It was really an honor organize our first masterclass with Greg Broadmore from Weta Workshop yesterday at Akiba Hall. 180 artists, students and professional came in attendance.
Greg for four hours discussed about his work journey in concept art which led him to Weta Workshop, the amazing projects he has worked on - some of which has never been seen by the public before----- and what he has planned for the future with Magic Leap. An additional bonus, Greg created an on-the-spot digital painting of an outer world monster for the audience.
Japan is on the cusp of changing it's approach towards concept art. Due to the changing landscapes of our world culture, Japan is moving towards a more "western" approach towards art education for production art and animation.
Big changes are coming.
It was an amazing and informative show and most of all it was fun.
The other week I posted about Katsuhiro GENGATEN exhibition at 3331 Arts Chiyoda.
Amazing work. Sadly pictures weren't allowed in the exhibition, but I was able to get a shot of this:
From the people who brought you Ninja Scroll, Japanese animation studio, Madhouse, Inc. has not only acquired animation rights to Charles Schulz's Peanuts, but has already completed one animated short.
Whether this means Madhouse will be animating only content for commercials or if they will be animating narrative content, is unclear at this time. Most likely it will be only for Japan since the American animation studio, Wild Brain has rights for the USA. Wild Brian animated the first Peanuts special with involvement of neither Schulz nor animation director/ producer Bill Melendez with "Happiness is a Warm Blanket Charlie Brown".
Peanuts is now 63 years old. Charles Schulz at one time being the only person to draw the characters, as well as oversee all merchandising, there existed a certain purity in the integrity of the strip. Melendez was the only man Schulz trusted to animate the Charlie Brown and Snoopy universe. Peanuts' charm truly laid in the fact it truly was 2D, graphically. But the nuance and the timing of animated Peanuts is certainly from an American point of view, established originally by Schulz and Melendez.
If Japanese Snoopy stories will be produced, let's only pray it won't be a repeat of the horrid (and I mean horrid) miscarriage of animation like Japan's Lilo and Stitch.
Celebrated but at the same time underrated manga artist and animation director, (my favorite Japanese animation director) Kastuhiro Otomo will have an exhibition of his original art at 3331 Arts Chiyoda starting April 9th and continuing on to May 30th.
The exhibition entitled, Katsuhiro Otomo Gengaten will feature the history of Otomo's artwork (3,000 original sketches) as well as 2,500 first time released pieces from his most globally recognized work, Akira. It will also premiere his new artbook, Otomo Katsuhiro Artwork KABA2.
Tomorrow marks the 1st anniversary of the 3/11 Tohoku Earthquake and Tsunami Disaster otherwise known as Great East Japan Earthquake. 30% of the event proceeds will go to donations for relief and aid still needed in those areas.
By the way, the CG animation/ 3D release bug has finally hit Japan. Friends: Naki's Monster Island is not the first CG animated film from Japan, but it is one of the first major full length films marketed at kids.
I don't think there's going to be any CG vs. hand-drawn debate in Japan. The appeal of animated illustrations will have a very long life here. However due to the nature of CG animation, it will be interesting to see how the mindset towards animation will change in the future. With the exception of a few animation directors like Katsuhiro Ootmo (Akira, Steamboy) Japanese animation rarely has rarely "fully animated" dialogues between characters. Also with the exception of huge showpiece animated action sequences, animation is rarely shot on 1's and is notorious for having action animated on what looks like 3's or even 4's sometimes.
(To those who may not know, shooting on 1's and 2's refers to how many exposures a frame will have in an animated sequence. "Who Framed Roger Rabbit" is a good example of animation shot on 1's. Extremely fluid animation. Some say it's too fluid and looks swimmy. Generally, most feature hand-drawn animation is shot on 2's. If anyone remembers the choppy TV animation in the 80's...that's a good example of animation done on 3's and possibly even 4's....i.e. G.I. Joe, Transformers. Almost 100% of CG animation is on 1's.)
While American animation is always striving for realism, Japanese animation is generally "iconic" and symbolic. (Note what was done to Lilo and Stitch when it was transformed for Japanese audiences) Japanese animation will use virtual pictographs on characters faces to show emotion for comic effect: hashmarks over the face to show stress, fountains of tears that evaporate instantly. It will be interesting to see how this will play out in a CG environment. Note the last few frames of the trailer above.
My two cents: so long as Studio Ghibli never does a CG animated film, hand drawn animation will still be king in Japan.
Living in Tokyo, Japan has granted me some folly as well as wisdom. It killed a lot of very erroneous, preconceived notions about Japan and Japanese culture. And it heightened my appreciation for the many good things Japan has to offer.
Despite what one would think, however, living in Japan has made me develop an almost irrational and pathological dislike for Japanese Anime.
I never thought the day would come, because it seems like only yesterday I regarded Japanese animation almost as the "second coming" in terms of what it had to offer the animation medium.
Todd McFarland (comic artist of Spider-Man and Spawn fame) summed up Japanese animation best for me as I paraphrase: "Japanese animation has mastered giving you the impression a lot is happening, when it really isn't."
Animation in general is very expensive. Japanese animation studios have mastered holding people's attentions with extremely limited animation (held poses, talking heads on static bodies that almost never move, animation sometimes done on 4's, 8's and 12's) BUT holding everything together with simple, but solid draftsmanship, action scenes that ARE animated quite well and dynamically, and reasonably compelling and mature plotlines.
I feel it has been the draftsmanship and the plotlines that has made the world go ape over Japanese animation over the past few years.
Japanese anime can be like "moving manga" (not a far stretch from the old Marvel Superheroes cartoons from the 1960's for those who know). The Japanese animation way is more concerned with presenting a graphic image rather than putting forth a convincing acting "performance" ala "Disney".
Is there good Japanese animation? Hell, yes. Katsuhiro Otomo is still number one in my book. Yes, Hayao Miyazaki is a true artist and visionary. Japanese animation has its place in the world as a viable medium and it deserves appreciation on it's own special merits.
Personally I'm glad that there is a huge fan base for Japanese animation in this digital age of CG animation. (which from looking at recent B.O. sales seems to have been losing it's "wow"-factor steam unless it has "Pixar" or "Dreamworks" on the billing) Japanese Anime serves as an example that there are those who still have a huge interest and appreciation for traditionally hand-drawn animation.
Sad to hear that in the past couple of years that DVD sales for Japanese animation has plummeted (as interest in the medium continues to rise). Let's face it, video piracy is to blame here. The majority of the consumers who are into anime are not the types to go out to the local video store for the newest anime when they can get it online for free. Not a good thing.
Found an interesting story from the Wall Street Journal on how the animation business in Japan hasn't been doing so well, and those who love the art of animation who are willing to endure during these tough times.
