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#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
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TVTranscript
00:00Here we go! Oshikaru-chan!
00:02Oshikaru-chan!
00:06This show is brought to you by the staff of Oshikaru-chan.
00:09They work on anime, games, manga, and many more.
00:12They work tirelessly to bring you the best of the best.
00:15And they tell you about the best parts of their work.
00:21Today's theme is this.
00:23It's the anime, The Rose of Versailles.
00:26Wow!
00:28It's Elvara!
00:31I used to do a skit with a character called Kaoru Osuda.
00:37It was a skit about Oshikaru.
00:40What kind of skit was it?
00:42It was about Oshikaru going to borrow a phone charger.
00:47That's a scary skit.
00:49It's like he's in the modern world.
00:52He's like, do you have a charger?
00:55He does a lot of things.
00:58I'm sure everyone has heard of it at least once.
01:01It's a popular skit, The Rose of Versailles.
01:05It was serialized in 1972 in Weekly Margaret.
01:11It's now sold over 20 million copies.
01:15That's amazing.
01:17Elvara has lived more than 50 years.
01:21My mission is to protect her with all my might.
01:26This year, it's a completely new anime.
01:31MAPPA is in charge of the animation production.
01:35MAPPA.
01:37It's a production studio that does a lot of big hit anime,
01:41such as Jujutsu Kaisen and Attack on Titan.
01:44In the second half of the 18th century, France is facing a revolutionary era.
01:49Oshikaru Francois de Jalge.
01:51He's the captain of the French Connoisseur.
01:54He plays the role of Oshikaru.
01:56He's so cool.
01:57I love you, Oshikaru.
01:59What do you want?
02:01Marie Antoinette, a queen from Austria.
02:05The voice actor is gorgeous, too.
02:10Someday, I'll sacrifice my life for you.
02:13I'm Hans Axel von Felsen.
02:16I'm from Sweden.
02:17I'm a count.
02:18It's a work that vividly depicts the love and life of people who live hard.
02:27It's beautiful.
02:29MAPPA is amazing.
02:32MAPPA is amazing.
02:34I recently watched it.
02:37The background is amazing.
02:39I felt like a rose was blooming around me.
02:46I felt the same way.
02:48I felt like a rose was blooming around me.
02:53I was looking at it.
02:55I was looking at it.
02:58I'd like to ask you a question.
03:00Can you become a queen at my age?
03:05You can.
03:07I feel like a maiden in me is awakening.
03:10I'm scared.
03:11That awakening.
03:13I don't feel like I'm looking at it.
03:15I feel like I'm being shown.
03:17I see.
03:19You can become a queen.
03:20I feel like I'm being sucked in.
03:22I feel like I'm being sucked in.
03:24I feel like I'm being sucked in.
03:26I feel like I'm being sucked in.
03:27Let's hear the points from the creators of the theater anime, Versailles.
03:33Let's start the staff role search.
03:37First,
03:39The ending is good.
03:413D CG animation director, Fuminori Nomoto.
03:45The CG was amazing.
03:473D CG that colors the gorgeous France of the Revolution.
03:51What kind of person is making it?
03:56Hello, I'm Oshiculture.
03:58Hello.
03:59This is Nomoto, the 3D CG animation director.
04:04It's amazing.
04:07I think it was a series of scenes where 3D could be the main character.
04:14Here it is.
04:20This was amazing.
04:22It's amazing.
04:24This grand parade scene.
04:27How is it made?
04:30Most of the elements are made in 3D.
04:33From the people walking and the people around, to the gate and the building.
04:37Do you feel like you're putting them one by one?
04:40That's right.
04:41I've seen more than ten times the number of other cuts.
04:48So I was prepared to make it as difficult as possible.
04:54More than 800 people and soldiers are made in 3D.
05:03It's amazing.
05:06And
05:08If you go back to the previous process,
05:11There was a time when it was like this.
05:14It's a little particular.
05:16There's something like this in the window.
05:22In about a second's cut.
05:24That's right.
05:26Some of them are left in the end.
05:29Some of them are gone.
05:31After the background texture is applied,
05:34This one is left, but this one is gone.
