Turning Points in the Industry
Computers have long been used in many aspects of animation production, but people both inside and outside of the industry needed to be shown what computer-assisted animation could do. GHOST IN THE SHELL was a breakthrough film in terms of its application of computers. Likewise, the use of computer graphics for Sharon Apple's concert and some of the aerial combat scenes in MACROSS PLUS was both innovative and well received.

Sharon Apple's Concert in MACROSS PLUS was one of the most innovative blends of 2D and 3D animation at the time.

Probably one of the biggest pushes towards computer animation has come from a seemingly unlikely place—Studio Ghibli. When Miyazaki's studio started to use computers, the rest of the industry started paying closer attention. When MONONOKE HIME was said to make heavy use of computer-assisted animation, professionals and fans alike waited to see what the end product would be. Would Miyazaki's art reach even new heights of excellence or would he fall prey to the overuse of this new technology?

Left: Most of MONONOKE HIME was colored with computers, leaving cel collectors at a loss. Right: Imagine trying to animate this guy without computer assistance. This spider creature was just one of the many uses of digital anime in MONONOKE HIME.

MONONOKE HIME went on to become the highest-grossing anime film in Japan of all time, surpassing the record set by Ghibli sibling PORCO ROSSO several years earlier. Clearly, computer animation had arrived.

How It's Done
MONONOKE used a wide variety of digital animation techniques. For example, much of the painting was done via computer. Also, computer-generated backgrounds were used in various scenes. And for some of the more difficult shots to animate, the studio turned once again to its computer systems.

Here's a composite shot of Ashitaka. (1) First, this image is computer painted. (2) Then it is combined with a computer-generated background. (3) Finally, the "worms" on Ashitaka's arm are added to produce the finished shot.

However, it doesn't end there. The "worms" themselves are something of an achievement. (1) The first step is creating a wireframe 3D CG model. (2) This frame is then covered and colored. Notice the very 3D appearance. (3) Before being added to the composite, the worms are repainted to give them a more "traditional" two-dimensional appearance. CG was also used in modeling Shishigami's alternate form, as well as the transformation scene.

To the animator's credit, it is often very difficult to spot digital animation unless it is pointed out. Digital painting is designed to look very much like traditional cel painting, and it does. And as outlined in the example above, the digital animation is skillfully adapted to give a more traditional 2D feel. The snakes on Ashitaka's arm don't stand out—they were not meant to. Digital animation is simply a tool to an end, which is to produce the best product possible.

Upcoming Computer-Assisted Animation
Probably the most widely touted use of computer animation in a new feature is the new VAMPIRE HUNTER D film being done by Madhouse Studios. This incarnation of D is supposed to retain the gothic atmosphere of Amano's original work, including complex backgrounds and very detailed character designs. In the past, such a project would have been much more difficult, if not impossible, but the judicious use of computers is allowing D to be animated in a form that is much truer to his original incarnation.

The directors of D and JINROH employ the use of digital animation in very different ways and to achieve different effects.

Oshii Mamoru's new film, JINROH, also makes use of computer-assisted animation; like its predecessors at I.G., it is a mixture of both the subtle and the dazzling. In the past, Oshii has been known for resisting the use of digital animation in his works, but like many others, it seems that he is coming to understand and appreciate the role of computer-assisted animation in the industry.

Towards the Future
As the techniques become more sophisticated, the expectations of the viewing audiences will increase. Just like the rest of the entertainment industry, anime must keep moving forward if it is to continue to thrive as a viable medium. Will this result in an increase in the use of computers in animation? Most people believe that this is not only likely, but inevitable. However, these same people also believe that it's not a bad thing. While there may be some famous directors and others who resist the changes and advantages technology can bring, there will be those who embrace it and try to find a place for it in their plans and productions.