I'd like to know that myself. There's like 4 directors listed Anno included. Were there certain segments those other guys did for some super secret reason?
Funimation: Evangelion 3.33 coming out February 2 2016
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I'd like to know that myself. There's like 4 directors listed Anno included. Were there certain segments those other guys did for some super secret reason?
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- TMBounty_Hunter
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The easiest way to explain it would probably be to contrast it with Miyazaki.
Miyazaki doesn't really write scripts, he just starts straight on the storyboards which already set up all the shots, the framing, how long each shot lasts, etc. Only after that do things start getting delegated down the chain of command, but even then everything will eventually come back to Miyazaki for final approval before the next step is take and time and effort are potentially wasted. The animation director(who's desk is right beside Miyazaki and shares a shelf) usually delegate down the various cuts to animators. Senior animators might help guide the junior ones, they do their assigned cuts and then it comes back to the animatior director. He either decides on his own if something is unsatisfactory or when it is it goes on Miyazaki's shelf, but eventually every sheet of animation will end up on that shelf. Miyazaki thoroughly goes through all of it and either corrects it himself, gives direction for corrections or occasionally just does the whole thin from scratch himself. Everything goes through that one man before it's scanned and goes for coloring. He'll regularly go to the background and coloring departments to give his approval or direction. There's quite a few of long time department heads but everything goes through him from animation to sound/music/voice. Everything.
That's probably what people think the average director is like, but Miyazaki's approach is far from norm in the industry. It's also why his movies take so long, cost so much and make him say he'll retire after each one. It's incredibly taxing and far from the industry's definition of "efficiency".
By contrast Anno is perfectly fine with letting a lot more people be involved with the decision-making and direction process. He knows his co-directors and they know him so it's quite easy for them to share the duties and in general work as a committee instead. The script is hammered out by multiple people. The storyboards are drawn by multiple people. Imageboards (kinda like elaborate storyboards to explore ideas) are contributed by lots of staff. The layouts, which determine the final framing, are drawn by lots of people. Even before any animation work begins it's not just Anno and his 3 co-directors shaping the film but quite a few other regular staff as well. When work does actually begin the co-directors are there to spread the load of final approval. The Q Groundwork books have thankfull added the "Director Correction" blue sheets and you can occasionally tell with a fair degree of certainty which ones are Tsurumaki because his style is leaking into the sketches. So all of that work of approving tons of 2D animation, and also now the billions of animatics they work through before they settle on 3D animation are done by multiple people. This is what most of the industry is like. Because the majority of the work is weekly TV shows there is always multiple teams working concurrently with co-directors or episode directors steering things collectively to make the deadlines.
It's also interesting to try and figure just what things Anno can personally be bothered with. He doesn't seem to be too fond of drawing humans, he'd much rather get involved with ships, aircraft, and other tech. Also cities and buildings. There's tons of layouts in the 2.0 CRC of the cityscapes all drawn by Anno. There's also a copy pasta from the interview section that constantly gets brought up with respect to Mari that Anno just basically dumped the whole issue onto Tsurumaki and went off to play with toys he likes instead.
Overall, Miyazaki can be said to direct pretty much every second, every pixel of every frame.
Anno on the other hand has a general idea of where he wants to go but it is a co-op game of doing cool stuff with long-time friends to get there and really awesome side-quests aren't rejected even if it derails things.
That's a bit of an exaggeration for both cases, but hopefully a useful one.
A mini note on Mahiro Maeda who was added as a 3rd co-director for Q: He actually has the longest history with Anno out of the 3. He was doing some design work and contributed ideas to Ha but was brought on fully on-board afterwards and looking at Animator Expo seems to be extremely comfy at khara.
Miyazaki doesn't really write scripts, he just starts straight on the storyboards which already set up all the shots, the framing, how long each shot lasts, etc. Only after that do things start getting delegated down the chain of command, but even then everything will eventually come back to Miyazaki for final approval before the next step is take and time and effort are potentially wasted. The animation director(who's desk is right beside Miyazaki and shares a shelf) usually delegate down the various cuts to animators. Senior animators might help guide the junior ones, they do their assigned cuts and then it comes back to the animatior director. He either decides on his own if something is unsatisfactory or when it is it goes on Miyazaki's shelf, but eventually every sheet of animation will end up on that shelf. Miyazaki thoroughly goes through all of it and either corrects it himself, gives direction for corrections or occasionally just does the whole thin from scratch himself. Everything goes through that one man before it's scanned and goes for coloring. He'll regularly go to the background and coloring departments to give his approval or direction. There's quite a few of long time department heads but everything goes through him from animation to sound/music/voice. Everything.
That's probably what people think the average director is like, but Miyazaki's approach is far from norm in the industry. It's also why his movies take so long, cost so much and make him say he'll retire after each one. It's incredibly taxing and far from the industry's definition of "efficiency".
