justvinnie

while I generally don't like RT, that's some awesome talent! Keep it up! Maybe you can do a Battle 7 or Megaroad 2?

vinnie

I got banned for stating that Toynami was stupid and should have used Moscato's Legioss sculpt. Doesn't really matter anymore though cuz Yune decided to unban me. Anyways, I occassionally visit RT.com in much the same morbid manner that people persist to watch Jerry Springer. It's always good for a hoot.

vinnie

I actually perefer when an Unkown or not some A star actor plays a superhero, makes it more believable.

Agreed! I hate it when everyone jumps for the big names for casting calls. IMO, very few big names can act to save their lives. I don't know if Thomas Jane is any good, but at least he's not well known. If he's good like Jackman was in X-Men, then he will have his day. If not he will fade away, but at least he got a chance. I say give all thesbians their chance instead of ringing the tired roll call.

vinnie

Anyone know a cheap place to get an MPC?

-I am not the biggest fan of the VF-1

-I don't own any besides the Hasegawas I am kitbashing

-I think the MPC sculpt leaves much to be desired

-That said, I think I will want a VF-1 in the same scale as the upcomming Alpha/Legios

-The Bandai is without doubt the ugliest large-scale VF-1, so that is right out.

Maybe it's because I come from the model, and not the toy background, but scale is very important.

So I guess I will need to pick up a VF-1 (for the Robotech nostalgia of having my VF-1 and Alpha in the same "universe"/scale).

Trust me, as owner of both, go for the Bandai re-ish. It oozes quality from the plastic to the craftsmanship. The sculpt while not good is at least more proportional to the lineart than the MPC. All the MPC has for it is some accessories, a light up head gimmick and a few more panel lines.

vinnie

Why has this obnoxious troll not been banned? His intentions are clear enough. Just look at how all of the threads he has participated in are now all closed?

vinnie

I have a MPC. I hate it. I hide it in its box.

vinnie

It's a he. He's just unusually effeminate. The voice actor was a female though. She died recently.

vinnie

Love the film too, hollywood would not do it justice if they adapt it. Imagine the cultural difference, that alone will ruin the fun factor of the movie.

No kidding. It would be impossible to translate how dancing is view in old world Asiatic cultures into an American setting. It would be impossible to translate how Mr. Sugiyama getting married at 28, having his first born at 30 and buying a house at 40 is causing the change in him and why he has to be so serious.

vinnie

PS: I think you mean injustice

I have no idea how old it is, but's been out for a whiles now. I'm trying to locate a DVD version to purchase...

vinnie

PS: I have never laughed so hard in a movie as when the girl tells Mr. Aoki "I can't be your partner. Your dancing... your dancing... it... IT CREEPS ME OUT!"

Lol, I guess no one else but you and me liked this movie Omni.

Mr. Aoki was da bomb. He didn't even have to do anything. His mere presence on screen would induce fits of laughter from the audience.

vinnie

As a big time dancing enthusiast, I must shamefully admit that I have only finally seen this cinema gem today. It was so cute and funny. It's not your standard chick flick. I think it has something to entertain people of all age.

I a bit upset that they are adapting it for an American audience with Richard Gere and Jennifer Lopez. I just don't see how the will pull it off. The cultural differences will take a way a lot of the humor. The narrator at the beginning is correct is his assessment of how many Asian cultures view ballroom dancing. Take that away from the atmosphere and suddenly the film loses alot of substance.

Anyone care to comment?

vinnie

Maybe I'm pasting the wrong links but none of the movies seem to be working. Any hints would be appreciated

vinnie

PS: Sv-51 and VF-0 in space???

Bah, this is a ploy by HG and Toynami to recoup losses on their crappy VF-1 line. Sure the protos look good, but have you seen a 1S MPC? The real thing is shitty compared to the promo unit.

vinnie

Isn't there some law that holds websites responsible for their content? IE a website that host stolen content suchas the source code ffor the HL2 game engine is liable to be sued to oblivion? Making illegal content public I feel should just be as incriminating as doing the actual crime.

vinnie

Makes you just want to beat the hackers to death with your shoe, doesn't it?

I'd like to see what sort of drop in hacking would happen if suddenly stuff like that was a death penalty offense enforced by a far-reaching and all-seeing Orwellian entity that would come for them in the night...

I'm all for making harsher laws for cyber criminals, cowards who can't even rival their real world counter parts, opting instead to hide behind a computer. I have nothing but contempt for these egocentric leeches.

vinnie

it would be nice to have the old boards up to reference some stuff there...

vinnie

cheaters andd hackers are lame asses who have no social lives.

vinnie

PS: I just bought a new tux since I've outgrown my old one! Just thought I share that!

