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Mirai Days really feels like the kind of web animator-type stuff that sakuga twitter would rave about years ago. a modern day Fate/Apocrypha
some of those cuts, with the way they used frames, was shockingly experimental. makes it clear to be that, from episode one, this show is trying to be bold, and do things that Precure can't normally do
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Symphogear's animation is a great example of how technical skill is not all it takes to makes animation look good. the show rarely has bursts of strong technical skill, but it makes up for it through snappy editing as well as dynamic framing and staging. it's a "work smarter, not harder" mindset which still results in something that looks good, even if it's not a technical masterpiece
in a season of production issues, Senpai wa Otokonoko stands out among the shows I'm watching as one which is remaining remarkably consistent in its production
there's two aspects of this. the first is that the show never had astounding production to begin with, so it doesn't have far to go down. but the other is that its use of chibi animation which uses a limited animation style for comedic effect acts as a rather useful crutch. it's a style that a long-running show like Precure might adopt for a single episode, but the choice to use it across the entire series certainly works with the tone and humor of the show. a strong example of a "work smarter, not harder" mindset in action
WHAT
one single person storyboarding an entire show is insane...
i believe that these lights are CGI. the animation is on 1s, and the camerawork is smooth and consistent. moreover, the subtle tilt at the end is something that would be difficult for traditional animation, but far easier for 3DCGI. the background is likely a static 2D background that was edited to work with the shot
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Series director Midori Yoshizawa has ushered in a new era of visual creativity in the Monogatari series that synergizes with its themes of t
This brings us to another characteristic trait of Yoshizawa: the sheer creativity represented not just in form, but in material. SHAFT’s most visually radical days, represented by the likes of Oishi himself, are behind them… but Yoshizawa never got that memo, because the more leeway she’s been granted, the more she has emphasized live-action footage and unconventional analog materials. For one, Yoshizawa often leans on the inherent link between time and tangible elements. As something that physically exists, those real materials evoke the passage of time in a more direct way than intangible animation could—hence her usage of time-lapses and seasonally coded live-action reels, analog drawings, paper cutouts, and so on.
new article from Sakugabooru about the production of Off & Monster Season! goes into the history of the anime and discusses what makes Yoshizawa unique as a director for this series. it's long, and well worth a read, as they go into quite some depth about what makes this new season stand out so much
all throughout, Girls Band Cry has supplemented its 3DCGI with 2D background characters, effects, and interstitial animation. however, episode 8 took this further, with Momoka's flashback being entirely 2D animated. this makes for a striking effect and contrast, as the 2D animation is drawn with a different style from the 3D models
let's look at it this way. Shaft is giving out opportunities within the industry by hiring so many animation directors
