1 00:00:00,080 --> 00:00:02,430 The following content is provided under a Creative 2 00:00:02,430 --> 00:00:03,820 Commons license. 3 00:00:03,820 --> 00:00:06,060 Your support will help MIT OpenCourseWare 4 00:00:06,060 --> 00:00:10,150 continue to offer high quality educational resources for free. 5 00:00:10,150 --> 00:00:12,700 To make a donation or to view additional materials 6 00:00:12,700 --> 00:00:16,600 from hundreds of MIT courses, visit MIT OpenCourseWare 7 00:00:16,600 --> 00:00:17,255 at ocw.mit.edu. 8 00:00:26,380 --> 00:00:28,694 PROFESSOR: All right, so for the rest of class, 9 00:00:28,694 --> 00:00:30,360 I'm going to talk about post-production. 10 00:00:30,360 --> 00:00:31,730 Do you guys want to take a five minute break 11 00:00:31,730 --> 00:00:33,000 before I jump into that? 12 00:00:33,000 --> 00:00:35,030 OK. 13 00:00:35,030 --> 00:00:38,100 I will do that when you guys come back. 14 00:00:38,100 --> 00:00:40,140 All right, so last lecture-- should I 15 00:00:40,140 --> 00:00:43,380 stand up for this since I stood for all the other ones? 16 00:00:43,380 --> 00:00:45,530 OK. 17 00:00:45,530 --> 00:00:47,400 Feel free to interrupt me at anytime. 18 00:00:47,400 --> 00:00:49,982 So I'm going to start off with my favorite quote of all time, 19 00:00:49,982 --> 00:00:51,940 at least for this class, which is, "In writing, 20 00:00:51,940 --> 00:00:53,860 you must kill all your darlings." 21 00:00:53,860 --> 00:00:56,230 And that is what today's lecture is about. 22 00:00:56,230 --> 00:01:01,600 Post-production 101 or Killing All of Your Darlings. 23 00:01:01,600 --> 00:01:07,567 So when we think of production, we think of the journey 24 00:01:07,567 --> 00:01:09,650 that we have taken in the last week of this class. 25 00:01:09,650 --> 00:01:11,560 We start with ideation, we script, 26 00:01:11,560 --> 00:01:15,220 we storyboard, shoot, edit, and then we 27 00:01:15,220 --> 00:01:16,730 get to this product magically. 28 00:01:16,730 --> 00:01:19,875 And we have these three concrete steps of pre-production, 29 00:01:19,875 --> 00:01:21,750 production, which is what you're about to do, 30 00:01:21,750 --> 00:01:24,350 and post-production. 31 00:01:24,350 --> 00:01:26,770 Let me know when I can go to the next slide. 32 00:01:26,770 --> 00:01:29,890 The reality is that it's not like that at all. 33 00:01:29,890 --> 00:01:31,060 And maybe you've seen that. 34 00:01:31,060 --> 00:01:33,560 Hopefully, you've seen that in the course in the last week-- 35 00:01:33,560 --> 00:01:37,810 that you don't do production in this nice linear, sequential 36 00:01:37,810 --> 00:01:40,660 format, but you ideate and you script. 37 00:01:40,660 --> 00:01:43,100 And when you script, you go back to your idea. 38 00:01:43,100 --> 00:01:46,560 When you're storyboarding, it affects your original idea. 39 00:01:46,560 --> 00:01:50,250 And that's how I'd like you guys to approach editing as well. 40 00:01:50,250 --> 00:01:51,930 At least, I used to think of editing 41 00:01:51,930 --> 00:01:54,400 as something that happened after I shot everything. 42 00:01:54,400 --> 00:01:59,000 And once I got to editing, that was sort of 43 00:01:59,000 --> 00:02:01,462 equivalent to just throwing what you have together, 44 00:02:01,462 --> 00:02:03,170 but that that's not necessarily the case. 45 00:02:03,170 --> 00:02:06,050 In post-production you're going to find a lot of things that 46 00:02:06,050 --> 00:02:09,570 maybe help you re-shoot things. 47 00:02:09,570 --> 00:02:11,220 And thinking about post-production 48 00:02:11,220 --> 00:02:13,350 before you've even started production 49 00:02:13,350 --> 00:02:17,160 can help you think of ways to shape what you're going to do. 50 00:02:17,160 --> 00:02:19,880 So that is why I'm talking about editing before you have even 51 00:02:19,880 --> 00:02:23,090 started to film. 52 00:02:23,090 --> 00:02:25,590 So when we think of editing, we think 53 00:02:25,590 --> 00:02:29,990 of taking or creating something that is representative 54 00:02:29,990 --> 00:02:30,930 of continuous time. 55 00:02:30,930 --> 00:02:33,420 We think about putting together a video that 56 00:02:33,420 --> 00:02:36,320 has just the bad bits removed. 57 00:02:36,320 --> 00:02:39,960 So has anyone done any video editing whatsoever? 58 00:02:39,960 --> 00:02:41,270 Kenneth, you have. 59 00:02:41,270 --> 00:02:44,610 Yeah, so especially with the webcam videos, 60 00:02:44,610 --> 00:02:47,500 what you're basically doing is recording a continuous event 61 00:02:47,500 --> 00:02:50,320 and taking out the parts where you mess up your line. 62 00:02:50,320 --> 00:02:51,320 That's what we think of. 63 00:02:51,320 --> 00:02:53,153 And we think of the bad bits as being things 64 00:02:53,153 --> 00:02:56,860 that maybe as a take that was out of focus, maybe 65 00:02:56,860 --> 00:02:58,560 your light was overexposed, maybe 66 00:02:58,560 --> 00:03:00,390 your delivery wasn't so good. 67 00:03:00,390 --> 00:03:03,020 But in this simplest sense, most people 68 00:03:03,020 --> 00:03:06,170 think of editing as presenting something 69 00:03:06,170 --> 00:03:08,190 that is of continuous time. 70 00:03:10,990 --> 00:03:16,090 But the problem is that sometimes the bad bits are not 71 00:03:16,090 --> 00:03:19,680 as obvious as things like overexposed light, 72 00:03:19,680 --> 00:03:22,070 and sometimes, you're not necessarily 73 00:03:22,070 --> 00:03:26,640 creating a product that represents continuous time. 74 00:03:26,640 --> 00:03:27,920 So I love this book. 75 00:03:27,920 --> 00:03:29,300 It's on the syllabus. 76 00:03:29,300 --> 00:03:36,012 It's written by the editor of Godfather III, Apocalypse Now. 77 00:03:36,012 --> 00:03:37,470 I think he did The English Patient. 78 00:03:37,470 --> 00:03:40,350 He did a bunch of movies that won a lot of Academy Awards, 79 00:03:40,350 --> 00:03:42,680 but he says that editing is not so much a 80 00:03:42,680 --> 00:03:46,870 putting together of a path, as it is the discovery of one-- 81 00:03:46,870 --> 00:03:48,580 or something like that. 82 00:03:48,580 --> 00:03:55,270 So the question is, how do you best discover this path? 83 00:03:55,270 --> 00:03:57,930 So the nice thing about editing right now-- we're 84 00:03:57,930 --> 00:04:01,170 in the digital age, so we have the files 85 00:04:01,170 --> 00:04:04,670 that we shot available to us in these chunks and it's up to us 86 00:04:04,670 --> 00:04:06,860 to tape pieces together. 87 00:04:06,860 --> 00:04:10,350 But back when film was actually on film, 88 00:04:10,350 --> 00:04:12,980 you would have to watch the entire reel 89 00:04:12,980 --> 00:04:17,209 through to know exactly what was on the physical tape itself, 90 00:04:17,209 --> 00:04:20,050 which was very time consuming, but it also 91 00:04:20,050 --> 00:04:25,610 allowed you to see everything in your fresh perspective 92 00:04:25,610 --> 00:04:27,020 after you've shot it. 93 00:04:27,020 --> 00:04:28,520 And I think that's the first step 94 00:04:28,520 --> 00:04:30,960 that you need to do when you edit-- to review the pieces 95 00:04:30,960 --> 00:04:33,390 that you've shot. 96 00:04:33,390 --> 00:04:36,190 And I've mentioned this before in one of the earlier lectures 97 00:04:36,190 --> 00:04:39,090 I think, but after you shoot, take a day 98 00:04:39,090 --> 00:04:40,240 or take an afternoon. 99 00:04:40,240 --> 00:04:42,430 Don't look at your stuff unless you're just 100 00:04:42,430 --> 00:04:44,616 checking to make sure that all of the file's OK. 101 00:04:44,616 --> 00:04:46,740 But when you sit down to edit, I encourage everyone 102 00:04:46,740 --> 00:04:49,500 to re-watch the footage all over again 103 00:04:49,500 --> 00:04:52,380 because when you're shooting stuff, 104 00:04:52,380 --> 00:04:54,040 or when you're really tired and it's 105 00:04:54,040 --> 00:04:56,320 been an entire day of shooting, the way you 106 00:04:56,320 --> 00:05:00,020 look at your footage may be a little bit different. 107 00:05:00,020 --> 00:05:01,980 So this is one of the camera reports 108 00:05:01,980 --> 00:05:06,180 from when we shot Lindsey's video in D-Lab actually. 109 00:05:06,180 --> 00:05:08,350 And I also encourage you to do this while you're 110 00:05:08,350 --> 00:05:10,866 shooting to keep track of your files, 111 00:05:10,866 --> 00:05:12,240 keep track of what's a good take. 112 00:05:12,240 --> 00:05:15,000 But then afterwards, I would suggest 113 00:05:15,000 --> 00:05:18,100 that you re-log everything. 114 00:05:18,100 --> 00:05:20,780 And you don't necessarily have to do it completely like this. 115 00:05:20,780 --> 00:05:24,430 But this was a log that I did after we shot Snot. 116 00:05:24,430 --> 00:05:26,270 I could not review the footage the day 117 00:05:26,270 --> 00:05:28,630 of because I was so exhausted so I looked 118 00:05:28,630 --> 00:05:30,332 at it a couple days later. 119 00:05:30,332 --> 00:05:32,040 And I was able to see like, oh, you know, 120 00:05:32,040 --> 00:05:34,740 this take wasn't really good and it's not worth keeping. 121 00:05:34,740 --> 00:05:38,760 And I'm not just saying that because I'm tired. 122 00:05:38,760 --> 00:05:42,130 So editing is really about looking at the pieces 123 00:05:42,130 --> 00:05:43,850 to see which ones are worth keeping 124 00:05:43,850 --> 00:05:46,190 and which ones are not worth keeping. 125 00:05:46,190 --> 00:05:48,640 But as I said, the bad bits are not 126 00:05:48,640 --> 00:05:54,650 necessarily as obvious as this scene was really poorly lit. 127 00:05:54,650 --> 00:05:56,500 Bless you. 128 00:05:56,500 --> 00:05:58,500 What you're really looking for are things 129 00:05:58,500 --> 00:06:00,015 that don't advance the video. 130 00:06:02,740 --> 00:06:06,069 And that is also not a super tangible quality, 131 00:06:06,069 --> 00:06:08,360 and I'm going to give you a bunch of examples that will 132 00:06:08,360 --> 00:06:11,740 hopefully help you understand what is worth keeping and what 133 00:06:11,740 --> 00:06:12,940 isn't. 134 00:06:12,940 --> 00:06:16,050 But to understand that, you have to ask 135 00:06:16,050 --> 00:06:18,780 yourself the basic question-- why should I keep this scene? 136 00:06:18,780 --> 00:06:22,340 And this is a very seemingly stupid and inane question, 137 00:06:22,340 --> 00:06:26,070 but I didn't ask myself that the first couple videos that we 138 00:06:26,070 --> 00:06:27,780 edited for Science Out Loud and it 139 00:06:27,780 --> 00:06:30,660 made for a very painful editing experience. 140 00:06:30,660 --> 00:06:32,280 So I'm going to give you an example. 141 00:06:32,280 --> 00:06:35,320 We shot a video on how engines work-- 142 00:06:35,320 --> 00:06:38,740 and I showed you guys clips of that earlier. 143 00:06:38,740 --> 00:06:41,600 And we went out to a horse farm in Acton. 144 00:06:41,600 --> 00:06:45,130 And it was kind of a drive, and it was a little bit complicated 145 00:06:45,130 --> 00:06:46,994 to get all that set up, so I really 146 00:06:46,994 --> 00:06:49,160 wanted to get great footage of the farm, and we did. 147 00:06:49,160 --> 00:06:53,450 We got awesome footage of Luke with one of the horses. 148 00:06:53,450 --> 00:06:56,440 LUKE: We would need 230 horses, like AJ here, 149 00:06:56,440 --> 00:06:57,681 to power our Cessna. 150 00:07:00,390 --> 00:07:06,869 But we need 290,000 to power our Boeing 777. 151 00:07:06,869 --> 00:07:08,660 PROFESSOR: So it was this really cool shot, 152 00:07:08,660 --> 00:07:10,950 and it took us an extra couple hours 153 00:07:10,950 --> 00:07:12,640 to shoot with this horse, AJ. 154 00:07:12,640 --> 00:07:14,977 And we were talking about horsepower, 155 00:07:14,977 --> 00:07:16,310 so that's why we had the visual. 156 00:07:16,310 --> 00:07:18,160 But in the context of the rough cut, 157 00:07:18,160 --> 00:07:20,520 which I will show you later on in this lecture-- 158 00:07:20,520 --> 00:07:22,910 it really didn't make a lot of sense. 159 00:07:22,910 --> 00:07:24,960 It was just like, we're learning about engines, 160 00:07:24,960 --> 00:07:27,030 and now here's all this gratuitous B-roll 161 00:07:27,030 --> 00:07:29,710 of a horse prancing around. 162 00:07:29,710 --> 00:07:32,260 And I think that I was really set 163 00:07:32,260 --> 00:07:33,890 on keeping it because I had remembered 164 00:07:33,890 --> 00:07:36,306 how much extra time it took us and how much extra planning 165 00:07:36,306 --> 00:07:37,410 it took us. 166 00:07:37,410 --> 00:07:41,255 But when you go to the edit-- when you shoot, 167 00:07:41,255 --> 00:07:42,630 you're going to shoot like you're 168 00:07:42,630 --> 00:07:43,640 going to keep everything. 169 00:07:43,640 --> 00:07:45,848 And what Chris was saying about take multiple angles, 170 00:07:45,848 --> 00:07:48,500 take shots, take things that you think you may not need. 171 00:07:48,500 --> 00:07:52,040 But when you edit, you have no ties to anything. 172 00:07:52,040 --> 00:07:53,670 They are no longer your darlings. 173 00:07:53,670 --> 00:07:56,210 You can kill any of them, and really 174 00:07:56,210 --> 00:07:57,970 have a discerning eye for that. 175 00:07:57,970 --> 00:08:01,200 So that's just quick tip number one. 176 00:08:01,200 --> 00:08:03,470 When you edit, try to see what's on the screen 177 00:08:03,470 --> 00:08:05,040 and not so much the circumstances 178 00:08:05,040 --> 00:08:06,440 in which you got the material. 179 00:08:06,440 --> 00:08:09,420 So if you were really tired that day, 180 00:08:09,420 --> 00:08:11,110 don't think about how much effort it 181 00:08:11,110 --> 00:08:12,970 took for you to get that shot. 182 00:08:12,970 --> 00:08:15,340 And I will admit that I partially showed you 183 00:08:15,340 --> 00:08:18,080 that because it broke my heart to take that out 184 00:08:18,080 --> 00:08:22,190 and I just feel like it needs to see the light of day. 185 00:08:22,190 --> 00:08:25,650 So like I said, most people think about editing 186 00:08:25,650 --> 00:08:30,690 as having a continuous linear representation of an event. 187 00:08:30,690 --> 00:08:32,070 This is what Slideshow does. 188 00:08:32,070 --> 00:08:34,159 This is what OpenCourseWare does. 189 00:08:34,159 --> 00:08:36,970 Like these lecture videos-- when you watch them online, 190 00:08:36,970 --> 00:08:39,340 it's pretty much start to end, nothing too fancy 191 00:08:39,340 --> 00:08:41,049 edited in between. 192 00:08:41,049 --> 00:08:42,970 But remember that there are lots of ways 193 00:08:42,970 --> 00:08:45,180 that you can play with this, either in the editing, 194 00:08:45,180 --> 00:08:47,760 or in the scripting and in the production. 195 00:08:47,760 --> 00:08:49,940 So you have continuous linear. 196 00:08:49,940 --> 00:08:51,980 Josh also talked about this idea of In Medias 197 00:08:51,980 --> 00:08:54,660 Res, which is starting in the middle of things. 198 00:08:57,405 --> 00:08:59,405 I think it's a hard concept to really understand 199 00:08:59,405 --> 00:09:01,154 so I'm going to show you an example of it. 200 00:09:01,154 --> 00:09:04,060 This is Lindsey's video that we did in D-Lab. 201 00:09:04,060 --> 00:09:07,280 And the way we start it is with an opening 202 00:09:07,280 --> 00:09:10,220 that we revisit halfway through the video again. 203 00:09:13,940 --> 00:09:16,910 LINDSEY: Corn husks burn quickly and turn to ash. 204 00:09:16,910 --> 00:09:20,080 These lumps burn hot like firewood, longer than charcoal, 205 00:09:20,080 --> 00:09:23,780 but are cleaner, greener, and less expensive than both. 206 00:09:23,780 --> 00:09:26,770 This is actually made from this, and I'm going to show you how. 207 00:09:26,770 --> 00:09:29,710 [MUSIC PLAYING] 208 00:09:38,040 --> 00:09:40,140 About 3 billion people in the world 209 00:09:40,140 --> 00:09:43,130 use charcoal today to heat their homes and cook their food. 210 00:09:43,130 --> 00:09:45,270 But charcoal can be expensive. 211 00:09:45,270 --> 00:09:47,245 It produces a lot of smoke when burned 212 00:09:47,245 --> 00:09:50,740 and it's made from wood, which contributes to deforestation. 213 00:09:50,740 --> 00:09:55,555 In fact, 98% of Haiti's forests have been cut down for fuel. 214 00:09:55,555 --> 00:09:58,160 What we need is an alternative fuel source. 215 00:09:58,160 --> 00:10:00,395 Let's take a look at how charcoal is made. 216 00:10:00,395 --> 00:10:03,070 We have to first cut down trees for wood, which we then 217 00:10:03,070 --> 00:10:06,300 place in a closed vessel and deprive of oxygen. 218 00:10:06,300 --> 00:10:10,260 It carbonizes into charcoal instead of burning to ash. 219 00:10:10,260 --> 00:10:12,870 We then mix the charcoal with a binding solution 220 00:10:12,870 --> 00:10:15,860 and compress that into lumps called briquettes. 221 00:10:15,860 --> 00:10:17,840 This process creates a fuel source that 222 00:10:17,840 --> 00:10:20,322 works, but has its problems. 223 00:10:20,322 --> 00:10:22,530 So let's hack the charcoal production process to make 224 00:10:22,530 --> 00:10:24,370 everything about it better. 225 00:10:24,370 --> 00:10:27,730 [MUSIC PLAYING] 226 00:10:29,930 --> 00:10:32,555 Part of what makes the charcoal production process so expensive 227 00:10:32,555 --> 00:10:33,720 is the equipment. 228 00:10:33,720 --> 00:10:35,560 Instead of a fancy vessel, you can 229 00:10:35,560 --> 00:10:37,192 make a simple kiln out of an oil drum 230 00:10:37,192 --> 00:10:39,650 by cutting a large hole in the top and several smaller ones 231 00:10:39,650 --> 00:10:40,500 in the bottom. 232 00:10:40,500 --> 00:10:43,820 Gather a couple large rocks for the kiln to rest on, 233 00:10:43,820 --> 00:10:48,200 a lid for the top, and you have yourself a $15 kiln. 234 00:10:48,200 --> 00:10:50,940 We also need some kind of tool to mold the charcoal material 235 00:10:50,940 --> 00:10:53,130 from the kiln into briquettes. 236 00:10:53,130 --> 00:10:56,615 This is one of D Lab's earlier designs for the hand press. 237 00:10:56,615 --> 00:11:03,890 We pour a mixture of charcoal and binder into the spout here, 238 00:11:03,890 --> 00:11:13,120 hammer down the piston, slide open the panel at the bottom, 239 00:11:13,120 --> 00:11:15,270 and the briquette pops right out. 240 00:11:15,270 --> 00:11:17,525 This design costs about $20 to manufacture, 241 00:11:17,525 --> 00:11:21,154 but the engineers at D-Lab wanted to do better. 242 00:11:21,154 --> 00:11:22,570 They changed the shape of the mold 243 00:11:22,570 --> 00:11:25,242 into a square to make it easier to manufacture 244 00:11:25,242 --> 00:11:28,670 and significantly cut down on the amount of material used. 245 00:11:28,670 --> 00:11:34,870 This time, the mold itself is used to scoop the charcoal. 246 00:11:34,870 --> 00:11:36,340 Again, we hammer the piston. 247 00:11:42,420 --> 00:11:44,940 And the briquette pops right out. 248 00:11:44,940 --> 00:11:47,630 This design is easy to manufacture. 249 00:11:47,630 --> 00:11:50,060 It creates briquettes faster and it only costs about $2.00 250 00:11:50,060 --> 00:11:52,439 to make. 251 00:11:52,439 --> 00:11:54,480 Now that we've made the equipment less expensive, 252 00:11:54,480 --> 00:11:56,609 what can we do about making the fuel cleaner? 253 00:11:56,609 --> 00:11:59,150 If we can get all the smoke to burn off while the charcoal is 254 00:11:59,150 --> 00:12:00,960 being made instead of being used, 255 00:12:00,960 --> 00:12:02,450 we can decrease the amount of smoke 256 00:12:02,450 --> 00:12:04,450 released in people's homes. 257 00:12:04,450 --> 00:12:06,530 Leaving the kiln open for about five minutes 258 00:12:06,530 --> 00:12:08,710 at the beginning of the process will allow the smoke 259 00:12:08,710 --> 00:12:10,440 to burn off outside. 260 00:12:10,440 --> 00:12:13,820 So that's why we cut a hole in the top of the oil drum. 261 00:12:13,820 --> 00:12:15,260 All right, final challenge. 262 00:12:15,260 --> 00:12:18,239 What can we do to make this fuel more sustainable? 263 00:12:18,239 --> 00:12:20,280 What if we replaced the wood with something else? 264 00:12:20,280 --> 00:12:24,150 Something like dried corn husks, or dried corn puffs, 265 00:12:24,150 --> 00:12:27,890 dried bean stocks, or even dried banana peels? 266 00:12:27,890 --> 00:12:30,380 These agricultural waste products, or ag waste, 267 00:12:30,380 --> 00:12:32,470 would normally be discarded as trash. 268 00:12:32,470 --> 00:12:35,040 But we can use them to make charcoal-- and poof! 269 00:12:35,040 --> 00:12:37,130 Your trash becomes a precious resource. 270 00:12:37,130 --> 00:12:40,160 And that's how you turn trash into treasure. 271 00:12:40,160 --> 00:12:43,780 Less expensive, cleaner burning, more sustainable, treasure. 272 00:12:46,560 --> 00:12:49,400 PROFESSOR: So in watching this, it's 273 00:12:49,400 --> 00:12:52,430 actually a little more Bookend than In Medias Res, 274 00:12:52,430 --> 00:12:56,892 but the concept is that you open immediately with the thing 275 00:12:56,892 --> 00:12:58,850 that you're not going to talk about until later 276 00:12:58,850 --> 00:13:00,780 on in the video. 