three) our youth dream of being here on the show one day, and mom is their number one fan. sports mom is here to help all the moms out there find the right equipment and deals. here's sports mom with this week's tips. hi everyone i'm chris huston and i'm a sports mom. coaches and parents teach kids every day how to play clean, safe sports. they also show them how to prevent injuries with stretching and warm-ups. usa football is going a step further by teaching coaches and kids how to prevent concussions with a program they call heads up football. willie: "the number one thing is to educate yourself on the proper technique. usa football created a streamlined process how to teach coaches and parents how to play the game safer. our big

thing is take the head out of the tackle. we break it down into very simple steps that can be applied to youth football all the way up to the pro level." they hope by teaching kids "heads up tackling" and other techniques, concussions can be kept to a minimum. to learn more about heads up football and the usa football program, visit our website. we also have great advice on what signs to look for in a concussion. and don't forget to follow us on facebook, twitter and youtube. i'm chris huston, a proud sports mom, we hope you'll join the conversation we have a special viewer highlight tape this week: it's kris silbaugh (sill-baw, rhymes with saw), a wide receiver at cambridge springs high school in pennsylvania... kris broke the school's career mark for receiving yards earlier this year when he surpassed 915 yards... but that's not the impressive part. kris was born with only one hand... that's right... he's learned to catch the ball with his right hand and secure it with his left arm... as you could imagine, very few people thought kris could ever play football, much less be a star... but he's proved them all

wrong. if you'd like to be on the show, we want to see your highlights! go to facebook-dot-com, slash - sports stars of tomorrow... and post a link to your highlight video. that's going to do it for us this week... we're glad you good be here... for the entire team, i'm charles davis... we'll see you next time. next -- >> today, "made in

is going teen edition" to look at those behind the hits of "hotel transylvania number two." >> holy rabies, this looks like a blast. >> welcome to "made in hollywood -- team edition -- teen

edition." will provide a career introduction and understanding of a variety of motion picture and television feels. ticket to a motion picture or television career on camera or behind-the-scenes. >> here is what is hot on screen. the franchise is back with the second installment and it doesn't get any easier for the survivors of the first film as they are pursued through a darren wasteland. >> it's ok. >> we've got to go. >> when you guys were training, were you the only girl training

with all the guys doing these hard workouts? i was terrified >> how do you keep up with them? >> we are not hard to keep up with. they are trying to get us use to the sand dunes. that's what we did and it's about doing it at that altitude. >> that is what's hot on screen. cap and ofor is the an animated motion picture ship, guiding a team of technical and creative professionals. chicago's film at columbia college before moving on to study animation at the california institute of the art. these created several animated television series and made his feature film directorial debut with "hotel transylvania." >> you are watching "made in

hollywood" and here's a scene from the movie. >> that's not how that one goes. quite -- >> suffer, suffer, scream in pain, blood is spilling from your brain. -- its know you like it still works. have a strong vision and style when it comes to your movies. what was your style? >> i think it's going to continue on the same path. really funny visuals, over-the-top animation, and just continuing with our characters, making sure they are just as funny as the first home. >> you have this push animation style -- what is this? >> going back to warner bros. and tex avery. a lot of animated films are based on reality. , money andcula

frankenstein. we wanted to have a mad monster romp field. it is all exaggerated and cartoony. it's kind of a caricature. it makes things more physical and fun. ever sense they had their little monsters, i've been the happiest vampire in the world. >> as the director of the movie, can you take me through some of the duties and responsibilities you have? >> it all starts with the story. , i get them sandler script, i make some comments and we discussed things. then we do the storyboards where we visualize the script and i visualize that process. then there are usually rewrites right after that and we continue the process until the end of the movie where we are trying to refine the jokes and ideas. >> i don't say that.

>> from there, we start going to the layout and pick our central blocking and put it in the computer. that's the first time it goes into the cg world. after that gets approved, we go into animation. this is a performance, so we take the performance and the animators can really start acting. the most fun we have -- the animators will do like a first half and then i will get to draw. from there, it goes to lighting and they start rendering and we start to see how the shot is going to end up. >> we have been talking about moving. back then i will be all alone. >> don't give me the pouty that face. >> some people who have worked with you have said working with you is like going to animation school. if by working with you, that is

how they are learning, how do you constantly learn? learn by doing. every scene we do, every story sequence, i start to learn the more i do it, the less i know. you start out cocky as a young filmmaker and then you learn that didn't work like i thought. every day, i learned something new. advice do you have for any aspiring directors? >> you want to work on your point of view. there are so many people who can do things like other people but what is special about you, the studio is going to want to hire you for the exact thing you do. >> show them how to be scary. >> my back.

