Last night, NHK’s “Tokyo Miracle” program aired an episode of “The Strongest Product Animation”. Before the broadcast, it caused the treatment of animation practitioners inside and outside the industry, but it was only brought once in the show: first, the pot was thrown to Tezuka to control the insects, sympathize with the animation people, money is less, more pressure, then happily said These are all things of the past, because Netflix’s father and Chinese capital have invested money, and the treatment of animators has greatly improved, turning over to become the master. As for why Netflix ’s dad and China Capital should invest money in the Japanese animation industry, of course, because Japanese animation is great, let ’s take a look at Japanese animation (especially the animation broadcast by NHK with a budget production far lower than other TV stations)) Where is great, why is it so great
This kind of forced funeral propaganda for funerals makes the practitioners in front of the screen no longer feel anger, only a deep emptiness
The scriptwriter Huichuan Chuan commented that the show was “not good for health”. He has watched the show and feels that it is in violation. It is as if the Animated World is full of food as long as Netflix ’s father gives money. You NHK is also the party that entrusts others to make animation, why not take the lead in raising the commission price … but NHK will also pay the replay royalties according to the rules, so Huichuan is not good to complain about them too much
(https://twitter.com/nishi_ogi/status/1207110197342171136).
The animator Nishida Yasha denied the statement on the show, saying that they are not “pursuing work value over money”. They also want money, and ask NHK to give it money
In addition, Nishida also noticed that if the theme of the special program is an animator, it will be fine; but this program is about “animation”. Animation is not just made by animators, she hopes to mention other departments too. It’s not just the animated people who are tough
Nishida complained not to put everything on Tezuka’s head. She feels that the reason for the current status of animation practitioners is not because of the tight time and low cost when Tezuka Tezushi started a business, but because of the process from then to the present. Nishida believes that the whole program is short-sighted and lacks depth. In addition, Sato Ken is great
(https://twitter.com/asakonishida/status/1207007609619800064).
Performer Ye Jietian Xu pointed out that the animation industry needs more time before it needs money. If you don’t have time, you will suffer. If the problem of money cannot be solved in a short time, I hope to find a way to improve the time. As it stands, there are several animations made during the incredible production period
(https://twitter.com/hatsumidashiyo/status/1206975605125742592).
The light novel writer Sasamoto Yu recalled that during World War II, it seemed to be the US military, who once evaluated the Japanese army as “first-class soldiers, third-rate non-commissioned officers, and lowest general officers.” Today, the animation and manga are strong, and bluntly, it is because the first-rate talents at the forefront of the field work have barely supported it. Such as supervision, etc., are all people on the scene
“The first-class soldiers, the third-rate non-commissioned officers, and the lowest general officers”, in other words, there is combat power, poor tactics, no strategy or strategy is not realistic and meaningless. Putting it in today’s Japan is that although the people working on the site are first-class, the management is third-rate, and there is no ideal idea for the future. Why is this so?
(https://twitter.com/sasamotoU1).
Representative director of the Japan Animation Society and Performers Association has entered Jiang Taeho and has his own views on the current status of the industry
In Jiang reposted an article by Moïra Marguin, head of the animation department of the famous French animation school Gobelins, sharing the school’s educational philosophy. Gobelins intends not to allow students to create freely, but to arrange projects for students so that they can form teams and learn through practice. Because entering the society to make animations, teamwork is needed
Enter Jiang said that if someone with a strong personality and superb skills masters the teamwork ability, then the world is invincible. However, the current situation of the Japanese animation production site does not allow practitioners to develop teamwork skills. Because:
- The animation works are mainly single quarter, and the team will soon be disbanded.
- Uses a sea of people tactics to complete on time, unable to grasp who is doing it.
- The production was quickly resigned because of too much labor, and it was impossible for them and the animators to form a team to build an ecosystem.
- Can’t accumulate work experience, can’t give play to the team’s advantage of “summary this lesson and improve next time”
In Jiang believes that these problems can be solved if the compensation is increased. But the production company has done its utmost to just work on time, and has no time to consider how to increase the company’s income
Although it seems that among the people who give money to animation production companies (production fees), there may be a sense of crisis that “there is no way to make animations without raising the production fee”, and they start to discuss raising production costs; but more People still feel that they can continue to make animation “as before” without the motivation to increase their budget. As for the production company, priority must be given to ensuring a stable source of work, and it cannot be too tough on the funder
The sponsor, even if the staff at the producer level feels that “the production fee will be over”, but if you want to persuade the company to obtain a permit, you must have sufficient reasons: So why raise the budget? “It’s hard for companies to cross the barriers of understanding the status quo
However, with the investment of Netflix and China, it is becoming more and more difficult for Japanese domestic publishers to convene production staff. If the funder does not change its perception of the status quo, the situation of “can still make animation” will be gone forever. People will go to works with sufficient budget. Therefore, Ru Jiang feels that it is now easier than ever to say, “Don’t think that you can continue to make films with the previous budget.”
(https://twitter.com/IRICOMIX/status/1207011212422025217)