1 00:00:00,000 --> 00:00:15,442 2 00:00:15,442 --> 00:00:16,650 IAN SEXTON: All right, folks. 3 00:00:16,650 --> 00:00:19,160 Welcome to Lecture 1 of E5. 4 00:00:19,160 --> 00:00:20,720 My name is Ian Sexton. 5 00:00:20,720 --> 00:00:24,470 Over here on my left is Dan Coffey. 6 00:00:24,470 --> 00:00:26,720 We're going to be taking you through today's lecture. 7 00:00:26,720 --> 00:00:29,360 And I'm going to start a little bit by talking about some 8 00:00:29,360 --> 00:00:32,270 of the overarching goals of the course and how they 9 00:00:32,270 --> 00:00:34,970 relate to storytelling more generally. 10 00:00:34,970 --> 00:00:37,580 So if you are just joining us, we released 11 00:00:37,580 --> 00:00:42,530 a short video called Lecture 0 that's available on the course website that 12 00:00:42,530 --> 00:00:47,990 talks a little bit about some of the tools and technology 13 00:00:47,990 --> 00:00:51,290 that we use in the course, whether that's some of the web 14 00:00:51,290 --> 00:00:54,190 resources or the camera resources. 15 00:00:54,190 --> 00:00:57,980 It's available here at exploringdigital.media. 16 00:00:57,980 --> 00:01:01,160 And if you have any questions about the content in the lectures 17 00:01:01,160 --> 00:01:03,990 or any of the content on the website, do email us 18 00:01:03,990 --> 00:01:07,220 at staff@exploringdigital.media. 19 00:01:07,220 --> 00:01:07,820 All right. 20 00:01:07,820 --> 00:01:10,430 So what is this class about? 21 00:01:10,430 --> 00:01:13,880 Our slug line for this is that it's a practical introductory course that 22 00:01:13,880 --> 00:01:16,850 gives a fast-paced overview of a broad range of topics 23 00:01:16,850 --> 00:01:18,510 related to contemporary media. 24 00:01:18,510 --> 00:01:19,010 OK. 25 00:01:19,010 --> 00:01:21,710 And we highlight this idea of practical and introductory. 26 00:01:21,710 --> 00:01:26,360 We're going to talk about photography, video production, audio recording, 27 00:01:26,360 --> 00:01:29,270 HTML, a little bit of JavaScript, which is-- 28 00:01:29,270 --> 00:01:31,730 any of those topics could be a course in themselves. 29 00:01:31,730 --> 00:01:32,420 OK. 30 00:01:32,420 --> 00:01:35,240 So we are going to broadly reach across and look 31 00:01:35,240 --> 00:01:39,797 at all of these different tools and how we best might use them. 32 00:01:39,797 --> 00:01:42,380 So if you're coming to this class with not a lot of experience 33 00:01:42,380 --> 00:01:46,700 and you want to think about where you want to go in digital media production, 34 00:01:46,700 --> 00:01:47,922 this is a great start. 35 00:01:47,922 --> 00:01:50,880 If you're coming with a little bit of experience on one of these areas, 36 00:01:50,880 --> 00:01:53,270 then you have time to investigate-- maybe you 37 00:01:53,270 --> 00:01:55,520 have experience in photography, we can spend some time 38 00:01:55,520 --> 00:01:58,724 investigating video production. 39 00:01:58,724 --> 00:02:00,890 The practical component is that we're going to spend 40 00:02:00,890 --> 00:02:03,800 a lot of time actually making work. 41 00:02:03,800 --> 00:02:05,240 We'll take photographs. 42 00:02:05,240 --> 00:02:06,680 We'll produce short videos. 43 00:02:06,680 --> 00:02:09,780 We have a large final project for you guys to work on. 44 00:02:09,780 --> 00:02:15,170 And so, one of the things that we do want to talk about 45 00:02:15,170 --> 00:02:20,976 is how those tools relate to the ideas that you want to express. 46 00:02:20,976 --> 00:02:23,850 Because at the end of the day, a camera, when you're taking pictures, 47 00:02:23,850 --> 00:02:25,310 is just a dumb box. 48 00:02:25,310 --> 00:02:29,000 It needs a very smart operator in order to help it do the things that you 49 00:02:29,000 --> 00:02:32,180 want to express yourself more fully. 50 00:02:32,180 --> 00:02:34,610 All right. 51 00:02:34,610 --> 00:02:39,410 All of the decisions that you make from a technical and a logistical standpoint 52 00:02:39,410 --> 00:02:42,980 either support or detract from the idea that you're trying to express. 53 00:02:42,980 --> 00:02:47,990 This is going to be a foundational idea across everything we discuss. 54 00:02:47,990 --> 00:02:53,240 That media production in itself is a series of trade-offs. 55 00:02:53,240 --> 00:02:56,660 Choices can range from visual and compositional choices-- 56 00:02:56,660 --> 00:03:02,330 where I place the camera, what exposure I used to make my image-- 57 00:03:02,330 --> 00:03:05,480 or they can be logistical and workflow. 58 00:03:05,480 --> 00:03:08,034 I only have a budget of $10. 59 00:03:08,034 --> 00:03:09,950 Well, that's going to limit the kind of camera 60 00:03:09,950 --> 00:03:13,130 that I can use for this assignment. 61 00:03:13,130 --> 00:03:17,244 Just as a simple expression. 62 00:03:17,244 --> 00:03:19,160 Our intentions and our required deliverables-- 63 00:03:19,160 --> 00:03:21,980 what we're hoping to achieve-- 64 00:03:21,980 --> 00:03:24,470 will define the options that are available to us. 65 00:03:24,470 --> 00:03:28,310 66 00:03:28,310 --> 00:03:31,250 At the end of the day, we should be proactive decision makers 67 00:03:31,250 --> 00:03:35,000 who manage visual and narrative choices to support our goals. 68 00:03:35,000 --> 00:03:37,340 That's where we want to get to. 69 00:03:37,340 --> 00:03:39,230 And as I said, every decision is a trade-off, 70 00:03:39,230 --> 00:03:43,760 and your choices either support or detract from your intentions. 71 00:03:43,760 --> 00:03:46,100 So at the end of the day, we need to understand 72 00:03:46,100 --> 00:03:48,950 what we want to say so that we can choose 73 00:03:48,950 --> 00:03:52,220 the right technical expression and the right logistical expression 74 00:03:52,220 --> 00:03:57,179 to say that in a way that matters to the people who are listening. 75 00:03:57,179 --> 00:03:58,970 So your trade-offs, generally-- and I think 76 00:03:58,970 --> 00:04:04,670 you may have all seen this before, where you can have either speed, cost, 77 00:04:04,670 --> 00:04:06,200 or quality. 78 00:04:06,200 --> 00:04:09,000 You can have two of them, but you can't have all of them. 79 00:04:09,000 --> 00:04:11,240 It's the normal maximum for this. 80 00:04:11,240 --> 00:04:16,790 And so if we think about this as, in the sense of media production, 81 00:04:16,790 --> 00:04:19,760 if we have cost and speed-- 82 00:04:19,760 --> 00:04:23,360 it doesn't cost us a lot and it's very fast-- you could maybe think of a point 83 00:04:23,360 --> 00:04:25,370 and shoot camera. 84 00:04:25,370 --> 00:04:26,810 You can get them for very cheap. 85 00:04:26,810 --> 00:04:28,220 They're mostly auto. 86 00:04:28,220 --> 00:04:31,186 They produce jpgs which can be instantly posted to the web, 87 00:04:31,186 --> 00:04:32,310 or perhaps even your phone. 88 00:04:32,310 --> 00:04:35,712 You take a picture and it can go right to Instagram. 89 00:04:35,712 --> 00:04:36,920 It ends up not costing a lot. 90 00:04:36,920 --> 00:04:39,620 But it also has limited controls. 91 00:04:39,620 --> 00:04:43,532 The image that it makes, it's not easy to adjust aperture or change 92 00:04:43,532 --> 00:04:44,240 the way it looks. 93 00:04:44,240 --> 00:04:46,370 It takes one kind of picture all the time. 94 00:04:46,370 --> 00:04:49,210 95 00:04:49,210 --> 00:04:51,622 And at the same time, it also takes very small pictures. 96 00:04:51,622 --> 00:04:53,330 They're designed to be posted on the web. 97 00:04:53,330 --> 00:04:57,900 So you sacrifice some quality for ease of use, speed, and cost. 98 00:04:57,900 --> 00:05:00,980 99 00:05:00,980 --> 00:05:06,000 Whereas if we have high quality and high speed, 100 00:05:06,000 --> 00:05:09,740 then we end up in this place where it ends up costing a lot. 101 00:05:09,740 --> 00:05:13,880 And I think a good analogy for this is maybe feature filmmaking, where 102 00:05:13,880 --> 00:05:16,710 the budgets are millions of dollars, but they're 103 00:05:16,710 --> 00:05:19,740 able to produce an incredible amount of content 104 00:05:19,740 --> 00:05:21,880 in a fairly short period of time. 105 00:05:21,880 --> 00:05:25,140 And that's because they have hundreds and hundreds and hundreds of people 106 00:05:25,140 --> 00:05:27,510 working for 30 days. 107 00:05:27,510 --> 00:05:30,540 You can make a feature-length movie and shoot it 108 00:05:30,540 --> 00:05:32,460 and do a production in about 30 days, where 109 00:05:32,460 --> 00:05:34,040 you have hundreds of people on set. 110 00:05:34,040 --> 00:05:36,960 That costs a lot of money. 111 00:05:36,960 --> 00:05:42,750 And to finish this, if you have low cost and high quality, 112 00:05:42,750 --> 00:05:45,270 it's going to end up taking a long time. 113 00:05:45,270 --> 00:05:50,910 So it could be that you have to download gigabytes and gigabytes of footage, 114 00:05:50,910 --> 00:05:53,280 as you will for this next assignment. 115 00:05:53,280 --> 00:05:55,740 And that's going to take time. 116 00:05:55,740 --> 00:05:56,480 Three gigabytes. 117 00:05:56,480 --> 00:05:56,979 Right. 118 00:05:56,979 --> 00:05:59,340 It's not that much. 119 00:05:59,340 --> 00:06:01,740 All right. 120 00:06:01,740 --> 00:06:05,940 The trade-offs are not just the idea of logistical trade-offs, which is 121 00:06:05,940 --> 00:06:08,340 this cost versus quality versus speed. 122 00:06:08,340 --> 00:06:12,330 But also that every decision in making an image actually 123 00:06:12,330 --> 00:06:16,770 affects the visual artifacts or the oral artifacts that 124 00:06:16,770 --> 00:06:19,680 are present in your finished piece. 125 00:06:19,680 --> 00:06:23,370 So your technical choices in acquisition matter. 126 00:06:23,370 --> 00:06:28,470 The technical choices in processing matter to your end deliverable result. 127 00:06:28,470 --> 00:06:31,980 And so, as we go through the course, when we talk about photography, when 128 00:06:31,980 --> 00:06:35,550 we talk about video, we talk about audio recording in HTML, 129 00:06:35,550 --> 00:06:37,950 we are going to frame it through this idea 130 00:06:37,950 --> 00:06:42,090 that the visual choices are made in advance. 131 00:06:42,090 --> 00:06:44,130 That you're thinking consciously about-- 132 00:06:44,130 --> 00:06:47,400 I want my image to look this way versus this way. 133 00:06:47,400 --> 00:06:50,760 And I think a simple example is actually this image here, which 134 00:06:50,760 --> 00:06:52,404 I think is credit to you, right, Dan? 135 00:06:52,404 --> 00:06:53,070 DAN COFFEY: Yes. 136 00:06:53,070 --> 00:06:54,986 IAN SEXTON: Yes, so this is an image of a dam. 137 00:06:54,986 --> 00:06:57,390 You can see that the water is suspended. 138 00:06:57,390 --> 00:07:00,180 That time has stopped. 139 00:07:00,180 --> 00:07:02,550 It's really, really not-- you can't really 140 00:07:02,550 --> 00:07:04,770 tell what's going on in the background. 141 00:07:04,770 --> 00:07:10,050 But if we look at it another way, this is a different capture. 142 00:07:10,050 --> 00:07:11,760 It's the same frame. 143 00:07:11,760 --> 00:07:13,470 It's the same image. 144 00:07:13,470 --> 00:07:15,630 But it looks completely different. 145 00:07:15,630 --> 00:07:18,810 The water now has this streaky fluid approach. 146 00:07:18,810 --> 00:07:22,170 You can see the background of the lake. 147 00:07:22,170 --> 00:07:26,790 And all this is to represent that there are many different ways 148 00:07:26,790 --> 00:07:28,320 to capture an image. 149 00:07:28,320 --> 00:07:33,660 And each one of them presents us with a different look. 150 00:07:33,660 --> 00:07:36,310 So why might you choose one over the other? 151 00:07:36,310 --> 00:07:38,955 And again, it's this idea of supporting your story. 152 00:07:38,955 --> 00:07:42,070 153 00:07:42,070 --> 00:07:43,230 Oops, went backwards. 154 00:07:43,230 --> 00:07:44,190 Sorry. 155 00:07:44,190 --> 00:07:47,970 So for this image, maybe we are talking about time 156 00:07:47,970 --> 00:07:50,970 and the instance of a moment. 157 00:07:50,970 --> 00:07:51,970 It was at this moment. 158 00:07:51,970 --> 00:07:53,860 And so we want to freeze time. 159 00:07:53,860 --> 00:07:57,510 And maybe for this image, it's more about the quality 160 00:07:57,510 --> 00:07:59,760 of the environment and the space. 161 00:07:59,760 --> 00:08:03,570 When you sit next to a babbling brook, which is this-- not quite what this is, 162 00:08:03,570 --> 00:08:07,618 it's a weird dam, but you get the idea. 163 00:08:07,618 --> 00:08:09,490 DAN COFFEY: Two very different [INAUDIBLE].. 164 00:08:09,490 --> 00:08:10,323 IAN SEXTON: Exactly. 165 00:08:10,323 --> 00:08:11,160 Exactly. 166 00:08:11,160 --> 00:08:11,940 OK. 167 00:08:11,940 --> 00:08:14,800 So intention in storytelling. 168 00:08:14,800 --> 00:08:18,210 How do we use and how do we understand the story and what 169 00:08:18,210 --> 00:08:20,370 we want to say so that when we are confronted 170 00:08:20,370 --> 00:08:25,920 with these technical choices, we can make smart visual decisions? 171 00:08:25,920 --> 00:08:28,410 For this lecture, I'm going to focus on narrative cinema, 172 00:08:28,410 --> 00:08:33,419 in part because narrative cinema is the most freely defined. 173 00:08:33,419 --> 00:08:40,350 It's not really constrained by marketing clients or educational video 174 00:08:40,350 --> 00:08:42,419 or things like that. 175 00:08:42,419 --> 00:08:44,880 And also, our assignment for week one is actually 176 00:08:44,880 --> 00:08:48,840 going to be focused on building a scene out of narrative footage 177 00:08:48,840 --> 00:08:50,640 that we will provide for you. 178 00:08:50,640 --> 00:08:54,245 We'll use this as a scaffold for that assignment. 179 00:08:54,245 --> 00:08:57,120 But that is not to say that these concepts don't apply to other modes 180 00:08:57,120 --> 00:08:58,530 and genres of media production. 181 00:08:58,530 --> 00:09:03,330 If you're doing a photo essay, that essay, in there is your story. 182 00:09:03,330 --> 00:09:05,430 If you're doing a marketing video, you have 183 00:09:05,430 --> 00:09:08,040 some brand that you want to sell to people, 184 00:09:08,040 --> 00:09:10,440 and that brand can be your story. 185 00:09:10,440 --> 00:09:15,450 So again, even if it's not a giant traditional narrative story, 186 00:09:15,450 --> 00:09:20,580 there is this thread of intention that should follow through all of your work. 187 00:09:20,580 --> 00:09:21,720 All right. 188 00:09:21,720 --> 00:09:26,201 So to dive right in, what's the difference between story and plot? 189 00:09:26,201 --> 00:09:27,450 Does anyone here have an idea? 190 00:09:27,450 --> 00:09:32,286 191 00:09:32,286 --> 00:09:32,910 What's a story? 192 00:09:32,910 --> 00:09:35,490 193 00:09:35,490 --> 00:09:36,402 Yes. 194 00:09:36,402 --> 00:09:38,370 AUDIENCE: So the story has character. 195 00:09:38,370 --> 00:09:40,805 It has a beginning, a middle, and an end. 196 00:09:40,805 --> 00:09:41,430 IAN SEXTON: OK. 197 00:09:41,430 --> 00:09:45,120 So there's characters, and they go from the beginning to middle 198 00:09:45,120 --> 00:09:49,710 and the end, which suggests this time and this transformation. 199 00:09:49,710 --> 00:09:54,330 So the story is the telling of them moving from the beginning position 200 00:09:54,330 --> 00:09:55,690 to the end position. 201 00:09:55,690 --> 00:09:56,190 OK. 202 00:09:56,190 --> 00:09:57,589 I think that's really good. 203 00:09:57,589 --> 00:09:59,130 So a story is an unfolding of events. 204 00:09:59,130 --> 00:10:03,690 That's a really good crystallization of that. 205 00:10:03,690 --> 00:10:04,890 Is that different than plot? 206 00:10:04,890 --> 00:10:07,787 And if so, how is it different? 207 00:10:07,787 --> 00:10:10,120 Does anyone have a sense of why they might be different? 208 00:10:10,120 --> 00:10:13,310 209 00:10:13,310 --> 00:10:13,810 All right. 210 00:10:13,810 --> 00:10:17,170 So plot is the unfolding of events, which is essentially a story, 211 00:10:17,170 --> 00:10:20,080 but with an understanding of why it's happening. 212 00:10:20,080 --> 00:10:21,670 OK. 213 00:10:21,670 --> 00:10:25,090 And this is really succinctly put by a quote 214 00:10:25,090 --> 00:10:28,420 from EM Forrester, which is, the story is the king died, 215 00:10:28,420 --> 00:10:33,910 and then the queen died, which is the narrative events that unfolded. 216 00:10:33,910 --> 00:10:39,340 The plot is that the king died, and then the queen died of grief. 217 00:10:39,340 --> 00:10:45,610 It gives motivations to her actions and, or the situation. 218 00:10:45,610 --> 00:10:46,735 All right. 219 00:10:46,735 --> 00:10:49,360 Part of what we're talking about when we're talking about story 220 00:10:49,360 --> 00:10:52,540 is not just understanding the actions that are occurring on screen, 221 00:10:52,540 --> 00:10:55,060 but the larger why. 222 00:10:55,060 --> 00:10:58,510 The subtext of the whole story. 223 00:10:58,510 --> 00:11:00,010 All right. 224 00:11:00,010 --> 00:11:04,390 Plot ends up being the motivated actions of characters in a believable world. 225 00:11:04,390 --> 00:11:05,140 All right. 226 00:11:05,140 --> 00:11:08,740 And this is important because if your audience does not 227 00:11:08,740 --> 00:11:11,860 believe that your character would do something, 228 00:11:11,860 --> 00:11:15,400 no one will believe your story. 229 00:11:15,400 --> 00:11:19,690 This doesn't mean that a believable world needs to be the mundane 9 to 5 230 00:11:19,690 --> 00:11:21,220 that we exist in. 231 00:11:21,220 --> 00:11:23,695 Fantastical elements or exaggerations can exist. 232 00:11:23,695 --> 00:11:26,620 233 00:11:26,620 --> 00:11:30,850 But the relationships of the characters and the ramifications in the world 234 00:11:30,850 --> 00:11:31,960 need to make sense. 235 00:11:31,960 --> 00:11:34,540 236 00:11:34,540 --> 00:11:39,130 That helps out the audience with this willful suspension of disbelief. 237 00:11:39,130 --> 00:11:42,370 I'm willing to believe in flying cars. 238 00:11:42,370 --> 00:11:46,000 If there is a scientist who invented them, and someone has to drive them, 239 00:11:46,000 --> 00:11:49,900 and there's some sort of relationship that 240 00:11:49,900 --> 00:11:54,780 exists between the characters and the objects that exist in that world. 241 00:11:54,780 --> 00:11:55,280 All right. 242 00:11:55,280 --> 00:11:58,690 243 00:11:58,690 --> 00:11:59,680 OK. 244 00:11:59,680 --> 00:12:01,660 So a lot of how we're talking about story 245 00:12:01,660 --> 00:12:03,520 revolves around this idea of characters. 246 00:12:03,520 --> 00:12:06,520 We said that there was this narration of events from a beginning 247 00:12:06,520 --> 00:12:07,987 to a middle to an end. 248 00:12:07,987 --> 00:12:09,820 But one of the things that you also said was 249 00:12:09,820 --> 00:12:12,430 that there were characters in there. 250 00:12:12,430 --> 00:12:17,260 So understanding your characters becomes really fundamental to motivating them 251 00:12:17,260 --> 00:12:19,990 correctly. 252 00:12:19,990 --> 00:12:23,710 There's a basic five questions that we can ask 253 00:12:23,710 --> 00:12:25,870 about any character in any given story. 254 00:12:25,870 --> 00:12:28,690 255 00:12:28,690 --> 00:12:30,850 The first one is what does the character need? 256 00:12:30,850 --> 00:12:32,183 What are they trying to achieve? 257 00:12:32,183 --> 00:12:34,570 258 00:12:34,570 --> 00:12:37,990 These are things like goals. 259 00:12:37,990 --> 00:12:39,520 What does the character want to do? 260 00:12:39,520 --> 00:12:43,360 And a goal could be something as simple as, I want to throw a dinner party. 261 00:12:43,360 --> 00:12:45,180 That's my goal for the day. 262 00:12:45,180 --> 00:12:46,430 For the evening, I should say. 263 00:12:46,430 --> 00:12:51,830 264 00:12:51,830 --> 00:12:56,530 The other question is, how does the character change throughout the story? 265 00:12:56,530 --> 00:13:00,850 Good stories allow your characters to start in one place 266 00:13:00,850 --> 00:13:05,050 and end up in another, with some transformation in between. 267 00:13:05,050 --> 00:13:09,860 268 00:13:09,860 --> 00:13:12,890 Which brings us to, what is preventing the character 269 00:13:12,890 --> 00:13:15,260 from achieving their goals? 270 00:13:15,260 --> 00:13:18,410 If it was easy for the character to achieve a goal, 271 00:13:18,410 --> 00:13:20,510 there'd be no transformation. 272 00:13:20,510 --> 00:13:22,880 So in storytelling, we'll often put impediments 273 00:13:22,880 --> 00:13:24,260 in the way of our characters. 274 00:13:24,260 --> 00:13:27,140 This is the idea of conflict. 