The scene where Tsumugi and Yui meet while walking to school in the A-part was one that was obsessed over. Even more for all the minute color alterations done by the color designer, Akiyo Takeda-san. It’s quite luxurious to be able to do that. ![]() With a TV series, there were a lot of times we could only greatly alter the lighting usage during each scene, but for this movie we were able to alter it to better fit the camera orientation for each cut. – The TV series also had some gorgeous scenes created by the use of lighting. Additionally, we also had meetings discussing how to make the movie feel like it was one singular work rather than a series of stories. During the TV series, we went through various experiments with inserting light into scenes, but for this movie, I asked Rin Yamamoto-san, the director of photography, to research into different techniques to make our subjects look their best. We talked together about how to make the girls appear better to the audience and what steps the photographers would take in order to make that. – What did you speak to the director of photography about regarding creating the visuals? I was extremely focused over the layouts and lens angles in order to best represent the girls’ growth and breathing.Ī truly different luxury of producing images in comparison We also did the same for the D-part when the girls come back to Japan from London in all the school scenes. In order to bring out the atmosphere better, we altered the color of the sunlight and the lens through filters in order to give it a sensation that felt realer. Well, the school scenes in the A and B parts were easier to understand like the hallway scene or the scene where Yui and Tsumugi meet Ritsu and Mio while walking to school. – Could you please talk to us about some easier to understand portions of the film where you obsessed over that realistic feel? I like that aspect of my direction there. There is a way I planned for the viewer to move their eyes, but with everything on the screen moving, it feels like the viewer is watching something realistic. It really feels like a camera was just set up. – That kind of direction was seen in scenes like the one at the end of the A-part where all the characters are on the phone at the same time. I thought about how a real camera would be placed in live action while making scenes. As the TV series felt like the audience was a photographer getting closer to their subjects, the movie strengthened that feeling more. I wanted to continue pursuing the third years in a documentary-like setting throughout their third years, much like I had for K-On!!. – The movie felt more like the audience was a photographer than the TV series did. The balance between the two was something I obsessed over. But I didn’t want it to be too different from the TV series it was important to keep it feeling like K-On!. I was quite particular in making it feel “real.” For that, I asked Yoshiji Kigami-san (A famous animator working since the 1980s who has become a staff member at Kyoto Animation) to supervise the layouts of the film. – What was your goal when constructing the images differently than in the TV series? Thus I had to take into consideration things like where the characters would be placed, their size, and furthermore the amount of space above their heads. ![]() The screen itself tends to have a bigger influence on the image for a movie than it does for a TV series. There are a lot of fine calculations for the lens angle and the distance between the camera and subject that affect the atmosphere of a shot. I thought about how each scene’s layout would look in live-action. The theatre screen appears much bigger, so my utmost attention went towards making images that would look like a movie. – Were there any big differences in how you constructed the images for the movie compared to the TV series? What did director Naoko Yamada have in mind for the visuals? Here we talk with her regarding what she had in mind for K-On! K-On! The Movie’s visuals had a “real” feeling that was obsessed over Though the atmosphere is the same as the TV series, K-On! The Movie’s coloring, photography, angels, and other various components were upgraded. HTT Airlines, Flight JL401: Boarding seat 1: Director Naoko Yamada
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