WEBVTT 00:00:00.040 --> 00:00:02.410 The following content is provided under a Creative 00:00:02.410 --> 00:00:03.790 Commons license. 00:00:03.790 --> 00:00:06.030 Your support will help MIT OpenCourseWare 00:00:06.030 --> 00:00:10.100 continue to offer high quality educational resources for free. 00:00:10.100 --> 00:00:12.680 To make a donation or to view additional materials 00:00:12.680 --> 00:00:16.426 from hundreds of MIT courses, visit MIT OpenCourseWare 00:00:16.426 --> 00:00:17.050 at ocw.mit.edu. 00:00:25.879 --> 00:00:28.710 PROFESSOR: I want to talk a little bit about producing 00:00:28.710 --> 00:00:35.340 and realizing your visions, and give 00:00:35.340 --> 00:00:40.080 an example of some of the things that Chris was talking about. 00:00:40.080 --> 00:00:44.170 So we shot a video on how engines worked, and there 00:00:44.170 --> 00:00:47.766 is a part of the video where the two creators were talking 00:00:47.766 --> 00:00:49.140 about how a turbine engine works. 00:00:49.140 --> 00:00:51.400 And I think I might have told this story before, 00:00:51.400 --> 00:00:54.642 about how we ended up finding like an actual Boeing engine. 00:00:54.642 --> 00:00:56.100 But there are a lot of ways that we 00:00:56.100 --> 00:00:57.308 could have filmed this scene. 00:00:57.308 --> 00:01:02.220 We could have animated it, we could have done a wide frame 00:01:02.220 --> 00:01:05.820 shot with animation overlay, like I showed you with George's 00:01:05.820 --> 00:01:08.050 [INAUDIBLE] videos. 00:01:08.050 --> 00:01:10.840 We could have done B-roll, so we could have just done 00:01:10.840 --> 00:01:12.370 like close up shots of the engine 00:01:12.370 --> 00:01:15.560 while you heard Luke explaining how it worked, 00:01:15.560 --> 00:01:16.550 with his voiceover. 00:01:16.550 --> 00:01:19.380 Or we could have done a live explanation, 00:01:19.380 --> 00:01:20.630 which is what we went with. 00:01:23.370 --> 00:01:26.730 So this is how George shot Luke. 00:01:26.730 --> 00:01:28.880 We went with the traditional thirds framing. 00:01:28.880 --> 00:01:31.430 Again, this isn't necessarily a rule that you have to go by, 00:01:31.430 --> 00:01:34.200 it just worked really well for this scene. 00:01:34.200 --> 00:01:37.690 And we went with this because it also 00:01:37.690 --> 00:01:42.070 gave us the ability to do sort of an interesting point of view 00:01:42.070 --> 00:01:42.570 shot. 00:01:42.570 --> 00:01:45.100 The point of view isn't from the narrator, 00:01:45.100 --> 00:01:46.550 it's actually from the viewer. 00:01:46.550 --> 00:01:49.670 So I'll show you the clip in a second. 00:01:49.670 --> 00:01:51.860 But essentially, we did one long take 00:01:51.860 --> 00:01:55.280 where George moved his camera as Luke was explaining 00:01:55.280 --> 00:01:56.460 the parts of the engine. 00:01:56.460 --> 00:02:00.520 So we wanted it to feel like the camera was basically 00:02:00.520 --> 00:02:05.410 where a person would be if Luke was explaining how a turbine 00:02:05.410 --> 00:02:08.891 engine works to a person standing there. 00:02:08.891 --> 00:02:10.339 LUKE: --won't work. 00:02:10.339 --> 00:02:11.880 FEMALE IN VIDEO: What you really need 00:02:11.880 --> 00:02:14.952 is one engine that can produce enough horsepower 00:02:14.952 --> 00:02:15.660 to fly the plane. 00:02:15.660 --> 00:02:19.760 A turbine engine is capable of much more horse power 00:02:19.760 --> 00:02:21.810 than a piston engine because of the way 00:02:21.810 --> 00:02:24.805 it uses giant fans to compress the air. 00:02:24.805 --> 00:02:26.180 LUKE: At the front of the turbine 00:02:26.180 --> 00:02:29.200 engine is an intake fan which spins 00:02:29.200 --> 00:02:32.800 and brings a huge amount of air into the front of the engine. 00:02:32.800 --> 00:02:34.970 As we move backwards through the engine, 00:02:34.970 --> 00:02:38.460 a series of compressor blades makes that air more and more 00:02:38.460 --> 00:02:40.850 compressed, until we get here. 00:02:40.850 --> 00:02:43.500 And here, fuel is introduced and burned. 00:02:43.500 --> 00:02:46.270 And that hot, high pressure flow gets sent 00:02:46.270 --> 00:02:47.480 out the back of the engine. 00:02:47.480 --> 00:02:49.520 And that makes the thrust of the engine. 00:02:49.520 --> 00:02:51.350 But at the same time, that flow passes 00:02:51.350 --> 00:02:54.760 through a series of four or five turbine blades, 00:02:54.760 --> 00:02:56.430 and those blades are connected directly 00:02:56.430 --> 00:02:58.620 to a shaft at the middle of the engine. 00:02:58.620 --> 00:03:01.280 That shaft runs all the way back to the front 00:03:01.280 --> 00:03:03.420 and spins the intake fan. 00:03:03.420 --> 00:03:07.070 That's what keeps the engine running. 00:03:07.070 --> 00:03:09.380 PROFESSOR: So that shot worked because Luke 00:03:09.380 --> 00:03:12.330 was very comfortable explaining that in one long take. 00:03:12.330 --> 00:03:15.580 He actually ad libbed that whole thing. 00:03:15.580 --> 00:03:18.370 And I can see that it's a lot of information at once, 00:03:18.370 --> 00:03:20.620 so maybe it would have been better to do an animation. 00:03:20.620 --> 00:03:22.869 We certainly could've done it a lot of different ways. 00:03:22.869 --> 00:03:24.450 But what I like about that shot is 00:03:24.450 --> 00:03:26.570 that if you were just standing there, 00:03:26.570 --> 00:03:29.290 and Luke was explaining it to you, 00:03:29.290 --> 00:03:31.500 the camera would basically be your eyes, right? 00:03:31.500 --> 00:03:33.160 Like you would walk along with him, 00:03:33.160 --> 00:03:36.270 and you would look down at the engine when he pointed to it, 00:03:36.270 --> 00:03:38.160 you would look back up at him. 00:03:38.160 --> 00:03:41.090 So that's the type of movement that Chris was talking about 00:03:41.090 --> 00:03:43.000 that you can introduce to your video. 00:03:43.000 --> 00:03:46.057 It would be really different if we had just set up a tripod 00:03:46.057 --> 00:03:47.890 and had Luke explain the whole thing, right? 00:03:47.890 --> 00:03:50.417 Like it would have been a very different experience. 00:03:50.417 --> 00:03:51.371 GUEST SPEAKER: And it's not random movement, 00:03:51.371 --> 00:03:53.040 it's obviously very directed, which 00:03:53.040 --> 00:03:55.187 is the key to many of these kinds of things. 00:03:55.187 --> 00:03:56.387 It's not [INAUDIBLE] 00:03:56.387 --> 00:03:57.095 PROFESSOR: Right. 00:03:57.095 --> 00:04:01.280 Like we wanted to really follow what the natural person would 00:04:01.280 --> 00:04:05.095 do if they were just standing there talking to Luke. 00:04:05.095 --> 00:04:06.970 I want to talk about the lighting real quick. 00:04:06.970 --> 00:04:10.000 So we were in an airplane hangar, 00:04:10.000 --> 00:04:11.790 and it was like one in the morning, 00:04:11.790 --> 00:04:13.380 so it was super dark outside. 00:04:13.380 --> 00:04:16.350 I mean, we mostly relied on the overhead lights. 00:04:16.350 --> 00:04:20.660 I don't actually know if we lit this with anything else. 00:04:20.660 --> 00:04:23.050 Because it's super bright in there. 00:04:23.050 --> 00:04:25.170 So you don't need super fancy equipment 00:04:25.170 --> 00:04:30.170 to achieve the videos that you guys are going to do. 00:04:30.170 --> 00:04:32.930 So to talk a little bit more about producing, 00:04:32.930 --> 00:04:35.324 when you think of directing I feel 00:04:35.324 --> 00:04:37.740 like that's what most people think of when making a video. 00:04:37.740 --> 00:04:39.948 And directing is a lot about thinking in the present. 00:04:39.948 --> 00:04:43.500 So you're coaching the host, you're coaching the talent, 00:04:43.500 --> 00:04:45.697 telling them what to do right there in that moment. 00:04:45.697 --> 00:04:47.530 You're thinking about what the framing looks 00:04:47.530 --> 00:04:48.690 like in that moment. 