| Sketchley's Translations Main Index | Macross Portal |
| By AARON SKETCHLEY (aaronsketch@HOTdelete_thisMAIL.com) | Ver 1.1 2019.02.11 |
| Great Mechanics 6: Macross Zero Feature |
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| Pg 051 |
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Overman King Gainer
Broadcasting weekly Saturdays 19:30~20:00 on WOWOW
Overman King Gainer & Macross Zero
There's the word "vintage year". While it is a word from the world of wine, it means a year where there were good climatic conditions, good grapes were raised, and magnificent wine was made. One could say that this year, that is the latter half of 2002, is one that can be called a "vintage year" for animated mecha productions.
Yoshiyuki Tomino's new work "Overman King Gainer" possesses luxurious and fresh staff work, the appearance of a "new" mecha concept—called "Overman"—and depicts a traditional robot adventure action series.
The "Super Dimensional Fortress Macross" 20th anniversary production "Macross Zero" depicts a story of the Unification War period before the original series, and unfolds in an OVA series. What one ought to notice is the Valkyrie's complete transformation scene and its dogfight action, which are both rendered in "3DCG".
"King Gainer" is a completely new production, and "Macross Zero", which is also the culmination of the "Macross" brand that has continued for 20 years. Even though they are 2 productions that appear to have completely different approaches, they have something in common. That is, one can say that they are "productions that were made because it is the 21st century". Thereupon, herein we'd like you to consider the appeal of these 2 productions in the "Great Mechanics" own way.
Although we'd like you to humbly read the details in this feature, the "new century" for anime mecha possibly starts this year. These two new productions induce such a "new premonition".
| Pg 060 |
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The story...
In 1999 the global Unification War suddenly occurred, triggered by the crash of the alien space battleship "Macross". In the closing period of the war—8 years having passed since its outbreak—an abnormal energy reaction is confirmed on a solitary island in the southern seas where a birdman legend remains. That reaction is expected to be of the Protoculture, who bequeathed Over Technology. The Unified Forces set out in an investigation of that energy reaction, and the anti unification power—who try to take it away—clash in the environs of the island. The young Unified Forces pilot Kudo Shin, who had participated in war, is shot down by an enemy craft and drifts ashore on that solitary southern-sea island. On that island, Shin happens upon the young lady Sara, who is descended from shaman. Shin and Sara, who meet in the conflict concerning the Protoculture, are swallowed up in the gigantic incident that was historically erased [in the latter Macross world]. |
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"Macross Zero"
From Bandai Visual Dec. 21 Release |
Staff
Originator, Director, Mecha Designer: Kawamori Shōji
Character Designer, General Animation Director: Takuya Saitō
Special Director: Ichirō Itano
Screenplay: Hiroshi Ōnogi
Art Director: Dai Ōta
Visual Technical: Bun Sakada
Animation Production: Satelite
Macross Zero depicts the "present time" in the production called Macross
This year, 2002, is the 20th year from the release of "Super Dimensional Fortress Macross", which ought to be commemorated as the first production in the Macross series. A new Macross [production]—by Mr. Kawamori Shōji's hand—starts in this milestone year.
"Macross Zero"—produced as the commemorative work for the "Super Dimensional Fortress Macross"'s 20th anniversary—introduces the latest CG techniques into the combat scenes, and is a production which returns to the starting point that is the prehistory of the Macross series. While the Macross series so far have their beginning in "Super Dimensional Fortress Macross" and depict the future world after that, this time it's the Earth in 2008. That is, the world 6 years from "now". Accordingly, it depicts the "now" of the Macross World, which became a parallel world to the modern world starting in 1999.
The theme of "Macross Zero" is "the changing era". It's the Macross world that began due to Over Technology, which was brought by aliens in 1999. By taking place in the closing period of the "Unification War"—which appeared as the historical background setting of the original Macross production—"Macross Zero" depicts the interval period where mankind is headed toward a new future beyond that war, and mankind as well as weapons are changing.
