1 00:00:00,070 --> 00:00:02,430 The following content is provided under a Creative 2 00:00:02,430 --> 00:00:03,820 Commons license. 3 00:00:03,820 --> 00:00:06,060 Your support will help MIT OpenCourseWare 4 00:00:06,060 --> 00:00:10,150 continue to offer high quality educational resources for free. 5 00:00:10,150 --> 00:00:12,690 To make a donation or to view additional materials 6 00:00:12,690 --> 00:00:16,600 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:16,600 --> 00:00:17,255 at ocw.mit.edu. 8 00:00:26,420 --> 00:00:31,950 JOSH: OK, so let's turn the page to storyboarding, 9 00:00:31,950 --> 00:00:35,710 which, for us, no matter what sort of video 10 00:00:35,710 --> 00:00:38,330 you're doing-- live action, animation, 11 00:00:38,330 --> 00:00:45,425 or some sort of combination-- is vital to the process. 12 00:00:49,350 --> 00:00:52,260 And here's why. 13 00:00:52,260 --> 00:00:57,300 It allows you, basically, a lot of freedom 14 00:00:57,300 --> 00:01:03,140 to not have to make any really high stakes creative decisions 15 00:01:03,140 --> 00:01:07,750 and just be creative at a very early stage. 16 00:01:07,750 --> 00:01:09,850 You don't have to commit to any sort of production 17 00:01:09,850 --> 00:01:11,600 at that point. 18 00:01:11,600 --> 00:01:13,460 That's why we do it. 19 00:01:13,460 --> 00:01:15,550 And it's why we share with clients 20 00:01:15,550 --> 00:01:19,040 before we commit to doing any animation, 21 00:01:19,040 --> 00:01:22,262 because it's very time consuming for us to animate. 22 00:01:22,262 --> 00:01:23,720 And we want the client to know what 23 00:01:23,720 --> 00:01:26,470 we're doing before we commit to doing any of that really 24 00:01:26,470 --> 00:01:27,485 labor-intensive work. 25 00:01:30,410 --> 00:01:33,805 It serves as a blueprint for timing and visual flow. 26 00:01:33,805 --> 00:01:38,630 So you can get a sense of the pacing of the video, 27 00:01:38,630 --> 00:01:41,120 whether or not, as Elizabeth was saying, 28 00:01:41,120 --> 00:01:44,300 things are going to get stale at a certain point. 29 00:01:44,300 --> 00:01:46,550 It can help you make those sorts of creative decisions 30 00:01:46,550 --> 00:01:49,330 without having to commit a lot of resources. 31 00:01:52,220 --> 00:01:55,940 The storyboard can reveal where you're 32 00:01:55,940 --> 00:01:58,950 going to need to shoot, what props you're going to need, 33 00:01:58,950 --> 00:02:03,710 the types of shots you're going to employ. 34 00:02:03,710 --> 00:02:05,370 All that decision making gets made 35 00:02:05,370 --> 00:02:08,729 in the storyboarding process. 36 00:02:08,729 --> 00:02:10,680 And another, really crucial thing 37 00:02:10,680 --> 00:02:13,240 is, so often when we're doing a storyboard, 38 00:02:13,240 --> 00:02:16,490 we realize that the script needs to be different. 39 00:02:16,490 --> 00:02:19,450 You write something-- maybe you have some visual sense when 40 00:02:19,450 --> 00:02:20,560 you're writing a script. 41 00:02:20,560 --> 00:02:23,960 And that's good, because-- and I've done it a lot. 42 00:02:23,960 --> 00:02:25,690 So a lot of times I am thinking visually. 43 00:02:25,690 --> 00:02:28,250 But I'm not always thinking visually. 44 00:02:28,250 --> 00:02:32,690 And I'm not-- it's not my strong suit all the time 45 00:02:32,690 --> 00:02:33,764 when I'm script writing. 46 00:02:33,764 --> 00:02:35,930 So a lot of times, we'll be in a storyboard meeting. 47 00:02:35,930 --> 00:02:38,730 And we'll say, well, this line is just sort of dumb. 48 00:02:38,730 --> 00:02:41,810 Why don't we say this so that we can show this? 49 00:02:41,810 --> 00:02:47,500 So that integration of visual and oral-- the voice-- 50 00:02:47,500 --> 00:02:49,970 is a really crucial part of storyboarding. 51 00:02:53,130 --> 00:02:56,350 So that's why we storyboard. 52 00:02:56,350 --> 00:02:58,550 And let me just show you an example 53 00:02:58,550 --> 00:03:00,500 of one of our storyboards. 54 00:03:00,500 --> 00:03:02,560 There are many different ways to storyboard. 55 00:03:02,560 --> 00:03:04,780 But I'll just show you one example. 56 00:03:04,780 --> 00:03:06,710 The first is-- well, I'll show you 57 00:03:06,710 --> 00:03:11,460 the storyboard for this video we did for NASA, actually. 58 00:03:11,460 --> 00:03:16,020 And it was produced by WNET in New York. 59 00:03:16,020 --> 00:03:18,960 And they asked us to create a series of videos 60 00:03:18,960 --> 00:03:20,380 about different physics topics. 61 00:03:20,380 --> 00:03:23,950 And this one is on centripetal force. 62 00:03:23,950 --> 00:03:30,230 So I'll just switch over to-- let's see, 63 00:03:30,230 --> 00:03:40,205 episode-- So this is essentially-- 64 00:03:40,205 --> 00:03:42,340 this is our storyboard method. 65 00:03:42,340 --> 00:03:45,100 We do an Excel spreadsheet with three columns-- 66 00:03:45,100 --> 00:03:47,270 shot, narrator, and notes. 67 00:03:47,270 --> 00:03:51,845 Very simple-- email me, and I'll send you this storyboard. 68 00:03:51,845 --> 00:03:56,270 And you can use it in your own work if you want. 69 00:03:56,270 --> 00:03:57,870 Imagine you've got a tennis ball. 70 00:03:57,870 --> 00:04:01,380 So we start the shot on the tennis ball. 71 00:04:01,380 --> 00:04:03,302 We either pull back-- we'll watch the video. 72 00:04:03,302 --> 00:04:05,010 I can't remember if the camera pulls back 73 00:04:05,010 --> 00:04:09,150 or we jump cut or something-- attached to a piece of string. 74 00:04:09,150 --> 00:04:10,680 And we pull back further. 75 00:04:10,680 --> 00:04:14,360 And you start swinging it. 76 00:04:14,360 --> 00:04:16,670 And then-- when did we have this idea for the dog? 77 00:04:16,670 --> 00:04:19,000 I mean, probably this came in the storyboard meeting. 78 00:04:19,000 --> 00:04:23,030 Like, OK, we'll have this nice dog element to the experience. 79 00:04:25,640 --> 00:04:29,430 In circles-- and so gradually, the camera's 80 00:04:29,430 --> 00:04:30,440 getting further back. 81 00:04:30,440 --> 00:04:31,856 And now we can see the background. 82 00:04:34,630 --> 00:04:40,790 "Whoa now, watch out for your buddy." 83 00:04:40,790 --> 00:04:42,370 This is not for adults, by the way. 84 00:04:42,370 --> 00:04:42,870 I'm sorry. 85 00:04:42,870 --> 00:04:45,120 I should've mentioned that. 86 00:04:45,120 --> 00:04:47,850 This is for, like, elementary and middle schoolers. 87 00:04:47,850 --> 00:04:51,350 So if you find this a little facile and dumb, 88 00:04:51,350 --> 00:04:53,720 just imagine you're 13 years old. 89 00:04:56,390 --> 00:04:57,580 "Watch out for your buddy." 90 00:04:57,580 --> 00:05:00,560 So the guy on the skateboard ducks down. 91 00:05:00,560 --> 00:05:02,530 And then he goes past and waves. 92 00:05:05,270 --> 00:05:09,910 Let's take-- so we start with-- my attitude about this, 93 00:05:09,910 --> 00:05:12,564 in a lot of cases, is to start with action. 94 00:05:12,564 --> 00:05:14,730 Like, start with something that's really compelling. 95 00:05:14,730 --> 00:05:17,150 Like, some-- you don't have to start, right away, 96 00:05:17,150 --> 00:05:18,030 explaining things. 97 00:05:18,030 --> 00:05:22,550 Just sort of start with imagining something or doing 98 00:05:22,550 --> 00:05:23,070 something. 99 00:05:23,070 --> 00:05:24,840 There's that old comment, I think-- 100 00:05:24,840 --> 00:05:28,160 this is Hemingway said this, he talked about "in medias res." 101 00:05:28,160 --> 00:05:30,320 Start in the middle of things. 102 00:05:30,320 --> 00:05:32,990 So don't start with elaborate explanations. 103 00:05:32,990 --> 00:05:35,650 Just start in the middle of the action. 104 00:05:35,650 --> 00:05:37,650 So something needs to be happening 105 00:05:37,650 --> 00:05:40,860 at the beginning of a video. 106 00:05:40,860 --> 00:05:42,800 So that's why we chose to start-- 107 00:05:42,800 --> 00:05:44,035 you got this ball spinning. 108 00:05:44,035 --> 00:05:45,160 There's something going on. 109 00:05:45,160 --> 00:05:46,700 There's this dog. 110 00:05:46,700 --> 00:05:48,210 There's the kid skateboarding by. 111 00:05:48,210 --> 00:05:50,080 You're starting with a high level 112 00:05:50,080 --> 00:05:51,450 of engagement and interest. 113 00:05:54,280 --> 00:05:57,720 Let's take a closer look at the fascinating physics 114 00:05:57,720 --> 00:06:01,590 of this simple action. 115 00:06:01,590 --> 00:06:05,050 And then we go into the more detailed analysis 116 00:06:05,050 --> 00:06:06,180 of what's really going on. 117 00:06:06,180 --> 00:06:10,310 We talk about f equals ma-- Newton's second law-- 118 00:06:10,310 --> 00:06:12,107 and how it relates to objects moving. 119 00:06:12,107 --> 00:06:14,190 So I'm not going to show you the whole storyboard. 120 00:06:14,190 --> 00:06:16,920 But you start to get a sense of how we put this thing together 121 00:06:16,920 --> 00:06:23,590 visually in a very methodical way before we did any work-- I 122 00:06:23,590 --> 00:06:27,450 mean, this is work-- but before we did any animation 123 00:06:27,450 --> 00:06:28,890 or illustration. 124 00:06:28,890 --> 00:06:31,610 And I think John did all the artwork for this. 125 00:06:35,130 --> 00:06:37,410 And it's very basic. 126 00:06:37,410 --> 00:06:39,080 She's basically a stick figure. 127 00:06:39,080 --> 00:06:41,460 John makes really nice stick figures. 128 00:06:41,460 --> 00:06:42,753 So he has that talent. 129 00:06:45,780 --> 00:06:48,940 So let me just show you the video. 130 00:06:48,940 --> 00:06:51,325 And it came out of that process. 131 00:06:55,690 --> 00:06:58,400 Hold on a second. 132 00:06:58,400 --> 00:06:58,920 There we go. 133 00:07:07,180 --> 00:07:10,760 Whoops, that's not the right one. 134 00:07:10,760 --> 00:07:12,880 Here we go. 135 00:07:12,880 --> 00:07:14,370 This is a minute and 46. 136 00:07:14,370 --> 00:07:17,440 So our challenge was to do these topics 137 00:07:17,440 --> 00:07:21,792 in about a minute and a half, a minute and 45 seconds. 138 00:07:21,792 --> 00:07:22,750 [VIDEO PLAYBACK] 139 00:07:22,750 --> 00:07:24,860 -Imagine you've got a tennis ball attached 140 00:07:24,860 --> 00:07:25,980 to a piece of string. 141 00:07:25,980 --> 00:07:28,160 And you start swinging it in circles. 142 00:07:28,160 --> 00:07:28,930 Whoa, now! 143 00:07:28,930 --> 00:07:30,700 Watch out for your buddy! 144 00:07:30,700 --> 00:07:33,350 Let's take a closer look at the fascinating physics 145 00:07:33,350 --> 00:07:35,040 of this simple action. 146 00:07:35,040 --> 00:07:37,650 You've probably heard of Newton's second law of motion 147 00:07:37,650 --> 00:07:40,490 as it relates to objects moving in a straight line. 148 00:07:40,490 --> 00:07:42,600 Turns out, Newton's second law also 149 00:07:42,600 --> 00:07:44,870 tells us about the net force on an object 150 00:07:44,870 --> 00:07:46,570 as it moves in a circle. 151 00:07:46,570 --> 00:07:48,320 When an object moves in a circle, 152 00:07:48,320 --> 00:07:50,420 its velocity changes direction. 153 00:07:50,420 --> 00:07:52,430 Since the velocity's changing, that 154 00:07:52,430 --> 00:07:54,270 means we have an acceleration. 155 00:07:54,270 --> 00:07:56,060 And we know from Newton's second law 156 00:07:56,060 --> 00:07:59,250 that if we have an acceleration, we have a net force. 157 00:07:59,250 --> 00:08:01,080 Now back to our spinning ball. 158 00:08:01,080 --> 00:08:03,380 For objects undergoing circular motion, 159 00:08:03,380 --> 00:08:06,580 the net force on the object is called the "centripetal force." 160 00:08:06,580 --> 00:08:09,800 It's a weird sounding word, but it's Latin for the phrase 161 00:08:09,800 --> 00:08:11,270 "center-seeking." 162 00:08:11,270 --> 00:08:14,570 It's named centripetal because the centripetal force always 163 00:08:14,570 --> 00:08:16,800 points to the center of the circle. 164 00:08:16,800 --> 00:08:18,900 The ball has a tangential velocity. 165 00:08:18,900 --> 00:08:20,580 So if you suddenly cut the string, 166 00:08:20,580 --> 00:08:23,920 it would fly off in whatever the tangential direction was 167 00:08:23,920 --> 00:08:25,960 at the moment you made the cut. 168 00:08:25,960 --> 00:08:27,650 But assuming you don't cut the string, 169 00:08:27,650 --> 00:08:30,900 and you keep swinging the ball, the ball's tangential velocity 170 00:08:30,900 --> 00:08:33,010 is constantly changing directions. 171 00:08:33,010 --> 00:08:35,210 This means the ball is accelerating. 172 00:08:35,210 --> 00:08:37,000 And the reason it's accelerating is 173 00:08:37,000 --> 00:08:39,020 due to the centripetal force. 174 00:08:39,020 --> 00:08:41,140 The centripetal force acting on the ball 175 00:08:41,140 --> 00:08:43,580 is constantly directing the ball towards the center 176 00:08:43,580 --> 00:08:45,340 of the circle, your hand. 177 00:08:45,340 --> 00:08:47,570 This, combined with the ball's velocity, 178 00:08:47,570 --> 00:08:49,810 keeps the ball swinging in a circle. 179 00:08:49,810 --> 00:08:52,620 The same centripetal force that keeps the tennis ball swinging 180 00:08:52,620 --> 00:08:55,455 in a circle also keeps roller coasters on the track 181 00:08:55,455 --> 00:08:57,590 as they go through a loop-de-loop. 182 00:08:57,590 --> 00:09:00,410 So the next time you're having a blast on a roller coaster, 183 00:09:00,410 --> 00:09:02,707 you can thank the centripetal force. 184 00:09:02,707 --> 00:09:03,290 [END PLAYBACK] 185 00:09:03,290 --> 00:09:11,200 JOSH: OK, so that's a pretty short little ditty. 186 00:09:11,200 --> 00:09:14,750 But you can-- I just wanted to show you how we built it. 187 00:09:17,440 --> 00:09:22,990 And this next thing is-- I'm not going to show the whole thing. 188 00:09:22,990 --> 00:09:24,760 But it's interesting. 189 00:09:24,760 --> 00:09:27,370 This is a video, a sort of an insider look at how 190 00:09:27,370 --> 00:09:30,057 Pixar does their storyboarding. 191 00:09:30,057 --> 00:09:31,640 And I'll just play a little bit of it. 192 00:09:31,640 --> 00:09:33,920 And then perhaps you can watch the whole thing 193 00:09:33,920 --> 00:09:34,680 on your own time. 194 00:09:37,496 --> 00:09:38,340 [VIDEO PLAYBACK] 195 00:09:38,340 --> 00:09:41,880 -All right, so this section is the storyboarding process. 196 00:09:41,880 --> 00:09:45,040 And this is where, instead of writing with words, 197 00:09:45,040 --> 00:09:46,090 we write with drawings. 198 00:09:46,090 --> 00:09:48,120 And we put them on little pieces of paper. 199 00:09:48,120 --> 00:09:50,930 And it's sort of seeing the movie in comic book form. 200 00:09:50,930 --> 00:09:53,790 And we'll do a section of the movie at a time 201 00:09:53,790 --> 00:09:56,200 and we'll pin them all up on boards. 202 00:09:56,200 --> 00:09:58,060 And then, when we get a certain chunk done, 203 00:09:58,060 --> 00:10:00,610 we'll show them to the directors. 204 00:10:00,610 --> 00:10:02,247 Or they will show them to us. 205 00:10:02,247 --> 00:10:04,830 And, I don't know, it's kind of complicated thing to explain-- 206 00:10:04,830 --> 00:10:06,955 -Well, you know, that was a really good description 207 00:10:06,955 --> 00:10:09,214 of about how better to describe-- 208 00:10:09,214 --> 00:10:10,380 -Something better than that. 209 00:10:10,380 --> 00:10:10,879 -Yeah. 210 00:10:10,879 --> 00:10:11,985 -Well, we could show it. 211 00:10:11,985 --> 00:10:12,860 -Yeah, let's show it. 212 00:10:12,860 --> 00:10:13,610 -With storyboards. 213 00:10:13,610 --> 00:10:15,030 -With storyboards. 214 00:10:15,030 --> 00:10:18,870 OK, this is the storyboarding process, 215 00:10:18,870 --> 00:10:21,250 as illustrated by Joe Ranft, our head of story. 216 00:10:21,250 --> 00:10:24,820 -Yes, so there's the little, cute, Mr. Storyboard 217 00:10:24,820 --> 00:10:28,702 Artist working very diligently and happily in January. 218 00:10:28,702 --> 00:10:29,660 -And he has a deadline. 219 00:10:29,660 --> 00:10:31,846 He's working hard to do his sequence. 220 00:10:31,846 --> 00:10:34,220 Every time he does a drawing, he pins it up on the board. 221 00:10:34,220 --> 00:10:36,803 And there, he stands back when he gets done with his sequence. 222 00:10:36,803 --> 00:10:38,960 And he says, hmmm, did I do it the best way? 223 00:10:38,960 --> 00:10:42,030 And storyboarding actually balances, like, 224 00:10:42,030 --> 00:10:45,730 composition, cutting, staging, acting, writing, everything 225 00:10:45,730 --> 00:10:49,470 that goes through the storyboard artist's mind as he's doing it. 226 00:10:49,470 --> 00:10:52,970 -So he'll try another pass at it a couple more times until he 227 00:10:52,970 --> 00:10:54,541 feels he's got it just right. 228 00:10:54,541 --> 00:10:55,040 -Just right. 229 00:10:55,040 --> 00:10:56,090 -It's perfect. 230 00:10:56,090 --> 00:10:58,040 -So he calls in the story department-- 231 00:10:58,040 --> 00:10:58,831 -And the directors. 