1 00:00:02,240 --> 00:00:05,240 Speaker 1: Get in touch with technology with tech Stuff from how 2 00:00:05,320 --> 00:00:13,840 Speaker 1: stuff dot com. Hello again, everyone, and welcome to tech stuff. 3 00:00:13,880 --> 00:00:15,560 Speaker 1: My name is Chris Poulett, and I'm an editor at 4 00:00:15,600 --> 00:00:18,119 Speaker 1: how stuff works dot com. Sitting across from me and 5 00:00:18,200 --> 00:00:22,960 Speaker 1: as usual as senior writer Jonathan Strickland. There. So, Chris, 6 00:00:23,239 --> 00:00:27,680 Speaker 1: you're looking a little animated today. I don't understand how 7 00:00:27,720 --> 00:00:31,240 Speaker 1: you drew that conclusion. Well, you know, you're a pretty 8 00:00:31,240 --> 00:00:36,240 Speaker 1: sketchy person yourself. We should stopped. This is going to 9 00:00:36,479 --> 00:00:39,160 Speaker 1: is going to turn uglier in any second. Yeah, Today 10 00:00:39,200 --> 00:00:43,960 Speaker 1: we wanted to talk about the traditional hand drawn animation process, 11 00:00:44,479 --> 00:00:47,519 Speaker 1: what goes into it, why does it work, and how 12 00:00:47,560 --> 00:00:50,519 Speaker 1: has it changed over the years. Uh. And we were 13 00:00:50,560 --> 00:00:53,559 Speaker 1: specifically focusing on hand drawn animation because I think we 14 00:00:53,680 --> 00:00:55,800 Speaker 1: may have I know we've talked about computer animation in 15 00:00:55,840 --> 00:00:58,280 Speaker 1: previous podcasts. I don't think we've done a full episode 16 00:00:58,280 --> 00:01:03,320 Speaker 1: on it, but but the two two disciplines are different 17 00:01:03,400 --> 00:01:06,520 Speaker 1: enough where I think it warrants two different podcasts. Yeah, 18 00:01:06,560 --> 00:01:09,680 Speaker 1: the UM I have done some research on it, just 19 00:01:09,720 --> 00:01:12,160 Speaker 1: by accident, just because I was interested in a topic 20 00:01:12,480 --> 00:01:14,760 Speaker 1: from time to time, and I started thinking about it 21 00:01:14,800 --> 00:01:18,320 Speaker 1: the other day when I saw something and suggested it. Um. 22 00:01:18,400 --> 00:01:22,839 Speaker 1: It's uh, it's very different in quite a few ways 23 00:01:22,920 --> 00:01:26,200 Speaker 1: from from computer animation, and Jonathan and I like to 24 00:01:26,200 --> 00:01:30,280 Speaker 1: talk about how old styles of tech have affected us 25 00:01:30,319 --> 00:01:33,919 Speaker 1: and uh, the kinds of things that people used to do. Um. 26 00:01:33,959 --> 00:01:35,959 Speaker 1: You know, there are some very famous studios that have 27 00:01:35,959 --> 00:01:39,520 Speaker 1: have gone computer only these days, but um, some of 28 00:01:39,520 --> 00:01:42,240 Speaker 1: the very same studios were pioneers and some of the 29 00:01:42,360 --> 00:01:47,240 Speaker 1: amazing tech that went into making a piece of hand 30 00:01:47,319 --> 00:01:50,680 Speaker 1: drawn animation look very realistic. Um, and I thought, you know, 31 00:01:50,760 --> 00:01:54,040 Speaker 1: it would be really fun to kind of touch on that, um, 32 00:01:54,120 --> 00:01:56,840 Speaker 1: which is uh, which is why I think we decided 33 00:01:56,880 --> 00:01:58,440 Speaker 1: to go ahead and make an episode of it. We 34 00:01:58,440 --> 00:02:02,600 Speaker 1: should probably already uh attached this into our movie making 35 00:02:02,680 --> 00:02:06,120 Speaker 1: tech series of stuff, just because we haven't done one 36 00:02:06,160 --> 00:02:08,520 Speaker 1: in a while, and then now we can say we have. Yeah, 37 00:02:08,560 --> 00:02:11,640 Speaker 1: I think it's been I think it's been like a year. Um. Yeah, 38 00:02:11,720 --> 00:02:14,520 Speaker 1: okay that that that's fine with me. This belongs in 39 00:02:14,560 --> 00:02:20,160 Speaker 1: our movie magic technology series. It really does. It's just 40 00:02:20,200 --> 00:02:23,280 Speaker 1: that I wasn't thinking of it that way. So before U, 41 00:02:24,880 --> 00:02:28,080 Speaker 1: before we get into the actual process of making a 42 00:02:28,160 --> 00:02:32,600 Speaker 1: hand drawn animated project, whether it's television for television or 43 00:02:32,639 --> 00:02:36,240 Speaker 1: for film or whatever. Um, we should kind of explain 44 00:02:36,280 --> 00:02:40,400 Speaker 1: the whole concept behind animation. It's the idea is that 45 00:02:40,440 --> 00:02:44,760 Speaker 1: it's an illusion, obviously, an illusion of movement. And this 46 00:02:44,800 --> 00:02:47,480 Speaker 1: is because the way our our brains and our eyes work, 47 00:02:47,960 --> 00:02:51,280 Speaker 1: we have this, uh, this sort of it's it's almost 48 00:02:51,320 --> 00:02:53,880 Speaker 1: like a visual memory in a way, and we're able 49 00:02:53,919 --> 00:02:57,000 Speaker 1: to fill in enough information where if you have a 50 00:02:57,040 --> 00:03:03,280 Speaker 1: sequence of images of an object that appears to move 51 00:03:03,400 --> 00:03:09,360 Speaker 1: because it has a different um orientation, or you've slightly 52 00:03:09,480 --> 00:03:13,840 Speaker 1: changed the location of the object from one page of 53 00:03:13,840 --> 00:03:16,480 Speaker 1: of a like a pad of paper to another, and 54 00:03:16,520 --> 00:03:19,600 Speaker 1: then you move those at a fast enough clip, it 55 00:03:19,680 --> 00:03:22,040 Speaker 1: gives the illusion that that that's actually an object that's 56 00:03:22,320 --> 00:03:25,960 Speaker 1: physically moving through a space. Yeah, persistence of vision, Yes, 57 00:03:26,120 --> 00:03:29,760 Speaker 1: you might call it. Yes, in fact, that's it's and 58 00:03:29,880 --> 00:03:31,880 Speaker 1: that is a good reason to call it that. And 59 00:03:31,919 --> 00:03:33,760 Speaker 1: so I mean anyone who has played with a little 60 00:03:33,760 --> 00:03:36,720 Speaker 1: notepad or post it notes or whatever and have created 61 00:03:36,720 --> 00:03:39,360 Speaker 1: their own little versions of this knows that you know, 62 00:03:39,440 --> 00:03:43,720 Speaker 1: you you get a uh, you create this illusion of movement, 63 00:03:43,760 --> 00:03:46,880 Speaker 1: You move the figures, you draw the next figure a 64 00:03:46,960 --> 00:03:50,080 Speaker 1: little bit further away from the first one, or you 65 00:03:50,400 --> 00:03:54,000 Speaker 1: give it some other form of motion. Uh, and when 66 00:03:54,000 --> 00:03:57,600 Speaker 1: you flip the book, then it looks like something's happening. 67 00:03:57,720 --> 00:03:59,160 Speaker 1: I used to do this all the time with post 68 00:03:59,200 --> 00:04:02,440 Speaker 1: it notes. I went through so many packs of posted notes, 69 00:04:02,520 --> 00:04:05,280 Speaker 1: drawing my own little cartoons, which almost always ended in 70 00:04:05,400 --> 00:04:10,920 Speaker 1: violent mayhem. They usually began innocently enough. Yeah, I'd be like, okay, 71 00:04:10,920 --> 00:04:13,640 Speaker 1: and now he's jumping over hurdle, and now he's opening 72 00:04:13,680 --> 00:04:16,040 Speaker 1: up a door, and now he's hit in the head 73 00:04:16,040 --> 00:04:19,080 Speaker 1: with an ax, and now he's running away from a monster. 74 00:04:19,240 --> 00:04:22,560 Speaker 1: And yeah, things fell apart pretty quickly for me. If 75 00:04:22,560 --> 00:04:26,960 Speaker 1: you're if you've ever read the comic strip Calvin and Hobbs, 76 00:04:27,480 --> 00:04:31,000 Speaker 1: where Calvin is uh, you know, coming up with these 77 00:04:31,000 --> 00:04:35,159 Speaker 1: scenarios and now look, the giant tanker truck full of 78 00:04:35,200 --> 00:04:39,560 Speaker 1: acid is coming toward it and meteor from space. How 79 00:04:39,560 --> 00:04:41,360 Speaker 1: can they avoid this? And this is the image I'm 80 00:04:41,400 --> 00:04:44,520 Speaker 1: seeing of Jonathan doing this. Yeah, it wasn't pretty. So 81 00:04:45,920 --> 00:04:48,800 Speaker 1: how do you take that and you transfer it over 82 00:04:48,839 --> 00:04:52,640 Speaker 1: into making an animated show or film. Well, it's been 83 00:04:52,680 --> 00:04:56,240 Speaker 1: done for centuries now really in a way. In a way, 84 00:04:56,279 --> 00:05:00,159 Speaker 1: but the the process that kind of defines the a 85 00:05:00,320 --> 00:05:06,200 Speaker 1: modern animation worked throughout the twentieth century was really defined 86 00:05:06,560 --> 00:05:12,359 Speaker 1: by Earl Heard, and Earl Heard actually patented the cell 87 00:05:12,520 --> 00:05:16,800 Speaker 1: animation process, and we call it cell animation. The original 88 00:05:17,040 --> 00:05:21,119 Speaker 1: material that people drew the drawings of figures or whatever 89 00:05:21,240 --> 00:05:24,400 Speaker 1: was being animated within a scene. They would draw draw 90 00:05:24,480 --> 00:05:30,760 Speaker 1: that on celluloid. Eventually the industry made a transition from 91 00:05:30,839 --> 00:05:36,200 Speaker 1: celluloid to cellulus acetate. Part of that was because celluloid 92 00:05:36,440 --> 00:05:41,680 Speaker 1: is um yeah, extremely flammable, very flat. It's both flammable 93 00:05:41,800 --> 00:05:46,719 Speaker 1: and inflammable, and also it uh, it could be prone 94 00:05:46,800 --> 00:05:51,960 Speaker 1: to spontaneous decomposition, so you couldn't store it indefinitely. Are 95 00:05:52,040 --> 00:05:55,760 Speaker 1: using those stack of drawings they were right, they see 96 00:05:55,760 --> 00:05:58,400 Speaker 1: that puddle of goo over there, Yeah, that's snow white. 97 00:05:58,880 --> 00:06:02,680 Speaker 1: Um yeah, they they would, they would. It seems problematic, Yeah, 98 00:06:02,760 --> 00:06:05,960 Speaker 1: so that you couldn't you know, you couldn't archive this stuff, 99 00:06:06,200 --> 00:06:08,240 Speaker 1: which in the early days of the industry wasn't a 100 00:06:08,240 --> 00:06:12,720 Speaker 1: big concern. You know. The concern was to create this 101 00:06:12,720 --> 00:06:16,040 Speaker 1: this product and then have it shown, usually in a 102 00:06:16,040 --> 00:06:18,360 Speaker 1: movie theater. In the early days, you know, this is 103 00:06:18,440 --> 00:06:22,120 Speaker 1: this is before television. So this was something where you 104 00:06:22,160 --> 00:06:25,479 Speaker 1: would go to a like a theater and see it 105 00:06:25,520 --> 00:06:29,680 Speaker 1: projected on a screen, but there was people weren't too 106 00:06:29,680 --> 00:06:34,200 Speaker 1: concerned about storing stuff for for pos posterity, not prosperity. 107 00:06:34,279 --> 00:06:39,000 Speaker 1: They wanted prosperity, posterity. They weren't so concerned about um. 108 00:06:39,000 --> 00:06:40,960 Speaker 1: But yeah, so so it wasn't a big deal. But 109 00:06:41,000 --> 00:06:43,720 Speaker 1: then the move to cellulous estate, which is essentially kind 110 00:06:43,720 --> 00:06:48,279 Speaker 1: of plastic, helped take that that problem out of the picture, 111 00:06:48,480 --> 00:06:53,320 Speaker 1: so to speak. Yeah. The reason that now this this material, um, 112 00:06:53,400 --> 00:06:57,119 Speaker 1: the celluloid was was clear, yes, basically a clear sheet 113 00:06:57,160 --> 00:06:59,680 Speaker 1: of plastic, if you will, just just for the sake 114 00:06:59,720 --> 00:07:03,039 Speaker 1: of uh, the image in your head. Actually, most of 115 00:07:03,080 --> 00:07:06,840 Speaker 1: you have probably seen somebody working on cells for animation. 