“NIGHT HEAD,” which aired as a late-night drama from 1992 to 1993 and starred Etsushi Toyokawa and Shinji Takeda, became famous, and the original creator, George Iida, worked on the series composition and script for the new animation “NIGHT HEAD 2041.” It will be resurrected under the title “NIGHT HEAD 2041.” Takamitsu Hirakawa is the director of this work, having previously served as the CG director for “revisions revisions”. We asked him how he animated a work over 30 years old in 2021, counting the drama.
“NIGHT HEAD 2041” official website: https://nighthead2041.jp/
Interview
GIGAZINE (henceforth referred to as G)
When did you initially approach Hirakawa with the offer to direct “NIGHT HEAD 2041”?
Takamitsu Hirakawa (henceforth referred to as Hirakawa):
Did you initially discuss it two years ago? It was the first time a strategy for “NIGHT HEAD” was discussed, as well as the possibility of producing a video with Shirogumi.
G:
Were you aware of “NIGHT HEAD”?
Hirakawa:
Upon hearing the name, I immediately wondered, “Is this” NIGHT HEAD “?” However, because it was a live-action drama over 30 years ago, I assumed it was a different production, which was my initial response. Indeed, when I discovered that it was a computer-generated animation of “NIGHT HEAD,” I thought, “This appears to be intriguing,” while also recognizing that there were sections that could be drawn successfully and others that were challenging.
G:
Was it your intention to direct Mr. Hirakawa from the start?
Hirakawa:
Initially, I recall discussing “making an anime with Shirogumi.” Following that, in order to balance the different resources involved in 3DCG animation production and properly depict Mr. Iida’s screenplay, the entire team concluded that the quality level could be increased by centrally regulating it. I intend to do so as a director.
G:
Do you feel as though you’ve entered a state of “I’m going to have to do this now”?
Hirakawa:
Perhaps I was (laughs), but I was personally thrilled to hear from you and resolved to “create something strong and nice.”
G:
I believe this is the first time Mr. Hirakawa has held the director role, but when you attempted to direct, did you encounter any differences from the director position you had envisioned thus far?
Hirakawa:
Until now, as a CG director, I had a history of dealing with on-site workers and collaborating with the director, and as a result, I didn’t see a significant change in the director’s image. However, in fact, I thought that it was challenging to provide guidance to all workers and to use initiative and inventiveness to enhance the quality of all operations, and it was a positive experience. I am aware of that. I had plenty of opportunities to connect directly with Mr. Iida, I heard some fascinating anecdotes, and I liked being a part of the production.
G:
This time, Mr. George Iida, who is also the original creator, is in charge of the series creation and script. They are believed to be conversing. How would you describe your impression?
Hirakawa:
Until I met you, I considered Mr. Iida to have a serious and sensitive demeanor based on his portrayal in the television drama “NIGHT HEAD” (laughs), but now we can meet in person and speak freely. I was concerned, but he gently called out to me. Unless and until occult myths and works are totally shattered, they are uninteresting! That was remarkable, and I always loved working with him.
G:
At what point in the writing process did Mr. Iida decide to write the script?
Hirakawa:
Mr. Iida had already drafted the scenario by the time I learned about this project. It appears as though I’m beginning to participate there. It was originally consisted of 24 episodes, but this time it was 12 episodes each course, thus there was a constant flow of trimming the 24 episode composition down to 12 episodes, or increasing the accuracy and summarizing the tale.
G:
The director stated on the official website’s “Comments from the key crew” section, “I believed it was a crisp concept that was tough to portray with animation.” Which section did you find the most challenging?
Hirakawa:
It’s the subtle interplay between the brothers Etsushi Toyokawa and Shinji Takeda in the television drama, as well as the atmosphere that is uniquely “NIGHT HEAD.” I reasoned that such an atmosphere would be too lovely to capture with 3DCG and would be impossible to convey visually.
G:
When I examined episodes 1 and 2, I discovered an aura of “this is’NIGHT HEAD'”.
Hirakawa:
I’d be delighted if you could say so. Many thanks.
G:
I did not replace the TV drama version with CG, and the plot was altered, so it’s odd to understand why it’s so “NIGHT HEAD”…
Hirakawa:
I purposefully put wetness to the screen as a lens effect, as well as the foggy cityscape. I believe that one of the reasons is that the scenario has been darkened to produce an unusual appearance. Additionally, because I considered “NIGHT HEAD” to be a significant work, I’m aware of how to fill the space between the television drama adaptations.
