Initially daily but now sporadic blog about anime and world animation with a specific focus on the artists behind the work. Written by Ben Ettinger.
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Archives for: July 2012, 16

Monday, July 16, 2012

09:47:00 am , 6028 words, 15192 views     Categories: Animation, Interview

Interview with Bahi JD

Today I have the privilege of bringing you an interview with our very own homegrown pro animator, Bahi JD, who in a matter of a few years has gone from drawing gifs on the forum for fun to animating in high-profile anime productions like Kids on the Slope. Bahi's achievement is unique. Foreigners have infiltrated the ranks for a while now, but Bahi is a telecommuting animator in Austria who, with no formal training, managed to find a place for himself in the industry essentially through the infectious force of his enthusiasm for animation. I think part of the reason for Bahi's success is that he's inspired by the fundamental power of movement that pulses through the veins of all of the master animators of Japan, not a slavish copier of surface anime features. He's an inspiration showing that it can be done if you have the talent and just sit down and animate and show that you can do it.


Ben: How did you first become interested in animation?

Bahi: Hehe, this question pulls me back into my first childhood memories. XD I don't have any clear memories from that time, but I'm sure this process started before my school time. At the time I enjoyed lots of Japanese cartoons like Nippon Animation's "World Masterpiece Theater" shows as example and all the other cartoons from the west and east that many kids were watching.

But the key for me to understanding and getting interested in animation even more came when my parents gave me a flipbook with a car on it. By flipping it over and over and watching all the pictures make that car move, I started to kind of think about the process behind cartoons and I really enjoyed making this car move, so I became interested in making my own flipbook and making my own characters move and tell a story. I was already drawing a lot at that time and it was very exciting for me to make my drawings move, they would feel more alive.

I did my first flipbook on the side of my maths book during boring school lessons. It was a simple animation with a character on the bottom and a 10 ton heavy Weight above his head bound on a string, and you know how this was going to end up. But while the string was detaching, the character was trying to eat a fly like a frog. The book had over 200 pages, so I had a lot of fun with it and each year they added 50 more pages to the new books.

Ben: So we have your parents to thank for getting you interested in animation. Tell me a little bit about how you went from drawing your first flipbook to creating your first gif animation, the famous Shithead Action. Were you creating flipbooks the whole time up until you created Shithead Action?

Bahi: Ah! No, actually after the flipbooks in my school books, nothing was really happening. I was just drawing around and creating some crappy animations on paper. But I had discovered animation like Akira, Jin-Roh, Ghost in the Shell and Mononoke Hime so I was still highly interested in animation, only problem was that I knew nothing about anything. The real revolution and progress began in 2007 for me when I was 16. At that time I discovered this video on Youtube about an animator named Shinya Ohira.

After that, my whole view about animation changed into someting way bigger. I still consider Ohira one of the greatest animators in the history of commercial animation. After I discovered "sakuga MADs" through Ohira's video, it was like a huge explosion full of awesome animators. Mitsuo Iso, Toshiyuki Inoue, Yutaka Nakamura... etc etc (the list goes on) And right after I discovered sakuga, I discovered Anipages, where I finally find out about these genius people behind all the wonderful animations. haha it's kind of crazy and funny how we are doing this interview exactly on the place where everything began for me with the gifs XD.

The gif-animations and Shithead Action began with an article you wrote called Looking for gif animators (where you also mentioned Ryo-Chimo) and on this thread opened by Huw Millar.

You can just scroll down through the pages and see how Shithead Action was born, (; ^0^) lol. After I was introduced to easy toon through Huw M's thread, I couldn't stop animating with this software! Inspired by many great animators, we started creating lots of fun and experimental animations on Anipages. Then I started working on Shithead Action without any plans. I just drew frame by frame and I had so much fun that I couldn't stop working on this gif.

Suddenly it became over 2 minutes long and the software couldn't handle it anymore XD, so I had to end the story. Shithead Action gif-animation opened lots of doors for me, animators all around the world were inspired by the animation & enjoyed it a lot, I was really happy about it. At that time, I also met many young Japanese animators through the web who are still very close friends of mine, and I worked with some of them recently on Takuya Hosogane's music video "Nihonbashi Koukashita R Keikaku".

Ben: Considering it was one of your first attempts at animation, and your first gif animation, Shithead Action blew us away with all of the good FX animation, complex camerawork and nascent storytelling... Not to mention how ass-kickingly fun it was. Who/what were your influences with Shithead Action, and in general? And how did you animate it? Straight-through, right? Were you studying your favorite animators?

