Animation - Post-production

Animation - Post-production


Offline vs Online Editing

Offline Editing - The state where tour raw footage is run through a program that transcodes it to have a lower resolution. You can then use that lower resolution footage to edit your film. Think of this as the storytelling stage. The editor focuses on the timing of the cuts, the pacing of story, and communicating emotions.

So, as part of the animation process, you will need to create an offline edit - think of it as a rough draft in which you sequence your footage on a timeline

You should use this to make notes in line with the storyboard and determine changes needed


Online Editing - The Finishing stage, is where you’ll reconnect those lower-resolution fees to the original, fill quality footage. This is also when colour correction, effect work, final titles and audio are brought into the film. It’s at the end of the online stage that you export your completed film.


Log Sheets

Before creating your animation, you should create a log sheet

The log sheet is used to identify time codes with descriptions of all shots

Appropriate footage can then be selected from the log sheet for the animation


Visual and Audio effects

You’ll need to create an offline edit for your animation. And from that offline edit you will then apply a variety of audio and visual edits to create meaning in the final edit.


Cuts and Transitions


9 Essential cuts and transitions every editor should know

  1. Cut/Invisible cut - the impression of a single take but hidden within the darkness
  2. The J-cut - scene leads in with audio - Change locations - hear what’s going on before you see what’s going on
  3. The L-cut - cut the action and keep the audio - Flip of the J-cut
  4. Cutting on action - cutting from one shot to another while the subject is still in action
  5. Jump Cut - cuts between the same shot
  6. Cross Cutting - intercuts back and forth between locations
  7. Cutaway - cutting to an insert scene then back
  8. Montage
  9. Match cut - cuts from one shot to a similar shot by either matching the action or composition


Transitions

Once the offline edit is complete, and you’ve made notes for corrections, you’ll need to produce the final edit

One of the first considerations is cuts (and length thereof) and transitions. You should avoid using transition just for the sake of it. Think about what those transitions mean. What kind of effect are you trying to convey?

    • Fade in and fade out - dissolving to or from black
    • Dissolve - blend one shot into another
    • Smash cut - abrupt transitions
    • Iris - often found within the scene
    • Wipe - the scene wipes to another

Creative combinations! - combine transitions

Transitions can create meaning


Colour Control

What kind of colour scheme will you use in your animation?

You can apply filters in post-production to generate meaning

Raymond Briggs’ graphic novel, When the Wind Blows, described the effects of nuclear fall out on an elderly couple. The colours went from bright primary colours at the start to a sickle, grey-green colour as the tale progressed.

Thank carefully about how colour created meaning


Titles and Graphics

Graphics and title cards can help you generate the appropriate mode of addressor your audience


Up - Montage sequence notes

  • Colour Palette changes
  • Use of colour to communicate passage of time and the couple getting older
  • bright colours to less saturated as the story unfolds to suggest time moving on and their life coming to its twilight years (use of orange in the middle bit of the narrative)
  • Wipe transitions - grab our attention


Audio Effects

You will also have to think carefully about recording and mixing sound in your animations


Key Words:

  • Dubbing - in post production - additional recordings lip-synced for final effect
  • Incidental music - BACKGROUND
  • Noise print
  • Wild tracks


Audio effects terminology 

Production sound - recording live dialogue and sound on set

Foley work - re-creating everyday sound effects

Sound design - the practice of creating different sounds and audio

Noise print - technique to reduce sound

Wild track - recording audio separately from film footage (laughter, screams etc)


Production Sound


Foley


Sound Design


Sound Mixing

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