[00:00:04.13] Ryan is an animation director for Turner studios Turner networks include Cartoon [00:00:12.06] [00:00:12.06] Network's Adult Swim TBS TNT CNN and others and he's been working for Turner [00:00:17.22] [00:00:17.22] for 16 years and animated professionally for 20 years during this time he's [00:00:22.21] [00:00:22.21] worked on commercials television series feature films and children's books his [00:00:28.16] [00:00:28.16] interest in the large variety of styles translates directly to his diversity of [00:00:33.14] [00:00:33.14] work currently Bryan is regularly creating an Emmy and Emmy nominated [00:00:38.00] [00:00:38.00] eggman animated segment featuring featured inside the NBA so today we're [00:00:45.20] [00:00:45.20] just kind of setting this up is like a Q&A session so I'm gonna be kind of [00:00:49.21] [00:00:49.21] running around and you guys are going to get a chance to ask questions of lying [00:00:53.21] [00:00:53.21] about his creative process and some of the work he does and yeah we'll just [00:00:59.03] [00:00:59.03] sort of have this informal discussion [00:01:04.06] [00:01:10.05] anybody like to kick yourself one question for Brian thanks for coming [00:01:16.00] [00:01:16.00] back sure um when you think about doing a project do you prefer to have an end [00:01:23.04] [00:01:23.04] result in mind and sort of make what you do fit that what do you like to do like [00:01:28.01] [00:01:28.01] and make it up iterative thinking experiment as you go along it all [00:01:32.07] [00:01:32.07] depends normally when I'm at Turner I've got [00:01:36.01] [00:01:36.01] definitive deadlines and certain expectations for what the job has to be [00:01:43.07] [00:01:43.07] if I was working on a project on my own and especially like a project like I [00:01:48.11] [00:01:48.11] know this is based around a festival piece it might be the story that I start [00:01:55.03] [00:01:55.03] with or it might be if there's a new technique I want to make work I will [00:02:00.23] [00:02:00.23] figure out a story that can accentuated so there's no one way to attack it it's [00:02:07.17] [00:02:07.17] sometimes the story is key and then sometimes the visuals are the main point [00:02:13.13] [00:02:13.13] but you want something to connect you don't want to [00:02:16.03] [00:02:16.03] to do something and has no end like just for visuals you always want a little [00:02:21.06] [00:02:21.06] deeper meaning is that is that sort of your up go with it wherever you wanted [00:02:28.12] [00:02:28.12] to meet but ya know what sort of so it's like animation techniques have changed [00:02:38.05] [00:02:38.05] over time how is that kind of changed your own like style and techniques that [00:02:41.14] [00:02:41.14] you find at work uh yeah it has changed dramatically I started about twenty [00:02:46.23] [00:02:46.23] years ago and I started out of studio in town called primal scream and they do [00:02:51.16] [00:02:51.16] great work back then I started on paper that doesn't get done it I mean I now [00:02:58.15] [00:02:58.15] work digitally I work on a Cintiq where I'm drawing right into the computer so I [00:03:04.19] [00:03:04.19] and the main reason why it's changed is back then we'd have a 30-second [00:03:11.07] [00:03:11.07] commercial we get in and it would take a team of twenty a month to get it done [00:03:17.10] [00:03:17.10] then it I came to Turner to work on a series for Adult Swim back in the day [00:03:24.06] [00:03:24.06] and we had a team of seven doing the whole show which because of the digital [00:03:31.18] [00:03:31.18] shortcuts and reuse of assets and you've just the speed up now we don't need [00:03:37.03] [00:03:37.03] someone to scan it into that color it's ready for color right away and even just [00:03:41.21] [00:03:41.21] the idea back when I shut when I worked on paper I had to shoot pencil tests [00:03:46.05] [00:03:46.05] where now I just hit the enter key to see how it's flowing like I don't have [00:03:50.20] [00:03:50.20] to use an exposure sheet or an X she to say used to call it or you literally [00:03:55.17] [00:03:55.17] have set how long each frame and each frame drawing was up for how many frames [00:04:02.03] [00:04:02.03] at the time and then you'd have to test your timings if it didn't work so it's [00:04:07.03] [00:04:07.03] exponentially faster as well as you can get more textures in your work with a [00:04:12.22] [00:04:12.22] lot less work to do so it's it's amazing I think I can do what I do now as a team [00:04:21.08] [00:04:21.08] of one which couldn't have been done all year like the turn around I do a [00:04:27.11] [00:04:27.11] one-minute piece in about a two-week turnaround which is unheard of yeah