Production Guide

Dragon Ball Super Staff Credits

Dragon Ball Super

This section provides a compiled listing of the staff involved in the production of the Dragon Ball Super 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 are typically placed over animated or static scenes and set to theme music, creating what are referred to as the opening and ending animations. The opening and ending animations for Dragon Ball Super 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.

Original Author / Story Draft / Character Drafts
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. Beyond being the original author, Toriyama was more involved with the series’ development than with previous series, providing both its story and initial character designs. Following this is a sub-credit for the publication of the Dragon Ball manga in Shueisha’s Jump Comics line of collected works.
鳥山 明/ Akira ToriyamaBird Studio
1 – ongoing
集英社「ジャンプコミックス」刊/ Published in Shueisha’s “Jump Comics”
1 – ongoing
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 – ongoing
読売広告社/ Yomiko Advertising, Inc.
1 – ongoing
東映アニメーション/ Toei Animation
1 – ongoing
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.
情野誠人/ Masato SeinoFuji TV
1 – ongoing
渡辺和哉/ Kazuya WatanabeYomiko Advertising, Inc.
1 – ongoing
森下孝三/ Kōzō MorishitaToei Animation
1 – ongoing
企画協力Planning In Cooperation With
集英社「Vジャンプ」編集部/ Shueisha’s “V-Jump” Editorial Department
1 – ongoing
The producers work for various companies, such as the broadcasting company Fuji TV, the animation studio Toei Animation, or the advertising company Yomiko. 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.
野﨑 理/ Osamu NozakiFuji TV
1 – 53
佐川直子/ Naoko SagawaYomiko Advertising, Inc.
1 – ongoing
木戸 睦/ Atsushi KidoToei Animation
1 – ongoing
寺本知資/ Tomosuke TeramotoToei Animation
26 – 46
高見 暁/ Satoru TakamiToei Animation
37 – ongoing
橋爪駿輝/ Shunki HashizumeFuji TV
50 – ongoing
櫻田博之/ Hiroyuki SakuradaFuji TV
77 – ongoing
アシスタントプロデューサーAssistant Producer
The assistant producer helps the series’ planners make decisions concerning certain aspects of a specific episode and act as a go-between for the senior producers and an episode’s main production staff.
出樋昌稔/ Masatoshi DasuzeFuji TV
1 – 25
静 美保/ Miho ShizukaYomiko Advertising, Inc.
1 – ongoing
石川 啓/ Kei IshikawaToei Animation
39 – 46
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 Z series’ publicity was handled by Fuji TV’s public relations staff, which is noted in the episode credits.
山本麻未子/ Mamiko YamamotoFuji TV
1 – 36
清田美智子/ Michiko KiyotaFuji TV
37 – 53
太田真紀子/ Makiko ŌtaFuji TV
50 – ongoing
Script Department

It is assumed that due to original author Akira Toriyama providing the overall plot of the series, along with story concepts from Shueisha’s “Dragon Ball Room” and the V-Jump editorial department, that no series composer (シリーズ構成) is required during the series’ planning stages, and thus none is credited.

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.
地岡公俊/ Kimitoshi ChiokaToei Animation
1 – 46
畑野森生/ Morio HatanoToei Animation
33 – 76
羽多野浩平/ Kōhei HatanoToei Animation
68 – 76
長峯達也/ Tatsuya NagamineToei Animation
77 – ongoing
中村亮太/ Ryōta NakamuraToei Animation
77 – ongoing


