So, Quality control at Toei is not a thing?

[Tatakae!!Ramenman]

It's just much less detailed compared to previous movies. If your a big Dragon Ball fan and have seen the movies many many times, the quality really stands out. Try comparing the new animation to "Yo! the return of son goku and friends".

[JulieYBM]

Detailed key animation drawings does not good animation make. Good animation is in the timing. Good filmmaking is in the layouts, very little of which the trailers has shown to be good.

[rereboy]

Obviously, people talk about "animation" as a broader term to include everything visual. No need to nitpick the terms.

[JulieYBM]

Obviously, people talk about "animation" as a broader term to include everything visual. No need to nitpick the terms.

No need to use the English language a pinch more accurately and thus actually contribute something of value to the discussion?

[rereboy]

Obviously, people talk about "animation" as a broader term to include everything visual. No need to nitpick the terms.

No need to use the English language a pinch more accurately and thus actually contribute something of value to the discussion?

Not really since most people are aware of the difference but just refer to animation for simplicity's sake. But whatever, I was just pointing it out.

[shinmaru]

Where is all this negativity regarding the quality of the animation coming from ?

People around here for some reason will stop the trailer or episode every second and pick out things that no one can notice unless they do the same which is something I doubt 99% of people watching will even think of doing.

You don't need to pause to notice.
Not negative, just criticism from my part. It's a fact that animation isn't as good as hand-drawn animation from the 90s. The colors are too bright. Animation does not always move fluently, and bucket painted animation without many details. People at Disney figured that out too that 2D is done best with pencil and paper.

Spoiler:

Animation and design[edit]
Clements and Musker had agreed from very early on that the style they were aiming for was primarily that of Lady and the Tramp (1955), a film which they and John Lasseter feel represents "the pinnacle of Disney's style".[35] "After that, everything started becoming more stylized, like 'Sleeping Beauty,' '101 Dalmatians' – which are fantastic films as well, but there's a particular style (to 'Lady and the Tramp') that's so classically Disney."[36] Lady and the Tramp also heavily informed the style of the New Orleans scenes, while Disney's Bambi (1942) served as the template for the bayou scenes.[35] Bambi was described as a stylistic reference for the painted backgrounds, as according to art director Ian Gooding "Bambi painted what it feels like to be in the forest instead of the forest" so The Princess and the Frog would in turn try capturing the essence of roaming through New Orleans.[10]

The former trend in Disney's hand-drawn features where the characters and cinematography were influenced by a CGI-look has been abandoned. Andreas Deja, a veteran Disney animator who supervised the character of Mama Odie, says "I always thought that maybe we should distinguish ourselves to go back to what 2D is good at, which is focusing on what the line can do rather than volume, which is a CG kind of thing. So we are doing less extravagant Treasure Planet kind of treatments. You have to create a world but [we're doing it more simply]. What we're trying to do with Princess and the Frog is hook up with things that the old guys did earlier. It's not going to be graphic...".[37] Deja also mentions that Lasseter was aiming for the Disney sculptural and dimensional look of the 1950s: "All those things that were non-graphic, which means go easy on the straight lines and have one volume flow into the other – an organic feel to the drawing."[37] Lasseter also felt that traditional animation created more character believability.[38] For example, with Louis the alligator, created by Eric Goldberg, Lasseter said: "It's the believability of this large character being able to move around quite like that."[38] Choreographer Betsy Baytos was brought by the directors to lead a team of eccentric dancers that gave reference to make each character a different style of movement. The character design tried to create beautiful drawings through subtle shapes, particularly for most characters being human. For the frog versions of Tiana and Naveem, while the animators started with realistic designs, they eventually went for cutesy characters "removing all that is unappealing in frogs", similar to Pinocchio '​s Jiminy Cricket.[10]

Toon Boom Animation's Toon Boom Harmony software was used as the main software package for the production of the film, as the Computer Animation Production System (CAPS) system that Disney developed with Pixar in the 1980s for use on their previous traditionally animated films had become outdated.[39] The Harmony software was augmented with a number of plug-ins to provide CAPS-like effects such as shading on cheeks and smoke effects.[15][37] The reinstated traditional unit's first production, a 2007 Goofy cartoon short entitled How to Hook Up Your Home Theater, was partly animated without paper by using Harmony and Wacom Cintiq pressure-sensitive tablets. The character animators found some difficulty with this approach, and decided to use traditional paper and pencil drawings, which were then scanned into the computer systems, for The Princess and the Frog.[15]

