Otsu Animation

Otsu Animation A creative animation studio born from anime culture
Hong Kong (HQ) • Los Angeles • Ho Chi Minh City

07/08/2026

Kagenashi / Zenkage: Why would anime remove character shading on purpose?

Shading helps 2D drawings look more three-dimensional, so removing it might sound odd. But Kagenashi / Zenkage are anime styles that reduce or even remove character shading to emphasize movement and expression.

Have you spotted this style before?
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Otsu Animation
Hong Kong (HQ) | Los Angeles | Ho Chi Minh City

06/08/2026

What animator actually see.
Every object floating around Neuro-sama belongs to what we call the "book" layer - a scenic layer placed between the background and the character to add more depth to the shot.

Some of the most important work in animation happens in layers the audience never consciously notices. The book layer is one of them, adding depth and helping the scene feel more immersive without drawing attention to itself.
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Otsu Animation
Hong Kong (HQ) | Los Angeles | Ho Chi Minh City

05/08/2026

Few seconds to grabs your attention on her.
Yuki spins through the air and lands on the roof. The full acrobatic arc from a distance pulling into close is the main event. All about the movement.

Then she looks up. Motion slows down and suddenly the focus shift entirely to her eyes, where we pushed the shine and details to make that moment land in audience minds.
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Otsu Animation
Hong Kong (HQ) | Los Angeles | Ho Chi Minh City

04/08/2026

Why do Genga and Douga are crucial steps in animation?
Genga lays the foundation of the movement, while Douga turns it into a smooth, polished sequence.
Together, they create the seamless motion we see on screen.

Produced by Otsu Animation
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Otsu Animation
Hong Kong (HQ) | Los Angeles | Ho Chi Minh City

ACGHK 2026 is definitely a highlight of this year. We had the opportunity to attend the Bucket Man Pilot trailer premier...
04/08/2026

ACGHK 2026 is definitely a highlight of this year. We had the opportunity to attend the Bucket Man Pilot trailer premiere at the invitation of Stephen Fung, creator of this IP.

Watching the project on the big screen with live audiences was a proud moment for everyone at Otsu Animation who helped bring the project to life. The incredible energy in the hall and the audience’s warm response to the trailer made this experience even more rewarding.

During the event, Khoa Trinh, Founder of Otsu Animation, had a chat with Midas, Project Manager of Bucket Man, to explore future opportunities. Thanks to that, we had a deeper understanding of the growing momentum behind Hong Kong's animation and original IP scene.

This is also the beginning of Otsu’s new chapter in Hong Kong. Stay tuned!
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Otsu Animation
Hong Kong (HQ) | Seoul | Los Angeles | Ho Chi Minh City

03/08/2026

Unlike live-action filmmaking, anime doesn‘t have a physical camera. So how do animators create a convincing camera pan?

In this video, Otsu Labs will explain the fundamentals of camera panning in anime! Check it out 👇
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Otsu Animation
Hong Kong (HQ) | Seoul | Los Angeles | Ho Chi Minh City

02/08/2026

Từ đó chỉ thấy tôi vẽ mỗi mặt…

01/08/2026

AMV LÀM SAO ĐỂ EM TỰA VÀO xoay quanh biểu tượng Hoa Hướng Dương và ánh sáng.

Hướng dương đại diện cho khát khao luôn hướng về phía trước của Mai. Trái ngược với những khung hình hẹp và u tối bao quanh Dương, không gian rực rỡ nắng xung quanh Mai chính là lời khẳng định: cô chính là “tia sáng” duy nhất xoa dịu anh trong khoảng thời gian tăm tối.
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Here’s a quick compositing breakdown for our LÀM SAO ĐỂ EM TỰA VÀO AMV!

To bring the sunflower theme to life, we used gradient shading and soft-edge glows to blend the characters into the warm environment light. The sunflower field is layered with a parallax effect to convey passing time, acting as a silent witness to their journey.

Through these choices, the visuals remain warm and hopeful, even as their paths part ways.

Produced by Otsu Animation & Sino Studio
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Otsu Animation
Hong Kong | Seoul | Los Angeles | Ho Chi Minh City

31/07/2026

Ngày nay, CG không còn là một công cụ xa lạ trong sản xuất anime.

Đặc biệt khi áp dụng cho background, các model không gian 3D tạo ra bởi CG có thể tái sử dụng qua nhiều góc máy khác nhau, nhờ đó bối cảnh được duy trì nhất quán qua nhiều góc máy. Bên cạnh đó, chúng cũng giúp đạo diễn kiểm soát chuyển động camera tốt hơn trước khi bước vào giai đoạn animation.

Tuy nhiên với Otsu, công cụ chỉ là một phần của quá trình. Điều quyết định vẫn là cách artist sử dụng nó để tạo nên cảm xúc và trải nghiệm cho khán giả.

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Today, CG is no longer an unfamiliar tool in anime production.

When used for backgrounds, CG allows artists to create 3D environments that can be reused from different camera angles, keeping the setting consistent throughout a scene. It also gives directors better control over camera movement before animation even begins.

However, we believe the tool itself is only one part of the process. What truly matters is how artists use it to create emotion and shape the audience's experience.
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Otsu Animation
Hong Kong | Seoul | Los Angeles | Ho Chi Minh City

30/07/2026

Trong AMV LÀM SAO ĐỂ EM TỰA VÀO, hình ảnh cánh đồng hoa hướng dương tượng trưng cho hành trình trưởng thành trong tình yêu của Dương và Mai.

Trong quá trình xử lý background, Otsu đã tách riêng từng lớp layer hoa để diễn hoạt chuyển động từng bông hoa lay nhẹ theo gió. Một chi tiết nhỏ, nhưng đủ để khiến phân cảnh này trở nên sống động hơn.
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One shot in LÀM SAO ĐỂ EM TỰA VÀO AMV, the sunflower field symbolize Dương and Mai‘s love that filled with deep adoration. From falling in love to building a home together.

To bring the scene to life, we split every sunflower and stem rom the background and gave them a gentle breeze effect. A small detail, but it makes the whole shot feel warmer and more emotional.

Produced by Otsu Animation & Sino Studio
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Otsu Animation
Hong Kong | Seoul | Los Angeles | Ho Chi Minh City

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