I never knew that they were so many animation directions in one piece. Iam glad I came across this thread and thanks for taking the time explain all this. I realized that the animation in the newest episode were indeed better and similar to movie 9 but I am really dissapointed with the art. Atleast I hope they change it after they are done with the upcoming movie.
A Study of One Piece Animation
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This episode was surprisingly awesome…Some awesome animators worked in the episode. Probably new animators. But they are not on the special animators level.
Next week looks awesome as well. The fight scenes key animation looks like is done by Nakatani.
It's weird though, Non of the special animators worked on any episode since 405...I just hope any one of them work in Kenji episode. Cause that's the last fight. And that's the icing on the cake.
Seriously, Toei handling of the action scenes in One Piece lately is waaaaaaaaaaaay better than Naruto, which is an action heavy anime.
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Seriously, Toei handling of the action scenes in One Piece lately is waaaaaaaaaaaay better than Naruto, which is an action heavy anime.
Agreed, the way things are now, maybe we shouldn't even worry when a poor AD like Yokoyama is set to handle an action heavy episode, since different key animators are handling the action scenes anyway..
I wonder why they couldn't lend Shingaki a hand on 403 though. -
Yeah, that's why I keep looking forward to each episode, no matter who is the supervisor, as long as I feel there is an awesome scene that deserves good animation.
Well, The special animators worked on 401,404 and 405…So there had to be a sacrifice. Although 402 and 403 Had some great animated scene.
The animator who did the last scene in 403 And Kuma exploding in second half was great.Did you know that Shingekai's episode 395 had the best 3 animators working under him?
-Tomita Yoshikazu
-Shida Naotoshi
-Ryou Ōnishilol
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Just finished 412 and I gotta say MUCH more please with the animation here than the one Tate's episode. It is not that the animation was remarkable, but it seemed more of the appropriate standard I'm used to expecting from One Piece. The preview for 413 looks excellent animation wise and it looks like whoever is in charge of the action sequences know what he/she is doing.
O-chan
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Inoue's work is fantastic and I really love his art and high detail.
I start raging and throw stuff everytime I see Tate's work… sure animation is fluid but a way he draws charecters... if I wouldnt read manga I could not even regocnize Robin or Nami, they look that bad sometimes.
Movie 6 left me absolutely disgusted, it had its moments but facial art was crotesque and dead.
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I wouldn't rage at Tate working on an episode, because it seems like he is still putting a bit of effort towards his work. The only time I would be upset with an animator is if their art is flat out icky, or if they've been blatantly lazy with their work.
What's cool about One Piece's animation now is that it kind of hearkens back to the days of when Warner Bros. animated shorts were being handled by different directors.
Tex Avery, Chuck Jones, Bob Clampett, Friz Freeling, Bob McKinson all had their own unique animation flare and style. They also managed to obtain a certain level of dignity and respect for their work. Sure, some directors may be objectively better than others, but the number of different approaches is what gave Looney Tunes a whole new level of entertainment.
I am pleased to see One Piece taking this route. To me, art and animation in anime tends to be on the mundane and redundant side of things. It's great to see OP rebel from this mold.
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I wouldn't rage at Tate working on an episode, because it seems like he is still putting a bit of effort towards his work. The only time I would be upset with an animator is if their art is flat out icky, or if they've been blatantly lazy with their work.
What's cool about One Piece's animation now is that it kind of hearkens back to the days of when Warner Bros. animated shorts were being handled by different directors.
Tex Avery, Chuck Jones, Bob Clampett, Friz Freeling, Bob McKinson all had their own unique animation flare and style. They also managed to obtain a certain level of dignity and respect for their work. Sure, some directors may be objectively better than others, but the number of different approaches is what gave Looney Tunes a whole new level of entertainment.
I am pleased to see One Piece taking this route. To me, art and animation in anime tends to be on the mundane and redundant side of things. It's great to see OP rebel from this mold.
