Forum - View topicYour Ultimate Guide to Anime Ending Credits: Part I
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dtm42
Posts: 14084 Location: currently stalking my waifu |
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Oh, I will, and I do. This was a fantastic article, you should be proud of the effort you put in. And not only was the depth very much appreciated but it was really cool to see all of the examples of the different forms the animation goes through. |
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DmonHiro
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"Producing even a single episode of TV anime takes months"
Wait, so what about those horror stories about an episode being ready only a few minutes before needing to air? Then doesn't the next episode only have 1 week to be done? Or do the different task get started right away? |
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Blackiris_
 Posts: 535 |
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I don't care if its only 99,9%, still the best way to get your infos if you also want to see what else these people worked on. I'm pretty satisfied with the info AniDB provides me. @DmonHiro: Different teams work on different episodes. I'm sure one of the follow-up articles will cover the job of the "Episode Director". Basically there are usually several Episode Directors, and ED#1 might me responsible for Ep. 1, 6 and 11 while ED#2 is in charge of Ep. 2, 7 and 12. While much of key staff is involved in all episodes, Key Animators, In-Betweeners etc. commonly work on selected episodes. |
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Angel M Cazares
 Posts: 5432 Location: Iscandar |
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I apologize if my comment sounds petty, but I am just trying to make an observation.
I will not dispute that Shirobako is a fantastic anime, but I think people over estimate how influential it has been within fandom. I care about who the main writers and directors of anime are, but Shirobako has not made me care any more for the rest of credits minutia. Last edited by Angel M Cazares on Thu Mar 17, 2016 10:15 am; edited 1 time in total |
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relyat08
 Posts: 4125 Location: Northern Virginia |
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This was an awesome experience. I have been delving more and more into the creation of anime both in writing and animation over the last year or so, and these articles really make that easier. I feel like I have a much better understanding of the creation process now. Thanks a lot Kevin! I seriously look forward to the next installment. I wish I could have studied something like this in college.
@angelmcazares Personally, for me, it was actually a pretty big influence. I had watched some MADs on Youtube and was familiar with a few of the big names, like Yuasa, before that, but that show did get me to really search out more information about animation and the production process of anime. |
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Greed1914
 Posts: 4447 |
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From what I understand, the different tasks move on to the next portion when they can. Otherwise, they would be stuck waiting to hear back on the director's approval, and a lot of time would be wasted. I would guess we'd hear of fewer close calls and more outright missed deadlines if they were trying to cram all the work into one week per episode. |
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EmperorBrandon
Encyclopedia Editor
 Posts: 2209 Location: Springfield, MO |
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I find this very irritating when I come across obscure titles (more often OVA's and movies than TV series: legal streaming is widespread on the latter) where I need them as a source. Sometimes the ending credits have not been transcribed anywhere online (not even by Japanese sources). Even when they are, it's still better to have a way to double check with the original source as unintended errors (whether name readings, wrong kanji, or typos) creep in with the process of transcribing the credits. Not that a fansub is even necessary if I'm just checking the credits, though I do think I've come across raws that replace the ED with the non-credit version too. |
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AholePony
 Posts: 330 Location: Arizona |
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Great article and breakdown of the various roles. Loved the production GIF you had in there from birdy
You touched on it, but how do credits handle outsourcing to other studios? They just skip the individuals and list the company instead right? For instance the credits for kizumonogatari listed xebec and p.a. Works (iirc), but I'm assuming none of their staff/animators would have been listed by name right? |
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Philmister978
Posts: 309 |
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I think it depends on the the anime, and the episode in question. Some anime can get pretty generous with their credits, others not so much. Again it depends (For example, sub-contracting company Wish tends to get their painters credited more often then not, though their Key/In-Betweeners are a little more of a crapshoot in regards to credits). As for Kizumonogatari, I take it Xebec and PA Works were either second Key or In-Between animators, correct? |
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Yuyucow
Posts: 18 |
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Yep. There's the issue with rushed outsourced work being sent uncredited to begin with, but also a matter of space sometimes. When there's 20 studios doing 2nd key animation, you literally can't fit every name in a single screen. Messy!
One thing I decided not to mention to keep things more simple is instances where the key animator even does the in-betweens for a scene, like those amazing Kameda cuts in Brotherhood. Happens to people like Ohira as well, they do animation so complex that they can't trust outsiders to finish their sequences as they intended. There's also Mitsuo Iso's full-limited animation (no in-betweens to begin with, all keys), but that's all so exceptional that only people with a more keen interest would care.