You seem to be upset about when HG became interested in Macross.  Yet you make a very good case as to why they became interested in it at that time.  TP/HG can simply say that up until the late '90s  there was very little int'l interest in Macross as a franchise and saw little reason why they should invest time and resources into it.  A court of law isn't going to tell them how they should have run their buisness.

HG waiting for a market to develop is just good buisness sense.  I don't see how the timing of when HG showed interest in Macross matters to wether or not their interst is legitimate.

you must be running out of grounds to thread on. That was either the silliest or the most stupid post you have ever made.

vinnie

Maybe you can tell me why you think it's silly.

I think Drew more than took care of that for me or are you that dense?

vinnie

double post

You seem to be upset about when HG became interested in Macross. Yet you make a very good case as to why they became interested in it at that time. TP/HG can simply say that up until the late '90s there was very little int'l interest in Macross as a franchise and saw little reason why they should invest time and resources into it. A court of law isn't going to tell them how they should have run their buisness.

HG waiting for a market to develop is just good buisness sense. I don't see how the timing of when HG showed interest in Macross matters to wether or not their interst is legitimate.

you must be running out of grounds to thread on. That was either the silliest or the most stupid post you have ever made.

vinnie

The hands are appropriate for TV series, I think. The Q-Rau firing off the missles even though the missle hatches are closed and the missles appear to be shooting out of the exhaust vents are kind of funny. I'm wondering if the artist even watch the scenes in the series to get an idea of what happen or did he just make it up?

vinnie

Everyone seems to have forgotten something important. Something that NO court will overrule. That something is the fact that TP cannot make derivatives of Macross by the original contract made between BW and TP. This alone is enough to prove that the Macross franchise belongs to BW SINCE they and only they alone can make Macross derivatives. We can argue who owns what in the SDF-Macross copyrights, but where the rights to the derivatives are concerned, there is no question. All BW needs to do now is take TP to court over the derivative rights, something I'm sure is down the pipeline.

vinnie

From what I gathered from Wrylac's translation is that Tatsunoko was not granted individual rights of author.

This could mean any number of possible divisions or that both BigWest/Studio Nue and Tatsunoko were both granted the same level of rights.

Sadly, the translation (and quite possibly the court document itself) does not elaborate further on the possibly division of rights.

Agreed. The actual division of the copyright is sadly lacking. As for BW producing all the Macross derivitives for 20 years, this is a point that has been brought since before any ruling was made. And most of us think that had TP even have legal rights to the Macross franchise, they've basically given it up.

That said, I like this translation a lot. Aside from some small errors and a rather odd phrasing and grammatic syntax, it is very technical and to the point.

vinnie

OK so does this thing tell us anything new?

Quite frankly, no. It's the same ruling that has been made public for sometime now and no amount of word twisting is going to change the court findings: SDF-Macross the animated footage belongs to TP and SDF-Macross the design elements are property of SN.

vinnie

EDIT IN: Here are some of my thoughts now that I have showered.

A.  The Progress of the Plan

The defendant, Studio Nue, projected new animation Shyowa 55 (1980).  This content is that citizens liven in a big spaceship and they battle against a big military alien in space.  Main character takes particular combat plane which is possible to convert.

And T who is a representative, S and U who are employee, teamed up together, and they started to produce it. (here in after called "the project")

S noticed the picture of a character which was made by V, who is a friend of S.  And S took charge of the project S belongs to Art Land which relates to Studio Nue.

At the beginning the defendant, Studio Nue, had planned to execute the project with a third party and asked some toy companies.  But it refused it.  Thereafter Studio Nue decided to execute the project alone.

From Shyowa 55 (1980), S worked a proposal of a whole story design of combat planes and the like.  U worked design of space ship and hostile troops.  V worked design of characters.  They started to produce the story and design of this project.

In Shyowa 56 (1981), February, the defendant, Studio Nue, got a cooperation of the defendant, Big West, about the project.  O, who is a representative in Big West, considered that the project was televised.  O thought that they needed to sell the character product and magazine related to the story and get cooperation from toys companies early to succeed in the project.

In Shyowa 56 (1981) August, O showed the design and samples of machines which is possible to convert to toy companies and proposed a possibility for sale and asked them to be a sponsor when the animation was televised.  Besides, he negotiated with publishing companies for kid's to have serial stories.

