A large amount of worldwide animation enterprises began to send works in Asian countries since the mid 1970s, although the name of the facilities was not shown in the credits. In the early years, in any case, they were only retakes or finishing works on a limited number of episodes. Usually, all the drawings were then shipped via sea in special containers and stored into huge archives placed all over California, ready-made for the post-production steps. In 1957, there had already been a project for a Jay Ward's cel-animated series with a Japanese businessman, but actually it never went according to plan.
Wang Film made most of the American TV shows seen up to 1985. It was founded by James Wang under the name Cuckoo's Nest Studio in 1978, when Taiwan's cartoon production was still almost entirely controlled by Tatsunoko and Nippon Sunrise, which were sub-contracting there parts of their titles. After a short time, Steve Chen and Jack Jiang became the first draftsmen to be attracted by that new entrepreneur, this because the Japanese works were discontinuous and there were frequent off-seasons in which they often were not busy anything; Bunis Yang, today head of the team at BV-Animation, joined them after having finished sketches for "Gatchaman II" and other anime. Shang·Shang and his owner Cheng Guang Li had big troubles about it. Hsin Hong and Gideon ran identical problems. Ying Ren Cartoon Centre, represented by Chen Xin Hui, worked primarily for Tokyo Movie under the strict overseeing of Daikichiro Kusube. Chinese Cartoon, in conjunction with Toei of Japan, premiered a movie named "Sanguo Yan-yi", but with no good result. Urged by William Hanna, Cuckoo's Nest started so to do cartoons like "Scooby Doo" and "The Flintstones", as a myriad of syndicated TV series tailor-made for the Western children's audience; the assignments from the U.S.A. turned at full forces and there were no dead times. Yuan Dong, set up in 1968 and better known out of the Asia as Far Eastern, could be considered as the oldest and still active animation firm in Taipei. After years of experimentation and educational stuff, it started its OEM-works processing in-betweens for Hanna-Barbera (through Wang Film) and opened a parent company at Wuxi in order to receive works from Japan. J.Wang
James Wang
John Conning and Al Gaivoto were amongst the first animation supervisors to travel between Seoul and Taiwan. Prior to Asia, Hollywood film majors tried to make their works in Australia, Spain and Poland. That expedient was kept hidden through the use of fictitious names. This business strategy was the main cause of numerous strikes from the personnel of the American cartoons studios.
Nelson Shin
The animation industry had become firmly established in Seoul. Tayk Kim had left Dong-seo in 1982 and moved at Take One, a new facilitiy run by Jerry Smith, a long-time friend of William Hanna. Take One did most, if not all the fulfillment for Hanna-Barbera, Ruby/Spears, SEPP and numerous foreign clients. By 1980, Steven Hahn operated with his new agency in Los Angeles; Mi-Hahn signed an important deal with Marvel Group. Akom Production, the largest service supplier in Seoul, was quickly organized in 1985 by Nelson Shin. Akom was built on Marvel's request, since Hanho Heung-up had stipulated an exclusive contract with Ruby/Spears. Hanho was launched by Steven Hahn in 1984; most of the staff came from Dong-seo. After Take One bankruptcy (circa 1986), Tae-Soo Kim and Larry Smith –a son of Jerry Smith– founded Big Star to carry on the work for Hanna-Barbera. Take One was bought out and, later on, merged into Hyun Young Enterprise. Those people of that dissolved company in Korea, at least certain Americans of it, have then engaged new labor force in Canton and Hong Kong; their animators were trained by Italian artist Fabio Pacifico in order to start producing "Sebastian Star Bear", completed in 1991 after five years of hard work. At that point in time, Asia had a bunch of prolific studios spread throughout Tokyo and South Korea as well as in the Philippines. However, there were really a mere handful of names to be remembered in China. Shanghai itself had just a pair of renowned installations, including Morning Sun (Chaoyang) and Shanghai Animation Film Studio, which for decades produced chiefly governmental propaganda short-films. 
