Tsutomu Shibayama
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Shibayama stood in stark contrast to [[Hayao Miyazaki]], who began his career around the same time; he was an animator who never actively asserted his own views and remained strictly behind the scenes. When his work began to gain recognition among anime fans, he commented, “I feel a sense of guilt for having gone beyond the call of duty.”[https://intro.ne.jp/contents/2010/02/02_2026.html 芝山努監督インタビュー：「ドラえもん映画祭」開催によせて] |
Shibayama stood in stark contrast to [[Hayao Miyazaki]], who began his career around the same time; he was an animator who never actively asserted his own views and remained strictly behind the scenes. When his work began to gain recognition among anime fans, he commented, “I feel a sense of guilt for having gone beyond the call of duty.”[https://intro.ne.jp/contents/2010/02/02_2026.html 芝山努監督インタビュー：「ドラえもん映画祭」開催によせて] |
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As a director, Shibayama would create detailed storyboards and layouts during preliminary meetings, then leave the subsequent direction and animation entirely to the animators on the floor without making any revisions. This approach also served to nurture the next generation of animators.name="animestyle |
As a director, Shibayama would create detailed storyboards and layouts during preliminary meetings, then leave the subsequent direction and animation entirely to the animators on the floor without making any revisions. This approach also served to nurture the next generation of animators. |
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He was also known for his speed. As the layout artist on ''[[Lupin the 3rd: The Mystery of Mamo]]'' |
He was also known for his speed. As the layout artist on ''[[Lupin the 3rd: The Mystery of Mamo]]'', he single-handedly created over 1,000 shots in about four months; these layouts were so detailed that they could have passed as final key animation.{{Cite web|url=https://animestyle.jp/2025/04/07/28813/ |title=芝山努さんの仕事の話 第一回 大武正枝（アニメーター）|author=[[Mitsuru Hongo]] |date=2025 |website=WEBアニメスタイル |accessdate=5 May 2025}} At one point, he even directed four projects simultaneously. |
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His delicate storyboards, which are easy to see, reduced the effort required for animators to draw. They showcased action with camera angles and varied camera work that made it easy to portray characters, for meticulous time calculations, and to get detailed drawings. His storyboards in particular for ''[[Doraemon: Nobita and the Robot Kingdom]]'' and ''[[Doraemon: Nobita and the Windmasters]]'' were even published as books.''Tsutomu Shibayama and movie Doraemon world of "Nobita and the Robot Kingdom"'' (芝山努と映画ドラえもん『のび太とロボット王国(キングダム)』の世界) (in Japanese), Shogakukan, May 2002, ISBN 978-4-09-101559-4.''Doraemon: Nobita and the Wind Wizard Storyboard Collection'' (映画ドラえもん『のび太とふしぎ風使い』絵コンテ集) (in Japanese), Shogakukan , September 2003, ISBN 978-4-09-290274-9. |
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[[Hayao Miyazaki]] and [[Seiichi Hayashi]] were amongst those who joined [[Toei Animation]] the same time he did. He was even the same age as Miyazaki, they were both born in 1941. |
[[Hayao Miyazaki]] and [[Seiichi Hayashi]] were amongst those who joined [[Toei Animation]] the same time he did. He was even the same age as Miyazaki, they were both born in 1941. |
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