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 00:00:20,779 --> 00:00:23,320 PROFESSOR: Basically, you're not going to able to use Beatles 9 00:00:23,320 --> 00:00:24,570 clip, unfortunately. 10 00:00:24,570 --> 00:00:26,720 But can I hear what the song is? 11 00:00:26,720 --> 00:00:28,590 STUDENT: Yes. 12 00:00:28,590 --> 00:00:30,665 PROFESSOR: So the reason why this 13 00:00:30,665 --> 00:00:33,040 is under Creative Commons-- which, it's a little sketchy. 14 00:00:33,040 --> 00:00:35,000 I'm not sure if they ligitimately 15 00:00:35,000 --> 00:00:36,110 could have done that. 16 00:00:36,110 --> 00:00:39,030 But it's because they've transformed it so much, 17 00:00:39,030 --> 00:00:41,950 to the extent that it's, like, no longer the original work, 18 00:00:41,950 --> 00:00:42,450 right? 19 00:00:42,450 --> 00:00:44,836 So if you revert it to the original work, 20 00:00:44,836 --> 00:00:46,210 then you're also reverting-- you, 21 00:00:46,210 --> 00:00:48,459 like, taking away the Creative Commons work basically. 22 00:00:53,270 --> 00:00:56,728 [MUSIC PLAYING] 23 00:01:07,010 --> 00:01:09,850 And you like this instrumental? 24 00:01:09,850 --> 00:01:10,862 STUDENT: Uh huh. 25 00:01:10,862 --> 00:01:12,320 PROFESSOR: You could find something 26 00:01:12,320 --> 00:01:15,030 like this on ccMixter or a different music archive. 27 00:01:15,030 --> 00:01:16,800 It'll take a while, and unfortunately I 28 00:01:16,800 --> 00:01:19,700 don't have a short cut. 29 00:01:19,700 --> 00:01:22,000 That's a problem with music, is that it's not 30 00:01:22,000 --> 00:01:23,040 catalogued very well. 31 00:01:23,040 --> 00:01:24,720 So it's time consuming, because you just 32 00:01:24,720 --> 00:01:26,650 have to listen to everything. 33 00:01:26,650 --> 00:01:33,660 STUDENT: What would be, like, a good mood to search for that? 34 00:01:33,660 --> 00:01:36,330 PROFESSOR: I wouldn't necessarily search by mood. 35 00:01:36,330 --> 00:01:39,081 I would search by instrumentation. 36 00:01:39,081 --> 00:01:39,580 STUDENT: OK. 37 00:01:39,580 --> 00:01:42,040 PROFESSOR: So, have you looked at any of those links that 38 00:01:42,040 --> 00:01:43,039 were up on the syllabus? 39 00:01:43,039 --> 00:01:45,370 STUDENT 1: Uh huh. 40 00:01:45,370 --> 00:01:50,780 PROFESSOR: I mean, this is sort of, like, chill rock basically. 41 00:01:50,780 --> 00:01:51,460 STUDENT 1: OK. 42 00:01:51,460 --> 00:01:55,410 PROFESSOR: And that may not actually narrow it down. 43 00:01:55,410 --> 00:01:58,760 Go ahead and try to explore other genres, too. 44 00:01:58,760 --> 00:02:01,370 I-- unfortunately, there's no quick algorithm 45 00:02:01,370 --> 00:02:03,480 for finding good music. 46 00:02:03,480 --> 00:02:06,330 That's why it's so time consuming. 47 00:02:06,330 --> 00:02:08,880 But let me see what you've got cut so far. 48 00:02:08,880 --> 00:02:10,410 STUDENT 1: OK, the video? 49 00:02:10,410 --> 00:02:10,970 All right. 50 00:02:10,970 --> 00:02:12,310 PROFESSOR: Do you mind if I bump up your brightness 51 00:02:12,310 --> 00:02:13,810 a little bit so I can see it better? 52 00:02:13,810 --> 00:02:15,788 STUDENT 1: Oh yeah. 53 00:02:15,788 --> 00:02:17,630 And I'll delete this song for now. 54 00:02:25,930 --> 00:02:30,820 [VIDEO PLAYBACK] 55 00:02:31,320 --> 00:02:36,480 -Hi, what do snowflakes and cell phones have in common? 56 00:02:36,480 --> 00:02:41,050 Well, let me start by drawing a snowflake first. 57 00:02:41,050 --> 00:02:44,070 First, I'm draw an equilateral triangle, 58 00:02:44,070 --> 00:02:46,880 divide each side into three parts, 59 00:02:46,880 --> 00:02:51,490 and draw another equilateral triangle on top of each one. 60 00:02:51,490 --> 00:02:54,540 Then, take out the middle and repeat the process. 61 00:02:54,540 --> 00:02:56,970 This time with one, two, three, four, 62 00:02:56,970 --> 00:02:59,520 times three, which is 12 sides. 63 00:02:59,520 --> 00:03:03,050 Eventually, the shape will start looking something like this. 64 00:03:03,050 --> 00:03:06,100 In mathematics this is called a Koch snowflake. 65 00:03:06,100 --> 00:03:08,900 If I repeated my process again and again, 66 00:03:08,900 --> 00:03:13,410 I would see this same pattern anywhere I looked. 67 00:03:13,410 --> 00:03:14,952 This is a Koch snowflake, this time-- 68 00:03:14,952 --> 00:03:16,701 STUDENT 1: And this would be an animation. 69 00:03:16,701 --> 00:03:17,880 I just haven't inserted it. 70 00:03:17,880 --> 00:03:18,546 PROFESSOR: Sure. 71 00:03:18,546 --> 00:03:21,400 - --that on any scale, on any level of zoom look roughly 72 00:03:21,400 --> 00:03:24,370 the same, are called fractals. 73 00:03:24,370 --> 00:03:27,260 Computer scientists can program these infinite patterns 74 00:03:27,260 --> 00:03:30,420 by repeating an often simple mathematical process 75 00:03:30,420 --> 00:03:31,581 over and over. 76 00:03:31,581 --> 00:03:34,530 In the 1990s, a radio astronomer named 77 00:03:34,530 --> 00:03:37,530 Nathan Cohen, used fractals to revolutionize 78 00:03:37,530 --> 00:03:38,880 telecommunications 79 00:03:38,880 --> 00:03:42,036 At the time, Cohen was having troubles with his landlord. 80 00:03:42,036 --> 00:03:44,540 The man wouldn't let him put an antenna on his roof. 81 00:03:44,540 --> 00:03:49,050 So Cohen designed a more compact, fractal radio antenna 82 00:03:49,050 --> 00:03:50,000 instead. 83 00:03:50,000 --> 00:03:53,200 The landlord didn't notice it, and it worked better 84 00:03:53,200 --> 00:03:54,780 than the ones before. 85 00:03:54,780 --> 00:03:58,780 Working further, Cohen designed a new antenna. 86 00:03:58,780 --> 00:04:02,004 This time, using the fractal called the Menger sponge. 87 00:04:02,004 --> 00:04:04,043 The Menger sponge is not really the sponge 88 00:04:04,043 --> 00:04:05,626 you'd be scrubbing your bathroom with. 89 00:04:05,626 --> 00:04:07,910 But you can still think of it like that. 90 00:04:07,910 --> 00:04:10,274 Imagine both water and soap getting 91 00:04:10,274 --> 00:04:11,440 through your sponge's holes. 92 00:04:11,440 --> 00:04:16,604 Except the water is Wi-Fi and the soap is, say, Bluetooth. 93 00:04:16,604 --> 00:04:18,829 The fractal's infinite sponginess 94 00:04:18,829 --> 00:04:21,351 allows it to receive many different frequencies 95 00:04:21,351 --> 00:04:22,824 simultaneously. 96 00:04:22,824 --> 00:04:24,570 Before Cohen's invention, antennas 97 00:04:24,570 --> 00:04:26,380 had to be cut for one frequency. 98 00:04:26,380 --> 00:04:29,764 And that was the only frequency they could operate at. 99 00:04:29,764 --> 00:04:32,560 So without Cohen's sponge, your cell phone 100 00:04:32,560 --> 00:04:36,890 would have to look a hedgehog to receive multiple signals, 101 00:04:36,890 --> 00:04:40,940 including the one your friends use when they call. 102 00:04:40,940 --> 00:04:43,520 Cohen later proved that only fractal shapes 103 00:04:43,520 --> 00:04:46,110 could work with such a wide range of frequencies. 104 00:04:46,110 --> 00:04:48,377 Today, millions of wireless communication devices-- 105 00:04:48,377 --> 00:04:48,960 [END PLAYBACK] 106 00:04:48,960 --> 00:04:50,126 STUDENT 1: Oh, sorry my bad. 107 00:04:50,126 --> 00:04:52,570 PROFESSOR: Oh, was that the music? 108 00:04:52,570 --> 00:04:54,139 STUDENT 1: I was testing something. 109 00:04:54,139 --> 00:04:55,930 PROFESSOR: OK, I was like, what's happening 110 00:04:55,930 --> 00:04:58,678 when you guys were recording. 111 00:04:58,678 --> 00:05:00,427 STUDENT 1: Yeah, I'm going to delete that. 112 00:05:05,310 --> 00:05:08,719 Come on. 113 00:05:08,719 --> 00:05:10,168 PROFESSOR: Here, let's go-- 114 00:05:25,310 --> 00:05:27,170 STUDENT 1: It was like-- earlier. 115 00:05:27,170 --> 00:05:31,514 Somewhere up there-- this. 116 00:05:31,514 --> 00:05:32,430 [VIDEO PLAYBACK] 117 00:05:32,430 --> 00:05:36,180 - --genuis invention, however, was not the first application 118 00:05:36,180 --> 00:05:37,972 of fractals in the w-- 119 00:05:37,972 --> 00:05:39,840 [END PLAYBACK] 120 00:05:39,840 --> 00:05:41,500 PROFESSOR: Why is it doing this. 121 00:05:41,500 --> 00:05:43,590 STUDENT 1: Yeah, you can just do this. 122 00:05:43,590 --> 00:05:44,540 And it's around here. 123 00:05:53,200 --> 00:05:54,434 I guess it's-- 124 00:05:54,434 --> 00:05:55,100 [VIDEO PLAYBACK] 125 00:05:55,100 --> 00:05:57,710 - --including laptops and bar code scanners used 126 00:05:57,710 --> 00:05:59,530 Cohen's fractal antenna. 127 00:05:59,530 --> 00:06:01,520 Cohen's genius invention, however, 128 00:06:01,520 --> 00:06:04,457 was not the first application of fractals in the world. 129 00:06:07,935 --> 00:06:10,580 It tuns out, nature has been doing it the whole time, 130 00:06:10,580 --> 00:06:12,370 and not just with snowflakes. 131 00:06:12,370 --> 00:06:15,530 Natural selection favors the most efficient systems 132 00:06:15,530 --> 00:06:18,390 and organisms, often of a fractal shape. 133 00:06:18,390 --> 00:06:22,840 For example, the spiral fractal is present broccoli, seashells, 134 00:06:22,840 --> 00:06:24,260 and hurricanes. 135 00:06:24,260 --> 00:06:27,270 The fractal tree is relatively easy to program, 136 00:06:27,270 --> 00:06:29,950 and can be used to study river systems, blood 137 00:06:29,950 --> 00:06:32,390 vessels, and lightening bolts. 138 00:06:32,390 --> 00:06:35,470 So many natural systems previously thought off limits 139 00:06:35,470 --> 00:06:39,492 to mathematicians can now be explained in terms of fractals. 140 00:06:39,492 --> 00:06:43,867 Plus, mathematics allows us to learn nature's best practices, 141 00:06:43,867 --> 00:06:47,276 and then apply them to solve world problems. 142 00:06:47,276 --> 00:06:50,685 Much like Cohen's antenna revolutionized the field 143 00:06:50,685 --> 00:06:53,120 of telecommunications, other fractal research 144 00:06:53,120 --> 00:06:55,555 is changing medicine, weather prediction, 145 00:06:55,555 --> 00:06:59,970 and building design-- here at MIT, and everywhere 146 00:06:59,970 --> 00:07:01,395 in the world. 147 00:07:01,395 --> 00:07:02,844 Look around you. 148 00:07:02,844 --> 00:07:05,766 What beautiful patterns do you see? 149 00:07:05,766 --> 00:07:06,361 [END PLAYBACK] 150 00:07:06,361 --> 00:07:08,110 PROFESSOR: All right, that's a good start. 151 00:07:08,110 --> 00:07:10,360 Good start. 152 00:07:10,360 --> 00:07:15,040 So I think in general, the transitions 153 00:07:15,040 --> 00:07:17,250 could be a little bit tighter. 154 00:07:17,250 --> 00:07:18,395 So, like right here. 155 00:07:21,900 --> 00:07:27,320 When you walk off-- well, this hiccup up is really noticeable. 