John UM
Iso Mitsuo, born in 1966, dropped out of the university and entered the animation industry in the mid-1980s. As a result of the first scene of the OVA “Mobile Suit Gundam Wars in the Pockets of 0800”, which was released in 1989, the innovative animation practices that made the beginning of the animation industry have caused great impact on the entire animation industry. The influence, the new realist who was commented on Japanese animation painting, and Utsunomiya are also the leaders of the 90s animation performance innovation. In 2007, he published the original work and supervised the “Computer Coil”. After winning the awards such as Xingyun Rewards and the Japanese Culture Department Media Art Festival, he entered the low-key period and only occasionally participated in animation production in the form of anonymous or pseudonym until 2015, “Flower and Alice” Silk killing event / painting collaboration, 2017 “Napping Princess ~ I don’t know the story ~” / the original painting began to remember the original name in the staff table. New supervision has been announced recently. .
The proposed innovation concept covers a wide range of fields, from explosions to movements, from characters to machines, and Iso’s paintings reflect their personal characteristics that have never been seen before. In addition, I was one of the first animators to be exposed to the use of animated digital technology. In the “BLOOD Last Vampire” published in 2000, he began to use AE to directly photograph his original paintings. The digital work of “Wings of the Wings” and other works (デジタルワークス). However, it is quite unexpected that its official transfer to digital painting began after the 2014 island of Giovanni, which is the last piece of paper painting. .
This article will focus on the paintings of Iso, and readers who are interested in other aspects can study it separately. Back to the beginning, Ishio showed a variety of innovative paintings in 0080, the first of which was the “Island Explosion (Iso Explosion)”. At that time, the mainstream of the explosion painting was parallel to the picture and the plane movement. In order to make the explosion more three-dimensional and rich, the first thing to do was to change the smoke shadow of the explosion into a triangle, because the mainstream crescent exploded at that time. It is difficult for Shadow Rock to move it three-dimensionally. The triangle shadow makes the explosion clearly divided into different “blocks”, so the calculation of the movement after the movement is quite clear. On this basis, the explosion continues to expand and roll out from the inside to the outside like a foam, while the special effects of smoke and fragmentation are as the shredded paper rolls into the gale and generally flutters. At that time, Iori thought that this kind of explosion could not be painted, so it was directly painted. The most powerful thing about the Rocky Explosion is that although it abstracts the appearance of the explosion, it has made a more stereoscopic and realistic movement. .
At the same time as the new explosive paintings appeared, the realism of the robots under the pens was unprecedented. When I was drawing a huge robot, I really considered the machine nature and volumetric nature of the robot itself, and actually depicted the detail movement caused by this property. For example, the long card of the missile below, the MS flies in the air to adjust the posture, the pusher is separated and the MS bends to the ground, the arm bends with the friction, the whole body shakes to the front, the shelf is unbalanced, the front tilt stops, the hands support stand up Quickly launching the missile with the right hand and the recoil performance after the launch, all of them subtly depict the physical exertion that a real huge robot should hold. All in all, it is to accurately depict “huge robots” as “huge” and “robots”, not just “people.” 0080 Nakajima also has the opinion of the supervisor to modify the mirror to enhance the sense of greatness.
This incomparably precise painting control idea is also the essence of the IJi painting. A typical example of a character’s painting is the painting technique of the full /3コマ (full limited/3k full original painting) first created in The Ancestors. It is well known that the mainstream style of Japanese animated painting is the pose to pose style of “original painting (key frame) – mid cut (middle frame) x N – original painting”. From Disney to Jin Tian Yi Gong, the flow of changes in character movement painting can be said to be more The more it tends to be “the unique style of animation,” the appearance of the imitation of the sandpaper has turned this flow back to the origin of “painting like a real person.” At that time, Isai’s action paintings did not exist in the middle. All the movements were completed by the original paintings. The ownership of the movement paintings was completely recovered from the cutting hands to make the perfect effect in accordance with the original painting requirements. Later, the contact photography was also made to make it more suitable. The picture of the idea). On the basis of the whole original painting, the action painting under the script is always carefully considering the subtle motion relationship between the part and the whole. The whole process calculates the weight sense of each part of the moving body and the different movement tendency caused by the different force, so the movement itself It is complicated and simple. In the same way, because it is a hollow 3k full original painting with obvious time interval, it can obviously feel the difference between the motion itself and the reality, but at the same time, because of its precise motion calculation, the motion itself is very convincing, and as a result, its Painting shows a unique sense of realism that has never been seen before. .
.
The famous long shot of the fourth words of “The ancestors of the ages”.
.
“Ghost in the Shell”, it was rumored that I was looking for a spider to observe its movement.
Isai thought that 3k painting was the ultimate way of painting, because 1k all could easily draw, and 3k all wanted to draw very difficult, but he felt that 3k can do it if he studies it wholeheartedly. To the whole original painting, with a little rebellious thought of the common sense of the number of sheets at that time, of course, now I think it might be better to add a little of cut. As a comparison of 3k original paintings, you can refer to the video “Run! The passage of Merlot is due to the principle of painting for the whole work. I was interested in paying attention to the original painting, so this paragraph was dubbed by myself as the most “slip” piece of painting in my history. By the way, Isaiah claimed that he never used the movements of the people in the video to paint. The movements of the characters are naturally “downloaded” from the memory of their bodies and brains. To imitate the movements of other people, painting will disturb the brain circuit. .
Iki Kazuo’s innovation in painting is more of a conceptual innovation, and like Jin Tian Yi Gong, it shows such a novel painting idea. The master of the explosion painting, Hashimoto Hiroshi, said that he had been shocked by his paintings several times. One of the pinnacles of contemporary Japanese painting, Inoue June’s commentary on his movements is revolutionary. Ji Guangxiong is undoubtedly a milestone in the history of Japanese animation. .
.
References: .
“Ji Guangxiong ANIMATION WORKS vol.1”.
“Ji Guangxiong ANIMATION WORKS vol.2”.
WEBアニメスタイル | animator interview Inoue Jun (4).
(http://www.style.fm/as/01_talk/inoue04.shtml).
WEBアニメスタイル | animator interview Hashimoto’s history (4) エヴァンゲリオン と 光 光 。 。.
(http://www.style.fm/as/01_talk/hashimoto_t04.shtml).
Bgm:aran – Celebrate ft.Shully (aran Remix)