Mitsuo ISO, and his animated style “whole limited”

I would like to tell you about the style of Mitsuo Iso. One of my favorite animators. Let me and first worked on the collection and translation of materials with such specifics, and the total volume. And from the moment I started, more than a year has passed the project and continuation of the work.
Nevertheless, I hope that the final material cost it and finds its reader, despite the flaws in the translation, the number of which I reduced, as far as possible.
The basis of the text is a twelve -year -old publication from the blog, describing the understanding of the viewing “End of the Evangelion” (1997), in turn, published twenty years ago.
There will also be a translation of the presentation of 2013, Sakuga: The Animation of Anime, dedicated to the style of this person sewn in a video sequence (Hardsab).

Several points.
• Fasting from the Blog translating begins. Behind him is a translation of the performance, and at the end, summing up, the minimum dictionary, and not mentioned along the way, sources.
• by missing the video, or the translation of the post, you do not lose much. Their level of coverage of the topic is not fundamentally different, but due to additions, the text post has a smaller entry threshold, and more coating. In addition, there are additions in it, in the form of multimedia fragments, dates, and conclusions, about the world changed over the past years.
But understanding will be more complete, when familiarizing yourself with the both.
• If the post was supplemented only by gifs, without significant losses in quality, the total weight of the post of fasting was Gigabyte order. Therefore, in addition to the gifs, the post is supplemented by links to the mute webm, mp4 videos, and video from YouTube, uploaded by me, as a result of which the problem of automatic taxation of the YouTube copy and the possibility of withdrawal to public access was resolved for them.
So, let’s get down.

Translation of the post.

After a dozen years, when everyone has already watched the “End of the Evangelion” (1997), and I had such an opportunity, noting for myself the contribution of Mitsuo Iso into it. According to reviews, it was an anime film, who interested many in ISO, in particular, and in animation in general. But, which is ironic, he belongs to the last of his mature works that I saw.
Briefly – it was exciting. Having looked at him, I realized that the unforgettable piece of animated action in the nineteenth episode “Aquarion” (2005) was a tribute to the work of ISO. The method in which the spear flies through the air from the background to stick into the ground right in front of the camera, throwing heaps of dirt in the style that made Iso so unique.
There is a lot of other magnificent animation, but the work of ISO stands out against the general background. She just moves differently. With a dense acquaintance, it turns out that this is due to the alternation between triples and deuces. None of the animation fragments have such a unique effect as the one that is placed in the hands of the master, with which ISO is. Frame. Each frame, in his manner of execution is revealed. This requires the conviction invested in the work.

In traditional animation, animation with a key pattern is less than one, for every two frames (“on a deuce”) it is considered limited animation. In a balanced mixing deuce, three and four, ISO draws every key frame without passing his work to the assistant as a phase worker (in-BetWeener)-a person creating intermediate phases between key personnel. This approach allows the ISO to completely control the movement, making it as detailed as possible, while using a balanced and effective number of compound drawings, hence the term “solid limited”.
Below I have attached an anime production scheme. ISO in Key Animators, In-Production groups. Below this item “InbetWeeners” (assessive artists-finers).

The key is the frame setting changes in the animation.
• In step -by -step animation, it is necessary to create the content of each frame and the key is each frame.
• In the cropped, where the contents of the intermediate frames are calculated as a gradual change from the initial to the final, the key is only the initial and final frames.
The initial and final frames are not necessarily the first and last shots of the entire animated sequence. The key personnel defines the main changes in animation.

Geng here is understood as sketches or ready -made sketches of the senior animator, presented by animation from them. Nevertheless, not everything is so simple, but the topic of the production of anime is too extensive that it would be that this time would reveal it. In addition, there is a Genga Comparison, comparing Geng and result.

