1 00:00:00,000 --> 00:00:16,065 2 00:00:16,065 --> 00:00:16,690 DAN: All right. 3 00:00:16,690 --> 00:00:19,720 Everybody, welcome back to another week of exploring digital media. 4 00:00:19,720 --> 00:00:21,970 This is our second lecture here in the cinema. 5 00:00:21,970 --> 00:00:25,150 And this week we're going to be talking about framing composition and lens 6 00:00:25,150 --> 00:00:25,420 basics. 7 00:00:25,420 --> 00:00:27,880 And we'll actually tackle this in the reverse order today. 8 00:00:27,880 --> 00:00:29,720 We're going to start with lenses. 9 00:00:29,720 --> 00:00:32,049 So let's dive right in. 10 00:00:32,049 --> 00:00:33,970 We have two typical types of lenses. 11 00:00:33,970 --> 00:00:35,630 We have prime lenses and zoom lenses. 12 00:00:35,630 --> 00:00:37,690 And who wants to give me a quick definition? 13 00:00:37,690 --> 00:00:40,120 What's the difference? 14 00:00:40,120 --> 00:00:40,620 Yeah. 15 00:00:40,620 --> 00:00:42,700 AUDIENCE: A prime lens is a fixed focal length, 16 00:00:42,700 --> 00:00:46,770 and a zoom will have a range from 70 to 200 [INAUDIBLE].. 17 00:00:46,770 --> 00:00:47,340 DAN: OK. 18 00:00:47,340 --> 00:00:47,560 Yeah. 19 00:00:47,560 --> 00:00:50,230 So we have a fixed focal length on one, which means you can't zoom. 20 00:00:50,230 --> 00:00:50,830 Right? 21 00:00:50,830 --> 00:00:53,950 And a zoom lens or a variable focal length lens can zoom. 22 00:00:53,950 --> 00:00:56,500 Which means you can literally crank a ring on the lens 23 00:00:56,500 --> 00:00:58,900 and the image other enlarges or gets farther away. 24 00:00:58,900 --> 00:00:59,810 Right? 25 00:00:59,810 --> 00:01:00,310 All right. 26 00:01:00,310 --> 00:01:01,210 Great. 27 00:01:01,210 --> 00:01:01,870 Prime lenses. 28 00:01:01,870 --> 00:01:03,870 Construction is pretty simple. 29 00:01:03,870 --> 00:01:06,880 Inside we have a couple of lens element groups 30 00:01:06,880 --> 00:01:09,550 that when you turn the focus ring, some of them move, 31 00:01:09,550 --> 00:01:12,220 bring your image into focus or out of focus. 32 00:01:12,220 --> 00:01:13,990 And a zoom lens is a bit more complicated. 33 00:01:13,990 --> 00:01:16,030 As we look at this cross section here you've 34 00:01:16,030 --> 00:01:18,670 got a couple different lens groupings that 35 00:01:18,670 --> 00:01:21,640 move to either zoom your image in or zoom it out. 36 00:01:21,640 --> 00:01:23,830 And also change your focus. 37 00:01:23,830 --> 00:01:26,140 But I mean, look how complicated this thing is. 38 00:01:26,140 --> 00:01:29,130 Look how many lenses we have and how many moving parts there are. 39 00:01:29,130 --> 00:01:31,990 It's pretty crazy when you actually look at it. 40 00:01:31,990 --> 00:01:34,420 But why might we choose one or the other? 41 00:01:34,420 --> 00:01:37,000 Let's talk about some pros and cons. 42 00:01:37,000 --> 00:01:43,510 When would you want to have a simple prime lens or a zoom lens? 43 00:01:43,510 --> 00:01:45,790 Who's got some use cases for me? 44 00:01:45,790 --> 00:01:48,430 And zoom, feel free to-- if you're in the distant audience feel 45 00:01:48,430 --> 00:01:49,471 free to chime in as well. 46 00:01:49,471 --> 00:01:52,610 47 00:01:52,610 --> 00:01:53,110 Yeah. 48 00:01:53,110 --> 00:01:54,901 AUDIENCE: I guess you would use a zoom lens 49 00:01:54,901 --> 00:01:57,950 if you want to be able to respond to the [INAUDIBLE].. 50 00:01:57,950 --> 00:01:58,450 DAN: OK. 51 00:01:58,450 --> 00:02:00,877 So when you want to respond quickly. 52 00:02:00,877 --> 00:02:02,960 OK so maybe you don't know what's going to happen. 53 00:02:02,960 --> 00:02:06,260 You're covering an event or and you need the versatility. 54 00:02:06,260 --> 00:02:06,760 Yeah. 55 00:02:06,760 --> 00:02:07,960 That makes sense. 56 00:02:07,960 --> 00:02:09,789 How about an argument for a prime lens? 57 00:02:09,789 --> 00:02:12,930 58 00:02:12,930 --> 00:02:13,699 Yeah. 59 00:02:13,699 --> 00:02:16,990 AUDIENCE: When you want to isolate your subjects with a shallow depth of field. 60 00:02:16,990 --> 00:02:17,230 DAN: Oh. 61 00:02:17,230 --> 00:02:18,040 A shallow depth of field. 62 00:02:18,040 --> 00:02:18,280 OK. 63 00:02:18,280 --> 00:02:20,821 But can you not have a shallow depth of field on a zoom lens? 64 00:02:20,821 --> 00:02:23,210 AUDIENCE: You can if you zoom all the way up to 200. 65 00:02:23,210 --> 00:02:23,380 DAN: OK. 66 00:02:23,380 --> 00:02:24,700 AUDIENCE: [INAUDIBLE] aperture. 67 00:02:24,700 --> 00:02:27,820 DAN: So maybe there are some tricks to getting a shallow depth of field 68 00:02:27,820 --> 00:02:28,794 with the zoom lens. 69 00:02:28,794 --> 00:02:30,460 But maybe it's easier on the prime lens? 70 00:02:30,460 --> 00:02:32,839 Is that always the case? 71 00:02:32,839 --> 00:02:33,380 AUDIENCE: No. 72 00:02:33,380 --> 00:02:33,910 But [INAUDIBLE]. 73 00:02:33,910 --> 00:02:34,480 DAN: Not necessarily. 74 00:02:34,480 --> 00:02:36,582 So there's something in a zoom lens' construction 75 00:02:36,582 --> 00:02:39,040 that might make it easier to have a shallow depth of field. 76 00:02:39,040 --> 00:02:41,530 And we're going to talk more about what that means 77 00:02:41,530 --> 00:02:44,636 a little bit next week when we talk about exposure. 78 00:02:44,636 --> 00:02:45,760 Anybody have anything else? 79 00:02:45,760 --> 00:02:47,864 80 00:02:47,864 --> 00:02:49,030 How about our zoom audience? 81 00:02:49,030 --> 00:02:52,210 Somebody give me a benefit of a prime lens over a zoom lens. 82 00:02:52,210 --> 00:02:54,814 83 00:02:54,814 --> 00:02:56,480 Just open your mic up and start talking. 84 00:02:56,480 --> 00:03:02,140 85 00:03:02,140 --> 00:03:02,640 Yeah. 86 00:03:02,640 --> 00:03:05,021 AUDIENCE: Say it again, Alex. 87 00:03:05,021 --> 00:03:05,604 DAN: Go ahead. 88 00:03:05,604 --> 00:03:08,812 AUDIENCE: I think maybe prime lenses let in more light basically. 89 00:03:08,812 --> 00:03:09,770 DAN: Let in more light. 90 00:03:09,770 --> 00:03:11,186 So prime lenses tend to be faster. 91 00:03:11,186 --> 00:03:11,750 Right? 92 00:03:11,750 --> 00:03:14,125 They actually let more light down the barrel of the lens, 93 00:03:14,125 --> 00:03:16,700 which means you get better low-light performance. 94 00:03:16,700 --> 00:03:18,110 All right. 95 00:03:18,110 --> 00:03:19,392 Great. 96 00:03:19,392 --> 00:03:20,850 AUDIENCE: Prime lenses are lighter. 97 00:03:20,850 --> 00:03:22,101 DAN: Prime lenses are lighter. 98 00:03:22,101 --> 00:03:22,600 All right. 99 00:03:22,600 --> 00:03:24,600 So the physicality of the lens is much smaller. 100 00:03:24,600 --> 00:03:25,340 Easier to move around. 101 00:03:25,340 --> 00:03:27,140 If you're going to carry a camera with you maybe 102 00:03:27,140 --> 00:03:28,740 you're taking a prime lens with you. 103 00:03:28,740 --> 00:03:29,240 Exactly. 104 00:03:29,240 --> 00:03:29,740 Right? 105 00:03:29,740 --> 00:03:31,490 So They're also-- they tend to be cheaper 106 00:03:31,490 --> 00:03:33,680 because the construction is simpler. 107 00:03:33,680 --> 00:03:35,210 We said faster. 108 00:03:35,210 --> 00:03:38,240 I like to put forced creativity here because with the zoom lens 109 00:03:38,240 --> 00:03:41,110 people stand in one place and will just zoom in or out to get 110 00:03:41,110 --> 00:03:42,110 the shot that they want. 111 00:03:42,110 --> 00:03:43,818 But it really forces you to get creative. 112 00:03:43,818 --> 00:03:46,650 You have to actually get closer to your subject or farther away. 113 00:03:46,650 --> 00:03:49,400 So I think that it's a really handy way as a starting photographer 114 00:03:49,400 --> 00:03:53,840 to challenge yourself to build a more complicated frame. 115 00:03:53,840 --> 00:03:54,534 They're lighter. 116 00:03:54,534 --> 00:03:55,450 There's less to break. 117 00:03:55,450 --> 00:03:57,870 So if you have to replace it, it's cheaper. 118 00:03:57,870 --> 00:03:59,960 And zoom lenses tend to be more expensive. 119 00:03:59,960 --> 00:04:03,710 They're slower as far as how much light comes down the barrel of the lens. 120 00:04:03,710 --> 00:04:05,210 But you do get that versatility. 121 00:04:05,210 --> 00:04:05,710 Right? 122 00:04:05,710 --> 00:04:09,080 If you're going to cover an event it's much easier to have a zoom lens 123 00:04:09,080 --> 00:04:11,150 so that you can snap in or snap out, depending 124 00:04:11,150 --> 00:04:12,797 on what's happening with the action. 125 00:04:12,797 --> 00:04:15,380 Or even if you don't want to carry a bunch of lenses with you. 126 00:04:15,380 --> 00:04:17,715 Let's say you're going out to shoot in nature 127 00:04:17,715 --> 00:04:20,089 and you just don't want to carry three lenses with you so 128 00:04:20,089 --> 00:04:22,710 that you have the options. 129 00:04:22,710 --> 00:04:26,480 A zoom lens will give all those to you. 130 00:04:26,480 --> 00:04:27,260 All right. 131 00:04:27,260 --> 00:04:31,280 So there are three categories that we define lenses in. 132 00:04:31,280 --> 00:04:32,900 Either a wide-angle lens. 133 00:04:32,900 --> 00:04:35,130 a normal lens, or a telephoto lens. 134 00:04:35,130 --> 00:04:38,390 Are the three typical ways that we define these. 135 00:04:38,390 --> 00:04:40,050 The three categories of lenses. 136 00:04:40,050 --> 00:04:43,960 And so let's first just think about what we see with our human eye. 137 00:04:43,960 --> 00:04:44,660 OK? 138 00:04:44,660 --> 00:04:49,250 So we have a peripheral vision of about 180 degrees which is pretty wide. 139 00:04:49,250 --> 00:04:53,300 But we can't focus on everything in our peripheral vision at once. 140 00:04:53,300 --> 00:04:57,620 The area that we actually can kind of focus on is called your foveal vision 141 00:04:57,620 --> 00:04:59,090 and it's about 40 degrees wide. 142 00:04:59,090 --> 00:05:02,000 Which is pretty narrow when you think about it. 143 00:05:02,000 --> 00:05:06,960 So a camera lens all have different fields of view. 144 00:05:06,960 --> 00:05:09,620 And they're typically marked with this marking over here 145 00:05:09,620 --> 00:05:12,320 that is something in millimeters. 146 00:05:12,320 --> 00:05:16,730 So the lens on screen here is a 50-millimeter lens 147 00:05:16,730 --> 00:05:19,295 and it has a field of view of 46 degrees. 148 00:05:19,295 --> 00:05:21,170 And I have a little asterisk down here that's 149 00:05:21,170 --> 00:05:23,150 on a full-frame 35-millimeter sensor. 150 00:05:23,150 --> 00:05:26,300 And we'll get to what that means in a second. 151 00:05:26,300 --> 00:05:28,700 And we measure this diagonally on the image. 152 00:05:28,700 --> 00:05:30,470 So diagonally across an image. 153 00:05:30,470 --> 00:05:33,440 And I do sneak pictures of my kids into my slides. 154 00:05:33,440 --> 00:05:36,860 From corner to corner we have a 46 degree of view. 155 00:05:36,860 --> 00:05:38,360 And that's just kind of interesting. 156 00:05:38,360 --> 00:05:41,550 It's not the reason that a normal lens is called-- 157 00:05:41,550 --> 00:05:44,870 or a 50-millimeter lens is a normal lens on a full-frame sensor. 158 00:05:44,870 --> 00:05:48,680 But it's just interesting that the degree of view that you see-- 159 00:05:48,680 --> 00:05:50,960 that you can pay attention to in any detail 160 00:05:50,960 --> 00:05:55,260 is similar to what a normal lens is. 161 00:05:55,260 --> 00:05:59,600 But really a normal lens defines the spatial relationships between objects, 162 00:05:59,600 --> 00:06:02,300 whether things are distorted and pushed farther away-- 163 00:06:02,300 --> 00:06:04,460 or compressed in on top of each other. 164 00:06:04,460 --> 00:06:09,260 A normal lens has the same properties of what your human eye sees. 165 00:06:09,260 --> 00:06:13,100 So again, a normal lens on a full-frame sensor 166 00:06:13,100 --> 00:06:15,650 is about 50-millimeter will just give you 167 00:06:15,650 --> 00:06:22,680 a typical spatial relationship between objects that you see down your lens. 168 00:06:22,680 --> 00:06:23,180 All right. 169 00:06:23,180 --> 00:06:27,290 So a telephoto lens is anything that's zoomed in. 170 00:06:27,290 --> 00:06:30,140 And I have pictured here prime lenses but certainly, 171 00:06:30,140 --> 00:06:32,630 zoom lenses or telephoto as well. 172 00:06:32,630 --> 00:06:36,760 This is an 85-millimeter lens, which has a field of view on a full-frame camera 173 00:06:36,760 --> 00:06:37,910 of about 28 degrees. 174 00:06:37,910 --> 00:06:41,690 So we're really narrowing down our field of view at this point. 175 00:06:41,690 --> 00:06:43,620 Whereas the wide-angle lens is the opposite. 176 00:06:43,620 --> 00:06:44,120 Right? 177 00:06:44,120 --> 00:06:49,710 So a 35-millimeter will give us about 63 degrees for the field of view. 178 00:06:49,710 --> 00:06:53,090 So which you might choose depends on what story you're going to go tell. 179 00:06:53,090 --> 00:06:56,450 How much of an area do you need to see? 180 00:06:56,450 --> 00:07:00,364 We've talked about what categories we have lenses in. 181 00:07:00,364 --> 00:07:02,780 Let's now play a game where we can actually look at images 182 00:07:02,780 --> 00:07:05,007 and describe what qualities we see in these. 183 00:07:05,007 --> 00:07:07,590 So we'll play a little game called wide, normal, or telephoto. 184 00:07:07,590 --> 00:07:07,960 All right. 185 00:07:07,960 --> 00:07:10,120 And how we play this is, I'm going to put up an image. 186 00:07:10,120 --> 00:07:12,078 And you're going to tell me, what do you think? 187 00:07:12,078 --> 00:07:16,040 Are we looking at a wide-angle, a normal, or a telephoto? 188 00:07:16,040 --> 00:07:17,510 So someone in the audience here. 189 00:07:17,510 --> 00:07:18,020 Yes. 190 00:07:18,020 --> 00:07:18,645 AUDIENCE: Wide. 191 00:07:18,645 --> 00:07:19,936 DAN: This is a wide-angle lens. 192 00:07:19,936 --> 00:07:21,170 Why do you say that? 193 00:07:21,170 --> 00:07:23,253 AUDIENCE: Because of the distortion with the ducks 194 00:07:23,253 --> 00:07:25,490 are closer to the front element of the lens. 195 00:07:25,490 --> 00:07:27,490 And you can see a lot of the background as well. 196 00:07:27,490 --> 00:07:27,989 DAN: OK. 197 00:07:27,989 --> 00:07:30,560 So I'm hearing that we have a lot of distortion in the lens. 198 00:07:30,560 --> 00:07:31,060 Right? 199 00:07:31,060 --> 00:07:34,540 So what is it that is distorted in this image? 200 00:07:34,540 --> 00:07:37,749 AUDIENCE: The beak and the duck's head because that's not how the ducks look. 201 00:07:37,749 --> 00:07:38,248 DAN: OK. 202 00:07:38,248 --> 00:07:39,860 So this isn't quite how a duck looks. 203 00:07:39,860 --> 00:07:40,060 Right? 204 00:07:40,060 --> 00:07:41,810 This is kind of a wild looking image. 205 00:07:41,810 --> 00:07:42,350 Right? 206 00:07:42,350 --> 00:07:44,880 And it's the distance in this image that's spread out. 207 00:07:44,880 --> 00:07:45,380 Right? 208 00:07:45,380 --> 00:07:48,630 Like we're elongating the ducks nose because we're so close to it. 209 00:07:48,630 --> 00:07:49,130 Right? 210 00:07:49,130 --> 00:07:51,320 And the distance behind it is really-- 211 00:07:51,320 --> 00:07:53,270 things spread out and get really far away. 212 00:07:53,270 --> 00:07:55,440 Even though these ducks aren't that big. 213 00:07:55,440 --> 00:07:55,940 Right? 214 00:07:55,940 --> 00:07:59,370 The trees presumably aren't as far away as they might seem in this image. 215 00:07:59,370 --> 00:07:59,935 Right? 216 00:07:59,935 --> 00:08:00,240 AUDIENCE: Right. 217 00:08:00,240 --> 00:08:01,010 DAN: Very good. 218 00:08:01,010 --> 00:08:04,290 And so this it's actually a very wide-angle lens. 219 00:08:04,290 --> 00:08:08,540 The 35-millimeter equivalent is 7.2 millimeters. 220 00:08:08,540 --> 00:08:11,910 So that's a very wide-angle lens. 221 00:08:11,910 --> 00:08:12,761 How about this one? 222 00:08:12,761 --> 00:08:13,260 Oh, crap. 223 00:08:13,260 --> 00:08:14,460 I left it up there. 224 00:08:14,460 --> 00:08:15,950 Spoiler. 225 00:08:15,950 --> 00:08:18,597 Why [? done with a ?] telephoto? 226 00:08:18,597 --> 00:08:19,680 I'll just stand over here. 227 00:08:19,680 --> 00:08:24,570 228 00:08:24,570 --> 00:08:25,350 Somebody else. 229 00:08:25,350 --> 00:08:29,942 230 00:08:29,942 --> 00:08:30,900 Ian, what do you think? 231 00:08:30,900 --> 00:08:33,362 232 00:08:33,362 --> 00:08:34,320 AUDIENCE: I don't know. 233 00:08:34,320 --> 00:08:37,289 If you look at the width of the road and how it gets smaller 234 00:08:37,289 --> 00:08:40,500 and the background-- the difference between proximity and sort 235 00:08:40,500 --> 00:08:43,200 of the expansiveness of the space. 236 00:08:43,200 --> 00:08:45,240 I'd say it's probably a little bit wider. 237 00:08:45,240 --> 00:08:47,900 Maybe would be my guess. 238 00:08:47,900 --> 00:08:48,900 DAN: So you are correct. 239 00:08:48,900 --> 00:08:51,050 This is another very wide-angle lens. 240 00:08:51,050 --> 00:08:56,730 The equivalent is 11.9 millimeters. 241 00:08:56,730 --> 00:08:57,889 Another road. 242 00:08:57,889 --> 00:08:59,430 So similar to what we just looked at. 243 00:08:59,430 --> 00:09:02,179 Does this one feel different than the wide-angle lens we just saw? 244 00:09:02,179 --> 00:09:07,332 245 00:09:07,332 --> 00:09:10,706 Anyone, 246 00:09:10,706 --> 00:09:12,800 AUDIENCE: Yes. 247 00:09:12,800 --> 00:09:13,300 DAN: Right. 248 00:09:13,300 --> 00:09:13,870 Yes, Dan. 249 00:09:13,870 --> 00:09:14,210 It does. 250 00:09:14,210 --> 00:09:15,190 It looks quite a bit different. 251 00:09:15,190 --> 00:09:15,690 Right? 252 00:09:15,690 --> 00:09:20,050 So instead of the road being wide up front as Ian said, 253 00:09:20,050 --> 00:09:24,250 and narrowing off very quickly, it's almost the same shape all the way down. 254 00:09:24,250 --> 00:09:27,410 And what is further away in the image feels much closer. 255 00:09:27,410 --> 00:09:27,910 Right? 256 00:09:27,910 --> 00:09:29,620 So we're probably looking at a-- 257 00:09:29,620 --> 00:09:30,925 AUDIENCE: [INAUDIBLE]. 258 00:09:30,925 --> 00:09:32,800 DAN: --or even a telephoto lens in this case. 259 00:09:32,800 --> 00:09:35,860 I jumped right over normal lens and went right to telephoto. 260 00:09:35,860 --> 00:09:41,170 So this image has a 135-millimeter lens on it. 261 00:09:41,170 --> 00:09:42,329 This image does. 262 00:09:42,329 --> 00:09:43,870 So this is actually a telephoto lens. 263 00:09:43,870 --> 00:09:46,078 And things-- we're looking at a compression of space. 264 00:09:46,078 --> 00:09:49,652 Whereas the wide-angle lens distorted and exaggerated distance. 265 00:09:49,652 --> 00:09:51,110 A telephoto lens does the opposite. 266 00:09:51,110 --> 00:09:54,230 It compresses space. 267 00:09:54,230 --> 00:09:55,310 How about this one? 268 00:09:55,310 --> 00:09:58,227 269 00:09:58,227 --> 00:09:58,935 What do we think? 270 00:09:58,935 --> 00:10:03,150 271 00:10:03,150 --> 00:10:04,944 Kareem? 272 00:10:04,944 --> 00:10:06,380 AUDIENCE: That feels wide. 273 00:10:06,380 --> 00:10:07,806 DAN: It feels wide. 274 00:10:07,806 --> 00:10:08,430 Why do you say? 275 00:10:08,430 --> 00:10:11,790 276 00:10:11,790 --> 00:10:16,830 AUDIENCE: The trees in back seem to be very far 277 00:10:16,830 --> 00:10:18,530 away [? whether ?] they should be. 278 00:10:18,530 --> 00:10:19,080 DAN: Yeah. 279 00:10:19,080 --> 00:10:21,630 So distance again is a bit more exaggerated here. 280 00:10:21,630 --> 00:10:22,400 Right? 281 00:10:22,400 --> 00:10:26,140 You know we are looking at a landscape that presumably has distance in it. 282 00:10:26,140 --> 00:10:30,570 But what is close feels exaggerated compared to what is far away. 283 00:10:30,570 --> 00:10:32,160 Right? 284 00:10:32,160 --> 00:10:32,830 You are correct. 285 00:10:32,830 --> 00:10:34,410 This is a 28-millimeter lens. 286 00:10:34,410 --> 00:10:38,850 So this is a wide-angle lens as well in this case. 287 00:10:38,850 --> 00:10:41,952 This is a couple more here. 288 00:10:41,952 --> 00:10:42,577 How about this? 289 00:10:42,577 --> 00:10:44,618 We've got some interesting things happening here. 290 00:10:44,618 --> 00:10:47,040 We've got some sharp elements and some blurred elements. 291 00:10:47,040 --> 00:10:52,600 But that has nothing to do with our lens itself. 292 00:10:52,600 --> 00:10:57,512 Do we think this is wide, normal, or telephoto? 293 00:10:57,512 --> 00:10:59,120 AUDIENCE: Almost normal I would say. 294 00:10:59,120 --> 00:10:59,870 DAN: Say it again. 295 00:10:59,870 --> 00:11:01,411 AUDIENCE: Almost normal, I would say. 296 00:11:01,411 --> 00:11:02,270 DAN: Almost normal? 297 00:11:02,270 --> 00:11:03,251 AUDIENCE: Mm-hm. 298 00:11:03,251 --> 00:11:03,750 DAN: Yes. 299 00:11:03,750 --> 00:11:05,761 It's slightly wide but almost normal. 300 00:11:05,761 --> 00:11:07,010 Much closer than the last one. 301 00:11:07,010 --> 00:11:08,480 Right? 302 00:11:08,480 --> 00:11:10,096 So 35 millimeters. 303 00:11:10,096 --> 00:11:13,299 304 00:11:13,299 --> 00:11:14,090 How about this one? 305 00:11:14,090 --> 00:11:18,830 306 00:11:18,830 --> 00:11:20,260 AUDIENCE: Telephoto lens. 307 00:11:20,260 --> 00:11:21,180 DAN: A telephoto lens? 308 00:11:21,180 --> 00:11:22,320 And give me the why. 309 00:11:22,320 --> 00:11:24,270 I know we keep looking at same images but-- 310 00:11:24,270 --> 00:11:26,925 AUDIENCE: Because everything seems [INAUDIBLE] compressed [INAUDIBLE].. 311 00:11:26,925 --> 00:11:27,150 DAN: Yeah. 312 00:11:27,150 --> 00:11:27,510 Exactly. 313 00:11:27,510 --> 00:11:28,770 It's that compression of space. 314 00:11:28,770 --> 00:11:29,270 Right. 315 00:11:29,270 --> 00:11:32,130 How far away is the mountain from Seattle here? 316 00:11:32,130 --> 00:11:33,220 AUDIENCE: [INAUDIBLE] 317 00:11:33,220 --> 00:11:33,720 DAN: Right? 318 00:11:33,720 --> 00:11:35,261 It could almost be right in the city. 319 00:11:35,261 --> 00:11:36,390 It's hard to tell. 320 00:11:36,390 --> 00:11:39,060 Whereas if we look-- so again, 135-millimeter lens. 321 00:11:39,060 --> 00:11:41,910 So a telephoto lens. 322 00:11:41,910 --> 00:11:43,350 If we look at the same thing. 323 00:11:43,350 --> 00:11:43,560 Right? 324 00:11:43,560 --> 00:11:45,559 So in the previous image that we just looked at, 325 00:11:45,559 --> 00:11:47,940 this is the Space Needle in Seattle. 326 00:11:47,940 --> 00:11:48,930 Right? 327 00:11:48,930 --> 00:11:51,940 On this slide here, this image is taken from the Space Needle. 328 00:11:51,940 --> 00:11:52,440 Right? 329 00:11:52,440 --> 00:11:54,630 So we're even closer than the last image was, yet 330 00:11:54,630 --> 00:11:56,481 the mountain feels so much farther away. 331 00:11:56,481 --> 00:11:56,980 Right? 332 00:11:56,980 --> 00:12:00,960 And we see a lot more distance and space exaggerated in the city here. 333 00:12:00,960 --> 00:12:03,780 334 00:12:03,780 --> 00:12:08,460 So seeing the difference? 335 00:12:08,460 --> 00:12:10,440 And this is an 8-millimeter lens almost. 336 00:12:10,440 --> 00:12:13,050 337 00:12:13,050 --> 00:12:15,480 How about this one? 338 00:12:15,480 --> 00:12:16,912 This one's interesting. 339 00:12:16,912 --> 00:12:19,489 340 00:12:19,489 --> 00:12:20,530 We see a lot in this one. 341 00:12:20,530 --> 00:12:22,210 Right? 342 00:12:22,210 --> 00:12:25,654 We've got a whole bunch of mountains in the background. 343 00:12:25,654 --> 00:12:27,070 But is it a wide-angle angle lens? 344 00:12:27,070 --> 00:12:28,260 AUDIENCE: More normal. 345 00:12:28,260 --> 00:12:29,450 DAN: You're going normal? 346 00:12:29,450 --> 00:12:30,700 Anybody want to argue counter? 347 00:12:30,700 --> 00:12:33,700 348 00:12:33,700 --> 00:12:34,420 70-millimeter. 349 00:12:34,420 --> 00:12:36,580 So just telephoto of normal? 350 00:12:36,580 --> 00:12:38,640 But this is to show that you don't have-- 351 00:12:38,640 --> 00:12:43,760 like a telephoto lens, or a longer lens, doesn't have to be for a tight shot 352 00:12:43,760 --> 00:12:44,260 every time. 353 00:12:44,260 --> 00:12:44,760 Right? 354 00:12:44,760 --> 00:12:46,879 You can use a telephoto lens for a wider shot. 355 00:12:46,879 --> 00:12:47,920 You just have to back up. 356 00:12:47,920 --> 00:12:50,542 357 00:12:50,542 --> 00:12:51,240 All right. 358 00:12:51,240 --> 00:12:52,870 And this feels different than that wide-angle lens. 359 00:12:52,870 --> 00:12:53,370 Right? 360 00:12:53,370 --> 00:12:56,035 The space is more compressed. 361 00:12:56,035 --> 00:12:58,160 Like you mentioned something called depth of field. 362 00:12:58,160 --> 00:12:58,310 Right? 363 00:12:58,310 --> 00:12:59,090 How much is in focus. 364 00:12:59,090 --> 00:13:00,131 How much is out of focus. 365 00:13:00,131 --> 00:13:02,780 That's a little easier to do on a lens that's longer. 366 00:13:02,780 --> 00:13:07,760 367 00:13:07,760 --> 00:13:08,756 This one? 368 00:13:08,756 --> 00:13:14,750 369 00:13:14,750 --> 00:13:19,140 AUDIENCE: Did you input any panoramas or any trick photos or no? 370 00:13:19,140 --> 00:13:19,640 DAN: No. 371 00:13:19,640 --> 00:13:20,139 I did not. 372 00:13:20,139 --> 00:13:22,290 I'm not pulling any trick punches today. 373 00:13:22,290 --> 00:13:24,790 Trying to throw a couple of tricks in but nothing like that. 374 00:13:24,790 --> 00:13:28,087 375 00:13:28,087 --> 00:13:28,920 AUDIENCE: A wide? 376 00:13:28,920 --> 00:13:29,587 DAN: A wide? 377 00:13:29,587 --> 00:13:30,420 Why do you say wide? 378 00:13:30,420 --> 00:13:33,075 AUDIENCE: Because it's like the beginning one. 379 00:13:33,075 --> 00:13:36,120 You could see a lot of the shot. 380 00:13:36,120 --> 00:13:36,620 DAN: Yeah. 381 00:13:36,620 --> 00:13:38,120 You can see a lot of this shot. 382 00:13:38,120 --> 00:13:40,520 You can see the mountains in the background. 383 00:13:40,520 --> 00:13:42,740 But look specifically at the relationship 384 00:13:42,740 --> 00:13:45,710 between the buildings in front and the background 385 00:13:45,710 --> 00:13:47,150 elements here of the mountain. 386 00:13:47,150 --> 00:13:49,070 Is there a lot of separation between them? 387 00:13:49,070 --> 00:13:50,270 AUDIENCE: Mm-mm. 388 00:13:50,270 --> 00:13:51,020 DAN: Not too much. 389 00:13:51,020 --> 00:13:51,542 Right? 390 00:13:51,542 --> 00:13:53,750 We've kind of compressed everything right up against. 391 00:13:53,750 --> 00:13:56,050 You can't tell if this mountain is-- 392 00:13:56,050 --> 00:13:59,820 I don't know-- I'm going to exaggerate distance here-- five miles or 10 miles. 393 00:13:59,820 --> 00:14:00,320 Right? 