Sango passes the tree: rough and layout
Source: TV
Layers: 1
Sketches: 2
Cel Number: A1
Oversize, 17W x 9H
No Background
Added 3/21/2008
Updated 3/20/2024
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Cut 250. At the episode’s climax, the frantic Sango races down a forest pathway. As she comes alongside a certain tree, the animation freezes, changing color slightly to indicate that time stands still for a moment. Sango is seen from three different angles, in mid-stride alongside the tree, and this is the third and last. it’s a powerful oversized (17 x 9) tome image that the camera pans past, first abruptly, then, when Sango’s face comes to the center, very, very slowly. You’ll see this image at about 18:04.
And after this ... the episode goes on.
Oh, golly, words seem inadequate. First go back up and look for a while longer at this powerful image, here seen in the animator’s rough sketch. Then go on to the fussy notes below.
This scan, as with others in this gallery, has been darkened a bit to make the extremely faint sketch easier to view on a computer screen. Click the first thumbnail to see a scan that has been altered less to get a better impression of how the sheet actually looks in person.
Caution! Fussy Notes
Click the second thumbnail to see the heavily annotated copy layout, an indication of how important this image was to the studio. Notice how the details of the rush-and-then-slow-down scan are worked out on the bottom left margin. The layout is very similar in style to the rough, so the two were likely done by the same artist, Shouko Ikeda, the episode's animation director, whose “Spectacles” stamp appears on both. I'd guess this sheet of thin yellow paper was laid on top of the outline to refine an already very fine image. See how much heft that clenched fist gains in the rough.
It’s a tremendous moment, and the animation team gave it their best.
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