Kinetic Typography Short Story: Pendergast
This one took a while. I animated many of the story’s sentences as standalone scenes with their own unique tricks and transitions.
I’m more or less happy with this, but I have the feeling I got carried away here and there. Like I said in my first post, I’m more interested in crafting a comfortable reading experience than a gaudy animated word circus where effects trump legibility. If I could do anything over again, I’d especially rethink my decision to use the typeface Futura for the customer comment form (Pendergast is as good a mechanic…). Futura worked better than Goudy Old Face for the handwriting-to-type effect, but on the other hand I feel like the typeface switch-up interfered with the narrative tone.
On a more positive note, this video was a good exercise in timing. One thing I love about stand-up comedy is that the same joke can live or die depending on the comic’s ability to time it correctly. In writing, word choice and periods and commas all help to manipulate the reader’s pace, but ultimately it’s the reader himself who decides when and how quickly to read a given text. When it comes to timing, a writer has nowhere near as much control as the stand-up comic—and man, that gets me down. Thankfully, with animated text, I get to deliver each word at the pace I want. I especially had fun with this in the Stevens-Duryea fire scene, with the closing line “Then he” (beat) “was on fire.” You read it the way I hear it. And isn’t that every writer’s dream?
- Letraset dry letter transform sheets
- Art paper and construction paper
- A 1956 issue of Holiday Magazine (old man reading paper; IN THIS LIFE newspaper-ish spread. The exact issue of the magazine escapes me.)
- Canon Rebel DSLR camera, with 50mm 1.4 lens
- Transparent paper of some kind (it’s plastic, or some other plasticky type material, so can you really call it paper? There’s a special name for it but I don’t have the package with me, so this description will have to do.)
- An antique car cut out from an old magazine (the magazine’s name escapes me. This is kind of a half-assed materials inventory, isn’t it? Sorry.)
- Laser printer
- University Roman
- Futura (Medium, Light, Black, and Medium Condensed)
- Palace Script
- Goudy Old Face (Regular and Italic)
All letters were extracted from Letraset sheets, except for those in the very first part of the IN THIS LIFE text block, in which letters were laser-printed onto the plastic paper I still don’t know the name for. Oh, and that part where the paper is ripping to reveal Pendergast’s previous lives—those were laser-printed onto colored paper.