[00:00 - 00:08]50 years ago, one frame of animation earned you a ramen but the right of life was not guaranteed

[00:08 - 00:16]To eat a ramen now, you have to do 5 or 6 frames

[00:25 - 00:35]Trash Taste, an anime podcast, talks about Japan, food, shitting, and occasionally anime

[00:55 - 01:08]Ken Arto, a key animator in Japan since 2015, has worked on various projects including Dragonball, My Hero Academia, and Jojo

[00:55 - 01:08]He is currently working on a movie for Studio 4C and also worked on Jujutsu Kaisen and Kimetsu no Yaiba

[03:38 - 03:44]Ken's background is half Japanese and half French

[04:16 - 04:22]Ken's love for anime started with shows like Club Doherty and Princess Mononoke at a young age

[04:22 - 04:30]He wanted to be a mangaka but ended up working as an in-betweener for one and a half years before moving up to key animator

[04:38 - 04:45]Ken's work can be seen in episode 6 of a show he is currently working on

[05:42 - 05:49]Garnt, Connor, and Joey also shared their experiences with watching Evangelion

[06:04 - 06:10]Garnt and Joey recommend watching the movie Ken is working on to see his best work

[06:11 - 06:17]He thought the characters were 14 but he was already 11 so he thought it was close enough

[06:30 - 06:38]His journey includes working at Yapiko and now at Studio 4C

[06:50 - 06:58]Ken's work can be seen in shows like Dragonball, Jojo, My Hero Academia, and many more

[07:18 - 07:24]In 1998, he watched Princess Mononoke and at 11 years old, he watched Evangelion

[07:25 - 07:36]Ken has been working in the industry for 5 years, not including his internship

[00:00 - 08:04]Ken Arto, a key animator in Japan, has been working in the industry for 5 years. His work can be seen in popular shows like Dragonball, Jojo, and My Hero Academia. He is currently working on a movie for Studio 4C. Ken's love for anime started at a young age with shows like Club Doherty and Princess Mononoke. He wanted to be a mangaka but ended up working as an in-betweener before moving up to key animator. Ken's background is half Japanese and half French. His best work can be seen in episode 6 of a show he is currently working on, and Garnt and Joey recommend watching the movie Ken is currently working on to see his best work.

[08:14 - 08:20]The speaker learned Japanese through watching the show Evangelion and speaking with their mother.

[08:26 - 08:32]They also learned Japanese through watching anime, dramas, and movies with their family.

[08:45 - 08:54]The speaker also uses a more formal Japanese language called Kigo in certain situations, such as speaking with their boss or senpai.

[09:37 - 09:44]Kigo is difficult to learn and is compared to speaking in cursive.

[11:17 - 11:25]The speaker originally wanted to be a manga artist, but changed their style due to pressure from art teachers.

[14:36 - 14:47]They later attended an animation school in France and learned a different animation style than the Japanese style.

[14:36 - 14:47]The speaker was originally from France but later moved to Japan.

[15:07 - 15:18]Japanese animation is more optimized and efficient compared to Disney animation, which has a higher budget.

[15:35 - 15:40]Some anime episodes are not fully completed when they air and are later improved upon for DVD releases.

[15:56 - 16:11]DVD releases often have improved animation and polished drawings.

[16:17 - 16:23]The speaker sometimes has to redo animations if they do not meet their standards.

[08:06 - 16:36]The speaker learned Japanese through watching media and speaking with their family, uses a formal Japanese language in certain situations, attended an animation school in France, and now works in the Japanese animation industry. They have also experienced the differences between Japanese and Disney animation styles and the process of improving animations for DVD releases.

[24:41 - 24:48] The speaker talks about redrawing the eyes in an animation.

[25:17 - 25:25]The speaker talks about their experience working on a tight deadline for an anime called Hero Care.

[25:17 - 25:25]They explain the process of creating key animation and receiving an offer of work through Twitter.

[25:17 - 25:25]They explain the process of creating a layout for an animation cut and sending it to the director for corrections.

[25:17 - 25:25]The layout is then refined by an animation director to ensure consistency.

[25:17 - 25:25]The speaker mentions the number of animators typically working on an episode of an anime.

[25:25 - 25:30]They mention working on Pop Team Epic and realizing that episodes are released in real time in Japan.

[25:25 - 25:30]The speaker discusses the differences between the western and Japanese definitions of the term "Sakuga."

