[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:07.50,0:00:08.10,Default,,0000,0000,0000,,Hello,
Dialogue: 0,0:00:08.10,0:00:13.40,Default,,0000,0000,0000,,Let’s start looking at animations in\Ndetail. They belong to three
Dialogue: 0,0:00:13.40,0:00:18.78,Default,,0000,0000,0000,,categories. First category is made of\Nentrance/exit effects who mostly are
Dialogue: 0,0:00:18.78,0:00:23.30,Default,,0000,0000,0000,,symmetrical one of each other. I’d like\Nto underline that in entrance/exit effects
Dialogue: 0,0:00:23.30,0:00:28.89,Default,,0000,0000,0000,,you find two subcategories: those that\Nmake the object move, and those
Dialogue: 0,0:00:28.89,0:00:32.75,Default,,0000,0000,0000,,that don’t, which are usually equivalent
Dialogue: 0,0:00:32.75,0:00:37.30,Default,,0000,0000,0000,,to a transition. I say “usually” because,\Nwe have seen it in the eighth video,
Dialogue: 0,0:00:37.30,0:00:41.10,Default,,0000,0000,0000,,vidéo, “dissolve” for instance isn’t\Nvisually exactly the same with animation
Dialogue: 0,0:00:41.10,0:00:47.30,Default,,0000,0000,0000,,and transition. In the Commedia dell’ Arte\Nexample, I have used “Fly-In”
Dialogue: 0,0:00:47.30,0:00:52.58,Default,,0000,0000,0000,,to introduce each one of the characters.\NIt’s an entrance effect with a
Dialogue: 0,0:00:52.58,0:00:55.73,Default,,0000,0000,0000,,movement, which can’t therefore be replaced\Nby a transition.
Dialogue: 0,0:00:55.73,0:01:02.41,Default,,0000,0000,0000,,Emphasis effects change the appearance\Nof the object, either temporarily,
Dialogue: 0,0:01:02.41,0:01:06.69,Default,,0000,0000,0000,,or until you advance to the next slide.\NHere as well, transitions can simulate
Dialogue: 0,0:01:06.69,0:01:10.94,Default,,0000,0000,0000,,some effects, such as a font color change or
Dialogue: 0,0:01:10.94,0:01:15.85,Default,,0000,0000,0000,,desaturation, and cannot simulate other effects, \Nsuch as Grow/Shrink which I have also used with Arlecchino.
Dialogue: 0,0:01:15.85,0:01:21.66,Default,,0000,0000,0000,,Motion, I’d like to say “by definition”,\Ncannot be replaced by
Dialogue: 0,0:01:21.66,0:01:25.75,Default,,0000,0000,0000,,a transition, even if some transitions\Nthat are not idempotent give a motion
Dialogue: 0,0:01:25.75,0:01:29.95,Default,,0000,0000,0000,,feeling, but to all elements in the slide.\NI have used motion too
Dialogue: 0,0:01:29.95,0:01:34.72,Default,,0000,0000,0000,,for Arlecchino: rather than shrinking him\Non the spot, jI have combined shrinking
Dialogue: 0,0:01:34.72,0:01:39.57,Default,,0000,0000,0000,,with motion so as to place him next to\Nhis buddies. Finally, I had a faded
Dialogue: 0,0:01:39.57,0:01:43.43,Default,,0000,0000,0000,,transition that allowed me to replace the\Nimage with a slightly desaturated version
Dialogue: 0,0:01:43.43,0:01:50.22,Default,,0000,0000,0000,,of the same. The desaturation emphasis effect\Nwasn’t resulting in what I wanted. In passing,
Dialogue: 0,0:01:50.22,0:01:54.48,Default,,0000,0000,0000,,a rule learned from Bruce Block’s excellent book\N“The Visual Story”, desaturating colors is
Dialogue: 0,0:01:54.48,0:01:58.84,Default,,0000,0000,0000,,an additional way, other than object size,\Nto reinforce a feeling
Dialogue: 0,0:01:58.84,0:02:01.82,Default,,0000,0000,0000,,of depth and remoteness when everything\Nyou see here
Dialogue: 0,0:02:01.82,0:02:02.43,Default,,0000,0000,0000,,is a plane surface.
