I have to drive like crazy with only 3 hours of sleep.

There are too many intricate details in the drawings.

Recently, there has been a decrease in progress regarding driving.

Does following an animator mean giving feedback on the drawings?

In SHIROBAKO, you were seeing hallucinations where dolls started to talk.

I just made the anniversary PV for Blue Archive.

What the thread image is saying is that it was extremely tough to gather staff, manage schedules, and handle everything related to producing the anime PV all by oneself.

Is the thread image related to this from yesterday?

It’s also true that workers should manage things alongside their work.

It feels like the burden is enormous for a creator who has to balance tasks like drawing, not just simple clerical work.

I hear it’s an incredibly demanding job, but do I have to do it alone?

>>18

Yes

>>18

Do it alone and parallel the episodes.

Because animators don’t listen.

>>21

People who are good at drawing often have a high probability of having developmental disorders mixed in.

Fundamentally, we can’t communicate effectively…

Isn’t it better to have a professional encouragement and motivation person?

There are apparently people who continue to use someone who sometimes skips work but raises the drawing quality when they do show up.

I have no know-how at all, but I’ll make an anime using Clip Studio Paint and Blender, so leave it to me! I was suddenly called to a rookie director’s site where, as expected, a big accident happened and the schedule turned to trash, and while complaining about being given unreasonable requests, I was doing work where I had to submit a storyboard in about a week.

I wonder how that system has continued for so long.

Therefore, I make the production desk take all the responsibility.

Even though there are cases of overwork death, I wonder why it has to be done alone from the past to now.

>>32

They’re like warlords from the Sengoku period who can’t understand politics with just their brute strength.

>>32

There are various fields of art, but it seems that there are particularly many people like this among painters.

Is it the same in anime… I’m a mechanical designer, and I see the exact same phenomenon.

>>32

>>95

It’s everywhere…

Essentially, instructions are coming from someone who lacks skills, so you feel like saying, “You do it!” and that leads to rebellion.

This exists in every world.

However, management skills are exceptionally difficult to evaluate, so it doesn’t really lead to the direction of questioning whether you have management skills instead of just technical skills.

I went to an anime school, but there were about three people in a class of thirty who couldn’t have a proper conversation.

The drawing was good, but…

There are quite a few unnamed people from the anime community here…

You’ve mellowed quite a bit since you got fired as the director of Guruguru.

I thought so, but I’m still quite addicted to Twitter and it’s getting risky.

If creators could do everything from the beginning, there would be no need for production management… It’s because they can’t do it all by themselves that dedicated personnel is necessary.

When working collaboratively, you really understand how important management is…

If there’s no one to take the lead, it will fall apart!

Isn’t it whatever since it will eventually be replaced by AI?

If you don’t offer sufficient pay and enter into a binding work contract, animators will take you lightly.

>>43

There are indeed places that are properly advancing their employee conversion.

It’s not something that can be covered entirely, though.

>>43

Restraints and partial restraints have existed since ancient times.

Still, I was doing side jobs under a pen name.

Recently, it has become quite normal.

It’s the position with the most suicides, isn’t it?

I think it would be good to promote to a position in production management…

I understand that there are many people who feel like it’s enough just to be able to draw.

Anime is created by a team, after all.

There was a girl who wanted to be an animator and would only say “Ah… yeah…” no matter what you asked her.

I was wondering what to do about interviews, but I ended up getting a job at a pretty good anime company.

I guess the people who take them are used to it since it’s a common thing in that kind of industry.

>>50

As long as you have practical skills and can meet deadlines…

There isn’t as much jealousy towards successful and skilled people as is often said on the internet.

There are quite a few people who switch completely to not finding any value in associating with those they see as inferior in art.

>>52

There’s nothing I can say to someone who’s skilled at making a living through art…

If the work was really just about spreading and collecting materials, I wouldn’t feel so resentful.

Even though it’s called promotion, it’s difficult to say definitively which position is higher because each role has such a high level of specialization in animation.

Well, the salary difference is too much and it’s troublesome.

The anime industry is unable to laugh at stories like how waiters abroad live solely on tips.