277 00:13:00,780 --> 00:13:04,887 And we could have opened without her doing the, 278 00:13:04,887 --> 00:13:06,220 this is actually made from this. 279 00:13:06,220 --> 00:13:08,047 We could have just opened with her at D-Lab 280 00:13:08,047 --> 00:13:09,130 and it would've been fine. 281 00:13:09,130 --> 00:13:11,075 It would've been the continuous linear thing, 282 00:13:11,075 --> 00:13:12,450 but we kind of used it as a hook. 283 00:13:12,450 --> 00:13:13,991 And I think a lot of you are actually 284 00:13:13,991 --> 00:13:16,390 going with this format of starting in the action. 285 00:13:19,090 --> 00:13:22,580 Julia's is kind of like this. 286 00:13:22,580 --> 00:13:26,260 Let's see, who else kind of has-- sort 287 00:13:26,260 --> 00:13:27,570 of in the middle of things? 288 00:13:27,570 --> 00:13:29,740 I think Paul's is a little bit like this, too. 289 00:13:29,740 --> 00:13:31,490 Just like you're in the action immediately 290 00:13:31,490 --> 00:13:32,448 without a bunch set up. 291 00:13:32,448 --> 00:13:34,890 So that is one way you can do it. 292 00:13:34,890 --> 00:13:37,300 Again, this was a little more of an example 293 00:13:37,300 --> 00:13:42,220 of bookending stuff, too, which is what Joshua's script does. 294 00:13:42,220 --> 00:13:45,450 Kenneth, yours does this right now, too. 295 00:13:45,450 --> 00:13:50,480 Which is also a nice way to encapsulate a video experience 296 00:13:50,480 --> 00:13:51,870 in a tidy package. 297 00:13:51,870 --> 00:13:54,650 So sort of opening the same way you close. 298 00:13:54,650 --> 00:13:57,250 For George's video on farts, we did this quite literally. 299 00:13:57,250 --> 00:14:00,610 We had him in the exact same location 300 00:14:00,610 --> 00:14:03,370 and set that we opened the video with. 301 00:14:03,370 --> 00:14:05,366 And that's how we did my snot video as well. 302 00:14:05,366 --> 00:14:06,740 You don't have to do it that way, 303 00:14:06,740 --> 00:14:11,040 but it's a very explicit way of bookending your video. 304 00:14:15,737 --> 00:14:17,320 GEORGE: You know what's more like life 305 00:14:17,320 --> 00:14:19,070 than a box of chocolates? 306 00:14:19,070 --> 00:14:19,980 Farts. 307 00:14:19,980 --> 00:14:22,790 You really never know what you're going to get. 308 00:14:22,790 --> 00:14:23,760 A skunk? 309 00:14:23,760 --> 00:14:25,210 Rotten eggs? 310 00:14:25,210 --> 00:14:27,190 PROFESSOR: And then-- oh, shoot. 311 00:14:29,991 --> 00:14:30,490 Uh-oh. 312 00:14:34,830 --> 00:14:36,700 I wanted to skip to the end of the video, 313 00:14:36,700 --> 00:14:38,430 so let me just do that really quickly. 314 00:14:51,260 --> 00:14:54,370 So he opens in that location. 315 00:14:54,370 --> 00:14:55,310 And then-- 316 00:14:59,482 --> 00:15:00,940 GEORGE: We're at the very beginning 317 00:15:00,940 --> 00:15:04,085 of understanding the incredible, smellable science in your gut. 318 00:15:04,085 --> 00:15:06,864 And until we do, happy farting. 319 00:15:06,864 --> 00:15:09,708 [MUSIC PLAYING] 320 00:15:12,432 --> 00:15:13,890 PROFESSOR: So that's just something 321 00:15:13,890 --> 00:15:16,460 to think about if you're getting ready to film 322 00:15:16,460 --> 00:15:18,930 and you're deciding on the location of where you're going 323 00:15:18,930 --> 00:15:22,290 to open and close your video. 324 00:15:22,290 --> 00:15:26,760 The other thing editing does is it allows you to figure out 325 00:15:26,760 --> 00:15:27,910 what's best to keep. 326 00:15:27,910 --> 00:15:31,220 So this is an example of where cutting out the bad bits 327 00:15:31,220 --> 00:15:33,090 isn't as obvious for us. 328 00:15:33,090 --> 00:15:35,130 In this section, it was cutting out the bits 329 00:15:35,130 --> 00:15:36,500 that don't work the best. 330 00:15:36,500 --> 00:15:39,090 So I showed you guys this before, 331 00:15:39,090 --> 00:15:41,550 but basically taking stills of all of your scenes. 332 00:15:41,550 --> 00:15:45,100 And then seeing the shots in the context of everything else 333 00:15:45,100 --> 00:15:46,460 can help during editing as well. 334 00:15:49,334 --> 00:15:51,000 The next concept I wanted to talk about, 335 00:15:51,000 --> 00:15:52,800 which is also in Walter Murch's book-- 336 00:15:52,800 --> 00:15:56,850 is the idea of referred pain when you're at the doctor. 337 00:15:56,850 --> 00:15:59,340 You go to the doctor and you have shoulder pain-- 338 00:15:59,340 --> 00:16:00,960 or like elbow pain. 339 00:16:00,960 --> 00:16:03,090 And if your doctor says, OK, we're 340 00:16:03,090 --> 00:16:05,150 going to go in and operate on your elbow, 341 00:16:05,150 --> 00:16:07,490 then you should leave because maybe this person is not 342 00:16:07,490 --> 00:16:08,350 very good doctor. 343 00:16:08,350 --> 00:16:10,320 What a good doctor would do is ask you 344 00:16:10,320 --> 00:16:12,981 about what kinds of activities you've been doing. 345 00:16:12,981 --> 00:16:14,980 He or she would check out the rest of your body, 346 00:16:14,980 --> 00:16:17,800 and then maybe find out that the problem isn't your elbow, 347 00:16:17,800 --> 00:16:20,270 but the problem is a pinched nerve somewhere upstream. 348 00:16:20,270 --> 00:16:21,730 So this is the analogy he makes. 349 00:16:21,730 --> 00:16:22,970 Same thing with your videos. 350 00:16:22,970 --> 00:16:25,178 If you're finding that there's a certain scene that's 351 00:16:25,178 --> 00:16:26,902 not working, most of the time it will 352 00:16:26,902 --> 00:16:28,610 be because you need to change that scene. 353 00:16:28,610 --> 00:16:31,640 But a lot of times, it may be because you've set it up 354 00:16:31,640 --> 00:16:32,690 in not the greatest way. 355 00:16:32,690 --> 00:16:35,750 Or maybe the scenes preceding it don't make a lot of sense. 356 00:16:35,750 --> 00:16:37,520 So I will show you an example of this. 357 00:16:37,520 --> 00:16:39,550 And this is super, super nuanced, 358 00:16:39,550 --> 00:16:42,960 and it might just be because we were being super nit-picky 359 00:16:42,960 --> 00:16:47,160 and getting really OCD about it. 360 00:16:47,160 --> 00:16:53,170 But this is a scene from the fifth draft of Jamie's video. 361 00:16:53,170 --> 00:16:55,470 JAMIE: This Digi-Comp has 31 switches 362 00:16:55,470 --> 00:16:59,450 and can count up to 127. 363 00:16:59,450 --> 00:17:02,870 But modern computer chips have over a billion switches. 364 00:17:02,870 --> 00:17:05,400 They're made from wafers, such as this one, where 365 00:17:05,400 --> 00:17:07,720 each square represents a chip. 366 00:17:07,720 --> 00:17:10,849 They're made from semiconductor switches called transistors, 367 00:17:10,849 --> 00:17:13,420 which have the advantage of being solid state, 368 00:17:13,420 --> 00:17:15,300 meaning they have no moving parts. 369 00:17:15,300 --> 00:17:18,429 This allows engineers, like me, to make them smaller, faster, 370 00:17:18,429 --> 00:17:20,440 and more energy efficient. 371 00:17:20,440 --> 00:17:22,359 We can make them over a billion times 372 00:17:22,359 --> 00:17:25,160 faster than the Digi-Comp. 373 00:17:25,160 --> 00:17:27,040 These semiconductor switches make 374 00:17:27,040 --> 00:17:30,420 modern electronics possible. 375 00:17:30,420 --> 00:17:32,460 PROFESSOR: So the whole video is about how 376 00:17:32,460 --> 00:17:34,610 big, complicated machines, like computers, 377 00:17:34,610 --> 00:17:37,485 are built out of actually very simple parts, like a switch. 378 00:17:37,485 --> 00:17:40,449 And so the majority of his video is with the Digi-Comp. 379 00:17:40,449 --> 00:17:42,740 And he's talking about how the switches are calculating 380 00:17:42,740 --> 00:17:44,781 in binary, and then at the very end of the video, 381 00:17:44,781 --> 00:17:48,060 he goes, these switches are what make modern electronics 382 00:17:48,060 --> 00:17:50,230 possible, which is true and it ties it 383 00:17:50,230 --> 00:17:51,680 into the bigger context. 384 00:17:51,680 --> 00:17:54,540 But when we were watching the rough cut, our editor 385 00:17:54,540 --> 00:17:56,440 [INAUDIBLE] and George and I were 386 00:17:56,440 --> 00:17:59,150 all like-- we felt like the ending came super 387 00:17:59,150 --> 00:18:01,950 abruptly and seemed a little bit random-- 388 00:18:01,950 --> 00:18:04,860 that we're talking about basic switches the whole video 389 00:18:04,860 --> 00:18:06,890 and then all of a sudden, he's like, and that's 390 00:18:06,890 --> 00:18:10,370 what makes things possible. 391 00:18:10,370 --> 00:18:13,000 So we thought about re-recording the end, 392 00:18:13,000 --> 00:18:15,670 but then we realized-- and again, maybe this 393 00:18:15,670 --> 00:18:17,760 is a personal taste thing. 394 00:18:17,760 --> 00:18:20,450 Maybe this video isn't actually super different from the one 395 00:18:20,450 --> 00:18:22,470 we ended up publishing, but this is 396 00:18:22,470 --> 00:18:25,210 an example of us troubleshooting by looking at previous scenes 397 00:18:25,210 --> 00:18:27,720 and how we set up the final shot. 398 00:18:27,720 --> 00:18:31,720 And we felt that the gap between him talking 399 00:18:31,720 --> 00:18:34,610 about semiconductors, and then his final sentence 400 00:18:34,610 --> 00:18:38,080 was a little bit too short. 401 00:18:38,080 --> 00:18:43,750 So we thought maybe we could make the pause a little bit 402 00:18:43,750 --> 00:18:49,330 longer to signify that his final shot is the encompassing idea. 403 00:18:49,330 --> 00:18:51,990 So that's what we did. 404 00:18:51,990 --> 00:18:53,650 JAMIE: Big the numbers can be. 405 00:18:53,650 --> 00:18:59,156 This Digi-Comp has 31 switches and can count up to 127. 406 00:18:59,156 --> 00:19:03,030 But modern computer chips have over a billion switches. 407 00:19:03,030 --> 00:19:05,540 They're made from wafers, such as this one where 408 00:19:05,540 --> 00:19:07,860 each square represents a chip. 409 00:19:07,860 --> 00:19:11,020 They're made from semiconductor switches called transistors, 410 00:19:11,020 --> 00:19:13,490 which have the advantage of being solid state, 411 00:19:13,490 --> 00:19:15,460 meaning they have no moving parts. 412 00:19:15,460 --> 00:19:18,720 This allows engineers, like me, to make them smaller, faster, 413 00:19:18,720 --> 00:19:20,640 and more energy efficient. 414 00:19:20,640 --> 00:19:22,510 We can make them over a billion times 415 00:19:22,510 --> 00:19:25,500 faster than the Digi-Comp. 416 00:19:25,500 --> 00:19:27,400 These semiconductor switches make 417 00:19:27,400 --> 00:19:29,280 modern electronics possible. 418 00:19:29,280 --> 00:19:31,680 PROFESSOR: I mean, it's a super, super nuanced thing. 419 00:19:31,680 --> 00:19:33,840 I'm not sure if you guys noticed it, 420 00:19:33,840 --> 00:19:36,020 or even if it was worth us doing. 421 00:19:36,020 --> 00:19:39,160 But I wanted to show it as an example of the thought process 422 00:19:39,160 --> 00:19:41,594 that we had in troubleshooting the final scene. 423 00:19:41,594 --> 00:19:43,260 And I think it makes a little more sense 424 00:19:43,260 --> 00:19:45,050 in the context of watching the entire video, 425 00:19:45,050 --> 00:19:46,591 but in the interest of time, I didn't 426 00:19:46,591 --> 00:19:49,600 want to show you 10 minutes of the same video. 427 00:19:49,600 --> 00:19:51,975 Edits can change a lot more than just 428 00:19:51,975 --> 00:19:53,100 taking out the bad, though. 429 00:19:53,100 --> 00:19:56,060 They can completely restructure things. 430 00:19:56,060 --> 00:19:58,420 And I'll show you a little bit from the rough cut 431 00:19:58,420 --> 00:19:59,520 of the engines video. 432 00:19:59,520 --> 00:20:03,320 Someone was asking exactly what a rough cut should be-- 433 00:20:03,320 --> 00:20:06,340 if we need everything in there, if we don't. 434 00:20:06,340 --> 00:20:09,670 So this is an example of what the first draft of a video 435 00:20:09,670 --> 00:20:10,320 can look like. 436 00:20:10,320 --> 00:20:12,140 We're missing a couple scenes. 437 00:20:12,140 --> 00:20:14,340 A lot of things change. 438 00:20:14,340 --> 00:20:16,910 ABHI: Hundreds of years ago, James Watt 439 00:20:16,910 --> 00:20:21,080 decided that my friend, Helga, could lift 550 pounds a foot 440 00:20:21,080 --> 00:20:22,800 in the air in one second. 441 00:20:22,800 --> 00:20:25,010 And that's the definition of a horsepower. 442 00:20:25,010 --> 00:20:27,870 LUKE: This lawn mower has 6 horsepower. 443 00:20:27,870 --> 00:20:31,221 ABHI: This car has 110 horsepower. 444 00:20:31,221 --> 00:20:34,700 LUKE: This Cessna has 230 horsepower. 445 00:20:34,700 --> 00:20:45,540 ABHI: And this jet has 85,000 horsepower. 446 00:20:45,540 --> 00:20:47,930 LUKE: But they do it in different ways. 447 00:20:47,930 --> 00:20:49,826 ABHI: A car uses a piston engine. 448 00:20:49,826 --> 00:20:51,950 This is a piston engine that's been cut into a half 449 00:20:51,950 --> 00:20:53,502 so you can look into it. 450 00:20:53,502 --> 00:20:55,710 A mixture of fuel and air enters through these valves 451 00:20:55,710 --> 00:20:57,740 into this metal cylinder. 452 00:20:57,740 --> 00:21:01,070 It's compressed when the piston pushes up onto it, 453 00:21:01,070 --> 00:21:04,000 and then this mixture is burned through a spark plug, 454 00:21:04,000 --> 00:21:05,620 causing the mixture to expand. 455 00:21:05,620 --> 00:21:09,570 And the piston comes back down, and this happens over and over 456 00:21:09,570 --> 00:21:11,170 again. 457 00:21:11,170 --> 00:21:12,892 There are multiple pistons in a car, 458 00:21:12,892 --> 00:21:14,975 and they're connected through a series of linkages 459 00:21:14,975 --> 00:21:18,869 to the wheel, causing them to turn. 460 00:21:18,869 --> 00:21:20,660 PROFESSOR: So I wanted to show this example 461 00:21:20,660 --> 00:21:24,330 to highlight that editing is a super, super collaborative 462 00:21:24,330 --> 00:21:25,020 process. 463 00:21:25,020 --> 00:21:27,210 So after you guys put together your rough cuts 464 00:21:27,210 --> 00:21:29,980 and we screen-- for the second half of that class, 465 00:21:29,980 --> 00:21:31,837 we'll randomly assign you editing partners. 466 00:21:31,837 --> 00:21:33,670 And they're going to look through your video 467 00:21:33,670 --> 00:21:37,900 and annotate on a live software that we have at MITx. 468 00:21:37,900 --> 00:21:41,250 The editor who put together that rough cut 469 00:21:41,250 --> 00:21:44,650 did not hate that font as much as I did. 470 00:21:44,650 --> 00:21:47,340 And she did not hate that music as much as I did. 471 00:21:47,340 --> 00:21:50,390 All right, so if you're the only person looking at your video-- 472 00:21:50,390 --> 00:21:53,100 to this person, maybe they really liked the style, 473 00:21:53,100 --> 00:21:55,400 they like the pacing of it. 474 00:21:55,400 --> 00:21:59,500 But to me, and to George, and to the second editor that we had, 475 00:21:59,500 --> 00:22:02,240 we often have multiple editors look through our stuff, 476 00:22:02,240 --> 00:22:05,930 even if one person's the main one doing the editing. 477 00:22:05,930 --> 00:22:08,784 You get feedback that you otherwise wouldn't have, 478 00:22:08,784 --> 00:22:10,200 which is a very obvious statement, 479 00:22:10,200 --> 00:22:12,500 but I want you to see how much it changed by the end. 480 00:22:12,500 --> 00:22:15,600 I'll show you the opening again. 481 00:22:15,600 --> 00:22:18,180 ABHI: Hundreds of years ago, James Watt 482 00:22:18,180 --> 00:22:23,450 decided that my friend, Helga, could lift 550 pounds a foot 483 00:22:23,450 --> 00:22:26,710 in the air in one second. 484 00:22:26,710 --> 00:22:29,860 And that's the definition of a horsepower. 485 00:22:29,860 --> 00:22:33,845 LUKE: This lawn mower has 6 horsepower. 486 00:22:33,845 --> 00:22:36,888 ABHI: This car has 130 horsepower. 487 00:22:36,888 --> 00:22:39,233 LUKE: This Cessna has 230 horsepower. 488 00:22:42,985 --> 00:22:46,430 ABHI: And this jet has 85,000 horsepower. 489 00:22:46,430 --> 00:22:48,310 All of these engines produce power 490 00:22:48,310 --> 00:22:51,260 by forcing a mixture of fuel and air into a tight space, 491 00:22:51,260 --> 00:22:52,950 and then burning it. 492 00:22:52,950 --> 00:22:56,220 LUKE: But they do it in different ways. 493 00:22:56,220 --> 00:22:58,480 ABHI: A car uses a piston engine. 494 00:22:58,480 --> 00:23:00,720 This is a piston engine that's been cut into a half 495 00:23:00,720 --> 00:23:02,302 so you can look into it. 496 00:23:02,302 --> 00:23:04,510 A mixture of fuel and air enters through these valves 497 00:23:04,510 --> 00:23:06,510 into this metal cylinder. 498 00:23:06,510 --> 00:23:09,840 It's compressed when the piston pushes up onto it, 499 00:23:09,840 --> 00:23:12,800 and then mixture is burned through a spark plug, 500 00:23:12,800 --> 00:23:14,400 causing the mixture to expand. 501 00:23:14,400 --> 00:23:18,360 And the piston comes back down, and this happens over and over 502 00:23:18,360 --> 00:23:20,690 again. 503 00:23:20,690 --> 00:23:22,730 There are multiple pistons in a car, 504 00:23:22,730 --> 00:23:24,880 and they're connected through a series of linkages 505 00:23:24,880 --> 00:23:26,340 to the wheel, causing them to turn. 506 00:23:29,220 --> 00:23:31,410 PROFESSOR: So we changed a couple things, 507 00:23:31,410 --> 00:23:32,440 changed out the music. 508 00:23:32,440 --> 00:23:34,369 I'm still not a huge fan of it, but I 509 00:23:34,369 --> 00:23:36,660 thought it was a lot better than what was there before. 510 00:23:36,660 --> 00:23:41,739 We added a couple labels, put in some stock footage. 511 00:23:41,739 --> 00:23:43,280 I mean, to me, I think the feel of it 512 00:23:43,280 --> 00:23:46,700 changed a lot after having the collaboration between four 513 00:23:46,700 --> 00:23:47,830 or five of us. 514 00:23:47,830 --> 00:23:50,920 And that happens with every video, too. 515 00:23:50,920 --> 00:23:55,690 I wanted to mention the five words that you should never 516 00:23:55,690 --> 00:23:58,700 say, which I often say, too-- but the notion of, we'll 517 00:23:58,700 --> 00:23:59,670 fix it in post. 518 00:23:59,670 --> 00:24:02,850 Like oh, the sound isn't super great for this take, 519 00:24:02,850 --> 00:24:03,930 but that's OK. 520 00:24:03,930 --> 00:24:06,440 I'll fix it in post-production. 521 00:24:06,440 --> 00:24:08,790 Thinking about post is really good 522 00:24:08,790 --> 00:24:13,460 to set you up for creating as high quality materials 523 00:24:13,460 --> 00:24:15,470 to work with as you can possible. 524 00:24:15,470 --> 00:24:21,440 So really try not to lean on post-production and editing 525 00:24:21,440 --> 00:24:25,110 as a space where you will have a bunch of band-aids 526 00:24:25,110 --> 00:24:27,710 to cover up material that isn't as good. 527 00:24:27,710 --> 00:24:30,480 You will save so, so, so much time 528 00:24:30,480 --> 00:24:34,450 doing just that extra take to get the good audio than you 529 00:24:34,450 --> 00:24:38,080 will if you tried to clean it up in editing afterwards. 530 00:24:38,080 --> 00:24:40,250 So don't say these words. 531 00:24:43,850 --> 00:24:46,840 So we have to kill our darlings. 532 00:24:46,840 --> 00:24:50,240 We have to figure out what things are worth keeping 533 00:24:50,240 --> 00:24:51,220 and what aren't. 534 00:24:51,220 --> 00:24:55,850 What is the way that we actually kill the pieces. 535 00:24:55,850 --> 00:24:57,770 And that way is with the cut. 536 00:24:57,770 --> 00:25:01,360 So the cut is going to be the spaces in which we decide 537 00:25:01,360 --> 00:25:03,330 to break the footage that we have 538 00:25:03,330 --> 00:25:07,430 and align it with something new-- a transition. 539 00:25:07,430 --> 00:25:11,950 Now this notion of seams is an interesting one 540 00:25:11,950 --> 00:25:13,730 when you're editing. 541 00:25:13,730 --> 00:25:15,610 A seam is basically like when you 542 00:25:15,610 --> 00:25:19,930 notice that the location changes or that the scene changes. 543 00:25:19,930 --> 00:25:21,444 Being aware of where your cuts are 544 00:25:21,444 --> 00:25:22,860 and what your scenes look like are 545 00:25:22,860 --> 00:25:25,193 going to be important for the overall feel of the video. 546 00:25:25,193 --> 00:25:26,640 So in an earlier lecture, I think 547 00:25:26,640 --> 00:25:29,830 I'd mentioned storyboarding is great because it gives you 548 00:25:29,830 --> 00:25:31,950 a sense of what the visual pacing of your video 549 00:25:31,950 --> 00:25:33,060 is going to be. 550 00:25:33,060 --> 00:25:35,480 When you're doing cuts in editing, 551 00:25:35,480 --> 00:25:37,800 watch through sections of a portion 552 00:25:37,800 --> 00:25:40,350 that you've edited-- maybe 30 seconds of it, 553 00:25:40,350 --> 00:25:42,985 and basically see how many seams there are 554 00:25:42,985 --> 00:25:44,360 and if they're really noticeable. 