THE GLOW UP IS INSANE | Jujutsu Kaisen Season 3 Trailer 2 Animation Breakdown

[00:00] Jiujutsu Kaisen season 3, the show the

[00:02] entire world is looking forward to is

[00:04] almost upon us. Almost. We still have a

[00:07] few more weeks to go. But fear not,

[00:08] ladies and gentlemen, that won't stop me

[00:10] from milking it. Never has and never

[00:12] will. Based on the brand new trailer

[00:14] they dropped a few hours back as of this

[00:16] recording, the third season of Jujutsu

[00:18] Kaisen looks exactly as good as we

[00:20] expected, if not better. The

[00:22] star-studded team led by the insanely

[00:24] creative Shot Goshono is firing on all

[00:27] cylinders, creating a final product that

[00:29] looks captivating in every sense of the

[00:31] word. As such, let's go over this newly

[00:34] released trailer and break down the

[00:35] visuals. Or in other more transparent

[00:37] words, let the milking commence. Make

[00:39] sure to subscribe. I'll make tons of

[00:41] Juju Kaisen content in the near future.

[00:43] So, if that sounds enticing to you, just

[00:45] press the subscribe button. It takes a

[00:47] second and it helps out a lot. You can

[00:49] also become a member of this channel.

[00:51] members get at least two exclusive

[00:53] videos per month, custom badges and

[00:55] emojis, shoutouts, and more. Just go

[00:57] down there and press the join button.

[00:59] So, we'll go through this trailer scene

[01:01] by scene in a bit, but as always, let's

[01:03] start with a few general things. The

[01:05] staff, for example. I know I've already

[01:07] gone over the core team behind this show

[01:09] before, and trust me, I won't dwell on

[01:10] it for too long, but there are a few

[01:12] things I have to mention. Firstly, we

[01:14] now have a new assistant director in

[01:16] Studio Mapa regular Taku Sato. a

[01:18] confusing addition that I don't really

[01:20] understand to be honest. Look, an

[01:22] assistant director is supposed to be an

[01:24] important part of a production. He or

[01:26] she is on paper the second most

[01:28] important staff member, someone who

[01:30] stays with a project from beginning to

[01:32] end. As such, I think them randomly

[01:34] adding an assistant director to the

[01:36] staff list me weeks from the release

[01:38] date is bizarre, especially because the

[01:40] show already had an assistant director,

[01:41] Yusketaka. So, it's not like the credit

[01:44] itself is new. Now, yes, this probably

[01:47] isn't a big deal. There probably is a

[01:49] valid reason behind Sato's addition that

[01:51] doesn't lend itself well to Doom

[01:53] posting. Maybe he just didn't want to be

[01:55] credited initially. Maybe his influence

[01:57] is limited to the second core, which

[01:59] should still be in its early to

[02:00] mid-stages of production. I don't know.

[02:02] It's just interesting and slightly

[02:04] confusing, so I thought I'd mention it.

[02:06] Maybe it has something to do with the

[02:07] visuals. Besides that, we now have a

[02:10] better idea of the staff division

[02:12] between Chainsaw Man and Jiujitsu

[02:13] Kaisen, thanks to both IPs receiving

[02:16] theatrical adaptations recently. Quick

[02:18] recap in case any of you are new to this

[02:20] whole fiasco, Jiujutsu Kaisen and

[02:22] Chainsaw Man are produced by what is on

[02:24] paper and up until recently in practice

[02:26] as well, the same production line.

