However, we also had to operate with a very small crew, with everyone’s safety as the very first priority. Some of our ideas were just unworkable with COVID-19 protocols.

Here’s what we came up with, and how we pulled it off.

228 Days Later

For those keeping track, Halloween falls roughly 228 days after life in the US was upended by the global pandemic. Before we go behind the scenes, watch the frightening final cut below:

The Concept

We ran through a lot of different ideas before arriving at our winning concept. This year has felt particularly apocalyptic, so at first, we explored themes around natural disasters and zombies.

However, we quickly realized those plots would’ve required quite a few extras, make-up artists, and more crew members to pull off the way we wanted. In order to keep our shoot as safe as possible, we needed to come up with a script that didn’t require as many people in front of or behind the camera.

Enter the ultimate villain. After trying to come up with a different evil character for our heroine to fight, we realized nothing is scarier than 2020.

After all, our lives are still in upheaval, and the year isn’t even over yet. We also thought it would be really satisfying to see someone square up to this particular evil-doer and fight back.

The Script

Once we had a concept, the script came together fairly quickly. We only planned one spoken line of dialogue since we mainly needed to build up suspense until the big reveal of our villain.

We decided to use the spacious house to maximum effect. Our heroine wanders the halls and peeks through a seemingly disordered array of rooms as the threat becomes more tangible.

The pinnacle of the storyline is the confrontation with the source of all the horror. The abject terror in her eyes says it all: this year is the actual worst.

As it turns out, you can run, but you can’t hide from 2020. The final scene is a classic, 80’s-inspired shot of the heroine facing up to this awful year with everything she’s got.

The Shoot

In order to create the right atmosphere, we needed a dark set. While there are other solutions, the easiest option is usually to shoot at night. We planned two night shoots to capture all the footage.

While night shoots are tough because of the hours, you wind up with plenty of time to prepare before the camera rolls. If you’re diligent, they tend to be pretty efficient.

Night one, we tackled most of the simpler and atmospheric shots. For instance, most of the scenes with Alexandra walking around were filmed on night one. This approach allowed us to more meticulously plan the action scenes for night two.

Leading up to the first night, we staged rooms, charged batteries, and set up lighting equipment. For night two, we worked on props and put the final touches on certain rooms where action would be unfolding. On both nights, when the sun went down, we were ready to film.

The only footage we shot before sundown were the scenes in the garage. Since it didn’t have many windows, it was possible to black them out with garbage bags and gaffer tape. This saved us a few hours at night on day two.

Tradeoffs On Set

Since we were operating with a really bare bones crew, we had to make certain tradeoffs. Nick LaClair, the creative director at SproutVideo, was our director, camera operator, and art department. Brandon Ivey handled lighting and sound, and Alexandra Riley Morton was our lead actress.

For the scale of the shoot and the amount of equipment we were using, you would typically have at least three assistants. Ideally, one person would be focused on audio, with another on lighting, and another would handle props, costumes, and staging.

However, due to COVID-19 safety precautions, we decided to make do with a smaller crew. This meant on-set audio would be harder to capture, but that fit with our concept since we only had one line of dialogue.

It also meant that while we had wanted to craft a physical representation of 2020 to use as our villain, it wasn’t feasible. With our team already stretched so thin, there wasn’t anyone to act with a 2020 prop beyond casting ominous shadows on a wall.

Instead, we decided to create the monster in post-production, which often feels like a gamble. In this case, we think it paid off.

Equipment

Considering the size of our crew, we had to keep our equipment equally as efficient. Here’s what we used on set:

• Sony FS7 Camera
• Fujinon 18-55 Cine Zoom Lens
• SLR Magic Anamorphot 65 Adapter
• Tilta Nucleus Remote Follow Focus
• Sachtler System FSB 8 Tripod
• Hollyland Cosmo 500 Wireless Video Transmitter
• Monitor with Stand
• Dracast Fresnel Pro LED 5000 Light
• Two RGB LED Panels with Stands and Smartphone App
• Three Arri Tungsten Lights with Stands
• Cardioid Microphone with Stand
• Fog Machine

The anamorphic lens imbued our footage with a cinematic quality to give it a more classic horror movie look. It’s subtle, but it’s apparent in the level of background blur and oval-shaped bokeh in the shots.

