>>2
The general meaning just refers to drawings used in anime, but for threads like this, and in Japan, its often used to refer to scenes or drawings in anime with very high quality, be it in the detail of the art or the really good fluidity of the movement.
Episode 11: “Private Applications of Cybodies”
{nearly identical to the last one}
Enokido Youji – Fuchigami Makoto – Kaneko Shingo – Haga Hitoshi
Episode 12: “A Kiss Thorough the Glass”
As a result of Simone’s defeat, Adult Bank is forced into a corner. For the sake of the new world she herself is aiming at, Kanako thinks to take down Takuto, the obstacle to her plans, with her own hands. Even though she worries that she might kill him if she fights all out for real, several days later Kanako pilots the Cybody Betreida.
Enokido Youji – Iwasaki Tarou – Iwasaki Tarou – Sasaki Atsuko
Episode 13: “The Lovestruck Red Sword”
One Sunday morning, the most accomplished swordsman in the school, Benio Shinada, appears at Sugata’s house, proposing fencing practice. Sugata recommends that she practice with Takuto, and Benio beats him handily.
Enokido Youji – Takahashi Kenji? – Ikezoe Takahiro – Ito Hideki, Komori Shigehiro?, Inadome Kazumi
but since there are not animation thread existed, most of us end up in sakuga thread
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Anonymous2010-12-08 9:52
>>12
Oh right, I just assumed both animation and drawing fell under the same term. Because when people post "Sakuga MAD" you usually have really nice animated scenes from anime.
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Anonymous2010-12-08 9:54
>>12
The word 'sakuga' itself literally mean drawing but when people talking about sakuga, they always refer to the animation.
>>12
Nowadays "sakuga" goes for both animation and art. It's one of those words, not unlike "moe", whose original meaning got twisted. Better just accept it, really.
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Anonymous2010-12-08 14:19
Ok, and what about the "Kanada" style?
Is it some style of Sakuga?
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Anonymous2010-12-08 14:28
>>17
Refers to the animator who pioneered the wacky and extreme style of animation, but also managed to do it using a fewer number of frames or something. Basically made producing anime cheaper but still could have style.
The most common modern examples are perhaps scenes from FLCL or Gurren Lagann.
>>17
Kanada is well-known for his highly dynamic timing.
Some drawing may lasts for 4 frames while the next drawing may last only 1 frame.
This allows his animation to has a really good weight and impact while using a fewer number of frames.
His drawing is very over-exaggerated, he packs a lot of action and detail into 1 frame.
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Anonymous2010-12-09 14:55
I've always thought of Takeshi Koike as part of the Kanada-school of animation, but I guess I was wrong. He just has a similar style to Hiroyuki Imaishi.
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Anonymous2010-12-10 13:38
Any upcoming anime worth watching from a Sakuga perspective? I know the recent Bleach movie has Hironori Tanaka on it storyboarding several key scenes.
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Anonymous2010-12-10 15:05
>>21
Wasn't Tanaka being involved in Bleach movie 4 only a rumor?
And for my money I think you might want to check out IS. It's by Satelight/8-bit, so it'd have high production values. Gosick too, if only because Bones.
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Anonymous2010-12-10 18:49
>>22
>Wasn't Tanaka being involved in Bleach movie 4 only a rumor?
Perhaps it was, but having looked at some of the trailers and preview footage, it does have a Tanaka flair to it in places...
The only credit I've seen for 8-bit is the second Evangelion film.
And these days Satelight are not all that great after their best animators who worked on Noein left, they havent been the same.
Don't quote me on this but I believe 8-bit are made up of those who left after Noein..
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Anonymous2010-12-11 2:01
>>23
8-bit is a Satelight splinter from their Osaka branch, iirc, and they're credited for major work on the first Macross F film. It was good work.
Anyway, I might have to check out Bleach movie 4 then, if only because Tanaka could be in it. One DEEN show actually has Masashi Ishihama onboard--Dragon Crisis, I think--and that should be worth checking out. Also, that Shaft show, Madoka Magica.
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Anonymous2010-12-12 10:25
>>24
I enjoyed the new scenes in the Macross F movie, however at the same time there was quite a few jarring moments, one I can recall really well is a scene where the background is animated in motion, and when the background stops moving they switch the background to a generic CG background and the transition is just so jarring.
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Anonymous2010-12-12 11:02
>>25
I see. Yeah, the Japanese still can't do CG integration like that very well yet, but I think that's just because of industry conditions. Overall, I thought the Macross F film was nice to watch. At least it wasn't Gonzo-level CG.
People should be back once the final episode of Panty & Stocking airs. I'm hoping to get my mind blown this time, since it's the core team's episode--though I'd like there to be a Miyazawa climax in it somewhere.
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Anonymous2010-12-21 7:05
Seems like Sushio just finished his work on the final episode of PSG hours ago.
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Anonymous2010-12-21 8:20
>>31
Oh damn. Yoshinari wasn't able to come on the livestream sometime ago because of his work on the finale. They must be busting their asses off for this one.
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Anonymous2010-12-22 8:12
Details from today's Gainax's live commentary:
-The production for final episode is completed.
-Sushio, Animation Director of the final episode, is really fucking exhausted; he hasn't bathed in a week, they say. However, he says that he is really proud of his work and that he is expecting to WOW people in the same in which he WOW-ed people with Gurren episode 15.
-They flat out called the Demon Sisters' scene 百合 (Yuri).
-To make up for the recap episode, they're going to add a BD/DVD-exclusive episode on the final BD release.
-The DJ at the Rock Foundation party is Taku Takahashi drawn in P&S style.
-Brief's VA said that while playing Brief in episode 12B, he made sure to feel like if he was "piloting a Gundam".
-The staff actually checks out Pixiv's fanart; they were happy when they saw today's top 10.
-To make sure to draw Panty's feelings accuratedly, all the scenes with Briefers and Panty were left to the female animators.
-They're releasing an art-book at the Talk Live Animated event.
Wakabayashi and Nishigori are looking forward to the doujinshi fans come up with for C79: "Please work hard, everyone!"
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Anonymous2010-12-22 9:01
>Sushio, Animation Director of the final episode, is really fucking exhausted; he hasn't bathed in a week, they say. However, he says that he is really proud of his work and that he is expecting to WOW people in the same in which he WOW-ed people with Gurren episode 15.
>he hasn't bathed in a week
Holy motherfucking shit. Gainax better not disappoint with the final episode now.
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Anonymous2010-12-26 8:59
So what did everyone think about PSG's final episode's animation?
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Anonymous2010-12-26 12:53
FACT #1: The White race has crossed seas, harnessed rivers, carved mountains, tamed deserts, and colonized the most barren icefields. It has been responsible for the invention of the printing press, cement, the harnessing of electricity, flight, rocketry, astronomy, the telescope, space travel, firearms, the transistor, radio, television, the telephone, the lightbulb, photography, motion pictures, the phonograph, the electric battery, the automobile, the steam engine, railroad transportation, the microscope, computers, and millions of other technological miracles. It has discovered countless medical advances, incredible applications, scientific progress, etc. Its members have included such greats as Socrates, Aristotle, Plato, Homer, Tacitus, Julius Ceaser, Napoleon, William the Conqueror, Marco Polo, Washington, Jefferson, Hitler, Bach, Beethoven, Mozart, Magellan, Columbus, Cabot, Edison, Graham-Bell, Pasteur, Leeuwenhoek, Mendel, Darwin, Newton, Galileo, Watt, Ford, Luther, Davinci, Poe, Tennyson, and thousands upon thousands of other notable achievers.
FACT #2: Throughout 6,000 years of recorded history, the Black African Negro has invented nothing. Not a written language, weaved cloth, a calendar, a plow, a road, a bridge, a railway, a ship, a system of measurement, or even the wheel. (Note: This is in reference to the pure-blooded Negro.) He is not known to have ever cultivated a single crop or domesticated a single animal for his own use (although many powerful and docile beasts abounded around him.) His only known means of transporting goods was on the top of his hard burry head. For shelter he never progressed beyond the common mud hut, the construction of which a beaver or muskrat is capable.
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Anonymous2010-12-27 8:00
>>36
Electrifying, but I found it slightly weaker than TTGL #15 or #27.
<a href=" http://www.mvpcaps.com/"/>Red Bull Hats</a>That was a great piece of information., I enjoyed reading it..,
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Casual /a/ lurker2010-12-28 8:50
So lemme see if I got this right with an example.
Is the transformation scene from PSG some good sakuga?
If yes, then, good in regards to drawing or animation or both and how?
I don't really understand the concept between the two at great lengths, except the difference between a manga and an anime, but from what I think: does the drawing refer to the drawing style (Key / CLAMP / etc.) and animation to animation flow?
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Anonymous2010-12-28 17:27
>Is the transformation scene from PSG some good sakuga?
Yes. Especially when they go from Chibi to that realistic look.
Both I figure.
The Art/Drawings are good because they are detailed.
The Animation is also good as it flows well from frame to frame.
There are some anime where the art is really good, but it lacks any good movement, off the top of my head, Casshern Sins did this often.
Then there are anime where the animators go off model and don't care for detail and rather focus on the expressive flow and movement, Birdy the Mighty Decode is an example of this.
Does anyone know which animator animated which scene in Milky Holmes 12? The first half had good sakuga!
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Anonymous2010-12-30 3:26
>Then there are anime where the animators go off model and don't care for detail and rather focus on the expressive flow and movement
This happens when the animation director doesn't correct the key animation submitted by an animator to model, so to speak. This isn't exactly a bad thing, though, since it lets the personality and individualism of the animator to shine through in the final product.
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Anonymous2010-12-30 3:29
>>44
I heard it was a reference to Kanada's Genma Taisen, so it's interesting. Too bad I haven't watched the show though.
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Anonymous2010-12-30 13:17
>This isn't exactly a bad thing, though, since it lets the personality and individualism of the animator to shine through in the final product.
That's true, but I've always wondered if this method of animation is what brings out laziness in certain animators.
"I just have to roughly draw this, the Sakuga Kantoku will correct it for me any way and I'll still get my measly paycheck"
I mean, not all Key Animator's have the same artistic ability, some just can't keep drawings on model while some are just lazy and probably rush through drawings.
Like I watched a bit of that documentary into Production IG on DannyChoo.com, they said if you can't do a single sheet in under 20 minutes then you aren't fit for the workplace.
Though as you say sometimes when the kantoku lets the key animators do their own work and trusts in them, usually when they have some talented people then it can work wonders.
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Anonymous2010-12-30 13:31
>>47
Well, some directors and animation directors are complaining of doing a lot more work now because of mistakes in the key animation at times, so it's a really tricky balance to pull. But when it works, it really does work. Some directors/animation directors just have the right instinct in gathering the right mix of people to work for them. In regards to that personality thing, I'd say Yasunori Miyazawa's work in PSG 6 is an example of that in action for recent TV anime.
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Anonymous2011-01-01 3:53
Copypastaing from /a/
The results for Best Animation Sequences in an Anime Series [2010]
Note: OPs, EDs, Movies and OVAs were not assessed.
-/a/ is Full of Retards Award-
This is the award for most nominations from /a/ who will by default pick something with few frames, lots of video effects and reliance on audio. Never change /a/!
---Fly Away Now (Panty and Stocking with Garterbelt, multiple episodes)
-Most Painfully Obvious Use of Rotoscoping Award-
Referencing is commonplace in anime. Backgrounds are often referenced from photographs of real world locations, effects such as explosions are often referenced from action movies and character animation is to a more jarring degree referenced or even traced from other sources. This award points out the most jarring use of animation reference of the year.
---Mirror Sequence (Working!!, ep13, 0:30 - 1:00)
-Most Stylish Effects Award-
Effects are often critical in animation to sell an action, done poorly an effect will ruin the feeling of a scene so it's critical that effects be done well. But more than just being technically impressive effects help define the feel of an animation as a whole. This award is given to effects that go beyond mere realism and instead imprint the feeling of the world on the viewer.
---Fireworks Attack (Tatami Galaxy, ep1, 8:00 - 8:30)
-Greater Than It's Parts Award-
If you pause the animation and go through frame by frame you'll find QUALITY but sometimes animators just have to animate and those 1/30 of a second frames are too time consuming to detail when you're drawing a flurry of ones. As long as the motion makes sense in the end that's all that really matters and sometimes it impacts the viewer more than clean lines ever could.
---My Pain Is Far Greater Than Yours (Naruto Shippuuden, ep167, 4:16 - 4:20)
-Best Sequence Award-
There's nothing need to be said for this, you simply need to watch it.
---Gurly Brawl (Panty and Stocking with Garterbelt, ep6, 16:00 - 18:00)
>You Yoshinari Design Works
Was that the one being sold at comiket?
Yumekui Merry OP: http://www.youtube.com/watch?v=Ey0vWKkeN18
Yumekui Merry opening staff: Masahiro Fujii as sakkan, key animation by Hironori Tanaka, Ken Ootsuka, Hiroshi Tomioka and some others
>>60
That's actually pretty awesome. Norio Matsumoto and Hisashi Mori's shots are the stand-outs, as expected. That guy Naotoshi Shida also does good work; I like the way he draws his FX.
I warn you.
Sakuga is Japan of fine and culture.
Do not touch it.
Because you are a filthy pig.
Please come here, if you want to complain about it.
外国産糞豚ども待ってるぞ
Oh wow haha.
Looks like we were "invaded" by the 2ch Sakuga thread.
I didn't think we deserved such attention. >>73
>stupid fuckin amerikans
That's not true.
I started this thread and I am from England. I have a friend from Romania who is also interested in Sakuga. I am sure many people who have posted here are also not from America. Just because we speak English doesn't mean we are all Americans.
Though what's the point in being angry its not like we are making fun of Japan - its the opposite - its because we enjoy the animations of Japan that we have this thread in the first place, so what's with all the hatred?
The japs were indeed talking about this thread in the 2channel sakuga thread. Briefly.
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Anonymous2011-01-21 8:12
>>81
Oh really? Now I'm curious--not that I could understand moon.
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Anonymous2011-01-21 9:58
From what I could gather there was one guy who was really angry and annoyed were were talking about Sakuga. "How dare English people talk about Sakuga!"
>79
Oh hey there! Nice of you to join our little thread. Feel free to comment and share anything you like.
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Anonymous2011-01-21 10:41
>>83
Somehow I'm not really surprised by that behavior. A shame, really, since we could have some mutual learning going on or something. Oh well, that guy saying Yutaka Nakamura is the cancer killing Bones made me chuckle at least.
I still feel Madoka lacks any kind of coherent sense of art direction. And the draftsmanship feels cheap as fuck, but without the appealing roughness of Birdy.
Also, I wasn't here for the P&S 13 discussion, but I will still put in my two cents: the art direction and storyboarding were better than the animation, or rather: the art direction and storyboarding called so much attention to themselves that the animation was completely overwhelmed by how good the overall visual composition was.
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Anonymous2011-01-22 2:09
That just proves that even kinda average animation can be made to look awesome by excellent storyboards. Storyboards are the skeleton of any production, anyway.
Madoka doesn't feel very unified to me as of yet. That makes the transition from the ordinary setting into magical stylization rough. Unappealingly rough.
I'm curious as to how you would think Madoka looks cheap. The drawings are on-model pretty well all the time and the framerate is good enough where it matters.
On another note, anyone seen Yumekui Merry 3 yet? The animation was horrible quality, which is a shame after the excellent fight animation in 1 and 2. Such a cheap episode.
The art design in the dream was good again though. Not enough to rescue the episode from a production perspective.
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Anonymous2011-01-22 9:18
>>90
I really wouldn't go into a JC Staff show expecting solid animation at the quality of Merry #2 anyway...It's pretty much Yamauchi's directing and Kenji Matsumoto's excellent background work that carries the show, at least for me.