G:
I was astonished to see that the ability activation sequence was likewise a spectacular production with fast-paced action. Was this flamboyant appearance the script’s intention from the start? Or was it a conscious decision to make it showy due to the approach of 3DCG?
Hirakawa:
To be honest, it’s more of the latter. Of course, the action sequence does not come first since the video expresses what is written in the screenplay. However, because I believe that some young people are unfamiliar with the work “NIGHT HEAD,” I felt that the devastation scenario caused by supernatural forces would be an important aspect for such individuals to witness. That was the case. Additionally, I attempted to maintain the balance of “NIGHT HEAD” so that it would not be a simple “ability struggle,” and I was as aware as possible of my brothers’ suffering and connection to the ludicrous culture.
G:
The year is 2041, as the title indicates. Of course, the world of 2041 is something no one has ever seen, but how did you come up with “let’s make it look like this”?
Hirakawa:
When I initially read the script, I spoke with Mr. Iida “How would Tokyo appear in 2041?” Although the Kuroki brothers, who are opposed to the Kirihara brothers, feature in this work, it is a work that clearly portrays the confrontation with that organization, the organization’s way of thinking, and the formation of society. It is constructed via back calculation. It is not as severe as dystopia, but it is a society characterized by ideological domination. However, it is a natural occurrence for the inhabitants, and therefore the world view is that not everyone is murdering them. Additionally, Mr. Tomiyasu of INEI was responsible for the concept art this time, and Shibuya in 2041 is not a world of advanced science and technology that is “not too wrecked, but not too futuristic,” despite the fact that it is. While preserving the reality of a world that may be conceivable in twenty years, we are creating an imbalanced environment that combines aspects of the past age with high-quality 3DCG, which should serve as a backdrop to the brothers’ tale. I’m hoping you’ll pay attention.
G:
Is the character’s movement this time created manually or using motion capture?
Hirakawa:
This time, I created it entirely by hand to provide the animator complete control over the play’s intricacies.
G:
Previously, when I was interviewed for the “revisions revisions” broadcast, Mr. Hirakawa cited “play” as one of the things he learnt from director Goro Taniguchi. What does “play” mean in the context of computer graphics?
Hirakawa:
“NIGHT HEAD 2041” has several emotionally charged sequences, yet there is always a reaction, even when the dialogue scene or paranormal occurrence surprises or confounds the viewer. In the case of conversation, the character’s personality and the situation in which he or she is placed are considered, such as whether the character is looking at the other person or down, whether the character speaks by blocking the other person’s words, or whether the character is prompted to open his or her mouth. It varies each time, and I get the impression that I am collaborating with animators on such topics while considering better responses.
G:
I believe that retakes that appear to be conventional animation will occur in computer-generated animation, but how can you release them? Is it mostly handwriting and drawing?
Hirakawa:
Essentially, the in-charge director examines and corrects the animation play. As with sketching, we occasionally hand-write correction instructions and occasionally move and demonstrate the intricacies. For instance, you may photograph a posture and request that it be used, or you can record a movement and request that it be performed from here to here. Following that, if you are proficient with 3D tools, you may fine-tune the camera’s operation and movements directly.
G:
As I see it, you make full use of all available methods.
Hirakawa:
Well, I frequently offer directions in an easy-to-understand manner based on the topic.
G:
I believe that time limitations will apply to retakes and revisions. In such a scenario, what type of standard do you establish with the statement “I cannot surrender here”?
Hirakawa:
To begin, if the character’s movement does not correspond to the substance of the production, this character does not exist in this form, and we request that you adhere to the end of such character traits. Additionally, I am aware of the pace while adding sound to action situations.
G:
I missed the last interview, but how did Director Hirakawa decide to pursue a career in computer graphics?
Hirakawa:
I was initially interested in films and videos, then discovered that I could study computer graphics at a technical school. As a career, it stems from character movement and the CG animator. Was it approximately 2000 when I first came into contact with it?
G:
I believe that CG has made significant development over the previous two decades, but did you find yourself in the process and sense that it was a watershed moment? Or was it a smooth transition?
Rather than focusing exclusively on the animation industry, I have the impression that there is now a plethora of things, including the advancement of computer graphics in the game industry, VFX technology for live-action films, hardware evolution, and the proliferation of information as a result of the Internet’s spread. There are waves, but they appear to be moving in unison.
G:
If you watch the making-of footage for a computer-generated film, you’ll see that you’re always utilizing your PC. What specs does the PC require to perform this task?
