1 00:00:00,000 --> 00:00:00,500 2 00:00:00,500 --> 00:00:04,890 [MUSIC PLAYING] 3 00:00:04,890 --> 00:00:15,648 4 00:00:15,648 --> 00:00:16,650 DAN COFFEY: All right. 5 00:00:16,650 --> 00:00:19,500 Hello, and welcome back to another week of exploring digital media. 6 00:00:19,500 --> 00:00:22,350 This week we're going to talk about the basics of video production. 7 00:00:22,350 --> 00:00:26,213 We have wrapped up our still photography component which has been a lot of fun. 8 00:00:26,213 --> 00:00:28,380 It's been really fun to see what you guys have done. 9 00:00:28,380 --> 00:00:31,260 We're excited to see your projects. 10 00:00:31,260 --> 00:00:33,740 And so now we move into the world of video, 11 00:00:33,740 --> 00:00:37,120 where we're talking about more than just one frame at a time. 12 00:00:37,120 --> 00:00:41,370 So speaking of which, as I said, we've been focused on one frame. 13 00:00:41,370 --> 00:00:45,300 But now our camera is literally capturing at high speed 14 00:00:45,300 --> 00:00:46,480 multiple frames at a time. 15 00:00:46,480 --> 00:00:50,970 So there's a lot more that we have to think about as we do this. 16 00:00:50,970 --> 00:00:54,750 So we refer to how many times we see an image per second 17 00:00:54,750 --> 00:00:56,430 as the frame rate for a video. 18 00:00:56,430 --> 00:00:59,055 And what is the frame rate of film? 19 00:00:59,055 --> 00:01:00,930 Like, you go see a movie in the theater, what 20 00:01:00,930 --> 00:01:03,538 is the typical frame rate you'll see? 21 00:01:03,538 --> 00:01:04,080 Anybody know? 22 00:01:04,080 --> 00:01:08,544 23 00:01:08,544 --> 00:01:10,732 IAN SEXTON: A few answers from online. 24 00:01:10,732 --> 00:01:11,440 DAN COFFEY: Yeah? 25 00:01:11,440 --> 00:01:13,360 IAN SEXTON: We'll see 24 frames per second. 26 00:01:13,360 --> 00:01:14,290 DAN COFFEY: 24 frames per second. 27 00:01:14,290 --> 00:01:14,790 Yes. 28 00:01:14,790 --> 00:01:16,180 Yes, exactly. 29 00:01:16,180 --> 00:01:21,040 And certainly this graphic shows 60 FPS, 60 frames per second. 30 00:01:21,040 --> 00:01:23,050 What IS 60 frames per second? 31 00:01:23,050 --> 00:01:24,550 Why choose one versus the other? 32 00:01:24,550 --> 00:01:28,150 That's kind of some of what we're going to unpack a little bit tonight. 33 00:01:28,150 --> 00:01:30,790 But how about broadcast television? 34 00:01:30,790 --> 00:01:33,430 How many frames per second is that shown at? 35 00:01:33,430 --> 00:01:36,496 36 00:01:36,496 --> 00:01:37,795 AUDIENCE: 24. 37 00:01:37,795 --> 00:01:38,420 DAN COFFEY: 24. 38 00:01:38,420 --> 00:01:40,040 No, actually, it's not. 39 00:01:40,040 --> 00:01:44,090 So it goes back to some old standards, but 60 frames per second 40 00:01:44,090 --> 00:01:46,190 is what broadcast television is sent at. 41 00:01:46,190 --> 00:01:49,160 And that doesn't mean that the content that you're viewing 42 00:01:49,160 --> 00:01:51,740 was recorded at 60 frames per second necessarily. 43 00:01:51,740 --> 00:01:56,400 But it has been conformed to 60 frames per second as you watch it back. 44 00:01:56,400 --> 00:01:56,900 All right. 45 00:01:56,900 --> 00:02:01,580 So as far as frame rate goes, this all kind of comes down to human perception. 46 00:02:01,580 --> 00:02:05,128 And how do we determine that 24 frames per second is the-- 47 00:02:05,128 --> 00:02:07,170 how did that become the standard for film making? 48 00:02:07,170 --> 00:02:09,110 So let's look at a couple of clips here, starting 49 00:02:09,110 --> 00:02:12,027 with just three frames per second, as you see on the top right corner. 50 00:02:12,027 --> 00:02:14,480 Let's watch this and see how this little clip feels. 51 00:02:14,480 --> 00:02:19,075 52 00:02:19,075 --> 00:02:21,950 And to be clear, this is a video that was shot at a higher frame rate 53 00:02:21,950 --> 00:02:24,140 and has been conformed to three frames per second. 54 00:02:24,140 --> 00:02:25,640 But the effect is the same. 55 00:02:25,640 --> 00:02:29,150 How did this motion feel? 56 00:02:29,150 --> 00:02:30,680 Very unnatural, right? 57 00:02:30,680 --> 00:02:33,590 Very kind of not pleasant to watch. 58 00:02:33,590 --> 00:02:36,320 You're noticing every single frame rather than watching 59 00:02:36,320 --> 00:02:38,180 the motion of the people walking. 60 00:02:38,180 --> 00:02:39,470 So let's jump ahead here. 61 00:02:39,470 --> 00:02:40,732 Here's six frames per second. 62 00:02:40,732 --> 00:02:41,690 How does this one feel? 63 00:02:41,690 --> 00:02:46,327 64 00:02:46,327 --> 00:02:47,160 We're getting there. 65 00:02:47,160 --> 00:02:49,530 We're kind of still seeing quite a bit of judder, 66 00:02:49,530 --> 00:02:55,682 as we refer to as a frame rate that is very low and kind of clunky like that. 67 00:02:55,682 --> 00:02:57,390 Let's move ahead to 12 frames per second. 68 00:02:57,390 --> 00:03:02,720 69 00:03:02,720 --> 00:03:03,385 OK. 70 00:03:03,385 --> 00:03:06,910 Is that starting to feel a bit more like a natural motion? 71 00:03:06,910 --> 00:03:07,410 Yeah? 72 00:03:07,410 --> 00:03:08,470 And let's double up one more time. 73 00:03:08,470 --> 00:03:10,970 Let's go to 24 frames per second, as we've already discussed 74 00:03:10,970 --> 00:03:13,020 as the standard frame rate for film. 75 00:03:13,020 --> 00:03:16,898 76 00:03:16,898 --> 00:03:19,690 And so this kind of comes down to what it is that we're looking at. 77 00:03:19,690 --> 00:03:22,148 We're looking at a group of pictures in a rapid succession. 78 00:03:22,148 --> 00:03:24,270 That's all video is. 79 00:03:24,270 --> 00:03:27,243 It's encoded a bit more smartly than that, but at the end of the day, 80 00:03:27,243 --> 00:03:29,160 you're really just looking at pictures being-- 81 00:03:29,160 --> 00:03:32,320 it's like a flip book you open and flip through very quickly, 82 00:03:32,320 --> 00:03:33,320 the images move forward. 83 00:03:33,320 --> 00:03:36,260 So 24 frames per second has kind of become the standard. 84 00:03:36,260 --> 00:03:40,685 Does anybody know the reasoning for why that was initially the standard back-- 85 00:03:40,685 --> 00:03:42,810 I don't even know the year that it was established. 86 00:03:42,810 --> 00:03:44,563 But-- 87 00:03:44,563 --> 00:03:47,230 IAN SEXTON: I actually don't know off the top of my head either. 88 00:03:47,230 --> 00:03:48,130 So I should look into it. 89 00:03:48,130 --> 00:03:49,713 DAN COFFEY: So we'll look that one up. 90 00:03:49,713 --> 00:03:52,830 But 12 frames per second is kind of where 91 00:03:52,830 --> 00:03:57,120 we start to not be able to distinguish the difference between the still images 92 00:03:57,120 --> 00:03:58,380 being flashed before us. 93 00:03:58,380 --> 00:04:00,300 But 24 frames per second is the standard. 94 00:04:00,300 --> 00:04:02,780 So my question is why. 95 00:04:02,780 --> 00:04:07,090 96 00:04:07,090 --> 00:04:08,650 No? 97 00:04:08,650 --> 00:04:10,565 Go ahead, Alec. 98 00:04:10,565 --> 00:04:13,080 AUDIENCE: I was just saying, to save money for 24 frames-- 99 00:04:13,080 --> 00:04:13,220 DAN COFFEY: Yeah. 100 00:04:13,220 --> 00:04:14,690 Well, that's actually interesting. 101 00:04:14,690 --> 00:04:15,523 That's a part of it. 102 00:04:15,523 --> 00:04:19,308 So on this film strip here, we had 24 frames per second. 103 00:04:19,308 --> 00:04:21,100 I'm sorry, where you have your film, you've 104 00:04:21,100 --> 00:04:24,550 got your picture encoded alongside your audio. 105 00:04:24,550 --> 00:04:28,130 So the audio track actually ran alongside the picture. 106 00:04:28,130 --> 00:04:30,140 And one of the reasons-- 107 00:04:30,140 --> 00:04:34,078 film is not cheap, so we wanted to find a way to use as little as possible. 108 00:04:34,078 --> 00:04:36,370 But we also needed to have enough fidelity in the audio 109 00:04:36,370 --> 00:04:39,220 that it sounded nice and clear and sharp and was not too muddy 110 00:04:39,220 --> 00:04:40,970 and that you could actually understand it. 111 00:04:40,970 --> 00:04:45,280 And 24 frames was a good frame rate for that-- didn't cost too much, 112 00:04:45,280 --> 00:04:49,105 you had a good natural motion to it, and you had good audio fidelity. 113 00:04:49,105 --> 00:04:52,960 So that's kind of where the standard was set. 114 00:04:52,960 --> 00:04:55,210 So the audio, as I said. 115 00:04:55,210 --> 00:04:58,810 And so as we define our frame rate, we can kind of pick and choose this. 116 00:04:58,810 --> 00:05:01,390 If you open up Shotcut or Adobe Premiere, or whatever 117 00:05:01,390 --> 00:05:03,340 nonlinear editing system you're using, you 118 00:05:03,340 --> 00:05:06,350 can say, hey, I want my project to be at this frame rate. 119 00:05:06,350 --> 00:05:09,640 And so you can also additionally set your camera and say, 120 00:05:09,640 --> 00:05:11,843 I want to shoot at 24 frames per second. 121 00:05:11,843 --> 00:05:13,510 I want to shoot at 30 frames per second. 122 00:05:13,510 --> 00:05:15,280 I want to shoot at 60 frames per second. 123 00:05:15,280 --> 00:05:19,480 It kind of depends on the hardware that you're actually using. 124 00:05:19,480 --> 00:05:21,370 But common frame rates that we might see-- 125 00:05:21,370 --> 00:05:24,710 24 is equivalent to what we usually see for film. 126 00:05:24,710 --> 00:05:28,276 A common video standard is actually 30 frames per second. 127 00:05:28,276 --> 00:05:31,580 The soap opera effect where everything is very smooth, 128 00:05:31,580 --> 00:05:34,668 that comes down to a 60 frames per second playback. 129 00:05:34,668 --> 00:05:36,460 And then you've got some higher frame rates 130 00:05:36,460 --> 00:05:40,330 at the other end that can be used for specialty things. 131 00:05:40,330 --> 00:05:42,460 So you might have a camera where you're kind 132 00:05:42,460 --> 00:05:45,460 of saying, hey, how do I actually set my frame rate in my camera? 133 00:05:45,460 --> 00:05:47,710 And so if you've got a Canon, it might look like this. 134 00:05:47,710 --> 00:05:50,380 If you've got a Nikon, like this, and a Sony, like this. 135 00:05:50,380 --> 00:05:52,630 And the idea is that you're going to choose 136 00:05:52,630 --> 00:05:56,410 your frame size, the actual width by height, 137 00:05:56,410 --> 00:05:58,310 as well as how many frames per second. 138 00:05:58,310 --> 00:06:02,440 And so looking here at top left with the Canon frame size, 139 00:06:02,440 --> 00:06:06,760 we've got 1920, which is short for an HD frame, or 1920 by 1080 140 00:06:06,760 --> 00:06:09,560 as the resolution, at 30 frames per second. 141 00:06:09,560 --> 00:06:12,790 The "ALL-I" in this case just refers to how the frames are actually encoded 142 00:06:12,790 --> 00:06:16,000 and means that it's easier for a non-linear editing system to actually 143 00:06:16,000 --> 00:06:17,530 access every frame. 144 00:06:17,530 --> 00:06:20,500 When you get these IPB frames, it's just a lighter weight 145 00:06:20,500 --> 00:06:25,060 version of encoding where it's harder to decode is really what we need to know. 146 00:06:25,060 --> 00:06:27,260 But it's much more space efficient. 147 00:06:27,260 --> 00:06:31,500 So if you're given this option on a Canon camera, choose the ALL-I. 148 00:06:31,500 --> 00:06:36,400 And so you can choose 30 frames per second, 24 frames per second, 149 00:06:36,400 --> 00:06:39,790 or you can jump down to the next, the smaller resolution of HD video, 150 00:06:39,790 --> 00:06:44,230 which is 1280 by 720, or 720p for short. 151 00:06:44,230 --> 00:06:47,130 And so you can choose either of those as well. 152 00:06:47,130 --> 00:06:49,240 You know, Nikon looks pretty much the same. 153 00:06:49,240 --> 00:06:52,120 And with Sony, you actually need to choose your Kodak, what 154 00:06:52,120 --> 00:06:54,700 the video is actually being stored as. 155 00:06:54,700 --> 00:06:58,900 Kodak is simply that kind of container that holds all the frames together 156 00:06:58,900 --> 00:07:00,680 and defines how it is actually encoded. 157 00:07:00,680 --> 00:07:02,350 But we don't need to know those details. 158 00:07:02,350 --> 00:07:05,058 We just need to know that you can actually choose on this camera. 159 00:07:05,058 --> 00:07:10,090 And if you're using Sony, XAVC is just the newer video 160 00:07:10,090 --> 00:07:11,860 codec that they are using. 161 00:07:11,860 --> 00:07:12,790 So choose that. 162 00:07:12,790 --> 00:07:16,300 And then you can choose what frame rate and frame size you want. 163 00:07:16,300 --> 00:07:19,060 164 00:07:19,060 --> 00:07:20,080 All right. 165 00:07:20,080 --> 00:07:22,810 So overcranking and undercranking-- does anybody 166 00:07:22,810 --> 00:07:25,287 know what these terms mean offhand? 167 00:07:25,287 --> 00:07:26,620 We're talking about frame rates. 168 00:07:26,620 --> 00:07:27,760 That's a little hint. 169 00:07:27,760 --> 00:07:33,280 This "jif" here-- or GIF, however you want to say it-- is a hint as well. 170 00:07:33,280 --> 00:07:37,320 Overcranking, what might this be? 171 00:07:37,320 --> 00:07:38,320 Any guesses from online? 172 00:07:38,320 --> 00:07:42,080 173 00:07:42,080 --> 00:07:43,862 So what is this hand doing as it cranks? 174 00:07:43,862 --> 00:07:44,570 What's happening? 175 00:07:44,570 --> 00:07:45,528 What are we looking at? 176 00:07:45,528 --> 00:07:48,560 We're looking at an antique camera. 177 00:07:48,560 --> 00:07:50,935 But we're seeing two kind of things happen in the camera. 178 00:07:50,935 --> 00:07:52,990 We're seeing this kind of wheel go around, 179 00:07:52,990 --> 00:07:55,980 and we're seeing this bar here kind of slide up and down. 180 00:07:55,980 --> 00:07:57,620 Any guesses? 181 00:07:57,620 --> 00:08:02,530 AUDIENCE: Does it mean maybe that the [INAUDIBLE] 182 00:08:02,530 --> 00:08:04,292 the succession of the images up and down? 183 00:08:04,292 --> 00:08:05,000 DAN COFFEY: Yeah. 184 00:08:05,000 --> 00:08:06,950 Benjamin is saying is this actually control 185 00:08:06,950 --> 00:08:09,442 the speed, the images moving up and down. 186 00:08:09,442 --> 00:08:11,150 So this is the shutter that we're seeing. 187 00:08:11,150 --> 00:08:14,150 We're used to talking about shutter speed from still photography. 188 00:08:14,150 --> 00:08:15,490 And then this is the-- 189 00:08:15,490 --> 00:08:17,365 I don't know what this is technically called, 190 00:08:17,365 --> 00:08:20,758 but it advances the frames of film down through the camera as it moves. 191 00:08:20,758 --> 00:08:22,550 And in the old school cameras, it literally 192 00:08:22,550 --> 00:08:25,670 was a matter of kind of keeping a constant crank going 193 00:08:25,670 --> 00:08:27,280 to determine your frame rate. 194 00:08:27,280 --> 00:08:28,655 IAN SEXTON: It's called the claw. 195 00:08:28,655 --> 00:08:29,240 DAN COFFEY: The what? 196 00:08:29,240 --> 00:08:29,810 IAN SEXTON: The claw. 197 00:08:29,810 --> 00:08:30,560 DAN COFFEY: The claw. 198 00:08:30,560 --> 00:08:31,060 OK, yes. 199 00:08:31,060 --> 00:08:36,299 So the claw hooks into the perforation on the film and pulls the frame down. 200 00:08:36,299 --> 00:08:39,549 And so what happens if you start to crank this more quickly? 201 00:08:39,549 --> 00:08:41,510 You overcrank. 202 00:08:41,510 --> 00:08:43,730 The film advances faster. 203 00:08:43,730 --> 00:08:47,692 And so what is the effect of that if you were to play it back? 204 00:08:47,692 --> 00:08:49,530 AUDIENCE: Fast motion. 205 00:08:49,530 --> 00:08:52,690 DAN COFFEY: Well, fast motion is what you would think. 206 00:08:52,690 --> 00:08:54,810 You record a lot of frames very quickly. 207 00:08:54,810 --> 00:08:57,230 But if you were to play them back at your normal frame 208 00:08:57,230 --> 00:09:00,390 rate, the 24 frames per second, it's going to be slow motion. 209 00:09:00,390 --> 00:09:02,480 So it's kind of counterintuitive in that sense. 210 00:09:02,480 --> 00:09:05,438 But it's because you're cranking very quickly, recording a lot of data, 211 00:09:05,438 --> 00:09:08,100 and then playing it back more slowly, you get slow motion. 212 00:09:08,100 --> 00:09:11,180 So we thought to kind of show what this example 213 00:09:11,180 --> 00:09:14,430 looked like, we'd set up in this beautiful Harvard Library and recruit 214 00:09:14,430 --> 00:09:17,720 a boxer to kind of come in and show us what different frame rates can 215 00:09:17,720 --> 00:09:18,830 look like. 216 00:09:18,830 --> 00:09:19,860 So here we go. 217 00:09:19,860 --> 00:09:22,220 We've got Conor Doyle here being a guest for us. 218 00:09:22,220 --> 00:09:28,190 So yes, just a little hint as to what the setup looked like. 219 00:09:28,190 --> 00:09:32,480 So the things we want to keep in mind here, I've kind of alluded to these, 220 00:09:32,480 --> 00:09:34,790 are the captured frame rate-- this is the frame rate 221 00:09:34,790 --> 00:09:37,373 that you set your camera to, how many frames per second you're 222 00:09:37,373 --> 00:09:40,430 recording-- versus your project frame rate or your timeline frame rate-- 223 00:09:40,430 --> 00:09:44,593 how many frames per second are being played back over the sequence. 224 00:09:44,593 --> 00:09:45,260 And they matter. 225 00:09:45,260 --> 00:09:47,240 If they're the same thing-- 226 00:09:47,240 --> 00:09:50,090 so here, if you look at the top right of this frame, 227 00:09:50,090 --> 00:09:54,330 we've got 24 frames per second being played back at 24 frames per second. 228 00:09:54,330 --> 00:09:56,510 This is going to be a real time playback. 229 00:09:56,510 --> 00:10:01,310 So as we watch this, Conor's punching the punching bag here. 230 00:10:01,310 --> 00:10:03,703 231 00:10:03,703 --> 00:10:05,120 All right, feels like normal time. 232 00:10:05,120 --> 00:10:09,830 If you were standing there watching him, this is the speed at which it happened. 233 00:10:09,830 --> 00:10:11,890 But if we look at-- 234 00:10:11,890 --> 00:10:14,750 we overcranked here, we cranked very quickly, 235 00:10:14,750 --> 00:10:17,150 we recorded 250 frames per second. 236 00:10:17,150 --> 00:10:20,600 And we play it back at 24 frames per second, roughly how-- 237 00:10:20,600 --> 00:10:22,090 what's the time delta here? 238 00:10:22,090 --> 00:10:23,840 How many times slower is this going to be? 239 00:10:23,840 --> 00:10:26,640 240 00:10:26,640 --> 00:10:27,210 10 times? 241 00:10:27,210 --> 00:10:27,750 Yeah. 242 00:10:27,750 --> 00:10:30,300 Because 24 times 10 is 240. 243 00:10:30,300 --> 00:10:31,910 We'll round up to 250. 244 00:10:31,910 --> 00:10:35,580 So 250 frames per second, his punching should be about 1/10 245 00:10:35,580 --> 00:10:38,225 of the speed of normal time when we play it back. 246 00:10:38,225 --> 00:10:38,850 And here it is. 247 00:10:38,850 --> 00:10:45,250 248 00:10:45,250 --> 00:10:48,138 So it really matters here, what is it that we want to do? 249 00:10:48,138 --> 00:10:49,430 Do we want to slow things down? 250 00:10:49,430 --> 00:10:50,860 We need to shoot at a higher frame rate. 251 00:10:50,860 --> 00:10:52,527 But how much higher do we need to shoot? 