The animator can control all the elements in the picture, and even in the animation, the performer is the master of everything. However, this is only a theoretical matter, and the actual production will not be able to achieve the original expectations because of the staff level, duration, technical limitations, budget, etc. of the production team. .
So all animations will be simplified, only the necessary characters and movements will be presented, and the control of the main narrative characters has been achieved. A team with a long budget and a long period of strength can be relatively simplified. In the 30-minute TV animation of Zhou, the conditions are very strict. How to maximize the use of limited resources and use all the elements that can be used to serve the performance is a compulsory course for every performance. The protagonist of this article, Ishii Jun, is a young performer who has a little experience in using the scene. .
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石井俊匡: The first personal performance is back to the 18th episode of “April is your lie”. After that, with the excellent performance of Episode 2 of “The City I Only Be Absent” and the fourth episode of “The Say No.”, I have won the attention of many performance enthusiasts. .
Ishii is a more delicate performance. He will consider the weather conditions, objects, character behaviors and other elements in the scene, and then use the elements in the scene to serve the purpose of the performance. Although Ishii may seem more deliberate at times, it does not obscure that Ishii is still a very promising young talent. .
In the past, there was an article about Anitama. 《亚人酱有话要说》第4集的演出分析, which mentions that Ishii often uses the environment to make a strong sense of composition. .
There is also a similar usage in the second episode of “Only the city I am not in” (hereafter referred to as the servant street). First, I gave Fujita a subjective perspective, indicating that he was aware of the existing scene. Then cut to his shot with the student, indicating his separation from other students. Finally, give him a picture through the pipe, symbolizing that he entered the “world of the past.” In the whole scene, the left and right sides of the pipe were made into two different worlds by the stone well. .
Similar usages have also been used to show changes in the relationship between Fujiwara and Hayaki. The intention of the show here is relatively simple and will not be explained in detail. In fact, Ishii not only uses the scene to make a segmentation composition, but also uses the behavior of passers-by characters in the scene to enhance the realism of the work. .
In the second episode, the scene where the male protagonist washes his hands in the toilet is equally impressive. Normally, the recollection of the male protagonist’s close-up with memory is enough, but Ishii uses a multi-person lens that looks a little “useless”. It also specifically makes the role of passers-by in this “useless” lens to make complex behaviors. This kind of practice will undoubtedly add to the realism of campus life, and the servant street itself is a more realistic animation, which is also in line with the tone of the work. .
Similar practices also appeared in the second episode of “April is your lie” (hereafter referred to as “four panic”). On the rooftop, there is a part of the conversation between Ma Gongsheng and Gongyuan Xun. The two little girls are also very active in the distant scene. Eye-catching. For this scene, whether there is a little girl behind it is not the focus at all. The original comics are just a small playful picture for the two little girls, but Ishii designed the two little girls as a performance. The plot of the. These ingenious designs make the picture more interesting, emphasizing the flow of time and enhancing the sense of life of the work. In this dialogue, the presence of the wind is also emphasized with the fluttering sheets, and the same reason is to enhance the sense of reality. .
The use of the weather not only has the wind of four panics, but also the rain in the fourth part of the Asian sauce A part. In the rainy scene, there will be many passers-by with umbrellas. Through the lens of the passers-by umbrella, Ishii’s attack on the snow maiden. After the snow woman was looking for an iron man, she immediately turned from BGM to the sound of the environmental sound, metaphorizing the release of the snow girl’s emotions (crying). After the snow woman holding the teacher crying, did not give the teardrop lens first, but first to emphasize the “weight” of the icing tears to the ground sound effect, but also through the snow female tears this logical phenomenon, strengthen the snow female sadness weight”. .
In addition, Ishii is also very good at using the “car” to serve the show. The fourth episode of the Asian sauce B part, the scene of the meeting between the male master Takahashi Iron Man and the young bird Yu Yanyan’s sister at the school gate, after the car passed, suddenly jumped to the sister and met with Takahashi Iron Man, highlighting the meeting of the two men. Occasionally and surprised by my sister. Then, the car was used to cut the close-up of the speaker’s face twice, making the lens switch very smooth.
Similar practices have also appeared in the second episode of the servant street. Fujisawa is rushing back to the past, so naturally it is unwilling to let others know the secret. But his base friend is smarter, so Fujiwara is afraid that the friend can see his secret. So when he faced the sudden question of the friend, Shijing used the sudden appearance of the car to match the oblique composition, and visualized the panic of Fujiwara. With the second half of the story, the car sounds disappeared and the atmosphere became soothing again. .
The car in the general dialogue scene is dispensable, especially in the time of about ten seconds in the sauce of the Asians. The car appears three times in a row. It is meaningless for the animation story itself, but Ishii did not give up this. Items that can be used. .
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The light and shadow changes highlight the emotional changes of Gongyuan Xun.
If you look at the collections of all the wells responsible for the performance, you will find that many passers-by will have some “unnecessary behaviors”, which is inseparable from the use of elements in the scene by Shijing. It is closely related to the overall strength of the animation workers such as Si Pan and Servant Street, which Shizu participated in. .
Although sometimes too much design can interfere with the audience’s understanding of the intent of the work, and even make the design look too deliberate. However, considering that Shijing’s qualifications are still shallow, we have reason to expect more from it.