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Production Guide

Dragon Ball Z Staff Credits


Dragon Ball Z

This section provides a compiled listing of the staff involved in the production of the Dragon Ball Z TV series (incl. TV specials), as translated from the series’ original episode credits. The opening credits listed the main staff responsible for the overall development of the entire series, such as the author, main production staff, main animation staff, and the series director, while the ending credits listed the cast and crew involved in the production of that specific episode. These credits were typically placed over animated or static scenes and set to theme music, creating what are referred to as the opening and ending animations. In total, Dragon Ball Z had four opening animations and two ending animations, which are thoroughly detailed in the Theme Guide.

The credits are divided into the various stages of production, and further by specific production departments. Credits are listed in order of appearance and then further organized by episode. Specific episode credits can be found on their respective pages in the Episode Guide.

Pre-Production

This is the stage in which all the planning for the episode takes place. During pre-production, the production is broken down into individual scenes and all the story elements, locations, cast members, and special effects are identified. The episode’s script, if not already complete, is written at this stage. A detailed schedule is produced and arrangements are made for the necessary production staff to be available to the directors at the appropriate times.

原作Original Author
The term gensaku (原作) refers to the “original work”. In every Dragon Ball property this generic credit is given to Akira Toriyama, author of the original manga series for which the franchise is based on. This credit does not indicate that the original author actually had significant involvement with the series’ production, as it is merely acknowledging that the series is based on the original work of the author. For more information about Akira Toriyama’s involvement with the series’ production, click here.
鳥山 明/ Akira ToriyamaBird Studio
1 – 291; SP1 – SP2
連載Serialization
Following the “Original Author” credit is a sub-credit for the serialization of the original work in Shueisha’s Weekly Shōnen Jump.
集英社 (週刊少年ジャンプ)/ Shueisha (Weekly Shōnen Jump)
1 – 291; SP1 – SP2
制作Production
This credit lists all of the main companies responsible for the production of the animated series, all of which are typically copyright holders of the parent material.
フジテレビ/ Fuji TV
1 – 291; SP1 – SP2
東映/ Toei
1 – 291; SP1 – SP2
企画Planning
The series planners are producers from the series’ main production company, Toei Animation. On occasion, producers from other companies do hold this position, in which case their affiliation is specifically noted. Planners are responsible for developing the main plan for adapting the original work’s story into an animated production. They often select which parts of the story to adapt, select the production staff, and bring everything together so that the staff can begin the production process.
森下孝三/ Kōzō MorishitaToei Animation
1 – 291; SP1 – SP2
清水賢治/ Kenji ShimizuFuji TV
SP1 – SP2
金田耕司/ Kōji KanedaFuji TV
SP2
フジテレビプロデュサーFuji TV Producer
This producer works directly for the broadcasting company, Fuji TV, and is involved in the planning stages of production. They provide input on how they feel the show should look and feel from a marketability standpoint, along with how it should be produced. Overall, they are more-so involved in the business aspect of the series, but work closely with the producers and planners from Toei Animation.
清水賢治/ Kenji ShimizuFuji TV
1 – 291
金田耕司/ Kōji KanedaFuji TV
118 – 291
アシスタントプロデューサーAssistant Producer
The assistant producer helps the series’ planners make decisions concerning certain aspects of a specific episode and act as a go-between for the senior producers and an episode’s main production staff.
蛭田成一/ Sei’ichi Hiruta
88 – 291; SP2
木戸 睦/ Atsushi Kido
102 – 109
広報Public Relations
The public relations staff is responsible for managing the flow of information from Fuji TV and Toei Animation to the public. They are in charge of the series publicity and advertising, along with providing the producers with feedback from the public. All of the Dragon Ball Z series’ publicity was handled by Fuji TV’s public relations staff, which is noted in the episode credits.
重岡由美子/ Yumiko ShigeokaFuji TV
1 – 103; SP1
名須川京子/ Kyōko NasukawaFuji TV
104 – 107, 109
川崎悦子/ Etsuko KawasakiFuji TV
110 – 233; SP2
松永佳子/ Yoshiko MatsunagaFuji TV
234 – 291
Script Department
シリーズ構成Series Composition
The series composer is responsible for determining the overall plot of the series. Many meetings are held with the director, original author, and planning production staff from Toei Animation and Fuji TV to chart the direction and feel they would like the animated adaptation to take. Following this, the composer will draft an overview plot of the series, broken down into episodes. When the overall series plot is finalized, the series composer tasks the scenario writers, which often includes themselves as well, with writing scripts for each episode. As the manga progresses, the series composer oversees the creation of filler stories to ensure that the original author has plenty of time to develop more original material, which will later be incorporated.
小山高生/ Takao KoyamaBrother Noppo
1 – 291; SP1 – SP2
Directorial Department
シリーズディレクターSeries Director
The series director is responsible for the overall look and feel of the series, overseeing almost every aspect of the production process, including attending voice recording sessions, and are heavily involved in the pre-production process. Almost all aspects of production must meet their approval before moving forward. They are also responsible for assisting in the creation of storyboards with the episode director.

Following episode 199, the “Series Director” credit was no longer used in Dragon Ball Z for some unknown reason. However, the credit was later brought back and listed in Dragon Ball GT. It is assumed that Daisuke Nishio, although not officially credited, retained the position thru episode 291.
西尾大介/ Daisuke NishioToei Animation
1 – 199; SP1 – SP2

Production

This is the stage at which all of the animation is produced based on what has been planned out in the pre-production stage. Prior to an episode’s actual production, the series director holds an animation meeting with the episode’s assigned production staff (episode director, assistant directors, animation supervisor, and art director) to ensure that nothing has been missed and to establish a production schedule. During these meetings, the animation supervisor and main artwork staff (chief animator, art director, and key animators) use the storyboards to check the overall feel of the series, including the positions of the characters, angles, light direction, and shadows, etc. This is where the strength of the pre-production work is put to the test. Scenes are also divided up amongst the key animators and layouts of these scenes are decided upon. For a more in-depth look at the animation production process, please read our guide on the Animation Process.

