tag:blogger.com,1999:blog-5052525513598295339.post5402174246519270705..comments2023-10-30T09:26:37.664-07:00Comments on Misce-Looney-ous: Mike Kazaleh on Duck Dodgers, Jr. and Maurice NobleJon Cookehttp://www.blogger.com/profile/11420721141591983997noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-5052525513598295339.post-70676318082523739422012-08-29T17:58:50.156-07:002012-08-29T17:58:50.156-07:00"Very hard to imagine ANYONE could misinterpr...<i>"Very hard to imagine ANYONE could misinterpret Maurice's Noble layouts!!!"</i><br /><br />Well it was a studio across the Pacific that was mostly doing the same thing over and over without much deviation, I've seen enough back then to realize why that is. The whole flat backround thing took a few years to take hold in the 90's as I'v enoticed.<br /><br /><i>"Wow that really is an eye opener to how difficult it must be to work with an animation studio located half way across the world. I've always felt that the designs on "Tiny Toons" were really not suited for overseas animation at all, and is it really that much cheaper?"</i><br /><br />Ask the former executives! :-P<br /><br /><i>"All the overseas places were doing multiple shows for different studios all at once, and I heard that often we'd be getting the "C" crew at some place while a rival company with a bigger budget and an exclusively dedicated american manager working for them overseas, got the "A" crew."</i><br /><br />Wouldn't surprise me.<br /><br /><i>"The layout step is always done-has to be so the animators have a specific plan, but usually overseas they do them themselves. Doing that step here in L.A. was to give us more control. As far as timing, unfortunately, some studios would ignore the sheets-which for a WB-style action or scene is frankly deadly to the final effect."</i><br /><br />Every time I hear of a studio shutting down a layout department, I cry!Chris Sobieniakhttps://www.blogger.com/profile/09838106041175506925noreply@blogger.comtag:blogger.com,1999:blog-5052525513598295339.post-7018323063743846722008-06-21T10:20:00.000-07:002008-06-21T10:20:00.000-07:00Nick, you're right on all points imho: the designs...Nick, you're right on all points imho: the designs <I>were</I> too difficult for those studios to do-(although at least one of the studios did have a really earnest and smart animation director working there to make sure the stuff was made as intended). All the overseas places were doing multiple shows for different studios all at once, and I heard that often we'd be getting the "C" crew at some place while a rival company with a bigger budget and an exclusively dedicated american manager working for them overseas, got the "A" crew.<BR/>"Much cheaper"-than what? Than doing it here? You bet it was. But in WB's favor and to their credit they did what was then a really radical step, one not done at Disney TV(our main competition in the high end TV market): they had a "unit system" and more importantly used character layout artists who were to do the extreme poses full size on aniamtion paper, working from the storyboards, to enhance and expand the ideas of the scenes, put more oomph and expression on the characters, etc. The timing for the episode was also to be done working from and written<I> on the layouts</I> rather than simply timing the storyboard pages(the usual way for TV), which are by necessity much more general. <BR/>For instance, I might get a scene to do in layout that was but two or three board panels, but <I>my</I> scene could be many more drawings than that to get the action across.<BR/>The layout step is always done-has to be so the animators have a specific plan, but usually overseas they do them themselves. Doing that step here in L.A. was to give us more control. As far as timing, unfortunately, some studios would ignore the sheets-which for a WB-style action or scene is frankly deadly to the final effect.Jenny Lerewhttps://www.blogger.com/profile/06668171465801333811noreply@blogger.comtag:blogger.com,1999:blog-5052525513598295339.post-21322110855962969752008-06-21T02:54:00.000-07:002008-06-21T02:54:00.000-07:00Maurice actually worked on two cartoons for TTA, ...Maurice actually worked on two cartoons for TTA, one for Kent and one some months later, for Eddie Fitzgerald-the latter a segment I also worked on doing character layouts; I was so in awe of him and he so intimidated me that I barely spoke to him, though we became fast friends later when we worked together at Turner feature development. <BR/> His memories when I met him again at Turner of the WB experience weren't happy ones, but he was glad for the opportunity to make some extra bread towards one of the overseas trips he loved to take. I'm not surprised he made friends with Kazaleh, and as I recall he liked working with Kent. <BR/><BR/>I remember vividly how sharp and <I>right</I> his work for the Eddie cartoon was, both in design and color styling; alas, that one wasn't translated decently either. I think it went to Akom-bottom of the overseas barrel at the time-so that's hardly surprising.Jenny Lerewhttps://www.blogger.com/profile/06668171465801333811noreply@blogger.comtag:blogger.com,1999:blog-5052525513598295339.post-29960894423194769182008-06-21T02:25:00.000-07:002008-06-21T02:25:00.000-07:00Wow that really is an eye opener to how difficult ...Wow that really is an eye opener to how difficult it must be to work with an animation studio located half way across the world. I've always felt that the designs on "Tiny Toons" were really not suited for overseas animation at all, and is it really that much cheaper?Nickhttps://www.blogger.com/profile/07672531047074305268noreply@blogger.comtag:blogger.com,1999:blog-5052525513598295339.post-40770347217897129362008-06-20T05:20:00.000-07:002008-06-20T05:20:00.000-07:00Very hard to imagine ANYONE could misinterpret Mau...Very hard to imagine ANYONE could misinterpret Maurice's Noble layouts!!!Larry Levinehttps://www.blogger.com/profile/02796712092304761340noreply@blogger.com