1 00:00:04,240 --> 00:00:07,240 Speaker 1: Welcome to tech Stuff, a production of I Heart Radios 2 00:00:07,320 --> 00:00:13,680 Speaker 1: How Stuff Works. Hey there, and welcome to tech Stuff. 3 00:00:13,680 --> 00:00:16,639 Speaker 1: I'm your host, Jonathan Strickland. I'm an executive producer with 4 00:00:16,640 --> 00:00:18,520 Speaker 1: How Stuff Works in my Heart Radio and I love 5 00:00:18,560 --> 00:00:22,279 Speaker 1: all things tech and his time for another classic episode 6 00:00:22,440 --> 00:00:26,000 Speaker 1: of tech Stuff. This episode is called How hand Drawn 7 00:00:26,200 --> 00:00:32,519 Speaker 1: Animation Works, and it originally published on October two thousand twelve. 8 00:00:33,040 --> 00:00:37,680 Speaker 1: And I'm a huge fan of animation. I love animation. 9 00:00:37,800 --> 00:00:40,479 Speaker 1: I think when it's done well, it can be an 10 00:00:40,479 --> 00:00:44,479 Speaker 1: incredible art form. One of my favorite films of the 11 00:00:44,520 --> 00:00:50,360 Speaker 1: recent past is Into the Spider Verse, a truly gorgeous 12 00:00:50,440 --> 00:00:55,240 Speaker 1: animated movie. Although not necessarily talking just about hand drawn 13 00:00:55,280 --> 00:00:58,480 Speaker 1: animation in that respect, but I thought it would be 14 00:00:58,480 --> 00:01:00,440 Speaker 1: good to look back on this and kind of get 15 00:01:00,520 --> 00:01:03,680 Speaker 1: an appreciation on how this stuff works. So let's listen 16 00:01:03,720 --> 00:01:06,680 Speaker 1: in as Chris and I go down the path to 17 00:01:06,880 --> 00:01:11,520 Speaker 1: understanding hand drawn animation. Today, we wanted to talk about 18 00:01:11,600 --> 00:01:16,640 Speaker 1: the traditional hand drawn animation process, what goes into it, 19 00:01:16,840 --> 00:01:19,800 Speaker 1: why does it work, and how has it changed over 20 00:01:19,840 --> 00:01:23,000 Speaker 1: the years. Uh. And we were specifically focusing on hand 21 00:01:23,080 --> 00:01:25,560 Speaker 1: drawn animation because I think we may have I know 22 00:01:25,600 --> 00:01:27,960 Speaker 1: we've talked about computer animation in previous podcasts. I don't 23 00:01:27,959 --> 00:01:30,840 Speaker 1: think we've done a full episode on it, but but 24 00:01:30,920 --> 00:01:35,399 Speaker 1: the two disciplines are different enough where I think it 25 00:01:35,440 --> 00:01:39,920 Speaker 1: warrants two different podcasts. Yeah, the I have done some 26 00:01:39,959 --> 00:01:42,240 Speaker 1: research on it, just by accident, just because I was 27 00:01:42,280 --> 00:01:44,600 Speaker 1: interested in a topic from time to time, and I 28 00:01:45,000 --> 00:01:46,759 Speaker 1: started thinking about it the other day when I saw 29 00:01:46,840 --> 00:01:51,640 Speaker 1: something and suggested it. Um. It's uh, it's very different 30 00:01:51,880 --> 00:01:55,920 Speaker 1: in quite a few ways from from computer animation, and 31 00:01:56,400 --> 00:02:00,200 Speaker 1: Jonathan and I like to talk about how old styles 32 00:02:00,240 --> 00:02:02,600 Speaker 1: of tech have affected us and uh, the kinds of 33 00:02:02,640 --> 00:02:05,440 Speaker 1: things that people used to do. Um. You know, there 34 00:02:05,480 --> 00:02:08,000 Speaker 1: are some very famous studios that have have gone computer 35 00:02:08,120 --> 00:02:11,239 Speaker 1: only these days, but um, some of the very same 36 00:02:11,240 --> 00:02:14,720 Speaker 1: studios were pioneers and some of the amazing tech that 37 00:02:14,760 --> 00:02:19,480 Speaker 1: went into making a piece of hand drawn animation look 38 00:02:19,560 --> 00:02:22,200 Speaker 1: very realistic. UM. And I thought, you know, it would 39 00:02:22,240 --> 00:02:25,200 Speaker 1: be really fun to kind of touch on that. Um, 40 00:02:25,280 --> 00:02:28,079 Speaker 1: which is which is why I think we decided to 41 00:02:28,080 --> 00:02:29,880 Speaker 1: go ahead and make an episode of it. We should 42 00:02:29,880 --> 00:02:35,119 Speaker 1: probably already attach this into our movie making tech series 43 00:02:35,200 --> 00:02:37,760 Speaker 1: of stuff, just because we haven't done one in a while. 44 00:02:37,840 --> 00:02:39,760 Speaker 1: And then now we can say we have. Yeah, I 45 00:02:39,760 --> 00:02:41,480 Speaker 1: think it's been I think it's been like a year. 46 00:02:41,840 --> 00:02:44,760 Speaker 1: Um yeah, okay, that that that's fun with me. This 47 00:02:44,919 --> 00:02:50,880 Speaker 1: belongs in our movie Magic Technology series. It really does. 48 00:02:50,960 --> 00:02:52,760 Speaker 1: It's just that I wasn't thinking of it that way. 49 00:02:53,000 --> 00:02:58,320 Speaker 1: So before U, before we get into the actual process 50 00:02:58,480 --> 00:03:03,040 Speaker 1: of making a hand drawn animated project, whether it's television 51 00:03:03,040 --> 00:03:06,640 Speaker 1: for television or for film or whatever, um, we should 52 00:03:06,760 --> 00:03:10,960 Speaker 1: kind of explain the whole concept behind animation. It's the 53 00:03:11,000 --> 00:03:14,720 Speaker 1: idea is that it's an illusion, obviously, an illusion of movement. 54 00:03:15,320 --> 00:03:17,760 Speaker 1: And this is because the way our our brains and 55 00:03:17,800 --> 00:03:20,959 Speaker 1: our eyes work, we have this uh, this sort of 56 00:03:21,760 --> 00:03:24,280 Speaker 1: it's it's almost like a visual memory in a way, 57 00:03:24,320 --> 00:03:27,720 Speaker 1: and we're able to fill in enough information where if 58 00:03:27,720 --> 00:03:32,000 Speaker 1: you have a sequence of images of an object that 59 00:03:32,080 --> 00:03:38,640 Speaker 1: appears to move because it has a different um orientation, 60 00:03:38,960 --> 00:03:42,240 Speaker 1: or you've slightly changed the location of the object from 61 00:03:42,320 --> 00:03:46,320 Speaker 1: one page of of a like a pad of paper 62 00:03:46,480 --> 00:03:49,280 Speaker 1: to another, and then you move those at a fast 63 00:03:49,400 --> 00:03:52,520 Speaker 1: enough clip, it gives the illusion that that that's actually 64 00:03:52,520 --> 00:03:56,080 Speaker 1: an object that's physically moving through a space. Yeah, persistence 65 00:03:56,120 --> 00:03:58,840 Speaker 1: of vision, Yes, you might call it. Yes, in fact, 66 00:03:58,960 --> 00:04:02,600 Speaker 1: that's its name. That's and that is reason to call 67 00:04:02,640 --> 00:04:04,440 Speaker 1: it that. And so I mean, anyone who has played 68 00:04:04,440 --> 00:04:07,160 Speaker 1: with a little notepad or post it notes or whatever 69 00:04:07,200 --> 00:04:10,240 Speaker 1: and have created their own little versions of this knows that. 70 00:04:10,320 --> 00:04:12,840 Speaker 1: You know, you you get a uh, you know, you 71 00:04:12,920 --> 00:04:16,480 Speaker 1: create this illusion of movement, You move the figures, you 72 00:04:16,480 --> 00:04:19,839 Speaker 1: you draw the next figure a little bit further away 73 00:04:19,839 --> 00:04:22,440 Speaker 1: from the first one, or you give it some other 74 00:04:22,560 --> 00:04:26,440 Speaker 1: form of motion. Uh, And when you flip the book, 75 00:04:26,600 --> 00:04:29,360 Speaker 1: then it looks like something's happening. I used to do 76 00:04:29,400 --> 00:04:31,440 Speaker 1: this all the time with post it notes. I went 77 00:04:31,440 --> 00:04:34,039 Speaker 1: through so many packs of post it notes, drawing my 78 00:04:34,080 --> 00:04:38,039 Speaker 1: own little cartoons, which almost always ended in violent mayhem. 79 00:04:38,080 --> 00:04:42,080 Speaker 1: They usually began innocently enough. Yeah, I'd be like, okay, 80 00:04:42,080 --> 00:04:44,800 Speaker 1: and now he's jumping over hurdle, and now he's opening 81 00:04:44,839 --> 00:04:47,200 Speaker 1: up a door, and now he's hit in the head 82 00:04:47,200 --> 00:04:50,239 Speaker 1: with an ax, and now he's running away from a monster, 83 00:04:50,400 --> 00:04:53,720 Speaker 1: and yeah, things fell apart pretty quickly for me. If 84 00:04:53,720 --> 00:04:58,120 Speaker 1: you're if you've ever read the comic strip Calvin and Hobbs, 85 00:04:58,600 --> 00:05:02,840 Speaker 1: where Calvin is uh, you know, coming up with these scenarios. 86 00:05:03,640 --> 00:05:06,719 Speaker 1: And now look, the giant tanker truck full of acid 87 00:05:06,839 --> 00:05:10,840 Speaker 1: is coming toward it and meteor from space? How can 88 00:05:10,880 --> 00:05:12,760 Speaker 1: they avoid this? And this is the image I'm seeing 89 00:05:12,800 --> 00:05:17,240 Speaker 1: of Jonathan doing this. Yeah, it wasn't pretty. So how 90 00:05:17,279 --> 00:05:20,279 Speaker 1: do you take that and you transfer it over into 91 00:05:20,360 --> 00:05:24,080 Speaker 1: making an animated show or film? Well it's been done 92 00:05:24,120 --> 00:05:27,400 Speaker 1: for centuries now really in a way. In a way, 93 00:05:27,440 --> 00:05:31,240 Speaker 1: but the the process that kind of defines the way 94 00:05:31,440 --> 00:05:37,359 Speaker 1: modern animation worked throughout the twentieth century was really defined 95 00:05:37,720 --> 00:05:43,520 Speaker 1: by Earl Heard, and Earl Heard actually patented the cell 96 00:05:43,680 --> 00:05:47,920 Speaker 1: animation process, and we call it cell animation. The original 97 00:05:48,200 --> 00:05:52,279 Speaker 1: material that people drew, the drawings of figures or whatever 98 00:05:52,360 --> 00:05:55,559 Speaker 1: was being animated within a scene, they would draw draw 99 00:05:55,600 --> 00:06:01,599 Speaker 1: that on celluloid. Eventually the end stream made a transition 100 00:06:01,720 --> 00:06:06,680 Speaker 1: from celluloid to cellulos acetate. Part of that was because 101 00:06:06,680 --> 00:06:12,240 Speaker 1: celluloid is um yeah, extremely flammable, very flat. It's both 102 00:06:12,240 --> 00:06:17,560 Speaker 1: flammable and inflammable and also it uh, it could be 103 00:06:17,600 --> 00:06:22,920 Speaker 1: prone to spontaneous decomposition, so you couldn't store it indefinitely. 104 00:06:23,000 --> 00:06:25,599 Speaker 1: Are you see those stack of drawings? They were right? 105 00:06:25,800 --> 00:06:29,560 Speaker 1: They see that public goo over there? Yeah, that's snow white. 106 00:06:30,040 --> 00:06:33,840 Speaker 1: Um yeah, they would they would. It seems problematic. Yeah, 107 00:06:33,920 --> 00:06:37,080 Speaker 1: so you couldn't you know, you couldn't archive this stuff, 108 00:06:37,360 --> 00:06:40,120 Speaker 1: which in the early days the industry wasn't a big concern. 109 00:06:40,520 --> 00:06:44,680 Speaker 1: You know. The concern was to create this this product 110 00:06:44,760 --> 00:06:47,760 Speaker 1: and then have it shown, usually in a movie theater 111 00:06:47,839 --> 00:06:49,840 Speaker 1: in the early days. You know, this is this is 112 00:06:49,920 --> 00:06:53,640 Speaker 1: before television. So this was something where you would go 113 00:06:53,680 --> 00:06:57,120 Speaker 1: to a a like a theater and see it projected 114 00:06:57,160 --> 00:07:01,480 Speaker 1: on a screen. But there wasn't weren't too concerned about 115 00:07:01,480 --> 00:07:07,200 Speaker 1: storing stuff for for posterity, not prosperity. They wanted prosperity, posterity. 