It’s not just that they are decent people; it’s that those who survive have also suffered and experienced pain, making it easy to perpetuate a negative cycle…

The director guy can’t draw but keeps asking for retakes, so it’s really frustrating.

The production assistant must convey that complaint to the higher-ups who are responsible.

I originally worked as a production assistant for mobile games, but then I ended up also doing production assistance for in-house anime, and while I’m managing, there is definitely some disdain and production interference towards those who are worse at drawing than me.

I think the team would have fallen apart if the best player, who is mainly handling the background, hadn’t been on our side.

I took it to mean that only animators can manage other animators, but doesn’t that just reduce the number of people even more when they’re saying there aren’t enough animators?

Well, it might have a nuance of becoming more efficient.

As expected, there are those with production progress experience…

>>68

If videos become AI, it is inevitable that the original drawings will also eventually become AI.

I think managing someone else’s schedule, especially that of an artist, is too hellish.

In the world of animation, as long as an animator is good at drawing, they can be as selfish as they want.

I got tired of the city, so I’m going to retreat to my family’s home in the countryside, and from now on, please send all the original drawings by mail. It was really tough dealing with the animation director’s selfishness back then, but I wonder if things have gotten easier with digital data transfer now.

It’s much harder being a manager than a player, so having someone who can rise up and do management is a huge plus; I just don’t understand why anyone would be envious of that…

Speaking of which, a friend of mine said that when there are a lot of animation directors on site, things get really chaotic…

I think it’s a tendency that seems to be found everywhere, as it’s the technical version of “strength is everything.”

It’s kind of strange to be managing the schedule and negotiating with various places, or rather, trying to keep everyone in a good mood…

I don’t think the issues of the production progress being overworked and the director or creator managing the schedule are the same problem.

If I could, I would be doing it.

>>80

In a regular company, that’s a respectable job, but in the creative field, there are other criteria for judgment, which makes things a bit complicated.

The drawing slave would go smoothly if they obediently followed those in a higher position…

Being good at drawing and managing people are completely different things.

I recently got to know someone from the former I.G, and I’ve been hearing various things, but they always talk about how difficult relationships were.

Of course, they won’t tell me the specific details.

It’s natural for buildings and vehicles to be digitized, but since CG for fight scenes and mob animations is also progressing, wouldn’t it be unlikely to dramatically improve hand-drawn animation with machines?

There are really nice original artists and video creators, you know… that’s what an acquaintance said…

It seems that having such connections makes one strong in directing…

It’s scary that people’s criteria for evaluation are based on the skill of a painting.

>>85

It’s quite common not only in anime but also in illustrations.

There are popular videos on YouTube and such that say bad things in a clumsy way that makes you want to pull back a bit.

>>85

That evaluation is also from top to bottom, right?

I think it’s not really a task or practical work that can be done for several hundred thousand yen.

But even so, it’s terrible that this is one of the more stable ways to make money in the anime industry…

It’s strange for that not to be evaluated.

>>90

I don’t mind that, but I want you to have respect for the other people you work with as well.

During the time of “Shirobako,” Ichirou Itano criticized the production heavily, but I think it will take another 10 to 20 years for the mindset to completely change since that kind of thinking still remains in the current generation.

The trapezium did a good job, you know!

Hakkadoll season 2, hurry up!

In principle, there are parts that working adults would hide.

It feels like it’s going to attack just as it is, drawn and ready.

There was someone at a gathering of doujin creators who said, “We don’t need to invite that person since they don’t draw anyway.”

“I have a memory of thinking, ‘Isn’t this a gathering of people who like the anime called ~~? What is the art like?’ and then parting ways.”

I remember reading in an interview article about a certain anime I watched long ago that it is definitely better to have experience as a production assistant if you want to be a director.

>>104

I’ve heard that it’s easier to work under someone who has progressed from being a performer rather than someone who has just risen from the ranks.

>>105

I remembered the story that the interests of anime creators and anime viewers are in conflict.

Creators may prefer to make mediocre works for money, but viewers desire well-crafted works that are born from the creator’s struggles.

There are people who live only because they are good at drawing, so that makes it even more likely.

Middle management, acting as managers in any industry, is often in an unfortunate position, isn’t it?

