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Production Guide

Dragon Ball Z 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.
桜田和哉/ Kazuya Sakurada
1, 4, 6, 9, 11, 13-15, 17, 19, 21, 23, 25, 27, 29, 31
橋本由香里/ Yukari Hashimoto
2-3, 5, 7-8, 10, 12, 16, 18, 20, 22, 24, 26, 28, 30, 32-39, 41, 43-46, 49-54, 58-62, 93-99, 101-131, 133
谷藤薫児/ Kaoriko Tanifuji
40, 42, 47
平尾千秋/ Chiaki Hirao
41, 43, 45-46, 49-54, 59-61, 64, 68, 70, 73-74, 76-81, 84-88, 91-99, 101-131, 133, 136, 139, 142, 144-145, 153, 156, 159, 162, 165, 168, 172, 176, 181, 184, 187, 190, 192, 195, 201, 205, 210, 215, 219, 246-250, 252, 259-261, 264, 269, 272, 278, 281, 285, 288, 291; SP1-SP2
河内正行/ Masayuki Kawachi
48, 72, 90, 135, 138, 140, 143, 151, 154, 157, 160, 163, 166, 169, 173, 177, 180, 183, 186, 191, 198, 203, 208, 212, 214, 217, 228, 231, 254, 256-258, 270, 273, 276, 279, 282, 286; SP2
中島正之/ Masayuki Nakajima
55-57, 63, 65-66, 83, 218, 251
下川信裕/ Nobuhiro Shimokawa
67, 71, 82, 89, 134, 137, 141, 149, 152, 155, 158, 164, 167, 170, 178, 180, 182, 185, 188, 199, 204, 209, 220-221, 227, 230, 253, 255, 257-258, 260, 262, 268, 271, 274, 276, 283, 287; SP2
佐藤章二/ Shōji Satō
69
岡田良明/ Yoshiaki Okada
75
岡島雄二/ Yūji Okajima
100
貝沢由香里/ Yukari Kaizawa
132
勝岡稔夫/ Toshio Katsuoka
132, 135, 137, 139, 141, 143, 145-147, 150, 152, 154, 156, 158, 160-161, 163, 165, 167, 169, 171-172, 174-175, 177, 179, 181, 183, 185, 187, 189-190, 192-198, 200-202, 204, 206-207, 209, 211-213, 216, 219-227, 229-230, 232-249, 262-263, 265-267, 269, 271, 273, 275, 277-278, 280-281, 283-284, 286-290
太田 直/ Nao Ōta
134, 136, 138, 140, 142, 144, 146-151, 153, 155, 157, 159, 161-162, 164, 166, 168, 170-171, 173-176, 178-179, 182, 184, 186, 188-189, 191, 193-194, 196-197, 199-200, 202-203, 205-208, 210-211, 213-217, 222-226, 228-229, 231-245, 250, 252-256, 259, 261, 263-268, 270, 272, 274-275, 277, 279-280, 282, 284-285, 289-291

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.
大藤哲生/ Tetsuo Ōfuji
1, 3, 5, 7, 9, 11, 13, 15, 17, 19-20, 22, 24, 26, 28, 30, 32, 34, 36, 38, 40, 42, 45-46, 49-50, 52, 54, 57, 59, 61, 66, 68, 70, 72; SP1
前原勝則/ Katsunori Maehara
2, 4, 6, 8, 10, 12, 14, 16, 18, 21, 23, 25, 27, 29, 31, 33, 35, 37, 39, 41, 43-44, 47-48, 51, 53, 55, 58, 60, 62, 64, 67, 69, 71; SP1
スタジオコスモス/ Studio Cosmos
4-55, 57-64, 66-72
トランスアーツ/ TransArts
56
杉山幸夫/ Yukio Sugiyama
56
伊藤 寛/ Hiroshi Itō
63
池上元秋/ Motoaki Ikenōe
SP1
鈴木典子/ Noriko Suzuki
SP1
佐藤隆郎/ Takao Satō
SP1
沖田英一/ Ei’ichi Okita
SP1
佐藤輝男/ Teruo Satō
SP1
珊 瑚 礁/ Sangoshō
65
佐野禎史/ Sadashi Sano
65
安東 烈/ Isao Andō
73-80
三晃プロ/ Sankō Productions
81-291
福田岳志/ Takeshi Fukuda
81-199
ひろかわふみお/ Fumio Hirokawa
200-234
谷口直之/ Naoyuki Taniguchi
200-202, 204-206, 208-291; SP2
武田純一/ Jun’ichi Takeda
200, 204, 208, 257, 261, 263, 268, 271, 274, 277
岩崎 敦/ Atsushi Iwasaki
200, 204, 208
松平高吉/ Takayoshi Matsudaira
201, 205, 209, 212, 214, 216, 219, 222, 225, 228, 231, 234, 237, 240, 243, 246, 249, 252, 255, 258, 261, 264, 266, 269, 272, 275, 278
松下力也/ Rikiya Matsumoto
201, 205
吉野和宏/ Kazuhiro Yoshino
202, 206, 210, 215, 217, 220, 223, 226, 229, 232, 235, 238, 241, 244, 247, 250, 253, 256, 259, 262, 265, 267, 270, 273, 276, 280, 283, 286, 289
間嶋秋信/ Akinobu Majima
202, 206, 211, 213, 218, 221, 224, 227, 230, 233, 236, 239, 242, 245, 248, 251, 254
峰岸智子/ Tomoko Minegishi
203, 207, 279, 282, 285, 288, 291; SP2
木村明美/ Akemi Kimura
203, 207, 267, 270, 273, 276; SP2
足立万知子/ Machiko Adachi
203, 207; SP2
尾頭浩明/ Hiroaki Otō
209, 212, 214, 216, 219, 222, 225, 228, 231, 234
小野優子/ Yūko Ono
210
則友邦仁/ Kunihito Noritomo
211, 213, 218, 223, 226, 229, 232, 279, 282, 285, 288, 291
別司 剛/ Gō Besshi
221, 224, 227, 230, 233, 281, 284, 287, 290
広川二三男/ Fumio Hirokawa
235-291; SP2
有馬武志/ Takeshi Arima
235, 238, 241, 244, 247, 250, 253, 256, 259, 262, 265
大岡幸恵/ Sachie Ōoka
236, 239, 242, 245, 248, 251, 254, 257, 261, 263, 268, 271, 274, 277
相沢吉彦/ Yoshihiko Aizawa
237, 240, 243, 246, 249, 252, 255, 258, 261, 264, 266, 269, 272, 275, 278, 280, 283, 286, 289
秋山涼路/ Ryōji Akiyama
281, 284, 287, 290
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
1-291; SP1-SP2

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
1-291; SP1-SP2
編集助手Editing Assistant
麻生芳弘/ Yoshihiro Asō
SP2