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Answerman - Is The "Netflix" Way Of Making Shows A Savior For The Anime Business?


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MarshalBanana



Joined: 31 Aug 2014
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PostPosted: Fri May 26, 2017 12:12 pm Reply with quote
Someone in the other topic told me that these high budget shows,

Quote:
a lot of the money goes to (writer, director, music, edition, voice actors, etc. and what is left is used for some cheap animation in asia
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John Thacker



Joined: 28 Oct 2013
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PostPosted: Fri May 26, 2017 12:19 pm Reply with quote
Quote:
So in order for a project with Netflix to get started, a Japanese producer would basically have to pitch Netflix at an early stage of planning, and then rely on them to swoop in with their big bank of money to co-develop the show, and hire a high-end anime house at well above market prices


Like, e.g., the Animatrix. Though that was 2000s, an exception that proves the rule to what you're saying. (Since it still took three years to do, and required all of the things you mention.)
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Lemonchest



Joined: 18 Mar 2015
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PostPosted: Fri May 26, 2017 12:20 pm Reply with quote
I think in the shorter term the bigger shakeup may come from Chinese money & IP bypassing the Japanese production committees (specifically the publishers who dominate them) . They've got deep pockets &, once they've worked out the kinks in the production pipelines that currently seems to be holding back projects from Eamon etc, might be willing to put more cash into projects they have a controlling stake in.

Then again, the current anime streaming business model seems to rely on quantity over "quality" & I don't see CR etc being willing to pay more just because the producers spent more, & certainly not subscribers paying more to get fewer shows.
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maximilianjenus



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PostPosted: Fri May 26, 2017 12:41 pm Reply with quote
as things stand now, and it's a posibility, for workign conditions to improve we "simply" need the many shows bubble to burst, but is that even a real posibility? they produce the blurays based on presales numbers, so bluray sales won't matter as long as streaming keeps on paying for the production and cheaper, multiple shows witht he ocasional big hit ahs been the busines model for somany years that it's hard to break that, since it would be horrible if they decide to go quality over quantity and the quality ends up not selling/making up teh production costs.

but, it kind of works for kyoani and a few other studios.
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residentgrigo



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PostPosted: Fri May 26, 2017 12:41 pm Reply with quote
Quote:
Anime studios have, by and large, not worked on many outsourced Western productions since the mid-90s, and they're really no longer very adept at it.

Justice League: Doom was wholly animated by TAS and came out in 2012, so i disagree. Yes, the phenomenon is all but gone now but that only happened in the 2010s. Korea seems to have become the largest outsource market.

Castlevania (S01 of 2 will be 2 hours long btw.) is mostly a US production and only a Japanese IP is used but it will still be the first Netflix anime build from the ground up by them. The Death Note film is sitting in the same boat. The possibilities are absolutely there and we will see very soon if the market interest is there too. I for one would use brands with international appeal. Giving the Marvel anime line a proper chance (and not just targeting Japan) would be an idea. The Runaways would totally work as an anime for example.

PS: The director´s cut of The Search for Vengeance is the 2nd best Highlander film.
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Jonny Mendes



Joined: 17 Oct 2014
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PostPosted: Fri May 26, 2017 12:55 pm Reply with quote
Lemonchest wrote:
I think in the shorter term the bigger shakeup may come from Chinese money & IP bypassing the Japanese production committees (specifically the publishers who dominate them) . They've got deep pockets &, once they've worked out the kinks in the production pipelines that currently seems to be holding back projects from Eamon etc, might be willing to put more cash into projects they have a controlling stake in.


Looking of what is coming out of Chinese anime made in Japanese studios i don't think that is that good of a solution. And all that money are not going to the people working in the studios. Is used so the studios made more Japanese anime.

Any influence China can have in Japanese Anime is offset by the power of Production Committees. The members of the committees have the rights of all manga/LN/games that most anime is based and don't let China put their hands on their babies. Is more, give us the streaming money and maybe we let you give some ideas

China influence is limited in co-produce animation based on Chinese sources.

maximilianjenus wrote:
as things stand now, and it's a posibility, for workign conditions to improve we "simply" need the many shows bubble to burst, but is that even a real posibility? they produce the blurays based on presales numbers, so bluray sales won't matter as long as streaming keeps on paying for the production and cheaper, multiple shows witht he ocasional big hit ahs been the busines model for somany years that it's hard to break that, since it would be horrible if they decide to go quality over quantity and the quality ends up not selling/making up teh production costs.

but, it kind of works for kyoani and a few other studios.


Is more like the increase in manga/LN sales is more important than streaming numbers. Publishers don't mind cover the costs and loses if sales of their mangas and LN go up.


Last edited by Jonny Mendes on Fri May 26, 2017 12:58 pm; edited 1 time in total
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Zin5ki



Joined: 06 Jan 2008
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PostPosted: Fri May 26, 2017 12:56 pm Reply with quote
An informative overview, as ever! One section stood out in particular:
Justin wrote:
Netflix, Amazon and other tech interests aren't really known for moving slow and playing by other people's rules. They sort of use their money as a battering ram.

