In the spring of 1989, Taijiang Taihao entered the workplace and began to work in “Nakamura PRODUCTION”, when the Emperor of the Showa Emperor died, and the Heisei Emperor was enthroned in the first year of Heisei. In the junior high school period, I entered the animation industry one after another. When I was in the third year of high school, because the health of the Emperor Showa was in a state of flux, the hearts of people from all walks of life in Japan were floating, and the minds of entering the river gradually became shaken. He asked himself if there is still life. Other missions need to be undertaken. Just as he entered the river and hesitated, in February of the same year, the unfortunate death of the teacher Tezuka Osamu caused a huge impact on his mind, but reaffirmed his determination to go all the way in the animation industry. .

After many years in 2016, Izumi became the representative of the Japan Animator and Performance Association (JAniCA). The association was founded in 2007, and the purpose of “JAniCA” is to speak for practitioners working at the animation production site. .

芦田丰雄 is the founder and founder of JAniCA. One of the original intentions of the association was to create a more humane and more suitable working environment for senior animators and performers. This concept of humanistic care. Before that, I entered the river because I was immersed in the work at hand, and I did not think about setting up a similar group. I have never thought about forming a similar group. The business has the positive significance of refreshing the concept and broadening the horizon.

“JAniCA” puts the life of the animators into the primary consideration. In order to improve the living environment of the animators, “JAniCA” first ensures that every practitioner can go smoothly. In addition to the special insurance category called “Arts and Cultures National Health Insurance Portfolio”, there are various training classes such as training courses to improve the professional level of animators and tax knowledge workshops to be mastered by individual business owners. In addition, the media status of the animation production site was reported by means of media.

Broadcasted in June last year. “Close up modern +”, focusing on the animation industry’s first episode, entered the river personally, and raised the idea of raising the animation production expenses in the face of the lens. Through the platform of the program, he entered the river and published the “JAniCA” organization 09 and According to the 15-year statistics of the report, the average annual revenue of the animators in 2013 was 332,800 yen.

Into the river, there are very few animators. Opportunities to learn about the income status of practitioners outside of their own. In the past, their access to intelligence was at best occasionally when people were talking at a drinking party, saying that “the price of a certain piece of work is good”. I think that as a practitioner Those who have the right to understand whether their work pay is higher or lower than the market, so that they have an objective grasp of their own situation. As a result, everyone can unload “even if the income is meager, others are also gnashing their teeth.” Adhere to the misconception that you can’t standalone and break the rules, jump out of the vicious circle of the original pains and support you according to your inner guidance. Those who are well-paid jobs. It’s not an era when animators just need to paint at the desk. Everyone needs to know what kind of organizational structure they are earning. The purpose of the salary survey is to be in everyone’s mind. This consensus has been established in the mind.

Over the past 30 years, the industry environment has changed a lot, the most notable of which is the proportion of animation and color outsourcing operations in Japan and overseas. Compared with the reversal situation, the proportion of overseas production is extremely limited at the time of entering the river. However, to this day, the production budget of Japanese animation is entirely based on overseas outsourcing. In the memory of entering the river, In those years, the quality of cartoons with a large proportion of entrusted processing was generally low. However, overseas technology has been increasingly advanced, and the amount of outsourcing has also increased year after year. As a result, “animation operations” have basically stagnated in Japan.

However, based on the consideration of commercial costs, discarding the practice of “animation processing” is definitely more harmful than the benefit of the animator’s training. Earlier, the promotion step for newcomers was to first accumulate certain experience after the “animation department”, then take the original painting exam and then upgrade to the original painting. In this process, new people can access the rules of the animation, the original painting, the method of correctly filling in the law, and the various techniques such as motion control. But now, skipping this link, the number of people who have directly upgraded to the original artist has increased year by year, causing frequent problems such as misplaced law and awkward original paintings. The corresponding remedy can only rely on the motion check to make corrections. It is reasonable to say that these unqualified products should have been returned to the original artist for redrawing. However, the current production schedule is generally tight, and there is no such time to let the person modify it. Therefore, many original artists are not aware of the mistakes they made. Continue to draw again and again. A similar negative chain reaction has also become a stubborn problem in the Heisei animation industry. .

