Sound! Euphonium Our Promise booklet roundtable translation

This is a newly translated roundtable from the booklet included with the Japanese home video release of Sound! Euphonium ~Our Promise: A Brand New Day~. It features the four main Kyoto Animation staff talking about production on the film without spoiling the film itself. Enjoy!

Director: Tatsuya Ishihara
Character Designer/Chief Animation Director: Shoko Ikeda
Chief Unit Director: Naoko Yamada
Chief Animation Director: Futoshi Nishiya

“Natural” Drizzle

– Please tell us about any secret stories that happened during production of Sound! Euphonium ~ Our Promise: A Brand New Day (hereafter “Our Promise”).
Ikeda: For this title, my impression was that the staff had a tough time even though they grasped the characters while I was checking over everything as chief animation director.
Yamada: There were a lot of characters who appeared for the first time in “Our Promise.”
Nishiya: Of course our staff stretches their capabilities, but at the scene near the beginning of the story where everyone is crowded together, the characters in the background were shown with their individualities as well. They really worked hard to create that visual on-screen.
Yamada: That scene was very difficult. But when I took a look at the key animation handed up, rather than difficulty, what was passed on to me was the fun they had working on it. I feel our staff are firmly standing in support. What do you think Director Ishihara?
Ishihara: The animation for the performance scenes are always difficult, but surprisingly it was a challenge to present drizzle during the Agata Festival scenes. We had rain falling down in CG, and though the amount of rain decreased, it wasn’t becoming “drizzle”……
Ikeda: You expressed that many times to the staff members working on it.
Yamada: In that scene, Kumiko doesn’t open her umbrella even though you could see the rain, so I think people may wonder “why is she not opening it?” There are a lot of people who open their umbrellas even for a little bit of rain.
Ishihara: It wasn’t just the rain itself, but things like feeling the road damp with water. That type of indirect expression was important.
Ikeda: In the end there wasn’t any uncomfortableness. With the street lights and other bright areas illuminating the rain, it felt very naturally.
Ishihara: Of course depicting natural phenomena is difficult.

New 1st years appear!

Nishiya: How do you think everyone felt about the new first years now that they’ve seen them?
Yamada: Even though they have strong personalities, it was tough to show them. Director Ishihara wanted to show that portion of selfishness Kanade has, so I think that was shown very well.
Ishihara: I thought our audience would accept Kanade, but I worried that they wouldn’t be able to accept Mirei or not. We changed the timing where she quit the band from the novel. In the novel she quits during practice for SunFest, but in the film it’s right before it. I didn’t know if they would question “she said that at this point?!”…..

– What about Satsuki and Motomu?
Ikeda: At the beginning where Satsuki and Hazuki talk about their alma mater they were supposed to synchronize their poses, but when I first saw that cut, I thought “they’re drawn the same way, what do I do?!” (laughs)
Yamada: That’s one kind of comedy. Also the scene before the auditions where she lays all over her desk and whines “Ah!!!!! This is useless! Help me Micchan~” is immensely cute! She’s wearing a skirt and yet she boldly opens her legs too. Those kinds of things are cute.
Ishihara: She opened them further at the beginning. Then Ikeda-san said to me “Aren’t they open a bit too wide?”
Ikeda: Huh, I said that?
Ishihara: Wait, I thought it was Ikeda-san who said that….. But it stuck with me, so someone in our staff had to mention that to me….
Yamada: For portions about Motomu…. I asked Ikeda-san to check over the scene at the beginning when he’s in the instrument room with his senpais holding his hands in his pockets.
Ikeda: Yes, yes! He’s got his hands in his pockets while being advised by his senpais, so I didn’t know if he should take them out or not.
Yamada: Thanks to you it became a good scene. (laughs)