116 00:07:07,200 --> 00:07:11,080 Speaker 1: They weren't so concerned about um. But yeah, so, so 117 00:07:11,160 --> 00:07:12,960 Speaker 1: it wasn't a big deal. But then the move to 118 00:07:13,040 --> 00:07:17,400 Speaker 1: cellulous estate, which is essentially kind of plastic, helped take 119 00:07:17,520 --> 00:07:20,840 Speaker 1: that that problem out of the picture, so to speak. Yeah, 120 00:07:20,880 --> 00:07:25,280 Speaker 1: the reason that now this this material um, the celluloid 121 00:07:25,480 --> 00:07:29,440 Speaker 1: was was clear, yes, basically a clear sheet of plastic 122 00:07:29,520 --> 00:07:31,640 Speaker 1: if you will, just just for the sake of the 123 00:07:31,680 --> 00:07:34,960 Speaker 1: image in your head. Actually, most of you have probably 124 00:07:35,000 --> 00:07:38,760 Speaker 1: seen somebody working on cells for animation. It's you know, 125 00:07:39,640 --> 00:07:42,040 Speaker 1: we sort of know what this looks like. We haven't 126 00:07:42,080 --> 00:07:46,280 Speaker 1: gotten so far out from that realm that it's foreign 127 00:07:46,320 --> 00:07:49,520 Speaker 1: to us. Yeah, but this is this was a big 128 00:07:49,520 --> 00:07:53,680 Speaker 1: improvement because before this, uh, there were some very early 129 00:07:53,760 --> 00:07:58,240 Speaker 1: animation uh you know, moving pictures that were made with 130 00:07:58,360 --> 00:08:02,560 Speaker 1: drawings on paper, and that is so much more time 131 00:08:02,600 --> 00:08:08,200 Speaker 1: consuming because just as you know, um, there are several 132 00:08:08,400 --> 00:08:13,640 Speaker 1: frames of film that pass. Each second is the standard. Yes, 133 00:08:14,240 --> 00:08:18,520 Speaker 1: I couldn't remember per second of standard for film thirty 134 00:08:18,520 --> 00:08:22,880 Speaker 1: for television. I was thinking television. If you're in the 135 00:08:22,960 --> 00:08:26,720 Speaker 1: United States, I have to you have to make these 136 00:08:26,760 --> 00:08:32,080 Speaker 1: qualifiers because other other countries have different standards. So imagine 137 00:08:32,120 --> 00:08:33,760 Speaker 1: if you will, then you are one of the animators 138 00:08:33,760 --> 00:08:38,120 Speaker 1: and you have to draw twenty four complete drawings for 139 00:08:38,160 --> 00:08:41,880 Speaker 1: each second of film. This is very time consuming, where 140 00:08:42,000 --> 00:08:45,599 Speaker 1: using the the cell method allows you allows the animator 141 00:08:45,640 --> 00:08:48,920 Speaker 1: to make a subtle change to the original drawing and 142 00:08:48,920 --> 00:08:51,080 Speaker 1: and just change make those subtle changes and you can 143 00:08:51,120 --> 00:08:53,959 Speaker 1: see it because um again, if you watch a video 144 00:08:54,000 --> 00:08:58,360 Speaker 1: of somebody making an animation with cells, they are able 145 00:08:58,400 --> 00:09:00,960 Speaker 1: to overlay them on top of one another and they 146 00:09:01,000 --> 00:09:04,959 Speaker 1: can make those subtle adjustments seeing where the differences are 147 00:09:05,000 --> 00:09:07,680 Speaker 1: between the two drawings, which you you won't be able 148 00:09:07,679 --> 00:09:12,080 Speaker 1: to do as well with paper because it's especially if 149 00:09:12,080 --> 00:09:14,960 Speaker 1: you're using hand especially if you're using paper, Like if 150 00:09:15,000 --> 00:09:20,000 Speaker 1: there's a background image that's involved with paper, you have 151 00:09:20,040 --> 00:09:22,600 Speaker 1: to draw the whole thing each time, right, So you're 152 00:09:22,679 --> 00:09:25,280 Speaker 1: drawing that whole background because you know, again your paper 153 00:09:25,320 --> 00:09:27,480 Speaker 1: is not transparent, so you're joining the whole background. Plus 154 00:09:27,480 --> 00:09:30,160 Speaker 1: they're drawing whatever is in the foreground that's that's animated, 155 00:09:30,800 --> 00:09:32,959 Speaker 1: and then the next frame you have to draw it 156 00:09:33,000 --> 00:09:35,160 Speaker 1: all over again. Whereas with cells, what you could do 157 00:09:35,240 --> 00:09:40,280 Speaker 1: is you could have a pre generated background image that 158 00:09:40,520 --> 00:09:43,880 Speaker 1: is laid down in a frame, and then you could 159 00:09:43,920 --> 00:09:47,160 Speaker 1: overlay these cells on top of it, one at a time, 160 00:09:47,640 --> 00:09:50,640 Speaker 1: and because the cell itself is clear, anywhere that you 161 00:09:50,760 --> 00:09:54,680 Speaker 1: have not drawn, you could see the background. And then 162 00:09:54,800 --> 00:09:57,200 Speaker 1: you take that cell out, you put another cell in, 163 00:09:57,280 --> 00:10:02,000 Speaker 1: you take another picture, which represents a frame of the film. 164 00:10:02,040 --> 00:10:04,319 Speaker 1: You know, when you think about film, really is animation, 165 00:10:04,920 --> 00:10:08,920 Speaker 1: Even live action film is technically animation because you're talking 166 00:10:08,960 --> 00:10:12,720 Speaker 1: about looking at a series of photographs that are played 167 00:10:12,760 --> 00:10:16,880 Speaker 1: at such a speed as to create the illusion of movement. Yes. Uh, Now, 168 00:10:16,880 --> 00:10:18,959 Speaker 1: the granted this is we're talking about physical film here, 169 00:10:19,000 --> 00:10:22,280 Speaker 1: because once we get into digital there's different things to 170 00:10:22,600 --> 00:10:26,640 Speaker 1: you know, consider. But in the old film days, that's 171 00:10:26,640 --> 00:10:29,679 Speaker 1: that's really what we're talking about. So with animation, each 172 00:10:29,679 --> 00:10:32,160 Speaker 1: of those frames is essentially a photograph. You're using a 173 00:10:32,200 --> 00:10:36,280 Speaker 1: camera to photograph this drawing, and with the cells, like 174 00:10:36,320 --> 00:10:38,120 Speaker 1: I said, you take one cell out, you put another 175 00:10:38,120 --> 00:10:43,000 Speaker 1: cell in the background remains static. Uh. Then you have 176 00:10:43,040 --> 00:10:46,000 Speaker 1: a character that is appearing or object or whatever that 177 00:10:46,040 --> 00:10:49,000 Speaker 1: it's appearing to move on top of this background. If 178 00:10:49,000 --> 00:10:53,560 Speaker 1: it's a movement that is you know, easily repeatable, you 179 00:10:53,559 --> 00:10:55,840 Speaker 1: don't even have to draw more than the number of 180 00:10:55,880 --> 00:10:59,240 Speaker 1: cells it takes to complete one cycle of that action. 181 00:11:00,040 --> 00:11:03,400 Speaker 1: So let's say that you wanna picture You've drawn a 182 00:11:03,679 --> 00:11:07,720 Speaker 1: cartoon kangaroo and the kangaroos just jumping straight up and 183 00:11:07,800 --> 00:11:10,880 Speaker 1: down five times. Well, you don't have to draw enough 184 00:11:10,960 --> 00:11:13,360 Speaker 1: cells to do that five times. You draw it so 185 00:11:13,440 --> 00:11:17,600 Speaker 1: it does one full cycle, one jump from start to finish, 186 00:11:17,720 --> 00:11:21,000 Speaker 1: and then you you could photograph that sequence five times 187 00:11:21,080 --> 00:11:24,240 Speaker 1: using those that same cells. So, in other words, you've 188 00:11:24,280 --> 00:11:25,960 Speaker 1: just cut down on the amount of work you would 189 00:11:25,960 --> 00:11:28,360 Speaker 1: have to do if this were all done on paper. Yes, 190 00:11:28,440 --> 00:11:31,400 Speaker 1: and that's one of the important points to that that 191 00:11:31,600 --> 00:11:36,240 Speaker 1: so many animators have used in the past. Um Uh. 192 00:11:36,520 --> 00:11:39,720 Speaker 1: The the illusion of movement you've got your kangaroo hopping 193 00:11:39,800 --> 00:11:44,240 Speaker 1: up and down. Now, if the background stays static, um, 194 00:11:44,480 --> 00:11:47,080 Speaker 1: then it looks like the kangaroos hopping up and down 195 00:11:47,080 --> 00:11:50,800 Speaker 1: in place. UM. This technique that Jonathan was just saying, 196 00:11:51,200 --> 00:11:56,320 Speaker 1: um or just talking about uh is often used to 197 00:11:56,440 --> 00:12:01,240 Speaker 1: create the illusion of movement across a linear surface from 198 00:12:01,280 --> 00:12:04,120 Speaker 1: point A to point B. Let's say the characters are 199 00:12:04,120 --> 00:12:08,240 Speaker 1: walking down a street in the city. Man, I remember 200 00:12:08,240 --> 00:12:13,000 Speaker 1: those old Marvel Comics heroes animations from the sixties and 201 00:12:13,040 --> 00:12:15,360 Speaker 1: all the buildings. If if you watch a lot of 202 00:12:15,400 --> 00:12:18,480 Speaker 1: these shows, um, Hanna Barbary did this kind of thing 203 00:12:18,520 --> 00:12:22,200 Speaker 1: to all the time, where you're moving down the urban 204 00:12:22,280 --> 00:12:25,160 Speaker 1: landscape and they've you've got your drawings of the city. 205 00:12:25,840 --> 00:12:28,400 Speaker 1: And after a while to build, the buildings begin to 206 00:12:28,520 --> 00:12:33,400 Speaker 1: look the same, which is because underneath what the characters 207 00:12:33,440 --> 00:12:36,240 Speaker 1: are doing, the same images of the city. You know, 208 00:12:36,280 --> 00:12:40,319 Speaker 1: once they've gotten uh you know, let's say twenty four 209 00:12:40,440 --> 00:12:43,760 Speaker 1: for each frame, they probably had uh, you know, a 210 00:12:43,840 --> 00:12:45,599 Speaker 1: certain number of those, and once they got to the 211 00:12:45,679 --> 00:12:47,600 Speaker 1: end of that, then they started over at the beginning, 212 00:12:47,760 --> 00:12:50,760 Speaker 1: and loops and loops and loops. So if you think 213 00:12:50,760 --> 00:12:52,640 Speaker 1: of if you think of like a cell a cell 214 00:12:52,720 --> 00:12:56,520 Speaker 1: is generally the size of whatever the the whole frame 215 00:12:56,559 --> 00:13:00,480 Speaker 1: of that images, right, So so one cell has the 216 00:13:00,559 --> 00:13:04,679 Speaker 1: character or object or whatever, or characters or objects or 217 00:13:04,920 --> 00:13:08,199 Speaker 1: mix of whatever. Um it has those in the center 218 00:13:08,360 --> 00:13:11,559 Speaker 1: or what has those on the on the center, it 219 00:13:11,559 --> 00:13:14,440 Speaker 1: doesn't really matter it has on the cell. The rest 220 00:13:14,440 --> 00:13:17,400 Speaker 1: of the cell is clear. That's what's showing you. The background. Generally, 221 00:13:17,400 --> 00:13:21,720 Speaker 1: the backgrounds are much wider than the frame on sometimes 222 00:13:21,720 --> 00:13:24,280 Speaker 1: taller as well than the frame that you are looking at. 223 00:13:25,080 --> 00:13:29,080 Speaker 1: So when you take that picture and you remove the 224 00:13:29,120 --> 00:13:31,480 Speaker 1: cell so you can put the next cell indicating the 225 00:13:31,520 --> 00:13:35,679 Speaker 1: next movement of that character, you would also adjust the 226 00:13:35,720 --> 00:13:39,440 Speaker 1: position of the background so that you would have that 227 00:13:39,480 --> 00:13:42,120 Speaker 1: illusion of a character walking forward. So let's say the 228 00:13:42,160 --> 00:13:45,240 Speaker 1: characters staying in the center of the frame, and the 229 00:13:45,280 --> 00:13:48,840 Speaker 1: animation is the character is making a walking motion. Then 230 00:13:49,000 --> 00:13:51,520 Speaker 1: what you would do is between the different shots you 231 00:13:51,520 --> 00:13:55,719 Speaker 1: would move the background horizontally so that it would look 232 00:13:55,800 --> 00:13:59,600 Speaker 1: like the characters making progress. Well, eventually you're gonna run 233 00:13:59,600 --> 00:14:02,040 Speaker 1: out of back ground. You'll have to switch to a 234 00:14:02,040 --> 00:14:04,120 Speaker 1: different background, or you have to reuse one, which is 235 00:14:04,160 --> 00:14:06,160 Speaker 1: what Chris was talking about. You also notice in a 236 00:14:06,200 --> 00:14:09,760 Speaker 1: lot of those old animations, characters have very limited movement. 