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.
末竹 憲/ Ken SuetakeToei Animation
1 – ongoing
沢井尚子/ Naoko Sawai
1 – ongoing
協力プロダクションA Cooperative Production With
スタジオ歩/ Studio Ayumu
4, 33, 41
エー・ライン/ A-Line
6, 14, 21, 27
スタジカラー/ Studio Color
フロンティアエンジン/ Frontier Engine
25 – 26
ダンガン・ピクチャーズ/ Dangun Pictures
31, 37, 44, 57
セカンドゲート/ Second Gate
37, 45, 53
NAMUアニメーション/ NAMU Animation
37, 45
Creators in Pack OSAKA
Animation Department
Character Design & Supervising Director of Animation
This animation position is in charge of all aspects of the animation side of the series’ production and serves as its character designer. 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.
山室直儀/ Tadayoshi YamamuroToei Animation
1 – ongoing
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.
井手武生/ Takeo IdeToei Animation
1, 3, 5, 7, 9, 11, 15, 17, 19, 21, 23, 25, 27, 29, 31, 33, 35, 37, 39, 41, 43, 45, 47, 49, 51, 53, 55, 57, 59, 61, 63-65, 67, 69, 71, 73, 75, 77
辻 美也子/ Miyako TsujiToei Animation
2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, 24, 26, 28, 30, 32, 34, 36, 38, 40, 42, 44, 46, 48, 50, 52, 54, 56, 58, 60, 62, 66, 68, 70, 72, 74, 76
山室直儀/ Tadayoshi YamamuroToei Animation
CG進行CG Progression
This staff member works directly under the supervising animation director and oversees the production of computer graphic (CG) effects and animation within the series.
渡辺克博/ Katsuhiro WatanabeToei Animation
1 – ongoing
荒牧壮也/ Sōya AramakiSunrise D.I.D. Studio
21, 23
玉野 希/ Nozomi Tamanodrawiz
21 – 23
CG協力プロダクションCG Production In Cooperation With
This credit lists the companies, in addition to Toei Animation, responsible for the production of computer graphic (CG) effects and animation within the series.
サンライズD.I.D.スタジオ/ Sunrise D.I.D. Studio
21, 23
ドロイズ/ drawiz
21 – 23
デジタルアーティストDigital Artist
These animators work directly under the CG progression manager(s) and are responsible for the 2D/3D computer graphics design, patterns, and animation in the series.
牧野 快/ Kai Makino
1 – 28
大沢彩也花/ Sayaka Ōsawa
奥村崇之/ Takayuki Okumura
18 – 26
佐藤光裕/ Mitsuhiro Satō
21, 23
古橋 宏/ Hiroshi Furuhashi
21, 23
辰口智樹/ Tomoki Tatsukuchi
21 – 23
長谷川晃子/ Akiko Hasegawa
21 – 23
平井香絵/ Kae Hirai
川崎健太郎/ Kentarō Kawasaki
29 – 71
松本八希/ Hakki Matsumoto
29 – 43
天野礼治/ Reiji Amano
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.
行 信三/ Shinzō YukiToei Animation
1 – ongoing
色彩設計Color Design
The color designer works closely with the supervising animation director and art designer to develop a color palette for all of the characters, items, and backgrounds that appear in the series.
堀田哲平/ Teppei Hotta
1 – 46
加藤良高/ Yoshitaka Katō
47 – ongoing
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 completed, they will show it to the art director for final approval, and eventually distribute it to the appropriate photographers. They also serve as a go-between for background artists and the art director. As most of the artwork is outsourced to other companies besides Toei Animation, this internal position is critical in maintaining an episode’s production schedule.
西牧正人/ Masato Nishimaki
1 – ongoing


This is the stage in which the completed animating 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 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
音響監督Audio Director
Much like their counterparts in the animation and art departments, 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 work closely with the producers and series director to ensure that the music fits what was envisioned and is appropriate for the given scene.
本田保則/ Yasunori Honda
1 – ongoing
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.
住友紀人/ Norihito Sumitomo
1 – ongoing
音楽協力Music In Association With
東映アニメーション音楽出版/ Toei Animation Music Publishing
1 – ongoing
フジパシフィックミュージック/ FUJIPACIFIC MUSIC
1 – ongoing
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.
青二プロダクション/ Aoni Production
1 – ongoing
Visual Department