well [00:04:46.23] [00:04:46.23] guessin no because the thing is when I started here in Atlanta it was a very [00:04:53.18] [00:04:53.18] small animation there were two three Studios they were a little bit let in [00:04:59.18] [00:04:59.18] town period and no shows were just commercials but now because of the [00:05:09.09] [00:05:09.09] technology and being able to because I'm sorry to backtrack back in the day you [00:05:14.16] [00:05:14.16] do the front end work and send it overseas because you didn't have the [00:05:18.14] [00:05:18.14] manpower to get it done so now that we can we brought back work that we didn't [00:05:25.01] [00:05:25.01] used to have I were actually doing the animation in-house when it comes to [00:05:30.02] [00:05:30.02] shows commercials were still done here just for turnaround speed but so now [00:05:35.10] [00:05:35.10] we've got several studios in town that to shows so there are there are more [00:05:40.11] [00:05:40.11] animators in town working professionally probably about five times of when I [00:05:44.23] [00:05:44.23] started so yes things go quicker but it's also brought more opportunities for [00:05:52.05] [00:05:52.05] different parts of the process so I currently work at a different studio [00:05:58.18] [00:05:58.18] like animation so you're right now do you as a director do the xsheet timing [00:06:03.11] [00:06:03.11] or is it kind of up to the animators to do their own timing I that's interesting [00:06:09.13] [00:06:09.13] because it depends on the job when I do have other people working for me I will [00:06:17.04] [00:06:17.04] do the up set up the timings in the animatic [00:06:20.03] [00:06:20.03] I won't chart ladders if you which is the traditional method of spacing but I [00:06:27.09] [00:06:27.09] will do all the timings and then because it's digital I'm able to nuance it when [00:06:31.18] [00:06:31.18] I get it back if I need to so I'm not giving you native [00:06:36.12] [00:06:36.12] like this mainframes at this point but it's completely tied out when I hand it [00:06:42.23] [00:06:42.23] off is we sort of eliminated the thumbnail storyboarding part and goes [00:06:49.21] [00:06:49.21] straight to animatics now I don't know if many studios in town do storyboards [00:06:55.12] [00:06:55.12] technically anymore or just tie them out from the start who are some of your [00:07:06.09] [00:07:06.09] favorite artists or animators that have inspired an attorney that's a toughy I'm [00:07:14.10] [00:07:14.10] just a dad who were some of my favorite artists or animators [00:07:19.00] [00:07:19.00] I actually started thinking I was going to do comic books so there's a guy a [00:07:25.05] [00:07:25.05] Todd McFarland who I loved growing up yeah he was he was a favorite of mine he [00:07:31.16] [00:07:31.16] had such a unique style and then there was I liked [00:07:35.02] [00:07:35.02] ranges of styles and there was another guy who was completely different from [00:07:38.13] [00:07:38.13] that Mike Mignola who is more of a boxy style and it's it's not just one style [00:07:46.18] [00:07:46.18] it's it's how everyone puts it together so I was more into motion artists I mean [00:07:53.22] [00:07:53.22] still artists as far as animators I mean you gotta say when you Glen Keane was [00:08:01.11] [00:08:01.11] unbelievable but that's just naming a big studio Disney guy I think he was [00:08:05.18] [00:08:05.18] amazing but I mean I liked shows rather than specific artists because in [00:08:14.03] [00:08:14.03] animation it's not really a one-person job rare so I loved back in the day [00:08:22.06] [00:08:22.06] there was something known as the Disney Afternoon which had the original duck [00:08:25.18] [00:08:25.18] tails and a show called gummy bears which I loved [00:08:29.04] [00:08:29.04] sounds really kiddy but it was a kid but I loved because I love like nights and [00:08:37.13] [00:08:37.13] stuff like that they were setting that many [00:08:39.06] [00:08:39.06] time periods that those were the shows I loved as a kid I'd say those were [00:08:45.23] [00:08:45.23] probably my inspirations to go where I went sort of going off that what shows [00:08:54.04] [00:08:54.04] now were things that you've worked on have been like the most fun or I've been [00:08:57.20] [00:08:57.20] tired you must well what was fun okay wait sorry what current shows are now [00:09:05.17] [00:09:07.08] okay ones I've worked on they're a little bit [00:09:11.03] [00:09:11.03] older is now I work on different at work I work on stuff short segments for like [00:09:17.05] [00:09:17.05] the NBA and stuff like that but back in the day the first show I [00:09:22.12] [00:09:22.12] worked on that was a full series it was Harvey Birdman