UZUMAKI fans, we are working hard on the series and will have more updates for you soon. “As you can see, we are using Ito-san’s manga as our guide!” they noted. On June 10th, the official Uzumaki anime Twitter shared “a quick look at some storyboards for episode one” with eager viewers. in Tokyo, where he is currently working on Mamoru Oshii's next feature animated film.Though this news left fans of Ito’s brand of horror sorely disappointed, they have thankfully received recent confirmation that the series is still in production. Since April 2001 he has been an employee of Production I.G. Since then he has worked on commercials, music videos and theatrical features notably for Blue Sky Studios from May 1997 through March 2001 where he was on the teams for Bunny and Ice Age, among other projects. Justin Leachs earliest professional credit was as a video game design consultant in 1992. Whether 2D, 3D or stop-motion, animation is just another story telling medium capable of moving the hearts and minds of the audiences that watch them. The Japanese culture has made a very important observation: Animation isn't only for kids. and admire their courage and tenacity for taking creative risks and daring to change our perceptions of animation. I am greatly inspired by the spirit and passion of the creators at Production I.G. has been one of the most fascinating adventures of my life. The experience of living in Japan and working at Production I.G. Typically animators in Japan earn the equivalent of $15,000 to $20,000 a year. This lower budget also reflects employee salaries. This pales in comparison to the United States which typically invests 10 to 20 times more per film. Budgets for feature films can be anywhere from as low as US$1 million to $15 million at the very highest. Probably one of the greatest differences I have noticed between Japan and America is that the Japanese feature animation industry is very poor money poor that is. Back to Back: working in very close proximity. In Japan a great deal of respect is given to the film's director who has a major influence on all of the final creative decisions. After the final animation has been approved, it goes into post-production where the music, sound fx and voice recordings are added to the film. Once the colors have been added, the shots will continue to undergo various tweaks and fixes. Once the animation for the shot is approved, it then goes to digital ink and paint. Next, the final approved designs are handed to the 3D and 2D animation staff and the production begins. During this time the character designer, mechanical designer, weapons designer and layout designers begin to create work based on the research and director's input. From this point, the director may decide to make an animatic but is not really considered necessary for production. After the storyboards are finished, the director will add notes, and estimate number of frames per shot. After returning from the research trip, the director will finalize the script and create the storyboards (called "ekonte" in Japanese) for the entire film (usually in about a month's time). After the influences have been identified, the director's staff travels around the world gathering photo reference and information related to the story. At this time, the director and his key creative staff work together to decide the look and style for the film. The Animation Production ProcessĪs in the West, once a concept has been established, a great deal of research is done. From time to time, I dream of my old window cubicle in America overlooking the Manhattan skyline and sigh, "Ah, that was nice." This is a stark contrast from the big feature film studios in America. Sometimes when I am talking on the phone, the employee sitting behind me has to crawl under the telephone cord to leave the room. I guess the words that come to mind when working here are "garage spirit." Network cables all over the floor, florescent white lights buzzing, employees smoking at the office, and everything shoved into every possible nook and cranny. I have a very small desk space (not really any cubicles here, just desks divided by shelves) and sometimes if I push my chair out too far, I'll bump into the guy working behind me. The ING Studio building has 4 floors, each with 2 small rooms. The ING Studio (where I work) does the bulk of the animation work for current television, video games, direct-to-video and feature film projects. is divided up into 4 separate studio spaces scattered throughout town with about 200 people employed all together. Due to lack of space, most of the employees have to fit in the best they can. When I tell my friends that I get to rub elbows with famous Japanese directors like Mamoru Oshii, I am actually not joking.
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