Bahi: Thanks Ben, I really appreciate it to hear that from you. Talking about the influences, I can't really count them.....every sakuga clip that I had seen was floating around in my mind. From FLCL animators to Mitsuo Iso's End of Evangelion scenes to Yoshihiko Umakoshi and Imaishi's scenes in Mamoru Hosoda's One Piece movie to Shinji Hashimoto and Ohira's dynamic camera angles and any other exciting animation work that was produced until that time. The amount of Japanese sakuga influence in this gif animation was really high.

But I didn't want to copy their work, nor to look at them while I was working, although I'm sure I had a lot of these scenes in my mind and I was mixing them all with my own imagination to create something new and exciting. Watching a sakuga mad before starting to work on Shithead Action was like an energy drink for me. Not to mention that I was listening a lot to The Pillows' "Advice (instrumental)" track during work. It was really crazy and I did what I really enjoyed the most and I had lots of time for it. It was summer, I was a teenager with no big responsibilities and nothing was disturbing me in my environment.

Most of it was done straight through. I just jumped into the action, especially on the FX scenes. On some more complex cuts, I had to add or remove drawings. Easytoon was too simple for any complex process. It's just a tool to practice animation. If I thought that the timing wasn't right, I removed or added a drawing. At that time, key animation wasn't bothering me, and I wasn't confronted with issues like full frame, 2s or 3s either. I hadn't read or heard anything about animation and all the definitions, techniques and the process behind it. I hadn't even heard about Richard Williams' "Animator's Survival Kit" at that time... all my knowledge about animating was based on sakuga mads when I worked on Shithead Action. I didn't even know what timing and spacing was, there was only this software and lots of animation material that I watched frame by frame and tried to understand how the movements would work for the viewer.

Ben: It wasn't long after this that you went pro. Was Skullgirls your first professional job? It's a fascinating project - a western fighting game inspired by anime, built of incredibly rich sprite animation. What was it like working on that? Also, what did you animate/how many shots?

Bahi: Yes, Skullgirls was my first professional job that I started in 2011. The team was looking for animators and I contacted them without any big expectations. I knew nothing about the project at that time and when I started, I got really fascinated by the talents being involved in this project. The creative director & designer of Skullgirls, Alex Ahad, had a great response to my email when I applied for the job, because he had already seen Shithead Action, so we were both really happy to get started. But before starting with the work, I did an animation test, which everyone did when they applied for the job. It was a small animation move based on the Character "Filia".

I had a great time working with the Skullgirls team and the team was sharing their ideas altogether. Sometimes we even had Oekaki Chats where we drew concepts for the characters together. Alex Ahad himself is a huge fan of Imaishi and Gainax, so I introduced him more to the individual Japanese animators and Yoshinori Kanada's amazing FX designs.

Game sprite animation is different in many aspects from animating for an animation film, so at the beginning I had to do some research because I'm not a pro in fighting games. There are no cuts, but moves, and each move has a fixed amount of frames/drawings that are split into "Start Up"/"Active"/"End frames". For example, the start up has, let's say, 3 drawings where the character is preparing to punch, active is when the punch hits the opponent, and end frames are the recovery or basically the frames that go back into the idle standard character pose (or just the pulling back of the punch). And sprite animation is usually very quick and fast. There is usually no time to animate reality based Hiroyuki Okiura moves for fighting games, but rather something like Yutaka Nakamura & Kanada or even quicker than that. Fighting games are fast, the characters are mainly fast and so is the animation.

When I started working on Skullgirls, Alex was looking for cool FX animation and he thought I could handle that because he liked the FX on Shithead Action so he gave me the complete responsibility for all the FX animation. I did much FX animation of sparks, dust, smoke and that kind of thing, and the team later worked on them and even did new FX based on my work. When I finished all the FX work, Alex and Mike Z (the programmer and game designer of Skullgirls) decided to give me total freedom on the character Double, a transforming monster with lots of liquid and crazy movements. So I was assigned to animate all of Double's moves, but due to schedule, we split the moves among other animators. The amount of freedom of creativity I had on this character was really huge. Alex gave me 4~5 drawings of Double and some notes about the moves I was assigned to, but everything else was up to me. I really had tremendous fun animating this shape-shifting crazy character. I'm also very glad that they gave me the permission to upload my work, so you can check out my Skullgirls sprites at this link.

