Chapter 155: Animation Compartmentalization

The rivalry manipulation of DC was quite a cumbersome matter in Alexander's opinion.

He could tell which direction they think they were headed towards and had the confidence to know what their true destination would be.

Everything is still a biased prediction though and would remain unclear until the true confrontation comes.

Instead of worrying and burdening himself more about that, it was best to move his endeavors further.

With his ruminations paused on those matters, it was best to focus on the road in front of him. It was a private CREED specialized carway but it was still best to be prudent as Alexander didn't want to be isekaid for stupid reasons.

Anyways, it was a simple walk from the six-story building's backdoor, and across the road was the enormous place that beheld his greater ambitions.

He had been visiting the 2nd CREED building whenever he was free and whatever improvement he saw inside was quite a sight on its own. It was just too bad that he had no equipment to be able to timelapse the entire renovation sequence.

2ND CREED is something that housed everything about animation after all and the progress, preparation, and planning to make it happen was quite the novelty.

In any case, a lot is on its way to being finalized but a lot of legwork was already making the entire place a hubbub of animation-centric people.

Those crowds people were quite numerable to get to know though so Alexander opted to put most of his attention to the physical arrangement that had been done with the place.

It had been a massive space of infinite possibilities when he first got to put his eyes to it. Now, it was fixed with paraphernalia, rooms, and special equipments that should help explore even more far-reaching possibilities.

The print warehouse space was good and all but an interior design catered for extensive animation was the better trade.

From an emptied, rectangular, and prismatic encasement, the entire animation building eventually became a division of many functionalities.

For the most obvious part, the big entrance was what centered and divided most of everything. The corridor of the door towards the very back wall was the most straightforward and main path for everyone.

It was a straight shot from there and anyone can practically get a good grasp on which was which and where was where.

In any case, the animation building wasn't defined by the huge 'let my people pass' corridor. The major compartments are what makes it tick.

From 4 spacious animation compartments that can house all the animation work, a soundproof region that is meant for dubbing and music matters, and the production hall that concerns the pre and post-periods of the entire process.

Alexander and Sullivan's original assumption of being able to house 6 animation stations was not far off but they had to shave off 2 from that to make way for other specified specializations.

The 4 animation compartments were simple and spacious as it is but it was compact and regionalized on its own.

It was filled with specialized drawing tables that can optimize a cartoonists or drawer work. The titled orientation and multi-pager clips of most tables are enough to tell-tale what they are for.

Animation is essentially like flip-booking after all and layering many pages in one seating arrangement is the way to go.

Of course, that specialty was mostly focused on paper as the other tables are mainly focused on 'cel' work and coloring.

'Cel' animation is the most readily available of the current time after all and it was the direction that Alexander's employment team would be going for.

After the arrangements for the paper-drawn work are done, celluloid tracing is what animation studios mostly go for and it is quite a delicate process on its own.

Coloring is mostly done after that as areas readied with special paints are already noted by Alexander.

Coloring and celluloid partitionings aside, there were also special stations that mostly involved the making and painting of background settings that most of the scenes would be done.

Other celluloid processing equipments were also choked in there for everyone in the area to get a full view of where their hardwork was headed.

There were truly many layers and steps to processing the drawn images that animation enthusiasts admire. However, just one tiny mistake in any of those layers meant a do-over or the most likely reworkings of the fault.

It was truly a test of patience, perseverance, and teamwork to make things work.

The four 'animation' compartments mainly consist of those things and Alexander could only admire the optimized arrangement of chairs, tables, papers, pens, cels, and paints that he is seeing.

It was an orderly mess when not done properly but at least his intervention along with professional inputs from veterans made the workstation designs happen.

Given that it would be multiplied by four times, the orderly manner and stable repetition of things were already quite well done in his opinion.

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Those matters in the animation compartments were the most considerable barebones of the entire process though as there is still a lot to be considered before things are made to happen.

Sounds, dubbing, and story sequencing was among the most behind-the-scenes factor but an integral part of the entire whole.

The other two compartments mostly cater to those.

It had to be said that the sequencing of the compartments was quite simple and could be broken down.

The compartments closest to the front door and the back walls were the four major animation areas while the ones sandwiched in between were the 'sound' and the 'production' compartments.

'Sound' and 'production' needed to be the most accessible area by the barebones drawing areas and being in the middle was just the perfect place for it.

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Since sounds and dubbing can easily be understood by many as a compactable thing and the Creeds did just that.

As spacious as the compartments for barebones animation were, the sound properties were given considerable specialties on their own.

Soundproof rooms and the housing of musical instruments were what mostly comprise the place.

Music, script-reading, voice-acting, and rhythmic timing was the theme of the entire area and that was what the overall design was going for.

It had to be said the 'sound' compartment was the least cramp among the others and it was quite nice overall. It was the coziest and most obedient to the mostly 'silent' rule, so Alexander was looking forward to lounging most of his time there.

The entire compartment also had another special significance to Creed Entertainment and CREED building's multi-functionality as Alexander and Sullivan was practically inspired to hope to branch out into the music industry.

That was just in the plans though as the management of the other companies was still buying them. However, the BttF classic soundtrack and the closing credit's musical scores of the animation venture should be a guarantee that Creed Music is already existent.

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With the 'animation' and 'sound' compartment out of Alexander's enhanced contemplative mind, the last special compartment is where he was going for.

'Production' compartment might just be the simplified terminology of the area but it had many special areas on its own.

It mainly held unto pre-production and post-production matters. The place is where the brains of the entire animation projects are held and it is where things were laid out.

The creative and deliberative portion of things were to be done here along with the finalization process.

Masterminding and controlling the production circulation was the goal, so everything was catered towards that.

It is essentially where everything starts and where everything ends.