275 00:13:27,140 --> 00:13:30,980 That there's some force in the world that's 276 00:13:30,980 --> 00:13:34,850 stopping the character from achieving what they want to achieve. 277 00:13:34,850 --> 00:13:39,020 And that they have to somehow battle around that, which is the idea of-- 278 00:13:39,020 --> 00:13:41,990 that's what gives a story drama. 279 00:13:41,990 --> 00:13:46,072 280 00:13:46,072 --> 00:13:47,780 The other one is, what must the character 281 00:13:47,780 --> 00:13:51,320 give up to overcome this obstacle? 282 00:13:51,320 --> 00:13:55,700 So if we're talking a little bit about how characters transform 283 00:13:55,700 --> 00:13:58,580 throughout their story, then at a certain point, 284 00:13:58,580 --> 00:14:00,380 they have to give up something or change. 285 00:14:00,380 --> 00:14:03,470 286 00:14:03,470 --> 00:14:07,380 And this weight allows the character to have a bit of a dilemma. 287 00:14:07,380 --> 00:14:09,950 They have to struggle with this decision. 288 00:14:09,950 --> 00:14:13,790 I have to give up x because I want y. 289 00:14:13,790 --> 00:14:15,810 Again, it's building this idea of drama. 290 00:14:15,810 --> 00:14:18,440 291 00:14:18,440 --> 00:14:21,600 And how does a character resolve their attempt to achieve their goals? 292 00:14:21,600 --> 00:14:24,890 So in many stories, the character wants to achieve a goal. 293 00:14:24,890 --> 00:14:26,060 They struggle to achieve it. 294 00:14:26,060 --> 00:14:27,020 They achieve it. 295 00:14:27,020 --> 00:14:28,700 And it's like infinite happiness. 296 00:14:28,700 --> 00:14:29,990 It's perfect. 297 00:14:29,990 --> 00:14:31,040 Everything's great. 298 00:14:31,040 --> 00:14:33,767 But in some stories, a character is striving to achieve a goal, 299 00:14:33,767 --> 00:14:36,350 and they finally get there, and they realize they don't really 300 00:14:36,350 --> 00:14:38,840 want to be here after all. 301 00:14:38,840 --> 00:14:42,299 They missed what they really wanted. 302 00:14:42,299 --> 00:14:44,090 So your resolution doesn't necessarily have 303 00:14:44,090 --> 00:14:45,650 to be this perfection of happiness. 304 00:14:45,650 --> 00:14:49,610 The character doesn't have to achieve the goal. 305 00:14:49,610 --> 00:14:55,130 But they do need to-- you do need to understand and realize 306 00:14:55,130 --> 00:14:57,315 how that resolution applies to your character. 307 00:14:57,315 --> 00:15:00,020 308 00:15:00,020 --> 00:15:04,970 We talk a lot about goals, but goals are, as I said, 309 00:15:04,970 --> 00:15:07,190 I want to have a dinner party tonight. 310 00:15:07,190 --> 00:15:09,960 But the stakes are a little bit different. 311 00:15:09,960 --> 00:15:14,394 The character goals are actions that I can make, or that they can make. 312 00:15:14,394 --> 00:15:15,560 I could host a dinner party. 313 00:15:15,560 --> 00:15:17,420 But the stakes are why. 314 00:15:17,420 --> 00:15:19,610 Why am I hosting a dinner party? 315 00:15:19,610 --> 00:15:23,870 Is it because I want to have my boss over and impress them and garner 316 00:15:23,870 --> 00:15:26,690 support for promotion? 317 00:15:26,690 --> 00:15:34,340 Or is it because I want to cement my role as a father figure for my family? 318 00:15:34,340 --> 00:15:39,800 Those are two very different motivations for the same action. 319 00:15:39,800 --> 00:15:43,430 And this is that idea of subtext, where you 320 00:15:43,430 --> 00:15:48,530 can imagine that the words on the screen are something like, wow, it's 321 00:15:48,530 --> 00:15:50,900 going to rain. 322 00:15:50,900 --> 00:15:52,061 Which are fairly flat. 323 00:15:52,061 --> 00:15:53,060 Wow, it's going to rain. 324 00:15:53,060 --> 00:15:55,584 Doesn't really mean much. 325 00:15:55,584 --> 00:15:57,500 If I'm on a picnic, and I say, wow, it's going 326 00:15:57,500 --> 00:16:04,430 to rain, that has a different meaning than if I'm standing in a field 327 00:16:04,430 --> 00:16:08,150 during the middle of a drought and I'm like, wow, it's going to rain. 328 00:16:08,150 --> 00:16:11,774 One is apprehensive and dreadful, and the other is like, oh my god, 329 00:16:11,774 --> 00:16:12,440 this is amazing. 330 00:16:12,440 --> 00:16:16,590 331 00:16:16,590 --> 00:16:20,270 The stakes end up being the why behind the goal. 332 00:16:20,270 --> 00:16:22,790 And this is that idea of character motivation. 333 00:16:22,790 --> 00:16:26,960 If your character is acting or taking actions 334 00:16:26,960 --> 00:16:32,090 that don't align with the stakes that are presented to them, 335 00:16:32,090 --> 00:16:33,950 then it doesn't feel believable. 336 00:16:33,950 --> 00:16:38,493 And it sucks the audience out of that willful suspension of disbelief. 337 00:16:38,493 --> 00:16:44,561 338 00:16:44,561 --> 00:16:45,060 All right. 339 00:16:45,060 --> 00:16:48,120 So the most important thing you can think of about stakes-- 340 00:16:48,120 --> 00:16:50,172 and I think we could talk a little bit about what 341 00:16:50,172 --> 00:16:51,630 might be a good example of a stake. 342 00:16:51,630 --> 00:16:53,490 Like, what would be a stake in a story? 343 00:16:53,490 --> 00:16:59,231 344 00:16:59,231 --> 00:16:59,730 Yes. 345 00:16:59,730 --> 00:17:00,990 AUDIENCE: The fate of the world. 346 00:17:00,990 --> 00:17:01,830 IAN SEXTON: The fate of the world. 347 00:17:01,830 --> 00:17:03,120 That's really huge. 348 00:17:03,120 --> 00:17:06,300 That's like Armageddon, or something like that. 349 00:17:06,300 --> 00:17:07,251 What's another stake? 350 00:17:07,251 --> 00:17:08,250 Maybe something smaller? 351 00:17:08,250 --> 00:17:15,334 352 00:17:15,334 --> 00:17:15,834 Yeah. 353 00:17:15,834 --> 00:17:18,319 AUDIENCE: Wanting to get your dog back that was stolen. 354 00:17:18,319 --> 00:17:20,694 IAN SEXTON: Wanting to get your dog back that was stolen, 355 00:17:20,694 --> 00:17:24,140 which is the stakes in, what, John Wick, right? 356 00:17:24,140 --> 00:17:24,690 I think so. 357 00:17:24,690 --> 00:17:27,050 Yeah. 358 00:17:27,050 --> 00:17:27,859 Exactly. 359 00:17:27,859 --> 00:17:33,230 So one of the things that's interesting is that large stakes often 360 00:17:33,230 --> 00:17:35,771 tend to be less effective. 361 00:17:35,771 --> 00:17:37,520 I don't have a lot of experience with what 362 00:17:37,520 --> 00:17:43,250 it's like to save the world on any sort of large action movie scale. 363 00:17:43,250 --> 00:17:50,090 I do have experience with what it is to feel the loss of a pet. 364 00:17:50,090 --> 00:17:55,310 So it helps me uniquely identify with that character almost immediately. 365 00:17:55,310 --> 00:18:01,370 And I can buy into the narrative that's building 366 00:18:01,370 --> 00:18:03,530 and use it as a framework to understand the story. 367 00:18:03,530 --> 00:18:07,940 368 00:18:07,940 --> 00:18:11,690 The key is this idea of empathy. 369 00:18:11,690 --> 00:18:14,840 Characters can't exist in a vacuum, and having 370 00:18:14,840 --> 00:18:18,590 your audience empathize with them and identify with them 371 00:18:18,590 --> 00:18:22,580 makes this narrative more believable. 372 00:18:22,580 --> 00:18:26,570 So even if there are flying cars, if I identify 373 00:18:26,570 --> 00:18:31,490 with the shared humanity of the characters in that story, 374 00:18:31,490 --> 00:18:35,840 I'm willing to sort of suspend my disbelief at this idea of flying cars. 375 00:18:35,840 --> 00:18:40,390 376 00:18:40,390 --> 00:18:45,790 So building empathy is integral to this. 377 00:18:45,790 --> 00:18:48,520 So we think about-- as you begin to develop stories, 378 00:18:48,520 --> 00:18:50,620 think about relatable moments. 379 00:18:50,620 --> 00:18:53,320 Moments of vulnerability. 380 00:18:53,320 --> 00:18:59,380 Injustice, fear, loss, feeling lost and adrift. 381 00:18:59,380 --> 00:19:03,220 Other ways that we can build empathy are focusing in 382 00:19:03,220 --> 00:19:06,730 on that idea of our shared humanity and personal experiences 383 00:19:06,730 --> 00:19:11,620 that we understand as storytellers and audience members. 384 00:19:11,620 --> 00:19:16,470 385 00:19:16,470 --> 00:19:16,970 All right. 386 00:19:16,970 --> 00:19:21,360 387 00:19:21,360 --> 00:19:28,210 The conflicts in the story, these oppositions, 388 00:19:28,210 --> 00:19:29,877 are often embodied by another character. 389 00:19:29,877 --> 00:19:32,460 I think we've all heard the idea of, you have your protagonist 390 00:19:32,460 --> 00:19:34,810 and you have your antagonist, and they stand off. 391 00:19:34,810 --> 00:19:39,139 They have different and competing goals. 392 00:19:39,139 --> 00:19:40,180 I want to save the world. 393 00:19:40,180 --> 00:19:41,720 The villain wants to end the world. 394 00:19:41,720 --> 00:19:43,420 At its most basic. 395 00:19:43,420 --> 00:19:46,020 396 00:19:46,020 --> 00:19:49,240 Again, overcoming that conflict needs to result 397 00:19:49,240 --> 00:19:51,730 in some fundamental change for your character, which 398 00:19:51,730 --> 00:19:55,480 can be positive, negative, and even in some cases, neutral. 399 00:19:55,480 --> 00:20:00,430 400 00:20:00,430 --> 00:20:02,470 When we think about multiple characters, we 401 00:20:02,470 --> 00:20:07,180 can think a little bit about building relationships. 402 00:20:07,180 --> 00:20:10,630 Building relationships means that even when people are aligned, 403 00:20:10,630 --> 00:20:13,690 or even when they're squaring off against one another 404 00:20:13,690 --> 00:20:16,420 with opposite goals. 405 00:20:16,420 --> 00:20:18,940 So this idea of power differentials-- who's in control? 406 00:20:18,940 --> 00:20:21,730 How do they exercise control? 407 00:20:21,730 --> 00:20:22,585 Does that shift? 408 00:20:22,585 --> 00:20:26,485 409 00:20:26,485 --> 00:20:29,110 So it's really simple, like, maybe it's like, I could take this 410 00:20:29,110 --> 00:20:32,470 and I could give this to Dan, and I'm like, here you go, bud. 411 00:20:32,470 --> 00:20:34,570 That's one kind of relationship. 412 00:20:34,570 --> 00:20:35,697 Give me that back. 413 00:20:35,697 --> 00:20:38,280 And I handed it to Dan, and I'm like, no, you can't have this, 414 00:20:38,280 --> 00:20:40,238 is a completely different kind of relationship. 415 00:20:40,238 --> 00:20:42,610 And it's just sometimes just as simple as that. 416 00:20:42,610 --> 00:20:45,190 The ideas of proximity. 417 00:20:45,190 --> 00:20:49,690 When you're presenting two people on screen, the closer they are, 418 00:20:49,690 --> 00:20:52,780 the more likely they are to be aligned together. 419 00:20:52,780 --> 00:20:55,060 The further apart they are, the more there 420 00:20:55,060 --> 00:20:57,880 is this visual separation that the audience will read 421 00:20:57,880 --> 00:21:00,357 as separation in their relationship. 422 00:21:00,357 --> 00:21:02,592 423 00:21:02,592 --> 00:21:05,050 DAN COFFEY: I don't know what that says about this lecture. 424 00:21:05,050 --> 00:21:06,134 And I see all this space-- 425 00:21:06,134 --> 00:21:08,050 IAN SEXTON: We're going to switch in a minute. 426 00:21:08,050 --> 00:21:09,700 We have-- it's a shared duty. 427 00:21:09,700 --> 00:21:11,260 So who are we with? 428 00:21:11,260 --> 00:21:12,490 And where's the visual focus? 429 00:21:12,490 --> 00:21:16,630 And what does that proximity of character suggest? 430 00:21:16,630 --> 00:21:18,580 So here's an interesting example. 431 00:21:18,580 --> 00:21:21,490 Shout out to Scully, who's online watching this right now. 432 00:21:21,490 --> 00:21:27,810 So we have a foreground character who's much larger in the frame 433 00:21:27,810 --> 00:21:29,861 than our background character. 434 00:21:29,861 --> 00:21:31,610 They have a little bit more visual weight. 435 00:21:31,610 --> 00:21:34,693 I understand that the focus is actually still on the background character. 436 00:21:34,693 --> 00:21:39,130 We could shift it forward to Scully to really make this point. 437 00:21:39,130 --> 00:21:46,000 But right here is the same frame, but Scully and Dan are the same size. 438 00:21:46,000 --> 00:21:48,780 439 00:21:48,780 --> 00:21:53,470 It's more natural feeling and has a similarity, sort of equality, 440 00:21:53,470 --> 00:21:57,730 to their positioning and size and frame. 441 00:21:57,730 --> 00:22:00,010 We can take it one step further, and we can 442 00:22:00,010 --> 00:22:04,990 make Dan giant and Scully diminutive. 443 00:22:04,990 --> 00:22:07,450 Shifting the relationship, the way the audience 444 00:22:07,450 --> 00:22:11,050 sees the relationship, of a single photograph 445 00:22:11,050 --> 00:22:16,930 just by adjusting the relative size and frame. 446 00:22:16,930 --> 00:22:19,570 So don't stress too much about how this is done. 447 00:22:19,570 --> 00:22:23,314 When we get to lensing and composition, we'll dive really deeply into it, 448 00:22:23,314 --> 00:22:25,855 but just be aware that you have these tools at your disposal. 449 00:22:25,855 --> 00:22:29,770 450 00:22:29,770 --> 00:22:35,290 So at the end of the day, good narratives and good stories 451 00:22:35,290 --> 00:22:38,860 are drawn by building tension. 452 00:22:38,860 --> 00:22:41,690 There has to be some uncertainty. 453 00:22:41,690 --> 00:22:44,950 And the stakes of the story need to be such 454 00:22:44,950 --> 00:22:49,150 that we're not entirely sure that our protagonist is 455 00:22:49,150 --> 00:22:52,870 going to achieve their goal. 456 00:22:52,870 --> 00:22:55,450 So a character with conflicting desires-- 457 00:22:55,450 --> 00:23:00,850 I have to give something up to achieve this thing that I want. 458 00:23:00,850 --> 00:23:04,501 This builds tension in the story. 459 00:23:04,501 --> 00:23:06,250 Something they don't want to give up, they 460 00:23:06,250 --> 00:23:08,395 have to trade for something that they desire. 461 00:23:08,395 --> 00:23:12,850 462 00:23:12,850 --> 00:23:16,300 Uncertainty about your character overcoming their goals. 463 00:23:16,300 --> 00:23:19,930 So this is the idea that the stakes may be so large 464 00:23:19,930 --> 00:23:22,120 that they may not overcome them. 465 00:23:22,120 --> 00:23:26,890 That the conflict is so entrenched that it's difficult for them 466 00:23:26,890 --> 00:23:31,720 to achieve and climb over that impediment. 467 00:23:31,720 --> 00:23:34,360 Uncertainty about who to trust. 468 00:23:34,360 --> 00:23:37,420 And I think we've all seen films where there's a red herring where 469 00:23:37,420 --> 00:23:40,390 one character appears to be friends with another character 470 00:23:40,390 --> 00:23:42,730 and ends up betraying them at the end. 471 00:23:42,730 --> 00:23:45,670 And there's often, if you go back and watch those films, 472 00:23:45,670 --> 00:23:50,860 there's a little bit of foreshadowing that will come about. 473 00:23:50,860 --> 00:23:53,770 There's some visual hint that this character isn't quite right, 474 00:23:53,770 --> 00:23:55,540 whether it's something with the lighting-- 475 00:23:55,540 --> 00:23:59,530 maybe half their face is in shadow, to give you that duplicitous 476 00:23:59,530 --> 00:24:03,890 look which is so old timey. 477 00:24:03,890 --> 00:24:08,380 But there's these visual cues that the filmmakers 478 00:24:08,380 --> 00:24:13,670 are putting in there to help guide your understanding of the story. 479 00:24:13,670 --> 00:24:16,580 And the uncertainty about their relationship to the stakes at large. 480 00:24:16,580 --> 00:24:19,040 Will they find their dog again? 481 00:24:19,040 --> 00:24:21,350 Will they stave off Armageddon? 482 00:24:21,350 --> 00:24:23,850 Or what have you? 483 00:24:23,850 --> 00:24:29,270 So at the end of the day, when you get to this idea of resolutions, 484 00:24:29,270 --> 00:24:30,654 how does the character change? 485 00:24:30,654 --> 00:24:31,820 Did they achieve their goal? 486 00:24:31,820 --> 00:24:36,420 And if so, was it what they imagined? 487 00:24:36,420 --> 00:24:38,540 And are they better off or worse off? 488 00:24:38,540 --> 00:24:42,750 489 00:24:42,750 --> 00:24:46,480 Before we jump into this, does anyone-- 490 00:24:46,480 --> 00:24:49,710 has anyone taken the class where we've talked about the shapes of story? 491 00:24:49,710 --> 00:24:53,280 We sent out a link to Kurt Vonnegut talking about the shapes of stories. 492 00:24:53,280 --> 00:24:55,240 Have you all watched that? 493 00:24:55,240 --> 00:24:56,760 It was short and sort of sweet. 494 00:24:56,760 --> 00:25:00,340 His humor is really dry and beautiful. 495 00:25:00,340 --> 00:25:05,730 But so, when we talk about stories more generally, I think oftentimes, 496 00:25:05,730 --> 00:25:12,660 you'll see this drawing here. 497 00:25:12,660 --> 00:25:14,700 Is it this way? 498 00:25:14,700 --> 00:25:18,060 Where you have your character's starting position, 499 00:25:18,060 --> 00:25:20,160 and they're going up to the conflict. 500 00:25:20,160 --> 00:25:23,150 501 00:25:23,150 --> 00:25:25,710 I love the smoothing. 502 00:25:25,710 --> 00:25:29,640 It hits its climax here. 503 00:25:29,640 --> 00:25:31,020 And it resolves here. 504 00:25:31,020 --> 00:25:35,010 505 00:25:35,010 --> 00:25:36,130 And I think in some ways-- 506 00:25:36,130 --> 00:25:38,691 you'll find this in a lot of books, but it belies the point 507 00:25:38,691 --> 00:25:41,440 that this is not actually what's happening in a lot of the stories 508 00:25:41,440 --> 00:25:45,820 that we are exposed to. 509 00:25:45,820 --> 00:25:49,660 What may actually be happening is that your character makes some advancements, 510 00:25:49,660 --> 00:25:53,080 and then they're set back, and then they make a little bit more advancement, 511 00:25:53,080 --> 00:25:55,080 and then they're set back, and then they finally 512 00:25:55,080 --> 00:25:58,129 achieve their goal, which is a totally different picture. 513 00:25:58,129 --> 00:26:00,670 And I think what was interesting about the Vonnegut piece was 514 00:26:00,670 --> 00:26:09,100 that it allowed us to think a little bit more about the structure of the story 515 00:26:09,100 --> 00:26:10,810 and where it's going. 516 00:26:10,810 --> 00:26:13,360 So that you can make informed decisions about how you're 517 00:26:13,360 --> 00:26:18,010 going to present any given moment. 518 00:26:18,010 --> 00:26:19,300 So if we think-- 519 00:26:19,300 --> 00:26:27,670 if we draw axes here, where that's the E and that's the B, 520 00:26:27,670 --> 00:26:32,980 and we have good fortune up here, and terrible fortune 521 00:26:32,980 --> 00:26:36,630 down there, the story of-- 522 00:26:36,630 --> 00:26:38,380 he described it as boy meets girl, but it 523 00:26:38,380 --> 00:26:41,410 doesn't have to be about a boy, or a girl, for that matter. 524 00:26:41,410 --> 00:26:47,080 But that a person starts here at some not mediocre, a little better 525 00:26:47,080 --> 00:26:52,620 off than mediocre, and something good happens, 526 00:26:52,620 --> 00:26:56,395 then something terrible happens, and then something wonderful happens. 527 00:26:56,395 --> 00:27:01,060 528 00:27:01,060 --> 00:27:05,390 Thinking about how you would approach the filmmaking here versus here 529 00:27:05,390 --> 00:27:07,900 is an interesting question. 530 00:27:07,900 --> 00:27:11,710 What might it look like generally, in general terms, 531 00:27:11,710 --> 00:27:13,030 for this section of the story? 532 00:27:13,030 --> 00:27:16,240 533 00:27:16,240 --> 00:27:17,470 Something good just happened. 534 00:27:17,470 --> 00:27:19,720 You walk out your door, you find $100. 535 00:27:19,720 --> 00:27:22,750 Or you walk out your door, and you meet someone wonderful. 536 00:27:22,750 --> 00:27:24,160 Things are looking up. 537 00:27:24,160 --> 00:27:26,140 What does that seem like, visually? 538 00:27:26,140 --> 00:27:29,620 539 00:27:29,620 --> 00:27:31,450 How might you do it, Dan? 540 00:27:31,450 --> 00:27:34,065 DAN COFFEY: Some glowing light, flattering camera angles. 541 00:27:34,065 --> 00:27:34,690 IAN SEXTON: OK. 542 00:27:34,690 --> 00:27:42,400 So we're talking about flattery, maybe it's a little bit brighter, 543 00:27:42,400 --> 00:27:43,480 yeah, vibrant. 544 00:27:43,480 --> 00:27:45,235 AUDIENCE: Colorful. 545 00:27:45,235 --> 00:27:45,860 IAN SEXTON: OK. 546 00:27:45,860 --> 00:27:46,990 DAN COFFEY: Saturation. 547 00:27:46,990 --> 00:27:49,570 IAN SEXTON: So there's these visual elements 548 00:27:49,570 --> 00:27:53,750 that we could pull in to be the stylistic choice here. 549 00:27:53,750 --> 00:27:55,197 What about here? 550 00:27:55,197 --> 00:27:57,030 What are some thoughts on how it might look? 551 00:27:57,030 --> 00:27:57,850 AUDIENCE: Muted. 552 00:27:57,850 --> 00:27:58,740 IAN SEXTON: Muted. 553 00:27:58,740 --> 00:27:59,360 OK. 554 00:27:59,360 --> 00:28:01,150 You could go all the way to saturated. 