Toei - Mid '90s vs. Current

[Cipher]

So I'd mostly brushed aside complaints about Super's subpar production values (things like episode 5) as part of the normal course for a weekly anime, especially from Toei. And while that mostly still holds true, I've recently been checking out the '90s Dr. Slump series, and holy hell -- it looks consistently incredible. It seems to have enormously high production values compared to Toei's usual efforts, even others in its era (as far as I know; I'm not really an anime fan).

I think that's a rather comparable scenario, as both involve new series for venerable properties (although surely Dragon Ball represents much more business now than Slump does). Why the difference? Is this a general difference between mid-'90s Toei and the current company? A matter of a more diversified catalogue? Was there something that gave that series unusually high production values that Super, or current series in general, can't expect to see?

Interested in hearing thoughts from those more knowledgeable.

[precita]

I've heard the problem is TOEI is juggling too many shows at the same time and doesn't have enough animators for them all so they outsource a lot. Certainly if they were only working on one or two shows Super's animation would have their top talent working on it. I wonder how many shows TOEI was jugging during DBZ's original run.

[Chuquita]

I've read from others that there's a serious lack of talented animators at Toei now compared to back then; that the resources they do have are spread too thin across too many series. Not enough skilled people and not enough time to allow those skilled people to give it their best. Episode 5 of Super's a prime example; Tate didn't get to do anything himself because as I understand it the time wasn't there. If you look up stuff that he's done by himself he does some really cool and fluid work.
http://sakuga.yshi.org/post?tags=naoki_tate

I also think it's a lot easier to do forced speed-runs using older technology that it is with current tech and have it not be as noticeable due to the nature of the tools used.

[JulieYBM]

I've not gotten around to doing a complete list of productions that Toei Animation was handling by the year but they were in all likelihood working on fewer weekly series at the time. The entire industry was working on fewer projects at the time and schedules weren't as rushed. The 1997 Doctor Slump series has a lot of the same staff that worked on the prior Toriyama cartoons, too.

[TheGmGoken]

I wonder how many shows TOEI was jugging during DBZ's original run.

From 86(DB) to 97(GT) Wikipedia btw. Keep in mind that these were not ALL weekly series and I'm not counting movies

Dragon Ball series
Dragon Ball (1986–1989)
Dragon Ball Z (1989–1996)
Dragon Ball GT (1996–1997)

Ginga: Nagareboshi Gin (Silver Fang: Meteor Gin) (Apr. 1986-Sept. 1986)
Gou Q [Goukyuu] Chouji Ikkiman (Fastball Superboy Ikkiman) (Apr. 1986-Nov. 1986)
Saint Seiya (Knights of the Zodiac) (1986–1989) (Saint Seiya: The Lost Canvas was not produced by Toei)

Bikkuriman series (Bikkuriman 2000 was not produced by Toei)
Bikkuriman (1987–1989)
Shin (New) Bikkuriman (1989–1990)
Super Bikkuriman (1992–1993)

Transformers series: (Three-exclusive Japanese series of Transformers that were not produced by Sunbow and Marvel; a co-production between Toei and Takara.)
Transformers: The Headmasters (1987-1988)
Transformers: Super-God Masterforce (1988-1989)
Transformers: Victory (Mar. 1989-Dec. 1989)
Kamen no Ninja Aka Kage (Masked Ninja Red Shadow) (1987–1988)
Lady Lady!! (1987–1988)
Hello! Lady Lynn ("2nd season" of Lady Lady!!) (1988–1989)
Sakigake!! Otokojuku (Charge!! Men's Cram School) (Feb. 1988-Nov. 1988)
Akuma-kun (1989–1990)
Kariage-kun (1989–1990)

Magical Tarurūto-kun (1990–1992)
Goldfish Warning! (Kingyo Chūihō!) (1991–1992)
Dragon Quest: Dai no Daibouken (Dai's Great Adventure) (1991–1992)
Sailor Moon
Bishoujo Senshi Sailor Moon (1992–1993)
Bishoujo Senshi Sailor Moon R (1993–1994)
Bishoujo Senshi Sailor Moon S (1994–1995)
Bishoujo Senshi Sailor Moon SuperS (1995–1996)
Bishoujo Senshi Sailor Moon Sailor Stars (1996–1997)
Bishoujo Senshi Sailor Moon Crystal (2014-present)
Ghost Sweeper Mikami (1993–1994)
Slam Dunk (1993–1996)
Aoki Densetsu (Blue Legend) Shoot! (1993–1994)
Marmalade Boy (1994–1995)
Shinken Densetsu Tight Road (Oct. 1994-Dec. 1994)
Kuusou Kagaku Sekai (Fantastic Science World) Gulliver Boy (Jan. 1995-Dec. 1995)
Sekai Meisaku Dōwa Series: Wow! Marchen (pronounced "MARE-hen") Oukoku (Kingdom) (Apr. 1995-Sept. 1995)
Gokinjo Monogatari (Neighborhood Story) (1995–1996)
Hell Teacher Nūbē (1996–1997)
Hana Yori Dango (Boys Over Flowers) (1996–1997)
Kindaichi Shounen no Jikenbo (Young Kindaichi's Casebook; see "Kindaichi Case Files") (1997–2000)

Azumi: Mamma Mia! (July 1997-Oct. 1997)
Yume no Crayon Oukoku (lit. "The Crayon Kingdom of Dreams") (1997–1999)
Hanitarou Desu (It's Hanitarou) (1997–1998)
Haruba-ke no San nin me (lit. "The Third of the Haruba Family") (Jan. 1998-Mar. 1998)

[JulieYBM]

I've heard the problem is TOEI is juggling too many shows at the same time and doesn't have enough animators for them all so they outsource a lot. Certainly if they were only working on one or two shows Super's animation would have their top talent working on it. I wonder how many shows TOEI was jugging during DBZ's original run.

The vast majority of the first three series were sub-contracted to smaller studios. This is something the Japanese animation industry has done since the 1960s. The sub-contracted episodes wound up all being better than the in-house Toei episodes.