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What amounts to the greatest part of this production in the footage seems to be the depiction of the conflict by fighter jets—the embodiment of the Macross world—in full 3DCG clips. As a result, the directing in 3-dimensional space, which has been impossible in hand-drawn animation so far, has been realized together with impressive shots. Mr. Kawamori makes free use of his knowledge and experience related to fighter aircraft, something that he has cultivated to date, and depicts a full-fledged dogfight, which couldn't be seen in past productions that had made fighter aircraft their theme.
(con't on Pg 61)
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The Characters Who Colour The Conflict That Amounts To The Starting Point Of Macross
The characters who play a central role in the story of "Macross Zero" are pilots of the Unified Forces and residents on the island that gets dragged into the conflict between the Unified Forces and the anti-unification power. They are people who have been left behind in antiquity and men who operate state-of-the-art fighter aircraft. What kind of drama is interwoven between them? Let's introduce the four characters who are the embodiment of the changing age.
Mao
Sara
Roy Fokker
Kudo Shin
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(con't from Pg 60)
Also, with such things as the appearance of the VF-0, what amounts to the origin of the Valkyrie fighter jet—what one can say is the symbol of the Macross world—and the activities of the character Roy Fokker, who is connected to the story of "Super Dimensional Fortress Macross", Macross fans should be noticing that Macross Zero is packed with many irresistible elements.
The story centres on the conflict between the Unified Forces and the anti-unification power that suddenly occurred concerning the Over Technology inheritance that was detected in the vicinity of the solitary southern sea island Mayan Island—where a birdman legend remains. Macross Zero depicts the whole story of a gigantic incident that was erased from history, the interaction between a young lady from Mayan Island and a young pilot, and the birdman legend that was left in a southern country.
For staff, Mr. Kawamori Shōji did the original work, directing, and mecha design. Mr. Ichirō Itano—who completed the Macross series together with Kawamori—participated as a special director; and Mr. Takuya Saitō,who handled "Sakura Wars: The Movie", participated as character designer and animation director.
What sort of place is the starting point of the Macross world, which has been created based on a new plan by Mr. Kawamori. What kind of "changing era" will Mr. Kawamori try to depict? And then there is the fascination of the new air battles that incorporate CG.
This chapter is heading toward a December release, and we'll follow the new direction of the Macross world that's included in "Macross Zero"—which is in the middle of earnest production.
| Pg 062 |
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Valkyrie VF-0 - Battroid Form
The familiar Roy Fokker yellow and black colouring with a skull platoon mark produces the characteristics of a Valkyrie even more. Although it has an industrial machine-like clumsiness in CG, the ambiance of a weapon hangs in the air in its roboticness. |
The Latest "Oldest" Valkyrie Depicted In Full [CG] Modelling
This probably amounts to the first release in our country: the Valkyrie VF-0 was depicted fully in 3DCG. There is even consistency in the transformation, and it has become possible to completely transform the Valkyrie from the fighter form.
The VF-0 is a new model of Variable Fighter that was developed incorporating technology that was obtained from Over Technology.
As the VF-0 has normal engines—which differs from the reactors of the VF-1—when there isn't any fuel the VF-0 cannot fly, and it has the weakness of an extremely short cruising range. For that reason, the VF-0 has drop tanks (additional fuel tanks) situated on the top of the fuselage when in Fighter, and on the chest and back when in Battroid. Concerning the armour, the VF-0 has Over Technology using Energy Conversion Armour, and it's said that when in the Battroid form, the VF-0 has 3 times more armour hardness than when in Fighter, by turning surplus thrust [from the engines] into armour. Please read the interview with Mr. Kawamori from Pg 066 for the detailed background about the birth of the VF-0.
On the other hand, if you look at the CG-like representation, in the Fighter form, they've increased the persuasiveness as an airplane through the details, with such things as adding grime from the direction of movement toward the rear. A transition period toward miniaturization is expressed in an unbalanced style in such places as the thin arms and legs. As a result, what kind of active role will it be shown in, in the anime?