Ben: After this I think your next job was Takuya Hosogane's music video "Nihonbashi Koukashita R Keikaku", right? This is a very surprising project - a cute but quirky anime-style music video directed by an indie PV director and animated by the young generation of sakuga stars. How on earth did this strange thing come about? How did you get involved, what did you animate, and what was it like working on this project?

Bahi: Oh, haha, how I got involved.... Long story. I was friends with Rapparu, Yotube (aka Naoki Yoshibe, aka Luckgaki) and some of the others, I found Takuya Hosogane-san's motion reel on Vimeo and I was really impressed by his work and reblogged it on my Tumblr. So somehow Hosogane found out about my Tumblr and somehow we came in contact. He also worked on the Tatami Galaxy ED, you've probably seen it. And surprisingly, Hosogane was also a good friend of Rapparu XD, we live in a small world! And that's how I met the director of "R".

Some months later, Hosogane and the producer of "R" Yuya Yamaguchi (who's also a nice motion graphics artist) contacted me and asked me if I was interested in working on an animated music video they were planning to do, and that Rapparu, Yotube and Hidessu were also involved. What could be better than working on a project with friends?

Hidessu was the animation supervisor of the project. He's also a very talented young artist. Some might have seen his short film recently on Youtube. So I got involved and there was again a big surprise: Ryo-Chimo and Shingo Yamashita were also participating in the project. So we worked on this music video which was based on the IA Vocaloid character, designed by Ryunosuke-san's Maxilla Team, and composer Jin was working on a new Album, and the team was planning to put the music video as a bonus on the album disk. The song is now Top 10 in some Japanese charts. The character design was originally done by Aka Akasaka but illustrator Name created another new version of the character. It's cool and it fits in my opinion.

Yama-san was our executive advisor the whole time, but he also did key-animation and really gave lots of advice during production. I think Rapparu was in contact with Yama-san, so that's how everyone got involved in this project. Friends asked other friends to participate and it happened. Some other people I knew from earlier that I didn't even know were animators were also involved in the project, as well as many other very great young talents that I had heard about. So it was a great collaboration of the new generation of web-animators. I think some people were still missing haha. There are a lot more people in this circle of animators. Some might also think of Kenichi Kutsuna. Hosogane was inspired by MAD clips on this project, so the more animators, the more fun.

Now let's talk about the real work, I was the only animator outside Japan, but that made no difficulties during work thanks to the power of the internet. My Japanese is still terrible but Yuya and Hosogane speak good English, and Ryunosuke from Maxilla speaks great too, so we had no communication problems. We worked through Skype and Dropbox every day, and everything worked great. We had all our stuff on the web, and we also shared an online time-sheet, which was amazing, because sometimes I could see who was writing his time-sheet on the document live.

The fact that we shared everything together helped me understand the animation process much more, and I really learned a lot during the production, because this was the first animation project I worked on with a professional team. Well, some were rookies, including me, but Yama's knowledge helped me make a lot of improvement. Yama-san had made a layout sheet file in Flash, which almost everyone was doing the key animation on. We mostly did everything digitally in Flash. Sugimoto was one of the few that worked analog. The last cut was done by him, for example. He also made a beautiful short recently, check it out.

For more details about the animators, there is a making of version of the music video which also includes the animator list. And here are the rough versions of my cuts and everything else I did for the music video.

As you can see, there are also some layouts. As usual, the animators also drew the layout/background and final composition for their scenes. I was also in charge of two other layouts that I didn't animate. Hosogane asked me to do them, and it was my pleasure. Zajirogh, the background designer of the project, also did great work. He changed some elements in some of my layouts, and I like his version better.

I animated 4 cuts and each one brings back some fun memories. Especially the grilled sea shell "Hamaguri" (ハマグリ) cut. I was in charge of animating this hamaguri thing, and I really knew nothing about seafood. Seriously, I don't get the chance to eat seafood, and I had never ever eaten or seen hamaguri before. So I was talking with the team and they told me that Hamaguri pops up by itself when it's ready to eat, and I was like "Are they alive while they get grilled?!" and I still don't know the answer. So basically, I went totally retarded when it was about this hamaguri cut, and I just had no idea how to animate it so that it would look believable to the Japanese audience. I went to get some of these and grill them to understand the animation (grill for the sake of animation LOL), but didn't find any that day XD so I wound up animating this hamaguri from my fantasy, and I hope it didn't end up too unreal. XD

But yeah, the Hamaguri scene still gets mentioned in my friends circle XD and Hosogane also talked about it in interviews haha. I just call it the "yoyo fantasy hamaguri". So yup, for me, it was a great pleasure and an honor to work with these great talents and we had lots of fun working on "Nihonbashi Koukashita R Keikaku", because everyone was just cool and yoyo, we shared all our ideas together and created this music video with Hosogane-san's vision & passion for sakuga mad/amv and I hope that the audience also had fun watching the music video.

