Eric Homan, Man of Mystery
As I went around the studio yesterday afternoon to gather information, I stopped by Eric’s office. Turns out he stands behind his door most days so no one will see him. The cluttered desk? A ruse. His plant? It mocks me.
Aliki Theofilopoulos, Yaki and Yumi: I didn’t see Aliki yesterday, but I did get to speak to Jun Falkenstein, working very hard on exposure sheets for the show. “Exposure sheets”, Jun explained, “are detailed timing of the entire short based on individual frames of film.” It’s the blueprint that the overseas studio who animates our work goes by. I’ve been thinking of exposure sheets as sheet music. It can look complicated as all hell when you look at the page, but when you hear it played, it sounds wonderful.
Pen Ward, Adventure Time: (as told by the Abraham Lincoln on his office door) “I’m fixing some story problems on my board today.” At his last pitch, Pen presented us with two different endings to his short. One had more action, the second, more quirky character moments. I’m eager to see how he mixes and matches them. I’m also eager to see if he keeps a “cameo” appearance by someone else…
I realize these entries can get a bit long, so I’m going to break it up a bit. The next half will follow this afternoon.
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On October 19th, 2005 at 12:00 am
Thank you. What’s “overseas”?
On October 19th, 2005 at 12:00 am
“Overseas” is a general term we use when we talk about the animation studios we employ to animate the entire short (they are usually based in Korea, making them an “overseas studio”). In my next blog entry, I will try and give a brief lesson on what exactly gets shipped to these studios so that they have the propper information to animate.