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The Unified Forces F-14 Tomcat
The fighter aircraft that the Unified Forces used before introducing the Variable Fighter. Properly speaking, even though it should have been withdrawn from the forefront class [of fighters] due to its long service life, the F-14's setting is that it is an improved jet that has had Over Technology life-extending measures applied to it. |
Valkyrie VF-0 - Fighter Form
Whether the nose is slightly short and thick or due to its form, it's clear that the VF-0 resembles the F-14 more than the VF-1. In relation to its basic performance in Fighter form as well, the VF-0 exceeds the preexisting F-14 with such things as armour that uses Over Technology, and engines that have been improved with greater output.
Valkyrie VF-0 - GERWALK Form vThe midway form that can nimbly deal with both air and ground. According to Mr. Kawamori, it seems that hereafter he has made preparations for the form to play an active role at a level unseen in the Macross series so far.
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Valkyrie VF-0 Draft Version
Here is the sketch drawn by Mr. Kawamori for the production of the 3D modelling data. As they are using only the 3D modelling in this original story, it must be remembered that this is a rough picture for the setting, and we're told that the official setting image is the 3D modelling data. When the 2 designs are compared, one can perceive that the VF-0 drawn by Mr. Kawamori has a somewhat comparatively massive image, and the CG smartly settles the VF-0. It's also fascinating that the variation between the 3D [version] and the picture—which was drawn in 2D—can be clearly seen. Caption: The Battroid and Fighter forms of the VF-0A type drawn by Mr. Kawamori. Not only the differences in the form of the Battroid, while the Fighter form is also the same fuselage, one can grasp that it builds into a different atmosphere in CG. |
| Pg 064 |
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F-14 Evading Missiles ①
The scene where the F-14 clears the sea of clouds and avoids the missiles that are following it is presented in an angle from the front. The camera gradually transitions from a low-angle [close up] shot of the nose to a long shot. During that time, the F-14 is skirted in flares while producing water vapour clouds as it steeply rises, and avoids the missiles. |
For the sake of the people who are saying, "I'm interested in what kind of air combat that they are going to produce!", they've released the F-14 air combat scenes—which were depicted in CG—in advance. With such things as camera work that frequently uses long shots and closeup shots, and fuselage details that are depicted down to the details, we would like you to notice the components that could be done because it is in CG.
These pictures probably convey the ambiance of such things as the missiles that leave a trail on the sea of clouds that stretches out, and the skilled camera-work. However, the page surface unfortunately can't inform as far as the feeling of speed goes. For reference, we've calculated from the content that every scene of such complicated movements seems to show a length of about 2 to 3 seconds. Also, about the sound: because the sound has been produced in 5.1 ch, without a doubt they have been completed as powerful scenes. About the speed and sound—we would like you to simulate in your own special way while looking at the screen shots, and imagine the completed form.
Incidentally, the colourful emancipated image of the air combat scenes is something due to Mr. Kawamori's personal experience. That content is said to reflect as-is on screen the strength of the sunlight and the vastness of the sky—to the extent that it feels good—that Mr. Kawamori felt when he experienced a mock air battle with Mr. Itano Ichirō in America at the time they were working on "Macross Plus"; something that will be touched on in detail in the interview pages. Depicting the beautiful sky, to the extent that the mood of the air battle feels out of place, is an important factor in the presentation of realistic air combat.
As a result, what sort of scene does it build in the completed form? Please await the release while imagining the air combat scenes in your own special way, according to the storyboards that appear in the interview pages.
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F-14 Evading Missiles ②
From the camera work, which is following the missiles that are pursuing the F-14, the camera quickly approaches the F-14, which is taking evasive action. The underside of the F-14—which is moving out of the way of the pursuing missiles at great speed—is clearly filmed. The camera work that matches the speedy movements is difficult to reproduce with normal animation techniques. |
F-14 Turning From Side To Side
Another shot transitions from a long shot to a low-angle shot. The F-14 breaking off from the missiles is caught in a long shot, and after avoiding all of the missiles, the camera goes right up to the cockpit area. With filming of the F-14's cool shape, the shot chases after absolutely impossible camera work.
