Super Animation Catalogue 2.0

[Baggie_Saiyan]

Maybe Mr. Yamamuro is still reeling from the Freeza movie? From what I can gather it seemed like a pretty daunting project maybe he's just comfortable being CD and just doing things like BD covers.

[DragonBalllKaiHD]

Please do keep in mind that Naoki Tate can draw on-model. He just chose not to, because it's not part of his style. His inspiration from watching One Piece Movie #6 changed his way of animating, and it's been very entertaining to watch. Much like Mashiiro Shimanuki's remarkable evolution to his older and improved style from his earlier Super work in just 1 1/2 year, Tate's transition from his closely imitation of Hisada in Seigasha's days to his more loosely and abstract style is really fascinating, which makes for more exciting action cuts.

[Mazingerdestro]

Please do keep in mind that Naoki Tate can draw on-model. He just chose not to, because it's not part of his style. His inspiration from watching One Piece Movie #6 changed his way of animating, and it's been very entertaining to watch. Much like Mashiiro Shimanuki's remarkable evolution to his older and improved style from his earlier Super work in just 1 1/2 year, Tate's transition from his closely imitation of Hisada in Seigasha's days to his more loosely and abstract style is really fascinating, which makes for more exciting action cuts.

Well everyone can. It's not like Tate is "fuck Yamamuro I will do what I want here". He is a professional. Yes he has his "own style" but it's not like he doesn't want to work on model. The time limitations make him work faster.
From what I see from episodes 5 till now, Tate is a professional that works like a dog to achieve the series goal.

[FortuneSSJ]

From what I see from episodes 5 till now, Tate is a professional that works like a dog to achieve the series goal.

Everyone worked like dogs in the beginning, due the terrible schedule.
Futoshi Higashide seems to be the biggest slave, helping in almost every episode for some time now. But I always like his stuff, so I don't mind.

[Araki]

Everyone worked like dogs

That's a Japanese animator in a nutshell, really. At least that's the impression most people in the industry give in recent years.

[Baggie_Saiyan]

Man even in an episode like this Mr.Shida seems a cut above the rest!

[spoiler]

[/spoiler]

Out of curiosity who drew the second was it Mr.Shimanuki?

[BakaManiaHD]

Man even in an episode like this Mr.Shida seems a cut above the rest!

[spoiler]

[/spoiler]

Out of curiosity who drew the second was it Mr.Shimanuki?

Shida's facial expressions *_* i LOVE it

[Baggie_Saiyan]

Man even in an episode like this Mr.Shida seems a cut above the rest!

[spoiler]

[/spoiler]

Out of curiosity who drew the second was it Mr.Shimanuki?

Shida's facial expressions *_* i LOVE it

I personally love the way he draws the SSGSS hair!! So good!

[BakaManiaHD]

I love the fact that Shida used the "Two kicks in one frame" technique
[spoiler][/spoiler]
They should do more of this

[FortuneSSJ]

Toei Animation: Shida-san, Vegetto vs Merged Zamasu will be a short fight so we ask you to deliver a cut around 1 minute long, that blows the entire previous Vegetto vs Buuhan fight in DBZ out the water.
Naotoshi Shida: The entire fight?
Toei Animation: Yes, Shida-san!
Naotoshi Shida: In one minute?
Toei Animation: Yes, Shida-sama!!
Naotoshi Shida: Okay...

*Weeks later*

Toei Animation: Maybe, we asked him too much?! We really need to fix this schedule and stop treating them like slaves.

*A Wild Shida appears*

Naotoshi Shida: Done!
Toei Animation: Thanks.

[Alee9977]

Is it okay to say that Shida will become a regular in action heavy/climax episodes? I'm glad we will have him around for more time.

[ArchedThunder]

Is it okay to say that Shida will become a regular in action heavy/climax episodes? I'm glad we will have him around for more time.

If each arc is about the length of this one then I wouldn't be surprised to see him once in the middle and then again at the end of each arc.

[nite_jay]

I've noticed that in Super not as many things are corrected to the point of it being unidentifiable. Shida's character art really shines compared to the movies. It's probably mostly due to time constraints, but it's still kinda cool that animator's styles will show more clearly on a weekly schedule.

[JazzMazz]

I've noticed that in Super not as many things are corrected to the point of it being unidentifiable. Shida's character art really shines compared to the movies. It's probably mostly due to time constraints, but it's still kinda cool that animator's styles will show more clearly on a weekly schedule.

It's something I very much appreciate about a long-running series in comparison to a shorter one. I just wished Super had a better schedule so that we could see their styles at their best.

