Bursty
@BurstRiot
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Animation enthusiast | My wallet is empty when I buy a ton of Artbooks | Toaru | Uma Musume | Pokémon | Honkai series | Fairy Tail | J.C. Staff follower
Chartres, France
Joined November 2019
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Kazuki Kawagoe succeeded in sublimating the Komi-san adaptation, exagerating the original source with extra ambition in the direction/board while having talented animators like William Lee on the pure animation side, somehow it became a Nichijou-like without us realizing it.
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Discovered this scene in Girls Bravo s2 and directly amazed by how good the fight choreography is, very much enjoyed the usage of the tables/chairs and the way they used it, also what better than a first cut of background animation and smears to introduce us in the fight.
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The running animation is absurdly dynamic, Nomu's choreography and movements feel slightly graceful, definitely the cut that impressed me the most so far, Norimitsu Suzuki regular in a TV series is something that didn't happens since years and years, still feels like a dream.
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Extraordinary work by 永井克人 (Katsuhito Nagai?) in Kakkou no Iinazuke
#3
, there's so much life in the character acting and I love the way the water looks both in the animation and compositing aspects, an animator that I will follow closely now.
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This cut by Taishi Kawakami in the new 22/7 MV is absolutely insane, it's animated on 4s but when it accelerates a bit due to the wind it becomes in 3s for a fraction of a second before coming back to 4s, insane limited timing and attention to fabric/hair.
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Shingo Adachi didn't directed that much in his career but he's that kind of person who succeeds in everything he does, one of his strengths is definitely his imagery and Lycoris Recoil's OP is a good example, literally nailed the last part with a succession of neat transitions.
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Toya Oshima trying to remind me how background animations are one of the coolest things to ever exist, very immersive cut.
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Insane misinformation about Frieren, the show might looks that in surface but it's not, people generally need to understand that a production that shows no sign of weakness really doesn't necessarily mean that things are going perfectly behind the scenes.
Frieren from Madhouse - Healthy Production
JJK from Mappa - Production Flatlined
Strange how the tables have turned
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Crazy in love with Sute's latest work in Takt Op. Destiny, starting at full power on the kanada poses while having a very smooth and interesting way to use the impact frames, having them as a charger at the beginning before the real impact that comes right after.
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Kenichiro Aoki is used to work as a main animator on a series while being credited here and there on others JC Staff shows, Virgin Road is one of those cases where he was simply there to help, but for him helping is not only that, sometimes he just comes and literally flex.
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Hiroyuki Okiura back in a TV Series sound unreal but this is exactly what happened in the last episode of G Witch.
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Usually Present Mic's ability is done in a particular way with the compositing team but having Norimitsu Suzuki animating it gave us a pretty unique and extravagant result, he presented it in the least predictable way.
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MHA has many talented supervisors but nothing surpasses the madlad Umakoshi when he's involved in an episode, this striking flashback gave me a nice nostalgia regarding the S2, I particularly like how Rei's faces & expressions are deeply uncomfortable, very intense character art.
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The last episode of Komi-san was a crazy animation festival about gum fight games, a banal game at first sight that became wildly eccentric from an animation standpoint, many of the regulars gathered for the final run and they just nailed it, incredible work to everyone involved.
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Kosuke Yoshida animated the climax scene for Precure All Stars F, as he occasionally does in Precure movies, but this time he did an even more high-intensity scene, their expertise for animation leads to such intense uninterrupted cut in the 2nd half, few people do it like him.
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Delicious BANK in the last episode of Machikado Mazoku s2 animated by Yuji Takagi, he really makes one of the most attractive smears for me, such a good henshin.
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Slowing down the run/recovering its posture, opening of the bottle, hand waving after throwing the drink, and the "see you" at the end. Tomoki Yoshikawa's animation approach have so much personality and technical details, strong realistic fundamentals that few can rival.
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William Lee is the kind of animator where every aspect of his animations are powerful enough that you will always be forced to be surprised even if you know him perfectly, his smooth and strong animations never fails to impress me.
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This cut is so great, Yuuji's movements are really smooth and those of Hanami a bit more limited, but it works perfectly.
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Zom 100 had one of the most difficult situations to complete its opening, but the added cuts as the series progresses were all worth it, very impressed by all the characters (including zombies) who dance and sing the lyrics, impressive animation and music synchro overall.
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Daiki Tomoyasu successfully crafted a very memorable and nostalgic last OP for Sun & Moon that hits right in the heart, each part is able to transmit a lot of emotion and is perfectly connected with Taiiku Okazaki's delicate voice. the spirit of the series is here.
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Pokémon Horizons OP2 is Daiki Tomiyasu most captivating opening, emphasizing and capturing the concept of Terastallization which is a major aspect of Pokémon Scarlet and Violet, turning it into a fully-fledged visual theme, there's an omnipresent sense of brilliance.