attorney in LA which was [00:09:27.17] [00:09:27.17] great that was my that was the show I jumped from working on paper to working [00:09:32.23] [00:09:32.23] digitally and we were all learning on the job then because nobody had made [00:09:39.12] [00:09:39.12] that switch yet so we were one of the First's to do that so I mean that was [00:09:44.18] [00:09:44.18] huge oddly enough while I was at Turner we [00:09:48.19] [00:09:48.19] also did a show for Comedy Central which is a rival horse so that's really weird [00:09:54.02] [00:09:54.02] but it was a really fun show it was ugly Americans only had two seasons but it [00:10:01.01] [00:10:01.01] was really interesting and a lot of fun but as of now I mean it's funny because [00:10:07.18] [00:10:07.18] Ricky Morty is pretty excellent but it took me a while to come to it because [00:10:14.15] [00:10:14.15] it's funny you have to get past the hurdle of and looks like crap but it's [00:10:23.05] [00:10:23.05] damn fun and it's a great story and then you dip some love for this style [00:10:28.10] [00:10:28.10] it's a weird you come back to like I don't know why I had a problem with it [00:10:32.07] [00:10:32.07] in the beginning [00:10:34.14] [00:10:40.10] for a beginner and and it's actually the one that I use now because it's most [00:10:47.20] [00:10:47.20] portable that I have like large teams work out and that's Toby animate which [00:10:53.07] [00:10:53.07] basically was flash back today which sounds like a wire using wet burger [00:11:00.13] [00:11:00.13] which is what it's initial intent was but it's a lot stronger than just a web [00:11:06.23] [00:11:06.23] program and it's it's really good it gives you all everything you want in [00:11:15.06] [00:11:15.06] that in an animation software this is strictly for drawing like so you can't [00:11:20.15] [00:11:20.15] do stop-motion Ollie's but as far as hand-drawn animation flash is great if [00:11:27.04] [00:11:27.04] you want it to not look like flesh and draw the frames repeated instead of just [00:11:32.18] [00:11:32.18] were using so that that's usually the the telltale if someone who knows how to [00:11:38.08] [00:11:38.08] animate in flash and someone who just knows how to move things around so [00:11:44.06] [00:11:44.06] that's what I'd use i composite in after-effects if I need some higher-end [00:11:48.18] [00:11:48.18] composite but those would be the programs but flash is a very reasonable [00:11:54.12] [00:11:54.12] animation program whereas - boom harmony is fantastic does so much it is [00:12:01.14] [00:12:01.14] expensive so I wouldn't okay you know what's of amazing.i which I didn't have [00:12:25.06] [00:12:25.06] there was no YouTube when I started and there are so many tutorials on YouTube [00:12:30.23] [00:12:30.23] for if you're starting out you could learn so much it's amazing it's like [00:12:36.21] [00:12:36.21] stuff that I had to look through tons and tons of books to find out little [00:12:40.13] [00:12:40.13] bits of information here and there you could just find yeah there's going to be [00:12:44.12] [00:12:44.12] several that are ok tutorials and then there gonna be some jam [00:12:49.08] [00:12:49.08] and I wish I could just name some because but I don't know them offhand I [00:12:53.17] [00:12:53.17] can I just do a search like let's start with like the bouncing ball I mean it's [00:12:58.10] [00:12:58.10] obvious but anything if you look up like bouncing ball animation and core [00:13:04.02] [00:13:04.02] tutorial it will give you the start and then you could work your way through [00:13:08.01] [00:13:08.01] other tutorials on YouTube so that would be my advice especially with what you [00:13:15.19] [00:13:15.19] have today on your hands what it made it show do you think it's beautiful today [00:13:27.00] [00:13:27.00] oh I think I don't know if it's still on but the Rapunzel or the tangled series [00:13:36.15] [00:13:36.15] so beautifully I know that there are us and it sounds ridiculous but not as in [00:13:44.19] [00:13:44.19] touch with what currently is being animated and on because I'm sure there [00:13:48.12] [00:13:48.12] are shows that would allow me any time that I don't even know up that are out [00:13:53.10] [00:13:53.10] there but if I had to name one that one is beautiful I mean it's it's using the [00:14:00.09] [00:14:00.09] limitations of you have to pop it out quickly so they've designed it in a way [00:14:04.17] [00:14:04.17] to make it affordable to get it done so there's it's not 100% fluid animation [00:14:10.06] [00:14:10.06] and it's using cheats but it uses it was the transition moving from [00:14:19.10] [00:14:24.15] it's two different animals I mean it's it's usually a very easy