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BagoGames had the opportunity to interview Solal Girardin, a freelance animator and animation student from jFrance, to discuss what it\u2019s like to work for Japanese animation studios, the animator rates in Japan, the animation scene in France, and so much more.<\/span><\/p>\n<div class=\"jeg_video_container jeg_video_content\"><iframe loading=\"lazy\" title=\"L&#039;office du Loplop - Solal Girardin - Animation Short Film (2021)\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/-AQXwkMX_0A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p><b>Could you tell our readers a bit about yourself?<\/b><\/p>\n<p><!-- WP QUADS Content Ad Plugin v. 2.0.52 --><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">I\u2019m Solas Giardin, an animation student. I\u2019ve been to two animation schools in France, spent some time in Japan where I met different Japanese animators. Now I\u2019m doing a three-year program in another animation school where I spend some nights and holidays working for several animation studios in Japan.<\/span><\/p>\n<\/blockquote>\n<p><b>Were the three months you spent in Japan a part of an exchange program, or did you do it for yourself?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">I just went there by myself during the holidays so I could check if I\u2019d enjoy living in Japan. I basically Dmed Ken Arto, another French animator that went to my school for advice. He also introduced me to other animators and helped me make sure animation is what I want to do.<\/span><\/p>\n<\/blockquote>\n<p><b>So did you decide to be an animator after that?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Yeah, after meeting up with him and realizing that Japan is actually in need of animators and confirming that I wouldn\u2019t be taking anyone\u2019s place, he gave me advice on how to improve and helped me develop my portfolio so I could work with Japanese studios.<\/span><\/p>\n<\/blockquote>\n<figure style=\"width: 1280px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" alt=\"Image\" width=\"1280\" height=\"720\" src=\"https:\/\/pbs.twimg.com\/media\/E12klCAXoEE4wiK?format=jpg&amp;name=large\" decoding=\"async\" class=\"lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pbs.twimg.com\/media\/E12klCAXoEE4wiK?format=jpg&amp;name=large\" alt=\"Image\" width=\"1280\" height=\"720\" data-eio=\"l\"\/><\/noscript><figcaption class=\"wp-caption-text\">Zombieland Saga<\/figcaption><\/figure>\n<p><b>So how\u2019d you start working with different studios on the side?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Basically, they dmed me on Twitter like most Japanese freelance work is currently going on. After showing that I could do the timesheets, Genga, and the Japanese animation style with my second-year short movie, several Japanese studios started contacting me to work for them. Unfortunately, I currently only do a few cuts during holidays. And with my current internship at Passione Paris, I can\u2019t really take Japanese jobs right now.<\/span><\/p>\n<\/blockquote>\n<p><b>Are you not allowed to during your internship?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">No I am, it\u2019s just that I\u2019m a bit tired right now with freelance work as I\u2019m trying to build my portfolio while earning my diploma because Japanese animation studios require a lot more on your portfolio as each Japanese animator does more work than the regular animator.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Do you intend to focus solely on the Japanese side of animation after school?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Yes, I already have some offers which might be interesting to pursue, but I can\u2019t say right now as I\u2019m not fully sure yet.<\/span><\/p>\n<\/blockquote>\n<p><b>As someone aiming to enter the industry as an animator, are you concerned with the current pay Japanese animators receive?<\/b><\/p>\n<p><!-- WP QUADS Content Ad Plugin v. 2.0.52 --><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">It depends. While Japanese animators are paid really low amounts, most of that is because many start as beginners with little to no experience, but if you go into the industry with experience, a diploma, and the skills, you\u2019ll get good offers and could end up being wealthy at the end, it\u2019s just that you\u2019ll be working a lot more with Japanese studios because of the highly contrasting work hours.