252 00:10:52,527 --> 00:10:54,570 And that depends on how fast your sequence 253 00:10:54,570 --> 00:10:57,180 is, how many frames per second you're going to playback 254 00:10:57,180 --> 00:10:59,290 that your viewer is going to watch. 255 00:10:59,290 --> 00:11:00,040 All right. 256 00:11:00,040 --> 00:11:01,665 We'll go through a few different stops. 257 00:11:01,665 --> 00:11:04,000 Here is 250 frames at 250 frames. 258 00:11:04,000 --> 00:11:06,430 So what do we suspect that we'll see in this version? 259 00:11:06,430 --> 00:11:11,450 260 00:11:11,450 --> 00:11:13,000 AUDIENCE: Again, lifelike. 261 00:11:13,000 --> 00:11:15,080 DAN COFFEY: Yeah, real time, lifelike. 262 00:11:15,080 --> 00:11:17,347 Let's see, is this lifelike? 263 00:11:17,347 --> 00:11:19,180 It feels very different, though, doesn't it? 264 00:11:19,180 --> 00:11:20,180 AUDIENCE: Yeah, it does. 265 00:11:20,180 --> 00:11:21,067 It feels faster. 266 00:11:21,067 --> 00:11:22,400 DAN COFFEY: It feels faster, OK. 267 00:11:22,400 --> 00:11:23,827 We'll unpack this a little bit. 268 00:11:23,827 --> 00:11:25,910 IAN SEXTON: But the time it takes for him to punch 269 00:11:25,910 --> 00:11:28,098 feels sort of the same amount. 270 00:11:28,098 --> 00:11:29,390 But it has a different feeling. 271 00:11:29,390 --> 00:11:30,098 That's really it. 272 00:11:30,098 --> 00:11:31,430 DAN COFFEY: Exactly. 273 00:11:31,430 --> 00:11:35,390 All right, how about 120 frames at 24 frames per second? 274 00:11:35,390 --> 00:11:37,640 I don't need to keep beating this over and over again. 275 00:11:37,640 --> 00:11:40,910 This is still slow, not quite as slow as it was before. 276 00:11:40,910 --> 00:11:45,230 But you get different amounts of detail as we kind of do this as well, right? 277 00:11:45,230 --> 00:11:48,070 278 00:11:48,070 --> 00:11:49,510 Good job there, Conor. 279 00:11:49,510 --> 00:11:52,427 If you don't know, Conor is one of our camera operators in this class, 280 00:11:52,427 --> 00:11:56,170 so he very nicely volunteered to work with us on this. 281 00:11:56,170 --> 00:11:57,940 All right, 60 frames per second. 282 00:11:57,940 --> 00:12:08,592 283 00:12:08,592 --> 00:12:10,050 All right, so we're getting faster. 284 00:12:10,050 --> 00:12:12,750 We're getting a little bit more-- 285 00:12:12,750 --> 00:12:15,435 we're actually losing a little bit more detail. 286 00:12:15,435 --> 00:12:17,200 All right, 30 frames per second. 287 00:12:17,200 --> 00:12:19,253 So this is almost real time. 288 00:12:19,253 --> 00:12:20,670 This is very slightly slowed down. 289 00:12:20,670 --> 00:12:34,280 290 00:12:34,280 --> 00:12:34,780 All right. 291 00:12:34,780 --> 00:12:37,683 And then 12 frames per second. 292 00:12:37,683 --> 00:12:38,850 What's going to happen here? 293 00:12:38,850 --> 00:12:41,880 294 00:12:41,880 --> 00:12:43,333 So we're not talking about-- 295 00:12:43,333 --> 00:12:45,250 this is going to be on the undercranking side, 296 00:12:45,250 --> 00:12:48,680 so we're turning the frames per second more slowly 297 00:12:48,680 --> 00:12:51,070 than what we're playing them back at, which 298 00:12:51,070 --> 00:12:53,515 is going to result in-- we've just looked at slow motion. 299 00:12:53,515 --> 00:12:55,140 This is going to be fast motion, right? 300 00:12:55,140 --> 00:12:57,802 301 00:12:57,802 --> 00:12:59,260 It's almost like an old-timey film. 302 00:12:59,260 --> 00:13:04,160 303 00:13:04,160 --> 00:13:04,840 All right. 304 00:13:04,840 --> 00:13:06,720 So this is how fast compared to real time? 305 00:13:06,720 --> 00:13:07,928 Because it's easy math to do. 306 00:13:07,928 --> 00:13:10,480 307 00:13:10,480 --> 00:13:11,480 AUDIENCE: Twice as fast? 308 00:13:11,480 --> 00:13:12,813 DAN COFFEY: Yeah, twice as fast. 309 00:13:12,813 --> 00:13:13,790 Exactly, exactly. 310 00:13:13,790 --> 00:13:16,482 AUDIENCE: [INAUDIBLE] 311 00:13:16,482 --> 00:13:17,190 DAN COFFEY: Yeah. 312 00:13:17,190 --> 00:13:23,970 And then 12 frames at 12 frames per second, how is this going to equate? 313 00:13:23,970 --> 00:13:25,380 It's going to be real time still. 314 00:13:25,380 --> 00:13:26,832 How is it going to look, though? 315 00:13:26,832 --> 00:13:27,540 AUDIENCE: Slower? 316 00:13:27,540 --> 00:13:28,790 DAN COFFEY: It's going to be-- 317 00:13:28,790 --> 00:13:31,705 well, defined slower. 318 00:13:31,705 --> 00:13:33,080 AUDIENCE: It's gonna feel slower. 319 00:13:33,080 --> 00:13:34,663 DAN COFFEY: It's going to feel slower. 320 00:13:34,663 --> 00:13:37,590 OK, let's see if it feels slower. 321 00:13:37,590 --> 00:13:39,190 It's just more choppy, right? 322 00:13:39,190 --> 00:13:42,630 You got a lot more judder in this frame. 323 00:13:42,630 --> 00:13:44,840 But the action is still happening at the same rate. 324 00:13:44,840 --> 00:13:48,140 325 00:13:48,140 --> 00:13:51,930 So very interesting the choices we make with how much we capture at 326 00:13:51,930 --> 00:13:54,840 and how much we play back at. 327 00:13:54,840 --> 00:13:57,310 And then four frames per second-- 328 00:13:57,310 --> 00:14:01,320 so this is going to be a quarter of real time, or four times real time. 329 00:14:01,320 --> 00:14:04,260 I've got to invert my math. 330 00:14:04,260 --> 00:14:07,053 Very quickly here. 331 00:14:07,053 --> 00:14:08,970 So we're looking at a lot of extremes, but you 332 00:14:08,970 --> 00:14:11,580 can see that there's certainly in between where things could be useful. 333 00:14:11,580 --> 00:14:14,070 If you want to kind of have this dream-like fashion, 334 00:14:14,070 --> 00:14:16,770 maybe you want to record at 60 frames per second 335 00:14:16,770 --> 00:14:18,600 and play back at 24 frames per second. 336 00:14:18,600 --> 00:14:22,560 Or if you really want to highlight something that happens quickly-- 337 00:14:22,560 --> 00:14:25,290 let's say, like, a whip hitting something-- 338 00:14:25,290 --> 00:14:29,010 you might want to shoot that even faster, 120 or 250 frames per second-- 339 00:14:29,010 --> 00:14:31,350 and then play it back at 24 frames per second. 340 00:14:31,350 --> 00:14:34,436 AUDIENCE: Is this what's happening in the old Charlie Chaplin 341 00:14:34,436 --> 00:14:36,880 films or [INAUDIBLE]? 342 00:14:36,880 --> 00:14:37,740 IAN SEXTON: Yes. 343 00:14:37,740 --> 00:14:40,800 So that really comes down to the fact that they were sort 344 00:14:40,800 --> 00:14:42,390 of standardized in their frame rates. 345 00:14:42,390 --> 00:14:44,387 The very early film was hand cranked. 346 00:14:44,387 --> 00:14:47,220 And so you can imagine if you had to crank through 100 feet of film, 347 00:14:47,220 --> 00:14:51,210 you would start fast and sort of slow down as you got more and more tired. 348 00:14:51,210 --> 00:14:53,680 So there's a sort of a variable frame rate to those. 349 00:14:53,680 --> 00:14:57,150 And then when it became mechanical, a lot of films 350 00:14:57,150 --> 00:15:01,740 were shot at 18 frames per second, which is slower than 24, 351 00:15:01,740 --> 00:15:04,200 and it has that sort of staccato feel to it, 352 00:15:04,200 --> 00:15:07,380 where everything feels a little bit sped up because it was then-- 353 00:15:07,380 --> 00:15:11,310 we now watch it at 24 frames per second in playback. 354 00:15:11,310 --> 00:15:13,860 So actually, that translation is happening there. 355 00:15:13,860 --> 00:15:15,550 But that's exactly it, yeah. 356 00:15:15,550 --> 00:15:18,670 DAN COFFEY: Yeah, absolutely. 357 00:15:18,670 --> 00:15:19,170 All right. 358 00:15:19,170 --> 00:15:22,045 So if you want to actually watch these examples, download the slides. 359 00:15:22,045 --> 00:15:25,260 And this is just a link to a playlist where you can 360 00:15:25,260 --> 00:15:27,540 watch these videos in your own time. 361 00:15:27,540 --> 00:15:30,373 And so here's a more extreme video for you. 362 00:15:30,373 --> 00:15:32,040 You can watch how much time passes here. 363 00:15:32,040 --> 00:15:35,400 This is actually over the course of five days. 364 00:15:35,400 --> 00:15:38,182 So this is an extreme version of undercranking, 365 00:15:38,182 --> 00:15:43,830 where we get to watch some rain, watch these flowers kind of grow up 366 00:15:43,830 --> 00:15:44,400 and bloom. 367 00:15:44,400 --> 00:15:53,868 368 00:15:53,868 --> 00:15:55,910 So kind of like not as pretty as an actual nature 369 00:15:55,910 --> 00:16:00,310 show, but the idea is the same, where you're compressing time here, 370 00:16:00,310 --> 00:16:02,060 which is a really interesting thing to do. 371 00:16:02,060 --> 00:16:05,860 So, given that we know a little bit now about how different frame 372 00:16:05,860 --> 00:16:09,110 rates play back and gives a little bit different feeling, 373 00:16:09,110 --> 00:16:12,360 let's put this in context and actually watch a clip and discuss this together. 374 00:16:12,360 --> 00:16:15,440 So this is a clip from Mr. Robot, season 8. 375 00:16:15,440 --> 00:16:17,720 And they do a really interesting thing in this clip. 376 00:16:17,720 --> 00:16:19,170 So we'll just take a look. 377 00:16:19,170 --> 00:16:21,530 It's just a short clip, and then we'll talk about it. 378 00:16:21,530 --> 00:16:24,632 If we can dim the lights, please. 379 00:16:24,632 --> 00:16:25,991 [VIDEO PLAYBACK] 380 00:16:25,991 --> 00:16:27,770 - I've got to do that now-- 381 00:16:27,770 --> 00:16:30,285 security token, Gideon's phone. 382 00:16:30,285 --> 00:16:31,970 I need his phone. 383 00:16:31,970 --> 00:16:33,860 50 hours and 19 minutes left. 384 00:16:33,860 --> 00:16:34,610 Damn. 385 00:16:34,610 --> 00:16:36,890 She infected me with her time paranoia. 386 00:16:36,890 --> 00:16:39,350 We're all living in each other's paranoia. 387 00:16:39,350 --> 00:16:41,480 You definitely can't argue that. 388 00:16:41,480 --> 00:16:44,370 Is that why everyone tries to avoid each other? 389 00:16:44,370 --> 00:16:45,650 I need to calm down. 390 00:16:45,650 --> 00:16:47,780 I wish I could be an observer like you. 391 00:16:47,780 --> 00:16:50,458 Then I could think more calmly. 392 00:16:50,458 --> 00:16:54,450 [SOOTHING MUSIC] 393 00:16:54,450 --> 00:16:59,940 394 00:16:59,940 --> 00:17:04,030 This is comfortable, less stressful. 395 00:17:04,030 --> 00:17:10,184 In fact, I feel like I can see everything, know everything this way. 396 00:17:10,184 --> 00:17:11,146 Hm. 397 00:17:11,146 --> 00:17:13,569 Do you know more than me? 398 00:17:13,569 --> 00:17:18,450 That wouldn't be fair, my imaginary friend knowing more than me. 399 00:17:18,450 --> 00:17:20,990 So what would you do now? 400 00:17:20,990 --> 00:17:23,069 We need a distraction to get Gideon's phone. 401 00:17:23,069 --> 00:17:27,053 402 00:17:27,053 --> 00:17:30,041 [TRAFFIC AMBIENCE] 403 00:17:30,041 --> 00:17:31,037 404 00:17:31,037 --> 00:17:32,531 - Darlene? 405 00:17:32,531 --> 00:17:34,230 I need you to do something for me. 406 00:17:34,230 --> 00:17:35,690 - She can help. 407 00:17:35,690 --> 00:17:36,660 [END VIDEO PLAYBACK] 408 00:17:36,660 --> 00:17:37,180 DAN COFFEY: All right. 409 00:17:37,180 --> 00:17:39,300 So let's talk about what we just saw for a second. 410 00:17:39,300 --> 00:17:42,690 So just to give a little context, Elliot here, our computer hacker, 411 00:17:42,690 --> 00:17:43,920 is under deadline. 412 00:17:43,920 --> 00:17:46,330 There's something looming that's going to happen. 413 00:17:46,330 --> 00:17:50,210 And so he starts off a little bit anxious about what's going on, 414 00:17:50,210 --> 00:17:53,820 and he kind of takes a moment to talk to us-- 415 00:17:53,820 --> 00:17:56,430 his imaginary friend, the audience-- 416 00:17:56,430 --> 00:17:58,200 and put himself in our shoes for a second. 417 00:17:58,200 --> 00:17:59,473 But visually, what do we see? 418 00:17:59,473 --> 00:18:00,390 Let's talk about this. 419 00:18:00,390 --> 00:18:04,920 Let's back up and actually look, if I can find my mouse. 420 00:18:04,920 --> 00:18:06,300 There it is. 421 00:18:06,300 --> 00:18:09,480 So at the beginning, describe the frame rate for me. 422 00:18:09,480 --> 00:18:11,113 How does this part feel? 423 00:18:11,113 --> 00:18:11,780 [VIDEO PLAYBACK] 424 00:18:11,780 --> 00:18:15,356 - --now, security token, Gideon's phone. 425 00:18:15,356 --> 00:18:17,030 I need his phone. 426 00:18:17,030 --> 00:18:17,863 [END VIDEO PLAYBACK] 427 00:18:17,863 --> 00:18:19,322 DAN COFFEY: I'm sorry, what was it? 428 00:18:19,322 --> 00:18:20,360 AUDIENCE: Overcranked. 429 00:18:20,360 --> 00:18:21,360 DAN COFFEY: Overcranked? 430 00:18:21,360 --> 00:18:22,260 Why overcranked? 431 00:18:22,260 --> 00:18:23,160 AUDIENCE: Or faster. 432 00:18:23,160 --> 00:18:24,900 DAN COFFEY: Faster? 433 00:18:24,900 --> 00:18:27,720 Potentially, but a relatively normal frame rate. 434 00:18:27,720 --> 00:18:31,410 It felt a little bit frantic, I think, is the kind of description 435 00:18:31,410 --> 00:18:33,723 that maybe fits the feeling of it. 436 00:18:33,723 --> 00:18:35,640 And so we'll talk about that in just a second. 437 00:18:35,640 --> 00:18:37,848 But it was probably pretty close to real time, right? 438 00:18:37,848 --> 00:18:42,280 There was not-- we didn't feel like we lost a whole lot of data necessarily. 439 00:18:42,280 --> 00:18:42,780 All right. 440 00:18:42,780 --> 00:18:44,190 And then what happens? 441 00:18:44,190 --> 00:18:46,381 There's a change. 442 00:18:46,381 --> 00:18:47,048 [VIDEO PLAYBACK] 443 00:18:47,048 --> 00:18:49,650 - She infected me with her time paranoia. 444 00:18:49,650 --> 00:18:52,140 We're all living in each other's paranoia. 445 00:18:52,140 --> 00:18:54,170 You definitely can't argue with that. 446 00:18:54,170 --> 00:18:57,160 Is that why everyone tries to avoid each other? 447 00:18:57,160 --> 00:18:58,410 I need to calm down. 448 00:18:58,410 --> 00:19:00,540 I wish I could be an observer like you. 449 00:19:00,540 --> 00:19:02,962 Then I could think more calmly. 450 00:19:02,962 --> 00:19:04,806 [SOOTHING MUSIC] 451 00:19:04,806 --> 00:19:06,189 [END VIDEO PLAYBACK] 452 00:19:06,189 --> 00:19:09,340 DAN COFFEY: So there's actually a frame rate change 453 00:19:09,340 --> 00:19:10,870 that's ramped up in the clip, right? 454 00:19:10,870 --> 00:19:14,560 So we actually change the rate of playback, 455 00:19:14,560 --> 00:19:18,970 which is done in post-production, over the same number of seconds, 456 00:19:18,970 --> 00:19:22,840 because it's overcranking, where we see a slower playback. 457 00:19:22,840 --> 00:19:26,620 And it gives us this kind of dreamlike effect, right? 458 00:19:26,620 --> 00:19:28,272 AUDIENCE: It's very contemplative. 459 00:19:28,272 --> 00:19:28,980 DAN COFFEY: Yeah. 460 00:19:28,980 --> 00:19:32,340 And the effect for us, the audience, as we watch this, 461 00:19:32,340 --> 00:19:35,370 is that the rest of the world literally slows down. 462 00:19:35,370 --> 00:19:40,455 It's narrated still in real time, so it feels like we're kind of-- 463 00:19:40,455 --> 00:19:44,620 as Elliot takes a look around and kind of sees things, I think he says, 464 00:19:44,620 --> 00:19:45,870 we kind of feel that with him. 465 00:19:45,870 --> 00:19:49,120 466 00:19:49,120 --> 00:19:51,410 All right, a fun example there. 467 00:19:51,410 --> 00:19:54,370 So as far as what happens to us as we start 468 00:19:54,370 --> 00:19:57,122 to shoot video and look at more than one frame at a time, 469 00:19:57,122 --> 00:19:59,830 going back to our exposure triangle, where we are now controlling 470 00:19:59,830 --> 00:20:03,730 our aperture, our ISO, and our shutter speed, what limitation rate 471 00:20:03,730 --> 00:20:06,310 are we going to bump up against if we're shooting 472 00:20:06,310 --> 00:20:09,670 some number of frames per second? 473 00:20:09,670 --> 00:20:13,148 One of these is going to kind of get locked off on us. 474 00:20:13,148 --> 00:20:13,690 Anybody know? 475 00:20:13,690 --> 00:20:17,410 476 00:20:17,410 --> 00:20:18,530 AUDIENCE: Shutter speed. 477 00:20:18,530 --> 00:20:19,613 DAN COFFEY: Shutter speed? 478 00:20:19,613 --> 00:20:20,840 Why? 479 00:20:20,840 --> 00:20:25,800 AUDIENCE: I feel like what I've learned thus far that it is directly 480 00:20:25,800 --> 00:20:28,742 tied to the frame rate. 481 00:20:28,742 --> 00:20:29,450 DAN COFFEY: Yeah. 482 00:20:29,450 --> 00:20:32,310 Well, if you think about what is actually happening with shutter speed-- 483 00:20:32,310 --> 00:20:34,477 so yes, the answer, shutter speed is kind of locked. 484 00:20:34,477 --> 00:20:39,103 So the shutter of the camera-- 485 00:20:39,103 --> 00:20:42,020 in the old mechanical camera here, we've got this notch that's cut out 486 00:20:42,020 --> 00:20:45,320 and that rotated around and exposed the film. 487 00:20:45,320 --> 00:20:52,190 If we look at the modern equivalent of that, let's say with this shutter right 488 00:20:52,190 --> 00:20:55,220 here, we've got time when the disk spins around 489 00:20:55,220 --> 00:20:57,860 where the film plane or the central plane is exposed 490 00:20:57,860 --> 00:20:59,480 and when it's closed off. 491 00:20:59,480 --> 00:21:04,400 And so that represents how much time is exposed, how much time the film is 492 00:21:04,400 --> 00:21:05,990 actually exposed for. 493 00:21:05,990 --> 00:21:10,580 So if our frame rate is 24 frames per second, 494 00:21:10,580 --> 00:21:16,310 that means that the film needs to advance past this thing here 24 495 00:21:16,310 --> 00:21:18,060 times per second. 496 00:21:18,060 --> 00:21:19,310 So what's the longest-- 497 00:21:19,310 --> 00:21:23,240 if we had no shutter covering this and it was just light coming through, 498 00:21:23,240 --> 00:21:28,947 what's the longest exposure we could have, if it's 24 frames per second? 499 00:21:28,947 --> 00:21:30,530 AUDIENCE: Is the answer on the bottom? 500 00:21:30,530 --> 00:21:32,990 DAN COFFEY: No. 501 00:21:32,990 --> 00:21:36,320 It's 1/24 of a second, because there's nothing to block any light. 502 00:21:36,320 --> 00:21:41,090 So the answer is 1/24 of a second is the longest exposure that we could have. 503 00:21:41,090 --> 00:21:44,900 And so just shooting your digital photography, 1/24 of a second, 504 00:21:44,900 --> 00:21:46,970 is that a long shutter speed? 505 00:21:46,970 --> 00:21:47,750 Is it fast? 506 00:21:47,750 --> 00:21:49,812 What kind of motion would you get from that? 507 00:21:49,812 --> 00:21:51,560 AUDIENCE: You're going to incorporate motion blur. 508 00:21:51,560 --> 00:21:53,300 DAN COFFEY: You're going to get motion blur, right? 509 00:21:53,300 --> 00:21:53,800 Yeah. 510 00:21:53,800 --> 00:21:56,690 So what if you're shooting faster than 24 frames per second? 