The point of the walk cycle is the expression of "weight". Tonko House's Toshihiro Nakamura talks about the appeal of animation and the art of expression.

San Francisco, California, USA. Tonko House is a Berkeley-based animation studio founded in 2014 by former Pixar creators Daisuke Tsutsumi and Robert Kondo. His masterpiece "The Dam Keeper" was nominated for an Academy Award, and the following two films also won international awards. Toshihiro Nakamura is Tonko House's only animator with such skill. In December 2021, CGWORLD released "How to make a walk cycle" by Mr. Nakamura on "CGWORLD Online Tutorials". Mr. Nakamura, who moved to the United States at the age of 27 and mastered Hollywood's unique animation style. We asked him about his obsession and the points that are essential for creating overseas-style animation.

Mr. Toshihiro Nakamura

Tonko House/Lead Animator Moved to the United States in 2010 and entered the Academy of Art in San Francisco. In 2013, when she was in school, she participated in the short animation "The Dam Keeper". After graduating, he worked as an animation intern at Sony Interactive Entertainment America, and is currently working as a lead animator at Tonko House.

When I was a generalist, "I was not good at animation." At the age of 27, she made up her mind to go to America.

CGW: This is the first interview article since the 2017 issue of "New Japanese Artists Working Abroad". Mr. Nakamura, you are expanding your field of activity, but could you tell us about your current activities? Mr. Toshihiro Nakamura (Nakamura): Yes. Currently, I am involved in the production of a Netflix original work called "ONI" as an animation lead and animation supervisor. "ONI" is an animation based on Japanese folk tales, and the CG was produced jointly with Marza Animation Planet, Anima, and Megalis VFX from Japan. CGW: Have you ever been a supervisor before? Nakamura: Tonko House is a small company with about 15 people, and I'm the only animator. As a matter of fact, my title is rather ambiguous, and although I am an animator, I have also worked on other titles (titles) on a project-by-project basis. However, this is the first time that I have the big title of "animation lead and animation supervisor". There is pressure to oversee the whole thing, but it's a pretty good work, so I'm looking forward to the release myself. Prior to ONI, he participated in the production of the Hulu original 2D animation Pig - The Dam Keeper on the Hilltop in 2017 and the short film Moom in 2016.

Teaser : Pig - The Dam Keeper Poems #1 "The Dam Keeper on the Hill" First Trailer! Moom Official Teaser: New Short from the creators of The Dam Keeper

Nakamura: Dam Keeper was originally produced independently by directors Tsutsumi and Robert, who were both at Pixar at the time, in 2013, before Tonko House was launched. It's a short film. It is also the work that led me to join Tonko House.

The Dam Keeper: Official Trailer #2

CGW: You participated in the production of "The Dam Keeper" in 2013 while you were studying at an art college in San Francisco. Why did he come to the United States at the age of 27? Nakamura: Yes. However, I originally worked as a CG artist for 6 years after graduating from a CG vocational school in Fukuoka, but in fact I had never touched animation in Japan. I wasn't taught about it at school or at work, so it's only natural that I had confidence in CG in general, but I was allergic to animation (laughs). I thought, ``I don't want to finish my life as an artist without being good at it.

Generalist x animator. With a combination of skills, Tonko House is unique.

CGW: That was a brave decision. How did you feel when you actually moved to the United States? Nakamura: There was a new discovery related to how to learn CG. I noticed that while there were many generalists in Japan, there were many specialists in the United States. A specialist is someone who has mastered a particular skill. It's not about which is better or worse, it's just a matter of difference, but in Japan, people learned every step of the CG process one by one. So in my case, I didn't get to the animation. Here, for example, the Academy of Art University, which I attended, had a "Pixar class," which specialized in animation, and I was able to learn quite a lot. The content of the classes was also focused on philosophical topics, not on animation techniques, but on digging deeper into "why things happen". In this way, there is a culture of "mastering one skill" in America, so on the contrary, there are few people like Japanese generalists who can do it all by themselves. So if an animator wants to create a work, they have no choice but to find friends who are riggers and modelers (laughs). Why are there such differences between Japan and America? Which one is better? I don't know yet. The only thing I can say is that if it weren't for the generalist knowledge I gained in Japan, I wouldn't be able to survive in America now. Because I learned everything except animation in Japan, I was entrusted with various things at Tonko House like a "anything shop", and I feel that this has led to the trust I have now.

