Hitori no Shita's director on Japanese industry's weaknesses

tieba.baidu.com/p/4899874831

>an interview few months ago of Director Wang Xin for the production process of Hitori no Shita: The Outcast, a Chinese-Japanese collaboration series that aired in both countries. The first part of the interview was about his impression of the Japanese industry as an outsider who have worked with several studios

>--Many Japanese anime have been airing in China, and recently there has been multiple Chinese-Japanese collaborations. Has the Japanese studios changed in any ways to adapt to the Chinese broadcasting pacing?

>Wang: The Japanese side wants to change, but how much they can change is limited. That's why these collaborations have had so many problems. In essence, we are in a fine-tuning phase. Who ever can first get past this phase will have a big advantage [in the Chinese market].

>Japan has a very strict work flow that is completely different from the Chinese industry. Due to historical reasons, Chinese animation companies are mainly influenced by the western production process which is simpler.

>In contrast, the Japanese process is very complicated. They push the limits on every single detail and everyone in the process. If any one stage is stuck, the entire process halts. This is a weakness within their process. When the flow is very smooth and everyone delivers on time and on quality, it is a fantastic process. But they lack flexibility. Not at all. Everything must first go through step one before step two.

>The Chinese production cycle is more parallel. Many things can be worked on at the same time. Somethings start getting passed to the next person once it's 20% done. But in Japan, everything must be completely done before it can be handed down the line, so they waste a lot of time waiting.

(cont'd)

>For example, in the animation process, say there's 300 cuts. We would make 10 cuts of key frames, have it approved by the director, and it goes to the in-between people. They [the Japanese industry] don't do that. They must wait until all 300 cuts are finished before they move to animation [in-between].

>This way, the in-between people are just waiting for two months for the key frames to finish. In theory, this can work if they just keep moving from episode to episode, but they ignore the fact that it takes three months to make one episode of key frames and the in-between is done in three days. So another cycle of waiting begins.

>--In what ways does this problem affect the series produced?

>Wang: Right now, the biggest problem in Japanese animation is that the first two episodes of a new series will be great, but then the quality starts dropping from episode three, all the way til the end. Most Japanese TV series are like this. The first two episodes they have plenty of time, so they take their time and everything is very detailed. Once the time tightens up by episode three, their quality starts to slide.

>--So usually the beginning and the end have higher quality?

>Wang: Now a days even the end isn't always well done. They are all rushed. For us, ten to fifteen days is a good buffer, but for them it's thirty days. [this last part isn't really clear in the interview and they moved on to the next topic].

>The rest of the interview is Wang Xin talking about all the things that happened (mostly blaming the Japanese studio, Namu) during production that made the HnS anime a dumpster fire (though the manga/manhua is great if anyone have the ability to check it out).

Translated by /r/anime

Eh? But what I get from makingof videos from Trigger, it seems like they paralleled the processes between sakuga and douga already?

maybe he sould make hitora no gooda then

I remember Outcast. It was hot trash.

Get fucked chink.

Maybe it varies from studio to studio?

>>Wang: Right now, the biggest problem in Japanese animation is that the first two episodes of a new series will be great, but then the quality starts dropping from episode three, all the way til the end. Most Japanese TV series are like this. The first two episodes they have plenty of time, so they take their time and everything is very detailed. Once the time tightens up by episode three, their quality starts to slide.

I figured this was actually deliberate. There is intense competition to establish an audience for a new show, and viewers will tune-out after just a few episodes if it doesn't grab their attention quickly.

So I always figured studios were front-loading their series with high quality at the beginning to grab the audience, sacrificing time and budget towards the end.

Third and fourth episodes in general seem to be bottle episodes to take a breather after the first two.

>Chinese man wants to make things more efficient with less quality control, leading to flat and sterile animation.

Fucking.
Shocker.

