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 00:00:25,879 --> 00:00:28,710 PROFESSOR: I want to talk a little bit about producing 9 00:00:28,710 --> 00:00:35,340 and realizing your visions, and give 10 00:00:35,340 --> 00:00:40,080 an example of some of the things that Chris was talking about. 11 00:00:40,080 --> 00:00:44,170 So we shot a video on how engines worked, and there 12 00:00:44,170 --> 00:00:47,766 is a part of the video where the two creators were talking 13 00:00:47,766 --> 00:00:49,140 about how a turbine engine works. 14 00:00:49,140 --> 00:00:51,400 And I think I might have told this story before, 15 00:00:51,400 --> 00:00:54,642 about how we ended up finding like an actual Boeing engine. 16 00:00:54,642 --> 00:00:56,100 But there are a lot of ways that we 17 00:00:56,100 --> 00:00:57,308 could have filmed this scene. 18 00:00:57,308 --> 00:01:02,220 We could have animated it, we could have done a wide frame 19 00:01:02,220 --> 00:01:05,820 shot with animation overlay, like I showed you with George's 20 00:01:05,820 --> 00:01:08,050 [INAUDIBLE] videos. 21 00:01:08,050 --> 00:01:10,840 We could have done B-roll, so we could have just done 22 00:01:10,840 --> 00:01:12,370 like close up shots of the engine 23 00:01:12,370 --> 00:01:15,560 while you heard Luke explaining how it worked, 24 00:01:15,560 --> 00:01:16,550 with his voiceover. 25 00:01:16,550 --> 00:01:19,380 Or we could have done a live explanation, 26 00:01:19,380 --> 00:01:20,630 which is what we went with. 27 00:01:23,370 --> 00:01:26,730 So this is how George shot Luke. 28 00:01:26,730 --> 00:01:28,880 We went with the traditional thirds framing. 29 00:01:28,880 --> 00:01:31,430 Again, this isn't necessarily a rule that you have to go by, 30 00:01:31,430 --> 00:01:34,200 it just worked really well for this scene. 31 00:01:34,200 --> 00:01:37,690 And we went with this because it also 32 00:01:37,690 --> 00:01:42,070 gave us the ability to do sort of an interesting point of view 33 00:01:42,070 --> 00:01:42,570 shot. 34 00:01:42,570 --> 00:01:45,100 The point of view isn't from the narrator, 35 00:01:45,100 --> 00:01:46,550 it's actually from the viewer. 36 00:01:46,550 --> 00:01:49,670 So I'll show you the clip in a second. 37 00:01:49,670 --> 00:01:51,860 But essentially, we did one long take 38 00:01:51,860 --> 00:01:55,280 where George moved his camera as Luke was explaining 39 00:01:55,280 --> 00:01:56,460 the parts of the engine. 40 00:01:56,460 --> 00:02:00,520 So we wanted it to feel like the camera was basically 41 00:02:00,520 --> 00:02:05,410 where a person would be if Luke was explaining how a turbine 42 00:02:05,410 --> 00:02:08,891 engine works to a person standing there. 43 00:02:08,891 --> 00:02:10,339 LUKE: --won't work. 44 00:02:10,339 --> 00:02:11,880 FEMALE IN VIDEO: What you really need 45 00:02:11,880 --> 00:02:14,952 is one engine that can produce enough horsepower 46 00:02:14,952 --> 00:02:15,660 to fly the plane. 47 00:02:15,660 --> 00:02:19,760 A turbine engine is capable of much more horse power 48 00:02:19,760 --> 00:02:21,810 than a piston engine because of the way 49 00:02:21,810 --> 00:02:24,805 it uses giant fans to compress the air. 50 00:02:24,805 --> 00:02:26,180 LUKE: At the front of the turbine 51 00:02:26,180 --> 00:02:29,200 engine is an intake fan which spins 52 00:02:29,200 --> 00:02:32,800 and brings a huge amount of air into the front of the engine. 53 00:02:32,800 --> 00:02:34,970 As we move backwards through the engine, 54 00:02:34,970 --> 00:02:38,460 a series of compressor blades makes that air more and more 55 00:02:38,460 --> 00:02:40,850 compressed, until we get here. 56 00:02:40,850 --> 00:02:43,500 And here, fuel is introduced and burned. 57 00:02:43,500 --> 00:02:46,270 And that hot, high pressure flow gets sent 58 00:02:46,270 --> 00:02:47,480 out the back of the engine. 59 00:02:47,480 --> 00:02:49,520 And that makes the thrust of the engine. 60 00:02:49,520 --> 00:02:51,350 But at the same time, that flow passes 61 00:02:51,350 --> 00:02:54,760 through a series of four or five turbine blades, 62 00:02:54,760 --> 00:02:56,430 and those blades are connected directly 63 00:02:56,430 --> 00:02:58,620 to a shaft at the middle of the engine. 64 00:02:58,620 --> 00:03:01,280 That shaft runs all the way back to the front 65 00:03:01,280 --> 00:03:03,420 and spins the intake fan. 66 00:03:03,420 --> 00:03:07,070 That's what keeps the engine running. 67 00:03:07,070 --> 00:03:09,380 PROFESSOR: So that shot worked because Luke 68 00:03:09,380 --> 00:03:12,330 was very comfortable explaining that in one long take. 69 00:03:12,330 --> 00:03:15,580 He actually ad libbed that whole thing. 70 00:03:15,580 --> 00:03:18,370 And I can see that it's a lot of information at once, 71 00:03:18,370 --> 00:03:20,620 so maybe it would have been better to do an animation. 72 00:03:20,620 --> 00:03:22,869 We certainly could've done it a lot of different ways. 73 00:03:22,869 --> 00:03:24,450 But what I like about that shot is 74 00:03:24,450 --> 00:03:26,570 that if you were just standing there, 75 00:03:26,570 --> 00:03:29,290 and Luke was explaining it to you, 76 00:03:29,290 --> 00:03:31,500 the camera would basically be your eyes, right? 77 00:03:31,500 --> 00:03:33,160 Like you would walk along with him, 78 00:03:33,160 --> 00:03:36,270 and you would look down at the engine when he pointed to it, 79 00:03:36,270 --> 00:03:38,160 you would look back up at him. 80 00:03:38,160 --> 00:03:41,090 So that's the type of movement that Chris was talking about 81 00:03:41,090 --> 00:03:43,000 that you can introduce to your video. 82 00:03:43,000 --> 00:03:46,057 It would be really different if we had just set up a tripod 83 00:03:46,057 --> 00:03:47,890 and had Luke explain the whole thing, right? 84 00:03:47,890 --> 00:03:50,417 Like it would have been a very different experience. 85 00:03:50,417 --> 00:03:51,371 GUEST SPEAKER: And it's not random movement, 86 00:03:51,371 --> 00:03:53,040 it's obviously very directed, which 87 00:03:53,040 --> 00:03:55,187 is the key to many of these kinds of things. 88 00:03:55,187 --> 00:03:56,387 It's not [INAUDIBLE] 89 00:03:56,387 --> 00:03:57,095 PROFESSOR: Right. 90 00:03:57,095 --> 00:04:01,280 Like we wanted to really follow what the natural person would 91 00:04:01,280 --> 00:04:05,095 do if they were just standing there talking to Luke. 92 00:04:05,095 --> 00:04:06,970 I want to talk about the lighting real quick. 93 00:04:06,970 --> 00:04:10,000 So we were in an airplane hangar, 94 00:04:10,000 --> 00:04:11,790 and it was like one in the morning, 95 00:04:11,790 --> 00:04:13,380 so it was super dark outside. 96 00:04:13,380 --> 00:04:16,350 I mean, we mostly relied on the overhead lights. 97 00:04:16,350 --> 00:04:20,660 I don't actually know if we lit this with anything else. 98 00:04:20,660 --> 00:04:23,050 Because it's super bright in there. 99 00:04:23,050 --> 00:04:25,170 So you don't need super fancy equipment 100 00:04:25,170 --> 00:04:30,170 to achieve the videos that you guys are going to do. 101 00:04:30,170 --> 00:04:32,930 So to talk a little bit more about producing, 102 00:04:32,930 --> 00:04:35,324 when you think of directing I feel 103 00:04:35,324 --> 00:04:37,740 like that's what most people think of when making a video. 104 00:04:37,740 --> 00:04:39,948 And directing is a lot about thinking in the present. 105 00:04:39,948 --> 00:04:43,500 So you're coaching the host, you're coaching the talent, 106 00:04:43,500 --> 00:04:45,697 telling them what to do right there in that moment. 107 00:04:45,697 --> 00:04:47,530 You're thinking about what the framing looks 108 00:04:47,530 --> 00:04:48,690 like in that moment. 109 00:04:48,690 --> 00:04:51,570 Producing is a lot about thinking about the future, 110 00:04:51,570 --> 00:04:55,420 anticipating what's coming next, the mistakes that you're 111 00:04:55,420 --> 00:04:56,240 going to make. 112 00:04:56,240 --> 00:05:00,807 So on a practical level it's a lot of check boxes, basically. 113 00:05:00,807 --> 00:05:02,390 You're thinking about where am I going 114 00:05:02,390 --> 00:05:04,890 to film, what are my backups going to be, where am I 115 00:05:04,890 --> 00:05:06,570 going to record voice over? 116 00:05:06,570 --> 00:05:10,430 My experience filming at MIT is that it is incredibly difficult 117 00:05:10,430 --> 00:05:15,730 to find a quiet place on campus to record clean voiceover. 