깊은 캐릭터 표현을 위해 액터가 도울 수 있습니다. 모션 액터 측으로부터의 게임 제작자에게의 제언이란? [CEDEC 2024]

　「CEDEC 2024」에서 2024년 8월 23일에 「모션 액터에 의한 보다 매력적인 캐릭터 만들기를 돕기 위한 노하우 공유」라는 세션이 열렸다. 이것은, 3DCG로 캐릭터 표현을 실시하기 위해서 빠뜨릴 수 없게 된 모션 만들기를, 「액터 측으로부터 더 서포트할 수 있다」를 전하는 것으로, 등단한 것은 모션 액터 대표의 스기구치 히데키씨와, 동사 댄스 사업부 부장의 Mao 씨다. 두 사람은 실제로 몸을 움직이는 데모를 나누면서 모션 액터와의 관계에 대해 노하우를 발표했다.

아이디어 내기 단계부터 협력할 수 있습니다

　실은 작년의 CEDEC에서도, 모션 수록 스튜디오·Studio IBUKI와 공동으로 강연하고 있던 스기구치씨. 그 쪽은 고품질의 모션 데이터를 낳기 위해서는 관계하는 회사간의 통풍을 좋게 하는 것이 중요하다고 하는 내용이었지만, 그것을 받아 몇개의 개발자로부터 리퀘스트가 있었다는 것.
그건 프리프로덕션, 즉 기획 단계부터 캐릭터 만들기에도 협력받을 수 없는가 하는 것이었다. 실제로 모션 액터는 그러한 일도 맡고 있지만, 의외로 알려지지 않은 것을 알고, 이번 세션의 테마로 했다고 한다.

우선, 통상의 게임 만들기의 워크플로우에서는, 기획시에 애니메이터나 디자이너가 실제로 몸을 움직이면서, 캐릭터의 움직임의 아이디어를 반죽하고 있는 것이 많다. 이 단계부터 모션 액터를 기용함으로써 지금까지 없는 아이디어를 함께 탐구할 수 있다고 한다. 이것은 기획이 원활하게 진행될 뿐만 아니라, 스튜디오에서 수록할 때의 단축이 되어, 효율화에도 연결된다.

예를 들면, 다양한 개성을 가지는 캐릭터에, 각각 다른 「돌아 걷어차기」의 움직임을 만드는 경우. 격투기의 움직임을 베이스로 하면서, 세부를 바꾸는 것으로 캐릭터성을 표현할 수 있다. 특히 중요한 포인트는 움직임이 시작되기 전과 끝난 후의 포즈. 이른바 애니메이션의 키프레임에 해당하는 부분이다.

　
보폭을 조금 느슨하게 하면 정통파 주인공풍, 컴팩트하게 하면 쿨계, 체간의 왜곡이나 관절의 구부리는 방법을 극단적으로 하면 미친 캐릭터가 되는 등, 연기 나누기의 세올리도 있다. 그들을 표로 한 것이 아래의 슬라이드다.

똑같이 데미지를 받았을 때의 모션에도 세오리가 있다. 이번에는 Mao씨가 여성 캐릭터의 움직임을 실연하면서 설명. 포즈, 팔의 각도, 움직임의 완급 등에 의해, 청초계, 쿨계, 타박상계의 예를 보였다. 이쪽도 같은 표에 정리할 수 있다.

Of course, actual characters have more detailed personalities, so we create gradations of these nuances and create movements unique to that character. For example, it would be possible to express something like ``A character who is outwardly cute and cute sometimes shows his crazy true nature.''
Also, being able to come up with ideas from a different perspective than the creator's ideas or storyboards is great in itself. Of course, it is possible to come up with something just by consulting on the recording date of the motion, but by participating from the idea creation stage, you can explore deeper expressions without deviating from the actual character image.