511 00:21:56,690 --> 00:22:01,670 Let's say you're shooting, I don't know, 120 frames per second. 512 00:22:01,670 --> 00:22:05,390 With no shutter involved, what is the most exposure 513 00:22:05,390 --> 00:22:06,890 you can get from your shutter speed? 514 00:22:06,890 --> 00:22:09,182 AUDIENCE: With no shutter involved? 515 00:22:09,182 --> 00:22:09,890 DAN COFFEY: Yeah. 516 00:22:09,890 --> 00:22:12,515 I mean, digital cameras don't actually have a physical shutter. 517 00:22:12,515 --> 00:22:13,820 Some do, most don't. 518 00:22:13,820 --> 00:22:16,850 So let's say we take the shutter out of the equation. 519 00:22:16,850 --> 00:22:20,730 What is the longest exposure time we could have at 120 frames per second? 520 00:22:20,730 --> 00:22:23,400 AUDIENCE: I don't know the answer to that question. 521 00:22:23,400 --> 00:22:25,610 DAN COFFEY: It's 1 over the frame rate, right? 522 00:22:25,610 --> 00:22:28,590 Because it's literally 1/120 of a second. 523 00:22:28,590 --> 00:22:33,020 And so again, thinking back to when you're out shooting with your camera, 524 00:22:33,020 --> 00:22:37,332 can you get motion blur from 1/120 of a second? 525 00:22:37,332 --> 00:22:38,790 AUDIENCE: Depending on the subject. 526 00:22:38,790 --> 00:22:39,650 If it's moving quickly-- 527 00:22:39,650 --> 00:22:41,500 DAN COFFEY: Sure, if it's moving very quickly, yes. 528 00:22:41,500 --> 00:22:42,338 That's a good point. 529 00:22:42,338 --> 00:22:44,130 I shouldn't say you can't, because you can. 530 00:22:44,130 --> 00:22:47,090 But your kind of natural motion blur that we're 531 00:22:47,090 --> 00:22:51,920 kind of used to seeing as humans, we're going to lose that. 532 00:22:51,920 --> 00:22:53,240 Everything will be sharper. 533 00:22:53,240 --> 00:22:55,750 And so if you think back to old film cameras, 534 00:22:55,750 --> 00:22:58,250 we had to actually close the shutter for some period of time 535 00:22:58,250 --> 00:22:59,580 so that the film could advance. 536 00:22:59,580 --> 00:23:02,240 Otherwise everything would just be this kind of blur effect 537 00:23:02,240 --> 00:23:04,980 as you advance the film through the camera. 538 00:23:04,980 --> 00:23:09,350 And so at 24 frames per second, kind of a typical shutter 539 00:23:09,350 --> 00:23:14,450 that gives us natural motion blur, is 1/2 of your time being exposed. 540 00:23:14,450 --> 00:23:19,340 So the frame is covered for half of the time and then open for half the time. 541 00:23:19,340 --> 00:23:23,300 So basically for 24 frames per second, that's 542 00:23:23,300 --> 00:23:30,980 why we get a 1/48 shutter speed as kind of our natural shutter speed, 543 00:23:30,980 --> 00:23:35,270 because we're exposing for half the time of the frame rate. 544 00:23:35,270 --> 00:23:38,300 So if we were exposing for the whole time of the frame rate, 545 00:23:38,300 --> 00:23:40,430 it would be 1 over 24. 546 00:23:40,430 --> 00:23:43,370 But because we're exposing for half of that, we doubled that number, 547 00:23:43,370 --> 00:23:45,536 and it goes 1 over 48. 548 00:23:45,536 --> 00:23:47,876 Does that makes sense? 549 00:23:47,876 --> 00:23:48,900 Did I bungle that? 550 00:23:48,900 --> 00:23:49,525 IAN SEXTON: No. 551 00:23:49,525 --> 00:23:50,630 DAN COFFEY: OK. 552 00:23:50,630 --> 00:23:53,060 So if we spin these, we kind of get a sense of this. 553 00:23:53,060 --> 00:23:57,830 So we've got the film advancing through, getting exposed. 554 00:23:57,830 --> 00:24:01,430 But as we start to kind of close down the shutter, 555 00:24:01,430 --> 00:24:06,350 as we talked about what happens when we shoot at faster shutter speeds-- 556 00:24:06,350 --> 00:24:09,963 like, again, these numbers at the bottom are all 24 frames per second 557 00:24:09,963 --> 00:24:13,130 that relate to this, because 24 frames per second is what we're going to say 558 00:24:13,130 --> 00:24:15,610 is the typical film frame rate, so we're going 559 00:24:15,610 --> 00:24:18,710 to talk about that frame rate a lot. 560 00:24:18,710 --> 00:24:22,910 So a normal shutter speed is going to be 1 over 48 per second. 561 00:24:22,910 --> 00:24:25,150 And not all cameras can do that. 562 00:24:25,150 --> 00:24:27,850 I know the Canon 5D, it's 1 over 50. 563 00:24:27,850 --> 00:24:28,940 But that's close enough. 564 00:24:28,940 --> 00:24:32,240 We're going to say we are in the ballpark for that. 565 00:24:32,240 --> 00:24:35,720 So what is a 90 degree shutter angle going to do? 566 00:24:35,720 --> 00:24:38,270 And it's literally because of the shape of this cut out here. 567 00:24:38,270 --> 00:24:39,895 That's where the 90 degrees comes from. 568 00:24:39,895 --> 00:24:43,760 That's where the 180 degrees comes from. 569 00:24:43,760 --> 00:24:46,220 But if we think about what that actually means, 570 00:24:46,220 --> 00:24:50,810 180 degrees means that our exposure time is half of our frame interval. 571 00:24:50,810 --> 00:24:56,130 What's half of our frame interval of a 90 degree shutter? 572 00:24:56,130 --> 00:24:56,630 Right. 573 00:24:56,630 --> 00:24:58,040 Let's start down here. 574 00:24:58,040 --> 00:24:59,230 So we know that 1 over 48-- 575 00:24:59,230 --> 00:25:00,660 AUDIENCE: A quarter. 576 00:25:00,660 --> 00:25:02,180 DAN COFFEY: Is half, yeah. 577 00:25:02,180 --> 00:25:06,180 So is a quarter, but we double the 48, and we get to 96. 578 00:25:06,180 --> 00:25:09,320 So 1/96 is a 90 degree shutter. 579 00:25:09,320 --> 00:25:12,080 But what is the visual effect for us? 580 00:25:12,080 --> 00:25:14,360 Forget even knowing these numbers, because ultimately 581 00:25:14,360 --> 00:25:16,610 at the end of the day you can look through your camera 582 00:25:16,610 --> 00:25:20,620 and change your shutter speed and see what effect you get. 583 00:25:20,620 --> 00:25:24,730 But what happens as we sharpen up our shutter and make it more quick? 584 00:25:24,730 --> 00:25:27,075 Sharpen up our shutter is the key there. 585 00:25:27,075 --> 00:25:28,042 AUDIENCE: Sharper? 586 00:25:28,042 --> 00:25:28,750 DAN COFFEY: Yeah. 587 00:25:28,750 --> 00:25:29,920 We lose our motion blur. 588 00:25:29,920 --> 00:25:33,500 This is really what I'm trying to hammer home here, is the faster 589 00:25:33,500 --> 00:25:35,500 the shutter speed, the less motion blur we have. 590 00:25:35,500 --> 00:25:38,350 We know this from digital photography already. 591 00:25:38,350 --> 00:25:40,100 And the same is true with video. 592 00:25:40,100 --> 00:25:42,640 But with video, images move in sequence. 593 00:25:42,640 --> 00:25:44,740 We kind of expect a certain amount of blur, 594 00:25:44,740 --> 00:25:47,620 and that goes away when we shoot higher frame 595 00:25:47,620 --> 00:25:53,870 rate because our shutter speed is maxed out, or if we change our shutter speed. 596 00:25:53,870 --> 00:25:56,522 And that's why I put the lock on the exposure triangle. 597 00:25:56,522 --> 00:25:58,480 Because if you want to have natural motion blur 598 00:25:58,480 --> 00:26:00,397 and have video that we are used to seeing over 599 00:26:00,397 --> 00:26:03,520 the years of watching movies and films, you want your shutter speed 600 00:26:03,520 --> 00:26:07,060 to be roughly 1 over 48 at 24 frames per second. 601 00:26:07,060 --> 00:26:10,640 602 00:26:10,640 --> 00:26:13,120 And so here's the slide for that. 603 00:26:13,120 --> 00:26:15,610 IAN SEXTON: So again, this is sort of conventional motion, 604 00:26:15,610 --> 00:26:19,930 the natural feeling motion in video. 605 00:26:19,930 --> 00:26:22,510 But you can definitely push and pull it in either direction. 606 00:26:22,510 --> 00:26:25,900 You just can't go below the frame rate, the period of the frame 607 00:26:25,900 --> 00:26:27,520 rate for your shutter speed. 608 00:26:27,520 --> 00:26:29,538 So you can't get any blurrier than 1 over 24 609 00:26:29,538 --> 00:26:31,330 if you're shooting at 24 frames per second. 610 00:26:31,330 --> 00:26:33,122 AUDIENCE: But what would happen if you did? 611 00:26:33,122 --> 00:26:35,320 DAN COFFEY: Well, you couldn't, because you 612 00:26:35,320 --> 00:26:40,933 would ask the camera to record an image for longer than one frame. 613 00:26:40,933 --> 00:26:44,100 So you'd be trying to record a single image for two frames, which you can't. 614 00:26:44,100 --> 00:26:48,160 So you can't go any slower than 1 over 24th. 615 00:26:48,160 --> 00:26:49,690 But you can go faster. 616 00:26:49,690 --> 00:26:51,940 You can take a shorter image in that 1/24 of a second. 617 00:26:51,940 --> 00:26:54,065 You just can't go longer than that, because then it 618 00:26:54,065 --> 00:26:55,670 would be recording over two frames. 619 00:26:55,670 --> 00:26:58,200 And your frame rate wouldn't be 24 frames per second. 620 00:26:58,200 --> 00:27:01,635 AUDIENCE: Because you wouldn't be able to use that in post, would you? 621 00:27:01,635 --> 00:27:03,760 IAN SEXTON: You just couldn't do it, because if you 622 00:27:03,760 --> 00:27:06,457 tried to record longer than 1 over 24, then 623 00:27:06,457 --> 00:27:08,290 you're not shooting at 24 frames per second. 624 00:27:08,290 --> 00:27:11,142 You're shooting at some smaller amount than that. 625 00:27:11,142 --> 00:27:13,010 AUDIENCE: I want to try this. 626 00:27:13,010 --> 00:27:15,177 DAN COFFEY: Your camera will not even let you do it, 627 00:27:15,177 --> 00:27:17,320 because the laws of physics will not allow it. 628 00:27:17,320 --> 00:27:17,830 AUDIENCE: Oh, yeah? 629 00:27:17,830 --> 00:27:18,670 We'll see about that. 630 00:27:18,670 --> 00:27:19,878 DAN COFFEY: All right, Ralph. 631 00:27:19,878 --> 00:27:20,700 Let's see it. 632 00:27:20,700 --> 00:27:23,367 And so I mentioned this already, but some cameras can't actually 633 00:27:23,367 --> 00:27:24,980 do 1 over 48, so use 150 instead. 634 00:27:24,980 --> 00:27:26,450 And this is really a guide. 635 00:27:26,450 --> 00:27:29,380 If you're coming into this class and you have not touched video before 636 00:27:29,380 --> 00:27:31,338 and you're not sure what to set your camera to, 637 00:27:31,338 --> 00:27:34,090 if you want to have a traditional cinematic look, 638 00:27:34,090 --> 00:27:35,990 set your camera to 24 frames per second. 639 00:27:35,990 --> 00:27:39,710 Sometimes that is abbreviated as 23.98. 640 00:27:39,710 --> 00:27:42,820 It is, for all intents and purposes, the same thing 641 00:27:42,820 --> 00:27:48,250 with a shutter speed of 1 over 48, which is our 180 degree shutter angle-- 642 00:27:48,250 --> 00:27:49,480 potato, po-tah-to. 643 00:27:49,480 --> 00:27:53,890 You know, we showed the graphic of what the shutter looked like back in the day 644 00:27:53,890 --> 00:27:59,140 when there was a circle and you actually would open and close the angle of it. 645 00:27:59,140 --> 00:28:03,230 And so now we typically talk about shutter speed as fractions, 646 00:28:03,230 --> 00:28:05,050 and it's all about the exposure time. 647 00:28:05,050 --> 00:28:09,302 So 1/48 of a second is equivalent to a 180 degree shutter. 648 00:28:09,302 --> 00:28:12,010 And refer back to the graphic I just showed that kind of animated 649 00:28:12,010 --> 00:28:14,930 to see why. 650 00:28:14,930 --> 00:28:15,700 OK. 651 00:28:15,700 --> 00:28:20,320 So what happens as we start to play with the shutter speed in the video? 652 00:28:20,320 --> 00:28:22,120 Let's go back to our boxing example. 653 00:28:22,120 --> 00:28:26,140 And so we're watching all 24 frames per second video here, played back at 24 654 00:28:26,140 --> 00:28:27,310 frames per second. 655 00:28:27,310 --> 00:28:29,810 And this is going to be just kind of a study of motion blur. 656 00:28:29,810 --> 00:28:31,780 So I said before, what happens if we just 657 00:28:31,780 --> 00:28:33,400 take the shutter out of the equation? 658 00:28:33,400 --> 00:28:39,400 So a 360 degree shutter is literally no shutter at all. 659 00:28:39,400 --> 00:28:43,990 So it's just constantly light hitting the sensor per frame. 660 00:28:43,990 --> 00:28:47,210 We're on a tripod, so not everything in the frame is going to blur for us. 661 00:28:47,210 --> 00:28:49,460 But let's take a look at what happens with our motion. 662 00:28:49,460 --> 00:28:56,850 663 00:28:56,850 --> 00:29:00,118 How fast is Conor punching here? 664 00:29:00,118 --> 00:29:01,410 AUDIENCE: It looks really fast. 665 00:29:01,410 --> 00:29:03,000 DAN COFFEY: So fast, right? 666 00:29:03,000 --> 00:29:09,180 So here is a freeze frame of that motion blur, so an incredible amount of motion 667 00:29:09,180 --> 00:29:13,050 blur because we're looking at 1/24 of a second 668 00:29:13,050 --> 00:29:16,110 here in time, because there's no shutter closing. 669 00:29:16,110 --> 00:29:19,317 It's just 1/24 of a second because our frame rate is 24 frames per second. 670 00:29:19,317 --> 00:29:21,400 IAN SEXTON: And when we did our still photography, 671 00:29:21,400 --> 00:29:25,350 it was really easy to capture human motion blur at 1/24 of a second. 672 00:29:25,350 --> 00:29:28,260 Our suggestion was shoot at 1/68 or 1/50 or something 673 00:29:28,260 --> 00:29:31,500 like that to sort of stop that normal human motion blur. 674 00:29:31,500 --> 00:29:32,880 DAN COFFEY: Exactly. 675 00:29:32,880 --> 00:29:34,552 All right, so we're going to halve this. 676 00:29:34,552 --> 00:29:36,260 And I guess this is the other factor too. 677 00:29:36,260 --> 00:29:40,590 As we think about exposure, as we change shutter speed-- 678 00:29:40,590 --> 00:29:48,760 so the same frame for the same amount of time is being exposed. 679 00:29:48,760 --> 00:29:52,980 But if we halve the amount of time that the shutter is open for that frame, 680 00:29:52,980 --> 00:29:55,370 how much light is being taken away? 681 00:29:55,370 --> 00:29:57,087 AUDIENCE: [INAUDIBLE] 682 00:29:57,087 --> 00:29:58,420 IAN SEXTON: No, no, you're good. 683 00:29:58,420 --> 00:29:58,950 AUDIENCE: 1? 684 00:29:58,950 --> 00:29:59,783 DAN COFFEY: Exactly. 685 00:29:59,783 --> 00:30:01,550 So we need to compensate-- 686 00:30:01,550 --> 00:30:07,082 this is exactly the same thing as when we shot still photography. 687 00:30:07,082 --> 00:30:10,290 When we changed the shutter speed, we had to compensate with ISO or aperture. 688 00:30:10,290 --> 00:30:11,790 The same thing applies to video. 689 00:30:11,790 --> 00:30:15,180 It's just confusing because there are more frames involved. 690 00:30:15,180 --> 00:30:16,808 But the same principles apply. 691 00:30:16,808 --> 00:30:19,350 If we cut the shutter speed in half, that's one stop of light 692 00:30:19,350 --> 00:30:23,100 that we need to compensate for on the other end somewhere else. 693 00:30:23,100 --> 00:30:24,240 All right. 694 00:30:24,240 --> 00:30:25,620 So here's a 180 degree shutter. 695 00:30:25,620 --> 00:30:30,980 696 00:30:30,980 --> 00:30:32,825 So half as much motion blur-- 697 00:30:32,825 --> 00:30:33,950 can we qualify it that way? 698 00:30:33,950 --> 00:30:37,220 I mean, it's half as much time, half as much light. 699 00:30:37,220 --> 00:30:40,820 So does that equate visually? 700 00:30:40,820 --> 00:30:41,480 Maybe not. 701 00:30:41,480 --> 00:30:43,147 Here's what that motion blur looks like. 702 00:30:43,147 --> 00:30:46,040 It looks pretty similar to me, to the 360 degree. 703 00:30:46,040 --> 00:30:48,590 But let's keep going down this rabbit hole. 704 00:30:48,590 --> 00:30:53,858 So this is a 90 degree shutter, or translated 1/96 of a second. 705 00:30:53,858 --> 00:30:56,150 IAN SEXTON: So that's one more stop closed down, right? 706 00:30:56,150 --> 00:30:57,200 DAN COFFEY: Yes. 707 00:30:57,200 --> 00:30:59,810 We keep doing halves here. 708 00:30:59,810 --> 00:31:02,750 So this is feeling a little bit different now, huh? 709 00:31:02,750 --> 00:31:03,500 Just a little bit. 710 00:31:03,500 --> 00:31:07,345 711 00:31:07,345 --> 00:31:08,595 Does it feel faster or slower? 712 00:31:08,595 --> 00:31:11,940 713 00:31:11,940 --> 00:31:16,330 A little bit subjective, I'd say, using words like that. 714 00:31:16,330 --> 00:31:17,380 Here's a freeze. 715 00:31:17,380 --> 00:31:20,190 But we're starting to get more detail. 716 00:31:20,190 --> 00:31:21,230 AUDIENCE: And choppy. 717 00:31:21,230 --> 00:31:22,110 DAN COFFEY: It's feeling choppier. 718 00:31:22,110 --> 00:31:23,610 AUDIENCE: It's less smooth for sure. 719 00:31:23,610 --> 00:31:26,190 DAN COFFEY: Yeah, so less smooth because as the frames 720 00:31:26,190 --> 00:31:28,710 kind of go by very quickly and our human eyes only 721 00:31:28,710 --> 00:31:30,570 see kind of the combination of all of them 722 00:31:30,570 --> 00:31:35,130 put together, we're losing this motion blur that we're used to seeing. 723 00:31:35,130 --> 00:31:38,490 And we're starting to see more detail in every frame. 724 00:31:38,490 --> 00:31:43,690 AUDIENCE: And the [INAUDIBLE] motion gets shorter and more realistic, 725 00:31:43,690 --> 00:31:47,100 because before-- his glove was really long, 726 00:31:47,100 --> 00:31:50,310 because the shutter speed was at 24, the same as the frames per second. 727 00:31:50,310 --> 00:31:54,065 So it was definitely getting sharper, which makes it choppy, which 728 00:31:54,065 --> 00:31:55,940 I'm starting to get more clearly. 729 00:31:55,940 --> 00:31:59,107 DAN COFFEY: Yeah, exactly, because you literally are seeing it more clearly. 730 00:31:59,107 --> 00:32:01,310 That's exactly why it's becoming more choppy, 731 00:32:01,310 --> 00:32:03,060 is because you're actually seeing, his arm 732 00:32:03,060 --> 00:32:06,060 is not extending anymore and bending with the light that 733 00:32:06,060 --> 00:32:07,050 is hitting your sensor. 734 00:32:07,050 --> 00:32:10,890 It's actually staying the same size as it moves because we're not 735 00:32:10,890 --> 00:32:12,000 getting that motion blur. 736 00:32:12,000 --> 00:32:13,490 AUDIENCE: Which is a little uncomfortable. 737 00:32:13,490 --> 00:32:14,365 DAN COFFEY: Yeah, OK. 738 00:32:14,365 --> 00:32:16,750 In this case it's a little uncomfortable maybe. 739 00:32:16,750 --> 00:32:17,550 All right, Ralph. 740 00:32:17,550 --> 00:32:18,540 Taking it to the next level here. 741 00:32:18,540 --> 00:32:19,040 All right. 742 00:32:19,040 --> 00:32:20,820 So let's look at a 45 degree shutter. 743 00:32:20,820 --> 00:32:25,930 This makes our shutter speed 1 over 192, so a very small fraction of a second 744 00:32:25,930 --> 00:32:26,430 now. 745 00:32:26,430 --> 00:32:31,550 746 00:32:31,550 --> 00:32:32,150 Looks cool. 747 00:32:32,150 --> 00:32:38,360 748 00:32:38,360 --> 00:32:40,910 Whereas before when he was punching really fast, 749 00:32:40,910 --> 00:32:42,950 we saw just kind of a blur. 750 00:32:42,950 --> 00:32:44,900 Now we're just kind of seeing fists flying, 751 00:32:44,900 --> 00:32:47,052 the actual outline of the fists. 