156 00:07:27,320 --> 00:07:29,810 So either hide it by having an extreme close up 157 00:07:29,810 --> 00:07:33,410 before you leave, or just get rid of this entirely. 158 00:07:33,410 --> 00:07:37,450 Although, I know that you did that to show the walk off, 159 00:07:37,450 --> 00:07:39,520 so that you could show walking in. 160 00:07:39,520 --> 00:07:41,540 STUDENT 1: And I can connect-- this is actually 161 00:07:41,540 --> 00:07:45,800 one video I separated so I could speed this up. 162 00:07:45,800 --> 00:07:47,800 And I guess I was just playing around with that. 163 00:07:47,800 --> 00:07:50,706 PROFESSOR: I almost think this happens too quickly, though. 164 00:07:50,706 --> 00:07:52,330 STUDENT 1: Yeah, it's at 140 right now. 165 00:07:52,330 --> 00:07:53,760 So I was just like-- 166 00:07:53,760 --> 00:07:57,320 PROFESSOR: Yeah, I would slow it back down, yeah. 167 00:07:57,320 --> 00:08:00,462 So let's go scene by scene. 168 00:08:00,462 --> 00:08:04,230 [MUSIC PLAYING] 169 00:08:04,230 --> 00:08:05,630 Is this track Creative Commons? 170 00:08:05,630 --> 00:08:06,880 STUDENT 1: No, it's Aerosmith. 171 00:08:06,880 --> 00:08:08,102 I would take that out. 172 00:08:08,102 --> 00:08:09,560 I was just looking for an interem-- 173 00:08:09,560 --> 00:08:12,880 PROFESSOR: There's probably an iMovie sound effect, actually, 174 00:08:12,880 --> 00:08:13,850 that you could use. 175 00:08:13,850 --> 00:08:14,437 STUDENT 1: OK. 176 00:08:14,437 --> 00:08:16,520 PROFESSOR: For this part, where you're just, like, 177 00:08:16,520 --> 00:08:20,980 walking around, I would digitally zoom in close up. 178 00:08:20,980 --> 00:08:25,040 Because otherwise, you jump to talking all of a sudden. 179 00:08:25,040 --> 00:08:29,300 But your movement wasn't exaggerated enough 180 00:08:29,300 --> 00:08:32,159 to where you, like, get the joke that you're talking. 181 00:08:32,159 --> 00:08:35,659 So you can exaggerate it by changing the actual framing 182 00:08:35,659 --> 00:08:36,679 of the scene. 183 00:08:36,679 --> 00:08:39,679 STUDENT 1: So would I zoom in when I start talking? 184 00:08:39,679 --> 00:08:43,520 PROFESSOR: I would stay zoomed in when you're talking, 185 00:08:43,520 --> 00:08:48,090 and then clean cut to a wider shot of you afterwards. 186 00:08:48,090 --> 00:08:59,730 So basically, I would cut, like, right there. 187 00:09:03,040 --> 00:09:04,870 I don't remember how-- my version's 188 00:09:04,870 --> 00:09:07,610 a little but different than yours. 189 00:09:07,610 --> 00:09:09,220 But I would cut right there. 190 00:09:09,220 --> 00:09:11,430 And for the preceding clip, do you know 191 00:09:11,430 --> 00:09:13,752 how to crop and zoom on clips? 192 00:09:13,752 --> 00:09:14,710 STUDENT 1: Yeah, I can. 193 00:09:14,710 --> 00:09:18,630 PROFESSOR: You just go like that, basically. 194 00:09:18,630 --> 00:09:20,440 Yeah, for that. 195 00:09:20,440 --> 00:09:23,390 Now, for this I would also-- this 196 00:09:23,390 --> 00:09:26,580 is basically one, really long shot that 197 00:09:26,580 --> 00:09:28,630 is framed the exact same way. 198 00:09:28,630 --> 00:09:32,080 And it's very lectury, because you're literally 199 00:09:32,080 --> 00:09:33,090 at a blackboard. 200 00:09:33,090 --> 00:09:37,690 Although I think that that was a good set up for you guys, 201 00:09:37,690 --> 00:09:40,890 given the complexity of explaining this. 202 00:09:40,890 --> 00:09:44,960 But I think you can avoid making it sound too chalkboard lectury 203 00:09:44,960 --> 00:09:47,717 by cutting in and out of your frame. 204 00:09:47,717 --> 00:09:48,300 STUDENT 1: OK. 205 00:09:48,300 --> 00:09:50,020 PROFESSOR: Or, of your framing. 206 00:09:50,020 --> 00:09:51,010 So this is fine. 207 00:09:54,165 --> 00:09:57,390 Like right there, I would save your audio 208 00:09:57,390 --> 00:10:00,990 but just cut to a close up of your hand drawing it. 209 00:10:00,990 --> 00:10:03,480 Does that make sense? 210 00:10:03,480 --> 00:10:05,230 STUDENT 1: So kind of like with the phone? 211 00:10:05,230 --> 00:10:06,660 When I'm showing-- 212 00:10:06,660 --> 00:10:09,270 PROFESSOR: Yeah, yeah-- I would do more of that. 213 00:10:09,270 --> 00:10:14,550 I think in general, you have very static shots 214 00:10:14,550 --> 00:10:16,640 that last for a long time. 215 00:10:16,640 --> 00:10:21,600 So you can break that up by keeping the same track 216 00:10:21,600 --> 00:10:25,780 from your one long take, but mixing the extent 217 00:10:25,780 --> 00:10:27,220 to which you've zoomed in. 218 00:10:27,220 --> 00:10:29,470 STUDENT 1: OK, yeah, that's what I did with the phone, 219 00:10:29,470 --> 00:10:31,020 so I can definitely work on that. 220 00:10:31,020 --> 00:10:32,150 PROFESSOR: I think that would help. 221 00:10:32,150 --> 00:10:33,649 Because this section is pretty long. 222 00:10:33,649 --> 00:10:37,290 Like, if you just even look at your project, 223 00:10:37,290 --> 00:10:42,380 this file is 32 seconds. 224 00:10:42,380 --> 00:10:47,340 STUDENT 1: Which, it's-- the video is about three minutes 225 00:10:47,340 --> 00:10:49,310 and 40 seconds right now. 226 00:10:49,310 --> 00:10:50,300 PROFESSOR: OK. 227 00:10:50,300 --> 00:10:51,800 STUDENT 1: And then, like, this part 228 00:10:51,800 --> 00:10:53,340 is because I inserted the song. 229 00:10:53,340 --> 00:10:54,500 PROFESSOR: Oh, OK, great. 230 00:10:54,500 --> 00:10:55,166 [VIDEO PLAYBACK] 231 00:10:55,166 --> 00:10:56,930 - --repeated my process again and again, 232 00:10:56,930 --> 00:10:58,267 I would see this same-- 233 00:10:58,267 --> 00:10:58,850 [END PLAYBACK] 234 00:10:58,850 --> 00:11:01,930 STUDENT 1: So I guess you could zoom in at "this same shape." 235 00:11:01,930 --> 00:11:05,010 PROFESSOR: I actually-- I feel like you're 236 00:11:05,010 --> 00:11:07,770 revealing this image too soon in your sentence. 237 00:11:07,770 --> 00:11:10,070 "If I repeated this process over and over again, 238 00:11:10,070 --> 00:11:11,860 I would see this image." 239 00:11:11,860 --> 00:11:13,820 And I almost don't want to see the image 240 00:11:13,820 --> 00:11:15,490 until you say "this image." 241 00:11:15,490 --> 00:11:16,170 STUDENT 1: OK. 242 00:11:16,170 --> 00:11:18,430 PROFESSOR: So maybe if you can zoom in, and frame, 243 00:11:18,430 --> 00:11:23,050 and crop out the fractal zoom in until you say "this." 244 00:11:23,050 --> 00:11:27,760 And then at "this" you can either pan to the drawing, 245 00:11:27,760 --> 00:11:29,167 or you can cut to a wide shot. 246 00:11:29,167 --> 00:11:29,750 STUDENT 1: OK. 247 00:11:29,750 --> 00:11:30,416 [VIDEO PLAYBACK] 248 00:11:30,416 --> 00:11:32,950 -If I repeated my process again and again, 249 00:11:32,950 --> 00:11:36,840 I would see this same pattern anywhere I looked. 250 00:11:36,840 --> 00:11:37,610 [END PLAYBACK] 251 00:11:37,610 --> 00:11:39,550 PROFESSOR: And anywhere you looked-- 252 00:11:39,550 --> 00:11:42,630 I mean, is there a way to, like, shoot 253 00:11:42,630 --> 00:11:45,770 footage of just close ups of the snowflake? 254 00:11:45,770 --> 00:11:49,070 Of you, like, going around the edge of the periphery 255 00:11:49,070 --> 00:11:49,840 of the snowflake? 256 00:11:49,840 --> 00:11:50,980 STUDENT 1: So that would this part. 257 00:11:50,980 --> 00:11:52,450 PROFESSOR: That would be that part, OK. 258 00:11:52,450 --> 00:11:52,765 STUDENT 1: Yeah. 259 00:11:52,765 --> 00:11:53,080 [VIDEO PLAYBACK] 260 00:11:53,080 --> 00:11:53,730 -This is Koch snowflake-- 261 00:11:53,730 --> 00:11:54,000 [END PLAYBACK] 262 00:11:54,000 --> 00:11:56,170 STUDENT 1: Which, this is a software-- a fractal drawing 263 00:11:56,170 --> 00:11:56,810 software. 264 00:11:56,810 --> 00:11:59,730 Am I allowed to, like, film the zoom in on that? 265 00:11:59,730 --> 00:12:01,650 And then use-- 266 00:12:01,650 --> 00:12:03,760 PROFESSOR: It depends on what license 267 00:12:03,760 --> 00:12:07,425 the software is released under, and who created that image. 268 00:12:07,425 --> 00:12:08,008 STUDENT 1: OK. 269 00:12:14,140 --> 00:12:17,300 So, I mean, I didn't have to pay for it or anything. 270 00:12:17,300 --> 00:12:18,920 PROFESSOR: Oh, you created the image. 271 00:12:18,920 --> 00:12:19,503 STUDENT 1: No. 272 00:12:19,503 --> 00:12:20,500 Well-- so, kind of. 273 00:12:20,500 --> 00:12:21,430 It's just a software. 274 00:12:21,430 --> 00:12:26,470 And then you can do-- let's say you draw a Koch snowflake, 275 00:12:26,470 --> 00:12:30,810 and then you can just zoom in on it. 276 00:12:30,810 --> 00:12:31,950 And then I just-- 277 00:12:31,950 --> 00:12:35,022 PROFESSOR: And that is are free, open source software? 278 00:12:35,022 --> 00:12:36,230 STUDENT 1: Yeah, it was free. 279 00:12:39,890 --> 00:12:42,680 PROFESSOR: You know, what you should do is? 280 00:12:42,680 --> 00:12:45,660 You should just take a QuickTime recording of your screen. 281 00:12:45,660 --> 00:12:46,980 Like what we were doing. 282 00:12:46,980 --> 00:12:47,780 STUDENT 1: That's what I was going to do. 283 00:12:47,780 --> 00:12:49,904 PROFESSOR: And just, like, do a QuickTime recording 284 00:12:49,904 --> 00:12:50,720 of you zooming in. 285 00:12:50,720 --> 00:12:52,140 STUDENT 1: And that's OK to use? 286 00:12:52,140 --> 00:12:52,680 PROFESSOR: Yeah. 287 00:12:52,680 --> 00:12:52,760 All 288 00:12:52,760 --> 00:12:53,468 STUDENT 1: Right. 289 00:12:53,468 --> 00:12:57,030 PROFESSOR: Oh wow, this is so trippy. 290 00:12:57,030 --> 00:12:58,306 How do I make it stop? 291 00:12:58,306 --> 00:12:59,680 STUDENT 1: I don't actually know. 292 00:12:59,680 --> 00:13:01,590 I haven't worked too much-- there is actually 293 00:13:01,590 --> 00:13:05,010 a video of somebody doing that, which is well done. 294 00:13:05,010 --> 00:13:08,330 So I may use part of that. 295 00:13:08,330 --> 00:13:13,502 PROFESSOR: You-- ideally, you would make your own video. 296 00:13:13,502 --> 00:13:14,960 STUDENT 1: Yeah, I'll work on that. 297 00:13:14,960 --> 00:13:17,210 Maybe I'll just, like, track their movements at least. 298 00:13:17,210 --> 00:13:21,020 PROFESSOR: Yeah, because I don't know what the details of that 299 00:13:21,020 --> 00:13:22,300 would be. 300 00:13:22,300 --> 00:13:24,240 If you're actually allowed to use a video. 301 00:13:24,240 --> 00:13:26,107 Unless they've specifically released it 302 00:13:26,107 --> 00:13:27,065 under Creative Commons. 303 00:13:30,180 --> 00:13:31,320 All right, so you're here. 304 00:13:31,320 --> 00:13:31,500 [VIDEO PLAYBACK] 305 00:13:31,500 --> 00:13:32,660 -This is a Koch snowflake. 