There is a lot to work through on a TV show or film. The concept has to be strong, your characters all solid and in place, the rules of the world locked and the format of the show nailed. These are fundamentals. You do not proceed into production until you have these things all fixed and agreed.
But with production looming and deadlines fast approaching, sometimes you just have to get moving. So out of these fundamentals, which ones can you afford to work out as you go along if things get tight? Which one can you let slip and work out in the episodes themselves?
The answer across the board here is: None of them! Work out what your show is!
Seriously, these things are absolutely essential to the health of your show. Yes, there are details that will get fleshed out as the series builds, some elements might change as you realise that there are strengths you hadn’t previously identified. But you have to know exactly what your show is when you go into production. You must have the format locked, the characters all worked out and fleshed out, the relationships clear, the world shaped and consistent.
Without those, you’re basically playing out your development process on screen. That is not a good idea.
Some things you can’t afford to figure out later. Decide on the fundamentals before you start.
The script is everything. It is what sets down the entire story. If it’s not great on the page, it won’t be great in the final work. You have to make sure everything works, is as strong as can be and that the storytelling is clear and impactful. It all comes down to the script so never let a script go that isn’t 100% ready yet.
Remember: the script is everything.
The script isn’t everything. It’s merely the start of the process. The visual storytelling is where a story is really told. The storyboard is everything. Nobody can make a good show from a bad board. So you have to make sure everything works, is as strong as can be and that the storytelling is clear and impactful. It all comes down to the storyboard so never let a board go that isn’t 100% ready yet.
Remember: the storyboard is everything.
The storyboard isn’t everything. It’s a working, evolving document of the storytelling intention. The scenes are where the story is really told. The animation is everything. Your shots are what will make it up on screen. So you have to make sure everything works, is as strong as can be and that the storytelling is clear and impactful. It all comes down to the animation so never let a scene go that isn’t 100% ready yet.
Remember: the animation is everything.
Feel free to insert your own role in any of these stages. Everything you do has to be the best it can be.
Evaluating your own work and fixing it is REALLY hard. You’ll see things in the work of others that you will have a very hard time seeing in your own work. Your brain will be desperate to convince you that the problems in your work aren’t problems at all. You’ll often come away having no idea whether what you’ve done is good or not.
Why? A whole bunch of reasons but it is all tied into the fact that you are too close to your work. You immerse yourself in it, you give it your all and then you find it harder to see the larger view. And most of all, your brain goes into resistance mode. You might not even be that type of person but your brain will still try to protect you and the work you have done and that can make you blind to things that need fixing.
So what do you do? The first thing is to try to bring in someone else to edit and give notes. But if you can’t do that, if you really have to edit on your own, try to get some distance and then split the process into very separate tasks:
Step 1 – make notes. Do NOT attempt to fix anything. Do not even consider fixing anything. You NEVER have to fix any of this stuff. The only goal is to make notes – what doesn’t work, what needs clarification, tightening, amending. Simple quick notes. The trick here is that if you completely disassociate this from the act of having to fix these things, you’ll be more honest. Your brain will not go into resistance mode quite so much and so it’s like evaluating the work of someone else.
The moment you try to fix something in this stage, your brain will go into lockdown and try to protect you from the hard work of rewrites or re-editing. Don’t do it – you’re only making notes and, when that stage is done, you’re going to let it sit so you don’t have to worry about actually fixing anything. Just make those notes.
Step 2 – Let it settle. Give it some time.
Step 3 – Evaluate the notes and make plans to address them. Again, do NOT go in and do the fixes here. This is a PLANNING stage. Effectively it’s like giving someone suggestions: how about you do it this way instead? Like the first stage, if you get stuck into the work directly your brain will resist and try to save you work by convincing you some things are okay or trying to give you easy yet half-baked solves. You’re just jotting down some plans. You don’t need to consider ever carrying them out.
Step 4 – You’ve got your plans now. You know exactly what you’re doing, right? Hey, the hard work is over. All you have to do now is stick to the plans and do what your past self told you to do. It will take a bit of time but it’s just in the doing now. So work your way through your fixes, follow your plans and implement them as best you can.