Trinity you [00:14:30.19] [00:14:30.19] started on a show where you're moving characters and you have to have them [00:14:34.01] [00:14:34.01] believable in the way they the weight of that you have all the basics for then [00:14:39.11] [00:14:39.11] shipping the graphics you're very close now doesn't mean you have the design [00:14:45.08] [00:14:45.08] sense to make it look great graphically so but if you're I don't know if you're [00:14:50.03] [00:14:50.03] talking about someone who graphically designs it you're just doing the motion [00:14:53.18] [00:14:53.18] that that's one thing but if you're then also creating that look it is a big [00:14:59.08] [00:14:59.08] mental switch and how do I respect our graphic designer so much because that's [00:15:04.15] [00:15:04.15] not one that comes easily to me I can do it but it doesn't actually I have a [00:15:14.06] [00:15:14.06] question about well dude you never go away I actually have a kind of a process [00:15:20.06] [00:15:20.06] question so you mentioned Harvey Birdman yeah so was that all animation or was [00:15:25.09] [00:15:25.09] some of that like because I remember liquid supposed to its little space [00:15:28.23] [00:15:28.23] coves and things like that wasn't like some of it like archival footage that [00:15:32.21] [00:15:32.21] you separated this ghost yes birdman the birdman' was 100 100 [00:15:38.19] [00:15:38.19] percent new animation we did use ever so sparingly some CG work but it was but we [00:15:52.10] [00:15:52.10] we did that show in flash which a lot of people didn't believe because they were [00:16:00.06] [00:16:00.06] used to at that time Mucha lucha which moved wonderfully but it was very much [00:16:07.02] [00:16:07.02] you could tell it was done in flash because of shapes they either move it [00:16:11.21] [00:16:11.21] moving the parts it was well done but it's difference of we tried to do a lot [00:16:16.20] [00:16:16.20] more hand hand redraw so Boston [00:16:20.21] [00:16:37.05] animation has never really been a full-time employee type position it's [00:16:44.20] [00:16:44.20] almost always been contract from job to job it's very rare to have just [00:16:49.12] [00:16:49.12] full-time I got very lucky at Turner that they hold me in his full-time but [00:16:54.23] [00:16:54.23] initially I was contracted for the show and then they wanted to retain me so [00:17:00.06] [00:17:00.06] they hold me on full-time but the bulk is technically freelance even if you're [00:17:08.01] [00:17:08.01] contracted for the length of the show and that's done your contract so it's [00:17:14.06] [00:17:14.06] technically a freelance we jump over the storyboard to what is called an animatic [00:17:44.07] [00:17:44.07] which is a moving story back in the day they'd have it on paper they'd have a [00:17:50.19] [00:17:50.19] couple frames on top and below you'd be ready dialogue here is when we when it [00:17:57.02] [00:17:57.02] goes to storyboarding we actually have the audio almost done it that what all [00:18:01.17] [00:18:01.17] the voice your cords are done so we're working to audio that is already tied [00:18:05.12] [00:18:05.12] down so we just are working digitally into the computer to draw our [00:18:10.20] [00:18:10.20] storyboards into an animatic straight up so you're first seeing it as moving [00:18:16.20] [00:18:16.20] pictures it's not flushed out animation but it's giving you the pacing from the [00:18:24.01] [00:18:24.01] beginning so it's one less Earl to get approved [00:18:28.14] [00:18:28.14] you're sort of jumping I'm pretty lucky that I'm not meeting Smosh anymore [00:18:49.19] [00:18:49.19] really but the only meetings I'm usually known first I'll get into I guess I do [00:18:55.14] [00:18:55.14] animation maybe 40% of my time now the other time I'm mainly doing [00:19:03.12] [00:19:03.12] illustrations which is a big shift which is great I went to school for [00:19:07.06] [00:19:07.06] illustration which and I learned animation on the job that's just what I [00:19:12.20] [00:19:12.20] wanted the school I went to wasn't teaching it [00:19:16.19] [00:19:16.19] the way I wanted to learn it so I was but I'm drawing everyday I mean [00:19:26.01] [00:19:26.01] eight plus hours of it which is fine and what I'm normally doing is I do [00:19:33.12] [00:19:33.12] the industry is shifted cuz I know do these illustrations for social rather [00:19:39.12] [00:19:39.12] than for TV so I do all the unique illustrations are American that so [00:19:47.06] [00:19:47.06] because that's now on TBS so that's one of our shows it's no longer Fox but so [00:19:53.22] [00:19:53.22] my work is mainly up on Twitter Instagram and Facebook and then which is [00:20:03.02] [00:20:03.02] very