Making of 作画 Sakuga -「Ambient Action」AMV

Hi everyone, I realised I don’t really talk about my process in I’m making these AMVs so thought I’d give some insight into how I made some of my videos. Starting with this AMV I’ll be doing a writeup of how I went about making some of my videos.

作画 Sakuga -「Ambient Action」AMV

Pre-production Time: 20-30 hrs
Time spent Editing: 50-60 hrs

Programs Used

  • Adobe Premiere
  • Adobe After Effects
  • Handbrake
  • ClipGrab
  • Subtitle Edit


I made this AMV in the beginning of June. I had some time off work so I spent a few days organising and expanding my collection of Sakuga clips. I had between 2000-3000 clips on Sakugabooru to check and a little over 2000 clips to organise. This is the pre-production time mentioned above. By doing this I was able to get a good idea of what I had and come up with a lot of ideas for future videos.

I usually sort my clips of animation in the program Adobe Bridge, but I can also just sort them into folders

One thing that I noticed while organising my clips was that I had a lot that I would describe in my head as “ambient action”. Action animation with a really nice, almost relaxing atmosphere/ambience. The sort of animation you’d see in Openings, PVs or works directed by Shingo Yamashita.

I was also listening to Castle Carousel’s Future Funk Album 1 around this time. Some songs just really stimulate my imagination and Internet Moms is one of those. I really wanted to edit to it. I could see what kinds of animation different parts of the song made me think of really clearly. Like these clips of “ambient action”, the song is upbeat and energetic but with a cool, sultry baseline/atmosphere.

The song also adds to the TV aesthetic. Smooth jazz, like the song Internet Mom samples, is often used on obscure, 24 hour channels like the weather channel.

I wanted to do new things with this video. I’ve made a lot of MADs that are long, where I try to be comprehensive. But I wanted to make AMVs that covered the same ground that focused more on the editing. So I leaned more into flashy editing, and focused more on what I could do creatively rather than trying to make something comprehensive.

What I was Trying to Do with the Video

Finding out about the Sakuga community back in 2015 reminded me of experiences I had as a kid watching TV. When it was a weekend or the school holidays and it was just on in the background. I’d be doing something else around the house when it was on. Every so often something would come on TV that would catch my attention. Something I’d never seen before- like a made for TV movie, a weird daytime TV show, a music video. I would never know what these things were. I usually started watching them when they were already half over. But they could be mesmerising. The transience of these things left big impression on me.

The Sakuga community left a similar impression on me. I came across Sakuga MADs by chance. I had very little frame of reference, no idea what they really were. But it felt like I had found something unique, niche and interesting in the midst of all the millions of other things on YouTube. A diamond in the rough like those shows I caught by chance on TV.

This is the feeling I wanted to communicate in this AMV.

Blue Sakuga’s MADs were my introduction into the fandom

Editing Notes – Intro

The video begins with footage of the sun refracting off a lake. I shot this at footage at a local park. The water fades into a shot of a CRT television turning on. I used the footage of the sun on a lake to give a dreamlike feeling. To make it feel like the TV and the AMV itself exist in a dream realm. The footage of the sun reflecting off the lake is also overlaid onto all footage of the TV to emphasise the dreamlike feeling (look at the top left of the screen at 0:09 for example and you can spot the lens flare).

I found the TV used in the video in a stock footage library. I used it because it looks similar to one my family owned when I was in primary school.

This One

The initial zoom in towards the screen was included in the stock video, but the zoom in that happens at 0:09 is from a 3D camera effect that I added in After Effects.

An unseen observer scrolls through the channels on the TV.

Channel 4: The first channel shown. This is footage I shot at the same local park as the water footage. It’s right next to the lake. It’s meant to feel mysterious but calming. Like it could be a mature show. This footage features in a future video I have planned, so it also acts as a teaser for things to come.

Channel 5: The Making of Little Witch Academia documentary. The shot I used shows animator Yoh Yoshinari at his desk. This is an easter egg and a bookend. The video begins with footage of Yoshinari and ends with a clip that he animated (from White Album, NCED4).

Channel 6: A clip from the movie Serial Mom. This was originally a placeholder before I decided that I liked how this worked. I was originally going to use a clip from the William Friedkin movie Sorcerer here. I wanted some beautiful live action footage that looked beautiful to compliment the animation and that movie has some really great shots. But the Serial Mom clip worked better in my opinion for a few reasons.

