2024年 08月 24日
Animation Photography Technique Exchange Meeting (1986)
During his high school days, Harada was elected and was active in the student council headquarters. After entering the workforce, he joined the labor union at the same time he started working at an animation company.
Harada formed a labor union branch at the animation company where he worked and carried out various activities.
One of these was the "Cinematography Technology Exchange Meeting."
Many animators working at animation subcontracting companies have never seen a filming site.
So, with the cooperation of the Toei Doga (Currently Toei Animation) Labor Union, he held a study session on cinematography within the Toei Doga Filming Department.
At the study session, cameraman Yukio Katayama (片山幸男), who worked on "The Great Adventure of Horus, Prince of the Sun" (1968/Director: Isao Takahata), and Yoshio Aiso (相磯嘉雄), who has worked at Toei Doga since 1958, gave lectures on cinematography.
With the cooperation of young members of the labor union, Harada self-published a book called "A Guide to Cinematography Technology for Animators" through the labor union.
This book was used as a textbook at animation vocational schools for several years.
"Animators' Guide to Cinematography Techniques"
The illustrations and text on the page below are by Harada.
Harada formed a labor union branch at the animation company where he worked and carried out various activities.
One of these was the "Cinematography Technology Exchange Meeting."
Many animators working at animation subcontracting companies have never seen a filming site.
So, with the cooperation of the Toei Doga (Currently Toei Animation) Labor Union, he held a study session on cinematography within the Toei Doga Filming Department.
At the study session, cameraman Yukio Katayama (片山幸男), who worked on "The Great Adventure of Horus, Prince of the Sun" (1968/Director: Isao Takahata), and Yoshio Aiso (相磯嘉雄), who has worked at Toei Doga since 1958, gave lectures on cinematography.
With the cooperation of young members of the labor union, Harada self-published a book called "A Guide to Cinematography Technology for Animators" through the labor union.
This book was used as a textbook at animation vocational schools for several years.
As animation eventually became digitalized, the book's role came to an end.
The man in the yellow shirt in the center is Yukio Katayama, animation cameraman. (Photo:Hiroshi Harada)
*By the way, the man in the blue shirt is Takahisa Ichikawa, an animator who is Harada's senior. He also came to the screening of "Horizon Blue" (2019).
Labor unions have horizontal connections, which makes it relatively easy to realize such attempts.Of course, non-union members are also free to attend these meetings. Labor unions are always open to the outside world, so anyone can take part. This kind of freedom is important.
"Animators' Guide to Cinematography Techniques"
The illustrations and text on the page below are by Harada.
At that time, there were no personal computers, so Harada printed out the letters on a word processor, cut them into small pieces, and glued them onto the illustration manuscript.
When he was in junior high school, Harada would often use postcards to ask technical questions to animation companies.
On the left is the answer he received from Toei Doga's cinematography department when he asked how they filmed underwater. It was a reply from Masatoshi Fukui (福井政利), the cameraman for "Galaxy Express 999" (1979).
On the right is from when he asked the animation company Madhouse about a new way to express rain. It was written with a water-based pen, so it got wet during the mailing.
On the left is the answer he received from Toei Doga's cinematography department when he asked how they filmed underwater. It was a reply from Masatoshi Fukui (福井政利), the cameraman for "Galaxy Express 999" (1979).
On the right is from when he asked the animation company Madhouse about a new way to express rain. It was written with a water-based pen, so it got wet during the mailing.
(1977)
Here is an image of the new rain experiment technique that Harada asked the animation staff about.
"Three-dimensional animation: Homeless Child" (1977/directed by Osamu Dezaki)
https://www.youtube.com/watch?v=KEY1ZHkJ8CY
Rain in anime is usually created by scratching the cel. In "Homeless Child," the staff explained to Harada that if they painted rain on the cel with diluted paint, the oil on the cel's surface would repel the paint and create the feeling of rain.
"Three-dimensional animation: Homeless Child" (1977/directed by Osamu Dezaki)
https://www.youtube.com/watch?v=KEY1ZHkJ8CY
Rain in anime is usually created by scratching the cel. In "Homeless Child," the staff explained to Harada that if they painted rain on the cel with diluted paint, the oil on the cel's surface would repel the paint and create the feeling of rain.
In the postcard above, Toei Doga cameraman Fukui responded to Harada: "To shoot underwater scenes, we place a wave glass in front of the camera lens and move it around. But wave glass is probably not easy to come by. So, it's a good idea to paint the cel with gelatin. If you paint it in different shapes, you can shoot diverse undersea scenes."
Later, Harada realized that he could achieve the same effect by using thick, curved polyethylene.
This wave glass technique was used as early as "Limitless Paradise."
Later, Harada realized that he could achieve the same effect by using thick, curved polyethylene.
This wave glass technique was used as early as "Limitless Paradise."
A video of Harada visiting veteran Mushi Productions cameraman Hiroshi Isakawa (諫川弘) in 2008.
This video was made to show to students at the art university where Harada was a lecturer at the time.
Isagawa and the aforementioned Ichikawa belong to the same labor union as Harada.
by kiyubaru2020
| 2024-08-24 22:59
| 労働組合 Labor union