>Abe Genichirou (SHAFT regular, did great work on Soredemo last season)
I loved SoreDemo, I felt the art was much nicer and had a good warm feeling to it compared to Arakawa x2 which most people seemed to be focussed on. While Arakawa was funny, the art felt more 'clinical' to me.
Anyway, I'm probably a minority here but I've been watching Masami Obari's SRW anime and while the animation probably doesn't stand up to the likes of Gainax or BONES, I do feel it still has a lot of energy put into it. Obari has gathered many of his friends from the industry, like Masahiro Yamane, Kabashima Yousuke and Oogomori Yukihito. With a few episodes featuring KeyAnimation from the likes of Takahiro Kimura and Akira Amemiya.
Though what I found interesting was he got Katoki Hajime and Kotobuki Tsukasa to do some key animation work. Why this is interesting is because both of them are not animators, they usually work as mecha designers(and characters for Kotobuki).
While Obari is the chief director, he's storyboarded and directed some episodes himself, and even done some key animation work along the way (1,8,15). I guess this is a perk coming from the art side of animation production as a director can work on the animation himself compared to someone whose only work on the planning or writing side of production.
I agree that sometimes the character animation and the Gekidan Inu-Curry's stuff doesn't mix well, it's not that they are different artstyles but I think it is more like there is a disconnection of the works, like they worked on them without a correct direction to bode them together well in the final stages of production. I don't know how to put it correctly because my english vocabulary is not very good, but I think it is strange, and I don't know if it is SHAFT intention or not.
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Anonymous2011-01-22 11:24
>>94
There's hardly any glue that binds the opposing approaches together, is what you're saying, isn't it?
I have no problem with the animation in general, but my only reservation is the transition.
Yeah! Something like that. For the record I will say that I like the approach they have made with the art direction, it is only that it seems a little off made sometimes, nothing more.
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Anonymous2011-01-22 12:30
>>97
I was having the same reservations myself. I also like what they're trying to do with the stylistic approach to the action scenes, but the shift from the ordinary anime aesthetic feels a bit rough around the edges.
Gekidan Inu Curry can do some really cool stuff, but just because they're "different" for using cut-out animation doesn't make them inherently good. And their stuff for Madoka doesn't fit well, because their art choices are too ridiculous for the tone of the show.
>Not at all. Do you really want me to post screenshots that exemplify how 99% of the time they all look like ass?
I've only noticed a couple of off-model drawings, so if you do think you can prove it then go ahead. Madoka has had a strong lineup of animators so far.
Yeah but the animation in 3 is well below even their standard, and you've gotta have Yamauchi accept at least some of the blame for that. Good layouts can only go so far..
Generally I agree, and I don't like Shaft. But I'm willing to overlook a few poor drawings if they can provide really good animators for the action cuts. And I don't think the crappy drawings are that pervasive.
Guess that part was Genichirou Abe (though it's not confirmed at all). It was the only cut that matches his high-profile talent.
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Anonymous2011-01-23 3:27
>>102
I watched the episode a few hours ago, and I agree that it really does look way substandard. Well, there were only 4 or so key animators in it, iirc, and a whole lot more animation directors. Maybe it just got caught in scheduling problems.
Yuki Yukie was one of two background artists in #3, which had very cool art...She and Matsumoto are awesome.
Not sure where you heard that, because there were 16 key animators, just not any good ones and probably running at a tight schedule, as you say (but there weren't extra animation directors).
>>108
Well, I was watching it at 4 am, so maybe I just misread them. Thanks for the correction though.
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Anonymous2011-01-23 12:01
Heartcatch Precure 48:
-Two major character deaths
-Almost no recycled animation.
-10 minutes of continuous action sequences
-Animation by Umakoshi, Hironori Tanaka, Naotoshi Shida, Ken Ootsuka and pretty much everyone worth mentioning in Toei.
Both episodes 48 and 49, the final episodes, are Umakoshi episodes.
Whats crazy is that Hironori Tanaka is everywhere.
He's working for BONES on Star Driver.
He's working for Toei on PreCure.
He's working for SHAFT on Madoka.
He's working for JC Staff for Yu-Merry
Anywhere else he's managed to pop up lately? The guy is landing work left right and centre.
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Anonymous2011-01-23 21:01
Hironori Tanaka has been involved in a lot of shows at the same time for a few seasons now. Because he doesn't really do anything but high-profile cuts any more he ends up working on many different anime.
He's probably working on the FMA:B at the moment too.
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Anonymous2011-01-23 22:12
Its nice he works on so many shows, but I'd like to see him in charge of a show's animation and bring it to life with his own flavour. So far all he's been doing is working off other people's works.
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Anonymous2011-01-24 2:10
Has Tanaka ever done a solo episode? If not, then he needs to have one. I'm guessing part of the reason he's everywhere is that he mainly works on signature action cuts/OPs/EDs and I guess also his speed.
he could probably pull of a solo episode, but his talents are better spent on important action cuts and OPs.
It would be interesting to see though. I wonder if he will eventually move on to directing, like many animators. I actually hope he doesn't because he would definitely lead a void.
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Anonymous2011-01-24 3:23
>>119
True, it will be interesting to watch at least, if only because full solo episodes are rare nowadays. I don't recall whether Michio Mihara did have his own solo in Tatami Galaxy, but he's one of the few who does solos every now and then.
Didn't he direct a few anime episodes in the past? Maybe he does plan on moving up. A few animators don't want to go into directing, but it's only because they're animators to the core. Let's just hope he's one of those.
Yeah. The last solo episode I saw was Hiroshi Tomioka's episode of Ookami-san (#2) (solo key animation that is).
As for Hironori Tanaka, afaik he hasn't directed anything (other than his Blaz Blue game opening). The closest to that would probably be Ookami-san episode 3, which he storyboarded and was animation director for (as well as some key animation).
Ookami-san was an interesting series from an animation perspective!
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Anonymous2011-01-24 3:38
>>121
Ookami-san, huh...I never did pick up that show, but I did hear of Tanaka's work in episode 3. I also remember seeing a bit of his and Tomioka's work in some MADs I watched. But I fear that the show was inconsistent in terms of the animation and direction...
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Anonymous2011-01-24 16:46
>>118
Tanaka did actually two solo episodes so far. They are not exactly stellar ones, mostly because of the shows itself, but if you want to see more of his usual style they got all of that, though in small quantities. Anyway, he storyboarded and drew all of the keys for Akane-iro ni Somaru Saka's episode 3 and School Days' episode 6. Both episodes have their fair share of good cuts, particularly Akane-iro, and a strong and effective storyboard. However, I wouldn't watch them completely only for Tanaka's episodes, the payout is simply too small considering the rest of those shows and just making it past the first two episodes is a difficult enough challenge.
And yeah, Ookami 3 did have more key animators aside of him but since he was also the key animation supervisor and storyboarder it does overall have the feel of his work. I was actually under the impression it was a solo episode until I took a look at the credits.
>>120
Episode 7 of Tatami was a Mihara Michio episode. Though it certainly did have a different flavour than usual. I expected a crazy and fast episode, especially in a show like Tatami, yet it was almost the complete reversal being more subtle and low key.
Why not just watch those episodes and ignore the rest of the show? I do that shit all the time: I do it with Naruto, I do it with One Piece, I did it with Soul Eater, I did it with Heroman and probably with a bunch of other stuff. I'll be honest with you guys: when watching TV anime, I just skip all of the badly directed or animated, dull episodes. I have no time to watch boring shit that is both badly written and badly animated, which describes most TV anime.
Don't know if it was animated by Horiguchi or not but they animation style looks like her.
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Anonymous2011-01-25 3:46
>>123
>Episode 7 of Tatami was a Mihara Michio episode
So he did have a solo episode somewhere in there. He's had a solo episode since Kemonozume, so it seems he likes doing those and Yuasa likes to give them to him. I was actually thinking of episode 3 of TG since Mihara was also there, but he had Yasunori Miyazawa and Shingo Yamashita with him, if I recall correctly.
>>124
Believe me, I'd like to do the same, but since I'm a completionist at heart, I'm a little reluctant. I did watch that Naruto x Uniqlo special though, and it was fun. It was great seeing Matsumoto, Matsutake and Hiroyuki Yamashita do their thing in 6 minutes.
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Anonymous2011-01-25 3:48
>>123
>Episode 7 of Tatami was a Mihara Michio episode
So he did have a solo episode somewhere in there. He's had a solo episode since Kemonozume, so it seems he likes doing those and Yuasa likes to give them to him. I was actually thinking of episode 3 of TG since Mihara was also there, but he had Yasunori Miyazawa and Shingo Yamashita with him, if I recall correctly.
>>124
Believe me, I'd like to do the same, but since I'm a completionist at heart, I'm a little reluctant. I did watch that Naruto x Uniqlo special though, and it was fun. It was great seeing Matsumoto, Matsutake and Hiroyuki Yamashita do their thing in 6 minutes.
Nice to know that, thanks. I thought he hadn't done any solo episodes. I might have to watch those episodes, and skip the rest of them, as >>124 recommends. His storyboard for Ookami #3 was truly impressive, to my mind.
I think Ookami-san is truly worth watching. I enjoyed it for the characters as well as the animation. Actually, aside from Tanaka and Tomioka, Aoi Saya's episode #9 was really great. It was definitely above average for JC Staff, that's for sure.
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Anonymous2011-01-25 6:41
I just watched Star Driver 16 and liked what I saw! Anyone else seen it yet? Do you have any comments on the animation? I wrote up this:
Sakuga thread conclusions on Star Driver #16 (in order of occurrence):
First half of the circus: Fujii Shingo
Second half of the circus: Muraki Yasushi
The clash between the two mecha: Tomioka Hiroshi
Tauburn transformation: Ootsuka Ken (confirmed from his twitter)
Conclusion to the battle (after the 19min mark): Tanaka Hironori
>>129
So, I did get it right, except for Ootsuka and the first half of the Circus. I was thinking the circus was done solely by Muraki, and I didn't know where to place Ootsuka.
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Anonymous2011-01-25 8:39
I dunno how you guys can spot people's styles like that. I can sort of spot basic ones, usually from animators with very distinct styles.
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Anonymous2011-01-25 8:45
>>132
Some of it is just pure guesswork. Some MADs even make mistakes about that. But those guys with very distinct approaches are very easy to spot, even if sometimes they're corrected.
One of Ohira's bits in Howl's was corrected, but you still know it's his work.
It's funny seeing Ken Ootsuka's cut in the FMA movie after just talking about him! He had such a minor cut in that movie haha. It's going to be really interesting to see what BONES' current generation of animators can do for the Brotherhood movie. I'm hoping for something special from Yoshimichi Kameda.
TV-anime usually makes things easier than movies or OVAs, particularly certain studios. Bones really fosters individual styles, so they're usually fairly easy to pick. This week's Star Driver was helped by Ken Ootsuka's twitter posts, because he named his own part, and also said when Shingo and Yasushi were appearing. There was some uncertainty on Shingo's part still.
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Anonymous2011-01-26 2:19
If the animation director is really trigger-happy when it comes to correcting drawings, then it could be quite difficult picking out specific cuts. Fortunately some ADs don't really correct stuff heavily in some movies, like Ken'ichi Konishi's job in Tokyo Godfathers. It also depends on the specific style of the animator. That's why it's really pointless correcting a shot by Shinya Ohira.
Coincidentally, Konishi will also be AD for that new FMA movie...
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Anonymous2011-01-26 12:00
Ghibli movies tend to adhere to a strict and uniform art style. But then we've been having many late night anime where key animators are given free reign to express their talents. It just comes down to the people in charge.
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Anonymous2011-01-26 12:31
>>137
It seems as if Miyazaki does every design in his own movies. The fact that Takahata can't draw helps his movies find a little distinction.
>>139
I haven't watched that yet, but I heard Satoru Utsunomiya did some uncredited work on there.Well he should be easy enough to spot.
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Anonymous2011-01-27 10:01
Looks like Utsunomiya did do some work on that short, if I'm not mistaken.
The part where the boy was playing guitar until the part where the girl drops some coins into the can and the other scene where the MC stands up from the bench looks eerily like his work.
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Anonymous2011-01-27 10:10
So Atsushi Nishigori is directing Idol Master anime.
I'm really surprised to see Touko Takao's name in the staff list.
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Anonymous2011-01-27 11:06
>Touko Takao
Wow, looking him up on ANN, he seems to be a KyoAni exclusive. Though I hear its A1 Production who are animating the new Idolmaster show.
Yes and it's very unusual for KyoAni's director like her to work in an anime by another studio especially in an important position like a series director(シリーズ演出, the same position as Yamakan in Haruhi 2006).
I'm curious that is she still with KyoAni or not.
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Anonymous2011-01-27 12:42
Wait, Takao is a woman? woah. Then again, not surprising, KyoAni hire a lot of female animators than other studios.
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Anonymous2011-01-27 17:22
It seems like there's a good chance she has left KyoAni because just having her go out and do one show as series director is so unusual for that studio. Hopefully we'll find that out soon.
They've really picked two staff here from other studios with a lot of potential (IMO). Interesting having two chief animation directors too.
And you're right, I actually went and checked. For some reason I could've sworn he wasn't a series director, not sure where I got that into my head.
Often series directors are credited as シリーズディレクター too, such as for SHAFT shows, which all seem to have series directors now.
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Anonymous2011-01-27 21:49
The staff for Idolmaster is weird:
Director and Character Design: Atsushi Nishigori (P&S S2 is rumored to be coming, he is character designer)
Series Director: Touko Takao (KyoAni-exclusive director)
Chief Animation Director: Iizuka Haruko (Tamayura is starting soon, she is character designer and Chief Animation Director) and Takata Akira (Natsume S3 is rumored to be coming, he is character designer and Chief Animation Director)
I know it is authentic, but it's still weird. I wouldn't expect this people to meet each other, at least not now.
I enjoyed Working, both on an animation level and it made me laugh too.
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Anonymous2011-01-30 21:31
On the topic of Working!!, I noticed the brief discussion earlier in the thread (when I wasn't around). People were saying the scene in #13 was rotoscoped (traced-over), which seems like a strange thing to say. That cut was done by Shin Wakabayashi, who is very adept at human motion, and it's just his usual style.
The detailed cut decomposition of the Working OP is a pleasant surprise (would like to see official twitter posts like that more often), but didn't reveal much worth talking about.
Also, has anyone seen Fractale 2 yet? It was surprisingly animated. The first scene with Nessa is a great example. Full of small movements that really brang her character to life. I'm looking forward to seeing Ordet's contributions..
Also, agreed with you about Fractale.
I think its animation has KyoAni-ish feel to it but the movement is not as detailed as KyoAni's animation, though.
Cheers! I was actually surprised to find little about him on English-speaking websites.
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Anonymous2011-01-31 9:12
>>161
Not much has been written about him, but your post should cover it. I guess he isn't as iconic as Iso, or as prolific as Inoue.
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Anonymous2011-01-31 10:46
Anyone got a list of the recent "sakuga" Naruto episodes? I mean, after Wakabayashi's 167. I think there are three of them, at least. I remember raito-kun tweeting about them, but I forgot to watch them.
>>166
Takeshi Honda left Dennou Coil and completely cut his ties with the show because apparently he got fed up with Mitsuo Iso's perfectionism. Iso was never satisfied with Honda's work.
I guess Honda and Iso never saw eye-to-eye when it comes to the direction of the show.
Hironori Tanaka wasn't credited for animation, even if all the effects looked exactly like how you would expect his style to look. Is this the beginning of the Tanaka-school of animation?
Yeah although I'd heard about it I hadn't come across a proper source for the information (other than the fact that Honda didn't do key animation after ep 1 iirc). So I felt it was a little speculative for a brief bio. Still it makes sense from what I've heard about Iso too.