  • I think the hyper-Americana/corny tone of the movie fits the dreamlike atmosphere
  • The cheesy tone carries into the cheesy dialogue at the start of the Internet Moms song pretty well I think. The movie and the song are about different kinds of Moms
  • This is a really good movie

作画 (Sakuga Channel): The channel that the MAD plays on. Light leaking in from the sides of the screen tells us that we’re entering the world of the TV. I inverted the colours of the Hungry Days ad at the time of the transition to make the light leaks more visible. Light leaks are used a lot in media and YouTube videos now. The reason I used it is because I’d seen the Brandon Cronenberg movie Possessor around the time and I liked how the light leaks in that movie made it feel like a dream

I decided to made the screen between the channels blue. This is because when I was growing up I had friends who had TVs that thought were very high tech for some reason. Often flat screen, silver CRTs. When you.changed channel on the TVs I owned the screen just went black. But I remember when they changed channel or their, cooler, TVs it went blue. For some reason as a kid I thought this meant their TV was more advanced, more exotic. So I added a blue transition screen in this video to give the same feeling.

It took some searching to find a font that looked like a believable TV font that which could also write Kanji characters. The font used is DotGothic16, which you can download on Google fonts. The CRT effects were created using Creation VHS Effects in After Effects. I applied a mixture of filters that made the footage look believable but not too degraded.

Editing Notes – AMV

I wanted to make a AMV that felt like an anime Opening. Very fast cuts, tightly edited to the song and an exaggerated sense of appeal and flow. Spending days going through my collection and having all those cuts in my mind at the time helped me make the AMV pretty fast. I created the AMV section over 2 roughly 12 hours editing sessions over 2 days.

Like all of my AMVs I went between syncing up actions within clips to specific elements in a song to using clips that follow the general flow of the music. Also keeping in mind thematic and visual links between clips to create a stronger sense of connection (matching things like camera movements, camera angles, character actions, themes general themes and focal objects likes hands, feet or faces).

Some of the edits I’m most proud of are:

  • The opening section from 0:25-0:47. I like how the action reflects what’s going on in the song. I think the relaxing, contemplative vibe gels well with the atmospehre shots from JJK. I thought of the fast sparkling effects at 0:33 like a Final Fantasy battle transition. This effect was made by playing 2 different sparkling effects from a Fate Movie/Pocari Sweat ad in fast succession. I match the character movements in the following clips to elements in the song (character landing in time with the baseline at 0:33, the attacks in that clip and the JJK ones matching up with the keyboard notes). And in general I wanted to make this section feel sweeping with a lot of moving camera shots. I’m happy with the flow through the JJK clips. I liked blending both of the openings together, going from Toge doing a flip in the 2nd OP to Kento dropping down in the 1st.
  • Timing of the water droplets/sun flare at 1:10 in time with the notes in the music.
  • 1:50-2:01- Reaching out to the sky in Just Call it Love > the sky breaking open in Alex Alice’s Siegfried. The champagne being popped in the Fate PV to champagne being poured in the Shuo Feng PV. Then the action in the cuts is synced in time with the descending notes. Coin flip > Cap flying off > Cut into JJK > Water droplet hitting water
  • 2:40-2:51- The song here reminded me of a Character Select screen in a fighting game so I chose clips that looked like character showcases, or fighting game select screens. It’s edited to flow of the music with the Balance: UNLIMITED characters dancing and Rock Lee’s head movement synced in time with the notes.
  • 2:54-2:58- I’m very happy with these match cuts. Guilty Crown character’s punch flows into the Boogiepop Wonderland punch well I think. The punch’s impact into the wall is in time with beat, then as the Boogiepop Wonderland character moves to screen left the character in Angel Links dashes to the left to punch. The Angel Link character’s kicks are in time with the beat. This is the part of the video I’m most happy with.
  • 3:16-3:23- I like the shot progression. I was trying to make it feel like the same object was moving through different cuts. The dragon dashing out from left to right, the object in Weilin Zhangs animation doing the same, then an object finally coming in from the left again to explode in the middle of the screen behind All Might. I think the Generator Gawl cut also has the same energy as the MHA one, with a guy standing calmly in the midst of firey explosion.