The one exception to the new Toon Boom Harmony pipeline was the "Almost There" dream sequence, which utilized an Art Deco graphic style based on the art of Harlem Renaissance painter Aaron Douglas.[40] Supervised by Eric Goldberg and designed by Sue Nichols,[41] the "Almost There" sequence's character animation was done on paper without going through the clean-up animation department,[13] and scanned directly into Photoshop. The artwork was then enhanced to affect the appearance of painted strokes and fills, and combined with backgrounds, using Adobe After Effects.[14][15]

The visual effects and backgrounds for the film were created digitally using Cintiq tablet displays.[15][42] Marlon West, one of Disney's veteran animation visual effects supervisors, says about the production; "Those guys had this bright idea to bring back hand-drawn animation, but everything had to be started again from the ground up. One of the first things we did was focus on producing shorts, to help us re-introduce the 2D pipeline. I worked as vfx supervisor on the Goofy short, How to Hook Up Your Home Theater. It was a real plus for the effects department, so we went paperless for The Princess and the Frog." The backgrounds were painted digitally using Adobe Photoshop, and many of the architectural elements were based upon 3D models built in Autodesk Maya.[15] Much of the clean-up animation, digital ink-and-paint, and compositing were outsourced to third party companies in Orlando, Florida (Premise Entertainment), Toronto, Ontario, Canada (Yowza! Animation), and Brooklin, São Paulo, Brazil (HGN Produções)[11]

[JulieYBM]

'People from Disney' gave up on hand drawn animation and whenever they do dabble back in it only ever repeat themselves artistically without improving their draftsmanship or filmmaking skills. Besides, most Japanese animation is still hand drawn with pencil and paper. I can't think of a single web gen animator who has worked on modern Dragon Ball. Even so, drawing using a stylus and pad onto a computer does not look too shabby when the person drawing can actually, y'know, draw. Ryoo-Chimo was one of the first web generation animators to join the industry professionally after industry professionals took notice of the gif animations he was animating and uploading to the internet. He now typically animates using Flash. This fight scene shows off superb draftsmanship and layout. There's no background, but because of how the action is framed the characters always look as if they are drawn three dimensionally.

Here's another scene Chimo animated using Flash.

Then you have guys like Yamashita Shingo who have pushed Flash even further.

In other words, just because digital age Dragon Ball has a lot of shitty directing and animators involved it doesn't mean digital animation wouldn't look good. It just means folks need to watch cartoons other than Dragon Ball.

[Basaku]

Toei doesn't love Dragon Ball.Toei loves the money they earn with Dragon Ball.

This is how every company is.

The difference is that other companies will alocate more resources to their biggest brands to retain quality and expand even more. Toei treats everything the same way. Dragon Bal and Sailor Moon get as thin budgets as Toei's biggest flops

[Attitudefan]

Its not like the animation has very noticeable flaws or anything... Its the people who are negative...

Until you watch an anime film like Red Line or Cowboy Bebop.

[DBZAOTA482]

Its not like the animation has very noticeable flaws or anything... Its the people who are negative...

Until you watch an anime film like Red Line or Cowboy Bebop.

Cowboy Bebop is an anime film?!

[Lord Beerus]

Its not like the animation has very noticeable flaws or anything... Its the people who are negative...

Until you watch an anime film like Red Line or Cowboy Bebop.

Cowboy Bebop is an anime film?!

I think he's referring to Cowboy Bebop: The Movie, which was release in 2001. And yes, the animation was stunning in that movie.

[Attitudefan]

Until you watch an anime film like Red Line or Cowboy Bebop.

Cowboy Bebop is an anime film?!

I think he's referring to Cowboy Bebop: The Movie, which was release in 2001. And yes, the animation was stunning in that movie.

Yes I am, and the animation is stunning. Glad they retained doing cel animation over digital despite the year, 2001, when it was released.

The series is beautiful, but the movie's visuals are even better.

