Like I’m Glad Blue Exorcist/Ao no exorcist switched to a new studio and is getting the love it deserves from the staff. (The staff actually got a replica made of one of the characters wings and has it on display).
yea i know that season 1 got a godly treatement, but this doesnt change the fact that s2 looked bad in comparison. it's not hate, it's just an observation
I don’t have any hopes for opm season 3 and now that it’s confirmed in the trailer that jc staff is animating it again it’s probably going to look like shit due to how jc staff rushed things
@@The_EverythingYTSeason 1 was a literal exception, it had a lot of anime industry veterans working on it, ever since then A LOT of those veterans left Madhouse to either join a different studio or make their own one, so even if Madhouse were to make new OPM season, it would absolutely not have the same godlike level of animation like season 1 did.
it might've actually. Sousou no frieren got a unique treatement fron them, and seeing that madhouse doesnt release a lot of titles nowadays. opm s3 will have enough time to look not necessarly as good as season 1, but at least better than anything JC Staff can come up with.
The video forget the case (like Vinland Saga) where most of the Wit studio staff still remained on the project and just moved house Mappa to make the season 2. The bigger reason why it still felt visually different is that the staff is mostly using "MAPPA" assets to make season 2. "These animation assets is integral to how the visuals will end up looking also.". This is why we can have let's say a Wit studio anime looking kinda the same even though the staff for both anime are largely different but since they are using the same Wit studio asset the anime in general will feel the same.
not true at all. there’s not “assets” that studios reuse that lead to certain studio’s shows looking similar despite different staff, it’s down to directors. and vinland saga season 2 merely changed art style slightly at the request of the director due to the much more serious and slow burn approach season 2 took to the story. it had nothing to do with MAPPA “assets” or whatever you’re trying to imply. that’s not how anime production works.
@@cwega2463 there is "a value" still in assets in animation studios as much as you deny it or not, as I said as an example, let's take a look at AoT and Vinland Saga with, they have very different main staff and different directors yet, the they retain distinctly similar color filters and shading, etc Etc. and one look you'll know it was a wit studio production. Same thing can be said with UfOtable, where you can have different main directors of show, and still will "Know" it'sade by UfOtable since they use the same tech and assets in making their animation expectable and how they composite the overall look. Like yes their are "directorial" change of art style choices. But their is a reason why an animeade in the same studio even with different "staffs" can share a distinct style of look is also due to the fact that "studio's has their own propueritary assets and tech that they can use in their own studio" those said assets will make it also easier for studios to make "outsourced" cuts end looking like it was produced in the same studios since they will still finish those cuts with those assets. Like the Vinland saga season 2 "art style" is not so different from season 1 you know, the big difference is that they just use "different type of line art style and color pallets and filters" And if they had use the same "assets" they did with season 1 then the "look" will basically remained in line with season1 overall look. Season 2 is mostly different in how they paced and adapted scenes as that falled mostly on the directors part. And don't give me ' that 's not how animation studios work" when you seem only solely focused on one angle of an animation studio. Like studio's also relies on animation tech and assets as much as they rely on hiring good people to work with them. It's not like Wano arc One Piece changed its overall look just because the director decided that art style, like the team also did have to build the assets, tech and workflow that can bring forth that change and make it work.
@@cwega2463 "that's not how animation studio's work" Like you clearly don't know the value of propeietary assets and techs" used by studios do you. Like Vinland saga season 2 don't really look that different compared to season 1 except for the fact that it use "different assets for line art color pallet and filters". It was mainly different with how it paced adapting the source material and how they were directed and which part they focused on. Like character art wise, Vinland season 2 really drew characters still very similar to season 1 and it's especially obvious when they redraw season 1 scenes on flashbacks, like Young Thorfinn for example and the obvious difference from season 1 is again "the asset they used, line art, color pallet and everything". How they drew Young Thorfinn is still the same (since yes they are mostly drawn by the same people as season 1) the big difference is they have different tools to work with in season 2. To give examples of "importance of a studio's tech". Look at Wit's AoT and Vinland Saga, they have different main staff and director but those 2 still looks similar since they utilize the same tools and assets when they were made in Wit. The same thing can be said with a "UfOtable", anime. They can incorporate different staff and making different series but still retain that "distinct UfOtable look" since they again use the same tech and assets in making their anime. An example of using different tech and assets. Look at "Imai's Levi cut in the last episode of AoT". It was clearly drawn the same way how "Imai drew Levi scenes back at wit" but it ended up still looking kinda different since again Mappa used different assets to finish the cut. One way for studio's to retain a specific look for an anime even if they resort to big amounts of outsourcing is that they implement assets and tools specific for that project aside from having an AD to correct the character art consistency when finishing all the outsource cuts so they end up with a final product that looks consistent with it's general look and artstyle Some specific animation styles that a specific studio have "does not soley rely on the staff they have, it also involve the assets and tech that those staff throughout the years made and established that are continually being used in that very same studio even if the staff gets eventually change." They just train the new staff on how to use the unique tech and assets they had in the studio.
