#this is pretty much a frame redraw at this point. they definitely got down and dirty whether we saw it or not

[crnl-chicken-tots]

This ^^^ Honda Odyssey has my undivided attention

[just-like-playing-tag]

A totally self indulgent compilation of my favorite works on this blog of the year June 13, 2020 - June 13, 2021

2019-2020

The following lists are all in chronological order according to the date each post was first published.

Top 10 panel edits:

#1: It's our first morning

Date: Aug 20th, 2020 Time: ~ 2:18 h I really like how this one turned out!!! The 2020 Emma b-day edit has a lot of major panel redraws, but this is probably my favorite. I I really enjoy how I made the shadows work!! And the ear banfage looks pretty neat. Nice!!! Immagine

#2: Norman birthday edit 2021

Date: Mar 20th, 2021 Time: ~ 2:21 h Awww, soft Norman :') There was a bit to redraw, but I think everything turned out pretty neat!!! I believe everything works out fine. Though looking back at it, the part of the ID I added is definitely top small :')

#3: Manga dub: Yuugo gets knocked out

Date: Mar 27th, 2021 Time: ~ 5:05 h Here start the Manga Dub redraws to which I gave my everything ahah. This one turned out nice! I think the shoes turned out particularly good eheh. I like how Yuugo's clothing lineart- for the texture, I wanted to go for something heterogeneous, but I'm not fully confident in the final result. Gilda looks very rushed but ¯\_(ツ)_/¯

#4: Manga dub: Yuugo makes his dramatic entrance

Date: Apr 5th, 2021 Time: ~ 4:02 h This is pretty cool!!!! The coat took ages to redraw, but sis it turned out perfect!!! I'm very proud of this.

#5: Manga dub: RayGildEmma hug!!!

Date: Apr 9th, 2021 Time: ~ 1:31 h Awww, a beautiful panel I was really happy to have the chance to redraw. Taking into account what there was to redraw, I'm actually surprised with how little this took! Ray's backpack was a pain to make, but I think it turned out fine. I'm very happy with Emma and Ray's heads!!

#6: Manga dub: Formalities

Date: Apr 12th, 2021 Time: ~ 5:31 h It is not always easy to give sense to Demizu's perspective, but I do my best!!! In this I am *so* happy with how Don and Ray turned out, they look neat! The background on the other hand... It took hours to make ahah. I'm not fully confident in the perspective, but I'm happy with the details I've added- I really did my best to make it look like athe other manga panels and I think it paid off!!!

#7: Manga dub: We may be weaklings, but we're still alive

Date: Apr 30th, 2021 Time: ~ 1:37 h This little Emma is so cute!!!!!! I think the redraw turned out pretty perfect. I'm really satisfied with how this one turned out, and it's such a cute little Emma!!!! She's so brave and optimistic, I love her. It's a shame this panel didn't make it to the episode :')

#8: Manga dub: Goldy Pond Gang

Date: May 7th, 2021 Time: ~ 8:44 h lmao This is probably the panel redraw I'm the most proud of ever :') Just think everyone turned out very nice!! The ceiling is not exactly perfect, but it still works somehow. I'm very happy with how Gillian's back turned out!! I don't really like the fading effect on the right, but 8h in I got pretty tired of working on this ahah

#9: Manga dub: This is Goldy Pond

Date: May 21st, 2021 Time: ~ 1:29 h I'm very glad for how the Manga dub has been challenging me to learn to redraw backgrounds, something I had quite literally never tried before. It can be a little frustrating, but it's so satisfying to see the final cleaned piece!! With this panel, I also learnt to use copy and paste, which is something I had never done before beyond texture

#10: Manga dub: Good morning doctor

Date: May 21st, 2021 Time: ~ 3:42 h This is another background that turned out pretty good!! That one Norman is one I knew I would have had to fully redraw sooner or lager- the background was a bonus ahah. I'm very happy with the final result!!

