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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-pokemon1.html], [https://web.archive.org/web/20230421071852/https://cgworld.jp/article/202304-pokemon2.html], [https://web.archive.org/web/20230421071856/https://cgworld.jp/article/202304-pokemon3.html]; although the website offers a "LANGUAGE" menu, it's just a Google Translate tooltip.</ref> | 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-pokemon1.html], [https://web.archive.org/web/20230421071852/https://cgworld.jp/article/202304-pokemon2.html], [https://web.archive.org/web/20230421071856/https://cgworld.jp/article/202304-pokemon3.html]; although the website offers a "LANGUAGE" menu, it's just a Google Translate tooltip.</ref> | ||
{{InterviewLede | {{InterviewLede|lede= | ||
|lede= | Pokémon: Scarlet & Violet are the '''kanzen shinsaku''' of main series '''Pokémon''', and are the first open-world games in the series. We've deeply explored the work of animators at Creatures, Inc., who have breathed life into many Pokémon inhabiting in the Paldea region, the setting of Scarlet & Violet. | ||
Pokémon: Scarlet & Violet are the '''kanzen shinsaku''' of main series '''Pokémon''', and are the first open-world games in the series. We've | |||
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{{Translators Note|text= | {{Translators Note|text= | ||
In the original interview, CGWorld abbreviates ''Scarlet & Violet'' as "S・V". | In the original interview, CGWorld abbreviates ''Scarlet & Violet'' as "S・V", using the uncommon middle dot. | ||
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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 | In Scarlet & Violet, The Pokémon Company took the role of the production and branding; GAME FREAK handled overall game development including the specification of the Pokémon's 3D assets; and our company, Creatures, were in charge of 3D asset creation for most Pokémon. | ||
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{{Translators Note|text= | {{Translators Note|text= | ||
Yoneya is the sub-manager of Creatures' art team under Fukaya, but is credited as the motion lead in ''Scarlet & Violet'', which is a | Yoneya is the sub-manager of Creatures' art team under Fukaya, but is credited as the motion lead in ''Scarlet & Violet'', which is a higher position than Fukaya's on those games. | ||
}} | }} | ||
{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
I served as the modelling lead. The teamwork between modellers and animators was essential to | 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= | ||
It's my fourteenth year, mostly in the gaming industry. My debut work at our company was Sword & Shield, and I've been among the main series Pokémon | It's my fourteenth year, mostly in the gaming industry. My debut work at our company was Sword & Shield, and I've since been among the main series Pokémon developers. | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
I began my career in CG animation and joined the company in 2017. | I began my career in CG animation and joined the company in 2017. I have about eleven years of experience in total, six in the gaming industry. | ||
}} | }} | ||
{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
Much like Yoneya, I had worked for CG animation teams until I joined the company in 2018 | Much like Yoneya, I had worked for CG animation teams until I joined the company in 2018; I have about twelve years of experience in total, five in the gaming industry. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
Scarlet & Violet has more than 400 species of Pokémon, about 120 of which are new. GAME FREAK prepares the settei, the motion instructions, and the like. Within [those documents], there are '''san-men zu''', idling and attacking poses, expression sheets, etc. which our modelling team uses to work on 3D modelling. The Pokémon Company and GAME FREAK then supervise our modelling, and their approval brings us to a meeting between the art directors, the modelling and motion leads, the assigned animators in-charge, and so on. | Scarlet & Violet has more than 400 species of Pokémon, about 120 of which are new. GAME FREAK prepares the settei, the motion instructions, and the like. Within [those documents], there are '''san-men zu''', idling and attacking poses, expression sheets, etc., which our modelling team uses to work on 3D modelling. The Pokémon Company and GAME FREAK then supervise our modelling, and their approval brings us to a meeting between the art directors, the modelling and motion leads, the assigned animators in-charge, and so on. | ||
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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 | 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 modellers' jobs go as far as the joint setups and the skinning, while the rigging controller setups are done by our riggers. | ||
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{{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 | 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 look. 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=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
For new Pokémon, | For new Pokémon, their taste test motion is the cornerstone of their characterization, so we spend a lot of time checking it over. For older Pokémon, we emphasize the personality of a Pokémon across its poses, and its consistency of characterization. | ||
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== Collecting Reference Material for Inanimate Objects | == Collecting Reference Material, Not Only for Living Things But Also for Inanimate Objects == | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: I guess quite a few Pokémon are difficult to showcase properly from certain angles. For example, in the case of Quaxly, were there some instructions like, "The pointy part of its head must be kept at this angle"? | Wakasugi: I guess quite a few Pokémon are difficult to showcase properly from certain angles. For example, in the case of Quaxly, were there some instructions like, "The pointy part of its head must be kept at ''this'' angle"? | ||
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{{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | {{InterviewParagraph|name=Yoneya|sprite=Yuki Yoneya | ||
|text= | |text= | ||
There were no instructions on angles, but — Quaxly's head has a bouncy texture, you know. There was a request for maintaining that across | There were no instructions on angles, but — Quaxly's head has a bouncy texture, you know. There was a request for maintaining that across all of its motion, which was tough for us to fine-tune. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
The settei | The settei has some requests noted down, such as "This detailed [part] should always be visible"; so during the modelling process, we shape [parts like that] so that they'll consistently look good, and add more joints for fine-tuning, for example. | ||
}} | }} | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: What references were collected | Wakasugi: What references were collected in the ''kyara uchi'' phase? | ||
}} | }} | ||
{{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 [wildly] like a "whoosh-whoosh!" when excited, while a Golden Retriever does it more gently. Our discussion can go '''that''' far as to | 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 [wildly] 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 [of that Pokémon]. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