The film Liz and the Blue Bird

– While you were working on “Our Promise,” what kind of connections did you make between it and Liz and the Blue Bird (hereafter “Liz”)?
Ishihara: First I asked Yamada-san to look over the storyboards. I adjusted the storyboards while taking in her thoughts. Actually at first I thought the scene where Mizore and Nozomi are at the shooting gallery would be during the time where Nozomi was worrying, so I had it depicted immensely seriously. Yamada-san said to me that I shouldn’t focus too much on “Liz” so I adjusted it.
Yamada: While I understood the route that Director Ishihara wanted to depict, we met regarding being aware of the feelings from those who hadn’t seen “Liz” as well. The musical piece “Liz and the Blue Bird” could only be for Mizore and Nozomi, so we wanted to make that piece very impressive in “Our Promise.” And then it’s the relationship between Kumiko and Reina…… I feel “Liz and the Blue Bird” takes on many forms. When showing the climatic competition performance, we didn’t want to treat our audience like “you’ve seen “Liz”, haven’t you?” so we wanted to convey a meaning through “Liz and the Blue Bird” in the performance during “Our Promise.”
Ishihara: I feel that the competition is where all of the drama our characters have gone through comes up once more.
Nishiya: For me, I felt that it was Director Ishihara’s “Eupho” without feeling any connection to “Liz.”
Yamada: Since Director Ishihara gradually adds lots of good things, I feel that this film feels a bit sudden despite having a lot of depth compared to “Liz.” He made “Our Promise” while pondering what pitch he would throw next.
Ishihara: Thanks to all of you, I was able to pitch whatever I wanted.

Expressing “naturally”

Nishiya: This film had several cuts in it where it suddenly switched to being filmed with a smartphone. How was the reception to that?
Ishihara: I believe they understood that these were videos that we wanted to do. I love documentary pieces like interviewing the guardians or principals like these types of videos. I wanted to show off the new students as much as possible with these. Also I made it easy to understand why the scene changed to these cuts.

– Did you prepare any type of compositing adjustments for these cuts?
Ishihara: We were going to apply adjustments to make the screen appear rougher, but modern smartphone camera quality these days is quite good. So since we didn’t use that effect because people might not think it was smartphone footage, we had some troubles with that presentation. I thought the one cut with the camera shaking during Yuuko sneezing was immensely good.

–  Were there any differences with the key animation compared to normal scenes?
Yamada: We paid attention to the angle of how it would be shown and how would it appear when finished. Since smartphone camera lenses are a bit wide-angle, we talked about how many millimeters the focal length would be.
Ishihara: In the end we weren’t that concerned about it though. When you’re making something, you’re thinking about details, but when you see it in the end, you might not be concerned with it……
Ikeda: Even though we draw anime without thinking too much about it at times, it’s essential for us to think about things that differ slightly from the reality we aim for.
Yamada: They were presented well this time, so they might have been seen as something natural.
Ikeda: Things that are seen as “natural” can’t be drawn unless you properly think about them…… The smartphone scenes may not appear to be scenes that are special, but the director had so much, so much explanations for them. (laughs)

– It might appear that you only thought about changing the aspect ratio of the screen.
Yamada: It doesn’t feel like it’s that simple~
Ishihara: With things that are troublesome to appear “normal,” of course the concert band performance scenes are challenging in “Eupho,” but attaching drama to the everyday dramatic scenes is difficult.
Ikeda: For example, if there are differences in the cuts for how a character swings their arms, then the chief animation director has to adjust them. Since we split the work by unit director and animation director, the only one viewing every part to unify aspects of the characters that isn’t explained is the chief animation director.
Yamada: Oooh, my chest hurts thinking about that……. Do you adjust the acting portions during the chief animation director checks?
Nishiya: We don’t~ We don’t alter poses either. We do adjust the layouts at that stage for the performance scenes though…….
Ikeda: If we adjust one cut, then it will be difficult to adjust every other cut, so fundamentally we check the animation director’s drawings are adhering to guidelines. However, there are cuts that I’ll ask Director Ishihara “Would this way to draw this be better?” when checking over them.


– There were various musical performances throughout the film. How were the music pieces decided upon?
Ishihara: Since a lot of people know the song “That’s The Way It Is,” I chose it for the opening wanting to highlight how catchy it is.
Yamada: At our advance meetings, Director Ishihara proposed several pieces that he had an interest in and then we would listen to them there…..and then choose between them.
Ikeda: You have to have a point where the audience will think “oh!”
Ishihara: After collecting everyone’s ideas for songs, I ordered that they perform “Samba de Loves You” at SunFest.
Yamada: Why did you pick that song?
Ishihara: It’s unabashedly samba! I wonder if I love samba. Also I chose it because it has a tuba solo in it as well.