116 00:07:06,880 --> 00:07:09,880 Speaker 1: It's you know, we sort of know what this looks like. 117 00:07:10,520 --> 00:07:13,360 Speaker 1: We haven't gotten so far out from that realm that 118 00:07:13,480 --> 00:07:18,040 Speaker 1: it's foreign to us. Yeah, but this is this was 119 00:07:18,080 --> 00:07:21,600 Speaker 1: a big improvement because before this, uh, there were some 120 00:07:21,920 --> 00:07:26,560 Speaker 1: very early animation uh you know, moving pictures that were 121 00:07:26,600 --> 00:07:31,000 Speaker 1: made with drawings on paper, and that is so much 122 00:07:31,040 --> 00:07:35,480 Speaker 1: more time consuming because just as you know, um, there 123 00:07:35,520 --> 00:07:41,240 Speaker 1: are several frames of film that passed. Each second is 124 00:07:41,280 --> 00:07:46,520 Speaker 1: the standard, Yes, I couldn't remember per second of standard 125 00:07:46,600 --> 00:07:51,600 Speaker 1: for film, thirty for television, I think television. If you're 126 00:07:51,600 --> 00:07:55,240 Speaker 1: in the United States, I have to you have to 127 00:07:55,280 --> 00:07:59,080 Speaker 1: make these qualifiers because other other countries have different standards. 128 00:07:59,320 --> 00:08:01,800 Speaker 1: So it's so imagine if you will, that you are 129 00:08:01,840 --> 00:08:03,680 Speaker 1: one of the animators and you have to draw twenty 130 00:08:03,720 --> 00:08:09,200 Speaker 1: four complete drawings for each second of film. This is 131 00:08:09,320 --> 00:08:13,000 Speaker 1: very time consuming, where using the the cell method allows 132 00:08:13,200 --> 00:08:15,760 Speaker 1: you allows the animator to make a subtle change to 133 00:08:15,800 --> 00:08:19,239 Speaker 1: the original drawing and and just change make those subtle 134 00:08:19,320 --> 00:08:21,920 Speaker 1: changes and you can see it because um again, if 135 00:08:21,960 --> 00:08:26,360 Speaker 1: you watch a video of somebody making an animation with cells, 136 00:08:26,400 --> 00:08:29,240 Speaker 1: they are able to overlay them on top of one 137 00:08:29,280 --> 00:08:32,920 Speaker 1: another and they can make those subtle adjustments seeing where 138 00:08:32,960 --> 00:08:35,640 Speaker 1: the differences are between the two drawings, which you you 139 00:08:35,800 --> 00:08:39,199 Speaker 1: won't be able to do as well with paper because 140 00:08:39,240 --> 00:08:42,000 Speaker 1: it's o pack you, especially if you're using hand, especially 141 00:08:42,000 --> 00:08:45,640 Speaker 1: if you're using paper. Like if there's a background image, yes, 142 00:08:46,520 --> 00:08:49,560 Speaker 1: that's involved with paper, you have to draw the whole 143 00:08:49,600 --> 00:08:52,760 Speaker 1: thing each time, right, So you're drawing that whole background 144 00:08:52,800 --> 00:08:55,040 Speaker 1: because you know, again your paper is not transparent, so 145 00:08:55,080 --> 00:08:57,160 Speaker 1: you're joining the whole background. Plus they're drawing whatever is 146 00:08:57,160 --> 00:09:01,160 Speaker 1: in the foreground that's that's animated. And then the next frame, 147 00:09:01,200 --> 00:09:03,400 Speaker 1: you have to draw it all over again. Whereas with cells, 148 00:09:03,440 --> 00:09:06,280 Speaker 1: what you could do is you could have a pre 149 00:09:06,559 --> 00:09:11,520 Speaker 1: generated background image that is laid down in a frame, 150 00:09:12,120 --> 00:09:15,160 Speaker 1: and then you could overlay these cells on top of it, 151 00:09:15,240 --> 00:09:18,320 Speaker 1: one at a time, and because the cell itself is clear, 152 00:09:18,400 --> 00:09:22,400 Speaker 1: anywhere that you have not drawn, you could see the background. 153 00:09:23,160 --> 00:09:25,640 Speaker 1: And then you take that cell out, you put another 154 00:09:25,679 --> 00:09:28,800 Speaker 1: cell in, you take another picture, which represents a frame 155 00:09:29,040 --> 00:09:32,200 Speaker 1: of the film. You know, when you think about film, 156 00:09:32,200 --> 00:09:36,960 Speaker 1: really is animation, even live action film is technically animation 157 00:09:37,000 --> 00:09:40,800 Speaker 1: because you're talking about looking at a series of photographs 158 00:09:40,840 --> 00:09:43,160 Speaker 1: that are played at such a speed as to create 159 00:09:43,200 --> 00:09:46,360 Speaker 1: the illusion of movement. Uh. Now, the granted this is 160 00:09:46,400 --> 00:09:48,560 Speaker 1: we're talking about physical film here, because once we get 161 00:09:48,600 --> 00:09:52,800 Speaker 1: into digital there's different things to you know, consider, But 162 00:09:53,160 --> 00:09:56,319 Speaker 1: in the old film days, that's that's really what we're 163 00:09:56,360 --> 00:09:59,319 Speaker 1: talking about. So with animation, each of those frames is 164 00:09:59,400 --> 00:10:03,280 Speaker 1: essentially a potograph. You're using a camera to photograph this drawing, 165 00:10:03,960 --> 00:10:06,000 Speaker 1: and with the cells, like I said, you take one 166 00:10:06,000 --> 00:10:10,920 Speaker 1: cell out, you put another cell in, the background remains static. Uh. 167 00:10:11,040 --> 00:10:14,200 Speaker 1: Then you have a character that is appearing or object 168 00:10:14,280 --> 00:10:17,239 Speaker 1: or whatever that's appearing to move on top of this background. 169 00:10:17,679 --> 00:10:22,239 Speaker 1: If it's a movement that is, you know, easily repeatable, 170 00:10:22,320 --> 00:10:24,600 Speaker 1: you don't even have to draw more than the number 171 00:10:24,600 --> 00:10:28,080 Speaker 1: of cells it takes to complete one cycle of that action. 172 00:10:28,800 --> 00:10:32,240 Speaker 1: So let's say that you wanna picture. You've drawn a 173 00:10:32,520 --> 00:10:36,440 Speaker 1: cartoon kangaroo, and the kangaroo is just jumping straight up 174 00:10:36,480 --> 00:10:39,360 Speaker 1: and down five times. Well, you don't have to draw 175 00:10:39,520 --> 00:10:42,080 Speaker 1: enough cells to do that five times. You draw it 176 00:10:42,120 --> 00:10:45,200 Speaker 1: so it does one full cycle, one jump from start 177 00:10:45,280 --> 00:10:49,160 Speaker 1: to finish, and then you you could photograph that sequence 178 00:10:49,240 --> 00:10:52,440 Speaker 1: five times using these that same set of cells. So, 179 00:10:52,440 --> 00:10:54,199 Speaker 1: in other words, you've just cut down on the amount 180 00:10:54,200 --> 00:10:55,520 Speaker 1: of work you would have to do if this were 181 00:10:55,520 --> 00:10:58,000 Speaker 1: all done on paper. Yes, and that's one of the 182 00:10:58,040 --> 00:11:03,000 Speaker 1: important points to that that so many animators have used 183 00:11:03,000 --> 00:11:06,680 Speaker 1: in the past. Um uh the the illusion of movement. 184 00:11:06,679 --> 00:11:10,400 Speaker 1: You've got your kangaroo hopping up and down. Now, if 185 00:11:10,440 --> 00:11:14,480 Speaker 1: the background stays static, um, then it looks like the 186 00:11:14,559 --> 00:11:18,480 Speaker 1: kangaroos hopping up and down in place. Um. This technique 187 00:11:18,480 --> 00:11:22,199 Speaker 1: that Jonathan was just saying UM or just talking about 188 00:11:22,559 --> 00:11:27,520 Speaker 1: UH is often used to create the illusion of movement 189 00:11:27,679 --> 00:11:31,160 Speaker 1: across a linear surface from point A to point B. 190 00:11:31,480 --> 00:11:34,880 Speaker 1: Let's say the characters are walking down a street in 191 00:11:34,960 --> 00:11:40,000 Speaker 1: the city. Man, I remember those old Marvel Comics heroes 192 00:11:40,480 --> 00:11:43,360 Speaker 1: animations from the sixties, and all the buildings. If if 193 00:11:43,360 --> 00:11:46,400 Speaker 1: you watch a lot of these shows, um, Hanna Barbary 194 00:11:46,480 --> 00:11:49,319 Speaker 1: did this kind of thing to all the time, where 195 00:11:50,000 --> 00:11:52,560 Speaker 1: you're moving down the urban landscape and they've you've got 196 00:11:52,559 --> 00:11:55,839 Speaker 1: your drawings of the city. And after a while, the 197 00:11:55,880 --> 00:11:59,000 Speaker 1: build the buildings begin to look the same, which is 198 00:11:59,040 --> 00:12:04,360 Speaker 1: because underneath what the characters are doing the same images 199 00:12:04,360 --> 00:12:07,320 Speaker 1: of the city. You know, once they've gotten uh you know, 200 00:12:07,400 --> 00:12:10,880 Speaker 1: let's say twenty four for each frame, they probably had 201 00:12:11,320 --> 00:12:13,960 Speaker 1: uh you know, a certain number of those, and once 202 00:12:14,000 --> 00:12:15,640 Speaker 1: they got to the end of that, then they started 203 00:12:15,679 --> 00:12:19,320 Speaker 1: over the beginning and loops and loops. And so if 204 00:12:19,360 --> 00:12:21,000 Speaker 1: you think of if you think of like a cell, 205 00:12:21,120 --> 00:12:24,520 Speaker 1: a cell is generally the size of whatever the the 206 00:12:24,559 --> 00:12:28,200 Speaker 1: whole frame of that images. Right. So so one cell 207 00:12:29,000 --> 00:12:32,840 Speaker 1: has the character or object or whatever or characters or 208 00:12:32,880 --> 00:12:36,360 Speaker 1: objects or mix of whatever. Um, it has those in 209 00:12:36,400 --> 00:12:40,319 Speaker 1: the center, or has those on the on the center, 210 00:12:40,360 --> 00:12:43,040 Speaker 1: it doesn't really matter it has on the cell. The 211 00:12:43,080 --> 00:12:44,959 Speaker 1: rest of the cell is clear. That's what's showing you. 212 00:12:45,040 --> 00:12:49,400 Speaker 1: The background. Generally, the backgrounds are much wider than the 213 00:12:49,400 --> 00:12:52,040 Speaker 1: frame on sometimes taller as well than the frame that 214 00:12:52,160 --> 00:12:56,800 Speaker 1: you are looking at. So when you take that picture 215 00:12:57,000 --> 00:12:58,960 Speaker 1: and you remove the cell so you can put the 216 00:12:59,000 --> 00:13:02,600 Speaker 1: next cell into gating the next movement of that character, 217 00:13:02,920 --> 00:13:06,839 Speaker 1: you would also adjust the position of the background so 218 00:13:07,000 --> 00:13:10,360 Speaker 1: that you would have that illusion of a character walking forward. 219 00:13:10,400 --> 00:13:12,920 Speaker 1: So let's say the characters staying in the center of 220 00:13:12,960 --> 00:13:15,800 Speaker 1: the frame, and the animation is the character is making 221 00:13:15,840 --> 00:13:19,080 Speaker 1: a walking motion. Then what you would do is between 222 00:13:19,200 --> 00:13:23,680 Speaker 1: the different shots you would move the background horizontally so 223 00:13:23,720 --> 00:13:26,800 Speaker 1: that it would look like the characters making progress. Well, 224 00:13:27,520 --> 00:13:30,360 Speaker 1: eventually you're gonna run on a background, you'll have to 225 00:13:30,360 --> 00:13:32,679 Speaker 1: switch to a different background, or you have to reuse one, 226 00:13:32,679 --> 00:13:34,880 Speaker 1: which is what Chris was talking about. You also notice 227 00:13:34,880 --> 00:13:37,840 Speaker 1: in a lot of those old animations characters have very 228 00:13:37,920 --> 00:13:40,680 Speaker 1: limited movement. Sometimes it looks like a static character who's 229 00:13:40,720 --> 00:13:42,600 Speaker 1: just kind of bouncing up and down a little bit 230 00:13:42,760 --> 00:13:46,200 Speaker 1: as the background is moving. And again that was a 231 00:13:46,200 --> 00:13:51,080 Speaker 1: way of saving money by drawing fewer cells. You draw 232 00:13:51,600 --> 00:13:53,679 Speaker 1: a character on a cell and you're using that same 233 00:13:53,720 --> 00:13:57,080 Speaker 1: static image of the character, You're just repositioning the cell 234 00:13:57,160 --> 00:14:01,920 Speaker 1: slightly and adjusting the cameras frame so that there the 235 00:14:02,040 --> 00:14:04,480 Speaker 1: character appears to be moving up and down as if 236 00:14:04,520 --> 00:14:07,240 Speaker 1: they are walking, but in fact you're just using the 237 00:14:07,320 --> 00:14:10,959 Speaker 1: same picture over and over and over again. Pretty get 238 00:14:11,000 --> 00:14:13,600 Speaker 1: to the clutch cargo days, where you replace the cartoon 239 00:14:13,679 --> 00:14:16,720 Speaker 1: character's mouth with a human mouth and generate a whole 240 00:14:16,760 --> 00:14:21,840 Speaker 1: generation of nightmares. I'm pretty sure though, that this this 241 00:14:21,920 --> 00:14:24,280 Speaker 1: method is exactly why he Man always appeared to be 242 00:14:24,320 --> 00:14:27,680 Speaker 1: moon walking everywhere he went, right. Yeah, The match matching 243 00:14:27,760 --> 00:14:34,600 Speaker 1: the the background movement with the animated character movement is 244 00:14:34,760 --> 00:14:36,960 Speaker 1: an art form of it's in and of itself, and 245 00:14:37,000 --> 00:14:39,160 Speaker 1: if you don't do it carefully, then you get this 246 00:14:39,240 --> 00:14:43,240 Speaker 1: weird glide e motion where the character either seems to 247 00:14:43,320 --> 00:14:47,600 Speaker 1: be uh walking too quickly but not making enough progress, 248 00:14:47,960 --> 00:14:52,320 Speaker 1: or walking slowly but moving really fast. And um yeah, 249 00:14:52,400 --> 00:14:54,680 Speaker 1: it's it's a it's a form of art really to 250 00:14:54,760 --> 00:14:57,240 Speaker 1: get that just right, we're kind of getting a little 251 00:14:57,280 --> 00:14:59,280 Speaker 1: too far into this, though. I want to talk kind 252 00:14:59,320 --> 00:15:02,520 Speaker 1: of about the whole process of building an animated feature. 