237 00:14:09,880 --> 00:14:12,120 Speaker 1: Sometimes it looks like a static character who's just kind 238 00:14:12,120 --> 00:14:14,520 Speaker 1: of bouncing up and down a little bit as the 239 00:14:14,559 --> 00:14:17,720 Speaker 1: background is moving. And again, that was a way of 240 00:14:17,760 --> 00:14:23,200 Speaker 1: saving money by drawing fewer cells. You draw a character 241 00:14:23,240 --> 00:14:25,760 Speaker 1: on a cell, and you're using that same static image 242 00:14:25,800 --> 00:14:28,800 Speaker 1: of the character. You're just repositioning the cell slightly and 243 00:14:29,040 --> 00:14:33,920 Speaker 1: adjusting the camera's frame so that there the character appears 244 00:14:33,920 --> 00:14:36,440 Speaker 1: to be moving up and down as if they are walking, 245 00:14:37,040 --> 00:14:39,560 Speaker 1: but in fact you're just using the same picture over 246 00:14:39,640 --> 00:14:42,600 Speaker 1: and over and over again. Pretty get to the clutch 247 00:14:42,640 --> 00:14:45,600 Speaker 1: cargo days, where you replace the cartoon character's mouth with 248 00:14:45,640 --> 00:14:49,120 Speaker 1: a human mouth and generate a whole generation of nightmares. 249 00:14:51,560 --> 00:14:53,960 Speaker 1: I'm pretty sure though, that this this method is exactly 250 00:14:53,960 --> 00:14:56,640 Speaker 1: why he Man always appeared to be moon walking everywhere 251 00:14:56,680 --> 00:15:00,160 Speaker 1: he went, Right. Yeah, The match matching the h the 252 00:15:00,880 --> 00:15:06,320 Speaker 1: background movement with the animated character movement is an art 253 00:15:06,360 --> 00:15:08,400 Speaker 1: form of it's in and of itself, and if you 254 00:15:08,480 --> 00:15:11,120 Speaker 1: don't do it carefully, then you get this weird glide 255 00:15:11,160 --> 00:15:16,000 Speaker 1: e motion where the character either seems to be uh 256 00:15:16,000 --> 00:15:20,040 Speaker 1: walking too quickly but not making enough progress, or walking 257 00:15:20,040 --> 00:15:24,040 Speaker 1: slowly but moving really fast. And um, yeah, it's it's 258 00:15:24,040 --> 00:15:26,320 Speaker 1: a it's a form of art really. To get that 259 00:15:26,440 --> 00:15:28,800 Speaker 1: just right, we're kind of getting a little too far 260 00:15:28,880 --> 00:15:30,880 Speaker 1: into this though. I want to talk kind of about 261 00:15:30,880 --> 00:15:35,040 Speaker 1: the whole process of building an animated feature. But before 262 00:15:35,040 --> 00:15:36,800 Speaker 1: I jump into it, one other thing I need to 263 00:15:36,800 --> 00:15:40,080 Speaker 1: say is that this traditional form of animation we're talking about, 264 00:15:40,080 --> 00:15:43,720 Speaker 1: where you're drawing pictures on cells, Uh, it takes up 265 00:15:43,720 --> 00:15:46,520 Speaker 1: a lot of space. Yes, it does. The equipment takes 266 00:15:46,600 --> 00:15:48,320 Speaker 1: up a lot of space because you usually have to 267 00:15:48,360 --> 00:15:52,640 Speaker 1: have a table on which you are photographing all this 268 00:15:52,720 --> 00:15:56,520 Speaker 1: stuff and you're not using like a hand camera, No, 269 00:15:56,640 --> 00:16:01,400 Speaker 1: this is professional, huge camera. And generally speaking, uh, this 270 00:16:01,520 --> 00:16:03,720 Speaker 1: kind of helps cut down on the amount of materials 271 00:16:03,760 --> 00:16:07,960 Speaker 1: you need. But generally speaking, for film, most animation is 272 00:16:08,040 --> 00:16:12,080 Speaker 1: done where they call it animating on two's, which means 273 00:16:12,080 --> 00:16:18,760 Speaker 1: they take two pictures per h position, which means that well, 274 00:16:18,800 --> 00:16:21,920 Speaker 1: the playback is twenty four frames per second, the positions 275 00:16:21,960 --> 00:16:27,240 Speaker 1: are more like twelve frames per second. So uh, that way, 276 00:16:27,480 --> 00:16:29,960 Speaker 1: you've just cut the number of cells you need to 277 00:16:30,040 --> 00:16:32,960 Speaker 1: create in half. Also, the number of times you need 278 00:16:33,000 --> 00:16:36,480 Speaker 1: to adjust the background, You've cut that in half. Uh, 279 00:16:36,880 --> 00:16:40,040 Speaker 1: which makes a big difference. Now for things that are 280 00:16:40,080 --> 00:16:42,240 Speaker 1: like action that's moving really really quickly where you want 281 00:16:42,240 --> 00:16:45,800 Speaker 1: to really smooth, you might be animating on ones, which 282 00:16:45,840 --> 00:16:49,400 Speaker 1: means every single time you take a picture you have 283 00:16:49,520 --> 00:16:52,480 Speaker 1: to change it whatever you know, either the background or 284 00:16:52,520 --> 00:16:57,280 Speaker 1: the foreground or both between each picture. So you've just 285 00:16:57,360 --> 00:17:01,640 Speaker 1: added twice as much work. You know, sometimes even more 286 00:17:01,680 --> 00:17:03,360 Speaker 1: than twice as much because you think about all the 287 00:17:03,360 --> 00:17:07,760 Speaker 1: departments that are involved in this. But uh, it creates 288 00:17:07,880 --> 00:17:10,119 Speaker 1: a lot more work that way. It also means you 289 00:17:10,160 --> 00:17:13,879 Speaker 1: have to have storage space for all this stuff because 290 00:17:13,880 --> 00:17:18,160 Speaker 1: cells take up room, backgrounds take up room, the equipment 291 00:17:18,160 --> 00:17:21,439 Speaker 1: takes up room, and film itself takes up room. So 292 00:17:21,480 --> 00:17:25,280 Speaker 1: you know, you talk about film footage, well that really does. 293 00:17:26,200 --> 00:17:28,879 Speaker 1: That really does refer back to how many feet of 294 00:17:29,000 --> 00:17:32,920 Speaker 1: film you've shot? Right footage. I mean when you think about, oh, yeah, 295 00:17:32,920 --> 00:17:35,320 Speaker 1: I've got some great footage, but you don't think of 296 00:17:35,359 --> 00:17:37,000 Speaker 1: what that really means. Well, in the film days, that 297 00:17:37,119 --> 00:17:41,400 Speaker 1: actually meant how many feet of film you had exposed, 298 00:17:41,400 --> 00:17:43,920 Speaker 1: how many you had you had shot of whatever seen. 299 00:17:44,760 --> 00:17:48,119 Speaker 1: If you want to know how much film animated, an 300 00:17:48,119 --> 00:17:55,639 Speaker 1: animated picture takes about sixteen frames is a foot okay, 301 00:17:56,280 --> 00:18:00,200 Speaker 1: one second of film is twenty four frames. So one 302 00:18:00,520 --> 00:18:05,159 Speaker 1: second of film is a foot and a half. Okay, 303 00:18:05,560 --> 00:18:10,640 Speaker 1: most about half. Most cartoons are longer than a second. 304 00:18:11,960 --> 00:18:14,640 Speaker 1: So you have lots and lots of film that you're 305 00:18:14,680 --> 00:18:18,000 Speaker 1: dealing with. All right, So that's that's the space issue, 306 00:18:18,080 --> 00:18:20,439 Speaker 1: and we'll talk more about how we've kind of worked 307 00:18:20,440 --> 00:18:24,359 Speaker 1: around that, uh and move beyond the cell based animation 308 00:18:24,440 --> 00:18:28,640 Speaker 1: these days while still staying hand drawn. Um So, if 309 00:18:28,680 --> 00:18:33,440 Speaker 1: you wanted to make an animated film, Uh, the way 310 00:18:33,480 --> 00:18:36,639 Speaker 1: you would generally approach this is you come up with 311 00:18:36,680 --> 00:18:41,080 Speaker 1: an idea for a story. That's the best thing. That 312 00:18:41,400 --> 00:18:43,480 Speaker 1: the best way to start, in my opinion, I just 313 00:18:43,560 --> 00:18:45,919 Speaker 1: drew some stuff bouncing around. Is that all right? You 314 00:18:45,960 --> 00:18:51,360 Speaker 1: could do that. It's not terribly you know interesting, Um 315 00:18:51,480 --> 00:18:54,280 Speaker 1: beyond maybe a certain group of friends who are amused 316 00:18:54,320 --> 00:18:59,520 Speaker 1: by anything you My friends know who they are. Um, hey, 317 00:18:59,560 --> 00:19:04,240 Speaker 1: they like my stuff anyway. So you create a story, 318 00:19:04,480 --> 00:19:06,919 Speaker 1: and then you think of how you want to visualize 319 00:19:06,960 --> 00:19:10,760 Speaker 1: this story. This is where you create a storyboard. Now, 320 00:19:10,880 --> 00:19:13,080 Speaker 1: storyboard is kind of like a comic strip or a 321 00:19:13,080 --> 00:19:17,639 Speaker 1: graphic novel. It tells the story in a series of frames, 322 00:19:18,160 --> 00:19:20,879 Speaker 1: and uh, it all depends on how detailed you want 323 00:19:20,920 --> 00:19:24,919 Speaker 1: to get. Sometimes you just show a uh, you know, 324 00:19:24,960 --> 00:19:27,440 Speaker 1: a frame, and then you might make a note about 325 00:19:27,480 --> 00:19:30,280 Speaker 1: what is happening as far as the action goes, because 326 00:19:30,320 --> 00:19:32,359 Speaker 1: of course a frame is a still image. We don't 327 00:19:32,440 --> 00:19:36,400 Speaker 1: see movement in a frame. We can see the implication 328 00:19:36,800 --> 00:19:40,879 Speaker 1: like that it's implying movement perhaps, but it doesn't actually move. 329 00:19:41,000 --> 00:19:43,520 Speaker 1: So you might say, you know, like I have a 330 00:19:43,600 --> 00:19:46,840 Speaker 1: have a picture of a character who is holding an 331 00:19:46,880 --> 00:19:51,400 Speaker 1: American football, and is, uh, that's for my friends in 332 00:19:51,400 --> 00:19:53,560 Speaker 1: in places other than the United States. But holding an 333 00:19:53,560 --> 00:19:55,520 Speaker 1: American football is if they're going to throw a pass, 334 00:19:55,600 --> 00:19:57,920 Speaker 1: so their arm is cocked back they're holding the football, 335 00:19:58,320 --> 00:20:00,800 Speaker 1: and then you might draw some arrows showing that this 336 00:20:00,880 --> 00:20:03,000 Speaker 1: is the forward motion that the character is going to 337 00:20:03,080 --> 00:20:05,040 Speaker 1: throw the ball. And then the next shot might be 338 00:20:05,119 --> 00:20:07,840 Speaker 1: the football in the air, and then the next shot 339 00:20:07,920 --> 00:20:10,399 Speaker 1: might be a character with arms wide open trying to 340 00:20:10,440 --> 00:20:12,679 Speaker 1: catch this ball, and the next shot might be the 341 00:20:12,720 --> 00:20:15,719 Speaker 1: ball passing right between the character's arms. That would be 342 00:20:15,800 --> 00:20:19,760 Speaker 1: several frames within a storyboard. You fill out the entire 343 00:20:19,840 --> 00:20:23,040 Speaker 1: story this way, so you end up with a huge, 344 00:20:23,440 --> 00:20:26,399 Speaker 1: depending upon the length of your project, a huge comic 345 00:20:26,480 --> 00:20:30,959 Speaker 1: strip that is your story and it's told in this 346 00:20:31,040 --> 00:20:35,080 Speaker 1: visual format. UM. Once you've got an idea of what 347 00:20:35,200 --> 00:20:37,560 Speaker 1: it looks like and the mood you're trying to get 348 00:20:37,600 --> 00:20:41,320 Speaker 1: across in various parts of the story, the next step 349 00:20:41,920 --> 00:20:44,399 Speaker 1: UH and and not every project takes these steps in 350 00:20:44,400 --> 00:20:47,120 Speaker 1: this exact order, but in general, the next step would 351 00:20:47,119 --> 00:20:51,080 Speaker 1: be you get your cast together and you record all 352 00:20:51,240 --> 00:20:56,840 Speaker 1: the voice work. So it all depends on the project 353 00:20:56,960 --> 00:21:00,680 Speaker 1: of how you do that. Some some UH and Asian companies, 354 00:21:00,720 --> 00:21:02,240 Speaker 1: what they would do is they would bring in the 355 00:21:02,320 --> 00:21:07,879 Speaker 1: voice actors UH individually and they would just deliver their lines. 