Our Kickstarter campaign has received $82,000 from 2,400 backers, well past our original goal ! TV Tropes 2.0 is coming. There is no stopping it now. We have 30 hours left. At $100K the tropes web series will also be produced. View the project here and discuss here.
Pre Tokyo Movie, or Tokyo Ningyo Cinemaand Yutaka Fujioka's early days: Fujioka started in the animation industry in 1947 after finishing arts school, however the studio he was working at is unknown; all that is known about it is that he was doing stop motion animation at the studio. In 1956 he moved to Mom Productions when the studio was opening up doing stop motion animation and puppeteering for a number of projects, one of which that is known about is a Japanese localization puppet show of Casper the Friendly Ghost called The Adventures Of Casper, he left Mom Pro in 1960 to find his own studio Tokyo Ningyo Cinema, however Fujioka did not get a lot of clients and was forced to do adaptations of things like The Little Mermaid and A Mid Summers Nights Dream, Tokyo Ningyo Cinema went out of business in 1963 due to lack of clients, however the following year, Osamu Tezuka and TBS (Tokyo Broadcast Station) needed a studio to do Big X, Fujioka reformated his idea of a studio's layout to do hand drawn animation and that studio became...
Early Tokyo Movie: This was the second attempt Yutaka Fujioka made to run a animation studio (his first studio, Tokyo Ningyo Cinema bombed), under the name Tokyo Movie, the studio lasted between 1964 (When the studio was founded) to 1976/1977 (when Fujioka reformatted the studio into the TMS we know of today), most of the early Tokyo Movie productions were done with A-Productions as Tokyo Movie had very little animators until 1977 (Big-X was one of the few shows when Tokyo Movie did not use A-Pro as they were not founded until the following year in 1965), the studio was reformated into...
Tokyo Movie Shinsha or TMS as we know them today: Formed in 1977, This is the TMS that we know; Tokyo Movie Shinsha (translating into New Tokyo Movie Company) is the main animation studio of TMS.
TMS Photo: Also known as Toms Photo or Tomusu Photo, they serve as TMS's digital effects, photography and coloring unit. This unit was established in 1988 to do digital effects and photography on AKIRA and photography for Sunrise's Jushin Liger and Starship Troopers OVA.
Double Eagle: Formally know as Studio Sakimakura, the studio was founded in March of 2011, and has worked on Bakugan (Mechtanium Surge series), Cardfight!! Vanguard, Brave 10 and Lupin III Vs Detective Conan The Movie.
V1 Studio: Founded in 2011, they worked on Detective Conan since season 14 and the movies since The Eleventh Striker.
3xCube: Found in 2011, they worked on Anpanman since season 22 & The Pliot's Love Song.
Studio 777: Found in 2012, they have worked on Bakumatsu Gijinden Roman.
8 Pan: Formally know as Creative8, the studio worked on CG animation on Hamtaro Dechu from episode 26 to the series end, Yowamushi Pedal and Lupin III Princess Of The Breeze.
A-Productions: Founded in 1965 to help out TMS during Fujiko Pro's large work load, A-Pro split off from TMS in 1976 when TMS replaced them with Telecom, from then on A-Pro became Shin-Ei Doga. This unit was headed up by Hayao Miyazaki and Isao Takahata for a while, including during A-Pro's run on Lupin III (Green Jacket).
Shin-Ei Doga: After A-Pro split off from TMS in 1976, they got 98% of their stocks, 90% of it was sold to TV Asahi, 8% of it became Shin-Ei Doga. The 2% TMS did not give out to A-Pro was put into Telecom. As of 2010, the studio is now 100% owned by TV Asahi.
Ajia-Do: Founded in 1978 from a batch of animators at Shin-Ei that just did not what to only do Doraemon when it started production the same year (the show aired in 1979), the studio is mainly used by TMS on Anpanman.
KK C&D Asia: Formed by Tetsuo Katayama and Shigeru Akagawa in 1983 because of the way Little Nemo was going, the studio mostly did shows for DiC with their biggest project being The Real Ghostbusters. The studio shut down in 2000 due to becoming too expensive for the US to ship off productions to Japan and for failing to compete in the anime market. Most of the staff now work for Production I.G.
Spectrum Animation: Formed in 1988, the studio's first job was to supervise the Koreanstudios responsible for Captain N: The Game Master (as well as the animation for season 2). The company's first (and only) big break was on Batman: The Animated Series, providing animation to nine episodes note "On Leather Wings", "Heart of Ice", "P.O.V", "It's Never Too Late", "Robin's Reckoning, part 1", "Baby-Doll", "Shadow of The Bat, Part 1", and "Vendetta" and the movie Mask of the Phantasm. The studio also did some work for Cinar and the animated pilot for Defenders of Dynatron City. But, much like KK C&D, they too were unable to compete in the anime market and were forced to shut down in 1998. Most of their staff, much like KK C&D's, now work for Production I.G.