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Macross CG Techniques That Have Been Cultivated In The Games & Promotion Movies
"Macross Zero" isn't the first time that they've tried Valkyrie footage in CG. It has been tried several times in game CG movies and in footage for promotions; and there is also an aspect where they cultivated the way of showing Valkyries in CG due to that. Game movie scenes were made as experimental footage, and are especially worth a glance. As they are also the origin of shots in "Macross Zero", when you see them you should be able to enjoy "Macross Zero" even more. All of the Macross related CG footage from before "Macross Zero" is compiled on the "Macross 20th Anniversary Premium Collection (¥3,800), which is currently on sale from Bandai Visual. In addition, because it compiles a great amount of Macross related footage that is making its first public appearance, the fans who can't wait for the release of "Macross Zero" should surely check it out. Right: The movie from the PS1 game "VF-X", which was the earliest CG footage made. It depicts a gorgeous formation flight of Valkyries with new and old ones intermingled together. Left: The opening movie of the Sega Saturn "Do You Remember Love?". The anime style treatment of the Valkyrie CG had already appeared at that time. Right: [The "Macross 20th Anniversary Premium Collection"] uses the most recently produced CG as a promotion video. The techniques have progressed, and they completed it with an image completely like that of a real aircraft. |
| Pg 066 |
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Those storyboards sketched a high density air battle, to the extent that we wondered "is it really going to be 30 minutes long?" The overwhelming density was to the extent that we remember being excited by it. This interview is based on those storyboards, and we deliver it organized with the topic of directing the air combat playing a central role.
It's a Macross World that anyone can enjoy, while being conscious of the 20th anniversary
—To start with, I'd like to enquire from the setting and the [story's] backbone. The story seems to basically be based on the Unification War that was the preliminary step in "Super Dimensional Fortress Macross".
Kawamori • Certainly the Unification War is the base, however the setting is a story that hasn't appeared in the chronology that becomes the basis for the "Macross" that's currently being published. Its background has the feeling of the "great war"—what's called the Unification War—having mostly ended, and regional conflicts are occurring here and there due to the war's impact. However, rather than low tech conflicts where guerrilla fighters play a central role, we have the image of it taking place using more advanced weapons. Aren't there stories where America often won't publicly release official documents on classified matters until 50 years have passed? Regarding the world view, by having an episode that's incurred such a treatment, we have the preamble for material that has been erased from history. Therefore, we have a secret military situation or special forces-like story that has a scale that's a bit smaller than what's called a war.
—The Macross series so far have basically depicted the future since the original production. Why this time did you consider depicting a story set the furthest back in past?
Kawamori • This year is also the 20th anniversary, and there was also a feeling of trying to go back to the starting point of "Macross" as well. When the first "Macross" was produced, it was around when memories of the Vietnam War weren't so far away, the Cold War would still continue for a while, and we surely couldn't believe that the Soviet Union would collapse. As the setting for the Unification War is influenced by the effects of those days, "Macross Zero" also has a feeling of a war between the East and the West in it. On the other hand, as it was after I designed the YF-19 and YF-21 for "Macross Plus", I didn't have any more material to attempt a design based on a fighter jet that appeared after them. (laughs) Then, the fact that I wanted to design a Valkyrie that returned to a little bit more of an interesting fighter jet era is also a big reason, eh.
(con't on Pg 067)
(con't from Pg 066)
—The "Macross" series productions themselves have a strong image as having been produced with comparatively clearly separate styles. What kind of directionality will "Macross Zero" have?
Kawamori • This time, after considering that it's the 20th anniversary, I'd like to make sure that whatever Macross the viewer has seen, they will be able to enjoy themself. On the other hand, I want to put it in that even if they have only seen this production, and even if they don't know what the Protoculture are, they will be able to enjoy it... the viewer will enjoy it more if they know, but I intend to take care that if the viewer doesn't know, they will be able to enjoy it. As the big motif of the production itself, I'm creating it with the concept of the alternation of generations, depicted with transforming fighter jets and conventional jets, or more precisely, the depiction of historical changes in the "the period when things are changing".
—Does the center of the drama, that is to say a place similar to an "island in the southern seas", have an image that contrasts with the era that is passing through change?