555 00:28:01,150 --> 00:28:03,790 You could end up in black and white. 556 00:28:03,790 --> 00:28:04,390 Totally. 557 00:28:04,390 --> 00:28:07,030 You could go to that extreme if you wanted to. 558 00:28:07,030 --> 00:28:07,570 OK. 559 00:28:07,570 --> 00:28:09,621 Muted. 560 00:28:09,621 --> 00:28:10,120 OK. 561 00:28:10,120 --> 00:28:11,800 So now we're bringing in some audio. 562 00:28:11,800 --> 00:28:17,440 We can use audio cues that help push and pull our understanding of the story. 563 00:28:17,440 --> 00:28:19,330 Absolutely. 564 00:28:19,330 --> 00:28:20,005 Yeah. 565 00:28:20,005 --> 00:28:21,490 AUDIENCE: Off-kilter camera angles. 566 00:28:21,490 --> 00:28:22,390 IAN SEXTON: Oh, OK. 567 00:28:22,390 --> 00:28:22,889 Great. 568 00:28:22,889 --> 00:28:28,180 So we start to adjust our composition to suggest a mental state. 569 00:28:28,180 --> 00:28:29,620 Those are all great ideas. 570 00:28:29,620 --> 00:28:31,450 Absolutely. 571 00:28:31,450 --> 00:28:36,070 So we're going to say-- let's say muted. 572 00:28:36,070 --> 00:28:38,200 And then, let's say, off kilter. 573 00:28:38,200 --> 00:28:42,680 574 00:28:42,680 --> 00:28:43,740 OK. 575 00:28:43,740 --> 00:28:46,190 So now my question for you is, what about over here? 576 00:28:46,190 --> 00:28:50,980 577 00:28:50,980 --> 00:28:52,222 AUDIENCE: Super bright. 578 00:28:52,222 --> 00:28:52,930 IAN SEXTON: Yeah. 579 00:28:52,930 --> 00:28:55,250 So we pinned ourselves into a bit of a corner. 580 00:28:55,250 --> 00:28:58,890 If we pulled out all the stops right here, 581 00:28:58,890 --> 00:29:03,470 where is there for us to go at the end of the story? 582 00:29:03,470 --> 00:29:04,760 Visually. 583 00:29:04,760 --> 00:29:05,802 OK. 584 00:29:05,802 --> 00:29:08,510 So maybe you actually-- now that we've begun to think about this, 585 00:29:08,510 --> 00:29:10,940 maybe we want to scale this back a little bit. 586 00:29:10,940 --> 00:29:15,180 It's not super vibrant, but it's definitely not muted like this. 587 00:29:15,180 --> 00:29:18,650 And then when we get to this end part, maybe it is super vibrant. 588 00:29:18,650 --> 00:29:21,620 It goes off the charts. 589 00:29:21,620 --> 00:29:26,560 So taking the time to do your first steps in pre-production, 590 00:29:26,560 --> 00:29:30,560 which is thinking about the shape of a story, 591 00:29:30,560 --> 00:29:33,650 can help you define how you're going to approach your visual choices. 592 00:29:33,650 --> 00:29:36,389 593 00:29:36,389 --> 00:29:38,180 And so, don't stress out too much about how 594 00:29:38,180 --> 00:29:42,710 to achieve vibrant colors or off-kilter compositions. 595 00:29:42,710 --> 00:29:46,610 We'll get to that when we cover the ideas of photography and video 596 00:29:46,610 --> 00:29:47,360 production. 597 00:29:47,360 --> 00:29:52,370 But begin to think about the context and the content that you've seen, 598 00:29:52,370 --> 00:29:54,830 and how you can apply it to stories that you want to tell. 599 00:29:54,830 --> 00:29:59,060 600 00:29:59,060 --> 00:29:59,963 Beautiful. 601 00:29:59,963 --> 00:30:02,900 602 00:30:02,900 --> 00:30:04,850 Should we do one more? 603 00:30:04,850 --> 00:30:06,550 Or should we watch a clip? 604 00:30:06,550 --> 00:30:08,930 What do we got? 605 00:30:08,930 --> 00:30:10,257 I think we will-- 606 00:30:10,257 --> 00:30:11,840 let's run over and we'll watch a clip. 607 00:30:11,840 --> 00:30:17,450 I want to show a short opening of a film that sets up the larger narrative. 608 00:30:17,450 --> 00:30:20,180 And then tease apart some of the choices that were made there 609 00:30:20,180 --> 00:30:23,210 and how they might support the story that we won't see, 610 00:30:23,210 --> 00:30:26,570 but also the story that's going to be told. 611 00:30:26,570 --> 00:30:29,870 The film I want to show today, the opening sequence is from a film 612 00:30:29,870 --> 00:30:35,270 called Blue, which is part of the Three Colors trilogy, by Krzystof Kieslowski. 613 00:30:35,270 --> 00:30:37,560 Excuse me. 614 00:30:37,560 --> 00:30:41,720 And it's the first in the trilogy of films called Blue, White, and Red, 615 00:30:41,720 --> 00:30:44,990 which represent the colors of the French flag. 616 00:30:44,990 --> 00:30:51,077 And are loosely evocative of the ideas behind that. 617 00:30:51,077 --> 00:30:53,073 [VIDEO PLAYBACK] 618 00:30:53,073 --> 00:30:54,570 619 00:30:54,570 --> 00:30:56,566 [CAR ENGINE HUMMING] 620 00:30:56,566 --> 00:31:40,478 621 00:31:40,478 --> 00:31:42,474 [FLUTTERING] 622 00:31:42,474 --> 00:32:43,352 623 00:32:43,352 --> 00:32:44,849 [SPEAKING FRENCH] 624 00:32:44,849 --> 00:32:59,819 625 00:32:59,819 --> 00:33:01,815 [KNOCKING] 626 00:33:01,815 --> 00:33:25,268 627 00:33:25,268 --> 00:33:26,765 [TIRES SCREECHING] 628 00:33:26,765 --> 00:33:28,761 629 00:33:28,761 --> 00:33:30,757 [CRASH] 630 00:33:30,757 --> 00:33:32,254 [DOG SCREECHING] 631 00:33:32,254 --> 00:34:15,667 632 00:34:15,667 --> 00:34:17,663 [END PLAYBACK] 633 00:34:17,663 --> 00:34:18,925 634 00:34:18,925 --> 00:34:22,030 IAN SEXTON: So what did you see in the beginning of this film? 635 00:34:22,030 --> 00:34:25,945 This is setting up all of the film to come thereafter. 636 00:34:25,945 --> 00:34:28,801 637 00:34:28,801 --> 00:34:31,659 AUDIENCE: It seemed sad because of the blue tone. 638 00:34:31,659 --> 00:34:33,100 IAN SEXTON: OK. 639 00:34:33,100 --> 00:34:33,620 Yeah. 640 00:34:33,620 --> 00:34:41,570 So overall, there's a incredible cast of blue to all but really one 641 00:34:41,570 --> 00:34:45,080 or two moments in this opening sequence. 642 00:34:45,080 --> 00:34:48,260 They were able to adjust the color temperature of their camera 643 00:34:48,260 --> 00:34:53,719 to make this cool looking shot, rather than something maybe more neutral, 644 00:34:53,719 --> 00:34:56,480 which you might be looking at online right now, 645 00:34:56,480 --> 00:35:00,050 or something that's much more warm and golden and brighter. 646 00:35:00,050 --> 00:35:02,350 So you associate this coolness with sadness, 647 00:35:02,350 --> 00:35:06,920 so that warmth maybe is associated with positive emotions. 648 00:35:06,920 --> 00:35:07,520 OK. 649 00:35:07,520 --> 00:35:09,860 That's a good observation. 650 00:35:09,860 --> 00:35:10,515 Yeah. 651 00:35:10,515 --> 00:35:12,835 AUDIENCE: There were some elements of danger. 652 00:35:12,835 --> 00:35:13,460 IAN SEXTON: OK. 653 00:35:13,460 --> 00:35:14,460 Some elements of danger. 654 00:35:14,460 --> 00:35:16,106 What do you mean by that? 655 00:35:16,106 --> 00:35:19,277 AUDIENCE: The camera angle that looks at traffic 656 00:35:19,277 --> 00:35:24,002 moving very fast that doesn't give a complete view of what's happening. 657 00:35:24,002 --> 00:35:24,710 IAN SEXTON: Yeah. 658 00:35:24,710 --> 00:35:26,050 So it's obscured. 659 00:35:26,050 --> 00:35:29,310 We're looking at everything from the underside of the car. 660 00:35:29,310 --> 00:35:30,030 All right. 661 00:35:30,030 --> 00:35:32,597 DAN COFFEY: Just a reminder [INAUDIBLE]. 662 00:35:32,597 --> 00:35:33,680 IAN SEXTON: Oh, I'm sorry. 663 00:35:33,680 --> 00:35:36,295 Yeah. 664 00:35:36,295 --> 00:35:39,522 AUDIENCE: Later on, there's the fog that's appear on the road. 665 00:35:39,522 --> 00:35:40,230 IAN SEXTON: Yeah. 666 00:35:40,230 --> 00:35:41,312 And the car seems to-- 667 00:35:41,312 --> 00:35:43,020 there's fog that's appearing on the road, 668 00:35:43,020 --> 00:35:47,880 and the car seems to be traveling fairly recklessly, at high speed. 669 00:35:47,880 --> 00:35:51,030 And we get that sense from the way the cars move in front, 670 00:35:51,030 --> 00:35:55,470 as it's overtaking vehicles, and that sharp horn sound. 671 00:35:55,470 --> 00:35:58,770 The very beginning the film has this rhythmic audio that is playing. 672 00:35:58,770 --> 00:36:02,730 The sound of the tires rolling over the concrete lulling us 673 00:36:02,730 --> 00:36:07,350 into this false sense of security. 674 00:36:07,350 --> 00:36:13,860 And it's sharply detonated with the sound of that horn. 675 00:36:13,860 --> 00:36:14,850 OK. 676 00:36:14,850 --> 00:36:15,766 Yes. 677 00:36:15,766 --> 00:36:18,069 AUDIENCE: Secondary shot of the real world. 678 00:36:18,069 --> 00:36:20,527 At least in the beginning two-thirds, there's a close shot. 679 00:36:20,527 --> 00:36:23,702 Except for the sort of imaginistic perspective of the child looking 680 00:36:23,702 --> 00:36:25,932 backwards, it's also the only shot that's not 681 00:36:25,932 --> 00:36:27,670 blue in the beginning of the section. 682 00:36:27,670 --> 00:36:28,378 IAN SEXTON: Yeah. 683 00:36:28,378 --> 00:36:35,510 So the comment is that every shot of the real world has this blue look to it. 684 00:36:35,510 --> 00:36:36,060 OK. 685 00:36:36,060 --> 00:36:38,250 With the exception of the-- 686 00:36:38,250 --> 00:36:41,040 imaginistic was the word I think you used?-- 687 00:36:41,040 --> 00:36:43,350 when the child is looking out through the back window 688 00:36:43,350 --> 00:36:50,170 at the cars and the light, in that ethereal moment in the tunnel. 689 00:36:50,170 --> 00:36:52,170 And I think that that's really interesting, too, 690 00:36:52,170 --> 00:36:56,500 that all of this real world sadness is not falling on the child. 691 00:36:56,500 --> 00:36:59,880 The child has a much more innocent outlook. 692 00:36:59,880 --> 00:37:00,780 OK. 693 00:37:00,780 --> 00:37:07,290 So precisely this moment of mystery and wonder at the world. 694 00:37:07,290 --> 00:37:12,011 We're not yet burdened with maybe the sadness of adulthood. 695 00:37:12,011 --> 00:37:12,510 OK. 696 00:37:12,510 --> 00:37:14,135 I think that's a very interesting read. 697 00:37:14,135 --> 00:37:16,270 698 00:37:16,270 --> 00:37:16,770 OK. 699 00:37:16,770 --> 00:37:21,250 And then we're here, where, this is the only time that we see her, 700 00:37:21,250 --> 00:37:25,809 and it's not blue. 701 00:37:25,809 --> 00:37:26,850 There's this weird green. 702 00:37:26,850 --> 00:37:30,960 And she's literally just staring at us. 703 00:37:30,960 --> 00:37:32,100 That's all. 704 00:37:32,100 --> 00:37:35,640 Ostensibly, she's looking at the cars in the background, 705 00:37:35,640 --> 00:37:40,020 but really, we're just getting a look into her eyes. 706 00:37:40,020 --> 00:37:42,660 And you'll often hear people talk about the eyes being 707 00:37:42,660 --> 00:37:46,762 the most relatable part in filmmaking, or the window to the soul, 708 00:37:46,762 --> 00:37:47,720 or something like that. 709 00:37:47,720 --> 00:37:52,710 And so there is this moment where we're asked to just 710 00:37:52,710 --> 00:37:56,340 be with this child for a minute. 711 00:37:56,340 --> 00:37:57,960 I think it's maybe 10 or 15 seconds. 712 00:37:57,960 --> 00:38:04,790 713 00:38:04,790 --> 00:38:08,600 I don't want to give away too much of the film that follows on, 714 00:38:08,600 --> 00:38:12,240 but I do need to contextualize it a little bit. 715 00:38:12,240 --> 00:38:14,330 So this is the father and this family. 716 00:38:14,330 --> 00:38:17,000 There's a mother and a daughter. 717 00:38:17,000 --> 00:38:20,870 In that car crash, the father and the daughter die. 718 00:38:20,870 --> 00:38:24,740 And I hope I'm not ruining the film, but it happens literally three minutes in, 719 00:38:24,740 --> 00:38:28,700 and the whole rest of the film is about the aftermath of that. 720 00:38:28,700 --> 00:38:31,700 So one of the things that we see is the driver of this car. 721 00:38:31,700 --> 00:38:33,050 We never see this man's face. 722 00:38:33,050 --> 00:38:42,320 But part of the story that follows is the wife dealing with her relationship 723 00:38:42,320 --> 00:38:46,970 to this husband and the aftermath of his life and experience. 724 00:38:46,970 --> 00:38:49,280 But we never see his face. 725 00:38:49,280 --> 00:38:51,020 Because this story isn't about him. 726 00:38:51,020 --> 00:38:52,730 It just relates to him. 727 00:38:52,730 --> 00:38:59,635 It's about someone else's perception and memories and experience of this person. 728 00:38:59,635 --> 00:39:02,510 Very easily could have just flipped the camera and shown us his face. 729 00:39:02,510 --> 00:39:05,000 But it's a conscious decision not to. 730 00:39:05,000 --> 00:39:09,800 731 00:39:09,800 --> 00:39:14,330 One of the most important things that we can use as a tool as storytellers 732 00:39:14,330 --> 00:39:17,420 is this idea of dramatic irony. 733 00:39:17,420 --> 00:39:19,400 And this boils down to this simple question 734 00:39:19,400 --> 00:39:24,200 that you can ask yourself-- who knows what when? 735 00:39:24,200 --> 00:39:27,050 We are underneath this car and we can see the brake lines 736 00:39:27,050 --> 00:39:31,010 dripping brake fluid out of them. 737 00:39:31,010 --> 00:39:32,840 We are aware of this. 738 00:39:32,840 --> 00:39:35,412 But the characters are not. 739 00:39:35,412 --> 00:39:37,370 There's no way they would drive off in that car 740 00:39:37,370 --> 00:39:40,140 if they knew it was leaking brake fluid. 741 00:39:40,140 --> 00:39:42,140 So what does that do for us as audience members? 742 00:39:42,140 --> 00:39:44,098 How does that change the way we're interpreting 743 00:39:44,098 --> 00:39:47,360 the story that's unfolding? 744 00:39:47,360 --> 00:39:49,039 AUDIENCE: It brings worry. 745 00:39:49,039 --> 00:39:50,330 IAN SEXTON: It makes you worry? 746 00:39:50,330 --> 00:39:52,130 AUDIENCE: Yeah, because you know something bad is about to happen. 747 00:39:52,130 --> 00:39:53,480 IAN SEXTON: Right, exactly. 748 00:39:53,480 --> 00:39:56,300 It increases this idea of tension, like, are they 749 00:39:56,300 --> 00:39:58,850 going to make it to where they're going safely? 750 00:39:58,850 --> 00:40:00,600 Before this becomes a problem? 751 00:40:00,600 --> 00:40:01,332 Yeah. 752 00:40:01,332 --> 00:40:05,110 AUDIENCE: The anticipation of something that's already really clear. 753 00:40:05,110 --> 00:40:06,590 IAN SEXTON: Yeah. 754 00:40:06,590 --> 00:40:08,810 It's surprising, too. 755 00:40:08,810 --> 00:40:14,630 This anticipation of something clear in the moment that you're saying is like, 756 00:40:14,630 --> 00:40:16,820 I know that something bad is going to happen, 757 00:40:16,820 --> 00:40:19,100 because you're showing me this brake fluid, 758 00:40:19,100 --> 00:40:21,770 but I'm still hoping that it won't. 759 00:40:21,770 --> 00:40:27,770 It's very powerful to show us this bad thing that's about to happen, 760 00:40:27,770 --> 00:40:30,020 and my gut reaction is the hope that it won't. 761 00:40:30,020 --> 00:40:35,070 And that's the beauty of very craft oriented storytelling. 762 00:40:35,070 --> 00:40:36,242 Yeah. 763 00:40:36,242 --> 00:40:40,008 AUDIENCE: It's interesting because the first scene is of the wheel. 764 00:40:40,008 --> 00:40:42,946 So it's like foreshadowing that something is going 765 00:40:42,946 --> 00:40:45,420 to go wrong in that area a little bit. 766 00:40:45,420 --> 00:40:49,352 And I didn't catch it until it was over and then I was like, oh, wow. 767 00:40:49,352 --> 00:40:50,060 IAN SEXTON: Yeah. 768 00:40:50,060 --> 00:40:53,570 So the idea that the film begins on the wheel, which 769 00:40:53,570 --> 00:40:58,470 is down where we are in this shot, brings up this idea of foreshadowing. 770 00:40:58,470 --> 00:41:02,150 There's also in this background, you can see the little girl, 771 00:41:02,150 --> 00:41:07,400 who be central to our character's sense of loss 772 00:41:07,400 --> 00:41:11,876 as they navigate through this traumatic incident. 773 00:41:11,876 --> 00:41:14,960 What's something really interesting about this three minute clip 774 00:41:14,960 --> 00:41:16,750 that I showed you? 775 00:41:16,750 --> 00:41:18,440 I said there were three characters. 776 00:41:18,440 --> 00:41:21,189 There's the little girl, who we spend a significant amount of time 777 00:41:21,189 --> 00:41:22,490 with in this three minutes. 778 00:41:22,490 --> 00:41:25,890 There's the father, who we see for a couple seconds, 779 00:41:25,890 --> 00:41:30,320 but we don't actually see him, just the back of him. 780 00:41:30,320 --> 00:41:33,500 And I said that there was the mother. 781 00:41:33,500 --> 00:41:35,990 You only hear her voice. 782 00:41:35,990 --> 00:41:36,530 That's it. 783 00:41:36,530 --> 00:41:38,180 You never see her. 784 00:41:38,180 --> 00:41:40,790 And so this, again, is another conscious decision 785 00:41:40,790 --> 00:41:44,920 that he's not going-- to not present that character in this moment, 786 00:41:44,920 --> 00:41:47,330 and that the rest of the story will be about her, 787 00:41:47,330 --> 00:41:48,980 and we will be with her the whole way. 788 00:41:48,980 --> 00:41:54,230 It's a creative inversion, if you will, of who we are with in any given moment. 789 00:41:54,230 --> 00:41:58,430 790 00:41:58,430 --> 00:42:00,560 A couple of other tidbits that are interesting. 791 00:42:00,560 --> 00:42:03,320 There's this character at the end who's waiting and hitchhiking. 792 00:42:03,320 --> 00:42:05,060 He's playingd he's got a skateboard. 793 00:42:05,060 --> 00:42:09,380 He's got that wooden toy to get the ball on the stick. 794 00:42:09,380 --> 00:42:11,720 And so, there's this concept of these missed chances. 795 00:42:11,720 --> 00:42:20,180 He's trying to hitchhike in this car that only seconds later crashes. 796 00:42:20,180 --> 00:42:23,450 In a terrible car crash. 797 00:42:23,450 --> 00:42:27,740 So you can play with these moments of situational irony, as well. 798 00:42:27,740 --> 00:42:31,820 799 00:42:31,820 --> 00:42:37,760 One of the things that, as a crafts person who makes films, I do 800 00:42:37,760 --> 00:42:39,530 love this moment of this crashed car. 801 00:42:39,530 --> 00:42:43,700 Because it's pretty obvious that they didn't crash it in that moment. 802 00:42:43,700 --> 00:42:46,580 If you watch it, you'll see that it falls down, 803 00:42:46,580 --> 00:42:50,450 and the hood closes, and then someone throws paper 804 00:42:50,450 --> 00:42:52,910 out the window, which becomes a little bit humorous. 805 00:42:52,910 --> 00:42:58,310 Because you can see the mechanism of them creating the violence of this car 806 00:42:58,310 --> 00:42:59,180 crash. 807 00:42:59,180 --> 00:43:01,450 And they're like, let's make this more violent, 808 00:43:01,450 --> 00:43:04,390 we'll throw paper out the window. 809 00:43:04,390 --> 00:43:06,940 And to a degree, it does make it more violent, 810 00:43:06,940 --> 00:43:11,350 but it also adds this weird subtext, where I find it humorous, 811 00:43:11,350 --> 00:43:15,930 because I know there's a person in there throwing paper out. 812 00:43:15,930 --> 00:43:20,230 But so, ask yourself, does that help the narrative at this moment? 813 00:43:20,230 --> 00:43:22,900 Or does it end up hindering it? 814 00:43:22,900 --> 00:43:23,820 So you increase the-- 815 00:43:23,820 --> 00:43:24,570 you made a choice. 816 00:43:24,570 --> 00:43:28,970 I want to increase the violence of the car crash by throwing paper out of it. 817 00:43:28,970 --> 00:43:32,210 But now, there's this interpretation where it's actually a little bit funny 818 00:43:32,210 --> 00:43:34,720 and staged. 819 00:43:34,720 --> 00:43:39,700 And it actually reduces my connection emotionally to the moment, 820 00:43:39,700 --> 00:43:41,680 and increases my connection intellectually as 821 00:43:41,680 --> 00:43:45,460 like a crafts person of making movies. 822 00:43:45,460 --> 00:43:47,680 Which may not be the intention. 823 00:43:47,680 --> 00:43:50,230 So even when you're working through these stories, 824 00:43:50,230 --> 00:43:55,300 sometimes you will make a decision, and it may backfire a little on you. 825 00:43:55,300 --> 00:43:56,980 And that is OK. 826 00:43:56,980 --> 00:44:02,534 The point is to then take time, look at the work, reflect, grow and adapt. 827 00:44:02,534 --> 00:44:04,450 And that's one of the reasons that we're going 828 00:44:04,450 --> 00:44:09,850 to build in a lot of critique time as we move through the semester. 829 00:44:09,850 --> 00:44:12,070 So that yeah, maybe we'll try something interesting, 830 00:44:12,070 --> 00:44:14,570 like increasing the violence by throwing some paper out. 831 00:44:14,570 --> 00:44:15,420 It worked. 832 00:44:15,420 --> 00:44:17,470 It sort of didn't work. 833 00:44:17,470 --> 00:44:21,280 We can talk about that overall. 834 00:44:21,280 --> 00:44:24,190 And the final thing is this character's loss of innocence. 835 00:44:24,190 --> 00:44:26,770 This character shows up again later in the film. 836 00:44:26,770 --> 00:44:31,330 But you can see that they throw away their childish toys or childhood toys-- 837 00:44:31,330 --> 00:44:34,552 their skateboard and that little game. 838 00:44:34,552 --> 00:44:36,760 I don't know what it's called, I should look that up. 839 00:44:36,760 --> 00:44:40,360 As they run over to this scene of carnage. 