How Studio Ghibli Uses CGI in Its 2D Animations

Contents:

• Princess Mononoke (1997)
• Spirited Away (2001)
• Howl's Moving Castle (2004)

Princess Mononoke (1997)

The studio first used digital technology in animation in the 1994 film Pom Poko: Tanooki Wars. The film featured a panoramic camera fly-over of library shelves, which greatly simplified the process of creating complex scenes. Drawing such details by hand was time-consuming and unsatisfactory for the animators, as it did not allow for creativity. In Whisper of the Heart, released in 1995, digital compositing was implemented to create fantasy scenes. This made it possible to assemble a single frame from several separately drawn elements. For example, the scene where Shizuku and the cat Baron fly used about 20 individual components, including the background, clouds, and characters. Innovative approaches to animation have opened up new horizons for creativity and significantly improved the quality of visual effects in Japanese animation.

The first animated film to actively use computer graphics was "Princess Mononoke." For this film, the studio created a computer graphics department, which included three animators. In-house software solutions were also developed for the project, which became a significant step in the development of the animation industry.

Hayao Miyazaki strove to ensure that digital elements harmoniously blended with 2D animation, without standing out from the background. At that time, there was no software capable of rendering 3D models using modern cel-shading techniques, which give them the appearance of a drawing with clear contours and simple, hard shadows. As a result, such software had to be developed from scratch. In close collaboration with the studio, developer Michael Arias created the Toon Shader, which was subsequently widely used not only in Ghibli projects but also in other animation studios. This significantly improved the visual quality of animation and expanded the creative possibilities of animators, combining traditional and digital techniques.

About 15 minutes of the cartoon "Princess Mononoke" were created using computer graphics. Of this time, ten minutes are made up of scenes drawn in a graphics editor. All digital technologies used in this animated film can be roughly divided into three categories: computer graphics, digital compositing, and digital painting. These methods made it possible to create a unique visual style that became the hallmark of the work.

CG was used for the development of three-dimensional models, texturing, creation of particle systems, and morphing. These technologies allow for the creation of realistic visual effects and animation, making them an integral part of modern 3D design and animation.

3D. It all started with a dynamic scene in which an enraged Tatarigami, the boar god, hating humans, was transformed into something terrifying: a mass of writhing black worms. This transformation personifies his anger and strength, adding depth to the plot and creating a unique atmosphere.

The entire scene consisted of approximately 20 shots, but after six months of work, not a single one was successfully completed. Miyazaki, initially reluctant to use computer graphics, began to lose patience with the slow development process. He decided to approach CG director Yoshinori Sugano to see if he could create a 3D image of the monster. This became a significant challenge in working with computer graphics, but ultimately convinced Miyazaki that 3D could play an important role in the studio's work.

The 3D models were primarily created to visualize the demonic worms and the Tatariga possessed by them. In one scene, the main character, Ashitaka, shoots a bow and arrow, and worms wrap around his arm, emphasizing the tension and drama of the scene. These visual elements enhance the atmosphere and make the plot more exciting.

First, it was created A 3D model rendered in a painting style. To achieve the final shot, a digital character was superimposed onto a painted background, and the 3D model was placed on top. This approach allows you to create a unique visual design, combining elements of traditional art and modern 3D modeling technologies.

Mapping is a technique that allows you to create dynamic scenes where the background moves with the camera. In stop-motion animation, backgrounds require complex hand animation, which makes their production time-consuming and labor-intensive. Mapping, in turn, provides an opportunity to use static, yet beautiful backgrounds, creating the illusion of camera movement. This adds depth and volume to the scenes, improving visual perception. This approach allows the animators to focus on other creative aspects, while maintaining a high level of image quality.

In the scenes where Ashitaka races on his faithful beast Yakul, mapping was used twice, giving the viewer the opportunity to see the action from his point of view. This technology added a realistic sense of speed and depth to the action. Although the scenes remain hand-drawn, the use of computer graphics (CG) has made it possible to create shot compositions that would be difficult to achieve in traditional animation.

