GEORGE TRESSEL
teaching
Banelle laboratories Columbus, Ohio 43201
W. ROBERT BARNARD' The Ohio State University Columbus, Ohio 43210
Advanced film-TV Production Techniques 111, A n i m a t i o n , Editing
Two areas which are important for teachers to know about in order to produce professional quality films are animation techniques and editing of the finalcopy. Animation
In producing a teaching film or video tape, many complicated processes or techniques can be explained in simple, lucid terms by using carefully planned graphics or animation. Animated diagrams can add reinforcement to sections of a film or TV tape dealing with data produced in the live action section of a filmed experiment. Block diagrams, tables, and plots of data can he progressively disclosed to reveal or emphasize individual points in an otherwise complex representation. A series of illustrations can visually convey a difficult concept such as molecular motion. The function of a complex apparatus can be drawn in several progressive scenes which are then filmed in sequence to give the illusion of continuous action. Animation in the chemistry film may range from simple titles or arrows which "pop" into live action scenes to elaborate fully animated films. The film story board described in Part I1 of this series sets forth the basic ideas in graphic form and may suggest desirable animated sections for a film. Two processes lend themselves to teacher-produced 'Present address: Division of Natural Sciences tlnd Mathematics, Evergreen State College, Olympia, Wash. 98501. Kodalith is a registered t,rademark of the Eastman Kodak Company. Spinning polarizers and polarizing kits me available from: The Technifax Corporation, Holyoke, Mass. Most art supply stores handle cellulose acetate sheets (eels) in various weights suited far animation use. When you order, caution them that the material is to be used for animation so that they will select high quality sheets free of blemishes. The most often used thickness is 0.005 in. Great care must be taken to see that the proper ink and paint materials are used. Ordinary tempra colors will flake and chip unless they have been doped with a few drops of detergent. The most complete selection of colors for painting cels is manufactured by Cartoon Color Company, 1958 Culver Blvd., Grover City, Calif. Any good stsndard India, ink can be used on acetate if it is doped with two or three drops of glycerine per bottle, half a dozen drops of concentrated gum ambit solution, and hali a dozen drops of Braun Nonerawl. For certain simple chart and graph work there is a. variety of letters and symbols and colored patterned materials in tapes and sheets which are very useful to produce very neat and efficient art work. Catalogs are available from Chart Pack Inc., 1River Rd., Leeds, Mass. and the Letra-Set Corporation, New York City.
films. One simple animation technique emphasizes the use of colored or clear lines on a dark background. By means of the Rodalith2process, art work composed of black lines on white paper can be photographed and converted to a high contrast negative image. When properly backlighted, clear areas photograph as sharp bright lines against a dark background and can be masked or colored to separate lines and achieve many effects from a single master. To film such material, a lightbox consisting of a translucent Plexiglas panel and a light source is necessary to uniformly back-light the negative. Since progressive disclosure is a strong feature of Kodalith-based animation it is important to design a support which will allow the negative to he taped down and leave room to mount guides for appropriate masks. (See Fig. 1.) Polarizing effects are very effective with Kodaliths. The vibrational and translational modes of molecules can he simulated by drawing the two extremes of the effect and covering one mode with a polaroid sheet out of phase with the complementing mode. Using a spinning polarizer, an effective vibrational effect is produced. Electric current flow can be effectively simulated using commercially available "linear motion" polarizing materials in transparent self-adhesive form applied to the Kodalith master; boiling, blinking, etc., effects are also availahle. Spinning polarizers can he purchased commerciallya or fabricated in a department shop. Full art work can he produced and photographed in animated style in two methods. In one method, a complete, highly detailed drawing is produced. Then by a selection of pans, zooms, and cuts from long shots to extreme close-ups of elements within the drawing, an effectiveanimated effect can be achieved. In the second method, drawings are made on transparent acetate sheets termed c e k 4 Art work for animation may be prepared by a variety of methods. They may be made directly using special acrylic based paints such as are available from Cartoon Colors, Inc., Culver City, Calif. A number of materials are available for producing the cels from paper art work. This includes materials such as diazo foils which are available in a variety of colors, 3-M transparency materials, 3-M color key material, and specially-treated clear plastic which can be used in a Xerox machine (availahle from Arkwright, Inc.). In some cases a simple technique is to prepare paper art work and glue this to the pIastic. If the cels are to be colored with cartoon paint, it is customary to outline the figure on the front of the cell Volume 48, Number 2, Februory 1971
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Figure 1. Any number o f effects con b e achieved b y progressively uncovering the negative to reveal caption, curves, arrows, etc. A curve con b e "drown" by slowly withdrawing o mark which covers it. Many interesting and useful effects can be obtained b y drawing two ponernr .cross each other; this can simulate rcintillationr, liquid flow, etc. Expowre d such moterial requires some experimentation but a flmt approximation con b e obtained by reoding the exposure o f the bare light box and opening the lens two stops. For cameras with ovtamotic exposure control, the fllm rpeed adjustment con be changed to $imulote a dower fllm rpeed b y one or two ASA numben. In 16-mm cameror i t i s sometimes pa9sible to rewind the fllm ond double expose an attractive bockground texture for the animated drawing..