Step 5 – Enjoy your good work. You did it.
I find it is still always helpful to get an outside view but being able to have some sense of your own work is a crucial skill. So split it up into tasks and it gives you the best chance of doing a great edit without your brain ruining things by trying to protect you.
Another cycling analogy here (last one I promise!). This one is about momentum. For me, cycling to work is divided into three very clear types of terrain: downhill (easy), flat (neutral) and uphill (hard). After a long day, those uphills can take a lot out of me and I’m not the only one struggling.
But this post is about what people do on the downhills and flats. Every now and again, I’ll see a cyclist on the same route who takes it REALLY slow on those parts. I can understand that – conserving energy for the hills, I guess. But here’s the thing: on my route most of those downhills or flats end in a hill and the faster you take the easy parts the more momentum you build for the hills. Approach a hill slowly and you have to work so much harder to make progress. Whereas if you take advantage of the momentum you can build on the easy or neutral sections, half the work is done for you when you hit that hard section.
Production isn’t cycling but it still has its easy parts, neutral parts and its hard parts. There will be challenges. There will be struggles. So the more you can take advantage of the easy and neutral parts, the better. You can get that momentum going, you can build a bank of great work, make plans for the tougher sections ahead, create any buffers possible and buy you that bit of extra leeway for when things get hard. And they will get hard at times.
Even if you can take it easy… don’t. Keep pedalling.
It’s a cycling analogy today. I have recently been cycling into our lovely Mooshku studio to make some wonderful things for kids. Cycling is is a great way to travel but it’s not without its obstacles in Dublin city. One of those is a particular cyclist on my route.
When everyone is waiting at red lights (there are actually some cyclists who stop at red lights in Dublin… a few of us), this cyclist moves past everyone and goes to the front. Jumping the queue. Now there is an etiquette question there but that’s not the real issue. The issue is that this cyclist is a REALLY SLOW cyclist.
So this cyclist jumps to the top of the pack and, once that light goes green, every other cyclist is hampered by her lack of speed. They have to find safe places to pass, which isn’t easy in Dublin. And then it happens all over again if you’re unlucky enough to land at the same set of lights again. This cyclist gets in the way of other cyclists and becomes an obstacle in the journey we’re all taking.
So two things here relate to production and they both come from the basic reality that everything has an order in production.
1) Know the optimum order of events. There is usually a very clear set of steps in any production and they have to happen in the correct order. Find out what depends on the elements you are supplying. Who are they critical to? There may be opportunities to skip ahead but you might gain nothing doing so. You might even build in more problems to solve. So know your order. Unlike that cyclist jumping ahead and gaining nothing, assess the production equivalent of the cyclists around you and find that optimum order and try to stick to it.
2) Once you know your place in that order, keep the pace. Don’t slow down. Don’t delay the other processes coming behind you. They shouldn’t ever need to pass you. You must keep up with the schedule. Everything behind you depends on it. Don’t be late.
There are too many stages to animation production, too many potential logjams, to let one part of it break the whole production or put too much stress on everyone else trying to keep to the schedule. Be aware of the order and keep the pace.
Signal to noise ratio. It’s important. It’s important generally but especially important when making work for children. Your key plot points, your key messages, must remain clear for your work to have impact.
Bury those key plot points in more information and you risk them getting lost. Have too many key plot points and it all becomes noise, competing for attention and stuff will get missed. If something is not clear, clarify that point or remove it altogether rather than adding explanations. Don’t add bulk. That’s more noise.
I’m often asked to help assess whether a project has value or not, whether it’s one to pursue. Sometimes this is done with just the bare minimum of actual content – just a concept or characters or a book that doesn’t really cover much. The expectation is that I review the materials and come back with either ‘this project is terrible’ or ‘this project is awesome’. The bad news is that it is rare that something is instantly awesome. The good news? It is even rarer that something is absolutely terrible.
The reality is that the true answer should look like this: ‘this project needs work here, here and here and then you could have something really great’. What differs from project to project is the amount of work needed and where it is directed.