The process of creating a 3D environment begins with the formation of a mesh that accounts for the landscape's curves, camera position, and speed. A hand-painted background is overlaid on this mesh, serving as a visual reference. A transparent plane is then placed between the background image and the camera, onto which hand-painted trees and characters, if any, are added. Camera movement plays a key role in creating the effect of dynamism and immersion in the scene.

A particle system allows for the creation of numerous small sprites and their animation to convey the sensation of wind. Back when computers weren't capable of efficiently processing and rendering complex 3D models, they could generate large numbers of particles. This opened up the possibility of animating numerous small bubbles of light that could move and emerge from the body of the Night Walker—a creature that transforms into the Spirit of the Forest at night. Such technologies are becoming important tools in creating visually rich and atmospheric effects in games and animation.

Creating a 3D wireframe for the Wanderer was a crucial step in developing the character. This wireframe was filled with particles, adding additional depth and realism. Once completed, the wireframe was manually replaced with an animated character figure, which was then carefully superimposed onto the background. This approach allows us to achieve high-quality animation and character integration into the environment, which significantly improves the visual component of the project.

Morphing is a technique that allows for smooth transitions from one frame to the next. Only keyframes are drawn, and the program automatically generates intermediate states by superimposing images and changing their shapes. For example, morphing was used to create a scene showing the rapid decomposition of a boar's body in a film about the Tatars. This technology is used in animation and visual effects, adding dynamism and realism to footage. Morphing allows you to create expressive and memorable transitions, making it an essential tool in the arsenal of artists and animators.

In the final scene of the film, plants begin to grow and bloom again, symbolizing rebirth and hope. This moment emphasizes the importance of nature and its ability to regenerate. The return of greenery and flowers serves as a metaphor for renewal and new beginnings, creating an optimistic ending to the story.

"Princess Mononoke" was the studio's first film to use digitally added lines and color. This solution allowed for a faster production process and a timely release. The film became a landmark work in animation, combining traditional drawing methods with modern digital techniques.

Digital drawings often look unnatural, especially when only the character's face and hands move in a scene, while the rest of the body remains static. In hand-animated drawings on paper, each static figure is drawn anew for each frame, which allows for the final image to be unique. In digital animation, however, it is sufficient to create only one frame with a motionless figure that will remain unchanged throughout the entire scene. This leads to a strangely unnatural feeling, in which the characters lose their vitality and dynamism. Improving digital animation requires careful attention to detail and elaboration of all body parts to avoid the effect of staticity and make the characters more realistic and expressive.

To prevent unwanted effects, the studio retouched the digital line art, making it more similar to traditional drawing. Special effects were also used to soften the harshness and static nature of digital images.

The studio developed a program that adds subtle noise to color palettes. In digital art, a specific color remains constant, while on paper, even the same color exhibits non-uniformity. This can cause digital images to look flat and unnatural. Using the program helps avoid this effect by adding subtle color variation, which makes the image more vibrant and expressive.

Despite the wide capabilities of digital editors, the studio approached them with caution and implemented certain limitations. Digital technology provides artists with a huge color selection, over 16,000 shades, which is significantly more than an acrylic palette can offer. However, such diversity is not necessary for animators. Each of the studio's films has its own unique color palette, including Princess Mononoke. This helps ensure harmony and coherence of the visual style, a key aspect in creating animated films.

Digital technology offers many advantages, but with its expansion, we risk moving away from the foundations of traditional animation. To avoid this, it is important to set certain limits. We have access to an infinite number of colors, but without adhering to traditional principles of their selection, we can become lost in this diversity. The key is the correct use of digital tools, which helps preserve the harmony and expressiveness of the animation.

Hiroaki Ishii is a digital painting supervisor with outstanding skills and experience in this field. His works attract attention due to their unique style and high quality of execution. Ishii actively uses modern technologies and software to create digital works of art. His experience includes project management, training aspiring artists, and developing new techniques in digital art. Thanks to his achievements and contributions to the development of digital painting, Hiroaki Ishii has become a key figure in the creative community.

A unified palette ensures consistency in color throughout the film, creating a harmonious blend of digital and traditional paints. Elements such as grass may be painted digitally in one shot, while traditional paints are used in another. This allows backgrounds to blend naturally, eliminating the need for additional color tests and providing a more cohesive visual experience. Using a single palette improves image quality and helps create a unique style that is memorable to viewers.