232 00:10:58,831 --> 00:11:00,360 - --and, of course, the director. 233 00:11:00,360 --> 00:11:01,580 -There you can see John Lasseter. 234 00:11:01,580 --> 00:11:02,413 Looks just like him. 235 00:11:02,413 --> 00:11:05,140 -Yeah, it does, doesn't it? 236 00:11:05,140 --> 00:11:06,090 Thanks, Joe. 237 00:11:06,090 --> 00:11:09,110 -And then Joe-- or whoever's pitching, the little storyboard 238 00:11:09,110 --> 00:11:11,405 artist, in this case-- will pitch the sequence. 239 00:11:11,405 --> 00:11:14,270 And in the middle of the pitch, John gets an idea. 240 00:11:14,270 --> 00:11:15,287 -We all get ideas. 241 00:11:15,287 --> 00:11:17,745 And that's one of the great things about storyboarding here 242 00:11:17,745 --> 00:11:21,140 at Pixar is it is a free-for-all once we get in this. 243 00:11:21,140 --> 00:11:23,460 And everybody is out, coming up with ideas 244 00:11:23,460 --> 00:11:26,190 to make the sequence better, to make the film better. 245 00:11:26,190 --> 00:11:29,180 And when the pitch session is done, 246 00:11:29,180 --> 00:11:31,600 inevitably there is lots of ideas 247 00:11:31,600 --> 00:11:33,020 to make the sequence better. 248 00:11:33,020 --> 00:11:35,304 The storyboard artist kind of wakes up from it. 249 00:11:35,304 --> 00:11:37,470 -Right, and we're infamous for putting all our notes 250 00:11:37,470 --> 00:11:38,290 on little post-its. 251 00:11:38,290 --> 00:11:38,710 -Yeah. 252 00:11:38,710 --> 00:11:41,043 -That's why you see all the little yellow squares there. 253 00:11:41,043 --> 00:11:42,970 And so we'll all leave, all excited about 254 00:11:42,970 --> 00:11:45,120 the great new ideas we've got. 255 00:11:45,120 --> 00:11:46,604 And then the storyboard artist-- 256 00:11:46,604 --> 00:11:48,770 -Mr. Storyboard Artist goes back and thinks about it 257 00:11:48,770 --> 00:11:52,010 and starts over with all his notes that he has to do. 258 00:11:52,010 --> 00:11:55,650 Joe Ranft often calls it-- the storyboarding process-- 259 00:11:55,650 --> 00:11:57,680 not storyboarding, but "story-reboarding" 260 00:11:57,680 --> 00:12:01,480 because we work on it, redo it, redo it, redo it, 261 00:12:01,480 --> 00:12:04,860 to make each sequence, to make the entire film as best as we 262 00:12:04,860 --> 00:12:06,256 possibly can be. 263 00:12:06,256 --> 00:12:07,630 In the next section, you're going 264 00:12:07,630 --> 00:12:11,220 to see Joe Ranft, our head of story on A Bug's Life pitching 265 00:12:11,220 --> 00:12:13,660 to Co-director Andrew Stanton. 266 00:12:13,660 --> 00:12:14,300 -Me. 267 00:12:14,300 --> 00:12:15,790 -And I think Bob's in there, too. 268 00:12:15,790 --> 00:12:17,664 -I think Bob Peterson, one of our story guys. 269 00:12:17,664 --> 00:12:20,740 -He's pitching the circus sequence from A Bug's Life. 270 00:12:20,740 --> 00:12:21,890 Enjoy. 271 00:12:21,890 --> 00:12:24,250 -OK, so Slim and Francis are hit by the spotlight. 272 00:12:24,250 --> 00:12:25,950 They're not too excited. 273 00:12:25,950 --> 00:12:28,690 And Slim says, tra la la la la, spring is in the air. 274 00:12:28,690 --> 00:12:31,460 And I'm a flower with nothing interesting to say. 275 00:12:31,460 --> 00:12:34,166 And then they go, ah, look, a bee. 276 00:12:34,166 --> 00:12:36,000 And then Heimlich comes running forward, 277 00:12:36,000 --> 00:12:37,700 I am a cute, little bumblebee. 278 00:12:37,700 --> 00:12:39,110 Here I come! 279 00:12:39,110 --> 00:12:42,047 I want to catch up with your flowers! 280 00:12:42,047 --> 00:12:43,630 -Oh, oh, oh, I've got it, I've got it. 281 00:12:43,630 --> 00:12:45,270 What if, like, he just can't catch up? 282 00:12:45,270 --> 00:12:48,120 He's like-- it's just so heavy, it's just hard for him 283 00:12:48,120 --> 00:12:49,010 to catch up to Slim. 284 00:12:49,010 --> 00:12:51,430 -Slow down, slow down! 285 00:12:51,430 --> 00:12:52,403 So he's like-- 286 00:12:52,403 --> 00:12:53,210 [PANTING] 287 00:12:53,210 --> 00:12:55,378 you flowers, slow down, slow down! 288 00:12:55,378 --> 00:12:58,126 -Right, right. 289 00:12:58,126 --> 00:12:59,042 -Yeah, right. 290 00:12:59,042 --> 00:12:59,950 That would be great. 291 00:12:59,950 --> 00:13:01,260 You flowers are too fast! 292 00:13:01,260 --> 00:13:02,430 You're running too fast. 293 00:13:02,430 --> 00:13:04,527 Slow down, you guys! 294 00:13:04,527 --> 00:13:05,110 -That's great. 295 00:13:05,110 --> 00:13:06,790 -OK, that'd be good. 296 00:13:06,790 --> 00:13:09,327 -OK, so then he's chasing after them 297 00:13:09,327 --> 00:13:10,660 and Heimlich runs by the stands. 298 00:13:10,660 --> 00:13:12,520 And there's a little kid eating candy corn. 299 00:13:12,520 --> 00:13:13,061 And he stops. 300 00:13:13,061 --> 00:13:16,350 And he turns around and he goes, oh, candy corn, here! 301 00:13:16,350 --> 00:13:18,840 I, oh-- you have to let me eat it! 302 00:13:18,840 --> 00:13:19,340 Oh! 303 00:13:19,340 --> 00:13:20,950 And his stomach is grumbling. 304 00:13:20,950 --> 00:13:25,367 And he can go, let me help you, let me help you to finish it! 305 00:13:25,367 --> 00:13:25,991 -Wait a minute. 306 00:13:25,991 --> 00:13:27,910 Is a candy corn funny? 307 00:13:27,910 --> 00:13:29,293 -We were thinking of red vines. 308 00:13:29,293 --> 00:13:30,376 -Would red vines be funny? 309 00:13:30,376 --> 00:13:32,520 That's a little bit tough for a fly to hold. 310 00:13:32,520 --> 00:13:34,191 -There's those little sombrero jujubes. 311 00:13:34,191 --> 00:13:35,190 Those are kind of funny. 312 00:13:35,190 --> 00:13:37,945 -The question is, what would a fly like as far as candy goes? 313 00:13:37,945 --> 00:13:38,445 -Well, dots. 314 00:13:38,445 --> 00:13:39,725 But we already have a character-- 315 00:13:39,725 --> 00:13:41,410 -Candy corn is pretty funny, though, because it's really, 316 00:13:41,410 --> 00:13:42,890 like-- it's a big triangle. 317 00:13:42,890 --> 00:13:43,848 I think that actually-- 318 00:13:43,848 --> 00:13:44,520 -OK. 319 00:13:44,520 --> 00:13:45,030 Yeah, that's why-- 320 00:13:45,030 --> 00:13:45,580 -More identifiable. 321 00:13:45,580 --> 00:13:47,205 -I think we should go with candy corns. 322 00:13:47,205 --> 00:13:49,761 Like, is it too Halloween? 323 00:13:49,761 --> 00:13:50,260 -Nah. 324 00:13:50,260 --> 00:13:51,180 -No, OK. 325 00:13:51,180 --> 00:13:53,180 So he goes, Oh, candy corn, here. 326 00:13:53,180 --> 00:13:55,455 Let help you to finish it. 327 00:13:55,455 --> 00:13:55,955 -Great. 328 00:13:55,955 --> 00:13:57,800 That's great. 329 00:13:57,800 --> 00:13:59,800 -Tra la la la la. 330 00:13:59,800 --> 00:14:01,050 Spring is in the air. 331 00:14:01,050 --> 00:14:04,681 And I am a flower with nothing interesting to say. 332 00:14:04,681 --> 00:14:05,180 -Ah! 333 00:14:05,180 --> 00:14:05,679 -A bee! 334 00:14:05,679 --> 00:14:08,080 -I am a cute little bumblebee! 335 00:14:08,080 --> 00:14:08,580 -Ah! 336 00:14:08,580 --> 00:14:09,580 -Here I come! 337 00:14:09,580 --> 00:14:11,580 -Ah! 338 00:14:11,580 --> 00:14:14,080 -Slow down, you flowers! 339 00:14:14,080 --> 00:14:15,090 Oh! 340 00:14:15,090 --> 00:14:16,790 Candy corn! 341 00:14:16,790 --> 00:14:19,107 Here, let me help you to finish it! 342 00:14:19,107 --> 00:14:20,360 [END PLAYBACK] 343 00:14:20,360 --> 00:14:23,560 JOSH: So they obviously-- they went with the candy corn. 344 00:14:23,560 --> 00:14:25,060 ELIZABETH: Before you move on-- 345 00:14:25,060 --> 00:14:25,420 JOSH: Go ahead. 346 00:14:25,420 --> 00:14:26,265 ELIZABETH: --share the storyboard 347 00:14:26,265 --> 00:14:27,617 that came from Science Out Loud? 348 00:14:27,617 --> 00:14:28,450 JOSH: Oh sure, yeah. 349 00:14:28,450 --> 00:14:31,121 ELIZABETH: Sorry, I totally forgot that I had this. 350 00:14:31,121 --> 00:14:31,620 JOSH: OK. 351 00:14:31,620 --> 00:14:32,852 ELIZABETH: Not to-- 352 00:14:32,852 --> 00:14:33,560 JOSH: No problem. 353 00:14:33,560 --> 00:14:34,518 ELIZABETH: Sorry, Josh. 354 00:14:34,518 --> 00:14:36,791 JOSH: No problem, here. 355 00:14:36,791 --> 00:14:39,600 ELIZABETH: Thanks. 356 00:14:39,600 --> 00:14:43,240 We've been seeing all these very gorgeous storyboards. 357 00:14:43,240 --> 00:14:46,356 Like, even-- you guys talk about how it's not 358 00:14:46,356 --> 00:14:47,696 when the real work starts. 359 00:14:47,696 --> 00:14:50,860 But obviously that takes a lot of time and talent. 360 00:14:50,860 --> 00:14:55,810 So this was a storyboard that Ashley 361 00:14:55,810 --> 00:14:59,360 did for our very first episode of Science Out Loud, just 362 00:14:59,360 --> 00:15:03,680 to show you how basic it can be and still be effective. 363 00:15:03,680 --> 00:15:06,140 So she did an episode on exoplanets. 364 00:15:06,140 --> 00:15:09,120 Ashley's K-12 video-- ooh! 365 00:15:09,120 --> 00:15:13,150 And what we discovered after she storyboarded this-- 366 00:15:13,150 --> 00:15:17,380 she's talking about a very abstract, cosmic topic. 367 00:15:17,380 --> 00:15:19,240 So obviously we can't go into space, 368 00:15:19,240 --> 00:15:21,500 which made deciding what the visuals were going 369 00:15:21,500 --> 00:15:23,270 to be surprisingly difficult. Or maybe it 370 00:15:23,270 --> 00:15:24,520 should have been unsurprising. 371 00:15:24,520 --> 00:15:26,290 But we were newbs at the time. 372 00:15:26,290 --> 00:15:28,710 So it was hard. 373 00:15:28,710 --> 00:15:31,060 But she-- literally just drawing stick figures, 374 00:15:31,060 --> 00:15:34,210 aligning them with her text. 375 00:15:34,210 --> 00:15:37,420 And when we were looking at the storyboard, we were like, wow. 376 00:15:37,420 --> 00:15:40,720 There's not really a whole lot going on, except for her just 377 00:15:40,720 --> 00:15:42,610 standing there. 378 00:15:42,610 --> 00:15:46,330 And basically half of the video was 379 00:15:46,330 --> 00:15:50,920 going to be an animation without her on screen. 380 00:15:50,920 --> 00:15:56,800 And there would have been no way for us to really anticipate 381 00:15:56,800 --> 00:16:00,850 the extent to which she was missing from screen until she 382 00:16:00,850 --> 00:16:02,760 storyboarded this out for us. 383 00:16:02,760 --> 00:16:06,120 And so she tweaked not only her visuals, 384 00:16:06,120 --> 00:16:07,870 but she ended up tweaking her script a lot 385 00:16:07,870 --> 00:16:13,550 after she did this to make room for scenes in which she could 386 00:16:13,550 --> 00:16:17,180 be more present, where it could be more than a fully animated 387 00:16:17,180 --> 00:16:18,160 video. 388 00:16:18,160 --> 00:16:21,600 But in case you wanted to see, we actually 389 00:16:21,600 --> 00:16:28,590 kept the first six frames pretty similar to her original plan. 390 00:16:28,590 --> 00:16:32,010 And we just tried to alter the animations to make 391 00:16:32,010 --> 00:16:33,170 it a little more engaging. 392 00:16:33,170 --> 00:16:36,830 So I'll show you the first part of her video. 393 00:16:46,397 --> 00:16:47,380 [AUDIO PLAYBACK] 394 00:16:47,380 --> 00:16:48,800 -This rock can absorb-- 395 00:16:48,800 --> 00:16:49,748 [END AUDIO PLAYBACK] 396 00:16:54,490 --> 00:16:56,720 So this was-- this animation was actually 397 00:16:56,720 --> 00:16:58,530 done by our first editor. 398 00:16:58,530 --> 00:16:59,910 [VIDEO PLAYBACK] 399 00:16:59,910 --> 00:17:02,220 -25 years ago, most people would have told you 400 00:17:02,220 --> 00:17:05,233 that there are only nine planets in the universe. 401 00:17:05,233 --> 00:17:07,150 Since then, we've lost one. 402 00:17:07,150 --> 00:17:08,216 Sorry, Pluto. 403 00:17:08,216 --> 00:17:10,660 But we've discovered thousands of others. 404 00:17:10,660 --> 00:17:11,470 So what happened? 405 00:17:11,470 --> 00:17:14,170 Did astronomers suddenly get a new pair of glasses and now 406 00:17:14,170 --> 00:17:15,890 we're meeting all of our new neighbors? 407 00:17:15,890 --> 00:17:16,839 Well, no. 408 00:17:16,839 --> 00:17:19,430 It turns that we could've seen these exoplanets all along. 409 00:17:19,430 --> 00:17:24,030 But we only recently figured out exactly where and how to look. 410 00:17:24,030 --> 00:17:27,356 We call these new planets exoplanets, or-- 411 00:17:27,356 --> 00:17:28,170 [END PLAYBACK] 412 00:17:28,170 --> 00:17:30,010 ELIZABETH: So, because we knew what 413 00:17:30,010 --> 00:17:33,310 she wanted to do with the animations ahead of time 414 00:17:33,310 --> 00:17:36,520 because of her story board, that allowed us to direct her 415 00:17:36,520 --> 00:17:38,560 while we were shooting to put her hands down, 416 00:17:38,560 --> 00:17:41,530 to look up at the ceiling, and all that stuff. 417 00:17:41,530 --> 00:17:43,950 And I'll show you one more storyboard that was 418 00:17:43,950 --> 00:17:46,169 done a little bit differently. 419 00:17:46,169 --> 00:17:47,585 And then I'll let Josh talk again. 420 00:17:50,210 --> 00:17:53,910 But Alex actually just did pictures for some of them. 421 00:17:53,910 --> 00:17:58,230 So he did an episode on how carbon nanotubes are made. 422 00:17:58,230 --> 00:18:03,010 And he had this sort of "imagine a blank" opening. 423 00:18:03,010 --> 00:18:06,910 And so he just took pictures of the locations and types 424 00:18:06,910 --> 00:18:08,270 of places that he wanted to go. 425 00:18:08,270 --> 00:18:10,480 And then, from there, he literally just 426 00:18:10,480 --> 00:18:11,910 drew stick figures. 427 00:18:11,910 --> 00:18:15,770 So you don't have to draw anything crazy beautiful-- 428 00:18:15,770 --> 00:18:16,920 no offense to Alex. 429 00:18:16,920 --> 00:18:19,010 But this was actually very helpful 430 00:18:19,010 --> 00:18:24,632 for us as well to see how the pacing of his demos 431 00:18:24,632 --> 00:18:25,340 were going to go. 432 00:18:25,340 --> 00:18:28,410 So we altered his script again after he made this, 433 00:18:28,410 --> 00:18:31,110 because we realized that it was a lot of just him sitting 434 00:18:31,110 --> 00:18:33,110 at a table demoing things. 435 00:18:33,110 --> 00:18:35,160 And we decided that there needed to be 436 00:18:35,160 --> 00:18:38,020 something a little more visually engaging besides him just 437 00:18:38,020 --> 00:18:39,725 at a table. 438 00:18:39,725 --> 00:18:43,600 But he's talking about how a thread made out 439 00:18:43,600 --> 00:18:45,850 of carbon nanotubes could lift up something as heavy 440 00:18:45,850 --> 00:18:47,730 as an elephant. 441 00:18:47,730 --> 00:18:52,000 We quickly realized that we wouldn't have footage for that. 442 00:18:52,000 --> 00:18:55,440 But this is again, really basic-- nothing 443 00:18:55,440 --> 00:18:59,850 too crazy-- but helped us a lot in the planning of the video. 444 00:18:59,850 --> 00:19:03,674 So I'll show you the first couple bits of his. 445 00:19:11,578 --> 00:19:13,454 [VIDEO PLAYBACK] 446 00:19:13,454 --> 00:19:14,870 -Imagine a material that would let 447 00:19:14,870 --> 00:19:18,270 you use your phone for weeks without a charge 448 00:19:18,270 --> 00:19:23,790 or would let you build an elevator to space. 449 00:19:23,790 --> 00:19:25,605 These elevators and batteries can one day 450 00:19:25,605 --> 00:19:28,300 exist with a material called "carbon nanotubes." 451 00:19:28,300 --> 00:19:30,110 Carbon nanotubes are tiny. 452 00:19:30,110 --> 00:19:32,070 Take this human hair, for example. 453 00:19:32,070 --> 00:19:35,380 You need 10,000 carbon nanotubes to make a rope 454 00:19:35,380 --> 00:19:37,470 as big as this hair. 455 00:19:37,470 --> 00:19:40,710 Despite being small, they're really strong. 456 00:19:40,710 --> 00:19:42,687 This cotton string holds up this lego car fine. 457 00:19:42,687 --> 00:19:44,395 But if it was made from carbon nanotubes, 458 00:19:44,395 --> 00:19:46,597 it could hold up a real car. 459 00:19:46,597 --> 00:19:47,180 [END PLAYBACK] 460 00:19:47,180 --> 00:19:48,670 So originally he was going to talk 461 00:19:48,670 --> 00:19:50,342 about this model of carbon nanotubes 462 00:19:50,342 --> 00:19:51,800 at the very beginning of the video. 463 00:19:51,800 --> 00:19:53,840 But after we saw the storyboard, we 464 00:19:53,840 --> 00:19:56,250 thought that we should wait until later on to explain it 465 00:19:56,250 --> 00:20:00,475 and just hit them with this example first. 466 00:20:00,475 --> 00:20:01,850 So I just wanted to show you guys 467 00:20:01,850 --> 00:20:05,110 that so you knew that your storyboards don't have to be 468 00:20:05,110 --> 00:20:09,414 anything super complicated. 469 00:20:09,414 --> 00:20:13,190 JOSH: Cool, thanks. 470 00:20:19,977 --> 00:20:21,933 OK, let's see. 471 00:20:26,334 --> 00:20:30,010 All right, so just some-- we're almost done with this, 472 00:20:30,010 --> 00:20:31,170 by the way. 473 00:20:31,170 --> 00:20:35,600 But some quick tips for storyboarding-- and I 474 00:20:35,600 --> 00:20:38,040 guess this was something that Elizabeth was just saying. 