I think certain anime series aside from One Piece do this and so have a more uniform style. For example Naruto, Yu Yu Hakusho, Sailor Moon, Saiyuki, Rurouni Kenshin have a lot of standout artists. To site a specifc example I did an animation study of Rurouni Kenshin a few years back and the one thing that I found funny was how I thought Season One (the Tokyo arc) had some rather blah animation. But gradually the animation improved over the course of the first 27 episodes. Then BAM the Second Season starts and we treated to some godly animation for something done in 95-96. Here just look at these samples before YT deletes them:
Episode 1:
Episode 26:
Episode 30 (this is the BEST fight in the entire series):
Point is, One Piece is not the first or last anime series to have a good cadre of animation directors.
O-chan
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o chan for real you been to an art school man thats awesome what did you study there i went to an art school for embrassment i did quitted art school but i am planning to come back to it.
well anyways i know One Piece animation is not the best in the world but still i can feel that there is alot of heart and quality put into this show then any other anime i have seen, i just don't know why.
but for some reason its making me want to come back to Art college again even though i quitted and i think Toei Animation was a right pick for the One Piece series.
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Point is, One Piece is not the first or last anime series to have a good cadre of animation directors.
Yeah, long running animes tend to be like this…but i think in OP the differences in art style/animation are more visible than the norm, and i like that. Adds to the experience.
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o chan for real you been to an art school man thats awesome what did you study there i went to an art school for embrassment i did quitted art school but i am planning to come back to it.
well anyways i know One Piece animation is not the best in the world but still i can feel that there is alot of heart and quality put into this show then any other anime i have seen, i just don't know why.
but for some reason its making me want to come back to Art college again even though i quitted and i think Toei Animation was a right pick for the One Piece series.
Well since this came up, go here:
http://ochan28.deviantart.com/This would give you a good idea of my drawing ability and the type of comic artwork I produce.
I don't like throwing around the name of the school I went to because even though I graduated I never followed through and got a professional art career (and this was like 7 years ago). It also didn't help that my college wasn't EXCLUSIVELY an art school but a traditional college which happened to also have a school of art. I studied film and English as well. I don't like going into to many details about my personal life because I'm in a transitional phase where I'm trying to still follow my dream but also deal with the reality of my situation.:getlost:
ANYWAY, I've always been fascinated with anime artwork overall because you see a lot of dramatic changes in shows over the course of a few years and a lot of long running shows really do this and so it's interesting to see what directors were responsible for the animation changes.
O-chan
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thats great o chan actually i do want to go back to art college my life hasn't been too well either so yeah not for me to talk about it in here.
anyways yes i do think its also interesting how many different changes a show can have thats long aka One Piece, Naruto and Bleach.
yes i do noticed it alot but i still feel One Piece is handled better for some reason and it has a great feeling inside i don't know why?
still i can't wait for next week epsiode with the boa sisters fight.
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thats great o chan actually i do want to go back to art college my life hasn't been too well either so yeah not for me to talk about it in here.
anyways yes i do think its also interesting how many different changes a show can have thats long aka One Piece, Naruto and Bleach.
yes i do noticed it alot but i still feel One Piece is handled better for some reason and it has a great feeling inside i don't know why?
still i can't wait for next week epsiode with the boa sisters fight.
As much as I like Naruto (Bleach lost favor with me some time ago) I will call both series out on their one glaring flaw. TOO MUCH LONG-ASS FILLER!
Naruto and Bleach had excellent starts while One Piece had to grow into its groove. The problem is while One Piece kept getting excellent and never stopped Naruto kept hitting hills and valleys and Bleach's narrative just derailed. The anime versions of both shows had to create filler to deal with the mangas pacing. One Piece is actually set-up with an automatic filler gauge by having the Straw Hats go from island to island. Another thing is that Toei seems to handle filler well while Pierrot is hit-or-miss.
