WEBVTT 1 00:00:04.587 --> 00:00:10.636 Animation Basics From Ideas to Project: Planning and Production 2 00:00:10.636 --> 00:00:12.929 GCC Academy 3 00:00:28.099 --> 00:00:30.138 Hello, this is lecture two for project planning 4 00:00:30.138 --> 00:00:32.988 Let's look at the workflow from ideas to projects 5 00:00:32.988 --> 00:00:35.320 from planning to production 6 00:00:35.320 --> 00:00:38.840 First, developing ideas 7 00:00:38.840 --> 00:00:42.800 First, focus on refining your core idea 8 00:00:42.800 --> 00:00:46.120 One effective method is to analyze market trends 9 00:00:46.120 --> 00:00:51.080 especially by reflecting societal issues 10 00:00:51.080 --> 00:00:54.280 For example, from the late '90s to early '00s 11 00:00:54.280 --> 00:00:58.160 environmental problem has been a great social issue 12 00:00:58.160 --> 00:01:02.279 Princess Mononoke is an example 13 00:01:02.279 --> 00:01:03.919 and Wall-E another 14 00:01:03.919 --> 00:01:07.720 Princes Mononoke explores the coexistence of nature and civilization 15 00:01:07.720 --> 00:01:12.520 while Wall-E delivers a warning about environmental pollution 16 00:01:12.520 --> 00:01:15.680 Another approach is incorporating technological and cultural trends 17 00:01:15.680 --> 00:01:19.560 A digital online world as a background 18 00:01:19.560 --> 00:01:21.799 is something used in 19 00:01:21.799 --> 00:01:23.160 Ralph Breaks the Internet 20 00:01:23.160 --> 00:01:27.759 From Wreck It Ralph 21 00:01:27.759 --> 00:01:28.799 the movie 22 00:01:28.799 --> 00:01:32.080 That's an example 23 00:01:32.080 --> 00:01:35.639 One way to develop ideas is 24 00:01:35.639 --> 00:01:38.160 by reinterpreting existing IPs 25 00:01:38.160 --> 00:01:40.320 For instance, Super Mario Bros 26 00:01:40.320 --> 00:01:44.680 It's reimagined the game’s basic storyline into a family advent 27 00:01:44.680 --> 00:01:47.559 This allowed for 28 00:01:47.559 --> 00:01:51.199 connections to various transmedia spin-offs 29 00:01:51.199 --> 00:01:54.839 demonstrating the benefits 30 00:01:54.839 --> 00:01:57.680 of expanding an existing game’s 31 00:01:57.680 --> 00:02:01.000 original world to something more 32 00:02:01.000 --> 00:02:03.080 Another approach involves preserving the essence 33 00:02:03.080 --> 00:02:05.559 of the original work while adding fresh interpretations 34 00:02:05.559 --> 00:02:08.800 It's Spider-Man: Across the Spider-Verse 35 00:02:08.800 --> 00:02:11.320 The film retained the core essence of the original comic’s multiverse concept 36 00:02:11.320 --> 00:02:15.160 while offering fresh visual interpretations 37 00:02:15.160 --> 00:02:17.000 Despite the complexity 38 00:02:17.000 --> 00:02:22.279 of the multiverse concept 39 00:02:22.279 --> 00:02:24.400 the film succeeded 40 00:02:24.400 --> 00:02:26.239 by delivering 41 00:02:26.239 --> 00:02:30.440 a good understanding 42 00:02:30.440 --> 00:02:32.760 of the storytelling 43 00:02:32.760 --> 00:02:37.440 a clear and engaging narrative 44 00:02:37.440 --> 00:02:40.679 This balance between staying true 45 00:02:40.679 --> 00:02:45.601 to the original and introducing new interpretations 46 00:02:45.601 --> 00:02:48.679 helped the film effectively capture both aspects 47 00:02:48.679 --> 00:02:50.880 Next is the idea verification process 48 00:02:50.880 --> 00:02:55.160 First, marketability must be reviewed by analyzing the success metrics of similar works 49 00:02:55.160 --> 00:02:57.240 This includes examining whether the production budget 50 00:02:57.240 --> 00:03:00.279 aligns with market potential and ensuring that the scale of investment 51 00:03:00.279 --> 00:03:02.639 Assessing the technical feasibility of a project is crucial in determining its viability 52 00:03:02.639 --> 00:03:04.800 This involves evaluating whether the concept can be realized with existing technology 53 00:03:04.800 --> 00:03:07.839 whether production can be completed within the allocated budget 54 00:03:07.839 --> 00:03:10.960 and how long the entire process might take 55 00:03:10.960 --> 00:03:14.000 For instance, the technical problem 56 00:03:14.000 --> 00:03:16.839 was probably the key 57 00:03:16.839 --> 00:03:20.320 to Across the Spider-Verse 58 00:03:20.320 --> 00:03:23.320 where introducing a groundbreaking visual style was a significant challenge 59 00:03:23.320 --> 00:03:26.880 Before fully committing to production, the team conducted technical tests 60 00:03:26.880 --> 00:03:28.759 to ensure that such innovations were achievable 61 00:03:28.759 --> 00:03:30.744 within budget and time constraint 62 00:03:30.744 --> 00:03:34.039 which must've been a very important point 63 00:03:34.039 --> 00:03:38.600 Moving forward, constructing the story and world-building 64 00:03:38.600 --> 00:03:43.240 Let's start with structuring the narrative 65 00:03:43.240 --> 00:03:45.320 often using frameworks 66 00:03:45.320 --> 00:03:48.399 like the three-act structure for contemporary storytelling 67 00:03:48.399 --> 00:03:53.759 For example, Coco 68 00:03:53.759 --> 00:03:55.959 made by Pixar 69 00:03:55.959 --> 00:03:57.679 and released in 2017 70 00:03:57.679 --> 00:04:03.080 In the first act, Miguel’s passion for music and his family’s opposition are established 71 00:04:03.080 --> 00:04:06.360 The second act delves into his adventure in the Land of the Dead 72 00:04:06.360 --> 00:04:08.320 where he uncovers important truths 73 00:04:08.320 --> 00:04:10.880 The third act concludes with reconciliation with his family 74 00:04:10.880 --> 00:04:12.880 and a renewed understanding of tradition 75 00:04:12.880 --> 00:04:16.199 The three-act structure effectively captures the essence of storytelling 76 00:04:16.199 --> 00:04:19.960 by encompassing the introduction, development, climax, and resolution 77 00:04:19.960 --> 00:04:24.665 In cases like Coco, this structure was likely tested 78 00:04:24.665 --> 00:04:27.919 evaluated, and refined to enhance its charm 79 00:04:27.919 --> 00:04:31.399 The relationships between 80 00:04:31.399 --> 00:04:33.199 main and supporting characters also play a vital role 81 00:04:33.199 --> 00:04:37.520 By crafting multi-dimensional conflict dynamics among characters 82 00:04:37.520 --> 00:04:40.825 the story becomes more engaging 83 00:04:40.825 --> 00:04:44.759 For example, Elemental utilizes the prejudices and conflicts between elements 84 00:04:44.759 --> 00:04:47.880 as a metaphor for societal issues 85 00:04:47.880 --> 00:04:53.320 demonstrating how well-thought-out character relationships 86 00:04:53.320 --> 00:04:55.519 can amplify a work’s appeal 87 00:04:55.519 --> 00:05:01.279 It's a great example for that 88 00:05:01.279 --> 00:05:04.600 Next, world-building 89 00:05:04.600 --> 00:05:07.239 involves establishing fundamental rules 90 00:05:07.239 --> 00:05:09.880 and principles that define the universe of the story 91 00:05:09.880 --> 00:05:16.559 This process is central to the creative aspect of storytelling 92 00:05:16.559 --> 00:05:19.000 For instance, in Zootopia 93 00:05:19.000 --> 00:05:22.760 the coexistence of carnivores and herbivores is reimagined 94 00:05:22.760 --> 00:05:24.399 within a modern urban setting 95 00:05:24.399 --> 00:05:26.920 that is also reimagined for the animals 96 00:05:26.920 --> 00:05:30.440 The film skillfully integrates species-based stereotypes 97 00:05:30.440 --> 00:05:34.959 Prejudice is not only based 98 00:05:34.959 --> 00:05:36.799 on existing species stereotypes 99 00:05:36.799 --> 