Great ideas are exciting and such a wonderful place to start. But the execution and development is everything. If not developed well or with additions that don’t fit or with changes that strip the concept of what was fun to begin with, what started as a great idea can still end up turning into a terrible show. And conversely, ideas that initially might seem weak or misguided or derivative can be moulded into really great shows when handled well. Whether initially strong or weak, the idea is just the starting point.
What it comes down to is the execution. It comes down to the work YOU put in and what areas get your attention.
So where does that leave you when it comes to assessing your project? It will usually always depend on one crucial thing: how much you believe in the project. Is this the one? Whether a great idea or not, it’s going to take work. The question is: do you believe so strongly in this project that you want to put all your time into it and really commit to it?
If you don’t, let it go. There are other ideas, more exciting ideas that will push you to make them awesome. But if you do, if you’re sure this is the one, then get to work and turn it into something awesome.
I love creative surprises. I love the little moments of life people can add that I didn’t see coming. The smiles that a spontaneous idea can bring to a scene. Life is full of surprises and getting that across in a story is really important.
But when it comes to production aspects, I don’t like surprises. Not one little bit. This comes from many years of production – concepts to scripts to storyboards to layouts, backgrounds, animation, compositing, sound, music and post. So many processes and so many things to keep track of.
What a production needs is certainty.
In a production, you have to know what’s coming up, when things are expected and what has been planned for. You have to manage your resources carefully and often those resources will have been set down very early in the process. If the needs of the production don’t always match the resources, you need to see this coming from a very long distance so that you can adapt and amend plans – basically so it isn’t a surprise when it happens.
Surprises in a production lead to flusters, misuse of resources and wasted time. So when you’re entering into a production, get to know your production inside and out. Know what you have planned for. If you are lacking any of that information, find it out. Write it down so you can’t forget it. Make sure everyone is aware of what things need to happen and when. And do a regular review of where things are at so you are always kept informed. Avoid the surprises.
If you keep your production as clear as possible, you can save the surprises for where you really want them: in the creativity.
I remember this phrase from back when I was making commercials (a LONG time ago now) and I’m sure it is still one in very common use. We’ll fix it in post – shorthand for: let’s push the problem down the line and let someone else (or our future selves who may as well be someone else) handle it.
It isn’t just fixing a mistake in post-production either. There are many versions of this. Fixing your flow problems in the edit. Hoping your inbetweens will improve dodgy key animation. Letting your story problems through and hoping to fix them in animatic stage. Compared with some of those, “we’ll fix it in post” isn’t actually so bad.
The more fundamental the stage, the more you simply can’t rely on fixing it down the line. I don’t know if I have ever seen a scenario in my entire career where it has been easier to fix a problem later rather than fixing it right now in its earlier form. Once you build in problems, well, you’ve built in problems. You’ll face enough unforeseen difficulties when making anything that throwing foreseen ones on top could be an absolute disaster.
If something isn’t quite working, fix it now. Don’t fix it in post or anywhere else. Don’t shove the problem down the line or allow it to be next week’s problem. It rarely ends well. I’d say it never ends well except someone will probably hit me with a single example where it worked out okay. Don’t take that chance.
I just took to Twitter to express my dismay at a particular “learn animation” ad that keeps popping up on my Facebook feed and, well, now it’s going to be a whole post. Hopefully a short one. Here is my issue with that particular ad that reckons it will teach you to animate: the very first pose it opens with is incredibly unclear. It does not sell what is actually happening to the character. It fails at communicating the idea.
Pretty drawings don’t matter if what is happening is unclear. And it’s not just animation. A lovely storyboard panel is no good if what is happening is unclear. A funny line is wasted if your story is unclear and you’re losing your audience. Clarity is everything.
This is especially true when making any kind of content for young children. No matter what part of the process you are in, this is about communication – engaging kids, telling them stories, bringing them into stories and making them feel a part of them. Communication. And if your communication is unclear, if you don’t give them enough context or information or you muddle your ideas visually or otherwise, you’re not going to engage them as well as you should.
It’s the first thing you should ask yourself: is this clear to my audience?
So while it applies to every part of the process, when it comes to learning animation, I’ll take a scrappy yet clear drawing over a pretty yet unclear one every single time.