118 00:05:15,730 --> 00:05:17,864 And if you're having trouble finding a spot, 119 00:05:17,864 --> 00:05:19,030 come talk to me at any time. 120 00:05:19,030 --> 00:05:20,429 I can help you with that. 121 00:05:20,429 --> 00:05:21,762 AUDIENCE: What do you mean that? 122 00:05:21,762 --> 00:05:23,634 Why do you mean that? 123 00:05:23,634 --> 00:05:25,550 PROFESSOR: So take this classroom for example, 124 00:05:25,550 --> 00:05:30,050 most of the spaces on campus have this hum overhead. 125 00:05:30,050 --> 00:05:32,620 And most of you guys will be relying on the lavalier mic, 126 00:05:32,620 --> 00:05:34,330 so it's not as bad. 127 00:05:34,330 --> 00:05:38,162 But there's just a lot of background noise 128 00:05:38,162 --> 00:05:41,420 that is on campus. 129 00:05:41,420 --> 00:05:44,190 So if you're just recording plain voice over 130 00:05:44,190 --> 00:05:47,080 that you want to use in your video, 131 00:05:47,080 --> 00:05:48,580 it would be more ideal if you could 132 00:05:48,580 --> 00:05:52,440 get something that's quieter than this room, for example. 133 00:05:52,440 --> 00:05:55,660 So you're thinking in checklists, 134 00:05:55,660 --> 00:05:57,920 and some of the boxes are a little more inane, 135 00:05:57,920 --> 00:05:59,970 like did we shoot all of the scenes? 136 00:05:59,970 --> 00:06:01,890 Which sounds stupid, but I actually 137 00:06:01,890 --> 00:06:03,850 missed that on my own video. 138 00:06:03,850 --> 00:06:06,520 I forgot to film one of the scenes. 139 00:06:06,520 --> 00:06:07,910 And then, did we get clean audio? 140 00:06:07,910 --> 00:06:11,210 So a tip that I would recommend for you guys 141 00:06:11,210 --> 00:06:14,050 is, even after you film all of your scenes, 142 00:06:14,050 --> 00:06:18,640 I would sit down and just record voiceover of your entire script 143 00:06:18,640 --> 00:06:20,450 in a separate audio file. 144 00:06:20,450 --> 00:06:22,920 Because you never know, looking back on the footage, 145 00:06:22,920 --> 00:06:27,110 there may be sections where the audio isn't very clean. 146 00:06:27,110 --> 00:06:29,530 So you may have to rely on your clean voiceover 147 00:06:29,530 --> 00:06:30,390 for that section. 148 00:06:30,390 --> 00:06:32,400 And maybe use B-roll to fill in. 149 00:06:32,400 --> 00:06:34,150 If that makes sense to people. 150 00:06:34,150 --> 00:06:36,720 Does anyone have questions so far? 151 00:06:36,720 --> 00:06:37,570 Yes. 152 00:06:37,570 --> 00:06:40,210 AUDIENCE: Like you are filming, and then you have a voice-- 153 00:06:40,210 --> 00:06:40,972 PROFESSOR: Yeah. 154 00:06:40,972 --> 00:06:43,305 AUDIENCE: --then you want to use a voiceover separately. 155 00:06:43,305 --> 00:06:45,444 Then wouldn't the pacing off? 156 00:06:45,444 --> 00:06:46,110 PROFESSOR: Yeah. 157 00:06:46,110 --> 00:06:53,880 So for example we shot a video, and part of it-- 158 00:06:53,880 --> 00:06:56,770 I'll talk more about it during the editing lecture next week, 159 00:06:56,770 --> 00:06:59,550 but if you can find a clean place to transition 160 00:06:59,550 --> 00:07:03,150 between the live footage and your voiceover, 161 00:07:03,150 --> 00:07:04,950 that's like the best way to do that if you 162 00:07:04,950 --> 00:07:10,040 find that some of your footage just has really bad live audio. 163 00:07:10,040 --> 00:07:13,030 For every place that you shoot, I 164 00:07:13,030 --> 00:07:15,900 recommend that you get room tone, which is basically 165 00:07:15,900 --> 00:07:17,660 the natural sound of the room. 166 00:07:17,660 --> 00:07:21,120 So for example, if you were going to shoot in this room, 167 00:07:21,120 --> 00:07:23,950 you would shoot the scene, and then you would take your mic 168 00:07:23,950 --> 00:07:26,627 and just record 30 seconds where everyone's quiet. 169 00:07:26,627 --> 00:07:28,460 And it's just going to record the background 170 00:07:28,460 --> 00:07:30,150 noise of the room. 171 00:07:30,150 --> 00:07:35,210 And you do that because if there is a case where you're 172 00:07:35,210 --> 00:07:37,380 relying on voiceover that you shot later, 173 00:07:37,380 --> 00:07:40,824 or you're cutting bits and pieces from the footage 174 00:07:40,824 --> 00:07:42,240 that you shot in this room, you're 175 00:07:42,240 --> 00:07:44,240 going to have this gap or a hiccup 176 00:07:44,240 --> 00:07:47,230 where the hum doesn't exist, and it's 177 00:07:47,230 --> 00:07:49,080 going to sound really awkward in the video. 178 00:07:49,080 --> 00:07:52,140 So you layer the room tone underneath when 179 00:07:52,140 --> 00:07:54,400 you're editing so that you don't have those hiccups 180 00:07:54,400 --> 00:07:57,130 between the cuts that you make. 181 00:07:57,130 --> 00:07:58,800 GUEST SPEAKER: It's kind of a decision 182 00:07:58,800 --> 00:08:01,391 that you have to make, too, based on the room. 183 00:08:01,391 --> 00:08:04,690 So like with Jeff, we actually did the voiceover in the room. 184 00:08:04,690 --> 00:08:08,550 Because it had a hum, so we could have done 185 00:08:08,550 --> 00:08:09,800 a better job of the voiceover. 186 00:08:09,800 --> 00:08:13,090 But what we decided was that it would be more jarring if there 187 00:08:13,090 --> 00:08:15,960 was a major audio quality difference between the voice 188 00:08:15,960 --> 00:08:18,650 over and the on camera, you know, 189 00:08:18,650 --> 00:08:22,560 had we done it in a studio or in a better space later. 190 00:08:22,560 --> 00:08:26,300 So, you know, it was clean enough, we accepted it. 191 00:08:26,300 --> 00:08:28,450 And that's why we had him do everything 192 00:08:28,450 --> 00:08:30,720 on the spot in the same place, so that it wouldn't 193 00:08:30,720 --> 00:08:32,034 have that drop in and out. 194 00:08:32,034 --> 00:08:32,700 PROFESSOR: Yeah. 195 00:08:32,700 --> 00:08:33,991 Does that make sense to people? 196 00:08:33,991 --> 00:08:38,059 Like if we took the footage, like this footage where 197 00:08:38,059 --> 00:08:40,820 I'm talking here, and then we cut to something where 198 00:08:40,820 --> 00:08:43,970 I continue to talk about this class, 199 00:08:43,970 --> 00:08:45,940 but I was doing it over a voiceover, 200 00:08:45,940 --> 00:08:48,610 and we had some B-roll of you guys working. 201 00:08:48,610 --> 00:08:51,157 The first scene, you would hear the hum, 202 00:08:51,157 --> 00:08:52,240 and you'd hear me talking. 203 00:08:52,240 --> 00:08:54,010 But in the second scene, you would just 204 00:08:54,010 --> 00:08:57,860 hear like very clean dead space while I'm talking. 205 00:08:57,860 --> 00:09:00,030 And you would see you guys working. 206 00:09:00,030 --> 00:09:02,250 And it would sound and look really weird. 207 00:09:02,250 --> 00:09:04,146 It would feel really weird to watch. 208 00:09:04,146 --> 00:09:06,430 GUEST SPEAKER: So we just did another video 209 00:09:06,430 --> 00:09:09,504 not unlike the [INAUDIBLE] video, 210 00:09:09,504 --> 00:09:11,670 except that the person is in Kendall Square talking. 211 00:09:11,670 --> 00:09:13,870 All the on camera stuff was in Kendall Square. 212 00:09:13,870 --> 00:09:16,600 And that's really noisy, so we decided in 213 00:09:16,600 --> 00:09:17,820 that case to do the opposite. 214 00:09:17,820 --> 00:09:21,404 We didn't have him record everything in Kendall Square, 215 00:09:21,404 --> 00:09:23,820 because then we would be dealing with problems throughout. 216 00:09:23,820 --> 00:09:27,280 But what we did is we recorded the equivalent of room tone. 217 00:09:27,280 --> 00:09:30,800 We just got audio of Kendall Square, 218 00:09:30,800 --> 00:09:33,780 and then we were able to sort of slowly fade it out 219 00:09:33,780 --> 00:09:35,530 after the person was on camera, so that it 220 00:09:35,530 --> 00:09:36,790 was more imperceptible. 221 00:09:36,790 --> 00:09:39,810 And then slowly fade it back in before an on camera 222 00:09:39,810 --> 00:09:42,028 arrived-- you know, comes back. 223 00:09:42,028 --> 00:09:43,986 AUDIENCE: There's no way you can filter it out? 224 00:09:43,986 --> 00:09:45,880 Just kind of-- 225 00:09:45,880 --> 00:09:47,650 GUEST SPEAKER: Well you can filter audio. 