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Although the data is growing, it is still far from the revenue of Japanese companies such as the gaming industry.

The industry is in a slump. How about the life of practitioners such as original paintings, scripts, storyboards, and character design?

The Japan Animator Performance Association (JAniCA) recently released “Animator Producer’s Reality Survey Report 2019”. It has been 4 years since the last release.

• Practitioners are older, The average age is 39 years old, 20% are over 50 years old, and only 6.9% are under 24 years old; p>

• Highly educated and professionally trained, Proportions of professional colleges and university graduates are 39.6% and 35.1% respectively;

• The average working life of a practitioner is 16 years;

• More than half of them are freelancers, and the overtime situation in the animation industry is serious. The average monthly work time of each animator is about 231 hours. This number is 26 hours more than the 205 hour limit of the legal principle.

• The average annual salary of practitioners is 280,000 yuan, more than half of which is less than 260,000 yuan, and even 8.3% of people have an annual salary of less than 65,000 yuan; li>

• Although most Japanese animators are dissatisfied with workload, working hours, and income, they are still full of love and hope for the animation industry.
  

  Animation work experience

  It is not difficult to find that the Japanese animation industry is also affected by an aging society, and the proportion of veterans with long years of work experience is increasing.

  This is related to the need for experience in this industry. But the more intuitive reason is the hard work in the animation industry, and fewer and fewer young people dare to enter this industry. This will also cause the lack of new blood in the animation industry.

  Revenue: Average annual salary is 4.41 million yen, more than half of the people are less than 4 million yen

  The next thing we are most concerned about is the income of Japanese animators.

  From the table below, the average annual salary of each animator is 4.408 million yen.

  As mentioned above, when some company contract workers, freelancers, and self-employed persons take over the work of an animation production company, will sign a “completely binding” or “semi-binding” contract. In accepting these jobs, in addition to being paid for their own work, they can also receive a subsidy called “restraint”.

  Through the survey results, we can find that 18.1% of the people have a detention fee of more than 450,000 yen in one month. ) , and on average, the restraint fee is usually around 273,000 yen

  Working hours: severe overtime, with an average of 5.4 days off per person per month
  

  We are also concerned about the question “How do Japanese animators master their working skills?” This question is also asked in the questionnaire, and the question can be selected multiple times. From the table below, we can see that most people (74.3%) now their working skills are in the production company (Organization) . Followed by “in the free contract (business commission, etc.) work” (46.6 %) and (46.6%) in professional schools and training centers. Of course, there are also many people who have taught themselves the skills of (43.7%) .

  However, in the radio question of “the best way to do your job today,” the voting results are slightly different. Most people think that (47.6%) is most effective for studying in the production company or organization they belong to, followed by (business commission, etc.) (18.8%) Third is self-study (13.4%), the “learning in professional schools and training centers” was only 5.8%. Obviously, learning at work is the most effective way to master work skills.

  From the perspective of the employment patterns of animation producers, almost half of them are free people who do not belong. The company’s regular employees, company officials and company contract workers together account for only 22.87%.

  Company contract workers, freelancers, and self-employed people have different forms of contracts when they work. Most of them signed contracts based on single works, accounting for 43.6%. The second is the most common “signing contract by card

  Through the questionnaire, we can know that 68.3% of animation producers mainly work in production companies, and another 27.2% of them work in their own homes. In terms of working hours, 37.7% of the animators worked an average of 8 to 10 hours a day, followed by 33.7% of the work and an average of less than 8 hours a day.

  Although there are most (71.4%) , the working hours are less than 10 hours, but the average working time is more than 10 hours a day There are also 28.3% of hard-working workers. Based on the average of the whole, the average daily working time of each animator is 9.66 hours. This number may not seem to be a problem at first. Next, look at the average working time of one month.

  According to the standard algorithm of working 5 days a week and 4 months a month, the working time per month should be 160 hours. However, only 15.1% work under 160 hours, and 44.9% work between 160 and 240 hours. What’s even more striking is that, On average, 40.1% of severe long-time workers work more than 240 hours a month.

  If averaged, the average monthly work of each animatorThe duration is about 231 hours. This number is 26 hours more than the 205 hour limit of the legal principle.

  Look at the average start and end time. From the table below, we can find that the work of animators is not concentrated and scattered. More workers start work from 10:00 to 14:00, but there are also a lot of people who don’t start work in the morning and noon.

  And when it comes to work end time, there are the most workers who leave work from 22:00 to 24:00. We can even see that there are more people who work from 1 to 3 am than from 17 to 19.

  On average, one month’s rest days were 22.8% for people with more than 8 days and 76.6% for people with less than 8 days. On average, the average rest day for each animator is only 5.4 days.

  The average working hours are too long, and the rest time is unreasonable. These problems will affect the health of workers to varying degrees, and may even lead to overwork death. Therefore, the reasonable arrangement of labor time is also one of the issues that the animation production industry urgently needs to improve.

  Most practitioners are dissatisfied with working hours, workload and income, but they still love the animation industry

  Is there more money and less money, are they still willing to do animation?

