Please log in. To create a new account, enter the name and password you want to use.
If you supplied an email address when you signed up or added a email later, you can have your password reset.
This user name doesn't exist. If you want to create a new account, just verify your password and log in.
This user name exists. If you want to create a new account, please choose a different name.
Enter the current email address you have registered in your profile. You'll get an email containing your new password.
You have no email address in your profile, so you can't have your password reset.
Password reset. Check your email in a few minutes
That account does not exist.
The email address specified is not registered with this account.
Delivery to this email address has failed.
"TMS did the best animation of the series for this episode. The second part had maybe six retakes on the whole show, which is incredible," said producer Bruce Timm. "The first time we saw it in the editing room, we couldn't believe how beautiful it was. It has all those transformation effects that only TMS could do. It was after these two episodes that we decided that any two-parters we did would have to be done at the same studio." Timm had a theory why TMS did such a good job, which he felt resulted from Warner Bros' demand that they redo the opening sequence for the series.
Noted Timm, "I think when we shipped them 'Clayface,' they said to themselves: They think they know everything, but we'll show them how do do this show. We'll change Batman's colors. We'll do special color key treatments on the villains when they're walking over the green vat. We'll blow them away.' If that's their revenge, thank you for proving us wrong. I was so happy with that episode." "The sequence where Daggett and Germs are walking over that green vat, those characters look like they're three-dimensional. They look like they're rotoscoped. When Daggett slowly turns toward the camera, the shadows really wrap around his face. It's as if they're real! They did all those colors themselves. We couldn't even ask for those colors if we wanted to. They aren't even in our palette. They had to specially mix those colors." Shirley Walker, supervising music composer for the series, found the task of scoring this episode quite a challenge. "It was demanding story-wise," said Walker. "There was so much going on. I was so proud of it that I submitted it for Emmy consideration, and that's the one that I got a nomination for.""
sakugaku said: IG is really terrible at coloring. This scene is so dark, it's a struggle to watch this just like Okiura's Arise scene.
Uhm. This OAV was produced by BONES and they're outsourcing coloring to studio Wish (Bones have their own color designer/checker, though -> http://puu.sh/aBkSJ.png ).
TV ver. Only difference between TV and DVD is on DVD all the photos land face up (http://i.imgur.com/kLOflq6.png) (which I think doesn't look as good personally).
I'm rewatching the series on DVD but I have the TV version on my computer, which is what I use to upload here. Most of the TV-->DVD changes in this series in my opinion are for the worse (and it's not just bias from being used to what I saw first; I saw the DVD version first), sometimes subtly, like is the case here, and sometimes dramatically, like the stuff in 02 #07. Sometimes it's interesting to compare, even though that comparison is happening incidentally here (I'll watch an ep on DVD, then maybe want to post a cool cut and then notice some change from the TV version.)
Many (but not all) of the 'big' cuts from this series have been put up, but there's a lot of great stuff here that's a lot more low key, but still very interesting. I'm trying to catalogue those because I think people should see them too, in addition to the famous/infamous ones.
When I saw this, I just kind of cold identified it as Tanaka, wasn't even really looking for that kind of thing at that moment, but it really jumped out at me. It's got his sense of forms in space and angles, his kind of motion cadence (most evident in her facial expressions; there's a certian characteristic way that Tanaka's characters move to express themselves), and his ribbony patterning in the hair.
Looking up the credits, This episode in addition to #5 are what he's credited on, so it's not completely definitive, but I'd consider the combination very strong evidence that it's him.
ponkts
almost 10 years agoponkts
almost 10 years agoXMURADX
almost 10 years agoosama a
almost 10 years agobonaru
almost 10 years agohttp://i.imgur.com/tT16GNv.jpg
Bear VS DokidokiTeam hiroki_morimune
MechaBear VS Black＆White nishiki_itaoka
aers
almost 10 years agogeso
almost 10 years agobonaru
almost 10 years agohttp://sakuga.yshi.org/post/show/7734/
http://sakuga.yshi.org/post/show/7735/
http://sakuga.yshi.org/post/show/7736/
MechaBear VS Black＆White & Bear VS S☆S nishiki_itaoka
http://sakuga.yshi.org/post/show/7741/
http://sakuga.yshi.org/post/show/7738/
Bears VS happiness naohiro_shintani?（maybe...
http://sakuga.yshi.org/post/show/7737/
XMURADX
almost 10 years agoJulieYBM
almost 10 years ago"TMS did the best animation of the series for this episode. The second part had maybe six retakes on the whole show, which is incredible," said producer Bruce Timm. "The first time we saw it in the editing room, we couldn't believe how beautiful it was. It has all those transformation effects that only TMS could do. It was after these two episodes that we decided that any two-parters we did would have to be done at the same studio." Timm had a theory why TMS did such a good job, which he felt resulted from Warner Bros' demand that they redo the opening sequence for the series.
Noted Timm, "I think when we shipped them 'Clayface,' they said to themselves: They think they know everything, but we'll show them how do do this show. We'll change Batman's colors. We'll do special color key treatments on the villains when they're walking over the green vat. We'll blow them away.' If that's their revenge, thank you for proving us wrong. I was so happy with that episode." "The sequence where Daggett and Germs are walking over that green vat, those characters look like they're three-dimensional. They look like they're rotoscoped. When Daggett slowly turns toward the camera, the shadows really wrap around his face. It's as if they're real! They did all those colors themselves. We couldn't even ask for those colors if we wanted to. They aren't even in our palette. They had to specially mix those colors." Shirley Walker, supervising music composer for the series, found the task of scoring this episode quite a challenge. "It was demanding story-wise," said Walker. "There was so much going on. I was so proud of it that I submitted it for Emmy consideration, and that's the one that I got a nomination for.""
liborek3
almost 10 years agonisoku2
about 10 years agoSource: https://twitter.com/IRICOMIX/status/409046716315222016
greenblueclouds
almost 10 years agoArasan
almost 10 years agoehh1234
almost 10 years agoGalap
almost 10 years agoI'm rewatching the series on DVD but I have the TV version on my computer, which is what I use to upload here. Most of the TV-->DVD changes in this series in my opinion are for the worse (and it's not just bias from being used to what I saw first; I saw the DVD version first), sometimes subtly, like is the case here, and sometimes dramatically, like the stuff in 02 #07. Sometimes it's interesting to compare, even though that comparison is happening incidentally here (I'll watch an ep on DVD, then maybe want to post a cool cut and then notice some change from the TV version.)
Many (but not all) of the 'big' cuts from this series have been put up, but there's a lot of great stuff here that's a lot more low key, but still very interesting. I'm trying to catalogue those because I think people should see them too, in addition to the famous/infamous ones.
When I saw this, I just kind of cold identified it as Tanaka, wasn't even really looking for that kind of thing at that moment, but it really jumped out at me. It's got his sense of forms in space and angles, his kind of motion cadence (most evident in her facial expressions; there's a certian characteristic way that Tanaka's characters move to express themselves), and his ribbony patterning in the hair.
Looking up the credits, This episode in addition to #5 are what he's credited on, so it's not completely definitive, but I'd consider the combination very strong evidence that it's him.