226 00:09:47,650 --> 00:09:50,640 What I always tell people is don't. 227 00:09:50,640 --> 00:09:52,220 Especially like, if you're not going 228 00:09:52,220 --> 00:09:53,900 to spend thousands of dollars doing it, 229 00:09:53,900 --> 00:09:56,790 don't think you can do a lot. 230 00:09:56,790 --> 00:09:59,930 There are a lot of consumer tools that are available. 231 00:09:59,930 --> 00:10:02,760 They generally really degrade the voice. 232 00:10:02,760 --> 00:10:06,172 Everyone ends up sounding like I'm Stephen Hawking. 233 00:10:06,172 --> 00:10:08,380 PROFESSOR: Because the frequencies in the room tone-- 234 00:10:08,380 --> 00:10:09,500 GUEST SPEAKER: Very similar, yeah. 235 00:10:09,500 --> 00:10:11,583 PROFESSOR: --some of the frequencies in the voice. 236 00:10:11,583 --> 00:10:15,350 GUEST SPEAKER: So very, very high end, very time 237 00:10:15,350 --> 00:10:18,890 consuming tools are out there to do it. 238 00:10:18,890 --> 00:10:21,509 But they're out of reach. 239 00:10:21,509 --> 00:10:23,550 PROFESSOR: Music can help hide that a little bit, 240 00:10:23,550 --> 00:10:26,560 and I'm going to show you guys examples of that next week. 241 00:10:26,560 --> 00:10:29,620 But in general like it literally takes 30 seconds for you 242 00:10:29,620 --> 00:10:30,620 to record the room tone. 243 00:10:30,620 --> 00:10:31,660 So that's-- 244 00:10:31,660 --> 00:10:32,350 GUEST SPEAKER: Yeah, it's definitely worth it. 245 00:10:32,350 --> 00:10:33,730 PROFESSOR: --It's worth it. 246 00:10:33,730 --> 00:10:38,580 So in general, as a producer you're 247 00:10:38,580 --> 00:10:41,450 doing a lot of anticipatory thinking, which 248 00:10:41,450 --> 00:10:43,170 is to help you ultimately realize 249 00:10:43,170 --> 00:10:45,720 your big vision for your video. 250 00:10:45,720 --> 00:10:47,660 So you're doing all of these checklists, 251 00:10:47,660 --> 00:10:49,240 you're thinking ahead of time. 252 00:10:49,240 --> 00:10:51,573 Even in pre-production, which is where we are right now, 253 00:10:51,573 --> 00:10:53,130 where you're scripting. 254 00:10:53,130 --> 00:10:55,800 As a producer you're going to be thinking about the big picture 255 00:10:55,800 --> 00:10:57,210 the entire time. 256 00:10:57,210 --> 00:10:59,810 So producing is really looking at the big picture. 257 00:10:59,810 --> 00:11:02,560 You're looking at how the microscopic decisions like, 258 00:11:02,560 --> 00:11:04,380 where you're going to shoot for instance, 259 00:11:04,380 --> 00:11:06,390 or where are you going to record the room tone, 260 00:11:06,390 --> 00:11:09,810 how that all fits into your macroscopic plan. 261 00:11:09,810 --> 00:11:12,930 So as Chris said, it's really important to scout locations. 262 00:11:12,930 --> 00:11:16,180 And when you go scout locations, the two big things to look at 263 00:11:16,180 --> 00:11:18,307 are what's the lighting like at that place, 264 00:11:18,307 --> 00:11:19,390 and what's the sound like? 265 00:11:19,390 --> 00:11:22,360 And when you're looking at lighting, 266 00:11:22,360 --> 00:11:23,830 not only look at the natural light 267 00:11:23,830 --> 00:11:26,890 that's available in the room, if it's indoors for example, 268 00:11:26,890 --> 00:11:28,730 but how the sunlight affects the room. 269 00:11:28,730 --> 00:11:32,950 So when we were pre-producing this OpenCourseWare class, 270 00:11:32,950 --> 00:11:34,700 we came and scouted this classroom. 271 00:11:34,700 --> 00:11:37,160 And we noticed that there are all these big windows, 272 00:11:37,160 --> 00:11:38,712 and it was an afternoon class. 273 00:11:38,712 --> 00:11:40,420 And I knew that the lighting in this room 274 00:11:40,420 --> 00:11:42,330 would be really different at 1 o'clock 275 00:11:42,330 --> 00:11:44,320 than it would be at 4 o'clock. 276 00:11:44,320 --> 00:11:47,020 So we decided that it actually wouldn't be too big of a deal, 277 00:11:47,020 --> 00:11:48,767 because people watching the video 278 00:11:48,767 --> 00:11:51,100 wouldn't be like, oh my gosh it's dark in that classroom 279 00:11:51,100 --> 00:11:52,720 now, that doesn't make any sense. 280 00:11:52,720 --> 00:11:54,920 Because obviously we know it's a three hour class. 281 00:11:54,920 --> 00:11:56,420 GUEST SPEAKER: You'll notice Billy's 282 00:11:56,420 --> 00:11:58,500 on that side of the room, not on this side of the room. 283 00:11:58,500 --> 00:11:59,166 PROFESSOR: Yeah. 284 00:11:59,166 --> 00:12:01,675 GUEST SPEAKER: That's because if Elizabeth 285 00:12:01,675 --> 00:12:03,140 was teaching in that corner, we'd 286 00:12:03,140 --> 00:12:05,730 have a problem with the windows. 287 00:12:05,730 --> 00:12:07,780 PROFESSOR: And we thought about if we should just 288 00:12:07,780 --> 00:12:10,874 lower the shades the entire time so we have uniform lighting. 289 00:12:10,874 --> 00:12:12,290 So those are the kind of questions 290 00:12:12,290 --> 00:12:14,248 that you'll ask yourself during pre-production. 291 00:12:16,100 --> 00:12:18,480 And sound, again, take room tone. 292 00:12:18,480 --> 00:12:20,720 The biggest sound issues if you're outdoors, 293 00:12:20,720 --> 00:12:22,990 the wind makes a big difference. 294 00:12:22,990 --> 00:12:25,852 Most of you guys are going to just rely on your lavaliers, 295 00:12:25,852 --> 00:12:27,060 and they have the little cap. 296 00:12:27,060 --> 00:12:28,750 And that does a generally good job, 297 00:12:28,750 --> 00:12:30,678 but just take note of it when you go scout. 298 00:12:34,810 --> 00:12:36,322 My personal tip is look for outlets. 299 00:12:36,322 --> 00:12:38,030 That's always been like the biggest thing 300 00:12:38,030 --> 00:12:41,540 for us is, especially if it's an outdoor location, scouting 301 00:12:41,540 --> 00:12:44,120 ahead of time and seeing how many outlets there are 302 00:12:44,120 --> 00:12:46,150 helps you anticipate how many extension 303 00:12:46,150 --> 00:12:47,150 cords you need to bring. 304 00:12:47,150 --> 00:12:49,390 Which sounds like a silly thing, but actually makes 305 00:12:49,390 --> 00:12:52,530 a huge difference. 306 00:12:52,530 --> 00:12:55,300 So for example we shot this video 307 00:12:55,300 --> 00:12:58,480 with Jamie in the Stata Center on computer switches. 308 00:12:58,480 --> 00:13:00,210 And we were with the Digi-Comp. 309 00:13:00,210 --> 00:13:01,770 Or the Digi-Cart? 310 00:13:01,770 --> 00:13:02,920 Digi-Comp. 311 00:13:02,920 --> 00:13:06,340 Which we couldn't move, so we had to shoot in this location. 312 00:13:06,340 --> 00:13:08,980 And it was in Stata so we knew it would be really noisy. 313 00:13:08,980 --> 00:13:12,390 So we shot at like 6:00 in the morning on Sunday, 314 00:13:12,390 --> 00:13:14,220 when no one would be around. 315 00:13:14,220 --> 00:13:16,090 But the thing that we didn't anticipate, 316 00:13:16,090 --> 00:13:20,510 because I didn't scout that location, which is bad, 317 00:13:20,510 --> 00:13:25,310 is that there's a skylight right above the Digi-Comp-- I always 318 00:13:25,310 --> 00:13:26,800 forget what it's called. 319 00:13:26,800 --> 00:13:30,410 So noon hit, and we had to stop filming because there 320 00:13:30,410 --> 00:13:32,580 was sunlight directly overhead that 321 00:13:32,580 --> 00:13:36,660 completely changed the shadows on the prop, and on Jamie. 322 00:13:36,660 --> 00:13:39,810 So we basically lost two hours of shooting time 323 00:13:39,810 --> 00:13:43,730 because we were waiting for the sun to pass overhead. 324 00:13:43,730 --> 00:13:47,020 So that's why you should scout your locations ahead of time. 325 00:13:47,020 --> 00:13:50,630 A quick note on locations, also look at backgrounds. 326 00:13:50,630 --> 00:13:54,410 And with backgrounds you should really be deliberate. 327 00:13:54,410 --> 00:13:55,730 And go big or go home. 328 00:13:55,730 --> 00:13:58,460 So for example, this is a background 329 00:13:58,460 --> 00:14:00,050 that I think a lot of people default 330 00:14:00,050 --> 00:14:02,810 to when they don't really have anything else to shoot, 331 00:14:02,810 --> 00:14:05,170 because they just sit-in their office and they're like, 332 00:14:05,170 --> 00:14:06,795 I need to record something really fast, 333 00:14:06,795 --> 00:14:08,620 I'll just sit here. 334 00:14:08,620 --> 00:14:11,470 Sitting in front of a window that has blinds on it 335 00:14:11,470 --> 00:14:15,760 is maybe the worst possible background that you could use. 336 00:14:15,760 --> 00:14:17,700 And again, this is a matter of personal taste, 337 00:14:17,700 --> 00:14:21,450 but I cringe when I see this for two reasons. 