Everyday I’d just look at the script and say, “Okay, today it’s a shot, they’re on the moon. I approached every shot every day without any storyboards, without any pre-planning and I animated it pretty chronologically. And with “World Of Tomorrow,” I didn’t want to fuss over anything. It was night and day speedier than the old process. I took to it pretty quick, then I got very addicted to the speed of it. There’s a certain tension and friction when you draw on paper that they miss. I have friends and illustrators who can’t stand drawing on the Cintiq. I wanted to teach myself some digital stuff in advance of a bigger feature project that’s coming up, and I took to it really quickly. I’ve been doing pencil and paper and film for almost 20 years. But I had never drawn on a tablet before. So I just kind of fell back on Photoshop.
BEST COUCH GAGS SOFTWARE
The other animation software that was recommended to me in the beginning, I hated it.
BEST COUCH GAGS PRO
And of course, Pro Tools, for the sound, but just those three programs. I’ve been told I should get into After Effects, but I haven’t opened it yet. The whole film is only Photoshop and Final Cut. And I’m pretty sure I did things to the software that weren’t supposed to be done. I’ve never done a digital project like that before. Throughout that period, he was working on his latest short film, “World Of Tomorrow.”ĭH: The whole thing was a massive learning experiment. When we spoke to Hertzfeldt back in 2012, he was still prepping his next project after that trilogy, but he soon had one of the more unexpected milestones in his career: being approached to create a couch gag for The Simpsons, which aired in the first episode of season 26. But one thing that hasn’t changed is his signature character-a barely there stick-figure, a stylistic choice that starts off looking juvenile but quickly reveals surprising depth and nuance. While his early short work was characterized by a mordant wit and harsh violence, it soon gave way to more meditative and soulful narratives, epitomized by his three-part opus It’s Such A Beautiful Day. The artist-animator has spent nearly 20 years carving out a highly idiosyncratic body of work, one defined by a fierce commitment to his one-man operation of hand-drawn animation. It’s always difficult to explain the brilliance of Don Hertzfeldt to someone who hasn’t seen his stuff.
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