アニメ『ガチアクタ』にガチ密着！制作裏側ドキュメンタリー | プライムビデオ

アニメ『ガチアクタ』にガチ密着！制作裏側ドキュメンタリー | プライムビデオ

The world is going wild, captivated by this series. One of the most talked-about anime now. “Gachiacta.” Prime Video goes behind the scenes for exclusive access! Set in a world drowning in trash, deep in the abyss. How is the battle action, where Rudo fights to change the world, actually animated!? Just how many days did it take to draw this single cut!? It took about ??? weeks. Surprises, one after another! Top-tier creators pour their souls into every frame! A full, unscripted look inside the making of “Gachiacta”! Narration by me, Aoi Ichikawa, voice of Rudo! Suginami, Tokyo. Near Iogi Station, at bonesfilm Inc., “Gachiacta” is brought to life. bonesfilm is known for action anime such as “Fullmetal Alchemist” and “My Hero Academia.” Alright, it’s 1 PM. Let’s begin our deep dive! This is the floor where “Gachiacta” is produced. The studio looks bigger and cleaner than you’d expect, right? The first person we spoke to was this woman. What are you working on right now?
I’m working on the layout. And your role is? – I’m a Key Animator. Key Animators draw the key poses that define the heart of each scene. They bring the story’s emotion directly to the screen. And then—she showed us something precious. This is the storyboard. We animate the characters based on this. This is what many of you may have heard of before: a storyboard. Storyboards are the blueprint of the entire anime. Normally, they’re not shown to the public… but today is special. Key Animators interpret the direction written in the storyboard
and draw accordingly. A typical 30-minute anime has about 4,000–5,000 drawings. But for Gachiacta— They say it’s around 7,000. Compared to other anime, what makes this one harder? If you look at these model sheets, the linework is intense. So many lines? Yeah, far more than usual. Not only are there many drawings— the sheer number of lines is Gachiacta’s signature. How long does it take to finish just one drawing? Three hours! Now, this battle cut from Episode 17— This took about two weeks. Seventy drawings, two weeks of work? I watched training videos on YouTube, and used this stick as a reference for posing. Since the character swings a staff, I actually swung a stick myself while drawing to understand the motion. So that’s why there’s a stick here. And how long is it on screen? Three seconds. Two weeks… for three seconds. Yes—she spent two whole weeks for just three seconds! When the drawings come to life, how does it feel? There’s a special joy when the drawings move. It feels like the characters are alive. But unless you really love drawing— You probably couldn’t do this job. Amano, the producer at bonesfilm, who has worked on countless titles like “My Hero Academia” and “Eureka Seven,” says: Because the linework is dense and the detail is so fine, we wondered how we could even accomplish this. Among anime, the challenge here is extremely high. There are very few TV series that maintain this level of action and detail. Compared to anything we’ve made before, the time spent on key animation is far greater. We *could* simplify things, but our staff is committed to drawing everything fully. So, let’s briefly introduce how “Gachiacta” is made. First, Amano creates the proposal, and the anime adaptation is decided. Then, together with the director and producers, they determine the overall framework of the series. From there, character designs are created, and storyboards are drafted. Each department begins work. Key Animators draw the key poses. The episode director and animation director review them. 3DCG and backgrounds are handled by specialized teams. All elements are then processed in the compositing department. Finally, the rush check is done, and after dubbing the audio— “Gachiacta” is complete. Because there are so many lines, it really is demanding. If even a single line is missing, or a shadow disappears for just one frame— It’s our job in the in-between inspection to correct it. She checks every drawing carefully to make sure there are no mistakes. Even tiny details like this— Ah, I just found an error here. Do you see how this eyelash line is missing? Since the line disappeared, we add it back in. Fixing missing lines like this is also part of our job. We check every drawing, one by one. Sometimes an episode can have up to 10,000 drawings. But they don’t miss even the smallest detail. It’s truly professional work. During action scenes, we must check hundreds. Hundreds per episode? – No, Hundreds for a *single cut.* For example, the battle between Zanka and Jabber has that many drawings. In a way, we’re the final line of defense. “If I don’t fix this, no one will.”
That’s how I feel. Haneda san, the In-between Animation Lead, says: Sometimes parts of the character aren’t drawn
according to the design sheets. So we closely check everything for accuracy. In “Gachiacta,” there are many characters
and each has detailed settings. Even the eyes change depending on whether their abilities are activated or not. About the characters’ settings, Haneda san says: I memorize all the character designs. If I rely on the sheets every time, it slows down the work. So I try to commit everything to memory. Rather than focusing only on one scene I draw myself— I want to contribute to the work as a whole. I’m responsible for all 24 episodes. My goal is to maintain quality consistently
across the entire series. By the way, Haneda san— That cat in the back? Is that your cat? Yes. Her name is Sada chan. She’s my comfort. Whenever things get tough,
