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. 00:00:25.504 --> 00:00:26.920 GUEST SPEAKER: So I'm going to try 00:00:26.920 --> 00:00:28.461 to run through things pretty quickly, 00:00:28.461 --> 00:00:33.740 and if you don't have any sort of video experience or still 00:00:33.740 --> 00:00:37.070 photography experience, a lot of this will sound foreign to you. 00:00:37.070 --> 00:00:39.360 If you do, some of it will be very familiar. 00:00:39.360 --> 00:00:42.400 But either way, if what I'm saying 00:00:42.400 --> 00:00:46.110 is confusing because of the density of it, 00:00:46.110 --> 00:00:49.460 I would just sort of encourage you not to be too freaked out. 00:00:49.460 --> 00:00:52.170 Because the takeaways are actually fairly simple. 00:00:52.170 --> 00:00:53.630 It's kind of like-- again, there's 00:00:53.630 --> 00:00:55.338 a lot of complicated technology and a lot 00:00:55.338 --> 00:00:58.605 of complicated technique, but the base is pretty simple. 00:00:58.605 --> 00:01:00.980 And what I'm going to do-- partly what I want to do today 00:01:00.980 --> 00:01:04.709 is just expose you to some concepts and terms 00:01:04.709 --> 00:01:08.710 that you actually may not have to really fully grasp or have 00:01:08.710 --> 00:01:10.850 mastery of in order to make your video. 00:01:10.850 --> 00:01:13.570 But it's worth it to at least kind of know 00:01:13.570 --> 00:01:15.115 what they are I think. 00:01:15.115 --> 00:01:16.990 PROFESSOR: And I can condense my [INAUDIBLE]. 00:01:16.990 --> 00:01:17.870 GUEST SPEAKER: Yeah. 00:01:17.870 --> 00:01:20.849 But I do want to-- I'm very cognizant of not 00:01:20.849 --> 00:01:22.640 wanting to spend more than like 30 minutes. 00:01:22.640 --> 00:01:27.372 So can you tell me-- if I'm like maybe 10 to 2:00, 00:01:27.372 --> 00:01:29.080 just kind of give me a wave or something. 00:01:29.080 --> 00:01:32.120 And I'll condense even more. 00:01:32.120 --> 00:01:32.620 OK. 00:01:32.620 --> 00:01:35.780 So visual language, there's sort of a question here-- 00:01:35.780 --> 00:01:37.420 what do we mean by visual language? 00:01:37.420 --> 00:01:39.336 Because it's kind of a contradiction in terms. 00:01:39.336 --> 00:01:41.660 Sometimes we think of language and the visual 00:01:41.660 --> 00:01:43.700 as being at odds with each other. 00:01:43.700 --> 00:01:44.620 We have text. 00:01:44.620 --> 00:01:45.707 We have speech. 00:01:45.707 --> 00:01:48.040 And we talk about, oh, well, we've got to make a visual. 00:01:48.040 --> 00:01:52.110 So what is a visual language? 00:01:52.110 --> 00:01:54.600 It goes back to something that I talked about 00:01:54.600 --> 00:01:55.870 in the first class. 00:01:55.870 --> 00:01:57.895 And in some ways what I'm going to do today 00:01:57.895 --> 00:01:59.520 is try to build on some of those things 00:01:59.520 --> 00:02:02.200 as I sort of race through them. 00:02:02.200 --> 00:02:04.280 We have all of these plastic elements of film 00:02:04.280 --> 00:02:05.700 that we can manipulate. 00:02:05.700 --> 00:02:08.919 And today I'm going to focus on a handful of them, 00:02:08.919 --> 00:02:11.290 in particular camera. 00:02:11.290 --> 00:02:14.540 Because the camera is kind of the speech device 00:02:14.540 --> 00:02:17.044 that allows us to speak in this visual language. 00:02:17.044 --> 00:02:18.960 And Elizabeth made a really interesting point, 00:02:18.960 --> 00:02:21.000 or quoted a very interesting kind of way 00:02:21.000 --> 00:02:23.110 of thinking about it, which was all of us 00:02:23.110 --> 00:02:26.580 understand this language better than any generation that's 00:02:26.580 --> 00:02:29.840 ever lived, Because we just have consumed it our entire lives. 00:02:29.840 --> 00:02:31.800 But that doesn't mean we can speak it, 00:02:31.800 --> 00:02:35.806 and understanding that is a great first step 00:02:35.806 --> 00:02:36.430 in speaking it. 00:02:36.430 --> 00:02:39.060 But you really have to kind of unpack it and think about it 00:02:39.060 --> 00:02:41.930 consciously in order to be able to kind of reproduce 00:02:41.930 --> 00:02:47.020 it or change it and make it what you want it to be. 00:02:47.020 --> 00:02:49.660 Anyway, so I'm going to race through some of these 00:02:49.660 --> 00:02:52.450 fairly quickly, focused mostly on camera, 00:02:52.450 --> 00:02:54.520 and I'm going to dispense with sound right away. 00:02:54.520 --> 00:02:57.844 Because I just want to say about sound-- 00:02:57.844 --> 00:02:59.260 don't dispense with it right away. 00:02:59.260 --> 00:03:00.600 Don't do what I'm doing. 00:03:00.600 --> 00:03:02.980 It is super, super important. 00:03:02.980 --> 00:03:05.160 I think I mentioned this the other day, 00:03:05.160 --> 00:03:08.379 getting good sound is absolutely critical. 00:03:08.379 --> 00:03:10.545 And sometimes sound can be more important than pitch 00:03:10.545 --> 00:03:13.480 and all this stuff I'm going to talk about. 00:03:13.480 --> 00:03:15.750 It's also sort of the boring part sometimes. 00:03:15.750 --> 00:03:18.320 Well, you know, is the microphone close enough to me? 00:03:18.320 --> 00:03:19.164 I don't know. 00:03:19.164 --> 00:03:20.080 Who's listening to me? 00:03:20.080 --> 00:03:21.351 Am I OK? 00:03:21.351 --> 00:03:21.850 Good. 00:03:21.850 --> 00:03:23.558 All right, because it's really important. 00:03:23.558 --> 00:03:25.780 Because if you don't hear me-- or even 00:03:25.780 --> 00:03:28.280 if you can sort of hear me, but it's a camera mic 00:03:28.280 --> 00:03:30.780 and it's six feet away, there's a huge barrier 00:03:30.780 --> 00:03:33.680 between your audience and your material. 00:03:33.680 --> 00:03:36.480 So do not skimp on sound. 00:03:36.480 --> 00:03:38.160 The environmental sound is important. 00:03:38.160 --> 00:03:39.390 It's important to be in a quiet room. 00:03:39.390 --> 00:03:41.230 It's important to have good mic placement. 00:03:41.230 --> 00:03:44.750 It's important not to have a signal be too soft or too loud. 00:03:44.750 --> 00:03:46.350 Listen with your ears. 00:03:46.350 --> 00:03:49.130 And then creatively you can do so much with sound too 00:03:49.130 --> 00:03:50.970 with music and sound effects. 00:03:50.970 --> 00:03:53.540 But I don't really have time to talk about that stuff. 00:03:53.540 --> 00:03:54.060 PROFESSOR: I'll go over that stuff. 00:03:54.060 --> 00:03:54.500 GUEST SPEAKER: Yeah. 00:03:54.500 --> 00:03:55.000 Yeah. 00:03:55.000 --> 00:03:56.880 OK, good. 00:03:56.880 --> 00:03:59.330 I just want to sort of make the pitch to not forget 00:03:59.330 --> 00:04:01.610 about sound in all of this. 00:04:01.610 --> 00:04:04.140 But let's go on and talk about camera. 00:04:04.140 --> 00:04:08.300 And I don't know if there are any theater people here, 00:04:08.300 --> 00:04:10.120 or people who have done theater, but I 00:04:10.120 --> 00:04:12.203 want to start with this concept of the proscenium. 00:04:14.150 --> 00:04:16.459 Film and video, film at least, has been around 00:04:16.459 --> 00:04:21.899 for over 100 years-- 125 years or something like that. 00:04:21.899 --> 00:04:24.600 The sort of first Edison experiments 00:04:24.600 --> 00:04:26.230 or the Lumiere brothers in France I 00:04:26.230 --> 00:04:30.000 think it was the late 19th century. 00:04:30.000 --> 00:04:35.080 And for the first 20 years of the technology, 00:04:35.080 --> 00:04:37.290 the way people kind of accessed it or thought 00:04:37.290 --> 00:04:39.510 about it and the kinds of things that people did 00:04:39.510 --> 00:04:42.050 were based on theater. 00:04:42.050 --> 00:04:45.760 Because that, of course, is thousands of years old. 00:04:45.760 --> 00:04:47.490 In a theater, you sit in an audience, 00:04:47.490 --> 00:04:50.710 and there's a frame, which is the proscenium. 00:04:50.710 --> 00:04:53.440 And then stuff happens in the frame. 00:04:53.440 --> 00:04:55.090 And a lot of the plastic elements 00:04:55.090 --> 00:04:59.070 that we ran through the other day are very, very relevant. 00:04:59.070 --> 00:05:01.220 You've got lighting. 00:05:01.220 --> 00:05:02.170 You've got staging. 00:05:02.170 --> 00:05:05.840 You've got a frame, a sort of placement of people. 