[00:00 - 00:08]Trash Taste Europe tour 2023 announced

[00:08 - 00:14]Tickets on sale

[00:20 - 00:25]Tour dates and locations listed

[01:17 - 01:23]Guest Watanabe Yoshihiro, anime producer

[01:17 - 01:23]Discussion of Watanabe's background and resume

[03:32 - 03:49]Explanation of the role of an anime producer

[04:40 - 05:08]Studio Orange known for 3D animation

[04:40 - 05:08]Discussion of Studio Orange's unique approach to 3D animation

[05:08 - 05:16]Comparison to other 3D anime in the industry

[06:10 - 06:23]Studio Orange's 3D animation stands out in the industry

[06:34 - 06:41]Mention of Dragon Boss and Slam Dunk as examples of impressive 3D animation

[07:11 - 07:30]Watanabe describes Studio Orange as the "hentai of anime"

[08:18 - 08:27]Initial hesitation about B stars getting an anime adaptation

[00:00 - 08:42]Trash Taste Europe tour announced with guest Watanabe Yoshihiro, anime producer, discussing his background and the role of an anime producer. Studio Orange's unique and impressive approach to 3D animation is highlighted, with comparisons to other 3D anime in the industry.

[08:42 - 08:47]The speaker begins by expressing their love for the stars and their initial hesitation towards watching a 3D trailer.

[08:47 - 08:52]However, upon seeing the studio orange name, they become hopeful and are ultimately impressed with the final product.

[09:31 - 09:39]The speaker discusses the challenges and costs of creating 3D animation, but praises the studio for utilizing the tool to its fullest potential.

[11:15 - 11:24]They then discuss their personal history with 3D animation and the evolution of its use in anime over the past decade.

[13:34 - 13:43]The speaker's overall opinion is that Japan needed time and budget to catch up with the use of 3D in animation.

[14:03 - 14:14]The speaker talks about their unique path into the anime industry, starting with volunteering as an interpreter and eventually being asked to move to Tokyo.

[15:19 - 15:27]They worked at the LA office of madhouse before being offered a job in Tokyo by the founder, Maruyama.

[16:24 - 16:34]The speaker's first job at madhouse was as a system producer for the live action part of the process.

[16:52 - 17:00]They then mention a project with the Wachowskis and the adaptation of a comic called "Shalen Cowboy."

[08:42 - 17:00]The speaker discusses their love for stars and initial hesitation towards 3D, but praises the studio orange's use of 3D in the anime. They also discuss the challenges and evolution of 3D in anime, and their unique path into the industry. They worked at madhouse before being offered a job in Tokyo, and share their opinion that Japan needed time and budget to catch up with 3D animation.

[17:00 - 17:08] The speaker flew to Japan and got involved with a project that ended up getting cancelled.

[19:17 - 19:22]They then joined the anime industry and became a line producer at a company called Math House.

[19:31 - 19:39]The speaker's career at Math House was not successful and they left the industry for a few years.

[19:55 - 20:03]They then returned to the anime industry after working in venture companies.

[20:11 - 20:17]The speaker's friend invited them to work at PA Works, and they eventually moved to Studio Orange.

[21:44 - 21:57]They worked on a remake of the anime Trigun, which was a challenging experience due to the pressure of adapting a beloved series.

[24:06 - 24:17]The speaker believes that successful remakes are those that stay true to the core vibe and concept while offering something new.

[24:06 - 24:17]They also mention other successful anime remakes, such as Fullmetal Alchemist Brotherhood and Jojo's Bizarre Adventure.

[25:12 - 25:18]The speaker receives many requests for second seasons, but it is not always possible to produce them.

[25:18 - 25:24]The decision to make a second season of an anime is ultimately up to the clients and production companies.

[17:00 - 25:24]The speaker's journey in the anime industry included working on a cancelled project, struggling in their career at Math House, and eventually finding success at PA Works and Studio Orange. They also discuss their experience working on a remake of Trigun and their thoughts on successful remakes. The decision to make a second season of an anime is ultimately up to the clients and production companies.