475 00:20:38,040 --> 00:20:39,610 It doesn't have to be a work of art. 476 00:20:39,610 --> 00:20:43,520 Stick figures work. 477 00:20:43,520 --> 00:20:46,130 Focus on details that matter. 478 00:20:46,130 --> 00:20:49,050 We don't draw a lot of backgrounds. 479 00:20:49,050 --> 00:20:52,970 We just draw the bare minimum of elements 480 00:20:52,970 --> 00:20:56,120 that will get across the intention of the scene 481 00:20:56,120 --> 00:20:57,310 or the shot, rather. 482 00:20:59,860 --> 00:21:02,580 It should include a composition and camera angles. 483 00:21:02,580 --> 00:21:03,670 Is this a wide shot? 484 00:21:03,670 --> 00:21:06,136 Is it a close-up? 485 00:21:06,136 --> 00:21:07,760 What is the cam-- you might make a note 486 00:21:07,760 --> 00:21:09,060 about what the camera's doing. 487 00:21:09,060 --> 00:21:09,960 Is it pulling back? 488 00:21:09,960 --> 00:21:10,870 Is it on a dolly? 489 00:21:10,870 --> 00:21:12,059 Is it tracking something? 490 00:21:12,059 --> 00:21:14,600 ELIZABETH: And just so you guys know, since we haven't really 491 00:21:14,600 --> 00:21:17,400 talked about that stuff yet, that's a lot of stuff 492 00:21:17,400 --> 00:21:20,270 that Chris is going to talk about tomorrow. 493 00:21:20,270 --> 00:21:24,480 So I would suggest that you try to keep that stuff in mind 494 00:21:24,480 --> 00:21:27,760 and then maybe revisit it again after Chris talks about it 495 00:21:27,760 --> 00:21:28,530 tomorrow, too. 496 00:21:28,530 --> 00:21:28,795 JOSH: Yeah. 497 00:21:28,795 --> 00:21:30,630 ELIZABETH: And you can also ask him while he's here, too. 498 00:21:30,630 --> 00:21:31,130 JOSH: Right. 499 00:21:31,130 --> 00:21:33,969 AUDIENCE: You know I'm not supposed to-- 500 00:21:33,969 --> 00:21:36,510 ELIZABETH: It's OK if you have, like, spoilers in the class-- 501 00:21:36,510 --> 00:21:37,850 JOSH: Yeah. 502 00:21:37,850 --> 00:21:40,940 And Chris-- I mean, Chris knows the grammar of this stuff 503 00:21:40,940 --> 00:21:42,436 better than I do. 504 00:21:42,436 --> 00:21:44,060 Admittedly, I didn't go to film school. 505 00:21:44,060 --> 00:21:48,010 So we use terms of art in our studio that 506 00:21:48,010 --> 00:21:49,900 probably aren't appropriate. 507 00:21:49,900 --> 00:21:54,090 But the camera's close-up on this guy. 508 00:21:54,090 --> 00:21:56,250 The camera's far back from this guy. 509 00:21:56,250 --> 00:21:59,860 The camera's moving while this guy's talking. 510 00:21:59,860 --> 00:22:01,240 That sort of-- any of that stuff. 511 00:22:01,240 --> 00:22:03,422 Don't be constrained by-- 512 00:22:03,422 --> 00:22:04,880 AUDIENCE: Too many technical terms. 513 00:22:04,880 --> 00:22:05,380 JOSH: Right. 514 00:22:07,860 --> 00:22:10,650 AUDIENCE: What about aspect ratio of, like, the paper 515 00:22:10,650 --> 00:22:13,040 that you're using in the shot that you're gonna use. 516 00:22:13,040 --> 00:22:15,151 Eight and a half by 11 turned sideways, like-- 517 00:22:15,151 --> 00:22:15,650 JOSH: Yeah. 518 00:22:15,650 --> 00:22:17,940 AUDIENCE: Or is there another shortcut that's helpful? 519 00:22:17,940 --> 00:22:20,690 JOSH: Yeah, well a note card is a very-- turned sideways 520 00:22:20,690 --> 00:22:24,510 is perfect, is a good 16 by 9 approximation. 521 00:22:24,510 --> 00:22:30,365 The template that I'm going to give you guys is widescreen. 522 00:22:33,100 --> 00:22:34,670 But yeah, definitely have to think 523 00:22:34,670 --> 00:22:37,340 about those sorts of things. 524 00:22:37,340 --> 00:22:41,255 You don't want to be doing it in a 4 by 3 box. 525 00:22:41,255 --> 00:22:42,880 You want to think about the full frame. 526 00:22:46,740 --> 00:22:48,622 And this is sort of stupid. 527 00:22:48,622 --> 00:22:49,580 I don't why I put this. 528 00:22:49,580 --> 00:22:52,610 Make them easy to read visually and understand. 529 00:22:52,610 --> 00:22:56,210 So I think one thing I wanted to really stress 530 00:22:56,210 --> 00:22:58,730 is that, for us-- and I think, for most people, 531 00:22:58,730 --> 00:23:00,770 as you saw on the Pixar video-- storyboarding 532 00:23:00,770 --> 00:23:02,900 is a collaborative process. 533 00:23:02,900 --> 00:23:07,440 So you can't-- this is a process. 534 00:23:07,440 --> 00:23:09,030 This kind of art is something that 535 00:23:09,030 --> 00:23:12,020 comes out of a lot of different minds working together 536 00:23:12,020 --> 00:23:13,950 creatively. 537 00:23:13,950 --> 00:23:19,500 And so the story-- one reason to make the storyboard really easy 538 00:23:19,500 --> 00:23:21,410 to understand is that somebody else 539 00:23:21,410 --> 00:23:23,680 is going to have to use it and work on it. 540 00:23:23,680 --> 00:23:26,160 It's not just what's inside your head. 541 00:23:26,160 --> 00:23:29,520 This is a part of a process that collaborators are all 542 00:23:29,520 --> 00:23:30,120 working on. 543 00:23:30,120 --> 00:23:33,150 So it has to communicate very effectively. 544 00:23:33,150 --> 00:23:36,030 ELIZABETH: And I haven't mentioned this formally yet, 545 00:23:36,030 --> 00:23:39,770 but obviously, if you're going to be hosting your video, 546 00:23:39,770 --> 00:23:43,090 you can't simultaneously be shooting it as well. 547 00:23:43,090 --> 00:23:46,420 So the way that's going to work is we'll partner you guys up, 548 00:23:46,420 --> 00:23:49,820 or we'll figure something out to where basically, you'll be 549 00:23:49,820 --> 00:23:51,430 shooting someone else's video. 550 00:23:51,430 --> 00:23:54,310 And someone else will be shooting yours. 551 00:23:54,310 --> 00:23:56,800 And the storyboard is going to be really important 552 00:23:56,800 --> 00:24:00,240 for that reason, because you have to somehow give 553 00:24:00,240 --> 00:24:02,160 the instructions to whoever's shooting for you 554 00:24:02,160 --> 00:24:04,880 exactly how you want things framed, 555 00:24:04,880 --> 00:24:07,480 how you want your shot to look like and things like that. 556 00:24:07,480 --> 00:24:08,600 So I agree completely. 557 00:24:08,600 --> 00:24:10,930 It's a very collaborative and necessary thing. 558 00:24:10,930 --> 00:24:13,120 JOSH: Yeah. 559 00:24:13,120 --> 00:24:16,580 If there's time, make a few boards. 560 00:24:16,580 --> 00:24:19,580 Like, a lot of times people in our office 561 00:24:19,580 --> 00:24:22,547 will make some boards independently of each other. 562 00:24:22,547 --> 00:24:24,130 And then we'll bring them all together 563 00:24:24,130 --> 00:24:25,810 and see what we've all got. 564 00:24:25,810 --> 00:24:27,920 Sometimes that's part of our workflow. 565 00:24:27,920 --> 00:24:31,040 If you have time, storyboard the same script 566 00:24:31,040 --> 00:24:32,599 in a couple of different ways. 567 00:24:32,599 --> 00:24:35,015 You might get different ideas with different perspectives. 568 00:24:38,290 --> 00:24:40,760 And as I said before, revise the script as needed. 569 00:24:40,760 --> 00:24:42,970 Sometimes a great visual idea doesn't line up 570 00:24:42,970 --> 00:24:43,640 with the script. 571 00:24:43,640 --> 00:24:47,130 Focus on visual story, not adherence to your script. 572 00:24:47,130 --> 00:24:49,810 So if you come up with a cool idea, and you may-- 573 00:24:49,810 --> 00:24:51,730 you know this is hard to-- I can say this. 574 00:24:51,730 --> 00:24:54,832 But you just have to experience it to really understand it. 575 00:24:54,832 --> 00:24:56,290 You might come up with a cool idea, 576 00:24:56,290 --> 00:24:58,540 but the script doesn't quite match what you're saying. 577 00:24:58,540 --> 00:25:02,000 So don't feel like you're locked into that script. 578 00:25:02,000 --> 00:25:04,560 And finally, the storyboard is only a guide. 579 00:25:04,560 --> 00:25:07,980 Changes are often made in the production and editing process. 580 00:25:07,980 --> 00:25:11,630 So all this stuff is very plastic. 581 00:25:11,630 --> 00:25:12,740 You're moving it. 582 00:25:12,740 --> 00:25:13,950 You're changing it as you go. 583 00:25:16,730 --> 00:25:19,890 All right, so how to make a storyboard. 584 00:25:19,890 --> 00:25:21,940 We brought some paper templates. 585 00:25:21,940 --> 00:25:26,120 You can use note cards, We don't use note cards. 586 00:25:26,120 --> 00:25:28,160 But it's actually an interesting idea, 587 00:25:28,160 --> 00:25:31,270 which is that-- then, if you put one scene or one shot 588 00:25:31,270 --> 00:25:33,480 on each card, you can start moving the cards around 589 00:25:33,480 --> 00:25:35,580 on the wall, which might be interesting, 590 00:25:35,580 --> 00:25:37,970 an interesting way to do it. 591 00:25:37,970 --> 00:25:40,330 And each frame should include the script line 592 00:25:40,330 --> 00:25:42,970 and basic direction notes. 593 00:25:42,970 --> 00:25:44,770 We don't always do that. 594 00:25:44,770 --> 00:25:48,140 But we, at minimum, we include the script line that's 595 00:25:48,140 --> 00:25:51,250 coordinated with the shot. 596 00:25:55,420 --> 00:25:57,050 So let's workshop. 597 00:25:57,050 --> 00:25:59,310 And there's a couple different ways we can do this. 598 00:26:02,730 --> 00:26:09,800 Well, first let me go over what I think this basic format. 599 00:26:09,800 --> 00:26:14,620 John and I will sit up here and storyboard a script. 600 00:26:14,620 --> 00:26:18,980 And what that script is, I want to talk to you about a minute. 601 00:26:18,980 --> 00:26:21,905 And then, once we've done some of it-- maybe over 30 602 00:26:21,905 --> 00:26:25,390 or 45 minutes-- we'll break you into small groups 603 00:26:25,390 --> 00:26:29,130 and you'll continue the same script, storyboarding it. 604 00:26:29,130 --> 00:26:31,300 You'll do a few-- some frames on your own. 605 00:26:31,300 --> 00:26:34,160 We'll walk around and help you. 606 00:26:34,160 --> 00:26:37,180 And then you guys will present what you have. 607 00:26:37,180 --> 00:26:41,120 And we'll just and share and discuss them. 608 00:26:41,120 --> 00:26:41,620 Yeah? 609 00:26:41,620 --> 00:26:43,411 AUDIENCE: Josh, how do you feel about using 610 00:26:43,411 --> 00:26:45,250 PowerPoint for storyboarding? 611 00:26:45,250 --> 00:26:45,964 JOSH: That works. 612 00:26:45,964 --> 00:26:46,880 That would work great. 613 00:26:46,880 --> 00:26:49,170 AUDIENCE: In my brain, that would be a better tool-- 614 00:26:49,170 --> 00:26:50,784 JOSH: Yeah, sure. 615 00:26:50,784 --> 00:26:52,200 ELIZABETH: That's what Ashley did. 616 00:26:52,200 --> 00:26:53,985 She made hers on PowerPoint. 617 00:26:53,985 --> 00:26:56,347 JOSH: Yeah, that would work great-- Keynote, PowerPoint, 618 00:26:56,347 --> 00:26:57,180 that would be great. 619 00:26:57,180 --> 00:26:59,240 And you don't have to use these paper sheets. 620 00:26:59,240 --> 00:27:02,255 But unless you have a Wacom with you, 621 00:27:02,255 --> 00:27:04,130 it can be difficult to draw on your computer. 622 00:27:08,380 --> 00:27:12,350 So the script that we're going to storyboard, 623 00:27:12,350 --> 00:27:16,080 we can either do a script that we've already 624 00:27:16,080 --> 00:27:19,100 done-- that we've already written and storyboarded 625 00:27:19,100 --> 00:27:19,740 and produced. 626 00:27:19,740 --> 00:27:22,980 But it would be-- it would be wonderful to storyboard it 627 00:27:22,980 --> 00:27:25,090 again with all of your input. 628 00:27:25,090 --> 00:27:29,170 Or we can take one script that you guys are currently 629 00:27:29,170 --> 00:27:33,480 working on and just get started on it with you. 630 00:27:33,480 --> 00:27:36,880 So either someone-- is-- someone is either a victim or very 631 00:27:36,880 --> 00:27:43,160 lucky or some combination of the two in this. 632 00:27:43,160 --> 00:27:45,575 Who votes for storyboarding one of our scripts? 633 00:27:49,390 --> 00:27:52,730 OK, who votes-- OK, so fine. 634 00:27:52,730 --> 00:27:55,555 So it sounds like you want to storyboard one of your scripts. 635 00:27:55,555 --> 00:27:58,810 ELIZABETH: They might not raise their hand for that, either. 636 00:27:58,810 --> 00:28:00,354 We've got a quiet crew. 637 00:28:00,354 --> 00:28:02,020 JOSH: All right, who wants to storyboard 638 00:28:02,020 --> 00:28:03,742 one of their scripts? 639 00:28:03,742 --> 00:28:06,100 Oh, come on, guys. 640 00:28:06,100 --> 00:28:06,850 This is absurd. 641 00:28:06,850 --> 00:28:07,336 ELIZABETH: [INAUDIBLE] 642 00:28:07,336 --> 00:28:08,711 AUDIENCE: I find mine is trivial, 643 00:28:08,711 --> 00:28:11,272 but the one I showed you yesterday-- is that-- 644 00:28:13,897 --> 00:28:15,480 ELIZABETH: Oh, you mean the hotel one. 645 00:28:15,480 --> 00:28:17,146 AUDIENCE: Yeah, because it's shot there. 646 00:28:17,146 --> 00:28:20,960 ELIZABETH: Yeah, do you have-- should 647 00:28:20,960 --> 00:28:23,310 we just storyboard the latest script 648 00:28:23,310 --> 00:28:25,714 that you uploaded to the Tumblr? 649 00:28:25,714 --> 00:28:27,630 AUDIENCE: It's the one I showed you yesterday. 650 00:28:31,350 --> 00:28:33,475 ELIZABETH: So he's got an idea that he hasn't fully 651 00:28:33,475 --> 00:28:34,490 scripted yet. 652 00:28:34,490 --> 00:28:35,260 JOSH: Oh, OK. 653 00:28:35,260 --> 00:28:35,760 Yeah. 654 00:28:35,760 --> 00:28:37,426 ELIZABETH: It might be easier if we have 655 00:28:37,426 --> 00:28:38,997 actual, like, text to a line. 656 00:28:38,997 --> 00:28:40,580 JOSH: Yeah, we need a script for sure. 657 00:28:40,580 --> 00:28:42,246 ELIZABETH: Just for logistical purposes. 658 00:28:42,246 --> 00:28:45,435 Does anyone have-- it's not going to be your entire script. 659 00:28:45,435 --> 00:28:47,810 It's just going to be a portion, a couple scenes from it. 660 00:28:47,810 --> 00:28:50,390 Does anyone feel comfortable? 661 00:28:50,390 --> 00:28:53,029 And it's OK if you end up changing it completely, too. 662 00:28:53,029 --> 00:28:55,570 AUDIENCE: Could we do enough of one that you've already done? 663 00:28:55,570 --> 00:28:57,486 Because if mine has to be-- I'm just thinking, 664 00:28:57,486 --> 00:28:59,786 from a learning perspective, that it might be really 665 00:28:59,786 --> 00:29:01,522 interesting also to match that with--what you are-- 666 00:29:01,522 --> 00:29:02,530 actually ended up doing? 667 00:29:02,530 --> 00:29:04,029 JOSH: Yeah, and I thought that, too. 668 00:29:04,029 --> 00:29:06,220 That was kind of what we were planning to do. 669 00:29:06,220 --> 00:29:09,362 But I didn't want to make it all about us. 670 00:29:09,362 --> 00:29:11,070 But if you think it's instructive, then-- 671 00:29:11,070 --> 00:29:13,217 AUDIENCE: I think that might be nice to have 672 00:29:13,217 --> 00:29:15,675 that framework for everyone, since everyone else is copying 673 00:29:15,675 --> 00:29:16,830 off of it as well. 674 00:29:16,830 --> 00:29:19,120 JOSH: OK, cool. 675 00:29:19,120 --> 00:29:23,610 So I do have a script here. 676 00:29:23,610 --> 00:29:25,300 AUDIENCE: Do you guys all have pencils? 677 00:29:25,300 --> 00:29:28,144 Or should I grab some-- 678 00:29:28,144 --> 00:29:31,090 ELIZABETH: Do you want them to do pen or pencil? 679 00:29:31,090 --> 00:29:33,025 JOSH: It doesn't matter. 680 00:29:33,025 --> 00:29:34,146 It doesn't matter. 681 00:29:34,146 --> 00:29:35,770 Pencil's nice because you can erase it. 682 00:29:39,550 --> 00:29:41,710 Yeah, so I think what we'll do is we'll 683 00:29:41,710 --> 00:29:49,450 start off with John working. 684 00:29:49,450 --> 00:29:51,120 And then we'll all chime in. 685 00:29:51,120 --> 00:29:52,777 And then you can see how John works. 686 00:29:52,777 --> 00:29:54,110 And then you can do it yourself. 687 00:29:54,110 --> 00:29:56,890 Does that make sense? 688 00:29:56,890 --> 00:29:57,390 Yourselves. 689 00:30:00,510 --> 00:30:01,980 I have the script, actually. 690 00:30:01,980 --> 00:30:05,450 So you can see what I was hoping we do. 691 00:30:05,450 --> 00:30:10,320 This is a video, another one of those WNET episodes 692 00:30:10,320 --> 00:30:15,210 on mass and force. 693 00:30:15,210 --> 00:30:16,930 I hope I printed out enough of these. 694 00:30:16,930 --> 00:30:18,081 I may not have. 695 00:30:18,081 --> 00:30:19,080 ELIZABETH: We can share. 696 00:30:19,080 --> 00:30:20,690 JOSH: OK. 697 00:30:20,690 --> 00:30:24,690 Some people are going to have to share, unfortunately. 698 00:30:24,690 --> 00:30:29,450 OK, so John-- we use Flash a lot, just 699 00:30:29,450 --> 00:30:33,020 for illustration and for storyboarding 700 00:30:33,020 --> 00:30:35,080 and for some animation components. 701 00:30:35,080 --> 00:30:38,100 I won't go into all that. 702 00:30:38,100 --> 00:30:42,110 But what John has here is a Wacom tablet. 703 00:30:42,110 --> 00:30:46,330 And it allows us to just get our ideas in the computer, 704 00:30:46,330 --> 00:30:48,530 basically. 705 00:30:48,530 --> 00:30:50,922 So I need the script. 706 00:30:50,922 --> 00:30:53,874 AUDIENCE: Yeah, let me help. 707 00:30:53,874 --> 00:30:56,340 We can share this one. 708 00:30:56,340 --> 00:31:02,360 JOSH: All right, so let's just focus on the first paragraph. 