555 00:25:47,840 --> 00:25:50,430 What I personally like-- this is my taste, 556 00:25:50,430 --> 00:25:52,250 and I think it's the taste of most people-- 557 00:25:52,250 --> 00:25:53,840 is that I think your seam should be 558 00:25:53,840 --> 00:25:56,900 as deliberate and clean as possible 559 00:25:56,900 --> 00:25:59,486 so that they're not very noticeable. 560 00:25:59,486 --> 00:26:01,110 What you don't want to end up happening 561 00:26:01,110 --> 00:26:04,430 is someone to watch your video, and notice every single time 562 00:26:04,430 --> 00:26:05,340 you take a cut. 563 00:26:05,340 --> 00:26:07,770 You don't want their reaction to be, oh, she cut there. 564 00:26:07,770 --> 00:26:10,760 Oh, she cut there too. 565 00:26:10,760 --> 00:26:14,540 And for that reason, I favor just clean cuts. 566 00:26:14,540 --> 00:26:17,164 No funky transitions, no ripple effects. 567 00:26:17,164 --> 00:26:18,830 Do you guys know what I'm talking about? 568 00:26:18,830 --> 00:26:19,810 No spins. 569 00:26:19,810 --> 00:26:23,580 I think we did one push transition 570 00:26:23,580 --> 00:26:25,450 that I fought against. 571 00:26:25,450 --> 00:26:26,840 But that's my personal taste. 572 00:26:26,840 --> 00:26:31,610 But in general, the cut should be as hidden as possible, 573 00:26:31,610 --> 00:26:32,460 I think. 574 00:26:32,460 --> 00:26:34,597 Because that's not what your video is about. 575 00:26:34,597 --> 00:26:35,930 Your video is about the content. 576 00:26:35,930 --> 00:26:38,138 It's not about the transitions in between the scenes. 577 00:26:42,470 --> 00:26:46,440 When you do clean cuts, though, especially for these videos, 578 00:26:46,440 --> 00:26:50,470 it has to be deliberate enough to where it makes sense. 579 00:26:50,470 --> 00:26:53,460 And I'll explain this further. 580 00:26:53,460 --> 00:26:55,890 So in this example-- 581 00:26:55,890 --> 00:26:56,930 [VIDEO PLAYBACK] 582 00:26:56,930 --> 00:27:01,347 -You can count up to 127. 583 00:27:01,347 --> 00:27:01,930 [END PLAYBACK] 584 00:27:01,930 --> 00:27:03,610 PROFESSOR: That is the wrong example. 585 00:27:03,610 --> 00:27:04,110 Never mind. 586 00:27:04,110 --> 00:27:05,340 I'm not going to talk about clean cuts. 587 00:27:05,340 --> 00:27:07,298 Apparently I'm going to talk about transitions. 588 00:27:07,298 --> 00:27:09,370 So this is one transition where something 589 00:27:09,370 --> 00:27:12,040 that wasn't a clean cut worked for us, I think. 590 00:27:12,040 --> 00:27:15,050 Because we were being a little tongue-in-cheek about the wipe. 591 00:27:15,050 --> 00:27:17,970 The way we achieved this is, George actually 592 00:27:17,970 --> 00:27:19,170 loosened up his tripod. 593 00:27:19,170 --> 00:27:21,860 And when Jamie was in Stata, at the end of his shot, 594 00:27:21,860 --> 00:27:24,920 he just flung the tripod up so that the camera actually 595 00:27:24,920 --> 00:27:26,460 swung up. 596 00:27:26,460 --> 00:27:30,890 And then we used that to move into the transition effect that 597 00:27:30,890 --> 00:27:33,030 was in Final Cut. 598 00:27:33,030 --> 00:27:35,930 It just makes the video look a little more 599 00:27:35,930 --> 00:27:37,720 clean and deliberate, I think. 600 00:27:37,720 --> 00:27:40,630 Otherwise, you have still frame, wipe up, 601 00:27:40,630 --> 00:27:41,930 wipe down, to still frame. 602 00:27:41,930 --> 00:27:45,080 It looks a little bit different. 603 00:27:45,080 --> 00:27:48,680 What was I going to talk about? 604 00:27:48,680 --> 00:27:51,880 So yes, sometimes it's OK not to use clean cuts. 605 00:27:51,880 --> 00:27:52,941 This is another example. 606 00:27:52,941 --> 00:27:53,607 [VIDEO PLAYBACK] 607 00:27:53,607 --> 00:27:57,360 [TICKING] 608 00:28:13,563 --> 00:28:17,469 [BEEPING] 609 00:28:17,469 --> 00:28:19,510 PROFESSOR: All those were clean cuts, by the way. 610 00:28:23,000 --> 00:28:25,190 -Radiation is frightening. 611 00:28:25,190 --> 00:28:27,330 At least, certain types of it are. 612 00:28:27,330 --> 00:28:30,060 My Geiger counter doesn't go off near my mobile phone, 613 00:28:30,060 --> 00:28:32,320 or the Wi-Fi router, or my microwave. 614 00:28:32,320 --> 00:28:33,880 That's because a Geiger counter only 615 00:28:33,880 --> 00:28:36,150 measures ionizing radiation, that 616 00:28:36,150 --> 00:28:40,090 is, radiation with enough energy to rip electrons off atoms. 617 00:28:40,090 --> 00:28:42,630 And it's measured in units called sieverts. 618 00:28:42,630 --> 00:28:45,550 If you're exposed to more than two sieverts all at once, 619 00:28:45,550 --> 00:28:48,059 you'll probably die shortly after that. 620 00:28:48,059 --> 00:28:50,350 But we're exposed to low levels of ionizing radiation-- 621 00:28:50,350 --> 00:28:50,510 [END PLAYBACK] 622 00:28:50,510 --> 00:28:51,760 PROFESSOR: So that was a wipe. 623 00:28:51,760 --> 00:28:55,310 But I don't feel like that's super cheesy, because he only 624 00:28:55,310 --> 00:28:56,860 uses it very sparingly. 625 00:28:56,860 --> 00:28:59,000 Did you notice how many cuts there were 626 00:28:59,000 --> 00:29:01,250 in that 30 seconds of clip? 627 00:29:01,250 --> 00:29:03,780 He must have cut 20 times. 628 00:29:03,780 --> 00:29:06,320 But as a viewer, I'm not noticing, oh, he cut there, 629 00:29:06,320 --> 00:29:07,460 oh, he cut there, oh, he cut there, right? 630 00:29:07,460 --> 00:29:09,584 So that's what I mean by keeping your seams hidden. 631 00:29:13,110 --> 00:29:14,280 Yes. 632 00:29:14,280 --> 00:29:17,317 AUDIENCE: In a way, it seems intuitive. 633 00:29:17,317 --> 00:29:19,150 But when you're editing, and you're looking, 634 00:29:19,150 --> 00:29:21,280 and you're cringing at your own speech, 635 00:29:21,280 --> 00:29:23,922 it's a practice that you might want to do. 636 00:29:23,922 --> 00:29:26,190 You never cut in the middle of a phrase, 637 00:29:26,190 --> 00:29:28,544 or in the middle of your talking. 638 00:29:28,544 --> 00:29:30,710 Because that's really jarring, like seeing your head 639 00:29:30,710 --> 00:29:32,210 in one place, and then seeing your head 640 00:29:32,210 --> 00:29:33,250 in a slightly different place. 641 00:29:33,250 --> 00:29:34,374 It's always really jarring. 642 00:29:34,374 --> 00:29:37,070 But whenever he cut, he cut to something 643 00:29:37,070 --> 00:29:40,330 that was other than his face. 644 00:29:40,330 --> 00:29:42,870 When he was walking through with the Geiger counter, 645 00:29:42,870 --> 00:29:46,880 he was cutting to different angles of that same shot. 646 00:29:46,880 --> 00:29:48,830 Or when he was just talking to the camera, 647 00:29:48,830 --> 00:29:51,980 he cut away from his face, and then cut back to it. 648 00:29:51,980 --> 00:29:55,960 So you don't see a little twitch where he was saying one phrase 649 00:29:55,960 --> 00:29:59,860 and he did another take, and he was in a different spot. 650 00:29:59,860 --> 00:30:02,350 It's something you don't notice until you actually 651 00:30:02,350 --> 00:30:03,565 get into the editing process. 652 00:30:03,565 --> 00:30:05,190 And you see, whoa, that's really weird. 653 00:30:05,190 --> 00:30:07,190 But it's something good to keep in mind. 654 00:30:07,190 --> 00:30:12,490 So if you aren't going to finish a two sentence phrase, 655 00:30:12,490 --> 00:30:14,600 think of a way to transition between that, 656 00:30:14,600 --> 00:30:16,654 rather than just doing a hard cut between them, 657 00:30:16,654 --> 00:30:17,460 because it won't look clean. 658 00:30:17,460 --> 00:30:18,710 PROFESSOR: I have some examples of that, 659 00:30:18,710 --> 00:30:19,596 that I was going to show you. 660 00:30:19,596 --> 00:30:21,020 But that's a super, super important point. 661 00:30:21,020 --> 00:30:21,845 Yes, Joshua. 662 00:30:21,845 --> 00:30:25,310 AUDIENCE: I wanted to say a sentence, 663 00:30:25,310 --> 00:30:28,280 but I remember the plans video. 664 00:30:28,280 --> 00:30:31,750 What did they have in common, [INAUDIBLE]? 665 00:30:31,750 --> 00:30:32,450 PROFESSOR: Yeah. 666 00:30:32,450 --> 00:30:36,790 So for that, we are jumping ahead. 667 00:30:36,790 --> 00:30:39,311 I have this one slide, and then I'm going to get to it, 668 00:30:39,311 --> 00:30:39,810 I promise. 669 00:30:39,810 --> 00:30:41,930 So this is going off of the whole 670 00:30:41,930 --> 00:30:43,810 hide your seams type of thing. 671 00:30:43,810 --> 00:30:45,640 I like to keep labels really simple. 672 00:30:45,640 --> 00:30:49,214 Sometimes you'll have a need to label things. 673 00:30:49,214 --> 00:30:51,130 Again, this may be a matter of personal taste. 674 00:30:51,130 --> 00:30:55,250 But I think the cleaner the labels are-- no funky Word Art, 675 00:30:55,250 --> 00:30:57,520 I think those other things look a little amateurish. 676 00:31:00,170 --> 00:31:04,140 If it's good content, it doesn't need the frills, necessarily, 677 00:31:04,140 --> 00:31:05,940 to be engaging. 678 00:31:05,940 --> 00:31:11,025 So you were asking, cutting, how do you do the thing 679 00:31:11,025 --> 00:31:12,620 that Sari was saying? 680 00:31:12,620 --> 00:31:15,340 For plants, we had her really close up 681 00:31:15,340 --> 00:31:16,440 for the beginning, right? 682 00:31:16,440 --> 00:31:18,731 And then she goes, what do all these chemical compounds 683 00:31:18,731 --> 00:31:19,390 have in common? 684 00:31:19,390 --> 00:31:22,110 And then we cut out to her really wide, with her saying, 685 00:31:22,110 --> 00:31:23,090 plants. 686 00:31:23,090 --> 00:31:24,480 Right? 687 00:31:24,480 --> 00:31:28,930 So that is an example of making your cuts deliberate. 688 00:31:28,930 --> 00:31:31,500 You want to cut between two scenes that 689 00:31:31,500 --> 00:31:35,670 look different enough, to where the cut looks intentional. 690 00:31:35,670 --> 00:31:39,174 So this is an example from Jamie's video, 691 00:31:39,174 --> 00:31:40,590 and I think this is the right one. 692 00:31:40,590 --> 00:31:40,970 [VIDEO PLAYBACK] 693 00:31:40,970 --> 00:31:42,386 -Even though we think of computers 694 00:31:42,386 --> 00:31:45,780 as super complicated high-tech machines with very tiny parts, 695 00:31:45,780 --> 00:31:48,440 they can also be huge, wooden, and mechanical, 696 00:31:48,440 --> 00:31:50,154 just like this computer here. 697 00:31:50,154 --> 00:31:51,070 And even though they-- 698 00:31:51,070 --> 00:31:51,800 [END PLAYBACK] 699 00:31:51,800 --> 00:31:55,150 PROFESSOR: So right there, I think in that take, 700 00:31:55,150 --> 00:31:56,360 he messed up. 701 00:31:56,360 --> 00:31:59,222 Or he took too long of a pause in between the two words 702 00:31:59,222 --> 00:32:00,180 that he was delivering. 703 00:32:00,180 --> 00:32:02,004 So we wanted to cut that pause out. 704 00:32:02,004 --> 00:32:03,420 But it would have been weird if we 705 00:32:03,420 --> 00:32:05,270 just cut that pause out, and then 706 00:32:05,270 --> 00:32:07,540 didn't do anything else to the footage. 707 00:32:07,540 --> 00:32:10,530 So basically, he would have been like, computers, blah blah 708 00:32:10,530 --> 00:32:11,357 blah. 709 00:32:11,357 --> 00:32:13,440 And then he would have moved slightly to the left. 710 00:32:13,440 --> 00:32:15,140 And then you would have seen him keep talking. 711 00:32:15,140 --> 00:32:16,450 Do you guys know what I mean? 712 00:32:16,450 --> 00:32:18,150 I'll show you an example. 713 00:32:18,150 --> 00:32:23,000 So to get around that, we had his first part of the sentence 714 00:32:23,000 --> 00:32:24,630 delivered the way we filmed it. 715 00:32:24,630 --> 00:32:27,910 And then when we cut, we cut to a digital zoom of him. 716 00:32:27,910 --> 00:32:29,550 So he was a lot more close up. 717 00:32:29,550 --> 00:32:32,580 And that's what Hank Green does a lot in SciShow. 718 00:32:32,580 --> 00:32:35,720 He cuts back and forth, between a wide shot 719 00:32:35,720 --> 00:32:40,220 and a close up shot, to make the cuts a little less jarring. 720 00:32:40,220 --> 00:32:41,604 I'll just show you the example. 721 00:32:41,604 --> 00:32:42,270 [VIDEO PLAYBACK] 722 00:32:42,270 --> 00:32:45,277 -What it is the most awesome place in the world? 723 00:32:45,277 --> 00:32:47,610 Seems like that would be pretty much the most subjective 724 00:32:47,610 --> 00:32:48,670 question ever. 725 00:32:48,670 --> 00:32:51,940 But this week, scientists use a set of objective criteria 726 00:32:51,940 --> 00:32:55,310 to come up with a list of the world's most biologically 727 00:32:55,310 --> 00:32:56,540 important places. 728 00:32:56,540 --> 00:32:57,937 There might be one near you. 729 00:32:57,937 --> 00:32:58,520 [END PLAYBACK] 730 00:32:58,520 --> 00:33:03,260 PROFESSOR: He also cuts at the ends of phrases and sentences. 731 00:33:03,260 --> 00:33:05,010 So it would feel a little bit more awkward 732 00:33:05,010 --> 00:33:08,120 if he was cutting in between, this is my sentence. 733 00:33:08,120 --> 00:33:10,710 And then he cut to a close up, and I'm 734 00:33:10,710 --> 00:33:12,682 going to keep talking about this. 735 00:33:12,682 --> 00:33:14,140 And then he didn't cut, and he just 736 00:33:14,140 --> 00:33:15,840 kept talking about the next idea. 737 00:33:15,840 --> 00:33:18,200 And then he cut back to this wide shot. 738 00:33:18,200 --> 00:33:22,290 So again, when you're filming and you mess up, keep going. 739 00:33:22,290 --> 00:33:27,440 But try to do as many continuous thought takes as possible. 740 00:33:27,440 --> 00:33:29,950 Because again, don't say, I'm going to fix it in post. 741 00:33:29,950 --> 00:33:32,366 Because sometimes you're going to look at it, and be like, 742 00:33:32,366 --> 00:33:33,820 there's no way around this. 743 00:33:33,820 --> 00:33:38,710 It's OK if you can't get an entire scene perfect. 744 00:33:38,710 --> 00:33:40,730 But at least try to get chunks of sentences, 745 00:33:40,730 --> 00:33:43,430 or chunks of thoughts continuously, 746 00:33:43,430 --> 00:33:46,070 because that'll be a lot easier to work with in post. 747 00:33:50,160 --> 00:33:53,720 So this is the pitch that I recorded for you guys. 748 00:33:53,720 --> 00:33:55,540 And I made it this way because I wanted 749 00:33:55,540 --> 00:33:58,336 to show you that it does look weird when you don't cut 750 00:33:58,336 --> 00:33:59,585 to something different enough. 751 00:33:59,585 --> 00:33:59,860 [VIDEO PLAYBACK] 752 00:33:59,860 --> 00:34:01,276 -When we think of snot, we usually 753 00:34:01,276 --> 00:34:02,880 think of the stuff that oozes out 754 00:34:02,880 --> 00:34:04,420 of us when we're sick, right? 755 00:34:04,420 --> 00:34:06,770 [SNEEZE] 756 00:34:06,770 --> 00:34:08,739 It's just more gross bodily fluid 757 00:34:08,739 --> 00:34:11,760 that we seem to excrete for whatever reason. 758 00:34:11,760 --> 00:34:13,510 But snot is more than just the stuff 759 00:34:13,510 --> 00:34:15,690 that hangs out of the noses of most two-year-olds, 760 00:34:15,690 --> 00:34:17,118 and some 20-year-olds. 761 00:34:17,118 --> 00:34:19,409 It's filled with all of these cells, that do everything 762 00:34:19,409 --> 00:34:21,574 from fighting infection, to keeping 763 00:34:21,574 --> 00:34:23,449 your esophagus from ripping up every time you 764 00:34:23,449 --> 00:34:24,797 try to eat something. 765 00:34:24,797 --> 00:34:26,429 [CHOKING] 766 00:34:26,429 --> 00:34:29,980 And that junk actually can keep stuff out of your body. 767 00:34:29,980 --> 00:34:32,989 And then it knows what to keep out, what to let in, 768 00:34:32,989 --> 00:34:34,050 and when to do it all. 769 00:34:34,050 --> 00:34:34,550 What? 770 00:34:34,550 --> 00:34:35,810 That is so crazy. 771 00:34:35,810 --> 00:34:39,147 Snot and mucus is so important that your body makes a gallon. 772 00:34:39,147 --> 00:34:39,730 [END PLAYBACK] 773 00:34:39,730 --> 00:34:41,604 PROFESSOR: It's visually very hiccupy, right? 774 00:34:41,604 --> 00:34:45,570 Because I'm only moving slightly to the left and right. 775 00:34:45,570 --> 00:34:49,740 And I think it's appropriate for webcam YouTube videos. 776 00:34:49,740 --> 00:34:51,239 That's just kind of the style of it. 777 00:34:51,239 --> 00:34:53,090 You're centered, which is also breaking 778 00:34:53,090 --> 00:34:56,250 a rule of framing in thirds. 779 00:34:56,250 --> 00:35:00,390 So stylistically, I think it's more acceptable in YouTube 780 00:35:00,390 --> 00:35:02,350 webcam videos. 781 00:35:02,350 --> 00:35:04,820 But for these, it will look out of place. 782 00:35:04,820 --> 00:35:07,320 Because you have like a very formalized script, 783 00:35:07,320 --> 00:35:10,670 and it's going to jar with a very amateurish style 784 00:35:10,670 --> 00:35:11,499 of editing. 785 00:35:11,499 --> 00:35:12,790 Does that make sense to people? 786 00:35:12,790 --> 00:35:14,690 AUDIENCE: When you did that, did you actually 787 00:35:14,690 --> 00:35:16,106 have it in your head that you were 788 00:35:16,106 --> 00:35:17,851 going to cut to those spots, or was it 789 00:35:17,851 --> 00:35:20,740 just what you put together after you had everything? 790 00:35:20,740 --> 00:35:23,170 PROFESSOR: So I did that in one long continuous take. 791 00:35:23,170 --> 00:35:27,670 I just hit Photo Booth on Mac and I said my whole thing. 792 00:35:27,670 --> 00:35:30,610 And there were lots of spots where I'd messed up in between. 793 00:35:30,610 --> 00:35:33,290 So I did the style of editing that I first 794 00:35:33,290 --> 00:35:36,860 talked about, which is just cutting out the bad bits. 795 00:35:36,860 --> 00:35:39,030 So I wasn't intentionally doing that. 796 00:35:39,030 --> 00:35:43,240 But that's why the movements are just a little off-kilter. 797 00:35:43,240 --> 00:35:44,890 I'm not trying to move or anything. 798 00:35:44,890 --> 00:35:47,300 It's just that I move when I talk. 799 00:35:47,300 --> 00:35:49,680 But it reads a little bit weird and jarring. 800 00:35:49,680 --> 00:35:52,360 AUDIENCE: And you'd recommend just leaving record 801 00:35:52,360 --> 00:35:56,990 on for however long it takes? 802 00:35:56,990 --> 00:35:59,220 Like in between scenes, maybe? 803 00:35:59,220 --> 00:36:02,644 PROFESSOR: I personally have a really hard time remembering 804 00:36:02,644 --> 00:36:03,560 what I'm going to say. 805 00:36:03,560 --> 00:36:07,540 So I would feel better, when I was shooting, 806 00:36:07,540 --> 00:36:11,770 if I knew that I only have to say two or three sentences. 807 00:36:11,770 --> 00:36:15,360 But when you record, always record the preceding sentence, 808 00:36:15,360 --> 00:36:17,280 and the sentence that comes after the one 809 00:36:17,280 --> 00:36:18,650 that you're trying to record. 810 00:36:18,650 --> 00:36:22,170 Because your intonation will sound different. 811 00:36:22,170 --> 00:36:24,830 Otherwise, every single sentence will sound like this. 812 00:36:24,830 --> 00:36:26,560 It will sound like you are talking 813 00:36:26,560 --> 00:36:27,980 in the same style of sentence. 814 00:36:27,980 --> 00:36:29,646 It will sound like you were just reading 815 00:36:29,646 --> 00:36:30,760 a bunch of bullet points. 816 00:36:30,760 --> 00:36:34,830 So that's why, if you're shooting scene 2, 817 00:36:34,830 --> 00:36:37,310 shoot the last sentence of scene 1, 818 00:36:37,310 --> 00:36:39,700 and the second sentence of scene 2. 819 00:36:39,700 --> 00:36:41,800 Make sense? 820 00:36:41,800 --> 00:36:44,870 And so this is also from Walter Murch's book. 821 00:36:44,870 --> 00:36:47,550 But this is sort of a tongue-in-cheek thing. 822 00:36:47,550 --> 00:36:51,000 Thing But he talks about what makes a good cut, and the order 823 00:36:51,000 --> 00:36:53,850 of priority. 824 00:36:53,850 --> 00:36:56,400 A cut that maintains the emotion of the scene 825 00:36:56,400 --> 00:36:59,080 is something that's really important. 826 00:36:59,080 --> 00:37:00,930 Which sounds very strange. 827 00:37:00,930 --> 00:37:05,340 But if you have, say, a very dramatic scene, 828 00:37:05,340 --> 00:37:07,940 with two people, like Sari and I are getting into an argument, 829 00:37:07,940 --> 00:37:08,517 right? 830 00:37:08,517 --> 00:37:10,350 And we have the camera that's focused on me, 831 00:37:10,350 --> 00:37:11,808 and a camera that's focused on her. 832 00:37:11,808 --> 00:37:13,540 And you want to show both of us. 833 00:37:13,540 --> 00:37:17,590 So actually, you would show Sari getting all mad at me. 834 00:37:17,590 --> 00:37:19,570 And then you'd show me getting all mad at her. 835 00:37:19,570 --> 00:37:21,350 Maybe you'd show her again. 836 00:37:21,350 --> 00:37:24,391 If you did super rapid cuts of her and me, back and forth, 837 00:37:24,391 --> 00:37:25,890 back and forth, back and forth, it's 838 00:37:25,890 --> 00:37:28,290 going to read kind of funny, right? 839 00:37:28,290 --> 00:37:30,640 It'll read like Western parody. 