Matching images through demonstration

This is an example of the difficulty of creating motion, but there are cases where the character's intended movement in the planning process does not match well with the impression when the person actually moves. In addition, there are many cases where the developer's image is not aligned, such as when the director feels that there is no problem with the movement, but it differs from the character designer's image. One of the benefits of asking actors is that by having them demonstrate it, the staff can align their understanding while watching it.

Also, many people tend to focus only on the texture of the pose (which is why key frames are so important), but each person often has a different impression of the same pose, and the meaning of the pose changes depending on the movement before and after. It's coming. There is a great deal of significance in being able to align these sensibilities, which tend to be surprisingly inconsistent.

However, as a general rule, there are some movements where impressions do not differ greatly. For example, the higher the hand position, the greater the emotion can be shown. If the movement is compact and fast, it will give a cool impression, and if you move slowly and slowly, starting from the center of gravity, you can create a calm impression.
By arranging these perceptions in advance, it becomes possible to express things that take advantage of them. When a character who normally appears to be calm, young, and relaxed is cornered, it is possible to break the conventional theory of movement and create an agitated atmosphere.

Brush up as an action

After coming up with an idea for a move and getting the staff's understanding, it's time to brush up on more specific actions. It seems that there are an infinite number of ways to do this, and Mr. Sugiguchi and his colleagues will explain them using actual examples.

For example, in the case of games with original works, anime or manga are often used as motion references (reference information for confirmation), but sometimes the states that are supposed to exist between consecutive movements are not depicted in the first place. Sometimes there is. In that case, a motion actor can estimate the natural movement during that time or create a new one to compensate.

It is also possible to move while wearing the character's costume and check the movement of the clothes and armor. At this time, a real kimono would sometimes roll up and hide the character's face, but by sewing a part of it on, you can make it look natural and not get in the way.

Next, a video was played on the screen on the podium that recreated a battle scene from a certain manga as a sword fight. Manga is a series of still images, so you can't actually see the movement between frames, and sometimes there are contradictions where the priority is given to visual effects. (e.g. as a counter).
Live-action know-how can be applied to how to handle these, and it seems that this is actually an area of ​​expertise for motion actors.

Furthermore, it seems that they can also help you brush up your storyboards, such as thinking about where in a series of actions you can use as a key visual to create an attractive cut. Thousands of videos like this are uploaded to Motion Actor's official YouTube page, and they can basically be used as free materials.

Furthermore, the company is also holding a trial session for creators in collaboration with Studio IBUKI, where you can actually wear the suit and learn how your movements are reflected in the data. What should we tell actors to get better data? There are many things you can learn by actually trying it out.

In addition, there are various trial sessions such as basic action, wire action, damage motion, and weapon operation, so if you work on animation, whether it's 2D or 3D, gaining experience will add depth to your expressions.

Finally, Mr. Sugiguchi concluded the session by saying that motion actors not only express solid character traits and actions, but also have the ability to create characters together. During the question and answer session after the event, the following tips were given for when requesting work from motion actors:

・When multiple actors, for example one male and one female, are present at the place where ideas are generated, it is possible to expand ideas by observing each person's movements, and to make proposals from different ways of thinking, making it easier to arrive at the correct answer.

・Even if it is in the concept stage, it will be easier to perform if the visuals are prepared. Also, it doesn't have to be temporary, so having about three lines will make it easier to get a feel for the character.

- When VTubers and cosplayers appear at real events, you can plan their movements and give them performance guidance. At the World Cosplay Summit, there is a track record of a team that won the championship after receiving acting guidance.


When the team is at a standstill when it comes to coming up with action ideas, a breakthrough may be achieved by enlisting the help of actors. Instead of worrying too much, why not consult the project's producer first?

위 내용은 깊은 캐릭터 표현을 위해 액터가 도울 수 있습니다. 모션 액터 측으로부터의 게임 제작자에게의 제언이란? [CEDEC 2024]의 상세 내용입니다. 자세한 내용은 PHP 중국어 웹사이트의 기타 관련 기사를 참조하세요!