00:04:48.690 --> 00:04:51.570 Producing is a lot about thinking about the future, 00:04:51.570 --> 00:04:55.420 anticipating what's coming next, the mistakes that you're 00:04:55.420 --> 00:04:56.240 going to make. 00:04:56.240 --> 00:05:00.807 So on a practical level it's a lot of check boxes, basically. 00:05:00.807 --> 00:05:02.390 You're thinking about where am I going 00:05:02.390 --> 00:05:04.890 to film, what are my backups going to be, where am I 00:05:04.890 --> 00:05:06.570 going to record voice over? 00:05:06.570 --> 00:05:10.430 My experience filming at MIT is that it is incredibly difficult 00:05:10.430 --> 00:05:15.730 to find a quiet place on campus to record clean voiceover. 00:05:15.730 --> 00:05:17.864 And if you're having trouble finding a spot, 00:05:17.864 --> 00:05:19.030 come talk to me at any time. 00:05:19.030 --> 00:05:20.429 I can help you with that. 00:05:20.429 --> 00:05:21.762 AUDIENCE: What do you mean that? 00:05:21.762 --> 00:05:23.634 Why do you mean that? 00:05:23.634 --> 00:05:25.550 PROFESSOR: So take this classroom for example, 00:05:25.550 --> 00:05:30.050 most of the spaces on campus have this hum overhead. 00:05:30.050 --> 00:05:32.620 And most of you guys will be relying on the lavalier mic, 00:05:32.620 --> 00:05:34.330 so it's not as bad. 00:05:34.330 --> 00:05:38.162 But there's just a lot of background noise 00:05:38.162 --> 00:05:41.420 that is on campus. 00:05:41.420 --> 00:05:44.190 So if you're just recording plain voice over 00:05:44.190 --> 00:05:47.080 that you want to use in your video, 00:05:47.080 --> 00:05:48.580 it would be more ideal if you could 00:05:48.580 --> 00:05:52.440 get something that's quieter than this room, for example. 00:05:52.440 --> 00:05:55.660 So you're thinking in checklists, 00:05:55.660 --> 00:05:57.920 and some of the boxes are a little more inane, 00:05:57.920 --> 00:05:59.970 like did we shoot all of the scenes? 00:05:59.970 --> 00:06:01.890 Which sounds stupid, but I actually 00:06:01.890 --> 00:06:03.850 missed that on my own video. 00:06:03.850 --> 00:06:06.520 I forgot to film one of the scenes. 00:06:06.520 --> 00:06:07.910 And then, did we get clean audio? 00:06:07.910 --> 00:06:11.210 So a tip that I would recommend for you guys 00:06:11.210 --> 00:06:14.050 is, even after you film all of your scenes, 00:06:14.050 --> 00:06:18.640 I would sit down and just record voiceover of your entire script 00:06:18.640 --> 00:06:20.450 in a separate audio file. 00:06:20.450 --> 00:06:22.920 Because you never know, looking back on the footage, 00:06:22.920 --> 00:06:27.110 there may be sections where the audio isn't very clean. 00:06:27.110 --> 00:06:29.530 So you may have to rely on your clean voiceover 00:06:29.530 --> 00:06:30.390 for that section. 00:06:30.390 --> 00:06:32.400 And maybe use B-roll to fill in. 00:06:32.400 --> 00:06:34.150 If that makes sense to people. 00:06:34.150 --> 00:06:36.720 Does anyone have questions so far? 00:06:36.720 --> 00:06:37.570 Yes. 00:06:37.570 --> 00:06:40.210 AUDIENCE: Like you are filming, and then you have a voice-- 00:06:40.210 --> 00:06:40.972 PROFESSOR: Yeah. 00:06:40.972 --> 00:06:43.305 AUDIENCE: --then you want to use a voiceover separately. 00:06:43.305 --> 00:06:45.444 Then wouldn't the pacing off? 00:06:45.444 --> 00:06:46.110 PROFESSOR: Yeah. 00:06:46.110 --> 00:06:53.880 So for example we shot a video, and part of it-- 00:06:53.880 --> 00:06:56.770 I'll talk more about it during the editing lecture next week, 00:06:56.770 --> 00:06:59.550 but if you can find a clean place to transition 00:06:59.550 --> 00:07:03.150 between the live footage and your voiceover, 00:07:03.150 --> 00:07:04.950 that's like the best way to do that if you 00:07:04.950 --> 00:07:10.040 find that some of your footage just has really bad live audio. 00:07:10.040 --> 00:07:13.030 For every place that you shoot, I 00:07:13.030 --> 00:07:15.900 recommend that you get room tone, which is basically 00:07:15.900 --> 00:07:17.660 the natural sound of the room. 00:07:17.660 --> 00:07:21.120 So for example, if you were going to shoot in this room, 00:07:21.120 --> 00:07:23.950 you would shoot the scene, and then you would take your mic 00:07:23.950 --> 00:07:26.627 and just record 30 seconds where everyone's quiet. 00:07:26.627 --> 00:07:28.460 And it's just going to record the background 00:07:28.460 --> 00:07:30.150 noise of the room. 00:07:30.150 --> 00:07:35.210 And you do that because if there is a case where you're 00:07:35.210 --> 00:07:37.380 relying on voiceover that you shot later, 00:07:37.380 --> 00:07:40.824 or you're cutting bits and pieces from the footage 00:07:40.824 --> 00:07:42.240 that you shot in this room, you're 00:07:42.240 --> 00:07:44.240 going to have this gap or a hiccup 00:07:44.240 --> 00:07:47.230 where the hum doesn't exist, and it's 00:07:47.230 --> 00:07:49.080 going to sound really awkward in the video. 00:07:49.080 --> 00:07:52.140 So you layer the room tone underneath when 00:07:52.140 --> 00:07:54.400 you're editing so that you don't have those hiccups 00:07:54.400 --> 00:07:57.130 between the cuts that you make. 00:07:57.130 --> 00:07:58.800 GUEST SPEAKER: It's kind of a decision 00:07:58.800 --> 00:08:01.391 that you have to make, too, based on the room. 00:08:01.391 --> 00:08:04.690 So like with Jeff, we actually did the voiceover in the room. 00:08:04.690 --> 00:08:08.550 Because it had a hum, so we could have done 00:08:08.550 --> 00:08:09.800 a better job of the voiceover. 00:08:09.800 --> 00:08:13.090 But what we decided was that it would be more jarring if there 00:08:13.090 --> 00:08:15.960 was a major audio quality difference between the voice 00:08:15.960 --> 00:08:18.650 over and the on camera, you know, 00:08:18.650 --> 00:08:22.560 had we done it in a studio or in a better space later. 00:08:22.560 --> 00:08:26.300 So, you know, it was clean enough, we accepted it. 00:08:26.300 --> 00:08:28.450 And that's why we had him do everything 00:08:28.450 --> 00:08:30.720 on the spot in the same place, so that it wouldn't 00:08:30.720 --> 00:08:32.034 have that drop in and out. 00:08:32.034 --> 00:08:32.700 PROFESSOR: Yeah. 00:08:32.700 --> 00:08:33.991 Does that make sense to people? 00:08:33.991 --> 00:08:38.059 Like if we took the footage, like this footage where 00:08:38.059 --> 00:08:40.820 I'm talking here, and then we cut to something where 00:08:40.820 --> 00:08:43.970 I continue to talk about this class, 00:08:43.970 --> 00:08:45.940 but I was doing it over a voiceover, 00:08:45.940 --> 00:08:48.610 and we had some B-roll of you guys working. 00:08:48.610 --> 00:08:51.157 The first scene, you would hear the hum, 00:08:51.157 --> 00:08:52.240 and you'd hear me talking. 00:08:52.240 --> 00:08:54.010 But in the second scene, you would just 00:08:54.010 --> 00:08:57.860 hear like very clean dead space while I'm talking. 00:08:57.860 --> 00:09:00.030 And you would see you guys working. 00:09:00.030 --> 00:09:02.250 And it would sound and look really weird. 00:09:02.250 --> 00:09:04.146 It would feel really weird to watch. 00:09:04.146 --> 00:09:06.430 GUEST SPEAKER: So we just did another video 00:09:06.430 --> 00:09:09.504 not unlike the [INAUDIBLE] video, 00:09:09.504 --> 00:09:11.670 except that the person is in Kendall Square talking. 00:09:11.670 --> 00:09:13.870 All the on camera stuff was in Kendall Square. 00:09:13.870 --> 00:09:16.600 And that's really noisy, so we decided in 00:09:16.600 --> 00:09:17.820 that case to do the opposite. 00:09:17.820 --> 00:09:21.404 We didn't have him record everything in Kendall Square, 00:09:21.404 --> 00:09:23.820 because then we would be dealing with problems throughout. 00:09:23.820 --> 00:09:27.280 But what we did is we recorded the equivalent of room tone. 00:09:27.280 --> 00:09:30.800 We just got audio of Kendall Square, 00:09:30.800 --> 00:09:33.780 and then we were able to sort of slowly fade it out 00:09:33.780 --> 00:09:35.530 after the person was on camera, so that it 00:09:35.530 --> 00:09:36.790 was more imperceptible. 