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Production Guide
Production Guide
Production Guide
Traditional cel animation is the oldest, and historically, had been the most popular form of animation until
the advent of digital animation. In a traditionally-animated cartoon, each frame is drawn by hand on a
celluloid sheet, painted with a brush, and sent to be photographed onto film stock. Most animation today,
while still initially being hand-drawn on paper, has begun to utilize digital post-production animation
techniques rather than the traditional cel and camera processes of traditional animation. While this
digitization does save on materials and allows for easier editing, the overall process and stringent
production schedules remain virtually unchanged. In 1986, when Dragon Ball first began airing on Fuji
TV, digital animation did not exist and the majority of the franchise was animated in the traditional fashion
on celluloid sheets. In recent years the Dragon Ball franchise has entered the digital age, with numerous
features, theatrical films, and a new TV series all being digitally animated using modern technology.
It should be noted that although this guide specifically pertains to the animation of episodes, the theatrical
films underwent roughly the same animation process, although films are typically held to much higher
quality standards than anything produced for a television broadcast. This guide also specifically pertains
to the animation production practices used by Toei Animation. Though the animation process is fairly
standard throughout the industry, each animation studio’s process is slightly unique.
Prior to beginning the animation stage, a production meeting is held to discuss and strategize an episode’s
production. The series director relays the production schedule as set forth by the production supervisor,
identifies the available animation staff that will be used to animate the episode, and delegates the main
tasks among the assistant director and production progression staff. The appropriate production material
is also distributed, such as any reference materials, character designs, or scripts. The production staff
then begins making the necessary arrangements in order to start the actual animation production process.
Stage 2: Storyboard
Based on the final script, the episode director creates a storyboard, which is a rough set of sketches
detailing the entire episode — essentially a visual script. The standard practice at Toei Animation is to
have the episode director draw the episode’s storyboard themselves, which is often why the storyboard
credit is typically not listed on Toei Animation productions. On occasion someone other than the episode
director — such as another director, the assistant director, or a talented key animator — will create the
storyboard based on the episode director’s instructions and a separate storyboard credit is included
alongside the episode director credit to denote this change in the production process. This is typically
seen when the episode director is strapped for time or is otherwise a bad artist.
The storyboard divides the episodes up into scenes, and then further into the individual cuts that comprise
the scene. The director determines how many cuts will be needed to create a specific scene, and then
times out each cut to ensure that the episode will not run over the allotted broadcast time. It is also not
uncommon for a storyboard to have no specified scenes and be entirely comprised of cuts. The scenes
and cuts are identified numerically in sequential order as they appear on the storyboard, and these
identification numbers are carried throughout the entire production process.
Additional direction is also included on the storyboard beyond that provided in the final script explaining
what is happening in the scene, such as the movement of the characters, sound effects, camera
instructions, and any other important notes or elements. Some directors will merely provide rough
sketches, while others will draw in much greater detail. Overall, the storyboard sketches do not necessarily
reflect how the final image will look, but are more so used as a template for how the characters will be
positioned, and any other basic elements of a given scene. It is important to note that an episode’s
storyboard must be finalized before any other work can continue, as the remainder of the production
process is based on the storyboard.
Stage 3: Layouts
With the storyboard completed, the director assigns the storyboard’s cuts to individual key animators. On
occasion a specific storyboard sequence will have been drawn with a particular animator in mind, and this
may be the only cut they are assigned, but typically a key animator will be assigned a sequence of cuts.
The majority of the cuts will be assigned based on the talent of the available animators, with some being
particularly skilled at drawing action scenes, while others may specialize in drawing explosions. After all
of the cuts have been assigned, the director holds an animation meeting to provide some guidance to the
key animators on how they envision things should look and to answer any questions they may have about
the storyboard. To avoid any complications further in the process, it is crucial that the animators
understand the story and the director’s vision prior to any actual animation being produced.
The key animators then create layouts, or more detailed versions of the image for that cut in the
storyboard, for each of their assigned cuts. In contrast to the storyboard, layouts are drawn accurately as
to how the final product should look. The layout will serve as a blueprint for the following stages of
animation, mapping out how the characters and scenery should be framed, as well as depicting the exact
details of how the characters are to be positioned.
Stage 4: Revisions
After the episode director reviews the layouts for inconsistencies and content, they are sent to the
animation supervisor to review the artistic attributes. The animation supervisor is responsible for
overseeing all aspects of key animation, including the layouts. If a layout is too poorly drawn, or strays
from the character design, the animation supervisor will revise it with the appropriate corrections. When
the layouts have been approved by both the episode director and animation supervisor, they are
photocopied and the originals are sent to the art department to begin work on the background art.