I think the reason Toei has such a good control over filler is because their other shows like DB/DBZ/DBGT and Sailor Moon had a good chunk of filler dominating the story but the filler managed to develop the characters and flesh them out. Naruto and Bleach's filler tend to retard the characters and degrade their personalities to the point where its clear your watching crap. Bleach even went farther by ACKNOWLEDGING that they were purposely ignoring the long-butt story arcs and just doing a filler arc for however long.
A good example of filler done well was how DBZ's Saiyan Saga was like 60% filler but within those episodes we were seeing how the individual characters built-up and trained for the upcoming battle. Gohan himself got at least 5 or 6 character building episodes that transitioned him from a scared and sheltered little kid to a semi-confident warrior. While the manga was more like "Yeah, Piccolo left him in the woods and he eventually got used to it!" The sad thing about Naruto's 82 episode filler arc that occured before Shippuden is that that was almost the same amount of filler in DB/DBZ's entire run. I think Naruto has the record for most straight filler done in an anime.
One Piece seems to know how to restrain themselves when it comes to filler and the WORST it got was the time between Alabasta and Jaya and even then it was still watchable and didn't get to ridiculous, plus I think it helped ease us viewers into Robin abruptly joining the crew like she did. I mean think about it, even though Skypiea ran for a long time it was only a few days at most in actual time and then SUDDENLY we're followed by an arc beginning to deal with Robin's past. I like how the anime had the characters go on a few mini-adventures with here and getting accustomed to her and then have Jaya/Skypiea happen because by then she felt more intergrated with the crew.
My ultimate point is it seems that at least Toei's filler most of the time helps One Piece not hurt it.
O-chan
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Couldn't agree anymore. Goats/Rainbow Mist and some of those other fillers (Fireworks, salesman) were bad, but not atrocious.
About DBZ fillers…i think i realized how there were some pretty enjoyable additions just now, watching Dragonball Kai. So many scenes and small touches i liked were cut that i stopped following the series for now, and a good bunch was filler. -
Couldn't agree anymore. Goats/Rainbow Mist and some of those other fillers (Fireworks, salesman) were bad, but not atrocious.
About DBZ fillers…i think i realized how there were some pretty enjoyable additions just now, watching Dragonball Kai. So many scenes and small touches i liked were cut that i stopped following the series for now, and a good bunch was filler.The ONLY time DBZ's filler wanted to make me vomit was the "Fake Namek" arc. Not only did it create an internet phrase that will ban you on most forums, but it was truly stupid and an utter waste of time. I'd rather watch the first 15 episodes of GT than watch the "Fake Namek" arc.
Going back to One Piece, the only thing (this is a point that someone else brought up, not me) thats flawed with their filler is the uniqueness of the Grand Line is watered down because almost all the filler island are rather plain compared to the different environments in the manga.
O-chan
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I've never watched the Fake Namek arc considering that it was just filler so I have no idea what the phrase is. May I ask what it is?
On topic now. I wouldn't say that the environments are the only flaw of the fillers. In my opinion, some of the plots of the filler just didn't seem like something I'd expect from One Piece. Things like the G8 arc were fine but the Rainbow Mist and that…...goat arc just didn't really grab my attention (I did feel sorry for the goats I thought they were cute for some strange reason). They just didn't have that spark that would normally get me wondering what happens next. But, the filler isn't that bad but it isn't very good either.
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The Fake Namek arc involved Bulma, Gohen, and Krillin landing on some planet thinking that it was Namek because two aliens used illusions to trick them so that they could steal their ship or something.
As for One Piece filler, I have to wonder if there were any new writing teams for G8, because that arc had quite a different ''feel'' to it than the rest of the filler and story. If so, I would certainly love to see those writers again, because that arc had an interesting set of villains, or rather, anti-villains, in Johnathan and Drake, and there were a lot of truly gut-busting hysterical moments throughout.
I also like how it actually humanized the Marines. That was a nice touch….and then of course in the canon story arc that followed Oda started beating into our heads the message that they were the worst, evilest organization around, and he hasn't let up on that ever since.
