What happened to the anime scene due to the corona disaster? I asked the president of the production studio

How did the animation studio survive due to the corona wreck? What are your future strategies and trends? Interview with President

Interview with the president of the animation studio Production site under the state of emergency Matsumoto This time, I would like to talk in detail with the title “What happened to the animation site due to the corona disaster? I asked President Graphinica Hirasawa.” By the way, I’d like to deal with Mr. Hirasawa several times by interviewing ASCII.jp, but every time I meet him, his position and title change. There are places where I feel like a fan watching idols (laughs) Hirasawa No, it’s ridiculous (laughs) Matsumoto Hirasawa has been at the forefront of change in the anime industry for about 20 years. First of all, for those who know Mr. Hirasawa for the first time, I would like to ask for a brief introduction. Hirasawa Since I started my career with Bandai Visual (currently Bandai Namco Arts) in 2001, I have been in the anime industry for about 20 years. Production I. After experiencing production and planning launch with Mr. G and Mr. Ultra Super Pictures, I established a planning and development production company called ARCH. Currently, I have been the president of the digital animation studio “Grafinica” since April 2020. I heard that Matsumoto Bandai Visual was working in legal affairs. Hirasawa: I was allowed to sell licenses overseas in the first year of joining the company, and I felt that the second and third years were legal affairs. I majored in copyright law when I was in college, so I got a good deal of it. Matsumoto, It’s the world of English and copyright. It is a field that is likely to be shunned by students aspiring to the anime industry, but Mr. Hirasawa has studied it properly. And I have the impression that Mr. Hirasawa is working on a milestone-like work, “The atmosphere of anime has changed a little here.” For example, “Monster Strike” (2015) is a work that can be said to be the beginning of an anime that continuously releases short episodes on YouTube. At that time, market research showed that “children are watching YouTube, not TV, on game consoles,” but no one was serious about it. As a result of releasing the killer title of that time called Monster Strike as a YouTube-only animation, the tide of the industry changed. Currently, the presence of video distribution is growing. President Hirasawa’s first job is to request new employees to wait at home! I would like to ask Mr. Matsumoto Hirasawa about the movements around distribution, but first I would like to ask about the industry trends in Corona. You’re suffering from the timing when you became president of Graphinica. Hirasawa You’re right. Matsumoto, I was entrusted with the management of a production company in a situation where I had to give up group work at the site, and a company whose livelihood is CG production, which has the advantage of being able to meet deadlines firmly. Wasn’t it quite difficult? Hirasawa: In April 2019, I was asked if I could become a director, and one year later, I was appointed president. Just last year, this time around, “Isn’t this dangerous? “When. Matsumoto Corona Before the disaster, it was an environment where “all processes are developed in front of you” like a CG production company, isn’t it? Hirasawa That’s right. Basically, like many animation studios, I was not supposed to be remote, but gathered in a place with as large a floor area as possible and worked while making the staff as visible as possible. Whether it’s hand-drawn or digital-based, the good thing about anime is that many people get together and exchange opinions. In March, when the air became “I think this infectious disease is bad”, the state of emergency was declared in April, so my first job as president was to ask new graduates “Welcome to Graphinica! By the way, from tomorrow.” Is it okay to wait at home? ” You might think, “If you use CG, you can switch to remote immediately”, but you can’t take high-spec equipment with you so easily, and even if you can take it home, your home line is thin. There are some difficult points in CG, such as not being a job. Of course, It was an environment like a company where “all processes are developed in front of you”, right? Hirasawa That’s right. Basically, like many animation studios, I was not supposed to be remote, but gathered in a place with as large a floor area as possible and worked while making the staff as visible as possible. Whether it’s hand-drawn or digital-based, the good thing about anime is that many people get together and exchange opinions. In March, when I was in the mood to say, “This infectious disease is bad,” it was an emergency declaration in April, so my first job as president was to ask new graduates, “Welcome to Graphinica! By the way, from tomorrow. Is it okay to wait at home? ” You might think, “If you use CG, you can switch to remote immediately”, but you can’t take high-spec equipment with you so easily, and even if you can take it home, your home line is thin. There are some difficult points in CG, such as not being a job. Of course, It was an environment like a company where “all processes are developed in front of you”, right? Hirasawa That’s right. Basically, like many animation studios, I was not supposed to be remote, but gathered in a place with as large a floor area as possible and worked while making the staff as visible as possible. Whether it’s hand-drawn or digital-based, the good thing about anime is that many people get together and exchange opinions. In March, when I was in the mood to say, “This infectious disease is bad,” it was an emergency declaration in April, so my first job as president was to ask new graduates, “Welcome to Graphinica! By the way, from tomorrow. Is it okay to wait at home? ” You might think, “If you use CG, you can switch to remote immediately”, but you can’t take