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Production Guide

Dragon Ball GT Minor Visual 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.
勝岡稔夫/ Toshio Katsuoka
1-4, 7-8, 10, 12, 14, 16, 18-20, 22, 24, 26, 28, 31, 33, 35, 37, 39, 42, 44-45, 48, 53, 56, 58, 60, 62-63
太田 直/ Nao Ōta
1-5, 7, 9, 11, 13, 15, 17, 19, 21, 23, 25, 27, 30, 32, 34, 36, 38, 45, 49, 53, 57, 60
下川信裕/ Nobuhiro Shimokawa
5, 8, 11, 14, 17, 21, 23, 26, 30, 33, 37, 40, 43, 47, 50, 52, 55-56, 61, 64; SP
中島正之/ Masayuki Nakajima
6, 29
河内正行/ Masayuki Kawachi
9, 12, 15, 18, 20, 22, 24, 27, 31, 36, 39, 41, 43, 49, 51, 57, 59, 62; SP
平尾千秋/ Chiaki Hirao
10, 13, 16, 25, 28, 32, 34-35, 38, 40-42, 44, 46, 48, 54, 58, 63-64
遠山秀徳/ Hidenori Tōyama
46, 50-51, 54, 59
佐藤章二/ Shōji Satō
47, 52
星野 健/ Kensō Hoshino
61

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.
三晃プロ/ Sankō Productions
1-64; SP
広川二三男/ Fumio Hirokawa
1-64
別司 剛/ Gō Besshi
1-8, 10, 12, 14, 16, 18, 20, 22, 24, 26, 28, 30, 32, 34, 36, 38, 40; SP
松平高吉/ Takayoshi Matsudaira
1, 5, 11, 15, 19, 23, 27, 31, 35, 39, 43, 47, 51, 55, 59, 63
相沢吉彦/ Yoshihiko Aizawa
1, 5, 11, 15, 19, 23, 27, 31, 35, 39, 43, 47, 51, 55, 59, 63
吉野和宏/ Kazuhiro Yoshino
2, 6, 8, 12, 16, 20, 24, 28, 32, 36, 40, 44, 48, 52, 56, 60, 64; SP
白鳥友和/ Tomokazu Shiratori
2, 6, 33, 37, 41, 45, 49, 53, 57, 61
峰岸智子/ Tomoko Minegishi
3, 7-8, 12, 16, 20, 24, 28, 32, 36, 40, 44, 48, 52, 56, 60, 64
木村明美/ Akemi Kimura
3, 7, 10, 14, 18, 22
則友邦仁/ Kunihito Noritomo
4, 9, 11, 13, 15, 17, 19, 21, 23, 25, 27, 29, 31, 33, 35, 37, 39, 41-64; SP
秋山涼路/ Ryōji Akiyama
4, 9, 13, 17, 21, 25, 29
岩崎 敦/ Atsushi Iwasaki
9, 13, 17, 21, 25, 29, 33, 37, 41, 45, 49, 53, 57, 61; SP
松下力也/ Rikiya Matsumoto
10, 14, 18
武田純一/ Jun’ichi Takeda
22, 26, 30, 34, 38, 42, 46, 50, 54, 58, 62
尾頭浩明/ Hiroaki Otō
26, 30, 34, 38, 42, 46, 50, 54, 58, 62
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 – 64; SP

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
1-64; SP