John UM
It is not secret that the animation industry is under-represented and the work intensity is long. Recently, kai-you published the contents of the symposium of three young performers, Kojima Keisuke, Arai, and Nakajima. The three put forward their own views on the income of animators, the influence of overseas capital on the animation industry, and the future of Japanese animation. Let’s listen to the views of the three new industry leaders on the current Japanese animation industry. .
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Kojima Keisuke: original painting, painting supervision, performance, and mirror. .
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Born in 1991, Niigata Prefecture. I came to Tokyo at the age of 18 and worked at GAINAX. Now I am an animation company REVOROOT founded in 2016. In the high school era, I was famous for submitting my own animation “エアーマンが倒せない” on Nicolico. .
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Participate in the works: “Chu Poor Super Girl Group”, “Long”, “Fist Superman”, “ACCA13 District Supervision Course” and so on.
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Arai and people: original paintings, sub-mirrors, performances.
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Born in 1991, Tokyo is a native. Net name, graduated from Tokyo Institute of Technology. Worked at GAINAX and is now a freelance original artist and performer. .
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Participate in the work: “Warrior singer SYMPHOGEAR GX”, “Perception 100%”, “Re: CREATORS”, “FLCL Progressive” and so on.
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中圆一登: Performance.
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Born in 1988, Tokyo is a native. I graduated from Tokyo University of Fine Arts and worked as an assistant to Sakamoto. I entered MADHOUSE as a production agent and has now turned into a free performance. .
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Participate in the works: “Flower Dance Girl”, “Little Witch School”, “DARLING in the FRANXX” and so on.
The gap between everyone is gradually widening.
Three people have now changed from a newcomer to the backbone of the industry. It is reasonable to say that the three should be deeply touched by the industry crisis such as the resignation of newcomers. However, Arai feels that there are many talented people joining the industry. Arai’s own entry into the animation industry was influenced by the embarrassment (software that can be framed by NDS). .
In the eyes of Arai, the popularity of digital devices has made it less difficult to create animations. Many people have been painting with digital boards since they were very young, and they have been painting for many years when they entered the market, so the recent newcomers are very powerful. Kojima agrees with Arai, but on the other hand, Kojima emphasizes the importance of motivation. If he does not take the initiative to use the tool, he still cannot make technological progress. .
Kojima now has some opportunities to go to the animation school. It is observed in the animation school Xiaodao. Although the students now have mobile phones, almost no one uses them when painting. The phone can look for photos as a design reference, can refer to the action from the movie’s image, and a variety of software can be used. So in the end, tools are just tools. No matter how easy it is to get started, the people who use them will use them. Those who don’t use them will not use them. Those who use tools will be gradually opened by people who will work hard. Gap. .
In addition to taking the initiative to learn, the love of animation is equally important. Now that Koshiro is in charge of newcomers in the company, I feel that the love of animation for newcomers is the key to survival in this industry. The simple transaction processing island can teach, but the skills such as painting are difficult to learn only through further study. Therefore, even if the newcomer knows how to use their brains to improve, they will still have a lot of troubles in the learning process, so it is really difficult to stick to the animation without love. .
What kind of animation is more motivating? .
Arai recently heard that the animation of Japanese companies is now sent abroad. The feeling of Koji’s own work is that the animations sent overseas can be handed back on time. Because overseas paintings are fast, even if the production schedule is not good, even if there are available animations in the community, they will still be outsourced overseas, which also leads to the situation where the social animations are not working.
Recently, in addition to TV animation, animation CM, advertising, and MV are also increasing. Compared with TV animation, the unit price is much higher, and the work content is also relatively easy. The number of people who switched to short films for life began to increase. The island is not a person who has to do TV animation. He cares more about what he can do in a work. This is the motivation that the island itself motivates. .
Arai is more interested in the limelight. The TV animation broadcasts that participate in the production can attract attention, which will make the Arai’s mood rise. Conversely, even if there is more work, but need to be anonymous, Arai will refuse, and Kojima prefers to participate in animation as a core member of the work. This way of working can stimulate the island’s enthusiasm. Just picking up some trivial cards as the original artist and painting, I can’t learn anything. .