And so we have movement itself. ISO knows how to create a movement, the following realism, but at the same time incredibly felt. This is a classic example of a movement based on reality, with an effect that is much superior to any, achievable in real life, with the same movement.
There is a legend about how Iso caught a spider into a glass and for several hours watched it to adopt the movements for the spider-tank in GITS (the abbreviation “Ghost in the Shell” (1995), “Ghost in the armor”). Also with stories about the days when people heard all kinds of noise, roar, throwing all kinds of objects similar to the sounds of struggle, with throws of furniture, from the room where ISO was engaged in the work of animation.
Seeing most of his work, I got acquainted well with the approach presented here, so this was not a surprise, although it could have seen this film when he came out. But now it gains meaning, fitting into his evolution as an animator, and giving a feeling, as if he looked back at the development path he had passed.
This is certainly one of his best works. You can say that he really put all himself into her. This is an animation where you can almost see the blood and sweat of the animator standing behind it. This is a person from whom a feeling is created that he literally became that he anam.
Nevertheless, this is an animation, to get to the bottom of the point, which can be difficult, only by a simple description of the creation process. And even without knowing about him, she captures something in you, as soon as the animation can, in her best manifestation, and this makes it wonderful. ISO – the one who aroused many to this approach in Japan. A variety of personalities, including Toshiyuki Inoue, Yoshifumi Kondo, and Tatjuki Tanaka were struck by the revolutionary nature of his work when he made his debut. Time passed, and people appeared, rethought in this way the whole concept of what animation should be, just as ISO did it. But not one of them has come close to the bar, which is set by ISO’s work. This person really helped to reduce the idea of ​​animated movement in Japan.

To begin to disassemble the work of ISO, it is best to start with its phenomenon to the world. It’s not quite the beginning, but the moment when ISO worked in the ZaEndo studio at various television shows, and after a few years of work, somewhere in 1989, he did a job that really attracted the attention of other animators and serious anime enthusiasts: the first episode “Mobile armor Gandam 0080: pocket war” (1989), in particular the attack on the base at the beginning.
One of the things distinguishing ISO was that his animation was concentrated on creating the flow of movement, and not the transitions from posture to pose, as was the case in anime until this moment. Like animators, such as Yoshifumi Kondo, before him, ISO also very carefully painted most of the key personnel in his animations in order to maintain as much control over the movement. Both of these features can be seen in this famous animation, where he manages to create a convincing sense of weight when moving mobile costumes. In the end, these are huge mechanical frauds. They cannot just fly like birds.
ISO was one of the first to return things to reality and systematically appreciated how various parts of the objects that he revived will move in real life and put the significant efforts necessary for transferring this into animation.

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Another scenes that ISO worked on as part of “Mobile Armor Gandam 0080: Pocket War” (1989).
ISO was one of the first to lead things back, to realistic, and systematically evaluated how various parts of the objects, what he anam, will move in real life, putting the significant efforts necessary for the implementation of this in the animation.
Shortly after, ISO made two ranges in “long years of life, ancestors!”(1989) Utsunomy to Sator, where we see the different application of the ISO approach to creating through movement. In one of them, he turns that otherwise it could be used as a static background of a monologue, into the stage, full of dynamics, which is a demonstration of his ability to invent movement, at the same time realistic, and at the same time interesting as animation. The path that ISO understands what is happening in the stage seems to be fundamentally different in some way.

Over the next few years, he continued to develop and explore his approach to animation. In “Like a cloud, like a wind” (1990), he created some pleasant, staggering, movement, which seemed to take a little from Utsunomy. In Hackendan: the Legend of the Dogs-Wuins (1990), he created a characteristic realistic movement, the same, falling corpse. In “Run, Melos!”(1992) and” Incredible adventures of Jojo “(1993) He created a dynamic action, and in” Junkers, to me!”(1995) He created one of his most powerful sequences of realistic human activity, with a character performing a monologue in a static scene lasting thirty seconds.

Moment with a corpse for the seventh second.