394 00:14:00,320 --> 00:14:02,510 Whereas if it was a wide-angle lens I think 395 00:14:02,510 --> 00:14:06,490 that we would actually see a much bigger spread of distance here. 396 00:14:06,490 --> 00:14:09,830 Like, the little town that we're looking at is almost like a flat plain 397 00:14:09,830 --> 00:14:12,090 even though we know that the buildings have space. 398 00:14:12,090 --> 00:14:14,350 So this is actually a telephoto lens. 399 00:14:14,350 --> 00:14:15,590 It's a 300-millimeter lens. 400 00:14:15,590 --> 00:14:19,000 IAN: I think in all your examples we've seen a loss of the middle ground. 401 00:14:19,000 --> 00:14:23,330 Or the foreground elements are always all there very prominently, 402 00:14:23,330 --> 00:14:26,080 and the background objects get compressed in 403 00:14:26,080 --> 00:14:28,570 to be almost relatively as prominent. 404 00:14:28,570 --> 00:14:31,782 And that middle ground that we're used to seeing, it sort of disappears. 405 00:14:31,782 --> 00:14:33,740 And it's almost as if you take a piece of paper 406 00:14:33,740 --> 00:14:36,801 and you fold it and bring them closer together in some ways. 407 00:14:36,801 --> 00:14:37,300 Right? 408 00:14:37,300 --> 00:14:39,900 409 00:14:39,900 --> 00:14:40,680 DAN: All right. 410 00:14:40,680 --> 00:14:44,460 So this is our last image in this little game that we're playing. 411 00:14:44,460 --> 00:14:46,410 I know was having a great time. 412 00:14:46,410 --> 00:14:48,270 Wide, normal, or telephoto? 413 00:14:48,270 --> 00:14:52,547 414 00:14:52,547 --> 00:14:53,630 What do you think, Scully? 415 00:14:53,630 --> 00:14:57,710 416 00:14:57,710 --> 00:14:59,935 AUDIENCE: I think it's a telephoto. 417 00:14:59,935 --> 00:15:00,560 DAN: All right. 418 00:15:00,560 --> 00:15:01,060 Why? 419 00:15:01,060 --> 00:15:02,180 Give me the why. 420 00:15:02,180 --> 00:15:08,240 AUDIENCE: Because the distance between the trees is very condensed. 421 00:15:08,240 --> 00:15:13,460 And the size of the people in comparison to the trees 422 00:15:13,460 --> 00:15:17,510 is, I would say they look-- 423 00:15:17,510 --> 00:15:22,970 I mean-- they are relatively small physically compared to the trees. 424 00:15:22,970 --> 00:15:28,500 But they're all similar on similar planes. 425 00:15:28,500 --> 00:15:29,150 DAN: Cool. 426 00:15:29,150 --> 00:15:31,631 Anybody want to argue counter? 427 00:15:31,631 --> 00:15:35,290 AUDIENCE: There hasn't been one normal one this whole time. 428 00:15:35,290 --> 00:15:36,542 That's [INAUDIBLE]. 429 00:15:36,542 --> 00:15:38,500 DAN: It's actually-- this is a wide-angle lens. 430 00:15:38,500 --> 00:15:41,005 Right? 431 00:15:41,005 --> 00:15:42,280 It's a little bit of a trick. 432 00:15:42,280 --> 00:15:45,970 And I think part of what confuses it is the mist that's in the background 433 00:15:45,970 --> 00:15:48,430 because it does have the flattening effect. 434 00:15:48,430 --> 00:15:52,210 But if you look at the size of the trees and how cavernous 435 00:15:52,210 --> 00:15:55,840 it is before we get to these people. 436 00:15:55,840 --> 00:15:56,680 It's a tricky one. 437 00:15:56,680 --> 00:16:00,280 It's definitely not a straightforward one. 438 00:16:00,280 --> 00:16:01,570 All right. 439 00:16:01,570 --> 00:16:02,230 So yeah. 440 00:16:02,230 --> 00:16:04,150 We talked about the wide lens as well. 441 00:16:04,150 --> 00:16:09,237 And I keep saying the equivalency on a 35-millimeter sensor. 442 00:16:09,237 --> 00:16:11,320 This is something that's an important distinction. 443 00:16:11,320 --> 00:16:15,150 And so what we're talking about is the actual sensor size in your camera 444 00:16:15,150 --> 00:16:19,990 that is going to affect what a 35-millimeter lens looks like. 445 00:16:19,990 --> 00:16:23,749 So digital cameras have a whole bunch of different sensor sizes. 446 00:16:23,749 --> 00:16:25,540 And you need to look up your specifications 447 00:16:25,540 --> 00:16:27,250 to see what size is in your camera. 448 00:16:27,250 --> 00:16:30,850 But the two typical ones that we see these days in most consumer, 449 00:16:30,850 --> 00:16:35,020 and prosumer cameras, are the APS-C-sized lenses. 450 00:16:35,020 --> 00:16:37,870 Which canon and Nikon have very similar sizes. 451 00:16:37,870 --> 00:16:41,020 As well as the full-frame 35-millimeter sensor. 452 00:16:41,020 --> 00:16:42,730 This blue line here. 453 00:16:42,730 --> 00:16:47,160 And what is the actual impact on our images 454 00:16:47,160 --> 00:16:48,700 when we put a lens on our camera? 455 00:16:48,700 --> 00:16:49,450 Let's take a look. 456 00:16:49,450 --> 00:16:50,110 Right? 457 00:16:50,110 --> 00:16:56,740 So if this is our image circle that our lens projects, and we put the same lens 458 00:16:56,740 --> 00:16:59,770 on both cameras, the red box is going to be what 459 00:16:59,770 --> 00:17:01,780 the full-frame sensor is going to see. 460 00:17:01,780 --> 00:17:06,460 And the blue frame is going to be with the APS-C or the smaller sensor sees. 461 00:17:06,460 --> 00:17:10,130 And so the effect is that if you put a 50-millimeter lens-- 462 00:17:10,130 --> 00:17:13,480 which you might have heard is a normal lens-- 463 00:17:13,480 --> 00:17:16,450 on a 35-millimeter sensor, it's not going 464 00:17:16,450 --> 00:17:19,889 to be the same when you put it on to an APS-C-sized sensor. 465 00:17:19,889 --> 00:17:22,930 Because it's actually going to have the effect of cropping in and feeling 466 00:17:22,930 --> 00:17:26,589 more like a telephoto lens-- or it will be a more telephoto lens. 467 00:17:26,589 --> 00:17:31,030 So if we take these comparison side by side, you're going to see on the left 468 00:17:31,030 --> 00:17:36,560 here that you actually get a whole lot more image out of the same image. 469 00:17:36,560 --> 00:17:39,334 You get a lot more space out of the same lens. 470 00:17:39,334 --> 00:17:41,500 And on the right side, you're a bit more cropped in. 471 00:17:41,500 --> 00:17:46,570 So this is just to say just because a lens says 50 millimeters or 30 472 00:17:46,570 --> 00:17:49,690 millimeters, it doesn't mean that it is categorically a wide, or a normal, 473 00:17:49,690 --> 00:17:50,680 or a telephoto lens. 474 00:17:50,680 --> 00:17:53,890 It depends on the camera that you put it on. 475 00:17:53,890 --> 00:17:56,500 So to give you a sense of what kind of fields of view 476 00:17:56,500 --> 00:17:59,230 you get on a full-frame sensor. 477 00:17:59,230 --> 00:18:02,440 14 millimeters is about one of the wider lenses that you're going to find. 478 00:18:02,440 --> 00:18:03,648 And you can work your way in. 479 00:18:03,648 --> 00:18:06,430 That's going to give you about 114 degrees of field of view. 480 00:18:06,430 --> 00:18:06,970 Right? 481 00:18:06,970 --> 00:18:09,880 24 is going to give you about 84 degrees. 482 00:18:09,880 --> 00:18:11,920 35 millimeter-- this purple here-- 483 00:18:11,920 --> 00:18:14,366 is going to give you 63 degrees field of view. 484 00:18:14,366 --> 00:18:15,490 And we can work our way in. 485 00:18:15,490 --> 00:18:17,364 But it's interesting to compare this directly 486 00:18:17,364 --> 00:18:19,690 against the APS-C-sized sensor. 487 00:18:19,690 --> 00:18:22,870 So on an APS-C-sized sensor-- 488 00:18:22,870 --> 00:18:25,390 so all these down here. 489 00:18:25,390 --> 00:18:27,400 These degrees are about the same. 490 00:18:27,400 --> 00:18:32,560 The exact equivalent doesn't exist but you need to put these size lenses on 491 00:18:32,560 --> 00:18:34,330 to get the same fields of view. 492 00:18:34,330 --> 00:18:36,909 So it's just an interesting thing to consider. 493 00:18:36,909 --> 00:18:38,200 Like, when you pick up a lens-- 494 00:18:38,200 --> 00:18:42,040 a 35-millimeter lens is not always the same depending on your camera system. 495 00:18:42,040 --> 00:18:43,960 I just want to hammer that home. 496 00:18:43,960 --> 00:18:47,629 IAN: Well, to be clear, the lens is always the same just the angle of view 497 00:18:47,629 --> 00:18:48,295 is what changes. 498 00:18:48,295 --> 00:18:48,795 Right? 499 00:18:48,795 --> 00:18:52,210 So that there is sort of a relativity of how 500 00:18:52,210 --> 00:18:55,750 a lens might act based off of the hardware-- the camera-- 501 00:18:55,750 --> 00:18:57,230 that you attach to it. 502 00:18:57,230 --> 00:18:57,880 OK? 503 00:18:57,880 --> 00:18:59,463 If that makes a little bit more sense. 504 00:18:59,463 --> 00:19:01,795 505 00:19:01,795 --> 00:19:02,420 DAN: All right. 506 00:19:02,420 --> 00:19:08,660 So why is it that all lenses are marked in millimeters if that's not 507 00:19:08,660 --> 00:19:10,640 a constant between cameras? 508 00:19:10,640 --> 00:19:11,240 Right? 509 00:19:11,240 --> 00:19:13,700 And it's because of how the distance inside 510 00:19:13,700 --> 00:19:17,870 of the lens from where that goes to the actual sensor plane or film plane, 511 00:19:17,870 --> 00:19:20,190 depending on your camera system. 512 00:19:20,190 --> 00:19:23,150 But it's just important to know that if you're using APS-C, 513 00:19:23,150 --> 00:19:26,540 we talk about the crop factor or the equivalency. 514 00:19:26,540 --> 00:19:29,960 So usually if we talk about lenses we bring it back the equivalency 515 00:19:29,960 --> 00:19:31,730 to the 35-millimeter sensor. 516 00:19:31,730 --> 00:19:35,150 And so to convert an APS-C magnification, 517 00:19:35,150 --> 00:19:37,941 we need to multiply by 1.6 X or so. 518 00:19:37,941 --> 00:19:39,940 So that means that a 30-millimeter lens is going 519 00:19:39,940 --> 00:19:42,230 to turn into a 48-millimeter lens. 520 00:19:42,230 --> 00:19:51,030 And the range of a normal lens is about 45, 50 millimeters, to 60, 70. 521 00:19:51,030 --> 00:19:52,760 It varies a little bit. 522 00:19:52,760 --> 00:19:55,520 And then a 60-millimeter lens like the lens on the right here, 523 00:19:55,520 --> 00:19:57,436 is going to be multiplied and it's going to be 524 00:19:57,436 --> 00:19:59,300 the equivalent of a 96-millimeter millimeter 525 00:19:59,300 --> 00:20:04,327 lens on a 35-millimeter sensor. 526 00:20:04,327 --> 00:20:05,660 Hopefully, this is making sense. 527 00:20:05,660 --> 00:20:08,701 We're going to pick apart what some of these markings on the lenses mean. 528 00:20:08,701 --> 00:20:10,040 So this is a zoom lens. 529 00:20:10,040 --> 00:20:17,390 You can see that on this ring here it goes from 18 millimeters 530 00:20:17,390 --> 00:20:20,560 to 135 millimeters. 531 00:20:20,560 --> 00:20:23,430 It's a little bit pixelated on this screen. 532 00:20:23,430 --> 00:20:27,110 But this is a lens that's made to go on an APS-C lens. 533 00:20:27,110 --> 00:20:30,110 And so that means that the equivalent-- when we do the math-- 534 00:20:30,110 --> 00:20:35,360 is a 28-millimeter lens to a 216 equivalent-- 535 00:20:35,360 --> 00:20:37,550 not actual lens-- the equivalency. 536 00:20:37,550 --> 00:20:40,732 So am I making sense, Ian? 537 00:20:40,732 --> 00:20:41,940 I feel like I'm [INAUDIBLE]-- 538 00:20:41,940 --> 00:20:42,150 IAN: Yeah, so-- 539 00:20:42,150 --> 00:20:42,858 DAN: [INAUDIBLE]. 540 00:20:42,858 --> 00:20:47,040 IAN: I think the thing is that focal length for any given lens 541 00:20:47,040 --> 00:20:51,870 is defined by where the position of the glass elements are. 542 00:20:51,870 --> 00:20:53,820 And it doesn't change from lens the lens. 543 00:20:53,820 --> 00:20:57,090 So a 35-millimeter lens is always a 35-millimeter lens. 544 00:20:57,090 --> 00:20:57,590 OK? 545 00:20:57,590 --> 00:21:02,790 But whether that lens acts as a wide-angle lens, or a telephoto lens, 546 00:21:02,790 --> 00:21:06,990 or a normal lens, and has the visual art effects 547 00:21:06,990 --> 00:21:10,020 that we were just looking at when we were analyzing those images, 548 00:21:10,020 --> 00:21:13,050 depends on the camera body that lens is attached to. 549 00:21:13,050 --> 00:21:15,061 So in some ways. 550 00:21:15,061 --> 00:21:17,310 When we talk about crop factor, what we're just saying 551 00:21:17,310 --> 00:21:21,300 is that if you use this lens on a 35-millimeter camera body 552 00:21:21,300 --> 00:21:22,950 it'll be normal. 553 00:21:22,950 --> 00:21:26,340 But if you put it on APS-C, it actually gets a little bit more telephoto. 554 00:21:26,340 --> 00:21:29,610 And so the artifacts that we noticed in the telephoto images 555 00:21:29,610 --> 00:21:33,740 will crop up in those images a little bit. 556 00:21:33,740 --> 00:21:36,990 But so at the end of the day, because there's 557 00:21:36,990 --> 00:21:41,580 so much variability in the size of sensors, and the types of lenses, 558 00:21:41,580 --> 00:21:43,830 that we have through-- 559 00:21:43,830 --> 00:21:50,010 pretty much just colloquially-- settled on 35-millimeter full frames 560 00:21:50,010 --> 00:21:51,900 as our moment of reference. 561 00:21:51,900 --> 00:21:55,950 So you'll hear a lot of people say that a 50-millimeter is a normal lens. 562 00:21:55,950 --> 00:21:58,470 And that is true on a 35-millimeter camera. 563 00:21:58,470 --> 00:22:03,000 And so that's why they're colloquially saying that that's a normal sentence. 564 00:22:03,000 --> 00:22:06,690 But it's not entirely true because you could make that lens look telephoto. 565 00:22:06,690 --> 00:22:10,560 And you even with a bigger sensor, could make that lens look more wide angle. 566 00:22:10,560 --> 00:22:12,750 It's just that conventionally it's much easier 567 00:22:12,750 --> 00:22:16,530 to talk about these things in reference to one specific sensor size. 568 00:22:16,530 --> 00:22:21,060 And so because of the prevalence of 35-millimeter film 569 00:22:21,060 --> 00:22:24,810 over the history of photography, we settled on the 35-millimeter full frame 570 00:22:24,810 --> 00:22:25,880 size. 571 00:22:25,880 --> 00:22:26,640 OK? 572 00:22:26,640 --> 00:22:28,556 And so I think what we're trying to illustrate 573 00:22:28,556 --> 00:22:31,246 is that the lenses have a specific focal length. 574 00:22:31,246 --> 00:22:33,120 And that there are visual artifacts based off 575 00:22:33,120 --> 00:22:36,870 of whether those lenses are acting as wide, normal, or telephoto lenses. 576 00:22:36,870 --> 00:22:40,020 And that the body that you attach to that lens matters. 577 00:22:40,020 --> 00:22:43,380 And so there's this relationship between the size of the sensor and the lens, 578 00:22:43,380 --> 00:22:46,860 that will be important for you understanding whether this lens acts 579 00:22:46,860 --> 00:22:48,580 as a telephoto or acts as a normal. 580 00:22:48,580 --> 00:22:49,080 OK? 581 00:22:49,080 --> 00:22:50,663 So it's just something to be aware of. 582 00:22:50,663 --> 00:22:55,410 And for the most part, when you buy, say, an APS-C camera, then 583 00:22:55,410 --> 00:23:00,060 you're going to get a kit lens that maybe goes from 14 to 60. 584 00:23:00,060 --> 00:23:02,790 But when you buy a 35-millimeter camera with a kit lens, 585 00:23:02,790 --> 00:23:05,340 maybe it goes from 24 to 85. 586 00:23:05,340 --> 00:23:08,770 So the manufacturers are aware of this relationship. 587 00:23:08,770 --> 00:23:11,850 And so the lenses that you get with any specific camera body 588 00:23:11,850 --> 00:23:15,630 are usually designed to be the range that you will find most useful. 589 00:23:15,630 --> 00:23:18,910 A little bit wide, some normal, and a little bit telephoto. 590 00:23:18,910 --> 00:23:19,410 OK? 591 00:23:19,410 --> 00:23:21,930 But just do be aware that when you mix and match bodies and lenses, 592 00:23:21,930 --> 00:23:24,000 that you can run into get some of these weird effects 593 00:23:24,000 --> 00:23:25,833 where a lens actually appears more telephoto 594 00:23:25,833 --> 00:23:29,230 than maybe you might be expecting. 595 00:23:29,230 --> 00:23:29,797 DAN: OK. 596 00:23:29,797 --> 00:23:30,630 Perfectly distilled. 597 00:23:30,630 --> 00:23:31,600 Thank you. 598 00:23:31,600 --> 00:23:32,100 All right. 599 00:23:32,100 --> 00:23:33,870 So let's just look at some of the other markings on this lens 600 00:23:33,870 --> 00:23:35,790 since we're talking about lenses today. 601 00:23:35,790 --> 00:23:37,800 So here we have a Canon zoom lens. 602 00:23:37,800 --> 00:23:41,100 We have this EF-S and that's Canon-specific nomenclature 603 00:23:41,100 --> 00:23:43,020 for "this is an APS-C lens." 604 00:23:43,020 --> 00:23:45,589 It's made to go on our smaller sensor size. 605 00:23:45,589 --> 00:23:47,130 This is the focal length of the lens. 606 00:23:47,130 --> 00:23:48,990 It's 10 to 18 millimeters. 607 00:23:48,990 --> 00:23:52,440 And then we've got this ratio here, 1 to 4.5 to 5.6. 608 00:23:52,440 --> 00:23:54,750 Does anybody know what that means? 609 00:23:54,750 --> 00:23:57,300 This is a little bit of a teaser for next time. 610 00:23:57,300 --> 00:23:57,840 Yes. 611 00:23:57,840 --> 00:23:58,200 AUDIENCE: Aperture. 612 00:23:58,200 --> 00:23:59,100 DAN: It's the aperture. 613 00:23:59,100 --> 00:23:59,330 Right. 614 00:23:59,330 --> 00:24:00,420 And what is the aperture? 615 00:24:00,420 --> 00:24:01,740 AUDIENCE: The hole in the lens. 616 00:24:01,740 --> 00:24:02,000 DAN: Sure. 617 00:24:02,000 --> 00:24:05,249 It's that opening that opens and closes and controls how much light comes down 618 00:24:05,249 --> 00:24:06,360 the barrel of the lens. 619 00:24:06,360 --> 00:24:06,860 Yeah. 620 00:24:06,860 --> 00:24:09,550 And do you know why we have two different markings on it? 621 00:24:09,550 --> 00:24:10,330 AUDIENCE: Yeah. 622 00:24:10,330 --> 00:24:13,860 Because it's the zoom so it's widest is that 4.5 and when it zooms, 623 00:24:13,860 --> 00:24:15,000 all the way to 5.6. 624 00:24:15,000 --> 00:24:17,650 I've never understood that one in the code. 625 00:24:17,650 --> 00:24:18,360 DAN: That one? 626 00:24:18,360 --> 00:24:20,580 It's just the ratio. 627 00:24:20,580 --> 00:24:21,264 So yeah. 628 00:24:21,264 --> 00:24:23,930 So what we're saying here is the zoom-- what is your name again? 629 00:24:23,930 --> 00:24:24,390 AUDIENCE: Ralph. 630 00:24:24,390 --> 00:24:24,890 DAN: Ralph. 631 00:24:24,890 --> 00:24:28,620 So Ralph is saying our widest aperture on this lens when we're all the way 632 00:24:28,620 --> 00:24:30,900 zoomed out is 4.5. 633 00:24:30,900 --> 00:24:33,540 And when you zoom in, actually you can't get that wide anymore. 634 00:24:33,540 --> 00:24:35,910 Your maximum aperture-- the widest it can be-- 635 00:24:35,910 --> 00:24:36,635 is 5.6. 636 00:24:36,635 --> 00:24:39,510 And we'll get to what those numbers mean when we talk about exposure. 637 00:24:39,510 --> 00:24:42,840 But just know that this means that the aperture is actually variable as well. 638 00:24:42,840 --> 00:24:44,798 And you don't have a ton of control when you're 639 00:24:44,798 --> 00:24:47,950 zoomed in because there's that is the widest it can be. 640 00:24:47,950 --> 00:24:48,450 IS. 641 00:24:48,450 --> 00:24:49,866 Anybody know what this stands for? 642 00:24:49,866 --> 00:24:52,650 And this is different depending on camera brand. 643 00:24:52,650 --> 00:24:53,370 Yes, Connor. 644 00:24:53,370 --> 00:24:53,940 AUDIENCE: Image stabilization. 645 00:24:53,940 --> 00:24:54,981 DAN: Image stabilization. 646 00:24:54,981 --> 00:24:56,850 So this lens has image stabilization in it. 647 00:24:56,850 --> 00:25:00,180 And STM is simply the model of lens that this is. 648 00:25:00,180 --> 00:25:02,220 So Canon has the STM series. 649 00:25:02,220 --> 00:25:04,800 They have L series, where the L series is their our top tier. 650 00:25:04,800 --> 00:25:07,440 The STM's the step below, but a lot cheaper. 651 00:25:07,440 --> 00:25:12,330 And so you might get a very similar lens with slightly different construction. 652 00:25:12,330 --> 00:25:12,830 All right. 653 00:25:12,830 --> 00:25:15,288 And so the equivalent-- if we talk about the equivale3ncy-- 654 00:25:15,288 --> 00:25:21,160 is 16-millimeter to 28-millimeter on this lens for a full-frame sensor. 655 00:25:21,160 --> 00:25:21,660 All right. 656 00:25:21,660 --> 00:25:27,480 And just to reiterate, If you were to take a APS-C lens 657 00:25:27,480 --> 00:25:30,370 and put it on a full-frame camera this is what's going to happen. 658 00:25:30,370 --> 00:25:33,240 You're going to actually vignette the edges of your frame 659 00:25:33,240 --> 00:25:36,774 if your red frame is the full-frame sensor. 660 00:25:36,774 --> 00:25:39,690 So you need to be careful that you buy the right lens for your camera. 661 00:25:39,690 --> 00:25:41,310 Because otherwise, this could happen to you. 662 00:25:41,310 --> 00:25:42,780 Or maybe the lens doesn't even fit. 663 00:25:42,780 --> 00:25:44,779 That's the other thing that could happen to you. 664 00:25:44,779 --> 00:25:46,830 So just be aware when you buy. 665 00:25:46,830 --> 00:25:51,850 AUDIENCE: One what other devices 666 00:25:51,850 --> 00:25:52,350 IAN: Yeah. 667 00:25:52,350 --> 00:25:55,710 So if you have a lens design for a full-frame camera. 668 00:25:55,710 --> 00:25:56,550 Right? 669 00:25:56,550 --> 00:25:58,800 As long as the lens mount and the flange up-- 670 00:25:58,800 --> 00:26:02,190 which is this distance up that mount to the sensor-- 671 00:26:02,190 --> 00:26:04,340 work for that camera body-- 672 00:26:04,340 --> 00:26:05,370 it has enough coverage. 673 00:26:05,370 --> 00:26:05,550 Right? 674 00:26:05,550 --> 00:26:08,280 This circle that we have projected here is the lens projection. 675 00:26:08,280 --> 00:26:09,270 It's called coverage. 676 00:26:09,270 --> 00:26:10,228 It has enough coverage. 677 00:26:10,228 --> 00:26:11,970 Just always cover a smaller sensor. 678 00:26:11,970 --> 00:26:13,770 But it doesn't go the other way. 679 00:26:13,770 --> 00:26:15,490 Or it often doesn't go the other way. 680 00:26:15,490 --> 00:26:17,281 Because if you think about it, there's sort 681 00:26:17,281 --> 00:26:21,570 of a economic reason why you might have a small-- like a lens with less 682 00:26:21,570 --> 00:26:23,100 coverage, it has less glass in it. 683 00:26:23,100 --> 00:26:24,000 It's less materials. 684 00:26:24,000 --> 00:26:24,750 So it's cheaper. 685 00:26:24,750 --> 00:26:26,080 It ends up being smaller. 686 00:26:26,080 --> 00:26:29,280 And if you will, that will work for a camera with a small sensor size. 687 00:26:29,280 --> 00:26:32,700 But if all of a sudden you put that on a camera with a larger sensor size, 688 00:26:32,700 --> 00:26:35,040 then you end up with this vignetting around the edges. 689 00:26:35,040 --> 00:26:37,290 And I think maybe we've all seen this in old pictures. 690 00:26:37,290 --> 00:26:40,710 Where you get that sort of darkness on the edges and 691 00:26:40,710 --> 00:26:43,865 it makes more of a circular oval. 692 00:26:43,865 --> 00:26:45,990 DAN: And so if you're investing in camera hardware, 693 00:26:45,990 --> 00:26:48,390 you might be like, oh, I'm going to not spend much money on a camera body, 694 00:26:48,390 --> 00:26:51,100 but I'm going to spend a lot of money on the lens. 695 00:26:51,100 --> 00:26:54,900 This is what might happen to you in reverse. 696 00:26:54,900 --> 00:26:57,480 You might buy a coverage that gives you all of this coverage, 697 00:26:57,480 --> 00:27:00,130 but you're really only using the center of that lens at any given time. 698 00:27:00,130 --> 00:27:02,970 So if you're buying a camera with a smaller sensor-- like Ian just 699 00:27:02,970 --> 00:27:04,890 described-- it might make more sense to buy 700 00:27:04,890 --> 00:27:08,040 the lens that has the circle that's a closer approximation to your sensor 701 00:27:08,040 --> 00:27:09,330 just because it's cheaper. 702 00:27:09,330 --> 00:27:11,955 And when you upgrade camera systems, at that point you consider 703 00:27:11,955 --> 00:27:15,095 do I upgrade my lenses as well? 704 00:27:15,095 --> 00:27:15,720 DAN: All right. 705 00:27:15,720 --> 00:27:16,590 Another zoom lens. 706 00:27:16,590 --> 00:27:17,730 It's the same markings. 707 00:27:17,730 --> 00:27:19,200 We've got our EF series. 708 00:27:19,200 --> 00:27:21,390 That's Canons mount. 709 00:27:21,390 --> 00:27:22,742 We've got the zoom range. 710 00:27:22,742 --> 00:27:23,700 We've got the aperture. 711 00:27:23,700 --> 00:27:24,720 This one is not variable. 712 00:27:24,720 --> 00:27:25,220 All right? 713 00:27:25,220 --> 00:27:26,970 So this is a zoom lens. 714 00:27:26,970 --> 00:27:28,870 But the aperture is fixed at 2.8. 715 00:27:28,870 --> 00:27:32,120 Which means that the aperture, even if you zoom all the way in, doesn't shift. 716 00:27:32,120 --> 00:27:33,560 It's always going to be 2.8. 717 00:27:33,560 --> 00:27:36,230 And again, we're going to talk about what 2.8 means next time. 718 00:27:36,230 --> 00:27:39,130 This little mark down here just tells you the diameter of the lens. 719 00:27:39,130 --> 00:27:41,090 So if you're going to buy a filter for it, 720 00:27:41,090 --> 00:27:42,739 that's the size filter you need to buy. 721 00:27:42,739 --> 00:27:44,780 That's not actually the focal length of the lens. 722 00:27:44,780 --> 00:27:47,371 723 00:27:47,371 --> 00:27:47,870 All right. 724 00:27:47,870 --> 00:27:48,828 And this is an EF lens. 725 00:27:48,828 --> 00:27:53,340 So like we just talked about, if you put this onto an APS-C sensor 726 00:27:53,340 --> 00:27:56,260 it's going to crop in. 727 00:27:56,260 --> 00:27:56,760 All right. 728 00:27:56,760 --> 00:28:00,510 So now, let's see what this does relationally. 729 00:28:00,510 --> 00:28:05,760 So this is specifically looking at our subject and background. 730 00:28:05,760 --> 00:28:08,310 So where is this guy? 731 00:28:08,310 --> 00:28:10,885 Do we know? 732 00:28:10,885 --> 00:28:12,040 AUDIENCE: Not exactly. 733 00:28:12,040 --> 00:28:12,891 DAN: Not exactly. 734 00:28:12,891 --> 00:28:13,390 OK. 735 00:28:13,390 --> 00:28:13,780 What do we see? 736 00:28:13,780 --> 00:28:14,860 Do we see something in the background? 737 00:28:14,860 --> 00:28:15,460 Take a guess. 738 00:28:15,460 --> 00:28:15,900 Where is he? 739 00:28:15,900 --> 00:28:16,691 AUDIENCE: A street. 740 00:28:16,691 --> 00:28:17,560 DAN: A street? 741 00:28:17,560 --> 00:28:18,379 OK. 742 00:28:18,379 --> 00:28:19,420 We go a little bit wider. 743 00:28:19,420 --> 00:28:23,230 And so the size of our subject is the same. 744 00:28:23,230 --> 00:28:25,550 This is roughly a medium shot or a medium close-up. 745 00:28:25,550 --> 00:28:26,050 Right? 746 00:28:26,050 --> 00:28:27,130 That hasn't changed. 747 00:28:27,130 --> 00:28:28,460 But what we see has changed. 748 00:28:28,460 --> 00:28:28,960 Right? 749 00:28:28,960 --> 00:28:31,120 And even how he looks has changed a little bit. 750 00:28:31,120 --> 00:28:33,950 And so what we've done is we've gone from a-- 751 00:28:33,950 --> 00:28:35,410 they're down here in the corner-- 752 00:28:35,410 --> 00:28:39,560 we've gone from a 280-millimeter to 100 millimeters. 