


On August 23, 2024 at "CEDEC 2024" , a session called "Sharing know-how to help create more attractive characters using motion actors" was held. This was to convey that ``we can provide more support from the actor side'' for creating motion, which has become indispensable for expressing characters in 3DCG.The speakers were Mr. Hideki Sugiguchi, representative of Motion Actor, and the company. This is Mr. Mao, the director of the dance division of . The two presented their know-how on how to work with motion actors, including demonstrations of actual body movements.
Mr. Sugiguchi participates in games of all genres. Aside from himself, there aren't many people who haven't seen his actions
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We can cooperate from the idea generation stage
Mr. Sugiguchi actually gave a lecture at CEDEC last year in collaboration with motion recording studio Studio IBUKI. In order to produce high-quality motion data, it was stated that it was important to improve communication between the companies involved, and in response to this, requests were received from several developers. They asked if they could help with character creation from the pre-production, or planning, stage. Motion actors actually undertake such work, but it turns out that this is a little-known fact, which is why they chose it as the theme of this session.
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First, in a typical game creation workflow, animators and designers often work out ideas for character movements while actually moving their bodies during planning. By using motion actors from this stage, it is possible to explore new ideas together. This not only allows the project to proceed smoothly, but also shortens the time required to record in the studio, leading to greater efficiency.
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![]() For example, if you want to create different "roundhouse kick" movements for characters with different personalities. While it is based on martial arts movements, you can express your character by changing the details. The most important points are the poses before the movement begins and after the movement ends. This corresponds to the so-called animation keyframes.
There is also a theory of how to play a character, such as if you slow down your stride a little, you will look like a traditional hero, if you make your character more compact, you will become a cool character, and if you distort your trunk and bend your joints to an extreme, you will become a crazy character. The slides below show them.
Similarly, there is a theory for the motion when receiving damage. This time, Mr. Mao demonstrated and explained the movements of the female characters. They showed examples of neat, cool, and sly styles depending on poses, arm angles, and speed of movement. These can also be summarized in a similar table.
もちろん実際のキャラクターはもっと細かい個性を持っているので,これらのニュアンスをグラデーションさせつつ,そのキャラならではの動きを作っていくわけである。例えば,「表向きはあざとかわいいキャラが,ときにクレイジーな本性を見せる」といった表現も可能だろう。 また,クリエイター側のアイデアや絵コンテとは違う視点からアイデアを出せること自体が大きい。もちろんモーションの収録日に相談するだけでもそれなりに成立させられるが,アイデア出しから参加することで実際のキャラクター像とずれることなく,深みのある表現を探れるわけだ。 実演によるイメージのすり合わせこれはモーション作りの難しさの一例だが,企画で考えていたキャラの動きの意図と,実際に人間が動いたときの印象がうまく一致しない場合がある。またディレクターは問題がないと感じた動きが,キャラクターデザイン担当のイメージとは異なるなど,開発側のイメージのすり合わせができていない場合も多い。そこで実演してもらうことで,それを見ながらスタッフの認識を合わせていけることも,アクターに依頼するメリットの1つだ。
また,多くの人はキメのポーズだけにこだわりがちだが(それだけキーフレームが重要だとも言える),同じポーズに各人が違った印象を持つことも多いし,前後の動きによってポーズの意味合いも変わってくる。意外とバラつきがちな,その感覚を合わせておける意義も大きい。
ただ,原則として印象が大きく分かれない動きもある。例えば,手の位置は高いほど感情の大きさを見せられる。動きがコンパクトで早ければクールな印象につながるし,重心から先に,気持ちゆっくり目に動かせば落ち着いた印象を作れる。 こうした認識を事前に揃えておくと,それを逆手に取った表現なども可能となる。普段は泰然自若,余裕のあるそぶりのキャラクターが追いつめられたとき,今までの動きのセオリーを崩して動揺している雰囲気を出したりできるわけだ。
アクションとしてブラッシュアップする動きのアイデアを出し,スタッフの認識を合わせたあとは,より具体的なアクションにブラッシュアップしていく段階となる。この方法は無限に存在するそうで,杉口氏らは実例を使って説明していく。
例えば,原作のあるゲームの場合,アニメやマンガをモーションのリファレンス(確認のための参照情報)にすることも多いが,本来連続した動きの間にあるはずの状態が,そもそも描かれていない場合があったりする。その場合,モーションアクターがその間の自然な動きを推測したり,新たに作りだして補える。
また,キャラクターのコスチュームを身に着けて動き,服や防具の動きを確認することも可能だ。このとき,リアルの着物はめくれてキャラクターの顔を隠したりもするのだが,一部を縫い付けておくことで,自然かつ邪魔にならないようにもできる。
続いて壇上のスクリーンに,あるマンガの戦闘場面をそのまま殺陣(たて)として再現した動画が再生された。マンガは静止画の連続なので,実際はコマとコマの間の動きが分からなかったり,ときには視覚効果を優先した矛盾があったりする(右腕で殴りかかったはずなのに,次のコマでは左腕が伸びてクロスカウンターになっているなど)。 これらをどう処理するかは実写のノウハウが応用可能で,むしろモーションアクターにとっては得意分野でもあるそうだ。
さらに一連のアクションのどこをキービジュアルにすると魅力的なカットになるかを考えるなど,絵コンテをブラッシュアップする手助けもできるらしい。モーションアクターの公式YouTubeにはこういった動画などが数千種類アップされており,しかもそれらは基本的にフリー素材として使用できる。
なお,同社はStudio IBUKIと共同でクリエイターに向けた体験会も実施しており,実際にスーツを着て,その動きがどうデータに反映されるのか学ぶこともできる。よりよいデータを得るために,何をアクターに伝えればいいのか。実際に動いてみることで分かることは多い。
その他にも基礎アクション,ワイヤーアクション,ダメージモーション,武器操作など各種の体験会があり,2D,3Dを問わずアニメーションを手がける人であれば,経験しておくことで表現に深みが生まれるだろう。
最後に杉口氏は,モーションアクターは確固としたキャラクター性やアクションを表現するのはもちろん,一緒にキャラクターを作っていける存在でもあると語り,セッションを締めくくった。なお終了後の質疑応答では,モーションアクターに仕事を頼むときのコツが以下のように伝えられていた。
・アイデア出しの場に複数のアクター,例えば男女が1人ずついると,それぞれの動きを見てアイデアを広げたり,違った考え方からの提案ができ,結果的に正解にたどりつきやすい。 ・コンセプト段階ものでも,ビジュアルが準備されていると演じやすい。また暫定のものでいいので,セリフが3つくらいあるとキャラクター性を掴みやすくなる。 ・VTuberやコスプレイヤーがリアルのイベントに登場する場合,その動きをプランニング・演技指導することもできる。世界コスプレサミットでは,演技指導したチームが優勝した実績もある。 アクションのアイデア出しなどでチームが煮詰まってしまったときは,アクターの力を借りることで突破口が生まれるかもしれない。あまり悩み続けず,まずはプロジェクトのプロデューサーに相談してみてはいかがだろうか。
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The above is the detailed content of Actors may assist in expressing characters with depth. What are the recommendations for game creators from the motion actor side? [CEDEC 2024]. For more information, please follow other related articles on the PHP Chinese website!

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