752 00:32:47,052 --> 00:32:49,760 We actually went a couple more stops here, so let's keep looking. 753 00:32:49,760 --> 00:32:53,470 So here's a freeze of the motion blur, just to compare apples to apples. 754 00:32:53,470 --> 00:32:53,970 All right. 755 00:32:53,970 --> 00:32:55,100 So let's go down to-- 756 00:32:55,100 --> 00:32:57,475 again, we're halving and halving and halving and halving. 757 00:32:57,475 --> 00:33:00,800 So a 22.5 degree shutter, or 1/384 of a second. 758 00:33:00,800 --> 00:33:05,513 759 00:33:05,513 --> 00:33:06,680 It's kind of weird to watch. 760 00:33:06,680 --> 00:33:09,055 We're just not used to seeing a whole lot of footage that 761 00:33:09,055 --> 00:33:11,090 looks like this as humans. 762 00:33:11,090 --> 00:33:14,240 AUDIENCE: I guess he was in a boxing movie, because it looks good still. 763 00:33:14,240 --> 00:33:19,818 Like, the last one before we went here was usable for a fast fight scene. 764 00:33:19,818 --> 00:33:21,110 DAN COFFEY: That's interesting. 765 00:33:21,110 --> 00:33:23,590 So you're kind of saying that in your mind, 766 00:33:23,590 --> 00:33:28,310 a fight scene might have some of this kind of fast, crisp motion. 767 00:33:28,310 --> 00:33:30,120 But it doesn't have to. 768 00:33:30,120 --> 00:33:34,040 You could certainly shoot a fight scene with no shutter at all, 769 00:33:34,040 --> 00:33:37,382 or with 1/24 of a second. 770 00:33:37,382 --> 00:33:39,090 But that's not what we're used to seeing, 771 00:33:39,090 --> 00:33:43,190 because convention tells us that you have this kind of high-- 772 00:33:43,190 --> 00:33:45,930 this fast shutter. 773 00:33:45,930 --> 00:33:49,880 And even if we think back to Mr. Robot, at the end of the scene 774 00:33:49,880 --> 00:33:50,830 that we watched when-- 775 00:33:50,830 --> 00:33:54,502 776 00:33:54,502 --> 00:33:56,210 we'll come back to that clip in a second. 777 00:33:56,210 --> 00:33:58,002 I want to go back and look at that, though. 778 00:33:58,002 --> 00:33:58,538 All right. 779 00:33:58,538 --> 00:34:00,080 Let's just finish our iteration here. 780 00:34:00,080 --> 00:34:02,870 So this is a freeze frame of the motion blur. 781 00:34:02,870 --> 00:34:05,870 There's still a little bit of motion blur because he's moving very fast. 782 00:34:05,870 --> 00:34:09,380 But any average thing that's happening, a person walking, 783 00:34:09,380 --> 00:34:14,219 a car driving by slowly, would probably be fairly frozen in the freeze frame. 784 00:34:14,219 --> 00:34:14,719 All right. 785 00:34:14,719 --> 00:34:19,400 So our last stop here is an 11 degree shutter, which is 1/768 of a second. 786 00:34:19,400 --> 00:34:24,110 We know our DSLRs can probably do 1/2000 of a second or 1/4000 or 1/8000 787 00:34:24,110 --> 00:34:25,496 of a second. 788 00:34:25,496 --> 00:34:28,679 It would just be pretty wild to see that with video. 789 00:34:28,679 --> 00:34:30,440 But here we go. 790 00:34:30,440 --> 00:34:40,352 791 00:34:40,352 --> 00:34:42,060 So give me some adjectives that describes 792 00:34:42,060 --> 00:34:44,840 this frame maybe versus the first frame that we looked at. 793 00:34:44,840 --> 00:34:50,719 794 00:34:50,719 --> 00:34:54,130 It's a stark difference. 795 00:34:54,130 --> 00:34:54,630 OK. 796 00:34:54,630 --> 00:35:00,210 797 00:35:00,210 --> 00:35:03,660 Is it more comfortable to watch, less comfortable? 798 00:35:03,660 --> 00:35:05,360 AUDIENCE: It's more unnatural. 799 00:35:05,360 --> 00:35:06,090 DAN COFFEY: It's more natural? 800 00:35:06,090 --> 00:35:06,820 AUDIENCE: More unnatural. 801 00:35:06,820 --> 00:35:08,150 DAN COFFEY: Oh, more unnatural. 802 00:35:08,150 --> 00:35:09,020 OK. 803 00:35:09,020 --> 00:35:12,972 AUDIENCE: Kind of hard to read what's written on the video. 804 00:35:12,972 --> 00:35:13,680 DAN COFFEY: Yeah. 805 00:35:13,680 --> 00:35:15,030 Here's the freeze frame, right? 806 00:35:15,030 --> 00:35:17,520 And so I try to grab all the freeze frames 807 00:35:17,520 --> 00:35:19,320 in the middle of the punching action. 808 00:35:19,320 --> 00:35:21,940 So in the first frame-- let's look at the comparison. 809 00:35:21,940 --> 00:35:26,547 So in the first frame, it was just no clear delineation of his arm. 810 00:35:26,547 --> 00:35:28,380 As we kind of get down there, we're starting 811 00:35:28,380 --> 00:35:32,220 to get a bit more clear as we get to 1/96 of a second. 812 00:35:32,220 --> 00:35:36,820 But once we get down to 1/768 or-- 813 00:35:36,820 --> 00:35:39,270 did I put these out of order? 814 00:35:39,270 --> 00:35:40,740 92-- where's the highest one. 815 00:35:40,740 --> 00:35:41,587 Yeah, it is. 816 00:35:41,587 --> 00:35:43,170 So I'll rearrange these and repost it. 817 00:35:43,170 --> 00:35:45,720 But this is our faster shutter speed, which just clearly has 818 00:35:45,720 --> 00:35:47,550 the least amount of motion blur. 819 00:35:47,550 --> 00:35:51,030 But again, we're talking about multiple frames per second as we watch this. 820 00:35:51,030 --> 00:35:53,670 It's just a very different effect than what we see. 821 00:35:53,670 --> 00:35:56,400 So if you're going out to shoot a video of somebody 822 00:35:56,400 --> 00:36:00,990 just casually walking down the street and your subject is walking, 823 00:36:00,990 --> 00:36:02,198 which would you choose? 824 00:36:02,198 --> 00:36:03,990 Which are we kind of conditioned to seeing? 825 00:36:03,990 --> 00:36:08,010 And I've already given the answer away, but-- 826 00:36:08,010 --> 00:36:08,800 this one, right? 827 00:36:08,800 --> 00:36:12,300 The 1/48 of a second shutter speed, if we're shooting at 24 frames per second. 828 00:36:12,300 --> 00:36:15,540 829 00:36:15,540 --> 00:36:19,350 So this is the kind of natural motion blur we're used to seeing. 830 00:36:19,350 --> 00:36:23,920 Of course, Conor is punching very fast, so we just get a whole lot of blur. 831 00:36:23,920 --> 00:36:24,420 All right. 832 00:36:24,420 --> 00:36:27,360 If you want to watch these examples on your own, click the link at the bottom. 833 00:36:27,360 --> 00:36:28,140 AUDIENCE: That him punching? 834 00:36:28,140 --> 00:36:29,580 DAN COFFEY: That's Conor, yep. 835 00:36:29,580 --> 00:36:30,430 Give a wave, Conor. 836 00:36:30,430 --> 00:36:32,430 AUDIENCE: Do not get into a fight with this guy. 837 00:36:32,430 --> 00:36:33,225 DAN COFFEY: Yeah. 838 00:36:33,225 --> 00:36:34,350 AUDIENCE: That's cool, man. 839 00:36:34,350 --> 00:36:36,420 DAN COFFEY: If you're trying to do this conversion in your head, 840 00:36:36,420 --> 00:36:37,753 we've made a chart here for you. 841 00:36:37,753 --> 00:36:42,510 So at 24 frames per second, if you want achieve one of the effects 842 00:36:42,510 --> 00:36:46,140 that we've looked at, like let's say you want to have that frozen motion, if you 843 00:36:46,140 --> 00:36:48,375 want the 45 degree shutter angle look, you'd 844 00:36:48,375 --> 00:36:52,710 set your camera to 192 frames per second. 845 00:36:52,710 --> 00:36:55,170 And then we also do the higher frame rates for you as well. 846 00:36:55,170 --> 00:36:58,460 847 00:36:58,460 --> 00:36:58,960 All right. 848 00:36:58,960 --> 00:37:02,800 So this is about a two minute clip. 849 00:37:02,800 --> 00:37:05,600 It's shortened from the beginning of Saving Private Ryan. 850 00:37:05,600 --> 00:37:07,900 I cut out some of the violence, and there's no sound, 851 00:37:07,900 --> 00:37:10,240 just so we can watch visually what happens. 852 00:37:10,240 --> 00:37:12,610 But let's watch this clip, and then let's talk about it. 853 00:37:12,610 --> 00:37:14,860 But there are some interesting things that happen here 854 00:37:14,860 --> 00:37:17,170 with both shutter speed and frame rate. 855 00:37:17,170 --> 00:37:17,670 Yes? 856 00:37:17,670 --> 00:37:18,890 AUDIENCE: Did you want to go back to Mr. Robot? 857 00:37:18,890 --> 00:37:20,290 You did mention it before. 858 00:37:20,290 --> 00:37:20,590 DAN COFFEY: I did. 859 00:37:20,590 --> 00:37:21,690 OK, let's do that first, Ralph. 860 00:37:21,690 --> 00:37:22,390 You're right. 861 00:37:22,390 --> 00:37:26,898 So before we go to this, let me back up to Mr. Robot. 862 00:37:26,898 --> 00:37:29,190 AUDIENCE: Because I would have forgotten if I were you, 863 00:37:29,190 --> 00:37:30,440 so I wanted to say something-- 864 00:37:30,440 --> 00:37:31,690 DAN COFFEY: Yes, thank you. 865 00:37:31,690 --> 00:37:33,240 You are so right. 866 00:37:33,240 --> 00:37:33,740 All right. 867 00:37:33,740 --> 00:37:35,063 So let's watch this again. 868 00:37:35,063 --> 00:37:36,730 Maybe we can lose the audio on this one. 869 00:37:36,730 --> 00:37:40,060 870 00:37:40,060 --> 00:37:44,870 So what does the shutter speed feel like here to you? 871 00:37:44,870 --> 00:37:47,050 And I don't mean tell me what the shutter speed is, 872 00:37:47,050 --> 00:37:48,490 but is it fast or slow? 873 00:37:48,490 --> 00:37:50,380 AUDIENCE: It seems like it's 192, so fast. 874 00:37:50,380 --> 00:37:51,880 DAN COFFEY: It feels sharp, right? 875 00:37:51,880 --> 00:37:55,660 There's not much motion blur in watching him walk. 876 00:37:55,660 --> 00:38:03,667 So then it's almost like-- it's kind of hard to-- 877 00:38:03,667 --> 00:38:05,500 unless you're talking about it, it's kind of 878 00:38:05,500 --> 00:38:07,042 hard to put your finger on it almost. 879 00:38:07,042 --> 00:38:09,187 Because it's not so much that as the average viewer 880 00:38:09,187 --> 00:38:11,770 sitting on your couch watching, it's going to jump out at you, 881 00:38:11,770 --> 00:38:15,420 but it's going to subconsciously impact you. 882 00:38:15,420 --> 00:38:16,550 And then we slow down here. 883 00:38:16,550 --> 00:38:20,400 So how do you think that they actually capture this scene? 884 00:38:20,400 --> 00:38:24,476 AUDIENCE: Actually, this is what I was thinking about the whole time. 885 00:38:24,476 --> 00:38:25,850 Hm. 886 00:38:25,850 --> 00:38:27,628 Is this one shot? 887 00:38:27,628 --> 00:38:28,920 DAN COFFEY: I pose that to you. 888 00:38:28,920 --> 00:38:29,490 Is it one shot? 889 00:38:29,490 --> 00:38:30,060 AUDIENCE: It seems so. 890 00:38:30,060 --> 00:38:31,685 DAN COFFEY: Because they do cut, right? 891 00:38:31,685 --> 00:38:32,480 They do cut. 892 00:38:32,480 --> 00:38:34,590 There are cuts in this scene. 893 00:38:34,590 --> 00:38:36,580 We're next to him. 894 00:38:36,580 --> 00:38:39,540 So let's see if we can find the point where it actually slows down. 895 00:38:39,540 --> 00:38:44,430 896 00:38:44,430 --> 00:38:46,180 And there it is right there, right? 897 00:38:46,180 --> 00:38:48,280 You can almost see it in his step. 898 00:38:48,280 --> 00:38:49,120 So it does ramp. 899 00:38:49,120 --> 00:38:50,470 So it is one shot. 900 00:38:50,470 --> 00:38:53,380 So what did they record this at? 901 00:38:53,380 --> 00:38:54,447 AUDIENCE: 60 FPS. 902 00:38:54,447 --> 00:38:56,530 DAN COFFEY: Well, we don't know the actual number. 903 00:38:56,530 --> 00:38:57,800 We're not going to know that. 904 00:38:57,800 --> 00:39:01,030 But we can say that they probably-- this is an overcranked shot. 905 00:39:01,030 --> 00:39:04,480 They shot at a high frame rate, which meant that the most open 906 00:39:04,480 --> 00:39:07,142 their shutter could be was still pretty fast. 907 00:39:07,142 --> 00:39:09,100 It meant that the shutter speed was still fast, 908 00:39:09,100 --> 00:39:11,980 which meant that there was very little motion blur. 909 00:39:11,980 --> 00:39:14,770 And so then in post-production when they got back there, 910 00:39:14,770 --> 00:39:18,480 the beginning of the clip is probably conformed to 24 frames per second 911 00:39:18,480 --> 00:39:22,523 so that you're watching it and it feels like the normal time playback. 912 00:39:22,523 --> 00:39:23,440 But then they ramp it. 913 00:39:23,440 --> 00:39:24,815 They have all these extra frames. 914 00:39:24,815 --> 00:39:27,730 Like, they're just kind of throwing away all these in between frames. 915 00:39:27,730 --> 00:39:29,620 And then they stretch out. 916 00:39:29,620 --> 00:39:33,537 They do that ramp when they get to this part here, and everything slows down. 917 00:39:33,537 --> 00:39:35,620 And it's very beautiful and slow, and we no longer 918 00:39:35,620 --> 00:39:38,470 notice the shutter speed as much, because everything 919 00:39:38,470 --> 00:39:40,990 is moving more slowly. 920 00:39:40,990 --> 00:39:44,560 But when we speed back up at the end, the motion blur-- 921 00:39:44,560 --> 00:39:45,720 sorry, not the motion blur. 922 00:39:45,720 --> 00:39:49,030 When we speed back up at the end, the motion blur is gone. 923 00:39:49,030 --> 00:39:50,590 It's back to being choppy. 924 00:39:50,590 --> 00:39:55,530 So my guess is that they did this in one shot, the actual motion blur part. 925 00:39:55,530 --> 00:39:56,613 AUDIENCE: It's impressive. 926 00:39:56,613 --> 00:39:59,323 927 00:39:59,323 --> 00:40:00,240 DAN COFFEY: All right. 928 00:40:00,240 --> 00:40:02,282 So anyway, let's come back to Saving Private Ryan 929 00:40:02,282 --> 00:40:05,610 and kind of put all these ideas together. 930 00:40:05,610 --> 00:40:07,830 And this is, again, about a two minute clip. 931 00:40:07,830 --> 00:40:10,080 And I'm sorry if I'm butchering this film for you, 932 00:40:10,080 --> 00:40:11,760 because it is a wonderful film. 933 00:40:11,760 --> 00:40:16,110 But I did trim it to reduce the violence and to kind of speed things along 934 00:40:16,110 --> 00:40:17,240 for discussion's sake. 935 00:40:17,240 --> 00:40:18,740 So if we can dim the lights, please. 936 00:40:18,740 --> 00:40:21,468 937 00:40:21,468 --> 00:40:26,448 [NO AUDIO] 938 00:40:26,448 --> 00:42:30,710 939 00:42:30,710 --> 00:42:32,170 All right. 940 00:42:32,170 --> 00:42:36,240 So did you catch some of the changes that we saw in the film? 941 00:42:36,240 --> 00:42:39,700 Let's walk back through it together. 942 00:42:39,700 --> 00:42:40,870 So let's set up-- 943 00:42:40,870 --> 00:42:45,150 how do we feel at the beginning, as far as frame rate and shutter speed go? 944 00:42:45,150 --> 00:42:46,150 How does this part feel? 945 00:42:46,150 --> 00:42:52,002 946 00:42:52,002 --> 00:42:53,210 We can pause it for a second. 947 00:42:53,210 --> 00:42:55,820 948 00:42:55,820 --> 00:42:56,903 Is there motion blur? 949 00:42:56,903 --> 00:42:58,070 I'm sorry, what did you say? 950 00:42:58,070 --> 00:42:59,112 AUDIENCE: Is that a zoom? 951 00:42:59,112 --> 00:43:01,370 DAN COFFEY: No. 952 00:43:01,370 --> 00:43:02,030 Anybody else? 953 00:43:02,030 --> 00:43:05,760 954 00:43:05,760 --> 00:43:12,390 Does it feel natural, unnatural? 955 00:43:12,390 --> 00:43:16,303 IAN SEXTON: How does the time it takes for the action to unfold onscreen feel? 956 00:43:16,303 --> 00:43:17,470 Does that part feel natural? 957 00:43:17,470 --> 00:43:21,988 958 00:43:21,988 --> 00:43:24,030 AUDIENCE: It felt the normal speed for me until-- 959 00:43:24,030 --> 00:43:25,230 DAN COFFEY: Yeah, OK. 960 00:43:25,230 --> 00:43:27,910 So this part we'll say roughly normal speed. 961 00:43:27,910 --> 00:43:32,730 But I heard the word "until," which means there's a change, right? 962 00:43:32,730 --> 00:43:36,390 So even in here, if we look at the actual water here, there's motion blur. 963 00:43:36,390 --> 00:43:38,730 This is not frozen. 964 00:43:38,730 --> 00:43:41,970 So OK. 965 00:43:41,970 --> 00:43:44,150 Let's go ahead and move forward again. 966 00:43:44,150 --> 00:43:47,882 Let's move forward to this part here. 967 00:43:47,882 --> 00:43:49,340 There's a change that happens here. 968 00:43:49,340 --> 00:43:55,437 969 00:43:55,437 --> 00:43:56,270 This is interesting. 970 00:43:56,270 --> 00:43:57,950 So Ralph, what did you say? 971 00:43:57,950 --> 00:44:01,320 AUDIENCE: The shot of Tom Hanks was slowed down in post. 972 00:44:01,320 --> 00:44:04,310 But this next shot could have shot at a completely different shutter 973 00:44:04,310 --> 00:44:07,080 speed, because it just looks way more motion blurry. 974 00:44:07,080 --> 00:44:07,940 DAN COFFEY: Sure. 975 00:44:07,940 --> 00:44:09,857 So you were saying it was slowed down in post. 976 00:44:09,857 --> 00:44:12,020 So unpack that for me a little bit. 977 00:44:12,020 --> 00:44:14,827 Let's just hypothesize what frame rate they were shooting at. 978 00:44:14,827 --> 00:44:17,160 AUDIENCE: If I were them, I would have been shooting at, 979 00:44:17,160 --> 00:44:20,690 let's say, 24 frames per second at this quality, because it seems regular. 980 00:44:20,690 --> 00:44:25,550 And then they slowed it down after the fact to give it more of a drama. 981 00:44:25,550 --> 00:44:28,940 DAN COFFEY: So you're playing back, let's say, at 12 frames per second, 982 00:44:28,940 --> 00:44:30,690 15 frames per second, something like that. 983 00:44:30,690 --> 00:44:31,270 AUDIENCE: Some lesser number. 984 00:44:31,270 --> 00:44:32,450 It's a bit more-- 985 00:44:32,450 --> 00:44:34,280 DAN COFFEY: And visually-- visually for us 986 00:44:34,280 --> 00:44:36,920 to create this drama as you describe, it's 987 00:44:36,920 --> 00:44:39,590 slowing it down so we're watching it in slower than real time. 988 00:44:39,590 --> 00:44:43,232 But there's bigger chunks of time between each frame that we're seeing. 989 00:44:43,232 --> 00:44:44,190 AUDIENCE: Yes, exactly. 990 00:44:44,190 --> 00:44:48,460 So you can see him just sitting there looks really blurry. 991 00:44:48,460 --> 00:44:52,190 So you're seeing him think a lot and observe what's happening. 992 00:44:52,190 --> 00:44:55,070 So you're starting to feel what he feels. 993 00:44:55,070 --> 00:44:57,750 Even though there's no audio, I was like, man, that sucks. 994 00:44:57,750 --> 00:44:59,300 That's what I was thinking. 995 00:44:59,300 --> 00:45:02,450 DAN COFFEY: So you're saying we're starting to identify with him 996 00:45:02,450 --> 00:45:04,190 and feel how he feels, OK. 997 00:45:04,190 --> 00:45:07,310 So all this chaos revolves around him. 998 00:45:07,310 --> 00:45:09,350 But it changes back again. 999 00:45:09,350 --> 00:45:11,780 Is there a trigger that changes it back? 1000 00:45:11,780 --> 00:45:15,590 1001 00:45:15,590 --> 00:45:17,773 Well, I made an edit there. 1002 00:45:17,773 --> 00:45:19,190 AUDIENCE: Well, that would be cut. 1003 00:45:19,190 --> 00:45:19,815 DAN COFFEY: OK. 1004 00:45:19,815 --> 00:45:25,450 So now we're back to the same kind of effect, the helmet goes back on. 1005 00:45:25,450 --> 00:45:30,542 And then there's this shot that comes up here, here. 1006 00:45:30,542 --> 00:45:33,340 1007 00:45:33,340 --> 00:45:35,712 AUDIENCE: So it cuts between him being-- 1008 00:45:35,712 --> 00:45:36,920 I don't want to keep talking. 