Sure enough, a few days after Han Li and the others came back from the city government, they received a notice. In order to commend Han Li's contributions to the animation industry and the city's support for outstanding animation enterprises, the city decided to provide their company with a special support reward fund of one million yuan.

However, this million is not what Han Li wants. However, according to the city, the relevant preferential policies are still being agreed, and this million is just an upfront reward for them.

In fact, Han Li and the others also know that this million is just the money given by the city to appease people's hearts.

Although it has not met their expectations for the time being, it is better than nothing, and it is a million at all.

And this time the money came down quickly, basically quickly to their company's account, it seems that the city still attaches great importance to them.

With this money, Han Li and they can't drag it out, they still have to come out with an attitude to reassure the city.

So the "Summer Morning Talk" project was launched, and this project team belongs to the key project of the company, which is responsible for the animation project department and Fan Xiaoya.

The reason why Fan Xiaoya was chosen is mainly because the emotional story of this animation is more delicate. Choosing a girl to be responsible is conducive to controlling the content and emotional story atmosphere of this cartoon.

Of course, Han Li will also participate in this cartoon as a producer to control the quality of the entire animation.

This cartoon, in addition to the delicate emotional story plot, actually has one more point, that is, the numerous interlude soundtracks in the cartoon. For these episodes and soundtracks, Han Li naturally can't remember them one by one, or these songs have already appeared in this thought.

So he now has to find the right interlude and soundtrack based on the storyline. Of course, what he remembers, or what impresses, can be goldfingered, but most of the episodes he doesn't remember so well.

Therefore, he can only choose some suitable songs that have appeared in this period. To be honest, this is not a good job, especially for some popular songs, the copyright fees for their use are quite high.

Han Li and they can only talk as a family, but most of the time there is no good result. For these hot singers and their agents, people simply don't have much patience to listen to what you say about revitalizing domestic animation and contributing to domestic animation.

In the end, I had no choice but to find some better, not particularly expensive music songs, and record songs with singers.

It's not that Han Li can't afford this money, it's just that the investment in a film is limited.

You can't arbitrarily increase investment because of something less important, which is not in line with the rules and is not conducive to the normal development of the company.

Once the characters, scenes, and storyboards are established, the next step is to move on to the formal animation production.

Animation is often measured in seconds, and when it comes to animators' performance, it is also necessary to calculate how many seconds of animation he has made in the month.

But no matter what kind of animation, there always has to be an entry point, and that is keyframes.

Keyframes are usually drawn by a senior animator or animation team leader, and then other ordinary animators fill in the content between the keyframes and the keyframes.

Videos are generally 24 frames per second, which means that there are 24 frames. The higher the frame rate, the clearer and smoother the video, and the same is true for cartoons.

But often in the production process, the frame rate of cartoons is not so high, there are 21 frames per second, there are 18 frames per second, there are 16 frames per second, and there are even 12 frames per second.

Of course, some high-quality cartoons, or images, tend to have a frame rate of 29 frames per second, or 36 frames per second.

At present, some Hollywood blockbusters can achieve 60 frames per second, while the most cutting-edge technology can achieve 120 frames per second.

The higher the number of frames per second, the more images there are, and the production cycle and cost will skyrocket. However, in order to ensure the quality of the cartoon, Han Li did not choose the usual eighteen frames per second for two-dimensional cartoons, but chose the standard twenty-four frames per second.

Of course, this number is not absolute. For example, in order to ensure the smoothness and fineness of the picture, the frame rate should still be increased.

A full-fledged 2D animator can draw between three and six seconds a day. If it is less than that, no, it is too inefficient. And if you exceed this number, you can't do it, because too fast the production speed will affect the level.

Of course, this criterion is not absolute. If the animator happens to get the battle screen, the requirements for him will be appropriately reduced due to the increase in the number of frames.

And if the animator is assigned an empty screen, or a screen with less action, then the requirements will be appropriately raised.

However, in general, empty shots and less action scenes like this are usually distributed with those high-frame rate action screens.

No matter what shots you make, the company only counts the number of seconds you make each month. Therefore, for the sake of fairness, animators who make difficult shots are often compensated by giving some empty shots.

According to a complete episode of cartoons on the market, it is about 20 minutes, of which the opening and ending credits are about 5 to 7 minutes. The real content is usually between 12 and 15 minutes.

According to the content of a thirteen-minute feature film, that is, 780 seconds. Based on an average of 24 frames per second, the total number of frames would be 18,720 frames.

Each frame will be a painting, which will need to be drawn or made by the animator himself.

The "Summer Morning Talk" project team has a total of 17 employees, of which 12 are responsible for animation. According to the production speed of five seconds per person per day, the production volume of twelve people per day is exactly sixty seconds and one minute.

And this gives you the speed at which an episode of the cartoon can be made, which takes a total of thirteen days.

Of course, reality is a bit faster than that. Because the project team will use some auxiliary software in the production, it greatly speeds up the production.

In addition, there are some empty shots or shots with little action, as well as some three-shaded two-shot scenes, so the production cycle of the next episode in total is about six to eight days.

Of course, this is just a process in animation production, and then there are a series of post-production links such as compositing, editing, special effects, dubbing, and soundtrack. So really calculated, the complete animation production cycle of an episode is basically about ten days, and it is still under the condition that everything is going well.