Last Scene: NieA’s New UFO Appears: A8 genga
Source: TV
Layers: 1
Sketches: 3
Cel Number: A8
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Added 2/21/2018
Updated 2/21/2018
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This frame immediately follows and is likewise a key. Mayuko saves the proprieties just in time. Meanwhile the delighted Chiaki, coming to a halt, gives a little happy hop into the air and holds up her hand to point to NieA’s UFO. Kotomi begins to enter the frame from the right, looking irritated, though in fact by this time only her left arm penetrates the safety and so was visible to viewers in the final release.
In the sketch set that included the dougas, I found a photocopy of this genga that had been sent in the form of a fax from Visual Workshop, one of the concerns involved in digitally colorizing the douga images, to another division of the production. This was sent at 6:37 PM, and the response (made shortly after midnight the same evening!) was the heavily annotated image in the thumbnail detailing the color schemes to be used in this sequence. This is added in the first thumb.
It first seems odd that a photocopy of the genga was used to forward the colorizing instructions rather than a copy of the douga. But even though this sketch was not the final version of the keyframe (see the second thumb for Yasuda’s final revisions), it did have the highlights and shadows indicated on the front. In the dougas, as became normal in the CGI era, these would have been given on the back of the sheet, making that version difficult to photocopy and fax.
Notice also the little hand-shaped blob above the motion lines to the left of Mayuko. That’s an animating trick I’ve seen used from time to time: It actually appears on the same image with one showing her hand now down below, catching her billowing skirt. But to the viewer’s brain, it’s interpreted as appearing a fraction of a second before Mayuko’s move, so her moving her hands appears to take place in super-quick time. The studio could have done that by using two frames, the first one run at 1/24 second. But in fact this dodge allows them to achieve the same effect by running the scene at a steady rate of “twos” or 1/12 second intervals (as the timing sheet now confirms).
Notice also that the image of the bath-owner Kotomi on the edge of the sheet is revised thoroughly in the shuusei, although only her left arm actually was intended to be visible to viewers. (But Tezuka-sama would see...)
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