Welcome back to the I Am Anime website
The original illustration for episode 3, “Kachashi in the Classroom” is by Mori (Ryota). His precision is clear. Not only is Kachasi’s movements, but the cuts from her classmates who are seizures when they hear “Tang Fune Doi” and Kiyan’s blowing pressure on her head and shook her head and shook her head and said, “What am I imagining?!” are also excellent. It was a happy scene that was almost possible to use it as is, with only minimal character modifications included. Also, the slides were used to process the movements of Higa’s hands, dancing, saying, “I’m sorry. I can’t stop…”, and the performance was designed to express “disagreement with the body that doesn’t listen to feelings.” Of course, it also has a cost-effectiveness.
The film that first appeared in the “Parlor Together” edition (TAKE 1) was too loose, and the film was directed, saying, “We’ll fix this all.” I understand that there is a point like, “It’s not because of the direction, it’s because of the art and art issues.”
What made the bad art and art come to mind was the sweet layout of planning! Responsibility for the direction through this!
That’s what it is.
That’s right. Even if a poorly-made layout reaches the “director” who is not an illustration, if they can see that it is a “bad” upcoming up, they will be able to “instruct” the original artist himself and retake it. All of our employees are employees so we can provide retakes! At worst, if you ask me and the other animators to “SOS!”, you should be able to stop it before you can reach the poorly made film. However, in the end, they just couldn’t see through the “bad” parts, just letting them go and couldn’t take responsibility. “I’m not drawing” is no excuse. This means they don’t have the “consideration” that is essential for the production.
In other words, it’s my job to take responsibility for the poor management!
So, it’s completely fixed. They provide instructions to unify the direction of shadows, correct the layout, correct the background, and retrieve areas where the characters’ plays and poses are not connected. The food and canned juices around the character have also been carefully re-drawn. Oh, I like the store name “Parlor King Nuyaga”!
So, part B (opening the commercial): “Eisa Festival” edition. As I originally intended, I use CG (motion capture) other than the main character’s dance. I wonder if anyone still arguing about “Illustrated Dance and Dance or CG?” is still alive (as of 2025)? Even though we have a wealth of drawing resources like major anime companies, I don’t think that it’s meaningful to draw dance and dance through animation. However, if the animator himself suggests, “I want to draw all of the dances (dances) in illustrations! No, I should draw them!”, I think it’s better to have them do it. This is because there is a certain kind of passion that you want to do, and it will always become the “power” of the work. However, the worst case scenario is the “dance (dance) in which the director or director doesn’t want to draw in the foreground, but makes an animator who doesn’t want to draw condescendingly tell him, “It’s your job, right?” Just to satisfy the director or director’s belief that the animation is more noble.
Whether it’s animation, CG, or AI, do you have the motivation and potential of the person in charge, and do you have the desire to create a screen like this? The problem is, and on the other hand, if there are none of them, it’s either a waste to have them dance with the animation or a CG version! It’s better to just play music with the super impressive BG ONLY (background only) off!
In other words, isn’t it outdated for the director or director to force the staff to do unnecessary forms of expression just because they say they like it? and. especially
Visual expressions and other things can be applied to the viewers as soon as they become familiar with them! The question is whether viewers and artists can stand it until they get used to it?
That’s all, at the moment, everyone has long been used to seeing CG.
Well, it’s time to go back to “Over You”! Excuse me (sweat).
