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Illustrator Ilya Kuvshinov was given the responsibility of designing the iconic character of Motoko Kusanagi. (Images courtesy of Netflix, Production I.G and Sola Digital Arts)
Franchise, established by manga artist Shirow Masamune, revolves around a counter-cyberterrorist organization called Public Security Section 9 battling criminals and conspiracies in 21st century Japan where people have cybernetic implants to enhance their capabilities. As part of this franchise, Japanese anime director Kenji Kamiyama created the
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Television series in 2002, which ran for two seasons and spawned a feature film. The project has recently been revived, with Production I.G and Sola Digital Arts partnering with Netflix to produce
This time around, the disbanded members of Section 9, led by Major Motoko Kusanagi, are a mercenary group known as Ghost that reunites with their former Chief, Lt. Colonel Daisuke Aramaki, in an effort to contain the mysterious global threat of highly evolved beings referred to as ‘Post Humans.’
Is adapted, each director and production team explores a different way to represent the series. This time, however, the concept of creating a series in full 3D CG itself was a completely different approach from the previous projects. While this project was based on the S.A.C. series directed by Kenji Kamiyama and its world, it tells a story that exists parallel to the previous stories in the franchise.
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“After we shared our ideas on the project, director Kamiyama took on the series composition at the pre-production stage and would consult with director Aramaki at the episodic screenplay development stage. For the development of character and production design and all stages after storyboarding, we took on the same position, and would carry out checks and proceed together until each part was complete.”
Adopting a realistic approach for the animation was important for Kamiyama and Aramaki. “Conveying the drama of the story to the audience through animation was a top priority. To do so, we utilized motion capture and tried to have life-sized characters act as much as possible. Specifically, we avoided the unnaturally shaped bodies and faces that are common in full CG animation and opted for proportions similar to those of real humans. This is because we wanted to use a style that would allow the audience to concentrate more on the story.”
Is sci-fi, we weren’t looking for out-there clothing designs and asked him to keep within the confines of clothes that actually exist or look like they would exist. Also, after thoroughly explaining one by one the images we had in mind for the characters, we held one-hour meetings every week to check the designs. All the character designs for the entire series eventually came together after more than a year of doing this.”
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Concept art of the Foreigner District in Fukuoka, Japan where Togusa makes his first appearance in the series. Designed by Senju Kobo Co., Ltd. “Priority was given to making things seem like they could exist in the real world over giving them futuristic designs. That’s because we thought full CG would work better with realistic designs. The armored vehicles and the vehicles that the members of Section 9 ride in Los Angeles are based on actual military ones. In contrast, the drone that appears in Episode 2 is a private drone that’s been loaded with Hellfire missiles, so actual civilian drones were referenced for the design.” —Kenji Kamiyama and Shinji Aramaki, Co-directors
Motoko Kusanagi drives a Tachikoma from the cockpit situated inside of the AI robot. “Conveying the drama of the story to the audience through animation was a top priority. To do so, we utilized motion capture and tried to have life-sized characters act as much as possible. Specifically, we avoided the unnaturally shaped bodies and faces that are common in full CG animation and opted for proportions similar to those of real humans. This is because we wanted to use a style that would allow the audience to concentrate more on the story.” —Kenji Kamiyama and Shinji Aramaki, Co-directors
Kenji Kamiyama and Shinji Aramaki requested that models be closer to real life than the unrealistic bodies commonly found in cel animation.
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Combining motion capture and computer animation was a familiar approach for Aramaki. “Aramaki was originally one of the first people in Japan to do a motion capture-based anime. He has been using motion capture for performances in animation since the release of his movie
In 2004. However, around the world, those who use motion capture in this way are in the minority, with the majority of CG production teams still considering the motion capture technique as just a tool for creating ‘action scenes.’ While Aramaki advocated that ‘it’s theatrical performances, in particular, that should use motion capture, ’ he found little support in the industry. The reason why Aramaki thought Kamiyama would go for motion capture was that his works contained live-action-esque performances and stories that are developed via the script.
“It’s established that the members of Public Security Section 9 are a polished and professional special unit, so they don’t perform any character-specific actions, ” note Kamiyama and Aramaki. “That’s because such professionals all go through the same theory-based, high-level training, so their actions and styles should resemble each other. For the members of Section 9, we aimed for them to perform reasonably streamlined and modest actions. Alternatively, by giving the actions of the enemies [for example, Post Human] unique characteristics, we were able to contrast them with the actions of the Section 9 members and make them look that much better.”
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A dramatic showdown occurs in Episode 5 on the estate of tech billionaire Patrick Huge that features robotic guard dogs, cyborg housemaids and an armored suit. “For these scenes, we had action coordinator Motoki Kawana devise special action sequences at the motion capture stage. Then for the subsequent animation process, we had our most skilled special animator on the production team take charge. By combining the skills and ideas of both an actor in charge of the action and a special animator, we were able to create some great fight scenes.
“The use of motion capture allowed for an environment that made it easier than conventional animation production to create blank space durations, so storyboards were often off the mark in regards to the fixed episode length, ” state Kamiyama and Aramaki. “Even after reaching the post-motion capture animatics [layout] stage, the average length of an episode was three to four minutes over the fixed episode length. After that, we would cut out any unneeded parts and picture lock the episode before moving onto hand animation. The longest cut we had to make from an episode was eight minutes long.”
Action takes place in the economically devastated cities of Palm Springs, California and Los Angeles. “For Palm Springs, we actually went there. In the Japanese scenes, as Fukuoka is the capital city [in the series], location designs were based on the actual city of Fukuoka. Since Aramaki happens to be from Fukuoka, he was able to realistically recreate downtown Fukuoka [Hakata] without visiting. For example, the area around the bank that appears in Episode 7 was recreated so faithfully that someone from Fukuoka would easily be able to tell where it’s modeled after.”
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Tachikoma robots that have artificial intelligence are nicknamed ‘think tanks’ and have a childish eagerness to provide military support to Motoko Kusanagi.
Ghost in the Shell: SAC_2045 has the most assets that Sola Digital Arts has ever needed to be created for a project. “Such scale and quantity of resources were impossible with productions in Japan up to this point. Even when we did it in 2D, we were told that making a Ghost in the Shell series was a ‘reckless endeavor’ because of the number of assets and locations that need to be produced. The story is dense, and there’s a huge amount of information packed in the visuals, so we think you’ll probably wear yourself out if you binge-watch it!” —Kenji Kamiyama and Shinji Aramaki, Co-directors
Motoko Kusanagi took the longest to develop, with more attention paid to the finer details such as her eyelashes and the lines of her eyes.
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It was important to directors Kenji Kamiyama and Shinji Aramaki that the clothing designs be kept within the confines of what actually exists in real life.
Among the high-tech weaponry are artificial intelligence ‘think tanks’ and attack helicopters. “Priority was given to making things seem like they could exist in the real world over giving them futuristic designs, ” remark Kamiyama and Aramaki. “That’s because we thought full CG would work better with realistic designs. The armored vehicles and the vehicles that the members of Section 9 ride in Los Angeles are based on actual military ones. In contrast, the drone that appears in Episode 2 is a private drone that’s been loaded with Hellfire missiles, so actual civilian drones were referenced for the design.”
Signature elements include the ability to hack into a human mind and thermo-optical camouflage. “The way we showed brain dives and thermo-optical camouflage
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