Action Sakuga 作画 MAD – Editing Notes –

I finally finished the Action アクション Sakuga 作画 MAD. It was a bit of a nightmare to make in places. But overall I’m very happy with it. I made this video to celebrate getting 100,000 subscribers on my YouTube channel. In this article I’ll talk about how I put it together and how make my videos in general.

I’d been planning this MAD since early last year. I’m always collecting clips for video I want to make in future. I go through Sakugabooru/Twitter regularly (daily if I can) and watch all the new clips. I download clips I like and catalogue them with Adobe Bridge on my PC to make them easy to search. For example, I add info like where I found the clip, who the animator was, tags, a description of what happens in the clip, so I can find them easily in a search. I start editing a video once I’ve found the right songs for them.

My Adobe Bridge set up, Metadata I’ve written to the file is on the right

I started making individual videos for 2nd Hand to Hand Fighting and Swordplay Sakuga MADs last year. But I didn’t feel like I had enough clips to justify making whole videos about those topics. I’ve preferred to make longer MADs for a while now. I didn’t feel like it’d be right to upload a 3 or 4 minute MAD if my uploads are usually ~20 minutes.

I thought if I made an Action MAD I could put in Hand to Hand Fighting/Swordplay/Gunplay, but also put in action clips that don’t fit neatly into those categories. I have tonnes of those less specific action clips in my collection so thought it’d be a good chance to use them.

I had an idea of what kinds of songs I would use for the middle 3 MADs. The songs follow the same theme as the 1st MAD in their series. Both Hand to Hand MADs use Cowboy Bebop music, both Gunplay MADs use brass heavy jazz fusion and both Swordplay MADs use songs by Nujabes. So there’s a connection between them.

I find a lot of music I listen to through Spotify’s Discovery playlists. But I also browse Soundcloud and get reccommendations from friends/family/places like Anthony Fantano videos

The first time I heard Sign by Roosevelt I knew i really wanted to edit to it. It feels really nostalgic and atmospheric but I also love that it gets intense as it goes on. I thought it could work well as an ending song in one of my MADs because it has that “end credits of a movie” kind of feel at the beginning (before it gets more dance hall). I was originally going to use it for the last part of a Fire MAD, but thought it worked better here.

I wanted something Future Funk for the 1st song since that’s what I’ve been usually doing. I like editing to Future Funk. Something Plastic Love related if I could. That way it would be kind of a reference to the Effect Sakuga MAD, which is a similar kind of MAD that uses a song that samples Plastic Love. Plastic Love is also the default Future Funk sample so I thought it would be appropriate for a general action MAD.

I looked through tonnes of playlists, listened to 100s of Future Funk songs but couldn’t find what I was after. So I basically said fuck it and just used a remix of Plastic Love. Tara’s bootleg of Plastic Love wasn’t as fast or long as I wanted it to be. But I liked the mix so I spent a few weeks audio editing to get a version of the song I liked. I think the end result sounds a bit muddy because of all the post processing the song’s been through. I paid a music producer to clean it up, but there wasn’t much he could do. In the end I went with the version I originally made. I enjoyed editing to it. I wish it sounded a bit cleaner and I might redo it sometime in future. But I think it works well in the video.

I pitch shifted and sped up the remix in Audacity then edited and EQ’d it in Adobe Premiere. I used Adobe Audition to test out different EQ settings.

The video editing took about 2 months. I worked with a little over 1000 clips. The intermissions were an idea that kind of came from my last video, the Liquid 液体 Sakuga 作画 MAD. I included some audio from an Utena episode in the MAD since I liked the sound design a lot. I thought it could be cool to make more intermissions like this between sections. It’s a way I could include more nice animation that didn’t fit neatly into the AMV parts. The SFX from the intermissions are from SoundSnap.

It’s hard to describe my editing process but I try to make it feel like the clips are flowing into each other. I try to have a balance between editing songs to the beat, letting them play out to see the animation and keeping the pacing and energy appropriate. There’s a lot of experimenting to see what feels right. I made around 20 different verisions of the opening for example.

