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Thanks Gorillaz27 for letting me know, dycaite retrieved the comment for me:
Thanks Gorillaz27 for letting me know, dycaite retrieved the comment for me (don't know how I missed this when it was posted...):


"Hey all, This is Diana Hansen-Young - Just saw this -- mea culpa! for not responding to emails and requests for this. I'm far behind in answering emails - they come in too fast; this isn't an excuse, but there are now 564 unanswered emails. They come in at the rate of 10-12 per day, and I can thoughtfully answer about 5. So you see the dilemma. . . and I like to answer personally. Having said all of that, I do have the original recordings of all of the animation we did in 1990/91 using LC's and a program we jerry-rigged to create the "in-betweens" - putting color in the frames was by hand - each frame -- because we didn't have a way of carrying the same colors forward. Some interesting notes: the load was so great that one hard disc could hold maybe two (tops) frames. We had literally tens of thousands of hard discs (still have them) and we would have to save each drawing onto the disc (and take it off the hard drive because you couldn't do anything else on the computer while it was there. It sucked up all the memory).
"Hey all, This is Diana Hansen-Young - Just saw this -- mea culpa! for not responding to emails and requests for this. I'm far behind in answering emails - they come in too fast; this isn't an excuse, but there are now 564 unanswered emails. They come in at the rate of 10-12 per day, and I can thoughtfully answer about 5. So you see the dilemma. . . and I like to answer personally. Having said all of that, I do have the original recordings of all of the animation we did in 1990/91 using LC's and a program we jerry-rigged to create the "in-betweens" - putting color in the frames was by hand - each frame -- because we didn't have a way of carrying the same colors forward. Some interesting notes: the load was so great that one hard disc could hold maybe two (tops) frames. We had literally tens of thousands of hard discs (still have them) and we would have to save each drawing onto the disc (and take it off the hard drive because you couldn't do anything else on the computer while it was there. It sucked up all the memory).

Latest revision as of 01:38, 10 April 2018

Thanks Gorillaz27 for letting me know, dycaite retrieved the comment for me (don't know how I missed this when it was posted...):

"Hey all, This is Diana Hansen-Young - Just saw this -- mea culpa! for not responding to emails and requests for this. I'm far behind in answering emails - they come in too fast; this isn't an excuse, but there are now 564 unanswered emails. They come in at the rate of 10-12 per day, and I can thoughtfully answer about 5. So you see the dilemma. . . and I like to answer personally. Having said all of that, I do have the original recordings of all of the animation we did in 1990/91 using LC's and a program we jerry-rigged to create the "in-betweens" - putting color in the frames was by hand - each frame -- because we didn't have a way of carrying the same colors forward. Some interesting notes: the load was so great that one hard disc could hold maybe two (tops) frames. We had literally tens of thousands of hard discs (still have them) and we would have to save each drawing onto the disc (and take it off the hard drive because you couldn't do anything else on the computer while it was there. It sucked up all the memory).

After hitting "save" it would be a 15-20 minute wait with the spinning beach ball, and then we would take out the disc, label it with the right number to correspond to the sequential images for the storyline, and load another disc. We were all artists, not computer-savvy, but we KNEW somehow that there had to be a way to do animation on computers. (The whole point was to TELL A STORY). During this time, we heard about an outfit doing animation with computers on the mainland - guys who made a video of an animated lamp -- and we wrote to them for advice on how to get the images OFF the discs and onto tape so we could go into a studio and edit it in a conventional way. They suggested an experimental place somewhere in Ohio, I think, where they could manually drop each disc's image onto a tape, one at a time, giving us footage of animation to edit. I remember going there and sitting in that room for about eight days, watching them drop images, one by one, onto the tape, which I took back into a studio in Honolulu where we put it together, then added sound, and voice overs, which we also recorded in an amateur studio with local (very fine) voice actors. Final comment - looking back at them -- they're a mess from today's perspective. I cringe. BUT - being an artist -- and trying new things -- ALWAYS means you have to be comfortable with making messes, chaos, trying stuff (and finding it does or doesn't work) - and putting it out there, for others to see or build on, DESPITE the criticism you know you're going to get. Yes. They now look amateur and jerky and all of those things. But we did it. We created about 2 1/2 hours of animation using five guys with 5 LC's in a kitchen at a total cost of $90,000 for all of it.

We got a great response from viewers - including negative response from a scene in Honolulu Nights where the bad buy bites the head off a cute ghekko. (Edgy for the times and place). I've wrestled with putting this stuff out there because it looks so amateur now; but it was 1990/91 - 27 years ago!!! So I'll dig it out and put it somewhere online (not sure where yet) knowing the trolls are out there looking for fresh meat. All I can say to them is: Take yourself back 27 years in a time machine, and you do it better, and tell me how you did it. Art and innovation and creative thinking is always messy. Always. Half of being a maker, an artist, creating something, is inuring yourself to both the self-critic on your shoulder that says: That's gonna get criticized -- (you tell it to shut up) -- and to all the internet trolls - show me you could have done it better in 1990, or shut up). Having said all of that, there's nothing more rewarding than making a mess while trying something new. Thanks for these posts. Aloha, diana hansen-young NYC August 23 2017."