<\/span><\/p>\n<\/blockquote>\n<p><img class=\"aligncenter lazyload\" alt=\"Image\" src=\"https:\/\/pbs.twimg.com\/media\/FP2rX7VX0AIPHQk?format=jpg&amp;name=4096x4096\" decoding=\"async\"\/><\/p>\n<p><noscript><img decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/pbs.twimg.com\/media\/FP2rX7VX0AIPHQk?format=jpg&amp;name=4096x4096\" alt=\"Image\" data-eio=\"l\"\/><\/noscript><\/p>\n<p><b>Do you have a set process when working freelance with these studios, or does the process depend on each studio you work with?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">For me, I get contacted by studios via Twitter. They give me the prices and details like the storyboard and character designs, and sometimes they tell me the director. I don\u2019t even sign an NDA *laughs* and basically every animator can leak every anime possible as we know a project one year before it\u2019s announced. So animators have to be careful about that.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">But after receiving the storyboard and choosing the sequence you want to do if it\u2019s available, you take it, and you\u2019re introduced to the directors. Sometimes there\u2019s a video call meeting (which is solely in Japanese). Sometimes it\u2019s just written instructions (also Japanese). Then the animators start working. I do the Layout, and do at least a few detailed keyframes of the backgrounds and rough animation of the character taking account of the light, camera motions, shadows, and FX to fill the timesheet. You can also do a few in-betweens to help the doga man the key in-betweener. You do all that and send it to the production assistant, who sends it in for a correction, and the directors check it and write down corrections.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">After that, the backgrounds go to the background artists who clean it, and character animations go to the chief animator who corrects the character designs, motion, and sometimes the timesheet. It\u2019s then sent back to you, and you make the corrections needed, send it back to them, and wait for feedback, which can take from two weeks to 5 months depending on the studio\u2019s schedule.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Do you ever get asked to do other work you\u2019re not as experienced in?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Most of the time, I\u2019m asked to do layout and keyframes. I\u2019ve never been contacted for doga before because those are usually in-house. But sometimes, I\u2019ve been contacted by studios to direct little animations, but I don\u2019t take these jobs because I don\u2019t think I\u2019m good enough to be a director or director\u2019s assistant, and I\u2019m not really interested in those roles.<\/span><\/p>\n<\/blockquote>\n<figure style=\"width: 2340px\" class=\"wp-caption aligncenter\"><img loading=\"lazy\" alt=\"Otachan\" width=\"2340\" height=\"1656\" src=\"https:\/\/pbs.twimg.com\/media\/E-EnS3fWEAQKJnm?format=jpg&amp;name=4096x4096\" decoding=\"async\" class=\"lazyload\"\/><noscript><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/pbs.twimg.com\/media\/E-EnS3fWEAQKJnm?format=jpg&amp;name=4096x4096\" alt=\"Otachan\" width=\"2340\" height=\"1656\" data-eio=\"l\"\/><\/noscript><figcaption class=\"wp-caption-text\">Otachan<\/figcaption><\/figure>\n<p><b>We know you\u2019ve worked on Otachan, which is a western animation. How was your experience working on Otachan compared to the other anime series you\u2019ve worked on?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Well, I will say that I worked on Otachan before I started working on Japanese projects, so it really helped me understand the pipeline as they used pretty much the Japanese pipeline. The good thing with Otachan was that it was a small team of people, many of whom were already my friends who could give me advice while I worked on backgrounds.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">Whereas working for Japanese studios is like working for big companies; if you\u2019re working freelance, you mostly deal with the PA while other team members are a bit distant. But I will say that Otachan was a good way for me to start as it was a small project with beginners with talent, whereas working for an anime like Mushoku Tensei, you\u2019re working with big industry names and experts, so there is that difference between the two.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>As you intend to eventually work in-house with Japan studios, do you intend to do things differently, or will you keep to the path already laid out for you by assimilating with the workforce?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Yeah, my goal will be to stick as close to their culture as possible and not try to make waves, as in Japanese culture, you\u2019re not supposed to stick out and change things as a foreigner.