John UM
Japanese animation as a market that depends on the TV medium, the choice of 16:9 (1.78:1) screen aspect ratio is inevitable. However, as the audience’s requirements for the screen are getting higher and higher, and the Japanese animated characters are becoming more and more realistic, in recent years there have been some 2.35:1 super widescreen theatrical animations, and there are many TV animations. There are works of frame switching. .
Recently, “DARLING in the FRANXX”, which is being broadcasted, has been switched to the ultra-wide format of 2.35:1 many times in the film. This article will select some TV animations and theatrical animations using ultra-widescreen to analyze their intentions of using ultra-wide format, for everyone to study the animated intention behind the change of the aspect ratio of the animated picture. .
First, let’s first conclude that there are two ways to switch between TV animations in TV animation, or to use the heterogeneity of super-wide format to distinguish between front and back paragraphs, in order to cut back memories, inner monologues, or emphasize the plot. The importance of either is to show the scene with a wider range of views and to render the atmosphere. .
And full-scale super-wide format animation, it is generally intended to use the second point to collect more pictures, in order to play a stronger visual impact of the cinema playback equipment. Moreover, Japanese animation has gradually moved closer to real shooting in recent years. More and more realistic people set up and paint, and the beautiful pictures brought by the later stage also make the theater version with more capital begin to make it more difficult to produce. A better performance of 2.35:1 development. .
Well, the national team that started to broadcast recently has started talking about it. .
The first episode of the national team’s first episode is an ultra-wide frame of 2.35:1. According to the line in this paragraph, “The Belly Bird, it seems to be called this. This bird has only unilateral wings, females and males. If you don’t combine them, you can’t fly in the air. It can be inferred that the ultra-wide format is used to highlight the relationship between the two people, such as the year-on-year relationship between the two, so that the relationship between the two is the focus of this work. .
The development of follow-up animation has basically confirmed this point of view. The first episode of the first episode of the two people at the riverside, the third episode 02 said to have a wide escape, the sixth episode wants to save the cockpit of 02, the 12th Ji Guang’s confession of 02, the 18th episode and the 02 romantic date under the cherry tree, are the same usage. .
The ultra-wide format is obviously different from the conventional 16:9. It can extract the relationship between men and women who need lyrics from the drama. The frame is narrowed and the text appearing in the center of the picture makes the animation look more like a fairy tale of the picture book. It also echoes the key props that appear in the animation. .
With the animation playing, the usage of the original super wide format has also begun to expand. The seventh episode of Guang, 02 and other people came to the ruin city of human existence in the past when the frame changed from 16:9 to 2.35:1. As the first ruined world in the play is the top priority of this episode, the use of ultra-wide format can bring more scenery into the picture, which is convenient for showing the scenery of the ruins. .
And the 14th episode of Changjing Longxue, the screen of the previous episodes is cut off from the upper and lower screens to express the inner activities of 02, raspberry and wide people. Longjing Longxue is a master who uses split composition. He also often uses split composition with inner activity, which is also the use of his own performance techniques. .
Like A1, SHAFT is also an animation company that likes to use ultra-wide format. The first episode of “Busin” puts the Aliangliang wooden calendar of the origin of the story at the very beginning, and then flashes the story of Oshino and Aliangliang’s wooden story, and then in the “Bakeherm” All the major female characters to appear in the game have passed by. With the text of a single picture, the story of “Binnish Language” has been completely passed in just one and a half minutes. .
The story of the entire animation is used as an attractive part of the eye-catching front to the front of the OP, using the super-widescreen heterogeneity to emphasize the importance of this episode. The ultra-wide format before the episode OP continues the usage of the first episode, and the episode of the episode of the post-OP episode can be pre-positioned in the whole episode to attract the audience’s attention.
In the “Bulk Language”, not only the ultra-wide format will be used before the OP, but also the single-frame text with different frames will be used to switch the frame back and forth. According to the different sets of different situations, there will be a distinction between the use effects. For example, the tenth episode uses the super wide format to match the lines of the Fuzi to emphasize the delicate characteristics of Fuzi, and to show the scene. Episodes 11 and 14 are frequently used to switch memories and reality. The 12th episode is the most extreme. A full set of 2.35:1 super wide format directly inserts the date of the battlefield and Aliang Liangmu into the white cat event of the Yukawa wing. .
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Following, super wide screen.
Tail Shida is also a supervising of a lot of performances. By controlling the narrative rhythm with a single text and frame switching, you can easily switch from the current scene of the animation to other scenes, and the combination of single text and frame switching is also Very interesting, it will bring more fun outside the work. .
Tianchong is also a very supervised with 2.35:1 super wide format, “Hello! In the first episode of the Golden Puzzle, the part of Omiya and Alice living together in the UK was made into a super-wide format, which was placed at the very beginning of the whole animation. .
The part of Dagong Ren and Alice living in the UK is not at the same time as the main story, and the UK is also different from the main stage of animation in Japan, so Tianchong deliberately uses the super frame to make a distinction, but also Use the ultra-wide format to better showcase the British landscape. . After the
Episode 3, Poor in the UK also used a super-wide format, which is also used to divide the memories and the present with ultra-wide format. Although there is no problem with the idea of using ultra-wide format, Tianchong has some problems with the understanding of ultra-widescreen. This problem will be placed at the end of the article. .
“Only the city where I don’t exist” (hereinafter referred to as “The Servant Street”) also uses the switch frame to split the time. I have seen the “Servant Street” know that the film will be in 2006 and 1988. Switch back and forth. In order to distinguish between the two times, Ito Supervisor turned 1988 into an ultra-widescreen of 2.35:1. .