[coola]

I must apologise for what i said about Toei, i don't know much about sales, but it seems that Precure is really one of their most popular franchises nowadays, because they really bring their A game with it, so far every single Princess Precure episode is really well animated, that part even had some DBZ vibe to it http://sakuga.yshi.org/post/show/15286/ ... cess_precu

[JulieYBM]

I must apologise for what i said about Toei, i don't know much about sales, but it seems that Precure is really one of their most popular franchises nowadays, because they really bring their A game with it, so far every single Princess Precure episode is really well animated, that part even had some DBZ vibe to it http://sakuga.yshi.org/post/show/15286/ ... cess_precu

Those cuts were key animated by Itaoka Nishiki, who is an employee of Studio Live. Studio Live worked on the first three Dragon Ball series. Itaoka is from this generation, but his work is definitely high-quality. He seems to make PreCure his life's ambition as he is always drawing luscious illustrations and uploading them to his Twitter account. According to the Studio Live website his goal is to be able to do 150 cuts (half an episode) in six weeks. I believe he also wants to do a solo PreCure episode some day. For the time being he seems to be the franchise's main animator, doing most of the big battle scenes and BANK animation.

[Chuquita]

Because of how poorly HaCha did, Toei decided to bring back one of their guys from the original Futari Wa (which itself is more dragonball-esque in battle) to help with Go!Pri; it's really paying off. :3

[JulieYBM]

Because of how poorly HaCha did, Toei decided to bring back one of their guys from the original Futari Wa (which itself is more dragonball-esque in battle) to help with Go!Pri; it's really paying off. :3

Who are you talking about? I can't recall anyone from Futari wa PreCure returning. Toei Animation did bring in a new series director, though, Tanaka Yuuta. Tanaka directed some fan favorite episodes of previous series.

[coola]

I must apologise for what i said about Toei, i don't know much about sales, but it seems that Precure is really one of their most popular franchises nowadays, because they really bring their A game with it, so far every single Princess Precure episode is really well animated, that part even had some DBZ vibe to it http://sakuga.yshi.org/post/show/15286/ ... cess_precu

Those cuts were key animated by Itaoka Nishiki, who is an employee of Studio Live. Studio Live worked on the first three Dragon Ball series. Itaoka is from this generation, but his work is definitely high-quality. He seems to make PreCure his life's ambition as he is always drawing luscious illustrations and uploading them to his Twitter account. According to the Studio Live website his goal is to be able to do 150 cuts (half an episode) in six weeks. I believe he also wants to do a solo PreCure episode some day. For the time being he seems to be the franchise's main animator, doing most of the big battle scenes and BANK animation.

Out of curiosity, what is BANK animation?

[Chuquita]

Because of how poorly HaCha did, Toei decided to bring back one of their guys from the original Futari Wa (which itself is more dragonball-esque in battle) to help with Go!Pri; it's really paying off. :3

Who are you talking about? I can't recall anyone from Futari wa PreCure returning. Toei Animation did bring in a new series director, though, Tanaka Yuuta. Tanaka directed some fan favorite episodes of previous series.

Takashi Washio. I heard they brought him in to help with Go!Pri in come capacity.

[JulieYBM]

Out of curiosity, what is BANK animation?

'BANK Animation' is the term that refers to stock animation. The staff literally call it 'BANK' because you go back to the bank [of resources] to reuse it. This refers to transformation animation and attack animation. In Pocket Monster is refers to the attacks, too. The BANK animation for Pikachuu's Thunderbolt or Iron Tail can be seen used multiple times throughout an episode, for example.

Because of how poorly HaCha did, Toei decided to bring back one of their guys from the original Futari Wa (which itself is more dragonball-esque in battle) to help with Go!Pri; it's really paying off. :3

Who are you talking about? I can't recall anyone from Futari wa PreCure returning. Toei Animation did bring in a new series director, though, Tanaka Yuuta. Tanaka directed some fan favorite episodes of previous series.

Takashi Washio. I heard they brought him in to help with Go!Pri in come capacity.

Ah, he was a producer. Washio was producing Majin Bone, which Tanaka Yuuta worked on before taking on the role of series director for Go! Princess PreCure.

[SingleFringe&Sparks]

Animation wise, Sailor moon does have it a lot worse. But I think TOEI's doing a lot of things on the cheap these days.

I knew the animation was really going down hill after seeing:
https://youtu.be/ynKQ_LAvSto?t=31s

Then theres the brief exchange between Goku & Pre-Gold Freeza in that leaked clip. The choreography was just so disconnected connected and the movement looked so suggish. Funny enough that Goku's fight with Beerus actually looked up to DB (Not Z's) acceptable standard.