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ViggyNash posted:I'm with you there. Angel Beats is one of my personal favorites and I'm disappointed that it got gimped the way it did. Also it is one of only 2 non lovely shows Seiji Kishi has directed. The other being Sunred, right?
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Oct 19, 2014 01:17
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Spiritus Nox posted:...What does Shirobako mean, anyway? I assume it's not "White Baka?" Literally it should mean "White Box".
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Oct 19, 2014 01:21
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I like some of the smaller details they put in the episode. If you've ever been in a sound booth, the locks are tight and the doors are extremely heavy, so showing her struggle to get the door open was a nice touch. Plus, doing a first line read like that is often nerve-wracking, especially with that many people watching from the control room.
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Oct 31, 2014 02:00
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I think the characters and their struggles are a lot more realistic than we're used to in anime, and so we don't really think of them as being all that unique or strong because their personalities are not butting up against extreme hardships. It's kind of like how sometimes in real life you have to spend a good amount of time with someone to get a handle on who they are. The side characters are easily characterized because they are not going to have the same kind of development and thus have to be projected more clearly from the start. (It's much like how in Shakespeare plays, side characters are always more interesting than the main protagonists, by sheer design and narrative requirements.)
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Nov 2, 2014 04:51
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The discussions and battle between the Traditional and CG animation sorta hits me at my core, since I'm a traditional animator working increasingly in an industry that has decided to back CG for the most part. Although to be fair, even CG films use traditional artists and techniques for pre and early production.
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Nov 7, 2014 05:18
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I think the jail cell is just there to be a comical exaggeration, considering it has the tatami mats and graffiti you'd expect in a cell rather than a controlled-access storage area. Besides, it's better than being beaten to death by a metal baseball bat.
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Nov 9, 2014 22:34
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Ccs posted:I'm working on my first TV animation production right now and this show hits really close to home. Except their schedule seems like its cranked up to 11. The Japanese work ethic is really... insane? I think that's the word I'm looking for. I've had a production for an hour-long special where we were given maybe 2 months to produce it, 2 weeks of which the studio (not the people who proposed and commissioned the special) to come up with the script. VH1 had no idea how to commission a studio with a sensible timeframe.
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Nov 15, 2014 03:21
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I really sympathize a lot with the struggles Ema and others have. Trying to learn in an environment where a lot of buzz/news/attention is around geniuses and people who seem to just be mystically amazing can really shatter your confidence. Somehow there seems to be a lot of implied shame about learning from others or going through the simple paces, because there's this expectation that you're supposed to just get it right the first time on your own.
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Nov 30, 2014 09:03
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Seems like she really fell on the harsh end of the current, accelerating division of labor problem going on in the animation industry (especially in CG and VFX). There was a studio contracted out just to make the folds on the Winter Soldier's leather glove look right in the last Captain America movie, so if she stays at that studio she's gonna be doing tires for the rest of her life (until that gets outsourced to India.) The big push at studios for recruiting now is for people to do just one small part of the process, and have them do that alone with almost no room for advancement. (They even create new job titles so they can circumvent Union rules about certain seniority granting specific pay, so instead of moving up to "supervisor" you become a "Rigger (2)".) Generalists and people who have aspirations of moving up need not apply, as the recent Pixar/Dreamworks/Hollywood pay scandals and non-competition pacts going around have shown. Not sure if this is exactly the same trends going on in Japan, though. Pretty sure they also implied the owner worked on Madagascar, considering the movie title.
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Dec 5, 2014 13:15
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I thought the blurred-out part was hilarious, precisely because everything is so recognizable. I figured that kind of meaningless censorship was a part of the joke.
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Dec 19, 2014 05:53
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Clarste posted:I can't remember the exact conversation, but my interpretation of the Gibhli reference was that the creator of the original work they were adapting had requested Gibhli as the studio, but none of the businesspeople involved with the decision were taking that at all seriously. It was either a joke request or just someone who's an anime fanboy but totally out of touch with business realities. Yeah they were saying "all the creator wants is Gibhli" or something like that, but isn't the idea another moeblob show? It wouldn't make any sense budget-wise nor stylistically.
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Jan 7, 2015 01:44
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Bakanogami posted:From what I've heard, as hateable as Tarou is, industry insiders watching the show admit that types like him both tend to go far and are vital because they don't turn into depressed lumps when they screw up (like Ema) or are overworked (like Miyamori). Where are they saying this? That's interesting and sad at the same time.
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Jan 13, 2015 10:01
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Lots of really useful terms here. I'm really amazed at how specialized the roles in Japanese production can be. My experience with US production has delegated tasks, but you can often end up taking on a lot of different roles in different departments all at once. (In my case I was doing background, layout, and animation assistance.)
