【Code name】"Young Animator Breeding" program
【Canonical title】Animation future
Young Animator Development Project, or Project A for short
【Initiator】 Japan Animation Producers Association
[Action time] 2010
【Purpose】 Talent development program for animators
【Background】
Japanese animation has a very high evaluation worldwide, with an industrial scale of more than 200 billion yen, but according to the white paper of the Ministry of Labor and Services, there are about 3,100 to 4,500 active animation producers in Japan. Assuming that the number of people holding the position of original artist is 2200 to 3100 people, if the number of animation production teams remains unchanged, there will be 63 to 89 young producers to be trained every year, while the actual number is only 10 to 20 people, and the number of people will be negative.
According to a survey conducted by the Ministry of Economy, Trade and Industry and the Ministry of Labor and Welfare of Japan, the main reasons are as follows:
1. Animation producers are aging. Among the active animation producers, the 40th and 50th generations account for the majority, and the production team is aging;
2. Lack of training and opportunities for young producers. The Japanese animation industry has entered a highly commercial stage, and the mature producers in active duty are basically busy with commercial production, and there is no time to train young producers. Coupled with a weak economy, young producers have low incomes, long working hours and poor working conditions. Other large animation companies are reluctant to hire fresh graduates in order to ensure the quality of their paintings;
3. Serious outsourcing of production. Including original painting, photography, color design and other matters, 90% of animation production is outsourced to cheaper China and South Korea.
In order to change this situation, inject fresh blood into the animation production team, and maintain its healthy development, the Agency for Cultural Affairs launched this program, spending 200 million yen a year, entrusting four animation production companies to train about 50 young animators to fill the previous vacancy.
The Japan Animation Producers Association (JAniCA, FY2010-FY2013) and the Japan Animation Association (AJA, FY2014~) have been engaged in the 2010-year-round human resources promotion program for animation producers, which have been implementing a talent program for animators since 2010.
In order to improve the learning opportunities and production quality of young Japanese animators, the Agency for Cultural Affairs of the Japanese government has invested 200 million yen in the "Young Animators Development" program, and the animation production companies that can participate in this program will divide the 200 million yen equally to produce a short animation of about 30 minutes. Seeing such a big pie falling from the sky, the production companies of course competed with each other, and in the end, the four companies of Rising, Telecom Animation Film, P.A. Works, and Production I.G stood out from the 16 bidding companies. The four anime produced by these four animation companies have different stories, including comedy, fairy tales, farces, and magic, and each anime has a good voice actor lineup, such as Hiroshi Kamiya, Saori Hayami, and Riki Nailomiya, and other well-known voice actors appear on the voice actor list. As for the effect of the four films that cost 200 million yen, we will leave it to them after they are broadcast in March this year.
The business of the Japan Agency for Cultural Affairs is called the Cultivation of Young Animators and Other Talents.
<h1>principle</h1>
The animation production companies that participate in the selection must meet the following principles: the headquarters is established in Japan, has a good track record in the field of commercial animation, and is willing to help cultivate young animation producers.
The Agency for Cultural Affairs of Japan will score the participating animation companies on their performance, operating system, and creativity, with a total score of 50 points.
If the animation company has just met the requirements, it will receive only 1 point (2 points for the 10-point item).
Also, the same company cannot participate in the program for 3 consecutive years.
<h1>request</h1>
Participating young animators need to meet the following requirements:
1. For the original painting position, the painting experience should be more than 3 months and less than 36 months (2013 is more than 6 months, 42 months or less).
2. If you are also responsible for the original painting and animation, you have more than 1 year of painting experience.
3. At the time of registration, you must be under 30 years old (29 years old before fiscal 2013).
In the 2013 annual plan, a group recommendation system was introduced, and other animation companies that have not participated in or selected animation companies can also participate in the animation future plan after applying for and receiving recommendations from selected participating companies.
<h1>Works requirements</h1>
The subject matter of the animation work must be original and meet the following requirements:
1. Written by the supervisor (director) or collectively created.
2. It can be early children's literature and short stories. Not in the original manga and anime sequels.
3. Animated characters, symbol designs, etc. must be original, and ready-made illustrations and designs cannot be used.
<h1>Production standards
</h1>
Animation is made according to the production standards of a TV commercial animation:
Positive: Approx. 20 min. 30 sec. (1230 sec.)
