“Invincible” made headlines when it premiered in 2021 for its bold take on Skybound chairman Robert Kirkman’s comic of the same name. Three seasons later with a fourth on the way, and it’s one of the most successful animated series for adults to date.
We spoke with the team at Skybound Animation – Head Of Studio Marge Dean, VP of Production Alex Teslik and Animatic Editor Lindsay Myers – about how they collaborate with over 200+ artists and editors in the US and Korea to create each hour-long episode with Premiere Pro and After Effects. With a significantly longer runtime compared to typical animated shows, their team must intricately create and cut together about 1,000 scenes for each episode.
Read on for an inside look at Skybound’s creative process with Dean, Teslik and Myers, and check out the first three seasons of “Invincible,” out now on Prime Video. Spoilers ahead!
How did you first get into animation? What drew you to it?
Dean: I studied experimental film and video in art school, which is essentially animation. I loved film and the drawn image, so it was a perfect match.Teslik: I started making claymation when I was 13, inspired by the films of Will Vinton and Frederik Back. I drew a lot throughout high school, but decided to go to film school for live action production at Loyola Marymount University. I’ve worked on live action and animated films ever since.
Myers: I actually started on the audio side of production as an assistant engineer. After a while, a wonderful mentor where I was working suggested I try my hand at video editing because they had enough engineers, but not enough editors. I loved it!
What was the inspiration behind this project, and what were you trying to achieve?
Dean: Skybound Animation is facilitating the realization of Robert Kirkman’s vision (creator of “Invincible” and “The Walking Dead”). We set out to make the most successful, hour-long adult animation series, and we did that.
How do you typically begin a project/set up your workflow?
Teslik: We start from templates for our editorial projects. The images themselves come from the storyboard teams. We render those panel images out along with an XML file. The XML file imports into Premiere Pro and loads all the panels in order. The editor works with the director on refining the story and timing, as well as adding audio to build out everything as an animatic. There are several iterations of the animatic in Premiere Pro, and at each stage we export an XML file back out of Premiere so that the storyboard team can conform their projects to match the editorial timings. This keeps everyone aligned.
Describe your favorite scene. How did it come together and how did you achieve it?
Myers: My favorite scene from the animatics I cut would be Rex Splode’s self-sacrifice in Episode 307. It’s the culmination of his incredible character arc. When I cut that scene for the first time in the animatic, I actually started to tear up a little bit. I’ve never cried over a scene before, but it was so impactful. Rex was my favorite character in the show, so I wanted to make sure we really made that sacrifice mean something. The final product is a result of the hard work and talent of the entire team.
What were some specific challenges you faced in making this? How did you go about solving them?
Teslik: Every episode of “Invincible” is almost an hour long, so each one is like a mini-movie. This creates huge challenges at every stage of production including huge design counts, heavy edit projects and almost 1000 scenes per episode. We solve these challenges by leaning into databases and automation to help keep us on track. Naming conventions are also super important.
What Adobe tools did you use on this project and why did you originally choose them?
Teslik: The Adobe tools play a critical role in our pipeline. Premiere Pro is used from animatic through the end of color, and every shot is composited in After Effects. We have a suite of proprietary UXP scripts and CEP extensions that help create huge efficiencies for our team.
If you could share one tip about Premiere Pro or After Effects, what would it be?
Teslik: Don’t ignore the scripting capabilities of these tools. It’s what sets them apart from other offerings and really helps raise productivity.
What advice do you have for people aspiring to get into animation?
Dean: It’s a multifaceted industry. Figure out the best role for you. Where will you fit in the best? Then, learn everything you can about how to do that role. Become an expert in your piece of the world. And prepare to work harder than you’ve ever worked in your life.
What’s your favorite thing about your workspace and why?
Dean: I love working with a team of creative people. There’s a culture that is enriching and fulfilling, and everyone – for the most part – are sensitive and kind.