@@Snzn_7The difference is that Ufotable is one of the few studios in the industry that activately has sizeable enough to keep their productions mostly in-house, specially when it comes to compositing and CG work. In that sense, of course there would be a "similar style" when you have an actual consistent group working together for years, specially someone like Yuichi Terao who's basically the biggest responsible for that kind of look. On the other hand, you literally cannot say that about Wit or MAPPA. There is no "consistent look" for every single show they make. Attack on Titan and Vinland Saga still look noteably different from another.
@@carloscauan7967 I get that and I had already addressed that the staff still is integral, I am only pointing out something which most people brush off as insignificant, "which is the usage of "Proprietary Animation Assets that is exclusive to the studio" which also affects how a studio's anime looks. Yes I get that the "staff does a lot of it" but again "the in house studio assets still contribute to that in some parts since even when the people gets shuffled around, or gets replaced their anime still look is still retained". AOT and Vinland look nothing alike, again Wit projects incorporate similar Visual style to AOT, Vinland, Bubble, and Kabaneri. They use similar type of Color grading and Filter. They also brought visual style they develop at Kabeneri for close up shots to AoT Season 2, Vinland and Bubble. They integrate same animation tech they develop for blending moving 3d background and 2d character animation , you mentioned compositing which is one of the animation stage "where the studio's assets really also come in to play", etc. etc. Another fact for compositing work, its' not like the same one - three dudes will do all that in every single episode no, different people will handle some of the episodes and the compositing will still visually remain the same because the "assets they are gonna be the same" As I pointed out in my other reply, Vinland Season 2 almost can Visually look like Season 1 if it had the same Assets filter and Color grading they did in Season 1. Again I am pointing this one out since I know not a lot of people are too keen to sse it unless they have some backrgound on animation or dabble in digital art. Also with teh "sizeable" stuff you said, Mappa is still a "bigger Studio" than Ufotable you know, Mappa just takes too many project at once which is why their staff are thinned out to work on them. Wit is also a small studio but can do "consistent looking projects" if they have a good enough schedul;e to make their anime.
no one really seems to know that JC staff aka the animators only had 12 months to make one punch man s2 and for a 12 ep long anime it would be like 24 months so they had like 1/2 the time of what they need and the animation was still like 6.5/10 the animation was not bad just not as good as season 1 i think season 3 will have better animation than season 2 but it wont be like season cuz they dont have the same animators and season 1 had ALOT of crazy talented animators it was not just that mad house is cracked well they are but not that much
You got the Vinland Saga part wrong…While yes the studio did change from Wit to Mappa majority of the core staff from Wit stayed the same and just worked under Mappa’s name including the director,character designer and scriptwriters.The pacing was not slowed down..The pacing was slow in the original source material (manga) and they just faithfully adapted it.Though i agree Vinland should have won anime of the year.
I've read the Vinland Saga manga until chapter 54 before watching season 2 (cus season 1 adapted the first 54 chapters) just to refresh my memory. and honestly it was slow too.. yes, not as much as the second part, but it was. But Wit's Adaptation felt fast-paced, and action-packed somehow. and season 2 covered from chapter 55 to chapter 101, that's 46 chapters that got covered with the same number of episodes (less chapters than season 1 but same amount of episodes). And yes they kept the same staff, but my theory is that if VS stayed under Wit's name maybe they gonna rush the events a bit. cus not only the director/character designer/scriptwrites are the one in charge but the big guys (Studio) that makes the call, and everything should go the way the envisioned.
