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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Sunday, September 25, 2005

11:47:06 pm , 74 words, 1008 views     Categories: Animation

The lensmen

Link: http://today.reuters.com/news/newsArticle.aspx?type=filmNews&storyID=2005-09-09T174038Z_01_EIC942422_RTRIDST_0_FILM-ARTS-VENICE-JAPAN-DC.XML&archived=False

Sounds like he's alluding to Hashimoto and Ohira in the last sentence. I don't know of anyone else who has done anything like that. If he is, then his statement is a wee bit of an oversimplification of their work, to say the least, but it's kind of touching that he would think of them first when asked such a question. It would be interesting to hear more of his thoughts on their work.

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6 comments

Harrold
Harrold [Visitor]

How do Ohira and Hashimoto use ‘looking through the lens’ in their work, it seems a negative comment from Miyazaki?

Their work seems quite abstract to me, like the example picture you’ve shown with this post and not dictated by photographic reproduction

09/26/05 @ 04:12
Harrold
Harrold [Visitor]

Incidentally what film is that picture from?

09/26/05 @ 04:13
Ben
Ben [Visitor]

The picture is from Ohira’s sequence in Windy Tales 10.

If he is referring to them, which it’s not at all certain he is, then the reason he would be saying that is that there have been times in the past when they filmed themselves acting out material for reference. Miyazaki, of course, would never do such a thing.

The point is precisely what you said: Putting aside the question of whether it’s wrong to do so (why is it any worse than looking at yourself in a mirror when animating?), the way he says it makes it sound like they rotoscope every job, which is patently ludicrous, as anybody who’s seen any of their work will know. Most of Ohira’s recent work approaches the abstract. Just looking at the work, it’s obvious that it has to be coming straight from the imagination.

It was a one-off statement, so I don’t want to read too much into it. If he was so negative about their work, I don’t think he’d be hiring Ohira for almost every one of his films. I read it as Miyazaki-style tough love.

09/26/05 @ 10:33
Harrold
Harrold [Visitor]

Tough love indeed.

I think the use of live action as reference can really help improove animation as long as it’s not used literally (in which case it can end up being stale and predictable something I don’t think anyone could say of Ohira and co). If it’s used as a foundation for expermentation with movement and the understanding of it I think it can produce excellent results.

09/27/05 @ 06:51
Ben
Ben [Visitor]

Complete agreement. I think that expresses perfectly what makes Hashimoto and Ohira’s animation so uniquely great.

09/27/05 @ 12:26
Jericho
Jericho [Visitor]

I like those sequences where the animation is done on two’s and the drawings of things have such a thin outline, that it is the blot of paint that is doing the majority of the animation effect. Hell if I know any rotoscoping was involved. It just seems more obvious that they depended on how their minds were going to process the movement instead of soley depending on the reference magic of the camera.

09/28/05 @ 11:27