If you've got a link to an interview or article on the subject (in Japanese is okay) then please do share.
In any case Denno Coil was hardly the most important step in Honda's career.
Maybe Tanaka was in it, albeit uncredited? I don't know if he's like Iso, though, who likes to do uncredited work on some anime.
And for some reason his FX somehow remind of me of an Iso-school FX...though it's clear Takashi Hashimoto's FX work bears most influence to Mitsuo Iso.
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Anonymous2011-02-01 5:03
>>171
Dennou Coil was more of a coming-out party for Mitsuo Iso, so yeah, Honda's absence wasn't really that harmful I guess.
It still kinda feels bad for two of the best animators in the last 2 decades or so to have a fight like that.
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Anonymous2011-02-01 6:31
Houkago no Pleiades was reasonably disappointing. Shouji Saeki's storyboards and scene compositions were really nice, but his script was certainly lacking in punch. And the animation was spontaneously good (in obvious places) but mostly very limited, with some obvious shortcuts.
Tanaka Hironori doing uncredited work seems very unlikely to me. The effect animation is similar to his, but it's also a style shared by a number of animators. It was actually the hair in some places that made me think of him.
Genga list for this anime:
井畑翔太 池田志乃 大杉尚広 清水空翔 徳永さやか
山崎愛 堤舞 相澤澄江
河野恵美 横山なつき 坂本勝 岩崎将大 春藤佳奈
三宮昌太 米山舞 小野田将人
ANIHOUSE SUN
金鐘憲 李成鎮
Notables:
Shimizu Souto
Kouno Megumi
..really nothing in the way of prominent Gainax animators. Either they saw this as an opportunity for some less experienced animators to handle something, or they didn't care much for this project.
I would do a blog post on this, but it doesn't seem worth it unless we get some more info on who did what scenes, because they're hard to place with all these unfamiliar faces at the top of the genga credits. The only thought I've heard was Kouno Megumi handling the fireball scene in part 4.
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Anonymous2011-02-01 6:41
>>178
>The effect animation is similar to his, but it's also a style shared by a number of animators
Yeah, it does look like something out of the Iso-school of FX animation. Iso is one of the best FX animators in Japan after all.
It's also missing stuff from Fractale, which I honestly think was much better than like half of the stuff that was indeed in the video. The beginning of Madoka 1 wasn't impressive or interesting at all, what the fuck is it doing in Sakuga MADs?
This one is better than the other one that was posted yesterday, alone for the Yumekui Merry cut in the beginning, which was a personal favourite of mine. There's also the rather cool Madoka action sequence right afterwards. Missing any of the Heartcatch Precure scenes as well as a bunch of others though. Really, a sakuga MAD for January that doesn't feature a single Heartcatch sequence is not exactly a showing of the best.
>>185
>Anyone got anything to add?
I would have thought someone would have made a short mention of Super Robot Wars episode 15.
Masami Obari on storyboards, direction and sakkan. Though it was shared with several other people.
For the genga ep 15 had Masami Obari himself, Masahiro Yamane(also one of the sakkans), Ootsuka Ken, Yoshida Tooru, Nakatani Seichi, Nakazawa Yuichi, Nishi Maanori and a few others.
A chunk of the good stuff here: http://www.youtube.com/watch?v=1xRsJgLBkYs
I've noticed they go for immense detail in the still shots over actual movements in many of the scenes(looks very nice in HD). Perhaps this is just a feature of Obari's works? I know this was how many anime used to be made in 80s OVAs.
While I'm on the subject, episode 1 had a really good scene which was completely overlooked. I was a little upset none of the Sakuga MADs from September to October even mentioned the opening scene (before the OP song) I thought that scene alone would have deserved some kind of mention..
As can be seen here: http://www.youtube.com/watch?v=GZiinPoh7FE
0:00 - 05:55 is the scene then its the OP
- The OP itself is nice as I think there are a few Akira Amemiya scenes in it.
Inb4 everyone ignores my post yet again..
>>193
I remember watching that along time ago, its interesting to see how Sadamoto completely dropped animation and stuck to character design and mangaka work considering how talented he was at animation.
Thanks for the info. Not many people watch Super Robot Wars, including me, so it gets overlooked. Other than seeing a few posts on the 2 ch sakuga thread I haven't heard about it's sakuga qualities. Cheers.
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Anonymous2011-02-02 19:02
>Other than seeing a few posts on the 2 ch sakuga thread I haven't heard about it's sakuga qualities
Yeah, its a work where you know it's not BONES level(not many shows are, to be fair) but the staff are trying their best and having fun with it and you see it shine through every now and then.
My Japanese is very poor so I can't read the 2ch threads. But there are tidbits of information I've managed to gather during its run from various sources, like a scene in episode 7 was animated by Shigeta Satoshi(http://www.youtube.com/watch?v=9OcwkRpuHuA) I've heard the staff work quite hard and enthusiastically, the chief sakkan, Kabashima Yousuke complained(jokingly) on twitter that its a problem working on this anime as everyone tries so hard and production ends up slowing down, meaning his job is harder. But he's also praised Yamane and Obari's work on episode 15 and said when he saw those two working together, it was a partnership like the original Kamen Riders (Ichigo and Nigo) - which is interesting as Obari and Yamane probably go way back to the 90s when both worked on the Braves shows for Sunrise.
Though interestingly, whenever I see a new staff member's name and look them up, almost 90% of the time somewhere along the line they have worked together with Obari(or Yamane or Kabashima). Eg Ootsuka Ken worked a lot on Gaiking LODM, on which Obari was also a big helping hand. I guess that's just how this industry works, everyone's always giving one another helping hands.
I have no valid source on this, but it was reported on Kabashima's twitter than Otsuka Ken has been working on the SRW anime since the first few episodes, helping out with SFX and fixes. Though his only credited roles so far has been some genga in episode 15. Much of the work for Ken and many others has gone uncredited - even Obari himself it seems has stayed up long into the night doing correction work and then not crediting himself.
Actually found a post from the guy who posted on /m/ about it:
>Ootsuka Ken has been working on OGIN since the beginning. Kabashima found something wrong with episode 3. He got Otsuka Ken to help him to fix the problems and add stuff on robot special effects. Otsuka Ken is also working in Star Driver at the same time. A few other unnamed animators from the same crew joined him and worked on OGIN after episode 6. In old twitter log (forgot when) Kabashima mentioned about having lunch with those guys and everybody were excited about drawing Cybaster and stuff. That was when Obari mentioned about most of the crew are interested in drawing Cybaster and wanted to have a Cybaster drawing contest.
>Staff from Madoka Magica came around episode 9 or 11 if I remember correctly. They did the motion frames of the show.
His English is a little rough but you get the idea.
I don't get many chances to talk about the Sakuga for this show so sorry if I ended up rambling.
>>202
That would be nice. Hell, a captcha would keep away most of the spam..
We've basically set up shop in the Mad Max world of 4chan.
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Anonymous2011-02-03 2:45
>I've noticed they go for immense detail in the still shots over actual movements in many of the scenes(looks very nice in HD). Perhaps this is just a feature of Obari's works? I know this was how many anime used to be made in 80s OVAs.
That could be, since Obari started out working on those old AIC OVAs in the 80s. I think he began work on Iczer - 1, if I'm not mistaken. And if so, that would mean he worked with Naoyuki Onda, who is known for his maniacal attention to detail when it comes to drawing mecha.
Someone posted the photo of k-on calendar in k-on general thread and it has the name of the illustrator in English.
It seems that the name of the series director of Idol M@aster anime(高雄統子) is actually Noriko Takao not Touko Takao.
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Anonymous2011-02-03 16:25
>>204
Obari's first big gig was Mecha designer on Dancougar(shared with Hisashi Hirai, who now oddly only does character design work). Obari also did genga on many episodes and was sakkan on 2 eps. He was really young back then, like about 19-21 years old. Iczer was what he went on to next. But yeah, he probably picked up many things during his time doing those OVAs.
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Anonymous2011-02-03 17:07
>>207
Now this is a good MAD, its got a lot more of the better stuff in it.
Thanks! Animeblue improved his MAD in v2, but a cross between v1 and v2 would be best. While including Precure and Fractale is great, I don't know why all of Yumekui Merry had to be removed.
Ah, this is good, aside from a couple of cuts that honestly aren't all that special, it's generally very inclusive, and adding the episode numbers is certainly useful. Interesting that this one includes Hironori Tanaka's charge attack in Star Driver 15, but no Tomioka's part in that episode.
It's good having several of them every month.
>>208
Are you saying that Noriko Takao is a different person to Touko Takao or that it's the correct reading of her name?
so anybody know who did the animation for the fight in this week's Yumkeui Merry? It was off-model most of time but it was hella smooth
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Anonymous2011-02-04 2:45
That was Ryochimo (Ryouske Sawa) He did a lot of the good stuff in Birdy Decode s1 and 2 as well as Yozakura Quartet: Hoshi no Umi (OAD). I was actually really suprised when I saw it and wasn't sure it was him until saw the animation ignoring gravity completely (which doesn't really bother me too much) but that's how you pick him out. Him, Tomioka, and Tanaka are probably my favorite animators out there right now.
Ryochimo huh? Heh I'm not so good at picking out his style
still its good to see him doing some animation from time to time, its still long ways off until the next Yozakura Qaurtet OAD comes out
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Anonymous2011-02-04 5:32
Ryochimo's stuff looks a bit wobbly and jiggly, but still makes sense while moving. His experience as a former .gif animator definitely influenced that, though I think his work is a little less rough than say, Shingo Yamashita or Kenichi Kutsuna, who are also former .gif animators.
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Anonymous2011-02-04 6:50
>>213 >>214
Um no, Ryochimo works on Fractale 4, not sure which cut though. I'm kinda sure Merry vs Play animated by Tanaka, saw his name on Key Animator Staff too.
Just watched the Janica PVs. Hot damn, Sueyoshi is really good. His character design work is just really fun to watch in motion.
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Anonymous2011-02-05 8:42
Haruhi is the best!
ideal2004jp23@yahoo.com
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Anonymous2011-02-06 20:52
The dancing scene in this weeks Star Driver was really nice.
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Anonymous2011-02-07 6:13
Sadly I've been really busy and haven't been able to contribute to the thread. I watched Fractale and Yumekui Merry though, and thuroughly enjoyed those episodes.
Tanaka Hironori's part in Merry #5 sure was unusual for him, or at least I thought so, although I can't really put my finger on why. The pace of the animation in the fight just felt different to his typical style.
Any thoughts on which part of Fractale 4 was Ryo-chimo's? I really like Ryo-chimo (loved the new Yozakura Quartet OVA). I thought his part was with the crowd at the start around 2.37, judging by the faces, but I've heard suggestions it may have been the scene with Nessa and Clain on the at around 14 min.
I also think it was with the crowd scene at the beginning because the faces and hands if you will reminded me of Ryochimo's cut from Baccano, the part where Firo cuts that immortal guy's hand
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Anonymous2011-02-07 9:25
The NESSA NESSA NESSA NESSA part looks just like his Nia animation from episode 14 of Gurren.
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Anonymous2011-02-07 12:20
After rewatching both scenes, now I'm sure the NESSA NESSA NESSA NESSA part was Ryochimo's contribution for Fractale 4.
Resident /m/echa bro here(also Obari guy from before), I'll see if I can help. >>231
Is a good choice. Its by KyoAni from about 2006. Its 12-13 episodes and features a lot of KyoAni's consistency and great artwork. I've always liked KyoAni's style but am always upset they waste it on simple slice of life shows. FMP:TSR is one of the shows where they go out and show off all sorts of great action scenes.
You then have the more recent Broken Blade series, which is a joint between Xebec and Production IG. Its a series of movies so the budget is very high. Though the characters are very simplistic in design so they are not my cup of tea. But the mecha action is absolutely stunning, they really depict the weight and heavyness of giant 20-30m robots stumbling and fumbling about. Its worth checking out.
Shin Getter Robo Armageddon or Change!! Shin Getter Robo Sekai Saigo no hi, depending on how you look at the name, is a very well animated OVA. My favourite scene from the OVA - http://www.youtube.com/watch?v=J5zjDpYPgLY#t=7m00s - grab the HD remastered releases if you can, the show looks absolutely stunning there.
Another by the same studio is the Mazikaiser OVA, 7 episodes. Also very stunning to watch. Though be wary of the movie that comes after, they shifted over to digital aided animation, whereas the OVA was all cell based I believe, and the movie comes off quite "plain" or "plasticy" like many anime shows do at that time when companies were just switching over to digital animation.
I have not seen Escalfowne, but from what I understand was a Sunrise Studio 2 production, Cowboy Bebop was their last production. I don't know if people know, but people from Studio 2 went on to form their own studio, which we now know as Studio BONES. Hence why BONES's first work was working on the Cowboy Bebop movie. Many of those from Sunrise Studio 2 now reside in Studio B of BONES. Studio B of BONES handle many of their mecha shows(Though Star Driver is by their C studio who mostly do the 'other' shows like Ouran, Soul Eater, Darker than Black etc..). That said, Escalfowne featured quite a few episodes where Yutaka Nakamura worked on, so I believe its worth checking out. In essence its a BONES show before BONES were formed.
One show I've seen pop up often is a TV series called Generator Gawl, its not quite mecha, but it features a dude in a giant suit of armour, so the concept is similar. The reason I see it pop up often is because it has a very talented staff behind the helm, names including Sushio, Imaishi, Yutaka Nakamura(again). See the OP - http://www.youtube.com/watch?v=z_mjFGym-xI
If you feel you can withstand about 25 episodes of Monster of the Week, then GaoGaiGar is worth a watch. Their stock footage is really well done and at about episode 25, the story really shifts gear and drops the MotW concept. With episodes 29 and 30 probably the best the show has to offer.
One show I hear often about but haven't seen is Giant Robo, I know very little about it but hear its well animated as its also an OVA.
Anyway, some recs from the top of my head.
Giant Robo
Bubblegum Crisis - the original OVA series, http://anidb.net/a68 Also any other mecha that AIC made with before the digital switch end of '90s, like Iczer, Gall Force, Dragon`s Heaven (!!) which has Oohira Shin'ya as mecha AD, and lots of other great stuff.
Patlabor (esp. the 2nd film)
Getter Robo: Armageddon
Xanadu Dragonslayer Densetsu
Yamato 2520
Mazinkaiser
Sunrise does always deliver on the mecha animation, while the rest of their shows often show big discrepancies.
Escaflowne, Big O, Overman King Gainer and Turn A Gundam are probably the most consistent and have a good number of very interesting episodes and have good direction on top.
But Code Geass, the Mai-* series, and anything else is has also good mecha action.
Full Metal Panic TSR (not the first one though, that was quite horrid for most part)
Gaiking - The remake. Can't remember any particularly bad parts, and it has many many great scenes by Obari, Imaishi, Kanada (!), etc.
Samurai 7 - It is consistent for a Gonzo show and CG aside there are some really, really amazing episodes (7&23).
Nadesico
Aquarion - Maybe not consistent, but you wouldn't want to miss some of its episodes.
For shows which have different kind of mecha than the usual Giant Robots:
Cowboy Bebop
Outlaw Star
Irresponsible Captain Tylor
The SoulTaker
Figure 17
Hakaima Sadamitsu
Strike Witches
Robot Carnival
Halo Legends and Karas have good hand drawn animation and even somewhat good CG.
Ghost in the Shell films and SAC
Space Pirate Mito
Arjuna
Noein
Trava Fist Planet
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Anonymous2011-02-07 18:36
No mention of Medabots? I know they aren't mecha, but the show had pretty damn good animation.
sadfrog.jpg
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Anonymous2011-02-07 18:49
>>234
I guess it just slipped my mind, but Medabots is a good choice.
Movies:
Patlabor movies
Macross: Do You Remember Love?
