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Animation Tour: Part 3

Molly Jean meets the artists and producers of Superbook. Read Transcript


- The Ten Commandments episode.

It's two different angels, you know,

there's dark angels andthere's light angels.

That's pretty scary.

Abraham and Isaac. You like that episode?

- Yes.

- Here's the DVD stash of all the episodes

we've worked on to date.

The Selah Camp, so that's a giant fish,

but we actually base offof a prehistoric fish

that they recently foundalive in Indonesia.

- Hey, Jeff.

- Hey.

- Wanted to introduce you to Miley Jean.

- Hi, Miley Jean.

Jeff is our animation supervisor.

He worked on some filmsprior to coming here.

He worked on Shrek,Penguins of Madagascar,

Madagascar, and Turbo,

so he's worked on some really cool films.

So, Miley Jean's here to learn about

animation, the process of what we do.

So I've already taken her to Tim,

and he has showed us thewhole process of layout,

and now we want to take it tothe next step of animation.

- Alright. Alright, so letme tell you what we do here.

So basically, my job isto examine all the shots

that come in for Superbook,

and judge the motion andthe emotion that happens

for all the charactersthat are in each shot.

So in this sequence here,

which is the birds comingto drop off food for Elijah,

- [Movie] The bird is back.And he brought friends.

- [Jeff] Okay, in this sequence of shots

we were trying to accomplish three things.

One was comedy from Gizmo.

Gizmo's always the littlekid, the eager puppy,

he's always trying to, he'salways an eager beaver.

So he's kind of klutzy too.

So by having him overreact and trip,

he provides somewhat of a comic foil.

Some comic relief to Elijah and the kids.

And we're also trying toaccomplish a sense of chaos.

So by having all these birds flying in,

it provides a nice action piece for us.

Now the third thing we'retrying to accomplish

is the gratitude.

That's a very importantstory point for the episode.

That God always provides.

So here, God has provided the ravens

who are now dropping the food for Elijah.

So now it's important forus to show the thankfulness

and the gratitude on Elijah's face.

So here, is an example ofwhat Elijah looked like

at the beginning of the stages here.

It was very important to have, to get that

gratitude from Elijah,and as you can see here,

it's a little robotic.

It's a little mechanical.

- [Movie] They're deliveringbread and meat to Elijah.

- [Jeff] You see how he'skind of looking at it,

kind of blankly, but there's no bow,

there's no sense of, there'sno grace to his movement.

So we performed that for them,

we use this camera, andactually stood against the wall

and performed a bow withclosing of the eyes,

made sure that that kind of gratitude

was coming across to the animators.

And with that footage, theywere able to add the body,

add the slower speed,and get this nice sense

of graceful gratitude ofa bow coming from Elijah.

- [Movie] Thank you.

- [Jeff] Right there.

And the shoulders are moving too.

The little bit of nuancethere in the shoulders,

the speed and everything'smeshing together.

- Chloe's Creations andKaoui Glitter Winter

wonders what software you use to animate?

- We use a program called Maya,

which is a universally used 3d software

that computer animators use.

In the old days, they usedto hand draw everything,

but everything is done in three dimensions

in the computer.

And so, what they do in Maya

is they build each characterthree dimensionally.

And as you can see here,

we even have their characters,the clothes are transparent.

The reason why we have that is because

you can see the musculatureunder each of the clothing,

and make sure that themuscles are acting properly.

Sometimes we'll have distortions,

or folds, or any other sort of pinching

that might look a little weird.

So we have to correct that and make sure

that everything is working properly

for each of the characters.

- Thank you.

- You're welcome.

- Hey, Al. How's it going?

I want to introduce you to Miley Jean.

- [Al] Hi, Miley Jean, nice to meet you.

- Nice to meet you.

- Al, he's the shot finalist.

So what he does as theepisode is about to finish,

he reviews every single frame of the show

and for a 22 minute show,there's 43,000 frames.

So he's going to review everything.

And his background where he came from,

he came from Disney.

So he had worked on Mulan,he worked on Lilo and Stitch,

Lion King, and all those films.

So he's taken thatexpertise, brought it here

and he's going to show you what he does.

- [Al] Alright, so,one of the first things

that we do in here is we look at

the animatic.

And the animatic tells ushow the cuts are going to be,

how the director has envisioned this shot,

the length of the shot.

If there's anything, what we have,

sometimes we have things call crossfades,

so you can see how the shot is fading out

and fading back in.

Then we actually look at it,

we see it in full color now.

- [Movie] Our friends.

- Any questions?

- I don't know if you'llbe able to answer this,

but I've always been wondering,

when you do the voice of the part,

do they look at the screen

after the finished product is done?

Do they mimic the mouth movements,

or do you get the audio first,and then start with that?

- We get the audio first.

And then sometimes it's done in a scratch,

so what that means is you'll have

temporary actors doing the voices

and then the main actors come in,

and they will try to mimic that timing

because a lot of times theanimation is done to the scratch

because the final hasn't been done yet.

- Hey, Paul. Got a second?

- Hey, John.

- Want to introduce you to Miley Jean.

- Hi, Miley Jean, how are you?

- Good.

- Nice to meet you.

- We've been showing her thewhole process of the animation,

so she's met with all thedifferent departments,

and I think she has a question to ask you.

- Great.

- Cotton Candy wants toknow how long does it take

to make an episode?

- Well we overlap the episodes,

so we're doing multipleepisodes at any given time.

But from script tofinished, final product,

probably takes about a yearto a year and three months.

But we're doing multiple at a time.

- Alright, cause I know thatif you do a stop motion,

it takes about a day to makea Snapchat video length,

which is...

- Well then that's very quick.

We should maybe changeour production pipeline.

Then we could have (laughs)

- Where is the animation actually done?

- Well the animation is doneat a studio in South Korea

called Toiion.

They have a staff of probablyabout 80 to 100 people

that work on it.

Animators, layout artists, matte painters,

and that's where it's produced.

Do you have any other questions?

- No, but thank you.

- You're welcome. Thank you.

- That's our episode.

And if you have more questions,

send them in.

His word is forever alive.

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