Only if they remake it. Absolutely fumbled part 1 of GOH that s*** had me so pressed

if its another action animator im out

Bro thank you for this! Honestly, I’ve been thinking about it. I’ll def keep that in mind though. Really appreciate it and you watching fr

You're just jealous of him

Tomo chan

Zom 100 anime announced

heard about the manga and it sounded interesting but i never read it. looks cool

Headed to Tokyo tomorrow. It's Karuta all weekend

😂

What class you dominating rn?

yall better stop watching these chinese cartoons and peep puss in boots in cinema

Anyone know what time Nier drops on crunchy tomorrow?

VINLAND SAGA

3 DAYS

F***KKKK YEAAAAAAA

Animator Spotlight: Mitsuo Iso

all gifs in order are

mobile suit gundam: war in the pocket: 0080: war in the pocket (1989)
like the clouds, like the wind (1990)
porco rosso (1992)
ocean waves (1993)
ghost in the shell (1995)
end of evangelion (1997)
digimon adventure born of koromon (1999)
blood: the last vampire (2000)
digimon adventure 02: revenge of diaboromon (2001)
kill bill (2003)
dennou coil (2007) {missile animation only, character is Kiyotaka Oshiyama}
waanabi.jk (2013)
ys viii lacrimosa of dana (2016)
dimension w (2016)
children of ether (2017)
napping princess (2017)

When people think of realistic animation many think of full animation, meaning animation animated primarily on 1, 2, or maybe 3 frames per second and suggesting realistic movement. This method can get a smoother result but also is incredibly taxing for any animator, but one man found a way to cheat the realism. Meet Mitsuo Iso

Mitsuo Iso came around during a very interesting time of anime. In the 80s the realist school of animation was rising with works like Rintaro’s Genma Taisen and Katsuhiro Otomo’s Akira taking a more detailed and realistic take in animation. Specifically, there was heavy emphasis on expression and personality to characters.A lot of the credit can be traced to the key animators in the scene with Takashi Nakamura and Yasuomi Umetsu being the first to arrive on the scene.

Following Genma Taisen, Akira introduced the world to many of the realist animators who still are around today them being Shinya Ohira, Hiroyuki Okiura, Shinji Hashimoto, Toshiyuki Inoue, and Satoru Utsunomiya. All of them developed a take on realism crafted from Nakamura’s character acting and to a point Yoshinori Kanada’s effects work.

With all the innovations inspiring a brand new generation of animators brewing, Mitsuo Iso came in to shake up the game even more. Iso’s impressively flashy animation in War in the Pocket Episode 1 dazzled the new generation, with Iso getting the weighty mechanical movement being convincing yet not staggered by any overt influence. This scene did so well it would get Iso recruited by Satoru Utsunomiya on Gosenzosama Banbanzai where Iso would display his new animation style known as “full limited”

This style of animation unique to Iso is impressive for several reasons. For one, every drawing is a key frame, meaning the key animator maintains complete control over the cut without in between animators having to smooth out the motions of the characters. This means all drawings are drawn by Iso himself. Secondly, the animation does contain any movement on one frame per second, primarily sticking to twos and threes with “tight spacing” giving the character animation an intentionally jerky look. While it's jerky, it's believable

Iso would apply this to nearly all of his work’s using Golden Boy and Evangelion as another way to further this aesthetic.

While those shows are great on their own, Iso likely wanted to have more control over how things moved going into the future. He needed to find out how to do more with less. Blood: The Last Vampire is an incredibly interesting entry in Iso’s catalogue. According to a panel Iso would use Adobe After Effects to do his own compositing for character animation (assumedly around the time digital animation became more of a thing). This is becomes clearer to see with recycled head animation and body parts almost being puppeteered and seemingly animated separately.

Blood laid a foundation for Iso to be entirely digitally based, and it would show in a lot of his future work.

Mitsuo Iso is an animator who does his own thing. A lot of the tricks of his work may seem lazy to some, and I would say he is cheating animation, but animation has no rules, and by that very nature Iso is perfectly fine with breaking them while still maintaining a level of realistic motion and pacing.

Iso post Dennou Coil 2007 doesn’t have as many animation cuts as he did back in the day, with key animation being incredibly sparse. You can now find Iso working at Signal.MD where he directed and wrote The Orbital Children (2022).

Small correction here, but as far as I'm aware the first anime written and directed by Iso was actually Dennou Coil.

You’re right

please visit the shrine

do it yuru serefu