338 00:14:21,450 --> 00:14:24,420 One, it's really back-lit, which is what Chris 339 00:14:24,420 --> 00:14:25,990 was talking about earlier. 340 00:14:25,990 --> 00:14:28,400 So you'll have so much outdoor light 341 00:14:28,400 --> 00:14:32,180 that it makes your subjects look really dark. 342 00:14:32,180 --> 00:14:34,560 And having all the blinds in the background, 343 00:14:34,560 --> 00:14:38,920 I think having all those lines is really distracting as well. 344 00:14:38,920 --> 00:14:41,240 This is what happened when George 345 00:14:41,240 --> 00:14:44,010 tried to change the exposure setting on the camera 346 00:14:44,010 --> 00:14:45,120 to light for me. 347 00:14:45,120 --> 00:14:47,180 So I'm lit well, but now the background 348 00:14:47,180 --> 00:14:48,690 is completely blown out. 349 00:14:48,690 --> 00:14:52,730 So in general, avoid filming right in front of a window 350 00:14:52,730 --> 00:14:55,232 where there is direct sunlight coming in. 351 00:14:55,232 --> 00:14:56,940 And please don't film in front of blinds. 352 00:15:01,550 --> 00:15:03,080 If anyone is interested in filming 353 00:15:03,080 --> 00:15:07,160 in front of a green screen, it's possible, 354 00:15:07,160 --> 00:15:08,825 and I'm happy to help you. 355 00:15:08,825 --> 00:15:11,200 I think you should be very deliberate with that decision. 356 00:15:11,200 --> 00:15:13,050 Sometimes it works really well. 357 00:15:13,050 --> 00:15:14,082 This is an example. 358 00:15:14,082 --> 00:15:15,790 FEMALE IN VIDEO: So in order to turn red, 359 00:15:15,790 --> 00:15:18,260 neurons from the squid's brain sends signals 360 00:15:18,260 --> 00:15:21,410 to these muscles, which pull open all of his chromatophores 361 00:15:21,410 --> 00:15:24,140 at the same time. 362 00:15:24,140 --> 00:15:26,751 PROFESSOR: So-- oh, this was the wrong clip. 363 00:15:26,751 --> 00:15:27,250 Sorry guys. 364 00:15:27,250 --> 00:15:29,090 But there is one example where she 365 00:15:29,090 --> 00:15:32,450 says, take note, when I walk next to the squid, 366 00:15:32,450 --> 00:15:33,380 he turns red. 367 00:15:33,380 --> 00:15:35,572 And so you actually see her walking on screen, 368 00:15:35,572 --> 00:15:36,780 and then the squid turns red. 369 00:15:36,780 --> 00:15:38,900 And so we used a green screen to film this 370 00:15:38,900 --> 00:15:40,610 because we like the actual visual 371 00:15:40,610 --> 00:15:46,980 of seeing some sort of object stimulating the squid 372 00:15:46,980 --> 00:15:48,700 to turn colors. 373 00:15:48,700 --> 00:15:51,230 So that's an example of a green screen working well, 374 00:15:51,230 --> 00:15:52,310 I think in my opinion. 375 00:15:52,310 --> 00:15:55,370 If you want to do something like that, I'm happy to help you. 376 00:15:55,370 --> 00:15:57,290 But again, you don't have to do it. 377 00:16:03,460 --> 00:16:05,910 So more production tips. 378 00:16:05,910 --> 00:16:09,420 Days before, make sure you scout your locations. 379 00:16:09,420 --> 00:16:10,800 A word about props. 380 00:16:10,800 --> 00:16:12,840 So props don't have to be expensive. 381 00:16:12,840 --> 00:16:15,000 And I'm not just talking about props on screen. 382 00:16:15,000 --> 00:16:18,100 I'm also talking about the tools that you can use to film. 383 00:16:18,100 --> 00:16:21,310 So we're giving you a tripod, and that's basically 384 00:16:21,310 --> 00:16:24,880 your only production prop. 385 00:16:24,880 --> 00:16:28,590 But as Chris was saying, like you can use desk lamps 386 00:16:28,590 --> 00:16:30,290 with paper over them. 387 00:16:32,877 --> 00:16:33,960 Let me show you this shot. 388 00:16:33,960 --> 00:16:35,501 FEMALE IN VIDEO: Let me show you how. 389 00:16:43,660 --> 00:16:46,300 PROFESSOR: So those are all dolly shots basically, 390 00:16:46,300 --> 00:16:49,600 of us establishing the location of this video, which 391 00:16:49,600 --> 00:16:52,900 is in D lab, which is where Jack works. 392 00:16:52,900 --> 00:16:56,210 And they're all very smooth pans of looking around 393 00:16:56,210 --> 00:16:57,390 at the locations. 394 00:16:57,390 --> 00:17:00,590 And we shot that with a cart, like a hand 395 00:17:00,590 --> 00:17:03,800 cart that I just sat in, and George pushed me around. 396 00:17:03,800 --> 00:17:06,460 So you could buy a super expensive dolly, 397 00:17:06,460 --> 00:17:09,670 or you can just borrow a cart from our department, 398 00:17:09,670 --> 00:17:14,390 and sit-in it, and have someone push you around. 399 00:17:14,390 --> 00:17:16,339 The dolly is always nicer, but we 400 00:17:16,339 --> 00:17:17,650 don't have the budget for that. 401 00:17:17,650 --> 00:17:20,108 GUEST SPEAKER: Great job with steady camerawork by the way. 402 00:17:20,108 --> 00:17:23,010 It can be an issue if you're sitting on a cart, 403 00:17:23,010 --> 00:17:24,670 if you start getting a lot of this, 404 00:17:24,670 --> 00:17:28,229 it takes away from the niceness of the shot. 405 00:17:28,229 --> 00:17:29,700 But in this case it was great. 406 00:17:29,700 --> 00:17:32,690 PROFESSOR: We took a tripod and spread the legs 407 00:17:32,690 --> 00:17:34,830 out all the way, so that it was like really, really 408 00:17:34,830 --> 00:17:36,330 firm in the cart. 409 00:17:36,330 --> 00:17:39,539 And then I held it just to add more stability. 410 00:17:39,539 --> 00:17:41,080 So it's possible this is another one. 411 00:17:41,080 --> 00:17:43,413 FEMALE IN VIDEO: To figure out how the entire metabolome 412 00:17:43,413 --> 00:17:45,220 works, we can use it to engineer plants 413 00:17:45,220 --> 00:17:48,520 to create new bio-materials, medicines, and clean energy. 414 00:17:48,520 --> 00:17:50,190 We might even discover that plants have 415 00:17:50,190 --> 00:17:52,050 the secret to living forever. 416 00:17:52,050 --> 00:17:55,211 We just need to unlock their chemical mysteries. 417 00:17:55,211 --> 00:17:57,460 PROFESSOR: So that's actually one of my favorite shots 418 00:17:57,460 --> 00:17:59,420 from Science Out Loud, ever. 419 00:17:59,420 --> 00:18:02,360 And that was all George's idea, so I have to give him credit. 420 00:18:02,360 --> 00:18:03,950 But I like it because it's a reveal, 421 00:18:03,950 --> 00:18:05,160 like Chris was talking about. 422 00:18:05,160 --> 00:18:06,493 It's the way we ended the video. 423 00:18:06,493 --> 00:18:08,800 We start off on the plants, focused on it, 424 00:18:08,800 --> 00:18:12,120 and you reveal Anastasia at the end. 425 00:18:12,120 --> 00:18:14,650 And that's actually-- to get that smooth movement is 426 00:18:14,650 --> 00:18:15,760 actually really hard. 427 00:18:15,760 --> 00:18:18,950 You might be able to do it with these tripods 428 00:18:18,950 --> 00:18:22,510 because the cameras aren't really heavy. 429 00:18:22,510 --> 00:18:24,930 And you could probably get enough friction on them 430 00:18:24,930 --> 00:18:26,610 to get it to work. 431 00:18:26,610 --> 00:18:30,730 But what we did was, George was using a camera like that one. 432 00:18:30,730 --> 00:18:40,550 So he took the tripod, flipped the top head of it upside down, 433 00:18:40,550 --> 00:18:44,340 and then he took a boom pole, which is basically 434 00:18:44,340 --> 00:18:47,650 this long pole, and put a weight on one end of it, 435 00:18:47,650 --> 00:18:50,230 and put the camera on the other, and just slowly let 436 00:18:50,230 --> 00:18:53,440 the camera come up from the weight. 437 00:18:53,440 --> 00:18:58,110 So I'm all about MacGyvering props if you need to. 438 00:18:58,110 --> 00:19:01,260 There are creative ways to get around things and achieve 439 00:19:01,260 --> 00:19:04,660 nice effects with cheaper equipment. 440 00:19:04,660 --> 00:19:06,320 The other thing about days before 441 00:19:06,320 --> 00:19:09,390 is that you should make a shot list, which is something that I 442 00:19:09,390 --> 00:19:11,200 would like you guys to submit. 443 00:19:11,200 --> 00:19:13,380 I think originally I had specified 444 00:19:13,380 --> 00:19:14,940 you to do that tonight. 445 00:19:14,940 --> 00:19:18,490 But it's not necessary to do it and post it until next week. 446 00:19:18,490 --> 00:19:20,890 So I'll update you with another email. 