[0:00] what sets Jiu-Jitsu kaisen apart from
[0:01] other anime we're going to explore some
[0:04] of my favorite cuts from the latest
[0:05] season and unravel their production
[0:15] Secrets but not for free I'm charging a
[0:17] onetime fee of one like sub or comment
[0:20] on this video done all right all right
[0:23] [Music]
[0:26] I'll because of the sheer number of high
[0:28] quality Cuts I've opted to show only a
[0:30] few for this breakdown and I'll have to
[0:31] cover the others in another video but I
[0:33] still think we can learn quite a lot
[0:35] here the first scene I'd like to analyze
[0:37] is by kichiro watab the effects that he
[0:40] animates surely play a large part in why
[0:42] this looks so good but what we're more
[0:44] interested in here is how he creates
[0:45] cohesion between the shots there's a
[0:47] recurring clockwise Motion in this
[0:49] segment that helps to guide your eye
[0:51] I'll annotate a bit to make it more
[0:53] clear in this first shot there is a 3D
[0:56] animated background rotating in the
[0:58] clockwise Direction to convincingly
[1:00] integrate the character they are drawn
[1:02] with foreshortening to help imply depth
[1:04] and they rotate with the camera the
[1:06] light from the effects are bright so
[1:07] it's important to maintain strong posing
[1:09] for a readable Silhouette what's most
[1:12] interesting here though is that the blue
[1:13] that the character is manipulating does
[1:15] not actually move in screen space it
[1:18] remains in the top left of the frame for
[1:19] the entirety of the shot the motion is
[1:21] instead implied by the camera work and
[1:24] the inconsistency of the debris moving
[1:26] around the effect helped to mask this
[1:28] lack of real screen movement
[1:32] to ease on the eyes a little the next
[1:33] shot instead has almost no camera
[1:35] movement the previous motion is implied
[1:38] by the movement of the blue blast and
[1:40] then the blast is given strength by the
[1:42] sudden burst of dust effects again note
[1:45] the strong posing of the silhouette if
[1:47] you want to make good animation always
[1:49] have strong Silhouettes they are the
[1:51] first thing your eye subconsciously
[1:52] notices and are one of the biggest steps
[1:55] towards making stronger
[1:57] work this dust continues on into the
[1:59] next shot now assuming the same
[2:01] clockwise motion that the blue blast
[2:03] once made keeping this motion throughout
[2:05] this portion allows the scene to
[2:07] maintain consistency makes it easily
[2:09] trackable by the eye and helps with the
[2:11] illusion of depth almost all of the Dust
[2:14] is drawn with one color in relatively
[2:16] consistent width so by maintaining the
[2:18] same motion that the blast and 3D
[2:20] background created earlier your brain
[2:22] remembers this illusion and reapplies it
[2:24] subconsciously the scene is kept off by
[2:26] this final shot that implies
[2:28] continuation of the same clock motion
[2:30] using three layers of effects work to
[2:32] imply depth the two foreground layers
[2:34] move to screen left while the background
[2:36] layer moves towards screen right neither
[2:39] of these directions are technically
[2:40] clockwise however due to the placement
[2:42] of the scene chronologically it still
[2:44] gives this effect effects work and in of
[2:46] itself is a fascinating topic and the
[2:48] shape language in use here is beautiful
[2:50] so I'd love to dive into it more when I
[2:52] have more time sadly though that's all
[2:54] the time I have for this scene in this
[2:55] video so we'll have to move on I would
[2:58] however like to point out the brilliant
[2:59] effects of animator taml while we're
[3:01] closing out this topic a 3D rotation
[3:04] like this is hard to pull off with 2D
[3:06] drawings and this water ripple effect is
[3:08] quite fascinating as well I partly
[3:11] believe that why this looks so good is
[3:13] the inconsistency between each drawing
[3:15] it really helps to sell the idea that
[3:17] this is imaginary drawn like liquid
[3:19] rather than a more tangible or physical
[3:21] environment the contrast of the red and
[3:23] blue is also quite appealing and lends
[3:25] itself well to the idea of the
[3:26] convergence that creates purple
[3:30] the release for this next section had
[3:32] some dimming issues on air so we'll be
[3:34] looking at the genga instead the cut of
[3:36] mahara regeneration was created by an
[3:39] animator called selot and the suca
[3:41] portion was made by Mr Vincent
[3:43] chanard the walk cycle for mahara is
[3:45] intimidating he walks with a wide stance
[3:48] and does not stop once despite the
[3:50] onslaught of attacks the gaps in his
[3:52] body that continuously disappear and
[3:54] reappear create interesting use of
[3:56] positive and negative space but due to
[3:58] the temporary genga colors this is made
[4:00] more noticeable in the final
[4:02] composite it is animated on ones likely
[4:05] due to how the animator chose to
[4:06] incorporate the Regeneration aspect of
[4:08] the character the effects work of the
[4:10] slashes while at an initial glance look
[4:12] complicated are actually a clever trick
[4:15] the artist grabs a custom brush quickly
[4:17] makes a stroke and continues onward for
[4:19] however many frames they want that layer
[4:21] to move they don't need to be very
[4:23] detailed because once so many of them
[4:25] are created they instead create the
[4:27] illusion of detail there is also a tool
[4:30] in clip Studio paint called the lasso