00:05:05.840 --> 00:05:06.950 You've got costumes. 00:05:06.950 --> 00:05:10.590 You've got sound effects, music even, all sorts 00:05:10.590 --> 00:05:13.040 of things-- very, very similar. 00:05:13.040 --> 00:05:15.850 But it all happens in this kind of static frame 00:05:15.850 --> 00:05:18.880 right there in the middle of your field of view. 00:05:18.880 --> 00:05:21.700 And it was really literally about 20 years 00:05:21.700 --> 00:05:24.830 before people started going, oh, with a camera 00:05:24.830 --> 00:05:27.770 we can do something a little bit different than that. 00:05:27.770 --> 00:05:30.390 The first films-- and these were wildly popular films. 00:05:30.390 --> 00:05:31.850 It was already a big industry. 00:05:31.850 --> 00:05:35.850 Very quickly it turned into a major, major entertainment 00:05:35.850 --> 00:05:37.550 and communication industry. 00:05:37.550 --> 00:05:39.610 But people would set up a camera, 00:05:39.610 --> 00:05:43.080 and then people would do their thing in front of the camera. 00:05:43.080 --> 00:05:45.085 And then they would project the thing, 00:05:45.085 --> 00:05:47.210 and people would be like, wow, this is really cool. 00:05:47.210 --> 00:05:51.820 This is like theater, except we can watch it again and again. 00:05:51.820 --> 00:05:54.750 And this is very relevant to educational video, 00:05:54.750 --> 00:05:57.810 because that is essentially what a lecture is. 00:05:57.810 --> 00:06:01.900 A lecture is a proscenium presentation of material. 00:06:01.900 --> 00:06:06.100 And the question which you're asking yourselves in this class 00:06:06.100 --> 00:06:07.990 is-- OK, we've got that. 00:06:07.990 --> 00:06:09.462 We get that. 00:06:09.462 --> 00:06:12.020 When we watch media, whether it's 00:06:12.020 --> 00:06:14.110 online or on television or in a theater, 00:06:14.110 --> 00:06:16.810 obviously we have progressed way beyond that 00:06:16.810 --> 00:06:19.190 visually, in terms of visual language, 00:06:19.190 --> 00:06:23.010 and the tools and techniques that we use to do that 00:06:23.010 --> 00:06:24.940 are the things that you need to do in order 00:06:24.940 --> 00:06:27.564 to become conversant in this quote 00:06:27.564 --> 00:06:29.730 unquote "visual language," not just a consumer of it 00:06:29.730 --> 00:06:33.440 but a speaker of it. 00:06:33.440 --> 00:06:34.820 So I'm going to go over something 00:06:34.820 --> 00:06:38.200 that is sort of like a convenient bucket 00:06:38.200 --> 00:06:45.120 to put things into, and it's also easy to remember. 00:06:45.120 --> 00:06:48.050 When I think about camera, I think about the four F's. 00:06:48.050 --> 00:06:51.000 And some of them are F because I make 00:06:51.000 --> 00:06:54.240 them be F. It just is easier. 00:06:54.240 --> 00:06:57.280 So F-stop or exposure-- and if you 00:06:57.280 --> 00:06:59.290 know anything about photography or film, 00:06:59.290 --> 00:07:02.630 F-stop is the aperture of the camera lens, 00:07:02.630 --> 00:07:04.930 and you can let more or less light in. 00:07:04.930 --> 00:07:07.500 But what I mean by that actually is not just 00:07:07.500 --> 00:07:09.980 the F-stop or the exposure of the lens, 00:07:09.980 --> 00:07:11.960 but how you control the light. 00:07:11.960 --> 00:07:12.950 It could be lighting. 00:07:12.950 --> 00:07:14.544 It could be the shutter speed. 00:07:14.544 --> 00:07:15.960 There are a million different ways 00:07:15.960 --> 00:07:19.460 of controlling the exposure of what you're filming. 00:07:19.460 --> 00:07:21.280 The second thing is focus. 00:07:21.280 --> 00:07:24.360 The first thing about focus is it's a good idea to have it. 00:07:24.360 --> 00:07:26.360 It's kind of one of those non-negotiable things. 00:07:26.360 --> 00:07:29.180 You really do want something to be in focus in your frame. 00:07:29.180 --> 00:07:32.130 Sometimes you might not, but it's better to do that in post. 00:07:32.130 --> 00:07:34.690 Always make sure something's in focus. 00:07:34.690 --> 00:07:36.380 You may be working with cameras that 00:07:36.380 --> 00:07:38.720 take care of this for you-- both of these-- the exposure 00:07:38.720 --> 00:07:39.309 and the focus. 00:07:39.309 --> 00:07:39.850 I'm not sure. 00:07:39.850 --> 00:07:40.784 Is that true? 00:07:40.784 --> 00:07:41.450 PROFESSOR: Yeah. 00:07:41.450 --> 00:07:45.105 So they're all working with the [INAUDIBLE] or your iPhones. 00:07:45.105 --> 00:07:46.896 The equipment that you guys will be working 00:07:46.896 --> 00:07:50.260 with, you won't have to necessarily-- it's 00:07:50.260 --> 00:07:53.790 not an element that you can control necessarily 00:07:53.790 --> 00:07:54.980 on the device itself. 00:07:54.980 --> 00:07:55.915 GUEST SPEAKER: Or you can control it 00:07:55.915 --> 00:07:57.530 only by fooling the device, which 00:07:57.530 --> 00:07:59.840 is something you might want to do if you get more 00:07:59.840 --> 00:08:01.834 sort of comfortable with it. 00:08:01.834 --> 00:08:03.500 PROFESSOR: To do focus on these cameras, 00:08:03.500 --> 00:08:06.328 you just literally touch the touchscreen with your finger 00:08:06.328 --> 00:08:08.520 where you want that to be in focus. 00:08:08.520 --> 00:08:09.895 And exposure, we're going to have 00:08:09.895 --> 00:08:12.397 to tweak with the external lighting and stuff. 00:08:12.397 --> 00:08:13.230 GUEST SPEAKER: Yeah. 00:08:13.230 --> 00:08:14.330 Yeah. 00:08:14.330 --> 00:08:16.460 99 times out of 100 it's pretty straightforward. 00:08:16.460 --> 00:08:19.660 And the auto systems on newer cameras 00:08:19.660 --> 00:08:21.290 are really pretty good about it. 00:08:21.290 --> 00:08:23.710 So I'm not going to spend a lot of time dwelling on that. 00:08:23.710 --> 00:08:25.610 But they're kind of non-negotiable. 00:08:25.610 --> 00:08:27.820 You want to get a good exposure, and you 00:08:27.820 --> 00:08:29.200 want to get something in focus. 00:08:29.200 --> 00:08:30.830 And 9 times out of 10 that something 00:08:30.830 --> 00:08:33.789 is someone's face, the person who you're filming-- 00:08:33.789 --> 00:08:36.015 not always but usually. 00:08:36.015 --> 00:08:37.610 The third one is focal length. 00:08:37.610 --> 00:08:41.260 And that is basically how many millimeters 00:08:41.260 --> 00:08:44.210 you are shooting at from wide angle to telephoto. 00:08:44.210 --> 00:08:47.000 And you're not going to be changing lenses on the camera, 00:08:47.000 --> 00:08:49.120 but you can zoom in and out. 00:08:49.120 --> 00:08:52.230 Focal length is not the same thing as wide shot or close up. 00:08:52.230 --> 00:08:55.010 People often think that that's true, but it's not. 00:08:55.010 --> 00:08:58.485 You can go completely wide angle on a camera, and then walk up-- 00:08:58.485 --> 00:09:01.800 I can walk right up to Elizabeth and get a close up. 00:09:01.800 --> 00:09:03.890 And similarly, I can go all the way telephoto 00:09:03.890 --> 00:09:06.530 and walk back 50 feet and get a wide shot. 00:09:06.530 --> 00:09:10.030 But they have very, very different kinds of resonances 00:09:10.030 --> 00:09:12.100 and feelings and emotions. 00:09:12.100 --> 00:09:17.990 So I'll try to talk a little bit about that in a minute. 00:09:17.990 --> 00:09:20.540 You might want to do everything at a very long lens. 00:09:20.540 --> 00:09:22.100 You might want to do everything at a wide angle. 00:09:22.100 --> 00:09:23.475 It will mean something different. 00:09:23.475 --> 00:09:25.370 It will feel different. 00:09:25.370 --> 00:09:27.020 Framing-- this is the big one, and this 00:09:27.020 --> 00:09:28.519 is kind of like the catch all that I 00:09:28.519 --> 00:09:33.980 throw all of this sort of real thinking about visual language 00:09:33.980 --> 00:09:34.796 into. 00:09:34.796 --> 00:09:36.170 It's not just framing as I talked 00:09:36.170 --> 00:09:38.690 about the other day, like, oh, gee, do I center somebody? 00:09:38.690 --> 00:09:40.440 Do I put them on the right or on the left? 00:09:40.440 --> 00:09:44.950 It's the entire structure of your video. 00:09:44.950 --> 00:09:46.159 How am I going to shoot this? 00:09:46.159 --> 00:09:47.575 Where I'm going to put the camera? 00:09:47.575 --> 00:09:49.144 How is it going to edit together? 