Ben: That brings us to your recent and much-talked-about official TV anime debut: Shinichiro Watanabe's Kids on the Slope for MAPPA. You've come a long way in just two years. A prestigious debut by any measure, made all the more remarkable by the fact that you have never inbetweened, and are not even located in Japan. How did you get involved, what shots did you animate, and what was it like working on an actual anime project for the first time?

Bahi: Hmmm, actually the fact that I didn't start as an inbetweener felt at the beginning like a disadvantage for me because, as a key animator, you are cooperating with the inbetween (doga) artist. They have to understand your work to be able to work on it later, so you have to understand them too. But later on, I realized that in my situation it was not a big problem that I had no experience as an inbetweener.

I informed myself about the whole doga process even though I wound up drawing both key animation and inbetweens for Apollon. I just wanted to make sure I knew who was responsible for the inbetween, cleanup and tracing processes, in what kind of environment, and in which studio, because it's always an advantage to know about that before you start with your work. There is a lot to say about the doga process, but let's get started with the main questions haha.

So how did I get involved? Some people say that sometimes things just happen suddenly, but I think nothing happens suddenly. Everything has a long process, and needs some time to happen. This again brings me back to 2009. If I hadn't contacted Cindy Yamauchi-san in 2009, I'm not sure I would be where I am right now. Somehow in 2009 I came across her blog where she talked about very interesting issues about working in the anime industry. I thought that nothing could be better than to get advice about my future career plan as a freelance key animator from an experienced senior animator like her, so I wrote to her and asked basic stuff like, "Is it possible to get a job as a freelancer even if you live in another country?" She replied to me very kindly, and it was the greatest advice that anyone ever gave me, that the simple answer was: "no".

At that time, I was a high school student who was lacking both the social and professional skills needed to survive in such a risky environment. So yup, I needed a lot of experience for this and I went for it. Honestly, I didn't really have high hopes of getting a job the way I have now. I thought it would take much longer than it did. But I still went for it. I just knew someday it would happen if I would continue.

So in 2011 after I was done with my work on Konami's Skullgirls, I was like, "OK, what do I do now?" I was also working on my own animated short film at that time but I needed and wanted a new job to gain more experience among a team of professional artists. So I contacted Yamauchi-san again (I hadn't talked to her since 2009) and she was very happy with my progress during the intervening years. So she decided to give me a chance, and showed my portfolio to producer Masao Morosawa-san, who was also impressed. I was just so happy and excited that it had finally happened.

It was just awesome when I later found out that the project I would be working was being directed by Shinichiro Watanabe, because I'm a huge fan of Samurai Champloo and Animatrix: Kid's Story, they are just one of my all time favorites. It was not the typical Watanabe-san project, but it showed that he really is talented and capable of handling and coming up with great results in any genre. And he has great taste in music. I listen to the Samurai Champloo soundtrack all the time when I'm working. Nujabe's music especially is very relaxing.

I was signed up for episode 7, which featured Yamauchi-san as animation supervisor. I had two options for which cuts to work on: There was one with less action, and less work, and there was a challenging crowd scene. I asked them if it was possible to give me as much action as possible. I chose to work on the crowd scene that was part of the climax of the episode, interspersed with Sentaro and Kaoru's jazz session. It was the most interesting part to me and I thought I would get more experience out of it because I had never done anything like that.

So Nobutaka Ito and I (he animated Sentaro on the drums) were involved in the climactic scene. It was great to see Ito-san's work between my own. This might sound awkward, but I was really proud and honored, because he is such a great artist. Sadly I'm not sure who worked on Kaoru's piano. You can see the whole scene and find some more info about it here. I animated 3 shots, and drew the layout for all 9 of the crowd shots where the students are running and telling each other to come check out the jam session. I will upload the rough animation work and layouts later on my Tumblr blog when I get permission.

I gained so much experience from my first time working on an anime project. It was amazing. You have to be really fast, especially me because I was doing both genga & doga - the full animation - and I was the only animator working digitally. But it didn't make any difference in the end. Everything worked out great through the internet with my line-producer and coordinator Tanaka-san. Tanaka-san and Yamauchi-san gave me lots of freedom on my shots.