00:05:38.760 but also actively created using these stereotypes 100 00:05:38.760 --> 00:05:42.043 designed to serve as the spark for conflict within the story 101 00:05:42.252 --> 00:05:46.024 Character Settings and Designing a Work 102 00:05:46.399 --> 00:05:49.359 Next, let’s focus on concreting the project 103 00:05:49.359 --> 00:05:52.519 First, we’ll look at character development and design process 104 00:05:52.519 --> 00:05:54.559 For character development 105 00:05:54.559 --> 00:05:57.399 we set the character’s personality and background 106 00:05:57.399 --> 00:06:01.760 For example, Miles Morales from Spider-Verse 107 00:06:01.760 --> 00:06:03.839 has a multicultural background 108 00:06:03.839 --> 00:06:07.239 He is a teenager with African and Hispanic heritage 109 00:06:07.239 --> 00:06:09.880 In the context of American society 110 00:06:09.880 --> 00:06:16.279 he represents the working or middle class 111 00:06:16.279 --> 00:06:18.399 So he represents 112 00:06:18.399 --> 00:06:22.559 the struggles that come with it 113 00:06:22.559 --> 00:06:25.839 To balance this, the character is given an artistic talent 114 00:06:25.839 --> 00:06:30.440 in his case, graffiti 115 00:06:30.440 --> 00:06:35.249 His relationship with his uncle is supportive 116 00:06:35.249 --> 00:06:37.359 and he encourages his talent 117 00:06:37.359 --> 00:06:41.480 Additionally, he is portrayed as scientifically gifted 118 00:06:41.480 --> 00:06:45.320 To effectively utilize this in storytelling 119 00:06:45.320 --> 00:06:48.679 the initial character setup was 120 00:06:48.679 --> 00:06:51.920 probably added with layers to the character 121 00:06:51.920 --> 00:06:54.359 Family dynamics 122 00:06:54.359 --> 00:06:56.519 including the conflict with the police officer father 123 00:06:56.519 --> 00:06:58.559 the influence of the uncle 124 00:06:58.559 --> 00:07:00.119 and the relationships between the characters 125 00:07:00.119 --> 00:07:04.279 were designed to become key drivers in the character’s growth 126 00:07:04.279 --> 00:07:06.399 Moving to design direction 127 00:07:06.399 --> 00:07:10.000 the visual representation of character traits 128 00:07:10.000 --> 00:07:12.283 can be seen in examples like Powder from Arcane 129 00:07:12.283 --> 00:07:15.200 and Jinx’s character 130 00:07:15.200 --> 00:07:19.119 There is a significant transformation in character design that follows their growth 131 00:07:19.119 --> 00:07:22.679 Jinx, for instance, is a core character in League of Legends 132 00:07:22.679 --> 00:07:26.239 and is widely known through 133 00:07:26.239 --> 00:07:29.880 various videos and images 134 00:07:29.880 --> 00:07:32.079 She is typically portrayed as a manic 135 00:07:32.079 --> 00:07:37.480 almost homicidal character, using an automatic weapon to wreak havoc 136 00:07:37.480 --> 00:07:41.839 When her character was adapted into an animated series 137 00:07:41.839 --> 00:07:44.519 Arcane generated much attention 138 00:07:44.519 --> 00:07:49.160 Viewers were quite surprised by 139 00:07:49.160 --> 00:07:52.320 how different Jinx appeared in the show 140 00:07:52.320 --> 00:07:55.720 Rather than her usual manic persona 141 00:07:55.720 --> 00:07:57.519 she was presented 142 00:07:57.519 --> 00:08:00.880 as a pure, timid character 143 00:08:00.880 --> 00:08:04.440 This stark contrast between her previous characterization 144 00:08:04.440 --> 00:08:08.559 and the one shown in Arcane was likely designed 145 00:08:08.559 --> 00:08:11.200 to emphasize her transformation 146 00:08:11.200 --> 00:08:14.279 That must've been highlighted through her evolution 147 00:08:14.279 --> 00:08:18.279 in both visual appearance and character development 148 00:08:18.279 --> 00:08:20.679 as hints 149 00:08:20.679 --> 00:08:25.839 To summarize this case 150 00:08:25.839 --> 00:08:28.720 the character design underwent changes to reflect the character’s growth throughout the story 151 00:08:28.720 --> 00:08:31.959 The character evolves from a pure girl into a more manic character 152 00:08:31.959 --> 00:08:36.119 which is expressed through changes in her hairstyle and clothing 153 00:08:36.119 --> 00:08:38.720 This transformation reflects a mental shift 154 00:08:38.720 --> 00:08:43.320 with dramatic contrasts in her eyes and expressions 155 00:08:43.320 --> 00:08:47.820 makeup is used to express her inner changes 156 00:08:47.820 --> 00:08:49.559 and the design emphasizes 157 00:08:49.559 --> 00:08:52.760 her character traits through her outfit and accessories 158 00:08:52.760 --> 00:08:55.760 Unique weapons and accessories 159 00:08:55.760 --> 00:08:57.480 represent both her madness 160 00:08:57.480 --> 00:09:00.760 and genius simultaneously 161 00:09:00.760 --> 00:09:04.039 Next, the visual style of the project needs to be determined 162 00:09:04.039 --> 00:09:07.280 This involves deciding on the tone and manner of the work 163 00:09:07.280 --> 00:09:09.980 And this is often 164 00:09:09.980 --> 00:09:12.479 referred to as a look debut 165 00:09:12.479 --> 00:09:14.429 in the animation production process 166 00:09:14.429 --> 00:09:17.080 It's a look debut 167 00:09:17.080 --> 00:09:20.130 For example, Cyberpunk: Edgerunners 168 00:09:20.130 --> 00:09:21.880 is a good example to discuss 169 00:09:21.880 --> 00:09:23.438 The original game’s visual style 170 00:09:23.438 --> 00:09:26.520 has the typical look of science fiction 171 00:09:26.520 --> 00:09:28.760 which isn’t very new 172 00:09:28.760 --> 00:09:30.560 It’s not much different from 173 00:09:30.560 --> 00:09:33.960 works like Blade Runner 174 00:09:33.960 --> 00:09:37.359 or even the animated version of Blade Runner 175 00:09:37.359 --> 00:09:40.400 Instead of directly using this visual style 176 00:09:40.400 --> 00:09:43.919 the creators reinterpreted it for animation 177 00:09:43.919 --> 00:09:47.119 utilizing neon colors, strong contrasts 178 00:09:47.119 --> 00:09:49.760 and 2D visuals hat resemble a comic book style 179 00:09:49.760 --> 00:09:53.599 as implemented in their cut scenes 180 00:09:53.599 --> 00:09:57.559 These choices contribute to the overall dystopian world 181 00:09:57.559 --> 00:10:02.200 which is emphasized and exaggerated 182 00:10:02.200 --> 00:10:07.022 helping to effectively depict the future 183 00:10:07.022 --> 00:10:09.522 Deciding on the visual style 184 00:10:09.522 --> 00:10:12.080 that matches the work’s character 185 00:10:12.080 --> 00:10:15.520 and direction is crucial 186 00:10:15.520 --> 00:10:18.248 It’s a process that determines 187 00:10:18.248 --> 00:10:20.200 the tone and manner of the piece 188 00:10:20.200 --> 00:10:25.200 Backgrounds and accessories design also matter 189 00:10:25.200 --> 00:10:29.719 In Cyberpunk: Edgerunners 190 00:10:29.719 --> 00:10:32.679 to go back to it again 191 00:10:32.679 --> 00:10:36.559 the world of cyberpunk 192 00:10:36.559 --> 00:10:38.824 which is depicted in the game 193 00:10:38.824 --> 00:10:41.104 is essentially a reflection 194 00:10:41.104 --> 00:10:43.987 of our real-world society 195 00:10:43.987 --> 00:10:47.237 So I don't think there was any selective parts 196 00:10:47.237 --> 00:10:48.637 that were designed with purpose 197 00:10:48.637 --> 00:10:50.603 But the show 198 00:10:50.603 --> 00:10:52.799 differentiates residential areas by class 199 00:10:52.799 --> 00:10:55.479 using these spaces as part of the storytelling 200 00:10:55.479 --> 00:10:58.679 making them a driving factor in the main character 201 