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This article is only intended to cite and share the personal views of Japanese industry insiders on Japanese animation companies in China. It does not mean that the author or Anitama agrees with the views in the article, and there is no intention for colored pencils or any other Chinese company. We sincerely hope that Chinese animation will develop rapidly and hope that readers will understand. .

The famous Chinese animation studio color pencil animation has established a legal person in Japan, Colored Pencil Animation Japan, to acquire Japanese painting talents and strengthen cooperation with Japanese animation studios. .

Over the years, Chinese companies have been active in the Japanese animation industry, often attracting awe-inspiring surprises, or yelling at Japanese animations soon, or looking forward to the Chinese capital to the animation industry. .

This time the news is the same. Some netizens on Twitter have already started the mountain call “Long live the Savior of the Japanese animator”. “There are many recent works in different worlds that are protagonists who liberate slaves with a trip. In reality, this kind of story may also appear.” .

(.https://twitter.com/__Tea_Jay__/status/1053849514384093184).

However, “Wolf is coming” shouted over and over again, but it seems that there is no dramatic change in reality as they fear or expect. .

Animator Aoki Yu pointed out that Chinese capital has been creating animation production sites in Japan a few years ago and wants to acquire talents, but so far there have been no successful cases. The biggest reason may be the lack of a clear command tower and talents who are good at communication in the animation industry. .

For the top talents in the industry, even if the Chinese capital cooperation is different from the commercial culture, it will only be able to stand up and feel no charm. .

In addition, in the ordinary manufacturing industry, even if it is a new company, can not afford to build a production site, you can also obtain the existing site through acquisition and capital cooperation. However, the employment form of the animation industry determines that the company’s signboards and talents are not directly related, so it cannot be done. .

In fact, there is already capital to buy a company, but there is no one who actually does animation except for the production of talents (it may not even run even if the production is going on), there is only one precedent for signboards. . .

The top talents in the industry already have an environment that allows them to be satisfied. Even if they can get more money from foreign capital, if foreign capital imposes exchanges that will affect the morale of the scene, people It will soon run, so top talents will basically not cooperate with foreign investors to take such risks. .

As a result, when foreign-invested companies join the market and want to acquire Japanese animation talents, they will accept that they only have a bad reputation in Japan, or have no actual achievements. Top talent. .

In terms of this meaning, Aoki believes that even if there is more money, if you want to make a high level of animation, you can only use the Netflix-style methodology: you don’t build the scene, stick to the position of commissioning, let Existing industry stakeholders have sent them an interesting animation project. .

China’s business is basically an order request. “Under our leadership, the Japanese animation studio has adapted the originals we have to animations,” so people who know how foreign-owned businesses are not free will not be easily accessible. Chinese business. .

And Netflix’s approach is very different, they are “we pay, let the Japanese studio dominate what Japanese creators want to do, we only have the right to broadcast.” They don’t want to have their own production site, ensure talent, just want to grasp the excellent production line of the existing animation studio. Therefore, they can establish a capital cooperation relationship with the big animation studio. .

On the other hand, in the corporate culture of China, the dismissal of workers is greatly reduced. So using dismissal can be a very effective pressure. The creators of the Japanese animation scene are basically free people, which means that there is no concept of “dismissal” at all, and the creator’s sense of belonging to the company and its subordination are very thin. This difference in perception is also a major obstacle to the formation of the scene.

Although some people now advocate that as long as Chinese capital establishes a high-paying studio in Japan, Japanese animation creators will return to the water; but Aoki believes that to achieve this, there must be at least one complete ten-dollar headed by outstanding producers. Human production line. If you don’t build such an organization and build a site, it’s impossible to attract good creators. .

The light has a high level of animators, can’t make animations; the light has excellent producers, the same is true. Just as a company without a successful precedent wants to build a car from scratch and pull a single talented engineer, nothing can be created; a production line of hundreds of people capable of designing and manufacturing a car must be formed. The result. .

In the end, rich Chinese capital, even if it is set up in Japan, can’t get to the point of forming a production line, it will die. Even if you rely on high-paying to dig up individual talents, you can only create some semi-finished products if you can’t build a complete team. .

So Aoki believes that there is a lot of success rate in this practice, and the reality has already given a conclusion. .

There was a small Chinese company that wanted to set up a studio in Japan, and Aoki had also listened to their meeting. None of the Chinese who attended the meeting knew what they needed to make the animation. .

In addition to this company, Aoki also heard that some companies that have produced many animations in China do not know the process of making animations from scratch in China. .

Now, the pre-production capability of Chinese animation is obviously insufficient. It does not have the process of controlling the quality and consistency of the whole work from the person setting to the script and the world view setting, and there is no talent with relevant knowledge. Although the ability to paint has been improved, the elements other than painting are still very lacking. .

Even at the production site in Japan, because of the lack of talents and performances that can be set up, more and more animations are only available for painting, and other aspects are overlooked. Chinese production companies are less focused on controlling the quality that is invisible to the naked eye than Japanese studios, so Aoki believes that it will take quite a while for China to fill this gap. .

Aoki claimed to have asked several Chinese producers: If you don’t do such a process, you will have a leak later. Is it really ok? The producers replied in unison: “Chinese animation, that’s it.”

Although Aoki also believes that some Chinese animation will catch up with Japan in the future, the current situation is that the gap between Chinese animation and Japan is still very large. He also doubts how many excellent Japanese animation talents are willing to join the Chinese animation production site alone. Many people even participate in the production of Chinese animation, and because the production method is too foreign, they can’t fully accompany them and return to the production site in Japan. .

Someone has invited Aoki to participate in the on-site formation in China, but the other party told him that no one other than him intends to participate. Aoki replied: Even if he can be responsible for painting, at least if there are no key positions in supervision, art, photography, etc. that can clearly give promises, then the minimum necessary materials for outsourcing can not be done. .

Aoki also pointed out that even in Japan, because of the lack of talent, budget and schedule, many of the top creators who want to steadily make high-quality animations have shifted the field of activity from TV animation to theater animation. If Chinese companies also want to make films, it is best to do theater animation. .

However, the majority of Chinese project sponsors have online video sites to participate, so they are destined to only make TV animations with lower time unit prices and longer total length of works. The two cannot be combined, which is a paradox. .

(.https://twitter.com/otarou01)