00:09:36.790 --> 00:09:39.810 And then slowly fade it back in before an on camera 00:09:39.810 --> 00:09:42.028 arrived-- you know, comes back. 00:09:42.028 --> 00:09:43.986 AUDIENCE: There's no way you can filter it out? 00:09:43.986 --> 00:09:45.880 Just kind of-- 00:09:45.880 --> 00:09:47.650 GUEST SPEAKER: Well you can filter audio. 00:09:47.650 --> 00:09:50.640 What I always tell people is don't. 00:09:50.640 --> 00:09:52.220 Especially like, if you're not going 00:09:52.220 --> 00:09:53.900 to spend thousands of dollars doing it, 00:09:53.900 --> 00:09:56.790 don't think you can do a lot. 00:09:56.790 --> 00:09:59.930 There are a lot of consumer tools that are available. 00:09:59.930 --> 00:10:02.760 They generally really degrade the voice. 00:10:02.760 --> 00:10:06.172 Everyone ends up sounding like I'm Stephen Hawking. 00:10:06.172 --> 00:10:08.380 PROFESSOR: Because the frequencies in the room tone-- 00:10:08.380 --> 00:10:09.500 GUEST SPEAKER: Very similar, yeah. 00:10:09.500 --> 00:10:11.583 PROFESSOR: --some of the frequencies in the voice. 00:10:11.583 --> 00:10:15.350 GUEST SPEAKER: So very, very high end, very time 00:10:15.350 --> 00:10:18.890 consuming tools are out there to do it. 00:10:18.890 --> 00:10:21.509 But they're out of reach. 00:10:21.509 --> 00:10:23.550 PROFESSOR: Music can help hide that a little bit, 00:10:23.550 --> 00:10:26.560 and I'm going to show you guys examples of that next week. 00:10:26.560 --> 00:10:29.620 But in general like it literally takes 30 seconds for you 00:10:29.620 --> 00:10:30.620 to record the room tone. 00:10:30.620 --> 00:10:31.660 So that's-- 00:10:31.660 --> 00:10:32.350 GUEST SPEAKER: Yeah, it's definitely worth it. 00:10:32.350 --> 00:10:33.730 PROFESSOR: --It's worth it. 00:10:33.730 --> 00:10:38.580 So in general, as a producer you're 00:10:38.580 --> 00:10:41.450 doing a lot of anticipatory thinking, which 00:10:41.450 --> 00:10:43.170 is to help you ultimately realize 00:10:43.170 --> 00:10:45.720 your big vision for your video. 00:10:45.720 --> 00:10:47.660 So you're doing all of these checklists, 00:10:47.660 --> 00:10:49.240 you're thinking ahead of time. 00:10:49.240 --> 00:10:51.573 Even in pre-production, which is where we are right now, 00:10:51.573 --> 00:10:53.130 where you're scripting. 00:10:53.130 --> 00:10:55.800 As a producer you're going to be thinking about the big picture 00:10:55.800 --> 00:10:57.210 the entire time. 00:10:57.210 --> 00:10:59.810 So producing is really looking at the big picture. 00:10:59.810 --> 00:11:02.560 You're looking at how the microscopic decisions like, 00:11:02.560 --> 00:11:04.380 where you're going to shoot for instance, 00:11:04.380 --> 00:11:06.390 or where are you going to record the room tone, 00:11:06.390 --> 00:11:09.810 how that all fits into your macroscopic plan. 00:11:09.810 --> 00:11:12.930 So as Chris said, it's really important to scout locations. 00:11:12.930 --> 00:11:16.180 And when you go scout locations, the two big things to look at 00:11:16.180 --> 00:11:18.307 are what's the lighting like at that place, 00:11:18.307 --> 00:11:19.390 and what's the sound like? 00:11:19.390 --> 00:11:22.360 And when you're looking at lighting, 00:11:22.360 --> 00:11:23.830 not only look at the natural light 00:11:23.830 --> 00:11:26.890 that's available in the room, if it's indoors for example, 00:11:26.890 --> 00:11:28.730 but how the sunlight affects the room. 00:11:28.730 --> 00:11:32.950 So when we were pre-producing this OpenCourseWare class, 00:11:32.950 --> 00:11:34.700 we came and scouted this classroom. 00:11:34.700 --> 00:11:37.160 And we noticed that there are all these big windows, 00:11:37.160 --> 00:11:38.712 and it was an afternoon class. 00:11:38.712 --> 00:11:40.420 And I knew that the lighting in this room 00:11:40.420 --> 00:11:42.330 would be really different at 1 o'clock 00:11:42.330 --> 00:11:44.320 than it would be at 4 o'clock. 00:11:44.320 --> 00:11:47.020 So we decided that it actually wouldn't be too big of a deal, 00:11:47.020 --> 00:11:48.767 because people watching the video 00:11:48.767 --> 00:11:51.100 wouldn't be like, oh my gosh it's dark in that classroom 00:11:51.100 --> 00:11:52.720 now, that doesn't make any sense. 00:11:52.720 --> 00:11:54.920 Because obviously we know it's a three hour class. 00:11:54.920 --> 00:11:56.420 GUEST SPEAKER: You'll notice Billy's 00:11:56.420 --> 00:11:58.500 on that side of the room, not on this side of the room. 00:11:58.500 --> 00:11:59.166 PROFESSOR: Yeah. 00:11:59.166 --> 00:12:01.675 GUEST SPEAKER: That's because if Elizabeth 00:12:01.675 --> 00:12:03.140 was teaching in that corner, we'd 00:12:03.140 --> 00:12:05.730 have a problem with the windows. 00:12:05.730 --> 00:12:07.780 PROFESSOR: And we thought about if we should just 00:12:07.780 --> 00:12:10.874 lower the shades the entire time so we have uniform lighting. 00:12:10.874 --> 00:12:12.290 So those are the kind of questions 00:12:12.290 --> 00:12:14.248 that you'll ask yourself during pre-production. 00:12:16.100 --> 00:12:18.480 And sound, again, take room tone. 00:12:18.480 --> 00:12:20.720 The biggest sound issues if you're outdoors, 00:12:20.720 --> 00:12:22.990 the wind makes a big difference. 00:12:22.990 --> 00:12:25.852 Most of you guys are going to just rely on your lavaliers, 00:12:25.852 --> 00:12:27.060 and they have the little cap. 00:12:27.060 --> 00:12:28.750 And that does a generally good job, 00:12:28.750 --> 00:12:30.678 but just take note of it when you go scout. 00:12:34.810 --> 00:12:36.322 My personal tip is look for outlets. 00:12:36.322 --> 00:12:38.030 That's always been like the biggest thing 00:12:38.030 --> 00:12:41.540 for us is, especially if it's an outdoor location, scouting 00:12:41.540 --> 00:12:44.120 ahead of time and seeing how many outlets there are 00:12:44.120 --> 00:12:46.150 helps you anticipate how many extension 00:12:46.150 --> 00:12:47.150 cords you need to bring. 00:12:47.150 --> 00:12:49.390 Which sounds like a silly thing, but actually makes 00:12:49.390 --> 00:12:52.530 a huge difference. 00:12:52.530 --> 00:12:55.300 So for example we shot this video 00:12:55.300 --> 00:12:58.480 with Jamie in the Stata Center on computer switches. 00:12:58.480 --> 00:13:00.210 And we were with the Digi-Comp. 00:13:00.210 --> 00:13:01.770 Or the Digi-Cart? 00:13:01.770 --> 00:13:02.920 Digi-Comp. 00:13:02.920 --> 00:13:06.340 Which we couldn't move, so we had to shoot in this location. 00:13:06.340 --> 00:13:08.980 And it was in Stata so we knew it would be really noisy. 00:13:08.980 --> 00:13:12.390 So we shot at like 6:00 in the morning on Sunday, 00:13:12.390 --> 00:13:14.220 when no one would be around. 00:13:14.220 --> 00:13:16.090 But the thing that we didn't anticipate, 00:13:16.090 --> 00:13:20.510 because I didn't scout that location, which is bad, 00:13:20.510 --> 00:13:25.310 is that there's a skylight right above the Digi-Comp-- I always 00:13:25.310 --> 00:13:26.800 forget what it's called. 00:13:26.800 --> 00:13:30.410 So noon hit, and we had to stop filming because there 00:13:30.410 --> 00:13:32.580 was sunlight directly overhead that 00:13:32.580 --> 00:13:36.660 completely changed the shadows on the prop, and on Jamie. 00:13:36.660 --> 00:13:39.810 So we basically lost two hours of shooting time 00:13:39.810 --> 00:13:43.730 because we were waiting for the sun to pass overhead. 00:13:43.730 --> 00:13:47.020 So that's why you should scout your locations ahead of time. 00:13:47.020 --> 00:13:50.630 A quick note on locations, also look at backgrounds. 00:13:50.630 --> 00:13:54.410 And with backgrounds you should really be deliberate. 