But actually, when I finished my first shot, it was too Shinji Hashimoto/Shinya Ohira'ish, i.e. loose and too much myself and off-model. I did it on purpose, to be honest, because I wanted the shots to stand out, but I now realize that this kind of behavior can sometimes be very selfish and very risky for a project. The whole project could take a hit because of this kind off stuff. I got that shot back and fixed it as quickly as possible. Otherwise the animation supervisor would have fixed and changed it. It all depends on the project whether you can go crazy and stylish with the animation. You can do stuff like that on projects like FLCL or Mind Game, for example, but not on most the TV shows.

But that didn't stop me from putting my creative energy into the shots. I could still animate the characters the way I wanted. If there is a limit that you'd better not go beyond because doing so would be playing with the other team members' time and livelihoods, you have to find a way to move forward and not just stand there and complain that you can't do this or that. You have to try something else that could open new doors. So there was still another way to make the shots stand out. I drew the characters clean and followed the rules and totally focused on the movement.

Something that stood out to some Japanese viewers who emailed me was the way the students called the other students. The way they move their hand to call the students is totally not Japanese. Someone who saw the episode emailed me and told me that she was really surprised by the calling gesture and enjoyed it, but thought it looked very European/western, so since I was the only one in the credits with a non-Japanese name, she was sure it was me who did those cuts LOL. I didn't do this on purpose; the problem was my lack of knowledge about Japanese culture. We would have fixed it if there was more time to make the gesture more Japanese, but it's not such a huge disaster actually since it's an anime focused on the music and friendship, so I think people will be OK about those shots haha. But I animated the gestures the way they looked to me in the storyboard.

What I learned from this was to always discuss even the tiniest details in the storyboard with the director, and send a few rough sketches of the movements before starting, or just put a few more character drawings into the layout. Also, another thing I struggled with at the beginning was the material of the school uniforms. The uniforms are apparently much thicker than I initially thought they were. This was while I was working on the first shot. In later shots I animated them thicker. Also, I tried to animate the skirts better than I usually do, so I hope the viewers like the way the skirts of the running girls move. But yes, generally, I wanted the cuts to feel both light and realistic, and I hope the audience enjoyed them.

The 3 cuts I animated can also be viewed on my website as small gifs, but I will try to get permission to upload the rough genga soon.

Ben: Did you design the characters in your shots in Kids on the Slope?

Bahi: Partly. Nobuteru Yuuki-san already had drawn some samples for the random students, so while I was drawing them, I used the settei as a guide. Some of the haircuts are based on them. But yes, I just drew them the way I wanted mainly. It was just important to make them look casual and similar to the settei.

Ben: You mentioned that you were the only animator animating digitally on Kids on the Slope. Is animation in the anime industry drawn mostly digitally or still on paper? Also, how does the animation process differ between the two methods?

Bahi: Hmmm, I would say that digital animation is growing but the majority still works analog. I know many young digital animators but also many that animate on paper. It really doesn't make any difference for the production company. They can handle both digital and analog work. They will print your digital work on paper when they hand it over to the sakuga kantoku. So, the process doesn't change. The sakuga kantoku will fix some little details (usually analog) to make it fit to the main design and then your work gets traced (digitally) no matter what, it makes the lines look more solid. It depends on the production but that's the usual process. I can imagine that animators like Hisashi Mori get more involved in the further production to keep their line style in the final rendering.

Ben: What programs do you use to animate?

Bahi: Currently, Flash, to be more specific, Adobe Flash CS5. Shingo Yamashita, Ryo-Chimo and many other also use Flash. Some people think that you can't really draw in Flash, and at the beginning it's true, but you get used to it after some practice and get to the point where you can draw any line you want like you can in Photoshop. Of course, Photoshop's lines are way more accurate, but Flash is a better tool for animation.

Ben: Don't you use a special custom layout file?

Bahi: Actually, maybe I overreacted about this file, but for me it is really great. I asked Yama-san for permission before I started to continue using the file for other projects of course. It looks like a normal layout sheet, with pegbar holes and stuff but the good thing is that it has a simple script that shows the timer in both frames and seconds, which is set to 24fps. It's really good when you want to quickly synch the time on the storyboard or the time-sheet with your key-animation work. Flash itself also shows the current frame number, but this layout file is more specific and looks like this. Looks simple, and it is simple, but for me it's huge.

Ben: You drew layouts in Apollon, but some of the shots had CG backgrounds, so how were the layouts for these shots handled?

