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This article explores the work of the hand in the animation studios and questions the changes implied by the « digitalisation » of the hand in a field where the hand remains the privileged interface of conception. In the history of cinema, animation studios quickly adopted a taylorist organisation, in order to be able to generate animated frames as fast as possible. At the turn of the 21st century, with the development of animation softwares and computers, these studios have been forced to think about new models of management. Based on an inquiry in the Bombay animation industry, a new « digital paradise », the author shows how the computer has modified the traditional divide between « executing hands » (the animators) and the « master hand » (the film director). This article examines the complicated relationship that take place during the animation process between the hand and the machine which are never in a simple and smooth relation of control/execution.