[作画 MAD/AMV] Norio Matsumoto (松本憲生)

Super Animator: Norio Matsumoto (松本憲生)

Matsumoto graduated from Tatsunoko's Animators Training Institute and debuted as an In-Between in Robot Carnival, then participated in Akira as an In-Between Animation Check Assistant. He debuted as a Key Animator in Peter Pan: The Animated Series, working with the designs and influence of Takashi Nakamura and with some of his followers from the Realist Animation School, working primarily under the Animation Supervision of Tomihiko Ookubo and developing a realistic motion approach.

Later he had the opportunity to participate in Long Life To The Ancestors, which probably influenced the style that he developed after this project (and probably inspired by Mitsuo Iso), with slight deformations to the character model, quite fluid movements, marked smears with creative implementations and speed lines, also demonstrating skills in Background Animation, effects and animating at complex angles, all during his participation in Ranma 1/2 Nettou hen.

In 1993 he participated in Irresponsible Captain Tylor, evolving his Character Animation, seeming the transition from Nakamura's realism to something with a much more fluid movement, in addition to managing a noticeable sensation of weight in the movements of the characters and reactive movement of the slightly exaggerated clothing.

Little by little he developed his skills even more, freely implementing Frame Modulation, highly detailed Debris Animation, more precise movements and even more impressive management of perspective and later presented much more sophisticated work in productions such as Neon Genesis Evangelion, maintaining the anatomy of the characters, implementing a very well developed shading, in addition to reaching a high level in Character Acting, which continued to evolve during the following productions in the second half of the 90s.

During his participation in Popolocrois (1998), his characters had a great emphasis on the flow of movements, supported by simple designs and simplified (but striking) ways of representing parts of the characters such as hands (also the animation of effects, animating shadows with marked volume, inertia and striking shapes). This continued with Medarot, for which Matsumoto implemented a strong sense of three-dimensional depth through clothing, hair, or by zooming in/out of different parts of the characters to the camera.

During his participation in Hunter x Hunter, he implemented not only a very fluid general movement, he also used different smears to help the feeling of flow, completely deforming the characters and making them appear to be made of some kind of viscous liquid being moved at high speeds and leaving a trail, but when returning them to their original shape, maintaining a strong sensation of weight and volume.

It's obvious that Matsumoto excels at all types of animation. His effects tend to stand out a lot because he uses very peculiar forms; With the Water he draws pointed contours while inside he makes another layer mixing pointed and round shapes helping to reinforce the volume (many times it represents the foam produced by the agitation of the waves). With the Smoke he doesn't add strong shading, he simply makes the shape and adds some interior lines but it still looks very remarkable because of how he performs the movement. With Fire, on many occasions, instead of looking like gas, it looks like a kind of liquid or lava, mainly due to the fluid movement, while on other occasions the shape is aggressive with shapes between rounded and angular, which may or may not generate internal layers.

Because he is a freelancer, he usually participates in many productions throughout the industry and in recent years he has focused mainly on Character Animation, retaining many of the elements that have characterized him for so long; The characters move with precision, managing very well the sensation of volume, in addition to the weight in each movement of the characters, as well as reactive movements.

Music: Message To The World by Story of The Year
   • Message To The World  

List:
00:00 - ナルト #30
00:03 - HUNTER×HUNTER (1999年のアニメ) #11
00:11 - ポポロクロイス物語 #03
00:22 - ナルト #71
00:27 - ポポロクロイス物語 #01
00:36 - ナルトo #30
00:41 - ナルト #133
00:45 - ナルト OP4
00:47 - ナルト #71
00:54 - 夜桜四重奏 ～ハナノウタ～ #12
00:56 - 幻想水滸伝III OP
00:58 - 幻想水滸外伝: ハルモニアの剣士 OP
01:04 - ジョジョの奇妙な冒険 #12
01:07 - ぶらどらぶ OP
01:10 - るろうに剣心 明治剣客浪漫譚 #31
01:31 - 天地無用! in LOVE2 遥かなる想い
01:44 - ナルト #48
01:50 - HUNTER×HUNTER (1999年のアニメ) #17
01:53 - ナルト #133
02:07 - 烈火の炎 #22
02:13 - ポポロクロイス物語 #03
02:18 - ナルト #71
02:28 - Ｈ２[エイチ・ツー] #41
02:36 - 夜桜四重奏 ～ハナノウタ～ #12
02:40 - ナルト #30
02:48 - 鉄腕バーディー DECODE:02 #12
02:58 - ナルト #133
03:06 - ナルト #71
03:08 - 鉄腕バーディー DECODE:02 OP
03:10 - ナルト 疾風伝 OP3
03:14 - ナルト #133
03:16 - 忍空 #02
03:19 - HUNTER×HUNTER (1999年のアニメ) #28
03:22 - テイルズ オブ ヴェスペリア OP
03:23 - ナルト 疾風伝 #167
03:36 - 最臭兵器 (メモリーズ)
03:44 - るろうに剣心 明治剣客浪漫譚 星霜編 #02
03:50 - ナルト 疾風伝 #167
03:55 - BORUTO NARUTO THE MOVIE