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Throughout the class of the franchise the main production staff and their roles take remained relatively unchanged, even as the franchise's blitheness production continues to shift to the use of more than digital technologies and methods. These main product staff positions are listed below and have been divided up by the various stages of the product process: serial development and planning, pre-product, product, and post-production. Each position'south listing provides a detailed explanation of its role and responsibilities, equally well every bit discussing its interaction with other positions and production departments. Supplemental notes have also been included throughout to convey special details or slight changes in responsibilities perchance related to a specific production (movies, specials, etc).
As with the entire Animation Production Guide, please notation that the roles and responsibilities of these positions may differ at other animation studios and are only applicable to their role at Toei Blitheness.
Staff Bureaucracy
The following chart illustrates the hierarchy of the main animation staff listed on this page, every bit divided upwardly by production section, but does not represent the work path of the animation production process. Note that small-scale roles (administration to principal staff), and general roles (public relations, documentation, etc.) have not been included in this nautical chart.
Series Development & Planning
The development stage is the initial step in creating an animated series, and in essence is the business stage of the production process. In this stage the concept of the series is presented to executives and producers from various companies in the form of a proposal. Many factors are considered before a series' production is approved, such as budget, profitability, and marketability. Once a series has been approved for product, the serial' main production staff are identified and the pre-product process can begin.
原作Original Author
The term gensaku (原作) refers to the "original work" and is used to credit the source material, including both the original author and the mag and/or publisher the work is available. In every Dragon Ball property this generic credit is given to Akira Toriyama, author of the original manga series for which the franchise is based on. This credit does not bespeak that the original author really had significant involvement with the serial' production, every bit it is merely acknowledging that the series is based on the original piece of work of the writer.
制作Production
The master companies responsible for the product of the animated series are given a "production" credit. These companies are typically copyright holders and provide funding and conceptual input for the series being produced. Frequently times a "Production Coordination" (制作協力) credit will as well exist provided, indicating the senior product company supervising the series' overall production.
企画Planning
The series planners are executives from the series' main production companies, including Toei and Fuji TV. On occasion, producers from other companies exercise concord this position, in which case their affiliation is specifically noted. Planners are responsible for developing the main programme for adapting the original work'due south story into an animated production. They often select which parts of the story to adapt, select the main production staff (such equally series director, serial composer, art designer, production managing director, etc.), and develop a strategic program before beginning the production process.
A "Planning Cooperation" (企画協力) credit is sometimes provided to denote the editorial department of the publisher where the original work's story is being serialized.
プロデュサーProducer
The serial producers work directly for the planning and production companies, such as the broadcasting company Fuji Tv, the animation studio Toei Animation, or diverse consulting advertizement companies. Producers are involved in the planning stages of production and provide input from their respective visitor throughout the series' product. It is their job to relay how their companies feel the series should look and feel from a marketability standpoint, along with ensuring their business organization interests are being met.
広報Public Relations
The public relations staff is responsible for managing the catamenia of information from Fuji Idiot box and Toei Animation to the public. They are in charge of the serial publicity and ad, forth with providing the producers with feedback from the public. The majority of the franchise's publicity has been handled past Fuji TV'south public relations staff, which is noted in the episode credits.
Pre-Production
This is the stage in which all the planning for an episode takes place and its story and plot are developed. During pre-production, the episode is broken down into private scenes and all the story elements, locations, and characters, are identified. The episode'south script, if non already complete, is written at this phase. A detailed schedule is produced and arrangements are fabricated for the necessary production staff to be available to the directors at the appropriate times. A supervising staff member from each production department is represented in this stage, typically overseeing their corresponding section throughout the series' entire production.
Script Department
シリーズ構成Series Limerick
The series composer is responsible for determining the overall plot of the series. Many meetings are held with the manager, original author, and planning production staff from Toei Animation and Fuji TV to nautical chart the management and feel they would similar the animated adaptation to accept. Following this, the composer will draft an overview plot of the serial. When the overall series plot is finalized, the series composer will break the overall plot up into single episodes and tasks the script writers, which frequently includes themselves equally well, with writing scripts for each episode. If the product is based on a manga serialization, the series composer oversees the creation of filler stories to ensure that the original author has plenty of time to develop more original textile, which will after be incorporated into the animated adaptation.
