The audio commentary of episode 2 of Violet Evergarden TV series featured Ishidate Taichi (director), Fujita Haruka (series direction), and Takase Akiko (chief animation director and character designer). (Note: This group would be the commentators for episodes 1, 2, and 3, which were the episodes in volume 1 of the Blu-ray.)
This time, Ishidate wanted to talk more about the background art. When they first started, he talked to background artists Watanabe Michiko (art director) and Unoguchi Joji (art setting) and 3D director Yamamoto Rin about the city of Leiden. He asked if they could make a 3D model of Leiden, which Yamamoto said he could. However, Yamamoto soon realised the difficulty and said it could take maybe 4 months, which would not meet the production schedule. So they shortened the time to keep within schedule by skimping on the buildings, using boxes just to have a feel of how many floors each building had. This 3D model of Leiden was actually used in the opening part of episode 1, and also used as a reference when drawing, such as when working on episodes 2 and 13.
A 2D map was also created by Unoguchi based on that from Suzuki Takaaki (world setting), like the locations of the richer residential areas and the roads. The 2D map and 3D model was important because this was the first time the staff was working on a work that is not based on Japan. Instead of drawing from a specific time period, they tried to create a world that was totally fictional. The 2D map and 3D models thus served as reference for things such as the width of roads, size of doors, and such, helping the production staff so that they do not fall back on Japanese styles, since they were all Japanese people. Ishidate also said that Suzuki Takaaki was like a walking encyclopedia.
Ishidate then said that the photography staff also worked hard, such as the lighting effects and other details. Funamoto Kohei (director of photography) worked on touching up so that the outlines and the fills do not contrast too much by injecting surrounding colours into the outline. This was a very tedious task due to the number of frames that needed to be processed. Takase said that Funamoto also helped to blend bloodstains into the fabric that they were on. The photography staff worked consistently to turn flat drawings into pictures with depth.
Takase was then asked to talk more about herself. She said that this was her 5th year at Kyoani. When working on this series, she paid attention to Violet's expressions. Also, when she works, she tries to align her own mood when drawing, such as playing sad music when working on sad scenes.
Fujita said that the eyes drawn by Takase left a deep impression on her. Takase said that eyes and eyebrows express a lot and so she paid attention to them. As part of the production process, she also worked on created mob characters, and drew many of them for episode 1. It took a lot of effort to think and learn about people with different backgrounds, especially those that she had never experienced.
A 2D map was also created by Unoguchi based on that from Suzuki Takaaki (world setting), like the locations of the richer residential areas and the roads. The 2D map and 3D model was important because this was the first time the staff was working on a work that is not based on Japan. Instead of drawing from a specific time period, they tried to create a world that was totally fictional. The 2D map and 3D models thus served as reference for things such as the width of roads, size of doors, and such, helping the production staff so that they do not fall back on Japanese styles, since they were all Japanese people. Ishidate also said that Suzuki Takaaki was like a walking encyclopedia.
Ishidate then said that the photography staff also worked hard, such as the lighting effects and other details. Funamoto Kohei (director of photography) worked on touching up so that the outlines and the fills do not contrast too much by injecting surrounding colours into the outline. This was a very tedious task due to the number of frames that needed to be processed. Takase said that Funamoto also helped to blend bloodstains into the fabric that they were on. The photography staff worked consistently to turn flat drawings into pictures with depth.
Takase was then asked to talk more about herself. She said that this was her 5th year at Kyoani. When working on this series, she paid attention to Violet's expressions. Also, when she works, she tries to align her own mood when drawing, such as playing sad music when working on sad scenes.
Fujita said that the eyes drawn by Takase left a deep impression on her. Takase said that eyes and eyebrows express a lot and so she paid attention to them. As part of the production process, she also worked on created mob characters, and drew many of them for episode 1. It took a lot of effort to think and learn about people with different backgrounds, especially those that she had never experienced.
As the episode was drawing to a close, the three of them realised they did not really talked about the episode. Fujita tried to salvage by saying that episode 1 was about setting the stage and Violet's overall goal for this series. Meanwhile, for episode 2, she wanted to tell viewers more about the people around Violet and what automemory dolls do.
My overall thoughts on Violet Evergarden The Movie
Events:
Translations of short stories:
The Tailor and the Auto-Memories Doll (unofficial translation of 仕立て屋と自動手記人形) Gilbert Bougainvillea and the Fleeting Dream (unofficial translation of "ギルベルト・ブーゲンビリアと儚い夢")
Violet Evergarden short stories: "Logbook entry" and "Diary entry" (unofficial translation)
The Starry Night and the Lonely Two (unofficial translation of 星降りの夜とさみしいふたり)
Diethard Bougainvillea's If (unofficial translation of ディートフリート・ブーゲンビリアIf) Tellsis (Nunkish) translation:
Last line of Violet's final letter to GilbertInsights on the movie:
Audio commentary notes:
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