00:09:49.144 --> 00:09:50.310 Is the camera going to move? 00:09:50.310 --> 00:09:52.450 Is it not going to move? 00:09:52.450 --> 00:09:54.930 So framing is the big one, and that's 00:09:54.930 --> 00:09:57.970 mostly what I'm going to talk about today in that broader 00:09:57.970 --> 00:10:00.460 context. 00:10:00.460 --> 00:10:03.970 Quickly, so exposure-- just to get this out of the way-- 00:10:03.970 --> 00:10:06.580 this is what an aperture looks like and the lens. 00:10:06.580 --> 00:10:08.095 Again, it's automated for you. 00:10:08.095 --> 00:10:11.256 A big number means not a lot of light getting through, 00:10:11.256 --> 00:10:13.690 a little number means a lot of light is getting through. 00:10:13.690 --> 00:10:15.740 This affects the exposure in a way 00:10:15.740 --> 00:10:17.190 that I'm not going to get into. 00:10:17.190 --> 00:10:19.231 But basically you have a lot more depth of field, 00:10:19.231 --> 00:10:21.280 a lot more will be in focus the smaller the hole. 00:10:21.280 --> 00:10:25.910 Because the photons that get through are more directed, 00:10:25.910 --> 00:10:28.990 they're less scattered. 00:10:28.990 --> 00:10:31.870 And we talked about this. 00:10:31.870 --> 00:10:35.200 Just as a sort of an example of classic elements of film-- 00:10:35.200 --> 00:10:38.275 so these are two stills from Science Out Loud videos. 00:10:38.275 --> 00:10:40.400 I think we saw a little bit of the Exoplanets video 00:10:40.400 --> 00:10:40.983 the other day. 00:10:40.983 --> 00:10:42.942 I don't know if you've seen this one on plants. 00:10:42.942 --> 00:10:44.857 PROFESSOR: I think they did just a little bit. 00:10:44.857 --> 00:10:45.750 GUEST SPEAKER: OK. 00:10:45.750 --> 00:10:47.958 What I thought was really interesting about these two 00:10:47.958 --> 00:10:53.400 frames is if I was storyboarding this, what would I draw? 00:10:53.400 --> 00:11:02.300 I would draw something like this-- medium shot, 00:11:02.300 --> 00:11:04.570 presenting to camera. 00:11:04.570 --> 00:11:06.130 But that doesn't capture anything 00:11:06.130 --> 00:11:10.870 about what is compelling about these shots. 00:11:10.870 --> 00:11:13.020 It's all the other stuff. 00:11:13.020 --> 00:11:16.160 Here we are launching into space, deep space, 00:11:16.160 --> 00:11:17.650 to look at planets. 00:11:17.650 --> 00:11:22.500 And here we are-- bright, welcoming the world of plants. 00:11:22.500 --> 00:11:24.100 It's kind of an obvious point. 00:11:24.100 --> 00:11:27.740 But this tells us nothing about that, 00:11:27.740 --> 00:11:29.832 unless you then add a lot of other information. 00:11:29.832 --> 00:11:31.790 And that's kind of what storyboarding is about. 00:11:31.790 --> 00:11:34.570 It's not just about what does my shot look like, 00:11:34.570 --> 00:11:37.720 but it's about-- what is all the stuff in the shot that's going 00:11:37.720 --> 00:11:39.920 to really make it compelling? 00:11:39.920 --> 00:11:42.070 And it's really a great moment to start 00:11:42.070 --> 00:11:45.840 thinking about locations-- a field of flowers. 00:11:45.840 --> 00:11:46.420 Wow. 00:11:46.420 --> 00:11:47.850 I guess I need a field of flowers. 00:11:47.850 --> 00:11:49.058 Where am I going to get that? 00:11:49.058 --> 00:11:51.300 Or what if everything was black? 00:11:51.300 --> 00:11:52.520 What if it's a black screen? 00:11:52.520 --> 00:11:53.978 And how are we going to shoot that? 00:11:56.430 --> 00:11:59.570 Lighting-- I don't know if that's even an option here. 00:11:59.570 --> 00:12:00.800 I'm not going to go into it. 00:12:00.800 --> 00:12:02.633 PROFESSOR: We have a light kit if people are 00:12:02.633 --> 00:12:05.634 interested in doing lighting. 00:12:05.634 --> 00:12:09.530 But come talk to either one of us during office hours 00:12:09.530 --> 00:12:11.945 or after class or something. 00:12:11.945 --> 00:12:13.320 GUEST SPEAKER: The only thing I'm 00:12:13.320 --> 00:12:15.630 going to say about lighting is it's kind of like being 00:12:15.630 --> 00:12:18.190 a doctor, like, first do no harm. 00:12:18.190 --> 00:12:21.070 If you bring the lights out, and you 00:12:21.070 --> 00:12:22.820 don't know what you're doing, and you 00:12:22.820 --> 00:12:25.750 aren't trained on the kit, you can break the kit. 00:12:25.750 --> 00:12:27.780 You can hurt yourself or someone else, 00:12:27.780 --> 00:12:30.410 or you can ruin your video. 00:12:30.410 --> 00:12:33.380 On the other hand, it's really, really 00:12:33.380 --> 00:12:36.470 an important tool and something that-- you 00:12:36.470 --> 00:12:38.240 can't shoot certain kinds of things 00:12:38.240 --> 00:12:40.702 without some kind of lighting. 00:12:40.702 --> 00:12:42.410 I'm not necessarily recommending that you 00:12:42.410 --> 00:12:45.760 try to use artificial lights or become a lighting expert. 00:12:45.760 --> 00:12:48.320 It's a little beyond the scope. 00:12:48.320 --> 00:12:53.006 But if there's something like-- to go back to this example-- 00:12:53.006 --> 00:12:57.430 you have to light to get a look like that. 00:12:57.430 --> 00:12:59.900 Some kind of lighting has to be done-- maybe 00:12:59.900 --> 00:13:01.420 not film lighting or video lighting, 00:13:01.420 --> 00:13:04.840 but some kind of lighting set up has to be created in order 00:13:04.840 --> 00:13:06.000 to get a look like that. 00:13:06.000 --> 00:13:07.856 AUDIENCE: [INAUDIBLE]. 00:13:07.856 --> 00:13:08.897 GUEST SPEAKER: I'm sorry. 00:13:08.897 --> 00:13:10.621 AUDIENCE: [INAUDIBLE]. 00:13:10.621 --> 00:13:11.579 PROFESSOR: [INAUDIBLE]. 00:13:11.579 --> 00:13:14.230 GUEST SPEAKER: Oh, you can improve it, 00:13:14.230 --> 00:13:18.180 but you have to begin with something that's been 00:13:18.180 --> 00:13:20.050 filmed with that intention. 00:13:20.050 --> 00:13:21.830 PROFESSOR: If you have an effect that you 00:13:21.830 --> 00:13:24.288 want to do in your video, you can come talk to me about it. 00:13:24.288 --> 00:13:28.450 Because we achieve some of these things with jankier props. 00:13:28.450 --> 00:13:32.212 I've done-- I'm not proud to admit this in front of Chris. 00:13:32.212 --> 00:13:33.420 GUEST SPEAKER: No, that's OK. 00:13:33.420 --> 00:13:34.520 PROFESSOR: I've done a shoot-- 00:13:34.520 --> 00:13:35.110 GUEST SPEAKER: Oh, you don't even 00:13:35.110 --> 00:13:37.610 know janky till you've been on some of the shoots I've done. 00:13:37.610 --> 00:13:39.530 PROFESSOR: I've done a few with desk lamps 00:13:39.530 --> 00:13:41.950 that I've covered with white tissue paper 00:13:41.950 --> 00:13:43.450 to help diffuse the light. 00:13:43.450 --> 00:13:45.359 You don't need a super fancy light kit 00:13:45.359 --> 00:13:46.890 to achieve some of the basics. 00:13:46.890 --> 00:13:48.450 GUEST SPEAKER: No, absolutely. 00:13:48.450 --> 00:13:51.890 And that's exactly what I'm about to get into. 00:13:51.890 --> 00:13:54.830 To do sort of like a darkroom thing, 00:13:54.830 --> 00:13:56.980 you don't need a fancy video light kit, 00:13:56.980 --> 00:13:59.210 but you do need to light the person. 00:13:59.210 --> 00:14:01.650 And yeah, it could be a desk lamp with paper over it 00:14:01.650 --> 00:14:05.360 to sort of smooth it out, to diffuse the light, 00:14:05.360 --> 00:14:07.510 but you will need to do something. 00:14:07.510 --> 00:14:09.500 It's not going to just magically happen. 00:14:09.500 --> 00:14:12.020 And that's the point of this-- lighting 00:14:12.020 --> 00:14:13.870 doesn't necessarily mean a video light kit. 00:14:13.870 --> 00:14:16.040 It means being aware of the environment 00:14:16.040 --> 00:14:19.640 and the available light that you're shooting in and taking 00:14:19.640 --> 00:14:23.070 that into account either by manipulating that thing, 00:14:23.070 --> 00:14:25.980 like a light kit, or by taking advantage 00:14:25.980 --> 00:14:29.322 of the best light in the world, which is the sun. 00:14:29.322 --> 00:14:31.280 So for example, if I was shooting in this room, 00:14:31.280 --> 00:14:35.250 and I didn't have any lights-- I might love the background out 00:14:35.250 --> 00:14:35.790 there. 