The armored characters from the anime Samurai Troopers receive 3D computer graphics treatment in the new television production. The technique helps create richer visuals while maintaining the atmosphere of the original 1988 work. The second part of the Yoroi Shinden Samurai Troopers series is scheduled to begin airing in July 2026.
The series is a direct sequel to the classic anime. Ela was broadcast in two parts, with the first between January and March 2026. The production combines hand-drawn animation with elements rendered in 3DCG, especially in the samurai wearing armor and in Mundo Demoníaco. Alguns scenarios, such as those on the fortress train, also incorporate computer graphics.
Development of models in 3DCG
Creation of the models began around August 2023. The team dedicated around six months to research and development to define how to animate the characters and establish acceptable limits on 3D representation. Depois From defining the rules of representation, mass production advanced more fluidly.
Several characters were rendered in 3DCG. The five samurai in their armor and the ten enemies known as Dez Bravos received this treatment. Modeling the bodies and faces took approximately two months, including deformation targets.
The computer graphics director highlighted the challenge of balancing current technology with classic style. The intention was to preserve the worldview of the original work and prevent the action scenes from appearing distorted, something common in traditional animation. Como There are battles in every episode, the volume of detail required special attention from the team.
Contributed by FelixFilm
FelixFilm was responsible for producing the computer graphics elements. CG modeling director Rei Koizu explained that the focus was to minimize the texture of the 3DCG so that the result would not clash when combined with the hand-drawn animation. Essa choice also reduced the workload in subsequent steps such as animation and filming.
The polygon count of the base models was kept to a minimum. Isso made it easier to control, rigging and reuse the models for the other samurai. In the case of Gai, known as Cara Flamejante, the design adapted the style to the thick contours characteristic of the original animation.
For characters like Isanudo, one of Dez Bravos, the team created 3D reference models in addition to the concept drawings. Esses Models helped understand contours, textures and three-dimensional details. The process included constant feedback with designers to adjust similarity between siblings, such as Seikai Nyudo and Isanudo.
- The five Samurai Troopers had reusable models with a structure optimized for rendering time.
- Dez Bravos Guerreiros received special attention to deformable elements such as cape and hair.
- The modeling of Oda Ryusei in the monstrous form was based on conceptual sketches to balance the silhouette and facial features.
- Hybrid techniques controlled shadows and highlights to avoid artificial appearance.
- Pencil+ in 3ds Max generated materials and lines for rendering.
Rendering and post-production techniques
The team tested different approaches to integrating CG and traditional animation. Initially, it was planned to generate separate passes for the face and body, but the consolidation into a single pass with five elements reduced costs and subsequent work. The line sweep renderer was used together with Pencil+.
To maintain consistency in the lines, the materials generated by Pencil+ underwent processing in After Effects with the Chalk effect. Essa step standardized the thickness and avoided inconsistencies between the 3D models and the hand-drawn animation.
Lighting settings and textures have received hybrid adjustments. Depois to apply scene lighting, highlights and shadows were incorporated into the texture’s RGB channels. The method improved stability and reduced production costs.
Texture masks were created for the characters’ bodies, including shadow and highlight versions. Testes with anti-aliasing helped refine the final look in different lighting conditions.
Challenges in representing reinforcement
The battle scenes were produced entirely in CG, while the initial scenes of everyday life mixed 3DCG bodies with hand-drawn faces. Essa division required care so that the transition did not draw the viewer’s attention.
Specific issues, such as hair overlapping cape in Isanudo, were addressed with warp targets. Quando the cape appears, a transformation adjusts the side strand so that it is visible above the fabric. Atributos and parameters control the degree to which these changes are applied.
The structure of the models prioritized ease of control and reuse. Para Gai, the wireframe and final rendering reflected the classic design adapted to 3D, with contours that respect the aesthetics of the original animation.
The director of CG Masaomi Suzuki reflected on the result. Ele mentioned that the team was able to create engaging visuals thanks to the collective efforts and cooperation of various companies. The work allows both fans of the previous series and new viewers to enjoy the story.
The second part of the series Samurai Troopers: The True Legend begins airing in July 2026. The production is directed by Yoichi Fujita, script and series composition by Shogo Muto, and animation production by Sunrise.