306 00:13:32,660 --> 00:13:34,650 This time, drawn on a computer. 307 00:13:34,650 --> 00:13:37,300 Such never ending patterns that on any scale, 308 00:13:37,300 --> 00:13:39,940 on any level of zoom look roughly the same 309 00:13:39,940 --> 00:13:42,011 are called fractals. 310 00:13:42,011 --> 00:13:43,382 [END PLAYBACK] 311 00:13:49,121 --> 00:13:53,440 PROFESSOR: OK, this is where you change your wardrobe 312 00:13:53,440 --> 00:13:54,230 all of a sudden. 313 00:13:58,980 --> 00:14:02,260 Ideally, that wouldn't happen. 314 00:14:02,260 --> 00:14:04,810 Wardrobe changes are OK if it makes sense. 315 00:14:04,810 --> 00:14:07,010 But here it seems, like, a little arbitrary. 316 00:14:12,290 --> 00:14:13,728 But it's not the end of the world. 317 00:14:18,852 --> 00:14:21,330 Does that makes sense why that seems a little bit weird, 318 00:14:21,330 --> 00:14:21,830 though? 319 00:14:21,830 --> 00:14:23,204 Because it's like, in your script 320 00:14:23,204 --> 00:14:25,580 there is nothing that sort of signifies 321 00:14:25,580 --> 00:14:29,980 or identifies that you've shot, like, at a different day. 322 00:14:29,980 --> 00:14:31,970 Or that you're in a location that requires 323 00:14:31,970 --> 00:14:33,945 a different wardrobe, you know? 324 00:14:37,130 --> 00:14:38,040 [VIDEO PLAYBACK] 325 00:14:38,040 --> 00:14:39,340 -This is a Koch snowflake. 326 00:14:39,340 --> 00:14:41,330 This time, drawn on a computer. 327 00:14:41,330 --> 00:14:43,645 Such never ending patters that, on any scale, 328 00:14:43,645 --> 00:14:46,620 on any level of zoom look roughly the same 329 00:14:46,620 --> 00:14:47,752 are called fractals. 330 00:14:47,752 --> 00:14:48,824 [END PLAYBACK] 331 00:14:48,824 --> 00:14:50,490 PROFESSOR: OK, I'm just going to say it. 332 00:14:50,490 --> 00:14:52,370 How do you pronounce Koch snowflake. 333 00:14:52,370 --> 00:14:54,411 STUDENT 2: I think it's "coke," but I don't know. 334 00:14:54,411 --> 00:14:58,535 PROFESSOR: I'm pretty sure-- it's K-O-C-H, right? 335 00:14:58,535 --> 00:15:03,680 Just cause I would imagine that it's educators watching 336 00:15:03,680 --> 00:15:08,070 this video, but if there are little children watching 337 00:15:08,070 --> 00:15:10,364 this one, there are going to be some, 338 00:15:10,364 --> 00:15:14,004 ha, ha-- she said cock snowflake comments. 339 00:15:14,004 --> 00:15:15,420 STUDENT 1: I was actually thinking 340 00:15:15,420 --> 00:15:19,500 of doing-- because the sound changes so much, I 341 00:15:19,500 --> 00:15:21,820 was actually thinking of doing a voiceover of this. 342 00:15:21,820 --> 00:15:24,050 Because what I found-- I recorded this part indoors 343 00:15:24,050 --> 00:15:26,880 and outdoors, and I could match up the sound perfectly 344 00:15:26,880 --> 00:15:28,250 for what I was moving. 345 00:15:28,250 --> 00:15:31,700 So if I, like, do the same thing but somewhere else, 346 00:15:31,700 --> 00:15:33,380 I can probably match up the sound 347 00:15:33,380 --> 00:15:35,260 and change the snowflake part. 348 00:15:37,960 --> 00:15:39,256 PROFESSOR: Helge von Koch. 349 00:15:43,327 --> 00:15:45,160 Yeah, I would just look up the pronunciation 350 00:15:45,160 --> 00:15:46,040 of that, just to-- 351 00:15:46,040 --> 00:15:47,450 STUDENT 1: OK, I will do that. 352 00:15:47,450 --> 00:15:50,880 PROFESSOR: Just be careful. 353 00:15:50,880 --> 00:15:53,790 Yeah, and especially-- this is just video stuff anyway, 354 00:15:53,790 --> 00:15:57,380 so you can easily re-record that. 355 00:15:57,380 --> 00:15:59,926 So wait for the reveal here. 356 00:15:59,926 --> 00:16:02,050 Basically, do a little more with cutting in and out 357 00:16:02,050 --> 00:16:05,590 of close ups and wide shots. 358 00:16:05,590 --> 00:16:06,640 OK, right here. 359 00:16:06,640 --> 00:16:07,306 [VIDEO PLAYBACK] 360 00:16:07,306 --> 00:16:08,625 - --are called fractals. 361 00:16:08,625 --> 00:16:10,490 [END PLAYBACK] 362 00:16:10,490 --> 00:16:13,980 PROFESSOR: So this reveal is a little awkward, 363 00:16:13,980 --> 00:16:16,440 because you're not looking at the audience 364 00:16:16,440 --> 00:16:18,590 when you're saying the big reveal. 365 00:16:18,590 --> 00:16:21,302 And then you have this sort of unnatural pause 366 00:16:21,302 --> 00:16:22,760 before you start the next sentence. 367 00:16:22,760 --> 00:16:24,843 STUDENT 1: OK, I was actually originally intending 368 00:16:24,843 --> 00:16:27,290 to say fractals here, but I cut it-- 369 00:16:27,290 --> 00:16:28,397 PROFESSOR: Oh, OK, I see. 370 00:16:28,397 --> 00:16:30,480 STUDENT 1: I thought, oh, well I'll just say that. 371 00:16:30,480 --> 00:16:33,830 But originally, it was going to be I finished saying fractals, 372 00:16:33,830 --> 00:16:35,770 and then I type on the computer and say-- 373 00:16:35,770 --> 00:16:37,700 PROFESSOR: OK, that will work a lot better. 374 00:16:37,700 --> 00:16:39,347 STUDENT 1: So I can just redo that. 375 00:16:39,347 --> 00:16:40,180 PROFESSOR: OK, cool. 376 00:16:40,180 --> 00:16:47,670 I mean, I think it's also-- I think ideally, you would say, 377 00:16:47,670 --> 00:16:50,160 fractals, and then you'd look down at your computer. 378 00:16:50,160 --> 00:16:52,440 But what you're saying now, that'll work too. 379 00:16:52,440 --> 00:16:55,821 STUDENT 1: And that's how we filmed it, so-- 380 00:16:55,821 --> 00:16:57,320 PROFESSOR: Yeah, because this, like, 381 00:16:57,320 --> 00:17:00,106 gap in where you take a breath-- it sounds fine, 382 00:17:00,106 --> 00:17:01,355 but it looks a little awkward. 383 00:17:01,355 --> 00:17:02,021 [VIDEO PLAYBACK] 384 00:17:02,021 --> 00:17:05,783 -Computer scientists can program these infinite patterns-- 385 00:17:05,783 --> 00:17:07,510 [END PLAYBACK] 386 00:17:07,510 --> 00:17:11,130 PROFESSOR: So this is super overexposed in the background. 387 00:17:11,130 --> 00:17:13,960 So I would try to see if you can bring the exposure down 388 00:17:13,960 --> 00:17:15,040 just a little bit. 389 00:17:15,040 --> 00:17:16,700 STUDENT 1: OK. 390 00:17:16,700 --> 00:17:18,909 PROFESSOR: I don't remember how to do that on iMovie. 391 00:17:18,909 --> 00:17:19,908 STUDENT 1: It's on this. 392 00:17:19,908 --> 00:17:21,420 I actually increased the exposure, 393 00:17:21,420 --> 00:17:22,540 because there were some shadows. 394 00:17:22,540 --> 00:17:23,760 But I can play around with that. 395 00:17:23,760 --> 00:17:26,051 PROFESSOR: I mean, the main thing is the whites, right? 396 00:17:26,051 --> 00:17:27,920 Like, you're super blown out in the window. 397 00:17:27,920 --> 00:17:28,710 [VIDEO PLAYBACK] 398 00:17:28,710 --> 00:17:30,250 - --infinite patterns by repeating-- 399 00:17:30,250 --> 00:17:31,260 [END PLAYBACK] 400 00:17:31,260 --> 00:17:34,090 STUDENT 1: No, it was different in the original one. 401 00:17:34,090 --> 00:17:36,680 PROFESSOR: I don't know if there's a history on iMovie, 402 00:17:36,680 --> 00:17:40,230 but if you can somehow just, like, increase the blacks 403 00:17:40,230 --> 00:17:42,690 but don't blow out the whites, that 404 00:17:42,690 --> 00:17:45,230 might help if you have weird shadows going on. 405 00:17:45,230 --> 00:17:48,211 STUDENT 1: I think-- so it looked like this originally I 406 00:17:48,211 --> 00:17:48,710 think. 407 00:17:48,710 --> 00:17:50,270 PROFESSOR: Yeah, that's better. 408 00:17:50,270 --> 00:17:51,520 STUDENT 1: Yeah, I don't know. 409 00:17:51,520 --> 00:17:52,905 I was playing around with that. 410 00:17:52,905 --> 00:17:54,280 But that's not the final version. 411 00:17:54,280 --> 00:17:55,050 PROFESSOR: OK, cool. 412 00:17:55,050 --> 00:17:56,650 STUDENT 1: But that was the original. 413 00:17:56,650 --> 00:17:59,240 PROFESSOR: Got it. 414 00:17:59,240 --> 00:18:03,007 Oh, yeah, I remember-- this one also feels pretty long to me. 415 00:18:03,007 --> 00:18:03,673 [VIDEO PLAYBACK] 416 00:18:03,673 --> 00:18:06,660 -Computer scientists can program these infinite patterns my 417 00:18:06,660 --> 00:18:09,198 repeating an often simple mathematical process 418 00:18:09,198 --> 00:18:10,807 over and over. 419 00:18:10,807 --> 00:18:11,390 [END PLAYBACK] 420 00:18:11,390 --> 00:18:14,650 PROFESSOR: So, for that line, do you have footage of you 421 00:18:14,650 --> 00:18:19,499 on MATLAB graphing a fractal? 422 00:18:19,499 --> 00:18:20,540 STUDENT 1: I can do that. 423 00:18:20,540 --> 00:18:23,490 Because that would probably be on the fractal software. 424 00:18:23,490 --> 00:18:24,050 I can just-- 425 00:18:24,050 --> 00:18:25,000 PROFESSOR: Yeah, even that. 426 00:18:25,000 --> 00:18:26,583 Like, just to break it up a little bit 427 00:18:26,583 --> 00:18:28,824 and give them, like, a visual association. 428 00:18:28,824 --> 00:18:30,490 Because this is one of those times where 429 00:18:30,490 --> 00:18:32,820 if you're like, again, in static place saying 430 00:18:32,820 --> 00:18:37,219 a big chunk of words to them, it's sort of easier to 431 00:18:37,219 --> 00:18:38,260 tune it out a little bit. 432 00:18:38,260 --> 00:18:38,926 [VIDEO PLAYBACK] 433 00:18:38,926 --> 00:18:40,050 - --fractals. 434 00:18:40,050 --> 00:18:42,935 Computer scientists can program these infinite patterns 435 00:18:42,935 --> 00:18:46,090 by repeating an often simple mathematical process 436 00:18:46,090 --> 00:18:47,430 over and over. 437 00:18:47,430 --> 00:18:48,586 In the 1990s-- 438 00:18:48,586 --> 00:18:50,460 PROFESSOR: Yeah, and then cut back out to you 439 00:18:50,460 --> 00:18:51,770 when you say-- I mean, because that's, like, 440 00:18:51,770 --> 00:18:53,160 a very separate thought. 441 00:18:53,160 --> 00:18:55,421 - --a radio astronomer named Nathan Cohen-- 442 00:18:55,421 --> 00:18:58,046 PROFESSOR: Is there a picture of Nathan Cohen that could, like, 443 00:18:58,046 --> 00:18:59,090 pop up on the side? 444 00:18:59,090 --> 00:19:02,010 STUDENT 1: I can probably find that, yeah. 445 00:19:02,010 --> 00:19:03,500 There is one, actually. 446 00:19:03,500 --> 00:19:05,378 - --to revolutionize telecommunications. 447 00:19:05,378 --> 00:19:06,830 [END PLAYBACK] 448 00:19:06,830 --> 00:19:07,930 PROFESSOR: Oh, OK. 449 00:19:07,930 --> 00:19:12,110 So half way through the video, you switch to these, 450 00:19:12,110 --> 00:19:15,810 like, cube turn transitions. 451 00:19:15,810 --> 00:19:18,020 I mean, this is a personal preference. 452 00:19:18,020 --> 00:19:21,030 I don't know how you fell about transitions. 