Giant Fantos was fun to board. For scale we took a cue from Jurassic Park and always cut him off a little, impluing he was too large to fit on screen
Playing with scale and hiding the cuts - through camera movement or FX wipes.
This is called “invisible technique” or “seamlessness,” and the goal is to hide the film making so the audience can focus more on whats happening on screen.
I time to beats. Every action in the episode was done in some increment of 4 - (but usually an increment of 8.) The trick is to vary the action between those beats (slow, medium fast) to keep things interesting.
For this clip I cut the music and temp sound effects first, then adjusted picture to fit. "If it sounds right it will look right," is a good piece of editing advice.
Finished season 2 and I absolutely loved it! Especially the payoff with the goo stone. Thigh I'm curious, what lead to decision of Kid not having the telekinesis stone for most the season? Is it because it's pretty OP?
Glad you liked season 2! This was Jo's season so we wanted to focus on her . This might have been harder if Kid had his full awesome powers. There was also a bit of a "What's the worst thing that could happen to a character - and how could that end up being the best thing that could happen to them?" kind of a deal going on.
When something isn’t working in a sequence, it’s often due to a lack of contrast. Action sequences can get monotonously fast. Here I was trying to push the contrast between short, loud shots and longer, quieter ones.
POV shots are a great way to answer the question, “whose story is it,” by literally showing the story through their eyes. The Pyramid Puzzle of Pain was Flo’s story so.....
Kid Cosmic Episode 202 was a super fun exercise in creating interest through blocking and withholding information. I kept everyone moving as best I could, and tried to create a simple question - what are the looking at? https://www.instagram.com/p/CTz9rnrKqkw/?utm_medium=tumblr
Hi, Dave. My name’s Adia. I’m a huge fan of your shows Wander Over Yonder and Kid Cosmic. Both of them are fantastic, you and your crew did a great job on them both! I’ve been in a bit of a Lonely Planet mode lately, so I wanted to ask you a question about it. How come the original version of Wander inside the cottage, being cuddle by the vines in one of the storyboards were cut out? ( I know your not a story broad worker on the show but I really wanted to know why the scene was changed.)
I did storyboards on Wander, but not that episode.
But I also oversaw the editing of the series as well, so I can speak to that. Those scenes were cut for time. Television has strict time limits for shows because they make their money selling commercials. If the show is too long, something has to go!
That’s the great thing about making shows for Netflix. The shows can be exactly as long (or short) as they need to be!
Already finished binging the series? Haven’t seen it yet? Here’s some bonus shorts that highlight the teams’s powers! Boarded by the great Paul Watling, Justin Nichols and Vaughn Tada!
Glad to see you back again lol. I binged Kid Cosmic yesterday and it’s super sweet and funny and I really love the message behind this one. Craig always seems to give the right advice right when I need it lol.
Glad you liked it! Craig always has something to say, and it’s always thoughtful. I think Kid Cosmic is his most personal show yet. And just wait for season 2. It’s going to blow you away!
Today is launch day for Kid Cosmic! There’s nothing better than working with people you like on something you are proud of. That is certainly true of Kid Cosmic!
And none of it would have been possible without the unprecedented trust and support given to us by Netflix. It’s a wonderful studio at a wonderful moment in time. I hope you like our show!
So I've joined 1996 and created a website. It's mostly to sort out my credits and bio and awards and stuff that IMDB always credits to OTHER Dave Thomas'. There's also storyboards and animatics too, so if that sort of stuff interests you, head on over!