840 00:44:40,360 --> 00:44:43,200 And this is just a really simple symbolic device. 841 00:44:43,200 --> 00:44:46,870 He carries a bright yellow skateboard, that 842 00:44:46,870 --> 00:44:51,520 is the only bright thing in this whole image. 843 00:44:51,520 --> 00:44:54,040 It's foggy, it's muted, it's all the things 844 00:44:54,040 --> 00:44:58,960 that we said would be when we were down in the bottom of that story. 845 00:44:58,960 --> 00:45:03,970 And this young man has this bright vibrant object 846 00:45:03,970 --> 00:45:07,360 that he casts away in this moment. 847 00:45:07,360 --> 00:45:10,420 As he moves from childhood to adulthood, maybe. 848 00:45:10,420 --> 00:45:15,770 849 00:45:15,770 --> 00:45:18,750 So I'm going to turn it over to Dan briefly to dive 850 00:45:18,750 --> 00:45:23,310 into a little bit about the story choices in editing 851 00:45:23,310 --> 00:45:26,790 and talk a little bit about Shotcut more generally in preparation 852 00:45:26,790 --> 00:45:28,724 for the next assignment. 853 00:45:28,724 --> 00:45:29,640 DAN COFFEY: All right. 854 00:45:29,640 --> 00:45:33,630 Welcome back, everybody, to round two of exploring digital media. 855 00:45:33,630 --> 00:45:37,000 Thanks to Ian for the great primer on storytelling. 856 00:45:37,000 --> 00:45:39,370 So now we're going to dive into the business of editing. 857 00:45:39,370 --> 00:45:43,230 So what is editing? 858 00:45:43,230 --> 00:45:47,610 If filmmaking is telling the story and taking it from conflict to resolution 859 00:45:47,610 --> 00:45:52,660 and writing a story arc along the way, editing is deciding how we tell it. 860 00:45:52,660 --> 00:45:54,900 Ian talked a lot about the elements that you 861 00:45:54,900 --> 00:45:57,780 can use in composition and color temperature and other decisions 862 00:45:57,780 --> 00:45:59,650 you can make to tell the story. 863 00:45:59,650 --> 00:46:02,910 And as an editor, you're the one taking these media pieces 864 00:46:02,910 --> 00:46:05,670 and putting it into a timeline, into a sequence, 865 00:46:05,670 --> 00:46:09,990 and actually assembling the story. 866 00:46:09,990 --> 00:46:11,520 How do we edit? 867 00:46:11,520 --> 00:46:13,740 In the olden days, it looked like this. 868 00:46:13,740 --> 00:46:14,991 So this is a-- 869 00:46:14,991 --> 00:46:15,740 what is this, Ian? 870 00:46:15,740 --> 00:46:16,922 A steam [INAUDIBLE] machine? 871 00:46:16,922 --> 00:46:17,630 IAN SEXTON: Yeah. 872 00:46:17,630 --> 00:46:18,700 A flatbed editor. 873 00:46:18,700 --> 00:46:19,800 DAN COFFEY: All right. 874 00:46:19,800 --> 00:46:22,174 I've never actually touched one of these machines myself. 875 00:46:22,174 --> 00:46:22,830 Ian has. 876 00:46:22,830 --> 00:46:26,500 But you've got reels of film that go through it. 877 00:46:26,500 --> 00:46:27,000 You cut it. 878 00:46:27,000 --> 00:46:27,583 You splice it. 879 00:46:27,583 --> 00:46:31,770 You physically actually tape film together to put these shots together. 880 00:46:31,770 --> 00:46:34,290 So it's really hard to command Z and undo. 881 00:46:34,290 --> 00:46:39,150 But fortunately, in the world of digital media, we have what are called NLEs, 882 00:46:39,150 --> 00:46:40,680 or non-linear editors. 883 00:46:40,680 --> 00:46:42,840 And there's a whole bunch of them out there. 884 00:46:42,840 --> 00:46:45,660 Some of the big ones right now are Adobe Premiere. 885 00:46:45,660 --> 00:46:48,960 We've got Final Cut Pro, iMovie, Avid. 886 00:46:48,960 --> 00:46:51,280 And up here in the top left, we have Shotcut, 887 00:46:51,280 --> 00:46:53,610 which is the editor we're going to use in this class. 888 00:46:53,610 --> 00:46:56,530 And the reason we're using Shotcut is because it is free. 889 00:46:56,530 --> 00:46:58,950 It is cross platform, so if you're on Windows or on Mac, 890 00:46:58,950 --> 00:47:01,620 it's very easy to use. 891 00:47:01,620 --> 00:47:04,335 But you get what you pay for sometimes. 892 00:47:04,335 --> 00:47:06,210 It's a great piece of software, but there are 893 00:47:06,210 --> 00:47:10,230 some pitfalls that come along with it. 894 00:47:10,230 --> 00:47:12,900 One of the first things I really want to hammer home as we get 895 00:47:12,900 --> 00:47:15,450 started is that you need to stay organized. 896 00:47:15,450 --> 00:47:17,777 And that's all the way through the production process, 897 00:47:17,777 --> 00:47:19,110 starting back in pre-production. 898 00:47:19,110 --> 00:47:22,504 If you're thinking about your story and how you want to tell it. 899 00:47:22,504 --> 00:47:25,670 When you're actually shooting the film, you definitely want to be organized. 900 00:47:25,670 --> 00:47:28,260 And when you get to post-production, as simple as how 901 00:47:28,260 --> 00:47:30,555 you arrange the files on your hard drive matters, 902 00:47:30,555 --> 00:47:32,430 because you need to know where everything is. 903 00:47:32,430 --> 00:47:35,530 And if you need to access a file or a piece of music, 904 00:47:35,530 --> 00:47:38,809 if you have a standard convention for how you do this, 905 00:47:38,809 --> 00:47:41,850 it'll make life a lot easier as you try to sift through all your footage. 906 00:47:41,850 --> 00:47:46,200 Because as you build bigger and bigger projects, your files on your hard drive 907 00:47:46,200 --> 00:47:49,956 will actually enumerate many times over. 908 00:47:49,956 --> 00:47:51,330 And it'll be hard to find things. 909 00:47:51,330 --> 00:47:52,560 So stay organized. 910 00:47:52,560 --> 00:47:55,860 And we don't specify any specific organization in this class. 911 00:47:55,860 --> 00:47:57,860 You're welcome to use this example. 912 00:47:57,860 --> 00:48:03,330 But find whatever works for you and stick with it. 913 00:48:03,330 --> 00:48:03,830 All right. 914 00:48:03,830 --> 00:48:07,350 As I said, staying organized starts in pre-production. 915 00:48:07,350 --> 00:48:11,624 But even on set, it's really helpful to use something like a slate 916 00:48:11,624 --> 00:48:14,790 here where you can write information about the scene that you're working on. 917 00:48:14,790 --> 00:48:16,860 You don't need anything as fancy as this if you don't want to. 918 00:48:16,860 --> 00:48:19,470 You're certainly able to use a whiteboard or a piece of paper. 919 00:48:19,470 --> 00:48:23,550 But if you're doing several versions of the same shot over and over again, 920 00:48:23,550 --> 00:48:26,170 it's really helpful to know which one is which. 921 00:48:26,170 --> 00:48:28,230 And in the assignment that you'll get tonight, 922 00:48:28,230 --> 00:48:30,030 the first thing you'll see in every take is 923 00:48:30,030 --> 00:48:32,790 the slate that sets up for you what shot it is 924 00:48:32,790 --> 00:48:35,492 that we are working on in that moment. 925 00:48:35,492 --> 00:48:37,200 There's also a practical benefit to this. 926 00:48:37,200 --> 00:48:39,150 If you're actually syncing audio and video-- 927 00:48:39,150 --> 00:48:41,430 which we'll get to later in this course-- 928 00:48:41,430 --> 00:48:45,270 actually closing the sticks and having the audio sound mark 929 00:48:45,270 --> 00:48:48,540 where you're sync point is will help you synchronize your audio and video. 930 00:48:48,540 --> 00:48:52,170 931 00:48:52,170 --> 00:48:54,120 This is a frame of Shotcut. 932 00:48:54,120 --> 00:48:56,400 This is our non-linear editor that we're working on. 933 00:48:56,400 --> 00:49:00,255 And so, there's a few pieces of it that I think it is helpful to understand. 934 00:49:00,255 --> 00:49:02,130 I'm just curious, how many people in the room 935 00:49:02,130 --> 00:49:05,110 here have experience using non-linear editors before? 936 00:49:05,110 --> 00:49:06,870 How many people have done editing. 937 00:49:06,870 --> 00:49:07,500 Few hands. 938 00:49:07,500 --> 00:49:08,610 And just shout it out. 939 00:49:08,610 --> 00:49:10,250 What are you using to edit? 940 00:49:10,250 --> 00:49:11,190 AUDIENCE: iMovie. 941 00:49:11,190 --> 00:49:12,538 DAN COFFEY: iMovie. 942 00:49:12,538 --> 00:49:14,020 AUDIENCE: Premiere. 943 00:49:14,020 --> 00:49:15,490 DAN COFFEY: Premiere. 944 00:49:15,490 --> 00:49:16,810 AUDIENCE: Camtasia. 945 00:49:16,810 --> 00:49:17,710 AUDIENCE: Premiere. 946 00:49:17,710 --> 00:49:18,730 DAN COFFEY: Premiere. 947 00:49:18,730 --> 00:49:19,230 OK. 948 00:49:19,230 --> 00:49:21,054 Is anybody here planning to use Shotcut? 949 00:49:21,054 --> 00:49:21,810 AUDIENCE: No. 950 00:49:21,810 --> 00:49:22,435 DAN COFFEY: No? 951 00:49:22,435 --> 00:49:22,935 OK. 952 00:49:22,935 --> 00:49:25,200 Well, this is a question for the online students, too. 953 00:49:25,200 --> 00:49:26,790 Let us know if you're planning to use Shotcut, 954 00:49:26,790 --> 00:49:28,980 because I'm going to spend a little bit of time 955 00:49:28,980 --> 00:49:33,222 going through how to use the software today, but we do not require this. 956 00:49:33,222 --> 00:49:36,180 Certainly, if you're comfortable and you know another editing software, 957 00:49:36,180 --> 00:49:36,870 please use that. 958 00:49:36,870 --> 00:49:39,330 This is simply if you're trying to get into this. 959 00:49:39,330 --> 00:49:44,730 I think that where Shotcut falls for me is one step above iMovie. 960 00:49:44,730 --> 00:49:47,730 There's a few more complex things you can do. 961 00:49:47,730 --> 00:49:49,890 But definitely a step below the rest. 962 00:49:49,890 --> 00:49:51,170 And it is a little bit buggy. 963 00:49:51,170 --> 00:49:54,420 As I've been using it and getting ready for this class, it does crash on me 964 00:49:54,420 --> 00:49:56,280 a reasonable amount of times. 965 00:49:56,280 --> 00:49:59,280 There's a few annoying things that you can't do that we'll get into you, 966 00:49:59,280 --> 00:50:00,240 as well. 967 00:50:00,240 --> 00:50:04,260 But, the price you cannot beat. 968 00:50:04,260 --> 00:50:06,000 All right. 969 00:50:06,000 --> 00:50:08,010 Down in the bottom of the frame we're looking at 970 00:50:08,010 --> 00:50:09,300 is our sequence, our timeline. 971 00:50:09,300 --> 00:50:12,200 And this is where we're going to start to take our media 972 00:50:12,200 --> 00:50:13,880 and assemble it so that-- 973 00:50:13,880 --> 00:50:17,090 as we play back, think of this x-axis as time-- 974 00:50:17,090 --> 00:50:20,600 as we move along time, this is what we're going to see visually. 975 00:50:20,600 --> 00:50:24,265 So whatever the top layer is, hierarchically, 976 00:50:24,265 --> 00:50:25,390 is what we're going to see. 977 00:50:25,390 --> 00:50:27,980 So if this clip overlaps this clip, this is the clip 978 00:50:27,980 --> 00:50:31,430 that we're actually going to see in our viewer when we watch. 979 00:50:31,430 --> 00:50:35,150 Down here, we can see audio clips that have waveforms in them. 980 00:50:35,150 --> 00:50:38,150 And those are just representations of the loudness of the audio. 981 00:50:38,150 --> 00:50:42,200 And then over here, this purple and blue box is a transition, 982 00:50:42,200 --> 00:50:43,310 which means that there's-- 983 00:50:43,310 --> 00:50:46,550 instead of just cutting and abutting two clips together, 984 00:50:46,550 --> 00:50:50,290 there's actually some kind of transition that's happening between them, 985 00:50:50,290 --> 00:50:52,400 either a cut or dissolve. 986 00:50:52,400 --> 00:50:53,720 We'll get into those. 987 00:50:53,720 --> 00:50:55,880 I like to think of editing like this. 988 00:50:55,880 --> 00:50:58,270 You are making this beautiful piece of art-- yes? 989 00:50:58,270 --> 00:50:59,770 AUDIENCE: Can you go back one slide? 990 00:50:59,770 --> 00:51:00,910 I have a quick question. 991 00:51:00,910 --> 00:51:02,917 DAN COFFEY: I'm going to go back one slide for a quick question. 992 00:51:02,917 --> 00:51:04,541 AUDIENCE: The waveforms for the audio-- 993 00:51:04,541 --> 00:51:05,248 DAN COFFEY: Yes. 994 00:51:05,248 --> 00:51:09,350 AUDIENCE: You described the top one being the one you see for the video. 995 00:51:09,350 --> 00:51:10,955 For the audio, is it the same? 996 00:51:10,955 --> 00:51:12,080 DAN COFFEY: Great question. 997 00:51:12,080 --> 00:51:14,690 So how does it work when you have multiple tracks of audio? 998 00:51:14,690 --> 00:51:16,250 You do hear all of them. 999 00:51:16,250 --> 00:51:19,250 And so, it-- depending on how you've got the sequence setup, 1000 00:51:19,250 --> 00:51:21,380 it will sum them together for you or sometimes, you 1001 00:51:21,380 --> 00:51:23,547 can have one channel be your left channel, 1002 00:51:23,547 --> 00:51:25,130 and one channel be your right channel. 1003 00:51:25,130 --> 00:51:28,088 Sorry, one track be your left channel, one track be your right channel. 1004 00:51:28,088 --> 00:51:29,450 It depends on how you set it up. 1005 00:51:29,450 --> 00:51:30,890 For most of what we're going to do in this class, 1006 00:51:30,890 --> 00:51:32,210 we're not going to worry about those details. 1007 00:51:32,210 --> 00:51:35,210 We're going to let it sum our audio together and hear everything 1008 00:51:35,210 --> 00:51:36,710 in both ears. 1009 00:51:36,710 --> 00:51:39,770 But yes, you can actually turn tracks off globally. 1010 00:51:39,770 --> 00:51:42,140 There's a little speaker button here. 1011 00:51:42,140 --> 00:51:45,260 And this is common in every NLE, but you can-- 1012 00:51:45,260 --> 00:51:47,534 if you decide, oh, I don't want any of this track, 1013 00:51:47,534 --> 00:51:49,700 you can turn it off and get that sound out of there. 1014 00:51:49,700 --> 00:51:53,421 And going back to being organized, it's helpful to put your soundtrack 1015 00:51:53,421 --> 00:51:56,420 on one track so you can turn it off and hear just the dialogue if you've 1016 00:51:56,420 --> 00:51:57,950 got the dialogue on one track. 1017 00:51:57,950 --> 00:52:01,460 Or if you have two people talking, put person A's dialogue 1018 00:52:01,460 --> 00:52:03,492 on one track and person B's dialogue on another 1019 00:52:03,492 --> 00:52:05,200 so you can quickly hear who's saying what 1020 00:52:05,200 --> 00:52:11,670 or turn off the music just to make it more quick to make changes. 1021 00:52:11,670 --> 00:52:12,170 All right. 1022 00:52:12,170 --> 00:52:14,510 So my analogy about what is editing. 1023 00:52:14,510 --> 00:52:17,200 We're making this beautiful tapestry together 1024 00:52:17,200 --> 00:52:20,489 of visual elements and audio elements. 1025 00:52:20,489 --> 00:52:22,530 So I like to think of the sequence as our canvas. 1026 00:52:22,530 --> 00:52:25,100 That's what we're actually applying our paint to. 1027 00:52:25,100 --> 00:52:27,440 The clips are our paint. 1028 00:52:27,440 --> 00:52:29,600 And often, we talked about the difference 1029 00:52:29,600 --> 00:52:32,420 in colors and contrasts and everything. 1030 00:52:32,420 --> 00:52:34,840 So I think it's a fit analogy. 1031 00:52:34,840 --> 00:52:36,570 And then the transitions are our brushes. 1032 00:52:36,570 --> 00:52:39,410 So how do we move from one shot to another? 1033 00:52:39,410 --> 00:52:40,550 Or one scene to another? 1034 00:52:40,550 --> 00:52:44,540 We want to think about this not just in terms of what is the mechanism, 1035 00:52:44,540 --> 00:52:47,660 like a cut or dissolve or a wipe, to move from one scene to another, 1036 00:52:47,660 --> 00:52:51,620 but also, how do we progress the story and sequence our shots to move 1037 00:52:51,620 --> 00:52:54,361 from one scene to another? 1038 00:52:54,361 --> 00:52:54,860 All right. 1039 00:52:54,860 --> 00:52:58,010 Transitions. 1040 00:52:58,010 --> 00:53:00,620 On the left, we have a frame from iMovie. 1041 00:53:00,620 --> 00:53:03,110 On the right, we have a frame from Shotcut. 1042 00:53:03,110 --> 00:53:05,870 And so as you can see, the creators of these software 1043 00:53:05,870 --> 00:53:08,810 have given us a multitude of options. 1044 00:53:08,810 --> 00:53:13,250 We have cross dissolve, cross blur, fade to black, barn door 1045 00:53:13,250 --> 00:53:15,620 diagonal, northwest to southeast. 1046 00:53:15,620 --> 00:53:16,800 Tons of options. 1047 00:53:16,800 --> 00:53:20,030 How many people have spent time throwing this into your project? 1048 00:53:20,030 --> 00:53:22,640 See what they look like? 1049 00:53:22,640 --> 00:53:26,660 As a rule, don't use any of them. 1050 00:53:26,660 --> 00:53:27,470 I'm just kidding. 1051 00:53:27,470 --> 00:53:29,690 These are my rules. 1052 00:53:29,690 --> 00:53:32,910 I think when you tell an effective story, it's not about gimmicks. 1053 00:53:32,910 --> 00:53:37,170 It's simply about moving and progressing your scene very simply. 1054 00:53:37,170 --> 00:53:39,710 And we're going to talk about how you make an effective cut, 1055 00:53:39,710 --> 00:53:43,040 because cutting is really the biggest transition you're going to use, 1056 00:53:43,040 --> 00:53:45,360 I think, when you're telling stories. 1057 00:53:45,360 --> 00:53:48,620 So just to zoom this in for you, you might 1058 00:53:48,620 --> 00:53:52,710 be wondering what is matrix snake parallel horizontal-- 1059 00:53:52,710 --> 00:53:54,210 I wondered that when I went to this. 1060 00:53:54,210 --> 00:53:55,876 I didn't want to leave you disappointed. 1061 00:53:55,876 --> 00:53:57,593 Here it is. 1062 00:53:57,593 --> 00:54:00,014 AUDIENCE: Are you kidding? 1063 00:54:00,014 --> 00:54:01,430 DAN COFFEY: It's gimmick-y, right? 1064 00:54:01,430 --> 00:54:03,138 What does this actually do for our story? 1065 00:54:03,138 --> 00:54:06,230 And if you go back to Star Wars and George Lucas, 1066 00:54:06,230 --> 00:54:09,049 he certainly uses wipes in a creative way and effectively. 1067 00:54:09,049 --> 00:54:11,840 But I think for the purposes of this course, as we're starting out, 1068 00:54:11,840 --> 00:54:14,000 it's our goal to equip you with the tools 1069 00:54:14,000 --> 00:54:17,356 for telling an effective story without having to resort to anything like this. 1070 00:54:17,356 --> 00:54:18,314 AUDIENCE: Yeah, thanks. 1071 00:54:18,314 --> 00:54:19,234 We appreciate it. 1072 00:54:19,234 --> 00:54:20,150 DAN COFFEY: All right. 1073 00:54:20,150 --> 00:54:21,800 So as I said, the bread and butter of your editing 1074 00:54:21,800 --> 00:54:24,210 is going to be the cut, which literally looks like this. 1075 00:54:24,210 --> 00:54:28,730 We have shot A that abuts to shot B. And dissolves, where they overlap, 1076 00:54:28,730 --> 00:54:34,610 and there's a transition between them that's smooth and gradual. 1077 00:54:34,610 --> 00:54:35,140 All right. 1078 00:54:35,140 --> 00:54:37,640 Everybody's heard the term three point editing in this room? 1079 00:54:37,640 --> 00:54:38,140 Maybe? 1080 00:54:38,140 --> 00:54:38,990 Maybe not? 1081 00:54:38,990 --> 00:54:40,989 Anybody want to throw a definition on it for me? 1082 00:54:40,989 --> 00:54:45,020 1083 00:54:45,020 --> 00:54:48,980 Three point editing is really the foundation of starting to take a clip 1084 00:54:48,980 --> 00:54:49,880 and build our story. 1085 00:54:49,880 --> 00:54:54,632 And so literally, the first step is to say, where do I want to-- 1086 00:54:54,632 --> 00:54:56,840 in your editor, you're going to have a list of clips. 1087 00:54:56,840 --> 00:54:58,760 You're going to pull one up, and you're going to start to watch it. 1088 00:54:58,760 --> 00:55:01,310 And you're going to say, where do I want to start telling the story from? 1089 00:55:01,310 --> 00:55:03,620 And you literally pick your in point, and you 1090 00:55:03,620 --> 00:55:06,037 say, OK, I'm going to have this clip go from here to here. 1091 00:55:06,037 --> 00:55:08,786 And you pick your out point-- that's we're going to end the clip-- 1092 00:55:08,786 --> 00:55:11,720 and then you have to decide where does it go into the timeline? 1093 00:55:11,720 --> 00:55:12,920 Am I going to put it before the shot? 1094 00:55:12,920 --> 00:55:14,461 Am I going to put out after the shot? 1095 00:55:14,461 --> 00:55:19,382 Do I want to have it come in halfway through where I had the previous shot? 1096 00:55:19,382 --> 00:55:21,340 There's some shortcuts to do this, because this 1097 00:55:21,340 --> 00:55:24,580 is what you will do as you start to build the story very frequently. 1098 00:55:24,580 --> 00:55:26,770 So in Shotcut, and in many other editors, 1099 00:55:26,770 --> 00:55:30,240 Premiere included, it's the I and the O key. 1100 00:55:30,240 --> 00:55:35,980 So as you're playing along your preview window here, you hit the I key, 1101 00:55:35,980 --> 00:55:40,680 and it'll literally shorten your clip, the in point marker here, 1102 00:55:40,680 --> 00:55:43,180 and then you keep playing to where you want to end the clip. 1103 00:55:43,180 --> 00:55:45,280 And you hit O, and that's the out point. 