How Anime Is Made

How Anime Is Made


All the videos online on this topic right now paint a really vague picture of how anime is made or a really bleak picture So it leaves those of us who actually care to learn about how anime is made without much direction on how to move forward The most common path right now for learning. How anime is made for non-japanese people is to spend loads of money getting a bachelor’s degree in the Japanese language Moving to Japan on a work visa and spending months applying for animation studios in Japan While surviving on ramen and getting money from working fast food teaching English or selling art commissions Then after actually landing a job at an animation studio figuring out how to keep your visa while earning less than the minimum wage and Grinding your way up the ranks from an in-betweener to an animation director Not everybody wants to do this and it leaves very little options for people who don’t have the resources to move to Japan Who still want to learn the Japanese animation method, there’s a reason anime looks the way it does and a lot of it has to do with their production methods and If you don’t speak Japanese, it’s really hard to get a clear picture of how they actually Create this stuff. I Once talked to the director of Sword Art Online at an anime convention Tomohiko Ito and I asked them what his advice was for being successful in the animation industry and his advice was kind of short and simple He pretty much just said stop talking about making anime and just do it sounds kind of overly simple but I mean Maybe he’s right but it’s really hard to just do it and you don’t really know how to do it. In this video We’re gonna be talking about how anime is made the process of taking it from conception to creation We won’t really be talking about pre-production project funding or pitching your animation I think if people know how to make animation they can just make it like Tomohiko-San was suggesting I’m kind of inspired by like how Makoto Shinkai broke into the anime industry What he did is he actually just made a five minute short, animated it directed it and voiced it himself and I think he had help with like three other people Instead of pitching it to anybody He just made five thousand CDs or DVDs of it and then just went around selling them to anime conventions and that’s how he gotten to be animation industry and then he eventually Directed the number one highest-grossing anime film of all time In this video, I’m going to be talking with my friend Will, he’s a American-born artist and animator who moved to Japan to work on anime and he’s also the co-contributor to the striving for animation channel We’re gonna be providing an overview of the Japanese animation process and give you the resources and tools You need to learn more about the process I spent a really long time trying to figure out how this stuff works and There’s really not a whole lot of video resources like this. So enjoy Alright, so I’m here with my friend. Will he’s living in Japan right now. Will do you wanna introduce yourself? Hi, my name is Will I work as an animator doing keyframing and animation direction in Japan I moved here from the US about nine years ago to get into the industry and I’ve worked with a lot of companies. I started out at Actus working as an in-betweener on shows like Girl und Panzer You did freelance for quite a while, right? Yeah after about three years as an inbetweener I did some freelance for about another two years and Then I worked on all kinds of late-night anime during that time after that I’ve been working full-time at OLM working on shows like Beyblade We’re going to go over basically. How anime is made in Japan right now, We’re gonna go into depth a lot further than pretty much any video on YouTube in terms of vocabulary and steps Hopefully you can get some of the common misconceptions about the animation process Explained so that people understand a little bit more so that those that want to actually get into animation Know what to do and how to do it Okay, so here we have a flow chart of the overall creation process it starts out with of course pre-production and script, but we’re going to focus more on the actual animation process in this video at At the top here we have storyboard . E-conte in Japanese Conte comes from the term continuity, it exists as a plan for shot continuity layout and composition of all the shots and to time out everything in a very General sense for a 23 minute episode of animation, or whatever the time form is for a particular production Here’s layout Reiouto Daichi Genga in Japanese Layout is the rough bare bones of the actual animation including drawings of the roughs for the characters effects CG motion camerawork and the background After that, you have the first wave of checks starting with episode director check,Reiouto Enshutsu chekku in check in Japanese The episode director check is done by directorial staff. It’s for fixing things like shot continuity composition character expressions to make sure that they fit with the voices Scenes as well as the timing. The check exists predominantly to make sure that the intentions of the storyboard are reflected in the actual layout Or brush up where the storyboards were found to be lacking Then after that we have the animation director check Reiouto Sakkan Chekku in Japanese Animation directors are in charge of the actual drawings and how long model they are So it’s the draftsmanship side of the corrections animation directors are also known to draw Corrections for the backgrounds and timing as well Then we have miscellaneous check here That’s for stuff like mix or effects where they have a specific animation director to fix just those parts specifically These specialized animation directors may or may not exist depending on the production After that, the cuts go through general or chief animation director check and then the layout is approved since the background fixes are done by this point, the background painting is started here on the right and Anything for 3d animations that at a hand-drawn guide is given to the 3d animators Next is second key Daini Genga in Japanese this is where the original layout artist gets his layouts back and Retraces the drawings and all the animation directors checks to clean up the animation for in-betweening if circumstances circumstances dictate that the original artist can’t work on the second key. It’s handed off to other staff After a second key is complete it goes through the same checking process from the episode director and the animation director and then the second Key is approved And after that you have in-betweens or Douga in japanese a lot of which is sort of outsourced, right? Yeah, especially nowadays increasingly Originally, you were supposed to start as an in-betweener and do it for three or so years But nowadays in Japan new animators are starting on second key more often After that, you have in-between checkers that check for