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{{InfoboxInterview|category1=Scarlet and Violet | {{InfoboxInterview|category1=Scarlet and Violet | ||
|date=March 2023 | |date=March 2023 | ||
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|translator1=Earthoul | |translator1=Earthoul | ||
|proofreader1=Lewtwo | |proofreader1=Lewtwo | ||
|original=https://archive.org/details/cgworld-vol.-296- | |original=https://archive.org/details/cgworld-vol.-296-Pokémon-sv-with-creatures-inc. | ||
}} | }} | ||
This is an interview in the "Animation Workflow for Games" series on CGWorld — interviewed by Ryo Wakasugi (chief editor, CG animator at Sony Pictures Imageworks); text by Miyuki Ogata from CG World; transcribed by Yoichiro Oue. The magazine later posted the article online in three parts.<ref>[https://web.archive.org/web/20230421071844/https://cgworld.jp/article/202304- | This is an interview in the "Animation Workflow for Games" series on CGWorld — interviewed by Ryo Wakasugi (chief editor, CG animator at Sony Pictures Imageworks); text by Miyuki Ogata from CG World; transcribed by Yoichiro Oue. The magazine later posted the article online in three parts.<ref>[https://web.archive.org/web/20230421071844/https://cgworld.jp/article/202304-Pokémon1.html], [https://web.archive.org/web/20230421071852/https://cgworld.jp/article/202304-Pokémon2.html], [https://web.archive.org/web/20230421071856/https://cgworld.jp/article/202304-Pokémon3.html]; although the website offers a "LANGUAGE" menu, it's just a Google Translate tooltip.</ref> | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=CGWorld296 Creatures Staff.png | |||
|imagesize= | |imagesize=200 | ||
|caption= | |caption= | ||
'''Yuki Yoneya''', Pokémon Character Motion Lead;<br>'''Shun Onodera''', Pokémon Character Modelling Lead;<br>'''Suguru Fukaya''', Pokémon Character Motion | '''Yuki Yoneya''', Pokémon Character Motion Lead;<br>'''Shun Onodera''', Pokémon Character Modelling Lead;<br>'''Suguru Fukaya''', Pokémon Character Motion | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
In Scarlet & Violet, The Pokémon Company took the role of the production and branding; GAME FREAK handled overall game development including the | In Scarlet & Violet, The Pokémon Company took the role of the production and branding; GAME FREAK handled overall game development including the specifications of the Pokémon's 3D assets; and our company, Creatures, were in charge of 3D asset creation for most Pokémon. | ||
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I served as the modelling lead. The teamwork between modellers and animators was essential to this game's development; hence I'm joining this interview, too. | I served as the modelling lead. The teamwork between modellers and animators was essential to this game's development; hence I'm joining this interview, too. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
We call it '''kyara uchi'''; setting the course for the specifications and motion of a Pokémon. For example, we settle the species-specific characteristics of that Pokémon and the range of motion for its joints. Basically, we follow GAME FREAK's settei and the like; however, they mainly document attack motion, which leaves us to provide various emotional expressions [at our will] for the most part. Last but not least, our | We call it '''kyara uchi'''; setting the course for the specifications and motion of a Pokémon. For example, we settle the species-specific characteristics of that Pokémon and the range of motion for its joints. Basically, we follow GAME FREAK's settei and the like; however, they mainly document attack motion, which leaves us to provide various emotional expressions [at our will] for the most part. Last but not least, our modelers' jobs go as far as joint setups and skinning, while the rigging controller setups are done by our riggers. | ||
}} | }} | ||
{{Translators Note|text= | {{Translators Note|text= | ||
''Kyara uchi'' seems to be the shortened form of "character ''uchi-awase'' | ''Kyara uchi'' seems to be the shortened form of "character ''uchi-awase",'' literally "character meeting". | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
Yes, [the modelling team] listens to the motion team and adds joints to the parts that the motion team want to | Yes, [the modelling team] listens to the motion team and adds joints to the parts that the motion team want to move, before passing [the data] on to the riggers. There are sometimes requests after the actual motion implementation [tests], like "Could you add another joint here, since I want this part to sway, too?" Implementing [test] motion often reveals issues that we couldn't conceive of before; so it leads to frequent communication between our modellers and animators. | ||
}} | }} | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: What information is important for animators on the sheets | Wakasugi: What information is important for animators on the sheets with their instructions? | ||
}} | }} | ||
{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
The ecology. What lives do they live, and in what environments? Do they live in groups; do they have companionship; are they aggressive; or [basically] aggressive but also cool-headed when in battle? Even a gentle Pokémon has to attack during battles; will the Pokémon attack so | The ecology. What lives do they live, and in what environments? Do they live in groups; do they have companionship; are they aggressive; or [basically] aggressive but also cool-headed when in battle? Even a gentle Pokémon has to attack during battles; will the Pokémon attack so the opponent won't feel pain? We deeply consider [aspects] like that. | ||
