4K and HDR VFX, a masterpiece depicting Shibuya, the end of the bubble economy | Netflix series "Naked Director Season 2"

2021年6月24日（木）から配信中のNetflixシリーズ『全裸監督 シーズン2』。バブル景気にわいた1980年代を描いたシーズン1に対し、シーズン2ではバブル景気の終焉と、拡大路線の破綻によって主人公・村西とおる（山田孝之）が転落していく様が描かれる。ビジュアルのスケールアップとクオリティアップを実践すべく、新たな体制で臨んだ本作。そのVFXをリードしたSpade&Co.I spoke to Kojun Kosaka VFX Supervisor and other core staff.

Text_ Hiroshi Murakami (Phantom Pictures) / HIROSHI MURAKAMI (MUGEN PICTURES) Edit_ Yumitomo Numakura / ARIHITO NUMAKURA (CGWORLD) PHOTO_ Mitsuru Hirota / Mitsuru HIROTA

"Naked Director Season 2" Trail 1 --Netflix © 2021 Netflix, Inc.INFORMATIONNETFLIX Series "Naked Director Season 2" www.Netflix.Com/Title/80239462 General Director: Masaharu Takeshi/Director: Kotaro Goto/Kotaro Goto/Original: Nobuhiro Motohashi "Nauto Muranishi Toru Den" (Ota Publishing, Shincho Bunko)/Screenplay: Norryu Yamada, Kazuhisa Koji/Screenplay Cooperation:Takashi Oe, Yukiko Kawasaki, Izumi Kawasaki/Art: Eiji Tsuji, Eiji Onishi/Shooting: Shoji Ehara/Lighting: Takashi Sugimoto/Decoration: Yoshio Yamada, Mitsune Matsuda/Edit: Yoshisuke Hori/VFX Supervisor:Kosaka Ichishin/Production Production: C & I Entertainment

【中核スタッフ】左から、VFXディレクター 白石哲也氏、CGスーパーバイザー 山岸辰哉氏（フリーランス）、VFXスーパーバイザー 小坂一順氏、VFXプロデューサー 塙芽衣氏、テクニカルアーティスト 亀村文彦氏（ロゴスコープ）Spade&Co.

【参加デジタルアーティスト】左から、山田昭仁氏、戸梶雅章氏（フリーランス）、澤田康平氏、新谷真生氏、賀山 淳氏（フリーランス）、正木里桜氏、大場勇作氏、一瀬 隼氏（Barehand Modeling Studio）、塚原大輔氏、関野公紀氏（Barehand Modeling Studio）　※Affiliationの記載がない方はいずれもSpade&Co.Affiliation

【参加コンポジター】左から、小川秀平氏（フリーランス）、上田春寧氏、藤枝京佑氏、芝 那々子氏、浅川翔太氏、出石涼太氏、田中朝幸氏（フリーランス）、髙栁優斗氏、丸 晴凪氏、久保田瑠生氏　※Affiliationの記載がない方はいずれもSpade&Co.Affiliation

<1> Build a 4K/HDR workflow that can be completed within the CG production

In Season 1, many of the office scenes of the main character, Tomo Muranishi (Takayuki Yamada), were shot in the studio set.However, in Season 2, which is introduced this time, we decided to incorporate not only studio sets but also location shooting, based on the intentions of Director Haruho Takeshi and art directors who want to further pursue reality.

The main location of Season 2 was held around Shibuya Tokyu Hands, where Sapphire Video (AV Productions that Muranishi rose with friends in Season 1).The surrounding office buildings remained in the early 1990 implications remained at the time, and the composite processing was also lighter, such as replacement of signboards and the view outside the window.However, the area around the scramble intersection in Shibuya, which is drawn at the beginning of Season 2 "Episode 1: Erotic from space", has progressed and the cityscape has changed significantly, so from the buildings to road signs.It was said that the cityscape had to be faithfully reproduced in CG and took the most work time.