840 00:37:30,640 --> 00:37:32,030 You guys know what I mean? 841 00:37:32,030 --> 00:37:37,740 But if you wanted to highlight the gravitas of the situation, 842 00:37:37,740 --> 00:37:41,560 you would cut from her face to maybe a wide shot 843 00:37:41,560 --> 00:37:42,430 of the two of us. 844 00:37:42,430 --> 00:37:44,280 And you wouldn't make the cuts as rapid. 845 00:37:44,280 --> 00:37:45,944 Does that make sense to people? 846 00:37:45,944 --> 00:37:47,860 So I think that's what he means by maintaining 847 00:37:47,860 --> 00:37:49,650 the emotion of a cut. 848 00:37:49,650 --> 00:37:52,650 I think for the purposes of your video, 849 00:37:52,650 --> 00:37:54,640 the main thing will be just making sure 850 00:37:54,640 --> 00:37:59,610 that the cuts aren't happening too rapidly, or too slowly. 851 00:37:59,610 --> 00:38:01,000 I think you'll know. 852 00:38:01,000 --> 00:38:02,600 You'll watch the thing, and you'll 853 00:38:02,600 --> 00:38:04,830 feel like something's a little off kilter. 854 00:38:04,830 --> 00:38:06,610 And if that's the case, I would encourage 855 00:38:06,610 --> 00:38:09,460 you to adjust how long you're making the clips, 856 00:38:09,460 --> 00:38:14,350 and how much dead space you're leaving it between the clips. 857 00:38:14,350 --> 00:38:15,574 This is a way to inject-- 858 00:38:15,574 --> 00:38:16,240 [VIDEO PLAYBACK] 859 00:38:16,240 --> 00:38:18,902 -OK, so this might be we our weak point. 860 00:38:18,902 --> 00:38:20,264 Or is it? 861 00:38:20,264 --> 00:38:21,380 [END PLAYBACK] 862 00:38:21,380 --> 00:38:23,140 PROFESSOR: So that's not a cut. 863 00:38:23,140 --> 00:38:25,910 But that was a type of zoom that is emotionally 864 00:38:25,910 --> 00:38:27,580 appropriate for this scene, because it's 865 00:38:27,580 --> 00:38:28,740 trying to be funny. 866 00:38:28,740 --> 00:38:33,680 But if you did that for you talking about cargo ships 867 00:38:33,680 --> 00:38:35,400 not sinking carrying lots of people, 868 00:38:35,400 --> 00:38:39,570 it would be totally inappropriate, right? 869 00:38:39,570 --> 00:38:42,740 The other thing he talks about is, does it advance the story? 870 00:38:42,740 --> 00:38:44,700 And I will show you an example of this. 871 00:38:44,700 --> 00:38:46,680 [VIDEO PLAYBACK] 872 00:38:46,680 --> 00:38:49,506 -And all those bacteria care about is staying alive. 873 00:38:49,506 --> 00:38:50,880 Our intestine actually helps them 874 00:38:50,880 --> 00:38:53,265 do that, because the temperature is warm and constant. 875 00:38:53,265 --> 00:38:54,890 They're sheltered from the environment. 876 00:38:54,890 --> 00:38:58,767 And best of all, we provide the food. 877 00:38:58,767 --> 00:38:59,350 [END PLAYBACK] 878 00:38:59,350 --> 00:39:02,620 PROFESSOR: So does anyone want to guess 879 00:39:02,620 --> 00:39:05,770 how that particular cut advanced the story? 880 00:39:05,770 --> 00:39:09,226 Or did you notice where the cut was? 881 00:39:09,226 --> 00:39:12,204 AUDIENCE: Can you show it again? 882 00:39:12,204 --> 00:39:12,870 PROFESSOR: Sure. 883 00:39:12,870 --> 00:39:13,920 So try to pay attention to where the cut happens. 884 00:39:13,920 --> 00:39:14,586 [VIDEO PLAYBACK] 885 00:39:14,586 --> 00:39:16,735 -All those bacteria care about is staying alive. 886 00:39:16,735 --> 00:39:18,110 Our intestine actually helps them 887 00:39:18,110 --> 00:39:20,585 do that, because the temperature is warm and constant. 888 00:39:20,585 --> 00:39:22,210 They're sheltered from the environment. 889 00:39:22,210 --> 00:39:25,040 And best of all, we provide the food. 890 00:39:25,040 --> 00:39:26,360 [END PLAYBACK] 891 00:39:26,360 --> 00:39:28,443 PROFESSOR: So there are actually two cuts in this. 892 00:39:28,443 --> 00:39:30,370 But the first cut is of him walking. 893 00:39:30,370 --> 00:39:31,880 He's like, and best of all. 894 00:39:31,880 --> 00:39:34,250 And then it cuts to him arriving to the place where 895 00:39:34,250 --> 00:39:35,420 he was walking. 896 00:39:35,420 --> 00:39:39,380 So in those five seconds or so, the story 897 00:39:39,380 --> 00:39:43,780 was about George walking to the hood to do his demo. 898 00:39:43,780 --> 00:39:45,990 That sounds like a dumb story, but that's essentially 899 00:39:45,990 --> 00:39:48,340 what the story of those five seconds were. 900 00:39:48,340 --> 00:39:50,522 So a cut that often works is, if you're 901 00:39:50,522 --> 00:39:52,230 doing like a walk and talk, for instance, 902 00:39:52,230 --> 00:39:53,840 and you're saying blah blah blah. 903 00:39:53,840 --> 00:39:56,000 Navy ships, people might sink. 904 00:39:56,000 --> 00:40:00,090 And then you cut to the person arriving at their station, 905 00:40:00,090 --> 00:40:02,040 like where the boats or whatever are. 906 00:40:02,040 --> 00:40:03,400 Does that make sense to people? 907 00:40:03,400 --> 00:40:07,648 AUDIENCE: So how do you ensure that your voice doesn't 908 00:40:07,648 --> 00:40:10,040 sound funny? 909 00:40:10,040 --> 00:40:11,630 PROFESSOR: Yeah, like if your delivery 910 00:40:11,630 --> 00:40:13,732 of the sentence in one location is 911 00:40:13,732 --> 00:40:14,940 too different from the other. 912 00:40:14,940 --> 00:40:18,160 AUDIENCE: Do you remember how you spoke it in the shoot? 913 00:40:18,160 --> 00:40:20,720 PROFESSOR: So to shoot that scene, for instance, 914 00:40:20,720 --> 00:40:22,490 he would say, we shelter them. 915 00:40:22,490 --> 00:40:25,392 And best of all-- we didn't cut there. 916 00:40:25,392 --> 00:40:27,850 We made him finish the line, when he's saying, best of all, 917 00:40:27,850 --> 00:40:28,750 we provide the food. 918 00:40:28,750 --> 00:40:31,280 And we took a complete cut of him walking and saying 919 00:40:31,280 --> 00:40:32,400 the whole line. 920 00:40:32,400 --> 00:40:37,730 And then, when we shot the part of him walking toward the hood, 921 00:40:37,730 --> 00:40:39,885 it wasn't like we said action, and he 922 00:40:39,885 --> 00:40:41,690 said, we provide the food. 923 00:40:41,690 --> 00:40:44,500 We said action, and he says, and best of all 924 00:40:44,500 --> 00:40:45,970 we provide the food. 925 00:40:45,970 --> 00:40:51,750 So that's what I mean by, say the lines that precede 926 00:40:51,750 --> 00:40:55,727 and follow the line that you're actually trying to capture. 927 00:40:55,727 --> 00:40:57,060 AUDIENCE: And do multiple takes. 928 00:40:57,060 --> 00:40:57,685 PROFESSOR: Yes. 929 00:40:57,685 --> 00:40:59,724 AUDIENCE: And say the line a little bit 930 00:40:59,724 --> 00:41:00,640 differently each time. 931 00:41:00,640 --> 00:41:02,785 Because maybe you'll find that your third take 932 00:41:02,785 --> 00:41:05,062 for the initial shot, and your second take 933 00:41:05,062 --> 00:41:07,582 for your second shot, are the most cohesive. 934 00:41:07,582 --> 00:41:09,290 PROFESSOR: Yeah, that's very good advice. 935 00:41:09,290 --> 00:41:13,710 And as the directing partner of whoever you're shooting, 936 00:41:13,710 --> 00:41:17,510 this is the thing that you need to do to help your partner. 937 00:41:17,510 --> 00:41:20,840 If you notice that their delivery in the second location 938 00:41:20,840 --> 00:41:22,579 is a lot more subdued and tired, which 939 00:41:22,579 --> 00:41:25,120 is going to be the tendency for most people, you can be like, 940 00:41:25,120 --> 00:41:26,860 you said that the beginning of that line 941 00:41:26,860 --> 00:41:29,109 really energetically when we were in that other place, 942 00:41:29,109 --> 00:41:31,644 so you need to match that. 943 00:41:31,644 --> 00:41:35,780 AUDIENCE: Even if you do the take right, do it again. 944 00:41:35,780 --> 00:41:38,815 It's really easy to say, oh I did it right this time, 945 00:41:38,815 --> 00:41:40,480 I'm done. 946 00:41:40,480 --> 00:41:41,480 I memorized my lines. 947 00:41:41,480 --> 00:41:44,010 But even if it's that struggle to remember the last word 948 00:41:44,010 --> 00:41:45,850 in the sentence, it's worth it to get 949 00:41:45,850 --> 00:41:49,294 another complete usable take rather than be stuck with one. 950 00:41:49,294 --> 00:41:51,710 PROFESSOR: And you're going to have to work within reason. 951 00:41:51,710 --> 00:41:54,550 Obviously you're not going to do 100 takes of each scene 952 00:41:54,550 --> 00:41:56,310 perfectly. 953 00:41:56,310 --> 00:41:58,700 So this is up to your discretion, and the amount 954 00:41:58,700 --> 00:41:59,960 of time that you have. 955 00:41:59,960 --> 00:42:03,795 But I would say, at least try to get three good takes. 956 00:42:07,550 --> 00:42:09,470 I lost my train of thought completely, 957 00:42:09,470 --> 00:42:10,970 but that was a very important point. 958 00:42:10,970 --> 00:42:12,590 Thank you. 959 00:42:12,590 --> 00:42:15,520 And then the other stuff is rhythm. 960 00:42:15,520 --> 00:42:18,260 And this is what I mean by if your cuts are too rapid. 961 00:42:18,260 --> 00:42:20,010 Oh, I remembered what I was going to say. 962 00:42:20,010 --> 00:42:23,250 Sorry, I'm going all over the place today. 963 00:42:23,250 --> 00:42:26,390 So in the engines video, that was the latest night 964 00:42:26,390 --> 00:42:27,250 that we had worked. 965 00:42:27,250 --> 00:42:30,470 I think I got home at 3:00 in the morning that day. 966 00:42:30,470 --> 00:42:34,630 And at the end of the night, obviously the two talents, 967 00:42:34,630 --> 00:42:36,770 their energy levels were super depleted. 968 00:42:36,770 --> 00:42:38,640 And so that's what we ended up re-shooting. 969 00:42:38,640 --> 00:42:40,160 And that's what re-shoots are for. 970 00:42:40,160 --> 00:42:42,750 Even if you end up getting all the shots that you need, 971 00:42:42,750 --> 00:42:45,999 oftentimes you won't notice that someone's delivery was really 972 00:42:45,999 --> 00:42:47,790 different until you're in the editing room, 973 00:42:47,790 --> 00:42:49,870 and you cut everything together. 974 00:42:49,870 --> 00:42:52,180 So that's why I wanted to leave some room for you guys 975 00:42:52,180 --> 00:42:54,950 have time to re-shoot if you needed to. 976 00:42:54,950 --> 00:42:58,690 I don't anticipate that you're going to not 977 00:42:58,690 --> 00:43:00,830 get shots that you need to get. 978 00:43:00,830 --> 00:43:03,570 But that buffer room, we always use it for Science 979 00:43:03,570 --> 00:43:06,236 Out Loud, regardless of how perfect the host is. 980 00:43:06,236 --> 00:43:07,777 Just because stuff like that happens. 981 00:43:10,384 --> 00:43:11,050 [VIDEO PLAYBACK] 982 00:43:11,050 --> 00:43:14,300 -This rock can absorb heat from the sun during the day, 983 00:43:14,300 --> 00:43:18,370 and then release that heat hours later, after the sun has set. 984 00:43:18,370 --> 00:43:20,720 This is fine when you're dealing with rocks in the sun, 985 00:43:20,720 --> 00:43:23,060 but unfortunately it also happens with bodies of water 986 00:43:23,060 --> 00:43:24,500 and toxins. 987 00:43:24,500 --> 00:43:26,450 Rivers, lakes, streams, and oceans are still 988 00:43:26,450 --> 00:43:28,020 releasing contaminants that we dumped 989 00:43:28,020 --> 00:43:31,870 into them up to 100 years ago. 990 00:43:31,870 --> 00:43:35,770 From 1947 to 1977, humans dumped hundreds of thousands 991 00:43:35,770 --> 00:43:37,710 of pounds of polychlorinated biphenyls 992 00:43:37,710 --> 00:43:40,230 into the Hudson River. 993 00:43:40,230 --> 00:43:43,590 Those PCBs attach themselves to sediment particles and settle 994 00:43:43,590 --> 00:43:44,280 to the bottom. 995 00:43:44,280 --> 00:43:45,680 [END PLAYBACK] 996 00:43:45,680 --> 00:43:49,630 PROFESSOR: So for that video, we had a sense, 997 00:43:49,630 --> 00:43:53,319 when we saw the rough cut, that it was kind of a frantic video. 998 00:43:53,319 --> 00:43:55,360 There's a lot of information being thrown at you. 999 00:43:55,360 --> 00:43:57,110 I'm not really following, even though I've 1000 00:43:57,110 --> 00:43:59,140 helped her edit the script. 1001 00:43:59,140 --> 00:44:01,510 If I'm tuning out, then the audience 1002 00:44:01,510 --> 00:44:03,220 is probably going to tune out. 1003 00:44:03,220 --> 00:44:05,510 So rhythmically, the cuts maybe were 1004 00:44:05,510 --> 00:44:07,520 happening a little too fast. 1005 00:44:07,520 --> 00:44:11,320 And she's also, in real life, a naturally fast talker. 1006 00:44:11,320 --> 00:44:13,170 We had to slow her down a lot. 1007 00:44:13,170 --> 00:44:15,470 But she's just an animated person. 1008 00:44:15,470 --> 00:44:17,270 So we knew that the tendency of this video 1009 00:44:17,270 --> 00:44:19,940 is going to just feel super, super fast. 1010 00:44:19,940 --> 00:44:21,880 And if you are naturally a fast talker, 1011 00:44:21,880 --> 00:44:23,710 this is something to keep in mind, 1012 00:44:23,710 --> 00:44:27,060 that you can help the pacing, and the franticness, 1013 00:44:27,060 --> 00:44:30,500 of maybe how you might read, with how you cut the scenes. 1014 00:44:30,500 --> 00:44:34,400 So what we did instead was, we allowed for a lot of time 1015 00:44:34,400 --> 00:44:38,920 in between her scenes to fill with B-roll or music. 1016 00:44:38,920 --> 00:44:42,270 We tried to make the cuts not happen as rapidly, basically. 1017 00:44:42,270 --> 00:44:43,890 [VIDEO PLAYBACK] 1018 00:44:43,890 --> 00:44:49,580 -This rock can absorb heat from the sun during the day, 1019 00:44:49,580 --> 00:44:53,320 and then release it hours later, after the sun has set. 1020 00:44:53,320 --> 00:44:55,650 This is fine when you're dealing with rocks in the sun, 1021 00:44:55,650 --> 00:44:57,990 but unfortunately it also happens with bodies of water 1022 00:44:57,990 --> 00:44:59,880 and toxins. 1023 00:44:59,880 --> 00:45:01,850 Rivers, lakes, streams, and oceans are still 1024 00:45:01,850 --> 00:45:03,420 releasing contaminants that we dumped 1025 00:45:03,420 --> 00:45:06,580 into them up to 100 years ago. 1026 00:45:06,580 --> 00:45:10,470 From 1947 to 1977, humans dumped hundreds of thousands 1027 00:45:10,470 --> 00:45:12,410 of pounds of polychlorinated biphenyls 1028 00:45:12,410 --> 00:45:13,410 into the Hudson River. 1029 00:45:13,410 --> 00:45:14,730 [END PLAYBACK] 1030 00:45:14,730 --> 00:45:17,320 PROFESSOR: So again, it's a super, super nuanced thing. 1031 00:45:17,320 --> 00:45:19,060 I think the music helped with it a lot. 1032 00:45:19,060 --> 00:45:22,460 We tried to use very calm music. 1033 00:45:22,460 --> 00:45:26,330 We used a still of that old photograph of people 1034 00:45:26,330 --> 00:45:28,710 cleaning up the Hudson River, just to break up 1035 00:45:28,710 --> 00:45:31,510 how many times we were changing back and forth between all 1036 00:45:31,510 --> 00:45:32,530 the locations. 1037 00:45:32,530 --> 00:45:33,841 Is this making sense to people? 1038 00:45:33,841 --> 00:45:35,340 Sometimes I feel like I'm saying it. 1039 00:45:35,340 --> 00:45:37,756 And then I watch it, and I'm like, that doesn't look super 1040 00:45:37,756 --> 00:45:39,970 different from the rough cut. 1041 00:45:39,970 --> 00:45:42,459 But it helped me sleep that night. 1042 00:45:42,459 --> 00:45:44,250 And this is the other stuff he talks about, 1043 00:45:44,250 --> 00:45:47,970 which is not as important. 1044 00:45:47,970 --> 00:45:49,750 But the eye trace, like does it make 1045 00:45:49,750 --> 00:45:53,360 sense for the audience's focus of interest within the frame? 1046 00:45:53,360 --> 00:45:54,900 So are you cutting from something 1047 00:45:54,900 --> 00:45:57,870 where you're in the top corner, to all of a sudden, 1048 00:45:57,870 --> 00:45:59,780 you're cutting to something in the middle, 1049 00:45:59,780 --> 00:46:01,430 centered, to all of a sudden, you're cutting to something 1050 00:46:01,430 --> 00:46:02,840 where you're on the left side? 1051 00:46:02,840 --> 00:46:05,635 Are you cutting so rapidly, and changing your position, 1052 00:46:05,635 --> 00:46:08,850 to where it's not making sense to the viewer? 1053 00:46:08,850 --> 00:46:10,690 The 2D plan on screen, are you are you 1054 00:46:10,690 --> 00:46:13,110 consistent with the stage line, basically? 1055 00:46:13,110 --> 00:46:16,700 So I don't think this is going to be as relevant for you guys. 1056 00:46:16,700 --> 00:46:18,424 But if someone's walking, for example, 1057 00:46:18,424 --> 00:46:20,590 and then you cut to a scene where they're continuing 1058 00:46:20,590 --> 00:46:23,750 to walk, but they're in the corner of the screen, 1059 00:46:23,750 --> 00:46:25,950 then it doesn't make as much sense. 1060 00:46:25,950 --> 00:46:27,850 And then the 3D space of action. 1061 00:46:27,850 --> 00:46:31,330 If you have multiple people in the same room, 1062 00:46:31,330 --> 00:46:34,180 or multiple objects, and you cut from one angle 1063 00:46:34,180 --> 00:46:36,780 to another angle, make sure the objects are still 1064 00:46:36,780 --> 00:46:40,760 the same relationship to each other. 1065 00:46:40,760 --> 00:46:42,360 And the reason why he lists this out 1066 00:46:42,360 --> 00:46:49,290 is, Walter Murch's theory is, you should never 1067 00:46:49,290 --> 00:46:51,745 compromise emotion before you would compromise 1068 00:46:51,745 --> 00:46:53,750 the eye trace with a cut. 1069 00:46:53,750 --> 00:46:56,207 So if a cut satisfies the eye trace, 1070 00:46:56,207 --> 00:46:57,790 but it doesn't make sense emotionally, 1071 00:46:57,790 --> 00:47:00,430 then you shouldn't do it. 1072 00:47:00,430 --> 00:47:03,540 Practically speaking, I think what this translates 1073 00:47:03,540 --> 00:47:06,380 for you guys, is that if something feels weird 1074 00:47:06,380 --> 00:47:09,550 when you see the rough cut of your video, most of the time, 1075 00:47:09,550 --> 00:47:12,620 it will be because you cut it in a weird place. 1076 00:47:12,620 --> 00:47:16,040 You either cut your speech too short, 1077 00:47:16,040 --> 00:47:20,750 or you didn't cut to a wide enough shot from a close up. 1078 00:47:20,750 --> 00:47:25,510 You are cutting too much, too quickly, or not cutting enough. 1079 00:47:25,510 --> 00:47:26,720 Does that make sense? 1080 00:47:31,520 --> 00:47:33,660 I'm going to talk a little bit about music, 1081 00:47:33,660 --> 00:47:36,480 and some of the Creative Commons resources 1082 00:47:36,480 --> 00:47:39,820 that will be available to you, if you want to use footage 1083 00:47:39,820 --> 00:47:41,900 that you don't have access to. 1084 00:47:41,900 --> 00:47:43,404 Before I go into that, does anyone 1085 00:47:43,404 --> 00:47:44,945 have further questions about editing? 1086 00:47:48,090 --> 00:47:50,540 Sari is good with Adobe, right? 1087 00:47:50,540 --> 00:47:51,411 You use Premier? 1088 00:47:51,411 --> 00:47:52,702 AUDIENCE: Yeah, I used Premier. 1089 00:47:52,702 --> 00:47:57,121 I used iMovie before that, so just give them those. 1090 00:47:57,121 --> 00:48:00,346 Final Cut Pro, I haven't looked at it, 1091 00:48:00,346 --> 00:48:03,334 but professional editing softwares usually 1092 00:48:03,334 --> 00:48:05,279 have some weird rules. 1093 00:48:05,279 --> 00:48:06,820 So, if that's what you choose to use, 1094 00:48:06,820 --> 00:48:09,808 I can definitely go and work in the computer lab 1095 00:48:09,808 --> 00:48:10,820 and figure it out. 1096 00:48:10,820 --> 00:48:13,770 PROFESSOR: So Building 26, I'll show you 1097 00:48:13,770 --> 00:48:15,295 at the end of class the website. 1098 00:48:15,295 --> 00:48:18,400 But I've reserved it for the rest of this class period, 1099 00:48:18,400 --> 00:48:21,870 and it has all the software on it if you want to use it. 1100 00:48:21,870 --> 00:48:25,620 I have used Final Cut Pro and Final Cut Express. 1101 00:48:25,620 --> 00:48:28,910 I'm not super, super good at it, though. 1102 00:48:28,910 --> 00:48:31,590 But in the remaining class time, when you basically 1103 00:48:31,590 --> 00:48:33,560 have time to work on your projects, 1104 00:48:33,560 --> 00:48:36,630 we will be around if you want to schedule a certain time to work 1105 00:48:36,630 --> 00:48:38,619 on a particular problem that you're having 1106 00:48:38,619 --> 00:48:39,660 in your editing software. 1107 00:48:39,660 --> 00:48:40,880 Just come talk to us. 1108 00:48:40,880 --> 00:48:44,140 All the tutorials for a bunch of these software, 1109 00:48:44,140 --> 00:48:46,890 they're all listed on the syllabus. 1110 00:48:46,890 --> 00:48:51,860 So when it comes to music, it's a bit like lighting, 1111 00:48:51,860 --> 00:48:52,580 as Chris said. 1112 00:48:52,580 --> 00:48:54,120 First, do no harm. 1113 00:48:54,120 --> 00:48:58,720 So I would much prefer a video that does not have music 1114 00:48:58,720 --> 00:49:02,660 to a video that has music that is super distracting, 1115 00:49:02,660 --> 00:49:07,110 or an entirely different tone from the video that you're 1116 00:49:07,110 --> 00:49:08,820 trying to convey. 1117 00:49:08,820 --> 00:49:10,150 So be careful with music. 1118 00:49:10,150 --> 00:49:12,150 But music is a really, really great tool, 1119 00:49:12,150 --> 00:49:15,560 because I think it establishes emotion 1120 00:49:15,560 --> 00:49:20,090 better than any other tool that you have in your video kit. 1121 00:49:20,090 --> 00:49:21,629 That's my opinion. 