MOM Production (then renamed VideoTokyo) was set up by the late foremost puppet animator Tadahito Mochinaga; he's also among the people who built the still existing Shanghai Animation Film Studio. An other Japanese stop-motion workshop was Yutaka Fujioka's Tokyo Ningyo Cinema; it's important because it will morph in Tokyo Movie (today known as TMS Entertainment).
Even while North Korea has been under US-led sanctions that include a ban on commercial trade, several segments of US animated films have been relocated to the country. Seoul's studios allegedly sub-contracted to North Korea portions of the TV-series that they had originally received from the United States. At the present day, only a few Japanese producers outsource work in South Korea because of the increasing cost of the job. Americans moved in the emerging Philippines, where Toei established a steady and durable joint-venture with Engineering Equipment Inc. (EEI). Marvel did some of its TV-series at Burbank Films, a Sydney based company with a division in Makati City (Metro Manila). Fil-cartoons, managed by Jerry Smith, had a small separate unit to animate TV-series for the Australian Disney's branch. Toei also did agreements with Malaysian Lensa Film and Thai Kantana Animation. Besides the regular support of Pyongyang's Studio SEK, France's Pixibox owns facilities in Ho Chi Minh, Vietnam. In addition, Taipei's principal competitors continue to open a lot of smaller service studios in mainland China, with the intent only on securing cheap labor. Accordingly, Bobby Hsieh, the president of Hong Ying Universe, moved its production arm at Suzhou and opened a new satellite studio in Nanjing, keeping in Taiwan the sole administration board along with a small core of layoutmen (as Hung Long Studio). For the same reason, the Koreans are appraising to inaugurate a future collaboration in Brunei. Also India is trying to enter the entourage of the most greater Asia-Pacific players, especially in the development of CGI and Flash segments. T.Mochinaga
Tad Mochinaga
Disney Animation (Japan) Inc. was founded in 1989 with the acquisition of Pacific Animation Corp. (PAC) and the recruitment of key members from the disbanded animation department of Sanrio Film. New and more modern facilities were created in 1991 and closed in the year 2004. Motoyoshi Tokunaga, ex-TMS producer and Disney's top manager, forms his own company named The Answer Studio.
J.Y. Song
Jung Yul Song
Between 1965 and 1968, Nobuhide Morikawa was sent at Seoul to aid the apprenticeship of young animators in order to produce TV-series for Daiichi Doga. Most of the present Korean animation directors initiated there their career. It wasn't too long after Morikawa moved in Korea that another start-up team began his operations. International-Art (Guk Je-Art), owned by J. H. Song and headed by Tayk Kim, commenced re-doing frame-by-frame a series of single reel shows –on changing b/w film into color– featuring US classic characters such as "Felix The Cat" and "Betty Boop". After the abrupt closure of Color Systems in the United States, Mr. Kim and his crew went on to do ink and paint work on behalf of Ralph Bakshi. The job was brought there due to the insistence of Steven Hahn, a Korean-born that lived and worked in America. In fact, he knew very well the efforts of Tayk Kim, and that the procedures were more or less the same ones of the previous recolorizing era. Andy Kim and Gil Hwan Kim, respectively founders of Toon-Us In and Saerom, grew professionally at the drawing desks of Miroh, a pool of novice artists put together by Fusahiro Nagaki around 1973-74. Jung Yul Song (president and CEO of Sae Hahn) says that he was employed at Se-Gyeong in 1976. This company achieved OEM-works for Toei Doga under the guidance of Jouji Kikuchi. Finally, Se-Gyeong released "Dalyeora Majeonga-X", a poor and unauthorized version of the widely famous "Grendizer". During few years, certain Korean studios turned out dozens of films with props and characters copied by the anime counterparts. Daiwon and K-Production obtained theirs first notable jobs for the Japanese market in 1978, and there, for the first time, Tokyo's main studios hands out the realization of a number of key animations to the Korean manpower.