Escaflowne movie
End of Eva, both Rebuild movies
Both Gurren movies
Char's Counterattack
Related: GitS (both), Sky Crawlers, Bebop movie, Honneamise, Rojin Z, Steamboy, Animatrix, Dead Leaves
Not quite related to the request above as most of it is Bones, Gainax, Gundam and Macross. Well, can't help that I guess.
Also, can't remember Layzner as that outstanding but shame on me for forgetting to mention Zillion earlier. Was overall really good plus AMAZING opening.
Well, I had actually seen Welcome to the Space Show at a film festival back a year ago and it is a good and sincere film about a children's adventure. It has some great and interesting animation as well as awe inspiring art direction and quirky character and mechanical designs, on that part I even liked it more than Summer Wars or TokiKake. It's also a lot flashier than other art house films lately. I guess I could understand it when somebody slams down its screenplay compared to TokiKake/Summer Wars/Coo, but it is a really great, engaging and fun film on its own. One of the few anime during the past year that I had fun watching.
What I personally am waiting for this year is Hara's Colorful, which has a BD/DVD release coming up in April. Since it's Hara and the trailer was quite interesting I'm expecting a lof of things from it.
Earlier today I saw a piece of Idolmaster promotional art done by Yoshinari You... anybody know if he has deeper involvement with the new im@s anime other than just as a guest illustrator?
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Anonymous2011-02-13 5:20
>>266
It's likely that he and his other Gainax bros would be involved in IM@S, since Nishigori will be there.
Jin-Roh director Hiroyuki Okiura, Princess Mononoke animation director Masashi Ando, Akira key animator Toshiyuki Inoue, and Evangelion: 2.0 You Can (Not) Advance animation director Takeshi Honda are collaborating on a feature-length theatrical anime film called Momo e no Tegami (A Letter to Momo).
http://www.animenewsnetwork.com/news/2011-02-15/production-i.g-momo-e-no-tegami-film-to-open-in-2012
Masashi Ando (Princess Mononoke, Spirited Away) is overseeing the animation process. Among the animators on the team are Toshiyuki Inoue (Akira), Ei Inoue (The Cat Returns), Takeshi Honda (Evangelion: 2.0 You Can [Not] Advance), Tetsuya Nishio (Ghost in the Shell 2: Innocence), and Hiroyuki Aoyama (Summer Wars). Hiroshi Ohno (Kiki's Delivery Service) is serving as art director.
Oh My God! Oh My God! Oh My God! This is a fucking Sakuga Fan's wet dreaaaaaaaam. Mr Okiura has fucking returned, yeeeeeeeeeesssss, I thought he wasn't working because of health problems or something like that, but he returns and comes with support of Mr. Iso, Mr. Honda and a fuckload of other fucking masters of animation. FUCK YES! Gooooooood My Ooooooooooh!
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Anonymous2011-02-15 15:34
>>279
Shiiit, seeing Mr. Iso name in the previous post has made me think he was in, sorry, it is because I'm very excited for this. About the Iso VS. Honda thing, I've heard it was because Mr. Iso was like a animation perfectionist nazi towards Mr. Honda and disliked his work during the production of Dennou Coil, or something like that, no?
Good ol' Tokyo Movie Shinsha! When they had money to burn in projects! Dammit Japan's Economic bubble burst.
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Anonymous2011-02-16 5:28
>>280
Yeah, something like that. Iso was never satisfied with Honda's work in DC, and that was the supposed reason Honda left the show and cut all his ties with it.
Iso is still involved in the Rebuild movies, but he isn't actually present on the production floor. Honda is mecha AD for 2.22, so there's that coincidence as well.
>>290
Wow, thanks. I've only seen The Red but missed that one. In any case this is absolutely beautiful and full of very interesting ideas on the subject.
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Anonymous2011-02-16 11:59
>>290
It says Taiwan in the info box.
But none the less a very heart warming production that reminds you a lot of Ponyo.
I'm collecting these kind of raw keyframes(on the internet) as references for my animation study right now.
So if anyone knows where to find them, please let me know.
The effect animation in Gurren Lagann is also pretty damn cool if you ask me (would be amazing if it had a higher number of frames). But yeah the impression I get from the MAD is that Kuwana Ikuo is a good animator, but nothing really special.
That depends what you mean by fetish haha. There are some animators who are specialists in the field of bouncings breasts for instance, or animators who like girls' asses. Then there's Seiya Numata, for instance who is jokingly called a lolimator for his fondness for drawing cute loli type characters.
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Anonymous2011-02-20 5:25
>>306
Koichi Arai has his personalized way of drawing teeth. I'm not sure if that counts as a fetish, but it's one way of spotting him even though he is one of the most adaptable animators out there.
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Anonymous2011-02-20 15:16
Gunpla Builders had some pretty cool mecha action, the clean-up work and consistency wasn't particularly impressive, but the actual animation was fun and exciting in ways Gundam usually isn't.
Oh wow, now you have my interest. I really like Kaichiro Terada. I'm gonna check it out when I get home from work!
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Anonymous2011-02-22 7:45
Any lucky anon here manage to get their hands on Superhero2 from C79?
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Anonymous2011-02-23 16:03
Some scans (cam-scans) of KyoAni's K-On animation book. It was posted in the K-On General thread a month ago by Anonymous, I only reuploaded it and fixed some files. Enjoy.
>>314
I wanted to buy it, but I have no clue on how to buy from Yahoo Japan Auctions or Mandrake. Wish I'd ask my friend who went to Comiket to buy it for me.
Episode 21 of SRW OG that aired today had a lot of staff on it.
I saw a streaming raw of it and there are some really good scenes near the start of it. Will wait until Sunday to check it out completely.
This episode a lot of staff members on it, they had 2 Character ADs, 3 Mecha ADs and 4 more Assistant ADs for the Character animation. They have listed 33 key animators, including Obari Masami and Yamane Masahiro. The usual amount for an SRWOG ep lately has been about 20-25, though the first episode only had 9. And stayed at about 10-15 for the first several episodes. A quick browse of 2ch said the episode had some really good production overall.
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Anonymous2011-02-26 10:25
Here's a question, when people say "Animation Director" what kind of job does that exactly mean in terms of anime production?
The scriptwriter sets out the story, dialogue and other setting information with the Director. The storyboard artist then draws out how he/she would envision the scene to play out based on the script, again with the Director on hand.
But what does the Animation Director then do? Do they tell the Key Animators how to draw a scene? How many frames to use? What kind of shading, level of detail? Do they draw any animation themselves? What's the difference between, say having Yutaka Nakamura as an Animation Director vs some hired Korean Animation Director.
In credits, sakkan is usually translated into English as animation director, and that is good enough for the general animation fan. However, his job is quite different from that of animation director in an American production. In many cases, ideally, the sakkan is also the character designer.
Sakkan is short for Sakuga Kantoku, which literally means "work-drawing director". If I can be allowed a bit of leeway in interpreting the term, when I say "work-drawing", I might compare it to the term "workprint" in general filmmaking,. That is, an artifact of production which is not the finished product, but a stage of the work-in-progress that is never seen by the audience.
In Japan, the layouts are usually drawn by the same animators who will eventually be animating the scene. The layouts are handed in and go through a series of checks- once by the director, then by the sakkan. The sakkan at this stage makes any corrections in composition, posing and perspective, then the scene is sent back to the animator.
When the key animation drawings, the genga, are done, they go through a second series of checks-- the director looks at them, makes notes, then it goes back again to the sakkan for correction.
This is what the sakkan does: after flipping the drawings to decide what needs to be corrected, he pegs the first piece of genga on his desk, then pegs a blank colored (usually yellow) sheet over it He picks out the problem areas and draws over them with a clean line, making sure his new lines dovetail into the shapes of the usable parts of the genga. He places the next drawing down and repeats the process until he has corrected the entire stack. The trick is in making sure that the original parts work with the corrected parts, but also to make sure that the corrected parts also work between themselves. It's a bit like playing 3-dimensional chess.
The colored paper identifies the sakkan's work immediately. It is up to the douga (inbetweener) to combine the sakkan's lines with the usable parts of the genga onto one final, cleaned up sheet. I have seen cases where there are multiple sakkans on a project and a chief sakkan (or director) might make additional corrections (on yet another different color paper) on a sakkan's corrections over a piece of genga. On projects where robots or vehicles are featured prominently, there may be a separate sakkan that specializes in that (mecha sakkan). Sometimes, if the original genga is completely unusable, the sakkan redraws every piece of genga himself. The highly skilled ones are able to do this without any roughs of their own, in a sense, using the bad genga as the preliminary draft and drawing perfectly clean key animation in one pass. The genga is usually not sent back to the animator unless he has totally misinterpreted the scene. It is usually faster for the sakkan to simply redo it than call for a retake.
In any given studio, there is usually a small handfull of very talented animators and lots of mediocre ones. The sakkan system enables the studio to maximize the output of their best artists while allowing the average artists to do most of the grunt work. Most of the hours that go into animating a scene happen at the beginning, as the animator has to work out technical matters such as cel levels, camera instructions, perspective, and registering elements to the background.
By using the sakkan's skills only where they are needed most, the studio can give every scene the same degree of polish without having to waste the sakkan's time on drudgery.
Having said that, the sakkan's job is the most stressfull and demanding of anyone's on the crew. An ordinary scene can not usually be made excellent with a last-minute fix. A sakkan's effort salvages animation that would otherwise be unacceptable, or bring substandard work at least to a level on par with the rest of the work. That is why his job is so frustrating. A sakkan is usually skilled enough to be able to produce excellence if allowed to simply animate from scratch. However, he must spend his time trying to redeem the failures of lesser artists. It takes a very special type of personality to make a good sakkan. I doubt many American animators would have the temperament. Not because of any lack of skill, but because it would drive them crazy.
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Anonymous2011-02-26 13:20
>>326
Very interesting, those forums have a lot of information on the production process.
Though I then have another question: Shouldn't inbetween artists be given more focus? As they are the ones who end up making the drawings move. The Key Animators only drawn still images, it is up to the inbetweeners to bring those drawings to life.
One could argue without the Key Animator's drawings, and inbetweener can't do anything, but at the same time, without any good inbetweeners you'll just get a lot of still frames jumping from one to another..
One of the comments:
2chの作画スレッドは分らないんだが
4chanのは合理的な議論がされてるんだな
おもしろい
________________
I can't follow 2ch's sakuga thread, but 4chan's has rational discussion.
Interesting.
（ ^_^）o自自o（^_^ ）
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Anonymous2011-02-26 19:18
Does anyone know talented independent sakuga animators outside of the anime industry?
I mean there must be some very good animators out there who haven't worked on animes yet. Or are all good animators in anime studios?
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Anonymous2011-02-26 19:54
>>331
You mean independent artists? I believe most of them often start out as gif animators, I know some of them like Ryo-chimo, Shingo Yamashita and Kenichi Kutsuna started as gif animators. Most of the time they'll get picked up by a studio or a director and they'll nurture their talent under their wing.
I would love to see this guy animating for some anime movies someday.
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Anonymous2011-02-27 8:24
>>327
Considering that most of the best key animators draw all the drawings themselves, I think the industry still considers them as mainly good for grunt work.
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Anonymous2011-02-27 10:59
>>327
Actually the key frames alone do already make for a moving scene, just a little jumpy one, key frames are usually the ones which mark the end of a move, inbetweens are basically there only to smooth the whole thing. You can take a look at the Noein or Xam'd or Gurren Lagann cuts that were posted all over the web to get the idea how much animation there is just going by key frames. Also, many of the "high profile" animators do animate whole cuts including inbetweens, some even colour and add effects by themselves, think of the Yoshinari brothers.
So yeah, inbetweeners do really only trace the key frames with little changes to them, of course it is important work that they do but they are not artists, they trace stuff, they don't think stuff up or draw stuff from scratch by themselves. If you are interested in some more insight on inbetweeners you can watch the Mononoke Hime making-of documentary, it had even a few inbetweeners at Ghibli taking a test to become key animators (none of them made it because Miyazaki is really harsh in that regard).
Note, although it was made when cel animation was still used, most of the stuff still applies today bar the filming, nowadays it's composition work on PC and no filming of cels anymore.
Anyway, it gives quite a good insight on all important positions during the making of an anime and should be a must watch for anybody who's interested in that.
That Bahi JD's animation works are very interesting! Thanks for the links!
Are you sure he is not professional?
I mean looking at those, I can compare him with animators like Shingo Yamashita.
One word: CRAZY!
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Anonymous2011-02-28 14:32
>>347
Nah, man. He's just a very very talented guy who's just as crazy about animation as we are. His work at this early stage is insanely good, and I'd be interested if he does go pro. I also see some definite Yoshinari/Imaishi influences--I think there's even a little hint of Iso in there.
If he can make it into the difficult world of Japanese anime, then I'm all up for it.
Yeah, there's been a lot of comments, and the translation has appeared on several blogs now.
There seems to have been a bit of argument over whether we had the right definition of 'sakuga', but that turned into more of a discussion with people offering their own definitions of the term. There was also a comment about being baffled by the claim about a Working scene being rotoscoped, which I already correct in an earlier post.(>>154)
I remember some portions of Clannad were really well animated, the other world parts I believe. However its almost like it was TOO well animated, like it looked really bizarre. As if Kyoani were using too many frames to portray too little movement. The way everything moved just looked really weird, especially the way the girl's hair moved, everything was way too smooth. Are there any other cuts in anime that are....over-animated I guess?
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Anonymous2011-03-01 8:24
just found a very interesting tweet here by "Yotube",
I actually founf it through bahi JD's twitter, he retweetet that,
>>352
Kamichu has some of those. I like to think it's just one of Tetsuya Takeuchi's idiosyncracies, but I don't know his style that well to be sure.
Even Fractale has some cuts like that, I think.
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Anonymous2011-03-01 9:15
>>352
Personally I really enjoyed the other world sequences in Clannad. I hate all the shortcuts Japanese animation usually takes for casual movement, so going it the other way was really nice for a change.
Anyway, I guess the closest would be the infamous dinner scene in Nanoha 1 as well as the following running scene, well I guess many if not all of Yoshinari Kou's cuts are like that since he does everything himself, also particularly seen in White Album. And yeah, there's also Kamichu which had many on 2s (some on 1s even?) scenes for really mundane things. I remember reading complaints back when it aired that it's overdone. Really can't understand such comments, same for Nanoha, a particularly sweet and natural scene of a family dinner.
Anyway, for some other stuff. Numata's Kannagi 2 also had something like that, and some of the animation was removed for DVD release (prolly to save on the costs). Generally Numata does a lot of stuff like that, there's also the infamous out-of-synch sequence in Higurashi (13?) and more. Wada Takaaki is another animator famous for using many frames, in particular the shopping mall scene in the "Cyberteam in Akihabara" film was really lively with everything over the place moving the whole time. Part of said scene http://www.youtube.com/watch?v=S1iS4OBNqFU#t=2m37s
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Anonymous2011-03-01 10:16
>>355
Shinji Otsuka is one of the best at that kind of delicate yet lively character animation.
His many cuts in Tokyo Godfathers were incredible, and I also remember his quite signature cut in Only Yesterday.
Jamie Vickers' blog, with shots of his many parts in anime(Kaiba, Genius Party, Tokyo Tribe 2). He's one of the few foreign animators currently active in Japan today, and he's also one of the foreigners tapped by Yuasa for his past shows(alongside Choi Eunyoung). I think he's also the only American in the industry today, but I might be wrong.
BahiJD needs to follow this guy's footsteps.
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Anonymous2011-03-01 11:50
>>357
>he's also the only American in the industry today
Ah shit, I forgot about Michael Arias...
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Bahi JD2011-03-01 14:04
>BahiJD needs to follow this guy's footsteps.
XD Bahi JD's is going his own way.
