Love at First Sight - Frame-by-Frame Stop Motion: The Guide to Non-Traditional Animation Techniques - page 190

Line up your young man on the bench with your camera and shoot a 30-frame
hold. Pick up your camera and tripod, and ever so slightly move it forward
toward the man on the bench. You are easing in on the move toward your
subject. Increase your moves forward while trying to keep your subject
centered in the frame. You should shoot at 30 fps, because camera moves are
always best shot in single frames. This will take some of the strobing out of
the move and make it smoother. Remember to ease out your camera move
as you approach your subject, keeping him lined up in the center of the
frame. It might be best to frame your subject for composition before you start
shooting, then move your camera back to find the beginning position. This
way you know exactly where you are going before you start.
ExErcisE Fig 7.B The
composition of the close-up of
the young man on the bench.
Have your young man look frame left then frame right. Do not rush this movement,
allowing about 2 seconds for each direction. You can shoot two frames for every
movement at this point. Finally, have your subject look slightly to the left of center
frame and try to animate him in a “double take.” This incorporates a head bob and
some blinking. On a second blink, hold his eyes open for 20 frames. This is where
you composite the hearts in later. Then, have him blink again (wiping away the
hearts). Continue to hold this position for an additional 2 seconds. This is the place
that you composite in the cotton steam in postproduction.
ExErcisE Fig 7.c The close-up
shot of the girl.