By contrast Anno is perfectly fine with letting a lot more people be involved with the decision-making and direction process. He knows his co-directors and they know him so it's quite easy for them to share the duties and in general work as a committee instead. The script is hammered out by multiple people. The storyboards are drawn by multiple people. Imageboards (kinda like elaborate storyboards to explore ideas) are contributed by lots of staff. The layouts, which determine the final framing, are drawn by lots of people. Even before any animation work begins it's not just Anno and his 3 co-directors shaping the film but quite a few other regular staff as well. When work does actually begin the co-directors are there to spread the load of final approval. The Q Groundwork books have thankfull added the "Director Correction" blue sheets and you can occasionally tell with a fair degree of certainty which ones are Tsurumaki because his style is leaking into the sketches. So all of that work of approving tons of 2D animation, and also now the billions of animatics they work through before they settle on 3D animation are done by multiple people. This is what most of the industry is like. Because the majority of the work is weekly TV shows there is always multiple teams working concurrently with co-directors or episode directors steering things collectively to make the deadlines.
It's also interesting to try and figure just what things Anno can personally be bothered with. He doesn't seem to be too fond of drawing humans, he'd much rather get involved with ships, aircraft, and other tech. Also cities and buildings. There's tons of layouts in the 2.0 CRC of the cityscapes all drawn by Anno. There's also a copy pasta from the interview section that constantly gets brought up with respect to Mari that Anno just basically dumped the whole issue onto Tsurumaki and went off to play with toys he likes instead.
Overall, Miyazaki can be said to direct pretty much every second, every pixel of every frame.
Anno on the other hand has a general idea of where he wants to go but it is a co-op game of doing cool stuff with long-time friends to get there and really awesome side-quests aren't rejected even if it derails things.
That's a bit of an exaggeration for both cases, but hopefully a useful one.
A mini note on Mahiro Maeda who was added as a 3rd co-director for Q: He actually has the longest history with Anno out of the 3. He was doing some design work and contributed ideas to Ha but was brought on fully on-board afterwards and looking at Animator Expo seems to be extremely comfy at khara.
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TMBounty_Hunter wrote:It's also interesting to try and figure just what things Anno can personally be bothered with. He doesn't seem to be too fond of drawing humans, he'd much rather get involved with ships, aircraft, and other tech. Also cities and buildings. There's tons of layouts in the 2.0 CRC of the cityscapes all drawn by Anno.
That's a good point. Nearly all the Anno art I've ever seen consists of drawings he did of the Evas, revisions to drawings of Evas, or various mechanical things. I don't think I've ever seen him draw a human!
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Anno's favorite part of Evangelion are the units themselves. One can almost use that information ton read a little "too much" into the whole "comforting womb" aspect of a character being in an Eva, but there it is. He pours his soul into the characters' motivations and situations during the writing process, but will play with the Evas during the animation process.
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Manga UK just announced a March 7th release date in the UK for Eva 3.33. Coming in DVD, Blu Ray and a Blu Ray Collectors Edition :)
http://www.uk-anime.net/newsitem/Manga_Entertainment_MCM_London_Comic_Con_October_2015_news_round-up.html
http://www.uk-anime.net/newsitem/Manga_Entertainment_MCM_London_Comic_Con_October_2015_news_round-up.html
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If the original audio was the reason for whole business, it seems extraordinarily unlikely that they would be permitted to make a release that included it. It's not as though it had any significant exposure, unlike, say, the original dub of Akira which is included alongside its replacement in modern editions.
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I was wondering, what are the chances of Funimation releasing a second trailer for the Bluray with the newly recorded dialogue?
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Why would they spend the money? Everyone's already on the hook after two years of waiting; all those pre-orders rolling in again.
"Being human, having your health; that's what's important." (from: Magical Shopping Arcade Abenobashi )
"As long as we're all living, and as long as we're all having fun, that should do it, right?" (from: The Eccentric Family )
Avatar: The end of the journey (details); Past avatars.
Before 3.0+1.0 there was Afterwards... my post-Q Evangelion fanfic (discussion)
"As long as we're all living, and as long as we're all having fun, that should do it, right?" (from: The Eccentric Family )
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Before 3.0+1.0 there was Afterwards... my post-Q Evangelion fanfic (discussion)
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Yeah same, they did confirm the other two editions so I'm wondering what the hold up is on them appearing on Amazon. At the same time their own site doesn't seem to have the pre-orders for any of the editions up yet. (At least last time I checked)
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Combo release ? they better not make me pay any more dime, dolar is super high, and it wasnt when i made the purchase.....f them !
Also this is really disapointing, i was expeting them to announce a re dub remaster for the blu ray of the original series, this is really lame, please tell me people wooed them
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