In Shyowa 57 (1982) January, O secured the time to televise the animation movie in Mainichi Broadcasting System from October.  Until then, O could find sponsors for toys, plastic model, candy and so on.  So, he expected the expense for televising.  So he decided to step forward about a telecast in the project and titled the animation "Macross."

B.  Making the original story and the original drawing of the beginning of the animation movie.

Until Shyowa 56 (1981) November, S made a rough story note of all 39 episodes, and until Shyowa 57 (1982), January, he made a structure of the story on the basis of it.  Subsequently the episodes was remade into all 26 episodes.  (After broadcasting started, continuation was decided to 36 episodes)

S worked on the design of machines.  From Shyowa 56 (1981) onward, S forwarded making the design of the battle machine which was possible to convert called "Valkyrie" and until December S made the original drawing of "Valkyrie".  It is not only airplane but also robot.  The master was drawn around Shyowa 57 (1982) March.

March, U worked the design of space ship, which is called "Macross."  Also, design for trilateral figure and mechanical for the "Macross."  He delivered it to manufacture April.

V worked the design of characters.  For example, "Hikaru Ichijo," "Lin Minmei," "Misa Hayase" and so on.  They are based on the stories made by S.  Until Shyowa 56 (1981) December he a lot of rough sketches and until Shyowa 56 (1981) he made original drawing of characters without "Hikaru Ichijo."  Almost at the same time he made rough sketch of character settings for the story.

C.  Participation of the Plaintiff in the Project

At the beginning, the defendant, Studio Nue, planned to entrust the work of making the animation movies to Art Land which related in cooperation.  But the number of animators in Art Land was not enough.  So Shyowa 57 (1982) April, O asked the plaintiff to participate in making the animation movie, and the plaintiff accepted it.  Because the plaintiff had many animators.  From the viewpoint of holding the schedule and the urging work, the Mainichi Broadcasting Station hoped for agreement with the plaintiff that had a good records of making animation. Therefore, the Mainichi Broadcasting Station and the plaintiff as parties concerned, contracted about making the animation movie. (the contract is exchanged officially Shyowa 57 (1982) September, 30)

On the basis of the agreement the plaintiff as a producer of the animation movie elected P belonging to the defendant, and entrusted making the animation to Anime Friend, which is a subsidiary of the defendant.  In Shyowa 57 (1982) April 27, the first staff meeting between the plaintiff and defendants took place.  Q who is from Anime Friend was to become producer and he attended the meeting.  He was explained the content of the project and the feature of the machines by T, U, S and V.  From May onward Anime Friend started to make the animation.

D.  Concrete Operation of Making the Animation Movie

1. The operation of making an animation is composed of concrete setting (characters, machines, colors, arts) a structure of a story making a scenario, background, dressing (painting), filming, cutting, dubbing, fitting films to music and sound.

In the project, the producer are P, the field producer Q, the chief director R, T story editor, V character designer, S and U mechanical design, W acoustic producer and Z other mechanical drawings.

Below is a content of each part

2. S made scripts on the basis of story structures and continuities, and made pictures on the basis of original drawing of machines and characters, and made animations on the basis of it.  But, actually parts of script, continuities and interpretation are irregular every transmission.  Because it was going on at the same time as the production of the series.

In the scenario Q, R, and T made a final scenario with a playwright's help.  In the picture (1) S made pictures of the "Valkyrie" and animators were directed by S or he himself finished it. (2) U completed the picture of "Macross" which is a big spaceship with animators who were directed by U. (3) V made and completed the pictures of characters himself.

3. Mostly the Art Land and the Anime Friend made animators on the basis of the above mentioned pictures. V made many storyboards which explained characters and correlation of them not to cause errors.  R and S who was directed by R cut the scenes which use machines and battles.

4. R checked and edited the film after filming. R, Q, and T witnessed dubbing and determined it.

5.  P who was a producer and Q who was a field producer mainly worked about negotiation with sponsors, televising station and advertising agency.  And they never had directed about the concrete way of making the animation.

E.  Payment of the Cost and Division of Profit

1. Shyowa 57 (1982) September, the defendant, Big West concluded memorandum about the cost of televising with Mainichi Broadcasting Station.  Big West received payment of advertisement from sponsors, and at the end of the next month Big West paid 48,000,000 yen monthly as expense of television to the Mainichi Broadcasting Station.  (24,050,000 yen production expenses, 22,445,000 yen air wave charges, 1,505,000 yen micro expenses.  Deducted was 5,242,600 yen commission for Big West) Moreover, Big West paid a deposit of 50,000,000 yen as an assurance of the payment.