脚本Script
A script author is responsible for the script of a specific episode, nearly notably including the character and narration dialogue. These writers are supervised past the serial composer and director to ensure that the episode's script fits within the overall scope of the series plot. An episode'due south script is often revised numerous times earlier it is finalized and handed over to the episode director to begin piece of work on the animation process. In well-nigh long-running series productions, such as Dragon Ball, script writers are often given very little creative command over their own scripts.
Directorial Department
シリーズディレクターSeries Manager
The series director is responsible for the overall look and feel of the entire series, overseeing about every aspect of the production process, including attention phonation recording sessions, and are heavily involved in the pre-production process. Almost all aspects of production must meet their approval before moving forwards. They are besides responsible for assisting in the creation of storyboards with the episode managing director.
The series director will in some cases be credited in a film as the "supervising manager" (監修; kanshū). The supervising director only provides overall artistic supervision of the film and leaves the day-to-day direction tasks to the moving-picture show'south managing director.
絵コンテStoryboard
The term ekonte (絵コンテ) is a combination of the Japanese words for "motion picture" and "continuity board", but is typically referred to using the generic English language animation term "storyboard". Storyboards are sequential drawings detailing the major scenes of the serial and include information about dialogue, music, photographic camera work. They serve as a ground for the animators to create their layouts and key drawings. Individual episode directors depict their ain storyboards, which human activity as the visual script for the episode, nether the guidance of the series director. The use of a dissever storyboard creative person credit does occur when the episode director is strapped for time, or otherwise a bad artist, and cannot create a storyboard themselves.
演出Episode Director
The full general term enshutsu (演出) refers to anyone who provides management to effectively portray something, and has been carried over to animation and film production from stage theater. The well-nigh common translation, "episode managing director", is used to accurately summarize their position in relation to the episode they are credited on, whereas in relation to a picture or theatrical film information technology may be translated as "film director".
The more specific kantoku (監督) credit is typically used for theatrical film and/or special feature (i.east. Boob tube specials, festival features, video games, etc.) productions in place of the more than generic enshutsu (演出) credit used in episodic productions.
The episode managing director is an extension of the series director and is responsible for supervising the production of a single episode. They are the go-between for the series managing director and an episode'south production staff. They are responsible for checking and supervising the episode throughout its production, from initial story to the concluding released product, and in some cases can take almost total control over the episode. The episode managing director typically draws the storyboards, checks the animation drawings equally they are being worked on, sets up each scene earlier it goes to photography, supervises the music selection, is present during voice recordings, and oversees all of the editing, among many other jobs.
Animation Department
キャラクターデザインCharacter Design
The graphic symbol designer is responsible for creating detailed animation character designs to be used as reference by animators during the production stage and is frequently also the series' supervising director of animation. The character designer will oft work closely with the series director and fine art designer to constitute the overall look of the series' characters. In an blithe accommodation of a manga serial, the character designer will also ofttimes consult and receive input from the series' original writer in reference to existing and new original characters. While the art designer may provide visual input for the character designs, such every bit their clothing, items, or auras, the character designer ultimately determines how to actually animate the grapheme and correspond them in motion. The character designer creates model sheets for each version, or look (i.eastward. Normal Son Goku, Super Saiyan Son Goku, etc.), of a graphic symbol. These model sheets provide varying perspectives of the character, including different facial expressions, gestures, and poses, and are intended to establish a standardized appearance for each animated character.
This chore was previously incorporated into the "Chief Animator" (チーフアニメーター) position in Dragon Brawl and Dragon Ball Z, equally was the norm in the industry at the time, but has since been split off as a split up credited role.
キャラクター原案Character Draft
When a series' blitheness grapheme designs are based on drawings provided past someone other than the character designer, that individual is credited with providing the crude character drafts. In the Dragon Ball franchise, this credit is exclusively given to original author Akira Toriyama.