453 00:19:21,030 --> 00:19:26,880 But I feel like, either keep it all the same 454 00:19:26,880 --> 00:19:31,700 or use, like, this a little quirkier transitions 455 00:19:31,700 --> 00:19:34,700 for a very pointed reason. 456 00:19:34,700 --> 00:19:37,950 STUDENT 1: OK, for this one, because it 457 00:19:37,950 --> 00:19:41,590 was such different locations, I used these to tell the story. 458 00:19:41,590 --> 00:19:44,770 So this is me introducing the story and telling the story. 459 00:19:44,770 --> 00:19:47,150 So just for that story I'm using those transitions. 460 00:19:47,150 --> 00:19:49,340 PROFESSOR: Yeah, I think if you're 461 00:19:49,340 --> 00:19:55,060 going to do that, I much prefer a push rather than a cube turn. 462 00:19:55,060 --> 00:19:56,710 Because we've done that once before, 463 00:19:56,710 --> 00:19:59,130 and-- again, personal preference. 464 00:19:59,130 --> 00:20:01,010 George had to really sell me on the idea, 465 00:20:01,010 --> 00:20:03,230 because I was very opposed to it. 466 00:20:03,230 --> 00:20:05,910 But instead of doing a rotation, you just-- it's 467 00:20:05,910 --> 00:20:07,790 a wipe, basically. 468 00:20:07,790 --> 00:20:11,080 One frame pushes off and reveals the next one. 469 00:20:11,080 --> 00:20:13,110 I think that looks a little bit better. 470 00:20:13,110 --> 00:20:15,310 STUDENT 2: Basically, I prefer as subtle 471 00:20:15,310 --> 00:20:18,960 of a transition as possible. 472 00:20:18,960 --> 00:20:21,170 And the animations are cool, but they 473 00:20:21,170 --> 00:20:26,269 remind people of, like, really flashy homemade videos 474 00:20:26,269 --> 00:20:27,810 as opposed to something professional. 475 00:20:27,810 --> 00:20:29,560 PROFESSOR: Yeah, like this is a very iMovie transition. 476 00:20:29,560 --> 00:20:30,412 STUDENT 2: Yeah. 477 00:20:30,412 --> 00:20:31,078 [VIDEO PLAYBACK] 478 00:20:31,078 --> 00:20:36,010 -At ths time, Cohen was having troubles with his landlord. 479 00:20:36,010 --> 00:20:41,590 The man wouldn't let him put an antenna on his roof. 480 00:20:41,590 --> 00:20:43,280 So-- 481 00:20:43,280 --> 00:20:45,780 PROFESSOR: There's some-- wait, let me listen to this again. 482 00:20:47,270 --> 00:20:49,590 -Cohen was having troubles with his landlord. 483 00:20:49,590 --> 00:20:52,030 The man wouldn't let him put an antenna on his roof. 484 00:20:52,030 --> 00:20:55,730 So, Cohen designed a more compact fract-- 485 00:20:55,730 --> 00:20:57,990 PROFESSOR: There I would zoom in. 486 00:20:57,990 --> 00:21:03,120 Cut to a closer framing up that that's, like, just the wire. 487 00:21:03,120 --> 00:21:04,860 - --radio antenna instead. 488 00:21:04,860 --> 00:21:07,830 The landlord didn't notice it, and it worked better 489 00:21:07,830 --> 00:21:09,510 than the ones before. 490 00:21:09,510 --> 00:21:10,510 Working further-- 491 00:21:10,510 --> 00:21:12,140 PROFESSOR: And then cut come back out. 492 00:21:12,140 --> 00:21:14,270 - --designed a new antenna. 493 00:21:14,270 --> 00:21:17,914 This time, using the fractal called the Menger sponge. 494 00:21:17,914 --> 00:21:18,724 [END PLAYBACK] 495 00:21:18,724 --> 00:21:20,390 PROFESSOR: And again, I don't think it's 496 00:21:20,390 --> 00:21:22,286 necessary to do a rotation. 497 00:21:22,286 --> 00:21:23,910 STUDENT 1: OK, and I was thinking here, 498 00:21:23,910 --> 00:21:28,200 while-- maybe have the Menger sponge increase in size, 499 00:21:28,200 --> 00:21:30,930 and then curtain as a background. 500 00:21:30,930 --> 00:21:32,980 So would that be another transition, 501 00:21:32,980 --> 00:21:35,670 to kind of have the Menger sponge expand 502 00:21:35,670 --> 00:21:37,820 and then have me wipe it off? 503 00:21:37,820 --> 00:21:40,100 STUDENT 2: Are you drawing a Menger sponge? 504 00:21:40,100 --> 00:21:42,922 STUDENT 1: Going to have a model of it, hopefully. 505 00:21:46,380 --> 00:21:48,170 STUDENT 2: So you are-- sorry, are 506 00:21:48,170 --> 00:21:51,030 you going to re-film the part with, like, a model? 507 00:21:51,030 --> 00:21:53,210 STUDENT 1: No, just like and image. 508 00:21:53,210 --> 00:21:54,810 STUDENT 2: OK, OK. 509 00:21:54,810 --> 00:21:57,810 PROFESSOR: So it would pop up in your hand right there. 510 00:21:57,810 --> 00:22:01,460 So the way this is framed-- I mean, 511 00:22:01,460 --> 00:22:04,030 the subject is really here-- is going to be here-- 512 00:22:04,030 --> 00:22:06,570 and you're so biased. 513 00:22:06,570 --> 00:22:08,140 I mean, this is beautifully framed 514 00:22:08,140 --> 00:22:10,780 in terms of, like, rule of thirds and everything. 515 00:22:10,780 --> 00:22:15,640 But because you held your hand out this way, 516 00:22:15,640 --> 00:22:17,360 it's going to look really fun-- like, 517 00:22:17,360 --> 00:22:18,900 the visual balance of that frame is 518 00:22:18,900 --> 00:22:21,774 going to look really funny when you're like, Menger sponge, 519 00:22:21,774 --> 00:22:23,440 and then all of a sudden this huge thing 520 00:22:23,440 --> 00:22:25,800 gets cut off on the side. 521 00:22:25,800 --> 00:22:28,820 So either zoom in a little bit-- ideally, 522 00:22:28,820 --> 00:22:30,967 you would have held out this hand so 523 00:22:30,967 --> 00:22:32,550 that it would have been in the middle. 524 00:22:32,550 --> 00:22:34,800 Although the background is really distracting, 525 00:22:34,800 --> 00:22:37,485 so I don't know if-- 526 00:22:37,485 --> 00:22:38,400 [VIDEO PLAYBACK] 527 00:22:38,400 --> 00:22:40,395 -Menger sponge. 528 00:22:40,395 --> 00:22:41,717 The Menger sponge-- 529 00:22:41,717 --> 00:22:42,300 [END PLAYBACK] 530 00:22:42,300 --> 00:22:46,050 PROFESSOR: And are you going to hold-- so, 531 00:22:46,050 --> 00:22:47,760 I'm assuming the Menger sponge picture 532 00:22:47,760 --> 00:22:49,630 will be floating somewhere. 533 00:22:49,630 --> 00:22:51,940 STUDENT 1: It would be here, yeah. 534 00:22:51,940 --> 00:22:54,660 But then I would get rid of that when 535 00:22:54,660 --> 00:22:57,900 I'm talking about the regular sponge. 536 00:22:57,900 --> 00:23:00,720 PROFESSOR: Well here it would still be floating. 537 00:23:00,720 --> 00:23:03,350 Because I think when you say, the Menger sponge isn't exactly 538 00:23:03,350 --> 00:23:05,210 like a real sponge, right? 539 00:23:05,210 --> 00:23:07,920 But I think the Menger sponge needs to be shown. 540 00:23:07,920 --> 00:23:08,930 STUDENT 1: OK 541 00:23:08,930 --> 00:23:10,130 PROFESSOR: If you're going to show something, 542 00:23:10,130 --> 00:23:12,120 show it long enough to where the viewer can 543 00:23:12,120 --> 00:23:13,790 process it a little bit. 544 00:23:13,790 --> 00:23:18,182 Otherwise, it's like this blip that might distract them. 545 00:23:18,182 --> 00:23:18,765 STUDENT 1: OK. 546 00:23:22,934 --> 00:23:24,350 PROFESSOR: Did you cut right here, 547 00:23:24,350 --> 00:23:25,600 or is there a little bit more? 548 00:23:25,600 --> 00:23:27,474 STUDENT 1: I think there's a little bit more. 549 00:23:27,474 --> 00:23:28,670 PROFESSOR: OK, yeah. 550 00:23:28,670 --> 00:23:33,400 Hold it just a little bit, and maybe cut to-- again, 551 00:23:33,400 --> 00:23:35,180 cut to a close up shot. 552 00:23:35,180 --> 00:23:39,250 That can be sort of a workaround to the weird framing issue. 553 00:23:39,250 --> 00:23:41,670 Otherwise it's like, it's really nicely done. 554 00:23:41,670 --> 00:23:42,480 [VIDEO PLAYBACK] 555 00:23:42,480 --> 00:23:44,460 -The Menger sponge-- 556 00:23:44,460 --> 00:23:46,460 PROFESSOR: Yeah, you can say, the Menger sponge, 557 00:23:46,460 --> 00:23:47,730 and then pop up right there. 558 00:23:47,730 --> 00:23:50,130 - --is not really the sponge you'd be scrubbing 559 00:23:50,130 --> 00:23:54,170 your bathroom with, but you can still think of it like that. 560 00:23:54,170 --> 00:23:58,050 Imagine both water and soap getting through your sponge's 561 00:23:58,050 --> 00:24:00,960 holes, except the water is Wi-Fi and the soap is, 562 00:24:00,960 --> 00:24:02,910 say, Bluetooth. 563 00:24:02,910 --> 00:24:04,400 PROFESSOR: Yeah, so here the timing 564 00:24:04,400 --> 00:24:06,610 of you turning on the water is a little bit weird. 565 00:24:06,610 --> 00:24:08,470 Because you turn it on, like, way after you 566 00:24:08,470 --> 00:24:09,540 say water and soap. 567 00:24:12,380 --> 00:24:14,120 And I wonder, were you planning on doing 568 00:24:14,120 --> 00:24:16,110 an animation for this section? 569 00:24:16,110 --> 00:24:18,110 [VIDEO PLAYBACK] 570 00:24:18,110 --> 00:24:20,759 -Imagine both water and soap getting 571 00:24:20,759 --> 00:24:22,545 through your sponge's holes. 572 00:24:22,545 --> 00:24:23,520 [END PLAYBACK] 573 00:24:23,520 --> 00:24:24,978 PROFESSOR: Because I feel like this 574 00:24:24,978 --> 00:24:26,530 is a spot where it actually would 575 00:24:26,530 --> 00:24:28,846 be beneficial to not even have an overlay, 576 00:24:28,846 --> 00:24:30,720 but a completely separate animation of, like, 577 00:24:30,720 --> 00:24:34,290 a sponge with holes and, like, H2O and soap with arrows 578 00:24:34,290 --> 00:24:34,820 pointing. 579 00:24:34,820 --> 00:24:37,970 Like, going into the sponge holes. 580 00:24:37,970 --> 00:24:40,090 What do you think, Zoe? 581 00:24:40,090 --> 00:24:42,890 STUDENT 2: Yeah, or just to, like, demonstrate that concept. 582 00:24:42,890 --> 00:24:45,027 Because it's easier to understand 583 00:24:45,027 --> 00:24:47,610 when you read it than when you hear it in a couple of seconds. 584 00:24:47,610 --> 00:24:48,720 STUDENT 1: Yeah. 585 00:24:48,720 --> 00:24:52,900 PROFESSOR: And I think, like, the visuals of this-- again, 586 00:24:52,900 --> 00:24:58,370 it's a pretty long-- it's, what, 14 seconds? 587 00:24:58,370 --> 00:25:00,370 It's actually kind of long to have 588 00:25:00,370 --> 00:25:01,970 the same sort of still framing. 589 00:25:06,035 --> 00:25:07,660 STUDENT 1: If you like how it's framed, 590 00:25:07,660 --> 00:25:11,400 it's another-- you could also just overlay like, 591 00:25:11,400 --> 00:25:14,645 a little arrow pointing in. 592 00:25:14,645 --> 00:25:16,020 Because you hold it pretty still. 593 00:25:16,020 --> 00:25:16,460 [VIDEO PLAYBACK] 594 00:25:16,460 --> 00:25:18,264 -But you can still think of it like that. 595 00:25:18,264 --> 00:25:19,937 Imagine both water and soap-- 596 00:25:19,937 --> 00:25:20,520 [END PLAYBACK] 597 00:25:20,520 --> 00:25:22,061 PROFESSOR: Yeah, like, you could just 598 00:25:22,061 --> 00:25:25,210 have H2O and soap with arrows pointing into the sponge, 599 00:25:25,210 --> 00:25:28,718 and then coming out of the sponge. 