709 00:31:02,360 --> 00:31:08,090 And in order for this work, please chime in and participate 710 00:31:08,090 --> 00:31:13,072 in this process because what'll end up happening 711 00:31:13,072 --> 00:31:15,530 is we'll end up with exactly the same thing we already did. 712 00:31:15,530 --> 00:31:16,696 And I don't want to do that. 713 00:31:20,620 --> 00:31:22,960 "Mass is a measure of an object's ability 714 00:31:22,960 --> 00:31:26,850 to resist being accelerated by force. 715 00:31:26,850 --> 00:31:28,940 That means the more massive an object is, 716 00:31:28,940 --> 00:31:31,400 the harder it is to make it move if it's at rest 717 00:31:31,400 --> 00:31:36,070 or to stop it if it's moving." 718 00:31:36,070 --> 00:31:38,670 So thinking about the need to make 719 00:31:38,670 --> 00:31:40,790 the beginning of the video very interesting 720 00:31:40,790 --> 00:31:43,110 and to immediately engage the viewer, 721 00:31:43,110 --> 00:31:44,600 how do we want to start this one? 722 00:31:51,572 --> 00:31:55,556 AUDIENCE: Maybe somebody being pulled by a force 723 00:31:55,556 --> 00:31:59,050 and they're trying really hard to resist? 724 00:31:59,050 --> 00:32:01,340 JOSH: OK. 725 00:32:01,340 --> 00:32:03,340 "Mass is a measure of an object." 726 00:32:03,340 --> 00:32:05,000 So we've got an object. 727 00:32:05,000 --> 00:32:08,416 What kind of object do we want? 728 00:32:08,416 --> 00:32:09,872 AUDIENCE: Well, a fat man-- 729 00:32:09,872 --> 00:32:10,372 JOSH: Huh? 730 00:32:10,372 --> 00:32:12,330 AUDIENCE: A fat man. 731 00:32:12,330 --> 00:32:13,130 JOSH: A fat man. 732 00:32:13,130 --> 00:32:13,860 Something big. 733 00:32:13,860 --> 00:32:15,420 Something iconic. 734 00:32:15,420 --> 00:32:21,140 Something that really symbolizes mass. 735 00:32:21,140 --> 00:32:23,060 AUDIENCE: A building, a monument or something? 736 00:32:23,060 --> 00:32:24,690 JOSH: A building, a monument. 737 00:32:24,690 --> 00:32:26,440 How about-- what were you gonna say, Josh? 738 00:32:26,440 --> 00:32:28,946 AUDIENCE: I was thinking of just the 739 00:32:28,946 --> 00:32:35,927 but in some kind of like stone, like a big stone that 740 00:32:35,927 --> 00:32:37,090 says "mass." 741 00:32:37,090 --> 00:32:38,390 JOSH: OK, that could work. 742 00:32:38,390 --> 00:32:40,320 AUDIENCE: And it falls down in the dust. 743 00:32:40,320 --> 00:32:40,850 JOSH: OK. 744 00:32:40,850 --> 00:32:42,780 AUDIENCE: A brass weight. 745 00:32:42,780 --> 00:32:44,487 JOSH: A brass weight, yeah. 746 00:32:44,487 --> 00:32:45,830 AUDIENCE: An anvil? 747 00:32:45,830 --> 00:32:48,450 JOSH: An anvil-- those are iconic things, yeah. 748 00:32:48,450 --> 00:32:52,800 AUDIENCE: A one-ton thing that gets dropped on someone's head. 749 00:32:52,800 --> 00:32:57,720 JOSH: Yeah, that would be the Looney Tunes approach for sure. 750 00:32:57,720 --> 00:33:00,470 It OK, so what do you think, John? 751 00:33:00,470 --> 00:33:04,960 Should we go with something big that falls? 752 00:33:04,960 --> 00:33:08,808 Is a good-- do we need the word "mass" on the screen? 753 00:33:08,808 --> 00:33:10,480 AUDIENCE: Not really. 754 00:33:10,480 --> 00:33:12,620 JOSH: OK. 755 00:33:12,620 --> 00:33:14,610 AUDIENCE: Something big that falls. 756 00:33:14,610 --> 00:33:16,919 AUDIENCE: Stick with beer. 757 00:33:16,919 --> 00:33:20,370 JOHN: So beer could work. 758 00:33:20,370 --> 00:33:27,450 JOSH: Why don't we do the-- let's go with-- let's try 759 00:33:27,450 --> 00:33:30,996 out this idea of the word "mass" being made out of stone. 760 00:33:30,996 --> 00:33:32,120 That's kind of interesting. 761 00:33:32,120 --> 00:33:36,030 It falls and, like, crumbles, like, 762 00:33:36,030 --> 00:33:39,966 creates this sort of cloud of dust and stuff. 763 00:33:39,966 --> 00:33:40,710 That sounds good. 764 00:33:51,010 --> 00:33:52,300 AUDIENCE: I have a question. 765 00:33:52,300 --> 00:33:52,800 JOSH: Yeah. 766 00:33:52,800 --> 00:33:55,596 AUDIENCE: How many is number of storyboards 767 00:33:55,596 --> 00:33:57,926 do you need for every one of your ideas? 768 00:33:57,926 --> 00:34:00,867 Like, to what detail do we need to go? 769 00:34:00,867 --> 00:34:02,325 JOSH: Yeah, that's a good question. 770 00:34:05,177 --> 00:34:06,510 What you think about that, John? 771 00:34:06,510 --> 00:34:07,801 JOHN: I think that's up to you. 772 00:34:07,801 --> 00:34:09,820 I mean, I'm a very visual person. 773 00:34:09,820 --> 00:34:14,350 So for me, I'd like to draw maybe three or four frames 774 00:34:14,350 --> 00:34:16,830 of this mass dropping down. 775 00:34:16,830 --> 00:34:21,100 But for you, maybe you could just make one drawing. 776 00:34:21,100 --> 00:34:24,150 And next to the storyboard, explain the action. 777 00:34:24,150 --> 00:34:25,770 Explain what's going on. 778 00:34:25,770 --> 00:34:26,659 JOSH: Yeah. 779 00:34:26,659 --> 00:34:29,264 A lot of times, we draw a red arrows to indicate movement. 780 00:34:29,264 --> 00:34:30,639 So you could draw the word "mass" 781 00:34:30,639 --> 00:34:33,570 at the bottom of the screen with the clouds 782 00:34:33,570 --> 00:34:36,448 and have a red arrow facing down. 783 00:34:36,448 --> 00:34:38,239 ELIZABETH: I mean, there's no right answer. 784 00:34:38,239 --> 00:34:41,450 This is really for your benefit or the benefit of whoever's 785 00:34:41,450 --> 00:34:42,814 gonna be filming it for you. 786 00:34:42,814 --> 00:34:44,120 AUDIENCE: Yeah. 787 00:34:44,120 --> 00:34:48,270 ELIZABETH: So we definitely go the more rudimentary route 788 00:34:48,270 --> 00:34:49,376 in general. 789 00:34:49,376 --> 00:34:50,000 AUDIENCE: Yeah. 790 00:34:50,000 --> 00:34:52,541 ELIZABETH: But whatever would make you feel most comfortable. 791 00:34:52,541 --> 00:34:55,499 I think a rule of thumb-- like, a bare minimum-- is 792 00:34:55,499 --> 00:34:58,530 that any time you're changing the scene, like you're changing 793 00:34:58,530 --> 00:35:00,810 the camera angle or you're changing the location, 794 00:35:00,810 --> 00:35:03,690 you definitely want to do another board for that. 795 00:35:09,720 --> 00:35:13,430 JOSH: And John is drawing in, like, just a horizon here. 796 00:35:13,430 --> 00:35:15,560 So you have a sense of the scene, 797 00:35:15,560 --> 00:35:19,376 just at a very basic level, where 798 00:35:19,376 --> 00:35:21,000 the background is going to be and where 799 00:35:21,000 --> 00:35:24,400 the word is going to land. 800 00:35:24,400 --> 00:35:30,750 And I think that's enough for the first line. 801 00:35:30,750 --> 00:35:32,500 JOHN: And this is just the beginning, too. 802 00:35:32,500 --> 00:35:34,350 A lot times with our storyboards, 803 00:35:34,350 --> 00:35:36,680 we'll just draw out our ideas. 804 00:35:36,680 --> 00:35:39,620 And then we'll come to the end of the whole story board 805 00:35:39,620 --> 00:35:41,020 and take a look at it. 806 00:35:41,020 --> 00:35:43,352 And we'll say, well, we have this ending. 807 00:35:43,352 --> 00:35:45,310 But it doesn't really match with the beginning. 808 00:35:45,310 --> 00:35:47,910 So then we go back and maybe we change the beginning 809 00:35:47,910 --> 00:35:50,730 to more match the end. 810 00:35:50,730 --> 00:35:52,360 We're just getting all our ideas out. 811 00:35:52,360 --> 00:35:55,720 But you're not locked into this idea now that we've drawn it. 812 00:35:55,720 --> 00:35:58,560 JOSH: Right, OK. 813 00:35:58,560 --> 00:36:03,030 So, next line-- "That means the more massive an object is, 814 00:36:03,030 --> 00:36:05,170 the harder it is to make it move if it's 815 00:36:05,170 --> 00:36:11,870 at rest or to stop it if it's moving." 816 00:36:11,870 --> 00:36:14,440 And that-- yeah, so what do you think about that one? 817 00:36:16,980 --> 00:36:19,660 We've got this object that's fallen onto the screen 818 00:36:19,660 --> 00:36:25,294 and now we're talking about moving it and stopping it. 819 00:36:25,294 --> 00:36:27,102 AUDIENCE: I think of a person who's, 820 00:36:27,102 --> 00:36:30,010 like, kind of doing, like, the old pushing against it. 821 00:36:30,010 --> 00:36:30,510 JOSH: Yeah. 822 00:36:30,510 --> 00:36:32,418 AUDIENCE: And their legs are moving, 823 00:36:32,418 --> 00:36:33,850 but they're not going anywhere. 824 00:36:33,850 --> 00:36:37,150 JOSH: I think that's a natural, very, very iconic way 825 00:36:37,150 --> 00:36:38,870 of doing that. 826 00:36:38,870 --> 00:36:41,740 So we have a character now who comes in. 827 00:36:44,950 --> 00:36:51,630 And, you know, like this-- "oh god!"-- 828 00:36:51,630 --> 00:36:53,040 is trying to push this thing. 829 00:37:00,012 --> 00:37:03,249 AUDIENCE: I think that, for the second portion, when 830 00:37:03,249 --> 00:37:06,486 the thing slides and the mass will come sliding off the guy, 831 00:37:06,486 --> 00:37:08,976 he has to try stop it by [INAUDIBLE]. 832 00:37:08,976 --> 00:37:13,480 So he's, like, pinned to the wall by the mass. 833 00:37:13,480 --> 00:37:15,180 JOSH: OK. 834 00:37:15,180 --> 00:37:20,570 What if this little guy tries to push it 835 00:37:20,570 --> 00:37:25,340 and then maybe an elephant comes on the other side of the word 836 00:37:25,340 --> 00:37:30,000 and pushes it-- and is effective at pushing it towards him? 837 00:37:30,000 --> 00:37:32,610 And then he has to, like, go this to get it 838 00:37:32,610 --> 00:37:34,100 to-- he's like, oh my god. 839 00:37:34,100 --> 00:37:35,060 And he can't stop it. 840 00:37:35,060 --> 00:37:36,895 And he gets pushed off the screen. 841 00:37:36,895 --> 00:37:39,507 Something like that, would that-- 842 00:37:39,507 --> 00:37:42,882 AUDIENCE: How about the screen tilts? 843 00:37:42,882 --> 00:37:44,090 JOSH: Oh, that's a good idea. 844 00:37:44,090 --> 00:37:45,460 AUDIENCE: I like that, yeah. 845 00:37:45,460 --> 00:37:48,860 JOSH: So then it's-- gravity is working on the word, then. 846 00:37:48,860 --> 00:37:49,774 That could work. 847 00:37:49,774 --> 00:37:51,190 AUDIENCE: I really like that idea. 848 00:37:51,190 --> 00:37:52,250 JOSH: Yeah, yeah. 849 00:39:12,452 --> 00:39:13,910 And he tries to get out of the way. 850 00:39:18,780 --> 00:39:19,600 OK, great. 851 00:39:19,600 --> 00:39:22,100 So that covers the first paragraph for me. 852 00:39:22,100 --> 00:39:24,730 Are you guys-- do you think we're-- this is a good start? 853 00:39:31,950 --> 00:39:34,990 So let's start with the next sentence. 854 00:39:34,990 --> 00:39:36,630 Are you all set? 855 00:39:36,630 --> 00:39:38,600 OK. 856 00:39:38,600 --> 00:39:41,780 "The nifty thing about mass is that it doesn't necessarily 857 00:39:41,780 --> 00:39:45,160 have to do with size. 858 00:39:45,160 --> 00:39:49,300 Think of a big pile of rocks and a big pile of feathers. 859 00:39:49,300 --> 00:39:52,020 Both piles are the same size or volume. 860 00:39:52,020 --> 00:39:53,540 But it would take a lot more effort 861 00:39:53,540 --> 00:39:55,750 or force to move the pile of rocks 862 00:39:55,750 --> 00:39:57,900 than it would to move the pile of feathers. 863 00:39:57,900 --> 00:39:59,070 The reason? 864 00:39:59,070 --> 00:40:00,990 Rocks have more mass than feathers 865 00:40:00,990 --> 00:40:03,660 because they're more dense." 866 00:40:03,660 --> 00:40:05,780 All right, so how do we tackle this one? 867 00:40:08,400 --> 00:40:10,790 AUDIENCE: You could, like, camera this big mass 868 00:40:10,790 --> 00:40:12,990 thing and just [INAUDIBLE] into a bunch of rocks. 869 00:40:12,990 --> 00:40:14,210 JOSH: OK, cool. 870 00:40:14,210 --> 00:40:14,710 Maybe-- 871 00:40:14,710 --> 00:40:15,394 AUDIENCE: I don't know if you want 872 00:40:15,394 --> 00:40:17,508 to go away from the mass thing, but if you want to keep it, 873 00:40:17,508 --> 00:40:18,870 then just-- I don't know. 874 00:40:18,870 --> 00:40:21,900 JOSH: That's nice-- I like the idea of making it cohesive, 875 00:40:21,900 --> 00:40:25,290 like it's all-- it's all working together. 876 00:40:25,290 --> 00:40:27,380 So maybe the mass slides down the ramp 877 00:40:27,380 --> 00:40:31,270 and hits something and breaks apart into a pile of rocks. 878 00:40:31,270 --> 00:40:33,660 So there's a pile of rocks on one side of the screen. 879 00:40:36,570 --> 00:40:38,140 AUDIENCE: The birds. 880 00:40:38,140 --> 00:40:38,905 JOSH: What's that? 881 00:40:38,905 --> 00:40:41,530 AUDIENCE: And it hits the birds, and then you get the feathers. 882 00:40:41,530 --> 00:40:43,170 JOSH: Oh, that's a good idea. 883 00:40:43,170 --> 00:40:45,045 That's an interesting idea. 884 00:40:45,045 --> 00:40:47,647 AUDIENCE: And you have a pile of feathers and a pile of rocks. 885 00:40:47,647 --> 00:40:49,230 JOHN: Oh, so this character is a bird? 886 00:40:49,230 --> 00:40:50,042 AUDIENCE: Yeah. 887 00:40:50,042 --> 00:40:51,000 JOHN: I like that idea. 888 00:40:51,000 --> 00:40:51,666 AUDIENCE: Right? 889 00:40:51,666 --> 00:40:54,920 Now we've got organically our rocks and our feathers. 890 00:40:54,920 --> 00:40:57,192 JOSH: Yeah, so-- 891 00:40:57,192 --> 00:40:59,900 ELIZABETH: Oh, I have a clarification question. 892 00:40:59,900 --> 00:41:02,409 So, in the script, is it that the guy 893 00:41:02,409 --> 00:41:03,450 is running from the mass? 894 00:41:03,450 --> 00:41:06,750 Or should he push back on the mass when he starts to fall? 895 00:41:06,750 --> 00:41:09,390 Oh, I guess he's doing it on the first frame. 896 00:41:09,390 --> 00:41:10,640 JOSH: He's pushing against it. 897 00:41:10,640 --> 00:41:12,760 And then it starts-- then things tilt. 898 00:41:12,760 --> 00:41:14,100 And it starts to slide forward. 899 00:41:14,100 --> 00:41:15,766 AUDIENCE: And then he gives up because-- 900 00:41:15,766 --> 00:41:18,655 JOSH: Yeah, but is somebody suggesting 901 00:41:18,655 --> 00:41:20,840 that this guy's a bird? 902 00:41:20,840 --> 00:41:21,630 AUDIENCE: Yes. 903 00:41:21,630 --> 00:41:24,440 JOSH: OK, so how are we going to do this in a kind of fun, 904 00:41:24,440 --> 00:41:28,554 nonviolent way, that this bird, like-- 905 00:41:28,554 --> 00:41:30,470 AUDIENCE: Tell us that he had feathers, right? 906 00:41:30,470 --> 00:41:33,610 If we're not gonna kill a bird, like, there's pillows, right? 907 00:41:33,610 --> 00:41:34,110 JOSH: Yeah. 908 00:41:34,110 --> 00:41:37,470 AUDIENCE: How else could you get a big pile of feathers? 909 00:41:37,470 --> 00:41:39,970 JOSH: Well, I mean they could just sort of divinely appear, 910 00:41:39,970 --> 00:41:42,847 like they could just fall from the top of the screen. 911 00:41:42,847 --> 00:41:44,430 AUDIENCE: Someone could walk on screen 912 00:41:44,430 --> 00:41:48,382 with a wheelbarrow full of rock, dump it, and then carry 913 00:41:48,382 --> 00:41:51,260 on a bag of feathers that's about the same volume. 914 00:41:51,260 --> 00:41:54,230 JOSH: Yeah, yeah. 915 00:41:54,230 --> 00:41:57,210 And let me back up for a second, because let's think 916 00:41:57,210 --> 00:42:02,280 about this in terms of-- So this first scene-- obviously, 917 00:42:02,280 --> 00:42:04,160 we're talking about animation here. 918 00:42:04,160 --> 00:42:09,140 Like, we're not going to do this live action, right? 919 00:42:09,140 --> 00:42:13,090 But let's imagine that the next scene-- the second paragraph-- 920 00:42:13,090 --> 00:42:14,940 is live action. 921 00:42:14,940 --> 00:42:18,510 So then we're talking about more of like an idea like you have, 922 00:42:18,510 --> 00:42:22,410 where you have some actual people moving rocks around. 923 00:42:22,410 --> 00:42:27,990 And you have maybe somebody dumping out feathers. 924 00:42:27,990 --> 00:42:32,130 Is that what we want to do-- is kind of a combo here? 925 00:42:32,130 --> 00:42:33,220 I know I may be-- 926 00:42:33,220 --> 00:42:35,420 AUDIENCE: Well, maybe bringing it 927 00:42:35,420 --> 00:42:41,772 to [INAUDIBLE] the mass where it falls into his hand, 928 00:42:41,772 --> 00:42:42,960 crushes it. 929 00:42:42,960 --> 00:42:45,018 And he can see, maybe it's like he 930 00:42:45,018 --> 00:42:47,109 puts it ont he table and [INAUDIBLE]. 931 00:42:47,109 --> 00:42:49,400 JOSH: Oh, OK, so you're talking about a nice transition 932 00:42:49,400 --> 00:42:52,977 between-- that could be interesting. 933 00:42:52,977 --> 00:42:55,060 ELIZABETH: Or you could do overlay to transition-- 934 00:42:55,060 --> 00:42:55,850 AUDIENCE: Yeah, with the overlay. 935 00:42:55,850 --> 00:42:58,410 ELIZABETH: That person in the middle and the mass 936 00:42:58,410 --> 00:43:01,560 falls down next to him or her and creates a rock pile. 937 00:43:01,560 --> 00:43:02,290 And then-- 938 00:43:02,290 --> 00:43:03,870 JOSH: Yeah, so then we have a-- 939 00:43:03,870 --> 00:43:06,030 ELIZABETH: And then feathers pop up or something. 