1 00:00:00,040 --> 00:00:02,410 The following content is provided under a Creative 2 00:00:02,410 --> 00:00:03,790 Commons license. 3 00:00:03,790 --> 00:00:06,030 Your support will help MIT OpenCourseWare 4 00:00:06,030 --> 00:00:10,100 continue to offer high quality educational resources for free. 5 00:00:10,100 --> 00:00:12,680 To make a donation or to view additional materials 6 00:00:12,680 --> 00:00:16,426 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:16,426 --> 00:00:17,050 at ocw.mit.edu. 8 00:00:25,504 --> 00:00:26,920 GUEST SPEAKER: So I'm going to try 9 00:00:26,920 --> 00:00:28,461 to run through things pretty quickly, 10 00:00:28,461 --> 00:00:33,740 and if you don't have any sort of video experience or still 11 00:00:33,740 --> 00:00:37,070 photography experience, a lot of this will sound foreign to you. 12 00:00:37,070 --> 00:00:39,360 If you do, some of it will be very familiar. 13 00:00:39,360 --> 00:00:42,400 But either way, if what I'm saying 14 00:00:42,400 --> 00:00:46,110 is confusing because of the density of it, 15 00:00:46,110 --> 00:00:49,460 I would just sort of encourage you not to be too freaked out. 16 00:00:49,460 --> 00:00:52,170 Because the takeaways are actually fairly simple. 17 00:00:52,170 --> 00:00:53,630 It's kind of like-- again, there's 18 00:00:53,630 --> 00:00:55,338 a lot of complicated technology and a lot 19 00:00:55,338 --> 00:00:58,605 of complicated technique, but the base is pretty simple. 20 00:00:58,605 --> 00:01:00,980 And what I'm going to do-- partly what I want to do today 21 00:01:00,980 --> 00:01:04,709 is just expose you to some concepts and terms 22 00:01:04,709 --> 00:01:08,710 that you actually may not have to really fully grasp or have 23 00:01:08,710 --> 00:01:10,850 mastery of in order to make your video. 24 00:01:10,850 --> 00:01:13,570 But it's worth it to at least kind of know 25 00:01:13,570 --> 00:01:15,115 what they are I think. 26 00:01:15,115 --> 00:01:16,990 PROFESSOR: And I can condense my [INAUDIBLE]. 27 00:01:16,990 --> 00:01:17,870 GUEST SPEAKER: Yeah. 28 00:01:17,870 --> 00:01:20,849 But I do want to-- I'm very cognizant of not 29 00:01:20,849 --> 00:01:22,640 wanting to spend more than like 30 minutes. 30 00:01:22,640 --> 00:01:27,372 So can you tell me-- if I'm like maybe 10 to 2:00, 31 00:01:27,372 --> 00:01:29,080 just kind of give me a wave or something. 32 00:01:29,080 --> 00:01:32,120 And I'll condense even more. 33 00:01:32,120 --> 00:01:32,620 OK. 34 00:01:32,620 --> 00:01:35,780 So visual language, there's sort of a question here-- 35 00:01:35,780 --> 00:01:37,420 what do we mean by visual language? 36 00:01:37,420 --> 00:01:39,336 Because it's kind of a contradiction in terms. 37 00:01:39,336 --> 00:01:41,660 Sometimes we think of language and the visual 38 00:01:41,660 --> 00:01:43,700 as being at odds with each other. 39 00:01:43,700 --> 00:01:44,620 We have text. 40 00:01:44,620 --> 00:01:45,707 We have speech. 41 00:01:45,707 --> 00:01:48,040 And we talk about, oh, well, we've got to make a visual. 42 00:01:48,040 --> 00:01:52,110 So what is a visual language? 43 00:01:52,110 --> 00:01:54,600 It goes back to something that I talked about 44 00:01:54,600 --> 00:01:55,870 in the first class. 45 00:01:55,870 --> 00:01:57,895 And in some ways what I'm going to do today 46 00:01:57,895 --> 00:01:59,520 is try to build on some of those things 47 00:01:59,520 --> 00:02:02,200 as I sort of race through them. 48 00:02:02,200 --> 00:02:04,280 We have all of these plastic elements of film 49 00:02:04,280 --> 00:02:05,700 that we can manipulate. 50 00:02:05,700 --> 00:02:08,919 And today I'm going to focus on a handful of them, 51 00:02:08,919 --> 00:02:11,290 in particular camera. 52 00:02:11,290 --> 00:02:14,540 Because the camera is kind of the speech device 53 00:02:14,540 --> 00:02:17,044 that allows us to speak in this visual language. 54 00:02:17,044 --> 00:02:18,960 And Elizabeth made a really interesting point, 55 00:02:18,960 --> 00:02:21,000 or quoted a very interesting kind of way 56 00:02:21,000 --> 00:02:23,110 of thinking about it, which was all of us 57 00:02:23,110 --> 00:02:26,580 understand this language better than any generation that's 58 00:02:26,580 --> 00:02:29,840 ever lived, Because we just have consumed it our entire lives. 59 00:02:29,840 --> 00:02:31,800 But that doesn't mean we can speak it, 60 00:02:31,800 --> 00:02:35,806 and understanding that is a great first step 61 00:02:35,806 --> 00:02:36,430 in speaking it. 62 00:02:36,430 --> 00:02:39,060 But you really have to kind of unpack it and think about it 63 00:02:39,060 --> 00:02:41,930 consciously in order to be able to kind of reproduce 64 00:02:41,930 --> 00:02:47,020 it or change it and make it what you want it to be. 65 00:02:47,020 --> 00:02:49,660 Anyway, so I'm going to race through some of these 66 00:02:49,660 --> 00:02:52,450 fairly quickly, focused mostly on camera, 67 00:02:52,450 --> 00:02:54,520 and I'm going to dispense with sound right away. 68 00:02:54,520 --> 00:02:57,844 Because I just want to say about sound-- 69 00:02:57,844 --> 00:02:59,260 don't dispense with it right away. 70 00:02:59,260 --> 00:03:00,600 Don't do what I'm doing. 71 00:03:00,600 --> 00:03:02,980 It is super, super important. 72 00:03:02,980 --> 00:03:05,160 I think I mentioned this the other day, 73 00:03:05,160 --> 00:03:08,379 getting good sound is absolutely critical. 74 00:03:08,379 --> 00:03:10,545 And sometimes sound can be more important than pitch 75 00:03:10,545 --> 00:03:13,480 and all this stuff I'm going to talk about. 76 00:03:13,480 --> 00:03:15,750 It's also sort of the boring part sometimes. 77 00:03:15,750 --> 00:03:18,320 Well, you know, is the microphone close enough to me? 78 00:03:18,320 --> 00:03:19,164 I don't know. 79 00:03:19,164 --> 00:03:20,080 Who's listening to me? 80 00:03:20,080 --> 00:03:21,351 Am I OK? 81 00:03:21,351 --> 00:03:21,850 Good. 82 00:03:21,850 --> 00:03:23,558 All right, because it's really important. 83 00:03:23,558 --> 00:03:25,780 Because if you don't hear me-- or even 84 00:03:25,780 --> 00:03:28,280 if you can sort of hear me, but it's a camera mic 85 00:03:28,280 --> 00:03:30,780 and it's six feet away, there's a huge barrier 86 00:03:30,780 --> 00:03:33,680 between your audience and your material. 87 00:03:33,680 --> 00:03:36,480 So do not skimp on sound. 88 00:03:36,480 --> 00:03:38,160 The environmental sound is important. 89 00:03:38,160 --> 00:03:39,390 It's important to be in a quiet room. 90 00:03:39,390 --> 00:03:41,230 It's important to have good mic placement. 91 00:03:41,230 --> 00:03:44,750 It's important not to have a signal be too soft or too loud. 92 00:03:44,750 --> 00:03:46,350 Listen with your ears. 93 00:03:46,350 --> 00:03:49,130 And then creatively you can do so much with sound too 94 00:03:49,130 --> 00:03:50,970 with music and sound effects. 95 00:03:50,970 --> 00:03:53,540 But I don't really have time to talk about that stuff. 96 00:03:53,540 --> 00:03:54,060 PROFESSOR: I'll go over that stuff. 97 00:03:54,060 --> 00:03:54,500 GUEST SPEAKER: Yeah. 98 00:03:54,500 --> 00:03:55,000 Yeah. 99 00:03:55,000 --> 00:03:56,880 OK, good. 100 00:03:56,880 --> 00:03:59,330 I just want to sort of make the pitch to not forget 101 00:03:59,330 --> 00:04:01,610 about sound in all of this. 102 00:04:01,610 --> 00:04:04,140 But let's go on and talk about camera. 103 00:04:04,140 --> 00:04:08,300 And I don't know if there are any theater people here, 104 00:04:08,300 --> 00:04:10,120 or people who have done theater, but I 105 00:04:10,120 --> 00:04:12,203 want to start with this concept of the proscenium. 106 00:04:14,150 --> 00:04:16,459 Film and video, film at least, has been around 107 00:04:16,459 --> 00:04:21,899 for over 100 years-- 125 years or something like that. 108 00:04:21,899 --> 00:04:24,600 The sort of first Edison experiments 109 00:04:24,600 --> 00:04:26,230 or the Lumiere brothers in France I 110 00:04:26,230 --> 00:04:30,000 think it was the late 19th century. 111 00:04:30,000 --> 00:04:35,080 And for the first 20 years of the technology, 112 00:04:35,080 --> 00:04:37,290 the way people kind of accessed it or thought 113 00:04:37,290 --> 00:04:39,510 about it and the kinds of things that people did 114 00:04:39,510 --> 00:04:42,050 were based on theater. 115 00:04:42,050 --> 00:04:45,760 Because that, of course, is thousands of years old. 116 00:04:45,760 --> 00:04:47,490 In a theater, you sit in an audience, 117 00:04:47,490 --> 00:04:50,710 and there's a frame, which is the proscenium. 118 00:04:50,710 --> 00:04:53,440 And then stuff happens in the frame. 