mistakes or missing parts Douga Kensa in Japanese Then it’s scanned into a computer and colored digitally Shiage it and then checked Serukansu After everything is done. It’s given to composition staff for digital compositing Saturday in Japanese. This is typically done in after-effects The first step we’re gonna be talking about is a E-conte which is sort of like storyboarding was slightly different in the west, the way storyboarding is usually done is that it’s done by animators in Japan. There’s essentially a one director who does the entire e-conte. Basically, the entire purpose of it is to ensure that the entire animation has a consistent cinematic style I’d say good storyboards have meaning behind everything in it There’s a storyboard artist that I used to work with that said everything is handmade So everything has to be intentional for it to contribute to the storytelling things like camera placement can’t just be arbitrary Instead having actual meaning behind every shot while you’re shooting from low. Why are you using the telescopic lens? It’s one of the most important things to be thinking about when you’re drawing a storyboard Something that’s kind of a give-away for econte from Japan is that the drawings are really simple a A lot of times the directors of anime aren’t even good at drawing which was kind of surprising to me You can decide a lot about cinematography and the motion of the characters without even having to really draw detailed versions of them I’ve seen some directors that border on almost drawing scribbles and stick figures then there’s directors like Hayao Miyazaki who watercolor paint every single frame of the storyboard When you see that level of detail is usually a sign that the director wants to have more control over the final aesthetic People like Satoshi Kon and Yasuo movements are also famous for their meticulous storyboards And that’s mostly because they don’t like having to fix everything later on If you have a solid Storyboard like they do in the West they spend less time redrawing layouts as an episode director in the checking process The problem with everything being too tight though means that skilled animators have less room to breathe and be original with their animation So that and alleviating time constraints are both big advantages to the looser Japanese storyboarding style After the E-conte phase the project moves to the staff who make the layouts and rough key animation Layout is basically the raw bones for the entire shot and essentially all the necessary Keyframes camera work data necessary drawings for the background staff. There’s also these things called books which are basically background data Except as transparencies The name comes from them being sort of stuck between cells like bookmarks if you have trees that are on top of a character or on a different layer the layout artists and then the background artists will have To draw those as well filling out the time sheets are also an important part of layout so starting out on your average layout you would go from thumbnails of the storyboard from which the key animator will draw the Backgrounds the roughs thrill of the keys in the cut and then fill in a time sheet going by the timing that was provided in the storyboard So the rough animation happens the same time as the layouts? Yeah, a lot of people think that the layout is just a background Actually, it used to be like that But nowadays the steps animators take have been split into first key and second key animation Daichi Genga to Daini Genga It’s basically the invoice for everything that you’ll actually need for a shot at first key and then the cleanup of all that stuff in second Here’s an example of a digital layout and rough key animation What program do you think was used for the background here? This was actually done in blender and I believe you used a VR rig to make the camera motion The animator is you Usuke Kamikawi. By the way. He has lots of really amazing work on his Twitter So if anyone is interested, I recommend you check it out so he renders it and goes in with a VR headset and Uses that to help with the cinematography Yeah It looks like he simulated a camera with the VR headset and then exported the video as an image sequence On series like to be hero, they have certain settings that they use for VR with hand-drawn backgrounds to make camerawork It’s definitely not industry-standard. Definitely some experimental modern stuff. Super cool, though Yeah, there’s definitely a lot of cool stuff you can do as computers, but much of it is just now catching on Do you think this animation here was hand-drawn or digitally drawn? This is hand-drawn on the computer. There are people out there like Koe Yoshinari who like to do completed animation Including all the color digitally with fancy painted effects and stuff But it’s very much an outlier and it can lead to some scheduling problems depending on the production This is a time sheet or an x sheet as referred to in the West it is essentially a vertical timeline on 24 frames per second as per film Each of these horizontal cells represent one frame with the vertical columns being layers Starting from the top we have where you write the episode number the title Scene, cut number, the time in seconds, plus frames, the key framers name the compositors name and in the top right the page number. In the direction and the memo section you write specifics on camera work, effects, anything you need the composite staff to understand to apply post-processing or camera or layer motion. Here you can see an example of how a rough animation lines with the time sheet The time sheet looks really complicated But it’s actually really helpful for simplifying a lot of information to the next person who’s going to be touching the cut It’s pretty rare for people to draw the layout and do the animation themselves all the way through inbetweening, So it’s important for the time sheet to really decide the movements ahead of time. I noticed a lot of this is blank as there many times where the entire sheet would be filled up? Yeah, depending on the shot time sheets have to be very specific This is all blank because this is a static shot with no camera or a cut specific post-processing in the scene Some people can go really overboard with the camera effects and have an entire sheet filled up with scribbles. It’s really hard to understand sometimes You just call them A through F each one represents a cell layer, right? Yeah a cell layer the books that I mentioned earlier That our background data are written between the cell columns in order to sandwich them between cells You can also apply slides and zooms to any layer independently to simulate three-dimensional camera movement. The left side here is for key framers, and they leave the right side blank for Inbetweeners To the right of that. There’s a place to write instructions for timing sensitive camera work like camera shake, blur, or transitions like crossfades or