Making of "Cold East" - Written By A Kid Ep 5 Behind The Scenes


Uploaded by geekandsundry on Aug 15, 2012

Transcript:
[MUSIC PLAYING]

EFEHAN ELBI: We can chat while it's booting.
I just finished actually laying out all the different
parts in 2.5D, which is the phrase used for the middle
ground between two-dimensional animation where it's drawn
frame by frame and 3D animation where you actually
lay things out and model them.
So 2.5D is the act of putting 2D objects in 3D space, kind
of like a diorama.
Having moved from Flash animation originally, you
can't immediately check it as Flash.
You don't see it as, oh, that's a vector animation that
the guy did on this program.
It kind of obscures where it comes from, which is nice.
And also I can draw the assets as opposed modeling them,
which is not something I'm terribly interested in.
It's nice to lay it all out in a space and then move through
it with a camera because you can add lights, or take them
away, or add a million lights.
You can brighten it, darken it.
You can put filters on things, change the color, all without
touching the actual original colors.
MALE SPEAKER: Full focus.
EFEHAN ELBI: Oh, of course, yeah.
You pull focus wherever you feel like, either in the
background or foreground.
Stuff comes on my desk, and we use--
I don't know what most of that stuff is because I can't see
it in my head right now.
And then there's all kinds of things.
You could change the decorations.
It's nice.
You can play with the scene and the camera
before you're done.
You can move a little bit with it, too, sort of pan around it
just slightly.
Because they're all flat objects, you only have a
certain range.
If you pan any farther, then you get--
obviously on paper.
And you can only stay within a certain range.
And as well, there's limitations
to how you can move.
Like if I move left and right, it still works.
But if I come towards you, then I break.
As well, if things you make aren't vector, if you zoom in
too far like this, then you can see it gets really broken
up and crappy looking.
AARON MANCZYK:I've been here all day.
EFEHAN ELBI: I've only been here a couple of hours, but
he's been here all day.
Aaron, how long have you been here?
AARON MANCZYK: All day.
EFEHAN ELBI: How long was I here?
AARON MANCZYK: Couple of hours.
Hi.
I'm Aaron Manczyk.
EFEHAN ELBI: Aaron's a talented man.
He creates all his own instruments.
Well, not all of them.
Some of them.
OK, a few of them.
But he has a natural knack for music.
If you give him an instrument, he'll basically
want to play around.
You can always say, oh, try it this way or try it that way,
and he'll be down with it.
[BANJO PICKING]
EFEHAN ELBI: Sounds good.
MALE SPEAKER: You guys getting some new tracks?
EFEHAN ELBI: Yeah, we've got some new tracks down.
We've got some new tracks.
It's [INAUDIBLE].
[BANJO PICKING]
EFEHAN ELBI: I draw everything in Flash first, and then I
bring it into aftereffects and lay it out.
So let me just pull up the animatic for you.
So this is the animatic.
And as you can see, it's very simple 2D drawings.
If you go ahead now to the assets that I've drawn, you
can see it's some characters.
There's color, cool stuff like that.
Let's move on to the scene layout now.
You can see a little bit.
It's in 3D space.
It's moving.
Here's with some lighting to give it some more depth and
light shadows.
And finally, here's with the depth of field and the filters
fully applied.
Basically, the final shot looks like that.
MALE SPEAKER: How's the edit coming?
AARON MANCZYK: Don't even ask.
MALE SPEAKER: How are your songs coming out?
When's your new album coming out?
AARON MANCZYK: Not soon enough.
EFEHAN ELBI: Take a load off.
Just relax.
Rest your head.
Rest your neck a little bit once in a while.
It's kind of hurting.
MALE SPEAKER: It doesn't feel good?
EFEHAN ELBI: I don't know.
It wasn't as relaxing as when you told me to do it.
I mean, when I chose to do it.
[MUSIC PLAYING]