作画監修Supervising Managing director of Animation
This animation position is in accuse of all aspects of the animation side of the series' production and often serves every bit its character designer. Unlike the main blitheness supervisor or blitheness supervisor, who cheque and right the key animation for a specific episode or scene, the supervising managing director of animation is responsible for checking and approving all of the series' animation. The supervising director of animation serves as the final blitheness bank check, and beyond this point no more corrections to the blitheness will exist made.
This part was previously credited every bit the "Chief Animator" (チーフアニメーター) in Dragon Ball and Dragon Ball Z, equally was the norm in the manufacture at the time, merely has since been split off equally a split up credited role. In Dragon Brawl GT, the character designer also performed the role of supervising manager of blitheness and oversaw all aspects of the series' animation even though they were non explicitly credited as doing and so.
Art Section
美術デザインArt Blueprint
The art designer supervises all aspects of the art department, develops the overall visual await of the production, and is typically held by the senior-most fine art director. They are responsible for creating detailed designs of locations, items/objects, vehicles, and characters based on extensive pre-production meetings with the series directors, planners, and producers. These blueprint drawings will be used equally references by not just the art section, but too the animation section, equally the central animators utilize the blueprint drawings to aid plant their layouts and determine the backgrounds required for that given scene. The art designer will assemble the design drawings into a "ready pack" and distribute copies to the other production departments. The "prepare pack" is constantly updated throughout the series' product, as new locations, items, and characters are introduced.
This role was previously credited as the "Chief Designer" (チーフデザイナー) in Dragon Ball and Dragon Brawl Z, as was the norm in the industry at the time. The championship change merely represents a shift in circumlocution, as both positions have identical roles and responsibilities. In some instances the position is credited nether the traditional championship, 美術設定 (bijutsu settei), with "design" existence written in kanji as opposed to the more modern use of the transliteration of the English word "design" in katakana (デザイン).
Finishing Department
色彩設定・色彩設計Color Setting / Color Design
The color designer is responsible for setting the master colour palette to be used by the finishing department to color completed animation. The color palette is adult to reflect the series manager's vision for the visual appearance of the serial. Prior to the utilize of digital coloring techniques using specified RGB colour codes that are consistent between computers, the colour palette was established using concrete swabs of paint that could vary from studio to studio.
This task was originally performed by the chief designer, simply has since been carve up off equally a separate credited role. The "Colour Blueprint" part was first credited in Dragon Brawl GT.
Production
This is the stage at which all of the blitheness is produced based on the programme and schedule adult in the pre-product stage. Prior to an episode's bodily production, the series director holds an blitheness meeting with the episode's assigned production staff (episode director, banana director, banana production manager, animation supervisor, and art director) to ensure that zip has been missed and to establish a product schedule. During these meetings, the animation supervisor and main artwork staff (art director and key animators) use the storyboards to check the overall feel of the episode, including the positions of the characters, angles, light direction, shadows, etc. This is where the forcefulness of the pre-production piece of work is put to the test. Scenes are also divided up among the key animators and layouts of these scenes are decided upon. For a more than in-depth look at the animation production procedure, please read our guide on the Animation Process.
製作担当Production Manager
The production managing director is responsible for the management of all processes, procedures, and deliverables of a product. They often piece of work closely with the animation supervisor or main blitheness supervisor to ensure that everything is on schedule, staying within budget, and that production milestones are met. Often times they will create and maintain the master production schedule, in particular as it relates to animation. The production managing director does not have any direct responsibilities with the creative direction of the series, but merely manages its production.
製作進行Assistant Production Manager
This staff member works direct under the product managing director and assists them in managing the twenty-four hour period-to-day operations of the production. With multiple episodes in product at the same fourth dimension, the production manager assigns these assistants to specific episodes in a rotational format to assist supervise its production on a more than intimate level. Their main responsibilities include analogous betwixt each production department, tracking each section's progress and schedule, delivering product materials from one department to another (i.e. delivering key drawings to the in-between animators), and managing outsourced or freelance work. The assistant production manager will also perform numerous administrative roles, including making copies of product materials, taking and distributing notes from production meetings, and running errands to ensure that the production staff accept the resources they need to get their jobs done.
