Right? The movement is so smooth, while the complex infrastructure is consistent at all times It is quite reminiscent of works by Telecom-Ghibli animators, Emura probably developed it after working on Laputa and perfected it during Akira
The sequence in which Kaneda's group chases The Clowns (Akira) from the tunnel entrance is quite interesting for every layer of depth: The background is animated in Full Animation, having an incredibly smooth movement as the cones get closer with the change of direction of the camera which is designed to coincide with the complex movement of the tunnel entrance (which is made by hand), achieving a fascinating three-dimensional sensation. During that initial cut, the motorcyclists (Clowns) make several lean movements to distribute the weight on the desired side of the motorcycle and achieve the turn, generating a skid right at that moment (of course all this is also done in full animation). In the second cut there is a frame modulation, because while the cones and the background move at high speed (1s), Kaneda and his group move in 2s, generating a very interesting sensation (In addition, the cones in this case present a great reaction movement, with their corresponding direction according to inertia and their rebounds when hitting the road). I could go on for a long time with just that sequence, but I prefer to leave it as the perfect example of Akira's animation approach: Transferring Disney's Full Animation to Japanese productions, in this case being in the moments of greatest impact/speed of the film. His scenes in Angel's Egg are also absurdly good, probably the most notable in the entire OVA in terms of movement. That cut in which the Boy holds the hand of the lying Girl is beautiful, the movement is precise but at the same time expresses the very valuable Illusion of Life. I included the Innocence scene because the accreditation situation is complicated. Mamoru Oshii mentioned it twice and credited Emura as the original animator, saying that two types of layout were presented, one without a contact area of the ground with the feet and another that did have it, being opposite extremes in terms of difficulty (Oshii chose the difficult one). Oshii said that Emura finished it in 6 weeks and that Hiroyuki Okiura ordered him to redo it, taking another 4 weeks and being hospitalized. Kazuchika Kise recently mentioned that the scene was probably entirely corrected by Okiura (Maybe Emura was hospitalized after the first 6 weeks and Okiura corrected his Original Drawings in the next 4 weeks?) Since Okiura came into this, I wouldn't want to miss the opportunity to mention that Emura was a kind of teacher to Okiura, teaching him his way of designing sequences fundamentally through logic and encouraging him that if he didn't know how to approach a scene, he would find a way to do it himself and use himself as a reference. Emura also showed Okiura a photography book, emphasizing that although the photos were taken in the same way, they changed a lot depending on the lens. Emura also taught him to take perspective.
Such handling of a mechanical model this complex is impressive, providing it with so much three-dimensional volume and at the same time keeping the movement dynamic
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.
Is there a major difference between these realistic school masterpieces with recent heavily video-referenced sakuga (with all the respect, like the works from Kouki Fujimoto)? I emotionally feel they are different but they are all based on animators referencing real life actions...
It's an interesting question and tbh I had never thought about it, but I would say that the main difference comes from the influence that the animators have, the focus of the industry at that time and the way references are approached. Before Nakamura's Realistic School there were two realist approaches, one of the Telecom-Ghibli animators whose influence came from the animated productions of the United States and specifically Disney (some of the animators were in fact trained by animators from the United States when looking for produce Little Nemo) and the other approach was that of Madhouse-Nakamura (although Nakamura had influence from Disney-Toei, the rest in Madhouse maintained a much more "conservative" approach), both meeting during the production of Akira, which had the dominant Nakamura-Disney approach (The New Realism): Nakamura's influence on that entire generation of animators was quite important because it meant a considerable change in terms of the representation of realism, trying to leave aside the "static" approach (which Emura shows here with his work in Angel's Egg) and leaning more towards fluid and anatomically correct movements, seeking a strong three-dimensional volume in the characters and taking into account the three-dimensional space in which the characters are located, in addition to the fictitious camera. All this formed realistic animators such as Inoue, Okiura, Hamasu, Arai, Tanaka, Aoyama, Oohira, etc. Once the production was finished, many of these animators looked for new forms of expression based on New Realism, in addition to being a generation in which there were many animation geniuses, who frequently competed with each other to improve or shared their approaches/techniques, not to mention that a lot was demanded of them in terms of skills with the reduced production times Currently, several assisted tools can be used for animation; in the case of the rotoscope, the human eye detects it instantly due to the subtle movements that the reference material can present (according to Oshii's