The key animator will also provide all of the timing for the key and in-between frames in a cut, creating a
timing sheet for the in-between animators to reference (additional information on this below). In some
scenes there will be multiple moving elements, such as main characters, background characters, vehicles,
smoke, falling rocks, etc. The key animator must identify these elements and plan out the entire scene in
advance to determine how many cels will be required to animate these elements. This is accomplished
by layering the cels, with each layer being identified. In the example below the frame is identified as “A2”,
meaning it is the 2nd frame in the “A” layer of this specific shot. It also includes a timing chart for the
movement of Cell’s hands. The timing chart indicates how many in-between frames will be needed to get
from key frame A1 to A2 — in this case eight (8) frames — and the timing of these in-between frames in
relation to the key frames.
Key Frame A2 of Cell Preparing a Kamehameha (Dragon Ball Z Episode 142)
With so many different animators working on a single episode, each with their own artistic styles and skills,
it is the job of the animation supervisor to oversee and correct the key animation, essentially shaping the
overall look of the episode. If a set of frames diverge too far from the episode’s overall style or the
character designs, the animation supervisor will revise them and add corrective notes. Since all other
frames and coloring will be based on these completed key frames, these elements will naturally take on
the look of how the animation supervisor corrected the key frames. The key animator will then make these
corrections to their frames and re-submit them for review. Once all of the frames from a cut or scene have
been approved by the animation supervisor, they are sent to the chief animator for final review.
On occasion the animation supervisor will step in to provide a few shots that are either difficult to draw, or
to help meet the production deadline, but there are also some animation supervisors that will provide key
art for nearly an entire episode. There are also times where a key animator’s frames may stray from the
overall look of the episode, but are so well drawn that the animation supervisor will not correct them.
Beyond this point, the animation supervisor has no other roles, as he is merely in charge of key animation.
After this stage, the chief animator is in charge of checking and overseeing the remainder of the animation
process.
Unlike key animation, in-between animation does not provide much leeway for personal expression. The
in-between artist will draw the missing frames as instructed by the key animator, and nothing more.
However, in-between frames do require considerable skill in their own right. Poorly drawn in-between
animation can ruin a shot of perfectly good key animation, while good in-between animation can
considerably improve mediocre key animation. Traditionally, animators in Japan will go through a period
of apprenticeship as in-between animators before ascending to key animator.
Kayoko Ōno Drawing In-Between Frames
Completed in-between animation is then inspected by the chief animator, or in-between checker, to make
sure that there are no gaps or awkward movements. If there are no problems during animation testing,
then the in-between animator will update the timing sheet with the final cel numbering (detailed in Stage
8). At this point, the overall artwork portion of animation production is over, as none of it will receive any
additional revisions or corrections. In total, an average animated TV episode of the time was comprised
of roughly 3,000 to 5,000 individual drawings.
Once the outline ink dries, color paint is applied to the reverse side of the cel based on the color palette
established by the color coordinator and episode director, or as specifically called out by the key animator.
Below is a completed cel, from the original key artwork to finished paint, of Mister Satan drawn by Studio
Cockpit for Dragon Ball Z episode 174.
While the animation cels are being produced, special effects artists begin creating specialized cels to
finish off each scene with additional detail and effects, such as shadow, fire, smoke, or in the case
of Dragon Ball, energy and ki techniques. The techniques used to create such effects include drybrushing,
airbrushing, charcoal, grease pencils, backlit animation or, during shooting, the photographer can use
multiple exposures with various diffusing screens, filters, or gels.
While the animation is being completed, scene backgrounds are painted by artists who specialize in a
style more reminiscent of traditional canvas painting. Unlike painting cels, painting background art is
usually a very long and difficult process, due to the artistic qualities and details of each background. The
background art, which is created based on the layouts submitted by the key animators, is overseen by
the art director. The art director, who is often involved with an episode’s production from the storyboard
and layout stages, will create rough sketches or art boards of the backgrounds before delegating them to
different background artists.
Framing the cel is very important, since if it is not framed correctly several problems may arise, including
parts of the image being on the screen that are not intended to be seen, such as the edge of the cel paint
(rare, but it has been known to happen). A more common problem is “jitter”; if one frame happens to be
photographed too high up in contrast to the last frame photographed, the end result will be that the frame
appears to jump as the animation is running. Although traditional cel animation generally has a much
richer and deeper look than most digital animation, its one true downfall is occasional poor photography,
which results in shaking animation.
