I like how Philip describes the cinematic direction and themes of this opening scene. The story of Final Fantasy 7 Remake is told in a suspenseful and mysterious way, like most Japanese animated films.

(In short, to draw two in-betweens to show a constant speed, draw the first in-between approximately 1/3 of the way in from the first keyframe, and then draw the second in-between halfway between the first in-between and the second keyframe).
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I was animating a walk-across for work one day, and I wanted to draw two in-betweens between two keyframes. Wanting them to be equidistant to show a constant speed, I knew that the first in-between should be closer to the first keyframe, and the second in-between should be closer to the second keyframe. I knew that the 50% mark should be a small gap between the two in-betweens. Here is a simple example (which is more like a slide-across):

I had done a couple of walk-across animations for the same project, and I had done them in the same way: draw the first in-between about ¼ the distance from the first keyframe to the second keyframe; and then, draw the second in-between halfway between the first in-between and the second keyframe.
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It looked right to me, but as I was coming on this last walk-across, I began to question if what I was doing was accurate. So, on the side of that frame I drew a ruler and fractions to sort this out.

The zero and one on the line segment represented the first and second keyframes, respectfully. I first thought that the first in-between, I 1, should be 1/4 of the way in. I hypothesized that the next in-between should be halfway between the first in-between and the second keyframe, so I needed to find the midpoint of the two values.

Although they are both 1/4 off of each keyframe, the distance between the first in-between and the second in-between is too large (by 2/4).

But I was sure I was doing it right!

It turns out that I was, but I had to think of the in-betweens as thirds instead of fourths. It makes sense because there are two in-betweens to draw, not three (I guess I thought thinking in fourths because of four total drawings).
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When I decided to place the first in-between at 1/3, I came to this.

The second in-between goes 2/3 of the entire length. Now the distances between the drawings are equal: 1/3 off of Key 1, 1/3 between I 1 and I 2, and 1/3 off from Key 2.
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As for how my drawings were affected, they definitely followed this math. In order for me to emulate the frames in fourths, I would have marked the 50% point, then place I 1 halfway between Key 1 and the 50% point. Then I would have to mark halfway between the 50% point and Key 2 to place I 2—or, given the calculations, draw closer from that to Key 2. I knew that wasn’t close to what I was doing, so I wasn’t thinking that my drawings were right just because I changed the numbers representing them.

One of the things becoming more evident to me as I am working for Articulate with Jim Cotter is the value of pre-production research. This regards researching the locations, time periods, styles and referential content that is planned to be in your video or image.

Not only will it save you time with having to conjure up an image or presentation, but it also will make you look accurate (or semi-accurate depending on how debatable the details of the subject matter are). And while inaccurate depictions may get a good laugh out of some people, it’s always better that you work exhibits thoughtful effort and truth.

Additionally, the higher accuracy will contribute to a higher quality product. The blueprint for the design of devices, objects, buildings, landscapes et cetera is already there, it just needs to be emulated. The same goes for time periods, which are characterized by the design of devices, clothing, architecture and so on. Nothing can beat the quality of what exists in real life, so getting as close as possible to it will only increase the quality of the video or image. This is, of course, depending on what needs to be extracted from research. Something like a philosophy or a bill proposal won’t likely have detailed visuals ready to copy, but understanding the gist of it will lead to accurate depictions. And if the style of the imagery is not very detailed, then knowing the core characteristics of the asset helps in its portrayal and message.

Plus, all the research can result in conquering Jeopardy trivia that you may not have guessed otherwise!

So even though research can be tedious, and at times stressful, it will benefit the production of a video. It is like that annoyingly smart friend that you begrudgingly allow to hang out with you because you know you need him/her.

This is simple inspiration. It's quite easy to find images from existing formations. On the left is some sealant grout on the shower wall. That turned into the image on the right. Just your average African man... or Jesus.

This is an incredibly awesome video of martial artist and actor Bruce Lee (1940 – 1973) playing ping pong using nunchakus. Nunchakus people! It’s hard enough for most people to play with a flat paddle (including me), let alone a rounded surface. The precision, the minimal effort, and the chorographical movements come together as Bruce Lee devastates ping pong players in a Nokia sponsored event. Video: https://youtu.be/y-2gEx0n_MA
I love the design of the human body, and the capabilities of bodily coordination. This is why I am intrigued with martial arts (or martial science). The movements that produce striking effects makes me want to replicate them or similar movements. Videos like this helps motivate me to animate.