岩井 狩野 えびちゅうの推しかるちゃー 2025年1月28日 アニメ・ゲーム・マンガなどあらゆる推しコンテンツのスタッフロールに注目！作り手の知られざるお仕事を掘り下げ、作品の推しポイントを紹介！
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#EnglishMovie #cdrama #drama #engsub #chinesedramaengsub #movieshortfull
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TVTranscript
00:00It's started! Oshikaru-chan!
00:04Oshikaru-chan!
00:05It's been a while, hasn't it?
00:06This show focuses on the role of the staff in anime, games, and manga.
00:12Along with digging into the work of the creators,
00:16the show introduces the points they talk about.
00:20Today's theme is this!
00:22Mintama Rantarou, the strongest warrior of the Dokutake Ninja Troupe!
00:31It's a big hit!
00:34The movie, Mintama Rantarou!
00:37The strongest warrior of the Dokutake Ninja Troupe!
00:40Currently, the company's revenue has exceeded 1.5 billion yen!
00:46Intense action scenes and serious story development are the talk of the town!
00:52This isn't the Mintama we've seen before.
00:55I'm your father.
00:57Oshikaru!
00:59Mintama was originally based on a gag manga that was serialized in 1986.
01:07In 1993, the anime series, which is currently on air, began.
01:14The three characters, Rantarou, Kirimaru, and Shinbei, known as the egg of the ninja,
01:22take on the role of a ninja at a ninja school.
01:29Doi-sensei!
01:33Him! Him! Him!
01:36This is the 13th year in a row.
01:39The story is based on a novel that has become very popular among fans.
01:46The story begins with Doi-sensei, Rantarou's teacher, suddenly disappearing one day.
02:01Then, in front of the students of the ninja school,
02:07there are six rats that can't extinguish the fire.
02:11Doi-sensei and Uri appear.
02:14A person named Tenki appears.
02:16Tenki...
02:17I never thought that Tenki was that person.
02:21Eh?
02:22I want to meet Doi-sensei!
02:26Can you bring Doi-sensei back in front of the strongest enemy?
02:32A work that can be enjoyed from children to adults.
02:35That is the theater version of Rantarou.
02:38It was really good. It was really good.
02:42I wanted to see the story of Kirimaru and Doi-sensei the most.
02:47That's right. The girls are Doi-sensei's fans.
02:51It's their first love, everyone.
02:53This is cool.
02:55Here is the staff role search.
03:01Rantarou Nintama, director Masaya Fujimori.
03:05Masaya Fujimori is an animation director and character designer.
03:12He designed the first character in the Nintama anime series.
03:18It's been 13 years since I last saw a movie.
03:22It's been 13 years since I last saw Nintama.
03:25It's been 13 years since I last saw Nintama.
03:31But I almost forgot.
03:35It was really hard to study again.
03:38Is there a point to grasping the feelings of a child?
03:46I don't talk about boring things for more than 5 minutes.
03:51I don't talk about boring things for more than 5 minutes.
03:57I just tickle them.
03:59There are a lot of comical scenes.
04:02The story is always interesting.
04:04For example, when they talk seriously for 6 years,
04:07They have an ear-piercing earwax behind their ears.
04:10The picture is strange.
04:13It's a serious scene for adults, but for kids, it's like, what the hell is going on?
04:17That's great.
04:18He's really good at it.
04:19There's a lot of comical parts, so it's a serious scene.
04:22That's true.
04:25Let's ask the creators of the theater version of Nintama for their own points.
04:31Let's start the staff role search!
04:34Character Design, Emiko Miyama
04:44We're here at Asia-Do, an anime production studio that has been producing Nintama since the beginning of the show.
04:52Excuse me.
04:55Nice to meet you.
04:58Isn't she young?
05:00This is Miyama-san, who is in charge of character design.
05:05Is this your desk where you actually work?
05:10Yes, it is.
05:12That's amazing.
05:14I'm learning a lot.
05:16Miyama-san, who originally came to Asia-Do because he loved Nintama Rantaro,
05:22is also an animator who is in charge of character design and animation in the TV series.
05:28She's doing it by hand.
05:30She's also in charge of character design in the movie version.
05:34That's amazing.
05:35I had a lot of opportunities to work with Fujimori-san when I was a newcomer.
05:41I'm always in a position where I'm taught.
05:45Fujimori-san is in a position where he teaches me a lot.
05:51He's like a teacher.
05:55What does Miyama-san do in charge of character design?
06:00I have to draw as many animations as I can.
06:05I'm doing a job where I make a blueprint for animation that anyone can draw.
06:14When the rough is completed and the director says OK,
06:18I make a draft and complete it as a character chart.
06:23This is the character design chart that Miyama-san created this time.
06:28During the production process, not only do you design facial expressions so that the same character does not appear,
06:35but you also design detailed movement instructions.
06:40That's amazing.
06:41It's moving.
06:42However, the characters that appear in the TV series in the first place...
06:47Do you need to redesign them in the movie version?