119 00:04:53,440 --> 00:04:55,090 And a lot of the plastic elements 120 00:04:55,090 --> 00:04:59,070 that we ran through the other day are very, very relevant. 121 00:04:59,070 --> 00:05:01,220 You've got lighting. 122 00:05:01,220 --> 00:05:02,170 You've got staging. 123 00:05:02,170 --> 00:05:05,840 You've got a frame, a sort of placement of people. 124 00:05:05,840 --> 00:05:06,950 You've got costumes. 125 00:05:06,950 --> 00:05:10,590 You've got sound effects, music even, all sorts 126 00:05:10,590 --> 00:05:13,040 of things-- very, very similar. 127 00:05:13,040 --> 00:05:15,850 But it all happens in this kind of static frame 128 00:05:15,850 --> 00:05:18,880 right there in the middle of your field of view. 129 00:05:18,880 --> 00:05:21,700 And it was really literally about 20 years 130 00:05:21,700 --> 00:05:24,830 before people started going, oh, with a camera 131 00:05:24,830 --> 00:05:27,770 we can do something a little bit different than that. 132 00:05:27,770 --> 00:05:30,390 The first films-- and these were wildly popular films. 133 00:05:30,390 --> 00:05:31,850 It was already a big industry. 134 00:05:31,850 --> 00:05:35,850 Very quickly it turned into a major, major entertainment 135 00:05:35,850 --> 00:05:37,550 and communication industry. 136 00:05:37,550 --> 00:05:39,610 But people would set up a camera, 137 00:05:39,610 --> 00:05:43,080 and then people would do their thing in front of the camera. 138 00:05:43,080 --> 00:05:45,085 And then they would project the thing, 139 00:05:45,085 --> 00:05:47,210 and people would be like, wow, this is really cool. 140 00:05:47,210 --> 00:05:51,820 This is like theater, except we can watch it again and again. 141 00:05:51,820 --> 00:05:54,750 And this is very relevant to educational video, 142 00:05:54,750 --> 00:05:57,810 because that is essentially what a lecture is. 143 00:05:57,810 --> 00:06:01,900 A lecture is a proscenium presentation of material. 144 00:06:01,900 --> 00:06:06,100 And the question which you're asking yourselves in this class 145 00:06:06,100 --> 00:06:07,990 is-- OK, we've got that. 146 00:06:07,990 --> 00:06:09,462 We get that. 147 00:06:09,462 --> 00:06:12,020 When we watch media, whether it's 148 00:06:12,020 --> 00:06:14,110 online or on television or in a theater, 149 00:06:14,110 --> 00:06:16,810 obviously we have progressed way beyond that 150 00:06:16,810 --> 00:06:19,190 visually, in terms of visual language, 151 00:06:19,190 --> 00:06:23,010 and the tools and techniques that we use to do that 152 00:06:23,010 --> 00:06:24,940 are the things that you need to do in order 153 00:06:24,940 --> 00:06:27,564 to become conversant in this quote 154 00:06:27,564 --> 00:06:29,730 unquote "visual language," not just a consumer of it 155 00:06:29,730 --> 00:06:33,440 but a speaker of it. 156 00:06:33,440 --> 00:06:34,820 So I'm going to go over something 157 00:06:34,820 --> 00:06:38,200 that is sort of like a convenient bucket 158 00:06:38,200 --> 00:06:45,120 to put things into, and it's also easy to remember. 159 00:06:45,120 --> 00:06:48,050 When I think about camera, I think about the four F's. 160 00:06:48,050 --> 00:06:51,000 And some of them are F because I make 161 00:06:51,000 --> 00:06:54,240 them be F. It just is easier. 162 00:06:54,240 --> 00:06:57,280 So F-stop or exposure-- and if you 163 00:06:57,280 --> 00:06:59,290 know anything about photography or film, 164 00:06:59,290 --> 00:07:02,630 F-stop is the aperture of the camera lens, 165 00:07:02,630 --> 00:07:04,930 and you can let more or less light in. 166 00:07:04,930 --> 00:07:07,500 But what I mean by that actually is not just 167 00:07:07,500 --> 00:07:09,980 the F-stop or the exposure of the lens, 168 00:07:09,980 --> 00:07:11,960 but how you control the light. 169 00:07:11,960 --> 00:07:12,950 It could be lighting. 170 00:07:12,950 --> 00:07:14,544 It could be the shutter speed. 171 00:07:14,544 --> 00:07:15,960 There are a million different ways 172 00:07:15,960 --> 00:07:19,460 of controlling the exposure of what you're filming. 173 00:07:19,460 --> 00:07:21,280 The second thing is focus. 174 00:07:21,280 --> 00:07:24,360 The first thing about focus is it's a good idea to have it. 175 00:07:24,360 --> 00:07:26,360 It's kind of one of those non-negotiable things. 176 00:07:26,360 --> 00:07:29,180 You really do want something to be in focus in your frame. 177 00:07:29,180 --> 00:07:32,130 Sometimes you might not, but it's better to do that in post. 178 00:07:32,130 --> 00:07:34,690 Always make sure something's in focus. 179 00:07:34,690 --> 00:07:36,380 You may be working with cameras that 180 00:07:36,380 --> 00:07:38,720 take care of this for you-- both of these-- the exposure 181 00:07:38,720 --> 00:07:39,309 and the focus. 182 00:07:39,309 --> 00:07:39,850 I'm not sure. 183 00:07:39,850 --> 00:07:40,784 Is that true? 184 00:07:40,784 --> 00:07:41,450 PROFESSOR: Yeah. 185 00:07:41,450 --> 00:07:45,105 So they're all working with the [INAUDIBLE] or your iPhones. 186 00:07:45,105 --> 00:07:46,896 The equipment that you guys will be working 187 00:07:46,896 --> 00:07:50,260 with, you won't have to necessarily-- it's 188 00:07:50,260 --> 00:07:53,790 not an element that you can control necessarily 189 00:07:53,790 --> 00:07:54,980 on the device itself. 190 00:07:54,980 --> 00:07:55,915 GUEST SPEAKER: Or you can control it 191 00:07:55,915 --> 00:07:57,530 only by fooling the device, which 192 00:07:57,530 --> 00:07:59,840 is something you might want to do if you get more 193 00:07:59,840 --> 00:08:01,834 sort of comfortable with it. 194 00:08:01,834 --> 00:08:03,500 PROFESSOR: To do focus on these cameras, 195 00:08:03,500 --> 00:08:06,328 you just literally touch the touchscreen with your finger 196 00:08:06,328 --> 00:08:08,520 where you want that to be in focus. 197 00:08:08,520 --> 00:08:09,895 And exposure, we're going to have 198 00:08:09,895 --> 00:08:12,397 to tweak with the external lighting and stuff. 199 00:08:12,397 --> 00:08:13,230 GUEST SPEAKER: Yeah. 200 00:08:13,230 --> 00:08:14,330 Yeah. 201 00:08:14,330 --> 00:08:16,460 99 times out of 100 it's pretty straightforward. 202 00:08:16,460 --> 00:08:19,660 And the auto systems on newer cameras 203 00:08:19,660 --> 00:08:21,290 are really pretty good about it. 204 00:08:21,290 --> 00:08:23,710 So I'm not going to spend a lot of time dwelling on that. 205 00:08:23,710 --> 00:08:25,610 But they're kind of non-negotiable. 206 00:08:25,610 --> 00:08:27,820 You want to get a good exposure, and you 207 00:08:27,820 --> 00:08:29,200 want to get something in focus. 208 00:08:29,200 --> 00:08:30,830 And 9 times out of 10 that something 209 00:08:30,830 --> 00:08:33,789 is someone's face, the person who you're filming-- 210 00:08:33,789 --> 00:08:36,015 not always but usually. 211 00:08:36,015 --> 00:08:37,610 The third one is focal length. 212 00:08:37,610 --> 00:08:41,260 And that is basically how many millimeters 213 00:08:41,260 --> 00:08:44,210 you are shooting at from wide angle to telephoto. 214 00:08:44,210 --> 00:08:47,000 And you're not going to be changing lenses on the camera, 215 00:08:47,000 --> 00:08:49,120 but you can zoom in and out. 216 00:08:49,120 --> 00:08:52,230 Focal length is not the same thing as wide shot or close up. 217 00:08:52,230 --> 00:08:55,010 People often think that that's true, but it's not. 218 00:08:55,010 --> 00:08:58,485 You can go completely wide angle on a camera, and then walk up-- 219 00:08:58,485 --> 00:09:01,800 I can walk right up to Elizabeth and get a close up. 220 00:09:01,800 --> 00:09:03,890 And similarly, I can go all the way telephoto 221 00:09:03,890 --> 00:09:06,530 and walk back 50 feet and get a wide shot. 222 00:09:06,530 --> 00:09:10,030 But they have very, very different kinds of resonances 223 00:09:10,030 --> 00:09:12,100 and feelings and emotions. 224 00:09:12,100 --> 00:09:17,990 So I'll try to talk a little bit about that in a minute. 225 00:09:17,990 --> 00:09:20,540 You might want to do everything at a very long lens. 226 00:09:20,540 --> 00:09:22,100 You might want to do everything at a wide angle. 227 00:09:22,100 --> 00:09:23,475 It will mean something different. 228 00:09:23,475 --> 00:09:25,370 It will feel different. 229 00:09:25,370 --> 00:09:27,020 Framing-- this is the big one, and this 230 00:09:27,020 --> 00:09:28,519 is kind of like the catch all that I 231 00:09:28,519 --> 00:09:33,980 throw all of this sort of real thinking about visual language 232 00:09:33,980 --> 00:09:34,796 into. 233 00:09:34,796 --> 00:09:36,170 It's not just framing as I talked 234 00:09:36,170 --> 00:09:38,690 about the other day, like, oh, gee, do I center somebody? 