Each unique film in the eclectic “VS” series incorporates a “kaiju” (“strange beast” in Japanese) representing the inner demon each athlete must defeat to define what beauty means to them.
IF embarked on the project in the scripting phase, collaborating closely with WPP Agencies (Grey and Mediacom), which they developed around interviews with Maeda. Visually, they sought to strike a balance between ancient and modern art, finding inspiration in the works of fine artist Ikenaga Yasunari. Enlisting storyboard artist Tyler Gibb, the team blocked out the scripts with a range of shots — from wide to extreme close-ups — that would capture Maeda’s frustration with not fitting in, her longing to follow her dreams, and her fear of the “kaiju.”
“All of these expressions and action cues began on paper before we translated them into motion,” says Williams. “A glossy 3D look would have robbed the humanity of Ikenaga’s aesthetic, so we hand-animated Maeda’s expressions. Cel animation, however, was not an option for the detail required of the kimonos and yukatas our characters wore, so we modeled those assets in 3D, then rendered and composited them to mimic the look and feel of Ikenaga’s work.”
IF headed to Tahiti to shoot Maeda surfing for both the live-action and animated surf sequences. With color and light playing a significant role in the visual tone of the film, they shot at dusk and dawn, with a combination of lenses to capture beautiful golden reflections on the ocean water.
“The shoot was nothing short of awesome,” says Renee Robson, IF Executive Producer of Live Action. “Mahina’s artful athleticism and our team’s agility and resourcefulness to get those intimate shots during the surfing scenes with crews on camera boats/jet-skis was incredibly exhilarating. Of course, we had to also showcase the location in all of its glory with our drone camera. Plus, not wanting to miss any opportunity, we brought in our underwater cinematographer to grab those gorgeous underwater shots of our athlete. The content truly speaks for itself on this one!”
“The longer lenses with a shallow depth of field maximized the magical realism,” adds Williams. “Because this warm palette was used throughout our golden Byobu (Japanese folding) walls in the CG castle, the live-action and animation transitioned smoothly. The caustic light and rippling distortions of the ocean provided incredible transitions in and out of the animated world by using underwater cameras.”
IF brought along photographer Matt Holyoak for the Tahiti shoot, who photographed Maeda in her kimono, yukata, and wetsuit. Yasunari used these photos as a reference to paint a portrait of Maeda, which IF used as its golden standard of reference throughout the process. Designer/illustrator Ella Lee created all of the portraits of both Maeda and the Yamato Nadeshiko spirits seen within the film, which cel animator Jahmad Rollins brought to life by carefully analyzing everything from physical movements to dialect.
Brooklyn-based motion-capture studio Silverspoon took the surfing footage of Maeda and directed actors to mimic her surfing movements and applied the performance data to Maeda’s 3D model for IF to modify.
IF Editor Jeremiah Shuff created a sound map composed of dozens of naturalistic and oceanic sounds for music production company Eclectic to build on. Two contrasting soundscapes accompany the animated portion of the film: within the castle and outside the castle.
“We wanted to amplify the zen-like naturalism of the materials within the castle — creaking wooden floors, the breeze softly shaking the Byobu, the fluttering of cherry blossoms — yet soft and safe, like a cocoon,” says Williams. “Outside the walls, the towering ‘kaiju’ wave is deafening — wild and untethered.”
Eclectic also scored the film with thematic and emotionally potent tracks inspired by a lengthy list of song references IF provided.
IF also created ‘VS Machines,’ a tribute film to Japan’s first-ever Olympic Badminton Doubles Gold Medalists Misaki Matsutom and Ayaka Takahashi. In a robotic dystopian future, their shared human connection empowers them to break free from their machine-like programming and cold, joyless perfection.
“I’m thrilled that SK-II approached us for both of these films, giving us an opportunity to create really innovative storytelling with a powerful message,” concludes Williams. “This is the kind of work I love to make and I’m incredibly proud of the results. Most of all, we tried our best to be authentic -- to honor Japanese tradition and culture and tell Mahina’s story in a beautiful way.”