fade-outs. Camera shake for example is often represented by a squiggly line that looks like a seismograph to represent how strong the camera shake is In the next phase the layouts and rough animations are packed up in a folder and passed off to the episode director to start the checking phase. The episode director in anime would be very similar to a film director. Episode directors oversee music, voice acting, sound effects, and basically everything. The two staff that have the biggest influence on the quality of production are probably the episode directors and the production manager the episode director is in charge of directional oversight on the workflow for every step of the process as well as being the most responsible for the actual direction and flow of an episode Correction staff always use colored paper to tell it apart from the layout artist the episode director often uses pink or blue When doing corrections episode directors will change the timing, staging, shot composition, and character expressions and will draw corrections on top of the layouts if something feels inappropriate for a cut You don’t have to be an animator to be an episode director. Do you? Nope, they aren’t usually draftsman by trade So the corrections are more focusing on directorial instruction like the way that they want to show the background the type of lens as well as technical things like How fast to slide a background on a follow shot. Whenever a live-action director might point out when leaning over a screen talking to a cinematographer Or explaining what he wants from his actress performance; are the type of things the episode director fixes The assistant director and series director are in the same position but supervising the entire series They don’t always have time to look at every cut from every single episode But they review the most important parts with oversight over the entire show So basically the episode director is in tune with what the series director is wanting Yeah They’re basically like a middleman for the series director to help mitigate the massive amount of work that has to be done amongst the three of them After director check is complete the cut has moved on to the animation director Who generally focuses on just fixing the drawings and making sure everything is on model The animation directors are in charge of drawing correct proportions, character balance, and the overall draftsmanship of every drawing within a cut Animation director is basically the highest who can get an animation staff, right? There’s general animation director and character designer on top of that as well What’s the difference between an animation director and a general animation director? Animation director is per episode. So they only work on a single episode at a time a lot of times There are many animation directors that work on the same episode This is a pretty recent development till about 15 years ago one or two animation directors with the norm for a 30 minute episode nowadays, there can be 10 or more depending on the production and Contrast the general animation director sits on top of that in the same way that the series director sits on top of the episode director Their job is to oversee the animation for the entire series They’re usually only two or three for an entire series with one taking even number episodes and the other one taking the odd-numbered ones While all this is going on the backgrounds are getting painted Which would have gotten started after the layouts and layout Corrections were approved Background painters usually work exclusively as background painters They will paint the backgrounds digitally or physically with tempera paints. Yeah, I think it’s called POSCO color I think that the thing that gives older animation its look is the type of paint it uses and the analog compositing techniques Backgrounds are definitely not limited to one medium though Watercolor can be used for example and recently Photoshop is the most popular software for background art While the background painters are working on painting the animators get back their folder of all the things they’ve done wrong That they get to redo from the corrections staff When you’re first starting, out as a keyframe animator, this can be kind of depressing, in that you see how bad your original layout was and also how much it’s been corrected Ultimately is better that you have actually been corrected thoroughly than to have something terrible on screen at the end often lack of time can prevent the corrections from getting done so the more corrections there are More chance, you have to learn something. Even if sometimes you don’t agree with all the corrections that are done You can Internalize those Corrections best by thinking about why they were made so you don’t sort of end up drawing or animating into the vacuum Listening in to people’s advice and then growing from that and having that as a systemic part of the process is one of the best Parts of working as an animator in Japan. I was reading that in the 70s Most people who’ve worked in animation didn’t want to be animators. They just wanted to be a manga-ka Apparently animation was a good place to train for drawing It is true that a lot of people want to start as animators so they can get good at drawing. In Japan the skill floor is pretty low right now because of animators being in low supply so you can get in and get a good Opportunity to do lots of drawings in a short amount of time You also get to see a lot of Corrections from a lot of insanely skilled people. It’s almost like you’re mentored by them Yeah, initially. It was set up to be mentoring as a process, but it’s sort of deviated from that I deal with mass production People meet a lot less in person nowadays. You still get the corrections though. So it’s still a great learning opportunity So there you guys have it, the best way to learn how to draw anime is to go to Japan Yeah, just forget about drawing from life and all that stupid stuff. No, I’m kidding But this is a great opportunity to see drawings from extremely experienced staff After the animators go through the painstaking process of redoing their animation and learning from the animation directors It goes to the workhorses of the animation industry: The Inbetweeners The Inbetweeners are usually the staff that has to spend the most time with a single cut. There’s usually more Inbetweeners than key framers They outsource because it’s cheaper, right? Actually, they pay the same wages domestically as they do overseas It’s about 220 yen for one in between and if it takes you 40 minutes to draw a frame Which was about the average for me when I was an inbetweener, it’s really not a lot of money Wages have been stagnant for 20 or 30 years to the point that he isn’t really compatible with the cost of living in Japan There’s just not enough staff in house or within the country to get the work done on time So they end up outsourcing to foreign countries I hear it can be a pretty decent