__
LOL By the way, I'm following this thread since the beginning.
I'm really amazed how many time I've been mentioned here.
This makes me really glad!
Thanks to those people who posted my works here and everyone else for watching them.
_
And some people said that I probably want to be key-animator in japan someday. It's true, I really love animation/sakuga.
Even if it's pretty hard to work as animator in japan, It's not about the money, more about the passion for animation.
But still, a regular animators life can be pretty hard and unfair in japan.
_
I'm working on an independent animated short film right now,
but it's gonna take some while to finish it.
_
Keep posting sakuga stuff here, I'm really glad there are so many people around the world who are interested in sakuga and animation.
Best regards,
Bahi JD
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Anonymous2011-03-01 14:46
>>359
Dude, you are really talented. The environment in the Japanese anime industry is pretty harsh, from what I've heard/read, but since you're crazy and devoted enough to animation, then you can make it. And like I said, you are pretty damn good. Toshiyuki Inoue himself succeeded on his own through pure passion.
>I'm working on an independent animated short film right now
Cool beans. I think I'm not the only one here who'd like to see that someday.
Keep it up, man.
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Anonymous2011-03-01 18:35
Shinji Otsuka was chief animation director in Space Adventure Cobra TV.
Seiya Numata was criticised by Yamakan for going way overboard on the number of drawings used in that episode (it was more than twice the show's average number of drawings), but the result was really great.
You said some of the animation was removed from the DVD release. Could you explain what you mean by that? It's the first I've heard of it.
Curious to hear people's thoughts on the fight sequence from Dragon Crisis 6. I haven't seen the rest of the episode, so it's hard to say whether it's Hiroshi Tomioka or not.
Bleach had some excellent animation this month (from episode 309).
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Anonymous2011-03-02 5:38
>>364
As awesome as Bleach 309 was, I still hoped Shingo Ogiso would have had at least one or two cuts that would have made the whole thing even better.
If any animator is missing in the list, please mention it, so "Ben"from Anipages could probably edit the list.
Currently,
1st, SHINYA OHIRA
2nd, MITSUO ISO
3rd, Yoshinori Kanada
Maybe the results would change if some people here would vote too,
I personally would give Hiroyuki Okiura the 1st place.
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Anonymous2011-03-02 8:24
Wow, those are a hell of a lot of names. Could people with no account vote there? It would be too much of a hassle for me to make one...
I would give Satoru Utsunomiya first place.
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Anonymous2011-03-02 12:04
There's a few art books from C79 was scanned and posted in the No Pan Night Thread.
One of them is a genga books of Panty&Stocking.
It's great but is missing many interesting cuts because it's just a book by a group of animators, I guess.
I had the same question. Probably not, I guess I really need to register...
Makiko Futaki needs more points.
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Anonymous2011-03-02 12:39
>>369
Well, the Redline book was kinda like that, but it still looks really good. I want to see the flipbook Ohira put out at C79, but it's apparently rare as all fuck.
Definitely. Her cuts in Princess Mononoke were great. From what few Ghibli films I've watched, I've got to say she and Tanaka are two of the best people they have.
Same here, I just did the voting and after some minutes....
"0 Votes",
But I see that Ben already mentioned that there was a problem
>> Major fail time.
As I was trying to add Inoue Ei to the list, apparently it reset the voting, and does so every time I try to add a name. So everyone will have to vote again. <<
WHO IS EI INOUE?!
And already has one vote!?
Is there a Ei Inoue sakuga somewhere on youtube, can't find anything?
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Anonymous2011-03-02 14:05
>>382
I don't think Ei Inoue has a MAD on youtube, but he's one of the better regular animators over at IG. He's part of the staff of Okiura's new movie Momo.
I know little about his work, but he was also involved in Oshii's Innocence, where he was part of the climactic sequence together with Utsunomiya, Ohira, and Okiura to name a few.
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Anonymous2011-03-02 16:23
>>369
Do you have a link to that thread or the other art books?
>>390
I think so. Miwa is part of the group, after all.
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Anonymous2011-03-03 13:25
>>392
Yea, Miwa probably did the original character-design of the Supercell MV.
But I think some while ago, Miwa himself told that the character design was polished by Mieko Hosoi, but I'm not sure if Hosoi was part of this project.
It depends on their production method for the MV, really--which I don't really know. I only know of Hosoi as being a collaborator with Ryosuke Nakamura for his anime, so I don't really know her that well too.
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Anonymous2011-03-03 14:23
>>393
Oh yeah, just confirmed it. The MV was designed and animated by Mieko Hosoi indeed.
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Anonymous2011-03-03 16:18
I'm probably alone in this, but I hate R. Nakamura's over-saturated, over-filtered, blinding-bloom'd, with CG-motion-blur outta-the-ass style. It really doesn't fit such 2D characters. IG made it work in Innocence because Nishio's character designs are very 3D and have a genuine sense of depth, but it looks cheap and very artificial in Nakamura's stuff; as it did in Rebuild of Eva and Kara no Kyoukai.
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Anonymous2011-03-03 16:57
>>393
I don't think you are alone at this point.
I'm not hating it but it's a very interesting pint of view, to mix this styles in a high contrast together.
Really? I think it's pretty obvious what I'm talking about. You know, the scenes in which you can't see shit after someone fires a beam and stuff like that. I really don't like that kind of completely overdone post-processing.
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Anonymous2011-03-04 11:58
Takashi Hashimoto's glorious FX work in Rebuild more than made up for those problems, in my view anyway.
>I also got an explanation about the big blow-up during Gurren Lagann production in which Takami Akai stepped down from his position Gainax.
>Hiromi explained, “…the fans were upset at the quality of animation, but it was completely intentional on the part of Imaishi (series director). He wanted to parody the common occurance, in many productions of the past, to have huge dips in quality during the course of a shows tv production.” That is a great tidbit to know!
>I assumed it had to be intentional, because a studio like Gainax could have easily executed Episode 4 just as the rest.
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Anonymous2011-03-04 13:11
>fans were upset at the quality of animation, but it was completely intentional on the part of Imaishi (series director). He wanted to parody the common occurance, in many productions of the past, to have huge dips in quality during the course of a shows tv production
I think people already would have known what to expect when they saw Osamu Kobayashi listed as episode director. He was a great choice to achieve that effect.
It looks so much better in the original genga it isn't even funny, though. To me, pretty much all of Rebuild looks better in the "Groundwork" than in the movie itself.
Anyway, I saw Gundam Unicorn episode 3 today. The animation was glorious as always. So much attention to detail. Though I noticed they used the CG model of the main Gundam alot more often this time around.
Even so, the character animation was really nice, so much detail, yet the characters almost have that, dare I say it, "Disney" feel where they are constantly moving frame to frame. Though they still use still shots in several scenes.
Does anyone know who is in charge of animation for Unicorn?
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Anonymous2011-03-10 5:15
>>409
>Though I noticed they used the CG model of the main Gundam alot more often this time around.
Its probably because they need some extra time to animate episode 4. Some info i've found in mechatalk:
On Episode 4's challenge:
-Up until ep3, MS's vernier's and beam effect，shadowing and such small details are basically establish. But since ep4 is on earth, the method made for space is no longer usable. Land with bright background and cityscape has now become the battlefield. The appearance of beam and MS's shadows has to be changed completely.
-Shambloo was originally decided to be animated partially with CG (for the sense of size), but it turned out it's mostly animated by hand. The CG became part of the animation.
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Anonymous2011-03-10 6:02
A bit off-topic but I just watched Tangled and I'm really impressed in the animation of the film.
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Anonymous2011-03-10 6:09
The modern yet visibly retro updating of sorts of Yasuhiko's designs is great. Just one part of the reasons I like UC so much.
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Anonymous2011-03-10 10:50
I'm a bit surprised that nobody has yet mentioned Fractale 7.
The city setting was designed by Makihara Ryoutarou, who was also the director and storyboarder of the episode. The city had quite some Kaiba vibes, which was also probably partly due to Itou Nobutake being the AD of the episode. The final sequence where the virtual life gets eradicated was very impressive. I guess that was animated by Miyazawa Yasunori?
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Anonymous2011-03-10 11:57
>>413
I didn't think so much of Kaiba but the faces of the non main character looked like Tatami characters in some shots
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Anonymous2011-03-10 13:08
>>413
The final short FX cut (Nessa going berserk) was animated by Miyazawa, yes. I only caught the very first cut as definitively Miyazawa, though, since the rest looked like it was done in CG.
Fractale 7 was a mini-Yuasa show, since not a few of the staff involved also worked on Yuasa's Madhouse series. Ito of course being one of Yuasa's main collaborators.
Also, who from GAiNAX is working in 『Ｃ』? Is Mebae working at GAiNAX? Because I remembered the /a/ thread about GAiNAX moving to his new studio, and in one of their drawings on the walls I spotted this; http://green-oval.net/cgi-board.pl/a/thread/45038474#p45038600
And I think this was before the character designs reveal. So, maybe the typical contract work between studios? An episode made by GAiNAX? Or simply some GAiNAX key animator involved? Anyone knows?
>>416
I don't think mebae or any of the C staff is working at Gainax (though Takashi Hashimoto is part of Rebuild). But some of their guys should appear on some episodes of C, since it's supposed to have its fair share of action.
Even Takeshi Honda apparently appeared on Trapeze, so it's not impossible.
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Anonymous2011-03-10 15:48
>>416
Mebae is working at picograph, the studio that produced Tailenders. Though he's mostly known for freelance illustration/manga work and of course as pixiv artist.
Tatsunoko doesn't have any major business with Gainax, so it's doubtful Gainax will assist with any episode. I'd rather expect they will ship out animation to Wombat/Mark as those are their major subcontractors and some korean studios. As for single Gainax animators appearing to do some major sequences, anything is possible.
I'm more concerned about the priority of the project, Tatsunoko didn't do much animation work the recent years and now three TV shows in one season, one of them being a SJ title, and there's still the OVAs they are doing on the side. A bit worrisome.
Hey, >>416 here! Well, didn't Production I.G. acquired recently an important stake of Tatsunoko Pro? Also, they said the I.G President and CEO Mitsuhisa Ishikawa will serve as a part-time director for Tatsunoko as part of the operation.
Maybe this new money influx and more determined direction grants Tatsunoko the possibility of making more projects with ease.
Assistant Chief Animator TAKESHI ITO , EIKO SAITOU
Animation Checker FUJIKA ENOMOTO
Color Designer TATSUE OZEKI
Art Director(Movie Part) TASASHI KUDOU (Stage Part) KAZUHIRO KINOSHITA
CG Director&Editor TAKAYA MIZUTANI
Edit Support JEY-FILM
Special Thanks T2-STUDIO , KENTAROU TAKAHASHI
Produced By O.L.M , TEAM KANDA
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Anonymous2011-03-11 0:32
All of Madoka 10
That is all.
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Anonymous2011-03-11 6:18
>>419
Kenji Nakamura's anime rely more on art presentation rather than actual animation anyway, so I'm not that worried. C is supposed to have more action though, but they should get enough reliable people on board.
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Anonymous2011-03-11 9:03
>>426
Some of it? Sure. All of it? Not really. Most of the episode wasn't that great, animation-wise.
Yeah, there was some very good cuts, but for the most part it was the same rough, uncleaned animation from the rest of the series. Well, they'll take their time to improve this mess for the disc release, as usual.
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Anonymous2011-03-11 22:55
Episode 8 of Fractale has good amount of interesting animation.
Really love the effect animation in this episode.
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Anonymous2011-03-11 23:16
Any news on missing Key animator, director, etc?
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Anonymous2011-03-11 23:24
Anyone see that sakuga sucks thread that was started....by me
Sakuga can represent so many different things, as many as the human imagination could grasp, so... Do you hate the opinion of every human being? All that hopes and dreams that support ourselves, do you think they aren't worth your time?
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Anonymous2011-03-15 19:58
Also, I know you are trolling the entire BBS, but I just wanted an excuse to express myself in this pedant and ridiculous way, yeah!
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Anonymous2011-03-15 20:58
guys just ignore these kind of stuff, even the troll knows that he likes sakuga deep in his heart XD
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Anonymous2011-03-16 10:32
>>437
New chart says the first episode already aired on the 5th, but I haven't found anything yet. I was thinking it was going to be aired on the summer, until I saw the spring chart.
Looking forward to Sueyoshi's segment.
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Kenshin, Himmura2011-03-16 19:05
I tried watching sakuga.got to about the fifth episode then proceded to throw the discs out the window . Sakuga Fails.ew
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Anonymous2011-03-16 23:08
I'm surprised at how many sakuga scenes are in Dragon Crisis. There's almost one good cut every episode...which says a lot. Too bad its wasted on a show like that...
on the bright side, Urobuchi said that Shaft would be taking advantage of the delayed tv broadcasts to fix up the animation
>>444
Masashi Ishihama brought some good people on board DC, but yeah, they're wasted on that show.
Come to think of it, Ishihama not being in charge of the DC OP/ED should have told me something...
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Anonymous2011-03-17 11:24
Just looking at the sakuga of 2010 & 2011, sakuga geberally is getting kind of week, compared to the 90's until 2007.
Maybe it's because the skilled old animators now just work for movies and the new animators are developing right now. Probably we will see some really nice sakuga by young animators in 2015.
>>447
The skilled animators are scattered to every which direction in the industry, which makes most anime kind of inconsistent in terms of quality. When they are all assembled on a single project, then that's where they can show their stuff. Yes, those are mostly in movies, but there are TV shows/OVAs like that too.
There are also groups of up-and-coming talents coming out yearly, so give or take a few years, they'll be able to take over the scene in the future. The problem, in my opinion, is that there are hardly any opportunities for the skilled people to work together on projects, rather than flying around different projects every time.
Well, those sakuga videos of 2010-2011 are kind of misleading as they don't feature movies. If Arietty, Redline, Mai Mai Miracle amd Welcome to the Space Show were included, it would be a very different scene. We also got five consistently sakuga-tastic shows these past 3-4 years: Xam'd, Kaiba, Casshern Sins, Panty & Stocking and Tatami Galaxy. Not to mention K-ON!(!), as much as sakugafags keep fighting over the sakuga-tastic status of that show.
>>443
I know that you are a troll, but I just find it funny that you think "Sakuga" is an anime series that has episodes.
>>450
Hits the nail on the head, the amount of TV shows that are getting a lot of movie level animation is amazing.
And you have to take into account the changes in animation practices. If you watched the documentary on how the Kanon anime was made at KyoAni, during the drawing process, one of the guys explains the type of paper they use has changed. The paper they use nowadays is what as used back in the day for movies only.
The drawing paper is much larger, due to everything needing to be in widescreen and HD.
Is he a young animator? That last scene looks like a gif animation or a fan animation to me.
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Anonymous2011-03-20 8:38
>>454
Born in 1984. The last scene is from a short which he did for Gyao's Animator Lives series in July 2007. He started as gif animator. From his anidb page: http://anidb.net/cr6022
Just discovered a scan of Kiyal's Magical Doujin.
Surprisingly, it turns out to be a really detailed groundwork book for a short-3-minutes anime in Gurren Lagann Parallel Work 2.
Seems like there are same kind of book for The Sense of Wonder and Kittan Zero as well but I can't find the scans anywhere.
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Anonymous2011-03-20 13:16
I wouldn't count Kouichi Kikuta, Ryo-Chimo, Shingo Yamashita &.. as young anmators anymore.
There are many undiscovered young animators in studios between the age of 18-20 with very high skills, mostly in FX but still some of them have more skills that Kikuta, they only need more experience.
