The Computer Animation Production System (CAPS) is a proprietary collection of software programs developed primarily by Pixar in the late-1980s for The Walt Disney Company, designed to help automate the post-production of traditionally animated feature films produced by Walt Disney Feature Animation.

CAPS is essentially a digital ink-and-paint, compositing, and rendering solution, designed to replace the expensive process of transferring animated drawings to cels using India ink or Xerox technology, and painting the reverse sides of the cels with gouache paint. Using the CAPS system, enclosed areas and lines can be more easily colored in the digital computer environment in up to 16 million colors; transparent shades, blended edges, and other sophisticated techniques are also possible.

The completed digital cels are then placed over scanned background paintings and camera and/or pan movements are programmed into the system. Also possible at this stage is the implimentation of a variant of the multiplane camera process, done by pulling various layers of artwork past the camera area at various speeds and at various blur levels. Unlike the analog multiplane camera, the CAPS multiplane camera is limited only by the processing power of the computer systems. The final version of the sequence is finally rendered and printed onto film.

The first usage of the CAPS process in a feature film was the happy ending scene of The Little Mermaid in 1989; the rest of the film uses painted cels. Subsequent films were made completely using CAPS; the first of these, The Rescuers Down Under, was the first 100% digital feature film.

Since the animation elements exist in a digital environment, it is easy to integrate other types of film and video elements, including three-dimensional computer animation. Sequences from Disney films such as Beauty and the Beast, Aladdin, The Lion King, and The Hunchback of Notre Dame, and take advantage of the 2D/3D integration.

Tarzan was the first Disney animated feature printed to a digital film format directly from CAPS; the subsequent Disney features followed suit. For the Special Edition IMAX and DVD versions of Beauty and the Beast, Aladdin, The Lion King, and Mulan, new renders of the original elements were done and output to a digital master format. In addition, Beauty and the Beast and The Lion King had newly animated sequences added to their special editions, and both of those films and Aladdin had significant cleanup/restoration done on the original digital sequence elements to enhance detail, correct mistakes, and solidify clean-up animation and drawing.