WEBVTT
Kind: captions
Language: en

00:00:01.400 --> 00:00:03.429
Oh, you came back!

00:00:03.429 --> 00:00:07.630
Wait, you want more?

00:00:07.630 --> 00:00:08.679
Good.

00:00:08.679 --> 00:00:13.089
This is Scribble Kibble, a show where an animator
talks about animation.

00:00:13.089 --> 00:00:14.570
Fancy that!

00:00:14.570 --> 00:00:16.910
And oh, have I got a treat for you today.

00:00:16.910 --> 00:00:22.060
A treat in the form of...

00:00:22.060 --> 00:00:26.810
If you like animation even a little bit and
you haven't seen this video, stop here and

00:00:26.810 --> 00:00:28.839
watch it now.

00:00:28.839 --> 00:00:34.160
Before I get into everything about it that
is flipping amazing, I have a little preface

00:00:34.160 --> 00:00:35.160
about Gobelins.

00:00:35.160 --> 00:00:36.160
Gobelins?

00:00:36.160 --> 00:00:38.910
Agh, thank you French,for all those silent
letters.

00:00:38.910 --> 00:00:43.070
Gobelins is a god-tier school of visual arts
in France.

00:00:43.070 --> 00:00:47.510
Seriously, if you want to be absolutely mesmerized,
find a place where Gobelins posts its student’s

00:00:47.510 --> 00:00:51.290
videos, and watch everything.

00:00:51.290 --> 00:00:55.840
I have lots of videos from the school I want
to showcase, but we’re starting with MORTAL

00:00:55.840 --> 00:00:59.120
BREAKUP INFERNO because it is my personal
favorite.

00:00:59.120 --> 00:01:04.500
The reason is because the premise of “let’s
make a breakup as dramatic as possible,”

00:01:04.500 --> 00:01:09.570
is illustrated so well by the pacing, the
acting, the animation techniques, and the

00:01:09.570 --> 00:01:10.570
use of color.

00:01:10.570 --> 00:01:13.570
And I can’t resist the symbolism at the
very end.

00:01:13.570 --> 00:01:15.360
That very last shot.

00:01:15.360 --> 00:01:16.660
It screams.

00:01:16.660 --> 00:01:20.159
You cannot miss it, especially not with those
sound effects.

00:01:20.159 --> 00:01:27.900
If you don’t know what I’m talking about
now, just come back in a few years.

00:01:27.900 --> 00:01:29.610
[laughs] Okay.

00:01:29.610 --> 00:01:32.650
An animation like this starts with good planning.

00:01:32.650 --> 00:01:38.940
So the team knew it wanted to create a breakup
story that starts peacefully, abruptly cuts

00:01:38.940 --> 00:01:43.729
to action and gets more and more intense until
it snaps and we’re back to peace.

00:01:43.729 --> 00:01:45.430
That’s where the pacing comes in.

00:01:45.430 --> 00:01:51.890
The toon starts with slow, longer shots, this
smooth, slithering away motion of the man,

00:01:51.890 --> 00:01:54.430
calm blue colors - and then slam!

00:01:54.430 --> 00:01:57.250
The door closes and shot, shot, shot.

00:01:57.250 --> 00:01:58.250
Fast pace.

00:01:58.250 --> 00:02:00.790
That rhythm starts over again after the title.

00:02:00.790 --> 00:02:04.760
Long sequences of looking at the same thing
that get cut shorter and shorter until and

00:02:04.760 --> 00:02:07.220
we only see each shot for less than a second.

00:02:07.220 --> 00:02:10.509
And on top of that we’re getting these insane
color schemes.

00:02:10.509 --> 00:02:16.090
We go from blues in the beginning to reds
to haunted dark blues of the forest and then

00:02:16.090 --> 00:02:22.370
- I love this - the colors collapse on themselves
until skin is hot pink and trees are primary

00:02:22.370 --> 00:02:23.370
colors.

00:02:23.370 --> 00:02:25.129
There’s green on the ground.

00:02:25.129 --> 00:02:28.659
The colors are set up specifically to make
your brain freak out.

00:02:28.659 --> 00:02:33.819
Plus there’s loud climactic music, fast
motion, and the voice actor is screaming at

00:02:33.819 --> 00:02:34.819
this point.

00:02:34.819 --> 00:02:37.280
And one frame later it’s the complete opposite.

00:02:37.280 --> 00:02:41.120
You’re supposed to feel like you’ve woken
up from a nightmare.

00:02:41.120 --> 00:02:46.510
It takes all of those elements - not just
well drawn character animation - to give you

00:02:46.510 --> 00:02:48.239
that feeling.

00:02:48.239 --> 00:02:50.840
The acting in this video is great, by the
way.

00:02:50.840 --> 00:02:52.450
This scene in particular.

00:02:52.450 --> 00:02:57.810
You can see that the fisherman is only interested
in fishing, just as you can see that the girlfriend

00:02:57.810 --> 00:03:00.889
is only pretending to be interested in the
fisherman.

00:03:00.889 --> 00:03:03.700
What she’s really after is her ex.

00:03:03.700 --> 00:03:12.950
It’s acted out both in their body movements
and where their eyes are looking.

00:03:12.950 --> 00:03:17.940
Watch.

