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Muraishi for I am told more "Gaia" is the director, Sagawa director who served as a special skill supervision of the main episode and the opening, such as the first episode and the final episode. At the opening of this work is depicted in detail the start sequence from the aerial base, it has been a video that drew the mechanic of appeal to more "Tiga", "Dina". It was also a commitment supervision Sagawa had been involved in many of the works as a disciple of the "God of the special effects."

■ our work if give me the viewer think that "real me this?" Is a big success

── Mr. Sagawa, you once worked on the opening video for "Ultraman Taro", but you incorporated the launch sequence from the base into the opening video for this work as well.

SagawaUltraman around "Taro" was sponsored by a toy shop, and I started thinking that the mecha should look good. So I asked Yoshio Suzuki (* 1) to take a picture, "I have such an image."

── because the shadow Speaking Ultra of opening up to it was a classic, the heavy mechanic depiction of the ZAT base was surprised.

SagawaThis is the word of Mr. Eiji yen (* 2), who is a master, but "the first image is important". In the script, the first page, and in the TV, the first minute is the key. If you don't nail your viewers to your TV in the first minute, you'll be able to change channels. Of course, if you are a maniac who has been watching Ultraman for a long time, it is okay, but if you are convinced by those who are watching the work for the first time, it is still the opening. And since the next thing viewers want is a "new video," I suggest changing the opening video with 13 episodes = 1 course as a break. It's 4 cool for a year, but it's absolutely impossible to make a set each time, so I take pictures in advance so that I can make 4 patterns. In that case, it wouldn't be a bellow production cost. But usually the producers turn blue and fly. "If you spend so much money, the program will be over in one cool." It's my job to persuade it. "No, with this opening, 13 episodes will increase to 26 episodes, 26 episodes will increase to 39 episodes, and 52 episodes."

── And it is this time of "Gaia", the mound has been history in the first episode and the opening do you Negae tell us.

SagawaI returned to the Ultra scene after a long time with "Ultraman Tiga". Then, at the request of Koichi Takano (*3), I filmed the opening. At that time, I was told, "This might be the last time for you, too." In the end, I was allowed to do "Cosmos" after that (laughs). While I wasn't involved in Ultra, various people were doing the same way of filming, but I couldn't come up with any further ideas. He's better than me when it comes to CG, but he doesn't put his heart into the images. To put it concretely, it has to be a video that the viewer can imagine SE, that is, a sound effect, in their head. The sound staff saw the video and had an instant flash of “This is the sound!” I think it's our job to make such images. Actually, this is one of the techniques that my father taught me. I used to go to my dad's house to watch color TV. At that time, the old man turned off the sound of the TV and asked, "What kind of sound do you feel?" (laughs).

── Initially, the container vehicle was set to start only from the piece carry, it seems to have been issued a proposal to start directly from the aerial base from Sagawa's.

SagawaI wonder if it was not (laughs). Perhaps I think that I decided to focus the image specific force. Not simply mean that should I use the CG, it is the idea of ​​Do how to become interesting if Misere. It is how to show, such as children will want to hand the toy. Because of the additional miniature can not make only about one aircraft to one course, it shall be declared first in the "what miniature of is what machines need". Create a simple storyboard, where until I decide whether to miniature up to where CG. Miniature for photography is made of FRP. In the past, was using a balsa, I repair is very. So it does not much damage is also also hit the gunpowder off FRP if piano line.

── here thank you explain the theme song of the special effects.

SagawaAerial base that first floating in the sea of ​​clouds. This was taken to secure the miniature on top of the pool Thailand dry ice. There will be a force that can not be represented in the synthesis? As it is a scene where the camera enters the interior has been multiplied by the freeze (※ 4). And hangar has directed the depth to increase the one set in three in the synthesis. Set in the back is obtained by reducing the front of the set. We have put out more depth those who really shook from side to side, but this was taken in the symmetry because it is for the theme song. However, this time will remember and took the three types including angle that shook from side to side. So get with the supervision taste of that will you in take after. And piece carry to move was taken with a wide-angle lens in order to get a huge feeling. This is a frequently used technique. Catapult of container vehicle is only 3 meters, it has seen long by repeating the moving scene. Flight scene of the blue sky and the sunset was to synthesize the actual aerial image. Sunset of the video is what I received from a friend, we have made a halation in order to give a sense of realism. Synthesis also become more real Ppoku by adding a twist. It viewer is successful if give me think that "real me this?" (Laughs).

*1: Yoshio Suzuki. Toho art director. Seconded to Tsuburaya Productions and served as the art director of "Mighty Jack", and worked on the mechanic and monster design for the Ultra series.
* 2: Eiji yen. Founder of Tsuburaya Productions. He supervised Toho movies such as "Godzilla" and "Ultraman", and left a great deal of achievement in the Japanese special effects world.
*3: Koichi Takano. Director and special skill director who played an active part in Toho, Fuji TV, Senkosha Productions, Tsuburaya Productions. Participated in numerous works such as the Ultra series from "Ultra Q" to "Cosmos".
※ 4: processed effect videos to still images.

Kazuo Sagawa (Kazuo Sagawa)
Born October 29, 1939

After working for Toho Special Technology Division, joined the company in 1964 when Tsuburaya Productions founded.
Debuted as a special effects director with "Mighty Jack", and has been involved in many yen works such as the Ultra series, "Monkey Corps", and "Star Wolf". He is also active as a special effects director in overseas countries such as the United States and Hong Kong S.A.R. He has also worked on Toei works such as The Movie "Kamen Rider 8 Riders VS Galactic King", "Battle Fever J", and "Super Light Warrior Chanzerion".

 

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[ULTRA-ACT] This is an action figure series that combines ideal body shape (ACTOR) and high action (ACTION) with a movable mechanism that takes into consideration the character design of Tsuburaya Productions.

[UMW] ULTRIDE MECHNICS WORLD is a high-quality, high-tail mecha series that reproduces the shape, coloring, transformations, and various ver. A.N.I.M.E. of the Ride Mecha that are used in the Ultra Series as closely as possible to the miniature versions, without compromising the image of the actual ride mecha used in the Ultra Series.

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