447 00:19:20,890 --> 00:19:22,780 But a shot list is basically what it says. 448 00:19:22,780 --> 00:19:25,020 It's a list of all the shots that you need. 449 00:19:25,020 --> 00:19:27,540 So it doesn't have to look a certain way. 450 00:19:27,540 --> 00:19:29,010 It's for your benefit only. 451 00:19:29,010 --> 00:19:31,790 So organize it however you think is best for you. 452 00:19:31,790 --> 00:19:34,650 But this was my shot list for the reshoots 453 00:19:34,650 --> 00:19:36,970 that we did for the snots video. 454 00:19:36,970 --> 00:19:38,280 This is the first page of it. 455 00:19:38,280 --> 00:19:41,810 So I listed out all the locations 456 00:19:41,810 --> 00:19:44,680 that we were going to, what time approximately we were going 457 00:19:44,680 --> 00:19:47,200 to use it, so that I could get a good sense of what 458 00:19:47,200 --> 00:19:50,180 the lighting would look like in these locations. 459 00:19:50,180 --> 00:19:54,100 And then I listed out exactly what lines I needed to say, 460 00:19:54,100 --> 00:19:57,330 and what shots we needed to get at each location. 461 00:19:57,330 --> 00:20:00,690 And then at the bottom I specified the wardrobe. 462 00:20:00,690 --> 00:20:03,550 So this is a super helpful organizational tool 463 00:20:03,550 --> 00:20:06,710 to use when you're planning things. 464 00:20:06,710 --> 00:20:09,800 When you are thinking about locations, 465 00:20:09,800 --> 00:20:11,940 definitely go big or go home. 466 00:20:11,940 --> 00:20:14,060 You can e-mail anyone and just tell them 467 00:20:14,060 --> 00:20:16,430 you're doing a project for a class at MIT, 468 00:20:16,430 --> 00:20:19,510 and you'd be surprised what you could get. 469 00:20:19,510 --> 00:20:22,520 We shot at a horse farm in Acton. 470 00:20:22,520 --> 00:20:24,580 We shot in an airplane. 471 00:20:24,580 --> 00:20:27,320 We shot at a skydiving zone. 472 00:20:27,320 --> 00:20:31,720 We shot at the butterfly exhibit at the Museum of Science. 473 00:20:31,720 --> 00:20:33,120 Most of the labs here, especially 474 00:20:33,120 --> 00:20:36,477 since you're students, are going to be super open to having you. 475 00:20:36,477 --> 00:20:38,060 And again that's like your opportunity 476 00:20:38,060 --> 00:20:40,040 to create a window into a world that most people don't 477 00:20:40,040 --> 00:20:40,900 have access to. 478 00:20:40,900 --> 00:20:42,680 So definitely take advantage of that. 479 00:20:42,680 --> 00:20:45,720 If you have any issues getting into a location, 480 00:20:45,720 --> 00:20:46,450 just let me know. 481 00:20:49,850 --> 00:20:52,230 The day before, check all your equipment. 482 00:20:52,230 --> 00:20:54,330 Check the batteries, that's the biggest thing. 483 00:20:54,330 --> 00:20:55,310 Bring spare batteries. 484 00:20:55,310 --> 00:20:57,890 If you need spare batteries let me know. 485 00:20:57,890 --> 00:20:59,670 Double check your locations. 486 00:20:59,670 --> 00:21:01,130 If you're meeting people, make sure 487 00:21:01,130 --> 00:21:02,566 that they know that you're coming. 488 00:21:02,566 --> 00:21:03,482 And check the weather. 489 00:21:06,080 --> 00:21:07,650 And then day of. 490 00:21:07,650 --> 00:21:12,350 So to help keep you organized I recommend that you use 491 00:21:12,350 --> 00:21:14,090 camera reports or log sheets. 492 00:21:14,090 --> 00:21:16,900 And what that looks like, and again you 493 00:21:16,900 --> 00:21:19,470 can set this up however you think is most useful to you 494 00:21:19,470 --> 00:21:20,040 to use. 495 00:21:20,040 --> 00:21:21,770 These are the camera reports that we 496 00:21:21,770 --> 00:21:23,180 use for Science Out Loud. 497 00:21:23,180 --> 00:21:25,130 But basically it's to help us keep track 498 00:21:25,130 --> 00:21:28,670 of what video file is what. 499 00:21:28,670 --> 00:21:31,180 And when you're shooting like for six days straight, 500 00:21:31,180 --> 00:21:32,580 this is really important. 501 00:21:32,580 --> 00:21:35,600 It may not be as vital to you, but it'll be really useful 502 00:21:35,600 --> 00:21:36,890 when you go into edit. 503 00:21:36,890 --> 00:21:40,710 But it's basically saying, this video file was scene two, 504 00:21:40,710 --> 00:21:41,750 take two. 505 00:21:41,750 --> 00:21:42,962 I thought it was OK. 506 00:21:42,962 --> 00:21:44,420 There were two good takes in there. 507 00:21:44,420 --> 00:21:47,610 The last one was the best. 508 00:21:47,610 --> 00:21:49,077 Make sense to everyone? 509 00:21:49,077 --> 00:21:50,660 Let me know if you have any questions. 510 00:21:54,070 --> 00:21:54,570 Yeah. 511 00:21:54,570 --> 00:21:57,760 That's pretty straightforward. 512 00:21:57,760 --> 00:22:01,380 And I would also recommend looking at the dailies. 513 00:22:01,380 --> 00:22:05,006 So I guess dailies refers to all the footage 514 00:22:05,006 --> 00:22:06,130 that you take during a day. 515 00:22:06,130 --> 00:22:08,984 Like maybe during a movie production or a TV production. 516 00:22:08,984 --> 00:22:10,400 And the dailies for you guys would 517 00:22:10,400 --> 00:22:12,730 be like, at the end of the day look 518 00:22:12,730 --> 00:22:16,860 through all the video footage that you have on your camera 519 00:22:16,860 --> 00:22:18,740 and just take note of what you shot. 520 00:22:18,740 --> 00:22:20,750 Make sure that it's good. 521 00:22:20,750 --> 00:22:23,820 What you don't want is to shoot your entire episode 522 00:22:23,820 --> 00:22:27,280 and realize that the camera settings had somehow muted you 523 00:22:27,280 --> 00:22:29,240 and so you didn't have any audio. 524 00:22:29,240 --> 00:22:33,320 So that's why looking at the dailies is important. 525 00:22:33,320 --> 00:22:36,297 Also back up and label all your files like right 526 00:22:36,297 --> 00:22:37,630 after you get back from a shoot. 527 00:22:40,680 --> 00:22:42,969 So the biggest production piece of advice, 528 00:22:42,969 --> 00:22:44,760 or like heads up that I would give you guys 529 00:22:44,760 --> 00:22:46,900 is that it takes a lot of time. 530 00:22:46,900 --> 00:22:49,260 Even if the locations are scouted 531 00:22:49,260 --> 00:22:54,650 and everything's sort of organized perfectly the day of, 532 00:22:54,650 --> 00:22:57,970 you're going to take-- you're going to do a lot of takes. 533 00:22:57,970 --> 00:23:02,360 Even if the person says the line perfectly, 534 00:23:02,360 --> 00:23:04,500 try a bunch of deliveries. 535 00:23:04,500 --> 00:23:07,370 So remember how George was saying like, 536 00:23:07,370 --> 00:23:09,420 say it really loud! 537 00:23:09,420 --> 00:23:11,510 Now say it like however you want, right? 538 00:23:11,510 --> 00:23:14,020 And you got a different style. 539 00:23:14,020 --> 00:23:16,407 Try a bunch of deliveries. 540 00:23:16,407 --> 00:23:18,740 Try a different bunch of point of views with the camera. 541 00:23:18,740 --> 00:23:21,300 So maybe you shoot someone straight on, 542 00:23:21,300 --> 00:23:23,680 then you try something from the side. 543 00:23:23,680 --> 00:23:27,166 You try a different movement. 544 00:23:27,166 --> 00:23:29,040 And then like try different types of framing. 545 00:23:29,040 --> 00:23:31,830 And Chris's piece of advice, which 546 00:23:31,830 --> 00:23:35,650 was like, most people tend to not get enough footage 547 00:23:35,650 --> 00:23:37,760 than get too much, is really true. 548 00:23:37,760 --> 00:23:39,760 Shoot like you're going to use everything, 549 00:23:39,760 --> 00:23:41,259 and then when you edit, you're going 550 00:23:41,259 --> 00:23:43,480 to edit it like you're not going to keep anything. 551 00:23:43,480 --> 00:23:45,660 But when you're shooting, you always 552 00:23:45,660 --> 00:23:49,080 want to have more to work with, because the worst feeling is 553 00:23:49,080 --> 00:23:51,530 when you're sitting, editing, and you're like, 554 00:23:51,530 --> 00:23:53,570 I wish I had shot x y z. 555 00:23:53,570 --> 00:23:55,610 It's the worst feeling. 556 00:23:55,610 --> 00:23:57,187 So it's going to take a lot of time, 557 00:23:57,187 --> 00:23:59,270 because you want to create as many options for you 558 00:23:59,270 --> 00:23:59,790 as you can. 559 00:24:04,420 --> 00:24:07,260 Any questions about that? 560 00:24:07,260 --> 00:24:07,760 No? 561 00:24:07,760 --> 00:24:08,260 OK. 562 00:24:08,260 --> 00:24:11,550 So I'll show you an example of this. 563 00:24:11,550 --> 00:24:13,280 No, one more thing. 