[Ajay]

I've noticed that in Super not as many things are corrected to the point of it being unidentifiable. Shida's character art really shines compared to the movies. It's probably mostly due to time constraints, but it's still kinda cool that animator's styles will show more clearly on a weekly schedule.

Yeah, in most cases in Super, uncorrected work is there because there simply wasn't enough time to make things look even remotely consistent.

That said, episode 66 is heavily corrected across the board, but it's done by two talented supervisors who know when to let work shine on its own, or how to subtly change a drawing for consistency.

As a fanbase, we're used to Yamamuro's supervision, which is extreme to the point where everything looks drawn by one person. That can have worth, but when you erase the best traits and idiosyncrasies from an animator's work, you're doing a bad job, and therein lies the issue with Yamamuro. He doesn't let even the best work go unfiltered, so you end up with works that are visually monotonous.

What was so wonderful about Shimanuki's corrections this week was that they allowed everyone to have a voice without speaking so loud as to cause dissonance. You can see Tate, Otsuka, and Manabe if you're looking for them, but they don't jump out of the screen as wildly inconsistent thanks to corrected elements like ears and noses - small details that add cohesion to the episode. It's what a supervisor should be doing.

While I certainly love seeing unfiltered work from the perspective of someone who wants to know what everyone looks like, I'd definitely rather the series be in a better place where supervisors can actually have a worthwhile say. The job exists for a reason!

[nite_jay]

Yeah, Shiminuki did a great job correcting last week. He corrected what was needed to be corrected, but didn't overdo anything. But when the schedule straightens out, I'm looking forward to see how some supervisors and key animators mix. We've already seen it with episodes like 63 with "Manate" looking so good.

[JazzMazz]

Yeah, Shiminuki did a great job correcting last week. He corrected what was needed to be corrected, but didn't overdo anything. But when the schedule straightens out, I'm looking forward to see how some supervisors and key animators mix. We've already seen it with episodes like 63 with "Manate" looking so good.

The second one looks like corrected Futoshi to me.

[dhaval_dongre]

Super's schedule has definitely been one of the main reasons for the pacing of the U6 arc and this arc to a certain degree. We saw this especially in #66. If #66's content had been spread around in 2 or 3 episodes, the pacing would have definitely felt better.

Regarding the content itself, the Pottara retcon wasn't that bothersome to me. On the first watch I was very conflicted but on the second watch it was fine. The Trunks thing is still a bit jarring to me. Whether they explain it or not remains to be seen, but it will be better if they do. But despite of the content in #66, I still feel that this arc's been pretty good. I finished Z when the BoG retelling was still ongoing, then I finished the 2 movies and binged the first 11 episodes of Super. So I don't have that close of a relationship to the franchise in general as most of the fanbase does, but the I understand people's outrage because there were too many changes to the lore in one single episode. Moreover the fact that the first 2 arcs were unnecessary and poorly executed followed by another average to OK arc which again was too fast paced and had issues because of the production, has been a part of the reason as well. But this arc on its own despite of #66 has still been pretty good for me at the least.

[ArchedThunder]

I wish this scene was a little longer, the motion and the impacts are really nice.

[DragonBalllKaiHD]

I've noticed that in Super not as many things are corrected to the point of it being unidentifiable. Shida's character art really shines compared to the movies. It's probably mostly due to time constraints, but it's still kinda cool that animator's styles will show more clearly on a weekly schedule.

Yeah, in most cases in Super, uncorrected work is there because there simply wasn't enough time to make things look even remotely consistent.

That said, episode 66 is heavily corrected across the board, but it's done by two talented supervisors who know when to let work shine on its own, or how to subtly change a drawing for consistency.

As a fanbase, we're used to Yamamuro's supervision, which is extreme to the point where everything looks drawn by one person. That can have worth, but when you erase the best traits and idiosyncrasies from an animator's work, you're doing a bad job, and therein lies the issue with Yamamuro. He doesn't let even the best work go unfiltered, so you end up with works that are visually monotonous.

What was so wonderful about Shimanuki's corrections this week was that they allowed everyone to have a voice without speaking so loud as to cause dissonance. You can see Tate, Otsuka, and Manabe if you're looking for them, but they don't jump out of the screen as wildly inconsistent thanks to corrected elements like ears and noses - small details that add cohesion to the episode. It's what a supervisor should be doing.

While I certainly love seeing unfiltered work from the perspective of someone who wants to know what everyone looks like, I'd definitely rather the series be in a better place where supervisors can actually have a worthwhile say. The job exists for a reason!

Just goes to show you that the series director Hatano knew what he was doing when selecting the staff for Episode #66. Karasawa and Shimanuki were a great combination as supervisors with Tate being assistant supervisor as well as Otsuka, Shida, Jin, and some others as the key animators. Hatano's direction really shone through in that episode.