00:13:54.410 --> 00:13:55.730 And go big or go home. 00:13:55.730 --> 00:13:58.460 So for example, this is a background 00:13:58.460 --> 00:14:00.050 that I think a lot of people default 00:14:00.050 --> 00:14:02.810 to when they don't really have anything else to shoot, 00:14:02.810 --> 00:14:05.170 because they just sit-in their office and they're like, 00:14:05.170 --> 00:14:06.795 I need to record something really fast, 00:14:06.795 --> 00:14:08.620 I'll just sit here. 00:14:08.620 --> 00:14:11.470 Sitting in front of a window that has blinds on it 00:14:11.470 --> 00:14:15.760 is maybe the worst possible background that you could use. 00:14:15.760 --> 00:14:17.700 And again, this is a matter of personal taste, 00:14:17.700 --> 00:14:21.450 but I cringe when I see this for two reasons. 00:14:21.450 --> 00:14:24.420 One, it's really back-lit, which is what Chris 00:14:24.420 --> 00:14:25.990 was talking about earlier. 00:14:25.990 --> 00:14:28.400 So you'll have so much outdoor light 00:14:28.400 --> 00:14:32.180 that it makes your subjects look really dark. 00:14:32.180 --> 00:14:34.560 And having all the blinds in the background, 00:14:34.560 --> 00:14:38.920 I think having all those lines is really distracting as well. 00:14:38.920 --> 00:14:41.240 This is what happened when George 00:14:41.240 --> 00:14:44.010 tried to change the exposure setting on the camera 00:14:44.010 --> 00:14:45.120 to light for me. 00:14:45.120 --> 00:14:47.180 So I'm lit well, but now the background 00:14:47.180 --> 00:14:48.690 is completely blown out. 00:14:48.690 --> 00:14:52.730 So in general, avoid filming right in front of a window 00:14:52.730 --> 00:14:55.232 where there is direct sunlight coming in. 00:14:55.232 --> 00:14:56.940 And please don't film in front of blinds. 00:15:01.550 --> 00:15:03.080 If anyone is interested in filming 00:15:03.080 --> 00:15:07.160 in front of a green screen, it's possible, 00:15:07.160 --> 00:15:08.825 and I'm happy to help you. 00:15:08.825 --> 00:15:11.200 I think you should be very deliberate with that decision. 00:15:11.200 --> 00:15:13.050 Sometimes it works really well. 00:15:13.050 --> 00:15:14.082 This is an example. 00:15:14.082 --> 00:15:15.790 FEMALE IN VIDEO: So in order to turn red, 00:15:15.790 --> 00:15:18.260 neurons from the squid's brain sends signals 00:15:18.260 --> 00:15:21.410 to these muscles, which pull open all of his chromatophores 00:15:21.410 --> 00:15:24.140 at the same time. 00:15:24.140 --> 00:15:26.751 PROFESSOR: So-- oh, this was the wrong clip. 00:15:26.751 --> 00:15:27.250 Sorry guys. 00:15:27.250 --> 00:15:29.090 But there is one example where she 00:15:29.090 --> 00:15:32.450 says, take note, when I walk next to the squid, 00:15:32.450 --> 00:15:33.380 he turns red. 00:15:33.380 --> 00:15:35.572 And so you actually see her walking on screen, 00:15:35.572 --> 00:15:36.780 and then the squid turns red. 00:15:36.780 --> 00:15:38.900 And so we used a green screen to film this 00:15:38.900 --> 00:15:40.610 because we like the actual visual 00:15:40.610 --> 00:15:46.980 of seeing some sort of object stimulating the squid 00:15:46.980 --> 00:15:48.700 to turn colors. 00:15:48.700 --> 00:15:51.230 So that's an example of a green screen working well, 00:15:51.230 --> 00:15:52.310 I think in my opinion. 00:15:52.310 --> 00:15:55.370 If you want to do something like that, I'm happy to help you. 00:15:55.370 --> 00:15:57.290 But again, you don't have to do it. 00:16:03.460 --> 00:16:05.910 So more production tips. 00:16:05.910 --> 00:16:09.420 Days before, make sure you scout your locations. 00:16:09.420 --> 00:16:10.800 A word about props. 00:16:10.800 --> 00:16:12.840 So props don't have to be expensive. 00:16:12.840 --> 00:16:15.000 And I'm not just talking about props on screen. 00:16:15.000 --> 00:16:18.100 I'm also talking about the tools that you can use to film. 00:16:18.100 --> 00:16:21.310 So we're giving you a tripod, and that's basically 00:16:21.310 --> 00:16:24.880 your only production prop. 00:16:24.880 --> 00:16:28.590 But as Chris was saying, like you can use desk lamps 00:16:28.590 --> 00:16:30.290 with paper over them. 00:16:32.877 --> 00:16:33.960 Let me show you this shot. 00:16:33.960 --> 00:16:35.501 FEMALE IN VIDEO: Let me show you how. 00:16:43.660 --> 00:16:46.300 PROFESSOR: So those are all dolly shots basically, 00:16:46.300 --> 00:16:49.600 of us establishing the location of this video, which 00:16:49.600 --> 00:16:52.900 is in D lab, which is where Jack works. 00:16:52.900 --> 00:16:56.210 And they're all very smooth pans of looking around 00:16:56.210 --> 00:16:57.390 at the locations. 00:16:57.390 --> 00:17:00.590 And we shot that with a cart, like a hand 00:17:00.590 --> 00:17:03.800 cart that I just sat in, and George pushed me around. 00:17:03.800 --> 00:17:06.460 So you could buy a super expensive dolly, 00:17:06.460 --> 00:17:09.670 or you can just borrow a cart from our department, 00:17:09.670 --> 00:17:14.390 and sit-in it, and have someone push you around. 00:17:14.390 --> 00:17:16.339 The dolly is always nicer, but we 00:17:16.339 --> 00:17:17.650 don't have the budget for that. 00:17:17.650 --> 00:17:20.108 GUEST SPEAKER: Great job with steady camerawork by the way. 00:17:20.108 --> 00:17:23.010 It can be an issue if you're sitting on a cart, 00:17:23.010 --> 00:17:24.670 if you start getting a lot of this, 00:17:24.670 --> 00:17:28.229 it takes away from the niceness of the shot. 00:17:28.229 --> 00:17:29.700 But in this case it was great. 00:17:29.700 --> 00:17:32.690 PROFESSOR: We took a tripod and spread the legs 00:17:32.690 --> 00:17:34.830 out all the way, so that it was like really, really 00:17:34.830 --> 00:17:36.330 firm in the cart. 00:17:36.330 --> 00:17:39.539 And then I held it just to add more stability. 00:17:39.539 --> 00:17:41.080 So it's possible this is another one. 00:17:41.080 --> 00:17:43.413 FEMALE IN VIDEO: To figure out how the entire metabolome 00:17:43.413 --> 00:17:45.220 works, we can use it to engineer plants 00:17:45.220 --> 00:17:48.520 to create new bio-materials, medicines, and clean energy. 00:17:48.520 --> 00:17:50.190 We might even discover that plants have 00:17:50.190 --> 00:17:52.050 the secret to living forever. 00:17:52.050 --> 00:17:55.211 We just need to unlock their chemical mysteries. 00:17:55.211 --> 00:17:57.460 PROFESSOR: So that's actually one of my favorite shots 00:17:57.460 --> 00:17:59.420 from Science Out Loud, ever. 00:17:59.420 --> 00:18:02.360 And that was all George's idea, so I have to give him credit. 00:18:02.360 --> 00:18:03.950 But I like it because it's a reveal, 00:18:03.950 --> 00:18:05.160 like Chris was talking about. 00:18:05.160 --> 00:18:06.493 It's the way we ended the video. 00:18:06.493 --> 00:18:08.800 We start off on the plants, focused on it, 00:18:08.800 --> 00:18:12.120 and you reveal Anastasia at the end. 00:18:12.120 --> 00:18:14.650 And that's actually-- to get that smooth movement is 00:18:14.650 --> 00:18:15.760 actually really hard. 00:18:15.760 --> 00:18:18.950 You might be able to do it with these tripods 00:18:18.950 --> 00:18:22.510 because the cameras aren't really heavy. 00:18:22.510 --> 00:18:24.930 And you could probably get enough friction on them 00:18:24.930 --> 00:18:26.610 to get it to work. 00:18:26.610 --> 00:18:30.730 But what we did was, George was using a camera like that one. 00:18:30.730 --> 00:18:40.550 So he took the tripod, flipped the top head of it upside down, 00:18:40.550 --> 00:18:44.340 and then he took a boom pole, which is basically 00:18:44.340 --> 00:18:47.650 this long pole, and put a weight on one end of it, 00:18:47.650 --> 00:18:50.230 and put the camera on the other, and just slowly let 00:18:50.230 --> 00:18:53.440 the camera come up from the weight. 00:18:53.440 --> 00:18:58.110 So I'm all about MacGyvering props if you need to. 00:18:58.110 --> 00:19:01.260 There are creative ways to get around things and achieve 00:19:01.260 --> 00:19:04.660 nice effects with cheaper equipment. 00:19:04.660 --> 00:19:06.320 The other thing about days before 00:19:06.320 --> 00:19:09.390 is that you should make a shot list, which is something that I 00:19:09.390 --> 00:19:11.200 would like you guys to submit. 