– Were there any deliberate changes between the performance scenes and the everyday scenes?
Ishihara: There weren’t any portions where we changed the drawing techniques, but for impression, I think the SunFest Uniforms were naturally more impressive.
Yamada: The trumpet player, Suguru Tamaki’s, chubby feeling is so adorable!
Ikeda: It really suits him. If you mention “changed portions,” then the samba scenes were likely more fun to work on because playing a samba song is more fun. Concentrating on over 80 people performing however…… Since there were Rikka High School cuts, we didn’t show them marching that much as I feel we didn’t have the intention to fully animate that.

Kumiko becoming a third year

– A new title in the series has been announced. Production on it is going to start after this, so what kind of story will it become?
Ishihara: I believe it’ll continue based on the novels. With more new first years joining the band, I’d like to depict more than just the main characters.
Ikeda: While we’ll depict the sparkling of the new first years, there’ll also be more mature feelings and worries for Kumiko as a third year senpai…… Having said that, I think it’ll be nice to see the denseness with each generation jostling on the screen. For example, even though everyone wears the same scarf, it’s easy to tell between first years and third years just by color alone. How lovely.
Yamada: Certainly the second year is important once you’re in high school. New information about that title should be announced by the time this booklet is in the readers’ hands, right?
Ishihara: For me, even though I’m thinking “can I say this or not,” I’m not going to say anything!
All: (laugh)

– Please give a message to those who purchased this home video release.
Nishiya: Did you enjoy “Our Promise?” I think it’s a film you can watch to your heart’s content! If you’ve seen the final scene, then I think you’ll be looking forward to seeing what happens later on. I’m also looking forward to seeing Kumiko as president. Please eagerly anticipate it!
Yamada: Buying the home video release means you want to treasure it enough to keep it at hand. Many different generations have watched “Eupho,” but I think it’ll be lovely to see it as something like a photo album. With Kumiko becoming a third year, then the album will grow even further. We’ll be happy for you to watch this important album.
Ikeda: Kumiko’s first year was adapted a lot into two TV seasons and two films, but even with “Liz,” her second year was only in “Our Promise.” I’m think you’ll be glad you got to see this important story for Kumiko. And welcome to those who are seeing this for the first time through this home video release. We’ve been waiting for you! Please take your time and enjoy the film.
Ishihara: I can say this now…… There was a possibility that “Our Promise” would be the final title for this series. I worked my hardest so that I could think “this is fine if it’s the last adaptation.” I’ll be happy if you watch this over and over again. Next time, “Kumiko’s 3rd year” will definitely be the last one, so we’ll do our best!
* This roundtable was conducted in June 2019.


Sound! Euphonium Our Promise pamphlet interview

This is a newly translated roundtable from the pamphlet sold at Japanese theatres in April 2019 that introduced Sound! Euphonium ~Our Promise: A Brand New Day~ to audiences. It features the four main Kyoto Animation staff talking about production on the film without spoiling the film itself. Enjoy!

Director: Tatsuya Ishihara
Character Designer/Chief Animation Director: Shoko Ikeda
Chief Unit Director: Naoko Yamada
Chief Animation Director: Futoshi Nishiya