235 00:09:38,690 --> 00:09:40,440 Do I put them on the right or on the left? 236 00:09:40,440 --> 00:09:44,950 It's the entire structure of your video. 237 00:09:44,950 --> 00:09:46,159 How am I going to shoot this? 238 00:09:46,159 --> 00:09:47,575 Where I'm going to put the camera? 239 00:09:47,575 --> 00:09:49,144 How is it going to edit together? 240 00:09:49,144 --> 00:09:50,310 Is the camera going to move? 241 00:09:50,310 --> 00:09:52,450 Is it not going to move? 242 00:09:52,450 --> 00:09:54,930 So framing is the big one, and that's 243 00:09:54,930 --> 00:09:57,970 mostly what I'm going to talk about today in that broader 244 00:09:57,970 --> 00:10:00,460 context. 245 00:10:00,460 --> 00:10:03,970 Quickly, so exposure-- just to get this out of the way-- 246 00:10:03,970 --> 00:10:06,580 this is what an aperture looks like and the lens. 247 00:10:06,580 --> 00:10:08,095 Again, it's automated for you. 248 00:10:08,095 --> 00:10:11,256 A big number means not a lot of light getting through, 249 00:10:11,256 --> 00:10:13,690 a little number means a lot of light is getting through. 250 00:10:13,690 --> 00:10:15,740 This affects the exposure in a way 251 00:10:15,740 --> 00:10:17,190 that I'm not going to get into. 252 00:10:17,190 --> 00:10:19,231 But basically you have a lot more depth of field, 253 00:10:19,231 --> 00:10:21,280 a lot more will be in focus the smaller the hole. 254 00:10:21,280 --> 00:10:25,910 Because the photons that get through are more directed, 255 00:10:25,910 --> 00:10:28,990 they're less scattered. 256 00:10:28,990 --> 00:10:31,870 And we talked about this. 257 00:10:31,870 --> 00:10:35,200 Just as a sort of an example of classic elements of film-- 258 00:10:35,200 --> 00:10:38,275 so these are two stills from Science Out Loud videos. 259 00:10:38,275 --> 00:10:40,400 I think we saw a little bit of the Exoplanets video 260 00:10:40,400 --> 00:10:40,983 the other day. 261 00:10:40,983 --> 00:10:42,942 I don't know if you've seen this one on plants. 262 00:10:42,942 --> 00:10:44,857 PROFESSOR: I think they did just a little bit. 263 00:10:44,857 --> 00:10:45,750 GUEST SPEAKER: OK. 264 00:10:45,750 --> 00:10:47,958 What I thought was really interesting about these two 265 00:10:47,958 --> 00:10:53,400 frames is if I was storyboarding this, what would I draw? 266 00:10:53,400 --> 00:11:02,300 I would draw something like this-- medium shot, 267 00:11:02,300 --> 00:11:04,570 presenting to camera. 268 00:11:04,570 --> 00:11:06,130 But that doesn't capture anything 269 00:11:06,130 --> 00:11:10,870 about what is compelling about these shots. 270 00:11:10,870 --> 00:11:13,020 It's all the other stuff. 271 00:11:13,020 --> 00:11:16,160 Here we are launching into space, deep space, 272 00:11:16,160 --> 00:11:17,650 to look at planets. 273 00:11:17,650 --> 00:11:22,500 And here we are-- bright, welcoming the world of plants. 274 00:11:22,500 --> 00:11:24,100 It's kind of an obvious point. 275 00:11:24,100 --> 00:11:27,740 But this tells us nothing about that, 276 00:11:27,740 --> 00:11:29,832 unless you then add a lot of other information. 277 00:11:29,832 --> 00:11:31,790 And that's kind of what storyboarding is about. 278 00:11:31,790 --> 00:11:34,570 It's not just about what does my shot look like, 279 00:11:34,570 --> 00:11:37,720 but it's about-- what is all the stuff in the shot that's going 280 00:11:37,720 --> 00:11:39,920 to really make it compelling? 281 00:11:39,920 --> 00:11:42,070 And it's really a great moment to start 282 00:11:42,070 --> 00:11:45,840 thinking about locations-- a field of flowers. 283 00:11:45,840 --> 00:11:46,420 Wow. 284 00:11:46,420 --> 00:11:47,850 I guess I need a field of flowers. 285 00:11:47,850 --> 00:11:49,058 Where am I going to get that? 286 00:11:49,058 --> 00:11:51,300 Or what if everything was black? 287 00:11:51,300 --> 00:11:52,520 What if it's a black screen? 288 00:11:52,520 --> 00:11:53,978 And how are we going to shoot that? 289 00:11:56,430 --> 00:11:59,570 Lighting-- I don't know if that's even an option here. 290 00:11:59,570 --> 00:12:00,800 I'm not going to go into it. 291 00:12:00,800 --> 00:12:02,633 PROFESSOR: We have a light kit if people are 292 00:12:02,633 --> 00:12:05,634 interested in doing lighting. 293 00:12:05,634 --> 00:12:09,530 But come talk to either one of us during office hours 294 00:12:09,530 --> 00:12:11,945 or after class or something. 295 00:12:11,945 --> 00:12:13,320 GUEST SPEAKER: The only thing I'm 296 00:12:13,320 --> 00:12:15,630 going to say about lighting is it's kind of like being 297 00:12:15,630 --> 00:12:18,190 a doctor, like, first do no harm. 298 00:12:18,190 --> 00:12:21,070 If you bring the lights out, and you 299 00:12:21,070 --> 00:12:22,820 don't know what you're doing, and you 300 00:12:22,820 --> 00:12:25,750 aren't trained on the kit, you can break the kit. 301 00:12:25,750 --> 00:12:27,780 You can hurt yourself or someone else, 302 00:12:27,780 --> 00:12:30,410 or you can ruin your video. 303 00:12:30,410 --> 00:12:33,380 On the other hand, it's really, really 304 00:12:33,380 --> 00:12:36,470 an important tool and something that-- you 305 00:12:36,470 --> 00:12:38,240 can't shoot certain kinds of things 306 00:12:38,240 --> 00:12:40,702 without some kind of lighting. 307 00:12:40,702 --> 00:12:42,410 I'm not necessarily recommending that you 308 00:12:42,410 --> 00:12:45,760 try to use artificial lights or become a lighting expert. 309 00:12:45,760 --> 00:12:48,320 It's a little beyond the scope. 310 00:12:48,320 --> 00:12:53,006 But if there's something like-- to go back to this example-- 311 00:12:53,006 --> 00:12:57,430 you have to light to get a look like that. 312 00:12:57,430 --> 00:12:59,900 Some kind of lighting has to be done-- maybe 313 00:12:59,900 --> 00:13:01,420 not film lighting or video lighting, 314 00:13:01,420 --> 00:13:04,840 but some kind of lighting set up has to be created in order 315 00:13:04,840 --> 00:13:06,000 to get a look like that. 316 00:13:06,000 --> 00:13:07,856 AUDIENCE: [INAUDIBLE]. 317 00:13:07,856 --> 00:13:08,897 GUEST SPEAKER: I'm sorry. 318 00:13:08,897 --> 00:13:10,621 AUDIENCE: [INAUDIBLE]. 319 00:13:10,621 --> 00:13:11,579 PROFESSOR: [INAUDIBLE]. 320 00:13:11,579 --> 00:13:14,230 GUEST SPEAKER: Oh, you can improve it, 321 00:13:14,230 --> 00:13:18,180 but you have to begin with something that's been 322 00:13:18,180 --> 00:13:20,050 filmed with that intention. 323 00:13:20,050 --> 00:13:21,830 PROFESSOR: If you have an effect that you 324 00:13:21,830 --> 00:13:24,288 want to do in your video, you can come talk to me about it. 325 00:13:24,288 --> 00:13:28,450 Because we achieve some of these things with jankier props. 326 00:13:28,450 --> 00:13:32,212 I've done-- I'm not proud to admit this in front of Chris. 327 00:13:32,212 --> 00:13:33,420 GUEST SPEAKER: No, that's OK. 328 00:13:33,420 --> 00:13:34,520 PROFESSOR: I've done a shoot-- 329 00:13:34,520 --> 00:13:35,110 GUEST SPEAKER: Oh, you don't even 330 00:13:35,110 --> 00:13:37,610 know janky till you've been on some of the shoots I've done. 331 00:13:37,610 --> 00:13:39,530 PROFESSOR: I've done a few with desk lamps 332 00:13:39,530 --> 00:13:41,950 that I've covered with white tissue paper 333 00:13:41,950 --> 00:13:43,450 to help diffuse the light. 334 00:13:43,450 --> 00:13:45,359 You don't need a super fancy light kit 335 00:13:45,359 --> 00:13:46,890 to achieve some of the basics. 336 00:13:46,890 --> 00:13:48,450 GUEST SPEAKER: No, absolutely. 337 00:13:48,450 --> 00:13:51,890 And that's exactly what I'm about to get into. 338 00:13:51,890 --> 00:13:54,830 To do sort of like a darkroom thing, 339 00:13:54,830 --> 00:13:56,980 you don't need a fancy video light kit, 340 00:13:56,980 --> 00:13:59,210 but you do need to light the person. 341 00:13:59,210 --> 00:14:01,650 And yeah, it could be a desk lamp with paper over it 342 00:14:01,650 --> 00:14:05,360 to sort of smooth it out, to diffuse the light, 343 00:14:05,360 --> 00:14:07,510 but you will need to do something. 344 00:14:07,510 --> 00:14:09,500 It's not going to just magically happen. 345 00:14:09,500 --> 00:14:12,020 And that's the point of this-- lighting 346 00:14:12,020 --> 00:14:13,870 doesn't necessarily mean a video light kit. 347 00:14:13,870 --> 00:14:16,040 It means being aware of the environment 348 00:14:16,040 --> 00:14:19,640 and the available light that you're shooting in and taking 349 00:14:19,640 --> 00:14:23,070 that into account either by manipulating that thing, 350 00:14:23,070 --> 00:14:25,980 like a light kit, or by taking advantage 351 00:14:25,980 --> 00:14:29,322 of the best light in the world, which is the sun. 352 00:14:29,322 --> 00:14:31,280 So for example, if I was shooting in this room, 353 00:14:31,280 --> 00:14:35,250 and I didn't have any lights-- I might love the background out 354 00:14:35,250 --> 00:14:35,790 there. 