Top 5 edits as whole:

#1: The Promised Neverland manga ending edit

Date: Jun 14th 2020 Time: ~ 12h 41min (5h 45min of cleaning panels in the edit + 5h 37min of cleaning panels that didn't make it to the edit + 1h 19min of resizing) + time spent cleaning panels I've deleted the file of so I can't see lmao This is overall very nice!!! The concept of an Emma evolution through her back is cool, and I think overall the edit turned out very aesthetically pleasing. The concept idea came to me while I was working on the 2019 Emma's birthday edit, a long time before the manga ending announcement- back then I wouldn't have imagined using it in occasion of the manga ending, but I think it ended up making a nice tribute. The colors add a nice touch, since so far my edits had always been black and white- it makes a sweet closure. To make that edit I selected 76 panels of Emma framed from her back; I plan to make other versions of that edit using the discarded panels eventually!

#2: Emma - Chapter 181: Beyond Destiny

Date: Jul 12th 2020 Time: 2h 57min My last edit for the manga 🥺🥺 I think this one is my very "manga ending edit" because to me it really signed the ending of weekly chapters and their weekly chapter edits. It makes me a little sad to look at it, but it's also, I don't know, kinda sweet to see how I grew both in my panel cleaning and as a person since I first started my blog. I'm glad I got into TPN!

#3: Emma birthday edit 2020

Date: Aug 22nd 2020 Time: 8h 54min This one turned out so well!!! Though I used the same concept for all the trio edits, I think this one is the best one. The two panels on the left / two panels on the right alternation combo never fails ahah. The colors are nice (shout-out to my sister for making me a palette), despite the fact that it was hard for the lighter ones to make them work with the images without having those disappear. I'm very satisfied with the panels I chose for this, I think they work really good together! Also, it got me very happy to read everyone's comments saying they liked the fading effect in the last panel :)

#4: Emma + Eyes Close Ups [1/?]

Date: Jan 24th 2021 Time: 5h 55min This one was really nice!! Another idea I got when working on the 2019 Emma birthday edit I was glad to finally execute. Started the edit in September, finished it in December. I'm overall very happy with how it turned out... I hope I will be able to make more in the future!

#5: The Promised Neverland Parallels → (9/?) » 114 // 122

Date: Feb 23th 2021 Time: 5h 7min (panel cleaning only) Aaaaahh I really like this one!!!! A parallel I love very much, and I'm really happy with how the edit turned out. All the hair redrawing looks neat!!!! The gif is maybe a little excessive, but I think overall it's a nice edit. I like it!!! Fun fact, I completed it on August 26th 2020, but I couldn't find the right moment to post it ahah.

Honorable mention: The Promised Neverland Parallels → (5/?) » 08 // 16

Date: Aug 30th 2020 Time: 2h 52min (Second picture cleaning only; I deleted the first picture art file so ¯\_(ツ)_/¯ ) I don't have much to say about this one except!! It turned out very nice!!!!! Love the pen lmao.

Top 10 analysis:

Too many analysis,,

#1: Post chapter 181 Emma analysis

Date: Jul 9th 2020 Mmmh a nice analysis. I think it was important for me to put down in words what I think of Emma's characterization and the manga ending, so I'm happy I did it!

#2: A long Oliver analysis because I love him very much

Date: Dec 6th 2020 What can I say I just love Oliver tons 😔😔💕💕 This was very fun to make!!!

#3: TPN s2 previsions

Date: Jan 14th 2021 Really love the effort that went into this + me proving that 11 episodes GP could have possibly worked + it's just a lot of fun to read again after s2 ended pffft

#4: More s2 delusional previsions lmao

Date: Jan 27th 2021 I think the points and previsions I made where pretty neat!! In my defense, it was pretty impossible to predict the anime would have ended with this season. I always feel honoured when friends and Anon ask for my opinion, I'm like "you wanna know what I think? Wow. I'm flattered (◍•ᴗ•◍) " Thank you to anyone who ever sent me an ask!!

#5: Why Emma not wearing pants is 𝕨𝕣𝕠𝕟𝕘

Date: Jan 29th 2021 Really proud of this!!! Pants Emma is important!!!!!