Dialogue: 0,0:02:02.43,0:02:07.32,Default,,0000,0000,0000,,Let’s take a closer look at the various \Neffects, and I’ll focus in this video
Dialogue: 0,0:02:07.32,0:02:11.67,Default,,0000,0000,0000,,on entrance effects (I’ll hardly mention\Nexit effects, talking about one is
Dialogue: 0,0:02:11.67,0:02:15.11,Default,,0000,0000,0000,,talking about the other). As with transitions\Nthey are numerous, and as with
Dialogue: 0,0:02:15.11,0:02:19.56,Default,,0000,0000,0000,,transitions I use only a few. I mostly use\Nthe ones that are underlined with
Dialogue: 0,0:02:19.56,0:02:25.42,Default,,0000,0000,0000,,yellow, especially the ones underlined\Nwith bright yellow. “Appear” probably
Dialogue: 0,0:02:25.42,0:02:29.96,Default,,0000,0000,0000,,needs no comments; we can use two successive\Nslides with no transition instead,
Dialogue: 0,0:02:29.96,0:02:34.31,Default,,0000,0000,0000,,but animation is sometimes more convenient.\NI ignore for a time checkerboard,
Dialogue: 0,0:02:34.31,0:02:39.63,Default,,0000,0000,0000,,somewhat ancillary and that I’ll talk about\Nlater, to switch to the next bright yellow spot,
Dialogue: 0,0:02:39.63,0:02:44.59,Default,,0000,0000,0000,,“Fly-In”. The object moves to its position following
Dialogue: 0,0:02:44.59,0:02:49.59,Default,,0000,0000,0000,,a straight line from outside the slide,\Neither horizontally, vertically,
Dialogue: 0,0:02:49.59,0:02:54.05,Default,,0000,0000,0000,,or from any corner. I believe that there\Nis a grammar of movement, and “Fly-in”
Dialogue: 0,0:02:54.05,0:02:59.68,Default,,0000,0000,0000,,entrance is for me one of two cases: either\Nsomething new and remarkable,
Dialogue: 0,0:02:59.68,0:03:03.29,Default,,0000,0000,0000,,or the irruption of the external world into\Nthe presentation, with a cursor for instance.
Dialogue: 0,0:03:03.29,0:03:07.01,Default,,0000,0000,0000,,There is however something to say that\Nisn’t particular to the “Fly-in” entrance
Dialogue: 0,0:03:07.01,0:03:10.65,Default,,0000,0000,0000,,but that affects it in a particular way.\NI apologize for bringing in childhood
Dialogue: 0,0:03:10.65,0:03:15.06,Default,,0000,0000,0000,,memories to introduce that point. When I was a\Nyoung boy, we were solving at school what
Dialogue: 0,0:03:15.06,0:03:20.22,Default,,0000,0000,0000,,were called problems. In these problems\Nthere were many references to a small
Dialogue: 0,0:03:20.22,0:03:24.24,Default,,0000,0000,0000,,city that was soon to become familiar\Nand that was called A.
Dialogue: 0,0:03:24.24,0:03:28.90,Default,,0000,0000,0000,,From A a road was leading to the hardly less\Nfamous village named B, distant from
Dialogue: 0,0:03:28.90,0:03:34.68,Default,,0000,0000,0000,,a few miles. B looked like exerting a mysterious\Nattraction over the A denizens, who were leaving
Dialogue: 0,0:03:34.68,0:03:40.58,Default,,0000,0000,0000,,early in the morning to pedal rather tranquilly\Ntowards it. The inhabitants of B woke up with
Dialogue: 0,0:03:40.58,0:03:43.70,Default,,0000,0000,0000,,more difficulty and were leaving later\Ntowards A but were younger and more
Dialogue: 0,0:03:43.70,0:03:47.92,Default,,0000,0000,0000,,energetic, or the slope was more favorable,\NI don’t know, and obviously the question was
Dialogue: 0,0:03:47.92,0:03:52.35,Default,,0000,0000,0000,,to find out when both cyclists were to\Ncross. Sometimes, there were variations
Dialogue: 0,0:03:52.35,0:03:56.95,Default,,0000,0000,0000,,and you had to find out the speed, it was\Nnever-ending fun. Anyway, what
Dialogue: 0,0:03:56.95,0:04:00.21,Default,,0000,0000,0000,,this stamped in me was that speed\Nwas the distance travelled by
Dialogue: 0,0:04:00.21,0:04:05.18,Default,,0000,0000,0000,,unit of time. Far later I studied physics\Nand naively I kept believing that
