Official On-Going DBZ 2015 Movie Thread: "Resurrection 'F'"

[TheRed259]

The japanese voice actor of Shenron is dead, right? Is this a new voice or just the old one with some quotes from DBZ?

[FortuneSSJ]

Ohh I enjoyed watching Goku with the go kanji again in BOG. Such a shame they removed it.
Good teaser. I love Tuesdays.

[Chuquita]

I hope we at least get some movie exclusive outfits. I really like that blue jumpsuit of Gokû's from BOG.

[Cetra]

I love Tuesdays.

https://www.youtube.com/watch?v=iVzAMmpMra8

[Chuquita]

If Tate and Shida are the better animators, why does Yamamuro keep getting assigned DB? Does Yamamuro have seniority over the other animators and that's why he gets picked despite (and I realize it's all subjective) not being as high-quality an animator as Tate and Shida seem to be? (imo)
Is Yamamuro cheaper to hire for some reason?

I really like Tate's animation style. It's so fluid and fun.

[Retan]

So the september V-jump has been released and revealed nothing new? Or are we still waiting?

[thomas1up]

I hope we don't get horribad CG like in Battle of Gods CG just shouldn't be in 2d animes... at least like that anyway

[Cold Skin]

I don't understand how the fact that they have two wishes everytime they summon the dragon since the beginning of the Majin Boo arc - and therefore likely in Battle of Gods - is linked to the fact that the wish to erase memories of Boo has been retconned. Could you clarify that for me, please?

Shenlong can grant three wishes by the end of the Cell arc. But he's limited in such a way that if one of your wishes is to revive a large number of people (say the population of the Earth), you will only get 2 wishes. That's why he awakens and grants 3 in the beginning of the Majin Boo arc, but then the wishes remaining he can grant is 1 at the end of the Boo arc (which Piccolo had to correct Goku about since he thought they still had 2) because they used up 2 to revive all the good people the day of the Tenkaichi Budokai.

Even though Goku originally said it will take 4 months for Shenlong to revive, which mathematically made sense as 12/3=4, but Goku assumed one wish was used. It should really take about 8 months. Strangely he and the Narrator say that Boo would have to be kept out of public sight for 6 months so that the wish could be made for everyone to forget who he was.

Oh, right, I got mixed up in that number of wishes or something once you go from the Cell to the Boo arc!
Yeah, I do remember there was a big talk about it in one of the podcast episodes.
Well, thanks for clarifying this cause I was a bit lost as you could tell!

[Chuquita]

Re: CGI

I don't like it either. If they have to do it, I'd rather they use the CGI animators who're working on HaCha, not the ones who worked on BOG and SMC. At least HaCha's CGI looks passable most of the time.

[FortuneSSJ]

Yeah I hate CGI too. Funny how the worst and best part of BOG to me used CGI.

[JulieYBM]

If Tate and Shida are the better animators, why does Yamamuro keep getting assigned DB? Does Yamamuro have seniority over the other animators and that's why he gets picked despite (and I realize it's all subjective) not being as high-quality an animator as Tate and Shida seem to be? (imo)
Is Yamamuro cheaper to hire for some reason?

I really like Tate's animation style. It's so fluid and fun.

Shida Naotoshi and Tate Naoki are in-house employees of Toei Animation. Yamamuro Tadayoshi seems to have left Toei Animation and formed his own studio, Yamamuro Animation Studio. If you check the credits for Battle of Gods you will see 山室作画スタジオ under 協力プロダクション. This does not necessarily mean outsourcing the role of character designer is cheaper, though. Shida Naotoshi and Tate Naoki are busy doing much more important projects for Toei Animation. Shida runs around between Toei Animation TV projects doing animation for bank animation or big final attacks. He also occasionally does storyboards, like he did for Bishoujo Senshi Sailor Moon Crystal Episode #2 or One Piece Episode #590, where he would also provide the key animation for much of the three-on-one battle including the first-ever instance of a shirtless Super Saiyan 3 Son Gokuu. Tate Naoki performs the role of animation supervisor and key animator for numerous television series episodes. Given Toei Animation's hectic scheduling it's no surprise they would want to keep their big guns working on their current weekly series rather than the occasional, small Dragon Ball project.