753 00:28:39,560 --> 00:28:40,060 All right. 754 00:28:40,060 --> 00:28:43,420 And so we can see a little bit more of what's going on here. 755 00:28:43,420 --> 00:28:44,236 Keep coming out. 756 00:28:44,236 --> 00:28:47,110 We're starting to see a lot more information the farther out we come. 757 00:28:47,110 --> 00:28:47,610 Right? 758 00:28:47,610 --> 00:28:51,380 So we're down to a 50-millimeter lens or a normal lens. 759 00:28:51,380 --> 00:28:52,930 So we're out of the telephoto range. 760 00:28:52,930 --> 00:28:54,138 He looks pretty normal still. 761 00:28:54,138 --> 00:28:55,990 But we can now see he's in an alley. 762 00:28:55,990 --> 00:28:57,480 We see some cars. 763 00:28:57,480 --> 00:28:58,030 All right. 764 00:28:58,030 --> 00:28:59,440 Coming out even wider. 765 00:28:59,440 --> 00:29:01,762 Now, the cars are even getting farther away. 766 00:29:01,762 --> 00:29:02,720 So this is interesting. 767 00:29:02,720 --> 00:29:04,930 What's actually happening for the photographer 768 00:29:04,930 --> 00:29:08,260 here to keep the shot the same as we change our zoom? 769 00:29:08,260 --> 00:29:10,960 770 00:29:10,960 --> 00:29:11,866 Ralph? 771 00:29:11,866 --> 00:29:13,240 AUDIENCE: You have to get closer. 772 00:29:13,240 --> 00:29:13,660 DAN: OK. 773 00:29:13,660 --> 00:29:14,159 Yeah. 774 00:29:14,159 --> 00:29:17,760 So when we were back at 280 millimeters if I was shooting Ian 775 00:29:17,760 --> 00:29:19,980 I was probably some number of feet away. 776 00:29:19,980 --> 00:29:25,350 And as I zoom out or change my focal length to be farther out, 777 00:29:25,350 --> 00:29:28,211 then I'm walking in closer to get the same shot. 778 00:29:28,211 --> 00:29:28,710 Right? 779 00:29:28,710 --> 00:29:32,765 But what's happening to the background is really interesting as we do that. 780 00:29:32,765 --> 00:29:33,390 And here we go. 781 00:29:33,390 --> 00:29:36,540 We're down at 25 millimeters now. 782 00:29:36,540 --> 00:29:39,540 Starting to really get a little bit distorted. 783 00:29:39,540 --> 00:29:40,366 Would you say? 784 00:29:40,366 --> 00:29:42,990 Now we're getting that exaggeration that we saw with the ducks. 785 00:29:42,990 --> 00:29:43,489 Right? 786 00:29:43,489 --> 00:29:44,980 Is it flattering on a human being? 787 00:29:44,980 --> 00:29:45,480 No. 788 00:29:45,480 --> 00:29:47,100 I'm getting a head shake down here. 789 00:29:47,100 --> 00:29:49,380 Anybody in the back? 790 00:29:49,380 --> 00:29:49,952 No. 791 00:29:49,952 --> 00:29:50,910 And we get all the way. 792 00:29:50,910 --> 00:29:52,034 This is the widest we went. 793 00:29:52,034 --> 00:29:55,890 This is a 60-millimeter lens on a 35-millimeter sensor. 794 00:29:55,890 --> 00:29:59,131 So the equivalency is 60 millimeters. 795 00:29:59,131 --> 00:30:01,880 And you can almost no longer see those cars that we saw initially. 796 00:30:01,880 --> 00:30:02,310 Right? 797 00:30:02,310 --> 00:30:03,930 They were the biggest things in the frame. 798 00:30:03,930 --> 00:30:05,740 And now they're completely covered by him. 799 00:30:05,740 --> 00:30:07,540 So but he looks very different. 800 00:30:07,540 --> 00:30:08,040 Right? 801 00:30:08,040 --> 00:30:10,350 So. 802 00:30:10,350 --> 00:30:14,190 Very interesting trade-off that we're making here. 803 00:30:14,190 --> 00:30:15,200 The human body. 804 00:30:15,200 --> 00:30:18,210 It's the same thing. 805 00:30:18,210 --> 00:30:21,010 Things tend to be more flattering at longer lenses. 806 00:30:21,010 --> 00:30:24,940 And so at this lens here where we're at 400 millimeters, it's the same thing. 807 00:30:24,940 --> 00:30:25,440 Right? 808 00:30:25,440 --> 00:30:27,420 She's right in front of the storefront as far as we can tell. 809 00:30:27,420 --> 00:30:28,645 There's no sense of space. 810 00:30:28,645 --> 00:30:30,270 We don't know how much depth there is-- 811 00:30:30,270 --> 00:30:31,860 how far away she is from the store. 812 00:30:31,860 --> 00:30:35,280 Whereas if we move all the way down the spectrum to 24 millimeters, 813 00:30:35,280 --> 00:30:38,301 you're almost wondering where is that painted monkey storefront. 814 00:30:38,301 --> 00:30:38,800 Right? 815 00:30:38,800 --> 00:30:43,200 It's actually behind her because we feel like she's miles away from it now. 816 00:30:43,200 --> 00:30:46,050 So the relationship between your subject and the background 817 00:30:46,050 --> 00:30:48,000 probably depend on distance, but also depend 818 00:30:48,000 --> 00:30:50,300 on what lens you have on the camera-- 819 00:30:50,300 --> 00:30:52,061 whether it's wide, normal, or telephoto. 820 00:30:52,061 --> 00:30:54,650 821 00:30:54,650 --> 00:30:58,630 Specifically, looking at the human face. 822 00:30:58,630 --> 00:31:02,060 16 millimeters versus 280 millimeters. 823 00:31:02,060 --> 00:31:07,700 If you were getting your photo taken, let's say for work for a company page, 824 00:31:07,700 --> 00:31:09,800 which lens would you want to be photographed with? 825 00:31:09,800 --> 00:31:13,654 826 00:31:13,654 --> 00:31:14,945 I'm sorry say it little louder. 827 00:31:14,945 --> 00:31:16,220 AUDIENCE: 85. 828 00:31:16,220 --> 00:31:17,300 DAN: 85? 829 00:31:17,300 --> 00:31:18,470 OK. 830 00:31:18,470 --> 00:31:19,940 So down here. 831 00:31:19,940 --> 00:31:23,300 What happens is we come up here. 832 00:31:23,300 --> 00:31:28,790 Is there a big difference between these as we go way up? 833 00:31:28,790 --> 00:31:29,750 Not really. 834 00:31:29,750 --> 00:31:30,939 Right? 835 00:31:30,939 --> 00:31:33,230 It gets to the point where it's almost like his face is 836 00:31:33,230 --> 00:31:35,787 kind of shrinking inward a little bit which is interesting. 837 00:31:35,787 --> 00:31:38,870 But the biggest difference you'll notice just like we saw in the alleyway, 838 00:31:38,870 --> 00:31:41,619 is it's actually the background that changes the most drastically. 839 00:31:41,619 --> 00:31:45,020 And once we get past roughly here, it's the background 840 00:31:45,020 --> 00:31:46,730 that changes most drastically. 841 00:31:46,730 --> 00:31:50,720 You can see just how much bigger that background gets each time. 842 00:31:50,720 --> 00:31:52,160 But this isn't very flattering. 843 00:31:52,160 --> 00:31:52,370 Right? 844 00:31:52,370 --> 00:31:54,203 We wouldn't want to have our portraits taken 845 00:31:54,203 --> 00:31:57,080 with a wide-angle lens for how much distortion it adds 846 00:31:57,080 --> 00:31:58,880 and how much it elongates into your face. 847 00:31:58,880 --> 00:32:03,470 IAN: But conversely if you do have, say, a character in a situation 848 00:32:03,470 --> 00:32:07,430 where you want them to appear slightly unsettling or unnerving, choosing 849 00:32:07,430 --> 00:32:11,360 a wider angle lens to increase the distortion on the facial features 850 00:32:11,360 --> 00:32:13,070 might be very effective. 851 00:32:13,070 --> 00:32:18,890 And this happens often in suspenseful moments in films, or horror films, 852 00:32:18,890 --> 00:32:19,790 or some sci-fi films. 853 00:32:19,790 --> 00:32:23,870 Where they'll use the lensing to distort the features a little bit so that it 854 00:32:23,870 --> 00:32:26,070 just feels a little bit off. 855 00:32:26,070 --> 00:32:26,570 Right? 856 00:32:26,570 --> 00:32:29,660 And you can imagine in a conversation back and forth. 857 00:32:29,660 --> 00:32:33,154 If you shot me tight with a white on the lens and my features 858 00:32:33,154 --> 00:32:34,070 were really distorted. 859 00:32:34,070 --> 00:32:36,800 And you shot Dan from a little further away with an 85-millimeter 860 00:32:36,800 --> 00:32:40,250 and he looked really handsome, there would be this interesting flip-flop 861 00:32:40,250 --> 00:32:42,050 as we talked back and forth. 862 00:32:42,050 --> 00:32:44,099 And a difference in the way we were looking. 863 00:32:44,099 --> 00:32:45,890 And so you could use that to your advantage 864 00:32:45,890 --> 00:32:49,010 to set up some kind of relationship between us in some ways. 865 00:32:49,010 --> 00:32:49,610 Right? 866 00:32:49,610 --> 00:32:52,490 So all of these things-- even though conventionally we might say, 867 00:32:52,490 --> 00:32:54,656 oh, we want to take a beautiful portrait of someone. 868 00:32:54,656 --> 00:32:57,920 We're going to use sort of an 85 maybe a 100-millimeter lens. 869 00:32:57,920 --> 00:33:01,730 Don't shy away from using the artifacts of these lenses 870 00:33:01,730 --> 00:33:03,800 to do something a little bit stranger. 871 00:33:03,800 --> 00:33:04,640 Right? 872 00:33:04,640 --> 00:33:05,870 DAN: And I think the key there is little bit. 873 00:33:05,870 --> 00:33:06,370 Right? 874 00:33:06,370 --> 00:33:09,440 It's not it's not a binary thing, where you're either using 16 or 280. 875 00:33:09,440 --> 00:33:10,740 But you've got everything in between. 876 00:33:10,740 --> 00:33:12,560 So if you want to make somebody feel off just a little bit. 877 00:33:12,560 --> 00:33:14,825 Even getting close to the 24 millimeter lens or even 878 00:33:14,825 --> 00:33:18,360 the 35 is going to just add a little bit of distortion. 879 00:33:18,360 --> 00:33:21,110 So something to consider. 880 00:33:21,110 --> 00:33:22,520 The same goes for video. 881 00:33:22,520 --> 00:33:26,330 This is a video clip we've got Scully here in this video clip. 882 00:33:26,330 --> 00:33:29,534 But this shows the relationship between two people with different lenses. 883 00:33:29,534 --> 00:33:30,950 An inch-- or two frames show this. 884 00:33:30,950 --> 00:33:33,234 But this has the range in between as well. 885 00:33:33,234 --> 00:33:34,650 So let's just take a look at this. 886 00:33:34,650 --> 00:33:37,850 So these two characters on a 15-millimeter lens. 887 00:33:37,850 --> 00:33:44,310 888 00:33:44,310 --> 00:33:47,380 Right here's 35. 889 00:33:47,380 --> 00:33:50,230 Watch the size of them relative to each other as we go in here. 890 00:33:50,230 --> 00:33:55,340 891 00:33:55,340 --> 00:33:56,888 50 millimeters. 892 00:33:56,888 --> 00:34:04,356 893 00:34:04,356 --> 00:34:04,856 75. 894 00:34:04,856 --> 00:34:14,340 895 00:34:14,340 --> 00:34:23,989 100. 896 00:34:23,989 --> 00:34:26,510 150. 897 00:34:26,510 --> 00:34:27,389 Right? 898 00:34:27,389 --> 00:34:30,510 Where Scully was very large in the frame before, 899 00:34:30,510 --> 00:34:34,199 who's becoming the dominant person in the frame now? 900 00:34:34,199 --> 00:34:36,014 I mean, all the attention is on Dan-- 901 00:34:36,014 --> 00:34:37,139 the gentleman on the right. 902 00:34:37,139 --> 00:34:40,260 903 00:34:40,260 --> 00:34:41,310 So 260 millimeters. 904 00:34:41,310 --> 00:34:43,739 I think this is the farthest in we went. 905 00:34:43,739 --> 00:34:45,460 But I always think it's funny to do this. 906 00:34:45,460 --> 00:34:45,960 Right? 907 00:34:45,960 --> 00:34:48,751 Because you don't really notice it as it's a progression over time. 908 00:34:48,751 --> 00:34:52,050 But when you just whip back into the A to B comparison. 909 00:34:52,050 --> 00:34:53,429 Like, where are they? 910 00:34:53,429 --> 00:34:54,179 Now, you can tell. 911 00:34:54,179 --> 00:34:55,860 You get a sense of the space that they're in. 912 00:34:55,860 --> 00:34:57,750 And then bam, all the way to the other side. 913 00:34:57,750 --> 00:34:58,410 Right? 914 00:34:58,410 --> 00:35:00,870 Very, very different relationship between the two people. 915 00:35:00,870 --> 00:35:05,740 And very different message that you're sending between these two frames. 916 00:35:05,740 --> 00:35:08,550 So that takes us to this clip from Raiders of the Lost Ark 917 00:35:08,550 --> 00:35:14,530 which is a movie from 1981 where lens compression was used to the advantage 918 00:35:14,530 --> 00:35:15,030 here. 919 00:35:15,030 --> 00:35:15,696 [VIDEO PLAYBACK] 920 00:35:15,696 --> 00:35:17,525 [MUSIC PLAYING] 921 00:35:17,525 --> 00:35:22,030 [CROWD SHOUTING] 922 00:35:22,030 --> 00:35:22,530 High drama. 923 00:35:22,530 --> 00:35:23,571 They're right behind him. 924 00:35:23,571 --> 00:35:25,374 - (SHOUTING) Start the engine! 925 00:35:25,374 --> 00:35:28,687 Get it up! 926 00:35:28,687 --> 00:35:29,270 [END PLAYBACK] 927 00:35:29,270 --> 00:35:30,455 DAN: What happened? 928 00:35:30,455 --> 00:35:31,580 They were right behind him. 929 00:35:31,580 --> 00:35:32,800 AUDIENCE: He went really fast. 930 00:35:32,800 --> 00:35:32,851 DAN: All right. 931 00:35:32,851 --> 00:35:35,150 So someone describe for me, what did we just 932 00:35:35,150 --> 00:35:40,790 see in the first clip-- in the first shot that we saw? 933 00:35:40,790 --> 00:35:41,630 Lens compression. 934 00:35:41,630 --> 00:35:43,160 I see-- Ralph is making the hand motion. 935 00:35:43,160 --> 00:35:43,910 But lens compression. 936 00:35:43,910 --> 00:35:44,410 Right? 937 00:35:44,410 --> 00:35:47,030 We're shooting on a telephoto lens which compresses space 938 00:35:47,030 --> 00:35:49,100 and we can't tell how far away they are. 939 00:35:49,100 --> 00:35:51,840 And then we jump to this shot, which what does this do for us? 940 00:35:51,840 --> 00:35:55,130 941 00:35:55,130 --> 00:35:57,362 I mean, it's an interesting choice. 942 00:35:57,362 --> 00:35:58,820 But it takes you out of the moment. 943 00:35:58,820 --> 00:35:59,319 Right? 944 00:35:59,319 --> 00:36:01,970 This element of, "they're right behind him," goes away. 945 00:36:01,970 --> 00:36:03,620 And now like-- 946 00:36:03,620 --> 00:36:05,520 AUDIENCE: It gives him a chance to escape. 947 00:36:05,520 --> 00:36:06,020 DAN: Yeah. 948 00:36:06,020 --> 00:36:07,080 It gives him a chance to escape. 949 00:36:07,080 --> 00:36:07,579 Right? 950 00:36:07,579 --> 00:36:09,970 So it might give us as the audience some breathing room. 951 00:36:09,970 --> 00:36:13,520 But you know, also it kind of ratchets down this tension that's been building. 952 00:36:13,520 --> 00:36:16,530 So I think it's just an interesting choice to look at. 953 00:36:16,530 --> 00:36:17,030 All right. 954 00:36:17,030 --> 00:36:19,640 So we keep looking at different shots sizes. 955 00:36:19,640 --> 00:36:23,210 So let's start to talk about the way that we describe shots. 956 00:36:23,210 --> 00:36:25,310 And this is particularly relevant to video. 957 00:36:25,310 --> 00:36:27,500 And the reason we do this-- we categorize 958 00:36:27,500 --> 00:36:29,820 shot sizes is to keep everybody on the same page. 959 00:36:29,820 --> 00:36:33,562 So when I say, hey, I want to go get a wide shot or a medium shot. 960 00:36:33,562 --> 00:36:36,020 The rest of the people on the crew who are shooting with me 961 00:36:36,020 --> 00:36:38,150 know exactly what kind of shot we're going to get. 962 00:36:38,150 --> 00:36:41,390 So we standardized our language for this. 963 00:36:41,390 --> 00:36:45,430 So we have the extreme wide shot, which this is an example of. 964 00:36:45,430 --> 00:36:47,840 It's abbreviated either EWS or XWS. 965 00:36:47,840 --> 00:36:51,710 And these are just if you're making a shot list, or making notes to yourself, 966 00:36:51,710 --> 00:36:53,240 you might just abbreviate. 967 00:36:53,240 --> 00:36:55,820 But what is it that we get from an extreme wide shot? 968 00:36:55,820 --> 00:36:58,780 969 00:36:58,780 --> 00:37:00,010 A very big sense of scale. 970 00:37:00,010 --> 00:37:00,509 Right? 971 00:37:00,509 --> 00:37:01,570 You get a sense of place. 972 00:37:01,570 --> 00:37:04,510 If you're establishing a location this might be a shot 973 00:37:04,510 --> 00:37:09,430 that you choose because you get so much information in the frame. 974 00:37:09,430 --> 00:37:09,970 Right? 975 00:37:09,970 --> 00:37:13,060 And we'll work our way in here. 976 00:37:13,060 --> 00:37:17,106 So a wide shot, also handy to establish a scene. 977 00:37:17,106 --> 00:37:18,730 You get a lot of information out of it. 978 00:37:18,730 --> 00:37:19,480 You get more detail. 979 00:37:19,480 --> 00:37:19,980 Right? 980 00:37:19,980 --> 00:37:22,870 And this is the theme of working your way in tighter 981 00:37:22,870 --> 00:37:24,460 as you start to see more details. 982 00:37:24,460 --> 00:37:30,690 But you might lose the sense of scale or the overall sense of place. 983 00:37:30,690 --> 00:37:31,190 All right. 984 00:37:31,190 --> 00:37:32,390 You guys know, the wide shot. 985 00:37:32,390 --> 00:37:33,290 We've seen this one before. 986 00:37:33,290 --> 00:37:33,800 Right? 987 00:37:33,800 --> 00:37:36,080 Hopefully, this was a fun assignment for you. 988 00:37:36,080 --> 00:37:39,920 And like I said, just because you have a wide shot doesn't 989 00:37:39,920 --> 00:37:41,660 mean that you're on a wide-angle lens. 990 00:37:41,660 --> 00:37:44,610 So we can look at a very similar shot. 991 00:37:44,610 --> 00:37:45,110 Right? 992 00:37:45,110 --> 00:37:49,430 But on this frame here this is, I believe, a normal lens or slightly 993 00:37:49,430 --> 00:37:50,960 telephoto lens. 994 00:37:50,960 --> 00:37:52,449 And this one is a wide-angle lens. 995 00:37:52,449 --> 00:37:53,490 They're roughly the same. 996 00:37:53,490 --> 00:37:53,630 Right? 997 00:37:53,630 --> 00:37:54,860 This one's a little bit wide. 998 00:37:54,860 --> 00:37:57,170 But the two frames feel very different. 999 00:37:57,170 --> 00:38:00,814 So which you might choose, it totally depends on what kind of story 1000 00:38:00,814 --> 00:38:02,980 you're trying to tell, or what you're trying to say, 1001 00:38:02,980 --> 00:38:04,480 or if you want things to feel weird. 1002 00:38:04,480 --> 00:38:07,340 What's the other difference in this besides the previous one? 1003 00:38:07,340 --> 00:38:09,270 AUDIENCE: The carpet is distorted. 1004 00:38:09,270 --> 00:38:09,770 DAN: Yeah. 1005 00:38:09,770 --> 00:38:10,280 It's distorted. 1006 00:38:10,280 --> 00:38:10,820 The carpet? 1007 00:38:10,820 --> 00:38:11,319 Yeah. 1008 00:38:11,319 --> 00:38:13,130 And why do we notice the carpet more? 1009 00:38:13,130 --> 00:38:14,649 Where's the camera that does that? 1010 00:38:14,649 --> 00:38:15,440 AUDIENCE: Down low. 1011 00:38:15,440 --> 00:38:15,970 DAN: Down low. 1012 00:38:15,970 --> 00:38:16,190 Yeah. 1013 00:38:16,190 --> 00:38:18,330 So the camera's almost on the ground in this one. 1014 00:38:18,330 --> 00:38:18,830 Right? 1015 00:38:18,830 --> 00:38:21,370 And with a wide lens, it exaggerates them, their height. 1016 00:38:21,370 --> 00:38:23,450 They feel taller. 1017 00:38:23,450 --> 00:38:27,240 All the lines get distorted up top, and we see more of the carpet. 1018 00:38:27,240 --> 00:38:29,990 IAN: Well, it also becomes a little bit more about the environment 1019 00:38:29,990 --> 00:38:30,800 that they're in. 1020 00:38:30,800 --> 00:38:35,660 Whereas the previous shot was a lot about their relationship together. 1021 00:38:35,660 --> 00:38:37,730 And this in some ways feels a little bit more 1022 00:38:37,730 --> 00:38:41,420 about their experience in this larger space. 1023 00:38:41,420 --> 00:38:44,300 And so you can think about using this for narrative intent too. 1024 00:38:44,300 --> 00:38:47,312 If you have some kind of story that is about, say, 1025 00:38:47,312 --> 00:38:48,770 it's the opening of a new building. 1026 00:38:48,770 --> 00:38:50,770 Then maybe you're going to use a wide-angle lens 1027 00:38:50,770 --> 00:38:52,796 to show the expansiveness of the building 1028 00:38:52,796 --> 00:38:55,670 while you're interviewing the director of that building or something. 1029 00:38:55,670 --> 00:38:57,749 Or conversely, if you have a story that's 1030 00:38:57,749 --> 00:39:00,290 maybe just two people who are in a relationship or something, 1031 00:39:00,290 --> 00:39:02,572 and the environment doesn't matter. 1032 00:39:02,572 --> 00:39:05,280 Then maybe you'll choose something that really focuses in on them 1033 00:39:05,280 --> 00:39:08,101 and feels much more contained and confined. 1034 00:39:08,101 --> 00:39:08,600 OK. 1035 00:39:08,600 --> 00:39:11,450 1036 00:39:11,450 --> 00:39:12,500 DAN: All right. 1037 00:39:12,500 --> 00:39:13,940 Continuing to work our way in. 1038 00:39:13,940 --> 00:39:15,200 Here's a full shot. 1039 00:39:15,200 --> 00:39:17,480 And this is typically somebody's body from head 1040 00:39:17,480 --> 00:39:19,310 to toe without cutting them off. 1041 00:39:19,310 --> 00:39:20,400 And it's the same thing. 1042 00:39:20,400 --> 00:39:22,025 You can multiple people in a full shot. 1043 00:39:22,025 --> 00:39:24,500 But the idea is it's about the height of a person 1044 00:39:24,500 --> 00:39:27,080 and depending on the width of your frame you'll 1045 00:39:27,080 --> 00:39:29,610 get all the information around them. 1046 00:39:29,610 --> 00:39:30,110 All right. 1047 00:39:30,110 --> 00:39:30,950 So here's three people. 1048 00:39:30,950 --> 00:39:34,116 And we've even got someone's shoulder cut off at the edge of the frame here. 1049 00:39:34,116 --> 00:39:36,501 1050 00:39:36,501 --> 00:39:37,000 All right. 1051 00:39:37,000 --> 00:39:38,000 Medium-wide shot. 1052 00:39:38,000 --> 00:39:40,210 So now we're above the ankle. 1053 00:39:40,210 --> 00:39:44,610 We're below the waist still and this is working our way in. 1054 00:39:44,610 --> 00:39:47,940 1055 00:39:47,940 --> 00:39:49,110 Another medium wide shot. 1056 00:39:49,110 --> 00:39:49,610 Right? 1057 00:39:49,610 --> 00:39:51,930 So it's a little bit looser than the waist. 1058 00:39:51,930 --> 00:39:53,640 Good shot to put multiple people together 1059 00:39:53,640 --> 00:39:57,930 on if you're trying to give a full sense of people 1060 00:39:57,930 --> 00:40:01,480 and the relationship between them. 1061 00:40:01,480 --> 00:40:05,970 Medium shot this one is pretty much at the waist to just above the head 1062 00:40:05,970 --> 00:40:08,050 all right and it doesn't matter what the frame 1063 00:40:08,050 --> 00:40:11,740 you could have a square frame or a 16 X 9 frame 1064 00:40:11,740 --> 00:40:13,500 and it's the same amount of space. 1065 00:40:13,500 --> 00:40:14,000 Right? 1066 00:40:14,000 --> 00:40:15,708 Still at the waist to just over the head. 1067 00:40:15,708 --> 00:40:19,750 That is what makes up a medium shot. 1068 00:40:19,750 --> 00:40:20,610 Medium close-up. 1069 00:40:20,610 --> 00:40:21,109 right? 1070 00:40:21,109 --> 00:40:23,537 We're starting to lose, in particular, the background. 1071 00:40:23,537 --> 00:40:25,870 And we know we can cheat this by using a different lens. 1072 00:40:25,870 --> 00:40:28,960 If we used a wider-angle lens we might see more of the background . 1073 00:40:28,960 --> 00:40:31,709 But we're starting to really focus on our character at this point. 1074 00:40:31,709 --> 00:40:33,842 It's becoming very clearly about them, or an item 1075 00:40:33,842 --> 00:40:35,050 or whatever is in your frame. 1076 00:40:35,050 --> 00:40:37,642 1077 00:40:37,642 --> 00:40:38,440 All right? 1078 00:40:38,440 --> 00:40:39,040 Close-up. 1079 00:40:39,040 --> 00:40:42,475 We're now starting to possibly cut off the top of the head. 1080 00:40:42,475 --> 00:40:45,652 We're just below the chin typically. 1081 00:40:45,652 --> 00:40:47,610 And so this is where you get a lot more detail. 1082 00:40:47,610 --> 00:40:47,770 Right? 1083 00:40:47,770 --> 00:40:49,603 We're starting to see a lot more of the eyes 1084 00:40:49,603 --> 00:40:55,494 and get the expression, and the emotional state of the character. 1085 00:40:55,494 --> 00:40:56,910 And then we have extreme close-up. 1086 00:40:56,910 --> 00:40:59,230 This is kind of the opposite of our extreme wide shot. 1087 00:40:59,230 --> 00:40:59,730 Right? 1088 00:40:59,730 --> 00:41:01,500 This is just a piece of something. 1089 00:41:01,500 --> 00:41:04,740 And oftentimes it's used to reveal a different detail where you 1090 00:41:04,740 --> 00:41:08,280 might see what somebody is looking at. 1091 00:41:08,280 --> 00:41:12,210 Or you might get a sense of how they're feeling 1092 00:41:12,210 --> 00:41:13,960 because of how their eyes are moving. 1093 00:41:13,960 --> 00:41:15,930 There's lots of different reasons to use this. 1094 00:41:15,930 --> 00:41:18,180 And it doesn't have to be of a person. 1095 00:41:18,180 --> 00:41:20,640 We usually talk about shot sizes in relation to people 1096 00:41:20,640 --> 00:41:23,880 but you can have an extreme close-up of an object 1097 00:41:23,880 --> 00:41:25,630 where you only see a piece of it. 1098 00:41:25,630 --> 00:41:26,130 IAN: Right. 1099 00:41:26,130 --> 00:41:29,790 And think about the Hitchcock rule that Dan alluded to a couple of weeks ago, 1100 00:41:29,790 --> 00:41:32,970 where the larger an object, the more important it is. 1101 00:41:32,970 --> 00:41:37,860 And much of our job as editors, and directors, and filmmakers, 1102 00:41:37,860 --> 00:41:38,910 focusing attention. 1103 00:41:38,910 --> 00:41:42,990 So the extreme global close-up is really useful if there's some sort of item 1104 00:41:42,990 --> 00:41:46,590 that you really want to draw the audience's attention to. 1105 00:41:46,590 --> 00:41:47,750 And you'll see that a lot. 1106 00:41:47,750 --> 00:41:50,499 The close-up on the briefcase, or something like that. 1107 00:41:50,499 --> 00:41:52,290 AUDIENCE: What focal length would you reach 1108 00:41:52,290 --> 00:41:55,582 for when you know you want to frame a shot on someone's face, for instance. 1109 00:41:55,582 --> 00:41:57,540 DAN: So what focal length would you want if you 1110 00:41:57,540 --> 00:41:58,620 wanted to get a shot someone's face? 1111 00:41:58,620 --> 00:42:00,120 It depends on what you want to tell. 1112 00:42:00,120 --> 00:42:03,630 We've seen that you can use a wide-angle lens and get very close to somebody 1113 00:42:03,630 --> 00:42:04,994 and have an extreme close-up. 1114 00:42:04,994 --> 00:42:08,160 But the effect is you're going to really distort their face and elongate it. 1115 00:42:08,160 --> 00:42:11,490 And you're going to get a wide area of the background. 1116 00:42:11,490 --> 00:42:15,719 Whereas if you want to focus on them you might reach for a telephoto lens 1117 00:42:15,719 --> 00:42:17,510 where you compress the background, throw it 1118 00:42:17,510 --> 00:42:19,551 in soft focus and not really notice what's there, 1119 00:42:19,551 --> 00:42:21,492 but really focus on the person themselves. 1120 00:42:21,492 --> 00:42:23,700 So it depends on what it is you're trying to achieve. 1121 00:42:23,700 --> 00:42:27,220 1122 00:42:27,220 --> 00:42:27,720 All right. 