564 00:24:13,280 --> 00:24:17,140 A note about clothing, because sometimes this comes up. 565 00:24:17,140 --> 00:24:21,480 So in general you don't want to have really fine print. 566 00:24:21,480 --> 00:24:24,850 So I always try to avoid stripes. 567 00:24:24,850 --> 00:24:29,630 This is probably like the closest or the widest 568 00:24:29,630 --> 00:24:32,380 difference in your stripes as I would recommend getting. 569 00:24:32,380 --> 00:24:37,040 Generally like solid colors work the best on screen. 570 00:24:37,040 --> 00:24:39,560 And then the material, bring a couple 571 00:24:39,560 --> 00:24:44,110 different sets of shirts with you, because sometimes 572 00:24:44,110 --> 00:24:47,450 like the silkier material brushes up against the mic 573 00:24:47,450 --> 00:24:51,760 a little bit more, and you hear that actually on the audio. 574 00:24:55,220 --> 00:24:59,470 I will show you some raw footage from the snots video. 575 00:24:59,470 --> 00:25:02,820 This is super embarrassing for me, so. 576 00:25:02,820 --> 00:25:03,960 But I think it's good. 577 00:25:03,960 --> 00:25:06,320 And maybe will just sort of set the tone 578 00:25:06,320 --> 00:25:08,580 that this is a safe space where you can feel 579 00:25:08,580 --> 00:25:11,080 like you can just be yourself. 580 00:25:11,080 --> 00:25:13,860 But this was for B-roll at the beginning 581 00:25:13,860 --> 00:25:15,840 of the video that was literally going 582 00:25:15,840 --> 00:25:20,660 to last-- it's going to last one second in the final product. 583 00:25:20,660 --> 00:25:24,230 I literally mean I think it's going to be a one second clip. 584 00:25:24,230 --> 00:25:27,133 And this is the amount of footage we shot for it. 585 00:25:29,586 --> 00:25:31,460 FEMALE IN VIDEO: --little weight is so funny. 586 00:25:31,460 --> 00:25:32,842 MALE IN VIDEO: OK, thank you. 587 00:25:32,842 --> 00:25:34,180 And go. 588 00:25:44,910 --> 00:25:46,534 Put it down and get the little weight. 589 00:25:55,710 --> 00:25:58,830 Both hands. 590 00:25:58,830 --> 00:26:00,860 Do the thing where you like, you're bringing it 591 00:26:00,860 --> 00:26:01,620 up with your right hand, and then 592 00:26:01,620 --> 00:26:03,590 you're sort of like spotting it with your left a little bit. 593 00:26:03,590 --> 00:26:04,090 OK. 594 00:26:06,930 --> 00:26:08,867 No, no just two fingers on the other hand. 595 00:26:08,867 --> 00:26:10,950 On your hand, on your hand, the back of your hand. 596 00:26:10,950 --> 00:26:11,100 Like 597 00:26:11,100 --> 00:26:11,800 FEMALE IN VIDEO: This? 598 00:26:11,800 --> 00:26:12,786 MALE IN VIDEO: Higher. 599 00:26:12,786 --> 00:26:13,660 Turn the weight more. 600 00:26:13,660 --> 00:26:14,400 Yeah. 601 00:26:14,400 --> 00:26:15,660 Just go like this. 602 00:26:15,660 --> 00:26:18,410 Put-- yes, and then like, as if you're helping it up. 603 00:26:18,410 --> 00:26:20,660 MALE IN VIDEO 2: [INAUDIBLE] just like, supporting it. 604 00:26:22,260 --> 00:26:24,760 MALE IN VIDEO: Yeah, like that, but don't take your face out 605 00:26:24,760 --> 00:26:25,320 of frame. 606 00:26:28,236 --> 00:26:28,736 Slower. 607 00:26:37,354 --> 00:26:38,478 Struggle a little bit more. 608 00:26:46,398 --> 00:26:48,370 All right, good. 609 00:26:48,370 --> 00:26:50,520 PROFESSOR: So the point of making you 610 00:26:50,520 --> 00:26:53,110 guys endure that is that the final clip is 611 00:26:53,110 --> 00:26:55,640 going to be just, right? 612 00:26:55,640 --> 00:26:57,460 Literally a second. 613 00:26:57,460 --> 00:27:00,130 This is at least two minutes worth of footage. 614 00:27:00,130 --> 00:27:01,820 This was like the third take. 615 00:27:01,820 --> 00:27:06,100 So this is what I mean by get as much as possible. 616 00:27:06,100 --> 00:27:09,120 Try as many different things as you can. 617 00:27:09,120 --> 00:27:11,689 Because we could have used the first one where I just like 618 00:27:11,689 --> 00:27:13,980 lifted the weight, but the last one was really the best 619 00:27:13,980 --> 00:27:15,530 take out of all of them. 620 00:27:15,530 --> 00:27:18,880 And it wasn't-- we didn't achieve that. 621 00:27:18,880 --> 00:27:20,560 Or we achieved that because George made 622 00:27:20,560 --> 00:27:23,520 me do it for like 10 minutes. 623 00:27:23,520 --> 00:27:26,670 But don't tell him I said that. 624 00:27:26,670 --> 00:27:31,680 So these are all the day of things. 625 00:27:31,680 --> 00:27:37,200 Now for the day after, take a step back for now. 626 00:27:37,200 --> 00:27:40,330 It's going to be hard to go in and edit your stuff like right 627 00:27:40,330 --> 00:27:42,284 after you finish shooting it. 628 00:27:42,284 --> 00:27:44,200 You want to give yourself a little bit of time 629 00:27:44,200 --> 00:27:48,130 to sort of clear your perspective. 630 00:27:48,130 --> 00:27:51,070 And I'll talk more about this during the editing lecture. 631 00:27:51,070 --> 00:27:53,470 But even when you do the camera reports 632 00:27:53,470 --> 00:27:56,480 and you're logging sort of what the best takes are the day of, 633 00:27:56,480 --> 00:27:59,180 you might watch it a couple days later. 634 00:27:59,180 --> 00:28:01,730 And I recommend re-logging everything and going 635 00:28:01,730 --> 00:28:03,480 through footage again later. 636 00:28:03,480 --> 00:28:06,410 And you might find that the thing that you liked 637 00:28:06,410 --> 00:28:08,780 during the day of, maybe you liked it 638 00:28:08,780 --> 00:28:11,304 because you were starting to get tired, 639 00:28:11,304 --> 00:28:13,470 and it's going to look a little bit different later. 640 00:28:13,470 --> 00:28:16,650 So that's why I just recommend the day after, 641 00:28:16,650 --> 00:28:18,017 just taking a step back. 642 00:28:21,430 --> 00:28:22,869 Let's see. 643 00:28:22,869 --> 00:28:23,368 Oh. 644 00:28:27,410 --> 00:28:29,485 With the whole multiple takes thing, 645 00:28:29,485 --> 00:28:31,860 I forgot to mention this before, but I thought of it when 646 00:28:31,860 --> 00:28:33,340 you were doing your lecture. 647 00:28:33,340 --> 00:28:35,580 I would also recommend doing takes 648 00:28:35,580 --> 00:28:39,490 from varying degrees of separation from your subject. 649 00:28:39,490 --> 00:28:44,390 So say your host says, I'm going to say this line, 650 00:28:44,390 --> 00:28:47,020 and you shoot it from where Chris is standing. 651 00:28:47,020 --> 00:28:50,020 Even if the host like nails the line perfectly, 652 00:28:50,020 --> 00:28:52,910 tell them to do it again and shoot it from maybe 653 00:28:52,910 --> 00:28:54,390 from where Yulia's standing. 654 00:28:54,390 --> 00:28:56,820 And tell them to do it again, and shoot it from like right 655 00:28:56,820 --> 00:28:57,530 here. 656 00:28:57,530 --> 00:29:01,510 It's just good to have those varying degrees of separation. 657 00:29:01,510 --> 00:29:06,640 It'll be easier to do the zooming and everything in post. 658 00:29:06,640 --> 00:29:09,272 But again, having those options to work with. 659 00:29:09,272 --> 00:29:10,980 You're not going to know which one you're 660 00:29:10,980 --> 00:29:14,130 going to use necessarily in the moment that you're filming. 661 00:29:14,130 --> 00:29:16,172 So that's why it's good to have a couple options. 662 00:29:16,172 --> 00:29:18,671 GUEST SPEAKER: The term is-- the technical term, not that it 663 00:29:18,671 --> 00:29:20,100 matters, is called, coverage. 664 00:29:20,100 --> 00:29:22,460 So basically, you cover yourself. 665 00:29:22,460 --> 00:29:24,824 I don't really know how I'm going to edit this together, 666 00:29:24,824 --> 00:29:26,740 so I'm going to give myself as many choices as 667 00:29:26,740 --> 00:29:27,823 possible in the edit room. 668 00:29:27,823 --> 00:29:33,880 Because even the best directors don't know exactly what 669 00:29:33,880 --> 00:29:34,420 they want. 670 00:29:34,420 --> 00:29:38,060 I mean there's Alfred Hitchcock supposedly only filmed 671 00:29:38,060 --> 00:29:39,750 exactly what he wanted. 672 00:29:39,750 --> 00:29:42,230 And his editors went insane because they could only 673 00:29:42,230 --> 00:29:43,520 do one way. 674 00:29:43,520 --> 00:29:45,910 But pretty much everyone else who's 675 00:29:45,910 --> 00:29:51,947 ever worked at any level in film and video does coverage. 