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I thought Ice Hunters had a really decent setup honestly, but then it started to lose it's touch towards the end.
As for G8, I never saw it.
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I updated Tomita due to a mistake, and Now Added Shida Naotoshi. I don't have a lot of free time, that's why I'm a bit late. bare with me for sometime until I finish all of them. Editing the opening scenes took a lot of freaking time, btw.
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Tomita Yoshikazu [冨田与四一]
-Belongs to Toei Animation
Works:
-Animator in 1st One Piece Movie.
-Animator in Episodes (336, 347, 357, 367, 377, 395).Notes:
-High level of shading details.
-Very Dynamic action scenes.
-Amazing Visual Effects.
-Very similar to Oda's art.
-Usually works under Eisaku Inoue.
-Likes to add a round light spot on the face.!
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Shida Naotoshi [志田直俊]
-Belongs to Toei Animation
Works:
-Animator in 2nd One Piece Movie.
-Storyboard (304, 318, 329, 338, 344, 353, 360, 365).
-Animator (304, 367, 395, 404, OP11).Notes:
-Very Dynamic action scenes.
-Amazing Visual Effects.
-Solid Art.
-Very High Frame Rate.
-Usually works under Eisaku Inoue and Naoki Tate.
-Most of his scenes include flying sequences.!
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and Sailor Moon had a good chunk of filler dominating the story but the filler managed to develop the characters and flesh them out.
Some of the filler did hit Naruto-bad, though. I mean, learning how to lose weight?
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@The:
Some of the filler
did hit Naruto-bad, though. I mean, learning how to lose weight?Yeah, but that was at the very beginning of the series and many of the Usagi-solo episodes were kinda meh. I meant overall Sailor Moon's filler has more hits than misses. Plus I think (One Piece included) many of us could pick out single filler episodes in long running series that were just BAD. It's more about if their generally bad in long gaps (like Naruto, and Rurouni Kenshin), than if their occasionally bad but mostly watchable (like DBZ and Sailor Moon).
O-chan
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After a long of time, I finally found the great animator who worked in 412. Turns out he was the one who did the final scene of eps 349. When Moria Removes the Shadow from Luffy.
Kenji KUROYANAGI [黒柳 賢治]
■ONE PIECE(2008) 原画 349話 363話 412話
I really loved his scene when Moria removed the Shadow from Luffy in 349.
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I was watching 412 recently and I have to say that was a nicely directed episode. Probally the best one I seen so far in this arc. The compositions, perspectives, and the feel of speed used felt rather Tate-ish. Who lead this one? This one shows potential to be one of my favorite OP directing groups. Most notable scens were "Pistol kill", Luffy running on that rooftop, Luffy's pause after landing from the roof(looks cool), and the collision and crash after Luffy was kicked by Nyon.
413 was not too bad and the crowd scrolling was not that bad either. Personally I think they should have went for an approach to make it feel like an arena with more sound from the crowd(almost like the "Exectuion" chants, which felt really good for the buildup). The timing in between the sister's talking and performing thier moves felt a bit unnatural and also(gattling vs the dance. It seems like Luffy was trying a bit too hard floating in that one spot). The faintings looked absolutely terrible though…
414 was only crafty for the filler segments, but everything after that was rubbish. Not much to comment on in this ep. Everything felt stiff and almost flash slideshow of colored manga pages... No offence meant. My favorite short battle ruined, but I suppose a non manga reader could get some enjoyment from it(my freinds and sis enjoys things that bother me XD)
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Just saw 415. What I noticed about this one was the shading. Really nice. The colors and emotions used were really good too. I can't really think of anything that made the episode bad.
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I was watching 412 recently and I have to say that was a nicely directed episode. Probally the best one I seen so far in this arc. The compositions, perspectives, and the feel of speed used felt rather Tate-ish. Who lead this one? This one shows potential to be one of my favorite OP directing groups. Most notable scens were "Pistol kill", Luffy running on that rooftop, Luffy's pause after landing from the roof(looks cool), and the collision and crash after Luffy was kicked by Nyon.