Kawamori • That's right. That impression is strong, isn't it? After that, the rest is... I simply wanted to go to a southern country! (laughs) That is to say, let's put that [topic] to the side for now. (laughs) For other reasons, the part where there are situations that have hardly been done in the other Macross [releases] is a big reason.
The Valkyrie called the VF-0 shoulders the prehistory of "Super Dimensional Fortress Macross"
—In fact, the VF-0, the Valkyrie this time, is really similar to the F-14, isn't it? Just now, you explained that you "returned to an interesting fighter aircraft era and designed" the Valkyrie. That is connected to it, isn't it? So, what kind of aircraft could you come up with for the one called the VF-0?
Kawamori • (...)
Translator's note: the translation of the rest of the interview, hereafter indicated with (...), will have to wait until a future date. Apologies.
(con't on Pg 068)
(...)
The mechanical design theory seen in the Valkyrie
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The Depiction of Valkyrie combat and fighter aircraft that are spread out in directing that introduces CG [into a Macross anime]
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(con't on Pg 069)
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The Fighter Aircraft Directing Seen In "Macross Zero" ①: The Dogfight That Shows The Pilot Working Together [With The Aircraft]
The opening of the story is a great highlight with the dog fight between the mutually currently-used fighter jets: the Unified Forces F-14 Tomcat and the Anti-Unified Forces MiG-29. What stands out in that sequence is the pilots' reactions, which are connected to the behaviour of their fighter jets. The dogfight between mutual fighter jets—that's depicted in CG—is drawn so that the movements of the fighter jets directly affects the state of the pilots. For example, when the F-14 took the rear of the enemy fighter, even the pilots came under great Gs if the fighter jet made any turns. In such a situation, immediately after showing the fighter jet's behaviour from an objective angle, the camera changes to a subjective shot in the cockpit where the pilots are strained by pain. As a result, it depicts how severe a dog fight is. Caption: The F-14 and MiG-29 mutually try to take their opponents rear while violently turning. The camera shifts to the cockpit of the F-14, which is circling sharply, and shows the difference in the facial expressions between protagonist Shin and copilot Edgar. By contrasting Shin—who is coping with even hard G turns with a composed expression—with Edgar, who is grimacing in pain, the shot depicts the difference in the two characters. Of course it is backed up in air combat theory. Even in relation to the movements of the fighter jets, the scene is enshrouded with a realistic feeling of combat that isn't in other productions that dealt with fighter jets. |
(con't from Pg 068)
(...)
(con't on Pg 070)
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The presentation of touching a "different dimension"—the sky.
(...)
(con't on Pg 071)
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The Fighter Aircraft Directing Seen In "Macross Zero" ②: Pilot Behaviour That Reflects One's Personal Experience
When making "Macross Plus", Mr. Kawamori experienced a mock dogfight in America. Based on the experience at that time, he properly reproduced the movements of a pilot during a dogfight even on the small screen. In a battle between fighter jets, after the location of the enemy aircraft has been confirmed, one can advance to a position of predominance in combat by following the enemy craft in the rear. When drawing close, it's important that the pilots don't rely on instruments such as radar, check their surroundings with their own eyes, and how efficiently they can get behind the enemy aircraft. For that reason, it became possible for the pilot to extensively confirm-by-sight through the canopy from the fuselage's sides to overhead. The pilots also don't only look in front, but make many movements to look around the environs of the aircraft. This sort of action, which seems obvious at a glance, is also reflected on screen due to having experienced it firsthand. It successfully depicts the dogfight with a greater feeling of tension. Caption: Shin glancing around his surroundings to acquire the enemy fighter, which displayed movements that surpass the flight behaviour of his vehicle. There are almost no times when a fighter pilot looks at his instruments in the middle of combat, to the extent that even the heads-up display with the attack sight is used only just before shooting down the enemy fighter. Combat is mostly confirming the enemy's position. |
(...)
