The prosperity of the Japanese animation industry has in turn squeezed the productivity of Japanese animators and reduced the production quality of most animation projects. At the same time, the salaries of low-level animation producers have not improved well for decades, and it is still difficult to catch up with the employees of the lower-level companies in Japanese society.
This is a cliché in the Japanese animation industry, but if we turn our attention to other aspects, such as voice actors, they should also get more opportunities to appear in the number of Japanese animations, then their income environment has improved?
The answer is still no.
As the scale of the Japanese animation industry expands, the demand for animation production personnel in Japan has also increased almost proportionally, after all, the productivity of the middle and lower employees in animation production has been squeezed out from the past. If you want to increase production capacity, you can only increase manpower, and the growth of talents is far from keeping up with the expansion of the scale of the industry, outsourcing has become an inevitable trend, and a large number of outsourcing that is decentralized abroad has in turn limited the remuneration of Japanese personnel.
But the voice actor industry is not the same, due to the existence of the voice actor hierarchy, even if the top voice actors dubbing animations, except for a very few elderly voice actors outside the specifications, their remuneration will not be outrageously expensive. On the other hand, the voice actor industry is far less tight from the number of people at the bottom to the demand, and there is still a margin from the bottom to the top voice actors.
To put it simply, many voice actors are still worried about not having a job, which is why you will hear someone say that it is more cost-effective to ask Japanese voice actors than domestic voice actors.
To exaggerate, cutting animation in the low-level position in animation production is almost a "hand on the line" position, as long as it is not a painting talent that is so poor that people are angry, after learning how can you go to the animation company to chase dreams - others are still afraid that you will not come.
But the voice actor is different, from the idea of "wanting to become a voice actor", there is only a single wooden bridge left in front of you, and the bridge is still crowded with people. For today's voice actors, the starting point of this canoe bridge is called the Voice Actor Training Center.
In the 1980s, after the rise of Japanese animation, voice actors became a hot profession again, and voice actor training centers mushroomed. From the voice actor firm's own establishment, to the academy related to acting, to the independent voice actor training institute, it is the main source of new voice actors born later.
However, under the difference between the difficulty of breeding and the demand for production capacity, the difference between the newcomer voice actor and the newcomer animator is not a star and a half, not to mention that the voice actor training institute is only a training institution, and even cannot provide any qualification certificate, which means that the former may not be able to successfully enter the voice actor firm after graduating from the training institute.
The only thing that is similar to the two may be the salary when they first started working, which is mentioned in the work "White Box" related to the Japanese animation industry.
But more people who want to become voice actors have fallen into the step of voice actor training, which is basically no different from various interest class experience day trips. Only about 10% of those who graduate from voice actor training institutes will choose to work as voice actors and find voice actors who are willing to accept themselves.
The voice actor office is the second canoe of his voice actor career, and the well-known Voice Actor Sugita Tomokazu Sugita almost quit the voice actor industry due to the dissolution of his office when he was a newcomer. Perhaps it is these experiences that have led some voice actors to choose to set up their own offices after becoming famous.
If a voice actor training institute is a training institution, then a voice actor firm is an intermediary company.
Many animation companies will not provide basic salaries for mid-cut animation personnel, and voice actors will not provide fixed remuneration for new voice actors, which is basically a broker who only introduces jobs, but does not interfere with life or provide planning.
When the firm receives a job assignment, it will arrange for its voice actors to audition. As for whether it can be successful, or even whether it can get the opportunity to audition, it depends on the new voice actor himself. Therefore, "mixing faces" is also a necessary path for newcomer voice actors.
The income of the new voice actor itself is guaranteed, but the premise is to get a job and be considered a "voice actor".
For voice actors, the debut is not based on the usual "first dubbing", but is considered an active voice actor by the Japanese haiku and is included in the lowest level of the voice actor rankings, which is considered to be an official debut.
At this time, the voice actor's salary for each episode of animation has a minimum guarantee of 15,000 yen, and as for how many 15,000 yen can be obtained, it depends on how many opportunities the new voice actor can seize.
But this hierarchy that guarantees the income of voice actors, in turn, limits the income of top voice actors, in general, the waterlogging does not die, and the drought really dies.
In order to get more opportunities, voice actor training institutes and voice actor offices will desperately squeeze into the Japanese capital circle, which is also a heavy burden for newcomer voice actors, after all, the high cost of living in the tokyo metropolitan area is obvious to all. Today's harem king Matsuoka Zhencheng is a typical voice actor training worker.
On the other hand, in the voice actor rating of the Japanese haiku joint, the active year of the voice actor occupies a large proportion, which can be regarded as the "working age" of the voice actor, but it is far less mixed than the working age, because just dubbing ABCD to passers-by can not be called "active".
This system can not be said to be unkind, after all, if a celebrity only dubbed the passerby ADBD can also be promoted all the way, then his final end may be that even passers-by are not worthy, because this kind of role that can be matched by any new person must only pick the cheapest and not the best.
15,000 yen is the concept of "one and a half" for mobile game players, and even if a newcomer voice actor can join the animation project that appears once a week, it is only 60,000 yen a month, and finally the handling fee and tax part of the firm are deducted.
Calculated in this way, the income of the newcomer voice actor is actually less than half of the daily cut animator, who can only eat raw egg bibimbap every day in the cheap rental house provided by the industry welfare agency.
Compared with the relatively missing industrial chain in China, although Japan has a clear method of chasing the dream of voice actors, and the new voice actors also have a stable and predictable promotion route, based on the long working life of voice actors, an extremely stable class has been formed over the years, which will undoubtedly make it difficult for newcomers to move forward.
The most obvious manifestation of this is that in recent years, the rise of new voice actors has hardly been seen, in addition to the high-yield and large-line project of mobile games, in traditional fields such as TV animation, Cast watch is always a group of old acquaintances.
Every new voice actor is doing their best to get closer to their dreams.
Text: lock