@doktor-artbook:
Hi,
I saw on this forum this picture :
[qimg]http://artbook-passion.com/wp-content/uploads/BuzIaH9CIAAc_Rv1.jpg-large1.jpg[/qimg]
Do you know the website link?
because I will need to find information about old one piece episode, it is very important
thank you
I took that from Animator's Corner. The website version is not finished yet, but Archah has a program that he uploads the information to. You can download the program here. Do not unzip, simply open the program while it is inside the zip. Archah updates on Twitter whenever he adds a new episode.
@dropper:
Does anyone here know the average production time Toei uses to produce an episode?
The average television series has a schedule of usually one-to-three months per episode. I'm going to go ahead and assume One Piece has less than three months, although it could be the full three months. Studio Pierrot tends to give their series three-to-four months for each episode. Pocket Monster from OLM has finished key animation drawings five months before an episode airs, thanks to the leaked key animation drawings from Best Wishes Episode #20. A writer can usually complete two scripts a month. A storyboard usually takes three-to-four weeks to draw. A key animator can usually complete two cuts (shots) per day ($40 per cut for rookie key animators). An in-between animator on average can complete fifteen in-between drawings ($2-3 USD per cut). Each episode has about three hundred cuts, but only one month is typically allowed to complete key animation and in-between animation.
According to this Inoue Toshiyuki interview from 2005 it is relatively slow to be able to do only one hundred cuts in a month.
PA WORKS: Fifteen years ago the ideal was to be able to draw 80 shots a month.
Inoue: To my generation it was half an episode a month (about 150 shots). For a long time I was told "You're too slow!" because I could only manage about 100 shots a month - and that was TV anime 20 years ago. But of course the people who were saying that were drawing really simple key animation. Deep down I knew that I could probably draw half an episode a month if I drew like them, but I wouldn't have been satisfied to do that because what I was interested in was making the movement as active and interesting as I could. I was hoping to catch up to them in terms of the numbers and outdo them in terms of the quality at the same time, but that turned out to be too hard and I never quite made it.
Some animators can produce many cuts in a year. Iwane Masa'aki of Studio Cockpit has provided the entirety of the key animation for six episodes of Pocket Monster XY by himself in 2014 alone. Iwane also works on the Openings, Endings, and the other two Studio Cockpit episodes in the rotation, meaning he does complex battle animation not only for his own episodes, but those of Natsume Kunihiko and on occasion Tamagawa Akihiro. Iwane has the benefit of a strong schedule, however, so it is not too surprising that when mixed with his experience as an animator from the mid-1980s he has an incredible work ethic. Iwane once key animated two consecutive episodes of Pocket Monster: Diamond & Pearl in a row, Episodes #187-188, provided action animation for Episode #189, then provided all of the key animation for Episode #191 by himself, too. Episode #191 has perhaps his most complex battle animation of the series, so it's hardly as if he is slacking.
Anyway, the point I was making is…I don't remember. Oh, One Piece. Near as I can go based off of Shida Naotoshi's Tweets is that he usually has his cuts finished about two weeks before an episode airs. Not exactly great scheduling there.