半肾
精华
|
战斗力 鹅
|
回帖 0
注册时间 2015-1-21
|
b站原来有个“【作画MAD】哆啦A梦:大雄的金银岛作画集”的视频，可惜现在因为版权还是啥原因被删了看不了。
下面这个网站里有不少精彩片段的小剪辑，第一个视频还是线稿的片段：https://www.sakugabooru.com/post ... 27s_treasure_island
记得日本上映期间推上提到最多的作画看点就是小岛崇史负责的大雄奔跑cut。当时押山清高也发了推:“flip flappers粉丝快去看小岛崇史的长cut”。
另外，一些海外作画厨搞的2018年全年作画盘点，其中提到金银岛的几处是这么说：
https://blog.sakugabooru.com/201 ... -animation-of-2018/
When it comes to pure animation joy though, Doraemon the Movie: Nobita’s Treasure Island was an easy winner, in no small part due to Yoshimichi Kameda‘s role as designer and supervisor. As director Kazuaki Imai put it, Kameda is a precious relic from another time; his animation philosophy is reminiscent of Showa era titles, and yet he’s grown in an age where the production process is much more streamlined, so big projects like this allow him to offer the genuine exaggerated expression of old with the smooth production values of a modern theatrical effort. If you’re a fan of Mob Psycho 100, you can’t miss this one. In the wake of talking about theatrical redesigns of TV franchises, I can’t ignore Doraemon the Movie: Nobita’s Treasure Island. Though he’s been involved with the series before, Yoshimichi Kameda taking on the role of character designer came as a sweet surprise for most of us. His work was as animation-friendly as ever, but in the end, what ensured the movie’s success was his thorough supervision and all the industry connections he exploited. Perhaps the best piece of pure animation joy I experienced this year came in the form of Doraemon the Movie: Nobita’s Treasure Island. Yoshimichi Kameda’s approach to exaggeration in character animation is so expressive, so joyful, so emotional; just look at this scene and pay attention to everyone’s expressions, the body language, their subtle movement but also their extravagant motion. And that’s not cherrypicking: the movie is full of scenes like this, delivering a fun adventure narrative full of joy and sorrow.
|
|
沪公网安备 31010702007642号 )
发表于 2019-11-18 20:48
马克一下
