ghibli short

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“It’s Love, Isn’t it?” (Viktor’s Moving Castle!)

I live for Hat Maker/HouseKeeper Yuuri, Wizard Viktor and Apprentice Yurio! 

@starphases @weebhyun @riiza <33

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Short animated trailer I made to go with the Zelda x Ghibli posters I did a while ago. Will post some of the BG paintings I did for this at some point-

I animated this to a section of an amazing piano piece by Kyle Landry 

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Mary and The Witch’s Flower Trailer

vimeo

GIANT GOD WARRIOR APPEARS IN TOKYO

A casual movie fan wouldn’t put Studio Ghibli and giant kaiju monsters in the same picture. But this film gives us that very scenario. Produced by the legendary Japanese animation studio, this short became a viral sensation a few years ago. Viewers watched in awe as a giant creature wreaked havoc through Tokyo. Think Godzilla meets Attack on Titan.  With the talent behind this project, needless to say that the CGI and models/puppets are kick-ass. I’d rather see a feature version of this than another bland film like Pacific Rim.

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The Day I Harvested a Star 星をかった日 (Hoshi o Katta Hi) Ghibli Museum Art Booklet

Hoshi o Katta Hi lit. “The Day I Raised (Harvested) a Planet” is an animated short film directed by Hayao Miyazaki and released January 3, 2006. It was produced by Toshio Suzuki for Studio Ghibli for their exclusive use in the Saturn Theatre at the Ghibli Museum in Mitaka, Tokyo. The film is based on a story by Naohisa Inoue. You can see posts on the other museum shorts artbooklets here (●⌒∇⌒●)

See my ジブリコレクター Ghibli-Collection

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I watched Ocean Waves at an Alamo Drafthouse last night (those are the theaters here that are famous for tossing people out if you disturb moviegoers and have that clip of that angry Star Wars fan - “Excuseeeee me for using MY lightsaber…”) and it was preceded by a Ghibli short I’d never seen called Ghiblies: Episode 2. It was definitely for grown-ups - sometimes because it was more meaningful to adults, sometimes it was a little spicy (not “curry” spicy like in the above clip but the other kind), and sometimes just because it was reminiscent of work life. I really enjoyed them - I loved Ocean Waves, but Ghiblies was worth the price of admission all by itself.

Week 19 - Anatomy of A Scene

Here’s a look at our animation pipeline on AMBITION.  It’s a process that we’ve developed for doing client work and has served us well for many years.  It helps us save time and brain power, which gives us the ability to focus on just making solid work.

It Starts With Good Boards

Having solid storyboards is absolutely key to a successful production.  The concept of what a storyboard is actually used for is very misunderstood by artists young and old.  Getting the initial idea down is step one, but ensuring that all elements which will appear on the screen are clear and visible is the next important step to the process.  As a director, having a team that is familiar with your vision and level of standard for the work allows you the flexibility to be a bit more loose with your art.  But if working with a relatively new team, it’s super important to make sure that everything is CLEAR.

Key Animation & Timing

The next phase is taking the storyboards and putting the artwork “on model,” meaning to make it match the artistic direction that’s been established for the work.  Each cut of the reel is broken out and then every frame is counted for.

From our spreadsheet, the cut is 59 frames (2.45 seconds) long.  There are 3 main poses which are put on model as you can see below.  Now, you’ll also see an exposure sheet (x-sheet) that’ve made specifically for this production.  I start by marking down the main “beats” of the cut as indicated by the story reel.  Most story reel timing is usually left up to an editor and so it can be hit or miss depending on the experience level.  I tend to follow the Kurosawa school of filmmaking and believe that the director should also edit their own films.  Being an animator, I was meticulous with pacing so that my boards timing could be used as is.  

Writing x-sheets is a back and forth process.  Before I even start animating, I act out the actions PHYSICALLY to get a feel for the weight and I use a stop-watch to make sure that I have a good sense of long it will take me to go from A to B.  

NOTE: What you see here are my cleaned up key drawings which I produced AFTER I worked out my timing and spacing for the cut.