1104 00:55:45,280 --> 00:55:50,050 And then there's a shortcut to drop it into your timeline, which 1105 00:55:50,050 --> 00:55:54,070 in Shotcut, is the A key to append it to the end of your sequence. 1106 00:55:54,070 --> 00:55:59,601 And the B key just to drop it in and overwrite whatever clip your marker 1107 00:55:59,601 --> 00:56:00,100 is on. 1108 00:56:00,100 --> 00:56:05,140 And this white line here is the play head, 1109 00:56:05,140 --> 00:56:10,540 and so wherever that is where you're going to append things to-- 1110 00:56:10,540 --> 00:56:13,000 when you hit the B key, wherever the clip will end up. 1111 00:56:13,000 --> 00:56:15,580 1112 00:56:15,580 --> 00:56:17,890 All right. 1113 00:56:17,890 --> 00:56:20,320 How do we organize our story visually? 1114 00:56:20,320 --> 00:56:23,290 1115 00:56:23,290 --> 00:56:24,400 This is the question. 1116 00:56:24,400 --> 00:56:26,210 How do we want to tell our story? 1117 00:56:26,210 --> 00:56:32,287 Ian give a great example of what choices you make when you start here? 1118 00:56:32,287 --> 00:56:33,370 And then you go down here. 1119 00:56:33,370 --> 00:56:34,840 And then you come all the way back up. 1120 00:56:34,840 --> 00:56:36,215 Like, what do you leave yourself? 1121 00:56:36,215 --> 00:56:39,010 So you want to start to think about these things 1122 00:56:39,010 --> 00:56:41,890 when you unfold your story in editing, too. 1123 00:56:41,890 --> 00:56:46,180 And the real thing you want to start to ask yourself is why cut? 1124 00:56:46,180 --> 00:56:49,250 This is the big question. 1125 00:56:49,250 --> 00:56:53,462 So why would you-- when do you want to make the transition from the medium 1126 00:56:53,462 --> 00:56:56,170 shot, let's say, of somebody, to the wide shot of the next person 1127 00:56:56,170 --> 00:56:57,790 or the close up of the next person? 1128 00:56:57,790 --> 00:56:59,248 Or the close up of the same person? 1129 00:56:59,248 --> 00:57:01,180 Why would we want to change the shot? 1130 00:57:01,180 --> 00:57:04,420 1131 00:57:04,420 --> 00:57:05,325 Yes. 1132 00:57:05,325 --> 00:57:09,880 AUDIENCE: Because based on the feelings that we want to do, 1133 00:57:09,880 --> 00:57:12,150 if we want to get more intimate with the character 1134 00:57:12,150 --> 00:57:17,440 or get closer to be able to see something important after establishing 1135 00:57:17,440 --> 00:57:18,760 where they are. 1136 00:57:18,760 --> 00:57:19,810 DAN COFFEY: Sure. 1137 00:57:19,810 --> 00:57:23,640 So you might go closer if you want to be more intimate with somebody. 1138 00:57:23,640 --> 00:57:25,480 Because a close up shot-- 1139 00:57:25,480 --> 00:57:27,490 we're typically talking about the face-- 1140 00:57:27,490 --> 00:57:29,210 gives you much more information about their emotions. 1141 00:57:29,210 --> 00:57:30,209 You can read their face. 1142 00:57:30,209 --> 00:57:32,830 You can see their eyes much bigger. 1143 00:57:32,830 --> 00:57:35,050 Makes total sense. 1144 00:57:35,050 --> 00:57:36,570 There's a few reasons. 1145 00:57:36,570 --> 00:57:38,972 There may be more information that you want to show. 1146 00:57:38,972 --> 00:57:41,680 Maybe you want to come in and show this person is actually upset. 1147 00:57:41,680 --> 00:57:45,220 So it's a reason to cut and come closer. 1148 00:57:45,220 --> 00:57:49,605 There's something from the scene that's not visible that you want to see. 1149 00:57:49,605 --> 00:57:51,730 There's nothing else to gain from the current shot. 1150 00:57:51,730 --> 00:57:55,780 That's also a reason to get away from your current shot or transition 1151 00:57:55,780 --> 00:57:58,060 into the next scene. 1152 00:57:58,060 --> 00:58:01,430 But every time you make an edit, you are making a decision now. 1153 00:58:01,430 --> 00:58:03,430 I feel like once you're informed of this and you 1154 00:58:03,430 --> 00:58:07,240 start to think about putting a story together, every cut that you make 1155 00:58:07,240 --> 00:58:09,850 or every dissolve that you make should be informed 1156 00:58:09,850 --> 00:58:12,700 and it should focus around telling the story that you 1157 00:58:12,700 --> 00:58:14,440 intended to set out to tell. 1158 00:58:14,440 --> 00:58:17,989 1159 00:58:17,989 --> 00:58:19,780 We talked about shot progression there when 1160 00:58:19,780 --> 00:58:22,990 we talked about going from a wider shot to a close up shot. 1161 00:58:22,990 --> 00:58:25,390 So let's take a specific example for a second 1162 00:58:25,390 --> 00:58:29,720 and talk about how we might unfold it visually. 1163 00:58:29,720 --> 00:58:34,450 So let's take a horror scene where we have an axe murderer who's 1164 00:58:34,450 --> 00:58:38,407 chasing somebody through a factory. 1165 00:58:38,407 --> 00:58:40,240 How do we want to it-- what's the first shot 1166 00:58:40,240 --> 00:58:43,588 that we want to show to tell the story? 1167 00:58:43,588 --> 00:58:44,852 AUDIENCE: Show the factory. 1168 00:58:44,852 --> 00:58:46,060 DAN COFFEY: Show the factory. 1169 00:58:46,060 --> 00:58:48,040 So this is probably a wider shot. 1170 00:58:48,040 --> 00:58:51,760 And it's going to give us more information about the location 1171 00:58:51,760 --> 00:58:52,780 that we're at. 1172 00:58:52,780 --> 00:58:54,520 OK. 1173 00:58:54,520 --> 00:58:59,320 So maybe in the same shot, we introduce a character. 1174 00:58:59,320 --> 00:59:03,670 And then we maybe meet the person who's being chased. 1175 00:59:03,670 --> 00:59:08,560 And we're getting a little bit tighter here as we work our way in. 1176 00:59:08,560 --> 00:59:12,010 And then, we cut to the reverse. 1177 00:59:12,010 --> 00:59:15,220 But what I'm trying to get at here is that a common pattern 1178 00:59:15,220 --> 00:59:21,700 as we start to progress our shots, really immaterial of the scenario, 1179 00:59:21,700 --> 00:59:25,900 is that you start wide because you get a lot more information in a wide shot. 1180 00:59:25,900 --> 00:59:29,590 We're going to talk a lot more about this in the composition lecture. 1181 00:59:29,590 --> 00:59:33,820 We work our way in tight to build that tension and show 1182 00:59:33,820 --> 00:59:38,350 emotion show the state of our character, our antagonist. 1183 00:59:38,350 --> 00:59:40,720 And then we work our way back out. 1184 00:59:40,720 --> 00:59:44,470 Or we transition-- we ignore this part and transition right to the next scene. 1185 00:59:44,470 --> 00:59:48,610 But this is a typical pattern of building that tension. 1186 00:59:48,610 --> 00:59:51,640 1187 00:59:51,640 --> 00:59:54,340 Alfred Hitchcock here has a great rule about this. 1188 00:59:54,340 --> 00:59:57,704 Does anybody know what the Hitchcock rule is? 1189 00:59:57,704 --> 00:59:59,870 And I'll just say, every rule is meant to be broken. 1190 00:59:59,870 --> 01:00:03,070 These are conventions as you get started that are helpful to get you 1191 01:00:03,070 --> 01:00:07,750 to meet expectations of your audience. 1192 01:00:07,750 --> 01:00:11,260 But there's certainly times to break all of the rules. 1193 01:00:11,260 --> 01:00:16,720 So Alfred Hitchcock's rule is that the size of what you see on screen 1194 01:00:16,720 --> 01:00:20,410 corresponds to how important it is in the story at that moment. 1195 01:00:20,410 --> 01:00:27,760 So if you go to a close up of Ian's show here, get a close up of that, 1196 01:00:27,760 --> 01:00:29,619 it's probably very important to your story. 1197 01:00:29,619 --> 01:00:30,910 Otherwise, why would you do it? 1198 01:00:30,910 --> 01:00:34,030 And I think that makes sense. 1199 01:00:34,030 --> 01:00:38,140 And a good example of this from Hitchcock's own work 1200 01:00:38,140 --> 01:00:44,170 is that in Dial M for Murder, there is a shot where 1201 01:00:44,170 --> 01:00:46,180 we see this finger dial this phone. 1202 01:00:46,180 --> 01:00:48,240 And this is the shot that follows it. 1203 01:00:48,240 --> 01:00:49,720 So this is going to repeat here. 1204 01:00:49,720 --> 01:00:51,670 And so, the limitation of the time was, they 1205 01:00:51,670 --> 01:00:54,820 didn't have the technology or lenses to get this shot. 1206 01:00:54,820 --> 01:01:00,130 So what he ended up doing, because this shot was so important to him, 1207 01:01:00,130 --> 01:01:05,200 was that, they built a big phone that was this big and a big wooden finger 1208 01:01:05,200 --> 01:01:07,900 so that they could actually get that shot. 1209 01:01:07,900 --> 01:01:11,560 Can you imagine like how painstaking that would be to actually 1210 01:01:11,560 --> 01:01:17,371 have that kind of construction just to get that one moment of a close up shot? 1211 01:01:17,371 --> 01:01:17,870 What's that? 1212 01:01:17,870 --> 01:01:18,690 AUDIENCE: My goodness. 1213 01:01:18,690 --> 01:01:19,420 DAN COFFEY: Yeah. 1214 01:01:19,420 --> 01:01:22,000 So that's where Hitchcock's rule comes from. 1215 01:01:22,000 --> 01:01:26,530 But it's really important to think about what you're showing onscreen. 1216 01:01:26,530 --> 01:01:31,060 And the size of it can relate to how important it is, as well. 1217 01:01:31,060 --> 01:01:32,020 All right. 1218 01:01:32,020 --> 01:01:37,060 Continuing down our shot progression here. 1219 01:01:37,060 --> 01:01:39,760 Let's watch a clip here of this gentleman. 1220 01:01:39,760 --> 01:01:46,030 And without giving anything else away, I want you to watch this scene 1221 01:01:46,030 --> 01:01:49,282 and tell me what your impressions of the gentleman are. 1222 01:01:49,282 --> 01:01:50,225 [VIDEO PLAYBACK] 1223 01:01:50,225 --> 01:01:50,725 1224 01:01:50,725 --> 01:01:57,672 [BIRDS CHIRPING] 1225 01:01:57,672 --> 01:01:59,880 DAN COFFEY: So what are your impressions of this guy? 1226 01:01:59,880 --> 01:02:03,470 What's he all about? 1227 01:02:03,470 --> 01:02:04,460 [END PLAYBACK] 1228 01:02:04,460 --> 01:02:06,279 AUDIENCE: He's waiting to cross the street. 1229 01:02:06,279 --> 01:02:08,070 DAN COFFEY: He's waiting across the street. 1230 01:02:08,070 --> 01:02:08,790 Normal guy? 1231 01:02:08,790 --> 01:02:09,420 Weird guy? 1232 01:02:09,420 --> 01:02:10,380 AUDIENCE: Weird guy. 1233 01:02:10,380 --> 01:02:11,296 DAN COFFEY: Weird guy. 1234 01:02:11,296 --> 01:02:11,825 Why weird? 1235 01:02:11,825 --> 01:02:13,450 AUDIENCE: Because the face he's making. 1236 01:02:13,450 --> 01:02:13,860 DAN COFFEY: OK. 1237 01:02:13,860 --> 01:02:14,820 The face he's making. 1238 01:02:14,820 --> 01:02:16,950 But the shot is fairly neutral. 1239 01:02:16,950 --> 01:02:20,040 There's nothing sinister about it. 1240 01:02:20,040 --> 01:02:24,610 We're close up so you can see all his glances and whatnot. 1241 01:02:24,610 --> 01:02:25,110 All right. 1242 01:02:25,110 --> 01:02:27,550 How about this scene? 1243 01:02:27,550 --> 01:02:29,277 Ready? 1244 01:02:29,277 --> 01:02:31,273 [VIDEO PLAYBACK] 1245 01:02:31,273 --> 01:02:34,766 [BIRDS CHIRPING] 1246 01:02:34,766 --> 01:02:42,687 1247 01:02:42,687 --> 01:02:43,270 [END PLAYBACK] 1248 01:02:43,270 --> 01:02:44,770 DAN COFFEY: What's he thinking here? 1249 01:02:44,770 --> 01:02:50,321 1250 01:02:50,321 --> 01:02:50,820 No? 1251 01:02:50,820 --> 01:02:52,050 AUDIENCE: Kill someone. 1252 01:02:52,050 --> 01:02:53,490 IAN SEXTON: He's thinking, maybe he could kill somebody? 1253 01:02:53,490 --> 01:02:54,989 Like, could he be a serial murderer? 1254 01:02:54,989 --> 01:02:58,890 That look to the side definitely helps in that context. 1255 01:02:58,890 --> 01:03:00,018 All right. 1256 01:03:00,018 --> 01:03:01,994 Shall we look at one more? 1257 01:03:01,994 --> 01:03:02,982 [VIDEO PLAYBACK] 1258 01:03:02,982 --> 01:03:16,320 [BIRDS CHIRPING] 1259 01:03:16,320 --> 01:03:18,649 [END PLAYBACK] 1260 01:03:18,649 --> 01:03:19,940 DAN COFFEY: How about that one? 1261 01:03:19,940 --> 01:03:22,500 1262 01:03:22,500 --> 01:03:28,170 What's the similarity in all three of these scenes I just showed you? 1263 01:03:28,170 --> 01:03:31,040 It's exactly the same beginning and end clip. 1264 01:03:31,040 --> 01:03:32,960 Different-- middle shot is what has changed. 1265 01:03:32,960 --> 01:03:35,960 Because we presume, when we see somebody close up and looking, 1266 01:03:35,960 --> 01:03:38,840 the next thing that we see is what they're looking at. 1267 01:03:38,840 --> 01:03:42,140 And so, context matters for everything. 1268 01:03:42,140 --> 01:03:46,520 What that middle piece does changes dramatically the before and after. 1269 01:03:46,520 --> 01:03:49,940 And this is known as the Kuleshov effect. 1270 01:03:49,940 --> 01:03:54,230 Viewers derive more meaning from the interaction of two clips shown 1271 01:03:54,230 --> 01:03:56,300 sequentially than in isolation. 1272 01:03:56,300 --> 01:03:59,570 And so, when we think about patterning our shots and the order of which we 1273 01:03:59,570 --> 01:04:03,050 reveal things, context becomes key, like, what you just 1274 01:04:03,050 --> 01:04:05,836 saw versus what you see next. 1275 01:04:05,836 --> 01:04:11,000 So it's something to keep in mind as you choose the next shot that you're doing. 1276 01:04:11,000 --> 01:04:15,140 Go back and watch the last few seconds or minutes of your film 1277 01:04:15,140 --> 01:04:17,801 and see what kind of story you're telling. 1278 01:04:17,801 --> 01:04:20,550 There's a great explainer for this that I'm going to link to here. 1279 01:04:20,550 --> 01:04:23,630 But I'm not going to play in class, where Alfred Hitchcock explains this, 1280 01:04:23,630 --> 01:04:26,210 as well. 1281 01:04:26,210 --> 01:04:27,860 All right. 1282 01:04:27,860 --> 01:04:31,287 As we start to build our sequence and pattern our shots, 1283 01:04:31,287 --> 01:04:32,870 how do we make our edits more natural? 1284 01:04:32,870 --> 01:04:35,600 There's a few different ways that we can do this. 1285 01:04:35,600 --> 01:04:38,900 And this is where I said that the heart of editing 1286 01:04:38,900 --> 01:04:41,720 is using cuts and using dissolves. 1287 01:04:41,720 --> 01:04:44,400 But there's ways to make them really effective. 1288 01:04:44,400 --> 01:04:48,680 So one example is to do what's called a smash cut. 1289 01:04:48,680 --> 01:04:50,974 And this is all where the cut appears. 1290 01:04:50,974 --> 01:04:54,140 And so typically, what we're doing is we're going from very quiet to intense 1291 01:04:54,140 --> 01:04:55,100 or vice versa. 1292 01:04:55,100 --> 01:04:57,690 But it hit your viewer in the face and is unexpected. 1293 01:04:57,690 --> 01:05:00,950 I'm going to play a clip now and just talk over it as we go. 1294 01:05:00,950 --> 01:05:03,050 But this is from Inception. 1295 01:05:03,050 --> 01:05:04,270 [VIDEO PLAYBACK] 1296 01:05:04,270 --> 01:05:06,520 DAN COFFEY: Could we get a little more volume up here? 1297 01:05:06,520 --> 01:05:10,230 1298 01:05:10,230 --> 01:05:12,243 I've got to turn it up here. 1299 01:05:12,243 --> 01:05:14,207 [MUSIC PLAYING] 1300 01:05:14,207 --> 01:05:16,662 1301 01:05:16,662 --> 01:05:20,017 - If it's just a dream, then why are you-- 1302 01:05:20,017 --> 01:05:20,600 [END PLAYBACK] 1303 01:05:20,600 --> 01:05:21,300 DAN COFFEY: All right. 1304 01:05:21,300 --> 01:05:22,800 There's this really dramatic moment. 1305 01:05:22,800 --> 01:05:24,930 The world is literally exploding around them. 1306 01:05:24,930 --> 01:05:28,890 And all of a sudden, they are ripped back to reality. 1307 01:05:28,890 --> 01:05:30,240 And it feels very different. 1308 01:05:30,240 --> 01:05:32,700 But it's very sudden and unexpected. 1309 01:05:32,700 --> 01:05:34,560 And you don't even-- 1310 01:05:34,560 --> 01:05:38,820 it brings this heightened sense of that transition 1311 01:05:38,820 --> 01:05:40,782 that you made for dramatic purpose. 1312 01:05:40,782 --> 01:05:44,130 1313 01:05:44,130 --> 01:05:46,470 That's a smash cut. 1314 01:05:46,470 --> 01:05:47,340 A match cut. 1315 01:05:47,340 --> 01:05:52,050 This is when you've got two frames that are framed the same way. 1316 01:05:52,050 --> 01:05:55,870 Sometimes there's audio that overlaps and helps make this transition. 1317 01:05:55,870 --> 01:05:59,550 But let's take a look at a transition of a match cut. 1318 01:05:59,550 --> 01:06:01,750 This is from Breaking Bad. 1319 01:06:01,750 --> 01:06:03,205 [VIDEO PLAYBACK] 1320 01:06:03,205 --> 01:06:04,660 - [SIGHS] 1321 01:06:04,660 --> 01:06:06,600 [WATER DRIPPING] 1322 01:06:06,600 --> 01:06:13,390 1323 01:06:13,390 --> 01:06:15,330 [PHONE RINGING] 1324 01:06:15,330 --> 01:06:16,101 [END PLAYBACK] 1325 01:06:16,101 --> 01:06:17,350 DAN COFFEY: A very short clip. 1326 01:06:17,350 --> 01:06:21,700 But how does it how does it help bridge the two scenes for you? 1327 01:06:21,700 --> 01:06:26,500 Versus just cutting from him working on the appliance, whatever 1328 01:06:26,500 --> 01:06:28,690 it was, to her in the office here? 1329 01:06:28,690 --> 01:06:32,690 1330 01:06:32,690 --> 01:06:34,662 AUDIENCE: [INAUDIBLE] 1331 01:06:34,662 --> 01:06:35,370 DAN COFFEY: Yeah. 1332 01:06:35,370 --> 01:06:37,380 You're not really taken out of the moment. 1333 01:06:37,380 --> 01:06:39,090 It's not jarring at all. 1334 01:06:39,090 --> 01:06:41,160 The flow of the camera is the same. 1335 01:06:41,160 --> 01:06:44,520 1336 01:06:44,520 --> 01:06:47,520 Another way to make an effective cut. 1337 01:06:47,520 --> 01:06:51,840 You could have an audio match altogether. 1338 01:06:51,840 --> 01:06:53,282 Here's more of our serial killer. 1339 01:06:53,282 --> 01:06:54,266 [VIDEO PLAYBACK] 1340 01:06:54,266 --> 01:07:01,154 [MUSIC PLAYING] 1341 01:07:01,154 --> 01:07:02,138 [WOMAN SCREAMING] 1342 01:07:02,138 --> 01:07:04,106 [KETTLE WHISTLING] 1343 01:07:04,106 --> 01:07:09,510 1344 01:07:09,510 --> 01:07:10,010 - Hey. 1345 01:07:10,010 --> 01:07:10,510 - Hi. 1346 01:07:10,510 --> 01:07:13,190 - I just had the weirdest dream ever. 1347 01:07:13,190 --> 01:07:13,950 [END PLAYBACK] 1348 01:07:13,950 --> 01:07:16,620 DAN COFFEY: So again, we're bridging these transitions 1349 01:07:16,620 --> 01:07:22,170 and just a clever way that keeps your viewer hooked in. 1350 01:07:22,170 --> 01:07:26,190 All tools to keep in your tool belt. 1351 01:07:26,190 --> 01:07:31,044 So really, the most effective way to make edits 1352 01:07:31,044 --> 01:07:33,210 when you're working in the context of the same scene 1353 01:07:33,210 --> 01:07:38,490 and trying to cut between camera angles, is to match on action. 1354 01:07:38,490 --> 01:07:40,790 What this means is, as-- 1355 01:07:40,790 --> 01:07:41,972 let's look at an example. 1356 01:07:41,972 --> 01:07:43,680 We've got a scene here where this woman's 1357 01:07:43,680 --> 01:07:45,430 going to walk in with a shotgun, and we're 1358 01:07:45,430 --> 01:07:47,775 going to-- we want to go from a wide shot to a close up. 1359 01:07:47,775 --> 01:07:49,650 So let's take a look at what this looks like. 1360 01:07:49,650 --> 01:07:51,550 [VIDEO PLAYBACK] 1361 01:07:51,550 --> 01:07:52,500 - Now. 1362 01:07:52,500 --> 01:07:53,955 Look right. 1363 01:07:53,955 --> 01:07:55,317 A little wider on the-- 1364 01:07:55,317 --> 01:07:55,900 [END PLAYBACK] 1365 01:07:55,900 --> 01:07:59,250 DAN COFFEY: And so, you can hear, this is a group called framelines.tv 1366 01:07:59,250 --> 01:08:02,040 and they give footage for free that you can practice editing with. 1367 01:08:02,040 --> 01:08:07,380 But what happens-- that's the audio that you hear in the background-- 1368 01:08:07,380 --> 01:08:11,370 but what happens is, we could cut here, as she's 1369 01:08:11,370 --> 01:08:15,090 walking in, to her from the other side. 1370 01:08:15,090 --> 01:08:17,229 We could cut at any point. 1371 01:08:17,229 --> 01:08:22,390 But when we cut when she starts to spin, and we 1372 01:08:22,390 --> 01:08:25,164 match on the next shot in the same action, 1373 01:08:25,164 --> 01:08:26,830 it hides the edit much more effectively. 1374 01:08:26,830 --> 01:08:30,250 And this is just called matching on action or cutting on action. 1375 01:08:30,250 --> 01:08:31,861 And this can be-- 1376 01:08:31,861 --> 01:08:34,569 we'll look at a few examples of this when we do the editing demo. 1377 01:08:34,569 --> 01:08:38,590 But this can be really crucial to bridging different shots back to back. 1378 01:08:38,590 --> 01:08:41,140 1379 01:08:41,140 --> 01:08:42,890 You can take some of these to the extreme. 1380 01:08:42,890 --> 01:08:46,349 We can hide cuts altogether. 1381 01:08:46,349 --> 01:08:48,640 It's when you literally-- we'll look at some examples-- 1382 01:08:48,640 --> 01:08:50,710 but you make it so it's seamless to the viewer 1383 01:08:50,710 --> 01:08:54,014 that there was a transition at all. 1384 01:08:54,014 --> 01:08:55,180 This is called the whip pan. 1385 01:08:55,180 --> 01:08:56,740 This is from Ocean's Eleven. 