600 00:25:28,718 --> 00:25:29,614 [VIDEO PLAYBACK] 601 00:25:29,614 --> 00:25:33,667 -Except the water is Wi-Fi and the soap is, say, Bluetooth. 602 00:25:33,667 --> 00:25:34,250 [END PLAYBACK] 603 00:25:34,250 --> 00:25:37,399 PROFESSOR: Yeah but I would almost-- 604 00:25:37,399 --> 00:25:38,940 you can leave it in for the rough cut 605 00:25:38,940 --> 00:25:41,170 and we can see what other people say. 606 00:25:41,170 --> 00:25:45,320 But the movement of that is almost 607 00:25:45,320 --> 00:25:46,932 distracting, because it has nothing 608 00:25:46,932 --> 00:25:49,390 to do with what you're saying when you're saying it, right? 609 00:25:49,390 --> 00:25:50,934 Do you have another take of this? 610 00:25:50,934 --> 00:25:52,600 STUDENT 1: All of them are kind of like. 611 00:25:52,600 --> 00:25:53,270 PROFESSOR: Oh, the exact same. 612 00:25:53,270 --> 00:25:53,770 OK. 613 00:25:56,395 --> 00:25:58,520 STUDENT 1: There might be one when I finish talking 614 00:25:58,520 --> 00:26:00,436 and then turn on the water, so I can use that. 615 00:26:00,436 --> 00:26:04,616 PROFESSOR: Yeah, because if you cut it right here, 616 00:26:04,616 --> 00:26:05,990 and you didn't turn on the water, 617 00:26:05,990 --> 00:26:08,349 then that would have been better. 618 00:26:08,349 --> 00:26:09,890 STUDENT 1: I think there are versions 619 00:26:09,890 --> 00:26:12,750 like that that I can use. 620 00:26:12,750 --> 00:26:15,500 PROFESSOR: And again, this one-- like, I wouldn't even 621 00:26:15,500 --> 00:26:17,430 do it a push at all. 622 00:26:17,430 --> 00:26:20,960 I really think it looks a lot better when 623 00:26:20,960 --> 00:26:22,777 you do as clean transitions as you can. 624 00:26:22,777 --> 00:26:23,443 [VIDEO PLAYBACK] 625 00:26:23,443 --> 00:26:26,166 -The fractal's infinite sponginess allows it-- 626 00:26:30,580 --> 00:26:33,880 PROFESSOR: I would shave off, maybe, like a half second. 627 00:26:33,880 --> 00:26:35,460 Because you take a breath, and then 628 00:26:35,460 --> 00:26:38,240 it takes just a hair before you actually start talking. 629 00:26:38,240 --> 00:26:41,520 So I'd just snip the tiniest bit off of the beginning. 630 00:26:44,880 --> 00:26:47,672 Are you planning on doing any animations to the dies? 631 00:26:47,672 --> 00:26:48,755 - --allows it to receive-- 632 00:26:48,755 --> 00:26:49,060 [END PLAYBACK] 633 00:26:49,060 --> 00:26:51,550 STUDENT 1: I probably can put them in the sponge, there. 634 00:26:51,550 --> 00:26:53,170 And, like, signals coming inside. 635 00:26:53,170 --> 00:26:55,000 PROFESSOR: Yeah, because otherwise-- again, 636 00:26:55,000 --> 00:26:56,330 like, nice rule of thirds. 637 00:26:56,330 --> 00:27:00,334 But you have a bath-- is that a bathroom stall? 638 00:27:00,334 --> 00:27:01,000 STUDENT 1: Yeah. 639 00:27:01,000 --> 00:27:04,050 PROFESSOR: Yeah, so it's like a really awkward visual. 640 00:27:04,050 --> 00:27:04,630 But if-- 641 00:27:04,630 --> 00:27:05,660 STUDENT 2: It's a good background. 642 00:27:05,660 --> 00:27:06,490 PROFESSOR: It's a good background 643 00:27:06,490 --> 00:27:08,480 if you want to put, like, a picture of a Menger sponge 644 00:27:08,480 --> 00:27:09,760 receiving different signal. 645 00:27:09,760 --> 00:27:10,590 STUDENT 1: All right, I can see that. 646 00:27:10,590 --> 00:27:10,740 [VIDEO PLAYBACK] 647 00:27:10,740 --> 00:27:12,510 -Before Cohen's invention, antennas 648 00:27:12,510 --> 00:27:14,890 had to be cut for one frequency. 649 00:27:14,890 --> 00:27:17,210 PROFESSOR: Yeah, so show an old antenna. 650 00:27:17,210 --> 00:27:19,586 -And that was the only frequency they could operate at. 651 00:27:19,586 --> 00:27:20,937 So-- 652 00:27:20,937 --> 00:27:22,270 PROFESSOR: And like, right here. 653 00:27:25,138 --> 00:27:28,210 -So without Cohen's sponge, your cell phone 654 00:27:28,210 --> 00:27:30,327 would have to look something like a hedgehog. 655 00:27:30,327 --> 00:27:30,910 [END PLAYBACK] 656 00:27:30,910 --> 00:27:34,160 PROFESSOR: I would-- there's like, a bit of a hesitation 657 00:27:34,160 --> 00:27:36,116 before you say, "without Cohen's sponge." 658 00:27:36,116 --> 00:27:37,740 And I don't even think you need the so. 659 00:27:37,740 --> 00:27:40,070 So I would just cut out the pause 660 00:27:40,070 --> 00:27:43,510 and the so, and cut straight to, "without Cohen's sponge." 661 00:27:43,510 --> 00:27:46,110 And then to hide that cut, you can either 662 00:27:46,110 --> 00:27:49,500 zoom in little bit more-- 663 00:27:49,500 --> 00:27:50,994 STUDENT 1: OK, that makes sense. 664 00:27:54,240 --> 00:27:55,740 PROFESSOR: Yeah, and like, for that, 665 00:27:55,740 --> 00:27:57,614 since you're not going to have the animation, 666 00:27:57,614 --> 00:28:01,910 I would frame it and zoom in to where it's just you. 667 00:28:01,910 --> 00:28:04,120 And the resolution is going to look a little funky, 668 00:28:04,120 --> 00:28:07,600 but I think it's worth the compromise to do that. 669 00:28:07,600 --> 00:28:10,970 STUDENT 2: And it helps lead to start leading the viewer 670 00:28:10,970 --> 00:28:12,020 into seeing your phone. 671 00:28:12,020 --> 00:28:13,980 Because it's like, you're starting out with a wide shot, 672 00:28:13,980 --> 00:28:15,600 and now you're on you, and then eventually it 673 00:28:15,600 --> 00:28:16,430 will be your phone. 674 00:28:16,430 --> 00:28:19,481 And so it's like-- it just sort of helps the narrative along. 675 00:28:22,044 --> 00:28:23,710 PROFESSOR: And again, I wouldn't ripple. 676 00:28:23,710 --> 00:28:25,536 I would just go straight to the cut into that. 677 00:28:25,536 --> 00:28:26,202 [VIDEO PLAYBACK] 678 00:28:26,202 --> 00:28:29,297 - --multiple signals, including the one your friends use when 679 00:28:29,297 --> 00:28:30,202 they call. 680 00:28:30,202 --> 00:28:30,785 [END PLAYBACK] 681 00:28:30,785 --> 00:28:32,680 STUDENT 1: So I'll take out that transition. 682 00:28:32,680 --> 00:28:34,750 PROFESSOR: This one you could-- because it's 683 00:28:34,750 --> 00:28:39,246 such a different-- wait, is that the end? 684 00:28:39,246 --> 00:28:42,160 STUDENT 1: The end of the story. 685 00:28:42,160 --> 00:28:44,544 PROFESSOR: Yeah, maybe you can do a push. 686 00:28:44,544 --> 00:28:45,210 [VIDEO PLAYBACK] 687 00:28:45,210 --> 00:28:47,437 -Cohen later proved that only fractal-- 688 00:28:47,437 --> 00:28:48,020 [END PLAYBACK] 689 00:28:48,020 --> 00:28:50,110 PROFESSOR: But it's still part of the same story, 690 00:28:50,110 --> 00:28:53,340 so I would say just do a clean cut there, too. 691 00:28:53,340 --> 00:28:54,837 STUDENT 1: OK. 692 00:28:54,837 --> 00:28:58,306 STUDENT 2: I like that background. 693 00:28:58,306 --> 00:29:00,430 PROFESSOR: But it is a little-- it's still a little 694 00:29:00,430 --> 00:29:01,830 overexposed here, too. 695 00:29:01,830 --> 00:29:04,121 STUDENT 1: Yeah, that was another one I edited as well. 696 00:29:06,550 --> 00:29:08,620 PROFESSOR: Yeah, so clean transition-- 697 00:29:08,620 --> 00:29:10,150 I would cut out this gap, too. 698 00:29:10,150 --> 00:29:12,600 It's just like the slightest-- it's 699 00:29:12,600 --> 00:29:14,700 too long by just the slightest amount of time. 700 00:29:14,700 --> 00:29:15,366 [VIDEO PLAYBACK] 701 00:29:15,366 --> 00:29:18,510 -Cohen later proved that only fractal shapes could work-- 702 00:29:18,510 --> 00:29:19,190 [END PLAYBACK] 703 00:29:19,190 --> 00:29:20,960 PROFESSOR: And that's actually what makes 704 00:29:20,960 --> 00:29:24,890 it read sort of newscastery. 705 00:29:24,890 --> 00:29:28,140 You know, like, have you ever seen the special segments, 706 00:29:28,140 --> 00:29:31,570 and the reporter is on their couch, and they're like, 707 00:29:31,570 --> 00:29:33,260 da dah da dah da dah. 708 00:29:33,260 --> 00:29:34,850 And then this person did this. 709 00:29:34,850 --> 00:29:36,800 So it's just, like, those tiny little gaps 710 00:29:36,800 --> 00:29:37,640 that make it read that way. 711 00:29:37,640 --> 00:29:39,650 But if you get rid of it, then it will be a lot more natural. 712 00:29:39,650 --> 00:29:39,770 [VIDEO PLAYBACK] 713 00:29:39,770 --> 00:29:41,820 - --such a wide range of frequencies. 714 00:29:41,820 --> 00:29:44,830 Today, millions of wireless communication devices, 715 00:29:44,830 --> 00:29:47,170 including laptops and bar code scanners, 716 00:29:47,170 --> 00:29:49,216 use Cohen's fractal antenna. 717 00:29:49,216 --> 00:29:51,330 Cohen's genius invention, however, 718 00:29:51,330 --> 00:29:53,727 was not the first application of fractals in the world. 719 00:29:53,727 --> 00:29:54,310 [END PLAYBACK] 720 00:29:54,310 --> 00:29:56,518 STUDENT 1: So I'm going to change that audio as well, 721 00:29:56,518 --> 00:29:58,000 because I think I was too grand. 722 00:29:58,000 --> 00:30:01,500 And I have other versions that may work better. 723 00:30:01,500 --> 00:30:07,480 PROFESSOR: OK, I like this a camera slow pan off, actually. 724 00:30:07,480 --> 00:30:09,760 STUDENT 1: We did another version 725 00:30:09,760 --> 00:30:12,830 which had also this pan. 726 00:30:12,830 --> 00:30:17,240 It wasn't as good, but I said the next sentence after that. 727 00:30:17,240 --> 00:30:19,010 So it sounds more natural. 728 00:30:19,010 --> 00:30:23,980 So I'm going to see if I can trade off 729 00:30:23,980 --> 00:30:27,170 the visual for better-- 730 00:30:27,170 --> 00:30:28,990 PROFESSOR: Do you need something? 731 00:30:28,990 --> 00:30:31,430 OK, sorry. 732 00:30:31,430 --> 00:30:38,620 OK, so this is why this transition is a little bit 733 00:30:38,620 --> 00:30:39,840 funny here. 734 00:30:39,840 --> 00:30:43,290 The speed at which you're moving the camera when you pan off 735 00:30:43,290 --> 00:30:46,960 is way faster than when you pan down onto you. 736 00:30:46,960 --> 00:30:50,510 So what you could do is cut this clip into two, 737 00:30:50,510 --> 00:30:52,630 and speed up the first part. 738 00:30:52,630 --> 00:30:55,040 Like you did earlier. 739 00:30:55,040 --> 00:30:56,467 Also, is this broccoli? 740 00:30:56,467 --> 00:30:57,550 STUDENT 1: It is broccoli. 741 00:30:57,550 --> 00:31:00,949 There's a mural, and stata. 742 00:31:00,949 --> 00:31:02,740 PROFESSOR: I didn't know that was broccoli. 743 00:31:02,740 --> 00:31:06,030 It looked like bags of seeds or something. 744 00:31:06,030 --> 00:31:08,850 STUDENT 1: And maybe it looked like broccoli enough. 745 00:31:08,850 --> 00:31:10,614 PROFESSOR: It looks like cauliflower. 