Name: お気に入りのアニメスタジオ (My Favourite Anime Studio)
Uploaded: 2021-01-14T08:23:47.000Z
Duration: 10 min 22 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

My favourite anime studio, this is a discussion that I see a lot, and it's quite an interesting

転換語

one because for me, most studios don't have much of an identity.

I look at some of the bigger establishments and find it hard to find links between their

A lot of studios don't even feature the same staff.

Yet, people attach a kind of identity to them.

Look at A1 Pictures as an example, if we have a look at 4 of their recent projects over

the last year, there isn't one repeat director, in fact, very few of the roles have recurring

This isn't a bad thing for each individual series, they don't necessarily drop in quality

because of this but it means the studios lack identity.

And because of this, I find it hard to comment about 'anime studios'.

Which is a shame because much like following a sports team or band, it's fun to find

a collective group of individuals to support and enjoy.

People that you can identify with, on a personal level.

I mean, imagine if your favourite sports team played a whole new team every week, you'd

I just find that it's quite hard to do this with anime studio's, but this lack of identity

isn't the case for every studio, sometimes you find a group that you really connect with,

a studio that you can enjoy every time their make something.

When I was first getting into anime, that didn't happen for me, I never really found

a studio that i could confidently say “that's my favourite”, but recently a studio has

And to understand this studio, we have to go all the way back to where two creators

began working together: Masaaki Yuasa and Eunyoung Choi.

One of the industry's more talented pairings.

They first worked together at Madhouse with Kemonozume in 2006, Yuasa would be the director

of the project and Choi would work as an animation director and as an animator.

While Yuasa had been working in the industry for a considerable time at this point, this

was very early in Choi's career, and this period became quite formative for her.

To work on such an unorthodox project so early in a career is a real test, and she done some

Yuasa then went on to complete a trilogy of shows at Madhouse, with Choi working on all

The aforementioned Kemonozume, then Kaiba in 2008 and The Tatami Galaxy in 2010.

Three crucial shows that would basically give the pairing their reputation in the industry

as some of the most creative practitioners.

Choi's style was molded by her work with Yuasa during this period and the two formed

Yuasa and Choi's artistic visions fitted well with each other and they would continue

Future projects would include titles such as Ping Pong and their episode in Space Dandy.

Over this time they have formed a very unique, recognisable style.

And it's all due to them working together again, and again.

Yuasa has a fantastic way of making the most out of his small teams, Choi being a perfect

Let's have a look into Choi's work, because she's definitely one of the most underrated

individuals in the industry at the moment.

Like I said, her style fits very closely to Yuasa's and not only in the way it looks

but in the way she can work with resources.

She prioritises elements like colour and the movement of shapes, almost all of her scenes

have very bold colour choices and interesting compositions.

I've noticed that Choi likes to play with perspective in her shots, normally having

characters or objects cover a lot of distance.

This focus on exciting but simple animation is why she's perfect for working with Yuasa,

and is no doubt the reason he continues to work with Choi.

Yuasa and Choi's creativity is undoubtable and everything they've worked on together

has been fantastic, but the nature of their less commercial work means that they have

Madhouse's prosperity and willingness to give them a platform was an incredibly unique

Almost everything Yuasa has worked on has come from his unique creativity, producers

and other creators go out their way to have him involved in projects, but this approach

isn't one that attracts much funding, to be honest, we're very lucky to have had what

But with the growing market in niche audiences and in Yuasa's fan base, the pair were able

to overcome this monetary hurdle and found their own studio: Science SARU.

Yuasa and Choi needed resources to create their projects, finding studio that are willing

to take such creative risks with every project is near impossible.

Ping Pong, for example, was notorious for it's struggles to come to fruition.

Science SARU is their gateway to showcasing more of their amazing work, giving them freedom

And they've already done some amazing work, showing what can be possible.

Let's look into what they've done at the studio so far and how that's evolved from

One of their first pieces of work, and personally one of my favourite examples of their style

is 'Food Chain', an episode the studio created for the TV series Adventure Time.

The team done everything from storyboards to animation, to even singing the opening

Again, Yuasa and his team used their skills in utilising simple shapes to create expressive

Using lots of dynamic perspectives and wonderful background art.

For example the way in which the camera moves seamlessly between a 2D and 3D plane is great,

achieved by the lack of boundaries the team put on their visuals.

They can switch between a detailed painted background to an animated block colour background

very easily because they build this sense of, animation being a part of the world.

You get a feeling that the animation is more than just something to portray the narrative

And this is all done with a very impressive level of finesse.

The studio's style fits perfectly into the quirky and fun atmosphere of Adventure Time,

it's an example of the kind of work that suits Yuasa and his team.

It seems they're less bothered about where they're making things and more what they're

The studio also took on an episode of Space Dandy's second season.

I feel like this an example of what the studio can do on a larger production.

It contains more of that simple shape-based animation but also a lot of the sketchier

hand-drawn style animation we've seen in previous Yuasa projects.

A possible preview of what's to come, i'll get to that later in the video.

Again, much like Food Chain, there's so much dynamic animation, not necessarily realistic

but exciting, the movements of character models and their relationship the backgrounds.

字幕リスト動画再生

お気に入りのアニメスタジオ (My Favourite Anime Studio)

episode

potential

expression

period