This column is a monthly issue. It is based on a single episode of paintings in the past. It introduces the ornamental paintings and the characteristics of the original artist. However, the content is not limited to a single episode, and other animations will be used as a data supplement. .
ワンパンマン The first words The strongest の male.
“One Punch Superman” The first words The strongest man.
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Mirror, performance: Natsume Zhenwu.
Painting supervision: Kubota vows.
Painting supervision assistant: Yoshida Minami.
Original painting: Kameda Xianglun, Jiubeidian history, Oda Gangsheng, Jin Shijun, Fujisawa Kenichi, Ogakihara.
Speaking of “One Punch Superman” is already a film three years ago. It is really possible to say that each episode is a painting, and the first episode and the twelfth episode are the two most powerful ones. Set, this article will introduce the first episode with the basic base of a boxing as the core. The first episode of the play is very distinctive in action design and composition. The reason why this piece of punch is good-looking depends largely on the jade before it is shot. Because jade is a winning one and the viewing is relatively small, it is very pursuit of a strong shaping of the villain. Many of the shots in this episode have created a strong high and low position by composition, and try to enhance the momentum of the villain. .
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The distance between the jade and the enemy is pulled through the telescope, which makes the contrast between the jade and the villain, highlighting the power of the enemy. .
First of all, let’s talk about the top priority of this episode, that is, the underground jade people who are responsible for the history of Kakuda and the Kubat. .
Kameda has two representative characteristics, one is the brush painting, and the other is the back movement of the lens. There are many places in this episode where you can see thick black lines. This technique is generally used to enhance visual effects, such as the scene of the large-fired man-made man in the Fullmetal Alchemist FA. .
There is also a back movement, and Kameda likes to use the back movement to match the action of the character. For example, when the concentrated underground person jumps up, the camera pushes forward. The more representative lens is the part in the tenth episode of “Future City NO6”, which is responsible for Kameda. When the character moves forward, the camera shakes down. When the character is raised, the camera moves up and down, and the lens is shaken up and down. Can make a sense of space, but also strengthen the momentum. .
Kameda said that he is very eager for the sense of space. Kameda’s back-moving lens has a large angle of rotation. It looks like a stereo lens that is now made with 3D, such as “100% Psionics”. OP starts with a bad lens around the building. Kameda has the strength to draw a stereo lens directly, and there is this pursuit, so basically the animation will be back. .
The part in charge of Kameda in this episode has all three features of the back movement, the pose of Jin Tianwei, and the brush strokes. The accuracy of the shape during the rotation of the lens, the jade and the giant’s jumping action are a golden field and clean, and the expressions are also enhanced by the thick lines. After that, Saitama used his feet to sweep the three-person rotating lens, and the shots of many people who were flying to the bottom of the ground were shots with a low tolerance for spatial relationship. Each lens reflected the strength of Kameda. .
Using the rotating lens to connect the part of the jade, that is, the above-mentioned strengthening of the momentum, the sense of space, do not turn the lens directly out of the boxing and rotate the lens after the punch, the performance will certainly be no small difference. The key is that when the three underground people fly in the air, and Saitama himself step on the ground, it is a test of the original painter’s sense of space. It is not the original painting of the level of Kameda. It is easy to draw such a lens. .
After being beaten by the underground people, Saitama came to the part responsible for the history of Kubat. From the flames of the sea, Daiyu deliberately painted the deltoid muscles of the jade, and the shaking of the back of the chest with the head and the shaking of the head is also the complex follow-up pursued by Kuibei. The expression matches the head. The singular heroic temperament that emerged from the sea of fire was portrayed as a three-pointer. .
After the acting, track back to a wide angle that can be used to collect three super-large underground people. The small underground people are swarmed and swarmed, and by the way, the body shape difference between the jade and the villain is highlighted. After that, it was played with three super-large underground people. In the case of a low number of pictures, the giants’ slow movements were drawn, and the giant’s sense of greatness was made. After that, the camera was pushed to the jade and the giant’s close-up view of the fist was also very creative. . Whether it is the part of Kube or the part of Kameda, you can see that the link of the action is particularly close, and one villain knocks down the next villain. .
Next, talk about other original paintings in the first episode.
The first is Jin Shijun. Kim is very good at drawing air combat and mechs. He often uses radish with special effect trailing effects to make multiple advances in air combat. The shot of the character flying from right to left in a fist, although it is a humanoid character, The gradual drawing method is actually similar to the machine. It is very good to watch through the two spurs in the character flight and the special effects of the electro-optical. In the sword-the-song version, the gold paintings actually have a radish-like taste. . .
The shape of the villain here is also very body-building, with the shadow of the BL to show the sinister power of the villain, and also to pave the way for the strength of the teacher. There was nothing to explain after the explosion. It was a good example of a gold explosion. In addition, the circus of the 12th episode of gold painting is more interesting, and you can go and see if you are interested. .
Odagi is an original painting that is good at painting the whole body, and is good at expressing the inertia and power of the character through the exaggerated stretching of the body. The audience who saw “Space Dandy” should be very impressed. However, the individual prefers his painting in “Zamud of Death”. At that time, the obake of the character did not exaggerate. The effect of water has always been very good. It feels that whether it is action or water painting, it maybe It was influenced by Matsumoto’s constitution. .
The small part of Oda’s first episode, whether it’s a stepping from the sky, a continuous combination of punches, or a head that has been deformed by Saitama, is an exaggerated dynamic after stretching through the character shape, with a rough brushstroke to express the character. The anger. .
Kubota also said on Twitter that Oda has repeatedly revised the grief of how to use the rate of punching to change the character. The combination of punches from one beat to two beats one shot and speeds up the punching frequency, and obake is more and more exaggerated, and can also see the ideas of Oda. Another interesting point in this section is the building under the giant’s squatting. If you directly smashed the jade from your hand to the ground, you must have not penetrated a building to have an impact. .
Next is another master of the game, Fujisawa Kenichi, but the highlight of Fujisawa in the first episode is the characterization of Teacher Yu when she gets up. From the horrified expression and the body naturally to the right to avoid dangerous movements, to the delicate changes of the eyebrows after being caught in the head, and then to push the enemy with both hands, the time of the acting is properly distributed, the action is refined, and each of the expressions of the jade is changed. The stages are very clear. .
The jump of the room where Saitama was shot was the action that Fujisawa often painted, and the manner of being beaten by a punch also showed Saitama’s surprise at the enemy’s power. Although this section does not have a very complicated play, the demeanor is enough to show the power of the villain. .
It is a blessing for all the paint lovers to see so many masters playing on the same stage. This collection is very colorful from the action of the play and the composition of the LO composition, and there are many powerful artists who are playing the original painter. Investing in love, not too tired to see how many times, is fully regarded as one of the top paintings in TV animation.