More Cast Members Announced for 'Shoumetsu Toshi' TV Anime

deg said:

lol if you cannot see the bad animation in this one then just compare it to HUnter X Hunter 2011 for example because that is what best animation by Madhouse is known for anyway,

plus Overlord is also made by Madhouse and anime fans are complaining about its recent bad animation quality

and movies are irrelevant because they are made to usually be good in animation quality due to less time to animate so movies have better production schedules

and storyboarding and other none animation parts are decided by the director and above all the original creator like mangaka or novel author gets all the major decisions

Storyboarder: The storyboards or Ekonte (literally picture continuity) are a series of usually simple drawings depicting the events in the script, serving as the visual foundation of an episode or film. They're drawn on special templates with fields for the cut's number, the sketches representing the shot, notes for the staff (regarding camerawork, effects, guidelines for the animators…), the dialogue/sound effects and the length. There's an argument to be made that an anime's actual script is the finished storyboard, since it's what initially articulates the ideas in a visual manner, and what truly dictates the flow of those events.

Episode Director:The person supervising all the staff directly involved with the production of an episode; this entails early meetings with the chiefs of every relevant department (2D animation, 3DCG, backgrounds, composite and so on) and then guiding them through the process. They'll check the layouts to make sure they properly represent the ideas in the storyboard, inspect the key animation, readjust the length of cuts and ask for retakes if needed, attend recordings, basically approving and overseeing every main stage of a particular episode's production

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Photography: This may also be called compositing, the process marrying the different materials – animation, backgrounds, CG, as well as any digital effects – and finally exporting finished video footage. A key goal during this operation is striking the perfect balance in blending the characters with the background. Animation is slightly filtered and quite literally blurs the lines between two different pieces of art. An insufficient job will lead to a messy picture where nothing feels like it belongs to the same world.

Color Design: An episode's Color Coordinator is tasked with distributing color model sheets to the painting team and splitting the workload. These sheets detail the exact colors to use for every single animated element from characters to objects, as well as their highlights and shades. The Coordinator doesn't necessarily decide everything for themselves, though – anime productions have a Color Designer (色彩設定/色彩設計, Shikisai Settei/Shikisai Sekkei) who establishes the main palette and sets the colors for the standard looks of the characters at minimum

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Animation Producer: An animation producer is someone who takes on the role of producer for an animated series or feature. As the producer, this person will usually act as the main line of communication and filtration of ideas between the executives who run a studio and the creative people who are actually making the animated product. In this capacity, the animation producer must be able to control the costs of an animated production to keep the executives above him or her happy, while also ensuring that the creative staff of animators and artists working under him or her are able to develop and complete the feature or series they are working toward. Ultimately, as the title suggests, it is the producer’s job to ensure that a final product is actually produced.

The animation producer can often be seen as “the bad guy” by the artists working on a production. This is because he or she is usually the highest ranking person on a feature or series who will be readily available and accessible to the rest of the crew. When anything goes wrong on a production, such as supplies not being restocked in a timely manner or disputes in payments or deadlines, the person who is often available to the artists for blame and complaint is the producer.

On the other side of the production, however, the animation producer is also the person who will be discussing any problems or budgetary issues with the executives who run the studio. This means that any issues coming down from those in charge will ultimately end up on the producer. If the feature or series is coming in late or over budget, it is the producer who will be directly blamed for that and whose job will be on the line if the issue is not corrected.

For all these efforts, the animation producer is typically well-paid. He or she usually making an executive’s salary, not an artist’s pay. This higher pay, however, is meant to compensate the producer for the amount of stress and pressure that he or she will usually have to deal with. The title of this position is sometimes substituted for Production Manger, Co-Producer or Line Producer, depending on the company, the size of the project, and the specialties of the individual. The technical differences between all these titles can be very slight. For instance, many Line Producer are only in charge of the budget/finances and scheduling of the production. While sometimes Production Managers are only in charge of equipment/hardware and human resources.

An animation producer’s job is typically more about managing people, time, and money than performing any sort of artistic tasks. The producer might want some knowledge of animation since it may be important to understand certain aspects of the creative process to manage those working in an artistic field. This does not mean that the producer has to learn to be an animator, however, only know enough to properly orchestrate the talent and understand their needs.

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