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Anonymous2011-03-20 13:49
Animators around ~25-30 ARE still young. An 18-year old something who only just finished high-school is completely unusable as key animator for studios. He may have some artistic drawing skill but he lacks experience, proper tutoring, can't do proper layouts nor is he able to produce results in an actual working environment. A key animator should be able to drawn any kind of animation from any kind of pov and make it polished on top of that. You know, there's a reason why pretty much all professional animators have gone through animation courses at trade schools, studio training schools and/or art colleges before even allowed to draw inbetweens at a real studio.
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Anonymous2011-03-20 14:47
>>458
Hiroyuki Kitakubo started his professional career when he was just 15 years old, but his case seems like the very rare exception rather than the rule.
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Nonoriri2011-03-20 17:23
>>456
Nobody has scanned either of those, and we'll probably never see any done. :(
Really like your blog content the way you put up the things…I’ve read the topic with great interest and definitely will stick your blog routinely for other great posts.
That's not true that 18 years old animators at studios are not as good as older animators. AGE DOESN'T MATTER ANYMORE, OLD ANIMATOR DOESNT MEAN MORE EXPERIENCE ANYMORE, it's not the 90's here.
The FX Animation director of the new .hack//Quantum anime is 18 years old.
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Anonymous2011-03-21 6:08
>>461
I LOVE YOU TROLL, PLEASE MARRY MY FRIENDS EX GIRLFRIEND and PLEASE TROLL MORE ABOUT SHIT. THANK YOU VERY MUCH! TROLLS WE ALL LOVE YOU!!! THANKS THANKS THANKS!!!!!
Disagree, although you will find some exceptionally skilled younger animators, there is absolutely no replacement for pencil mileage, experience, and sheer drawing repetition that older senior key animators have accumulated over decades. Better knowledge, better solutions, better fundamentals, and most likely more efficient.
Some of the best animators in Japan started out by working in FX, or if not, they've at least dabbled in it. Younger guys being in charge of that job shouldn't be that uncommon.
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Anonymous2011-03-21 12:04
Lolz at that psychotic rant about my trolling efforts. still I stand by my opinion. Sakuga in all forms is pointlessly idiotic.
"Just discovered a scan of Kiyal's Magical Doujin."
Could you share a link? I've been looking out for that for some time now.
Shame to see spam accumulating here. Has anyone emailed moot about getting a janitor or mod for the discussion boards?
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Anonymous2011-03-22 2:47
As for the age debate, I definitely agree with, >>458
25-30 is still a young animator. However, the kind of experience and seniority you're talking about is more for animation direction than simply key animators. You don't have to be all that experienced to do key animation for a TV-anime, as long as you're talented and productive, because the more experienced animators are there to correct the drawings and in-betweeners are there to clean.
Translation:
A rough T/l of it. I know I got a few things wrong. But interesting insight none the less.
Obari Masami - Probably Japan's Number 1 mecha animator.
Yamane Masahiro - Master of the 90s Yuusha anime series. Obari's partner, just as famous.
Kabashima Yousuke - Calls himself "The Final Obarism" - Draws good Mecha and Chara.
Yoshida Tooru - Big animator at Studio "Anime R" - An old animator who shows off many styles.
Yuichi Nakazawa - Another big ani at Anime R - mainly does Mecha AD.
Kusumegi Shinya - Big Sunrise animator, worked on Gundam 00 series.
Iwaki Kouji - Another big ani at Sunrise, manly does Mecha AD.
Abe Munetaka - Famous for working on the Japanese made Transformer series.
Shigeta Satoshi - Famous for Dendoh and Gundam SEED Mecha AD. His scene in ep 7 was great. /TL: It was the Gespy Kick
Suzuki Fujio - Well known for the Getter Robo OVA series. He handled all 120 cuts in the Beowulf fight in ep one.
Nishii Masanori - Gundam 00 Mecha AD w/ Long time Friendship with Obari.
Mutaguchi Hiroki - Recently became famous with Gurren Lagann. Was in charge of Daizengar's Single Sword Strike.
Otsuka Ken - In charge of Gaiking LODM, in charge of Grungust Sanshiki in ep 15. Working hard on Star Driver at the moment.
Nakatani Seiichi - Regular on GaoGaiGar and many others, worked on Daizengar in ep 15.
Saito Yoshinari - Obari style Animator - famous for Belka Style Animation. /TL Something to do with Nanoha's QUALITY on TV airing vs DVD fixes
Akira Amemiya - Gainax Animator who specialises in Obari style animation.
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Anonymous2011-03-24 21:50
Can anyone give a list of the recent well-animated Naruto episodes? I know the recent episode 204, with Yamashita as AD and SB, is a good one, but is there anything else worthy of note?
SAKUGA is animation, wich would mean that animation sucks.
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Anonymous2011-03-27 13:44
Its a shame the thread's getting spammed by idiots, it was fun while it lasted. I guess setting up camp here was a little bit of a foolish choice considering this is pretty much the wastelands of /a/.
I wonder if we can jump ship to some other place?
Would some form of message board or the wiki would be a better place?
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Anonymous2011-03-27 21:10
somebody created a sakuga wiki but that never took off
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Anonymous2011-03-28 3:08
Wiki would be nice, but since I'm a retard when it comes to that, I think I would prefer a message board.
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Anonymous2011-03-28 20:07
looks like the JP blog guy translated some of our thread again.
I wonder what their comments are saying. Too bad I still can't read moon for the life of me.
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Anonymous2011-03-29 13:50
Mostly stuff like "Oh my god, how do they know so much about how our anime is made, even I don't know this stuff"
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Anonymous2011-03-29 15:48
Oh really? Wow, I would have thought they'd make fun of us saying "baka gaijin pretending to know shit" or something like that.
That's pretty cool.
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Anonymous2011-03-29 15:48
Oh really? Wow, I would have thought they'd make fun of us saying "baka gaijin pretending to know shit" or something like that.
That's pretty cool.
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Anonymous2011-03-29 23:04
So its official. Sakuga is trash. Someone should delete this thread forever. S-A-K-U-G-A S-U-C-K-S <-this
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Kyle boas2011-03-29 23:22
I use to love sakuga so I traveled to japan to become otaku. I walked up to some japanese dude and said "what do you this cool inuyasha tshirt dude?" And he then called me a "bakka" and walked of like he was pissed off. Last time I go to that damn shitty country. Even japanese fools dislike sakuga
Is Ojiisan no Lamp that anime directed by Kazuchika Kise?
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Anonymous2011-03-31 12:30
Why no one here mentions You Are Umasou? I think its animation is terrific. Is it true that Ajia-Do only uses its own key animators and not freelance ones? Keeping all that work in-house (except for some secondary contract work) for such a good movie is mighty impressive.
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Anonymous2011-03-31 13:22
>>521
I watched a few episodes of the TV series, and I thought it was quirky and cute. I haven't watched the movie, though.
Hmmm, I only know Masaaki Yuasa debuted on Ajia-Do, but nothing else. I would think they'd only use few animators on their projects, though, since they strike me as the ultimate "limited" animation studio along with Shin-Ei.
>>521 here. Yeah, this is why I mentioned it. I've seen the movie today and it is really good. It has that A-Pro charisma that also shares with some of the Shin-Ei Doga works, after all Ajia-Do and Shin-Ei are like brothers, no?
>>521 here. Some related information from Ben of AniPages Daily:
"Shin-Ei lost a number of other key players from the A Production era at this time. Yoshifumi Kondo, one of the studio's star animators, left with Otsuka to help on Conan, but also wound up never coming back. Osamu Kobayashi and Tsutomu Shibayama, the two figures who helped to create what became known as the A Pro style through their innovative work on shows like Dokonjo Gaeru and Ganso Tensai Bakabon, left in 1978 to form their own studio, Ajia-Do. In addition to the above-mentioned Nippon Animation shows, Shin-Ei had also subcontracted some work on Group Tac's Manga Nihon Mukashibanashi, and Ajia-Do is the collective pen-name under which Shibayama and Kobayashi had been credited for their work on the show, hence the new studio's name. Both would, however, continue to be intimately tied to Shin-Ei. Other animators who left with them to join Ajia-Do included Michishiro Yamada, Hideo Kawauchi and Yumiko Suda."
So, it is something like this; A-Pro > Shin-Ei Doga > Ajia-Do. And since then, the last two have collaborated regularly. Pretty cool, eh?
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Anonymous2011-04-01 9:23
>>527
Oh, wow, thanks for that. Ben's post on A Pro's history is just incredible. It's pretty cool for splinter studios to still work with their parent companies every once in a while.
Like how Kusube continued to work with Toei even after leaving, and working for TMS.
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Anonymous2011-04-01 10:17
That's how the industry works, often staff members just stay in touch.
Xebec was founded from Production IG members. Both have done joint anime productions in the past and right now. Nadesico movie was a joint. Break Blade is a joint.
Bones was founded from Sunrise. Cowboy Bebop movie was a joint.
Gonzo was founded off some Gainax members. Both have helped one another out in the past.
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Anonymous2011-04-01 11:31
That's true. Of the three examples listed, it seems Bones is the only considerably successful one. They retained the original 90s Sunrise flavor in their works, which is nice. Great production quality too.
Manglobe is like that, only with a higher "cool" factor, but it seems they're stuck in a rut of adapting uninteresting manga/LNs at the moment.
Kouno Sachiko is interesting as she is SRW's main character designer for the video games. Mostly likely got roped into doing a bit of animation almost 20 years after she retired to do Character Design and Artwork. Her last work was on Gundam 0083 OVA.
Another surprise is work from Mecha Designer Katoki Hajime, again, this is probably the first anime he's actually done animation drawings, his debut being in episode 8.
If anyone can spot any interesting names in the genga credits feel free to post about it as I'd really like to know.
>>552
I've watched Telecom's Ojisan no Lamp and found it surprisingly layered. I'm planning to watch Mitsuru Hongo/Yuichiro Sueyoshi's work soon. Personally, I'm quite pumped for it.
The whole project looks good so far.
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Anonymous2011-04-04 7:19
>>552
I watched Kizuna Ichigeki.
It's quite good, IMO.
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Anonymous2011-04-04 11:29
>>552
Watched Kizuna Ichigeki as well. I enjoyed it alot.
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Marcel from quantom zone2011-04-04 22:36
Fuuuuuuuuuuuck sakuga. Its trash
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Anonymous2011-04-05 13:31
SAKUGA FANS ARE ALL DOUCHE BAGS<-This
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Anonymous2011-04-05 19:40
>>558
I have to ask.. why do you hate this thread so much?
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Anonymous2011-04-05 20:47
I'll tell you why I hate it. I used to be a Sakuga fan. You know, anime, manga, inuyasha. I liked all that shit. Then it all changed. I was posting in this thread. Then I got trolled. Now I hate sakuga as well as 4chan. That is why I troll.
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Anonymous2011-04-06 1:27
doesn't the 2nd yozakura quartet ova come out in 2 days? Its been ages since the last one. Hope it gets subbed fast
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Anonymous2011-04-06 8:39
>>560
That doesn't even make any sense, do you even know what Sakuga means or what we are even discussing here? We are not talking about any single anime. Sakuga is not the name of an anime or series or manga.
And what do you mean you got trolled by this thread? How?
Lol, trolled. And I know sakuga is Animation. All animation. Fact: I and most people hate sakuga.
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Anonymous2011-04-06 18:54
sakuga isn't animation actually. Nice try newfag, shouldn't you be whining about the lack of generals over at /a/?
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Anonymous2011-04-06 19:00
Lol, forumfag
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Anonymous2011-04-07 2:15
I have learned a lot from this thread.
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Anonymous2011-04-07 11:23
>>564
Then just ignore this thread. I hate piss, but I don't dip my head into a bucket of piss and scream "I HATE PISS". Because that is what you are doing right now.
At least we now know you are a 100% moron and retard. I will carry on ignoring you like we have for most of this thread.
>>570
Really, it's criminal that a guy as talented as Yasuhiro Aoki hasn't been given a big project yet. Even the Tourism Board of Tokyo knows how good he is.
the new Yozakura Quartet OAD is out (RAW of course). The animation was pure eye candy, unfortunately it ended at the best part and the final episode is due out in November
I'm sure nobody here follows Nichijou but it's been really fun so far. There is quite a bit of raw stuff that has a gif animation like feeling. Overall it really feels like the people at KyoAni are going to have fun with this show and try to go less for the usual polish.
>I'm sure nobody here follows Nichijou but it's been really fun so far
Judging from Nichijou threads, I'm pretty sure some people here is following this show.
Me, for one.
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Anonymous2011-04-11 7:53
Anyway, I'm quite surprised that I haven't seen Kigami credited in Nichijou yet.
He worked uncredited again?
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Anonymous2011-04-11 9:03
+1 for Nichijou
Looks to be a fun filled show from KyoAni.
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Anonymous2011-04-11 17:07
Nichijou is a mixed bag of total blandness and clever, interesting animation. I honestly liked K-ON better. Stuff like pretty much every single scene featuring loli scientist and clumsy robot is unbearably boring, both in writing and visuals. The episodes would be much better if they didn't have so much filler.
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Anonymous2011-04-12 3:06
There's this nice bit of animation in Tatsunoko's Sket Dance ep 1. The FX looks Tanaka-ish, or maybe even Hashimoto-ish, and the action itself is very zippy and fun to look at.
I wonder who did it.
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Anonymous2011-04-12 3:07
>>587
Takashi Hashimoto, of course, if anyone gets confused.
Speaking of Yamashita, does anyone has gifs from his website?
His website is closed, now.
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Anonymous2011-04-14 4:48
Anyone here seen Sin in the Rain? It's one 20min episode OVA, apparently more were to be produced, but the company quickly went bankrupt for some reason. I'd say it it's a show that made me pay more attention to artwork and animation in anime.
It's hard to find info as to who were the animators on the project, but it was directed by Haga Hitoshi, who previously worked as kay animator on Satoshi Kon's Pefect Blue and Millennium Actress.
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Anonymous2011-04-14 5:24
>>596
That's quite interesting. Was that produced in the 80s?
there have been rumors about another Hiroyuki Okiura sakuga MAD but I have no idea what the're gonna put in it.
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Anonymous2011-04-14 12:02
>>600
Ito's a pretty cool guy, though I only knew him in his cut on Stranger. His FX looks kinda similar to Takashi Hashimoto's who's also influenced by Iso, so that's very cool too.
Okiura hasn't done anything since Innocence, to my knowledge, since he started making Momo. Maybe they're going to splice another set of his 80s - 90s cuts.
[C]looks like Nakamura's gone even further, even if the style appears to have stepped back a bit. Better than what the trailer showed, at least.
Once the show comes into its own in about a week or two, then I expect the quality to rise. The high-profile animators should start trickling in by next week.
Also, does anyone know who did the really fucking awesome scenes in episode 317 of bleach?
See here: http://www.youtube.com/watch?v=zgrJbo3U-mU
It looks almost like a very good movie production.
Sometimes I wonder why we actually care about the animators so much, they really don't care much, if they would, they would do their own showreel, japanese animators are kind of different from americans. Americans are proud of their works, but the japanese ones are kind of just doing it because there is no other choice...well at most of the studios. I'm not talking about animators like Nishio or Ohira.
I wish people in japan would care more about their animators.
Animators are like slaves in japan....
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Anonymous2011-05-07 14:13
>>642
Animators aren't treated like superstars over there, but they still have an active fandom. Most of the high-profile animators we know today started out as mere fans of animation, too.
>>642
I'd say the situation isn't THAT bad, many of the popular directors of anime started out as mere animators, see Hideaki Anno as a great example. There is a situation and the animators are trying to do something about it, but as with many things that are tradition in Japan, changing the system for animators is going to be a tough challenge. A few studios like KyoAni & Gainax are going in the right direction by nurturing their young talent and giving them good pay, good work hours and interesting projects to work on. But yeah, there are many studios out there that still run on old models based on pre-digital era animation processes and many budgets are also very badly planned and so on.
>I wish people in japan would care more about their animators.
