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Today we celebrate Hayao Miyazaki's 80th birthday ! 
You may know that before he became a director, Miya-sensei was a renowned animator... So let's see what made him so good with this 1980 sequence from ep 145 of Lupin III Part II !
You may know that before he became a director, Miya-sensei was a renowned animator... So let's see what made him so good with this 1980 sequence from ep 145 of Lupin III Part II !
Already in the first shot, Miyazaki exhibits his mastery for detail, realism and the sense of weight
The boat goes right to anticipate the turn towards the left ; said turn is accompanied by Lupin leaning, giving the motion the necessary heaviness and force
The boat goes right to anticipate the turn towards the left ; said turn is accompanied by Lupin leaning, giving the motion the necessary heaviness and force
In the next few shots, we have a lot of mvt into depth, towards or away from the camera. The shot-to-shot transitions always feel smooth thx to the left-right mvt
In the third shot, Lupin's motion is also very noticeable, thx to Miya's characteristically wild key poses
In the third shot, Lupin's motion is also very noticeable, thx to Miya's characteristically wild key poses
It's only in the next shot than we break the left-right mvt as Lupin and Jigen jump from the right to the left. The action suddenly slows down for an instant ; the animation oscillates between 2s and 3s, with again a focus on Lupin's poses
The shot after that is a lesson in the use of framerate modulation
Lupin and Jigen's silly run is on 2s, relatively fast; the weight of the boat is conveyed by animating it on 3s - except the last frame before it falls, which is on 1s. This creates a sense of surprise and shock
Lupin and Jigen's silly run is on 2s, relatively fast; the weight of the boat is conveyed by animating it on 3s - except the last frame before it falls, which is on 1s. This creates a sense of surprise and shock
Lupin and Jigen go around looking for a plane, and we've got another great modulation moment
We start on the normal pace, 3s. But then it switches to 2s for just 2 frames as Jigen sits/falls, and the plane breaking down is back to 3s with some 4s
Also, very detailed debris work !
We start on the normal pace, 3s. But then it switches to 2s for just 2 frames as Jigen sits/falls, and the plane breaking down is back to 3s with some 4s
Also, very detailed debris work !
This little cut is great, not just bc of the smart use of the timing. There's absolutely no anticipation or anything, Jigen's fall is surprising and funny
Another great comic element is his hat slowly falling down on his head, giving us time to laugh it off
Another great comic element is his hat slowly falling down on his head, giving us time to laugh it off
Jigen really is the focus of the central part of this sequence. His motion is always very detailed - such as this frame-by-frame decomposition of his jump. He arrives on 2s, jumps on 1s, and then settles down on 3s
Same for the action just after that. The spacings are very close here, and there are just a bit more lines on Jigen's arm and back. We really feel the exertion and strength he's putting into his motion, this gives a great sense of realism to the moment
And then Zenigata arrives !
This is, again, some nice mvt into depth, but what's really amazing is the sense of detail. The debris and broken up parts of the plane are very minutely drawn ; and if you go frame by frame, you can even see the faces of the two policemen in the car
This is, again, some nice mvt into depth, but what's really amazing is the sense of detail. The debris and broken up parts of the plane are very minutely drawn ; and if you go frame by frame, you can even see the faces of the two policemen in the car
As he tries to get into the plane, Zenigata takes the occasion for yet more ridiculous faces. But what really impresses me is the penultimate shot
As far as I can tell, all the objects in this frame are *on the same cel*. And yet, the mvt is incredibly intricate and detailed
As far as I can tell, all the objects in this frame are *on the same cel*. And yet, the mvt is incredibly intricate and detailed
Everything is moving, in all directions. You see Miya's wild poses and extended limbs, but also the more detailed and slow motion of the oscillating plane. There's really a great sense for detail here
That's all for this thread ! Hope you enjoyed it !
Miyazaki's not just a great director, but an amazing animator, and sometimes I agree with his mentor Yasuo Otsuka and wish he had kept animating... But anyways, happy birthday to the master !
Miyazaki's not just a great director, but an amazing animator, and sometimes I agree with his mentor Yasuo Otsuka and wish he had kept animating... But anyways, happy birthday to the master !
