God Eater-1
So this is what happens when Ufotable has a good director helming a show. The differences are like night and day between Hirao and Miura. One of the first things that struck me was during the opening sequence, the use of jump cuts accompanied by this harsh static sound. It gives off the feeling of pain to the audience through sound so as to match the trauma felt by the main character. There's ample use of match cuts through this opening segment so as to give the feeling of continuity to these flashbacks in that for the main character, it's just one big memory leading up to the hard black cut and him being tested which signify a new set of memories.
Of note is how there isn't a clear shot of the main character's face until he passes the test and is named which could signify two things in that it's a sort of throwback to the game in that he's some nameless thing until solified by the player or that for the commander, he wasn't worth viewing or naming until he passed the test. In fact the first clear glimpse at part of his face is his mouth which not only works to confirm his determination but also is probably a reference to the God Eater name and the mouth his weapon later can morph into. Not to mention when the audience gets its first clear glimpse at the main character, the camera zooms first out of his eyes so as to reaffirm his personality.
Here at the city/military facility is when things become really interesting from a storyboarding perspective in that there's a strong emphasis on physical space between Renka and Amamiya. In multiple shots between the two, both characters will be on the edge of the frame so as to highlight both the emotional distance but also positions in the organization. There's also body positioning in that Amamiya has her back to Renka in multiple sequences in order to re-enforce their difference in positions and goals.
Also note the vertical positions of the characters in the third shot.
Compare that with Renka's position with Kota in multiple frames, in that Renka and Kota are usually positioned together so as to highlight the similarities between the two and how both are at the bottom of the food chain. They're also usually facing each other in contrast to Amamiya. There are a few shots with Kota facing Renka's back but that's done so as to highlight Kota's wonder of Renka.
The camera will also go offkilter so as to highlight when the main character is emotionally shook. This is used repeatedly in the episode such as when the initial assault near the wall happens up to Renka's big heroic moment and the camera does this twirl. One exception not directly tied to the main character's emotions is the second set in the above images, in that the camera takes a position between the two characters so as to show each of their perspectives and the power difference between them. I guess you can say that it shows the distorted emotions between the two parties especially after Amamiya shot down his mission requests.
Hirao does this match sequence to not only portray the time skip for the returning unit but also to signify warning and danger. The new background has orange and red in it compared to the initial blue. Now yes sunsets are usual yellow, however the inside colors of the facility also change colors so as to match the mood of increasing danger.
The lighting in the facility is now yellow. There's also an attachment of Amamiya with the red in the facility like when the Branch Director comes in to meet Amamiya or when she's initially training Renka and Kota, her background is filled with red which could mean she's stalling Renka's progress.
One thing I was going to criticize the show on was how dead the military base seemed to be in regards to activity, however that turned out to be a plot point. Hirao used a number of long shots to show how empty the location was.
So this is the big heroic moment of the episode. Again note how these back to back shots have the characters on opposite sides of the frame, so as to create a physical distance in the storyboards. The main character then says to fuck off and do his hotblooded thing. This leads to something like
Michael Bay's Spinning Super Cut.
It's worth noting how this shot
does it right. Despite the character not kneeling or on the ground, he has his head initially lowered. The sense of verticality found in Bay's shots are replicated by Renka raising his head up. There's also some parallax due to the backgrounds. The camera motions are a bit different though at the end in that it follows the main character's faces for dramatic effect instead of finishing a full circle.
In the back half there is a lot of emphasis on camera movement to highlight certain emotional moments. An example is in the above sequence in that when Renka decides to grab the handle of his God Eater, the camera zooms in as a way of visually supplementing his decision. It jumps and so doubles the visual impact of Renka grabbing the sword.
Another example is in this scene, the camera zooms along his arm to visually match his desires and indicate his actual reach. The camera work demonstrates through motion how long his arm reach is, that way there is a stronger contrast when his 'reach' lengthens. There's also multiple cases of effective use of slow motion for presenting dramatic moments or impacts, which again helps contrast faster movements for agility or surprise.
It's so nice having a decent composer compared to the garbage we got in
Ultimate Blade Works. Even besides the J-Rock pieces that fit for the bigger action sequences, sequences like the above work due to the solid composition and vocal work where unlike Sawano; the vocals don't detract from the piece and instead give it an uplifting quality so as to match the main character's reaction. The sound direction in this episode is leagues above what was presented in
UBW. This feels like the strongest improvement over
UBW in that big moments have the music to match the feelings of the characters.
I see what they were going for with the opening theme but I find it kind of boring, partially due to the destroyed/worn out backgrounds in
God Eater. I did like the handing off of the lighter, which works emotionally due to future events and is kinda cool in its own right. Anyway the editing, sound effects, music composition, camera movements, camera positioning, storyboarding all show vast improvements over
Ultimate Blade Works and show what the studio can do when they have great directors helming. I almost forgot to mention that I like the art direction in the show, as the shading for the characters gives it a unique feel despite a few shots looking bad.