00:14:35.790 --> 00:14:38.370 But shooting somebody in front of that window 00:14:38.370 --> 00:14:41.280 is not going to be possible if I want to get the background. 00:14:41.280 --> 00:14:44.330 Because by the time I expose for the person's face, 00:14:44.330 --> 00:14:46.620 the background is going to completely blown out. 00:14:46.620 --> 00:14:48.090 And if I expose for the background, 00:14:48.090 --> 00:14:49.173 the person is silhouetted. 00:14:49.173 --> 00:14:51.560 So unless I want that look, I really 00:14:51.560 --> 00:14:53.920 can't have it unless I bring in lights. 00:14:53.920 --> 00:14:56.640 And it would actually take quite a bit of lighting. 00:14:56.640 --> 00:15:00.180 Fluorescents-- you can do a lot with fluorescent overheads. 00:15:00.180 --> 00:15:03.670 The difference between me standing here-- look at my face 00:15:03.670 --> 00:15:08.156 here, and look at my face here. 00:15:08.156 --> 00:15:09.780 Where do you want your person to stand? 00:15:09.780 --> 00:15:12.180 And you can manipulate that kind of thing 00:15:12.180 --> 00:15:16.390 even in a lab or a classroom or some other setting. 00:15:16.390 --> 00:15:19.140 You can make choices based on the available light 00:15:19.140 --> 00:15:23.180 or the ambient light that will help you. 00:15:23.180 --> 00:15:25.850 And the other thing to think about in terms of exposure-- 00:15:25.850 --> 00:15:28.710 going back to exposure-- is what do 00:15:28.710 --> 00:15:30.980 I want to be properly exposed? 00:15:30.980 --> 00:15:34.120 In that face floating in blackness, 00:15:34.120 --> 00:15:35.662 the face is properly exposed. 00:15:35.662 --> 00:15:37.120 Everything else is very, very dark. 00:15:37.120 --> 00:15:39.200 But the face is properly exposed. 00:15:39.200 --> 00:15:43.780 In the flower shot, the whole thing is properly exposed. 00:15:43.780 --> 00:15:44.786 It's more even lighting. 00:15:44.786 --> 00:15:46.410 There's some nice modeling on the face. 00:15:46.410 --> 00:15:48.385 But the whole point of that is that you 00:15:48.385 --> 00:15:50.760 want to see the environment, you want to see the flowers, 00:15:50.760 --> 00:15:55.240 you want to have this very vibrant, bright scene. 00:15:55.240 --> 00:15:59.087 So being very sensitive to the light that's available 00:15:59.087 --> 00:15:59.920 is part of lighting. 00:15:59.920 --> 00:16:02.940 It's not necessarily setting up a bunch of light stands 00:16:02.940 --> 00:16:06.630 and video lights and spending two hours when you should 00:16:06.630 --> 00:16:08.270 have been shooting your scene. 00:16:08.270 --> 00:16:10.440 Because it can also be very time consuming. 00:16:10.440 --> 00:16:13.086 PROFESSOR: Just a quick tip on lighting-- since most of you 00:16:13.086 --> 00:16:14.996 will probably be filming indoors and relying 00:16:14.996 --> 00:16:18.581 a lot on fluorescent overhead lights, the only caveat 00:16:18.581 --> 00:16:21.281 to that is that oftentimes-- there are only 00:16:21.281 --> 00:16:24.810 two people in here-- but for me, the glasses is a big issue. 00:16:24.810 --> 00:16:27.310 You'll get like a weird shadow underneath on people's faces. 00:16:27.310 --> 00:16:28.500 GUEST SPEAKER: Or a glare in the lens. 00:16:28.500 --> 00:16:29.666 PROFESSOR: Yeah, or a glare. 00:16:29.666 --> 00:16:32.610 So you can compensate for that with maybe a desk lamp that's 00:16:32.610 --> 00:16:35.626 also shone on your face from a little bit below 00:16:35.626 --> 00:16:37.524 to hide some of those shadows. 00:16:37.524 --> 00:16:39.690 GUEST SPEAKER: Particularly, as Elizabeth mentioned, 00:16:39.690 --> 00:16:43.710 if you diffuse that light with some kind of tissue 00:16:43.710 --> 00:16:45.530 or something in front of it-- because one 00:16:45.530 --> 00:16:48.190 thing about lighting-- the first do no harm-- when you're 00:16:48.190 --> 00:16:51.460 lighting faces, harsh, direct light, 00:16:51.460 --> 00:16:55.160 whether it's sunlight or desk lamps or video lights, 00:16:55.160 --> 00:16:56.900 are very unflattering. 00:16:56.900 --> 00:17:00.140 So that's absolutely a great tip. 00:17:00.140 --> 00:17:01.810 But I think it's always a good idea 00:17:01.810 --> 00:17:04.210 to sort of try to diffuse it. 00:17:04.210 --> 00:17:06.540 If it's not a hot light, you can put 00:17:06.540 --> 00:17:09.060 like a tissue or a white paper towel in front of it, 00:17:09.060 --> 00:17:10.852 and it will give this very nice soft light. 00:17:10.852 --> 00:17:13.018 PROFESSOR: But if you're shooting something indoors, 00:17:13.018 --> 00:17:15.469 and you just feel like the person looks 00:17:15.469 --> 00:17:17.490 a little funky on the screen, it's 00:17:17.490 --> 00:17:20.049 probably because it's an overhead light that's 00:17:20.049 --> 00:17:21.519 casting shadow. 00:17:21.519 --> 00:17:24.772 So just experiment with a desk lamp or something. 00:17:24.772 --> 00:17:27.230 GUEST SPEAKER: And I'm not going to go into focus too much. 00:17:27.230 --> 00:17:28.646 Because again, I know you're going 00:17:28.646 --> 00:17:30.090 to be working with autofocus. 00:17:30.090 --> 00:17:33.730 But just to say-- make sure that what you want to be in focus 00:17:33.730 --> 00:17:36.285 is in focus. 00:17:36.285 --> 00:17:37.660 There are all sorts of things you 00:17:37.660 --> 00:17:39.690 can do to mess with the depth of field, 00:17:39.690 --> 00:17:42.170 which is like how much of the plane of your image 00:17:42.170 --> 00:17:43.220 is in focus. 00:17:43.220 --> 00:17:46.170 So if you have a very-- if you're very wide open, 00:17:46.170 --> 00:17:47.760 if there's not a lot of light, then 00:17:47.760 --> 00:17:49.330 suddenly you have very shallow focus. 00:17:49.330 --> 00:17:50.996 Which means that if you were filming me, 00:17:50.996 --> 00:17:53.090 my face might be in focus, and the background 00:17:53.090 --> 00:17:55.240 would be out of focus. 00:17:55.240 --> 00:17:57.820 If you are stopping way, way down 00:17:57.820 --> 00:17:59.559 because there's a ton of light, suddenly 00:17:59.559 --> 00:18:02.100 it's a very deep focus situation where everything's in focus. 00:18:02.100 --> 00:18:03.766 And that may or may not be a good thing. 00:18:03.766 --> 00:18:05.090 You may not want more focus. 00:18:05.090 --> 00:18:08.160 There's something very nice about just what you 00:18:08.160 --> 00:18:10.416 want to be in focus and everything else being out 00:18:10.416 --> 00:18:12.290 of focus, because that makes people's eyes go 00:18:12.290 --> 00:18:14.930 to what you want them to see. 00:18:14.930 --> 00:18:16.753 It also creates depth in the frame. 00:18:16.753 --> 00:18:18.211 PROFESSOR: Does everyone understand 00:18:18.211 --> 00:18:22.150 what depth of field in the frame means? 00:18:22.150 --> 00:18:23.404 GUEST SPEAKER: Here I am. 00:18:23.404 --> 00:18:25.070 I don't know if you've seen this Science 00:18:25.070 --> 00:18:27.880 Out Loud video, Engineering Trash into Treasure. 00:18:27.880 --> 00:18:28.550 I won't show it. 00:18:28.550 --> 00:18:30.270 But it's got a really nice opening, 00:18:30.270 --> 00:18:33.020 which uses depth of field really effectively. 00:18:33.020 --> 00:18:36.350 So this is a person talking about the creation of charcoal. 00:18:36.350 --> 00:18:39.180 And in the foreground are the props, and she's out of focus. 00:18:39.180 --> 00:18:41.140 And it's kind of counter-intuitive, 00:18:41.140 --> 00:18:44.610 because your presenter is out of focus 00:18:44.610 --> 00:18:46.740 and the props are in focus in the foreground. 00:18:46.740 --> 00:18:49.525 But it's actually quite engaging and interesting. 00:18:49.525 --> 00:18:51.400 And then what they do-- and this is something 00:18:51.400 --> 00:18:53.566 that you will have a hard time doing if you are just 00:18:53.566 --> 00:18:56.950 doing autofocus-- is they shift the focus to reveal her. 00:18:56.950 --> 00:18:57.962 And that's a reveal. 00:18:57.962 --> 00:18:59.920 That's something we talked about the other day. 00:18:59.920 --> 00:19:03.510 Revealing things is part of the visual language 00:19:03.510 --> 00:19:06.250 that you want to think about-- whether it's 00:19:06.250 --> 00:19:11.360 a cut, with an edit, a change of the angle, a pan, a camera 00:19:11.360 --> 00:19:12.420 move. 00:19:12.420 --> 00:19:15.770 Revealing your next thing is really just kind 00:19:15.770 --> 00:19:17.900 of a key visual element. 