[Something like: How did Dezaki manage to add these famous light beams which one finds in all his works? I don’t really have French, so don’t take that as an authoritative translation!] Continue reading “Dezaki, illuminated”→
Twitter user @DogBarkingBees recently alerted us all to this moment in Psycho Armour Govarian (1983). Govarian shows every sign of hasty craft, although, in fairness, I’d rather watch it than Michael Gove, and its opening song slaps. To see it in the UK, one must trouble the Navy, but Discotek’ve released it on standard-def bluray in Region 1.
Here, for a sliver of time, the hand of (presumably?) a photography staff member becomes inadvertently a character. Or, more seriously: here, on the rushed side of eighties anime production, a lapse prompts us to remember the labour that kept other, luckier shows more pristine. Continue reading “Big hand for Govarian“→
We know that anime shifted from an analogue production process to a digital one.
I can’t find a very simple, understandable account of the shift, of the sort which one could gently link when a friend refers to anime animators ‘no longer drawing by hand’. Upon questioning, many fans who attend to production info, most of them more knowledgeable than I, don’t seem to know much about the nature and timing of the shift either. So I set out, in foolish ignorance, to write such an account.
I’ve tried to keep what follows clear and brief. I’ve also tried to exclude my views on the relative strengths of different times and techniques. I’m no expert on the topic, and this post is a call for facts, additions and corrections as least as much as it’s as a summation of them. Continue reading “Anime’s shift to digital colouring and photography”→