While worrying about the aging of the animation industry, it will mark the anime business and the current state of the market

What kind of person, what kind of work are you making as human resources to support the animation industry? And what is the current situation of the business and market surrounding the work? "Anime · Business · Forum +2012AtA · T · X Inc. (AT-X)President and CEO Keisuke Iwata gave a lecture on the theme "Animation Content Input and Output".



Keisuke Iwata (Iwata):
"Input" is a producer focused on creators, creators who produce things. And, the output is the person who makes the main work as to how to output the work to the world and change it to the measure called capital. It will be a wonderful expansion when the relationship between these two parties becomes Win-Win.


The data to be published today is just what you can find immediately if you look in the net. First of all, it is from what the animation market is. this isMedia Development Research InstituteIt is data of. It is about how the market such as so-called theater animation, cell and rental video software, TV animation, video distribution, etc. has been changing. As you can see, it shows a tremendous growth rate since 1990. It has just increased to 241.5 billion yen in 2006. So total production volume has been growing, 2010 is 229 billion yen slight increase from three years ago, but it has not returned to the peak yet.


This isHuman mediaIt was on the homepage of. The animation market is 218.8 billion yen, I think that this number is suitable as a grab that it is a market of this size. Sales of video software is 101.3 billion yen, advertisement revenue is 78 billion yen, video distribution has increased and it is becoming 15 billion yen scale. And movie box office is less than 25 billion yen. Considering that this is the Japanese anime market, it is not that big market. There are places like having debts like billions, bills, making a big profit, buying a team like Mobage, but in the market itself it is not that big . Compared with Disney and Warner, the major in the world, digit is symbolized that everything is different.


This figure is the so-called gross value at the right end, but since it is 250 billion yen in 2006 and 22 billion billion in 2010, it is the same as the number issued by the first survey institution, and it is generally on this scale Please understand that it is that there is.


This is the numerical value that I also made out last year, but the animation production company, the so-called animation studio 118 company revenue trends, graph unit is 1 million yen. So 2007 is the peak, and 179 billion yen has flown to the animation studio. Based on this, Japanese content is being produced. However, in 2009 it is 164.8 billion yen, I think that it can be said that a considerable amount of animation studios are being pressured. As there are 118 companies, there is only about 1.6 billion yen when averaging for each company. It can be said that how economical Jiban is fragile.


So, I wonder how much the Japanese anime market is, how much share is divided by TV and box office, and how much the base of the production company is.

Next, this is the funniest data I found this time,Apricot ComplexIt is what I found on the site called. By "cumulative ranking of director animation work sales", the name of the director, the number of sales figures of the picture software, and the breakdown of the work are written. Today, I think that you can tell how much you are familiar with animation, but I think you know that Miyazaki's "Chihiro", or "Spirited Away", you know, Mr. Fukuda Do you know who is the "species", "species death"? Welcome, this is amazing. "Gundam SEED" "Gundam SEED DESTINY" It is said that it is data for people who know this much.


I tried to distinguish this by original. Pink is original, "Spirited Away" or "Eva" "Gundam" "Revital". Yellow is a comic, which is "steel alchemist" or "Hidamari sketch". And it is the game original, "Pokemon" that put a thin blue. And green is Novell original.


Recently, recruit hadmedia FactoryMr. Kadokawa was acquired by a company called.The price is 8 billion yenAnd it was listed. Novell does not have much market share at the moment, but I think that he will pay attention in the future. In the newspaper etc., it was written that Mr. Kadokawa's novel share is between 60 and 70%, but in fact this is actually more than 90% weaker, and for the light novel, Mr. Kadokawa will be holding down, novelize animation I think whether the strategy will change depending on the company. Although Media Factory was originally a publishing company, it is from Pokemon that it grew big. When I started Pokemon, when I was looking for various clients, I could not find a record company, so I decided to do all the sound source and card game with Media Factory, so Pokemon got stupid and the current Media Factory's It is a thing that laid the foundation. That media factory is also very strong for Ranobet, so it is said that Kadokawa bought this time.


When you see it at once, it feels like "Original is strong!" However, if we put this as the number of titles, for example Gundam as one series title, and Eva also put it in series, we will have 20 comics, 14 original, 5 Novel and 5 titles of the game I will. After all, the manga original is strong, it is a place where various kinds of jewels gather. Since comics are less expensive than animation, it can be seen that it is an effective means as marketing. Original is original and 14 and I am doing my best there. I think that it can be said that Novell will grow considerably in the future.