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Aoki knows strongly how to animate mecha, he does it in a satisfying way with his lightnings, and I like how even in this kind of situation he always uses his smears, which makes his mechanical stuff very unique from what we are used to see, he animate the perfect scene for him.
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When I read Frieren, I felt a lot of sweetness and contemplation behind the narrative, great care given to the character of Frieren and everything surrounding her, the show sublimated any aspects of the source material to an unbelievable extent, all magnificently well presented.
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Utena VS Juri was awesome, Mamoru Hosoda went under his pen name Katsuyo Hashimoto for storyboarding episode 7, also presumed to have animated the fight. Strong choreography with a very involved camera, I particularly like the rotation with the background at 1:02.
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Despite not used to do this kind of work, the result was outstanding, especially in love with his slowmo scenes, alternating between fast and slow and giving his best to make it as enjoyable as possible, and indeed, you did it!
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Asta looked extremely good in Black Clover
#14
, Takaya Sunagawa/Shunji Akasaka corrections never misses.
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The 10th Black Clover ending is absolutely lovely, the compositing by Studio Hibari greatly enhances Takaya Sunagawa/Shunji Akasaka's direction and animation, my heart completely breaks for this scene animated by Sunagawa, constant attention for delicate acting and hair motion.
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Unstoppable animator, actually Kenichiro Aoki's smears are always great but he makes them even more exciting if the sequences are as fast and dynamic as possible, his last work in Edens Zero is a great example, the 3d background fits perfectly with the action scene too.
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Aito Ohashi's character art will never stop to impress me, lines and shading straight out of a mecha series, a vibe even felt on the characters, nothing escapes the rule. Each close-up has great depth, especially with all the charismatic work in every hand shots.
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As a boarder and director, Tatsuya Yoshihara is incredibly skillful, CSM
#04
shows how exceptional he's even outside the action, his complete control of the enchanting atmosphere made this whole scene charming, the transition between each cut serves the story in a flawless way.
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Shokei Shoujo no Virgin Road's OP was SB/ED by Yoshiki Kawasaki, I love the consistency in the rotations throughout the opening, the level of difficulty to make each cuts here must have been challenging, really impressed by Keiko Tamaki's supervision in these conditions as well.
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Camera in the first person, in front and also in rotation, Manabu Okamoto seems really likes to play with the camera, many of its things you can find in the first episode of Mushoku Tensei, and the staff is strong enough to carry out all his ambitious storyboard.
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This publicity animated by Hidekazu Ohara is crazy, sports animations are always beautiful to see when it's well animated.
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Pokémon S&M
#43
was directed by Masakatsu Iijima, with the best regulars gathered to create one of the best episodes of the entire series, and yet, the animator who takes the spotlight is Aito Ohashi, in his entire career this was his best contribution.
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CSM
#03
wildly shows how truly unique Hironori Tanaka is as an artist (especially compared to the rest of the series so far), though in fact it could be said for all the series he worked on since his art stands out so distinctively from the rest of the industry, bless him.
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Few episode debuts are this good, such an insane water with a timing that reminds me of what Ken Yamamoto and Masami Mori would be able to do, and thinking about these people just makes me say how talented the person behind this scene is, ridiculously strong acting at 7sec too.
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Yusuke Oshida is one of these animators where you can see a drastic improvement in the animation in a very short time, Maenami's influence keep being strong but there's also this typical way of Iwane to make the shades and the black lines, inspired by the greatest animators.
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I will start Black Clover, my french friends who are fans of this series trapped me, their passions for this series easily impressed me tbh, now let's go for a big adventure.
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Edens Zero
#25
was released at the same time as an announcement that made people cry (it was my case), but the last work of the director accompanied by the person that he always followed was convincing, having the usual 3 action animators to make the last fight really brilliant.
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It's been a while since I really liked an ending, Black Clover first ED was a complete solo effort by Ryu Nakayama (SB/ED/AD/KA), great animations with full kagenashi, some parts hit so hard when the character animation and Itowokashi's voice are in harmony I just want to scream.
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Yuu Yoshiyama again in Shadowverse Flame! These kind of scenes in Shadowverse are usually fluid but I like how Yoshiyama was able to fully show her style here, bless this artist.
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Sun & Moon
#112
was fun! Meltan is very special and sweet, the previous ep and this one made us appreciate all of its own characteristics and its attachment for Mokuroh, the funniest part was seeing Mokuroh displaying some amusing imagery to replace Meltan's hexagonal nut.
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One of the most fascinating character acting that you can see in a tv series and easily from a movie level (like many scenes in Mushoku Tensei), the more time passes, the more Akira Hamaguchi becomes one of my favorite animators, the water spell scene is just godly.
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One Punch Man Season 3 announcement started strongly, having Kenichiro Aoki animating the whole pre-animated trailer, showing us that we're really so back, one man army and JC Staff's ace for action scenes will be there again, and already delivering stunning action choreography.