There is also the chance that Shida Naotoshi and Tate Naoki are not interested in performing the role of character designer. Near as I can tell Shida Naotoshi has never once performed the role of animation supervisor. He might very well care only to do high-quality cuts of action animation and the occasional storyboard. Given his seniority in the industry he very well could opt to direct, but with the way things are on Toei Animation cartoons he wouldn't have the time to create something good, anyway.

Tate Naoki has experience as character designer and chief animation supervisor for One Piece Episode of Chopper. For some episodes of the television series, like One Piece Episode #420, he was even allowed to create his own character designs instead of using those of Hisada Kazuya.

Yamamuro Tadayoshi, on the other hand, appears to be otherwise uninvolved with any projects other than providing the character designs for Disk Wars: Avengers and Dragon Ball. In fact, he hasn't even performed the role of an animation supervisor, chief animation supervisor, or key animator for Disk Wars: Avengers, leading me to believe he has spent his time lobbying for or being asked to direct this film. This leaves me wondering if Yamamuro accepted this role because he wants to ease out of doing a lot of the hands-on work himself and is actually planning on passing down the character designer role. He's older than both Shida and Tate, so he might feel correcting animation and designing characters is becoming a bother at his age. This is just a crack theory, however.

I do have to wonder if Shida or Tate have any ambitions for directing themselves, though. Shida and Tate have proved through their key animation that they would make for excellent directors. After quickly rising to prominence on One Piece, Tate Naoki has sort of fallen to the side since early 2010 or so. I have to wonder if the 'craze' of Satou Masayuki's designs and work as chief animation supervisor forced Tate to step out of the spotlight because his designs are so different from Oda Ei'ichirou's while Satou Masayuki is touted as being very close. Since then Tate has stayed busy working on Toriko and now Disk Wars: Avengers, but has otherwise not returned to a role of prominence.

[Ajay]

He also occasionally does storyboards, like he did for Bishoujo Senshi Sailor Moon Crystal Episode #2

Whoever the hell approved the animation for that needs to never touch another show again. That was easily the worst piece of animation I've seen in a long time.

Best proportions! :

Spoiler:

I just hope that Yamamuro lets someone else handle the animation side of things. If he's going to be focusing on directing then he needs to be doing that and not juggling a multitude of various roles. He has a lot to prove to the fans with this newfound role and I don't think it's unfair to say that his focus should really be on what's most important but also what he's least experienced with - directing.

Battle of Gods was mostly fine but he wasn't playing director in that case. Judging by the clips shown of his work actually as a director, it's somewhat worrying. There's a distinct lack of creativity and fluidity in there.

[Kid Buu]

Sailor Moon Crystal Episode 2 has me wanting to drop the show already.

[Retan]

He also occasionally does storyboards, like he did for Bishoujo Senshi Sailor Moon Crystal Episode #2

Whoever the hell approved the animation for that needs to never touch another show again. That was easily the worst piece of animation I've seen in a long time.

Best proportions! :

Spoiler:

I just hope that Yamamuro lets someone else handle the animation side of things. If he's going to be focusing on directing then he needs to be doing that and not juggling a multitude of various roles. He has a lot to prove to the fans with this newfound role and I don't think it's unfair to say that his focus should really be on what's most important but also what he's least experienced with - directing.




Battle of Gods was mostly fine but he wasn't playing director in that case. Judging by the clips shown of his work actually as a director, it's somewhat worrying. There's a distinct lack of creativity and fluidity in there.

I still haven't heard what the difference between what the director, story board artist, and animation Super visor do for animation purposes, and why we should be concerned.

[JulieYBM]

He also occasionally does storyboards, like he did for Bishoujo Senshi Sailor Moon Crystal Episode #2

Whoever the hell approved the animation for that needs to never touch another show again. That was easily the worst piece of animation I've seen in a long time.

Best proportions! :

Spoiler:

I just hope that Yamamuro lets someone else handle the animation side of things. If he's going to be focusing on directing then he needs to be doing that and not juggling a multitude of various roles. He has a lot to prove to the fans with this newfound role and I don't think it's unfair to say that his focus should really be on what's most important but also what he's least experienced with - directing.

Battle of Gods was mostly fine but he wasn't playing director in that case. Judging by the clips shown of his work actually as a director, it's somewhat worrying. There's a distinct lack of creativity and fluidity in there.

Episode #2 was outsourced to Wanpack, save for Hayashi Yuuki providing the key animation for Ami's role call. The episode had two animation supervisors from Wanpack and Character Designer Sakou Yukie acting as a chief animation supervisor. Even then, it's hard for three people to clean up the key animation of twenty-plus key animators working on short notice and in-between other projects.