253 00:15:03,200 --> 00:15:05,360 Speaker 1: But before I jump into it, one other thing I 254 00:15:05,400 --> 00:15:08,320 Speaker 1: need to say is that this traditional form of animation 255 00:15:08,360 --> 00:15:11,960 Speaker 1: we're talking about, where you're drawing pictures on cells. Uh, 256 00:15:12,000 --> 00:15:14,240 Speaker 1: it takes up a lot of space, Yes, it does. 257 00:15:14,440 --> 00:15:16,440 Speaker 1: The equipment takes up a lot of space because you 258 00:15:16,520 --> 00:15:20,480 Speaker 1: usually have to have a table on which you are 259 00:15:20,600 --> 00:15:24,160 Speaker 1: photographing all this stuff and you're not using like a 260 00:15:24,280 --> 00:15:29,880 Speaker 1: hand camera. No, this is professional, huge camera, And generally speaking, uh, 261 00:15:30,120 --> 00:15:32,000 Speaker 1: this kind of helps cut down on the amount of 262 00:15:32,080 --> 00:15:36,480 Speaker 1: materials you need. But generally speaking, for film, most animation 263 00:15:36,720 --> 00:15:40,640 Speaker 1: is done where they call it animating on two's, which 264 00:15:40,640 --> 00:15:46,640 Speaker 1: means they take two pictures per uh position, which means 265 00:15:46,680 --> 00:15:50,040 Speaker 1: that well, the playback is twenty four frames per second, 266 00:15:50,080 --> 00:15:55,160 Speaker 1: the positions are more like twelve frames per second. So uh, 267 00:15:55,600 --> 00:15:58,440 Speaker 1: that way, you've just cut the number of cells you 268 00:15:58,480 --> 00:16:01,560 Speaker 1: need to create in half. Also, the number of times 269 00:16:01,600 --> 00:16:05,560 Speaker 1: you need to adjust the background, you've cut that in half, uh, 270 00:16:05,760 --> 00:16:08,640 Speaker 1: which makes a big difference. Now, for things that are 271 00:16:08,920 --> 00:16:11,120 Speaker 1: like action that's moving really really quickly where you want 272 00:16:11,120 --> 00:16:14,640 Speaker 1: to really smooth, you might be animating on ones, which 273 00:16:14,720 --> 00:16:18,280 Speaker 1: means every single time you take a picture you have 274 00:16:18,360 --> 00:16:21,440 Speaker 1: to change whatever you know, either the background or the 275 00:16:21,440 --> 00:16:26,600 Speaker 1: foreground or both between each picture. So you've just added 276 00:16:26,840 --> 00:16:30,640 Speaker 1: twice as much work, you know, sometimes even more than 277 00:16:30,640 --> 00:16:32,640 Speaker 1: twice as much because you think about all the departments 278 00:16:32,640 --> 00:16:36,840 Speaker 1: that are involved in this, but um it creates a 279 00:16:36,880 --> 00:16:39,120 Speaker 1: lot more work that way. It also means you have 280 00:16:39,200 --> 00:16:43,120 Speaker 1: to have storage space for all this stuff because cells 281 00:16:43,160 --> 00:16:47,200 Speaker 1: take up room, backgrounds take up room, the equipment takes 282 00:16:47,280 --> 00:16:50,400 Speaker 1: up room, and film itself takes up room. So you 283 00:16:50,440 --> 00:16:54,120 Speaker 1: know you talk about film footage, well that really does 284 00:16:55,040 --> 00:16:57,720 Speaker 1: that really does refer back to how many feet of 285 00:16:57,840 --> 00:17:01,720 Speaker 1: film you've shot? Right footage. I mean when you think about, oh, yeah, 286 00:17:01,760 --> 00:17:04,159 Speaker 1: I got some great footage, but you don't think of 287 00:17:04,200 --> 00:17:05,919 Speaker 1: what that really means. Well, in the film days, that 288 00:17:05,960 --> 00:17:10,240 Speaker 1: actually meant how many feet of film you had exposed, 289 00:17:10,240 --> 00:17:12,840 Speaker 1: how many you had you had shot of whatever scene. 290 00:17:13,600 --> 00:17:16,959 Speaker 1: If you want to know how much film animated, an 291 00:17:17,000 --> 00:17:24,680 Speaker 1: animated picture takes about sixteen frames is a foot okay. 292 00:17:25,160 --> 00:17:29,000 Speaker 1: One second of film is twenty four frames, So one 293 00:17:29,359 --> 00:17:33,400 Speaker 1: second of film is a foot and a half okay, 294 00:17:34,400 --> 00:17:39,480 Speaker 1: most about half a Most cartoons are longer than a second. 295 00:17:40,800 --> 00:17:43,480 Speaker 1: So you have lots and lots of film that you're 296 00:17:43,520 --> 00:17:46,840 Speaker 1: dealing with. All right, So that's that's the space issue, 297 00:17:46,960 --> 00:17:49,240 Speaker 1: and we'll talk more about how we've kind of worked 298 00:17:49,280 --> 00:17:53,240 Speaker 1: around that, uh and move beyond the cell based animation 299 00:17:53,280 --> 00:17:57,520 Speaker 1: these days while still staying hand drawn. Um So, if 300 00:17:57,520 --> 00:18:02,280 Speaker 1: you wanted to make an animated film, Uh, the way 301 00:18:02,320 --> 00:18:05,520 Speaker 1: you would generally approach this is you come up with 302 00:18:05,520 --> 00:18:10,320 Speaker 1: an idea for a story. That the best thing, the 303 00:18:10,359 --> 00:18:12,640 Speaker 1: best way to start, in my opinion, I just drew 304 00:18:12,680 --> 00:18:15,080 Speaker 1: some stuff bouncing around? Is that all right? You could 305 00:18:15,080 --> 00:18:20,679 Speaker 1: do that? It's not terribly you know interesting, um beyond 306 00:18:20,760 --> 00:18:23,800 Speaker 1: maybe a certain group of friends who are amused by anything. 307 00:18:24,760 --> 00:18:28,560 Speaker 1: You My friends know who they are. Um, hey, they 308 00:18:28,600 --> 00:18:32,399 Speaker 1: like my stuff. So anyway, so you create a story 309 00:18:33,320 --> 00:18:35,800 Speaker 1: and then you think of how you want to visualize 310 00:18:35,800 --> 00:18:39,600 Speaker 1: this story. This is where you create a story board. Now, 311 00:18:39,600 --> 00:18:41,840 Speaker 1: a storyboard is kind of like a comic strip or 312 00:18:41,840 --> 00:18:45,760 Speaker 1: a graphic novel. It tells the story in a series 313 00:18:45,800 --> 00:18:49,480 Speaker 1: of frames and uh, it all depends on how detailed 314 00:18:49,520 --> 00:18:53,480 Speaker 1: you want to get. Sometimes you just show a uh, 315 00:18:53,560 --> 00:18:55,199 Speaker 1: you know, a frame, and then you might make a 316 00:18:55,240 --> 00:18:59,120 Speaker 1: note about what is happening as far as the action goes, because, 317 00:18:59,160 --> 00:19:01,200 Speaker 1: of course, a frame is a still image. We don't 318 00:19:01,280 --> 00:19:05,280 Speaker 1: see movement in a frame. We can see the implication 319 00:19:05,640 --> 00:19:09,720 Speaker 1: like that it's implying movement perhaps, but it doesn't actually move. 320 00:19:09,880 --> 00:19:12,359 Speaker 1: So you might say, you know, like I have a 321 00:19:12,480 --> 00:19:15,679 Speaker 1: have a picture of a character who is holding an 322 00:19:15,720 --> 00:19:20,240 Speaker 1: American football, and is, uh, that's for my friends in 323 00:19:20,240 --> 00:19:22,399 Speaker 1: in places other than the United States. But holding an 324 00:19:22,400 --> 00:19:24,359 Speaker 1: American football is if they're going to throw a pass, 325 00:19:24,440 --> 00:19:26,760 Speaker 1: so their arm is cocked back they're holding the football, 326 00:19:27,160 --> 00:19:29,639 Speaker 1: And then you might draw some arrows showing that this 327 00:19:29,720 --> 00:19:31,840 Speaker 1: is the forward motion that the character is going to 328 00:19:31,920 --> 00:19:33,919 Speaker 1: throw the ball. And then the next shot might be 329 00:19:34,000 --> 00:19:36,680 Speaker 1: the football in the air, and then the next shot 330 00:19:36,760 --> 00:19:39,240 Speaker 1: might be a character with arms wide open trying to 331 00:19:39,280 --> 00:19:41,560 Speaker 1: catch this ball, and the next shot might be the 332 00:19:41,560 --> 00:19:44,560 Speaker 1: ball passing right between the character's arms. That would be 333 00:19:44,640 --> 00:19:48,600 Speaker 1: several frames within a storyboard. You fill out the entire 334 00:19:48,680 --> 00:19:51,879 Speaker 1: story this way, so you end up with a huge, 335 00:19:52,320 --> 00:19:55,240 Speaker 1: depending upon the length of your project, a huge comic 336 00:19:55,320 --> 00:19:59,760 Speaker 1: strip that is your story, and it's told in this 337 00:19:59,840 --> 00:20:03,719 Speaker 1: visi dual format. Um. Once you've got an idea of 338 00:20:03,760 --> 00:20:06,240 Speaker 1: what it looks like and the mood you're trying to 339 00:20:06,240 --> 00:20:09,840 Speaker 1: get across in various parts of the story, the next 340 00:20:09,880 --> 00:20:13,040 Speaker 1: step uh, and and not every project takes these steps 341 00:20:13,119 --> 00:20:15,720 Speaker 1: in this exact order, but in general, the next step 342 00:20:15,760 --> 00:20:19,119 Speaker 1: would be you get your cast together and you record 343 00:20:19,560 --> 00:20:25,240 Speaker 1: all the voice work, So it all depends on the 344 00:20:25,280 --> 00:20:29,560 Speaker 1: project of how you do this. Some some animation companies, 345 00:20:29,560 --> 00:20:31,080 Speaker 1: what they would do is they would bring in the 346 00:20:31,160 --> 00:20:36,720 Speaker 1: voice actors uh individually and they would just deliver their lines. 347 00:20:37,119 --> 00:20:40,040 Speaker 1: And they might deliver a line five six different ways, 348 00:20:40,080 --> 00:20:43,080 Speaker 1: so that the director has the choice of which line 349 00:20:43,200 --> 00:20:48,800 Speaker 1: to use, which which delivery to use. Right, So the 350 00:20:48,880 --> 00:20:51,600 Speaker 1: line might be, Chris, I need you to say this line, 351 00:20:52,280 --> 00:20:55,320 Speaker 1: don't go in there. Don't go in there now. I 352 00:20:55,320 --> 00:20:58,320 Speaker 1: need you to say it like you're scared, don't go 353 00:20:58,359 --> 00:21:01,000 Speaker 1: in there. Now. I need you to say like there's 354 00:21:01,000 --> 00:21:03,359 Speaker 1: a big surprise and you just you can't let this 355 00:21:03,400 --> 00:21:06,920 Speaker 1: person see the surprise yet, don't go in there. See. 356 00:21:07,200 --> 00:21:09,760 Speaker 1: So that's exactly what the voice actors would be doing, 357 00:21:09,920 --> 00:21:12,800 Speaker 1: and it sounds ridiculous, but that's truly the way a 358 00:21:12,800 --> 00:21:16,480 Speaker 1: lot of these studios work, unless they're casting Robin Williams, 359 00:21:16,520 --> 00:21:21,000 Speaker 1: in which case they give him a microphone like like, 360 00:21:21,280 --> 00:21:24,000 Speaker 1: here's here's your stuff, here's your queue line, here's the 361 00:21:24,000 --> 00:21:26,320 Speaker 1: line you need to give so that the next actor's 362 00:21:26,359 --> 00:21:30,719 Speaker 1: line makes sense. Go at it. Yeah. The stuff that 363 00:21:30,800 --> 00:21:34,920 Speaker 1: ended up on the cutting room floor for Aladdin is phenomenal. 