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One of the things that has impressed me with this line of motion comics is the level of detail there is. How do you determine how much movement and animation is needed for a scene?
We maximize the 'aliveness' of each shot. Sometimes budget and schedule limit how far we can go, but we have enough control over the panels that we can keep each shot extremely rich with movement under optimal production circumstances.
The only real process for deciding how the panel should be motioned is what does the story need from that panel? Comic books and motion comics are essentially about telling a story. They are storytelling experiences. How do we maximize the storytelling richness while minimizing distractions? One can look at it as purifying the storytelling experience for the audience.
The lip synching was been quite well done. Is that done before or after the voice acting has been laid down?
Lip syncing is done after the VO is recorded. As good as our lip syncing may be, it has lots of room for improvement. But the facial movement as a whole is critical for the success of our motion comics. The characters need to be the most compelling part of the story experience. Otherwise the motion comics are reduced to sensory stimulation (i.e. the audience has nothing to connect to in a meaningful way.)
In looking at some of the page views of the Youtube videos, some of the comics have gotten many more views than the comic has actually sold. How do you feel about that?
I am not sure what threshold amount of page views are necessary for our motion comics to be considered a success.
We are building a business, so blockbuster numbers would make everyone feel more secure, but we are still working on developing a profitable distribution channel. If the views are greater than the number of books that have been sold, then we are certainly successful at exposing more people to the story properties, and that is one theory of the motion comic that is now a proven fact.
It would seem that this endeavor has many aspects to it with Dark Horse using it to market their line to new audiences, monetizing old content, pushing an old concept to into new grounds, and more that I’m sure I’m missing. What has it been like to be a part of this project?
Working with Mike Richardson has been a positive business experience. We connected at the start, and were right on the same track as to how to go about creating an entertainment business out of motion comics. We are optimistic about the potential, but any business development is risky. Minimizing that risk while optimizing its success is incredibly complex and requires full commitment and endless hours of work. This has been the most challenging thing I have ever done. Working with the Dark Horse properties is fulfilling and a great opportunity, but there are no guarantees. There is much more work to be done.
According to your interview on Geek and Sundry, you broke into Dark Horse comics by essentially cold calling them with your portfolio on your Youtube channel. What advice would you have to other animators that might want to get into creating motion comics themselves?
If you want to make motion comics, make them. As James Cameron recently said to a TMZ camera man when he asked how a guy can get into making movies, "Stop playing games and start creating."
Do you see motion comics as a new frontier in the world of comic books? Why do you think it isn’t being used as much?
Motion comics are not re-inventing the comic book anymore than music videos re-invented music. They are a unique story experience. They have to find their own ground to stand on. But the potential is there for them to smash through that wall that has kept people like me from enjoying comic book stories, just as comic books have helped many people break through that wall that kept them from enjoying picture-less stories (i.e. books with just words.) Isn't it really just about the story experience? Sure, lots of people like holding paper in their hands, just as lots of people - like me - like sitting in a movie theater. But as much as I love VFX, I much prefer a movie with bad VFX and a great story, than I do a movie with fantastic VFX and a bad story. It is a great story experience we are after, not just sensory titillation.
What has been the best part of working on the Dark Horse comics?
The best part of creating a motion comic is reading even one comment that essentially says "Thank you". I love the results of the work, and the challenges of getting there, but unless it connects with even just one other person, the art seems lost.
Is there one that is your favorite? Why?
None of my children is my favorite, and none of the motion comics is my favorite. I throw everything I can into each one - sometimes not as much as I wish I could. In other words, I love them.