1386 01:08:56,740 --> 01:08:59,950 And it's literally when we hide the cut or the dissolve 1387 01:08:59,950 --> 01:09:02,170 between a camera whipping between position A 1388 01:09:02,170 --> 01:09:05,037 and position B. So let's watch this. 1389 01:09:05,037 --> 01:09:08,313 [VIDEO PLAYBACK] 1390 01:09:08,313 --> 01:09:10,189 1391 01:09:10,189 --> 01:09:12,423 - Like I said, a machine. 1392 01:09:12,423 --> 01:09:13,670 [END PLAYBACK] 1393 01:09:13,670 --> 01:09:16,550 DAN COFFEY: It's almost hard to see because the whole frame blurs 1394 01:09:16,550 --> 01:09:17,880 as we spin the camera. 1395 01:09:17,880 --> 01:09:20,180 But what this takes on the production side 1396 01:09:20,180 --> 01:09:23,720 is that, you've got your shot tracking the bank manager moving 1397 01:09:23,720 --> 01:09:25,340 through the gaming floor. 1398 01:09:25,340 --> 01:09:26,910 And then you whip. 1399 01:09:26,910 --> 01:09:28,729 And just spin the camera very quickly. 1400 01:09:28,729 --> 01:09:32,210 And in your next shot, you whip the camera of these two guys 1401 01:09:32,210 --> 01:09:36,200 here, spinning in the same direction, trying to match the speed. 1402 01:09:36,200 --> 01:09:37,729 And then you stop on them. 1403 01:09:37,729 --> 01:09:41,750 And it's between those two shots that you put in the dissolve 1404 01:09:41,750 --> 01:09:43,790 and hide the clip. 1405 01:09:43,790 --> 01:09:48,170 And really makes it very seamless between the two shots. 1406 01:09:48,170 --> 01:09:51,080 And this has an old history, going back-- 1407 01:09:51,080 --> 01:09:54,050 another Hitchcock reference here-- to Rope in 1948. 1408 01:09:54,050 --> 01:09:55,064 It's a film-- 1409 01:09:55,064 --> 01:09:57,980 I'll just play this in the background-- but it was really interesting, 1410 01:09:57,980 --> 01:10:03,800 because Hitchcock wanted to make a film that felt like one continuous shot. 1411 01:10:03,800 --> 01:10:06,234 But the technical limitation of the time was that-- 1412 01:10:06,234 --> 01:10:06,900 [VIDEO PLAYBACK] 1413 01:10:06,900 --> 01:10:07,820 - Oh Mr. Kent, he's coming mainly-- 1414 01:10:07,820 --> 01:10:08,120 [END PLAYBACK] 1415 01:10:08,120 --> 01:10:11,161 DAN COFFEY: And the audio is irrelevant here, so don't worry about that-- 1416 01:10:11,161 --> 01:10:13,970 but the limitation at the time was that they could load a film 1417 01:10:13,970 --> 01:10:15,876 magazine that lasted only 10 minutes. 1418 01:10:15,876 --> 01:10:17,750 And so it was a technical limitation that you 1419 01:10:17,750 --> 01:10:20,900 couldn't tell an hour, hour and a half film 1420 01:10:20,900 --> 01:10:24,340 and have it be a continuous shot, because you to stop 1421 01:10:24,340 --> 01:10:26,180 and change out the magazine. 1422 01:10:26,180 --> 01:10:31,670 And so what he did, as you probably saw, was, as you move through-- 1423 01:10:31,670 --> 01:10:35,000 we'll just back this up for a second-- 1424 01:10:35,000 --> 01:10:38,340 you move the camera up through something that lets you change the shot. 1425 01:10:38,340 --> 01:10:40,820 You could see the flicker there. 1426 01:10:40,820 --> 01:10:46,022 And just match the frame as you do it to really blend these transitions in. 1427 01:10:46,022 --> 01:10:46,730 It's interesting. 1428 01:10:46,730 --> 01:10:49,384 If you think about this today, this is what 1429 01:10:49,384 --> 01:10:51,800 this film would look like if you took it into your editor. 1430 01:10:51,800 --> 01:10:53,990 This is a timeline from Premiere. 1431 01:10:53,990 --> 01:10:58,370 But literally, a bunch of 10 minute scenes that go back to back to back, 1432 01:10:58,370 --> 01:11:01,042 because that was the limitation of the time. 1433 01:11:01,042 --> 01:11:02,750 And it's also interesting to think about, 1434 01:11:02,750 --> 01:11:06,230 because if you think about the choreography and rehearsal that it 1435 01:11:06,230 --> 01:11:09,340 would take to like nail long takes like that, 1436 01:11:09,340 --> 01:11:13,490 it's just impressive how this film came together. 1437 01:11:13,490 --> 01:11:16,200 1438 01:11:16,200 --> 01:11:16,700 All right. 1439 01:11:16,700 --> 01:11:20,600 So we have L cuts and J cuts. 1440 01:11:20,600 --> 01:11:23,300 Anybody know which is which? 1441 01:11:23,300 --> 01:11:25,970 Or what they are? 1442 01:11:25,970 --> 01:11:29,090 Because I put spoilers in the bottom of the slide here. 1443 01:11:29,090 --> 01:11:30,030 L cut is-- 1444 01:11:30,030 --> 01:11:34,310 J cut is when the audio comes ahead. 1445 01:11:34,310 --> 01:11:37,490 So if we're on shot A and we're progressing to shot B, 1446 01:11:37,490 --> 01:11:40,640 and the audio from shot B comes in early as we transition from one scene 1447 01:11:40,640 --> 01:11:46,060 to another, it just helps bridge the moment for you as a viewer. 1448 01:11:46,060 --> 01:11:48,620 And on the flip side, if the audio from the first scene 1449 01:11:48,620 --> 01:11:51,200 extends into the second scene, that's just called an L cut. 1450 01:11:51,200 --> 01:11:54,500 So you'll hear the term J cut or L cut thrown around by editors. 1451 01:11:54,500 --> 01:11:56,210 This is simply all it means. 1452 01:11:56,210 --> 01:12:01,797 But it's a really good way to keep your viewer in the moment and transition 1453 01:12:01,797 --> 01:12:02,880 from one scene to another. 1454 01:12:02,880 --> 01:12:05,010 So let's look at a couple of examples for this. 1455 01:12:05,010 --> 01:12:06,680 And if we can have sound for this. 1456 01:12:06,680 --> 01:12:08,510 This is more important. 1457 01:12:08,510 --> 01:12:11,689 So this is from Saving Private Ryan. 1458 01:12:11,689 --> 01:12:12,355 [VIDEO PLAYBACK] 1459 01:12:12,355 --> 01:12:14,850 [MUSIC PLAYING] 1460 01:12:14,850 --> 01:12:23,333 1461 01:12:23,333 --> 01:12:25,329 [CRASHING WAVES] 1462 01:12:25,329 --> 01:12:56,267 1463 01:12:56,267 --> 01:12:58,160 [END PLAYBACK] 1464 01:12:58,160 --> 01:13:01,320 DAN COFFEY: If you noticed, what we saw as we dallied into the old man who 1465 01:13:01,320 --> 01:13:04,280 was at a funeral service or something like that, 1466 01:13:04,280 --> 01:13:07,079 you started to hear the waves come in from the next scene 1467 01:13:07,079 --> 01:13:08,120 before we even got there. 1468 01:13:08,120 --> 01:13:12,200 And it built. And I think on the cut, there was a big crash of a wave. 1469 01:13:12,200 --> 01:13:17,420 But it was much more seamless than just cutting from man sitting in wheelchair 1470 01:13:17,420 --> 01:13:22,880 to cutting to ocean spraying. 1471 01:13:22,880 --> 01:13:25,260 The opposite of that is an L cut. 1472 01:13:25,260 --> 01:13:28,614 So let's take a look at this from Ferris Bueller's Day Off. 1473 01:13:28,614 --> 01:13:29,280 [VIDEO PLAYBACK] 1474 01:13:29,280 --> 01:13:30,220 - Here. 1475 01:13:30,220 --> 01:13:32,290 - Adler. 1476 01:13:32,290 --> 01:13:33,440 - Here. 1477 01:13:33,440 --> 01:13:35,290 - Anderson. 1478 01:13:35,290 --> 01:13:36,580 Anderson. 1479 01:13:36,580 --> 01:13:38,277 - Here. 1480 01:13:38,277 --> 01:13:38,776 - Bueller. 1481 01:13:38,776 --> 01:13:41,500 1482 01:13:41,500 --> 01:13:44,080 Bueller. 1483 01:13:44,080 --> 01:13:46,520 Bueller. 1484 01:13:46,520 --> 01:13:48,170 Bueller. 1485 01:13:48,170 --> 01:13:49,721 - He's sick. 1486 01:13:49,721 --> 01:13:52,849 My best friend's sister's boyfriend's brother's girlfriend heard 1487 01:13:52,849 --> 01:13:55,890 from this guy who knows this kid who's going with the girl who saw Ferris 1488 01:13:55,890 --> 01:13:58,530 pass out at 31 Flavors last night. 1489 01:13:58,530 --> 01:14:00,700 Guess it's pretty serious. 1490 01:14:00,700 --> 01:14:02,170 - Thank you, Simone. 1491 01:14:02,170 --> 01:14:04,022 No problem whatsoever. 1492 01:14:04,022 --> 01:14:06,371 Fry. 1493 01:14:06,371 --> 01:14:06,870 Fry. 1494 01:14:06,870 --> 01:14:09,470 1495 01:14:09,470 --> 01:14:11,238 Fry. 1496 01:14:11,238 --> 01:14:13,633 [TELEPHONE RINGING] 1497 01:14:13,633 --> 01:14:16,407 [MUSIC PLAYING] 1498 01:14:16,407 --> 01:14:16,990 [END PLAYBACK] 1499 01:14:16,990 --> 01:14:18,860 DAN COFFEY: Skip over that there. 1500 01:14:18,860 --> 01:14:24,700 We get this double meaning, where we hear the echoing of the names 1501 01:14:24,700 --> 01:14:26,740 through the trees, as well, at the end. 1502 01:14:26,740 --> 01:14:30,870 A way to bridge the gap there, too. 1503 01:14:30,870 --> 01:14:36,220 Editing dialogue is one of the harder things that you'll do as an editor. 1504 01:14:36,220 --> 01:14:41,080 And there's no really good way to get good at it except for practicing it. 1505 01:14:41,080 --> 01:14:43,120 In the scene that we gave you for homework, 1506 01:14:43,120 --> 01:14:45,870 there's only a few words, so you won't struggle with this too much 1507 01:14:45,870 --> 01:14:47,110 in this first assignment. 1508 01:14:47,110 --> 01:14:52,534 But just a few helpful pointers as you start to think about editing dialogue. 1509 01:14:52,534 --> 01:14:54,700 With two people having a conversation, often, you'll 1510 01:14:54,700 --> 01:14:58,240 find you need to take out a word or you need to take out a breath or a pause 1511 01:14:58,240 --> 01:14:59,480 or something like that. 1512 01:14:59,480 --> 01:15:04,750 And so, it's easiest to join between words. 1513 01:15:04,750 --> 01:15:08,652 We've occasionally had to fix things where you have to take the same word 1514 01:15:08,652 --> 01:15:11,610 and try to merge it together, because somebody misspoke and said a word 1515 01:15:11,610 --> 01:15:12,830 the wrong way. 1516 01:15:12,830 --> 01:15:17,110 So one, nail it in production when you do it the first time. 1517 01:15:17,110 --> 01:15:22,060 And if not, use the consonant sounds to make edits. 1518 01:15:22,060 --> 01:15:24,230 And the breath is actually really important. 1519 01:15:24,230 --> 01:15:26,140 So if you are taking out all the breaths, 1520 01:15:26,140 --> 01:15:29,852 you're going to lose that natural flow, natural rhythm when you are editing. 1521 01:15:29,852 --> 01:15:31,810 So make sure that they exist where they should, 1522 01:15:31,810 --> 01:15:33,880 especially if you have to splice in a line 1523 01:15:33,880 --> 01:15:39,010 that you decided was important that wasn't recorded originally. 1524 01:15:39,010 --> 01:15:40,810 All right. 1525 01:15:40,810 --> 01:15:42,730 So continuity. 1526 01:15:42,730 --> 01:15:46,086 How many people have seen movies that have bad continuity? 1527 01:15:46,086 --> 01:15:48,460 Do we know what continuity-- everybody raised their hand. 1528 01:15:48,460 --> 01:15:52,090 Continuity is obviously a discrepancy when something 1529 01:15:52,090 --> 01:15:53,920 exists in one shot not another. 1530 01:15:53,920 --> 01:15:55,990 Or there's a jump in the action. 1531 01:15:55,990 --> 01:16:00,260 So let's say that your actor raises his right hand in one shot. 1532 01:16:00,260 --> 01:16:05,380 You cut to the next one, and the other actor raises their left hand instead. 1533 01:16:05,380 --> 01:16:08,680 Again, this all comes down to paying attention on set and being organized. 1534 01:16:08,680 --> 01:16:10,840 But it happens to the best of us. 1535 01:16:10,840 --> 01:16:14,860 Just by way of example, this is a short film that we did last year. 1536 01:16:14,860 --> 01:16:17,279 And see if you can catch the continuity error here. 1537 01:16:17,279 --> 01:16:18,776 [VIDEO PLAYBACK] 1538 01:16:18,776 --> 01:16:21,271 [MUSIC PLAYING] 1539 01:16:21,271 --> 01:16:35,477 1540 01:16:35,477 --> 01:16:36,060 [END PLAYBACK] 1541 01:16:36,060 --> 01:16:37,560 Did we see it? 1542 01:16:37,560 --> 01:16:38,160 What was it? 1543 01:16:38,160 --> 01:16:38,910 AUDIENCE: The cup. 1544 01:16:38,910 --> 01:16:39,993 DAN COFFEY: The cups Yeah. 1545 01:16:39,993 --> 01:16:40,570 I spoiled it. 1546 01:16:40,570 --> 01:16:42,486 I shouldn't have used the hand example before. 1547 01:16:42,486 --> 01:16:46,230 But yeah, as he puts the cup to his mouth at the end of this montage, where 1548 01:16:46,230 --> 01:16:50,690 we see things very quickly, he's got both hands on the mug in the next shot. 1549 01:16:50,690 --> 01:16:53,529 Hands holding the saucer. 1550 01:16:53,529 --> 01:16:54,570 What are you going to do? 1551 01:16:54,570 --> 01:16:57,390 As the filmmaker, I kick myself at this moment 1552 01:16:57,390 --> 01:17:00,690 every time when I started editing this film, I was, like, oh, 1553 01:17:00,690 --> 01:17:03,444 because you spend so much time making this beautiful montage 1554 01:17:03,444 --> 01:17:04,860 and getting your shots just right. 1555 01:17:04,860 --> 01:17:08,430 And when you're actually covering the scene, what you're doing is 1556 01:17:08,430 --> 01:17:10,880 you're starting with all master shots, your wide shot, 1557 01:17:10,880 --> 01:17:13,620 and you're capturing the wide shot of everything that happens. 1558 01:17:13,620 --> 01:17:16,140 And then you change lenses, and it's later in the day, 1559 01:17:16,140 --> 01:17:19,440 and you go back for that close up to get the drinking of the mug. 1560 01:17:19,440 --> 01:17:20,150 And you forget. 1561 01:17:20,150 --> 01:17:21,900 And it's important to either have somebody 1562 01:17:21,900 --> 01:17:25,950 on set to keep track of this for you, or to review, pull a clip, 1563 01:17:25,950 --> 01:17:29,730 hit playback on the camera, to see what matches. 1564 01:17:29,730 --> 01:17:31,794 It's just so easy to overlook things like this. 1565 01:17:31,794 --> 01:17:33,960 And so-- yeah, if you didn't see what happened here, 1566 01:17:33,960 --> 01:17:37,739 we had the left hand just go from the mug and disappear. 1567 01:17:37,739 --> 01:17:38,530 It's heartbreaking. 1568 01:17:38,530 --> 01:17:40,740 But how do you deal with it? 1569 01:17:40,740 --> 01:17:43,980 The key is to distract your audience. 1570 01:17:43,980 --> 01:17:47,640 We had really fast pacing on most of those shots leading up to that. 1571 01:17:47,640 --> 01:17:49,440 Some sound design to help distract you. 1572 01:17:49,440 --> 01:17:51,500 So that hopefully you didn't notice it. 1573 01:17:51,500 --> 01:17:54,180 We had a couple of people with sharp eyes certainly grab it. 1574 01:17:54,180 --> 01:18:00,870 But you do your best to bury it when you notice a mistake like that. 1575 01:18:00,870 --> 01:18:03,210 All right. 1576 01:18:03,210 --> 01:18:05,680 Pacing your story is also important. 1577 01:18:05,680 --> 01:18:08,190 1578 01:18:08,190 --> 01:18:12,520 We talked about the emotion behind the story that you're telling, 1579 01:18:12,520 --> 01:18:13,770 and that'll affect the pacing. 1580 01:18:13,770 --> 01:18:17,160 I think that is fairly straight forward. 1581 01:18:17,160 --> 01:18:19,200 And so, the longer that you stay on a shot, 1582 01:18:19,200 --> 01:18:22,290 it tends to also add more weight to it. 1583 01:18:22,290 --> 01:18:25,610 Really, this comes down to, if you have a conversation between two people, 1584 01:18:25,610 --> 01:18:30,540 and I'm talking to Ian, who do you choose to focus on? 1585 01:18:30,540 --> 01:18:32,370 Is it always the person that's talking? 1586 01:18:32,370 --> 01:18:34,914 Or do you sometimes focus on the person who's not talking? 1587 01:18:34,914 --> 01:18:36,330 And how do you make this decision? 1588 01:18:36,330 --> 01:18:40,040 1589 01:18:40,040 --> 01:18:41,268 Yeah. 1590 01:18:41,268 --> 01:18:44,252 AUDIENCE: Based on what the dialogue is-- 1591 01:18:44,252 --> 01:18:44,960 DAN COFFEY: Sure. 1592 01:18:44,960 --> 01:18:48,383 AUDIENCE: --if your reaction to what he's saying is important to the story, 1593 01:18:48,383 --> 01:18:51,542 then at that time, I might decide to cut to your reaction. 1594 01:18:51,542 --> 01:18:52,250 DAN COFFEY: Yeah. 1595 01:18:52,250 --> 01:18:56,030 So, to sum this all up, whose story is it? 1596 01:18:56,030 --> 01:18:57,260 Is the story about me? 1597 01:18:57,260 --> 01:18:58,250 Is it about Ian? 1598 01:18:58,250 --> 01:19:00,891 Because maybe the story is about me, so while Ian is talking, 1599 01:19:00,891 --> 01:19:03,140 it's more important to see my reaction, like you said. 1600 01:19:03,140 --> 01:19:04,806 You might want to see the reaction shot. 1601 01:19:04,806 --> 01:19:08,287 So it matters what you choose to see in that moment, whose face you 1602 01:19:08,287 --> 01:19:08,870 choose to see. 1603 01:19:08,870 --> 01:19:12,110 And it all comes back to, who is the story truly about? 1604 01:19:12,110 --> 01:19:15,200 1605 01:19:15,200 --> 01:19:15,860 There we go. 1606 01:19:15,860 --> 01:19:17,540 Who is this story really about? 1607 01:19:17,540 --> 01:19:21,950 That's the most important thing as you develop your script 1608 01:19:21,950 --> 01:19:24,350 or develop your story. 1609 01:19:24,350 --> 01:19:26,240 So from beginning-- this is all the stuff 1610 01:19:26,240 --> 01:19:32,390 that Ian demonstrated earlier, but, what causes them to make this change? 1611 01:19:32,390 --> 01:19:36,300 And you are the one who's going to chart the course for them from end to end. 1612 01:19:36,300 --> 01:19:40,280 So I won't dwell on this, because Ian is the one who set this up nicely for us. 1613 01:19:40,280 --> 01:19:42,680 But know whose scene is it? 1614 01:19:42,680 --> 01:19:47,930 This is going to inform all of your decisions as you go through it. 1615 01:19:47,930 --> 01:19:50,240 Music-- I think we talked about this earlier-- 1616 01:19:50,240 --> 01:19:53,390 is a really easy way to also impact the emotions of your audience. 1617 01:19:53,390 --> 01:19:58,010 And the same piece with different music will feel completely different. 1618 01:19:58,010 --> 01:20:01,490 So definitely play around with different music choices. 1619 01:20:01,490 --> 01:20:04,421 1620 01:20:04,421 --> 01:20:06,170 And before we get to a couple of examples, 1621 01:20:06,170 --> 01:20:10,520 just a few helpful pieces of advice. 1622 01:20:10,520 --> 01:20:11,990 Stay organized. 1623 01:20:11,990 --> 01:20:13,370 Review your footage. 1624 01:20:13,370 --> 01:20:15,420 Watch everything before you start editing. 1625 01:20:15,420 --> 01:20:16,910 And that's like-- this would be really helpful, 1626 01:20:16,910 --> 01:20:18,326 I think, for the first assignment. 1627 01:20:18,326 --> 01:20:21,650 We've given you-- we call it super coverage amongst ourselves. 1628 01:20:21,650 --> 01:20:25,700 But we've given you a scene where you have a whole bunch of camera angles 1629 01:20:25,700 --> 01:20:29,280 and different shot sizes for this really simple story that unfolds. 1630 01:20:29,280 --> 01:20:31,310 And so, which one do you choose? 1631 01:20:31,310 --> 01:20:34,652 And part of it, since you weren't there on set as the editor, necessarily, 1632 01:20:34,652 --> 01:20:36,860 you need to stop and review everything and take notes 1633 01:20:36,860 --> 01:20:41,210 on what exists so that you can decide, was there 1634 01:20:41,210 --> 01:20:43,760 a good moment in this shot versus this shot? 1635 01:20:43,760 --> 01:20:47,240 Or, this shot is close up and has a really good reaction from the actor 1636 01:20:47,240 --> 01:20:49,670 in it, so I want to focus on that. 1637 01:20:49,670 --> 01:20:53,240 So take the script, mark it up, and decide on the important moments 1638 01:20:53,240 --> 01:20:56,300 that you want to highlight. 1639 01:20:56,300 --> 01:20:59,150 And then take a break, because it'll become easy, 1640 01:20:59,150 --> 01:21:03,690 just like anything, to lose sight of what it is that you're doing. 1641 01:21:03,690 --> 01:21:06,611 So get up, take a break, come back the next morning. 1642 01:21:06,611 --> 01:21:08,360 If you've done any software development, I 1643 01:21:08,360 --> 01:21:11,840 think it's the same way, where you get stuck in the code. 1644 01:21:11,840 --> 01:21:17,711 You can get stuck in the visuals of it, as well, and make a bad decision. 1645 01:21:17,711 --> 01:21:19,460 And just for a few resources-- we're going 1646 01:21:19,460 --> 01:21:22,400 to post these slides online after the lecture, so don't worry about writing 1647 01:21:22,400 --> 01:21:25,524 all this down-- but there's some good resources for some free sound effects 1648 01:21:25,524 --> 01:21:27,680 and free music. 1649 01:21:27,680 --> 01:21:30,290 YouTube just-- not just, but recently-- launched 1650 01:21:30,290 --> 01:21:33,770 a music library of royalty free. 1651 01:21:33,770 --> 01:21:36,020 And also, they have public domain content. 