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Old 2012-10-14, 20:46   Link #1181
Skane
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Talking

LOL, well... they do have a reputation for implacable magic-skirts.

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The most revealing question was one I had wanted to ask myself: with Kyoto Animation’s reputation for having a high number of female staff, does this have any effect in a typically male dominated industry and when producing something like K-On? The answer was slightly cagey with Naoko having not worked anywhere but Kyoto Animation in her career, but she mentioned the staff’s propensity to “mother” the characters; so if one of them was showing too much skin they would cover her up saying “she would be cold!” The answer to a follow on question by Jonathan on whether the lack of fan-service was purposeful – definitely yes and the fan-service is in the words not the visuals – elicited spontaneous applause from the audience which seemed to take both Naoko and Yoshihisa by surprise.
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Old 2012-10-14, 20:48   Link #1182
rulfo
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Nice to hear about the Retas Pro. Now it's a fact.

So Drawing -> Retas Pro(Digital Inking) -> FCP/AE

Now we have the basic foundation of their animation workflow.
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Old 2012-10-14, 20:58   Link #1183
ultimatemegax
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Quote:
Originally Posted by Ithekro View Post
Gatoh Shoji keeps seeming to hint that something is coming involving Full Metal Panic, but never any real confirmation.
Quote:
Originally Posted by Warm Mist View Post
Wasn't he the one that said there is an announcement coming soon that everyone has been expecting? I'm pretty sure it was in a context related to Kyoani too.
Made a post in the FMP forum that relates to his projects for this year:
Quote:
Originally Posted by ultimatemegax View Post
The announcement on the obi for Another volume 4 (which tells the reader to look at the issue of Dragon Magazine in September) should relate to Gatoh's planned project #3 for the year:
Quote:
A brand new comedy in the Fujimi Shobo lineup.
Combined with Nakajima's tweet that it is a comedy novel and that the news will be published in Dragon Magazine (run by Fujimi Shobo), this is likely the project that will be announced in September.

Project 1 was Another's third volume (already released). Project 2 was the Hyouka anime's series composition (already finished). Project 4 was debating if he could continue the Cop Craft series with everything else going on.

After mentioning those four projects, he was that there's other project(s) planned to start in 2013 or afterwards. Among some of them, there's a few that give a "long awaited" feeling. Perhaps one of the projects he was talking about is the FTA project. We don't have enough information yet to really speculate as to what it is or if it one of those projects.
(Tweets were referenced from the Yaraon article about them)
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Old 2012-10-15, 12:17   Link #1184
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Quote:
Originally Posted by Warm Mist View Post
I disagree with her ideology that a creator shouldn't put much of himself into his work, I rather prefer the author to fully pander to himself and express his whole set of ideas without restraints.
I think I kind of agree with you as long as we're talking about an original work, but the thing to keep in mind here is that Yamada is not the author of K-ON!, but rather someone who was charged with adapting the existing work into another medium. In a case like that, where someone else is the author, I think her ideology is a good one.
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Old 2012-10-15, 12:31   Link #1185
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I don't think one approach is particularly better than the other. One approach is like a documentary, or a window into the lives of its characters. The other is like the director is telling us a story.

Of course, there will always be the influence of the director in what the "camera" shows us and such, but if the characters (or the setting, or whatever) have a potential for an interesting or a pleasing story on their own, there's nothing wrong with the director allowing them to tell the story themselves. I like the work Yamada did in K-On, and I think her directing style complements it very well.
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Old 2012-10-15, 12:46   Link #1186
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Quote:
Originally Posted by OceanBlue View Post
I don't think one approach is particularly better than the other
Indeed,and I don't think she's saying one is better than the other either,she just was describing the type of director she is.

But no matter what she says,the chuunibyou ED has her name written all over it
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Old 2012-10-15, 12:48   Link #1187
OceanBlue
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Quote:
Originally Posted by totoum View Post
Indeed,and I don't think she's saying one is better than the other either,she just was describing the type of director she is.

But no matter what she says,the chuunibyou ED has her name written all over it
I was responding to Warm Mist and Goggen, but I was too lazy to quote them .