With such a small team, much of our equipment had to be used remotely. The camera was hooked up to a wireless monitor so Brandon could pull focus at a distance while Nick filmed with it handheld. Similarly, the RGB LED panels were controlled with a smartphone app, which meant less running around to adjust the lighting.

Lighting Design

Since our villain was figurative, and would only be added with CGI in post-production, we used a red light to represent it on our shoot. This enabled us to set up some strong visual contrasts from start to finish.

We used warm, ambient lighting for the opening scene. As it becomes apparent that all might not be well, our actress leaves the well-lit kitchen for darker areas of the house. When she finally encounters the evil villain, red light washes over her face for a classic horror movie scare.

The big Dracast light was used to illuminate outdoor shots, and to cast the shadow of 2020 on the wall. The RGB LED panels (seen above behind Nick) served as our monster because we were able to program an automatic on-off cycle for one light, with the other left on a constant glow, and control both remotely. The fresnels were mainly used to tweak background lighting within the house (also shown above, highlighting the pool table).

For more tips on lighting a scary scene, check out our guide to classic horror movie lighting.

Post Production

Beyond the basics of editing and color grading, we had to create a monster to represent the year 2020 with CGI. Sara Greene, SproutVideo’s marketing designer and After Effects whiz, had this to say about how it came together:

As a fan of 80s horror movies, the red glow of the room instantly reminded me of horror movie classics like Poltergeist and The Thing. With that aesthetic in mind, I applied various effects to the 2020 text in After Effects to make it warp, shift, blur, glow, and to give it an ethereal quality to essentially bring the monster to life. Along with Nick’s help in post-production, I think we achieved making the monster look as natural as possible in its environment.

Sound Design and Music Score

Without a dedicated person to capture sound on set, we wound up recording some noises after the fact. For instance, the zipper, wine bottle, door slamming, typing, bag dropping on the counter, and general room ambience were all captured after filming wrapped.

Ideally, we would’ve placed a lav microphone on Alexandra when she was running through the woods. Again, facing limitations in crew size, we chose to use a handheld boom for those shots. We also used a boom on a pole for a majority of the rest of the shots in the house, with the exception of the hallway walking scenes, where we were able to use a lav.

To learn when to use each type of microphone, check out our guide to the three essential microphone setups.

Terrifying Tunes

Picking the right music was incredibly important. With practically no dialogue, we knew we’d have to use music to transport our viewers and create tension.

Just like the lighting, the music helps transition viewers through the different stages of the film. We open with a warm, eclectic vibe, but quickly spoil the mood with some unrecognizable sounds. As they get louder, the upbeat music fades, and our actress investigates. As she gets closer to the source, we shift to much more dramatic music and louder monster sounds. Finally, when she retreats to the garage, we shift the mood with a big change in the score to signal her determination to face her fears.

By mapping your music choice to the emotions you want your audience to experience, you can help transport them along on your journey.

We loved watching this idea come to life, and hope you enjoyed it too. Do you have any special video tricks or treats up your sleeve for Halloween this year? Any horror movie film techniques you’d like to explore? Share your thoughts in the comments below!

The post 228 Days Later: Behind the Scenes appeared first on SproutVideo.

Since stop motion animation requires a certain level of precision and attention to detail, there are many pitfalls to be aware of. From the lighting to the plan of action, these six key factors can impact your final result. Here’s our guide to getting it right.

What is Stop Motion Animation?

Stop motion animation is a specific type of animated video where the action taking place is filmed one frame at a time. Typically, it’s done with inanimate objects to bring them to life in unexpected ways.

A particularly famous subcategory of stop motion is claymation. A hugely popular series called Wallace and Gromit was made entirely from claymation, with each video taking a tremendous amount of work hours to produce.

Recently, at SproutVideo HQ, we got into the Halloween spirit with a stop motion animation of our own. Check it out:

Stop motion can be used for all types of video, from feature-length films to ads on social media. It’s flexible, since nearly any object can be animated one frame at a time, but also comes with lots of creative constraints. Here are the six steps you need to take to get it right.

1. Precise Planning

Stop motion video is one of those projects that sounds a lot simpler than it is. Moving and filming an item a frame at a time should be straightforward enough, right? Turns out, there’s a lot more to it than that.

Stop motion animation requires a lot of planning to turn out well because the process is almost completely linear. Unlike with other types of video, you can’t do multiple takes to see if one turns out better than the other.

