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A musical number from “Chibi Maruko-chan: My Favorite Songs” animated by Masaaki Yuasa, the director of “Ping Pong Animation” and the Adventure Time episode ”The Food Chain”

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#cant believe i sat nearly next to him without knowing at inu-oh at iffr and then his friend asked me questionsssss >_< #and then we binged tatami galaxy the next day and I got to ask only 2 of my bazillion questions cause theres not enough time and i wanted t #get so specific T_T_T_T_T__TT

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puppy

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just (re)watched angel's egg at the cinema tonight in utrecht. in awe and my eyes full of stars during the whole film... so eternally inspired thank u for existing oshii and amano <3 didnt know michiyo yasuda did the colors ! >_< literal goddess goodnighttttttt

#i mean theres many artists to thank but idw just list 10 people literally go to ann to search them legends #memories #michiyo yasuda #oh and tomorrow willll go for castle of cagliostro and prolly spend all the day at my favorite places in amsterdam #4k restoration and all >_<

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Bijutsu Techou Feb. 2020 – Mitsuo Iso/Shingo Yamashita Chat: Translation Part 01

I bought an ebook copy of this magazine for research – specifically to read Mitsuo Iso describe his "full limited/full 3-frame" principle in his own words. I've only ever seen it described second hand by people like Toshiyuki Inoue, and if we take the idea literally there are obvious holes in it. For one, as I've personally noted, Iso actually does use 2s and 1s quite a bit, and in a similar way to his realist peers. More than that, I was surprised to discover recently that he makes use of inbetweeners way more than I thought he did. Check out the timesheets for his famous fight in EoE, for instance. Obviously there was a misunderstanding somewhere.

To summarize, the misunderstanding was that Iso ever took full limited as anything other than a general principle. Inoue always stressed that the important part of the principle is that he eschewed pose-to-pose in favor of complicated dynamic movement, and in this he was clearly correct, although it sure sounds like he thought Iso animated straight ahead more than he actually did too. Iso would nowadays probably call this mindset "dynamic reasoning," but I'm going to make a video about all this eventually.

I'll translate the rest of the interview in about a month – unfortunately I don't have the time with Otakon coming up plus other responsibilities. He also gave pretty galaxy brain interviews to Gigazine and the Japanese edition of Wired, which will probably happen around when I make the video.

There are some other really interesting interviews in this magazine too with Tatsuki, Sunao Katabuchi, and others, but no guarantees about those.

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Koji Takase: One thing you share in common is that while both of you have earned recognition as animators, you crossed the fence between departments, got involved with compositing, and in doing so even developed new forms of expression in anime. What were the reasons or events which compelled you to do that?

Iso: It's pretty straightforward. If I handled the compositing myself, I could have more complete control over the final image. Your job as an animator ends with the line drawings, so you don't have any choice but to entrust the rest of the process to others. The first response to this I came up with was "full 3-frame." It's a way for an animator to exercise control over the image. I figured if you draw everything as keys, your timesheet won't get corrected by the enshutsu lol.

Yamashita: Did something happen that prompted you?

Iso: The first was when I was doing animation on a certain TV series, and a timesheet which I had submitted as steady on 3s was corrected with inbetweens to be on 1s.

Yamashita: And that wasn't your intent with the movement?

Iso: It wasn't. Steady 3s have a better feeling of weight, so adding tweens resulted in the movement feeling awkward, which broke the cut. That experience made me feel strongly that you could make something worth calling "full" animation just by adding your own concrete inbetweens – that maybe the limited animation on 3s common in Japan could also express "full"-ness…isn't this the same thing you were advocating for during Birdy with your "timeline generation sakuga?"

Yamashita: Naturally the idea has your full 3-frame as its basis.

Iso: This may be a bit of a stretch, but full 3-frame is something like a principle that underlies sakuga. There are those who think that full animation with 24 drawings per second, live action, etc. constitute "real" movement, but I think limited animation is compelling in a different way – the sort of person who takes "3s are cooler than 1s" as a point of pride. The possibilities of Japanese animation reside here. When I was feeling pumped about the idea of making full animation on 3s, I had the opportunity for an interview, and the term I came up with on the spot was "full 3-frame."

Yamashita: I see. Except, what you're saying is one thing, but surprisingly I don't think you've ever actually done animation steady on 3s. I think of you very much as using lots of 1s and 2s.

Iso: Yeah, that's right. A lot of the time when I do something on 3s I'll be like "this is kinda dumb" and switch to 2s lol. That's because live action film shot at 8fps without key poses like in animation will still seem to move naturally, but in order to get the same effect with anime, you have to provide strong keys which can control the movement with only their own power. This isn't something which the Japanese production system supports. That's why it's a principle rather than a technique. I gave up on trying to use it professionally, but then in the back half of the 2000s you and your friends were using it all over the place.

Yamashita: More than that, I took your full 3-frame as a sort of challenge to see how few drawings I could use to express the movement I wanted without any waste.

Iso: That's another thing. In Gegege no Kitarou (Season 3, 1985~88) we were limited to 2400 drawings, so that's when I started to pursue the possibilities of limited animation in earnest. In any case, after all that I transitioned from animator to enshutsu, so I put full 3-frame on ice. I don't need to control everything as an animator anymore, and now I'm the one meddling with the timesheets lol. I started doing my own compositing from Blood the Last Vampire (2000) onward for the same reason, and I've been able to make images closer to my own imagination than ever before. In fact, it's faster this way.

#important #fav

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way ahead of his time forever.. thank you eternally Satoshi Kon <3

no other anime woman can compare to hana. it was love at first sight for me...

#the world wasnt even ready for your mind yet

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If you wanna protect AO3 or character ai. Or Wattpad. Or Tumblr. Or discord. Or even the right for undocumented people and minors to use the fucking Internet reblog this I swear to God. Reblog this and reblog as many KOSA posts as you can go on their website and contact your Representatives. Do it. Do it. Do it.

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Just some normal healing magic

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It's a date! 🍔✨

#fma #fav

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watcher

(developed a pretty neat way of making stained glass in blender! i'll make a video about it at some point)

#my heart T_T <333

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Favorite pages off Daydream hour

#ryoko kui #delicious in dungeon #dungeon menshi #falin touden #laios touden #chilchuck tims #senshi

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every day I think about the religious anime girls…

And how the artist drew several pro-Palestine drawings like this one

in 2014, that’s right, 2014, this did not fucking start October 7th.

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the scariest thing about old tv isnt really the racism or the sexisim because you kinda go in braced for that it's all the scenes where suddenly an actress is holding a lion cub or a chimpanzee is in the same room as a toddler, or suddenly theres a lion, or there's a chimpanzee again but it's driving a car, or holding a lighter, or holding fireworks. You just kind of watch in horror as over and over an actress performs with only 1960s tv film shootings best animal handling between her and the opening to Nope.

#best evil person death in alternate universe

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Rachel Corrie and Aaron Bushnell

They sacrificed their lives for the just cause of Palestine.

The palastinians will never forget them.

And Tom Hurndall, in 2004, January 13, Israel killed Tom while he was protecting a Palestinian girl in confrontations with the occupation forces.

In our hearts forever, guys.

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goodnight everyone (:

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