1122 00:49:21,629 --> 00:49:22,920 I'll show you an example of it. 1123 00:49:22,920 --> 00:49:25,862 Do you guys remember the video of Neil deGrasse Tyson 1124 00:49:25,862 --> 00:49:27,320 that I showed you on the first day? 1125 00:49:27,320 --> 00:49:27,670 The 10 questions? 1126 00:49:27,670 --> 00:49:28,370 [VIDEO PLAYBACK] 1127 00:49:28,370 --> 00:49:31,249 -What is the most astounding fact you can share with us 1128 00:49:31,249 --> 00:49:32,040 about the universe? 1129 00:49:35,030 --> 00:49:38,570 -The most astounding fact, the most astounding fact, 1130 00:49:38,570 --> 00:49:43,880 is the knowledge that the atoms that 1131 00:49:43,880 --> 00:49:48,250 comprise life on earth, the atoms that make up 1132 00:49:48,250 --> 00:49:54,480 the human body, are traceable to the crucibles that 1133 00:49:54,480 --> 00:50:00,930 cooked light elements into heavy elements in their core. 1134 00:50:00,930 --> 00:50:03,070 Under extreme temperatures and pressures, 1135 00:50:03,070 --> 00:50:06,980 these stars, the high mass ones among them, 1136 00:50:06,980 --> 00:50:10,460 went unstable in their later years. 1137 00:50:10,460 --> 00:50:12,160 They collapsed, and then exploded, 1138 00:50:12,160 --> 00:50:17,640 scattering their enriched guts across the galaxy. 1139 00:50:17,640 --> 00:50:23,200 Guts made of carbon nitrogen, oxygen, 1140 00:50:23,200 --> 00:50:26,240 and all the fundamental ingredients of life itself. 1141 00:50:26,240 --> 00:50:29,390 These ingredients become part of gas clouds 1142 00:50:29,390 --> 00:50:33,650 that condense, collapse, form the next generation 1143 00:50:33,650 --> 00:50:36,660 of solar systems, stars with orbiting planets. 1144 00:50:36,660 --> 00:50:40,490 And those planets now have the ingredients for life itself. 1145 00:50:43,070 --> 00:50:45,830 So that when I look up at the night sky, 1146 00:50:45,830 --> 00:50:50,870 and I know that yes, we are part of this universe, 1147 00:50:50,870 --> 00:50:53,890 we are in this universe. 1148 00:50:53,890 --> 00:50:57,850 But perhaps more important than both of those facts, 1149 00:50:57,850 --> 00:51:01,470 is that the universe is in us. 1150 00:51:01,470 --> 00:51:05,350 When I reflect on that fact, I look up. 1151 00:51:05,350 --> 00:51:07,280 Many people feel small, because they're small, 1152 00:51:07,280 --> 00:51:08,280 and the universe is big. 1153 00:51:08,280 --> 00:51:14,730 But I feel big, because my atoms came from those stars. 1154 00:51:14,730 --> 00:51:17,570 [END PLAYBACK] 1155 00:51:17,570 --> 00:51:21,980 PROFESSOR: So this video is effective for a couple 1156 00:51:21,980 --> 00:51:22,970 of different reasons. 1157 00:51:22,970 --> 00:51:24,540 You feel like you're sitting there with him. 1158 00:51:24,540 --> 00:51:26,081 You feel like you're the person who's 1159 00:51:26,081 --> 00:51:29,620 sitting in the third chair, watching an interview happen. 1160 00:51:29,620 --> 00:51:32,230 Say what you will about Neil deGrasse Tyson, 1161 00:51:32,230 --> 00:51:34,450 but he's a very engaging speaker. 1162 00:51:34,450 --> 00:51:38,330 And I think that this video encapsulates the wonder 1163 00:51:38,330 --> 00:51:41,200 that he has for astrophysics. 1164 00:51:41,200 --> 00:51:44,140 I'm going to show you another video that took 1165 00:51:44,140 --> 00:51:45,530 the audio from this interview. 1166 00:51:45,530 --> 00:51:50,680 And this user Max Schlickenmeyer put together 1167 00:51:50,680 --> 00:51:56,149 a fan video that highlights certain elements 1168 00:51:56,149 --> 00:51:57,940 of this experience in a very different way. 1169 00:52:00,664 --> 00:52:01,330 [VIDEO PLAYBACK] 1170 00:52:01,330 --> 00:52:04,309 -What is the most astounding fact you can share with us 1171 00:52:04,309 --> 00:52:05,100 about the universe? 1172 00:52:08,290 --> 00:52:10,390 -The most astounding fact. 1173 00:52:10,390 --> 00:52:15,520 The most astounding fact is the knowledge 1174 00:52:15,520 --> 00:52:21,210 that the atoms that comprise life on earth, the atoms that 1175 00:52:21,210 --> 00:52:27,790 make up the human body, are traceable to the crucibles that 1176 00:52:27,790 --> 00:52:34,190 cooked light elements into heavy elements in their core. 1177 00:52:34,190 --> 00:52:36,330 Under extreme temperatures and pressures, 1178 00:52:36,330 --> 00:52:40,260 these stars, the high mass ones among them, 1179 00:52:40,260 --> 00:52:43,730 went unstable in their later years. 1180 00:52:43,730 --> 00:52:45,420 They collapsed, and then exploded, 1181 00:52:45,420 --> 00:52:50,930 scattering their enriched guts across the galaxy. 1182 00:52:50,930 --> 00:52:56,520 Guts made of carbon, nitrogen, oxygen, 1183 00:52:56,520 --> 00:52:59,500 and all the fundamental ingredients of life itself. 1184 00:52:59,500 --> 00:53:02,670 These ingredients become part of gas clouds 1185 00:53:02,670 --> 00:53:06,990 that condense, collapse, form the next generation 1186 00:53:06,990 --> 00:53:09,930 of solar systems, stars with orbiting planets. 1187 00:53:09,930 --> 00:53:13,442 And those planets now have the ingredients for life itself. 1188 00:53:16,240 --> 00:53:19,100 So that when I look up at the night sky, 1189 00:53:19,100 --> 00:53:24,150 and I know that yes, we are part of this universe, 1190 00:53:24,150 --> 00:53:27,170 we are in this universe. 1191 00:53:27,170 --> 00:53:29,750 But perhaps more important than both of those 1192 00:53:29,750 --> 00:53:34,750 facts is that the universe is in us. 1193 00:53:34,750 --> 00:53:38,516 When I reflect on that fact, I look up. 1194 00:53:38,516 --> 00:53:40,390 Many people feel small, because they're small 1195 00:53:40,390 --> 00:53:43,470 and the universe is big. 1196 00:53:43,470 --> 00:53:49,450 Because my atoms came from those stars. 1197 00:53:49,450 --> 00:53:51,690 There's a level of connectivity. 1198 00:53:51,690 --> 00:53:53,190 That's really what you want in life. 1199 00:53:53,190 --> 00:53:55,335 You want to feel connected, want to feel relevant. 1200 00:53:55,335 --> 00:53:59,982 You want to feel like you're a participant 1201 00:53:59,982 --> 00:54:03,720 in the goings-on of activities and events around you. 1202 00:54:03,720 --> 00:54:05,817 That's precisely what we are, just by being alive. 1203 00:54:05,817 --> 00:54:06,400 [END PLAYBACK] 1204 00:54:08,477 --> 00:54:10,560 PROFESSOR: So, a very different experience, right? 1205 00:54:10,560 --> 00:54:13,450 And did you recognize that song? 1206 00:54:13,450 --> 00:54:15,070 AUDIENCE: I don't, but I thought it 1207 00:54:15,070 --> 00:54:16,570 was particularly terrible when there 1208 00:54:16,570 --> 00:54:18,660 was a different set of words. 1209 00:54:18,660 --> 00:54:19,500 PROFESSOR: Yes. 1210 00:54:19,500 --> 00:54:21,580 So we won't question the scientific accuracy 1211 00:54:21,580 --> 00:54:23,340 of the video that he made. 1212 00:54:23,340 --> 00:54:24,360 And my mom watched it. 1213 00:54:24,360 --> 00:54:26,540 And she was like, Elizabeth, this is super cheesy. 1214 00:54:26,540 --> 00:54:29,650 But it elicits emotion, right? 1215 00:54:29,650 --> 00:54:31,620 It's a very different experience. 1216 00:54:31,620 --> 00:54:33,640 I also wanted to point out, how would 1217 00:54:33,640 --> 00:54:37,450 it have felt if all the images Max used 1218 00:54:37,450 --> 00:54:43,130 were bombarding you with cut, cut, cut, cut, universe, 1219 00:54:43,130 --> 00:54:46,840 microbes, a tree of life, right? 1220 00:54:46,840 --> 00:54:49,340 Would that have been emotionally appropriate for this video? 1221 00:54:49,340 --> 00:54:49,850 No. 1222 00:54:49,850 --> 00:54:50,766 So that's what I mean. 1223 00:54:50,766 --> 00:54:54,010 Visual pacing can change the emotion of a video. 1224 00:54:56,940 --> 00:55:01,480 Music, when intentionally done, can be very effective. 1225 00:55:01,480 --> 00:55:06,930 And when I look at seven or eight Science Out Loud videos, 1226 00:55:06,930 --> 00:55:09,612 it usually takes me about a week to get the music for it. 1227 00:55:09,612 --> 00:55:11,070 It's actually super time-consuming. 1228 00:55:14,460 --> 00:55:17,330 I'll basically take you through two or three episodes where 1229 00:55:17,330 --> 00:55:20,230 I looked for music, and did a soundtrack for it, 1230 00:55:20,230 --> 00:55:22,620 and sort of the workflow that I had, 1231 00:55:22,620 --> 00:55:25,070 and the reasoning behind why I chose what I did. 1232 00:55:29,200 --> 00:55:31,720 Any comments so far, questions? 1233 00:55:31,720 --> 00:55:34,760 Everyone's OK? 1234 00:55:34,760 --> 00:55:38,790 So, the farts video. 1235 00:55:38,790 --> 00:55:41,110 George was very adamant that he didn't want 1236 00:55:41,110 --> 00:55:43,490 this to read like dad humor. 1237 00:55:43,490 --> 00:55:45,850 So I wanted to put a bunch of fart jokes in it. 1238 00:55:45,850 --> 00:55:47,837 He was like, Elizabeth, I'm not doing that. 1239 00:55:47,837 --> 00:55:48,670 That's not who I am. 1240 00:55:48,670 --> 00:55:49,759 That's not me. 1241 00:55:49,759 --> 00:55:51,300 And I was like, OK, I recognize that. 1242 00:55:51,300 --> 00:55:52,966 I recognize that I'm a different person. 1243 00:55:55,090 --> 00:55:57,460 So he gave his delivery very straight. 1244 00:55:57,460 --> 00:55:59,370 He gave it very dry. 1245 00:55:59,370 --> 00:56:01,060 He didn't make it very outrageous. 1246 00:56:01,060 --> 00:56:02,295 This is farts, without music. 1247 00:56:02,295 --> 00:56:02,961 [VIDEO PLAYBACK] 1248 00:56:02,961 --> 00:56:05,450 -You know what's more like life than a box of chocolates? 1249 00:56:05,450 --> 00:56:06,360 Farts. 1250 00:56:06,360 --> 00:56:08,702 You really never know what you're going to get. 1251 00:56:08,702 --> 00:56:13,120 Skunk, rotten eggs, garbage dumpster-- the possibilities 1252 00:56:13,120 --> 00:56:15,140 are, unfortunately, endless. 1253 00:56:15,140 --> 00:56:17,590 But why do we fart, and how does your body make so many 1254 00:56:17,590 --> 00:56:18,790 different smells? 1255 00:56:18,790 --> 00:56:20,060 The answer is fermentation. 1256 00:56:33,060 --> 00:56:34,320 This is a giant bioreactor. 1257 00:56:34,320 --> 00:56:35,690 It's also called a fermenter. 1258 00:56:35,690 --> 00:56:38,770 And in here, a fungus known as brewer's yeast 1259 00:56:38,770 --> 00:56:41,720 is transforming water and dead plants into beer. 1260 00:56:45,927 --> 00:56:46,510 [END PLAYBACK] 1261 00:56:46,510 --> 00:56:48,301 PROFESSOR: So it feels really weird, right? 1262 00:56:48,301 --> 00:56:51,750 And part of it is that you don't necessarily 1263 00:56:51,750 --> 00:56:53,860 use the audio that you record with the B-roll. 1264 00:56:53,860 --> 00:56:57,000 You usually put music underneath. 1265 00:56:57,000 --> 00:57:00,410 So we didn't want it to read as dad humor. 1266 00:57:00,410 --> 00:57:02,340 So we use a couple of more serious tracks 1267 00:57:02,340 --> 00:57:03,620 at the beginning. 1268 00:57:03,620 --> 00:57:07,120 But it was a little bit weird, because he is inherently 1269 00:57:07,120 --> 00:57:09,570 talking about a subject that most sixth grade 1270 00:57:09,570 --> 00:57:12,414 boys, and myself, laugh at. 1271 00:57:12,414 --> 00:57:14,830 So the fact that we weren't acknowledging the humor at all 1272 00:57:14,830 --> 00:57:17,610 whatsoever, and we're being totally straight and deadpan 1273 00:57:17,610 --> 00:57:22,330 about it, it was a little funny, unintentionally. 1274 00:57:22,330 --> 00:57:26,389 So we wanted to introduce the humor through the music 1275 00:57:26,389 --> 00:57:26,930 that we used. 1276 00:57:26,930 --> 00:57:35,229 So I will play you the rough cut. 1277 00:57:35,229 --> 00:57:36,020 Let me mirror this. 1278 00:57:44,920 --> 00:57:47,160 And this was a personal decision of mine. 1279 00:57:47,160 --> 00:57:48,630 I'm sure that there are people out there who would 1280 00:57:48,630 --> 00:57:49,640 have done it very differently. 1281 00:57:49,640 --> 00:57:50,330 And that's OK. 1282 00:57:53,000 --> 00:57:57,210 But let's play this. 1283 00:58:00,960 --> 00:58:03,870 Let's see. 1284 00:58:03,870 --> 00:58:06,590 I will show you a track that went a little overboard 1285 00:58:06,590 --> 00:58:07,330 with the humor. 1286 00:58:17,120 --> 00:58:20,440 This is a track that the editor found, called 1287 00:58:20,440 --> 00:58:24,090 Grandpa Is Scheming Again. 1288 00:58:24,090 --> 00:58:25,340 Oh, sorry, it's the wrong one. 1289 00:58:25,340 --> 00:58:28,850 Let me show you the one before it, Ukulele. 1290 00:58:33,870 --> 00:58:35,634 This is ukulele comedy swing. 1291 00:58:35,634 --> 00:58:36,300 [VIDEO PLAYBACK] 1292 00:58:39,840 --> 00:58:42,580 -You know what's more like life than a box of chocolates? 1293 00:58:42,580 --> 00:58:43,080 Farts. 1294 00:58:43,080 --> 00:58:46,450 You really never know what you're going to get. 1295 00:58:46,450 --> 00:58:49,530 Skunk, rotten eggs, garbage dumpster. 1296 00:58:52,357 --> 00:58:52,940 [END PLAYBACK] 1297 00:58:52,940 --> 00:58:55,179 PROFESSOR: But when I told [INAUDIBLE], the editor, 1298 00:58:55,179 --> 00:58:57,220 I think we've got to inject a little bit of humor 1299 00:58:57,220 --> 00:58:58,699 into it with the music. 1300 00:58:58,699 --> 00:59:01,657 I'm sorry. 1301 00:59:01,657 --> 00:59:05,625 There's too much tuba. 1302 00:59:05,625 --> 00:59:07,720 I think the comment I wrote was, it 1303 00:59:07,720 --> 00:59:11,390 was in all caps, "LOL TOO MUCH." 1304 00:59:11,390 --> 00:59:22,329 But that's an example of music. [LAUGHS] 1305 00:59:22,329 --> 00:59:23,870 So this is Grandpa Is Scheming Again. 1306 00:59:23,870 --> 00:59:24,536 [VIDEO PLAYBACK] 1307 00:59:28,110 --> 00:59:30,645 -You know what's more like life than a box of chocolates? 1308 00:59:30,645 --> 00:59:30,950 Farts. 1309 00:59:30,950 --> 00:59:32,866 PROFESSOR: I felt that this one had little bit 1310 00:59:32,866 --> 00:59:34,347 of potential, right? 1311 00:59:34,347 --> 00:59:35,747 -Skunk, rotten eggs. 1312 00:59:35,747 --> 00:59:37,580 PROFESSOR: But I thought it was a little too 1313 00:59:37,580 --> 00:59:39,030 frantic for the beginning. 1314 00:59:39,030 --> 00:59:40,988 -The possibilities are, unfortunately, endless. 1315 00:59:43,717 --> 00:59:44,300 [END PLAYBACK] 1316 00:59:46,230 --> 00:59:50,552 PROFESSOR: I'll show you one more, Sharp Mind. 1317 00:59:57,266 --> 00:59:57,932 [VIDEO PLAYBACK] 1318 00:59:59,965 --> 01:00:02,340 -You know what's more like life than a box of chocolates? 1319 01:00:02,340 --> 01:00:04,173 PROFESSOR: We wanted to highlight the wonder 1320 01:00:04,173 --> 01:00:06,230 of your digestive system. 1321 01:00:06,230 --> 01:00:09,820 So I said, [INAUDIBLE], find me something that evokes 1322 01:00:09,820 --> 01:00:11,312 amazing wonder, curiosity. 1323 01:00:11,312 --> 01:00:13,270 -The possibilities are, unfortunately, endless. 1324 01:00:13,270 --> 01:00:14,137 But why do we fart? 1325 01:00:14,137 --> 01:00:14,720 [END PLAYBACK] 1326 01:00:16,085 --> 01:00:18,210 PROFESSOR: But it reminded me a little bit too much 1327 01:00:18,210 --> 01:00:22,270 of Willy Wonka and Harry Potter, which is why we ultimately 1328 01:00:22,270 --> 01:00:25,395 settled on-- 1329 01:00:25,395 --> 01:00:26,061 [VIDEO PLAYBACK] 1330 01:00:27,510 --> 01:00:30,380 -You know what's more like a life than a box of chocolates? 1331 01:00:30,380 --> 01:00:31,290 Farts. 1332 01:00:31,290 --> 01:00:34,090 You really never know what you're going to get. 1333 01:00:34,090 --> 01:00:38,060 Skunk, rotten eggs, garbage dumpster-- the possibilities 1334 01:00:38,060 --> 01:00:40,140 are, unfortunately, endless. 1335 01:00:40,140 --> 01:00:41,190 But why do we fart? 1336 01:00:41,190 --> 01:00:43,695 And how does your body make so many different smells? 1337 01:00:43,695 --> 01:00:46,050 The answer is fermentation. 1338 01:00:46,050 --> 01:00:47,460 This is a giant bioreactor. 1339 01:00:47,460 --> 01:00:48,700 It's also called a fermenter. 1340 01:00:48,700 --> 01:00:51,270 And in here, a fungus known as brewers yeast-- 1341 01:00:51,270 --> 01:00:54,860 PROFESSOR: So it's casual enough. 1342 01:00:54,860 --> 01:00:57,700 A super, super important part about music 1343 01:00:57,700 --> 01:01:00,190 is that you don't want it to be too distracting 1344 01:01:00,190 --> 01:01:01,399 from your audio. 1345 01:01:01,399 --> 01:01:03,190 -So you know that thing where you eat food? 1346 01:01:03,190 --> 01:01:03,420 [END PLAYBACK] 1347 01:01:03,420 --> 01:01:05,169 PROFESSOR: You should stay away from music 1348 01:01:05,169 --> 01:01:09,380 that is super high tempo, a lot of noise. 1349 01:01:09,380 --> 01:01:11,670 You want something that's more uniform. 1350 01:01:11,670 --> 01:01:13,999 So there are a couple of tracks where it was OK. 1351 01:01:13,999 --> 01:01:15,540 But then, every now and then, there'd 1352 01:01:15,540 --> 01:01:18,370 be this random cymbal hit, or a guitar riff 1353 01:01:18,370 --> 01:01:19,770 that would come out of nowhere. 1354 01:01:19,770 --> 01:01:21,353 And it would be really, really evident 1355 01:01:21,353 --> 01:01:22,610 while the person was talking. 1356 01:01:22,610 --> 01:01:23,810 So that's very distracting. 1357 01:01:23,810 --> 01:01:27,050 Music, like everything in post, I think, 1358 01:01:27,050 --> 01:01:28,431 should be as hidden as possible. 1359 01:01:28,431 --> 01:01:29,930 And by hidden, I don't mean that you 1360 01:01:29,930 --> 01:01:32,240 shouldn't be able to hear it. 1361 01:01:32,240 --> 01:01:35,616 But you shouldn't be able to notice it too much. 1362 01:01:35,616 --> 01:01:36,116 Yes? 1363 01:01:36,116 --> 01:01:37,991 AUDIENCE: Do you cut the scenes in accordance 1364 01:01:37,991 --> 01:01:41,040 with the beat of the song, or can it be right in between? 1365 01:01:41,040 --> 01:01:41,820 PROFESSOR: No. 1366 01:01:41,820 --> 01:01:42,730 It can be in between. 1367 01:01:42,730 --> 01:01:44,620 And I was going to talk about this later. 1368 01:01:44,620 --> 01:01:48,990 But all the examples I'm going to show you do this. 1369 01:01:48,990 --> 01:01:54,900 Sometimes, if you want to end a track before your actual video 1370 01:01:54,900 --> 01:01:56,540 ends-- say you're talking and you want 1371 01:01:56,540 --> 01:01:57,430 some music in the background. 1372 01:01:57,430 --> 01:01:58,850 But then you cut to a scene where 1373 01:01:58,850 --> 01:02:02,220 it's OK not to have music, or you want to change the track, 1374 01:02:02,220 --> 01:02:04,540 you can do what's called ducking. 1375 01:02:04,540 --> 01:02:06,530 Which is when you take the audio, 1376 01:02:06,530 --> 01:02:11,710 and instead of just cutting the audio cleanly and just 1377 01:02:11,710 --> 01:02:13,680 making the music end all of a sudden, 1378 01:02:13,680 --> 01:02:16,240 in the editing software, you can pull this cursor 1379 01:02:16,240 --> 01:02:19,200 down to where the music slowly fades. 1380 01:02:19,200 --> 01:02:20,760 And it slowly becomes quiet. 1381 01:02:20,760 --> 01:02:24,410 You can duck in and out of scenes. 1382 01:02:24,410 --> 01:02:25,750 So, go ahead. 1383 01:02:25,750 --> 01:02:28,180 AUDIENCE: If you have music and B-roll, 1384 01:02:28,180 --> 01:02:31,030 that's a good way to help with the pacing of B-roll, 1385 01:02:31,030 --> 01:02:33,140 because otherwise it's kind of ambiguous. 1386 01:02:33,140 --> 01:02:36,560 Or it can kind of ambiguous, how long you've 1387 01:02:36,560 --> 01:02:38,790 spent on a single object. 1388 01:02:38,790 --> 01:02:42,474 But music can help you, if you're having trouble 1389 01:02:42,474 --> 01:02:43,598 finding the pacing of that. 1390 01:02:43,598 --> 01:02:45,223 Because then if you have a music track, 1391 01:02:45,223 --> 01:02:47,424 you can time with the beats. [INAUDIBLE]. 1392 01:02:47,424 --> 01:02:49,840 PROFESSOR: I'll show you an example where we intentionally 1393 01:02:49,840 --> 01:02:52,620 lined up the beats of the music to the visuals with B-roll, 1394 01:02:52,620 --> 01:02:53,120 actually. 1395 01:02:58,850 --> 01:02:59,516 [VIDEO PLAYBACK] 1396 01:03:16,937 --> 01:03:19,020 PROFESSOR: Like when he does this thing like this. 1397 01:03:19,020 --> 01:03:21,278 The editor did that one [INAUDIBLE]. 1398 01:03:32,367 --> 01:03:32,950 [END PLAYBACK] 1399 01:03:32,950 --> 01:03:35,320 PROFESSOR: So that was more of a stylistic thing. 1400 01:03:35,320 --> 01:03:38,095 We wanted it to read like bad-ass, like these skydivers 1401 01:03:38,095 --> 01:03:39,510 are going to go. 1402 01:03:39,510 --> 01:03:42,970 Yeah, that was a day where we were getting 1403 01:03:42,970 --> 01:03:48,120 as much footage as possible, and didn't end up using half of it. 1404 01:03:48,120 --> 01:03:51,470 Yeah, go big or go home, if you have a skydiving license. 1405 01:03:51,470 --> 01:03:53,485 Go film, and go skydiving. 1406 01:03:53,485 --> 01:03:54,410 And shoot that. 1407 01:03:57,720 --> 01:03:59,850 This is an interesting example. 