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Toonami Infolink :: View topic - Animation Inquiries: Answered by The Monkey
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cn2 revolution Japan japanese multimedia saban funimation toei graz harmony gold mainframe Tyler Zogg TylerLToonami Turner Cartoon Network Thundercats Voltron Space
Ghost Birdman Herculoids Dino Boy Galaxy Trio Mighty Mightor Moby Dick
Shazzan The
Impossibles Max Fleisher's Superman (a.k.a. Roulette) The Real Adventures of Johnny Quest Robotech Sailor Moon DragonBall Z Filmation Superman Batman Superfriends
ReBoot
Ronin Warriors G-Force Powerpuff Girls Batman: The Animated Series Gundam Wing Tenchi Muyo! Universe in Tokyo Superman Outlaw Star Big O CardCaptors Mobile Suit Gundam
O8th
MS Team DragonBall Batman Beyond Gundam 0080 Zoids: Zero Hamtaro Zoids: Chaotic Century Guardian Force G Gundam He-Man and the Masters of the Universe Transformers:
Armada
G.I. Joe .hack//Sign Yu Yu Hakusho Rurouni Kenshin QuickTime .mov MOV AVI .avi MPEG .mpg Movies movie Videos Clips Sounds articles rants essays images files CNX inner
circle
cn2 revolution Japan japanese multimedia saban funimation toei graz harmony gold mainframe Tyler Zogg TylerL
hmm I'm too lazy to search if it has been said, Are they going to repeat .hack//sign? _________________ The problem with America is stupidity. I'm not saying there should be a capital punishment for stupidity, but why don't we just take the safety labels off of everything and let the problem solve itself?
Thu Apr 24, 2003 4:35 pm
Spookmonkey
Joined: Nov 07, 2002
Post subject:
doug... you know damn well that thats not the info the threads for. It probably would be best to ask in the .hack thread. _________________ "Veni. Vedi. Spooki." - Julius Caesar
I came. I saw. I spooked.
How are so many different animators in a studio, while working on a single production, able to keep the art looking as if one person drew the whole thing. It seems impossible even with the main artist doing key frames for them to all have the lines match up. _________________ Bang.
Fri Apr 25, 2003 1:52 pm
CrimsonChristian
Joined: Mar 19, 2003
Post subject:
Someone asked 'anime with the saddest ending' Hmm..Grave of the fireflies by far, but you will all go, geez this is all CC ever talks about..the final Kenshin OVA. Alot of people do not like it for its ending and the fact that it took the revenge arc and chopped it up but it was done well, even if it wasn't a real ending for the series. The love between two people is seen even when they are eternally separated. That is all I could say having learned from this.
Wed Apr 30, 2003 10:18 am
Spookmonkey
Joined: Nov 07, 2002
Post subject:
Excuse me buddy this is not the Animation Inquiries answered by any joe schmoe who happens to wander in here. No, this is Animation Inquiries Answered by the Monkey. I am that Monkey.
Anywho I still need to get the time together to answer Zechs question. Hopefully tonight. _________________ "Veni. Vedi. Spooki." - Julius Caesar
I came. I saw. I spooked.
WEEEEEEEEEEEELLLLLLLLLLL EXXXXXCCUUUUSSSE ME! WHAT YOU GONNA DO ABOUT IT? BESIDES NO ONE HERE IS JUST A 'JOE SCHMOE.'
Wed Apr 30, 2003 4:01 pm
SlimJim
Joined: Nov 09, 2002
Post subject:
...
*writes down Crimson Christion on his contempt list*
Anyways, is there an animation that is actually scary? if so, what''s the best? _________________ *Floats by on a cloud*
Wed Apr 30, 2003 4:05 pm
CrimsonChristian
Joined: Mar 19, 2003
Post subject:
sorry man ,but none of us are Joe Schmoes, but hey, I'll ask a question: honestly why do people like Dragon ball Z when alot of the time it takes forever for things to happen? I'm not trying to be a dick here, but I used to like it but looking back, I cannot understand why. Oh and in case you did not notice I was really kidding with the whole 'Excuse me' remark.
Wed Apr 30, 2003 4:07 pm
counterparadox
Joined: Nov 07, 2002
Post subject:
Dear. Lord. This is not a "WHO IZ DA STRONGEST IN DBX!!!1111" question type thread. This is a "How is animation made?" thread. It's all about the process and work put into making any animated show. It's the technical stuff BEHIND the scenes. Like how they blur the things in the foreground in some Cowboy Bebop episodes or how they get the animation cels to match up right. Not "Which animated show is the scariest" or "Why do people like DBZ?"