364 00:21:35,800 --> 00:21:37,440 Speaker 1: I mean, the stuff that made it in was great. 365 00:21:37,760 --> 00:21:39,720 Speaker 1: The stuff that made it on that was cut was 366 00:21:39,760 --> 00:21:45,080 Speaker 1: pretty amazing too. Anyway, that's that's one way of doing it. 367 00:21:45,119 --> 00:21:48,480 Speaker 1: Another way, sometimes studios will bring in groups of actors 368 00:21:48,560 --> 00:21:51,679 Speaker 1: and they will all have headphones on. They'll be uh 369 00:21:51,720 --> 00:21:54,160 Speaker 1: in the studio and they will they will read out 370 00:21:54,160 --> 00:21:58,160 Speaker 1: lines together and you will actually have actors acting off 371 00:21:58,240 --> 00:22:01,760 Speaker 1: of one another's delivery like a group read, which which 372 00:22:01,800 --> 00:22:04,320 Speaker 1: is great. And usually there's also a group read before 373 00:22:04,359 --> 00:22:06,439 Speaker 1: they even go into the recording process so that they 374 00:22:06,440 --> 00:22:09,400 Speaker 1: can kind of get that feel. This is particularly true 375 00:22:09,400 --> 00:22:12,560 Speaker 1: for television animation, where they'll get a table read so 376 00:22:12,600 --> 00:22:16,040 Speaker 1: that the actors kind of know where they need to 377 00:22:16,080 --> 00:22:18,560 Speaker 1: go with their performance before they go into the studio. 378 00:22:19,000 --> 00:22:21,639 Speaker 1: But if they're together, it makes it easier at least, 379 00:22:22,080 --> 00:22:24,199 Speaker 1: and I have done this for me. It makes it 380 00:22:24,240 --> 00:22:26,760 Speaker 1: easier for me to act when I have someone to 381 00:22:26,840 --> 00:22:30,840 Speaker 1: act opposite of that way, we can we can judge 382 00:22:31,280 --> 00:22:33,560 Speaker 1: how to deliver the next line based upon what the 383 00:22:33,600 --> 00:22:36,760 Speaker 1: other person has said. It's a lot more challenging when 384 00:22:36,760 --> 00:22:38,800 Speaker 1: you're doing it in a void and you just hope 385 00:22:38,840 --> 00:22:40,840 Speaker 1: that the way you deliver a line matches up with 386 00:22:40,880 --> 00:22:46,080 Speaker 1: the way they delivered their line. But both approaches are used, 387 00:22:46,119 --> 00:22:49,640 Speaker 1: and there are some phenomenal animated works out there where 388 00:22:49,720 --> 00:22:53,640 Speaker 1: every single actor never ever encountered any of the other actors, 389 00:22:54,200 --> 00:22:57,320 Speaker 1: which to me blows my mind. Um, So they record 390 00:22:57,400 --> 00:22:59,680 Speaker 1: this thing and then you have what is called a 391 00:23:00,119 --> 00:23:04,360 Speaker 1: ratch track. This is the audio track of the film 392 00:23:04,400 --> 00:23:08,119 Speaker 1: that includes all the vocal acting, including songs if there 393 00:23:08,119 --> 00:23:10,640 Speaker 1: are any vocal songs that the characters are performing in there, 394 00:23:11,160 --> 00:23:14,600 Speaker 1: and usually some temp music tracks because often the music 395 00:23:14,640 --> 00:23:17,479 Speaker 1: for a film is not finished until you've got at 396 00:23:17,560 --> 00:23:20,080 Speaker 1: least something to look at so that the composer can 397 00:23:20,160 --> 00:23:22,720 Speaker 1: kind of match the mood of the music to whatever's 398 00:23:22,760 --> 00:23:26,520 Speaker 1: on screen. But they'll be temp music tracks to kind 399 00:23:26,520 --> 00:23:29,840 Speaker 1: of give the the you know, music tracks that are 400 00:23:29,840 --> 00:23:32,680 Speaker 1: selected that give sort of a similar feel to what 401 00:23:32,760 --> 00:23:35,399 Speaker 1: the filmmakers are going for, so that the animators have 402 00:23:35,440 --> 00:23:38,800 Speaker 1: something to work off of. So you've got the scratch 403 00:23:38,840 --> 00:23:40,960 Speaker 1: track done. By the way, this was not how it 404 00:23:41,000 --> 00:23:45,960 Speaker 1: was always done prior to the nineteen thirties. Animators would 405 00:23:46,000 --> 00:23:49,520 Speaker 1: create an animated film and then record the sound matching 406 00:23:49,560 --> 00:23:52,240 Speaker 1: trying to match the sound to what was already created 407 00:23:52,480 --> 00:23:56,040 Speaker 1: in film. Format, so they were going the opposite way. 408 00:23:56,080 --> 00:23:57,960 Speaker 1: They would create the film and then they would try 409 00:23:58,000 --> 00:24:01,600 Speaker 1: and essentially do Foley or whatever the animated film was. 410 00:24:01,640 --> 00:24:04,040 Speaker 1: But but eventually it moved to the other way. Yeah, 411 00:24:04,080 --> 00:24:05,760 Speaker 1: if I were going to do this, it would probably 412 00:24:05,800 --> 00:24:09,760 Speaker 1: be more like that, right, that would be because I'm 413 00:24:09,800 --> 00:24:12,600 Speaker 1: not an animator. Yeah. So, because what the animators are 414 00:24:12,640 --> 00:24:16,000 Speaker 1: doing is they take that that that soundtrack, that scratch track, 415 00:24:16,560 --> 00:24:21,360 Speaker 1: and they start to create the animation. Now, sometimes there's 416 00:24:21,359 --> 00:24:23,720 Speaker 1: another step. In fact, very often there's another step called 417 00:24:23,720 --> 00:24:28,959 Speaker 1: an animatic or a pencil test. This is a very 418 00:24:29,000 --> 00:24:33,080 Speaker 1: primitive version of the film, so it goes beyond the 419 00:24:33,119 --> 00:24:38,640 Speaker 1: storyboard model where you've got some some movement usually involved 420 00:24:38,640 --> 00:24:41,840 Speaker 1: in the animatics. But it's if you think, you know, 421 00:24:41,960 --> 00:24:44,119 Speaker 1: the most primitive form of the animatic could just be 422 00:24:44,200 --> 00:24:47,560 Speaker 1: a storyboard set to the scratch track. And this again 423 00:24:47,640 --> 00:24:50,120 Speaker 1: is a reference for the animators to look at when 424 00:24:50,160 --> 00:24:57,280 Speaker 1: they start to really generate them the visuals for the film. Now, 425 00:24:58,040 --> 00:25:00,280 Speaker 1: at this point you can start to divide it up 426 00:25:00,320 --> 00:25:03,720 Speaker 1: the labor which is very useful because it means that 427 00:25:03,760 --> 00:25:06,840 Speaker 1: you can have different departments working on various stuff all 428 00:25:06,880 --> 00:25:11,199 Speaker 1: at the same time, and people can specialize in very 429 00:25:11,880 --> 00:25:15,480 Speaker 1: particular tasks, and it makes the whole project move much 430 00:25:15,520 --> 00:25:18,320 Speaker 1: more quickly. It's like a it's it's an assembly line approach. 431 00:25:19,359 --> 00:25:21,840 Speaker 1: So and it's it's kind of key to how they 432 00:25:21,840 --> 00:25:24,760 Speaker 1: started making animated motion pictures. I'm glad you said the 433 00:25:24,800 --> 00:25:27,760 Speaker 1: word key, but I'll get to that. So that you 434 00:25:27,800 --> 00:25:31,320 Speaker 1: might have a background department. This is the department's purposes 435 00:25:31,440 --> 00:25:34,040 Speaker 1: just to create the backgrounds that you're going to see 436 00:25:34,119 --> 00:25:36,760 Speaker 1: in this animated feature. We'll be back here if you 437 00:25:36,760 --> 00:25:39,840 Speaker 1: need us. So they actually are. That's that's their job 438 00:25:39,920 --> 00:25:42,600 Speaker 1: is to create the backgrounds. And these backgrounds might, like 439 00:25:42,640 --> 00:25:45,760 Speaker 1: I said, be larger than the frame is when you're 440 00:25:45,800 --> 00:25:49,040 Speaker 1: taking pictures with your film camera, so that you can 441 00:25:49,160 --> 00:25:52,080 Speaker 1: move the background around in relation to what's going on 442 00:25:52,240 --> 00:25:54,720 Speaker 1: in the foreground, so that you can have that illusion 443 00:25:54,720 --> 00:25:57,840 Speaker 1: of characters moving around a scene and you aren't you 444 00:25:57,880 --> 00:26:01,360 Speaker 1: aren't restricted to just what you can see in any 445 00:26:01,480 --> 00:26:05,880 Speaker 1: given frame. Uh. So they that department starts to work 446 00:26:05,920 --> 00:26:08,320 Speaker 1: on the backgrounds. You've got the drawing department, and what 447 00:26:08,359 --> 00:26:11,480 Speaker 1: they usually do is start on paper and they'll start 448 00:26:11,560 --> 00:26:15,920 Speaker 1: drawing out the characters. They'll they'll start creating character concepts. 449 00:26:16,080 --> 00:26:19,359 Speaker 1: This is the time where, uh, they really start to 450 00:26:19,400 --> 00:26:25,200 Speaker 1: refine the way characters look and move, and not just 451 00:26:25,280 --> 00:26:27,840 Speaker 1: the characters themselves, but anything the character happens to have 452 00:26:28,000 --> 00:26:31,119 Speaker 1: on him or her. So, for example, if you've drawn 453 00:26:31,640 --> 00:26:34,040 Speaker 1: a space marine character who's got a big gun and 454 00:26:34,119 --> 00:26:36,439 Speaker 1: big clunky armor, you would want to draw a lot 455 00:26:36,480 --> 00:26:39,240 Speaker 1: of different poses for this character to kind of define, like, 456 00:26:39,320 --> 00:26:43,400 Speaker 1: this is how this character moves. Like the armor restricts movements, 457 00:26:43,400 --> 00:26:45,560 Speaker 1: so things need to be really angular and there can't 458 00:26:45,560 --> 00:26:48,119 Speaker 1: be a lot of flexibility here. And when the character 459 00:26:48,240 --> 00:26:52,480 Speaker 1: expressed a surprise, um, his eyebrows actually go down, not up, 460 00:26:52,520 --> 00:26:54,080 Speaker 1: and that sort of stuff. And these are things that 461 00:26:54,119 --> 00:26:59,480 Speaker 1: really define acting choices in the movie. You know, it's 462 00:26:59,480 --> 00:27:02,679 Speaker 1: a weird and of the weird things that a performance 463 00:27:02,680 --> 00:27:05,359 Speaker 1: in an animated film is defined by not just the 464 00:27:05,359 --> 00:27:08,880 Speaker 1: person who's recorded the voice, but the person who has 465 00:27:09,000 --> 00:27:12,920 Speaker 1: drawn that character. And so you've got an acting performance 466 00:27:12,960 --> 00:27:17,280 Speaker 1: coming from at least two different people, and usually more 467 00:27:17,359 --> 00:27:21,639 Speaker 1: than two different people. Yeah, there there are times in uh, 468 00:27:21,760 --> 00:27:25,040 Speaker 1: for example, I know this is not a hand drawn animation, 469 00:27:25,080 --> 00:27:28,320 Speaker 1: there are times in Monsters, Inc. When I'm watching Mike 470 00:27:28,400 --> 00:27:31,600 Speaker 1: Wazowski and I'm seeing Billy Crystal in my head because 471 00:27:31,640 --> 00:27:37,240 Speaker 1: they've captured some of the same facial and that's that's 472 00:27:37,240 --> 00:27:41,920 Speaker 1: not unusual either. Often, often people will film or videotape 473 00:27:42,000 --> 00:27:45,720 Speaker 