NFBE Chapter 269 Animation Team
Chapter 269 Animation Team
after the year
Before Jiang Weimin set out to Jinan to visit Su Tang's family,
I went to Qingdao Publishing House specifically to get an in-depth understanding of the progress of the animation studio of Qingdao Publishing House.
It was New Year's Day, and all the Japanese animation production staff had returned to Japan to celebrate the New Year.
Most of the remaining staff in the studio are Chinese, about 60 people, who were carefully recruited from all over the country.
Although Qingdao Publishing House has its own comic book school, the school has only been in operation for a year, and the number of painting talents trained is far from meeting the huge demand for animation production.
In this team of more than 60 people, there are 10 people supporting from Shanghai Animation Film Studio.
As a leader in the domestic animation industry, Shanghai Animation Film Studio is home to a wealth of talented people.
But even so, the tasks they shoulder are extremely heavy. The reason why they were able to spare 10 people to come to support this time was entirely because of the courtesy of the Federation of Literary and Art Circles in coordinating the matter.
During this period, animation production had a unique and cumbersome process.
All the images had to be drawn on celluloid.
This is a transparent thin film on which animators carefully draw and color frame by frame. After completion, the drawn celluloid sheets are carefully stacked in the order of background, character, and foreground, and then placed in front of the camera for shooting.
Each time a frame is shot, a celluloid film must be replaced, and then the next shot is taken over and over again. You should know that it takes 24 frames to form 1 second of animation.
According to this standard, it takes more than 1 original drawings to produce one minute of animation.
Usually, the number of original drawings required for one episode of animation is as high as more than 4. Such a huge workload is a great test of the manpower, energy and time of the animation production team.
After shooting, the film still needs to be edited using traditional editing techniques and then carefully matched with appropriate sound effects and lines, so that a complete animation work can be finally presented and played to the audience.
In the era before the advent of computer equipment, global animation production techniques generally followed similar processes, and China's animation production level at that time was among the best in the world.
With its unique artistic style and profound cultural heritage, Chinese animation shines brightly on the international stage.
Classic works such as "Havoc in Heaven" and "Little Tadpole Looking for His Mother" perfectly combine traditional paintings, folk tales and animation techniques, becoming world-renowned animation treasures.
However, if Qingdao Publishing House wants to create a new world in the animation field from scratch, the challenges it faces are daunting.
Most of the talents with outstanding animation production capabilities in the country are recruited by Shanghai Animation Film Studio.
Under this situation, borrowing chickens and laying eggs became the only way for Qingdao Publishing House to establish an animation department.
After careful consideration, relying on the Japanese animation team to cultivate its own strength has become the most feasible and effective way at present.
After years of fierce market competition and continuous development, the Japanese animation industry has formed a mature and efficient system.
Although Japan cannot be compared with China, which has thousands of years of civilization, in terms of the depth of its cultural heritage,
But in the economic field, Japan has demonstrated strong strength.
Its animation industry has not only created huge economic benefits domestically, but has also spread widely around the world, occupying a considerable market share.
By cooperating with Japan, Qingdao Publishing House can reap many significant advantages.
On the one hand, they can leverage Japan’s mature animation sales channels to promote their works to a wider international market, thereby increasing the popularity and influence of their works;
On the other hand, Japan's advanced and efficient management experience can provide valuable reference for the operation and development of Qingdao Publishing House's animation department, helping it to optimize internal management processes and improve production efficiency.
Jiang Weimin has considered cooperating with Shanghai Art Film Studio.
Initially, he envisioned Qingdao Publishing House providing funding and Shanghai Fine Arts Film Studio providing personnel to work together to create high-quality animation works.
But after in-depth discussions, we found that cooperation faced many obstacles. The current Shanghai Animation Film Studio has sufficient funds and adheres to unique artistic pursuits.
If they were expected to create a passionate animation for Qingdao Publishing House, there would be a high probability that disagreements would arise due to differences in creative concepts.
The animations produced by Shanghai Animation Film Studio have always focused on the presentation of artistic value. Through exquisite pictures and unique artistic style, they convey profound aesthetic connotations, and artistic value occupies a dominant position in the works.
However, Qingdao Publishing House pays more attention to the cultural value carried by animated works, hoping to use the form of animation to promote China's excellent traditional culture and let more people understand and love Chinese culture.
In view of the above factors, Jiang Weimin finally strengthened his determination to cooperate with Japan.
He hopes that through this form of cooperation, a team with Qingdao Publishing House as the core will be gradually cultivated.
The animation production team with strong creative ability and professional qualities has injected new vitality into the Chinese animation industry and opened up a unique development path.
Gu Ziyi was concentrating on the work at hand. He looked up and caught a glimpse of Jiang Weimin.
His brows immediately lit up with joy, and he walked quickly and eagerly, with a warm face to greet him.
"Boss, why are you here?" Gu Ziyi's voice was filled with surprise.
In this busy animation production department, Jiang Weimin's arrival was undoubtedly like a stone thrown into the lake, causing ripples of joy.
Everyone looked over. Everyone knew that the animation department was established by Jiang Weimin.
Moreover, Jiang Weimin's comic strips are popular all over the world, and he is also the president of Qingdao Publishing House.
These halos combined make everyone look at Jiang Weimin with admiration and respect.
"Brother, given our relationship, it's more comfortable for you to call me by my name. Calling me president is awkward. It makes me uncomfortable."
Gu Ziyi waved his hand, looking serious and solemn, with determination and persistence in his eyes: "This won't do, this is the workplace, not a private occasion.
I must call you president. This rule cannot be broken.
If other leaders saw me calling your name directly, they would definitely think that I was impetuous and not stable at all.
I am now the head of a department after all, so I have to be careful about my words and actions and set a good example for the people under me."
Gu Ziyi has now become the backbone of the animation department of Qingdao Publishing House and has taken on the responsibility of being the person in charge.
At the beginning, Jiang Weimin, after careful consideration, did not second an experienced management talent from the Shanghai Fine Arts Film Studio to take up this position in the personnel arrangement.
He had long-term and comprehensive considerations in mind. There were many differences in management concepts and animation creation concepts between the animation production department of Qingdao Publishing House and Shanghai Fine Arts Film Studio.
If we hastily introduce the management model of Shangmei Factory, we may not be able to adapt to the local environment, which will hinder the development of the department.
And Gu Ziyi, as a member of the younger generation of animators, has unique advantages.
He was deeply involved in the painting work of "The Monkey King" and has worked in animation production for many years, accumulating rich practical experience.
He not only has solid professional skills, but more importantly, he has the strong support of Jiang Weimin and Gu Bingxin.
Gu Bingxin has extensive connections in the industry and is highly respected. The 10 people who supported Qingdao Publishing House this time were carefully selected by him based on his connections.
All these arrangements are to create a good growth environment for Gu Ziyi and help him grow step by step.
Because of this, Gu Ziyi's appointment as the head of this department is a well-deserved and stable choice.
At work, even if he encountered difficult problems, his superior Jiang Weimin would protect him and give him advice. At the same time, there was a group of experienced old employees in the department to assist him.
In daily operations, he can get close contact with and learn Japan's advanced management experience, and continuously improve his management ability and professional quality.
Waiting for the right time to come true, Gu Ziyi will be the chief director of the animation production department.