Similarly, for | Similarly, for a Pokémon with a frog motif, we think as much as "What species of frog?" to [comprehend] the essential [elements of that frog's] motion to incorporate it [into that Pokémon]. | ||
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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 which part with. For example, Fidough has a motif of a dog and bread. | 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 which 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 behaviours of a small dog, which is also important for us. | ||
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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, | 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: So, apparently you're required to cover a wide variety of movements | Wakasugi: So, apparently you're required to cover a wide variety of movements and come up with a range of [your own] ideas there. | ||
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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 purely texture-based scroll animation to render facial assets, but | 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 [purely] 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. | ||
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{{Translators Note|text= | {{Translators Note|text= | ||
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{{InterviewLede|lede= | {{InterviewLede|lede= | ||
The UI [of Creatures' tool] 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 can not only streamline the process | The UI [of Creatures' tool] 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 can not only streamline the process but also prevent inconsistencies across animators and issues with the designs. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
We decided that if each animator had manipulated the joints directly, the degree of freedom | We decided that if each animator had manipulated the joints directly, the degree of freedom would've been too high, and it would've been difficult to standardize the style. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
What's more, we needed to decide how far we would rebuild the texture-based facial expressions with joints. For example, Goomy is a Pokémon characterized with a body that stretches and contracts vertically | What's more, we needed to assess [and decide] how far we would rebuild the texture-based facial expressions with joints. For example, Goomy is a Pokémon characterized with a body that stretches and contracts vertically — its facial expressions with textures would hardly be able to contort, but some of those expressions were difficult to rebuild with meshes, for which we [had to] make many adjustments. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
It was difficult to rebuild the Ku [く] shaped eyes, common within manga and anime, only with joints; so we had to think of other ways. | It was difficult to rebuild the Ku [く]-shaped eyes, common within manga and anime, only with joints; so we had to think of other ways. | ||
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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, | 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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{{InterviewLede|lede= | {{InterviewLede|lede= | ||
The Ku [く]-shaped eyes happen as a result of the combination of joints and UV scrolls. Texture-based expressions could only switch between each other in stages, but the jump to joint-based animation | The Ku [く]-shaped eyes happen as a result of the combination of joints and UV scrolls. Texture-based expressions could only switch between each other in stages, but the jump to joint-based animation now enables more natural eye blinks and mouth movements. | ||
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# The motion team tells the modelling team what motion | # 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 | # 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. | # 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. | # The final assets for the facial expressions will be formed into a preset and registered to the in-house tool. | ||
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{{InterviewParagraph|name=Onodera|sprite=Shun Onodera | {{InterviewParagraph|name=Onodera|sprite=Shun Onodera | ||
|text= | |text= | ||
The look of the Pokémon was yet another example of overhaul in Scarlet & Violet, and so were their shader settings as a result. This has also drastically changed the mechanics of, for example, glowing [body parts] and fluid movement of '''surface patterns'''; so | The look of the Pokémon was yet another example of overhaul in Scarlet & Violet, and so were their shader settings as a result. This has also drastically changed the mechanics of, for example, glowing [body parts] and fluid movement of '''surface patterns'''; so [the motion team] remodelled the motion of those. I believe it was a project where the motion team had a larger workload than in previous titles. | ||
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{{Translators Note|text= | {{Translators Note|text= | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: I felt the movements of quadruped Pokémon in Scarlet & Violet were more realistic than ever, and I was impressed that they ran in such a way that showcased their skeletal movement. Have you enhanced the running motion of Pokémon that appeared in previous titles, too? | Wakasugi: I felt the movements of quadruped Pokémon in ''Scarlet & Violet'' were more realistic than ever, and I was impressed that they ran in such a way that showcased their skeletal movement. Have you enhanced the running motion of Pokémon that appeared in previous titles, too? | ||
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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] | 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 Pokemon's personality. | ||
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== Post-attack Animations | == Meticulously Developed Post-attack Animations, Including Weight Transfer == | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: | 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] even portray 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 followthrough after a Pokemon makes a sharp move, which makes it look more natural. | |||
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There are two points we're wary of. | There are two points we're wary of. | ||
The first is a balance with the scale of the attack. An attacking animation [has to] have quite a short duration between its launch and the [final] hit, so there's only so much you can portray. | The first is a balance with the time scale [of the attack]. An attacking animation [has to] have quite a short duration between its launch and the [final] hit, so there's only so much you can portray. [Our rules] are, therefore, that the animation before the hit should emphasize the coolness of the movement, and the one after the hit, which is the longer [part], should be crafted with great[er] attention to detail. | ||
