轉載 日本動畫從業者透露慘淡實情…

原罪

http://www.wretch.cc/blog/yorozuya/10156138

以後見到作畫崩壞…會鬧得無咁恨…:42:

flash

very good info, thanks for the post.
in the article, it says illustrationist's wage hasn't gone up over the last 20 yrs.
and their wages mainly link to the amount of money developer can pay per
episode. so that means the price of producing an animation has't gone up
for the last 2 decades? hardly the truth i supposed.

so where has all the money gone to? marketing? voice acting and soundtracks?

zero2443

見怪不怪了:38:日本往往只會將好既一面比我地睇..入面既野當然5比我地知:42:
講起動畫,CV被剝削也很嚴重:38:

garykctse

呢個問題其實早係戰後東映動畫幾乎係獨大嘅五六十年代已經係咁

到左反對安保運動以及全共鬥之後，東映更加將所有畫師改為外判合約制，理由係當年好多畫師一為響應全共鬥，二為自己權利出頭，被東映視為眼中釘（宮埼老頭就係其中一份子）

但係造成樓主所講嘅現象，罪魁禍首其實就係果位被稱為動畫之神嘅手塚治蟲，所以現代動畫製作嘅（慳錢縮骨）流程以及動畫製作人員嘅超低薪酬就係佢開創（佢曾經下左要每集30分鐘嘅動畫成本唔超過20萬日元嘅海口）

原罪

:@竟然係因為手塚老師？！
多謝大大指教:64:

flash

回復 4# garykctse


that being said, each episode is within 200k yen,
it seems that's only a guide line, and i supposed
it was 1 or 2 decades ago. with the amount of
computerized designs and CG invloved it has to
worth a lot more tho. i can't imagine an episode
of pokemon cost the same as an episode of
fate/zero.

garykctse

回復  garykctse


that being said, each episode is within 200k yen,
it seems that's only a guid ...
flash 發表於 30/11/2011 15:12

當然20萬日元 (其實呢個銀碼都有好多種講法, 但係總之都唔係多啦) 係當年 (1960 年代 中後期) 都唔係一個高碼價, 但係我只不過係強調呢種以低成本 + 壓搾勞工嘅傳統來自有之

大大講到 Fate/stay night, 其實亦代表左今時今日一種 (好似) 成為左時尚嘅製作模式 -- 製作委員會, 即係由幾家製作公司 + 贊助 / 廣告商共同出錢製作以減低風險, 好處係銀彈可以相信充裕, 作畫 / 特技效果 (如牙狼) 可以比較交足功課, 缺點可能會係令製作內容比較趨向保守

garykctse

竟然係因為手塚老師？！
多謝大大指教
原罪 發表於 29/11/2011 22:12

其實小弟都係睇傻呼嚕同盟嘅大作先知嘅 :(

其實宮埼老頭一直以來果種高成本 (相對) 高水準大製作嘅模式, 據聞其實就係對手塚模式嘅反動 :64:

flash

回復 7# garykctse


thanks for the clarifcation, really learned a lot about their industry.
in the article, it says there are endless supply of new blood entrying
the business, i guess with the high supply of willingly cheap labour,
is really not a favourable sector to be in. and you said 傻呼嚕同盟,
it seems that's a nice blog. i have interest to look into it further ~

garykctse

雖然話係咁講, 但係將所有野推哂比手塚老師又真係唔係太公平, 因為戰後日本好一段時間, 日本就只有類似今日宮埼模式果種一年半載以上先有一套長篇嘅大製作 (仲要係劇場 / 電影版), 果陣如果同人地講, 可以有每星期播一次, 每次三十分鐘嘅連續劇動畫, 大多數人都會話你痴線嘅。手塚老師創立嘅一系列方法, 包括重用舊有畫面, 簡化畫面流動質量 (減少每秒鐘格數) 同埋 低薪 + 高工時作業的確為日後日本動畫起飛立下不少貢獻, 只不過今時今日嘅人會唔會再接受呢 d 「食老本」慳錢嘅方式呢?

takeshi

又知道左好多野..多謝資料...甘ge待遇都有人為理想堅持..果然係對動畫有愛..:42:
令我冧起香港電影業..編劇d薪水...:67:

mushroom

正料，有時間仔細睇。

香港人

雖然係辛勞, 但同美國動畫師相提並論似乎唔太適合, 雖知道美國動畫發行全球的機遇大得多, 就算只計電視卡通, 整個美洲, 歐洲都已經是日本的好幾倍, 更有數之不盡的狄士尼卡通, 夢工場卡通等等發行全球, 有左全球性優勢當然可吸納更多人, 及人工高, 加上兩地文化不同, 歐美地區好多工都係優閒生活, 而亞洲地區就偏向多勞...