[作画 MAD/AMV] Yoshinori Kanada (金田伊功) Sakuga

[@AnotherSakuga]

Kanada is the most important animator I've ever made a video for and I was putting it off for years because I didn't know how to approach it. The song was not as long as I would have liked to be able to cover more of the animator's work, but I still consider it enough to expose Kanada's 3 stages in animation and his realistic approach during his time affiliated with Ghibli. There are too many technically impressive sequences here, for example the two ways of approaching the Kanada Dragon either with fire that moves as if it were liquid and is based entirely on internal movement and color or the Kanada Dragon made from lightning, being monochromatic with chaotic movements that generate a unique flow. There is also the Luckyman OP, which redefined the second stage of the Kanada style and inspired, for example, animators of Hiroyuki Imaishi's generation, while the opening of Soft-Boiled Hero vs. 3D represents very well the third stage of the Kanada style, with angular and rigid shapes. And if I must talk about Kanada's realistic approach, I highlight Porco Ross, in which he did not do much character acting, probably due to the problems that Kanada had with Miyazaki during the production of Totoro, but he demonstrated very high capabilities in the mechanical animation of vehicles and background animation, handling the models perfectly without losing detail, with a strong sense of three-dimensional volume that is seen in the rotations made by the aircraft, also respecting very well the weight of the aircraft in each action. That's not all, since he performs frame modulations to generate very smooth movement, while in the highly detailed backgrounds he uses two layers of movement, one in 2s and the other in 1s, achieving an impressive sensation of fluidity.

[@AbdulelahAlshahrani-r6i]

Kanada !!!

[@AnotherSakuga]

An animator to whom as animation fans we owe a lot!

[@jintrix841]

I've been waiting for this video for a long time Kanada is usually associated with his frenetic and expressive style, so it's refreshing to see his realistic approach as well

[@AnotherSakuga]

That's mainly due to Hayao Miyazaki and his close approach to Toei Douga-Telecom I received a notification of a deleted comment that mentioned that all of Kanada's works with Miyazaki were heavily corrected, but that mainly applies to Totoro since Kanada went way outside the model sheets in his layouts, so Miyazaki rejected it and told him to follow the storyboard enlarged image that they used as layouts, but in the same way Miyazaki did not specify how the movement is performed, that is a credit to Kanada, just like the incredibly complex vehicle animation in Porco Rosso that was thanks to the innate talent of the animator

[@brianpeterson9950]

Another masterpiece! Thank you for this one, the amount of work that must go into these with the editing and research is an art! I try and share your work with as many people as I can, you're criminally underrated!

[@AnotherSakuga]

Thanks! I can't deny that it makes me feel happy that people like my editions and compilations of information that I obtain through interviews and articles, in addition to my own analysis of the style of the animators and a bit of the historical context. But honestly I do this because it's something that I am passionate about and I want to show it to others:)

[@AnotherSakuga]

On this occasion I decided to expand the description of Kanada's career, which is not small considering that he is the most influential animator in Japan and mainly responsible for the bases of many styles and techniques that are currently used, that were used and that will use in the industry. For that reason, the Japanese names will be in the description and the English names will be here. I have also added the option of subtitles in English and Japanese with the names of all the series. You can go back or forward frame by frame Frame Advance: Press the " . " Key / Rewind frame: Press the " , " key List: 00:00 - Birth: A War of Two Worlds 00:08 - Genesis Climber Mospeada OP 00:14 - Castle in the Sky 00:19 - Harmagedon 00:26 - Birth: A War of Two Worlds 00:31 - Tottemo! Luckyman OP 00:40 - Peacock King: Spirit Warrior 00:42 - Soft-Boiled Hero vs. 3D OP 00:49 - Vampire Hunter: The Animated Series #01 01:04 - My Neighbor Totoro 01:14 - Porco Rosso 01:36 - Terra e... 01:45 - Vampire Hunter: The Animated Series #01 01:51 - Nausicaa 02:05 - Porco Rosso (in collaboration with Makiko Futaki) 02:19 - X The Movie 02:26 - Download: Devil's Circuit 02:33 - Yuu Yuu Hakusho Movie 2 02:40 - Kiki's Delivery Service 02:50 - Porco Rosso 02:56 - Vampire Hunter: The Animated Series #04 03:05 - Castle in the Sky 03:20 - Harmagedon 03:39 - Vampire Hunter: The Animated Series #03 03:42 - Galaxy Express 999 Movie 1

[@edwardfind4687]

3:11 spectacular way to generate expectation with the song so that there is instantly a rise in intensity with the impact of the lightning I guess that kind of things are already something typical of your edits and that's why it's so exciting for me to watch your videos

[@AnotherSakuga]

It's the feeling that punk-rock songs generate with the strong emphasis on the chorus, so my videos rely mainly on that. If I can get myself excited while watching the edited parts during editing, then it's something that makes it into the final version. In this case I thought it would be cool if I emulated the delay of the sound of lightning with respect to the speed of light

[@KillerTacos54]

Amazing, thank you!