00:03:17.940 --> 00:03:22.249
Acting like this is what makes the animation
superb, because all we have to do is look

00:03:22.249 --> 00:03:24.760
to be able to know how the characters are
thinking and feeling.

00:03:24.760 --> 00:03:30.269
I’ve got to escape I’ve got to escape
I’ve got to You’re mine.

00:03:30.269 --> 00:03:33.510
Ha, look at these funny frames I found!

00:03:33.510 --> 00:03:34.739
These are smear frames.

00:03:34.739 --> 00:03:38.349
They help make fast, exaggerated motions and
acting possible.

00:03:38.349 --> 00:03:47.159
In terms of technique, MORTAL BREAKUP INFERNO
uses 2D character animation on top of 2D backgrounds

00:03:47.159 --> 00:03:49.510
and a few 3D backgrounds.

00:03:49.510 --> 00:03:51.780
It all begins with concept art.

00:03:51.780 --> 00:03:56.269
This is very detailed art that helps the video
makers get a sense of the world they are working

00:03:56.269 --> 00:03:57.269
with.

00:03:57.269 --> 00:03:59.319
Then, the character concept art.

00:03:59.319 --> 00:04:03.599
And the character concepts are later turned
into model sheets that the animators can look

00:04:03.599 --> 00:04:07.239
at to make sure they are drawing the same
thing from every single perspective.

00:04:07.239 --> 00:04:12.120
At this point after those concepts are done,
storyboarding comes into play, and we can

00:04:12.120 --> 00:04:15.299
see how the movie should look and be timed
when it's finished.

00:04:15.299 --> 00:04:17.380
Hah, look at this.

00:04:17.380 --> 00:04:21.599
It seems like they had a different ending
in mind at first.

00:04:21.599 --> 00:04:24.050
And now we get into the hardcore drawing.

00:04:24.050 --> 00:04:25.250
First, backgrounds.

00:04:25.250 --> 00:04:29.120
In my mind it’s important to at least have
these drafted out because you need to animate

00:04:29.120 --> 00:04:33.110
your characters with a sense for where the
floor and the sky are, so to speak, and whether

00:04:33.110 --> 00:04:36.940
or not your person’s going to run facefirst
into a tree if they walk left.

00:04:36.940 --> 00:04:41.169
While the background artists are painting
the final backgrounds and building 3D models,

00:04:41.169 --> 00:04:45.599
the animators will take these rough drafts
and start animating.

00:04:45.599 --> 00:04:49.590
As you can see, basic motion sketches come
first.

00:04:49.590 --> 00:04:53.970
On top of these roughs the animator draws
the most important parts in the animation,

00:04:53.970 --> 00:04:57.430
and then they’ll go bark... and then they're
go bark?!

00:04:57.430 --> 00:04:58.479
Woof!

00:04:58.479 --> 00:04:59.530
Woof!

00:04:59.530 --> 00:05:03.720
And then they'll go back and draw every position
in between.

00:05:03.720 --> 00:05:06.590
MORTAL BREAKUP INFERNO also has shading.

00:05:06.590 --> 00:05:11.160
If you’ve ever noticed that a lot of mass
produced 2D cartoons don’t have shading,

00:05:11.160 --> 00:05:16.500
this is why: you have to animate all of the
shading the same way the character is animated.

00:05:16.500 --> 00:05:22.030
Which means individual drawings for every
piece of shading.

00:05:22.030 --> 00:05:24.879
Shading is the bane of my existence.

00:05:24.879 --> 00:05:27.970
Then they added flat colors to the animations.

00:05:27.970 --> 00:05:30.240
And now is when we get into compositing.

00:05:30.240 --> 00:05:33.759
This is where you take your backgrounds and
characters and insert them into a program

00:05:33.759 --> 00:05:40.500
like After Effects and add filters, light,
camera movements, and special effects.

00:05:40.500 --> 00:05:44.930
One thing I find interesting is it looks like
the lines themselves are done in black, probably

00:05:44.930 --> 00:05:47.729
in Toon Boom or something like that.

00:05:47.729 --> 00:05:52.139
But when you see the final image, the lines
are colored, and some of them are imperfect,

00:05:52.139 --> 00:05:53.740
like a paintbrush did them.

00:05:53.740 --> 00:05:59.460
I suspect that an animator or colorest updated
the line colors, and the texture is either

00:05:59.460 --> 00:06:05.400
a line stroke setting in the animation program,
or it’s a filter added only to the linework

00:06:05.400 --> 00:06:07.800
in the compositing stage.

00:06:07.800 --> 00:06:11.719
Slap all of that into a rendering program
with the music and sound effects added and

00:06:11.719 --> 00:06:13.080
you’re done.

00:06:13.080 --> 00:06:18.440
If you want to see more behind the scenes
of MORTAL BREAKUP INFERNO, I’ve put some

00:06:18.440 --> 00:06:19.950
videos from the artists below.

00:06:19.950 --> 00:06:24.120
I’ve already shown some of the pieces from
those videos here.

00:06:24.120 --> 00:06:26.780
Remember to come back next week for the new
show.

00:06:26.780 --> 00:06:32.290
Or I’ll be coming for you.

00:06:32.290 --> 00:06:37.379
[laughing] Oh, and please leave a tip if you
enjoy the show.

00:06:37.379 --> 00:06:37.689
Bye~