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Tip #1602: Animation Fundamentals

… for Random Weirdness

Tip #1602: Animation Fundamentals

Larry Jordan – LarryJordan.com

Animation is all about getting the details right. These are the details.

Image courtesy of Disney Books.

Topic $TipTopic

This article, written by John Rodriguez, first appeared in PremiumBeat.com. This is a summary.

Implementing the fundamentals of animation is no easy task. Here’s a quick guide to understanding and applying the basics in animation.

Disney animators Ollie Johnston and Frank Thomas put together twelve animation fundamentals in their book The Illusion of Life. When I first studied these fundamentals, I realized that there were so many details in life I never saw. Since we’re so familiar with all the motion in our day-to-day lives, we become blind to the details.

  • Easing. Nothing moves in a linear fashion. As an object moves, it accelerates and decelerates, also called easing. In animation, you’ll have more frames of an object condensed in a smaller area at the beginning and end of the movement.
  • Anticipation. Anticipation is basically the action before the main action. You can see an example of anticipation in Pixar Studio’s opening animation. When the lamp shrinks down to get ready to jump on the letter, that hesitation is anticipation. Without the buildup of energy, the proceeding motion wouldn’t feel natural or believable. Anticipation is definitely one of the hardest fundamentals to get right.
  • Follow-Through. Follow-through and anticipation are sort of the same thing, but on opposite ends of the action. Inertia is introduced with follow-through. Follow-through helps your object obey the laws of physics. The object can bend, stretch, and jiggle to indicate this motion. You can use this to help give hints at what material your object is made of.

One thing people don’t keep in mind is that these fundamentals apply to all motion media. From 3D to cell animation, think of the twelve fundamentals of animation as the bible for motion design.

EXTRA CREDIT

The link above includes a video where the Disney authors outline all 12 principles of animation. It is well worth watching.

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Tip #1603: 6 Tips for a Successful Grass Roots Release

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Tip #1603: 6 Tips for a Successful Grass Roots Release

Larry Jordan – LarryJordan.com

The key is to start marketing early – and to your most invested base.

Image courtesy of No Small Matter.

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This article, written by Laura Wilson Fallsgraff and Jon Reiss , first appeared in Filmmaker Magazine.com. This is a summary.

The past year has thrown everything but the kitchen sink at filmmakers, disrupting distribution timelines, cutting the legs out from under theaters, and depriving our community of opportunities for networking, sales, and press. But there have also been bright spots. While contending with major disappointments this year, many filmmakers have successfully pivoted to unique and impactful releases — models that are worth learning from and iterating on in the years ahead.

Following its completion in 2018, our own feature documentary No Small Matter had run into the familiar distribution hurdles faced by many other filmmakers.

Yet, No Small Matter has reached millions of people all over the world through more than 1,300 grassroots screenings, DIY educational distribution and 13 million social media impressions.

The secret sauce for this successful grassroots release? We built a direct, long-term, and authentic relationship with our core audience — primarily, early educators around the country and the organizations that reach them — starting in pre-production.

Here are our tips:

  1. Launch Your Impact Campaign During Pre-Production
  2. Early Funder Support
  3. Think Outside Your Feature Film
  4. Seek National, Networked Partners
  5. Build A Robust Impact Team (That Can Pay For Itself)
  6. Jump At Timely Impact Opportunities

EXTRA CREDIT

The article has lots of details on each of these steps, written by the producers of the film: No Small Matter.

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Tip #1578: Video Production and the Law

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Tip #1578: Video Production and the Law

Larry Jordan – LarryJordan.com

Every business has legal issues. Production is no different.

(Image courtesy of Sora Shimazaki, via Pexels.com.)

Topic $TipTopic

This article, written by Mark Levy, first appeared in VideoMaker.com. This is a summary.

When you start any business, you should know the legalities of the business. It is difficult enough to set up a business with suitable equipment, personnel, infrastructure, marketing, and customers or clients without having to worry about legal liabilities. The same is true in the video production field. This article describes all of the considerations when it comes to video production and the law.