Based on the cut’s timing sheet, the photographer’s assistant will hand the appropriate cels needed for a
specific frame to the photographer, who then places them over the static background art on the camera
stand and frames the shot according to the key animator’s original layout sketch. Special attention must
be paid to shots that are comprised of multiple cels, as the cels must be layered on top of one another in
the proper order. The cels are always placed in alphabetical order, such that the “A” layer cels will always
be placed first, directly over the background art, with the “B” layers being placed on top of the “A” layers,
and so on. A piece of glass is lowered onto the cels in order to flatten any irregularities, and the composite
image is then photographed by a special animation camera. This process is repeated until the entire cut
has been photographed onto a roll of 16mm film, which is then labeled and sent to Toei Chemistry for
development.
After the 16mm film negative is developed, it is sent to the editor for processing. Since each cut of
animation is photographed as it is completed, many cuts are received out of order and on different rolls
of film. It is the editor’s job to sort through all of the footage, placing each cut in the proper order as
originally identified on the episode’s storyboard. After inspecting the film for any misaligned shots,
discrepancies, or imperfections, the editor then splices and joins these photographed sequences of 16mm
film together into a single film reel, creating the episode’s “film master”. It should be noted that the film
editor is unlike traditional editors in Western film making and have no real creative control, as no additional
footage beyond what is called for in the episode’s storyboard is created.
As the voice actors arrive at the recording studio, they are given a copy of the final production script, which
is typed up and bound into a booklet. The final script also now includes detailed descriptions of the
episode’s visual content, in addition to the episode’s dialogue, to help the voice actors follow along. The
series director and producer(s) are also in the studio booth during the recording to provide additional
direction to the cast. Alongside them are the studio’s recording director and their assistant, who operate
all of the recording equipment. For reference, the dialogue for all of the franchise’s episodes and films up
thru the 1990s were recorded at the Toei Audio Visual Art Center (TAVAC).
Prior to recording any actual dialogue, the cast sits down in the studio and performs a test reading of the
script while the episode’s animation is played from a projector. With a better grasp of the episode’s
content, the cast perform a test recording. Since the dialogue is recorded all in one take by the entire cast,
including any narration or background dialogue, it is often not possible for each member of the cast to
have their own individual microphone, and instead the studio is typically set up with three to four
microphones in the middle of the room. Because of this style of recording, the test recording helps the
actors figure out when to come to the microphone to perform their line(s). When the director is satisfied
with the performances, and all of the recording logistics have been worked out, the episode’s dialogue is
finally recorded. The recording of a single episode’s dialogue generally takes between two to three hours,
with the inclusion of a short break in the middle and any retakes at the end.
The Cast of Dragon Ball Z Recording an Episode at TAVAC
Following the dialogue recording, the music selector and sound effects artist individually meet with the
recording director to watch the episode’s film and determine the background music and sound effects,
respectively. Any new musical tracks or sound effects are recorded prior to this meeting, typically based
on the episode’s script and the scene timing established by the storyboard. Once the placement for each
musical track and sound effect has been determined, as based on the animation timecode, the recording
director creates a multi-track tape with the appropriate selections. After all of the audio recording is
completed, the recording director sits down in the recording studio with the audio director and mixes all of
the audio and voice tracks together while watching the episode. Once everything is mixed to both of their
satisfaction, the recording director combines all of the individual tracks into a single 16mm “cine tape”.
For television broadcast, a “second generation” copy of the master copy is sent to the broadcaster. Up
until the end of the 1970s, the majority of TV stations would broadcast shows using the film’s optical
soundtrack due to its ease of storage. However, by the 1980s many TV stations had begun muting the
film’s optical soundtrack in favor of broadcasting higher quality audio from a copy of the original cine tape.
In order to avoid having to store the original cine tape, Toei Animation would often send it to Fuji TV for
broadcast and only retain the master copy’s optical soundtrack as their internal audio source.
Unfortunately, the original cine tapes were typically disposed of by the TV station following an episode’s
initial broadcast, as they were quite large and the station’s storage space was at a premium.