00:19:11.200 --> 00:19:13.380 I think originally I had specified 00:19:13.380 --> 00:19:14.940 you to do that tonight. 00:19:14.940 --> 00:19:18.490 But it's not necessary to do it and post it until next week. 00:19:18.490 --> 00:19:20.890 So I'll update you with another email. 00:19:20.890 --> 00:19:22.780 But a shot list is basically what it says. 00:19:22.780 --> 00:19:25.020 It's a list of all the shots that you need. 00:19:25.020 --> 00:19:27.540 So it doesn't have to look a certain way. 00:19:27.540 --> 00:19:29.010 It's for your benefit only. 00:19:29.010 --> 00:19:31.790 So organize it however you think is best for you. 00:19:31.790 --> 00:19:34.650 But this was my shot list for the reshoots 00:19:34.650 --> 00:19:36.970 that we did for the snots video. 00:19:36.970 --> 00:19:38.280 This is the first page of it. 00:19:38.280 --> 00:19:41.810 So I listed out all the locations 00:19:41.810 --> 00:19:44.680 that we were going to, what time approximately we were going 00:19:44.680 --> 00:19:47.200 to use it, so that I could get a good sense of what 00:19:47.200 --> 00:19:50.180 the lighting would look like in these locations. 00:19:50.180 --> 00:19:54.100 And then I listed out exactly what lines I needed to say, 00:19:54.100 --> 00:19:57.330 and what shots we needed to get at each location. 00:19:57.330 --> 00:20:00.690 And then at the bottom I specified the wardrobe. 00:20:00.690 --> 00:20:03.550 So this is a super helpful organizational tool 00:20:03.550 --> 00:20:06.710 to use when you're planning things. 00:20:06.710 --> 00:20:09.800 When you are thinking about locations, 00:20:09.800 --> 00:20:11.940 definitely go big or go home. 00:20:11.940 --> 00:20:14.060 You can e-mail anyone and just tell them 00:20:14.060 --> 00:20:16.430 you're doing a project for a class at MIT, 00:20:16.430 --> 00:20:19.510 and you'd be surprised what you could get. 00:20:19.510 --> 00:20:22.520 We shot at a horse farm in Acton. 00:20:22.520 --> 00:20:24.580 We shot in an airplane. 00:20:24.580 --> 00:20:27.320 We shot at a skydiving zone. 00:20:27.320 --> 00:20:31.720 We shot at the butterfly exhibit at the Museum of Science. 00:20:31.720 --> 00:20:33.120 Most of the labs here, especially 00:20:33.120 --> 00:20:36.477 since you're students, are going to be super open to having you. 00:20:36.477 --> 00:20:38.060 And again that's like your opportunity 00:20:38.060 --> 00:20:40.040 to create a window into a world that most people don't 00:20:40.040 --> 00:20:40.900 have access to. 00:20:40.900 --> 00:20:42.680 So definitely take advantage of that. 00:20:42.680 --> 00:20:45.720 If you have any issues getting into a location, 00:20:45.720 --> 00:20:46.450 just let me know. 00:20:49.850 --> 00:20:52.230 The day before, check all your equipment. 00:20:52.230 --> 00:20:54.330 Check the batteries, that's the biggest thing. 00:20:54.330 --> 00:20:55.310 Bring spare batteries. 00:20:55.310 --> 00:20:57.890 If you need spare batteries let me know. 00:20:57.890 --> 00:20:59.670 Double check your locations. 00:20:59.670 --> 00:21:01.130 If you're meeting people, make sure 00:21:01.130 --> 00:21:02.566 that they know that you're coming. 00:21:02.566 --> 00:21:03.482 And check the weather. 00:21:06.080 --> 00:21:07.650 And then day of. 00:21:07.650 --> 00:21:12.350 So to help keep you organized I recommend that you use 00:21:12.350 --> 00:21:14.090 camera reports or log sheets. 00:21:14.090 --> 00:21:16.900 And what that looks like, and again you 00:21:16.900 --> 00:21:19.470 can set this up however you think is most useful to you 00:21:19.470 --> 00:21:20.040 to use. 00:21:20.040 --> 00:21:21.770 These are the camera reports that we 00:21:21.770 --> 00:21:23.180 use for Science Out Loud. 00:21:23.180 --> 00:21:25.130 But basically it's to help us keep track 00:21:25.130 --> 00:21:28.670 of what video file is what. 00:21:28.670 --> 00:21:31.180 And when you're shooting like for six days straight, 00:21:31.180 --> 00:21:32.580 this is really important. 00:21:32.580 --> 00:21:35.600 It may not be as vital to you, but it'll be really useful 00:21:35.600 --> 00:21:36.890 when you go into edit. 00:21:36.890 --> 00:21:40.710 But it's basically saying, this video file was scene two, 00:21:40.710 --> 00:21:41.750 take two. 00:21:41.750 --> 00:21:42.962 I thought it was OK. 00:21:42.962 --> 00:21:44.420 There were two good takes in there. 00:21:44.420 --> 00:21:47.610 The last one was the best. 00:21:47.610 --> 00:21:49.077 Make sense to everyone? 00:21:49.077 --> 00:21:50.660 Let me know if you have any questions. 00:21:54.070 --> 00:21:54.570 Yeah. 00:21:54.570 --> 00:21:57.760 That's pretty straightforward. 00:21:57.760 --> 00:22:01.380 And I would also recommend looking at the dailies. 00:22:01.380 --> 00:22:05.006 So I guess dailies refers to all the footage 00:22:05.006 --> 00:22:06.130 that you take during a day. 00:22:06.130 --> 00:22:08.984 Like maybe during a movie production or a TV production. 00:22:08.984 --> 00:22:10.400 And the dailies for you guys would 00:22:10.400 --> 00:22:12.730 be like, at the end of the day look 00:22:12.730 --> 00:22:16.860 through all the video footage that you have on your camera 00:22:16.860 --> 00:22:18.740 and just take note of what you shot. 00:22:18.740 --> 00:22:20.750 Make sure that it's good. 00:22:20.750 --> 00:22:23.820 What you don't want is to shoot your entire episode 00:22:23.820 --> 00:22:27.280 and realize that the camera settings had somehow muted you 00:22:27.280 --> 00:22:29.240 and so you didn't have any audio. 00:22:29.240 --> 00:22:33.320 So that's why looking at the dailies is important. 00:22:33.320 --> 00:22:36.297 Also back up and label all your files like right 00:22:36.297 --> 00:22:37.630 after you get back from a shoot. 00:22:40.680 --> 00:22:42.969 So the biggest production piece of advice, 00:22:42.969 --> 00:22:44.760 or like heads up that I would give you guys 00:22:44.760 --> 00:22:46.900 is that it takes a lot of time. 00:22:46.900 --> 00:22:49.260 Even if the locations are scouted 00:22:49.260 --> 00:22:54.650 and everything's sort of organized perfectly the day of, 00:22:54.650 --> 00:22:57.970 you're going to take-- you're going to do a lot of takes. 00:22:57.970 --> 00:23:02.360 Even if the person says the line perfectly, 00:23:02.360 --> 00:23:04.500 try a bunch of deliveries. 00:23:04.500 --> 00:23:07.370 So remember how George was saying like, 00:23:07.370 --> 00:23:09.420 say it really loud! 00:23:09.420 --> 00:23:11.510 Now say it like however you want, right? 00:23:11.510 --> 00:23:14.020 And you got a different style. 00:23:14.020 --> 00:23:16.407 Try a bunch of deliveries. 00:23:16.407 --> 00:23:18.740 Try a different bunch of point of views with the camera. 00:23:18.740 --> 00:23:21.300 So maybe you shoot someone straight on, 00:23:21.300 --> 00:23:23.680 then you try something from the side. 00:23:23.680 --> 00:23:27.166 You try a different movement. 00:23:27.166 --> 00:23:29.040 And then like try different types of framing. 00:23:29.040 --> 00:23:31.830 And Chris's piece of advice, which 00:23:31.830 --> 00:23:35.650 was like, most people tend to not get enough footage 00:23:35.650 --> 00:23:37.760 than get too much, is really true. 00:23:37.760 --> 00:23:39.760 Shoot like you're going to use everything, 00:23:39.760 --> 00:23:41.259 and then when you edit, you're going 00:23:41.259 --> 00:23:43.480 to edit it like you're not going to keep anything. 00:23:43.480 --> 00:23:45.660 But when you're shooting, you always 00:23:45.660 --> 00:23:49.080 want to have more to work with, because the worst feeling is 00:23:49.080 --> 00:23:51.530 when you're sitting, editing, and you're like, 00:23:51.530 --> 00:23:53.570 I wish I had shot x y z. 00:23:53.570 --> 00:23:55.610 It's the worst feeling. 