Compositing allows you to combine many different elements into one harmonious picture. Digital compositing ensures the high quality of each fragment and also simplifies the process of applying various visual effects. Using modern compositing technologies opens up a wide range of possibilities for creating impressive and professional images.

To create this scene, it was necessary to combine ten different layers, each of which contained unique elements.

Chronologically, after "Princess", the cartoon was released "Our Neighbors the Yamadas" was the first Studio Ghibli film to be created entirely using computer graphics. Studio Ghibli co-founder Isao Takahata directed the project. Although Hayao Miyazaki did not participate in the production of "Our Neighbors the Yamadas," the experience the team gained working with digital technology proved useful to the team when developing Miyazaki's next film, "Spirited Away." Spirited Away became one of the most successful and iconic films in animation history, demonstrating the high level of craftsmanship and innovation that is characteristic of Studio Ghibli.

Spirited Away (2001)

While the backgrounds and concept art for the film were created by hand, all of the animation was completed digitally. However, the studio maintained its approach to using computer technology in the development of "Spirited Away": the use of CGI should be unnoticeable and should not distort the artistic style of the work. This allows for the preservation of a unique visual perception and the harmony between traditional and modern art in animation.

Miyazaki initially stated that changes to the digital backgrounds were not planned. However, as work began, he began making adjustments, such as adding a purple tint or shadows. Eventually, he realized that digital intervention had become necessary.

Miyazaki decided to overhaul the entire production system, introducing the concept of "product meetings." These meetings were organized to identify constraints and develop an approach to creating computer graphics (CG). This approach allowed for streamlining development processes and improving the quality of the final product.

After the storyboards are completed, discussions are usually held only by the animators and artists. The digital specialists communicate individually with the various departments. However, this time, Miyazaki gathered the department heads together to discuss the process of processing each frame. Although we could not achieve complete accuracy based solely on the storyboards, such meetings helped clarify Miyazaki's approach and define the tasks for each department. This contributed to a more efficient and organized workflow.

Animation Supervisor Mitsunori Kataama is a distinguished animation expert who has made significant contributions to the creation of animated works. His works are distinguished by a high level of artistic execution and an original style. Kataama is actively involved in the development of animation projects, monitoring the quality of the animation and ensuring that artistic standards are met. Thanks to his experience and professionalism, he inspires a younger generation of animators and continues to be a key figure in the animation industry.

The animation system at Studio Ghibli has undergone changes, but its philosophy remains unchanged. Each project of the studio is imbued with the desire to create something truly beautiful. In the film Spirited Away, there are many details, such as silt and debris, but even these elements are presented in a way that is visually captivating. The studio continues to strive for high animation quality and originality, which makes its works unique and memorable.

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We believe in creating engaging images that convey a natural, natural feel. Achieving this requires maximum effort, but the final work should appear effortlessly executed. This approach allows us to create visual content that not only attracts attention but also evokes positive emotions in viewers.

Animation Supervisor Mitsunori Kataama is a key figure in the animation industry. His professional experience and creative approach make him indispensable in the development of high-quality animation projects. Mitsunori Kataama is responsible for coordinating the animation team and ensuring artistic and technical standards are met. Thanks to his leadership skills and attention to detail, many animation projects achieve outstanding results. Mitsunori Kataama continues to inspire a new generation of animators, making a significant contribution to the development of animation art.

Spirited Away, like Princess Mononoke, utilizes modern CG technologies, including 3D modeling, compositing, morphing, mapping, and particle systems. These technologies create a unique visual aesthetic and striking imagery, making the animation more realistic and engaging for viewers. Using such technologies in animation promotes deep immersion in the atmosphere and world created by the artists.

CG was used to model the sea surface. This technology allows for a high level of realism and detail, making the images of the sea more striking and believable. Using computer graphics to create seascapes opens up new possibilities for visualization and artistic expression.

First The artists developed the background using 3D waves created in Softimage. Special shader routines were written for this purpose. Elements such as the light falling on the water and seabed, wall reflections, highlights, and a thin white line of foam were then created separately. Finally, all these elements were combined into a single composition using compositing.