356 00:21:08,280 --> 00:21:11,159 Speaker 1: And they might deliver a line five six different ways 357 00:21:11,240 --> 00:21:14,240 Speaker 1: so that the director has the choice of which line 358 00:21:14,359 --> 00:21:19,960 Speaker 1: to use, which which delivery to use. Right, So the 359 00:21:20,040 --> 00:21:22,760 Speaker 1: line might be, Chris, I need you to say this line, 360 00:21:23,440 --> 00:21:26,480 Speaker 1: don't go in there. Don't go in there now. I 361 00:21:26,480 --> 00:21:29,439 Speaker 1: need you to say it like you're scared. Don't go 362 00:21:29,520 --> 00:21:31,520 Speaker 1: in there now. I need you to say it like 363 00:21:31,880 --> 00:21:34,400 Speaker 1: there's a big surprise and you just you can't let 364 00:21:34,400 --> 00:21:38,080 Speaker 1: this person see the surprise yet, don't go in there. See. 365 00:21:38,359 --> 00:21:40,880 Speaker 1: So that's exactly what the voice actors would be doing. 366 00:21:41,040 --> 00:21:43,919 Speaker 1: And it sounds ridiculous, but that's truly the way a 367 00:21:43,960 --> 00:21:47,639 Speaker 1: lot of these studios work, unless they're casting Robin Williams, 368 00:21:47,680 --> 00:21:52,160 Speaker 1: in which case they give them a microphone like like, 369 00:21:52,440 --> 00:21:55,119 Speaker 1: here's here's your stuff, here's your queue line, here's the 370 00:21:55,160 --> 00:21:57,480 Speaker 1: line you need to give so that the next actor's 371 00:21:57,520 --> 00:22:01,840 Speaker 1: line makes sense. Go at it. Yeah, the stuff that 372 00:22:01,960 --> 00:22:06,080 Speaker 1: ended up on the cutting room floor for Aladdin is phenomenal. 373 00:22:06,960 --> 00:22:08,600 Speaker 1: I mean, the stuff that made it in was great. 374 00:22:08,920 --> 00:22:10,879 Speaker 1: The stuff that made it on that was cut was 375 00:22:10,920 --> 00:22:16,240 Speaker 1: pretty amazing too. Anyway, that's that's one way of doing it. 376 00:22:16,280 --> 00:22:19,640 Speaker 1: Another way, sometimes studios will bring in groups of actors 377 00:22:19,680 --> 00:22:22,840 Speaker 1: and they will all have headphones on. They'll be uh 378 00:22:22,880 --> 00:22:25,600 Speaker 1: in the studio and they will they will read outlines 379 00:22:25,680 --> 00:22:29,480 Speaker 1: together and you will actually have actors acting off of 380 00:22:29,560 --> 00:22:33,320 Speaker 1: one another's delivery like a group read, which which is great. 381 00:22:33,480 --> 00:22:35,880 Speaker 1: And usually there's also a group read before they even 382 00:22:35,880 --> 00:22:38,160 Speaker 1: go into the recording process so that they can kind 383 00:22:38,200 --> 00:22:41,520 Speaker 1: of get that feel. This is particularly true for television animation, 384 00:22:41,520 --> 00:22:45,080 Speaker 1: where they'll get a table read so that the actors 385 00:22:45,200 --> 00:22:47,720 Speaker 1: kind of know where they need to go with their 386 00:22:47,720 --> 00:22:50,959 Speaker 1: performance before they go into the studio. But if they're together, 387 00:22:51,000 --> 00:22:53,920 Speaker 1: it makes it easier at least, and I have done 388 00:22:53,960 --> 00:22:56,159 Speaker 1: this for me, it makes it easier for me to 389 00:22:56,240 --> 00:22:59,880 Speaker 1: act when I have someone to act opposite of. That way, 390 00:22:59,880 --> 00:23:03,640 Speaker 1: we can we can judge how to deliver the next 391 00:23:03,680 --> 00:23:06,760 Speaker 1: line based upon what the other person has said. It's 392 00:23:06,800 --> 00:23:08,560 Speaker 1: a lot more challenging when you're doing it in a 393 00:23:08,640 --> 00:23:10,960 Speaker 1: void and you just hope that the way you deliver 394 00:23:11,040 --> 00:23:14,080 Speaker 1: a line matches up with the way they delivered their line. 395 00:23:14,720 --> 00:23:19,040 Speaker 1: But both approaches are used, and there are some phenomenal 396 00:23:19,160 --> 00:23:22,879 Speaker 1: animated works out there where every single actor never ever 397 00:23:23,200 --> 00:23:26,320 Speaker 1: encountered any of the other actors, which to me blows 398 00:23:26,359 --> 00:23:29,360 Speaker 1: my mind. Um, so they record this thing and then 399 00:23:29,400 --> 00:23:33,040 Speaker 1: you have what is called a scratch track. This is 400 00:23:33,040 --> 00:23:36,760 Speaker 1: the audio track of the film that includes all the 401 00:23:36,840 --> 00:23:40,240 Speaker 1: vocal acting, including songs if there are any vocal songs 402 00:23:40,280 --> 00:23:43,040 Speaker 1: that the characters are performing in there, and usually some 403 00:23:43,080 --> 00:23:46,280 Speaker 1: temp music tracks, because often the music for a film 404 00:23:46,320 --> 00:23:49,560 Speaker 1: is not finished until you've got at least something to 405 00:23:49,600 --> 00:23:52,080 Speaker 1: look at so that the composer can kind of match 406 00:23:52,160 --> 00:23:55,639 Speaker 1: the mood of the music to whatever's on screen. But 407 00:23:55,680 --> 00:23:59,240 Speaker 1: they'll be temp music tracks to kind of give the 408 00:23:59,240 --> 00:24:01,840 Speaker 1: the you know, music tracks that are selected that give 409 00:24:02,000 --> 00:24:05,120 Speaker 1: sort of a similar feel to what the filmmakers are 410 00:24:05,160 --> 00:24:07,120 Speaker 1: going for, so that the animators have something to work 411 00:24:07,160 --> 00:24:11,080 Speaker 1: off of. So you've got the scratch track done. By 412 00:24:11,080 --> 00:24:12,840 Speaker 1: the way, this was not how it was always done. 413 00:24:13,240 --> 00:24:18,080 Speaker 1: Prior to the nineteen thirties. Animators would create an animated 414 00:24:18,119 --> 00:24:21,320 Speaker 1: film and then record the sound matching, trying to match 415 00:24:21,359 --> 00:24:24,560 Speaker 1: the sound to what was already created in film format. 416 00:24:25,520 --> 00:24:28,040 Speaker 1: So they were going the opposite way. They would create 417 00:24:28,080 --> 00:24:29,879 Speaker 1: the film and then they would try and essentially do 418 00:24:30,000 --> 00:24:33,680 Speaker 1: foley for whatever the animated film was. But but eventually 419 00:24:33,720 --> 00:24:35,600 Speaker 1: it moved to the other way. Yeah, if I were 420 00:24:35,640 --> 00:24:38,440 Speaker 1: going to do this, it would probably be more like that, right, 421 00:24:39,200 --> 00:24:42,479 Speaker 1: That would be because I'm not an animator. Yeah, So, 422 00:24:42,640 --> 00:24:44,640 Speaker 1: because what the animators are doing is they take that 423 00:24:44,640 --> 00:24:49,640 Speaker 1: that that soundtrack, that scratch track, and they start to 424 00:24:49,760 --> 00:24:53,440 Speaker 1: create the animation. Now, sometimes there's another step. In fact, 425 00:24:53,480 --> 00:24:56,000 Speaker 1: very often there's another step called an animatic or a 426 00:24:56,040 --> 00:25:02,800 Speaker 1: pencil test. This is a very primitive version of the film, 427 00:25:02,960 --> 00:25:07,080 Speaker 1: so it goes beyond the storyboard model where you've got 428 00:25:07,160 --> 00:25:12,040 Speaker 1: some some movement usually involved in the antimatics. But it's 429 00:25:12,240 --> 00:25:14,159 Speaker 1: if you think, you know, the most primitive form of 430 00:25:14,160 --> 00:25:16,760 Speaker 1: the animatic could just be a storyboard set to the 431 00:25:16,800 --> 00:25:19,560 Speaker 1: scratch track, and this again is a reference for the 432 00:25:19,600 --> 00:25:23,080 Speaker 1: animators to look at when they start to really generate 433 00:25:23,240 --> 00:25:29,879 Speaker 1: the the visuals for the film. Now, at this point 434 00:25:29,960 --> 00:25:32,800 Speaker 1: you can start to divide up the labor, which is 435 00:25:32,960 --> 00:25:35,600 Speaker 1: very useful because it means that you can have different 436 00:25:35,600 --> 00:25:39,000 Speaker 1: departments working on various stuff all at the same time, 437 00:25:39,600 --> 00:25:45,040 Speaker 1: and people can specialize in very particular tasks and it 438 00:25:45,119 --> 00:25:47,600 Speaker 1: makes the whole project move much more quickly. It's like 439 00:25:47,600 --> 00:25:51,560 Speaker 1: an it's it's an assembly line approach. So and it's 440 00:25:51,600 --> 00:25:54,080 Speaker 1: it's kind of key to how they started making animated 441 00:25:54,160 --> 00:25:56,720 Speaker 1: motion pictures. I'm glad you said the word key, but 442 00:25:56,760 --> 00:25:59,240 Speaker 1: I'll get to that. So that you might have a 443 00:25:59,280 --> 00:26:03,280 Speaker 1: background department. This is the department's purposes just to create 444 00:26:03,320 --> 00:26:06,680 Speaker 1: the backgrounds that you're gonna see in this animated feature. 445 00:26:06,960 --> 00:26:09,360 Speaker 1: We'll be back here if you need us. So they 446 00:26:09,400 --> 00:26:12,360 Speaker 1: actually are. That's that's their job is to create the backgrounds. 447 00:26:12,440 --> 00:26:15,120 Speaker 1: And these backgrounds might, like I said, be larger than 448 00:26:15,160 --> 00:26:18,840 Speaker 1: the frame is when you're taking pictures with your film camera, 449 00:26:19,520 --> 00:26:22,200 Speaker 1: so that you can move the background around in relation 450 00:26:22,280 --> 00:26:24,840 Speaker 1: to what's going on in the foreground, so that you 451 00:26:24,840 --> 00:26:27,520 Speaker 1: can have that illusion of characters moving around a scene 452 00:26:27,680 --> 00:26:31,439 Speaker 1: and you aren't. You aren't restricted to just what you 453 00:26:31,480 --> 00:26:35,879 Speaker 1: can see in any given frame. Uh. So they that 454 00:26:36,000 --> 00:26:38,320 Speaker 1: department starts to work on the backgrounds. You've got the 455 00:26:38,400 --> 00:26:40,639 Speaker 1: drawing department, and what they usually do is start on 456 00:26:40,720 --> 00:26:45,280 Speaker 1: paper and they'll start drawing out the characters. They'll they'll 457 00:26:45,280 --> 00:26:49,439 Speaker 1: start creating character concepts. This is the time where, uh, 458 00:26:49,680 --> 00:26:54,600 Speaker 1: they really start to refine the way characters look and move, 459 00:26:55,440 --> 00:26:58,320 Speaker 1: and not just the characters themselves, but anything the character 460 00:26:58,400 --> 00:27:01,639 Speaker 1: happens to have on him or so for example, if 461 00:27:01,680 --> 00:27:05,120 Speaker 1: you've drawn a space marine character who's got a big gun, 462 00:27:05,160 --> 00:27:07,440 Speaker 1: a big clunky armor, you would want to draw a 463 00:27:07,520 --> 00:27:10,399 Speaker 1: lot of different poses for this character to kind of define, like, 464 00:27:10,480 --> 00:27:14,480 Speaker 1: this is how this character moves, Like the armor restricts movements, 465 00:27:14,560 --> 00:27:16,680 Speaker 1: so things need to be really angular and there can't 466 00:27:16,720 --> 00:27:19,240 Speaker 1: be a lot of flexibility here. And when the character 467 00:27:19,359 --> 00:27:23,640 Speaker 1: expressed a surprise, um, his eyebrows actually go down, not up, 468 00:27:23,680 --> 00:27:25,240 Speaker 1: and that sort of stuff. And these are things that 469 00:27:25,280 --> 00:27:30,640 Speaker 1: really define acting choices in the movie. You know, it's 470 00:27:30,640 --> 00:27:33,919 Speaker 1: a weird. Another weird thing is that a performance in 471 00:27:33,920 --> 00:27:36,800 Speaker 1: an animated film is defined by not just the person 472 00:27:36,840 --> 00:27:40,520 Speaker 1: who's recorded the voice, but the person who has drawn 473 00:27:41,040 --> 00:27:44,320 Speaker 1: that character, And so you've got an acting performance coming 474 00:27:44,359 --> 00:27:48,640 Speaker 1: from at least two different people, and usually more than 475 00:27:48,680 --> 00:27:52,800 Speaker 1: two different people. Yeah, there there are times in uh, 476 00:27:52,920 --> 00:27:56,160 Speaker 1: for example, I know this is not a hand drawn animation. 