00:23:55.610 --> 00:23:57.187 So it's going to take a lot of time, 00:23:57.187 --> 00:23:59.270 because you want to create as many options for you 00:23:59.270 --> 00:23:59.790 as you can. 00:24:04.420 --> 00:24:07.260 Any questions about that? 00:24:07.260 --> 00:24:07.760 No? 00:24:07.760 --> 00:24:08.260 OK. 00:24:08.260 --> 00:24:11.550 So I'll show you an example of this. 00:24:11.550 --> 00:24:13.280 No, one more thing. 00:24:13.280 --> 00:24:17.140 A note about clothing, because sometimes this comes up. 00:24:17.140 --> 00:24:21.480 So in general you don't want to have really fine print. 00:24:21.480 --> 00:24:24.850 So I always try to avoid stripes. 00:24:24.850 --> 00:24:29.630 This is probably like the closest or the widest 00:24:29.630 --> 00:24:32.380 difference in your stripes as I would recommend getting. 00:24:32.380 --> 00:24:37.040 Generally like solid colors work the best on screen. 00:24:37.040 --> 00:24:39.560 And then the material, bring a couple 00:24:39.560 --> 00:24:44.110 different sets of shirts with you, because sometimes 00:24:44.110 --> 00:24:47.450 like the silkier material brushes up against the mic 00:24:47.450 --> 00:24:51.760 a little bit more, and you hear that actually on the audio. 00:24:55.220 --> 00:24:59.470 I will show you some raw footage from the snots video. 00:24:59.470 --> 00:25:02.820 This is super embarrassing for me, so. 00:25:02.820 --> 00:25:03.960 But I think it's good. 00:25:03.960 --> 00:25:06.320 And maybe will just sort of set the tone 00:25:06.320 --> 00:25:08.580 that this is a safe space where you can feel 00:25:08.580 --> 00:25:11.080 like you can just be yourself. 00:25:11.080 --> 00:25:13.860 But this was for B-roll at the beginning 00:25:13.860 --> 00:25:15.840 of the video that was literally going 00:25:15.840 --> 00:25:20.660 to last-- it's going to last one second in the final product. 00:25:20.660 --> 00:25:24.230 I literally mean I think it's going to be a one second clip. 00:25:24.230 --> 00:25:27.133 And this is the amount of footage we shot for it. 00:25:29.586 --> 00:25:31.460 FEMALE IN VIDEO: --little weight is so funny. 00:25:31.460 --> 00:25:32.842 MALE IN VIDEO: OK, thank you. 00:25:32.842 --> 00:25:34.180 And go. 00:25:44.910 --> 00:25:46.534 Put it down and get the little weight. 00:25:55.710 --> 00:25:58.830 Both hands. 00:25:58.830 --> 00:26:00.860 Do the thing where you like, you're bringing it 00:26:00.860 --> 00:26:01.620 up with your right hand, and then 00:26:01.620 --> 00:26:03.590 you're sort of like spotting it with your left a little bit. 00:26:03.590 --> 00:26:04.090 OK. 00:26:06.930 --> 00:26:08.867 No, no just two fingers on the other hand. 00:26:08.867 --> 00:26:10.950 On your hand, on your hand, the back of your hand. 00:26:10.950 --> 00:26:11.100 Like 00:26:11.100 --> 00:26:11.800 FEMALE IN VIDEO: This? 00:26:11.800 --> 00:26:12.786 MALE IN VIDEO: Higher. 00:26:12.786 --> 00:26:13.660 Turn the weight more. 00:26:13.660 --> 00:26:14.400 Yeah. 00:26:14.400 --> 00:26:15.660 Just go like this. 00:26:15.660 --> 00:26:18.410 Put-- yes, and then like, as if you're helping it up. 00:26:18.410 --> 00:26:20.660 MALE IN VIDEO 2: [INAUDIBLE] just like, supporting it. 00:26:22.260 --> 00:26:24.760 MALE IN VIDEO: Yeah, like that, but don't take your face out 00:26:24.760 --> 00:26:25.320 of frame. 00:26:28.236 --> 00:26:28.736 Slower. 00:26:37.354 --> 00:26:38.478 Struggle a little bit more. 00:26:46.398 --> 00:26:48.370 All right, good. 00:26:48.370 --> 00:26:50.520 PROFESSOR: So the point of making you 00:26:50.520 --> 00:26:53.110 guys endure that is that the final clip is 00:26:53.110 --> 00:26:55.640 going to be just, right? 00:26:55.640 --> 00:26:57.460 Literally a second. 00:26:57.460 --> 00:27:00.130 This is at least two minutes worth of footage. 00:27:00.130 --> 00:27:01.820 This was like the third take. 00:27:01.820 --> 00:27:06.100 So this is what I mean by get as much as possible. 00:27:06.100 --> 00:27:09.120 Try as many different things as you can. 00:27:09.120 --> 00:27:11.689 Because we could have used the first one where I just like 00:27:11.689 --> 00:27:13.980 lifted the weight, but the last one was really the best 00:27:13.980 --> 00:27:15.530 take out of all of them. 00:27:15.530 --> 00:27:18.880 And it wasn't-- we didn't achieve that. 00:27:18.880 --> 00:27:20.560 Or we achieved that because George made 00:27:20.560 --> 00:27:23.520 me do it for like 10 minutes. 00:27:23.520 --> 00:27:26.670 But don't tell him I said that. 00:27:26.670 --> 00:27:31.680 So these are all the day of things. 00:27:31.680 --> 00:27:37.200 Now for the day after, take a step back for now. 00:27:37.200 --> 00:27:40.330 It's going to be hard to go in and edit your stuff like right 00:27:40.330 --> 00:27:42.284 after you finish shooting it. 00:27:42.284 --> 00:27:44.200 You want to give yourself a little bit of time 00:27:44.200 --> 00:27:48.130 to sort of clear your perspective. 00:27:48.130 --> 00:27:51.070 And I'll talk more about this during the editing lecture. 00:27:51.070 --> 00:27:53.470 But even when you do the camera reports 00:27:53.470 --> 00:27:56.480 and you're logging sort of what the best takes are the day of, 00:27:56.480 --> 00:27:59.180 you might watch it a couple days later. 00:27:59.180 --> 00:28:01.730 And I recommend re-logging everything and going 00:28:01.730 --> 00:28:03.480 through footage again later. 00:28:03.480 --> 00:28:06.410 And you might find that the thing that you liked 00:28:06.410 --> 00:28:08.780 during the day of, maybe you liked it 00:28:08.780 --> 00:28:11.304 because you were starting to get tired, 00:28:11.304 --> 00:28:13.470 and it's going to look a little bit different later. 00:28:13.470 --> 00:28:16.650 So that's why I just recommend the day after, 00:28:16.650 --> 00:28:18.017 just taking a step back. 00:28:21.430 --> 00:28:22.869 Let's see. 00:28:22.869 --> 00:28:23.368 Oh. 00:28:27.410 --> 00:28:29.485 With the whole multiple takes thing, 00:28:29.485 --> 00:28:31.860 I forgot to mention this before, but I thought of it when 00:28:31.860 --> 00:28:33.340 you were doing your lecture. 00:28:33.340 --> 00:28:35.580 I would also recommend doing takes 00:28:35.580 --> 00:28:39.490 from varying degrees of separation from your subject. 00:28:39.490 --> 00:28:44.390 So say your host says, I'm going to say this line, 00:28:44.390 --> 00:28:47.020 and you shoot it from where Chris is standing. 00:28:47.020 --> 00:28:50.020 Even if the host like nails the line perfectly, 00:28:50.020 --> 00:28:52.910 tell them to do it again and shoot it from maybe 00:28:52.910 --> 00:28:54.390 from where Yulia's standing. 00:28:54.390 --> 00:28:56.820 And tell them to do it again, and shoot it from like right 00:28:56.820 --> 00:28:57.530 here. 00:28:57.530 --> 00:29:01.510 It's just good to have those varying degrees of separation. 00:29:01.510 --> 00:29:06.640 It'll be easier to do the zooming and everything in post. 00:29:06.640 --> 00:29:09.272 But again, having those options to work with. 00:29:09.272 --> 00:29:10.980 You're not going to know which one you're 00:29:10.980 --> 00:29:14.130 going to use necessarily in the moment that you're filming. 00:29:14.130 --> 00:29:16.172 So that's why it's good to have a couple options. 00:29:16.172 --> 00:29:18.671 GUEST SPEAKER: The term is-- the technical term, not that it 00:29:18.671 --> 00:29:20.100 matters, is called, coverage. 00:29:20.100 --> 00:29:22.460 So basically, you cover yourself. 00:29:22.460 --> 00:29:24.824 I don't really know how I'm going to edit this together, 00:29:24.824 --> 00:29:26.740 so I'm going to give myself as many choices as 00:29:26.740 --> 00:29:27.823 possible in the edit room. 00:29:27.823 --> 00:29:33.880 Because even the best directors don't know exactly what 00:29:33.880 --> 00:29:34.420 they want. 00:29:34.420 --> 00:29:38.060 I mean there's Alfred Hitchcock supposedly only filmed 00:29:38.060 --> 00:29:39.750 exactly what he wanted. 