[02:29] That's the reason why the two projects

[02:30] have such a large amount of staff

[02:32] overlap or at least they did in the

[02:34] past. It is however practically

[02:36] impossible to produce both projects

[02:38] sequentially by the same team. They

[02:40] tried with JJK season 2 and CSM season

[02:43] 1, but let's just say they didn't

[02:45] succeed. As such, the most reasonable

[02:48] course of action was to split the

[02:49] production team in two and work on both

[02:51] projects simultaneously. Maybe have some

[02:53] people work on both would by and large

[02:55] separate the two productions. This is a

[02:57] concept I recall pitching a few years

[02:59] back, so it's not exactly rocket

[03:01] science. Now, normally a model like this

[03:04] wouldn't be feasible, but given the

[03:05] sheer amount of industry-leading talent

[03:07] this production line led by Gaseki

[03:09] Sashimo has access to, a soft split

[03:11] isn't that absurd of an idea. And it

[03:13] looks like that's exactly what they are

[03:15] doing. Unsurprisingly, there's very

[03:18] little staff overlap between Chainsaw

[03:20] and Resarch and the first two episodes

[03:21] of Jujutsu Kaisen season 3. The staff

[03:23] list of which is publicly available

[03:25] thanks to that early screening thing. At

[03:28] a cursory glance, I came across multiple

[03:30] artists who did a lot of work for

[03:32] Chainsaw Man season 1 did a lot of work

[03:33] for Jujutsu Kaisen season 2 and either

[03:36] script the Chainsaw Man movie altogether

[03:38] or doing very little for it and focusing

[03:40] on Jujutsu Kaisen season 3 which again

[03:42] illustrates the divide between the two

[03:44] teams. Don't get me wrong, Chainsaw Man

[03:46] Regulars will show up on this show

[03:48] especially in the latter episodes when

[03:50] the production gap between the movie and

[03:51] the second season comes into play. I'm

[03:53] almost sure of it. But by and large, we

[03:55] have separate teams now, and that's a

[03:57] very, very good thing. With all that

[04:00] being said, let's finally go through the

[04:02] trailer, aka do the thing you guys

[04:04] clicked for. First things first, though,

[04:06] let me get this out of my system. Series

[04:08] director Shota Goshono is a genius. He

[04:10] is a [ __ ] genius. Under Goshono's

[04:13] leadership, and if the leaks are to be

[04:14] trusted due to his storyboards as well,

[04:16] every single shot looks interesting with

[04:19] no exceptions. No matter how basic a

[04:21] concept is, no matter how mundane the

[04:23] actions are, and unrestricted Goshono

[04:26] will find a way to make [ __ ] look

[04:27] interesting, you can bet on that. I have

[04:30] said this before, Goshono is allergic to

[04:32] framing things normally, and that's one

[04:33] of the best things about him. His brain

[04:35] works in ways us mortals can't even

[04:37] comprehend. It's insane. Of course,

[04:40] simply having a creative director isn't

[04:42] enough. Anime is a collaborative

[04:44] endeavor. Every single department needs

[04:46] to hold up their end. Amazing

[04:48] storyboards are useless if the animation

[04:50] can't keep up. Amazing compositions have

[04:52] no meaning if the backgrounds fall

[04:53] apart. Amazing visual ideas have no

[04:56] value if the art direction and

[04:57] compositing can't keep up. You get the

[04:59] idea. There [music] are plenty of areas

[05:02] an anime can fall apart in. But

[05:03] thankfully that's not the case here.

[05:06] Every single artist involved with JJK

[05:08] season 3 is going above and beyond to

[05:10] bring Goshono's grand vision to life.

[05:12] Every single department is adding to the

[05:14] final product instead of diminishing it.

[05:16] It's It's perfect so far. At least it

[05:19] seems like the highly capable artists

[05:21] aren't actively being kneecapped this

[05:22] time around, which hey, props to Studio

[05:25] Ma. Thank you for not being awful for

[05:27] once. I hope you guys can keep this up.

[05:29] Anyway, that's enough glazing. Let's

[05:31] finally go through this actual thing.