1123 00:42:27,720 --> 00:42:28,170 Quick quiz. 1124 00:42:28,170 --> 00:42:31,086 You guys have been sitting here letting us do all the talking up here. 1125 00:42:31,086 --> 00:42:32,490 So let's play this game. 1126 00:42:32,490 --> 00:42:33,600 What shot size is this? 1127 00:42:33,600 --> 00:42:37,820 1128 00:42:37,820 --> 00:42:39,674 Max? 1129 00:42:39,674 --> 00:42:40,610 AUDIENCE: [INAUDIBLE] 1130 00:42:40,610 --> 00:42:41,240 DAN: I heard close-up. 1131 00:42:41,240 --> 00:42:41,740 No. 1132 00:42:41,740 --> 00:42:42,820 Not focal length, Max. 1133 00:42:42,820 --> 00:42:43,781 What shot size. 1134 00:42:43,781 --> 00:42:44,280 Right? 1135 00:42:44,280 --> 00:42:45,020 So this is a close-up up. 1136 00:42:45,020 --> 00:42:45,521 Exactly. 1137 00:42:45,521 --> 00:42:46,020 Right? 1138 00:42:46,020 --> 00:42:48,020 So we're chopping off just the top of the head. 1139 00:42:48,020 --> 00:42:49,786 We're just below the chin. 1140 00:42:49,786 --> 00:42:51,572 How about this? 1141 00:42:51,572 --> 00:42:52,870 AUDIENCE: XWS. 1142 00:42:52,870 --> 00:42:54,555 DAN: XWS? 1143 00:42:54,555 --> 00:42:55,055 Possibly. 1144 00:42:55,055 --> 00:42:56,234 Or maybe just a wide shot. 1145 00:42:56,234 --> 00:42:56,900 AUDIENCE: Maybe. 1146 00:42:56,900 --> 00:42:57,400 DAN: Right? 1147 00:42:57,400 --> 00:42:58,910 It's in-between. 1148 00:42:58,910 --> 00:43:01,235 We don't have a full sense of where we are necessarily. 1149 00:43:01,235 --> 00:43:02,360 AUDIENCE: Just a wide shot. 1150 00:43:02,360 --> 00:43:03,640 DAN: But, yeah. 1151 00:43:03,640 --> 00:43:04,340 Wide shot. 1152 00:43:04,340 --> 00:43:07,790 And these-- we're going to differ on exactly what our definitions are too. 1153 00:43:07,790 --> 00:43:09,130 it's not a hard and fast rule. 1154 00:43:09,130 --> 00:43:10,812 These are just guidelines as filmmakers. 1155 00:43:10,812 --> 00:43:12,770 And we can communicate with each other quickly. 1156 00:43:12,770 --> 00:43:15,020 I say, hey, go set up the camera and give me a wide shot. 1157 00:43:15,020 --> 00:43:15,519 Right? 1158 00:43:15,519 --> 00:43:18,204 You know I'm expecting something along the lines of this. 1159 00:43:18,204 --> 00:43:20,120 Whereas if I said give me an extreme close-up, 1160 00:43:20,120 --> 00:43:21,680 you're going to reach for a different lens probably. 1161 00:43:21,680 --> 00:43:23,510 Or you're going to put the camera in a different position. 1162 00:43:23,510 --> 00:43:25,940 So it's all about just kind of fluidity of working quickly 1163 00:43:25,940 --> 00:43:27,947 together or visualizing your shots. 1164 00:43:27,947 --> 00:43:29,780 You might you might make a shot list and say 1165 00:43:29,780 --> 00:43:32,154 I want to go from the medium shot to the close-up up shot 1166 00:43:32,154 --> 00:43:33,380 to the extreme close-up. 1167 00:43:33,380 --> 00:43:35,450 And everybody knows what that progression 1168 00:43:35,450 --> 00:43:37,670 looks like as you're talking about it even if you don't know exactly 1169 00:43:37,670 --> 00:43:39,211 what the frame is going to look like. 1170 00:43:39,211 --> 00:43:42,090 1171 00:43:42,090 --> 00:43:42,630 This one? 1172 00:43:42,630 --> 00:43:44,006 AUDIENCE: Medium close-up. 1173 00:43:44,006 --> 00:43:44,880 DAN: Medium close-up. 1174 00:43:44,880 --> 00:43:45,520 Very good. 1175 00:43:45,520 --> 00:43:45,770 Yeah. 1176 00:43:45,770 --> 00:43:47,436 So we're above the waist by quite a bit. 1177 00:43:47,436 --> 00:43:51,330 We're at the chest to just over the head. 1178 00:43:51,330 --> 00:43:52,530 Somebody new. 1179 00:43:52,530 --> 00:43:54,414 How about someone from the internet. 1180 00:43:54,414 --> 00:43:55,080 What's this one? 1181 00:43:55,080 --> 00:43:58,904 1182 00:43:58,904 --> 00:44:00,620 Just unmute yourself and let me know. 1183 00:44:00,620 --> 00:44:04,951 1184 00:44:04,951 --> 00:44:05,450 Oh, man. 1185 00:44:05,450 --> 00:44:07,116 We got crickets on the internet tonight. 1186 00:44:07,116 --> 00:44:10,100 Kareem, what's this? 1187 00:44:10,100 --> 00:44:11,820 AUDIENCE: I'm seeing-- sorry. 1188 00:44:11,820 --> 00:44:12,320 Sorry. 1189 00:44:12,320 --> 00:44:13,130 Sorry. 1190 00:44:13,130 --> 00:44:15,774 I'm seeing medium wide shot from [? Jacqueline. ?] 1191 00:44:15,774 --> 00:44:16,690 DAN: Medium wide shot. 1192 00:44:16,690 --> 00:44:17,690 Scully, I like it. 1193 00:44:17,690 --> 00:44:18,560 That's what it is. 1194 00:44:18,560 --> 00:44:20,060 AUDIENCE: I'm saying from [? Jacqueline. ?] 1195 00:44:20,060 --> 00:44:20,490 DAN: Oh. 1196 00:44:20,490 --> 00:44:20,840 OK. 1197 00:44:20,840 --> 00:44:21,200 Great. 1198 00:44:21,200 --> 00:44:22,910 You're relaying from [? Jacqueline. ?] So yes. 1199 00:44:22,910 --> 00:44:23,980 This is a medium wide shot. 1200 00:44:23,980 --> 00:44:25,640 So we're cutting off the feet a little bit. 1201 00:44:25,640 --> 00:44:27,200 And this could be a little bit tighter. 1202 00:44:27,200 --> 00:44:29,450 I like this shot because they also call it the cowboy. 1203 00:44:29,450 --> 00:44:31,450 And the idea is you can see the guns get pulled. 1204 00:44:31,450 --> 00:44:31,950 Right? 1205 00:44:31,950 --> 00:44:33,665 So the cowboy shot from the holsters. 1206 00:44:33,665 --> 00:44:36,530 1207 00:44:36,530 --> 00:44:38,935 AUDIENCE: Also seeing a full shot. 1208 00:44:38,935 --> 00:44:40,310 DAN: It was close to a full shot. 1209 00:44:40,310 --> 00:44:40,810 Right? 1210 00:44:40,810 --> 00:44:44,050 Full shot would traditionally be feet to head. 1211 00:44:44,050 --> 00:44:48,200 We were cutting off the feet a little bit in the previous frame. 1212 00:44:48,200 --> 00:44:50,704 How about this one? 1213 00:44:50,704 --> 00:44:51,620 AUDIENCE: Medium shot. 1214 00:44:51,620 --> 00:44:52,220 DAN: Medium shot. 1215 00:44:52,220 --> 00:44:52,400 Yeah. 1216 00:44:52,400 --> 00:44:53,060 Right at the waist. 1217 00:44:53,060 --> 00:44:53,560 Right? 1218 00:44:53,560 --> 00:44:56,866 1219 00:44:56,866 --> 00:44:57,990 AUDIENCE: Extreme close-up. 1220 00:44:57,990 --> 00:44:58,680 DAN: Extreme close-up. 1221 00:44:58,680 --> 00:44:59,580 This one's obvious right? 1222 00:44:59,580 --> 00:45:01,950 But again, we're seeing what's being reflected in the eye 1223 00:45:01,950 --> 00:45:03,180 more so than what we're seeing-- 1224 00:45:03,180 --> 00:45:04,638 well, I guess we're seeing the eye. 1225 00:45:04,638 --> 00:45:08,700 But a good chance to see what is being seen in this case. 1226 00:45:08,700 --> 00:45:10,000 A big white card in the lens. 1227 00:45:10,000 --> 00:45:11,364 So-- 1228 00:45:11,364 --> 00:45:12,340 AUDIENCE: [INAUDIBLE]. 1229 00:45:12,340 --> 00:45:13,950 DAN: Yeah. 1230 00:45:13,950 --> 00:45:16,300 That's true. 1231 00:45:16,300 --> 00:45:17,699 This one? 1232 00:45:17,699 --> 00:45:18,324 AUDIENCE: Full. 1233 00:45:18,324 --> 00:45:19,050 DAN: Full shot. 1234 00:45:19,050 --> 00:45:19,549 Yeah. 1235 00:45:19,549 --> 00:45:20,550 Head to toe. 1236 00:45:20,550 --> 00:45:21,060 Very good. 1237 00:45:21,060 --> 00:45:27,070 1238 00:45:27,070 --> 00:45:30,630 Another-- well, don't get confused by what lens we used. 1239 00:45:30,630 --> 00:45:31,130 Right? 1240 00:45:31,130 --> 00:45:33,751 This is all the size of the person. 1241 00:45:33,751 --> 00:45:34,250 I'm sorry. 1242 00:45:34,250 --> 00:45:35,090 You're saying? 1243 00:45:35,090 --> 00:45:35,890 AUDIENCE: Medium close-up. 1244 00:45:35,890 --> 00:45:36,765 DAN: Medium close-up. 1245 00:45:36,765 --> 00:45:37,780 Yeah. 1246 00:45:37,780 --> 00:45:40,509 How about this one? 1247 00:45:40,509 --> 00:45:41,134 AUDIENCE: Wide. 1248 00:45:41,134 --> 00:45:42,082 Medium wide. 1249 00:45:42,082 --> 00:45:42,740 Medium wide. 1250 00:45:42,740 --> 00:45:43,670 DAN: Medium wide. 1251 00:45:43,670 --> 00:45:44,685 Why? 1252 00:45:44,685 --> 00:45:45,830 [INTERPOSING VOICES] 1253 00:45:45,830 --> 00:45:47,580 DAN: But we're not talking about the lens, 1254 00:45:47,580 --> 00:45:48,840 we're talking about the shot size. 1255 00:45:48,840 --> 00:45:49,380 Right? 1256 00:45:49,380 --> 00:45:51,580 So these are both medium closeups. 1257 00:45:51,580 --> 00:45:52,080 Right? 1258 00:45:52,080 --> 00:45:54,210 From the chest to top of head. 1259 00:45:54,210 --> 00:45:54,840 Right? 1260 00:45:54,840 --> 00:45:56,131 From the chest the top of head. 1261 00:45:56,131 --> 00:46:00,390 It's the same shot but because we've added this element of a wide lens 1262 00:46:00,390 --> 00:46:01,760 they feel very different. 1263 00:46:01,760 --> 00:46:02,460 Right? 1264 00:46:02,460 --> 00:46:06,030 So much more important is all the elements 1265 00:46:06,030 --> 00:46:08,470 that make up your frame than just, what shot size is it? 1266 00:46:08,470 --> 00:46:08,970 Right. 1267 00:46:08,970 --> 00:46:12,851 When you're talking about intention. 1268 00:46:12,851 --> 00:46:13,700 All right. 1269 00:46:13,700 --> 00:46:16,070 So we're almost an hour into our lecture here. 1270 00:46:16,070 --> 00:46:18,070 We're next going to go into what is composition. 1271 00:46:18,070 --> 00:46:20,020 But I think this might actually be a good point 1272 00:46:20,020 --> 00:46:21,436 to take a quick five minute break. 1273 00:46:21,436 --> 00:46:22,480 Use the bathroom. 1274 00:46:22,480 --> 00:46:25,930 Work out any online audio issues we're having. 1275 00:46:25,930 --> 00:46:28,446 And we'll see you in about five minutes. 1276 00:46:28,446 --> 00:46:30,820 All right sorry to interrupt what's going on online here. 1277 00:46:30,820 --> 00:46:32,890 I just want to come back real quick. 1278 00:46:32,890 --> 00:46:34,240 So welcome back to the lecture. 1279 00:46:34,240 --> 00:46:36,340 There was some confusion about some of the stuff 1280 00:46:36,340 --> 00:46:38,250 that we talked about in the first half of the lecture. 1281 00:46:38,250 --> 00:46:40,375 And I just want to address focal length real quick. 1282 00:46:40,375 --> 00:46:44,530 So focal length is a measurement in the lens that describes 1283 00:46:44,530 --> 00:46:46,210 the distance in the lens itself. 1284 00:46:46,210 --> 00:46:47,200 But that's irrelevant. 1285 00:46:47,200 --> 00:46:51,224 And even the millimeters that we're talking about is irrelevant. 1286 00:46:51,224 --> 00:46:53,890 Because what you really need to do is put the lens on the camera 1287 00:46:53,890 --> 00:46:54,723 and look through it. 1288 00:46:54,723 --> 00:46:58,300 Because that'll give you a sense of, is the lens to have a wide field of view, 1289 00:46:58,300 --> 00:47:00,590 a normal field of view, or a telephoto field of view? 1290 00:47:00,590 --> 00:47:02,410 So are you seeing a lot of Information? 1291 00:47:02,410 --> 00:47:03,700 Is there distortion? 1292 00:47:03,700 --> 00:47:06,190 Is the space exaggerated? 1293 00:47:06,190 --> 00:47:07,179 Or is it normal? 1294 00:47:07,179 --> 00:47:09,220 Like, it's a spatial relationship similar to what 1295 00:47:09,220 --> 00:47:10,550 we see with the human eye? 1296 00:47:10,550 --> 00:47:13,100 Or do people overlap in the same way? 1297 00:47:13,100 --> 00:47:15,580 Or it's a telephoto where space is compressed 1298 00:47:15,580 --> 00:47:19,390 and we can no longer see what it is that-- or how far apart things are? 1299 00:47:19,390 --> 00:47:21,230 It's like Ian described earlier. 1300 00:47:21,230 --> 00:47:23,900 It's like taking a piece of paper and folding it in half. 1301 00:47:23,900 --> 00:47:26,800 You can move the distance back and forth and you 1302 00:47:26,800 --> 00:47:30,762 can't tell because it's just two flat planes that are compressed together. 1303 00:47:30,762 --> 00:47:32,470 So that's all we're really talking about. 1304 00:47:32,470 --> 00:47:36,430 If you take nothing else away just know that we describe focal length 1305 00:47:36,430 --> 00:47:40,030 in these three broad categories of wide, normal, and telephoto. 1306 00:47:40,030 --> 00:47:42,280 And what you really need to do is look down. 1307 00:47:42,280 --> 00:47:44,290 Put the lens on your camera and look down it 1308 00:47:44,290 --> 00:47:46,960 to see what you're actually looking at. 1309 00:47:46,960 --> 00:47:50,680 And the characteristics being expansion of space, compression of space, 1310 00:47:50,680 --> 00:47:51,895 or somewhere in between. 1311 00:47:51,895 --> 00:47:54,310 Does that make sense? 1312 00:47:54,310 --> 00:47:55,360 All right. 1313 00:47:55,360 --> 00:47:57,790 So onto composition. 1314 00:47:57,790 --> 00:47:59,172 And so I love this quote. 1315 00:47:59,172 --> 00:48:00,880 I just think it's a really good summation 1316 00:48:00,880 --> 00:48:02,171 of what it is that we're doing. 1317 00:48:02,171 --> 00:48:06,220 So composition selects and emphasizes elements such as size, shape, order, 1318 00:48:06,220 --> 00:48:09,670 dominance, hierarchy pattern, resonance, and discordance, 1319 00:48:09,670 --> 00:48:12,100 in ways that give meaning to things beyond being 1320 00:48:12,100 --> 00:48:15,430 photographed that goes beyond the simple-- this is really 1321 00:48:15,430 --> 00:48:16,420 the key moment here. 1322 00:48:16,420 --> 00:48:17,584 Forget my bumble there-- 1323 00:48:17,584 --> 00:48:19,000 beyond the simple "here they are." 1324 00:48:19,000 --> 00:48:19,500 Right? 1325 00:48:19,500 --> 00:48:21,497 So this is showing an image with intention. 1326 00:48:21,497 --> 00:48:23,830 Showing your subject with intention and making decisions 1327 00:48:23,830 --> 00:48:25,510 about why you're putting it out there. 1328 00:48:25,510 --> 00:48:28,752 So that's what we're doing with composition is we are going beyond, 1329 00:48:28,752 --> 00:48:29,710 hey, I took a snapshot. 1330 00:48:29,710 --> 00:48:30,668 Doesn't this look cool? 1331 00:48:30,668 --> 00:48:34,450 And we're saying I'm intentionally showing you this image this way. 1332 00:48:34,450 --> 00:48:34,960 All right? 1333 00:48:34,960 --> 00:48:39,900 And so in our normal daily life, we see things in three dimensions. 1334 00:48:39,900 --> 00:48:40,400 Right? 1335 00:48:40,400 --> 00:48:42,970 Things have an X and a Y and a Z axis. 1336 00:48:42,970 --> 00:48:45,000 But we need to overcome this in a frame. 1337 00:48:45,000 --> 00:48:48,730 Because the still image is typically still just two dimensions. 1338 00:48:48,730 --> 00:48:53,470 And we need to overcome this by adding elements that give us depth. 1339 00:48:53,470 --> 00:48:56,824 That's a lot of what creating depth is all about. 1340 00:48:56,824 --> 00:48:58,240 And there are some tricks to this. 1341 00:48:58,240 --> 00:49:03,111 So for one, we create depth by having things in the foreground. 1342 00:49:03,111 --> 00:49:03,610 All right? 1343 00:49:03,610 --> 00:49:06,950 That's the things that are in front of your subject. 1344 00:49:06,950 --> 00:49:10,420 We have the middle ground of our image, which typically is the subject. 1345 00:49:10,420 --> 00:49:12,550 And then we have the background as well. 1346 00:49:12,550 --> 00:49:16,629 And we think about these three things separately as three different planes 1347 00:49:16,629 --> 00:49:17,170 in our image. 1348 00:49:17,170 --> 00:49:23,080 And how far away your foreground is from middle ground to your background 1349 00:49:23,080 --> 00:49:27,010 depends on your lens choice and how you put your image together. 1350 00:49:27,010 --> 00:49:30,340 But we'll talk about foreground, middle ground, and background elements 1351 00:49:30,340 --> 00:49:33,111 as we create depth in an image. 1352 00:49:33,111 --> 00:49:33,610 All right. 1353 00:49:33,610 --> 00:49:34,590 So here's an image. 1354 00:49:34,590 --> 00:49:35,090 Right? 1355 00:49:35,090 --> 00:49:39,901 We've got some foreground elements leading us into this image. 1356 00:49:39,901 --> 00:49:41,650 We've got our subject in the middle ground 1357 00:49:41,650 --> 00:49:46,810 and then our background falls nicely out of focus really highlighting 1358 00:49:46,810 --> 00:49:47,410 my son here. 1359 00:49:47,410 --> 00:49:48,280 IAN: The handsome young man. 1360 00:49:48,280 --> 00:49:49,446 DAN: The handsome young man. 1361 00:49:49,446 --> 00:49:50,920 Thank you. 1362 00:49:50,920 --> 00:49:56,090 So putting these elements together to build a strong frame. 1363 00:49:56,090 --> 00:50:00,730 And there are some basic design elements that go back to your art history days 1364 00:50:00,730 --> 00:50:03,440 that we use to put our frame together. 1365 00:50:03,440 --> 00:50:08,260 And these are line, shape, form, pattern, texture, and color. 1366 00:50:08,260 --> 00:50:12,140 There are others as well but these are the ones that we're going to focus on. 1367 00:50:12,140 --> 00:50:14,440 So let's look at line. 1368 00:50:14,440 --> 00:50:19,270 So lines are typically straight elements that can also be curved. 1369 00:50:19,270 --> 00:50:22,630 But they really guide your eye through a frame. 1370 00:50:22,630 --> 00:50:25,630 They give you an entry point or an exit point sometimes. 1371 00:50:25,630 --> 00:50:29,230 And they will move you around the frame depending on what direction 1372 00:50:29,230 --> 00:50:32,170 they're going in, how thick they are. 1373 00:50:32,170 --> 00:50:34,030 They'll give you flow. 1374 00:50:34,030 --> 00:50:37,960 But this is all to give you a sense of what you're looking at 1375 00:50:37,960 --> 00:50:40,070 and how you should look at it. 1376 00:50:40,070 --> 00:50:43,001 So let's look at an image that has a strong line in it. 1377 00:50:43,001 --> 00:50:46,850 1378 00:50:46,850 --> 00:50:48,420 So let's-- plainly, what is this? 1379 00:50:48,420 --> 00:50:51,162 What are we looking at? 1380 00:50:51,162 --> 00:50:52,080 AUDIENCE: A staircase. 1381 00:50:52,080 --> 00:50:52,840 DAN: A staircase. 1382 00:50:52,840 --> 00:50:54,650 But it's not how you would typically look at a staircase 1383 00:50:54,650 --> 00:50:55,480 but it's really interesting. 1384 00:50:55,480 --> 00:50:56,080 Right? 1385 00:50:56,080 --> 00:50:59,320 We're looking straight up at it. 1386 00:50:59,320 --> 00:51:03,071 And where does your eye enter the frame and where does your eye exit the frame? 1387 00:51:03,071 --> 00:51:06,807 1388 00:51:06,807 --> 00:51:08,010 AUDIENCE: Top right? 1389 00:51:08,010 --> 00:51:08,836 At the center. 1390 00:51:08,836 --> 00:51:09,460 DAN: Top right. 1391 00:51:09,460 --> 00:51:09,960 OK. 1392 00:51:09,960 --> 00:51:11,710 So I'm hearing a couple of things. 1393 00:51:11,710 --> 00:51:14,380 Some people say there they go right to the center. 1394 00:51:14,380 --> 00:51:18,640 My eye follows this line right in and kind of spirals up into the center 1395 00:51:18,640 --> 00:51:19,390 here. 1396 00:51:19,390 --> 00:51:23,530 So but it's a very strong thing that we see here 1397 00:51:23,530 --> 00:51:25,581 that moves us through the frame. 1398 00:51:25,581 --> 00:51:26,080 Right? 1399 00:51:26,080 --> 00:51:27,550 So a nice-- 1400 00:51:27,550 --> 00:51:30,940 IAN: Are there any other elements besides the linear elements that guide 1401 00:51:30,940 --> 00:51:33,784 our eye to the center of the frame? 1402 00:51:33,784 --> 00:51:34,630 AUDIENCE: Light. 1403 00:51:34,630 --> 00:51:35,130 DAN: Light. 1404 00:51:35,130 --> 00:51:35,350 Yeah. 1405 00:51:35,350 --> 00:51:35,849 IAN: Yeah. 1406 00:51:35,849 --> 00:51:39,140 So it's a play between light and dark. 1407 00:51:39,140 --> 00:51:40,130 Absolutely. 1408 00:51:40,130 --> 00:51:40,630 Right? 1409 00:51:40,630 --> 00:51:43,629 So our eye is attracted to the brightest parts of the images often. 1410 00:51:43,629 --> 00:51:44,128 DAN: Yeah. 1411 00:51:44,128 --> 00:51:47,590 1412 00:51:47,590 --> 00:51:48,090 All right. 1413 00:51:48,090 --> 00:51:50,006 And we'll put the metadata inside here just so 1414 00:51:50,006 --> 00:51:51,510 that we can have reference for it. 1415 00:51:51,510 --> 00:51:55,080 But we don't need to talk about it specifically. 1416 00:51:55,080 --> 00:51:56,444 How about this one? 1417 00:51:56,444 --> 00:51:57,860 How would you describe this frame? 1418 00:51:57,860 --> 00:52:00,971 1419 00:52:00,971 --> 00:52:01,470 All right. 1420 00:52:01,470 --> 00:52:03,636 It's much more abstract than what we just looked at. 1421 00:52:03,636 --> 00:52:04,660 Well, maybe not. 1422 00:52:04,660 --> 00:52:05,900 It's a very abstract frame. 1423 00:52:05,900 --> 00:52:06,040 Right? 1424 00:52:06,040 --> 00:52:08,164 We're not exactly sure what it is we're looking at. 1425 00:52:08,164 --> 00:52:11,100 We can presume that it's windows of a building. 1426 00:52:11,100 --> 00:52:13,000 And some say it's very busy. 1427 00:52:13,000 --> 00:52:14,181 It's very busy. 1428 00:52:14,181 --> 00:52:14,680 OK. 1429 00:52:14,680 --> 00:52:15,771 Maybe strong. 1430 00:52:15,771 --> 00:52:16,270 Right? 1431 00:52:16,270 --> 00:52:18,070 A lot of vertical lines especially when they're straight 1432 00:52:18,070 --> 00:52:19,569 can make a frame feel much stronger. 1433 00:52:19,569 --> 00:52:24,660 1434 00:52:24,660 --> 00:52:27,582 How about, where do your eyes enter and exit this frame? 1435 00:52:27,582 --> 00:52:31,792 1436 00:52:31,792 --> 00:52:33,500 AUDIENCE: Converges at the center pillar. 1437 00:52:33,500 --> 00:52:33,660 DAN: Yeah. 1438 00:52:33,660 --> 00:52:34,520 Converges at the center. 1439 00:52:34,520 --> 00:52:34,690 Right? 1440 00:52:34,690 --> 00:52:35,950 All these lines converging. 1441 00:52:35,950 --> 00:52:38,210 You're naturally following them in. 1442 00:52:38,210 --> 00:52:38,710 Right? 1443 00:52:38,710 --> 00:52:40,850 And so maybe if you wanted to highlight what s at the center. 1444 00:52:40,850 --> 00:52:41,850 I don't know if in case. 1445 00:52:41,850 --> 00:52:43,660 This is not particularly attractive or nice 1446 00:52:43,660 --> 00:52:47,300 but you definitely drive your viewers eyes into the middle 1447 00:52:47,300 --> 00:52:49,830 by using these lines to move them around. 1448 00:52:49,830 --> 00:52:51,059 Right? 1449 00:52:51,059 --> 00:52:51,850 How about this one? 1450 00:52:51,850 --> 00:52:55,390 There's a lot of lines in this one. 1451 00:52:55,390 --> 00:53:00,132 This is a frame from Shutter Island, which is a movie. 1452 00:53:00,132 --> 00:53:01,840 What do you feel when you see this frame? 1453 00:53:01,840 --> 00:53:08,750 1454 00:53:08,750 --> 00:53:09,620 AUDIENCE: Trapped. 1455 00:53:09,620 --> 00:53:10,700 DAN: Trapped. 1456 00:53:10,700 --> 00:53:12,020 Enclosed. 1457 00:53:12,020 --> 00:53:13,200 Right? 1458 00:53:13,200 --> 00:53:13,850 Pinned in. 1459 00:53:13,850 --> 00:53:16,740 1460 00:53:16,740 --> 00:53:17,644 AUDIENCE: Ambiguity. 1461 00:53:17,644 --> 00:53:18,810 DAN: Say it a little louder. 1462 00:53:18,810 --> 00:53:19,670 AUDIENCE: Mystery. 1463 00:53:19,670 --> 00:53:20,212 DAN: Mystery. 1464 00:53:20,212 --> 00:53:20,711 OK. 1465 00:53:20,711 --> 00:53:21,217 Yeah. 1466 00:53:21,217 --> 00:53:22,300 Like, part of that shadow. 1467 00:53:22,300 --> 00:53:22,480 Right? 1468 00:53:22,480 --> 00:53:23,290 We don't know. 1469 00:53:23,290 --> 00:53:24,380 There's no light on these subjects. 1470 00:53:24,380 --> 00:53:26,088 We don't know what they're meeting about. 1471 00:53:26,088 --> 00:53:31,030 But all these lines add to this element of mystery. 1472 00:53:31,030 --> 00:53:31,530 Right? 1473 00:53:31,530 --> 00:53:35,732 And so this also is an easy way visually to communicate to the viewer. 1474 00:53:35,732 --> 00:53:37,940 And this is a video clip from Shutter Island as well. 1475 00:53:37,940 --> 00:53:39,010 And let's take a quick look at this. 1476 00:53:39,010 --> 00:53:39,676 [VIDEO PLAYBACK] 1477 00:53:39,676 --> 00:53:41,372 - This is Hopkins [INAUDIBLE]. 1478 00:53:41,372 --> 00:53:41,872 [BUZZER] 1479 00:53:41,872 --> 00:53:43,310 - IDs, gentlemen. 1480 00:53:43,310 --> 00:53:44,256 [LIGHT BULB BUZZES] 1481 00:53:44,256 --> 00:53:45,675 [DOOR CREEKS] 1482 00:53:45,675 --> 00:53:47,570 [DOOR SLAMS SHUT] 1483 00:53:47,570 --> 00:53:49,077 Show your badges, gentlemen. 1484 00:53:49,077 --> 00:53:49,660 [END PLAYBACK] 1485 00:53:49,660 --> 00:53:50,160 DAN: Right? 1486 00:53:50,160 --> 00:53:52,940 So there's a lot of very straight and rigid elements to that. 1487 00:53:52,940 --> 00:53:54,450 A lot of strong vertical lines. 1488 00:53:54,450 --> 00:53:54,950 Right? 1489 00:53:54,950 --> 00:53:56,982 Even when we come inside here. 1490 00:53:56,982 --> 00:53:58,940 We think about where we could've put the camera 1491 00:53:58,940 --> 00:54:00,500 to get the shot of everybody entering. 1492 00:54:00,500 --> 00:54:00,890 Right? 1493 00:54:00,890 --> 00:54:03,681 We put it up above the walkway where we see this guard walking down 1494 00:54:03,681 --> 00:54:05,990 with a strong line come into the frame. 1495 00:54:05,990 --> 00:54:09,230 And even where the desk is where they're talking and checking in 1496 00:54:09,230 --> 00:54:11,591 is segmented off in it's a little corner of the frame. 1497 00:54:11,591 --> 00:54:14,840 It feels very different than if we had put the camera down on the ground level 1498 00:54:14,840 --> 00:54:15,881 and just showed the desk. 1499 00:54:15,881 --> 00:54:19,880 We would have lost a lot of the mystery, and intrigue, and feeling of being 1500 00:54:19,880 --> 00:54:21,830 penned in that this image offers us. 1501 00:54:21,830 --> 00:54:22,330 IAN: Yeah. 1502 00:54:22,330 --> 00:54:27,151 And there's a visual relationship to the idea of prison bars as well. 1503 00:54:27,151 --> 00:54:27,650 Right? 1504 00:54:27,650 --> 00:54:32,990 These shadows on the floor and these vertical moments and it all 1505 00:54:32,990 --> 00:54:35,180 builds to the sense of incarceration. 1506 00:54:35,180 --> 00:54:35,930 Right? 1507 00:54:35,930 --> 00:54:37,770 Absolutely. 1508 00:54:37,770 --> 00:54:39,669 DAN: Not the only way to use lines for sure. 1509 00:54:39,669 --> 00:54:42,710 But an effective way to quickly give you a sense of what this place looks 1510 00:54:42,710 --> 00:54:46,760 like if you're introducing the inside of this penitentiary or whatever it is. 1511 00:54:46,760 --> 00:54:50,970 It very quickly communicate to the audience what kind of space we're in. 1512 00:54:50,970 --> 00:54:51,470 All right. 1513 00:54:51,470 --> 00:54:53,510 Our next element is shape. 1514 00:54:53,510 --> 00:54:56,940 And so shape can be defined as just a 2D object in your frame. 1515 00:54:56,940 --> 00:54:57,440 Right? 1516 00:54:57,440 --> 00:55:01,280 A line is like a outline or a straight or curved line, 1517 00:55:01,280 --> 00:55:07,490 but a shape is actually a filled object that gives you a sense of its shape. 1518 00:55:07,490 --> 00:55:11,780 And these can be geometric like a typical square, triangle, circle, et 1519 00:55:11,780 --> 00:55:12,830 cetera. 