In conjunction with the TokyoAnime Slate 2017 EventNetflix also collaborated closely with Japanese animation studio Polygon to showcase current mainstream animation production technologies and related processes, explaining how animations such as "BLAME! (The Explorers)" that Netflix collaborated with were produced.
Founded 34 years ago, Polygon is currently Japan's largest animation production studio. Its works include the animated film "GODZILLA: Monster or Planet," which will be released in Japan soon, as well as animation, CG special effects, and special-purpose video content produced in collaboration with manufacturers such as Netflix, Amazon, TOHO animation, Hasbro, CAPCOM, King Records, Kodansetsu, SEGA, LucasartsFilm, and Disney. With the recent rise of virtual reality content, Polygon has also produced related works.
Currently, Polygon's international staff accounts for approximately 20% of its total team size, totaling approximately 400 people. Of these, approximately 300 are content creators responsible for 3D modeling, CG effects, background production, and animation cutscenes. Polygon also has its own translation team, a processing and programming team, and a proprietary data management system. On average, approximately 20 titles are in production at any given time. At a rate of 2-3 titles per month, this translates to approximately 200 titles per year. Due to its multinational partnerships with global content companies, over half of its revenue comes from overseas markets.
This time, under the guidance of "BLAME!" Deputy Director and CG Director Naohiro Yoshihira (Tady), we gained a better understanding of the current process and related technologies used by Polygon to produce an animation work.
The main method is to use computer graphics technology, supplemented by traditional drawing.
Typically, after confirming the plot and character settings, a 3D modeler will first create the character's skeleton and appearance using professional software such as MAYA. At this stage, they will also confirm the movable details of each joint in the character model, as well as the coordinated performance of each part during movement. For example, the coordinated performance of clothing when the body bends, the subtle movement of the shoulders when the arms swing, and even the performance of the hips when the legs move, which is a headache for many designers.
Once the 3D modeling is complete, the relevant content is passed to the animator for use in transitions and determining the camera mode during the animation. The special effects team then handles lighting, shadows, smoke, and other special effects, and also incorporates HDR (High Dynamic Range) at this stage. Meanwhile, other production teams will also work on background painting and music content creation. Depending on the content requirements and budget, some background design and music production may be outsourced to improve production efficiency.
According to Naohiro Yoshihira, the team can complete all character designs within an average of 3-4 weeks, with more complex designs typically completed within 4-5 weeks. Comparing current animation production to traditional cel-shaping methods, Naohiro Yoshihira believes the overall creative process isn't significantly different, but the introduction of digital production does increase overall efficiency and allow for greater flexibility in content creation. For example, 3D models and skeletons can be reused or adjusted as the basis for other character designs, eliminating the need for redrawing the same content over and over again as with traditional animation.
New technologies bring higher creative efficiency
With the continuous introduction of new technologies, traditional animation has not only seen significant improvements in production efficiency, but has also been able to introduce new visual presentation effects. For example, while previously required to adhere to a 24-frame-per-second presentation format, the introduction of computer graphics technology has enabled the increase of frames per second for specific segments, making character movements smoother and the viewing experience more engaging. Furthermore, special effects such as depth of field and natural physics simulations can be quickly produced through computer rendering, allowing creative staff to focus on the detailed design of character content.
However, Naohiro Yoshihira also revealed that while more and more creators are willing to experiment with new technologies to create fresh visual experiences, they won't necessarily rely too heavily on them. For example, when depicting character hair and background details, many creators still stick to hand-drawing to achieve a more natural interpretation. Compared to traditional Japanese manga, which can intuitively convey character emotions through simple lines, animation is more difficult to interpret in the same way. Therefore, if they want to enter the global market, Naohiro Yoshihira believes that it is necessary to change and adjust their creative methods to meet the needs of different markets and global audiences.
Japanese animation has a certain influence in the global market. At the same time, it has obvious differences from American Disney and other European and American animation styles. Yoshihira Naohiro said that future creative development may move towards integrating different regional styles. It is expected that the development from traditional celluloid creation methods to the introduction of computer painting technology will create a new content creation model by leveraging the advantages of both. For example, the addition of HDR high dynamic contrast and the combination of Dolby sound technology will make animation more vivid.viewing experiencepromote.
The proportion of new technology introduction is still mainly based on the content itself
As for the proportion of content creation incorporating computer graphics technology, Naohiro Yoshihira stated that it ultimately depends on the needs and production costs of each individual title. For example, production methods will be adjusted to meet film specifications, target international distribution, or cater to specific viewing needs. However, overall, the proportion of content incorporating computer graphics is expected to continue to increase. For example, Polygon's currently in production on "GODZILLA: A Planet of the Monsters" is being produced to feature film specifications with the intention of international distribution. This allows for a relatively adequate budget and the anticipated high return on investment. Consequently, the investment in new technologies like computer graphics is high, and will become the studio's primary source of revenue within the year.
As for the fact that most of the work computers at work still use the old version of Windows 7 operating system instead of the new version of Windows 10, and the computer creation software used is still mainly Autodesk MAYA 2015, Naohiro Yoshihira explained that this is mainly because most designers prefer relatively stable operating systems and software that they are familiar with. At the same time, they also take into account software and file compatibility issues. Therefore, they will not jump into using the latest software too quickly. Among them, the studio also has many content projects in production at the same time, and it is necessary to reduce the risks of operating system updates and vulnerabilities. However, he emphasized that as long as the operating system is stable and compatible enough, and as long as the computer computing performance requirements are taken into consideration, version updates will still be made.
Actual screen performance of "BLAME!"
Looking at the actual visuals of BLAME!, it's actually a little hard to imagine that it was originally produced using computer graphics. However, with the application of texture rendering technology, 3D images can be converted into traditional 2D image mode, but with richer body and facial expressions.
A list of Polygon's works