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>> when you finally see that finished film with your voice, what are your thoughts question mark >> it's very strange when you are less thing and watching and you are like what is that? >> holy rabies, this looks like a blast. let's my friends got weirded out. it sounds like you but it doesn't. >> producer of an animated motion picture works with all the members of the creative team to make sure that we are out -- the quality of the film and making sure it is finished on time and on budget. michelle graduated with a degree in psychology and began her

career as an intern and worked her way up to senior visual effects producer before joining sony pictures animation. >> you are watching "made in hollywood." happy you came to visit. but this place is open all night. >> as a producer for a movie like this, what are your responsibilities? about comingit's up with the ideas of the movie and then dealing with writers, directors and videos. i'm kind of like the liaison between the creative process. then i'm dealing with everything all the way through for top i work with the talent comedy animators, all the way through until the end when we do final mixing. >> this is how i roll every summer.

>> i think i scratch it. >> what qualities do you look for? >> it depends on the department. visual development, we look for someone with similar sensibility to what the vision of the movie is. who are funpeople and easy to work with and really creative and who bring their own ideas to the table as well. >> is pick one day in the middle of reduction on this film. would you describe it? >> a normal day in the middle of reduction would be in the morning, we have a visual development meeting. we would have a story meeting and they go to editorial for an

hour and then we run over to sony and record a couple of actors. unraveled.g to come >> then we jump back to image animation and do dailies and send it back to editorials where we might hear what we just recorded cut to picture. >> operation just keep her distracted and happy but not too happy starts now. andthen we make our select by 6:00 or 7:00, we are wrapping our day. i graduated from college and was a psych major. i dad said what are you going to do? we walked outside and i lived in new york and we saw woody allen shooting the purple rose of cairo. i looked around and it looked really cool. it looked interesting and fun and crazy. then i went on my long journey

of figuring out how to get in the film business. >> when you decided you wanted to do it, what was the first thing you did? asked i was an extra on a couple of movies in new york. then it got in my blood and i decided i would prefer to be behind the camera, so i did an internship at a company in boston. we were doing industrial videos and commercials. i did some music videos and then i became coordinator and worked my way up. >> he is adorable. yourself in afind big city -- a big studio like sony? >> it's not easy to become a producer. i was just really hard-working and curious and willing to do anything. >> we are running out of time

>> up next, selena gomez. . >> good grief ♪ >> it so cute.

she's so overprotective. was your mom overprotective going up much might ask absolutely. but my whole family loves me and it's such a scary world to be in. i would read -- would much rather my parents the overprotective. be likeu think he will

mavis question mark >> i'm definitely not as organized as she is. i think she just wants the best for him. >> the production designer is the lead artist that develops the style and textures for all the sets and locations for an animated motion picture. degree in finea arts from the university of arizona. he was a background painter for walt disney prior to joining sony pictures. >> i'm the production designer ."r "hotel transylvania ii here's a scene from our latest movie. >> fine. >> what did you do on the first film mark >> they asked me to come on at the 11th hour to help with the lighting and color script. i will do painting that will

inform the lighters as to what kind of colors and lighters they should use on a scene. when they decided they wanted to make a sequel, what was the process? did they approach you and say we like your work or did you have to apply? >> it was the first one. thatcame and asked me if was something i wanted to do. i love the first movie, so i jumped at the chance to take that challenge. it's the first time i've been a production designer. >> we shouldn't be up here. >> who's ready to fly to mark >> me, like a superhero. >> better, like a vampire. >> now you have switched over and you are a production designer, what do you need to know as a production designer hopefully, i've been

in this industry for 20 years. the production designer is the person who has a knowledge and has worked in this industry and knows a little about every facet of it, a little bit of designing, and understands it all and understands the digital process. i have worked through that process, seeing 2-d artwork become 3-d artwork full i have a knowledge that helps a production designer what it takes to understand all of these technologies. >> grandpa is right here if you need him. honestly, itl you was all the traditional skills i learned. when i approach a painting in photoshop, i start the same way, doing a background painting. a is a white board and i take rush and load color into it and

lock it in with the shapes and whittle it down and start working in the detail. i don't think of it any differently, it's just a different. >> here we go. >> he still not flying. >> he willful >> we are in michael's office and he has this image on his computer. i can't believe you just use photoshop. i thought you use some high-tech program that only sony had. paintinghop is a great tool with a lot of great brushes in it and it allows us to create our own rushes which i do all time. >> he getting too close to the ground. >> he's not going to fly. >> he has a lot of hair and

thinking about his hair was a big deal because all i was given in the drawing were a bunch of squiggles. i had to interpret those into actual dimensional objects, so i thought of them like a soup can. you can look at a cylinder straight on and i started thinking you can almost see those shapes. aboutt's how i thought shapes, irom those started rendering them to make them feel like the textures i wanted them to be. >> are we ready to do this? >> are there other personal characteristics if they want to succeed in this industry westmark >> it is dedication. we have all heard of the 10,000 hours -- you have to do something for 10,000 hours to master it. if i would have known what i

know now, i would have just drawn from life whenever i was sitting across the table or just drew from life. if you are serious about being in any kind of animated arts, that's the first step -- just draw, draw every day. everything else will come. >> we meant to call you sooner. >> hit it. me?re you kidding >> don't go away. there's more step-by-step career advice when we return.