Recently, we hired a person specialized in progress management, like a project manager, and as a result, everyone’s work has become much easier.

Creators are better off being able to focus on their work.

>>109

Progress management is so difficult that it could be considered a specialized profession.

Small companies make you do jobs in parallel…

Conversely, if you get the idea that the skill of drawing is everything, it doesn’t seem to go well.

There may be cases where it goes well.

>>111

I understood the reason why it hasn’t improved!

It seems that the process of being named and receiving sympathy is still better, as the later stages like finishing and editing seem to bear the brunt of unreasonable demands, yet their struggles go unnoticed.

>>112

I’ve heard that the audio equipment is doing well, but I don’t know the struggles behind it.

>>112

I think finishing is probably the whitest part of the anime industry right now.

I can go home on time.

The filming… gives the impression that the progress usually involves help.

>>119

Black…

>>112

Back in the day, the cells were heavy, and all the cameramen were really muscular…

Even now, the general public may not know, but everyone below is relying on it.

In reality, is it better for a skilled artist to work on something upscale or something downscale?

When a position is established, a person’s goodness becomes a strength, but…

During the time spent until then, does it become superficial because personal goodness and such don’t matter anymore?

Since it’s division of labor, each person can just do what they can, but it doesn’t quite work that way…

I work at a social game company, and there was a time when someone who used to be a production progress coordinator joined as a planner.

I really got better at managing Illustrator in no time.

I wasn’t able to finalize the specifications with the programmer, and I ended up being yelled at by them and quit.

At least consumers are properly paying for things like anime and manga, right?

You can tell that from the sales, so I don’t want to hear excuses like it’s a poor industry.

>>123

I’ve heard that kids who can draw properly and quickly without getting rejected can make a living from animation.

>>125

It’s a universal tendency in all situations…

I think managing other people’s work and schedules requires a special ability.

People who can’t do it really can’t, so in that case, there’s no choice but to focus on one job that you can do and achieve results with that.

Well, in a regular job, I might complain about this and that but still follow along, but in industries with a lot of artisans, I tend to get ignored.

In other words, the animator industry was a regular industry…?

From the director to the talented animators, Gesoiku.

It’s something you can only say because you’re someone who is completely capable in terms of skills.

Let’s set aside the overly troublesome personality aspects that are irrelevant to the discussion about the thread image for now.

It feels like someone who can’t draw is giving orders arrogantly as if they are capable.

>>135

I think the problem is that there are annoying animators who think that way.

>>144

Rather than clearly being, this is probably a world where this gently exists.

>>135

What you really want to say is that you don’t need anyone who isn’t an expert, but the reality is that there simply aren’t enough people like that; it’s just an idealistic argument.

I doubt that we can prepare such a Superman who can both draw and manage schedules, and those kinds of people will rise to the top.

There was a time when I was waiting in front of a poorly animated person’s house at 3 a.m. like a debt collector, thinking, “Stop saying that being good at drawing is everything, and just raise your game already. You’re actually worse at layout than I am in the first place!”

>>136

Don’t those kinds of people change careers to become animators?

>>140

I didn’t have the financial means to be an aspiring videographer, so I was doing the progression instead.

I occasionally hear about patterns where the animation comes from the progression, but it’s really rare; the opposite pattern is more common.

However, there are many cases where a progress like me, who can draw, secretly fixes the terrible layouts or makes data corrections during retakes.

>>162

I have the impression that there are people who are quite specialized in drawing (and I don’t really like moving things…?) but are pursuing directing and working in production.

Ikugo has personality issues, but he was able to make a living as an animator.

I feel like things have settled down recently.

In sports, superiority and inferiority can be quantified with numbers, but in art, even if things appear to be similar from an outsider’s perspective, there can be subjective opinions like “I’m better!” which seems to complicate things further…

It’s just something that anyone can empathize with…

Why is it that liberal arts majors have better salaries than science majors? This is a classic example of something that’s common everywhere.

Well, it’s only natural, but people who work (or have worked) in the anime industry are also looking at this forum…

It’s true for all black industries that depend on individual skills.

People with abilities tend to choose their jobs, and because they have high incomes, it is common to see a divide even among the same profession.

