It is still a long way to go into commercial use for 3d, but the animation produced by the animation team soon released a film.

After Zhao Huangyu recognized the route formulated by Takahashi, he learned Japan's excellent method to reduce animation costs in the animation department.

The official animation produced by Wanhu himself did not take long to produce two episodes and twenty-four minutes.

The reason why animation has been produced for so long is that although Wanhu animation follows the rules of Japanese animation, it does not mean that the playback time set by Japan is unreasonable.

In addition, the ad is about twenty-five minutes of a single episode of animation playback, so it is almost time for young children to concentrate.

Compared to the large amount of children who can hold up to death at a time, the continuous playback of episodes after episode is just enough, which can better maintain children's continuous attention to cartoons.

Although only two episodes were produced, Takahashi sent these two episodes of semi-finished products to Wanhu North America, allowing Nick to find a suitable voice actor.

As soon as Nick finished the dubbing, he found a group of small audiences and asked them to watch the animation to express their feelings about the animation.

Of course, relying solely on questionnaires and verbal inquiries is unreliable. While the cartoons are being played at the screening venue, there are several cameras facing the children in the face without their knowledge.

Of course, this approach in North America does not violate the law. North America has reached an agreement with their guardians and signed a contract.

In the contract, Wanhu North America claimed that this was a social experiment, exploring the differences and differences between the audience's direct physical reactions to the same video and the questionnaire.

That’s right, the so-called filling out a questionnaire and oral inquiries and transcripts are just auxiliary investigation methods for tens of thousands of households.

The real means of investigation are those cameras that continue to record video.

This set of ideas comes from Takahashi, who believes that people’s unconscious reactions during the movie are the most real reactions.

When will you feel excited, when will you feel moved, and when will you be angry, people will naturally express it during the movie watching.

The so-called questionnaire is the product of correction through subjective consciousness.

Just like many children, including adults, are unwilling to reveal their true feelings on the questionnaire.

After all, a boy likes the magic girl of the Queen, and a big man with a big breast actually likes the pony and likes the magic of friendship. Is this just a joke? It's not so a joke!

Therefore, they will inevitably lie on the questionnaire, but their bodies will not lie.

The first trial of Wanhu Animation was quite good. On the third day after the adaptation, the Wanhu Animation production team got the still-hot video.

Based on these synchronous processing, they can clearly see whether every child has devoted their feelings to the animation process. During the animation playback, they felt touched at which point.

"Pay attention to this shot in three minutes and eleven seconds. People see more than 60% of the children, and they have a strong interest in this shot. Among them, the second row, the third row, the first row, and the sixth row, they unconsciously lean forward. Among them, the third row, the third row, the audience in the second row only held the handrail. This shows that our first crisis has indeed made them feel a sense of crisis. This plot mode will be recorded, and we will use it again in the production process of the animation later to verify whether this mode is useful."

Zhao Huangyu said.

Although Zhao Huangyu said it, he actually felt that the system Takahashi created was a blasphemy for animation production.

What is art?

Art should be a beautiful thing created directly by people.

However, Takahashi regards art as something and animation as something, and he regards animation as something that can be quantitatively analyzed.

He even tried to reverse the animation based on the audience's reactions.

Although Zhao Huangyu has also heard that the United States, or Hollywood produces animations, it is very patterned. The first act of a few minutes, the second act of a few minutes, the climax of a few minutes, and the end of a few minutes.

However, even Hollywood in the United States did not make it as excessive as Takahashi.

However, although Zhao Huangyu complained, if it was really based on results, Takahashi's method could not be said to be useless.

At this time, Zhao Huangyu remembered that he had seen the three-dimensional animation some time ago. He suddenly thought about whether one day, when the electronic technology advocated by Takahashi developed to a certain level, those who did animation like himself would disappear into the long river of history like a carriage replaced by trains and cars, and would become the dust of history.

As an art creator, Zhao Huangyu actually understands the so-called artistic creation more clearly than others.

It is nothing more than using different arrangements and combinations, using different elements to finally outline a work.

Compared with those mediocre creators, an excellent creator is nothing more than a lack of arrangement and combination of materials and poor skills, which cannot touch the viewer's heart.

But from this perspective, Takahashi's analysis is actually a set of methods that allow mediocre creators to get close to those talented and talented creators.

However, the method advocated by Takahashi is too ruthless and too cold. Although it is useful, if Zhao Huangyu could choose, he would never choose this method.

However, after several episodes of such creation, the animation produced by the entire team really made the experimenter audience more love to watch.

At the same time, Zhao Huangyu also found that even if this method is used, not all viewers like it in every scene.

However, Zhao Huangyu doesn't need to care whether every scene is liked by everyone.

Although an audience member is not interested in the first episode, he may have a cold in the second episode.

As long as the density of the connection between the bridge is strengthened, one bridge after another, there will always be a bridge that can touch the viewer's heart.

With such a guiding ideology, I have mastered the data of such a group of viewers. Although Wanhu Animation has just started to produce commercial animations, the sample films sent to the TV station moved everyone in the TV station's procurement department.

As the executive general manager of Wanhu North America, Nick personally brought samples to several TV stations. Almost all TV stations were interested, and the only thing left was the price.

Nick, who knows the production process, feels that the routine is deeply touching.
Chapter completed!