[25:25 - 25:30]They mention a veteran animator who can complete an entire episode by themselves in just one hour.

[25:25 - 25:30]The speaker notes that in the anime industry, up to five years of experience is considered "nothing."

[16:36 - 25:30]The speaker discusses their experience working on animation, including redrawing eyes, tight deadlines, and the process of creating key animation and layouts. They also mention the differences between western and Japanese definitions of "Sakuga" and the number of animators typically working on an episode. They conclude by mentioning a veteran animator who can complete an entire episode by themselves in just one hour and noting that in the anime industry, five years of experience is considered relatively inexperienced.

[34:01 - 34:06]Sent an email to a Japanese animation company in January

[34:07 - 34:13]Was accepted for an internship in June

[34:33 - 34:38]Bonded with other animators by staying up late to work

[34:39 - 34:47]Worked on "Lupin" for 2 weeks after a 2 week exercise

[34:39 - 34:47]Attended a summer school at a famous French animation school

[34:47 - 34:53]Met Toma Ruma, a famous French animator in Japan

[34:54 - 35:00]Met famous animators and veterans who were nice to him

[34:54 - 35:00]Had a French senpai who advised him to work late for more socializing

[35:01 - 35:06]Toma Ruma re-drew his kids' drawings

[25:31 - 35:06]Sent an email in January, accepted for internship in June, worked on "Lupin" for 2 weeks, met famous animators, advised to work late for socializing, bonded with animators, attended summer school and met Toma Ruma who re-drew his kids' drawings.

[37:39 - 37:50]Page content: A conversation about working in the anime industry and the experience of seeing one's drawings animated on TV.

[40:03 - 40:11]The speaker met someone at a summer school who connected them to a job opportunity at a satellite company known for producing anime, such as Macross and Horizon.

[42:24 - 42:47]The speaker felt pressure working on Dragon Ball Super due to the high expectations of fans.

[42:56 - 43:09]The speaker would listen to Dragon Ball while working on the drawings.

[43:09 - 43:27]The speaker worked on Dragon Ball Super, which was their first time working on a show they were a fan of.

[43:09 - 43:27]The speaker went from being an intern to working on Lupin, then an in-betweener, and finally working on Dragon Ball Super.

[43:44 - 43:51]The speaker sent a mail and was able to secure a four-month internship at the satellite company.

[43:44 - 43:51]The internship was different from the speaker's previous experience at a telecom company, with a faster pace and longer hours.

[43:51 - 44:09]The speaker was paid per frame, with each frame taking anywhere from 5 minutes to 3 hours to complete.

[44:58 - 45:27]Nowadays, animators are expected to produce more detailed and complex animation for the same pay as 50 years ago, when one frame could buy a bowl of ramen.

[35:07 - 45:27]The speaker's experience working in the anime industry, including internships at a satellite company, working on Dragon Ball Super, and the challenges and pressures faced by animators.

[55:04 - 55:10] The speaker discusses their experience working in the Japanese animation industry as an intern

[55:28 - 55:36]The pay for interns in the industry is very low, with the speaker only making 300 euros a month at their best

[55:28 - 55:36]The speaker was able to survive on this low pay due to having family in Japan to support them

[55:28 - 55:36]The speaker's co-workers also had to live frugally and often relied on their parents or shared housing

[55:28 - 55:36]Knowing Japanese is essential for a successful career in the Japanese animation industry

[55:28 - 55:36]Many people have a romanticized view of the anime industry, but it is a difficult and competitive field

[55:36 - 55:43]The speaker had to work long hours and be passionate about their job to succeed

[45:27 - 55:43]The speaker discusses their experience working as an intern in the Japanese animation industry, highlighting the low pay, long hours, and importance of knowing Japanese in order to succeed. They dispel the romanticized view of the industry and emphasize the hard work and dedication required for a successful career.

[56:00 - 56:06]Animators need to work long hours in Japan due to cultural expectations.

[1.02:17 - 1.02:37]The speaker initially planned to work in Japan for one year, but has now been there for five years.

[1.02:17 - 1.02:37]The speaker is 31 years old and still does all-nighters and crunch time work.

[1.02:17 - 1.02:37]As one gets older, it becomes harder to sustain this lifestyle.

[1.03:53 - 1.04:20]Clockout times in Japanese companies are not official, but rather suggested.