Hirakawa:
In that regard, the specifications do not imply that “you need something costly anyhow,” but rather that it depends on the person handling it and the item. For example, animators frequently go back and forth in the timeline to determine what’s happening, but they’re working with lightweight models, so they don’t require a high-spec system to that level. On the other hand, those responsible for damaging effects and large-scale explosions have stricter criteria because the physics simulation demands computation time and the data to be processed is already huge. Yes, I have.
G:
What is the primary software application?
Hirakawa:
Our team creating “NIGHT HEAD 2041” is mostly composed of 3ds Max users, with Nuke serving as the primary compositing tool. Additionally, I utilize After Effects.
G:
Is the selection of software based on the criterion “since everyone is accustomed to it”?
Hirakawa:
As our team has been using 3ds Max as their primary tool for over a decade, it is very customized via the use of scripts and tools to aid in the job. Additionally, because the know-how and assets have been acquired naturally, it is better to continue using the tools that have been utilized for many years in order to achieve the most efficient and high-quality goods possible. Naturally, depending on the term, you may choose to use a different tool.
G:
It was a terrible accident that occurred as a result of the state of emergency. What impact did it have?
Hirakawa:
When most employees transitioned to remote work, they paid close attention to the quantity of contact. I believe everyone is the same, but I communicated with the section head frequently, conducted regular meetings, monitored progress, and inquired about any issues or concerns. It appears as though individual staff members should not be segregated.
G:
What is the size of the “NIGHT HEAD 2041” staff?
Hirakawa:
The video production department employs around 70 to 80 individuals.
G:
In the case of such works, what role do the majority of people play?
Hirakawa:
Animators account for the greatest percentage of animators when it comes to moving characters using 3DCG.
G:
Occasionally, while discussing CG, I hear people say, “CG does not imply you can do anything.” While it may appear that you’re taking it easy in “NIGHT HEAD 2041,” is there a scenario in which you’re at your best as a creator?
Hirakawa:
Is it still a sight of devastation? I believe that the area where objects or structures are damaged via the use of psychic powers is more onerous than other incisions. Along with the effects, which include precise character performances, action cuts, and backgrounds that generate compelling force via detail, not just the effects but also other components are created with the same level of spirit, as seen by the numerous situations. I’d be grateful if you could.
G:
Certainly, when psychic powers are awakened, objects are shattered (laughs). Is the portrayal of that done as an extension of the real simulation to some extent?
Hirakawa:
Essentially, physical phenomena are generated by simulation, but they are rarely useful in their current state. Due to the fact that it is normal, it does not remain in my heart.
G:
And that concludes it……
Thus, by include the planned movement as a production, we hope to create a more memorable movement. In other words, when a physical movement is made, it feels as though you are manually adjusting it to the desired position and look. Following that, I frequently urge them to add tempo and keren flavor by extending and contracting the time, or by speeding or slowing it down.
G:
Does this indicate you’re acting on both the characters and the fragments?
Hirakawa:
I concur. The person in charge, in particular, frequently adjusts the big debris on the front side of the camera by hand in order to position it properly (laugh).
G:
How much time was spent this time creating “NIGHT HEAD 2041”?
Hirakawa:
It’s been approximately a year since we began filming the video. I spent the previous year planning the pre-production, modeling, and arranging the plot, narrative, and material, and I estimate that it will take around two years to produce the video for all procedures.
G:
If the animation is hand-drawn, the storyboard will be created after the writing, but how was this work created?
Hirakawa:
The screenplay is displayed first, followed by the storyboard, but after that, I created a V-conte that moves the storyboard in the manner of a picture-story show, and then began 3D development.
G:
I thought the sound effects were amazing, but at what point did I include them?
Hirakawa:
Given the anticipated volume of sound components to be added this time, we ask that you plan it so that it may be added as soon as the video is near completion. For instance, even if it is dubbed “psychokinesis” and had supernatural abilities, it would be difficult to comprehend the sound if it is composed entirely of pure white.
G:
ssurely.
Hirakawa:
In that situation, I decided it would be preferable to view the image that had been damaged and to add sound to it, and so I requested him to link it to the nearly completed image. Arranging the images is challenging, but the outcome is that you will be able to create nice noises, which is why the video production staff is also trying their best.
G:
In addition to sound effects, anime has gekitomo music, but how did you choose the gekitomo music?
Hirakawa:
For music, shortly after the layout work for the first half of the episode began and the video for one episode was nearly complete, Mr. Yutaka Yamada, who would be responsible for the music accompanying the play this time, offered a demo to match the scene’s flow. I requested that you include music in the form. It was so wonderful that I decided to confer with Mr. Akedagawa, the sound director, and request that he keep it that way throughout the tale. I believe that music is a necessary component in expressing this “NIGHT HEAD 2041.”