#6: Post episode 5 manga Emma analysis

Date: Feb 4th 2021 A depressed analysis, but a necessary one 😔

#7: Norman analysis

Date: Feb 12th 2021 I love him!!!! And I'm happy I eventually got to put down in words what I love about his character. The day I posted this ww3.readneverland was in maintenance so I couldn't use the volume scans for it- the thought of that post having fan edited and fan translated scans still haunts me

#8: RayDon rambles

Date: May 12th 2021 I had a blast writing this and like. It's likely the post of mine I reread more often of them all. I love this ship tons!!!!! I'm satisfied with how I put down in words what I like about them. I LOVE THIS SHIP

#9: Chapter 58 analysis

Date: May 23th 2021 I've wanted to express this concept since like the first time reading the manga- I'm so happy I finally did!!!! This concept is one of my absolute favorite things about tpn- the feelings that people are good. The concept that kids who got to live in an healthy and supportive environment will always be inclined to kindness and altruism, because humans are just inherently good. From the Three Character Classic: “people at birth are inherently good”. I want to have faith and courage to hold on the goodness in myself, and to hold on the goodness in the world, no matter how difficult it to do that (Chloé Zhao).

#10: Norman and Lambda squad relationship analysis

Date: May 24th 2021 I think this was a pretty sharp analysis and I like what I did with it!!

Other stuff:

#1: Krone birthday edit

Date: Jul 15th 2020 This edit is so good ;; Like not perfect since it was my first attempt at coloring gifs but still I believe it turned out so good ;;;;;; The time and effort that went unto this is crazy, but... Maybe I'm happy to have dedicated time to something I like for a satisfying result.

#2: Get to know my ship- Wolfpack Trio

Date: Aug 24th 2020 Uuuh a good post. A good ship.

#3: Gilda + blank glasses

Date: Aug 27th 2020 This is such a cute nice compilation!!! I love looking at it. A few panels are missing but still :')

#4: Apollo Ray AU

Date: Sep 7th 2020 (Though it was written Sep 2nd 2019 lmao) I'm so happy I finally gathered the courage to post this 😭😭 I really enjoy what I did with this AU, so this one and its other installments are all posts I have a lot of fun rereading. More than everything, I was astounded and overjoyed by the positive response it got: that gave me tons of confidence to put my ideas out there, no matter how unique they sound!!! Here's to hoping I will be able to post my RayEmma Hadestown AU, by other big AU from late summer 2019 :')

#5: TPN timeline project

Date: Dec 2nd 2020 This is like. I don't know it's a lot ahah. Arguably the project I'm the most proud of ever making. I'm just so happy of all the months long hard work and of the final result!! The post didn't receive much response (though the ones I got were extremely kind and sweethearted so that totally makes up for it), but in the end I don't really mind? I'm just so proud I accomplished that idea :')

#6: TPN calendar

Date: Jan 4th 2021 A nice sum of the tpn timeline + everyone's birth dates!!! I really like how it turned out visually. It's a cute little tpn calendar!!!

#7: Ray smiles compilation

Date: Jan 17th 2021 Ray's smile. That's it that's the post :')

#8: Trans Oliver headcanons

Date: Jan 24th 2021 MMMH really like this headcanon I think about it a lot

#9: Thoma and Lani theory

Date: Jan 28th 2021 I really don't want to brag but this is the best joke I've ever made :')

#10: My TPN AUs

Date: May 10th 2021 Ok you gotta admit those are very good AUs, I'm glad to have made a list out of them!!!

#11: Ranking Emma promotional art outfits

Date: May 16th 2021 This is one people seem to have liked a lot which makes me happy ahah. I'm glad to know we can all agree Emma deserves more pants outfits!! Please stop it with the gendered clothing :') This is the post I want to be remembered for

#12: TPN musicals AU part 2

Date: May 20th 2021 A GREAT POST I can't stretch enough how happy I am with those character-song associations. I hope I have time to make a part 3 in the future!!

#13: TPN Drive folder

Date: May 30th 2021 This was born as a way for me to have all the tpn extra contents easily accessible, but I'm happy to have shared it with people- I hope it will turn out to be useful to others too!

#14: TPN s2 recolorings

Date: Jun 12th 2021 A more diverse children cast is good for the soul :')

That's it, this year was really fun!! Thank you to everyone who supported me through it, I can't express how grateful I am for all the kindness and validation I received. Here's to many more months in the fandom!!! (ﾉ◕ヮ◕)ﾉ*.✧

[alexswak]

Animator Hiroshi Watanabe’s Interview

This is an interview with one of Studio Live’s main animators, Hiroshi Watanabe. For more on Studio Live and Hiroshi Watanabe, I recommend reading my previous post on Minky Momo. 