If anything changes during the course of filming, you can’t quickly reset and pick up where you left off. It’s very difficult to add anything in or take something away on the fly. You typically have to start over to make even simple corrections.

Sketch or storyboard what you want your action to be. Have a very clear concept and script before you start rolling, since there’s no backtracking once you start moving elements around on camera.

2. Control the Lighting

Make sure to use studio lighting if possible. By studio lighting, we mean a controlled environment where you can set and adjust the lighting very precisely. Usually, you use different types of artificial light sources directed at your subject to get the effect you want, and block out natural light sources.

Otherwise, imperceptible changes in natural light will make your stop motion flicker during playback. Even a small difference in shadows or brightness can really stand out with this type of animation.

Our guide to tabletop shooting is a can’t-miss if you’re planning a stop motion animation video. It’ll walk you through exactly how to set up your lighting for this type of project.

3. Lock Down Your Camera

Make sure to use a sturdy tripod, and DON’T BUMP IT. This is harder than you might think, since stop motion shoots tend to be lengthy, and usually require a lot of walking around, moving props, eating take-out, etc.

No matter how much action and chaos might be going on in the studio, be careful around your camera. Use road cones, gaffer tape, or other obstacles if need be. If you bump the camera, you may have to start from scratch.

A small change in your camera angle can throw off everything. From the lighting to the perspective on your subject, it’s very important to keep it consistent for a polished end result.

4. Lock Down Your Subjects

Consistent lighting and a stationary camera are key to filming smooth and appealing stop motion animation. Similarly, for your subject, any movement has to be very intentional.

Make sure to change only one element at a time, and take the time to figure out how to lock down the items on screen that aren’t supposed to move. The smallest nudge to an object that wasn’t meant to budge can be really obvious and distracting. If your subject is a pile of small slips of paper, for instance, a sneeze is all it takes to ruin your shoot. 

For example, for our pumpkin video, we drilled holes into our tabletop and bolted the pumpkin to it to keep it from wiggling around while our artist carved it. This is a bit extreme, but it was necessary for a large, relatively heavy object like a pumpkin. We also used brightly colored tape to mark the positioning of our second pumpkin.

For smaller scale shoots, you can use double-sided tape, velcro, or other crafty solutions to prevent unwanted movement.

Of course, sometimes, a small amount of movement in background objects can be desirable in animations. For instance, when we animated watercolor sketches for our Earth Day celebration video, we wanted the elements to move around a little to appear more lifelike and natural. Here’s an excerpt as an example:

With stop motion animation, a little extra wiggle can add energy and excitement to what’s happening on screen. However, you still need to introduce it with intention, otherwise it can be overwhelming and distracting from the main action.

5. Make Small Movements

Stop motion animation rarely looks as smooth as live action shots. That’s part of its appeal and one of its defining characteristics.

However, there is a difference between jumpy and stuttering animation, and a more professional result. The trick is not to move too much at once. This requires a level of patience and attention to detail that other types of filming simply do not.

Making small, incremental movements will result in smoother animation. Of course, there is a limit to what’s feasible in a given timeframe, or simply to preserve sanity.

Before shooting, perform some simple tests by moving an object across the screen in different measures to figure out what looks right for your project.

6. Shoot More Than You Think You Need

Shoot a frame at every small change, and add more frames than you think you may need. If your playback is too slow, you can always speed it up in your editing software, or remove frames. However, you can’t create frames that aren’t there after your shoot is completed.

Here are your options for capturing your stop motion animation on camera.

Still Photo Cameras

Most stop motion animations aren’t actually filmed – they’re photographed. The approach is simple. Use a still photo camera, and snap a photo after each movement. Each photo represents a frame of your video. During the editing process, you can duplicate frames as needed for your animation. 

The main advantage to using a photo camera is that you have more lighting options. Strobes or constant lighting both work with this approach. Another good tip is to use a shutter remote or bluetooth app to control the camera so you don’t accidentally bump it while pressing the shutter button.

Video Cameras

If you’re using a video camera, all you need to do is record a second or two for each frame. This is similar to using a photo camera, but will likely result in more frames than you really need, and requires the use of constant lighting. 

Alternatively, you could record the entire process without stopping and starting the camera for each frame. This reduces the amount of contact with the camera, which can help ensure it stays stable throughout. Also, it gives you more options since you could create a high-speed time lapse of the entire shoot in addition to your stop motion animation. 

