With supervision, Liang Yu's visit finally had an orderly development.

Superintendent Nishizawa first led them to a nearby studio, which was much more cluttered than the room that was usually used for reception and general staff, and there was a whiteboard plastered with storyboards in front of it, leaving an open space in the middle, which, according to Superintendent Nishizawa, was the venue for meetings before the animation began.

And those that are now and on the whiteboard are animated storyboards.

Liang Yu also had to draw storyboards when she drew comics by herself, but after she looked at the storyboard handed to her by Superintendent Nishizawa, she realized that the two were completely different things. If the manga is to divide the story by a grid, the animation is to be divided by the shots under the keyframes.

Take Liang Yu and Chen Nan's "Chess Soul" as an example, after the script writer and editor read the comics, then the script writer writes a script, and then the deputy supervisor starts to draw the storyboard, there is no doubt that the work here is the deputy supervisor rather than the supervision. In fact, everyone has a misunderstanding, thinking that the supervisor is the person in charge of the film, so the storyboard should also be done by the supervisor, but in fact, except for a few particularly important episodes, the rest are done by the deputy supervisor and other personnel, the reason is very simple, if everything has to be done by the director, he simply does not have that time, and how to shoot this film, how to allocate funds, how to coordinate the allocation of personnel, and what effect to achieve is what the chief superintendent needs to consider.

Mr. Kamiya, the deputy superintendent who is the hero behind the scenes, is not here now, and Liang Yu and the others have not been able to see it, but they have seen the shooting storyboard he left behind.

Generally speaking, animation supervisors also have a certain ability to draw, of course, they don't have to draw particularly well, but they are extremely proficient in the discipline of animation movement laws. When making a storyboard, I usually sketch out the picture first, then set the minutes and seconds of the animation, and then add notes and lines later. Then this clip passed, for example, in the line just now, the two tasks on the screen were said for about 5 seconds, and then the shot was changed and the next storyboard continued.

Because this is detailed to the second, and even frames (that is, freeze-frame pictures, according to the habits of human eyes, a second is usually divided into 24 frames, if the picture reaches more than 12 frames, it will be very smooth, but generally speaking, in order to save costs, animation companies will only do 1/3, if there are only 4 to 6 frames per second, it is shoddy, and there will be a feeling of unsmoothness) So there are about dozens of storyboards produced in an episode, and when it is particularly tense, especially when it is a combat work, this number will double.

When the storyboard is created, it is not finished, the deputy superintendent will take these storyboards for the superintendent's reference, revise them according to his instructions, and only after the revisions are completed, will they be officially taken out, photocopied and sent to his subordinates to start making.

In the animation team,There are about a dozen core members,Among them, there are several directors that Liang Yu met last time,There are also those who have not visited,They are divided into character setting、Scene setting、Original artist、Color designation、Intermediate frame review and post-production several large blocks,And there are countless subdivisions。

According to Director Nishizawa, the key parts of the animation will be checked by the professionals of the PierrotStudio company, but in terms of concept art and scenes, due to the problem of manpower and efficiency, it will still be outsourced, and there are several sister societies with PierrotStudio that have a good relationship, and often borrow people when they are busy with each other, and this is also applicable to the production departments of different animations within PierrotStudio.

Of course, the introduction work is only before the post-production, because this is only a temporary rented venue, so it does not include the recording studio, after all, it is a temporary venue, and it is too cost-effective to assemble these to the branch to build and then dismantle, so the recording of the CV, the editing of the audio track, including the production of some post-scene special effects, are temporarily completed in another company's rented space.

After chatting about this, the time was almost half past ten.

Superintendent Nishizawa is a very eloquent person, and when he introduced Liang Yu and Lu Feifei, he naturally took on each other's topics, such as asking Liang Yu for the opinions of some characters, and his views on some plot directions, after all, he is the original author, and his control of the entire plot must be more intuitive.

These are actually nothing, Liang Yu herself is not a person who can have stage fright, her psychological age is much larger than her actual age now, now that Lu Feifei has understood her identity, Liang Yu has nothing to scruple about, and she also answers the questions of the supervisor and other staff members fluently.

The only thing that people care about is Mr. Harada, who was originally just taking a sample disc, but now he has completely forgotten about his work, and follows the whole process, and he is the person who cares most about the direction of the chess soul plot.

Could it be that he was thinking wrong, Liang Yu couldn't help but have such doubts, but Mr. Harada's reaction can also be understood as a special enthusiasm for his work.

Anyway, at noon, Liang Yu's visit was almost coming to an end, but most of the time, Liang Yu received more attention, and the original big star Lu Feifei became a secondary foil.

Fortunately, Superintendent Nishizawa has not forgotten her existence: "Miss Lu Feifei, this animation production was recommended by Teacher Liangyu, and "Get_over" was used as the theme song of the animation, to be honest, I am personally quite satisfied, ED We have also recorded it, but there are still a few insert songs in the film, I don't know if Miss Lu Feifei has any intention in this regard." ”

To be honest, Lu Feifei is uninvited, but Nishizawa does have the idea of communicating with this star, and if Lu Feifei's publicity is passed, it will also be a good publicity for this animation that has not yet been released.

"Insert song?" Lu Feifei asked.

"Yes, it's a song that is inserted when the story happens to a certain episode, according to our plan, three such episodes will be used in the production of this chess soul, so I want to ask Miss Lu Feifei if you are interested."

"What type do you want?" What is the insertion song, even if Lu Feifei doesn't have a house attribute, she understands it after making a movie, but she is worthy of being a star, and when it comes to her work, Lu Feifei becomes serious.

"Of course, it is to be inspirational, which fits the theme of the work "Chess Soul"." Superintendent Nishizawa glanced at Liang Yu again, which was half a compliment.

"Okay, I'm interested." didn't wait for the assistant on the side to open the warehouse, Lu Feifei preemptively agreed.

Xiao Xu glanced at her quite dissatisfied, but in front of outsiders, she couldn't talk about her own artist.

Superintendent Nishizawa didn't have a particularly happy expression, so he asked, if Lu Feifei didn't agree, he would naturally be able to find someone else, but since the other party agreed, Superintendent Nishizawa continued: "Okay, I think it's almost noon, let's find a place to have lunch first, and then continue to talk in detail." ”