412 was headed by Kazuya Hisada. I put him in the middle of the pack generally, but of course, the direction has gotten for the show has gotten much better all across the board, and it seems that the entire animation team has gotten an animation upgrade recently. Even Yokoyama, one of the weaker directors on the show, had some decent moments at the end of the Luffy vs. Sandersonia and Marigold fight.
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412 was headed by Kazuya Hisada. I put him in the middle of the pack generally, but of course, the direction has gotten for the show has gotten much better all across the board, and it seems that the entire animation team has gotten an animation upgrade recently. Even Yokoyama, one of the weaker directors on the show, had some decent moments at the end of the Luffy vs. Sandersonia and Marigold fight.
Thanks for bringing this up, yeah, I noticed that Yokoyama actually looked decent in this episode.
I'm not sure if anyone noticed but didn't it seem that Hancock's eyes became a lighter shade when her…um...respect for Luffy started at the end of the previous episode.
O-chan
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Time to revive this thread.
Next week looks like a low budgeted Shigufumi episode to me. What do you guys think?
Anyway, I have added more animators…Re-posting the old ones:
! ==================================================
! Yoshikazu Tomita [冨田与四一]
! -Belongs to Toei Animation
! Works:
-Animator in 1st One Piece Movie.
-Animator in Episodes (336, 347, 357, 367, 377, 395).
! Notes:
-High level of shading details.
-Very Dynamic action scenes.
-Amazing Visual Effects.
-Very similar to Oda's art.
-Worked under Eisaku Inoue.
-Likes to add a round light spot on the face.
!
! ==================================================
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! Naotoshi Shida [志田直俊]
! -Belongs to Toei Animation
! Works:
-Animator in 2nd One Piece Movie.
-Storyboard (304, 318, 329, 338, 344, 353, 360, 365).
-Animator (304, 367, 395, 404, OP11).
! Notes:
-Very Dynamic action scenes.
-Amazing Visual Effects.
-Solid Art.
-Very High Frame Rate.
-Worked under Eisaku Inoue and Naoki Tate.
-Most of his scenes include flying sequences.
!
! ==================================================
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! Daiki Harada [原田大基]
! -Doesn't belong to Toei Animation
! Works:
-Animator (357, 370).
! Notes:
-Very Dynamic action scenes.
-Expressive Art and Animation.
-Worked under Eisaku Inoue and Masayuki Takagi.
!
! ==================================================
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! Sushio [すしお]
! -Doesn't belong to Toei Animation
! Works:
-Animator (Movie 2, Movie 6, 256).
-Animation Director (Movie 6).
-Character Design (Movie 6).
! Notes:
-Very Dynamic action scenes.
-Amazing Art and Animation.
-Considered one of the top Japanese Animators.
!
! ==================================================
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! Hisashi Mori [森久司]
! -Doesn't belong to Toei Animation
! Works:
-Animator (Movie 6, Movie 9).
! Notes:
-Very Dynamic action scenes.
-Amazing Animation.
-His scenes have sketchy style.
-Considered one of the top Japanese Animators.
!
! ==================================================
==================================================
! Norio Matsumoto [松本憲生]
! -Doesn't belong to Toei Animation
! Works:
-Animator (Movie 6).
! Notes:
-Extremely Dynamic action scenes.
-Amazing Animation and expressions.
-His scenes are extremely fluid and Action oriented.
-Considered one of the top Japanese Animators.
!
! ==================================================
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! Tatsuzou Nishida [西田達三]
! -Doesn't belong to Toei Animation
! Works:
-Animator (Movie 5, Movie 6, Movie 9).
-Animation Assistant (Movie 4).
-Assistant Animation Director (Movie 8).
! Notes:
-Extremely Dynamic action scenes.
-Amazing Animation and expressions.
-His scenes are extremely fluid and Action oriented.
-Considered one of the top Japanese Animators.
!