Opening track (OP) and ending track (ED): Approx. 3 min (180 sec. optional)
Total length: Approx. 23 min 30 sec ( 1410 sec)
Storyboard: About 380
Total original frames: About 11,000 frames
<h1>Production team
The entire production team is basically arranged according to the configuration required by the general TV animation, and the animation company provides at least 1 main original painting in active service to guide the original painting production team composed of 6 to 12 young producers. The remaining production positions are filled by the animation company itself, and the number of commissions outside the workstation is minimized.
<h1>Budget funds</h1>
The Agency for Cultural Affairs of Japan provides a total of 200 million yen in special funds, including about 50 million yen for the planning, management, and on-the-job training of the entire program, and about 150 million yen for animation production with four animation companies.
Each animation company receives a special production fund of 38 million yen, of which the special fund for painting is about 23.4 million yen according to the average price of the industry, which is much higher than the production budget of 12 million yuan for a general TV animation episode.
Since the funding provided by the Agency for Cultural Affairs comes from taxes and sponsorship, the project funds distributed can only be used for its domestic companies. The excess budget is filled by the animation company itself, and if the remaining part is returned to the Agency for Cultural Affairs.
After the end of the program, the copyright of the work and the benefits arising from its commercial use will be owned by the animation company.
<h1>Timing</h1>
It is planned from the end of March of each year to the middle of March of the next year, for a period of about one year. Because the scheduled launch time is one year away from the release time, the year followed by "Animation Future" (release year) and the year used in the plan name (the planned launch year) are one year apart. For example, the official program name of "Animation Future 2014" is "Heisei 25 (FY2013) Young Animators Incubation Program".
End of March: The plan is announced and recruitment begins
Early May: Participated in the mobilization meeting of animation companies
At the beginning of June, 4 participating animation companies were selected and signed contracts
Mid-June to early July: Screenplay
July: Character, storyboard design
From August to the end of December: original paintings, animations, color designs, etc
January of the following year: Dubbing, soundtrack, post-editing, etc., turned in into a film
Early February: Test screening, the planning committee evaluates the effect
Early March: Two weeks of theater release, television broadcast
Mid-March: Submission of the report and end of the annual program
<h1>opus</h1>
When completed, the animation will be screened in early February of the following year, followed by a two-week release in a theater provided by the sponsor. At the end of March, it was broadcast through ANIMAX, Daily Broadcasting MBS, Yomiuri TV station ytv, and NICONICO animation.
Project A-2011-(2010, Number of young producers: 33)
【Course of Action】
The first year of 2010 is called "Project A", in 2011 it is called "Animation Future" program, and in 2012, it is called "Animation Future" 2013.
Project A (FY2010)
Ascension Co., Ltd.: Title of the work "TripPing"
Just knock down the stumbling block and you can get 100 million yen. This is the prize money for knocking down the world fighting champion. But, Trip is just a 13-year-old middle school girl! When I still have to go to school, various challengers who want to win keep coming... Unheard! It's a comedy about fighting families.
"Tripping"
Telecom Animated Film: Title :Grandpa's Kerosene Lamp
In the civilized Meiji era, a 13-year-old boy decided to make kerosene lamps illuminate the entire village at night. However, the villagers were not very receptive to new things and refused. This is an animation of the fairy tale of Shin Minamiyoshi, the author of the well-known "Little Fox Aquan".
Grandpa's Kerosene Lamp
In the Meiji era of civilization and civilization, in a small village, there was a young orphan named Minosuke who usually supported himself by helping the villagers work. Once when he entered the city, he saw a lit kerosene lamp on the street, and his eyes were opened to the first time he felt "civilized", so he decided to use kerosene lamps to illuminate his small village. Soon, the convenient and easy-to-use kerosene lamp was welcomed by the villagers, and Nosuke's business became better and better, and he successfully became a kerosene lamp merchant. Later, he married Xiaoxue and had a pair of children, and his life was very happy.
But later, when he entered the city again, he found that every household in the city was equipped with electric lights, and no one used kerosene lamps anymore. This "civilizationalization" made him feel very panicked. Then news came from the small village of Minosuke that he was going to be electrified, and Minosuke felt that his kerosene lamp would be replaced by an electric lamp, but he could not stop the plan to electrify it. One night, he sneaks into the district chief's house to set fire to it, but he suddenly realizes his mistake, he forgets his most important thing...