06:55This time, there aren't many characters in the TV series.
07:00However, there is a part where the head and body are changed a lot.
07:04I've been rewriting it a lot.
07:06That's true. The head and body are a little different.
07:09First, here are the character charts of the two teachers in the TV version.
07:13Compared to the movie version...
07:18Can you see it?
07:22Compared to the movie version, the head and body are longer and the hands and feet look smoother.
07:29In this movie, there are a lot of action scenes.
07:33The background was also shot in a very precise way,
07:37so if you're not a proper person, the proportions don't match.
07:42This time, I made a lot of considerations and raised the head and body to make it easier to move.
07:48It looks cool.
07:49I redesigned it completely.
07:52The work of character design is to brush up on the movie,
07:55which can be enjoyed by both children and adults with a well-designed design.
07:59It's not enough to have so many lives.
08:03What are Mr. Niiyama's self-praising points?
08:07What are your favorite points?
08:09The facial expressions of the characters.
08:14Here are some of Mr. Niiyama's self-praising facial expressions.
08:21Teacher?
08:32Wait.
08:34Wait.
08:39Wait.
08:45It's the worst for Mr. Niiyama.
08:50Kirimaru?
08:51I drew Kirimaru's facial expressions very carefully.
08:56In this scenario, he sees a nightmare.
09:00This is an original element.
09:03It's not a turning point in the story,
09:06but I think it's a very serious cut.
09:10Kirimaru sees a nightmare.
09:13After seeing the nightmare, he wakes up and breathes heavily.
09:21I felt that it was a little weak to convey the surprise.
09:27I opened my eyes wide and put wrinkles in my eyes.
09:33That's why I drew it in an exaggerated way.
09:38It's true that he feels like he's seeing a nightmare.
09:42What is his favorite point?
09:45I think it was a strange expression that the weather showed.
09:58Here are some of his facial expressions.
10:17The story of the weather is about losing both home and family.
10:24It's a cut that shows a negative atmosphere in an instant.
10:37The character of Nintama is relatively simple,
10:41so I have to improve the details.
10:44For example, if it's a shadow, I'll draw it in a little more detail.
10:50Or I'll add a thin shadow that I don't usually draw.
10:55It's a cut that I experimented with.
10:59Actually, I was going to quit if the director told me to fix it,
11:06but I passed it as it is.
11:09So I thought, is it okay to do this up to this point?
11:13To be honest, it was a cut that was able to start from there.
11:19It was also a challenge for director Fujimori.
11:25If you're going to watch the movie, please pay attention to his facial expressions.
11:36I think he's drawn a good expression.
11:40I think it's good.
11:42I don't think Rantaro has this expression.
11:46I don't think there's a TV series.
11:49He doesn't do it without permission,
11:51but he understands the content very well and challenges it.
11:55As a director, I'm happy.
11:57I'm really smiling.
11:59It's like this.
12:01If the head and body change, the size of the whole building will change, right?
12:06It's called a layout, but it's changed a lot.
12:11There's a scene where he stretches his head for action.
12:16For example, in the scene where he's sitting and talking,
12:19he puts the camera a little low and looks up.
12:23Then, what do you call it?
12:25It adds dignity to the human body.
12:29It's like Osuyasujiro.
12:33It was good.
12:35The normal conversation scene is a very good picture.
12:40I don't think there's a TV series.
12:44TV series are all about how fast you can make people laugh.
12:49It's serious.
12:53Next, the staff roll start.
12:59Action director Masayuki Sekine.
13:02Nice to meet you.
13:04Nice to meet you.
13:06This is director Sekine.
13:10I draw a little bit of blood.
13:13I think it's a little scary for children to see,
13:16but I have to show them that I'm fighting seriously.
13:20He is the director of each team that draws action scenes.
13:25He is a veteran animator who has been doing this for 30 years.
13:30The first task is to draw the layout from this picture.
13:37I draw a picture of this size.
13:41The first task is to draw the position of the character.
13:47This is the action scene in charge of Mr. Sekine,
13:50which can be said to be the highlight of this work.
13:54There's a man named Doihansuke in the drawing.
13:58This is a picture of Tenki.
14:03I've seen it many times.
14:07Cool!
14:09Wow!
14:10Cool!
14:11It's stuck.
14:14I'm your father.
14:26Come on!
14:31Come on!
14:37It's amazing.
14:39Come on!
14:41This time, I worked alone on the action scene.
14:47That's better.
14:49For example, I think it's better to work alone
14:53because I can understand the switching of characters and the coordination of actions.
14:57The action scene in which seven people move at the same time.
15:03A group of boulders that surround the character.
15:07Even if the camera angle changes, there is no contradiction in the picture.
15:12Mr. Sekine drew this scene almost by himself,
15:16without sharing his drawing with the team.
15:19Wow!
15:24What's the difference between normal animation and action?
15:28Ghosts are often included.
15:32For example, this is a remnant of a sword.
15:38It disappears in about two frames.