@@The_EverythingYTno i don’t think you really understand how this works. idk why you said it’s up to the big guys in the studio who make the calls after saying it’s the directors and scriptwriters etc who make the show. all the CEOs and higher ups in studios do is set deadlines. it is the director and writers who choose how many chapters to adapt over the one or two cour season. not the CEO. please do some research into the production process of anime.
@cwega2463 i dont think you understood what m trying to say. let me explain what i mean by "it is up to the studio". the final product weither it's good or bad it's the studio's call. the directors/writers/animators etc.. make the show yes but their job ends there (most of them at least). if it's a well-known respected director, they have more freedome to make whatever they want (Makoto Shinkai for exemple because his movies makes a lot of money for the studio). setting up a deadline in its core is a "Studio's call" it's not just a deadline, that affects the anime production more than you think. it's basically an order to finish a certain project no matter how the show looks, and that changes from studio to studio obviously. that's why we have shows like Ex-Arm for exemple. it's clearly faaar away from its deadline. who are we gonna blame in that case the staff working on the show, or the studio? uk what, let's take a movie for exemple, a hollywood movie. there's directors and writers etc.. working on a movie right. but the final cut (the movie we watch) for exemple the recent movie Netflix's Rebel Moon. if you watched the director's interview (Zack Snyder foumous for movies like Man of Steel, Batman v Superman, 300 and more) he said that the "Big Guys" wanted a PG13 2 hours long version of Rebel Moon, but what he wanted was a 4 hours 18+ movie to fully create what he envisioned. that's not a deadline, that's controling the production of a full movie, and you can clearly tell that the movie was rushed. (and they gonna release that 4 hours director's cut in the future) directors and writers choose how many chapters they adapt yes. but have u ever heard of screenings? where the big guys watch the final product and they comment on it. they comment on what needs to be changed, what needs to be done different, what needs to be left out (that's why sometimes we have deleted scenes). my point that it's more than just deadlines, and even if it's just deadlines. that affects the final product more than you think.
@@The_EverythingYT i’m aware that it’s not just deadlines that affect the final products quality. ex arm had awful management and a terrible staff. my point was talking about pacing with adapting chapters. i said how it’s not up to the CEOs to set how many chapters they adapt, that’s up the directors. the CEO sets the deadlines. since anime adaptations of manga are often than not 1:1 with the manga, you have even less studio interference from a creative and story level from the studio higher ups. Makoto Shinkai receives incredible amounts of freedom in the studio since he makes ORIGINAL films. which are more risky. but we are talking about adaptations of manga. that studio interference usually isn’t there from a creative standpoint. you just wrote out a whole essay about a topic i wasn’t even referring to… you’re coming at this from the perspective of a hollywood production. but that doesn’t work in an anime perspective. screenings literally aren’t a thing with TV anime. schedules are so tight that episodes often aren’t completed until hours before their air date.
it's the same thing, it is a story-telling approach (doesnt matter if it's original or adapted). even if it's a 1:1 manga adaptation, sometimes you can make the story slow and telling the same events of the manga (slow-paced), and other times u can make it fast, telling again the same events of the manga (fast-paced). there's a big difference between pictures (manga) and moving pictures (anime). so it's not just about the fact that it's an adaptation. it's just source material like a book or a novel, and you can do whatever you want with it (Chainsaw Man for exemple and how they added original scenes, and changed the original vibes of the manga). Mappa CEO commented that Chainsaw Man is their most expensive Show ever, and how they gave it their best treatement. So in this case it's an adaptation, but they gave the director some creative freedom. another exemple of how deadlines affects the final product is JJK season 2. M not saying u're wrong, thats not the argument here.. m saying setting deadlines can rush or slow the production phase. and setting deadlines is included in "Studio's call"
Bro seriously put the "what the hell" sound effect at a preview of season 3 done by Aoki, like...an actually good animator (for reference look at when Garou is running from the guy with the blades or on the electric cables)
Well the trailer looked kind of underwhelming, not that i'm expecting a season 1 level of animation. And i put that clip with that sound effect after talking about the "leak" of last year that season 3 will be animaed by mappa, so the sound effect is not necessarily about the animation of this season, it's kind of the punch line of after all those rumours JC Staff was the studio behind OPM S3 all along.
@@The_EverythingYT meh, it wasn't such a good fight even in the manga and it's purpose was as a background for the limiter explanation, I can live with that
@@nugolderp4115 m not a manga reader so i have no idea what's going on in the trailer. Well, let's hope for a better adaptation than season 2. I have a question, is Aoki confirmed to be working on season3?
