Layout and BG rough. The written details up top are: Episode - 43; Production - Sakura; Cut - 51; Time: 4+18 (I believe this code is the 35mm film footage length of the scene). There's an apology note and a conversation going on between artists re: the bench overlay and the cut on the sheet. 🧵 2/6 - ThreadSky

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ccsakuradaily.bsky.social • 166 days ago

Layout and BG rough. The written details up top are: Episode - 43; Production - Sakura; Cut - 51; Time: 4+18 (I believe this code is the 35mm film footage length of the scene). There's an apology note and a conversation going on between artists re: the bench overlay and the cut on the sheet.

🧵 2/6

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ccsakuradaily.bsky.social•166 days ago

Clean keyframes. Meilin's includes paint annotation with colour codes. The term 'BOOK' you see written in English everywhere refers to the overlay bench layer (BG & OL elements will sandwich the animation between them and the OL becomes like the cover of a book, thus "BOOK").

🧵 3/6

ccsakuradaily.bsky.social•166 days ago

The cels & the bench overlay. The painted cels are in protective slips (so they don't stick to anything) and taped to the plastic the BG slips into. The bench OL is taped to a blank cel and aligned w/ the registration holes up top.

Remember to wear cotton gloves when handling celluloid!

🧵 4/6

ccsakuradaily.bsky.social•166 days ago

Television backgrounds were painted (and airbrushed) with gouache or occasionally water-based acrylics. Gouache mimics watercolour well while still maintaining the ability to remain thick and opaque. BGs are often mistaken as being done in watercolour because of this.

🧵 5/6

ccsakuradaily.bsky.social•166 days ago

And that's the tale of this Cardcaptor Sakura animation cel! Have a lovely weekend everyone 🌸

🧵 6/6

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