CGW: In other words, if you combine Japanese and Hollywood skills, it's not a dream to be active in the world like Mr. Nakamura. Nakamura: It's not a dream at all. Moreover, animation is worth polishing your skills. When I was working as a generalist, I felt a little uncomfortable with the fact that the quality of the work changed depending on the performance of the computer. If you use a cheap computer, the rendering speed is slow, and you can't create models with millions of polygons. "Isn't that the work of a computer, not a human being?" However, although animation is now making full use of technology, it can be traced back to "paper and pen". In the old days, anyone could create animations with just one skill, without relying on the performance of a computer. It is undoubtedly the work of "people", and the quality of the work depends on one's own skill. I felt the charm of animation there, and it continues to this day.

The key to Hollywood style is weight. The key to expression is "a little lie"

Nakamura: I'm that kind of person, so at first I struggled with the animation. One of them is the walk cycle. I've made more than 50 walk cycles so far, but at first it just felt unnatural... The walk cycle is the basic of the basics, and it's a plain action, but it's actually deep. This is because everyone sees the action of “walking” on a daily basis. Even amateurs have a discerning eye, so if the audience finds even the slightest difference "weird," they won't be able to concentrate on the main story. Students often create flashy actions such as "fighting" or "swinging their swords around," but these moves fool the audience and make them look better than they actually are. On the other hand, simple movements like the walk cycle will reveal your ability if you don't hold down the tricks. CGW: It's actually more difficult than flashy poses. Are there any points you would like people to pay attention to in the tutorial? Nakamura: It's a way of expressing "weight". I think there are many animators who have felt that "I traced a human being, but something feels wrong...". The reason for this is that the structures of real humans and CG characters are slightly different. For example, if you look at a human walking from the side, even if your arms and legs are moving, you can see that there is not much "horizontal sway" when viewed from the front.

However, in CG, if you don't express the weight shift with this "horizontal movement (face and waist)", it will look very "light". CG has "CG realism", so it would be unnatural to just copy humans completely. Therefore, in CG, it is necessary to dare to tell a "little lie". The tutorial explains this point in detail. By the way, before watching the tutorial, it is also recommended to take a picture of yourself walking. And try to follow the movement with "dots". It's an analog method, but the human body doesn't all move together, it moves apart from the center. Like waist → upper body → head. Once you have that principle in mind, you won't need to take a reference (= video) next time. CGW: I see. Nakamura-san also took reference photos in the tutorial, but don't you usually take them? Nakamura: No, we professionals also shoot at a rate of 70 to 80%. Sometimes I don't shoot simple movements like "turning around", but basically I try to move my body and feel "Oh, this part has moved!" If you can create good animation without filming, that's the best, but it's probably difficult for even the most experienced professionals. If you have an iPhone or smartphone, it will take less time and effort, so I would like you to try it.

Nakamura: Speaking of which, I once was surprised by the difference from Japan. The point where the human body sinks the most in the walk cycle is not the contact point (①) the moment the foot touches the ground, but the next moment (④). In other words, the moment you put your feet on it, you have not yet overcome your weight, and when your knees bend and you sink, you can ride on it. The animation here (USA) emphasizes realism, so this "movement of the center of gravity" is delicately expressed.

Nakamura: In Japan, however, we often see walk cycles that confuse ① and ④. Of course, it varies greatly depending on the animator, so I can't generalize, but perhaps it's a remnant of anime culture, I sometimes feel that even in CG, "quickness" and "exhilaration" are emphasized. Then, after all, it looks light, isn't it? CGW: That's right. Then, is it better to learn the basics in Hollywood style and learn Japanese style in an applied way? Nakamura: I've never studied animation in Japan, so I can't help but get an overseas perspective, but exaggeration (= movement that differs from reality) can be expressed well if you have a solid foundation. . Conversely, it may be difficult to maintain quality. The Walk Cycle, once perfected, can be adapted for a variety of moves and added to the demo reel. The tutorial creates a walk cycle from scratch without any cuts. I would be happy if you could imitate it and make it.

Good animation doesn't have a "pause for no reason"