The long-awaited new story

– This is the first movie in the Sound! Euphonium series to be a new story. When was it decided to have a new film?
Ishihara: Actually, before Ayano Takeda-sensei began writing a continuation of the novels, we were thinking about continuing with an anime-original story.
Yamada: And after we heard that Takeda-sensei was writing a continuation, we decided to wait until the novels had been written.
Ishihara: When reading the novels, we saw that the content was immensely rich in depth. It would be incredibly tough to fit everything into a single film……. After talking about it, we settled into splitting the novels into Kumiko’s story and the story about Mizore and Nozomi.
Yamada: Since it was decided that Director Ishihara would depict Kumiko’s story in a film, it felt like he would have to make the film concentrate on Kumiko herself.
Ikeda: We began working on it before the new characters and the novel’s cover illustrations were complete. Were there any other options like a TV series?
Ishihara: We thought a lot about it, but that wasn’t an option.
Nishiya: So that’s how it went. I heard about creating a film much later than everyone else here……
Ikeda: At the beginning, it was planned that Liz and the Blue Bird (hereafter “Liz”) and Sound! Euphonium~ Our Promise: A Brand New Day (hereafter “Our Promise”) would be released at around the same time, right?
Yamada: At first we talked about going along with a schedule that “Our Promise” would be released a few months after “Liz”……
Ikeda: Production on both were planned to go along at the same time.
Nishiya: That’s an incredible schedule.
Ishihara: But at that time, I was directing the production of another title, so that schedule would have become too difficult.
Ikeda: As a result, it might have helped to preserve the production time though.

As Kumiko’s story

– What was the concept behind producing “Our Promise”?
Ishihara: You could call it a concept, but I wanted to stress Kumiko’s story from the novels.
Ikeda: You were thinking about the script at the same time as “Liz”’s, right?
Yamada: “Liz” was done earlier. As “Our Promise” depicts Kumiko’s story from the second year, it took time to discuss her standpoints. The TV series, especially in the second season, had been structured like “Kumiko and a senpai,” but in the film it’s structured as “Kumiko and kouhai” since she’s advanced a year in school. We had to talk about how to position the story around Kumiko since that was immensely important. Director Ishihara also mentioned he wanted to depict the romance with Kumiko and Shuichi too…..
Ishihara: For me, my plan was to little by little plant the story of Kumiko and Shuichi throughout the TV series…. Since we didn’t directly show it, I put that portion at the beginning of the film. At first we thought about having the concert band perform in the stands at the National High School Baseball Championships, but instead I inserted the scene where Shuichi confesses from the novel. I think it becomes a “hook” into the movie.

– How was it decided that Nishiya-san would join as a chief animation director?
Ikeda: As our production time was short, I felt that it would be very difficult for me to serve as the only chief animation director so I asked Nishiya-san to join us. As we mentioned before, production on “Liz” was going along at the same time, so even though it was an unreasonable request, I’m glad I asked him in the end.
Nishiya: At first I thought they were going to ask me to be the animation director for a part of the film, so I was immensely surprised to be asked to be a chief animation director.
Yamada: Both Ikeda-san and Nishiya-san were chief animation directors on a previous title directed by Director Ishihara, so it was quite nostalgic.
Nishiya: On that title, I would pass on whatever I checked for Ikeda-san to also look at, but this time there wasn’t anyone that would kindly check over me……
Ikeda: That time we had the luxury where Nishiya-san could look over everything himself and I could look over everything myself, but this time Nishiya-san said “I’ll do everything to match Ikeda-san’s drawings!” so impressively. As he knew how to draw them immensely cute, I left it to him “Alright, I’m counting on you.” (laughs)
Nishiya: It’s natural, but I thought about wanting to accurately bring Ikeda-san’s drawings to visuals.
Ikeda: If you say that, then I believe I could trust you Nishiya-san!

– Did you two chief animation directors have any preparatory meetings?
Ikeda: I never spoke with Nishiya-san. (laughs)
All: (laugh)
Yamada: They have this bond of trust between them.
Ikeda: Really there was no need for us to talk. I had absolute faith in him.
Nishiya: Hearing you say that makes me feel wonderful. This time Ikeda-san’s designs for the main characters were drawn anew. Kumiko’s hair also became more gentler…….
Ikeda: That it did. I wondered if I should modernize it because it’s a movie so I changed things a little. I wonder if the animation staff thought this was easier to draw. Director Ishihara said to keep the designs similar to the TV series, so I wasn’t lost at all. If he didn’t say anything, I think I would’ve gotten lost in making their eyes smaller to match “Liz.”
Ishihara: The first designs for the TV series were really good. They were the result of a lot of work that Ikeda-san put into them.
Ikeda: Thank you very much. I’m always embarrassed to look back at the first designs I draw of something, but I was able to draw these revisions while looking at them. (laughs) I brought them to this roundtable today. Look at the approval date. It says “2014”!
Yamada: We’ve been going with these for a while…..