I write down ideas I have for how I could edit parts of the video in notepads and test the ideas out. I usually create key sections that I really like first and edit around those. For example I knew I wanted to have the first beat drop in Plastic Love end with a close up of a character’s eye, so I edited around that. It’s then a matter of constantly rewatching the video to see what feels good or what needs work, taking notes, moving things forward and back a few frames, trying out different parts of a clip, watching my library of clips again and searching for new clips as I edit.

I really wanted to have sparks of lightning flying towards the screen after the Star Driver The Movie fight scene since I thought that would be a good follow up. I didn’t have a clip like that initially so I searched the lightning and sparks tags in Sakugabooru until I found the To Be Heroine clip that I thought worked well. I ended up using that in the final edit.

After I finished the semi-final edit it took about a week to replace the 480p Sakugabooru clips with Blu-Ray quality footage. There were 228 clips I had to replace with HQ versions.

I use WPS Office, a free Word Proccessing suite, to keep track of whether or not I’ve replaced HQ footage

Sometimes the timing of the animation in the Sakugabooru clip is different to the timing in the HQ clip. There’s some problem solving to be done when trying to fix that. If the new timing doesn’t feel right I ocassionally change the timing of the HQ clip to match the timing of the Sakugabooru clip. But more often I’ll screenshot the final or beggining frame of a clip and extend it to fill any blank spaces in the timeline left by the timing difference.

I very rarely, almost never, change the playback rate (the speed) of a clip of animation to make it fit. I’d much rather do anything else as changing the playback rate messes with with the integrity of the animation. None of the clips in the Action Sakuga MAD have had their playback speed changed.

Referencing and subtitling for the MAD took about 3-4 days. When I download clips from Sakugabooru I change the name of the file to the video ID. That way all I have to do is copy the name of the clip into the Sakugabooru URL to find the source information. I wrote subtitles using the subtitle feature in Adobe Premiere. You can add text formatting like italics in there as well. To align the subitles to the bottom left of the video and export it in a format that YouTube will recognise the formatting in (the EBU STL format is best for keeping the formatting) I used the open source program Subtitle Edit.

I write the Reference List at the same time as the subtitles so I can see the timing of the cuts

I had the idea to create a document that would let people know where they could watch the sources I used in the video since I get asked that a lot. I thought it would be nice to do in celebration of getting 100,000 subcribers. So I made the Action Sakuga MAD Companion Book in Adobe InDesign over about a week and a half. I basically had a look at some templates to get some ideas and adopted/altered design elements I liked.

My main gripe with the video is the audio quality of the first song. I didn’t see problems with it when I was editing. But by the time I finished editing the video side of things I heard its muddieness in places. It’s artifacts of compression. It was too late to redo when I heard the muddieness as I lost the project files for the song. I was able to EQ it to make parts of it pop out more at least. I think it works well, but I’ll focus on reducing audio quality loss in future videos.

I rendered roughly 32 final edits, the edit on YouTube is the 32-34th version I rendered.

I hope you enjoyed the article and the MAD. Let me know in the comments if you have any questions about my editing process.

Shorts #2: Different Styles of Character Acting

I just finished reading the Illusion of Life- the book about animation by Disney animators Frank Thomas and Ollie Johnston. Like you might expect, there’s a lot of talk in it about the difficulty of animation. Even basic actions like how a character should walk are time consuming to develop- sometimes taking months of research. When a difficult kind of animation is mentioned, the authors like to bring up less labour intensive ways to achieve the same effect. There’s even a splash page dedicated to time and cost saving measures.


Click here to view in higher res

It reminded me of why anime has little chance of feeling the same as Disney’s animation. There’s so much detail in Disney’s character acting. There’s 3-Dimensionality in the figures; convincing portrayals of weight; creative ways of showing emotion; attention paid to the timing of expressions so they transition into each other smoothly; secondary action in the clothing; smart staging; lip syncing- the list goes on.

This isn’t to say Disney is the best at character acting. But, given how quickly anime has to be produced, it feels like there’s no way that the detailed character movements seen in Disney’s works can be replicated in anime.

Key Animator: John Pomeroy

There have been anime that have tried to replicate Disney-like character acting like Little Witch Academia or FLCL. And high budget anime movies like Metropolis can afford to have more attention paid to each shot. But their approach to animation is completely different. Metropolis, for example, looks beautiful, but this is mainly due to the designs and effects animation rather than the character acting.