<\/span><\/p>\n<\/blockquote>\n<p><b>As someone working freelance, do you get the same amount of money other animators get in-house?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">I never worked full-time for a Japanese studio, so I never really made as much. But it also depends as I know I\u2019ve been able to ask for a lot more than I\u2019ve been offered at the beginning cause when you show them that you can be on time, they are willing to pay you a lot better as they\u2019ll be impressed. So, for example, when I was approached to work on Mushoku Tensei, I was offered four times the pay for layout work \u201csince it\u2019s you,\u201d and I was like, what! *laughs* so if they know, they can trust you, especially when they\u2019re in a rush, they\u2019re willing to even quintuple the price sometimes. And for this project, it was episode 21, and I asked for the simplest part *laughs* So basically, I was really well paid for that, and in the end, they were really happy with my work even if it was really simple.<\/span><\/p>\n<p><span style=\"font-weight: 400\">A lot of animators are afraid to ask. But if you know you\u2019re a good animator that people can expect good work from, you can always negotiate prices as is normal in Japan, at least for the freelance side, and if they refuse to accept, you can always leave *laughs*. I\u2019ve advised several animators, and they were able to increase their pay with negotiation. But I will add that you can\u2019t usually negotiate your first job because you haven\u2019t proven yourself.<\/span><\/p>\n<\/blockquote>\n<p><img class=\"aligncenter lazyload\" alt=\"Image\" src=\"https:\/\/pbs.twimg.com\/media\/FF20OgzWQAYcdJ-?format=jpg&amp;name=4096x4096\" decoding=\"async\"\/><\/p>\n<p><noscript><img decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/pbs.twimg.com\/media\/FF20OgzWQAYcdJ-?format=jpg&amp;name=4096x4096\" alt=\"Image\" data-eio=\"l\"\/><\/noscript><\/p>\n<p><b>So going back to Mushoku Tensei, I know you worked on episode 21. Did you know about the anime before being approached or after?<\/b><\/p>\n<p><!-- WP QUADS Content Ad Plugin v. 2.0.52 --><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">I knew of it and had watched a few episodes before getting contacted to work on it, but my one goal was to animate Roxy, but on episode 21, there was no Roxy, so I was like Tsk *laughs* but after that, they asked if I wanted to work on episode 23 and Roxy is present in the episode, so I was like ah! so I told them I wanted to work on that episode too.<\/span><\/p>\n<\/blockquote>\n<p><b>Would you like to work on the Second season of Mushoku Tensei?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">If I\u2019m asked why not, but like I said earlier, I have a lot of offers, so I\u2019m not really sure. I like Mushoku, it was a good anime, but I will say I\u2019m more interested in the works of studio SHAFT, like the Monogatari series and Akebi chan, so I\u2019m more into the slow-paced cute girl and psychological stuff. So while Mushoku Tensei was good, it\u2019s not really the type of anime I\u2019d like to work on as I prefer the cinematographic aspect of animation.<\/span><\/p>\n<\/blockquote>\n<p><b>As an animator, do you have any misconceptions, rumors, or things about the industry you don\u2019t like?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Well, I spend a lot of time on Twitter, and you know Twitter it\u2019s all just the worst *laughs* So you have a lot of bad rumors about anime, but I will say that\u2019s normal as the industry gets bigger and bigger, but something that\u2019s specifically annoying for me on the animator side is how people are just focused on the Sakuga and fight scenes. It\u2019s something a lot of animators joke about, and there\u2019s also been drama on it. <\/span><\/p>\n<p><span style=\"font-weight: 400\">The thing that makes me sad is how new animators these days rush to want to work on those scenes without learning how they work or even wanting to start slowly. And a lot of times, the chief animator has to correct their errors. And while I don\u2019t blame them because they\u2019re young, I\u2019m just afraid it may give a bad rep to foreign animators, but in the end, it\u2019s still an industry problem overall as these studios also have to be careful when hiring newbies.<\/span><\/p>\n<\/blockquote>\n<p><img class=\"aligncenter lazyload\" alt=\"Image\" src=\"https:\/\/pbs.twimg.com\/media\/EpmroVNXcAARKs0?format=jpg&amp;name=4096x4096\" decoding=\"async\"\/><\/p>\n<p><noscript><img decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/pbs.twimg.com\/media\/EpmroVNXcAARKs0?format=jpg&amp;name=4096x4096\" alt=\"Image\" data-eio=\"l\"\/><\/noscript><\/p>\n<p><b>What\u2019s your opinion on using 3D animation in the industry and how it\u2019s sometimes used to cut costs or save time during production?