940 00:43:06,030 --> 00:43:09,140 JOSH: Yeah, so then we have a host at the-- throughout-- 941 00:43:09,140 --> 00:43:11,480 we start with a host, a talking head. 942 00:43:11,480 --> 00:43:13,760 And then we have the mass fall down beside him. 943 00:43:16,922 --> 00:43:18,630 You see how this gets complicated, right? 944 00:43:18,630 --> 00:43:20,463 There's lots of different ways to do things. 945 00:43:24,590 --> 00:43:29,410 Well, for the sake of simplicity, 946 00:43:29,410 --> 00:43:31,410 let's continue as if we're just going 947 00:43:31,410 --> 00:43:35,050 to animate this video, OK? 948 00:43:35,050 --> 00:43:36,580 Is that OK with you, Elizabeth? 949 00:43:36,580 --> 00:43:38,170 ELIZABETH: Oh, absolutely not. 950 00:43:38,170 --> 00:43:38,670 No. 951 00:43:38,670 --> 00:43:39,040 JOSH: OK. 952 00:43:39,040 --> 00:43:40,250 ELIZABETH: Of course it should be that way. 953 00:43:40,250 --> 00:43:42,833 JOSH: Just so that we-- you guys get the sense of the process. 954 00:43:42,833 --> 00:43:45,600 But you can already see that there are so many options. 955 00:43:45,600 --> 00:43:49,600 There's so many different ways to do things. 956 00:43:49,600 --> 00:43:51,175 OK, so back to our feathers. 957 00:43:54,310 --> 00:43:57,470 "The nifty thing mass is that it doesn't necessarily 958 00:43:57,470 --> 00:43:59,100 have to do with size." 959 00:43:59,100 --> 00:44:04,970 All right, so we've got this mass 960 00:44:04,970 --> 00:44:07,030 that's rolled down the hill. 961 00:44:07,030 --> 00:44:09,790 And I like the idea of hitting something and turning 962 00:44:09,790 --> 00:44:10,970 into a pile of rocks. 963 00:44:10,970 --> 00:44:12,583 Are we going to go with that idea? 964 00:44:12,583 --> 00:44:14,750 AUDIENCE: And maybe it goes off a cliff? 965 00:44:14,750 --> 00:44:16,930 JOSH: OK, yeah, it goes off a cliff. 966 00:44:16,930 --> 00:44:18,596 AUDIENCE: It could hit a pillow factory. 967 00:44:18,596 --> 00:44:19,346 You could have a-- 968 00:44:19,346 --> 00:44:20,915 JOSH: A pillow factory. 969 00:44:20,915 --> 00:44:24,240 [LAUGHTER] 970 00:44:24,240 --> 00:44:25,840 That's funny. 971 00:44:25,840 --> 00:44:26,940 Yeah, that's funny. 972 00:44:31,840 --> 00:44:33,450 All right, so here we have our cliff. 973 00:44:36,670 --> 00:44:40,350 And this action will cover the nifty thing about mass. 974 00:45:04,930 --> 00:45:07,800 And then, down in the valley-- or the canyon-- 975 00:45:07,800 --> 00:45:09,490 is the Acme Pillow Company? 976 00:45:12,944 --> 00:45:14,321 ELIZABETH: I've seen this video. 977 00:45:14,321 --> 00:45:17,284 So it's really interesting. 978 00:45:17,284 --> 00:45:19,769 Yeah, it's different, this one. 979 00:45:19,769 --> 00:45:21,757 I really like this one. 980 00:45:30,220 --> 00:45:31,720 JOSH: Pillows 'R' Us? 981 00:45:34,531 --> 00:45:35,031 That's 982 00:45:35,031 --> 00:45:35,614 AUDIENCE: Fun. 983 00:45:44,210 --> 00:45:46,720 JOSH: So we've got to do-- think of a big pile of rocks 984 00:45:46,720 --> 00:45:49,093 and a big pile of feathers. 985 00:45:49,093 --> 00:45:49,593 Boom! 986 00:45:58,251 --> 00:46:00,180 AUDIENCE: So then maybe we cut-- 987 00:46:00,180 --> 00:46:05,150 JOSH: Then we cut to a pile of rocks and a pile of feathers. 988 00:46:05,150 --> 00:46:07,750 So this is a jump cut to a close-up? 989 00:46:19,630 --> 00:46:21,610 AUDIENCE: Just imagine these piles. 990 00:46:31,020 --> 00:46:34,409 JOSH: "Both piles are the same size or volume. 991 00:46:34,409 --> 00:46:35,950 But it would take a lot more effort-- 992 00:46:35,950 --> 00:46:37,960 or force-- to move the pile of rocks 993 00:46:37,960 --> 00:46:41,580 than it would to move the pile of feathers." 994 00:46:41,580 --> 00:46:45,510 So maybe our protagonist, our little guy 995 00:46:45,510 --> 00:46:54,910 who was holding the mass thing, needs to come back in here. 996 00:46:54,910 --> 00:46:56,245 What should he do now? 997 00:46:56,245 --> 00:46:57,328 AUDIENCE: When [INAUDIBLE] 998 00:47:00,190 --> 00:47:02,020 JOSH: Yeah, we could do it that way. 999 00:47:02,020 --> 00:47:02,520 When is-- 1000 00:47:02,520 --> 00:47:04,103 AUDIENCE: Could he try to clean it up, 1001 00:47:04,103 --> 00:47:07,640 with a broom or something? 1002 00:47:07,640 --> 00:47:09,310 JOSH: Potentially, yeah. 1003 00:47:13,720 --> 00:47:16,080 Yeah. 1004 00:47:16,080 --> 00:47:20,254 Or maybe he-- well, any other ideas? 1005 00:47:20,254 --> 00:47:23,297 AUDIENCE: If you want, you could add this-- you could take away 1006 00:47:23,297 --> 00:47:25,124 with, like, a leafblower. 1007 00:47:25,124 --> 00:47:28,772 Something that just blows off and thunders off the screen. 1008 00:47:28,772 --> 00:47:29,480 ELIZABETH: Yeah-- 1009 00:47:29,480 --> 00:47:31,170 AUDIENCE: --blow the rocks. 1010 00:47:31,170 --> 00:47:34,270 JOSH: That could work, yeah. 1011 00:47:34,270 --> 00:47:36,022 AUDIENCE: By adding onto that, maybe he 1012 00:47:36,022 --> 00:47:38,094 tries to blow the rocks and nothing happens. 1013 00:47:38,094 --> 00:47:39,050 And he kicks it. 1014 00:47:39,050 --> 00:47:42,856 And he injures his own toe. 1015 00:47:42,856 --> 00:47:43,355 JOSH: Yeah. 1016 00:47:50,100 --> 00:47:52,220 So what do we have? 1017 00:47:52,220 --> 00:47:56,055 A leaf blower, we have a cleaning up scenario. 1018 00:48:04,010 --> 00:48:06,894 You want to try the leaf blower? 1019 00:48:06,894 --> 00:48:07,740 AUDIENCE: Sure. 1020 00:48:07,740 --> 00:48:10,070 JOSH: Or anything else? 1021 00:48:12,539 --> 00:48:14,080 JOHN: Is there any way we can connect 1022 00:48:14,080 --> 00:48:15,370 this with the beginning? 1023 00:48:15,370 --> 00:48:21,060 In the beginning, he's trying to move this word, "mass." 1024 00:48:21,060 --> 00:48:22,280 Is there anything there? 1025 00:48:22,280 --> 00:48:26,880 Is he, maybe, the janitor? 1026 00:48:26,880 --> 00:48:29,640 And this mass is in his way. 1027 00:48:29,640 --> 00:48:31,352 He doesn't like it there. 1028 00:48:31,352 --> 00:48:33,310 And then he's trying to do the same thing here. 1029 00:48:33,310 --> 00:48:34,726 He's trying to clean up this mess. 1030 00:48:36,985 --> 00:48:39,350 I don't know, just spitballing here. 1031 00:48:39,350 --> 00:48:41,600 Is there a way we can tie the two things together 1032 00:48:41,600 --> 00:48:42,747 is the question. 1033 00:48:42,747 --> 00:48:43,372 AUDIENCE: Yeah. 1034 00:48:46,348 --> 00:48:47,340 AUDIENCE: I don't know. 1035 00:48:47,340 --> 00:48:50,795 I was thinking that he's running-- because he's 1036 00:48:50,795 --> 00:48:51,920 running away from the mass. 1037 00:48:51,920 --> 00:48:54,565 So he runs along with the mass. 1038 00:48:54,565 --> 00:48:55,606 And he crashes and booms. 1039 00:48:55,606 --> 00:48:56,890 And he lands in the feathers. 1040 00:48:56,890 --> 00:48:58,642 He's like getting away from the feathers. 1041 00:48:58,642 --> 00:48:59,683 This clears the feathers. 1042 00:48:59,683 --> 00:49:03,410 Then he tries to get it off. 1043 00:49:03,410 --> 00:49:05,250 JOSH: That's interesting. 1044 00:49:05,250 --> 00:49:06,780 So it's what does it say here? 1045 00:49:06,780 --> 00:49:09,930 "Think of a big pile of rocks and big pile of feathers. 1046 00:49:09,930 --> 00:49:11,750 Both files are the same size or volume. 1047 00:49:11,750 --> 00:49:13,291 But it would take a lot more effort-- 1048 00:49:13,291 --> 00:49:14,810 or force-- to move the pile of rocks 1049 00:49:14,810 --> 00:49:18,290 than it would to move the pile of feathers." 1050 00:49:18,290 --> 00:49:20,250 So I think we're back to a scenario 1051 00:49:20,250 --> 00:49:22,540 where we need to have some sort of-- we need 1052 00:49:22,540 --> 00:49:23,805 to show force being exerted. 1053 00:49:27,590 --> 00:49:30,230 So "It would take a lot more effort-- 1054 00:49:30,230 --> 00:49:33,430 or force-- to move the pile of rocks." 1055 00:49:33,430 --> 00:49:37,490 So what sort of-- how can we show that? 1056 00:49:37,490 --> 00:49:39,310 We almost already showed it in a way. 1057 00:49:39,310 --> 00:49:41,018 AUDIENCE: Maybe a cleaning up crew trying 1058 00:49:41,018 --> 00:49:42,660 to move them off the frame? 1059 00:49:42,660 --> 00:49:44,820 JOSH: Yeah, or maybe just our character 1060 00:49:44,820 --> 00:49:47,440 trying to push this pile of rocks again. 1061 00:49:47,440 --> 00:49:49,210 It's like, oh man, not again. 1062 00:49:49,210 --> 00:49:50,864 I got to push something else. 1063 00:49:50,864 --> 00:49:53,072 AUDIENCE: I'm wondering if he should have a backpack, 1064 00:49:53,072 --> 00:49:56,300 so he could-- 1065 00:49:56,300 --> 00:49:57,717 JOSH: What's that? 1066 00:49:57,717 --> 00:50:00,050 AUDIENCE: We're heading towards having a student, right? 1067 00:50:00,050 --> 00:50:01,060 JOSH: Yeah, yeah. 1068 00:50:01,060 --> 00:50:02,830 AUDIENCE: So maybe he's our student. 1069 00:50:02,830 --> 00:50:03,750 JOSH: Right, right. 1070 00:50:03,750 --> 00:50:05,791 AUDIENCE: And that we identify with the beginning 1071 00:50:05,791 --> 00:50:08,310 as some thing that makes him obviously a student. 1072 00:50:08,310 --> 00:50:10,970 JOSH: He's on his way to school or something. 1073 00:50:10,970 --> 00:50:12,210 And this adventure happens. 1074 00:50:12,210 --> 00:50:13,834 AUDIENCE: A kid would obviously, like-- 1075 00:50:13,834 --> 00:50:15,130 JOSH: Yeah, yeah. 1076 00:50:15,130 --> 00:50:17,009 And the audience is kids. 1077 00:50:17,009 --> 00:50:18,050 This is middle schoolers. 1078 00:50:20,760 --> 00:50:23,610 So we could add a note to that first scene, 1079 00:50:23,610 --> 00:50:25,015 like, kid with backpack. 1080 00:50:41,800 --> 00:50:46,000 So we agree that-- so this kid is 1081 00:50:46,000 --> 00:50:48,470 going to try to move these rocks in some way? 1082 00:50:48,470 --> 00:50:52,099 He's trying to push them or gets his back up against them 1083 00:50:52,099 --> 00:50:53,640 and tries to get them out of the way? 1084 00:50:56,520 --> 00:50:59,400 AUDIENCE: I like the idea of there's a clean-up crew. 1085 00:50:59,400 --> 00:51:01,080 So there could be two different kinds 1086 00:51:01,080 --> 00:51:04,490 of [INAUDIBLE] on the right. 1087 00:51:04,490 --> 00:51:06,180 Here are the feathers. 1088 00:51:06,180 --> 00:51:08,735 Or someone sweeping-- one of them. 1089 00:51:08,735 --> 00:51:11,810 And the rocks would be just like this construction truck-- beep, 1090 00:51:11,810 --> 00:51:12,420 beep, beep. 1091 00:51:12,420 --> 00:51:14,200 Then he comes in and picks it up. 1092 00:51:14,200 --> 00:51:15,400 JOSH: Yeah. 1093 00:51:15,400 --> 00:51:19,750 Does that really show the notion of differing amounts 1094 00:51:19,750 --> 00:51:23,082 of force being required? 1095 00:51:23,082 --> 00:51:25,046 AUDIENCE: That's a good question. 1096 00:51:25,046 --> 00:51:26,519 AUDIENCE: Maybe less likely. 1097 00:51:26,519 --> 00:51:29,310 AUDIENCE: Yeah. 1098 00:51:29,310 --> 00:51:31,999 JOHN: Maybe you use the heavy machinery to move the rocks. 1099 00:51:31,999 --> 00:51:33,790 And then we just move our little character. 1100 00:51:33,790 --> 00:51:37,060 And he can move the feathers. 1101 00:51:37,060 --> 00:51:39,280 JOSH: Yeah, that could work. 1102 00:51:39,280 --> 00:51:41,350 Like, a big backhoe has to move the rocks. 1103 00:51:41,350 --> 00:51:46,000 But the character is able to just 1104 00:51:46,000 --> 00:51:48,569 either blow on the feathers or move them out 1105 00:51:48,569 --> 00:51:49,610 of the way really easily. 1106 00:51:59,410 --> 00:52:01,860 JOHN: Can you see a little berm here? 1107 00:52:01,860 --> 00:52:04,080 JOSH: OK, yeah, that's nice. 1108 00:52:06,950 --> 00:52:07,835 That work? 1109 00:52:07,835 --> 00:52:10,030 Does that "sell it," as we say? 1110 00:52:17,250 --> 00:52:21,760 So we need to show that the-- do we 1111 00:52:21,760 --> 00:52:24,374 need to show the backhoe first? 1112 00:52:24,374 --> 00:52:25,790 "It would take a lot more effort-- 1113 00:52:25,790 --> 00:52:27,710 or force-- to move the pile of rocks." 1114 00:52:27,710 --> 00:52:30,270 And then we have another shot-- "than it would 1115 00:52:30,270 --> 00:52:44,240 to move the pile of feathers." 1116 00:52:44,240 --> 00:52:47,452 We see the rocks gone in the next scene. 1117 00:52:47,452 --> 00:52:49,450 JOHN: Right here they're gone? 1118 00:52:49,450 --> 00:52:49,950 JOSH: Yeah. 1119 00:53:39,102 --> 00:53:41,018 So he gets through-- so the feathers are gone. 1120 00:53:54,000 --> 00:53:57,580 And then we've got another line here. 1121 00:53:57,580 --> 00:54:01,290 "The reason rocks have more mass than feathers 1122 00:54:01,290 --> 00:54:10,756 because they're more dense." 1123 00:54:10,756 --> 00:54:14,364 AUDIENCE: Maybe you could, like, have a scale with, like, 1124 00:54:14,364 --> 00:54:15,676 the backhoe with rocks on it. 1125 00:54:15,676 --> 00:54:19,120 And you've got feathers on it or something. 1126 00:54:19,120 --> 00:54:22,110 [INAUDIBLE] 1127 00:54:22,110 --> 00:54:23,200 JOSH: Is it-- yeah. 1128 00:54:23,200 --> 00:54:26,780 AUDIENCE: That's why I was, like, it's not a type of scale. 1129 00:54:26,780 --> 00:54:29,014 JOSH: Right, right. 1130 00:54:29,014 --> 00:54:31,430 I'm not a scientist-- and you guys can help me with this-- 1131 00:54:31,430 --> 00:54:36,720 but does density really equate to weight? 1132 00:54:36,720 --> 00:54:38,790 If we just show them on a scale, does that really 1133 00:54:38,790 --> 00:54:41,372 show that one is more dense than the other? 1134 00:54:41,372 --> 00:54:42,538 AUDIENCE: Yeah, I guess not. 1135 00:54:46,400 --> 00:54:48,320 AUDIENCE: I mean, it's indirect. 1136 00:54:48,320 --> 00:54:51,656 So maybe a better way would be to address density 1137 00:54:51,656 --> 00:54:52,930 more directly? 1138 00:54:52,930 --> 00:54:53,430 JOSH: Yeah. 1139 00:54:58,010 --> 00:55:02,840 Could we do something, like-- just very simple, 1140 00:55:02,840 --> 00:55:09,580 where we just-- the character extends two hands. 1141 00:55:09,580 --> 00:55:10,730 In one hand is a rock. 1142 00:55:10,730 --> 00:55:12,600 And in the other is a feather. 1143 00:55:12,600 --> 00:55:19,690 And we just-- and we put the words more 1144 00:55:19,690 --> 00:55:23,070 dense above the hand with the rock in it 1145 00:55:23,070 --> 00:55:26,030 or something like that? 1146 00:55:26,030 --> 00:55:32,431 How do you visually say something is more dense? 1147 00:55:32,431 --> 00:55:33,930 Like, how do you show that visually? 1148 00:55:33,930 --> 00:55:35,346 AUDIENCE: The tractor, or whatever 1149 00:55:35,346 --> 00:55:39,010 that heavy machine was, it could be throwing the rocks off 1150 00:55:39,010 --> 00:55:39,731 into the ocean. 1151 00:55:39,731 --> 00:55:41,204 And you see the rocks sinking. 1152 00:55:41,204 --> 00:55:44,641 And then the feathers are just floating in the air, maybe just 1153 00:55:44,641 --> 00:55:46,605 landing on the surface. 1154 00:55:46,605 --> 00:55:48,112 JOSH: That's an interesting idea. 1155 00:55:48,112 --> 00:55:49,570 AUDIENCE: It definitely shows that. 1156 00:55:49,570 --> 00:55:52,215 And I'm not sure how familiar the kids will 1157 00:55:52,215 --> 00:55:54,312 be with the concept of density. 1158 00:55:57,010 --> 00:55:59,826 But having the water-- sinking, floating, 1159 00:55:59,826 --> 00:56:02,814 maybe-- makes the point a bit better. 1160 00:56:05,330 --> 00:56:09,515 AUDIENCE: You already introduced volume. 1161 00:56:09,515 --> 00:56:11,506 So I feel like to introduce density 1162 00:56:11,506 --> 00:56:14,784 wouldn't really be doing, like, what 1163 00:56:14,784 --> 00:56:15,992 came before, which is volume. 1164 00:56:15,992 --> 00:56:17,533 I don't think it would do it justice. 1165 00:56:17,533 --> 00:56:20,210 Because density is volume and mass. 1166 00:56:20,210 --> 00:56:24,790 So if you're able to have volume and then go to mass after that, 1167 00:56:24,790 --> 00:56:27,380 I think that's where they'd connect, 1168 00:56:27,380 --> 00:56:29,280 that the mass could be different even 1169 00:56:29,280 --> 00:56:31,280 though the volume is the same. 1170 00:56:31,280 --> 00:56:35,232 And you would still have different densities. 1171 00:56:35,232 --> 00:56:36,660 ELIZABETH: I mean, the other thing 1172 00:56:36,660 --> 00:56:38,730 is that the video isn't really about density. 1173 00:56:38,730 --> 00:56:42,041 The video is about mass and acceleration. 1174 00:56:42,041 --> 00:56:42,540 JOSH: Yeah. 1175 00:56:42,540 --> 00:56:44,436 ELIZABETH: So it may not even be-- 1176 00:56:44,436 --> 00:56:46,665 and, like, this is sacrilege-- but it may not even 1177 00:56:46,665 --> 00:56:48,610 be that important to really define 1178 00:56:48,610 --> 00:56:50,970 what density is in this particular video, which 1179 00:56:50,970 --> 00:56:54,240 is why maybe it's OK to say one's more 1180 00:56:54,240 --> 00:56:55,700 dense than the other. 1181 00:56:55,700 --> 00:56:58,060 It's like, a couple minute video? 1182 00:56:58,060 --> 00:56:59,791 JOSH: Yeah. 1183 00:56:59,791 --> 00:57:01,290 ELIZABETH: The point is really about 1184 00:57:01,290 --> 00:57:05,220 how things that have more mass require more force. 