1: the cast recording sessions in order to get a look 474 00:27:45,760 --> 00:27:49,080 Speaker 1: at how the actors, uh, you know, some of the 475 00:27:49,160 --> 00:27:52,400 Speaker 1: some of the facial expressions they use, or the quirks 476 00:27:52,480 --> 00:27:56,000 Speaker 1: they have, and they'll even incorporate that into the character designs, 477 00:27:56,720 --> 00:27:59,640 Speaker 1: which is that's always fun when you see an animated 478 00:27:59,680 --> 00:28:03,000 Speaker 1: character make a movement that is something you associate with 479 00:28:03,040 --> 00:28:06,520 Speaker 1: a physical human being, that's always a fun moment. Yeah. Yeah, 480 00:28:06,560 --> 00:28:10,159 Speaker 1: And I think that's another benefit of doing it the 481 00:28:10,200 --> 00:28:12,000 Speaker 1: other way around. Not only do you have to not 482 00:28:12,400 --> 00:28:15,399 Speaker 1: match up the voice to the animation, but you actually 483 00:28:15,400 --> 00:28:17,680 Speaker 1: get to to breathe a little life into the animation 484 00:28:17,680 --> 00:28:20,640 Speaker 1: to and make it more appealing. Right. So, the next 485 00:28:20,680 --> 00:28:23,439 Speaker 1: step is, once you've got the drawings on paper, you 486 00:28:23,480 --> 00:28:28,320 Speaker 1: start to trace it onto cells. Now technically it's on 487 00:28:28,359 --> 00:28:31,040 Speaker 1: the back of the cells that you're tracing this stuff on. 488 00:28:31,119 --> 00:28:34,639 Speaker 1: And after after you've drawn the line drawing, you know, 489 00:28:34,720 --> 00:28:38,800 Speaker 1: after you've inked it, it's the inking phase. It's time 490 00:28:38,840 --> 00:28:42,120 Speaker 1: to go to paint, where you have to use the 491 00:28:42,240 --> 00:28:46,959 Speaker 1: very specific colors you have designated or that character. Um, 492 00:28:47,000 --> 00:28:50,040 Speaker 1: there are you know, there are guides for every single 493 00:28:50,080 --> 00:28:55,200 Speaker 1: animated feature or television show about what color belongs to 494 00:28:55,400 --> 00:28:58,719 Speaker 1: which character. And you know, it's a very specific thing 495 00:28:58,760 --> 00:29:03,040 Speaker 1: because when it's off, it's noticeably off, particularly if it's 496 00:29:03,120 --> 00:29:07,920 Speaker 1: off within a single uh episode of a show or 497 00:29:07,960 --> 00:29:11,360 Speaker 1: a single film, but if it's something that's between episodes, 498 00:29:11,400 --> 00:29:15,440 Speaker 1: even then it can be noticeable, like Homer Simpson's pants 499 00:29:15,480 --> 00:29:19,160 Speaker 1: aren't the right color of blue. It's true, you know, 500 00:29:19,280 --> 00:29:21,360 Speaker 1: you can. In fact, there are companies that have had 501 00:29:21,360 --> 00:29:25,160 Speaker 1: problems where the paints they were using no longer existed 502 00:29:25,200 --> 00:29:27,240 Speaker 1: because the company that produced them was gone and they 503 00:29:27,240 --> 00:29:29,040 Speaker 1: had to try and figure out how to recreate that 504 00:29:29,160 --> 00:29:33,160 Speaker 1: exact color or or there are times too when um, 505 00:29:33,200 --> 00:29:36,120 Speaker 1: you know, especially for TV shows, whether they're they're creating 506 00:29:36,480 --> 00:29:41,920 Speaker 1: many episodes of a show where uh, the producing studio 507 00:29:42,160 --> 00:29:46,280 Speaker 1: farms the animation work out to other studios, so you 508 00:29:46,280 --> 00:29:50,560 Speaker 1: don't see differences sometimes in colors when one studio does 509 00:29:50,600 --> 00:29:53,360 Speaker 1: it versus another. Yeah, and that's that's not be distracting 510 00:29:53,360 --> 00:29:55,640 Speaker 1: for long time fans. That's another issue I was going 511 00:29:55,720 --> 00:29:57,680 Speaker 1: to mention, is that so you get to this point 512 00:29:57,680 --> 00:29:59,520 Speaker 1: where you're drawing the cells and you're painting the cells. 513 00:29:59,520 --> 00:30:02,000 Speaker 1: You're thinking and painting the cells. Everything is being done 514 00:30:02,000 --> 00:30:03,960 Speaker 1: on the back of the cell that also hides the 515 00:30:03,960 --> 00:30:07,480 Speaker 1: brush strokes, so that way, when you turn the cell over, 516 00:30:07,520 --> 00:30:11,200 Speaker 1: you've got this beautiful color image of a character or 517 00:30:11,200 --> 00:30:14,200 Speaker 1: an object or whatever, but you don't see the individual 518 00:30:14,280 --> 00:30:16,120 Speaker 1: brush strokes or anything because that's on the back of 519 00:30:16,160 --> 00:30:19,720 Speaker 1: the cell. Uh. Then once those cells are done, if 520 00:30:19,760 --> 00:30:21,960 Speaker 1: if you were to do all the animation yourself, you 521 00:30:22,000 --> 00:30:25,920 Speaker 1: would produce all the cells you needed two complete the 522 00:30:25,960 --> 00:30:29,000 Speaker 1: animation for the various scenes you're doing. And sometimes that 523 00:30:29,040 --> 00:30:30,720 Speaker 1: means that you're going to be using some of the 524 00:30:30,920 --> 00:30:34,320 Speaker 1: same cells again and again. Like if there are a 525 00:30:34,360 --> 00:30:36,320 Speaker 1: lot of scenes of a character walking down the road, 526 00:30:36,360 --> 00:30:39,760 Speaker 1: then you may have a certain sequence of cells that 527 00:30:39,880 --> 00:30:43,640 Speaker 1: you use several times. Uh. You don't want to rely 528 00:30:43,680 --> 00:30:45,959 Speaker 1: on it too much, of course, because otherwise it just 529 00:30:46,000 --> 00:30:49,520 Speaker 1: looks like it's the same thing through the whole picture. 530 00:30:50,120 --> 00:30:53,640 Speaker 1: But you would put those cells individually on top of 531 00:30:53,840 --> 00:30:59,000 Speaker 1: the respective backgrounds. Take a photo, make the adjustments, take 532 00:30:59,040 --> 00:31:02,360 Speaker 1: the next photo, make adjustments, take the next photo, until 533 00:31:02,480 --> 00:31:04,800 Speaker 1: you were done, and you know you do that all 534 00:31:04,840 --> 00:31:06,479 Speaker 1: the way through and you're matching it up to that 535 00:31:06,560 --> 00:31:09,600 Speaker 1: scratch track. You actually have to make sure that the 536 00:31:09,640 --> 00:31:13,520 Speaker 1: animation matches up with the soundtrack for the film. And 537 00:31:13,560 --> 00:31:17,160 Speaker 1: then uh they the final soundtrack comes through with the 538 00:31:17,240 --> 00:31:21,960 Speaker 1: music and effects and everything, and uh you master out 539 00:31:22,000 --> 00:31:25,160 Speaker 1: the film and then you've got your finished animated project. However, 540 00:31:25,640 --> 00:31:28,360 Speaker 1: like Chris was saying, a lot of television shows in 541 00:31:28,400 --> 00:31:34,160 Speaker 1: particular farm out animation to other countries, particularly Korea. Korea 542 00:31:34,360 --> 00:31:41,280 Speaker 1: is is like a known factor in animation UM and 543 00:31:41,440 --> 00:31:45,160 Speaker 1: shows like The Simsons and Futurama, they use these studios 544 00:31:45,160 --> 00:31:51,200 Speaker 1: in Korea to complete the animation. What usually happens is that, uh, 545 00:31:51,360 --> 00:31:55,080 Speaker 1: the team back in the United States will create what 546 00:31:55,160 --> 00:32:00,000 Speaker 1: are called key frames. Key frames are showing very specific 547 00:32:00,160 --> 00:32:04,680 Speaker 1: points in the animation that need to happen, and you 548 00:32:04,800 --> 00:32:11,000 Speaker 1: have these segments between the key frames that are left unfinished. 549 00:32:11,280 --> 00:32:14,520 Speaker 1: They need to be filled in, and that's called in between, 550 00:32:15,120 --> 00:32:17,680 Speaker 1: which makes sense. You're you're creating this the action that 551 00:32:17,760 --> 00:32:21,200 Speaker 1: exists in between the key frames. So if you think 552 00:32:21,240 --> 00:32:23,320 Speaker 1: about it, back when I was talking about the storyboard 553 00:32:23,840 --> 00:32:28,960 Speaker 1: with the whole football, uh example, you would probably have 554 00:32:29,120 --> 00:32:32,400 Speaker 1: more key frames than just the three or four panels 555 00:32:32,400 --> 00:32:34,520 Speaker 1: I had talked about, but that would essentially be the 556 00:32:34,560 --> 00:32:36,960 Speaker 1: same sort of thing saying this is your starting point, 557 00:32:37,040 --> 00:32:39,680 Speaker 1: this is your ending point. We need to have the 558 00:32:39,720 --> 00:32:43,480 Speaker 1: pathway connecting these two. It needs to be this many 559 00:32:43,560 --> 00:32:46,680 Speaker 1: frames long. So that's that kind of dictates how fast 560 00:32:46,720 --> 00:32:50,560 Speaker 1: the action takes UM and then once that is all done, 561 00:32:50,640 --> 00:32:55,680 Speaker 1: the the foreign for us anyway, the Foreign Studios sends 562 00:32:55,760 --> 00:32:59,440 Speaker 1: the footage back and you can incorporate into your show. Now, 563 00:32:59,480 --> 00:33:02,160 Speaker 1: often you have to do a lot of work to 564 00:33:02,960 --> 00:33:07,360 Speaker 1: match up things like vocal work in particular with UM 565 00:33:07,440 --> 00:33:10,440 Speaker 1: with the animation that's sent back, because you're talking about 566 00:33:10,440 --> 00:33:14,480 Speaker 1: a language barrier. Often you're talking about people who may 567 00:33:14,520 --> 00:33:17,960 Speaker 1: not get the gist of a joke because of either 568 00:33:18,040 --> 00:33:22,400 Speaker 1: linguistic or cultural differences. So something that makes sense and 569 00:33:22,520 --> 00:33:24,720 Speaker 1: is funny to us may not be funny to another 570 00:33:24,760 --> 00:33:28,640 Speaker 1: culture because they don't have the same cultural background or 571 00:33:28,760 --> 00:33:32,200 Speaker 1: same linguistic background, so they're there are adjustments that need 572 00:33:32,280 --> 00:33:36,160 Speaker 1: to be made at that point. But the idea is 573 00:33:36,200 --> 00:33:39,280 Speaker 1: that the bulk of the work is done, which ends 574 00:33:39,360 --> 00:33:42,840 Speaker 1: up being less expensive for the studio here in the 575 00:33:42,920 --> 00:33:48,080 Speaker 1: United States because frankly, it's the people, the animators who 576 00:33:48,080 --> 00:33:50,360 Speaker 1: are working in Korea are doing it at a much 577 00:33:50,560 --> 00:33:53,560 Speaker 1: lower cost than it would be to produce it all here. 578 00:33:55,080 --> 00:33:58,760 Speaker 1: So that's the general approach. Now, we have a couple 579 00:33:58,800 --> 00:34:01,480 Speaker 1: of special things we want to talk about, one of 580 00:34:01,480 --> 00:34:05,560 Speaker 1: those being something that was invented, uh many decades ago 581 00:34:06,080 --> 00:34:12,120 Speaker 1: by Disney animators Disney engineers. Yeah, this may uh, I'm 582 00:34:12,160 --> 00:34:16,600 Speaker 1: not certain that that we're talking about the same thing. Yes, 583 00:34:16,640 --> 00:34:19,760 Speaker 1: the multiplane camera. That's exactly I'm doing the multiplane camera 584 00:34:19,880 --> 00:34:22,239 Speaker 1: gestures so that Chris would know. Yes, that's the the 585 00:34:22,280 --> 00:34:25,680 Speaker 1: international symbol for the multiplane camera, which is putting putting 586 00:34:25,680 --> 00:34:31,560 Speaker 1: your horizontal hand in five different levels. This um, this 587 00:34:31,640 --> 00:34:35,919 Speaker 1: is a little different in technique um and and it's 588 00:34:36,000 --> 00:34:39,560 Speaker 1: it's similar in other ways. Now, um, this is something 589 00:34:39,600 --> 00:34:41,680 Speaker 1: that the Disney studios there were there were