In the case of one of the named companies' newest ventures, one could say their money is being used as a gate or portcullis in addition to a battering ram...
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Gemnist



Joined: 10 Feb 2016
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PostPosted: Fri May 26, 2017 1:39 pm Reply with quote
I just hope that American companies can produce more shows like this Castlevania show. I haven't played the games, but the trailer gives off a sense of maturity that other anime-influenced cartoons like Avatar and to a lesser extent ThunderCats 2011 were never able to achieve. The biggest problem with cartoons is not that they are for kids, since there are numerous shows that contradict this, but the fact that they are pretty much all comedies. Having shows like Castlevania would add much-needed variety to the cartoon industry, and I hope this show is successful enough to warrant such a change.
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Karl2



Joined: 16 Nov 2015
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PostPosted: Fri May 26, 2017 2:02 pm Reply with quote
Polygon have been really successful with the Netflix Partnership that now they are majority Committee members/Producers for their Projects so that they now earn a profit for every project they make and are able to give their animators vacation time and time to make a family.
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Paiprince



Joined: 21 Dec 2013
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PostPosted: Fri May 26, 2017 2:11 pm Reply with quote
Karl2 wrote:
Polygon have been really successful with the Netflix Partnership that now they are majority Committee members/Producers for their Projects so that they now earn a profit for every project they make and are able to give their animators vacation time and time to make a family.


Yet their actual animation and aesthetics leave a lot to be desired. Stiff animations featuring almost indistinguishable characters in CG no less. Not exactly the role model the industry should emulate from.
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Karl2



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PostPosted: Fri May 26, 2017 2:21 pm Reply with quote
Paiprince wrote:
Karl2 wrote:
Polygon have been really successful with the Netflix Partnership that now they are majority Committee members/Producers for their Projects so that they now earn a profit for every project they make and are able to give their animators vacation time and time to make a family.


Yet their actual animation and aesthetics leave a lot to be desired. Stiff animations featuring almost indistinguishable characters in CG no less. Not exactly the role model the industry should emulate from.


Except for working conditions, but that because they produce like a factory that care about their employees.
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slau783



Joined: 04 Feb 2004
Posts: 40
PostPosted: Fri May 26, 2017 2:29 pm Reply with quote
The title of the article on the front page is incorrect. It says "Answerman - Is Netflix A Salve For The Anime Business?" instead of Savior. It made no sense to me until I clicked and saw the real title.
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Agent355



Joined: 12 Dec 2008
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PostPosted: Fri May 26, 2017 3:44 pm Reply with quote
residentgrigo wrote:
Korea seems to have become the largest outsource market...

Castlevania (S01 of 2 will be 2 hours long btw.) is mostly a US production and only a Japanese IP is used but it will still be the first Netflix anime build from the ground up by them.

Voltron: Legendary Defender fans would disagree with you. The property is loosely based off actual Japanese anime, and based on what I've read on Studio Mir in South Korea, they're a very hands-on animation studio that provides creative input to the showrunners and writers, who often spend months in Korea during production, which seems like the perfect situation for creative content like animation.


residentgrigo wrote:
The Death Note film is sitting in the same boat. The possibilities are absolutely there and we will see very soon if the market interest is there too. I for one would use brands with international appeal. Giving the Marvel anime line a proper chance (and not just targeting Japan) would be an idea. The Runaways would totally work as an anime for example.

PS: The director´s cut of The Search for Vengeance is the 2nd best Highlander film.

I love Runaways, too, have since its very first comic run, but for better or worse its [url=https://en.m.wikipedia.org/wiki/Runaways_(TV_series)]already in production as a live-action series for Hulu,[/url] so its unlikely that they'll also make an animated version, at least not until they gage how popular the IP is.
Young Justice is coming back as an animated series with a live action companion series called Titans, so you never know (source: http://www.denofgeek.com/us/tv/young-justice/259858/young-justice-season-3-release-date-synopsis-poster )
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Lynx Amali





PostPosted: Fri May 26, 2017 4:02 pm Reply with quote
Paiprince wrote:


Yet their actual animation and aesthetics leave a lot to be desired. Stiff animations featuring almost indistinguishable characters in CG no less. Not exactly the role model the industry should emulate from.


Thats only the stuff they've done thats on Netflix as "exclusives" though. They did Transformers Prine and thats got nice work on it. They also do the new RiD but I think the less serialized structure and art style hurt that one more than anything.

@Agent:

Doesn't help LD is being made by fans too. They toss in references here and there for longtime fans of both shows. Kept Galra, had Shiro's scene in S2 or S1 be a shot for shot recreation of the original, etc.
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Paiprince



Joined: 21 Dec 2013
Posts: 593
PostPosted: Fri May 26, 2017 4:06 pm Reply with quote
Karl2 wrote:


Except for working conditions, but that because they produce like a factory that care about their employees.


You can baby your employees all you want, but if their work looks like amateur hour, then it doesn't mean squat.
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