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From: 	Patrick Yip
Sent: 	Thursday, January 08, 1998 9:35 AM
To: 	evangelion@tr.ml.org
Subject: 	[EVA] RCB Translation (PART TWO) [Production Notes]

     PY @ TOKYO


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     ************************ PY @ TOKYO ******************************
     
     First the usual disclaimer of translation:
     
                 The STANDARD TRANSLATION COPYING POLICY (tm)
     
      Want to repost or archive this? Just follow these rules: 
     
              1) Don't change the content, although formatting is ok. You 
                 can translate it into html, just don't go inserting your 
                 own paragraphs, or changing words (even spell-checking). 
                 If you want to translate this, you have far too much free 
                 time on your hands. Mail me.
              2) Bill me as "Patrick Yip ", 
                 despite what email address you see this coming from.
              3) Leave this disclaimer intact. 
     
      This applies to all my translation that have been released (either 
      posted to the Evangelion ML, or rec.arts.anime.misc). You don't need 
      to send me mail to ask permission to archive this, but it might be 
      a nice gesture to let me know you did it.
     
     **********************************************************************
     
     Secondly, the FAQ of "What is RCB?"
     
     THE RED CROSS BOOK (aka RCB) -- the final(?) canon of Evangelion 
     translated by Patrick Yip (Patrick.Yip@ing-barings.com) 1997/10/19
     
     The Red Cross Book (referred to as RCB onwards) is the pamphlet sold 
     in the cinema to those who came to see the movie "the End of 
     Evangelion". It cost 800 yen. The book is A-4 in size and landscape in 
     orientation. The cover is pitch black with a red Georgian cross 
     superimposed on it, hence the name "Red Cross Book" On the cross, the 
     words "THE END OF EVANGELION" was printed, in thin, match-like manner. 
     What makes this book particularly special and meaningful to all EVA 
     fans is that, for the first time, we hear the voice from Gainax about 
     why and how the movies were made. We also know a great deal about the 
     answers to some of the most discussed after mysteries in the anime. 
     The "commentary" "glossary" and "production notes" are three parts 
     that are most informative. I shall strive to translate these three 
     sections so that all the EVA fans could know the latest update of the 
     "official" answers to the EVA mysteries (real-life or anime :-)
     
     *********************************************************************
     
     PRODUCTION NOTES
     ================
     
     (PY's Note: In the Production Notes, a lot of staff's names are introduced.
       Although I have a Japanese Name Dictionary, I have got lazy and decided 
       to go for the translation without bothering to find out the 
       pronounciation of the names. This means many of the names would be left 
       untranslated, and absent from this version of translation. I hope I 
       could get the name right later. My apologies.
       Also please note that I keep the Japanese convention of writing the 
       surname first, followed by the "first-name")
     
     
     Two kinds of title logo of "THE END OF EVANGELION" were designed. One 
     is the logo used on the poster and the advance-sale ticket. Another 
     one is used as the title in the movie, following the hand-written 
     style of the title used in "REBIRTH". It is the latter title logo 
     that is used on the cover of this pamphlet.
     
     The movie ep.25 "Air" is based on the script already in place during 
     TV production originally intended for TV Ep.25. Because of various 
     problems during production, this script was not used and the TV Ep.25 
     "The Ending World" was done in a same way as TV Ep.26 in which
     the drama was developed within an internal mind universe. Because of 
     this, it could be said that this ep.25 is a return to the original 
     intended story. In contrast, the movie ep.26, when compared with
     TV Ep.26, contains much more content on the story and plot, thus 
     deepening the theme brought out in TV.
     
     Since this movie is supposed to be the remake of the last two 
     episodes of the TV series, the TV episode format is followed, 
     with each episode having its own subtitle and eyecatch scenes. 
     (PY: you know, those static scenes that contain nothing but 
     black background and white Japanese/English words)
     
     The animation production of this movie, PRODUCTION I.G., is known 
     to have produced anime movies like "Pat Labour 2 the Movie" and 
     "Ghost in the Shell". PRODUCTION I.G. made the most out of the big 
     composition production effort put into this movie, a theatrical 
     film, and it became a high quality film.
     
     In movie ep.25 "Air", the director is Tsurumaki Katzuya, the 
     deputy director in the TV series. Although the script play is from the 
     hands of the chief director Anno Hideaki, and all the operations
     from direction downwards are also generally entrusted to Tsurumaki. 
     Masuna Yuki (?), also the deputy director in the TV series, is 
     responsible for the animation draft (PY: kai-konte? those pencil 
     drafts of the scenes as they should look in the real animation). 
     Also, Higuchi Shinji partcipated in script play as well as animation 
     drafting. They all followed the instruction from Director Tsurumaki.
     
     The direction of the movie ep.26 "True Heart to You" was taken up by 
     Chief-director Anno himself. Because of that, this movie bears a 
     strong flavour of his individual taste. As for animation drafts, 
     Jime Kiichi and Higuchi Shinji also took part.
     
     Masuna Yuki, who was the deputy director of the TV series and the 
     director of the movie "DEATH", served several responaibilites in 
     this movie: animation drafts, original print, virtual water artist. 
     The depiction of water is the most difficult part in animation, and 
     he worked as the art director of all depiction realated to natural 
     phenonmena like water and waves. As a result, a post called "virtual 
     water artist" was recreated for such responsibility. He also drew 
     the original print for the advertisement poster of this movie.
     
