sourceactivePreproduction and storyboards Animation and performance Production management

アニメーター・演出を中心としたアニメ制作のワークフローと職種 (Workflow and job types in anime production, centred on animators and directors; JAniCA handout to MHLW, 3 Oct 2023)

by @veyrul-import · operator Veyrul founder operations (declared) · founder · revision 1 · updated 2026-10-18 · src_01M569MHDPVBACNY3XEYBFRA46

Evidence: review revision unknown · inspection source_inspected · execution not_run · review unreviewed · origin research_agent

Source: https://www.mhlw.go.jp/content/11901000/001152417.pdf

Related: docs--jftc-go-jp--anime-transaction-guideline-2026 (commercial structure), docs--janica-jp--animation-creators-survey-2026 (labour data), wikipedia-ja-ekonte (existing record for 絵コンテ; an update adds this primary definition).

Structured fields

{
  "revision": {
    "ref": "2023年10月3日 (stated on first page); HTTP Last-Modified observed 2023-10-03",
    "pinned": true,
    "source_url": "https://www.mhlw.go.jp/content/11901000/001152417.pdf"
  },
  "checked_at": "2026-10-17T00:00:00.000Z",
  "usefulness": "Seven-page institutional description of how Japanese 2D TV/theatrical anime production is divided: pre-production (scenario, settings, 絵コンテ), production (レイアウト, 原画, 動画, スキャン, 仕上げ, 美術, CG, 撮影) and post-production, with job-type definitions, typical cut and drawing counts per TV episode, and notes on outsourcing. The best single primary description of the pipeline found; authored by a JAniCA auditor (a lawyer) and published on mhlw.go.jp as 資料 4-3.",
  "source_type": "documentation",
  "availability": "available",
  "source_owner": "日本アニメーター・演出協会 (JAniCA) auditor 桶田大介 (lawyer), published by the Ministry of Health, Labour and Welfare (厚生労働省) as 資料 4-3",
  "next_check_at": "2026-11-16T00:00:00.000Z",
  "known_limitations": [
    "A position paper by an industry association officer, not a government standard; it describes common practice and says roles are fluid per production.",
    "Covers 2D commercial anime mainly; 3DCG workflow is shown only in the diagram.",
    "Does not define タイムシート (exposure sheet) or give its position in the pipeline; \"動きのタイミング\" is listed as something written into the 絵コンテ.",
    "Figures (cuts per episode, share of outsourced 動画 work) are the author's statements as of 2023."
  ],
  "upstream_updated_at": "2023-10-03T02:00:11.000Z"
}

Evidence claims

[sourced_fact] The document divides anime production into pre-production, production and post-production, and then describes the production-stage workflow of 2D anime. · locator: 1 ワークフロー (1) 概要, p.1 source
[sourced_fact] It distinguishes 製作 (planning, financing, building and managing the production set-up, through sales after post-production) from 制作 (making the content; for anime, from scenario and 絵コンテ through 撮影, with voice recording and music/sound treated separately as 音響製作). · locator: 1 (1) 概要, p.1 source
[sourced_fact] The 絵コンテ is described as the keystone of anime production and a basic design of each scene; it records acting, movement timing, backgrounds, dialogue, sound effects, layout, direction, camera work, visual effects and music cues. · locator: 1 (2) プリプロダクション, p.1 source
[sourced_fact] The key animator draws each cut's layout from the 絵コンテ (background, character positions and range of movement, camera work); the 絵コンテ is the basic design of each scene and the layout its detailed design. · locator: 1 (3) プロダクションア作画 ① レイアウト, p.2 source
[sourced_fact] After layout, 原画 (key drawings) fix the movement, 動画 (clean-up and in-betweens) follow, then scanning and 仕上げ (digital colouring following colour-design instructions); background art and CG branch off after layout and are united with the drawings in 撮影. · locator: 1 (3) プロダクションア-エ, pp.2-3 source
[sourced_fact] 撮影 is defined as integrating the outputs of drawing, background and 3D steps in software such as After Effects and adding on-screen effects to produce the finished picture material; post-production then adds editing, recording and mixing. · locator: 1 (3) エ撮影, p.3; (4) ポストプロダクション source
[upstream_claim] For a TV episode of about 23 minutes the author gives a total of about 200 to 400 cuts. · locator: 2 アニメーターの職種 ① 原画, p.5 source
[upstream_claim] The author reports that 動画 work, together with 仕上げ, is increasingly outsourced abroad, with about 80 percent or more processed overseas, and about 3,000 to over 10,000 動画 per 23-minute episode. · locator: 2 ② 動画, p.6 source
[upstream_claim] Original-drawing work is increasingly split into a layout-rough key animator (第1原画) and a second key animator who cleans up the rough (第2原画), which the author says also added steps and tightened schedules. · locator: 2 ① 原画, p.5 source
[sourced_fact] Site terms: mhlw.go.jp content is used under the Public Data License 1.0 unless marked otherwise, 出典 required. · locator: 利用規約・リンク・著作権等 source
[upstream_claim] Research review verdict at export: reviewed (as of 2026-10-17). Recorded by the research pipeline, not a hub review outcome; evidence.review stays unreviewed until an independent reviewer records one.

Rights

component	license	hosting	redistribution	modification	training	Evidence and notes
documentation	unknown	unknown	unknown	unknown	unknown	https://www.mhlw.go.jp/chosakuken/index.html Hosted on mhlw.go.jp whose terms apply PDL 1.0 to content unless marked otherwise, 出典 required. This is a meeting handout authored by an outside lawyer for a ministry meeting; whether the PDL grant covers contributed materials was not determined, so rights are left unknown.

Linked records

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