"Grandpa's Kerosene Lamp" is an entry for the Young Japanese Animators Incubation Program.
From kerosene lamps to electric lamps, the sentimentality brought about by the enlightenment of civilization and the beautiful old things will be drowned in the torrent of history, but the beautiful thoughts can always stay in the heart
P.A. Work: "All-Purpose Vegetable Ninjaman"
Mary Sauce's most hated food, Ninninman has appeared! Not only do they turn carrots, green peppers, and milk into monsters, but they also use strange magic to actively try to solve the problem of Mary Sauce. This is a healing magic animation suitable for a family and makes people cry and laugh.
《All-Purpose Vegetable Ninninman》
Production I.G: Title of the work "Cabinet Boy" (筆笥童)
OL Noel lived in a normal apartment, but her parents brought a Japanese wardrobe (筆笥). Children kept coming out of the closet, causing a commotion. These children are the so-called "children of the child"... It's an incredible and hilarious everyday farce unfolded by simple characters.
"The Boy in the Cupboard"
Animation Future (2011-2015)
Animation Future 2012 (2011)
Telecom Animated Film: Title "BUTA"
Production I.G: Title "Don't Forget Spider"
In ancient times, the powerful Yin and Yang Master sealed the Great Spider Essence in a book. The book is now in the Yan collection of the old bookstore. One day, the little spider in the book, which is only 20 centimeters tall, appears in front of Yan and the landlord's granddaughter Ruiji. Looking at the lonely back of the little spider when he missed his mother, Yan Yu couldn't bear it, so he asked the master for help and tried to send it back to the original place. But in the eyes of Rui Ji, who acts together, Yan has been fascinated by the little spider...
The legend of youkai links the two eras of ancient and modern Japan, and depicts the legend of this uproar in a humorous and witty way. Produced by Production I.G., who participated in the production of last year's "Wooden Boy", the animation director of this work, Toshihisa Kaitani (representative work: "Series Of Stories"),was also involved in the character setting. From the battle scene between the Yin-Yang Division and the Great Spider Spirit unfolding on the stage backed by a Japanese-style building, to the old bookstore where books are piled up and disorganized, to the cute and cute appearance of the little spider girl and the sexy and moving appearance of the adult, these various elements necessary for the animation are all mixed into this work. Although I have already worked on the production of monster stories such as the same company's "Blood" series, unlike it, it gives people a relaxed and incredible wonderful feeling.
Scene from the 2012 work "Don't Forget the Spider" - original drawing
《Obsying Spider》 - Original Draft
White Group Co., Ltd.: Title of the work "Blind"
"I" was a sixth-grade elementary school student, and I obviously knew that the "annoying" foursome was bullying Xiao Dong, but because I was afraid of being bullied, I couldn't help but pretend not to know. Adults such as Green Algae teachers say that turning a blind eye to bullying is as undesirable as bullying, but their behavior is becoming more and more excessive. Finally, the day of the school's "drama conference" is approaching, and Xiaodong has made an unexpected move...
Originally a picture book, "Turning a Blind Eye" (Toshisaku Umeda/ Misaru Yoshiko), he was selected as a 1998 project book because he directly used the problem of bullying. The picture book is vivid in style, retaining the brush strokes of hand-drawn. While visualizing the world as it sees from the child's point of view, it also expresses the inner entanglement and the psychological expression of growing beyond this entanglement through painting. Director こづつみ PON has been the director of Manga Japan's Tale of the Past for the past decade, and in recent years, he has personally produced NHK's "Rita Somehow" and has a lot of experience. In order to achieve the difficult task of bringing to life characters who seem to be barely moving, he made it one of his goals to hone and improve his expressiveness.
"Blind"
Answer Workshop Co., Ltd.: Work name "Floating"
Five-year-old Mika has always been dissatisfied with her father. He said he was going to the beach but kept getting calls to work during the holidays, and he never kept keeping the agreement. A lonely person in the plastic pool at home, in front of her eyes, the manatee who was originally a floating water doll suddenly became able to speak, and said that he would take her to the sea instead of her father. Mika learns how to swim freely in the sea and travels to an incredible world together. But here I saw my father, who was pitifully imprisoned here...
