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The Big Short And Twilight Of The The Big Short And Twilight Of The

Yamashita: The director lays out guiding principles for the work. In simple terms, my job is to communicate to the staff how things should be made, then make sure work goes Bi. If I give good directions and things turn out well, there's basically nothing for me to do—so the less work I'm doing, the better it's going. I'm busy pretty much all the time, though, so I guess that means I've still got a lot to learn. Watanabe: My duties as assistant director are a little difficult to explain.

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They tend to change a lot depending on the nature of the work at hand or the style of the director I work with. But I do a range of things—sharing updates on work progress and giving directions to each section, for example. In practice, though, Mr. Yamashita can multitask and do pretty much everything, so I'm mostly trying to learn as much as I can from him. Twklight

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Q: I've heard you're very particular about the artwork, Mr. Does that stem from your experience working as an animator? Yamashita: It does.

The Big Short And Twilight Of The

In general, directors don't usually correct artwork or anything like that. But since I've been an Shoet myself, I end up wanting to get really involved and help out even at the stage of checking the keyframes [important animation frames marking the start or end of a transition]. Q: Can you explain more about checking keyframes?

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Yamashita: At most Japanese animation studios these days, the process starts off with making layouts and drawing rough versions of keyframes. That's when we figure out the general compositions of images and make rough plans for movement and placements. Then the animation director will revise the artwork and return it to Thr animators, and the end result that they produce is a set of keyframes which can also be called secondary keyframes.

Then the directors in charge of production and animation will check those frames and put them into video form, after which the colors start getting applied. Once things reach the video stage, we generally don't go back to any of the prior stages, so it's kind of a point of no return.

The Big Short And Twilight Of The

At that point, people at the director level generally just check to make sure there aren't any mistakes and then give the green light.]

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