[32:26 - 32:34]Author's involvement in production of Trigun was unusual

[32:45 - 33:00]Author reviewed key points, not every detail

[33:00 - 33:12]This involved going out drinking and eating together

[33:12 - 33:19]Discussion centered around who the author is and what inspired their designs

[33:19 - 33:27]Core part of author's involvement was understanding their intentions and designs

[33:19 - 33:27]The author's intentions and designs were important for the anime adaptation

[33:19 - 33:27]This process was focused on understanding and portraying the author's vision

[25:24 - 33:27]Author's involvement in Trigun production focused on understanding and portraying their intentions and designs through discussions and bonding.

[40:53 - 41:00] Planning process for a show starts with discussing character designs and making sure they align with the original creator's vision

[41:36 - 41:45]The process of creating a show can take a long time, such as five years for Trigun, and involves extensive research and development

[41:36 - 41:45]The team hired a sci-fi author to write the history of the world for 150 years before the story takes place

[41:36 - 41:45]The director's specialty is focusing on the characters' origins and objectives, which helps guide the development of the story and world

[41:36 - 41:45]The team creates concept art to visually represent the ideas and concepts from the story

[41:45 - 41:51]400 images were created for Trigun, but not all of them were used in the final product

[41:45 - 41:51]The design and planning process is constantly evolving and can take a long time before a final version is reached

[33:27 - 41:51]The planning process for creating a show involves discussing character designs, researching and developing the story and world, and creating concept art. This can take a long time, as seen with Trigun which took five years to complete. The team hired a sci-fi author to write the history of the world and the director's focus on character origins and objectives helps guide the development process. The final product is a self-contained story arc that captures the essence of the original creator's vision.

[46:22 - 46:40]Production of the anime started with the concept art and script writing in the first year.

[46:47 - 46:56]Character design and script writing continued in parallel for the next three years.

[48:13 - 48:19]The team focused on details such as population ratios, communication methods, and economics to create a believable world.

[48:58 - 49:05]The studio, Orange, was hired by a client to produce the anime.

[48:58 - 49:05]The primary source of revenue for the studio is through working for hire.

[49:47 - 49:54]The team focuses on creating a cohesive world by considering details such as population, communication, and economics.

[49:55 - 50:16]Orange produces three episodes at a time and uses the first three episodes as a benchmark for quality.

[49:55 - 50:16]The production of a single episode of anime typically takes three months, but Orange's production takes longer due to their high quality standards.

[49:55 - 50:16]Orange's approach to production involves creating a world that feels real and believable.

[49:55 - 50:16]Orange's previous track record of producing high quality shows helped build trust with clients and secure funding for the project.

[49:55 - 50:16]The production of the anime, Trigun Stampede, took five years to complete.

[50:17 - 50:31]The team works to set a high quality benchmark for each episode.

[41:51 - 50:31]Production of Trigun Stampede began with concept art and script writing in the first year. Character design and script writing continued in parallel for three years, while the team focused on creating a believable world by considering details such as population, communication, and economics. Orange, the studio producing the anime, was hired by a client and primarily earns revenue through working for hire. The production of a single episode takes longer than the industry standard due to Orange's high quality standards. The team uses the first three episodes as a benchmark for quality and works to create a cohesive world that feels real and believable. The production took a total of five years to complete.

[50:31 - 50:36]Producer talks about communicating with their boss

[51:52 - 52:16]Pressure to make a standout episode one in the competitive anime industry

[52:46 - 52:54]"Trigun" was based on a movie and followed the three act structure

[53:07 - 53:18]Working on "Trigun" was the hardest production

[54:23 - 54:31]"Beastars" was easier to produce since the original intention was to adapt it as is

[54:39 - 54:45]The creator's daughter was not familiar with anime but had film experience

[55:29 - 55:45]"Beastars" has a more live-action film feel than a standard manga

[56:18 - 56:27]The team went to a pool dancing club for research

[58:19 - 58:25]The use of motion capture for reference in "Beastars"

[58:19 - 58:25]Professional motion capture artists are hired for more complex scenes

[59:00 - 59:09]Choreography is usually created by a hired professional

[59:00 - 59:09]The "Beastars" production took five years to complete

[50:31 - 59:09]The producer talked about the pressure to make a standout episode one in the competitive anime industry, their experience working on "Trigun" and "Beastars", and the use of motion capture for reference. They also discussed the creator's daughter's lack of familiarity with anime and the team's research at a pool dancing club. The production of "Beastars" took five years to complete.