I like your avatar, by the way.

Edit: Oh wait, I see what you're saying. Yeah, I agree too that she doesn't say one is better than the other.
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Old 2012-10-15, 13:41   Link #1188
Warm Mist
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She is clearly not condoning "expressive" directors, but what made me post that was her comment about how a director colouring the work with their ideas "destroys the illusion". It reminded me of the arguments Western animation enthusiasts use to criticize anime and its animation, claiming it doesn't respect the "illusion of life" paradigm of Disney and that there is too much individuality in the works (as if it were something bad).

I agree that if you want to preserve the source material's feeling, it is better to not be intrusive in your direction and let the characters carry themselves on their own merit. But that in itself is not an easy task to do; as you said above, it's not that hard to identify Yamada's direction and means of expression and while it doesn't "break the illusion" in her words, it's also not as seamlessly integrated as she probably would wish.
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Old 2012-10-15, 15:21   Link #1189
TJR
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Quote:
Originally Posted by Warm Mist View Post
She mentions there that it is pretty weird to go full-overtime work over at Kyoani, and that the common all-nighters in Tokyo never happen. If that's true, it really baffles me. I mean, even being a studio like Kyoani and doing everything in-house, for the quality of their products one would expect more strain in the workers. But perhaps that laxity is what makes their works so fresh too.
FWIW, Yutaka Yamamoto disputes the company line, claiming that he had to stay overnight on several occasions. However, he might have an axe to grind, so.....

Quote:
The comment about directors is interesting too. I disagree with her ideology that a creator shouldn't put much of himself into his work, I rather prefer the author to fully pander to himself and express his whole set of ideas without restraints.
This is KyoAni ideology - the product in spec with the client's vision and with individual involvement as transparent as possible. Supposedly, this corporate direction is quite common among Kyoto-based businesses (according to game developer Tose Software, anyway. Traditionally, their policy was to leave their name off the credits and to precisely follow the client's instructions so that it seemed as if the latter actually developed the game).

Originally, the policy also extended to animation. However, given the growing interest in sakuga animation, they've relaxed some of their standards and are allowing more individuality to show through.
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Old 2012-10-18, 20:56   Link #1190
rulfo
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Quote:
Originally Posted by kimpleng View Post
So discussing background eh?
What about they created manually using photo as reference then improved in post-production.
If they using photo as reference, still considered as copy - paste?



Oh boy look at that amount of paint. This looks like a tedious work than using few click filter to turn photo into background art.
From Chunibyou thread.

Wouldn't surprise me if they still do this stuff. Either they're doing a mix of this and Shinkai's style of backgrounds.

If they're doing it only this way then they've killed me with Hyouka. Their background artist have really nailed it then.
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Old 2012-10-19, 20:05   Link #1191
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I believe they're still doing it for background art and image board since they still learn traditionnal background painting at Kyoto Animation school.
I remember Yasuhiro Takemoto said in some magazine they put a lot of effort into Hyouka's scenery. In Hyouka they really made it further in the use of colors and shades depending on time, weather, season or scene but they also mixed with a different method I think. There're still traditionnal backgrounds (specially outdoor background) but I think there were more a use of 3D, filters and textures than previous series. For example 3D was used for dynamic background like episode 8 with the independant movie : they applied 2D textures on 3D backgrounds.
I'm not sure if I understood well but Yasuhiro Takemoto said in a interview he wanted Hyouka's scenery to be realistic (but not real). He compared 'realistic'/'real' with acting and actors. They used CG technology and most scenes used filters. With a careful use of filters the world isn't dull and it enhances the realism.
Takemoto also advices to watch Blu-ray which displays more colors and subtle variations since they had to compress for TV broadcasting.
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Old 2012-10-19, 21:06   Link #1192
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Wow that video was spectacular I just wanted to say thank you for sharing!!! I really want to own those blu-rays someday!
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Old 2012-10-21, 06:45   Link #1193
rulfo
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Quote:
Originally Posted by kyouray View Post
I believe they're still doing it for background art and image board since they still learn traditionnal background painting at Kyoto Animation school.
I remember Yasuhiro Takemoto said in some magazine they put a lot of effort into Hyouka's scenery. In Hyouka they really made it further in the use of colors and shades depending on time, weather, season or scene but they also mixed with a different method I think. There're still traditionnal backgrounds (specially outdoor background) but I think there were more a use of 3D, filters and textures than previous series. For example 3D was used for dynamic background like episode 8 with the independant movie : they applied 2D textures on 3D backgrounds.
I'm not sure if I understood well but Yasuhiro Takemoto said in a interview he wanted Hyouka's scenery to be realistic (but not real). He compared 'realistic'/'real' with acting and actors. They used CG technology and most scenes used filters. With a careful use of filters the world isn't dull and it enhances the realism.
Takemoto also advices to watch Blu-ray which displays more colors and subtle variations since they had to compress for TV broadcasting.
Oh thanks for sharing that. Well IIRC Yamakan made a comment back then regarding Shinkai's style of lighting. He said KyoAni used a similar approach.