However, I am worried so much that everyone wants to check their data on the net by myself, for example, but I want them to overturn the data, excepting the three titles of Studio Ghibli, Eva and Gundam in the original, the original Market is totally few. Really few! Looking at the original production ability from the measure of capital and money, I am worried that there is no spread. Also, if it says more, Mr. Miyazaki and Mr. Anno are becoming a good year and that the next director who can make original is not appearing. A director who can mobilize one million people is expected.

And the next data is for each age group by examining the birthday of the director. Two in the 1940 's, five in the 1950' s, in the 1960 's, this was 14 people in 1967 and one in the 1970' s. Ever since, I feel the fear that young people will not come out even after 10 years, for example.


Miyazaki Hayao was born in 1941, and coach Tomino Yoshiyuki in 1941. Most in the 1960s, director Hideaki Anno of Eva, and coach of Gundam SEED Fukuda Kimitsu was born in 1960. Director Akiyuki Shinbun of Bakemonogatari, Director Shinko Takamatsu of Gintama was born in 61 years. Director Abe written by Hiroshi Abe who is good at jumping stuff, this person is a rare one who is from science and is an anime director, but it is also 61 years. After that, I concentrated in 66 years and 67 years. For example, in 66 years Kazuya Tsurumaki of Eva New Theater Version, Shuji Mizushima of Gundam 00, Shinya Ishihara of "CLANNAD", Goro Taniguchi of "Code Geass - Lelouch of the Rebellion", Kenji Kamiyama "Ghost in the Shell STAND ALONE COMPLEX" Morio Asaka of "Chihayafuru". I think that it is undeniable that the generation is generating such a good manager. I think that this was an environment that would bring them up to the social background of those days. Most supervisors are in existence by 1967, and it is the present situation of the current director that only one person is in the 70's. By the way, born in 1970 is Mr. Tetsuya Nomura, the director of the game original work "Final Fantasy VII Advent Children".

Because I was born in the 1950s, I am already 50 years old even though I was born in the 1970s, it really is aging society. Even those who call your age, when you examine the time when your works celebrated their fame, they are appearing in the world when you are younger. I am wondering if I should consider the aging considerably. What I most wanted to say at this conference is this.


Up to now I've been looking at inputs, but then I picked up some of the situations as output and what will happen from now. This "market of the media market" table, Nomura Research Institute ofNRI Media ForumI pulled it from. According to Nomura Research Institute's forecast, in 2016, 20% of the total video viewing time will be able to enjoy all the video content on one television with PC functions added to smart TV, digital TV, We predict that 20% will be through those devices. Then, the field that thinks that such a thing is the most unpleasant is also the same as Suwa-san of the Yomiuri TV that comes out after this, is a terrestrial wave. I think that "Is it possible to watch TV other than radio waves?" Is exactly what causes the terrestrial wave of the future to become uneasy. As the industrial world, because the television has been sold with digitization stopped analogue, it is because we are aggressively promoting smart television because we have to make the next one quickly. I do not really know whether this is popular in fiscal 2016, but Nomura Institute of Research is predicting this way.


Next, what is the number of viewing households? In fiscal year 2016 smart TV will be 7.7 million households. Together with existing Internet TV, we anticipate that 15 million households will be watching on the net, watching on VOD, watching on the ground wave and watching on the satellite.


So what happens to pay multichannel I am doing business now? What is going to happen to the market where you enjoy paying the content and enjoying the content, you are viewing that it is "flat again". This graph is whether subscribers with only paid multi-channel channels will not grow in competition with various video services, such as being deprived of market share by mobile and tablet systems.


On the other hand, this table is what the mobile market will become. People who work in this industry people often have smart phones, but there is still not much to see on the whole. It is forecast that it will grow further and will reach 800 billion yen in fiscal 2016. What is pushed out in this, but the red part in the table is information service system, news and cuisine. I think that blue is also entertainment system, video and Mobage are here, but this is big.


