#mitsuo iso

[canmom]

key animation mainly Mitsuo Iso [1, 2], who is also known for Asuka's battle against the mass production evas in End of Evangelion. literally some of the best robot animation gundam ever had.

[maludico]

Dennou Coil (2007)

Facinho um dos melhores animes que assisti. Com ótimos e peculiares personagens, equilibrado em ação, comédia e drama, enredo e narrativa cativantes e uma animação espetacular. Vale cada minuto.

[suohima]

Many prominent Gundam figures aren't who you might expect.

Tomino - Gundam creator straight up supported a right-wing anti-foreigner party https://x.com/erstatiz/status/1847291355573174274 Fukuda - Gundam Seed Director is openly racist https://x.com/strugglesm7m/status/1844900666319220835 Hiroyuki Kawasaki - Screenwriter for After War Gundam X twitter has a lot of anti-LGBT and just xenophobic stuff. https://x.com/pega_ace99/status/1846384399170109622 Yun Kouga - a Gundam 00 Character designer supported Sadamoto's racist and xenophobic anti-Korean tweets. https://x.com/TohsakaRinVIII/status/1846439451947339950

Mitsuo Iso - key animator for Gundam 0080, another anti-Korean and conspiracy theorist https://x.com/strugglesm7m/status/1844901921829814500 I feel I can keep posting them, but that thread is a wild coaster of revolting behaviour by big names.

[letsgo242]

Key Animation: Mitsuo Iso (磯光雄)

[paddysbooks]

Anime ‘Art Of’ Books

GIANT ROBO THE ANIMATION 30TH ANNIVERSARY BOOK

AKIRA TORIYAMA ILLUSTRATIONS - DRAGON BALL THE WORLD

100% YOSHIMICHI KAMEDA ARTWORKS

TOSHIAKI TAKAYAMA ART BOOK ILLUSION KORIN

YASUO ŌTSUKA MECHANICAL ARTWORKS

GROUND WORK OF GURREN LAGANN

R.O.D OFFICIAL ARCHIVE

MITSUO ISO ANIMATION WORKS VOL.2

NAUSICAÄ OF THE VALLEY OF THE WIND - HAYAO MIYAZAKI WATERCOLOR COLLECTION

______________________________________________________________

paddysbooks.bigcartel.com

paddysbookstoo.bigcartel.com

[hannahp0calypse]

@gamerlefay (making this a reblog 'cause I think this is useful info to put out there) Hey! You're not an idiot, don't worry - animation happens quite fast, and it can be hard to see the differences if you don't know what you're looking for. This video by @davidoneacre gives a pretty good quick rundown about animation on ones, twos, and threes (partic in 3d animation);

And to explain my own vid at the top of the post; I'm using the same animation, rendered at different frame intervals, to demonstrate the visual difference in animating on ones, twos, and threes (in this case; 24fps, 12fps, 6fps). Though, as a note, my own animation is an imperfect example due to my own limited experience and the fact that I'm using essentially a filter to increase the frame interval rather than manually keyframing.

The "mixed" segments are just that- mixed! Rather than using a consistent frame interval I've increased and lowered it relative to the motion and action being performed. So, for example, when Sybil readies a kick I increase the interval to threes, and when the impact of the kick occurs I decrease it to ones. In my opinion, this adds an additional weight and heft to the motion that a consistent frame interval wouldn't have.

I can't go past this without mentioning the work of Mitsuo Iso - you can see some examples of his animation work right here - who animated in a mixed interval style referred to as "Full Limited". Check his work out for some much stronger examples of the mixed frame interval stuff than what I can put together.

To hopefully help with understanding & parsing my vid, I've uploaded it to YouTube so you can watch it a bit bigger, slow it down, etc. I've also uploaded a pre-slowed-down cut of just the different interval demos on their own, so you can really see where i misaligned the smear frames get a good look at 'em. I'll put those below a readmore - hope this all helps you or anyone else confused!!