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">When you watch stuff like the Studio Orange productions like Beastars and Houseki no Kuni, I\u2019m like, wow, Japanese people can do 3d animation. The sad thing is that they mostly use it to go quicker on projects. For example, I don\u2019t think the animation in Attack on Titan is that bad. It\u2019s just people being nitpicky. You just have to understand that they\u2019re trying to adapt the Attack on Titan anime as quickly as possible as opposed to Studio WIT. You can\u2019t ask them to animate all the titans with 2D. That\u2019s way more work, so it\u2019s just a matter of knowing what you want.<\/span><\/p>\n<p><span style=\"font-weight: 400\">On the other hand, I will also ask the studios to also know what they want. Do they want to produce good quality shows, or do they want to produce as many shows as possible? And if they do that, then they\u2019ll just have to do everything in 3D, and it\u2019ll just be a bit tasteless.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Is there a part of the animation process you struggle with?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">For me personally, I will say its anatomy. I think one of the problems with Japanese animation is that it\u2019s very difficult for people who don\u2019t really know anatomy because Japanese models are much more realistic than western models, so you really need to know a lot about anatomy to stay on model with hands, fingers, the feet and everything. It\u2019s really difficult so yeah I will say it is anatomy for me *laughs*\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>What about your favorite part of the animation process?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">When it\u2019s done. *laughs* when you press play, and it all works. That\u2019s the best part. All the rest is pain. Otherwise, I would say I like playing with compositions they\u2019re are pretty cool. Also, doing the timesheet, I really like it. Cause it\u2019s a feeling of completion when changing the timing. And changing the timing can change a lot of stuff in an animation, so I really like just playing with the timing. It\u2019s a lot of fun.\u00a0<\/span><\/p>\n<\/blockquote>\n<blockquote class=\"twitter-tweet\" data-width=\"500\" data-dnt=\"true\">\n<p lang=\"en\" dir=\"ltr\">Fish factory girl<\/p>\n<p>A little puppet animation I made at school on Toon Boom Harmony, I never animated this way before but it was pretty funny <a href=\"https:\/\/t.co\/SpkMgbSJca\">pic.twitter.com\/SpkMgbSJca<\/a><\/p>\n<p>\u2014 Solal Girardin (@SolalGirardin) <a href=\"https:\/\/twitter.com\/SolalGirardin\/status\/1320474887513874438?ref_src=twsrc%5Etfw\">October 25, 2020<\/a><\/p>\n<\/blockquote>\n<p><b>Do you think a director\u2019s position is something you\u2019d like to pursue later in your career?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">As I said, I just want to work on small projects. When you watch what being a director is actually about, it\u2019s just managing people, and holy moly, it\u2019s not something I can do *laughs* I prefer following good artists I like rather than bringing my ideas. I like to bring some of my ideas to animation, and that\u2019s why I like Japanese animation because you\u2019re a director of your own sequence. For example, when I worked for Cloverworks on My Dress-Up Darling for a transformation sequence, I had ideas for the FX and the camera angles, and they pretty much kept everything, and that\u2019s what I prefer. But doing big projects, I\u2019m not interested in. In the future, my first goal would be to be an animation director in like ten years. Just being able to draw cool character designs and help the young people have great animation is really good for me.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Do you have animators you look up to?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Genichiro Abe, I really like his work, as well as Megumi Kouno and Shinya Ohira. I would say Ryou Imamura too. Genichiro Abe worked on Monogatari and for Shaft quite a lot. Megumi Kouno worked on Idolmaster and makes hair movements quite well, Shinya Ohira worked on Ping Pong The Animation, and I really like his style because he\u2019s very experimental. Ryou Imamaura worked for Shaft a lot *laughs* yeah, mainly Shaft animators.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>How big is the difference between the projects you do for school and for animation studios?