I look at Sada and feel like I can keep going. One highlight of “Gachiacta” is the battles against the Trash Beasts. In Episode 2, a powerful battle unfolds. But actually— The Trash Beasts were built in 3DCG based on the original design sheets. So this is how their final appearance was created. The Trash Beasts are made in 3DCG. [CG Lead Miyake san] Personally, I feel the original manga
has a strong presence visually. I wanted to avoid the 3D version feeling weaker. In the manga, the scene where the Trash Beast first appears
is not very long. But since it is crucial in capturing the audience’s attention, We were asked to make that scene especially impactful. So in Episode 2, we built the Trash Beasts entirely in 3DCG
and animated dramatically. Even the moment when the Beast spews sludge from its mouth also has careful detail. Originally, we imagined the sludge shooting straight out. But we received a request to make it look more like a “throwing” motion. How long is this cut on screen? About two seconds. Two seconds of CG. And how long did it take to complete? We began working on it in June. It took about five months to finish. Five months… for two seconds of CG! Even I was surprised… Some viewers praise the CG. Others—especially fans who deeply respect hand-drawn work— Say, “Why did you use CG?” We can only continue working to make something
that convinces everyone. Once all the materials from each department have gathered— The compositing team adds effects and finishing touches. For example, we can animate only the hair separately. Then we apply compositing processing to the cels. Next, they combine them with the background. Finally, add an atmospheric filter that gives the scene its emotional tone. This is crucial work that defines the world of the anime. One thing we pay special attention to is: During the drawing process, the lines become very clean and thin. So we intentionally thicken them through compositing. But it’s not just simple thickening— We process them so they gain a rough, pencil-like texture. For example, in this cut, Rudo is in despair. So we add these scratch-like stress lines. This expression appears often in the manga, so we brought it directly into the anime as well. By thickening the lines and adding texture, This expresses Rudo’s emotion more vividly! Even though most of the work is digital today— Asagi san, the Episode Director- Do you check drawings by hand? Since the beginning of my career, I’ve always checked on paper. There are still many staff who draw on paper. Like this, some are drawn on paper. Even digitally drawn cuts are printed out for revision. Episode Directors are responsible for one full episode. Because multiple episodes are worked on simultaneously, there are several directors. Right now, Asagi san is adding
revision instructions for the animators. This cut shows a character stomping during a battle scene. But its movement looks repetitive. So I’ve written:
“Diversify the tempo, make the motion bigger.” So it’s a direction like,
“This version will express it better”? – Exactly. Meanwhile— I work as the Production Desk. I manage every stage of a single episode. My job is to create the roadmap that leads all 24 episodes to final delivery. I coordinate with animators, key animators, in-between staff, animation directors, and every department to keep the schedule moving. “Gachiacta” involves over 300 staff members. Including color artists, CG staff, compositing,
background painters, and more. Anime is a collaborative art created by everyone together. I truly believe something great is made
when all professionals bring their strengths. Among all of them, the one leading everything is; the Chief Director. – What kind of person is he? – Suganuma san is calm, and very thoughtful. He has strong a passion for anime— But he speaks gently and respectfully. And surprisingly— This is his *first* series as a chief director. Why was Suganuma chosen as the director of “Gachiacta”? Before this, we worked together on “Time Patrol Bon.” His storyboards were excellent and the pacing was outstanding. His work was truly impressive, I remembered. The person who introduced Suganuma san to us was Masahiro Ando, the chief director of “Time Patrol Bon.” When I consulted Ando san, he said: “He can absolutely handle the role of chief director.” So with that strong endorsement, we contacted him directly and made the offer. How do the creators working with him feel about him? Suganuma san has a strong eye for visual expression because he started as an animator himself. Since he can draw so well— His storyboards are incredibly strong. I think he has a very strong commitment to the artwork. He is very dedicated. We rarely see him taking breaks. And in fact— The fixed camera we set up captured him working silently from morning onward. Is it okay to speak to him? He doesn’t really like showing his face. But if you only talk to him, it should be alright. With permission from the producer Amano san, we approached Suganuma san, chief director of “Gachiacta”! [in Japanese] ‘Otsukaresama desu.’ Suganuma san Otsukaresama desu. May we speak with you a moment? – Yes. What are you working on now? I’m checking the layouts for Episode 20. What exactly does a chief director do in anime production? It varies by person— But mainly, we draw storyboards, check storyboards, review completed cuts, and issue retakes. We start by aligning our interpretation
with the original manga creator. We first confirm the structure and overall scenario of the anime. Suganuma is known for his incredible drawing skill, but what anime inspired him? I grew up right in the generation of Studio Ghibli films. I fell in love all at once with titles like