477 00:27:56,200 --> 00:27:59,480 Speaker 1: There are times in Monsters, inc. When I'm watching Mike 478 00:27:59,520 --> 00:28:02,760 Speaker 1: Wazask and I'm seeing Billy Crystal in my head because 479 00:28:02,800 --> 00:28:08,480 Speaker 1: they've captured some of the same facial And that's not 480 00:28:08,600 --> 00:28:13,400 Speaker 1: unusual either. Often often people will film or videotape the 481 00:28:13,440 --> 00:28:17,040 Speaker 1: cast recording sessions in order to get a look at 482 00:28:17,080 --> 00:28:20,399 Speaker 1: how the actors, uh, you know, some of the some 483 00:28:20,480 --> 00:28:24,000 Speaker 1: of the facial expressions they use, or the quirks they have, 484 00:28:24,440 --> 00:28:28,120 Speaker 1: and they'll even incorporate that into the character designs, which 485 00:28:28,160 --> 00:28:31,200 Speaker 1: is that's always fun when you see an animated character 486 00:28:31,440 --> 00:28:34,280 Speaker 1: make a movement that is something you associate with a 487 00:28:34,320 --> 00:28:37,680 Speaker 1: physical human being, that's always a fun moment. Yeah. Yeah, 488 00:28:37,680 --> 00:28:41,320 Speaker 1: And I think that's another benefit of doing it the 489 00:28:41,360 --> 00:28:43,160 Speaker 1: other way around. Not only do you have to not 490 00:28:43,560 --> 00:28:46,560 Speaker 1: match up the voice to the animation, but you actually 491 00:28:46,560 --> 00:28:48,840 Speaker 1: get to to breathe a little life into the animation 492 00:28:48,840 --> 00:28:51,280 Speaker 1: too and make it more appealing, right, We've got more 493 00:28:51,320 --> 00:28:54,400 Speaker 1: to say about how animation works, but before we get 494 00:28:54,400 --> 00:28:57,280 Speaker 1: to that, let's take a quick break to thank our sponsor. 495 00:29:05,280 --> 00:29:08,360 Speaker 1: So the next step is, once you've got the drawings 496 00:29:08,400 --> 00:29:12,400 Speaker 1: on paper, you start to trace it onto cells. Now 497 00:29:13,280 --> 00:29:15,200 Speaker 1: technically it's on the back of the cells that you're 498 00:29:15,200 --> 00:29:18,400 Speaker 1: tracing this stuff on. And after after you've drawn the 499 00:29:18,880 --> 00:29:22,680 Speaker 1: line drawing, you know, after you've inked it, it's the 500 00:29:22,720 --> 00:29:25,760 Speaker 1: inking phase. It's time to go to paint, where you 501 00:29:25,800 --> 00:29:30,240 Speaker 1: have to use the very specific colors you have designated 502 00:29:30,280 --> 00:29:34,120 Speaker 1: for that character. Um there are you know, there are 503 00:29:34,160 --> 00:29:38,000 Speaker 1: guides for every single animated feature or television show about 504 00:29:38,520 --> 00:29:43,200 Speaker 1: what color belongs to which character. And you know, it's 505 00:29:43,200 --> 00:29:46,920 Speaker 1: a very specific thing because when it's off, it's noticeably off, 506 00:29:47,600 --> 00:29:52,480 Speaker 1: particularly if it's off within a single uh episode of 507 00:29:52,480 --> 00:29:55,760 Speaker 1: a show or a single film, But if it's something 508 00:29:55,800 --> 00:29:58,400 Speaker 1: that's between episodes, even then it can be noticeable. Even 509 00:29:58,480 --> 00:30:02,640 Speaker 1: like Homer's Simpson's pants aren't the right color of blue. 510 00:30:03,640 --> 00:30:06,080 Speaker 1: It's true, you know, you can. In fact, there are 511 00:30:06,120 --> 00:30:08,920 Speaker 1: companies that have had problems where the paints they were 512 00:30:09,040 --> 00:30:12,160 Speaker 1: using no longer existed because the company that produced them 513 00:30:12,200 --> 00:30:13,680 Speaker 1: was gone and they had to try and figure out 514 00:30:13,720 --> 00:30:17,040 Speaker 1: how to recreate that exact color or or there are 515 00:30:17,040 --> 00:30:20,320 Speaker 1: times too when um, you know, especially for TV shows 516 00:30:20,360 --> 00:30:25,480 Speaker 1: where they're they're creating many episodes of a show where uh, 517 00:30:25,600 --> 00:30:30,719 Speaker 1: the producing studio farms the animation work out to other studios, 518 00:30:31,200 --> 00:30:35,959 Speaker 1: so you'll see differences sometimes in colors when one studio 519 00:30:36,000 --> 00:30:38,239 Speaker 1: does it versus another. Yeah, and that's that's that can 520 00:30:38,320 --> 00:30:40,960 Speaker 1: be distracting for long time fans. That's another issue I 521 00:30:41,000 --> 00:30:42,960 Speaker 1: was going to mention, is that, so you get to 522 00:30:43,000 --> 00:30:44,800 Speaker 1: this point where you're drawing the cells and you're painting 523 00:30:44,800 --> 00:30:47,200 Speaker 1: the cells. You're inking and painting the cells. Everything is 524 00:30:47,240 --> 00:30:48,960 Speaker 1: being done on the back of the cell. That also 525 00:30:49,080 --> 00:30:52,320 Speaker 1: hides the brush strokes. So that way, when you turn 526 00:30:52,360 --> 00:30:56,200 Speaker 1: the cell over, you've got this beautiful color image of 527 00:30:56,200 --> 00:30:58,960 Speaker 1: a character or an object or whatever, but you don't 528 00:30:59,040 --> 00:31:01,360 Speaker 1: see the individual strokes or anything, cause that's on the 529 00:31:01,360 --> 00:31:04,960 Speaker 1: back of the cell. Uh. Then once those cells are done, 530 00:31:05,120 --> 00:31:07,479 Speaker 1: if if you were to do all the animation yourself, 531 00:31:07,520 --> 00:31:11,360 Speaker 1: you would produce all the cells you needed two complete 532 00:31:11,400 --> 00:31:14,520 Speaker 1: the animation for the various scenes you're doing. And sometimes 533 00:31:14,520 --> 00:31:16,240 Speaker 1: that means that you're going to be using some of 534 00:31:16,240 --> 00:31:19,880 Speaker 1: the same cells again and again, like if there are 535 00:31:19,880 --> 00:31:21,920 Speaker 1: a lot of scenes of a character walking down the road, 536 00:31:21,960 --> 00:31:25,360 Speaker 1: then you may have a certain sequence of cells that 537 00:31:25,480 --> 00:31:29,200 Speaker 1: you use several times. Uh. You don't want to rely 538 00:31:29,280 --> 00:31:31,560 Speaker 1: on it too much, of course, because otherwise it just 539 00:31:31,600 --> 00:31:35,080 Speaker 1: looks like it's the same thing through the whole picture. 540 00:31:35,720 --> 00:31:39,239 Speaker 1: But you would put those cells individually on top of 541 00:31:39,440 --> 00:31:44,600 Speaker 1: the respective backgrounds. Take a photo, make the adjustments, take 542 00:31:44,640 --> 00:31:47,960 Speaker 1: the next photo, make adjustments, take the next photo until 543 00:31:48,080 --> 00:31:50,400 Speaker 1: you were done. And you know, you do that all 544 00:31:50,400 --> 00:31:52,040 Speaker 1: the way through and you're matching it up to that 545 00:31:52,160 --> 00:31:55,200 Speaker 1: scratch track. You actually have to make sure that the 546 00:31:55,240 --> 00:31:59,120 Speaker 1: animation matches up with the soundtrack for the film. And 547 00:31:59,160 --> 00:32:03,120 Speaker 1: then they the final soundtrack comes through with the music 548 00:32:03,160 --> 00:32:07,640 Speaker 1: and effects and everything, and uh, you master out the 549 00:32:07,680 --> 00:32:10,720 Speaker 1: film and then you've got your finished animated project. However, 550 00:32:11,240 --> 00:32:13,960 Speaker 1: like Chris was saying, a lot of television shows in 551 00:32:13,960 --> 00:32:19,760 Speaker 1: particular farm out animation to other countries, particularly Korea. Korea 552 00:32:19,960 --> 00:32:26,880 Speaker 1: is is like a known factor in animation UM and 553 00:32:27,040 --> 00:32:30,720 Speaker 1: shows like The Sibsons and Futurama, they use these studios 554 00:32:30,720 --> 00:32:36,560 Speaker 1: in Korea to complete the animation. What usually happens is that, uh, 555 00:32:36,960 --> 00:32:40,640 Speaker 1: the team back in the United States will create what 556 00:32:40,720 --> 00:32:45,640 Speaker 1: are called key frames. Key frames are showing very specific 557 00:32:45,720 --> 00:32:50,280 Speaker 1: points in the animation that need to happen, and you 558 00:32:50,400 --> 00:32:56,680 Speaker 1: have these segments between the key frames that are left unfinished. 559 00:32:56,880 --> 00:32:59,600 Speaker 1: They need to be filled in, and that's called in 560 00:32:59,680 --> 00:33:02,680 Speaker 1: between meaning, which makes sense. You're you're creating this the 561 00:33:02,760 --> 00:33:06,520 Speaker 1: action that exists in between the key frames. So if 562 00:33:06,560 --> 00:33:08,120 Speaker 1: you think about it back when I was talking about 563 00:33:08,120 --> 00:33:14,040 Speaker 1: the storyboard with the whole football, uh example, you would 564 00:33:14,040 --> 00:33:16,800 Speaker 1: probably have more key frames than just the three or 565 00:33:16,880 --> 00:33:19,880 Speaker 1: four panels I had talked about, But that would essentially 566 00:33:19,920 --> 00:33:21,880 Speaker 1: be the same sort of thing saying this is your 567 00:33:21,880 --> 00:33:24,440 Speaker 1: starting point, this is your ending point. We need to 568 00:33:24,520 --> 00:33:28,479 Speaker 1: have the pathway connecting these two. It needs to be 569 00:33:28,600 --> 00:33:31,760 Speaker 1: this many frames long. So that's that kind of dictates 570 00:33:31,760 --> 00:33:35,440 Speaker 1: how fast the action takes UM and then once that 571 00:33:35,600 --> 00:33:39,360 Speaker 1: is all done, the the foreign for us anyway, the 572 00:33:39,480 --> 00:33:43,760 Speaker 1: foreign studio sends the footage back and you can incorporate 573 00:33:43,800 --> 00:33:46,440 Speaker 1: into your show. Now, often you have to do a 574 00:33:46,480 --> 00:33:50,640 Speaker 1: lot of work to match up things like vocal work, 575 00:33:50,680 --> 00:33:54,400 Speaker 1: in particular with UM with the animation that's sent back, 576 00:33:54,480 --> 00:33:58,880 Speaker 1: because you're talking about a language barrier. Often you're talking 577 00:33:58,920 --> 00:34:02,200 Speaker 1: about people who may not get the gist of a 578 00:34:02,280 --> 00:34:07,120 Speaker 1: joke because of either linguistic or cultural differences. So something 579 00:34:07,160 --> 00:34:09,400 Speaker 1: that makes sense and is funny to us may not 580 00:34:09,480 --> 00:34:11,799 Speaker 1: be funny to another culture because they don't have the 581 00:34:11,840 --> 00:34:16,759 Speaker 1: same cultural background or same linguistic background, so they're there 582 00:34:16,760 --> 00:34:20,040 Speaker 1: are adjustments that need to be made at that point. 583 00:34:20,080 --> 00:34:23,360 Speaker 1: But the idea is that the bulk of the work 584 00:34:23,520 --> 00:34:26,759 Speaker 1: is done, which ends up being less expensive for the 585 00:34:26,800 --> 00:34:32,920 Speaker 1: studio here in the United States because, frankly it the people, 586 00:34:32,920 --> 00:34:35,200 Speaker 1: the animators who are working in Korea are doing it 587 00:34:35,280 --> 00:34:38,200 Speaker 1: at a much lower cost than it would be to 588 00:34:38,239 --> 00:34:43,160 Speaker 1: produce it all here. So that's the general approach. Now, 589 00:34:43,640 --> 00:34:45,680 Speaker 1: we have a couple of special things we wanted to 590 00:34:45,680 --> 00:34:49,000 Speaker 1: talk about. One of those being something that was invented 591 00:34:49,719 --> 00:34:56,200 Speaker 1: uh many decades ago by Disney animators Disney engineers. Yeah, 592 00:34:56,280 --> 00:34:59,640 Speaker 1: this may uh, I'm not certain that that we're talking 593 00:34:59,640 --> 00:35:03,880 Speaker 1: about this same thing. Yes, the multiplane came. That's exactly 594 00:35:03,920 --> 00:35:07,239 Speaker 1: I'm doing the multiplane camera gesture so that Chris would know. Yes, 595 00:35:07,320 --> 00:35:10,480 Speaker 1: that's the the international symbol for the multiplane camera, which 596 00:35:10,520 --> 00:35:14,960 Speaker 1: is putting putting your horizontal hand in five different levels. 