Walt Disney Animation Japan: Founded by Motoyoshi Tokunaga in 1988 from the former Pacific Animation Corp (the company behind ThunderCats and Silverhawks). The studio, obviously, served as Disney's Japanese unit. The studio stayed open until 2004, when Disney got rid of most of their traditional animation unitsnote however, Roy E. Disney and John Lasseter mNged to keep the Los Angeles unit afloat for quite a while, and the Australia unit remained until 2007. After that most of their staff members went to work for Madhouse, Studio Pierrot or Production I.G. The ones who did stick with Tokunaga went on to become...
Noteworthy TMS staff members include (also counting their Telecom unit):executives and producers
Yutaka Fujioka: Founder of TMS, he retired in 1992note some say that he left in 1989 because of Little Nemo's bombing, however he was in a Tiny Toons staff photo shot in 1990, which debunks that. Here's◊ a picture of him, and the full photo; to compare with older pictures of him, here is a photo of him and other TMS staff members during production on Little Nemo; the latter photo is a video, but he is in the very start of the video. He died in 1996.
Koji Takeuchi: Came to TMS in 1977 from A-Pro. He is the president of the Telecom unit.
Tetsuo Katayama: He worked for TMS in the '70s and early '80s. Left in 1983 to establish KK C&D Asia.
Shigeru Akagawa: He worked for TMS in the '70s and eary '80s. Like Katayama, he left TMS in 1983 for KK C&D Asia.
Motoyoshi Tokunaga: He did some stuff for TMS, then left the studio in 1988 to establish WaltDisneyAnimationJapan, where he stayed until the studio closed down in 2004. After that, he founded The Answer Studio.
Isao Takahata: Takahata came to TMS from Toei through A-Pro in 1968, then left with Miyazaki to go work for Nippon Animation in 1972. He came back to TMS through Telecom in 1977, left with Miyazaki in 1983 to go work for Topcraft and went with Miyazaki when he co-founded Studio Ghibli.
Yasuo Otsuka: He came to TMS from Toei through A-pro in 1968 then to Telecom after A-Pro split off in 1976note He did not come to Telecom until 1977, as he was to be one of the main executives of Shin-Ei Doga. Mostly known for doing key animation on The Castle of Cagliostro and doing early drafts for Little Nemo. He also runs a TMS owned animation school, Anime Juku.
Yoshifumi Kondo: Mostly known for Whisper of the Heart by Studio Ghibli, he came to TMS in 1968 through A-Pro. He left for Shin-Ei Doga when A-Pro split off from TMS, after which he left for Nippon Animation, working with Hayao Miyazaki on Future Boy Conan. In 1980, he left to go back at TMS through Telecom and left in 1985 due to illness. When he got better, he went back to do contract work for Nippon which didn't last long. After that, he went to work for Ghibli until his death in 1998.
Takashi Kawaguchi: Did a number of things for TMS, then left to be a freelancer.
There are 2 known TakashiKawaguchis out there in the world, the later is the Ex-TMS staff member.
Hisao Yokobori: The only known member of Telecom to have a Twitter account, See it here.
She was also the animation director of three Animaniacs episodes - "Taming Of The Screwy", "Ta Da Dump, Ta Da Dump, Ta Da Dump Dump Dump" and "Schnitzelbank", as well as The New Batman Adventures episodes "Growing Pains" and "The Demon Within".
Shojiro Nishimi: Sometimes known as Shijiro Nishimi and Shoujirou Nishimi, he came to TMS in 1984, left in 2003 to work at Studio 4░C, then came back to TMS in 2009. The last thing he did at 4░C were some animated clips to a movie that he made in 2008, but never came out until 2009.
He also did Storyboards for Atlus's Catherine, whose chief animation studio is Studio 4░C. However, he did it alongside Toshihiko Masuda and Sawako Miyamoto, who were doing key animation for it (stationed at Telecom).
Noboru Furuse: A freelance staff member who has done some work for TMS as far back as Heathcliff and the Catillac Cats, anything listed here under his name indicates that he was stationed at TMS/Telecom during the time of production.
Chie Nishizawa: Worked at Telecom between 2000 to 2005, left in 2005 to become a freelancer.
Masatomo Sudo: Started as early as the 1980s, doing key animation on Mighty Orbots. He also did the character designs for Hamtaro.
Christophe Ferreira: One of, if not the only known, non-Japanese animators of Telecom. Provided Key Animation episode 21 of The Daughter of Twenty Faces and episode 34 of Soul Eater.