1185 00:57:05,220 --> 00:57:06,960 If you start going into density, I'm 1186 00:57:06,960 --> 00:57:09,240 afraid that people would also want 1187 00:57:09,240 --> 00:57:12,850 to talk about what the difference between weight 1188 00:57:12,850 --> 00:57:13,820 and mass are, too. 1189 00:57:13,820 --> 00:57:15,610 JOSH: Yeah, true. 1190 00:57:15,610 --> 00:57:17,960 ELIZABETH: So again, it's like, at what point are you 1191 00:57:17,960 --> 00:57:20,633 branching off too much from the point of the video 1192 00:57:20,633 --> 00:57:22,600 and the main point of the story? 1193 00:57:22,600 --> 00:57:24,100 JOSH: That's a good point, yeah. 1194 00:57:29,200 --> 00:57:33,470 Well, "The reason rocks have more mass than feathers 1195 00:57:33,470 --> 00:57:36,480 because they're more dense." 1196 00:57:36,480 --> 00:57:40,300 Yeah, so maybe-- I don't remember 1197 00:57:40,300 --> 00:57:42,965 what we did in the video we actually ended up producing. 1198 00:57:48,310 --> 00:57:52,800 I think I would go with the hand displaying the two things 1199 00:57:52,800 --> 00:57:56,560 and think about how they're essentially the same size. 1200 00:57:56,560 --> 00:58:01,730 But one is very light and one is this rock. 1201 00:58:01,730 --> 00:58:02,745 It's dense. 1202 00:58:02,745 --> 00:58:07,180 ELIZABETH: Can you-- is it possible to zoom in 1203 00:58:07,180 --> 00:58:08,430 on the rock? 1204 00:58:08,430 --> 00:58:11,675 Because density is really that there's more stuff per space, 1205 00:58:11,675 --> 00:58:12,990 right? 1206 00:58:12,990 --> 00:58:15,810 So somehow have the rock bulge a little bit 1207 00:58:15,810 --> 00:58:18,130 to show that frame is like stuffed 1208 00:58:18,130 --> 00:58:19,890 with as much stuff as possible. 1209 00:58:19,890 --> 00:58:20,390 JOSH: Yeah. 1210 00:58:20,390 --> 00:58:24,176 ELIZABETH: And then show the feathers 1211 00:58:24,176 --> 00:58:28,370 and show like a lot more air and space in between the feathers. 1212 00:58:28,370 --> 00:58:30,460 And you can still put the label "more dense." 1213 00:58:30,460 --> 00:58:33,200 But maybe there'd be some sort of visual cue associated 1214 00:58:33,200 --> 00:58:34,345 with that as well. 1215 00:58:34,345 --> 00:58:35,345 JOSH: Yeah, potentially. 1216 00:58:39,840 --> 00:58:42,025 This is a toughie. 1217 00:58:42,025 --> 00:58:44,150 JOHN: So you're saying, maybe, we cut to a new shot 1218 00:58:44,150 --> 00:58:47,440 where we see a rock and a feather side by side? 1219 00:58:47,440 --> 00:58:50,000 And then maybe we see like, a view 1220 00:58:50,000 --> 00:58:52,279 of each one under a microscope? 1221 00:58:52,279 --> 00:58:53,820 ELIZABETH: Almost, but again, I don't 1222 00:58:53,820 --> 00:58:56,285 know if that's distracting too much from the main point 1223 00:58:56,285 --> 00:58:59,450 of the story. 1224 00:58:59,450 --> 00:59:03,060 JOSH: Well, I like that idea-- the microscope image. 1225 00:59:03,060 --> 00:59:05,450 Like, we show like the crystalline structure 1226 00:59:05,450 --> 00:59:10,501 of the rock is really, it's like a lot of stuff packed in there. 1227 00:59:10,501 --> 00:59:11,974 AUDIENCE: What if he was poking? 1228 00:59:11,974 --> 00:59:16,393 So you can't poke a rock but maybe he takes out a pencil 1229 00:59:16,393 --> 00:59:18,848 and pokes through the feather. 1230 00:59:18,848 --> 00:59:20,321 We can do that [INAUDIBLE] 1231 00:59:23,267 --> 00:59:25,722 AUDIENCE: I think it's too complicated 1232 00:59:25,722 --> 00:59:29,190 to go with this concept. 1233 00:59:29,190 --> 00:59:31,111 Like, I don't know. 1234 00:59:31,111 --> 00:59:36,675 The word "dense," like, I don't think we have to-- I 1235 00:59:36,675 --> 00:59:39,460 don't know if we have to explain that right now. 1236 00:59:39,460 --> 00:59:43,000 JOSH: Yeah, well, let's think of another strategy here. 1237 00:59:43,000 --> 00:59:46,710 How necessary do you think this line is in the script? 1238 00:59:46,710 --> 00:59:50,000 I mean, is it vital to the script itself, I mean, 1239 00:59:50,000 --> 00:59:51,733 to the whole story? 1240 00:59:51,733 --> 00:59:53,300 I don't know, I haven't given you 1241 00:59:53,300 --> 00:59:55,080 guys a chance to read the whole thing. 1242 00:59:55,080 --> 00:59:57,770 But maybe this is one of those moments 1243 00:59:57,770 --> 00:59:59,280 where we take this line out. 1244 00:59:59,280 --> 01:00:04,500 And we end the paragraph with moving the feathers. 1245 01:00:04,500 --> 01:00:06,220 AUDIENCE: Well, it's far easier. 1246 01:00:06,220 --> 01:00:08,160 JOSH: Yeah, it is easier. 1247 01:00:08,160 --> 01:00:10,470 And it might be one of those moments 1248 01:00:10,470 --> 01:00:15,532 where this line is a distraction from the-- I think that's where 1249 01:00:15,532 --> 01:00:16,990 we're struggling right now. 1250 01:00:16,990 --> 01:00:18,620 JOSH: Yeah, yeah. 1251 01:00:18,620 --> 01:00:22,380 So let's say, OK, we're going to remove this line for now. 1252 01:00:22,380 --> 01:00:27,600 And some client is gonna come to you 1253 01:00:27,600 --> 01:00:29,750 and say, well, why did you guys take that line out? 1254 01:00:29,750 --> 01:00:30,900 We really need that. 1255 01:00:30,900 --> 01:00:33,200 And then you have to argue for that. 1256 01:00:33,200 --> 01:00:35,310 That's all part of the process, right? 1257 01:00:35,310 --> 01:00:38,650 Like, well, we talked about this for about an hour. 1258 01:00:38,650 --> 01:00:41,220 And we realized that this wasn't really 1259 01:00:41,220 --> 01:00:42,687 important to the process. 1260 01:00:42,687 --> 01:00:43,520 You know, and that-- 1261 01:00:43,520 --> 01:00:45,186 AUDIENCE: How often do you feel like you 1262 01:00:45,186 --> 01:00:47,400 have to, like, you have an artistic vision of what 1263 01:00:47,400 --> 01:00:49,221 direction it should go? 1264 01:00:49,221 --> 01:00:50,470 JOSH: It happens all the time. 1265 01:00:50,470 --> 01:00:50,840 Yeah, 1266 01:00:50,840 --> 01:00:52,000 AUDIENCE: And then you have to comment? 1267 01:00:52,000 --> 01:00:53,580 JOSH: In my professional opinion-- 1268 01:00:53,580 --> 01:00:55,430 and that's when I have to sort of fake 1269 01:00:55,430 --> 01:01:01,820 this professional persona-- we don't think you 1270 01:01:01,820 --> 01:01:04,100 should have this line in the script. 1271 01:01:04,100 --> 01:01:07,980 And in retrospect, this line is in the video we-- 1272 01:01:07,980 --> 01:01:10,530 but we didn't have 15 people to talk about it with. 1273 01:01:10,530 --> 01:01:12,690 We only had four. 1274 01:01:12,690 --> 01:01:16,140 ELIZABETH: But do you see how-- like, are people OK with taking 1275 01:01:16,140 --> 01:01:17,280 that line out now? 1276 01:01:17,280 --> 01:01:19,546 Like, you see why maybe that's a good choice? 1277 01:01:19,546 --> 01:01:22,180 Would you have reacted that positively 1278 01:01:22,180 --> 01:01:25,945 to the idea of taking this out maybe five days ago, before we 1279 01:01:25,945 --> 01:01:27,315 had gone through this class? 1280 01:01:27,315 --> 01:01:28,822 Because I feel that is the reaction 1281 01:01:28,822 --> 01:01:29,780 of a lot of scientists. 1282 01:01:29,780 --> 01:01:31,529 Like, wait, wait, wait-- this is accurate, 1283 01:01:31,529 --> 01:01:34,120 but it's not precise, like you were just talking about. 1284 01:01:34,120 --> 01:01:36,120 You have to talk about density. 1285 01:01:36,120 --> 01:01:37,760 And that's sort of-- I mean, I want 1286 01:01:37,760 --> 01:01:40,760 to tie this back to the work that you guys are doing now. 1287 01:01:40,760 --> 01:01:42,855 You guys see how this process is really 1288 01:01:42,855 --> 01:01:47,060 making you examine what is truly necessary 1289 01:01:47,060 --> 01:01:48,780 and what isn't to the project. 1290 01:01:48,780 --> 01:01:51,150 Because this is going to happen to your scripts, too. 1291 01:01:51,150 --> 01:01:52,691 You're gonna sit down and storyboard. 1292 01:01:52,691 --> 01:01:55,080 And you're gonna rack your brain over one sentence 1293 01:01:55,080 --> 01:01:57,460 that you can't think of an appropriate visual for. 1294 01:01:57,460 --> 01:02:00,180 And maybe that's a key for you to reconsider whether or not 1295 01:02:00,180 --> 01:02:02,530 that part is truly vital. 1296 01:02:02,530 --> 01:02:05,060 But you are not forced to do that until you think 1297 01:02:05,060 --> 01:02:06,960 about things like storyboarding and think 1298 01:02:06,960 --> 01:02:10,380 about things like an overall narrative to your video. 1299 01:02:10,380 --> 01:02:13,980 Because otherwise you're going to do what most scientists do. 1300 01:02:13,980 --> 01:02:18,886 And I-- I mean, I say this as a former amateur would. 1301 01:02:18,886 --> 01:02:22,150 But the tendency is to just throw as much information 1302 01:02:22,150 --> 01:02:24,860 out there to cover your grounds, right? 1303 01:02:24,860 --> 01:02:26,770 JOSH: Yeah, and I think-- if I remember 1304 01:02:26,770 --> 01:02:30,960 correctly-- this script was a lot more complicated. 1305 01:02:30,960 --> 01:02:33,990 We received a kind of rough script from the client. 1306 01:02:33,990 --> 01:02:37,680 And I had to edit it down and get it into something 1307 01:02:37,680 --> 01:02:40,310 that worked for the medium. 1308 01:02:43,950 --> 01:02:46,260 And we had some discussions about well, 1309 01:02:46,260 --> 01:02:47,870 like, why can't we say that? 1310 01:02:47,870 --> 01:02:51,490 I mean, exactly what you're talking about happened. 1311 01:02:51,490 --> 01:02:54,205 And I think that this one just sort of slipped through. 1312 01:02:54,205 --> 01:02:55,080 This one got through. 1313 01:02:55,080 --> 01:02:56,890 And, in retrospect, maybe we shouldn't 1314 01:02:56,890 --> 01:03:00,280 have produced that line. 1315 01:03:00,280 --> 01:03:03,040 But I love that we're thinking about this. 1316 01:03:03,040 --> 01:03:06,090 I think this is a really cool-- this is a really important part 1317 01:03:06,090 --> 01:03:07,100 of the process. 1318 01:03:07,100 --> 01:03:08,975 AUDIENCE: This goes back to the core concept. 1319 01:03:08,975 --> 01:03:11,480 I mean, the core, number one thing is know your audience. 1320 01:03:11,480 --> 01:03:13,940 Think about your audience. 1321 01:03:13,940 --> 01:03:15,710 I was actually earlier today helping 1322 01:03:15,710 --> 01:03:18,590 one of my graduate fellows apply for the master's 1323 01:03:18,590 --> 01:03:21,600 in journalism program here. 1324 01:03:21,600 --> 01:03:25,748 And she has to write a 500-word piece on a science topic. 1325 01:03:25,748 --> 01:03:30,510 And she was trying her hardest to consolidate an experiment. 1326 01:03:30,510 --> 01:03:32,440 And she was trying to think about what 1327 01:03:32,440 --> 01:03:34,600 the lay audience cares about. 1328 01:03:34,600 --> 01:03:36,445 And it was so hard for her. 1329 01:03:36,445 --> 01:03:39,965 And she distilled it down to two and a half sentences. 1330 01:03:39,965 --> 01:03:44,080 But I told her even that was too much for a New York Times 1331 01:03:44,080 --> 01:03:47,550 piece, that no one cares about which mice were chosen and why 1332 01:03:47,550 --> 01:03:48,495 for this experiment. 1333 01:03:48,495 --> 01:03:52,912 And then-- that this is the crux of, like, what I think 1334 01:03:52,912 --> 01:03:54,220 is one of the hardest things. 1335 01:03:54,220 --> 01:03:54,740 JOSH: Right. 1336 01:03:54,740 --> 01:03:57,640 And there was-- I think on Monday we heard this phrase, 1337 01:03:57,640 --> 01:03:59,120 "kill your darlings." 1338 01:03:59,120 --> 01:04:00,260 There's that-- 1339 01:04:00,260 --> 01:04:02,550 AUDIENCE: And that'll come back [INAUDIBLE]. 1340 01:04:02,550 --> 01:04:03,930 It's my favorite. 1341 01:04:03,930 --> 01:04:08,890 JOSH: Yeah, exactly. 1342 01:04:08,890 --> 01:04:11,510 And I think, in retrospect, introducing 1343 01:04:11,510 --> 01:04:15,450 the notion of density into this is a real distraction. 1344 01:04:15,450 --> 01:04:17,520 It's not what this is about. 1345 01:04:17,520 --> 01:04:20,220 So yeah, I would say let's strike 1346 01:04:20,220 --> 01:04:24,670 that line-- that we have the luxury of doing that. 1347 01:04:24,670 --> 01:04:29,370 So I want to stop there with our portion of it. 1348 01:04:29,370 --> 01:04:32,520 And then kind of let you guys break up into groups 1349 01:04:32,520 --> 01:04:35,750 and do maybe the next two paragraphs. 1350 01:04:35,750 --> 01:04:37,300 If you make it further, that's fine. 1351 01:04:39,870 --> 01:04:43,530 And then we'll walk around and to you about your ideas. 1352 01:04:43,530 --> 01:04:46,020 But-- so how many of us are there? 1353 01:04:46,020 --> 01:04:47,140 1-2-- there's seven? 1354 01:04:47,140 --> 01:04:48,830 ELIZABETH: There are eight. 1355 01:04:48,830 --> 01:04:49,380 JOSH: Eight? 1356 01:04:49,380 --> 01:04:52,255 OK, so that is nice-- two groups of four. 1357 01:04:56,284 --> 01:04:58,200 Yeah, I'll let you divide up however you want. 1358 01:04:58,200 --> 01:05:00,658 If you just want to go with you four over here and then you 1359 01:05:00,658 --> 01:05:01,920 four over here is fine. 1360 01:05:04,450 --> 01:05:10,820 You guys from this-- are you guys, I would say not all three 1361 01:05:10,820 --> 01:05:13,820 of you guys together because you know each other and all that. 1362 01:05:16,530 --> 01:05:18,720 But yeah, that's let's get started with that. 1363 01:05:18,720 --> 01:05:20,326 ELIZABETH: And if you guys need to take a break to go 1364 01:05:20,326 --> 01:05:22,551 to the bathroom, this is a wonderful opportunity to do 1365 01:05:22,551 --> 01:05:23,150 that since we're-- 1366 01:05:23,150 --> 01:05:24,191 JOSH: That's a good idea. 1367 01:05:24,191 --> 01:05:24,740 Yeah, yeah. 1368 01:05:24,740 --> 01:05:26,510 Let's take a break before you start. 1369 01:05:26,510 --> 01:05:27,887 Thank you. 1370 01:05:27,887 --> 01:05:29,720 AUDIENCE: --the student just standing there. 1371 01:05:29,720 --> 01:05:33,160 So you could have a teacher come in. 1372 01:05:33,160 --> 01:05:34,260 AUDIENCE: Second teacher-- 1373 01:05:34,260 --> 01:05:34,885 AUDIENCE: Yeah. 1374 01:05:34,885 --> 01:05:38,390 And I guess they sit down and it's like-- 1375 01:05:38,390 --> 01:05:40,740 JOSH: You could actually use Elizabeth and me. 1376 01:05:40,740 --> 01:05:41,634 That would be-- 1377 01:05:41,634 --> 01:05:43,842 AUDIENCE: -gotten behind a word that you're like, oh, 1378 01:05:43,842 --> 01:05:45,649 that's why we use that word, right? 1379 01:05:45,649 --> 01:05:46,190 I don't know. 1380 01:05:46,190 --> 01:05:47,982 AUDIENCE: They sort of like blow up. 1381 01:05:47,982 --> 01:05:49,190 AUDIENCE: There were people-- 1382 01:05:49,190 --> 01:05:50,940 AUDIENCE: --stuff them inside their shirt. 1383 01:05:50,940 --> 01:05:52,186 And now they're really big. 1384 01:05:52,186 --> 01:05:53,852 JOSH: These people write a press release 1385 01:05:53,852 --> 01:05:57,570 about a product that hasn't been invented yet. 1386 01:05:57,570 --> 01:06:00,740 So what do you guys got? 1387 01:06:00,740 --> 01:06:01,660 Is this thing on? 1388 01:06:01,660 --> 01:06:03,950 Sorry. 1389 01:06:03,950 --> 01:06:06,110 Hot mic. 1390 01:06:06,110 --> 01:06:07,280 All right. 1391 01:06:07,280 --> 01:06:09,863 AUDIENCE: So we've, for the third paragraph-- 1392 01:06:09,863 --> 01:06:14,470 what it takes to show how-- "Picture 1393 01:06:14,470 --> 01:06:15,638 a student and a teacher." 1394 01:06:15,638 --> 01:06:18,128 So we have a student and a teacher. 1395 01:06:18,128 --> 01:06:20,120 So the student is like, really happy. 1396 01:06:20,120 --> 01:06:21,614 And then the teacher is like-- 1397 01:06:21,614 --> 01:06:23,606 [MAKING A FROWNING FACE] 1398 01:06:23,606 --> 01:06:26,096 Plus he has to do this exercise with you, 1399 01:06:26,096 --> 01:06:29,090 I guess probably to find [INAUDIBLE] 1400 01:06:29,090 --> 01:06:30,740 And then he zooms out. 1401 01:06:30,740 --> 01:06:32,490 And you see him there, sitting on a chair. 1402 01:06:32,490 --> 01:06:34,965 So then you show this shot with him sitting on a chair. 1403 01:06:34,965 --> 01:06:36,945 And I haven't drawn the last one here, 1404 01:06:36,945 --> 01:06:38,803 but, it's supposed to show from, like, 1405 01:06:38,803 --> 01:06:45,082 the corner angle where you see the student being very small. 1406 01:06:45,082 --> 01:06:48,463 And then the teacher will be, like, massive 1407 01:06:48,463 --> 01:06:50,340 to show the difference in this. 1408 01:06:50,340 --> 01:06:52,080 JOSH: So you do the classic thing 1409 01:06:52,080 --> 01:06:57,110 where you have an above shot for the student and a-- 1410 01:06:57,110 --> 01:07:00,930 from the bottom for the teacher. 1411 01:07:00,930 --> 01:07:01,624 AUDIENCE: Yeah. 1412 01:07:01,624 --> 01:07:03,290 JOSH: And they're sitting in the chairs. 