}} | }} | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: Fascinating, but it sounds hard to grant | Wakasugi: Fascinating, but it sounds hard to grant those requests. ''(laughs)'' | ||
}} | }} | ||
{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
That's right. '''(laughs)''' The assigned animators collect [additional] reference material based on the ecological data and poses [provided by GAME FREAK]; with that as well as our brainstorming, we solidify how their motion will | That's right. '''(laughs)''' The assigned animators collect [additional] reference material based on the ecological data and poses [provided by GAME FREAK]; with that, as well as our brainstorming, we can solidify how their motion will turn out. After the '''kyara uchi''', we [prepare] a prototype model, with which we create some motion within Maya as [a sort of] taste test. Once it passes the supervisors' [test], we finalize the remainder of the motion assets. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
Once we finalize the models, we replace the prototype models with the final ones to further improve motion. Implementing motion into the actual games requires animation-state setups | Once we finalize the models, we replace the prototype models with the final ones to further improve motion. Implementing motion into the actual games requires animation-state setups using a tool, which is another job done by our animators. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
It's a tool developed by GAME FREAK. For animation-state setups, each animator consults GAME FREAK's templates prepared [in the tool] to configure animation transition endpoints. This sequence of work | It's a tool developed by GAME FREAK. For animation-state setups, each animator consults GAME FREAK's templates prepared [in the tool] to configure animation transition endpoints. This sequence of work makes [the assets] ready for delivery, but that isn't the end; fine-tuning the motion while ensuring the transitions will continue right up until the development deadline. | ||
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{{InterviewImageTop}} | {{InterviewImageTop}} | ||
{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=CGWorld Quaxly Settei 1 | |||
|imagesize=250 | |imagesize=250 | ||
|caption= | |caption= | ||
'''Bottom Middle''': Hair | '''Bottom Middle''': Hair • Gel • The gel is bouncy • The same color as the body, but it has eyeballs (only on textures)<br>'''Bottom Right''': Non-gel form<br>'''Top Right''': It folds its wings (arms) only when swimming | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=CGWorld Quaxly Settei 2 | |||
|imagesize=250 | |imagesize=250 | ||
|caption= | |caption= | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
The settei has some requests noted down, such as "This detailed [part] should always be visible"; so during the modelling process, we shape | The settei has some requests noted down, such as "This detailed [part] should always be visible"; so during the modelling process, we shape so that they'll consistently look good, and add more joints for fine-tuning, for example. | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
For Pokémon based on a real-life living thing, we collect videos about the ecology of that creature. As an example, for a Pokémon based on a dog, we seek out videos of similar breeds of dog. You know, a Shiba-Inu wags its tail | For Pokémon based on a real-life living thing, we collect videos about the ecology of that creature. As an example, for a Pokémon based on a dog, we seek out videos of similar breeds of dog. You know, a Shiba-Inu wags its tail like a "whoosh-whoosh!" when excited, while a Golden Retriever does it more gently. Our discussion can go '''that''' far as to which is the better for our interpretation. | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
Many Pokémon are based on multiple living things and inanimate objects rather than one single thing, so we discuss what elements to incorporate and to | Many Pokémon are based on multiple living things and inanimate objects rather than one single thing, so we discuss what elements to incorporate, and which to part with. For example, [[Fidough]] has a motif of a dog and bread. Whilst its outer body feels like sticky and moist dough, it also features the motion and behaviors of a small dog, which is also important for us to consider. | ||
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Wakasugi: That's tough! ''(laughs)'' | Wakasugi: That's tough! ''(laughs)'' | ||
}} | }} | ||
Example video: [https://youtu.be/QhULJ2HQMbU Fidough sleeping] | Example video: [https://youtu.be/QhULJ2HQMbU Fidough sleeping] | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
We observed | We observed dough and added the bread-like bouncy texture at key points. I believe the willingness to observe is essential, both in CG animation and gaming jobs. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
For Pokémon based merely on inanimate objects, our development focuses on how to make them feel alive. Sandy Shocks is a Pokémon with its legs resembling U-shaped magnets, and is designed to collect ironsand unintentionally with its legs on [each] step. The assigned animator(s) watched videos of ironsand, noting "'''This''' is how ironsand is supposed to | For Pokémon based merely on inanimate objects, our development focuses on how to make them feel alive. Sandy Shocks is a Pokémon with its legs resembling U-shaped magnets, and is designed to collect ironsand unintentionally with its legs on [each] step. The assigned animator(s) watched videos of ironsand, noting "'''This''' is how ironsand is supposed to move..." | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: Indeed, you can't model the flow of ironsand only | Wakasugi: Indeed, you can't model the flow of ironsand with only your imagination. | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