Again, this thread is on the process involved in making animated shows. _________________ anime is teh s uck
Play City of Heroes/Villians? Look me up, Pinnacle server, @C Paradox
Wed Apr 30, 2003 5:24 pm
Spookmonkey
Joined: Nov 07, 2002
Post subject:
the average is the joe schmoe and that includes the average of this board. You look at individual communities for the schmoes. The joe schmoe of yale could be considered a genious when compaired to the aboriginie bushmen's intellectual capacity. It's all int he comparison. By the way, I do hope you noticed that while my remark in the previous post was condecending it was meant to have a humorous flair to it. In case you haven't noticed it's there and everyone only knows that I am so deadly serious about EvErYtHiNg.
Ok, now on to the questions.
Ok, Zechs, the dozens of animators working on one character and it all looking liek it was done by one artist question is one that I've had from time to time seeing as sometimes its hard for me to draw my own characters in the same manner all the time.
Truthfully it all comes down to being a kick ass artist. While it's good to have your own style it's even better to not at times. You must have the general technique of drawing damn near perfected in order to adapt your hands and mind to that of another artist. You basicly get tought their style of drawing, their methods, their techniques and after you have a grasp of how it works you set out to adapt yours to mimic theirs. Eventually it gets easier and easier to be "on model" more often, why do you think their are all teh expression charts and pose angles on model sheets? On top of all that they have sculptures make them 8"-14" maquettes to help with sizing and angle probllems even more.
Slim, I have yet to see a trully scary animation. It's much easier to be scared while watching a live action movie as you can imediatly identify with the lead because they are human with flesh and blood just like you. Their envirements have been cosntructed and actually exist. Their villians make the heroes bleed real blood (not really but its easier to imagine the blood and guts are real).
With animation you don't have any of that. You have to reach out and grasp with your mind that the main character is suposed to be human (or only humanistic) this already makes the suspension of disbelief a bit strained. Now add int he fact that you can do anything in an animated movie but can't in a live action you sometimes get an odd mix of things that we have never seen before and know can not ever happen (if they were able to do ti in a live action movie convincingly then it would become real and believable). If you have noticed also there isn't nearly the range of emotions in an animated face as a real one can have with also bears that animated characters tend to have to talk more to get their emotion acrossed or have music carefulyl chosen for a backdrop. Animation loses much more than any other sort of entertainment when the sound is taken away and with horror (be it a splatter fest or a psychological terror rise) it's largely the lack of sound that gives us the sense of eminant doom and keeps us at the edge of our seats. I'll go more into this later.
And finally Crimson "The Joe Schmoe" Christian's question. Dragon Ball and its sub shows (Z and sorta GT) were meant to entertain on the basest level. The story of the lovable goof hero who has fantastic powers is used the world over. Akira knew from the beginning that this series was for boys. In the original series it was sort of like testing the waters-- find out what sort of things worked and what didn't. They probably found that the story came second to the fights int heir target audience and so came up with Z. In Z they had to keep it familiar yet make it different so they dropped some of the story, intrigue, and humor for good ol' fisticuffs. They had set the bar with DB and devided to raise it up even more with more and faster action in Z. They drew people in with the story which with the constant flashbacks, long winded explanations you could just about jump into at anytime and not have missed much waht kept them there was the promise that the big fight was always just over the horizon and that once it started things would just escalate further and further. The idea along of a billion punches per second being possible (along with the huge explosions fromt eh numberous fireballs) appeal to anyone who has any sort of violent streak in them. It's not an intellegent show, not by a long shot but it does have two things more than anything going for it. The uncomprimising goodness of the heroes and the fact that you have to shut off your brain to sit down and watch it which to alot of people (unfortunatly) is just how they are all the time but others like the mindless entertainment because it gives their brains a chance to wind down and relax for 30 minutes without having to worry about thought. It's the same sort of concept with shows like Pokemon, Beyblade, Fighting Foodons, Ultimate Muscle and most other saturday morning craptoons (almost all of which come from your precious precious japan*)
I hope that was suffieciant. Now if anyone else has a question please be my guest to ask it. If I answered your question and you're still unclear don't hesitate to inquire more deeply into the subject.
*by your I do not neccesarily mean you crimsonchristian but anyone who thinks japanese animation can do no wrong and is so much better than anything america or anywhere else int he world can do. _________________ "Veni. Vedi. Spooki." - Julius Caesar
I came. I saw. I spooked.
Dear. Lord. This is not a "WHO IZ DA STRONGEST IN DBX!!!1111" question type thread. This is a "How is animation made?" thread. It's all about the process and work put into making any animated show. It's the technical stuff BEHIND the scenes. Like how they blur the things in the foreground in some Cowboy Bebop episodes or how they get the animation cels to match up right. Not "Which animated show is the scariest" or "Why do people like DBZ?"