00:10:58.679 --> 00:11:01.679 The contrast between the glamorous high-rise buildings of the elite 202 00:11:01.679 --> 00:11:03.919 and the dark alleys of the slums of the poor 203 00:11:03.919 --> 00:11:09.570 The characters’ clothing, accessories 204 00:11:09.570 --> 00:11:12.775 and even the modes of transportation 205 00:11:12.775 --> 00:11:16.760 are shown to emphasize this disparity 206 00:11:16.760 --> 00:11:19.440 This makes the designs a vital part of the storytelling 207 00:11:19.440 --> 00:11:24.117 This is a key element in constructing the narrative of the content 208 00:11:24.117 --> 00:11:27.559 enhancing its depth and impact 209 00:11:27.559 --> 00:11:31.239 Next, we need to determine the production method 210 00:11:31.239 --> 00:11:34.080 The choice of production techniques is crucial 211 00:11:34.080 --> 00:11:36.830 Before the 1990s 212 00:11:36.830 --> 00:11:39.840 2D animation was the only option available 213 00:11:39.840 --> 00:11:44.200 By the late 1990s, 3D animation 214 00:11:44.200 --> 00:11:46.080 and digital techniques started to emerge 215 00:11:46.080 --> 00:11:51.000 These methods became widely adopted 216 00:11:51.000 --> 00:11:53.919 with the rise of computer-based techniques 217 00:11:53.919 --> 00:11:57.760 Historically, 2D animation was considered very low-cost 218 00:11:57.760 --> 00:12:00.599 while 3D animation was associated with high costs 219 00:12:00.599 --> 00:12:03.299 However 220 00:12:03.299 --> 00:12:05.723 in the history of 3D animation 221 00:12:05.723 --> 00:12:11.440 in the span of over 20 years since the late 90s 222 00:12:11.440 --> 00:12:13.590 there has been a shift 223 00:12:13.590 --> 00:12:16.000 or rather a flip 224 00:12:16.000 --> 00:12:20.320 Now, 2D animation costs are 225 00:12:20.320 --> 00:12:22.737 not much different from 3D animation 226 00:12:22.737 --> 00:12:24.679 in terms of production budget 227 00:12:24.679 --> 00:12:27.029 In the past, the primary reason 228 00:12:27.029 --> 00:12:29.080 for choosing a production method 229 00:12:29.080 --> 00:12:32.520 was the commercial viability of the content 230 00:12:32.520 --> 00:12:34.960 It's not so nowadays 231 00:12:34.960 --> 00:12:38.960 Today, it depends on the original content or narrative of the work 232 00:12:38.960 --> 00:12:44.039 and which method best suits it 233 00:12:44.039 --> 00:12:45.789 In some cases 234 00:12:45.789 --> 00:12:48.479 high-quality 2D animation 235 00:12:48.479 --> 00:12:52.679 can be more expensive than 3D animation 236 00:12:52.679 --> 00:12:55.779 For example 237 00:12:55.779 --> 00:12:57.840 in Cyberpunk: Edgerunners 238 00:12:57.840 --> 00:13:00.096 the stylized action scenes 239 00:13:00.096 --> 00:13:04.119 are used to highlight the story 240 00:13:04.119 --> 00:13:08.679 The main character 241 00:13:08.679 --> 00:13:11.729 of this storytelling 242 00:13:11.729 --> 00:13:15.760 comes from a poor background in the slums 243 00:13:15.760 --> 00:13:18.060 and, through circumstances 244 00:13:18.060 --> 00:13:21.080 gains access to advanced weaponry 245 00:13:21.080 --> 00:13:22.760 which seems beyond his reach 246 00:13:22.760 --> 00:13:27.479 To demonstrate the superiority of this weaponry 247 00:13:27.479 --> 00:13:29.679 action scenes were created 248 00:13:29.679 --> 00:13:33.039 in a stylized, unexpected manner 249 00:13:33.039 --> 00:13:36.280 To create such impactful sequences 250 00:13:36.280 --> 00:13:39.520 3D animation was indispensable 251 00:13:39.520 --> 00:13:43.200 However, despite this, the characters 252 00:13:43.200 --> 00:13:46.119 and the tone of the piece are fundamentally presented in 2D animation 253 00:13:46.119 --> 00:13:50.520 In this case, the project employs a base of 2D animation 254 00:13:50.520 --> 00:13:55.320 with 3D elements used for more effective scene composition 255 00:13:55.320 --> 00:13:59.039 For instance, 3D is utilized for backgrounds 256 00:13:59.039 --> 00:14:01.799 transportation movement 257 00:14:01.799 --> 00:14:03.840 and dynamic camera shots 258 00:14:03.840 --> 00:14:06.400 On the other hand, for delicate, emotionally charged 259 00:14:06.400 --> 00:14:10.679 storytelling moments 260 00:14:10.679 --> 00:14:17.520 2D animation’s deformation techniques are used 261 00:14:17.520 --> 00:14:22.720 to effectively convey character emotion 262 00:14:22.720 --> 00:14:24.799 and intricate details 263 00:14:24.799 --> 00:14:27.840 To summarize, for efficient scene transitions 264 00:14:27.840 --> 00:14:31.320 bold 2D cuts are combined with 265 00:14:31.320 --> 00:14:34.359 selective, effective 266 00:14:34.359 --> 00:14:36.400 use of 3D animation 267 00:14:36.400 --> 00:14:38.760 That's what it is 268 00:14:38.760 --> 00:14:41.080 Cyberpunk: Edgerunners' hybrid approach 269 00:14:41.080 --> 00:14:44.880 features a base of 2D animation with some 3D elements incorporated 270 00:14:44.880 --> 00:14:48.799 to match the unique tone 271 00:14:48.799 --> 00:14:50.679 and narrative style of the project 272 00:14:50.679 --> 00:14:55.320 Moving forward, we also see a case where full 3D animation was used effectively 273 00:14:55.320 --> 00:14:58.760 Arcane serves as 274 00:14:58.760 --> 00:15:00.840 an example of this technique 275 00:15:00.840 --> 00:15:03.599 Arcane is basically 276 00:15:03.599 --> 00:15:05.320 a fully 3D animated production 277 00:15:05.320 --> 00:15:08.200 But each scene, when paused 278 00:15:08.200 --> 00:15:11.000 its visual style mimics the look of a painted image 279 00:15:11.000 --> 00:15:13.760 This was achieved 280 00:15:13.760 --> 00:15:18.880 by mapping textures that appear hand-drawn 281 00:15:18.880 --> 00:15:22.840 utilizing 3D’s advantages 282 00:15:22.840 --> 00:15:26.919 while giving a 2D feel of a painting 283 00:15:26.919 --> 00:15:30.919 This method 284 00:15:30.919 --> 00:15:34.440 particularly employed by France’s Fortiche Production studio 285 00:15:34.440 --> 00:15:37.359 isn’t typical for all 3D animation 286 00:15:37.359 --> 00:15:41.359 but represents one of 287 00:15:41.359 --> 00:15:45.640 the most advanced 288 00:15:45.640 --> 00:15:47.640 and well-received approaches 289 00:15:47.640 --> 00:15:50.719 in 3D animation today 290 00:15:50.719 --> 00:15:54.559 This production incorporates the tone and manner of 2D animation 291 00:15:54.559 --> 00:15:59.280 but fundamentally uses 292 00:15:59.280 --> 00:16:01.719 a full 3D animation production method 293 00:16:01.719 --> 00:16:04.919 As a result, it employs highly dynamic camera work 294 00:16:04.919 --> 00:16:09.119 that presents new angles and shots 295 00:16:09.119 --> 00:16:13.559 rarely seen in films or 2D animation 296 00:16:13.559 --> 00:16:17.599 This innovative camera work aligns with the unique characteristics of the project 297 00:16:17.599 --> 00:16:19.919 helping to intensify the tension 298 00:16:19.919 --> 00:16:24.159 and highlight the action scenes 299 00:16:24.159 --> 00:16:25.791 The level of detail in facial expressions 300 00:16:25.791 --> 00:16:29.159 and the subtle movements of muscles 301 00:16:29.159 --> 00:16:31.760 are effectively conveyed, enhancing the emotional impact of the scenes 302 00:16:31.760 --> 00:16:34.799 In 2D animation 303 00:16:34.799 --> 00:16:38.359 there is often a certain economy in detail 304 00:16:38.359 --> 00:16:40.760 favoring simplification for the sake of fluidity 305 00:16:40.760 --> 00:16:43.599 As mentioned earlier 306 00:16:43.599 --> 00:16:46.679 when viewed in a still frame, it may resemble a 2D