  On the multiple-choice question of “reasons to continue my current work”, the top six reasons are: “In order to make money” (70.2%) , “Because this job is enjoyable” (68.6%) , “In order to give play to your talents and abilities” (45.8%) , “Because it can move people through works” (36.1%) , “Because I want to pursue the work of drawing” (34.3%) , “Because I want to pursue the work that makes painting move” (31.7%) .

  Although there are many reasons for persisting, and they are all different, the most realistic reason for “making money” is always the voice of most people.

  Let’s look at how satisfied Japanese animators are with life and work. The options for this question are “Very dissatisfied (1 point) “, “Slightly dissatisfied (2 points) “, “Both sides are not allowed (3 points) “, “Slightly satisfied (4 points) “and” Very satisfied (5 points) “. From the average score of each aspect, we can judge in which areas the animator is satisfied and dissatisfied.

  Anyone with an average score of more than 3, that is, being satisfied, includes: working relationships, family life, work content, and overall life.

  While the average score is less than 3, that is, the areas of dissatisfaction are: overall work, workload, opportunities to upgrade skills, stability of employment, stability of income, rest days, working hours, current Expectation of income level, future work and working methods.

  We can find that the dissatisfaction of the animators is concentrated in “work load”, “working time” and “work income”. Combining the “reasons to keep working” above, animators look more like “generating power for love.”

  In addition, in terms of living and working conditions, most people will have the idea of ​​“worrying about their later life”, followed by many people who feel “mental and physical fatigue” and “inadequate work arrangements lead to labor Problems such as “excessive” and “economic poverty in earning a living”.

  In terms of work problems, 65.4% of people think that there is a problem of “difficult to adjust the work arrangement”, and 55.2% of people think that there is a problem of “forced work without sufficient time”, and 38 % Of people said that “we have weak bargaining power in terms of compensation, etc.” …

  Regarding “things necessary to improve technology and skills”, most people (54.7%) think it necessary to “have the opportunity to Participating in the animation production of various forms and fields “, followed by (34.6%) is” educated and evaluated at the animation production site “. Because animators often run out of time, they don’t even have time to study outside of work. Therefore, we can also see that 28% of people think that “in order to be able to learn in workshops and seminars, companies should compensate and ensure enough time for them”.

  Regarding “things necessary to work with peace of mind”, most people (72.8%) consider it necessary to “increase remuneration”, followed by (57.9%) is “In order to ensure the high quality of work, companies need to properly manage delivery days and schedules.”

  In addition, with regard to the “work plan for the future”, most (63.4%) workers said that “as long as they can do it, they want to continue as animation Producer jobs “, and other options (except for” other “) combined accounted for only 18.1%. This also reflects that most animators are still full of love and hope for the animation industry.

  Job opportunities: Job opportunities for TV cartoons and animated films are increasing

  From the positions of the respondents and the positions that can support the income, we can also see from the side what is the most profitable and most engaged position in the Japanese animation industry.

  From the table above, we can see that among the respondents, the posts that have been occupied the most by (multiple choices) are the original painting and layout respectively. The original painting, the second original painting, the painting supervision, the sub-mirror, the performance … These are the positions with the most demand in the animation production site. Only 52.9% and 46.1% of the original painting and layout original painting have engaged in this type of work.

  The positions that can best support the income of workers (single choice) are the original painting, painting supervision, supervision, production progress, animation … 18.8% of the respondents believe that the original painting can support their income to the maximum, that is, the position of the original painting is the most acknowledged that they can “eat”.

  From the media type of animation production, most people are responsible for TV animated episodes and animated movies, followed by games.

  An average of 301 workers who participated in the production of animated dramas participated in the production of 13.95 television animation works, and an average of 207 workers who participated in the production of animated movies participated in the production of 1.67 animated movies.

  From the average number of days of participation, The average number of days of production of animated TV series is 223.8For 8 days, the animated movie is 129.92 days.

  Of the 382 respondents, 115 answered that they have earned income in addition to animation production. In addition to the copyright income of animation works, teaching work, and the income of illustrations and fanzines, there are also other ways for animation workers ( such as drawing LINE stickers, game character design, Game drawing, event performance, part-time job, etc.)

  In addition, this questionnaire also has the question of “increasing or decreasing job opportunities compared with 3 years ago”. As shown in the figure below, this question has 5 options, which are “significantly reduced”, “slightly reduced”, “no change”, “slightly increased”, and “largely increased”. Aside from the “no change” option, basically all job opportunities are “increase” options greater than “decrease”Options.

  According to the average score, only “Video, DVD”, “Trial Video”, and “TV Special Program” job opportunities are lower than 3 points, and the others are higher than 3 points. And TV anime episodes. This also reflects that Japan’s production of animated films and TV cartoons still requires a lot of talent.

  Note: The survey was conducted in 2018 From November 6 to December 19, the number of valid responses was 382, ​​and the effective response rate was 24.2%.

  The subjects of this survey are responsible for script, sub-camera, supervision, performance, general painting supervision, painting supervision, original painting, layout original painting, second original painting, 3DCG animation, animation inspection, Staff in animation, color design, coloring, art supervision, character design, art background, copyright, photography, editing, producer, production progress
  

  The article is from WeChat public account: Sanwen Entertainment (ID: hi3wyu) , author: Wind