and apply the color from the back. Thus the color edge is obscured by the front outline and color variations caused by surface drying are avoided. The timing and registration of each scene must be given careful consideration, if the filming is carried out by single-frame shooting. (See Figs. 2 and 3.) In cel by eel animation a registering device is necessary, and modest plastic registering tabs may be used (ASR Plastic Snap Fasteners, Accurate Step and Repeat System, 1036 Spring St., Philadelphia, Pa. 19107), but for more elaborate work, a punch and registered pins are necessary. One may be improvised by using a 3-hole paper punch. Professional animators shoot two . . frames-for each cel but more frames can be used if the flicker is tolerable. In cyclic animat,ion which involves a minimum of art work, a series of eels is prepared where the last eel is identical to the first. Then the sequence is simply repeated again and again. Thus for a crystal dissolving, a stream of bubbles, a molecule vibrating, etc., very little art work is required. However, the photography is extremely tedious and care should be taken to protect the art work which tends to become scratched and damaged in the process. A strong caveat regarding animation is in order here. One can theoretically accomplish any effect and is often tempted to try. But professional results are difficult to achieve and one should always ask "will animation help to underline or explain this point?" A series of static diagrams may well be more lucid than a single flickering and moving diagram. In some cases movement on the screen may actually distract from the presentation. A good practice is to illustrate a process the first time it is explained but subsequently to refer back to the original kxplanation by a static illustration. Thus, the effect or redundancy is retained while centerine the student's attention unon the new point which is being explained rather than histracting him with t,hemoving image. A good scheme for titles is to set up the first title, u
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Figure 2. Arrows and titles con b e mode to "pop" into live action 3cener by simply stopping the camera after the rcene hor been run for a few moments and adding the arrow or title; in a limilar fo3hion, o piece of apparatus may b e outlined with colored tope. Arrows m ~ bye cut from red cardboard and backed with double-foced marking tape to facilitate eory mochment to apporotus or graphics. It is important that the comero and object being photographed ore not disturbed in the slightest when adding orrows or lobels to "pop" in and out of live action scenes. In most comeros there will be ot least two overexposed or "flash.. frame,. Splicing, to remove these frame. i s essential for maximum effect of the pop-in materials.
film it, stop the camera, remove the animation, and expose a dozen frames of the background before setting the next animation. This procedure may be repeated until the whole sequence is complete and will give the effect of the titles smoothly appearing on the screen with only a slight pause between each one. or animation superimposed over the background action are particularly effective but the effect is difficult to achieve unless your camera incorporates backwind. The only super 8-mm cartridge camera which has the backwind feature presently is the Bauer C-Royal Model. A 16-mm camera with the backwind feature can be used for in-camera super-impositions, but it is difficult to synchronize scenes. If the effect is necessary a better choice is to "A and B" print where the background scene can be photographed on one film, and the titles and animation on a second film, which is then double printed optically over the prior scene.
Figure 3. For a simple oction a large number of ceh is not necessary; there cases, on object may simply "pop" from one position to mather. somewhat smoother effect can be achieved by an intermediate "blur" r. The blur cel should b e inserted for three framer between the two a nd poritionr and will provide a remarkable impre.rim of movement. Where slower movements are required more celr ore necessary. To depict h e oction of analytical balance operating, for exomple, ons might use a sequence of six c*lr To obtain a smooth resw8 depends on the built-in continuity provided by o single plain background which should remain vnchongod throughout the animated sequence.
This effect can be achieved in S-8-mm by having a segment of 16-mm film prepared, then reduced to 8-mm, although the cost of t,hiseffect must be kept in mind. There is an alternate method of producing titles superimposed over a live action background that can he used by super 8 camera owners who cannot baclcwind the film. This system requires that the lettering be transferred to a sheet of glass or plast'ic which is then set up in front of the camera so that the t,itle and background action can be filmed in one operation. Essential for this operation is a tilter or "matte" box and a short local length lens so that the glass and title cel can he supported far enough away from the camera to keep the scene in accurate registration and focus. Editing
One of the principle advantages of producing instructional materials on film is the "second look" a t the recorded image that the edit,ing process affords the teacher-producer. The highly creative editing step is most effective in producing 16-mm films. Super 8 and video tape producers however, can profitably generalize from standard techniques used by professional film editors to put a picture story together. Previous articles in this series have indicated that if the pre-production (story board) aspect,s of an instructional TV tape or film start with t,he assumption that maximum advantage will be made of the editing step, the process will contribute t o efficient production and add t,o t,he quality of the product,ion. Although a certain amount of edit,ing can be done effectively in the camera especially in 8-mm product,ion, editing is still basically a bench process in which each scene is cut to t,he precise length in the order dictated by the story board. The potential of the assembly is evaluated a t this point and the final form of the film or TV tape determined. The first step in establishing the editing rout,ine is to have