Floating Tweet
Animation Future 2013 (2012)
Anecdote: The title of the work "Dragon-Bright-"
In the second half of the 19th century, the world ushered in the most important period of change. The Industrial Revolution and the feudal dynasty collided fiercely, which even Japan, which was closed to the country and lived in a corner of the world, could not avoid it. European artillery bombarded Japan, and Aaron (voiced by YogiBi), the son of a samurai of satsuma domain, lost his parents in the war. After this, he and his friend Shintaro Nakaoka (voiced by Shinya Takahashi) were adopted by the Reformers and trained under Ōkubo Ritsuru in a rigorous training unimaginable to ordinary people. During this time, he meets his lifelong benefactor and best friend, Ryoma Sakamoto (Keiji Fujiwara), and learns how many interesting things exist in this world. But in a chaotic world of various forces, they must throw themselves into the battlefield of cruel fate of hunting and killing each other...
Dragon-Bright-"
Trigger: Title of the work "Little Witch Academy"
As a child, she witnessed the magical performances of the witch Glitter Sario (voiced by Higami), and the little girl Yako (voiced by Emi Pan) aspired to become a wonderful witch like an idol. With this dream in mind, Jacob entered the prestigious School of Magic as he wished. However, the boring course bored her, and the bad evaluation of Sally Glitter by the people around her made Yake resentful. One day, the little witches have to take part in a labyrinth treasure hunt test, and on the way they have to fight various monsters. Diana Takato (voiced by Yoko Higasaga) accidentally unleashes the Ancient Dragon that devours magic for a living, causing unprecedented chaos to the academy. In a moment of crisis, Jacob inadvertently holds the key to solving all the troubles...
Little Witch Academy
Dusty Workshop: Work Name "No. Lesul - Daijo Kosetsujo- Seonjo"
Madhouse: Title of Death Billiards
With the rumbling elevator, an old man came to the luxuriously decorated Fan's Hour House. Guided by a beautiful waitress, he came to the bar and sat side by side with a man who had arrived earlier. The silver-haired waiter inquired about the two men's arrival and then informed them of important information: the youth and the old were about to participate in a game, and the stakes of the game were their own lives. The youth heard this and fled, but there was no place to escape from every corner of the building. And if you refuse to participate, you will be ruthlessly killed. While the youth hesitated, the old man preemptively pressed the button of the unified competition. After selection, the format of the game between the two of them was set as "death billiards".
The young people who pride themselves on their fair skills have only discovered that the old people who are not amazing in front of them are so skilled, and their lives are facing the most severe test...
Death Billiards
Animation Future 2014 (2013)
On February 7, 2014, after concluding its 2013 Fiscal Program (Animation Future 2014), the Agency for Cultural Affairs announced the "Organizer Public Offering Essentials" and "Animation Company Review Selection Criteria" for the 2014 Annual Plan (Animation Future 2015), and determined that the budget for fiscal 2014 would be 29.72 million yen.
However, the Japan Animation Producers Association, which undertook the previous four programs, rejected the proposal for the year, resulting in the suspension of the plan, after which the Japan Animation Association took over the annual affairs and planned to reopen.
On April 5, 2014, the Japan Animation Producers Association, which undertook the previous four programs, announced on its official website that it rejected the Agency for Cultural Affairs' proposal for FY2014 and withdrew the "Young Animators and Other Talents Cultivation Project for Young Animators and Other Talents in Heisei 26 (FY2014)" from the 2014 F.O.D. Cultural Affairs Promotion Support Program, and the plan was suspended.
On April 25, the Japan Animation Association announced that it would take over the matter and that animation would reopen on May 30.
On May 30, the 2014 Animation Future Plan was reopened, and the Japan Animation Association announced the new fundraising case and schedule.
On July 8, the four planning companies were officially selected and announced the names and supervision of their works.
Super Super Picture: The title of the work "Arjuni"
A-1 Image: Title of the work "First Grade Big Man and Second Grade Little Man"
Rongxin Animation: Title of "Paro's Future Island"
4°C Studio: Title of the work "Black Habitat"
Animation Future 2015 (2014)
J.C.STAFF Title "Autumn Drum"
Synergy SP: Title of the work "Xi Lai Lai Lai"
Studio: Title "Music Girl"
Tezuka Production: Title of "Red Beauty and Tulips"
On June 9, 2015, the Japan Animation Association announced that the name of the program will be changed from the previous "Animation Future" to "Animation Egg" from 2016.