1413 01:07:03,290 --> 01:07:03,930 AUDIENCE: Yes. 1414 01:07:03,930 --> 01:07:04,657 JOSH: OK, cool. 1415 01:07:04,657 --> 01:07:06,990 AUDIENCE: I guess that stopped with the third paragraph. 1416 01:07:06,990 --> 01:07:07,990 JOSH: Yeah, I mean that's enough. 1417 01:07:07,990 --> 01:07:10,261 I mean it sounds like you guys went further than that. 1418 01:07:10,261 --> 01:07:12,010 AUDIENCE: Yeah, we went further than that. 1419 01:07:12,010 --> 01:07:14,160 JOSH: OK, go ahead and share it. 1420 01:07:14,160 --> 01:07:17,645 I'd be curious to see. 1421 01:07:17,645 --> 01:07:23,910 AUDIENCE: Where are my-- Ah! 1422 01:07:23,910 --> 01:07:26,260 So then he-- so he just pushes him off. 1423 01:07:26,260 --> 01:07:29,020 I guess he wants a little bit of comical-- 1424 01:07:29,020 --> 01:07:30,730 so you can see from the side. 1425 01:07:30,730 --> 01:07:34,448 But because he does rolling chairs with this and things, 1426 01:07:34,448 --> 01:07:37,801 so the kid will go "whee." 1427 01:07:37,801 --> 01:07:40,200 Now there's physical distance. 1428 01:07:40,200 --> 01:07:43,275 But there's this little line they put over 1429 01:07:43,275 --> 01:07:46,380 to show there's a difference between [INAUDIBLE]. 1430 01:07:46,380 --> 01:07:48,110 JOSH: OK, cool. 1431 01:07:48,110 --> 01:07:49,370 I like where that's going. 1432 01:07:49,370 --> 01:07:50,078 That sounds cool. 1433 01:07:50,078 --> 01:07:53,450 Did you guys have any thoughts or feelings about the process, 1434 01:07:53,450 --> 01:07:55,490 like-- does this give you a sense of what it's 1435 01:07:55,490 --> 01:07:57,320 really like to do this stuff and have 1436 01:07:57,320 --> 01:08:02,494 to run these scenarios through your brain and visualize them? 1437 01:08:02,494 --> 01:08:04,430 AUDIENCE: I think, like, the big thing 1438 01:08:04,430 --> 01:08:07,818 we found was you have this text but, like, knowing 1439 01:08:07,818 --> 01:08:09,270 how to read it. 1440 01:08:09,270 --> 01:08:13,626 So like, we just-- with that first student teacher-- 1441 01:08:13,626 --> 01:08:16,970 we read it like, "picture a student and teacher." 1442 01:08:16,970 --> 01:08:19,484 Like that's just-- if we have a frame of a student 1443 01:08:19,484 --> 01:08:21,525 [INAUDIBLE] a teacher, that would slow that down. 1444 01:08:21,525 --> 01:08:23,260 So we had to be like, picture a student. 1445 01:08:23,260 --> 01:08:25,050 Now picture a teacher. 1446 01:08:25,050 --> 01:08:26,180 JOSH: Right, right. 1447 01:08:26,180 --> 01:08:28,550 So you're thinking about directorial sort of things, 1448 01:08:28,550 --> 01:08:32,090 like how you're going to-- how the voiceover is going 1449 01:08:32,090 --> 01:08:36,010 to change as a result of these visual decisions you're making. 1450 01:08:36,010 --> 01:08:37,700 Yeah, that's cool. 1451 01:08:37,700 --> 01:08:40,640 You guys? 1452 01:08:40,640 --> 01:08:44,756 It sounded like there was less of a hum going on over here. 1453 01:08:44,756 --> 01:08:47,130 Did you guys-- what do you have for that third paragraph? 1454 01:08:50,978 --> 01:08:55,469 AUDIENCE G: Well, basically we have 1455 01:08:55,469 --> 01:08:58,960 the kid that's standing there from the last part, you know, 1456 01:08:58,960 --> 01:09:02,115 where the feathers have been swept away. 1457 01:09:02,115 --> 01:09:05,029 And the teacher walks up with two rolling chairs. 1458 01:09:05,029 --> 01:09:06,598 JOSH: OK, cool. 1459 01:09:06,598 --> 01:09:08,270 AUDIENCE G: They sit down. 1460 01:09:08,270 --> 01:09:09,770 There's a poof of smoke. 1461 01:09:09,770 --> 01:09:12,020 And that's where it transitions to live action. 1462 01:09:12,020 --> 01:09:13,140 JOSH: OK, I like that. 1463 01:09:13,140 --> 01:09:15,778 That's a cool idea. 1464 01:09:15,778 --> 01:09:17,925 AUDIENCE H: And the teacher grows also. 1465 01:09:17,925 --> 01:09:19,950 That's how we're sure she's massive. 1466 01:09:19,950 --> 01:09:21,399 JOSH: Oh, the teacher grows. 1467 01:09:21,399 --> 01:09:25,026 In live-- How are you going to grow the teacher? 1468 01:09:25,026 --> 01:09:26,609 AUDIENCE H: We stuff her with pillows. 1469 01:09:26,609 --> 01:09:28,899 JOSH: Oh, that's funny. 1470 01:09:28,899 --> 01:09:35,403 So, like, maybe a stop action, where you take a frame. 1471 01:09:35,403 --> 01:09:37,069 And then you put one more pillow in her. 1472 01:09:37,069 --> 01:09:38,279 You take another frame. 1473 01:09:38,279 --> 01:09:42,640 And you get like-- and then you do between frames. 1474 01:09:42,640 --> 01:09:45,060 And you've got, like, maybe 30 or 60 frames 1475 01:09:45,060 --> 01:09:49,170 of the student-- of this teacher getting bigger and bigger. 1476 01:09:49,170 --> 01:09:50,830 That could be really funny. 1477 01:09:50,830 --> 01:09:52,509 Good idea. 1478 01:09:52,509 --> 01:09:53,800 Any thoughts about the process? 1479 01:09:58,291 --> 01:10:01,783 ELIZABETH: What was the hardest part? 1480 01:10:01,783 --> 01:10:02,283 [INAUDIBLE]? 1481 01:10:06,280 --> 01:10:10,160 AUDIENCE H: How to make it visually engaging, I guess. 1482 01:10:10,160 --> 01:10:14,592 So have enough interesting shots but not too much. 1483 01:10:14,592 --> 01:10:15,300 JOSH: Yeah, true. 1484 01:10:15,300 --> 01:10:16,930 It's like that fine line, right? 1485 01:10:16,930 --> 01:10:19,170 You don't want to overdo it. 1486 01:10:19,170 --> 01:10:21,520 You want to-- it really, really boils 1487 01:10:21,520 --> 01:10:24,810 down to this kind of empathy for the viewer, 1488 01:10:24,810 --> 01:10:28,450 for their ability to understand things. 1489 01:10:28,450 --> 01:10:33,810 And maintaining this balance between your desire 1490 01:10:33,810 --> 01:10:39,060 to have them engaged and their need to understand-- 1491 01:10:39,060 --> 01:10:42,582 and kind of threading that line. 1492 01:10:42,582 --> 01:10:44,665 ELIZABETH: We'll talk about this a little bit more 1493 01:10:44,665 --> 01:10:46,004 during our editing lecture. 1494 01:10:46,004 --> 01:10:47,587 And Chris will talk about it tomorrow. 1495 01:10:47,587 --> 01:10:49,778 But visual pacing is another thing 1496 01:10:49,778 --> 01:10:51,483 that storyboarding can show you. 1497 01:10:51,483 --> 01:10:54,405 So again, I'm not, like, balancing between the sides. 1498 01:10:54,405 --> 01:10:58,340 If you have so many shots that are just changing too quickly, 1499 01:10:58,340 --> 01:11:01,715 then that can be a very nauseating experience 1500 01:11:01,715 --> 01:11:02,340 for the viewer. 1501 01:11:02,340 --> 01:11:05,090 And I'm gonna show you guys a rough cut of one of the videos 1502 01:11:05,090 --> 01:11:06,840 that we made where that happened. 1503 01:11:06,840 --> 01:11:08,568 And it just felt too rapid. 1504 01:11:08,568 --> 01:11:11,780 So we slowed it down. 1505 01:11:11,780 --> 01:11:15,910 JOSH: OK, yeah, that's really good point. 1506 01:11:15,910 --> 01:11:17,990 Two last really small things. 1507 01:11:17,990 --> 01:11:19,750 We didn't get to talk about After Effects. 1508 01:11:19,750 --> 01:11:21,880 But it's essentially a piece of software 1509 01:11:21,880 --> 01:11:25,120 that lets you layer video and artwork on top 1510 01:11:25,120 --> 01:11:29,150 of each other in time. 1511 01:11:29,150 --> 01:11:32,821 And I'm sure Elizabeth will talk a little bit about it. 1512 01:11:32,821 --> 01:11:34,320 But if you want to email me, and you 1513 01:11:34,320 --> 01:11:36,280 have a specific thing you want to animate, 1514 01:11:36,280 --> 01:11:39,200 and you want some advice about how to do it, feel free. 1515 01:11:39,200 --> 01:11:41,920 You can come by the studio and say hey, I've got this problem. 1516 01:11:41,920 --> 01:11:43,410 How would I animate this? 1517 01:11:43,410 --> 01:11:45,300 We can give you some tips about how 1518 01:11:45,300 --> 01:11:47,279 you would go about doing it. 1519 01:11:47,279 --> 01:11:49,940 ELIZABETH: And just so you guys know, again, you 1520 01:11:49,940 --> 01:11:51,271 have free access to Lynda. 1521 01:11:51,271 --> 01:11:55,762 But there's a computer lab next to 26100, the new media center. 1522 01:11:55,762 --> 01:11:59,255 And all the Macs are outfitted with FinalCutPro, 1523 01:11:59,255 --> 01:12:02,748 After Effects, the entire Adobe creative suite. 1524 01:12:02,748 --> 01:12:04,744 And you guys have access to it anytime. 1525 01:12:04,744 --> 01:12:07,239 So if you're interested in playing with that software, 1526 01:12:07,239 --> 01:12:10,233 or going on a media experience, let me know. 1527 01:12:10,233 --> 01:12:13,709 AUDIENCE: Is After Effects different from IS&T? 1528 01:12:13,709 --> 01:12:15,375 ELIZABETH: It is if you're installing it 1529 01:12:15,375 --> 01:12:18,675 on a machine at MIT homes. 1530 01:12:18,675 --> 01:12:21,645 I can ask about maybe getting a license for you guys 1531 01:12:21,645 --> 01:12:22,635 just for this class. 1532 01:12:22,635 --> 01:12:25,120 AUDIENCE: You can also just sign up on Adobe 1533 01:12:25,120 --> 01:12:29,050 and get a month's free trial of all the Adobe Creative Suite 1534 01:12:29,050 --> 01:12:29,550 things. 1535 01:12:29,550 --> 01:12:31,133 So you can just sign up with any email 1536 01:12:31,133 --> 01:12:32,962 and download the program suite. 1537 01:12:35,710 --> 01:12:38,060 JOSH: And then the last thing I wanted 1538 01:12:38,060 --> 01:12:41,480 to do is to show you the video that we actually ended up 1539 01:12:41,480 --> 01:12:43,210 producing for this script. 1540 01:12:43,210 --> 01:12:55,800 So here we go. 1541 01:12:58,610 --> 01:12:59,610 [VIDEO PLAYBACK] 1542 01:12:59,610 --> 01:13:01,490 -Mass a measure of an object's ability 1543 01:13:01,490 --> 01:13:04,350 to resist being accelerated by a force. 1544 01:13:04,350 --> 01:13:06,930 That means the more massive an object is, 1545 01:13:06,930 --> 01:13:10,470 the harder it is to make it move if it's at rest 1546 01:13:10,470 --> 01:13:13,580 or to stop it if it's moving. 1547 01:13:13,580 --> 01:13:16,650 The nifty thing about mass is that doesn't necessarily 1548 01:13:16,650 --> 01:13:18,840 have to do with size. 1549 01:13:18,840 --> 01:13:22,770 Think of a big pile of rocks and a big pile of feathers. 1550 01:13:22,770 --> 01:13:25,550 Both piles are the same size, or volume. 1551 01:13:25,550 --> 01:13:27,330 But it would take a lot more effort-- 1552 01:13:27,330 --> 01:13:29,720 or force-- to move the pile of rocks 1553 01:13:29,720 --> 01:13:32,170 than it would to move the pile of feathers. 1554 01:13:32,170 --> 01:13:33,150 The reason? 1555 01:13:33,150 --> 01:13:35,160 Rocks have more mass than feathers 1556 01:13:35,160 --> 01:13:37,120 because they're more dense. 1557 01:13:37,120 --> 01:13:39,220 To show how it's harder to accelerate something 1558 01:13:39,220 --> 01:13:42,940 with more mass, picture a student and a teacher each 1559 01:13:42,940 --> 01:13:46,410 sitting at rest in a rolling chair facing each other. 1560 01:13:46,410 --> 01:13:50,100 Let's also say the teacher is more massive than the student. 1561 01:13:50,100 --> 01:13:51,650 When they both push off each other, 1562 01:13:51,650 --> 01:13:53,800 they go rolling backwards. 1563 01:13:53,800 --> 01:13:56,670 Notice how the student goes back much farther 1564 01:13:56,670 --> 01:13:59,130 and faster than the teacher. 1565 01:13:59,130 --> 01:14:02,800 The teacher accelerates less, since she is the more massive 1566 01:14:02,800 --> 01:14:04,190 of the two objects. 1567 01:14:04,190 --> 01:14:06,740 And it takes more force to accelerate her 1568 01:14:06,740 --> 01:14:08,510 than it does the student. 1569 01:14:08,510 --> 01:14:11,580 All of this has to do with Newton's Second Law of Motion-- 1570 01:14:11,580 --> 01:14:13,600 f equals ma. 1571 01:14:13,600 --> 01:14:17,780 It says, for a set acceleration, an object with more mass 1572 01:14:17,780 --> 01:14:20,400 requires more force to get it moving 1573 01:14:20,400 --> 01:14:22,680 at that set acceleration. 1574 01:14:22,680 --> 01:14:25,160 As mass increases, the force required 1575 01:14:25,160 --> 01:14:30,930 to accelerate or decelerate that mass increases as well. 1576 01:14:30,930 --> 01:14:33,070 Now don't you feel massively smarter? 1577 01:14:33,070 --> 01:14:35,000 -Mm-hmm. 1578 01:14:35,000 --> 01:14:35,500 Whoa! 1579 01:14:38,037 --> 01:14:38,620 [END PLAYBACK] 1580 01:14:38,620 --> 01:14:41,870 JOSH: All right, so that's what we ended up doing. 1581 01:14:41,870 --> 01:14:45,280 So you can see how the timing allowed 1582 01:14:45,280 --> 01:14:48,340 us to sort of cheat a few lines, like the density line. 1583 01:14:48,340 --> 01:14:51,570 We just sort of let it play through. 1584 01:14:51,570 --> 01:14:53,380 So there's some moments here where 1585 01:14:53,380 --> 01:14:56,570 you're allowing the viewer to take in what's going on. 1586 01:14:56,570 --> 01:15:00,100 There's not constant action going on, you'll notice. 1587 01:15:00,100 --> 01:15:03,890 But the action is at key moments where 1588 01:15:03,890 --> 01:15:09,900 we need to keep things-- This is so abstract. 1589 01:15:09,900 --> 01:15:13,060 But again, there are no right answers. 1590 01:15:13,060 --> 01:15:16,140 But there some-- if you do it long enough, 1591 01:15:16,140 --> 01:15:18,440 you'll sort of start to get a sense of what decisions 1592 01:15:18,440 --> 01:15:19,900 to make. 1593 01:15:19,900 --> 01:15:20,660 Yeah, question. 1594 01:15:20,660 --> 01:15:22,970 AUDIENCE: How long did that video take start to finish? 1595 01:15:22,970 --> 01:15:25,750 Like, from storyboarding. 1596 01:15:25,750 --> 01:15:28,460 JOSH: I would say, John, you can help me remember all this. 1597 01:15:28,460 --> 01:15:32,630 But you know, the script was maybe a couple days, revisions 1598 01:15:32,630 --> 01:15:33,420 and so forth. 1599 01:15:33,420 --> 01:15:38,650 And then we probably sat down for at least four 1600 01:15:38,650 --> 01:15:42,720 to six hours-- almost a whole day-- storyboarding it, 1601 01:15:42,720 --> 01:15:43,310 every scene. 1602 01:15:43,310 --> 01:15:46,846 It was a complex thing. 1603 01:15:46,846 --> 01:15:48,350 We're not physicists. 1604 01:15:48,350 --> 01:15:50,750 So we had to understand this stuff. 1605 01:15:50,750 --> 01:15:53,610 We had to do some background research. 1606 01:15:53,610 --> 01:15:56,930 About a day storyboarding, and then 1607 01:15:56,930 --> 01:16:00,840 about a total of three people doing 1608 01:16:00,840 --> 01:16:02,925 the animation and illustration. 1609 01:16:05,710 --> 01:16:07,490 And that took maybe three weeks. 1610 01:16:07,490 --> 01:16:12,163 So I'd say about a month to do the whole thing. 1611 01:16:12,163 --> 01:16:14,204 ELIZABETH: Real quick, because you guys are going 1612 01:16:14,204 --> 01:16:16,120 to stay on for another class? 1613 01:16:16,120 --> 01:16:17,340 JOSH: Sure, I can do that. 1614 01:16:17,340 --> 01:16:18,290 ELIZABETH: I mean, if you need to go, that's fine. 1615 01:16:18,290 --> 01:16:18,956 JOSH: That's OK. 1616 01:16:18,956 --> 01:16:19,990 We can hang out. 1617 01:16:24,180 --> 01:16:25,986 JOSH: So thanks guys, thanks for listening. 1618 01:16:25,986 --> 01:16:26,819 AUDIENCE: Thank you. 1619 01:16:26,819 --> 01:16:30,596 [APPLAUSE] 1620 01:16:30,596 --> 01:16:33,130 JOSH: Josh gave you guys all his info. 1621 01:16:33,130 --> 01:16:35,104 JOSH: Yeah, feel free to get in touch. 1622 01:16:35,104 --> 01:16:36,520 ELIZABETH: For today's assignment, 1623 01:16:36,520 --> 01:16:38,540 you guys will be storyboarding one scene 1624 01:16:38,540 --> 01:16:42,490 from your script, which is why it'll 1625 01:16:42,490 --> 01:16:45,070 be a good idea to have some semblance of a script together. 1626 01:16:45,070 --> 01:16:47,319 I know that you're still revising all that stuff, too, 1627 01:16:47,319 --> 01:16:51,110 which is why we're only having you storyboard one scene. 1628 01:16:51,110 --> 01:16:56,372 And then tomorrow, Chris will help you shoot that scene. 1629 01:16:56,372 --> 01:16:58,830 So as far as the storyboard goes, you can use these sheets, 1630 01:16:58,830 --> 01:17:01,740 you can use PowerPoint, you can use note cards. 1631 01:17:01,740 --> 01:17:05,520 But just upload them as images onto Tumblr. 1632 01:17:05,520 --> 01:17:08,220 And then all the assignment details are on the syllabus. 1633 01:17:08,220 --> 01:17:10,880 I wanted to mention-- this was something 1634 01:17:10,880 --> 01:17:14,200 that I was going to show you guys during the editing 1635 01:17:14,200 --> 01:17:15,246 portion. 1636 01:17:15,246 --> 01:17:22,610 But you can actually storyboard in post-production 1637 01:17:22,610 --> 01:17:24,270 after you've shot things. 1638 01:17:24,270 --> 01:17:30,000 So this was an episode on snot that I'd filmed with George. 1639 01:17:30,000 --> 01:17:33,270 And basically, after we got all of the raw footage 1640 01:17:33,270 --> 01:17:35,420 from the first takes, these are sort 1641 01:17:35,420 --> 01:17:39,540 of like stills from each major scene of the video. 