My exploration into the realm of Japanese commercial animation and its distinctions from American-based commercial animation led me to seek insights from a friend immersed in the Japanese animation industry, actively involved in animation and storyboarding.
Primarily, my friend cautioned me about the practicalities within the Japanese animation landscape. Despite its mainstream appeal, compensation for animators tends to be notably modest. Extended work hours are commonplace, often spanning from 10 a.m. to midnight, contingent upon the remuneration offered by the animation company. Employees on a fixed salary might conclude work by 6 p.m., while those compensated partially based on animation output frequently contend with overtime commitments.
The Japanese animation process bears a resemblance to that of the United States. Initial developmental stages involve project planning, helmed by pitch directors, scriptwriters, and producers. Visual development is solidified, storyboarding—referred to as ‘konte’ in Japanese—is established. Subsequently, the search for voice actors commences, necessitating bookings well in advance due to the actors’ demanding schedules. Storyboard artists are required to provide a rough animatic to synchronize with the dubbing process at this juncture.
During the animation production phase, the episode’s team director initiates the search for layout artists and primary rough animators. Their work undergoes scrutiny by the team director for necessary adjustments before being passed on to those responsible for character movements, under the supervision of the show’s director. Following approval, the second rough animator refines the work, culminating in in-between animations, detailed drawing, coloring, and background creation by the animator.
Post-production involves compositors enhancing visuals through lighting, lens adjustments, and other effects, while considering sound effects, music, and dubbing to finalize the project. The Japanese animation process unfolds as an industrialized procedure, meticulously scrutinized and produced layer by layer.
Upon completion of animation production, distribution and promotion responsibilities are typically entrusted to other companies. Preceding the animation’s production, a production committee collaborates with sponsors to prepare for subsequent distribution efforts. This committee reviews storyboards to ascertain the feasibility of particular sequences.
Having transitioned from the animation department to the visual development division, my friend underscores that the fundamental divergence lies in communication levels. Visual development demands close-knit communication and collaboration with the director and colleagues to maintain a cohesive project style.