Mitsuru Soma: Freelance artist who has worked on a number of the Lupin III Yearly Specials and Anpanman movies for TMS. Like with Furuse, for anything listed here, he will be stationed at TMS during its production.
Yoshinori Kanada: Not officially affiliated with the company, but severed as animation director on Visionaries (with Osamu Nabeshima) and did some key animation work on Akira. Is probably better known for his work on the openings to Daitarn 3 and Genesis Climber MOSPEADA.
2011 A music video from the UK called Cartoon Style Fighting Kids aka It's Tropical: Live action X animation cross breed, produced by in the UK by Elnino and Studio 7-Machine Molle, but the live action was shot in France and the animation is done in Japan by TMS (Telecom Unit), however this video is NSFW due to all the blood shed that goes on in it.
2012-NowAikatsu: Through Telecom (Finish Animation through TMS Photo), co-production with Sunrise for the first season and the movie (the later directed by Yuichiro Yano (main director) and Keiko Oyamada (supervising director)). Production Cooperation and background work for seasons 2 and 3note episodes 4, 10, 13, 15, 20, 27, 31, 36, 41 and 48 (episode 48 with Studio Cockpit) for season 2; Episode 1 (Backgrounds), main pre intro bumper (Directed by Nobuo Tomizawa), first opening (Directed by Kazuhide Tomonaga) and first ending (Directed by Hisao Yokobori) for season 3 also through Telecom.
Slayers Evolution-R (Key Animation through Telecom by Toshihiko Masuda)
Space Dandy (Production Assistance through Telecom; Key Animation by Hiroyuki Aoyama (Episode 1, 17, 19, 21 and 26, Animation Director on Episodes 2, 10, 17 and 19, 2nd Key Animation on episode 10, Assistant Animation Director on episode 12 and Key Animation Retakes on episode 16), Kenji Hachizaki (Opening and Episodes 2, 10, 17, 19 and 26), Atsuko Tanaka (Episode 2), Takashi Kawaguchi (stationed at Telecom, Episode 10) and Sawako Miyamoto (Episodes 3 and 5))
Summer Wars (Key Animation through Telecom by Kenji Hachizaki, Atsuko Tanaka and Sawako Miyamoto. Hiroyuki Aoyama was also stationed at Telecom for Key Animation but was stationed at Madhouse for Animation Direction and Storyboards)
Tekkonkinkreet (Key Animation through Telecom by Kenji Hachizaki and Teiichi Takiguchi)
Urusei Yatsura: The Final Chapter (Animation Assistance through Telecom by Keiko Yozawa)
Limited Animation: Justified throughout the '60s and '70s, as practically everyone, even Disney was doing it due to incredibly low budgets. However like most anime, it sill largely serves as the norm. They do tend to fare better than other studios (With some exceptions as shown below).
The Mutiny: TMS most of the time ignored the domestic staff's directions when they worked on their western output, which isn't what an overseas studio is supposed to do. However, since they got payed royalties for their efforts (unlike other studios) and their decisions actually ended up making the episodes stronger, things added in by TMS' crew were left in because of it, Case in point for Batman: The Animated Series:
Bruce Timm: I think when we shipped them 'Clayface,' they said to themselves: They think they know everything, but we'll show them how do do this show. We'll change Batman's colors. We'll do special color key treatments on the villains when they're walking over the green vat. We'll blow them away.' If that's their revenge, thank you for proving us wrong. I was so happy with that episode." "The sequence where Daggett and Germs are walking over that green vat, those characters look like they're three-dimensional. They look like they're rotoscoped. When Daggett slowly turns toward the camera, the shadows really wrap around his face. It's as if they're real! They did all those colors themselves. We couldn't even ask for those colors if we wanted to. They aren't even in our palette. They had to specially mix those colors."
It got to the point where they were literally doing entire episodes (from from pre production to animation to episode direction) themselves.
Off Model: Even they're guilty of this. Mostly seen in their work from the '70s, Spider-Man and Weiss Kreuz. For more recent offenders, there's Kenichi, Sonic X, Hamtaro and Bakugan.
Production Posse: Disney exclusively worked them when their TV division first began, though by 1989 they had phased them out in favor of Walt Disney Animation Japan. This sudden availability allowed Warner Bros. to work with TMS due to needing money to pay back for Little Nemo's bombing on TMS' behalf, who used them for many of their shows throughout the '90s (Tiny Toons, Sylvester & Tweety Mysteries, Animaniacs, Batman, Superman).
Troubled Production: Little Nemo aside, Filmation's Zorro cartoon was plagued with these. The least of which being a small time frame for the first episode (five weeks, according to Lou Scheimer himself in "Creating the Filmation Generation")