---
content_id: 01KV27325GQZZFXXEYBBQ8N7M3
visibility: public
date: 2026-06-04
title: "ファーウェイ・ジャパン講演 #2『写実主義以後のCG：スタイライズ、特撮』"
title_locale:
  en: "Huawei Talk: #2 Post-Photorealism — Stylized CGI and Practical Shooting"
tags:
  - speaking-engagements
updated: 2026-06-14T00:00:00.000Z
theme:
  color_bg: black
  color_text: white
  color_primary: "#006fde"
---

::hero
![](https://wp.baku89.com/wp-content/uploads/2026/06/2026_07_huawei-talk-03.001.jpeg)
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::ja
ファーウェイ・ジャパン社内のCG研究者やプロダクトデザイナーの方々に向けた講演です。

<small>言語：日本語（中国語・英語の同時通訳付き）</small>
::

::en
I gave a talk for in-house CG researchers and product designers at Huawei Japan.

<small>Language: Japanese (with simultaneous interpretation in Mandarin and English)</small>
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::ja

> 「物理的に正しい光」、すなわちフォトリアリズムをグランドチャレンジとして発展してきたCG技術は、今や産業・商業の現場で当たり前の基盤となりました。では写実が達成された後、CGIは実際の制作の現場でどう使われているのか。本講演では現在の商業映像におけるCG表現を2つの方向性から整理します。ひとつは、物理的正しさよりも「美的一貫性」(David O'Reilly) を重視するノンフォトリアル表現。もうひとつは、デジタルで完結できる工程をあえて物理空間に取り出して撮影する、特撮・実写撮影への回帰です。『スパイダーバース』以後のハリウッド作品から国内の商業アニメーション、インディーアニメの動向まで、幅広く事例を紹介します。
::

::en

> Computer graphics has long pursued photorealism, or physically correct light, as its grand challenge. That goal is now largely achieved and taken for granted in commercial production. So how is CGI actually being used in the industry today? This talk maps current commercial image-making along two directions: stylized CGI, which values what David O'Reilly calls “aesthetic coherence” over physical correctness, and a return to practical effects, where processes that could be completed digitally are deliberately taken back into physical space to be shot. Examples range from post-Spider-Verse Hollywood animation to Japan's commercial and indie animation scenes.
::

### Takeaways

1. Photorealism is now a **material**, not a goal.
2. Stylized CGI: **Coherence** over correctness.
3. **Practical Shooting**: The making is a part of the work.

### Keywords, Figures

- [[David O'Reilly]]
  - Aesthetic coherence（美的一貫性）
    > My central belief is that the key to aesthetics is **coherence**.
    > In 3d we essentially create artificial models of worlds, I contend that what makes these worlds believable is simply how coherent they are; how all the elements tie together under a set of rules which govern them consistently.
    > _[[Basic Animation Aesthetics]] ([[土居伸彰]]訳『アニメーション基礎美学』, 2012)_
- Stylized CGI
  - _Spider-Man: Into the Spider-Verse_ (2018)
  - _Teenage Mutant Turtles: Mutant Mayhem_ (2023)
  - Julian Glander, _Boys Go to Jupiter_ (2024)
  - [[kanta-mochida|Kanta Mochida]] & Ryohei Kamide, _URAHARA_ (WIP)
  - [[densuke28]], _Qiezi Mabo Forever (Fried Checken Mix) ft. Punpee_ (2017)
  - [[大橋史|Takashi Ohashi]], Meg and Patron -- Pari Pari Party (2014)
- 神風動画 / サンジゲン / [[SIGNIF]] / [[sankaku]]
- Practical shooting / 特撮・実写撮影
  - [[Alan Warburton]], _[[SpeSpectacle, Speculation, Spam]]_ (2016)
    > The unnecessary labor put into this is the real spectacle, (...) it recoils from the difficulties of quantifying the value of digital labor, by relying somewhat artificially on **fetishized analog practice**.
  - Blinkink/Hornet, _John Lewis ”The Bear And The Hear”_ (2014)
  - Kazuyoshi Shinomiya, _The New Dawn_ (『花緑青が明ける日に』, 2026)
    -[[ Multiplane camera]] by Sukimaki Animation
  - Junchukan Bonta, _[Dungeons & Television](https://www.youtube.com/watch?v=6kpLhpQ173M)_ (2025)
    - [[#indie_anime]]（インディーアニメ）
  - The Transmitted-Light Controversy（透過光論争）
    - [[片塰満則]]
- [[Artist-In-Residency in GASBON]]
- [[釣部東京|Tsuribu Tokyo]] (釣部東京, [[松永昂史|Takafumi Matsunaga]])
  - _Satoko Shibata / Bochi Bochi Galaxy_ (2023)
  - _Ikebukuro Parco “New Friends”_ (2026)
- [[turing-complete-user-translation|Olia Lialina – Turing Complete User]]