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Old 2012-07-14, 11:05   Link #20
Kimidori
The Opened Ultimate Gate
 
 
Join Date: Dec 2011
Age: 24
Quote:
Originally Posted by C.A. View Post
As an animator who has heard from many professionals and veterans in the industry, I can tell you that no animator outside of Japan in their right mind would want to work on anime.

Being an animator in Japan means you are more a factory worker or salaryman than an artist. and you get paid less than them.

You have to work so much that you don't go home, you either bring a tent and sleep in the studio or just sleep under your desk.

Of all arts, animation is one of the toughest and least glorious, no one ever knows the names and faces of these actors who act with their pencils. You don't draw or make one thing and get famous for it, you draw thousands of similar frames and no audience knows the amount of effort you put in.

There is simply no money and recognition to work in Japan as an animator and films you produce are technically inferior to western productions, you won't get a strong portfolio as well.
i read that talented animator do get recognized by fan though

Quote:
Key Animation:

Based on the storyboard, the key animators start work, creating the animation drawings. They are assigned a certain number of different cuts by the person in charge of key animation. Key animators draw the essential frames that mark a distinct position or expression of a cel/character. For example, a character starting to kick someone as one key frame, and then the kick landing as the second key frame (if it’s a fast kick!). In other words, they draw the structure of the animation. The number of frames that a key animator draws for a movement will depend upon the intentions of the key animator and the nature of the cut, with time, and budget constraints considered. These drawings also include lines which direct where shading will occur. Around 20 key animators can be working on a single episode of anime, each in charge of a separate part (sometimes several cuts). Although it’s already decided what a movement will be, it is up to the key animator to express that as animation. That is why a talented and hard-working key animator can really steal the show, going well beyond the requirements of the storyboard and imbuing a scene with their own style. Some animators get the opportunity to deviate from storyboards as well (which the likes of Yoshinori Kanada was known to do, to great effect).

There is a subset of the anime fandom who are enthralled by great animation works and animators, ‘sakuga’ fans. Sakuga technically refers to the drawings in an anime, but is extended to describe the animation as a whole. People follow their favourite animators, and keep track of the cuts they do, also compiling them into anime or animator-specific music videos. The core of the sakuga online fandom is the ‘sakuga wiki’ (in Japanese), and a huge array of ‘sakuga MADs (animator AMV)’ can be found on youtube. Even a brief look over these videos inspired me with a real appreciation of the character and presence that individual animators can impart. I think this culture of appreciatimh outstanding key animation is one of the most fascinating arenas of the anime domain.
an example of "sakuga MAD"

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Last edited by Kimidori; 2012-07-14 at 11:42.
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