The Big Picture
The production process for a live action TV show is fairly straightforward. Writers come up with a script, actors perform the script in front of a few cameras and a studio audience, the footage is edited, and the show is ready for broadcast. (This is a simplification, but thatâs the production process in a nutshell).
Producing an animated television program is a far more laborious process, involving dozens of people working hundreds of hours. In traditional animation, still the standard for animated TV shows, every single frame of an animated show must be drawn by hand. The 20 or so minutes of actual footage that make up a typical half-hour program consists of around 30,000 separate frames.
Typically, a half-hour animated program is the product of a nine-month journey, involving eight major steps:
- writing the script
- the table read
- recording voices and editing the soundtrack
- creating the storyboard
- creating the animatic
- creating the color
- editing the color
- adding sound effects and music
Writing the Script
A new season of âKing of the Hillâ generally kicks off with the team of writers gathering to pitch story ideas. After a lot of collective brainstorming, the team narrows down the possibilities to a final list of stories. The producers then assign each story to specific writer or writing team.
After a writer has prepared a story outline, a few other writers will gather to discuss the story, identify any problems, and brainstorm new jokes.
Unlike writers for live action shows, writers for animated shows donât have to worry much about practical production issues. Dave Krinsky, Executive Producer for âKing of the Hillâ explains âbecause you donât have to worry about sets, you can have many locations, so you donât really have to worry too much about the reality of [physical production] when youâre writing your scripts.â Basically, if a writer can imagine in, it can go in an animated show.
Krinsky also enjoys animation because you can do things with the characters you wouldnât be able to successfully do with real actors. âWeâve found that thereâs a slight distance with animation you donât have with real actors,â Krinsky explains. That distance allows them to get away with more, such as an early episode of âKing of the Hillâ where Hank Hill was dealing with constipation. âWith a cartoon, you can get away with a little more,â Krinsky continues, âWe can show a lot of naked butts, which, other than âNYPD Blue,â a lot of shows canât get away with.â
Krinsky doesnât see many disadvantages to writing for animation, but he acknowledges there are some tradeoffs. âThereâs a definite delayed gratification [to animation], whereas on live TV you get to hear the audience laughing, and you get the feedback right away.â The lack of immediate audience response leads the writers and producers to rely on their own comedic instincts to guide them through the process, which necessitates many revisions along the way.
For more Detail:Â How TV Animation Works