@@The_EverythingYT Aoki is practically JC staff best animation, he's more than confirmed he's literally the number 1 animator, almost all the good cuts (and the last episodes with Garou vs Genos or the A class) in season 2 were done by him (I suggest a video of probably pretentious about the topic) I have a list of animators that will probably work on season 3, I'll give it to you
@@The_EverythingYT [Hiroshi Tomioka] [Daisuke Shibukawa] [Teppei Okuda] [Shuto Fujita] [Reo Nakamura] Aoki (any good moment in season 2 that can come to your mind) Tadaki (Tank top Master vs Garou) Ozawa (Megumi explosions in Konosuba) some random freelancers from studio Lan are probably come into play A lot of these are semi confirmed but not 100% except Aoki and Tagaki and Ozawa who directed the preview that Aoki drawn
I'm the first comment, pin please.
Sure ma man
Thx@@The_EverythingYT
Your voice are so calming and suitable to watch before bed, but ur editting made me woke up.
The algorithm is by your side, for now
I wonder why..
See you at 100,000
Why is this so threatening?
@@youplayzz7922 bro sounds like he is one a mission to destroy his career lmao
"w-what do you mean?"
then when that happens he has 300k subs xd ( i got a pic of this dont forget )
Like I’m Glad Blue Exorcist/Ao no exorcist switched to a new studio and is getting the love it deserves from the staff. (The staff actually got a replica made of one of the characters wings and has it on display).
just found your channel and iam in love with it
Thanks.. there will be more content soon so stay tuned
I thought this channel had 200 k subs or something Dayum peak channel
The animation team of s1 in opm was a dream team ........there are just people who dont understand the industry and just spam hate
yea i know that season 1 got a godly treatement, but this doesnt change the fact that s2 looked bad in comparison. it's not hate, it's just an observation
I don’t have any hopes for opm season 3 and now that it’s confirmed in the trailer that jc staff is animating it again it’s probably going to look like shit due to how jc staff rushed things
The Made in Abyss OST in the background!
yep.. it's in most of my videos
4:58 the animation here looks fine
yes it is fine. still a big drop from season 1 tho (obviously).. i guess we just have to wait and see the final product to fully judge
@@The_EverythingYTGood thing is that it's a massive step up from season 2, seeing as they have more time to actually animate this time around.
@@The_EverythingYTSeason 1 was a literal exception, it had a lot of anime industry veterans working on it, ever since then A LOT of those veterans left Madhouse to either join a different studio or make their own one, so even if Madhouse were to make new OPM season, it would absolutely not have the same godlike level of animation like season 1 did.
it might've actually. Sousou no frieren got a unique treatement fron them, and seeing that madhouse doesnt release a lot of titles nowadays. opm s3 will have enough time to look not necessarly as good as season 1, but at least better than anything JC Staff can come up with.
but m glad we at least gonna have a continuation of opm
I was here when there were only 47 subs. Good luck!
Welcome to the channel.. thanks
Peak video
Thanks mate
1:07 more like the restaurant is the studio and the chefs are the animators
The video forget the case (like Vinland Saga) where most of the Wit studio staff still remained on the project and just moved house Mappa to make the season 2.
The bigger reason why it still felt visually different is that the staff is mostly using "MAPPA" assets to make season 2.
"These animation assets is integral to how the visuals will end up looking also.".
This is why we can have let's say a Wit studio anime looking kinda the same even though the staff for both anime are largely different but since they are using the same Wit studio asset the anime in general will feel the same.
not true at all. there’s not “assets” that studios reuse that lead to certain studio’s shows looking similar despite different staff, it’s down to directors.
and vinland saga season 2 merely changed art style slightly at the request of the director due to the much more serious and slow burn approach season 2 took to the story. it had nothing to do with MAPPA “assets” or whatever you’re trying to imply. that’s not how anime production works.
@@cwega2463 there is "a value" still in assets in animation studios as much as you deny it or not, as I said as an example, let's take a look at AoT and Vinland Saga with, they have very different main staff and different directors yet, the they retain distinctly similar color filters and shading, etc
Etc. and one look you'll know it was a wit studio production.
Same thing can be said with UfOtable, where you can have different main directors of show, and still will "Know" it'sade by UfOtable since they use the same tech and assets in making their animation expectable and how they composite the overall look.
