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Production Guide

Dragon Ball Kai Staff Credits


Dragon Ball Kai

This section provides a compiled listing of the staff involved in the production of the Dragon Ball Kai 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.

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, production staff, and cast members are identified. The episode’s script is written at this stage based on the previous scripts written for the Dragon Ball Z TV series. 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. Following this is a sub-credit for the serialization of the manga in Shueisha’s Weekly Shōnen Jump. For more information about Akira Toriyama’s involvement with the series’ production, click here.
鳥山 明/ Akira ToriyamaBird Studio
1 – 159
「Dragonball」 集英社刊/ “Dragon Ball” Published by Shueisha
1 – 159
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 – 159
東映アニメーション/ Toei Animation
1 – 159
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.
松崎容子/ Yōko MatsuzakiFuji TV
1 – 98
森下孝三/ Kōzō MorishitaToei Animation
1 – 159
情野誠人/ ​M​a​s​a​t​o SeinoFuji TV
99 – 159
プロデュサーProducer
The producers work for various companies, such as the broadcasting company Fuji TV, the animation studio Toei Animation, the advertising company Yomiko, or the production company SKY Perfect Well Think. 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.
情野誠人/ ​M​a​s​a​t​o SeinoFuji TV
1 – 98
木村京太郎/ Kyotaro KimuraYomiko Advertising
1 – 14
小原康平/ Kōhei ObaraToei Animation
1 – 65
渡辺和哉/ Kazuya WatanabeYomiko Advertising
15 – 98
若林 豪/ Gō WakabayashiToei Animation
66 – 98
野﨑 理/ Osamu NozakiFuji TV
99 – 159
佐川直子/ Naoko SagawaYomiko Advertising
99 – 159
林田師博/ Norihiro HayashidaSKY Perfect Well Think
99 – 159
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 Kai series publicity was handled by Atsuko Horike of Toei Animation and a combination of Fuji TV’s public relations staff.
鈴木麻衣子/ Maiko SuzukiFuji TV
1-22
堀毛敦子/ Atsuko HorikeToei Animation
1-159
田中杏子/ Ako TanakaFuji TV
23-70
瀬田裕幸/ Hiroyuki SetaFuji TV
71-91
熊谷直子/ Naoko KumagaiFuji TV
92-98
熊谷知子/ Tomoko KumagaiFuji TV
99-112
山本麻未子/ Mamiko YamamotoFuji TV
113-159
Script Department
シリーズ構成協力Series Composition
The series composers are responsible for determining the overall plot of the series, and in the case of Dragon Ball Kai they also worked closely with the producers to establish the overall feel of the series. Many of the major decisions, such as which story elements to remove and retain from the original series, were made by the series composers.
佐渡和隆/ Kazutaka SadoToei Animation
1-98
キャラメル・ママ/ Caramel Mama
1-159

Beginning in the second phase of the series, with episode 99, Caramel Mama became the sole series composer and was merely credited as “Composition” (構成協力).
小原康平/ Kōhei ObaraToei Animation
66-98
Directorial Department
演出(Series) Director
The director, in this case considered the series director, is one of the most difficult and most important jobs in the production process of a single episode. They are responsible for checking and supervising the series throughout its production, from the initial story to the final released product, and in many cases, have almost total control over it. It was the series director’s job to work closely work with the series composers to determine which animation scenes from Dragon Ball Z would best portray the story elements planned in Dragon Ball Kai.
野渡康弘/ Yasuhiro Nowatari
1-98
寺﨑直博/ Terazaki Naohiro
99-159

Production

This is the stage at which all of the animation, footage remastering, and special effects are produced based on what has been planned out in the pre-production stage. For a more in-depth look at the production process used for the first phase of Dragon Ball Kai (episode 1 to 98), please read our guide on the Dragon Ball Kai Remastering 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.
風間厚徳/ Atsunori KazamaToei Animation
1 – 159
制作協力Production Coordination
This credit is given to the main company responsible for coordinating all aspects of the series production.
東映/ Toei
1 – 159
Animation Department
オープニング・エンディングOpening & Ending
This credit lists all of the animators, some of which are veteran animators from Dragon Ball Z, responsible for both the opening and ending animations.
山室直儀/ Tadayoshi Yamamuro
1 – 159
長峯達也/ Tatsuya Nagamine
1 – 98
志田直俊/ Naotoshi Shida
1 – 98
後藤康徳/ Yasunori Gotō
1 – 98
エンディング協力Ending Assistance
This credit lists all of the animators that assisted with the production of the ending animation.
志田直俊/ Naotoshi Shida
124 – 159
井手武生/ Takeo Ide
147 – 159
Digital Film Mastering
デジタルマスタリングDigital Mastering
Digital film mastering is the process of scanning film stock and manipulating it digitally to achieve a “digital master” which can be exported to various video formats. The original 16mm Dragon Ball Z film masters were scanned into high-definition (HD) digital masters for their used in Dragon Ball Kai.
キュー・テック/ Q-TEC
1-98
東映デジタルラブ/ Toei Digital Lab
99-159
デジタルマスタリング協力Digital Mastering Coordination
小林宣弘/ Nobuhiro Kobayashi
1-98
福光伸一/ Shin’ichi Fukumitsu
99-159

Post-Production

This is the stage in which the film is digitally edited and pieced together. The first job of the editor is to build a rough cut taken from sequences (or scenes) based on the episode’s plot determined in the pre-production stage. 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, color correction, 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
音響監督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, selecting theme songs, and confirming music selections. They also ensure that the music fits what the producers and episode directors envisioned.
長崎行男/ Yukio Nagasaki
1-159
本山 哲/ Satoshi Motoyama
99-159
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.

Following episode 95, Kenji Yamamoto’s musical score was dropped from the series due to allegations of musical infringement and a mix of Shunsuke Kikuchi’s original score from Dragon Ball Z was inserted as its replacement. The credits below reflect those of the original broadcasts, although Kikuchi is credited in Yamamoto’s place as the musical composer in all subsequent re-airings of episodes that did originally feature Yamamoto’s musical score.
山本健司/ Kenji YamamotoOffice Two-One
1 – 95
菊池俊輔/ Shunsuke Kikuchi
96 – 98
住友紀人/ Norihito Sumitomo
99 – 159
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 – 159
Visual Department