The Exposure Sheet (X-Sheet)

Some people have heard about them, others not.  An exposure sheet is much like a music sheet which allows for us to jot down the timing, spacing and action or camera directions of the cut.  

At first glance, it looks very intimidating but when you look understand that each cell represents a frame of footage; it’s not so scary anymore.  In fact, if you’re working in Flash or Harmony or any other animation program that has a timeline, you are in fact looking at a digital exposure sheet.  What trips people up is that they’ll spend way too much time in the timeline playing back footage and making tiny adjustments.  When in fact that proper way to go about producing high quality work is to do things one step at a time.

  • The key drawings from the story reel are marked down first.
  • Then I time out the action (using a stop watch and acting it out)
  • Then I jot down the spacing via thumbnails (testing as I go along)
  • When I’m satisfied with the work, I write it all done on the x-sheet and clean up my drawings.

As you can see, we’re animating on 1s so it’s doubly important that we have an iron clad grip on the work to maintain quality and consistency throughout.   If you leave too much to interpretation - I can guarantee that  - you will have more problems than you realized.

Once I’ve gone through and placed all my keys, it is now ready to be handed over for inbetweening and coloring.

Catch 22

Fact of the matter: Hand drawn animation - especially when done well - is a lot of work.  There’s a reason why we don’t see a lot of productions [in America] using hand drawn animation and it’s precisely because of the amount of work that goes into it and a lack of understanding of what it takes to do the work right.  9 out of 10 times, production budgets and schedules are often underestimated and then the money people get upset when the work looks like crap.  Animation takes a lot of time, especially to make it right.  It’s like sculpting a marble statue; when takes time to do it right.  And when it’s right, it’s right.  And when it’s wrong, it’s fucking awful.  But to most executives, producers and studios don’t want to spend the time (because it equals money) because the faster and cheaper you produce a product and get it to market, the more money you’ll make because you didn’t spend that much to make it!

It’s a catch-22.  Animation is an amazing storytelling platform, but in order to produce animation it will either require a lot of time or a lot of resources.  Both require money.  Guys like Bill Plympton keeps his production budgets and quality low because he does all the work himself but it takes between 1 to 2 years for him to do it alone where as Studio Ghibli will spend between 3 to 4 years producing a feature with all the trimmings.

Either way, when it’s done - and done well - animation is an incredible medium to work in.  Anything worth doing is never going to be easy.  

animenewsnetwork.com
Ghibli Producer Suzuki: Hayao Miyazaki is Preparing to Work on New Feature Film
Suzuki stated at U.S. event that Miyazaki showed him storyboards for new work

Other ANN news for today:

Manga/anime/light novels-

6th Natsume’s Book of Friends Anime’s April Premiere, Theme Song Artists Revealed

Kenka Banchō Otome: Girl Beats Boys Anime Casts Hibiku Yamamura as Main Heroine

Masamune-kun’s Revenge Anime Casts Mitsuki Saiga as Kanetsugu Gasō

Yume-100 Anime Shorts’ Teaser Video Reveals March Debut

The Silver Guardian Anime Reveals Main Cast, New Staff, April 1 Premiere

BanG Dream! Project Reveals 8 More Band Cast Members

Hajimete no Gal Anime Reveals Main Staff, Character Visuals

Video games-

Fate/Grand Order Smartphone Game’s Ad Previews ‘Epic of Remnant’ Event

Live action and etc-

Funimation Comments on Website Data Breach

New Blade of the Immortal Live-Action Film’s Video Introduces Manji

Live-Action Alita: Battle Angel Casts Michelle Rodriguez as Gelda

ReLIFE Live-Action Film’s Trailer Previews Sonoko Inoue’s Ending Song

Polka Dots Performs Trinity Seven Eternal Library & Alchemic Girl Film’s Insert Song

Live-Action Teiichi no Kuni Film’s 2nd Poster Visual Unveiled

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but i also want to dress like unkept short-haired ghibli character who wears like the plainest baggiest things but it doesn’t matter because they look so freaking alive when they are running and talking that you don’t even see the clothing because of all the pure clean energy they are exuding