Were there any techniques and know-how from Zoids: Genesis that you found helpful in Reideen?
Hayashi: From my previous experiences with TV animation, I learned that how we structure the workflow was very important. I made improvements to a workflow I created for Zoids: Genesis and used it for Reideen. In a 3D CG production, the created data goes through several people’s hands. It’s fundamental that you don’t get things messed up in that process. You should also let the computer do as much as it can, so that you can concentrate on adding animation and creating visual effects. I aimed at making a work environment where the staff could concentrate on their job and could also see the entire production workflow at a glance. As for the modeling, we created everything from the scratch. For the motion graphics, in Zoids: Genesis we were able to reuse movement data for different Zoid models just by changing the camera settings to get different shots, but for Reideen, the main concept for the movements was “slow,” so we couldn’t reuse the data, except as for some walking sequences for t