You say that, but how many actual American or European Aniamtors do you know off the top of your head? Unless you are into the American cartoon industry, you probably won't know much. Same applies here.
>>648
I don't know. It certainly picked up a lot towards the end of last season when a lot of shows were ending, but after that, everything lost steam.
not to mention there hasn't been much interesting animation to speak of lately. Not very many shows this season are sakuga heavy. X-men, Nichijou and maybe AnoHana/Hanasaku are the only shows with consistently intriguing animation, composition or direction.
Colorful is a title I've been really waiting for. It looks so much different than anything Hara Keiichi directed so far. And the animator list, although rather small for a feature film, is heavy on top names. Matsumoto Norio, Itou Nobutake, Makihara Ryoutarou, Sueyoshi Yuuichirou, Yamashita Hiroyuki (his first non-Naruto work for years?), Saitou Takuya, etc.
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Anonymous2011-05-13 2:58
>>656
Makihara and Sueyoshi are kinda expected, I guess, since it's a Hara film. And Ito came aboard because of the both of them? Norio Matsumoto is welcome everywhere. I'm just curious why Sunrise of all people tapped Hara for this movie.
Sakuga panel at a USA anime con - Surprisingly the people know their stuff and talk about the animation process and the history of it and how Japanese Animation went from Disney-like full motion 24 fps to what it is today.
I think Yoshimichi Kameda often produces a similar flow to his animation, and his best bits in FMA:B he did the in-betweens as well. But at times I think you see dabs of Kanada's style too.
Kameda is certainly one of the most fascinating new animators around at the moment. I await his part in the FMA movie with bated breath!
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Anonymous2011-05-26 9:34
I think with that panel and other blogs and twitter users around at the moment, we might start to see the sakuga have a boom among English speakers. There's an entry point now..
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Anonymous2011-05-26 13:17
The Katte ni Kaizou OVA should have some good bits of animation, can't say I ever thought about what a Shaft OVA might look like
I would like to think that too, but I have a feeling that the majority of people that watch anime care more about the voice actors, story/plot, source material, and character designs more than the actual animators and their work to bring all of that to life.
I'm generalizing, but I think most people just care about what's on the surface despite everything they see on screen being a direct result of an animator. The thought that people had to draw thousands and thousands of key frames and inbetweens to achieve what they see doesn't occur to them.
Anyway, for sure this panel and those blogs you mentioned will draw interest and shine light on the more technical side of production. I wouldn't call a boom though unless a huge number of viewers have an interest in actual animation/drawing and not just in the entertainment aspect of anime.
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Anonymous2011-05-26 21:28
Anybody knows which scene in Canaan animated by Yuu Kobayashi? I am one of her fan.
I think that panel was entertaining and well-presented enough that it might actually rouse interest on animation in people who hadn't yet thought about it. I hope so anyway.
It surprises me that the guys who didn't haven't stumbled across this thread yet. Shame really.
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Anonymous2011-05-29 1:34
>>694
Self proclaimed 'nostalgiafags' waging a holy war against 'moefags/shit' on the trolling fields of /a/ is far more entertaining I guess. Oh and can't forget that the anime industry is dying... etc etc.
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Anonymous2011-05-29 13:47
>>691
Could have used so many more better scenes...
>I think most people just care about what's on the surface
Animation is the MOST apparent aspect of animation. Story, plot, theme, direction and so much more are actually deeper. You don't have to be a fucking zomgexpert to realize people drew what you're watching. You do, however, need a brain to understand it beyond that; one of the problems with you animation fags, in my opinion. All you ever do amounts to nothing more than: "Wow, this looks nice" and name dropping.
Appreciating the fact someone labored over the key frames of you favorite anime doesn't take any effort.
>>700 >>705
Without shitting up this thread too much, all I can really offer you is this http://www.youtube.com/watch?v=85W561aadzs to maybe give a better explanation as to why animation is as important to themes, direction, and everything else you mentioned.
The fact that a lot of well made original animation projects are often lead by directors who are or once were skillful animators themselves says a lot about the importance of animation itself, despite being the most apparent aspect as you mentioned. Some examples: Satoshi Kon, Takeshi Koike, Miyazaki, Masaaki Yuasa, Hiroyuki Okiura, Koji Morimoto..etc. All of which are respected directors as well as respected animators responsible for many great films/shows that you may have enjoyed.
As far as I'm concerned, everything you listed as being 'deeper' and animation are one in the same. They are all important. It's just that skilled animation that makes storytelling great and the people responsible for it are perhaps overlooked more often than not. Yeah, we name drop a lot and look at cool stuff, but it's to credit those who are directly responsible for some great moments in anime.
>>707
Seems to be the same guys that did the short that was posted earlier "Little Big War" with the white blood cells personified and fighting off germs. They go by WolfSomke
Hopefully we see more form them, they definitely seem to be above amateur level.
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Anonymous2011-06-04 17:40
>>715
Some kind of promotion work, perhaps? Ikeda only ever worked as a key/animation director/char. designer.
>>729
So its just the industry term for Key Animator?
If I think about it, they call keys - Genga, so Gengaman is the man who draws the genga. Should have been obvious to me really now.
so does anyone know the story behind Gundoh Musashi? How did that anime ever get greenlit?
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Anonymous2011-06-11 21:40
>>732
I follow him daily, one of my favorite blogs =)
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Anonymous2011-06-11 22:19
>>732
Scroll up the thread, Washi joined this thread at ~300 posts and posts here sometimes.
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Washi2011-06-12 1:24
I haven't seen Dog Days 11 yet, but I noticed the credits have a separate listing for the "concert scene" which includes Yoshinori Kou. Should be good.
I thought some on this thread might find this useful. It's a Firefox extension that automatically replaces a list of strings with corresponding values which it reads from an xml file.
I started using this to read Japanese anime credits on websites such that the names of animator's I'm following appear in romanji.
I also uploaded a quick list of animators I threw together (focusing on the currently active ones). I'd appreciate any contributions to add to that list.
If anyone has a server they could through an xml file on to, we can also have it automatically read from that and put together a communal list.
Panty and Stocking with Garterbelt Datencity Paparazzi Scans
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Anonymous2011-06-21 14:44
>>750
Jesus Christ, what is MADHOUSE wasting its precious time on?
>hurr marvel and giant dogs
>no 20th Century Boys adaptation and Kon's last work
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Anonymous2011-06-21 16:48
>>753
>20th Century Boys adaptation
What? Why would you even want that? Can't you just appreciate the story in the medium it was originally created in?
>>753
I think they don't have enough in-house TV directors left that are talented enough to handle a 20th CB anime, and adapting a manga like that is no small undertaking to begin with.
I heard Dream Machine's production suddenly got stopped, which is disappointing. But I believe they're going to follow through with it sooner or later.
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Anonymous2011-06-22 15:10
>I heard Dream Machine's production suddenly got stopped,
I read that too. I hope its not true...
>>772 >>773
I don't see anything extraordinary in these.
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Anonymous2011-07-02 23:07
>>774
In hindsight, I have to agree with you on the Beelzebub ED that I posted. The show itself looks absolutely dreadful, so when the ED came up, it looked so much better comparitively that I guess I thought it was better than it actually was. Looking at it now, it's nice, but not all that impressive.
Some nice artwork to be included by Mandrake for c80, by Imaishi(P&S), Umakoshi(Casshern Sins) and Horiguchi (K-On)
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Anonymous2011-07-07 15:37
Nominations for best 1st episode of the new season?
Idolmaster looks strong.
Sacred Seven was quite good too.
Anyone seen Penguindrum, Kamisama Dolls or No.6 yet?
Still waiting on Gainax's Dantelion no Shoka.
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Anonymous2011-07-07 16:37
>boring slice-of-life show like Idolmaster has excellent animation
>unique and original show like Penguin Drum hasn't got a strong enough animation
FUCKING ANIME
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Anonymous2011-07-07 17:06
>>785
You should appriciate good animation regardless.
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Anonymous2011-07-07 20:14
>>786
I'm aware of that, but it's getting hard. There should be a balance of where the effort is put into. Anime has terrible management.
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Anonymous2011-07-07 20:30
>>787
Freelance animators/character designers/directors etc have minds of their own and can choose to participate in any productions that welcome their skillsets. This includes Idolmaster or any other project they're interested in contributing towards. They work extremely hard as it is and it would be a disservice for them to be forced to cater to any one genre or audience.
>>791
Are you blind? Let's take a look at the previous spring season.
HanaIro and AnoHana has excellent animation, while [C] and Deadman Wonderland are cripplingly bad animation-wise.
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Anonymous2011-07-08 7:11
[C] had a few stand out scenes. But a few scenes does not make a show.
>>788
Different Anon here. While I understand the hard work animators do, one show in particular that upset me was the show about magical girls under the sea, Umimonogatari? Or something. It had some really good talent working on it, but it just baffled me why they would work so hard on such a show.
>>795
This. Why shouldn't they work hard on that show? Just because it's not some well-articulated or well-conceived anime or whatever doesn't mean the animators could just slack off and not give any effort. Animation is still their job.
>>796
Part of working hard is appreciating the results. If what you produce is only ever consumed by the same ~1000 people who buy everything from that genre, then are they really working for what they want?
These are the sales results of Umimonogatari:
vol.01 *,999
vol.02 *,***
vol.03 *,***
vol.04 *,***
The last 3 didn't even sell enough to chart.. Just exactly who is going to remember all that good animation? Just who is going to appreciate it?
>>798
Yeah, we've known for a long time now that Animators get paid very badly in Japan.
>>799
So the animators could just slack off on their work because their show doesn't sell awfully well? I don't buy that.
You don't work in anime if you want to get rich. Most guys who are in the industry do it because they love the job, that's all.
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Anonymous2011-07-09 14:14
Idolmaster episode 1 was impressive; it felt like a fucking movie with the crazy amount of movement everywhere. Reminded me of Fractale's also movie-like-in-its-animation second episode... but much better directed and framed.
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Anonymous2011-07-09 17:00
Jesus Christ. This argument is stupid. Most of the people working in Idolmaster generally like working in cute girl anime. These aren't serious business guys that would be working in DEEP stuff if it wasn't for Idolmaster, these are guys like Goripon, Sato and Sushio, who is even a fucking self-admitted K-ON fan.
I'm sure we in the sakuga thread know better than to consider one QUALITY scene crippling.
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Anonymous2011-07-11 9:22
>>800
I don't hate the genre, I enjoy cute girl anime too. I'm not badmouthing Idolmaster either. Nishigori is an artist I like. But I will drop this point.
So, it looks like Hiramatsu is in ep 2 of Idolm@ster. He is animating not-Panty's modeling bit: http://blog-imgs-43.fc2.com/y/a/r/yaraon/11_20110712212210.jpg. Speaking of which, did anyone see the KA list for IM@S ep 1? It was filled to the brim with GainaxBros:
>>809
Adding to that Hiramatsu's cameo and Tsurumaki's episode, and I'll really be hard-pressed not to call this one a Gainax co-production or something.
Well, there was someone called Yui Muraji(村治 結) in the credits and he doesn't exist. People in 2ch just think it's an alias for Hiramatsu.
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Anonymous2011-07-17 11:19
>>815
I've never heard of Hiramatsu using a pen name before, or going wholly uncredited for that matter. If 2ch is right, then I wonder why he did it.
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Anonymous2011-07-17 16:57
>>816
Because Idolmaster is not a Gainax show? Who knows...
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Anonymous2011-07-17 18:34
Would anyone happen to have the K-ON sakuga available to mediafire upload or something? Bloody thing's been taken off youtube. Would be much appreciated.
>>819
Yep. I remember it being a pretty good round up of interesting scenes.
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Anonymous2011-07-18 12:10
>>817
Nah, even when he was working on outside productions, he hasn't used a pen name. Still, it is very interesting for him to use one now (if it's true).
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Anonymous2011-07-20 15:12
Its been 2 years since Yoshinori Kanada died.
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The OP2011-07-20 15:18
I was wondering, is it possible for anyone who sees a Sakuga thread on normal /a/ to post a link to the thread here? That way we can at least track discussions on /a/ via the archiver.
In relation to Japanese animation, what does "timing" mean? Like they say certain good and unique animators have different types of timings and others who use their styles will be said to have been using the "Itano timing" or the "Kanada timing" etc..
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Anonymous2011-07-22 23:05
I think it has the same meaning as "timing" in western animation.
Yoshinari You confirmed meandering at this year's comic-con hahahaha.
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Anonymous2011-07-24 22:30
>>834
No, I didn't post naruto video, just random sakuga mad videos and gifs.
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Anonymous2011-07-25 7:25
Would you play a 2D fighting game with characters representing famous key animator? Those characters will animated by them and have their style, and also have moves that will use their animation style the best.
Like character representing Itano will have the circus as its signature move and so on.
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Anonymous2011-07-25 9:43
>>835
Woah really? That guy loves Comics. Any source or pics for it?
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Anonymous2011-07-25 9:44
>>837
Would be fun, but I doubt it would appeal to anyone other than Sakuga Nerds.
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Anonymous2011-07-25 11:03
>>837
An Iso full-limited character would be nice, but I get the impression that it'll be hard to play.
Or an Anno-type with all the pink explosions and shit.
MADHOUSE is remaking HxH. inb4 no budget for a decent fight scene
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Anonymous2011-08-01 23:03
>>851
I can't wait to see "DR Movie" plastered over the credits lol
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Anonymous2011-08-01 23:10
After eating most of the calf I look at myself in the mirror. There is grease all over my face. And then I start to eat at random. I bite her little toe. It still smell of her feet. I stab the knife into her arch and see the red meat deep inside. I thrust my fingers inside and dig out the meat and put it in my mouth. It tastes okay. Then I stab the knife into her armpit. Ever since I saw it under her yellow sleeveless top I wondered how it would taste this good. The wonderful taste cheers me up and I devour her underarm up to the elbow.
Finally I cut off her private parts. When I touch the pubic hair it has a very bad smell. I bite her clit, but it won't come off, it just stretches. So I throw it in the frying pan and pop it in my mouth. I chew very carefully and swallow it. It is so sweet.
After I swallow it, I feel her in my body and get hot. I turn the body over and open her buttocks, revealing her anus. I scoop it out with my knife and try to put it in my mouth. It smells too much. I put it in the frying pan and throw it in my mouth. It still smells. I spit it out. I go into the next room. It smell of fat, like I've been frying a chicken.
It's been twenty-four hours now. Some huge flies hover and buzz in the bathroom. I try to chase them away, but they came back. They swarm on her face. They seem to tell me that I've lost her forever. It is no longer her. Where is she? She's gone far away. I've broken her. Like a child who breaks his toy. I try to use an electric knife to cut her body. It doesn't work. It just makes a loud sound. I use a hatchet. I strike several times. It's hard work. I strike her thigh. Her body jumps up. If she could feel, it would have hurt.
Finally the thigh separates from her body. I bite it again, like I would bite a chicken leg. Then I cut off her arms. It is even harder than the thigh. I use the electric knife again. It makes a shrill sound, like the sound of her shrill voice. It works this time. Her hand still wears a ring and a bracelet. When I see her long fingers I am driven by another impulse. I use her hand to masturbate. Her long fingers excite me.
When I'm finished I try to bite her finger. I can't. I'm disappointed. I put her hands into the plastic bag along with her legs. And then I see her face. It is still quiet. She has a small nose and a sweet lower lip. When she was alive I wanted to bite them. Now I can satisfy that desire. It's so easy to bite off her nose. As I chew the cartilage I can hear the noise. I use a knife to cut off more of the cartilage and put it in my mouth. It really doesn't taste very good. I scoop out her lower lip with my knife and put it in my mouth. It has hard skin. I decide to eat it later when I can fry it. So I put it in the refrigerator.