However, you’ll have to edit out a lot of frames to create your stop motion animation. Also, you’ll use quite a bit more storage space with this approach.

For our pumpkin shoot, we had to use a video camera because of the transition from stop motion to rolling video at the surprise reveal. Otherwise, we would’ve used a photo camera. No matter what, we wanted a high-speed time lapse of the process, so we recorded that part separately with a GoPro.

If you have a stop motion animation video ready to share with the world, you can get started with a 30 day free trial today!

Questions about making your own stop motion video? Get expert advice in the comments below.

The post The Six Secrets to Stop Motion Animation appeared first on SproutVideo.

Given that many videos play without sound, especially if they are autoplaying, or shared on social media, knowing how to craft a silent story is an especially valuable skill. In this post, we explore the pieces that help your viewers put the picture together without a word.

Our Spooky Story Without Words

It’s the best time of year for cuddling around a campfire and sharing scary stories. So, we made a scary story of our own.

Set deep in the woods, Nick LaClair, creative director for SproutVideo, tries to hide from a blood-thirsty villain. You may also recognize Scott Jansson from our horror lighting tutorial.

Although we don’t know whether Nick made it out alive, we do know a lot about what transpired. And, we learned it all without any dialogue at all.

Let’s break down the different elements that allow for powerful storytelling without words.

You Still Need a Script

The lack of dialogue does not mean that you don’t need a script. In fact, quite the opposite. You almost need more detail in your pre-production planning because all the other elements in your video have to come together just so.

Every sequence was scripted, including the action, the camera angles, and the emotions expressed by our actors. In fact, we originally wrote out a script with dialogue.

The script helped us visualize the story unfolding scene by scene, and clarified what each segment had to convey. As we edited it down, we realized we didn’t actually need any words to tell our story.

Creating a detailed storyboard or script enables you to clearly visualize the end product, and helps eliminate variables that could otherwise derail your video.

Context is Key

We immediately knew the protagonist was isolated and alone because of the drone shot of the moving vehicle in the beginning. There were no other cars or lights, just a pair of headlights in the dark.

Known as an establishing shot, the introductory sequence to your video is key because it orients your viewers. It provides the context in which the action unfolds.

Granted, you might not be filming a dramatic scene like ours, but this type of shot is key for any video. Wide or distant shots of where the action is taking place are typically used to start off nearly any variety of video.

Strong Visual Narrative

From there, we get plenty of clues about what’s happened to Nick. He’s injured, exhausted, scared, and alone.

The visual narrative is built by the set, and the appearance and action of our actors. Without dialogue, you need to spell out the key points of your story in other ways to make sure the message is delivered to your audience.

For instance, Nick isn’t just limping, he’s also spattered with (fake) blood. You know he’s been in a fight, or some kind of trouble, just by looking at him.

Especially for key moments in your video, think about ways you can double down on the takeaways for the viewer. Use more than one visual cue to make sure your message gets across.

Emotive Music

It can be hard to grasp the emotional context of a scene when actors don’t speak out loud. You might be able to tell how they’re feeling, but you might not feel it too. That’s where music comes in.

Music is transportive. It moves us. That’s why it’s so key when you’re working without spoken words.

It’s also one of the hardest pieces to get right, because you have to feel your way through it. Tune into your emotions when listening to your potential soundtracks. Do they speak to you? What do they say?

We went with classic horror movie-style tunes for our video. We were looking for a dramatic climax, with plenty of tension in the build-up.

Consider the genre you’re working with, and above all, the way you want your audience to feel when compiling your soundtrack.

When Wordless Works

Depending on how you’re sharing your videos, you may need to plan for a lack of sound in general. Videos that autoplay, or which are shared on social media, are likely to play without sound.

Shorter videos tend to work best without dialogue. The narrative is condensed, and the action on screen is enough to keep your audience enthralled.

Granted, there are plenty of examples of feature-length films that succeeded without words, like A Quiet Place, or any of these other silent hits.

Still, involved plots or lengthy histories tend to benefit from some dialogue. The more characters you have, the more introductions you’ll need. If there are specific facts you want your audience to remember, they likely need to be reiterated several times.

All that being said, you might need fewer words than you think. Less is often so much more. Cut the fat, and see what’s left.

Questions about crafting your own video without sound? Get expert advice in the comments below.

The post How to Produce a Compelling Video Without Dialogue appeared first on SproutVideo.