Birthplace: Aichi Prefecture, Japan

Shinya Ohira is one of anime's most distinctive and accomplished animators, instantly recognizable for his wildly expressive style. His work hinges on exaggerated motion, warped perspective, rapid camera cuts, and unconventional angles that make gravity feel negotiable. When fans spot an Ohira cut, they know it—the bold distortion and sheer kinetic energy are unmistakable.

Over three decades in the industry, he's built his reputation by bouncing between studios like Sunrise, Madhouse, and Pierrot while constantly refining his approach. In the 1980s, he cut his teeth on action and effects work, starting with pieces like the laser beam sequence in Gal Force 2: Destruction (1987)—already showing that loose, vivid sense of movement that would become his calling card. He carried this energy into smoke effects for Akira (1988) and a flood sequence in Angel Cop (1989), but the real breakthrough came when he applied these techniques to solid matter, especially human figures. Episode 10 of The Hakkenden (1994) marks that turning point.

From there, he's left his fingerprints on some of anime's most memorable moments: the chaotic energy of FLCL, the gravity-defying insanity of Mind Game, the hypnotic visuals of Redline, and the opening sequence of Ping Pong: The Animation. He's also worked on Space Dandy, Night Is Short Walk On Girl, and countless other standout pieces across films and series.

His most distinctive trademark is what fans call the "Ohira wobble"—those characteristic moments where animated objects expand and compress in a rippling, pulsing manner, as if everything's made of rubber and barely containing its own energy.