several people 590 00:34:41,680 --> 00:34:44,439 Speaker 1: who worked on this. Um Disney himself did some work 591 00:34:44,440 --> 00:34:48,879 Speaker 1: on it, and the the semi famous ou By works 592 00:34:48,920 --> 00:34:54,560 Speaker 1: also worked on it as well. Um and Uh. Basically 593 00:34:54,640 --> 00:34:57,120 Speaker 1: they had noticed there's a there's an awesome film of 594 00:34:57,200 --> 00:35:01,040 Speaker 1: Disney himself introducing this and talking about it. I assume 595 00:35:01,120 --> 00:35:04,120 Speaker 1: that it looks like it came from the Disneyland uh 596 00:35:04,360 --> 00:35:07,719 Speaker 1: TV show that was out in the fifties and Stax 597 00:35:08,680 --> 00:35:10,800 Speaker 1: or or so, and I'm sure it was used in 598 00:35:10,840 --> 00:35:13,879 Speaker 1: something like The Wonderful World of Disney. You know, it's 599 00:35:14,200 --> 00:35:18,040 Speaker 1: it's He did a whole series of films where he 600 00:35:18,160 --> 00:35:21,600 Speaker 1: talked very you know, just just a matter of fatter 601 00:35:21,640 --> 00:35:24,080 Speaker 1: of fact approach about how they do what they do 602 00:35:24,120 --> 00:35:26,680 Speaker 1: and how they make Disney magic, which in my mind 603 00:35:26,719 --> 00:35:29,279 Speaker 1: made it all the more magical because you saw the 604 00:35:29,360 --> 00:35:34,520 Speaker 1: amount of thought that went into producing the stuff they made. Yeah, yeah, absolutely, 605 00:35:34,600 --> 00:35:36,240 Speaker 1: But it's been in about five minutes. I had actually 606 00:35:36,280 --> 00:35:38,799 Speaker 1: read about this in a biography of Walt Disney, but 607 00:35:39,400 --> 00:35:43,440 Speaker 1: seeing it actually explained step by step and how they 608 00:35:43,480 --> 00:35:47,560 Speaker 1: make it work. Um. Now, when you show a traditional 609 00:35:47,680 --> 00:35:52,240 Speaker 1: two D animation, UH cell being shot, a photo being 610 00:35:52,280 --> 00:35:56,640 Speaker 1: taken of the cell against the background, Basically there's a 611 00:35:56,719 --> 00:35:59,280 Speaker 1: frame that holds the cell in place over the background. 612 00:35:59,440 --> 00:36:02,160 Speaker 1: They clamped down so it's not gonna wiggle while they 613 00:36:02,160 --> 00:36:05,080 Speaker 1: take the shot, and the camera is mounted above the table, 614 00:36:05,160 --> 00:36:07,240 Speaker 1: so it is taking a picture of what is inside 615 00:36:07,239 --> 00:36:10,560 Speaker 1: the frame, the physical frame on top of the table. 616 00:36:11,000 --> 00:36:15,000 Speaker 1: So you basically have a shutter shutter release control you 617 00:36:15,280 --> 00:36:17,319 Speaker 1: mount that you put the cell in place, lock it 618 00:36:17,360 --> 00:36:19,640 Speaker 1: down in place. Uh, you know, back out so you 619 00:36:19,680 --> 00:36:21,200 Speaker 1: don't take a picture of the back of your head 620 00:36:22,640 --> 00:36:25,440 Speaker 1: and gets some weird reflection in there or something. Yeah, 621 00:36:25,480 --> 00:36:27,360 Speaker 1: and and and do the shutter release, you know, with 622 00:36:27,400 --> 00:36:30,480 Speaker 1: your with your thumb, you know, finger and uh, you know, 623 00:36:30,560 --> 00:36:35,600 Speaker 1: take your two shots if you're doing uh you know. Okay, 624 00:36:35,680 --> 00:36:38,280 Speaker 1: so you got it. But what what Disney was explaining 625 00:36:38,280 --> 00:36:42,120 Speaker 1: in this video was, uh, basically the problem of perspective. 626 00:36:43,160 --> 00:36:47,439 Speaker 1: How certain things appear larger when they're closer to you 627 00:36:47,640 --> 00:36:52,399 Speaker 1: or smaller farther away. Now you have, um something like 628 00:36:53,560 --> 00:36:57,319 Speaker 1: a barn, and that's specifically from this with a moon 629 00:36:57,719 --> 00:37:00,480 Speaker 1: hanging in the sky and the background. Yeah. Now you 630 00:37:00,560 --> 00:37:02,760 Speaker 1: as you get closer, as you walk toward the barn, 631 00:37:02,960 --> 00:37:05,759 Speaker 1: it's going to start to appear larger. But in in 632 00:37:05,800 --> 00:37:10,480 Speaker 1: traditional animation, you know, to d animation, you start basically 633 00:37:10,520 --> 00:37:13,680 Speaker 1: if you build, everything gets larger because you're basically zooming 634 00:37:13,719 --> 00:37:17,400 Speaker 1: in on your if you if you're thinking of it 635 00:37:17,440 --> 00:37:21,400 Speaker 1: in purely physical terms, you are either moving the camera 636 00:37:21,560 --> 00:37:24,359 Speaker 1: closer or focusing the lens so that the focal length 637 00:37:24,400 --> 00:37:27,040 Speaker 1: is different, but you're you're essentially moving the camera closer 638 00:37:27,120 --> 00:37:29,799 Speaker 1: to the frame, or you're moving the frame closer to 639 00:37:29,840 --> 00:37:33,080 Speaker 1: the camera. In that either case, you're decreasing the distance 640 00:37:33,600 --> 00:37:37,360 Speaker 1: between camera and frame in order to create the illusion 641 00:37:37,440 --> 00:37:40,719 Speaker 1: that you are zooming into a physical landscape. So in 642 00:37:40,760 --> 00:37:44,200 Speaker 1: a real world situation, it'd be like a cameraman holding 643 00:37:44,239 --> 00:37:47,600 Speaker 1: a camera and walking toward this barn that's on a 644 00:37:47,680 --> 00:37:50,080 Speaker 1: hill on the moon is hanging behind it. And in 645 00:37:50,120 --> 00:37:55,640 Speaker 1: that situation, the barn would gradually start to appear larger 646 00:37:55,719 --> 00:37:57,959 Speaker 1: in the frame because you're getting closer, but the moon 647 00:37:58,480 --> 00:38:01,680 Speaker 1: would not start to it larger because the moon is 648 00:38:01,719 --> 00:38:04,560 Speaker 1: so much further away. You would have to go a 649 00:38:04,640 --> 00:38:07,319 Speaker 1: really long way before that moon started looking like it 650 00:38:07,360 --> 00:38:10,840 Speaker 1: was getting bigger. But an animation, because it's a static 651 00:38:10,880 --> 00:38:14,680 Speaker 1: background and it's drawn on a two dimensional piece of 652 00:38:14,719 --> 00:38:19,680 Speaker 1: paper or whatever, uh, when the camera gets closer, everything 653 00:38:19,719 --> 00:38:24,280 Speaker 1: gets bigger because you cannot selectively say, hey, static image 654 00:38:24,320 --> 00:38:26,680 Speaker 1: that it was drawn once that we're going to use 655 00:38:26,760 --> 00:38:29,120 Speaker 1: over and over again. Make sure the moon doesn't get 656 00:38:29,120 --> 00:38:31,399 Speaker 1: bigger when I get closer to it. It doesn't work 657 00:38:31,440 --> 00:38:35,520 Speaker 1: that way. So the way that that the Disney Studios 658 00:38:36,560 --> 00:38:40,759 Speaker 1: decided to work around this was to essentially, and it's 659 00:38:40,800 --> 00:38:43,640 Speaker 1: not exactly like this, but if you will essentially use 660 00:38:43,680 --> 00:38:49,000 Speaker 1: a stack of layered cells um mounted you know, one 661 00:38:49,440 --> 00:38:52,319 Speaker 1: over the other, over the other over the other, so 662 00:38:52,360 --> 00:38:55,320 Speaker 1: that the table underneath them still has the bottom and 663 00:38:55,360 --> 00:38:59,520 Speaker 1: the camera is still above them. But what this enables 664 00:39:00,040 --> 00:39:04,160 Speaker 1: the the animators to do is to adjust. Uh. So 665 00:39:04,239 --> 00:39:05,919 Speaker 1: the moon in this case will be on the very 666 00:39:05,920 --> 00:39:10,120 Speaker 1: bottom because it's not going to move, but there might 667 00:39:10,200 --> 00:39:13,879 Speaker 1: be a tree between you and the barn. So as 668 00:39:13,960 --> 00:39:17,399 Speaker 1: the camera gets closer to the layer with the tree 669 00:39:17,400 --> 00:39:20,640 Speaker 1: on it, it eventually goes out of sight because at 670 00:39:20,640 --> 00:39:23,840 Speaker 1: this point you uh, there, the illusion is that you 671 00:39:23,920 --> 00:39:27,400 Speaker 1: have passed the tree. The barn is still ahead of you, 672 00:39:27,760 --> 00:39:30,800 Speaker 1: and it still appears to be getting larger, but more 673 00:39:30,880 --> 00:39:35,160 Speaker 1: slowly than the bush on another layer in between. And 674 00:39:35,200 --> 00:39:37,560 Speaker 1: then you eventually don't see the bush anymore because you 675 00:39:37,600 --> 00:39:41,640 Speaker 1: have theoretically passed it. And uh as you get closer 676 00:39:41,680 --> 00:39:43,640 Speaker 1: to the barn is still appearing larger, but the moon 677 00:39:44,400 --> 00:39:48,120 Speaker 1: still appears to be the roughly the same distance away. 678 00:39:48,239 --> 00:39:52,040 Speaker 1: So as the the camera gets you know, layer by 679 00:39:52,080 --> 00:39:56,759 Speaker 1: a layer closer and closer down the stack of layers, um, 680 00:39:56,800 --> 00:39:59,600 Speaker 1: you know, you do have that illusion that you are 681 00:39:59,760 --> 00:40:01,680 Speaker 1: that the perspective is working the way it would in 682 00:40:01,719 --> 00:40:05,120 Speaker 1: real life. Um. Now it is not exactly the same 683 00:40:05,200 --> 00:40:07,799 Speaker 1: as as sell animation. In this case, they're actually using 684 00:40:07,800 --> 00:40:12,480 Speaker 1: oil paint on glass. Don't drop that layer I worked 685 00:40:12,480 --> 00:40:15,640 Speaker 1: on all day, Bill, don't don't get your filthy, smudgy 686 00:40:15,719 --> 00:40:17,960 Speaker 1: hands off the layer I just felt. So they for 687 00:40:18,040 --> 00:40:20,560 Speaker 1: every shot. Now this this again, this is an expensive 688 00:40:20,920 --> 00:40:26,280 Speaker 1: process because now they are drawing not just one frame 689 00:40:26,640 --> 00:40:29,560 Speaker 1: at a time, they are drawing several layers that you 690 00:40:29,600 --> 00:40:32,560 Speaker 1: may or may not get to reuse later. Um, but 691 00:40:33,239 --> 00:40:37,640 Speaker 1: they have to mount these in the holders for each frame. 692 00:40:37,719 --> 00:40:41,400 Speaker 1: So let's say you've got seven layers. Um, the bottom 693 00:40:41,400 --> 00:40:43,439 Speaker 1: one with the moon on it, that's gonna stay the same. Yeah, 694 00:40:43,480 --> 00:40:46,040 Speaker 1: it's just it'll be on a stationary table. Yeah, but 695 00:40:46,160 --> 00:40:48,880 Speaker 1: you might have to animate. You might have to replace 696 00:40:48,920 --> 00:40:52,080 Speaker 1: the ones on the first three more frequently, and then 697 00:40:52,120 --> 00:40:54,920 Speaker 1: the four, and then the five. So you're you're for 698 00:40:54,960 --> 00:40:58,560 Speaker 1: every shot, you're going to have to adjust the different 699 00:40:58,640 --> 00:41:02,160 Speaker 1: layers at needed. And so you've got you've got this 700 00:41:02,320 --> 00:41:06,600 Speaker 1: device that has all these platforms that can hold each layer. So, 701 00:41:06,960 --> 00:41:09,359 Speaker 1: and the platforms themselves are adjustable where you can move 702 00:41:09,400 --> 00:41:11,640 Speaker 1: them closer to or further away from the camera, the 703 00:41:11,680 --> 00:41:14,719 Speaker 1: camera remains stationary. You can also move them left to 704 00:41:14,840 --> 00:41:19,640 Speaker 1: right or up or down. Frankly genius. So yeah, again, again, 705 00:41:19,680 --> 00:41:22,600 Speaker 1: you can create a much wider scene than can be 706 00:41:22,680 --> 00:41:25,560 Speaker 1: seen on a single shot of the camera. And remember 707 00:41:25,600 --> 00:41:28,680 Speaker 1: we're still doing this this approach where we take one 708 00:41:28,719 --> 00:41:31,680 Speaker 1: picture than you adjust, take one picture, then you adjust. 