>The rest of the interview is Wang Xin talking about all the things that happened (mostly blaming the Japanese studio, Namu) during production that made the HnS anime a dumpster fire (though the manga/manhua is great if anyone have the ability to check it out).
>though the manga/manhua is great if anyone have the ability to check it out
Fucking chink

Except he's saying that the Japanese production model is what is creating the delays that forcing down the quality retard, using time more efficiently means they can have time to get the quality right.

>though the manga/manhua is great if anyone have the ability to check it out
Delusion chink, did he think Japan will suddenly give a shit about those no name bootleg manga or something.

>Hitori no Shita's director on Japanese industry's weaknesses
>Hitori no Shita's director
Oh please

I dont mind QUALITY, go better the story first.

Basically he's blaming the Japanese side for making his anime shit.

There's also the classic
>read the manhua, it's better I swear
Just a shitty director that can't assume his anime is shit.

Please read my manhua.

I think that's actually from the translator, not the director.

I'm sure the Japanese studios would implement a faster workflow if it was possible, but with the sheer amounts of outsourcing and key animation being done on paper, I can see why they normally do their work in large batches before moving to the next stage.

Production runners need to physically deliver the work to and from each animation contractor, it would kill the runners if they have to keep going around to send small batches of work to the main studio for checking. A studio with more in-house animators like Kyoani would probably work in parallel with other stages of production since an animator can just stroll over to the supervisor's desk for checking after a few cuts.

This, and trying to rush things is how you end up with Studio TAITANIC ruining everything.

I also remember Outkast. My favorite song was Miss Jackson.

Would it be conductive to get everyone into a building?

But they probably don't want to live in Bumfuck nowhere.

Of course it would help to have most of the production to be done in a single place, but only a few studios have the money to do most things in-house. It doesn't help either that many animators are freelance.

>I didn't read the article like the fucking tool that I am

...

Who give a shit? both the cartoon and the comic are fucking garbage

They still didn't realized that Japan only want their money not their crappy bootleg?

...

>The rest of the interview is Wang Xin talking about all the things that happened (mostly blaming the Japanese studio, Namu) during production that made the HnS anime a dumpster fire
>MY CHINK SHIT IS NOT GARBAGE WAHHHHHHHHHHHHHHHH
wang pls

The only series I enjoyed from them. The Chinese autistic waifu was very nice.

Remind me why do we give a shit about some obscured weeaboo shit

>why my bootleg is not popular in nippon ;_;
>better blame the nips
Fuck off with your chinky shit

Source?

>Trying to emulate the American production process instead
>Talking about inconsistency of quality without realizing it's largely intentional.

He THINKS it would improve things, but his insight is moronic.

>chinks try to make something
>it ends up being a cheap rip-off
Every time

No it's not.

Intel dealt with this exact issue back in 1995 with the Pentium Pro.

If you have people twiddling their thumbs, that means your process is broken. Far better to have them doing *something*, even if it ends up getting thrown out.

Speculative execution, pipelining and OOO isn't just for processors, but can be applied to any assembly-line workflow.

now i have the song stuck in my head. thanks user.

Sup, reddit? We don't have an upvote system here so you don't need to reply unless you have something of value to add. Just a friendly reminder. Enjoy your time here!

Intel didn't have to physically move the designs from one location to another to be worked on by someone contracted.

The issues causing stops are nothing like those described by your analogy, and their solutions are thusly not going to be the same.

Chinese animation companies are mainly influenced by the western production process which is simpler.
>Somethings start getting passed to the next person once it's 20% done. But in Japan, everything must be completely done before it can be handed down the line, so they waste a lot of time waiting.

He obviously hasn't watched shirobako, they work on all the episodes simultaneously.
I prefer extra details than the bland chink designs.

Interesting though of course biased. And of course actual weebs will shit on it.

Fuck off.

How many "actual" weebs (i.e. muh japan is superior to all) even exist anymore?

underrated

Apparently some. More if you count the "Japan is the best and can do no wrong" subspecies.