Like yes their are "directorial" change of art style choices. But their is a reason why an animeade in the same studio even with different "staffs" can share a distinct style of look is also due to the fact that "studio's has their own propueritary assets and tech that they can use in their own studio" those said assets will make it also easier for studios to make "outsourced" cuts end looking like it was produced in the same studios since they will still finish those cuts with those assets.
Like the Vinland saga season 2 "art style" is not so different from season 1 you know, the big difference is that they just use "different type of line art style and color pallets and filters"
And if they had use the same "assets" they did with season 1 then the "look" will basically remained in line with season1 overall look.
Season 2 is mostly different in how they paced and adapted scenes as that falled mostly on the directors part.
And don't give me ' that 's not how animation studios work" when you seem only solely focused on one angle of an animation studio. Like studio's also relies on animation tech and assets as much as they rely on hiring good people to work with them.
It's not like Wano arc One Piece changed its overall look just because the director decided that art style, like the team also did have to build the assets, tech and workflow that can bring forth that change and make it work.
@@cwega2463 "that's not how animation studio's work"
Like you clearly don't know the value of propeietary assets and techs" used by studios do you.
Like Vinland saga season 2 don't really look that different compared to season 1 except for the fact that it use "different assets for line art color pallet and filters". It was mainly different with how it paced adapting the source material and how they were directed and which part they focused on.
Like character art wise, Vinland season 2 really drew characters still very similar to season 1 and it's especially obvious when they redraw season 1 scenes on flashbacks, like Young Thorfinn for example and the obvious difference from season 1 is again "the asset they used, line art, color pallet and everything". How they drew Young Thorfinn is still the same (since yes they are mostly drawn by the same people as season 1) the big difference is they have different tools to work with in season 2.
To give examples of "importance of a studio's tech". Look at Wit's AoT and Vinland Saga, they have different main staff and director but those 2 still looks similar since they utilize the same tools and assets when they were made in Wit.
The same thing can be said with a "UfOtable", anime. They can incorporate different staff and making different series but still retain that "distinct UfOtable look" since they again use the same tech and assets in making their anime.
An example of using different tech and assets.
Look at "Imai's Levi cut in the last episode of AoT". It was clearly drawn the same way how "Imai drew Levi scenes back at wit" but it ended up still looking kinda different since again Mappa used different assets to finish the cut.
One way for studio's to retain a specific look for an anime even if they resort to big amounts of outsourcing is that they implement assets and tools specific for that project aside from having an AD to correct the character art consistency when finishing all the outsource cuts so they end up with a final product that looks consistent with it's general look and artstyle
Some specific animation styles that a specific studio have "does not soley rely on the staff they have, it also involve the assets and tech that those staff throughout the years made and established that are continually being used in that very same studio even if the staff gets eventually change." They just train the new staff on how to use the unique tech and assets they had in the studio.
@@Snzn_7The difference is that Ufotable is one of the few studios in the industry that activately has sizeable enough to keep their productions mostly in-house, specially when it comes to compositing and CG work. In that sense, of course there would be a "similar style" when you have an actual consistent group working together for years, specially someone like Yuichi Terao who's basically the biggest responsible for that kind of look.
On the other hand, you literally cannot say that about Wit or MAPPA. There is no "consistent look" for every single show they make. Attack on Titan and Vinland Saga still look noteably different from another.
@@carloscauan7967
I get that and I had already addressed that the staff still is integral,
I am only pointing out something which most people brush off as insignificant, "which is the usage of "Proprietary Animation Assets that is exclusive to the studio" which also affects how a studio's anime looks.
Yes I get that the "staff does a lot of it" but again "the in house studio assets still contribute to that in some parts since even when the people gets shuffled around, or gets replaced their anime still look is still retained".
AOT and Vinland look nothing alike, again Wit projects incorporate similar Visual style to AOT, Vinland, Bubble, and Kabaneri.
They use similar type of Color grading and Filter. They also brought visual style they develop at Kabeneri for close up shots to AoT Season 2, Vinland and Bubble. They integrate same animation tech they develop for blending moving 3d background and 2d character animation , you mentioned compositing which is one of the animation stage "where the studio's assets really also come in to play", etc. etc.
