Welcome back to the I Am Anime website
I’ll say it again, my ideal is “Desaki Conte”!
However, as fans know, the storyboards created by director Osamu Izaki are “very rough”, and although the image is conveyed, the fine details are left to the direction and animation (if you look closely, you’ll actually see (This is not the case), so from the perspective of the staff who make the pictures, it seems like they either like it or dislike it. When I entered the industry, I heard pros and cons from my seniors who had come into contact with Dezaki Conte. When I first started working at Telecom (Animation Film), I came out as a fan of Dezaki, and one of my seniors told me, “I don’t know what Mr. Dezaki’s storyboards are about (lol).” Other comments included, “He dragged the schedule a lot, and once he put up the storyboards, he left it to the assistant director (director) and disappeared,” and “He seemed like an artist, and I didn’t like him.” Before I joined Telecom, Director Dezaki had worked with Telecom quite a bit on films such as “SPACE ADVENTURE Cobra the Movie”, “Mighty Orbots”, and the “NEMO” pilot film, so I guess I didn’t have a good impression of him at the time. However, when I became a freelancer and started working at various sites, I heard comments such as, “I love Osamu’s storyboards! Those drawings are great!” and “It ruins my drawing schedule, but I don’t want to do it.” I remember feeling happy and saying, “Saki (director)’s storyboards are so interesting!”
There are various criticisms and evaluations, but what I personally think about the storyboard is, first and foremost,
Don’t waste time drawing each frame! Rather, without fear of misunderstanding, you should draw with speedy brushstrokes!
That’s what I think. When I said this, I was scolded by those who viewed it with the idea that “a good storyboard is one that has been carefully written to serve as the basis for the layout during animation!” and said “That’s outrageous!” Conte will probably also be denied. But this can also be said about the animation revision (I’m currently working on the animation direction for “Okitsura”…)
If it’s the same bad original drawing, it’s easier to fix if it’s drawn with quick, rough strokes than if it’s slow and nervous!
It is. Also, this is a famous quote by Mr. (Kousei) Otsuka that I think I’ve talked about before.
Draw a 3 second movement in 3 seconds! Even if 3 seconds is over, I have to at least draw it in 3 hours! If you spend 3 days on it, it will become something different (from 3 seconds of movement)!
I guess this is the same logic as “miscellaneous storyboards”. In other words,
Cut the storyboard (break the cut) at the same speed as the scene flows!
That’s what it means. Therefore, I repeat, you should not draw the storyboard carefully! –is. If you were to compare it to composing a piece of music, just because you took the time to carefully and carefully draw the notes in a font on music paper doesn’t mean it becomes a masterpiece. yes. Dezaki Conte’s unique sense of rhythm and tempo stems from this. That’s why it’s necessary for the director to write storyboards for all episodes.
Also, for the illustrators who want a clean storyboard…to begin with, I don’t think they are good enough as animators to put aside their own lack of skill and try to draw the original drawings with the help of the storyboards (honestly). However, in the current anime industry, where there is a chronic shortage of human resources, it is necessary to properly write the storyboards in moderation.
So, it’s time to get back to work!