The idea of standardizing treatment tends to make those who can perform feel like they are being pulled down.

As mentioned above, it’s a conversation about how there are few people who can endure it because they are treated as the lowest rank or like just doing menial tasks.

Well, it was a position that people said you could do as long as you had a driver’s license.

Well, what it means is that we can organize the arrangements and talk with the other party…

In sports, a coach can be hit with results.

That aside, there is also the issue that I haven’t properly studied coaching and management…

Even I can give orders and make someone draw.

I think there’s also a quickness to it that makes you feel like the moment you want to see the picture has been lost.

If you make something poorly, you’ll be criticized for ruining the artwork and it will haunt you forever in the world, right?

I’ve seen people standing up against the harsh working conditions of animators, but they always seem to fade out, and I guess this might be one of the reasons why.

The way the production materials are organized is so messy that the filming crew often has a better grasp of the material’s positioning.

It seems that even after Color was established, they had a hard time getting rid of the theory that the best players are the most important.

>>155

It’s amazing that theory was discarded…

There are also talented illustrators with good interpersonal relationships.

There are some animators who say that if they didn’t have this job, they wouldn’t be able to make a living…

In the same industry, those who can’t do their job are treated coldly.

There aren’t many people who only make a living from the community.

>>157

I mean, there’s really no reason for someone who can make a living from their community to do that kind of work other than love for it…

>>164

I think it’s awful that people who had relatively secure positions are disappearing due to low wages that barely cover expenses.

I think it’s fundamentally a failure as a job.

As a capitalist, I find the animator’s personality troublesome, so I want to quickly replace the environment.

>>159

Will a decent work come up?

I heard a story about an animator whose brave tale involves destroying a company for the sake of quality.

Still, in the end, it’s a creation, so it’s a bad way to put it, but the truth is that no matter how many mediocre people you gather, they can’t replace someone who is truly talented.

>>165

It’s true, but proving it is nearly impossible…

I mean, there’s no one in this world who comes in just wanting money, right?

Just because of that, it’s not right to say you don’t need to be paid.

It feels like the heroic tale of successfully completing the project, even though the animator actually ran away during that discussion, has become a standard story compared to cases where things went smoothly.

>>170

Is it a sure thing!?

>>183

The story about redoing it at a terrible timing and the absurdly crazy ending is a guaranteed hit.

>>170

In fact, those who have connections to re-seed are strong, which is why it happens that way.

In the first place, everyone is struggling and feeling tight, so it doesn’t resonate or hit home.

That kind of thing is the job of a competent superior.

If you want money, you should go to the side that makes it, or rather, the side that is dressed.

I’m not the boss of the monkey mountain, but…

To create rules, it’s not enough to just be in a position of authority.

First, without a strong power to silence everyone, they will likely be insincere and confrontational.

Managing creators must be a hellish task because they generally lack common sense.

It seems like a Pokémon that doesn’t listen unless you have a gym badge.

Someone who can only draw and can’t interact well with others will end up being just a talented but difficult person if they don’t have someone who can manage them properly.

It seems that there aren’t many of those stubborn people lately, as it has become clear that the quality and cost demanded by clients have risen, and good products can’t be made without cooperation with others.

>>177

I guess that’s how young people are these days, not just animators.

An amazing animator did all the drawings here by themselves and managed to finish it on time.

It feels way cooler than the unseen effort in production progress.

In the case of humanities-oriented SIers, the truly necessary ability is to not be bothered by being called incompetent and criticized from downstream.

>>167

It’s actually not okay, you know?

Sometimes I would secretly fix it if something came in that seemed like it would get rejected due to the direction.

Well, since I’m no good anyway, even if I get it back, it won’t get any better… it’s a state of resignation.

There were times when I was so frustrated that I had to fix things while being angry, like when the director called for retakes at a timing that didn’t make any sense because they couldn’t read the schedule.

Anyway, from the animator’s perspective, it won’t be noticed much if the direction was changed by the supervising director…

Just because someone is a top player doesn’t mean they can necessarily become an excellent manager.

Even just watching baseball, you can tell…

>>186

It feels very real.

AI will never be the main job in animation.