Call for “anime” research(er) some interesting facts about/storyboarding and beyond Jun Kato (Arch Inc.) SIGGRAPH 2022, Hybrid (Vancouver, CA & Online), August 2 H | Research  https://research.archinc.jp/en
✎  The University of Tokyo Igarashi Lab ‘09 BSc, ‘11 MSc, ‘14 PhD ◾️ Microsoft Research Asia '12/1-4 Research Intern !!!  Microsoft Research ‘12/6-9 Research Internん↑  Adobe Creative Technologies Lab, Seattle ‘13/8-11 Research Intern ●  National Institute of Advanced Industrial Science and Technology (AIST) ‘14/4- Researcher, ‘18/10- Senior Researcher ✔  Arch Inc. ‘18/7- Technical Advisor, Arch Research PI
Call for "anime" research(er) / SIGGRAPH 2022
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I have developed tools (creativity support tools, toolkits, programming environments) to help people create something Programmers DejaVu [ACM UIST '12] TouchDevelop [ACM PLDI '13] Musicians TextAlive |ACM CHI '15 Best Paper Honorable Mention Award Anime directors Griffith [SAS '21] ISID 2021-2022 Best Poster Awards
More examples at https://junkato.jp/projects
Call for "anime" research(er) / SIGGRAPH 2022
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Jun Kato, Ryotaro Mihara, Nao Hirasawa, "Past, Present, and Future of Storyboarding in Japanese Animation," Non-archival oral presentation at SAS 2021: Society for Animation Studies Annual Conference 2021. Jun Kato, Ryotaro Mihara, Kazuya Murata, Kenta Hara, Nao Hirasawa, "Research on Anime Storyboards for Individual and Collaborative Creativity." Non-archival poster presentation at ISID 2021: 1 st International Symposium on Intelligence Design. Best Poster Award. Jun Kato, Kazuya Murata, Kenta Hara, Satoko Okuno, Tetsushi Suzuki and Nao Hirasawa, "Griffith: Prototype of A Web-based Tool for Authoring Japanese Anime Storyboards." Non-archival poster presentation at ISID 2022; 2nd International Symposium on Intelligence Design. Best Poster Award.
Call for "anime" research(er) / SIGGRAPH 2022
4 E-conte: Japanese anime storyboards • An A4 sheet of paper is divided into four to six rows • Each row is composed of a “cut” number, a drawing in the cut, script, and duration of the corresponding cut. • A blueprint of the actual anime film This storyboard is from “Animation Technology 2019 Spring” p.2, drawn by Kazuya Murata fo XFLAGS ANIME “Starlight Promises.”
Simply digitizing storyboards didn’t work – lessons learned: • For directors’ creativity support, the user interface matters • For animators’ use, separate user interface is in need
Call for "anime" research(er) / SIGGRAPH 2022
We need to know more about what E-conte is... This storyboard is from “Animation Technology 2019 Spring” p.2, drawn by Kazuya Murata for XFLAGS ANIME “Starlight Promises.”
• Arch is a Japanese animation production company with focus on helping production studios and creators • Arch Research is a small R&D team in Arch with interdisciplinary academic researchers at its core Dr. Jun Kato Technical Advisor Computer Science Dr. Ryotaro Mihara Global Business Advisor Cultural Anthropology
Call for "anime" research(er) / SIGGRAPH 2022
Storyboarding at Disney in late 1920s and 1930s provided courtesy of The Walt Disney Company (TWDC would like to r that they cannot confirm the red pencil markings, reproduced here in black and white, were made by Disney artists ... the six-panelled page variety with separate written notes, and the three- panelled page, which incorporated the written notes alongside the vertically arranged sketches. Chris Pallant and Steven Price, “Storyboarding: A Critical History,” p.50
Call for "anime" research(er) / SIGGRAPH 2022
Storyboarding at Disney in late 1920s and 1930s Figure 2.2 A promotional still, c.1933, showing a staged story planning s for The Grasshopper and the Ants (1934), featuring Webb Smith seated far lef and Walt Disney in the centre. Image provided courtesy of The Walt Disney Company. While the roughly A4-sized, six- panelled page storyboard layout remained in use at Disney, the larger, cork-mounted variety became the dominant pre-production storyboard arrangement. Chris Pallant and Steven Price, “Storyboarding: A Critical History,” p.53
Call for "anime" research(er) / SIGGRAPH 2022

[Image] NHK, https://www3.nhk.or.jp/news/special/sci_cul/2019/10/news/news_191026/ Yusuke Nakagawa, “Anime Taikoku Kenkokuki 1963-1973”
•  visited United States and Europe in 1953
•  distributed the first animated Japanese color film “Ukare Violin” in Oct 1955, produced by Nihon Douga •  bought Nihon Douga and established Toei Douga in Aug 1956 •  produced “Hakujaden,” the first full- length animated Japanese film in Oct 1958
Call for "anime" research(er) / SIGGRAPH 2022

• The “story corkboard” part is completely missing • Storyboarding process has usually been handled secretively by a director and not shared with others until its completion More detailed comparison in SAS 2021 slides: https://research.archinc.jp/en/publications [Images] Chris Pallant and Steven Price, "Storyboarding: A Critical History,” p.50 and p.53 / Seiji Okuda, “Anime no Shigoto wa Omoshiro Sugiru,” p.38
Call for "anime" research(er) / SIGGRAPH 2022

• Digest: understand scenario scripts passed from writers • revise and fix who does/speaks what • Animate: turn the scripts into visual cuts • surround the characters with the environment • make the characters perform actions in specific timings • Direct: pass directions to the production step • provide clear instructions to animators, compositors, audio professionals, etc. From an interview with Kazuya Murata and the literature, “Eizo no Gensoku Kaitei-ban” by Yoshiyuki Tomino
Call for "anime" research(er) / SIGGRAPH 2022

Jun Kato, Ryotaro Mihara, Nao Hirasawa, "Past, Present, and Future of Storyboarding in Japanese Animation," Non-archival oral presentation at SAS 2021: Society for Animation Studies Annual Conference 2021. Jun Kato, Ryotaro Mihara, Kazuya Murata, Kenta Hara, Nao Hirasawa, "Research on Anime Storyboards for Individual and Collaborative Creativity." Non-archival poster presentation at ISID 2021: 1 st International Symposium on Intelligence Design. Best Poster Award. Jun Kato, Kazuya Murata, Kenta Hara, Satoko Okuno, Tetsushi Suzuki and Nao Hirasawa, "Griffith: Prototype of A Web-based Tool for Authoring Japanese Anime Storyboards." Non-archival poster presentation at ISID 2022; 2nd International Symposium on Intelligence Design. Best Poster Award.
Call for "anime" research(er) / SIGGRAPH 2022
Call for “anime” research(er) some interesting facts about storyboarding and beyond Jun Kato (Arch Inc., jun@archinc.jp) SIGGRAPH 2022, Hybrid (Vancouver, CA & Online), August 2 Dr. Jun Kato Technical Advisor Computer Science Dr. Ryotaro Mihara Global Business Advisor Cultural Anthropology Assistant Project Manager search   https://research.archinc.jp/en  We are ALWAYS looking for collaborators!