{"id":46624,"date":"2014-10-31T12:39:23","date_gmt":"2014-10-31T16:39:23","guid":{"rendered":"http:\/\/www.premiumbeat.com\/blog\/?p=46624"},"modified":"2014-11-04T12:57:40","modified_gmt":"2014-11-04T17:57:40","slug":"hear-pros-like-edit-animation","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/hear-pros-like-edit-animation\/","title":{"rendered":"Hear from the Pros: What It&#8217;s Like To Edit Animation"},"content":{"rendered":"<h2 id=\"ever-wondered-what-its-like-to-edit-an-animated-feature-these-professional-video-editors-let-you-into-their-world\">Ever wondered what it&#8217;s like to edit an animated feature? These professional video editors\u00a0let you into their world.<\/h2>\n<p><script src=\"\/\/platform.twitter.com\/widgets.js\" async=\"\" charset=\"utf-8\"><\/script>Editing an animated feature film is a long haul process which can <strong>take several years, as the film moves from animated storyboards<\/strong> (animatic), through story development, early animation and then final animation. In <a title=\"Animation Editing\" href=\"https:\/\/storify.com\/EditorLiam\/postchat-animation-editor-xophermonster\" target=\"_blank\" data-wpel-link=\"external\">this recent #PostChat conversation<\/a>, <strong>animation editor Christopher Murrie describes his work<\/strong> on stop-motion animation features such as <em>Coraline<\/em> and <em>ParaNorman<\/em>.<\/p>\n<blockquote class=\"twitter-tweet\" lang=\"en\"><p>\nNLEs bring a lot of responsibility for sound into the editors lap as well, so I think that gave me a bigger skill set to offer. <a href=\"https:\/\/twitter.com\/hashtag\/postchat?src=hash\" data-wpel-link=\"external\" target=\"_blank\">#postchat<\/a> \u2014 Christpoher Murrie (@XopherMonster) <a href=\"https:\/\/twitter.com\/XopherMonster\/status\/520062819840954369\" data-wpel-link=\"external\" target=\"_blank\">October 9, 2014<\/a>\n<\/p><\/blockquote>\n<p><script src=\"\/\/platform.twitter.com\/widgets.js\" async=\"\" charset=\"utf-8\"><\/script><\/p>\n<p>This <strong>postchat conversation was one of the most active and detailed<\/strong> and you can <a title=\"Editing animation\" href=\"https:\/\/storify.com\/EditorLiam\/postchat-animation-editor-xophermonster\" target=\"_blank\" data-wpel-link=\"external\">read the entire thread here<\/a>, definetly worth it. Thanks must go to <a title=\"Editor liam\" href=\"https:\/\/twitter.com\/editorliam\" target=\"_blank\" data-wpel-link=\"external\">@editorliam<\/a> for putting the storify together and <a title=\"Editor Jesse Averna\" href=\"https:\/\/twitter.com\/Dr0id\" target=\"_blank\" data-wpel-link=\"external\">Jesse Averna<\/a> for running #postchat!<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/hgwSpajMw3s?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><a title=\"Interview with Pixar Film Editor\" href=\"http:\/\/jonnyelwyn.co.uk\/film-and-video-editing\/editing-a-pixar-film\/\" target=\"_blank\" data-wpel-link=\"external\">In this two part interview from AOTG.com<\/a> you can hear how editor <a title=\"Ken Schretzmann\" href=\"http:\/\/www.imdb.com\/name\/nm0775350\/?ref_=fn_al_nm_1\" target=\"_blank\" data-wpel-link=\"external\">Ken Schretzmann<\/a>\u00a0handles the process of cutting a Pixar film. <strong>Ken has worked on several Pixar features<\/strong> including <em>Toy Story 2, Monster&#8217;s Inc<\/em> and <em>Monster&#8217;s University<\/em>. Another interview that is well worth checking out is <a title=\"Editing Animation\" href=\"http:\/\/www.cceditors.ca\/the-mystery-of-animation-editing-revealed\/\" data-wpel-link=\"external\" target=\"_blank\">this extensive article from\u00a0Annellie Samuel over on the Canadian Cinema Editor&#8217;s blog<\/a>, which brings together both <strong>a detailed description of the editorial process of editing an animated film, as well as great interviews with professional animation editors&#8230;<\/strong><\/p>\n<blockquote><p><em>Dan Lee: What I enjoy most about Animation Editorial is the Leica process or the \u201cstory reel\u201d.\u00a0 I like to help tell the story (content, timing, jokes etc) with music and sound effects to really \u201cnail\u201d the scenes for the animators. The fast paced atmosphere of pre production is addictive and when the \u201ccolour\u201d shows up months later it\u2019s very satisfying to see the whole show come together.\u00a0 We can change the script, often \u201cguiding\u201d lines for a \u201cpick up\u201d later and change the direction of the show mush more easily then live action because nothing is actually \u201cshot\u201d yet.\u00a0 If a joke doesn\u2019t play well, we can rewrite another one and board it quickly. If the camera work seems \u201cclunky\u201d we can re block it.\u00a0 A large degree of creativity exists in cartoons because if we can imagine it we can sketch it and put it in the show!