746 00:31:10,614 --> 00:31:11,280 [VIDEO PLAYBACK] 747 00:31:11,280 --> 00:31:13,504 -Turns out, nature has-- 748 00:31:13,504 --> 00:31:14,251 [END PLAYBACK] 749 00:31:14,251 --> 00:31:16,000 STUDENT 1: It actually may be cauliflower. 750 00:31:16,000 --> 00:31:19,810 I think I confused the words when I was filming it. 751 00:31:19,810 --> 00:31:24,204 So yeah-- 752 00:31:24,204 --> 00:31:27,870 PROFESSOR: IMovie, I hate you. 753 00:31:27,870 --> 00:31:29,260 OK. 754 00:31:29,260 --> 00:31:32,541 STUDENT 1: So if you just press here. 755 00:31:32,541 --> 00:31:34,290 PROFESSOR: I mean, it's indistinguishable. 756 00:31:34,290 --> 00:31:37,558 It looks like bags of stuff almost. 757 00:31:40,310 --> 00:31:43,900 STUDENT 1: I can still insert just an image of broccoli, 758 00:31:43,900 --> 00:31:46,074 so I don't-- if it's not broccoli. 759 00:31:46,074 --> 00:31:46,740 [VIDEO PLAYBACK] 760 00:31:46,740 --> 00:31:49,910 - --devices, including laptops and bar code scanners, 761 00:31:49,910 --> 00:31:52,044 use Cohen's fractal antenna. 762 00:31:52,044 --> 00:31:54,140 Cohen's genius invention, however, 763 00:31:54,140 --> 00:31:57,885 was not the first application of fractals in the world. 764 00:31:57,885 --> 00:32:00,310 [END PLAYBACK] 765 00:32:00,310 --> 00:32:03,640 PROFESSOR: Yeah, the pan just needs to happen sooner. 766 00:32:03,640 --> 00:32:09,711 I would even speed the pan off, and then speed up the pan down. 767 00:32:09,711 --> 00:32:10,210 Right? 768 00:32:10,210 --> 00:32:13,740 Cause it's like you're waiting for the camera 769 00:32:13,740 --> 00:32:14,532 to move off of you. 770 00:32:14,532 --> 00:32:15,198 [VIDEO PLAYBACK] 771 00:32:15,198 --> 00:32:16,700 -Cohen's genius invention, however, 772 00:32:16,700 --> 00:32:19,934 was not the first application of fractals in the world. 773 00:32:19,934 --> 00:32:20,730 [END PLAYBACK] 774 00:32:20,730 --> 00:32:22,000 PROFESSOR: Are you planning on re-shooting 775 00:32:22,000 --> 00:32:22,920 any of this for sure? 776 00:32:22,920 --> 00:32:23,100 [VIDEO PLAYBACK] 777 00:32:23,100 --> 00:32:25,614 -Turns out, nature has been doing it the whole time. 778 00:32:25,614 --> 00:32:26,450 [END PLAYBACK] 779 00:32:26,450 --> 00:32:27,408 STUDENT 1: Some scenes. 780 00:32:27,408 --> 00:32:31,180 I can re-shoot this one, and the one in the classroom. 781 00:32:31,180 --> 00:32:35,514 The ones in east campus, I don't think that I can do that. 782 00:32:35,514 --> 00:32:36,180 PROFESSOR: Yeah. 783 00:32:36,180 --> 00:32:36,846 [VIDEO PLAYBACK] 784 00:32:36,846 --> 00:32:39,070 - --organisms, often of a fractal shape. 785 00:32:39,070 --> 00:32:41,230 For example, the spiral fractal is 786 00:32:41,230 --> 00:32:43,247 present in broccoli, seashells, and-- 787 00:32:43,247 --> 00:32:43,830 [END PLAYBACK] 788 00:32:43,830 --> 00:32:48,570 PROFESSOR: Yeah, because I think especially with this one, 789 00:32:48,570 --> 00:32:49,250 go ahead. 790 00:32:49,250 --> 00:32:53,750 STUDENT 2: Oh, I know-- I think the broccoli-- the spiral 791 00:32:53,750 --> 00:32:57,162 fractals are most present, it's like romanesco broccoli 792 00:32:57,162 --> 00:32:58,120 or something like that. 793 00:32:58,120 --> 00:33:00,290 And so like, 794 00:33:00,290 --> 00:33:01,920 PROFESSOR: It's a specific type. 795 00:33:01,920 --> 00:33:04,420 STUDENT 2: And so people might be confused, and like look 796 00:33:04,420 --> 00:33:05,977 at their normal broccoli, and like-- 797 00:33:05,977 --> 00:33:08,060 PROFESSOR: I would show a picture of the romanesco 798 00:33:08,060 --> 00:33:09,120 broccoli. 799 00:33:09,120 --> 00:33:12,010 Especially because I don't think this is-- I 800 00:33:12,010 --> 00:33:17,037 think this is bags of barley, or cotton almost. 801 00:33:17,037 --> 00:33:18,620 STUDENT 1: That would make more sense. 802 00:33:18,620 --> 00:33:20,640 It's also why the person is up there. 803 00:33:20,640 --> 00:33:24,530 PROFESSOR: Yeah, and I think, also, it just 804 00:33:24,530 --> 00:33:29,080 like doesn't really look like a fractal. 805 00:33:29,080 --> 00:33:31,240 Whereas the broccoli actually-- there 806 00:33:31,240 --> 00:33:34,470 are visualizations of it where it actually looks like, 807 00:33:34,470 --> 00:33:37,510 oh, I can identify this as a fractal. 808 00:33:37,510 --> 00:33:40,010 STUDENT 2: And so it will just be reassuring for your viewer 809 00:33:40,010 --> 00:33:42,426 when they can see the picture of the broccoli and be like, 810 00:33:42,426 --> 00:33:44,270 oh, I can totally see how that's a fractal. 811 00:33:44,270 --> 00:33:46,895 Rather than, like, squinting at your background and being like, 812 00:33:46,895 --> 00:33:49,757 is that-- did I learn anything from this video type thing. 813 00:33:49,757 --> 00:33:51,840 PROFESSOR: If you're going to re-shoot this part-- 814 00:33:51,840 --> 00:33:55,260 and if you can't get it this weekend, that's OK. 815 00:33:55,260 --> 00:33:57,980 Remember, you still have Wednesday to do it. 816 00:34:00,940 --> 00:34:04,640 I would be careful about the way you're emphasizing words. 817 00:34:04,640 --> 00:34:07,530 It's kind of falling a little into the trap of what George 818 00:34:07,530 --> 00:34:10,730 was saying about how news presenters emphasize 819 00:34:10,730 --> 00:34:14,590 every third word, just a sound sort of-- they're 820 00:34:14,590 --> 00:34:17,900 emphasizing important thoughts, but they don't really 821 00:34:17,900 --> 00:34:21,350 make sense where they're emphasizing the words. 822 00:34:21,350 --> 00:34:26,159 So I would just try a few different types of deliveries. 823 00:34:26,159 --> 00:34:30,159 One where you're actually emphasizing every other word 824 00:34:30,159 --> 00:34:31,440 on purpose. 825 00:34:31,440 --> 00:34:34,949 And then do something, like, completely exaggerated. 826 00:34:34,949 --> 00:34:37,485 And then try one where you're sort of more natural tone 827 00:34:37,485 --> 00:34:37,985 talking. 828 00:34:40,600 --> 00:34:42,600 STUDENT 1: I think that's how I usually present. 829 00:34:42,600 --> 00:34:43,760 Like, even in real life. 830 00:34:43,760 --> 00:34:44,426 [VIDEO PLAYBACK] 831 00:34:44,426 --> 00:34:46,139 - --the whole time. 832 00:34:46,139 --> 00:34:51,202 And not just with snowf-- fractals in the world. 833 00:34:51,202 --> 00:34:53,050 [END PLAYBACK] 834 00:34:53,050 --> 00:34:56,300 PROFESSOR: Remember that eighth grade PHD Thing. 835 00:34:56,300 --> 00:34:59,400 You're talking for eighth graders, 836 00:34:59,400 --> 00:35:02,750 but you're not talking necessarily to a 10-year-old, 837 00:35:02,750 --> 00:35:03,250 right? 838 00:35:03,250 --> 00:35:05,754 So how would you say this line-- 839 00:35:05,754 --> 00:35:06,420 [VIDEO PLAYBACK] 840 00:35:06,420 --> 00:35:08,687 -Turns out, nature has been doing it the whole time. 841 00:35:08,687 --> 00:35:09,270 [END PLAYBACK] 842 00:35:09,270 --> 00:35:10,853 PROFESSOR: How would you say that line 843 00:35:10,853 --> 00:35:12,620 to, like, your professor? 844 00:35:12,620 --> 00:35:15,500 STUDENT 1: I mean, I wouldn't say this line to my professor. 845 00:35:15,500 --> 00:35:19,810 PROFESSOR: How would you say that line to Jamie? 846 00:35:19,810 --> 00:35:22,532 STUDENT 1: Turns out, nature has been doing it the whole time. 847 00:35:22,532 --> 00:35:24,490 PROFESSOR: Yeah, that's a little bit different. 848 00:35:24,490 --> 00:35:26,877 Like, turns out nature's been doing it the whole time. 849 00:35:33,020 --> 00:35:35,319 It's such a subtle nuance, but it's just something 850 00:35:35,319 --> 00:35:35,860 about, like-- 851 00:35:35,860 --> 00:35:36,526 [VIDEO PLAYBACK] 852 00:35:36,526 --> 00:35:39,500 - -- bar code scanners use Cohen's fractal antenna. 853 00:35:39,500 --> 00:35:41,650 Cohen's genius invention, however, 854 00:35:41,650 --> 00:35:44,480 was not the first application of fractals in the world. 855 00:35:48,070 --> 00:35:50,390 Turns out, nature has been doing it the whole time. 856 00:35:50,390 --> 00:35:51,066 [END PLAYBACK] 857 00:35:51,066 --> 00:35:52,940 PROFESSOR: I think it's the way you say time. 858 00:35:52,940 --> 00:35:56,190 Nature has been doing it the whole time. 859 00:35:56,190 --> 00:35:58,760 I mean it's OK to say the whole time, 860 00:35:58,760 --> 00:36:00,970 but it reads like a little Reading Rainbow 861 00:36:00,970 --> 00:36:03,940 when the intonation is like that. 862 00:36:03,940 --> 00:36:06,662 But again, maybe that's just my personal taste. 863 00:36:06,662 --> 00:36:08,870 In general, I think your enthusiasm is really, really 864 00:36:08,870 --> 00:36:09,369 good. 865 00:36:09,369 --> 00:36:12,410 Like, you're taking a subject that's inherently a little bit 866 00:36:12,410 --> 00:36:13,320 hard to visualize. 867 00:36:13,320 --> 00:36:14,560 It's a little bit tedious. 868 00:36:14,560 --> 00:36:17,110 And because you have this enthusiastic delivery, 869 00:36:17,110 --> 00:36:20,009 it's a lot easier to follow along with you, which is good. 870 00:36:20,009 --> 00:36:21,800 So don't lose any of that energy, for sure. 871 00:36:21,800 --> 00:36:21,890 [VIDEO PLAYBACK] 872 00:36:21,890 --> 00:36:23,380 -And not just with snowflake. 873 00:36:23,380 --> 00:36:26,540 Natural selection favors the most efficient systems 874 00:36:26,540 --> 00:36:29,420 and organism, often of a fractal shape. 875 00:36:29,420 --> 00:36:31,550 For example, the spiral fractal is 876 00:36:31,550 --> 00:36:36,407 present in broccoli, seashells, and hurricanes. 877 00:36:36,407 --> 00:36:36,990 [END PLAYBACK] 878 00:36:36,990 --> 00:36:38,630 PROFESSOR: If you re-shoot this, just 879 00:36:38,630 --> 00:36:41,470 make sure that you're framed more in the center, 880 00:36:41,470 --> 00:36:43,790 and there's enough room above you to accommodate 881 00:36:43,790 --> 00:36:45,440 for the animations. 882 00:36:45,440 --> 00:36:47,982 And this is actually something that you could, if you had to, 883 00:36:47,982 --> 00:36:49,023 you could do on your own. 884 00:36:49,023 --> 00:36:51,450 You just set up the tripod and flip the screen around you 885 00:36:51,450 --> 00:36:52,480 so you could see. 886 00:36:52,480 --> 00:36:56,164 You wouldn't have the pan down, but that's OK. 887 00:36:56,164 --> 00:36:56,830 [VIDEO PLAYBACK] 888 00:36:56,830 --> 00:36:59,840 -The fractal tree is relatively easy to program, 889 00:36:59,840 --> 00:37:02,390 and can be used to study river systems, blood 890 00:37:02,390 --> 00:37:04,766 vessels, and lightening bolts. 891 00:37:04,766 --> 00:37:05,265 So many-- 892 00:37:05,265 --> 00:37:05,430 [END PLAYBACK] 893 00:37:05,430 --> 00:37:06,730 STUDENT 1: Yeah, I definitely don't think 894 00:37:06,730 --> 00:37:07,896 there is enough space there. 