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Production Guide

Dragon Ball Visual Post-Production Credits


特殊効果Special Effects
Special effects animators use specialized animation techniques to produce a distinct visual appearance within the animation. These effects include things such as smoke, lightning, sun beams, explosions, and most notably in Dragon Ball, energy attacks. The techniques used to create such effects include drybrushing, airbrushing, charcoal, grease pencils, backlit animation or, during shooting, the photographer can use multiple exposures with various diffusing screens, filters, or gels.
橋本由香里/ Yukari Hashimoto
1-3, 5-8, 10-14, 16-17, 19-20, 23-25, 27-28, 31, 34, 37, 39, 43, 45, 49, 56, 59, 61, 63, 65, 67, 69, 72-73, 75, 78, 81, 84-86, 88, 91, 93, 95, 99, 102, 106, 108, 111, 114, 116-117, 120, 122, 127, 129, 131, 134, 136, 139, 142, 144, 147, 150
熊井芳貴/ Yoshitaka Kumai
4, 9, 15, 22, 29, 36, 50, 57, 64
山本 公/ Hiro Yamamoto
18, 21, 41, 54
朝沼清良/ Kiyoshi Asanuma
26, 47
中島正之/ Masayuki Nakajima
30, 32-33, 35, 38, 40, 42, 44, 46, 48, 51-53, 55, 58, 60, 62, 68, 82, 89, 97, 104, 112, 119, 125, 132, 146, 153
青木麻美/ Mami Aoki
66, 71, 76, 80
桜田和哉/ Kazuya Sakurada
70, 74, 77, 79, 83, 87, 90, 94, 96, 98, 100-101, 103, 105, 107, 109-110, 113, 115, 118, 121, 123-124, 126, 128, 130, 133, 135, 137-138, 140-141, 143, 145, 148-149, 152
平尾千秋/ Chiaki Hirao
92
河内正行/ Masayuki Kawachi
151

撮影Photography
The photographer is responsible for photographing every frame of animation onto a reel of film. Each cel involved in a frame of a sequence is laid on top of each other, with the background art at the bottom of the stack. This composite image is then photographed. The cels are removed, and the process repeats for the next frame until each frame in the sequence has been photographed. The abilities of the photographer are essential for reducing “jitter”, creating certain special effects, and adding pans and zooms into or out of certain scenes.
池上元秋/ Motoaki Ikenoue
1-18, 23-43, 45, 47, 49, 51, 53, 55, 57, 59, 61, 63, 65, 68, 70, 73, 75, 78-79, 83-84
佐伯 清/ Kiyoshi Saeki
19
鈴木典子/ Noriko Suzuki
20-22, 85, 87, 89, 91, 93, 95, 97, 99, 101, 103
佐藤隆郎/ Takao Satō
44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 64, 67, 69, 72, 74, 77, 81-82
中村 哲/ Tetsu Nakamura
66, 71, 76
立仙裕俊/ Hirotoshi Rissen
80
大藤哲生/ Tetsuo Ōfuji
86, 88, 90, 92, 94, 96, 98, 100, 102, 104, 106, 108, 110, 112, 114, 116, 118, 120, 122, 124, 126, 128, 130, 132, 134, 136, 138, 140, 142, 144, 146, 148, 150, 152
前原勝則/ Katsunori Maehara
105, 107, 109, 111, 113, 115, 117, 119, 121, 123, 125, 127, 129, 131, 133, 135, 137, 139, 141, 143, 145, 147, 149, 151, 153
現像Film Development
This credit is given to Toei Chemistry (now Toei Labo Tech), a company owned by Toei that was responsible for developing all of the film for the series.
東映化学/ Toei Chemistry
1 – 153

編集Editing
The editor is responsible for joining photographed sequences of film together onto a film reel and ultimately creates the finished animation as it will be seen on your TV or in the movie theater. An editor must creatively work with the layers of images, story, and pacing to effectively “redirect” them to create a cohesive whole, all of which is supervised by either the series or episode director. The editor also adds transitions between scenes and also inserts a strip containing the episodes audio track from the master tape, which includes theme songs, background music, sound effects, and voice performances.
福光伸一/ Shin’ichi Fukumitsu
1-153