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Jan 15, 2015 04:49
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That meeting was absolutely horrifying and possibly the most cynical Shirobako has ever been so far. I doubt that's exactly how the meetings go (I can't believe anybody who is any good at negotiating would be so blatantly transparent about what they want), but I think the broad characterizations of the different ancillary market producers was probably close to the truth about what their pressures and decision-making process for casting can be. And man, those Shizuka feelings about failure hit home hard, particularly at how arbitrary the reason you might not get picked can be. The worst thing about applications/auditions is that you very rarely find out why you don't get the role or job or even how close you were to getting it. Studio Titanic is not exactly a subtle foreshadowing, is it.
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Jan 16, 2015 10:29
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I'm wondering, though, they brought up the actress' schedule and that she was waiting on another audition to come in, so Shizuka might end up getting the part by being the 2nd choice. The fact that they brought up that detail makes me think it'll come up later.
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Jan 18, 2015 09:56
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krnhotwings posted:I dunno if anybody here has watched Paranoia Agent, but I've started watching it and reached episode 10, which is a filler episode about an animation studio that's working on an anime adaptation for the pink dog mascot that's prevalent throughout Paranoia Agent. The episode made me instantly think of Shirobako and Tarou 'cause there's this dude named Saruta who has to be at least 10 times worse than Tarou: This episode felt like an homage to that episode, right down to the dolls explaining the process. Having the same VA is just amazing icing on the cake.
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Jan 24, 2015 06:54
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Kaelan Zero posted:She's kind of over the top but after spending a few years working with the kind of creatives in the show, she's not really that far-fetched. There's so little space for personal growth that talented people can end up having a comfortable bubble put around them that enables them to work, at the cost of things being a nightmare the moment you need them to do something new (or have to interact with them). The way characters like the director are depicted in the show, it's not unreasonable for her to be terrified of saying something in error and immediately regretting it. I've definitely met people who have a huge amount of talent, but have super-lovely or weird attitudes. Sometimes their skills will be amazing enough to overlook it, but there are probably limits.
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Jan 24, 2015 08:41
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This show is amazing and it's fantastic that it's actually doing well in sales.
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Feb 1, 2015 07:27
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Did you change his named to "Based Tarou" or do you have the best subs?
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Feb 13, 2015 06:28
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There are also manga artists who become directors as well. Satoshi Kon, for example, was not trained in animation and his background was illustration and comics. I think Otomo is the same in that regard, too.
Neeksy fucked around with this message at 00:20 on Feb 16, 2015 |
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Feb 16, 2015 00:17
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AnacondaHL posted:What a not-explicitly heartwarming episode. Many feels. Nah it was digital.
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Feb 20, 2015 01:25
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Understanding posted:It just looks to me he's holding a straightedge up so he can press the handle of the brush against it. It's not an uncommon technique (you can also see it used in that anime episode of Paranoia Agent, too). https://www.youtube.com/watch?v=gZ_7hkYZqcY Of course you can just put the edge right on the paper and brush along it if you're using watercolor because you can just wash it and not worry about color contamination and having to replace it that often. Neeksy fucked around with this message at 09:58 on Feb 20, 2015 |
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Feb 20, 2015 09:45
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She was good enough to get asked to read for another character and then became the runner-up. She's not without some talent, but she's in a world of heavy competition.
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Feb 23, 2015 23:38
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It's probably better that she didn't have a kind of nepotism with that role. The way this show is, she probably would rather feel like she earned it than to have a friend cast her because they're friends.
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Feb 25, 2015 01:53
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Also that Exodus episode was not good.
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Feb 26, 2015 07:42
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I loved that scene in the train car where she was coming up with dialogue and stories for everyone there, that was a fantastic character moment.
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Feb 27, 2015 02:53
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StandardVC10 posted:Wow. Sorry if anything I said made it sound remotely appealing or worthwhile at all. The most recent one was about Cognitive Impairment, so the topics are all over the place. It's not that bad, really.
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Feb 28, 2015 02:38
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Zettace posted:Voice acting is recorded long before the show airs using a bare bones storyboard. Sometimes a VA will ad-lib something and the animators will add it in to the final product. That's in the US system. In Japan, they prefer to actually have a good amount of the animation done before they give it to the actors.
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Mar 2, 2015 03:37
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Plus if he was working in the NY animation industry, he was probably being paid below the standard rate. (Titmouse NY, for example, was created as a way of circumventing the animation union in California and is known to pay its workers there less for the same work at their branch in Cali.)
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Mar 8, 2015 00:49
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I figured that it was him being generally lazy, as he tended to end his meetings quickly and halfway through, approving things without reading them, etc. and as we saw later, one of his "important meetings" was golfing at a driving range. Additionally, he was probably trying to save his own neck by not giving the artist any extra responsibility in the hopes that he'd meet deadlines, even though doing so was just pissing in the wind since the guy was facing writer's block (which the editor seemed ill-equipped to help) and all the Musashino adaptation errors were just making him upset anyway. Basically the guy is lovely at his job and being a responsible person. Sort of like a Tarou without the good intentions.
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Apr 11, 2015 05:48
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