2. The scene count problem, and the model quantity, is one of the least understood areas of CG production for animated TV producers. Studios must set parameters early enough so the writers can structure the stories in a strategic way for CG production. To be safe, keep it under 400 scenes total, and 10% retakes are a good standard for which to try. There is also a problem of storyboarders not following the look and design of sets, which slows down the animation process greatly, so we need storyboarders to follow a model guide, and work with a more cinematic style when storyboarding. Ultimately what CG houses do is to interpret the 2D vision of the producers, via storyboards, and turn it into a comparable and quality 3D product. For that reason the importance of storyboard quality cannot be underestimated.

Making characters "cartoony" helps them read. These Martians are obviously evil! © 2001 Universal Worldwide Television, Inc., Just Group PLC, Mike Young Productions, Inc., DCDC Limited

3. It cannot be stressed enough that the software chosen must be able to render effortlessly for CGI television production. Certainly more than a few productions have fallen victim to this incorrect software trap. Think about it -- one half-hour show has close to 40,000 individual frames. If you're doing four render tests per scene, you have a severe situation if the software can't render efficiently, to say nothing of attempting multiple episodes per month.

4. Maintain animator morale. It is my opinion that animators will more easily follow a leader, who can him or herself animate any scene in the production in a way to which the animators can aspire. It doesn't work to have a 2D storyboarder direct the animators, at least one on one, because there is no understood empathy or practicality toward problem solving in regards to the animator's workload and creative issues.

The voices behind the characters of Butt-Ugly Martians (l to r): Charlie Schlatter (B. Bop-A-Luna), Rob Paulsen (2-T-Fru-T), Josh Prikryl (CG director) and Jess Harnell (Do-Wah Diddy). Photo courtesy of Josh Prikryl.

A few good rules for a CG director to follow to maintain animator morale is: listen to them, don't yell at them, and if they are having trouble with an assignment, try and empathize with them. Also, if they have a great idea, let them do it! That's common sense. How many times in past jobs have we been asked to do something, which we KNEW our bosses could not or would not do? Grumble, grumble! Your director and team leaders must lead by example, and be good animators themselves. Follow these rules, and the animators will work harder than you can imagine for the show, week after week. Oh, and plenty of treats for the animators now and then can't hurt.

CGI's look is widely accepted by both children and adults; it has a quality that we instantly relate to because it looks somehow real. I believe that CGI has an important role in the future of animation as it can be rendered to look real, stylized, or even just like a 2D cartoon. Probably the most exciting aspect of CGI is, it is still developing as an art form, and we have only scratched the surface with the possibilities of the art's direction. There are very few limits -- beyond the budget and schedule.

I hope that Butt-Ugly Martians, and shows like it, will help prove to the world that indeed CG television can be as predictable and profitable a production as any successful 2D animated show. By consistently turning in episodes on time, and always striving for increased quality, CG studios can prove to producers that CGI is as dependable as any 2D show.

Josh Prikryl is the CG animation director for Butt-Ugly Martians at DCDC in Hong Kong. He has supervised a total of 52 half-hours of CGI animation production for both Voltron and Butt-Ugly Martians with over 18,000 scenes combined. Other CG TV shows he has worked on include: Nascar Racers, Xyber 9, Starship Troopers, Max Steel and Dan Dare. Before you start writing letters (!) -- he is a great fan of both 2D and 3D animation of all styles.