1009 00:45:36,920 --> 00:45:38,400 Does anyone else want to talk? 1010 00:45:38,400 --> 00:45:39,442 DAN COFFEY: Anybody else? 1011 00:45:39,442 --> 00:45:40,780 Yeah, Ralph's been saying a lot. 1012 00:45:40,780 --> 00:45:43,672 Anything from the internet, Ian? 1013 00:45:43,672 --> 00:45:44,380 IAN SEXTON: Yeah. 1014 00:45:44,380 --> 00:45:47,440 A lot of people are sort of mentioning that the early part is 1015 00:45:47,440 --> 00:45:50,530 reminiscent of war photography and that kind of aesthetic and things 1016 00:45:50,530 --> 00:45:54,170 like that, which you can imagine that there's some higher shutter speeds used 1017 00:45:54,170 --> 00:45:56,980 in that capture action. 1018 00:45:56,980 --> 00:45:59,898 DAN COFFEY: Absolutely. 1019 00:45:59,898 --> 00:46:01,690 So then there's this moment where he's kind 1020 00:46:01,690 --> 00:46:04,540 of shell shocked by this whole kind of hitting the beach. 1021 00:46:04,540 --> 00:46:07,450 And we've got these other soldiers yelling in his face for a second. 1022 00:46:07,450 --> 00:46:12,250 And totally, what feels much more normal and natural, especially juxtaposed 1023 00:46:12,250 --> 00:46:14,230 to the slow frame rate playback. 1024 00:46:14,230 --> 00:46:16,618 1025 00:46:16,618 --> 00:46:17,910 And then there's another shift. 1026 00:46:17,910 --> 00:46:19,110 So he gets back with it. 1027 00:46:19,110 --> 00:46:20,110 He runs up on the beach. 1028 00:46:20,110 --> 00:46:21,193 And there's another shift. 1029 00:46:21,193 --> 00:46:23,570 1030 00:46:23,570 --> 00:46:25,380 Where is it? 1031 00:46:25,380 --> 00:46:26,630 I think it's right after this. 1032 00:46:26,630 --> 00:46:36,050 1033 00:46:36,050 --> 00:46:40,400 So right here, watch all the explosions that happen now. 1034 00:46:40,400 --> 00:46:44,648 1035 00:46:44,648 --> 00:46:46,170 Let's see if I can pause on one. 1036 00:46:46,170 --> 00:46:59,800 1037 00:46:59,800 --> 00:47:01,150 Did I miss it? 1038 00:47:01,150 --> 00:47:03,140 There we go. 1039 00:47:03,140 --> 00:47:03,640 OK. 1040 00:47:03,640 --> 00:47:07,210 So if we look over here on the right side of the frame at the dirt that's 1041 00:47:07,210 --> 00:47:08,830 falling here, everything's very clear. 1042 00:47:08,830 --> 00:47:10,510 So what do we-- 1043 00:47:10,510 --> 00:47:11,182 crisp. 1044 00:47:11,182 --> 00:47:11,890 Crisp, thank you. 1045 00:47:11,890 --> 00:47:16,720 So what do we hypothesize is happening now? 1046 00:47:16,720 --> 00:47:24,022 Was it faster or slower motion at all, or was it normal speed? 1047 00:47:24,022 --> 00:47:26,305 AUDIENCE: Probably a slightly higher speed. 1048 00:47:26,305 --> 00:47:28,555 DAN COFFEY: All right, possibly slightly higher speed. 1049 00:47:28,555 --> 00:47:31,853 1050 00:47:31,853 --> 00:47:32,770 How about motion blur? 1051 00:47:32,770 --> 00:47:35,412 Is there any motion blur going on? 1052 00:47:35,412 --> 00:47:37,870 Ignore the compression artifacts in the out of focus areas. 1053 00:47:37,870 --> 00:47:40,295 AUDIENCE: [INAUDIBLE] 1054 00:47:40,295 --> 00:47:41,750 1055 00:47:41,750 --> 00:47:48,320 DAN COFFEY: But for this whole-- from the moment that I kind of said here, 1056 00:47:48,320 --> 00:47:51,810 right here, this is where my eye starts to really notice it. 1057 00:47:51,810 --> 00:47:55,730 But just all the detail, you can see all of the bits of dirt, 1058 00:47:55,730 --> 00:47:58,340 and all the action is really happening. 1059 00:47:58,340 --> 00:48:02,480 So this is not traditional of your cinematic look. 1060 00:48:02,480 --> 00:48:04,910 But what is it that has changed most likely? 1061 00:48:04,910 --> 00:48:06,980 So it's possibly a slightly different frame rate. 1062 00:48:06,980 --> 00:48:09,318 But I would say the action happens similar to what 1063 00:48:09,318 --> 00:48:11,860 we see-- like, the time it takes them to run across the beach 1064 00:48:11,860 --> 00:48:15,770 is similar to what we expect a human to take to run across the beach. 1065 00:48:15,770 --> 00:48:17,270 But what is the visual artifact? 1066 00:48:17,270 --> 00:48:20,270 And again, we're looking at a bunch of compression here as I pause this. 1067 00:48:20,270 --> 00:48:22,668 But as you watch it in rapid succession-- 1068 00:48:22,668 --> 00:48:23,960 AUDIENCE: Faster shutter speed. 1069 00:48:23,960 --> 00:48:25,627 DAN COFFEY: Faster shutter speed, right? 1070 00:48:25,627 --> 00:48:27,980 It's like you see all the detail and all the crispness. 1071 00:48:27,980 --> 00:48:31,580 And I think it adds to what Benjamin is saying here, 1072 00:48:31,580 --> 00:48:36,385 with you just get all the detail, all this detail that you're not 1073 00:48:36,385 --> 00:48:37,010 used to seeing. 1074 00:48:37,010 --> 00:48:41,600 You're used to seeing all this stuff hidden in the motion blur as you watch. 1075 00:48:41,600 --> 00:48:43,010 So this feels very sharp. 1076 00:48:43,010 --> 00:48:44,900 And even this kind of chaotic camera movement 1077 00:48:44,900 --> 00:48:47,507 is exaggerated because of the shutter speed. 1078 00:48:47,507 --> 00:48:49,340 And I think that is actually what could lead 1079 00:48:49,340 --> 00:48:52,970 to what feels like a slightly slower shutter speed, or a slightly 1080 00:48:52,970 --> 00:48:56,030 slower frame rate, is because the shutter speed is higher 1081 00:48:56,030 --> 00:48:59,100 and just you feel like there's bigger chunks of time cut out 1082 00:48:59,100 --> 00:49:00,350 because everything is sharper. 1083 00:49:00,350 --> 00:49:03,824 There's no blur, if that makes sense. 1084 00:49:03,824 --> 00:49:06,782 AUDIENCE: I would love to see the behind the scenes of that cameraman's 1085 00:49:06,782 --> 00:49:08,390 movement. 1086 00:49:08,390 --> 00:49:10,057 Because I want to see what he was doing. 1087 00:49:10,057 --> 00:49:11,807 DAN COFFEY: I think it was just like this. 1088 00:49:11,807 --> 00:49:14,770 You know, he dipped down at one point and then he came back up. 1089 00:49:14,770 --> 00:49:16,247 But the thing is-- 1090 00:49:16,247 --> 00:49:17,330 no, I think it is, though. 1091 00:49:17,330 --> 00:49:20,300 The magic is that the exposure settings were changed. 1092 00:49:20,300 --> 00:49:25,100 That's really what it comes down to, is that shutter speed is what makes 1093 00:49:25,100 --> 00:49:26,270 this so impactful. 1094 00:49:26,270 --> 00:49:30,245 IAN SEXTON: We say simple, but operating a 40 pound camera on a beach as you run 1095 00:49:30,245 --> 00:49:30,745 is not-- 1096 00:49:30,745 --> 00:49:31,880 DAN COFFEY: In a bunch of explosions. 1097 00:49:31,880 --> 00:49:34,130 IAN SEXTON: --simple, in any way, shape, or form. 1098 00:49:34,130 --> 00:49:37,760 1099 00:49:37,760 --> 00:49:40,010 DAN COFFEY: All right. 1100 00:49:40,010 --> 00:49:44,430 So in a nutshell, shutter speed matters a lot. 1101 00:49:44,430 --> 00:49:50,540 But if you want a typical cinematic look what is the number you want to target? 1102 00:49:50,540 --> 00:49:53,276 Somebody besides Ralph. 1103 00:49:53,276 --> 00:49:54,555 AUDIENCE: 24 FPS. 1104 00:49:54,555 --> 00:49:55,930 DAN COFFEY: 24 frames per second. 1105 00:49:55,930 --> 00:49:57,000 AUDIENCE: And 1/48. 1106 00:49:57,000 --> 00:49:59,065 DAN COFFEY: And 1/48 of a second shutter speed 1107 00:49:59,065 --> 00:50:01,190 is a good baseline for where you should start from. 1108 00:50:01,190 --> 00:50:04,100 1109 00:50:04,100 --> 00:50:07,550 All right, the Jell-O effect-- 1110 00:50:07,550 --> 00:50:09,123 does anybody know what this is? 1111 00:50:09,123 --> 00:50:10,290 AUDIENCE: A delicious snack. 1112 00:50:10,290 --> 00:50:11,420 DAN COFFEY: I mean besides a delicious snack. 1113 00:50:11,420 --> 00:50:12,138 Thank you, Ralph. 1114 00:50:12,138 --> 00:50:15,390 1115 00:50:15,390 --> 00:50:17,210 Have you seen what I'm referring to? 1116 00:50:17,210 --> 00:50:18,680 You might not have. 1117 00:50:18,680 --> 00:50:20,355 AUDIENCE: I'll hop in on that one. 1118 00:50:20,355 --> 00:50:21,230 DAN COFFEY: OK, Alec. 1119 00:50:21,230 --> 00:50:22,598 Let's hear it. 1120 00:50:22,598 --> 00:50:31,250 AUDIENCE: It's from CCDs not having a specific shutter speed, the bucket 1121 00:50:31,250 --> 00:50:38,130 brigade, the lines, so you get a sliding effect instead of an even shutter look. 1122 00:50:38,130 --> 00:50:39,110 DAN COFFEY: OK, yeah. 1123 00:50:39,110 --> 00:50:41,030 I'm going to unpack that a little bit here. 1124 00:50:41,030 --> 00:50:42,680 So actually, you said CCD. 1125 00:50:42,680 --> 00:50:44,720 You're getting very technical in a sensor type. 1126 00:50:44,720 --> 00:50:47,423 It's actually a product of CMOS sensors, which 1127 00:50:47,423 --> 00:50:48,840 I wasn't even going to talk about. 1128 00:50:48,840 --> 00:50:52,640 But the idea is this. 1129 00:50:52,640 --> 00:50:54,837 So it's called rolling shutter. 1130 00:50:54,837 --> 00:50:57,920 But I want to be clear that this has nothing to do with the actual shutter 1131 00:50:57,920 --> 00:50:59,060 speed of the camera. 1132 00:50:59,060 --> 00:51:02,690 Watch the kind of warping that happens as the camera whips back and forth very 1133 00:51:02,690 --> 00:51:03,560 quickly. 1134 00:51:03,560 --> 00:51:06,020 This all has to do with sensor technology and nothing 1135 00:51:06,020 --> 00:51:08,770 to do with shutter speed, even though it's called rolling shutter. 1136 00:51:08,770 --> 00:51:10,940 1137 00:51:10,940 --> 00:51:13,790 So it's really pronounced as you wiggle a camera like this. 1138 00:51:13,790 --> 00:51:16,610 So this is a Canon 5D Mark IV. 1139 00:51:16,610 --> 00:51:19,760 Let's look at the same thing again on a Red Epic Dragon. 1140 00:51:19,760 --> 00:51:27,363 1141 00:51:27,363 --> 00:51:29,530 AUDIENCE: Is there any rolling shutter in this shot? 1142 00:51:29,530 --> 00:51:30,100 DAN COFFEY: Hold on. 1143 00:51:30,100 --> 00:51:30,933 Wait for the wiggle. 1144 00:51:30,933 --> 00:51:36,650 1145 00:51:36,650 --> 00:51:37,150 You tell me. 1146 00:51:37,150 --> 00:51:37,960 What do you think, Ralph? 1147 00:51:37,960 --> 00:51:38,890 AUDIENCE: Minimal. 1148 00:51:38,890 --> 00:51:40,408 DAN COFFEY: Minimal. 1149 00:51:40,408 --> 00:51:42,200 AUDIENCE: That's excellent rolling shutter. 1150 00:51:42,200 --> 00:51:42,550 DAN COFFEY: OK. 1151 00:51:42,550 --> 00:51:44,230 So we see a little bit of its effect. 1152 00:51:44,230 --> 00:51:45,952 But hopefully it's clear-- 1153 00:51:45,952 --> 00:51:48,160 I'm not sure what the internet is doing to the video. 1154 00:51:48,160 --> 00:51:52,553 But if we look at the 5D Mark IV again, and let's 1155 00:51:52,553 --> 00:51:54,220 pause it in the middle of a wiggle here. 1156 00:51:54,220 --> 00:52:02,040 1157 00:52:02,040 --> 00:52:03,770 Let me pause it, yeah. 1158 00:52:03,770 --> 00:52:04,830 Oh my goodness. 1159 00:52:04,830 --> 00:52:09,770 1160 00:52:09,770 --> 00:52:11,107 AUDIENCE: You got it to stand. 1161 00:52:11,107 --> 00:52:12,190 DAN COFFEY: Thanks, Ralph. 1162 00:52:12,190 --> 00:52:12,690 OK. 1163 00:52:12,690 --> 00:52:16,780 So look how everything just kind of warps. 1164 00:52:16,780 --> 00:52:18,550 And it's more than just motion blur. 1165 00:52:18,550 --> 00:52:21,440 It's kind of bending the whole image. 1166 00:52:21,440 --> 00:52:24,070 And when you see this rapidly put together, 1167 00:52:24,070 --> 00:52:27,830 it gives us this Jell-O effect, for the whole frame kind of looks like jelly. 1168 00:52:27,830 --> 00:52:33,130 And you really notice it very much with vertical straight lines in particular. 1169 00:52:33,130 --> 00:52:35,320 Not all sensors are created equal. 1170 00:52:35,320 --> 00:52:37,900 I find that the 5D Mark IV is not very good. 1171 00:52:37,900 --> 00:52:42,670 The early versions of the Sony a7S camera, also not very good. 1172 00:52:42,670 --> 00:52:46,060 But the more money you kind of spend on a sensor, typically the more 1173 00:52:46,060 --> 00:52:47,440 reduced this effect is. 1174 00:52:47,440 --> 00:52:48,790 But why do we care? 1175 00:52:48,790 --> 00:52:50,870 This is an interesting thing. 1176 00:52:50,870 --> 00:52:52,242 It could be used for something. 1177 00:52:52,242 --> 00:52:55,138 1178 00:52:55,138 --> 00:52:56,680 AUDIENCE: Or it could ruin your shot. 1179 00:52:56,680 --> 00:52:57,460 DAN COFFEY: Or it could ruin your shot. 1180 00:52:57,460 --> 00:52:57,760 Thank you. 1181 00:52:57,760 --> 00:52:58,670 That's exactly it. 1182 00:52:58,670 --> 00:53:02,530 Like, if you are trying to follow somebody across the screen 1183 00:53:02,530 --> 00:53:05,290 and they start to bend on you, that's not something 1184 00:53:05,290 --> 00:53:06,790 that you might necessarily want. 1185 00:53:06,790 --> 00:53:10,780 Maybe it is, but it's a limitation that we need to be aware of. 1186 00:53:10,780 --> 00:53:14,380 IAN SEXTON: Or if something's moving even faster too, 1187 00:53:14,380 --> 00:53:18,770 you'll end up with more pronounced warpage based off the rolling shutter 1188 00:53:18,770 --> 00:53:19,270 effect. 1189 00:53:19,270 --> 00:53:19,990 DAN COFFEY: Yeah. 1190 00:53:19,990 --> 00:53:22,240 And so there are software tools to reduce this. 1191 00:53:22,240 --> 00:53:24,950 We're not going to talk about those too much in this class. 1192 00:53:24,950 --> 00:53:27,040 But really it's kind of a warning that you 1193 00:53:27,040 --> 00:53:29,470 should be aware of what the limitations of your camera are 1194 00:53:29,470 --> 00:53:31,180 and whatever camera you're using. 1195 00:53:31,180 --> 00:53:32,800 I encourage you to actually do this. 1196 00:53:32,800 --> 00:53:37,360 Set the camera up to 24 frames per second, 1 over 48 shutter speed, 1197 00:53:37,360 --> 00:53:42,010 and just wiggle it back and forth and see how much rolling shutter you have, 1198 00:53:42,010 --> 00:53:44,170 shutter roll. 1199 00:53:44,170 --> 00:53:47,290 Because on some cameras, they're kind of just egregious at this. 1200 00:53:47,290 --> 00:53:52,540 Like, the a7S Mark I was just horrendous if you were doing any kind of pan. 1201 00:53:52,540 --> 00:53:56,110 So it's just something to be aware of, and again, nothing to do with shutter. 1202 00:53:56,110 --> 00:53:56,890 Yes, Ralph? 1203 00:53:56,890 --> 00:54:01,810 AUDIENCE: What would happen if this was shot at 24 frames per second, 1204 00:54:01,810 --> 00:54:04,117 but at 192? 1205 00:54:04,117 --> 00:54:05,200 DAN COFFEY: Shutter speed? 1206 00:54:05,200 --> 00:54:07,408 AUDIENCE: Yeah, would there still be a Jell-O effect? 1207 00:54:07,408 --> 00:54:08,272 DAN COFFEY: Yes. 1208 00:54:08,272 --> 00:54:08,980 AUDIENCE: Really? 1209 00:54:08,980 --> 00:54:09,647 DAN COFFEY: Yes. 1210 00:54:09,647 --> 00:54:12,070 Because let me explain why. 1211 00:54:12,070 --> 00:54:14,140 AUDIENCE: I'm so curious. 1212 00:54:14,140 --> 00:54:16,450 DAN COFFEY: So what's actually happening here 1213 00:54:16,450 --> 00:54:19,750 is that a rolling shutter does this. 1214 00:54:19,750 --> 00:54:21,880 It kind of has this activation phase-- 1215 00:54:21,880 --> 00:54:23,980 let's pretend this is your whole image. 1216 00:54:23,980 --> 00:54:25,780 And so it gets activated. 1217 00:54:25,780 --> 00:54:30,820 And then once the exposure is complete, we have this kind of deactivate 1218 00:54:30,820 --> 00:54:32,990 and save to disk that happens. 1219 00:54:32,990 --> 00:54:36,730 IAN SEXTON: So there's a pixel array on your sensor. 1220 00:54:36,730 --> 00:54:38,710 And it activates line by line. 1221 00:54:38,710 --> 00:54:42,430 And so it starts as the screen bar moves down, activating each line, 1222 00:54:42,430 --> 00:54:45,068 and then reads off as the red bar moves down. 1223 00:54:45,068 --> 00:54:47,110 AUDIENCE: And that's why the vertical lines show. 1224 00:54:47,110 --> 00:54:49,210 IAN SEXTON: Yeah, because during that time, 1225 00:54:49,210 --> 00:54:51,950 something can move, change position. 1226 00:54:51,950 --> 00:54:53,950 DAN COFFEY: You're literally watching time bend. 1227 00:54:53,950 --> 00:54:55,930 IAN SEXTON: Whereas this reads off-- 1228 00:54:55,930 --> 00:54:59,140 lets everything fill in and then reads off. 1229 00:54:59,140 --> 00:55:04,098 AUDIENCE: Does the Red Epic Dragon, or the Red cameras, have global shutters? 1230 00:55:04,098 --> 00:55:05,890 DAN COFFEY: No, they have rolling shutters. 1231 00:55:05,890 --> 00:55:07,000 And you saw it a little bit. 1232 00:55:07,000 --> 00:55:09,220 You said, when we saw the camera wiggle, there's a little bit there 1233 00:55:09,220 --> 00:55:11,020 but it's much less pronounced. 1234 00:55:11,020 --> 00:55:13,090 So most cameras have this technology in them. 1235 00:55:13,090 --> 00:55:17,940 1236 00:55:17,940 --> 00:55:21,005 AUDIENCE: Is that just software that makes it more-- 1237 00:55:21,005 --> 00:55:24,130 DAN COFFEY: It has to do with the actual physical sensor in the electronics 1238 00:55:24,130 --> 00:55:26,170 in the sensor itself. 1239 00:55:26,170 --> 00:55:26,990 But-- 1240 00:55:26,990 --> 00:55:29,440 IAN SEXTON: Well, so it is hardware, but it also 1241 00:55:29,440 --> 00:55:33,943 is the circuitry in the software of the hardware components interacting 1242 00:55:33,943 --> 00:55:34,610 with each other. 1243 00:55:34,610 --> 00:55:36,030 So to answer your question. 1244 00:55:36,030 --> 00:55:37,320 AUDIENCE: So more expensive-- 1245 00:55:37,320 --> 00:55:38,220 IAN SEXTON: Yeah, that's exactly. 1246 00:55:38,220 --> 00:55:39,345 AUDIENCE: --better quality. 1247 00:55:39,345 --> 00:55:40,870 DAN COFFEY: But let's go back to-- 1248 00:55:40,870 --> 00:55:43,360 let's see. 1249 00:55:43,360 --> 00:55:46,840 Let's go back to this slide for a second. 1250 00:55:46,840 --> 00:55:48,890 This is an old-- 1251 00:55:48,890 --> 00:55:50,640 what is the shutter called, the round one? 1252 00:55:50,640 --> 00:55:55,390 1253 00:55:55,390 --> 00:55:58,120 I'm just trying to remember what the circle shutter is called. 1254 00:55:58,120 --> 00:56:02,830 But did this have a rolling shutter effect too? 1255 00:56:02,830 --> 00:56:05,080 I mean, think about it, this disk spins around. 1256 00:56:05,080 --> 00:56:07,900 Let me go back to the graphic where it's actually spinning. 1257 00:56:07,900 --> 00:56:13,140 1258 00:56:13,140 --> 00:56:23,620 So as this spins, part of the frame-- 1259 00:56:23,620 --> 00:56:25,060 notice the point here. 1260 00:56:25,060 --> 00:56:28,230 So part of the frame is exposed, and then part of it is covered up. 1261 00:56:28,230 --> 00:56:29,710 Would it have the same effect? 1262 00:56:29,710 --> 00:56:31,390 AUDIENCE: Yes? 1263 00:56:31,390 --> 00:56:34,450 IAN SEXTON: Well, so is the top right corner 1264 00:56:34,450 --> 00:56:39,254 and the bottom left corner exposed at the same time or at different times? 1265 00:56:39,254 --> 00:56:41,650 AUDIENCE: Well, it would depend where the shutter is. 1266 00:56:41,650 --> 00:56:45,090 So if the shutter is covering some of it, then no. 1267 00:56:45,090 --> 00:56:48,250 IAN SEXTON: Well, so which corner is exposed first? 