The scene where the main character, Chihiro, travels by train uses 3D animation with compositing. Outside the train window, she notices a small island with a house. Slowly drifting clouds serve as the background, and the island visually changes its position, creating the effect of Chihiro's perspective shifting. This technique emphasizes the atmosphere of magic and immerses the viewer in the world of animation, making the scene more realistic and enchanting.

The art department created the background, which was then refined by the CG department. They removed the island from the image and improved the clarity of the cloud and water contours. This made the film more expressive and harmonious.

The cut-out island was restored as a 3D object, and a digital reflection in the water was created for it. This solution improved the visual realism and depth of the image, making the project more appealing to users. The use of 3D technology and digital effects such as reflection significantly enhances the quality of the content and provides a more immersive interaction with the environment.

The CG department designed the realistic waves, and the art department added artistic elements that give the water surface a special look.

Then the composition work was carried out, during which the entire scene was combined into a single whole.

Compositing played a key role in creating the scene with the disappearing Faceless Man. Artists first rendered the rogue god's body, then separated it into individual elements for digital processing. The background was traditionally designed by the art department, immediately casting the Faceless Man's shadow. This approach creates depth and realism in the scene, highlighting the character's uniqueness and enhancing visual impact.

Compositing significantly influenced the creation of susuwatari, or animated characters. Blackies, who first appeared in the film "My Neighbor Totoro." In "Spirited Away," susuwatari worked in Grandpa Kamaji's boiler room, carrying coal. These adorable creatures make touching sounds, can grow limbs, and enjoy eating Japanese candies shaped like bright stars. Their unique designs and behavior add depth to the animation, making them memorable characters in Japanese animation.

For animation, each susuwatari was divided into individual elements by layer: body, eyes, arms, legs, and the ember they drag. This resulted in a significant increase in the number of layers needed to animate the black characters, so much so that there weren't enough letters of the alphabet to represent them. This approach allows for highly detailed and dynamic animation, making the creation process more challenging but also more exciting.

The scene where the purified River Spirit bursts out of the bath utilizes 3D and compositing technologies. These techniques allowed for the splashing effect to be realized, creating a striking visual moment. 3D animation and compositing significantly enhance the dynamics of the scene, giving it realism and spectacle.

Artists have begun creating the backdrop for the stage.

A 3D model was created in SoftImage that illustrates the process of water drilling and the splash effect. This model allows for detailed visualization of water flow dynamics and interactions with the environment, making it a valuable tool for studying fluid dynamics.

Paints were used to create layers of reflections, brightly lit areas, and individual color elements. A black and white gradient was added to demonstrate the density of the soap suds. All layers were merged into one, after which the finished rendered 3D object was superimposed on the background.

The River Spirit animation utilized morphing for scenes where silt smoothly flows in layers from the deity. To achieve this effect, keyframes were used to highlight the lines drawn for the silt, allowing one outline to seamlessly transition into another. This approach creates visually appealing transitions and adds depth to the animation, emphasizing the interaction between the deity and natural elements.

Chihiro and her parents find themselves in a magical world where they stop at an empty Chinese restaurant, filled with delicious dishes. Chihiro soon notices with horror that her parents have transformed into pigs, who continue to devour food and knock dishes off the tables. This transformation marks the beginning of her adventures in a mysterious world, where she must find a way to restore her parents to their former forms and save them from the fate they chose.

In this scene, the plate in the upper left corner is presented with the same amount of detail as the still background, creating a harmonious composition. This balance between the elements emphasizes their relationship and enhances the overall aesthetic impression of the work.

The plate is supposed to fall because the father, now a pig, accidentally hits it with his nose. Animators must draw the plate frame by frame by hand to give the audience a sense of its movement. Typically, such elements are highlighted with a simplified design against more detailed images, which helps build anticipation.

Miyazaki felt frustrated and suggested an alternative approach: he created a detailed design for the plate and applied mapping to the 3D model. As a result, the moving plate blended seamlessly with the still background, creating the effect of a unified whole. This method allowed us to achieve an impressive visual effect that emphasizes the harmony between objects and the background.