high-spec equipment with you so easily, and even if you can take it home, your home line is thin. There are some difficult points in CG, such as not being a job. Of course, It was an environment like a company where “all processes are developed in front of you”, right? Hirasawa That’s right. Basically, like many animation studios, I was not supposed to be remote, but gathered in a place with as large a floor area as possible and worked while making the staff as visible as possible. Whether it’s hand-drawn or digital-based, the good thing about anime is that many people get together and exchange opinions. In March, when I was in the mood to say, “This infectious disease is bad,” the state of emergency was declared in April, so my first job as president was to ask new graduates, “Welcome to Graphinica! By the way, from tomorrow. Is it okay to wait at home? ” You might think, “If you use CG, you can switch to remote immediately”, but you can’t take high-spec equipment with you so easily, and even if you can take it home, your home line is thin. There are some difficult points in CG, such as not being a job. Of course, Even if I go home, there are some difficult points as CG, such as the line at home is thin and I can not work. Of course, Even if I go home, there are some difficult points as CG, such as the line at home is thin and I can not work. Of courseclientFrom the perspective of confidentiality, some people said, “Your family should not be able to see the screen.” After all, I felt once again that it was difficult to go straight, especially when making animation in collaboration with various companies. Matsumoto At that time, there was a lot of news that an IT company in Shibuya, for example, took their company’s computer home and started working at home the next day. However, that is not the case in the field of animation production. To put it simply, there were three issues. PC specs, security, and line thickness. Even if one of them is missing, working from home for animation production will not be realized. What kind of measures does Graphinica take? Hirasawa: From here onward, the number of secret matters will gradually increase, but as with other companies, while preparing work computers, we negotiate with clients asking “Can I proceed at home?”, And the managers of each department We asked them to determine the number of people who are required to come to work, and to make adjustments in consideration of the number of people who can enter the room at the same time. Also, in addition to the three mentioned by Mr. Matsumoto, communication, especially guidance and training, is important. There are some creators who are good at working alone, and some who like to work while checking with their seniors and colleagues. Matsumoto: While the anime industry already has a relatively remote / telecommuting part, CG also follows the flow of game production, so it seems that there was a tendency to gather in one place. Hirasawa Digital has a high need for in-house. As a general rule, we handle company-original tools, and of course, there are security issues, so “operators should work within the company as much as possible.” In that sense as well, you often work together as compared to hand-painted. How was the production schedule of Matsumoto, who is always in a hurry? For clarity, AAutodeskwould likes to talk while looking at Mr.’s official website. First of all, the premise is that animation production is a waterfall method, and it is not possible to proceed to the next process until the previous process is completed. Hirasawa (while showing the screen) I hope you can understand just the fact that each process sometimes separates and sometimes goes along with each other. And there are some processes that are difficult to do without physically gathering. For example, sound and dubbing. Basically, a large number of voice actors took a work style that was difficult to deal with in the situation of the corona, in which voices were spoken in sequence in a closed space. Therefore, it took time for acoustic work, especially dubbing, to try and error “How a small number of people should be divided into small pieces to record?” The other is that the clients, the people who make up the so-called production committee, should not broadcast the animation made in the difficult situation of Corona as it is after the system on the animation studio side is in place. There was a little air that I wondered if there was any. Depending on the title, this was waiting, but it was postponed as a decision of the production committee. Matsumoto I see. In addition to consideration for the studio, it may be due to the fact that, as many theater works have become pending, there are few or no customers even if they are screened / broadcast now. Hirasawa: If you want to deliver to your customers in a really good situation, you can certainly decide that you don’t have to broadcast this cool. Due to these various circumstances, the schedule was gradually delayed from April to June 2020. The process of working face-to-face in the past suddenly becomes remote, so the same efficiency cannot be achieved. However, when I see such a situation, people at work usually say, “No, please make it in time,” but “Well, this time it can’t be helped.” Matsumoto, who was forced to change in a short period of time due to the corona wreck, made animation the other day. There was an announcement that Mitsubishi’s colored pencils, which are also used in Japan, will be discontinued. Hirasawa That is difficult, isn’t it? Matsumoto However, I wonder if the world has been swept away with a feeling like “what is a pencil?” To conclude a little, what kind of impact did this Corona sword have on the fact that the digitization of anime is already progressing or must be advanced? In a sense, was it a catalyst for change, or was it just a big deal? Hirasawa: I think there is a saying that the speed of change, which was thought to take a long time, has increased. I