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">It\u2019s really, really different. My school in France is very special. We mostly work on paper because our \u201cdirector\u201d is a guy that worked for Disney. We have a lot of people that worked on old Disney movies and worked on paper, and they\u2019re kind of purist, so everything we work on is on paper, and we just have Toon Boom as another software, so it\u2019s kind of far from what I do for studios.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><img class=\"aligncenter lazyload\" alt=\"Image\" src=\"https:\/\/pbs.twimg.com\/media\/FL-EsK1XsAI7U6k?format=jpg&amp;name=large\" decoding=\"async\"\/><\/p>\n<p><noscript><img decoding=\"async\" class=\"aligncenter\" src=\"https:\/\/pbs.twimg.com\/media\/FL-EsK1XsAI7U6k?format=jpg&amp;name=large\" alt=\"Image\" data-eio=\"l\"\/><\/noscript><\/p>\n<p><b>Do you think the animation scene in France will keep progressing compared to the scene in Japan?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">In France, a lot of people are kind of delusional *laughs* There are a ton of animation schools in France, almost too many. And a lot of schools are a way for directors to make a lot of money from students who think there\u2019s an infinite amount of jobs which isn\u2019t really true. I know many people who come from very bad schools, so I advise people to be careful of these schools. Research as many schools as possible and try and get into the ones you weren\u2019t accepted into if you\u2019re rejected because those are the good ones as they don\u2019t take everyone.<\/span><\/p>\n<p><span style=\"font-weight: 400\">In the end, there is a big problem in France and the fact that animation is for children in France. There is a big lack of projects for adults and adolescents, and it\u2019s difficult to create big, marketable projects because that\u2019s not really the French system. The French system has help from the government to fund projects which takes time, and in the end, you don\u2019t have the right to fund projects, and after that, they don\u2019t really have the right to do whatever they want with the project. Compared to Japan which is maybe a bit too capitalist. At least in France, when you start working in the animation industry with a lot of talent, you can have a secure system and not have a lot because of the healthy work system in France with good hours and lots of holidays.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Do you have any favorites among the projects you\u2019ve worked on?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">My Dress-up Darling was really cool cause I really aimed for pretty difficult cuts. I even think I aimed a bit too high when I started because it was my first work as a layout animator fully animating for a Japanese studio. It was something I was really, really happy about. So yeah, I would say My Dress up Darling cause I could completely do what I wanted in the end.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Aside from the Monogatari series, which we know you love, what other series do you enjoy?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Yeah, I like Monogatari. Monogatari is the best. Maybe zangetsu *laughs* all Shaft. Also The End of Evangelion. A Lot of people call me an elitist because of my tastes *laughs* I\u2019m also a big fan of experimental anime like Madoka. I love it. The End of Evangelion is also like that. Otherwise, I\u2019m also looking forward to MAPPA\u2019s Alice and Therese\u2019s Illusion Factory. It looks weird and cool.\u00a0\u00a0\u00a0<\/span><\/p>\n<\/blockquote>\n<blockquote class=\"twitter-tweet\" data-width=\"500\" data-dnt=\"true\">\n<p lang=\"ja\" dir=\"ltr\">Goodbye Eri fan animation<br \/>\u3055\u3088\u306a\u3089\u7d75\u68a8\u306e\u540c\u4eba\u30a2\u30cb\u30e1\u30fc\u30b7\u30e7\u30f3<a href=\"https:\/\/twitter.com\/hashtag\/goodbyeeri?src=hash&amp;ref_src=twsrc%5Etfw\">#goodbyeeri<\/a> <a href=\"https:\/\/twitter.com\/hashtag\/%E3%81%95%E3%82%88%E3%81%AA%E3%82%89%E7%B5%B5%E6%A2%A8?src=hash&amp;ref_src=twsrc%5Etfw\">#\u3055\u3088\u306a\u3089\u7d75\u68a8<\/a> <a href=\"https:\/\/t.co\/rQgCrOKDDa\">pic.twitter.com\/rQgCrOKDDa<\/a><\/p>\n<p>\u2014 Solal Girardin (@SolalGirardin) <a href=\"https:\/\/twitter.com\/SolalGirardin\/status\/1520366747026661376?ref_src=twsrc%5Etfw\">April 30, 2022<\/a><\/p>\n<\/blockquote>\n<p><b>Do you have any big or small personal projects you\u2019re working on or want to promote?