FGC:Episode 04 Cut 188: Difference between revisions

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|cutnumbertext=[[FGC:Episode 04 Cut 188|188]]
|cutnumbertext=[[FGC:Episode 04 Cut 188|188]]
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{{FGC:Script Text|type=description
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|text=Telephone pole from below.
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{{FGC:Script Text|type=SE
{{FGC:Script Text|type=SE
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|text=Cicada voices — loud!!}}
 
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{{FGC:Comment|name=
{{FGC:Comment|name=Otaprince
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|comment=Tying back to {{FGC:CL|02|03|034|#02/C-034}}… Notice how, here, the cut focuses on the telephone pole while we only hear the car pulling up to a stop. This is, of course, because animating that car would've cost money. However, in my opinion corner-cutting like this is not necessarily a bad thing, as limits on creativity (such as financial restrictions) lead to the most interesting creative innovations. For example, back when film was in black and white, filmmakers were forced to come up with creative ways of utilizing the limited palette (think film noir).Similarly, budgetary constraints in anime have led to many of Anno's most recognizable techniques, such as his tendency to linger on a single shot (as at the end of this episode) and his "rapid-fire succession of shots" technique (very prevalent in later episodes) in the place of actual animated movement.}}
 
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Latest revision as of 00:03, 6 April 2010


Screenshots Cut # Description/Dialogue Commentary

188
Telephone pole from below.

SE <<Cicada voices — loud!!>>

Otaprince: Tying back to #02/C-034… Notice how, here, the cut focuses on the telephone pole while we only hear the car pulling up to a stop. This is, of course, because animating that car would've cost money. However, in my opinion corner-cutting like this is not necessarily a bad thing, as limits on creativity (such as financial restrictions) lead to the most interesting creative innovations. For example, back when film was in black and white, filmmakers were forced to come up with creative ways of utilizing the limited palette (think film noir).Similarly, budgetary constraints in anime have led to many of Anno's most recognizable techniques, such as his tendency to linger on a single shot (as at the end of this episode) and his "rapid-fire succession of shots" technique (very prevalent in later episodes) in the place of actual animated movement.