a colorist, Hiroshi Katō as art director, and Hisao Shirai as director of photography. Gainax involved the studio Production I.G, which had previously collaborated on some episodes of the original series. Staff also decided to improve the quality of the segment of "Air" already included in "Rebirth". The movie was realized with computer graphics (CG) to give depth to the images and exceed the quality of animation of the original television series. The most important contribution came from the studio Omnibus Japan, which worked on Patlabor 2: The Movie (1993) and Ghost in the Shell (1995). Most of the computer graphics sequences were included at the beginning of the Human Instrumentality and the Third Impact scenes, in which the globe is sprinkled with cruciform lights. The companies divided the tasks by their technical needs and stylistic choices of the scenes. The Production I.G worked on the scenes with 3D computer graphics, which were virtually impossible to achieve with traditional methods, such as the introductory frames of the nine units of the Eva Series, while Gainax studio made scenes that required 2D computer graphics, such as those with computer screens. The sequences of the clash between Unit 02 and the Strategic Self-Defense Forces evoke those of the battle between the Angel Sachiel and the United Nations troops in "Angel Attack", the first episode of the original animated series. While making the feature film, images shown in the original twenty-fifth episode were also added, such as that of Eva-02 and Asuka at the bottom of a lake, and the corpses of Ritsuko and Misato. Besides the CG, short frames with watercolors were also inserted during the Instrumentality scene. Anno commissioned the sound effects to Toru Noguchi, with whom he had previously worked on the television series Nadia: The Secret of Blue Water. Anno asked Noguchi for maximum realism, to communicate sensations cell animation is not able to express. Particular attention was given to the noise of lasers, the AT Field, and the song of cicadas in the background, which was specially modulated to harmonize with the soundtrack. For the movements of the Evangelion units, he was asked to recreate the noise bundles of wires would make if they contracted as if they were muscles, treating them as living beings. For this reason, sounds usually used in other mecha anime were avoided. The director's demands were meticulous; he specifically asked to use the