15:41Here's the actual scene.
15:46It's too short, so let's see it in slow motion at 1 out of 10.
15:58The remnant of this sword is a ghost.
16:02There's another sword here.
16:05When I draw a sword here,
16:07if I draw it slowly, it's a little slow.
16:10At that time, I draw a sword here and here,
16:14and show it with a remnant, so it's powerful.
16:22He didn't dare to draw the sword on the way down.
16:27In the next frame, the remnant is drawn as a sword that is physically impossible.
16:35This increases the speed and power of the technique.
16:44What does the action director say?
16:49It's a good idea to move fast and slow when you draw a sword.
16:53That's the pattern of the action.
16:56But this time it's a ninja, so I tried to make it look like a ninja.
17:06Here's the scene.
17:08It's a ninja.
17:16What he was particular about was the lack of preliminary movement of the sword.
17:20It's a ninja.
17:24It's a ninja.
17:26You can't make it stand still.
17:28It's pretty fast, too.
17:30That's right.
17:31And here, I kill the movement with my elbow.
17:34When you run, you run like this, right?
17:37At that time, dust will fly.
17:40For example, small stones will bounce.
17:43I make it look like that.
17:46But I don't do that much.
17:48I run like this so that it doesn't stand still.
17:51It's a ninja.
17:52When it falls, it falls smoothly.
17:55That's right.
17:57I'm careful about where to stop and where to slow down.
18:03I make the parts that look strong.
18:09In addition, Mr. Sekine has a job other than action animation.
18:21The original animation of the ending animation and background art.
18:27After this, the action animation director will do this.
18:33It's really interesting.
18:34It's interesting.
18:35It's amazing.
18:41I'm close to the action animation director of the movie version of Nintama.
18:47I look at the staff role again.
18:54He is in charge of the original animation and background art of the ending animation.
19:00I drew the whole cut and drew the background art.
19:05It's different from the original animation.
19:07I drew an illustration-like background art in the middle.
19:13As a reward, I like to draw the background art.
19:17So I asked him to draw it.
19:20I asked him to draw the whole cut of the ending animation.
19:24So I drew the whole cut and drew the background art.
19:28It's a reward.
19:29I think it's a reward.
19:30It's a reward.
19:31I was very happy.
19:33Please pay attention to the ending animation drawn by Mr. Sekine.
19:39It's really interesting.
19:40It's interesting.
19:41He said it was a reward.
19:43He said it was a reward.
19:44He said it was a reward.
19:46He is good at everything.
19:48He is good at eating in his daily life.
19:53He is very good at drawing the effect explosion.
19:57He said there was no preliminary movement.
20:01I don't know that unless I have knowledge of fighting.
20:06He said there was no preliminary movement.
20:09I think it's in the pose.
20:12In other words, it's not like this.
20:16The starting pose is like this.
20:18There is a preliminary movement in this part.
20:22It's not like this in the picture.
20:25When you start from here, you have the power to face this way in your body.
20:31You can do it naturally.
20:33You can do it naturally.
20:35Otherwise, it's not cool if you start from here.
20:41You can go here because you have this pose.
20:44It's powerful.
20:45The flow is made from all the previous attacks.
20:48That's right.
20:49There is such an element in the body.
20:53Director Fujimori's self-praise.
20:58It's a story that Mr. Doi is brainwashed by Dr. K.
21:02If you do the brainwashing scene seriously, it will be very plain and unpleasant.
21:09I dare to dance there.
21:13It was impressive.
21:14I drew a manga.
21:17I drew a picture that makes you feel like that.
21:24After this, it's the first time for Jijouha to perform.
21:27The dance scene will be released.
21:29It's the same two people.
21:31The usual two people.
21:38A large-scale collaboration project between TOSHICULTURE and JR TOKAI.
21:43The special site will be released next week.
21:47The dance scene of the theater version of NINTAMA will be released.
21:52A unique ninja team of love and justice.
22:00It's cute.
22:01It's the same two people.
22:04The usual two people.
22:06If you are attacked, face it.
22:11Shibuya guitar.
22:12Run to the burning village.
22:16Dokutake, the ninja of justice.
22:21Dokutake, the ninja of justice.
22:27By this, the song and dance are mixed.
22:33Dokutake is a castle that works for justice.
22:39Ninja is interfering with it.
22:42It's a scene where it's being sucked in.
22:46I was surprised.
22:49It's a scene that's usually serious.
22:54It's a scene that makes it easier for children to see.
22:56It was fun for us to watch.
23:00There is a choreography of Hatsune Miku.
23:04Other than that, I want to imitate it.
23:07It's a simple movement.
23:09I want to sing.
23:11I was doing this when I saw it.
23:13I was dancing.
23:16Next week, the anime that has been revived after more than 50 years.
23:20It's a close-up on the rose of Versailles.
23:22The maiden awakens.
23:24It's scary.
23:26What is the word that the staff speaks?
23:29It's amazing.
23:31Hoshikari-chan is on TVer and MBS.