“Liz” and “Our Promise”

– Were there any differences in producing the movies compared to the TV series?
Ishihara: There weren’t any major differences in how we made this compared to the TV series. It feels like I drew around 5 episodes worth of storyboards for the film. However, I put a lot of details into the visuals thinking “It’s a movie so I’ll do this!” as I drew them….. In the performance scenes, you’ll be able to see characters at the back moving around nicely. I couldn’t give detailed instructions when I was drawing the storyboards, but I could see them moving around in the layouts the key animation staff drew. I conveyed “They’re moving around…. It’s a movie so let’s do this!”
Ikeda: I believe I conveyed to them that the director wanted them to move when we were at the animation meetings.
Ishihara: Every one of our animator staff is so serious so I thought that they would think about how to make them move without saying anything. I’m so grateful to them.

– How was making the performance scenes?
Ishihara: The performance scenes were difficult! The free piece Kumiko played in her first year “Crescent Moon Dance,” was shown with only slight changes during two TV seasons and two movies, but this film would only have “Liz and the Blue Bird” performed once in the entire film, so it was difficult. At the end of the story, the performance scene alone had an additional 200 cuts!
Ikeda: All of the band members were shown, weren’t they?
Ishihara: I believe all of them were drawn. The quick revolving scene near the climax of the piece were done to show all of the band members.
Ikeda: Nishiya-san was the chief animation director for that part. Was it difficult?
Nishiya: “Liz” shows Mizore and Nozomi mainly, so the characters behind them weren’t shown clearly, but here they are shown very visibly…. It was difficult for the key animation staff to pack all of them into the drawings.
Ishihara: However, I’ve reflected a bit and thought maybe we should’ve blurred the screen some due to the large amount of information drawn……
Yamada: I’ve thought about that too…. I feel like you love to show a lot of information at once, so I feel that’s a creative quirk of yours, Director Ishihara.
Ikeda: It is. Besides, that decision wasn’t wrong.
Ishihara: I was so serious about it at that time. I’ll say “A has to be A” and then a little later I’ll think “hmm, A was A, right?”……. With “Our Promise,” there weren’t much movement, but I wanted to add more synchronized portions with “Liz.” As a result, I paid too much attention to “Liz” when I first drew the storyboards so I also went to see Yamada-san for corrected portions.
Yamada: Hmm…… It’s difficult to phrase what I said, so I’ll stop talking now. (laughs) It felt like you paid attention to the balance between both films.
Ikeda: That was one of the good parts about having time after “Liz.”
Ishihara: After Yamada-san read the storyboards, I made various changes to them and….. We’ll talk about this in detail another time! That should help those of you who won’t come see the movie again come back!

New characters with plenty individuality

– A lot of new characters appear in this film.
Ishihara: Actually, we slightly decreased the number of band members in the TV series compared to the novels, but the same number of new members that was mentioned in the novels appear in “Our Promise,” 43. How was it drawing a lot of new characters, Ikeda-san?
Ikeda: Many new members appear in ”Liz” while we were working on “Our Promise,” so I had already begun drawing them.
Nishiya: That’s right.
Yamada: I remember their designs being completed very quickly.
Ikeda: I began drawing them when I only had the plot of the novels, so I drew them freely without much information. Afterwards, I received the novel illustrations and the illustrations for the main characters that Nikki Asada-san drew, so I drew them based off of Asada-san’s illustrations. The images I originally drew of the main characters were used as other band members’ designs.
Nishiya: Were there characters who differed from how they were depicted in the novel?
Ikeda: For main characters, I changed my impressions of Kanade. The Kanade that Asada-san drew felt more like a “little imp,” but when I met with Director Ishihara and Yamada-san, someone said that Kanade was a “tanuki.” (laughs)
Yamada: What? Did someone really say that?
Ikeda: Yamada-san said that.~ She said nonchalantly “with a tanuki face.” (laughs)
Nishiya: What about her was a “tanuki?”
Ikeda: Probably her cuteness without any ill will…. It was refreshing to draw someone so cute and heart-warming.
Also I’ve enjoyed drawing Yume Kohinata since I read the novels……
Yamada: Ikeda-san gets emotionally attached, so Yume-chan left quite an impression on her.
Ikeda: I feel that girl was made for anime.
Yamada: Ikeda-san would say “she would probably wear different color socks than everyone else.”….
Ikeda: She’s serious, so she’s the type of girl who would wear something that isn’t white. Something similar to that is fine….. I think…..maybe (laughs)
Nishiya: You hadn’t paid attention to anyone else’s socks before.
Ikeda: It was written that she would remove her glasses when performing, so I had her design not have her glasses be transparent usually in order to bring out her individual cuteness when she took them off, but her story wasn’t included in the end. She just became another new trumpet player in “Our Promise.” If this was a TV series, we’d get to draw her more so her character would stand out, but alas.