This interview goes into his start in the industry, the hardships of being an animator in Japan, and some technical tidbits. Although conducted in mid 1980s, most of what is mentioned here still holds waters today, and it’s interesting to see what changed and what didn’t from that time. 

First published in スタジオライブの本・らでいっく (1)　(Studio Live’s Book Vol.1). Translation by me. I’m not the most experienced translator nor am I excellent in Japanese, and although I think I managed to properly translate this since it’s not that hard or complicated of an interview, I’ll provide the original interview in case someone wants to check my translation for errors, for which I’d be pretty thankful actually.

Sorry for the long intro, here’s the original interview in Japanese.

-Moderator: Today we will be hearing animator Hiroshi Watanabe’s story since joining Studio Live up to the present day.

-Ashida (Toyo, Live’s Predsident): My, aren’t you serious.

-Moderator: It’s just kinda an official thing isn’t it *laughs*. Anyway, let’s start. First, can you tell us something from the time you left Kumamoto to Tokyo to join Studio Live?

-Watanabe: I was making anime by myself beforehand, but I had no idea how to draw in-betweens. Joining the company and using the tap for the first time made me see how real work really is different. At that time, 1000 drawings was the normal output of an in-betweener, but after all my effort it took me around 3 months to draw that much.

-Moderator: 1000 drawings in 3 months, how good is that? 

-Ashida: Fairly fast I would say.

-Watanabe: Yet Matsushita (Hiromi) drew that much in one month and a half… so at that time my abilities weren’t really good enough, and there was the tough in-betweens check; no matter how many times I redraw it doesn’t get approved. Lines are a bit dirty, erasing remains are visible… really small stuff. I had my own thoughts of course, and with that happening I felt like the people on the other side just couldn’t understand. It’s really frustrating, but you still need the money to eat so you keep on drawing… such situations are pretty tough.

-Moderator: “I drew those in-betweens that way because it’s the way I do it” or something like that?

-Watanabe: Right. I didn’t want to admit that I lacked the skills at all. That was definitely the case, but the fact that I had the mentality of “it’s my way of doing things” was… frustrating. 

-Moderator: Back then, and even now...

-Watanabe: No, thinking about it now, I’d say that period was normal. Yet back then, all I had in mind was “I’ll make them accept what I’m making”. And then I looked at what the key animators made and thought how different it was, which made me wish even more to become a key animator myself.

-Moderator: The thought of wanting to make an anime with your own sense...

-Watanabe: Back then, all of Live’s projects were adult shows. That’s why they seemed to lack the power. Although such projects are actually harder, I wanted to swing the camera more and move things around. Thus I wanted to become a key animator as fast as possible, and worked hard to achieve the goal of 1000 drawings.

-Moderator: Is it the same for everyone?

-Ashida: Not really, but I’d love if all of Live’s staff were like that. It’s a matter of future prospectives. Do you want to do in-betweens forever? Or become an ordinary key animator? An excellent key animator? An animation director maybe? Everyone is different.

-Moderator: And Watanabe wanted to become a key animator quickly.

-Watanabe: Correct. That’s why I, although not directly related, was so motivated to draw the 1000 sheets and become a key animator quickly and make the company acknowledge me, which enabled me to do just that.

-Moderator: So how long did you do in-betweening for? 

-Watanabe: I joined the company in April and did in-betweening till October. “Cyborg 009”’s first episode was my first time drawing key frames.

-Moderator: Not too long, huh?

-Ashida: It was actually a little too fast? But then, he was our prodigy. It’s not about drawing nicely, it’s more about instinctively knowing what anime is.

-Watanabe: Why did I want to become a key animator back then? Ashida-san wanted to show youngling’s power, pent-up emotions and new strength and abilities in “Cyborg 009”. I was there anyway so it was more like “we will give you a chance then” type of thing. 

-Ashida: As I said, the longer you do it the harder it becomes. At first, doing what you want is fine, but in 3 years time a wall will come, overcoming that will give you another 3 years before the next wall, until you reach a point where the wall comes every year.

-Watanabe: At that time, maybe because of being young, but I had the power to do anything. Everything I did was fun. In “Cyborg 009” or “Blue Bird” I overdid even the simplest scenes. It was all pretty interesting back then, be it anime itself or key animating itself… Then came “Arale-chan”, and after that came a time when I started paying attention to character consistency (looking the same), but getting full of myself I always thought what I did was fine and didn’t put in the effort to make them look consistent.