355 00:14:35,790 --> 00:14:38,370 But shooting somebody in front of that window 356 00:14:38,370 --> 00:14:41,280 is not going to be possible if I want to get the background. 357 00:14:41,280 --> 00:14:44,330 Because by the time I expose for the person's face, 358 00:14:44,330 --> 00:14:46,620 the background is going to completely blown out. 359 00:14:46,620 --> 00:14:48,090 And if I expose for the background, 360 00:14:48,090 --> 00:14:49,173 the person is silhouetted. 361 00:14:49,173 --> 00:14:51,560 So unless I want that look, I really 362 00:14:51,560 --> 00:14:53,920 can't have it unless I bring in lights. 363 00:14:53,920 --> 00:14:56,640 And it would actually take quite a bit of lighting. 364 00:14:56,640 --> 00:15:00,180 Fluorescents-- you can do a lot with fluorescent overheads. 365 00:15:00,180 --> 00:15:03,670 The difference between me standing here-- look at my face 366 00:15:03,670 --> 00:15:08,156 here, and look at my face here. 367 00:15:08,156 --> 00:15:09,780 Where do you want your person to stand? 368 00:15:09,780 --> 00:15:12,180 And you can manipulate that kind of thing 369 00:15:12,180 --> 00:15:16,390 even in a lab or a classroom or some other setting. 370 00:15:16,390 --> 00:15:19,140 You can make choices based on the available light 371 00:15:19,140 --> 00:15:23,180 or the ambient light that will help you. 372 00:15:23,180 --> 00:15:25,850 And the other thing to think about in terms of exposure-- 373 00:15:25,850 --> 00:15:28,710 going back to exposure-- is what do 374 00:15:28,710 --> 00:15:30,980 I want to be properly exposed? 375 00:15:30,980 --> 00:15:34,120 In that face floating in blackness, 376 00:15:34,120 --> 00:15:35,662 the face is properly exposed. 377 00:15:35,662 --> 00:15:37,120 Everything else is very, very dark. 378 00:15:37,120 --> 00:15:39,200 But the face is properly exposed. 379 00:15:39,200 --> 00:15:43,780 In the flower shot, the whole thing is properly exposed. 380 00:15:43,780 --> 00:15:44,786 It's more even lighting. 381 00:15:44,786 --> 00:15:46,410 There's some nice modeling on the face. 382 00:15:46,410 --> 00:15:48,385 But the whole point of that is that you 383 00:15:48,385 --> 00:15:50,760 want to see the environment, you want to see the flowers, 384 00:15:50,760 --> 00:15:55,240 you want to have this very vibrant, bright scene. 385 00:15:55,240 --> 00:15:59,087 So being very sensitive to the light that's available 386 00:15:59,087 --> 00:15:59,920 is part of lighting. 387 00:15:59,920 --> 00:16:02,940 It's not necessarily setting up a bunch of light stands 388 00:16:02,940 --> 00:16:06,630 and video lights and spending two hours when you should 389 00:16:06,630 --> 00:16:08,270 have been shooting your scene. 390 00:16:08,270 --> 00:16:10,440 Because it can also be very time consuming. 391 00:16:10,440 --> 00:16:13,086 PROFESSOR: Just a quick tip on lighting-- since most of you 392 00:16:13,086 --> 00:16:14,996 will probably be filming indoors and relying 393 00:16:14,996 --> 00:16:18,581 a lot on fluorescent overhead lights, the only caveat 394 00:16:18,581 --> 00:16:21,281 to that is that oftentimes-- there are only 395 00:16:21,281 --> 00:16:24,810 two people in here-- but for me, the glasses is a big issue. 396 00:16:24,810 --> 00:16:27,310 You'll get like a weird shadow underneath on people's faces. 397 00:16:27,310 --> 00:16:28,500 GUEST SPEAKER: Or a glare in the lens. 398 00:16:28,500 --> 00:16:29,666 PROFESSOR: Yeah, or a glare. 399 00:16:29,666 --> 00:16:32,610 So you can compensate for that with maybe a desk lamp that's 400 00:16:32,610 --> 00:16:35,626 also shone on your face from a little bit below 401 00:16:35,626 --> 00:16:37,524 to hide some of those shadows. 402 00:16:37,524 --> 00:16:39,690 GUEST SPEAKER: Particularly, as Elizabeth mentioned, 403 00:16:39,690 --> 00:16:43,710 if you diffuse that light with some kind of tissue 404 00:16:43,710 --> 00:16:45,530 or something in front of it-- because one 405 00:16:45,530 --> 00:16:48,190 thing about lighting-- the first do no harm-- when you're 406 00:16:48,190 --> 00:16:51,460 lighting faces, harsh, direct light, 407 00:16:51,460 --> 00:16:55,160 whether it's sunlight or desk lamps or video lights, 408 00:16:55,160 --> 00:16:56,900 are very unflattering. 409 00:16:56,900 --> 00:17:00,140 So that's absolutely a great tip. 410 00:17:00,140 --> 00:17:01,810 But I think it's always a good idea 411 00:17:01,810 --> 00:17:04,210 to sort of try to diffuse it. 412 00:17:04,210 --> 00:17:06,540 If it's not a hot light, you can put 413 00:17:06,540 --> 00:17:09,060 like a tissue or a white paper towel in front of it, 414 00:17:09,060 --> 00:17:10,852 and it will give this very nice soft light. 415 00:17:10,852 --> 00:17:13,018 PROFESSOR: But if you're shooting something indoors, 416 00:17:13,018 --> 00:17:15,469 and you just feel like the person looks 417 00:17:15,469 --> 00:17:17,490 a little funky on the screen, it's 418 00:17:17,490 --> 00:17:20,049 probably because it's an overhead light that's 419 00:17:20,049 --> 00:17:21,519 casting shadow. 420 00:17:21,519 --> 00:17:24,772 So just experiment with a desk lamp or something. 421 00:17:24,772 --> 00:17:27,230 GUEST SPEAKER: And I'm not going to go into focus too much. 422 00:17:27,230 --> 00:17:28,646 Because again, I know you're going 423 00:17:28,646 --> 00:17:30,090 to be working with autofocus. 424 00:17:30,090 --> 00:17:33,730 But just to say-- make sure that what you want to be in focus 425 00:17:33,730 --> 00:17:36,285 is in focus. 426 00:17:36,285 --> 00:17:37,660 There are all sorts of things you 427 00:17:37,660 --> 00:17:39,690 can do to mess with the depth of field, 428 00:17:39,690 --> 00:17:42,170 which is like how much of the plane of your image 429 00:17:42,170 --> 00:17:43,220 is in focus. 430 00:17:43,220 --> 00:17:46,170 So if you have a very-- if you're very wide open, 431 00:17:46,170 --> 00:17:47,760 if there's not a lot of light, then 432 00:17:47,760 --> 00:17:49,330 suddenly you have very shallow focus. 433 00:17:49,330 --> 00:17:50,996 Which means that if you were filming me, 434 00:17:50,996 --> 00:17:53,090 my face might be in focus, and the background 435 00:17:53,090 --> 00:17:55,240 would be out of focus. 436 00:17:55,240 --> 00:17:57,820 If you are stopping way, way down 437 00:17:57,820 --> 00:17:59,559 because there's a ton of light, suddenly 438 00:17:59,559 --> 00:18:02,100 it's a very deep focus situation where everything's in focus. 439 00:18:02,100 --> 00:18:03,766 And that may or may not be a good thing. 440 00:18:03,766 --> 00:18:05,090 You may not want more focus. 441 00:18:05,090 --> 00:18:08,160 There's something very nice about just what you 442 00:18:08,160 --> 00:18:10,416 want to be in focus and everything else being out 443 00:18:10,416 --> 00:18:12,290 of focus, because that makes people's eyes go 444 00:18:12,290 --> 00:18:14,930 to what you want them to see. 445 00:18:14,930 --> 00:18:16,753 It also creates depth in the frame. 446 00:18:16,753 --> 00:18:18,211 PROFESSOR: Does everyone understand 447 00:18:18,211 --> 00:18:22,150 what depth of field in the frame means? 448 00:18:22,150 --> 00:18:23,404 GUEST SPEAKER: Here I am. 449 00:18:23,404 --> 00:18:25,070 I don't know if you've seen this Science 450 00:18:25,070 --> 00:18:27,880 Out Loud video, Engineering Trash into Treasure. 451 00:18:27,880 --> 00:18:28,550 I won't show it. 452 00:18:28,550 --> 00:18:30,270 But it's got a really nice opening, 453 00:18:30,270 --> 00:18:33,020 which uses depth of field really effectively. 454 00:18:33,020 --> 00:18:36,350 So this is a person talking about the creation of charcoal. 455 00:18:36,350 --> 00:18:39,180 And in the foreground are the props, and she's out of focus. 456 00:18:39,180 --> 00:18:41,140 And it's kind of counter-intuitive, 457 00:18:41,140 --> 00:18:44,610 because your presenter is out of focus 458 00:18:44,610 --> 00:18:46,740 and the props are in focus in the foreground. 459 00:18:46,740 --> 00:18:49,525 But it's actually quite engaging and interesting. 460 00:18:49,525 --> 00:18:51,400 And then what they do-- and this is something 461 00:18:51,400 --> 00:18:53,566 that you will have a hard time doing if you are just 462 00:18:53,566 --> 00:18:56,950 doing autofocus-- is they shift the focus to reveal her. 463 00:18:56,950 --> 00:18:57,962 And that's a reveal. 