painting 307 00:16:46.679 --> 00:16:50.919 However, the underlying structure and assets 308 00:16:50.919 --> 00:16:52.919 of the work are based on 3D modeling 309 00:16:52.919 --> 00:16:56.919 Because of this, the characters retain the unique muscularity and movement of 3D 310 00:16:56.919 --> 00:17:00.840 As a result, even as the angles dynamically shift 311 00:17:00.840 --> 00:17:03.239 the detailed facial movements and expressions 312 00:17:03.239 --> 00:17:07.080 are effectively portrayed in this work 313 00:17:07.080 --> 00:17:11.679 If these elements had been portrayed 314 00:17:11.679 --> 00:17:15.400 in a typical photo-realistic 315 00:17:15.400 --> 00:17:17.039 3D animation style 316 00:17:17.039 --> 00:17:19.599 they could have seemed unsettling 317 00:17:19.599 --> 00:17:21.399 triggering what is often called 318 00:17:21.399 --> 00:17:23.960 the uncanny valley effect 319 00:17:23.960 --> 00:17:26.440 However, in a way 320 00:17:26.440 --> 00:17:30.140 because the 3D character incorporates 321 00:17:30.140 --> 00:17:31.919 2D painting mapping 322 00:17:31.919 --> 00:17:34.079 this approach is more effective 323 00:17:34.079 --> 00:17:37.239 and, compared to traditional 3D animation 324 00:17:37.239 --> 00:17:42.199 it connects with the audience more naturally 325 00:17:42.199 --> 00:17:44.239 Now, moving on to the hybrid method 326 00:17:44.239 --> 00:17:48.199 As previously mentioned, Cyberpunk: Edgerunners 327 00:17:48.199 --> 00:17:50.640 could technically be considered a hybrid method 328 00:17:50.640 --> 00:17:51.993 However, since all the main character designs 329 00:17:51.993 --> 00:17:56.393 and key design elements were 2D 330 00:17:56.393 --> 00:17:59.119 it would be more accurate to categorize it as 2D 331 00:17:59.119 --> 00:18:02.560 A recent example of this hybrid method would 332 00:18:02.560 --> 00:18:05.040 be The Blue-Eyed Samurai 333 00:18:05.040 --> 00:18:06.880 a Netflix original 334 00:18:06.880 --> 00:18:11.765 his story, viewed from a Western perspective 335 00:18:11.765 --> 00:18:13.920 involves a Western character 336 00:18:13.920 --> 00:18:18.719 living as a Japanese samurai 337 00:18:18.719 --> 00:18:22.119 The world-building 338 00:18:22.119 --> 00:18:27.959 and storytelling are inherently hybrid 339 00:18:27.959 --> 00:18:32.079 and it seems to have worked very well for this particular project 340 00:18:32.079 --> 00:18:34.267 This can be considered a case 341 00:18:34.267 --> 00:18:36.239 that merges traditional and modern technologies 342 00:18:36.239 --> 00:18:39.389 3D-based characters were fused 343 00:18:39.389 --> 00:18:41.280 with Japanese traditional ink wash style backgrounds 344 00:18:41.280 --> 00:18:44.680 For instance, in works like Ghost in the Shell or Cyberpunk: Edgerunners 345 00:18:44.680 --> 00:18:48.319 the characters are 2D, while other elements are presented in 3D 346 00:18:48.319 --> 00:18:50.239 However, in The Blue-Eyed Samurai 347 00:18:50.239 --> 00:18:54.040 the characters are primarily in 3D 348 00:18:54.040 --> 00:18:55.880 while 2D is used in certain parts 349 00:18:55.880 --> 00:18:58.959 they are primarily in 3D 350 00:18:58.959 --> 00:19:03.079 where 2D style is more used in the backgrounds 351 00:19:03.079 --> 00:19:06.319 This style is known in production terms 352 00:19:06.319 --> 00:19:08.079 as toon shading 353 00:19:08.079 --> 00:19:10.520 or cartoon rendering 354 00:19:10.520 --> 00:19:14.680 By adding hand-drawn brushstroke effects 355 00:19:14.680 --> 00:19:19.599 the 3D models are rendered to resemble traditional ink painting 356 00:19:19.599 --> 00:19:24.160 which was well-developed 357 00:19:24.160 --> 00:19:25.959 and gained much attention 358 00:19:25.959 --> 00:19:30.280 Furthermore, the use of space and the placement of negative space 359 00:19:30.280 --> 00:19:34.319 effectively evokes the emotions 360 00:19:34.319 --> 00:19:37.400 typically felt in Eastern paintings 361 00:19:37.400 --> 00:19:40.000 While not all scenes reflect this 362 00:19:40.000 --> 00:19:41.719 full shots, in particular 363 00:19:41.719 --> 00:19:44.680 successfully convey the essence 364 00:19:44.680 --> 00:19:49.239 of Japanese traditional painting in cinematic form 365 00:19:49.239 --> 00:19:52.837 Next, we will look at production scale and scheduling 366 00:19:52.837 --> 00:19:56.119 particularly focusing on the design of the production pipeline 367 00:19:56.119 --> 00:19:59.407 In pre-production, we typically focus 368 00:19:59.407 --> 00:20:02.957 on character design, background design, storyboards, and animatics 369 00:20:02.957 --> 00:20:05.320 That's what's included in pre-production 370 00:20:05.320 --> 00:20:11.360 When working in the animation industry 371 00:20:11.360 --> 00:20:15.080 this concept becomes quite familiar and ingrained 372 00:20:15.080 --> 00:20:19.520 so much so that it becomes second nature 373 00:20:19.520 --> 00:20:21.559 However, for animation 374 00:20:21.559 --> 00:20:24.840 the term animatics might 375 00:20:24.840 --> 00:20:27.879 sound unfamiliar or confusing 376 00:20:27.879 --> 00:20:30.280 to those new to the field 377 00:20:30.280 --> 00:20:33.279 To help explain 378 00:20:33.279 --> 00:20:36.520 let’s equate it to a live-action drama production 379 00:20:36.520 --> 00:20:38.480 Imagine finding a good script 380 00:20:38.480 --> 00:20:41.874 casting the actors, and completing makeup 381 00:20:41.874 --> 00:20:44.520 and test shoots 382 00:20:44.520 --> 00:20:47.370 Then, based 383 00:20:47.370 --> 00:20:50.759 on the characteristics of the actors 384 00:20:50.759 --> 00:20:53.000 the script is adapted 385 00:20:53.000 --> 00:20:55.720 and based on that 386 00:20:55.720 --> 00:20:58.880 we get photos 387 00:20:58.880 --> 00:21:01.720 or a short preview 388 00:21:01.720 --> 00:21:05.120 or storyboard is created 389 00:21:05.120 --> 00:21:07.480 In animation 390 00:21:07.480 --> 00:21:11.160 as I told you already 391 00:21:11.160 --> 00:21:14.440 everything must be finalized 392 00:21:14.440 --> 00:21:17.599 in these initial stages 393 00:21:17.599 --> 00:21:21.480 unlike in film production 394 00:21:21.480 --> 00:21:25.287 Changes are much harder to implement 395 00:21:25.287 --> 00:21:27.160 once the production is underway 396 00:21:27.160 --> 00:21:31.595 It makes the detailed planning 397 00:21:31.595 --> 00:21:35.440 in the pre-production phase crucial 398 00:21:35.440 --> 00:21:39.519 To put it simply 399 00:21:39.519 --> 00:21:41.677 animation projects 400 00:21:41.677 --> 00:21:44.279 can be very costly 401 00:21:44.279 --> 00:21:47.539 and therefore, every scene shot 402 00:21:47.539 --> 00:21:49.119 in the main production 403 00:21:49.119 --> 00:21:52.000 are costly, and thus each scene 404 00:21:52.000 --> 00:21:54.519 must be absolutely necessary 405 00:21:54.519 --> 00:21:56.400 It's unlike films 406 00:21:56.400 --> 00:21:59.000 where reshoots may be possible 407 00:21:59.000 --> 00:22:00.839 if the shot doesn't look nice 408 00:22:00.839 --> 00:22:04.599 It can repeat 10, 20 times 409 00:22:04.599 --> 00:22:08.479 as we see in making films of a movie 410 00:22:08.479 --> 00:22:12.559 In live-action films, the act of filming itself doesn’t incur as much cost 411 00:22:12.559 --> 00:22:15.089 but animation requires creating everything from scratch 412 00:22:15.089 --> 00:22:17.679 which makes the pre-production process particularly important 413 00:22:17.679 --> 00:22:21.119 Unlike live-action productions, after