05:37Some of them didn't show up on the screen in the end.
05:42That's right.
05:43That's amazing.
05:44So how do you make this much 3D?
05:49If you show me the actual work.
05:53Actually, the first state.
05:55It's a state where there's no pose.
05:58It's a state like this.
06:00It's a stance or a pose.
06:02It's like an alphabet A.
06:05It's called that.
06:06I'm going to make this move.
06:08I see.
06:11It's the animator's job to make it move.
06:15There's this one soldier.
06:17He's not doing anything, but he's still a character.
06:21It's pretty hard to move him until he does this pose.
06:25I see.
06:26So all the other people are copying and increasing the same thing.
06:33But this isn't the only 3D CG job.
06:383D CG
06:41There's a part where you're dancing in the middle.
06:45It's a 3D character.
06:47Actually, there's a 3D dance.
06:50There's a 3D model that doesn't come out in the world.
06:54What is a 3D that doesn't come out in the world?
07:00This is still a work of art.
07:03If you go back to the beginning,
07:05I think it's easy to understand.
07:07There was a 3D model that wasn't a picture at all.
07:11We were making this kind of base.
07:14I see.
07:16You make this and hand-draw it.
07:19In the end, it's a hand-drawn dance scene.
07:22At the beginning, a 3D sample was made.
07:29And
07:30This motion is very difficult.
07:33It's hard to make a human-like movement little by little.
07:38As a useful element at that time,
07:40I used a technology called motion capture.
07:44I actually had a professional dancer take a picture.
07:48I'm arranging it in 3D.
07:50So it's all the same.
07:52It's pretty high-level to do it by hand while imagining all the movements.
07:57It's not for everyone, but when you try to make it as stable as possible,
08:003D technology is used.
08:05Mr. Nomoto is proud of himself.
08:09First of all, please take a look at this.
08:19What do you think of the screen?
08:22It's a hand-drawn dance scene I just introduced.
08:26In fact, 3D is still left in this scene.
08:30What?
08:31Except for the movement?
08:33Basically, all the characters you see are hand-drawn.
08:36The people in the back who don't dance are in 3D.
08:42I arranged the difficult mobs in 3D.
08:45In fact, it was supported by 3D.
08:49Because it's a scene with a lot of people,
08:51many people in the back couldn't see their faces.
08:54So I arranged the characters in 3D to reduce the work of the person in charge of drawing.
08:59I see.
09:00It's a plain position.
09:02I made it because I was proud that 3D wasn't exposed.
09:07I didn't know at all.
09:10Even if you watch a lot of anime,
09:13you can see that CG is used,
09:16but you can't see the boundary at all.
09:19I didn't know at all.
09:21The person in the back is in CG,
09:24and the person in front is hand-drawn.
09:26Yes.
09:27It's a method that can't be done in today's era.
09:33Next, Staff Roll Search.
09:41Kyouka Miyashita is drawing.
09:45What kind of work is drawing?
09:49Hello, I'm Yoshikaru.
09:51Hello, I'm Miyashita.
09:56This is Miyashita.
10:00It's a scene of Kamen Budokai.
10:03I'm drawing the movement of Marie Antoinette.
10:06At first, I made the movement with this very simple picture.
10:11First, decide the movement of the character with a simple picture.
10:17What does it say, excitement?
10:19It's like my own memo.
10:22I'm going to make you excited from here.
10:25I haven't made any facial expressions yet.
10:28I see.
10:29The director said it was okay,
10:33so I put Marie Antoinette's picture on top of it.
10:39Wow.
10:41Drawing is a job that draws about 20 pictures,
10:46which is the starting point of movement,
10:48in this one cut with more than 300,000 pieces.
10:51But this is not the end.
10:54The picture of Marie Antoinette I drew
10:57will have a picture of the artist in it.
11:00Please try to change the movement a little.
11:04And the artist's picture will be in there.
11:08There are a lot of people in this one picture.
11:11Yes.
11:13First, the original artist draws the picture.
11:16Next, the art director.
11:19And the creative director.
11:23By adding three people to one picture,
11:27Marie Antoinette is unified.
11:31Wow.
11:35Miyashita-san's self-praise.