According to the agreement about the animation movie and televising between the plaintiff and Mainichi Broadcasting Station, Mainichi go the exclusive televising right between a termination of televising and 2 years later.  Mainichi Broadcasting Station had obligation to pay 5,500,000 yen per episode as an expense of a production in the animation movie.

2. From Shyowa 57 (1982) May, onward, it is the time to participate in making the animation movie.  The plaintiff paid money to Anime Friend, the defendant, Studio Nue, and Art Land for their work.  But before starting to televise the animation the plaintiff complained to the defendant, Big West, that the above mentioned expense of televising which was paid through the Mainichi Broadcasting Station is not enough.  Because the cost of making was more expensive than the prospect at the beginning.

At that Shyowa 57 (1982) October 1, the plaintiff and the defendants conclude the memorandum which said to give the right of sale to program and the right of goods about the animation movie, overseas.  And part of profit from domestic goods to plaintiff.

The defendant, Big West, had the right of making character goods and the right to sell the program at the time of televising in Japan.  The plaintiff had the right to sell published matter and music for children 12 years and younger and the right to sell the programs and goods overseas.  The defendant, Studio Nue, had the right to sell published matter for 12 years and older.  They could wield the right to each other.

F.  The Expression of Copyright and so on

1. Before televising the animation, from Shyowa 57, July to October there are the name of the defendant, Studio Nue, and the plaintiff together as the expression of copyright on all magazines about the animation.

2. In the opening credit title during televising the animation movies the project is O, the original is the defendant, Studio Nue, the design of characters is V, and the design of machines is U and S.  The project, the original, the cooperation of the original, the structure of series, chief director and editorial supervisor indicate the name of the defendants and Art Land.  And producer indicates P and Q.  In both the opening credit title and the ending credit title the production indicates the Mainichi Broadcasting Station, the plaintiff and Anime Friend.

3. From Shyowa 58 (1983) August to October when the books about informations during the making the animation and the recollection of staff were issued, the defendant, Big West and Mainichi Broadcasting Station are indicated by expression of copyright on all these books.

And the books mention that defendant, Studio Nue, worked the original, T worked structure of series and V worked the design of characters.

4. Heisei 5 (1993) April, 30th Anniversary collected works of the defendant were issued.  In the there is no expression of copyright on part of other animations which were made by the plaintiff, but there is the name of the defendant, Big West as an expression of copyright.  And the books mentioned that the animation movies were made creatively by the defendant, Studio Nue, V worked on the design of characters, U and S worked the design of machines and S took part in interpretation and scenario.

5. Heisei 10 (1998) February the books of animation history were issued.  Animations on books were supervised by the plaintiff.  There is the name of plaintiff as an expression of copyright on most of the books.  But there is no expression of copyright which indicated the plaintiff on other parts.  On latter parts there is only the name of defendant, Studio Nue, as the expression of copyright.  But the animation movie is classified into latter parts.  And the books mention that the animation movie is the first original work for the defendant, Studio Nue, S, who worked the design of the machine, participated in interpretation and scenario and V who worked on the design of the characters flourished the animation movies.

Note that I highlighted how the whole project started out, mechanical and character designs and story structure (what happens in each ep). Note also that TP was NOT involved in any of this.

Here is my conclusion then. TP was award the copyright to the animation of SDF-Macross because they are the "movie maker" having bore some of the cost but more importantly the risk of making the series. However, they were not able to obtain all of the author's right (hence the individual rights aforementioned). The reason for this is because the intellectual properties for the story and designs were already made prior to their participation. That's why the copyright is split between the companies.

I think your friend needs a better grip of English.

On the basis of the agreement the plaintiff as a producer of the animation movie elected P belonging to the defendant, and entrusted making the animation to Anime Friend, which is a subsidiary of the defendant.  In Shyowa 57 (1982) April 27, the first staff meeting between the plaintiff and defendants took place.  Q who is from Anime Friend was to become producer and he attended the meeting.  He was explained the content of the project and the feature of the machines by T, U, S and V.  From May onward Anime Friend started to make the animation.

AnimeFriend is a Korean subsidiary of TP, who is the plaintiff not the defendants.

Anyways, I poured over the document and I really don't think there is anything new here. This case dealt specifically with the copyright to the animated footage and not the designs which were already confirmed as belonging jointly to BW and TP. Also TP did not get author's right. What is the author's right. It's really important! Here you go: Author's Right

What does bother me is the term individual as it can be interpretted differently. The fact that TP did not get author's right (which includes the ability to make derivatives for those of you who don't want to read the Japanese Copyright Laws) though means that BW must have gotten them.

vinnie