1408 01:03:59,850 --> 01:04:04,006 Because the computers one, when I first saw the script-- 1409 01:04:04,006 --> 01:04:06,380 I thought this is going to be the hardest one to produce. 1410 01:04:06,380 --> 01:04:08,605 Because computer science videos inherently 1411 01:04:08,605 --> 01:04:10,730 are just really hard to do, because of the visuals. 1412 01:04:10,730 --> 01:04:13,820 And that's why there aren't that many of them. 1413 01:04:13,820 --> 01:04:16,860 But this explanation, for lack of a better term, 1414 01:04:16,860 --> 01:04:19,170 it just kept reading incredibly boring. 1415 01:04:19,170 --> 01:04:21,850 Because it's essentially about how you add in binary, right? 1416 01:04:21,850 --> 01:04:23,835 Which is not the most riveting material. 1417 01:04:23,835 --> 01:04:24,501 [VIDEO PLAYBACK] 1418 01:04:25,050 --> 01:04:28,070 -Just like a light switch, these switches have two states. 1419 01:04:28,070 --> 01:04:33,170 Either left and right, off and on, or zero and one. 1420 01:04:33,170 --> 01:04:35,420 What's really cool here is that instead of programming 1421 01:04:35,420 --> 01:04:37,930 this computer by writing code, we program it 1422 01:04:37,930 --> 01:04:39,590 by physically setting the position 1423 01:04:39,590 --> 01:04:43,180 of several different switches. 1424 01:04:43,180 --> 01:04:45,580 I'll set this computer to count the number of balls 1425 01:04:45,580 --> 01:04:48,890 on the top tray by setting the count switch to on. 1426 01:04:48,890 --> 01:04:51,810 The sum is given by this bank of switches here. 1427 01:04:51,810 --> 01:04:56,039 We'll set the sum to zero before we start counting. 1428 01:04:56,039 --> 01:04:58,330 PROFESSOR: I think Jamie's doing a good job of hosting, 1429 01:04:58,330 --> 01:05:01,050 but it just gets tedious, a little bit. 1430 01:05:01,050 --> 01:05:03,300 Because it's the same thing over and over again. 1431 01:05:03,300 --> 01:05:05,338 You count the balls, you set the switches. 1432 01:05:09,395 --> 01:05:09,978 [END PLAYBACK] 1433 01:05:10,301 --> 01:05:12,050 PROFESSOR: So my initial thought with this 1434 01:05:12,050 --> 01:05:15,410 was, I had a list of brainstormed tracks. 1435 01:05:15,410 --> 01:05:17,130 And I was like, let's go with something 1436 01:05:17,130 --> 01:05:22,067 boopy, sort of robotic and electronic-y. 1437 01:05:22,067 --> 01:05:23,900 And this is what I mean by be careful of how 1438 01:05:23,900 --> 01:05:26,524 distracting your music could be, because this is what happened. 1439 01:05:31,690 --> 01:05:33,300 Universal Fluff Theory. 1440 01:05:36,086 --> 01:05:36,752 [VIDEO PLAYBACK] 1441 01:05:39,220 --> 01:05:41,804 -Just like a light switch, these switches have two states. 1442 01:05:41,804 --> 01:05:46,870 Either left and right, off and on, or zero and one. 1443 01:05:46,870 --> 01:05:49,225 What's really cool here is that instead of programming 1444 01:05:49,225 --> 01:05:49,980 this computer by writing code-- 1445 01:05:49,980 --> 01:05:51,890 PROFESSOR: It's just a little much, right? 1446 01:05:51,890 --> 01:05:54,369 -by physically setting the position-- 1447 01:05:54,369 --> 01:05:54,952 [END PLAYBACK] 1448 01:05:57,300 --> 01:05:59,640 PROFESSOR: And we fell into a stereotype a little bit, 1449 01:05:59,640 --> 01:06:03,400 that a video about computers has to be with electronic music. 1450 01:06:03,400 --> 01:06:05,582 And everything has to be very robotic. 1451 01:06:05,582 --> 01:06:07,290 And the track that [INAUDIBLE] ultimately 1452 01:06:07,290 --> 01:06:14,150 found, I really loved, because it was very Zen, actually. 1453 01:06:14,150 --> 01:06:19,640 Which wasn't the initial response 1454 01:06:19,640 --> 01:06:20,670 that I had to the video. 1455 01:06:20,670 --> 01:06:21,336 [VIDEO PLAYBACK] 1456 01:06:21,336 --> 01:06:25,280 -has switches with a mechanical input and mechanical output. 1457 01:06:25,280 --> 01:06:28,420 Just like a light switch, these switches have two states. 1458 01:06:28,420 --> 01:06:33,410 Either left and right, off and on, or zero and one. 1459 01:06:33,410 --> 01:06:35,660 What's really cool here is that instead of programming 1460 01:06:35,660 --> 01:06:38,110 this computer by writing code, we program it 1461 01:06:38,110 --> 01:06:39,830 by physically setting the position 1462 01:06:39,830 --> 01:06:42,976 of several different switches. 1463 01:06:42,976 --> 01:06:45,020 I'll now set this computer to count 1464 01:06:45,020 --> 01:06:46,840 the number of balls in the top trade 1465 01:06:46,840 --> 01:06:49,140 by setting the count switch to on. 1466 01:06:49,140 --> 01:06:52,040 The sum is given by this bank of switches here. 1467 01:06:52,040 --> 01:06:55,750 We'll set the sum to zero before we start counting. 1468 01:06:55,750 --> 01:06:58,020 Now let's start counting by pressing this lever. 1469 01:07:12,567 --> 01:07:13,150 [END PLAYBACK] 1470 01:07:13,150 --> 01:07:15,920 PROFESSOR: So I actually personally like that track, 1471 01:07:15,920 --> 01:07:18,020 because there's something about it that 1472 01:07:18,020 --> 01:07:20,280 makes the scene very inviting. 1473 01:07:20,280 --> 01:07:22,710 He seems really friendly. 1474 01:07:22,710 --> 01:07:25,090 You have something that's as scary as programming 1475 01:07:25,090 --> 01:07:27,880 a computer, but then the person is super friendly. 1476 01:07:27,880 --> 01:07:31,570 Jamie's just a really friendly person in real life. 1477 01:07:31,570 --> 01:07:36,450 We were trying to make computer programming as not 1478 01:07:36,450 --> 01:07:37,850 scary as possible. 1479 01:07:37,850 --> 01:07:41,120 And I think that having a track that was a little more Zen, 1480 01:07:41,120 --> 01:07:43,230 it was a little quieter. 1481 01:07:43,230 --> 01:07:46,362 Someone was saying that it's like a very mesmerizing 1482 01:07:46,362 --> 01:07:47,320 experience to watch it. 1483 01:07:47,320 --> 01:07:47,820 Yeah? 1484 01:07:47,820 --> 01:07:55,120 AUDIENCE: [INAUDIBLE] how do you know if the volume of the song 1485 01:07:55,120 --> 01:07:55,620 is too much? 1486 01:07:55,620 --> 01:07:59,400 Or the beats themselves are too much? 1487 01:07:59,400 --> 01:08:01,810 PROFESSOR: Again, a lot of this is personal taste, 1488 01:08:01,810 --> 01:08:04,410 which is not the answer that you guys probably want to hear. 1489 01:08:04,410 --> 01:08:06,540 But I would choose what you like. 1490 01:08:06,540 --> 01:08:09,480 And hopefully I'm giving you some pointers as to maybe 1491 01:08:09,480 --> 01:08:11,400 what works, and what doesn't, as well. 1492 01:08:11,400 --> 01:08:13,810 But that's also where the other three people that you'll 1493 01:08:13,810 --> 01:08:16,136 have looking at your rough cuts will 1494 01:08:16,136 --> 01:08:17,260 come in handy, quite a bit. 1495 01:08:17,260 --> 01:08:20,960 You'll have the opinions of at least five or six people. 1496 01:08:20,960 --> 01:08:22,790 Which, ideally you'd have more. 1497 01:08:22,790 --> 01:08:26,210 But that would give you some sense. 1498 01:08:26,210 --> 01:08:28,899 And this sounds dumb, but if you can't clearly 1499 01:08:28,899 --> 01:08:30,889 make out what the person is saying 1500 01:08:30,889 --> 01:08:32,930 because the music is too loud or too distracting, 1501 01:08:32,930 --> 01:08:34,144 then don't use it. 1502 01:08:34,144 --> 01:08:35,810 But sometimes you don't know, and that's 1503 01:08:35,810 --> 01:08:37,460 why you ask other people. 1504 01:08:37,460 --> 01:08:39,300 The last example I wanted to show you-- 1505 01:08:39,300 --> 01:08:43,137 did anyone have questions besides that? 1506 01:08:43,137 --> 01:08:45,319 Everyone's good? 1507 01:08:45,319 --> 01:08:48,399 So the last example I wanted to show you was of Anastasia. 1508 01:08:48,399 --> 01:08:52,510 Now, I was very conscious of who she was as a person 1509 01:08:52,510 --> 01:08:55,040 when we were making this video, because she was just 1510 01:08:55,040 --> 01:08:57,350 this very bubbly, blonde girl. 1511 01:08:57,350 --> 01:09:00,310 But she does intense, legit systems biology. 1512 01:09:00,310 --> 01:09:04,359 And I didn't want to undermine her intelligence or her persona 1513 01:09:04,359 --> 01:09:07,779 as this very inspiring STEM figure 1514 01:09:07,779 --> 01:09:10,910 by playing into the ditzy trope. 1515 01:09:10,910 --> 01:09:14,569 So at first, I was putting really hard rock music 1516 01:09:14,569 --> 01:09:17,380 into her video to fight this. 1517 01:09:17,380 --> 01:09:22,399 She's doing intense science, give that vibe. 1518 01:09:22,399 --> 01:09:26,029 It did not work for obvious reasons, now. 1519 01:09:26,029 --> 01:09:28,745 [VIDEO PLAYBACK] 1520 01:09:45,080 --> 01:09:51,560 [END PLAYBACK] 1521 01:09:51,560 --> 01:09:55,480 PROFESSOR: And what I realized was that Anastasia as a person 1522 01:09:55,480 --> 01:09:56,570 is super bubbly. 1523 01:09:56,570 --> 01:09:58,020 And she loves science. 1524 01:09:58,020 --> 01:10:01,090 And that doesn't undermine her abilities 1525 01:10:01,090 --> 01:10:04,990 as a scientist, or her authority at all. 1526 01:10:04,990 --> 01:10:06,490 And that if we fought that too much, 1527 01:10:06,490 --> 01:10:08,864 it read really weird, because that's just not who she is. 1528 01:10:08,864 --> 01:10:13,760 So we did go with a track that was more capturing the wonder 1529 01:10:13,760 --> 01:10:15,024 that she had for plants. 1530 01:10:15,024 --> 01:10:15,690 [VIDEO PLAYBACK] 1531 01:10:17,980 --> 01:10:20,950 -Paclitaxel is a compound that can treat cancer. 1532 01:10:20,950 --> 01:10:23,600 Salicylic acid reduces headaches and fevers. 1533 01:10:23,600 --> 01:10:26,140 Carotenoids can turn your skin orange. 1534 01:10:26,140 --> 01:10:29,020 And miraculin changes your sense of taste. 1535 01:10:29,020 --> 01:10:32,380 What do all of these awesome compounds have in common? 1536 01:10:32,380 --> 01:10:34,250 They all come from plants. 1537 01:10:41,267 --> 01:10:41,850 [END PLAYBACK] 1538 01:10:41,850 --> 01:10:44,570 PROFESSOR: So music is really good for evoking emotion, 1539 01:10:44,570 --> 01:10:48,940 establishing things like wonder, creepiness. 1540 01:10:48,940 --> 01:10:50,780 This is an example of one. 1541 01:10:50,780 --> 01:10:54,880 And it can also help if you just have some really funky audio 1542 01:10:54,880 --> 01:10:57,110 going on from the environment that you're filming in. 1543 01:10:57,110 --> 01:10:58,970 I hate to say this, but sometimes it 1544 01:10:58,970 --> 01:11:02,350 can be a little bit of a Band-Aid to cover up 1545 01:11:02,350 --> 01:11:03,570 weird background noise. 1546 01:11:03,570 --> 01:11:06,760 When we were shooting in the brewery for George's video 1547 01:11:06,760 --> 01:11:09,270 with all the vats, it was just super noisy in there. 1548 01:11:09,270 --> 01:11:11,560 And there's nothing that we could do about it. 1549 01:11:11,560 --> 01:11:14,470 So he just talked really loud, and we put in the track. 1550 01:11:14,470 --> 01:11:17,800 And I think it helps distract from that a little bit. 1551 01:11:17,800 --> 01:11:21,890 But again, don't say we'll fix it in post. 1552 01:11:21,890 --> 01:11:24,194 Last example, I lied about the other one. 1553 01:11:24,194 --> 01:11:24,860 [VIDEO PLAYBACK] 1554 01:11:24,860 --> 01:11:26,730 -These patterns can seem pretty complicated. 1555 01:11:26,730 --> 01:11:29,645 Some people even think octopuses use patterns like these 1556 01:11:29,645 --> 01:11:31,440 to mesmerize their prey. 1557 01:11:31,440 --> 01:11:33,940 But these intricate displays emerge on the squid skin 1558 01:11:33,940 --> 01:11:36,400 even after it's been disconnected from the brain. 1559 01:11:36,400 --> 01:11:39,360 So what's going on? 1560 01:11:39,360 --> 01:11:41,517 First I wanted to measure how the chromatophores-- 1561 01:11:41,517 --> 01:11:42,100 [END PLAYBACK] 1562 01:11:42,100 --> 01:11:44,310 PROFESSOR: So when the music changes, 1563 01:11:44,310 --> 01:11:46,070 we ducked from the previous track. 1564 01:11:46,070 --> 01:11:48,520 This is what I was talking about. 1565 01:11:48,520 --> 01:11:51,102 Hopefully it's not super jarring or obvious to you 1566 01:11:51,102 --> 01:11:53,310 that we were changing music tracks in the background, 1567 01:11:53,310 --> 01:11:56,470 because we ducked one out and ducked one in. 1568 01:11:56,470 --> 01:12:00,140 But the second track, where the question mark comes, 1569 01:12:00,140 --> 01:12:01,960 I liked it because it was sort of eerie. 1570 01:12:01,960 --> 01:12:04,650 And it emphasizes, this is super weird 1571 01:12:04,650 --> 01:12:06,150 that the squid skin does that. 1572 01:12:06,150 --> 01:12:08,900 How exactly does it do it? 1573 01:12:08,900 --> 01:12:11,610 And it's a way that we implied that without her explicitly 1574 01:12:11,610 --> 01:12:13,160 saying it in the script. 1575 01:12:13,160 --> 01:12:15,380 So, when a lot of you guys end your scripts, 1576 01:12:15,380 --> 01:12:17,970 or have a line in there that's like, this is awesome. 1577 01:12:17,970 --> 01:12:21,227 Or, and that's how you do that. 1578 01:12:21,227 --> 01:12:22,810 You don't have to say that explicitly. 1579 01:12:22,810 --> 01:12:25,184 Because a lot of the time, the music can do that for you. 1580 01:12:28,550 --> 01:12:29,050 All right. 1581 01:12:29,050 --> 01:12:31,950 So I talked a lot about what kind of music you should use, 1582 01:12:31,950 --> 01:12:33,700 and you are probably wondering, well, 1583 01:12:33,700 --> 01:12:35,200 where am I going to get this music? 1584 01:12:38,437 --> 01:12:41,020 So I wanted to talk a little bit about Creative Commons, which 1585 01:12:41,020 --> 01:12:44,850 is the license that MIT usually uses. 1586 01:12:44,850 --> 01:12:46,490 It's what OpenCourseWare uses. 1587 01:12:46,490 --> 01:12:48,810 It's what Science Out Loud uses. 1588 01:12:48,810 --> 01:12:51,900 And basically, it's a type of license or copyright. 1589 01:12:51,900 --> 01:12:59,600 And in particular, we use CC BY-NC-SA, which I will explain, 1590 01:12:59,600 --> 01:13:05,070 which allows you to freely share and adapt materials. 1591 01:13:05,070 --> 01:13:08,690 So because this class, and this lecture, 1592 01:13:08,690 --> 01:13:10,650 is being recorded under Creative Commons, 1593 01:13:10,650 --> 01:13:13,465 under this license if someone watches this video later on, 1594 01:13:13,465 --> 01:13:16,770 and they want to take a portion of this lecture, 1595 01:13:16,770 --> 01:13:21,610 and remix it into a video about best practices of music, 1596 01:13:21,610 --> 01:13:22,530 they can do it. 1597 01:13:22,530 --> 01:13:24,052 And I won't sue them. 1598 01:13:24,052 --> 01:13:25,260 Because it's totally allowed. 1599 01:13:25,260 --> 01:13:27,343 And I want them to take the material and remix it, 1600 01:13:27,343 --> 01:13:30,100 as long as they attribute. 1601 01:13:30,100 --> 01:13:35,550 And this is true of any music that you use for your videos. 1602 01:13:35,550 --> 01:13:38,430 So if you go and search for Creative Commons music, 1603 01:13:38,430 --> 01:13:40,770 you will find a ton of resources. 1604 01:13:40,770 --> 01:13:43,690 I've listed the websites that we have personally 1605 01:13:43,690 --> 01:13:50,090 used in the day 7 lecture on the syllabus. 1606 01:13:50,090 --> 01:13:54,310 Things like ccMixter, Jamendo-- thanks to Billy, 1607 01:13:54,310 --> 01:13:58,360 we know about that one now-- Free Music Archive. 1608 01:13:58,360 --> 01:14:01,110 Unfortunately music is not organized online 1609 01:14:01,110 --> 01:14:02,230 in the best way possible. 1610 01:14:02,230 --> 01:14:05,490 So a lot of it is sitting and wading through tracks, 1611 01:14:05,490 --> 01:14:08,950 and just listening to a bunch of them. 1612 01:14:08,950 --> 01:14:12,780 And that's why it's so time consuming. 1613 01:14:12,780 --> 01:14:14,530 But a quick note about Creative Commons. 1614 01:14:14,530 --> 01:14:17,230 So your videos will be released under this license, 1615 01:14:17,230 --> 01:14:20,150 meaning that the music that you use, 1616 01:14:20,150 --> 01:14:24,100 and any stock footage or video that you find online, 1617 01:14:24,100 --> 01:14:26,645 has to also be Creative Commons. 1618 01:14:26,645 --> 01:14:28,380 And if you have trouble with this, 1619 01:14:28,380 --> 01:14:30,860 let me know, because I have dealt 1620 01:14:30,860 --> 01:14:34,187 with issues like that a lot. 1621 01:14:34,187 --> 01:14:36,270 But basically, when you upload your final projects 1622 01:14:36,270 --> 01:14:39,610 onto YouTube, it's totally fine for you to use other music, 1623 01:14:39,610 --> 01:14:44,050 as long as, in the description, you say we used this track. 1624 01:14:44,050 --> 01:14:45,940 Here's a link to the original site. 1625 01:14:45,940 --> 01:14:47,310 This is the person who made it. 1626 01:14:47,310 --> 01:14:49,650 That's just best practices in general. 1627 01:14:49,650 --> 01:14:54,060 Ideally, you would cite images that you use in your video 1628 01:14:54,060 --> 01:14:54,560 itself. 1629 01:14:54,560 --> 01:14:59,440 You'll notice that Science Out Loud doesn't annotate 1630 01:14:59,440 --> 01:15:02,410 with citations on the actual videos themselves, 1631 01:15:02,410 --> 01:15:05,650 because that was a stylistic decision of ours. 1632 01:15:05,650 --> 01:15:10,070 But we put all the citations in our YouTube descriptions. 1633 01:15:10,070 --> 01:15:11,910 And everywhere the video is online for us, 1634 01:15:11,910 --> 01:15:13,250 we put all of the citations. 1635 01:15:16,600 --> 01:15:18,160 So for our license, it means that 1636 01:15:18,160 --> 01:15:23,020 is free to share and adapt, as long as you attribute, and it's 1637 01:15:23,020 --> 01:15:24,570 not used for commercial purposes, 1638 01:15:24,570 --> 01:15:27,760 and that you're releasing your work under the same terms. 1639 01:15:27,760 --> 01:15:31,900 So if someone took this lecture and then used a portion of it 1640 01:15:31,900 --> 01:15:34,490 to record a lecture for The Great Courses, 1641 01:15:34,490 --> 01:15:36,710 for instance, which you have to pay to use, 1642 01:15:36,710 --> 01:15:38,960 because it's a commercial company, that's not allowed. 1643 01:15:42,320 --> 01:15:48,440 On the syllabus, you'll also find links to stock music. 1644 01:15:48,440 --> 01:15:52,980 Good music costs usually around $30 to $40 per track. 1645 01:15:52,980 --> 01:15:56,110 So sometimes, we use things like PremiumBeat, 1646 01:15:56,110 --> 01:15:59,320 which was where all the tracks for the examples 1647 01:15:59,320 --> 01:16:02,192 I showed you were found. 1648 01:16:02,192 --> 01:16:03,650 And so sometimes, if you just can't 1649 01:16:03,650 --> 01:16:05,610 find something that's free, it's really worth, 1650 01:16:05,610 --> 01:16:10,020 I think, the money to do music the right way. 1651 01:16:10,020 --> 01:16:15,020 And then one more note about video. 1652 01:16:15,020 --> 01:16:18,840 So maybe you have the Hudson River, for example. 1653 01:16:18,840 --> 01:16:21,260 We obviously couldn't film at the Hudson River. 1654 01:16:21,260 --> 01:16:23,760 So I found a picture of it on the Internet Archive, 1655 01:16:23,760 --> 01:16:28,400 which is where you can find a lot of videos, music. 1656 01:16:28,400 --> 01:16:29,980 They're all under Creative Commons. 1657 01:16:29,980 --> 01:16:32,560 I'll put links to all this in the syllabus, 1658 01:16:32,560 --> 01:16:35,360 and I'll post something on Tumblr later today 1659 01:16:35,360 --> 01:16:37,850 that consolidates all these resources. 1660 01:16:37,850 --> 01:16:41,440 For biology videos, the NIH has a lot, actually, 1661 01:16:41,440 --> 01:16:42,570 under Creative Commons. 1662 01:16:42,570 --> 01:16:45,650 A lot of open source publications, 1663 01:16:45,650 --> 01:16:51,010 you can use their figures, as long as you cite. 1664 01:16:51,010 --> 01:16:52,880 And Wikipedia, all of those images 1665 01:16:52,880 --> 01:16:57,160 are released under Creative Commons. 1666 01:16:57,160 --> 01:16:59,119 The US government websites are actually really, 1667 01:16:59,119 --> 01:17:01,410 really great resources, because they release everything 1668 01:17:01,410 --> 01:17:02,400 under public domain. 1669 01:17:02,400 --> 01:17:03,816 So it's not even Creative Commons. 1670 01:17:03,816 --> 01:17:05,440 You can just use whatever you want. 1671 01:17:05,440 --> 01:17:08,310 NASA has awesome footage. 1672 01:17:08,310 --> 01:17:11,600 NIH, I'm trying to think of others. 1673 01:17:11,600 --> 01:17:14,270 But that's actually a go-to place for me 1674 01:17:14,270 --> 01:17:16,893 if I'm searching for footage that we just can't shoot. 1675 01:17:20,430 --> 01:17:22,770 So that's all I had planned for today. 1676 01:17:22,770 --> 01:17:25,190 Does anyone have questions off the bat? 1677 01:17:25,190 --> 01:17:25,690 Yes. 1678 01:17:25,690 --> 01:17:28,035 AUDIENCE: I have a question about working with the music 1679 01:17:28,035 --> 01:17:28,973 that you had. 1680 01:17:28,973 --> 01:17:33,125 I've been doing stock music before. 