>chink who's trying hard to imitate japanese animation thinks he knows what he's talking about

Except he's talking about business processes and not animation. Which you would know had you read the thing.

That's exactly the problem, though. He's basically saying it should be run like an assembly line, but that's a shitty way to produce media that isn't boring garbage.

The way the industry runs isn't great, but his suggestions reaffirm what his directing suggests: he doesn't understand how to make a competent show.

I thought he was describing the actual animating process though, not the show directing or writing or business?

>his suggestions
Like minimizing downtimes? Yeah, who on earth would do that.

>If I take only the most basic piece of the premise that validates the whole.

I mean yeah, why WOULDN'T you agree with A Modest Proposal? Only an idiot would disagree with investing in renewable resources and lowering the price of foodstuffs without the associated currency deflation!

He understands a basic fault in the system that anyone would recognize but doesn't understand why it has yet to be addressed.

>(though the manga/manhua is great if anyone have the ability to check it out)
>manhua
>great
Can't trick me

>chink
Stopped reading here

the purple hair lady on the left is pretty damn hot in first EP. does she have a lot of screen time?

Minimizing quality, he even says how the japs focus to much on quality.
He wants shitty quality but fast output like western cartoons.

Actually reading the thing is apparently hard.

>but doesn't understand why it has yet to be addressed
If you understand so well, why don't you enlighten me?

Maybe start making good anime yourself instead of talking shit on the industry. The only acceptable (co-)production China has graced us with so far was To Be Hero.

Pleb-tier taste.

Ain't No Thang, ATLiens, Rosa Parks, Da Art of Storytellin', Gasoline Dreams or B.o.B. are all better songs.

I'd put my trust in the experienced party's process of doing things and not the newbie party who thinks they know better, thank you very much china.

With that attitude we'd still be shunning the wheel.

>mostly blaming the Japanese studio, Namu
>Japanese studio
>1009, E&C DreamTower-3 , 38-21, Digital-ro 31-gil, Guro-Gu, Seoul, Korea（152-719）

absolute madman

Interesting insight but that's also why Anime is so successful, the final work actually makes some sense opposed of everything being made in parallel process.

>YOU CAN'T SAY HE'S WRONG UNLRSS YOU HAVE THE ANSWER!!
Chinashill pls go.

The anime industry's problems are many and complex, but trying to turn it into a conveyor belt when it's basically a sweatshop industry at the grunt level is laughable. You'd be making more content of lesser quality while burdening the workers more and addressing none of the core flaws.

>YOU CAN'T SAY HE'S WRONG UNLRSS YOU HAVE THE ANSWER!!
Yes.

All economic crises can be solved by getting everyone on the planet fisting the person closest to them. Until you can provide a true answer to all economic crises, you can not call this incorrect.

That's the logic we're going on here.

>our garbage anime is shit therefore the industry is flawed

>Chinks

he fucking ignores the fact, that the studio lends their workforce to other studios to make monney in the downtime.
he also fucking ignores the fact, that if you do not use this sequential process you make it even harder for changes you might want to do later in the process.
and at last this is a fucking artistic medium not an assambly line for cars. every episode is checked in it completeness after it is done to evaluate it in its complete form to get a better picture and not just after one minute of cuts.
FUCKING CHINK

>chinese man gets angry hitori was a fucking trainwreck
>i-it was the japanese I swear

I just want these chinese people to stop producing their garbage anime every season.
Hitori two seasons ago, Bloodivores last season, and Spiritpact this season.

They're all garbage shows with shit stories. Fuck off china.

Trigger got funded through Kickstarter, they're pretty forward-thinking.

Japan is very heavy on the whole tradition and order and "this is how we do things why would you ever try to change anything what is wrong with you" mentality.

Of course, this seems to be slowly changing, but it's still very much there. You're unlikely to see the older studios that have been around for a long time adopting new strategies like that.

how did thunderbolt fantasy work out so well then?

Its always slowly changing otherwise they would still live like they did in the edo period