1268 00:56:48,250 --> 00:56:51,472 AUDIENCE: The top. 1269 00:56:51,472 --> 00:56:52,180 IAN SEXTON: Yeah. 1270 00:56:52,180 --> 00:56:56,590 So what that means, it basically is exposing this part, and then 1271 00:56:56,590 --> 00:56:59,830 some amount of time later, it's exposing this part. 1272 00:56:59,830 --> 00:57:02,680 So it's just like the way the rolling shutter is rolling down. 1273 00:57:02,680 --> 00:57:05,080 It's sort of reading the data from the top of the frame 1274 00:57:05,080 --> 00:57:07,670 and then sometime later reading the data from the bottom. 1275 00:57:07,670 --> 00:57:08,560 AUDIENCE: [INAUDIBLE] top to bottom. 1276 00:57:08,560 --> 00:57:09,310 IAN SEXTON: Yeah. 1277 00:57:09,310 --> 00:57:10,667 Well, yeah, exactly. 1278 00:57:10,667 --> 00:57:13,000 The shape is different, but it's the same sort of effect 1279 00:57:13,000 --> 00:57:17,110 where one part of the frame is read before another part of the frame, 1280 00:57:17,110 --> 00:57:19,070 or exposed before another part of the frame. 1281 00:57:19,070 --> 00:57:21,320 DAN COFFEY: Still exposed for the same amount of time. 1282 00:57:21,320 --> 00:57:23,140 IAN SEXTON: Right, just at different times, 1283 00:57:23,140 --> 00:57:25,210 which is sort of the part where you get that-- 1284 00:57:25,210 --> 00:57:27,880 you can introduce the Jell-O and sort of the motion blur 1285 00:57:27,880 --> 00:57:29,500 that comes from a rolling shutter. 1286 00:57:29,500 --> 00:57:31,542 DAN COFFEY: So you don't even avoid it with this. 1287 00:57:31,542 --> 00:57:36,940 So actually, the Red is probably a really good match to what old style 1288 00:57:36,940 --> 00:57:39,800 rolling shutter would look like. 1289 00:57:39,800 --> 00:57:40,640 AUDIENCE: So I saw-- 1290 00:57:40,640 --> 00:57:44,210 OK, there's two sides or different shutters. 1291 00:57:44,210 --> 00:57:46,670 There was the old shutters and the global. 1292 00:57:46,670 --> 00:57:47,350 DAN COFFEY: Yep. 1293 00:57:47,350 --> 00:57:49,360 And so again, we're talking about different sets of technology. 1294 00:57:49,360 --> 00:57:51,318 And I don't want to spend too much time on this 1295 00:57:51,318 --> 00:57:52,960 because we're already into the weeds. 1296 00:57:52,960 --> 00:57:57,040 But it's kind of good to understand why this happens with your camera. 1297 00:57:57,040 --> 00:57:58,990 And so this is an explanation of why. 1298 00:57:58,990 --> 00:58:01,360 There is a technology called global shutters, 1299 00:58:01,360 --> 00:58:03,100 which are typically CCD based. 1300 00:58:03,100 --> 00:58:05,950 And Alec, if I did get that backwards I apologize, 1301 00:58:05,950 --> 00:58:08,373 because I think I chastised you on that one. 1302 00:58:08,373 --> 00:58:11,290 But with the global shutter, all the pixels activate at the same time. 1303 00:58:11,290 --> 00:58:13,960 And then it kind of takes longer to save. 1304 00:58:13,960 --> 00:58:17,650 But the exposures between these two are equivalent. 1305 00:58:17,650 --> 00:58:20,350 It's just that with the rolling shutter on the left, 1306 00:58:20,350 --> 00:58:24,190 as these pixels activate, you can see each row kind of gets brighter 1307 00:58:24,190 --> 00:58:28,750 over time, whereas it all happens at the same exact time on the global shutter. 1308 00:58:28,750 --> 00:58:33,850 But these are meant to be running in parallel so that this one is just 1309 00:58:33,850 --> 00:58:35,650 saving data during part of the time, where 1310 00:58:35,650 --> 00:58:39,730 this one is exposing different portions of the sensor, if that makes sense. 1311 00:58:39,730 --> 00:58:42,010 If this is confusing you, don't worry about it. 1312 00:58:42,010 --> 00:58:45,190 The key thing to know is that if you wiggle your camera back and forth 1313 00:58:45,190 --> 00:58:48,070 or you pan too quickly, you might get this bend effect. 1314 00:58:48,070 --> 00:58:52,270 That is really the heart of what this is all about. 1315 00:58:52,270 --> 00:58:54,880 And just to paint one more picture of what's happening here, 1316 00:58:54,880 --> 00:58:56,690 this is a nice image from Wikipedia. 1317 00:58:56,690 --> 00:58:58,690 So on the left is the action that's happening, 1318 00:58:58,690 --> 00:59:01,065 and on the right is the equivalent of the rolling shutter 1319 00:59:01,065 --> 00:59:02,620 actually writing the image out. 1320 00:59:02,620 --> 00:59:07,330 So as this kind of goes across, the car goes across, it just kind of bends. 1321 00:59:07,330 --> 00:59:09,280 So a helpful explanation. 1322 00:59:09,280 --> 00:59:13,940 And this is a graphic that animates if you click on this in the slides. 1323 00:59:13,940 --> 00:59:14,440 All right. 1324 00:59:14,440 --> 00:59:15,640 We are an hour in here. 1325 00:59:15,640 --> 00:59:18,320 I think this is a good place to take a little five minute break. 1326 00:59:18,320 --> 00:59:21,070 And we'll come back and we'll talk about the more practical things 1327 00:59:21,070 --> 00:59:23,710 about video production. 1328 00:59:23,710 --> 00:59:24,580 All right, guys. 1329 00:59:24,580 --> 00:59:25,420 Welcome back. 1330 00:59:25,420 --> 00:59:28,840 So we just finished our conversation about frame rates and shutter 1331 00:59:28,840 --> 00:59:31,810 speeds and rolling shutter and all that kind of stuff. 1332 00:59:31,810 --> 00:59:34,330 Hopefully you have some good takeaways. 1333 00:59:34,330 --> 00:59:40,180 What frame rate should you start with for a cinematic look? 1334 00:59:40,180 --> 00:59:41,680 24 frames per second. 1335 00:59:41,680 --> 00:59:43,210 Shutter speed of 1/48 of a second. 1336 00:59:43,210 --> 00:59:43,900 Great. 1337 00:59:43,900 --> 00:59:45,712 Let's move on to moving the camera. 1338 00:59:45,712 --> 00:59:47,670 We have this interesting thing that's happening 1339 00:59:47,670 --> 00:59:49,630 where we're now dealing with time. 1340 00:59:49,630 --> 00:59:52,390 It's no longer just one frame at a time. 1341 00:59:52,390 --> 00:59:54,475 We have to consider the movement of our camera. 1342 00:59:54,475 --> 00:59:55,600 Is it going to stay static? 1343 00:59:55,600 --> 00:59:57,220 Are we going to move it from place to place? 1344 00:59:57,220 --> 00:59:58,930 What does our starting frame look like? 1345 00:59:58,930 --> 01:00:01,370 And what does our ending frame look like? 1346 01:00:01,370 --> 01:00:04,540 And the in-between frames as well-- 1347 01:00:04,540 --> 01:00:06,370 I didn't put up a graphic for that. 1348 01:00:06,370 --> 01:00:11,020 But in the same way that we kind of name our shot sizes, 1349 01:00:11,020 --> 01:00:14,440 we also name our camera movements so that we can all be on the same page 1350 01:00:14,440 --> 01:00:18,610 as we work with different crews and whatnot. 1351 01:00:18,610 --> 01:00:21,970 So we have some images here to kind of describe 1352 01:00:21,970 --> 01:00:23,920 the way that we move the camera. 1353 01:00:23,920 --> 01:00:29,230 So the first up, what is this one called? 1354 01:00:29,230 --> 01:00:31,930 One of the simplest camera movements, side to side. 1355 01:00:31,930 --> 01:00:34,650 1356 01:00:34,650 --> 01:00:35,150 Anybody? 1357 01:00:35,150 --> 01:00:37,870 We got any answers on the internet? 1358 01:00:37,870 --> 01:00:41,560 IAN SEXTON: No, but I'm sure someone out there knows. 1359 01:00:41,560 --> 01:00:42,738 Panning from Lindsay, yeah. 1360 01:00:42,738 --> 01:00:43,780 DAN COFFEY: Panning, yes. 1361 01:00:43,780 --> 01:00:47,220 So this is a camera pan, exactly. 1362 01:00:47,220 --> 01:00:50,170 From side to side. 1363 01:00:50,170 --> 01:00:53,620 All right, here's a clip from Ferris Bueller's Day Off. 1364 01:00:53,620 --> 01:00:59,668 We are panning across with his car, cut into the garage, we have another pan. 1365 01:00:59,668 --> 01:01:04,930 1366 01:01:04,930 --> 01:01:07,430 So along the horizontal axis, side to side. 1367 01:01:07,430 --> 01:01:10,880 And so with this clip, for example, why is 1368 01:01:10,880 --> 01:01:13,990 panning more interesting than just cutting from one 1369 01:01:13,990 --> 01:01:15,170 fixed shot to another shot? 1370 01:01:15,170 --> 01:01:17,720 1371 01:01:17,720 --> 01:01:20,216 Why pan? 1372 01:01:20,216 --> 01:01:22,050 AUDIENCE: To see the environment. 1373 01:01:22,050 --> 01:01:23,550 DAN COFFEY: We get more environment. 1374 01:01:23,550 --> 01:01:26,280 And it's also not given to us all at once necessarily. 1375 01:01:26,280 --> 01:01:30,820 We kind of follow the subject along in this case. 1376 01:01:30,820 --> 01:01:34,470 So one reason. 1377 01:01:34,470 --> 01:01:35,270 All right. 1378 01:01:35,270 --> 01:01:38,370 So if side to side is panning, what is up and down? 1379 01:01:38,370 --> 01:01:43,463 1380 01:01:43,463 --> 01:01:44,107 AUDIENCE: Tilt. 1381 01:01:44,107 --> 01:01:44,940 DAN COFFEY: Tilting. 1382 01:01:44,940 --> 01:01:45,840 Thank you, Max. 1383 01:01:45,840 --> 01:01:47,190 You're cheating. 1384 01:01:47,190 --> 01:01:49,620 All right, so this is tilting the camera. 1385 01:01:49,620 --> 01:01:53,440 And sometimes you'll hear somebody say pan up with your camera. 1386 01:01:53,440 --> 01:01:54,660 That's technically incorrect. 1387 01:01:54,660 --> 01:01:55,577 It's actually tilt up. 1388 01:01:55,577 --> 01:01:57,852 And again, if we're working with a crew and we say, 1389 01:01:57,852 --> 01:02:00,810 hey, your shot is a little bit low, I want you to tilt up a little bit, 1390 01:02:00,810 --> 01:02:03,480 everybody should know exactly what you mean by that. 1391 01:02:03,480 --> 01:02:06,540 All right, so up and down is tilt. So here's 1392 01:02:06,540 --> 01:02:09,730 an example from The Return of the Jedi. 1393 01:02:09,730 --> 01:02:23,880 1394 01:02:23,880 --> 01:02:24,380 All right. 1395 01:02:24,380 --> 01:02:25,380 And a short little clip. 1396 01:02:25,380 --> 01:02:28,100 But why did they tilt there, do you think? 1397 01:02:28,100 --> 01:02:30,800 What did it do for us as a viewer? 1398 01:02:30,800 --> 01:02:32,180 Yeah, let me play it back. 1399 01:02:32,180 --> 01:02:35,120 1400 01:02:35,120 --> 01:02:39,650 So we've got this kind of shot that establishes this carbonite being here. 1401 01:02:39,650 --> 01:02:50,350 1402 01:02:50,350 --> 01:02:53,352 Why make that choice versus something else? 1403 01:02:53,352 --> 01:02:55,560 AUDIENCE: Keeps you engaged, to see what's happening. 1404 01:02:55,560 --> 01:02:56,860 DAN COFFEY: It's more engaging. 1405 01:02:56,860 --> 01:03:00,610 In the same way a pan kind of brought us across our landscape, 1406 01:03:00,610 --> 01:03:03,640 this kind of unfolds how complicated this device is. 1407 01:03:03,640 --> 01:03:04,850 It's a bit more mysterious. 1408 01:03:04,850 --> 01:03:07,570 AUDIENCE: It would have been terrible if his hands went out of frame. 1409 01:03:07,570 --> 01:03:08,650 DAN COFFEY: It would've been terrible-- 1410 01:03:08,650 --> 01:03:09,960 AUDIENCE: Because it's just what happened. 1411 01:03:09,960 --> 01:03:13,240 DAN COFFEY: In a wide shot, you wouldn't have all the detail of all this, right? 1412 01:03:13,240 --> 01:03:16,032 IAN SEXTON: So Olivia is saying that it sort of follows the motion, 1413 01:03:16,032 --> 01:03:19,770 but then it also gives you a perspective of the size of this object. 1414 01:03:19,770 --> 01:03:21,200 There's some revealing too. 1415 01:03:21,200 --> 01:03:24,310 DAN COFFEY: Yeah, absolutely. 1416 01:03:24,310 --> 01:03:28,120 All right, we'll get into some of the more fun camera 1417 01:03:28,120 --> 01:03:30,940 moves that are harder to do. 1418 01:03:30,940 --> 01:03:35,380 What is this one called, the camera literally moving in and moving out? 1419 01:03:35,380 --> 01:03:36,560 What is this called? 1420 01:03:36,560 --> 01:03:37,310 AUDIENCE: Oh, man. 1421 01:03:37,310 --> 01:03:39,467 1422 01:03:39,467 --> 01:03:41,050 DAN COFFEY: Ralph is shaking his head. 1423 01:03:41,050 --> 01:03:44,407 AUDIENCE: I got nothing. 1424 01:03:44,407 --> 01:03:45,240 DAN COFFEY: Anybody? 1425 01:03:45,240 --> 01:03:45,910 AUDIENCE: Dolly? 1426 01:03:45,910 --> 01:03:47,440 DAN COFFEY: Dolly, yes. 1427 01:03:47,440 --> 01:03:48,867 This is a camera dolly. 1428 01:03:48,867 --> 01:03:51,700 You either dolly in towards your subject or dolly out and widen out. 1429 01:03:51,700 --> 01:03:54,460 1430 01:03:54,460 --> 01:03:58,030 We looked at the dolly zoom last week, where you do this in combination 1431 01:03:58,030 --> 01:04:00,903 with zooming the lens of your camera out, which has a wild effect. 1432 01:04:00,903 --> 01:04:03,070 I don't have that in this week's slides, but go back 1433 01:04:03,070 --> 01:04:09,305 to Ian's lecture two weeks ago now, and you can see the dolly zoom. 1434 01:04:09,305 --> 01:04:10,930 All right, shall we look at an example? 1435 01:04:10,930 --> 01:04:14,848 This is from Alien. 1436 01:04:14,848 --> 01:04:19,828 AUDIENCE: 1979. 1437 01:04:19,828 --> 01:04:22,150 DAN COFFEY: A nice slow dolly in here. 1438 01:04:22,150 --> 01:04:23,890 AUDIENCE: It's very smooth, very nice. 1439 01:04:23,890 --> 01:04:24,890 DAN COFFEY: Very smooth. 1440 01:04:24,890 --> 01:04:32,240 1441 01:04:32,240 --> 01:04:35,980 Cool, so I'm seeing some oohs and ahs in the room here. 1442 01:04:35,980 --> 01:04:38,040 But why? 1443 01:04:38,040 --> 01:04:42,120 Why not just pan over and show us the room? 1444 01:04:42,120 --> 01:04:46,590 What is it that actually happens here? 1445 01:04:46,590 --> 01:04:49,980 What happens to our shot size? 1446 01:04:49,980 --> 01:04:52,355 What is this shot size? 1447 01:04:52,355 --> 01:04:52,980 AUDIENCE: Wide. 1448 01:04:52,980 --> 01:04:53,980 DAN COFFEY: Wide, right? 1449 01:04:53,980 --> 01:04:55,650 It give us a sense of-- 1450 01:04:55,650 --> 01:04:56,515 AUDIENCE: Scale? 1451 01:04:56,515 --> 01:04:58,140 DAN COFFEY: Scale, but the environment. 1452 01:04:58,140 --> 01:05:01,297 We see the whole facade of this door. 1453 01:05:01,297 --> 01:05:03,630 We're seeing it out of context of the rest of the movie, 1454 01:05:03,630 --> 01:05:06,100 so I'm sure there's more information to see. 1455 01:05:06,100 --> 01:05:09,720 But in this case, then what happens? 1456 01:05:09,720 --> 01:05:13,220 What is our shot size here? 1457 01:05:13,220 --> 01:05:14,663 AUDIENCE: That's sneaky. 1458 01:05:14,663 --> 01:05:18,450 I didn't notice any of this. 1459 01:05:18,450 --> 01:05:19,722 This is a close up. 1460 01:05:19,722 --> 01:05:20,430 DAN COFFEY: Yeah. 1461 01:05:20,430 --> 01:05:21,460 I mean, it's closer. 1462 01:05:21,460 --> 01:05:23,040 It's kind of hard to say. 1463 01:05:23,040 --> 01:05:24,990 It's close up, a close shot. 1464 01:05:24,990 --> 01:05:27,100 And then we actually change again. 1465 01:05:27,100 --> 01:05:29,480 What are we back to here? 1466 01:05:29,480 --> 01:05:30,480 AUDIENCE: A wide-- 1467 01:05:30,480 --> 01:05:33,270 DAN COFFEY: A wide frame, right? 1468 01:05:33,270 --> 01:05:34,570 AUDIENCE: Do they zoom at all? 1469 01:05:34,570 --> 01:05:36,538 Or is it set like that perfectly? 1470 01:05:36,538 --> 01:05:38,580 DAN COFFEY: Oh, my guess is there's no zoom here. 1471 01:05:38,580 --> 01:05:41,490 This is probably just a fixed lens. 1472 01:05:41,490 --> 01:05:44,130 But it's much more dramatic a reveal, right? 1473 01:05:44,130 --> 01:05:51,240 We're kind of creeping in as a viewer into this space, this bizarre space. 1474 01:05:51,240 --> 01:05:58,320 And actually physically moving in, we're now thinking about, instead of one 1475 01:05:58,320 --> 01:06:01,830 still image, it's our place over time, our position over time, 1476 01:06:01,830 --> 01:06:05,940 and our understanding of the space changes as we get closer to it. 1477 01:06:05,940 --> 01:06:09,900 And it's a very different feeling than if we were just to cut from a wide shot 1478 01:06:09,900 --> 01:06:11,280 to cut to a close up. 1479 01:06:11,280 --> 01:06:13,860 We've got this unpacking along the way. 1480 01:06:13,860 --> 01:06:17,460 So you have to think about over the course of your shot 1481 01:06:17,460 --> 01:06:18,690 what does your camera see? 1482 01:06:18,690 --> 01:06:21,930 You don't want to start on a strong frame and then end with whatever. 1483 01:06:21,930 --> 01:06:24,090 You want to go from strong frame to strong frame. 1484 01:06:24,090 --> 01:06:27,180 1485 01:06:27,180 --> 01:06:31,140 But that's not the only way to use a dolly shot, of course. 1486 01:06:31,140 --> 01:06:33,101 How about this example? 1487 01:06:33,101 --> 01:06:33,768 [VIDEO PLAYBACK] 1488 01:06:33,768 --> 01:06:35,430 - Pucker up, Buttercup. 1489 01:06:35,430 --> 01:06:36,382 - What? 1490 01:06:36,382 --> 01:06:41,142 - Ferris Bueller's on line two. 1491 01:06:41,142 --> 01:06:42,580 [END VIDEO PLAYBACK] 1492 01:06:42,580 --> 01:06:43,497 DAN COFFEY: All right. 1493 01:06:43,497 --> 01:06:48,112 So this is a comedic moment here from Ferris Bueller's Day Off. 1494 01:06:48,112 --> 01:06:51,070 And we don't need to unpack the rest of the movie to kind of understand 1495 01:06:51,070 --> 01:06:52,970 visually what happens here. 1496 01:06:52,970 --> 01:06:55,780 But we go from what shot size is this? 1497 01:06:55,780 --> 01:06:58,217 1498 01:06:58,217 --> 01:06:59,300 AUDIENCE: Medium close up. 1499 01:06:59,300 --> 01:07:01,940 DAN COFFEY: Medium close up right, we're from the chest up to the head. 1500 01:07:01,940 --> 01:07:03,482 I would say that's a medium close up. 1501 01:07:03,482 --> 01:07:05,840 1502 01:07:05,840 --> 01:07:09,770 We come to more of a close up shot as he sits up. 1503 01:07:09,770 --> 01:07:14,630 But then we get some news that changes something for our character, 1504 01:07:14,630 --> 01:07:17,930 and we go from close up to almost extreme close up. 1505 01:07:17,930 --> 01:07:21,580 We're now cropping the top of the head and the bottom of the chin. 1506 01:07:21,580 --> 01:07:23,830 And, I mean, we've talked about this before when we've 1507 01:07:23,830 --> 01:07:25,400 talked about different shot sizes. 1508 01:07:25,400 --> 01:07:27,814 But what does this do for us as a viewer? 1509 01:07:27,814 --> 01:07:28,730 AUDIENCE: Connect. 1510 01:07:28,730 --> 01:07:30,522 DAN COFFEY: It connects us with him, right? 1511 01:07:30,522 --> 01:07:33,890 His eyes are much larger, so we kind of get a better read on his emotion. 1512 01:07:33,890 --> 01:07:37,190 So in this case, dollying in has really brought us right up 1513 01:07:37,190 --> 01:07:39,900 to feel what he feels with this awkwardness, 1514 01:07:39,900 --> 01:07:44,850 and there's this silly element of sound design, the horn kind of going, wow! 1515 01:07:44,850 --> 01:07:50,960 But much more effective than just staying on-- 1516 01:07:50,960 --> 01:07:53,012 sorry. 1517 01:07:53,012 --> 01:07:55,970 By the end of this lecture, I will be really good at using my keyboard. 