! ==================================================
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It should be noted that Norio Matsumoto is quite the popular animator and he's basically the Naruto Part One equivalent of what Naoki Tate is to One Piece.
He's also has had his hand in A LOT of popular animes as illustrated here:
WARNING! FIRST PART OF CLIP NOT WORK SAFEO-chan
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Well, I don't think we should compare them, cause Norio is on a totally different level.
Still, I know what you are trying to say.
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Mmm, nothing like using one of the industry's top talents on…the lead-up into a sex scene and Rei putting her underwear on. So typical of Japan to have their priorities mixed up like that.
All jokes aside, that was a pretty awesome watch. I noticed that pretty much everything was from before 2005-06. Is Matsumoto not as active in the animation field these days as he used to be?
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Not to defend Japan's values or anything, but I think those sorts of scenes can require subtle, skillful attention as well, not just the ones with showy action sequences.
I've always loved that video of Matsumoto's stuff. I can only laugh every time I see people complain about his work on Naruto. Stylistically he does have quite a few similarities to Tate, so they receive the same kind of criticism.
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Yeah, but that was at the very beginning of the series and many of the Usagi-solo episodes were kinda meh.
I think they're pretty enjoyable taken on their own, really. Their problem is that a) There's a massive assload of them right at the beginning of the series, b) The plot doesn't go anywhere during them, and c) Jadeite is the most boring villain in the entire series.
Sailor Moon has very few bad episodes, it just has a bit too many points where the plot doesn't advance for ages for most people's liking. The episodes during these points are much better when rewatched after you've seen the series, as you're not axious for the plot to go somewhere anymore.
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Rei putting her underwear on
It was worth it. :wub:
All jokes aside, that was a pretty awesome watch. I noticed that pretty much everything was from before 2005-06. Is Matsumoto not as active in the animation field these days as he used to be?
Nah, he is pretty much active. Some of the newest stuff are included in this AMV.
I love the second soundtrack in this AMV.I wish if Toei could use him for the War. He loves animating fighting scene on water.
I've always loved that video of Matsumoto's stuff. I can only laugh every time I see people complain about his work on Naruto. Stylistically he does have quite a few similarities to Tate, so they receive the same kind of criticism.
They are the same kind of people who don't know anything about animation, and the ones who trash Tate.
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I wished One Piece animated more fights with spinning moving backgrounds. The one I remember was Luffy vs Rug Bear.
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That video reminds me that I really have to watch Casshern SINS. The art style strongly reminds me of the Megaman Zero games.
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Well, my knowledge on the actual animation process isn't as extensive as others, I'm sure, but how I believe it works is that the animation director draws out the beginning and end of a frame, and then they're cleaned up and handed off to a team of animators who animate the transitions and such. So say Luffy is walking. The director draws out the beginning, middle, and end of the sequence, then it gets cleaned up, tested, and tweaked, and then the grunts fill in the rest.
I know this post is rather old, but I saw a few more that were confused with the process, so I thought I'd explain what I know.
All these animators that you guys are discussing in this thread are 作画監督 (sakuga kantoku) which is often translated as "animation supervisor." There is also a "technical/animation director," or 演出 (enshutsu) who works directly under the director (just plain 監督 kantoku), but his job description varies from show to show, depending on what the director wants him to do.
Anyway, the animation supervisor does not draw the key animation drawings. The key animators (原画 genga) draw them. Incidentally, "genga" is also the term for the key animation drawings themselves. The animation supervisor assigns specific key animators to specific scenes, decides how many key and in between drawings will be in each sequence, and does correction drawings (修正 shuusei). Corrections are used to make the characters "on model" with the 設定 (settei, model sheets) done by the character designer. One Piece has a few supervisors who stand out because they stick to the settei rather loosely (Tate, a lot of Inoue's episodes). These are the ones that even inexperienced watchers can pick out–ignoring all other aspects of animation, their style just looks different.