464 00:18:57,962 --> 00:18:59,920 That's something we talked about the other day. 465 00:18:59,920 --> 00:19:03,510 Revealing things is part of the visual language 466 00:19:03,510 --> 00:19:06,250 that you want to think about-- whether it's 467 00:19:06,250 --> 00:19:11,360 a cut, with an edit, a change of the angle, a pan, a camera 468 00:19:11,360 --> 00:19:12,420 move. 469 00:19:12,420 --> 00:19:15,770 Revealing your next thing is really just kind 470 00:19:15,770 --> 00:19:17,900 of a key visual element. 471 00:19:17,900 --> 00:19:23,554 So here it's like the burning-- I forget what kind of-- 472 00:19:23,554 --> 00:19:24,470 PROFESSOR: Corn husks. 473 00:19:24,470 --> 00:19:24,640 GUEST SPEAKER: Yeah. 474 00:19:24,640 --> 00:19:26,706 The burning corn husks come into frame, 475 00:19:26,706 --> 00:19:28,330 and then the charcoal comes into frame, 476 00:19:28,330 --> 00:19:30,454 and then the focus shifts and you reveal the person 477 00:19:30,454 --> 00:19:31,800 who's been talking to you. 478 00:19:31,800 --> 00:19:32,500 It's cool. 479 00:19:32,500 --> 00:19:34,130 It's quite a nice little opening. 480 00:19:34,130 --> 00:19:36,338 PROFESSOR: It's really hard to achieve depth of field 481 00:19:36,338 --> 00:19:38,550 with these camcorders. 482 00:19:38,550 --> 00:19:40,926 One way you can sort of trick it is 483 00:19:40,926 --> 00:19:44,568 if you stand really far in front of your background. 484 00:19:44,568 --> 00:19:47,332 That's the closest way you're going to get that blurry 485 00:19:47,332 --> 00:19:49,375 background effect. 486 00:19:49,375 --> 00:19:52,270 So if you wanted to film in this classroom for instance, 487 00:19:52,270 --> 00:19:55,174 and you didn't want the stuff on the chalkboard 488 00:19:55,174 --> 00:19:57,230 to be really visible, you would have 489 00:19:57,230 --> 00:20:01,774 Chris move up all the way up to maybe where David is at least 490 00:20:01,774 --> 00:20:03,690 and then shoot from the very back of the room. 491 00:20:03,690 --> 00:20:03,940 GUEST SPEAKER: Right. 492 00:20:03,940 --> 00:20:05,064 And so that's what this is. 493 00:20:05,064 --> 00:20:08,320 So again, you have a zoom lens. 494 00:20:08,320 --> 00:20:10,720 If you go all the way wide on the lens, 495 00:20:10,720 --> 00:20:13,600 you have much deeper focus than if you zoom all the way in. 496 00:20:13,600 --> 00:20:16,640 So if I walk up and shoot Elizabeth 497 00:20:16,640 --> 00:20:18,850 with a very wide angle, everything behind her 498 00:20:18,850 --> 00:20:20,160 will be in focus. 499 00:20:20,160 --> 00:20:22,940 If I go way back there, and I get the same kind of close up 500 00:20:22,940 --> 00:20:26,209 of Elizabeth with a longer part of the zoom, 501 00:20:26,209 --> 00:20:28,000 everything behind her will be out of focus. 502 00:20:28,000 --> 00:20:30,250 Which might be better if we don't 503 00:20:30,250 --> 00:20:32,650 care about the background, or if it's messy. 504 00:20:32,650 --> 00:20:36,240 I've often been in labs that just look horrible. 505 00:20:36,240 --> 00:20:38,140 And the best way to handle that is 506 00:20:38,140 --> 00:20:42,380 to zoom way in, go way back, and have the background be 507 00:20:42,380 --> 00:20:43,962 way out of focus. 508 00:20:43,962 --> 00:20:45,420 Or you can, as Elizabeth mentioned, 509 00:20:45,420 --> 00:20:46,878 you can bring the person forward so 510 00:20:46,878 --> 00:20:49,074 that there's a lot of distance between the person 511 00:20:49,074 --> 00:20:49,865 and the background. 512 00:20:52,710 --> 00:20:55,540 So focus, focal length, all of these things 513 00:20:55,540 --> 00:20:56,760 relate to each other. 514 00:20:56,760 --> 00:20:59,110 And again, we're going to move a little quickly. 515 00:20:59,110 --> 00:21:00,860 PROFESSOR: It's about 10 till. 516 00:21:00,860 --> 00:21:02,651 GUEST SPEAKER: No, I'm doing fine, I think. 517 00:21:02,651 --> 00:21:04,110 I think I'm doing OK. 518 00:21:04,110 --> 00:21:05,840 This is an extreme wide angle. 519 00:21:05,840 --> 00:21:07,670 You can see how deep the focus is. 520 00:21:07,670 --> 00:21:10,920 It's infinity. 521 00:21:10,920 --> 00:21:14,210 And this is a telephoto, so it's a close up, 522 00:21:14,210 --> 00:21:19,390 but even the leaf behind the bird is out of focus. 523 00:21:19,390 --> 00:21:23,190 Just a word about zooms-- so there are two kinds of zoom, 524 00:21:23,190 --> 00:21:24,910 and there's one kind of danger-- well, 525 00:21:24,910 --> 00:21:26,450 two kinds of danger actually. 526 00:21:26,450 --> 00:21:30,010 Optical zoom, which is if you zoom in and out with the zoom 527 00:21:30,010 --> 00:21:32,310 control on your camera. 528 00:21:32,310 --> 00:21:35,520 That is the way you change the focal length. 529 00:21:35,520 --> 00:21:38,230 Then there's digital zoom, which is usually on these cameras-- 530 00:21:38,230 --> 00:21:39,604 I'm assuming these are like this. 531 00:21:39,604 --> 00:21:41,240 If you go past a certain point, you're 532 00:21:41,240 --> 00:21:43,080 not changing the lens anymore, you're 533 00:21:43,080 --> 00:21:47,625 just zooming in on the image itself digitally. 534 00:21:47,625 --> 00:21:49,500 The problem with that is that your resolution 535 00:21:49,500 --> 00:21:50,820 goes down immediately. 536 00:21:50,820 --> 00:21:52,170 It looks really bad. 537 00:21:52,170 --> 00:21:54,520 It starts to pixelate and just fall apart. 538 00:21:54,520 --> 00:21:58,015 So I would recommend that you not use the digital zoom. 539 00:21:58,015 --> 00:22:00,140 It's kind one of those situations where people say, 540 00:22:00,140 --> 00:22:01,306 oh, well, when I can use it? 541 00:22:01,306 --> 00:22:05,340 I'm like, well, when the UFO is landing in Killian Court, 542 00:22:05,340 --> 00:22:08,470 and you're just too far away to get the shot, 543 00:22:08,470 --> 00:22:10,990 definitely use the digital zoom. 544 00:22:10,990 --> 00:22:14,130 But if you have time to do something 545 00:22:14,130 --> 00:22:17,170 different or plan a little differently 546 00:22:17,170 --> 00:22:19,970 then stick with the optical. 547 00:22:19,970 --> 00:22:23,550 PROFESSOR: And also realize that you can zoom in on a frame 548 00:22:23,550 --> 00:22:25,380 and post when you're editing. 549 00:22:25,380 --> 00:22:29,040 So it's generally better to just capture something wider. 550 00:22:29,040 --> 00:22:32,340 So say you want to do like a traditional interview set up, 551 00:22:32,340 --> 00:22:33,720 and you're not sure how close you 552 00:22:33,720 --> 00:22:35,250 should be into your subject. 553 00:22:35,250 --> 00:22:37,800 Go ahead and err on the side of zooming out 554 00:22:37,800 --> 00:22:38,904 as much as possible. 555 00:22:38,904 --> 00:22:40,445 You can always play with how much you 556 00:22:40,445 --> 00:22:42,660 zoom when you're editing later. 557 00:22:42,660 --> 00:22:44,980 And the other thing about zooming-- maybe this 558 00:22:44,980 --> 00:22:46,860 is just a matter of personal preference. 559 00:22:46,860 --> 00:22:51,100 But generally, I don't like it when I see the camera zooming 560 00:22:51,100 --> 00:22:52,110 in live time. 561 00:22:52,110 --> 00:22:55,070 I prefer seeing just a clean cut from a wider 562 00:22:55,070 --> 00:22:56,195 angle to the zooming angle. 563 00:22:56,195 --> 00:22:57,861 GUEST SPEAKER: And that's the other part 564 00:22:57,861 --> 00:22:59,230 of the danger for sure. 565 00:22:59,230 --> 00:23:00,660 Yeah. 566 00:23:00,660 --> 00:23:03,380 Zooms in general-- unless you're doing it 567 00:23:03,380 --> 00:23:05,644 because you know what you're doing-- all these rules 568 00:23:05,644 --> 00:23:06,560 are made to be broken. 569 00:23:06,560 --> 00:23:09,840 That's something I should mention right up front. 570 00:23:09,840 --> 00:23:11,800 They're often kind of the lazy person's way 571 00:23:11,800 --> 00:23:13,600 of doing something. 572 00:23:13,600 --> 00:23:15,350 And in general, I would even go so far as 573 00:23:15,350 --> 00:23:16,766 to say even if you're not planning 574 00:23:16,766 --> 00:23:21,340 to show the zoom-- if I was, again, filming Elizabeth, 575 00:23:21,340 --> 00:23:24,620 and I wanted to get a wide shot, so I shoot her here. 576 00:23:24,620 --> 00:23:26,210 And then I want a close up. 577 00:23:26,210 --> 00:23:29,100 And I zoom in on Elizabeth, and I get the close up. 578 00:23:29,100 --> 00:23:30,770 There's something kind of unpleasing 579 00:23:30,770 --> 00:23:36,190 about going from a wide angle shot to a zoomed in telephoto 580 00:23:36,190 --> 00:23:37,570 shot of somebody. 581 00:23:37,570 --> 00:23:40,220 The more sort of smart way to do it 582 00:23:40,220 --> 00:23:42,420 is to pick a focal length that makes 583 00:23:42,420 --> 00:23:45,290 Elizabeth look great and gives you what you want 584 00:23:45,290 --> 00:23:47,240 and then move the camera in. 585 00:23:47,240 --> 00:23:50,090 Don't change the focal length of the lens 586 00:23:50,090 --> 00:23:53,220 when you change the size of the shot. 587 00:23:53,220 --> 00:23:55,730 So maybe I end up on a medium shot, 588 00:23:55,730 --> 00:23:56,939 in terms of the focal length. 