think it’s up to each party to decide whether it’s good or bad. It is true that digitization has been spurred. “After all (equipment) investment is necessary” is relative. But it’s the same as other industries, isn’t it? There is a great sense that media relations have also shifted to distribution at once, and the changes that should have occurred over the years have to occur in a short period of time. “Corona-polished” talent will appear 10 years later? Matsumoto Another question I would like to ask Mr. Hirasawa is, “How will Corona Sorrow change the planning of anime?” For example, the Great East Japan Earthquake had a great impact on anime planning. It takes about two years from planning to seeing the finished product of animation, so I think that many similar projects have appeared sometime after the earthquake. Will the same thing happen with this corona wreck? As a producer, I would like to ask you how Mr. Hirasawa sees it. Hirasawa As you say, I think that it has various influences on the customers living in this era, so there is no doubt that titles or characters that represent that spirituality will come out. Specifically, I think it will come out in two steps. One is how to make the work that will be received in this era, how to make the work that should be delivered to the customer, the step of work production It will be about one and a half to two years later. Basically, in the event of a major absurdity or recession, many may tend to prefer simple and funny things too difficult ones. There is a possibility that such titles that simply make many people laugh will come out, or that even with the same title, for example, there will be more works that advertise “This is a work that makes you smile.” And the other is talent. I think that there is a good chance that new talent will be born because huge unreasonableness always has a part to polish some kind of sensibility of the person who was exposed to the unreasonableness. Matsumoto Certainly, when I’m watching a TV commercial with a short production process, I wonder what (recent commercials) say, in a very profane way, it’s “emo”. It’s lively, with lively music, bright screens, and a very flashy feel. That’s because there is an air of “corona terrible and painful” in the world. That also happens in anime. I think it will come out a lot as a project. “It was better than I expected” was the trigger for the hit Hirasawa So far, the story of creation has been the main focus, but when I got closer to the business, the number of subscribers to the distribution platform increased dramatically (due to the coronavirus), so I paid for the distribution platform. There is a situation in which it becomes easier for a project to be made by receiving a gift. I think it will be one to one and a half years at the earliest for the results to come out clearly. Matsumoto: I also like the distribution platform, so I’d like to ask a lot, but before I go there, let’s continue talking about creators/creations. About the popular work “PUIPUI Molker”. [Official] PUI PUI Molcar Episode 1 “Who is the cause of the traffic jam?” Hirasawa No, I feel happy. I think you are really grasping the atmosphere of the times. Matsumoto Is it because it is now? Hirasawa I think there are several ways to think about it. First of all, “I want to see bright things, I want to see cute things” is the atmosphere of the times. And it seems that late-night anime users are searching for works that can be talked about with a new feeling every three months throughout the cluster, and this time it matched that movement with “PUIPUI Molcar”. It was said that. If you think that a royal road title such as “Jujutsu Kaisen” made by collecting money and people is a big hit, a person with great talent has also won awards overseasMisato TomokiThe short animation made by Mr.-san also attracts attention. TV anime “Jujutsu Kaisen” Non-credit OP movie / OP theme: Eve “Jujutsu Kaisen” For the past ten years, core anime users have been able to select “what is interesting as a group?” For each cool. I did. Therefore, even if the type of advertisement is not so big, if it has a certain uniqueness, it will be eaten and everyone will see it. I think it can be said that there are some very good customers. Matsumoto Moreover, “PUIPUI Molcar” is broadcast in the morning. Obviously, what is not on the live activity line of late-night anime customers is “What is this! ? ”Was discovered. I don’t think there are many people who saw it in real-time in the morning. Also, it may be non-verbal worldwide support (work). Hirasawa Yes, I think you’re right. Matsumoto, Did you get that kind of thing well? I don’t think it’s something like this. Hirasawa: I think that social viewing really means “deciding what to talk about.” I have a fairly solid cluster of friends, and I’m just trying to find out what to talk about. So everyone sees it as unique and accompanied by quality. And “certainly as expected” or “better than expected” (reputed). I think that the experience of “better than I expected” is now a very precious time. In so-called social viewing and fellow viewing, someone said, “It was better than I expected,” and when I looked at it, it was certainly “better than I expected.” When someone else sees it on social, and says, “It was better than I expected,” some kind of experience is chained and leads to a hit. In today’s anime, especially in the world of so-called high-quality anime such as late-night anime and theatrical anime, a kind of scene is formed in which highly-skilled users who have really good criticisms communicate with each other. And this is really amazing. The current front line is YouTube’s anime MV Matsumoto Next, I would like to talk about YouTube as a social media. First of all, Mr. Hirasawa listed some characteristic works. I wish it was midnight all the time. “Kan Saete Kuyashiiwa” MV (ZUTOMAYO –Kansaete Kuyashiiwa)

Leave a Reply

Your email address will not be published. Required fields are marked *