00:29:39.750 --> 00:29:42.230 And his editors went insane because they could only 00:29:42.230 --> 00:29:43.520 do one way. 00:29:43.520 --> 00:29:45.910 But pretty much everyone else who's 00:29:45.910 --> 00:29:51.947 ever worked at any level in film and video does coverage. 00:29:51.947 --> 00:29:53.530 PROFESSOR: Does anyone have questions? 00:29:56.230 --> 00:29:59.860 The rest of class, we're going to let you go actually 00:29:59.860 --> 00:30:03.510 film a scene from your script. 00:30:03.510 --> 00:30:05.940 And maybe this is a good time to take a break, 00:30:05.940 --> 00:30:07.520 but Chris and I will stick around 00:30:07.520 --> 00:30:12.336 if you have questions about producing your specific scene, 00:30:12.336 --> 00:30:13.960 or actually using any of the equipment, 00:30:13.960 --> 00:30:15.807 we'll be around to help you with that stuff. 00:30:15.807 --> 00:30:17.890 AUDIENCE: Can I make one other suggestion, or just 00:30:17.890 --> 00:30:20.090 reinforce one thing about producing. 00:30:20.090 --> 00:30:21.530 This comes up over and over again, 00:30:21.530 --> 00:30:24.650 and it was a very hard lesson for me to learn initially. 00:30:24.650 --> 00:30:27.800 And that's being realistic about your schedule. 00:30:27.800 --> 00:30:31.090 You know there's a tendency to want to pack a ton of stuff in 00:30:31.090 --> 00:30:32.480 and to be very ambitious. 00:30:32.480 --> 00:30:35.080 And what happens is that you have 00:30:35.080 --> 00:30:38.300 to give enough time for setting things up, breaking things 00:30:38.300 --> 00:30:41.670 down, moving from this lab to that lab, 00:30:41.670 --> 00:30:43.750 or this location of that location, 00:30:43.750 --> 00:30:47.430 eating something, figuring something out. 00:30:47.430 --> 00:30:49.069 So if you go like, well, OK. 00:30:49.069 --> 00:30:51.360 This is a 10 minute scene, this will take me 20 minutes 00:30:51.360 --> 00:30:51.860 to edit. 00:30:51.860 --> 00:30:54.960 And then we'll be over at Stata, and we'll shoot that two minute 00:30:54.960 --> 00:30:57.019 scene in five minutes. 00:30:57.019 --> 00:30:59.060 You know, very, very quickly get behind schedule, 00:30:59.060 --> 00:31:00.514 and then the panic sets in. 00:31:00.514 --> 00:31:02.680 It's far better to have a schedule that's realistic, 00:31:02.680 --> 00:31:04.849 where you really think about, not just what it's 00:31:04.849 --> 00:31:06.390 going to take to shoot, but what it's 00:31:06.390 --> 00:31:08.680 going to take to set up, breakdown, figure stuff 00:31:08.680 --> 00:31:11.360 out, and move. 00:31:11.360 --> 00:31:14.829 And then execute the schedule in a realistic way 00:31:14.829 --> 00:31:16.870 so you're not panicking, you're not freaking out, 00:31:16.870 --> 00:31:18.470 you're not calling people and saying, 00:31:18.470 --> 00:31:20.900 I know I said I would be at your lab at 3:00 00:31:20.900 --> 00:31:23.150 but I can't get there till 5:00, can you stick around? 00:31:23.150 --> 00:31:24.430 You know, whatever it may be. 00:31:24.430 --> 00:31:26.040 So just be very realistic. 00:31:26.040 --> 00:31:27.950 PROFESSOR: For the Science Out Loud episodes, 00:31:27.950 --> 00:31:31.620 we allot at least 12 hours per five minute episode 00:31:31.620 --> 00:31:33.750 in terms of filming time with the students. 00:31:33.750 --> 00:31:36.960 Now that's a huge number, mostly because the thing that's 00:31:36.960 --> 00:31:38.650 most time consuming for us is setting up 00:31:38.650 --> 00:31:40.130 the lights, which is something that you're not 00:31:40.130 --> 00:31:41.730 going to have to worry about. 00:31:41.730 --> 00:31:43.470 The lighting actually-- I mean, it's 00:31:43.470 --> 00:31:45.770 by far the most time consuming thing. 00:31:45.770 --> 00:31:47.740 But it gives you an idea of-- that's 00:31:47.740 --> 00:31:49.740 a really great point I'm glad that you made it-- 00:31:49.740 --> 00:31:51.198 that it's more than just the amount 00:31:51.198 --> 00:31:53.840 of time it takes for you to say a line. 00:31:53.840 --> 00:31:55.490 Hopefully you won't have that panic, 00:31:55.490 --> 00:31:57.880 because the way this class is structured, 00:31:57.880 --> 00:31:58.870 it's very front heavy. 00:31:58.870 --> 00:32:00.390 We've had a lot of lectures so far 00:32:00.390 --> 00:32:02.990 but after the editing lecture, that's 00:32:02.990 --> 00:32:04.520 actually the very last one. 00:32:04.520 --> 00:32:08.180 And the rest of the class period will mostly 00:32:08.180 --> 00:32:11.620 be for you to work on stuff during class time. 00:32:11.620 --> 00:32:13.570 So don't worry too much about that. 00:32:13.570 --> 00:32:15.760 We tried to anticipate that for you guys. 00:32:15.760 --> 00:32:18.370 But just to let you know. 00:32:18.370 --> 00:32:22.160 I forgot had a couple examples for you for some of the stuff 00:32:22.160 --> 00:32:23.430 that Chris was mentioning. 00:32:23.430 --> 00:32:25.250 And I'll play them real quick. 00:32:25.250 --> 00:32:28.277 MALE IN VIDEO: What is the most awesome place in the world? 00:32:28.277 --> 00:32:30.610 Seems like that would be pretty much the most subjective 00:32:30.610 --> 00:32:31.640 question ever. 00:32:31.640 --> 00:32:34.910 But this week, scientists used a set of objective criteria 00:32:34.910 --> 00:32:38.280 to come up with a list of the world's most biologically 00:32:38.280 --> 00:32:39.290 important places. 00:32:39.290 --> 00:32:41.300 There might be-- 00:32:41.300 --> 00:32:45.240 PROFESSOR: So that's an example of having zooms, but not 00:32:45.240 --> 00:32:49.250 actually showing you zooming with the camera, right? 00:32:49.250 --> 00:32:51.860 And I think they do it for a couple reasons. 00:32:51.860 --> 00:32:54.590 He probably-- he might have messed up his line in between, 00:32:54.590 --> 00:32:57.050 and so that was a way to sort of cut in between 00:32:57.050 --> 00:32:58.800 and not make the cuts like super awkward, 00:32:58.800 --> 00:33:02.570 by having a zoom in and a zoom out. 00:33:02.570 --> 00:33:05.730 And it's sort of like a rhythmic visual pacing thing, too. 00:33:05.730 --> 00:33:07.280 It cuts in like after he says-- 00:33:07.280 --> 00:33:09.196 GUEST SPEAKER: It's kind of equivalent to, oh, 00:33:09.196 --> 00:33:12.190 different angle, pay attention. 00:33:12.190 --> 00:33:16.965 It's a different convention than television, 00:33:16.965 --> 00:33:18.590 but it comes from a very similar place. 00:33:18.590 --> 00:33:20.256 You know, if he was just standing there, 00:33:20.256 --> 00:33:22.500 delivering without edits, there'd 00:33:22.500 --> 00:33:24.875 be this-- there's this terror that you might turn away, 00:33:24.875 --> 00:33:26.360 and might not watch it. 00:33:26.360 --> 00:33:28.360 PROFESSOR: To achieve that, though, 00:33:28.360 --> 00:33:30.860 if you wanted to do something like that, I would say, 00:33:30.860 --> 00:33:34.460 again, you could even film this with a tripod 00:33:34.460 --> 00:33:35.660 and film yourself. 00:33:35.660 --> 00:33:38.270 But I would shoot yourself-- that sounds 00:33:38.270 --> 00:33:41.590 weird-- I would take the camera and put it on tripod like that 00:33:41.590 --> 00:33:44.330 far away, deliver your whole sentence, 00:33:44.330 --> 00:33:47.440 and then move it forward and deliver the whole thing again. 00:33:47.440 --> 00:33:48.940 Because you don't know exactly where 00:33:48.940 --> 00:33:49.975 you're going to cut into that. 00:33:49.975 --> 00:33:50.540 GUEST SPEAKER: And that's clearly 00:33:50.540 --> 00:33:52.210 what most people-- I mean, this is 00:33:52.210 --> 00:33:54.626 a very conventional thing you see on the web all the time. 00:33:54.626 --> 00:33:55.850 And that's how they film. 00:33:55.850 --> 00:33:58.252 You know, a bunch of takes of wide, a bunch of takes 00:33:58.252 --> 00:34:00.690 of close, medium, whatever. 00:34:00.690 --> 00:34:01.314 Editing. 