On September 25, Anitsuku 2016 (the general event related to the anime production technologies) held a seminar called ‘Graphinica x Sanjigen x Polygon Pictures Anime Editors Cross Talk.’ Editing is not a subject events focus on and the seminar attracted 180 people, exactly the number of people the UDX GALLERY NEXT-1 can hold.
The seminar hosted Takashi Horiuchi from Graphinica, Kiyoshi Hirose from Editz that is also the editing studio of Sanjigen and Jun Watanae from Polygon Picture. Horiuchi took the lead and each member talked about editing from their own perspective.
They first explained some of the basics. There are two different types of editing: offline and online editing. Offline editing concerns the creative part of the editing such as deciding the sequence period. Online editing is called V editing in the anime industry and it’s quality-managing work before the delivery of the anime to the TV stations.
Usually, editing takes place after all necessary materials such as animation and CG are available. While that’s the ideal situation, in reality most editing work happens in parallel with the animation and shooting works. In many cases, the materials become available at the offline editing phase.
The actual work flow differs from company to company. Graphinica follows the industry standard process whereas Sanjigen decides on the sequence period by pre-editing at the storyboard phase and makes a readjustment before the dubbing work. The reason why they are separating the editing work into two phases is that the sound clarifies the rhythm of the images so they can find more ideal intervals that match with the intention of the creator, explained Hirose.
Polygon Pictures adopts a pre-scoring process for some of their work instead of a post-recording process. Editors participate from the pre-production phase. In the pre-scoring process, they first edit voices just like how they do for radio drama and CG animators create images referring to those voices. They also use motion capture technology so they can create rough images using the shooting scene. Sometimes it feels like the storyboard and the editing progresses simultaneously. This method is a Polygon ‘exclusive’. They handled many overseas works so other two were surprised, ‘we can’t imagine how it’s going to turn out.’
At the second part of the seminar, they talked about how editors think about the sequence period. While animators create attractive images by ‘listening’ to a single cut, editors have to look at the whole story to decide where it is most exciting. So even if there is an incredible cut, if it doesn’t go with the flow of the story, then editor may not use it.
All sequence periods of cuts have a meaning and editors perfect the image following the emotions and rhythm of the characters. All three said that being able to participate in the creating process is one of the allures of editing work.
MANGA.TOKYO is a media site which spreads information about japanese anime, manga and music all around the world.
We want to be the place where you go to for reviews or event reports by Japanese otakus or where you can go to after having watched an anime and get more details about it and enjoy it even more.