11:39First, look at this.
12:01In this movie,
12:03singing is one of the highlights.
12:09In this beautiful video,
12:11Miyashita-san's self-praise is the highlight.
12:14Where is it?
12:22This is the overall flow of the cut I did.
12:28The emotions of these two people
12:32are expressed not only by their facial expressions,
12:35but also by the swaying curtains.
12:38They are a little lost,
12:41but they reach out their hands.
12:43The fingers of confusion.
12:45The petals overflowing from the last palace of Versailles.
12:49That's how I expressed it.
12:53The emotions of these two people
12:55are expressed not only by their facial expressions,
12:57but also by the swaying curtains,
12:59the fingers of confusion,
13:01and the overflowing petals.
13:03This is Miyashita-san's self-praise.
13:23It was a complicated work.
13:26The fingers of confusion.
13:29The petals overflowing from the last palace of Versailles.
13:34I don't think it's a manly dance.
13:38I think it's feminine to be able to express it well.
13:44I was impressed by the swaying of the petals.
13:49The connection of these two people
13:51is expressed by the swaying of the curtains.
13:53He doesn't laugh there.
13:55He doesn't laugh there at all.
13:57It's like this there.
14:01The next staff role search.
14:08Art director Hideki Nakamura.
14:12Thank you for your time.
14:17This is Mr. Nakamura, an art director.
14:21When I make animation,
14:23I'm the leader of the background art department.
14:30I have the image that most art directors
14:34make the world view.
14:37When making the rose of Versailles,
14:40the first thing Mr. Nakamura started with
14:44was making a blueprint called art setting.
14:49For example, this is Strasbourg.
14:52It's a real place, so based on reference materials,
14:55buildings and other details are drawn.
15:00This is the site of the Oscars.
15:03I drew the actual size of the building.
15:08What's more,
15:11this art board is colored with the art setting.
15:16It's as realistic as a photo.
15:19It's amazing.
15:20It's very beautiful.
15:22This is just a color for the art setting.
15:25This is not the background of the main painting.
15:30I make the color of the character
15:32and the background of the people who draw the background.
15:35Just for that?
15:36Yes.
15:37You make it in detail, but you don't use it in the main story?
15:40That's right.
15:43Even though it's drawn in detail,
15:45it's not used in the main story.
15:47It's just a board for background staff to use as a sample.
15:54It's amazing.
15:58Like the design of Versailles,
16:01there are things that are very decorative.
16:04I can't draw a carpet or a wallpaper
16:09that has a great pattern every time.
16:11It takes a long time to draw it.
16:13There's a scene where a ghost appears many times.
16:16This is it.
16:18It's a room where Oscar and Marie Antoinette
16:21appear in a scene where they talk.
16:24Actually, there's a trick.
16:28If you make the first design,
16:30you can stick it in.
16:34This is the wallpaper.
16:36This is the pattern I originally made in black and white.
16:39Like this.
16:40Wow, that's amazing.
16:42What is this?
16:43I stick all of this in.
16:47It's like a tone.
16:49By giving the material to the worker
16:52and asking him to stick it in,
16:55you can control the quality.
16:58Mr. Nakamura's self-praise.
17:03If it was in 2D,
17:07I wouldn't have been able to draw that much.
17:10So I was able to make something of high quality.
17:17After this,
17:18we will reveal the art director's extraordinary skill.
17:22This is an interesting drawing.
17:31Mr. Nakamura's self-praise.
17:35If it was in 2D,
17:39I wouldn't have been able to draw that much.
17:43So I was able to make something of high quality.
17:48This is a mirror image of the Palace of Versailles,
17:51which appears many times in the movie.
17:54To complete the rich decoration in the palace in a short time,
17:58the art director is very particular.
18:03When I was making the texture of the marble,
18:07I thought there was no good way to do it,
18:10so I made this.
18:13I rolled up a piece of paper and spread it out.
18:17If you paint on it, you can make an interesting pattern.
18:22I scanned this and increased the contrast.
18:25This is what I pulled out.
18:27I divided the yellowish part and the white part in front.
18:31I used it like this.
18:33He's a genius.
