The core fighter "Go Reconguista I of Theatrical Version Gundam G!" Directed by Yoshiyuki Tomino, released in the 19th edition , has been released. In addition to the limited screening from November 29, rental and purchase are also possible by distribution.
At the theatre, there was something that I was very concerned about, so it was very helpful to be able to check it immediately without waiting for the package to arrive. "What you care about" is not the story. It is a feature of "edit point" that connects cuts. I thought there was a big connection between the classic classification of "full animation" and "limited animation".
Immediately, I played "Theatrical Version G Record" in a relaxed environment at home and examined the flow of the video. After all it was as expected. That is, "The edit point where the cut changes, the first and second frames of the new cut are always different images." In the middle of works such as `` people walking out '' and `` leaning out '', or in the middle of actions such as `` mobile suit fires a beam '', only the head of the drawing that originally continues with 3 frames and 2 frames, It is cut to be one frame. This is a straightforward example.
In addition, even if the subject seems to stop at first glance, even if the background is moving only on the space battleship's tome, the camera work is on the tome person in the room, Anyway, such as "a different character is creeping up with a slide", "effects such as lightning are added", and so on, the cut head is "a picture where something is always moving".
As a result, there is an impression that the film does not stop and "flows to the end". Furthermore, in the theatrical version, this "flowing impression" is thoroughly performed for the purpose of "combining into one long", in which undulating and gentle musical rhythms occur, and a certain " "Art style".
It's because of this process that even if the contents such as conversations and settings are slightly unclear, it seems that they can be taken to a place where they can keep an eye on Gui Gui. This work has been criticized for being "restless" and "not busy", but recognizes that it is the front and back of the same phenomenon.
So why is such an effect processing necessary?
The reason is self-evident. This is because "continuity" (origin of conte), which is the basis of cut splitting, means "continuity". Since "contain no impression of tome" is the basis of the storyboard, by changing the cut head thoroughly by coordinating drawing and shooting, "cutting the middle of the movement that keeps flowing and changing" Is produced. That sensation excites the worldview in the story into "believable".
So why eliminate "Tome"? The top reason is that the "watcher" of the movie is a living person. At any moment, the heart contracts, breathing in and out of the air, ticking their rhythms (the autonomous opening and closing of the eyelids is omitted). For a movie, the production that keeps an eye on things that are constantly changing is a device that understands the "physiology of the internal organs ticking time" and applies it skillfully.
The idea of editing points was also known for some time. In the mid-1980's, a television information magazine "The Television" (Kadokawa Shoten / KADOKAWA) featured a series of two-page spread articles introducing the works directed by Yoshiyuki Tomino (probably "Heavy Machine L-Gaim"). In that column, the editor-in-chief had testified to the policy of "always cutting cut heads and not making tomes."
Director Tomino himself also said, "I want the animator not to make a play from a stopped position. Because the head is always cut off by editing, several cells are necessarily wasted. Please draw from the middle of "." The director's book "Principles of Image" (Kinema Junposha), "Chapter 9 Ultimate Processing of Drawing", "However, the cut head stops," "How to remove the stillness of the cut head with animation," etc. If you are interested, please read it because it is explained in a very exciting subheading.
I was worried about this case again because I had a glimpse of something a little deeper and wanted to do more research. One of them is Katsunori Katsunori's "In this corner (and more)". Even though it is that long and the episode unit is finely carved, it suddenly comes into my head. Overall, "continuity" is created in the brain, giving a completely different impression than the 2016 version. If so, there must be a mechanism that creates something "impossible impression" in the cut, including the processing of the cut split.
In the second episode of Isao Takahata's "Heidi in the Alps," the second episode of "Sequence to Bake Cheese," there was a place where I thought "that?" What I tried to explain to students was `` Fostering space with Hayao Miyazaki's layout '', but about cuts and cuts connected, action / reaction of people, separation of what is stationary and what is moving He realized that there was a "time gimmick".
I also remembered the words of Director Dezaki in late years. In a conversation with Masao Maruyama producer, `` Mushi Production is limited and focuses on tome paintings, but if you add camera work, you can take 24 frames per second, all different pictures, that is also a full animation I noticed it, "he said. Moderator Io interpreted this as a "problem of style," but reaffirmed that it was a statement that was fundamentally involved.
In other words, humans have the resolution to determine whether all frames are different or not. It is necessary to reconsider the difference between using animation frames (how many frames are taken for each picture) and using or not using the Tome picture based on the physiological characteristics of human beings or cognitive psychological knowledge. That is.
I want to re-examine the fundamentals of animation art, which is also called `` one-frame art '' without being caught by the (somewhat easy) confrontation axis of `` full limited '' that has been said so far, I want more time for that 2019 It is the end of the year (titles are omitted: Hikawa is responsible for the purpose, not the exact quote).