The Beginnings of South Park|
South Park Comes Home
Deleted South Park
Spotlight on Power Animator
— Work In Progress, p.30
— Work In Progress, p.31
I do have one tip for you: I took two screenshots of "The Tooth Fairy's Tats 2000" and decided to place them side by side. I know for certain that the basic kid's head is a perfect circle, so I shrank the image horizontally and drew circles around Butters' head, and shrank again and drew again, until both circles below matched each other. From this I calculated that for many screen shots you need to shrink the image horizontally by 10% in order for the image to be accurate.
This confirms the observation that a person on screen looks 11% wider (and so, fatter) than he or she really is.
|Here's a rebuttal from a viewer
Wtf are you saying bro?! An old crappy 16mm Arriflex camera?? There's no such thing as a crappy 16mm Arriflex camera you noob, and with film camera the camera is just a machine and has nothing to do with image quality. It only pulls through the film stock and exposes it, that's all. Image quality with film cameras rely on film stock and lenses so don't go around saying dumb things.
Also, btw, they used the Arrifles SR2 16mm camera, and guess what? You know that recent feature film called Black Swan.. Yes?? Well that was shot on the same 16mm Arriflex they used for South Park, and did that look crappy to you? No it did not, so don't say useless things.
|LIEBLING:||We're about to show you the original pilot that Trey and Matt produced for Comedy Central. They finished it in October of '96. Do you guys want to talk about it a little bit?
||PARKER:||Yeah, I mean, what happened — this again came right after "Spirit of Christmas," and it was very experimental. You know, we didn't know — and it was really me and Matt and Eric did the entire thing ourselves. It took forever.
||STONE:||It took 70 days or something.
||PARKER:||You know, in this dark little room. And unlike—
||STONE:||Yeah, that summer.
||PARKER:||— unlike the show, it is all construction paper, just like "The Spirit of Christmas." Because at the time we thought we could actually do the series that way before we got bitch-slapped by this, and it took way longer than we thought it would. [laughter] But, you know, we learned a lot. And I think it's — you know, they're going to show you this because it's — you know, it is interesting to see what we ended up cutting out. You know, because we made this and it was a little long.
||STONE:||It was way long. Four minutes long, and we had no idea how to fit it down.
||PARKER:||Yeah, and we still didn't have quite the grasp on the characters.
||STONE:||It was really linear. That was the biggest thing. It just was like kids here, kids there, kids there, kids there, kids there. One of our biggest lessons was learning how to make a story move by cutting back and forth between things.
||PARKER:||Yeah, but it is interesting—
||STONE:||No one taught us that in film school.
||PARKER:||— in that it is sort of the first thing we made. So that's about it.
||STONE:||This was basically our entire summer of '96.
||LIEBLING:||A little anecdote: they were locked in this dark room. I just had a vision of them in this basement in Denver somewhere, cutting and shooting, and I spoke to them one day and they sounded really, really bad. And we said, "well, why don't we just push the delivery date a week so you guys can take a couple days off?" And they said okay. And then I found out that they took those two days off and made a film. [laughter]
"By creating flat characters and backgrounds in a 3D environment, we are able to add textures and lighting effects that give the film a cut-out construction paper stop-motion style which would have taken many more months if done traditionally," said Gina Shay, line producer, South Park Productions. "We have the flexibility to quickly alter individual elements, such as lip sync, on a shot by shot basis to keep up with a script in constant flux. SGI Origin servers provided the rendering power and storage capacity we needed to deliver this project in a timely manner."
"SGI systems were part of the entire South Park animation process, from modeling, layout, lighting, texturing, animation, and compositing through rendering at 2K resolution," said Greg Estes, vice president of communications and media marketing at SGI. "The balanced 2D and 3D performance of Silicon Graphics visual workstations helped the artists interactively combine 2D and 3D elements, making complicated scene/shot planning with multiple camera moves a very intuitive task. This is an excellent example of how SGI solutions provide the flexibility and reliability that help our customers tell their stories best."
Do you send any work overseas?
What software/hardware do you use?
What are the pitfalls and perks?
What do you enjoy? What do you hate?