589 00:23:56,939 --> 00:23:59,563 And then when I want to get the close up, I pick up the camera, 590 00:23:59,563 --> 00:24:01,134 and I walk in and get the close up. 591 00:24:01,134 --> 00:24:03,550 And that's going to cut better, it's going to look better, 592 00:24:03,550 --> 00:24:04,633 it's going to feel better. 593 00:24:04,633 --> 00:24:07,550 It's going to feel like just more controlled 594 00:24:07,550 --> 00:24:09,660 and like you sort of knew what you were doing. 595 00:24:09,660 --> 00:24:14,279 So zooms-- very useful, dangerous as well. 596 00:24:14,279 --> 00:24:15,820 All right, so back to the proscenium. 597 00:24:15,820 --> 00:24:18,135 I just want to say a little bit about framing. 598 00:24:18,135 --> 00:24:20,260 What shots do you actually need to tell your story? 599 00:24:20,260 --> 00:24:22,270 Well, the way you figure that out is exactly 600 00:24:22,270 --> 00:24:24,780 the way you do it with animation or anything else, 601 00:24:24,780 --> 00:24:26,090 you do a storyboard. 602 00:24:26,090 --> 00:24:30,060 And this is a storyboard I did a few years ago for a narrative 603 00:24:30,060 --> 00:24:30,990 scene. 604 00:24:30,990 --> 00:24:33,090 But you'll see it contains a lot of the things 605 00:24:33,090 --> 00:24:35,400 that we've talked about in this class. 606 00:24:35,400 --> 00:24:36,800 Who's our main character? 607 00:24:36,800 --> 00:24:38,507 This kid. 608 00:24:38,507 --> 00:24:39,340 How do we know that? 609 00:24:39,340 --> 00:24:40,923 Well, the next shot is a point of view 610 00:24:40,923 --> 00:24:43,420 of what this person is seeing. 611 00:24:43,420 --> 00:24:47,240 There's a moving shot up, and the next thing that you see 612 00:24:47,240 --> 00:24:49,170 is his grandfather's reveal. 613 00:24:49,170 --> 00:24:50,545 You see what they're looking at. 614 00:24:50,545 --> 00:24:51,920 And only then do you actually see 615 00:24:51,920 --> 00:24:54,530 a wide shot, which is a home-built airplane being 616 00:24:54,530 --> 00:24:55,860 pushed down a field. 617 00:24:55,860 --> 00:24:59,950 So this is kind of visual storytelling-- 618 00:24:59,950 --> 00:25:01,610 a very simple thing. 619 00:25:01,610 --> 00:25:02,840 Who's our character? 620 00:25:02,840 --> 00:25:04,550 What do they see? 621 00:25:04,550 --> 00:25:06,470 Who's around them? 622 00:25:06,470 --> 00:25:08,012 And then revealing the whole scene-- 623 00:25:08,012 --> 00:25:09,970 it could have been done completely differently. 624 00:25:09,970 --> 00:25:11,040 This could have been the first shot. 625 00:25:11,040 --> 00:25:12,998 It could have been-- let's establish the scene. 626 00:25:12,998 --> 00:25:14,130 Let's see all the people. 627 00:25:14,130 --> 00:25:18,310 Then let's kind of cut in and see our main character, 628 00:25:18,310 --> 00:25:20,290 or maybe it's revealed later. 629 00:25:20,290 --> 00:25:22,170 There's no right or wrong answer here. 630 00:25:22,170 --> 00:25:24,010 But the point is is that what you want to do 631 00:25:24,010 --> 00:25:27,890 is think through your scene just as you do with animation. 632 00:25:27,890 --> 00:25:30,130 That whole process that Josh took you through 633 00:25:30,130 --> 00:25:32,695 is completely relevant to absolutely everything 634 00:25:32,695 --> 00:25:33,820 that you're going to shoot. 635 00:25:36,990 --> 00:25:39,520 Just a few notes about what different shots do. 636 00:25:39,520 --> 00:25:42,400 Wide shots establish the location, the environment, 637 00:25:42,400 --> 00:25:43,980 the spatial relationships. 638 00:25:43,980 --> 00:25:45,927 They add production value. 639 00:25:45,927 --> 00:25:47,510 I don't know about you, but if I could 640 00:25:47,510 --> 00:25:49,870 go to the top of this bridge, I would shoot this shot. 641 00:25:49,870 --> 00:25:52,520 I wouldn't not, because this is awesome. 642 00:25:52,520 --> 00:25:53,480 And that's happened. 643 00:25:53,480 --> 00:25:54,400 I've seen that happen. 644 00:25:54,400 --> 00:25:57,660 People get an incredible location, an incredible view, 645 00:25:57,660 --> 00:26:01,930 and they don't get a shot that shows where they were. 646 00:26:01,930 --> 00:26:05,960 That's what we call production value. 647 00:26:05,960 --> 00:26:08,580 Similarly, I think this is an awesome picture. 648 00:26:08,580 --> 00:26:11,800 This was actually taken in 1911. 649 00:26:11,800 --> 00:26:17,310 This is a pre-revolution Russian nobleman 650 00:26:17,310 --> 00:26:19,560 in a tiny village in Russia. 651 00:26:19,560 --> 00:26:20,600 It was taken in 1911. 652 00:26:20,600 --> 00:26:22,570 It's an amazing picture. 653 00:26:22,570 --> 00:26:24,890 But I would feel like I missed a huge amount 654 00:26:24,890 --> 00:26:27,650 if it was just his face. 655 00:26:27,650 --> 00:26:29,340 You learn so much about the environment, 656 00:26:29,340 --> 00:26:32,160 you learn so much about the person, by having a wide shot. 657 00:26:32,160 --> 00:26:35,540 If this was a video, I might want to also have a close 658 00:26:35,540 --> 00:26:39,290 up when I started to hear about him and learn about who he was. 659 00:26:39,290 --> 00:26:42,850 But boy, this is great. 660 00:26:42,850 --> 00:26:45,060 How could you miss that? 661 00:26:45,060 --> 00:26:48,720 So again, showing environments, getting production value, 662 00:26:48,720 --> 00:26:51,960 establishing characters and relationships, relationships 663 00:26:51,960 --> 00:26:53,870 and space. 664 00:26:53,870 --> 00:26:56,120 Closer shots-- well, they kind of bring you 665 00:26:56,120 --> 00:26:58,100 into someone's world. 666 00:26:58,100 --> 00:27:00,440 They reveal details-- closer shots 667 00:27:00,440 --> 00:27:04,930 of a face, closer shots of what the person is looking at. 668 00:27:04,930 --> 00:27:07,230 If you're explaining something, obviously, 669 00:27:07,230 --> 00:27:11,510 really good close shots that show the angle, 670 00:27:11,510 --> 00:27:14,880 show from a good angle what you're trying to describe 671 00:27:14,880 --> 00:27:17,620 are very, very important. 672 00:27:17,620 --> 00:27:19,619 So again, it's kind of obvious, but just 673 00:27:19,619 --> 00:27:20,910 make sure to get those as well. 674 00:27:20,910 --> 00:27:22,330 You want to get the wide shot. 675 00:27:22,330 --> 00:27:24,930 But if you're actually describing a process that's 676 00:27:24,930 --> 00:27:27,170 like a physical process that somebody is doing, 677 00:27:27,170 --> 00:27:29,872 make sure you document it well, and that you don't shoot it 678 00:27:29,872 --> 00:27:31,580 from the angle where the person's hand is 679 00:27:31,580 --> 00:27:34,827 covering the key thing. 680 00:27:34,827 --> 00:27:36,910 Just look at your frame and see if you're actually 681 00:27:36,910 --> 00:27:40,880 communicating what you want to communicate. 682 00:27:40,880 --> 00:27:43,280 Moving shots-- endless kinds of moving shots. 683 00:27:43,280 --> 00:27:45,640 You can pan the camera on a tripod. 684 00:27:45,640 --> 00:27:47,000 You can walk with a camera. 685 00:27:47,000 --> 00:27:48,640 You can move on a dolly. 686 00:27:48,640 --> 00:27:53,770 They have all sorts of good great uses. 687 00:27:53,770 --> 00:27:55,720 They reveal story beats. 688 00:27:55,720 --> 00:27:58,130 If, again, to keep picking on Elizabeth, 689 00:27:58,130 --> 00:28:00,260 if I want to introduce Elizabeth, and I dolly 690 00:28:00,260 --> 00:28:03,019 or pan over to Elizabeth, people want 691 00:28:03,019 --> 00:28:05,060 to know what the end of that shot is going to be. 692 00:28:05,060 --> 00:28:07,190 What am I going to see? 693 00:28:07,190 --> 00:28:08,770 Oh, this person, who's a character 694 00:28:08,770 --> 00:28:11,810 that I am supposed to pay attention to. 695 00:28:11,810 --> 00:28:14,890 Or you can follow a person, it creates a very strong point 696 00:28:14,890 --> 00:28:15,390 of view. 697 00:28:15,390 --> 00:28:18,730 If someone's walking and talking and you're following them, 698 00:28:18,730 --> 00:28:20,950 then we pay attention to that person, 699 00:28:20,950 --> 00:28:24,290 because the camera is picking them out of the background 700 00:28:24,290 --> 00:28:25,650 to pay attention to. 701 00:28:25,650 --> 00:28:28,580 So that's part of this visual language. 702 00:28:28,580 --> 00:28:30,900 Similarly, we could do a point of view 703 00:28:30,900 --> 00:28:32,840 of that person's walking, and then we're 704 00:28:32,840 --> 00:28:34,090 suddenly into their world. 