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Spring Anime 2012 | Welcome Home, Space Cowboy

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Haly

One day I realized that sadness is just another word for not enough coffee.
Henceforth AnimeGAF shall be known as Anime;GAF.
 

Steroyd

Member
RIP Cajun penguin... I miss you already. ;_;

Toriko x One Piece part 2...wait part 2!?

*Readies barf bag*

*closes eyes*

*clicks play*

*opens eyes*

... it... was drawn properly, holy shit!

And
Zebra
was foreshadowed a bit more as well which is funny because this is the One Piece part of the hour.

Zetman - 02

And here I thought there was going to a bit more cat and mouse.
 
Animes;GAF.
Anime is already plural.
i6bENoxD7SrZU.jpg
 

Jex

Member
I think Shaft has really shitty management and get into very onerous contracts with production committees. Like, for Bakemono and Madoka, I'm sure Aniplex is rolling in the money but Shaft probably doesn't see a whole lot of that.

KyoAni, for some reason, has better relationships with their distributors.

Right, it's not exactly mysterious. GAINAX got into a lot of trouble with their Nadia contract, for example.
 

madp

The Light of El Cantare
Smile Precure 10:


So this was an Akane episode, and like Envelope said, it was pretty much a copy/paste of a plot from Heartcatch. Didn't stop it from being good, though, mostly thanks to Akane's Osaka tomboy spirit and some really incredible moments from Wolfrun.

The Akanbe fight was one of the best yet, with some spurts of great animation culminating in this positively Homer Simpson-esque Wolfrun expression:

wolfrun2g6ux1.gif


Unlike Heartcatch's "take over the restaurant for a day" episode, this episode had a surprisingly-depressing rendition of the Smile theme song played softly on some kind of wooden flute while a montage of Akane's struggles played. I wasn't expecting shots like this in my colorful, upbeat show:


But, of course, Akane makes it through fabulously.

akane-a3aoug0.gif


dat animation.
Honey, I Shrunk the Precure
is going to be friggin' amazing next week.
 

Jex

Member
But with CG cars you don't even need to draw it. You just place it in the scene at any angle you need. And at this point they probably don't even need to create the CG car, they already have it in their stock library.

Speaking of SHAFT...
And if they need to animate traffic, they can just copy paste the cars and apply different hues to the textures!

Truly the future of anime.

Except SHAFT doesn't even bother changing the hues
 

madp

The Light of El Cantare
It's still better than that fucking dancing Warcraft orc I've been constantly subjected to for months.
 

Ultimadrago

Member
I think it's time we took actual measures to stymie the Pony invasion.

Be careful men, we may have a war on our hands.

But some of them are my Nichijou Bros...

I will have to be Switzerland the one that wonders if carpet bombing deals with carpets in bombs for this one.

JW1Fm.jpg


Dammit MP, you indirectly cursed me!
 

Ultimadrago

Member

Ultimadrago

Member
Trolling?

You see, when a "shounenbro" reaches a certain level of "Shounen Spirit", their thoughts and opinions are of a status so bold and unapologetic in their preternatural (according to some of AnimeGaf) disposition that it is not uncommon for it to be teased as a type of "trolling."

ex. "Giving Guilty Crown a 10/10"
 

duckroll

Member
From my blissful ignorance I wonder; even then wouldn't it still be a role very dependent on previously established guidelines compared to their live-action counterpart? I mean, all the material has to be created beforehand, be it a composite with bi-dimensional elements or pure CGI three-dimensional environment to work with, so much of the scenes have to be devised on early stages for the director of photography to have enough material to finalize its work on. For it, having this person in question to contribute efficiently and early on its input and actively with the rest of the staff to avoid having to rework on specific parts, to achieve an intended result.

That leaves a necessary previous (and more obvious) consensus from said staff (directors, story-boarders, animation directors, etc.) on how the scene has to be tackled from the beginning, in a much more evident way than a equal live-action professional for a similar work (with real actors) would do. Seems like more restricted in general, with less freedom and inspiration. I think that what raito-kun says could hint more to a blurring of the lines between those specific staff positions because of the previous background the mentioned people have, that helps them to do it in that way.

I think what you say here is very true, and it has been something I have been pointing out for a while now. I feel that with a production like Fate/Zero it is a lot more of a team effort than something which can be easily distilled down to the responsibility of one person, which is why some people feel uncomfortable at calling it a sakuga anime.

For many of the scenes in the series which stand out a lot, you cannot really say that one particular person is responsible for the majority of the sequence like you can with animated scenes by Nakamura or Matsumoto. Instead it would be a mix of careful storyboarding and direction, in some cases possibly with consultation with the photography team, good modeling, animation, and effects for a CG element - like for example Berserker, and the final composite being able to put everything together well as originally planned.

Now, having said that, there is a very talented and relatively new animator at Ufotable who is directly responsible for the "action animation" of Berserker in particular. His name is Masayuki Kunihiro. He was responsible for planning the action animation for Berserker in episode 5, as well as the aerial action animation in episode 14. For ep14 he is actually credited as the Special Effects Director for the episode.

But can we consider this sakuga in the traditional sense? I do not believe so, because I feel this is similar to how Takeshi Koike was responsible for being the action animation design in the Gungrave videogame. They tapped on his experience as a traditional animator to help plan poses and keyframing for how the characters would move and attack, and used that to create the realtime 3D animation for the game.

In this case, Kunihiro clearly plans out the Berserker animation sequences in terms of how he would pose, move, and attack, as well as the missile circus motions and so on, but none of that reflected as actual animation frames in the end product. Another comparison would be Imaishi's involved in Black Rock Shooter, where he and Akira Amemiya both storyboarded and directed the CG sequences, which are then fully realized by the CG and photography team.

I think this new hybrid form of anime is pretty exciting, and while it is very different from how traditional anime is made, it is still something refreshing and new, and represents a new generation of visual artists.
 
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