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 people 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.
Responsibilities of the show.
At the beginning of the discussion, everyone said that they are working today (Saturday), and Kojima said that he did not sleep very much at the time of the symposium. Although the three people sitting together seemed to have a good relationship, but the three did not participate in the animation together. Because the animation industry is small, after going to the animation company, I will always find my own acquaintances at the specialized school or university, and because the connections between social media such as Twitter are also enhanced, the animation industry is generally very good. .
Three people are all performers, so the interviewer also asked the specific job duties of the three performers according to the usual practice. The performance of the Nakajima is divided into paintings and processing performances (segments and performances on the ED). The paintings are well understood, and Arai explains the specific work of the performances. The performances include the matching of the mouth, the correct connection of the front and rear lens characters, and the examination of the original painting layer. Because the number of people involved in the production of animation is so large, it will inevitably cause problems. At this time, the performance is required to be processed. .
Arai explained the specific work of the performance, and Zhongyuan continued to explain the work of the performance from the workflow. The performance is given specific instructions from the supervisor through the performance meeting. After receiving the supervision request, the original artist is required to draw the layout, and the performance will hold a painting meeting with the original artist. Most people think that the split mirror determines the character behavior and the link order of the shots, but the Zhongyuan reminds everyone that the performance processing is also the key work to ensure that the content of the mirror can be fully reflected in the animation. .
How can I support myself?
The low income of the painter is no longer a secret. Zhongyuan also admits that the salary is low, but with the advancement of technology, it is also possible to rely on work to fill the stomach. In the third year of Kojima’s entry, he was supervised for painting for the first time in “Ohedo of Oda Nobunaga”, and then Kojima was able to participate in animation production in one of several supervisors who were the main rotation of the single animation. After that, the island has a stable income, and finally can support itself. .
When I entered the line, I chose to make a stable income in order to support myself. When Arai entered the bank, he earned 60,000 yen a month, but since he lived at home from the beginning, his life was fine. After the animation becomes the original painting, in addition to the basic piece count income based on the original number of cards, there will be restraint. After the abandoned well became the original painting, it was guaranteed because of the semi-constrained material.
The so-called restraint is that the producers give priority to their own works in order to prevent the original artist from doing other work, and give the original artist a monthly fee in addition to the piece-rate income. All other work is not completely restricted. There are about 100,000 to 300,000 in a month, and the half-binding that allows other jobs is about 50,000 to 150,000. It can be said that the original painting wants to have a safe place to live, and the restraint is very important. .
Of course, it is not the original artist who has the restraint to take it. The restraint is because the producer recognizes the ability of the original artist, and after the work is over, the restraint will not be given. The restraint is based on the animation production time. Kojima is an example of a 12-episode animation. The 12-episode animation is probably produced for one year. If the original painting was produced from the beginning, he will get twelve. Monthly restraint. .
According to the observation of Zhongyuan, the original paintings that are now half-constrained are becoming more and more, which should be due to the increasingly serious competition for talents. Arai also found that there are now original painters who hold more than one company’s restraint at the same time. When an original painter holds three or four semi-disciplined materials at the same time, he is squandered. What is the meaning of restraint? . .
Kojima has not taken a semi-discipline and is skeptical about the existence of a semi-constrained. Kojima believes that it is a healthier model to focus on the production of an animation. However, if you take a lot of company’s semi-binding and can do a good job, the island will not say anything. From the point of view of making money, the semi-constrained and over-received items are the most expensive form. Because they can’t participate in other works completely, they will lose a lot of income. .
Arai has turned the topic to a more horrible animation. The original painting can guarantee life by taking restraint, but most of the animation is not restrained, and the income is low and unstable. This situation is criticized by others. It is also reasonable. Kojima mentioned that many companies also require animation to work as a part-time job. Of course, from the actual situation, most of the animation day is cut in the painting, in fact, can not afford time to work. .
Kojima thinks that the income of animation is not enough for life, then animation is not established as a job. On this basis, there are still companies that say “prohibition of working” and “having a sense of responsibility for work” are very hurtful. If. Therefore, the animation drawn by the animation does not meet the final requirements of the screen. It seems normal in the Arai, which is why the animation industry is now said to be deformed. Without improving the income of animation and original paintings, Zhongyuan believes that the animation industry will gradually have a crisis of talent shortage. However, Kojima found that the number of companies that have recently restricted the animation is increasing, and there are also well-paid companies. .
Foreign capital to save the industry? .
As overseas companies such as Netflix and Amazon began to inject funds into the Japanese animation industry, many people are saying that the income of animators has improved, so what is the situation at the production site? The conclusion of Zhongyuan is that at least there is no dramatic growth in the production site, and the unit price of the original painting has increased by 10% to 20%. Although the overall budget for overseas investment animation is a lot, the extra money is not in the hands of painting, but in the compilation and audio. .
The reason why the money will go to the compilation and sound, Kojima explains this, because it is necessary to provide other dubbed versions for the animation of Netflix, which is based on the user’s preference for pushing the works, and the production fee on the audio and editing. It is higher than ordinary TV animation. .
Zhongyuan further explained that since animation companies generally do not have their own editing room, the compilation can only be sent to the editing studio. However, the price of the compilation is not piece-rate, but is calculated according to the length of work. The need to make other dubbed versions will of course extend the working hours of the compilation, which naturally increases the cost. In addition, the editing studio is not a company in the animation industry, which is much higher than the price standard of the animation industry. .
Since the income of the painters after the injection of foreign capital is still low, why do people not ask for a raise through labor negotiations? Arai believes that because everyone is a free original painting, it is too difficult to bring everyone together, and there is no animator who is particularly interested in the negotiation. In addition to the difficulty of gathering, Kojima believes that too much work has an impact. Everyone’s work is too busy, and there is no other effort to toss other things, so there are not a few people who directly resign without negotiating. .
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