演出助手Assistant Director
The assistant director is an extension of the episode director, attention to tasks that the episode director does not have time for. They volition oft run errands for the managing director and exercise any they can to make the managing director's stressful job easier. Many assistant directors are besides episode directors and switch between the two roles as needed.
When a staff member takes on the role of both the "Assistant Director" and "Banana Production Manager" for an episode, their credit is revised to denote this by combining the two original credits ( 演出助手 + 製作進行 = 演助進行 ). This exercise was common early in the franchise, specifically in Dragon Brawl and Dragon Ball Z, equally outsourcing was less prevalent at the time.
アシスタントプロデューサーAssistant Producer
The assistant (or junior) producer represents the series' producer(south) and volition often piece of work closely with the production managing director to runway the production's schedule and milestones. They also act as a go-between for the producer and an episode's main production staff, performing any task the producer requests. In some cases they will be assigned by the producer to directly supervise or keep rail of a critical or possibly problematic expanse of the production process to ensure it is completed without complications.
Animation Department
総作画監督Main Animation Supervisor
The principal animation supervisor works directly under the supervising director of animation and acts as a second layer of quality control, correcting drawings prior to being reviewed past the main animator or supervising managing director of blitheness. They are responsible for overseeing a specific episode's overall blitheness and straight supervise the episode's animation supervisor(due south). Once key drawings have been approved by the episode'due south animation supervisor, the master blitheness supervisor further checks and corrects them. Primal drawings that have been approved past both the animation supervisor and primary animation supervisor are so given to the series' supervising manager of animation for a final bank check. When needed, or equally dictated past the product schedule, the main animation supervisor volition assist the supervising managing director of animation and perform an episode's last animation bank check.
作画監督Animation Supervisor
The animation supervisor is the first layer of quality control for an episode and is responsible for overseeing, checking, and correcting the key animator's layouts and drawings. The corrections can exist for many reasons, but are most ofttimes to bring the characters "on-model" then that they more accurately reverberate the grapheme designs. They oft work closely with the chief animation supervisor, just overall, the terminal look of the episode hinges on the artistic abilities of the animation supervisor. In some instances multiple animation supervisors will work on a unmarried episode, with each 1 supervising a specific portion of the episode.
作画監督補佐Banana Blitheness Supervisor
The function of an banana blitheness supervisor is to aid the episode's animation supervisor with a variety of tasks in guild to encounter animation deadlines and budgets. The two positions work manus-in-paw, with the animation supervisor providing the managerial direction and the assistant animation supervisor providing any support needed. Often times if an episode contains a complex or crucial sequence, the animation supervisor volition assign an assistant animation supervisor to directly oversee that specific department of animation, who in some instances will provide a portion of the central animation themselves.
原画Fundamental Animation
Fundamental animators are typically some of the more talented artists in the studio, sometimes even taking on the role of animation supervisor or assistant blitheness supervisor as needed. These artists are responsible for cartoon the pivotal moments within the animation that will ultimately define a scene's movement. Prior to cartoon the key frames, key animators will create layouts (more detailed versions of the storyboard image) of the cuts or scenes they have been assigned. These layouts serve every bit a pattern for the following stages of animation, mapping out how the characters and scenery should be framed, also equally depicting the exact details of how the characters are to be positioned.
動画In-Between Animation
An in-between animator draws the remaining frames that are missing in-between the key animators' drawings to complete a sequence of animation. The in-between animator traces and cleans up the lines of the key frames, and so draws in the missing frames based on the timing sail provided past the key animator. The completed animation, including fundamental and in-between frames, is and so inspected and sent to the finishing department.
Calculator Graphics Department
CG監督CG Director
The CG managing director is responsible for supervising, managing, and reviewing all product aspects of the computer graphics department. In add-on to assigning scenes to the diverse digital artists and CG animators, they also determine the technical approaches needed to achieve the desired wait and feel of scenes featuring estimator generated graphics. The CG director often works closely with the episode director and the master animation supervisor to maintain a level of visual consistency across the entire production.
