In addition to the modern technological aspects, Liang Hansen, a former Peking Opera actor, consciously applies the expressions of traditional Chinese opera into his film. Great minds think alike. Creators of Finding the Milu King: The Magic Reel intentionally carry forward Chinese culture via new technology, in their 3D film. It won the Best Animation Award at the 13th Huabiao Film Awards, China's only official film awards ceremony.

The advantage of digitally generated graphics is that they automate the creation of an entirely virtual world – useful for a full-scale epic cartoon such as this one. The film not only simulates faithfully a real environment, but also blends with the creators' elaborations on the "beauty of nature." This poeticized natural scenery was imbued with traditional Chinese aesthetics, recognizable in the freehand beauty of wash painting. In its highly detailed form, one can see that these are not classic brush strokes, but CG (Computer Graphics) virtual 3D environments. Experts have stated, "They may be different in form but similar in essence. Freehand tradition and virtual reality techniques have formed a wonderful unity."

Common Shortcomings

In conjunction with the Chinese Academy of Sciences, the producer of Finding the Milu King: The Magic Reel managed to achieve several major breakthroughs in 3D model morphing, data gathering, processing and composing visual actions, and the distributed control of a massive animation. Through consummate 3D modeling techniques, complicated cinematography and a state-of-the-art large-scale rendering system, they laid a solid foundation for ensuring a high-quality work of cinematic art. For example, the underwater scenes give full play to the superiority of the 3D image. Authentically rendered fur on the Monkey King's body flutters in the wind, lifelike in its movement. The characters' facial expressions are smoother and more vivid than in previous Chinese cartoons. The animators emphasized their mastery of light and angle simulation with virtual cameras.

Incidentally, this Chinese adventure story incorporates certain Western characteristics, by not only employing the technical production team of Kung Fu Panda, but also by presenting audiences something similar to The Lion King in action and style.

Limited by funding and technology, mixed blessings were to be expected. The production of Finding the Milu King: The Magic Reel revealed the general weaknesses of the Chinese cartoon industry, whose abilities often fall short of their wishes. Anomalies surface in the distortion of action, or with figures in wide shots that separate from the background in an unnatural manner.

"Facing the increasing market potential, we should be patient," says Tan Ping, a Beijing-based expert in postproduction for films and television. After watching Avatar, he remarks, "This film is the one that will bring film technologies into the 21st century in an electrifying way." In his opinion, finding a distinctive language for 3D films can be difficult for such a burgeoning market, because in the end it is the content that attracts the audiences. Along with striking imagery, a good film needs a good story, vivid images, and beauty and joy to fire the imagination, stir authentic feelings and reflect real human experience. "Technique can only help us to draw audiences, it's the content that is going to keep them."