00:34:01.314 --> 00:34:02.730 PROFESSOR: But the point is you're 00:34:02.730 --> 00:34:05.400 going to be saying the same line multiple times, even 00:34:05.400 --> 00:34:07.350 if you nail it. 00:34:07.350 --> 00:34:11.060 This is where a zoom might work. 00:34:11.060 --> 00:34:16.480 [VIDEO PLAYING] 00:34:16.480 --> 00:34:17.730 PROFESSOR: So I say, or is it. 00:34:17.730 --> 00:34:21.020 But we use the zoom there intentionally to make it funny. 00:34:21.020 --> 00:34:24.120 Which hopefully it'll read funny in the actual thing. 00:34:24.120 --> 00:34:26.760 So again, there aren't like hard and fast rules 00:34:26.760 --> 00:34:28.409 were you should never ever use a zoom, 00:34:28.409 --> 00:34:30.200 or you should never ever center the person, 00:34:30.200 --> 00:34:31.750 or you should never ever-- 00:34:31.750 --> 00:34:32.389 GUEST SPEAKER: It's interesting, I 00:34:32.389 --> 00:34:33.889 mean, you know, I was thinking about 00:34:33.889 --> 00:34:37.080 that whole centering thing after the other day, Monday. 00:34:37.080 --> 00:34:38.980 And a lot of times when people break 00:34:38.980 --> 00:34:42.190 those kind of traditional rules, is for comedic effect. 00:34:42.190 --> 00:34:46.283 And center frame stuff tends to read funny. 00:34:46.283 --> 00:34:47.949 And you see that in movies all the time. 00:34:47.949 --> 00:34:49.239 If you start paying attention to this. 00:34:49.239 --> 00:34:51.790 If you go to a comedy, things tend to be more center frame 00:34:51.790 --> 00:34:53.389 than if it's a drama. 00:34:53.389 --> 00:34:56.159 And I think one of the reasons that vlogs are often 00:34:56.159 --> 00:34:58.320 center framed is that, even if they're not funny, 00:34:58.320 --> 00:34:59.680 that's the affect. 00:34:59.680 --> 00:35:03.590 It's like this is amusing, this is light, this is not scary. 00:35:03.590 --> 00:35:06.000 And that's why people center frame. 00:35:06.000 --> 00:35:07.416 And you know, you can, too. 00:35:07.416 --> 00:35:08.328 If you want to. 00:35:11.070 --> 00:35:15.830 PROFESSOR: All right so, at this point I will let you guys free. 00:35:15.830 --> 00:35:19.770 Oh, sorry I have another thing to say. 00:35:19.770 --> 00:35:22.480 The film that you've seen today-- 00:35:22.480 --> 00:35:26.200 the scene that you film today won't be due until at least 00:35:26.200 --> 00:35:26.700 Tuesday. 00:35:26.700 --> 00:35:28.250 If you need more time to work on it, 00:35:28.250 --> 00:35:29.809 we can push it to Wednesday, too. 00:35:29.809 --> 00:35:31.600 And that's because I really want your focus 00:35:31.600 --> 00:35:33.260 to be on honing the script. 00:35:33.260 --> 00:35:34.900 Because Monday will be our table read, 00:35:34.900 --> 00:35:37.229 where everyone reads their script aloud to each other. 00:35:37.229 --> 00:35:39.020 And you're really going to get the most out 00:35:39.020 --> 00:35:42.650 of the table read when you come to it with as complete 00:35:42.650 --> 00:35:44.690 as a script as you can. 00:35:44.690 --> 00:35:46.950 I'm not saying that what you have on Monday 00:35:46.950 --> 00:35:49.710 should be as close to final product as possible, 00:35:49.710 --> 00:35:53.770 but it's just really hard to give concrete feedback 00:35:53.770 --> 00:35:56.320 to something that isn't fully fleshed out. 00:35:56.320 --> 00:36:01.710 So do try to come on Monday with as complete of a script 00:36:01.710 --> 00:36:04.210 as you can, because Monday is going to be the most useful 00:36:04.210 --> 00:36:05.800 to you if you do. 00:36:05.800 --> 00:36:07.800 So that being said, some people have already 00:36:07.800 --> 00:36:09.940 uploaded second drafts onto Tumblr. 00:36:09.940 --> 00:36:13.520 If you could upload stuff by tomorrow at noon, 00:36:13.520 --> 00:36:17.370 I can give you feedback on it so that you can incorporate that 00:36:17.370 --> 00:36:19.320 before Monday. 00:36:19.320 --> 00:36:22.600 And the best way to get feedback from me 00:36:22.600 --> 00:36:27.280 is to double post to Tumblr, and then also write a Google doc, 00:36:27.280 --> 00:36:31.500 and just email it to me, and give me commenting permissions. 00:36:31.500 --> 00:36:35.010 That's how we actually edit all the scripts 00:36:35.010 --> 00:36:36.660 from Science Out Loud. 00:36:36.660 --> 00:36:41.788 So I'll show you, real quick. 00:36:46.000 --> 00:36:47.236 Season two. 00:36:51.570 --> 00:36:55.736 Let's go to this one. 00:37:04.610 --> 00:37:11.260 Yeah, so this is eventually how we asked the students 00:37:11.260 --> 00:37:13.040 to format their scripts. 00:37:13.040 --> 00:37:15.610 You don't have to do that for Monday, 00:37:15.610 --> 00:37:17.590 but eventually you're going to want to do it. 00:37:17.590 --> 00:37:21.290 I think it makes organizing things a lot easier. 00:37:21.290 --> 00:37:23.360 So it's just like a four column format, 00:37:23.360 --> 00:37:27.660 where you specify what scene number it is, the location. 00:37:27.660 --> 00:37:29.700 So OS just means on screen. 00:37:29.700 --> 00:37:31.860 It means like you're not going to B-roll, 00:37:31.860 --> 00:37:34.340 you're just going to be delivering it live. 00:37:34.340 --> 00:37:36.360 Just a description of what the video looks like, 00:37:36.360 --> 00:37:37.805 and what the script is itself. 00:37:41.920 --> 00:37:43.680 And if you share it to me on Google Docs, 00:37:43.680 --> 00:37:48.520 it just makes it easier for me to comment for you. 00:37:48.520 --> 00:37:51.530 And George also said that we will give script feedbacks 00:37:51.530 --> 00:37:52.470 this weekend too. 00:37:52.470 --> 00:37:57.350 So if you can e-mail us this stuff by Saturday at noon, 00:37:57.350 --> 00:38:01.955 we can give you lots of feedback before Monday. 00:38:01.955 --> 00:38:05.326 AUDIENCE: I have another tip that I usually forget about 00:38:05.326 --> 00:38:07.700 because I'm not used to talking for long periods of time, 00:38:07.700 --> 00:38:10.150 and you guys will probably get tired at some point 00:38:10.150 --> 00:38:10.900 while filming. 00:38:10.900 --> 00:38:14.220 Bring a water bottle and probably snacks too, 00:38:14.220 --> 00:38:15.320 if you get hungry easily. 00:38:15.320 --> 00:38:17.860 Just because when your voice gets really dry 00:38:17.860 --> 00:38:20.910 and starts cracking, that might ruin a take that otherwise 00:38:20.910 --> 00:38:23.160 went really, really well. 00:38:23.160 --> 00:38:25.442 And it helps with the consistency of your voice. 00:38:25.442 --> 00:38:26.900 And you can edit together something 00:38:26.900 --> 00:38:29.150 that you did later with something that you did earlier 00:38:29.150 --> 00:38:32.350 if your voice sounds like consistently fresh 00:38:32.350 --> 00:38:33.420 throughout it. 00:38:33.420 --> 00:38:36.150 Because I've had problems trying to edit audio 00:38:36.150 --> 00:38:39.580 where at the end of it, my voice is really, really raspy. 00:38:39.580 --> 00:38:41.122 And at the beginning it's still good. 00:38:41.122 --> 00:38:42.705 PROFESSOR: Yeah, that's a great point. 00:38:42.705 --> 00:38:44.230 I'm glad you brought that up. 00:38:44.230 --> 00:38:46.210 So we try to cram everything in as much 00:38:46.210 --> 00:38:49.510 as we can, which is purely because of logistical issues, 00:38:49.510 --> 00:38:51.250 and because of our budget. 00:38:51.250 --> 00:38:53.190 But you're going to have the time 00:38:53.190 --> 00:38:54.784 this month to where you're not going 00:38:54.784 --> 00:38:56.700 to have to shoot your entire video in one day. 00:38:56.700 --> 00:38:58.740 So really try to spread it out over the course 00:38:58.740 --> 00:39:00.270 of several days. 00:39:00.270 --> 00:39:02.436 And that's built into the class time. 00:39:02.436 --> 00:39:04.310 But I will just say from personal experience, 00:39:04.310 --> 00:39:09.840 it is so incredibly difficult to film for more than five 00:39:09.840 --> 00:39:10.970 or six hours straight. 00:39:10.970 --> 00:39:14.520 You just get really, really exhausted by the end of it. 00:39:14.520 --> 00:39:16.070 OK.