18:35This pattern, which looked like a luxury marble,
18:38was actually used as a copy paper.
18:42I was able to complete it with high quality,
18:45and I was able to shorten the time.
18:47I want you to pay attention to it.
18:51After more than 50 years,
18:53the workers revived the rose of Versailles, a masterpiece.
18:57The visual beauty is a must-see.
19:01I thought that works like this
19:03had to be really delicate and concentrated.
19:06I was wondering what it would be like if I drew it.
19:09But I was able to do it.
19:11The person at the end was like a human being.
19:15What should I do?
19:16I'm in charge, so I'll think about it.
19:18A chair like this is fine.
19:20I thought it was a work that a professional could do.
19:24In the old anime,
19:26there were times when people in the distance were drawn like a human being.
19:30There were times when I didn't have a face.
19:32There were times when I was surprised to see it,
19:34but now I don't have it anymore.
19:36It's amazing because I didn't have it.
19:38Here, the staff roll starts.
19:45The animation producer of the theater anime,
19:47The Rose of Versailles, Wataru Kawagoe.
19:50It's amazing.
19:52The quality is amazing.
19:54Everyone worked hard.
19:57How many people are involved?
19:59Including all the sections,
20:03there are about 1,000 people.
20:05Wow!
20:06I think there are about 1,000 people.
20:09Because it's a theater, there are so many people.
20:12That's right.
20:13It's a big work.
20:15Everyone worked hard to make it.
20:18What did you do to get people to watch it?
20:25There are a lot of people who watch the animation,
20:27so I dressed up like Antoinette.
20:32The dress was cute.
20:34Of course, the background is the same.
20:36The character design, Mariko Okawa,
20:38is also a woman.
20:40Antoinette is...
20:42I'm not sure if it's true or not,
20:44but she doesn't wear the same dress every day.
20:49So I designed about 50 pieces.
20:52Wow!
20:5350 pieces?
20:55I think I used about 30 pieces.
20:58You didn't use them?
21:00No, I didn't.
21:01You designed them?
21:02There were about 20 pieces.
21:03There were a few cuts.
21:06So I used only a part of them.
21:08But I think I designed about 50 pieces.
21:11Wow!
21:13By the way, what is the most expensive part of the production?
21:17The most expensive part?
21:19Well...
21:20Next, let's talk about the cost of making a theater animation.
21:23Cost of making a theater animation
21:28The first part of Oshikulture's Oshitabi!
21:32You can listen to limited content such as Ebichu's self-proclaimed talk only on Shinkansen!
21:37Search for Oshitabi on JR Tokai!
21:41By the way, what is the most expensive part of the production?
21:45The most expensive part?
21:46Well...
21:47In the process of making a theater animation,
21:50I think the most expensive part is the process of moving all the cuts, drawings, and backgrounds together.
21:58I see.
21:59For example, the dance part I mentioned earlier.
22:02It starts with getting the dancers to dance in real life.
22:06I see.
22:07That's where it starts.
22:08I think it costs a lot of money to have multiple processes.
22:12But I have to do my best to make something good.
22:17I see.
22:18First of all...
22:20First of all, why did you decide to make a theater animation at this time?
22:28Well...
22:30As I said earlier, I think there are many people who know the characters.
22:34For example, Oscar and Antoinette.
22:35I know them because they are costumes, and I also did a musical in Takarazuka.
22:39I know the characters, but I don't know what kind of story it is.
22:42The original work was made 50 years ago, and the first animation was made about 45 years ago.
22:47I see.
22:48So there are few people who know it.
22:51However, the theme of the original work is that women who live bravely even though they are oppressed by the times.
22:58The same goes for Antoinette and Oscar.
23:00I think it's a universal story that continues to this day.
23:06So I want people to watch this animation as well.
23:12I see. There is a message that I want to convey.
23:17Next time!
23:18What is this fighting game?
23:19It's so cool!
23:20Let's take a closer look at the behind-the-scenes of a popular fighting game!
23:23It's pretty easy.
23:25Why didn't I play it?
23:27A battle between seniors and juniors with no humanity will take place!
23:30Oh, no!
23:31Oshiculture is now available on T-Bird and MBS!