MTV Original TV Shows, Reality TV Shows. Tuesdays 98c. Each episode of the six week especial event THE CHALLENGE CHAMPS VS PROS will focus on a different strength Agility, Ingenuity, Brawn, Brains, Endurance, and Guts. How It Made Season 10 Episode 6' title='How It Made Season 10 Episode 6' />How an episode of The Simpsons is made. In 1. 99. 6, The Simpsons passed The Flintstones as the longest running prime time animated show. In the 3. 0 year interim, the tenor of adult cartoons had shifted dramatically The Simpsons was more caustic and puerile than The Flintstones, a shameless Stone Age remake of hit 1. The Honeymooners. What had hardly changed was the creative process. Like The Flintstones, The Simpsons relied on a large Los Angeles based writers room, a coterie of directors, a squad of storyboard and design artists, and dozens of animators. The biggest change in production over three decades was simply geography by 1. The Simpsons had begun outsourcing the final stage of animation to a studio in South Korea. A year after The Simpsons passed The Flintstones, South Park premiered on Comedy Central. If The Simpsons was a middle finger to the establishment, the animation of Trey Parker and Matt Stone was a burning bag of shit. It was cheap and fast to animate with paper cutouts and computer animation, which allowed the show to comment on recent events. Bw3JYdDiA/0.jpg' alt='How It Made Season 10 Episode 6' title='How It Made Season 10 Episode 6' />Cartoons at the time, requiring months of costly animation, needed to be comparably timeless in their story and humor, but South Park targeted the present. Thanks to computer animation and the internet, South Park, the shows of Adult Swim, and countless online only animated shorts, like Homestar Runner, have made animation faster, rougher, and looser. After receiving notes and some creative direction, an episodes writer takes two weeks to pen a first draft. But The Simpsons, to this day, embraces the formula of the past. While an episode of South Park can now be created in a single week by a lean team, The Simpsons has actually added roles and failsafes to its lengthy process. In the world of animated TV, The Simpsons may be the last of its kind, an expensive, high touch, slow paced production built on formulas dating back to Walt Disney and Hanna Barbera. This is how an episode of the program is made, a detailed, meticulous look at a process that has its bedrock but builds upon it with the tools and lessons of the future. It begins with a pitch. The rest of the season, the team breaks scripts in the sterile writers rooms of the Fox studio lot, but the creative process always began in a home or the big conference space of a nearby hotel. Season 10 is the tenth season of The CWs Supernatural. It was announced on February 12th, 2014. YUy, cause if you go on brokensilenze you will see her an ceaser point at the Black ink crew opening and their kissing up in there and their togetherEach writer brings a fleshed out minute or so episode pitch, which they deliver with gusto to a room full of funny people. They laugh, take notes, then co creator Matt Groening, executive producer James L. Brooks, and showrunner Al Jean a portion of the braintrust from the earliest days provide feedback. In an essay on Splitsider about the writing process of seasons three through eight, former Simpsons writer and producer Bill Oakley described the pleasure of the retreats. You had no idea what George Meyer for instance was going to say, and suddenly it was like this fantastic Simpsons episode pouring out of his mouth that you never dreamed of. And it was like, wow, this is where this stuff comes from. A lot of times people worked collaboratively, too. We would work with Conan, back and forth, and wed exchange ideas and help polish them up. And so everybody would usually come with two, sometimes three ideas. Youd take fifteen minutes and youd say your idea in front of everybody all the writers, Jim Brooks, Matt Groening, Sam Simon when he was still there, and also the writers assistants who would be there taking notes on all this stuff. We split because we had enough writers, and we could get more done. There are more people doing more jobs with more failsafes at a higher cost on The Simpsons than the majority of if not all animated television shows. A writer has four to six weeks to complete rewrites. We rewrite it. That notion as anyone who has seen a summer blockbuster or network sitcom can tell is false. The script is vulnerable, malleable, and subject to constant scrutiny. Watch Between Us Online Freeform. Theres a blueprint for animated shows, but it comes later. The completed draft is like a guide through the woods, ready to be supplemented, revised, or outright redrawn if need be. An excerpt from Judd Apatows The Simpsons script, The Daily BeastThe table read. Each Thursday of production, the cast, producers, and writers meet for a table read of the latest script. Some of the cast attends the table read, others phone into the room. Occasionally, voice actor Chris Edgerly, who has handled. Its the normal sort of entropy of life, you know. He describes a critical setting in which the script is judged on its creative value, but also under the duress of external forces. A cell phone might go off or an actor might be fighting a cold, and the reads vibe shifts. The table read is my number one unpleasant experience. The actors and actresses record on separate tracks, rather than together a common method for capturing voice over. They didnt record in the same place. Im glad it worked, but there was no physical connection. The director. Some animators have a hiatus between seasons others periodically transition directly from one season to the next. An episodes animation begins with storyboarding, a process that contains multiple steps, and ultimately produces the materials a South Korean animation studio named Akom will use to complete the episode. This is what its going to eventually look like. Thats what a storyboard is just a blueprint of the episode. According to an extensive series of posts on Escobars blog about the animation of the show, the board is reviewed, revised, and then sent to Fox for another round of notes. Alongside the storyboard, an additional squad of designers is assigned props, characters, and backgrounds unique to the episode, all of which undergo a similar series of internal and external drafts and reviews. In early seasons, storyboarding was done entirely on paper. In mid season, the show switched to animatics a series of images paired with the voice track that would be edited on tapes. Relatively recently, storyboards transitioned to digital, in which all of the art and audio is uploaded to an online hub accessible anywhere from computers and smart devices. Jean says he can now edit audio from his phone instead of visiting an editing bay, and video effects can be made with a few digital tweaks, instead of requiring portions of the board to be entirely redrawn. The Simpsons storyboardStory reel. Update The story reel role was recently removed from The Simpsons production process. Today, story reel and storyboard processes are combined, leading directly to storyboard revisions. What follows is a step that formerly existed within the creative process. The storyboard revised from Foxs notes and accompanied by the voice track is screened to story reel artists, who are each assigned a portion of the episode. The work of the story reel artists, a mix of character and background animators, can range from polish to triage, depending on the storyboards quality upon arrival. As Escobar explains, the reel artists add additional characters poses, clean backgrounds, and incorporate notes from the director, who at this stage is refining the composition of the shots. As work is completed, the artists once again upload to a server, and the editor inserts the fleshed out segments in place of their respective portions of the storyboard until the entire storyboard is replaced with a completed story reel. The two phases sound quite similar, but they serve different functions. Where the storyboard is somewhere between a picture book and the flip book, the story reel visualization ideally plays like a barebones, black and white version of the actual episode. Homer needs to be on the other side of the room. After a short break, the team reconvenes and watches the episode again, this time stopping and starting the reel to discuss how those changes will be incorporated, sketch rough stills of what the changes should look like, and nail down any other tweaks to be made by the storyboard revisionist. Storyboard revisions.