The second is how to transition back to the idle animation. [To make this transition more seamless,] we've adjusted the animation curve, overall movement flow, etc. so that the gap between attacking and idling doesn't stand out. | The second is how to transition back to the idle animation. [To make this transition more seamless,] we've adjusted the animation curve, overall movement flow, etc. so that the gap between attacking and idling doesn't stand out. | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
Those who have moved here from CG animation companies are often surprised to learn that [a Pokémon] must return to an idle animation. "Why does it have to go back? Isn't it fine to transition into another pose?" | Those who have moved here from CG animation companies are often surprised to learn that [a Pokémon] must return to an idle animation. They're likely to wonder, "Why does it have to go back? Isn't it fine to transition into another pose?" | ||
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{{InterviewLede|lede= | {{InterviewLede|lede= | ||
[The transition] depicts [the Pokémon's] | [The transition] depicts [the Pokémon's] weight transfer very well, from hitting, to returning to idling; these movements have the effect of making it appear seamless between attacking and idling. | ||
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{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: You know, when a battle begins, players often look at their Pokémon from behind at an angle. I always thought this may have been a tough job, as it seems | Wakasugi: You know, when a battle begins, players often look at their Pokémon from behind at an angle. I always thought this may have been a tough job, as it seems likely to result in uninteresting scenes, [confusing situations] where you can hardly tell what Pokémon they're supposed to be, and so on. | ||
}} | }} | ||
{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
|text= | |text= | ||
In the motion team, we routinely have [technical] talks like, "So, it looks good from the front view, but the silhouette doesn't look as good when viewed from behind at an angle, so let's lower the arms a little. | In the motion team, we routinely have [technical] talks like, "So, it looks good from the front view, but the silhouette doesn't look as good when viewed from behind at an angle, so let's lower the arms a little". We've been focusing on maintaining some really cool motion from all angles, and spend a lot of time adjusting the idle animations in particular, which players often watch. | ||
}} | }} | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
Wakasugi: In the filming industry, it's often fine 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 have [characters] look consistently good at all angles, right? | ||
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{{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | {{InterviewParagraph|name=Yonena|sprite=Yuki Yonena | ||
|text= | |text= | ||
I too had trouble [getting used to] this rule, right after I moved from a CG animation company. The [motion] lead pointed out my careless work every time they checked it over, like "It's no good from '''this''' angle. | I too had trouble [getting used to] this rule, right after I moved from a CG animation company. The [motion] lead pointed out my careless work every time they checked it over, like "It's no good from '''this''' angle". | ||
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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, | 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 will be done very carefully. An example of these adjustments would be ensuring that a [Pokémon's] signature horn is visible, where its animations are clearly seen. | ||
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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 simulation, but we seldom use them. We tried to automate this, but [we noticed] manual adjustments on the visuals were required in the final step; so we decided against it. | Yes, manually. We have some scripts for simulation, but we seldom use them. We tried to automate this, but [we noticed that] manual adjustments on the visuals were required in the final step [anyway]; so we decided against it. | ||
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{{InterviewImageBot}} | {{InterviewImageBot}} | ||
== Some Animators Challenge Themselves in a Type of Animation They | == Some Animators Challenge Themselves in a Type of Animation They Consider to Be Their Weak Points == | ||
{{InterviewQuestion|question= | {{InterviewQuestion|question= | ||
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{{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | {{InterviewParagraph|name=Fukaya|sprite=Suguru Fukaya | ||
|text= | |text= | ||
'''(laughs)''' We want staff to work on their | '''(laughs)''' We want staff to work on their favorite Pokémon if the timing is right for the assignment. In many cases this isn't possible, so these requests won't always be granted. | ||
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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 [have to] 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 | We want to assign the same person to similar[-looking] Pokémon, but the timing doesn't always line up. If we [have to] 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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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 | 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] feels tough to me. | ||
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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 magatama shone gradually, but we needed to give the radiance of its eyes and the glowing of the magatama separate timing; so we added [other] gimmicks with independently adjustable parameters. Things like those are prone to timing errors | 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 magatama shone gradually, but we needed to give the radiance of its eyes and the glowing of the magatama separate timing; so we added [other] gimmicks with independently adjustable parameters. Things like those are prone to timing errors and therefore require close communications. | ||
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Revision as of 14:27, 30 August 2024
March 2023
•, •, •
Original Interview
Translation - Earthoul
Proofreading - Lewtwo
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 colour 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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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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Example videos:
- 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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Example videos:
- 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 magatama shine
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Example video: Iron Thorns attacking
Iron Bundle doesn't have knee joints either; additionally, it has shorter back legs than Iron Thorns'
Varoom is based on a single-cylinder engine, which caused difficulties when discussing how it should be interpreted in motion
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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Chien-Pao has very long swords in its mouth
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Developing Movement, Not Only on Land but Also in Air and Water
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Creatures, Inc.'s Role: Expanding How Pokémon are Expressed
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