Can you imagine if there were multiple reports of unpaid work - especially exploiting the vulnerable position of overseas workers - AND of consistently inhuman working schedules for production assistants for the same major anime studio, just a couple days from each other.
Wait.
The latter's a well-documented tragedy for the industry as a whole, but I'm wondering if I should put together a list of anime studios with... dodgy payment records, let's say. I've heard enough private reports & others from trustworthy creators to shame a bunch of studios.
Anonymity would be required of course. The reason these don't get openly reported all that often is because no one wants to be perceived as a troublesome worker, as immensely fucked up as that is. When specifics are made public the sources tend to be veterans allowed not to care.
And if we were to do that, it'd need a million disclaimers so that people realize problems are systemic, and that those studios are neither the only villains nor avoiding paying their workers all the time. No one would get away with that.
But even if it's "only" isolated instances of unpaid / unjustifiably delayed payment, it STILL is appalling, especially since we know of very big studios doing that. We have a word for ungodly harsh work that isn't remunerated and it's a very ugly one.
• • •
Missing some Tweet in this thread? You can try to
force a refresh
Impossible to have a nuanced discussion about the HeroAca layout nerf situation when the discourse is driven by people with no understanding of anime production (neither the technical causes nor the fact that this is a common issue) and no willingness to listen to industry folks
Frustration over overly conservative corrections of the animation are as old as the role itself becoming part of the pipeline. Key animations and supervisors/directors will never fully see eye to eye, that's inevitable. But this is obviously not what's happening here
That inherent friction to creating animation professionally as a group gets exacerbated to an insane degree when there's no proper communication between both parties because of the language barrier, distance, and a simple lack of time preventing real briefing & instructions
I mentioned that Chainsaw Man's trailer would be a cool pre-animated affair, not as a smart deduction, but because I'd been told so (the pre-animated part, coolness was a given). Now it's out and wow it is! The separate staff's in the damn vid! Multiple animators mentioned it!
As far as I can tell, the reason people made such a big deal out of it was that they're upset about the Shingeki S4 situation, which is funny since the most famous modern instance of pre-animated non-teasers was Imai preemptively boarding & animating PVs for its previous seasons
This all stems from people not realizing that pre-animated simply means that it wasn't organically edited out of footage they'd normally finished, which is to say that the team went out of their way to create something fancy for promotion. That is... normal, common for big titles
I'd believe it if you told me that Toshimasa Ishii has heavily corrected everyone's boards in 86, since sleek transitions & match cuts packing a punch have become the norm across all ep directors. Rare to see TV anime with this well-defined of an identity, more so from a rookie
All individual directors still left some of their personal flavor in though, and episode #06's Kuniyasu Nishina sure seemed fond of using depth of field to highlight the important details. And since it's this goddamn show, they're painful details
Slime 300 #06 was produced at Madhouse almost like a prelude to Natsume's upcoming work. Shinashina's attentive animation direction is a difference-maker, and so is the fact that his pal Keiichiro Saito animated 1/3 of the episode. Fun loose form compatible with elegance & beauty
Saito tags in at the halfway point and immediately makes his hand known. Good volume and weight, constant characterful tidbits despite the economical approach, plenty of looser art & charming shorthands, and instances of lowered drawing counts for comedic purposes. In short: fun!
The whole show is good at modulating the level of detail so all this is really doing is improving already existing qualities
Dynazenon is great on the regular, and just one iconic scene after the other when you add Yoshihiro Miyajima's eye for color
Mutaguchi put extra work when it comes to polishing up the mechanical animation this week too. He said he missed drawing the Gridknight and looking at the results you can tell he was dying to
Bakuten #06 was outsourced to Studio WIT and their younger sibling St Kafka. Interesting not because of the quality of their work (good enough!) but because it proved that the rhythmic gymnastics performances have a production line of their own, keeping the same specialized team
Shout out to Shingo Yamashita's camerawork as usual. Even in performances where he's not getting crafty to hide transitions between 2D&3D within the same shot, he's still carefully enhancing the flow, adding more dynamism to the presentation, and even hiding rougher edges
As a whole, Bakuten's still very much Bakuten. Kuroyanagi has had to lower his crazy acting standards, but he's still personally supervising its identity: naturalistic presentation of most aspects, which only makes the moments of abstraction & fantastical elation stand out more