also be a lifesaver when you are cutting your work to music and you are just a few
frames off hitting a downbeat or the end of a musical phrase.
Sequencing and flow
Sequence your work by placing all your clips into one place, and select two of
the very best as bookends. You want to start with something terrific to capture the
viewer's attention and get them on your side, and end with something astonishing or
moving that can reverberate in the mind long after they've viewed your reel.
The devil is in the details, and that's the big center area. Don't put anything
mediocre between the two gems. Padding hints that the first great clip was a one-hit
wonder. But you can ratchet the intensity up and down. A great example of a wire-
frame from a low-polygon model may not be exciting, but the quality of your craft
Transitions are also useful if you want to graft some sections from different parts of one proj-
ect together. They require a careful frame matchup, but they can be a great way to indicate
the passage of time in the same physical space.
For a film reel, short visual breaks between each clip are a plus, since each clip is likely
longer and slower paced than those on an animation reel. A simple transition, like a fade
down to black, a hold, and a fade up or a cut to the next work's title screen is usually more