00:19:17.900 --> 00:19:23.554 So here it's like the burning-- I forget what kind of-- 00:19:23.554 --> 00:19:24.470 PROFESSOR: Corn husks. 00:19:24.470 --> 00:19:24.640 GUEST SPEAKER: Yeah. 00:19:24.640 --> 00:19:26.706 The burning corn husks come into frame, 00:19:26.706 --> 00:19:28.330 and then the charcoal comes into frame, 00:19:28.330 --> 00:19:30.454 and then the focus shifts and you reveal the person 00:19:30.454 --> 00:19:31.800 who's been talking to you. 00:19:31.800 --> 00:19:32.500 It's cool. 00:19:32.500 --> 00:19:34.130 It's quite a nice little opening. 00:19:34.130 --> 00:19:36.338 PROFESSOR: It's really hard to achieve depth of field 00:19:36.338 --> 00:19:38.550 with these camcorders. 00:19:38.550 --> 00:19:40.926 One way you can sort of trick it is 00:19:40.926 --> 00:19:44.568 if you stand really far in front of your background. 00:19:44.568 --> 00:19:47.332 That's the closest way you're going to get that blurry 00:19:47.332 --> 00:19:49.375 background effect. 00:19:49.375 --> 00:19:52.270 So if you wanted to film in this classroom for instance, 00:19:52.270 --> 00:19:55.174 and you didn't want the stuff on the chalkboard 00:19:55.174 --> 00:19:57.230 to be really visible, you would have 00:19:57.230 --> 00:20:01.774 Chris move up all the way up to maybe where David is at least 00:20:01.774 --> 00:20:03.690 and then shoot from the very back of the room. 00:20:03.690 --> 00:20:03.940 GUEST SPEAKER: Right. 00:20:03.940 --> 00:20:05.064 And so that's what this is. 00:20:05.064 --> 00:20:08.320 So again, you have a zoom lens. 00:20:08.320 --> 00:20:10.720 If you go all the way wide on the lens, 00:20:10.720 --> 00:20:13.600 you have much deeper focus than if you zoom all the way in. 00:20:13.600 --> 00:20:16.640 So if I walk up and shoot Elizabeth 00:20:16.640 --> 00:20:18.850 with a very wide angle, everything behind her 00:20:18.850 --> 00:20:20.160 will be in focus. 00:20:20.160 --> 00:20:22.940 If I go way back there, and I get the same kind of close up 00:20:22.940 --> 00:20:26.209 of Elizabeth with a longer part of the zoom, 00:20:26.209 --> 00:20:28.000 everything behind her will be out of focus. 00:20:28.000 --> 00:20:30.250 Which might be better if we don't 00:20:30.250 --> 00:20:32.650 care about the background, or if it's messy. 00:20:32.650 --> 00:20:36.240 I've often been in labs that just look horrible. 00:20:36.240 --> 00:20:38.140 And the best way to handle that is 00:20:38.140 --> 00:20:42.380 to zoom way in, go way back, and have the background be 00:20:42.380 --> 00:20:43.962 way out of focus. 00:20:43.962 --> 00:20:45.420 Or you can, as Elizabeth mentioned, 00:20:45.420 --> 00:20:46.878 you can bring the person forward so 00:20:46.878 --> 00:20:49.074 that there's a lot of distance between the person 00:20:49.074 --> 00:20:49.865 and the background. 00:20:52.710 --> 00:20:55.540 So focus, focal length, all of these things 00:20:55.540 --> 00:20:56.760 relate to each other. 00:20:56.760 --> 00:20:59.110 And again, we're going to move a little quickly. 00:20:59.110 --> 00:21:00.860 PROFESSOR: It's about 10 till. 00:21:00.860 --> 00:21:02.651 GUEST SPEAKER: No, I'm doing fine, I think. 00:21:02.651 --> 00:21:04.110 I think I'm doing OK. 00:21:04.110 --> 00:21:05.840 This is an extreme wide angle. 00:21:05.840 --> 00:21:07.670 You can see how deep the focus is. 00:21:07.670 --> 00:21:10.920 It's infinity. 00:21:10.920 --> 00:21:14.210 And this is a telephoto, so it's a close up, 00:21:14.210 --> 00:21:19.390 but even the leaf behind the bird is out of focus. 00:21:19.390 --> 00:21:23.190 Just a word about zooms-- so there are two kinds of zoom, 00:21:23.190 --> 00:21:24.910 and there's one kind of danger-- well, 00:21:24.910 --> 00:21:26.450 two kinds of danger actually. 00:21:26.450 --> 00:21:30.010 Optical zoom, which is if you zoom in and out with the zoom 00:21:30.010 --> 00:21:32.310 control on your camera. 00:21:32.310 --> 00:21:35.520 That is the way you change the focal length. 00:21:35.520 --> 00:21:38.230 Then there's digital zoom, which is usually on these cameras-- 00:21:38.230 --> 00:21:39.604 I'm assuming these are like this. 00:21:39.604 --> 00:21:41.240 If you go past a certain point, you're 00:21:41.240 --> 00:21:43.080 not changing the lens anymore, you're 00:21:43.080 --> 00:21:47.625 just zooming in on the image itself digitally. 00:21:47.625 --> 00:21:49.500 The problem with that is that your resolution 00:21:49.500 --> 00:21:50.820 goes down immediately. 00:21:50.820 --> 00:21:52.170 It looks really bad. 00:21:52.170 --> 00:21:54.520 It starts to pixelate and just fall apart. 00:21:54.520 --> 00:21:58.015 So I would recommend that you not use the digital zoom. 00:21:58.015 --> 00:22:00.140 It's kind one of those situations where people say, 00:22:00.140 --> 00:22:01.306 oh, well, when I can use it? 00:22:01.306 --> 00:22:05.340 I'm like, well, when the UFO is landing in Killian Court, 00:22:05.340 --> 00:22:08.470 and you're just too far away to get the shot, 00:22:08.470 --> 00:22:10.990 definitely use the digital zoom. 00:22:10.990 --> 00:22:14.130 But if you have time to do something 00:22:14.130 --> 00:22:17.170 different or plan a little differently 00:22:17.170 --> 00:22:19.970 then stick with the optical. 00:22:19.970 --> 00:22:23.550 PROFESSOR: And also realize that you can zoom in on a frame 00:22:23.550 --> 00:22:25.380 and post when you're editing. 00:22:25.380 --> 00:22:29.040 So it's generally better to just capture something wider. 00:22:29.040 --> 00:22:32.340 So say you want to do like a traditional interview set up, 00:22:32.340 --> 00:22:33.720 and you're not sure how close you 00:22:33.720 --> 00:22:35.250 should be into your subject. 00:22:35.250 --> 00:22:37.800 Go ahead and err on the side of zooming out 00:22:37.800 --> 00:22:38.904 as much as possible. 00:22:38.904 --> 00:22:40.445 You can always play with how much you 00:22:40.445 --> 00:22:42.660 zoom when you're editing later. 00:22:42.660 --> 00:22:44.980 And the other thing about zooming-- maybe this 00:22:44.980 --> 00:22:46.860 is just a matter of personal preference. 00:22:46.860 --> 00:22:51.100 But generally, I don't like it when I see the camera zooming 00:22:51.100 --> 00:22:52.110 in live time. 00:22:52.110 --> 00:22:55.070 I prefer seeing just a clean cut from a wider 00:22:55.070 --> 00:22:56.195 angle to the zooming angle. 00:22:56.195 --> 00:22:57.861 GUEST SPEAKER: And that's the other part 00:22:57.861 --> 00:22:59.230 of the danger for sure. 00:22:59.230 --> 00:23:00.660 Yeah. 00:23:00.660 --> 00:23:03.380 Zooms in general-- unless you're doing it 00:23:03.380 --> 00:23:05.644 because you know what you're doing-- all these rules 00:23:05.644 --> 00:23:06.560 are made to be broken. 00:23:06.560 --> 00:23:09.840 That's something I should mention right up front. 00:23:09.840 --> 00:23:11.800 They're often kind of the lazy person's way 00:23:11.800 --> 00:23:13.600 of doing something. 00:23:13.600 --> 00:23:15.350 And in general, I would even go so far as 00:23:15.350 --> 00:23:16.766 to say even if you're not planning 00:23:16.766 --> 00:23:21.340 to show the zoom-- if I was, again, filming Elizabeth, 00:23:21.340 --> 00:23:24.620 and I wanted to get a wide shot, so I shoot her here. 00:23:24.620 --> 00:23:26.210 And then I want a close up. 00:23:26.210 --> 00:23:29.100 And I zoom in on Elizabeth, and I get the close up. 00:23:29.100 --> 00:23:30.770 There's something kind of unpleasing 00:23:30.770 --> 00:23:36.190 about going from a wide angle shot to a zoomed in telephoto 00:23:36.190 --> 00:23:37.570 shot of somebody. 00:23:37.570 --> 00:23:40.220 The more sort of smart way to do it 00:23:40.220 --> 00:23:42.420 is to pick a focal length that makes 00:23:42.420 --> 00:23:45.290 Elizabeth look great and gives you what you want 00:23:45.290 --> 00:23:47.240 and then move the camera in. 00:23:47.240 --> 00:23:50.090 Don't change the focal length of the lens 00:23:50.090 --> 00:23:53.220 when you change the size of the shot. 00:23:53.220 --> 00:23:55.730 So maybe I end up on a medium shot, 00:23:55.730 --> 00:23:56.939 in terms of the focal length. 