storyboarding 414 00:22:21.119 --> 00:22:23.080 there is a phase called animatics 415 00:22:23.080 --> 00:22:26.839 where the flow of the scenes 416 00:22:26.839 --> 00:22:29.639 whether to add or remove cuts 417 00:22:29.639 --> 00:22:31.720 and the story is further validated 418 00:22:31.720 --> 00:22:34.308 So it's a pre-production step 419 00:22:34.308 --> 00:22:35.908 which is animatics 420 00:22:35.908 --> 00:22:38.788 The animatics process is essentially 421 00:22:38.788 --> 00:22:41.839 a rough animation of the storyboard 422 00:22:41.839 --> 00:22:44.119 This back-and-forth between the storyboard and animatic 423 00:22:44.119 --> 00:22:49.000 makes animatics are included in the pre-production phase 424 00:22:49.000 --> 00:22:53.000 After animatics, the main production begins 425 00:22:53.000 --> 00:22:55.199 where characters are placed 426 00:22:55.199 --> 00:23:01.070 according to the look defined 427 00:23:01.070 --> 00:23:04.468 during the storyboard phase 428 00:23:04.468 --> 00:23:07.118 Props and backgrounds are then added 429 00:23:07.118 --> 00:23:10.559 and the mise-en-scène is carefully considered 430 00:23:10.559 --> 00:23:13.557 This entire arrangement process 431 00:23:13.557 --> 00:23:15.000 is called layout 432 00:23:15.000 --> 00:23:16.679 Once the layout is complete 433 00:23:16.679 --> 00:23:19.588 the next step is the key animation process 434 00:23:19.588 --> 00:23:21.598 During this phase, the characters 435 00:23:21.598 --> 00:23:24.479 that were arranged during the layout stage are refined 436 00:23:24.479 --> 00:23:25.880 such as the camera movements 437 00:23:25.880 --> 00:23:30.600 that were initially sketched out are now finalized 438 00:23:30.600 --> 00:23:32.518 Key animation is 439 00:23:32.518 --> 00:23:35.880 the core process of the main production 440 00:23:35.880 --> 00:23:38.160 similar to the principal photography 441 00:23:38.160 --> 00:23:40.720 in films and dramas 442 00:23:40.720 --> 00:23:45.240 For 2D animation 443 00:23:45.240 --> 00:23:51.215 after the key animation is completed 444 00:23:51.215 --> 00:23:53.479 the next step is the in-between process 445 00:23:53.479 --> 00:23:56.240 In 3D animation 446 00:23:56.240 --> 00:23:59.360 this process is automated 447 00:23:59.360 --> 00:24:04.519 Once the key frames are set 448 00:24:04.519 --> 00:24:08.479 a standing pose of A, and walking 449 00:24:08.479 --> 00:24:09.939 after two seconds 450 00:24:09.939 --> 00:24:12.839 the software fills in the frames between them 451 00:24:12.839 --> 00:24:15.119 In 2D, however 452 00:24:15.119 --> 00:24:16.920 animators manually 453 00:24:16.920 --> 00:24:19.200 draw the in-between frames 454 00:24:19.200 --> 00:24:22.359 which is necessary 455 00:24:22.359 --> 00:24:24.399 These, known as in-between 456 00:24:24.399 --> 00:24:26.989 smooth out the movement 457 00:24:26.989 --> 00:24:29.178 Once the animation is complete 458 00:24:29.178 --> 00:24:32.440 2D animations undergo coloring and effects 459 00:24:32.440 --> 00:24:37.040 while 3D animations proceed to the rendering stage 460 00:24:37.040 --> 00:24:41.239 So finally, 2D animation completes 461 00:24:41.239 --> 00:24:44.679 its colored animation 462 00:24:44.679 --> 00:24:46.658 The rendering for 3D animation 463 00:24:46.658 --> 00:24:48.989 combines all the previously prepared elements 464 00:24:48.989 --> 00:24:52.760 producing the final animation 465 00:24:52.760 --> 00:24:55.839 There are, of course, many more detailed steps in the process 466 00:24:55.839 --> 00:24:58.320 but the main stages of completing an animation 467 00:24:58.320 --> 00:25:00.839 can be described as the main production phase 468 00:25:00.839 --> 00:25:02.908 Post-production, on the other hand 469 00:25:02.908 --> 00:25:06.119 involves adding effects 470 00:25:06.119 --> 00:25:07.760 color correction, and other final touches 471 00:25:07.760 --> 00:25:12.819 Even if individual shots and cuts have been worked on separately 472 00:25:12.819 --> 00:25:15.359 it is only after these are combined 473 00:25:15.359 --> 00:25:17.320 that effective adjustments can be made 474 00:25:17.320 --> 00:25:21.378 All these in a work process 475 00:25:21.378 --> 00:25:23.359 is called post-production 476 00:25:23.359 --> 00:25:25.749 When looking at everything together 477 00:25:25.749 --> 00:25:29.679 it includes the front shots, back shots, or various sources of footage 478 00:25:29.679 --> 00:25:32.408 as well as the rendered results 479 00:25:32.408 --> 00:25:34.399 The overall tone and manner of these elements 480 00:25:34.399 --> 00:25:36.829 are fine-tuned through color correction 481 00:25:36.829 --> 00:25:39.600 to enhance the visual appeal 482 00:25:39.600 --> 00:25:41.839 The concept of running time 483 00:25:41.839 --> 00:25:43.279 emerges after the main production 484 00:25:43.279 --> 00:25:45.079 and when post-production begins 485 00:25:45.079 --> 00:25:47.399 This is when the entire duration of the work is determined 486 00:25:47.399 --> 00:25:50.239 On top of the running time 487 00:25:50.239 --> 00:25:52.448 elements like sound, music 488 00:25:52.448 --> 00:25:54.458 and, if necessary, dubbing are added 489 00:25:54.458 --> 00:25:56.529 to complete the final product 490 00:25:56.529 --> 00:25:59.277 All of these steps require 491 00:25:59.277 --> 00:26:02.000 careful planning and resource management 492 00:26:02.000 --> 00:26:04.720 One example of resource allocation 493 00:26:04.720 --> 00:26:08.880 as in allocating the budget 494 00:26:08.880 --> 00:26:11.500 One example would be like 20% for pre-production 495 00:26:11.500 --> 00:26:12.750 60% for main production 496 00:26:12.750 --> 00:26:14.920 and 20% for post-production 497 00:26:14.920 --> 00:26:17.839 In reality, many animations 498 00:26:17.839 --> 00:26:22.600 tend to fluctuate by about a 10% margin 499 00:26:22.600 --> 00:26:25.200 Nevertheless, depending on the nature of the project 500 00:26:25.200 --> 00:26:27.559 these allocations can change 501 00:26:27.559 --> 00:26:30.348 It’s important to note that resource management 502 00:26:30.348 --> 00:26:33.279 should not be rigidly planned beforehand 503 00:26:33.279 --> 00:26:35.038 but should be adjusted 504 00:26:35.038 --> 00:26:37.959 to align effectively with the characteristics of the work 505 00:26:37.959 --> 00:26:39.839 The key is to allocate resources efficiently and accurately 506 00:26:39.839 --> 00:26:43.359 based on the specific needs of the project 507 00:26:43.359 --> 00:26:47.320 Regarding staffing, for example 508 00:26:47.320 --> 00:26:50.040 if we’re running an animation studio 509 00:26:50.040 --> 00:26:53.119 we could hire permanent staff 510 00:26:53.119 --> 00:26:56.000 or contract workers 511 00:26:56.000 --> 00:26:59.468 or even outsource certain tasks 512 00:26:59.468 --> 00:27:01.959 to freelancers 513 00:27:01.959 --> 00:27:04.480 Some tasks might be better off 514 00:27:04.480 --> 00:27:07.079 being contracted out in bulk 515 00:27:07.079 --> 00:27:10.839 These decisions need to be made based 516 00:27:10.839 --> 00:27:14.359 on the nature of the project, its timeline 517 00:27:14.359 --> 00:27:15.839 and the required technical expertise 518 00:27:15.839 --> 00:27:19.640 Effectively structuring the team according to these factors is essential 519 00:27:19.640 --> 00:27:24.160 For instance, the best control and highest quality 520 00:27:24.160 --> 00:27:25.600 tend to come from 521 00:27:25.600 --> 00:27:28.989 hiring