Beastars Season 2 sets standards for 3DCG anime again

BeastersAnd that bohemian murder mystery-mafia-romance-melodrama is back. The second season of the highly acclaimed anime, produced by Japanese animation studio Orange and based on the popular manga of the same name by Paru Itagaki, last weekend after it aired on Japanese TV in March last year. It was premiered on Netflix in North America.

Featuring the return of director Shinichi Matsumi (Steamboy, Land of the jewels), Beasters In Season 2, the protagonist, Legoshi, is driven by a complex love for herbivore classmate Hull, deepening his relationship and arc, and devoting himself to the task of hunting down the perpetrators behind the alpaca’s murder. I will. Meanwhile, Legoshi Hull’s affectionate rival, Deer Louis, leaves the Cherryton Academy and pursues a dark and winding self-discovery journey as the new boss of Shishigumi, a family of carnivorous crimes. First season.

Undoubtedly, apart from the charming characters of the anime and the emotional plot lines of Byzantine Beasters The appeal is that animation. The overall quality of 3DCG animated animation can be severely hit or overlooked.For all Land of the jewels Or Dorohedoro, There is Ghost in the Shell SAC_2045 Or Former arm.. However, Orange broke the formula on how to create a compelling 3DCG animation with the aesthetic sense and dexterity of traditional 2D animation.

Image: Orange

Beasters Introducing a modern civilization inhabited by anthropomorphic animals Zootopia Or BNA: Brand new animal, Society is informally divided into carnivore and herbivore species.Most of Beasters Held at Cherryton Academy, one of the few boarding schools in the world Beasters It is a place where herbivores and carnivores coexist.

Not surprisingly, when so many characters and seeds are displayed on the screen, how to animate all these different variables in a natural and interesting way without encountering any mysterious or mechanical movements. Is a problem. Orange solves this challenge by combining several techniques. The first is to design each character so that it has almost the same ratio as the main character, Legoshi. The choice has a practical effect. A similar design reduces the workload required to create a new animation for the entire supporting cast. Orange also uses motion capture technology to record the facial and physical performance of the voice actors in the series, allowing staff to create more natural and nuanced character animations.

Louis, a deer in a mauve suit lined with shigumi, reached out to make men in Beasters Season 2.

Image: Orange

But above all, the beauty of CG comes from the choice of periodically changing the frame rate between selected scenes and sequences throughout the show, depending on what’s happening. This allows the show to be provided by 3D animation in other scenes, while mimicking the nuances and feel of 2D animation in certain scenes, such as when the character is talking or moving across the background. You can emphasize the smoothness and fluidity. A movement sequence in which the characters are physically fighting.

At the moment of selection, Orange also scatters the two-dimensional representation of the character and frame at the moment of selection in the series. Squirrels, elks, dogs in business wear, etc. Cooking on the council to decide on new beasts Squirrels, elks, dogs, etc., characters that appear only in one or two moments of the season and are rarely repeated Especially noticeable when used to draw. Split screen exchange between members of the council at the beginning of episode 2.

Split frame exchange between multiple anthropomorphic animal characters rendered in both 2D and 3D animations

Image: Orange

These scenes reduce the time and effort required to animate these characters in 3D, not only to prevent the audience from seeing them again, but also to react strangely or creepy when rendered in 3D. It also exists to describe emotions and emotions. .. We see it again during the climax of the last episode of the season, when Legoshi confronts Tem’s murderer. Without digging deep into the spoiler’s territory, Legoshi slams his hair violently and violently, his nose drips with blood, and rushes forward for another collision with the enemy. It’s an impressive and memorable shot, even more so due to the fact that it fits seamlessly into the show’s unique cell shade aesthetic, without trying to hide the fact that it was traditionally painted. I did.

Ironically, many 3D CG animation works suffer from over-reliance on 3DCG, with little consideration of traditional animation principles such as pacing, composition, and cinematography. Even with motion capture, the character behaves like a stiff robot mannequin, with a smooth plastic clay face pantomimeizing a replica of a human facial expression, moving against the background, with little sense of impact or interaction. ..The unsightly implemented lighting animation also contributes to this eerie feeling when watching certain 3D animations such as: Ghost in the Shell SAC_2045, Shadows move erratically or disappear completely.

In Beasters Season 2, the dwarf rabbit Hull embraces the gray wolf's face in Legoshi.

Image: Orange

Apart from the technical aspects of the production of the series Beasters Animation focuses on effective blocking, pacing, and camerawork. The stylized details of the character’s silhouette and casual look are striking, and the detailed animation of Legoshi’s hair and violently swaying tail is especially noteworthy. It’s all due to Matsumi’s skillful direction and Nao Otsu’s impeccable character design. Beasters On top of that CG animation contemporaries.

There may not be a scene comparable to the first season, Whimsical stop-motion animation opening Courtesy of Michiya Kato, produced by Dwarf Studio Rilakkuma and Kaoru Both fame and Yoko Kuno Stunning paint animation sequence Episode 7 and 2nd season of last season Beasters Nonetheless, it’s amazing evidence of how CG animation animation works, and most importantly, how it works.