The storyboard check up that started before summer has come to an end in October. As a result, 1,050 frames from the storyboard were chosen to become the very base of "JAPAN, Our Homeland."

At the same time the drawing of the animation cells started, just for the parts that have already been decided to be used in the movie. This process is technically known as "animation."

The total number of animation cells is expected to reach 50,000 sheets. Considering that about thirty animators are working on "JAPAN, Our Homeland," it’s a long way to go until the storyboard with 1,050 frames will turn into an animation (50,000 animation cells are hand-drawn one by one).

First Discussion: How to Animate the Film

Technical director Mr. Iijima gives detailed instructions to storyboard frame: "This scene features two characters. When you draw them, please make sure to distinguish the two by giving them different body heights. Keep a good balance between the characters and background, too." "The character’s line is too long in this scene; let’s add one more sheet here so we can expand the character’s movement", he carefully analyzes.

The Discussion Continues with the General Animation Director and the Animation Directors.

Here, Mr. Iijima (technical director) and Mr. Kugimiya (character designer and general animation director) take a close look at the storyboard frames to compare the different animator’s way of drawing. Take a desk in the classroom, for example. It’s only a desk, but it’s drawing by a character animator is so much different from that drawn by a special effects animator.

It’s also time to decide whether to incorporate CG (Computer Graphics) to create effects on rain and water surface. As CG affects the budget and production schedule, the decision must be made as soon as possible.