Production Guide

Dragon Ball GT Staff Credits

Dragon Ball GT

This section provides a compiled listing of the staff involved in the production of the Dragon Ball GT TV series (incl. TV specials), 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 GT had two opening animations and four ending animations, which are 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.


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. Following this is a sub-credit for the serialization of the original work in Shueisha’s Weekly Shōnen Jump.
鳥山 明/ Akira ToriyamaBird Studio
1 – 64; SP
集英社・ジャンプコミックス/ Shueisha — Jump Comics
1 – 64; SP
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 – 64; SP
東映/ Toei
1 – 64; SP
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.
清水賢治/ Kenji ShimizuFuji TV
1 – 26
森下孝三/ Kōzō MorishitaToei Animation
1 – 64; SP
蛭田成一/ Sei’ichi HirutaToei Animation
27 – 41; SP
河合 徹/ Tōru KawaiFuji TV
27 – 64; SP
吉田竜也/ Tatsuya YoshidaToei Animation
42 – 64
The producers work for the broadcasting company Fuji TV and the animation studio Toei Animation. All of the producers are 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.

After episode 26, this individual producer credit was no longer listed but instead grouped in with the “Planning” credit at the beginning of the opening credits.
金田耕司/ Kōji KanedaFuji TV
1 – 26
蛭田成一/ Sei’ichi HirutaToei Animation
1 – 26
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 GT series’ publicity was handled by Fuji TV’s public relations staff, which is noted in the episode credits.
小中ももこ/ Momoko KonakaFuji TV
1-30, 49
城ヶ崎祐子/ Yūko JōgasakiFuji TV
31-48; SP
為永佐知男/ Sachio TamenagaFuji TV
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.
松井亜弥/ Aya MatsuiBrother Noppo
1 – 50; SP
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.
葛西 治/ Osamu KasaiToei Animation
1 – 64; SP


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.
末永雄一/ Yūichi SuenagaToei Animation
1 – 64; SP
Animation Department
キャラクターデザインCharacter Design
The character designer is in charge of creating detailed character designs and in essence supervises every aspect of the animation side of production. Unlike the chief animation supervisor, who only checks and corrects the key animation for a specific episode, the supervising animation director is responsible for checking and correcting all of the series’ animation and ensuring the final product looks as uniform as possible. Once the supervising animation director has approved a set of drawings, they can progress to the art department for final coloring. 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.
中鶴勝祥/ Katsuyoshi Nakatsuru
1 – 64; SP
総作画監督Chief Animation Supervisor
The chief animation supervisor is responsible for checking and correcting all of the key animation and ensuring the final product looks as uniform as possible. When needed, they will sometimes assist in the duties of the character designer.

The chief animation supervisor credit was only ever listed in the 1st and 36th episodes of Dragon Ball GT. Presumably the responsibilities of the chief animator was given to a single person until otherwise credited.
宮原直樹/ Naoki Miyahara
山室直儀/ Tadayoshi Yamamuro
Art Department
美術デザインArt Design
The art designer is in charge of all artistic aspects of the series’ production and is responsible for creating detailed set designs, as well as supervising the series’ background art. The art designer will create detailed “set packs” of location layouts and distribute them to the episode’s art director and key animators for reference. 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 – 64; SP
吉池隆司/ Ryūji Yoshi’ike
1 – 64; SP
色彩設計Color Design
The color designer works closely with the character and art designers to develop a color palette for all of the characters, items, and backgrounds that appear in the series.
坂本陽子/ Yōko Sakamoto
1 – 64; SP
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.
御園 博/ Hiroshi Misono
1 – 64; SP


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 end of things, 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 and confirming music selections. They also ensure that the music fits what the producers and episode directors envisioned.
小松亘弘/ Nobuhiro Komatsu
1 – 64; SP
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.
徳永暁人/ Akihito Tokunaga
1 – 64; SP
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 – 64; SP
Visual Department