1520 00:55:12,830 --> 00:55:15,770 Or you can have organic shapes which are like the outline of a person 1521 00:55:15,770 --> 00:55:16,910 or the outline of whatever. 1522 00:55:16,910 --> 00:55:19,970 But it's typically like you can think of a silhouette as a good example. 1523 00:55:19,970 --> 00:55:22,011 Where you just see the shape of something but you 1524 00:55:22,011 --> 00:55:23,941 have no sense of its depth. 1525 00:55:23,941 --> 00:55:24,440 Right? 1526 00:55:24,440 --> 00:55:26,990 And these can provide scale for you. 1527 00:55:26,990 --> 00:55:30,590 If an item repeated becomes a pattern and then 1528 00:55:30,590 --> 00:55:32,120 it's a good way to add interest. 1529 00:55:32,120 --> 00:55:35,752 And often you'll see this used as a positive or negative space. 1530 00:55:35,752 --> 00:55:37,460 Where you've got all black around a frame 1531 00:55:37,460 --> 00:55:39,620 and you're focused on one thing, or the opposite 1532 00:55:39,620 --> 00:55:42,230 where you've got the remainder of the space that's 1533 00:55:42,230 --> 00:55:47,610 left over outlining a positive 1534 00:55:47,610 --> 00:55:51,570 So here's an image with a very strong shape in it. 1535 00:55:51,570 --> 00:55:53,856 And so what does this do for us in this instance? 1536 00:55:53,856 --> 00:55:58,394 1537 00:55:58,394 --> 00:55:59,810 One, it makes it very interesting. 1538 00:55:59,810 --> 00:56:00,310 Right? 1539 00:56:00,310 --> 00:56:05,857 It gives us a frame around our image. 1540 00:56:05,857 --> 00:56:07,460 AUDIENCE: It isolates. 1541 00:56:07,460 --> 00:56:08,224 DAN: It isolates? 1542 00:56:08,224 --> 00:56:09,140 AUDIENCE: It isolates. 1543 00:56:09,140 --> 00:56:09,870 DAN: Yeah. 1544 00:56:09,870 --> 00:56:10,370 Totally. 1545 00:56:10,370 --> 00:56:13,720 1546 00:56:13,720 --> 00:56:14,220 All right. 1547 00:56:14,220 --> 00:56:18,235 Here's a little technical info if you're interested. 1548 00:56:18,235 --> 00:56:19,110 Here's another shape. 1549 00:56:19,110 --> 00:56:22,335 What shape do we see in this one? 1550 00:56:22,335 --> 00:56:24,094 AUDIENCE: Organic. 1551 00:56:24,094 --> 00:56:25,010 DAN: An organic shape. 1552 00:56:25,010 --> 00:56:28,160 So it could be like, the organic shape is the outline of the person. 1553 00:56:28,160 --> 00:56:28,660 Right? 1554 00:56:28,660 --> 00:56:30,380 But we don't-- it's mostly silhouette. 1555 00:56:30,380 --> 00:56:32,690 It's almost like two different shapes on top 1556 00:56:32,690 --> 00:56:34,190 of each other, which is interesting. 1557 00:56:34,190 --> 00:56:37,414 I think the triangle is particularly interesting from the light. 1558 00:56:37,414 --> 00:56:39,830 Because there's nothing actually defining the edges of it. 1559 00:56:39,830 --> 00:56:42,680 It's just a beam of light in space. 1560 00:56:42,680 --> 00:56:45,200 So there's two different shapes for you. 1561 00:56:45,200 --> 00:56:48,520 1562 00:56:48,520 --> 00:56:51,700 More camera info. 1563 00:56:51,700 --> 00:56:53,882 Here's another one. 1564 00:56:53,882 --> 00:56:55,090 These are interesting shapes. 1565 00:56:55,090 --> 00:56:58,010 This one's got like some layers to it. 1566 00:56:58,010 --> 00:56:58,510 Right? 1567 00:56:58,510 --> 00:56:59,740 So in the foreground, we've got this tree. 1568 00:56:59,740 --> 00:57:01,840 We have no sense of depth of the tree. 1569 00:57:01,840 --> 00:57:03,790 But it does tell us a lot. 1570 00:57:03,790 --> 00:57:07,780 Having no detail in it almost highlights the shape of it in this case. 1571 00:57:07,780 --> 00:57:08,470 Right? 1572 00:57:08,470 --> 00:57:12,220 Get a sense that is this old weathered tree that's been dead for some time. 1573 00:57:12,220 --> 00:57:14,560 IAN: It's a beautiful use of atmospheric perspective 1574 00:57:14,560 --> 00:57:18,310 too, where you can see the colors muting and getting hazier 1575 00:57:18,310 --> 00:57:21,882 and hazier the further the image goes back. 1576 00:57:21,882 --> 00:57:22,786 DAN: Yeah. 1577 00:57:22,786 --> 00:57:24,594 Absolutely. 1578 00:57:24,594 --> 00:57:28,330 AUDIENCE: The direction that we have combats the horizontal [INAUDIBLE].. 1579 00:57:28,330 --> 00:57:28,631 1580 00:57:28,631 --> 00:57:29,130 IAN: Yeah. 1581 00:57:29,130 --> 00:57:30,713 So there's a beautiful contrast there. 1582 00:57:30,713 --> 00:57:31,730 Exactly. 1583 00:57:31,730 --> 00:57:37,390 It draws your attention to it because it stands out as so much differently. 1584 00:57:37,390 --> 00:57:37,890 DAN: Right. 1585 00:57:37,890 --> 00:57:40,950 And you've even-- contrast I think is a good word to use here. 1586 00:57:40,950 --> 00:57:43,830 Contrast by definition being the lightest points in your frame 1587 00:57:43,830 --> 00:57:46,680 and the darkest points in your frame and the distance between them. 1588 00:57:46,680 --> 00:57:48,870 But we literally have a representation of contrast 1589 00:57:48,870 --> 00:57:52,540 here because the foreground of the frame is dark black. 1590 00:57:52,540 --> 00:57:53,040 Right? 1591 00:57:53,040 --> 00:57:57,321 And the top of the frame is more or less is the lightest part of the image. 1592 00:57:57,321 --> 00:57:59,820 And it's just interesting to see it laid out this way, where 1593 00:57:59,820 --> 00:58:04,420 we work our way almost like a gradient going from dark to light as well. 1594 00:58:04,420 --> 00:58:06,330 But some strong lines in here as well. 1595 00:58:06,330 --> 00:58:11,700 We've got the lines of the hills going across forming shapes themselves. 1596 00:58:11,700 --> 00:58:14,377 So as we look at images, you're not looking at one element 1597 00:58:14,377 --> 00:58:15,210 typically at a time. 1598 00:58:15,210 --> 00:58:18,960 You're looking at a combination of elements building on top of each other 1599 00:58:18,960 --> 00:58:22,090 to build our composition. 1600 00:58:22,090 --> 00:58:24,336 So more technical info. 1601 00:58:24,336 --> 00:58:26,010 How about this? 1602 00:58:26,010 --> 00:58:29,346 What is this object? 1603 00:58:29,346 --> 00:58:30,230 AUDIENCE: A shadow. 1604 00:58:30,230 --> 00:58:30,740 DAN: Shadow? 1605 00:58:30,740 --> 00:58:31,642 AUDIENCE: Coffee mug. 1606 00:58:31,642 --> 00:58:32,600 DAN: It's a coffee mug. 1607 00:58:32,600 --> 00:58:33,100 Right. 1608 00:58:33,100 --> 00:58:36,740 Which is interesting because you're seeing a circle 1609 00:58:36,740 --> 00:58:39,440 with a rectangle attached to it. 1610 00:58:39,440 --> 00:58:41,600 But the giveaway is this other shape down here. 1611 00:58:41,600 --> 00:58:44,010 Which we know as humans is a shadow because the light 1612 00:58:44,010 --> 00:58:45,440 is being cast across it. 1613 00:58:45,440 --> 00:58:48,710 And so it's interesting because we get the context 1614 00:58:48,710 --> 00:58:51,170 from the combination of the two shapes. 1615 00:58:51,170 --> 00:58:54,785 But we're not actually seeing any of the 3D depth of the object itself. 1616 00:58:54,785 --> 00:58:57,250 1617 00:58:57,250 --> 00:58:57,750 All right. 1618 00:58:57,750 --> 00:58:59,100 So which brings us to form. 1619 00:58:59,100 --> 00:59:02,410 Form is like shape but with another dimension. 1620 00:59:02,410 --> 00:59:07,060 So it's the coffee mug with some depth to it. 1621 00:59:07,060 --> 00:59:07,560 Right? 1622 00:59:07,560 --> 00:59:09,592 We'll be probably moving the camera around it 1623 00:59:09,592 --> 00:59:11,550 so that we can get a sense of what shape it is. 1624 00:59:11,550 --> 00:59:13,890 And this is often done with like light and shadow 1625 00:59:13,890 --> 00:59:17,520 because you'll see how light is cast across the surface of something 1626 00:59:17,520 --> 00:59:23,760 and reveals the form or the shape of it. 1627 00:59:23,760 --> 00:59:26,520 So you can think of things that are good examples of form, 1628 00:59:26,520 --> 00:59:27,630 or a sphere, or a cube. 1629 00:59:27,630 --> 00:59:29,310 Something that has depth to it. 1630 00:59:29,310 --> 00:59:32,910 And this can add dimensionality to your object or your frame. 1631 00:59:32,910 --> 00:59:36,400 And it really defines the physicality of an object. 1632 00:59:36,400 --> 00:59:38,910 So there's the promise coffee mug. 1633 00:59:38,910 --> 00:59:42,420 So instead of looking straight overhead, we've moved alongside it. 1634 00:59:42,420 --> 00:59:44,940 And this gradient that comes across the image 1635 00:59:44,940 --> 00:59:47,220 really helps you get a sense of what shape it is. 1636 00:59:47,220 --> 00:59:49,890 And even the light hitting back over here on the handle, 1637 00:59:49,890 --> 00:59:51,900 gives you a sense of just how rounded it is. 1638 00:59:51,900 --> 00:59:56,340 And so no longer do we have just a typical two dimensional circle 1639 00:59:56,340 --> 00:59:57,840 and coffee cup shadow. 1640 00:59:57,840 --> 01:00:00,840 We actually get the form of a coffee cup and you can kind of 1641 01:00:00,840 --> 01:00:03,010 imagine what it's like to pick it up in your hand. 1642 01:00:03,010 --> 01:00:06,146 1643 01:00:06,146 --> 01:00:06,770 How about this? 1644 01:00:06,770 --> 01:00:07,520 I love this image. 1645 01:00:07,520 --> 01:00:09,530 It's beautiful. 1646 01:00:09,530 --> 01:00:10,850 A simple piece of garlic. 1647 01:00:10,850 --> 01:00:11,530 Right? 1648 01:00:11,530 --> 01:00:12,940 But look at all the detail in it. 1649 01:00:12,940 --> 01:00:13,440 Right? 1650 01:00:13,440 --> 01:00:15,209 Look you can see where each-- 1651 01:00:15,209 --> 01:00:15,750 I don't know. 1652 01:00:15,750 --> 01:00:17,101 What is a garlic-- 1653 01:00:17,101 --> 01:00:17,600 IAN: Clove? 1654 01:00:17,600 --> 01:00:18,110 DAN: Clove. 1655 01:00:18,110 --> 01:00:18,610 Yeah. 1656 01:00:18,610 --> 01:00:20,130 Where all the cloves hug the body. 1657 01:00:20,130 --> 01:00:20,630 Right? 1658 01:00:20,630 --> 01:00:22,462 You can really see the waviness of it. 1659 01:00:22,462 --> 01:00:24,920 And you get a sense of what it would be like to pick it up. 1660 01:00:24,920 --> 01:00:27,620 And the paper on the outside has so much detail in it 1661 01:00:27,620 --> 01:00:30,730 that you get a real sense of it. 1662 01:00:30,730 --> 01:00:31,230 Right? 1663 01:00:31,230 --> 01:00:34,130 And so this is mostly done by shooting close up in this case 1664 01:00:34,130 --> 01:00:38,335 and having light that really exaggerates-- or exaggerates is 1665 01:00:38,335 --> 01:00:38,960 the wrong word. 1666 01:00:38,960 --> 01:00:39,465 But enhances, 1667 01:00:39,465 --> 01:00:39,830 IAN: Yeah. 1668 01:00:39,830 --> 01:00:40,340 Accentuate. 1669 01:00:40,340 --> 01:00:41,210 DAN: The shape of the image. 1670 01:00:41,210 --> 01:00:41,710 Yeah. 1671 01:00:41,710 --> 01:00:43,170 Accentuates the shape of the image. 1672 01:00:43,170 --> 01:00:43,670 Right? 1673 01:00:43,670 --> 01:00:46,630 But this is a good example of form. 1674 01:00:46,630 --> 01:00:47,750 Some more technical info. 1675 01:00:47,750 --> 01:00:50,755 1676 01:00:50,755 --> 01:00:52,449 I love food can I say? 1677 01:00:52,449 --> 01:00:54,490 So this is a pepper doing the same kind of thing. 1678 01:00:54,490 --> 01:00:57,450 And this is interesting because this is the only thing in the frame. 1679 01:00:57,450 --> 01:00:57,700 Right? 1680 01:00:57,700 --> 01:01:00,200 And just literally black behind it and the gray on the sides 1681 01:01:00,200 --> 01:01:03,500 are just for illustration purposes of where the frame itself ends. 1682 01:01:03,500 --> 01:01:04,000 Right? 1683 01:01:04,000 --> 01:01:08,110 But you really get a sense of the texture almost. 1684 01:01:08,110 --> 01:01:09,370 A good texture example. 1685 01:01:09,370 --> 01:01:15,294 But a sense of texture of the image and the natural organic waviness of it. 1686 01:01:15,294 --> 01:01:20,020 1687 01:01:20,020 --> 01:01:20,830 Same kind of thing. 1688 01:01:20,830 --> 01:01:22,000 Strawberry. 1689 01:01:22,000 --> 01:01:24,190 You really just want to bite into it. 1690 01:01:24,190 --> 01:01:26,860 You can get a sense of just how plump it is. 1691 01:01:26,860 --> 01:01:32,770 And you know the color does a nice little touch to it as well. 1692 01:01:32,770 --> 01:01:34,206 So that is form. 1693 01:01:34,206 --> 01:01:35,120 AUDIENCE: Question. 1694 01:01:35,120 --> 01:01:36,150 DAN: Yes. 1695 01:01:36,150 --> 01:01:41,726 AUDIENCE: The last two images, can you explain to me how they are not to be? 1696 01:01:41,726 --> 01:01:42,791 [INAUDIBLE] 1697 01:01:42,791 --> 01:01:43,290 DAN: Yeah. 1698 01:01:43,290 --> 01:01:45,870 So it is a flat image like you're saying. 1699 01:01:45,870 --> 01:01:49,860 But I would argue that it's the contours from the shadow that 1700 01:01:49,860 --> 01:01:51,570 give you a sense of the shape of it. 1701 01:01:51,570 --> 01:01:52,070 Right? 1702 01:01:52,070 --> 01:01:53,340 It's not-- this is flat. 1703 01:01:53,340 --> 01:01:55,170 It's not-- if we had moved the camera up a little bit 1704 01:01:55,170 --> 01:01:57,545 and got more of an angle of the top, you would have maybe 1705 01:01:57,545 --> 01:01:59,890 a better sense of the three dimension. 1706 01:01:59,890 --> 01:02:02,910 So we could certainly argue whether this is a good example or not. 1707 01:02:02,910 --> 01:02:05,410 AUDIENCE: i just don't want to get them confused in my head. 1708 01:02:05,410 --> 01:02:08,480 Because I was like, this one's almost But I can see the light and depth. 1709 01:02:08,480 --> 01:02:11,490 I see it very little but I get it. 1710 01:02:11,490 --> 01:02:12,050 DAN: Totally. 1711 01:02:12,050 --> 01:02:12,550 No. 1712 01:02:12,550 --> 01:02:16,260 I picked it just because you get the sense of the shape of it 1713 01:02:16,260 --> 01:02:16,920 on the outside. 1714 01:02:16,920 --> 01:02:19,860 But I totally take your point that it feels a little bit less 1715 01:02:19,860 --> 01:02:20,640 like a 3D image. 1716 01:02:20,640 --> 01:02:24,082 And it almost feels more like texture. 1717 01:02:24,082 --> 01:02:26,040 IAN: It's also the flat side of the pepper too. 1718 01:02:26,040 --> 01:02:26,220 Right? 1719 01:02:26,220 --> 01:02:26,340 DAN: Yeah. 1720 01:02:26,340 --> 01:02:28,870 IAN: So that it is sort of a plane that we're looking at. 1721 01:02:28,870 --> 01:02:34,140 But that the curves come out at just the edges and undulations of the pepper 1722 01:02:34,140 --> 01:02:34,660 skin. 1723 01:02:34,660 --> 01:02:35,160 DAN: Yeah. 1724 01:02:35,160 --> 01:02:36,465 AUDIENCE: Can we go over this with the coffee cup again? 1725 01:02:36,465 --> 01:02:37,131 DAN: The garlic? 1726 01:02:37,131 --> 01:02:38,115 The coffee cup? 1727 01:02:38,115 --> 01:02:38,740 AUDIENCE: Yeah. 1728 01:02:38,740 --> 01:02:39,630 The 2D and the 3D. 1729 01:02:39,630 --> 01:02:41,210 Go back and forth. 1730 01:02:41,210 --> 01:02:42,030 DAN: Oh. 1731 01:02:42,030 --> 01:02:44,510 I can't jump quite because there's a slide in between. 1732 01:02:44,510 --> 01:02:50,070 AUDIENCE: So at first I was like this one's 3D maybe because of the shadow. 1733 01:02:50,070 --> 01:02:55,060 But then when you guys showed the 3D image, and I was like, I see it. 1734 01:02:55,060 --> 01:02:57,780 Because the real 3D image because you can see 1735 01:02:57,780 --> 01:03:00,840 this one's shape up top, so straight down. 1736 01:03:00,840 --> 01:03:05,940 But then you go to the 3D image you see that circle top part of the cup 1737 01:03:05,940 --> 01:03:08,790 is what gives it the most strong obvious [INAUDIBLE].. 1738 01:03:08,790 --> 01:03:09,875 DAN: This up here for you? 1739 01:03:09,875 --> 01:03:10,500 AUDIENCE: Yeah. 1740 01:03:10,500 --> 01:03:11,200 Exactly. 1741 01:03:11,200 --> 01:03:11,700 Yeah. 1742 01:03:11,700 --> 01:03:12,600 It was just flat and puzzling. 1743 01:03:12,600 --> 01:03:13,740 What was going to be the difference? 1744 01:03:13,740 --> 01:03:15,387 And then when I saw it I was like, wow. 1745 01:03:15,387 --> 01:03:17,220 DAN: Well, this one was meant to be a trick. 1746 01:03:17,220 --> 01:03:17,430 Right? 1747 01:03:17,430 --> 01:03:20,090 Because if you look at it your brain says, oh, this is a coffee cup. 1748 01:03:20,090 --> 01:03:22,620 I know what it looks like because I've seen a million coffee cups. 1749 01:03:22,620 --> 01:03:23,100 Right? 1750 01:03:23,100 --> 01:03:24,510 But really what you're looking at, I was trying 1751 01:03:24,510 --> 01:03:27,870 to accentuate that you're looking at a circle, a little rectangle, and then 1752 01:03:27,870 --> 01:03:29,070 the shape of a coffee cup. 1753 01:03:29,070 --> 01:03:30,041 But it's all very flat. 1754 01:03:30,041 --> 01:03:30,540 Right? 1755 01:03:30,540 --> 01:03:31,980 There's no depth to this image. 1756 01:03:31,980 --> 01:03:33,360 It's all-- it's flat shapes. 1757 01:03:33,360 --> 01:03:35,901 And your brain is tricking you and saying there's depth to it 1758 01:03:35,901 --> 01:03:38,030 because I know what a coffee cup looks like. 1759 01:03:38,030 --> 01:03:41,250 But in this one you actually get the shape in the form of it put together. 1760 01:03:41,250 --> 01:03:44,760 So you see how round it is from the top and from the light being 1761 01:03:44,760 --> 01:03:45,590 cast across it. 1762 01:03:45,590 --> 01:03:48,490 1763 01:03:48,490 --> 01:03:49,330 All right. 1764 01:03:49,330 --> 01:03:50,560 I'm moving ahead here. 1765 01:03:50,560 --> 01:03:53,810 1766 01:03:53,810 --> 01:03:54,310 All right. 1767 01:03:54,310 --> 01:03:54,850 Patterns. 1768 01:03:54,850 --> 01:03:56,890 So we talked about pattern a moment ago when 1769 01:03:56,890 --> 01:03:59,050 we talked about a repetition of shape. 1770 01:03:59,050 --> 01:04:02,970 But pattern is a really good way to get things to stand out as well. 1771 01:04:02,970 --> 01:04:06,644 And this is a common theme in making a strong image 1772 01:04:06,644 --> 01:04:07,810 and having good composition. 1773 01:04:07,810 --> 01:04:10,150 As your subject, you want to find a way to make 1774 01:04:10,150 --> 01:04:13,060 it stand out somehow or the opposite. 1775 01:04:13,060 --> 01:04:18,409 But typically using tricks like pattern, and strong lines, and shape, 1776 01:04:18,409 --> 01:04:20,200 and texture are going to be the things that 1777 01:04:20,200 --> 01:04:22,090 are you're going to put together and build 1778 01:04:22,090 --> 01:04:24,120 a frame that stands out and is strong. 1779 01:04:24,120 --> 01:04:24,620 All right. 1780 01:04:24,620 --> 01:04:26,950 And so pattern can bring harmony and comfort. 1781 01:04:26,950 --> 01:04:30,270 Or it can do the opposite and give you views of regular patterns 1782 01:04:30,270 --> 01:04:32,320 that can be chaotic. 1783 01:04:32,320 --> 01:04:38,020 So but as I just said it can also make contrasting elements stand out. 1784 01:04:38,020 --> 01:04:40,100 So here's some pattern. 1785 01:04:40,100 --> 01:04:40,600 All right? 1786 01:04:40,600 --> 01:04:45,550 So we know as humans that this is a series of windows on a wall. 1787 01:04:45,550 --> 01:04:46,180 Right? 1788 01:04:46,180 --> 01:04:49,240 But it's interesting because if you distill it down, 1789 01:04:49,240 --> 01:04:54,340 it's really a bunch of lines and rectangles. 1790 01:04:54,340 --> 01:04:56,620 And so the things that stand out, to me at least, 1791 01:04:56,620 --> 01:04:57,580 are these windows that are different. 1792 01:04:57,580 --> 01:04:58,080 Right. 1793 01:04:58,080 --> 01:04:59,870 So down here we've got this white box. 1794 01:04:59,870 --> 01:05:00,370 Right? 1795 01:05:00,370 --> 01:05:02,360 That you might not notice immediately at first. 1796 01:05:02,360 --> 01:05:02,860 Right? 1797 01:05:02,860 --> 01:05:05,108 And then you've got a couple of open windows as well. 1798 01:05:05,108 --> 01:05:09,898 1799 01:05:09,898 --> 01:05:11,465 How about this? 1800 01:05:11,465 --> 01:05:12,890 This is a beautiful image. 1801 01:05:12,890 --> 01:05:15,265 Right? 1802 01:05:15,265 --> 01:05:16,600 It's very abstract. 1803 01:05:16,600 --> 01:05:18,388 Well, what is it though? 1804 01:05:18,388 --> 01:05:19,699 AUDIENCE: A fence. 1805 01:05:19,699 --> 01:05:20,240 DAN: A fence. 1806 01:05:20,240 --> 01:05:20,740 Yeah. 1807 01:05:20,740 --> 01:05:21,560 A chain link fence. 1808 01:05:21,560 --> 01:05:25,160 But we're so close to it and we've made it so abstract. 1809 01:05:25,160 --> 01:05:27,440 And we get a good sense-- 1810 01:05:27,440 --> 01:05:32,000 look at the form of it where you can see the curve of the fence 1811 01:05:32,000 --> 01:05:33,920 itself the light being cast across it. 1812 01:05:33,920 --> 01:05:35,300 You get a good sense of texture. 1813 01:05:35,300 --> 01:05:38,250 If you look at the kind of close up rust on it. 1814 01:05:38,250 --> 01:05:40,700 You really get a good sense of what it is while having 1815 01:05:40,700 --> 01:05:42,807 it be very abstract at the same time. 1816 01:05:42,807 --> 01:05:44,390 IAN: There's also a nice rhythm to it. 1817 01:05:44,390 --> 01:05:44,890 Right? 1818 01:05:44,890 --> 01:05:45,440 DAN: Yeah. 1819 01:05:45,440 --> 01:05:50,119 IAN: Just this repetition of visual elements. 1820 01:05:50,119 --> 01:05:50,660 I don't know. 1821 01:05:50,660 --> 01:05:52,940 It's in some ways calming. 1822 01:05:52,940 --> 01:05:56,090 But and it also has this nice linear effect going up 1823 01:05:56,090 --> 01:05:58,780 as well with the size of the links getting bigger and bigger. 1824 01:05:58,780 --> 01:05:59,279 DAN: Yeah. 1825 01:05:59,279 --> 01:06:03,920 1826 01:06:03,920 --> 01:06:04,420 All right. 1827 01:06:04,420 --> 01:06:06,790 Here's another idea of pattern and contrast. 1828 01:06:06,790 --> 01:06:09,370 So I mean, it's right in the middle of the image 1829 01:06:09,370 --> 01:06:11,160 but this definitely jumps out at you. 1830 01:06:11,160 --> 01:06:13,510 And if it's a drain or whatever it is, but you 1831 01:06:13,510 --> 01:06:17,290 get this pattern with the one element that stands out because it's different. 1832 01:06:17,290 --> 01:06:20,359 So very strong contrasting element in here. 1833 01:06:20,359 --> 01:06:23,080 1834 01:06:23,080 --> 01:06:25,982 Some technical info. 1835 01:06:25,982 --> 01:06:26,690 And then texture. 1836 01:06:26,690 --> 01:06:29,570 This is the last of our elements that we're going to talk about. 1837 01:06:29,570 --> 01:06:32,854 But this is literally what the surface of the image 1838 01:06:32,854 --> 01:06:34,520 would feel like if you were to touch it. 1839 01:06:34,520 --> 01:06:35,030 Right? 1840 01:06:35,030 --> 01:06:35,900 Exactly what it sounds like. 1841 01:06:35,900 --> 01:06:36,510 Texture. 1842 01:06:36,510 --> 01:06:36,710 Right? 1843 01:06:36,710 --> 01:06:37,220 Is it smooth? 1844 01:06:37,220 --> 01:06:37,640 Is it rough? 1845 01:06:37,640 --> 01:06:38,139 Is it hard? 1846 01:06:38,139 --> 01:06:38,690 Is it bumpy? 1847 01:06:38,690 --> 01:06:41,250 Is it soft? 1848 01:06:41,250 --> 01:06:43,870 So we describe visually how something looks or feels. 1849 01:06:43,870 --> 01:06:45,960 And it is a good way to convey, almost time. 1850 01:06:45,960 --> 01:06:46,460 Right? 1851 01:06:46,460 --> 01:06:48,590 A sense of where-- is something new and shiny? 1852 01:06:48,590 --> 01:06:50,090 Is something old and kind of rotten? 1853 01:06:50,090 --> 01:06:52,130 Just like the fence we just looked at. 1854 01:06:52,130 --> 01:06:54,620 What texture does it have to it? 1855 01:06:54,620 --> 01:06:59,570 The rust clearly illustrates how long it's been sitting there. 1856 01:06:59,570 --> 01:07:01,270 So here's some interesting texture. 1857 01:07:01,270 --> 01:07:02,480 Right? 1858 01:07:02,480 --> 01:07:03,230 What are these? 1859 01:07:03,230 --> 01:07:09,434 1860 01:07:09,434 --> 01:07:12,945 AUDIENCE: Those are slot canyons in Utah and Arizona. 1861 01:07:12,945 --> 01:07:13,570 DAN: All right. 1862 01:07:13,570 --> 01:07:15,130 Slot canyons from Utah, Arizona. 1863 01:07:15,130 --> 01:07:16,090 Thank you. 1864 01:07:16,090 --> 01:07:17,050 Yes. 1865 01:07:17,050 --> 01:07:21,220 I don't actually know if that's where they are but beautiful. 1866 01:07:21,220 --> 01:07:24,790 I love this because it's like the texture of the walls 1867 01:07:24,790 --> 01:07:26,510 feels like a cross-section of time to me. 1868 01:07:26,510 --> 01:07:26,800 Right? 1869 01:07:26,800 --> 01:07:29,110 You can imagine how many years it took for the water 1870 01:07:29,110 --> 01:07:31,870 to carve its way through here. 1871 01:07:31,870 --> 01:07:33,940 And it really gives you a sense of just what 1872 01:07:33,940 --> 01:07:36,620 it would be like to run your hand along the side of it. 1873 01:07:36,620 --> 01:07:39,160 1874 01:07:39,160 --> 01:07:41,590 And you'll notice we've taken color away in this one too. 1875 01:07:41,590 --> 01:07:43,450 What does that do for our texture? 1876 01:07:43,450 --> 01:07:46,894 1877 01:07:46,894 --> 01:07:47,810 Well, it desaturates-- 1878 01:07:47,810 --> 01:07:50,630 AUDIENCE: It puts a lot more emphasis on the texture. 1879 01:07:50,630 --> 01:07:54,030 The colors make it a very different image. 1880 01:07:54,030 --> 01:07:54,840 DAN: Exactly. 1881 01:07:54,840 --> 01:07:55,340 Right? 1882 01:07:55,340 --> 01:07:58,410 So when we take away the color it's one less thing 1883 01:07:58,410 --> 01:08:00,820 for our brains to focus on and get confused about 1884 01:08:00,820 --> 01:08:04,810 and it emphasizes the other things. 1885 01:08:04,810 --> 01:08:07,350 AUDIENCE: It also compliments [INAUDIBLE].. 1886 01:08:07,350 --> 01:08:07,880 DAN: Yeah. 1887 01:08:07,880 --> 01:08:10,650 And it also accentuates contrast. 1888 01:08:10,650 --> 01:08:11,910 Exactly. 1889 01:08:11,910 --> 01:08:13,942 How about this? 1890 01:08:13,942 --> 01:08:15,650 What would this tastes like to bite into? 1891 01:08:15,650 --> 01:08:19,658 Or not taste like, what texture would have if you bit into it? 1892 01:08:19,658 --> 01:08:22,649 And I love food. 1893 01:08:22,649 --> 01:08:23,609 AUDIENCE: Flaky. 1894 01:08:23,609 --> 01:08:24,120 DAN: Flaky. 1895 01:08:24,120 --> 01:08:24,720 Crumbly. 1896 01:08:24,720 --> 01:08:25,229 Yeah. 1897 01:08:25,229 --> 01:08:26,291 Exactly. 1898 01:08:26,291 --> 01:08:26,790 Right? 1899 01:08:26,790 --> 01:08:31,080 You can imagine just from this little giveaway down here in particular, 1900 01:08:31,080 --> 01:08:34,500 if you were to pick this up just how it would crumb apart in your hand. 1901 01:08:34,500 --> 01:08:35,410 And how crispy. 1902 01:08:35,410 --> 01:08:39,608 How much butter must actually be in it to make it crisp up like that? 1903 01:08:39,608 --> 01:08:40,649 And we're so close on it. 1904 01:08:40,649 --> 01:08:42,630 Like almost, what it is itself doesn't matter 1905 01:08:42,630 --> 01:08:47,970 but it's just a beautiful texture that's emphasized here. 1906 01:08:47,970 --> 01:08:50,542 Some technical info. 1907 01:08:50,542 --> 01:08:51,964 And what's this? 1908 01:08:51,964 --> 01:08:56,710 1909 01:08:56,710 --> 01:08:58,149 It's a pretty flat image here too. 1910 01:08:58,149 --> 01:08:59,859 Right? 