Another fact for compositing work, its' not like the same one - three dudes will do all that in every single episode no, different people will handle some of the episodes and the compositing will still visually remain the same because the "assets they are gonna be the same"
As I pointed out in my other reply, Vinland Season 2 almost can Visually look like Season 1 if it had the same Assets filter and Color grading they did in Season 1.
Again I am pointing this one out since I know not a lot of people are too keen to sse it unless they have some backrgound on animation or dabble in digital art.
Also with teh "sizeable" stuff you said, Mappa is still a "bigger Studio" than Ufotable you know, Mappa just takes too many project at once which is why their staff are thinned out to work on them.
Wit is also a small studio but can do "consistent looking projects" if they have a good enough schedul;e to make their anime.
no one really seems to know that JC staff aka the animators only had 12 months to make one punch man s2 and for a 12 ep long anime it would be like 24 months
so they had like 1/2 the time of what they need and the animation was still like 6.5/10 the animation was not bad just not as good as season 1
i think season 3 will have better animation than season 2 but it wont be like season cuz they dont have the same animators and season 1 had ALOT of crazy talented animators it was not just that mad house is cracked well they are but not that much
That's what m hoping for.. a decent season
m9wed asat . it sad we wont see opm s3 as we imagined in our minds
peak
I am now gonna be known as one of the ogs for your channel 🙏
I'm the 77th subscriber, and 7 is my lucky number, and i got 2 7s
Keep up the great videos
Glad u enjoyed the video.. Thanks
This channel is goona get big isnt it?
Well.. it's up to the YT algorithm isnt it?
nice vid
Thanks
If frieren gets S2 from madhouse I'll go rouge, cuz of opm😂
You do know that the season 1 of OPM was a dream team?
@@天堂ベンツ0 what dream team bro?
Idk what animes are made from madhouse but i can tell you death note is PEAK
Isnt the anime industry freelance, so studio change shouldnt matter except it always does.
Yes. but even thou it's freelance, you got to listen to what the Studio wants.
true@@The_EverythingYT
You got the Vinland Saga part wrong…While yes the studio did change from Wit to Mappa majority of the core staff from Wit stayed the same and just worked under Mappa’s name including the director,character designer and scriptwriters.The pacing was not slowed down..The pacing was slow in the original source material (manga) and they just faithfully adapted it.Though i agree Vinland should have won anime of the year.
I've read the Vinland Saga manga until chapter 54 before watching season 2 (cus season 1 adapted the first 54 chapters) just to refresh my memory. and honestly it was slow too.. yes, not as much as the second part, but it was. But Wit's Adaptation felt fast-paced, and action-packed somehow.
and season 2 covered from chapter 55 to chapter 101, that's 46 chapters that got covered with the same number of episodes (less chapters than season 1 but same amount of episodes). And yes they kept the same staff, but my theory is that if VS stayed under Wit's name maybe they gonna rush the events a bit. cus not only the director/character designer/scriptwrites are the one in charge but the big guys (Studio) that makes the call, and everything should go the way the envisioned.
@@The_EverythingYTno i don’t think you really understand how this works. idk why you said it’s up to the big guys in the studio who make the calls after saying it’s the directors and scriptwriters etc who make the show.
all the CEOs and higher ups in studios do is set deadlines. it is the director and writers who choose how many chapters to adapt over the one or two cour season. not the CEO. please do some research into the production process of anime.
@cwega2463 i dont think you understood what m trying to say. let me explain what i mean by "it is up to the studio". the final product weither it's good or bad it's the studio's call. the directors/writers/animators etc.. make the show yes but their job ends there (most of them at least). if it's a well-known respected director, they have more freedome to make whatever they want (Makoto Shinkai for exemple because his movies makes a lot of money for the studio).
setting up a deadline in its core is a "Studio's call" it's not just a deadline, that affects the anime production more than you think. it's basically an order to finish a certain project no matter how the show looks, and that changes from studio to studio obviously. that's why we have shows like Ex-Arm for exemple. it's clearly faaar away from its deadline. who are we gonna blame in that case the staff working on the show, or the studio?
uk what, let's take a movie for exemple, a hollywood movie. there's directors and writers etc.. working on a movie right. but the final cut (the movie we watch) for exemple the recent movie Netflix's Rebel Moon. if you watched the director's interview (Zack Snyder foumous for movies like Man of Steel, Batman v Superman, 300 and more) he said that the "Big Guys" wanted a PG13 2 hours long version of Rebel Moon, but what he wanted was a 4 hours 18+ movie to fully create what he envisioned. that's not a deadline, that's controling the production of a full movie, and you can clearly tell that the movie was rushed. (and they gonna release that 4 hours director's cut in the future)
directors and writers choose how many chapters they adapt yes. but have u ever heard of screenings? where the big guys watch the final product and they comment on it. they comment on what needs to be changed, what needs to be done different, what needs to be left out (that's why sometimes we have deleted scenes).
my point that it's more than just deadlines, and even if it's just deadlines. that affects the final product more than you think.