895 00:37:07,896 --> 00:37:10,960 But I wasn't the one directing. 896 00:37:10,960 --> 00:37:12,980 PROFESSOR: The other thing is, like, 897 00:37:12,980 --> 00:37:15,594 if you end up filming this part on your own 898 00:37:15,594 --> 00:37:17,510 you don't necessarily have to have a pan down. 899 00:37:17,510 --> 00:37:19,877 You could just do a push down transition. 900 00:37:19,877 --> 00:37:21,960 That's where I feel like a transition would be OK, 901 00:37:21,960 --> 00:37:28,410 because you've got the camera tilt up previously. 902 00:37:28,410 --> 00:37:30,940 If you do this again, I would just look up 903 00:37:30,940 --> 00:37:32,190 instead of going like this. 904 00:37:32,190 --> 00:37:34,814 Because it's a little bit awkward to go like that. 905 00:37:34,814 --> 00:37:35,480 [VIDEO PLAYBACK] 906 00:37:35,480 --> 00:37:37,920 - --natural systems previously thought off limits 907 00:37:37,920 --> 00:37:41,773 to mathematicians can now be explained in terms of fractals. 908 00:37:41,773 --> 00:37:43,997 [END PLAYBACK] 909 00:37:43,997 --> 00:37:46,330 PROFESSOR: I wouldn't move off of this scene so quickly. 910 00:37:46,330 --> 00:37:48,240 Like, give it one more beat before you transition. 911 00:37:48,240 --> 00:37:48,906 [VIDEO PLAYBACK] 912 00:37:48,906 --> 00:37:52,340 - --and can be used to study river systems, blood vessels, 913 00:37:52,340 --> 00:37:53,850 and lightening bolts. 914 00:37:53,850 --> 00:37:56,100 So many natural systems previously 915 00:37:56,100 --> 00:38:01,770 thought off lim-- tree it is relatively easy to program, 916 00:38:01,770 --> 00:38:04,490 and can be used to study river systems, blood 917 00:38:04,490 --> 00:38:06,682 vessels, and lightening bolts. 918 00:38:06,682 --> 00:38:10,001 [END PLAYBACK] 919 00:38:10,001 --> 00:38:12,000 STUDENT 1: And I would re-shoot this completely. 920 00:38:12,000 --> 00:38:12,193 [VIDEO PLAYBACK] 921 00:38:12,193 --> 00:38:14,800 -So many natural systems previously thought off limits 922 00:38:14,800 --> 00:38:19,014 to mathematicians can now be explained in terms of fractals. 923 00:38:19,014 --> 00:38:21,410 [END PLAYBACK] 924 00:38:21,410 --> 00:38:23,620 PROFESSOR: Yeah, and right here I 925 00:38:23,620 --> 00:38:25,789 would just cut to, immediately, you talking. 926 00:38:25,789 --> 00:38:28,080 Because there's, like, a little bit too long of a pause 927 00:38:28,080 --> 00:38:29,300 before you start. 928 00:38:29,300 --> 00:38:30,575 And bump up the-- 929 00:38:30,575 --> 00:38:32,700 STUDENT 1: Yeah, I'll do a voice over for this one, 930 00:38:32,700 --> 00:38:33,930 because there's a lot of wind. 931 00:38:33,930 --> 00:38:34,596 [VIDEO PLAYBACK] 932 00:38:34,596 --> 00:38:36,207 - --learn nature's best practices, 933 00:38:36,207 --> 00:38:39,370 and then apply to solve real world problems. 934 00:38:39,370 --> 00:38:43,242 Much like Cohen's antenna revolutionized the field 935 00:38:43,242 --> 00:38:46,154 of telecommunications, other fractal research 936 00:38:46,154 --> 00:38:49,556 is changing medicine, weather prediction, 937 00:38:49,556 --> 00:38:53,444 and building design-- here at MIT and everywhere 938 00:38:53,444 --> 00:38:55,388 in the world. 939 00:38:55,388 --> 00:38:57,332 Look around you-- 940 00:38:57,332 --> 00:38:58,229 [END PLAYBACK] 941 00:38:58,229 --> 00:39:00,020 PROFESSOR: When you say, "look around you," 942 00:39:00,020 --> 00:39:03,090 I would actually cut back to a close up of you. 943 00:39:03,090 --> 00:39:04,120 Look around you-- 944 00:39:04,120 --> 00:39:05,120 [VIDEO PLAYBACK] 945 00:39:05,120 --> 00:39:08,620 -What beautiful patterns do you see? 946 00:39:08,620 --> 00:39:12,232 [END PLAYBACK] 947 00:39:12,232 --> 00:39:14,190 PROFESSOR: And just end it a little bit sooner. 948 00:39:14,190 --> 00:39:16,926 It's a good start-- really good start. 949 00:39:16,926 --> 00:39:18,300 STUDENT 2: A good rule of thumb-- 950 00:39:18,300 --> 00:39:21,120 we never mentioned this in the editing lecture, 951 00:39:21,120 --> 00:39:23,700 but, like, you want to give the end of a scene 952 00:39:23,700 --> 00:39:26,110 a little room to breathe so people can process, like, 953 00:39:26,110 --> 00:39:26,860 what's going on. 954 00:39:26,860 --> 00:39:28,640 And then at the beginning of a scene, 955 00:39:28,640 --> 00:39:31,690 you want it to be, like, one or two frames before you 956 00:39:31,690 --> 00:39:32,440 start talking. 957 00:39:32,440 --> 00:39:34,000 So it's, like, almost immediately your voice. 958 00:39:34,000 --> 00:39:35,820 PROFESSOR: Yeah, that's actually a very good point. 959 00:39:35,820 --> 00:39:37,510 And I should have brought that up during the editing lecture. 960 00:39:37,510 --> 00:39:40,610 But I feel like the tendency is to do the opposite with what 961 00:39:40,610 --> 00:39:43,780 you've done with the scenes here, where you end too soon, 962 00:39:43,780 --> 00:39:46,210 and then you wait too long before you 963 00:39:46,210 --> 00:39:47,274 start the next scene. 964 00:39:47,274 --> 00:39:49,190 STUDENT 2: It's like-- it's counter intuitive, 965 00:39:49,190 --> 00:39:51,782 but it makes it flow better. 966 00:39:54,740 --> 00:39:58,800 PROFESSOR: But yeah, you're in really good shape 967 00:39:58,800 --> 00:40:01,290 in terms of, like, pacing what you 968 00:40:01,290 --> 00:40:03,650 need to do before next week. 969 00:40:03,650 --> 00:40:06,790 So I think, at this point, it's a matter 970 00:40:06,790 --> 00:40:10,470 of getting the animations in and the music. 971 00:40:10,470 --> 00:40:14,450 STUDENT 1: OK, think you. 972 00:40:14,450 --> 00:40:17,150 STUDENT 2: You're definitely, like, well 973 00:40:17,150 --> 00:40:19,150 on your way, on the right track to be done. 974 00:40:22,538 --> 00:40:26,410 PROFESSOR: This chair is bad news bears. 975 00:40:26,410 --> 00:40:30,180 I lean back to stretch, and I'm still leaning. 976 00:40:30,180 --> 00:40:31,400 I'm still leaning. 977 00:40:31,400 --> 00:40:33,190 STUDENT 2: This entire room is kind of-- 978 00:40:33,190 --> 00:40:35,190 PROFESSOR: It's a little haphazard. 979 00:40:46,474 --> 00:40:48,426 How are you guys doing? 980 00:40:48,426 --> 00:40:49,890 STUDENT 1: Thank you. 981 00:40:49,890 --> 00:40:51,354 PROFESSOR: Yeah, good luck. 982 00:40:58,396 --> 00:41:01,210 You're still cutting and pasting the script? 983 00:41:01,210 --> 00:41:03,570 STUDENT 3: No-- 984 00:41:03,570 --> 00:41:05,810 PROFESSOR: Oh, your scenes together. 985 00:41:05,810 --> 00:41:07,984 You guys finished filming everything, right? 986 00:41:07,984 --> 00:41:08,650 STUDENT 4: Yeah. 987 00:41:08,650 --> 00:41:10,400 PROFESSOR: This is nice framing. 988 00:41:10,400 --> 00:41:13,590 STUDENT 3: Thank you See, you should-- 989 00:41:21,930 --> 00:41:24,554 PROFESSOR: Now, if you did it again, 990 00:41:24,554 --> 00:41:25,970 one cool thing that you could do-- 991 00:41:25,970 --> 00:41:30,240 and I'm not saying that you need to, because this is fine. 992 00:41:30,240 --> 00:41:33,820 But if you had moved him to the center of that picture, 993 00:41:33,820 --> 00:41:36,210 and you moved close enough, then this image 994 00:41:36,210 --> 00:41:38,080 could basically fill the entire background 995 00:41:38,080 --> 00:41:41,091 and you wouldn't have this weird gap, right? 996 00:41:41,091 --> 00:41:41,840 STUDENT 3: Oh, OK. 997 00:41:41,840 --> 00:41:43,965 PROFESSOR: I don't know if the image was big enough 998 00:41:43,965 --> 00:41:46,130 to do that, compared to the size of his body. 999 00:41:46,130 --> 00:41:47,630 STUDENT 3: The image was big enough. 1000 00:41:47,630 --> 00:41:50,390 I didn't want to do that because I didn't want him to look 1001 00:41:50,390 --> 00:41:52,990 like he was in green screen. 1002 00:41:52,990 --> 00:41:54,699 PROFESSOR: That's a good point, actually. 1003 00:41:54,699 --> 00:41:55,573 That is a good point. 1004 00:41:55,573 --> 00:41:57,080 STUDENT 3: That's the reason why. 1005 00:41:57,080 --> 00:42:00,350 I have a bit OCD, so I can't stand 1006 00:42:00,350 --> 00:42:03,380 what's on the right, actually. 1007 00:42:03,380 --> 00:42:04,982 But I'm fine. 1008 00:42:04,982 --> 00:42:05,773 PROFESSOR: It's OK. 1009 00:42:05,773 --> 00:42:06,916 It's OK. 1010 00:42:06,916 --> 00:42:08,290 STUDENT 2: Yeah it kind of-- it's 1011 00:42:08,290 --> 00:42:10,300 blurry enough that's it's not distracting, 1012 00:42:10,300 --> 00:42:12,008 because I'm not trying to read the words. 1013 00:42:12,008 --> 00:42:14,000 Because I don't think they're, like, readable. 1014 00:42:14,000 --> 00:42:16,150 PROFESSOR: Yeah, I wish I could have given you 1015 00:42:16,150 --> 00:42:18,584 guys lights, because that's what happens when 1016 00:42:18,584 --> 00:42:19,750 you rely on the fluorescent. 1017 00:42:19,750 --> 00:42:23,500 You get some weird shadows on your face from overhead. 1018 00:42:23,500 --> 00:42:25,036 But it looks nice. 1019 00:42:29,257 --> 00:42:31,340 Do you guys have any specific questions right now, 1020 00:42:31,340 --> 00:42:32,631 or should we just let you work? 1021 00:42:36,160 --> 00:42:40,960 STUDENT 3: I'm planning to do animations all night, so-- 1022 00:42:40,960 --> 00:42:43,000 PROFESSOR: I didn't see you guys film anything. 1023 00:42:43,000 --> 00:42:45,966 I guess I saw you guys film that stuff. 1024 00:42:45,966 --> 00:42:48,100 STUDENT 3: Like, I plan to put animation here. 1025 00:42:48,100 --> 00:42:50,058 PROFESSOR: Yeah, that's definitely-- it's good. 1026 00:42:50,058 --> 00:42:51,150 That's a good surface. 1027 00:42:51,150 --> 00:42:54,180 As long as you keep the pictures small enough. 1028 00:42:54,180 --> 00:42:56,360 STUDENT 2: And you can adjust the size, like, 1029 00:42:56,360 --> 00:42:58,280 even after you've done it After Effects-- 1030 00:42:58,280 --> 00:43:00,860 and you've exported it or transferred over to Premiere-- 1031 00:43:00,860 --> 00:43:03,824 you can change the size of it. 1032 00:43:03,824 --> 00:43:04,490 [VIDEO PLAYBACK] 1033 00:43:04,490 --> 00:43:05,781 -How much faster would that be? 1034 00:43:06,281 --> 00:43:08,880 PROFESSOR: Did you guys use the VIXIA for that one? 1035 00:43:08,880 --> 00:43:10,842 Did you use the VIXIA in the hotel? 1036 00:43:10,842 --> 00:43:12,050 STUDENT 3: What is the VIXIA? 1037 00:43:12,050 --> 00:43:13,216 PROFESSOR: The Canon camera. 