1518 01:07:55,970 --> 01:07:56,887 AUDIENCE: No pressure. 1519 01:07:56,887 --> 01:07:58,937 1520 01:07:58,937 --> 01:08:01,520 DAN COFFEY: Much more effective than just staying on this shot 1521 01:08:01,520 --> 01:08:03,380 and having the same sound design trick. 1522 01:08:03,380 --> 01:08:06,410 Actually moving the camera in and being closer to our subject 1523 01:08:06,410 --> 01:08:07,910 has done something different for us. 1524 01:08:07,910 --> 01:08:14,190 So moving the camera in this case I think really helps this moment. 1525 01:08:14,190 --> 01:08:17,020 All right. 1526 01:08:17,020 --> 01:08:19,750 So instead of in and out, how about side to side? 1527 01:08:19,750 --> 01:08:29,180 1528 01:08:29,180 --> 01:08:30,340 It's called a truck. 1529 01:08:30,340 --> 01:08:31,220 AUDIENCE: No way. 1530 01:08:31,220 --> 01:08:32,189 DAN COFFEY: Yep, side to side. 1531 01:08:32,189 --> 01:08:33,580 AUDIENCE: I was thinking dolly left to dolly right. 1532 01:08:33,580 --> 01:08:34,247 That's so funny. 1533 01:08:34,247 --> 01:08:35,910 DAN COFFEY: So yeah. 1534 01:08:35,910 --> 01:08:37,920 But again, same thing, if you said dolly left, 1535 01:08:37,920 --> 01:08:40,200 we'd probably all know what you meant with that. 1536 01:08:40,200 --> 01:08:43,995 But for the sake of clarity, truck left means my left. 1537 01:08:43,995 --> 01:08:45,120 I'm going to move this way. 1538 01:08:45,120 --> 01:08:47,130 Or truck right means move this way. 1539 01:08:47,130 --> 01:08:49,562 So just terms-- 1540 01:08:49,562 --> 01:08:51,270 Ian, do you have any history on this one? 1541 01:08:51,270 --> 01:08:53,270 I don't know where the term actually comes from. 1542 01:08:53,270 --> 01:08:55,100 AUDIENCE: I wasn't even going to ask. 1543 01:08:55,100 --> 01:08:56,250 DAN COFFEY: Yeah. 1544 01:08:56,250 --> 01:08:58,455 So that's trucking left, trucking right. 1545 01:08:58,455 --> 01:09:01,080 All right, so we'll get some more Ferris Bueller examples here. 1546 01:09:01,080 --> 01:09:04,370 1547 01:09:04,370 --> 01:09:06,689 AUDIENCE: This is common in movies. 1548 01:09:06,689 --> 01:09:07,500 DAN COFFEY: Yeah. 1549 01:09:07,500 --> 01:09:09,300 IAN SEXTON: Good tracking shot. 1550 01:09:09,300 --> 01:09:11,260 DAN COFFEY: Yeah, kind of following along. 1551 01:09:11,260 --> 01:09:15,673 But again, what is more interesting about this movement than, say, a pan? 1552 01:09:15,673 --> 01:09:16,840 AUDIENCE: You're part of it. 1553 01:09:16,840 --> 01:09:17,502 You're with it. 1554 01:09:17,502 --> 01:09:18,960 DAN COFFEY: Yeah, we stay with him. 1555 01:09:18,960 --> 01:09:21,140 That's a really good point. 1556 01:09:21,140 --> 01:09:25,380 So always consider the effect. 1557 01:09:25,380 --> 01:09:28,892 All right, this one, like this. 1558 01:09:28,892 --> 01:09:31,728 AUDIENCE: It's a ped. 1559 01:09:31,728 --> 01:09:33,270 DAN COFFEY: Yep, a ped or a pedestal. 1560 01:09:33,270 --> 01:09:34,402 AUDIENCE: Are you serious? 1561 01:09:34,402 --> 01:09:35,069 DAN COFFEY: Yep. 1562 01:09:35,069 --> 01:09:38,830 So that's physically moving the camera up and down like this. 1563 01:09:38,830 --> 01:09:41,340 Here's a shot, another Ferris Bueller's Day Off reference. 1564 01:09:41,340 --> 01:09:45,721 1565 01:09:45,721 --> 01:09:46,929 AUDIENCE: Oh, that's perfect. 1566 01:09:46,929 --> 01:09:55,388 1567 01:09:55,388 --> 01:09:57,430 DAN COFFEY: But, I mean, this one camera movement 1568 01:09:57,430 --> 01:10:00,290 has done so much for us in this moment. 1569 01:10:00,290 --> 01:10:04,360 The end is they just cut to the reverse shot of the car. 1570 01:10:04,360 --> 01:10:07,000 So talk me through this. 1571 01:10:07,000 --> 01:10:09,370 Why is this the right choice here? 1572 01:10:09,370 --> 01:10:11,200 Or is it the right choice here? 1573 01:10:11,200 --> 01:10:14,350 Why not do something else? 1574 01:10:14,350 --> 01:10:16,517 To that point, this is all subjective. 1575 01:10:16,517 --> 01:10:18,100 We're watching what somebody has done. 1576 01:10:18,100 --> 01:10:20,267 But you absolutely could have chosen something else. 1577 01:10:20,267 --> 01:10:22,780 You could have dollied into this shot and then pedded up. 1578 01:10:22,780 --> 01:10:25,195 You could have cut from a low shot to their faces. 1579 01:10:25,195 --> 01:10:28,340 1580 01:10:28,340 --> 01:10:32,320 Any thoughts on why this is more effective? 1581 01:10:32,320 --> 01:10:33,920 AUDIENCE: The timing of everything. 1582 01:10:33,920 --> 01:10:35,585 DAN COFFEY: Timing is a big part of it. 1583 01:10:35,585 --> 01:10:38,200 AUDIENCE: And then the doors opening-- 1584 01:10:38,200 --> 01:10:40,888 come on, it was excellently executed. 1585 01:10:40,888 --> 01:10:42,680 DAN COFFEY: I think Ian hit it on the head. 1586 01:10:42,680 --> 01:10:44,135 You kind of anticipate this. 1587 01:10:44,135 --> 01:10:46,510 You're like, what's going on here, as you see this frame. 1588 01:10:46,510 --> 01:10:47,700 IAN SEXTON: That's Olivia. 1589 01:10:47,700 --> 01:10:48,492 DAN COFFEY: Olivia? 1590 01:10:48,492 --> 01:10:49,408 Yeah. 1591 01:10:49,408 --> 01:10:51,450 I think it's a really good insight there, Olivia. 1592 01:10:51,450 --> 01:10:54,830 1593 01:10:54,830 --> 01:10:59,030 All right, we have one more camera movement. 1594 01:10:59,030 --> 01:11:01,130 What is this direction? 1595 01:11:01,130 --> 01:11:03,912 And so this is a combination of both trucking left and right 1596 01:11:03,912 --> 01:11:05,120 and then dollying in and out. 1597 01:11:05,120 --> 01:11:07,330 So you kind of move in this shape here. 1598 01:11:07,330 --> 01:11:09,110 AUDIENCE: I'm sure it has a silly name. 1599 01:11:09,110 --> 01:11:09,770 DAN COFFEY: It doesn't. 1600 01:11:09,770 --> 01:11:11,130 It's kind of self-descriptive, actually. 1601 01:11:11,130 --> 01:11:12,530 IAN SEXTON: Yeah, it's the one that doesn't. 1602 01:11:12,530 --> 01:11:14,220 DAN COFFEY: It's called an arc. 1603 01:11:14,220 --> 01:11:16,580 This is arc left, arc right. 1604 01:11:16,580 --> 01:11:19,400 And you typically kind of see these go in a more full circle, 1605 01:11:19,400 --> 01:11:22,670 or at least 180 degrees, typically slightly longer shots. 1606 01:11:22,670 --> 01:11:24,150 So let's look at an example. 1607 01:11:24,150 --> 01:11:26,180 This is from Interstellar. 1608 01:11:26,180 --> 01:11:33,075 1609 01:11:33,075 --> 01:11:35,450 Here's another arcing shot, which comes right after that. 1610 01:11:35,450 --> 01:11:42,110 1611 01:11:42,110 --> 01:11:43,110 And yet another arc. 1612 01:11:43,110 --> 01:11:46,003 1613 01:11:46,003 --> 01:11:47,170 So I think it's interesting. 1614 01:11:47,170 --> 01:11:52,100 Because I think that those two arcing shots we just saw do different things. 1615 01:11:52,100 --> 01:11:55,310 I guess I left the whole clip in here, so we'll back up. 1616 01:11:55,310 --> 01:11:56,337 What does this one do? 1617 01:11:56,337 --> 01:12:05,880 1618 01:12:05,880 --> 01:12:09,590 AUDIENCE: It makes you want to-- it makes you see or feel 1619 01:12:09,590 --> 01:12:11,660 that there's so much more around. 1620 01:12:11,660 --> 01:12:14,560 DAN COFFEY: Yeah, it kind of reveals the expanse of the environment, 1621 01:12:14,560 --> 01:12:19,000 makes you feel it's kind of endless, in a way that just a wide shot wouldn't 1622 01:12:19,000 --> 01:12:20,110 have done for us, right? 1623 01:12:20,110 --> 01:12:21,568 AUDIENCE: It would be pretty bland. 1624 01:12:21,568 --> 01:12:23,320 DAN COFFEY: Yeah. 1625 01:12:23,320 --> 01:12:26,320 And then once we've kind of come into this conversation that's happening 1626 01:12:26,320 --> 01:12:33,840 inside the room here, what is it-- 1627 01:12:33,840 --> 01:12:37,560 how does this kind of keep the shot, keep the conversation moving for us? 1628 01:12:37,560 --> 01:12:39,355 We can't even hear them, but-- 1629 01:12:39,355 --> 01:12:41,230 AUDIENCE: It kind of makes you feel involved. 1630 01:12:41,230 --> 01:12:43,960 DAN COFFEY: Yeah, so it kind of makes you feel involved. 1631 01:12:43,960 --> 01:12:45,668 IAN SEXTON: What does it do to the space? 1632 01:12:45,668 --> 01:12:48,440 It's the same exact camera movement, but it's done-- 1633 01:12:48,440 --> 01:12:49,107 AUDIENCE: Tight. 1634 01:12:49,107 --> 01:12:51,107 IAN SEXTON: Yeah, it sort of collapses the space 1635 01:12:51,107 --> 01:12:53,010 and makes it much more intimate, this sort 1636 01:12:53,010 --> 01:12:54,660 of conversation and claustrophobic. 1637 01:12:54,660 --> 01:12:57,780 And we're in between people as we arc around. 1638 01:12:57,780 --> 01:13:00,170 Whereas the first one, it showed how big everything was. 1639 01:13:00,170 --> 01:13:02,670 And then the same camera movement just collapses everything. 1640 01:13:02,670 --> 01:13:05,100 So context matters a little bit. 1641 01:13:05,100 --> 01:13:06,124 DAN COFFEY: Absolutely. 1642 01:13:06,124 --> 01:13:08,850 1643 01:13:08,850 --> 01:13:12,570 AUDIENCE: I hope our final projects don't have to look at this. 1644 01:13:12,570 --> 01:13:16,957 DAN COFFEY: And you'll notice too, oftentimes you'll see-- 1645 01:13:16,957 --> 01:13:19,290 if they're going to cut together arcing shots like this, 1646 01:13:19,290 --> 01:13:21,240 you're working in the same direction. 1647 01:13:21,240 --> 01:13:23,725 So you very rarely will reverse the direction. 1648 01:13:23,725 --> 01:13:25,100 And the same thing goes for pans. 1649 01:13:25,100 --> 01:13:27,558 I don't have any slides about this, but you don't typically 1650 01:13:27,558 --> 01:13:29,375 pan in one direction and then pan back. 1651 01:13:29,375 --> 01:13:30,750 Because what's the point of that? 1652 01:13:30,750 --> 01:13:32,458 You've already shown us this information. 1653 01:13:32,458 --> 01:13:33,630 Why are we seeing it again? 1654 01:13:33,630 --> 01:13:37,500 So when you pan, start at your starting point, end at your ending 1655 01:13:37,500 --> 01:13:39,920 point, and there's no reason to then double back. 1656 01:13:39,920 --> 01:13:41,590 Like, my mom does this for example. 1657 01:13:41,590 --> 01:13:43,390 If she watches this video, I'm sorry, Mom. 1658 01:13:43,390 --> 01:13:47,370 But she'll want to show this beautiful landscape, 1659 01:13:47,370 --> 01:13:50,040 so she'll show it to you once and then show it to you again. 1660 01:13:50,040 --> 01:13:51,850 And you're not really getting anything new. 1661 01:13:51,850 --> 01:13:55,760 1662 01:13:55,760 --> 01:13:57,110 IAN SEXTON: You're in trouble. 1663 01:13:57,110 --> 01:13:58,440 DAN COFFEY: Probably. 1664 01:13:58,440 --> 01:13:59,820 All right, quiz time. 1665 01:13:59,820 --> 01:14:02,847 1666 01:14:02,847 --> 01:14:03,930 What's the first one here? 1667 01:14:03,930 --> 01:14:04,470 Not Ralph. 1668 01:14:04,470 --> 01:14:07,230 1669 01:14:07,230 --> 01:14:08,160 Say it louder. 1670 01:14:08,160 --> 01:14:10,377 I just can't here. 1671 01:14:10,377 --> 01:14:10,960 AUDIENCE: Pan. 1672 01:14:10,960 --> 01:14:13,565 DAN COFFEY: Pan. 1673 01:14:13,565 --> 01:14:14,190 AUDIENCE: Tilt. 1674 01:14:14,190 --> 01:14:15,663 DAN COFFEY: Tilt. 1675 01:14:15,663 --> 01:14:16,330 AUDIENCE: Dolly. 1676 01:14:16,330 --> 01:14:19,010 DAN COFFEY: Dolly. 1677 01:14:19,010 --> 01:14:19,900 AUDIENCE: Ped. 1678 01:14:19,900 --> 01:14:22,460 DAN COFFEY: Ped, pedestal. 1679 01:14:22,460 --> 01:14:23,490 No, I didn't actually-- 1680 01:14:23,490 --> 01:14:24,740 I don't think we did this one. 1681 01:14:24,740 --> 01:14:25,435 I skipped one. 1682 01:14:25,435 --> 01:14:26,060 AUDIENCE: Roll. 1683 01:14:26,060 --> 01:14:27,018 DAN COFFEY: Roll, yeah. 1684 01:14:27,018 --> 01:14:29,750 So I'll update the slides and put this in. 1685 01:14:29,750 --> 01:14:33,410 But it literally is when you tilt the camera like this. 1686 01:14:33,410 --> 01:14:35,450 It's just called a roll. 1687 01:14:35,450 --> 01:14:36,330 I don't have a clip. 1688 01:14:36,330 --> 01:14:36,830 I missed it. 1689 01:14:36,830 --> 01:14:38,300 I'm sorry, Ralph. 1690 01:14:38,300 --> 01:14:40,133 All right, moving physically side to side. 1691 01:14:40,133 --> 01:14:40,800 AUDIENCE: Truck. 1692 01:14:40,800 --> 01:14:41,898 DAN COFFEY: Truck. 1693 01:14:41,898 --> 01:14:43,940 And then the last one that we just saw at the end 1694 01:14:43,940 --> 01:14:46,787 where we kind of made this fun motion. 1695 01:14:46,787 --> 01:14:47,370 AUDIENCE: Arc. 1696 01:14:47,370 --> 01:14:51,060 DAN COFFEY: Arc, all right. 1697 01:14:51,060 --> 01:14:53,118 So let's talk about camera support now. 1698 01:14:53,118 --> 01:14:55,410 We've seen all these kind of fun moves that you can do. 1699 01:14:55,410 --> 01:14:58,220 You've seen some very expensive technology actually 1700 01:14:58,220 --> 01:14:59,450 move the camera around. 1701 01:14:59,450 --> 01:15:04,370 But do you need to have that expensive technology to do these camera moves? 1702 01:15:04,370 --> 01:15:06,420 That's a question for the ages. 1703 01:15:06,420 --> 01:15:11,540 So one of the most basic camera supports that you're going to use is a tripod. 1704 01:15:11,540 --> 01:15:14,510 And you may or may not have access to these. 1705 01:15:14,510 --> 01:15:19,100 But we see a tripod in a couple of different configurations. 1706 01:15:19,100 --> 01:15:21,650 But it comes down to the actual legs of the tripod. 1707 01:15:21,650 --> 01:15:23,330 This is called the tripod head. 1708 01:15:23,330 --> 01:15:25,700 If you're shooting video, there are different heads 1709 01:15:25,700 --> 01:15:27,835 than what you might use for photos. 1710 01:15:27,835 --> 01:15:29,210 And actually, give me one second. 1711 01:15:29,210 --> 01:15:30,710 Let me just grab an example of this. 1712 01:15:30,710 --> 01:15:39,430 1713 01:15:39,430 --> 01:15:42,480 So this is a nice lightweight portable tripod. 1714 01:15:42,480 --> 01:15:45,540 1715 01:15:45,540 --> 01:15:48,210 And it's got a quick release head so that you can easily 1716 01:15:48,210 --> 01:15:50,110 change your angle very quickly. 1717 01:15:50,110 --> 01:15:55,830 But if I wanted to pan on this, would this be a good tripod for this? 1718 01:15:55,830 --> 01:15:56,790 No, not really. 1719 01:15:56,790 --> 01:16:01,532 This is a still photo tripod head, and it's meant for one frame at a time. 1720 01:16:01,532 --> 01:16:03,990 IAN SEXTON: Setting your frame and then changing your frame 1721 01:16:03,990 --> 01:16:06,450 and setting your frame for single shots. 1722 01:16:06,450 --> 01:16:10,500 DAN COFFEY: This is a fluid head tripod head which is really 1723 01:16:10,500 --> 01:16:12,270 what you want if you're doing video. 1724 01:16:12,270 --> 01:16:16,380 They get very expensive, but on the low end side of things, 1725 01:16:16,380 --> 01:16:20,370 it will still make a world of difference compared to trying to do it handheld 1726 01:16:20,370 --> 01:16:26,370 or without a head that doesn't have any kind of fluid motion to it. 1727 01:16:26,370 --> 01:16:28,980 So on the top of this, we have a quick release plate. 1728 01:16:28,980 --> 01:16:35,130 This comes off very quickly so that you can change your camera out. 1729 01:16:35,130 --> 01:16:37,260 This attaches to the bottom of your camera. 1730 01:16:37,260 --> 01:16:38,400 Slide it in. 1731 01:16:38,400 --> 01:16:41,772 1732 01:16:41,772 --> 01:16:43,230 I'm gonna check this one out later. 1733 01:16:43,230 --> 01:16:45,105 I probably put it in backwards, but I'm going 1734 01:16:45,105 --> 01:16:47,252 to pretend I didn't for the sake of the class. 1735 01:16:47,252 --> 01:16:48,210 So this would swap out. 1736 01:16:48,210 --> 01:16:50,815 I take this head off of this tripod, these tripod legs, 1737 01:16:50,815 --> 01:16:51,690 and then put this on. 1738 01:16:51,690 --> 01:16:57,180 And then we have a tripod head that is made for video. 1739 01:16:57,180 --> 01:17:00,420 And I don't have the pan bar, but usually you often have a bar hanging 1740 01:17:00,420 --> 01:17:02,970 off the side of it-- it's called a pan bar, pan arm-- 1741 01:17:02,970 --> 01:17:05,220 so that you can turn the tripod head as well 1742 01:17:05,220 --> 01:17:08,242 without having to touch your camera. 1743 01:17:08,242 --> 01:17:09,450 Those are your basic tripods. 1744 01:17:09,450 --> 01:17:13,000 1745 01:17:13,000 --> 01:17:13,620 All right. 1746 01:17:13,620 --> 01:17:17,283 When you want to travel more lightweight-- 1747 01:17:17,283 --> 01:17:18,450 let me back up for a second. 1748 01:17:18,450 --> 01:17:20,575 When you're shooting on a camera that's very small, 1749 01:17:20,575 --> 01:17:24,533 like a DSLR or a mirrorless camera, they're just so typically lightweight, 1750 01:17:24,533 --> 01:17:26,700 which is really nice if you're carrying them around. 1751 01:17:26,700 --> 01:17:32,505 But when your hands shake from holding it, you see it in the footage often. 1752 01:17:32,505 --> 01:17:34,380 And there is certainly a camera stabilization 1753 01:17:34,380 --> 01:17:36,810 that exists in sensors and lenses and whatnot 1754 01:17:36,810 --> 01:17:39,600 that will produce this vibration. 1755 01:17:39,600 --> 01:17:42,540 But oftentimes with a small light camera, 1756 01:17:42,540 --> 01:17:45,120 it just becomes harder to actually hold it and shoot video 1757 01:17:45,120 --> 01:17:46,800 because everything shakes so much. 1758 01:17:46,800 --> 01:17:50,040 So that's why we're talking about camera support. 1759 01:17:50,040 --> 01:17:53,730 IAN SEXTON: So it's different from the concept of motion blur. 1760 01:17:53,730 --> 01:17:56,370 It's just that because you have frame after frame 1761 01:17:56,370 --> 01:17:58,737 you can see the actual movement of the camera, 1762 01:17:58,737 --> 01:18:00,445 and it just sort of bounces around there. 1763 01:18:00,445 --> 01:18:03,380 AUDIENCE: Like the first shot in Saving Private Ryan. 1764 01:18:03,380 --> 01:18:04,990 IAN SEXTON: Yeah, that was very-- 1765 01:18:04,990 --> 01:18:07,290 and on purpose, right, to make it handheld 1766 01:18:07,290 --> 01:18:09,030 and feel really frenetic and crazy. 1767 01:18:09,030 --> 01:18:12,073 So you can use it to your advantage if you want to. 1768 01:18:12,073 --> 01:18:15,240 DAN COFFEY: But I would say what I'm describing is kind of hard to pinpoint. 1769 01:18:15,240 --> 01:18:16,350 And I should have put a clip of it in. 1770 01:18:16,350 --> 01:18:17,310 I'm sorry I didn't. 1771 01:18:17,310 --> 01:18:20,730 But it's simply just holding a very lightweight camera in your hands 1772 01:18:20,730 --> 01:18:22,620 and trying to move with it, everything shakes 1773 01:18:22,620 --> 01:18:26,000 in a way that is not the same as what you saw from Saving Private Ryan. 1774 01:18:26,000 --> 01:18:29,370 Because that camera was probably a giant camera that was on someone's shoulder 1775 01:18:29,370 --> 01:18:32,290 and is stable because it's got a body actually stabilizing it. 1776 01:18:32,290 --> 01:18:34,290 But there's something different about holding it 1777 01:18:34,290 --> 01:18:36,990 in your hands and just the shake of your hands as you hold it, 1778 01:18:36,990 --> 01:18:38,500 and something that's so lightweight. 