製作担当Production Supervisor
The production supervisor is an executive producer that oversees the production process. They ensure that everything is on schedule and that deadlines are met so that each episode will be finished in time for broadcast on Fuji TV.
岸本松司/ Matsuji KishimotoToei Animation
1 – 58
鳥本 武/ Take TorimotoToei Animation
59 – 109; SP1
山口彰彦/ Akihiko YamaguchiToei Animation
110 – 169; SP2
末永雄一/ Yūichi SuenagaToei Animation
170 – 291
記録Documentation
樋口裕子/ Yūko Higuchi
SP1
小川真美子/ Mamiko Ogawa
SP2
Animation Department
チーフアニメーターChief Animator
The chief animator is in charge of all aspects of the animation side of the series’ production and serves as its character designer. Unlike the animation supervisor, who only checks and corrects the key animation for a specific episode, the chief animator is responsible for checking and correcting all of the series’ animation and ensuring the final product looks as uniform as possible. Once the chief animator has approved a set of drawings, they can finally be traced onto celluloid sheets. Beyond this point, no more corrections to the animation will be made. This position is held by an animation supervisor and in some cases they perform both roles on a single episode.

Following episode 199, the “Chief Animator” credit was no longer listed and instead replaced with the “Character Design” credit (shown below). However, Minoru Maeda was actually listed under the “Character Design” credit for both TV specials as opposed to the typical “Chief Animator” credit that was still used at that time.
前田 実/ Minoru MaedaStudio Junio
1 – 199
キャラクターデザインCharacter Design
For the later portion of Dragon Ball Z, the “Chief Animator” position was re-titled to “Character Design”. The roles are nearly identical, with the credit change merely being a shift in verbiage.
前田 実/ Minoru MaedaStudio Junio
SP1 – SP2
中鶴勝祥/ Katsuyoshi NakatsuruToei Animation
200 – 291; SP1
総作画監督Chief Animation Supervisor
In certain instances, an animation supervisor will take on the role of chief animation supervisor and assist in the duties of the character designer. The chief animation supervisor is responsible for checking and correcting all of the key animation and ensuring the final product looks as uniform as possible.
宮原直樹/ Naoki MiyaharaToei Animation
252, 267
Art Department
チーフデザイナーChief Designer
The chief designer is in charge of all aspects of the art side of the series’ production. They are responsible for creating detailed set and item designs, as well as supervising the series’ background art. The designs must be very specific and detailed, including movement descriptions, colors, and clothing, to ensure that the animators know exactly how a certain character or item should be drawn. The chief designer will create or update “design packs” and distribute them to all of the animators. This also helps the chief animator and animation supervisors, as the animation is more likely to be uniform, making their jobs a little easier. This position is typically held by an art director and in some cases they perform both roles on a single episode.

The “Chief Designer” credit was replaced in both TV specials with the “Art Design” (美術設定) credit. For consistency, these TV special credits have been included with the “Chief Designer” credits.
池田祐二/ Yūji IkedaStudio Wyeth
1 – 199; SP1
吉田智子/ Tomoko Yoshida
SP1
鷲崎 博/ Hiroshi Washizaki
SP2
徳重 賢/ Tokushige Ken
200 – 291
美術進行Art Progression
This staff member works directly under the art director and keeps track of the progression of the background artists. As background art is finished, they will take it to the art director for final approval, and eventually to the photographer. They also serve as a go-between for background artists and the art director.
中村 実/ Minoru Nakamura
1 – 171; SP1 – SP2
田村晴夫/ Haruo Tamura
172 – 192
福本智雄/ Tomō Fukumoto
193 – 291

Post-Production

This is the stage in which the film is assembled by the editor. The first job of the film editor is to build a rough cut taken from sequences (or scenes) based on individual “takes” (shots). The purpose of the rough cut is to select and order the best shots. The next step is to create a fine cut by getting all the shots to flow smoothly in a seamless story. Trimming – the process of shortening scenes by a few minutes, seconds, or even frames – is done during this phase. As well as the editing of footage, all music and special effects are added in this stage. After the fine cut has been screened and approved by the director and producer, the picture is “locked,” meaning no further changes are made.

Audio Department
オーディオディレクターAudio Director
Much like their counterparts in the animation and art departments, the audio director is in charge of all aspects of the audio in the series. They make all of the final audio decisions, including casting voice actors, selecting theme songs, and confirming music selections. They work closely with the producers and series director to ensure that the music fits what was envisioned.
小松亘弘/ Nobuhiro Komatsu
1 – 291; SP1 – SP2
音楽Music
The music credit is given to the main series composer. They are responsible for composing and arranging all of the incidental music, or background music, for the entire series.
菊池俊輔/ Shunsuke Kikuchi
1 – 291; SP1 – SP2
声の出演Voice Performances
All voice performances and voice actor (seiyū) credits can be viewed in the Cast Guide.
協力In Cooperation With
This credit is always shown immediately following the “Voice Performances” credit, as Aoni Production is the main voice talent agency used by Toei Animation. However, it should be noted that not all cast members are associated with this company.
青二プロ/ Aoni Production
1 – 291; SP1 – SP2
Visual Department