“Concerning the production look and animation of Winning Eleven Tactics, we decided from the outset that we would use toon shaders in order to achieve a 2D-like look. So the real question was how much of the 3DCG visual information we should lose in the process, and we went through a trial-and-error period with the storyboarding. We were first thinking of using shaders with a somewhat smoother outline, but in the end we opted for a pretty bold American-comic style of shading with strong contrasts.

In order to get the most out of this bold style, we employed camera work with extremely wide, warped perspectives.

Another new animation technique we employed this time was limited animation of 15 f/sec. This was originally developed by the Japanese cell animation industry as a necessary way of reducing the workload, but paradoxically, with time, this has come to be identified with an idiosyncratic ‘Japanese’ look in terms of motion and sense of speed.

By utilizing limited animation combined with the more orthodox 30 f/sec method in slow-motion shots, we were able to impart more of a sense of rhythm into the animation.

As such, by tapping into both strong, locally developed animation methods and the newest CG animation techniques, and combining the best of both, we were able to create original, methodologically hybrid imagery.”

(Hiroshi Chida / POLYGON PICTURES Animation Unit Director)

“When they first approached me with the creative direction and production for this project, I think the clients still visualized something along the lines of traditional 2D animation. However, I knew that it was crucial to demonstrate the space, this stadium with 360-degree surrounding viewstands where the show plays out, effectively via turbulent camera motions and angle changes, to communicate the tension and the excitement of the game. I wanted to make the space come alive, for the audience to feel the stadium receding before their eyes. It was imperative to express that feeling through interactive shifts between the three elements of background, object, and viewpoint, and to achieve a sense of space that is both surreal and adventurous.

The decision to approach a 2D look from a 3D technical basis enlarged our freedom to articulate this, and through consultations with the CG staff, we were able to create a look that was tailored to stress this aspect, with strong contrasts in 15 f/sec, which appeared partly 2D.

(Yoshihiko Dai / Plusheads Animation Unit Creative Director)