One piece 1015 / 1017 a few thoughts. (Patreon)

Since i am not really able to contribute that much recently to my patreon or create any useful or educational content, i want to give a few insights to how it was to work for one piece and the upcoming titles.

Mr tsuchigami is doing kind of the same thing on his pixiv, but he goes very in detail with every cut. I will not exactly do that but eloberate a few things on how i handled the boards / sequences i was assigned to.


Starting with Ep 1015:  - 9 cuts

02-81-89
Mrs Ishitani's boards where extremly strong. There might have been just 1 or 2 drawings for most of the panels, but they were greatly detailed and you could basically read the energy and idea behind it very simply.
You could literally trace her board to have a strong LO already incase you would feel lost or not get the drawings right.

On her production i tried to really bring her drawings to life as good as i can but also imply a few more ideas on the approach for effects and motion.
The LO was done fairly quick, if i remember correctly, I joined quite late and the cuts took less than 2 weeks.
Almost the same as for the genga, but there was also ep 1017 for LO and 2 other projects inbetween i can not mention.
i was pretty stacked with work.
The delay in One piece's pipeline came in very handy so i could draw all the genga myself.

in genga they just corrected very few things, such as the mouth facial details of luffy, the hat of law and 2 more corrections on momo.
i also delivered the genga quite fast, at some point there were no corrections anymore on the kaido cuts for example and also no corrections on the fx.
I hope my drawings weren't too messy and still felt okay.
I tried to really emphasize clarity and the flow of the cuts and work to the vision from mrs ishitani.
she gives very strong directions for those long pans! it's super nice to look at and gives a lot of dynamic feel to some of the cuts.
there is a little bounce on yamato at the end that i have not drawn in my genga so i am a little confused how it ended there. Probably a choice of one of the directors. but that's just me beeing nitpicky at this point... in the end nobody really cares - still looking fine!

I drew quite a lot of frames on this one but i think the strong direction/composition made it possible and kept the clarity well.


For ep 1017: - 16 cuts

50-166-50-171
here the workload was more in terms of seconds and also the cut duration of the invidual cuts where longer.

The zoro part had quite weak boards, so ishizuka san also suggested to change up the boards.
he gave the idea of zoro actually flying into the fire and then cutting it.
I asked him to combine certain cuts to make it cooler and flow better.
I basically reboarded the entire sequence, adjusted the flow and the angles aswell to make it look more appealing with the manga itself in mind.
It was quite fun to draw these cuts.
zoro itself actually has a quite forgiving design, except for his swords.

The corrections here were very strong too.
The corrections were done by midori matsuda and she went ham on those drawings. She really loves to draw zoro the pa told me.
I am very thankful to her since she was so accurate and sticked to my LO so nicely.
I actually send in a reference for the bg animations, but unfortunetely it has been overlooked so it does not have the most accurate intentions i was going for.
I also asked to make the shadows of zoro less dark and adjust the colors, but i suppose there was no time to fix it.
Regardless i am very happy with how it turned out and i think the result is still fine.
i really appreciate it.

90-007 - 90-0016 

these cuts were boarded by mr ishizuka.

The aim here was too focus on the clarity and overall size i want to convey within the compositions.

Kaido's beam aftermath  

since the angle looked very squeezed in some of ishizuka's boards, i asked him if it's okay to enhance and change the angle to give a greater sense of space.
The melting rock cut was obviously inspired by mr nakamura and i used his OPM cut as reference to get a little closer in terms of feel.

I am a little bothered that i did not draw the impactframes on an extra layer, because they cleaned them up which wasn't necessary.
Another thing that bothered me was the book in front, which was basically the addition/suggestion from one of the directors.. maybe tu-san or ishizuka-san.
I asked them to move the book infront more to the left so it doesn't cover up too much of the cels, but i suppose it also got lost in the conversation.
I think this part was a little to overcomposited and lost many of the actual details i've been drawing.
Nonetheless, like in the zoro cut it still does its job and i can understand why they handled it like this.

i think i will need to communicate better and give stronger suggestions for the compositing  so i can avoid situations like this in the future.

the cuts after 90-007 have been handled all very well in terms of compositing and felt nice.
I also tried to utilise the inbetweener more with more charts.

the inbetweener drew many frames and he also did great on drawing all those frames carefully!
props to him, i am thankful that he helped me out so much.
I am also glad that i managed to give proper drawings that could be inbetweened well.
I feel more confident with where i need to utilise the inbetweeners help so i do not carry all the weight myself and draw unnecessary amount of frames.

I also did not want to rotate too many things or move the characters around too much just for the sake of coolness since it also might destroy the overall intentions and compositions. it looks nice and fun when it all flows well, but i want to learn to convey stronger feelings through the drawings alone and not overanimate things when it is not necessary.

on the last cut i tried to draw many frames when he blasts of since i already thought that mr ishizuka would go ahead and turn up the energy on the following cuts, so i drew a couple ones as followthrough effect.

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overall i feel happy with my participations and i am also thankful working with so many talented animators, Production Manager/assistants and Directors to contribute to those wonderful episodes.

Next time i participate i want to focus more on one piece and not work on multiple things at the same time, so i can bring out the very best of myself and the cuts.

One piece is a great show.

I want to give a very special thanks to Julian and my brothers who are very big one piece fans and actively follow the manga and the anime. they also taught me a lot and it's so fun to talk with them about the world of one piece and everything that's around it, like the theories, the fandom, the community and the productions itself.

i understand why people love one piece so much.