From Using digital technology, creating realistic steam and smoke has become a relatively simple process. However, the studio wasn't aiming for maximum realism. In the scene with God in the bathtub, the artists initially created a contour for the steam, following the principles of hand animation, so that it wouldn't obscure the characters. Smoke generated using a particle system was added within this contour. This approach allows us to preserve the artistic style and emphasize the atmosphere of the scene without distracting attention from the main characters.

Hayao Miyazaki continued his policy of limited use of CGI in his next work, Howl's Moving Castle, based on the novel by Diana Wynne Jones. The film showcases a unique animation style that blends traditional techniques and modern approaches, creating a magical world full of lively characters and exciting adventures. Howl's Moving Castle not only showcases Miyazaki's mastery of captivating stories, but also explores important themes such as love, war, and self-identity. It has become a cult classic, attracting audiences of all ages and cementing Miyazaki's reputation as one of the greatest animators of our time.

Howl's Moving Castle (2004)

The Making of Howl's Moving Castle is reminiscent of the work process on Spirited Away. Both projects involved the use of computer graphics, but the backgrounds and characters were drawn by hand and then digitized. During the work on The Castle, the CG department team remained small: out of 150 animators, only 10 specialized in digital technologies. This approach allowed us to preserve the unique style and atmosphere inherent in traditional animation, which made the film especially appealing to audiences.

CG is ideal for creating objects and scenes that are difficult or impossible to depict by hand. We prefer to draw everything that can be drawn by hand. However, 3D graphics finds its use in cases where it is justified and convenient. The use of computer graphics allows for a high degree of realism and detail, which makes it an indispensable tool in modern projects.

Animation Supervisor Mitsunori Kataama is an outstanding professional in the field of animation. With his unique approach and creative vision, he significantly influences the quality of animation projects. Kataama has extensive industry experience, which allows him to successfully manage animation processes and coordinate the work of the team. His attention to detail and commitment to excellence make him an indispensable specialist in the creation of high-quality animated works. Mitsunori Kataama continues to inspire colleagues and audiences with his talent and dedication.

Howl's Moving Castle contains 198 shots that use computer graphics, which is twice the number of CG shots in Spirited Away. The use of modern visual effects technology in Howl's Moving Castle plays a key role in creating the unique and captivating visual style that has become iconic for Hayao Miyazaki's works.

The studio adheres to a strict principle: no characters are created in 3D. However, in this film, the animators made an exception for the castle. He's not just a backdrop, but a key element of the plot, and Hayao Miyazaki wanted the team to treat him as the main character. Therefore, the castle was crafted with the same care as the human characters, giving it a unique character and visually showcasing its individuality.

When Sophie first encounters the castle, its appearance leaves an intimidating impression on her.

When the castle stops moving, its appearance takes on a relaxed and even slightly inviting expression. This creates an atmosphere of calm and comfort, making it attractive to visitors. At such moments, the castle seems to open its doors, inviting guests to enjoy its history and architectural features.

The concept of the lock inspired Mitsunori Kataama to draw an analogy with a climber's backpack, from which equipment dangles and oscillates as he moves. This principle formed the basis for the lock's animation: the movement of the main structure causes the smaller elements to oscillate. However, manually animating such a complex mechanism would have been labor-intensive, so it was decided to use digital technology for its creation. This not only simplified the process but also resulted in smoother and more realistic animation.

The base of the castle is made in 3D, but instead of one complete model, the studio developed 30 different models for different angles Review. Each model was divided into elements, the number of which varied from 30 to 80, depending on the specific model. This approach allowed for the creation of an origami-like castle with multiple overlapping planes, giving it a unique and complex visual effect.

The entire surface of the castle was created by hand, lending the project its uniqueness and originality. The design was divided into numerous elements and processed in Photoshop, after which they were carefully superimposed onto the 3D models. During the process, it was crucial to maintain precision so that each element precisely coincided with the previous one, ensuring a harmonious and realistic image. This approach allows us to achieve a high level of detail and visual appeal of the castle, making it more impressive in perception.

