TAAF2019] "Symposium 2: Thinking about Japanese Animation, Global and Unique": Is "Communication Skills" a Necessary Skill for Animation Production? Producers talk about their true feelings about animation production

On Sunday, March 10, 2019, "Symposium 2: Considering Japanese Animation, Global and Unique" was held at the Toshima Ward Office Building as part of the Tokyo Anime Awards Festival 2019 (TAAF2019) program.

This program brought together leading Japanese animation producers to confirm the position of Japanese animation in the increasingly diverse global animation landscape. The participants confirmed the differences between the world and Japanese animation situations, and discussed how Japanese animation should progress.

The speakers this time were Hiroyuki Kato (Animation Producer, "Pokemon" series, etc.; OLM), Nobuaki Tanaka (Producer, "Chibi Maruko-chan", etc.; Nippon Animation Production Manager), and Honda Honda. Nippon Animation Production Manager), Fuminori Honda (Animation Producer, "Ghost in the Shell S.A.C.", "Guardian of the Spirit", "Library War", "Eden of the East", etc.. Signal M.D.). Festival Director Koji Takeuchi served as moderator.

What is expected of animation production professionals in the future?

What kind of impact will digitalization have on animation productions? What kind of productions and budget allocations are being considered?" The symposium's theme was "How digitalization will affect animation productions," and Mr. Honda began by sharing an episode about the new "Flickri" film that was released in theaters last year.

For "Episode 5," only the storyboards were created in analog. As a result, the amount of work by animators could be increased. In addition to being able to complete the film almost entirely with in-house and domestic staff, some of the animators were paid a large amount of money.

According to Mr. Kato, OLM also established a 2D animation production studio in Malaysia. There, they focus on animation and finishing. By having the same staff handle both tasks, the company has been able to reduce costs and improve work efficiency. As a result, animators' salaries have also increased.

Mr. Tanaka of Nippon Animation said that some directors write the storyboards for "Chibi Maruko-chan" in digital format, but the director is not ready for digital technology, so he prints out the storyboards and checks them once. On the other hand, he expressed his desire to digitalize the entire process from moving image to finishing by the end of 2019.

The wave of digitization seems to be sweeping over production sites at a tremendous pace.

As a result, "there is a possibility to split the guaranty by having a smaller number of people involved in the production," said Kato. However, many animators are now freelancers, which forces them to be paid on a piece-rate basis. Therefore, "If we want to improve wages and conditions, there is a way for them to belong to a company and receive bonuses for producing hit works," he said. Also, when digitizing, the company will buy the computers and software, so it would be more beneficial to join the company. I think the unit price calculation is a fair system, but I honestly feel that if you want something extra, you should join a company," he said.

On the other hand, Mr. Tanaka showed his positive attitude toward support for animators, saying, "There are many freelance subcontract animators, and Nippon Animation would be happy to provide some subsidies to help them adopt the digital environment.

Next, when asked what he expects from the animation industry in the future, Mr. Kato answered, "AI. He commented on the potential for AI to play an active role, especially in coloring and finishing work utilizing deep running. However, he also said that it is difficult to mechanize the unique details unique to Japanese animation, such as "Inside the Eyes," and that human hands are necessary for this part of the process.

He also suggested that the workflow of animation production will change as a result of digitization. As a result, he commented, "The position of 'production progression,' which simply manages the progress of original drawings and animations, will disappear, and the creative aspect of 'production' will be required to create more interesting things with the staff. The creative side of "production" will be required to create more interesting things with the staff.

Mr. Honda added, "As long as we use digital technology, I want production to understand what they can order and what they cannot order.

Another topic that came up was the need for production staff to have good communication skills. Since the position involves standing between various staff members, negotiating, and coordinating, socializing with others is an important skill. Mr. Tanaka said that he checks for "leadership and teamwork.

Mr. Tanaka pointed out, "I have the impression that many of the graduation projects of students aiming to enter the animation industry are individual works, and they do not work as a team to create them.

Director Takeuchi also introduced the situation at overseas animator training institutions, saying, "For example, at French film schools, students are first required to work in groups.

In response, Mr. Kato said, "We are making commercial works. Ultimately, I want to ask if they are prepared to kill themselves and adapt to their surroundings. Even if you become a character designer, you can't just draw your own pictures; you have to listen to the opinions of clients and others. Animation is what you create while controlling your own personality and drawings," he commented.

This was a very helpful comment for students who want to work in the animation industry.

In a friendly atmosphere from start to finish, the speakers candidly discussed the current state of the animation industry, as well as the skills and attitudes required of staff. It was a very meaningful time for both those in the animation industry and fans interested in animation.