Kanzenshuu

At this point I would highly encourage the production committee to start planning now for a new series to be aired six months later. If they ever want the episodes to look good past the End of Z.

Makes me wonder if the new series directors will storyboard and direct the episodes in the current arc.

This is not too surprising, considering how messed up the production was since day one. Outsourcing the episodes to the different studios can only take you so far in trying to make them look pretty, when in the reality the key animators are struggling to keep up with the given schedule.

No, that's Tsuji. Her character's jaw is more pronounced than Yamamuro.

So, I asked Yamazaki how long his episode was before it was completed, and it sounds like there was not much time for the episode to get finished. Of course, I could be wrong and totally misinterpreted his statement, so I guess you can take whatever you want with his comment. He did state that he h...

Upon re-watching the episodes, here's what I've found so far. -Yamazaki may have animated the clash between the Saiyans in Part A. -Yamamuro animated the entire Universe 10 scene and a few in Part B. He did the Gohan Kamehame-Ha as well as Gohan charging upward to Kaioken SSjGSSj Goku. -Manabe anima...

Yoshitaka Yashima knows what he's doing. He's been a key animator for as long as Yamamuro was, or even before him. The only thing he's better than Yamamuro is the key frame composition and speed. And while we are on the subject, he was the key animator for Dragon Ball Z Movie #5 and #8. He key anima...

A cut, or a "shot", is a sequence of drawings (key frames) of an important scene. Goku firing a Kamehame-Ha is cut #1 followed by a zooming toward Gohan, which becomes cut #2. Gohan reflecting Goku's Kamehame-Ha with his own Kamehame-Ha is cut #3, and so on. A key animator is able to produ...

Dragon Ball Super #39 is absolutely terrible on every level. It has no in-betweens, rushed production, boring eye-level composition, Ootsuka Ken getting screwed, etc. #90 is fine. I have no problem with it, despite the shortage on the staff due to many taking off for the Golden Week. The production...

I did catch a glimpse of Yamamuro's drawings in the episode. He did the cut involving Gohan heading upward to SSjGSSj Goku.

Upon reading these comments, I'm very irritated. I'm this close to posting past the Kanzenshuu guideline. Why are repeated frames a bad thing? Care to expand on why you think it's a bad thing? Overall, the actions are fine. Not Booru worthy, sure, but it's still fun to watch. The storyboard and back...

Vegeta, with combined natural age and the usage of Room of Spirit and Time, was 43 at the beginning of Super. He'd be 45 1/3 after he finishes his training for the tournament.

It's only nine hours left before the tournament starts. Vegeta using Room of Spirit and Time for that much time left, maybe even less depending how much time has passed in Episode 90, isn't going to affect his age significantly.

This piques my interest at the prospect of having Freeza return once again. Not because Toei is overly abusing him, but the potential hilarious interactions between Goku, Vegeta, and Piccolo. Freeza's newfound power is going to be useful as he's certainly one of the strongest in Universe 7. The Univ...

Heh, the people start moaning when Karasawa's name didn't pop up after the beginning of the Universal Survival arc. You say it's too early to even consider Shimanuki's status for Dragon Ball Super . When I say there's always a chance for one to leave the series, trust me, it can happen. There's alwa...

Unless I'm missing something, Shimanuki's last supervision was #81.

There's always a chance that Shimanuki left the series to work on a different project.

The script writers have nothing to do with the production of Dragon Ball Super ; that's for pre-production. It's the key animators that are vital for the improvement of the production process. Without any extra times key animators need to complete cuts ahead of schedule, we are still pretty much st...

The script writers have nothing to do with the production of Dragon Ball Super ; that's for pre-production. It's the key animators that are vital for the improvement of the production process. Without any extra times key animators need to complete cuts ahead of schedule, we are still pretty much stu...

Naoki Tate never struggled to draw on-model, because that's not how he draws his key frames. He can draw on-model, but he never saw the need to. He always simplifies his drawings to create more efficient animation.