(con't on Pg 072)
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The Fighter Aircraft Directing Seen In "Macross Zero" ③: The Itano Circus Is Still Thriving Even In CG Animation
The highlights of "Macross Zero" aren't only the battles by real fighter jets. This time as well, with Mr. Ichirō Itano's participation as speciality director, flashy dogfights that are characteristic to the Macross series were also naturally included. By introducing CG, the Itano Circus that displays directing where the intensity of the swarm of missiles that leave a trail of smoke, as well as the production time of animation by cells, has increased even more in power. It introduces a scene that is impossible in cell anime and live filming: the camera passes within inches of the missiles—which are moving while leaving trails [of smoke]—and moves to the front of the fighter jet that is being pursued, all without changing to a different shot. And then, such things as the form of the fighter jet that dodges the missiles that are hot on its heels by a hairsbreadth also reproduces an impressive scene with impressive camera positions that hasn't been in a Macross series so far; because it became possible to freely move the camera position. It has a degree of perfection that is convincing even for the hardcore Macross fans from the older productions. Caption: This time, the F-14—which is a currently used fighter jet—is the subject of the Itano circus. As evasive action by putting the aircraft into a stall by transforming like a Valkyrie is impossible for the F-14, it attempts to evade by using flares (something that exists as a currently used armament), which attract the pursuing missiles with an additional heat source. Just as one thought, the result was... |
"Bewitching" aerial combat directing that is close to entertainment
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(con't on Pg 073)
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Endnotes #1~10
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"Reality" and "entertainment", which are expressed differently
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(con't on Pg 074)
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The Fighter Aircraft Directing Seen In "Macross Zero" ④: The Realistic Depiction Of Fighter Aircraft That Is Displayed In The Long Takes* Enabled By CG Animation
The greatest point of the depiction that became possible because of CG is the point where it became possible to move the camera angle from a long shot to a closeup shot, and once more back to a long shot. Do to that, it has now become possible for the so-called "cool" scenes of fighter jets to be shown at will. For example, it isn't possible to easily see such things as the real F-14's wings changing position or the airflow whirling into the intakes while flying. However, it's now also possible to tie an upshot with points like that together into a scene with the fighter jet rolling over. Of course, in content by Mr. Kawamori—who has full knowledge of "Where and in what way fighter jets should be seen to look cool"—he has abundantly incorporated 'service' shots of the fighter jets that have the viewer saying "I wanted to see that!" This is scene directing that cannot be overlooked by fighter jet fans. Caption: The F-14 pursuing the enemy craft while producing water vapour trails due to an abrupt acceleration. It approaches the camera with great speed, and into a closeup shot where the air currents that are whirling into the intakes can be clearly seen. From there, while the camera is drawn to the F-14 and the jet is bathed in sunlight, the F-14 rolls over and the fuselage details can be clearly seen. This sort of sequential directing, where one can reconfirm the coolness of the fighter jet, is distinctive of CG.
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The Fighter Aircraft Directing Seen In "Macross Zero" ⑤: The Must-see Battroid Transformation Sequence
This time, a transformation scene that approaches a level of Valkyrie detail that they haven't been able to depict in the footage that was made in the past has finally been filmed. Specifically, it isn't the directing of a jet fighter, but as it is a new attempt in the Macross series, we'll present it here. The Valkyrie transformation depicted in slow motion also has a convincing degree of completion—that is, depicted down to the details—due to the benefits of CG. After thoroughly showing the transformation in slow motion once, the familiar quick transformation is shown in a different shot as the Valkyrie's transformation. Of course, as a result of adding effects when transforming, such as aerodynamic resistance, it presents a transformation scene that hasn't been seen so far. It will take time before one can see the actual transformation scene. However, one can enhance their imagination of it while looking at the storyboards and the Battroid modelling data in the colour pages [of this magazine] while waiting for [the DVD] to be released. Caption: The storyboards are of the instant the transformation finishes in slow motion, and switches over to the transformation scene in real-time immediately after that. The real-time transformation elaborately depicts the situation where the Valkyrie transforms while avoiding the pursuing missiles. Due to its three-dimensionality, it's a scene where one can enjoy a new fascination with the Valkyries. |
| Pgs 130~135 |
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