It barely has any animation but there's a neat cut.
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Anonymous2013-03-09 3:20
RDG: Not expecting any fancy animation, but I can trust P.A. Works to deliver slick visuals
Majestic Prince: Orange CGI could be good
Valvrave: Not sure who's doing the CGI but I'll watch to compare. Director might be able to pull some talent on board.
Gargania: Kameda confirmed. How can I say no to that?
Shingeki no Kyojin: Might have good action
Railgun S: Like others have mentioned, hoping for Nozomu Abe. I trust Nagai should be able to deliver.
Aku no Hana: Curious about the rotoscope. I think it should be an interesting experience.
Photo Kano: With Yokoyama directing maybe he'll rope in Tanaka for some animation.
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Anonymous2013-03-09 4:52
SSY 18 was horrible.
Arasan can go die in a fire. His shitty, choppy animation stood out like a sore thumb and ruined the whole scene. As should Ishihama for approving such a thing. He should never direct a series ever again. Let him stick to KA and AD.
I wasn't as invested in the series by that point. And the fact that it was a flashback made it more bearable, because that made for a a half-justification in the change of style. Now I understand how all the Naruto fans I used to laugh at felt during the Pain fight...
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Anonymous2013-03-09 5:54
>>166
I'm pretty open-minded when it comes to changes in animation/art styles, so I fine with Arasan's work so far. At the very least I like his work in SSY better than what he did in Star Driver.
Nothing to do with being "open minded". Animation is a form of storytelling. The animation should support the story. I have no problem with changes in style if they are used to enhance the narrative, or are justified by it. I also don't mind changes in style if the work establishes from the get-go that it does not care about such "conventions" (see MInd game). But when a cut is different simply because a certain animator was assigned to it, and nothing more, then we have a really big problem. It's incredibly jarring and it took me way out of the experience. As contrast, SSY went trough changes in style before, like in episode 10. That was good because it supported and enhanced the story in that episode.
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Anonymous2013-03-09 6:41
>>168
On the other side, seeing how production of SSY might be, it was probably a choice between Arasan or black screen.
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Anonymous2013-03-09 6:46
>>168
I agree that animation should be able to work with the narrative, that is certainly ideal. However, I'm also fine with a cut looking different just because some animator worked on it. Whenever I look at a well-animated cut, I appreciate it for its technical qualities first, then after that I consider its contribution to the narrative. Perhaps this is a shallow way to appreciate animation, but I'm the sort of person who is doesn't mind ignoring the context of a scene and enjoying the animation on its own.
Speaking of Arasan's work, perhaps it would've been less jarring to you if he toned down the explosions to look like his recent cuts in Sasami-san? >>120
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Anonymous2013-03-09 7:29
>>162 >>157 >>154
Valvrave has Suzuki Tatsuya as character designer.
As soneone who worked on Sacred Seven, he could bring in some cool sakuga moments.
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Anonymous2013-03-09 7:34
I thought Arasan's cut in episode 3 worked well with the narrative since it was a flashback and since in the show history is something hard to come by, offering this distorted and extreme vision of the past using Arasan's animation style was a good choice IMO.
>>173 Animation director TBA for Psycho-Pass finale
That's not a good sign, is it?
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Anonymous2013-03-09 9:59
http://vimeo.com/28792404
In the Cut, Part I: Shots in the Dark (Knight)
A (very) detailed look at the first part of a famous TDK car/truck chase sequence, analyzing how it is put together and whether the filmmaking grammar makes sense.
http://vimeo.com/28957441
In the Cut, Part II: A Dash of Salt
Another action sequence, emphasizing longer shots and deeper compositions to establish spatial relationships within the frame and between cuts.
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Not animation but probably something people here would like anyway.
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Anonymous2013-03-09 10:06
>>180
I think I remember watching that, though I can recall how I found those videos. Probably was linked on /tv/. I don't remember having any issues with TDK's direction, but I watched it years ago. TDKR's wasn't very good though.
The slow-fast-slow timing of anime is in service of doing as little animation as possible. You have a slow (ideally completely still) motion punctuated by a very fast (ideally with no inbetweens) motion and back to slow/still motion. This works maybe the first ten times you see it, or you know what, the first hundred times, but how many times can you see the exact same "magic trick" before it gets tedious and boring?
Lol the guys posting anime gifs in that thread seemed to be choosing shitty examples on purpose or something.
I'd dare the guys to bash Iso's scene on EoE or Yutapon's SOTS final scene.
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Anonymous2013-03-09 16:16
>>184
This comment is from >>188
I just posted it because I'm interested in hearing what you all think of that comment.
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Anonymous2013-03-09 17:13
>>193
I think the guy saying all that doesn't have enough exposure to Japanese animation. He's describing a single specific style and we all know that not every good animator (especially not the best) go with that type of impressionistic motion. In fact, those two Precure gifs were kind of shitty by themselves, I'm surprised the guy posting it didn't at least try with something better from HC #47.
I also disagree with the notion that just because that kind of cost-cutting exists it's bad or inherently tiring. Creative animators will make good uses of very few frames and the same technique of slow-fast-slow that won't get old.