The animator Ken Arto commented on working conditions in the anime industry

The animator Ken Arto commented on working conditions in the anime industry

The MIPON portal shared the second part of the interview with the Franco-Japanese animator Ken Arto (アルト 健), where the work conditions of the animators were commented in Japan and other aspects of interest.

Ken Arto began about the difference between working in an original production and in a production based on a written work: "When you work on a manga, you have the fame of the manga. For example, I like the manga of the Jump, I had the opportunity to work in animations based on them. In the original anime ... How to say it? If the study does an original anime, you do not know if it will be successful. It's a bet. Then, for people who put money in an original anime, it is a bet too. So that the products get the money, they have to gather a good team. Therefore, the original anime is difficult to do, because you have to gather the money. "

Arto also commented on the delivery dates (DeAdlines) in the case of animation, and as some animes are still produced even when they are already in broadcast: "At first, when we started with episode one, episodes two, the anime not yet starts. And when the broadcast begins, you have already done some episodes. In the calendar, you have all the issuance deadlines of the episode and you can not move them. At first you had a prepared lot. When you get to the last episode, you have less and less prepared and you have to hurry. The last episode of the season of an anime is always hurriedly ".

He also commented on the working conditions of the animators: "When I talk about the long days of work with my Senpais, they tell me:" I know, 10 or 15 years ago, it was worse. " Well, it's improving little by little. But if you look 15 years ago, Wow, now you have Kousuku. The Kousoku is a small contract with which they are paid for a few months. And 15 years ago, you did not have contracts for months. It was paid by cuts. They still pay you for cuts! But if you are a good animator and the studio wants to keep you, you can talk to you for a Kousoku. "I love you in the team. I would like to pay for this amount for a few months. And you will have to make a minimum of cuts, 30 to 40 cuts per month. " And so you can negotiate. If you are a very famous animator, you have a good salary. But if you are a beginner, the first few years, are difficult especially because you can not get a Kousoku ».

We conclude this article with their words of Ken Arto on the toxicity of fans on the Internet when there are errors in the production of animation: "The reasons why certain things can go wrong, sometimes they have to do with the management of deadlines. of delivery On other occasions, it happens that there is a lot of budget for the first episode and is used all the time available in the first episode and then there is no time to make the next episode ... then, they give it to China or South Korea so that They do it faster. They are many factors. It is difficult to know all the details of each production. Sometimes it happens that you have some time, or the animated director did not control all the cuts because he did not have time. It can also happen that the main study gives an episode to another study and that study is given to another, and that study to another ... spend this kind of thing. Either way, those who take these decisions are above, they are not the animators. It is the decision of the production manager to issue an episode at the deadline. And it will be that day, because they have to be at the same time as the manga or because they want to launch a new collection of figures, etc. ".

Source: MIPON | Japan

Mipon, Your Anime Tour Guide © 2021

A man and several students are condemned in North Korea for watching the squid game Read Previous

A man and several students are condemned in N...

Momo Asakura, the voice of Iroha Tamaki, entered the daily world ranking of Super Chat Read Next

Momo Asakura, the voice of Iroha Tamaki, ente...