In this regard, the appeal to the river, each production agency should work out a reasonable construction period that can guarantee the smooth progress of the retake, and ask the family to make a reasonable budget for the smooth implementation. Moreover, in order to prevent the loss of the mistakes, the above improvement measures must adhere to a two-pronged approach. The studios must also recognize the truth that “the disease is like a silkworm.” We must know that the current situation is the result of the past three or 40 years of laissez-faire. How dare you hope that the drug will be removed overnight? It takes a long time to get on the right track. But if you don’t try to make up for it in time, the situation will only get worse and worse. Although it turns a little like a “downhill” into a “flat down”, it will always get better. .

Talk about the specific budget, and the proposal for the “Halloween Pajamas” produced by the crowdfunding of the crowds in the river is now proposed for the animation sheet 500 yen and the original painting 1CUT 8000 yen. The above price is the “reasonable unit price” recognized by Jinjiang. Relative to the current price of an animation of about 200 yen per market, the asking price for entering the river is more than doubled. He feels that ample price can make the artist have the conditions to improve the quality of the single animation, and the staff responsible for coloring does not have to waste a lot of correction time for the inferior animated artwork. In terms of original paintings, Jiang has cited his own work as a supervisor. It is said that under his negotiation, each unit price has been increased to 4,500 including tax, but this has also reduced the time for post-editing. But even so, the unit price is not very high. In the film “Halloween Pajamas”, I intend to draw the original painting by myself. In order to maintain the necessary livelihood during the painting period, he derived the price of 8,000 yen / piece. This is still the conclusion after the production and other expenses have been eliminated. Therefore, only when crowdfunding has reached the fund raising target of 15 million yen, can it barely make 20 minutes of animation. And if you can more than double the amount, many difficult problems can be solved immediately. .

.

“Halloween Pajamas”.

Double the budget, in fact, is equivalent to double the profit of the required work. In this way, Jiang has been associated with a phenomenon that he has been paying attention to recently, that is, the life of animation works is generally shortened. The lack of popular works means the failure of commercial operations. However, these works are also pursued by fans. The production should be kind to fans and make efforts to extend the life of the works and increase economic returns. For example, it is possible to make an electronic book sale that does not cost an inventory cost, or to accept an appointment for custom animation, etc. In today’s era, there are various ways to make money. Producers and publishers can completely break through the existing framework of the work and develop a business model that allows readers to continue to read the past works for a long time. Animation companies can also generate revenue by distributing and selling their own brands. If all goes well, the animation production agency that adopts this strategy will recruit more excellent animators who are officially signed because of the stable income source.

In the 30 years of the Heisei era, the images of Japanese animations are becoming more complex and denser. At that time, when he entered the “Escangeli of the Sky” filming in the river, he was once accused of “such a high-quality filming method is tantamount to digging a grave.” But he couldn’t bear to fight the animators’ desire to portray the “extraordinary glamour picture.” In his view, it is the instinctual desire of mankind to chase beautiful things that makes the expressive power of the picture evolve and sublimate, eventually creating a masterpiece that is fascinating to the world. Of course, this has been mixed. Therefore, for the sustainable development of the next 30 years, everything needs to be considered. However, entering the river is not to let the production company to do everything in its power, to embark on a “vegetarian” route of pure desire, but to advocate, the industry as soon as possible to introduce a benign mechanism to ensure long-term stable supply of production funds. At the same time, he reiterated that animators should not only focus on drawing pictures as they wish, but should do the work at hand on the basis of fully understanding their own sources of income. This is the correct way for animation practitioners to open for the next 30 years. .

References: .

.
• September 18 issue “NewType”