Miyazaki originally planned to create a castle with ten legs, but this task proved too difficult. Ultimately, it was decided to limit it to four legs. When showing the legs in close-up, their animation was done with high detail, which added realism and expressiveness to the character.

For distant shots, 3D animation was used without detailed elements. This approach allows for a focus on the overall composition of the scene while maintaining high performance when rendering visual effects. Clean 3D animation effectively conveys atmosphere and depth without distracting the viewer from the main events. The use of minimalist details in distant shots contributes to a more harmonious perception of the work.

The steam and smoke from the castle were added using compositing. The studio found an optimal balance where the smoke was primarily integrated into the CG. However, in large, significant shots of the castle, the smoke was hand-painted to achieve the best visual effect.

In the wormhole scene, 3D and compositing play a key role. Sophie travels back in time and witnesses Howl make a contract with a demon. The tension mounts, and the magical ring on Sophie's finger begins to disintegrate, causing her to fall into the wormhole. These visual effects highlight the emotional weight of the moment, creating a powerful atmosphere and enhancing the audience's perception of the plot. The use of 3D technology and compositing in this scene not only demonstrates the mastery of animation, but also deepens the understanding of the characters' internal conflict.

Miyazaki strove to make the "black hole appear as if it were tearing apart the background image." Initially, a model of the hole was created, onto whose surface an image was superimposed, gradually disappearing into the abyss. The first version was very elegant, reminiscent of a thin veil flowing into the hole. However, Miyazaki requested changes, adding more aggression and creating the effect of a point of no return. As a result, the staff enhanced the movement of the wormhole to more vividly convey its power and dynamics.

The military parade scene at the beginning of the film was created using 3D technology. All the waving flags were created digitally. While single-color fabrics can be animated manually, frame-by-frame animation of multiple flags with varied patterns presents a complex challenge. Therefore, the use of 3D modeling to create flags significantly simplified the process and improved the quality of visual effects in the film.

The creation of 3D flag models includes animation, which simulates their fluttering in the wind. The light and shadow pattern was carefully calculated to account for the curvature of the fabric surface, achieving a realistic effect. To achieve the desired 2D visual style, the flags were processed using a Toon Shader, which adds expressiveness and emphasizes their design.

Creating the shadows on the flags posed certain challenges, as the software rendered them with high precision, accounting for even the smallest details. As a result, the resulting effect looked chaotic and fragmented, which contrasted with the simpler, hand-painted shadows. To solve this problem, the animators had to manually simplify the shadows on the 3D flags. To do this, they used Adobe After Effects to soften the edges and generalize the complex fragmented areas, which resulted in a more harmonious and aesthetically pleasing result.

The rotating decorations in Howl's room were created in 3D modeling. The models were hand-textured, giving them a unique and original look.

Wings of military aircraft became an important element of the model's design. The surface of the model was painted, and the outer contour was created using digital technology.

This film did not feature technological There are no innovations, as most of the techniques used have already been used in the studio's previous projects. However, two aspects stand out as new to this production:

• The softening process. Previously, digital backgrounds were simply blurred or slightly fogged. In Howl's Moving Castle, a tool was used that imitated the soft focus of a real camera. This makes the backgrounds look more natural and elegant.
• The special effects work. In the past, these were added using traditional retouching—for example, spots on the characters' skin were painted over the frame with a dry brush. This time, the retouching was done digitally.

In some scenes with Calcifer, the fire demon who is the source of life in the castle, softening techniques and special effects were used. When digitally processing scenes involving this character, it was important to consider three key aspects: softening, transparency, and light diffusion. Calcifer was originally planned to be bright and blinding, but during development it was decided to change his appearance. To better fit it into the film's family atmosphere, the brightness of the fire was reduced, making its appearance more harmonious and appropriate in the context of the plot.

The scene where the Witch of the Waste is trapped by the Royal Sorceress Saliman makes extensive use of CGI. In this scene, she finds herself surrounded by black silhouettes that begin to swirl around her against a blinding backdrop of light. This scene demonstrates the high quality of visual effects and enhances the atmosphere of tension in the plot.

