The Making of God of Dance [radio edit] (Part Six)


Armed with the animatic, I took it to Simage to go over it with the studio owner, Matthew Chow. We talked about the art direction and the lighting and whatnot. The only thing that worried me was that the promo needed to be delivered by a certain date, but Matthew said they probably couldn’t finish all the animation until a week after my deadline. This wasn’t his fault. My job was a last minute rush project and Matthew’s staff was small and they were already busy on other projects. Oh, one other problem Matthew had: he was moving his studio across town while in the middle of production. Yup, that will cause schedules to go longer alright.

Cut 24 Rasta Pencil Art CUT 24 Ramen Pencil Art

Matthew offered to handle the 2D hand drawn art as well, but I decided that it would be best if I handled that personally. Since I had the time and I knew I would get the result I wanted if I did my own drawings, and seeing as how I can draw (A handy asset for a Director or Producer in the animation business), I told Matthew that I only needed him to focus on the 15 seconds of animation.

So, off I went back home to leave Matthew and his lead animator to worry about my animation and for me to get started generating camera ready art for the 2D segments (the first 15 seconds). That and to worry about what I will do in the likely event that the due date arrives and all the animation wasn’t done.

My solution to the deadline issue was an obvious one: pick some priority scenes that I needed finished and ask Matthew to get them done first. The priority scenes would be based on what shots I needed to make a short version of the already short promo. If I could get 7 seconds of the full animation, I figured I could still cut together a decent promo. Here was born the “[radio edit]” idea.

Actually, the idea came up at an earlier time already having anticipated the possibility of not having a fully finished promo. An important rule, especially in animation: any production that doesn’t plan for disasters are doomed to have them so think of problems and find solutions before they occur. Be a boy scout: be prepared. Better to have a solution and not need one than need a solution and not have one.

It was in a phone call to Andrew that I used the term “radio edit” to describe the short version of the promo. Remember: the promo’s full length was to be 30 seconds. The ‘radio edit’ meant a promo shorter than that.

I came up with the term from old 45 records and how sometimes a single version of a song was edited down from the album track and sometimes called a ‘radio edit’. Since our promo was musical, this seemed a good term for the short version.

Now, if you look at the promo length, it is 45 seconds, minus credits, so obviously all the animation got finished (And on time, but I’ll touch on that, later), but both Andrew and I liked the “[radio edit]” title so much that we just left it in. It felt cool. So, the promo you see is the full length promo and there was NEVER a short version. What you see is exactly what was planned. If anything, the finished and presented promo is more like a 12” mix because it ended up being 15 seconds LONGER than what was originally asked for. So, “[radio edit]” doesn’t mean the promo was an edited down version of something else, it just means absolutely nothing, at the end of the day.

Back to the 2D art. I think I drew all the cel drawings in an afternoon. It only comprised of 6 close ups and one long shot of two characters for the end shot and that’s not a lot of work. I spent almost 6 years as a Layout Artist doing 8-10 scenes a day, with backgrounds, so this was not a big deal. In fact, it was very relaxing and enjoyable. I like drawing people and I designed the characters so even better. By the end of the first day, I had all the 2D art drawn and scanned into the computer.

One shot never made it into the promo, sort of...

Matthew had said to me that he wasn’t sure how well the 3D character models would hold up in an extreme close up as in the final close up of Ramen, right before the main title. He suggested that we might want to hand animate that part of the cut and blend it in during the snap truck in. Again, I didn’t want his animator distracted with that so I was going to animate the Ramen head look up to camera, myself. I drew the key pose where Ramen’s head would stop and that’s where I stopped. I didn’t animate it until I got confirmation from Matthew that the models didn’t hold up. Well, they did well enough and so my brilliant drawing laid waste, unseen...

Until now...


Yeah, I think this has more charm that the final close up, but time was short and the cut was so fast that I doubted anyone would give the 3D model a second thought. And they never did.

As a point of interest, the drawing were all done on a standard A4 (8.5x11) sheet of Xerox paper. Nothing big or fancy. It’s what I had lying around the house.

Cut 02 Pencil Art

I believe I then cel painted in Photoshop the cel art in the next afternoon. Again, it was relaxing work. I put together the title card, the main title and the end card and then sent all the set up scene art to Tom Berger who was to edit them into the animatic. All totaled, I think I spent 2 and half days on all that. Not full days, very casual art time. After the frantic pace of preproduction, it was nice to have a few carefree days to just sit and generate art at a leisurely pace.

Cut 02 Finished Art

By the time I’d finished the 2D art, it was about time that Matthew had rough animation to show me for approval. I met him and his lead animator at a Starbucks the following morning.

Next: There Are Times for 2 Cents and There Are Times for 2 Cents: This Wasn’t the Time

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