Eric Feinberg on Jim Henson’s Sid the Science Kid
The Computer Animation grad works as a motion capture artist on the new educational series
From Sesame Street to the Muppets, most of us grew up with the art of Jim Henson. More than five decades after the Jim Henson Company studio was founded, it remains one of the most respected names in entertainment, and as a longtime fan of their work, Computer Animation graduate Eric Feinberg has been thrilled to contribute his talent as a Motion Capture Artist to their latest series, Sid the Science Kid.
“The show is kind of like Sesame Street meets Mr. Wizard meets Seinfeld,” he says. “It’s aimed at three- to six-year-olds but it’s really entertaining, and there’s a lot of stuff in there for parents. It’s been so much fun to work on so far. And during the production I’ve just been amazed by the level of talent throughout the company – it’s like it’s bred there. Everyone is really supportive of each other, and they really work to make it a creative environment for the artists.”
Eric is working on the series through Motion Analysis, a California-based studio that has spent the past year collaborating with the Henson Company to bring Sid to the screen. As the show is entirely based on motion capture, Eric’s role has had him responsible for setting up and maintaining all of their shooting sessions, as well as cleaning up and delivering the data afterwards. And while this work is typically an intensive technical process, the approach the Henson Company is using on the show is helping to push the industry in new directions – using a mix of puppeteers and motion capture artists.
“Because of how revolutionary the technology is that Henson has come up with for Sid the Science Kid, it really runs more like a TV show than your typical motion capture session,” he says. “They film and set up scenes just like you would shoot a live action sitcom, so you get that atmosphere of physically producing something. Then afterwards we get into post, and that’s more along the lines of animation. It’s a great balance, and what I love most about motion capture is that it’s combined those two worlds.”
Motion capture has helped revolutionize the visual arts, and working on Sid the Science Kid has given Eric the chance to expand his skill set while working alongside many of the artists that inspired him to get into the industry. The show is currently being prepped for a second season, and although he’s looking forward to seeing how it will evolve over the next year, he still has trouble believing how far he’s come since graduation.
“I have huge Labyrinth and Dark Crystal posters in my place, and every day I come home and I look at them and I’m like ‘Whoa, I’m working there,’” he says. “And then one day during production on Sid, a tour came through, and for a second it dawned on me that I’m one of the people who’s making this stuff. I’ve watched all those behind the scenes documentaries, and now I’m one of those people. It feels so weird to be actually behind the scenes at this company. This is really my dream job.”
“The show is kind of like Sesame Street meets Mr. Wizard meets Seinfeld,” he says. “It’s aimed at three- to six-year-olds but it’s really entertaining, and there’s a lot of stuff in there for parents. It’s been so much fun to work on so far. And during the production I’ve just been amazed by the level of talent throughout the company – it’s like it’s bred there. Everyone is really supportive of each other, and they really work to make it a creative environment for the artists.”
Eric is working on the series through Motion Analysis, a California-based studio that has spent the past year collaborating with the Henson Company to bring Sid to the screen. As the show is entirely based on motion capture, Eric’s role has had him responsible for setting up and maintaining all of their shooting sessions, as well as cleaning up and delivering the data afterwards. And while this work is typically an intensive technical process, the approach the Henson Company is using on the show is helping to push the industry in new directions – using a mix of puppeteers and motion capture artists.
“Because of how revolutionary the technology is that Henson has come up with for Sid the Science Kid, it really runs more like a TV show than your typical motion capture session,” he says. “They film and set up scenes just like you would shoot a live action sitcom, so you get that atmosphere of physically producing something. Then afterwards we get into post, and that’s more along the lines of animation. It’s a great balance, and what I love most about motion capture is that it’s combined those two worlds.”
Motion capture has helped revolutionize the visual arts, and working on Sid the Science Kid has given Eric the chance to expand his skill set while working alongside many of the artists that inspired him to get into the industry. The show is currently being prepped for a second season, and although he’s looking forward to seeing how it will evolve over the next year, he still has trouble believing how far he’s come since graduation.
“I have huge Labyrinth and Dark Crystal posters in my place, and every day I come home and I look at them and I’m like ‘Whoa, I’m working there,’” he says. “And then one day during production on Sid, a tour came through, and for a second it dawned on me that I’m one of the people who’s making this stuff. I’ve watched all those behind the scenes documentaries, and now I’m one of those people. It feels so weird to be actually behind the scenes at this company. This is really my dream job.”
