That thing I did
Reference for that shot I did earlier. I see how I need to adjust the matte painting based upon where Ayu is supposed to be standing (the transparent plank) and the bus stop post. The nice thing about this is that it actually makes my work easier in a way.
01-04ii Ready for color
After those previous shots this one went by like a breeze. I should animate only wide shots from now on.
01-04ii Inbetweening Progress
Shot 01-04iii Ext. Frames
One thing to note on this shot is that this was one of the first in the film that used the Hanna-Barbera technique for limited animation. While other shots may have had still parts of the character, they were either redrawn or copy pasted and then drawn upon (paint animation technique). This one, literally has a layer (equivilant of cel) that stays on for the parts of Ayu that hold still. From this point on I continued to use this method since it's easier to maintain if you want to make adjustments and has no real drawbacks.
I just noticed I forgot to tag this shot in Photoshop. I'll have that in the next update.
Will is an independent artist who fell in love with Japanese animation and storytelling at the turn of the millenium. Since then had a formal education in film and animation production at RIT and has graduated with a reputation for his distinct cinematic style, technique, and story ideas.