597 00:35:15,600 --> 00:35:20,680 Speaker 1: This um, this is a little different in technique. Um 598 00:35:20,800 --> 00:35:24,520 Speaker 1: and and it's it's similar in other ways now, Um, 599 00:35:24,560 --> 00:35:26,640 Speaker 1: this is something that the Disney studios there were there 600 00:35:26,640 --> 00:35:29,600 Speaker 1: were several people who worked on this. Disney himself did 601 00:35:29,640 --> 00:35:33,680 Speaker 1: some work on it, and the the semi famous UBI 602 00:35:33,800 --> 00:35:39,240 Speaker 1: Works also worked on it as well. Um and Uh, 603 00:35:39,600 --> 00:35:42,400 Speaker 1: Basically they had noticed there's a there's an awesome film 604 00:35:42,520 --> 00:35:46,040 Speaker 1: of Disney himself introducing this and talking about it. I 605 00:35:46,320 --> 00:35:48,600 Speaker 1: assume that it looks like it came from the Disneyland, 606 00:35:49,400 --> 00:35:53,120 Speaker 1: uh TV show that was out in the fifties and 607 00:35:53,120 --> 00:35:56,400 Speaker 1: six or so, and I'm sure it was using in 608 00:35:56,440 --> 00:35:59,720 Speaker 1: something like The Wonderful World of Disney. You know, it's 609 00:35:59,719 --> 00:36:03,600 Speaker 1: it's He did a whole series of films where he 610 00:36:03,760 --> 00:36:07,200 Speaker 1: talked very you know, just just a matter of fatter 611 00:36:07,239 --> 00:36:09,680 Speaker 1: of fact approach about how they do what they do 612 00:36:09,719 --> 00:36:12,279 Speaker 1: and how they make Disney magic, which in my mind 613 00:36:12,320 --> 00:36:14,880 Speaker 1: made it all the more magical because you saw the 614 00:36:14,960 --> 00:36:20,120 Speaker 1: amount of thought that went into producing the stuff they made. Yeah. Yeah, absolutely, 615 00:36:20,160 --> 00:36:21,880 Speaker 1: But it's been in about five minutes. I had actually 616 00:36:21,880 --> 00:36:24,400 Speaker 1: read about this in a biography of Walt Disney, but 617 00:36:24,960 --> 00:36:29,040 Speaker 1: seeing it actually explained step by step and how they 618 00:36:29,080 --> 00:36:33,160 Speaker 1: make it work. Um. Now, when you show a traditional 619 00:36:33,239 --> 00:36:37,840 Speaker 1: two D animation, uh cell being shot, a photo being 620 00:36:37,880 --> 00:36:42,239 Speaker 1: taken of the cell against the background. Basically there's a 621 00:36:42,280 --> 00:36:44,920 Speaker 1: frame that holds the cell in place over the background. 622 00:36:45,040 --> 00:36:47,600 Speaker 1: They clamp it down so it's not gonna wiggle while 623 00:36:47,640 --> 00:36:50,680 Speaker 1: they take the shot. And the cameras mounted above the table, 624 00:36:50,719 --> 00:36:52,840 Speaker 1: so it is taking a picture of what is inside 625 00:36:52,840 --> 00:36:56,120 Speaker 1: the frame, the physical frame on top of the table. 626 00:36:56,600 --> 00:37:00,600 Speaker 1: So you basically have a shutter shutter release control. You 627 00:37:00,880 --> 00:37:02,920 Speaker 1: mount that, you put the cell in place, lock it 628 00:37:02,960 --> 00:37:05,200 Speaker 1: down in place, uh, you know, back out so you 629 00:37:05,280 --> 00:37:06,759 Speaker 1: don't take a picture of the back of your head 630 00:37:08,200 --> 00:37:11,040 Speaker 1: and gets some weird reflection in there or something. Yeah, 631 00:37:11,080 --> 00:37:12,960 Speaker 1: and and and do the shutter release you know, with 632 00:37:13,000 --> 00:37:16,080 Speaker 1: your with your thumb, you know, finger and uh you know, 633 00:37:16,120 --> 00:37:21,200 Speaker 1: take your two shots if you're doing uh you know. Okay, 634 00:37:21,280 --> 00:37:23,840 Speaker 1: so you got it. But what what Disney was explaining 635 00:37:23,880 --> 00:37:27,719 Speaker 1: in this video was, uh, basically the problem of perspective. 636 00:37:28,760 --> 00:37:33,040 Speaker 1: How certain things appear larger when they're closer to you 637 00:37:33,200 --> 00:37:38,000 Speaker 1: or smaller farther away. Now you have, um, something like 638 00:37:39,120 --> 00:37:42,919 Speaker 1: a barn and that's specifically from this with a moon 639 00:37:43,280 --> 00:37:46,080 Speaker 1: hanging in the sky in the background. Yeah, Now, you 640 00:37:46,160 --> 00:37:48,320 Speaker 1: as you get closer, as you walk toward the barn, 641 00:37:48,520 --> 00:37:51,319 Speaker 1: it's going to start to appear larger. But in in 642 00:37:51,400 --> 00:37:56,000 Speaker 1: traditional animation, you know, two D animation, you start to basically, 643 00:37:56,120 --> 00:37:59,520 Speaker 1: if you everything gets larger because you're basically zooming in 644 00:37:59,640 --> 00:38:03,000 Speaker 1: on Yeah, you're if you if you're thinking of it 645 00:38:03,000 --> 00:38:06,960 Speaker 1: in purely physical terms, you are either moving the camera 646 00:38:07,160 --> 00:38:09,919 Speaker 1: closer or focusing the lens so that the focal length 647 00:38:10,000 --> 00:38:12,640 Speaker 1: is different. But you're you're essentially moving the camera closer 648 00:38:12,719 --> 00:38:15,360 Speaker 1: to the frame, or you're moving the frame closer to 649 00:38:15,400 --> 00:38:19,600 Speaker 1: the camera. In either case, you're decreasing the distance between 650 00:38:19,760 --> 00:38:23,160 Speaker 1: camera and frame in order to create the illusion that 651 00:38:23,200 --> 00:38:26,440 Speaker 1: you are zooming into a physical landscape. So in a 652 00:38:26,480 --> 00:38:29,960 Speaker 1: real world situation, it'd be like a cameraman holding a 653 00:38:30,000 --> 00:38:33,439 Speaker 1: camera and walking toward this barn that's on a hill 654 00:38:33,480 --> 00:38:36,680 Speaker 1: on the moon is hanging behind it, And in that situation, 655 00:38:37,160 --> 00:38:41,480 Speaker 1: the barn would gradually start to appear larger in the 656 00:38:41,520 --> 00:38:44,600 Speaker 1: frame because you're getting closer, but the moon would not 657 00:38:44,960 --> 00:38:47,680 Speaker 1: start to get larger because the moon is so much 658 00:38:47,719 --> 00:38:50,960 Speaker 1: further away. You would have to go a really long 659 00:38:51,000 --> 00:38:53,640 Speaker 1: way before that moon started looking like it was getting bigger. 660 00:38:54,200 --> 00:38:57,799 Speaker 1: But in animation because it's a static background and it's 661 00:38:57,880 --> 00:39:02,040 Speaker 1: drawn on a two dimensional piece of paper or whatever. 662 00:39:03,680 --> 00:39:06,520 Speaker 1: When the camera gets closer, everything gets bigger because you 663 00:39:06,560 --> 00:39:10,640 Speaker 1: cannot selectively say, hey, static image that it was drawn 664 00:39:10,800 --> 00:39:13,280 Speaker 1: once that we're going to use over and over again. 665 00:39:13,640 --> 00:39:15,359 Speaker 1: Make sure the moon doesn't get bigger when I get 666 00:39:15,400 --> 00:39:18,040 Speaker 1: closer to it. It doesn't work that way. We got 667 00:39:18,040 --> 00:39:20,440 Speaker 1: a little bit more animating to do, folks, But before 668 00:39:20,480 --> 00:39:23,240 Speaker 1: we can do that, we're gonna take another quick break. 669 00:39:31,080 --> 00:39:35,840 Speaker 1: So the way that that the Disney Studios decided to 670 00:39:35,840 --> 00:39:40,040 Speaker 1: work around this was to essentially, and it's not exactly 671 00:39:40,080 --> 00:39:43,000 Speaker 1: like this, but if you will essentially use a stack 672 00:39:43,480 --> 00:39:49,000 Speaker 1: of layered cells um mounted, you know, one over the other, 673 00:39:49,160 --> 00:39:51,640 Speaker 1: over the other over the other, so that the table 674 00:39:51,719 --> 00:39:54,600 Speaker 1: underneath them still has the bottom and the camera is 675 00:39:54,600 --> 00:40:00,640 Speaker 1: still above them. But what this enables the animators to 676 00:40:00,719 --> 00:40:03,520 Speaker 1: do is to adjust. Uh. So the moon in this 677 00:40:03,560 --> 00:40:07,040 Speaker 1: case will be on the very bottom because it's not 678 00:40:07,080 --> 00:40:10,680 Speaker 1: going to move, but there might be a tree between 679 00:40:10,719 --> 00:40:14,200 Speaker 1: you and the barn. So as the camera gets closer 680 00:40:14,320 --> 00:40:17,360 Speaker 1: to the layer with the tree on it, it eventually 681 00:40:17,760 --> 00:40:21,040 Speaker 1: goes out of sight. Because at this point, you uh, 682 00:40:21,160 --> 00:40:24,320 Speaker 1: there the illusion is that you have passed the tree. 683 00:40:24,640 --> 00:40:27,080 Speaker 1: The barn is still ahead of you, and it still 684 00:40:27,120 --> 00:40:31,160 Speaker 1: appears to be getting larger, but more slowly than the 685 00:40:31,200 --> 00:40:34,800 Speaker 1: bush on another layer in between, and then you eventually 686 00:40:34,800 --> 00:40:37,759 Speaker 1: don't see the bush anymore because you have theoretically passed it. 687 00:40:38,400 --> 00:40:40,960 Speaker 1: And uh, as you get closer to the barn is 688 00:40:40,960 --> 00:40:44,719 Speaker 1: still appearing larger, but the moon still appears to be 689 00:40:44,880 --> 00:40:49,600 Speaker 1: the roughly the same distance away. So as the camera gets, 690 00:40:49,640 --> 00:40:52,880 Speaker 1: you know, layer by a layer closer and closer down 691 00:40:52,920 --> 00:40:56,399 Speaker 1: the stack of layers. UM, you know, you do have 692 00:40:56,480 --> 00:40:59,680 Speaker 1: that illusion that you are that the perspective is working 693 00:40:59,680 --> 00:41:02,520 Speaker 1: the way would in real life. UM. Now it is 694 00:41:02,560 --> 00:41:05,759 Speaker 1: not exactly the same as as sell animation. In this case, 695 00:41:05,760 --> 00:41:10,359 Speaker 1: they're actually using oil paint on glass. Don't drop that 696 00:41:10,440 --> 00:41:13,239 Speaker 1: layer I worked on all day, Bill, Don't don't get 697 00:41:13,239 --> 00:41:15,920 Speaker 1: your filthy, smudgy hands off the layer I just felt. 698 00:41:16,000 --> 00:41:18,400 Speaker 1: So they for every shot. Now this this again, this 699 00:41:18,440 --> 00:41:22,759 Speaker 1: is an expensive process because now they are drawing not 700 00:41:22,880 --> 00:41:26,960 Speaker 1: just one frame at a time, they are drawing several 701 00:41:27,080 --> 00:41:31,000 Speaker 1: layers that you may or may not get to reuse later. Um. 702 00:41:31,040 --> 00:41:35,759 Speaker 1: But they have to mount these in the holders for 703 00:41:35,800 --> 00:41:39,239 Speaker 1: each frame. So let's say you've got seven layers. Um, 704 00:41:39,640 --> 00:41:41,359 Speaker 1: the bottom one with the moon on it, that's gonna 705 00:41:41,360 --> 00:41:43,000 Speaker 1: stay the same, Yeah, it's just it'll be on a 706 00:41:43,040 --> 00:41:46,719 Speaker 1: stationary table. Yeah, but you might have to animate. You 707 00:41:46,800 --> 00:41:49,160 Speaker 1: might have to replace the ones on the first three 708 00:41:49,680 --> 00:41:52,040 Speaker 1: more frequently, and then the four and then the five. 709 00:41:52,560 --> 00:41:55,160 Speaker 1: So you're you're for every shot, you're going to have 710 00:41:55,280 --> 00:41:59,880 Speaker 1: to adjust the different layers as needed. And so you 711 00:42:00,080 --> 00:42:03,279 Speaker 1: got you've got this device that has all these platforms 712 00:42:03,280 --> 00:42:06,760 Speaker 1: that can hold each layer. So, and the platforms themselves 713 00:42:06,760 --> 00:42:09,080 Speaker 1: are adjustable where you can move them closer to or 714 00:42:09,120 --> 00:42:11,880 Speaker 1: further away from the camera. The camera remains stationary. You 715 00:42:11,880 --> 00:42:14,839 Speaker 1: can also move them left to right, or up or down. 716 00:42:15,960 --> 00:42:19,279 Speaker 1: Frankly genius. So yeah, again, again, you can create a 717 00:42:19,360 --> 00:42:22,880 Speaker 1: much wider scene than can be seen on a single 718 00:42:23,000 --> 00:42:25,320 Speaker 1: shot of the camera. And remember we're still doing this 719 00:42:25,320 --> 00:42:28,760 Speaker 1: this approach where we take one picture, than you adjust, 720 00:42:28,840 --> 00:42:31,560 Speaker 1: take one picture, then you adjust. You couldn't theoretically do 721 00:42:31,680 --> 00:42:33,439 Speaker 1: this live if you really wanted to, but it would 722 00:42:33,440 --> 00:42:37,840 Speaker 1: look it would probably be a chaotic mess. So um, instead, 723 00:42:39,000 --> 00:42:42,480 Speaker 1: let's say that you are doing a panning shot through 724 00:42:42,480 --> 00:42:45,920 Speaker 1: a forest. Well, the stuff that's closer to you is 725 00:42:45,960 --> 00:42:49,240 Speaker 1: going to appear to move more dramatically than the stuff 726 00:42:49,320 --> 00:42:52,680 Speaker 1: that is much further away. Well, that was the shot 727 00:42:52,719 --> 00:42:54,520 Speaker 1: that used in the video you were talking about was 728 00:42:54,760 --> 00:42:57,600 Speaker 1: from Bambi, where it was a panning shot through the forest, 729 00:42:58,239 --> 00:43:02,479 Speaker 1: and and this effect was very impressive because you had 730 00:43:02,640 --> 00:43:07,520 Speaker 1: different layers of the background moving at different speeds relative 731 00:43:07,560 --> 00:43:11,399 Speaker 1: to our perspective, and so it creates a much more 732 00:43:11,440 --> 00:43:17,320 Speaker 1: realistic feeling than just camera panning across a static painting 733 00:43:17,880 --> 00:43:20,719 Speaker 1: which doesn't have any other layers to it. Um And 734 00:43:20,760 --> 00:43:26,200 Speaker 1: it really did add this level of immersion to those 735 00:43:26,200 --> 00:43:29,359 Speaker 1: early animated films. Now, it was a very kind of 736 00:43:30,080 --> 00:43:33,080 Speaker 1: primitive form of three D sense because you're not you're 737 00:43:33,120 --> 00:43:35,280 Speaker 1: not having any it's it's giving the illusion of depth. 738 00:43:35,280 --> 00:43:38,920 Speaker 1: It's not coming out at you. And also ultimately it's 739 00:43:38,920 --> 00:43:43,879 Speaker 1: the illusion of depth of a series of two dimensional paintings. Right, 740 00:43:43,920 --> 00:43:47,319 Speaker 1: So it's almost like uh, And I've seen this with 741 00:43:47,440 --> 00:43:50,520 Speaker 1: televisions that do three D conversion two D to three 742 00:43:50,600 --> 00:43:53,239 Speaker 1: D conversion. The problem I have with two D two 743 00:43:53,280 --> 00:43:56,239 Speaker 1: three D conversion is that it always gives the appearance 744 00:43:56,480 --> 00:43:59,560 Speaker 1: of a bunch of cardboard cutouts that are at different 745 00:43:59,680 --> 00:44:02,840 Speaker 1: depth levels. So if you had if you took a 746 00:44:02,880 --> 00:44:06,200 Speaker 1: photo with a two D camera of a bunch of 747 00:44:06,239 --> 00:44:10,359 Speaker 1: people lined up so that they are like, like, there's 748 00:44:10,400 --> 00:44:12,960 Speaker 1: one guy who's really close to fairly close to you, 749 00:44:13,280 --> 00:44:15,239 Speaker 1: another person who's a little further back, another one a 750 00:44:15,239 --> 00:44:17,000 Speaker 1: little further back, and another one at the very back 751 00:44:17,040 --> 00:44:19,360 Speaker 1: of the picture. And you've adjusted the focus so that 752 00:44:19,400 --> 00:44:21,719 Speaker 1: everyone's more or less in focus, and you take the 753 00:44:21,760 --> 00:44:24,120 Speaker 1: photo and then you converted to three D. Well, now 754 00:44:24,160 --> 00:44:26,880 Speaker 1: it looks like a cardboard cutout of your friend is 755 00:44:26,960 --> 00:44:29,359 Speaker 1: really close and a cardboard cutout of your other friend 756 00:44:29,400 --> 00:44:31,400 Speaker 1: is in the middle. It doesn't, don't They don't appear 757 00:44:31,400 --> 00:44:34,040 Speaker 1: to be three dimensional objects. The same thing is true 758 00:44:34,040 --> 00:44:37,080 Speaker 1: with this multiplane camera approach is that the backgrounds all 759 00:44:37,120 --> 00:44:39,799 Speaker 1: look like two dimensional paintings because that's what they were, 760 00:44:40,360 --> 00:44:43,080 Speaker 1: but that there were some that were closer to the 761 00:44:43,120 --> 00:44:45,840 Speaker 1: camera than others. So it created a very interesting effect 762 00:44:45,920 --> 00:44:48,880 Speaker 1: and it was immersive, but it was not so immersive 763 00:44:48,960 --> 00:44:53,600 Speaker 1: as a true three dimensional background. Yeah. Um, Nonetheless, I 764 00:44:53,600 --> 00:44:57,160 Speaker 1: think it was a very clever way to to work 765 00:44:57,320 --> 00:45:01,880 Speaker 1: around the limitations of two D. And uh, you know, 766 00:45:02,000 --> 00:45:04,600 Speaker 1: in thinking about it just now, I think in a 767 00:45:04,640 --> 00:45:10,080 Speaker 1: way it inadvertently forced the ken Burns effect because when 768 00:45:10,080 --> 00:45:13,440 Speaker 1: you're when you're shooting documentaries as as he has, and 769 00:45:13,480 --> 00:45:16,879 Speaker 1: he's showing still images and they're you know, they they're 770 00:45:16,920 --> 00:45:20,880 Speaker 1: interviewing somebody, they're talking, and basically you're watching a photo 771 00:45:20,920 --> 00:45:24,080 Speaker 1: that was taken a hundred years ago. There's it's it's 772 00:45:24,880 --> 00:45:29,560 Speaker 1: a static photo of a real person, and it's what 773 00:45:29,600 --> 00:45:31,800 Speaker 1: are you gonna do. You're gonna sit there and stare 774 00:45:31,840 --> 00:45:35,000 Speaker 1: at the photo of Abraham Lincoln for two minutes while 775 00:45:35,000 --> 00:45:37,120 Speaker 1: this guy is talking about it. No, you've got to 776 00:45:37,160 --> 00:45:39,799 Speaker 1: do something to make it more. I think it's sort 777 00:45:39,840 --> 00:45:42,680 Speaker 1: of set an expectation that when you're watching a video, 778 00:45:42,719 --> 00:45:46,799 Speaker 1: it should be moving and it should appear realistic. So, um, 779 00:45:46,840 --> 00:45:48,640 Speaker 1: I started thinking about it. You know, I bet that's 780 00:45:48,680 --> 00:45:51,279 Speaker 1: why we have the ken Burns effect, because you know, 781 00:45:51,400 --> 00:45:54,480 Speaker 1: we we came in with that perspective of moving in 782 00:45:54,520 --> 00:45:58,520 Speaker 1: to the photo or panning across a still photo. Um. 783 00:45:58,560 --> 00:46:00,480 Speaker 1: And that's exactly actually what I was thinking when now 784 00:46:00,719 --> 00:46:03,640 Speaker 1: he was when Disney was narrating this, this thing is like, well, 785 00:46:03,680 --> 00:46:05,680 Speaker 1: you know, you can zoom in if you want to, 786 00:46:05,760 --> 00:46:07,680 Speaker 1: and it's sort of seems like you're getting closer but 787 00:46:07,719 --> 00:46:10,080 Speaker 1: it does it's not as realistic as if you had 788 00:46:10,080 --> 00:46:12,560 Speaker 1: this sense of perspective as we will create with the 789 00:46:12,640 --> 00:46:16,200 Speaker 1: multiplane camera. So I just kind of thought about that now. 790 00:46:16,520 --> 00:46:18,720 Speaker 1: The other thing I wanted to talk about is another 791 00:46:18,760 --> 00:46:22,600 Speaker 1: development that has dramatically changed the way hand drawn animation 792 00:46:22,600 --> 00:46:27,719 Speaker 1: works today, and that is using a digital platform to 793 00:46:27,760 --> 00:46:30,960 Speaker 1: create hand drawn animation. So it's not computer animation. You 794 00:46:31,000 --> 00:46:34,320 Speaker 1: are not building computer models. You're still drawing stuff by hand, 795 00:46:34,840 --> 00:46:37,200 Speaker 1: You're just doing it with a computer right to assist 796 00:46:37,239 --> 00:46:40,319 Speaker 1: to you and tip. Typically this is through the use 797 00:46:40,360 --> 00:46:43,920 Speaker 1: of things like Waycom tablets, specifically centreat tablets tend to 798 00:46:43,960 --> 00:46:47,120 Speaker 1: be favored by a lot of the artist's sign note 799 00:46:47,320 --> 00:46:49,880 Speaker 1: mainly because you can with the right tablet you can 800 00:46:49,920 --> 00:46:54,040 Speaker 1: actually still look down and see as you're drawing. That's 801 00:46:54,040 --> 00:46:56,000 Speaker 1: a that's a something that I've I've got a friend 802 00:46:56,040 --> 00:46:57,840 Speaker 1: who does animation, actually got a couple of friends to 803 00:46:57,840 --> 00:47:01,040 Speaker 1: do animation. My buddy Lucas Ryan was talking to me 804 00:47:01,080 --> 00:47:02,600 Speaker 1: about this because I said, we're going to do an 805 00:47:02,600 --> 00:47:05,440 Speaker 1: episode about hand drawn animation. What would you suggest we 806 00:47:05,440 --> 00:47:07,319 Speaker 1: talked about? And he says, well, you know, you're going 807 00:47:07,360 --> 00:47:09,000 Speaker 1: to cover the whole history and that's great, But I 808 00:47:09,000 --> 00:47:11,880 Speaker 1: want you to talk about what it's like for an 809 00:47:11,880 --> 00:47:14,680 Speaker 1: animator today to use one of these digital tablets, and 810 00:47:14,719 --> 00:47:17,040 Speaker 1: you talked about, you know, there's a disconnect. There are 811 00:47:17,080 --> 00:47:20,759 Speaker 1: some tablets where it's like a giant touch pad, right, 812 00:47:21,200 --> 00:47:24,040 Speaker 1: and you've got a stylistic use a pen that you 813 00:47:24,160 --> 00:47:26,000 Speaker 1: use and you draw on the touch pad, and the 814 00:47:26,000 --> 00:47:29,799 Speaker 1: touch pad itself doesn't display anything. You have to look 815 00:47:29,840 --> 00:47:33,560 Speaker 1: at a screen. He says, there's some people who they 816 00:47:33,600 --> 00:47:35,880 Speaker 1: just can't get past that. They can't get past the 817 00:47:35,920 --> 00:47:38,320 Speaker 1: fact that they are looking at a screen but they're drawing, 818 00:47:38,880 --> 00:47:40,680 Speaker 1: you know, on a on a surface that they are 819 00:47:40,760 --> 00:47:44,120 Speaker 1: not looking at, and that that's kind of understandable. I mean, 820 00:47:44,200 --> 00:47:48,399 Speaker 1: someone who's just learning to touch type, it's pretty intimidating 821 00:47:48,840 --> 00:47:51,120 Speaker 1: because you have to you have to really teach yourself 822 00:47:51,400 --> 00:47:54,600 Speaker 1: the layout and everything. So there are a lot of 823 00:47:54,640 --> 00:47:58,360 Speaker 1: tablets out there now where there's also a display built 824 00:47:58,360 --> 00:48:01,879 Speaker 1: into the tablet itself, So drawing on the tablet, it's 825 00:48:02,000 --> 00:48:04,440 Speaker 1: also being reflected on a display on a computer, but 826 00:48:04,480 --> 00:48:06,839 Speaker 1: you can look down and see what you're doing, so 827 00:48:06,880 --> 00:48:10,120 Speaker 1: that way you can make these adjustments. Also, he talked 828 00:48:10,160 --> 00:48:15,480 Speaker 1: about the the benefit of moving from a raster based 829 00:48:15,560 --> 00:48:18,920 Speaker 1: system to a vector based system. We've talked about this before. 