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Excerpt from “Junkers, to me!”.
In the “Incredible Adventures of Jojo” (1993) there is one particularly unforgettable moment where the camera monitors the moving character from the distance, and various objects located on the ground increase, appear in the frame for individual moments, for some reason creating a strange sense of reality in the events that are taking place. ISO knows how to create a sense of reality using minimal means.

“Run, Melos!”(1992) He an abstracted side by side with Satoroniy, another great figure, which contributed to revolutionizing how people comprehended the movement during this period, and it must have been influenced by both of them.

Genga, behind the authorship of ISO from “Run, Melos!”

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This moment, but already in anime.
https://nonukcasinosites.co.uk/review/velobet />Finally, we approached one of the most time -consuming animated works from his career, until the culmination of the film “Ghost in Armor” (1995) with a tank.

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The moment of the battle with the tank from “Ghost in armor”.
Around the same time, he begins to do other things, such as the development and writing of scripts, and we begin to see how his style is gradually changing, becoming more and more comprehensively in his control of all phenomena on the screen. Then, in Eve, he made the beginning of the first and end of the nineteenth episodes, which also became his first experience in writing the script, what he has since only once. His work in the nineteenth episode is especially impressive, demonstrating that he makes him unique more distinctly than in some of his work his works.
The beast -like way that the robot moves is shown nearby and is very convincing in timings and specific actions. For example, the moment where he raises his head, and examines, blinking. The close -up of the robot biting a piece of meat is a classic example of the concept of “whole limited” animation developed by ISO, in which he draws each key in the sequence in order to maintain control over the movement. Each separate frame contributes to movement, with sharp movements, on the screen, in such a way as to create the effect of an increase using the camera lens at the distance.

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Excerpt with the mentioned moment.

The battle in the anime itself. ISO excerpt starts at 1:08 and goes until 2:17.

Geng of bestial movement.

Continuing the staging of this project, and summarizing its contribution, that all the features that were noticed in his works are combined in itself: an independent drawing of everything, realistic movement, animation, characterized by saturation and dynamism, setting in motion everything on the screen. In addition to the reverence of the method of which objects move on the screen, with an almost ballet beauty and an incredible sense of presence and weight, in a unique way, in which he drew the land scattered by pieces, apparently important to transmit sensations and extensive imitated. Here we see that the entire screen is used, with a great sense of depth, and the characters are moving around the screen, as if the camera almost could not cope with the action. In a short period of time between his work on the nineteenth episode, and the film, it seems that you see a huge evolution as his work.

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This moment, but already in anime.

From this moment, in all the little works, what he did here and there, in swimming in the Golden Guy (1995), water in the “Last Submarin” (1998) and clouds in “FLCL” (2000), his work is incorrect and has a new sense of control over what is happening. His scene in the third episode “Angels of Vuga” (1997), which is one of its most terrible and powerful in effect, is especially notable. Combining its genius in the animation of effects and meticulousness in the animation of characters.

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ISO scenes from the Golden Guy.

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ISO scenes from “Last submarine”.

Scene from the “Angels of Vuga”.

Finally, we approach the hangar stage in “Blood: The Last Vampire” (2000), which notes the beginning of a new stage in his work on the seamless combination of its realistic style of animation and digital processing.

This finally led to the fifteenth episode “Ra-Zephone” (2002), also known as the “ISO episode”, in which he combined all his developments, in the same work, which was released, as a unique and powerful creation within this anime, with its memorable muffled tone and measured pace. The way realistic digital processing and traditional animation are combined in this episode, apparently, is the culmination of what ISO has been working with the time of “Blood: The Last Vampire” (2000). The episode was also his directorial debut. In view of the fact that for the past three years he practically did not remind himself, it seems that he has been working on a large project, probably leads, so it seems that this is just a matter of time until his name becomes more famous.

mp4 mp4 mp4 (another Genga for authorship of ISO.)
Several small scenes of ISO from Ra-Zaphone.

Video translation.

Results.