Key Animator: Manabu Oohashi

The effects and camera work in these shots from Metropolis are more focal than the character animation.

But I think Japan is good at getting across complicated ideas in simple forms. There’s just something about expression in anime that isn’t found much in Western works. Mark Henn’s (?) animation of Simba in these shots is impressive. There’s a strong sense of weight, especially in Mufasa’s limp body; smooth follow through animation in Simba’s tuft of hair and ears; convincing animal movement; and thoughtful secondary actions (notice how Simba’s tail, ears and stance shift to emphasise his emotions).

But these shots from Grave of the Fireflies are more visceral in my opinion. I feel the emotion they’re trying to get across more strongly. I think the animator was able to put more emotion in less frames here.

I think it might be because there’s so little else going on in the Grave of the Fireflies shot. The staging, background and animation itself are minimal, only there to frame the acting. That single action of Setsuko turning away from the camera is simple, but says a lot. The Lion King shot might be more technically impressive, but I think all the movement distracts from the emotion a bit. Emotions might be more strongly felt with less movement.

Of course, you could argue that Simba running around, looking for someone to help, works because it’s in line with his innocent character. On the other hand, maybe the Grave of the Fireflies shot isn’t as sad if you don’t know the context. But either way, I think the approaches to the acting in both shots are effective for different reasons.

This is also speaking super broadly. There’s examples of simple character acting in Disney’s works and complicated character acting in anime. But in my experience this generally holds true.

Not all character acting is dramatic either. Character acting can be used to bring across personality or comedy like in shots like these. But even in these cuts, I think that there’s a focus on simple movements in anime shots and complicated actions in Western ones.

There’s also something wrong with acting like the only kind of Western animation that matters comes from Disney. I think articles like this one kind of advance the narrative that Disney has the monopoly on animation in the West and they undersell the importance of people like Tissa David, Rod Scribner or Bill Littlejohn- who developed styles of animation independantly of Disney. But I think it’s interesting to compare the effects these different approaches to character acting have. I’d like to talk more about lesser known animators in the future.

The next short article I post will be about excerpts from The Illusion of Life.

Shorts #1: Thoughts About Flash Tweening

There’s a recent trend in animation of using flash based programs to create inbetweens. In other words, programs like Adobe Flash are being used to automatically generate frames that go inbetween key frames. They can digitally squash, stretch and move parts of the shot to avoid having to make more animation drawings.

Key Animator: Kiyotaka Oshiyama

A shot from Devilman Crybaby that uses Flash Inbetweening. Original key frames are shown in the upper left. It seems like flash tweening can be done in different ways but works like this one convert the original pencil sketches into digital vector lines so the camera pans smoothly.

Flash tweening seems to be becoming more popular. It can be seen in anything from Masaaki Yuasa’s recent works all the way to shows like Bob’s Burgers. It’s a great time and cost saving tool as inbetweens can be tedious and costly to draw. It’s also controversial in some animation circles as some see it as a way of doing less work.

But a few thoughts on that. Reading the Illusion of Life, it’s clear that a lot of Disney animation techniques came about as a way of making things easier. Walk cycles were created to make easily repeatable movements. From 101 Dalmatians onward only black outlines were drawn on characters (as opposed to the many different outline colours that were used in the past) so they could be xeroxed and therefore inked more easily. Budget saving tricks can be used to produce something artistic.

There’s definitely a particular feel to flash tweened animation. It feels buttery smooth and CGI-like. But I can’t say I think this is better or worse than what traditional inbetweening gives us- it’s just different.

Key Animator: Shinya Ohira

A shot from Lu Over the Wall that uses flash tweening.

There’s something controlled about traditional inbetweening that makes me prefer how it feels. But I think this is just my taste. As more animated works use flash tweening it’ll stop standing out as much. Like how digital compositing slowly overtook the old process of cel photography.

But I don’t think traditional inbetweening is going anywhere in the near future. There’s too many purists in the animation industry for that to happen. I think flash tweening does give us an insight into what the future of animation could look like though.


I wonder how hard is it to make inbetweens using flash?

Blog Update #2

It’s been a few months since my last “weekly” post lol so here’s another update on the blog.

