A Little Something For Everyone

To begin:  Sita Sings The Blues available, in full, online.

I'll probably write about this film before its broadcast next week.  Sneak preview: its one of the most remarkable pieces of work crafted in the 21st Century.

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This is a "spot" (as we say in the biz) Brian made at The Ink Tank waayyyyy back in the 20th Century.

The animation is very simple.  We're doing a similar piece now, and going back to this for reference.

It's all in the timing.

This was animated by Tissa David.

The boy tossing up his "hat" and catching it again on his head is all on "twos" except drawing 11.  That's where the hat makes contact.  It's held for 5 frames.

Drawing 1 is the start position.  2 is the "extreme", he's got to go down to toss the hat up.

5 is the next "extreme", but note how 3 is so similar (close) to 2 and how 4 is much closer to 3 than 5.

It takes three drawings to stretch up to that extreme (2, 3, 4) but only two (6, 7) to come back down.

 But still -8, 9, and 10 are not simple tracebacks -the boy continues to settle, easing all the way.

The hat lands on 11, and 12 continues this impact.  Compare to 10 and 13.  There's a little squash, but not much.  Too much compression would look painful and we've got candy to sell.

As beautifully as Tissa can make something move, she's even better at keeping things still. 

Two and three: 4s

Four: 2s

Five: 12 frame hold 

Six through nine: 2s

Tissa is unafraid to work on 4s.  In the first two drawings, that is the timing and spacing required.  She varies the exposure for drawing 4, and hits the hold (5).  

6 works out of the hold.  7 and 8 move into the final pose (9).

Just like the boy, it takes three drawings to ascend the extreme up position, and two drawings to come back down.  The difference is in the rhythm and timing of the holds and the ancillary follow through.

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On a completely unrelated note,  CNN.com has this interview with Matt Groening.

It's nice to hear a man of talents and success say something like this:

CNN: How do you feel about the children of "The Simpsons" -- MacFarlane's "Family Guy," "South Park"?

Groening: I'm a fan of animation and so, the more stuff that doesn't look like the other stuff that's out there, I'm in favor.

There's a staggering array of completely wild animation on TV now ... Adult Swim on the Cartoon Network is unbelievable. And "South Park" continues to do great stuff. And "Family Guy" and the various other Seth MacFarlane projects are amazing.

And I want more. Good! Cartoons! Cartoons that don't look like anything else. Very good.

While I may not agree with his astethic take on Seth MacFarlane projects (and animation, in general, I guess...), it's a terrific attitude of openness and good will.