Kigami on the second cut maybe.

Absolutely unreal. Adore the part at 0:11 - 0:15. So good.

Thank you based KyoAni

Key animation phase -_-

Effects and Lighting O_O

The key animation's great for its purpose, which is to show a lot in a too-short amount of time.

My favorite part is 0:22-0:26, with the girl looking up. KyoAni can make even eye-blinking look beautiful.

mtobob said:
The key animation's great for its purpose, which is to show a lot in a too-short amount of time.

1) Yeah; the key animation probably did achieve almost exactly what it set out to do, thus making it a success.

2) The purpose being to show a lot in a "too-short" amount of time? I don't get that impression from watching these cuts. They don't feel that dense or compact as if they're trying to deliver large amounts of information in [as narrow a window of time as possible/as few frames as possible]. 0:16-0:18 is the only cut that this description of yours seems remotely capable of being applied to.

3) In case you aren't sure why I "-_-"'d the key animation and "O_O"'d the effects and lighting, it was in order to identify the specific components of the visuals that I personally found lackluster/okay vs the parts that I found outstanding.
I also have a peeve for when people see great lighting and effects on okay-ish key animation and then claim that the animation is so much better than, say, the works of Bones or Madhouse; people have done this with Fate/Zero, for example. In that regard, my little expression of what I find awesome vs what I didn't served double duty; that's something I wanted to address.

Hitorio said:
I also have a peeve for when people see great lighting and effects on okay-ish key animation and then claim that the animation is so much better than, say, the works of Bones or Madhouse;

Hitorio said:
Madhouse

I've never seen someone trying to address a common misguided opinion by countering it with an even worse one, it's almost majestic in how self-defeating that is. But please, keep educating the unwashed masses. A studio-centric approach highlighting Madhouse of all places in 2016 will surely help them understand how animation really works.

I just assume that the studio would have done things very differently in most of these cuts with a longer "canvas" to work with, that's all.

Madhouse and their stiff character animation are legendary.

Casshan said:
Madhouse and their stiff character animation are legendary.

But the great storyboards of the Madhouse series of 2000-2011 are legendary too.

kViN said:
I've never seen someone trying to address a common misguided opinion by countering it with an even worse one, it's almost majestic in how self-defeating that is. But please, keep educating the unwashed masses. A studio-centric approach highlighting Madhouse of all places in 2016 will surely help them understand how animation really works.

Your implied tone seems to want to cause conflict. My goal is mutual understanding and connection - not to be in the illusion of an elevated position in order to educate.

I'll replace the words in my previous comment to clarify what I meant about Bones and Madhouse. I didn't use the correct verbage for the correct community I was talking to. My point behind the words isn't self-defeating at all.

When I mentioned Bones and Madhouse in that positive context, the goal was to bring to mind the highlights of their animation history - down to specific cuts that have you go "Yeah; I remember those cool tidbits from them." I was specifically thinking about cuts from Yutaka Nakamura, Norimitsu Suzuki, Yoshimichi Kameda, and even the freelancers that contributed work to Madhouse without being part of the studio, such as in Birdy the Mighty with Norio Matsumoto and Shingo Yamashita.
I wanted brevity, so I mentioned studios in order to communicate that idea to you. The statement itself wasn't inaccurate, but given the conversational context of a site like this, it contained buzzwords that implied inaccurate ideas from me.

Even though Gainax is a shell of its former self, I'd still buzzword "Gainax" when talking about dynamic animation because I'm using the label along a different stream of thought.

Hitorio said:
Your implied tone seems to want to cause conflict. My goal is mutual understanding and connection - not to be in the illusion of an elevated position in order to educate.

I'll replace the words in my previous comment to clarify what I meant about Bones and Madhouse. I didn't use the correct verbage for the correct community I was talking to. My point behind the words isn't self-defeating at all.