words, because of the actor's "physiological time"). This is to a certain extent avoided if the animator uses references without tracing and adapting that realism to his own interpretation (which can also be achieved with rotoscoping but by redrawing everything quite a bit). Something similar happens with the CG used as a base, since the consistent shape and shading (sometimes due to perspective, since they keep the shape intact instead of making a deformation to adjust it) added to the flow of movement usually draws attention in the same sense Despite everything said, there seems to be a generation of young animators with a realist influence who often use references / CG in Clover Works productions (Sono Bisque, Akebi, Wonder Egg, Bocchi) but the results are quite variable, since sometimes you can see a very strong CG base, while at other times the movement feels extremely natural with a good amount of over acting, deformations, in addition to the fact that shading seems to have a lot of relevance in his works (which is different, for example, from Oshii's films, since they usually use complex shading but with a liquid feel and freedom in terms of shapes). Kouki Fujimoto's ep on Frieren (#09) is also a good example of the current realist approach, as you can see that many cuts are made based on real references, but the movement feels too natural, as if a veteran realist animator I would have approached them, but the interesting thing is that in that ep there were animators whose approaches are quite different but all of them in one way or another managed to represent their version of a realistic style (Uchiyama through three-dimensionality and weight distribution, Sawada using few drawings positioned perfectly so that the flow feels incredibly natural, Hanwen uses inertia, Yoshida also uses few drawings but with a choppy flow and a lot of emphasis on inertia and three-dimensionality, etc). Visually that episode is easily my favorite in a long time There is also the dance scene done by Myoun for ep #15, which pushes to the limit what can be done using references since in this case the animator adapted everything according to his interpretation without tracing or using CG/motion cap
@@AnotherSakuga Always informative and educational! In short, the old school realistic animators have shared their approaches with each others so they're aesthetically similar. New gens have more separated approaches and variant results. Thank you my master!
Thanks! It seemed strange to me that no one had made a compilation of Emura's work considering that he has works of the highest quality About the song, I recently listened to Paramore for the first time and right at the beginning of the song I visualized Emura's works in Patlabord 2 and Angel's Egg, that's why I chose it lol
![[作画 MAD/AMV] Yoshinori Kanada (金田伊功) Sakuga](http://i.ytimg.com/vi/ST17s6j0Pow/mqdefault.jpg)
![[作画 MAD/AMV] Yoshinori Kanada (金田伊功) Sakuga](/img/tr.png)
![[作画 MAD/AMV] Creature (怪物) Sakuga](http://i.ytimg.com/vi/GcjL0pPq3Zc/mqdefault.jpg)
I loved his background animation
Right? The movement is so smooth, while the complex infrastructure is consistent at all times
It is quite reminiscent of works by Telecom-Ghibli animators, Emura probably developed it after working on Laputa and perfected it during Akira
The sequence in which Kaneda's group chases The Clowns (Akira) from the tunnel entrance is quite interesting for every layer of depth: The background is animated in Full Animation, having an incredibly smooth movement as the cones get closer with the change of direction of the camera which is designed to coincide with the complex movement of the tunnel entrance (which is made by hand), achieving a fascinating three-dimensional sensation. During that initial cut, the motorcyclists (Clowns) make several lean movements to distribute the weight on the desired side of the motorcycle and achieve the turn, generating a skid right at that moment (of course all this is also done in full animation). In the second cut there is a frame modulation, because while the cones and the background move at high speed (1s), Kaneda and his group move in 2s, generating a very interesting sensation (In addition, the cones in this case present a great reaction movement, with their corresponding direction according to inertia and their rebounds when hitting the road).
I could go on for a long time with just that sequence, but I prefer to leave it as the perfect example of Akira's animation approach: Transferring Disney's Full Animation to Japanese productions, in this case being in the moments of greatest impact/speed of the film.
His scenes in Angel's Egg are also absurdly good, probably the most notable in the entire OVA in terms of movement. That cut in which the Boy holds the hand of the lying Girl is beautiful, the movement is precise but at the same time expresses the very valuable Illusion of Life.
I included the Innocence scene because the accreditation situation is complicated. Mamoru Oshii mentioned it twice and credited Emura as the original animator, saying that two types of layout were presented, one without a contact area of the ground with the feet and another that did have it, being opposite extremes in terms of difficulty (Oshii chose the difficult one). Oshii said that Emura finished it in 6 weeks and that Hiroyuki Okiura ordered him to redo it, taking another 4 weeks and being hospitalized. Kazuchika Kise recently mentioned that the scene was probably entirely corrected by Okiura (Maybe Emura was hospitalized after the first 6 weeks and Okiura corrected his Original Drawings in the next 4 weeks?)