[4:32] fill tool that was likely used as well
[4:34] this tool can create interesting
[4:36] splotches of color in no time and
[4:38] appears to have been used on at least
[4:39] one slash layer as well as some wind and
[4:42] dust I've made a quick time lapse on how
[4:44] a shot like this could be quickly
[4:45] constructed plus animating a walk cycle
[4:48] of course I hope you find it
[4:50] [Music]
[4:58] interesting
[5:03] [Music]
[5:06] with a walk cycle and a little bit of
[5:08] compositing magic this would look pretty
[5:10] good now let's talk about sukuna this
[5:12] cut is simple in execution yet much more
[5:15] complex than you'd think Mr chanard is a
[5:19] master of creating 3D volumes on a 2D
[5:21] image sukuna is drawn with deceivingly
[5:23] simple shapes but the roundness of the
[5:25] edges and shading combined with an
[5:27] Immaculate grasp of anatomy makes
[5:29] drawings like these very difficult to
[5:31] replicate the slashes are drawn with
[5:33] straight lines rather than custom
[5:35] brushes and random Strokes like before
[5:37] and there is debris and dust that have
[5:39] been tweened rather than redrawn suk's
[5:42] outfit is drawn with an 11 frame Loop
[5:45] and the hair is on a seven frame Loop
[5:47] the changes in facial expressions and
[5:49] foreground hand redraws help to hide
[5:51] this and the constant movement of the
[5:53] slashes aid this task as well but I feel
[5:56] like the real magic here is in the way
[5:58] that the artist conveys weight
[6:00] as the hands move they don't feel like
[6:01] they're sliding from one position to
[6:03] another the organic arcs used and the
[6:06] way that the hands gain and lose
[6:07] momentum in a way that aligns with
[6:09] reality ground the scene in a way that
[6:11] feels realistic in order to give the
[6:14] feeling of power and energy the hands
[6:16] shake to and fro and heat is built
[6:18] between them deceptively simple concepts
[6:21] with deceptively complex
[6:23] execution the understanding of motion
[6:25] necessary to make a scene like this feel
[6:27] grounded with such a limited frame due
[6:29] to the deadlines of the production
[6:31] absolutely blow me away and this was one
[6:33] of chard's simplest cuts for the episode
[6:36] for the sake of speeding this video
[6:38] along as well as not being too
[6:39] repetitive I'll do one last cut this
[6:42] shot animated by cirri L looks stunning
[6:45] for very similar reasons the hands are
[6:47] drawn spectacularly and I love the use
[6:49] of 3D volumes but for the sake of better
[6:51] compartmentalizing the video we'll talk
[6:53] about other aspects sua is almost
[6:56] entirely obstructed by this extremely
[6:58] Dark Shadow entirely black you can
[7:01] hardly even see his smile and his other
[7:04] facial features are entirely
[7:06] non-existent this with the bright red
[7:08] background directly contrasting it give
[7:11] a very menacing appearance to the
[7:12] character the shot lasts for quite long
[7:15] giving a sense of drama to this motion
[7:17] and the positive and negative space
[7:18] within the shot are roughly 50/50
[7:21] perfectly balanced there are also very
[7:24] unique and stylized shapes drawn in a
[7:26] faint red color over the facial region
[7:29] I've not seen this done in this manner
[7:31] before so it gives the shot quite nice
[7:34] artistic
[7:35] flare the reveal of the overly detailed
[7:37] teeth from toward the end of the shot
[7:40] give sua a powerful feeling and all of
[7:42] these elements combined create a very
[7:44] memorable image it feels powerful
[7:47] grandiose terrifying I would win in my
[7:51] previous video about Demon Slayer
[7:53] production I had a speedup segment at
[7:55] the end highlighting the importance of
[7:56] the compositing step a composite artist
[7:59] job is to take the flat version of the
[8:01] scene and to combine and enhance the
[8:03] elements to create the final product you
[8:05] can almost think of it like VFX but for
[8:08] animation with that said let's show how
[8:10] the composite artist for this show could
[8:12] have done a similar thing
[8:15] [Music]
[8:28] enjoy
[8:32] [Music]
[8:38] [Music]
[8:58] he
[9:04] I actually forgot to render this image
[9:08] so I had to upscale a screenshot from
[9:10] the time
[9:12] lapse my bad for the sake of context
[9:16] this composite process was sped up by
[9:17] roughly 5,000% this took me about 43
[9:21] minutes to composite and this entire
[9:22] process would have to be replicated for
[9:24] every single shot during production
[9:26] Jiu-Jitsu kaizen's compositing process
[9:28] is quite a bit simpler for me to
[9:29] replicate compared to the Demon Slayer
[9:31] composite so it wasn't too rough if you
[9:33] want to see a more in-depth shot check
[9:35] out the time lapse in that video there
[9:38] are plenty of other shots that I can go
[9:39] over for this season of Jiu-Jitsu Kaizen
[9:41] so if this video gets good reception I'd
[9:43] love to do more videos on it just like
[9:45] this one also be sure to comment other
[9:48] anime that you'd like me to go over or
[9:49] other animators that you'd like me to
[9:51] check out if you're interested in
[9:53] learning the composite I've started
[9:54] creating some YouTube shorts to give
[9:56] some helpful tidbits of information
[9:58] check that out and let me know what else
[9:59] you'd like me to cover thank you for
[10:01] taking the time to check out this video
[10:03] and I really appreciate your time have a
[10:06] good one check you next time