-Moderator:  “I don’t mind if they don’t look alike. It looks fine the way it’s” type of mentality? 

-Watanabe: I mean, Ashida-san was going to correct them. But I wonder if “Blue Bird” was the last project I did with my youth power. A bit after that I started feeling as if my power was fading away. 

-Ashida: Well, it wasn’t about losing power, rather more about having to do the same thing for a long period of time. If you can’t overcome that, then… You just can’t stay a promising young animator forever. 

-Moderator: What are your thoughts when you watch “Blue Bird” now?

-Watanabe: Watching it now… Watching it now… *laughs*. I find the projects back from the period I had power pretty good. Some small details look rough, but really the things I did back then were impressive. 

-Ashida: It’s not knowing fear. Now that you know what to be afraid of, going about it the same way isn’t possible.

-Watanabe: Right. I can refine the small details now, but achieving the same furiousness wouldn’t be possible. To this day seeing the dragon fight from “Blue Bird” (This scene) gives me goosebumps *laughs*. Why was I able to do something like that, I ask myself. 

-Moderator: Oh no, this is turning into an old geezers’ conversation *laughs*.

-Watanabe: So, being completely helpless with character acting scenes, action sequences were my chance to go wild and forget about the storyboards. That’s why I did what I did. And that’s why I had that much fun. Then it became bitter, bit by bit, drawing key frames I mean, until one point in 198X where I just couldn't draw anymore. 

-Moderator: Not being able to draw… what kind of situation was that exactly?

-Watanabe: Not going to Toei anymore, spending all day on Pachinko machines, that kind of stuff.

-Ashida: Truancy, basically.

-Watanabe: Along the way I started gradually wanting to draw again, drawing became interesting again. Then I said to myself, why not do some animation director assisting jobs, and since I have been causing all sorts of problems and troubles for the animation directors, I was so happy to be in a position where I can repay them. Everyday started being fun again.

-Moderator: What is an animation director assistant actually? 

-Watanabe: Key frames, prior to the animation director’s corrections, are terrible. Although my frames don’t get approved, looking at the frames that do get approved I see only the middle of the frame being drawn while everything else is left to the animation director’s assistance to fill in. Also stuff like character faces being completely off, all these things have to be at least “prepared for correcting” in this process. It’s more of a 2nd key animation role than an animation director assistant. It was nonetheless fun, and correcting characters like that made me feel like I made some progress.

-Moderator: What about “Momo” (Minky Momo)?

-Watanabe: “Momo” was fun. Although in 198X I was kinda mentally depressed, none of the key animation I drew for “Momo” was turned down or returned for retakes. So I just kept pushing on.

-Ashida: This is the effect of the ultimate “Opening Strategy”. Let someone do the opening and have the fame at first, it was the same with the animation direction role. 

-Watanabe: That was again a fluke of luck. My first job as an animation director was an episode with Kaijus fighting. With such things you just have to make them move, make them flashy and catchy.

-Moderator: Your speciality, huh.

-Watanabe: It wasn’t something I excelled at as much as it was something I had fun doing. Also, when speaking with Yuyama (Kunihiko)-san, I see he has something he wants to create with which I can totally empathize. Doing the normal life scenes without any interest, for example. So it got to the level of being a hobby where I give all my effort, rather than a job I have to do.

-Moderator: That’s how much you as an animator can get into in the project, right? 

-Watanabe: Of course, being at Ashi Pro means that things like drawings numbers don’t matter. Such situations exist, but at stricter places cuts are made at the storyboards or screenplay stages. Deciding to tune down here a bit or focus here a bit from the start means that all this is planned through, something we can understand and makes us feel like the whole thing is indeed worth doing. 

-Moderator: “Momo” was your first project as an animation director, how was it? 

-Watanabe: Doing animation direction is annoying. Fixing the key animation of other people requires all my effort, animation direction isn’t a job you can slack off at even slightly. That’s why it made me want to draw key animation even more.  That being said, doing animation direction limits me, but whether I’d be able to draw key animation if I didn’t do animation direction… Also, character acting stuff was handled by Yuyama-san, and I handled things like character faces. Those being Live’s key animation, I’d say MatsuX (he means Matsushita Hiromi) drawings were completely off, while (Kazuko) Tadano-san’s drawings were even more on model than mine *laughs*. Man, no more talking about “Momo” please. 