in-house artists 522 00:27:28.989 --> 00:27:32.480 which may be the optimal solution 523 00:27:32.480 --> 00:27:36.320 but from a project perspective 524 00:27:36.320 --> 00:27:38.760 especially concerning the overall project costs 525 00:27:38.760 --> 00:27:41.959 this approach could put significant financial strain on the budget 526 00:27:41.959 --> 00:27:44.920 This could also become a burden 527 00:27:44.920 --> 00:27:46.920 for the company’s operations 528 00:27:46.920 --> 00:27:51.200 We need to assess whether the workforce required 529 00:27:51.200 --> 00:27:52.519 for long-term sustainability is necessary 530 00:27:52.519 --> 00:27:55.880 Then, we should determine the appropriate employment forms 531 00:27:55.880 --> 00:27:59.279 Currently 532 00:27:59.279 --> 00:28:02.519 it is rare to find animation productions 533 00:28:02.519 --> 00:28:06.160 without outsourcing 534 00:28:06.160 --> 00:28:07.920 as the process has become highly specialized 535 00:28:07.920 --> 00:28:11.600 Studios and production teams 536 00:28:11.600 --> 00:28:15.279 often specialize in specific areas 537 00:28:15.279 --> 00:28:18.839 and this scope of outsourcing 538 00:28:18.839 --> 00:28:21.359 varies from project to project 539 00:28:21.359 --> 00:28:23.519 Careful classification 540 00:28:23.519 --> 00:28:26.679 and decision-making are crucial in managing 541 00:28:26.679 --> 00:28:28.480 outsourcing scope effectively 542 00:28:28.480 --> 00:28:30.279 The schedule is 543 00:28:30.279 --> 00:28:33.880 directly tied to costs 544 00:28:33.880 --> 00:28:36.359 Human resource of whatever it is 545 00:28:36.359 --> 00:28:38.320 as the schedule extends 546 00:28:38.320 --> 00:28:40.479 the costs naturally increase 547 00:28:40.479 --> 00:28:43.159 Therefore, it’s crucial to set buffer times 548 00:28:43.159 --> 00:28:45.960 as delays are often unavoidable 549 00:28:45.960 --> 00:28:47.359 Scheduling, in particular 550 00:28:47.359 --> 00:28:50.760 has more uncontrollable aspects than costs 551 00:28:50.760 --> 00:28:53.236 For example, if costs exceed the budget 552 00:28:53.236 --> 00:28:55.320 additional funding can be sought 553 00:28:55.320 --> 00:28:57.960 or previously allocated costs can be reduced 554 00:28:57.960 --> 00:29:01.159 However, time lost cannot be regained 555 00:29:01.159 --> 00:29:06.000 It is common practice to secure at least a 20% margin 556 00:29:06.000 --> 00:29:09.000 to handle unforeseen delays 557 00:29:09.000 --> 00:29:11.599 Setting clear milestones for the project 558 00:29:11.599 --> 00:29:14.400 and managing the margins for each milestone is crucial 559 00:29:14.400 --> 00:29:18.159 The project manager or line producer 560 00:29:18.159 --> 00:29:21.559 plays a key role in keeping the schedule on track 561 00:29:21.559 --> 00:29:25.359 Additionally, during the planning phase 562 00:29:25.359 --> 00:29:31.000 it’s important to ensure that these estimates are realistic 563 00:29:31.000 --> 00:29:34.280 and not overly broad to create 564 00:29:34.280 --> 00:29:35.880 a competitive budget 565 00:29:36.102 --> 00:29:39.933 Business Strategy and Project Realization Process 566 00:29:40.239 --> 00:29:45.000 Next, let’s look at the business design and practical implementation of the project 567 00:29:45.000 --> 00:29:46.679 Establishing a business strategy is essential 568 00:29:46.679 --> 00:29:50.119 It begins with the appeal of the content itself 569 00:29:50.119 --> 00:29:54.400 and extends to the technical capabilities and human resources 570 00:29:54.400 --> 00:29:57.440 necessary to bring it to life 571 00:29:57.440 --> 00:30:00.400 However, even with all of these elements in place, we still need investment 572 00:30:00.400 --> 00:30:03.520 In modern mass entertainment 573 00:30:03.520 --> 00:30:07.159 it’s nearly impossible to create content with your own money 574 00:30:07.159 --> 00:30:10.320 No company today fully owns everything 575 00:30:10.320 --> 00:30:14.858 including channels and products like toys 576 00:30:14.858 --> 00:30:16.679 Disney could 577 00:30:16.679 --> 00:30:19.440 be the closest example to that 578 00:30:19.440 --> 00:30:22.641 But even Disney’s primary income likely comes 579 00:30:22.641 --> 00:30:24.679 from licensing fees 580 00:30:24.679 --> 00:30:28.519 This means the content and business characters 581 00:30:28.519 --> 00:30:31.079 need to be attractive enough to attract investors or partners 582 00:30:31.079 --> 00:30:35.696 Therefore, business strategy plays 583 00:30:35.696 --> 00:30:38.440 a critical role in producing contemporary animation content 584 00:30:38.440 --> 00:30:40.760 almost like the alpha and omega of the process 585 00:30:40.760 --> 00:30:43.110 In many cases, planning begins 586 00:30:43.110 --> 00:30:45.919 with the business strategy itself 587 00:30:45.919 --> 00:30:49.599 First, we need to design a revenue model 588 00:30:49.599 --> 00:30:52.119 I could take many examples 589 00:30:52.119 --> 00:30:54.760 One common example is toy companies in Japan 590 00:30:54.760 --> 00:30:56.599 They first create a toy 591 00:30:56.599 --> 00:31:00.760 and then develop a narrative that can effectively sell the toy 592 00:31:00.760 --> 00:31:04.119 From there, the storytelling is created 593 00:31:04.119 --> 00:31:05.640 and the animation is made based on that narrative 594 00:31:05.640 --> 00:31:08.880 In this case, they first developed the product 595 00:31:08.880 --> 00:31:11.039 and then created the animation 596 00:31:11.039 --> 00:31:13.039 to effectively sell it 597 00:31:13.039 --> 00:31:17.559 Naturally, the revenue model in this case revolves around the toy 598 00:31:17.559 --> 00:31:22.359 This strategy began showing great success in Japan 599 00:31:22.359 --> 00:31:24.119 by the late 1990s 600 00:31:24.119 --> 00:31:27.200 Since then, many animations produced in South Korea 601 00:31:27.200 --> 00:31:31.050 Japan, and Southeast Asia 602 00:31:31.050 --> 00:31:33.249 have followed a similar model 603 00:31:33.249 --> 00:31:36.280 in animation production 604 00:31:36.280 --> 00:31:39.280 The revenue model is crucial 605 00:31:39.280 --> 00:31:43.760 even more so than the appeal of the content or the quality 606 00:31:43.760 --> 00:31:46.080 of the work itself 607 00:31:46.080 --> 00:31:49.520 In fact, it often plays a significant role 608 00:31:49.520 --> 00:31:53.320 in driving the appeal of the content or the work 609 00:31:53.320 --> 00:31:57.440 For example, while the revenue model 610 00:31:57.440 --> 00:31:59.919 that I just described 611 00:31:59.919 --> 00:32:02.640 is mostly a commercial strategy 612 00:32:02.640 --> 00:32:05.159 in terms of content 613 00:32:05.159 --> 00:32:09.719 let’s say you plan to create a fantasy adventure series with 12 episodes 614 00:32:09.719 --> 00:32:15.428 By having preliminary meetings with an OTT platform 615 00:32:15.428 --> 00:32:18.640 and securing part of the production cost through a pre-sale 616 00:32:18.640 --> 00:32:22.799 you could also use this strategy to secure funding 617 00:32:22.799 --> 00:32:28.247 In other words, designing a revenue model 618 00:32:28.247 --> 00:32:32.039 is about ensuring that you can create differentiated revenue streams 619 00:32:32.039 --> 00:32:34.799 While this is important for appealing to investors 620 00:32:34.799 --> 00:32:38.029 even if you don’t secure funding directly through them 621 00:32:38.029 --> 00:32:41.788 you can still reduce the amount of investment needed 622 00:32:41.788 --> 00:32:43.760 by securing part of the production cost 623 00:32:43.760 --> 00:32:47.559 through pre-sales or advance contracts 624 00:32:47.559 --> 00:32:51.119 This means the revenue model is one of 625 00:32:51.119 --> 00:32:55.760 the first elements that need to be considered and planned 626 00:32:55.760 --> 00:32:57.880 After that, targeting comes into play 627 00:32:57.880 --> 00:33:01.549 The target should align with 628 00:33:01.549 --> 00:33:07.099 the nature of the content to ensure the strategy fits well 629 00:33:07.099 --> 00:33:10.394 The revenue structure 630 00:33:10.394 --> 00:33:13.194 in traditional animation 631 00:33:13.194 --> 00:33:16.159 is somewhat predefined 632 00:33:16.159 --> 00:33:19.319 When establishing a business strategy 633 00:33:19.319 --> 00:33:22.640 setting the target is essential 634 00:33:22.640 --> 00:33:25.320 This target refers not only to the audience that will consume the content 635 00:33:25.320 --> 00:33:28.255 but also to those who will consume 636 00:33:28.255 --> 00:33:30.960 the ancillary business generated by it 637 00:33:30.960 --> 00:33:33.559 So, setting this target is a key factor 638 00:33:33.559 --> 00:33:36.840 when creating the business model 639 00:33:36.840 --> 00:33:40.520 and it must be considered very carefully 640 00:33:40.520 --> 00:33:42.559 The revenue structure also varies 641 00:33:42.559 --> 00:33:45.679 depending on the nature 642 00:33:45.679 --> 00:33:48.000 genre, and target of the content 643 00:33:48.000 --> 00:33:51.719 For example, when it comes to broadcast rights 644 00:33:51.719 --> 00:33:54.640 we receive payment from different platforms 645 00:33:54.640 --> 00:33:56.519 There's terrestrial channels 646 00:33:56.519 --> 00:33:57.799 and then cable 647 00:33:57.799 --> 00:34:00.960 IPTV, OTT 648 00:34:00.960 --> 00:34:02.760 and YouTube channels 649 00:34:02.760 --> 00:34:04.280 also VOD and international markets 650 00:34:04.280 --> 00:34:08.280 These markets have prices that are more or less fixed 651 00:34:08.280 --> 00:34:11.400 When we receive investment 652 00:34:11.400 --> 00:34:15.558 or secure funds in advance through pre-sales 653 00:34:15.558 --> 00:34:20.159 we need to fully evaluate the potential revenue 654 00:34:20.159 --> 00:34:21.429 from these known sources 655 00:34:21.429 --> 00:34:24.840 This helps investors assess 656 00:34:24.840 --> 00:34:27.599 the vision and profitability of the content 657 00:34:27.599 --> 00:34:28.919 which becomes a crucial element 658 00:34:28.919 --> 00:34:30.520 in securing funding 659 00:34:30.520 --> 00:34:33.889 This is why it’s important to research and gather information through meetings 660 00:34:33.889 --> 00:34:40.159 or exchanges with experienced producers 661 00:34:40.159 --> 00:34:42.119 to determine these aspects 662 00:34:42.119 --> 00:34:44.840 preferably in advance 663 00:34:44.840 --> 00:34:48.719 When making a series 664 00:34:48.719 --> 00:34:52.039 we can anticipate the revenue 665 00:34:52.039 --> 00:34:54.499 a minimum and maximum revenue range 666 00:34:54.499 --> 00:34:56.599 However, there are often cases where the actual revenue falls 667 00:34:56.599 --> 00:34:58.418 below the minimum expected 668 00:34:58.418 --> 00:35:00.098 Therefore 669 00:35:00.098 --> 00:35:03.049 it is essential to plan for various launch strategies 670 00:35:03.049 --> 00:35:07.049 like considering releasing content 671 00:35:07.049 --> 00:35:08.928 in multiple formats 672 00:35:08.928 --> 00:35:13.159 For example 673 00:35:13.159 --> 00:35:15.799 a series that didn’t succeed initially 674 00:35:15.799 --> 00:35:19.128 might be cut into short clips and given new life 675 00:35:19.128 --> 00:35:21.280 on platforms like YouTube or TikTok 676 00:35:21.280 --> 00:35:24.178 eventually leading 677 00:35:24.178 --> 00:35:26.918 to renewed interest in the series 678 00:35:26.918 --> 00:35:30.389 Ultimately, content is unknown 679 00:35:30.389 --> 00:35:33.000 before it reaches an audience 680 00:35:33.000 --> 00:35:36.200 and as a result, many forms of failure are inevitable 681 00:35:36.200 --> 00:35:38.280 Regarding the failure cases 682 00:35:38.280 --> 00:35:41.799 it’s essential to be proactively aware 683 00:35:41.799 --> 00:35:44.128 of potential failures and verify them 684 00:35:44.128 --> 00:35:45.520 to some extent in advance 685 00:35:45.520 --> 00:35:48.400 Though predicting failure 686 00:35:48.400 --> 00:35:50.748 has its limits 687 00:35:50.748 --> 00:35:52.768 it’s important to be mindful of these possibilities 688 00:35:52.768 --> 00:35:55.400 and prepare accordingly 689 00:35:55.400 --> 00:35:58.860 Next, we move on to regional market strategies 690 00:35:58.860 --> 00:36:03.442 For instance, let’s take a domestic example of an SF animation 691 00:36:03.442 --> 00:36:07.400 Then it might be distributed mainly through IPTV and OTT platforms within the domestic market 692 00:36:07.400 --> 00:36:09.760 with special episodes used for the theatrical version 693 00:36:09.760 --> 00:36:13.478 Additionally, content could be sold 694 00:36:13.478 --> 00:36:16.608 as paid content on platforms like YouTube or Google 695 00:36:16.608 --> 00:36:19.200 In Japan, entering the market through co-production with local studios 696 00:36:19.200 --> 00:36:21.479 can help reduce market entry barriers 697 00:36:21.479 --> 00:36:24.719 On the global level, pre-coordination 698 00:36:24.719 --> 00:36:30.178 with major platforms such as Netflix or Disney+ 699 00:36:30.178 --> 00:36:33.059 provided that global contracts 700 00:36:33.059 --> 00:36:34.939 are already in place for regions like South Korea 701 00:36:34.939 --> 00:36:38.799 would allow content to naturally expand globally 702 00:36:38.799 --> 00:36:41.059 In terms of expected revenue 703 00:36:41.059 --> 00:36:43.318 there can be specific expectations for both domestic and overseas earnings 704 00:36:43.318 --> 00:36:46.559 with projections on how much each market 705 00:36:46.559 --> 00:36:49.968 will contribute to the overall revenue 706 00:36:49.968 --> 00:36:52.348 This kind of market research 707 00:36:52.348 --> 00:36:54.988 and realistic planning 708 00:36:54.988 --> 00:37:02.400 will help you assess potential revenue models and the scale of profits 709 00:37:02.400 --> 00:37:05.439 Now, moving to the production implementation plan 710 00:37:05.439 --> 00:37:07.760 When planning the budget 711 00:37:07.760 --> 00:37:10.489 as previously mentioned 712 00:37:10.489 --> 00:37:11.918 it can vary significantly 713 00:37:11.918 --> 00:37:16.959 based on the production method chosen 714 00:37:16.959 --> 00:37:19.219 For example, the project could employ a hybrid approach 715 00:37:19.219 --> 00:37:22.520 2D, or 3D animation 716 00:37:22.520 --> 00:37:25.560 The character of the project will determine 717 00:37:25.560 --> 00:37:27.640 where resources are allocated 718 00:37:27.640 --> 00:37:28.560 Which aspects should receive more focus 719 00:37:28.560 --> 00:37:30.560 or investment and which parts may require budget cuts? 720 00:37:30.560 --> 00:37:35.959 This would apply to both pre-production 721 00:37:35.959 --> 00:37:38.239 and main production phases 722 00:37:38.239 --> 00:37:40.059 And for the post-production phase 723 00:37:40.059 --> 00:37:43.319 if the project is music-intensive, for example 724 00:37:43.319 --> 00:37:44.879 you may need to allocate 725 00:37:44.879 --> 00:37:47.037 a higher budget for that part of the production 726 00:37:47.037 --> 00:37:49.000 So, these factors should be researched 727 00:37:49.000 --> 00:37:53.063 based on what is currently feasible, and budgets should 728 00:37:53.063 --> 00:37:56.819 be set and distributed accordingly 729 00:37:56.819 --> 00:38:00.159 Additionally, in preparation for budget cuts 730 00:38:00.159 --> 00:38:04.000 as I mentioned earlier, keeping a 20% margin 731 00:38:04.000 --> 00:38:08.000 or planning for various scenarios is crucial 732 00:38:08.000 --> 00:38:10.458 In some cases, reducing the production volume may be necessary 733 00:38:10.458 --> 00:38:12.099 This is something that can 734 00:38:12.099 --> 00:38:14.719 be planned ahead of time 735 00:38:14.719 --> 00:38:19.578 For example, if you were to create an Avengers animation 736 00:38:19.578 --> 00:38:22.199 you would have to consider how many of the many characters 737 00:38:22.199 --> 00:38:25.479 appearing in the original series can be included in the animation 738 00:38:25.479 --> 00:38:28.160 Depending on the budget plan 739 00:38:28.160 --> 00:38:30.359 the number of characters might change 740 00:38:30.359 --> 00:38:35.079 As for the location and background 741 00:38:35.079 --> 00:38:38.219 some degree of compromise or adjustment may be possible 742 00:38:38.219 --> 00:38:40.928 However, these decisions should focus 743 00:38:40.928 --> 00:38:44.078 on maximizing the narrative, fun, and appeal of the work 744 00:38:44.078 --> 00:38:48.680 in the pre-production phase 745 00:38:48.680 --> 00:38:52.100 By doing so, when the project is onset 746 00:38:52.100 --> 00:38:57.100 even if the budget is reduced later in the process 747 00:38:57.100 --> 00:38:59.880 with this focus in advance 748 00:38:59.880 --> 00:39:02.139 you will be better prepared 749 00:39:02.139 --> 00:39:05.558 to handle the situation more smoothly 750 00:39:05.558 --> 00:39:08.920 Next, we have the production partnerships 751 00:39:08.920 --> 00:39:10.800 which are another crucial element 752 00:39:10.800 --> 00:39:13.699 It’s important to understand 753 00:39:13.699 --> 00:39:15.649 that the right partners for the project 754 00:39:15.649 --> 00:39:18.063 may not always be available on the desired schedule 755 00:39:18.063 --> 00:39:20.000 So pre-arranging is necessary 756 00:39:20.000 --> 00:39:22.808 In our case, we outsource a lot of tasks 757 00:39:22.808 --> 00:39:24.599 For our production 758 00:39:24.599 --> 00:39:27.467 depending on the nature of the project, we meet and communicate 759 00:39:27.467 --> 00:39:30.428 regularly with potential partners 760 00:39:30.428 --> 00:39:33.479 keeping track of their schedules 761 00:39:33.479 --> 00:39:36.800 Therefore, we prepare Plan A, Plan B 762 00:39:36.800 --> 00:39:42.119 and other alternatives in advance 763 00:39:42.119 --> 00:39:47.400 This preparation is essential 764 00:39:47.400 --> 00:39:49.920 and I wanted to highlight this point 765 00:39:49.920 --> 00:39:53.199 For action-oriented 3D animation production 766 00:39:53.199 --> 00:39:57.589 there may be external companies specializing in this area 767 00:39:57.589 --> 00:40:02.138 or even within the internal production 768 00:40:02.138 --> 00:40:03.879 there could be artists 769 00:40:03.879 --> 00:40:07.839 who can take on a higher level of responsibility 770 00:40:07.839 --> 00:40:10.148 with more authority 771 00:40:10.148 --> 00:40:14.239 The key is effectively distributing resources 772 00:40:14.239 --> 00:40:18.160 to ensure that the main production is well-supported 773 00:40:18.160 --> 00:40:20.959 Internal and external teams 774 00:40:20.959 --> 00:40:26.051 It is crucial to optimize the production process 775 00:40:26.051 --> 00:40:31.800 by effectively distributing tasks between internal and external teams 776 00:40:31.800 --> 00:40:35.398 This approach will also help optimize 777 00:40:35.398 --> 00:40:38.599 the production budget 778 00:40:38.599 --> 00:40:44.239 which therefore requires careful planning and consideration 779 00:40:44.239 --> 00:40:49.000 Additionally, when facing budget constraints, alternatives must be considered 780 00:40:49.000 --> 00:40:53.280 As I mentioned before 781 00:40:53.280 --> 00:40:57.959 action scenes could potentially be produced in collaboration with another party 782 00:40:57.959 --> 00:41:01.880 which could involve sharing the rights, for example 783 00:41:01.880 --> 00:41:05.230 To briefly sum up, for the successful realization of a project 784 00:41:05.230 --> 00:41:06.879 we reviewed both the business 785 00:41:06.879 --> 00:41:09.968 and production aspects 786 00:41:09.968 --> 00:41:11.800 considering how to balance them 787 00:41:11.800 --> 00:41:14.048 Even while maintaining the initial planning goals 788 00:41:14.048 --> 00:41:16.160 it is essential to consider realistic production possibilities 789 00:41:16.160 --> 00:41:19.560 risk management, and ensuring alternatives are in place 790 00:41:19.560 --> 00:41:23.000 With this 791 00:41:23.000 --> 00:41:25.469 let's end today's lecture 792 00:41:25.469 --> 00:41:28.319 In the next lecture, we will explore how to propose 793 00:41:28.319 --> 00:41:31.680 and realize such a project in practice 794 00:41:31.680 --> 00:41:32.697 Thank you 795 00:41:33.621 --> 00:41:35.307 Core Ideas for Animation Planning Market potential review Clear target audience Analysis of similar works Market potential relative to budget 796 00:41:35.307 --> 00:41:36.894 Feasibility Review Technical implementation Budget range Estimated production period 797 00:41:36.894 --> 00:41:38.571 Story Structuring Basic story making: Modern application of the three-act structure Character relationships: Main with support, conflict structure 798 00:41:38.574 --> 00:41:41.074 Character setting and work design process Design direction Character design changes according to growth process Reflecting mental changes in appearance Emphasis on character through clothing and props 799 00:41:41.074 --> 00:41:43.554 Tone & Manner of the Work 〈Cyberpunk: Edgerunners〉 Reinterpretation into 2D animation Unique lines and color work Harmony of violence and artistry 800 00:41:43.554 --> 00:41:45.222 Background and Prop Design 〈Cyberpunk: Edgerunners〉 Differentiation with residential spaces Original worldview in props Vertical structure of a city 801 00:41:45.222 --> 00:41:46.789 Choosing a Production Technique 2D Animation: Advantages and suitable genre examples 〈Cyberpunk: Edgerunners〉 802 00:41:46.789 --> 00:41:48.524 3D Animation: Characteristics and usage examples 〈Arcane〉 Hybrid Method: Usage examples of mixed techniques 〈Blue Eye Samurai〉 803 00:41:48.527 --> 00:41:49.495 Business Strategy and Production Realization Process Designing a Revenue Model Before receiving investment, it is necessary to understand the measurable revenue, which is an important factor in determining the vision and profitability of the content 804 00:41:49.495 --> 00:41:50.532 Set calculable revenue with experienced productions Consider diverse launch methods to prepare for failure 805 00:41:50.532 --> 00:41:51.509 Budget Planning Organizing the budget by production technique Streamline character designs, reuse backgrounds, reduce action scenes 806 00:41:51.509 --> 00:41:52.386 Building Production Partnerships Regularly checking schedules and communicating with external partners 807 00:41:52.386 --> 00:41:53.401 Effectively distributing resources for the main production Optimizing production through effective allocation of external partners