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">Right now, I\u2019m not doing anything big. I\u2019m currently working on a fan animation for Goodbye Eri for training, but I have ideas on stuff I want to work on. I\u2019m planning to do little short stuff like maybe some music clips and introduction videos for Twitch streamers. I\u2019m interested in doing these sorts of projects because they are one-off and don\u2019t take more than two or three months of work.\u00a0<\/span><\/p>\n<\/blockquote>\n<p><b>Do you have any advice for future animators?<\/b><\/p>\n<blockquote>\n<p><span style=\"font-weight: 400\">For future animators, try your best to be a great animator, but don\u2019t kill yourself in the process, and don\u2019t accept shitty prices!\u00a0<\/span><\/p>\n<\/blockquote>\n<p>You can follow Solal on <strong><a href=\"https:\/\/twitter.com\/SolalGirardin\">Twitter<\/a> <\/strong>and <strong>Instagram<\/strong>.<\/p>\n<\/p><\/div>\n<p><script async src=\"\/\/platform.twitter.com\/widgets.js\" charset=\"utf-8\"><\/script><script async defer src=\"https:\/\/platform.instagram.com\/en_US\/embeds.js\"><\/script><br \/>\n<br \/><br \/>\n<br \/><a href=\"https:\/\/bagogames.com\/animator-spotlight-solal-girardin\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>With the global uprising of anime, it\u2019s easy to forget the\u00a0animators, the backbone of the industry and one of the reasons why the medium is where it is today. BagoGames had the opportunity to interview Solal Girardin, a freelance animator and animation student from jFrance, to discuss what it\u2019s like to work for Japanese animation [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":21668,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/cdn.bagogames.com\/wp-content\/uploads\/2022\/06\/12032434\/FG-2_OpWYAAKYRr.jpg","fifu_image_alt":"","footnotes":""},"categories":[568],"tags":[],"class_list":["post-21667","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Animator Spotlight: Solal Girardin - BagoGames - Gaming News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/pley2win.com\/?p=21667\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Animator Spotlight: Solal Girardin - BagoGames - Gaming News\" \/>\n<meta property=\"og:description\" content=\"With the global uprising of anime, it\u2019s easy to forget the\u00a0animators, the backbone of the industry and one of the reasons why the medium is where it is today. BagoGames had the opportunity to interview Solal Girardin, a freelance animator and animation student from jFrance, to discuss what it\u2019s like to work for Japanese animation [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/pley2win.com\/?p=21667\" \/>\n<meta property=\"og:site_name\" content=\"Gaming News\" \/>\n<meta property=\"article:published_time\" content=\"2022-06-14T00:41:13+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/cdn.bagogames.com\/wp-content\/uploads\/2022\/06\/12032434\/FG-2_OpWYAAKYRr.jpg\" \/>\n<meta name=\"author\" content=\"pley2win\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/cdn.bagogames.com\/wp-content\/uploads\/2022\/06\/12032434\/FG-2_OpWYAAKYRr.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"pley2win\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"16 minutes\" \/>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Animator Spotlight: Solal Girardin - BagoGames - Gaming News","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/pley2win.com\/?p=21667","og_locale":"en_US","og_type":"article","og_title":"Animator Spotlight: Solal Girardin - BagoGames - Gaming News","og_description":"With the global uprising of anime, it\u2019s easy to forget the\u00a0animators, the backbone of the industry and one of the reasons why the medium is where it is today. BagoGames had the opportunity to interview Solal Girardin, a freelance animator and animation student from jFrance, to discuss what it\u2019s like to work for Japanese animation [&hellip;]","og_url":"https:\/\/pley2win.com\/?p=21667","og_site_name":"Gaming News","article_published_time":"2022-06-14T00:41:13+00:00","og_image":[{"url":"https:\/\/cdn.bagogames.com\/wp-content\/uploads\/2022\/06\/12032434\/FG-2_OpWYAAKYRr.jpg","type":"","width":"","height":""}],"author":"pley2win","twitter_card":"summary_large_image","twitter_image":"https:\/\/cdn.bagogames.com\/wp-content\/uploads\/2022\/06\/12032434\/FG-2_OpWYAAKYRr.jpg","twitter_misc":{"Written by":"pley2win","Est. reading time":"16 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/pley2win.com\/?p=21667#article","isPartOf":{"@id":"https:\/\/pley2win.com\/?p=21667"},"author":{"name":"pley2win","@id":"https:\/\/pley2win.com\/#\/schema\/person\/abf11620d7b4805f5f298fb9c0a56d0d"},"headline":"Animator Spotlight: Solal Girardin &#8211; 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