CG進行CG Manager
The CG manager is the ambassador responsible for managing the business matters of the computer graphics department and ensuring its smooth operation. The manager coordinates all section communications concerning scheduling, such as informing pertinent staff of meetings, delivery deadlines, and related events. The CG manager is besides responsible for tracking the departments budget and monitoring the progression of the digital artists and animators. As some of the calculator graphics piece of work is outsourced to other companies besides Toei Animation, this internal position is disquisitional in maintaining an episode'due south product schedule.
デジタルアーティストDigital Creative person
The digital artist utilizes computer graphic applied science to render 2d or 3D artwork and effects that supplement and enhance the completed digital animation from the animation department.
CGアニメーターCG Animator
The CG animator is responsible for compiling and rendering an entire scene or shot using but figurer graphics applied science. This is in contrast to the digital creative person, who combines CG arwork with the 2nd animation produced by the animation department.
Art Department
美術Art Managing director
The art director is responsible for supervising and managing the production aspects of the art section for a given episode, specifically related to background artwork. This position is typically filled by the senior-about background artist, who is sometimes besides the serial' fine art designer. After assigning scenes to the other groundwork artists, the art managing director provides guidance as to the artistic way and visual elements of the artwork based on the designs provided past the art designer. Unlike other product departments, the art director will actually work alongside their staff and produce background art for assigned scenes. Every bit background fine art is completed, the art director will review and inspect the artwork, ensuring visual consistency for every scene.
美術進行Art Manager
The art managing director is the ambassador responsible for managing the business concern matters of the art department and ensuring its smooth operation. Working with the art designer and fine art directors, the manager coordinates all department communications concerning scheduling, such as informing pertinent staff of blueprint meetings, delivery deadlines, and related events. The art manager is also responsible for tracking the departments budget and monitoring the progression of the groundwork artists. As most of the artwork is outsourced to other companies besides Toei Animation, this internal position is disquisitional in maintaining an episode'due south production schedule.
背景Backgrounds
The groundwork artists produce the scene background artwork, which are based on the layouts provided past the primal animators, using traditional canvas painting techniques. In mod animation, the background artists and studios are typically responsible for scanning their background fine art, editing them digitally, and submitting the finished product to the blitheness studio.
Finishing Department
色指定Colour Selection
The color selector is responsible for assigning the color palette for each scene of an episode based on the master colour palette established past the series' color designer. While the color palette is well established for main characters and objects, the color selector works closely with the color designer to decide the appropriate colors for the those of characters and objects not previously established during the pre-product stage. The color selector also ensures that the color pallet used by the finishing artists accept been properly selected and are consistent with those established throughout the episode. In smaller productions, such as episodes, they often perform the role of inspection.
仕上進行Finishing Managing director
The finishing manager is the administrator responsible for managing the concern matters of the finishing section and ensuring its smoothen performance. The managing director coordinates all section communications concerning scheduling, such as informing pertinent staff of meetings, commitment deadlines, and related events. The finishing manager is as well responsible for tracking the departments budget and monitoring the progression of the finishing touches artists and digital colorists. As near of the finishing piece of work is outsourced to other companies as well Toei Animation, this internal position is critical in maintaining an episode's product schedule.
検査・仕上検査Inspection / Finishing Inspection
The inspector is in charge of double-checking and inspecting all of the finished artwork before it is sent to the compositing section. They ensure everything is properly colored, and then that nothing that should be colored is left transparent, and check for color consistency. This position is commonly held by a finishing touches artist and/or the color selector. The function is often not credited in the production of a unmarried episode and is typically only credited in larger productions, such equally films or specials, when in that location is an overwhelming number of frames to be inspected.
仕上Finishing Touches
These artists and studios take care of the touch-up or finishing aspects of the blitheness process, which includes tracing the finished artwork onto clear celluloid sheets, applying the ink outlines and color paint, along with double-checking the last blitheness. This credited role has since been replaced in modern animation by digital coloring, although a finishing inspector volition sometimes still be utilized and credited in modern productions.