Dialogue: 0,0:04:05.18,0:04:10.75,Default,,0000,0000,0000,,what I had acquired in primary school\Nwas a universal truth. My certainties,
Dialogue: 0,0:04:10.75,0:04:14.24,Default,,0000,0000,0000,,which had held firmly so far, were blown away\Nwhen I discovered Powerpoint for which
Dialogue: 0,0:04:14.24,0:04:18.07,Default,,0000,0000,0000,,speed is a time (as an aside, same story\Nin LibreOffice). If you move by one millimeter,
Dialogue: 0,0:04:18.07,0:04:22.90,Default,,0000,0000,0000,,as long as you do it in half a second for Powerpoint
Dialogue: 0,0:04:22.90,0:04:27.79,Default,,0000,0000,0000,,it’s very fast, even if over this distance \Na snail would leave you behind. At times
Dialogue: 0,0:04:27.79,0:04:32.83,Default,,0000,0000,0000,,I say to myself that there are places where\Neducation sucks. On positive note, Powerpoint
Dialogue: 0,0:04:32.83,0:04:37.96,Default,,0000,0000,0000,,concepts are sometimes closer to mine.\NAlright, what is the problem with the Fly-In
Dialogue: 0,0:04:37.96,0:04:41.46,Default,,0000,0000,0000,,entrance then? Easy to show. Let’s say that\Nyou want to introduce Il Capitano, Pulcinella
Dialogue: 0,0:04:41.46,0:04:46.27,Default,,0000,0000,0000,,and Arlecchino in succession. If you activate\N“Fly-In” entrance for each of them using default
Dialogue: 0,0:04:46.27,0:04:52.93,Default,,0000,0000,0000,,options, here is what you get. As you\Nprogress, you notice a slight slowing down,
Dialogue: 0,0:04:52.93,0:04:57.13,Default,,0000,0000,0000,,because time remains the same, and distance to\Ntravel increasingly shorter. Obviously in
Dialogue: 0,0:04:57.13,0:05:02.43,Default,,0000,0000,0000,,a presentation you prefer either speeding up\Nor keeping a constant speed. Here, you get the
Dialogue: 0,0:05:02.43,0:05:05.72,Default,,0000,0000,0000,,feeling of a circus number that would start\Nwith the finale before presenting average feats
Dialogue: 0,0:05:05.72,0:05:10.25,Default,,0000,0000,0000,,and ending up by what anybody could do.\NIt’s a poor way to keep the audience
Dialogue: 0,0:05:10.25,0:05:15.29,Default,,0000,0000,0000,,enthusiastic. What to do? Either come back\Nto classical notions of speed, and give more
Dialogue: 0,0:05:15.29,0:05:22.02,Default,,0000,0000,0000,,time to moves that correspond to a longer\Ndisplacement. Here, it looks more
Dialogue: 0,0:05:22.02,0:05:26.05,Default,,0000,0000,0000,,normal; or, and if you watch my videos \Nwith attention you’ll see me using it
Dialogue: 0,0:05:26.05,0:05:29.56,Default,,0000,0000,0000,,most often, use fly-in entrances from \Neither right or left
Dialogue: 0,0:05:29.56,0:05:33.28,Default,,0000,0000,0000,,when you use them several times on the\Nsame slide, so that travelled distances
Dialogue: 0,0:05:33.28,0:05:37.17,Default,,0000,0000,0000,,remain very close.\NNotice that if you want to put some
Dialogue: 0,0:05:37.17,0:05:40.93,Default,,0000,0000,0000,,emphasis over the last object that flies in,\Nyou can make it enter from a different direction.
Dialogue: 0,0:05:40.93,0:05:46.02,Default,,0000,0000,0000,,Even if it moves slower than the other ones,\Ncontrast will give a
Dialogue: 0,0:05:46.02,0:05:50.06,Default,,0000,0000,0000,,kick. Fly-in entrance is something I use\Nonly once for an object, unless a
Dialogue: 0,0:05:50.06,0:05:54.15,Default,,0000,0000,0000,,triumphant exit from the screen justifies\Na reentrance. For the next reappearances,
Dialogue: 0,0:05:54.15,0:05:59.46,Default,,0000,0000,0000,,it will be something not as loud.\NLet’s now take a look at “Peek-in”,
Dialogue: 0,0:05:59.46,0:06:03.94,Default,,0000,0000,0000,,which proximity in the menu and similarity
Dialogue: 0,0:06:03.94,0:06:07.32,Default,,0000,0000,0000,,of name, let me long believe that it \Nwas a close relative of
Dialogue: 0,0:06:07.32,0:06:11.76,Default,,0000,0000,0000,,the previous one. In fact this entrance\Nis far closer to the “Wipe” entrance.