paying job depending on where you live in China though, because the cost of living is lower This leads to a self-perpetuating cycle of not having paid that attracts domestic staff an increasing margin of outsourced work There are probably plenty of gaijin that would like to working on inbetweening, but they probably couldn’t keep their visas up at those wages Generally you have to be making at least minimum wage to get a work visa to Japan. So that’s a very real barrier. Yes So the first most important thing and in-betweening is that you have to trace the keys to increase the fidelity Compared to the keys while looking at the characters design sheets. So there are lines with the actual lines. You see on-screen, which is kind of cool Even though you’re at the bottom of the barrel in the studio your lines are the ones that actually appear on-screen Yeah, I think it doesn’t really get enough appreciation I mean you can draw as precise as humanely possible and do the most nuanced second key Corrections in the world But it means nothing if the in-betweener isn’t given the time to properly trace in between those forms Another thing is that Inbetweeners used to have a relationship between in between checkers and key framers similar to that between keyframes and checking staff they could show their work to the key framer of the actual cut they were working on to get advice on the motion Also, they had to get a pass from the in-between checker in order to send out their work Nowadays in-between checkers are forced due to time constraints to do what is called a pre outsource check Maki Maya checkku where they fill in tough to in between parts or places that are likely to melt, And then send the work out to get the work back and then perform as many fixes as they can on the final results But there isn’t the learning experience you get from that back and forth between the actual Inbetweeners and the in-between checker Although this is something that can’t really be helped due to time constraints, the adoption of these practices hurts a lot of new Inbetweeners by not giving them those learning chances. I think the most important and interesting thing about in-betweening is that you get to see every single thing in the cut folder from the layout all of the corrections the second key and the timesheet You’re supposed to look at all these things and study them to figure out how and why everything is drawn or written the way it is so it’s as much of a training period and an opportunity to see the animation of skilled people in the industry as it is a job in itself For in-betweening, one of my teachers taught me that the easiest way to have fun with in-betweening is to figure out what’s interesting within the limited Confines of tracing and in-betweening lines and pursuing that if you have the right attitude, it’s like wow, this is amazing You know, there’s a lot to enjoy there Sometimes we would get a cut from a famous animator and if it were over the crowd around see the hot fresh keys Something that’s indicative of Douga is that the lines are very decided on there’s no sketchiness Highlights and shadows are denoted with blue and red lines; red being the highlights and blue being the shadows But this can sometimes differ from Studio to studio After in-betweens are done. They are scanned and sent back. For the longest time I thought that they were actually traced again digitally by hand, which is wrong. We got a link for a really cool program in the description. It was made by Studio Ghibli called Open-Toons It’s a free program that just does the tracing for you the industry-standard program that they use in japan is called trace man And what’s crazy it just turns your pencil into pixel and gets it ready for coloring It’s basically a filter. Yeah Yeah, after running it through the program staff will use the paint bucket tool and fill in the color According to predetermined palettes which are usually on the character design sheets Coloring requires no particular drawing skills. You just have to have color vision so if you can’t draw and you want to do anime get into coloring It does help to have drawing skills though, to help you figure out what line goes the what. I’ve seen my fair share of nightmare line works that you can’t tell what parts are supposed to be What color so that’s one tough part about the job that can be alleviated by having some drawing knowledge, though it’s definitely not a prerequisite This is a visualization of what the coloring looks like The second column is a scan of the pencil drawing and to the left of it you can see what it looks like after running through trace man or Open Toons and The third column you can see what it looks like after being filled with a paint bucket tool Sometimes the lines aren’t attached completely which is usually a mistake from the Douga or from the filter On the hair here to where you can see that they’ve changed the lines from black to gray It’s actually a hand applied filter. Oh, so they have to trace every single frame not trace, But they are abusing basically a selection tool to isolate and change the colors for just the hair lines When digital coloring was in its earlier stages shows like Macross used to draw all the lines for the hair in red colored pencil So the paint staff didn’t have to do the separation work manually Red colored pencil is hell to erase though. So nowadays It’s more often left to the coloring staff along with other increasingly more subtle correction work like connecting lines When working with scanned pencil drawings no matter how thoroughly you tried to connect all of the lines analog Once you apply the filter spots with lighter line color can create gaps in the final line work. If you try to get everything perfect on analog paper and just scan it in and apply the filter There’s a point where you get diminishing returns and sometimes it’s better to just let the coloring staff fix that. You can see in this cut everything has been brought together the finalized in-betweens the coloring the backgrounds the post-processing effects There’s a separate staff that will do a compositing and sometimes the directors will get involved like Makoto Shinkai who does the lighting for every single cut. Yeah, that’s where he likes to leave a lot of his touch Yeah, you can usually tell it so Makoto Shinkai film based lighting Something a lot of people wonder is what programs are being used to compile the animation they use After Effects usually to finalize the cuts and Adobe Premiere to string all the cuts together each cut gets exported after the composition is completed in after-effects. It then gets dropped into an Adobe Premiere file and synced up with the audio from the animatic Any final frame editing happens in Premiere as well. And that concludes our first video We hope that you learned something If you did, if anything surprized you, go ahead and put it in the comments If you would like to see us make more content like this, please subscribe. Thanks