different and a couple of years ago we didn't even think of that as it's [00:20:10.01] [00:20:10.01] like isn't that just full of stuff that aired on TV you just throw up or at [00:20:14.04] [00:20:14.04] least show work but it's changed that and the that brings me to the only [00:20:18.21] [00:20:18.21] meetings of a brilliant besides our initial project meetings are [00:20:23.04] [00:20:23.04] raised our meetings for what our posts are going to be for the month so it's [00:20:27.23] [00:20:27.23] great because I get to contribute to the ideas for all of them and get to also [00:20:32.21] [00:20:32.21] taper them off if they're going [00:20:37.06] [00:20:39.18] there thank you I'm sorry I'm not sure so Turner Atlanta do you guys do the pre [00:20:44.21] [00:20:44.21] pro production and then post-production like do you do all the audio recordings [00:20:48.16] [00:20:48.16] lolicon stuff in Atlanta or do you kind of share that with your sister companies [00:20:53.22] [00:20:53.22] it depends on we have the capabilities to do it all in-house and the the audio [00:21:02.06] [00:21:02.06] tubes thing that they do which is a thing that we do entirely in-house [00:21:08.15] [00:21:08.15] because it's a smaller piece shows like when we did Birdman actually our audio [00:21:14.23] [00:21:14.23] was done out of house it was done but that was done out of house our editing [00:21:26.01] [00:21:26.01] was done in-house and our director actually worked remotely and then all [00:21:31.17] [00:21:31.17] animations so what studio are you bento box entertainment oh okay yeah yeah [00:21:41.21] [00:21:41.21] mainly yeah but are you are you guys all in-house no so we get all the audio and [00:21:57.19] [00:21:57.19] some of the visuals will come from LA and we have to break it down and then [00:22:01.10] [00:22:01.10] the animation is done here LA and then we send it some of it overseas no yeah [00:22:07.03] [00:22:07.03] just like us out chunk like four minutes I just that's very similar to we had to [00:22:12.14] [00:22:12.14] send some some stuff back when we were doing Birdman we were getting [00:22:16.09] [00:22:16.09] overwhelmed and we sent some things to Canada like and just like you segments [00:22:21.08] [00:22:21.08] cuz we didn't trust the full Episode on a house you said that you study [00:22:29.10] [00:22:29.10] illustration in college so how far back did you go into studying or you know [00:22:35.04] [00:22:35.04] wanting to be an animator I I had an interesting path because I grew up [00:22:42.14] [00:22:42.14] thinking oh I'm gonna do comic books and I was lucky enough to my senior year in [00:22:48.05] [00:22:48.05] high school I got so I was going into the stew into their [00:22:53.08] [00:22:53.08] studios in New York and that was before they went bankrupt and then obviously [00:22:59.05] [00:22:59.05] they're still around but I got a big wake-up call on how they treated the [00:23:07.19] [00:23:07.19] artists at that and I realized I am NOT going into comics anymore so I beat [00:23:15.01] [00:23:15.01] which it was great that it came towards the end of my senior year so I was going [00:23:18.21] [00:23:18.21] off to college knowing I gotta find what I want to do cuz that's not what I want [00:23:24.08] [00:23:24.08] to do so I've always loved animation I wanted to [00:23:27.05] [00:23:27.05] try it out my first year I was able to get one class in animation just to see [00:23:33.22] [00:23:33.22] do I really like it and I do it and that's where it started and it was a [00:23:42.03] [00:23:42.03] great class but the rest of the way they were teaching it is human shoot [00:23:47.11] [00:23:47.11] everything on the film which is the way to do it even even at that time 20 you [00:23:53.08] [00:23:53.08] have 24 years ago because that's what I started in college that was already not [00:24:00.14] [00:24:00.14] the way Studios were doing it they were teaching more the art festival circuit [00:24:04.23] [00:24:04.23] way and I knew I wanted what I loved in animation were shows and stories that [00:24:10.08] [00:24:10.08] were character driven there's tons of festival work that's character driven [00:24:15.01] [00:24:15.01] but they're usually one of us and I like a continuous story so luckily I just [00:24:23.20] [00:24:23.20] stayed strong on my illustration path to just become as all kind of draftsman as [00:24:30.10] [00:24:30.10] I could and then I I put in the report folio which at that time a lot of life [00:24:38.04] [00:24:38.04] drawing drawing animals from going to the zoo and then life drawing is drawing [00:24:43.10] [00:24:43.10] the body in classes so it was mainly life drawing with some character design [00:24:49.09] [00:24:49.09] and