It should be noted that at Toei Animation the shift toward digital production practices mostly affected its
post-production work, such as the painting and filming of drawings, as opposed to the actual animation
itself. The term “digital animation”, as it applies to Toei Animation’s modern production practices, does
not imply the animation drawings are entirely created digitally, but rather that the final animated product
is available in a digital format. Aside from specific computer-generated graphics and special effects
elements, the majority of artwork created for modern Dragon Ball productions is still hand drawn by
individual artists, either on paper or digitally with a tablet.
Stages 1-5: Planning to Key/CG Animation
Although many of the post production processes are performed digitally, the majority of the planning
stages remain virtually identical to the traditional animation process. Based on the final script, the episode
director draws a storyboard of rough sketches detailing the entire episode. After an episode’s script and
storyboard have been established, cuts are delegated between the key animation artists to create their
respective layouts.
With the layouts complete, the key animators begin drawing the episode’s key frames. While all of the
animation following these initial stages are drawn digitally using a tablet, the storyboard and key frames
are still traditionally hand drawn with pencil on sheets of paper. There are some animators that have
begun digitally drawing their key art, but so far none have worked, or are currently working, on Dragon
Ball productions.
After the key animation drawings have been completed, they are digitally scanned into RETAS! PRO, a
2D animation software suite developed by CELSYS. The software then vector traces the scanned
drawings, separating each key frame into its individual lines, as though it had originally been digitally
drawn, and isolating the drawing’s shadow markup as a separate layer. Since the drawings are stored in
vector data formats, they are resolution independent and do not lose detail or quality when zoomed in or
reduced in size. While traditional analog key animation is the standard practice for Toei Animation, some
contracted animation studios prefer to only produce digital key animation drawings, negating the need to
scan and trace them.
“Dragon Ball Z: Revival of ‘F'” Key Art
by Tadayoshi Yamamuro
The key animation is then checked by the animation supervisor, who can now precisely correct individual
frames as needed by creating a correction layer over the original key frame within the software. Once the
key frames have been approved, the key animator creates a timing sheet for the entire cut, which indicates
how many in-between frames will be needed to get from one key frame to the next. The software then
generates a linear animation timeline, inserting the appropriate number of blank frames in-between the
key frames as indicated by the timing sheet.
Completed in-between animation is then again inspected by the chief animator, or in-between checker, to
make sure that there are no gaps or awkward movements. If there are no problems during final animation
testing, then the overall artwork portion of animation production is over and the in-between animator will
update the timing sheet with the final numbering. In total, the average modern animated TV episode is
comprised of roughly 3,000 to 4,000 individual drawings (including both key and in-between frames).
While in the past the completed animation was sent to the finishing department to be traced onto clear
celluloid (cel) sheets, this step is no longer necessary in the modern animation process as the final digital
drawings have already been created during the in-between animation stage. Therefore, once the in-
between animation is completed, it can immediately be colored. Traditionally, the cel painting was also
performed by the finishing department, but in an effort to more efficiently streamline this task, it is now
typically completed by the in-between animation studio itself. Using the RETAS! PRO software, Toei
Animation and other studios can now digitally color 150 drawings in the time it had traditionally taken them
to hand paint 50 cels.
Stage 7: Backgrounds
While the animation is being completed, scene backgrounds are painted by artists who specialize in a
style more reminiscent of traditional canvas painting. The background art, which is created based on the
layouts submitted by the key animators, is overseen by the art director. Similar to the key animation
drawings, the background art is still painted by hand on physical media and then digitally scanned into
the animation software at high resolutions. The backgrounds are then digitally touched up, removing any
imperfections and adjusting color tones as desired. On average, a modern animated TV episode is
comprised of approximately 300 backgrounds.
For editing, the cut’s completed animation is exported as both a full and lower resolution file. The series
editor then begins creating a rough cut of the episode using the lower resolution video, which contains far
less data and is therefore easier to load and edit than the full resolution video, and places the cuts together
in the correct order of events. This phase of editing is referred to as offline editing, which is carried out
using non-linear editing software. Once the offline edit is complete and approved by the director, it is sent
to Toei Digital Lab for final online editing and mastering. A copy of the edited video footage is also sent to
the recording studio to be used during voice recording sessions.
While the episode is still in the early stages of production, the episode director, audio director, and
producers determine any new musical tracks and sound effects that need to be recorded based on the
episode’s script and the scene timing established by the storyboard. With the dialogue and musical
recordings completed, the episode and audio directors meet with the recording director and mixes all of
the voice and musical tracks together while watching the episode. Once everything is mixed to all of their
satisfaction, the recording director saves the file and sends it off for final online editing.
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