00:23:56.939 --> 00:23:59.563 And then when I want to get the close up, I pick up the camera, 00:23:59.563 --> 00:24:01.134 and I walk in and get the close up. 00:24:01.134 --> 00:24:03.550 And that's going to cut better, it's going to look better, 00:24:03.550 --> 00:24:04.633 it's going to feel better. 00:24:04.633 --> 00:24:07.550 It's going to feel like just more controlled 00:24:07.550 --> 00:24:09.660 and like you sort of knew what you were doing. 00:24:09.660 --> 00:24:14.279 So zooms-- very useful, dangerous as well. 00:24:14.279 --> 00:24:15.820 All right, so back to the proscenium. 00:24:15.820 --> 00:24:18.135 I just want to say a little bit about framing. 00:24:18.135 --> 00:24:20.260 What shots do you actually need to tell your story? 00:24:20.260 --> 00:24:22.270 Well, the way you figure that out is exactly 00:24:22.270 --> 00:24:24.780 the way you do it with animation or anything else, 00:24:24.780 --> 00:24:26.090 you do a storyboard. 00:24:26.090 --> 00:24:30.060 And this is a storyboard I did a few years ago for a narrative 00:24:30.060 --> 00:24:30.990 scene. 00:24:30.990 --> 00:24:33.090 But you'll see it contains a lot of the things 00:24:33.090 --> 00:24:35.400 that we've talked about in this class. 00:24:35.400 --> 00:24:36.800 Who's our main character? 00:24:36.800 --> 00:24:38.507 This kid. 00:24:38.507 --> 00:24:39.340 How do we know that? 00:24:39.340 --> 00:24:40.923 Well, the next shot is a point of view 00:24:40.923 --> 00:24:43.420 of what this person is seeing. 00:24:43.420 --> 00:24:47.240 There's a moving shot up, and the next thing that you see 00:24:47.240 --> 00:24:49.170 is his grandfather's reveal. 00:24:49.170 --> 00:24:50.545 You see what they're looking at. 00:24:50.545 --> 00:24:51.920 And only then do you actually see 00:24:51.920 --> 00:24:54.530 a wide shot, which is a home-built airplane being 00:24:54.530 --> 00:24:55.860 pushed down a field. 00:24:55.860 --> 00:24:59.950 So this is kind of visual storytelling-- 00:24:59.950 --> 00:25:01.610 a very simple thing. 00:25:01.610 --> 00:25:02.840 Who's our character? 00:25:02.840 --> 00:25:04.550 What do they see? 00:25:04.550 --> 00:25:06.470 Who's around them? 00:25:06.470 --> 00:25:08.012 And then revealing the whole scene-- 00:25:08.012 --> 00:25:09.970 it could have been done completely differently. 00:25:09.970 --> 00:25:11.040 This could have been the first shot. 00:25:11.040 --> 00:25:12.998 It could have been-- let's establish the scene. 00:25:12.998 --> 00:25:14.130 Let's see all the people. 00:25:14.130 --> 00:25:18.310 Then let's kind of cut in and see our main character, 00:25:18.310 --> 00:25:20.290 or maybe it's revealed later. 00:25:20.290 --> 00:25:22.170 There's no right or wrong answer here. 00:25:22.170 --> 00:25:24.010 But the point is is that what you want to do 00:25:24.010 --> 00:25:27.890 is think through your scene just as you do with animation. 00:25:27.890 --> 00:25:30.130 That whole process that Josh took you through 00:25:30.130 --> 00:25:32.695 is completely relevant to absolutely everything 00:25:32.695 --> 00:25:33.820 that you're going to shoot. 00:25:36.990 --> 00:25:39.520 Just a few notes about what different shots do. 00:25:39.520 --> 00:25:42.400 Wide shots establish the location, the environment, 00:25:42.400 --> 00:25:43.980 the spatial relationships. 00:25:43.980 --> 00:25:45.927 They add production value. 00:25:45.927 --> 00:25:47.510 I don't know about you, but if I could 00:25:47.510 --> 00:25:49.870 go to the top of this bridge, I would shoot this shot. 00:25:49.870 --> 00:25:52.520 I wouldn't not, because this is awesome. 00:25:52.520 --> 00:25:53.480 And that's happened. 00:25:53.480 --> 00:25:54.400 I've seen that happen. 00:25:54.400 --> 00:25:57.660 People get an incredible location, an incredible view, 00:25:57.660 --> 00:26:01.930 and they don't get a shot that shows where they were. 00:26:01.930 --> 00:26:05.960 That's what we call production value. 00:26:05.960 --> 00:26:08.580 Similarly, I think this is an awesome picture. 00:26:08.580 --> 00:26:11.800 This was actually taken in 1911. 00:26:11.800 --> 00:26:17.310 This is a pre-revolution Russian nobleman 00:26:17.310 --> 00:26:19.560 in a tiny village in Russia. 00:26:19.560 --> 00:26:20.600 It was taken in 1911. 00:26:20.600 --> 00:26:22.570 It's an amazing picture. 00:26:22.570 --> 00:26:24.890 But I would feel like I missed a huge amount 00:26:24.890 --> 00:26:27.650 if it was just his face. 00:26:27.650 --> 00:26:29.340 You learn so much about the environment, 00:26:29.340 --> 00:26:32.160 you learn so much about the person, by having a wide shot. 00:26:32.160 --> 00:26:35.540 If this was a video, I might want to also have a close 00:26:35.540 --> 00:26:39.290 up when I started to hear about him and learn about who he was. 00:26:39.290 --> 00:26:42.850 But boy, this is great. 00:26:42.850 --> 00:26:45.060 How could you miss that? 00:26:45.060 --> 00:26:48.720 So again, showing environments, getting production value, 00:26:48.720 --> 00:26:51.960 establishing characters and relationships, relationships 00:26:51.960 --> 00:26:53.870 and space. 00:26:53.870 --> 00:26:56.120 Closer shots-- well, they kind of bring you 00:26:56.120 --> 00:26:58.100 into someone's world. 00:26:58.100 --> 00:27:00.440 They reveal details-- closer shots 00:27:00.440 --> 00:27:04.930 of a face, closer shots of what the person is looking at. 00:27:04.930 --> 00:27:07.230 If you're explaining something, obviously, 00:27:07.230 --> 00:27:11.510 really good close shots that show the angle, 00:27:11.510 --> 00:27:14.880 show from a good angle what you're trying to describe 00:27:14.880 --> 00:27:17.620 are very, very important. 00:27:17.620 --> 00:27:19.619 So again, it's kind of obvious, but just 00:27:19.619 --> 00:27:20.910 make sure to get those as well. 00:27:20.910 --> 00:27:22.330 You want to get the wide shot. 00:27:22.330 --> 00:27:24.930 But if you're actually describing a process that's 00:27:24.930 --> 00:27:27.170 like a physical process that somebody is doing, 00:27:27.170 --> 00:27:29.872 make sure you document it well, and that you don't shoot it 00:27:29.872 --> 00:27:31.580 from the angle where the person's hand is 00:27:31.580 --> 00:27:34.827 covering the key thing. 00:27:34.827 --> 00:27:36.910 Just look at your frame and see if you're actually 00:27:36.910 --> 00:27:40.880 communicating what you want to communicate. 00:27:40.880 --> 00:27:43.280 Moving shots-- endless kinds of moving shots. 00:27:43.280 --> 00:27:45.640 You can pan the camera on a tripod. 00:27:45.640 --> 00:27:47.000 You can walk with a camera. 00:27:47.000 --> 00:27:48.640 You can move on a dolly. 00:27:48.640 --> 00:27:53.770 They have all sorts of good great uses. 00:27:53.770 --> 00:27:55.720 They reveal story beats. 00:27:55.720 --> 00:27:58.130 If, again, to keep picking on Elizabeth, 00:27:58.130 --> 00:28:00.260 if I want to introduce Elizabeth, and I dolly 00:28:00.260 --> 00:28:03.019 or pan over to Elizabeth, people want 00:28:03.019 --> 00:28:05.060 to know what the end of that shot is going to be. 00:28:05.060 --> 00:28:07.190 What am I going to see? 00:28:07.190 --> 00:28:08.770 Oh, this person, who's a character 00:28:08.770 --> 00:28:11.810 that I am supposed to pay attention to. 00:28:11.810 --> 00:28:14.890 Or you can follow a person, it creates a very strong point 00:28:14.890 --> 00:28:15.390 of view. 00:28:15.390 --> 00:28:18.730 If someone's walking and talking and you're following them, 00:28:18.730 --> 00:28:20.950 then we pay attention to that person, 00:28:20.950 --> 00:28:24.290 because the camera is picking them out of the background 00:28:24.290 --> 00:28:25.650 to pay attention to. 00:28:25.650 --> 00:28:28.580 So that's part of this visual language. 00:28:28.580 --> 00:28:30.900 Similarly, we could do a point of view 00:28:30.900 --> 00:28:32.840 of that person's walking, and then we're 00:28:32.840 --> 00:28:34.090 suddenly into their world. 