1642 01:17:39,540 --> 01:17:46,910 There was a portion where I did a demo of this, like, fake snot 1643 01:17:46,910 --> 01:17:47,780 that I made. 1644 01:17:47,780 --> 01:17:50,540 But I had filmed it in Katharina Ribbeck's lab 1645 01:17:50,540 --> 01:17:52,497 and the sun had set. 1646 01:17:52,497 --> 01:17:53,705 And my delivery was terrible. 1647 01:17:53,705 --> 01:17:56,570 I was super tired that night. 1648 01:17:56,570 --> 01:17:59,160 So there were a couple things that jumped out to us 1649 01:17:59,160 --> 01:18:01,090 after we watched everything. 1650 01:18:01,090 --> 01:18:03,620 One being that I am lit very dramatically. 1651 01:18:03,620 --> 01:18:07,650 And I wanted to have more of a casual feel to my parts. 1652 01:18:07,650 --> 01:18:10,070 And I felt like we should only dramatically 1653 01:18:10,070 --> 01:18:13,040 light Katharina Ribbeck. 1654 01:18:13,040 --> 01:18:15,710 The other was that-- I thought, well, how 1655 01:18:15,710 --> 01:18:17,710 bad was that decision really? 1656 01:18:17,710 --> 01:18:19,660 Like, is it really worth shooting again? 1657 01:18:19,660 --> 01:18:22,210 So we shot it again because we had the time. 1658 01:18:22,210 --> 01:18:23,720 And then it was a matter of deciding 1659 01:18:23,720 --> 01:18:26,020 which set of footage to use. 1660 01:18:26,020 --> 01:18:29,220 So what we're doing right now is we just 1661 01:18:29,220 --> 01:18:31,955 put together a cut of the video using both clips. 1662 01:18:31,955 --> 01:18:33,330 But another thing that you can do 1663 01:18:33,330 --> 01:18:35,450 is storyboard the stills from the footage 1664 01:18:35,450 --> 01:18:36,870 that you take day of. 1665 01:18:36,870 --> 01:18:39,980 So here I can see how that scene looks 1666 01:18:39,980 --> 01:18:41,990 in the context of everything else we shot. 1667 01:18:41,990 --> 01:18:45,710 So I see that, like, I'm wearing a lot of blue. 1668 01:18:45,710 --> 01:18:48,040 The whole video looks fairly blue. 1669 01:18:48,040 --> 01:18:55,120 I look a lot more like Katharina Ribbeck in this set of footage 1670 01:18:55,120 --> 01:18:56,997 than I do the rest of me, right? 1671 01:18:56,997 --> 01:18:58,830 Like the way I'm lit in all the other scenes 1672 01:18:58,830 --> 01:19:02,630 is really different from this. 1673 01:19:02,630 --> 01:19:05,210 So that's what the re-shot footage looks like. 1674 01:19:05,210 --> 01:19:07,110 One-- the snot demo went a lot better 1675 01:19:07,110 --> 01:19:08,540 the second time we did it. 1676 01:19:08,540 --> 01:19:11,050 My delivery was also a lot better. 1677 01:19:11,050 --> 01:19:14,410 But I'm also lit a lot more flat. 1678 01:19:14,410 --> 01:19:17,400 I actually think that the footage 1679 01:19:17,400 --> 01:19:20,450 that we had before-- it looks a lot better, like the lighting 1680 01:19:20,450 --> 01:19:21,990 is a lot more flattering. 1681 01:19:21,990 --> 01:19:24,700 But it's a lot more formal and traditional. 1682 01:19:24,700 --> 01:19:27,550 And it's hard to know how much that jumps out 1683 01:19:27,550 --> 01:19:29,400 in the context of the rest of your video 1684 01:19:29,400 --> 01:19:30,860 until you line up all these stills 1685 01:19:30,860 --> 01:19:33,039 and you sort of storyboard this way. 1686 01:19:33,039 --> 01:19:34,830 So we haven't actually finished this video. 1687 01:19:34,830 --> 01:19:36,540 I'm in the process right now. 1688 01:19:36,540 --> 01:19:39,320 Like, this is exactly where I am with this video. 1689 01:19:39,320 --> 01:19:41,060 I thought I would show it to you today 1690 01:19:41,060 --> 01:19:42,893 since we've been talking about storyboarding 1691 01:19:42,893 --> 01:19:44,570 to show how you can do it not just 1692 01:19:44,570 --> 01:19:47,580 in pre-production, but also after you've shot material. 1693 01:19:50,910 --> 01:19:54,419 So we have about 20 minutes left in class. 1694 01:19:54,419 --> 01:19:56,210 I thought that it would be good to give you 1695 01:19:56,210 --> 01:19:59,350 guys a chance to get started on storyboarding your scene 1696 01:19:59,350 --> 01:20:01,770 while we're around. 1697 01:20:01,770 --> 01:20:03,830 So if you guys have questions, I'll 1698 01:20:03,830 --> 01:20:07,121 be here until the end of class and a little bit later. 1699 01:20:07,121 --> 01:20:10,170 You can ask Josh as long as he's around. 1700 01:20:10,170 --> 01:20:14,380 But does anyone have any questions right now 1701 01:20:14,380 --> 01:20:19,250 about what they need to do tonight, 1702 01:20:19,250 --> 01:20:21,360 about storyboarding, writing? 1703 01:20:21,360 --> 01:20:26,298 JOSH: How are your scripts, like, what shape are they in? 1704 01:20:26,298 --> 01:20:27,741 Are you happy with them? 1705 01:20:27,741 --> 01:20:29,190 Do they still need more work? 1706 01:20:29,190 --> 01:20:31,148 ELIZABETH: Yeah, we can also talk about scripts 1707 01:20:31,148 --> 01:20:34,070 right now, too, because take advantage of Josh's background 1708 01:20:34,070 --> 01:20:35,929 in writing as well. 1709 01:20:35,929 --> 01:20:37,220 JOSH: How long are the scripts? 1710 01:20:37,220 --> 01:20:40,490 What are you shooting for, three minutes, two minutes? 1711 01:20:40,490 --> 01:20:42,360 ELIZABETH: Like three to four minutes. 1712 01:20:42,360 --> 01:20:44,850 Five is the absolute max. 1713 01:20:44,850 --> 01:20:48,798 JOSH: We do 150 words per minute. 1714 01:20:48,798 --> 01:20:51,715 I don't know if that's something you guys have already 1715 01:20:51,715 --> 01:20:52,256 talked about. 1716 01:20:57,196 --> 01:20:58,678 AUDIENCE: How much is one scene? 1717 01:20:58,678 --> 01:21:00,160 So what does that entail? 1718 01:21:03,470 --> 01:21:08,780 ELIZABETH: Well, I think of scenes as sort of locations 1719 01:21:08,780 --> 01:21:09,900 almost. 1720 01:21:09,900 --> 01:21:28,600 And so let me go back to-- sorry, my lap-- bye, Jamie. 1721 01:21:33,979 --> 01:21:39,950 A scene kind of encompasses a general statement. 1722 01:21:39,950 --> 01:21:44,120 So that the way I broke up the storyboard 1723 01:21:44,120 --> 01:21:47,810 is I basically just did stills of each scene. 1724 01:21:47,810 --> 01:21:50,270 You can kind of consider the whole top row 1725 01:21:50,270 --> 01:21:52,260 as, like, a general scene, one which is 1726 01:21:52,260 --> 01:21:53,610 how I originally scripted it. 1727 01:21:53,610 --> 01:21:56,090 It was just sort of like the visual introduction 1728 01:21:56,090 --> 01:22:00,430 to the video. 1729 01:22:00,430 --> 01:22:02,380 But breaking it up into scenes is nice, 1730 01:22:02,380 --> 01:22:05,930 because then you'll notice if one scene has a lot of text. 1731 01:22:05,930 --> 01:22:08,980 And then you have a scene right afterwards that's very short. 1732 01:22:08,980 --> 01:22:11,550 And you just have a series of really quick scenes. 1733 01:22:11,550 --> 01:22:14,540 Maybe you can think about restructuring or spreading 1734 01:22:14,540 --> 01:22:17,280 out the material a little bit more. 1735 01:22:17,280 --> 01:22:19,120 Because, like I said, what you don't want 1736 01:22:19,120 --> 01:22:23,970 is either really long shots or really long scenes 1737 01:22:23,970 --> 01:22:25,770 where you're not really changing that much, 1738 01:22:25,770 --> 01:22:30,090 or if you're doing too many, really quick changes. 1739 01:22:30,090 --> 01:22:31,040 But I don't know. 1740 01:22:31,040 --> 01:22:34,401 I don't have a good definition for what a scene technically 1741 01:22:34,401 --> 01:22:34,900 is. 1742 01:22:36,985 --> 01:22:38,693 JOSH: It's kind of a unit of information. 1743 01:22:41,328 --> 01:22:44,316 When I think about writing, I think about paragraphs. 1744 01:22:44,316 --> 01:22:47,802 This is kind of a discrete unit that's 1745 01:22:47,802 --> 01:22:50,590 imparting a certain part of the narrative. 1746 01:22:50,590 --> 01:22:53,540 And that's-- for me, that's a scene. 1747 01:22:53,540 --> 01:22:55,920 ELIZABETH: Yeah. 1748 01:22:55,920 --> 01:22:59,440 I think the way I'd scripted it, those four shots 1749 01:22:59,440 --> 01:23:00,660 are all different locations. 1750 01:23:00,660 --> 01:23:03,870 But I listed it as scene one. 1751 01:23:03,870 --> 01:23:06,460 Like, where you see Professor Ribbeck 1752 01:23:06,460 --> 01:23:08,940 and then I'm right there in front of her, 1753 01:23:08,940 --> 01:23:11,000 I also chunk that together as one scene. 1754 01:23:11,000 --> 01:23:12,880 But then, when we were editing and sort 1755 01:23:12,880 --> 01:23:16,010 of taking note of all the clips, we 1756 01:23:16,010 --> 01:23:19,080 denoted one as like scene five and then the one 1757 01:23:19,080 --> 01:23:22,410 after as scene five A. But, in general, 1758 01:23:22,410 --> 01:23:23,760 like it's the same sort of idea. 1759 01:23:23,760 --> 01:23:25,834 We're in her lab in that portion. 1760 01:23:28,696 --> 01:23:30,510 Does anyone have any other questions? 1761 01:23:30,510 --> 01:23:33,498 AUDIENCE: What was, like, the motivation in using professor 1762 01:23:33,498 --> 01:23:35,220 to-- 1763 01:23:35,220 --> 01:23:36,880 ELIZABETH: So, in this particular one, 1764 01:23:36,880 --> 01:23:39,210 I wanted to highlight the research that 1765 01:23:39,210 --> 01:23:40,930 was going on here. 1766 01:23:40,930 --> 01:23:44,890 And I also wanted to get her involved because I knew her. 1767 01:23:44,890 --> 01:23:47,880 And I really like her. 1768 01:23:47,880 --> 01:23:50,560 And it was sort of like a quirky breaking 1769 01:23:50,560 --> 01:23:51,780 down the fourth wall moment. 1770 01:23:51,780 --> 01:23:54,690 So what happens in this scene is-- 1771 01:23:54,690 --> 01:23:57,390 I set it up in the previous scene as saying snot 1772 01:23:57,390 --> 01:23:58,930 is more than just this. 1773 01:23:58,930 --> 01:24:00,090 And then it jumps to her. 1774 01:24:00,090 --> 01:24:01,380 And she finishes my sentence. 1775 01:24:01,380 --> 01:24:04,160 And she goes, it's actually xyz. 1776 01:24:04,160 --> 01:24:05,670 And then it cuts to a wider shot, 1777 01:24:05,670 --> 01:24:08,450 revealing that I'm in front of her, interviewing. 1778 01:24:08,450 --> 01:24:10,420 And you see the camera interviewing her. 1779 01:24:10,420 --> 01:24:10,740 And I'm, like-- 1780 01:24:10,740 --> 01:24:11,160 [GESTURING TOWARDS PROFESSOR] 1781 01:24:11,160 --> 01:24:12,409 And then I go, she would know. 1782 01:24:12,409 --> 01:24:14,600 And then her name sort of pops up. 1783 01:24:14,600 --> 01:24:17,420 Partially because we wanted to have her in the video, 1784 01:24:17,420 --> 01:24:20,410 but we didn't want it to be really formal. 1785 01:24:20,410 --> 01:24:23,449 Because that shot is a very traditional formal interview. 1786 01:24:23,449 --> 01:24:24,740 So we wanted to make it quirky. 1787 01:24:24,740 --> 01:24:27,610 And we also wanted to sort of like informalize it. 1788 01:24:27,610 --> 01:24:30,500 So that's why we broke out of that. 1789 01:24:30,500 --> 01:24:32,630 And I did the whole like, she would now. 1790 01:24:32,630 --> 01:24:36,234 And then we could make that setup a little more fun. 1791 01:24:36,234 --> 01:24:41,211 AUDIENCE: How do you think about the authority of the host, 1792 01:24:41,211 --> 01:24:41,710 right? 1793 01:24:41,710 --> 01:24:45,162 Because you can say things that are easily verifiable. 1794 01:24:45,162 --> 01:24:46,870 But then if you're going to say something 1795 01:24:46,870 --> 01:24:50,310 about snot that, like, most people don't know, then 1796 01:24:50,310 --> 01:24:52,820 on whose authority do you say this? 1797 01:24:52,820 --> 01:24:54,780 I've watched like an Alton Brown thing. 1798 01:24:54,780 --> 01:24:57,720 And I was like, all right, that's wrong. 1799 01:24:57,720 --> 01:24:59,840 And like, but you are talking about all the things 1800 01:24:59,840 --> 01:25:00,860 I want to know. 1801 01:25:00,860 --> 01:25:02,880 And now I don't know when you're lying to me. 1802 01:25:02,880 --> 01:25:05,175 ELIZABETH: Yeah, well, I mean, part of it is, 1803 01:25:05,175 --> 01:25:08,130 that's the responsibility that you have as the host, 1804 01:25:08,130 --> 01:25:10,150 is that the viewer has, by default, 1805 01:25:10,150 --> 01:25:11,760 placed their trust in you. 1806 01:25:11,760 --> 01:25:14,610 I think with us, we're not going to have as much 1807 01:25:14,610 --> 01:25:17,100 of a problem to prove because everyone knows that all 1808 01:25:17,100 --> 01:25:19,090 the hosts are students at MIT. 1809 01:25:19,090 --> 01:25:20,820 And in our YouTube descriptions, we 1810 01:25:20,820 --> 01:25:22,960 say that all the scripts were fact-checked 1811 01:25:22,960 --> 01:25:25,930 by postdoc researchers. 1812 01:25:25,930 --> 01:25:28,160 For this, I mean, that was one of the reasons 1813 01:25:28,160 --> 01:25:31,250 why we used her is because I could explain her research. 1814 01:25:31,250 --> 01:25:34,100 Or I could just have her say it, which 1815 01:25:34,100 --> 01:25:36,760 I thought was like a cooler window into the world 1816 01:25:36,760 --> 01:25:39,120 here, which is what I was talking on the first day. 1817 01:25:39,120 --> 01:25:40,911 How do you create the window into the world 1818 01:25:40,911 --> 01:25:43,830 that people don't have access to? 1819 01:25:43,830 --> 01:25:46,570 I also studied bioengineering for my undergrad. 1820 01:25:46,570 --> 01:25:48,700 So all the material for the script 1821 01:25:48,700 --> 01:25:52,860 came from the class I took from Professor Ribbeck. 1822 01:25:52,860 --> 01:25:58,480 But I think you don't take the time in your video to introduce 1823 01:25:58,480 --> 01:25:59,820 yourself necessarily. 1824 01:25:59,820 --> 01:26:01,180 And maybe you should. 1825 01:26:01,180 --> 01:26:03,217 That's always something we've considered, 1826 01:26:03,217 --> 01:26:05,550 is that something that we need to introduce into Science 1827 01:26:05,550 --> 01:26:06,500 Out Loud. 1828 01:26:06,500 --> 01:26:08,990 The host saying at the beginning, like, I'm Jack 1829 01:26:08,990 --> 01:26:14,642 and I work at MIT's D-lab. 1830 01:26:14,642 --> 01:26:16,850 And that's sort of what we did with Lindsey's episode 1831 01:26:16,850 --> 01:26:19,240 just a tiny bit. 1832 01:26:19,240 --> 01:26:22,820 But there are ways of establishing authority 1833 01:26:22,820 --> 01:26:24,580 where you don't have to vocally do it. 1834 01:26:24,580 --> 01:26:28,290 So in Lindsey's episode, we filmed at MIT is D-lab. 1835 01:26:28,290 --> 01:26:31,510 And instead of saying, like, we're at MIT's D-lab, 1836 01:26:31,510 --> 01:26:35,600 we just spent a few seconds doing shots of the sign that 1837 01:26:35,600 --> 01:26:37,650 said D-lab, basically. 1838 01:26:37,650 --> 01:26:42,084 If you guys want to see it, I can show you later. 1839 01:26:42,084 --> 01:26:43,750 But I don't have a good answer for that, 1840 01:26:43,750 --> 01:26:46,640 because I think that, even if you're Stephen Hawking, 1841 01:26:46,640 --> 01:26:49,560 people can question your authority to say 1842 01:26:49,560 --> 01:26:50,610 the things you're saying. 1843 01:26:50,610 --> 01:26:53,210 And the point of the video isn't necessarily 1844 01:26:53,210 --> 01:26:57,060 to establish that-- or at least the point of these videos. 1845 01:26:59,760 --> 01:27:02,484 Your material should be accurate, though. 1846 01:27:02,484 --> 01:27:04,974 AUDIENCE: You showed us the next slide, right? 1847 01:27:04,974 --> 01:27:07,464 And you have this [INAUDIBLE]? 1848 01:27:07,464 --> 01:27:09,810 ELIZABETH: Oh, yeah. 1849 01:27:09,810 --> 01:27:13,230 So George made me wear the goggles, 1850 01:27:13,230 --> 01:27:15,770 partially because I think he was trying to torture me. 1851 01:27:15,770 --> 01:27:21,990 But there are some environmental health safety standards. 1852 01:27:21,990 --> 01:27:23,630 And since we were technically in a lab, 1853 01:27:23,630 --> 01:27:25,850 even though I wasn't working with anything 1854 01:27:25,850 --> 01:27:30,520 biohazard related, the lab itself required goggles. 1855 01:27:30,520 --> 01:27:33,440 So that's why I wore gloves and a lab coat and goggles. 1856 01:27:33,440 --> 01:27:37,060 If you guys plan on filming in any sort of environment 1857 01:27:37,060 --> 01:27:39,480 where that might be an issue, we'll talk about it 1858 01:27:39,480 --> 01:27:40,480 more during producing. 1859 01:27:40,480 --> 01:27:43,640 But just keep that in mind, too. 1860 01:27:43,640 --> 01:27:47,540 We took shots of me with and without the goggles, 1861 01:27:47,540 --> 01:27:48,520 just in case. 1862 01:27:52,930 --> 01:27:53,910 Any other questions? 1863 01:27:58,330 --> 01:28:02,900 OK, so I'll let you guys work. 1864 01:28:02,900 --> 01:28:05,220 And we'll just sort of circulate through 1865 01:28:05,220 --> 01:28:07,840 and see if you need any help. 1866 01:28:07,840 --> 01:28:10,140 But again, I just wanted to give you 1867 01:28:10,140 --> 01:28:15,660 some time to make the most of the resources here.