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Production Guide

Dragon Ball Staff Credits


Dragon Ball

This section provides a compiled listing of the staff involved in the production of the Dragon Ball TV series, 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 had two opening animations and four ending animations, which are more 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 – 153
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 – 153
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 – 153
東映/ Toei
1 – 153
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.
七條敬三/ Keizō ShichijōToei Animation
1 – 153
森下孝三/ Kōzō MorishitaToei Animation
132 – 153
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.
土屋登喜蔵/ Tokizō TsuchiyaFuji TV
1 – 101
清水賢治/ Kenji ShimizuFuji TV
1 – 28, 92 – 153
石川順一/ Jun’ichi IshikawaFuji TV
132
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 series’ publicity was handled by Fuji TV’s public relations staff, which is noted in the episode credits.
木暮雄一/ Yūichi KigureFuji TV
25 – 130
重岡由美子/ Yumiko ShigeokaFuji TV
131 – 153
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
132 – 153

Takao Koyama was the series composer for the entire series, but was merely not credited as such until episode 132.
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.
岡崎 稔/ Minoru OkazakiStudio Junio
1 – 153
西尾大介/ Daisuke NishioToei Animation
1 – 153

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.

Following episode 130, the “Production Supervisor” credit was no longer used in Dragon Ball, although the credit was later brought back for Dragon Ball Z.
岸本松司/ Matsuji KishimotoToei Animation
1 – 130
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.
前田 実/ Minoru MaedaStudio Junio
1 – 153
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.
辻 忠直/ Tadanao Tsuji
1 – 153
池田祐二/ Yūji Ikeda
102 – 153
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.
森 英樹/ Hideki Mori
1 – 7
中村 実/ Minoru Nakamura
8 – 153

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 – 153
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 – 153
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 – 153
Visual Department