830 00:48:18,760 --> 00:48:22,120 Speaker 1: Where raster is all pixel based, right, well, vector is 831 00:48:22,160 --> 00:48:25,080 Speaker 1: math based. Yeah, it's a line art, line art, which 832 00:48:25,120 --> 00:48:28,520 Speaker 1: is yeah. And and the nice thing about vector graphics 833 00:48:28,600 --> 00:48:33,040 Speaker 1: is that it's it's relatively easy to adjust lines after 834 00:48:33,120 --> 00:48:36,799 Speaker 1: you draw them, So you can reshape a line much 835 00:48:36,840 --> 00:48:39,520 Speaker 1: more simply with a vector based drawing than you could 836 00:48:39,520 --> 00:48:41,960 Speaker 1: with raster, where you would essentially have to erase what 837 00:48:42,040 --> 00:48:45,400 Speaker 1: you did and draw it again. So there's some illustrators 838 00:48:45,440 --> 00:48:48,920 Speaker 1: and animators out there who they're just used to it. 839 00:48:48,960 --> 00:48:51,000 Speaker 1: They'll be they'll draw a line and say, no, that's 840 00:48:51,040 --> 00:48:52,840 Speaker 1: that curves not right, and a racing they'll drawing some 841 00:48:52,920 --> 00:48:54,320 Speaker 1: well it's closer, but that's not what I want, and 842 00:48:54,320 --> 00:48:56,680 Speaker 1: they'll erase it and they'll draw another line. But then 843 00:48:56,920 --> 00:48:58,799 Speaker 1: with the vector based ones, you can draw a line 844 00:48:58,800 --> 00:49:00,160 Speaker 1: and say, oh, you know what, I just need to 845 00:49:00,200 --> 00:49:01,560 Speaker 1: tweak this a little bit and it's going to be 846 00:49:01,640 --> 00:49:05,880 Speaker 1: exactly why I need um. So that helps cut down 847 00:49:05,920 --> 00:49:09,400 Speaker 1: on on a lot of stop and start work, and 848 00:49:09,440 --> 00:49:16,520 Speaker 1: also the inking and painting part is much more much simpler. 849 00:49:16,600 --> 00:49:19,840 Speaker 1: Now you have a huge variety of colors, you can 850 00:49:19,920 --> 00:49:22,399 Speaker 1: choose from depending upon what sort of programs you're using. 851 00:49:23,080 --> 00:49:25,800 Speaker 1: You don't have to worry about it not being consistent 852 00:49:25,840 --> 00:49:28,320 Speaker 1: from one shot to the next because it's all digital, 853 00:49:28,840 --> 00:49:31,920 Speaker 1: so that that code of color is going to remain 854 00:49:31,920 --> 00:49:34,839 Speaker 1: the same no matter what um And you might even 855 00:49:34,840 --> 00:49:39,000 Speaker 1: be able to use some effects in some software to 856 00:49:39,320 --> 00:49:43,280 Speaker 1: create lighting effects that you don't have to necessarily do yourself, 857 00:49:44,040 --> 00:49:46,640 Speaker 1: so it would know that, all right, if you're going 858 00:49:46,680 --> 00:49:50,240 Speaker 1: to put a shadow of this intensity over this particular picture, 859 00:49:50,480 --> 00:49:53,759 Speaker 1: it needs to adjust the color to look like that 860 00:49:54,040 --> 00:49:56,680 Speaker 1: so that you know, so that it's natural to the viewer. 861 00:49:57,920 --> 00:50:03,120 Speaker 1: So that's really the change the way illustrators and animators 862 00:50:03,160 --> 00:50:05,160 Speaker 1: have created artwork. I know there are a lot of 863 00:50:05,160 --> 00:50:09,399 Speaker 1: people who create web comics who exclusively use tablets now. 864 00:50:09,440 --> 00:50:11,440 Speaker 1: For the longest time, they would do all their art 865 00:50:11,480 --> 00:50:14,279 Speaker 1: on paper and then they would scan the paper and 866 00:50:14,320 --> 00:50:16,680 Speaker 1: they would upload the art that way. So Kurts used 867 00:50:16,680 --> 00:50:18,400 Speaker 1: to do it that way, the guys at Penny Arcade 868 00:50:18,480 --> 00:50:21,120 Speaker 1: used to do it that way, and then they all 869 00:50:21,239 --> 00:50:26,319 Speaker 1: began to switch over using digital tablets. And almost every 870 00:50:26,360 --> 00:50:28,920 Speaker 1: single one I hear the animator or or the artists 871 00:50:28,920 --> 00:50:31,719 Speaker 1: talking either on a blog or on a podcast or 872 00:50:31,719 --> 00:50:37,640 Speaker 1: whatever about how the initial transition period is incredibly painful 873 00:50:37,640 --> 00:50:41,200 Speaker 1: and frustrating, and then after they get past the learning curve, 874 00:50:41,239 --> 00:50:44,040 Speaker 1: they're like, I don't know why I didn't do this 875 00:50:44,120 --> 00:50:49,120 Speaker 1: earlier because it makes things so much easier. And so 876 00:50:49,239 --> 00:50:51,680 Speaker 1: that's that's become sort of the new standard is using 877 00:50:51,719 --> 00:50:55,880 Speaker 1: these this digital format to do hand drawn animation. And 878 00:50:55,920 --> 00:50:59,840 Speaker 1: we also have seen some combinations of hand drawn animation 879 00:51:00,000 --> 00:51:04,520 Speaker 1: haired with computer generated backgrounds. So, I know, Beauty and 880 00:51:04,520 --> 00:51:07,600 Speaker 1: the Beast did that the big ballroom sequence with the 881 00:51:08,120 --> 00:51:13,439 Speaker 1: dance and Angela Lansbury singing and um and stuff that 882 00:51:13,560 --> 00:51:18,160 Speaker 1: had a computer generated background. Uh so, you know, we 883 00:51:18,160 --> 00:51:21,920 Speaker 1: were seeing some marriage of computer generated animation and hand 884 00:51:21,960 --> 00:51:25,680 Speaker 1: drawn animation, uh happening, and it's been going on for 885 00:51:25,719 --> 00:51:27,239 Speaker 1: a while. It's not like Beauty and the Beast was 886 00:51:27,280 --> 00:51:31,520 Speaker 1: the first and only example. It's just one example. Uh So, 887 00:51:31,880 --> 00:51:33,879 Speaker 1: you know, I'm sure we'll see more of that. I'm 888 00:51:33,960 --> 00:51:37,520 Speaker 1: glad to say that there are plenty of artists at 889 00:51:37,600 --> 00:51:41,000 Speaker 1: studios out there that still support hand drawn animation because 890 00:51:41,000 --> 00:51:44,239 Speaker 1: I think that there is something special to that. There's 891 00:51:44,280 --> 00:51:48,080 Speaker 1: a feel hand drawn animation has that's its own thing 892 00:51:49,120 --> 00:51:52,440 Speaker 1: and I like that. Yeah, it seems like, well, at 893 00:51:52,480 --> 00:51:54,360 Speaker 1: least in my opinion, it seems like there's a warmth 894 00:51:54,400 --> 00:51:58,879 Speaker 1: to it. Yeah. Um, but you don't necessarily get Yeah, 895 00:51:59,080 --> 00:52:01,800 Speaker 1: there's an asterisk cleaner you can't. Yeah. And there are companies. 896 00:52:02,280 --> 00:52:05,399 Speaker 1: There are companies out there like Pixar that can make 897 00:52:05,480 --> 00:52:11,040 Speaker 1: you sob like a little baby with some computer generated graphics. Yeah. Yeah, 898 00:52:11,080 --> 00:52:14,759 Speaker 1: and I you can you can ask my wife. There 899 00:52:14,840 --> 00:52:17,200 Speaker 1: is not a Pixar movie that I see without me 900 00:52:17,320 --> 00:52:20,239 Speaker 1: going look at the fill in the blank here, like 901 00:52:20,280 --> 00:52:23,840 Speaker 1: the Water and Finding Nemo or the fur Unsully in 902 00:52:24,080 --> 00:52:27,520 Speaker 1: Monsters and absolutely blows my mind. The the the story 903 00:52:27,560 --> 00:52:30,080 Speaker 1: of the the balloons and up where they did their 904 00:52:30,120 --> 00:52:34,879 Speaker 1: computer modeling to determine how balloons would actually behave. Yeah, 905 00:52:34,920 --> 00:52:37,840 Speaker 1: it kind of made me think of the engine that 906 00:52:37,960 --> 00:52:41,360 Speaker 1: what I've built for um, the Armies for Lord of 907 00:52:41,360 --> 00:52:43,200 Speaker 1: the Rings. It's like, let's why don't we take that 908 00:52:43,280 --> 00:52:47,920 Speaker 1: technology and convert it for helium balloons. It's essentially what 909 00:52:47,960 --> 00:52:51,480 Speaker 1: they did. Uh, that's fascinating stuff. But there is there's 910 00:52:51,520 --> 00:52:55,799 Speaker 1: a Um, I agree with Jonathan, there's a feeling that 911 00:52:55,840 --> 00:52:58,280 Speaker 1: you get when watching hand drawn animation that is different 912 00:52:58,320 --> 00:53:00,440 Speaker 1: than the feeling that you get when you're watching a 913 00:53:00,480 --> 00:53:03,920 Speaker 1: computer It doesn't doesn't mean better or it's just different. 914 00:53:03,960 --> 00:53:07,080 Speaker 1: It's just different. And and you know Lasseter of Pixar, 915 00:53:07,560 --> 00:53:09,560 Speaker 1: he would argue the same thing. He says, you know, 916 00:53:09,640 --> 00:53:14,560 Speaker 1: it's we use at Pixar, we use computer animation because 917 00:53:14,600 --> 00:53:17,200 Speaker 1: that's the tool we use. But to us, the most 918 00:53:17,200 --> 00:53:21,560 Speaker 1: important part of any film is the story, and that 919 00:53:22,120 --> 00:53:26,759 Speaker 1: ultimately the tool you use is nowhere near as important 920 00:53:26,840 --> 00:53:29,720 Speaker 1: as the story is. So if your story is solid, 921 00:53:30,680 --> 00:53:33,480 Speaker 1: then as long as you are good at using whatever 922 00:53:33,560 --> 00:53:36,960 Speaker 1: tools you have, you should be able to tell that 923 00:53:37,000 --> 00:53:40,600 Speaker 1: story effectively. Now that if those tools are hand drawn animation, 924 00:53:40,800 --> 00:53:43,479 Speaker 1: that's great, and if it's computer animation, that's great. There's 925 00:53:43,560 --> 00:53:46,680 Speaker 1: no there's nothing wrong with either choice. You're going to 926 00:53:46,719 --> 00:53:49,120 Speaker 1: get a different experience depending on which one to use, 927 00:53:49,640 --> 00:53:52,360 Speaker 1: but it doesn't mean that one experience is superior or 928 00:53:52,400 --> 00:53:55,680 Speaker 1: inferior to the other. And that wraps up this classic 929 00:53:55,760 --> 00:53:59,080 Speaker 1: episode of tech stuff. Hope you guys enjoyed it. I 930 00:53:59,200 --> 00:54:03,040 Speaker 1: always enjoy going back and listening to these old shows 931 00:54:03,520 --> 00:54:08,520 Speaker 1: and hearing Chris and his uh wonderful delivery. I miss 932 00:54:08,640 --> 00:54:11,520 Speaker 1: him and his puns. He's still doing quite well, by 933 00:54:11,520 --> 00:54:14,960 Speaker 1: the way, she's just not with our company anymore. Anyway, 934 00:54:15,160 --> 00:54:16,879 Speaker 1: I hope you guys enjoyed this. If you have any 935 00:54:16,960 --> 00:54:19,960 Speaker 1: suggestions for brand new episodes of tech Stuff, you can 936 00:54:20,000 --> 00:54:22,840 Speaker 1: reach out the email addresses tech stuff at how stuff 937 00:54:22,840 --> 00:54:24,680 Speaker 1: works dot com, or you can pop on over to 938 00:54:24,719 --> 00:54:27,960 Speaker 1: our website that's tech stuff podcast dot com, where you're 939 00:54:27,960 --> 00:54:31,120 Speaker 1: going to find an archive of all of our past episodes, 940 00:54:31,160 --> 00:54:34,800 Speaker 1: including these classics. You also find links to our social 941 00:54:34,840 --> 00:54:38,080 Speaker 1: media presence, and you'll find a link to our online 942 00:54:38,080 --> 00:54:40,000 Speaker 1: store where every purchase he make goes to help the 943 00:54:40,000 --> 00:54:41,960 Speaker 1: show and we greatly appreciate it, and I'll talk to 944 00:54:42,040 --> 00:54:49,680 Speaker 1: you again really soon. Tex Stuff is a production of 945 00:54:49,680 --> 00:54:52,719 Speaker 1: I Heart Radio's How Stuff Works. For more podcasts from 946 00:54:52,760 --> 00:54:56,560 Speaker 1: my heart Radio, visit the I heart Radio app, Apple Podcasts, 947 00:54:56,640 --> 00:55:00,840 Speaker 1: or wherever you listen to your favorite shows. Eight