Scarlet & Violet | Scarlet & Violet had a change in the joint specifications, which overhauled the naming of each joint. As a result, we could hardly use motion from previous titles as they were, so we re-sorted the data while consulting riggers and technical artists about what script would [best] migrate the motion at a low cost. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
That was a change based on GAME FREAK's suggestion for easier data handling for future-proofing. The specifications of facial assets have been changed as well; almost all facial assets were newly created. Past Pokémon games used | That was a change based on GAME FREAK's suggestion for easier data handling for future-proofing. The specifications of facial assets have been changed as well; almost all facial assets were newly created. Past Pokémon games used texture-based scroll animation to render facial assets, but it's been changed to joint-based animation since [[Legends: Arceus]]. It's cuter if the eyes and mouth move nicely, and that also offers a wider variety of expression; so we focused heavily on these facial assets in Scarlet & Violet. | ||
}} | }} | ||
{{Translators Note|text= | {{Translators Note|text= | ||
The "texture-based scroll animation" appears to refer to how all Pokémon games pre-Legends Arceus had their eye textures on a single image, which would flip-between different points on the texture whenever an expression was called. | The "texture-based scroll animation" appears to refer to how all Pokémon games pre-[[Legends: Arceus]] had their eye textures on a single image, which would flip-between different points on the texture whenever an expression was called. | ||
}} | }} | ||
TODO: Add the single image of the eye textures; the old image URL is broken, | |||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Quaxly facial presets | |||
|imagesize=250 | |imagesize=250 | ||
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{{InterviewLede|lede= | {{InterviewLede|lede= | ||
The UI | The UI has buttons for each facial expression preset, which allows the assigned animators to simply click a button at the right point during a motion sequence [to apply a preset] to provide facial assets [in that sequence]. This not only streamlines the process, but also prevents inconsistencies across animators and issues with the designs. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
With the change from the texture-based [scroll animation] to the joint-based [animation] for facial textures, our technical artists listened to the requests of the | With the change from the texture-based [scroll animation] to the joint-based [animation] for facial textures, our technical artists listened to the requests of the modelers and animators, and developed in-house tool(s). Portraying each Pokémon's characteristics consistently is key to maintaining the Pokémon brand. We've been trying our best as a team every day to achieve that. | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: Given that Pokémon have very simple designs, just a tiny bit of change can | Wakasugi: Given that Pokémon have very simple designs, just a tiny bit of change can cause something somewhat... '''sakuga hokai'''. | ||
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{{Translators Note|text= | {{Translators Note|text= | ||
''Sakuga hokai'' can refer to severely bad animation | ''Sakuga hokai'' can refer to severely bad animation. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
Yes, raising the corner of the mouth just a little more | Yes, raising the corner of the mouth just a little more could create a different impression. '''(laughs)''' | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
|text= | |text= | ||
Since the main series Pokémon games attach high importance of individuality for each Pokémon, we wanted to maintain familiar facial expressions as much as possible, and we discussed [this topic] many times with The Pokémon Company and GAME FREAK. Also, motion with joyful eyes in the texture-based style would very often look strange when those eyes were gone [during the rebuilding process], which required us to rebuild the motion as well. | Since the main series Pokémon games attach high importance of individuality for each Pokémon, we wanted to maintain familiar facial expressions as much as possible, and we discussed [this topic] many times with [[The Pokémon Company]] and [[GAME FREAK]]. Also, motion with joyful eyes in the texture-based style would very often look strange when those eyes were gone [during the rebuilding process], which required us to rebuild the motion as well. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Goomy facial joints | |||
|imagesize=250 | |imagesize=250 | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Goomy Jigglypuff damaged facial expressions | |||
|imagesize=250 | |imagesize=250 | ||
|caption= | |caption= | ||
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{{Translators Note|text= | {{Translators Note|text= | ||
The "surface patterns" appear to refer to the normal maps that allow for a degree of texture on a | The "surface patterns" appear to refer to the normal maps that allow for a degree of texture on a Pokémon's body in ''Scarlet & Violet'', such as Seviper's scales. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