[1.03:53 - 1.04:20]They go to the gym with a friend to exercise.

[1.04:20 - 1.04:36]Animators have to do sports and stretching to prevent injuries.

[1.04:20 - 1.04:36]The speaker has to sit at their desk all day, which is similar to being a professional gamer.

[1.04:36 - 1.04:44]They have found a good studio and are still learning a lot.

[1.04:36 - 1.04:44]The speaker has a good chair and a message board for their hands.

[1.04:36 - 1.04:44]It is important to have good ergonomics to prevent injuries.

[1.05:04 - 1.05:10]They do not use wrist guards.

[1.05:04 - 1.05:10]The quality of the animation can also depend on the skills and staff of the studio.

[1.05:04 - 1.05:10]The studio can provide a good working environment, but the skills and staff are often freelance.

[1.05:10 - 1.05:20]As one gets older, it becomes harder to sustain this lifestyle.

[1.05:10 - 1.05:20]Deadlines can result in sacrificing quality for speed.

[1.05:10 - 1.05:20]Some scenes get outsourced to studios in China or Korea.

[1.05:10 - 1.05:20]Budget can also affect the quality of animation, especially for episodes with a lot of action.

[55:43 - 1.05:20]Animators in Japan work long hours and have to balance deadlines with maintaining quality. As they get older, it becomes harder to sustain this lifestyle. Good ergonomics, regular stretching, and exercise are important for preventing injuries. The quality of animation can also depend on the skills and staff of the studio, which can be freelance. Budget can also affect the quality, particularly for episodes with a lot of action.

[1.05:20 - 1.05:31] The episode has 350 cuts with a lot of heavy action and epic scenes.

[1.05:31 - 1.05:43]The per cut price for this episode is more expensive.

[1.05:50 - 1.06:01]Negotiations for a higher price per cut may be possible for experienced and skilled animators.

[1.05:50 - 1.06:01]Negotiations for a higher price may involve negotiating for more than one cut or increasing the price per cut.

[1.05:50 - 1.06:01]Some animators have become famous and have higher rates for their work.

[1.06:01 - 1.06:16]The standard rate for a cut is 4,500 yen (approximately $45).

[1.08:34 - 1.09:03]The shortage of animators in Japan has led to studios looking for new talent on Twitter.

[1.11:19 - 1.11:26]Communication can be a challenge when working with foreign animators.

[1.11:19 - 1.11:26]Getting a visa and work contract can be difficult for foreign animators.

[1.11:37 - 1.11:59]The best way for a young animator to get involved in the industry depends on their goals and experience.

[1.13:41 - 1.13:50]Animators often work long hours and have little time for personal life.

[1.14:07 - 1.14:18]Trust and reputation are important factors in getting work opportunities.

[1.14:58 - 1.15:09]The animation industry in Japan operates differently compared to other industries.

[1.15:23 - 1.15:36]Animators are paid based on verbal agreements and trust, rather than signed contracts.

[1.05:20 - 1.15:41]The episode has 350 cuts with a high price per cut, negotiations for higher rates are possible for experienced animators, and the shortage of animators has led to looking for new talent on Twitter. Animators work long hours and are paid based on trust and reputation, rather than signed contracts.

[1.15:41 - 1.15:57] The speaker discusses the challenges of maintaining a consistent schedule and quality for animators.

[1.17:03 - 1.17:10]They mention receiving backlash and death threats after an episode airs, particularly in the case of Attack on Titan.

[1.23:15 - 1.23:23]The speaker talks about their experience working on the Jojo's Bizarre Adventure fight scene and the intense amount of work and dedication it required.

[1.24:04 - 1.24:26]They mention the importance of teamwork in the animation process, with corrections and details added by directors and in-betweeners.

[1.24:26 - 1.24:35]The speaker reveals that voice acting is recorded after the animation is completed.

[1.25:15 - 1.25:24]The challenges of maintaining a consistent schedule and quality for animators are discussed, as well as the negative backlash and death threats they can receive.

[1.25:15 - 1.25:24]Teamwork and collaboration are highlighted as crucial elements in the animation process.

[1.25:32 - 1.25:43]They mention the importance of referencing the manga source material when animating a scene.

[1.25:32 - 1.25:43]The speaker emphasizes the importance of understanding the characters from the manga.

