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تعاون بين بونز ومصمم الميكا الشهير Yutaka Izubuchi
2024
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You mentioned during your panel that Bones is a 2D-focused studio. Many studios have moved to CG specifically for animation that has mechanical elements. In your opinion, what sort of skills does an animator need to be able to bring those sorts of designs to life in 2D?
MINAMI:Well, the first one is, do you have someone in your studio who can draw really well? You know, mechanical-type stuff?
There are a lot of 3D companies, and 3D animation is something that is increasing. It's becoming more and more prevalent. And because of that, the flip side is that there are fewer and fewer people who can draw mechanic-type anime in two dimensions, right? However, at Bones, we do have a solid staff. We do have several people, several animators, who can draw that stuff in 2D. And so we're quite lucky.
KAWAMOTO: But at the same time, from the perspective of a professional animator, there are a lot of people who are feeling some resistance to 3D. They want the level of skill development that's required. They want that not to be messed with in a way, right? So, I mean, there are a lot of people that don't want everything to switch over to 3D because there's a certain skill to that. There's a certain level of refinement to that, to the 2D technique. And so a lot of people don't want to go away from that.
MINAMI: Honestly, though, it's about what the end product looks like. That's the biggest thing for us. So if drawing everything in 2D is going to be best for the anime, then we'll go in that direction. If 3D is going to be what's best for the anime...it's not that we're stuck on 2D no matter what. If 3D is best, we will definitely use that method and go in that direction. But at the same time, we do absolutely love hand-drawn 2D. It's what we love.
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