705 00:28:34,090 --> 00:28:38,120 So kind of a classic situation is someone's walking, 706 00:28:38,120 --> 00:28:41,270 we're following them, and then you cut to the reverse, 707 00:28:41,270 --> 00:28:43,570 and you see what they see. 708 00:28:43,570 --> 00:28:46,500 And now we're in their head. 709 00:28:46,500 --> 00:28:48,140 So it's another great thing. 710 00:28:48,140 --> 00:28:52,107 And then there's just kind of the classic one of we 711 00:28:52,107 --> 00:28:54,440 have reptile brains-- this is the same reason we edit it 712 00:28:54,440 --> 00:28:55,440 quickly. 713 00:28:55,440 --> 00:28:59,930 Here's a new thing, you can either cut to a new thing, 714 00:28:59,930 --> 00:29:02,905 or you can pan or dolly to a new thing. 715 00:29:05,960 --> 00:29:10,685 Let's see-- just a quick word about locations. 716 00:29:13,342 --> 00:29:15,300 You're going to talk about this too, but always 717 00:29:15,300 --> 00:29:16,440 scout your locations. 718 00:29:16,440 --> 00:29:18,530 It's smart producing, which Elizabeth 719 00:29:18,530 --> 00:29:21,866 is going to talk about, but it's also very smart creatively. 720 00:29:21,866 --> 00:29:23,240 I have been in so many situations 721 00:29:23,240 --> 00:29:27,390 where I've gone to a location a few days in advance, 722 00:29:27,390 --> 00:29:30,030 and I have completely rewritten my script 723 00:29:30,030 --> 00:29:31,660 based on the location. 724 00:29:31,660 --> 00:29:34,380 Either because I saw a problem that I wasn't anticipating-- 725 00:29:34,380 --> 00:29:37,030 like a classic one is, OK, well, we're 726 00:29:37,030 --> 00:29:39,900 going to film all this stuff at the electron microscope, 727 00:29:39,900 --> 00:29:43,610 but there's a column here, and I can't shoot anything 728 00:29:43,610 --> 00:29:44,970 from this angle. 729 00:29:44,970 --> 00:29:46,100 Oh, shit. 730 00:29:46,100 --> 00:29:49,070 It's really good to find that out a few days in advance, 731 00:29:49,070 --> 00:29:51,110 because you can't move the microscope. 732 00:29:51,110 --> 00:29:53,206 So what are you going to do? 733 00:29:53,206 --> 00:29:54,830 Or because the location is really cool, 734 00:29:54,830 --> 00:29:55,913 and there's amazing stuff. 735 00:29:55,913 --> 00:29:57,720 And you get very excited, because there's 736 00:29:57,720 --> 00:30:01,370 all sorts of possibilities that open up that you couldn't have 737 00:30:01,370 --> 00:30:04,190 ever imagined just sitting, doing your own story 738 00:30:04,190 --> 00:30:06,970 board in your room or writing your script. 739 00:30:06,970 --> 00:30:09,720 But suddenly because this place is amazing, 740 00:30:09,720 --> 00:30:11,890 you see all sorts of things that you could do. 741 00:30:11,890 --> 00:30:15,510 So I always suggest trying to visit your location. 742 00:30:15,510 --> 00:30:18,520 One, for just kind of practical scouting reasons, 743 00:30:18,520 --> 00:30:23,260 like is there a chainsaw factory next door? 744 00:30:23,260 --> 00:30:25,570 But two, because it can completely 745 00:30:25,570 --> 00:30:27,180 affect your creative vision. 746 00:30:27,180 --> 00:30:28,770 And try to do it enough in advance 747 00:30:28,770 --> 00:30:30,561 so that you can incorporate what you learn. 748 00:30:32,900 --> 00:30:34,650 So I'm going to just wrap up with a couple 749 00:30:34,650 --> 00:30:36,050 words about editing. 750 00:30:36,050 --> 00:30:38,539 This is where all of the stuff comes together 751 00:30:38,539 --> 00:30:40,580 and where you find out whether your plan worked-- 752 00:30:40,580 --> 00:30:44,210 your storyboard, your visual language, your script. 753 00:30:44,210 --> 00:30:46,710 And it's also where you fix all the things that didn't work. 754 00:30:46,710 --> 00:30:49,043 And I guarantee you that plenty of things will not work. 755 00:30:52,730 --> 00:30:54,910 Just a word about pacing, B-roll, and transitions. 756 00:30:54,910 --> 00:30:56,979 So pacing is kind of like how much do I edit. 757 00:30:56,979 --> 00:30:58,520 And this is kind of the big question, 758 00:30:58,520 --> 00:31:00,940 like, gee, what's the big thing? 759 00:31:00,940 --> 00:31:02,100 What's the secret? 760 00:31:02,100 --> 00:31:03,050 What's my pacing? 761 00:31:03,050 --> 00:31:04,630 What should it be like? 762 00:31:04,630 --> 00:31:06,770 And I don't think there is an answer to this. 763 00:31:06,770 --> 00:31:11,060 When I was in film school 20-plus years ago, 764 00:31:11,060 --> 00:31:14,190 I was being taught by people who were trained in the 1950s. 765 00:31:14,190 --> 00:31:16,960 And people who were trained in the 1950s 766 00:31:16,960 --> 00:31:21,150 would tell us, well, you really can't edit faster 767 00:31:21,150 --> 00:31:23,670 than four seconds per shot. 768 00:31:23,670 --> 00:31:27,200 Because the human brain just can't comprehend an image 769 00:31:27,200 --> 00:31:29,310 that lasts shorter than four seconds. 770 00:31:29,310 --> 00:31:33,090 And I remember dutifully editing my very first piece 771 00:31:33,090 --> 00:31:35,790 and following that rule and watching it and going, 772 00:31:35,790 --> 00:31:37,210 this sucks. 773 00:31:37,210 --> 00:31:39,000 This is terrible. 774 00:31:39,000 --> 00:31:40,210 What's wrong with this? 775 00:31:40,210 --> 00:31:41,620 This is awful. 776 00:31:41,620 --> 00:31:46,060 And it's because four seconds is a really long time 777 00:31:46,060 --> 00:31:48,660 in some cases, in a lot of cases, in many cases, 778 00:31:48,660 --> 00:31:49,970 in most cases. 779 00:31:49,970 --> 00:31:52,370 And that has increased-- has only increased. 780 00:31:52,370 --> 00:31:54,184 My idea of a fast edit may be completely 781 00:31:54,184 --> 00:31:56,600 different than your idea of a fast edit because I'm older. 782 00:31:56,600 --> 00:31:58,780 I don't know. 783 00:31:58,780 --> 00:32:01,340 And there's also the difference between genres. 784 00:32:01,340 --> 00:32:03,610 I think Elizabeth mentioned this briefly, 785 00:32:03,610 --> 00:32:06,720 television-- there's this sort of like bombard everybody. 786 00:32:06,720 --> 00:32:08,970 If you want to show an establishing shot 787 00:32:08,970 --> 00:32:11,280 of a house in a reality TV show, you can't just 788 00:32:11,280 --> 00:32:12,490 show one shot or two shots. 789 00:32:12,490 --> 00:32:14,004 You have to show eight shots. 790 00:32:14,004 --> 00:32:16,420 They're each 12 frames long, like, boom, boom, boom, boom, 791 00:32:16,420 --> 00:32:18,010 boom, with drums going. 792 00:32:18,010 --> 00:32:21,990 Just to make the reptile brain go, oh, yeah, 793 00:32:21,990 --> 00:32:23,470 this is important somehow. 794 00:32:23,470 --> 00:32:24,494 I don't know. 795 00:32:24,494 --> 00:32:26,410 And it gets kind of absurd at a certain point, 796 00:32:26,410 --> 00:32:29,760 and it can be, obviously, overediting. 797 00:32:29,760 --> 00:32:32,525 But the more typical experience that people 798 00:32:32,525 --> 00:32:33,900 who are just starting out have is 799 00:32:33,900 --> 00:32:37,000 that they don't shoot enough, not that they shoot too much. 800 00:32:37,000 --> 00:32:39,050 You think, oh, I've got three shots, 801 00:32:39,050 --> 00:32:41,690 and this is going to cover like 30 seconds of my video. 802 00:32:41,690 --> 00:32:44,730 But 30 seconds can be an eternity. 803 00:32:44,730 --> 00:32:49,730 And if your shots aren't telling a story, 804 00:32:49,730 --> 00:32:52,270 that could be pretty skimpy. 805 00:32:52,270 --> 00:32:53,770 Which brings us to B-roll, I'm going 806 00:32:53,770 --> 00:32:55,919 to talk about that in one second with an example. 807 00:32:55,919 --> 00:32:58,210 The other thing, though, to think about is transitions. 808 00:32:58,210 --> 00:33:00,460 How do I get from this to that? 809 00:33:00,460 --> 00:33:01,920 Obviously, you can just cut. 810 00:33:01,920 --> 00:33:07,040 But is there an issue-- like I'm cutting 811 00:33:07,040 --> 00:33:08,960 from a medium shot of Chris talking, talking, 812 00:33:08,960 --> 00:33:10,950 talking, to a medium shot of Elizabeth talking, 813 00:33:10,950 --> 00:33:12,070 talking, talking. 814 00:33:12,070 --> 00:33:15,040 That's not necessarily super compelling. 815 00:33:15,040 --> 00:33:17,240 Do I need some other way of transitioning? 816 00:33:17,240 --> 00:33:19,210 Do I need a wide shot of the classroom? 817 00:33:19,210 --> 00:33:21,660 Do I need people listening? 818 00:33:21,660 --> 00:33:23,460 What other shots do I need to tell my story 819 00:33:23,460 --> 00:33:26,448 and to transition from scene to scene? 820 00:33:26,448 --> 00:33:30,550 The B-roll I just wanted to mention. 821 00:33:30,550 --> 00:33:33,070 Have you guys talked about what that even means at all? 822 00:33:33,070 --> 00:33:34,690 OK. 823 00:33:34,690 --> 00:33:38,700 I was going to show this in the PowerPoint. 