my one class of animation that I did was my entire reel that I was shopping [00:24:55.12] [00:24:55.12] around to start working in the industry so I [00:25:00.01] [00:25:00.01] was very fortunate that at that time they were looking for people and I was [00:25:03.20] [00:25:03.20] there so I got in the door but through the acquisition of AT&T I'm curious if [00:25:12.15] [00:25:12.15] there's any internal well there's the chips yeah I work for Turner for now and [00:25:27.07] [00:25:27.07] Warner media is going to be our new title very soon they're phasing Turner's [00:25:31.06] [00:25:31.06] name out and there's been some massive shifts to be the whole way they operate [00:25:38.14] [00:25:38.14] luckily they have not gotten rid of what I do so I feel if I'm still there I'm [00:25:45.10] [00:25:45.10] probably still for a while but it's been rough it's it's tough to a working place [00:25:52.06] [00:25:52.06] where a lot of people are wondering hey where are we done with this because 18t [00:25:58.03] [00:25:58.03] is not this is therefore they're entering into the media business they [00:26:03.07] [00:26:03.07] really didn't how do you trust them running things when they don't do this [00:26:09.19] [00:26:09.19] we've been doing this for how long which luckily they are hearing from us but [00:26:16.16] [00:26:16.16] work we're making it work but I mean I think it's gonna be great because I mean [00:26:27.04] [00:26:27.04] people are going to get very tired of all the subscription services but order [00:26:32.12] [00:26:32.12] media is launching theirs and it's going to be great to have all of the [00:26:37.19] [00:26:37.19] properties working together the fact that I'm shifting over to Warner media [00:26:42.00] [00:26:42.00] now means I could work for any of the Warner brands not just the Turner brands [00:26:47.01] [00:26:47.01] so that's exciting to me I might get to work on HBO's Warner Brothers this [00:26:53.20] [00:26:53.20] besides everything they already can work so that's it [00:27:00.03] [00:27:02.00] I'll go to you after this [00:27:06.01] [00:27:16.18] CGI has become faster in Sunny Isles CGI still could not do what I have to do I [00:27:25.19] [00:27:25.19] like when I have to turn something around in two weeks [00:27:28.14] [00:27:28.14] CGI takes a lot of time to get to the point where it you fly like the builds [00:27:35.23] [00:27:35.23] of the characters ended its to do it well it takes a good amount of time but [00:27:41.11] [00:27:41.11] I haven't I myself had not been incorporating CGI [00:27:47.18] [00:27:47.18] and my work just because of the type work it's faster turnaround and stuff [00:27:54.06] [00:27:54.06] like that we even were using it back in the day on Birdman and then I don't [00:28:01.04] [00:28:01.04] think we touched anything on Ugly Americans I think there was quite a few [00:28:06.04] [00:28:06.04] series's or did not do any CG but yeah it is a faster at what it does with but [00:28:16.03] [00:28:16.03] certain things need to look a certain way and it takes a lot of effort to make [00:28:22.01] [00:28:22.01] it look like it fits into T so at a question exited so when you were at [00:28:30.10] [00:28:30.10] Marvel and you were an intern you work on any books at Marvel pencils for [00:28:40.16] [00:28:40.16] things that were inked I did do one coloring job for some some covers as [00:28:46.05] [00:28:46.05] their one offs but I basically got knowledge I did not create art but and [00:28:55.12] [00:28:55.12] and I learned what I needed to learn and then are there any so during the Warner [00:29:02.16] [00:29:02.16] for are there any like DC properties that you'd be super he's been working on [00:29:08.05] [00:29:09.11] I mean I like their properties I like especially their animated properties yes [00:29:15.05] [00:29:15.05] they do that pretty well but it is a certain level of a lot of those [00:29:23.21] [00:29:23.21] higher-end illustrative animations you have to dedicate a lot of time to it [00:29:31.07] [00:29:31.07] which it's worth it I mean if you if you love that type work then you'd love it [00:29:39.01] [00:29:39.01] like that's the thing with animation it is such a labor-intensive job that you [00:29:44.19] [00:29:44.19] have to love it or you won't last because it takes so long just to be able [00:29:51.00] [00:29:51.00] to see it moving all right that's great but then it needs to be approved by a [00:29:55.14] [00:29:55.14] director that might not agree with that so then you're redoing work that unless [00:30:00.14] [00:30:00.14] you love it [00:30:03.05] [00:30:26.16] even though your major if you're talking about the arts they don't care what [00:30:46.05] [00:30:46.05] you've