676 00:29:51,947 --> 00:29:53,530 PROFESSOR: Does anyone have questions? 677 00:29:56,230 --> 00:29:59,860 The rest of class, we're going to let you go actually 678 00:29:59,860 --> 00:30:03,510 film a scene from your script. 679 00:30:03,510 --> 00:30:05,940 And maybe this is a good time to take a break, 680 00:30:05,940 --> 00:30:07,520 but Chris and I will stick around 681 00:30:07,520 --> 00:30:12,336 if you have questions about producing your specific scene, 682 00:30:12,336 --> 00:30:13,960 or actually using any of the equipment, 683 00:30:13,960 --> 00:30:15,807 we'll be around to help you with that stuff. 684 00:30:15,807 --> 00:30:17,890 AUDIENCE: Can I make one other suggestion, or just 685 00:30:17,890 --> 00:30:20,090 reinforce one thing about producing. 686 00:30:20,090 --> 00:30:21,530 This comes up over and over again, 687 00:30:21,530 --> 00:30:24,650 and it was a very hard lesson for me to learn initially. 688 00:30:24,650 --> 00:30:27,800 And that's being realistic about your schedule. 689 00:30:27,800 --> 00:30:31,090 You know there's a tendency to want to pack a ton of stuff in 690 00:30:31,090 --> 00:30:32,480 and to be very ambitious. 691 00:30:32,480 --> 00:30:35,080 And what happens is that you have 692 00:30:35,080 --> 00:30:38,300 to give enough time for setting things up, breaking things 693 00:30:38,300 --> 00:30:41,670 down, moving from this lab to that lab, 694 00:30:41,670 --> 00:30:43,750 or this location of that location, 695 00:30:43,750 --> 00:30:47,430 eating something, figuring something out. 696 00:30:47,430 --> 00:30:49,069 So if you go like, well, OK. 697 00:30:49,069 --> 00:30:51,360 This is a 10 minute scene, this will take me 20 minutes 698 00:30:51,360 --> 00:30:51,860 to edit. 699 00:30:51,860 --> 00:30:54,960 And then we'll be over at Stata, and we'll shoot that two minute 700 00:30:54,960 --> 00:30:57,019 scene in five minutes. 701 00:30:57,019 --> 00:30:59,060 You know, very, very quickly get behind schedule, 702 00:30:59,060 --> 00:31:00,514 and then the panic sets in. 703 00:31:00,514 --> 00:31:02,680 It's far better to have a schedule that's realistic, 704 00:31:02,680 --> 00:31:04,849 where you really think about, not just what it's 705 00:31:04,849 --> 00:31:06,390 going to take to shoot, but what it's 706 00:31:06,390 --> 00:31:08,680 going to take to set up, breakdown, figure stuff 707 00:31:08,680 --> 00:31:11,360 out, and move. 708 00:31:11,360 --> 00:31:14,829 And then execute the schedule in a realistic way 709 00:31:14,829 --> 00:31:16,870 so you're not panicking, you're not freaking out, 710 00:31:16,870 --> 00:31:18,470 you're not calling people and saying, 711 00:31:18,470 --> 00:31:20,900 I know I said I would be at your lab at 3:00 712 00:31:20,900 --> 00:31:23,150 but I can't get there till 5:00, can you stick around? 713 00:31:23,150 --> 00:31:24,430 You know, whatever it may be. 714 00:31:24,430 --> 00:31:26,040 So just be very realistic. 715 00:31:26,040 --> 00:31:27,950 PROFESSOR: For the Science Out Loud episodes, 716 00:31:27,950 --> 00:31:31,620 we allot at least 12 hours per five minute episode 717 00:31:31,620 --> 00:31:33,750 in terms of filming time with the students. 718 00:31:33,750 --> 00:31:36,960 Now that's a huge number, mostly because the thing that's 719 00:31:36,960 --> 00:31:38,650 most time consuming for us is setting up 720 00:31:38,650 --> 00:31:40,130 the lights, which is something that you're not 721 00:31:40,130 --> 00:31:41,730 going to have to worry about. 722 00:31:41,730 --> 00:31:43,470 The lighting actually-- I mean, it's 723 00:31:43,470 --> 00:31:45,770 by far the most time consuming thing. 724 00:31:45,770 --> 00:31:47,740 But it gives you an idea of-- that's 725 00:31:47,740 --> 00:31:49,740 a really great point I'm glad that you made it-- 726 00:31:49,740 --> 00:31:51,198 that it's more than just the amount 727 00:31:51,198 --> 00:31:53,840 of time it takes for you to say a line. 728 00:31:53,840 --> 00:31:55,490 Hopefully you won't have that panic, 729 00:31:55,490 --> 00:31:57,880 because the way this class is structured, 730 00:31:57,880 --> 00:31:58,870 it's very front heavy. 731 00:31:58,870 --> 00:32:00,390 We've had a lot of lectures so far 732 00:32:00,390 --> 00:32:02,990 but after the editing lecture, that's 733 00:32:02,990 --> 00:32:04,520 actually the very last one. 734 00:32:04,520 --> 00:32:08,180 And the rest of the class period will mostly 735 00:32:08,180 --> 00:32:11,620 be for you to work on stuff during class time. 736 00:32:11,620 --> 00:32:13,570 So don't worry too much about that. 737 00:32:13,570 --> 00:32:15,760 We tried to anticipate that for you guys. 738 00:32:15,760 --> 00:32:18,370 But just to let you know. 739 00:32:18,370 --> 00:32:22,160 I forgot had a couple examples for you for some of the stuff 740 00:32:22,160 --> 00:32:23,430 that Chris was mentioning. 741 00:32:23,430 --> 00:32:25,250 And I'll play them real quick. 742 00:32:25,250 --> 00:32:28,277 MALE IN VIDEO: What is the most awesome place in the world? 743 00:32:28,277 --> 00:32:30,610 Seems like that would be pretty much the most subjective 744 00:32:30,610 --> 00:32:31,640 question ever. 745 00:32:31,640 --> 00:32:34,910 But this week, scientists used a set of objective criteria 746 00:32:34,910 --> 00:32:38,280 to come up with a list of the world's most biologically 747 00:32:38,280 --> 00:32:39,290 important places. 748 00:32:39,290 --> 00:32:41,300 There might be-- 749 00:32:41,300 --> 00:32:45,240 PROFESSOR: So that's an example of having zooms, but not 750 00:32:45,240 --> 00:32:49,250 actually showing you zooming with the camera, right? 751 00:32:49,250 --> 00:32:51,860 And I think they do it for a couple reasons. 752 00:32:51,860 --> 00:32:54,590 He probably-- he might have messed up his line in between, 753 00:32:54,590 --> 00:32:57,050 and so that was a way to sort of cut in between 754 00:32:57,050 --> 00:32:58,800 and not make the cuts like super awkward, 755 00:32:58,800 --> 00:33:02,570 by having a zoom in and a zoom out. 756 00:33:02,570 --> 00:33:05,730 And it's sort of like a rhythmic visual pacing thing, too. 757 00:33:05,730 --> 00:33:07,280 It cuts in like after he says-- 758 00:33:07,280 --> 00:33:09,196 GUEST SPEAKER: It's kind of equivalent to, oh, 759 00:33:09,196 --> 00:33:12,190 different angle, pay attention. 760 00:33:12,190 --> 00:33:16,965 It's a different convention than television, 761 00:33:16,965 --> 00:33:18,590 but it comes from a very similar place. 762 00:33:18,590 --> 00:33:20,256 You know, if he was just standing there, 763 00:33:20,256 --> 00:33:22,500 delivering without edits, there'd 764 00:33:22,500 --> 00:33:24,875 be this-- there's this terror that you might turn away, 765 00:33:24,875 --> 00:33:26,360 and might not watch it. 766 00:33:26,360 --> 00:33:28,360 PROFESSOR: To achieve that, though, 767 00:33:28,360 --> 00:33:30,860 if you wanted to do something like that, I would say, 768 00:33:30,860 --> 00:33:34,460 again, you could even film this with a tripod 769 00:33:34,460 --> 00:33:35,660 and film yourself. 770 00:33:35,660 --> 00:33:38,270 But I would shoot yourself-- that sounds 771 00:33:38,270 --> 00:33:41,590 weird-- I would take the camera and put it on tripod like that 772 00:33:41,590 --> 00:33:44,330 far away, deliver your whole sentence, 773 00:33:44,330 --> 00:33:47,440 and then move it forward and deliver the whole thing again. 774 00:33:47,440 --> 00:33:48,940 Because you don't know exactly where 775 00:33:48,940 --> 00:33:49,975 you're going to cut into that. 776 00:33:49,975 --> 00:33:50,540 GUEST SPEAKER: And that's clearly 777 00:33:50,540 --> 00:33:52,210 what most people-- I mean, this is 778 00:33:52,210 --> 00:33:54,626 a very conventional thing you see on the web all the time. 779 00:33:54,626 --> 00:33:55,850 And that's how they film. 780 00:33:55,850 --> 00:33:58,252 You know, a bunch of takes of wide, a bunch of takes 781 00:33:58,252 --> 00:34:00,690 of close, medium, whatever. 782 00:34:00,690 --> 00:34:01,314 Editing. 