In the film "The Castle" Mapping is used similarly to Princess Mononoke. This technique is used to create scenes with complex camera movements and dynamic backgrounds. A striking example is the moment early in the film when Sophie and Howl are attacked, which highlights the mastery of animation and visual storytelling. The use of mapping in these scenes not only enhances the impression of what is happening, but also allows you to dive deeper into the atmosphere of the plot.

The scene in which Howl and Sophie soar into the air is captivating in its magic and romance. This moment symbolizes not only their emotional connection but also their desire for freedom and adventure. In the air, they experience a feeling of lightness that fills their hearts. Flying becomes more than just a physical act, but the embodiment of their dream of a happy life, free from cares and worries. This scene highlights the importance of trust and support in a relationship, where two people can overcome any obstacles and soar to the heavens.

The scene in which Sophie enters the filthy bathroom creates an atmosphere of tension and anticipation. The camera slowly pulls back, allowing the viewer to see the furnishings and details that highlight the neglected state of the room. This technique heightens the moment, highlighting the contrast between the state of the bathroom and Sophie's emotions. Shots like these effectively convey mood and create a sense of deep connection between the character and the environment.

In In "Howl's Moving Castle," morphing is used more subtly than in "The Princess." When Howl panics and summons the spirit of darkness due to his suddenly changing hair color, the animation team uses a technique to subtly warp space. This creates the effect of looking through slightly curved glass. This approach emphasizes the atmosphere of magic and unusualness, adding depth and emotion to the scene.

Morphing is also used in a more complex technique known as fitting. This method allows for the seamless integration of necessary elements into animated frames, ensuring their harmonious placement within the contours of the drawing. In the animated film "The Castle", this technique was successfully applied, for example, to the front door, which emphasizes its effectiveness in creating visually appealing and realistic scenes.

The problem with the animation, similar to the flags, was its excessive precision. The digital graphics conveyed perspective so realistically that the movement appeared limited and expressionless, in contrast to the hand-animated animation. To improve the situation, the animators changed the shape of the door, making it more trapezoidal, increased its thickness, and intentionally introduced errors in the CG calculations. This allowed us to add dynamics and expressiveness to the animation, which made it more attractive to viewers.

It was traditionally used to create scenes with smoke and steam, as well as for the effect of confetti at the parade and falling leaflets. The elements were developed in the program Particle. Low-detail CG animation was placed in the background, and hand-drawn keyframes were placed in the foreground, which gave the scene a unique and artistic expression. This approach allows us to achieve a harmonious combination of technology and traditional art in visual effects.

We looked at only three film, but Hayao Miyazaki maintains a similar approach in his other works, ensuring that the use of computer graphics does not exceed 10% of the total content. Even his most recent project, The Boy and the Bird, emphasized hand animation: animators used pencils and paints to create backgrounds and keyframes, which were then digitized. This method highlights Miyazaki's desire to preserve traditional animation techniques and a unique artistic style in his works.

CG is an important tool in the production process, however, the primary focus should be on hand-held 2D animation. The use of computer graphics enriches and complements traditional animation methods, but does not replace them. Hand-held 2D animation remains a key element in creating unique and expressive visual stories.

Atsushi Okui served as the director of photography on The Boy and the Birds. His work in this role brought a unique visual style and depth to the narrative. Okui is known for his ability to create atmospheric shots that highlight the emotional depth of a story. In "The Boy and the Birds," he masterfully combines light and shadow, creating striking compositions that leave a lasting impression on viewers. His approach to cinematography not only visualizes the story but also immerses the audience in the characters' worlds, making their experiences more tangible. Okui continues to be a significant figure in the industry, and his contribution to filmmaking is noteworthy.

Hayao Miyazaki's son, Goro, has released a full-length 3D film titled "Aya and the Witch" from Studio Ghibli. This film marks a significant step for the studio known for its classic animated works. "Aya and the Witch" demonstrates a new approach to animation, combining traditional elements with modern technology. Based on the novel by Diana Wynne Jones, the story immerses viewers in a world of magic and adventure, making it appealing to a wide audience. The film highlights the unique style of Studio Ghibli and preserves the creative spirit inherent in the studio's entire filmography.