1911 01:08:59,859 --> 01:09:03,160 We've got a bunch of just lines going across. 1912 01:09:03,160 --> 01:09:06,430 We've got our texture of our cross-section of time 1913 01:09:06,430 --> 01:09:09,941 yet again, where the water is kind of eroded over time. 1914 01:09:09,941 --> 01:09:12,399 And then this building is interesting because it's so flat. 1915 01:09:12,399 --> 01:09:16,090 There's The photographer decided to get very squared up to it 1916 01:09:16,090 --> 01:09:17,290 and there's no depth to it. 1917 01:09:17,290 --> 01:09:17,790 Right? 1918 01:09:17,790 --> 01:09:20,859 This is just a rectangle with a series of smaller rectangles in it, 1919 01:09:20,859 --> 01:09:22,749 and yet another rectangle for the roof. 1920 01:09:22,749 --> 01:09:25,415 1921 01:09:25,415 --> 01:09:28,540 AUDIENCE: There's also-- it looks like it was shot in the middle of the day 1922 01:09:28,540 --> 01:09:32,060 so the shadows don't help with that feeling of depth at all. 1923 01:09:32,060 --> 01:09:32,560 DAN: Yeah. 1924 01:09:32,560 --> 01:09:33,370 That's interesting. 1925 01:09:33,370 --> 01:09:33,520 Right? 1926 01:09:33,520 --> 01:09:34,450 It was shot in the middle of the day. 1927 01:09:34,450 --> 01:09:36,609 So the sun being our primary light source 1928 01:09:36,609 --> 01:09:39,816 here was pretty straight overhead and there's very little shadow being cast. 1929 01:09:39,816 --> 01:09:40,899 So we've got a little bit. 1930 01:09:40,899 --> 01:09:43,899 Because we can see the texture on the wall here 1931 01:09:43,899 --> 01:09:49,479 but it's definitely a pretty flat image, which is accentuated by the sun 1932 01:09:49,479 --> 01:09:51,040 being on the straight overhead. 1933 01:09:51,040 --> 01:09:51,540 Right? 1934 01:09:51,540 --> 01:09:54,580 If we had shot this at the end of the day or early in the morning 1935 01:09:54,580 --> 01:09:57,560 we'd get a lot more shadow creeping across 1936 01:09:57,560 --> 01:09:59,010 and it would feel quite different. 1937 01:09:59,010 --> 01:10:00,718 IAN: And I think I think that's something 1938 01:10:00,718 --> 01:10:05,740 to consider too when you think about how to accentuate texture and photography. 1939 01:10:05,740 --> 01:10:08,440 The stucco wall is a good example. 1940 01:10:08,440 --> 01:10:14,140 That when the light is raking along the side of a flat plain or something, 1941 01:10:14,140 --> 01:10:17,290 you'll see the shadow of the texture of it. 1942 01:10:17,290 --> 01:10:21,460 And so waiting for the right moment to take a picture of something, 1943 01:10:21,460 --> 01:10:24,580 or lighting it in a way to sort of bring out that texture, 1944 01:10:24,580 --> 01:10:26,733 can really help accentuate these kinds of ideas. 1945 01:10:26,733 --> 01:10:32,409 1946 01:10:32,409 --> 01:10:33,392 Oh, color. 1947 01:10:33,392 --> 01:10:34,600 I totally forgot about color. 1948 01:10:34,600 --> 01:10:35,100 Right? 1949 01:10:35,100 --> 01:10:38,890 So we're not going to dwell on color too much in this class. 1950 01:10:38,890 --> 01:10:40,540 Hue being the color itself. 1951 01:10:40,540 --> 01:10:42,610 Value being how light or dark it is. 1952 01:10:42,610 --> 01:10:44,715 The intensity being the level of saturation. 1953 01:10:44,715 --> 01:10:47,590 So if something is either not saturated at all, it's black and white, 1954 01:10:47,590 --> 01:10:50,740 or if it's fully saturated, it's got all the color in it. 1955 01:10:50,740 --> 01:10:52,970 You could use color to convey emotions or enhance 1956 01:10:52,970 --> 01:10:54,554 the mood or feeling of an image. 1957 01:10:54,554 --> 01:10:56,470 But what we're going to focus on in this class 1958 01:10:56,470 --> 01:10:58,900 is three different elements of color. 1959 01:10:58,900 --> 01:11:02,380 Whether an image is warm, neutral, or cool, 1960 01:11:02,380 --> 01:11:05,290 are the three elements we're going to use. 1961 01:11:05,290 --> 01:11:08,290 So warm being on the orange side of things. 1962 01:11:08,290 --> 01:11:08,830 Like warm. 1963 01:11:08,830 --> 01:11:10,150 Inviting. 1964 01:11:10,150 --> 01:11:11,410 What you might expect. 1965 01:11:11,410 --> 01:11:14,650 And cool being on literally the cold end of the spectrum 1966 01:11:14,650 --> 01:11:16,330 where we have a lot more blues. 1967 01:11:16,330 --> 01:11:18,730 And neutral is somewhere in between where 1968 01:11:18,730 --> 01:11:24,270 when you calibrate your camera to your light source neutral is white, or gray, 1969 01:11:24,270 --> 01:11:26,410 or it doesn't have a cast either way. 1970 01:11:26,410 --> 01:11:28,530 Neither orange or blue. 1971 01:11:28,530 --> 01:11:29,030 All right. 1972 01:11:29,030 --> 01:11:31,840 So we'll talk about color temperature for that. 1973 01:11:31,840 --> 01:11:34,930 This is a very easy thing to change on your camera. 1974 01:11:34,930 --> 01:11:37,180 And we'll look at the menu in a second. 1975 01:11:37,180 --> 01:11:39,640 This is roughly the options you get. 1976 01:11:39,640 --> 01:11:43,442 So auto white balance being let your camera decide for you, 1977 01:11:43,442 --> 01:11:45,400 or you can be intentional and choose something. 1978 01:11:45,400 --> 01:11:51,130 So we have full sun, shadow, cloudy, overhead, tungsten light-- 1979 01:11:51,130 --> 01:11:55,210 like an old-school light bulb, fluorescent light, flash-- 1980 01:11:55,210 --> 01:11:57,610 which is the actual color temperature of the flash. 1981 01:11:57,610 --> 01:12:00,760 This is a custom mode right here, which is a pain in the butt 1982 01:12:00,760 --> 01:12:02,200 to set in most cameras. 1983 01:12:02,200 --> 01:12:04,900 And then the Kelvin value which is where you actually 1984 01:12:04,900 --> 01:12:09,070 pick a specific white point to set your camera to. 1985 01:12:09,070 --> 01:12:11,450 And we say Kelvin scale is this. 1986 01:12:11,450 --> 01:12:11,950 Right? 1987 01:12:11,950 --> 01:12:14,140 So we've got the warm end of the spectrum 1988 01:12:14,140 --> 01:12:15,610 and the cool end of the spectrum. 1989 01:12:15,610 --> 01:12:22,100 And we describe this in terms of Kelvin and how that scale stacks up 1990 01:12:22,100 --> 01:12:23,920 is something like a match or a candle. 1991 01:12:23,920 --> 01:12:27,670 It's going to be extremely orange or red as far as its wavelength 1992 01:12:27,670 --> 01:12:30,640 that the light the light bouncing off it emits. 1993 01:12:30,640 --> 01:12:36,490 And all the way up to its cool is a bright blue daylight at 10,000. 1994 01:12:36,490 --> 01:12:38,890 And so when you look at the presets on your camera, 1995 01:12:38,890 --> 01:12:43,630 the two typical ones that you might use are going to be that tungsten 1996 01:12:43,630 --> 01:12:47,490 or halogen bulb, which is at 3,200K. 1997 01:12:47,490 --> 01:12:50,710 And you don't need to know this number but we'll show you why it's handy. 1998 01:12:50,710 --> 01:12:54,190 And then the other one you might typically see is up here in this area, 1999 01:12:54,190 --> 01:12:57,010 it's 5,600K which is your typical daylight. 2000 01:12:57,010 --> 01:13:00,040 And that's what the sun icon is going to be. 2001 01:13:00,040 --> 01:13:04,810 So again, the little light bulb icon in your preset white balances is going 2002 01:13:04,810 --> 01:13:11,010 to be right here at 3,200K and your daylight is going to be 5,600K. 2003 01:13:11,010 --> 01:13:12,580 And that will calibrate your camera. 2004 01:13:12,580 --> 01:13:13,392 Right? 2005 01:13:13,392 --> 01:13:16,600 So if you want to go out in the middle of the day and shoot something and you 2006 01:13:16,600 --> 01:13:19,474 want it to be a neutral image-- you don't want it to have a warm cast 2007 01:13:19,474 --> 01:13:20,620 or a cool cast-- 2008 01:13:20,620 --> 01:13:23,830 you might set your calibration of your white balance to somewhere right up 2009 01:13:23,830 --> 01:13:25,540 here in the 5,600K. 2010 01:13:25,540 --> 01:13:28,030 You might choose that sun icon. 2011 01:13:28,030 --> 01:13:30,220 And if you want to go out at sunrise or sunset 2012 01:13:30,220 --> 01:13:32,940 and you want to have it be neutral. 2013 01:13:32,940 --> 01:13:34,690 Again, you might want to shoot the sunset. 2014 01:13:34,690 --> 01:13:35,900 You might want it to be warm. 2015 01:13:35,900 --> 01:13:36,400 Right? 2016 01:13:36,400 --> 01:13:40,180 But if you want it to be more neutral you would choose a lower end 2017 01:13:40,180 --> 01:13:43,450 of the spectrum here such as the 3,200K. 2018 01:13:43,450 --> 01:13:45,519 And often if you want a neutral image you just 2019 01:13:45,519 --> 01:13:47,560 go look at the light sources that are around you. 2020 01:13:47,560 --> 01:13:50,746 If you're inside and there's a bunch of light bulbs in the ceiling 2021 01:13:50,746 --> 01:13:52,870 you're going to want to choose something like this. 2022 01:13:52,870 --> 01:13:54,703 And if you're outside in the daylight you're 2023 01:13:54,703 --> 01:13:57,160 going to want to choose somewhere up here in this spectrum 2024 01:13:57,160 --> 01:13:59,240 to make it a neutral image. 2025 01:13:59,240 --> 01:14:04,360 IAN: So I think the important thing to do to distill out of this 2026 01:14:04,360 --> 01:14:07,450 is that every light source that you come across 2027 01:14:07,450 --> 01:14:11,790 emits light at a specific color temperature somewhere on this scale. 2028 01:14:11,790 --> 01:14:14,650 And you can calibrate your camera to match that color temperature. 2029 01:14:14,650 --> 01:14:16,977 And if you do, the light will look neutral. 2030 01:14:16,977 --> 01:14:19,060 And if you don't, it will look either warm or cool 2031 01:14:19,060 --> 01:14:22,059 depending on how you calibrate your camera in relationship to that. 2032 01:14:22,059 --> 01:14:24,850 But do understand that different light sources have different color 2033 01:14:24,850 --> 01:14:25,780 temperatures. 2034 01:14:25,780 --> 01:14:29,800 And we can match cameras to those color temperatures or we can not match them. 2035 01:14:29,800 --> 01:14:34,050 And how we decide to not match them will define whether it looks warm or cool. 2036 01:14:34,050 --> 01:14:35,841 AUDIENCE: [INAUDIBLE]. 2037 01:14:35,841 --> 01:14:36,340 IAN: Right. 2038 01:14:36,340 --> 01:14:37,954 Exactly. 2039 01:14:37,954 --> 01:14:39,870 So again, you don't need to know these numbers 2040 01:14:39,870 --> 01:14:43,309 but just know the lower the number the warmer end 2041 01:14:43,309 --> 01:14:44,850 of the spectrum we're going to be on. 2042 01:14:44,850 --> 01:14:49,740 And the higher the number, the cooler the calibration or your camera's 2043 01:14:49,740 --> 01:14:50,460 going to be. 2044 01:14:50,460 --> 01:14:54,930 And the effect of that is if you set your camera up here as a neutral point, 2045 01:14:54,930 --> 01:14:57,570 everything's actually going to be appear warmer because you're 2046 01:14:57,570 --> 01:14:58,890 looking back down the spectrum. 2047 01:14:58,890 --> 01:15:00,450 You can think of it that way. 2048 01:15:00,450 --> 01:15:03,240 And so if you're down here and you set your camera here, 2049 01:15:03,240 --> 01:15:06,570 everything's going to appear more blue because you're 2050 01:15:06,570 --> 01:15:08,115 looking back up the spectrum. 2051 01:15:08,115 --> 01:15:08,990 Does that make sense? 2052 01:15:08,990 --> 01:15:10,864 We're going to actually do an example of this 2053 01:15:10,864 --> 01:15:12,406 so it will hopefully make more sense. 2054 01:15:12,406 --> 01:15:14,155 But it's helpful as you look at this chart 2055 01:15:14,155 --> 01:15:16,110 to know that if you set your calibration down, 2056 01:15:16,110 --> 01:15:18,780 here you're looking up the spectrum, and if you set it up there 2057 01:15:18,780 --> 01:15:21,150 you're looking back. 2058 01:15:21,150 --> 01:15:25,170 Oh, and if you're shooting photos and you're shooting in RAW mode 2059 01:15:25,170 --> 01:15:28,660 this doesn't matter as much because this is something you can change. 2060 01:15:28,660 --> 01:15:31,390 We're not going to do too much RAW photography in this class. 2061 01:15:31,390 --> 01:15:34,440 We're going to go ahead and shoot JPEG. 2062 01:15:34,440 --> 01:15:36,570 So RAW photos you can change this later. 2063 01:15:36,570 --> 01:15:40,869 And if you're shooting JPEG or video, for the most part, it's baked in, 2064 01:15:40,869 --> 01:15:42,660 so you can't change this once you shoot it. 2065 01:15:42,660 --> 01:15:44,880 So it's very important if you're taking a JPEG photo 2066 01:15:44,880 --> 01:15:49,710 or shooting video to get this right as you shoot it. 2067 01:15:49,710 --> 01:15:50,310 All right. 2068 01:15:50,310 --> 01:15:52,320 So we're getting a little sleepy here. 2069 01:15:52,320 --> 01:15:54,030 We're going to put Ian up on the spot. 2070 01:15:54,030 --> 01:15:58,819 I'm going to put Max on the spot here as our videographer on camera here. 2071 01:15:58,819 --> 01:16:01,110 So let's go ahead and put this camera up on the screen. 2072 01:16:01,110 --> 01:16:02,880 So here is Ian. 2073 01:16:02,880 --> 01:16:05,280 And we're here in the cinema. 2074 01:16:05,280 --> 01:16:08,430 And maybe you've noticed if you come here in person, 2075 01:16:08,430 --> 01:16:13,050 what characteristic is the light here? 2076 01:16:13,050 --> 01:16:13,710 Well, sorry. 2077 01:16:13,710 --> 01:16:18,040 What color is it to your human eyes? 2078 01:16:18,040 --> 01:16:18,540 Right? 2079 01:16:18,540 --> 01:16:19,440 Our eyes are very versatile. 2080 01:16:19,440 --> 01:16:19,940 Right? 2081 01:16:19,940 --> 01:16:21,960 We don't typically see white as different colors 2082 01:16:21,960 --> 01:16:24,400 if we're inside and seeing tungsten lighter outside and seeing sunlight. 2083 01:16:24,400 --> 01:16:25,740 It all just looks natural to us. 2084 01:16:25,740 --> 01:16:26,340 Right? 2085 01:16:26,340 --> 01:16:29,730 But when you see in contrast-- so on the sides of the theater 2086 01:16:29,730 --> 01:16:31,920 here we have some warmer light. 2087 01:16:31,920 --> 01:16:32,460 Right? 2088 01:16:32,460 --> 01:16:33,240 Yeah. 2089 01:16:33,240 --> 01:16:35,804 Some tungsten light. 2090 01:16:35,804 --> 01:16:36,930 But did you notice-- 2091 01:16:36,930 --> 01:16:39,240 I noticed this when we put the lights in. 2092 01:16:39,240 --> 01:16:40,030 It's super blue. 2093 01:16:40,030 --> 01:16:42,390 It's very cool light. 2094 01:16:42,390 --> 01:16:45,879 It looks neutral because we have calibrated the cameras to match. 2095 01:16:45,879 --> 01:16:49,170 And the reason that we've actually done this in this class is because the white 2096 01:16:49,170 --> 01:16:55,710 point of the TV that we're working with is 6,500K or Kelvin. 2097 01:16:55,710 --> 01:16:57,210 And the reason we want-- 2098 01:16:57,210 --> 01:16:59,370 when you see us and when you see the image, 2099 01:16:59,370 --> 01:17:02,700 the cameras don't have this range that our eyes have. 2100 01:17:02,700 --> 01:17:05,140 So it sees one color or another. 2101 01:17:05,140 --> 01:17:09,630 So if we had set everything to the tungsten value or the warmer light, 2102 01:17:09,630 --> 01:17:11,910 the screen would appear incredibly blue. 2103 01:17:11,910 --> 01:17:14,580 So what we've done is we've calibrated the light and the cameras 2104 01:17:14,580 --> 01:17:17,665 to match the screen. 2105 01:17:17,665 --> 01:17:18,540 I'm losing everybody. 2106 01:17:18,540 --> 01:17:19,990 That was kind of a fun aside. 2107 01:17:19,990 --> 01:17:20,490 All right. 2108 01:17:20,490 --> 01:17:22,060 So let's make this more real. 2109 01:17:22,060 --> 01:17:24,060 So I brought this light panel here with us 2110 01:17:24,060 --> 01:17:27,150 and I'm going to ask the control room to dim the lights here in a second. 2111 01:17:27,150 --> 01:17:28,440 Or now. 2112 01:17:28,440 --> 01:17:31,020 And I'm going to turn this light on. 2113 01:17:31,020 --> 01:17:32,250 And so here we go. 2114 01:17:32,250 --> 01:17:33,870 Here is Ian. 2115 01:17:33,870 --> 01:17:35,820 We'll get the camera all focused up. 2116 01:17:35,820 --> 01:17:40,574 And Ian, is he warm, neutral, or cool? 2117 01:17:40,574 --> 01:17:41,500 AUDIENCE: Cool. 2118 01:17:41,500 --> 01:17:42,000 Cool 2119 01:17:42,000 --> 01:17:42,990 DAN: Cool? 2120 01:17:42,990 --> 01:17:43,740 OK. 2121 01:17:43,740 --> 01:17:47,220 And so what does that mean as far as how our camera is calibrated? 2122 01:17:47,220 --> 01:17:49,860 2123 01:17:49,860 --> 01:17:54,240 Like, so this light is probably calibrated around 6000 Kelvin right 2124 01:17:54,240 --> 01:17:55,020 now. 2125 01:17:55,020 --> 01:17:58,080 So if Ian is appearing cool is the Kelvin value 2126 01:17:58,080 --> 01:18:00,685 of the camera lower or higher? 2127 01:18:00,685 --> 01:18:01,310 AUDIENCE: Blue. 2128 01:18:01,310 --> 01:18:01,810 Lower. 2129 01:18:01,810 --> 01:18:04,870 DAN: It's calibrated lower because we're looking back up the spectrum. 2130 01:18:04,870 --> 01:18:05,370 Right? 2131 01:18:05,370 --> 01:18:07,110 So you know the light. 2132 01:18:07,110 --> 01:18:07,719 Let's see. 2133 01:18:07,719 --> 01:18:09,260 Does it actually have a number on it? 2134 01:18:09,260 --> 01:18:09,869 IAN: It does. 2135 01:18:09,869 --> 01:18:10,410 DAN: Hold on. 2136 01:18:10,410 --> 01:18:12,580 I got to look at it. 2137 01:18:12,580 --> 01:18:13,080 Oh, know. 2138 01:18:13,080 --> 01:18:13,620 It's just got a level. 2139 01:18:13,620 --> 01:18:15,120 It's all the way to daylight. 2140 01:18:15,120 --> 01:18:16,510 So all right. 2141 01:18:16,510 --> 01:18:17,010 Here is Ian. 2142 01:18:17,010 --> 01:18:20,460 I'm going to now turn the light color towards our tungsten light 2143 01:18:20,460 --> 01:18:23,770 or the warmer end of that spectrum and we can watch it change in real time. 2144 01:18:23,770 --> 01:18:24,270 All right. 2145 01:18:24,270 --> 01:18:25,530 Our cameras are fixed. 2146 01:18:25,530 --> 01:18:26,030 All right? 2147 01:18:26,030 --> 01:18:28,691 So that Ian feels very different right now. 2148 01:18:28,691 --> 01:18:29,190 Right? 2149 01:18:29,190 --> 01:18:34,060 This is warm, neutral, or cool? 2150 01:18:34,060 --> 01:18:34,580 Warm right? 2151 01:18:34,580 --> 01:18:35,080 Yeah. 2152 01:18:35,080 --> 01:18:35,860 Very warm. 2153 01:18:35,860 --> 01:18:38,661 It's very, very warm by comparison. 2154 01:18:38,661 --> 01:18:39,160 All right. 2155 01:18:39,160 --> 01:18:43,450 But we can effect this ourselves if we want to make our image warm, neutral, 2156 01:18:43,450 --> 01:18:45,280 or cool, by changing the camera. 2157 01:18:45,280 --> 01:18:48,160 So Max is our camera operator here. 2158 01:18:48,160 --> 01:18:50,538 What is your camera set to right now? 2159 01:18:50,538 --> 01:18:53,730 MAX: It's 5,600. 2160 01:18:53,730 --> 01:18:54,650 DAN: So it's 5,600K. 2161 01:18:54,650 --> 01:18:55,150 Right? 2162 01:18:55,150 --> 01:18:56,740 The same kind of preset for daylight. 2163 01:18:56,740 --> 01:18:59,080 That's the color of the light that we had in here. 2164 01:18:59,080 --> 01:19:02,950 Why don't you go ahead and set that to 3,200K or the tungsten value? 2165 01:19:02,950 --> 01:19:06,570 And we'll watch this change live. 2166 01:19:06,570 --> 01:19:08,912 So Max is adjusting the camera. 2167 01:19:08,912 --> 01:19:09,870 He's kind of scrolling. 2168 01:19:09,870 --> 01:19:12,420 Max, hit the advance button and actually dial it in. 2169 01:19:12,420 --> 01:19:13,918 It's more dramatic when it jumps. 2170 01:19:13,918 --> 01:19:16,702 2171 01:19:16,702 --> 01:19:18,100 MAX: 300-- 2172 01:19:18,100 --> 01:19:18,920 DAN: 3,200. 2173 01:19:18,920 --> 01:19:21,310 Three, two, zero, zero. 2174 01:19:21,310 --> 01:19:21,940 All right? 2175 01:19:21,940 --> 01:19:22,910 And there we go. 2176 01:19:22,910 --> 01:19:25,920 And so now this worm light has turned what? 2177 01:19:25,920 --> 01:19:27,985 Warm, neutral, or cool? 2178 01:19:27,985 --> 01:19:28,610 AUDIENCE: Cool. 2179 01:19:28,610 --> 01:19:29,210 DAN: Cool. 2180 01:19:29,210 --> 01:19:29,734 Right? 2181 01:19:29,734 --> 01:19:31,150 IAN: But the light hasn't changed. 2182 01:19:31,150 --> 01:19:31,889 Right? 2183 01:19:31,889 --> 01:19:33,430 Nothing has changed about this light. 2184 01:19:33,430 --> 01:19:35,590 We haven't changed a dial or a setting on it. 2185 01:19:35,590 --> 01:19:37,500 But we did change the camera settings. 2186 01:19:37,500 --> 01:19:38,110 DAN: Yeah. 2187 01:19:38,110 --> 01:19:40,465 And so now if I turn this back up to daylight. 2188 01:19:40,465 --> 01:19:42,941 2189 01:19:42,941 --> 01:19:43,440 All right? 2190 01:19:43,440 --> 01:19:46,647 Have you ever seen an image that's on the wrong white balance setting? 2191 01:19:46,647 --> 01:19:47,230 AUDIENCE: Yes. 2192 01:19:47,230 --> 01:19:47,729 DAN: Right? 2193 01:19:47,729 --> 01:19:48,761 This looks like that. 2194 01:19:48,761 --> 01:19:49,260 Right? 2195 01:19:49,260 --> 01:19:50,810 It's very, very cool. 2196 01:19:50,810 --> 01:19:51,990 IAN: This is very sad. 2197 01:19:51,990 --> 01:19:53,425 DAN: Yeah. 2198 01:19:53,425 --> 01:19:54,800 But this could be used to effect. 2199 01:19:54,800 --> 01:19:55,490 Right? 2200 01:19:55,490 --> 01:19:58,360 What kind of emotion does this give you? 2201 01:19:58,360 --> 01:20:00,290 Ignore Ian's face. 2202 01:20:00,290 --> 01:20:03,892 But the cool cast alone connotes what? 2203 01:20:03,892 --> 01:20:05,160 AUDIENCE: Sadness. 2204 01:20:05,160 --> 01:20:06,060 DAN: Sadness. 2205 01:20:06,060 --> 01:20:07,280 Yeah. 2206 01:20:07,280 --> 01:20:08,371 Fear. 2207 01:20:08,371 --> 01:20:08,870 I mean-- 2208 01:20:08,870 --> 01:20:11,000 AUDIENCE: VICE media. 2209 01:20:11,000 --> 01:20:12,970 DAN: Say it a little louder. 2210 01:20:12,970 --> 01:20:15,311 AUDIENCE: I feel like I'm watching a VICE documentary. 2211 01:20:15,311 --> 01:20:16,310 DAN: A VICE documentary. 2212 01:20:16,310 --> 01:20:16,790 OK. 2213 01:20:16,790 --> 01:20:18,320 So you're manipulating your audience though. 2214 01:20:18,320 --> 01:20:18,820 Right? 2215 01:20:18,820 --> 01:20:20,990 You want them to feel a certain way, you can 2216 01:20:20,990 --> 01:20:28,520 do that By calibrating your camera in a certain way 2217 01:20:28,520 --> 01:20:31,490 so that the color of the light is a certain color. 2218 01:20:31,490 --> 01:20:33,440 So let's do this somewhere in between now just 2219 01:20:33,440 --> 01:20:35,300 to prove that I'm not lying to you. 2220 01:20:35,300 --> 01:20:37,440 I'm going to set it right in the middle. 2221 01:20:37,440 --> 01:20:41,870 So let's call it about 4,500. 2222 01:20:41,870 --> 01:20:43,270 All right? 2223 01:20:43,270 --> 01:20:46,450 So this light source is now in the middle and if I don't touch the light, 2224 01:20:46,450 --> 01:20:50,930 but I ask max to turn his calibration to let's say 10,000. 2225 01:20:50,930 --> 01:20:52,452 What's that going to do for us? 2226 01:20:52,452 --> 01:20:53,400 MAX: 10,000K? 2227 01:20:53,400 --> 01:20:53,900 DAN: Yeah. 2228 01:20:53,900 --> 01:20:55,280 Dial it in and don't hit it yet. 2229 01:20:55,280 --> 01:20:57,861 2230 01:20:57,861 --> 01:20:58,360 What color? 2231 01:20:58,360 --> 01:20:59,760 AUDIENCE: Well, it should make him very warm. 2232 01:20:59,760 --> 01:21:00,200 MAX: OK. 2233 01:21:00,200 --> 01:21:00,824 DAN: Very warm. 2234 01:21:00,824 --> 01:21:01,680 OK. 2235 01:21:01,680 --> 01:21:04,460 Let's hit it, Max. 2236 01:21:04,460 --> 01:21:05,210 Bang. 2237 01:21:05,210 --> 01:21:06,150 Very warm. 2238 01:21:06,150 --> 01:21:06,650 All right. 2239 01:21:06,650 --> 01:21:09,980 For a light source that's somewhere in the middle of its range. 2240 01:21:09,980 --> 01:21:12,354 And at the other end of the spectrum, how low can you go? 2241 01:21:12,354 --> 01:21:23,770 I think it's like 1900 on that camera? 2242 01:21:23,770 --> 01:21:24,270 Bang. 2243 01:21:24,270 --> 01:21:25,737 We get a cool light source. 2244 01:21:25,737 --> 01:21:27,820 But that's really interesting how you can do this. 2245 01:21:27,820 --> 01:21:28,415 Right? 2246 01:21:28,415 --> 01:21:28,690 All right. 2247 01:21:28,690 --> 01:21:29,950 We can bring the lights back up I think. 2248 01:21:29,950 --> 01:21:30,745 Thank you, Ian. 2249 01:21:30,745 --> 01:21:34,630 2250 01:21:34,630 --> 01:21:36,220 We'll go back over to the slides here. 2251 01:21:36,220 --> 01:21:39,471 2252 01:21:39,471 --> 01:21:39,970 All right. 2253 01:21:39,970 --> 01:21:41,303 That was warm and cool with Ian. 2254 01:21:41,303 --> 01:21:43,228 Thank you. 2255 01:21:43,228 --> 01:21:44,630 AUDIENCE: So, Dan? 2256 01:21:44,630 --> 01:21:45,130 DAN: Yes. 2257 01:21:45,130 --> 01:21:47,005 AUDIENCE: What you were saying earlier if you 2258 01:21:47,005 --> 01:21:50,103 are shooting in RAW none of this would matter because you would 2259 01:21:50,103 --> 01:21:52,304 be able to change it from warm to cool. 2260 01:21:52,304 --> 01:21:52,845 DAN: Exactly. 2261 01:21:52,845 --> 01:21:56,510 AUDIENCE: [INAUDIBLE] but if we're shooting in JPEG 2262 01:21:56,510 --> 01:21:59,550 and we got the cool we wouldn't be able to. 2263 01:21:59,550 --> 01:22:00,061 DAN: Yeah. 2264 01:22:00,061 --> 01:22:00,560 Exactly. 2265 01:22:00,560 --> 01:22:04,330 So if you're more technical and you're shooting your camera mode in actual RAW 2266 01:22:04,330 --> 01:22:07,700 capture, there's a setting in your menu that says RAW. 2267 01:22:07,700 --> 01:22:10,196 And there's also a setting for you JPEG. 2268 01:22:10,196 --> 01:22:13,070 Usually, you can capture both, but you might choose one or the other. 2269 01:22:13,070 --> 01:22:14,820 AUDIENCE: Can you describe just what RAW is? 2270 01:22:14,820 --> 01:22:15,040 DAN: Yeah. 2271 01:22:15,040 --> 01:22:16,330 AUDIENCE: Just in a nutshell? 