When I mentioned Bones and Madhouse in that positive context, the goal was to bring to mind the highlights of their animation history - down to specific cuts that have you go "Yeah; I remember those cool tidbits from them." I was specifically thinking about cuts from Yutaka Nakamura, Norimitsu Suzuki, Yoshimichi Kameda, and even the freelancers that contributed work to Madhouse without being part of the studio, such as in Birdy the Mighty with Norio Matsumoto and Shingo Yamashita.
I wanted brevity, so I mentioned studios in order to communicate that idea to you. The statement itself wasn't inaccurate, but given the conversational context of a site like this, it contained buzzwords that implied inaccurate ideas from me.

Even though Gainax is a shell of its former self, I'd still buzzword "Gainax" when talking about dynamic animation because I'm using the label along a different stream of thought.

Kyoani has been the most consistent studio in japan since lucky star and their character animation is more ambitious than what other studios are doing. To see great character acting in studios like Bones and Madhouse you need to look at satoshi kon stuff or a series like denno coil and we all know the reason why.

Toshiyuki Inoue is a fan for a reason, even One punch man lacked decent character animation. the animation in kyokai no kanata was impressive in the action scenes and character interactions with episode 11 being non stop action animation.

Their new movie is a challenge for them, but I'm sure they will be much better animators at the end of it.

Hitorio said:
Your implied tone seems to want to cause conflict. My goal is mutual understanding and connection - not to be in the illusion of an elevated position in order to educate.

I'll replace the words in my previous comment to clarify what I meant about Bones and Madhouse. I didn't use the correct verbage for the correct community I was talking to. My point behind the words isn't self-defeating at all.

When I mentioned Bones and Madhouse in that positive context, the goal was to bring to mind the highlights of their animation history - down to specific cuts that have you go "Yeah; I remember those cool tidbits from them." I was specifically thinking about cuts from Yutaka Nakamura, Norimitsu Suzuki, Yoshimichi Kameda, and even the freelancers that contributed work to Madhouse without being part of the studio, such as in Birdy the Mighty with Norio Matsumoto and Shingo Yamashita.
I wanted brevity, so I mentioned studios in order to communicate that idea to you. The statement itself wasn't inaccurate, but given the conversational context of a site like this, it contained buzzwords that implied inaccurate ideas from me.

Even though Gainax is a shell of its former self, I'd still buzzword "Gainax" when talking about dynamic animation because I'm using the label along a different stream of thought.

I don't run the site to cause conflict, my job is about the opposite. But when I see multiple staff members mentioning a notoriously bad comment then I'll probably have to address it, especially if I find they're right. You don't get to come to the comments and complain that fans aren't accurate when judging motion vs composite (something most people in this site wouldn't dispute), while justifying your arguments with what you're even calling buzzwords. If you want to elevate the animation discourse start by holding yourself to the same standards, at the very least while you're making your point.

Plenty of interesting arguments in this site have sparked off negative criticism, but this started with a passive aggressive reply and ended up with an even more pointless argument. If you want to have a legitimate argument about mediocre cuts elevated by other elements and thus wrongly (?) perceived as good animation, go do it somewhere else, because this is ending here. I recommend you do it on an upload where it actually applies though!

Still amazes me to this day.

Is the typing machine (watever u call that) animated in 3d or 2d?

Was gonna say 3d at first glance but when I look closer and I remember how kyoani draws those instruments I think it's 2d

Mobi said:
Is the typing machine (watever u call that) animated in 3d or 2d?

No.. they use CG just on the official anime..

I don't understand how the patterns on Violet's dress in that second cut were able to be key-animated, let alone in-betweened.... that's the kind of stuff that takes a huge amount of work. It works, though. It's utterly fucking beautiful. The way they were able to make these super-high-line-count designs actually *work* in a clean way, without the in-between jitters typical of higher line counts (even at the expense of the movement) is astonishing. I hope KyoAni can once again reach these heights in time.

I don't believe the patterns on her top are hand drawn in cut two, they seem to be digitally layered in, which is still done quite well

Shaymincar said:
I don't believe the patterns on her top are hand drawn in cut two, they seem to be digitally layered in, which is still done quite well

They are, the cut is in the genga book for the commercials. Each shot of these was allowed to take months in production so it enabled absurd work like this.

Is there any blu-ray release or something without youtube encode of this?