“Porco Rosso” and “Princess Mononoke.” So, that was the beginning? Yes, that was when I first considered anime as a career. When you were first chosen to be chief director—
were you happy? Of course I was happy. But it also felt sudden. I had only handled one project at bonesfilm before this. So I felt it was early. What is Suganuma most particular about in Gachiacta? The original manga conveys unspoken personality and emotion. For example, Rudo’s kindness toward objects. I try to present qualities like that more clearly and deeply. We do get chances to discuss things directly with the author— But there are also nuances that cannot be fully explained in words. So I interpret and express those feelings in the anime. That is what I consider most important. How to turn what *cannot* be said into something visual and emotional— That is the challenge I face every time. There’s a scene where Suganuma’s passion especially shows. In a scene of Episode 7 Rudo holds Gris’s broken charm in his hand. In the original manga, this detail was not emphasized. But in the anime, we chose to show Rudo holding it the entire time. Visually, and through color and music, we heightened the emotional weight of the scene. If Rudo is shown holding the charm all the way through— Then even though it’s broken, he keeps it close, refusing to let go. It expresses Rudo’s feelings toward objects and toward Gris. We believed this would create a stronger emotional point
for the audience. As evening comes, the production floor becomes even more active. Once the key animation, checks, and in-between work for an episode are done— What awaits is the “rush,” the final screening process. This is a tense moment, centered around the director. Today, they are checking two cuts from the Season 2 opening. This is the first time a camera has ever been allowed
to film a rush at bonesfilm. Only two cuts—just two seconds. But nine core staff members gather for the review. “We will now begin the rush check for the opening cuts.” “We’ll review Take 1 cut 1 and Take 2 cut 1.” [in Japanese] ‘Yoroshiku onegaishimasu.’ The rush begins. The cuts loop for inspection. Then— “There’s a line appearing on Rudo’s face.” “Where?” “On the cheek.” A shadow on Rudo’s cheek was flagged during review. “This shadow stands out too much.” “It appears and disappears repeatedly… Let’s remove it.” Every single cut is refined with full attention. Next is the retake from the last session. “Okay. All good.” “Thank you all.” This precise checking happens almost every day. Three days later— Suganuma appears in the recording studio. Here is the recording studio. This is where the picture and audio
are checked together and improved. Do you have particular preferences regarding sound? I don’t have deep technical knowledge, so I communicate the direction, and leave the details to the professionals. They’re adding sound for broadcast,
but there’s something worrying… The animation is not finished… Since the show is still being produced They add sound even while the visuals are incomplete. It’s rare to see footage at this stage, before completion. You check with unfinished visuals? Because the final animation is not done yet. Later in the schedule, the animation falls behind. Around Episode 13, we start checking with work-in-progress cuts. The sound in “Gachiacta” has also drawn attention. For example— That sound of squeezing a towel you heard earlier— The sound team actually squeezed a real towel and recorded it. They also recorded: crows rummaging through trash, footsteps over piles of trash— All recreated individually to build the realism of this world. After two hours of sound work— Did you make the onigiri yourself? No. My wife made them. Suganuma eats his wife’s homemade onigiri— Even mealtime is short, and work continues. This is how “Gachiacta” is made without compromise until the very end. How do you feel when an episode is finally done? It depends each time. There is relief, and also uncertainty. We’ve only *finished making it*— It’s truly complete only once the audience sees it. So it’s always half relief and half worry. The character designs in the original manga
are incredibly stylish. We worked to preserve that coolness in the anime. Putting a lot of care into the linework, the battle scene’s expression, the close-up moments— I would be happy if you feel that impact. For the action scenes,
I’d rather you see them than have me explain them. You know that feeling of:
“How could a human move like that?” That is one of the biggest appeals. I hope you’ll feel that thrill. The world of this show is full of individuality. The characters are allowed to exist just as they are. It’s a world that seems to say: “It’s okay to be yourself.” I think it gives energy to the viewers. I believe this is a story that leaves something meaningful
with the audience. We worked so that the anime and the original manga
can each be enjoyed on their own. We don’t want one to replace the other. We create it with the goal that both can be enjoyed. There are intense battles, moments of laughter,
and emotional quiet scenes. It contains the essence of what makes anime great. So I hope you watch freely, without hesitation. “Gachiacta” is streaming now on Prime Video Japan— Two continuous cours, available to watch immediately! “Gachiacta” will continue to captivate the world.

史上初公開の制作過程にプライムビデオが特別潜入！
『#ガチアクタ』の制作を手掛ける、株式会社ボンズフィルム
その制作の裏側をお届け

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1話で約10,000枚を作画
総制作期間 3年超
1フレームのミスも見逃さない
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『ガチアクタ』制作の最前線で活躍する監督・クリエイターの想いや情熱に迫る。
この動画を観ればきっと、プライムビデオで見放題先行配信中『ガチアクタ』がもっと楽しめる！

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