2272 01:22:16,330 --> 01:22:16,930 DAN: Yeah. 2273 01:22:16,930 --> 01:22:18,880 So if you're shooting RAW, what you're doing 2274 01:22:18,880 --> 01:22:22,480 is you're sensor is getting all of the light sent into it. 2275 01:22:22,480 --> 01:22:24,700 And if you're shooting JPEG, it makes a decision 2276 01:22:24,700 --> 01:22:26,470 and formulates an image out of it. 2277 01:22:26,470 --> 01:22:29,540 If you're shooting RAW, your sensor takes all of that data 2278 01:22:29,540 --> 01:22:30,550 and it's just stores it. 2279 01:22:30,550 --> 01:22:34,240 Think of it as like a big blob that you can later figure out 2280 01:22:34,240 --> 01:22:36,130 what you want it to look like and form it 2281 01:22:36,130 --> 01:22:38,050 into a JPEG at another point in time. 2282 01:22:38,050 --> 01:22:42,190 The way I like to think about it is that you, when you're looking at RAW data, 2283 01:22:42,190 --> 01:22:45,462 you don't actually see the RAW image but you see a JPEG representation of it. 2284 01:22:45,462 --> 01:22:47,170 So if you're looking in Lightroom, you're 2285 01:22:47,170 --> 01:22:50,650 getting a representation at any given moment of what the RAW data looks like. 2286 01:22:50,650 --> 01:22:52,792 It's almost like a window into that RAW data. 2287 01:22:52,792 --> 01:22:55,750 And as you move the sliders around one of the sliders that you can move 2288 01:22:55,750 --> 01:22:56,950 is color temperature. 2289 01:22:56,950 --> 01:23:01,750 And so you can make the image warm or cool, or warmer or cooler. 2290 01:23:01,750 --> 01:23:04,270 In Lightroom, if you're shooting RAW, That's 2291 01:23:04,270 --> 01:23:07,061 something you get for free if you're shooting in the raw format. 2292 01:23:07,061 --> 01:23:09,685 But if you're shooting JPEG, this is something you can modify-- 2293 01:23:09,685 --> 01:23:11,647 IAN: Not for free. 2294 01:23:11,647 --> 01:23:12,730 DAN: What's the trade-off? 2295 01:23:12,730 --> 01:23:14,800 IAN: The trade-off is size. 2296 01:23:14,800 --> 01:23:15,310 DAN: OK. 2297 01:23:15,310 --> 01:23:15,900 Fair. 2298 01:23:15,900 --> 01:23:16,180 Fair. 2299 01:23:16,180 --> 01:23:17,080 So there's always a trade-off. 2300 01:23:17,080 --> 01:23:17,740 There's no free lunch. 2301 01:23:17,740 --> 01:23:18,620 Thank you, Ian. 2302 01:23:18,620 --> 01:23:19,840 All right. 2303 01:23:19,840 --> 01:23:21,820 So with RAW, you're storing a lot more data 2304 01:23:21,820 --> 01:23:23,770 because you're not throwing anything away. 2305 01:23:23,770 --> 01:23:26,512 You're saving all of those bits that comprise your image 2306 01:23:26,512 --> 01:23:29,470 and then later you can make that decision of what color temperature you 2307 01:23:29,470 --> 01:23:31,330 want it to be. 2308 01:23:31,330 --> 01:23:33,967 In this day and age, when we have so much space available 2309 01:23:33,967 --> 01:23:35,800 maybe it's a really minor trade-off to make. 2310 01:23:35,800 --> 01:23:38,500 But back in the day when you had to pay a lot of money 2311 01:23:38,500 --> 01:23:41,650 for every gigabyte on your memory card, this was a much bigger deal. 2312 01:23:41,650 --> 01:23:42,430 Question? 2313 01:23:42,430 --> 01:23:44,440 AUDIENCE: And when Max is making his adjustments 2314 01:23:44,440 --> 01:23:45,940 what is the camera doing physically? 2315 01:23:45,940 --> 01:23:48,520 Just changing some baseline value [INAUDIBLE]?? 2316 01:23:48,520 --> 01:23:52,240 DAN: It's the process in the sensor that actually 2317 01:23:52,240 --> 01:23:54,040 decides what to show you the image as. 2318 01:23:54,040 --> 01:23:58,090 Because the sensor is seeing just light values bouncing into it. 2319 01:23:58,090 --> 01:24:02,300 And so when you see a representation of it you're setting the camera to say, 2320 01:24:02,300 --> 01:24:06,640 OK, I want to have the sensitivity of the brightness be set here. 2321 01:24:06,640 --> 01:24:11,230 I want the white point of the camera to be set here with my white balance. 2322 01:24:11,230 --> 01:24:15,130 And so it's the camera is making-- you're making those decisions when 2323 01:24:15,130 --> 01:24:17,060 you set the camera technically. 2324 01:24:17,060 --> 01:24:18,700 AUDIENCE: Is [INAUDIBLE]. 2325 01:24:18,700 --> 01:24:24,450 The color white, the tone of the color white is predetermined basically? 2326 01:24:24,450 --> 01:24:24,950 DAN: Yeah. 2327 01:24:24,950 --> 01:24:26,140 I mean, It's not-- 2328 01:24:26,140 --> 01:24:29,560 I mean, I would describe it as the neutral point of your camera Right? 2329 01:24:29,560 --> 01:24:31,150 So you determine what is neutrals. 2330 01:24:31,150 --> 01:24:33,550 And which means like if you're looking at a white element 2331 01:24:33,550 --> 01:24:38,750 the element will appear white versus having a warm or cool cast to it. 2332 01:24:38,750 --> 01:24:43,480 So when you set the color temperature or white balance on your camera 2333 01:24:43,480 --> 01:24:46,540 you're deciding what is white, for all intents and purposes. 2334 01:24:46,540 --> 01:24:49,150 And then the camera will shift everything else based on that. 2335 01:24:49,150 --> 01:24:53,300 IAN: And I think that's a bit of why it can be confusing sometimes. 2336 01:24:53,300 --> 01:24:56,830 Because conventionally we talk about it as white balance. 2337 01:24:56,830 --> 01:24:59,910 But really what we're talking about is an image. 2338 01:24:59,910 --> 01:25:03,920 If you focused on an image with no color in it, it would have no color in it. 2339 01:25:03,920 --> 01:25:04,420 Right? 2340 01:25:04,420 --> 01:25:08,650 And so you imagine like a grey card or a neutral subject that when you 2341 01:25:08,650 --> 01:25:11,751 photographed it, it would have no color cast at all to it. 2342 01:25:11,751 --> 01:25:12,250 OK? 2343 01:25:12,250 --> 01:25:15,580 But because a neutral object is reflecting light. 2344 01:25:15,580 --> 01:25:18,980 If that light has a color cast that strikes a neutral object-- 2345 01:25:18,980 --> 01:25:19,480 right? 2346 01:25:19,480 --> 01:25:23,350 The neutral object will reflect some aspect of that color. 2347 01:25:23,350 --> 01:25:27,910 OK so what we're doing with the camera is saying OK, 2348 01:25:27,910 --> 01:25:31,990 the light has this color please subtract this color from the image 2349 01:25:31,990 --> 01:25:35,540 so that this neutral item looks neutral. 2350 01:25:35,540 --> 01:25:36,040 OK? 2351 01:25:36,040 --> 01:25:38,710 And so you can manipulate the camera controls 2352 01:25:38,710 --> 01:25:43,030 to have it add or subtract different elements of color 2353 01:25:43,030 --> 01:25:46,040 to the light that's going back. 2354 01:25:46,040 --> 01:25:49,510 DAN: And actually I meant to take a moment here and actually pull up 2355 01:25:49,510 --> 01:25:50,740 a camera example. 2356 01:25:50,740 --> 01:25:52,990 So Max, one, if you didn't say your white balance back 2357 01:25:52,990 --> 01:25:55,000 please get it back to 5,600. 2358 01:25:55,000 --> 01:25:57,910 And then two, if you can give me a close-up up shot on this camera. 2359 01:25:57,910 --> 01:26:00,100 I just want to show you-- actually, we can possibly do it with the screen 2360 01:26:00,100 --> 01:26:01,210 here. 2361 01:26:01,210 --> 01:26:04,150 Let's push a button down here. 2362 01:26:04,150 --> 01:26:05,650 Turn this on. 2363 01:26:05,650 --> 01:26:07,240 So if you're like, this is great. 2364 01:26:07,240 --> 01:26:11,230 You're talking about changing the white balance of my camera 2365 01:26:11,230 --> 01:26:13,780 but where do we actually do that? 2366 01:26:13,780 --> 01:26:14,650 Let me show you. 2367 01:26:14,650 --> 01:26:17,800 2368 01:26:17,800 --> 01:26:18,310 All right. 2369 01:26:18,310 --> 01:26:20,920 So this is a Canon camera. 2370 01:26:20,920 --> 01:26:23,100 Other brands will vary slightly. 2371 01:26:23,100 --> 01:26:28,800 But on a Canon camera in the red shooting menu, you can come down here. 2372 01:26:28,800 --> 01:26:31,110 I pressed the menu button to get here. 2373 01:26:31,110 --> 01:26:33,420 And then you can choose white balance. 2374 01:26:33,420 --> 01:26:36,510 And right now I'm preset to that Kelvin value. 2375 01:26:36,510 --> 01:26:40,860 And what the icons are telling us is that knob-- 2376 01:26:40,860 --> 01:26:42,810 is this top knob here-- and as I turn that I'm 2377 01:26:42,810 --> 01:26:44,650 going to adjust that Kelvin value. 2378 01:26:44,650 --> 01:26:45,150 Right? 2379 01:26:45,150 --> 01:26:48,330 So if I wanted to lower my Kelvin value I just dial it down. 2380 01:26:48,330 --> 01:26:50,970 I can go to 3,200. 2381 01:26:50,970 --> 01:26:53,550 I can go lower but if I set it to 3,200 this is now 2382 01:26:53,550 --> 01:26:55,931 the same as that light bulb preset. 2383 01:26:55,931 --> 01:26:56,430 Right? 2384 01:26:56,430 --> 01:27:00,570 Or I can dial it up back to 5,600. 2385 01:27:00,570 --> 01:27:03,300 And this is the same as the sun preset. 2386 01:27:03,300 --> 01:27:07,500 But the beauty of understanding the numbers on the Kelvin scale 2387 01:27:07,500 --> 01:27:09,360 are that you can go somewhere in between. 2388 01:27:09,360 --> 01:27:10,350 Right? 2389 01:27:10,350 --> 01:27:14,380 And if you're not sure what it's going to do simply push this button. 2390 01:27:14,380 --> 01:27:18,442 Look down look at your screen and watch what happens to your image. 2391 01:27:18,442 --> 01:27:20,150 Does it get warmer or does it get cooler? 2392 01:27:20,150 --> 01:27:20,340 Right. 2393 01:27:20,340 --> 01:27:22,890 You don't have to understand exactly which way you're going 2394 01:27:22,890 --> 01:27:24,580 to go to just turn the knob and see it. 2395 01:27:24,580 --> 01:27:25,080 Right? 2396 01:27:25,080 --> 01:27:30,094 You'll see am I getting a warmer cast or am I getting a cooler cast? 2397 01:27:30,094 --> 01:27:31,010 AUDIENCE: I'm curious. 2398 01:27:31,010 --> 01:27:35,560 Does this, I guess, list white balances that we 2399 01:27:35,560 --> 01:27:40,380 have available as presets from the sun all the way to the flash, 2400 01:27:40,380 --> 01:27:43,481 is that in warmest to coolest? 2401 01:27:43,481 --> 01:27:43,980 DAN: No. 2402 01:27:43,980 --> 01:27:44,440 It's not. 2403 01:27:44,440 --> 01:27:46,350 Because the warmest one is going to be the light bulb. 2404 01:27:46,350 --> 01:27:48,070 So I don't know why it's in this order. 2405 01:27:48,070 --> 01:27:50,940 It does seem silly that it wouldn't be from warm to cool. 2406 01:27:50,940 --> 01:27:54,752 But the menu we are looking at is not set that way. 2407 01:27:54,752 --> 01:27:56,460 So maybe you should go into camera design 2408 01:27:56,460 --> 01:27:58,680 because that would be very smart. 2409 01:27:58,680 --> 01:28:04,210 But if we now-- let me actually put this into a live view mode. 2410 01:28:04,210 --> 01:28:07,950 And we can see if all goes well there's the side of the stage. 2411 01:28:07,950 --> 01:28:11,160 And so we can see that I'm still preset in my white balance. 2412 01:28:11,160 --> 01:28:12,630 I can push the button here. 2413 01:28:12,630 --> 01:28:14,730 And as I dial this around I can't actually 2414 01:28:14,730 --> 01:28:17,640 change the Kelvin value on this camera in live view 2415 01:28:17,640 --> 01:28:21,900 but I can change, hopefully-- 2416 01:28:21,900 --> 01:28:23,760 there's auto, daylight. 2417 01:28:23,760 --> 01:28:29,070 So if you can see this hopefully nice and close up, we've got the daylight. 2418 01:28:29,070 --> 01:28:31,440 And I'm going to press it again, it keeps timing out. 2419 01:28:31,440 --> 01:28:32,130 There's shade. 2420 01:28:32,130 --> 01:28:33,500 It's pretty close. 2421 01:28:33,500 --> 01:28:34,800 Cloudy. 2422 01:28:34,800 --> 01:28:37,560 I don't know the exact values for these things so it's up to you 2423 01:28:37,560 --> 01:28:38,559 if you want to use them. 2424 01:28:38,559 --> 01:28:41,050 Just look down here in your screen and make the decision. 2425 01:28:41,050 --> 01:28:41,550 Right? 2426 01:28:41,550 --> 01:28:43,220 But this one's going to feel quite a bit cooler. 2427 01:28:43,220 --> 01:28:43,720 Right? 2428 01:28:43,720 --> 01:28:47,040 Because this is that 3,200K value because we're on the tungsten light 2429 01:28:47,040 --> 01:28:47,980 bulb. 2430 01:28:47,980 --> 01:28:48,480 Right? 2431 01:28:48,480 --> 01:28:51,256 Fluorescent is going to be somewhere in between. 2432 01:28:51,256 --> 01:28:53,130 Flash is going to make everything quite warm. 2433 01:28:53,130 --> 01:28:56,930 Because flash I think is around 10,000K. 2434 01:28:56,930 --> 01:28:58,620 Yeah. 2435 01:28:58,620 --> 01:29:01,830 But really again, the two-- if I can say there are two that you should 2436 01:29:01,830 --> 01:29:03,810 understand it's the daylight-- wow. 2437 01:29:03,810 --> 01:29:05,130 This is wacky. 2438 01:29:05,130 --> 01:29:07,920 It's the-- Oh, man. 2439 01:29:07,920 --> 01:29:08,754 It's the light bulb. 2440 01:29:08,754 --> 01:29:09,836 Ian, can you point for me? 2441 01:29:09,836 --> 01:29:10,350 IAN: Yes. 2442 01:29:10,350 --> 01:29:10,890 DAN: OK. 2443 01:29:10,890 --> 01:29:13,500 It's the light bulb, which is 3,200K. 2444 01:29:13,500 --> 01:29:16,270 And it's the sun which is 5,600K. 2445 01:29:16,270 --> 01:29:16,770 Right? 2446 01:29:16,770 --> 01:29:20,370 And then you can turn it into the Kelvin mode which is literally 2447 01:29:20,370 --> 01:29:23,190 that K. You can click this and you can choose 2448 01:29:23,190 --> 01:29:25,870 what to set it to if you want to be more advanced. 2449 01:29:25,870 --> 01:29:28,680 But simply jumping between those two presets 2450 01:29:28,680 --> 01:29:32,460 should be able to give you warm or cool. 2451 01:29:32,460 --> 01:29:36,150 IAN: And so your camera that you have may not allow you 2452 01:29:36,150 --> 01:29:38,730 to set the individual Kelvin values. 2453 01:29:38,730 --> 01:29:40,440 Maybe it only has presets. 2454 01:29:40,440 --> 01:29:43,810 Or maybe it only has an auto white balance functionality. 2455 01:29:43,810 --> 01:29:47,100 And if that's true, then knowing the presets, which ones to use. 2456 01:29:47,100 --> 01:29:51,450 Whether the one for daylight or one for tungsten will be really helpful. 2457 01:29:51,450 --> 01:29:54,240 And if you have to use an auto white balancing feature, 2458 01:29:54,240 --> 01:29:58,350 then focusing on a chroma neutral subject 2459 01:29:58,350 --> 01:30:01,470 or at worst case scenario a white subject 2460 01:30:01,470 --> 01:30:05,820 that you want to be neutral that's being hit by the light in your scene, 2461 01:30:05,820 --> 01:30:07,830 is a good way to do that. 2462 01:30:07,830 --> 01:30:08,370 OK? 2463 01:30:08,370 --> 01:30:12,810 But ultimately being able to set the Kelvin value incrementally 2464 01:30:12,810 --> 01:30:19,180 is incredibly helpful to control exactly how your images are going to look. 2465 01:30:19,180 --> 01:30:24,280 AUDIENCE: Is the change for the let's say 2466 01:30:24,280 --> 01:30:28,640 the digital file of the image the same whether you're doing it with a camera 2467 01:30:28,640 --> 01:30:34,780 [INAUDIBLE] preset basically, and the [INAUDIBLE].. 2468 01:30:34,780 --> 01:30:35,280 IAN: Well. 2469 01:30:35,280 --> 01:30:37,200 It depends on the mode you shoot in. 2470 01:30:37,200 --> 01:30:40,260 If you are, say, shooting in RAW, then you 2471 01:30:40,260 --> 01:30:43,560 have the ability to make changes later in Lightroom. 2472 01:30:43,560 --> 01:30:44,250 So maybe-- 2473 01:30:44,250 --> 01:30:46,450 DAN: Which would be the same as doing it in camera. 2474 01:30:46,450 --> 01:30:46,970 IAN: Yes. 2475 01:30:46,970 --> 01:30:48,303 DAN: There's no trade-off there. 2476 01:30:48,303 --> 01:30:49,010 As far as-- 2477 01:30:49,010 --> 01:30:52,860 IAN: But at the cost of say having to save a lot of data. 2478 01:30:52,860 --> 01:30:56,735 You save all this RAW data and then you decide how it's going to look later. 2479 01:30:56,735 --> 01:30:58,860 Whereas again, when we're talking about trade-offs. 2480 01:30:58,860 --> 01:31:01,410 When you have a camera you shoot JPEG mode, you decide in the moment 2481 01:31:01,410 --> 01:31:02,250 how it will look. 2482 01:31:02,250 --> 01:31:03,080 But that's it. 2483 01:31:03,080 --> 01:31:05,940 It's baked in and trying to remove that color cast, 2484 01:31:05,940 --> 01:31:08,460 usually degrades the image in a way that it's 2485 01:31:08,460 --> 01:31:11,950 no longer usable, or unacceptable for most situations. 2486 01:31:11,950 --> 01:31:12,450 DAN: Yeah. 2487 01:31:12,450 --> 01:31:15,330 And I will say like software is getting much better at this. 2488 01:31:15,330 --> 01:31:18,960 The first time I did a demo of editing in Lightroom 2489 01:31:18,960 --> 01:31:21,930 and I used a JPEG it tore apart. 2490 01:31:21,930 --> 01:31:23,165 The color didn't look good. 2491 01:31:23,165 --> 01:31:25,290 But I did it, I think last year or the year before, 2492 01:31:25,290 --> 01:31:27,746 and it was a pretty phenomenal how good of a job 2493 01:31:27,746 --> 01:31:30,120 the algorithms are getting that make this change for you. 2494 01:31:30,120 --> 01:31:32,850 So it's not to say that there's no flexibility. 2495 01:31:32,850 --> 01:31:34,890 If you edit your JPEG photos in something 2496 01:31:34,890 --> 01:31:36,507 like Lightroom or other software. 2497 01:31:36,507 --> 01:31:38,340 But you definitely have the most flexibility 2498 01:31:38,340 --> 01:31:40,392 if you're actually shooting it RAW. 2499 01:31:40,392 --> 01:31:42,975 AUDIENCE: But I guess it's a much more conscious decision when 2500 01:31:42,975 --> 01:31:44,340 you shoot the picture. 2501 01:31:44,340 --> 01:31:45,660 Do it at that moment. 2502 01:31:45,660 --> 01:31:46,390 DAN: Yeah. 2503 01:31:46,390 --> 01:31:49,500 And if you're comfortable that's we want to emphasize in this class, 2504 01:31:49,500 --> 01:31:51,630 is this is how you always used to have to do it. 2505 01:31:51,630 --> 01:31:52,130 Right? 2506 01:31:52,130 --> 01:31:56,070 You didn't have this magic ability to change the sensor data or that piece 2507 01:31:56,070 --> 01:31:57,390 of film back in the old days. 2508 01:31:57,390 --> 01:31:58,990 IAN: You loaded film and that was it. 2509 01:31:58,990 --> 01:32:02,850 You had 36 pictures at a specific ISO and a specific color temperature. 2510 01:32:02,850 --> 01:32:03,350 Right? 2511 01:32:03,350 --> 01:32:05,980 Film was daylight or tungsten and that was it. 2512 01:32:05,980 --> 01:32:06,480 Right? 2513 01:32:06,480 --> 01:32:09,660 And then you chose an ISO and that was it. 2514 01:32:09,660 --> 01:32:12,420 And you could change film canisters and things like that, 2515 01:32:12,420 --> 01:32:16,390 but you'd have to run out your camera and take all 36 pictures. 2516 01:32:16,390 --> 01:32:19,330 DAN: So we're lucky to have RAW at our fingertips 2517 01:32:19,330 --> 01:32:22,300 but I think it's really important as we start 2518 01:32:22,300 --> 01:32:25,767 to grow as photographers to understand the ability to change this frame. 2519 01:32:25,767 --> 01:32:27,850 And the assignment around this will help with that 2520 01:32:27,850 --> 01:32:32,360 because it's something you can play with as adding a warmer a cool cast to it. 2521 01:32:32,360 --> 01:32:32,860 All right. 2522 01:32:32,860 --> 01:32:35,080 So we're running out of time quickly here. 2523 01:32:35,080 --> 01:32:38,590 So we'll start to move a little bit more quickly as a recap. 2524 01:32:38,590 --> 01:32:41,320 Daylight is set to what Kelvin value? 2525 01:32:41,320 --> 01:32:42,510 AUDIENCE: 56. 2526 01:32:42,510 --> 01:32:43,570 DAN: 5,600? 2527 01:32:43,570 --> 01:32:44,110 Exactly. 2528 01:32:44,110 --> 01:32:45,280 What is this image? 2529 01:32:45,280 --> 01:32:46,390 Warm, neutral, or cool? 2530 01:32:46,390 --> 01:32:46,840 AUDIENCE: Cool. 2531 01:32:46,840 --> 01:32:47,465 DAN: All right. 2532 01:32:47,465 --> 01:32:48,010 And why? 2533 01:32:48,010 --> 01:32:48,509 Right? 2534 01:32:48,509 --> 01:32:51,800 We know it's a blue sky regardless because we're humans and have seen sky. 2535 01:32:51,800 --> 01:32:53,800 But what is it that tells you that this is cool? 2536 01:32:53,800 --> 01:32:54,640 AUDIENCE: Everything's blue. 2537 01:32:54,640 --> 01:32:55,540 DAN: Everything's blue. 2538 01:32:55,540 --> 01:32:57,331 And specifically, I think it's really handy 2539 01:32:57,331 --> 01:33:01,030 if you're unsure of what color cast it has look at the white elements 2540 01:33:01,030 --> 01:33:02,500 or the lighter elements in it. 2541 01:33:02,500 --> 01:33:05,680 And if you literally have a tool like a digital color meter 2542 01:33:05,680 --> 01:33:08,080 tool that's built into Macs and PCs, you can 2543 01:33:08,080 --> 01:33:11,950 hover over the highlight elements of your frame 2544 01:33:11,950 --> 01:33:15,841 and see does it come up as blue, or does it come up as orange, 2545 01:33:15,841 --> 01:33:17,090 or does it come up as a white? 2546 01:33:17,090 --> 01:33:19,090 And that'll help you determine if you're looking 2547 01:33:19,090 --> 01:33:20,880 at a warm, a neutral, or a cool image. 2548 01:33:20,880 --> 01:33:21,400 All right. 2549 01:33:21,400 --> 01:33:26,149 And so what was the camera set to for this cool image? 2550 01:33:26,149 --> 01:33:26,831 AUDIENCE: Warm. 2551 01:33:26,831 --> 01:33:27,330 DAN: Warm. 2552 01:33:27,330 --> 01:33:28,010 Right? 2553 01:33:28,010 --> 01:33:29,080 3,200K. 2554 01:33:29,080 --> 01:33:31,330 Or the equivalent of the tungsten light bulb. 2555 01:33:31,330 --> 01:33:31,830 OK? 2556 01:33:31,830 --> 01:33:32,640 How about this? 2557 01:33:32,640 --> 01:33:33,660 Same image. 2558 01:33:33,660 --> 01:33:37,200 I used Lightroom to modify this so it's the same image. 2559 01:33:37,200 --> 01:33:38,590 You get color for free. 2560 01:33:38,590 --> 01:33:42,120 But I export a JPEGs which we're looking at now. 2561 01:33:42,120 --> 01:33:43,470 Warm, neutral, or cool? 2562 01:33:43,470 --> 01:33:44,220 AUDIENCE: Neutral. 2563 01:33:44,220 --> 01:33:44,790 DAN: Pretty neutral. 2564 01:33:44,790 --> 01:33:45,340 Right? 2565 01:33:45,340 --> 01:33:45,840 OK. 2566 01:33:45,840 --> 01:33:47,310 So the daylight is 5,600K. 2567 01:33:47,310 --> 01:33:48,720 What was the camera set to? 2568 01:33:48,720 --> 01:33:49,980 AUDIENCE: 4,000. 2569 01:33:49,980 --> 01:33:50,990 DAN: I'm sorry. 2570 01:33:50,990 --> 01:33:51,510 4,000? 2571 01:33:51,510 --> 01:33:52,340 It's actually the same. 2572 01:33:52,340 --> 01:33:52,840 Right? 2573 01:33:52,840 --> 01:33:54,150 Because the image is neutral. 2574 01:33:54,150 --> 01:33:54,340 Right? 2575 01:33:54,340 --> 01:33:55,740 I've set the calibration of my camera. 2576 01:33:55,740 --> 01:33:58,073 I've calibrated it to the same thing as my light source. 2577 01:33:58,073 --> 01:34:02,661 My light source I know is 5,600K, so to get a neutral image I set my camera 2578 01:34:02,661 --> 01:34:03,660 to the exact same thing. 2579 01:34:03,660 --> 01:34:06,429 2580 01:34:06,429 --> 01:34:07,470 And this is the opposite. 2581 01:34:07,470 --> 01:34:08,160 Warm cast. 2582 01:34:08,160 --> 01:34:08,660 Right? 2583 01:34:08,660 --> 01:34:11,415 So if that is 5,600K what was the camera set to? 2584 01:34:11,415 --> 01:34:12,540 AUDIENCE: Something higher. 2585 01:34:12,540 --> 01:34:13,170 DAN: Something higher. 2586 01:34:13,170 --> 01:34:13,930 Right. 2587 01:34:13,930 --> 01:34:14,670 10,000. 2588 01:34:14,670 --> 01:34:15,850 You got it, Ralph. 2589 01:34:15,850 --> 01:34:17,509 And so that gives us this warm effect. 2590 01:34:17,509 --> 01:34:19,800 And so this is something you really need to think about 2591 01:34:19,800 --> 01:34:22,110 if you're shooting in JPEG and need to capture it in the moment. 2592 01:34:22,110 --> 01:34:24,390 You don't have much wiggle room later if you're 2593 01:34:24,390 --> 01:34:26,800 shooting an RAW the trade-off is space. 2594 01:34:26,800 --> 01:34:27,300 Right? 2595 01:34:27,300 --> 01:34:30,371 But then you can make this decision later. 2596 01:34:30,371 --> 01:34:30,870 All right. 2597 01:34:30,870 --> 01:34:32,400 So you can use these two effects. 2598 01:34:32,400 --> 01:34:35,640 We've talked about what kind of emotions a warm cast or a cool cast 2599 01:34:35,640 --> 01:34:36,720 will give you. 2600 01:34:36,720 --> 01:34:40,230 And I came across this image on the T back in 2017, 2601 01:34:40,230 --> 01:34:42,895 and this is really like, to use Ian's term, 2602 01:34:42,895 --> 01:34:45,820 a ham-fisted approach to using color. 2603 01:34:45,820 --> 01:34:46,320 Right? 2604 01:34:46,320 --> 01:34:49,890 So what we've got is a mother presumably kissing the boo-boo 2605 01:34:49,890 --> 01:34:53,940 off her daughter, or a nurse maybe. 2606 01:34:53,940 --> 01:34:56,280 And inside where the kiss is happening it's 2607 01:34:56,280 --> 01:34:59,400 this warm glow, and on the outside, we've got this blue fall-off. 2608 01:34:59,400 --> 01:35:03,780 Like she's kissing the boo-boo away so. 2609 01:35:03,780 --> 01:35:06,240 Just one way that you can use this, but I 2610 01:35:06,240 --> 01:35:09,870 thought this was a silly heavy-handed example that 2611 01:35:09,870 --> 01:35:16,145 is a good example of how it can be used to effect even if too strongly. 2612 01:35:16,145 --> 01:35:17,770 So bringing things back to composition. 2613 01:35:17,770 --> 01:35:19,290 There's a bunch of other elements of composition 2614 01:35:19,290 --> 01:35:20,850 that you should take into account-- 2615 01:35:20,850 --> 01:35:22,997 which we're going to move through quickly-- 2616 01:35:22,997 --> 01:35:24,330 when you're building your frame. 2617 01:35:24,330 --> 01:35:26,529 We talked about those classic design elements. 2618 01:35:26,529 --> 01:35:29,070 But there's a whole lot more that goes into building a frame. 2619 01:35:29,070 --> 01:35:30,860 And the three things I think that are the most important 2620 01:35:30,860 --> 01:35:32,943 that we'll talk about in the remainder of our time 2621 01:35:32,943 --> 01:35:35,040 are perspective, balance, and contrast. 2622 01:35:35,040 --> 01:35:39,330 So perspective is literally where is the camera placed? 2623 01:35:39,330 --> 01:35:42,660 Is it on the level as our subject? 2624 01:35:42,660 --> 01:35:44,910 Is it below our subject? 2625 01:35:44,910 --> 01:35:46,710 Or is it above our subject? 2626 01:35:46,710 --> 01:35:47,520 Right? 2627 01:35:47,520 --> 01:35:55,220 They all feel different but you need to make a choice when you place the camera 2628 01:35:55,220 --> 01:35:56,660 because you have to put somewhere. 2629 01:35:56,660 --> 01:36:03,080 So and if you get high enough, you start to get even more interesting things 2630 01:36:03,080 --> 01:36:04,970 that happen potentially. 2631 01:36:04,970 --> 01:36:07,050 They can happen normally if you're at eye height. 2632 01:36:07,050 --> 01:36:11,505 But I guess with perspective too, where are most images taken that you see? 2633 01:36:11,505 --> 01:36:12,380 AUDIENCE: Eye height. 2634 01:36:12,380 --> 01:36:12,920 DAN: Eye height. 2635 01:36:12,920 --> 01:36:13,100 Right? 2636 01:36:13,100 --> 01:36:14,540 Most people take their camera out. 2637 01:36:14,540 --> 01:36:16,910 They either do this and click on their phone or they put it up to their eye 2638 01:36:16,910 --> 01:36:18,140 and they click like this. 2639 01:36:18,140 --> 01:36:18,910 Right? 