In senior three, the school wanted to collect questionnaires about students' future studies and careers. Asano Nagaakira asked the art teacher, who encouraged him to say, "Painting can also be a profession. Now the animation market is in great demand. When you think about it, go to be a professional animator. " Asano Nagaakira remembered the teacher's words. He went to animation school after graduating from high school. Two years later, I graduated from a special school, and soon entered the production I.G. Production I.G is a big company that has gathered the industry elites of animators. When Asano Nagaakira first arrived, he felt the same invisible pressure as the size of the company.
Asano Nagaakira was selected by the company as the "New Century Gospel Warrior Theater Edition Freshman" painting. Asano Nagaakira said, "I feel very happy. This is an excellent opportunity. I don't remember how I got in and how I finished this job. I should have been painting selflessly. I have been painting all day for three months. All I know is that this is a test for me. It's really fun to draw with the seniors in the company. It's great that I can choose painting as a career. "
The way for animators to be promoted is this-first make the original painting, and then after the original painting reaches a stage, it is promoted to painting supervisor. After working in I.G. for two years, Asano Nagaakira was promoted to director of painting. Asano Nagaakira said: "The original painting is that you can only see one scene you are responsible for, and the painting supervisor wants to see all the pictures of the whole work." Being a painting supervisor gives me a sense of accomplishment. I feel that the world where I used to bury my head in painting a picture easily swallowed up all the spirit, and you wouldn't see anything else, and the painting supervisor made me realize the close connection with the work. I used to watch the performance very indifferently and explain the lens combination. Now I have to discuss the lens arrangement with the performance, so I am really excited to be able to integrate into the production of the work. "
Asano Nagaakira said that the work that made him go all out ("going all out" is a state of playing baseball in Japanese, and throwing a straight ball with all one's strength shows that one is serious and determined) is "the princess of birdcage country in the era of wings". It was the production of that theatrical version that became a turning point in his thinking direction about work. "The Princess of the Bird Cage Country" is a project of I.G. When Asano Nagaakira was in the office of Class I. g. 6, Itsurou Kawasaki asked Asano Nagaakira to participate in the painting of this work. Asano Nagaakira became a painting supervisor. He suddenly felt a lot of pressure, but he also worked overtime with all his strength to finish the work quickly. After 20 12, Asano Nagaakira moved from making I.G. to WIT STUDIO, a new company independent of six courses. He worships and supervises Hiroyuki Imaishi very much. He just wants to participate in the kind of animation with delicate movements and fierce scenes. Later, Asano Nagaakira was able to participate in Ghost in the Shell series, which satisfied his desire to hone his realistic action description skills.
Kenji Kamiyama's evaluation of Asano Nagaakira is: "A pure animator trained in the production environment, namely Asano Nagaakira, is indispensable in Ghostbusters. I admire him very much and hope that Asano Nagaakira's career will flourish. I support him! "
Naoko Iwatani is an old acquaintance before Asano Nagaakira. When Iwatani just started to do the animation of the psychological doctor of Psychological Communication, he went to Asano Nagaakira and said, "Help me draw the role design of the psychological doctor!" At this time, Asano Nagaakira has already started the preliminary work of "attacking giants". He felt that it was heavy to do two projects at the same time, but he finally accepted the challenge, grasping the mind reader with one hand and attacking the giant with the other. Asano Nagaakira took over the role of Akira Amano. He found that Akira Amano's paintings have many lines, which are "rough edges". That is to say, one line repeatedly describes several lines, and the strokes are messy. He immediately set out to cut out Akira Amano's lines in the animation design, and omitted them as much as possible to facilitate the dynamic performance in the animation. Asano Nagaakira spent the most time on the role design of Kougami Shin 'ya and Tsunemori Akane, followed by the design of faithfulness and faithfulness, and finally Makishima Shogo. Then the final draft was unanimously adopted by the staff.
The simultaneous production of Attack on the Giant and Psychologist seems to be squeezing Asano Nagaakira dry. Asano Nagaakira said that after being behind the scenes for so long, the role design is more challenging, and with the painter's supervision, it is necessary to "throw the ball with all one's strength" and show the audience a wonderful animation scene with the painter's painstaking efforts.