Bahi: Unfortunately, I can only guess on this part because I wasn't put in charge of scenes with CG Backgrounds. But it's nothing complex, they just treat them like normal layouts. The only advantage is that you don't have to spend much time drawing them. It's a nice method to save time. For example, a classroom is very useful when it's done in CG, because it's the same classroom in each episode. So why draw it over and over again if you can build it once and use it for reference for all the shots? It's a good time saver in my opinion and also useful when you want to do complex camera movements; they first animate the background animation with the CG BG, then the animator fits his animation to that. The 3D CG backgrounds that have movement get treated like finished BG animation by the animator. A very nice example would be Norio Matsumoto's CG BG cut from BLOOD movie. They rendered the shot in wireframes for him because it's easier to synch the character like that.

Ben: Some people wondered whether your shots in Apollon were rotoscoped (though some said they weren't rotoscoped enough, go figure). What do you think about rotoscoping?

Bahi: Well, first of all, my shots were not rotoscope. I view this kind of audience reaction in both a positive and negative way. Positive because I'm glad it looked that realistic for them that they call it roto XD. But also kind of sad of course when they don't see/appreciate the "animation". But an artist should not get offended when people don't understand his work. People have different opinions & thoughts and I can't just explain it to all of them. My goal was to achieve my own realism in this work. Satoru Utsunomiya and Mitsuo Iso are a nice example, their animation is believable in their own way. I personally don't like to rotoscope, but there are some animators in the industry that do it often and some that mix it with animation, and some people just roto because there is not enough time and etc. I have no problem with all these but it's not my thing. I personally want my mind to do the movement and not the video-material. Our world is full of beautiful and dynamic movements, but they are only my reference, inspiration and motivation.

Ben: What do you think about the current state of the anime industry?

Bahi: The current state is something medium. It's ok, looking good. It's not really the most glorious years of anime currently, but it's not the dark ages either. There have been many ups and downs lately, but I think things will be finding their balance again soon. The payment situation could stand improvement compared to other industries, but few complain about it seriously, so nothing is likely to change soon. It could all collapse if they were to change something or increase payment. It's a very difficult issue. We just continue because we love animation. Some friends gave up their animation career because they couldn't work for a living as animators in Japan. But some friends are also growing bigger and bigger as gengaman. The anime industry is a very tough place, and I respect the people who survive in it and keep the animation spirit alive in these difficult working conditions.

Ben: Do you sketch?

Bahi: I sketch a lot, it's fun to just doodle around some stuff I have in my imagination. Random doodling wherever and whenever I can since childhood. XD It's always good to sketch around to stay on the road. And sometimes, the sketches are worth something more maybe to continue work on or use as concept/inspiration.

Ben: Any advice to young (or not so young) prospective animators thinking of getting into animation generally or the anime industry specifically?

Bahi: The portfolio is very important. But it's not only about your animation skills, what the companies want to see are your layout skills too if you want to work as key animator. So practice as much as possible, both animation and layout/characters and generally everything! Your portfolio should be able to present that you are capable to do anything. Get in touch with the people in the industry, like producers/managers. You need to build a good connection and network with the people in the industry. Be friendly, patient and nice to people, lol this is like some general advice that everyone knows ( ^ 0^)b Make gif animations or short-films and put them on web. The people have to know you and trust you and your work. If people are already familar with you and your work, you might have better chances. But the most important thing is the communication. If there is a communication barrier, nothing is going to work out. If you can afford it, fly to Japan and live there for a while (I haven't done this yet but it's a great advantage!) My advice is to be careful with your decision first of all when you want to seriously enter the industry. First give it a try and see if you can continue in those conditions you are faced with. An animators life can be very hard in Japan, you have to sacrifice a lot to survive in the industry, especially at the beginning. But if you really want to do this and love working on anime more than anything else, nothing can stop you, seriously. Passion, hard work and pursuit will bring you forward. Sometimes it can be really hard, but nevermind, just continue if it's your dream. Just go for it, have fun and break the limits. I have no idea if all these are helpful but I hope someone finds it useful as an advice somehow XD. The best and simplest advice is, do animation with fun! ( ^0^)/

Ben: Last, but not least: Yoyoyo.

Bahi: YoYoYO!! It was a great pleasure and honor for me to do this interview Ben! And I hope people enjoyed it and hopefully it wasn't too long and boring and somehow useful XD

ANIMATION POWER!!! (*≧▽≦)b