日本の友人にいただいたリカちゃん自転車を基に、いつか直すつもりだった鉄製ピストルライターを流用。あとはアトリエに転がるジャンクパーツででっち上げ、近未来感を意識して後輪には単車のウインカーを使用。そのため安定性がゼロで、撮影時に何度も倒して苦労することになる。
人形をシートの背もたれ（銃のグリップ部）にリーンバックさせると、ハンドルが短すぎて届かず、かと言ってハンドルに合わせて人形を前に移動させると、背もたれと人形の間の隙間がいかにもバイクに「乗られている」ようで格好悪いので、キャメラのアングルで隙間を見せないように気を配った。
撮影では、AKIRAの金田が赤いバイクで魅せるスライディング・シーンをオマージュ再現。ここは何度も撮り直し、しんどかったが、今回一番勉強になった箇所でもある。
This was built as a prop for the animation, so I focused more on impact and silhouette than on fine details or realism. Instead of a classic rigid-frame chopper with a big engine, I took inspiration from chopped Honda Cubs or Daxes.
The base was a vintage Licca-chan bicycle, a gift from a Japanese friend. For the main body, I repurposed a metal pistol-shaped lighter I had always meant to fix someday. The rest was slapped together with junk parts lying around. For a touch of near-future style, I used a motorcycle turn signal for the rear wheel, but that made it super unstable—kept falling over during filming, which was a pain in the ass.
When I leaned the doll back onto the seat (pistol grip), her hands couldn't reach the handlebars. But if I moved her forward to reach them, the gap between her back and the seat looked awkward—like she was just "placed" on the bike. So I adjusted the camera angles carefully to hide that.
I recreated the iconic sliding scene from AKIRA, where Kaneda rides his red bike. That shot took tons of takes. It was exhausting, but also the most rewarding learning experience in the whole process.
人形をシートの背もたれ（銃のグリップ部）にリーンバックさせると、ハンドルが短すぎて届かず、かと言ってハンドルに合わせて人形を前に移動させると、背もたれと人形の間の隙間がいかにもバイクに「乗られている」ようで格好悪いので、キャメラのアングルで隙間を見せないように気を配った。
撮影では、AKIRAの金田が赤いバイクで魅せるスライディング・シーンをオマージュ再現。ここは何度も撮り直し、しんどかったが、今回一番勉強になった箇所でもある。
This was built as a prop for the animation, so I focused more on impact and silhouette than on fine details or realism. Instead of a classic rigid-frame chopper with a big engine, I took inspiration from chopped Honda Cubs or Daxes.
The base was a vintage Licca-chan bicycle, a gift from a Japanese friend. For the main body, I repurposed a metal pistol-shaped lighter I had always meant to fix someday. The rest was slapped together with junk parts lying around. For a touch of near-future style, I used a motorcycle turn signal for the rear wheel, but that made it super unstable—kept falling over during filming, which was a pain in the ass.
When I leaned the doll back onto the seat (pistol grip), her hands couldn't reach the handlebars. But if I moved her forward to reach them, the gap between her back and the seat looked awkward—like she was just "placed" on the bike. So I adjusted the camera angles carefully to hide that.
I recreated the iconic sliding scene from AKIRA, where Kaneda rides his red bike. That shot took tons of takes. It was exhausting, but also the most rewarding learning experience in the whole process.
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