00:28:34.090 --> 00:28:38.120 So kind of a classic situation is someone's walking, 00:28:38.120 --> 00:28:41.270 we're following them, and then you cut to the reverse, 00:28:41.270 --> 00:28:43.570 and you see what they see. 00:28:43.570 --> 00:28:46.500 And now we're in their head. 00:28:46.500 --> 00:28:48.140 So it's another great thing. 00:28:48.140 --> 00:28:52.107 And then there's just kind of the classic one of we 00:28:52.107 --> 00:28:54.440 have reptile brains-- this is the same reason we edit it 00:28:54.440 --> 00:28:55.440 quickly. 00:28:55.440 --> 00:28:59.930 Here's a new thing, you can either cut to a new thing, 00:28:59.930 --> 00:29:02.905 or you can pan or dolly to a new thing. 00:29:05.960 --> 00:29:10.685 Let's see-- just a quick word about locations. 00:29:13.342 --> 00:29:15.300 You're going to talk about this too, but always 00:29:15.300 --> 00:29:16.440 scout your locations. 00:29:16.440 --> 00:29:18.530 It's smart producing, which Elizabeth 00:29:18.530 --> 00:29:21.866 is going to talk about, but it's also very smart creatively. 00:29:21.866 --> 00:29:23.240 I have been in so many situations 00:29:23.240 --> 00:29:27.390 where I've gone to a location a few days in advance, 00:29:27.390 --> 00:29:30.030 and I have completely rewritten my script 00:29:30.030 --> 00:29:31.660 based on the location. 00:29:31.660 --> 00:29:34.380 Either because I saw a problem that I wasn't anticipating-- 00:29:34.380 --> 00:29:37.030 like a classic one is, OK, well, we're 00:29:37.030 --> 00:29:39.900 going to film all this stuff at the electron microscope, 00:29:39.900 --> 00:29:43.610 but there's a column here, and I can't shoot anything 00:29:43.610 --> 00:29:44.970 from this angle. 00:29:44.970 --> 00:29:46.100 Oh, shit. 00:29:46.100 --> 00:29:49.070 It's really good to find that out a few days in advance, 00:29:49.070 --> 00:29:51.110 because you can't move the microscope. 00:29:51.110 --> 00:29:53.206 So what are you going to do? 00:29:53.206 --> 00:29:54.830 Or because the location is really cool, 00:29:54.830 --> 00:29:55.913 and there's amazing stuff. 00:29:55.913 --> 00:29:57.720 And you get very excited, because there's 00:29:57.720 --> 00:30:01.370 all sorts of possibilities that open up that you couldn't have 00:30:01.370 --> 00:30:04.190 ever imagined just sitting, doing your own story 00:30:04.190 --> 00:30:06.970 board in your room or writing your script. 00:30:06.970 --> 00:30:09.720 But suddenly because this place is amazing, 00:30:09.720 --> 00:30:11.890 you see all sorts of things that you could do. 00:30:11.890 --> 00:30:15.510 So I always suggest trying to visit your location. 00:30:15.510 --> 00:30:18.520 One, for just kind of practical scouting reasons, 00:30:18.520 --> 00:30:23.260 like is there a chainsaw factory next door? 00:30:23.260 --> 00:30:25.570 But two, because it can completely 00:30:25.570 --> 00:30:27.180 affect your creative vision. 00:30:27.180 --> 00:30:28.770 And try to do it enough in advance 00:30:28.770 --> 00:30:30.561 so that you can incorporate what you learn. 00:30:32.900 --> 00:30:34.650 So I'm going to just wrap up with a couple 00:30:34.650 --> 00:30:36.050 words about editing. 00:30:36.050 --> 00:30:38.539 This is where all of the stuff comes together 00:30:38.539 --> 00:30:40.580 and where you find out whether your plan worked-- 00:30:40.580 --> 00:30:44.210 your storyboard, your visual language, your script. 00:30:44.210 --> 00:30:46.710 And it's also where you fix all the things that didn't work. 00:30:46.710 --> 00:30:49.043 And I guarantee you that plenty of things will not work. 00:30:52.730 --> 00:30:54.910 Just a word about pacing, B-roll, and transitions. 00:30:54.910 --> 00:30:56.979 So pacing is kind of like how much do I edit. 00:30:56.979 --> 00:30:58.520 And this is kind of the big question, 00:30:58.520 --> 00:31:00.940 like, gee, what's the big thing? 00:31:00.940 --> 00:31:02.100 What's the secret? 00:31:02.100 --> 00:31:03.050 What's my pacing? 00:31:03.050 --> 00:31:04.630 What should it be like? 00:31:04.630 --> 00:31:06.770 And I don't think there is an answer to this. 00:31:06.770 --> 00:31:11.060 When I was in film school 20-plus years ago, 00:31:11.060 --> 00:31:14.190 I was being taught by people who were trained in the 1950s. 00:31:14.190 --> 00:31:16.960 And people who were trained in the 1950s 00:31:16.960 --> 00:31:21.150 would tell us, well, you really can't edit faster 00:31:21.150 --> 00:31:23.670 than four seconds per shot. 00:31:23.670 --> 00:31:27.200 Because the human brain just can't comprehend an image 00:31:27.200 --> 00:31:29.310 that lasts shorter than four seconds. 00:31:29.310 --> 00:31:33.090 And I remember dutifully editing my very first piece 00:31:33.090 --> 00:31:35.790 and following that rule and watching it and going, 00:31:35.790 --> 00:31:37.210 this sucks. 00:31:37.210 --> 00:31:39.000 This is terrible. 00:31:39.000 --> 00:31:40.210 What's wrong with this? 00:31:40.210 --> 00:31:41.620 This is awful. 00:31:41.620 --> 00:31:46.060 And it's because four seconds is a really long time 00:31:46.060 --> 00:31:48.660 in some cases, in a lot of cases, in many cases, 00:31:48.660 --> 00:31:49.970 in most cases. 00:31:49.970 --> 00:31:52.370 And that has increased-- has only increased. 00:31:52.370 --> 00:31:54.184 My idea of a fast edit may be completely 00:31:54.184 --> 00:31:56.600 different than your idea of a fast edit because I'm older. 00:31:56.600 --> 00:31:58.780 I don't know. 00:31:58.780 --> 00:32:01.340 And there's also the difference between genres. 00:32:01.340 --> 00:32:03.610 I think Elizabeth mentioned this briefly, 00:32:03.610 --> 00:32:06.720 television-- there's this sort of like bombard everybody. 00:32:06.720 --> 00:32:08.970 If you want to show an establishing shot 00:32:08.970 --> 00:32:11.280 of a house in a reality TV show, you can't just 00:32:11.280 --> 00:32:12.490 show one shot or two shots. 00:32:12.490 --> 00:32:14.004 You have to show eight shots. 00:32:14.004 --> 00:32:16.420 They're each 12 frames long, like, boom, boom, boom, boom, 00:32:16.420 --> 00:32:18.010 boom, with drums going. 00:32:18.010 --> 00:32:21.990 Just to make the reptile brain go, oh, yeah, 00:32:21.990 --> 00:32:23.470 this is important somehow. 00:32:23.470 --> 00:32:24.494 I don't know. 00:32:24.494 --> 00:32:26.410 And it gets kind of absurd at a certain point, 00:32:26.410 --> 00:32:29.760 and it can be, obviously, overediting. 00:32:29.760 --> 00:32:32.525 But the more typical experience that people 00:32:32.525 --> 00:32:33.900 who are just starting out have is 00:32:33.900 --> 00:32:37.000 that they don't shoot enough, not that they shoot too much. 00:32:37.000 --> 00:32:39.050 You think, oh, I've got three shots, 00:32:39.050 --> 00:32:41.690 and this is going to cover like 30 seconds of my video. 00:32:41.690 --> 00:32:44.730 But 30 seconds can be an eternity. 00:32:44.730 --> 00:32:49.730 And if your shots aren't telling a story, 00:32:49.730 --> 00:32:52.270 that could be pretty skimpy. 00:32:52.270 --> 00:32:53.770 Which brings us to B-roll, I'm going 00:32:53.770 --> 00:32:55.919 to talk about that in one second with an example. 00:32:55.919 --> 00:32:58.210 The other thing, though, to think about is transitions. 00:32:58.210 --> 00:33:00.460 How do I get from this to that? 00:33:00.460 --> 00:33:01.920 Obviously, you can just cut. 00:33:01.920 --> 00:33:07.040 But is there an issue-- like I'm cutting 00:33:07.040 --> 00:33:08.960 from a medium shot of Chris talking, talking, 00:33:08.960 --> 00:33:10.950 talking, to a medium shot of Elizabeth talking, 00:33:10.950 --> 00:33:12.070 talking, talking. 00:33:12.070 --> 00:33:15.040 That's not necessarily super compelling. 00:33:15.040 --> 00:33:17.240 Do I need some other way of transitioning? 00:33:17.240 --> 00:33:19.210 Do I need a wide shot of the classroom? 00:33:19.210 --> 00:33:21.660 Do I need people listening? 00:33:21.660 --> 00:33:23.460 What other shots do I need to tell my story 00:33:23.460 --> 00:33:26.448 and to transition from scene to scene? 00:33:26.448 --> 00:33:30.550 The B-roll I just wanted to mention. 00:33:30.550 --> 00:33:33.070 Have you guys talked about what that even means at all? 00:33:33.070 --> 00:33:34.690 OK. 00:33:34.690 --> 00:33:38.700 I was going to show this in the PowerPoint. 