     There are two art directors in ep.25 and three in ep.26. In ep.25, 
     the art director for scenes centred on charcters is Kouse Kazuya 
     from PRODUTION I.G.. Kouse is known as the animator of movies like 
     "Pat Labour 2 the Movie" and "Ghost in the Shell", and he worked 
     twice as the art-director in the TV series. Honda Yuu is the main 
     art director, as well as the animator for the "opening"
     
     The art directors for ep.26 are Suzuki Gotoni, Hiramatsu Teishi and 
     Anno Hideaki. Suzuki and Hiramatsu are both the art directors for 
     the general scenes, while Anno concentrates on the mecha scenes and 
     cuts centred around special effects. 
     
     In order to depict the interal world of Shinji in ep.26, real life 
     scenes were employed in one part of the movie. Because of this 
     decision, a team called "Special Production Team" was formed. The 
     script play and chief director in this team is also Anno Hideaki. 
     The post for special effect director was taken up by Higuchi Shinji. 
     "Special effect director" in this context means the director for 
     the filming of special effects. The real life filming was done 
     according to the combined opinion formed between Hideaki Anno and 
     Higuchi Shinji. 
     
     Although CG (computer graphics -PY) was widely used in Evangelion 
     TV, those CG scenes were all computer screens, processed in a 
     2-dimensional manner. This time, in "THE END OF EVANGELION", broadened 
     3-dimensional CG was used. The core of the CG production is 
     Omnibus Japan, which did the CG in "Pat Labour 2 the Movie" and 
     "Ghost in the Shell". Most of the CG scenes are found after 
     the start of the Human Complmentation Project in ep.26. Some 
     examples include the cut which has the surface of the Earth gradually 
     buried under more and more big crosses, and the cut which has 
     numerous Rei swimming around. This time, the most difficult challenge 
     for CG is the issue of translucence. Also, in order to create a 
     visual feeling closer to other cuts, some scenes, after the normal
     CG operations, underwent a further analog filiming process with 
     filters. The CG effect seen in the staff roll (in ending) was also 
     done by Omnibus Japan.
     
     PRODUCTION I.G. also did several C.G. cuts. One of them is in ep.25, 
     in which 9 gigantic transport planes carrying the mass-production 
     model of EVA's first appeared. The nine big planes are seen from
     a bird-eye's view from top, with one plane overlapping another, and 
     they each slided towards a different direction. Such scene is nearly 
     impossible in conventional anime camera work, but C.G. makes it 
     possible. The "Eirin" mark (the trade-mark of the studio appeared
     at the beginning of the movie -PY) is also C.G. done by PRODUCTION 
     I.G. So it is also billed as 3D animator in the telop. As for the 
     CG seen in the computer screens, they were all done by Gainax 
     in-house, as in the TV series. This is billed as the 2D animator in 
     the telop.
     
     There is a substantial part in movie ep.25, which repeats the 
     content shown in "REBIRTH", released in spring time and is the first 
     part of the final. One quarter of it underwent various retouch work 
     so as to improve its quality. 
     
     The effective use of classical music in Evangelion TV series and 
     the spring movie "DEATH" leaves a deep impression to everybody. 
     In this movie, 2 classical pieces were used: "Air on G" and 
     "Jesus bliebt meine Freunde" by J.S.Bach. 
     "Air on G" is a version from a new recording arranged by Sagisu Shiro. 
     It is used in the scene in which the second half of the battle scene 
     between EVA-02 and mass production model EVA's is intermixed with
     the scene when Gendou faced off Ritsuko. "Jesus bliebt meine Freunde" 
     is from a compliation of an existing source. It is used in the real 
     life scene in ep.26.
     
     2 songs were written for "THE END OF EVANGELION", both are produced by 
     the team of Anno Hideaki and Sagisu Shiro. One is "THANATOS - IF I 
     CAN'T BE YOURS", heard in the end of ep.25. This is the vocal version 
     of the BGM "THANATOS (E-13)" used in TV Ep.19 "Man's Battle". Vocalist 
     is LOREN and lyrics is by MASH. Song and arrangement is by Sagisu 
     Shiro. THANATOS is the god governing death in Greek mythology. It also 
     carries a meaning of "impulsive desire for death" in psychoanalysis.
     
     As for the other song, it is the insert song used in ep.26 "Komm, 
     suesser Tod". The lyrics is the English translation of words composed 
     by chief-director Anno (PY: In my opinion, this is no translation, but 
     inspired rewriting of the Japanese words). The title is a German, 
     meaning "come, sweet death". Vocalist is Arianne, and song and 
     arrangement are by Sagisu Shiro.
     
     There are altogether 18 BGM with new music and recording. The BGM used 
     in this movie were done according to the opinions from chief-director 
     Anno. So new music is even used in the part which repeats the story in 
     "REBIRTH"
     
     It can be seen that the Municipal Haishima Kindergarten of Akishima 
     city is billed in the "Thanks to" section in the telop. The is the 
     kindergarten to where the daughter of Ishikawa, the producer of 
     PRODUCTION I.G., goes. Since chief-director Anno wanted to use some 
     children songs as close to real-life recording as possible in the 
     sand bank scene of ep.26, Ishikawa and his team-mates went to that 
     kindergarten and recorded the songs.
     
     (END of PRODUCTION NOTES)
     
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