【Animation Sheet (アニメーションシート) / Exposure Sheet (エクスポージャーシート) / Filming Sheet (撮影シート)】

Definition

The timesheet is an instruction sheet that records, frame by frame, the acting, dialogue timing, camera work, and special effects of a cut.

• Animators and in-betweeners rely on it to create the drawings and complete the cut.
• It functions as the blueprint of the scene, ensuring that timing, motion, and sound are aligned.
• Each studio may have its own conventions, so if you join a production, always follow that studio’s method.

A sample file can be downloaded from the Files & Resources page.

*Note: The information presented here is based on professional experience. Procedures can vary depending on the studio or production. If you are ever working on-site, always follow the specific methods used by that studio.

If you want more detail on how to fill a timesheet, please visit the animation notations page.

Structure of the Timesheet

A typical timesheet includes:

• Frame count (24 fps standard)
• Action column (filled by the key animator with timing of poses and acting)
• Cel columns (A, B, C, …) for layers of animation
• Dialogue & lip-sync notes
• Camera work instructions (pans, zooms, section ranges)
• Special effects and compositing notes
• Memo section for additional instructions

Workflow

1. Initial fill by key animator (Genga) → Action column contains key drawings (A, B, C…) with numbers for each drawing.
   • A dot “・” between numbers means an in-between drawing.
2. In-betweening staff (Douga) → Translate the key animator’s action notes into cel columns (A, B, C layers).
   • Each cel column starts with number 1 (continuous numbering per layer).
   • Numbers must be sequential with no gaps or duplicates.
3. Numbering rules:
   • Even if key animation starts at “3”, in-between numbering must begin at 1.
   • No decimals: drawings like “3.5” or “6.5” must be renumbered into integers.
   • If key drawings have letters (e.g., A-あ, B-イ), they must be converted into proper numbers.
   • The last drawing marked “END” shows the total sheet length, vital for production management.

⚠️ Errors like missing numbers or duplicates cause chaos later:

• Finishing: “The last number is 20 but there are only 19 drawings ー missing frame?”
• Filming: “There are two B-3s, which one should I use?”

Lip-sync and Acting

For mouth movements:

• Shapes are specified for closed mouth ① / mid ② / open ③.
• These are aligned with the dialogue timing noted in the sheet.

End of Cut

• After the final frame, a thick line or shaded area is drawn to indicate the end of the cut.
• This prevents confusion about the total duration.

Common Notations (Conventions)

Camera Work Range

When specifying camera movements, two elements are combined:

1. Section indication (区間指示) → a line with an end point symbol (端点記号) showing where the movement stops.
2. Explanation in writing → describing the action.

• The end symbol doesn’t mean a specific frame number, but the range of frames where the action starts/ends.
• Animators often use letters (A, B, C) to mark sections, keeping the “genga sheet feel”.
• What matters is clarity and readability for all departments.

Best Practices

• Write large and clear numbers and symbols. Small, messy writing leads to mistakes.
• Always use sequential numbering starting at 1.
• Add memos if exceptions occur (extra in-betweens, removed drawings, adjustments after animation check). This is professional courtesy and prevents errors later.

Role in Production

• One timesheet per cut → serves as the master plan.
• Used daily by:
  • Key animators & in-betweeners (timing, drawings)
  • Directors & staging staff (acting, motion)
  • Filming/compositing staff (camera moves, special effects)

It is as essential as the storyboard, the storyboard shows the vision, the timesheet makes it technically executable.