00:33:38.700 --> 00:33:43.100 But B-roll is a term that goes back, way, way back, 00:33:43.100 --> 00:33:46.530 like 80 years ago, when people edited on film. 00:33:46.530 --> 00:33:48.460 The B-roll was the second roll of film 00:33:48.460 --> 00:33:51.260 that they would then composite over the first roll of film. 00:33:51.260 --> 00:33:54.140 And it was all the stuff that wasn't included 00:33:54.140 --> 00:33:56.690 in the sort of main narrative. 00:33:56.690 --> 00:33:58.440 And I'll show you what I mean in a minute. 00:33:58.440 --> 00:34:00.690 This is just a little snippet from a video 00:34:00.690 --> 00:34:02.940 that we shot not too long ago with Jeff Hoffman, who's 00:34:02.940 --> 00:34:05.900 a professor here in AeroAstro, a former astronaut. 00:34:05.900 --> 00:34:09.600 And we had done a storyboard and kind of a script plan. 00:34:09.600 --> 00:34:12.590 So we knew when he was going to be on camera and when not. 00:34:12.590 --> 00:34:13.500 [VIDEO PLAYBACK] 00:34:13.500 --> 00:34:17.280 -The design, construction, and operation of aerospace vehicles 00:34:17.280 --> 00:34:19.670 have allowed us to leave the surface of the earth 00:34:19.670 --> 00:34:24.400 and fly through our planet's atmosphere and out into space. 00:34:24.400 --> 00:34:25.800 I'm Jeff Hoffman. 00:34:25.800 --> 00:34:27.675 I'm a professor in the Department of Aero-- 00:34:27.675 --> 00:34:27.800 [END PLAYBACK] 00:34:27.800 --> 00:34:29.250 GUEST SPEAKER: So anyway, we knew 00:34:29.250 --> 00:34:32.210 that he wasn't going to be on camera in the first part. 00:34:32.210 --> 00:34:33.780 So we were able to cut between takes. 00:34:33.780 --> 00:34:37.080 We didn't even bother to really have 00:34:37.080 --> 00:34:40.750 him be compelling on camera at that point. 00:34:40.750 --> 00:34:42.429 But here we knew he would be on camera, 00:34:42.429 --> 00:34:43.739 so we filmed him that way. 00:34:43.739 --> 00:34:46.730 And the first string out is just literally 00:34:46.730 --> 00:34:49.980 putting together your script in a very linear way, 00:34:49.980 --> 00:34:55.460 the way you wrote it, without any kind of fancy stuff. 00:34:55.460 --> 00:34:58.750 And then I'll just show you what it looked like after. 00:35:04.900 --> 00:35:08.644 I'll just show the first 10 seconds, and then I'll be done. 00:35:08.644 --> 00:35:09.310 [VIDEO PLAYBACK] 00:35:09.310 --> 00:35:12.810 [MUSIC PLAYING] 00:35:14.264 --> 00:35:23.590 -Commencing sequence start-- 6, 5, 4, 3, 2, 1, 0. 00:35:23.590 --> 00:35:25.578 All engines running. 00:35:25.578 --> 00:35:26.572 Lift off. 00:35:26.572 --> 00:35:28.063 We have a lift off. 00:35:28.063 --> 00:35:33.540 32 minutes past the hour, lift off on Apollo 11. 00:35:33.540 --> 00:35:36.462 -Have you ever wondered how rockets work? 00:35:36.462 --> 00:35:38.670 Have you ever looked out of the window of an airplane 00:35:38.670 --> 00:35:42.682 and wondered how something so big and heavy can actually fly? 00:35:42.682 --> 00:35:44.140 Have you ever wondered what happens 00:35:44.140 --> 00:35:46.440 to the human body in space, or how 00:35:46.440 --> 00:35:48.830 a spacesuit keeps astronauts alive and able 00:35:48.830 --> 00:35:51.800 to work in the vacuum of space? 00:35:51.800 --> 00:35:55.760 These topics are all part of aerospace engineering. 00:35:55.760 --> 00:35:58.580 Aerospace engineering is giving humans the freedom 00:35:58.580 --> 00:36:00.960 to move in three dimensions. 00:36:00.960 --> 00:36:04.620 The design, construction, and operation of aerospace vehicles 00:36:04.620 --> 00:36:07.070 have allowed us to leave the surface of the earth 00:36:07.070 --> 00:36:10.262 and fly through our planet's atmosphere and out into space. 00:36:14.710 --> 00:36:16.620 -Mission specialist Jeff Hoffman. 00:36:16.620 --> 00:36:19.950 -Hello, Jeff? 00:36:19.950 --> 00:36:21.260 -I'm Jeff Hoffman. 00:36:21.260 --> 00:36:23.670 I'm a professor in the Department of Aeronautics 00:36:23.670 --> 00:36:25.950 and Astronautics at MIT. 00:36:25.950 --> 00:36:28.800 Before coming to MIT, I spent 19 years at-- 00:36:28.800 --> 00:36:30.285 [END PLAYBACK] 00:36:30.285 --> 00:36:31.830 GUEST SPEAKER: [AUDIO OUT] We were 00:36:31.830 --> 00:36:35.130 able to shoot with him very, very quickly, because we 00:36:35.130 --> 00:36:36.560 knew what we needed on camera. 00:36:36.560 --> 00:36:38.060 And we knew that we were going to be 00:36:38.060 --> 00:36:41.920 able to cover and fill and sort of explain things 00:36:41.920 --> 00:36:43.270 with other imagery. 00:36:43.270 --> 00:36:45.792 In this case, a lot of it's obviously archival stuff, 00:36:45.792 --> 00:36:47.250 but it could be stuff that we shot. 00:36:47.250 --> 00:36:49.640 And later in the video there is stuff that we shot, 00:36:49.640 --> 00:36:51.920 but it was all the same plan. 00:36:51.920 --> 00:36:55.320 Anyway, I know that's a lot of stuff thrown at you, 00:36:55.320 --> 00:36:57.830 but I'm also cognizant of the time. 00:36:57.830 --> 00:37:01.700 So we can talk about this after class, too, if you would like. 00:37:01.700 --> 00:37:03.340 Thanks. 00:37:03.340 --> 00:37:07.150 PROFESSOR: So just to give another example of B-roll 00:37:07.150 --> 00:37:10.330 maybe on a more likely level for you guys, 00:37:10.330 --> 00:37:13.170 because I assume you won't be going out into outer space. 00:37:13.170 --> 00:37:14.670 GUEST SPEAKER: Well, neither did we. 00:37:14.670 --> 00:37:15.760 I called NASA. 00:37:15.760 --> 00:37:17.140 NASA is a great resource. 00:37:20.430 --> 00:37:23.952 PROFESSOR: For Anastasia's video-- 00:37:23.952 --> 00:37:24.618 [VIDEO PLAYBACK] 00:37:24.618 --> 00:37:27.790 -What do these awesome compounds have in common? 00:37:27.790 --> 00:37:30.130 They all come from plants! 00:37:30.130 --> 00:37:33.497 [MUSIC PLAYING] 00:37:37.247 --> 00:37:37.830 [END PLAYBACK] 00:37:37.830 --> 00:37:40.329 PROFESSOR: You notice that she's not talking over any of it. 00:37:40.329 --> 00:37:41.930 We put the B-roll in because we needed 00:37:41.930 --> 00:37:44.140 to give the video a little bit of space to breathe. 00:37:44.140 --> 00:37:47.010 Otherwise it would have been just her talking constantly 00:37:47.010 --> 00:37:48.090 and saying facts. 00:37:48.090 --> 00:37:51.520 So we wanted to help with the pacing of the video, which is 00:37:51.520 --> 00:37:52.740 what Chris was talking about. 00:37:52.740 --> 00:37:53.948 So that's why we shot B-roll. 00:37:53.948 --> 00:37:58.549 So if you're-- especially you, Paul, 00:37:58.549 --> 00:38:01.090 because I imagine you're going to shoot some stuff maybe with 00:38:01.090 --> 00:38:04.370 a boat, sort of like you have access to certain equipment. 00:38:04.370 --> 00:38:06.550 Whoever you're filming with, you're not only 00:38:06.550 --> 00:38:08.570 going to shoot, Paul, but I would also 00:38:08.570 --> 00:38:13.090 spend some time maybe just doing a pan of your environment, 00:38:13.090 --> 00:38:14.970 shooting some of the equipment that's around. 00:38:14.970 --> 00:38:17.270 It may not be super relevant to what you're 00:38:17.270 --> 00:38:18.980 talking about exactly in those moments, 00:38:18.980 --> 00:38:20.790 but you can always have that footage 00:38:20.790 --> 00:38:23.306 to intersperse like we did here, if that makes sense. 00:38:26.370 --> 00:38:30.250 And as Chris was saying, you're not always 00:38:30.250 --> 00:38:32.566 going to shoot B-roll yourself. 00:38:32.566 --> 00:38:36.380 NASA, I guess, is what you guys used. 00:38:36.380 --> 00:38:38.800 And all of their stuff is-- they're not 00:38:38.800 --> 00:38:40.030 copyrighted or licensed. 00:38:40.030 --> 00:38:41.990 So you can use that footage. 00:38:41.990 --> 00:38:45.535 There's a lot of-- there a lot of photos and pictures 00:38:45.535 --> 00:38:46.410 that you can look up. 00:38:46.410 --> 00:38:49.040 I'm going to talk a little bit more about music 00:38:49.040 --> 00:38:52.860 that you can use, and I can hit graphics as well next week 00:38:52.860 --> 00:38:54.844 during the editing lecture. 00:38:54.844 --> 00:38:56.260 But there are resources out there, 00:38:56.260 --> 00:39:00.790 if you want certain footage that you just can't shoot yourself.