I'm happy to hear you felt that way. This is an open-world game where Pokémon are '''symbol encounters'''. Players can observe overworld Pokémon at a distance; so we've enhanced [the motion], considering the life-likeness and their natural motion, whilst also meeting the requirements [of the settei, etc.]. There was even some data from the 30 FPS era among the motion assets for previous titles, so we've rebuilt | I'm happy to hear you felt that way. This is an open-world game where Pokémon are '''[[symbol encounters]]'''. Players can observe overworld Pokémon at a distance; so we've enhanced [the motion], considering the life-likeness and their natural motion, whilst also meeting the requirements [of the settei, etc.]. There was even some data from the 30 FPS era among the motion assets for previous titles, so we've rebuilt at 60 FPS as well. | ||
}} | }} | ||
{{Translators Note|text= | {{Translators Note|text= | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
When we [first] tried motion blending on the transition between idling and running, the berry clipped into its body, so we've adjusted the running motion. We could've opted to prepare a dedicated transition animation [between idling and running], but [we decided against it]; [inserting] a transition animation between idling and running would make the gameplay feel sluggish, and avoiding devising transition animations as much as possible [has become] our principle. I believe that this [new] sequence of idling to running has made the transition feel far smoother, and the [whole] animation look way more suited to the | When we [first] tried motion blending on the transition between idling and running, the berry clipped into its body, so we've adjusted the running motion. We could've opted to prepare a dedicated transition animation [between idling and running], but [we decided against it]; [inserting] a transition animation between idling and running would make the gameplay feel sluggish, and avoiding devising transition animations as much as possible [has become] our principle. I believe that this [new] sequence of idling to running has made the transition feel far smoother, and the [whole] animation look way more suited to the Pokémon's personality. | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: When a Pokémon attacks an opponent in battle, it returns to the initial position and then performs weight transfer — I really love it. For example, [a Pokémon] taking a step forward and throwing a punch will [not only] step back to the initial position [but also] shift body weight with its other leg before going back to idling. In my opinion, given that Pokémon's designs are [often] simple, more stylized motion would hardly look incongruent. Why did you [opt to] | Wakasugi: When a Pokémon attacks an opponent in battle, it returns to the initial position and then performs weight transfer — I really love it. For example, [a Pokémon] taking a step forward and throwing a punch will [not only] step back to the initial position [but also] shift body weight with its other leg before going back to idling. In my opinion, given that Pokémon's designs are [often] simple, more stylized motion would hardly look incongruent. Why did you [opt to] attempt weight transfer [in an attacking sequence]? | ||
}} | }} | ||
{{Translators Note|text= | {{Translators Note|text= | ||
Weight transfer is an athletic technique of shifting body weight from one part of the body to another during action. In-game motion for that is a level of animation | Weight transfer is an athletic technique of shifting body weight from one part of the body to another during action. In-game motion for that is a level of animation follow-through after a Pokémon makes a sharp move, which makes it look more natural. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Workflow screenshot | |||
|imagesize=250 | |imagesize=250 | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: In the filming industry, it's often fine to prioritize the rear view of a character, regardless of the front-view design, when you only need to see it from that view. When it comes to games, it's necessary to | Wakasugi: In the filming industry, it's often fine to prioritize the rear view of a character, regardless of the front-view design, when you only need to see it from that view. When it comes to games, it's necessary to look consistently good at all angles, right? | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
You're right. '''(laughs)''' If we have the game's mechanics and the camerawork locked in at the time we create a Pokémon's 3D assets, it may just be enough to adjust their appearance using the in-game camera. In reality, that's not always the case, so it's essential to check from all angles. That being said, we can estimate most angles, and visual checks from those angles in particular | You're right. '''(laughs)''' If we have the game's mechanics and the camerawork locked in at the time we create a Pokémon's 3D assets, it may just be enough to adjust their appearance using the in-game camera. In reality, that's not always the case, so it's essential to check from all angles. That being said, we can estimate most angles, and visual checks from those angles in particular are done very carefully. An example of these adjustments could be ensuring that a [Pokémon's] signature horn is visible, where its animations are clearly seen. | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