[1.25:32 - 1.25:43]The speaker shares their personal experience working on a high-profile fight scene for Jojo's Bizarre Adventure.

[1.25:32 - 1.25:43]The speaker reveals that voice acting is recorded after the animation is completed, and the importance of referencing the manga source material when animating.

[1.15:41 - 1.25:43]A comprehensive summary of the text is that the speaker discusses the challenges and pressures faced by animators, including backlash and death threats, and emphasizes the importance of teamwork and understanding the source material when creating animations.

[1.25:44 - 1.25:50]The director mentions that a character is calm with little expression.

[1.28:04 - 1.28:15]The manga is a good reference for the director and animators, but not always necessary.

[1.29:25 - 1.29:30]The animator discusses how they portray different personality traits through animation.

[1.30:26 - 1.30:39]They discuss Kon Satoshi's unique animation style and his work on Tokyo Godfathers.

[1.31:44 - 1.31:54]The animator's friend had not read the manga for a project, but still animated it well.

[1.32:10 - 1.32:15]The animator's top anime shows are Evangelion and Gurren Lagann.

[1.32:10 - 1.32:15]Akira and Genro are mentioned as legendary animation works.

[1.32:31 - 1.32:39]The animator's senpai recommends Magnetic Rose and Run Melos for impressive animation.

[1.34:12 - 1.34:22]Original anime can be challenging as there is no source material.

[1.34:36 - 1.34:48]Digital animation allows for quicker work and easier collaboration.

[1.25:44 - 1.34:48]In summary, the conversation covers topics such as character portrayal, manga as a reference, original anime, and notable animation works.

[1.34:49 - 1.35:02]Animators in the industry have been working on paper for a long time and have a hard time transitioning to digital animation.

[1.35:03 - 1.35:16]Some animators have tried to learn digital animation but have experienced health issues due to the stress of using new software.

[1.37:26 - 1.37:33]Software for digital animation can be expensive, making it difficult for some animators to use.

[1.37:26 - 1.37:33]Some young animators are using Blender, a free software for 3D and 2D animation.

[1.38:30 - 1.38:39]The speaker and their colleagues watch anime differently now, focusing on techniques and patterns.

[1.41:28 - 1.41:35]Inouye San is known for his book of keyframes, which is popular among animators.

[1.41:51 - 1.41:56]The speaker and their colleagues watch and study the work of these influential animators.

[1.41:57 - 1.42:03]The best animators in Japan are known as "sushi" and have made a big impact in the animation industry.

[1.42:03 - 1.42:09]Nakamura Yataka of Bones and Inouye San are highly respected animators.

[1.42:10 - 1.42:15]Nakamura Yataka is known for using impact frames in fight scenes.

[1.34:49 - 1.42:53]Overall, animators have a hard time transitioning to digital animation and have a deep respect for their colleagues who have made a big impact in the industry.

[1.43:00 - 1.43:05]The speaker discusses an animation where blocks explode and become famous

[1.43:19 - 1.43:26]They mention wanting to work on a specific anime or with a specific creator

[1.44:48 - 1.44:55]They discuss balancing their work and personal life

[1.46:17 - 1.46:24]The speaker talks about constantly learning and improving as an animator

[1.47:52 - 1.47:59]They mention their podcast about the animation industry

[1.48:37 - 1.48:43]The hosts thank their patrons and promote their Patreon and social media

[1.49:10 - 1.49:16]The speaker thanks the hosts for having them on the show

[1.49:10 - 1.49:16]The hosts thank the speaker and end the episode.

[1.49:16 - 1.49:22]The episode is described as being educational

[1.49:23 - 1.49:34]Speaker wants to work on specific anime/with specific creator

[1.49:43 - 1.49:48]Balancing work and personal life discussed

[1.49:48 - 1.49:55]The speaker discusses the hard work and dedication of animators

[1.49:48 - 1.49:55]Speaker discusses animation where blocks explode and become famous

[1.49:48 - 1.49:55]Constantly learning and improving as an animator

[1.49:48 - 1.49:55]Mention of podcast about animation industry

[1.49:55 - 1.50:00]Thanks to the hosts and patrons

[1.50:26 - 1.50:28]Promotion of Patreon and social media

[1.50:26 - 1.50:28]Discussion of hard work and dedication of animators

[1.50:26 - 1.50:28]Episode described as educational

[1.42:53 - 1.50:28]Conclusion and thanks to speaker.