Ito Supervisor believes that since the protagonist has the ability to be called “re-released”, it is reasonable to turn 1988 into a symbolic movie 2.35:1. There are also movie footage in the animation, and the film of the male owner watching the movie. “Servant Street” is a realistic style animation, and it is also very suitable to use the wide screen commonly used in real shots. .
2.35:1 The ultra-wide picture can capture more pictures on the composition, and can use more characters and scenery to compose the picture. At the same time, the cinema’s playback equipment can be fully utilized. The 2.35:1 of the screen in the cinema is more immersive than the traditional 16:9, which can bring a better audio-visual experience to the audience entering the cinema. Although the use of ultra-wide format in cinemas will undoubtedly increase the difficulty of production, there are also many companies with strong production strengths who have begun to try ultra-wide format and have achieved very good results. .
“EVA Q” has changed from 16:9 to 2.35:1 in the first two games. It should be to enhance the expressiveness of the screen through the ultra-wide format that can give full play to the advantages of the cinema. KHARA has always been a strong player in digital technology, and neither capital nor manpower is a problem. “EVA” is one of the most famous animations in Japan. It brings together the top talents in Japan. It is also supposed to make “EVA” a high-profile audiovisual effect. Then change the picture from 16:9 to 2.35:1. A directly feasible method of change. .
“EVA Q” has a uniquely designed art scene, and there is a lot of robots in the big scene battle. The 2.35:1 frame can put more things into the picture to make more gorgeous pictures, making the battlefield more It is more open and more powerful. The same is true for real-life movies, and the natural advantages of ultra-widescreen make it easier for war scenes to be epic. .
The “True Story” series trilogy uses 2.35:1 and is also the same as “EVA Q”. Tail Shida also used the 2.35:1 super widescreen in the last episode of “Binnish Language”, which shows his love for this proportion screen. The story of the wounded story is a rare theater version of SHAFT, and the atmosphere is also serious. The ultra-widescreen is more immersive in the cinema, which is more conducive to the tail stone and create an animated tension. .
In 2016, the theatrical version of the two-story high school teenager’s love story “Similar Student” is neither an action movie nor a suspense film, but it also takes advantage of the ultra-widescreen.
The film deliberately emphasizes seasonal changes with fonts. The relationship between the two plays changes with the seasons. That is to say, the production team regards the natural environment as a very important narrative prop. .
Compared to the aspect ratio of 16:9 aspect ratio of 2.35:1, it is clear that more background income can be included in the frame. “Similar students” use this advantage to include more characters and environments. In the picture, try to make the relationship between the two boys more beautiful through the surrounding environment. .
16:9 Although it is also possible to create an atmosphere through the background, if an animation requires a lot of background elements to create an atmosphere, it is a better choice to use a wider and easier super widescreen, and before that A1 is also a good choice. Already started using ultra-wide format in TV animation. “Similar students” is an animation that is released in the cinema. The producers also have the ability to control 2.35:1. It is also reasonable to match the ultra-wide screen of the cinema. .
The change in the movie format of the theatrical version is to find a way to distinguish it from TV. The audience walked into the cinema and naturally wanted to see a more gorgeous picture. In the 1950s and 1960s, the real-life movie showed a 2.35:1 aspect ratio screen, which was to increase the market with TV. There are also real shot directors in order to better perform in other screens in demand. In order to pursue an immersive battlefield experience, Nolan chose to use 15-hole 65MM film (1.43:1) when filming Dunkirk. .
Nolan believes that when the audience sees the super-large picture on the IMAX 70MM screen, they will also be immersed in the battlefield. When EVA Q was played in the theater, it was customary to watch the 16:9 audience enter the cinema, and when you saw the beautiful picture of EVA Q, which covered the entire movie screen, you will get a distinctive audiovisual experience. .
Speaking of this, you need to mention the above-mentioned Tianchong. Tian Chong himself is a supervisor who likes wide screens. His “Gray Series” animation, which is supervised and produced, is the first TV animation in Japan that uses a 2.35:1 aspect ratio. .
Theatrical animation will use a wide screen for stronger picture performance. But a TV animation is full of screens, which is a very debatable thing. TV animation media is still based on 16:9-based TVs and computers. Home display devices in normal ordinary homes cannot take advantage of widescreen performance. .
Since there is no way to enhance the expressiveness of the picture, is there any advantage to using the ultra-wide format to capture more images? From the results, the gray series is not in place in this respect. Since you choose to widen the screen, you should make good use of the extra two screens. “EVA” “Same-level students” and “Skin Story” all use the 2.35:1 format frame to match the picture on the composition. .
Take the TV series of “Gray Series” and “Servant Street” for comparison. The story of “Servant Street” and “Gray Series” is more serious, and people are realistic. The whole chapter of “Servant Street” pays great attention to the difference between 2.35:1 and 16:9 in composition, and knows to use a wider frame to compose a picture. This point is also directly related to the production strength of the production team. .
Limited by the production strength, the “gray series” often uses very traditional animation techniques such as speed lines and stream backs, and the traditional performance techniques of Japanese TV animations are hard-pressed into ultra-widescreens. Strange. .
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This kind of violation also appears in the golden puzzle.
Although “Similar” “Scars” also has a very “animation” expression, but the former by simplifying people The art with watercolors and whites creates a sense of non-reality, while the latter makes the Q version of the expression unobtrusive through the jump of a single text picture.
The whole article uses ultra-wide format to undoubtedly raise the overall level of production. The requirements, used in the TV animation of Zhou is really difficult for some strong people. And with ultra-wide format can not bring a better audio-visual experience on TV, computer, it is somewhat unpleasant.