got great wise in school and the architectures different thing because [00:30:50.14] [00:30:50.14] it's highly math and it does say if you got right but your portfolio is k-pork [00:31:00.14] [00:31:00.14] footwell portfolio gets you in the door when you're in the door the quality of [00:31:06.23] [00:31:06.23] work you keep producing and your work ethic speaks volumes because we've had [00:31:12.11] [00:31:12.11] some really talented people that had horrible work ethics that produced about [00:31:18.08] [00:31:18.08] this much work it's like yeah what you did was great it took you four five [00:31:22.18] [00:31:22.18] times longer than it should have or we could tell you didn't care enough [00:31:28.01] [00:31:28.01] you didn't put your heart into it because I mean it it is an art yes it's [00:31:32.23] [00:31:32.23] a commercial art but you have to put a lot into it so portfolio gets you in the [00:31:40.16] [00:31:40.16] door and probably certain if you're talking animation there's probably a [00:31:44.21] [00:31:44.21] test and animation test that they'll give you so obviously do the best you [00:31:49.01] [00:31:49.01] can there might be limitations on how long that you could take on it because [00:31:53.10] [00:31:53.10] they also want to see critically how you think how can I get it done in the [00:31:58.10] [00:31:58.10] allotted time your way of attacking so those are more important great I don't [00:32:07.06] [00:32:07.06] think I've ever plumber or my report card for any job [00:32:14.04] [00:32:22.18] you mean in college [00:32:26.05] [00:32:32.02] well I actually had a class that wasn't as much about the arch but more well it [00:32:37.17] [00:32:37.17] was in our class but it wasn't about producing art but more about the way you [00:32:41.19] [00:32:41.19] think about and a lot of it was okay well put down your first idea of how you [00:32:48.02] [00:32:48.02] think you would solve that problem or illustrators like okay that's the most [00:32:52.19] [00:32:52.19] obvious go deep what's the next and it was thinking [00:32:57.23] [00:32:57.23] beyond the first thought that gets to the more impressive maybe less thought [00:33:04.06] [00:33:04.06] of and the one that goes Oh interesting I didn't initially I think I thought you [00:33:09.12] [00:33:09.12] were going to go that way but that's really interest so it was more of a a [00:33:14.10] [00:33:14.10] like critical thinking and problem-solving class [00:33:21.04] [00:33:27.20] there were some freakish when you were [00:33:48.23] [00:33:51.20] how much did you actually just worrying about some of the history of life it's [00:34:00.14] [00:34:00.14] very pretty yeah that's actually a great point it's [00:34:05.05] [00:34:05.05] something I sort of forget about because it's so engrained I'm you were asking [00:34:10.06] [00:34:10.06] about research going into a character or show whatever yeah that interestingly [00:34:17.20] [00:34:17.20] enough at least with Part B Birdman we were messing with the genre we were [00:34:21.23] [00:34:21.23] playing with characters and they weren't they're traditional types they have a [00:34:27.05] [00:34:27.05] lawyer so I mean he wasn't fighting like out there shooting beams but we [00:34:35.04] [00:34:35.04] definitely I mean they have the model sheet so one of the most important [00:34:40.03] [00:34:40.03] things is being a chameleon in style so and being able to replicate someone [00:34:46.03] [00:34:46.03] else's style it is extremely rare that you will be animating in something that [00:34:51.06] [00:34:51.06] you design not until later unless it's your own beliefs and all that but if [00:34:57.09] [00:34:57.09] it's our client it's going to be they already have these things in mind this [00:35:02.01] [00:35:02.01] is the style of the show like and you have to match it and yes I like to also [00:35:08.05] [00:35:08.05] do the research of I mean I want to make sure I know the personalities I'm not [00:35:11.22] [00:35:11.22] just drawing it moving it I'm acting yeah so I mean if I if it look beautiful [00:35:18.23] [00:35:18.23] cyclists moving like something some other character is like that's [00:35:23.21] [00:35:23.21] interesting it doesn't feel like gumball but it looks like I just [00:35:31.12] [00:35:31.12] but yeah you spend a lot of time you don't always get a lot of time but even [00:35:37.17] [00:35:37.17] while I'm working on shots I'll have a pull-up on YouTube some of the shows how [00:35:42.07] [00:35:42.07] to playing in the background so I'm like learning as I'm going and making sure [00:35:46.11] [00:35:46.11] yeah that's of course something you can do if [00:35:48.20] [00:35:48.20] the show exists if it's