Postchat: Animation and the Post Process

Postchat is a weekly discussion on issues surrounding post-production amongst the Twitter community of which I am a part.

This week I was asked to be featured during a discussion on animation editing. I've summarised the proceedings before and tried to link questions and answers together - although at the time a lot of conversations were occurring in parallel, with diversions - and I went back a few times to questions asked earlier. For a full transcript, see this Storify.

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A Sinister Character

Today I asked a difficult question at work. I asked whether any of the characters in our preschool-targeted animation series were left-handed. This may seem like a bit of an odd question to ask - especially for an editor. After all, we're not in the dark ages where we consider lefties to be the acquaintance of the devil, and although modern world languages seem little biased, it surely doesn't matter? As far as story goes, it's like asking what colour a character's eyes are, right?
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VFX Editor Interview - "The Pirates! In an Adventure with Scientists"

An interview I did for UK crewing website thecallsheet.co.uk is now online, at http://www.thecallsheet.co.uk/news/21052

 

Excerpt:

This film has a lot of Aardman firsts – it’s the first stop-motion feature for which they’ve used previs to guide the floor when setting their shots up. It’s the first time they’ve managed their VFX in-house, with a team of around 100 VFX artists up in Bristol working on the 1500+ shots which are in the film. Every single shot has some form of visual effect, some are entirely CG, and some have additional characters or buildings added in amongst what they shot on the floor. But it’s all entirely in-keeping with the Aardman style. I challenge anyone to tell me where the stop motion animation ends and the CG begins!

 

The Pirates! In an Adventure with Scientists is released in the UK on Wednesday 28th March 2012 (today).

 

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Working with the edit department (from the outside)

A few months ago I rather rapidly acquired a new job - my first on a feature, a stereoscopic stop-motion animation. But I'm not working in the editing department. They've been in place now for some time. I'm working in Previs and VFX. On an Avid.

Now, this was a rather contentious point. In fact, it still is. The previs reviews bring in a number of changes to the edit, where the editor isn't even present. As an editor, you become used to people making changes to the shots that you've selected - even not being present at the decision and therefore not being able to argue your case is something you have to live with on occasion. But this involves entire sequences being shaped away from the department. And is, understandably, somewhat frustrating.

I'm in a rather unique position on it all. I sympathise entirely with the editor's wish to be the one in control of these decisions. But from the previs perspective, the sequences need to be viewable at our reviews with the director. It was one of the reasons I was hired in the first place - to be able to tidy up sequences and show the director different possibilities within reviews without the entire thing having to go into the main edit suite and involve about twice as many people. But with the massively hectic schedule we have, the added complications of dialogue selects coming back on a near-daily basis, sequences being updated in edit with incoming shots and newly recorded/approved dialogue whilst they're being updated in previs to solve issues with sets, models, actions.... well, it's impossible to request the editor to attend all of our reviews, and impractical for previs notes to be given within edit reviews when there are so many feedback sessions required per sequence before they're approved.

The upshot of it all is that our approval workflow is changing on a monthly basis, as we sort out what's working and what isn't for our relative departments as well as the overall production. The meetings are vastly interesting as we all get to say what would work best for us, and then hear what that would imply for the others further down the line. It's a masterclass in communication and adaptation. And it's actually pretty damn enjoyable.
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