CGW: Thank you. By the way, Mr. Nakamura, what is important when you create animation? Nakamura: It's about giving a "reason" to any performance. For example, in the case of a walk cycle, we make it while considering things such as the feeling of the person walking (happy or sad?), the condition of the ground (bumpy or flat concrete?), and the climate (hot or cold?). I am also a lecturer at Animation Aid, and what I tend to see in my students' works is an action like "a character is just swinging a sword in a flat, empty space." So when I ask them, "Why did you do this pose?", they usually reply, "No, there's no particular reason," or "I thought it was cool." On the other hand, I tell them, "Don't pose without a reason." Because the important thing in animation is what do you want to convey to the viewer? That's why. CGW: What do you mean? Nakamura: For example, in the animation of swinging a sword, it would be nice if the background, such as "the weight of the sword," "who the enemy is," "surrounding environment," and "strength of power," could be conveyed just by looking at it. hey. It is an animation that can only be made by that person, so it moves my heart. The trick to creating an animation that conveys the character's own background is to remove poses that have no reason. Then you will notice that the poses are getting less and less. that's ok. To put it bluntly, if there is a reason, I don't mind acting only on the face. CGW: Very informative. Is there a school in Japan where you can learn "Hollywood style" animation like Mr. Nakamura? Nakamura: Yes, there are many online. Until recently, I myself took online classes run by Disney and Pixar animators to strengthen my portfolio. The Animation Aid mentioned above is also recommended because animators who are active overseas, including Wakasugi-kun (CGWORLD editor-in-chief, Ryo Wakasugi), serve as instructors. CGW: Tonko House also has an online community. I saw that the monthly fee is 1,500 yen, but what is the content? Nakamura: Tonko House's works are more art than animation, but members can evaluate each other's works, interview famous directors and artists and ask live questions, painters and artists. I think it's a great deal to learn directly from the illustrator. I'm sorry if it sounded like an advertisement (laughs). Tonko House is a bit of a special company, and it's very open. The technology is openly shared on YouTube and SNS, and there is an atmosphere where members can easily come and go. For example, when I said, "I want to go to Pixar," he said, "Of course. Study hard and come back again." As the company name "Tonko House" suggests, it is a place that feels like home.

CGW: It's a nice corporate culture that you don't often see in Japan. How do you spend your days without work? Nakamura: Well, on my days off, I do sketches at cafes and participate in gesture drawing. Gesture drawing is a class where you rent a part of the university to draw a nude model, and it's often free here. The good thing about gesture drawing is that you can learn the structure of the human body. For better or for worse, CG is "anything goes", so if you don't understand the structure, you will create movements that are impossible for the human skeleton without realizing it. If you acquire the sense of "this is how you turn" through gesture drawing, you can demonstrate it in CG. If you look around in Japan, you'll probably find places like art colleges that do it.

An era where you can work remotely in Hollywood. I want you to challenge the world without being afraid

Nakamura: I have been fascinated by Pixar since I was a child. Japan's CG is behind," I thought. But this time, when I worked with Marza, Anima, and Megalis from Japan on "ONI," my thoughts were overturned. Their skills far surpass those of our creators, and the quality of their work is amazing. "There were so many amazing people," I realized my misunderstanding. At the same time, the reason why these talented people are not known to the world is that they are not really given the opportunity to demonstrate their abilities. I also felt. CGW: I see. Does that mean that there are limited opportunities for CG artists in Japan in terms of production costs and demand? Nakamura: I think so. That's why I want more Japanese animators to go out into the world. Now is the time to work remotely in Hollywood even if you are in Japan. And someday, I would be happy if I could make Japan's first Hollywood work. In fact, remote work is now the mainstream at Tonko House. The painters who make up 60-70% of the company are basically working remotely from the Japan office, and there are also people in Europe and people who have returned to South Korea due to the COVID-19 pandemic and are continuing to work there. I've been mostly remote for the last two years. Scheduling meetings can be difficult, but there are actually benefits. For example, the time zones in Japan and the United States are completely opposite, so we take advantage of that and operate at full capacity 24 hours a day. The work produced in the United States during the day is sent to Japan by night and reviewed by Japan while the United States sleeps, and the United States responds to the corrections that come from Japan in the morning. The time loss is 0, and it's pretty efficient. Given the current state of the world, I think every company can adopt it, so I hope that they will make more use of this remote advantage. In the past, it was a time when you couldn't learn Hollywood technology without going abroad. But not now. If you have some English skills, you can challenge the world even in Japan. By the way, I'm not good at speaking, and I used to work in Japan, so I'm the type to use my hands rather than my mouth. It's like a craftsman's skin. I am still studying English. However, I think that it is possible to "talk with the work". Of course, it is recommended to acquire English from a young age, but it is not necessary to aim for 100%. So don't be afraid to send emails to overseas companies. I would like you to raise the standard of Japanese CG works with the knowledge you have gained in the world. CGW: Thank you very much, Mr. Nakamura.

Toshihiro Nakamura's Tutorial "How to Make a Walk Cycle"

About In this video, we will create a walk cycle from scratch while adding explanations. In the first half, I will explain the body structure and how to move while looking at the reference, and after creating the standard walk cycle, I will also include tips on how to walk like a woman and how to walk according to various characters. Once you make a perfect walk cycle, you can use it in various situations in the future, and it will be useful for your work by keeping it in stock. [Target] Those who can use Maya. Those who understand the animation function. *Please note that there is no explanation of how to use Maya's basic functions. [Software used] Maya 2020 English version

TEXT&INTERVIEW_Yukina Hara (@yukina_0402) EDIT_Norimasa Nishihara