14If I do that, it will be shortened by a few seconds or 12 frames.
22:18So you don't just pour water on the desk and take the reaction of the person who received it.
22:20I can do it in one place, and I can talk about it in a picture.
22:24That's a great technical idea.
22:26I like to analyze such things.
22:28Do the directors notice the changes in the movie or drama?
22:33Do they notice the changes in the movie or drama?
22:35They notice the changes in the movie or drama.
22:37They notice the changes in the movie or drama.
22:39So they use the live-action as a reference.
22:42Yes, they do.
22:43For example, the tempo of the comedy is exactly the same as the tempo of Kudo Kankuro in the 2000s.
22:49They bring various things from various places and do it in one place.
22:52But if you don't do that, the tempo will be shortened.
22:54So they add things that Tatsu-sensei might do to make sure that the tempo doesn't get shortened.
22:58They run through 20 scenes with the same concentration.
23:01I think that's the best way to do it.
23:03I can't stop talking about Director Yamashiro.
23:06It's been a while since I talked to someone.
23:08Oh, really?
23:10Please come and talk to me as much as you want.
23:12You're spreading the word today.
23:14I'm glad you spread the word.
23:16Don't be sold off!
23:17Next time, we'll take a look at the latest work in 26 years.
23:22Let's go with Top Gear.
23:24What are the key points that the development staff talk about?
23:31It's more like this than blurring.
23:33In the same direction, like this.