But twelve years have passed since the moment of publication of the post, you can notice you. Yes, it is. The post was released in 2006, and the last at that time the participation of ISO was in Steambo (2004). And the very next year, in 2007, the anime “Cyber-Vitka” was published (2007). Representative of fantastic anime, with a tie about augmented reality.

Then there were full -length “Welcome to the space show!(2010), “Giovanni Island” (2014), “Khan and Alice: the Murder case” (2015), “Sleeping Princess: Unknown History of Me” (March 2017) and “Blackout 2022” (September 2017) (Third short film for “Running Blade 2049”). Unfortunately, not all of them managed to identify the animation of ISO, who continues its stage of harmonious interweaving of digital processing and traditional animation.

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Moment from “Welcome to the space show!”, Set by ISO.

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Moments from “Sleeping Princess: Unknown History of Me,” staged by ISO together with such a person, Cedric Herol.

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As far as I know, the only point is from Blackout 2022, set by ISO.

The low quality of the animation of the recent berserker was a fairly loud event, so I will miss it.
I will choose several anime, and in turn, the moments from them, and in the order of the release date I will show.

“Military Chronicle of the Little Girl” (Youjo Senki)
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Let this anime like this, but nevertheless, compared to the animation of ISO, it has flaws. For example, in the inertia of characters who are not. Arising controversial timings for the transition between emotions, and accordingly animation with jerks between them.

“Fury of Bahamut: Immaculate Soul”
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Continuation of Bahamut can give out quite cool animation.

“Created in the abyss”
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For me, this anime, like the animation in it, was a surprise. The second surprise from the Kinema Citrus studio, after the “beaten dogs” (Under the Dog) (2016).

“Princess-spy”
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The techniques of saving on animations are noticeable. Whether it is fixed characters on the background, or the reduction of mobile elements in the frame, even where they obviously should be. Soft upholstery.

“Two cars”
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Key personnel are highly distinguished.

Dictionary:

Realistic – quite practical, corresponding to reality.
Realistic – the following realism based on the principles of realism.
Realism is a direction in literature and art, which aims a truthful reproduction of reality in its typical features. The dominance of realism followed the era of romanticism and preceded symbolism (if not distinguished naturalism).
Sakuga is a jargonism used by fans of anime to indicate an outstanding animation drawn by a professional;Literally “Sakuga” is translated as “work drawing”, and is used by people as a kind of abstract standard, like “cinema” or “literature”, examples can serve as a common exclamation “this movie” or condescending statement “this is real literature”.Yu*p
MAD is the collective name of amateur clips mounted from pieces of anime, manga, japanese television programs, with active use of Jay-Rok, Jay-Pop, Electronic Music, Own Drawing Talents, and other applied programs. Glue MAD’y is an obligatory skill of each self -respecting otaku, along with the ability to draw a manga. Knowledge of this word, along with AMV, can help find a specific selection of video clips.Yu*p

Not mentioned sources:

The list is extremely informal, and gives links to specific pages from which he took.
• Article about Mitsuo ISO with his filmography (English). Yu*p
• Article about Neon Genesis Evangelion: The end of Evangelion on Wikipedia. [*]
• English -language original post. Yu*p
• English -speaking (without Russian subtitles) Original performance at the presentation of 2013, Sakuga: The Animation of Anime. Yu*p
• SAKGABORURO site, to which the majority of the post links go, and by which you can see animations (English). Yu*p
• Article about the production cycle of anime, in particular about Geng (English). [*]
• Electronic collection of dictionaries “Multitran” [*]
• Illustrated tutorial on Macromedia Flash [*]
• Illustrated tutorial on Macromedia Flash 5 [*]

P.WITH. As a logo for the theme, it was taken by an art fan community from the cover of physical, VHS and Laserdis, the publications of the first part of the film “The End of Evangelion” (1997), designed to replace or supplement the final 25 and 26 series of the Evangelion anime series (1995-1996). The first part is the episode 25 ‘: Air (air) / Love is destructive (destructive love).