As others have said, multiple episodes are being produced at the same time by different teams. They still get finished chronologically (unless it's a weird project like Space Dandy), but it's not like episodes are on hold until the previous one is done. There tends to be a staff rotation, so the team that animated the first episode might start working on #5 once they're done.
Depends, you'll often see outsourced animation work as [studio name] [all members from the studio that worked on it], but simply listing the companies is also common - especially if it's 2nd KA or in-betweens. The reason I didn't talk more about this is that there's a credit for production outsourcing (制作協力) that is used at the end of anime episodes that were fully handled by a different studio, so I'd rather tackle it all there. |
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SnowyLightning44
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Nice, I like analysis articles like this so it's interesting to read more about the staff in anime and their actions jobs require especially if they aren't immediately obvious to see in the named position and thanks for making the article as in-depth as it is. The clips included are cool as well like the Fullmetal Alchemist and Little Witch Academia ones featuring the notes and the drawn version compared to the final version which goes on the anime' aired version
 and I'm looking forward to seeing the next part! 
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Caramichael
Posts: 114 |
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Well for one it made me personnally. |
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Lemonchest
Posts: 1771 |
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Shirobako made me think "yay now weebs will have something other than that trio of articles Justin did for ANN a couple years ago when they want to tell you how it is in da anitoon biz."
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JulieYBM
Posts: 209 |
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I imagine Kevin will mention this next time, but you've also got weirdness going on with the series director role. Most studios use 監督 (Kantoku) for both television and films. Toei Animation uses シリーズディレクター (shiriizu deirekutoo) for their animated series. For Naruto Shippuuden Episodes #290-295 the シリーズディレクター credit was also used for Tsuru Toshiyuki, despite Date Hayato still being credited as Kantoku. Then there's the 総監督 (Sou-Kantoku; Chief [Series] Director) role that Pocket Monster has for Yuyama Kunihiko with a Kantoku credit that others have filled over the years.
Toei Animation is the king of credit oddities. Dragon Ball Super is currently using a 作画監修 (Sakuga Kanshu; Animation Supervision) credit for Yamamuro Tadayoshi while the Sou-Sakuga Kantoku credit goes to Ide Takeo and Tsuji Miyako every other episode. Then there's Episode #13, where Yamamuro was both Sou-Sakuga Kantoku and Sakuga Kantoku alongside Kitano Yukihiro. On Dragon Ball and Dragon Ball Z #1-199 Maeda Minoru was credited as チーフアニメーター (Chiffu Animeetaa; Chief Animator) instead of the standard キャラクターデザイン (Character Design) that Nakatsuru Katsuyoshi was for #200-291. Other oddities involving Toei include how for Dragon Ball Z: The Incredible Strongest vs Strongest Nishio Daisuke was credited as 監修 (Kanshu; Supervision) while the Kantoku was Hashimoto Mitsuo. This implies a relationship similar to a Sou-Kantoku on a TV series. Another oddity is how assistant series directors are typically just listed second under series director while other studios will call them Jo-Kantoku. Perhaps the biggest oddity with Toei Animation is how the 絵コンテ (e-konte; storyboard) is treated. The 演出 (enshutsu; episode/unit director) at Toei Animation is expected to do their own storyboards. For the longest time most Toei Animation productions would follow this rule very strictly. Sparse episodes of Dragon Ball would use a separate 絵コンテ credit and it would always be someone separate from the enshutsu. When an enshutsu does do their own storyboard then the credit is not used at all. On another project, like Pokemon, both the e-konte and enshutsu credits are used even if one person did both, as if often the case with Asada Yuuji episodes. This is where shit starts getting really crazy. Some Toei Animation productions don't use the e-konte credit at all. On Disk Wars: Avengers the e-konte artist is simply listed as an enshutsu alongside the actual enshutsu, implying both personally oversaw a half of the episode themselves when such is not true. It's whacky. Anyway, great work Kevin! |
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chito895
 Posts: 512 Location: Lima, Peru |
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In my case, I really got interested in the whole production work after I watched Shirobako. Ever since the day I finished it, I cared and wanted to know more about directors, animators, processes (especially this one), and a whole lot of things. It's hard to find (at least for me, I suck at investigating) info about this, so this type or articles are gold for me. I'm really looking forward to reading your next article, Kevin, and thanks for doing this! It's amazing to learn more about this. |
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