[1.03:14 - 1.03:24] Introduction to the conversation and topic of anime production process

[1.03:24 - 1.03:32]Discussion of the involvement of choreography in action scenes and the use of storyboarding for animation

[1.05:19 - 1.05:27]Explanation of the timeline for creating an anime, including the use of pre-scoring and recording before animation begins

[1.05:19 - 1.05:27]Discussion of the unique movements and character animation in the show "Vash"

[1.05:19 - 1.05:27]Explanation of how multiple shows are worked on simultaneously and the role of assistant producers

[1.05:27 - 1.05:40]Question about the use of AI in anime production and the potential moral issues surrounding it

[1.05:49 - 1.06:01]Studio Orange's approach to using tools and developing their own tools

[1.06:31 - 1.06:36]Mention of a dream show that cannot be revealed

[1.07:16 - 1.07:30]Explanation of the tool "autmorph" and how it helps with perspective and two-dimensional animation

[1.07:30 - 1.07:36]Studio Orange's focus on making themselves better rather than comparing to other studios

[59:09 - 1.07:36]Studio Orange discusses their production process for creating anime, including the use of storyboarding and pre-scoring, the involvement of choreography, and the development of their own tools such as "autmorph" for creating more natural two-dimensional animation. The topic of AI in anime production is also brought up, but Studio Orange currently focuses on using tools and developing their own rather than relying on AI.

[1.07:36 - 1.07:42]Studio orange changes the 3D model for each shot in their animations

[1.08:27 - 1.08:36]They use presets and camera warping in their animations

[1.10:00 - 1.10:05]The main goal of oranges is to make 3D animations look comfortable for viewers used to 2D animations

[1.10:00 - 1.10:05]They have looked at older shows with primitive 3D to learn what not to do in their own animations

[1.10:05 - 1.10:12]They use screenshots to change the camera perspective and make things look cool

[1.11:42 - 1.11:51]Studio orange focuses on their own projects but sometimes does work for other studios

[1.12:26 - 1.12:32]They have seen behind the scenes footage of Jojo's Bizarre Adventure 3D shots and poses

[1.12:37 - 1.12:45]Land of the Luscious was their first fully 3D produced anime

[1.12:59 - 1.13:17]They convinced the producers to trust them despite having little experience

[1.12:59 - 1.13:17]They did character animation before Land of the Luscious

[1.12:59 - 1.13:17]They did not have to prove themselves with a showcase

[1.14:20 - 1.14:29]Technology has made things easier but they still face challenges with new projects

[1.14:29 - 1.14:46]Studio orange always tries to improve and top their previous projects

[1.15:06 - 1.15:26]They studied animal anatomy to make the characters in B Stars look realistic

[1.15:47 - 1.15:56]The balance between human and animal traits was considered in the animation and modeling process

[1.07:36 - 1.16:07]Studio orange's main goal is to make comfortable and realistic 3D animations.

[1.16:08 - 1.16:17] The speaker mentions an "uncanny valley" in creating a model with realistic muscle movement.

[1.16:23 - 1.16:32]They discuss the challenges of researching and modeling animals for their project, which took three years.

[1.17:09 - 1.17:15]The speaker talks about the difficulty of explaining the process to clients and building trust.

[1.17:39 - 1.17:48]They mention networking and finding key staff members for specific roles.

[1.18:38 - 1.18:51]The speaker mentions the anime production series Shirabako and its accuracy.

[1.20:49 - 1.20:55]They mention working long hours and sleeping at the studio.

[1.24:18 - 1.24:35]The speaker talks about the importance of communication in avoiding mistakes and having a successful production.

[1.16:08 - 1.24:51]The speaker discusses the challenges of researching and modeling animals for their project, networking and finding key staff members, and the importance of communication in avoiding mistakes and having a successful production. They also mention working long hours and sleeping at the studio, and the accuracy of the anime production series Shirabako.

[1.24:59 - 1.25:10]Speaker reminisces about growing up and realizing the importance of communication skills in every job.

[1.25:31 - 1.25:55]Communication skills are crucial in project management, especially in the animation industry where there are many moving parts and hundreds of animators involved.

[1.27:04 - 1.27:26]Crunch is a common issue in the anime industry, with many projects being delayed and a focus on perfectionism.