<\/em><\/p><\/blockquote>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/85971116\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>UK based animation editor Judith Allen <a title=\"Editing animated childrens tv\" href=\"http:\/\/www.jaa-editing.com\/blog\/editing-animation-a-roundup.html\" target=\"_blank\" data-wpel-link=\"external\">shared this excellent breakdown of what it&#8217;s like to edit an animated children&#8217;s TV series<\/a>. What is especially useful about her post is the list of time-coded changes that will help you see just how many tiny details change over the course of a sequence being completed. Judith has also put together a detailed 3 part series on what her day to day work as an animation editor involves, and how that fits into whole creative process.<\/p>\n<blockquote><p><em>At every stage in the edit, the considerations from previous stages should be taken into account. Blocking or animation may reveal problems with a camera angle (set during layout), while animation can fix or break the relationships between characters and objects. Ideas come forward about how to better relay a thought, and timing needs adjusting or dialogue needs replacing which was set during the animatic stage. As with all creative processes, especially those so heavily collaborative, flexibility is key.<\/em><\/p><\/blockquote>\n<p><a title=\"Editing an Animatic\" href=\"http:\/\/www.jaa-editing.com\/blog\/editing-an-animatic.html\" target=\"_blank\" data-wpel-link=\"external\">Editing Animation Part 1 &#8211; Editing the Animatic<\/a><\/p>\n<p><a title=\"Editing animation\" href=\"http:\/\/www.jaa-editing.com\/blog\/editing-animation.html\" target=\"_blank\" data-wpel-link=\"external\">Editing Animation Part 2 &#8211; Editing The Animation<\/a><\/p>\n<p><a title=\"Editing animation\" href=\"http:\/\/www.jaa-editing.com\/blog\/editing-animation-the-final-stages.html\" target=\"_blank\" data-wpel-link=\"external\">Editing Animation Part 3 &#8211; The Final Stages<\/a><\/p>\n<h2 id=\"animation-tips-from-pro-animators\">Animation Tips From Pro Animators<\/h2>\n<p>French animator Patrick Guisiano shared som<strong>e key lessons he learned while\u00a0working on <em>Epic<\/em> at Blue Sky Studios. <\/strong>It&#8217;s a fantastic window into the multifaceted world of a working animator&#8217;s life; having to <strong>combine personal performance, director&#8217;s notes, diverse visual references<\/strong> and more into one complex shot:<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/93920761\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><a title=\"Jeff Gabor site\" href=\"http:\/\/jeffgabor.wordpress.com\/\" target=\"_blank\" data-wpel-link=\"external\">Jeff Gabor<\/a>, an animator who worked on <em>Ice Age 4 Continental Drift,<\/em>\u00a0shared this &#8216;progression reel&#8217; which <strong>demonstrates how much a shot can evolve from the original storyboards, low res first version to the final cinematic shot<\/strong>. He also worked on <em>Epic<\/em> for Blue Sky Studios and here you can see a quad view of the various stages of his work:<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/70297665\" width=\"500\" height=\"213\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/81962062\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>If you&#8217;re <strong>sitting on an idea for an animated feature film<\/strong>, then M Dot Strange&#8217;s presentation at LACPUG should inspire you to get on with it and make something happen. <a title=\"MDotStrange\" href=\"http:\/\/mdotstrange.com\/\" target=\"_blank\" data-wpel-link=\"external\">M Dot Strange<\/a> is a one man cinema machine, having <strong>created three full length animated feature films by himself:<\/strong><\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/www.youtube.com\/embed\/LmOijrc8ZDU?rel=0\" width=\"640\" height=\"360\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<h2 id=\"a-beginners-guide-to-animation\">A Beginners Guide to Animation<\/h2>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/37445157\" width=\"500\" height=\"281\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>Lastly, if you&#8217;ve never fully understood the animation process then this short animation will take you through <strong>the process of creating an animated advert in 4 minutes.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Ever wondered what it\u2019s like to edit an animated feature? These professional video editors let you into their world.<\/p>\n","protected":false},"author":15,"featured_media":48040,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[79,78,39],"tags":[2920,3389,755,3388,211,794,1495,3390,43,153],"class_list":["post-class-post-46624","post-class-post","post-class-type-post","post-class-status-publish","post-class-format-standard","post-class-has-post-thumbnail","post-class-hentry","post-class-category-inspiration","post-class-category-roundups","post-class-category-video-editing","post-class-tag-postchat","post-class-tag-animatic","post-class-tag-animation","post-class-tag-coraline","post-class-tag-editing","post-class-tag-epic","post-class-tag-pixar","post-class-tag-pro-advice","post-class-tag-tips","post-class-tag-tutorials-2"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v18.5 (Yoast SEO v27.7) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Hear from the Pros: What It&#039;s Like To Edit Animation  - The Beat: A Blog by PremiumBeat<\/title>\n<meta name=\"description\" content=\"Ever wondered what it\u2019s like to edit an animated feature? 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