a new show all of these ground rules are being set [00:35:54.11] [00:35:54.11] you're learning this as you go I'm like you're learning from what has already [00:35:59.21] [00:35:59.21] been established or reading the character Bibles and all that and [00:36:03.19] [00:36:03.19] knowing their attitude that you're translating with their performance [00:36:08.05] [00:36:08.05] luckily when you're animating you do have the voice so you go off of yakking [00:36:13.05] [00:36:13.05] in the voice yeah I'll just loosely say it's amazing how I don't get character [00:36:31.15] [00:36:31.15] models it's a nothing in the regards of because I don't usually work at the [00:36:38.22] [00:36:38.22] studio that's producing the show anymore that YouTube is my research like the [00:36:45.10] [00:36:45.10] general public has the same research I have you do a character these days I'm [00:36:49.11] [00:36:49.11] like I'm talking to the producers can you get me the model shoes and then they [00:36:54.15] [00:36:54.15] send me something that's like and it's dated from I know two designs ago so the [00:37:03.11] [00:37:03.11] show is about although my that's useless but if I drew it like that I'd be wrong [00:37:09.21] [00:37:09.21] now so it's it's interesting how the industry because of what's already out [00:37:15.23] [00:37:15.23] there they assume you'll go there but every show does happen do you have it's [00:37:21.18] [00:37:21.18] just [00:37:24.00] [00:37:32.20] so my question is on the job that you're currently on how many I guess crew [00:37:37.11] [00:37:37.11] members do you have like background wise animation wise and then what's your [00:37:40.23] [00:37:40.23] average like fine great public frankerz it's different because you know it [00:37:48.09] [00:37:48.09] always depends on the job it's commercial it's interesting what I've [00:37:59.10] [00:37:59.10] been doing now I've been directing in Foley and so I do it from start to [00:38:06.17] [00:38:06.17] finish I am lucky enough that I been able to rough in the backgrounds and one [00:38:13.03] [00:38:13.03] of the sporks guys have been doing the background sport because we can even [00:38:18.11] [00:38:18.11] shutters like okay it's like well how could we make the specials like that'll [00:38:24.23] [00:38:24.23] be that if it works that'll save a lot of time but let's see so I go from audio [00:38:32.10] [00:38:32.10] to basically I'll have an animatic done for basically a minute minute and a half [00:38:37.05] [00:38:37.05] piece automatic done in about three days and then I'll have the next two weeks to [00:38:45.07] [00:38:45.07] finish so then I go straight into as soon as they propose so that's about 45 [00:38:53.18] [00:38:53.18] seconds which you know how and back in the days when we were doing Birdman we [00:39:06.05] [00:39:06.05] had 20 seconds as our basis which was lightning fast at that time because as I [00:39:14.05] [00:39:14.05] said right before that it was on paper and you'd had 20 people working a month [00:39:19.23] [00:39:19.23] for a half hour [00:39:22.18] [00:39:47.19] it's strangeness my the work I do is never as open as that I usually have [00:39:54.13] [00:39:54.13] like you have to use these characters and create a story around that or [00:39:59.08] [00:39:59.08] whatever it is lucky I've been able to pitch couple things that look where my [00:40:05.09] [00:40:05.09] idea from the start but it depends on what you want to do with that piece do [00:40:11.22] [00:40:11.22] you want to create something new visually do you want to create an [00:40:16.06] [00:40:16.06] interesting story and it's depending on what you want to do you might start by [00:40:20.23] [00:40:20.23] experimenting of the technique it visually is something you want to try [00:40:24.11] [00:40:24.11] something or you might be like I want to do a story but of course don't go too [00:40:33.05] [00:40:33.05] big to start like if you go too big you'll never finish it you've got [00:40:38.18] [00:40:38.18] limited time so you got to work with especially if this is your first foray [00:40:45.01] [00:40:45.01] maybe you want to build something that has if you're doing well you have room [00:40:51.18] [00:40:51.18] that add a scene in here or there like Apple probably be great is to create [00:40:56.21] [00:40:56.21] some a build of a story that has like segments that can be taken out that you [00:41:02.17] [00:41:02.17] can get to last if you have the time so at least you know you'll have a finished [00:41:07.13] [00:41:07.13] piece that tells a full story unless it's all a visual thing and you just [00:41:13.11] [00:41:13.11] want it to look great and then [00:41:18.04] [00:41:49.04] you [00:41:51.06]