[@AnotherSakuga]

Thanks! This is a very important video for me

[@erikchainsard]

2:05 I love the beauty of that scene

[@AnotherSakuga]

Kanada and Futaki represented in a very beautiful way the beauty and tranquility of fligh

[@AbahDirgaLv997]

​@@AnotherSakugawhat make him to different with Imaishi ? Like all people say Imaishi get inspiration from him, i know that. But how about Imaishi style ? he have true form self style right ?

[@AnotherSakuga]

We could say that Imaishi's style consisted of taking as a basis elements from the different stages of Kanada that Kanada himself never mixed, basically Imaishi took what he liked the most and that resulted in the Neo Kanada style of the late 90s

[@ies5555]

Thank you for the amazing sakuga MAD! There are many brilliant animators who create incredible sakuga, like Shinya Ohira, Shinji Hashimoto, Masahito Yamashita, Hiroyuki Imaishi, Masaaki Yuasa, Shinsaku Kozuma, and Osamu Tanabe, but I think Yoshinori Kanada stands out as exceptionally talented. Personally, I really love Satoru Utsunomiya’s sakuga, so I hope you’ll make a MAD of his work someday too! I translated this from Japanese, so I’m sorry if the English sounds unnatural!

[@AnotherSakuga]

Thanks for watching! I'll definitely be uploading a video soon featuring the talented Satoru Utsunomiya, as well as some other animators I really like

[@erikchainsard]

The Darkstalkers scenes are too good and striking

[@AnotherSakuga]

Right? Kadana did an incredible job with those OVAs and the character designs could be adapted very easily to his style

[@Leonardo_deSouza]

Acho legal essas animações do tipo chihishiro, etc

[@pyli535]

Thanks for the history class! But is Yoshinari Neo Kaneda school? Too hard to define him.

[@AnotherSakuga]

Yes, You Yoshinari was one of the main promoters and references of the Neo Kanada style. We must consider that like the original Kanada style, the Neo Kanada takes into account different shapes and elements from different animators, but the fundamentals are strong poses, speed lines, complex layouts and a lot of frame modulation. This style is not even inspired only by Kanada, but also by his followers such as Masahito Yamashita and Masami Oobari, for example, there is even a bit of the influence of Daizou Takeuchi (who was an inspiration for Kanada) Yoshinari in his beginnings used many elements of the Kanada style in his animation through his fascination with Masahito Yamashita (probably the definitive follower of Kanada along with Imaishi), from the form and movement of the effects only with a denser feeling to through the internal shading, also the movement of the characters which was a little less complicated than Kanada's but still fun to watch and dynamic. The shading and smears in the contours of the body also come from Yamashita, in addition to the distortion of the shapes (although this is something more direct from Kanada). Some representative works of this were Victory Gundam, Sailor Moon S, Uchuu Kaizoku Mito no Daibouken, Yuu Yuu Hakusho and Maze: The Mega-Burst Space OVA, although the inspiration of another very popular Kanada fan, Masami Oobari, is also present As Imaishi, Sushio and Yoshinari are 3 animators who worked together as the great young talents of Gainax, it is natural that they have influenced each other, since we can see in Imaishi the influence of Yoshinari and vice versa It's true that Yoshinari changed his focus after participating in Jin Rou, but that did not prevent him from representing Gainax and Neo Kanada in the following years in different productions precisely by people very influenced by Kanada, for example Trava, Abenobashi, Dead Leaves, Popolocrois (2003), Mahoromatic, Petite Princess Yucie, Anime Tenchou and Namco x Capcom. The Omega Strikers OP recently came out, which is also a good example of the way Yoshinari approaches the Neo Kanada style currently

[@pyli535]

​@@AnotherSakuga Thanks for your always detailed answer! I have not watched his previous work except EVA, definitely need to catchup. His recent works like Lotte commercial and Omega Striker op were decent(On the other hand, Delicious in Dungeon... Maybe high quality shorts are more suitable for Trigger veterans)

[@AnotherSakuga]

I really like Yoshinari's work in the first two episodes of Eva since it represents Oobari's style very well and precisely in the series you can see that he is a true genius at taking the approaches of other animators and replicating them, for example, he took inspiration from Honda and Iso during production, changing the way the mecha were animated. This is something that has been repeated over the years, which is why he is described as an animator who condenses the best he has seen from other animators into his own work. But I must say that I would really prefer to see Yoshinari at the helm of some original film (similar to what he did in 2013's LWA), I think leaving him in charge of the collaborative animations is natural since he is the studio's most prominent designer and animator, but lately it feels like he's been quite removed from regular productions (similar to Sushio)

[@pyli535]

@@AnotherSakuga Hope he's working on something big and more resourceful than BNA (not optimistic considering PSG S2)

[@稲田洋二]

この楽曲ってなんだか分かるかな？ 「元祖、ロックンロール！」って言うんだよ♫

[@AnotherSakuga]

パラモアはこのために生まれた

[@AbdulelahAlshahrani-r6i]

At 0:41 the name of allah is written in Arabic as an impact frames can you please removed it for Amv And I’m sure you didn’t mean anything by it but as I muslim it feels not appropriate.

[@blank7837]

الله ليس حقيقيا