![]() ![]() And most of the time these sorts of characters are played straight, are looked down on. She was introduced as this sort of money grubber, out to make a buck. Because I think Eizouken is doing something great here. Is this any less valid, any less artistic than Mizusaki’s, even though its more in line with what Kanamori/Management need? I don’t think so, but I love that Eizouken brings it up.Īctually on the topic of Kanamori, I want to take a moment to talk about her. Asakusa loves the flashy shit, she just wants to draw cool things. Compare this to Asakusa, who we see throughout the episode and described by Kanamori as “Doing it cause it’s fun”. How what an animator wants, why they animate, isn’t necessarily what the industry is looking for because at the end of the day, they have to make money. And I like how Eizouken contrasts that with what Producers/Fans want/buy, in her argument about “flash sells”. Mizusaki is seeking to depict reality in her art, the human movement, subtly over flash. What I mean their is her argument about “Animation” vs “anime”, this quest for a sort of purity in animation. And from the looks of Mizusaki, animators are too. Again, a lot of these are obvious if you take a moment to think about them, but anime fans are incredibly picky about stuff. ![]() ![]() Even just showing us mock storyboards of the whole thing while Kanamori talks about how much effort it is, and balancing time and money, etc. Or leaving in the cut/page numbers and animator markings during the big final cut with the tank, keeping that “rough” aesthetic to it all. Just 5 frames of explosion, yet with some simple effects and sound, it carries huge weight. Such as the initial explosion being composed entirely of key-frames. Meanwhile there are a number of more subtle nods to it. Showing us the types of considerations that go into anime. Or even that background which was just a series of cube houses, and how simple it is compared to the ones before it. Meanwhile her face in that same frame is basically just 2 circles and a line, grinning at how she herself is animated. Some of these are even jokes, such as Asakusa talking about simple faces being easier to animate. Or how cutting between the tank and the girl over and over can give the illusion of speed, and multiple shots. Such as the reusing of explosions at varying distances or angles to save on time, rather than hand animating a new one each time. There are the obvious, such as covering a face to reduce expression animation, to the less so. And yes, there are shortcuts as Eizouken shows us, but its still work.įor instance we see during their conversation about their short a number of shortcuts brought up. The sheer amount of effort that goes in to a production, the sheer number of drawings that have to be produced for a single minute of footage. While its pretty obvious, and something anyone could figure out, it’s also something anime fans ignore a lot I think. Resulting in a 3600 frame count, along with all the other overhead. For instance I loved how Kanamori just broke down how much effort a 5 minute shot would be, at a simpel 12 fps. As this first goal, with its set deadline, really lets the time/business aspect of anime production shine through. Starting off, this week Eizouken gives us our first major goal, the Budget Committee! It’s a nice and manageable one I think, a way to get the ball rolling, and lets Kanamori strut her stuff. Learning about short cuts, time and business considerations, and just creative freedom. Another week, another fantastic episode of Keep Your Hands Off Eizouken! This week we continue to dive in to the technical side, as our crew begin to produce their first animated short.
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