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Aoki's sequence in Edens Zero
#2
is exactly what I expected when I talked about simple, cute and easy to acquire design, very expressive faces that don't need a lot of details to captivate us, but you can still feel a minimum of hard work put into it, what a great stuff.
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Aito Ohashi regularly working with Kinema Citrus is not something I expected but it's still fresh to experience, being in Cardfight!! Vanguard means that we finally get to see him animate mecha more often, his flowing sense of timing for the close-up is a treat for the eyes.
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Bungou Stray Dogs
#16
was a masterful work, and I especially appreciated all the effort that went into the placement of the insert songs and OSTs, Norimitsu Suzuki's animation with the 2nd opening in the background is definitely one of the most exciting things I've seen recently.
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This week Danmachi's avan had extremely powerful drawings, Shigeki Kimoto's CD with impressive supervision always strike a lot, the shadings give a very convincing volume and expressiveness.
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It's funny to see Hironori Tanaka in all OP1 for every seasons of railgun.
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Masahito Sawada... terrifying to see the level of consistency between each drawing despite the many different camera angles, also a god for camera rotations.
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[Thread] Toaru Majutsu no Index III (とある魔術の禁書目録(インデックス)III) Opening genga comparaison
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It's only a funny coincidence, but I watched Sun & Moon
#86
SB/ED by Saori Den (Pokémon Horizons Director), with Rei Yamazaki as one of the two AD (now CD of Pokémon Horizons too)
This scene animated by Osamu Murata is so lovely! look at how they lose all their lines underwater!
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I really like how Norimitsu Suzuki did the most beyblade looking thing ever I've seen in animation.
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Hiroshi Tomioka was credited for the first time as Action KA in Edens Zero
#15
, and the funny thing (not so funny actually) is that it's been years since he animated with such a high level, still wondering if this is really Tomioka's comeback, but at least we had a stellar scene.
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@ChainsawManCSM
I recommend you to delete this tweet, it's certainly the storyboard of Vivy, some people notice the main character and some background of the series for example, don't share misinformation pls...
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It's the perfect day to tell you it exists a "merry christmas" tag on Sakugabooru for those they didn't know.
Merry christmas everyone :3
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The Dream Ranker trailer is so good...
原画: Daisuke Shibukawa (澁川 大祐) ?
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These shadings are so good, It's illegal to end an episode with that.
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As I said before, we had to keep an eye on Yurika Sako as a character designer, and the first episode of Edens Zero was exactly as I expected: many cute faces!
perfection doesn't exist but I want to say that the choice of Sako was just great for the series.
The cult of Hiro Mashima's beautiful drawings can't be transmitted on its adaptation, but Yurika Sako's first character designs are more valuable and interesting than you expect, simple and helpful for the animators, cute for us, the little Shiki has already charmed me.
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Delico's Nursery's PV is filled with zenkage all over the place, if Hiroshi Nishikiori strongly keeps this aspect of the series it will be very neat, Youko Itou CDs are very detailed and beautiful, showing attractive men, it won't move much (I guess) but it'll be interesting.
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It's been a decade since Yutapon wasn't in an OP and years since his last storyboard credit, two rare things for him at the same time. This particular cut is what I've been waiting for and it makes me happy, hoping that the fight I'm looking forward will be really well produced.
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Ryo Imamura (今村 亮)
『#無職転生 ～異世界行ったら本気だす～』
TVアニメ第2クール後半に向けて
【新キービジュアルが解禁！】
ルーデウスの前に立ちはだかるものとは―!?
アニメ本編の放送、配信をお楽しみに！
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Literally felt the intensity in that Arknights premiere, such a well directed episode by Yuuki Watanabe, the storyboard was consistently fantastic in the A part, showing some isolated places under various angles, great versatility but still... stressful environments.
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Toaru Kagaku no Railgun T
#14
KA: Kenichiro Aoki (青木 健一郎)
Takeshi Morita (森田 岳士)
Hironori Tanaka (田中 宏紀)
The biggest trio, the animation was absurd, around 2 minutes of the best sakuga in Toaru Series.
(0:00 - 0:20) Aoki, (0:20 - end) probably Morita.
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Bocchi the Rock! premiere had such a horribly engaging and existing story to follow with Hitori, Keiichiro Saito and the outstanding Umehara's staff added new layers to the story and characters through the direction and animation, I felt that I experienced something very special.
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Lycoris Recoil
#3
was the best episode of the series so far, despite the melt the episode tried to move nicely, characters looked off model at times but it was still appealing. I suspect TOMATO to have a hand in the first half here at least?
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Like last week it's Tetsuro Tanaka 田中哲郎 who directed the episode for the CG, accompanied by some animators like Satoshi Sakai to animate the effects, Sakai who was also credited specifically for railgun animations with Daisuke Shibukawa.
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