Around the same time, Bahi also got to work on Masaaki Yuasa’s Ping Pong, doing a ton of layout work with some not making the final cut.

notice the recycled head and hand cuts, totally something Mitsuo Iso would do to limit the frame count and instead do semi-puppeteering in Adobe Photoshop.

In 2015 Bahi worked on a number of shows, three for Bones studios. Kekkai Sensen, Concrete Revolutio, and though not a Bones show Shingo Natsume’s One-Punch Man had a ton of Bones staff and became famous for getting Bahi more visibility.

The first cut of Saitama standing is famously mistaken for rotoscope.

Concrete Revolution would see him working on one episode and the OP

Bahi with the last animated cut

In 2016, after doing work on Kabeneri of The Iron Fortress he’d animate a nice scene of a Shiny Gyrados making his debut on the Pokemon franchise.

Bahi 0:48-1:00

2017 Bahi worked alongside Mitsuo Iso, and director Kenji Kamiyama on Napping Princess doing some brief KA nothing super stand out. Though that wouldn’t matter too much as they’d again collaborate on the OP for Atom: The Beginning. An OP entirely directed, storyboarded, and AD’d by Bahi.

The same year he did animation one one Fate/Apocrypha episode showcasing why full-limited (animation on 2s and 3s) is a cool yet time consuming process.

more recycled head shots in the second cut. The character entirely turns their body yet the face remains in place, and I believe the hair movement is recycled

Blade Runner 2022: Black Out marked the first high budget project Bahi penned under. 2049 director Denis Villeneuve commissioned Shinichiro Watanabe to direct the 15 minute short a long with Production I.G. handling animation. A majority of which would be handled by the Akira alumni Hiroyuki Okiura, Shinya Ohira, Shinji Hashimoto, Kouichi Arai, and Tatsuyuki Tanaka. Gundam’s Shokou Murase handled character designs. With such a stacked line up of legendary animators, Bahi could only fangirl out while doing his best to pen an insane fight scene.

Bahi 10:01-10:23
Bahi stated that he had never done a scene with one character fighting multiple enemies and he ended up studying martial art films and live action fight choreography to get a gradual idea of how to envision and bring the scene to life. He stated he rewatched Okiura’s and Ohira’s scenes from earlier gaining great appreciation for their advanced yet differing styles. Iso was also featured on the project.

The next year Bahi had a modest load of work handling cuts on Shojiro Nishimi’s MFKZ, Modest Heroes, and SSSS GRIDMAN. Bahi's work on FLCL Progressive is probably his most memorable of that year, a shame since the series is very forgettable.

Then in 2019 he’d make his return to Bones providing storyboards to the OP for Carole and Tuesday.

Bahi’s storyboards sakugabooru.com/post/show/75563

On Promare Bahi excelled at exacting Hiroyuki Imaishi’s insane storyboards, and bringing it more into full motion.

In 2020 we see some of the highest output for Bahi making splashes on several shows. He’d animate a very lengthy scene on Pokemon: Twilight Wings directed by Shingo Yamashita

Bahi 3:51-4:42

He’d join Yamashita again working on Jujutsu Kaisen’s first OP

Bahi with the Nobara, Maki, Toge, and Todo cuts

Fate/Grand Order: Camelot Wandering; Agateram saw Bahi journeying into epic high stakes Fate fights, and still sticking to his guns. Lot of frame reuse here sakugabooru.com/post/show/175081

In 2021, Bahi reunited with Shingo Natsume after 6 years animating on Natsume’s Sonny Boy. The scene Bahi does along with Bones veteran Gosei Oda pits two characters against a backdrop of complex visuals that are made up of a programming language that only computers can understand.

Bahi 1:13 to 1:26

It’s 2022. After doing brief KA on Iso’s The Orbital Children, Bahi would leave a behemoth impact on One Piece Episode 1015. After doing a lengthy scene from 2019 sakugabooru.com/post/show/107836 on the show he’d return for 1015 directed by Megumi Ishitani. Ishitani at this point had proven herself to be one of the most exciting and capable new talents brought on to Toei. The pacing, and mixture of action, storytelling, and ridiculous storyboards all culminate into a wonderful feast for the yes. Bahi JD had this to say about the episode

“sometimes when you see the storyboard, you just know immediately you are about to be part of an important historic event. you don’t come across this kind of storyboards very often in your career, but when you do, it immediately clicks, and you can just feel it, the energy is there."

Bahi JD 1:22 to end

Ishitani’s storyboards have so much clarity and metaphor compacted in to them. The visual cue of the hands reaching out towards the horizon is such a good way to reflect Yamato’s sorrow in the scene, and the character acting in-between is so powerful.

Bahi also appears on the episode on the last cut of Luffy stating “and become King of The Pirates”

He also did the OP around this time, doing the first cut

In August of 2022 Bahi would join Ken Yamamato on Pokemon: Hisuian Snow Episode 3.

Bahi 7:49-8:14

You can most recently see Bahi JD on Makoto Shinkai's Suzume, where I believe he animates the opening portion of the film.

Bahi JD is an exceptional talent. He is probably one of the greatest overseas animators to bless anime, and has shown little to no need for improvement since he's just that good. Considering the plethora of advanced sakuga we've gotten from him you'd think he'd be worn out, but nope. While Bahi had admitted he struggles with Japanese and communicating with foreign staff over Skype isn't easy he made the effort and became one of the most revered names in modern sakuga, and has pushed the envelope for foreign animators to venture into anime. And though most like Cedric Herole and Vincent Chansard aren't webgen they carry the same spirit and energy in their works too. Bahi is a sakuga staple, and I can't wait to see what he does next

Bahi's illustrations, comprised of his "doodles"