709 00:41:31,760 --> 00:41:34,279 Speaker 1: You couldn't theoretically do this live if you really wanted to, 710 00:41:34,360 --> 00:41:37,080 Speaker 1: but it would look it would probably be a chaotic mess. 711 00:41:37,719 --> 00:41:42,680 Speaker 1: So um. Instead, let's say that you are doing a 712 00:41:42,719 --> 00:41:46,240 Speaker 1: panning shot through a forest. Well, the stuff that's closer 713 00:41:46,320 --> 00:41:49,960 Speaker 1: to you is going to appear to move more dramatically 714 00:41:50,000 --> 00:41:52,600 Speaker 1: than the stuff that is much further away. Well, that 715 00:41:52,719 --> 00:41:55,080 Speaker 1: was the shot that used in the video you were 716 00:41:55,080 --> 00:41:57,920 Speaker 1: talking about was from Bambi, where it was a panning 717 00:41:57,920 --> 00:42:01,640 Speaker 1: shot through the forest. And and this effect was very 718 00:42:01,680 --> 00:42:06,240 Speaker 1: impressive because you had different layers of the background moving 719 00:42:06,480 --> 00:42:11,880 Speaker 1: at different speeds relative to our perspective, and so it 720 00:42:11,960 --> 00:42:16,840 Speaker 1: creates a much more realistic feeling than just camera panning 721 00:42:16,880 --> 00:42:20,640 Speaker 1: across a static painting, which doesn't have any other layers 722 00:42:20,680 --> 00:42:24,680 Speaker 1: to it. Um. And it really did add this level 723 00:42:25,040 --> 00:42:29,840 Speaker 1: of immersion to those early animated films. Now, it was 724 00:42:29,840 --> 00:42:33,640 Speaker 1: a very kind of primitive form of three D sense 725 00:42:33,640 --> 00:42:35,560 Speaker 1: because you're not you're not having any it's it's giving 726 00:42:35,600 --> 00:42:38,080 Speaker 1: the illusion of depth. It's not coming out at you. 727 00:42:38,400 --> 00:42:41,799 Speaker 1: And also ultimately it's the illusion of depth of a 728 00:42:41,960 --> 00:42:47,640 Speaker 1: series of two dimensional paintings. Right, So it's almost like, uh, 729 00:42:47,640 --> 00:42:50,480 Speaker 1: And I've seen this with televisions that do three D 730 00:42:50,560 --> 00:42:53,640 Speaker 1: conversion two D to three D conversion. The problem I 731 00:42:53,680 --> 00:42:55,799 Speaker 1: have with two D to three D conversion is that 732 00:42:55,920 --> 00:42:59,279 Speaker 1: it always gives the appearance of a bunch of cardboard 733 00:42:59,320 --> 00:43:03,080 Speaker 1: cutouts that are at different depth levels. So if you 734 00:43:03,160 --> 00:43:05,719 Speaker 1: had if you took a photo with a two D 735 00:43:05,880 --> 00:43:10,080 Speaker 1: camera of a bunch of people lined up so that 736 00:43:10,200 --> 00:43:12,880 Speaker 1: they are like, like, there's one guy who's really close 737 00:43:12,920 --> 00:43:15,680 Speaker 1: to fairly close to you, another person who's a little 738 00:43:15,680 --> 00:43:17,560 Speaker 1: further back, another one a little further back, and another 739 00:43:17,600 --> 00:43:19,520 Speaker 1: one at the very back of the picture. And you've 740 00:43:19,560 --> 00:43:22,120 Speaker 1: adjusted the focus so that everyone's more or less in focus, 741 00:43:22,320 --> 00:43:24,360 Speaker 1: and you take the photo and then you converted to 742 00:43:24,440 --> 00:43:27,280 Speaker 1: three D. Well, now it looks like a cardboard cutout 743 00:43:27,360 --> 00:43:29,920 Speaker 1: of your friend is really close, and a cardboard cutout 744 00:43:29,960 --> 00:43:31,680 Speaker 1: of your other friend is in the middle, it doesn't. 745 00:43:31,719 --> 00:43:33,960 Speaker 1: That doesn't they don't appear to be three dimensional objects. 746 00:43:34,440 --> 00:43:37,080 Speaker 1: The same thing is true with this multiplane camera approach 747 00:43:37,160 --> 00:43:40,160 Speaker 1: is that the backgrounds all look like two dimensional paintings 748 00:43:40,160 --> 00:43:43,319 Speaker 1: because that's what they were, but that there were some 749 00:43:43,400 --> 00:43:45,680 Speaker 1: that were closer to the camera than others. So it 750 00:43:45,719 --> 00:43:48,920 Speaker 1: created a very interesting effect and it was immersive, but 751 00:43:49,040 --> 00:43:54,800 Speaker 1: it was not so immersive as a true three dimensional background. Yeah. Um. Nonetheless, 752 00:43:54,840 --> 00:43:57,840 Speaker 1: I think it was a very clever way to to 753 00:43:58,200 --> 00:44:03,200 Speaker 1: work around the limitations of two D and uh, you know, 754 00:44:03,320 --> 00:44:05,920 Speaker 1: in thinking about it just now, I think in a 755 00:44:05,960 --> 00:44:11,399 Speaker 1: way it inadvertently forced the ken Burns effect because when 756 00:44:11,400 --> 00:44:14,759 Speaker 1: you're when you're shooting documentaries as as he has, and 757 00:44:14,800 --> 00:44:18,200 Speaker 1: he's showing still images and they're you know, they they're 758 00:44:18,239 --> 00:44:22,160 Speaker 1: interviewing somebody, they're talking and basically you're watching a photo 759 00:44:22,239 --> 00:44:25,400 Speaker 1: that was taken a hundred years ago. There's it's it's 760 00:44:26,160 --> 00:44:30,880 Speaker 1: a static photo of a real person, and it's what 761 00:44:30,880 --> 00:44:33,120 Speaker 1: are you gonna do. You're gonna sit there and stare 762 00:44:33,160 --> 00:44:36,319 Speaker 1: at the photo of Abraham Lincoln for two minutes while 763 00:44:36,320 --> 00:44:38,560 Speaker 1: this guy is talking about him. No, you gotta do 764 00:44:38,640 --> 00:44:41,200 Speaker 1: something to make it more. I think it's sort of 765 00:44:41,200 --> 00:44:44,080 Speaker 1: set an expectation that when you're watching a video, it 766 00:44:44,080 --> 00:44:48,080 Speaker 1: should be moving yea, and it should appear realistic. So UM, 767 00:44:48,120 --> 00:44:49,680 Speaker 1: I started thinking about it one. You know, I bet 768 00:44:49,760 --> 00:44:52,600 Speaker 1: that's why we have the ken Burns effect, because you know, 769 00:44:52,680 --> 00:44:55,800 Speaker 1: we we came in with that perspective of moving in 770 00:44:55,840 --> 00:45:00,000 Speaker 1: to the photo or panning across a still photo. Um. 771 00:45:00,000 --> 00:45:01,799 Speaker 1: And that's exactly actually what I was thinking when I 772 00:45:02,000 --> 00:45:04,959 Speaker 1: he was when Disney was narrating this. This thing is like, well, 773 00:45:04,960 --> 00:45:07,000 Speaker 1: you know, you can zoom in if you want to, 774 00:45:07,080 --> 00:45:09,000 Speaker 1: and it sort of seems like you're getting closer, but 775 00:45:09,040 --> 00:45:11,359 Speaker 1: it does it's not as realistic as if you had 776 00:45:11,400 --> 00:45:13,880 Speaker 1: this sense of perspective as we will create with the 777 00:45:13,960 --> 00:45:17,520 Speaker 1: multiplane camera. So I just kind of thought about that now. 778 00:45:17,840 --> 00:45:20,040 Speaker 1: The other thing I wanted to talk about is another 779 00:45:20,080 --> 00:45:23,880 Speaker 1: development that has dramatically changed the way hand drawn animation 780 00:45:23,920 --> 00:45:29,040 Speaker 1: works today, and that is using a digital platform to 781 00:45:29,080 --> 00:45:32,279 Speaker 1: create hand drawn animation. So it's not computer animation. You 782 00:45:32,280 --> 00:45:35,640 Speaker 1: are not building computer models. You're still drawing stuff by hand, 783 00:45:36,160 --> 00:45:38,560 Speaker 1: You're just doing it with a computer right to assist 784 00:45:38,560 --> 00:45:41,600 Speaker 1: to you and tip. Typically this is through the use 785 00:45:41,640 --> 00:45:45,239 Speaker 1: of things like Wacom tablets, specifically centreat tablets tend to 786 00:45:45,239 --> 00:45:48,439 Speaker 1: be favored by a lot of the artists sign note 787 00:45:48,640 --> 00:45:51,200 Speaker 1: mainly because you can with the right tablet, you can 788 00:45:51,239 --> 00:45:55,319 Speaker 1: actually still look down and see as you're drawing. That's 789 00:45:55,320 --> 00:45:57,319 Speaker 1: a that's a something that I've I've got a friend 790 00:45:57,320 --> 00:45:59,160 Speaker 1: who does animation, actually got a couple of friends to 791 00:45:59,160 --> 00:46:02,360 Speaker 1: do animation. My buddy Lucas Ryan was talking to me 792 00:46:02,400 --> 00:46:03,880 Speaker 1: about this because I said, we're going to do an 793 00:46:03,880 --> 00:46:06,719 Speaker 1: episode about hand drawn animation. What would you suggest we 794 00:46:06,760 --> 00:46:08,640 Speaker 1: talked about? And he says, well, you know you're going 795 00:46:08,680 --> 00:46:10,239 Speaker 1: to cover the whole history and that's great, but I 796 00:46:10,320 --> 00:46:13,160 Speaker 1: want you to talk about what it's like for an 797 00:46:13,200 --> 00:46:16,000 Speaker 1: animator today to use one of these digital tablets. And 798 00:46:16,040 --> 00:46:18,359 Speaker 1: he talked about, you know, there's a disconnect. There are 799 00:46:18,400 --> 00:46:22,080 Speaker 1: some tablets where it's like a giant touch pad, right, 800 00:46:22,520 --> 00:46:25,319 Speaker 1: and you've got a stylistic use a pen that you 801 00:46:25,440 --> 00:46:27,319 Speaker 1: use and you draw on the touch pad, and the 802 00:46:27,320 --> 00:46:31,120 Speaker 1: touch pad itself doesn't display anything. You have to look 803 00:46:31,160 --> 00:46:34,839 Speaker 1: at a screen. He says, there's some people who they 804 00:46:34,920 --> 00:46:37,200 Speaker 1: just can't get past that. They can't get past the 805 00:46:37,239 --> 00:46:39,640 Speaker 1: fact that they are looking at a screen but they're drawing, 806 00:46:40,200 --> 00:46:42,000 Speaker 1: you know, on a on a surface that they are 807 00:46:42,080 --> 00:46:45,279 Speaker 1: not looking at, and that that's kind of understandable. I 808 00:46:45,280 --> 00:46:48,960 Speaker 1: mean someone who's just learning to touch type. It's pretty 809 00:46:49,040 --> 00:46:51,920 Speaker 1: intimidating because you have to you have to really teach 810 00:46:51,960 --> 00:46:55,799 Speaker 1: yourself the layout and everything. So there are a lot 811 00:46:55,840 --> 00:46:59,360 Speaker 1: of tablets out there now where there's also a display 812 00:46:59,400 --> 00:47:02,880 Speaker 1: built into the tablet itself, so you're drawing on the tablet, 813 00:47:02,960 --> 00:47:05,640 Speaker 1: it's also being reflected on a display on a computer, 814 00:47:05,680 --> 00:47:07,520 Speaker 1: but you can look down and see what you're doing, 815 00:47:08,000 --> 00:47:10,799 Speaker 1: so that way you can make these adjustments. Also, Uh, 816 00:47:11,000 --> 00:47:15,880 Speaker 1: you talked about the the benefit of moving from a 817 00:47:16,000 --> 00:47:19,480 Speaker 1: raster based system to a vector based system. We've talked 818 00:47:19,480 --> 00:47:22,839 Speaker 1: about this before. Where raster is all pixel based, right, well, 819 00:47:22,920 --> 00:47:26,200 Speaker 1: vector is math based. Yeah, it's a line art, line art, 820 00:47:26,200 --> 00:47:29,320 Speaker 1: which is yeah, And and the nice thing about vector 821 00:47:29,400 --> 00:47:33,800 Speaker 1: graphics is that it's it's relatively easy to adjust lines 822 00:47:34,080 --> 00:47:37,360 Speaker 1: after you draw them, So you can reshape a line 823 00:47:37,880 --> 00:47:40,600 Speaker 1: much more simply with a vector based drawing than you 824 00:47:40,600 --> 00:47:43,120 Speaker 1: could with raster, where you would essentially have to erase 825 00:47:43,200 --> 00:47:45,480 Speaker 1: what you did and draw it again. So there's some 826 00:47:45,880 --> 00:47:50,200 Speaker 1: illustrators and animators out there