More Cast Members Announced for 'Shoumetsu Toshi' TV Anime

deg said:
bad animation lol, the meme of Madhouse being best in animation quality is slowly dying

deg said:
bad animation lol, the meme of Madhouse being best in animation quality is slowly dying

ClickBaitBuster said:
Well first, I don't know where you saw the said bad animation, cuz there isn't any in that PV, yes the designs are generic and uninteresting but that's it. Second, Madhouse was know for best animation quality in movies, but when it comes to TV series they were always know just for the consistency of the animation. Third, the animation quality is not the only thing you should judge the studio from, there is also the direction, the story-boarding, the photography etc.., these factors can make the anime good even without crazy animation, in the other hand, no matter how the animation is good, if the other aspects of the production are bad, so is the entire anime, and no crazy animation would help its case. just take Sora Yori and Hand Shaker as extreme examples of that.

article said:
The Gensakusha Almighty

Not every member of the Committee gets equal say in every matter, and most of them wouldn't want oversight over everything anyway. (A toy maker wouldn't care about who gets American publishing rights, for example.) One member, however, holds a huge amount of power, by Japanese law: the gensakusha, or original creator, usually a manga artist, gets final say over every major decision.
https://www.animenewsnetwork.com/feature/2012-03-05

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

Source

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

Source

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.

Source

article said:
Storyboarding:

Often the storyboard is created by the director, this means an episode is truly the vision of that director. But usually, mainly in TV-anime, separate storyboarders are used to actually draw them.
https://washiblog.wordpress.com/2011/01/18/anime-production-detailed-guide-to-how-anime-is-made-and-the-talent-behind-it/

deg said:
@ClickBaitBuster

im actually making fun of the meme that Madhouse do best animation whether its TV or movies, Madhouse fans often likes to point that out

and nah anime movies are usually with good animation that is a fact

article said:
Storyboarding:

Often the storyboard is created by the director, this means an episode is truly the vision of that director. But usually, mainly in TV-anime, separate storyboarders are used to actually draw them.
https://washiblog.wordpress.com/2011/01/18/anime-production-detailed-guide-to-how-anime-is-made-and-the-talent-behind-it/

that is my source for that and the anime Shirobako also shows the director doing the storyboards there but the major decisions about the story that will be put up on storyboards are decided by the original creator as shown on the anime Shirobako too and further confirmed by the ANN article i link earlier about the original creator doing the final decisions

This system also doesn't guarantee the artist will be pleased with the final result. If a show's director is going in a direction the manga artist doesn't like, they really have limited options to do anything about it. The contracts are signed, and it's too late to pull out of the project. Other times, the production will forget to ask about every little thing, such as Kyo's bracelet in Fruits Basket (which was intended to be red and white, not black and white, for reasons that were not yet explained in the manga). The only thing an angry gensakusha can do is drag their heels and be a giant pain in the butt about everything that requires their approval.

deg said:
bad animation lol, the meme of Madhouse being best in animation quality is slowly dying

DepravedMagi said:


I swear to god, why do people keep hyping madhouse alongside ufotable? They act like those studios are the only good ones without realizing that other studios can be talented as well.

deg said:
@ClickBaitBuster

i cannot take you seriously since you cannot see the bad animation of this PV

and as for the original creator argument, that is not always the case, the usual case is that all major decisions goes through him that is why that is stated on the first paragraph so its a more important info

Manga artists are generally not heavily involved -- and in most cases, are not involved at all -- in the adaptation of their work into anime form. As "original creators" (or "gensakusha") they legally get to sign off on big business decisions regarding adaptation of their work, and they can make broad wishes known to the animation team, but generally they're kept pretty well insulated from the day to day production and decision making involved in anime.
Manga artists tend to be intensely busy producing manga. They don't have time to oversee scripts, design choices, and storyboards, they're too busy hunched over their own desks, scripting out and drawing the manga itself. Their editorial and management staff is mostly concerned with keeping it this way. It's generally preferred that manga artists stick to making manga. They're usually behind on their deadlines anyway, and unless they've worked in anime before they don't actually know anything about making anime. In fact, some artists have tried to influence anime production over the years, and only succeeded in annoying everyone on staff.
So most of the time, the manga artist is kept pretty insulated from the goings on in the anime world

Source

Q:If the offer for an anime adaption presents itself, can the author make any real decisions that effects the anime?
A:It really depends on several factors: the biggest one is how open the show's production staff is to the whims of the original creator. Some production committees and directors come to the table with a pretty well-formed idea of what the show would look like, and aren't going to adjust much without a good reason, especially from someone that might be the creator but doesn't know how to make a TV show. Some original creators are reasonable, but many have no idea how hard it is to do what they're asking.
Other factors include the personalities of the creators, and how powerful they are. Famous and popular creators hold a lot more sway and wield a lot more control over their work, while neophyte creators are kept insulated from the show production.

Source

either way lets just agree to disagree since you are clearly a Madhouse fan that likes to say they have the best animation too