1681 01:17:33,125 --> 01:17:36,789 Some of them are like a one [INAUDIBLE] thing, 1682 01:17:36,789 --> 01:17:40,070 and some are repetitive [INAUDIBLE]. 1683 01:17:40,070 --> 01:17:42,380 PROFESSOR: Yeah, it loops the same tune over and over. 1684 01:17:42,380 --> 01:17:44,140 AUDIENCE: Do you use those? 1685 01:17:44,140 --> 01:17:45,100 PROFESSOR: Yeah. 1686 01:17:45,100 --> 01:17:50,610 The looped ones are nice for us, because sometimes the longer 1687 01:17:50,610 --> 01:17:54,740 ones are like big orchestral arrangements that take awhile 1688 01:17:54,740 --> 01:17:59,090 to get to the point of the song. 1689 01:17:59,090 --> 01:18:01,240 Whereas, for a lot of the music, you just 1690 01:18:01,240 --> 01:18:02,870 want something that's present, that 1691 01:18:02,870 --> 01:18:06,140 establishes a general sound and atmosphere. 1692 01:18:06,140 --> 01:18:09,870 But you're not looking for a Mozart composition, right? 1693 01:18:09,870 --> 01:18:12,520 You just want something to fill in the background a little bit. 1694 01:18:12,520 --> 01:18:14,020 So having something that's looped 1695 01:18:14,020 --> 01:18:17,390 is actually preferred for us. 1696 01:18:17,390 --> 01:18:22,604 AUDIENCE: Have you done a video where there was [INAUDIBLE]. 1697 01:18:26,249 --> 01:18:28,040 PROFESSOR: Yeah, some of our earlier videos 1698 01:18:28,040 --> 01:18:29,230 don't have as much music. 1699 01:18:29,230 --> 01:18:34,400 And part of it was that I wasn't savvy enough to do it. 1700 01:18:34,400 --> 01:18:36,610 And I watch some of them now. 1701 01:18:36,610 --> 01:18:38,685 I'm like, man, this video just feels super long. 1702 01:18:38,685 --> 01:18:40,768 And it seems like they're talking for a long time. 1703 01:18:40,768 --> 01:18:44,430 And I think part of it's because of the music. 1704 01:18:44,430 --> 01:18:46,470 You don't need music everywhere, though. 1705 01:18:46,470 --> 01:18:50,630 And like I said, during the presentation, first do no harm. 1706 01:18:50,630 --> 01:18:53,230 So sometimes, if you just can't find music for it, 1707 01:18:53,230 --> 01:18:54,410 leave it out. 1708 01:18:54,410 --> 01:18:55,870 I'm trying to think of an example 1709 01:18:55,870 --> 01:18:59,850 where we said we specifically do not want music here. 1710 01:18:59,850 --> 01:19:02,210 And I can't come up with any off the top of my head. 1711 01:19:02,210 --> 01:19:04,518 But maybe after class, I can look for something. 1712 01:19:08,908 --> 01:19:10,824 AUDIENCE: Elizabeth, can you talk a little bit 1713 01:19:10,824 --> 01:19:12,865 about how the next couple days are going to work? 1714 01:19:12,865 --> 01:19:14,160 PROFESSOR: Absolutely. 1715 01:19:14,160 --> 01:19:15,460 Thank you for the reminder. 1716 01:19:15,460 --> 01:19:21,480 So this is it for formal lectures between now 1717 01:19:21,480 --> 01:19:24,250 and next Thursday, which is when the final presentations will 1718 01:19:24,250 --> 01:19:24,750 be. 1719 01:19:24,750 --> 01:19:26,830 You will have class time to work. 1720 01:19:26,830 --> 01:19:31,330 So we are going to pair you up, or put you into groups 1721 01:19:31,330 --> 01:19:32,920 for filming partners. 1722 01:19:32,920 --> 01:19:36,240 And you will have class time tomorrow, the day 1723 01:19:36,240 --> 01:19:38,610 after, and Friday to work. 1724 01:19:38,610 --> 01:19:42,600 We will have a screening of the rough cuts next Tuesday. 1725 01:19:42,600 --> 01:19:46,110 So that gives you the weekend to edit together the footage 1726 01:19:46,110 --> 01:19:49,010 that you shoot this week. 1727 01:19:49,010 --> 01:19:50,520 We'll screen everyone's rough cuts. 1728 01:19:50,520 --> 01:19:53,812 We'll also assign you editing partners. 1729 01:19:53,812 --> 01:19:56,020 And I'll tell you more about this on Tuesday as well. 1730 01:19:56,020 --> 01:19:57,275 But you'll watch the videos. 1731 01:19:57,275 --> 01:19:59,650 And we have a video annotation software that you can use. 1732 01:19:59,650 --> 01:20:02,480 So you'll make comments on at least two 1733 01:20:02,480 --> 01:20:05,150 or three other people's videos during class time. 1734 01:20:05,150 --> 01:20:10,460 And then you'll have until Thursday, where we 1735 01:20:10,460 --> 01:20:12,350 don't have normal class time. 1736 01:20:12,350 --> 01:20:16,250 Our final screening is going to be in Simmons Hall at 6:30 1737 01:20:16,250 --> 01:20:17,880 instead of at 1:00 PM. 1738 01:20:17,880 --> 01:20:21,740 It'll be like a red carpet event. 1739 01:20:21,740 --> 01:20:26,100 But you'll have all day that day to finish whatever you need. 1740 01:20:26,100 --> 01:20:29,750 I wouldn't wait until 6:00 PM to have your video finished. 1741 01:20:29,750 --> 01:20:32,670 But if it comes down to that, it's not like we have to know. 1742 01:20:36,360 --> 01:20:38,970 Yeah, so it's pretty much work time from here. 1743 01:20:38,970 --> 01:20:41,290 The teaching staff will be available to help you. 1744 01:20:41,290 --> 01:20:43,490 So it's basically like office hours from here 1745 01:20:43,490 --> 01:20:48,140 on out, except for the rough cut screening next Tuesday. 1746 01:20:48,140 --> 01:20:50,710 And if you have specific questions on editing, 1747 01:20:50,710 --> 01:20:52,365 we'll send out a Google spreadsheet 1748 01:20:52,365 --> 01:20:54,970 so you can sign up for specific people, 1749 01:20:54,970 --> 01:20:59,475 or if you have certain requests to go over things. 1750 01:20:59,475 --> 01:21:02,160 AUDIENCE: Or, if it's in the evening and you're editing, 1751 01:21:02,160 --> 01:21:07,930 and you find a problem that you just don't know how to solve, 1752 01:21:07,930 --> 01:21:09,520 feel free to email us. 1753 01:21:09,520 --> 01:21:12,200 Shoot out an email before you start tackling it 1754 01:21:12,200 --> 01:21:13,340 for two to four hours. 1755 01:21:13,340 --> 01:21:14,714 Because if it's a simple solution 1756 01:21:14,714 --> 01:21:17,800 that we can relate over email, that'll save you so much 1757 01:21:17,800 --> 01:21:20,760 time and frustration. 1758 01:21:20,760 --> 01:21:22,740 PROFESSOR: And I'll send out an email to where 1759 01:21:22,740 --> 01:21:25,140 everyone's emails are CC'd. 1760 01:21:25,140 --> 01:21:27,690 You can ask your peers questions as well, 1761 01:21:27,690 --> 01:21:31,180 because I'm sure you're going to run into very similar problems 1762 01:21:31,180 --> 01:21:33,150 once you start editing and shooting. 1763 01:21:33,150 --> 01:21:36,850 So use each other as a resource as well. 1764 01:21:36,850 --> 01:21:41,990 And honestly, I can't feign expertise over any of this. 1765 01:21:41,990 --> 01:21:45,010 So oftentimes, I just Google. 1766 01:21:45,010 --> 01:21:50,850 Why won't my clip snap to the previous one? 1767 01:21:50,850 --> 01:21:54,750 But, I will send out shooting assignments. 1768 01:21:54,750 --> 01:21:58,210 Actually, I have them with me. 1769 01:21:58,210 --> 01:22:01,150 AUDIENCE: Elizabeth, we'll be in here 1770 01:22:01,150 --> 01:22:02,620 during class time as a home base. 1771 01:22:02,620 --> 01:22:07,030 So if you have any questions, and you need help, 1772 01:22:07,030 --> 01:22:12,420 we'll be physically in this room for you to swing by. 1773 01:22:12,420 --> 01:22:14,740 You don't have to come into this room physically. 1774 01:22:14,740 --> 01:22:18,170 You can use the entire class time to be out and about. 1775 01:22:18,170 --> 01:22:20,252 But just so that you know that you can, 1776 01:22:20,252 --> 01:22:23,964 at any point, during that 1:00 to 4:00 time frame. 1777 01:22:23,964 --> 01:22:27,970 If you need help with anything, I will as much as I physically 1778 01:22:27,970 --> 01:22:28,470 can be-- 1779 01:22:28,470 --> 01:22:30,300 PROFESSOR: Yeah, I will definitely be here. 1780 01:22:30,300 --> 01:22:33,990 AUDIENCE: They will definitely be in this room, 1781 01:22:33,990 --> 01:22:37,120 to be here if you want physical help with anything. 1782 01:22:37,120 --> 01:22:39,160 And if you want to, just to make sure, 1783 01:22:39,160 --> 01:22:42,680 you can feel free to email a specific point person to say, 1784 01:22:42,680 --> 01:22:45,000 I am coming in at this time for sure. 1785 01:22:45,000 --> 01:22:48,035 If you know ahead of time that you need help with something, 1786 01:22:48,035 --> 01:22:52,640 just so that we know we should reserve time 1787 01:22:52,640 --> 01:22:55,344 to deal with this issue with you. 1788 01:22:55,344 --> 01:22:56,010 PROFESSOR: Yeah. 1789 01:22:56,010 --> 01:23:00,230 And if you need Chris's help or Natalie's help on anything, 1790 01:23:00,230 --> 01:23:02,650 just email them directly. 1791 01:23:02,650 --> 01:23:05,440 Because they are available, although they're a little bit 1792 01:23:05,440 --> 01:23:05,940 busy. 1793 01:23:05,940 --> 01:23:08,534 So as long as they have enough of a heads up, 1794 01:23:08,534 --> 01:23:09,450 we can make that work. 1795 01:23:09,450 --> 01:23:13,680 I did want to let you guys know about 26 139. 1796 01:23:13,680 --> 01:23:17,540 Do guys know where the 801 TEAL classrooms are? 1797 01:23:17,540 --> 01:23:20,100 Oh, I guess you guys would know. 1798 01:23:20,100 --> 01:23:24,250 It is basically in that building on the first floor, 1799 01:23:24,250 --> 01:23:27,610 actually, right next to us. 1800 01:23:27,610 --> 01:23:28,540 It says Building 26. 1801 01:23:28,540 --> 01:23:29,960 It's on the first floor. 1802 01:23:29,960 --> 01:23:31,350 You need key card access. 1803 01:23:31,350 --> 01:23:32,860 You just swipe your MIT ID. 1804 01:23:32,860 --> 01:23:35,310 And I have that room reserved every day during class time 1805 01:23:35,310 --> 01:23:36,730 until the final day. 1806 01:23:36,730 --> 01:23:40,190 So if you want to use their software, you can. 1807 01:23:40,190 --> 01:23:44,310 I also have nicer headphones if anyone needs to borrow those. 1808 01:23:44,310 --> 01:23:46,759 I think everyone has a kit. 1809 01:23:46,759 --> 01:23:48,300 I feel like I'm forgetting something. 1810 01:23:48,300 --> 01:23:52,030 Oh, I'm forgetting to tell you the shooting assignments. 1811 01:23:52,030 --> 01:23:55,780 So David and Joshua, we'll put you guys together. 1812 01:23:55,780 --> 01:23:58,780 [? Yulia, ?] Kenneth, and Paul, you guys will be a group. 1813 01:23:58,780 --> 01:24:02,760 And then Andrea and Nathan, you guys will be shooting partners. 1814 01:24:02,760 --> 01:24:04,550 AUDIENCE: That wasn't random. 1815 01:24:04,550 --> 01:24:06,620 We really tried to think about who 1816 01:24:06,620 --> 01:24:09,940 you are, and your scripts, and all of that. 1817 01:24:09,940 --> 01:24:12,080 Because sometimes, if you have a great partner 1818 01:24:12,080 --> 01:24:13,968 that can really complement you, that 1819 01:24:13,968 --> 01:24:15,176 can really help your project. 1820 01:24:15,176 --> 01:24:17,586 We really did put a fair amount of thought 1821 01:24:17,586 --> 01:24:19,032 into those partnerships. 1822 01:24:19,032 --> 01:24:23,080 It's not just like a random division of labor. 1823 01:24:23,080 --> 01:24:25,080 PROFESSOR: If you have any issues during filming 1824 01:24:25,080 --> 01:24:28,610 whatsoever, about anything, if you can't get into a location, 1825 01:24:28,610 --> 01:24:31,310 if you need help clearing something, 1826 01:24:31,310 --> 01:24:33,920 if you're not sure something is allowed to be filmed, 1827 01:24:33,920 --> 01:24:38,390 if things are just not going well, 1828 01:24:38,390 --> 01:24:40,470 if Murphy's Law is happening, email me. 1829 01:24:40,470 --> 01:24:41,740 Or come find me during class. 1830 01:24:41,740 --> 01:24:42,790 Or email any of us. 1831 01:24:42,790 --> 01:24:47,174 We are definitely here to help you guys for the home stretch. 1832 01:24:47,174 --> 01:24:49,090 AUDIENCE: And I think I've showed this to you, 1833 01:24:49,090 --> 01:24:53,120 but when you're walking to the bathroom, 1834 01:24:53,120 --> 01:24:55,120 there's a big sign that says communication lab. 1835 01:24:55,120 --> 01:24:56,620 That's my office. 1836 01:24:56,620 --> 01:24:59,925 So if ever during normal business hours, 1837 01:24:59,925 --> 01:25:01,538 outside from class time, you literally 1838 01:25:01,538 --> 01:25:03,915 need help with anything, that is where I am. 1839 01:25:03,915 --> 01:25:07,880 So you can always knock and interrupt anything, and just 1840 01:25:07,880 --> 01:25:10,340 say, I need help with something, and it'll be fine. 1841 01:25:10,340 --> 01:25:13,236 PROFESSOR: And my office is a little far away from campus. 1842 01:25:13,236 --> 01:25:14,860 But if you want to meet in the morning, 1843 01:25:14,860 --> 01:25:17,590 or sometime outside of class, if you just email me ahead 1844 01:25:17,590 --> 01:25:21,370 of time, I can definitely meet with you guys. 1845 01:25:21,370 --> 01:25:25,095 AUDIENCE: And one last thing is the "kill your darlings" thing. 1846 01:25:25,095 --> 01:25:28,784 As someone who has been writing for quite a long time, 1847 01:25:28,784 --> 01:25:33,690 and who has edited people professionally, 1848 01:25:33,690 --> 01:25:35,830 it's really hard. 1849 01:25:35,830 --> 01:25:37,555 The more you get invested in this, 1850 01:25:37,555 --> 01:25:40,216 the harder it is to be able to do that. 1851 01:25:40,216 --> 01:25:42,830 And that's when as a partner, that's 1852 01:25:42,830 --> 01:25:45,830 a great point, when you're not emotionally connected 1853 01:25:45,830 --> 01:25:46,650 to the work. 1854 01:25:49,420 --> 01:25:50,910 This is just advice. 1855 01:25:50,910 --> 01:25:53,995 Instead of pointing out that it's not working, 1856 01:25:53,995 --> 01:25:56,830 maybe think about framing some questions for your partner, 1857 01:25:56,830 --> 01:26:01,600 to help them realize that this isn't working. 1858 01:26:01,600 --> 01:26:04,950 And that's a really great job you have as a partner, to help 1859 01:26:04,950 --> 01:26:08,740 your colleague realize that this piece is awesome, 1860 01:26:08,740 --> 01:26:11,600 it's really cool, but it doesn't work. 1861 01:26:11,600 --> 01:26:14,460 And that can be really, really hard feedback. 1862 01:26:14,460 --> 01:26:17,960 So thinking about how to help your partner 1863 01:26:17,960 --> 01:26:21,296 see that sometimes is a really important task. 1864 01:26:21,296 --> 01:26:22,670 PROFESSOR: And part of your grade 1865 01:26:22,670 --> 01:26:25,030 will come from how great of a partner you are. 1866 01:26:25,030 --> 01:26:28,345 So ha ha, you have to do it. 1867 01:26:28,345 --> 01:26:29,970 I don't remember the exact percentages, 1868 01:26:29,970 --> 01:26:33,540 but 60% of the grade comes from your writing and hosting. 1869 01:26:33,540 --> 01:26:35,420 40% of it comes from the producing 1870 01:26:35,420 --> 01:26:36,889 that you do for your partner. 1871 01:26:36,889 --> 01:26:39,180 And for the group of three, figure it out how you want. 1872 01:26:39,180 --> 01:26:41,400 But I was thinking one person does 1873 01:26:41,400 --> 01:26:44,049 for person 2 which does for person 3 which 1874 01:26:44,049 --> 01:26:47,450 does for person 1. 1875 01:26:47,450 --> 01:26:49,600 Does anyone have questions, concerns? 1876 01:26:52,430 --> 01:26:54,920 AUDIENCE: You say the assignment's on the quality. 1877 01:26:54,920 --> 01:26:59,352 So what is that [INAUDIBLE]. 1878 01:26:59,352 --> 01:27:01,560 AUDIENCE: She means just that these are your partners 1879 01:27:01,560 --> 01:27:02,400 to do the project. 1880 01:27:05,430 --> 01:27:07,608 The people that she just mentioned 1881 01:27:07,608 --> 01:27:09,496 are your partners for producing your project. 1882 01:27:12,630 --> 01:27:15,410 It's a phrase that I'm sure you use [INAUDIBLE]. 1883 01:27:15,410 --> 01:27:16,750 PROFESSOR: Yeah, sorry. 1884 01:27:16,750 --> 01:27:19,570 And also, don't feel limited to only working during class time, 1885 01:27:19,570 --> 01:27:22,456 if you and your partner would rather meet in the morning. 1886 01:27:22,456 --> 01:27:24,080 Or if you want to just shoot some stuff 1887 01:27:24,080 --> 01:27:27,230 on your own, like B-roll, that's totally fine. 1888 01:27:27,230 --> 01:27:29,160 I will put this link up on the Tumblr. 1889 01:27:29,160 --> 01:27:31,460 And I'll email it out to you guys today, too. 1890 01:27:31,460 --> 01:27:35,930 I would love it if sometime, before the end of the weekend, 1891 01:27:35,930 --> 01:27:38,250 you filled out this super, super short midpoint survey, 1892 01:27:38,250 --> 01:27:40,850 just to give us a good idea of what 1893 01:27:40,850 --> 01:27:42,160 is working best for you all. 1894 01:27:42,160 --> 01:27:43,743 What type of feedback is working best? 1895 01:27:43,743 --> 01:27:46,245 Because I want to make sure that for the last week, 1896 01:27:46,245 --> 01:27:47,870 it's going to be a lot of project time. 1897 01:27:47,870 --> 01:27:49,765 So I just want to make sure that the time is 1898 01:27:49,765 --> 01:27:51,260 as valuable to you as possible. 1899 01:27:51,260 --> 01:27:53,200 So it's really quick. 1900 01:27:53,200 --> 01:27:54,565 It's super painless. 1901 01:27:54,565 --> 01:27:58,710 It's just telling me what your favorite day was, basically. 1902 01:27:58,710 --> 01:28:00,210 So I'll send out a link to you guys. 1903 01:28:00,210 --> 01:28:03,540 Just any time between now and the weekend would be awesome. 1904 01:28:03,540 --> 01:28:04,510 AUDIENCE: [INAUDIBLE]. 1905 01:28:11,562 --> 01:28:13,270 PROFESSOR: No, for most of the videos, we 1906 01:28:13,270 --> 01:28:15,100 have at least two or three. 1907 01:28:15,100 --> 01:28:17,410 I think we have around three in all of them. 1908 01:28:17,410 --> 01:28:18,338 AUDIENCE: [INAUDIBLE]. 1909 01:28:22,686 --> 01:28:24,560 PROFESSOR: I don't have an algorithm for you, 1910 01:28:24,560 --> 01:28:25,260 unfortunately. 1911 01:28:25,260 --> 01:28:28,150 A lot of it is just what feels right to me. 1912 01:28:35,194 --> 01:28:37,140 AUDIENCE: And you can ask for second opinions. 1913 01:28:37,140 --> 01:28:37,630 PROFESSOR: Of course. 1914 01:28:37,630 --> 01:28:39,118 AUDIENCE: This is a great time to ask your group, 1915 01:28:39,118 --> 01:28:40,326 or other people in the class. 1916 01:28:40,326 --> 01:28:41,598 Or come in and ask us, too. 1917 01:28:41,598 --> 01:28:43,086 If it's like, I found this music, 1918 01:28:43,086 --> 01:28:44,620 I'm not sure how I feel about it. 1919 01:28:44,620 --> 01:28:45,610 How do you guys feel about it? 1920 01:28:45,610 --> 01:28:46,276 PROFESSOR: Yeah. 1921 01:28:46,276 --> 01:28:49,150 And if you're in the editing room on Friday 1922 01:28:49,150 --> 01:28:51,426 during class time, and you want us to look at it, 1923 01:28:51,426 --> 01:28:53,050 just send me an email and be like, hey, 1924 01:28:53,050 --> 01:28:57,200 can you meet me in 26 at 2 o'clock to help me with this? 1925 01:28:57,200 --> 01:28:57,960 And I will do it. 1926 01:28:57,960 --> 01:28:59,525 So, at the beginning it's funny. 1927 01:28:59,525 --> 01:29:00,191 [VIDEO PLAYBACK] 1928 01:29:02,030 --> 01:29:05,450 -A skunk, rotten eggs, garbage dumpster-- the possibilities 1929 01:29:05,450 --> 01:29:07,250 are, unfortunately, endless. 1930 01:29:07,250 --> 01:29:09,830 PROFESSOR: And he's talking about how funny it is. 1931 01:29:09,830 --> 01:29:11,690 -Break food down to get energy. 1932 01:29:11,690 --> 01:29:15,430 But your main byproducts are carbon dioxide and water, 1933 01:29:15,430 --> 01:29:18,600 and yeast's main byproducts are carbon dioxide and alcohol. 1934 01:29:18,600 --> 01:29:20,320 That's how this stuff gets to be beer. 1935 01:29:23,400 --> 01:29:25,090 And here's where things get weird. 1936 01:29:25,090 --> 01:29:25,673 [END PLAYBACK] 1937 01:29:25,673 --> 01:29:28,300 PROFESSOR: So that's a new break in thought. 1938 01:29:28,300 --> 01:29:33,490 It was a logical transition point for us, 1939 01:29:33,490 --> 01:29:38,450 because he opens with farts are like a box of chocolates. 1940 01:29:38,450 --> 01:29:40,200 But this is the part where you're starting 1941 01:29:40,200 --> 01:29:41,491 to really get into the science. 1942 01:29:41,491 --> 01:29:44,720 And he wants to highlight the misconception of, 1943 01:29:44,720 --> 01:29:47,240 the thing that you thought was funny is actually really 1944 01:29:47,240 --> 01:29:49,090 weird and super interesting. 1945 01:29:49,090 --> 01:29:55,950 So we introduced this track that I felt conveyed that sense of, 1946 01:29:55,950 --> 01:29:56,880 this is weird. 1947 01:29:56,880 --> 01:30:00,590 There's something interesting about this. 1948 01:30:00,590 --> 01:30:03,370 But yeah, unfortunately, I don't have a recipe. 