When Arai just entered the line, he felt that the painter had appeared in the media less than he expected. If you want to increase your visibility in the industry, Kojima believes that participating in the production of multiple animations will give you more opportunities to remember and concentrate on the production of an animation. However, in a work that can become a fixed rotation of painting supervision and performance, the relationship with other members who make animation together will become closer, and the same job opportunities will increase. Also, the number of episodes you have made can be asked by the company or the main staff to help promote their popularity. .
The animation production site is Shura.
Arai said that the current TV animation schedule is very strange. It takes only about two weeks before I finish painting, and the animation will be broadcast. However, although there are many bad places, I can quickly see my own paintings. It is quite happy to be a waste in the painting. Also, due to the tight schedule, Arai can use the experimental techniques that are not usually available. In this regard, Zhongyuan and Xiaodao have quickly said that they do not have this ability. .
The interviewer’s friend is an artist who received an impression of an animated manuscript that was broadcast only a few days ago, and the order was also required to be completed within a few hours. The background of the background, editing, photography, etc. after the completion of the impression is accurate minutes. Seeing three senior industry players, interviewers are keen to know if such a situation is an extreme case, or is it often. Arai and the island all said that this situation exists, and the middle circle said that this is where the animation is not good now. .
Although there has been more than a year of animation in a 12-episode series, it is still difficult to follow the progress of the production because there are too many people involved in animation production. And even if the production time is lengthened, there will be a situation in which the time is wasted in the preliminary preparation stage. For example, in the middle circle, the scripter mostly participates in the production of multiple animations at the same time. If the scripter is late, the script meeting will not be held. .
The Japanese animation production system has been formed, and there are also many bad habits left. The unplanned situation such as “the ship is naturally straight” is present in the production site. Whether it is based on the user’s private preference for the distribution of works, or the integration of foreign capital, these can not change the status quo of the industry. Zhongyuan believes that if the system of the industry does not undergo an innovation, everyone will repeat the same mistakes in the production site over and over again. .
Arai also mentioned that although it has reached the era of digitalization, work efficiency has also improved, but in a bad sense, this has become an era in which work that could not be completed in the past can be barely completed. The tense schedule that I didn’t dare to think about in the past could be completed because of digitization, and the result might make the production site more urgent. .
Animation future hopes and despairs.
Speaking of new attempts, Kojima is very interested in Tang Sai-ming’s production company Science SARU, because Science SARU is different from the Japanese industry’s production system. The middle circle further explained the difference between Science SARU. The company automatically completed the mid-cutting through FLASH’s, ーン, which directly skipped the animation process, reducing labor costs and time. Although there will be animation outsourcing, Kojima feels that FLASH companies have a feeling of not relying on the old Japanese system. .
We can produce high-quality animations in high frequency in a year, and Arai refers to Science SARU as the future hope of the industry. However, Arai also pointed out that because the cost of animation is very high, it is impossible to make it by one company alone. Even if the new company adopts a new system, when the company cooperates with the old system company, it will still be subject to the old system. influences.
When it comes to self-sufficiency, the Japanese circle mentions Kyoto animation. In addition to audio, all processes are solved internally. Although the animation itself can’t be done by the company, it can be completed by issuing a package to Osaka and South Korea companies that have long-term cooperation. In essence, it can also be regarded as self-service completion. Because there is no sudden outsourcing in Kyoto, the rotation of the production staff is also decided. The performance and the splitting are also based on the team’s style, and can also produce better quality animations. .
Kojima also wants to work in a team-oriented environment, but the reality is that everyone’s work and working hours are scattered. Working with people who can’t see them is also a common situation, so it’s very It is difficult to form a stable team. However, the idea of performance and painting supervision cannot be conveyed by painting and simple instructions. Therefore, a team that can communicate face to face and understand each other is very important in production. Zhongyuan also agrees with the island, can understand what they want to do, and can reduce the retake, which can improve efficiency. .
Now the famous supervisors will set up a company to keep their close team around, as is the animation company REVOROOT where the island is located. This allows small companies to grab each other, and people in the entire industry will be dismantled. Nowadays, Arai is half-jokingly hopeful. There is a big reform in the industry. Everyone has become a company employee, and then divided into fantasy animation department, daily animation part, BL animation department and other departments according to the theme of animation. .
References: . 環境は改善されないが新しい才能は増え続ける？ アニメーター本音座談会