CGI & 3D Animation

Japan's CG and anime pipeline runs deep.

We line up work through the studios that built that name. They include Polygon Pictures, OLM Digital, Marza Animation Planet, Sublimation, and Madhouse. Tokyo and Osaka boutiques in commercial and broadcast CGI round out the bench. Modeling, texturing, rigging, and character animation run in Maya, 3ds Max, Houdini, ZBrush, and Cinema 4D. Rendering runs through Arnold, V-Ray, Redshift, or Unreal Engine real-time chains.

Photoreal work runs through physically based shading and Substance Painter texturing. We tie reference to set plates from Tokyo, Yokohama, or wherever the live-action piece was shot. ACES colour management holds the creative intent from the model right through to the final composite.

Volume scales from a single hero product visual all the way up to a full CG episode series. Our chain backs motion capture cleanup, facial animation, simulation work, and crowd systems for the shoots that need them. Timelines run from days for product spots to months for character-led feature work. We agree detailed milestones at the bid. We then report daily progress against shot turnovers, so the schedule stays clear. Each CG item ships with the right passes, mattes, and metadata. That lets compositors blend it in cleanly. Whatever the visual aim, we hand back CGI that holds up for Japan's toughest broadcast, theatrical, and streaming clients.

Each CG deliverable is built to match its end point. Work for NHK, TBS, and Fuji TV follows Rec.709 broadcast norms, while shots for Netflix Japan run through HDR picture. Bilingual handling stays in step throughout. English and Japanese briefs both feed the same shot turnover, and on-screen CG text gets proper glyph care for either track. Online review keeps global supervisors in sync across time zones, with notes folded straight into the next pass.

Cost is quoted in Japanese yen, with the 10 percent consumption tax shown plainly on every line. A single product visual carries a clear fixed estimate, while character-led work is priced per shot against an agreed brief. We set the schedule against broadcast slot dates or streaming release windows. Progress reports track each turnover so the timeline holds. Whatever the volume, we hand back CG that blends into the final composite without a second pass.