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That's definitely Shinya Ohira, I thought.

Often I wonder about the process of an artist bringing a concept to reality. Starting life as an idea, it gets filtered, drained and blemished through the process of reaching the audience.

When I see Ohira's scenes I become aware of my heartbeat as if it's synchronizing with his.

Though I first saw his work on Akira, this short from the Animatrix was THE ONE. I still call it "Ya Know, The Skateboard Kid" and people know exactly what I'm talking about.

Ohira's opening scene in How Do You Live was left uncorrected which worked with the nightmarish atmosphere of the sequence. I'd imagine bringing his work on-model has to be hell.

You're watching an anime and suddenly, THAT SCENE pops up. Kill Bill, Howl's Moving Castle, Ping Pong, you know the ones.

In animation, they want you to stay on-model, keep the show cohesive, but speaking as one that works in the industry, I want to be seen.

Here’s my animation for the opening credits of Castlevania without the bells and whistles of compositing.

Not only did I get to develop the style for this part, but it’s the only piece of animation in the show where my original drawings aired without any sort of clean up.

Paint-on-glass animation is a technique for making animated films by manipulating slow-drying oil-paints on sheets of glass as the animator gradually alters the shapes they create, and during this process, a camera records each finished ‘frame’.

When adapting ONE’s Mob Psycho 100, director Yuzuru Tachikawa wanted to adapt the source material in fantastic ways. And so, by combining the talents of a skilled staff, an anime with an incredible mix of animation techniques was born.