All the names of the series are in the description, I have also added the option of subtitles in English and Japanese with the names of all the series. You can go back or forward frame by frame Frame Advance: Press the " . " Key / Rewind frame: Press the " , " key Remember, animation is not made to pause as animation is made up of the entire sequence of drawings that create the illusion of movement, so there is no point in evaluating the "quality" of animation based on an individual drawing. Even so, I highlight the option to move forward and back frame because it is always interesting to see the animator's work in each particular drawing, in addition to helping a lot to understand how his work works.
Akira was a pretty important work in the sense that it brought together some of the Telecom talents under the Disney influence, the Ghibli talents under a relatively similar approach (but keeping the foundations of Japanese animation in terms of limited animation), plus some outside talents and put them all under the supervision and vision of Takashi Nakamura, imposing his Disney-Toei Douga influenced style (sounds similar to the Telecom approach but is quite different as in that studio the main idea was to train aspiring and inexperienced animators, making sure they were out of the standard of limited animation and instead bringing them in through the American approach). Having introduced this, Hashimoto’s scene is very good and like other animation geniuses like Satoru Utsunomiya and Tatsuyuki Tanaka, it is impressive that an animator with so little experience has done such a high level of work, which tells us a lot about the animator’s skills and potential. The most striking thing about the scene is the gorgeous background animation, incredibly detailed and with changes in perspective, maintaining a smooth flow of movement very similar to the American style through the implementation of Full Animation. The character movements are quite small but are still precise and manage to convey emotions very well, while the character and vehicle models remain intact. The animation on the reflective surfaces also stands out, being a very striking detail and also Hashimoto's ability for POV animation, which he will use a couple of times in the future. Innocence was one of the largest gatherings of talent seen in the industry and of course Hashimoto could not be left out. Despite Hiroyuki Okiura, Kazuchika Kise, and Tetsuya Nishio's restrictive approach to keeping the character models intact, Hashimoto implemented his style into the scene he was assigned, removing the volumetric feel of Okiura's designs and opting for something much freer, with slight angular deformations and his signature smears. This was originally part of the description, but due to character limitations I had to reword it to add it here as the usual "featured animator work" section, though in this case Hashimoto has an exaggerated amount of work that could be considered as such and is brimming with technical complexity that, while very entertaining and interesting to analyze, probably requires a similar amount of text as the description.
The clip from the Junkers Come Here pilot looks incredibly different from the movie version. I would have really liked to see Oohira's vision in a feature film, it would surely be one of the best animated productions to come out of Japan
Yes, it's a shame that that rendition was cancelled, as I recall reading it was because they spent months working on the pilot and could only get 3 minutes of animation done, so from there we can tell that it was an incredibly demanding job for those involved But still the pilot film is another great example of Japanese animation going down a unique path and is considered one of the high points of the industry, similar to Yoshifumi Kondou's Little NEMO pilot film
I agree, the way the characters and the clothes are so simplified, but still applying a first-class movement in which each step has a correct physical and anatomical sense, while the clothes respond to that and the small movements of the characters interact perfectly with the other elements, for example the part where the girl parks the bike and takes her things from the basket, or when she goes up the stairs and wipes the water off her face, it's just too believable. Also look at the bike, which is also quite simple but the rotation it has is incredible
![[作画 MAD/AMV] Satoru Utsunomiya (うつのみや理) Sakuga](http://i.ytimg.com/vi/r8rDFLhaFLE/mqdefault.jpg)
![[作画 MAD/AMV] Satoru Utsunomiya (うつのみや理) Sakuga](/img/tr.png)
![[作画 MAD/AMV] Creature (怪物) Sakuga](http://i.ytimg.com/vi/GcjL0pPq3Zc/mqdefault.jpg)
All the names of the series are in the description, I have also added the option of subtitles in English and Japanese with the names of all the series.
You can go back or forward frame by frame
Frame Advance: Press the " . " Key / Rewind frame: Press the " , " key
Remember, animation is not made to pause as animation is made up of the entire sequence of drawings that create the illusion of movement, so there is no point in evaluating the "quality" of animation based on an individual drawing.
Even so, I highlight the option to move forward and back frame because it is always interesting to see the animator's work in each particular drawing, in addition to helping a lot to understand how his work works.
Akira's background animation right at the start of the video is hypnotic
Does this man ever miss!?! Freaking amazing man, thank you
Akira was a pretty important work in the sense that it brought together some of the Telecom talents under the Disney influence, the Ghibli talents under a relatively similar approach (but keeping the foundations of Japanese animation in terms of limited animation), plus some outside talents and put them all under the supervision and vision of Takashi Nakamura, imposing his Disney-Toei Douga influenced style (sounds similar to the Telecom approach but is quite different as in that studio the main idea was to train aspiring and inexperienced animators, making sure they were out of the standard of limited animation and instead bringing them in through the American approach). Having introduced this, Hashimoto’s scene is very good and like other animation geniuses like Satoru Utsunomiya and Tatsuyuki Tanaka, it is impressive that an animator with so little experience has done such a high level of work, which tells us a lot about the animator’s skills and potential.
The most striking thing about the scene is the gorgeous background animation, incredibly detailed and with changes in perspective, maintaining a smooth flow of movement very similar to the American style through the implementation of Full Animation. The character movements are quite small but are still precise and manage to convey emotions very well, while the character and vehicle models remain intact. The animation on the reflective surfaces also stands out, being a very striking detail and also Hashimoto's ability for POV animation, which he will use a couple of times in the future.
Innocence was one of the largest gatherings of talent seen in the industry and of course Hashimoto could not be left out. Despite Hiroyuki Okiura, Kazuchika Kise, and Tetsuya Nishio's restrictive approach to keeping the character models intact, Hashimoto implemented his style into the scene he was assigned, removing the volumetric feel of Okiura's designs and opting for something much freer, with slight angular deformations and his signature smears.
This was originally part of the description, but due to character limitations I had to reword it to add it here as the usual "featured animator work" section, though in this case Hashimoto has an exaggerated amount of work that could be considered as such and is brimming with technical complexity that, while very entertaining and interesting to analyze, probably requires a similar amount of text as the description.
The clip from the Junkers Come Here pilot looks incredibly different from the movie version. I would have really liked to see Oohira's vision in a feature film, it would surely be one of the best animated productions to come out of Japan
Yes, it's a shame that that rendition was cancelled, as I recall reading it was because they spent months working on the pilot and could only get 3 minutes of animation done, so from there we can tell that it was an incredibly demanding job for those involved
But still the pilot film is another great example of Japanese animation going down a unique path and is considered one of the high points of the industry, similar to Yoshifumi Kondou's Little NEMO pilot film
The scene at 0:24 is too good, the characters move in a unique way
Excellent video, it was very nice to watch!
I agree, the way the characters and the clothes are so simplified, but still applying a first-class movement in which each step has a correct physical and anatomical sense, while the clothes respond to that and the small movements of the characters interact perfectly with the other elements, for example the part where the girl parks the bike and takes her things from the basket, or when she goes up the stairs and wipes the water off her face, it's just too believable. Also look at the bike, which is also quite simple but the rotation it has is incredible
Thank you