Also, wanted to use that pseudoregalia anim test to do a quick lil demo of Full Limited animation vs full and limited animations. I don't have the resources to do a full in-depth explanation so i hope this makes sense - I think it's a real interesting technique, and has a strong place in 3d as well as the 2d it came from

(funnily enough the original anim posted wasnt in full limited, i went and edited that in after i'd already posted it lmao)

[k00299539]

Movement Project Artist Research - Mitsuo Iso

Above: Trypophobia ass backdrop

Mitsuo Iso is a Japanese animator and director known for his work on popular series such as Gundam, Evangelion and Digimon, as well as for directing his original projects; Dennou Coil and The Orbital Children. Despite this impressive resume he is perhaps best known for his philosophy on animation, a style he innovated called "Full Limited Animation".

Virtually all animation is filmed at 24 frames a second. If I drew 24 frames of animation to convey one second of on-screen movement, this would be referred to as animating "on ones" and considered "Full Animation". Similarly 12 frames in a second is "on twos" (The standard in animation) and 8 "on threes", etc. When we consider how many seconds of animation go into even an short episode of television, we realise that's a lot of drawings.

Over the decades animators have come up with clever ways of cutting down the required number of drawings without losing that persistence of motion required for animation. Techniques such as reusing animation, holding on still shots, and animating on twos, threes or less being among them. These would be considered "Limited Animation". I feel obligated to mention here that more drawing do not equal better animation, and utilising these techniques is not an admission of inferior quality, but that's a bit beyond the scope of this blog post.

Generally though, all animation, whether on ones or twos or threes, is divided into keys and inbetweens (and breakdowns, etc. but that's another topic). Key's are the main action of a movement and inbetweens add life to that movement by filling in the blank space. Traditionally animator learned their craft by starting as inbetweeners. Since the keys have already been finished, the inbetweener essentially only has to follow instructions. Anyway, the whole point of this rambling prologue is that Mitsuo Iso chose to eschew inbetweens entirely, hence "Full Limited".

Iso made waves in the Japanese animation industry in 1989 with his work on Gundam 0080: War in the Pocket. He animated in such a way as to convey the fluid movement of full animation through a limited number of drawings. His work appeared alive, full of dense sophisticated motion. This apparently shocked his contemporaries such that photocopied version of his key frames were circulated throughout the industry.

Above: Tumblr will only allow me one video, so I chose what's often regarded as his most famous bit of work; the berserk Eva sequence.

As far as how Iso's style pertains to my project? Beyond being inspired by his resourcefulness and ingenuity, Iso is ultimately all about movement. Every decision he makes is in service of how his scenes move. I knew I'd be animating something for this project and I wanted to try to successfully replicate some of Iso's philosophy at least, even if his technique might still be beyond my grasp. I've also included a link below to more of his work.

[animeyoushouldknow]

ORBITAL CHILDREN

Directed by: Mitsuo Iso

Studio: Production +h

Released: February 11, 2022

Episode: 6

[karinta-agogobell-unified]

This sequence, if I’m not mistaken, was largely animated by Iso Mitsuo.

THE END OF EVANGELION

[nawowow]

The Orbital Children (2022)

Hi! Have you watched the Netflix original Japanese anime "The Orbital Children" yet? It's subtitled in English! It's the latest sci-fi anime from Mitsuo Iso the director of "Dennō Koiru"!

[derrickwildsun]

[saccharinescorpion]

i don’t recommend binging it lol, but this is great news!!

[danihelman-does-stuff]

Scattered thoughts about The Orbital Children

(i reccomend reading this after you watched the show / movies. i’m very non chalant about spoilers). 

A few days ago the first season (?) of orbital children came out. in short its the story of five kids and a nurse who get trapped in a space station, three visitors from earth and two who are native to the moon. and want to escape. it’s also the directorial return of anime legend mitsuo iso who only had a single directorial anime under his belt - the cult classic denn-o coil which came out fifteen years ago. 

i haven’t seen den-oh coil, but mitsuo iso is a name i’m familiar with- he’s one of the great sakuga animators that occasionally gets mentioned next to yutaka nakamura. i first heard his name in the iconic sakuga the anime panel up on youtube. 

the guy has a fantastic grasp of conveying weight in animation- my favorite example is this sequence he with asuka in end of evangelion. its funny then that his return to directing takes place in a space station- where gravity can fluctuate on a whim. 