1652 01:21:36,020 --> 01:21:38,870 So there's a bunch of things that you can look at. 1653 01:21:38,870 --> 01:21:42,800 But in our last 20 or 25 minutes, I want to just actually open up 1654 01:21:42,800 --> 01:21:47,630 Shotcut and look at starting to put some footage together and take 1655 01:21:47,630 --> 01:21:48,660 a look at that. 1656 01:21:48,660 --> 01:21:53,510 So are there any questions about putting a story together? 1657 01:21:53,510 --> 01:21:54,249 Storytelling? 1658 01:21:54,249 --> 01:21:55,040 Editing in general? 1659 01:21:55,040 --> 01:21:56,370 That we can answer for you? 1660 01:21:56,370 --> 01:21:57,582 Yeah. 1661 01:21:57,582 --> 01:22:01,054 AUDIENCE: So before you said about non-linear editors, 1662 01:22:01,054 --> 01:22:03,410 is there such a thing as linear? 1663 01:22:03,410 --> 01:22:05,930 DAN COFFEY: So linear is the film version 1664 01:22:05,930 --> 01:22:08,570 where you literally, because it's physical film-- 1665 01:22:08,570 --> 01:22:11,330 or, if you come from the tape world before we had, 1666 01:22:11,330 --> 01:22:13,700 could import footage into computers-- the analog 1667 01:22:13,700 --> 01:22:17,150 was literally analog, where you had to take a piece of film 1668 01:22:17,150 --> 01:22:20,694 and splice the next piece on before you could move to the next one. 1669 01:22:20,694 --> 01:22:22,610 IAN SEXTON: I think the best analogy is if you 1670 01:22:22,610 --> 01:22:25,390 think that you have a 10 minute reel of film, 1671 01:22:25,390 --> 01:22:27,650 and you want to make a change five minutes in, 1672 01:22:27,650 --> 01:22:31,690 you have to spool off five minutes of that film to get to that point. 1673 01:22:31,690 --> 01:22:35,330 You have to go all the way down the line to edit in the clip 1674 01:22:35,330 --> 01:22:37,460 that you wanted to edit in or take out. 1675 01:22:37,460 --> 01:22:39,740 Whereas in non-linear editing, you basically 1676 01:22:39,740 --> 01:22:42,650 can just randomly jump to any point that you want 1677 01:22:42,650 --> 01:22:46,310 and access it and remove it and delete it or add new clips in. 1678 01:22:46,310 --> 01:22:47,200 DAN COFFEY: Or undo. 1679 01:22:47,200 --> 01:22:48,324 IAN SEXTON: Right, exactly. 1680 01:22:48,324 --> 01:22:52,795 So it really does make things 1,000 times faster and much more accessible. 1681 01:22:52,795 --> 01:22:54,920 DAN COFFEY: You can do an experiment without having 1682 01:22:54,920 --> 01:22:56,410 to copy your whole roll of film. 1683 01:22:56,410 --> 01:22:56,620 IAN SEXTON: Yeah. 1684 01:22:56,620 --> 01:22:59,661 And I think the idea is, too, like duplicating a sequence is much easier. 1685 01:22:59,661 --> 01:23:02,510 So you edit out a sequence and you're like, I'm happy with this, 1686 01:23:02,510 --> 01:23:05,390 but I want to try something really experimental. 1687 01:23:05,390 --> 01:23:08,070 You can duplicate that sequence and go wild on it. 1688 01:23:08,070 --> 01:23:11,730 And if you don't like it, you still have this copy of your sequence. 1689 01:23:11,730 --> 01:23:15,080 So it's not the same thing, where if you cut up all the film in one way, 1690 01:23:15,080 --> 01:23:19,020 you have to uncut it and recut it back together in another way. 1691 01:23:19,020 --> 01:23:20,270 So there are ways around that. 1692 01:23:20,270 --> 01:23:22,425 You could make prints, et cetera, et cetera. 1693 01:23:22,425 --> 01:23:23,300 That's a rabbit hole. 1694 01:23:23,300 --> 01:23:25,258 DAN COFFEY: But that comes back to a trade-off, 1695 01:23:25,258 --> 01:23:27,380 there's a time versus cost trade-off, as well. 1696 01:23:27,380 --> 01:23:29,420 But it's very cheap with non-linear editor, 1697 01:23:29,420 --> 01:23:31,800 because you simply have it at your fingertips. 1698 01:23:31,800 --> 01:23:32,300 All right. 1699 01:23:32,300 --> 01:23:33,550 So just give me a second here. 1700 01:23:33,550 --> 01:23:37,420 I'm going to flip over and I'm going to open up Shotcut. 1701 01:23:37,420 --> 01:23:37,920 All right. 1702 01:23:37,920 --> 01:23:38,970 And as we come along here. 1703 01:23:38,970 --> 01:23:41,220 I'm going to through the real basics of how to use it. 1704 01:23:41,220 --> 01:23:43,922 You open it up and it says, you want to make a new project? 1705 01:23:43,922 --> 01:23:44,630 And you say, yes. 1706 01:23:44,630 --> 01:23:46,627 So there's a blurb of text here that just says, 1707 01:23:46,627 --> 01:23:48,710 the first piece of footage that you add to Shotcut 1708 01:23:48,710 --> 01:23:51,650 is going to define what timeline you create. 1709 01:23:51,650 --> 01:23:55,670 So that is both frame size and frame rate. 1710 01:23:55,670 --> 01:23:57,050 And so, if you-- 1711 01:23:57,050 --> 01:24:02,210 the footage we give you for this class is probably going to be 720p or 1080p. 1712 01:24:02,210 --> 01:24:04,160 That's the actual size of the frame. 1713 01:24:04,160 --> 01:24:08,240 At 24 frames per second, which is pretty typical of film. 1714 01:24:08,240 --> 01:24:10,490 And if you-- this says, if you start with audio, 1715 01:24:10,490 --> 01:24:12,800 it's simply going to be 25 frames per second. 1716 01:24:12,800 --> 01:24:15,530 Just the default that they pick for you. 1717 01:24:15,530 --> 01:24:18,680 If I'm ready to get started, I can add some files. 1718 01:24:18,680 --> 01:24:21,350 If I hit the Open File button. 1719 01:24:21,350 --> 01:24:22,460 Let's go in here. 1720 01:24:22,460 --> 01:24:26,270 And let's start with the match action that I showed. 1721 01:24:26,270 --> 01:24:28,930 IAN SEXTON: Let's look at how organized you are, first. 1722 01:24:28,930 --> 01:24:29,596 DAN COFFEY: Yes. 1723 01:24:29,596 --> 01:24:32,720 So I follow a pretty typical structure. 1724 01:24:32,720 --> 01:24:35,060 I have my project file with my-- 1725 01:24:35,060 --> 01:24:37,520 I pre-built something in case I ran out of time tonight. 1726 01:24:37,520 --> 01:24:39,240 But it looks like we can dive right in. 1727 01:24:39,240 --> 01:24:41,900 So I have the project file itself. 1728 01:24:41,900 --> 01:24:43,240 That's just a clip I exported. 1729 01:24:43,240 --> 01:24:44,240 But in Capture Scratch-- 1730 01:24:44,240 --> 01:24:45,830 I know that anything in Capture Scratch is 1731 01:24:45,830 --> 01:24:48,380 the folder that contains the contents I want to start with. 1732 01:24:48,380 --> 01:24:50,480 It's the raw assets that I'm building from. 1733 01:24:50,480 --> 01:24:53,340 So I'm going to go ahead and just add a couple of clips here. 1734 01:24:53,340 --> 01:24:53,840 All right. 1735 01:24:53,840 --> 01:24:54,839 It started playing here. 1736 01:24:54,839 --> 01:24:58,070 So on the left, we've got, they call it the play list in Shotcut. 1737 01:24:58,070 --> 01:25:02,030 But this is like your project panel in Premiere. 1738 01:25:02,030 --> 01:25:05,570 It's where you keep things organized. 1739 01:25:05,570 --> 01:25:07,280 I don't think there's any notion of bins, 1740 01:25:07,280 --> 01:25:08,450 if you've used Premiere before, where you 1741 01:25:08,450 --> 01:25:10,040 can make a folder to organize things. 1742 01:25:10,040 --> 01:25:12,460 So you will drop clips in, and they will just exist, 1743 01:25:12,460 --> 01:25:14,960 and you can double click on them, and they will show up here 1744 01:25:14,960 --> 01:25:16,820 in your source monitor. 1745 01:25:16,820 --> 01:25:22,740 And so, I can click and drag along this to look at the clip and the footage. 1746 01:25:22,740 --> 01:25:26,000 I can double click on the other clip, and it pops into the source monitor. 1747 01:25:26,000 --> 01:25:30,770 But down here in my timeline, I haven't actually done anything yet. 1748 01:25:30,770 --> 01:25:31,610 So let's start. 1749 01:25:31,610 --> 01:25:36,020 What's the first step of three point editing? 1750 01:25:36,020 --> 01:25:37,649 Anybody remember? 1751 01:25:37,649 --> 01:25:38,940 DAN COFFEY: Chose the endpoint. 1752 01:25:38,940 --> 01:25:40,660 DAN COFFEY: I got to choose my in point. 1753 01:25:40,660 --> 01:25:43,010 So let's see. 1754 01:25:43,010 --> 01:25:46,760 Let's start, if we match what I did before-- 1755 01:25:46,760 --> 01:25:48,320 I think I had her walk in from here. 1756 01:25:48,320 --> 01:25:49,028 So I'm going to-- 1757 01:25:49,028 --> 01:25:50,720 I'm going to watch forward. 1758 01:25:50,720 --> 01:25:52,820 And there's some shortcut keys for this. 1759 01:25:52,820 --> 01:25:55,020 If I hit K, it pauses the frame. 1760 01:25:55,020 --> 01:25:56,930 If I hit J, it goes in reverse. 1761 01:25:56,930 --> 01:25:57,800 It plays in reverse. 1762 01:25:57,800 --> 01:26:00,690 And if I hit L, it goes forward. 1763 01:26:00,690 --> 01:26:03,430 So J, K, and L, they're right in a row on your keyboard. 1764 01:26:03,430 --> 01:26:05,600 And I think it's really helpful, and that's 1765 01:26:05,600 --> 01:26:07,910 pretty common across most editors, as well. 1766 01:26:07,910 --> 01:26:10,074 So I'm going to go forward and back. 1767 01:26:10,074 --> 01:26:11,740 And I wanted to start just out of frame. 1768 01:26:11,740 --> 01:26:14,010 I don't want to have too much lead up to it. 1769 01:26:14,010 --> 01:26:16,340 So let's say that this is the moment I want to start. 1770 01:26:16,340 --> 01:26:18,890 I can hit the I key, set my in point. 1771 01:26:18,890 --> 01:26:23,600 And if you noticed down here, click undo, or just stretch it back out. 1772 01:26:23,600 --> 01:26:28,270 1773 01:26:28,270 --> 01:26:28,820 Whoops. 1774 01:26:28,820 --> 01:26:31,610 Oh boy, it's getting away from me here. 1775 01:26:31,610 --> 01:26:32,150 Back it up. 1776 01:26:32,150 --> 01:26:35,390 So if I hit I, you're going to watch the little blue indicator jump. 1777 01:26:35,390 --> 01:26:40,487 That shows where the duration of the media that I'm working with is. 1778 01:26:40,487 --> 01:26:41,570 I'm going to play forward. 1779 01:26:41,570 --> 01:26:42,770 And she turns. 1780 01:26:42,770 --> 01:26:45,710 I know that because I want to match the action of her turning, that's 1781 01:26:45,710 --> 01:26:49,550 where I want to make my next edit, I'm going to just back up. 1782 01:26:49,550 --> 01:26:54,080 And I can use the arrow keys and go frame by frame. 1783 01:26:54,080 --> 01:26:57,140 You can hear the audio scrubbing, as well. 1784 01:26:57,140 --> 01:26:59,600 And let's say here. 1785 01:26:59,600 --> 01:27:00,440 She spins there. 1786 01:27:00,440 --> 01:27:01,700 I'm going to hit the O key. 1787 01:27:01,700 --> 01:27:04,550 You can see that that got much shorter. 1788 01:27:04,550 --> 01:27:06,740 And then, you can hit one of these buttons. 1789 01:27:06,740 --> 01:27:09,380 So like I said, A appends it to the current track, 1790 01:27:09,380 --> 01:27:11,260 which means it just goes at the end. 1791 01:27:11,260 --> 01:27:13,630 Or I can hit the, I think it's the down arrow, 1792 01:27:13,630 --> 01:27:16,100 and that'll overwrite the clip on the current track. 1793 01:27:16,100 --> 01:27:17,990 So I'm going to press one of those. 1794 01:27:17,990 --> 01:27:21,860 And then, bam, down here, as I start to play, 1795 01:27:21,860 --> 01:27:26,000 I have the clip that was just the piece of what I selected. 1796 01:27:26,000 --> 01:27:32,210 I wouldn't draw attention here to these two words-- they're source and project. 1797 01:27:32,210 --> 01:27:34,910 Some non-linear editors like Premiere will separate these 1798 01:27:34,910 --> 01:27:36,780 into two windows for you. 1799 01:27:36,780 --> 01:27:38,510 But in Shotcut, I don't believe you-- 1800 01:27:38,510 --> 01:27:39,780 let's see if we can just drag it out. 1801 01:27:39,780 --> 01:27:42,410 So you have to choose if you're looking at the source monitor. 1802 01:27:42,410 --> 01:27:45,201 And that's where you're-- think of it as where you're picking from. 1803 01:27:45,201 --> 01:27:48,200 You haven't made any commitments to the media yet. 1804 01:27:48,200 --> 01:27:50,960 But the project is your timeline. 1805 01:27:50,960 --> 01:27:53,570 So anything in your project is going to be literally just 1806 01:27:53,570 --> 01:27:54,980 playing back your timeline. 1807 01:27:54,980 --> 01:27:57,470 And the software is smart enough that it shows you 1808 01:27:57,470 --> 01:27:59,570 what you want to see if you're playing back-- 1809 01:27:59,570 --> 01:28:02,720 your play head, from the timeline, it will show you the project window 1810 01:28:02,720 --> 01:28:04,150 automatically. 1811 01:28:04,150 --> 01:28:05,960 If you double click on another clip, it'll 1812 01:28:05,960 --> 01:28:09,391 put it in the source window for you. 1813 01:28:09,391 --> 01:28:09,890 All right. 1814 01:28:09,890 --> 01:28:12,980 I think I must have hit a keystroke and lost my shot, 1815 01:28:12,980 --> 01:28:16,770 so I'm just going to open that one back up. 1816 01:28:16,770 --> 01:28:18,870 OK. 1817 01:28:18,870 --> 01:28:20,260 I've done something to filter it. 1818 01:28:20,260 --> 01:28:25,415 1819 01:28:25,415 --> 01:28:27,290 Let's see, is this the one that we just used? 1820 01:28:27,290 --> 01:28:30,989 1821 01:28:30,989 --> 01:28:33,530 Let's see if we can find a moment to cut to match the action. 1822 01:28:33,530 --> 01:28:37,290 1823 01:28:37,290 --> 01:28:39,120 There's a spin there. 1824 01:28:39,120 --> 01:28:41,970 So I'm going to arrow forward. 1825 01:28:41,970 --> 01:28:42,840 She starts to spin. 1826 01:28:42,840 --> 01:28:45,720 I'm going to hit the I for in point. 1827 01:28:45,720 --> 01:28:47,540 Go forward to the out point. 1828 01:28:47,540 --> 01:28:48,040 All right. 1829 01:28:48,040 --> 01:28:50,880 So she spins there and looks down the barrel of a gun. 1830 01:28:50,880 --> 01:28:52,740 And I'm not sure where I'm going next. 1831 01:28:52,740 --> 01:28:54,300 We could pick the next shot. 1832 01:28:54,300 --> 01:28:56,610 But I'm ready to put this into the-- 1833 01:28:56,610 --> 01:28:58,150 the next shot in the sequence. 1834 01:28:58,150 --> 01:28:59,900 So I going to hit the A key. 1835 01:28:59,900 --> 01:29:04,164 Or the, I think it's the plus key, and I will drop it to the end of my sequence. 1836 01:29:04,164 --> 01:29:04,830 And there it is. 1837 01:29:04,830 --> 01:29:07,454 Now we can go back to our timeline and play these back to back. 1838 01:29:07,454 --> 01:29:12,850 1839 01:29:12,850 --> 01:29:15,550 How does this feel? 1840 01:29:15,550 --> 01:29:16,240 Choppy. 1841 01:29:16,240 --> 01:29:16,740 Why? 1842 01:29:16,740 --> 01:29:19,290 1843 01:29:19,290 --> 01:29:20,050 It's not in sync. 1844 01:29:20,050 --> 01:29:22,200 We have duplicated action here. 1845 01:29:22,200 --> 01:29:24,100 I was not very careful when I did this. 1846 01:29:24,100 --> 01:29:24,776 But this is OK. 1847 01:29:24,776 --> 01:29:25,900 This is a good way to work. 1848 01:29:25,900 --> 01:29:31,180 You rough in your edits when you move from the project window or the source 1849 01:29:31,180 --> 01:29:33,794 window or the preview window, depending on your software. 1850 01:29:33,794 --> 01:29:36,460 And then you can refine it once you get it down to the timeline. 1851 01:29:36,460 --> 01:29:39,880 So I'm going to go frame by frame here and watch the spin. 1852 01:29:39,880 --> 01:29:41,500 And look at this. 1853 01:29:41,500 --> 01:29:44,320 She literally turns in the same direction a couple of times. 1854 01:29:44,320 --> 01:29:48,272 So I think I like the timing from here. 1855 01:29:48,272 --> 01:29:50,230 So I'm just going to remove some of the frames. 1856 01:29:50,230 --> 01:29:51,720 She's got the gun vertically still. 1857 01:29:51,720 --> 01:29:53,580 Let's try trimming that there. 1858 01:29:53,580 --> 01:29:57,060 And so I can hit the plus button here to zoom in. 1859 01:29:57,060 --> 01:30:01,080 And I can grab-- you can see that the cursor changes as I do this. 1860 01:30:01,080 --> 01:30:04,170 It goes to the little grabby arrows. 1861 01:30:04,170 --> 01:30:07,560 And now, if I click on this media, I can click and drag. 1862 01:30:07,560 --> 01:30:12,150 And with this magnetic U on, this magnet, I can-- 1863 01:30:12,150 --> 01:30:17,160 it'll snap to either the next piece of media or to the play head, as well. 1864 01:30:17,160 --> 01:30:18,060 Thank you. 1865 01:30:18,060 --> 01:30:22,440 And now, one of the things that is tricky in Shotcut specifically, 1866 01:30:22,440 --> 01:30:23,900 if-- let's say that I had-- 1867 01:30:23,900 --> 01:30:25,751 I'm going to make an edit over here. 1868 01:30:25,751 --> 01:30:26,250 Undo. 1869 01:30:26,250 --> 01:30:28,539 1870 01:30:28,539 --> 01:30:30,330 Let's say that I had a bunch of clips here, 1871 01:30:30,330 --> 01:30:32,370 and I wanted to move them around together. 1872 01:30:32,370 --> 01:30:34,500 There's no way to select multiple clips. 1873 01:30:34,500 --> 01:30:37,320 So I do have to pick each one independently and move it around. 1874 01:30:37,320 --> 01:30:40,560 Just one of the shortcomings of the software. 1875 01:30:40,560 --> 01:30:42,090 But certainly not a deal breaker. 1876 01:30:42,090 --> 01:30:45,450 And then to move this back, I can click or drag and move it back. 1877 01:30:45,450 --> 01:30:47,670 It'll snap, because I've got snapping on. 1878 01:30:47,670 --> 01:30:52,580 Or I can right click on this gap here, and say Remove. 1879 01:30:52,580 --> 01:30:58,764 And so now, let's watch this transition that we just built. 1880 01:30:58,764 --> 01:30:59,430 How's that feel? 1881 01:30:59,430 --> 01:31:00,750 That a little tighter? 1882 01:31:00,750 --> 01:31:03,990 So we can certainly flex with this and go frame by frame 1883 01:31:03,990 --> 01:31:06,000 until it feels absolutely perfect. 1884 01:31:06,000 --> 01:31:08,612 But I might do a rough cut first, where I 1885 01:31:08,612 --> 01:31:11,070 don't worry too much about all the timings of these things, 1886 01:31:11,070 --> 01:31:14,575 and then go back later for a finer pass. 1887 01:31:14,575 --> 01:31:17,700 Keep that in mind as you start to work on the homework assignment, as well. 1888 01:31:17,700 --> 01:31:20,250 1889 01:31:20,250 --> 01:31:21,000 All right. 1890 01:31:21,000 --> 01:31:24,011 Let's go ahead and start a new project here. 1891 01:31:24,011 --> 01:31:25,260 Some footage you haven't seen. 1892 01:31:25,260 --> 01:31:27,090 So Ian got me thinking. 1893 01:31:27,090 --> 01:31:29,490 He was talking about flying cars earlier. 1894 01:31:29,490 --> 01:31:31,650 And so let's look at-- 1895 01:31:31,650 --> 01:31:33,540 let's make a new project. 1896 01:31:33,540 --> 01:31:38,540 Put this right on my desktop here. 1897 01:31:38,540 --> 01:31:39,150 OK. 1898 01:31:39,150 --> 01:31:40,774 And I'm going to call this Flying Cars. 1899 01:31:40,774 --> 01:31:43,510 1900 01:31:43,510 --> 01:31:44,010 All right. 1901 01:31:44,010 --> 01:31:45,300 And I don't have to choose automatic. 1902 01:31:45,300 --> 01:31:46,920 If I know what my footage is, I can pick it, 1903 01:31:46,920 --> 01:31:49,410 but I think it's easier to let the software do that for me. 1904 01:31:49,410 --> 01:31:50,700 So I hit Set. 1905 01:31:50,700 --> 01:31:52,440 I'm going to open some files. 1906 01:31:52,440 --> 01:31:57,600 And let's go into the flying cars demo. 1907 01:31:57,600 --> 01:32:00,551 Oh, no. 1908 01:32:00,551 --> 01:32:01,050 Here it is. 1909 01:32:01,050 --> 01:32:02,077 OK. 1910 01:32:02,077 --> 01:32:04,410 So I've got a bunch of media that I've preselected here. 1911 01:32:04,410 --> 01:32:05,201 I'm just going to-- 1912 01:32:05,201 --> 01:32:10,549 1913 01:32:10,549 --> 01:32:11,495 Open File. 1914 01:32:11,495 --> 01:32:17,630 1915 01:32:17,630 --> 01:32:18,130 There we go. 1916 01:32:18,130 --> 01:32:20,279 I'm going to just select all these pieces of media. 1917 01:32:20,279 --> 01:32:21,820 I believe you can also drag and drop. 1918 01:32:21,820 --> 01:32:23,320 And I can drag them from here. 1919 01:32:23,320 --> 01:32:24,441 Whoops. 1920 01:32:24,441 --> 01:32:24,940 Oh, boy. 1921 01:32:24,940 --> 01:32:27,730 It's my first day with a computer today, huh? 1922 01:32:27,730 --> 01:32:29,760 All right. 1923 01:32:29,760 --> 01:32:31,130 Select all these clips. 1924 01:32:31,130 --> 01:32:32,940 And you can drag them in and drop them. 1925 01:32:32,940 --> 01:32:36,652 And they'll show up, and starts playing for you. 1926 01:32:36,652 --> 01:32:38,360 There is no thumbnail on the audio clips. 1927 01:32:38,360 --> 01:32:39,151 They're just audio. 1928 01:32:39,151 --> 01:32:42,771 But I can click and play back and hear it. 1929 01:32:42,771 --> 01:32:43,270 All right. 1930 01:32:43,270 --> 01:32:47,260 And then, a few different audio selections here. 1931 01:32:47,260 --> 01:32:49,950 And then I've got some clips I can look through. 1932 01:32:49,950 --> 01:32:54,970 So I'm just going to start looking around, see what I've got here. 1933 01:32:54,970 --> 01:32:59,390 And so what should we start with? 1934 01:32:59,390 --> 01:33:03,670 Looks like we have this ship taking off. 1935 01:33:03,670 --> 01:33:05,130 Cruising down the runway. 