Since Shin Itagaki posted information about this opening on his style.fm column some time ago and I’m quite fond of it too, I thought that I could as well summarize and visualize his statements here. I love the energetic and lively nature of this opening which comes about thanks to the fun movements the animators created, but have a look yourself:
The opening was directed and storyboarded by Shin Itagaki (Devil May Cry, Black Cat, Basquash!) and the animation was supervised by Haruka Tanaka.
As for the animators:
冒頭の腰を振ってニッコリまでの５カットは宮下雄次君
The first five cuts (from swinging her back to grinning) are Yuji Miyashita‘s work.
・編み物する真宵（１カット）
Mayoi knitting: Shin Itagaki
・バスで目覚める真宵～焦る真宵（２カット）
Mayoi waking up in the bus and Mayoi being in a hurry: Shin Itagaki
・踊るリュック（１カット）
The dancing backpack: Shin Itagaki
・リボンを振り回す真宵（１カット）
Ribbon-swinging Mayoi: Shin Itagaki
雨の中歩く真宵～手を合わす真宵までの６カットは鈴木彩子さん。
The six cuts from Mayoi walking in the rain to Mayoi joining her hands are Ayako Suzuki‘s work.
・リュックの回り込み～飛んでゆく真宵（１カット）
The backpack wandering around and Mayoi flying: Shin Itagaki
・真宵なめ迷子の真宵（１カット）
Mayoi’s look on ‘lost child’ Mayoi: Shin Itagaki
「真宵におまかせ！」～迷子の真宵の手を引く真宵までの２カットはガイナックスの河野さん
“Leave it to Mayoi!” and Mayoi leading ‘lost child’ Mayoi by the hand (2 cuts) is Gainax animator Megumi Kouno‘s work.
・跳び箱からヒョッコリ顔を出す真宵～ズンズン歩く真宵（２カット）
Mayoi unexpectedly coming out from behind the vaulting horse and rapidly walking Mayoi: Shin Itagaki
・迷子の真宵に手を振る真宵（１カット）
Mayoi waving her hand to ‘lost child’ Mayoi: Shin Itagaki
ダッシュから跳び箱跳んで、壊れてニッコリの４カットは田中さんでした。
The four cuts from the dash to the vaulting horse to Mayoi’s smile after breaking through it is Hironori Tanaka‘s work (I guess he’s better known under the name Hiroki Tanaka).
・ラストカット
Last cut: Shin Itagaki
Ani no Miyako 
Wow, awesome coverage! Really enjoyed that, as Mayoi’s OP is my favorite of the Bakemonos. Her story arc seemed the most fleshed out as well, not to mention poignant. I can now rewatch and enjoy the OP even more armed with this new knowledge 🙂
I don’t get why the majority of Bakemono fans seem to gravitate more towards Nadeko and Hitagi (of course); Mayoi is such a cute li’l thing! Maybe they just don’t like snails, and in that case I guess it can’t be helped. I don’t either LOL
My favorite has to be Shinobu though; really pissed that they never developed her character further (though holding out hope for episode 15, whenever that comes out). I sort of fancy Mina Tepes (Vampire Bund) as being an “older” Shinobu, especially in her “special form”.
*sigh* SEE WHAT SHINOBU-DEPRIVATION CAN DO???
By the way, looking forward to reading your thoughts on Arakawa; at this (early) point it’s one of my highlights of the new season!
Well, if i had to choose my favorite character of Bakemonogatari, it would definitely be Mayoi. Her cunning nature spiced things up in a lot of scenes, particularly when she messed around with Araragi’s name, got me every time 😉
Can’t say that Arakawa is a highlight for me, but the first two episodes were decent so I’ll watch some more of it. The script is quite clever in setting up witty situations even if the ‘Zetsubou Sensei’-like random gags bothered me sometimes. At least Arakawa isn’t as heartlessly cold as most other Shaft shows plus the characters are interesting and likable. If it moves into the right direction, it could be a fun show in the end.
Mayoi’s deconstruction of Araragi’s name was amusing, especially after the first few times. It eventually got to the point where whenever she showed up, I was anticipating just how she’d butcher it up this time 😛
I suspect that Arakawa will be rapid-fire SZS-humor for its remainder. It seems a collection of skits based around the situations that Ko finds himself in. Since these situations are almost (literally?) alien, we should be in for some hilarity that ought to be markedly different that SZS was.
I didn’t realize how “cold-hearted” SHAFT’s series were becoming until you pointed it out. But their recent works have had a rather clinical approach. The heady days of ef seem to have passed, which is a shame as that was a very moving and heartful (word?) experience; one of my favorite anime ever.
I wonder if their budgetary concerns are responsible? That might be a good topic to explore: how their cutbacks (and why they happened and what they caused) have affected their shows?
Money always plays a role in how anime are made and I guess it’s no secret that Shaft produces such picture book-like shows to save animation budget. They tend to use interestingly composed images, cunning perspective, texture patterns, varied camera work and unusual style to make up for the lack of movement. Of course, there is actual animation in Shaft’s shows, but they use it somewhat selective to emphasize scenes or put the focus on certain actions. You might call it “clinical direction” as its main ambition is not to breath life into the characters or establish a lively mood, but catching the viewer’s attention by visualizing the narrative elements in an interesting way. They usually produce comedy shows with clever scriptwriting anyway, so it’s not like I’m overly bothered by it. Moreover, the cold atmosphere gives their anime a somewhat akward feeling that complements their crazy scenarios and characters pretty well.
ef ~ memories, my favorite Shaft anime, had less of that heartless Shinbou-ness (as Oonuma was the director) and a good sense for emotional and dramatic momentum, I wish they would do something in that vein again.