Dialogue: 0,0:06:11.76,0:06:17.25,Default,,0000,0000,0000,,Let’s take two rectangles, and let’s apply\Nto each of them a different entrance.
Dialogue: 0,0:06:17.25,0:06:23.52,Default,,0000,0000,0000,,Have you seen anything, apart from a slight\Nblur on the left with the top rectangle and
Dialogue: 0,0:06:23.52,0:06:28.97,Default,,0000,0000,0000,,on the right with the bottom one? In fact,\Nthe top rectangle slides towards the right and
Dialogue: 0,0:06:28.97,0:06:34.11,Default,,0000,0000,0000,,the bottom one is revealed. There is a motion in one\Ncase, hence the “In”, not in the other one,
Dialogue: 0,0:06:34.11,0:06:41.23,Default,,0000,0000,0000,,which a transition can replace. It’s far more\Nobvious with arrows. And with arrows,
Dialogue: 0,0:06:41.23,0:06:46.68,Default,,0000,0000,0000,,precisely, the two animations carry a slightly\Ndifferent idea. Let’s animate an arrow
Dialogue: 0,0:06:46.68,0:06:52.68,Default,,0000,0000,0000,,from A then make B appear. With a\N“peek-in” entrance, I personally feel
Dialogue: 0,0:06:52.68,0:06:58.90,Default,,0000,0000,0000,,a very strong link of causality.\NIt’s “A entails B”. From A, you
Dialogue: 0,0:06:58.90,0:07:05.47,Default,,0000,0000,0000,,cannot escape B. However, a “wipe” entrance\Nconveys a link that is far more
Dialogue: 0,0:07:05.47,0:07:10.24,Default,,0000,0000,0000,,tenuous, more an idea of sequence and\Ntime continuity, “A then B”.
Dialogue: 0,0:07:10.24,0:07:15.43,Default,,0000,0000,0000,,Even if both entrances can be used, depending\Non the idea that you want to get across,
Dialogue: 0,0:07:15.43,0:07:21.05,Default,,0000,0000,0000,,it will be one or the other.\NSometimes, for instance to make the
Dialogue: 0,0:07:21.05,0:07:25.12,Default,,0000,0000,0000,,image of a menu appear, both can work\N- all the more as one as well as the other
Dialogue: 0,0:07:25.12,0:07:28.88,Default,,0000,0000,0000,,is a kind of poetic vision of the \Ninterface, as reality is
Dialogue: 0,0:07:28.88,0:07:32.58,Default,,0000,0000,0000,,different.\NHowever, there are cases when there
Dialogue: 0,0:07:32.58,0:07:37.28,Default,,0000,0000,0000,,is no option. If I add a mock\Nhand-written annotation, both the
Dialogue: 0,0:07:37.28,0:07:42.47,Default,,0000,0000,0000,,arrow and text want “wipe”, because that’s\Nhow writing works.
Dialogue: 0,0:07:42.47,0:07:49.67,Default,,0000,0000,0000,,To make a floor-lamp get out of the bag,\Nit’s necessary a “peek-in” entrance, here
Dialogue: 0,0:07:49.67,0:07:53.39,Default,,0000,0000,0000,,followed by a motion. As I use in my\Npresentations annotations far more
Dialogue: 0,0:07:53.39,0:08:00.14,Default,,0000,0000,0000,,often than Mary Poppins’s bag, you’ll\Nunderstand that I use “wipe” more
Dialogue: 0,0:08:00.14,0:08:02.49,Default,,0000,0000,0000,,often than “peek-in”.\N“Fade”, it’s like grey or black
Dialogue: 0,0:08:02.49,0:08:08.36,Default,,0000,0000,0000,,in your wardrobe; you can mix it with anything,\Nwithout fearing any faux pas. We have
Dialogue: 0,0:08:08.36,0:08:12.46,Default,,0000,0000,0000,,seen it already, between a “fade” entrance\Nand a “fade” transition there is no difference
Dialogue: 0,0:08:12.46,0:08:18.02,Default,,0000,0000,0000,,except, and that’s important, when you start\Nanimating by letter. Animating by letter,
Dialogue: 0,0:08:18.02,0:08:22.91,Default,,0000,0000,0000,,why? I told it, a “wipe” entrance is\Nperfect for showing a short
Dialogue: 0,0:08:22.91,0:08:30.02,Default,,0000,0000,0000,,annotation. As soon as the text spreads over two\Nlines, it falls apart. You can change options
Dialogue: 0,0:08:30.02,0:08:33.82,Default,,0000,0000,0000,,and try to make t appear one letter at a time,\Nbut it doesn’t work, you have a feeling that
Dialogue: 0,0:08:33.82,0:08:38.58,Default,,0000,0000,0000,,several letters are written at once.\NA faded entrance, letter by letter,
Dialogue: 0,0:08:38.58,0:08:44.62,Default,,0000,0000,0000,,restitutes a feeling of manual handwriting.\NHowever, with a non-script font,
Dialogue: 0,0:08:44.62,0:08:48.93,Default,,0000,0000,0000,,for instance to simulate a data field entry,\NI feel that a checkerboard entrance by letter
Dialogue: 0,0:08:48.93,0:08:53.65,Default,,0000,0000,0000,,gives a better result. It’s the only case\Nwhen I use the checkerboard entrance.