Anime Egg (2016-): Information is not available.
【Follow-up】
The "Young Animators Development" program is not a lone effort by the Agency for Cultural Affairs of Japan, but has been generously donated by many social organizations to give sponsorship:
2010: Daily Broadcasting, ANIMAX, T-JOY
2011: T-JOY, Mainichi Broadcasting, ANIMAX, NICONICO Animation, Yomiuri Television, Nippon Broadcasting
2012: T-JOY, Mainichi Broadcasting, ANIMAX, NICONICO Animation, Yomiuri Television, Nippon Broadcasting, Imagine, Japan Airlines, Elementary School, Shueisha, Kodansha, Kadokawa Shuya, Ryuya
2013: Mainichi Broadcasting, ANIMAX, NICONICO Animation, Yomiuri Television, Nippon Broadcasting, imagica, Japan Airlines, Elementary School, Shueisha, Kodansha, Kadokawa Shuya, Ryuya, Hoshikaisha, Toho Animation, Japacontv
【Relevance】
The "Young Animators Development" program is part of the Cultural Development Action Plan. There are many such plans in today's peaceful and mainstream world, especially in Japan.
In the future, the "pulse of history" will gradually introduce many of Japan's action plans for treating the people with kindness to society, and no matter what the attitude of Chinese society towards the Japanese state, it cannot be denied that Japan's treatment of the people after World War II is indeed very commendable.
Japan, as a country, does treat its own people very favorably, so much so that Japan dares to be the first in the world to shout "there are no poor people"
【Impact】
Since the original organizer, the Japan Animation Producers Association, stopped the plan halfway through, the organizer was replaced by the Japan Animation Association, the gap period for the replacement and the preliminary preparations required for the reopening of the plan (the selection of the production company was delayed by about 1 month), and although the Japan Animation Association arranged the time as tightly as possible, the time was also delayed by about half a month compared with normal.
The reasons for the Japan Animation Producers Association's rejection of the 2014 annual plan are unknown, but the organization established by the Japan Animation Producers Association, Animation Mirai, will continue to support this plan.
In fiscal 2014, the recruitment requirements for young producers were more relaxed than in fiscal 2013, the minimum requirement for painting experience in the original painting position was shortened from 6 months to 3 months, and the age requirement was extended from 29 to 30 years old, and the group recommendation system was continued.
The prosperity of Japanese animation has benefited a lot from all of Japan
【Comments】
The "Young Animators Cultivation" program is a "pie in the sky" for the Japanese animation industry, and it is a powerful medicine for many small and medium-sized companies that continue to fund.
When the market looks at the winners of this project, we will find that not all of these works can reflect the standards of Japanese anime and art, and even rough descriptions are not exaggerated. But what they have in common is: original! The vitality of culture lies in the continuous development on the basis of traditional culture, and in the process of development, it can drive the progress and improvement of the national spiritual world - this is exactly the case in Hollywood. Giving strong support at the right time on the difficult road of cultural creation and forming an overall policy atmosphere is the key to maintaining the long-term prosperity of Japanese anime in the future. The "Young Animators Development" program is a strong driving force on the road to cultural innovation in Japan.
In China's cultural environment, this policy has sufficient support and support from the central to the local level. But this kind of support and support is very different from Japan's plan , China supports almost all genres of anime , as long as it has the potential to become an industry or a star , in other words, to pursue economic goals. This basically belongs to the flood irrigation, and has not entered the stage of fine craftsmanship, and it is also different from Japan or stage. This is a proposition faced by the domestic animation industry: why did the era of no money in the past almost beat the invincible Chinese animation in the world, and why is it that in the era of no shortage of money, it is nothing?
Anime has too much affection for the Japanese, which Chinese does not have
【Code Name Description】
The "Young Animators Upbringing" program is a code name that doesn't require any explanation.
Code name confidentiality, mainly the military, intelligence and government departments out of the security point of view, enterprises for the economy, property rights and other considerations, so add a disguised code name. The action plan for the benefit of the people and society is not necessary to deliberately pursue the eye-catching effect.
But, because of honesty, such action plans are also often less appealing – with the exception of the one targeted.
If you feel that this article is interesting, please work your precious little fingers, or follow, or comment, mutual favorite, or forward, which will become a strong motivation for the firm "historical pulse" to provide you with an inexhaustible variety of action plans. Thank you!