a copy of the original film (a workprint) made. It is then possible t,o project the workprint, and judge what footage is good or bad. Possible ways of editing the shots are examined and object,ive evaluations of the photography can be made with the projection of the workprint.. You need not handle t,he workprint. with the same care as original film. If all t,he filmed scenes are not in order, or there are retakes, after projecting, run the workprint through a table viewer and cut off unwant,ed t,akes. Hang the wanted takes in an editing bin. Number these shots by marking the pieces of masking t,ape used to hang the shots in the bin. Rearrange the shots in the bin so t,hey are in order wit.11 the script, then proceed to shorten shots if necessary, splice and project. I n every case, the teacher-editor should mark the proposed stopping point of one scene and the proposed starting point of the next. It is important to check and recheck to make sure that both shots will cut together well, and will cont,ainthe proper material after cutting. If several choices of equally good cutting scenes are available, he may cut the scenes long at first and recut later to match the narration. By assembling the workprint scenes in order and projecting them the editor quickly sees the problems ahead in finishing the film, a preview of the finished product, a suggestion of weak areas, and a measure of
the film's length. Extra footage and repetitious scenes stand out. When the more obvious alterations have been made, the narration is read when the edited workprint is projected. The main purpose is to make sure there is enough appropriate photography to cover the narrative idea. If there is considerably more picture than narration, the best method is to retrim the w-orkprint and read the script during a second projection. Some suggestions on hour to select the cutting point to match action and dialog: (1) Cut on non-essential but eye-catching movement. (2) Show the whole action without cutting if it is significant. (3) Cut to the better viewpoint just before the action occurs. (4) Have the action and cuts evenly spaced for a rhythm of occurrence which maintains the attention of the viewer. (5) Cut in the pause between sentences or ideas. (6) Cut in the middle of a sentence to show a reaction. I n producing the teaching film, e i t h e ~silent ov sound, the pacing of the edited Jilm must be related to a narration. When the picture and narration are closely related, start the narration immediately after the picture appears. If the picture and narration are not closely related, start the narration or add a caption perhaps 2 sec after the picture starts. Allow plenty of time between sentences to close one idea and establish the next. The selection and utilization of optical effect,s was
Figure 4. A typical film editing bench. The following moterials are required to set up an editing bench for 8-or 16-mm fllm. A work table, preferably with o white top; 3 6 in. high X 24 in. deep X 6 0 in. long. A rturdv set of fllm rewind,. 400 h c a n f o r 8-mm. 1 2 0 0 ft can for 16mm. A film viewer, which take, film fmm left to nght; rvggested: 16-mm, Croig V-16, for 8-mm, Vernon Delur 8-mm editor. A film splicer, suggested: Kodak Universal Prerrtope splicer for 8mm. Moier Honcock cement splicer for 16-mm and 011 splicing of origin01 film for printing. Storage shelf with repardor rocks for film reels. Demagnetized fllm cutting scisrorr for silent, sound fllm. Conon film handling glover. Film cement bottle firmly mchored to the editing bench. Film trim bin. Generally, o wood box 2 4 in. square, 3 0 in. high, with a center port M hold cut fllm. A fiber shipping barrel also serve. well for a film bin. The film is normoily held to the center post with mosking tape lobeled or to scene. Backlighted opal glorr plate, inset in top of editing bench, effective for identifying film scene%
For tcarhen-producers planning to establish 0 complete editing foc'l'ty for 8.0, 16-mm film, they ore referred to "An Editng Bench for 1no~tr;ol Film Production,' by G. Tressel ond Stonley Andrew,, lobmol of theSMPTF, Nov. 1964, p. 959.
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discussed in part two of this series. Optical effects most generally produced in 16-mm film printing should be planned early in the production process. I n general, optical effects are the film producer's method of indicating a significant relationship between two scenes. They are introduced to prepare the film viewer for purposeful change. The degree of change obtained using 16-mm printing techniques may justify using this gauge to produce the effective teaching film. With the ed~tingcomplete, it is necessary to match the original film to the edited >%orkprint. With 16-mm editing, procedures are well established and several references5 will guide the producer. I n 8-mm production, it will he necessary to cut the original film t o match the workprint. Most film editors wear film handlers cotton gloves on at least one hand. Fingerprints can be impressed on a film emulsion but more importantly they serve as sites to collect airborn dust or lint which may appear as flecks on prints struck from the original. Avoid bent or rough edged film reels or
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editors which may physically damage the film. I n S-8-mm take particular care t o protect the sprocket holes from damage. There are several types of splicers, viewers and rewinds on the market and a typical set-up for editing film is described in Figure 4. Before releasing a film for printing the teacher-producer might well consider the following questions: Is the rate of presentation of each sequence appropriate to the surrounding sequences and to its location in the film? Is the emphasis placed on a given sequence by unusual photography or editing appropriate to the attention the subject deserves? I s the style of editing and the overall presentation appropriate to the subject matter? Is the film too long for the given task, or does it represent the subject too hastily? We suggest as basic references: "Producing Industrial Motion Pictures," available from the Eastman Kodak Company. Contact the Calvin Company, 1105 Truman Rd., Kansaa City, Mo., for company publications on preparing and producing 1 6 m m film.