[05:33] The trailer opened up with this

[05:35] beautiful shadowless drawing that

[05:37] perfectly encapsulates season 3's

[05:38] approach towards character art. The

[05:41] copious amounts of thick, perfectly

[05:42] placed lines add so much character to

[05:44] the drawing. Amazing stuff. We then got

[05:47] a few miscellaneous shots and this is

[05:49] where Goshono's unparalleled composition

[05:51] sense comes into play. The framing is

[05:54] always depth heavy and volutric. There

[05:56] are layers of complexity. The character

[05:58] placements are always quirky and

[05:59] eye-catching. It's so good. Framing

[06:02] aside, the style of backgrounds and

[06:04] compositing around this section really

[06:05] stood out to me. Many of these shots had

[06:08] this photorealistic desaturated look and

[06:10] said look was handled perfectly. It felt

[06:13] uncanny. The heavy blurring in this

[06:15] shot, the distortion around the edges

[06:17] hair, the framing in this skirt. It had

[06:18] a very, I don't know, found footage

[06:20] aesthetic, if that makes sense. It was

[06:22] so cool. We then got a few really

[06:24] well-drawn close-ups. Yoskeima

[06:26] corrections, I believe. Some

[06:28] multi-layered mouse animation of all

[06:29] things, some fantastic large scale

[06:31] backgrounds, and this 3D shot of an

[06:33] entire city with a complex perspective.

[06:36] At least, I believe it's 3D and not

[06:38] clever parallaxing. This cut was really

[06:40] good with the entire bridge being hand

[06:42] animated frame by frame. They didn't

[06:45] need to do that. They could have simply

[06:46] used a background illustration, but

[06:48] background animation gives a shot that

[06:50] added bit of depth. Also, some really

[06:52] good-looking three-tone liquid animation

[06:54] hair complete with these sketch pen-like

[06:56] lines. Really cool stuff. We then got

[06:59] more of those complicated compositions.

[07:01] Why frame a character jumping normally

[07:03] when you can frame it from the top down,

[07:05] making both the background and the

[07:06] characters significantly harder to draw?

[07:09] Why frame characters walking normally

[07:10] when you can place one of their hands

[07:12] right next to the camera and have it

[07:14] sway past it, giving the scene

[07:15] additional depth? The usual goes on

[07:17] black magic. Basically, you know what

[07:19] got a chuckle out of me? This shot. You

[07:22] had these incredibly complex layouts and

[07:24] then suddenly, bam, the most

[07:25] stereotypical shownen composition ever

[07:28] with a speedline based background. One

[07:30] must not lose touch with their roots, I

[07:32] guess. Just so you know, this shot had

[07:33] fantastic drawings and top-notch

[07:35] animation. and it wasn't bad whatsoever,

[07:37] just funny. Anyway, speaking of

[07:40] fantastic drawings, this trailer was

[07:42] filled with them. Unlike season 2,

[07:44] Yajima's designs are fairly detailed

[07:46] with tons of extra lines, giving each

[07:48] shot more substance, more depth. Plus, I

[07:50] believe most of the shots shown in this

[07:52] trailer were corrected by Yajima

[07:53] himself, so that helps. I loved these

[07:56] scenes. Initially, I wasn't a fan of the

[07:58] red outlines, but these close-ups

[08:00] changed my mind. They looked so amazing.

[08:02] Particularly fond of this high angle

[08:04] perspective on Fushiguro complex for no

[08:06] reason. I love it. I've mentioned it

[08:09] before, but it bears repeating. It's

[08:10] insane how well the art direction and

[08:12] compositing kept up with the framing and

[08:14] animation. The multi-layered background

[08:16] pan in this shot looked amazing. The god

[08:18] rays hair and the accompanying

[08:20] compositing was a significant step up

[08:22] from season 2 episode 4. It felt a lot

[08:24] more organic. The red accent/ rim

[08:27] lighting hair looked beautiful. The

[08:28] completely flat look of this shot was

[08:30] really pleasing aesthetically. The shiny

[08:32] like pencil lines in this shot,

[08:34] presumably a compositing effect,

[08:36] perfectly complemented the wild

[08:37] distorted flow of form animation. Again,

[08:40] every single shot had something

[08:41] interesting going on. I was a huge fan

[08:44] of these shots. They were so cinematic.