Well in anycase KyoAni's post production is top notch. They're one of the best when it comes to lighting.
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Old 2012-10-29, 11:26   Link #1194
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We've mentioned image resolution previously and how KyoAni first went to 720p with Kanon. Saturday's Chuunibyou blog post had an image that I wanted to share with the thread for comparison in how far they've advanced in 7/5 years.

This is from the "Making of Kanon" feature found on its DVDs. The piece of paper on the left is a key animation sheet used in Kanon (so a 720p resolution frame). On the right are SD sheets used for AIR/Haruhi/The Second Raid.


That footage was shot in 2006 as the industry started to move to 720p. Since then, there's been some discussion about the resolution of KyoAni's latest works. Anibin's work has concluded that Nichijou, Hyouka, and Chuunibyou was being drawn at a higher resolution than K-On!!, but at the same time, it's not fully HD (1080p) except for things like OP/ED (and the K-On! movie). But how does this relate to key animation sheets? Let's take a look at an image posted on the blog for one of the final sheets.


Even with the different angles/zoom, it's easily apparent that the newer sheets are much bigger than the ones used in the late 2000s for KyoAni. Anibin says they're around 955/1080, so it's not quite full HD, but enough that it's much higher than 720p.

Will we see a TV show fully animated in HD by KyoAni in the next couple of years? It'll be interesting to find out. (And yes, it appears that work on Chuunibyou will finish shortly if it's not finished already so they should be starting on their next project.)
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Old 2012-10-29, 13:55   Link #1195
Warm Mist
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Way to be ahead on the schedule, if they've already finished Chuunibyou.

How long until a Kyoani show every season?
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Old 2012-10-29, 14:03   Link #1196
Ithekro
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Depends on the length of the show. I can't guess if intensity is even an issue for them anymore considering what they put out.
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Old 2012-10-30, 18:12   Link #1197
OceanBlue
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Aren't they also having Animation Do help a lot more now? That could help them increase their output if they wanted.
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Old 2012-10-30, 18:16   Link #1198
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Instead of more output, it seems more like they are going for higher quality output. Bigger cels, more animation and action in those cels and the like.

It be amazing if KyoAni could make an anime up to say Disney quality of animation ("on ones" or "on twos") while keeping their own style intact.
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Old 2012-10-30, 21:55   Link #1199
Warm Mist
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Well, their two films had a lot of animation, as much as it is possible without going full Ghibli/Akira on the money. Not on 1s/2s, but I don't care about that, handling the timing in a more dynamic way is nicer than just making everything move exaggeratedly all the time.
I don't think anyone at Kyoani wants to be able to do a full 1s anime neither.

Regarding the output, I think you reach a level where no matter how perfectionist you want to be, you're touching your roof with your head already. If Kyoani keeps expanding as a studio at this pace, sooner or later they will start releasing shows every season, and even start airing shows in the same seasons.
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Old 2012-11-02, 10:22   Link #1200
Haikea
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I always prefer quality over quantity. Watching anime in fullscreen with true 1080p resolution should be a standard nowadays. Some day there will be 4K displays. It is going to be a nightmare for handmade animation unless there is going to be new techniques to reduce manual work with transparent quality differences.
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