  • Fair Use. In order to determine whether the use of copyrighted material is a fair use, the court considers four factors: (1) the purpose and character of the use, (2) the nature of the copyrighted work, (3) the amount used in relation to the copyrighted work as a whole, and (4) the effect of the use upon the value of the copyrighted work.
  • Create an LLC Business Structure. While legal liability is probably the most commonly cited benefit of a creating an LLC, taxes comes in a close second. LLC owners can apply for an Employer Identification Number (EIN) from the IRS that would allow them to be taxed as a corporation. Downsides are separating business and personal financial records, more detailed official meeting minutes and increased fees.
  • Production Insurance. This would cover general liability, worker’s compensation and professional liability insurance.
  • Release Forms. Any identifiable people or places will need release forms signed.
  • Contracts. A contract is “an agreement between private parties creating mutual obligations enforceable by law.” Usually, this plays out as a promise that you’ll do some specific work for someone, that someone will pay you for your work, and that both of you are legally bound to uphold your side of the bargain.
  • Copyright. Understand where copyright applies and where it doesn’t. Also consider how patent or trademark law applies to your productions.
  • Licensing and Freebooting. How to protect your work from unauthorized duplication.
  • Errors & Omissions. This insurance protects you in case of mistakes.
  • Public Domain. Everything created before 1926 is in the public domain and can be used without permission of the creators of those works.

EXTRA CREDIT

The article, linked above, has more details on each of these points.

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Tip #1582: Four Approaches to Translating Films

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Tip #1582: Four Approaches to Translating Films

Larry Jordan – LarryJordan.com

Translation is an art, not a science.

Image courtesy of “Trope Talk.”

Topic $TipTopic

This article, written by Meg Shields, first appeared in FilmSchoolRejects.com. This is a summary.

Translation is an art, not a science. Sometimes the phraseology of one culture has no equivalent in another’s. And sometimes capturing the spirit of an evocative turn of phrase involves transforming things entirely.

The same, of course, holds true for movie title translations. In addition to properly describing a film and managing the expectations of a foreign audience, translated titles must also navigate a minefield that runs the gamut from cultural sensitivities to market preferences.

The core of this article is a link to a 12 minute video – called “Trope Talk” – that illustrates four different approaches to movie title translations, as seen in Chinese cinema. The methods are, briefly: (1) to translate literally; (2) to reinterpret; (3) to be poetic, and (4) to fudge the title to make it sell better.

Link.

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Tip #1583: The Basics of Live Multi-cam Streaming

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Tip #1583: The Basics of Live Multi-cam Streaming

Larry Jordan – LarryJordan.com

This video focuses more on digitizing and streaming.

Host, John Hess.

Topic $TipTopic

Filmmaker IQ created a 25 minute video describing “The Basics of Setting Up a Multi-camera Live Stream.” Hosted by John Hess.

It’s a rundown of all the elements you have to plan and pull together to create a successful multi-camera live stream, with a focus on the capture card and digitizing the image.

Here’s the link

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Tip #1559: Top 10 Filmmaking News Sites

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Tip #1559: Top 10 Filmmaking News Sites

Larry Jordan – LarryJordan.com

These provide outstanding resources for filmmakers.

(Image courtesy of Kyle Loftus, Pexels.com.)

Topic $TipTopic

This article, written by Jourdan Aldredge, first appeared in PremiumBeat.com. This is a summary.

Filmmakers should always be striving to improve their skillset. Whether that means staying up-to-date on the latest camera and tech releases and breakthroughs, or constantly on the lookout for new lighting techniques or editing tutorials, it’s good advice for filmmakers to have several website resources they can check up on regularly.

