sand colored letters on a purple background read: “out of a plane at 15,000” feet.
Screencapture of current draft provided by the author

Motion Design: Animating the Wayhaught Couch Scene Dialogue

Lauren Busser, M.S.
angles + color + type
5 min readApr 20, 2021

--

This week I learned that my timeline skills have translated nicely.

After creating a storyboard for Wayhaught (Waverly Earp and Nicole Haught)’s first kiss I got started in After Effects working with the jpegs from my storyboard on a timeline.

My previous editing experience includes a lot of video editing where I was both editing and in charge of a production process. I’ve seen where things can hiccup a project like this, and so a lot of my thinking going in was about how to curb those potential pitfalls.

The Animatic

I spent my time in class animating my storyboard.

My original storyboard was 85 frames. I think when I was laying it out I was thinking largely of how a flipbook animation worked and used my canvases to explore how things would work in a low-fidelity environment.

It gave me a good idea of some of the effects that I was going for, but I also knew that my font choice was still off.

There were parts of this I did like, but that couldn’t be fully realized, but this process did give me a lot of information about how the intended effects would appear.

Animatic made from Storyboard JPEGs.

Laying these 85 pieces out also made it easier to start the first draft since I essentially had all the timeline markers. I did need to make multiple adjustments along the way though for timing.

First Draft

I was able to get my animatic complete before my desk crit. While I intended the in-depth storyboard to give me an accurate picture of the animation it didn’t feel quite right.

I knew that Waverly’s dialogue needed to be in a more romantic typeface, and while I knew that a handwritten one would be overwhelming, I wasn’t quite sure which one I wanted to go with. I decided to lay out my text in After Effects with Waverly’s dialogue in Canto and Nicole’s in Gill Sans.

This is better, but I am still not sure it’s the right typeface. One of the things I like about Canto is the Brush weight which has some uniquely tactile fills that I think evoke the idea of a love letter.

a few scenes from the Wynonna Earp comic book with colors selected from it and text samples of chosen typefaces.
Color pallette and text samples created by the author.

Ahmed also took a look at my mood board and suggested I try the colors from the Wynonna Earp comics. I pulled over a dozen colors and began assembling a style guide for myself in Illustrator. This became important later in the week when I wanted to start playing with color changes.

He also suggested I think about ways to indicate a mood shift around the time the music kicks in during my audio clip.

The first draft in After Effects.

I had some experience keyframing and laying things out on a timeline so I was able to get all the pieces laid out relatively quickly. Then I continued to animate it and play with timings and compositions until I got something that I really liked.

One of my biggest triumphs this week was finding the button that turned on the grid. When I was trying to manipulate different size fonts in the same composition I found myself wondering if they were aligned properly and this helped:

The Adobe After Effects environment used by the author displaying grids.
TheAfter Effect environment the author is working in.

I spent most of this week tweaking timings, color, and the font I was using for Nicole’s lines.

I still have not decided what typeface I’ll use for Nicole, but since she only has five lines and components it wasn’t a priority. Instead, I decided that I would focus on more technical aspects and return to the typeface with some fresh eyes.

The author’s edited first draft.

After stepping away for a few days I revisited my color palette and decided to switch out the gray for a purple. While I liked the gray it seemed too flat and didn’t convey the emotion I wanted. The dark purple at least felt like there was something deeper going on.

I also changed the first two compositions to have one of the sand tones. I am not sure how I feel about it in terms of contrast yet, but I am going to give it a day or so and see how I feel.

I also changed Nicole’s typeface to Justus Pro Light. This seemed to be different enough from Canto while still having some romantic character to it.

Overall, I am liking the direction of this so far. I think there is a lot more I can play with and I want to keep experimenting.

I did share an early draft with a few friends both familiar and unfamiliar with the source material and they seem to be getting the feeling that I want out of this.

Takeaways This Week:

  • I laid out all my text in a single composition, but I discovered that if I cut the layers and create new compositions I can then import those to my main timeline and work on subtle animations in environments with fewer layers.
  • Masks would be a helpful tool here but I have yet to figure out how to work them properly. I did watch several videos about kinetic type masks to get an idea of different effects.
  • Grids are still your friends even on video canvases.

Changes I Wish to Make

  • I added tracking animation to “I scare you” but I was hoping to anchor it the left alignment and let you be the only word that animates. It’s possible that when I break it down into smaller compositions I can really get into the weeds and make that change.
  • The “far” in the third composition isn’t working for me. I am hoping if I keep looking into masks and checking out more tutorials I will find a better solution.
  • I also thought a little bit about how I could better convey Waverly’s anxiety as she approaches the moment where she says “is sitting right in front of you.” I think it may be worth including some micro-animations to make the letters look like they’re nervous. I have yet to decide if this is something I should do on a letter, word, or line level though, and I would like to experiment with that going into next week.

--

--

Lauren Busser, M.S.
angles + color + type

TV. Books. Navigating burnout. Holds an M.S. from NYU in Integrated Digital Media.