All that forced some episodes to be redone several times because the author’s text in many parts of the script was atmospheric which required the search for appropriate solutions. For example, panoramas for the author’s text, interframe transitions, gags, and much more.
2K Flat – 1998 px * 1080 px, 25 fps was chosen as the film format. That made it possible to further painlessly adapt the film to the Full HD format, as, for example, for television shows.
After the storyboard development, the work began on the film’s animatic, and a draft of the voice acting with replicas of the author and Slowny was recorded. I also used library noises which were then revoiced by the foley artist. In animation, all musical design was formed with the help of reference music. That made it possible to build the film rhythm and modulate the appropriate mood of the episodes.
The whole creative group worked on the search for the Slowny’s language: Igor Shurov, Svitlana Shurova, Natalka Buzhynetska, Yuliia Radostina, Illia Balykin. We all collected interesting words and expressions from our children. Actors’ auditions did their job: improvisations by actors Serhii Severyn, Ivan Rozin, and Yevhen Malukha built the manner of the future Slowny’s language.
For example, Serhii Severin’s improvisation, “Hello, hoods! Let’s knock out a hit!”