So, here are the recommendations from PremiumBeat:

  1. Filmmaker IQ
  2. Filmmaker Magazine
  3. Newsshooter
  4. No Film School
  5. Motionographer
  6. Film School Rejects
  7. Provideo Coalition
  8. PremiumBeat
  9. Shutterstock Blog and Tutorials
  10. Rocketstock

The article – linked above – also includes more links, sample videos and more details.

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Tip #1560: Female Filmmakers: Sony Has $$ For You

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Tip #1560: Female Filmmakers: Sony Has $$ For You

Larry Jordan – LarryJordan.com

Contest open to female filmmakers or photographers over age 18.

Sony’s Alpha Female logo.

Topic $TipTopic

This article, written by Oakley Anderson-Moore, first appeared in NoFilmSchool.com. This is a summary.

In 2018, Sony launched the Alpha Female line. Now in 2021, they’ve added a “+” to the newest iteration of their lady-creatives residency, which comes with more grants for more filmmakers.

Who is this for? Female filmmakers and photographers over 18 who live in the United States or Canada. How do you get the cash and gear? You send in some details about who you are and a description of your next video project. If you are one of the 12 filmmakers selected, you’ll get $8,000 in cash and gear!

Sony’s Michaela Ion explains: “If you’re new to Alpha Female, here is the view from above: Our lives are richer when we can see the world through different perspectives. In the photography and video industry there’s a substantial disparity in gender and minority representation, which means some perspectives don’t see the light of day and we’re the poorer for it. Alpha Female was created to help close the gap and make our industry an environment where all voices have an opportunity to thrive.”

For details, links and contest video, vist here.

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Tip #1562: Instagram Reel Editing Tips

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Tip #1562: Instagram Reel Editing Tips

Larry Jordan – LarryJordan.com

Sometimes, you gotta work with the tools you’re given.

The Instagram logo.

Topic $TipTopic

This article first appeared in Shutterstock.com. This is a summary.

In 2020, Instagram Reels was launched. While successful, the popularity of Instagram Reels didn’t take off until Instagram adjusted the layout so the Reels feed appeared as the central button of the app. Now, nearly every sports team, celebrity, and influencer is using Reels to grow their brand. Let’s look at six editing tips so you can get the best out of the Instagram app, as well.

Here are six tips to improve your video editing on Instagram. (The article has sample videos that illustrate each technique.)

  1. Learn how to edit using Instagram. The article contains a quick, three-minute tutorial that will give you a step-by-step guide on using the application.
  2. Cut Action on Transitions. Cutting on action is one of the core fundamentals of film editing to create a sense of fluid and continuous movement. Cutting on action is also the perfect technique for when you’re creating transitions of yourself. However, it does require pre-emptive planning.
  3. Smooth Wipe. A method that allows filmmakers to trick the audience into thinking that a long, complex shot was captured in one take, as they pass the camera in front of something, stop recording, then start again from behind the object. The editor will then cut the two shots together when both the first shot and second shot are behind the thing.
  4. Align Tool. Instagram has a built-in tool for you to do this easily—the Align tool. Simply open the app and create your first recording. Change outfits, remove the object, and then select the Align tool. You’ll now see an overlay of the prior video clip, allowing you to align yourself in the overlay position correctly.
  5. Cut to the Beat. Cutting to the beat is a tried and tested formula for music video editing to create a rhythmic form of visuals. While you don’t have to cut to every single beat, when you’re switching scenes, cutting on a beat is aesthetically pleasing.
  6. If You Can’t Beat Them, Join Them. If you find yourself endlessly scrolling through the presented Reels that Instagram algorithmically shows you, you’ll notice a recurring theme with both editing techniques and music used. While it won’t promote originality, the familiar conventions of following popular trends are a good way to engage non-followers.

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Tip #1543: Use B-Roll More Effectively

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Tip #1543: Use B-Roll More Effectively

Larry Jordan – LarryJordan.com

B-roll illustrates what your audio is talking about.

(Image courtesy of Pexels.com.)

Topic $TipTopic

This article, written by Anthony Najera, first appeared in PremiumBeat.com. This is a summary.