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  1. Wow, that's really useful. It's a good thing that one of you guys is actually an animator in Japan, otherwise it would be nearly impossible to get all that information. I tried to learn the process for many years now, but the search for the right information was never fully succesful. Thanks for all the work you guys put into this video!

  2. Oh shit, if he works at OLM, will he be working on "Mix"? Love Mitsuru Adachi's works and I'm really hoping the show looks good.

    Also, great vid btw, very informative.

  3. Awesome work! Excited to see more. I love animation and that advice would help me a lot. Stop thinking and worrying and talking about what to animate, and just do it!

    It's very hard trying to find out techniques/trends/processes as you said so thank you for putting all this effort into this!

    I haven't finished the video yet but one question I have so far about the chart adopted from Furasujin Connection. Hopefully I didn't misunderstand your explanation about this.

    At 4:35, you guys show what seem to be key animation frames, but call it the layouts. And later, you guys explain that layouts include roughs and backgrounds. Is this a newer thing, like with digital animation? Or is that just how they call it in Japanese?

    Because I always thought layouts were just that 1 or 2 rough drawings per cut that the key animator mocks up based on the storyboard, to be revised by the director, and handed back to them to make the rough keys (and then to be checked/revised again), and then cleaned. But like you guys said, if they're following the newer trend, they will have a 2nd key animator to do the clean up instead. Note I say rough, but of course usually the uncleaned key frames are already very detailed and cleaning them up is pretty straightforward.