who they're just used to it. 827 00:47:50,239 --> 00:47:52,319 Speaker 1: They'll be they'll draw a line and say, no, that's 828 00:47:52,360 --> 00:47:54,000 Speaker 1: that curves not right, and a racing they'll draw a 829 00:47:54,000 --> 00:47:55,560 Speaker 1: line some well it's closer, but that's not what I want, 830 00:47:55,560 --> 00:47:57,719 Speaker 1: and they'll erase it and they'll draw another line. But 831 00:47:57,800 --> 00:47:59,880 Speaker 1: then with the vector based ones, you can draw a 832 00:47:59,880 --> 00:48:01,239 Speaker 1: lot and and say, oh, you know what, I just 833 00:48:01,239 --> 00:48:02,719 Speaker 1: need to tweet this a little bit and it's going 834 00:48:02,760 --> 00:48:06,560 Speaker 1: to be exactly why I need UM. So that helps 835 00:48:06,600 --> 00:48:10,520 Speaker 1: cut down on on a lot of stop and start work, 836 00:48:10,600 --> 00:48:16,120 Speaker 1: and also the inking and painting part is much more 837 00:48:17,040 --> 00:48:21,000 Speaker 1: much simpler. Now you have a huge variety of colors 838 00:48:21,000 --> 00:48:23,240 Speaker 1: you can choose from depending upon what sort of programs 839 00:48:23,280 --> 00:48:26,239 Speaker 1: you're using. You don't have to worry about it not 840 00:48:26,320 --> 00:48:29,040 Speaker 1: being consistent from one shot to the next because it's 841 00:48:29,040 --> 00:48:32,799 Speaker 1: all digital, so that that code of color is going 842 00:48:32,840 --> 00:48:35,680 Speaker 1: to remain the same no matter what UM. And you 843 00:48:35,719 --> 00:48:39,480 Speaker 1: might even be able to use some effects in some 844 00:48:39,560 --> 00:48:43,000 Speaker 1: software to create lighting effects that you don't have to 845 00:48:43,080 --> 00:48:47,480 Speaker 1: necessarily do yourself, so it would know that, all right, 846 00:48:47,560 --> 00:48:49,959 Speaker 1: if you're going to put a shadow of this intensity 847 00:48:50,000 --> 00:48:53,120 Speaker 1: over this particular picture, it needs to adjust the color 848 00:48:53,600 --> 00:48:56,640 Speaker 1: to look like that, so that you know, so that 849 00:48:56,719 --> 00:49:02,239 Speaker 1: it's natural to the viewer. So that's really changed the 850 00:49:02,280 --> 00:49:06,040 Speaker 1: way illustrators and animators have created artwork. I know there 851 00:49:06,040 --> 00:49:08,439 Speaker 1: are a lot of people who create web comics who 852 00:49:08,640 --> 00:49:11,880 Speaker 1: exclusively use tablets. Now. For the longest time, they would 853 00:49:11,920 --> 00:49:14,280 Speaker 1: do all their art on paper, and then they would 854 00:49:14,280 --> 00:49:17,000 Speaker 1: scan the paper and they would upload the art that way, 855 00:49:17,040 --> 00:49:18,640 Speaker 1: so that Kurts used to do it that way, the 856 00:49:18,680 --> 00:49:21,080 Speaker 1: guy's at Penny Arcade used to do it that way, 857 00:49:21,160 --> 00:49:25,800 Speaker 1: and then they all began to switch over using digital tablets. 858 00:49:26,120 --> 00:49:29,399 Speaker 1: And almost every single one I hear the animator or 859 00:49:29,520 --> 00:49:32,440 Speaker 1: or the artists talking either on a blog or on 860 00:49:32,480 --> 00:49:37,640 Speaker 1: a podcast or whatever about how the initial transition period 861 00:49:37,719 --> 00:49:41,320 Speaker 1: is incredibly painful and frustrating, and then after they get 862 00:49:41,480 --> 00:49:44,239 Speaker 1: past the learning curve, they're like, I don't know why 863 00:49:44,400 --> 00:49:47,560 Speaker 1: I didn't do this earlier, because it makes things so 864 00:49:47,640 --> 00:49:51,759 Speaker 1: much easier. And so that's that's become sort of the 865 00:49:51,760 --> 00:49:55,200 Speaker 1: new standard is using these this digital format to do 866 00:49:55,280 --> 00:49:59,120 Speaker 1: hand drawn animation. And we also have seen some combinations 867 00:49:59,400 --> 00:50:04,680 Speaker 1: of hand drawn animation paired with computer generated backgrounds. So, 868 00:50:05,160 --> 00:50:07,439 Speaker 1: I know Beauty and the Beast did that the Big 869 00:50:07,480 --> 00:50:12,080 Speaker 1: Ballroom sequence with the dance and Angela Lansbury singing and 870 00:50:12,719 --> 00:50:18,600 Speaker 1: um and stuff that had a computer generated background. Uh. So, 871 00:50:18,960 --> 00:50:22,160 Speaker 1: you know, we were seeing some marriage of computer generated 872 00:50:22,360 --> 00:50:26,520 Speaker 1: animation and hand drawn animation, uh happening, and it's been 873 00:50:26,560 --> 00:50:28,120 Speaker 1: going on for a while. It's not like Beauty and 874 00:50:28,120 --> 00:50:30,640 Speaker 1: the Beast was the first and only example. It's just 875 00:50:30,840 --> 00:50:34,480 Speaker 1: one example. Uh So, you know, I'm sure we'll see 876 00:50:34,480 --> 00:50:37,520 Speaker 1: more of that. I'm glad to say that there are 877 00:50:37,600 --> 00:50:41,000 Speaker 1: plenty of artists and studios out there that still support 878 00:50:41,080 --> 00:50:43,800 Speaker 1: hand drawn animation because I think that there is something 879 00:50:43,920 --> 00:50:47,960 Speaker 1: special to that. There's a feel hand drawn animation has 880 00:50:48,000 --> 00:50:51,840 Speaker 1: that's its own thing, and I like that. Yeah, and 881 00:50:52,000 --> 00:50:54,640 Speaker 1: it seems like, well, at least in my opinion, it 882 00:50:54,640 --> 00:50:57,640 Speaker 1: seems like there's a warmth to it. Um. But you 883 00:50:57,719 --> 00:51:02,120 Speaker 1: don't necessarily get Yeah, there's an asteriscreener you can't. Yeah. 884 00:51:02,360 --> 00:51:04,520 Speaker 1: And there are companies. There are companies out there like 885 00:51:04,560 --> 00:51:08,839 Speaker 1: Pixar that can make you sob like a little baby 886 00:51:09,040 --> 00:51:14,319 Speaker 1: with some computer generated graphics. Yeah, yeah, and I you can. 887 00:51:15,000 --> 00:51:16,800 Speaker 1: You can ask my wife. There is not a Pixar 888 00:51:16,920 --> 00:51:20,000 Speaker 1: movie that I see without me going look at the 889 00:51:20,000 --> 00:51:22,560 Speaker 1: fill in the blank here, like The Water and Finding 890 00:51:22,600 --> 00:51:25,840 Speaker 1: Nemo or the hair the fur un Sully in Monsters 891 00:51:25,880 --> 00:51:28,920 Speaker 1: and absolutely blows my mind. The the the story of 892 00:51:28,960 --> 00:51:31,880 Speaker 1: the the balloons and up where they did the computer 893 00:51:32,000 --> 00:51:36,279 Speaker 1: modeling to determine how balloons would actually behave. Yeah, it 894 00:51:36,360 --> 00:51:39,320 Speaker 1: kind of made me think of the engine that what 895 00:51:39,480 --> 00:51:43,040 Speaker 1: I've built for um, the Armies, for Lord of the Rings. 896 00:51:43,080 --> 00:51:45,279 Speaker 1: It's like, let's why don't we take that technology and 897 00:51:45,280 --> 00:51:50,319 Speaker 1: convert it for helium balloons. It's essentially what they did. Uh, 898 00:51:50,800 --> 00:51:54,319 Speaker 1: that's fascinating stuff. But there is there's a um I 899 00:51:54,360 --> 00:51:57,600 Speaker 1: agree with Jonathan, there's a feeling that you get when 900 00:51:57,600 --> 00:52:00,560 Speaker 1: watching hand drawn animation that is different than the that 901 00:52:00,719 --> 00:52:03,160 Speaker 1: you get when you're watching a computer It doesn't doesn't 902 00:52:03,200 --> 00:52:05,960 Speaker 1: mean better or it's just different. It's just different. And 903 00:52:06,080 --> 00:52:09,680 Speaker 1: and you know Lasseter of Pixar, he would argue the 904 00:52:09,719 --> 00:52:13,400 Speaker 1: same thing. He says, you know, it's we use at Pixar, 905 00:52:13,480 --> 00:52:16,960 Speaker 1: we use computer animation because that's the tool we use. 906 00:52:17,480 --> 00:52:20,880 Speaker 1: But to us, the most important part of any film 907 00:52:21,120 --> 00:52:25,600 Speaker 1: is the story, and that ultimately the tool you use 908 00:52:26,200 --> 00:52:29,640 Speaker 1: is nowhere near as important as the story is. So 909 00:52:29,680 --> 00:52:33,040 Speaker 1: if your story is solid, then as long as you 910 00:52:33,080 --> 00:52:37,440 Speaker 1: are good at using whatever tools you have, you should 911 00:52:37,440 --> 00:52:40,400 Speaker 1: be able to tell that story effectively. Now that if 912 00:52:40,440 --> 00:52:42,880 Speaker 1: those tools are hand drawn animation, that's great, and if 913 00:52:42,880 --> 00:52:46,560 Speaker 1: it's computer animation, that's great. There's no there's nothing wrong 914 00:52:46,600 --> 00:52:49,080 Speaker 1: with either choice. You're going to get a different experience 915 00:52:49,080 --> 00:52:51,560 Speaker 1: depending on which one needs to use, but it doesn't 916 00:52:51,600 --> 00:52:55,640 Speaker 1: mean that one experience is superior or inferior to the other. Uh. 917 00:52:55,760 --> 00:52:58,120 Speaker 1: And So I think I think it's a good discussion 918 00:52:58,160 --> 00:53:01,360 Speaker 1: about the traditional hand drawn innivation and how it's evolved 919 00:53:01,400 --> 00:53:05,399 Speaker 1: over time. It's a really neat thing. If you guys 920 00:53:05,440 --> 00:53:07,440 Speaker 1: have never watched any documentaries about it, I mean there 921 00:53:07,480 --> 00:53:09,920 Speaker 1: are plenty there, even things like I remember there was 922 00:53:09,960 --> 00:53:12,640 Speaker 1: one of their an episode of Tiny Tunes where Plucky 923 00:53:12,800 --> 00:53:16,960 Speaker 1: learns about the process of animation, uh in a tortuous 924 00:53:17,160 --> 00:53:20,279 Speaker 1: but effective way. UH say, there are a lot of 925 00:53:20,280 --> 00:53:23,720 Speaker 1: different videos out there in movies that cover this, and 926 00:53:23,719 --> 00:53:27,160 Speaker 1: and I love watching all of them. I've always found 927 00:53:27,200 --> 00:53:31,560 Speaker 1: them interesting and uh um, anyone who has that level 928 00:53:31,560 --> 00:53:36,800 Speaker 1: of patience and attention to detail gets my admiration because 929 00:53:38,120 --> 00:53:41,120 Speaker 1: when you look at that and you think, Okay, if 930 00:53:41,120 --> 00:53:45,000 Speaker 1: you're talking about a film, even a seventy seventy minute film, 931 00:53:45,120 --> 00:53:47,279 Speaker 1: and you think all right, Well, that means at bare 932 00:53:47,360 --> 00:53:55,359 Speaker 1: minimum twelve drawings per second. That's a lot of drawing. Yes, 933 00:53:55,440 --> 00:53:59,120 Speaker 1: it is. It's it's hard to imagine. So hats off 934 00:53:59,160 --> 00:54:02,120 Speaker 1: to any animator out there. You guys are doing some 935 00:54:02,120 --> 00:54:06,840 Speaker 1: some great work and I really admire the discipline that 936 00:54:07,000 --> 00:54:10,759 Speaker 1: takes to pursue a career in animation. Uh. If you 937 00:54:10,760 --> 00:54:14,480 Speaker 1: guys have any suggestions for future topics of tech stuff, 938 00:54:14,560 --> 00:54:17,880 Speaker 1: please let us know. Send us a message via email 939 00:54:18,040 --> 00:54:21,239 Speaker 1: or at just this tech Stuff at Discovery dot com, 940 00:54:21,360 --> 00:54:23,360 Speaker 1: or drop us a line on Facebook or Twitter. You 941 00:54:23,400 --> 00:54:26,480 Speaker 1: can find us there with the handle of text stuff. H. 942 00:54:26,680 --> 00:54:29,040 Speaker 1: S W and Chris and I will taught to you 943 00:54:29,080 --> 00:54:35,640 Speaker 1: again soon. The that's all, folks. For more on this 944 00:54:35,800 --> 00:54:38,279 Speaker 1: and thousands of other topics, is that house staff Works 945 00:54:38,320 --> 00:54:42,560 Speaker 1: dot com.