The key animators draw the key drawings that the animation supervisor specifies. This always includes the first and last drawing in the sequence, plus a specified number of drawings inbetween, depending on how long the final sequence will be. So, there can be anywhere from 1 to about 7 key drawings per sequence. I haven't ever seen much more than that. At this point, the drawings have not been broken up into time-saving layers (Used in times such as when a character is still and talking, or still with sparkling eyes; there is one layer for the face, and then another for the mouth or eye sparkles. So, you only draw the face once, and the mouth/sparkles multiply times on another layer.). The key drawings go to the animation supervisor to be checked/corrected, and then head on out to the inbetweeners.
Inbetweeners (動画 douga, which, like genga, is also what you call the artwork the inbetweeners produce) literally trace the key drawings onto a new sheet of paper, dividing them up onto layers as necessary. They then draw all of the shots that come inbetween the key drawings to connect them together. One Piece is special in that all of the inbetweening work is done via computer. So, there's actually one more job for the key animators to perform. They create clean key drawings that look a lot like the inbetween work that other studios do on paper. The lines are cleaner, and the shading is labeled in colors like it is on a hand-drawn inbetween drawing. It is still labeled like a key drawing, though. In the drawing I linked, Brook is actually shifting between being on a B and a C layer, and Franky and Robin are on a D layer. The A layer (not seen on this key drawing) is the purified spider-monkey. If this were an actual inbetween drawing, Franky and Robin would be on one sheet of paper, and Brook on another. These cleaned key drawings are then scanned onto the computer, and all of the inbetween work is done with a special program that seems to need little artistic talent. Most of One Piece's inbetween work is outsourced to overseas studios, including the studio they own in the Philippines (TAP).
Let me give you a few examples of correction work. Unfortunately, none are One Piece, since I have no sets of key drawings and matching corrections. I've got some good examples of some Escaflowne ones, though. Key drawings are always done on white paper. Sometimes, they are so incredibly off-model, like this Amano drawing here, that the animation supervisor has to draw the entire thing over again (the actual correction is not this bright; I scanned this sketch on my laptop, which had some color issues; it's more of a mellow color). Corrections are always done on colored paper. Usually it's yellow, I've also seen a light blueish-green. It's also thinner paper. That way, the animation supervisor does not have to redraw the entirety of every single drawing he wants to correct. He can redraw the part he wants, and then the animators can place the correction on top of the original key drawing. They all have light boxes, so they can see the correct parts of the original drawing shining through the thinner, yellow paper. Take, for example, this key drawing and correction of Allen. The darker lines you can see (his face in general, and his body) are the corrected lines. The lighter lines (mostly his hair) are from the original key drawing, coming through the correction when I scanned one on top of the other. Here's another one from this sequence, where the animation supervisor was just concerned with Allen's facial features. Sorry, I don't think I scanned just the original key drawings or just the corrections. If I did, they're probably on my dying laptop. If anyone's interested, I can look around for the scans or actually scan the sheets separately.
Anyway! Hope that added something to the discussion.
They are the same kind of people who don't know anything about animation, and the ones who trash Tate.
Blegh. I hate how you worded that. I'm not personally a fan of Tate's work in One Piece. I understand that his work is very fluid, and beautiful in its own way. My problem is with how much it sticks out. It would be one thing if the show gradually shifted over to that style of animation, or started with it to begin with. But I hate having the violent shifts from one episode to the next. Inoue sometimes does the same thing to me (though I prefer his to Tate's). It distracts me from the episode–and we're not talking one shot of Zoro looking ugly or one sequence being choppy. We're talking about the entire episode looking stylistically different. That's what I don't like about Tate. I understand that some people like to see stylistic differences in one show. I'm just not one of those people. I like consistency in style. Now, of course, all of the other supervisors have their own styles, too, but they don't differ as radically as Tate. That's why you see him taking so much more flack than any other supervisor.