デジタル彩色Digital Coloring
These artists and studios take intendance of the affect-up or finishing aspects of the animation process, which includes digitally painting and double-checking the completed drawings.
Mail service-Production
This is the stage in which the completed animation segments are edited and sequenced together in the club of the plot while being combined with the master audio track. Post-production includes many different processes grouped nether a unmarried name. The first job of the editor is to compile a crude cut of the episode with the various sequences (or scenes) created during the product procedure. The purpose of the rough cut is to place the scenes in the proper lodge. The adjacent step is to create a fine cutting where the sequences flow together smoothly in a more natural, seamless story. Trimming — the procedure of shortening scenes by a few minutes, seconds, or even frames — is washed during this phase. In addition to editing the footage, all music and special effects are added in this phase. After the fine cut has been screened and approved by the director and producer, the footage is "locked," meaning no further changes are made. The completed footage is then processed, rendered, and prepared for distribution.
Sound Department
音響監督・オーディオディレクターAudio Managing director
The audio director is in charge of all aspects of the series' audio and makes all of the final sound-related decisions. They are responsible for directing voice recording sessions and confirming music selections. The audio managing director works closely with the producers and episode managing director to ensure that the music and voice performances fit what was envisioned and is appropriate for the given scene.
音楽Music
The music credit is given to the series' main musical composer. They are responsible for composing and arranging the incidental music, or background music, for the serial.
選曲Music Selection
Afterward the background music has been recorded and submitted past the series' composer, the music selection staff member (often referred to as the music managing director or producer) organizes and catalogs the musical tracks as they are received. Each track is assigned an identification number, such as C3, F48, or M203, with the leading letter indicating the type of track (i.eastward. theme songs, bookend or eyecatch music, scenic music, etc). Based on the episode'south script and the scene timing established by the storyboard, the music and audio director will select and place the advisable musical tracks. Once rails placements take been determined, the music managing director creates a main tape of the episode's musical track and submits it to the audio managing director for final review and approval.
With the adoption of digital sound and hands-filterable digital catalogs of music, a split music choice part was no longer necessary. Post-obit Dragon Ball GT, the task of music selection and placement is performed solely past the audio manager.
録音Recording
The recording managing director works for the recording studio and is in charge of all phonation recording aspects of the serial. They are responsible for managing recording sessions, cataloging the voice recordings, along with maintaining and operating all of the recording equipment. When an episode'southward recording session is complete, the recording manager will encounter with the audio and episode directors in the recording studio and mix all of the audio tracks together, including the dialogue, musical score, and sound effects. Once everything is mixed to all of their satisfaction, the recording director saves a master sound file and sends it off for final online editing with the completed blitheness.
Prior to the use of digital recording technology, audio was recorded on big reels of magnetic record. The sound for Dragon Ball, Dragon Ball Z, and Dragon Ball GT were all recorded on 16mm "cine tape", which were later on incorporated into the animation'southward picture reel equally optical soundtracks.
音響効果Sound Effects
The sound effects editor is responsible for collecting/creating, selecting, and editing the sound effects for the series. Afterwards receiving a copy of the script and storyboard, the sound effects editor will make detailed notes identifying all sounds specifically mentioned or implied by the action. Audio effect production companies often have their own unique libraries of sounds, and most veteran sound effect editors also maintain their own drove of recorded material. One time any new sounds or effects have been identified and recorded, the sound furnishings editor develops and delivers sound effects cue sheets and tracks to the audio managing director for review. The sound effects editor is often present in final reviews of post-production sound with the final picture show edit, at which point farther changes may be fabricated until the episode and audio directors are satisfied with the result.
声の出演Voice Performances
This credit lists the episode's vocalisation cast and their associated roles. Information technology is typically proceeded by a credit for the associated phonation talent agency.
Visual Effects Section
特殊効果・デジタル特殊効果Special Furnishings / Digital Special Effects
Special effects artists use specialized techniques to produce a distinct visual advent inside the animation. These effects include things such every bit wind, clouds, smoke, lightning, dominicus beams, explosions, and well-nigh notably in Dragon Ball, energy attacks and auras.