Since Okiura came into this, I wouldn't want to miss the opportunity to mention that Emura was a kind of teacher to Okiura, teaching him his way of designing sequences fundamentally through logic and encouraging him that if he didn't know how to approach a scene, he would find a way to do it himself and use himself as a reference. Emura also showed Okiura a photography book, emphasizing that although the photos were taken in the same way, they changed a lot depending on the lens. Emura also taught him to take perspective.
Akira's initial chase scene is already a classic and at the same time it is too amazing to watch
It's an incredibly popular scene and it deserves it because technically it's perfect
I have rarely seen a vehicle as detailed and full of dynamism as the one in the Spriggan scene
Such handling of a mechanical model this complex is impressive, providing it with so much three-dimensional volume and at the same time keeping the movement dynamic
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.
天使のたまごが素晴らしい
Is there a major difference between these realistic school masterpieces with recent heavily video-referenced sakuga (with all the respect, like the works from Kouki Fujimoto)? I emotionally feel they are different but they are all based on animators referencing real life actions...
It's an interesting question and tbh I had never thought about it, but I would say that the main difference comes from the influence that the animators have, the focus of the industry at that time and the way references are approached. Before Nakamura's Realistic School there were two realist approaches, one of the Telecom-Ghibli animators whose influence came from the animated productions of the United States and specifically Disney (some of the animators were in fact trained by animators from the United States when looking for produce Little Nemo) and the other approach was that of Madhouse-Nakamura (although Nakamura had influence from Disney-Toei, the rest in Madhouse maintained a much more "conservative" approach), both meeting during the production of Akira, which had the dominant Nakamura-Disney approach (The New Realism): Nakamura's influence on that entire generation of animators was quite important because it meant a considerable change in terms of the representation of realism, trying to leave aside the "static" approach (which Emura shows here with his work in Angel's Egg) and leaning more towards fluid and anatomically correct movements, seeking a strong three-dimensional volume in the characters and taking into account the three-dimensional space in which the characters are located, in addition to the fictitious camera. All this formed realistic animators such as Inoue, Okiura, Hamasu, Arai, Tanaka, Aoyama, Oohira, etc. Once the production was finished, many of these animators looked for new forms of expression based on New Realism, in addition to being a generation in which there were many animation geniuses, who frequently competed with each other to improve or shared their approaches/techniques, not to mention that a lot was demanded of them in terms of skills with the reduced production times
Currently, several assisted tools can be used for animation; in the case of the rotoscope, the human eye detects it instantly due to the subtle movements that the reference material can present (according to Oshii's words, because of the actor's "physiological time"). This is to a certain extent avoided if the animator uses references without tracing and adapting that realism to his own interpretation (which can also be achieved with rotoscoping but by redrawing everything quite a bit). Something similar happens with the CG used as a base, since the consistent shape and shading (sometimes due to perspective, since they keep the shape intact instead of making a deformation to adjust it) added to the flow of movement usually draws attention in the same sense
Despite everything said, there seems to be a generation of young animators with a realist influence who often use references / CG in Clover Works productions (Sono Bisque, Akebi, Wonder Egg, Bocchi) but the results are quite variable, since sometimes you can see a very strong CG base, while at other times the movement feels extremely natural with a good amount of over acting, deformations, in addition to the fact that shading seems to have a lot of relevance in his works (which is different, for example, from Oshii's films, since they usually use complex shading but with a liquid feel and freedom in terms of shapes).
Kouki Fujimoto's ep on Frieren (#09) is also a good example of the current realist approach, as you can see that many cuts are made based on real references, but the movement feels too natural, as if a veteran realist animator I would have approached them, but the interesting thing is that in that ep there were animators whose approaches are quite different but all of them in one way or another managed to represent their version of a realistic style (Uchiyama through three-dimensionality and weight distribution, Sawada using few drawings positioned perfectly so that the flow feels incredibly natural, Hanwen uses inertia, Yoshida also uses few drawings but with a choppy flow and a lot of emphasis on inertia and three-dimensionality, etc). Visually that episode is easily my favorite in a long time
There is also the dance scene done by Myoun for ep #15, which pushes to the limit what can be done using references since in this case the animator adapted everything according to his interpretation without tracing or using CG/motion cap
@@AnotherSakuga Always informative and educational! In short, the old school realistic animators have shared their approaches with each others so they're aesthetically similar. New gens have more separated approaches and variant results. Thank you my master!
Amazing clips and song!
Thanks!
It seemed strange to me that no one had made a compilation of Emura's work considering that he has works of the highest quality
About the song, I recently listened to Paramore for the first time and right at the beginning of the song I visualized Emura's works in Patlabord 2 and Angel's Egg, that's why I chose it lol