Editing Animation: a roundup

In drama, it's said that you write a film 3 times: in the script, during filming, and in the edit room.

In animation, there's less filming ("performance" being shared between the voice actors and the animators)... but the editing is constant. The bulk of the editing happens at the start with the animatic, to find the structure of the film in order to eliminate as much unnecessary animation as possible - but as additional detail is added, the edit must be revisited again and again.

The easiest way to illustrate this is to show you two simple sequences from Q Pootle 5, the preschool series I've just finished editing. Even though we used Redboard for the storyboard and the scenes were set up in 3D space with representative backgrounds, things can still change significantly. And, of course, it's still incredibly basic when compared to an animated shot.

Each video shows the animatic more or less as it went into the animation stage (albeit with notes from the producers), a playblast of the animation stage before it went to lighting, and the final version. I've included the full length of each shot from each phase, so there are black sections where there is no video to cover that part of the shot for that stage.

N.B. The animation stage shown is the trimmed version that was sent for animation approval - not the full length of each shot worked up which may have had overlapping actions or excess frames. It matches closely to the final version in terms of action, but the difference lies in the level of detail and any additional fine cutting. A useful additional stage would have been the blocking or early animation - but this wasn't available when I came to put this blog post together.

Example 1: from "Pootle's New Spaceship"

Upper left: Animatic, Lower left: Animation (playblast), Lower right: Final version (as broadcast)
Audio left: Final (as broadcast), Audio right: Temp for animatic

0:00 - Change of angle, changed early in the animation process to better view both characters

0:11 - Action changed to Ray (the bird) closing the nose cone rather than appearing, but the 'beat' of the action remains the same.

0:12 - In the animatic, I wobbled the image to indicate Pootle (green) and Stella (brown) climbing in to the spaceship. This action was eventually replaced by Ray's reaction and the sound effect.

0:23 - Engine start time decided in animation, but the false start matches timing. 

0:24 - Pootle's blustering was cut down in response to animatic feedback from the producers. The shot duration changed accordingly.

0:30 - Hugely different angle, hence different duration. The new angle allowed the point of the shot to be conveyed a lot more quickly.

0:36 - Filling in the animation and letting the animator work the shot as they wished resulted in different timing for this shot, with a more tentative lift-off.

0:40 - A much more cinematic feel for this shot than depicted in the board. Lovely - and a brilliant case for collaboration and encouraging everyone to not be afraid to try things out that are different to what's already there.

0:50 - It was decided after the animatic that Pootle should feel less hesitant about the instructions he's been given, and we shouldn't draw quite so much attention to how bizarre it all seems (in case he doesn't seem in control of the vehicle - preschool audiences aren't as appreciative of mild peril as older children!)

1.01 - End of scene trimmed. The starts and ends of scenes are easy places to add or lose time when cutting to an exact duration.

Angles changing between animatic and animation is a common thing - if there's time and it's a big enough change, new boards will be drawn up to illustrate the intended shot; but often it's quicker and easier for the director to just get it worked up in layout and changed to their specification.

 Example 2: from "The Cosmic Whipple"

Upper right: Animatic, Lower left: Animation (playblast), Lower right: Final version (as broadcast)
Audio left: Final (as broadcast), Audio right: Temp for animatic

0:04 - Adding the rock in the middle of the crater for Oopsy to climb up was a late addition, but added some action to the shot, and was a good opportunity for our most hyperactive character to expend some energy. Of course, this changed the framing a lot from the animatic. And the timing.

0:08 - Blink and you'll miss it: a minor trim to the final at a late stage. A massage of an earlier trim.

0:13 - Shot extended for new action. 

0:20 - There were several shots boarded for this short section of varying duration, but I ended up resizing them in the animatic and merging them at that stage. This accounts for the variation in line thickness and framing.

0:24 - Dead space cleaned up in the fine cut

Often, I would adapt a storyboard to use in an animatic, if it had an element I wanted. This could mean re-sizing, or using a part of a board to replace a part of another board to clarify timing. This often meant a note was added for animatic approval - but I kept my timeline organised to show that it was all part of the same shot, and the metadata reflected that. Sometimes an animatic would end up being the best approximation of the framing from the available boards - I'd put priority on the composition in terms of whether it was a 2-shot, wide, close-up etc.

 

For additional information on the stages noted above, please refer to my previous blog posts on editing animation:

Part 1: Editing an Animatic
Part 2: Editing Animation
Part 3: Editing Animation (the final stages) 

Editing Animation (The Final Stages)

Part 1: Editing an Animatic

Part 2: Editing Animation

 

If you've read the previous parts of this series, this is the part which has the least 'editing' involved - and also the stage where most of the raw materials for the action are together and now fully staged and animated - basically the part where for drama, the editor would start.

However, because we don't have multiple readings from multiple angles and very little in the way of handles, the creative job's basically over. However, there's still work to be done - and elements to be added which will affect the optimal cut point of any two shots.

 

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Editing animation

This is part 2 of 3 detailling my processes as an editor on an animated series - for part one see "Editing an Animatic".

As in the previous post, the following notes relate to my specific experiences - mainly as editor on a 52 x 11 minute animation series. Review stages and timings vary significantly for features and other forms, and in my experience by project too.

This workflow is based more on a CG workflow within a 3D* environment, although the principles of the early stages are similar to the previz processes we used on Pirates!


Whilst the bulk of the creative editing work is done in animatic, there are multiple stages during animation where the film is translated from the animatic in which there are decisions to be made - and an opportunity to correct and improve storytelling.
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Q Pootle 5 - UK broadcast from next week

A bit of self-promotion here: the series I've been editing for the last year... almost to the day, Q Pootle 5, is beginning transmission on Monday 29th July.

It's on the UK channel CBeebies (various worldwide deals are in place, so hopefully not too long before it reaches other territories),  at 8.15am weekdays. Further information on the CBeebies website (click the image to go there and view the opening titles and a short clip).

Q Pootle 5 - on CBeebies from 29th July 2013

Q Pootle 5 - on CBeebies from 29th July 2013

It's all very exciting. And quite a few of my friends both in and outside of the industry have children in the exact target age range - so I'm looking forward to getting feedback from them.

Production continues apace - I'm currently on the 45th episode animatic, with another 7 to go after that - and then the workload starts to decrease. We just delivered episodes 23-26 this week, marking the half-way point... which means that on Monday I was responding to requests from people at various stages of animatic, layout, blocking, animation, amends, lighting, and compositing for 23 different episodes. At the rate of one episode per week, there are still 26 weeks to go until the series is complete - at which point there will be 520 minutes of animation across 52 episodes, not including titles and credits.

 Animation: it takes a long time.

Notes and Quotes from EditFest London

Yesterday - Saturday 29th June, was the first ever EditFest in London. The EditFest is a day's worth of talks organised by the American Cinema Editors - and has previously been held in Los Angeles and New York.

I took some notes and made some very ropey audio recordings, and would like to share some of the quotes from the day here. Each session was 90 minutes long, so what's below is only a very very small fraction of the insights shared during the day by the guests - and doesn't at all represent the more personal discussions that attendees were able to have with the panellists between sessions and during drinks afterwards.  

Overall it was an absolutely amazing day, and I hope they come back next year (as has been hinted).

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Editing an animatic

An animatic is the first stage of the edit in an animation. It's the combination of the storyboards, audio (possibly with temp voice acting), and timing. It's used as the base for the animation: animators will take the shot angle, durations, certain actions, and timings as a starting point for their work on each shot.


Animatics are also sometimes used in live-action films, in the same way as directors will storyboard certain sequences, and they may be the stage used prior to previz for VFX work on large action films.
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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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