[1.29:35 - 1.29:50]Orange, a CG studio, has a different approach to work-life balance due to their workforce coming from the gaming industry.

[1.30:26 - 1.30:32]Orange aims to have 90% of their employees in-house, rather than relying on freelancers.

[1.32:35 - 1.32:46]The speaker pays attention to fan reactions on Twitter and looks for overall energy and expectations rather than individual responses.

[1.33:13 - 1.33:27]The speaker incorporates fan feedback into future works, considering the overall vibe and sentiment.

[1.24:51 - 1.33:27]The speaker discusses the importance of communication skills and crunch in the anime industry, as well as their company's approach to work-life balance. They also mention paying attention to fan reactions and using feedback to inform future works.

[1.33:42 - 1.33:52] The speaker discusses their love for anime and their desire to create a sensation for as many people as possible through anime.

[1.40:06 - 1.40:14]They mention being invited to try and stampede and having a conversation about their goals.

[1.40:06 - 1.40:14]They mention being responsible for promotion on the "orange" side and the importance of meeting fans at conventions.

[1.40:47 - 1.41:03]They mention their first experience with "Perfect Blue" and how it opened their eyes to the potential of anime.

[1.40:47 - 1.41:03]The speaker talks about their focus on creating a sensation and communicating through anime.

[1.40:47 - 1.41:03]The speaker discusses the culture of movie theaters in Japan and how it is reflected in Twitter culture.

[1.40:47 - 1.41:03]They mention being careful with messaging and language to avoid stepping on the toes of the original source material.

[1.40:47 - 1.41:03]The speaker talks about the differences between Japanese and Western audiences and how they navigate those differences in promotion and messaging.

[1.40:47 - 1.41:03]The speaker discusses the increase in focus on the international audience in the anime industry.

[1.33:27 - 1.42:02]A comprehensive summary of the text is that the speaker discusses their love for anime, their desire to create a sensation for as many people as possible, and how they navigate cultural differences and promote their work to both Japanese and international audiences. They also mention the importance of meeting fans and the increase in focus on the international market in the anime industry.

[1.42:14 - 1.42:27]Discussion about the priority of domestic vs international markets in anime industry

[1.43:00 - 1.43:08]Studio Orange's efforts to send staff to international events and increase their experience and understanding of global perspectives

[1.46:04 - 1.46:19]Cultural shock experiences of Japanese staff members in America, including visits to American fast food chains and other cultural activities

[1.50:17 - 1.50:30]Studio Orange's interest in creating video games and potentially adapting video games into anime

[1.50:17 - 1.50:30]Studio Orange's ultimate goal and ambition in the anime industry

[1.50:43 - 1.50:50]Question about which video game the staff would like to see turned into an anime

[1.42:02 - 1.50:50]Studio Orange discusses the importance of both domestic and international markets in the anime industry, their efforts to increase their global perspective through international events, their interest in creating video games and adapting them into anime, and their ultimate goal and ambition in the industry.

[1.50:50 - 1.51:06]Discussion about wanting to see "Doom" turned into an anime

[1.51:20 - 1.51:27]Mention of "Dark Souls" and its potential for an anime adaptation

[1.51:42 - 1.51:52]Reference to "Elden Ring" and the desire to play it

[1.52:17 - 1.52:26]Talk about the potential for an anime adaptation of "Guilty Gear"

[1.53:17 - 1.53:25]The studio's unique approach to each project and their constant drive to create something new

[1.53:52 - 1.54:02]Mention of other non-Japanese shows/movies that have inspired the studio

[1.54:42 - 1.55:06]Discussion about the technology used in animation and how it is constantly evolving

[1.56:27 - 1.56:44]Mention of the studio's current projects, particularly "Gun Stampede" and "Idolish Seven"

[1.57:46 - 1.57:52]The importance of supporting the show through Patreon and other platforms

[1.58:13 - 1.58:16]Thanking the audience for their support and mentioning the studio and the guest's social media accounts

[1.50:50 - 1.58:16]The guest discusses the potential for anime adaptations of popular video games like "Doom" and "Dark Souls", as well as the studio's current projects and their approach to each project. They also mention the constant evolution of technology in animation and the importance of support from the audience.