Gravity has a key role in orbital children. it’s a tool that is both an advantage and a hazard to the kids. a lack of gravity invites comedy and lighthreatedness as much as it does a lack of control- a presence of it can bring safety as much as it does confinement. and adjusting to either situation brings unease. 

both situations provide for fun and engaging set pieces and the danger feels palpable but its all peppered with genuinely funny comedy which prevented it from getting too heavy. in many ways it reflects one of the big themes of the show- going out of your cradle but also the fact you can’t separate from it. 

this theme is also reflected by the protagonist Toya, a moonborn child who starts off despising the earth and his people but ends up growing out of it. his motivations come from many reasons like the prejudice he received but also the angst that comes with his age. in general this show portrays its kids in a way most anime don’t by showing how they exude self importance as a way to cope with their own insecurities and messes (Taiyou also exhibits this well) they all fit into archetypes we’ve seen before but their quirks help them stand out and have more dimension. for the most part. 

that one exception is clout chasing influencer mina. from start to finish her character exhibited the same persona - bubbly and energetic but also selfish and zealous. many traits that have gotten her into trouble from being the butt of the joke to causing major trouble for the group. the only useful action she took was showing the ai comet (I'll come back to it later) photos of toya being a prick as a part of a bigger action, but once you remember she took these actions for a very scummy reason she doesn’t grow from- it rings hollow. I'm all for female characters being flawed but in retrospect - she was more of a catalyst for troubles than her own fleshed out character. a well acted and expressively animated at that.

speaking of which’ this show has some of the best character animation ive seen in a while. a lot of it’s appeal comes from Kenichi Yoshida’s character designs which just prove themselves as templates for expressiveness and emotion. it also helps to strengthen the characters presence on screen, they move in eccentric and well defined ways and when you only have a limited amount of time to convey your story every frame counts. 

The cgi integration is mostly well handled - the textures are simple and non distracting and it allows a lot of the set pieces to Be executed while saving headaches for the 2d animators.

And while we’re on the subject headaches, this is a show that’s very heavy on technobabble. Aspects of Artificial intelligence, hacking, social politics and spiritual existentialism all play a major part in the show and how the problem is solved. Many shows tend to have a hard time with making these subjects work on screen- sitting the characters down and have them consume these intricacies is a common way of going about it but it can easily hinder the plot if not handled well.

Orbital children doesnt have time to ruminate and instead it integrates it’s subject matter into its characters as each of them have a role or interest in them. And because of how the show presents and characterizes the kids, the subject matter is more engaging. Their lives depend on these grand yet incomprehensible systems - so much so the AI meteor, seven that’s the heart of the shows conflict becomes an omnipotent being of cosmic horror

At the climax of the season Touya confronts seven, as a last ditch effort to save his friend Konoha. It was built up from the first seconds of the show in the vision and it’s overwhelming. Seven is apathetic and linear to a fault- still sticking to the poem that was given the power to dictate the future. That future cruel and unforgiving that also determined konoha to die young of her implant. And considering the fact a lot of his tools motivations and means to live - you could say that touya met his maker.

It’s a chilling moment, the power of seven’s power shown immaculately through the abstract visuals .And for a moment I was scared that touya was going to accept fate and to lose konoha- already resigned herself to her end.

So when touya and the show rejected fate to save konoha it was genuinely significant. A culmination of all of the strengths of this story boiled into one decision that made everything come together.

I don’t know how many people are talking about this series at the moment- im not suprised that it’s being overshadowed by new seasons of popular anime and the adaptation of vox machina. And I’m not trying to shame those either.

But I do hope that people are checking out the orbital children regardless. It’s a special little story with great ideas, comedy, thriller, animation and heart