Of course, there are some things he does that I love. For example, in 404, when Robin rolled Zoro across the ground, it looked like there was an actual body inside his clothes! I don't think I've ever said that about any animation before. I loved it! I also like Luffy's puffy eye in that episode. But at the same time, I think reindeer Chopper looked like a pile of brown goo. I winced every time he came on screen. shrug And I wouldn't say that I know nothing of animation.
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417: Shigefumi Shingaki (B+)
418: Kazuya Hisada (B+)
419: Katsumi Ishizuka (A)
420: Naoki Tate (A)Awesome month.
Edit: Looks like Movie 10 Animation Director is Masayuki SATO. 佐藤 雅将
■ONE PIECE FILM Strong World(劇場/2009) キャラクターデザイン・作画監督 http://www18.atwiki.jp/sakuga/pages/701.html
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Shingaki, Ishizuka, and Tate in one month (and Hisada's last outing wasn't bad at all)? This should be fun…
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Hisada last episode was really great. But that's due to the presence of great animators working under him.
Anyway, here I'm hoping for Inoue or Nakatani to finish the SH adventures on 421. That would be just awesome.
I love how Toei managed all theses episodes nicely.
The starting of ID will have average animation, and that's what it deserves, the later parts will have the good animation.
I'm loving the new rota the have been using since Shabondy. 3-4 Bad then 3-4 Good. -
Actually I thought they were using this new rota since Thriller Bark because that was the first arc which started of with "okay" animation then got all sorts of epic towards the end.
O-chan
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I didn't watch the new episode yet, waiting for HD. But Yoshikazu Tomita is credited as animator.
Didn't see that coming. :w00t:
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I would LOVE to watch the new episode…oh wait! Can't! Funi's site is being a dick!
O-chan
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Since Yibis's sub is out, I've finally gotten a chance to watch 416 in full HD quality, and I think Deguchi has noticeably improved in his second outing. There's still a kind of Fujita-esque simplicity to his art, and some ironing out to be done, but the problems from before, the crowd scenes looking sloppy and rushed, Marguerite looking like she was stoned, were either fixed or weren't as noticeable, and that's a step in the right direction.
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Thank you for this O-chan, I've been looking for something like this for ages…
I didn't really pay attention to the animators until recently, when I actually begun to see the difference… And whoa, I had no idea there were so many animator directors! D: Tate is my absolute favourite, though. And yeah, movie 6... Love it, as does pretty much anyone else.
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The last episode had a really weird and flat style. There are several segments that
mayare done by another guy…. The most noticeable one was that nightmare(better than how it was originally was with all the black screens...).Either way, I like how how sky island was colored. The new music seemed very "in the future" too.
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That part was definitely done by one of the animators that XMURADX posted a few pages back. I'm going to go with Yoshikazu Tomita, as a carry-over from his shiny, glossy puppy kicking from last week. I haven't really listened to much of this week's episode with sound yet. I should get on that and hear more of the new music.
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In the very beginning of the series all of east blue and what seemed like up to skypea actually, the animation seemed very consistant.
Can anyone tell me if a million and one animators worked on one piece since the beginning or did that happen much later when they realized the show was never going to end?
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MANY of the current animation directors have been with the show since the beginning. Inoue, Hisada, Ide, Takagi, Yokoyama, they've all been around since East Blue, WHILE Tate joined in Alabasta. Ishizuka joined around Water 7, Deguchi Amazon Lily, Nakatani Spa Island, and Shingaki in Sabaody. The main reason the show looks different now is because it's being made for a different viewing definition, and in widescreen, not to mention the character designs changing over the years (I remember Zoro looking buff enough to tear his shirt to pieces).
I think sometimes, we have our nostalgia goggles on in regards to the animation, since I recently went back and watched a few clips from around Alabasta to Skypiea, and the art there had plenty of mistakes and goofs too, mostly regarding proportions and angles. It's a bit more consistent these days in those regards. For example, the sequence of Doflamingo and Kuma walking from the harbor to Mariejois in 151 looks absolutely horrendous, you can even see Kuma skip a frame or two. It looks bad, bad, bad.