– Were there any portions that you were fixated upon?
Ikeda: This time I was fixated upon the SunFest costumes.
Ishihara: We talked about those a lot. I conveyed what I wanted at first, but it wasn’t me that said “show their navels!” (laughs)
All: (laugh)
Ikeda: When we thought about what bonus illustrations to include with the advance tickets and what the audience would be happy with, we went ahead and made the SunFest costumes first.
Ishihara: At first I thought about having something more like an idol costume, but when it was decided to have the parade piece be a samba, Ikeda-san and Yamada-san brought up focusing on the samba aspect.
Yamada: However real samba costumes have more of a “strong” feeling than a “cute” feeling, so I asked Ikeda-san to finish them while making them cute for high schoolers to wear.
Ikeda: I drew them while looking at a lot of samba pictures, so I wondered if it would be alright for their navels to stick out. (laughs)
Nishiya: It’s a catchy costume. The boys’ navels don’t protrude out though.
Ikeda: When thinking about sambas, I wondered if it would be alright for the boys to be bare above the waist. (laughs) However the way to draw those costumes could become overly sensual, so I took care to balance their designs so that they would look like healthy high schoolers.

Kumiko’s year become upperclassmen.

– With Kumiko’s year going up a year, were there any points that changed about them?
Ikeda: Director Ishihara spoke to me about not changing the designs of the main characters too much, but I added some additional details to the main four and Shuichi to take advantage of their advancement. I wanted to show Yuuko’s change of heart once she became president by cutting her hair. Girls would do that at those times.
Ishihara: Also, (Tomoe) Kabe-chan changed from the TV series too, didn’t she? She became cuter.
Yamada: Another interesting piece is how free the new students are with their uniforms compared to the upperclassmen. There are a lot of characters who arrange their uniforms differently and change how they wear their ribbons too. You can see their personalities easily through that.
Ikeda: Since it was part of the novel that Satsuki wore a cardigan, I added that Kabe wore one too so she would fit in. I wonder if maybe the first years had too much freedom.

– Were there any other characters that changed?
Ishihara: I feel that Sapphire also was put into the category of “tiny senpai.” It clenches at your heart when you say it like that, but she’s a good senpai.
Nishiya: Sapphire is wonderful isn’t she~
Yamada: Nishiya-san is enchanted by her (laughs) Sapphire is a good senpai who will scold you when you’re doing something wrong, but then let you off easy. She has things she believes in, but she’s someone who’s flexible and doesn’t stay stubborn……. You can’t tell by watching her.
Ikeda: Also this is a very small detail, but Reina’s loafers became black.