Episode #3 will have Ishigami Hiromi performing the role of animation supervisor, leading me to believe some of the cuts will looks quite good.

Shida has not tweeted about work since 23 June 2014, so we should be due for another update on what he is doing soon. He probably won't talk about Dragon Ball Z, since it's doubtful that the screenplay is finished given Toriyama's recent comments, so I doubt he would be able to begin working on the film. Here's hoping he's working on Disk Wars: Avengers right now, though!

I still haven't heard what the difference between a director and animation supervisor is as far as the animation goes?

Battle of Gods was mostly fine but he wasn't playing director in that case. Judging by the clips shown of his work actually as a director, it's somewhat worrying. There's a distinct lack of creativity and fluidity in there.

The difference between the film's director and the animation supervisor is explained very well by Ben on AniPages as well as Washi on WashiBlog. Please read both, as each has their merits and degrees of information.

Essentially, the animation supervisor is tasked with keeping the key animation consistent within the episode. If they are a talented animator then they can really improve the look of an episode and give it a great look. When Yamamuro Tadayoshi began to perform the role of animation supervisor beginning with Dragon Ball Z Episode #122 the look of episodes sub-contracted to Shindou Pro really changed. The animation supervisor might also modify the timing of the key animation, although that's only if it is really bad.

The director (either of a film or an episode) oversees the entirety of the production of that work. They might create the storyboard themselves or have another do so by dictation, but the work is generally the vision of the director. They check and approve layouts and key animation, assign animators whichever cuts he feels they are best suited for, and generally keeps the production moving along. The director is the essentially a big supervisor role to make sure the project gets done on time, although more often than not his biggest influence is seen in the storyboarding and hiring of talented animators.

[Ajay]

Huh, just noticed Retan's message ended up in the middle of a giant quote of my post. How strange!

But yeah, I guess to simplify the two fantastic articles that JulieYBM kindly linked; the roles aren't too dissimilar from a how a director and cinematographer work in film (albeit the latter role slightly gimped).

The director is essentially in charge of defining everything in the film - visuals, sound, characterisation etc. They're there to essentially direct their staff (as the name implies) in bringing their vision to life.

The director's very basic storyboards, featuring the bare essential compositional ideas, will be handed off to key animators who'll help work out exactly how they're going to bring these shots to life. What will the final composition of the shot be? How will the x and y scene be choreographed overall?

The animation director (or supervisor) will take a look what the key animators have done and either go 'yup, okay, perfect!' or they'll tell them what they think will work better - sometimes going as far as to draw certain shots themselves (not a rarity given animation directors are often in charge of character designs).

Despite the director being in charge overall, the general look of the film and its characters tends to boil down to the animation director - one of the reasons so many are anxious to know who's going to be taking that role now.

EDIT: Dammit, while I was typing this Jacob edited his post to pretty much say what I just wrote!

[JulieYBM]

Yes, although it is not uncommon for there to be multiple animation supervisors or for the director to specifically not ask for a key animator's work to be corrected.

I should repeat that Dragon Ball Z: Battle of Gods did have more than Yamamuro Tadayoshi correcting the animation. Ide Takeo, Kan'no Toshiyuki, Yabumoto Yousuke, Shimanuki Masahiro, Oonishi Ryou, and Hamano Yuu'ichi were all credited as animation supervisors. As the chief animation supervisor Yamamuro would have probably filtered through some of their work as well, but so many of the animation supervisors are good at their jobs that he probably didn't have to do too much. Disregarding any mandates for the key animators and/or animation supervisors to stick as close to the character model as possible.

[kidtrunksssj]

Now Someone else says this movie is not a continuation of battle of gods, can someone please tell me if it is or not i dont know who to believe, if a kanzenshuu member or staff can tell me.

[Retan]

Thank you Ajay and JulieYBM Much appreciated!!

[Chuquita]

Much appreciation for Jacob's educational animation info. Very interesting.

I really am curious to who they'll hire for Animation Director. I'm so hungry for a fresh animation style that isn't Yamamuro's current one. Tired of his badly-proportioned faces and the overly wide bodies. I can't help thinking of that one thread where someone corrected the face proportions on one of his screenshots and I can't un-see it now. Most of his old Z stuff is fine, but I just don't care for his current art style.