Project Update: Ignis et Aer Final Comments

To be honest, I think the reason Aer isn't as upset over being trapped underwater as you'd expect is because damn would you look at that. that lake looks magical under the surface.

       That aside, what can I say. It's been a rough few months with things hardly going according to plan, but we still try to keep going. Overall the development of this project ended up being fairly similar to last year's, though I managed to take it further on a few notes. I got to animate more than one character for my film (progress!!) and explore different colouring techniques to fit each character, experiment more with colour, work further to reach a number of finalised backgrounds and the lighting and effects these may entail (and even animation applied to background elements, whoa!), and the like. These are things I didn't really get to delve into with last year's film, so I'm happy for that. 

       Going along with project length, the number of finished shots I managed to achieve is also higher, and each this year's are also more complex, so I'm going to go ahead and take this as a double win.

       There were a few hiccups towards the end of the road that, unfortunately, I didn't manage to solve. With this I'm referring to problems of a more software-based nature. Things that work differently between different software, even though the company is the same and the tools are the same, but go figure.

       I'm sure I would've found a way around it, but alas that would require some looking up and exploring for which I didn't have the time. Don't you know, the fourth dimension is my eternal rival. Either way, it's unfortunate that something like this would affect the final look.

       But overall I do believe there's been progress, and is that not the main goal? For what it's worth,

Project Update: Ignis et Aer Post Production Visuals

Aaaaayy, Nature.

Project Update: Ignis et Aer Shot Animation Progress

It does take a fair few stages.

       Here's a look at a few of the stages I've had to clear to reach the final look for this film. Or, well, for one of the shots of said animation at least. Ignis is a bully who won't allow me the pleasure of having one drawing last a fair number of frames, damn the constant flickering of his flames.

       For the record, these wolf-like creatures don't bite. They're a friendly bunch. Probably vegetarian too (what are those teeth for then, it is a mystery).

There's That One Cool Studio... ◉5

         To finish off this series, I’m bringing up a studio that’s a bit off the typical route for animation studios.

         Point Pictures, based in Shinjuku, Toyko, was founded in 2003 and is represented by Hironori Yoshino. It started as a company focusing on productions of the advertising nature for various external companies. Its path still continues on this subject, in a way, currently ranging from illustration work — such as illustrations for magazine articles, CD album covers, DVD covers, posters, logos, etc. — to one of my favourite forms of animation: short sequences to illustrate a longer one, such as opening/ending themes for television series and such and also cut scenes for games.

          Rather than producing their own animated series or feature films, like most studios come to do once they are soundly established, in the story-telling format for animation, Point Pictures specialises in the short format of openings and cut scenes. This is what I like the most about this company. Openings represent, in a way, a sequence to advertise the actual story/production, and as such their making resorts to techniques within advertising, which is the company’s origins to begin with.

         Then there is the special link with music — most frequently song — you find in these sequences, which is in turn what I like most about the format of opening and/or ending sequences; it’s a tighter bond, which provides for not only further reach in terms of how much of the “plot” can be featured in the short timeline of the sequence, but also interpretations one doesn’t have as much freedom to include in the original series or film, etc. This possibly comes from their experience in animating for music videos.

           This studio works closely with external companies and produces these shorter animations for the client company’s product. Amongst the productions it has been associated with you can find series such as STEINS;GATE and Nisemonogatari, as well as Robotics;Notes and the Persona 3 game series for its openings and cut scenes.

         Granted, this studio is limited when it comes to leaving its own mark as far as character design goes, as it often works with the designs of the client companies, but it certainly has its own aura in other factors, such as editing. Their use of colour and shape is also an aspect they have explored and developed into a use characteristic of theirs.

          Point Pictures also produces in CG, although 2D is their most frequently use technique, as is the case with most animation studios in Japan. Not only that, they also deal with all sound work required for the productions they are requested to deliver, be it soundtrack, sound effects or voice-acting.

          Lastly, I’m including two links next to a couple of other openings Point Pictures has produced, this time for two arcs of the Nisemonogatari series, Karen Bee (http://nicotter.net/watch/sm16891505) and Tsukihi Phoenix (http://nicoviewer.net/sm17087284). These pages are in Japanese, but you only have to click the play button, but note that these videos have the openings looping for a while, and I suggest you disable the comments by clicking the speech balloon icon next to the volume icon, as videos from Nicodouga have the comments scrolling through the screen by default.

Super Dangan Ronpa 2, bringing the despair onto a new level.

         I can get carried away drawing fanart for my everyday shenanigans; case in point, drawing a cute SDR2 wallpaper for my phone.

Dangan Ronpa is great if you like the idea of losing yourself in despair.

No really, that's it, that's the game.

         I quite like the ending theme song for the animated adaptation, so I played with one line from the lyrics for this one. It means 'It seems my world has found an error'. Error as in bug, computer error. Which is why I wrote it with the wrong characters - one of the basis for Japanese humour/puns, in fact - using ones that bring up a negative idea or represent something important to the character instead. Emphasis on the idea of virtual bugs, aye.

         Really, when the idea of killing your own classmates becomes a real life rule, it's no wonder your brain goes all 404 on you.

There's That One Cool Studio... ◉4

        With many popular titles under their belt since its foundation in 1972, such as HUNTER x HUNTER, Cardcaptor Sakura, Death Note and Toki wo Kakeru Shoujo (English title, The Girl Who Leapt Through Time), Madhouse stands out amidst other studios from this time thanks to the fact that it specialised, from the start, in television series.

           Madhouse has reached out to far corners of the world, in the way that it has been associated with various international productions, such as the adaptation for television of Disney’s Stitch. Even within Japanese borders, this studio has had its hand in a number of Studio Ghibli’s productions — Howl’s Moving Castle, My Neighbour Totoro and Spirited Away.

         It was this studio that set Mamoru Hosoda, who happens to be my favourite Japanese animation director, on his career. While a member of Madhouse, Hosoda directed the earlier mentioned Toki wo Kakeru Shoujo, in 2006, one of my favourite movies still. More recently, Hosoda left to establish his own studio, Chizu, and directed another great piece, Ookami Kodomo no Ame to Yuki (English title, Wolf Children Ame and Yuki, 2012), although Madhouse still took its part in this production.

            Below is a trailer for Toki wo Kakeru Shoujo for your convenience.

         In 2011, Madhouse picked up the popular manga series HUNTER x HUNTER for a reboot, the original run of which aired back in 1999 under Nippon Animation.

          The progress Japanese animation studios, Madhouse included, have made in recent years shows clearly in the more recent and darker arcs of this series, more so in episodes where the staff invests even more due to its stronger emotion and/or action. Such is the case with a recent episode, namely the scenes depicted in the videos below, in two parts. After a slow build up of heart wrenching events, many fans (admittedly, me included) who have accompanied this show from the start have shown strong reactions when this episode, the 116^th in the run, culminated in the following scenes.

         Also worth a note is Madhouse’s participation in Anime Mirai 2013. Anime Mirai is a project launched in 2010 with the intent of training young animators. Each year since then (apart from 2011) a group of animation studios in Japan put forth playlist of animations, one short film submitted by each of them.

           In 2013, Madhouse presented Death Billiards, an absolutely stunning short film created, written and directed by Yuzuru Tachikawa. This piece, rich in both gorgeous animation and background art, had the audience wracking their brains with the mysterious ending (much to Tachikawa’s satisfaction, considering this was, in fact, his plan all along). The full short is available on Youtube, and here’s a quick preview of the atmosphere:

         With young animators like that, it’s no wonder Madhouse has grown to be one of the top studios in Japan.