– Please give a message to all the fans.
Nishiya: So I’m first….. The storyboards the director drew were very fantastic.
Ishihara: Actually Nishiya-san said that at the beginning. I was uneasy about the storyboards I drew, so hearing those words helped me feel much better.
Nishiya: Naturally the way Director Ishihara had lines delivered and nonchalant gestures was very good and I felt that this would become something fun. Also the way you depicted Kumiko was perfectly lovely. It became a story to empathize with her. For fans who have continually supported “Eupho,” this is your long-awaited new film. I think it’ll be one that you’ll be very happy with, so it’d please me if you enjoy it.
Yamada: If you were to sum the film in one word, it’d be “impressive,” wouldn’t it? Seeing it makes you feel good, it’s filled with lots of details, and it’s beautiful until the very end, so I think it’s a very good-hearted film.
Ikeda: There are a lot of new characters who appear, so a lot of the staff who worked on this film have carefully depicted all of them one-by-one in this story. This is a film where you can feel the density of the thoughts the staff spent on bringing the characters to life. It’d make us happy if you see it enough times to absorb everything to the fullest.
Ishihara: When I was drawing the storyboards and when I finished drawing them, it felt like I had drawn a lot. I thought that I had drawn enough storyboards that the running time had gotten longer, but actually it was around the planned amount. When I first started drawing storyboards, a ten minute segment grew into fifteen minutes so… It felt like this had grown longer than that. (laughs) And while I say that, I could also say that this became a film whose contents were so packed it feels like “concentrated juice.” I certainly think you’ll enjoy seeing it.
Thank you for coming!

Free! Timeless Medley Roundtable #2: Digital & Background Staff

This is a newly translated roundtable featuring the staff involved with the digital and background portions of Free! Timeless Medley (background art, painting, compositing, 3D animation). It was published in the “This is Who We Are Now!! 2017” book sold alongside tickets to the 2017 KyoAni & Do Event.

“Looking Back at Our Works”

Free! Timeless Medley

Interview 2:

Art Director: Jouji Unoguchi
Color Setting: Yuuka Yoneda
Director of Photography: Kazuya Takao
3D Director: Yuji Shibata

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Free! Timeless Medley Roundtable #1: Hand-drawn Animation Staff

This is a newly translated roundtable featuring the staff involved with the hand-drawn animation portion of Free! Timeless Medley (key animation and in-betweens). It was published in the “This is Who We Are Now!! 2017” book sold alongside tickets to the 2017 KyoAni & Do Event.

“Looking Back at Our Works”

Free! Timeless Medley

Interview 1:

Director: Eisaku Kawanami
Character Designer: Futoshi Nishiya
Prop Designer: Seiichi Akitake

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Myriad Colors Phantom World Roundtable #2: Digital & Background Staff

This is a newly translated roundtable featuring the staff involved with the digital and background portions of Myriad Colors Phantom World (background art, painting, compositing, 3D animation). It was published in the “This is Who We Are Now!! 2017” book sold alongside tickets to the 2017 KyoAni & Do Event.

Looking Back on Our Works

Myriad Colors Phantom World

Roundtable 2: Background/Coloring/3D Staff

Art Director: Mikiko Watanabe

Color Designer: Kana Miyata

3D Director: Rin Yamamoto

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Myriad Colors Phantom World Roundtable #1: Hand-drawn Animation Staff

This is a newly translated roundtable featuring the staff involved with the hand-drawn animation portion of Myriad Colors Phantom World (key animation and in-betweens). It was published in the “This is Who We Are Now!! 2017” book sold alongside tickets to the 2017 KyoAni & Do Event.

Looking Back on Our Works

Myriad Colors Phantom World

Roundtable 1: Hand-drawn Animation Staff


Director: Tatsuya Ishihara

Character Designer: Kazumi Ikeda

Prop Designer: Hiroshi Karata

Phantom Designer: Shinpei Sawa

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Miss Kobayashi’s Dragon Maid Roundtable #2: Digital/Background Staff

This is a newly translated roundtable featuring the staff involved with the digital and background portion of Miss Kobayashi’s Dragon Maid (backgrounds, painting, compositing, 3D). It was published in the “This is Who We Are Now!! 2017” book sold alongside tickets to the 2017 KyoAni & Do Event.

“Looking Back at Our Works”

Miss Kobayashi’s Dragon Maid

Interview 2:

Art Director: Mikiko Watanabe
Color Designer: Yuuka Yoneda
Director of Photography: Akihiro Ura
3D Director: Norihiro Tomita
Special Effects: Rina Miura Continue reading