    Any thoughts/clarifications on this? Is it a difference due to traditional vs digital processes? The cut at 4:35 seems digital, and slightly rougher than what traditional key frames would usually look like, so maybe in the newer digital processes it's still considered layouts, and since the layouts already have the rough animation down, the people who clean it up are just referred to as 2nd keys (and thus there is no "1st key animation" step in the chart included in the video?) Or do the japanese just consider 1st key frames to also be "layout" drawings?

    Thanks in advance!

  4. Really enjoyable and very informative video. Thank you so much for making this man it's so interesting how every single part of the job is outlined in this video.

  5. this video is excellent. ty for making this. the only thing i couldn't understand was the cells part in the time sheets. but everything else was very clear and simple to understand

  6. Obviously a much needed video with (I'm assuming) tons of great information but I just couldn't get through it past 5 minutes or so. Your delivery makes it seem like you're doing this offhand rather than following a script. I highly doubt that's the case but it seems that way from your delivery (i.e. stumbling, sounding nervous, etc). Try to be more confident or fake some enthusiasm. Either way works.

    That's not to say you have to do that in your regular videos (I haven't even looked at your other videos so I'm not even sure what this channel is about), but for something that is looking to teach as large of an audience as possible, there's no need to develop a certain persona. Rather, just be informative.

    If you weren't looking for criticism then go ahead and ignore this comment and good job on the video.

  7. What a fantastic video and a fantastic resource to a topic that is largely ignored by the western anime community probably due to language barrier. I was completely unaware and surprised on that After Effects is used to finalize a cut. Now im curious on what software they used before.

    This video and channel needs to get shared as much as possible

  8. Why don't Japanese animators use a drawing tablet instead of using pencil and paper? It's not like animation software doesn't have onion skinning

  9. Thank you very much! I always thought I had to retrace my drawings into clip studio into making animations from paper. I was looking for this software they used to convert images to pixels

  10. oh my god i so want more of this stuff, i am so force feeding this video to my neighbour (i indoctrinated him to anime and one of the first animes we watched after SAO ofcourse was shirobako)

    considering how well done video this is, it has criminally low viewcount, we really need to reddit brigade this video alot, ALOT more attention and by that, alot more patrons for the patreon, i will be contributing to the patreon also, ofcourse!

    are you you guys in any contact with the dude from canipa effect, im amazed if you arent, lol 🙂

  11. Thank you for the video! It's really unique and useful!
    Looking forward to new videos!

    You just got a new subscriber, freelance animator from Russia 🙂

  12. Yo this was incredible thank you for making this – it's the kind of information that we need to hear out in the West. My only thing is that the video itself could do with a bit of pizazz if you ever need the help of an editor I'm more than willing to offer my services and for this kind of info if you guys have a Kofi link or a patreon I'd definitely be up for donating!

  13. Thank you. Thank you for an actual content that explains how these things are made. Did you guys stop making videos or on a research atm? I hope to see more in the future!

  14. Hello, i'm a Brazillian animator who is studiyng japanimation here by myself and my graduation project was, in some degree, translating and adapting the japanese method for my school fom Yasuo Otsuka's course, nice content on the channel!

    I'l be also working on developing the knowlege about japanimation on the west, hope we can get to talk someday

  15. It's so nice to watch a video explaining these kind of stuff, just got my hopes up about getting into the anime industry. If It is not much to ask, I would like to know how to get a job as a remote inbetweener…like where do I search for it or how do I contact an studio?

  16. Absolutely fantastic video, thank you for putting so much effort into this channel. Looking forward to seeing more content. Would love to have a video on how Will moved to Japan, and what the experience has been like. Keep it up, guys!

  17. I learned a lot from a Masterclass with Edo Haruma. He told us both ins and outs of the industry, anecdotes and we praticed keys, inbetweens and learned the sheets. Too much to say really, maybe Ill come back to explain some things I think are wrong with the industry. But hey, if you are insanely talented like BahiJD or Weilin Zhang, webgen is the way to go.

  18. Firstly, I gotta say thanks so much for this, it's really useful. Second,ly when is the animatic created during the process? In the west, the animatic is created from the storyboard. Is it the same for anime?

  19. This is definitely the best explanation I have ever seen anywhere on the web, let alone YouTube

  20. This is gold ! I subbed instantly !
    Also at 10:12 if you could show how that process is actually done that would help a lot. Thank You !

  21. I've been wanting information like this for so long! I'm definitely going to watch everything you make!!!

  22. Пожалуйста, если есть умельцы, сделайте субтитры на русском.