2640 01:36:18,910 --> 01:36:22,430 When you see images like that they feel a bit more like-- to use that catch 2641 01:36:22,430 --> 01:36:23,550 phrase, pedestrian. 2642 01:36:23,550 --> 01:36:24,050 Right? 2643 01:36:24,050 --> 01:36:26,910 It's just very-- yeah. 2644 01:36:26,910 --> 01:36:27,410 Pedestrian. 2645 01:36:27,410 --> 01:36:27,620 Right? 2646 01:36:27,620 --> 01:36:28,820 But if you change that. 2647 01:36:28,820 --> 01:36:32,870 If you as a photographer take a knee and get low or climb up on something-- 2648 01:36:32,870 --> 01:36:35,431 a ladder or a stool or even higher-- 2649 01:36:35,431 --> 01:36:36,180 and get something. 2650 01:36:36,180 --> 01:36:37,740 It just like it makes your frame more interesting 2651 01:36:37,740 --> 01:36:39,615 because it's an angle that we don't typically 2652 01:36:39,615 --> 01:36:42,180 see when we're looking at images. 2653 01:36:42,180 --> 01:36:42,680 Right? 2654 01:36:42,680 --> 01:36:45,305 And especially if there's some interesting paint on the ground. 2655 01:36:45,305 --> 01:36:47,180 It gets really interesting. 2656 01:36:47,180 --> 01:36:49,300 Some technical info. 2657 01:36:49,300 --> 01:36:51,270 How about this one? 2658 01:36:51,270 --> 01:36:51,770 All right. 2659 01:36:51,770 --> 01:36:53,170 This one's a trick. 2660 01:36:53,170 --> 01:36:54,629 The image actually looks like this. 2661 01:36:54,629 --> 01:36:55,128 Right? 2662 01:36:55,128 --> 01:36:56,180 Which is fascinating. 2663 01:36:56,180 --> 01:36:59,114 All the photographer did was-- 2664 01:36:59,114 --> 01:37:01,280 the houses presumably are straight because you don't 2665 01:37:01,280 --> 01:37:03,147 want to live in a house that's crooked. 2666 01:37:03,147 --> 01:37:06,230 But simply by turning the camera and leveling with a street and this truck 2667 01:37:06,230 --> 01:37:07,340 that was pointed uphill. 2668 01:37:07,340 --> 01:37:07,490 Right? 2669 01:37:07,490 --> 01:37:09,502 This turns into a really interesting image. 2670 01:37:09,502 --> 01:37:12,480 2671 01:37:12,480 --> 01:37:12,980 All right. 2672 01:37:12,980 --> 01:37:18,050 So an easy way to make your photo more interesting, change your perspective. 2673 01:37:18,050 --> 01:37:18,890 Simple as that. 2674 01:37:18,890 --> 01:37:20,420 If you're if you're taking out your phone if you're 2675 01:37:20,420 --> 01:37:23,510 doing this thing for one more second, either go higher or go lower 2676 01:37:23,510 --> 01:37:24,843 and just see what it looks like. 2677 01:37:24,843 --> 01:37:29,130 Maybe this is the right height to do it at but consider the alternatives. 2678 01:37:29,130 --> 01:37:30,590 A balance. 2679 01:37:30,590 --> 01:37:35,360 So literally everything in your frame is going to have kind of a weight to it. 2680 01:37:35,360 --> 01:37:38,480 And is the right side of your frame and the left side of your frame 2681 01:37:38,480 --> 01:37:39,230 weighted the same? 2682 01:37:39,230 --> 01:37:39,380 Right? 2683 01:37:39,380 --> 01:37:42,620 So in this photo from Wes Anderson, he shoots everything very straight 2684 01:37:42,620 --> 01:37:45,377 on and in a balanced way. 2685 01:37:45,377 --> 01:37:47,210 There's a whole bunch more images over here. 2686 01:37:47,210 --> 01:37:48,209 There's fewer over here. 2687 01:37:48,209 --> 01:37:51,050 But we've got this one bigger element up top to balance it out. 2688 01:37:51,050 --> 01:37:57,440 And just this idea of an equal weight, or not equal weight to your frame. 2689 01:37:57,440 --> 01:37:59,330 Right? 2690 01:37:59,330 --> 01:38:01,190 This can show itself in symmetry. 2691 01:38:01,190 --> 01:38:04,220 So here's an image that's very symmetrical. 2692 01:38:04,220 --> 01:38:07,280 And so this image is very well balanced because both sides of the frame 2693 01:38:07,280 --> 01:38:09,090 are basically the same thing. 2694 01:38:09,090 --> 01:38:13,400 Whereas a frame that is unbalanced might feel very different. 2695 01:38:13,400 --> 01:38:16,617 And this feels very comfortable, very easy to look at. 2696 01:38:16,617 --> 01:38:18,200 I don't have an unbalanced frame next. 2697 01:38:18,200 --> 01:38:18,783 I should have. 2698 01:38:18,783 --> 01:38:19,640 I'm sorry. 2699 01:38:19,640 --> 01:38:24,350 But an unbalanced frame can make you feel much more uncomfortable. 2700 01:38:24,350 --> 01:38:27,980 So in balance of your frame one thing we want 2701 01:38:27,980 --> 01:38:31,010 to consider when shooting human subjects is the headroom, which 2702 01:38:31,010 --> 01:38:33,470 is literally like how much space is there 2703 01:38:33,470 --> 01:38:37,100 from the top of the head to the top of the frame. 2704 01:38:37,100 --> 01:38:37,970 Or is there a lot? 2705 01:38:37,970 --> 01:38:38,957 Is there a little? 2706 01:38:38,957 --> 01:38:40,040 We can use this to effect. 2707 01:38:40,040 --> 01:38:42,570 So in this image, the subject is cut off. 2708 01:38:42,570 --> 01:38:43,070 Right? 2709 01:38:43,070 --> 01:38:44,840 Which might be a little bit disjointed for us 2710 01:38:44,840 --> 01:38:46,400 or make us feel more uncomfortable. 2711 01:38:46,400 --> 01:38:46,899 Right? 2712 01:38:46,899 --> 01:38:49,400 And when used in combination with everything else 2713 01:38:49,400 --> 01:38:52,070 this is a fairly wide-angle lens. 2714 01:38:52,070 --> 01:38:53,960 And we get a little bit of exaggeration. 2715 01:38:53,960 --> 01:38:57,300 His nose looks pretty big compared to the rest of his face. 2716 01:38:57,300 --> 01:38:59,090 With the head room cut off-- 2717 01:38:59,090 --> 01:39:00,555 no headroom up here-- 2718 01:39:00,555 --> 01:39:02,180 it just feels a bit more uncomfortable. 2719 01:39:02,180 --> 01:39:05,807 And so this is used to effect. 2720 01:39:05,807 --> 01:39:06,890 Here's a couple of frames. 2721 01:39:06,890 --> 01:39:08,810 On the left a frame for Mission Impossible. 2722 01:39:08,810 --> 01:39:14,930 We've got Alec Baldwin feeling important, for lack of a better term. 2723 01:39:14,930 --> 01:39:18,860 And on the right from The King's Speech, we have Colin Firth here. 2724 01:39:18,860 --> 01:39:20,025 How does he feel? 2725 01:39:20,025 --> 01:39:21,450 AUDIENCE: Lost. 2726 01:39:21,450 --> 01:39:21,990 DAN: Lost. 2727 01:39:21,990 --> 01:39:22,490 Right? 2728 01:39:22,490 --> 01:39:23,490 What makes you say that? 2729 01:39:23,490 --> 01:39:24,170 Is it like 2730 01:39:24,170 --> 01:39:26,190 AUDIENCE: Because he's hanging at the bottom of the screen. 2731 01:39:26,190 --> 01:39:26,720 DAN: He's hanging at the bottom. 2732 01:39:26,720 --> 01:39:27,940 He's has a ton of headroom. 2733 01:39:27,940 --> 01:39:28,850 Right? 2734 01:39:28,850 --> 01:39:31,220 So it's a very unbalanced frame in that sense. 2735 01:39:31,220 --> 01:39:34,050 Whereas Alec Baldwin, the camera angle's right at his height. 2736 01:39:34,050 --> 01:39:34,550 Right? 2737 01:39:34,550 --> 01:39:36,241 Or just slightly below him even. 2738 01:39:36,241 --> 01:39:36,740 Right? 2739 01:39:36,740 --> 01:39:39,200 Looking up at him, giving him some power. 2740 01:39:39,200 --> 01:39:43,350 And the correct amount of space on the side of the frame. 2741 01:39:43,350 --> 01:39:45,650 He's got the right amount of space over his head. 2742 01:39:45,650 --> 01:39:48,650 So it's a very strong confident character right there. 2743 01:39:48,650 --> 01:39:54,240 Where right on the flip side much less so. 2744 01:39:54,240 --> 01:39:57,950 So noseroom or leadroom is the idea that the gaze 2745 01:39:57,950 --> 01:40:01,220 of the person from where they're looking should 2746 01:40:01,220 --> 01:40:02,780 affect where they sit in the frame. 2747 01:40:02,780 --> 01:40:03,450 Are they center? 2748 01:40:03,450 --> 01:40:04,520 Are they to the side? 2749 01:40:04,520 --> 01:40:05,020 Right? 2750 01:40:05,020 --> 01:40:08,460 So this character is looking completely profile to the camera. 2751 01:40:08,460 --> 01:40:11,060 So they're weighted all the way to the side of the frame. 2752 01:40:11,060 --> 01:40:13,310 And that just feels more comfortable for us as viewers 2753 01:40:13,310 --> 01:40:15,560 because it's the convention that we're used to seeing. 2754 01:40:15,560 --> 01:40:17,630 So what happens when we change this? 2755 01:40:17,630 --> 01:40:18,500 Well, hold on. 2756 01:40:18,500 --> 01:40:19,880 Hold that thought. 2757 01:40:19,880 --> 01:40:23,281 When the character is looking center we tend to center them up. 2758 01:40:23,281 --> 01:40:23,780 Right? 2759 01:40:23,780 --> 01:40:28,475 And again it's just for a good balance to the frame. 2760 01:40:28,475 --> 01:40:30,600 And whereas if they're looking slightly to the side 2761 01:40:30,600 --> 01:40:32,933 they're typically put slightly on the side of the frame. 2762 01:40:32,933 --> 01:40:40,830 So she's weighted slightly right here but she's looking to the left. 2763 01:40:40,830 --> 01:40:41,330 Right? 2764 01:40:41,330 --> 01:40:42,913 So we're just balancing out the frame. 2765 01:40:42,913 --> 01:40:46,430 So the more extreme your subject is looking typically-- 2766 01:40:46,430 --> 01:40:48,514 and this is very relevant in video in particular-- 2767 01:40:48,514 --> 01:40:50,846 the more you might weight them to the side of the frame. 2768 01:40:50,846 --> 01:40:52,700 So all the way profile you might push them 2769 01:40:52,700 --> 01:40:54,474 all the way to the side of your frame. 2770 01:40:54,474 --> 01:40:57,390 And if they're looking at the camera you might want to center them up. 2771 01:40:57,390 --> 01:40:59,250 Does this makes sense? 2772 01:40:59,250 --> 01:40:59,820 All right. 2773 01:40:59,820 --> 01:41:00,320 Sorry. 2774 01:41:00,320 --> 01:41:01,239 We're moving quickly. 2775 01:41:01,239 --> 01:41:02,530 I want to get through all this. 2776 01:41:02,530 --> 01:41:03,530 So noseroom or leadroom. 2777 01:41:03,530 --> 01:41:04,030 Right? 2778 01:41:04,030 --> 01:41:06,250 So again, conversation between two people. 2779 01:41:06,250 --> 01:41:10,660 We have appropriate noseroom here on Leo in The Wolf of Wall Street. 2780 01:41:10,660 --> 01:41:13,100 Confident character but same thing. 2781 01:41:13,100 --> 01:41:16,780 And we look back at the King's speech. 2782 01:41:16,780 --> 01:41:20,190 This character's looking to the side and there's very little noseroom 2783 01:41:20,190 --> 01:41:21,630 or leadroom for him. 2784 01:41:21,630 --> 01:41:22,130 Right? 2785 01:41:22,130 --> 01:41:24,045 We've got all this extra space over here. 2786 01:41:24,045 --> 01:41:26,170 Which is a bit more uncomfortable for us as viewers 2787 01:41:26,170 --> 01:41:30,510 because it's not the convention we're used to seeing. 2788 01:41:30,510 --> 01:41:31,360 All right? 2789 01:41:31,360 --> 01:41:37,280 How about the color cast of this image while we're here? 2790 01:41:37,280 --> 01:41:38,240 Warm, neutral, or cool? 2791 01:41:38,240 --> 01:41:39,630 AUDIENCE: Cool. 2792 01:41:39,630 --> 01:41:40,130 Cool. 2793 01:41:40,130 --> 01:41:41,630 DAN: Cool right? 2794 01:41:41,630 --> 01:41:43,910 Look at those white elements, the highlights. 2795 01:41:43,910 --> 01:41:44,810 They're all blue. 2796 01:41:44,810 --> 01:41:46,018 Look at the side of his face. 2797 01:41:46,018 --> 01:41:47,370 It's got a blue cast to it. 2798 01:41:47,370 --> 01:41:47,870 Right? 2799 01:41:47,870 --> 01:41:49,940 It feels sad. 2800 01:41:49,940 --> 01:41:52,850 Uncomfortable more. 2801 01:41:52,850 --> 01:41:53,420 All right. 2802 01:41:53,420 --> 01:41:56,240 Just a few guidelines for you as you're starting to build your frames. 2803 01:41:56,240 --> 01:41:57,031 The rule of thirds. 2804 01:41:57,031 --> 01:42:01,824 Anybody know off hand the definition for the rule of thirds? 2805 01:42:01,824 --> 01:42:04,240 All right I'll spoil it because we're running out of time. 2806 01:42:04,240 --> 01:42:05,364 If you broke your frame up. 2807 01:42:05,364 --> 01:42:08,710 That this white box was your frame and you broke it up with these lines 2808 01:42:08,710 --> 01:42:13,120 to make the image into thirds, you should have your action fall 2809 01:42:13,120 --> 01:42:14,890 along these lines. 2810 01:42:14,890 --> 01:42:18,880 And where the lines meet at these kind of nodal points 2811 01:42:18,880 --> 01:42:21,040 is where you want to put your strongest action. 2812 01:42:21,040 --> 01:42:21,260 Right? 2813 01:42:21,260 --> 01:42:23,343 And so what that's going to do is give you balance 2814 01:42:23,343 --> 01:42:27,580 because you're putting something on one of these thirds it's going to balance-- 2815 01:42:27,580 --> 01:42:29,290 I guess-- But that's not true. 2816 01:42:29,290 --> 01:42:32,954 It depends on where you place all the elements in your frame. 2817 01:42:32,954 --> 01:42:34,120 Let's look at some examples. 2818 01:42:34,120 --> 01:42:35,740 This will make it even better. 2819 01:42:35,740 --> 01:42:37,820 So we have some sheep here. 2820 01:42:37,820 --> 01:42:40,210 And if we look at the rule of thirds here. 2821 01:42:40,210 --> 01:42:41,180 We break up our image. 2822 01:42:41,180 --> 01:42:41,680 Right? 2823 01:42:41,680 --> 01:42:45,760 This vertical sign basically falls on the third. 2824 01:42:45,760 --> 01:42:49,480 And the sheep falls on this third over here. 2825 01:42:49,480 --> 01:42:54,340 And our horizon line even, one of the edges falls on the third. 2826 01:42:54,340 --> 01:42:58,400 And the result of that, I think, is that it's a pretty strong image. 2827 01:42:58,400 --> 01:42:58,900 Right? 2828 01:42:58,900 --> 01:43:00,487 It's got a pretty clear subject. 2829 01:43:00,487 --> 01:43:02,320 It's got a little bit of foreground element. 2830 01:43:02,320 --> 01:43:07,900 In this case are subject it really is at the edge of the foreground, start 2831 01:43:07,900 --> 01:43:08,920 of the middle ground. 2832 01:43:08,920 --> 01:43:09,420 Right? 2833 01:43:09,420 --> 01:43:15,054 We've got more space behind it and in the background way in the back. 2834 01:43:15,054 --> 01:43:18,390 All right? 2835 01:43:18,390 --> 01:43:18,990 Another image. 2836 01:43:18,990 --> 01:43:21,540 2837 01:43:21,540 --> 01:43:22,442 A good use of thirds. 2838 01:43:22,442 --> 01:43:24,150 I don't have the grid to overlay on this. 2839 01:43:24,150 --> 01:43:26,910 But what's interesting about the decision made here 2840 01:43:26,910 --> 01:43:29,771 is that our subjects are kind of on the top there with this one. 2841 01:43:29,771 --> 01:43:30,270 Right? 2842 01:43:30,270 --> 01:43:33,092 But it still feels comfortable to look at. 2843 01:43:33,092 --> 01:43:34,050 It's not uncomfortable. 2844 01:43:34,050 --> 01:43:36,425 IAN: Well, I think too if you look at the past two images 2845 01:43:36,425 --> 01:43:38,880 the horizon line actually falls on one of the third lines 2846 01:43:38,880 --> 01:43:40,780 and not directly bisecting the image. 2847 01:43:40,780 --> 01:43:41,280 Right? 2848 01:43:41,280 --> 01:43:43,654 And I think that that's something that maybe people often 2849 01:43:43,654 --> 01:43:46,557 do when they just pull up a phone and snap some snapshot something. 2850 01:43:46,557 --> 01:43:49,140 The horizon line sort of just bisects the middle of the image. 2851 01:43:49,140 --> 01:43:52,640 And you can use it to great effect if you shift it up or shift it down. 2852 01:43:52,640 --> 01:43:53,670 You know? 2853 01:43:53,670 --> 01:43:54,780 Just as it is. 2854 01:43:54,780 --> 01:43:59,670 Just a natural helpful moment to create some difference in weight 2855 01:43:59,670 --> 01:44:01,430 between the two edges of the frame. 2856 01:44:01,430 --> 01:44:06,140 2857 01:44:06,140 --> 01:44:06,890 DAN: All right. 2858 01:44:06,890 --> 01:44:08,970 Some technical info for that one. 2859 01:44:08,970 --> 01:44:10,280 And just a note. 2860 01:44:10,280 --> 01:44:13,970 As you're going about framing an image, look at the edges of your frame right 2861 01:44:13,970 --> 01:44:15,260 before you press the shutter. 2862 01:44:15,260 --> 01:44:18,880 Because you'll find something you might notice like this. 2863 01:44:18,880 --> 01:44:19,700 Right? 2864 01:44:19,700 --> 01:44:21,517 What stands out in this image? 2865 01:44:21,517 --> 01:44:25,247 2866 01:44:25,247 --> 01:44:27,330 AUDIENCE: She has a pole standing out of her head. 2867 01:44:27,330 --> 01:44:27,829 DAN: Yeah. 2868 01:44:27,829 --> 01:44:29,670 She's got a pole sticking out of her head. 2869 01:44:29,670 --> 01:44:29,880 Right? 2870 01:44:29,880 --> 01:44:30,740 And that's silly. 2871 01:44:30,740 --> 01:44:34,650 It ruins the image if you had spent all this time composing the shot 2872 01:44:34,650 --> 01:44:37,006 and then you get back later and realize that, oh, man, 2873 01:44:37,006 --> 01:44:38,130 something was sticking out. 2874 01:44:38,130 --> 01:44:42,011 Or there's somebody in the background staring deadpan into the camera. 2875 01:44:42,011 --> 01:44:42,510 Right? 2876 01:44:42,510 --> 01:44:44,542 You wish you had caught that in the moment. 2877 01:44:44,542 --> 01:44:47,250 And with digital tools, you can certainly manipulate all of this. 2878 01:44:47,250 --> 01:44:49,922 But give your edges of your frame a scan right 2879 01:44:49,922 --> 01:44:51,630 before you push the shutter because it'll 2880 01:44:51,630 --> 01:44:53,310 help you catch little things like that. 2881 01:44:53,310 --> 01:44:58,370 2882 01:44:58,370 --> 01:44:59,259 Some technical info. 2883 01:44:59,259 --> 01:45:00,050 Here's another one. 2884 01:45:00,050 --> 01:45:01,100 Couple of examples. 2885 01:45:01,100 --> 01:45:01,730 Right? 2886 01:45:01,730 --> 01:45:05,240 So the one on the left has presumably done street photography style 2887 01:45:05,240 --> 01:45:07,310 where the camera is just kind of held and placed 2888 01:45:07,310 --> 01:45:10,097 and snapped and cut off the head. 2889 01:45:10,097 --> 01:45:11,180 But this one on the right. 2890 01:45:11,180 --> 01:45:14,060 If somebody had spent this time building this frame of this church 2891 01:45:14,060 --> 01:45:16,820 and all of a sudden cut off the very top of it. 2892 01:45:16,820 --> 01:45:21,140 It feels like a mistake to us as an audience looking at this image. 2893 01:45:21,140 --> 01:45:23,930 And a simple scan of the edge of the frame 2894 01:45:23,930 --> 01:45:25,590 would have allowed us to catch that. 2895 01:45:25,590 --> 01:45:26,090 Right? 2896 01:45:26,090 --> 01:45:27,200 Instead of getting back at and be like, oh, 2897 01:45:27,200 --> 01:45:29,954 I should have just tilted my camera up a little bit more. 2898 01:45:29,954 --> 01:45:32,690 2899 01:45:32,690 --> 01:45:34,460 Just to hammer home the point of contrast. 2900 01:45:34,460 --> 01:45:37,280 2901 01:45:37,280 --> 01:45:44,420 Contrast is a really strong way to make your image strong. 2902 01:45:44,420 --> 01:45:48,980 Making the subject pop is really easy to do when you use contrast. 2903 01:45:48,980 --> 01:45:52,340 Whether that's pattern where you have a repetition with the one that stands out 2904 01:45:52,340 --> 01:45:53,330 that's different. 2905 01:45:53,330 --> 01:45:55,880 Or whether it's color where you've got all muted color 2906 01:45:55,880 --> 01:45:57,049 around this bright color. 2907 01:45:57,049 --> 01:45:59,840 Or whether it's depth of field where your subject is in sharp focus 2908 01:45:59,840 --> 01:46:01,130 and everything else is in soft focus. 2909 01:46:01,130 --> 01:46:01,280 Right? 2910 01:46:01,280 --> 01:46:03,350 These are all contrasting elements that we're 2911 01:46:03,350 --> 01:46:06,158 choosing to make a strong focal point for our subject. 2912 01:46:06,158 --> 01:46:11,050 2913 01:46:11,050 --> 01:46:11,580 Right? 2914 01:46:11,580 --> 01:46:12,420 Same thing here. 2915 01:46:12,420 --> 01:46:14,520 This is literally like if we think of contrast 2916 01:46:14,520 --> 01:46:17,353 is the whitest parts of our frame in the darkest parts of our frame, 2917 01:46:17,353 --> 01:46:19,780 and the range in between is the contrast of our image. 2918 01:46:19,780 --> 01:46:20,280 Right? 2919 01:46:20,280 --> 01:46:21,840 This mirrors that beautifully. 2920 01:46:21,840 --> 01:46:23,879 Where we have the darkest parts of our image 2921 01:46:23,879 --> 01:46:25,920 right up against the lightest parts of our image. 2922 01:46:25,920 --> 01:46:30,600 And the silhouette here is a reflection of that and makes for a strong frame. 2923 01:46:30,600 --> 01:46:33,720 In addition to just all of the other compositional elements in this, 2924 01:46:33,720 --> 01:46:34,410 we've got lines. 2925 01:46:34,410 --> 01:46:36,450 We've got shape. 2926 01:46:36,450 --> 01:46:38,280 Pattern. 2927 01:46:38,280 --> 01:46:40,290 Some technical info. 2928 01:46:40,290 --> 01:46:43,350 So as you're building your frame you want to figure out 2929 01:46:43,350 --> 01:46:45,180 what is your focal point going to be. 2930 01:46:45,180 --> 01:46:45,360 Right? 2931 01:46:45,360 --> 01:46:48,485 Where you want to put your subject and how you want to make them stand out. 2932 01:46:48,485 --> 01:46:52,110 And so the ways to put your frame together to achieve this 2933 01:46:52,110 --> 01:46:56,040 are to follow the rules of thirds, or break it if you're more comfortable. 2934 01:46:56,040 --> 01:46:58,680 But if you're uncomfortable as a photographer, and as one 2935 01:46:58,680 --> 01:47:00,305 of your first times going out to shoot. 2936 01:47:00,305 --> 01:47:03,150 And actually building the image more than that just, here. 2937 01:47:03,150 --> 01:47:03,969 Here's the image. 2938 01:47:03,969 --> 01:47:05,010 Here's a snapshot I took. 2939 01:47:05,010 --> 01:47:07,760 If you're actually going to compose your frame, the rule of thirds 2940 01:47:07,760 --> 01:47:09,840 is a fine place to start. 2941 01:47:09,840 --> 01:47:10,800 Use lines. 2942 01:47:10,800 --> 01:47:11,610 Use brightness. 2943 01:47:11,610 --> 01:47:15,840 Use depth of field and use negative space and all of the design elements 2944 01:47:15,840 --> 01:47:18,900 that we've talked about in this lecture to put the frame together 2945 01:47:18,900 --> 01:47:21,460 and really draw attention to your subject. 2946 01:47:21,460 --> 01:47:21,960 All right. 2947 01:47:21,960 --> 01:47:23,940 Depth of field here and talk more on next time 2948 01:47:23,940 --> 01:47:26,981 when we get to actual exposure we can show you how to control your camera 2949 01:47:26,981 --> 01:47:30,790 and make controlled up the field. 2950 01:47:30,790 --> 01:47:31,830 Compositional triangles. 2951 01:47:31,830 --> 01:47:33,281 So another just quick takeaway. 2952 01:47:33,281 --> 01:47:33,780 Right? 2953 01:47:33,780 --> 01:47:36,210 Is that there's a hidden triangle in this image which 2954 01:47:36,210 --> 01:47:39,830 shows you exactly what the most important point in the frame is. 2955 01:47:39,830 --> 01:47:40,330 Right? 2956 01:47:40,330 --> 01:47:41,440 There's a triangle. 2957 01:47:41,440 --> 01:47:41,940 Right? 2958 01:47:41,940 --> 01:47:45,030 And so this we can imagine is like an arrow 2959 01:47:45,030 --> 01:47:49,121 that draws your attention right to the most important part of the frame. 2960 01:47:49,121 --> 01:47:49,620 Right? 2961 01:47:49,620 --> 01:47:51,480 Again, this is just a guideline that you can 2962 01:47:51,480 --> 01:47:54,330 use if you're trying to figure out how to compose your image. 2963 01:47:54,330 --> 01:47:56,010 It's not a hard and fast rule. 2964 01:47:56,010 --> 01:47:58,770 But the more you look around the more you see these. 2965 01:47:58,770 --> 01:48:02,580 So in the Princess Bride, they're walking through a murky swamp 2966 01:48:02,580 --> 01:48:05,280 and there's this very deep cut which draws your attention right 2967 01:48:05,280 --> 01:48:07,110 to the location we're walking through. 2968 01:48:07,110 --> 01:48:14,171 And how hard it must be awful to walk on this like muddy straggly mess. 2969 01:48:14,171 --> 01:48:14,670 Right? 2970 01:48:14,670 --> 01:48:17,160 And there's no question who the most important person in this frame 2971 01:48:17,160 --> 01:48:17,940 is from the same movie. 2972 01:48:17,940 --> 01:48:18,440 Right? 2973 01:48:18,440 --> 01:48:20,320 All eyes right up to the crown. 2974 01:48:20,320 --> 01:48:22,020 And that's more than just this triangle. 2975 01:48:22,020 --> 01:48:25,450 But there's this definitive hierarchy that's been set up for us. 2976 01:48:25,450 --> 01:48:28,080 You know who is the most important person in the frame 2977 01:48:28,080 --> 01:48:31,704 just because not only is he taller than everybody else 2978 01:48:31,704 --> 01:48:33,870 but we've got one of the lightest parts on the crown 2979 01:48:33,870 --> 01:48:36,276 up there to draw your attention to as well. 2980 01:48:36,276 --> 01:48:39,981 2981 01:48:39,981 --> 01:48:40,480 All right. 2982 01:48:40,480 --> 01:48:43,285 So it all comes down to this question I think. 2983 01:48:43,285 --> 01:48:45,410 What is it that you want to say about your subject? 2984 01:48:45,410 --> 01:48:49,630 We talked about this when we were doing storytelling in our first lecture. 2985 01:48:49,630 --> 01:48:53,950 But when you know whose story it is and what story you're trying to tell. 2986 01:48:53,950 --> 01:48:56,320 That's when you take all of these compositional elements 2987 01:48:56,320 --> 01:49:00,370 and you put them together in a way that says Ian is my villain. 2988 01:49:00,370 --> 01:49:01,850 I want to vilify him. 2989 01:49:01,850 --> 01:49:04,120 I'm going to give him some cold light, some shadow. 2990 01:49:04,120 --> 01:49:08,630 I'm going to shoot a high angle on him and make it look very sinister. 2991 01:49:08,630 --> 01:49:09,820 Right? 2992 01:49:09,820 --> 01:49:12,220 Or Ian is my hero. 2993 01:49:12,220 --> 01:49:14,530 I'm going to give him some nice flattering light. 2994 01:49:14,530 --> 01:49:17,710 I'm going to shoot him on a long lens and I'm going to-- 2995 01:49:17,710 --> 01:49:18,490 I don't know-- 2996 01:49:18,490 --> 01:49:19,300 IAN: Make me look handsome. 2997 01:49:19,300 --> 01:49:19,630 DAN: Yeah. 2998 01:49:19,630 --> 01:49:20,740 Make him look handsome. 2999 01:49:20,740 --> 01:49:24,980 So it's all about taking these elements and putting them together 3000 01:49:24,980 --> 01:49:29,260 and to really be intentional about the frame that you're building. 3001 01:49:29,260 --> 01:49:31,600 So we are just a couple of minutes overtime 3002 01:49:31,600 --> 01:49:34,450 here so I'm going to end the formal lecture here, 3003 01:49:34,450 --> 01:49:37,540 but say thank you for joining us and we'll talk more 3004 01:49:37,540 --> 01:49:40,590 about this kind of stuff next week.