As my life gets busier I’m going to have to focus on individual projects rather than doing several at a time. I’ve been putting a lot more time into making Sakgua videos and because of this I’ve let the blog fall by the wayside. It’s not what I’d like ideally but it’s not realistic for me to put as much effort into both just now.

With that said I’m still going to be posting on here. That “weekly” 5 part blog post series I started is still in the works. There are 2 more of these blog articles to be posted. The first will be about animation in 3D fighting games like Tekken and Injustice. It’s going to be pretty long, so I’m not sure when it’ll be finished, but it will be coming out.

In the meantime I’ve been writing shorter articles that I can release in between the larger ones. They’re short think pieces about stuff mostly related to animation. You can look forward to seeing those in the next few days and weeks.

So yeah, some more, shorter content is coming soon. Again, to finish up, here’s another slideshow of art I like, along with my new profile pic.

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Weekly Post #3- Interesting Animation Techniques

Part #3 of a 5 part blog series, uploaded once a week, where I:

  • Share 3 Songs
  • Write a short article about animation
  • Ask 3 questions
  • Share 5 images
  • Share 5 sakuga clips

So, the bi-daily blog post idea didn’t work out. Other work caught up with me and I realised that writing a post every 2 days isn’t realistic for me just now. Part of the reason I started these regular posts was to get a feel of what I’m able to do on this blog so I’ve decided to make this series come out once a week instead of every two days.

This week’s post is a bit shorter, it’s mostly an add-on to the last article. I’d only planned to write a couple hundred words for these and the last one I did was 3000 so I have to tone it down a bit.

But either way enjoy, and hopefully the extra song, images and clips will make up for a shorter article.

Continue reading “Weekly Post #3- Interesting Animation Techniques”

Weekly Post #2- Akira & The Principles Of Animation

Post #2 in a 5 part blog series, uploaded every week (previously every 2 days), where I:

  • Share 3 Songs
  • Write a short article about animation or the animation community
  • Ask 3 questions
  • Share 5 images
  • Share 5 sakuga clips

I’ve realised a few things since Sunday. For one, bi-daily doesn’t mean what I thought it meant. It means twice a day, not once every 2 days. But it sounds right so I’ll keep the name lol. Also the number of clips/songs/images I share is a rough number, I’ll add more on some days.

The article today is long, well over the limit I gave myself. It has a pretty in depth analysis of a sequence in Akira and a discussion about how relevant the 12 principles of animation are when analysing great animation.


3 Songs

Continue reading “Weekly Post #2- Akira & The Principles Of Animation”

Blog Update & Banner Art Gallery

Blog Update- 5 Upcoming Posts

Thought I’d update people on whats going on with this blog for the first time in forever.

Going through my old posts you’ll see a running theme where new kinds of “daily posts” are seen once, then never again. I’ve had different ideas of what I want to do on this blog over time. There are big articles I’m slowly writing, ideas about shorter posts I could get out regularly and up until now I’ve mostly written articles related to my YouTube videos.

I was thinking about what I could do on this blog and I’ve decided to experiment a bit. I’m going to post a series of 5 short articles, one every 2 days, starting Sunday.

In each bi-daily post I’ll;

  • Write a short (200-500 word) article about animation or the animation/sakuga community
  • Share 5 images I like
  • Share 5 sakuga clips I like
  • Share 3 songs I like
  • Ask 3 questions

I’ve done articles similar to this before, but capping it at 5 posts makes me more likely to see these through to the end.

I’ve also got a big article in the works. I’ve been in the middle of gathering resources and writing notes for an article about the definition of good animation. I want to come to a solid understanding of what people think of as good animation, how broad the definition of sakuga should be and talk about different methods of producing great animation. I’ve still got to decide on the scope of the article so this could take some time (especially since I’m also doing post-grad and full time work). But, to be super vague, I want to finish it sometime this year.

Banner Art Gallery

By the way, I replaced my Calvin & Hobbes banner art with some more related to animation. I thought I’d post them all in a gallery here for anyone who wants to see them un-cropped. Info about them is in the captions.


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Screenshot Album

While I’m working on a couple of MADs and other projects I thought it would be nice to upload my screenshots folder. These are screenshots I’ve taken while watching animated movies and shows. Some are the alternate or final thumbnails for videos I’ve uploaded.

I’ll add to the album over time. Sources are below the screenshots.


Click here, or on the screenshot, to visit the album