Again, this thread is on the process involved in making animated shows.
Well said but actually I basicly have to know these type of things for my to understand my own future endevures if I am to succeed in the field. I answer to the best of my ability and nothing else. It's the trivia type questions I do not want and will not answer. I will not answer "What is the scariest" or "Who is the strongest" or even "Will this be shown" at elast not in this thread. I will answer "What makes people like this" or "How did they do this" even "Is there any of this" (though I will probably not answer that last one the way they want) because I will be paid to know those things and it's easier if I learn them now than while I'm actually on the job. _________________ "Veni. Vedi. Spooki." - Julius Caesar
I came. I saw. I spooked.
I'll add in my answer on the 'animation' question:
Zechs: Animation is able to keep its consistency because of people like Masashi Andou (to whom my praise is equal to Miyazaki himself) and Hideaki Anno (who, by the way, worked with Ghibli as a key animator before he went on to found Studio Gainax. I was a bit surprised to see his name in the Ghibli credits; it seems NGE is almost all he is known for, that and his live-action movies). Andou and Anno are almost unparalled in the world of animation; I guess it just comes down to (a) having the skill (b) being able to apply it in a manner which allows the animation to be fluid,(c) long, long hours, a passion for the job you are doing and (d) patience. If they don't get it right, they do it again. With that said, if you don't have an Anno or Andou on your animation team, the key animations are usually outsourced to a third-party company in Korea/Taiwan/China/Japan to get the inbetween animation completed.
Spookmonkey: I now have a question for you.
With ADR, Word-fit and all that jazz, do you think this is a new era for multiple-language dubs? Whom do you think will be a rising star (or rising stars) in American dubbing (now that it's not being botched like so many older series, back when anime in America was still in its infancy)?
Wed Apr 30, 2003 7:46 pm
Spookmonkey
Joined: Nov 07, 2002
Post subject:
blade-restored wrote:
I'll add in my answer on the 'animation' question:
Zechs: Animation is able to keep its consistency because of people like Masashi Andou (to whom my praise is equal to Miyazaki himself) and Hideaki Anno (who, by the way, worked with Ghibli as a key animator before he went on to found Studio Gainax. I was a bit surprised to see his name in the Ghibli credits; it seems NGE is almost all he is known for, that and his live-action movies). Andou and Anno are almost unparalled in the world of animation; I guess it just comes down to (a) having the skill (b) being able to apply it in a manner which allows the animation to be fluid,(c) long, long hours, a passion for the job you are doing and (d) patience. If they don't get it right, they do it again. With that said, if you don't have an Anno or Andou on your animation team, the key animations are usually outsourced to a third-party company in Korea/Taiwan/China/Japan to get the inbetween animation completed.
Spookmonkey: I now have a question for you.
With ADR, Word-fit and all that jazz, do you think this is a new era for multiple-language dubs? Whom do you think will be a rising star (or rising stars) in American dubbing (now that it's not being botched like so many older series, back when anime in America was still in its infancy)?
Key frames are never outsourced, never. Inbetweening frames are what is outsourced as to cut costs or free up valuable time. Miyazaki and Andou aren't really unique in their talents it is NOT because of them that animation is able to flow. A single style is figured out before production begins and the characters are developed and designed within that style. It doesn't really matter who or what style is chosen it just matters that it has been.
As for your question; the dubbing actually has very little to do with the animation process exsept to get a certain characteristic/look and/or expressions to come acrossed from teh actor; this is actually a much bigger thing in america as we animate to the actor and not dub to the animation like how the japanese do it. Dubbing as you refer to it actually has nothing to do with any animator anywhere. Some producer somewhere decided who he thinks fits the roles and nobody outside that producers company really has a say in it at all. Eh, I'll go into this more later. _________________ "Veni. Vedi. Spooki." - Julius Caesar
I came. I saw. I spooked.
Outsourced may have been the wrong word. They are given to a company so they have something to go on, which is not outsourcing.
I'm not saying that because of Miyazaki and Andou that all animation is able to flow; it's just the certain way that they do it (I feel) leads to superior works. It all depends on skill.
Wed Apr 30, 2003 9:22 pm
Nobuyuki
Joined: Nov 07, 2002
Post subject:
blade-restored wrote:
I'm not saying that because of Miyazaki and Andou that all animation is able to flow; it's just the certain way that they do it (I feel) leads to superior works. It all depends on skill.
I think your view is a little bit too narrow; American animators flow well, you know. _________________ "When I became a man, I put away childish things, including the fear of childishness and the desire to be very grown up."- C.S. Lewis
"Superman can't be emo. He can't cut himself."-CP
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