hayabusa? change your name to falcon u not even japanese quit playin

Damn that new gundam witch ep was

I gotta watch new Oshi no ko later

gunpla going crazy

Hey nana…

Hey Hachi…

Yuri cafe ending art appreciation post:

So is made in abyss worth sticking with

Yes

yes

I do not watch anime in english anymore man I’m sorry

then you should use kanji

Animator Spotlight: Bahi JD

All gifs in order
Kids on the Slope (2012)
Space Dandy Episode 14 (2014)
Space Dandy Episode 26 (2014)
Kekkai Sensen (2015)
One-Punch Man (2015)
Fate Apocrypha (2017)
Blade Runner 2022: Black Out (2017)
FLCL Progressive (2018)
Promare (2019)
Keep Your Hands Off Eizouken! (2019)
Pokemon: Twilight Wings (2020)
Jujutsu Kaisen (2020)
Fate/Grand Order Camelot; Paladin Agateram (2020)
Sonny Boy (2021)
One Piece (2022)
Pokemon: Hisuian Snow (2022)

Happy Birthday Bahi JD. In the late 2000s early 10s “Web-Gen” animators took the anime world by storm. Ryo-Timo had showcased his insane animation skills on shows like Birdy The Mighty: Decode and Yozakura Quartet, being joined along a myriad of others like Shingo Yamashita, Kenichi Fujisawa, and Kenichi Kutsuna all making a name for themselves in sakuga and abroad. When it comes to webgen animators coming from overseas it’s essentially unheard of, but not for Bahi JD. Based in Vienna, Bahi would begin a trend of foreign animators doing freelance digital animation, and becoming one of most well known in that field. He’s one of the few animators to almost entirely embrace Mitsuo Iso’s full-limited style pushing it into the new millennia and and cementing himself as one of the best in the modern anime industry.

Bahi JD was interested in animation from the very start. As a kid he’d sketch and doodle in school. He also began to love cartoons and anime with Princess Mononoke, Akira, Ghost in the Shell, The Iron Giant, and FLCL all having “an extremely strong” impact on him. He’d also watch series like Heidi of The Alps, Cowboy Bebop, Gurren Lagann, and Samurai Champloo.

He’d learn about Ryo-Chimo who at the time was animating on a digital tablet something unfamiliar to Bahi. He looked into how Timo’s gif works got him an opportunity to work in the industry, and he then knew he wanted to be an animator. Bahi picked up his own digital drawing tablet and got in to contact with other animators like Cindy Yamauchi, Keisuke Kojima and Majiro.

Before hopping on to anime, Bahi was best known for SHITHEAD ACTION an entirely gif-animated fight scene he did in 2009, when he was only 18 years old. You can already see Bahi is a super capable animator doing a full 2 minute scene digitally.

It’s rough in some areas, but is incredibly captivating for just gifs .Early on Bahi sent his gif work to anime producers, though it was not fostering any gigs for him. He remarks on being rejected a fair number of times. Thanks to the advice of Yamauchi, Bahi would learn to study more fundamentals of animation.

“It’s not just about being a good animator, it’s also about having strong and flexible drawing skills. You have to show you can draw anything in any style, and you need to be capable of drawing good layouts, which is perhaps one of the most important aspects. During time I had no idea what ‘layouts’ were, so I picked up and studied a book called ‘Studio Ghibli Layout Designs.’

Bahi would quickly get work from some of his gifs résumé working on music videos. This first one would be a vocaloid MV seeing him working with Shingo Yamashita and Timo

The other two showed promise in not only animation but his art style too

And later thanks to Yamauchi, Bahi’s portfolio would get sent to a new studio and the producers let him on to work with Shinichiro Watanabe’s Kids on The Slope.

I feel like most webgen animators hit a serious stroke of luck when brought on to initial projects. Working with a monumental director like Watanabe is an insane first ask, and the quick scene Bahi pens at the time showed an incredible amount of promise and fidelity.

Bahi with the first three cuts of the students alerting others to watch the jazz show
I love these cuts. The realistic character motion has a genuine feel of excitement, and you can get an incredible grasp of the reference footage Bahi must have used to achieve it.
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The sense of depth carried over into the layouts also functionally makes the animation more difficult, but Bahi’s volume control and weight emphasized in the arm movements is so well captured to only think this is his debut series KA is unbelievable.

The second show he’d work on would be of course Space Dandy. Watanabe’s sakuga magnum opus featuring everyone from around the industry, and Bahi would be one of the main star animators alongside giants such as Yutaka Nakamura. Bahi did 4 episode of the show, and every time he would outdo a scene from a proceeding episode.

Bahi 0:21-1:09
Episode 1 has some of the best sakuga matching great character acting and insane oscillating Flash animation. Thick blobby smears determine a lot of movement and flow the action goes in.

Episode 14 we get an unbelievably swaggy scene of a Dandy vying for domination sakugabooru.com/post/show/227541, Episode 23 has Dandy trying to survive sakugabooru.com/post/show/197268, and the last Episode 26 Dandy’s insane cosmic punch literally breaks reality. An insane sequence with Nakamura, Kiyotaka Oshiyama, Chakashi Kubota, Norifumi Kugai, and JD doing some of the greatest sakuga fanfare ever put to screen.

Bahi 0:28 to end