‘Pokemon’ Anime Studio OLM Trains AI Coloring Tool on Just Three Frames in Japan Government-Backed Project

‘Pokemon’ Anime Studio OLM Trains AI Coloring Tool on Just Three Frames in Japan Government-Backed Project hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Nov 7, 2026 3:43pm PT ‘Pokemon’ Anime Studio OLM Trains AI Coloring Tool on Just Three Frames in Japan Government-Backed Project By Naman Ramachandran Plus Icon Naman Ramachandran Latest ‘3 Body Problem’ Director Derek Tsang Boards DEA True-Crime Series ‘Group 41’ From Zhang Yimou’s ‘Shadow’ Producer Jonah Greenberg (EXCLUSIVE) 14 hours ago Stephen Chow Told Japan to Stop Aping Kung Fu, Says Boss of Film Fund Behind Kore-eda Hirokazu’s ‘Look Back’ 19 hours ago Why ‘Suits’ Japan Swapped Drugs for Cash: NBCUniversal, TBS Format Chiefs on Localizing Hits at Taiwan Creative Content Fest 21 hours ago See All Add us as a Google Preferred Source Comments OLM, the Japanese animation group behind the “ Pokemon ” anime series and films, has developed an AI coloring tool that picks up a show’s look from just three hand-painted frames, OLM Digital board director Yotsukura Tatsuo said at the Taiwan Creative Content Fest (TCCF) in Taipei. The tool came out of ANIMINS, a 15-month research project Yotsukura led under GENIAC, a generative AI program overseen by Japan’s Ministry of Economy, Trade and Industry.

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The project, which looked at how anime creators could put AI to use, wrapped in February. Related Stories Taylor Swift’s ‘I Knew It, I Knew You’ and ‘La Bola Negra’s ‘La Nieve’ Among Nominees for Hollywood Music In Media Awards Because AI models usually need vast amounts of training data that studios struggle to assemble, OLM took the opposite approach.

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An artist colors three frames by hand, and the system learns that show’s line shapes and color palette on the spot in about 90 seconds, then colors each remaining frame in around 15 seconds. The more frames an artist paints by hand, the more accurate it becomes.

“Strictly speaking, it isn’t generative AI,” Yotsukura said. Training only on a production’s own frames means no other works are harmed, he added, and the tool can adapt immediately when a new character or creature, such as a dragon, appears.

The point OLM most wanted to stress, he said, is that it fits into existing anime workflows without disrupting them. At proof-of-concept stage, Yotsukura estimated it has cut painting workload by around 30%, though the checkers who review every colored frame have somewhat more to do.

Toon Boom Animation, the Canadian maker of animation software Harmony and Storyboard Pro, is tackling the same bottleneck. Product marketing director Harry Ravelomanantsoa said the beta of the coloring tool in Ember, the company’s AI suite, is wrapping up, and in-betweening is expected to enter beta within a couple of weeks.

One Manila studio that tested the coloring tool cut the painting time on a scene of 90 seconds to two minutes from 15 hours to two or three. OLM employs around 600 staff across Japan, Malaysia, Thailand and the U.S.

“As you probably saw passing through the first floor, we make the ‘Pokemon’ anime – not the games – including the TV series and the theatrical films,” Yotsukura said, referring to the 2026-27 Pokemon Asia Championship Series: Taiwan Premier Ball League, held Nov. 7–8 on a lower floor of the Taipei Nangang Exhibition Center, where TCCF is running Nov.

The group’s slate also includes kids’ titles “Beyblade” and “Hanakappa” and the adult-skewing “The Apothecary Diaries.” Yotsukura, who also serves as CTO for the group’s Malaysian and Thai arms, noted that an in-house R&D division is unusual for a Japanese animation company. The group is experimenting with AI for in-betweening as well.

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