783 00:34:01,314 --> 00:34:02,730 PROFESSOR: But the point is you're 784 00:34:02,730 --> 00:34:05,400 going to be saying the same line multiple times, even 785 00:34:05,400 --> 00:34:07,350 if you nail it. 786 00:34:07,350 --> 00:34:11,060 This is where a zoom might work. 787 00:34:11,060 --> 00:34:16,480 [VIDEO PLAYING] 788 00:34:16,480 --> 00:34:17,730 PROFESSOR: So I say, or is it. 789 00:34:17,730 --> 00:34:21,020 But we use the zoom there intentionally to make it funny. 790 00:34:21,020 --> 00:34:24,120 Which hopefully it'll read funny in the actual thing. 791 00:34:24,120 --> 00:34:26,760 So again, there aren't like hard and fast rules 792 00:34:26,760 --> 00:34:28,409 were you should never ever use a zoom, 793 00:34:28,409 --> 00:34:30,200 or you should never ever center the person, 794 00:34:30,200 --> 00:34:31,750 or you should never ever-- 795 00:34:31,750 --> 00:34:32,389 GUEST SPEAKER: It's interesting, I 796 00:34:32,389 --> 00:34:33,889 mean, you know, I was thinking about 797 00:34:33,889 --> 00:34:37,080 that whole centering thing after the other day, Monday. 798 00:34:37,080 --> 00:34:38,980 And a lot of times when people break 799 00:34:38,980 --> 00:34:42,190 those kind of traditional rules, is for comedic effect. 800 00:34:42,190 --> 00:34:46,283 And center frame stuff tends to read funny. 801 00:34:46,283 --> 00:34:47,949 And you see that in movies all the time. 802 00:34:47,949 --> 00:34:49,239 If you start paying attention to this. 803 00:34:49,239 --> 00:34:51,790 If you go to a comedy, things tend to be more center frame 804 00:34:51,790 --> 00:34:53,389 than if it's a drama. 805 00:34:53,389 --> 00:34:56,159 And I think one of the reasons that vlogs are often 806 00:34:56,159 --> 00:34:58,320 center framed is that, even if they're not funny, 807 00:34:58,320 --> 00:34:59,680 that's the affect. 808 00:34:59,680 --> 00:35:03,590 It's like this is amusing, this is light, this is not scary. 809 00:35:03,590 --> 00:35:06,000 And that's why people center frame. 810 00:35:06,000 --> 00:35:07,416 And you know, you can, too. 811 00:35:07,416 --> 00:35:08,328 If you want to. 812 00:35:11,070 --> 00:35:15,830 PROFESSOR: All right so, at this point I will let you guys free. 813 00:35:15,830 --> 00:35:19,770 Oh, sorry I have another thing to say. 814 00:35:19,770 --> 00:35:22,480 The film that you've seen today-- 815 00:35:22,480 --> 00:35:26,200 the scene that you film today won't be due until at least 816 00:35:26,200 --> 00:35:26,700 Tuesday. 817 00:35:26,700 --> 00:35:28,250 If you need more time to work on it, 818 00:35:28,250 --> 00:35:29,809 we can push it to Wednesday, too. 819 00:35:29,809 --> 00:35:31,600 And that's because I really want your focus 820 00:35:31,600 --> 00:35:33,260 to be on honing the script. 821 00:35:33,260 --> 00:35:34,900 Because Monday will be our table read, 822 00:35:34,900 --> 00:35:37,229 where everyone reads their script aloud to each other. 823 00:35:37,229 --> 00:35:39,020 And you're really going to get the most out 824 00:35:39,020 --> 00:35:42,650 of the table read when you come to it with as complete 825 00:35:42,650 --> 00:35:44,690 as a script as you can. 826 00:35:44,690 --> 00:35:46,950 I'm not saying that what you have on Monday 827 00:35:46,950 --> 00:35:49,710 should be as close to final product as possible, 828 00:35:49,710 --> 00:35:53,770 but it's just really hard to give concrete feedback 829 00:35:53,770 --> 00:35:56,320 to something that isn't fully fleshed out. 830 00:35:56,320 --> 00:36:01,710 So do try to come on Monday with as complete of a script 831 00:36:01,710 --> 00:36:04,210 as you can, because Monday is going to be the most useful 832 00:36:04,210 --> 00:36:05,800 to you if you do. 833 00:36:05,800 --> 00:36:07,800 So that being said, some people have already 834 00:36:07,800 --> 00:36:09,940 uploaded second drafts onto Tumblr. 835 00:36:09,940 --> 00:36:13,520 If you could upload stuff by tomorrow at noon, 836 00:36:13,520 --> 00:36:17,370 I can give you feedback on it so that you can incorporate that 837 00:36:17,370 --> 00:36:19,320 before Monday. 838 00:36:19,320 --> 00:36:22,600 And the best way to get feedback from me 839 00:36:22,600 --> 00:36:27,280 is to double post to Tumblr, and then also write a Google doc, 840 00:36:27,280 --> 00:36:31,500 and just email it to me, and give me commenting permissions. 841 00:36:31,500 --> 00:36:35,010 That's how we actually edit all the scripts 842 00:36:35,010 --> 00:36:36,660 from Science Out Loud. 843 00:36:36,660 --> 00:36:41,788 So I'll show you, real quick. 844 00:36:46,000 --> 00:36:47,236 Season two. 845 00:36:51,570 --> 00:36:55,736 Let's go to this one. 846 00:37:04,610 --> 00:37:11,260 Yeah, so this is eventually how we asked the students 847 00:37:11,260 --> 00:37:13,040 to format their scripts. 848 00:37:13,040 --> 00:37:15,610 You don't have to do that for Monday, 849 00:37:15,610 --> 00:37:17,590 but eventually you're going to want to do it. 850 00:37:17,590 --> 00:37:21,290 I think it makes organizing things a lot easier. 851 00:37:21,290 --> 00:37:23,360 So it's just like a four column format, 852 00:37:23,360 --> 00:37:27,660 where you specify what scene number it is, the location. 853 00:37:27,660 --> 00:37:29,700 So OS just means on screen. 854 00:37:29,700 --> 00:37:31,860 It means like you're not going to B-roll, 855 00:37:31,860 --> 00:37:34,340 you're just going to be delivering it live. 856 00:37:34,340 --> 00:37:36,360 Just a description of what the video looks like, 857 00:37:36,360 --> 00:37:37,805 and what the script is itself. 858 00:37:41,920 --> 00:37:43,680 And if you share it to me on Google Docs, 859 00:37:43,680 --> 00:37:48,520 it just makes it easier for me to comment for you. 860 00:37:48,520 --> 00:37:51,530 And George also said that we will give script feedbacks 861 00:37:51,530 --> 00:37:52,470 this weekend too. 862 00:37:52,470 --> 00:37:57,350 So if you can e-mail us this stuff by Saturday at noon, 863 00:37:57,350 --> 00:38:01,955 we can give you lots of feedback before Monday. 864 00:38:01,955 --> 00:38:05,326 AUDIENCE: I have another tip that I usually forget about 865 00:38:05,326 --> 00:38:07,700 because I'm not used to talking for long periods of time, 866 00:38:07,700 --> 00:38:10,150 and you guys will probably get tired at some point 867 00:38:10,150 --> 00:38:10,900 while filming. 868 00:38:10,900 --> 00:38:14,220 Bring a water bottle and probably snacks too, 869 00:38:14,220 --> 00:38:15,320 if you get hungry easily. 870 00:38:15,320 --> 00:38:17,860 Just because when your voice gets really dry 871 00:38:17,860 --> 00:38:20,910 and starts cracking, that might ruin a take that otherwise 872 00:38:20,910 --> 00:38:23,160 went really, really well. 873 00:38:23,160 --> 00:38:25,442 And it helps with the consistency of your voice. 874 00:38:25,442 --> 00:38:26,900 And you can edit together something 875 00:38:26,900 --> 00:38:29,150 that you did later with something that you did earlier 876 00:38:29,150 --> 00:38:32,350 if your voice sounds like consistently fresh 877 00:38:32,350 --> 00:38:33,420 throughout it. 878 00:38:33,420 --> 00:38:36,150 Because I've had problems trying to edit audio 879 00:38:36,150 --> 00:38:39,580 where at the end of it, my voice is really, really raspy. 880 00:38:39,580 --> 00:38:41,122 And at the beginning it's still good. 881 00:38:41,122 --> 00:38:42,705 PROFESSOR: Yeah, that's a great point. 882 00:38:42,705 --> 00:38:44,230 I'm glad you brought that up. 883 00:38:44,230 --> 00:38:46,210 So we try to cram everything in as much 884 00:38:46,210 --> 00:38:49,510 as we can, which is purely because of logistical issues, 885 00:38:49,510 --> 00:38:51,250 and because of our budget. 886 00:38:51,250 --> 00:38:53,190 But you're going to have the time 887 00:38:53,190 --> 00:38:54,784 this month to where you're not going 888 00:38:54,784 --> 00:38:56,700 to have to shoot your entire video in one day. 889 00:38:56,700 --> 00:38:58,740 So really try to spread it out over the course 890 00:38:58,740 --> 00:39:00,270 of several days. 891 00:39:00,270 --> 00:39:02,436 And that's built into the class time. 892 00:39:02,436 --> 00:39:04,310 But I will just say from personal experience, 893 00:39:04,310 --> 00:39:09,840 it is so incredibly difficult to film for more than five 894 00:39:09,840 --> 00:39:10,970 or six hours straight. 895 00:39:10,970 --> 00:39:14,520 You just get really, really exhausted by the end of it. 896 00:39:14,520 --> 00:39:16,070 OK.