|text= | |text= | ||
Pokémon with a lot of swaying parts. For instance, Quaquaval, the final evolution of Quaxly, has decorative wings and is prone to a messy silhouette, which was tough for us. | Pokémon with a lot of swaying parts. For instance, [[Quaquaval]], the final evolution of [[Quaxly]], has decorative wings and is prone to a messy silhouette, which was tough for us. | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
|text= | |text= | ||
I | I squinted at it constantly to figure out its silhouette. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
Yes, manually. We have some scripts for | Yes, manually. We have some scripts for automation, but we seldom use them. We tried to automate this, but manual adjustments on the visuals were required in the final steps; so we decided against it. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Player's Quaxwell | |||
|image2=Opponent's Quaxwell | |||
|imagesize=250 | |imagesize=250 | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Player's Quaquaval | |||
|image2=Opponent's Quaquaval | |||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Quaquaval view 1, 2 | |||
|image2=Quaquaval view 3, 4 | |||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
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We want to assign the same person to similar[-looking] Pokémon, but the timing doesn't always line up. If we | We want to assign the same person to similar[-looking] Pokémon, but the timing doesn't always line up. If we assign a different person, we'll give them completed motion [assets] for them to look up. As an example, we handed Quaxly's motion [assets] to the animator(s) in charge of Quaxwell and Quaquaval for reference, and asked them to reproduce the bouncy texture of the head. At the same time, some staff tell us, "I'm not great with [animating] birds, so I'd like to challenge myself". In these cases, we may assign them a less gimmicky and easier Flying-type Pokémon. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
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Many gimmicks and swaying parts can increase difficulty, yes. In particular, Legendary Pokémon are likely to be more difficult, as they have detailed settei, which we must stick to throughout development. | Many gimmicks and swaying parts can increase difficulty, yes. In particular, [[Legendary Pokémon]] are likely to be more difficult, as they have detailed settei, which we must stick to throughout development. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
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For Miraidon and a few other Pokémon, the modelling team created shader gimmicks for the motion team to handle, such as the way a surface emits light, the motion of moving particles, etc. The modelling team has put in effort to properly realize the gimmicks shown on the settei, and depending on the Pokémon, there can be a huge number of parameters. If we simplify that to a single parameter, the motion would be too monotonous; so we intentionally leave all of them open so that animators can adjust them. This results in frequent communications asking, "How do we use this [parameter]?" and the like; [their jobs] | For [[Miraidon]] and a few other Pokémon, the modelling team created shader gimmicks for the motion team to handle, such as the way a surface emits light, the motion of moving particles, etc. The modelling team has put in effort to properly realize the gimmicks shown on the settei, and depending on the Pokémon, there can be a huge number of parameters. If we simplify that to a single parameter, the motion would be too monotonous; so we intentionally leave all of them open so that animators can adjust them. This results in frequent communications asking, "How do we use this [parameter]?" and the like; [their jobs] feel tough to me. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
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Let's take Chi-Yu for example, a Pokémon based on a goldfish with magatama-like objects around its eyes. We made a gimmick where its eyes and magatamas shone gradually, but we needed to give the radiance of its eyes and the glowing of its magatamas separate timing; so we added [other] gimmicks with independently adjustable parameters. Things like those are prone to timing errors and therefore require close | Let's take [[Chi-Yu]] for example, a Pokémon based on a goldfish with magatama-like objects around its eyes. We made a gimmick where its eyes and magatamas shone gradually, but we needed to give the radiance of its eyes and the glowing of its magatamas separate timing; so we added [other] gimmicks with independently adjustable parameters. Things like those are prone to timing errors and therefore require close communication. | ||
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{{InterviewLede|lede= | {{InterviewLede|lede= | ||
Chi-Yu's motion: | [[Chi-Yu]]'s motion: | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
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Spidops, an early-game [Pokémon], is another one with both a complicated body structure and movement, and developing it [required] a lot of discussions with modellers. It has eight legs like a spider, so its knee joints can only bend in a single direction. | [[Spidops]], an early-game [Pokémon], is another one with both a complicated body structure and movement, and developing it [required] a lot of discussions with modellers. It has eight legs like a spider, so its knee joints can only bend in a single direction. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