G:
I was shown the opening and closing videos in a V-conte form, and I was given various production directions based on the music.
Regarding the beginning and closing, I first described the picture of the song, listened to the demo I got and enlarged the vision, and then produced the song as though the video flowed in this manner. As a result, it appears as though I tailored the details to the music. I envisioned how it would flow and conclude, and towards the end, I felt as though I had matched it perfectly to the real music.
G:
Is there a section in this work that says, “Isn’t this difficult?”
Hirakawa:
Is it the case that quality is prioritized within the context of television animation? I believe that a highly comprehensive three-dimensional work has been made, including the space and background. Is it the subsequent shooting process? Because I can change the depth of field and bokeh by utilizing the 3D features, I require the site to do considerable work.
G:
While this work is a convincing animation that “This is” NIGHT HEAD “”, depending on the work, even an amateur may see CG motions such as “This is extremely weird.” I’m not sure where or how to solve it precisely, but what causes CG animation to seem unnatural?
Hirakawa:
I’m not convinced that “this” is unconditional. Depending on the style, the manner in which it is worn and demonstrated will vary. For instance, in the case of children’s animation, it may be halted at a posture that is easily visible to children. It is critical to posture individuals in a dark and exaggerated manner while creating works for adults that demand genuine motions… Naturally, depending on the direction, the appropriateness of the movements is critical. However, I believe that each style possesses fundamental animator qualities. Following that, the variations caused by variances in production methods, such as timetables and budgets, are unseen to the viewer, but they are unavoidable.
G:
While “skillfulness of painting” is reasonably easy to grasp in 2D drawing, can you grasp “skillfulness” in computer graphics?
Hirakawa:
In essence, I believe that the concept is not dissimilar to that of 2D animation. In terms of pose quality, there is little difference between hand-painted and 3D poses. While the CG model may be created by moving the limbs, this is the same as hand-painting, and the result will be unsatisfactory unless the positive and negative aspects of the stance are properly analyzed.
G:
In addition to sound effects, anime has gekitomo music, but how did you choose the gekitomo music?
Hirakawa:
For music, shortly after the layout work for the first half of the episode began and the video for one episode was nearly complete, Mr. Yutaka Yamada, who would be responsible for the music accompanying the play this time, offered a demo to match the scene’s flow. I requested that you include music in the form. It was so wonderful that I decided to confer with Mr. Akedagawa, the sound director, and request that he keep it that way throughout the tale. I believe that music is a necessary component in expressing this “NIGHT HEAD 2041.”
G:
I was shown the opening and closing videos in a V-conte form, and I was given various production directions based on the music.
Regarding the beginning and closing, I first described the picture of the song, listened to the demo I got and enlarged the vision, and then produced the song as though the video flowed in this manner. As a result, it appears as though I tailored the details to the music. I envisioned how it would flow and conclude, and towards the end, I felt as though I had matched it perfectly to the real music.
G:
Is there a section in this work that says, “Isn’t this difficult?”
Hirakawa:
Is it the case that quality is prioritized within the context of television animation? I believe that a highly comprehensive three-dimensional work has been made, including the space and background. Is it the subsequent shooting process? Because I can change the depth of field and bokeh by utilizing the 3D features, I require the site to do considerable work.
G:
While this work is a convincing animation that “This is” NIGHT HEAD “”, depending on the work, even an amateur may see CG motions such as “This is extremely weird.” I’m not sure where or how to solve it precisely, but what causes CG animation to seem unnatural?
Hirakawa:
I’m not convinced that “this” is unconditional. Depending on the style, the manner in which it is worn and demonstrated will vary. For instance, in the case of children’s animation, it may be halted at a posture that is easily visible to children. It is critical to posture individuals in a dark and exaggerated manner while creating works for adults that demand genuine motions… Naturally, depending on the direction, the appropriateness of the movements is critical. However, I believe that each style possesses fundamental animator qualities. Following that, the variations caused by variances in production methods, such as timetables and budgets, are unseen to the viewer, but they are unavoidable.
G:
While “skillfulness of painting” is reasonably easy to grasp in 2D drawing, can you grasp “skillfulness” in computer graphics?
Hirakawa:
In essence, I believe that the concept is not dissimilar to that of 2D animation. In terms of pose quality, there is little difference between hand-painted and 3D poses. While the CG model may be created by moving the limbs, this is the same as hand-painting, and the result will be unsatisfactory unless the positive and negative aspects of the stance are properly analyzed.