There is still so much more to see of it instead of two or three fragments of some random scenes in that teaser, although that lightning shadows cut hinted at some amazing animation...
>>864 >>865
I noticed irc was mentioned in that thread. Is this a private channel, and if not, would anybody here who hangs out in said channel mind sharing the name of it? Thanks.
No one else replied so I might as well provide a brief response.
Timing refers to the rate of drawings in the anime. Although it will always actually play at the same framerate, 24fps, the number of individual drawings in this second can vary. That's pretty obvious comparing a cut with a static shot of someone's face versus a fight sequence, but even within one movement of a fight scene the rate of unique frames can be varied to emphasise particular movements without having to animate the whole cut at a high 'framerate'.
Kanada was known for this, and was able to create really dynamic animation for television (with limited time and money). Imaishi is similar in the style of having cool and detail poses at pauses between much faster and lower framerate movements.
I'm not quite sure what's meant by Iso timing but in my own view it would be using a varying framerate to accentuate a more naturalistic movement, so that you haven't gone a full framerate which would exaggerate the motion, but you haven't cut it between poses either. The slower moments of his animation reflect gravity and natural movement.
Having read that, watch some MADs of these guys and see if you can understand what I'm saying.
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Anonymous2011-08-08 11:22
>>870
I can't say I understand Iso's unique way of timing that well, but I'm of the impression that his "full-limited" style means inserting a limited number of drawings in the space of a framerate done in 3s, or something like that.
It's easy to see when you're watching one of his scenes done in that format, but it's quite mind-boggling to explain, at least to me anyway.
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Anonymous2011-08-08 11:30
>>872
I think the guys on the Sakuga panel explained it quite well. Go find the Iso video and it'll become clearer.
>>882
Very nice, but not my kind of animation, seems quite jarring in places when you see its clearly been based off a human performance - I won't say rotoscoped, but they definitely had real people dance this out and the animators based it off that. Then you have the anime-like movements like the hair which are flipping all over the place.
That and the background seems to flowing at a much different framerate than what seems to be going on. Impressive but flawed.
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Anonymous2011-08-12 20:55
Has anyone been keeping up with the new Gainax show? From what I can tell, most of Gainax's best are working on that show in between some of their newer talent.
I honestly don't find it particularly jarring at all, myself. I think they improved on the game performance by making the movements more weighty and life-like.
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Anonymous2011-08-12 23:03
>>889
IIRC, they used motion capture technology in the game.
It's amazing a hand-drawn animation can look more life-like than the real human movement.
>>887
>background seems to flowing at a much different framerate than what seems to be going on
What do you mean?
The background is on 1s and the character animation is constantly on 2s.
I see nothing wrong here.
The problem with the animation in the game is that the hair and the clothing are too static and extremely unnatural.
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Anonymous2011-08-13 11:37
>>890
>The background is on 1s and the character animation is constantly on 2s.
That's why it looks jarring. Its not BAD animation, no I'm not saying that, but there is definitely something at the back of my head saying "there's something off here" - As for life like.. real hair doesn't flop about like that.
Maybe Anonymous has a mental sickness that makes combining different framerates look jarring to him and now you're making him feel bad for something he can't control. Poor Anonymous.
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Anonymous2011-08-13 17:13
>>898
Hardy har har. No need to mock my intelligence dear anon. Or would you rather we go down the typical 4chan fashion where we call each other names, say things about one another's sexuality and intelligence until all that's left is shit posting?
Moving on.
After seeing this >>889 I can now say it better. What it looks like they've done is used a CG background, used CG camera work and simply inserted the 2D drawn animation where 3DCGI models would have been.
Why it looks jarring is you have 2D animation trying to emulate the movement of a 3DCG model, the camera rotates, yet the 2D animation simply sits there on a 2D plane at a slightly lower framerate. The camera rotates to the right, yet the animation just moves slightly to the left, when you should be expecting the view point to move around the character.
Like I said, its not bad animation, the technical aspect and flow of movement is great. But it can easily be seen there is a clash of visual medium here, where the mix of 2D and 3D hasn't really been implemented well enough. They've tried to use 3D techniques on 2D animation. In 3D scene development, you're allowed to rotate the camera freely because of how 3D works, but with 2D animation, you're a lot more limited in how you can use the camera due to the limitations of the medium.
>Every anime does that.
Not always, some opt to draw the background/floor/walls in 2D as part of the cut.
>>901
I recognize Yoh Yoshinari, Imaishi and Hiromi Wakabayashi.
Who's the other 2?
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Anonymous2011-08-14 5:57
It's a Redline day.
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Anonymous2011-08-14 9:46
>>903
The guy behind Imaishi is Shigeto Koyama, I don't know who is the remaining ossan is, he does look familiar though. He must be someone who hangs in that circle if he came with them to comiket.
Actually, anime doesn't do that because it doesn't do that type of camera movement while the characters are in motion. Specially while the characters are FUCKING DANCING. I undertand your problems with it, but the type of movement and the shots/compositions they're doing for the entire scene are incredible/ambituous enough to make the slight awkwardness of the combination of CG/2D animation irrelevant.
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Anonymous2011-08-14 11:42
>>899
>when you should be expecting the view point to move around the character.
Err, what? The point of view is clearly moving around the character. That's what makes it so impressive. The character is moving while the actual point of view the character is drawn in is changing.
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Anonymous2011-08-14 13:06
So many good stuffs at C80.
I wish I can go to Japan ;_;
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Anonymous2011-08-14 16:37
Did anyone watch Animation Runner Kurumi?
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Anonymous2011-08-14 19:15
>>912
Some of it is damn expensive. like 40-60,000 yen for that Madoka works doujin on Yahoo Auctions.
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Anonymous2011-08-14 23:07
>>913
Yes, I did.
The first OVA is quite entertaining.
>>918
Forgot to put a space between the dash and the address, you know how to copy paste right?
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Anonymous2011-08-16 12:36
I have to say that I like the RedLine pilot better than the RedLine movie. The art-style is more stylish, the animation is more Kanada-ish and the overall direction and execution is a lot more dynamic and interesting. Not to say that the RedLine movie isn't amazing, it's just that I enjoyed the pilot more.
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Anonymous2011-08-16 12:45
>>920
I somewhat agree with this. The pilot had all those interesting moves with the "camera", everything just dazzled all over the place, and your eyes were "forced" to move with the flow of animation. It was way over the top, but in a good way.
The movie seemed more static to me. I know that I should'nt expect them to pull crazy animation stunts for a full hour and half, but still...
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Anonymous2011-08-16 13:33
Don't forget to buy REDLINE BD, guys.
The creator needs your help.
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Anonymous2011-08-16 14:44
The pilot is also very anime-like. Its got the Kanada flavour, which I have nothing against, but with just a few tweeks Koike managed to strip the characters of their obvious anime-ness and made them more mass appealing. Which is something they made sure to do according to the documentary.
But I wouldn't say the film is anyless dazzling, Koike and Ishii point out they made sure the movie was blazing and packed full of visuals that it overloaded your mind, and they still certainly managed that in the final product.
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Anonymous2011-08-16 14:45
>>922
I already watched it in the theatres purchased the BD Collector's edition.
I've been looking for an old Koike MAD that got removed from youtube ages ago. I've tried Nico and catsuka, and while catsuka seems to have the right video the song has been changed. The previous song went perfectly and I've been going mad trying to find it. The youtube info was;
Title : 小池健(takeshi koike)MAD
Description: 獣兵衛忍風帖、CCさくら、Aeon Flux、風まかせ 月影蘭はじめの一歩、PARTY7、VAMPIRE HUNTER D TRAVA、アニマトリックス、DEAD LEAVES サムライチャンプルー、スマアニメ、茶の味
Uploader: kusomaka
>>938
Nice! The guy's always got high quality work.
By the way, does anyone know which episode of Gurren Lagann this is from? http://twitpic.com/69nbm1/full
It says episode 21, yet I can't find it there.
I thought maybe it was from 22, when Simon puts the drill to Nia's face, but that is drawn completely differently.
It's from episode 22, right after they form the Arc GL. Also, key animation stuff for Gurren-Lagann after episode 16 is kinda fucked up because the recap episode wasn't originally in Gainax's plans and the animation they had already done for the second half of the show kept the original numbering. Hiramatsu's blog said that he did the storyboard for episode 25 instead of 26, for example.
>>946
Ah that makes sense, no wonder I couldn't find it.
Thanks for finding it!
I was just interested because Mutaguchi drew an Obari punch move into the show. But then again ep 22 has Otsuka Ken on storyboards and Akira Amemiya as Mecha Sakkan, who both channel the Obari style.
While trying to look for that cut in ep 23, I was shocked to see that when Simon gives Rossiu that epic punch; the punch scene by Hiramatsu in ep 23, featured the Obari punch movement in the middle of it.
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paeses2011-08-23 23:34
Hironori Tanaka Scene in Bleach 4th movie Hell Chapter http://youtu.be/jaTcMTik5NE
amazing as always he's a real genius
Hironori Tanaka also apparently worked uncredited on the new OP animation of Sacred Seven.
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paeses2011-08-24 11:38
>>952
he worked in the episodes 2,5 and op2
but also uncredited, and that's weird
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Anonymous2011-08-24 13:49
>>953
Yeah, it is kind of strange for him to work uncredited like that. I was actually confused when I first skimmed the OP credits for the new OP, since I couldn't find him there even though the style is a dead giveaway.
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paeses2011-08-24 17:37
>>954
yeah u r right, also i don't understand the reason of uncredited and why they don't want their names to appear in the credit
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Anonymous2011-08-24 18:30
Mardock Scramble came out today in Japan, it'll probably be subbed and out in a week or at least I hope. Its GoHands doing a feature film and its sci-fi noir so it should be good
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Anonymous2011-08-24 19:14
>>955
Sometimes animators are tied to studios or contracts, having their name show up on rival shows might get producers angry.
Sometimes animators are doing it for free as a favour to other animator friends.
>>949
Amazing to see what he can do with a movie budget, thats very nice.
>>956
I saw the film last year, its nicely animated, lots of nice action scenes. Art direction is also very good. Though the first film ends very abruptly during a critical scene. Its a moment when the main character is about to fight back and the film just ends. Left kinda a bad taste in my mouth. Lucky for me I got to see Redline next, so all was well.
Haven't you ever thought why YUTAKA NAKAMURA wasn't credited in BLACK ROCK SHOOTER? Because he is tied to a contract by Bones....he should only animate for bones, that's the plan, if not, he won't get any extra fees.....that with extra fee is just a rumor.
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mochi2011-08-25 9:05
>>957 very well explained.
interesting that you know about this
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Anonymous2011-08-25 10:49
Animators/directors either go uncredited or use pen names altogether. Mitsuo Iso went uncredited on FLCL, Mamoru Hosoda used a bunch of pen names when he worked on non-Toei shows. Norio Matsumoto has done that too, I think.
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Anonymous2011-08-25 13:20
日本語でも書き込めるかtest
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Anonymous2011-08-25 13:21
日本語も書き込めるようだから
ここ作スレ避難所として使うか
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paeses2011-08-25 16:01
>>957 >>959
So that the reason, i was wondering about Yutaka work in BRS since he's with BONES, I hate this it's a lose to make an animator work for one company
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Anonymous2011-08-25 20:06
>>960
I knew about animators being tied to studios > I just made a conclusion that if they appear not credited or using a false name on other shows, they must want to hide what they are doing for a reason, one reason could be because of their employers.
And I've heard many times of animators lending their friends a hand on shows and their work then going uncredited.
By the way, does anyone from the 2ch Sakuga thread still read our thread? I have a feeling some of the last few posters might be from there.. hmm.
>>965
>they must want to hide what they are doing for a reason, one reason could be because of their employers.
Hosoda used his pen names because of this, I think. He probably didn't want Toei to know he was doing work on the side.
One funny thing I heard about Norio Matsumoto is that he'd apparently refused to be credited on his own solo episode because he'd only managed to animated one half of it on his own. I think it was on his You're Under Arrest ep (#39).
>>972
Yeah he did and i didn't know about it
so i edit the info in the youtube
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paeses2011-08-28 2:26
I just finished watching Bleach 4th Movie, it was fantastic in terms of animation, there's alot of good animtors in the movie and Hironori Tanaka was amazing as always, To think of it Hironori Tanaka was credit as storyboard, could it be that he did the storyboarding for his own scene (i don't mean the Intro), cuz that scene was pure Tanaka Style
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Anonymous2011-08-28 2:31
>could it be that he did the storyboarding for his own scene
Idolm@ster upcoming staff is pretty solid. Episode 13 is probably going to be quite something with Nishigori doing the storyboard himself, but I'm looking forward to episode 12 because Sunao Chikaoka is an extremely talented young animator.
>>984
Well, if Michael Arias/Jamie Vickers can do it, then he can too. I think the guy's talented enough to make it. And he obviously loves the job a hell of a lot.
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Anonymous2011-08-29 14:37
holy crap raito kun is doing blog entries again, finally
I appreciate raito-kun, but I'll never understand his, or anyone's, hard-of for ufotable's halfassed, cheap-looking and poorly executed CG cinematography and art direction. For starters, what they're trying to do doesn't work with the type of stiff, flat characters they draw.
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Anonymous2011-08-29 14:45
>hard-on
Meant to type that.
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Anonymous2011-08-29 15:50
>>988
What the fuck is the matter with you? I swear, there are like two or three same guys on /a/ who always have to shit on threads rel event to ufotable.
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Anonymous2011-08-29 16:19
>>985
Those people (and Thomas Roman) are generally very well talented and tend to work with the big names. Bahi Jd is talented, but also very young and just starting out. I hope the very best for him though.
>>988
But it doesn't really look cheap, plus he was mostly talking about a single guy who has worked at Ufotable, amongst others.
It looks cheap because they try to use 3D effects on characters drawn with absolutely no depth or sense of volume; they're trying to do what IG did in Innocence or Sky Crawlers but with really flat character art that doesn't look good at all with all their 3D post-processing. It's campy as hell. Also, I'm talking about how in general raito-kun, and not only him but rather a big percentage of the American anime fandom, sucks ufotable's cock. I really don't get it. Their OPs for God Eater and Black Rock Shooter? They really don't appeal to me at all: poorly finished, totally flat character art and mostly stiff movement masked by ugly CG motion blur, oversaturated color filters and extremely cheesy editing effects. It's just everything I hate about modern anime in a single package. Not that I hate modern anime or anything of the sort, just to set the record straight: Wanwa is everything I love about modern anime in a single package: digital artists that work creatively and compliment already great 2D animation.
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Anonymous2011-08-29 16:40
>>991
There's also Christophe Ferreira and those guys at Ankama Japan. I also hope for the guy's success, if only because of his sheer enthusiasm for the work.
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Anonymous2011-08-29 18:36
what's this talk of Gainax finishing up production on Dantalian before it even aired? Or Yoshinari going to IG?
Is there a source for this?
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Anonymous2011-08-29 23:16
>what's this talk of Gainax finishing up production on Dantalian before it even aired? Or Yoshinari going to IG?
Some shows often have their production done well before it actually airs. Usually companies with good planning. Unlike say... Shaft.
As for Yoshinari leaving... there was a leaving party held for him a few months ago. His name, along with Imaishi and I think Sushio were taken off Gainax's staff webpage.
Actually, it's quite weird... specially for Gainax. Imaishi himself came out by saying that post-processing work for Gurren-Lagann's final episode was finished little less than a week before it aired.
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Anonymous2011-08-30 1:14
>>997
But I was wondering if there was any specific source that cites either Dantalian was finished before it started or Yoshinari working at IG now. Maybe something on Yoshinari's twitter or something?
Also I thought the norm was for a studio to be about 3-4 episodes ahead of schedule at most. Maybe I'm mistaken on this.
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Over 1000 Thread2011-08-30 1:14Over 1000
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