So, what will become of VOD in what is going to grow in circulation? With predictions of smartphones and wireless infrastructure, VOD for handsets will grow further, and this forecast is that output will expand more and more. If mobile terminals grow by 36.1 billion yen in FY 2016, VOD of TV by 47.3 billion yen, VOD of PC to 46.8 billion yen. Looking at this flow alone, I think you can see that video acquisition and VOD will grow from smart TV and mobile terminal output.


The radio band that was originally used by the broadcasting station broadcasting was stopped in July last year, so it got empty but it is now promoted to use multi-mobile broadcasting (mmbi) using this available bandwidth It is being done. What are the differences between smartphones and tablets? The opinion is big in the industry. "Is not this painful?" "It does not work" is overwhelmingly strong, but Nomura Institute of Research wishes to be better to the better one, the stock shop would like to think about the better one, it will grow That's what I say. I think that I am very optimistic about what the Inputter will make and what kind of content is provided. If this is taken for several years, I think that you can understand that "Think tank thinks it was like this". Otherwise, remember that Iwata was saying the appropriate thing at that time (laugh) I thought that it was nothing but this data, so I dared to put it here.


This isHakuhodo DY Media PartnersIt is the data from the media fixed point survey 2011 which was issued by Mass 4 medium, television, radio, newspaper, magazine, and how much you touch each day in connection with the Internet. In the 2007 survey, I've been in contact with such media for about 32 hours, about 5 hours. If this is the 2011 survey, it is increasing to 350 minutes. It is said that this area is the limit of time to touch the media. Among them, the left is red, TV, but it is overwhelmingly strong. From 2007 to 2011, it has changed little from 163 minutes to 161 minutes. The stock shop does not look out or TBS is suffering, but it is strong that the media that exerts such a power even if it does not become bad after all. As I mentioned earlier that the terrestrial wave is jolly flying over other media, the strong one is still strong. It is the newspaper that is really exciting, the third from the left. It means that it has been depressed since 28 minutes a day, and now only 23 minutes a day has been read. Each newspaper company is moving to net media while trial and error, but there are more people who see the net than buying the page. Now the newspaper company also gives videos to the net and is working on the net. Again, the biggest strength of the newspaper company is correct information, trusted information. I think that it is the newspaper, communication company that is in the opposite place opposite to 2 chan. Although it says so, interesting thing is that when a news agency or news company issues news, there is a merit that instantaneously you can see how various media were communicating, as it is on the 2nd channel. Then, which one you believe will become a problem. 2 chan was also said to be "graffiti of the toilet". Certainly the information is cobblestone, but I think that how users change in that situation is being questioned.


This data is based on the yearly viewing of media contact time. After all I think that it is obvious at first sight that women are watching television from daytime in their 50s and 60s. You might be impulse buying by looking at mail-order programs. Even young people are looking at it so much. However, adding the number of the rightmost green and next to it, the number of net connections from the PC and the mobile phone is about 15 to 19 years old, men in their twenties, men in their forties, half in their forties, The share of the net has exceeded 50%. Women also have a lot of TVs in their 30s, but I think that young people say that they are taking more time on the Internet than watching television. That means there is one side that if you expect the smart TV to grow up as expected, you can not be terrified by the terrestrial wave. As far as I can see where cost can be spent, television boasts overwhelming strength, but how do you use the content through output, screen terminal in the moment I think that it is commercial or NHK that is pressed for.


This is the broadcast frame information of the animation which is broadcasting recently. On the topTantei Opera Milky Holmes 2nd Actis. At the bottom AT - X is first shown,High School D × DIt is a work called. There are various stations. Although I'm from Milky Holmes, Tokyo also includes TOKYO MX, satellite BS diet, MBS in Kansai, TV Aichi of TV TOKYO, Nikko TV series, tvk in Tokyo area, TVQ in Kyushu and AT - X in Kyushu.


I tried to divide this by series. Although it is not "the last escort fleet," the network is powerful on television. In the case of TBS, the TBS of the key station is on top and the MBS and so on are linked, so far it has never exceeded the network area. It was impossible to broadcast the work Tokyo TV had been broadcasting on NTV series. However, such walls are finally breaking. Milky Holmes is supposed to keep Tokyo in the Union of U stations, two BS stations, three stations including AT - X tele - east line, and even Nico Dance. I think high school D × D is like this and I think that the wall between the series will be breached more and more like the same way.


