I am the Entertainment Tycoon

Chapter 623: Structure Reformulation



After such a long journey, we should review some of the areas that an anime production has.

[Pre-Animation Department]

Department Head: Gail Hart

Department Vice-Head: Mino Kou

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In-Between Animation Chief: Jin Soshu

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Keyframe Animation Chief: Zofia Webb

Chief Animation Supervisor: Mitsue Koi

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Background Painting Chief: Orito Aoi (Background painters add color and detail to the

backgrounds created by the background design department. They apply digital or traditional techniques to create visually appealing and cohesive backgrounds.)

Cleaning Chief: Peter Dasher (Clean-up artists refine and polish the rough animation drawings, ensuring smooth and consistent lines. Inbetweeners fill in the gaps between keyframes, creating additional frames to achieve fluid motion.)

[Art Department]

Department Head: Briana Shiori

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Background Art Chief: Bruno Takehiro (Background artists design and illustrate the environments, settings, and backgrounds for the animation. They create detailed and visually appealing backdrops that enhance the overall aesthetic of the project.)

Color Design Chief: Wakata Rei (Color designers determine the color schemes and palettes for characters, backgrounds, and overall visual elements. They create color models and style guides to maintain consistency throughout the animation.)

[Pre-Production Department]: The pre-production department focuses on planning and preparation before the actual animation begins

Department Head: Ryoko Riverdale

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Storyboarding Chief: Jo Nesbo (Storyboard artists create visual representations of the script, illustrating the key scenes, camera angles, and shot compositions. Storyboards serve as a blueprint for the animation process.)

Character Design Chief: Pablo Zorzi (Character designers create the visual appearance, personalities, and traits of the characters in the animation. They develop concept art, model sheets, and turnaround drawings that serve as references for animators.)

Layout Chief: Suzan Collins (Layout artists take the storyboard frames and create detailed layouts that define the placement of characters, props, and backgrounds in each shot. This stage establishes the composition and spatial relationships within each scene.)

[Editing Department] (Editors assemble the animated sequences, adjust timing, and ensure smooth transitions between shots. They also incorporate sound effects, music, and voice recordings into the final cut.)

Department Head: Nora Wells

Department Vice-Head: Araya Baker

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Editing Supervisor Chief: Nakauchi Michiru

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[Composition Department] (Compositors combine the different elements of the animation, including characters, backgrounds, and effects, into the final frames. They adjust lighting, add visual effects, and ensure that all elements blend seamlessly.)

Department Head: Aidan Davies

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[Sound Design Department] (Sound designers and engineers create and mix the audio elements of the animation, including dialogue, sound effects, and music. They ensure that the audio enhances the storytelling and creates an immersive experience.)

Department Head: Kido Emina

Department Vice-Head: Isaki Koi, Isaki Kanai

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[Music Department]

Department Head: Koshiwaka Kyo

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Chief Maestro and Composer: Koshiwaka Kyo

Musician: Baisho Tatsuki

[Marketing and Distribution Department] (Department responsible for marketing, advertising, and distributing the finished animation. They promote the project, negotiate distribution deals, and handle its release and promotion.)

Department Head: Ally Riddle

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[Creative and Writing Department]: (The writing department includes scriptwriters who develop the story, dialogue, and overall narrative of the animation. They work closely with the director and creative teams, refining the script and ensuring that the story is engaging and

coherent.)

Department Head: Theodore Gray

Department Vice-Head: Nishi Eijiro

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Chief Scriptwriter: Harry Roth

These were some of the few names shown on the list that appeared on the big screen behind Ryoko and Theo. After all, from the more than 900 employees of the production, at least half of them were shown in the list as they received promotions or a change of position.

A few of the names shown were familiar to us.

For example, Ryoko's best friend, Brianna Shiori managed to secure the super important position of the Head of the Art Department. Art was essential to the animation production, so we can understand how important this department was. However, after observing Brianna's work for the past 3 months, only she was good enough to assume this position. Theo was very satisfied with the art designs that Brianna produced, so he completely agreed with this decision.

Another example was Nora Wells, the serious prodigy who was deemed a genius by Theo and Ryoko after they observed her for 3 months. The two of them were beyond impressed by her talent, and Theo admired her so much that he decided to train her to become a Director because he thought that it would be a waste of her talents if Nora stayed as 'just' an editor, even if she was already the Head of the Editing Department.

In summary, after this announcement, the structure of the Tokyo Animation Studios went by

a huge makeover.

Each department would be separated from the rest to facilitate the work for everyone. In

other words, each department would have its own workspace. A decision that wasn't a problem with the enormous size of the building complex where the Tokyo Studios was

housed.

"YAY!"

"I can't believe I got promoted! I'm so happy! I have to call my daughters!"

"I'll call my mom to tell her this amazing news!"

Without many surprises, everyone who saw their names on the big screen jumped and shouted

in excitement and happiness. After all, everyone there dreamed about being important in an anime production, and with these promotions, they would finally realize their dreams.

Some of them did such a big job in the last 3 months that they were promoted to several

positions at once.

Some were promoted from small In-Between Animators to Animators Supervisors, Editors, Background Artists, and others.

Plus, the more important the position they got, the bigger the salary they would receive.

In summary, everyone who did a great job in the past 3 months got promoted.

Each department was filled with talented and great people.

Ryoko smiled as she observed the crowd's excitement, she had been observing everyone's effort for the past months, so she was happy to reward all of their effort.

"As it was already said, the studio will go over a complete reformulation." Ryoko announced over the mic when the crowd quieted down, "This means that even the place where you work will change. Each department will receive its own workspace. We'll give you until the end of the day to arrange the locations of each department. We'll send the location of each department's workspace to each Department Head. Tomorrow I want everyone dutifully moved and ready to start working. Plus, tomorrow we'll be having a meeting with the department head and a few section chiefs to discuss our next project. Now, everyone back to work!" Ryoko announced.

Just like that, everyone surrounded their own Department Head to wait for instructions. Each Department Head had already received the future location of their departments, and now they had to organize the place in less than a day. So, they soon left the auditorium with the new

department employees.

The people from the Sound Design and Music Departments directly left the auditorium as they already had their own workspace, so they didn't need to move. Plus, they still had a lot of work to do as they were still working on the [SAO] Anime Production.

Just like that, Tokyo Animation Studios went through a major reformulation intending to

make the production more efficient.

After all, the countdown was nearing its end, April was coming and the time to release the

anime and the streaming service came with it. Would Theo be able to finish the preparations in time?