B-roll, in a straightforward definition, is supplementary footage or alternative shots used in a video, in contrast to your “A-roll,” which is your main footage or primary shot. By definition, B-roll is secondary to the main image, but that doesn’t mean it’s not important to the storytelling. I’d argue B-roll can be just as important—or even more impactful—than A-roll when used properly.

The importance of B-roll is multifaceted. There are quite a few reasons we use B-roll in video creation—in practical terms, for storytelling, and for aesthetics. But, if you boil B-roll down to one practical purpose, it would be its importance in editing. B-roll gives the editor options when cutting up a video and a way to mask cuts when just using main footage won’t work.

Not every cut and piece of information has to be rapid-fire, back-to-back. Let the visuals do some work and let the story breathe a bit. B-roll can be the perfect way to pace a story and give the information on screen a little time to settle in with the viewer. The video isn’t a sprint to the finish line, it should be an enjoyable experience.

[ Editor’s Note: AMEN! So many editors cut like they are being paid by the edit. Drives me nuts!!! ]

When used correctly, B-roll can supply the audience with information or context to the main subject of the video. B-roll can show the literal act of what’s being discussed on camera or show the location of where an event is taking place.

Types of B-roll:

  • Exteriors/Establishing Shot
  • Cutaways/Inserts
  • Reenactments
  • Stock Footage

Although its called “B” roll, that doesn’t mean it can’t be the main visuals doing most of the storytelling. B-roll isn’t inherently second string—give the B-roll footage an opportunity to do the heavy lifting within a project. An editor can create a sense of tone and environment through the use of B-roll that the main footage wouldn’t be able to accomplish. Lean into that.

EXTRA CREDIT

The article has lots more ideas on how to use B-roll effectively, along with several links on capturing and editing effective B-roll.

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Tip #1544: Pick the Best SloMo Frame Rate

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Tip #1544: Pick the Best SloMo Frame Rate

Larry Jordan – LarryJordan.com

Not all frame rates are created equal.

(Image courtesy of Lisa Fotios, Pexels.com.)

Topic $TipTopic

This article, written by Lewis McGregor, first appeared in ShutterStock.com. This is a summary.

NOTE: The key feature of this article is a video tutorial illustrating all these frame rates.

It wasn’t too long ago that shooting in slow motion was reserved only for cinema cameras. Or, at the very least, high-definition slow motion was reserved for cinema cameras. Today’s cameras now provide higher frame rates as a matter of course. However, which slow motion frame rate should you use for your online content? Too slow and a simple footstep may take five seconds to complete. Too fast and you may not slow down your footage enough.

  • 48/50 fps. Double the frame rate is, in fact, perfectly adequate to capture several elements in slow motion. Because it doubles a single second, it’s not slow enough to become fully evident that slow motion is taking place. Still, contradictory to that, it’s slow enough to emphasize a moment in time.
  • 60 fps. So, 60fps are great for the dramatic character moments. It’s slow enough to be noticeable and put emphasis on the given moment. Whether that’s the hero shot, closing in on an emotional moment, or slowing downtime in an important scene. Essentially, where there’s a human character involved and bringing you into the character’s frame of mind in a human moment.
  • 120 fps. Typically, any time something is happening faster than we can humanly see, or at least any subject that becomes obscured with motion blur—like animals running, liquid, or fast-action sports—can benefit from 120fps.
  • 180 fps. The same principles apply as 120fps, as we’ve moved out of the region of reasonable purpose to film humans at this speed. So, it’ll be useful for elements that have many fast-moving subjects that need to be slowed even further. When we push past 180, we’re moving into special use frame rates typically used for advertising, wildlife, and sports.

IN SUMMARY

  • 48/50fps for emphasizing small moments to mean something bigger.
  • 60fps for character/scene importance and bringing the audience into the bubble of the character.
  • 120fps for fast-moving subjects, elements, and sports.
  • 180fps will pull from above, but with greater emphasis on slowing things down.

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