1949 01:30:03,370 --> 01:30:05,270 I think once you start doing it on your own, 1950 01:30:05,270 --> 01:30:06,730 you're going to get a sense of it. 1951 01:30:06,730 --> 01:30:08,870 And once you start seeing other people's projects, 1952 01:30:08,870 --> 01:30:10,160 you'll get a sense of it. 1953 01:30:10,160 --> 01:30:12,920 AUDIENCE: There's always the mom test. 1954 01:30:12,920 --> 01:30:15,520 My mom, I feel like she's so like that-- oh, I 1955 01:30:15,520 --> 01:30:17,942 don't understand, what are you doing with this? 1956 01:30:17,942 --> 01:30:18,580 I can't hear. 1957 01:30:21,409 --> 01:30:23,575 I feel like my mom is like, if I can show it to her, 1958 01:30:23,575 --> 01:30:25,491 and she'll be like, oh, I can hear everything, 1959 01:30:25,491 --> 01:30:27,060 and your music's not distracting me. 1960 01:30:27,060 --> 01:30:31,450 Or, can you make it louder, honey, I can't hear that part. 1961 01:30:31,450 --> 01:30:34,110 If you have someone in your life who plays that role, 1962 01:30:34,110 --> 01:30:36,080 that's a great person to check in with. 1963 01:30:36,080 --> 01:30:41,550 PROFESSOR: I'm happy to be that person for you guys. 1964 01:30:41,550 --> 01:30:45,660 AUDIENCE: Can you talk louder on this part? 1965 01:30:45,660 --> 01:30:48,290 PROFESSOR: But that's why audio is so important to get right 1966 01:30:48,290 --> 01:30:50,630 when you're producing. 1967 01:30:50,630 --> 01:30:53,870 Because if you record too soft, there's only so much 1968 01:30:53,870 --> 01:30:55,250 you can do in the editing. 1969 01:30:55,250 --> 01:30:57,080 And if you record too loud, you're 1970 01:30:57,080 --> 01:30:58,820 going to peak the microphone. 1971 01:30:58,820 --> 01:31:01,320 And it's going to sound really scratchy. 1972 01:31:01,320 --> 01:31:05,630 So when you're filming someone, watch a take or two, just 1973 01:31:05,630 --> 01:31:08,058 to make sure that the audio's sounding clean and OK. 1974 01:31:13,382 --> 01:31:15,207 AUDIENCE: Do you have the GoPros here, 1975 01:31:15,207 --> 01:31:16,290 or is that somewhere else? 1976 01:31:16,290 --> 01:31:18,660 PROFESSOR: Oh, I have them in my office. 1977 01:31:18,660 --> 01:31:20,409 I can actually go there after class 1978 01:31:20,409 --> 01:31:22,200 right now, if you're planning on using them 1979 01:31:22,200 --> 01:31:24,330 before tomorrow's class. 1980 01:31:24,330 --> 01:31:25,627 AUDIENCE: Probably Thursday. 1981 01:31:25,627 --> 01:31:26,460 PROFESSOR: Thursday? 1982 01:31:26,460 --> 01:31:29,130 OK, then I'll just bring them with me to class tomorrow, 1983 01:31:29,130 --> 01:31:31,160 and I'll leave them in Jamie's office. 1984 01:31:31,160 --> 01:31:32,704 They've never been opened before. 1985 01:31:32,704 --> 01:31:33,620 AUDIENCE: What's that? 1986 01:31:33,620 --> 01:31:35,453 PROFESSOR: They've never been opened before. 1987 01:31:35,453 --> 01:31:37,514 They're brand new, just for you guys. 1988 01:31:37,514 --> 01:31:39,680 AUDIENCE: And if you need access to something that's 1989 01:31:39,680 --> 01:31:43,350 In my office, and there's a code, and if you email me, 1990 01:31:43,350 --> 01:31:47,380 and I'm not there, don't steal anything, obviously. 1991 01:31:47,380 --> 01:31:50,421 But if you need access and I'm not around, 1992 01:31:50,421 --> 01:31:52,770 I can give you the code to get into that room. 1993 01:31:52,770 --> 01:31:54,520 PROFESSOR: You guys can come to my office, 1994 01:31:54,520 --> 01:31:56,186 but it's all the way out in Tech Square. 1995 01:31:56,186 --> 01:31:59,210 So I would imagine most people wouldn't want to. 1996 01:31:59,210 --> 01:32:02,120 AUDIENCE: And if you see lots of strange students in my office, 1997 01:32:02,120 --> 01:32:04,060 that's just probably my fellows. 1998 01:32:04,060 --> 01:32:05,982 So, say hey. 1999 01:32:05,982 --> 01:32:07,690 PROFESSOR: Does anyone have certain props 2000 01:32:07,690 --> 01:32:09,490 that they want to use? 2001 01:32:09,490 --> 01:32:11,740 Does anyone need a hand cart? 2002 01:32:11,740 --> 01:32:12,990 Yes. 2003 01:32:12,990 --> 01:32:15,370 AUDIENCE: I'll need simple things, 2004 01:32:15,370 --> 01:32:17,340 like a wire that I can bend. 2005 01:32:17,340 --> 01:32:21,450 So maybe a couple, if it doesn't work out the first time. 2006 01:32:21,450 --> 01:32:22,950 PROFESSOR: So for those props, I'm 2007 01:32:22,950 --> 01:32:25,560 going to have you guys get them. 2008 01:32:25,560 --> 01:32:28,940 For bigger things, like a hand cart, 2009 01:32:28,940 --> 01:32:32,310 or if you need another tripod, or if you need a light kit, 2010 01:32:32,310 --> 01:32:34,183 or something. 2011 01:32:34,183 --> 01:32:36,550 AUDIENCE: I think that may be [INAUDIBLE]. 2012 01:32:36,550 --> 01:32:37,600 PROFESSOR: Yeah. 2013 01:32:37,600 --> 01:32:40,860 If it's simple, like under $20, I'm 2014 01:32:40,860 --> 01:32:43,727 going to have you guys go ahead and coordinate that, though. 2015 01:32:46,541 --> 01:32:47,900 AUDIENCE: Just a quick question. 2016 01:32:47,900 --> 01:32:48,805 What font is that? 2017 01:32:48,805 --> 01:32:49,930 PROFESSOR: What font is it? 2018 01:32:49,930 --> 01:32:51,370 AUDIENCE: [INAUDIBLE]. 2019 01:32:51,370 --> 01:32:55,780 PROFESSOR: Actually, that font was very, very intentional. 2020 01:32:55,780 --> 01:32:58,360 For a while, I tried to make my own font. 2021 01:32:58,360 --> 01:33:00,969 But then I was like, that's silly, 2022 01:33:00,969 --> 01:33:02,010 just use an existing one. 2023 01:33:02,010 --> 01:33:03,577 I can't remember what the name of it 2024 01:33:03,577 --> 01:33:04,660 is off the top of my head. 2025 01:33:04,660 --> 01:33:07,750 But we use it to brand Science Out Loud. 2026 01:33:07,750 --> 01:33:10,810 But I can send it to you once I find out. 2027 01:33:10,810 --> 01:33:13,344 I think it's a Google Font, actually. 2028 01:33:13,344 --> 01:33:16,210 AUDIENCE: The O's are different, and the H's are different. 2029 01:33:16,210 --> 01:33:18,420 PROFESSOR: Oh, no, that's just stuff I drew. 2030 01:33:18,420 --> 01:33:21,462 But I think he's talking about for the text font. 2031 01:33:21,462 --> 01:33:24,496 I think it's actually Amatic SC. 2032 01:33:24,496 --> 01:33:25,428 It's a Google font. 2033 01:33:28,690 --> 01:33:31,100 AUDIENCE: [INAUDIBLE]. 2034 01:33:31,100 --> 01:33:34,226 PROFESSOR: I will put it on the Tumblr. 2035 01:33:34,226 --> 01:33:36,964 I've got to remember to do that, though. 2036 01:33:36,964 --> 01:33:39,070 AUDIENCE: So how exactly do you do 2037 01:33:39,070 --> 01:33:42,112 that, like draw something on the computer or would [INAUDIBLE]. 2038 01:33:45,014 --> 01:33:47,180 PROFESSOR: I don't have any of the examples with me, 2039 01:33:47,180 --> 01:33:50,960 but I just draw on a piece of paper with Sharpie. 2040 01:33:50,960 --> 01:33:55,940 And that's how I do all these presentations, too. 2041 01:34:00,420 --> 01:34:05,680 So for day 9, I did this at the airport. 2042 01:34:05,680 --> 01:34:07,450 This is basically all it is. 2043 01:34:07,450 --> 01:34:09,600 And then I take a picture with my iPhone. 2044 01:34:09,600 --> 01:34:11,680 And then I blow out the exposure in Keynote. 2045 01:34:11,680 --> 01:34:13,990 It's nothing fancy. 2046 01:34:13,990 --> 01:34:18,560 And Sari knows how to animate the things in After Effects. 2047 01:34:18,560 --> 01:34:20,800 But basically you take a still image, 2048 01:34:20,800 --> 01:34:22,870 and you draw a path for the computer 2049 01:34:22,870 --> 01:34:24,420 to wiggle it around for you. 2050 01:34:28,159 --> 01:34:30,492 AUDIENCE: Before I knew how to animate in After Effects, 2051 01:34:30,492 --> 01:34:33,964 you can just use Illustrator, which is a really good vector 2052 01:34:33,964 --> 01:34:34,956 art program. 2053 01:34:34,956 --> 01:34:36,950 Do you have a tablet? 2054 01:34:36,950 --> 01:34:40,126 PROFESSOR: I have 10 Wacom tablets, 2055 01:34:40,126 --> 01:34:41,500 in case anyone wants to use them. 2056 01:34:41,500 --> 01:34:44,480 AUDIENCE: The best way to translate your handwriting 2057 01:34:44,480 --> 01:34:46,466 to digitally, so if you want your handwriting 2058 01:34:46,466 --> 01:34:47,990 to just be digital, then you open up 2059 01:34:47,990 --> 01:34:52,840 a file in Illustrator that's the same size of your screen, 2060 01:34:52,840 --> 01:34:56,222 or your video, so, 1928 by 800. 2061 01:34:56,222 --> 01:34:57,180 Or something like that. 2062 01:34:57,180 --> 01:34:59,760 And you just draw in it, and you can 2063 01:34:59,760 --> 01:35:02,690 change the width of your lines. 2064 01:35:02,690 --> 01:35:04,830 You can redo the shapes that you do, 2065 01:35:04,830 --> 01:35:06,860 because it's just a readable document. 2066 01:35:06,860 --> 01:35:09,550 And then you can export that as an image file. 2067 01:35:09,550 --> 01:35:12,482 It'll be the exact same size as your video clips, 2068 01:35:12,482 --> 01:35:15,040 when you've edited it. 2069 01:35:15,040 --> 01:35:17,819 And you can make backgrounds transparent then too. 2070 01:35:17,819 --> 01:35:20,212 So you can just have your vector art. 2071 01:35:20,212 --> 01:35:22,420 PROFESSOR: You don't have to make it black and white. 2072 01:35:22,420 --> 01:35:24,420 I just tend to do it because it's easier for me. 2073 01:35:24,420 --> 01:35:29,680 But if you're trying to draw the PDL or something, 2074 01:35:29,680 --> 01:35:30,964 she's much better at that. 2075 01:35:30,964 --> 01:35:31,880 AUDIENCE: [INAUDIBLE]. 2076 01:35:31,880 --> 01:35:32,060 PROFESSOR: You what? 2077 01:35:32,060 --> 01:35:32,905 AUDIENCE: I thought that was your font. 2078 01:35:32,905 --> 01:35:33,780 PROFESSOR: Oh really? 2079 01:35:33,780 --> 01:35:36,035 No, I made it at the airport. 2080 01:35:39,751 --> 01:35:44,200 AUDIENCE: So how can you avoid giving [INAUDIBLE]? 2081 01:35:44,200 --> 01:35:46,880 PROFESSOR: Well, I will show you exactly what 2082 01:35:46,880 --> 01:35:48,180 I did for this slide. 2083 01:35:48,180 --> 01:35:58,040 So I said, I'm going to insert this image. 2084 01:35:58,040 --> 01:35:58,940 And this is Keynote. 2085 01:35:58,940 --> 01:36:00,315 I think you can do in PowerPoint. 2086 01:36:00,315 --> 01:36:03,450 You can definitely do it in Photoshop. 2087 01:36:03,450 --> 01:36:05,255 This is me just being newb extraordinaire. 2088 01:36:08,030 --> 01:36:11,484 I went to Image, and first I flipped it. 2089 01:36:14,440 --> 01:36:18,220 And I basically adjusted the levels, 2090 01:36:18,220 --> 01:36:20,040 so I blew out the background first. 2091 01:36:20,040 --> 01:36:21,892 And then I inverted it. 2092 01:36:24,670 --> 01:36:27,372 I'm basically taking all the whites to the extreme. 2093 01:36:34,040 --> 01:36:36,310 Of course it's not working now. 2094 01:36:44,038 --> 01:36:47,440 I promise it does work. 2095 01:36:47,440 --> 01:36:50,690 OK, let's try this again. 2096 01:36:50,690 --> 01:36:52,160 Sometimes it's finicky. 2097 01:36:56,580 --> 01:36:58,360 Does anyone have other questions while I 2098 01:36:58,360 --> 01:36:59,770 try to get this to work? 2099 01:37:05,880 --> 01:37:09,025 I'm going to try a different picture. 2100 01:37:09,025 --> 01:37:11,150 AUDIENCE: It makes us all feel better that it's not 2101 01:37:11,150 --> 01:37:12,097 [INAUDIBLE]. 2102 01:37:12,097 --> 01:37:13,430 For me, it makes me feel better. 2103 01:37:13,430 --> 01:37:14,730 PROFESSOR: No, it is. 2104 01:37:14,730 --> 01:37:16,760 I'll go with this one. 2105 01:37:16,760 --> 01:37:20,130 And I'm sure there is a very streamlined way that 2106 01:37:20,130 --> 01:37:22,090 kills fewer trees. 2107 01:37:22,090 --> 01:37:24,260 Oh my goodness, I don't know why it's not working. 2108 01:37:24,260 --> 01:37:28,130 So if you're doing a black image on a white background, 2109 01:37:28,130 --> 01:37:30,640 this is all you would do. 2110 01:37:30,640 --> 01:37:32,376 This is not clearing the background, 2111 01:37:32,376 --> 01:37:34,000 so the background is going to be black. 2112 01:37:34,000 --> 01:37:37,870 So you would have to do what Sari's talking about 2113 01:37:37,870 --> 01:37:40,810 as far as basically creating a vector art that 2114 01:37:40,810 --> 01:37:42,918 has a transparent background. 2115 01:37:42,918 --> 01:37:44,262 AUDIENCE: And it's really easy. 2116 01:37:44,262 --> 01:37:46,530 The hardest part is getting used to the tablet, 2117 01:37:46,530 --> 01:37:51,090 because it's weird writing, and seeing your writing up here, 2118 01:37:51,090 --> 01:37:52,951 somewhere else than what's on the page. 2119 01:37:52,951 --> 01:37:53,950 PROFESSOR: Ha, I got it. 2120 01:38:00,670 --> 01:38:01,820 That is all I did. 2121 01:38:04,670 --> 01:38:07,216 And I cropped it. 2122 01:38:07,216 --> 01:38:11,152 AUDIENCE: I've done stuff like this in PowerPoint. 2123 01:38:11,152 --> 01:38:15,088 You could do it just as easily in PowerPoint, yeah. 2124 01:38:15,088 --> 01:38:18,532 They give you cool stuff to make it look like teeth, 2125 01:38:18,532 --> 01:38:22,300 or there's all these cool-- and then just black and white. 2126 01:38:22,300 --> 01:38:23,234 They're really easy. 2127 01:38:23,234 --> 01:38:25,170 But that looks really cool. 2128 01:38:25,170 --> 01:38:30,080 PROFESSOR: But for animations, labels, overlay in general, 2129 01:38:30,080 --> 01:38:33,270 I think simple is better because clarity 2130 01:38:33,270 --> 01:38:35,720 is most important for graphics, and anything 2131 01:38:35,720 --> 01:38:37,360 that's not the video. 2132 01:38:37,360 --> 01:38:39,720 The video itself also needs to be clear too. 2133 01:38:39,720 --> 01:38:41,149 Clarity is very important. 2134 01:38:41,149 --> 01:38:43,065 AUDIENCE: Can we use the Wacoms in your office 2135 01:38:43,065 --> 01:38:45,523 on our own computers, or do we have to use that in the lab? 2136 01:38:45,523 --> 01:38:47,750 PROFESSOR: No, they're are my office. 2137 01:38:47,750 --> 01:38:48,724 It's a USB hookup. 2138 01:38:48,724 --> 01:38:49,640 AUDIENCE: [INAUDIBLE]. 2139 01:38:49,640 --> 01:38:50,900 PROFESSOR: And they're kind of old. 2140 01:38:50,900 --> 01:38:52,316 Yeah, they're not the newest kind. 2141 01:38:52,316 --> 01:38:53,905 I think they're five or six years old. 2142 01:38:53,905 --> 01:38:55,030 But I have a bunch of them. 2143 01:38:55,030 --> 01:38:56,680 I didn't bring them with me because I wasn't sure 2144 01:38:56,680 --> 01:38:57,970 if people would be interested in them. 2145 01:38:57,970 --> 01:39:00,430 But yes, please take them, because they're just sitting 2146 01:39:00,430 --> 01:39:01,950 in a cabinet in my office. 2147 01:39:01,950 --> 01:39:04,280 AUDIENCE: [INAUDIBLE]. 2148 01:39:04,280 --> 01:39:05,020 PROFESSOR: Yeah. 2149 01:39:05,020 --> 01:39:07,460 If you guys want them tonight, I'm 2150 01:39:07,460 --> 01:39:09,010 happy to go over and get them now. 2151 01:39:09,010 --> 01:39:11,432 But I can also just bring them to class tomorrow. 2152 01:39:14,890 --> 01:39:18,842 AUDIENCE: Can you overlay the video 2153 01:39:18,842 --> 01:39:22,810 with animations in iMovie so I can [INAUDIBLE]? 2154 01:39:22,810 --> 01:39:24,230 PROFESSOR: Yeah, iMovie is great, 2155 01:39:24,230 --> 01:39:26,849 because there's a very low learning curve. 2156 01:39:26,849 --> 01:39:29,140 And so, if you're doing simpler things like cutting out 2157 01:39:29,140 --> 01:39:34,450 the bad bits, people might say iMovie is a newb thing to use. 2158 01:39:34,450 --> 01:39:36,299 But I use it for really simple videos 2159 01:39:36,299 --> 01:39:38,340 that I don't need to do a whole lot of work with. 2160 01:39:38,340 --> 01:39:39,756 Unfortunately, for the animations, 2161 01:39:39,756 --> 01:39:41,625 I don't think it's possible, and that you 2162 01:39:41,625 --> 01:39:44,655 would need to use something like After Effects. 2163 01:39:47,360 --> 01:39:50,110 Or you would need to use Final Cut to incorporate it. 2164 01:39:50,110 --> 01:39:51,610 AUDIENCE: So the problem with iMovie 2165 01:39:51,610 --> 01:39:53,406 is because it's so simple, it only 2166 01:39:53,406 --> 01:39:55,459 has one video track and one audio track. 2167 01:39:55,459 --> 01:39:57,000 And in order to overlay an animation, 2168 01:39:57,000 --> 01:39:59,940 you need at least two video tracks, which 2169 01:39:59,940 --> 01:40:02,880 comes in Final Cut or Premier. 2170 01:40:02,880 --> 01:40:06,311 PROFESSOR: Something that you can do with iMovie, 2171 01:40:06,311 --> 01:40:08,310 I'm not sure if some of you guys would do this-- 2172 01:40:08,310 --> 01:40:14,190 but say you are standing in the side of the frame like this. 2173 01:40:14,190 --> 01:40:19,740 And you want another movie to play on the inside. 2174 01:40:19,740 --> 01:40:21,210 You can do that in iMovie. 2175 01:40:21,210 --> 01:40:23,350 You can do an inset. 2176 01:40:23,350 --> 01:40:29,582 And that's something that's pretty straightforward to do. 2177 01:40:29,582 --> 01:40:31,950 AUDIENCE: And you can have words show up over you. 2178 01:40:31,950 --> 01:40:33,724 It's very easy to do in iMovie. 2179 01:40:33,724 --> 01:40:35,272 If it's not an animation, but just 2180 01:40:35,272 --> 01:40:36,646 a word that you want next to you, 2181 01:40:36,646 --> 01:40:40,874 that's really easy to do, and have text show up. 2182 01:40:40,874 --> 01:40:41,790 AUDIENCE: Or an image. 2183 01:40:41,790 --> 01:40:43,377 That would be [INAUDIBLE]. 2184 01:40:43,377 --> 01:40:44,002 AUDIENCE: Yeah. 2185 01:41:07,360 --> 01:41:09,260 PROFESSOR: I'll show you the video later 2186 01:41:09,260 --> 01:41:11,550 because I can't find it right now. 2187 01:41:11,550 --> 01:41:14,900 You can do insets, really basic things on iMovie. 2188 01:41:14,900 --> 01:41:16,170 But animations, you can't. 2189 01:41:16,170 --> 01:41:22,110 What you could do, is you could work with Sari in After Effects 2190 01:41:22,110 --> 01:41:25,500 to get the video clip where you want the animation, 2191 01:41:25,500 --> 01:41:28,000 and export it as its own file. 2192 01:41:28,000 --> 01:41:29,860 And then import it into iMovie. 2193 01:41:29,860 --> 01:41:33,209 So you're basically using a polished animation. 2194 01:41:33,209 --> 01:41:34,750 That way, if you want to keep working 2195 01:41:34,750 --> 01:41:37,325 in iMovie for the rest of your project, you can do that. 2196 01:41:37,325 --> 01:41:39,408 AUDIENCE: And we need to go to the [INAUDIBLE] lab 2197 01:41:39,408 --> 01:41:41,630 to use the After Effects? 2198 01:41:41,630 --> 01:41:43,400 PROFESSOR: Yeah, because they only 2199 01:41:43,400 --> 01:41:45,880 are in installed computers on campus. 2200 01:41:45,880 --> 01:41:48,571 And it's literally in that building. 2201 01:41:48,571 --> 01:41:50,737 AUDIENCE: And if you end up wanting to work at home, 2202 01:41:50,737 --> 01:41:54,421 it takes usually an hour, but you can install all the Adobe 2203 01:41:54,421 --> 01:41:55,894 software for free for a month. 2204 01:41:55,894 --> 01:41:57,693 And they don't automatically charge you, 2205 01:41:57,693 --> 01:41:59,822 because you don't put in credit card information, or anything. 2206 01:41:59,822 --> 01:42:01,447 You just sign up with an email address. 2207 01:42:01,447 --> 01:42:04,185 And then you can download them for a month trial. 2208 01:42:10,490 --> 01:42:13,932 Did teams want to spend the last little bit on a little game 2209 01:42:13,932 --> 01:42:15,201 plan time? 2210 01:42:15,201 --> 01:42:17,200 PROFESSOR: Don't forget, a daily blog for today. 2211 01:42:19,880 --> 01:42:21,570 I think I put this in the email. 2212 01:42:21,570 --> 01:42:24,590 The syllabus is updated with all the assignments. 2213 01:42:24,590 --> 01:42:26,630 Basically, from now until the end, 2214 01:42:26,630 --> 01:42:30,520 it's just the video itself that's due. 2215 01:42:30,520 --> 01:42:36,960 And daily blogs are just for today and the rough screening 2216 01:42:36,960 --> 01:42:38,860 day. 2217 01:42:38,860 --> 01:42:41,340 But if you take behind the scenes pictures, which 2218 01:42:41,340 --> 01:42:43,660 I love to do, behind the scenes stuff, 2219 01:42:43,660 --> 01:42:46,460 feel free to upload that to the Tumblr. 2220 01:42:46,460 --> 01:42:49,690 AUDIENCE: So there's no shot list, or anything like that? 2221 01:42:49,690 --> 01:42:51,620 PROFESSOR: Yeah. 2222 01:42:51,620 --> 01:42:55,040 The scripts, I think everyone has sent me, for the most 2223 01:42:55,040 --> 01:42:56,695 part, updated scripts. 2224 01:42:56,695 --> 01:42:59,070 The shot list and all that, it's really for your benefit. 2225 01:42:59,070 --> 01:43:03,470 I want you to feel as ready as possible to shoot. 2226 01:43:03,470 --> 01:43:09,080 Actually, I would like you to upload the shot list. 2227 01:43:09,080 --> 01:43:12,360 But I won't set a due date for it. 2228 01:43:12,360 --> 01:43:15,220 I'll change the syllabus with that. 2229 01:43:15,220 --> 01:43:18,590 But do upload your shot list. 2230 01:43:18,590 --> 01:43:21,520 I would like to see it up there by Thursday, at least. 2231 01:43:21,520 --> 01:43:26,210 Because if you're not thinking about shooting by then-- 2232 01:43:26,210 --> 01:43:28,162 does that sound OK to everyone? 2233 01:43:34,030 --> 01:43:35,380 Break, go team. 2234 01:43:35,380 --> 01:43:36,540 Yay, people. 2235 01:43:36,540 --> 01:43:37,550 It'll be awesome. 2236 01:43:37,550 --> 01:43:39,900 I can't wait to see your videos.