  23. Wow guys Thanks a lot for this information, I going to follow all your videos! Regards from Ecuador 🙂

  24. This is brilliant and quite in-depth for anyone interested to know how anime is made. Keep up the great work !!! And please do more.

  25. Thanks, I want to be an Animator because I hope one day I can create my show that I can direct. That is my dream one day.

  26. Its hard for u to learn anime!
    Me:*calls my japanese classmate to teach me japan*
    Btw I actually like korean more than japan

  27. AMAZING THANKS SO MUCH ALSO

    Congrats with all your subs! You are an inspiration I wish I could be just like you!
    Right now I have about 26 subs I’m trying to aim to get like you by making AMAZING vids
    And animations! ?

  28. Just found this channel and subbed. There is so much information; I’m not sure if my mind can keep up with it! Looks like a very fabulous video though!

  29. Great video, thanks for that! I would like to make a suggestion, I always wanted to know what makes anime so different from the animation that is made on the east side of the planet, there is a simplicity in the way anime is made that make independent animators like me want so hard to know how to get that feel, also, I'm curious about the framerating too, I once read that anime is madr on 12fps, but some movies I think that the fps is even lower, well, I think it would be cool if you guys made a video about the singularity of animation made in the west, I'm from Brazil, is kinda hard to explain, but I think you can get it! Thanks again for the amazing video, you won a subscriber!!!!

  30. Thank you so much for making this channel!! I've been digging for this kind of information FOR YEARS! Especially on the digital ink and paint, since I have not been able to discern whether the lines are redrawn, or if the software is able to separate those lines. This was also news to me that Open Toonz can do that, since I've considered it a bogged down, useless app until now.

  31. Wow, I thought before that 'konte' (コンテ) means that they draw the animation by conte crayons, but that turns out it means 'continuity'!

  32. This is my secondish time watching this AND EVERYTHING was amazing to learn!
    I WANNA BE A CHIEF ANIMATOR!

    From keyframing, layouts, directors and what really helped me most inbetweening!

    Its really those lines that show in animation but the rough animation is important too, there's so much to do than I thought.

    This is valuable and wonderful advice! The insight really helps me see what us done in making anime, now I know what I want to do.

    Thanks for teaching this, extremely helpful, keep up the work. Deeply appreciate it, also I subscribed!!

  33. I will now see the credits of anime differently! All those parts with the directors are more important than I thought. Mad respect to them!

  34. Have you ever heard of a man named David Roy? He was among the first of the Americans to go to Japan and work in anime. I went to find him after reading the only two articles about his time there… I talked with him, asking about various experiences and things he had mentioned in those articles. He's quite fascinating, but also very realistic and seems to be a bit downbeat about it all.

    Because he was among the first, most studios didn't have any idea of what to think of him and it was hard to get in. Some of the advice I was given is outdated now, as he began working in Japan in the early and mid 1990's, but much of it was still useful for historical documentation. David had a tough time. Pre-digital methods, internet in its infancy, and poor management plagued studios then. He also got really tired of drawing the same looking stuff, which is still an issue to this day.

    Ultimately I live in the time where the method you outlined at the beginning is still mostly the only way to get in, and that's what I'm going to do. Going to work there next year in March with Interac, then work for a whole year after school on improving art, sketchbooks, animating, learning Japanese… Then attempting to get in. I'm glad to see that you are working towards documenting this process, as so few do with accuracy. Most others are in it for the views and rarely give insight into commonly asked questions. When I get into the industry, I'm going to document all of it, and finally give insight to each process. No more secrecy.

  35. Why japanese animation term , called 1 frame with cut , not a shot ?? Can anyone explain it , when i ask to my teacher cut is used for when u want transition shot , so they use cut to describe that transition between shot and shot.

  36. This channel is amazing. Thanks so much for your work! An instant sub from me.
    I've never seen anything so in-depth like this before. Even though I've recently started with drawing and everything, I hope to be part of this industry one day. I wish you the best with your work!

  37. Ohhhh, I like the advice: stop talking and just do it..i.e.: stop flapping gums and draw. When you draw you get feedback, take that feedback and draw better… rinse and repeat until you are where you want to be. Simple.

  38. Amazing video but random question: what is the anime at 9:12 called, i've been trying to know it's name from other clips but can't seem to find it.

  39. I really appreciate this channel. Thanks for creating videos about Anime and making Anime its very well researched. I really like that there are others out there interested with the anime production method. I only know and have learned about the Western style CG animation even though I like anime. Thanks for the videos.

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