-Moderator: *laughs* Well, that was the end of today’s interview. Thank you very much.

[tuchimuchibrainvomit]

EPISODE 1:

Aloha, fellow Sakuga Seedlings!

Welcome to my case study series, Brain Vomit.

Name’s

Tuchimuchi Yoshinori – or just Tuchi...

And I enjoy animation. Especially animation from the eastern archipelago of Japan, also called “Anime”

In this series, right here, I’ll be exploring Japanese Animation Production and enlightening this growing community and myself to the power they have in this expansive animated medium.

In this episode, we will focus on Defining Anime, Production Roles that go into creating anime and more!!

I welcome you all to join me on this exploration into Anime.

Without a moment’s hesitation, let’s start with the crust and make our way downward!!

What is Anime?

Anime (アニメ) the word, is moniker for Japanese Animation.

Anime, the art form, is a style of Limited Animation that came into prominence during the rise of Disney in the 1960’s, although Japanese animation dates back to the beginning of the 20th century. The most prominent and well known anime began from Osamu Tezuka -- known for Astro Boy, Black Jack and Kimba the White Lion -- creating new techniques after being inspired to simplify Disney’s rigorous animation aesthetics.

As manga began to be noticed as the popular thing in the 70s, anime began to shift from a Disney imitation to a new style of its own.

Sakuga (作画) is a catch-all term in Anime, where a certain scene or event’s production value and animation quality exceed the usual fare. It’s often these moments that enraptured our eyes to anime and got us interested. This can be anything from effects, to characters to background animation! Sakuga is limitless in it’s potential EPICNESS!!

Here are some awesome examples by Web Animator’s Yotsube and Bahi JD!

I know, it’s pretty damn cool. And Sakuga, there is actually a word for it! Literally translated from “Creating Pictures”. The name for this community that I call “Sakuga Seedlings” comes from the pun of “Saku” also being read as “to Bloom”.

(Source)

Some of the most famous anime were created by the world renowned Studio Ghibli and Hayao Miyazaki.

But other important, often forgotten legends are:

Hideaki Anno, Katsuhiro Otomo, Mamoru Hosoda and Makoto Shinkai.

If you haven’t heard of these guys, check them out. I’ve linked to their wikipedia articles in their names, so feel free to click on them and get a basic gist of what these guys are about.

In a future episode I plan to go over each and every one of them!

Next, I know you all saw that word “Limited Animation”...

Q: What is Japanese Limited Animation?

Unlike most Disney animation -- or Full Animation, where every frame is painstakingly drawn to create an almost true to life smooth motion -- Limited Animation is a style that takes advantage of the limited frames, partial frame changing and movement to create visually stimulating works. This is a much cheaper method and can be used to varying results.

Most Western TV cartoons and pretty much all anime is Limited Animation.

Full Animation is In an environment in which redraws most every frame are MANDATORY to create as realistic/fluid as possible movement. Unlike it though, limited animation often breaks traditional norms by keeping redraws to a restriction (often by getting creative with animation styles and shortcuts), but allowing for a more dynamic visual spectrum, as they are, ironically, not limited by realistic standards of full movement.

Many techniques of Limited Animation can be incorporated into more Western Full-Animation as well.

Limited animation is not limited to Japanese Animation, but because that is the focus, I want to focus my attention there.

(source) (source) (source) 

So let’s, compare them!

Q: Compare Limited vs Full Animation

Let us compare Disney’s Full Animation and Limited Animation.

For this example,

vs

Compare to Disney, which has very realistic perceptions of movement to Limited Animation.

Limited Animation often MUST exaggerate movements, repeat frames and manipulate the camera far beyond to get the sense of movement without frequent redraws.

It takes advantage of the mind’s magnificent ability to fill in movement on it’s own.

Note this: All of this is considered Sakuga. Pretty cool, right?

This type of animation still on paper before colored and composited is called “Genga” (原画).

No, not the Pokemon, Gengar! Nix the “R”!!

(Thank god, for now Tumblr gives have the sources -- so I can save time on listing them. As the series goes on, I’ll be grabbing actual clips and editing them in my own way, so those sources will have to be better defined...)

Q: OK. Back to Anime, How is Anime Produced?

