I vaguely recall Shamus Culhane emphasizing exaggerated motion in his book Animation: From Script to Screen, like it's inherent to the form. Arms flailing, every little motion accentuated. But I find a lot of Disney animation, including in CGI, to be overacted. It's all suspension of disbelief, right? The best example I can think of that splits the difference is Paul Grimault's lovely Le Roi et l'Oiseau. Personally, I love both the full range of character motion in a Chuck Jones short and the rich environments inabited in Japanese shows. Another place to look is Otsuka Yasuo, an animator who came up with the "money shot" (ahem) as a narrative and cost-saving tool. I think in animation it's always a budget thing. Wikipedia says he was underbidding other studios, which sounds right, and likely set up industry trends that persist. I haven't read a comparable book on the Japanese industry, but I suspect it falls to Osamu Tezuka's studio Mushi Pro? Everyone loved his concepts and characters and stories and designs, but the animation was cheap and bad. TV animation has lower frame rates, sure, as a lot of the shows are half-hour toy commercials. The best reference book I know digging into this is Richard Williams' Animator's Survival Kit, which has really lovely breakdowns of all kinds of movement and lots of discussion of historical practices. This is kinda weird.Īnyone know the history of how this came to be? I know some people like it, and think it's part of what makes it distinct, but I find it distracting.Īmerican drawn theatrical animation has been shot on both ones and twos depending on motion in the scene. Normally, the whole Japanese approach is to seek excellence in all artisan type crafts. It shouldn't be a budget thing, because some of these films have been big hits. Most animation in the west has been on twos since forever. A question: How is it that Japanese animation all seems to be animated on threes?.
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