1936 01:33:05,130 --> 01:33:09,500 1937 01:33:09,500 --> 01:33:10,670 Flying over some terrain. 1938 01:33:10,670 --> 01:33:13,874 I'm just going to click and drag and skim through this clip very quickly. 1939 01:33:13,874 --> 01:33:17,690 1940 01:33:17,690 --> 01:33:19,121 Engineer working on it. 1941 01:33:19,121 --> 01:33:21,990 1942 01:33:21,990 --> 01:33:23,990 More flying. 1943 01:33:23,990 --> 01:33:25,280 Uh oh. 1944 01:33:25,280 --> 01:33:27,040 That doesn't look good. 1945 01:33:27,040 --> 01:33:27,540 All right. 1946 01:33:27,540 --> 01:33:33,300 So let's start setting up a story about the hover car taking off, 1947 01:33:33,300 --> 01:33:35,149 making a trip, and maybe the-- 1948 01:33:35,149 --> 01:33:36,690 we don't know what's going to happen. 1949 01:33:36,690 --> 01:33:39,060 It could be dramatic ending. 1950 01:33:39,060 --> 01:33:41,520 It's the first inaugural flight. 1951 01:33:41,520 --> 01:33:45,611 So let's start with it on the ground. 1952 01:33:45,611 --> 01:33:46,110 Let's see. 1953 01:33:46,110 --> 01:33:49,440 There's a shot with the engineers looking at it. 1954 01:33:49,440 --> 01:33:52,410 Let's find that clip. 1955 01:33:52,410 --> 01:33:55,080 So my three point editing-- 1956 01:33:55,080 --> 01:33:57,290 I can skip to this clip real quick. 1957 01:33:57,290 --> 01:33:57,790 All right. 1958 01:33:57,790 --> 01:33:58,581 I like that moment. 1959 01:33:58,581 --> 01:34:02,520 I like the orange jumpsuit here, like, the engineer walks away. 1960 01:34:02,520 --> 01:34:04,430 And that signifies he's good to go. 1961 01:34:04,430 --> 01:34:06,448 Could've been giving him a thumb's up there. 1962 01:34:06,448 --> 01:34:09,710 1963 01:34:09,710 --> 01:34:12,320 I'm going to start here. 1964 01:34:12,320 --> 01:34:14,057 Play it forward. 1965 01:34:14,057 --> 01:34:15,890 But nothing happens in the end of this clip. 1966 01:34:15,890 --> 01:34:18,431 So we need to move on to something a little more interesting. 1967 01:34:18,431 --> 01:34:20,870 So I'm going to go ahead and just add that to my timeline. 1968 01:34:20,870 --> 01:34:22,400 There it is. 1969 01:34:22,400 --> 01:34:25,670 Now let's think about what comes next. 1970 01:34:25,670 --> 01:34:27,502 If we want to start to tease our audience 1971 01:34:27,502 --> 01:34:29,210 and we're building anticipation of what's 1972 01:34:29,210 --> 01:34:30,980 going to happen with this flight, maybe we don't know, 1973 01:34:30,980 --> 01:34:33,605 the shot of people looking out the window could be interesting. 1974 01:34:33,605 --> 01:34:36,074 We've got a whole team of people waiting, 1975 01:34:36,074 --> 01:34:37,740 watching, to see what's going to happen. 1976 01:34:37,740 --> 01:34:39,489 So let's see what happens with these guys. 1977 01:34:39,489 --> 01:34:41,930 Looks like it's a pretty short clip. 1978 01:34:41,930 --> 01:34:44,840 I'll go ahead and just put the whole thing in for now. 1979 01:34:44,840 --> 01:34:48,190 I'm hitting the A key to drop it down into my timeline. 1980 01:34:48,190 --> 01:34:49,830 And so, now, OK, here we go. 1981 01:34:49,830 --> 01:34:52,850 We've got the engineer walking away. 1982 01:34:52,850 --> 01:34:54,620 Some people looking in anticipation. 1983 01:34:54,620 --> 01:34:57,680 1984 01:34:57,680 --> 01:34:59,840 Maybe the next thing is having it take off. 1985 01:34:59,840 --> 01:35:03,050 I can do that with this one. 1986 01:35:03,050 --> 01:35:03,740 There it is. 1987 01:35:03,740 --> 01:35:06,620 Anything interesting happen at the end of this clip? 1988 01:35:06,620 --> 01:35:09,400 1989 01:35:09,400 --> 01:35:11,144 Heads toward us, but not really. 1990 01:35:11,144 --> 01:35:13,810 But we know we want to start at the very beginning of this clip. 1991 01:35:13,810 --> 01:35:15,970 And then we want to get it lifting off the ground. 1992 01:35:15,970 --> 01:35:18,660 1993 01:35:18,660 --> 01:35:19,370 OK. 1994 01:35:19,370 --> 01:35:21,120 Again, I'm roughing this in at this point. 1995 01:35:21,120 --> 01:35:22,740 I'm not worrying about fine tuning. 1996 01:35:22,740 --> 01:35:25,000 Hit A to append at the end of my sequence. 1997 01:35:25,000 --> 01:35:28,440 1998 01:35:28,440 --> 01:35:29,880 This is a big dramatic move. 1999 01:35:29,880 --> 01:35:33,640 Maybe I don't go quite that far that fast. 2000 01:35:33,640 --> 01:35:36,599 And I'm just clipping around here. 2001 01:35:36,599 --> 01:35:38,640 If I was doing this on my own for a real project, 2002 01:35:38,640 --> 01:35:40,556 I'd probably sit down, review all these clips, 2003 01:35:40,556 --> 01:35:43,890 take notes on what the file names were, and note each one. 2004 01:35:43,890 --> 01:35:47,250 But since we're doing this on the fly-- 2005 01:35:47,250 --> 01:35:49,862 2006 01:35:49,862 --> 01:35:51,570 maybe that earlier clip was better, where 2007 01:35:51,570 --> 01:35:54,335 it comes cruising down the runway. 2008 01:35:54,335 --> 01:35:57,150 2009 01:35:57,150 --> 01:35:57,670 All right. 2010 01:35:57,670 --> 01:36:00,610 And I like the reveal that happens in this naturally. 2011 01:36:00,610 --> 01:36:02,380 Looks like a film artifact here. 2012 01:36:02,380 --> 01:36:06,671 But it comes out from behind the tail of the airplane here. 2013 01:36:06,671 --> 01:36:08,170 So I'm going to keep that moment in. 2014 01:36:08,170 --> 01:36:09,850 I like that. 2015 01:36:09,850 --> 01:36:11,500 Reveals that we had success. 2016 01:36:11,500 --> 01:36:13,030 Comes cruising by. 2017 01:36:13,030 --> 01:36:14,400 And I set my out point. 2018 01:36:14,400 --> 01:36:15,570 Append it. 2019 01:36:15,570 --> 01:36:21,090 And let's stop and back up for a second and just watch what we've made so far. 2020 01:36:21,090 --> 01:36:25,160 We've got our engineer giving the thumb's up. 2021 01:36:25,160 --> 01:36:27,112 Guys looking out the window. 2022 01:36:27,112 --> 01:36:31,020 2023 01:36:31,020 --> 01:36:31,790 All right. 2024 01:36:31,790 --> 01:36:36,250 It's not-- how could I heighten the drama here? 2025 01:36:36,250 --> 01:36:37,860 Besides music? 2026 01:36:37,860 --> 01:36:39,820 I think in this shot, specifically. 2027 01:36:39,820 --> 01:36:41,780 We go from people looking out the window. 2028 01:36:41,780 --> 01:36:44,530 Maybe we're wondering, is it going to actually get off the ground? 2029 01:36:44,530 --> 01:36:45,738 I let it take off right away. 2030 01:36:45,738 --> 01:36:47,080 There's not really any waiting. 2031 01:36:47,080 --> 01:36:50,530 So maybe I put a little bit of a pause there to extend that for a moment. 2032 01:36:50,530 --> 01:36:51,780 So let's go ahead and do that. 2033 01:36:51,780 --> 01:36:52,821 And again, I can't pick-- 2034 01:36:52,821 --> 01:36:54,700 I need to move these two clips to do that. 2035 01:36:54,700 --> 01:36:55,960 I can't move them both. 2036 01:36:55,960 --> 01:36:58,330 So I need to move them one at a time. 2037 01:36:58,330 --> 01:37:02,179 And then I can just drag this out at the beginning. 2038 01:37:02,179 --> 01:37:03,970 Or maybe this is the beginning of the clip. 2039 01:37:03,970 --> 01:37:05,636 So here's a limitation that I'm hitting. 2040 01:37:05,636 --> 01:37:08,020 I just-- I don't have it. 2041 01:37:08,020 --> 01:37:09,980 So let me back that up. 2042 01:37:09,980 --> 01:37:10,970 Put this back. 2043 01:37:10,970 --> 01:37:14,152 2044 01:37:14,152 --> 01:37:15,610 Maybe not the smoothest transition. 2045 01:37:15,610 --> 01:37:17,500 If I had little more time, I spent some time 2046 01:37:17,500 --> 01:37:19,690 finessing and maybe choosing a different shot in between, 2047 01:37:19,690 --> 01:37:21,398 but we'll say that's good enough for now. 2048 01:37:21,398 --> 01:37:24,110 And then let's go-- 2049 01:37:24,110 --> 01:37:26,110 we'll get a little bit closer on the pilot here. 2050 01:37:26,110 --> 01:37:29,020 I like this shot. 2051 01:37:29,020 --> 01:37:30,720 Shows him mastering control of this. 2052 01:37:30,720 --> 01:37:33,390 He's flying by some people in the background. 2053 01:37:33,390 --> 01:37:34,930 Drop that in. 2054 01:37:34,930 --> 01:37:40,790 And then-- should we put the explosion in at the end? 2055 01:37:40,790 --> 01:37:43,120 See airplane pieces flying? 2056 01:37:43,120 --> 01:37:44,060 Ah, we'll skip it. 2057 01:37:44,060 --> 01:37:45,410 OK. 2058 01:37:45,410 --> 01:37:48,077 So if we want to add some drama to this-- 2059 01:37:48,077 --> 01:37:49,910 the whole point of this exercise is actually 2060 01:37:49,910 --> 01:37:52,076 a music assignment and how different pieces of music 2061 01:37:52,076 --> 01:37:53,452 make it feel differently. 2062 01:37:53,452 --> 01:37:55,160 Let's take a listen to what we have here. 2063 01:37:55,160 --> 01:37:55,826 [VIDEO PLAYBACK] 2064 01:37:55,826 --> 01:38:02,317 [MUSIC PLAYING] 2065 01:38:02,317 --> 01:38:02,900 [END PLAYBACK] 2066 01:38:02,900 --> 01:38:04,316 DAN COFFEY: It's kind of powerful. 2067 01:38:04,316 --> 01:38:07,357 Let's drop that in and see how it feels under our clip. 2068 01:38:07,357 --> 01:38:08,440 You can do the same thing. 2069 01:38:08,440 --> 01:38:13,320 You can choose in point, out point, and hit append. 2070 01:38:13,320 --> 01:38:15,390 And there you are. 2071 01:38:15,390 --> 01:38:18,450 Another annoyance of Shotcut is that, right now, 2072 01:38:18,450 --> 01:38:22,720 because I don't have an audio track, I can't drop it in the audio track. 2073 01:38:22,720 --> 01:38:25,620 So it literally dropped it into the video track as white video. 2074 01:38:25,620 --> 01:38:29,890 So I'm going to right click and I'm going to say, Add Audio Track. 2075 01:38:29,890 --> 01:38:30,390 All right. 2076 01:38:30,390 --> 01:38:31,210 Great. 2077 01:38:31,210 --> 01:38:33,876 And so now down here, I can make this window a little bit bigger 2078 01:38:33,876 --> 01:38:37,650 by grabbing this handle, I have A1, which is my first audio track. 2079 01:38:37,650 --> 01:38:41,280 And I can drag and drop this down here. 2080 01:38:41,280 --> 01:38:44,540 If I need to zoom out, I've got the zoom control. 2081 01:38:44,540 --> 01:38:46,169 I can come back to the beginning. 2082 01:38:46,169 --> 01:38:46,710 Zoom back in. 2083 01:38:46,710 --> 01:38:49,710 The plus and minus keys are shortcuts for the zoom control. 2084 01:38:49,710 --> 01:38:51,102 Also common in most editors. 2085 01:38:51,102 --> 01:38:53,310 And I'm going to drag this audio up to the beginning. 2086 01:38:53,310 --> 01:38:57,164 I can see that there's a little gap in between where the audio starts. 2087 01:38:57,164 --> 01:38:59,052 I'll just trim that up to. 2088 01:38:59,052 --> 01:39:02,840 2089 01:39:02,840 --> 01:39:04,700 I will just trim this up to. 2090 01:39:04,700 --> 01:39:07,284 Let me show you how to make a split edit or a cut. 2091 01:39:07,284 --> 01:39:09,950 So I'm going to put the play head where I want to make the edit. 2092 01:39:09,950 --> 01:39:11,991 I make sure that I have the right track selected. 2093 01:39:11,991 --> 01:39:14,780 And I hit the S key, or the razor-- 2094 01:39:14,780 --> 01:39:16,994 it looks like a razor blade-- to split the play head. 2095 01:39:16,994 --> 01:39:17,660 And there we go. 2096 01:39:17,660 --> 01:39:20,090 Now I can just delete this first part. 2097 01:39:20,090 --> 01:39:21,740 And drag that back. 2098 01:39:21,740 --> 01:39:24,312 So let's watch this now and see how this feels. 2099 01:39:24,312 --> 01:39:24,978 [VIDEO PLAYBACK] 2100 01:39:24,978 --> 01:39:27,720 [MUSIC PLAYING] 2101 01:39:27,720 --> 01:39:29,676 DAN COFFEY: A little somber. 2102 01:39:29,676 --> 01:39:41,015 [MUSIC PLAYING] 2103 01:39:41,015 --> 01:39:41,640 [END PLAYBACK] 2104 01:39:41,640 --> 01:39:42,510 Maybe we get to this point. 2105 01:39:42,510 --> 01:39:43,560 The pacing doesn't quite match. 2106 01:39:43,560 --> 01:39:45,010 Maybe it's not quite the right piece of music. 2107 01:39:45,010 --> 01:39:46,281 Let's see what else we've got. 2108 01:39:46,281 --> 01:39:46,947 [AUDIO PLAYBACK] 2109 01:39:46,947 --> 01:39:48,486 [MUSIC PLAYING] 2110 01:39:48,486 --> 01:39:49,100 [END PLAYBACK] 2111 01:39:49,100 --> 01:39:49,600 All right. 2112 01:39:49,600 --> 01:39:53,660 Let's just go ahead, and I'm going to add a new audio track here. 2113 01:39:53,660 --> 01:39:58,118 I'm going to just mute the first one and drop this one in. 2114 01:39:58,118 --> 01:40:00,905 2115 01:40:00,905 --> 01:40:03,530 That takes me to the end, so I'm just going to back up in time. 2116 01:40:03,530 --> 01:40:07,790 2117 01:40:07,790 --> 01:40:09,320 Make this a little bit bigger. 2118 01:40:09,320 --> 01:40:11,570 Hopefully you'll have a little more screen real estate 2119 01:40:11,570 --> 01:40:15,870 when you're working on your projects than I do here on my small screen. 2120 01:40:15,870 --> 01:40:16,370 All right. 2121 01:40:16,370 --> 01:40:19,160 So I've got the first track muted now, so we're not 2122 01:40:19,160 --> 01:40:20,428 going to hear that one at all. 2123 01:40:20,428 --> 01:40:21,094 [VIDEO PLAYBACK] 2124 01:40:21,094 --> 01:40:23,082 [MUSIC PLAYING] 2125 01:40:23,082 --> 01:40:36,004 2126 01:40:36,004 --> 01:40:36,979 [END PLAYBACK] 2127 01:40:36,979 --> 01:40:38,270 Now what I can do is start to-- 2128 01:40:38,270 --> 01:40:40,519 let's say that this is the piece of music that I like. 2129 01:40:40,519 --> 01:40:43,520 What I can do is start to line up the critical moments. 2130 01:40:43,520 --> 01:40:48,440 So at the beginning, starting with the thumbs up. 2131 01:40:48,440 --> 01:40:49,460 That lines up OK. 2132 01:40:49,460 --> 01:40:52,860 2133 01:40:52,860 --> 01:40:55,661 But maybe-- I'll even take this gap out, so that the first time-- 2134 01:40:55,661 --> 01:40:57,410 or linger on the previous night longer, so 2135 01:40:57,410 --> 01:41:00,118 that the first time we see these guys, there's this beat of music 2136 01:41:00,118 --> 01:41:02,850 to add some tension to the whole thing. 2137 01:41:02,850 --> 01:41:06,180 I'm actually going to take this other audio clip right out, move this one up, 2138 01:41:06,180 --> 01:41:08,790 just to keep it easier to see on my screen. 2139 01:41:08,790 --> 01:41:13,200 And so, because I want to extend the first clip, 2140 01:41:13,200 --> 01:41:15,210 I have to move all these over. 2141 01:41:15,210 --> 01:41:17,520 Again, this is just an unfortunate thing in Shotcut 2142 01:41:17,520 --> 01:41:20,317 that you can do in most other editors. 2143 01:41:20,317 --> 01:41:21,900 And so, I'm going to extend this clip. 2144 01:41:21,900 --> 01:41:25,170 And I have a nice visual representation of the wave form here. 2145 01:41:25,170 --> 01:41:27,360 Extend this out. 2146 01:41:27,360 --> 01:41:29,270 Can't quite get where I want to get. 2147 01:41:29,270 --> 01:41:34,670 So I'm going to go ahead and just make a little split, a cut here, and a cut 2148 01:41:34,670 --> 01:41:35,170 here. 2149 01:41:35,170 --> 01:41:38,100 We'll see if this destroys the feeling. 2150 01:41:38,100 --> 01:41:43,660 2151 01:41:43,660 --> 01:41:45,910 Remember, you can right click and say Remove, as well. 2152 01:41:45,910 --> 01:41:47,404 [VIDEO PLAYBACK] 2153 01:41:47,404 --> 01:41:49,396 [MUSIC PLAYING] 2154 01:41:49,396 --> 01:41:54,797 2155 01:41:54,797 --> 01:41:55,380 [END PLAYBACK] 2156 01:41:55,380 --> 01:41:58,850 And so, maybe I want to actually cut on the second-- 2157 01:41:58,850 --> 01:41:59,350 whatever. 2158 01:41:59,350 --> 01:42:01,912 What's the instrument, Ian? 2159 01:42:01,912 --> 01:42:03,120 IAN SEXTON: The horn section? 2160 01:42:03,120 --> 01:42:03,410 I don't know. 2161 01:42:03,410 --> 01:42:04,618 DAN COFFEY: The horn section. 2162 01:42:04,618 --> 01:42:07,180 IAN SEXTON: I'm very bad at music, these things. 2163 01:42:07,180 --> 01:42:08,760 DAN COFFEY: Is this going to force me to do a transition, 2164 01:42:08,760 --> 01:42:09,801 or is this going to work? 2165 01:42:09,801 --> 01:42:12,340 2166 01:42:12,340 --> 01:42:14,250 That's going to shorten this clip. 2167 01:42:14,250 --> 01:42:16,820 I can see where the horn section comes in. 2168 01:42:16,820 --> 01:42:18,650 Drag this one back. 2169 01:42:18,650 --> 01:42:20,175 See how we're doing here. 2170 01:42:20,175 --> 01:42:21,125 [VIDEO PLAYBACK] 2171 01:42:21,125 --> 01:42:23,500 [MUSIC PLAYING] 2172 01:42:23,500 --> 01:42:28,250 2173 01:42:28,250 --> 01:42:29,210 [END PLAYBACK] 2174 01:42:29,210 --> 01:42:30,570 OK. 2175 01:42:30,570 --> 01:42:34,020 So you can see how we're progressing here. 2176 01:42:34,020 --> 01:42:35,370 And we're almost out of time. 2177 01:42:35,370 --> 01:42:38,250 But that's OK, because we only have one more music sample to take a look at 2178 01:42:38,250 --> 01:42:38,940 and see the difference. 2179 01:42:38,940 --> 01:42:41,420 But you can see just how quickly just swapping out-- we'll 2180 01:42:41,420 --> 01:42:42,170 drop the last one in. 2181 01:42:42,170 --> 01:42:42,669 Why not? 2182 01:42:42,669 --> 01:42:44,890 We're here. 2183 01:42:44,890 --> 01:42:48,090 How quickly and easily you can manipulate your audience's 2184 01:42:48,090 --> 01:42:52,216 emotions and feelings by choosing which shot to start with. 2185 01:42:52,216 --> 01:42:54,840 Another shortcut for you is hold the Option key and arrow keys, 2186 01:42:54,840 --> 01:42:59,604 it'll jump between your edits, so you can quickly navigate your timeline. 2187 01:42:59,604 --> 01:43:00,890 Let's hear this one. 2188 01:43:00,890 --> 01:43:01,556 [VIDEO PLAYBACK] 2189 01:43:01,556 --> 01:43:09,287 [PEACEFUL MUSIC] 2190 01:43:09,287 --> 01:43:09,870 [END PLAYBACK] 2191 01:43:09,870 --> 01:43:12,101 It doesn't really fit. 2192 01:43:12,101 --> 01:43:15,100 Depending on the story you're telling, choosing the right piece of music 2193 01:43:15,100 --> 01:43:16,400 can have a really big impact. 2194 01:43:16,400 --> 01:43:19,490 So there's a whole bunch of stuff that you can use. 2195 01:43:19,490 --> 01:43:22,452 There's no worries in this course, as far as copyright. 2196 01:43:22,452 --> 01:43:24,910 We're going to use everything in the context of this class. 2197 01:43:24,910 --> 01:43:26,030 So use whatever you like. 2198 01:43:26,030 --> 01:43:30,070 And most of our demos will probably be from the public domain. 2199 01:43:30,070 --> 01:43:32,130 But I think that is a good place to leave it. 2200 01:43:32,130 --> 01:43:32,620 Do you have any-- 2201 01:43:32,620 --> 01:43:34,494 IAN SEXTON: Yeah, there was one question that 2202 01:43:34,494 --> 01:43:36,310 came from online that was asking about how 2203 01:43:36,310 --> 01:43:41,350 you might think about telling a story that was nontraditional 2204 01:43:41,350 --> 01:43:43,574 in its beginning, middle, and end. 2205 01:43:43,574 --> 01:43:45,490 And I think one of the ways that you can think 2206 01:43:45,490 --> 01:43:50,550 about doing that is maybe you're inner cutting between two parallel stories. 2207 01:43:50,550 --> 01:43:51,260 Parallel editing. 2208 01:43:51,260 --> 01:43:53,777 You have two people converging at a central point, 2209 01:43:53,777 --> 01:43:56,110 and you're cross cutting between someone traveling there 2210 01:43:56,110 --> 01:43:58,090 and another person traveling there. 2211 01:43:58,090 --> 01:44:02,410 Or you can use flashbacks, where we start at a position in time 2212 01:44:02,410 --> 01:44:06,010 and we flashback to a time previously before that. 2213 01:44:06,010 --> 01:44:08,074 Like in Saving Private Ryan. 2214 01:44:08,074 --> 01:44:10,240 It's the old man in the cemetery, and we flashback-- 2215 01:44:10,240 --> 01:44:12,989 and the actual story is about something that happened long before. 2216 01:44:12,989 --> 01:44:15,650 And maybe that has a linear component to it. 2217 01:44:15,650 --> 01:44:19,630 So there are a variety of different ways that you can approach storytelling 2218 01:44:19,630 --> 01:44:24,430 in less this, there's the beginning, the middle, and the end. 2219 01:44:24,430 --> 01:44:29,350 You can begin to get creative and rearrange them as you go through. 2220 01:44:29,350 --> 01:44:31,700 So just something to add into there. 2221 01:44:31,700 --> 01:44:32,770 DAN COFFEY: Great. 2222 01:44:32,770 --> 01:44:34,110 IAN SEXTON: Any other questions? 2223 01:44:34,110 --> 01:44:36,365 2224 01:44:36,365 --> 01:44:39,240 DAN COFFEY: Well, we hope you have fun diving into the first homework 2225 01:44:39,240 --> 01:44:39,740 assignment. 2226 01:44:39,740 --> 01:44:42,864 We're going to be recording after this lecture a little walk-through on how 2227 01:44:42,864 --> 01:44:46,200 to get started, so that'll be posted either tonight or tomorrow morning. 2228 01:44:46,200 --> 01:44:48,660 But email us with any questions. 2229 01:44:48,660 --> 01:44:52,430 And we'll see you in Zoom next week. 2230 01:44:52,430 --> 01:44:53,373