“Most people want to see Kyo-ani works” | NHK News

“I want many people to see Kyo-ani works” August 16, 17:04

“Kyoto Animation” has led the Japanese anime world. One month will soon come from the arson that killed 35 people. Numerous works that have been loved by fans all over the world, such as “The Melancholy of Haruhi Suzumiya” and “K-ON!”. Animation director Yasuhiro Irie, the representative director of the “Japan Animator and Director Association” made by animators and directors, wrote about NHK's coverage. He explained the charm of dating in the details of Kyo-ani works from a professional perspective.

Encounter with Kyo-ani “Encouraging finish”

I first learned about Kyoto Animation in an anime work called “Uchida Shungiku's“ Curse One Piece ”” broadcast on TV in 1992. From the animator's eyes, it was the impression that the video was made carefully. The original picture that is the key to movement is also a polite play, and the video is undisturbed. At that time, the results were enviable for me, who was confused by how rough the videos were ordered overseas. “Kyoto animation is amazing!” It was a hot topic among nearby animators.

○ Mr. Irie cites the existence of Mr. Masashi Kigami, a veteran animator who became one of the victims of this incident as a person who supported Kyoto Animation from the beginning.

There was an opportunity to see the original and corrections of “Curse One Piece”, but Mr. Kigami was drawing a lot of originals while teaching a young newcomer. I remember being overwhelmed by the polite play drawn with delicate lines. At that time, I felt that “I was able to do it because of the power of Mr. Kigami”. However, I think now that the view was sweet. The quality is not transient, and since nearly 30 years since Mr. Kigami continued to cultivate newcomers in Kyoto animation, numerous amazing video works have been created so far.

“K-ON!” “Kyo-ani's Technology”

○ As an example of knowing the high level of Kyo Ani's technology, Mr. Irie gives a popular work “K-On!” (2009). It is said that every expression of the character's feet and hair is given detailed expressions.

The first thing I thought about when I saw this work was that I was devoting a lot of effort especially to “walking”. I feel particular attention not only to normal walking and running, but also to carrying a foot with a play, such as a steady walk. To achieve this, animators need to be familiar with the walking and running mechanisms. The ability to observe the original man and the skill of an excellent video man I feel that I am consciously and enthusiastically working. In a flashy place, there is a cut that reflects only the feet in the scene where the hero Yui heads to the club room of the light sound club. Stopping a few frames in the movement, or putting a picture against the flow several times, has realized a walk that is erratic. Actually, you may not be able to get your feet out at this timing. However, it can be seen in the video with persuasive power. At first glance, the movement is strange, but the movement itself is based on a normal walking movement, and can be seen as an intentional exaggeration. That's why I feel it is persuasive.

Also, the movement of the hair is nice. Your body moves and your hair moves. There is a whole movement, then there is a partial / end movement. I feel that it is a feature of Kyoto animation that is drawn appropriately. Basically, it is a drawing method that captures the hair as a tress, especially “drawing long tresses and short tresses” and I feel that it is amazing. I think that there are many animators who were influenced by how the hair moves from Kyoto animation.

○ In the TV anime “Nichijou” (2011), it is said that sophisticated techniques can be felt in how to draw detailed actions such as dancing and skipping.

There is a dance cut where the three girls swing their hips away from the camera at the “daily life” opening. Dance cuts are difficult animations. Looking at this cut, the body moves regularly and the hand moves at different times. These are not so difficult to express individually, but they combine simple movements to create complex looking movements. Realization involves steady work. It is necessary to keep track of each individual movement. In the ending, two skips will appear. One is a big exaggerated skip, the other is a calm skip. Moreover, it is a skip that makes you feel that it may be a bit of an idiot. Both are nice and sophisticated skips as animations. I think that it is a weird thing to be able to draw the same skip in this way.

I want you to enjoy amazing animation

○ Kyoto Animation has announced that it will release its first new movie in September after the incident. Irie wants many people to continue touching Kyoto animation works in the future.

This text only introduces only a part of the Kyoto animation technology. For works such as “Hyuka”, “Free!”, “Sound! Euphonium”, not only drawing, but also making the screen itself as beautiful as possible has been made. I felt that I had reached it. If you haven't seen it yet, I hope you enjoy watching the wonderful animations.

Yasuhiro Irie
Born in 1971. Director / Director / Animator. Representative Director of Japan Association of Animators and Directors (JAniCA). Participated as an animator in "Espace in the Sky", "Cowboy Bebop", "Soul Eater", "Tekkonkinkreet". There are “Alien 9”, “KURAU Phantom Memory”, “Fullmetal Alchemist”, “CODE: BREAKER”, and “Burning Table Tennis Girl”.