Welcome back to another edition of Fine Tuning with Drew Taylor. You a one-stop shop when it comes to animation news and commentary.

I'm Entertain writer Jim Hill and Mr. Taylor, who has a lovely new haircut by the way and whose writings on the

industry you can read over on the rap and whose musings on the mission

possible movies you can listen to on Light to Fuse, the official Mission Impossible podcast.

He and I are recording this week's show on Sunday, April 7,

2024.

And just before we get started here, lobbed a goodie at me.

Do you want to explain about this YouTube video?

Yeah, so I'm sure a lot of our listeners also watch the Corridor Crew YouTube channel, which is a really fascinating channel

that's dedicated to animation and visual effects and all sorts of wonderful things

and I was telling Jim about this they tried to recreate the process that Mary

Poppins visual effects were handled in a new way the sodium vapor process which Jim do you want to describe what that was?

Oh boy that's kind of hard to I mean this is you know we'd have to dive into the

up I work story. I mean, you know, that I mean, this is, I mean, it was so technically complicated. In fact, I was just reading the second volume of Julie Andrews memoirs and she was talking about these

scenes from Mary Poppins were such a moon shot for Disney.

They were the very first things they shot.

I mean, you know, this is literally, you know,

this is the first thing that she and Dick Van Dyke did in front of the cameras, which was the start of the

Jolly Holiday number. But, God, it's like crazy.

It involved a magic crystal is the only thing that I can describe.

And they was not blue screen, it was not green screen, it was kind of a yellow screen.

And it allowed for all this transparency and motion blur it was very

...