「制作当時は複数のプロジェクトが進行しており社内スタッフも多忙を極めていたため、本作の指揮を執ってもらえるCGスーパーバイザーを探していました。そんな矢先、山岸（辰哉）さんが『全裸監督に参加したい』とツイートしたことを知り、オファーしたのです。私がオムニバス・ジャパンに在籍していた頃から山岸さんは高名で、映画『宇宙兄弟』（2012）のロケット発射シーン（※1）など質の高いVFXを多く手がけていらっしゃったので、いつか一緒に仕事をしたいと思っていました。今回ようやくその夢を叶えることができました」と、Spade&Co.代表取締役で本作のVFXスーパーバイザーを務めた小坂一順氏は語る。※1：同シーンは、第66回（2012年度）「映像技術賞 VFX部門」（一般社団法人 日本映画技術協会）を受賞した

This work was produced in 4K/HDR format and was completed.Therefore, it was said that workflows were to be built from Ichi according to the specifications and standards specified by Netflix."The specifications published by Netflix on the site without experience dealing with 4K/HDR were also difficult, so I needed to start by learning terms such as AceS from Ichi.I was in charge of the company in charge from the development of the company's infrastructure to the construction of workflows. "(Mr. Kosaka)

Fumihiko Kamemura (Logoscope), who participated in this work as a technical artist, was about one month until April, when the shooting started in March 2020, how to handle HDR and appropriate.The workflow was constructed after careful verification, from the selection of equipment to the system settings, such as the preview method.

▲ The configuration diagram of the final completed HDR preview system.Logoscope / Kamemura's design to realize a system that allows you to check HDR and SDR at the same time.

全8話で構成されたシーズン2にて、Spade&Co.The number of VFX shots we worked on is 551. In addition, the space satellite scene on the first episode is very different from the visuals of the main story, so the team centered on Kenji Nakajima, who served as the production, was in charge (VFX in the same scene is Khaki is the lead). The VFX cut used SHOTGRID (formerly Shotgun) to share progress, data management, and asset. Based on the offline data output from Nuke Studio, the thumbnails and shots of all shots, Nuke files and task templates are automatically created on Shotgrid, so that staff errors have been reduced and human errors have been reduced. 。 "I didn't think I could really participate in the production even though I just tweeted with a light feeling (laughs). Tatsuya Yamagishi, a CG supervisor, said that it was necessary to make it in the first format of 4K/HDR, but I was able to complete it with many people. "

▲ Examples of data linkage between Nuke Studio and Shotgrid. Nuke Studio output setting screen.Decide what kind of folder structure to proceed while working with the Shotgrid side / Nuke Studio, output from Nuke Studio, at the same time, thumbnail version, sequence name, shot name, shot IN /The OUT point and shot scale are registered on the Shotgrid side in the form of synchronization with Nuke Studio."Since the task template set in advance can be assigned, the necessary tasks are also created at the same time as the shot registration."Tetsuya Shiraishi, who was the VFX director.

<2> Reproduces Shibuya in the 90s, whose digital archive is rare

At the beginning of Season 2 and 1 episode 1, the scene where Muranishi speaks at a scramble intersection in Shibuya is in the Ashikaga scramble city studio, and the background streets are adapted to 3DCG faithfully reproduced. But a top -class and difficult VFX was required. Due to the effects of the corona, the location of live -action shooting was difficult to determine, so the storyboards and privis work were also tailed, and VFX work was extremely confused. "The biggest mission is to reproduce the scrambled intersection in the early 90's. I needed a huge number of assets, so I asked BareHand Modeling Studios, who has a reputation for high quality envyins. At the timing of the production, there was no storyboard, so it was not possible to narrow down whether the area (direction) of the cityscape of Shibuya was needed, so we decided to create the whole area around the scramble intersection. "(Yamagishi).

▲ From the scrambled intersection scene of the first episode (as of 1991)

As mentioned earlier, crank -in was March 2020, but on April 7 (Tuesday), the first emergency declaration was issued, so we decided to interrupt the shooting.After that, it was resumed in late June, cranking up and offline editing in November.However, the shooting for the beginning of the first episode was shot just before the crank up due to various reasons.The asset production of the cityscape of Shibuya started in August 2020, and was completed in April 2021 (delivery for BareHand).

