Even after finishing the final BG-paintings they might have to be re-painted, if for example the angle or the colors has been decited to change. H.Ogura usually begins with first making color sketches of certain significant points of the animation, before making the final background paintings. The rough background paintings were scanned, then after making all the needed corrections the characters were added.Īfter getting the finished lay-out the art director (Hiromasa Ogura) uses it as a reference when making the background painting with his assistants. In the making of the Blood lay-outs digital software such as Photoshop was used extencively. On the same background can be drawn characters in different stages of the animation sequence, as long as it doesn't make the lay-out too confusing. In the lay-out the sketch of the storyboard is being drawn to the final size, referring to the designs made of the characters and surroundings, combining those two into one picture. At this point the director is mostly making decisions about the compositions and angles. When the storyboard and the designs of the environments and characters are ready, the director and the key-animator(s) can start drawing the lay-outs. In the storyboard are usually being marked the shot numbers (shot), camera movements such as zoom in and out ( T.U.=track in, T.B.=Track back), pans (Pan), the dialogue and the duration of the shots as seconds and frames. This is what was done during the production of Blood, where the IG:s production coordinator Arata Iwashina eventually assembled the drawings of director Kitakubo into the final storyboard. The storyboard is either drawn directly to a A4-sized paper (Jin-Roh), or as bigger pictures that has to be copied later into a smaller size. This was also the case in Jin-Roh, of which storyboard was made by its director Hiroyuki Okiura. The production itself begins with the making of the storyboard which is, especially when it comes to full-length anime movies, often made by the director of the movie. The designs of Jin-Roh also included detailed visual representations of the characters, their clothing, vehicles, weaponry and other objects from different angles. Similar detailed drawings are being made of the environments. When the synopsis is ready ( And even before that ), the characters of the movie are being drawn into detailed character designs, of which the animators use for reference in their work. For obvious reasons many anime movies are also based on some manga already excisting, such as Akira and Ghost In The Shell (Kokaku Kidotai). Even in the pre-production phase a lot of time has to be spent for brainstorming as a group. Concerning a production of an animation movie it's obvious that the process itself requires seamless team-work. Generally it could be said that no decisions are being made individually, everything is being negotiated between all the people involved the given matter. In the Japanese culture the meaning of working as a group is known to be extremely important. PRODUCTION I.G - Tokyo Anime production process - feature film Character design, storyboard & lay-out
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