Since the very beginning of Dragon Ball Super, its animation quality has been under close
scrutiny from the fandom – and to be fair, for good reason.
To say the series had a shaky start would be a pretty big understatement.
Within five episodes, Super's quality had crumbled, and despite somewhat holding together
for a good portion of the movie retellings, the action episodes, particularly during the
Resurrection 'F' arc were… let's just say, certainly not the best thing to ever
air on TV.
The current Universal Survival arc is at a point where animation is hardly even a talking
point anymore for most of the fandom – and when it is, it's usually for positive reasons.
It's to point out how great something looked.
But…
I'm not actually here to debate about Dragon Ball Super's animation quality.
Whether or not you find the quality of the visuals acceptable or not, is not the point
of this video.
And that might sound kind of strange considering the title is "Is Dragon Ball Super Cheaply
Made?", but the truth is, the budget of a project doesn't play a particularly major
factor in determining the animation quality of the show as a whole, or even on an episode
to episode basis.
So let's kick things off by explaining why exactly that is.
What most viewers praise when something looks great on their screens is not the result of
the studio pouring money into it like some sort of magical animation-producing vending
machine, it's the result of the skill of the animator behind that scene, and most critically,
how much time they had.
While certain specialist key animators do cost or get paid more than the average key
animator – for example, Naotoshi Shida is certainly not cheap – the actual average
pay doesn't vary that drastically.
Like any place of work, your pay is based on your position within the industry.
If you're a key animator, regardless of your skill, you will be paid what the studio
pays key animators.
If you're above that position, say a chief animation supervisor, then you'll be paid
far more, since you're two positions higher than the key animators.
It's no different than the head chef being paid more than the line cook.
Freelancers who work from studio to studio are, like any industry, at the behest of the
rates offered by said studios.
If you're a freelance journalist, your skill rarely determines the rates offered to you
by the outlets you pitch to.
So spending more money doesn't necessarily net you better animators, but It can net you
more animators, and Dragon Ball Super certainly isn't afraid of spending that money.
It needs to spend that money.
If you're somehow not aware of it at this point, the issues with Super's animation
are the result of a lack of time animators have for each episode.
The series began far too soon, with too few episodes complete, which meant they were (and
still are) being rushed out to meet their scheduled air date.
To help alleviate these issues, Toei started spending a lot of money.
With these types of shows, especially at Toei, the norm is to have one animation supervisor,
and about 10 or so key animators.
Since that team size was far too small to produce satisfactory results within Super's
schedule, they started doubling up supervisors, sometimes pushing as many as three or four
at a time.
Key animation-wise, not only did the number of animators increase in places, they began
to introduce 2nd key animators, who exist to finish-up or clean-up the work of the key
animators.
Along with this, they began to use a stack of outsourcing, with some episodes involving
as many as six external studios from all over Asia.
All of this drastically pushed up the cost of each episode, and occurred for the Resurrection
'F' arc, but as we know, despite the crazy amounts of money being spent, the animation
quality did not increase right then and there.
In fact, in some ways, the visuals got far worse.
By showering the show in money to hire more staff, you end up with a situation where the
phrase, "Too many cooks spoil the broth" becomes very relevant.
Consistency became a huge issue – one half of an episode may look great, while the other
is all but melting on the screen.
The major benefit of this patchwork method, however, is time.
Over the years, this new found ability to complete episodes faster helped with the schedule,
which in turn allowed the talented animators to spend more time on their scenes, making
them far more polished and impressive.
As new supervisors joined the show, the rotation times between their episodes increased, which
again, is another huge time benefit.
Nowadays, Toei spends far less on the show's animators, since the staff lists have grown
smaller, and the need for outsourcing is much more of a rarity.
Despite spending less in this department, the show looks better than ever.
The biggest increases in expenditure in the current Universe Survival arc come from having
two series directors now, one of the highest paying positions in the pipeline.
One of those directors, Tatsuya Nagamine, raised the number of drawings permitted per
episode in this tournament.
More pages cost more money, and that's allowed the series to have more action, though of
course, not necessarily better action.
Again, that is down to time and talent.
As you've heard, Dragon Ball Super is not a cheaply made show.
In fact, many of the series' worst moments cost the studio much more money than its best.
A healthy production is often far cheaper than one falling to pieces.
Attack on Titan's production was an absolute nightmare, and you can see this reflected
in their staff lists.
That is not cheap, and the results don't hold a candle to One-Punch Man's visuals,
where the staff list is not only small, and therefore not nearly as expensive, but the
chief animation director also went out of his way to confirm this idea, too.
Super's expenditure is huge.
Even putting aside the production side of things that we've just covered, the series
has gigantic posters up the sides of buildings, in subways – there are advertisements in
major publications.
It's everywhere, it's global, it costs so much.
I hope this has made it very clear that Super is not a cheaply made show, and even if it
was, the quality of the animation wouldn't necessarily reflect that.
Again, I'm not here to push you one way or the other about your opinion of the show's
visuals, I just want to make sure that if you are praising or criticising the show,
you're approaching it from the right place.
If something looks bad, it's not because there was no budget, it's because whoever
was behind it was either lacking in skill, or simply didn't have enough to deliver
properly.
On the flip-side, if something looks great, Toei didn't pour all of their budget into
the scene or episode, it was simply made up of extremely talented staff, who all had adequate
time to perform.
There will no doubt be a number of rebuttals down in the comment section below – a lot
of "But what if they did this…", and "Actually… blah blah blah", so I want
to leave you with a paraphrased quote from Kevin over on Sakugablog.com, who helped out
with aspects of this video.
He says, "The issue with a lot of people's train of thought regarding production is that
it makes too much sense, and therefore doesn't apply to the anime industry".
It's a weird and complicated place, but it's so much fun to follow and study, so
if you are interested in learning more, do check out their website, and if you're looking
for specialist knowledge of Dragon Ball Super's production, then hitting subscribe on this
channel is not the worst thing you could do.
I hope you guys enjoyed this video – I will of course be down in the comment section doing
my best to answer your questions or clarifying anything that wasn't clear.
Be sure to rate the video if you'd be so kind, and I will see you next time.
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