Many materials were collected to reproduce the city of Shibuya in the 1990s, but in particular, the material of the signboards listed in the building had few photos and low resolutions, so it was difficult to search for reference. Since the signal is now being LED, the shape is different from the one at that time, so it was required to replace it with CG. Furthermore, the crosswalk line and signs were different from the present, so the production was proceeded with great care. "In the same scramble intersection, the stage of the first episode, in 1991, and the stage of Episode 8 (" Stone's will "), it was necessary to rebuild the signs in the city. Shibuya in the 90s. Even though it is reproduced, it is not enough to make it look older in the existing building. These buildings should have been newer at the time, so I aimed for a balanced look that is not too old and too new. Is a texture using Substance Painter, but I felt that it would be better to paste the photo material into the realistic look required for this work. The asset is a model shape. It is necessary to finish it so that it is suitable not only for good or bad but also when loading into the scene file, but in the 4K/HDR format production, it can be seen more details than expected, so even on the CG production side, 4K masumoni. I think it is essential to create an environment that can be confirmed in, "said BareHand Modeling Studios, CEA, and the company's CG Supervisor.

▲ The scrambled intersection scene of Episode 7 (as of 1991).Based on materials such as photos at that time, signboards were rebuilt with CG.

足利スクランブルシティスタジオ（オープンセット）における撮影では、コロナ禍中のためエキストラは1,000人ほどしか動員できなかったため、群衆やクルマなどをCGで作成することも求められた。クルマは市販モデルを加工し、カラーバリエーションを持たせつつ、運転席にモブを乗せるなど細部にまでリアリティを追求。デジタルモブはレスパスビジョンがフォトグラメトリーベースで作成したモデルを使用。モーションはスクウェア・エニックスのスタジオで収録したキャプチャデータを使い、HoudiniのCrowdsを利用してモブシステムを構築。モブは遠景や手前などブロック毎にArnold Scene Source（ass）で連番出力することでデータ容量を節減することで大規模なシーンを実現した。「スクランブル交差点の周囲を歩くCGの群衆が実写の人物と重なってしまったり壁や植木を突き抜けたりしてしまうこともありコンポジットで位置や数の調整が必要になりました。群衆を奥や手前など細かく素材分けを行うことも考えましたが、膨大なレイヤー数になりレンダリングにも多くの時間を費やすことになってしまうためDeep Compositeで対応することにしました。ただ、4Kサイズということもあり処理負荷も高く取り扱いには苦労しました」と、VFXディレクターを務めた白石哲也氏（Spade&Co.)In the HDR, the highlights and mask edges were outstanding, so the contrast and familiarity were very careful, but otherwise seemed to be able to do the composite work in the same way as SDR work.

▲ Digital mob for distant view from the middle view. Created from a photo grametry / Motion data example

▲ Taxi created in CG.Digital mob was added to the seat

▲ CG work example of scramble intersection scene.An open set based on the measurement data 3D / MAYA scene for writing work

Breakdown of scrambled intersection scene (QFRONT side)

<3> Invisible effects that enhance reality

During the post -production period, many staff members decided to work in remote work due to an emergency declaration.Therefore, he decided to share asset data, photography information at location, checkback, etc. via Shotgrid.Furthermore, all assets can be worked without stress even with remote work (Arnold Scene Source (.The data capacity and processing load were reduced by converting to ASS) files and the texture was converted to TX.Use Maya's Arnold Translator to display a low poly model during work and switch to a high -mesh model during rendering.Asset in advance.It seems that the advantage of improving the rendering speed is obtained because the conversion processing during rendering can be omitted by using ASS.In addition, TX files created by Maya's TX Manager.assファイルの書き出しや差し替えはほぼ自動でパブリッシュできるようパイプラインが構築されている。「VFX制作にはロケ時のカメラの位置やレンズなど細かな情報が欠かせません。Spade&Co.There is a staff member of the assistant director, so it was very helpful because it recorded the photography data of the site in detail "(Mr. Yamagishi).