Continued, "Inputter & Outputter". I talked about the situations where the input side and the output side are situated, but I cite the themes that we have to think about from now on.

One is creators and business responsibilities. Since there are many patterns to make production committees now, it is OK to think that it is the production committee. The creators are those whose heads are directors, those who transform business into money. Both of them have many things to hit in relationship theory. Under such circumstances, how far can creators be able to pass through, the committee should put emphasis on marketing to what extent can I go to creators to make it successful? The roles are different at all, but I think that there are things that you must absolutely protect on the making side. Is it whether it is commitment to the work or is it to keep the deadline according to the contract schedule?

This is easy to say, "Inputter and output desired by the user", which is what the user wants to see through what. Is it a home TV, a smartphone, or a tablet? I need to think about how I want to reach my favorite content, both the inputter and the outputter. For example, if mobile content such as mobile phones and smartphones are desired for this content, the creator will obviously have to make a screen that is conscious of that small area. I think that it may be batting with what I want to make, but I think that it is better for the user to see it.

To the extent that it seems to me how far it is to say, "Do listen to what we say because we are tailoring this business so much" as well as the business making side. It will become exhausted if you hit the sideways with a badger, is that all you ought to do? That is the question from me.


Although I mentioned that the original work has the most comics in the classical author, in the manga it is a manga artist and publisher. Classical author also recently awakens to copyright rights, and it is beginning to come out everything. "This is nice, I will not accept this" "Such casting is unpleasant". Certainly under the current copyright law, moral rights are strongly protected. But, on the other hand, let's think about the user. It is that there are also writers who are a bit irritated. Once you become successful or name yourself, some people will be selfish. This is also the president of the company, so it can not be helped though. How about becoming an adult a little more, it is the authority of a classical author.

As for how this is handled by the outputter, animation is like "vegetables and fish" if "this title, wherever you go there you will understand all the price" is not there . As usual, it is in a completely undeveloped state. This means that we should talk to whom each of classical authors and producers 'committees, publisher's speculation, television station' s speculation is complicated. From a foreigner's perspective it looks really strange, is not it? "Japan is really a Galapagos" is a figure that is visible from the major.

Finally, it is about how to make things in the relation theory between individuals and organizations. In the world of animation, I think that it is incomprehensible to accomplish no matter how advanced it is for individuals. Person 's thing converges on an individual level to the last, I think that it will not work if the output, the organization side and the creators do not get together at the end. A company called AT - X has also invested in more than 150 titles, but I am holding a hand in my hands and talking.

The story is back, it is the place of the animation work sales ranking. Many directors come and I think that it is well divided with the director who is good at the original system and the director who is good at comic series


Among them, I am doing everything as I want to do individually, so I think that Miyazaki and Mr. Anno are representative. There are places where you really do what you want and do not consider the circumstances of the output. When doing the theatrical version of Eva in TV Tokyo, completion is prolonged, Mr. Haruki Kadokawa opens a newsletter and says "I decided to release a little bit". "But it is the producer's job to do that," Amano's stance. It is a director that everything is consolidated in person himself.

There is Mr. Yuyama doing the director of the game original with "Pokemon". "Leda" of the original work has only 3% share, everything else is Pokemon, but I think that Mr. Yuyama's stance is functioning like a line producer of production rather than director. Miyazaki, like Mr. Miyazaki, is not raising everything from the original, but Yuyama comes into the set campus, where new characters emerge in the game world, and the world can be seen. It is a director who is doing at a position close to the outputter rather than an inputter.

The interesting thing is a director who is good at comic series. For example, Mr. Abe. Although it is written as "鰤" about BLEACH, basically there are original works of comics, so it will be the place to make animation by adding their own originality in a form that makes use of it. However, although manga is drawn in a weekly publication, since a book only comes out in a few months, it catches up. So I will make the original BLEACH, but at that time I ask the original author "OK?", But I was told that "Because the taste is different, change this place", "This is Wow! "OK gets out. So I think that we must think about how we face classical authors.

AT - X is the only anime premium channel in the CS industry, the biggest feature also has an agency function, taking the initiative from the user 's media mix and doing secondary revenue income It is a place that is raising profits. I am also doing the producer business, and I also have the function as an exact inputter. I am going to say cross-media strategy function, we are also doing various developments, so if you have something I think you can consult us.