[08:47] The entire trailer was quote unquote

[08:48] cinematic, but these shots were

[08:50] cinematic cinematic, if you know what I

[08:52] mean. The extreme depth of field

[08:54] blurring head, the gorgeous background

[08:55] in this shot so good. Here's another one

[08:58] of those needless animation flexes. Why

[09:01] just animate Gojo when we can animate

[09:02] frame by frame the entire background,

[09:05] including the window, the bookshelf, and

[09:06] every single book on it? Why not? And

[09:09] speaking of why not, why not pan an

[09:11] entire warped background layer instead

[09:13] of simply animating Yuji turning? Why

[09:15] not add background layers both behind

[09:17] and in front of Uta and pan them

[09:18] separately for added depth? Why not?

[09:21] That's the YMO hair. Why not? Also, I

[09:24] can't get over how good these quote

[09:25] unquote realistic backgrounds look.

[09:27] They're so unnerving. I love it. Some

[09:30] amazing spacious framing, fantastic

[09:32] drawings and animation, and top-notch

[09:34] background art and compositing then

[09:36] brought us to the mandatory action part

[09:37] of the trailer, which started off with

[09:39] these two insane shots. The entire car

[09:42] here, including the interior, was hand

[09:43] animated, which allowed the also handan

[09:45] animated Yugji to physically interact

[09:47] with it, making the action more dynamic.

[09:50] This was the coolest shot from this

[09:52] trailer in my opinion. The background

[09:54] illustration head or the 3D background I

[09:56] can't tell was briefly interrupted by 2D

[09:58] background animation. All while the

[10:00] super background went pitch black. A

[10:02] very utaka Nakamura thing to do. The

[10:04] same can be said about the spiky smears

[10:06] and the static after images. Very

[10:07] Nakamura. Also loved the black

[10:10] highlights on the fist. Such a cool

[10:12] touch. I believe this shot was animated

[10:14] by Kohi Hirota since he animated

[10:16] something similar for the second season,

[10:18] although don't quote me on that. This

[10:20] shot was great. I loved these thick inky

[10:22] smears and the acting was quite solid,

[10:24] albeit ever so slightly stiff. We then

[10:27] got to the maki scenes and dear lord,

[10:30] this in my opinion is the best Maki has

[10:32] ever looked. Absolutely jaw-dropping

[10:34] art. Quite possibly the work of Nakaya,

[10:37] especially given that pronounced chin.

[10:39] Also loved the simple vibrant blood. It

[10:41] works with the overall aesthetic. This

[10:44] shot was ridiculous. Not only were the

[10:46] drawings amazing, not only was the

[10:48] foreshortening on his arm perfect, not

[10:50] only was the character animation

[10:51] insanely high level, the entire

[10:53] background was hand animated, all while

[10:55] the camera changed perspectives not just

[10:57] once, but twice. Mind-blowing stuff.

[11:00] This shot started with a standard

[11:02] fisheye background illustration, but

[11:04] then seamlessly switched to top-notch

[11:06] background animation. Also, these desks

[11:08] lead me to believe that this room was

[11:10] modeled after the actual studio

[11:12] building, not the first dot. The second

[11:13] time they've done something like that.

[11:16] Again, for the millionth time, just look

[11:18] at these compositions. The background

[11:20] perspective here, the backlit camera pan

[11:22] in this shot, Koshao cinema. The trailer

[11:24] finally ended with this cool partial

[11:27] camera rotation complete with the strong

[11:29] red and blue accents. Amazing stuff. And

[11:32] that was the trailer. Again, not a

[11:34] single filler shot. Absolutely brilliant

[11:36] from front to back. It was Shota Goshono

[11:39] at his best. And that's it. I won't tap

[11:42] on for too long. I'll get plenty of

[11:43] opportunities to do so next month. So,

[11:46] let's call it a day for now. A special

[11:48] thanks to Node 03, Ahmed, and the Galas

[11:50] 90 for becoming tier three members. And

[11:52] until next time.