Using the anime Shirobako as a fantastic launchpad, as well as other studies, Anime Production is built upon multiple roles and hierarchies.

(If you are at all curious about Japanese Anime Production, watch this series; It’s on Crunchyroll for free. I’m not being sponsored, but I recommend it. Linked above.)

(I will also be leaving Executives, Producers, Writers, Voice Actors and Sound Crews out of this list, which have a different important roles. But I would like to give this focus eventually along with Marketing Techniques, etc.)

For now, I’ll use basic definitions to keep things simple, but the most common roles in any anime production are:

Director: The individual in charge of keeping production staff on task and keeping the overall visual aesthetic. For Example: Akiyuki Shinbou of SHAFT fame.

Animation Director: This is the head person in charge and oversees all of the individual animation production. They are ALWAYS talented Key Animators with years of experience and have the last say on EVERY FRAME USED THE FINAL PRODUCTION. They have other responsibilities such as as Redraws and Correction.

Character Designer: The person who either creates or adapts designs for TV animation. This is Episode 2’s main message in a nutshell. But to sum it up here, it is not uncommon for Animation Directors and Character Designers to either be the same person, or a pair who have worked together on a lot of stuff.

Key Animator: The people in charge of drawing key poses (important movements and poses). There can be very few or very many depending on the production staff. We’ll get into that at a later time. These can often be Freelance Animators as well, which is very important as Studios often Freelance and can get different feels because of it.

In-Between Animator: The people who draw in-betweens to keys, connecting them all together and clean-up. These people refer to the Key Animators, while Key Animators refer to the Animation Directors.

Color Artists: Pretty straight forward, depending on whether traditionally or digitally animated, add color and shade to the basic animation. During the days of Cel-Shading, these were hand-painted, but with technology, tools like Photoshop, Toonboom and After Effects are more commonly used.

Check Artist: This person reviews each frame and checks for inconsistencies. They help the central aesthetic, style and models are on point. If not, a frame may have to be redone. When these guys mess up, we get things like this. These also can be Animation Directors themselves. Many roles can bleed into one another, if that wasn’t obvious enough. (Show example of animation error)

Background Artist: These guys design the backgrounds, whether 2D or 3D. We’ll get into this more later as well. My 3D knowledge is very limited, so I’ll do my own homework on more information on that.

Compositor: This group puts everything together, can take care of digital effects and edits such as atmospheric lighting and weather, depending on the production company. These guys create the crisp polish you’ll see in Ufotable Productions.

I know you must be thinking, these are very similar to Western Production Studios, and you’d be right.

They are very similar, as each piece is needed to produce like a well oiled machine. But there are many VERY important differences. If you know Animation History, Anime production was based on and eventually deviated from Disney’s original model.

Now that you have most of the basic pieces to understand we can begin digging in the differences from the ground up, work to each role and it’s importance and how that all comes together.

Now we can start to looking into the question of,

Q: What is different about Japanese and Western styles of animation production?

Not in the aesthetic choices, but in the setup and philosophy of animation.

It all comes down to the production at hand, but the main basic philosophy is something I like to call “Western Order and Eastern Individuality”.

This is a good start and the start of some of my liberal take on defining different parts of anime and animation -- A main point of this series was to break down and find a way of defining little things like this in a more digestible method:

So, what is the Western idea of “Order Animation”.

Well, how staff is put together is what dictates it.

If you look at any Disney frame, what do you see? Animation that is completely kept on model and shows the visions of the Director and Animation Leads based on strict values of Order and Perfection.

This is often formed by having teams for every character and aesthetic throughout the entire picture remaining as physically consistent as possible.

It’s very impressive that they can get this group of people so on point! I admire it, even if it isn’t the philosophy I prefer in my own tastes in animation and production.

Then, there is the Eastern idea of -- what I like to call -- “Individuality Animation”. This is just another way the production team is staffed and ordered. Most Key Animators have what are called Cuts -- specific scenes in each production that they are in charge of animating. Think about a Cut like cutting a camera in a film to a new scene. Many film making techniques are used in animation, this should always be kept in mind constantly.

Once again, this goes more onto which you find better in your opinion, but I tend to find these definitions slightly ironic based on their respective cultures, but there is a lot of truth to them.

Q: Now, why does this Individuality Animation interest me?