Dialogue: 0,0:08:53.65,0:09:01.30,Default,,0000,0000,0000,,Last useful entrances, zoom entrances. As\Nmuch as a motion, zooming is an effect
Dialogue: 0,0:09:01.30,0:09:06.68,Default,,0000,0000,0000,,that a transition cannot apply to an\Nobject. You can use zooming for
Dialogue: 0,0:09:06.68,0:09:10.27,Default,,0000,0000,0000,,for a magnifying effect as I deed\N(combining it with a motion)
Dialogue: 0,0:09:10.27,0:09:14.82,Default,,0000,0000,0000,,when I introduced the Gimp toolbox;\Nusually in such a case I use a
Dialogue: 0,0:09:14.82,0:09:20.100,Default,,0000,0000,0000,,faded zoom. But if zooming in\N(the default option) is interesting,
Dialogue: 0,0:09:20.100,0:09:24.71,Default,,0000,0000,0000,,zooming out, an option not available\Nwith the faded zoom in the version
Dialogue: 0,0:09:24.71,0:09:30.62,Default,,0000,0000,0000,,of Powerpoint I’m using, brings an\Nadditional dimension: access from the outside,
Dialogue: 0,0:09:30.62,0:09:34.96,Default,,0000,0000,0000,,but in a kind of transcendental way, not at\Nall like the object that jumps into the visual
Dialogue: 0,0:09:34.96,0:09:41.75,Default,,0000,0000,0000,,scope with the “fly-in” entrance. It’s a bit\Nlike annotations, the narrator getting
Dialogue: 0,0:09:41.75,0:09:46.42,Default,,0000,0000,0000,,into the slide. It works very well with\Nrubber stamping too, which carries
Dialogue: 0,0:09:46.42,0:09:53.44,Default,,0000,0000,0000,,the same idea. Everything else, unless\Nyou are using a word that exactly matches the
Dialogue: 0,0:09:53.44,0:09:57.54,Default,,0000,0000,0000,,name of an entrance effect, you can forget it.\NI use fancy exits more often than
Dialogue: 0,0:09:57.54,0:10:02.13,Default,,0000,0000,0000,,fancy entrances. If I take for instance\NTaylor’s famous rule,
Dialogue: 0,0:10:02.13,0:10:06.39,Default,,0000,0000,0000,,that gives the value of a continuous function\Nclose to a point as an expression
Dialogue: 0,0:10:06.39,0:10:10.13,Default,,0000,0000,0000,,that is a function of powers of h and successive\Nderivative functions in that point
Dialogue: 0,0:10:10.13,0:10:16.14,Default,,0000,0000,0000,,(I hope it’s not Greek), I can say that\Nif h is small, let’s say 0.1,
Dialogue: 0,0:10:16.14,0:10:22.100,Default,,0000,0000,0000,,the square will be 0.01, the cube 0.001 and\Nso forth, so I can get a rather decent
Dialogue: 0,0:10:22.100,0:10:27.24,Default,,0000,0000,0000,,approximate value by dropping expressions\Nwhere h is raised to a higher power
Dialogue: 0,0:10:27.24,0:10:32.99,Default,,0000,0000,0000,,and replace the function by its tangent at that\Npoint. Saying “drop” obviously begs for
Dialogue: 0,0:10:32.99,0:10:37.39,Default,,0000,0000,0000,,using the exit effect with the same \Nname. I find using “boomerang” in what
Dialogue: 0,0:10:37.39,0:10:38.14,Default,,0000,0000,0000,,I say far more difficult.