1038 00:43:13,216 --> 00:43:13,980 STUDENT 3: Yeah. 1039 00:43:13,980 --> 00:43:15,860 PROFESSOR: That's like, nicely lit. 1040 00:43:15,860 --> 00:43:16,860 Surprisingly nicely lit. 1041 00:43:21,176 --> 00:43:22,926 So it's like a lot of natural light, then. 1042 00:43:31,830 --> 00:43:32,955 Yeah, it looks really nice. 1043 00:43:32,955 --> 00:43:34,829 STUDENT 2: I think the white bed sheets help, 1044 00:43:34,829 --> 00:43:36,654 because they're like a natural reflector. 1045 00:43:36,654 --> 00:43:37,320 PROFESSOR: Yeah. 1046 00:43:39,605 --> 00:43:41,314 STUDENT 3: So they're all natural light. 1047 00:43:44,334 --> 00:43:45,750 And there was a lot of stuff here. 1048 00:43:45,750 --> 00:43:47,820 That we threw away. 1049 00:43:47,820 --> 00:43:49,250 I was like, oh, I can't stand it. 1050 00:43:49,250 --> 00:43:51,240 It's too much. 1051 00:43:51,240 --> 00:43:53,514 PROFESSOR: And the other thing is, 1052 00:43:53,514 --> 00:43:55,430 you might want to bring the exposure down just 1053 00:43:55,430 --> 00:43:57,875 a tiny bit, because the whites here 1054 00:43:57,875 --> 00:43:59,740 are really peaking pretty high. 1055 00:43:59,740 --> 00:44:03,170 But everything from here is so nicely lit 1056 00:44:03,170 --> 00:44:05,650 that I'm almost inclined to just, like, forget it. 1057 00:44:05,650 --> 00:44:09,020 Just keep it the way it is. 1058 00:44:09,020 --> 00:44:10,994 STUDENT 4: How do you do the exposure on the-- 1059 00:44:10,994 --> 00:44:12,410 PROFESSOR: In the editing software 1060 00:44:12,410 --> 00:44:16,560 there should be a way to just, like, bring down the exposure. 1061 00:44:16,560 --> 00:44:18,382 What are you using for yours? 1062 00:44:18,382 --> 00:44:20,090 STUDENT 3: I think the simplest way would 1063 00:44:20,090 --> 00:44:24,754 be to tap the bright area, and then it would be-- 1064 00:44:24,754 --> 00:44:28,330 STUDENT 4: You mean on the video camera itself? 1065 00:44:28,330 --> 00:44:30,900 STUDENT 3: Like, on the video itself-- on the touch screen-- 1066 00:44:30,900 --> 00:44:32,700 you just tap your shirt. 1067 00:44:32,700 --> 00:44:35,802 Then you will have dim down. 1068 00:44:39,920 --> 00:44:41,250 PROFESSOR: Nice job, guys. 1069 00:44:43,004 --> 00:44:45,420 STUDENT 2: You just kind of disappeared for a couple days, 1070 00:44:45,420 --> 00:44:47,211 but you came back with really good footage. 1071 00:44:52,415 --> 00:44:54,290 PROFESSOR: I'll let-- you guys can just work. 1072 00:44:54,290 --> 00:44:55,900 We'll stay out of the way. 1073 00:44:55,900 --> 00:45:00,984 STUDENT 2: If you have any questions, then-- 1074 00:45:00,984 --> 00:45:03,150 and I'll be able to answer, like, any of the editing 1075 00:45:03,150 --> 00:45:04,999 questions you have in Premiere. 1076 00:45:04,999 --> 00:45:06,790 PROFESSOR: This one, I would zoom in on you 1077 00:45:06,790 --> 00:45:07,870 a little bit more. 1078 00:45:07,870 --> 00:45:10,250 Because you're a little low. 1079 00:45:10,250 --> 00:45:15,565 So I would crop in like that, to where the top of the frame 1080 00:45:15,565 --> 00:45:16,970 is just above your head. 1081 00:45:16,970 --> 00:45:19,710 STUDENT 2: Usually do the rule of thirds with, like, eyes 1082 00:45:19,710 --> 00:45:21,810 rather than the top of head. 1083 00:45:21,810 --> 00:45:22,560 And I think. 1084 00:45:22,560 --> 00:45:24,270 And if you look at your eyes. 1085 00:45:24,270 --> 00:45:27,690 They're kind of in the middle so you want 1086 00:45:27,690 --> 00:45:31,770 to adjust it so they're equal. 1087 00:45:31,770 --> 00:45:32,770 Yeah, like that. 1088 00:45:36,510 --> 00:45:38,140 PROFESSOR: We'll let you guys work. 1089 00:45:43,443 --> 00:45:45,908 STUDENT 2: If that's all let me [INAUDIBLE] 1090 00:45:45,908 --> 00:45:47,387 for today, actually. 1091 00:45:47,387 --> 00:45:49,852 STUDENT 3: What time is it? 1092 00:45:49,852 --> 00:45:52,317 STUDENT 2: It's 10 till 3:00. 1093 00:45:52,317 --> 00:45:54,790 STUDENT 3: OK. 1094 00:45:54,790 --> 00:45:58,510 STUDENT 2: OK, so now what-- the problem 1095 00:45:58,510 --> 00:46:01,290 is, illustrator defaults to a brush. 1096 00:46:01,290 --> 00:46:03,090 Which we don't want, because that 1097 00:46:03,090 --> 00:46:07,560 will mess up when we redraw it in After Effects. 1098 00:46:07,560 --> 00:46:09,870 So we select the arrow, we want to change 1099 00:46:09,870 --> 00:46:11,637 Brush Definition to basic. 1100 00:46:14,620 --> 00:46:28,780 Go into Stroke-- let's see, why are there not more options? 1101 00:46:28,780 --> 00:46:29,580 There we go. 1102 00:46:29,580 --> 00:46:32,300 Change the caps and corners to round, 1103 00:46:32,300 --> 00:46:33,790 so it's, like, nice and smooth. 1104 00:46:33,790 --> 00:46:35,170 Like, it looks like a brush. 1105 00:46:35,170 --> 00:46:37,047 Basically, we're making it look like a brush, 1106 00:46:37,047 --> 00:46:38,130 while doing a basic shape. 1107 00:46:38,130 --> 00:46:40,510 And then change it to, like, whatever weight you want. 1108 00:46:40,510 --> 00:46:41,360 So you want it about that. 1109 00:46:41,360 --> 00:46:42,100 And you can play around. 1110 00:46:42,100 --> 00:46:43,475 Like, do you want it super thick, 1111 00:46:43,475 --> 00:46:45,447 or do you want it not so thick? 1112 00:46:45,447 --> 00:46:47,030 And then the last thing you need to do 1113 00:46:47,030 --> 00:46:53,280 before going into After Effects, is go into this layer-- and so, 1114 00:46:53,280 --> 00:46:56,100 see, it has the different parts of the arrow. 1115 00:46:56,100 --> 00:46:59,575 You want to highlight everything, click this drop 1116 00:46:59,575 --> 00:47:01,960 down menu, and click Reverse Order. 1117 00:47:01,960 --> 00:47:05,515 Because it stacks it from the last thing you 1118 00:47:05,515 --> 00:47:06,890 drew to the first thing you drew, 1119 00:47:06,890 --> 00:47:08,900 and you want to be first thing you drew to last thing 1120 00:47:08,900 --> 00:47:09,400 you drew. 1121 00:47:13,680 --> 00:47:14,890 Then you want to save this. 1122 00:47:23,560 --> 00:47:27,090 We'll just save it in Documents for now. 1123 00:47:27,090 --> 00:47:29,859 OK, and then you open up After Effects. 1124 00:47:42,810 --> 00:47:45,370 PROFESSOR: That's a nice pan, Joshua. 1125 00:47:45,370 --> 00:47:48,540 This is nice camera work. 1126 00:47:48,540 --> 00:47:54,230 STUDENT 3: Oh yeah, I held the tripod to the right. 1127 00:47:54,230 --> 00:47:55,990 I looked really stupid, though. 1128 00:47:55,990 --> 00:47:58,842 STUDENT 2: But it's really stead. 1129 00:47:58,842 --> 00:48:00,800 STUDENT 3: I didn't actually hold it like that. 1130 00:48:00,800 --> 00:48:02,922 I knew that it would be bad. 1131 00:48:02,922 --> 00:48:04,880 STUDENT 2: If After Effects would open, and not 1132 00:48:04,880 --> 00:48:08,023 give us the color wheel of death, then I can show you. 1133 00:48:31,250 --> 00:48:32,198 I can get it. 1134 00:48:36,500 --> 00:48:37,390 I have my computer. 1135 00:48:37,390 --> 00:48:40,480 It's, like, open. 1136 00:48:40,480 --> 00:48:44,048 It's about half an hour of video. 1137 00:48:44,048 --> 00:48:45,490 OK, After Effects-- hurray! 1138 00:48:49,610 --> 00:48:54,730 OK, so we're going to import our composition as a composition. 1139 00:48:57,920 --> 00:48:59,045 All right, double click it. 1140 00:49:01,760 --> 00:49:03,510 I'm going to set it to a white background, 1141 00:49:03,510 --> 00:49:05,250 just so we can see things. 1142 00:49:05,250 --> 00:49:08,100 And depending on-- if you do it on the black portion, 1143 00:49:08,100 --> 00:49:10,270 you might want to set the background to black 1144 00:49:10,270 --> 00:49:11,770 and have the arrow be in white. 1145 00:49:11,770 --> 00:49:15,540 Like, depending on how you want it to look. 1146 00:49:15,540 --> 00:49:18,210 OK, so this is the fun part. 1147 00:49:18,210 --> 00:49:23,970 So we're going to turn the arrow layer into shapes. 1148 00:49:23,970 --> 00:49:26,390 And then what we're going to do is, 1149 00:49:26,390 --> 00:49:30,170 we're going to a add a Trim Paths. 1150 00:49:30,170 --> 00:49:31,910 And basically what that means is, it's 1151 00:49:31,910 --> 00:49:34,490 going to draw the line for you. 1152 00:49:34,490 --> 00:49:38,270 And then under Trim Paths we're going to trim multiple shapes 1153 00:49:38,270 --> 00:49:39,490 individually. 1154 00:49:39,490 --> 00:49:44,340 Because that means-- so, if you do it simultaneously 1155 00:49:44,340 --> 00:49:47,830 it'll draw the arrow-- like, both lines at the same time. 1156 00:49:47,830 --> 00:49:50,760 So it'll start drawing the long arrow and, like, the arrow head 1157 00:49:50,760 --> 00:49:51,790 at the same time. 1158 00:49:51,790 --> 00:49:52,970 And we don't want that. 1159 00:49:52,970 --> 00:49:55,800 So change it individually. 1160 00:49:55,800 --> 00:49:57,850 And then wherever you want it to start 1161 00:49:57,850 --> 00:50:00,720 you turn the end down to zero. 1162 00:50:00,720 --> 00:50:01,910 Set your key frame. 1163 00:50:01,910 --> 00:50:04,410 And, say, we want it to draw in two seconds. 1164 00:50:04,410 --> 00:50:08,344 You turn the end to 100. 1165 00:50:08,344 --> 00:50:10,385 And you go back to beginning and you press space. 1166 00:50:13,070 --> 00:50:18,082 And it will draw the arrow is as much time. 1167 00:50:18,082 --> 00:50:19,540 Is that like what you wanted to do? 1168 00:50:19,540 --> 00:50:22,000 STUDENT 3: Yeah, I wanted to do arrows. 1169 00:50:22,000 --> 00:50:24,860 STUDENT 2: Yeah, and then you can change it. 1170 00:50:24,860 --> 00:50:27,080 Like there's some lines-- like, I 1171 00:50:27,080 --> 00:50:31,540 like writing out handwriting a lot in animations in my videos. 1172 00:50:31,540 --> 00:50:33,850 And so, like, for example, if you 1173 00:50:33,850 --> 00:50:39,760 want it to pause on the store, you can set it-- OK, 1174 00:50:39,760 --> 00:50:42,900 so it's like a 35%. 1175 00:50:42,900 --> 00:50:46,140 So you can set a key frame there at 35%. 1176 00:50:46,140 --> 00:50:53,535 And then you can set another one later on, also at 35%. 1177 00:50:53,535 --> 00:50:55,160 PROFESSOR: And then what it does is it, 1178 00:50:55,160 --> 00:50:57,330 like, pauses at the door, holds it there, 1179 00:50:57,330 --> 00:51:01,399 and then keeps going in remaining time. 1180 00:51:01,399 --> 00:51:02,440 STUDENT 2: OK, thank you. 1181 00:51:02,440 --> 00:51:06,940 PROFESSOR: Yeah, I don't know if you can remember all that. 1182 00:51:06,940 --> 00:51:11,640 But if you forget the rest of it, write me and I'll redo it. 1183 00:51:11,640 --> 00:51:13,294 STUDENT 3: OK, thanks. 1184 00:51:13,294 --> 00:51:18,820 STUDENT 2: Yeah, let me know if there's anything else.