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Spidops' | [[Spidops]]' eight legs are all cylindrical, and it needs to bend its joints whilst maintaining a consistent [leg] shape; so we needed to coordinate this in detail with riggers and animators. There are even some occasions where it moves whilst two of its front-left, front-right, back-left and back-right legs are attached to each other, so it has an extremely limited range of motion. Moreover, it has no ankles — so the animator(s) in-charge had a hard time. | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
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With those restrictions in place, we made progress while consulting | With those restrictions in place, we made progress while consulting modelers about how to portray [a Pokémon's] life-likeness. [[Iron Thorns]] and [[Iron Bundle]] have ankle joints with a narrow range of motion, which was troublesome; but above all, the fact that they have no knees was [the] hard[est]. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
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Varoom was another one of our tough jobs. It's based on a single-cylinder engine, and it has a lot of inorganic elements in its design. We needed to balance [its design] with its cartoonish, exaggerated movements as shown [on the settei]; so we found it difficult to share common ground about interpreting its movement. | [[Varoom]] was another one of our tough jobs. It's based on a single-cylinder engine, and it has a lot of inorganic elements in its design. We needed to balance [its design] with its cartoonish, exaggerated movements as shown [on the settei]; so we found it difficult to share common ground about interpreting its movement. | ||
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Iron Thorns' attacking motion: it lacks knee joints, which makes it hard to get its movements working properly. | [[Iron Thorns]]' attacking motion: it lacks knee joints, which makes it hard to get its movements working properly. | ||
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{{InterviewImageTop}} | {{InterviewImageTop}} | ||
{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Iron Bundle idling | |||
|imagesize=250 | |imagesize=250 | ||
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Iron Bundle doesn't have knee joints either; additionally, it has shorter back legs than Iron Thorns' | [[Iron Bundle]] doesn't have knee joints either; additionally, it has shorter back legs than [[Iron Thorns]]'. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Varoom idling | |||
|imagesize=250 | |imagesize=250 | ||
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Varoom is based on a single-cylinder engine, which caused difficulties when discussing how it should be interpreted in motion | [[Varoom]] is based on a single-cylinder engine, which caused difficulties when discussing how it should be interpreted in motion. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Roaring Moon idling | |||
|image2=Roaring Moon zoomed | |||
|imagesize=250 | |imagesize=250 | ||
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Roaring Moon has long front legs and claws, and short back legs, which makes it prone to clipping during development of its walking motion and the like | [[Roaring Moon]] has long front legs and claws, and short back legs, which makes it prone to clipping during development of its walking motion, and the like. | ||
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{{InterviewImage|color1=white|color2=white | {{InterviewImage|color1=white|color2=white | ||
|image1=Chien-Pao idling | |||
|imagesize=250 | |imagesize=250 | ||
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Chien-Pao has very long swords in its mouth | [[Chien-Pao]] has very long swords in its mouth. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
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Let's take jumping for instance: previously, [a Pokémon] only had the animation of jumping out of a Poké Ball in battle; this time, we needed jumping animations for the overworld. A simple copy-paste of an in-battle animation wouldn't suffice at all; detailed, dedicated animations were required, resulting in a big increase of the number [of animations]. | Let's take jumping for instance: previously, [a Pokémon] only had the animation of jumping out of a [[Poké Ball]] in battle; this time, we needed jumping animations for the overworld. A simple copy-paste of an in-battle animation wouldn't suffice at all; detailed, dedicated animations were required, resulting in a big increase of the number [of animations]. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
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Some Pokémon not only travel on land but also swim or fly. For example, Glaceon requires [its motion assets] both on land and in water, and Bombirdier both on land and in the air. More and more motions have become | Some Pokémon not only travel on land but also swim or fly. For example, [[Glaceon]] requires [its motion assets] both on land and in water, and [[Bombirdier]] both on land and in the air. More and more motions have become mandatory in this way. | ||
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• Motion of Glaceon and Bombirdier: | |||
Example videos: | Example videos: | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