▲ ARNOLD proxy function (.Rendering example using ASS)

渋谷に移転したサファイア映像が入居するトウセン宇田川ビルのシーンでは、CGSLABによるフォトグラメトリーから作成した3Dデータをガイドにアセットを作成。アップショットになることもあるためUDIMを使い、4K/HDRの品質に耐えるよう作成された。このシーンでは、ロケ撮影からスタジオ撮影のプレートへとシームレスに切り替わるトラベリングショットも登場するが、その自然な仕上がりはSpade&Co.It will be the true value of.

▲ Material material of Tousen Udagawa Building (3DCG model).Output various channels with AOV so that you can adjust finely by composite work

Breakdown of Tousen Udagawa Building Scene

The plate taken at the Ashikaga Scramble City Studio is a CG background material that accurately describes the surrounding buildings because the way of light and shadow fall because there is no building around.When it was synthesized, there was a sense of incongruity, and it was necessary to give a lighting in consideration of how the shadow was dropped and the appearance.For example, in the case of a scramble intersection scene, it is composed of five layers such as buildings, cars, crowds, street trees, and traffic lights, and output many elements so that the flickering and ground shadows of the traffic lights can be finely adjusted with a composite.ing.

▲ JR Shibuya Station Hachiko Exit, which was rebuilt with a 3D project by NUKE

Scramble intersection scene (JR Shibuya Station Hachiko side) Breakdown

▲ Live -action plate / Nuke Synthesis of CG background reconstructed by 3D projection / CG CG synthesis / Base composite / HighFG mask material that was asked for high accuracy at resolution.The finished form with a series of composite processing is made to reproduce even the detailed details of the hair

Nanako Shiba, who was in charge of the composite of the scramble intersection scene, is also in charge of many difficult scenes where live -action and 3D are intertwined complicatedly, such as the karaoke shops in Shibuya and the scenes of burning Dutch Wife (described later).He was active as the right arm of Shiraishi."In the shot that captures the night view of Shibuya through the window from the store, the electronic bulletin board outdoed from Maya and the matte paint drawn by Norii Norii (freelance) are depth background.I created it. The tracking of the camera did not go well and the writing outside the store and the outside of the window were very different, so I had a hard time balancing, but I pursued reality by reflecting and dirty on the window glass. ")

▲ Build a city of Shibuya outside the window with a 3D projection by NUKE

Shot breakdown that captures the night view of Shibuya through the window

▲ Background material with composite work while reconstructing with NUKE / Musquarter of the person / Person's composite adjustment / reproduction of glass images in karaoke shops.Finished form that adds dirt and additional reflections to give reality

Finally, let me introduce two unique VFXs other than the landscape.This is the scene where Kenji Kawada (Tetsuji Tamayama) and Toshi Arai (Shinnosuke Mitsushima) burn the Dutch Wife that Kawada valued (Episode 7 "Falling Fall").Here, in response to the order of the director who wants to add thick black smoke, the flame and smoke based on StealthWorks are created with CG.In addition, Mr. Shiba gave a skillful composite work, such as adding a live -action smoke material there, and was finished in an impressive scene.

Breakdown of shots that burn Dutch Wife

And the processing processing of the video reflected on the CRT TV screen is also a VFX unique to this work. This expression is expressed in a node for reproducing NTSC's unique interrace (scanning lines) in Nuke. Since the screen gnawn synthesis had a large number of cuts, a template was created and shared among staff. It took time before the look was decided, but the bleeding and scanning lines were added to make a shot without discomfort. "For the first time this time, I decided to work on a high -definition video of 4K/HDR, so I asked Kamemura to build a preview room. Therefore, I felt that an environment that could be checked by both standards was necessary when the composer worked. However, there are some parts that can be used with familiarity and experience, so we continue to produce based on the pipeline built in this work and know -how. I want to accumulate "(Mr. Shiraishi)

Breakdown of looks processing to CRT monitor

▲ Original live -action material for fitting / Added interlace effect // Screen rampant line effect is applied / Running line effect material / originalCompleted form with a plate inserted / a series of composite work