Traditional Role
The techniques used past special effects artists include physically dry out-brushing, airbrushing, applying charcoal, or cartoon with grease pencils on separate celluloid sheets that would be placed over the blitheness as it is being photographed. During photography the special effects artist may accept the animation backlit or request that the photographer utilise multiple exposures with various diffusing screens, filters, or gels.
Modern Part
Specialized computer software is used to digitally add 2nd effects to the blitheness, such as shading, textures, gleans off of metal objects, dirt or scratches, etc., which are drawn by hand with a stylus pen and tablet. These effects are meant to add additional particular to the blitheness to provide a sense of realism to a 2nd animated object. This function is not to exist confused with the digital creative person, who adds rendered animation to a product.
Compositing Section
撮影監督Director of Photography
This function is not oftentimes necessary in the production of a single episode and is typically but credited in larger productions, such as films or specials, which require more than oversight and pedagogy. As the caput of the compositing section, the director of photography supervises the overall compositing of a product. In addition to the central animator layouts, which often draw a scenes framing, the manager of photography provides guidance to the individual photographers concerning light management, focusing, and camera work to create the atmosphere of a shot as depicted by the episode'south storyboards.
撮影・デジタル撮影Photography / Digital Photography
The photography, or compositing, credit is given to the individuals responsible for compiling and photographing an paradigm of every frame of blitheness. While the act of shooting a cut's composite animation is still referred to every bit "photography" in modernistic blitheness, the term's use is a mere carryover from traditional animation, as in modern blitheness there is no physical camera or film involved. Traditionally a single photographer and their assistant would photograph an unabridged episode, while more modern blitheness must utilize multiple photographers due to the increased complexity of a shot allowed by estimator software, as well equally an expedited production schedule.
Traditional Role
The photographer is responsible for photographing every frame of animation onto a reel of film. Each cel involved in a frame of a sequence is laid on top of each other, with the background fine art at the bottom of the stack. This composite image is then photographed. The cels are removed, and the process repeats for the adjacent frame until each frame in the sequence has been photographed. The abilities of the photographer are essential for reducing "jitter", creating certain special effects, and adding pans and zooms into or out of certain scenes.
Modern Role
The lensman is responsible for creating a digital prototype for every frame of animation. Each digitally colored drawing, digital special upshot, and scanned background fine art involved in a cut are imported into specialized compositing epitome software and placed over the appropriate background based on the timing sheet provided, with the background art at the bottom of the layer stack. The photography then establishes the virtual camera work, ensuring everything looks fluid and is properly framed as depicted by the layouts.
Editing Section
編集Editing
The role of the editor, and in turn editing, has drastically inverse with the appearance of modern video editing software that operates on a non-linear editing (NLE) system, which performs not-subversive editing on source material. This is in contrast to traditional (analogue) methods of linear video editing and motion-picture show editing which utilized physical manipulation of materials.
Traditional Role
The editor is responsible for joining photographed sequences of film together onto a film reel and ultimately creates the finished animation every bit it will be seen on goggle box or in the picture show theater. An editor must creatively piece of work with the layers of images, story, and pacing to effectively "redirect" them to create a cohesive whole, all of which is supervised by either the series or episode director. The editor as well adds transitions betwixt scenes and inserts a strip containing the episodes audio track from the primary "cine tape", which includes theme songs, background music, audio effects, and voice performances.
Modern Role
The editor is responsible for joining the digitally photographed sequences of images together based on the timing sheet provided. When all of the animated sequences have been combined, a master video file (without sound) is exported and sent to the online editing department.
オンライン編集Online Editing
With all of the episode'due south individual components consummate, the editor begins the final pace of the video editing process, known every bit "Online Editing". All of the episode'south audio and video components are placed in linear video editing software and combined to form the episode'south master video file, which is lossless (utilizes no compression software to reduce its file size). The master video file is saved in Toei Animation's archives and can exist distributed domestically or internationally to various companies for broadcast or dwelling house video release.
Source: https://www.kanzenshuu.com/animation-production/positions-and-roles/