824 00:33:38,700 --> 00:33:43,100 But B-roll is a term that goes back, way, way back, 825 00:33:43,100 --> 00:33:46,530 like 80 years ago, when people edited on film. 826 00:33:46,530 --> 00:33:48,460 The B-roll was the second roll of film 827 00:33:48,460 --> 00:33:51,260 that they would then composite over the first roll of film. 828 00:33:51,260 --> 00:33:54,140 And it was all the stuff that wasn't included 829 00:33:54,140 --> 00:33:56,690 in the sort of main narrative. 830 00:33:56,690 --> 00:33:58,440 And I'll show you what I mean in a minute. 831 00:33:58,440 --> 00:34:00,690 This is just a little snippet from a video 832 00:34:00,690 --> 00:34:02,940 that we shot not too long ago with Jeff Hoffman, who's 833 00:34:02,940 --> 00:34:05,900 a professor here in AeroAstro, a former astronaut. 834 00:34:05,900 --> 00:34:09,600 And we had done a storyboard and kind of a script plan. 835 00:34:09,600 --> 00:34:12,590 So we knew when he was going to be on camera and when not. 836 00:34:12,590 --> 00:34:13,500 [VIDEO PLAYBACK] 837 00:34:13,500 --> 00:34:17,280 -The design, construction, and operation of aerospace vehicles 838 00:34:17,280 --> 00:34:19,670 have allowed us to leave the surface of the earth 839 00:34:19,670 --> 00:34:24,400 and fly through our planet's atmosphere and out into space. 840 00:34:24,400 --> 00:34:25,800 I'm Jeff Hoffman. 841 00:34:25,800 --> 00:34:27,675 I'm a professor in the Department of Aero-- 842 00:34:27,675 --> 00:34:27,800 [END PLAYBACK] 843 00:34:27,800 --> 00:34:29,250 GUEST SPEAKER: So anyway, we knew 844 00:34:29,250 --> 00:34:32,210 that he wasn't going to be on camera in the first part. 845 00:34:32,210 --> 00:34:33,780 So we were able to cut between takes. 846 00:34:33,780 --> 00:34:37,080 We didn't even bother to really have 847 00:34:37,080 --> 00:34:40,750 him be compelling on camera at that point. 848 00:34:40,750 --> 00:34:42,429 But here we knew he would be on camera, 849 00:34:42,429 --> 00:34:43,739 so we filmed him that way. 850 00:34:43,739 --> 00:34:46,730 And the first string out is just literally 851 00:34:46,730 --> 00:34:49,980 putting together your script in a very linear way, 852 00:34:49,980 --> 00:34:55,460 the way you wrote it, without any kind of fancy stuff. 853 00:34:55,460 --> 00:34:58,750 And then I'll just show you what it looked like after. 854 00:35:04,900 --> 00:35:08,644 I'll just show the first 10 seconds, and then I'll be done. 855 00:35:08,644 --> 00:35:09,310 [VIDEO PLAYBACK] 856 00:35:09,310 --> 00:35:12,810 [MUSIC PLAYING] 857 00:35:14,264 --> 00:35:23,590 -Commencing sequence start-- 6, 5, 4, 3, 2, 1, 0. 858 00:35:23,590 --> 00:35:25,578 All engines running. 859 00:35:25,578 --> 00:35:26,572 Lift off. 860 00:35:26,572 --> 00:35:28,063 We have a lift off. 861 00:35:28,063 --> 00:35:33,540 32 minutes past the hour, lift off on Apollo 11. 862 00:35:33,540 --> 00:35:36,462 -Have you ever wondered how rockets work? 863 00:35:36,462 --> 00:35:38,670 Have you ever looked out of the window of an airplane 864 00:35:38,670 --> 00:35:42,682 and wondered how something so big and heavy can actually fly? 865 00:35:42,682 --> 00:35:44,140 Have you ever wondered what happens 866 00:35:44,140 --> 00:35:46,440 to the human body in space, or how 867 00:35:46,440 --> 00:35:48,830 a spacesuit keeps astronauts alive and able 868 00:35:48,830 --> 00:35:51,800 to work in the vacuum of space? 869 00:35:51,800 --> 00:35:55,760 These topics are all part of aerospace engineering. 870 00:35:55,760 --> 00:35:58,580 Aerospace engineering is giving humans the freedom 871 00:35:58,580 --> 00:36:00,960 to move in three dimensions. 872 00:36:00,960 --> 00:36:04,620 The design, construction, and operation of aerospace vehicles 873 00:36:04,620 --> 00:36:07,070 have allowed us to leave the surface of the earth 874 00:36:07,070 --> 00:36:10,262 and fly through our planet's atmosphere and out into space. 875 00:36:14,710 --> 00:36:16,620 -Mission specialist Jeff Hoffman. 876 00:36:16,620 --> 00:36:19,950 -Hello, Jeff? 877 00:36:19,950 --> 00:36:21,260 -I'm Jeff Hoffman. 878 00:36:21,260 --> 00:36:23,670 I'm a professor in the Department of Aeronautics 879 00:36:23,670 --> 00:36:25,950 and Astronautics at MIT. 880 00:36:25,950 --> 00:36:28,800 Before coming to MIT, I spent 19 years at-- 881 00:36:28,800 --> 00:36:30,285 [END PLAYBACK] 882 00:36:30,285 --> 00:36:31,830 GUEST SPEAKER: [AUDIO OUT] We were 883 00:36:31,830 --> 00:36:35,130 able to shoot with him very, very quickly, because we 884 00:36:35,130 --> 00:36:36,560 knew what we needed on camera. 885 00:36:36,560 --> 00:36:38,060 And we knew that we were going to be 886 00:36:38,060 --> 00:36:41,920 able to cover and fill and sort of explain things 887 00:36:41,920 --> 00:36:43,270 with other imagery. 888 00:36:43,270 --> 00:36:45,792 In this case, a lot of it's obviously archival stuff, 889 00:36:45,792 --> 00:36:47,250 but it could be stuff that we shot. 890 00:36:47,250 --> 00:36:49,640 And later in the video there is stuff that we shot, 891 00:36:49,640 --> 00:36:51,920 but it was all the same plan. 892 00:36:51,920 --> 00:36:55,320 Anyway, I know that's a lot of stuff thrown at you, 893 00:36:55,320 --> 00:36:57,830 but I'm also cognizant of the time. 894 00:36:57,830 --> 00:37:01,700 So we can talk about this after class, too, if you would like. 895 00:37:01,700 --> 00:37:03,340 Thanks. 896 00:37:03,340 --> 00:37:07,150 PROFESSOR: So just to give another example of B-roll 897 00:37:07,150 --> 00:37:10,330 maybe on a more likely level for you guys, 898 00:37:10,330 --> 00:37:13,170 because I assume you won't be going out into outer space. 899 00:37:13,170 --> 00:37:14,670 GUEST SPEAKER: Well, neither did we. 900 00:37:14,670 --> 00:37:15,760 I called NASA. 901 00:37:15,760 --> 00:37:17,140 NASA is a great resource. 902 00:37:20,430 --> 00:37:23,952 PROFESSOR: For Anastasia's video-- 903 00:37:23,952 --> 00:37:24,618 [VIDEO PLAYBACK] 904 00:37:24,618 --> 00:37:27,790 -What do these awesome compounds have in common? 905 00:37:27,790 --> 00:37:30,130 They all come from plants! 906 00:37:30,130 --> 00:37:33,497 [MUSIC PLAYING] 907 00:37:37,247 --> 00:37:37,830 [END PLAYBACK] 908 00:37:37,830 --> 00:37:40,329 PROFESSOR: You notice that she's not talking over any of it. 909 00:37:40,329 --> 00:37:41,930 We put the B-roll in because we needed 910 00:37:41,930 --> 00:37:44,140 to give the video a little bit of space to breathe. 911 00:37:44,140 --> 00:37:47,010 Otherwise it would have been just her talking constantly 912 00:37:47,010 --> 00:37:48,090 and saying facts. 913 00:37:48,090 --> 00:37:51,520 So we wanted to help with the pacing of the video, which is 914 00:37:51,520 --> 00:37:52,740 what Chris was talking about. 915 00:37:52,740 --> 00:37:53,948 So that's why we shot B-roll. 916 00:37:53,948 --> 00:37:58,549 So if you're-- especially you, Paul, 917 00:37:58,549 --> 00:38:01,090 because I imagine you're going to shoot some stuff maybe with 918 00:38:01,090 --> 00:38:04,370 a boat, sort of like you have access to certain equipment. 919 00:38:04,370 --> 00:38:06,550 Whoever you're filming with, you're not only 920 00:38:06,550 --> 00:38:08,570 going to shoot, Paul, but I would also 921 00:38:08,570 --> 00:38:13,090 spend some time maybe just doing a pan of your environment, 922 00:38:13,090 --> 00:38:14,970 shooting some of the equipment that's around. 923 00:38:14,970 --> 00:38:17,270 It may not be super relevant to what you're 924 00:38:17,270 --> 00:38:18,980 talking about exactly in those moments, 925 00:38:18,980 --> 00:38:20,790 but you can always have that footage 926 00:38:20,790 --> 00:38:23,306 to intersperse like we did here, if that makes sense. 927 00:38:26,370 --> 00:38:30,250 And as Chris was saying, you're not always 928 00:38:30,250 --> 00:38:32,566 going to shoot B-roll yourself. 929 00:38:32,566 --> 00:38:36,380 NASA, I guess, is what you guys used. 930 00:38:36,380 --> 00:38:38,800 And all of their stuff is-- they're not 931 00:38:38,800 --> 00:38:40,030 copyrighted or licensed. 932 00:38:40,030 --> 00:38:41,990 So you can use that footage. 933 00:38:41,990 --> 00:38:45,535 There's a lot of-- there a lot of photos and pictures 934 00:38:45,535 --> 00:38:46,410 that you can look up. 935 00:38:46,410 --> 00:38:49,040 I'm going to talk a little bit more about music 936 00:38:49,040 --> 00:38:52,860 that you can use, and I can hit graphics as well next week 937 00:38:52,860 --> 00:38:54,844 during the editing lecture. 938 00:38:54,844 --> 00:38:56,260 But there are resources out there, 939 00:38:56,260 --> 00:39:00,790 if you want certain footage that you just can't shoot yourself.