Because, it allows for every Key Animator and In-Betweener to add their own spice and flair to a scene, to the point where based on the animation, you can tell which individual worked on it.

-- AND THIS IS WHAT I LOVE!

LOOKING AT A PIECE OF ANIMATION AND BASED ON STYLISTIC AND AESTHETICAL TROPES, YOU CAN POINT OUT A SPECIFIC ANIMATOR OR ANIMATORS INSPIRED BY ONE ANOTHER!!

I believe Order Animation tries to represent a company as a whole, which is great in its own right.

While Individual Animation tries to represent the identities of those who worked on it. Which I am much more in support of and interested in. If you’ve ever met me, I am the type that remembers faces and personalities more than names and the bigger picture. With how I work and how I love to meet new people, Individuality Animation allows me to really get to the heart of an animator.

Ahem, I lost my composure there! Haha!

Next on the chopping block:

Q: Digital Animation vs Traditional Animation...

How are they addressed?

Simply, are Keyframes and In-betweens hand-drawn on paper and then scanned for clean-up and color?

Or are they drawn on digital tablet or are they 3D models?

Traditional Animation is still very common in Japanese Animation production, and most every anime you’ve seen started as hand drawn on paper.

Digital Animation uses programs such as Photoshop, Flash, ToonBoom and etc. to draw everything. Animators that focus on this medium are lovingly called Web Generation Animators. Believe it or not, one of the eldest animation studios, Tatsunoko has evolved to include many web generation animators.

(From the Studio Tatsunoko produced “Yoru no Yatterman”, hosting a wide array of web generation animation talent!)

In a later episode, I will do a more complete diegesis on Digital Animation Programs as it’s one of my favorite topics.

3D Animation is a new sensation that started an arise in anime at the start of the 2010’s. All of these anime are produced in 3D animation softwares, but are produced using techniques descended from Limited Animation. Look as series like Guilty Gear Xrd and Black Rock Shooter for some amazing examples of this.

(Guilty Gear Xrd belongs to Arc System Works. It is on PS3, PS4 and Steam PC, Go play it! The GDC also produced this great video on how the 3D Cel-Shaded style was used to imitate sprite anime form the previous entries! It’s about an hour long, but super informative!!)

Mixed Media is often used, where anime can be produced using all three methods for different reasons, be it backgrounds or the animator had a preferred way of animating. Most modern anime uses a form of mixed media from Pokemon XYZ’s 3D Camera to To Aru Majutsu no Index’s 3D Background design. It’s more common than you’d think.

(Most noticeable at 0:39 and 0:58. Look how the ground around Ash’s feet is swiveling in a new way. Or how the camera follows Pikachu to Pangoro and Honedge. Fun Fact: Quick Attack is ineffective on Honedge, it’s a Ghost type!)

(Pokemon XY belongs to OLM, Game Freak, Nintendo and Creatures Inc., OLM actually means Oriental Light and Magic, inspired from Industrial Light and Magic, known for Cinematic VFX.)

But these can be used in a myriad of creative ways to make each cut feel distinct depending on which animators are behind the wheel.

Since I’m focusing on Japanese Animation Philosophy, as it’s what I know better and prefer, I will focus on that through most of my future studies.

However, you are free to use whichever method you want!

The great thing about art and animation is that you have a choice in how you go about doing it. I wholeheartedly believe in having whatever style interests you and making the most of your creativity.

If I can help bring in a new interest or skill set into your work, or just entertain you with my geekiness about anime, then it will all be worth it.

Who knows, you may be surprised at what we discuss!

I’ll call this episode a wrap for now! Next time we’ll be discussing the basic principles of animation.

If you haven’t gotten a copy of the Animator’s Survival Guide, I highly recommend finding a copy of it! It’s a must-have for animators of all skill levels, even amateur ones like me.

I’ll see you all next time!!

ON THE NEXT BRAIN VOMIT!!

EPISODE 2: ANIMATION PRINCIPLES ARE THE MOON PRINCESSES?!!

STAY TUNED NEXT SATURDAY AT 7PM EST FOR NEXT EXPEDITION INTO SAKUGA GOODNESS!!

DON’T MISS IT, OR I’LL HAVE TO PUNISH YOU!!

Remember: Always bloom proudly,

– TUCHI OUT!!!