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The development team at our company [Creatures] is more than twice as big as that in Sword & Shield. We never had this scale of development before, and there were a lot of uncertain, experimental [workflows]; we know there's still considerable room for improvement | The development team at our company [Creatures] is more than twice as big as that in [[Sword & Shield]]. We never had this scale of development before, and there were a lot of uncertain, experimental [workflows]; we know there's still considerable room for improvement. This time, [our workflow] greatly relied on the communication efforts of each member, which wasn't the optimal way for sure. | ||
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{{ | {{References}} | ||
Revision as of 21:50, 6 January 2025
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This translated page needs to be proofread! Please reach out through the Discord before doing so! |
This is an interview in the "Animation Workflow for Games" series on CGWorld — interviewed by Ryo Wakasugi (chief editor, CG animator at Sony Pictures Imageworks); text by Miyuki Ogata from CG World; transcribed by Yoichiro Oue. The magazine later posted the article online in three parts.[1]
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Yuki Yoneya, Pokémon Character Motion Lead;
Shun Onodera, Pokémon Character Modelling Lead;
Suguru Fukaya, Pokémon Character Motion
Shun Onodera, Pokémon Character Modelling Lead;
Suguru Fukaya, Pokémon Character Motion
Motion Consideration, Based on the Ecology and Temperament of Each Pokémon
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Bottom Middle: Hair • Gel • The gel is bouncy • The same color as the body, but it has eyeballs (only on textures)
Bottom Right: Non-gel form
Top Right: It folds its wings (arms) only when swimming
Bottom Right: Non-gel form
Top Right: It folds its wings (arms) only when swimming
From left to right: Idle; Half-closed; Closed; Angry; Sad; Joyful; Damaged; Surprised
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Collecting Reference Material, Not Only for Living Things But Also for Inanimate Objects
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Please add a question here!Example video: Fidough sleeping
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Example Video: Sandy Shocks walking
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From left to right: Open; Half-closed; Closed; Joyful; Angry; Damaged
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Rebuilding Texture-based Facial Expressions with Joints
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Goomy's Facial Joints
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Goomy's & Jigglypuff's Facial Expressions, when taking damage.
- The motion team tells the modelling team what motion the Pokémon should have. Their ideas [must be] shared in detail: ex. whether [the motion] involves whole or partial body scaling; and whether [the Pokémon] also flails when opening the mouth wide.
- The modelling team sets up the joints and the [rigging] weight, using this shared information. The team sets the Root Joints that allow the entire eyes to move as the parent nodes, and configures [each child node] for the intended facial expressions and shape, depending on each Pokémon.
- As for older Pokémon, the motion team tries using the existing facial asset data, checks for errors or clipping glitches, and debugs them.
- The final assets for the facial expressions will be formed into a preset and registered to the in-house tool.
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- Passimian idling, SV: Passimian holds the berry in one hand in its idling motion
- Passimian walking, pre-SV: The previous titles didn't require a transition between idling and running, so the berry was held in its tail in its running motion
- Passimian Running, SV: Scarlet & Violet has added transitions between idling and running in the open world, which has changed the motion so that it now runs with the berry kept held in its hand
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Meticulously Developed Post-attack Animations, Including Weight Transfer
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Example video: Floragato attacking, then idling
Screenshot of a dedicated tool for the workflow of animation-state transition adjustments
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A player and opponent's Quaxwell in their idle animations during battle
A player and opponent's Quaquaval in their idle animations during battle
Quaquaval's idle animation in four views: its silhouette has been carefully arranged to keep it looking really cool from all angles
Some Animators Challenge Themselves in a Type of Animation They Consider to Be Their Weak Points
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Portraying Life-likeness, in Spite of Various Limitations
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- Chi-Yu attacking: Chi-Yu's attacking animation, where both its eyes and magatamas glow at the same time
- Chi-Yu joyful animation: Chi-Yu's joyful animation, where its eyes are wide open and only its magatamas shine
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Example video: Iron Thorns attacking
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Chien-Pao has very long swords in its mouth.
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Developing Motion, Not Only on Land but Also in Air and Water
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• Motion of Glaceon and Bombirdier:
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Creatures, Inc.'s Role: Expanding How Pokémon are Expressed
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