@@The_EverythingYT i’m aware that it’s not just deadlines that affect the final products quality. ex arm had awful management and a terrible staff. my point was talking about pacing with adapting chapters.
i said how it’s not up to the CEOs to set how many chapters they adapt, that’s up the directors. the CEO sets the deadlines. since anime adaptations of manga are often than not 1:1 with the manga, you have even less studio interference from a creative and story level from the studio higher ups.
Makoto Shinkai receives incredible amounts of freedom in the studio since he makes ORIGINAL films. which are more risky. but we are talking about adaptations of manga. that studio interference usually isn’t there from a creative standpoint.
you just wrote out a whole essay about a topic i wasn’t even referring to…
you’re coming at this from the perspective of a hollywood production. but that doesn’t work in an anime perspective. screenings literally aren’t a thing with TV anime. schedules are so tight that episodes often aren’t completed until hours before their air date.
it's the same thing, it is a story-telling approach (doesnt matter if it's original or adapted). even if it's a 1:1 manga adaptation, sometimes you can make the story slow and telling the same events of the manga (slow-paced), and other times u can make it fast, telling again the same events of the manga (fast-paced).
there's a big difference between pictures (manga) and moving pictures (anime). so it's not just about the fact that it's an adaptation. it's just source material like a book or a novel, and you can do whatever you want with it (Chainsaw Man for exemple and how they added original scenes, and changed the original vibes of the manga). Mappa CEO commented that Chainsaw Man is their most expensive Show ever, and how they gave it their best treatement. So in this case it's an adaptation, but they gave the director some creative freedom. another exemple of how deadlines affects the final product is JJK season 2. M not saying u're wrong, thats not the argument here.. m saying setting deadlines can rush or slow the production phase. and setting deadlines is included in "Studio's call"
I'm the 100th liker and the 54th subscriber 🎉🎉🎉🎉😂
Bro seriously put the "what the hell" sound effect at a preview of season 3 done by Aoki, like...an actually good animator (for reference look at when Garou is running from the guy with the blades or on the electric cables)
Well the trailer looked kind of underwhelming, not that i'm expecting a season 1 level of animation. And i put that clip with that sound effect after talking about the "leak" of last year that season 3 will be animaed by mappa, so the sound effect is not necessarily about the animation of this season, it's kind of the punch line of after all those rumours JC Staff was the studio behind OPM S3 all along.
@@The_EverythingYT meh, it wasn't such a good fight even in the manga and it's purpose was as a background for the limiter explanation, I can live with that
@@nugolderp4115 m not a manga reader so i have no idea what's going on in the trailer. Well, let's hope for a better adaptation than season 2. I have a question, is Aoki confirmed to be working on season3?
@@The_EverythingYT Aoki is practically JC staff best animation, he's more than confirmed he's literally the number 1 animator, almost all the good cuts (and the last episodes with Garou vs Genos or the A class) in season 2 were done by him (I suggest a video of probably pretentious about the topic)
I have a list of animators that will probably work on season 3, I'll give it to you
@@The_EverythingYT
[Hiroshi Tomioka]
[Daisuke Shibukawa]
[Teppei Okuda]
[Shuto Fujita]
[Reo Nakamura]
Aoki (any good moment in season 2 that can come to your mind)
Tadaki (Tank top Master vs Garou)
Ozawa (Megumi explosions in Konosuba)
some random freelancers from studio Lan are probably come into play
A lot of these are semi confirmed but not 100% except Aoki and Tagaki and Ozawa who directed the preview that Aoki drawn
Noice
Don't use interpolated anime clips, don't be lazy.
Watch my other vids then u can comment this.. this video is basically me trying something new.. nontheless, u're free to think i'm lazy :)
W video
Thanks