1779 01:18:38,500 --> 01:18:40,500 So as you go shoot, you might see this if you're 1780 01:18:40,500 --> 01:18:43,720 shooting handheld, which is fine but just something to be aware of. 1781 01:18:43,720 --> 01:18:47,720 So easy ways to kind of prevent the camera shake, use a tripod, 1782 01:18:47,720 --> 01:18:48,480 use a monopod. 1783 01:18:48,480 --> 01:18:52,557 This is one leg of a tripod that you can kind of pivot around on too, 1784 01:18:52,557 --> 01:18:55,890 so it's kind of nice because you can get a little bit more of a handheld feeling 1785 01:18:55,890 --> 01:18:59,580 with it, but not as much as just holding the camera on its own. 1786 01:18:59,580 --> 01:19:02,260 1787 01:19:02,260 --> 01:19:05,340 But what's the downside to a tripod and a monopod, though, 1788 01:19:05,340 --> 01:19:08,720 if we think back to our list of camera moves? 1789 01:19:08,720 --> 01:19:10,790 It keeps us pretty static. 1790 01:19:10,790 --> 01:19:13,887 It's hard to take this tripod and do a trucking shot. 1791 01:19:13,887 --> 01:19:15,720 Like, if I try to pull this along the stage, 1792 01:19:15,720 --> 01:19:18,060 you can see how much this tripod head vibrates. 1793 01:19:18,060 --> 01:19:19,230 That's not the right tool for the job. 1794 01:19:19,230 --> 01:19:20,230 AUDIENCE: That's a fail. 1795 01:19:20,230 --> 01:19:22,530 DAN COFFEY: Yeah, exactly. 1796 01:19:22,530 --> 01:19:24,810 All right, handheld-- this is if you actually 1797 01:19:24,810 --> 01:19:26,520 hold your camera as we describe. 1798 01:19:26,520 --> 01:19:29,137 But this is the kind of shake I'm describing. 1799 01:19:29,137 --> 01:19:31,470 So I will say, if you're going to hand-hold your camera, 1800 01:19:31,470 --> 01:19:33,345 use yourself as a tripod as much as possible. 1801 01:19:33,345 --> 01:19:36,060 Take your elbows, suck them right into your body, 1802 01:19:36,060 --> 01:19:38,400 and try to have as much contact as you can 1803 01:19:38,400 --> 01:19:40,810 so that your camera moves as little as possible. 1804 01:19:40,810 --> 01:19:42,360 Don't try to hold it out. 1805 01:19:42,360 --> 01:19:43,740 Like, you can't really see with their elbows are doing, 1806 01:19:43,740 --> 01:19:45,300 but don't try to hold it out like this, because then 1807 01:19:45,300 --> 01:19:47,925 the entire extension of your arms is going to shake your frame. 1808 01:19:47,925 --> 01:19:50,675 So bring your elbows in, and hold the camera as close to your body 1809 01:19:50,675 --> 01:19:51,180 as possible. 1810 01:19:51,180 --> 01:19:53,970 1811 01:19:53,970 --> 01:19:57,493 A shoulder rig-- if you've got a little bit more money to spend, 1812 01:19:57,493 --> 01:19:58,910 you might get something like this. 1813 01:19:58,910 --> 01:20:00,400 You might rent something like this. 1814 01:20:00,400 --> 01:20:03,700 But at its most basic, there's a platform for a camera 1815 01:20:03,700 --> 01:20:06,698 to sit on, some rods to kind of put it along and have 1816 01:20:06,698 --> 01:20:09,490 a shoulder pad for your shoulder, and some handles to hold onto it. 1817 01:20:09,490 --> 01:20:10,240 It's most basic. 1818 01:20:10,240 --> 01:20:14,170 And then you kind of get the stability of a much larger camera 1819 01:20:14,170 --> 01:20:17,680 rig but with your much smaller camera. 1820 01:20:17,680 --> 01:20:21,100 These tend to be low hundreds of dollars, 1821 01:20:21,100 --> 01:20:24,070 so not achievable for everybody. 1822 01:20:24,070 --> 01:20:30,705 But the next step up in stability from just holding it in your hands. 1823 01:20:30,705 --> 01:20:34,980 A dolly, what shot do we probably get with a dolly? 1824 01:20:34,980 --> 01:20:35,938 AUDIENCE: Truck? 1825 01:20:35,938 --> 01:20:37,480 DAN COFFEY: That's not the first one. 1826 01:20:37,480 --> 01:20:38,128 Dolly, right? 1827 01:20:38,128 --> 01:20:39,670 That's the first one you would think. 1828 01:20:39,670 --> 01:20:45,040 And so dollies take different forms, but their anatomy at its most basic 1829 01:20:45,040 --> 01:20:47,275 is some kind of track and some kind of wheel system 1830 01:20:47,275 --> 01:20:48,400 that rides along the track. 1831 01:20:48,400 --> 01:20:51,520 This is a very fancy advanced dolly with a very big camera on it 1832 01:20:51,520 --> 01:20:54,730 that has another arm that kind of booms up and down, 1833 01:20:54,730 --> 01:20:57,250 or gives us the head movement up and down. 1834 01:20:57,250 --> 01:21:00,880 But it doesn't have to be this fancy. 1835 01:21:00,880 --> 01:21:04,210 There are tabletop sliders like this which are also fairly inexpensive, 1836 01:21:04,210 --> 01:21:05,567 or things that you can rent. 1837 01:21:05,567 --> 01:21:06,900 And the idea is the same, right? 1838 01:21:06,900 --> 01:21:10,450 So you've got your video tripod head on it, and it slides side to side, 1839 01:21:10,450 --> 01:21:13,960 or you can have it go in and out so you can get a dolly or a truck shot 1840 01:21:13,960 --> 01:21:16,800 from something like this as well. 1841 01:21:16,800 --> 01:21:19,780 And much more stable than trying to hold it in your hand 1842 01:21:19,780 --> 01:21:20,920 and move along like this. 1843 01:21:20,920 --> 01:21:24,490 1844 01:21:24,490 --> 01:21:30,520 So related but unrelated, action cameras and drones are kind of all the rage 1845 01:21:30,520 --> 01:21:31,990 these days. 1846 01:21:31,990 --> 01:21:35,770 What's nice about drones in particular is that they tend to be stabilized. 1847 01:21:35,770 --> 01:21:39,580 They have this electronic gimbal on them that adds stability and gives you 1848 01:21:39,580 --> 01:21:42,130 a beautiful, smooth shot. 1849 01:21:42,130 --> 01:21:44,713 We also have, for getting more interesting shots 1850 01:21:44,713 --> 01:21:47,380 like this, the camera that can actually attach to your forehead, 1851 01:21:47,380 --> 01:21:50,140 an action camera called GoPro. 1852 01:21:50,140 --> 01:21:54,443 What might be the downside of a little tiny camera like this? 1853 01:21:54,443 --> 01:21:55,360 AUDIENCE: Tiny sensor. 1854 01:21:55,360 --> 01:21:56,735 DAN COFFEY: Tiny sensor, exactly. 1855 01:21:56,735 --> 01:21:59,600 That's one thing. 1856 01:21:59,600 --> 01:22:05,530 GoPros have 4K resolution, but what good is 4K resolution 1857 01:22:05,530 --> 01:22:06,970 if your sensor is that small? 1858 01:22:06,970 --> 01:22:08,765 You need to have what to make it look good? 1859 01:22:08,765 --> 01:22:09,640 AUDIENCE: [INAUDIBLE] 1860 01:22:09,640 --> 01:22:10,930 DAN COFFEY: A lot of light. 1861 01:22:10,930 --> 01:22:11,680 Exactly, Ralph. 1862 01:22:11,680 --> 01:22:13,388 So if you don't have daylight, it's going 1863 01:22:13,388 --> 01:22:15,681 to be hard to get good low light performance. 1864 01:22:15,681 --> 01:22:18,270 1865 01:22:18,270 --> 01:22:22,027 One of the newer things that's come out is the electronic gimbal. 1866 01:22:22,027 --> 01:22:23,860 The one on the left here is called the Movi. 1867 01:22:23,860 --> 01:22:25,277 It was one of the first to market. 1868 01:22:25,277 --> 01:22:28,290 But there are all kinds now like this that can hold your camera. 1869 01:22:28,290 --> 01:22:32,770 And they're usually-- this kind is usually sub $1,000. 1870 01:22:32,770 --> 01:22:35,307 But really, it's very interesting to see what it does. 1871 01:22:35,307 --> 01:22:37,890 And I think this is really some of the breakthrough technology 1872 01:22:37,890 --> 01:22:41,010 that we're seeing in our time for actually moving a camera around, 1873 01:22:41,010 --> 01:22:44,340 because you can get so much versatility out of it. 1874 01:22:44,340 --> 01:22:49,070 This is my fun analogy to a movie. 1875 01:22:49,070 --> 01:22:49,570 All right. 1876 01:22:49,570 --> 01:22:51,612 So let's take a look at a side-by-side comparison 1877 01:22:51,612 --> 01:22:54,990 of a shot that is stabilized with a gimbal and a shot that is handheld, 1878 01:22:54,990 --> 01:22:57,210 just to get a sense of how much smoother it can be. 1879 01:22:57,210 --> 01:23:00,108 1880 01:23:00,108 --> 01:23:00,900 It's kind of crazy. 1881 01:23:00,900 --> 01:23:03,613 The right feels more like The West Wing. 1882 01:23:03,613 --> 01:23:06,030 The left kind of feels like your cousin picked up a camera 1883 01:23:06,030 --> 01:23:07,798 and followed somebody down the stairs. 1884 01:23:07,798 --> 01:23:11,510 1885 01:23:11,510 --> 01:23:12,441 All right. 1886 01:23:12,441 --> 01:23:15,191 Let's look at this shot and see if we can guess how this was done. 1887 01:23:15,191 --> 01:23:56,270 1888 01:23:56,270 --> 01:23:56,770 All right. 1889 01:23:56,770 --> 01:23:57,820 So we'll call this the end of the shot. 1890 01:23:57,820 --> 01:23:59,620 Any guesses as to how this was pulled off? 1891 01:23:59,620 --> 01:24:02,320 1892 01:24:02,320 --> 01:24:06,048 What piece of hardware or pieces of hardware might have been involved? 1893 01:24:06,048 --> 01:24:07,048 AUDIENCE: Maybe a drone. 1894 01:24:07,048 --> 01:24:08,290 DAN COFFEY: Maybe a drone. 1895 01:24:08,290 --> 01:24:09,040 IAN SEXTON: Drone. 1896 01:24:09,040 --> 01:24:11,123 DAN COFFEY: OK, hearing a drone from the internet. 1897 01:24:11,123 --> 01:24:12,838 AUDIENCE: [INAUDIBLE] 1898 01:24:12,838 --> 01:24:15,970 DAN COFFEY: OK, we'll ignore that one for a moment. 1899 01:24:15,970 --> 01:24:17,130 Somebody knows the answer. 1900 01:24:17,130 --> 01:24:18,880 All right, let's watch a behind the scenes 1901 01:24:18,880 --> 01:24:20,424 of how this was actually captured. 1902 01:24:20,424 --> 01:24:26,755 1903 01:24:26,755 --> 01:24:29,680 AUDIENCE: No way. 1904 01:24:29,680 --> 01:24:32,420 One guy? 1905 01:24:32,420 --> 01:24:38,680 DAN COFFEY: I mean, it's kind of amazing how this technology has just changed 1906 01:24:38,680 --> 01:24:40,180 the game, for lack of a better word. 1907 01:24:40,180 --> 01:24:44,008 This has kind of revolutionized how easy it is to stay-- 1908 01:24:44,008 --> 01:24:47,050 I mean, not everybody could ride a bike and hold a Movi at the same time. 1909 01:24:47,050 --> 01:24:48,520 Let's be honest. 1910 01:24:48,520 --> 01:24:52,480 But just the fact that you can change terrain like this. 1911 01:24:52,480 --> 01:24:53,690 Like, what would have taken-- 1912 01:24:53,690 --> 01:24:55,648 like, how would you have even done this before? 1913 01:24:55,648 --> 01:24:57,820 You would have rented a helicopter and done it 1914 01:24:57,820 --> 01:25:00,460 that way, before drones existed. 1915 01:25:00,460 --> 01:25:02,390 You would have had a crazy dolly track setup. 1916 01:25:02,390 --> 01:25:05,140 And even then, the differential of terrain that you're going down, 1917 01:25:05,140 --> 01:25:06,340 I don't even know that you could have done it. 1918 01:25:06,340 --> 01:25:08,290 IAN SEXTON: Well, they've done lots of stuff 1919 01:25:08,290 --> 01:25:11,383 before with steady cams where they run onto lifts and get lifted up 1920 01:25:11,383 --> 01:25:13,300 so you can change floors and things like that. 1921 01:25:13,300 --> 01:25:15,700 But yeah, I don't really think-- 1922 01:25:15,700 --> 01:25:18,540 not on this terrain, you couldn't do it. 1923 01:25:18,540 --> 01:25:20,970 AUDIENCE: And it's so uneven. 1924 01:25:20,970 --> 01:25:22,110 That's impressive. 1925 01:25:22,110 --> 01:25:23,780 It's simple. 1926 01:25:23,780 --> 01:25:25,780 DAN COFFEY: All this to say, there are cameras 1927 01:25:25,780 --> 01:25:27,822 you can buy now that are fairly inexpensive, too, 1928 01:25:27,822 --> 01:25:31,068 that are gimbals with a lens on them and a sensor. 1929 01:25:31,068 --> 01:25:33,860 So you don't even need something that you can put your camera into. 1930 01:25:33,860 --> 01:25:38,270 You can buy one of these that already exists in this format. 1931 01:25:38,270 --> 01:25:38,770 All right. 1932 01:25:38,770 --> 01:25:40,630 So for time's sake, let's move on. 1933 01:25:40,630 --> 01:25:44,710 Practically speaking, you're not going to go buy all this hardware right away. 1934 01:25:44,710 --> 01:25:47,680 Renting it might be out of reach too, potentially. 1935 01:25:47,680 --> 01:25:52,335 So what do we do? 1936 01:25:52,335 --> 01:25:53,860 AUDIENCE: Cry. 1937 01:25:53,860 --> 01:25:57,180 DAN COFFEY: No, I mean, I think that you do the best you can. 1938 01:25:57,180 --> 01:26:01,340 We talked about how to take a camera and hold it stably. 1939 01:26:01,340 --> 01:26:03,470 You know, tripods are pretty easy to come across. 1940 01:26:03,470 --> 01:26:06,460 But if you don't have a tripod, you can certainly set your camera down 1941 01:26:06,460 --> 01:26:08,460 on a table or something at the right height. 1942 01:26:08,460 --> 01:26:12,387 It just then becomes difficult to maybe pan or tilt. 1943 01:26:12,387 --> 01:26:14,470 But I think the thing is, you do the best you can. 1944 01:26:14,470 --> 01:26:16,600 You'll get an opportunity to use a nicer piece of equipment. 1945 01:26:16,600 --> 01:26:18,250 You take it, and you experience it. 1946 01:26:18,250 --> 01:26:20,000 And then you decide you can never go back. 1947 01:26:20,000 --> 01:26:22,930 1948 01:26:22,930 --> 01:26:25,570 Practically speaking, I think that you do the best you can. 1949 01:26:25,570 --> 01:26:28,697 IAN SEXTON: So I owned a wheelchair for a long time 1950 01:26:28,697 --> 01:26:31,030 that I got from a nursing home that was selling them off 1951 01:26:31,030 --> 01:26:34,257 that I would use on smooth floors like the stage or something like that. 1952 01:26:34,257 --> 01:26:36,340 And I would just sort of put the camera in my lap, 1953 01:26:36,340 --> 01:26:38,100 and we can dolly in and out really nicely. 1954 01:26:38,100 --> 01:26:38,680 DAN COFFEY: Yeah. 1955 01:26:38,680 --> 01:26:40,638 If you work in an office, even an office chair. 1956 01:26:40,638 --> 01:26:42,880 IAN SEXTON: So there are creative solutions. 1957 01:26:42,880 --> 01:26:46,370 There's been lots of shopping cart dollies over the years, 1958 01:26:46,370 --> 01:26:49,570 I'm sure, in a lot of student films and stuff like that. 1959 01:26:49,570 --> 01:26:51,420 It's hard to get rid of the bounce, though. 1960 01:26:51,420 --> 01:26:52,670 AUDIENCE: Yeah, and the noise. 1961 01:26:52,670 --> 01:26:54,340 How do you get rid of the noise? 1962 01:26:54,340 --> 01:26:55,870 IAN SEXTON: Yeah, so with shopping carts it's not easy. 1963 01:26:55,870 --> 01:26:57,190 You need a really smooth floor. 1964 01:26:57,190 --> 01:26:59,320 You could do it in-- 1965 01:26:59,320 --> 01:27:01,183 you can't do it on concrete. 1966 01:27:01,183 --> 01:27:03,100 And then there's other dollies too, skateboard 1967 01:27:03,100 --> 01:27:05,225 dollies, that run on PVC pipe and things like that, 1968 01:27:05,225 --> 01:27:10,210 that are very low tech solutions to give you some movement. 1969 01:27:10,210 --> 01:27:11,740 AUDIENCE: So DIY, basically. 1970 01:27:11,740 --> 01:27:12,448 IAN SEXTON: Yeah. 1971 01:27:12,448 --> 01:27:14,260 There are some definite DIY solutions. 1972 01:27:14,260 --> 01:27:16,510 And then it gets as sophisticated as some of the stuff 1973 01:27:16,510 --> 01:27:22,163 that we saw there, with hydraulic booming arms and things like that. 1974 01:27:22,163 --> 01:27:23,080 DAN COFFEY: All right. 1975 01:27:23,080 --> 01:27:25,630 So we have two more pivots tonight before the class ends, 1976 01:27:25,630 --> 01:27:27,340 so we're going to keep moving on. 1977 01:27:27,340 --> 01:27:32,050 So let's talk about continuity, which is really the representation of time 1978 01:27:32,050 --> 01:27:34,180 through space. 1979 01:27:34,180 --> 01:27:37,750 The goal, typically, is smooth flow of time, 1980 01:27:37,750 --> 01:27:42,040 from moving a person across the screen, transitioning from one scene 1981 01:27:42,040 --> 01:27:43,060 to another. 1982 01:27:43,060 --> 01:27:45,838 We want to start to think about what direction people are entering 1983 01:27:45,838 --> 01:27:48,880 our frames from and maybe where they're going, the direction that they're 1984 01:27:48,880 --> 01:27:52,330 looking, and how do they exit as well. 1985 01:27:52,330 --> 01:27:53,060 Let's see. 1986 01:27:53,060 --> 01:27:56,080 Let me make sure I'm not going to lose anything here. 1987 01:27:56,080 --> 01:27:57,850 All right, so a few tips. 1988 01:27:57,850 --> 01:28:01,780 Just always be aware of that kind of thing as you're shooting. 1989 01:28:01,780 --> 01:28:05,250 If somebody comes in to your scene entering left to right, 1990 01:28:05,250 --> 01:28:07,750 you want to preserve that probably as they continue walking. 1991 01:28:07,750 --> 01:28:09,880 You don't want to cut to a shot where they're then immediately walking 1992 01:28:09,880 --> 01:28:10,900 the other direction. 1993 01:28:10,900 --> 01:28:12,400 We'll look at some examples of this. 1994 01:28:12,400 --> 01:28:14,613 1995 01:28:14,613 --> 01:28:16,030 Yeah, think about the transitions. 1996 01:28:16,030 --> 01:28:17,980 If you're going to have somebody come into your scene, 1997 01:28:17,980 --> 01:28:19,147 do they walk through a door? 1998 01:28:19,147 --> 01:28:22,130 Do they just walk in from out of frame? 1999 01:28:22,130 --> 01:28:23,830 What is their actual transition? 2000 01:28:23,830 --> 01:28:26,538 And then how do you transition from that scene to the next scene? 2001 01:28:26,538 --> 01:28:29,230 Does a person walk out of frame? 2002 01:28:29,230 --> 01:28:32,440 Does the person just stay standing there and you cut to the next scene? 2003 01:28:32,440 --> 01:28:35,890 Things to just start to consider as you put your scene together. 2004 01:28:35,890 --> 01:28:38,140 And I think one of the best ways to actually determine 2005 01:28:38,140 --> 01:28:42,580 what feels good for you is to just watch films, watch TV, and see what is done 2006 01:28:42,580 --> 01:28:44,080 and see what you like. 2007 01:28:44,080 --> 01:28:47,650 And if you break continuity, do so intentionally. 2008 01:28:47,650 --> 01:28:52,750 So we talked a little bit about preserving screen direction. 2009 01:28:52,750 --> 01:28:56,870 So one handy rule that is kind of the baseline for preserving continuity 2010 01:28:56,870 --> 01:28:58,390 is called the 180 degree rule. 2011 01:28:58,390 --> 01:29:02,124 Does anybody have a quick definition of what this is offhand? 2012 01:29:02,124 --> 01:29:06,380 2013 01:29:06,380 --> 01:29:06,993 All right. 2014 01:29:06,993 --> 01:29:07,910 Well, let's unpack it. 2015 01:29:07,910 --> 01:29:10,460 Let's first watch this scene with no sound 2016 01:29:10,460 --> 01:29:13,850 of a conversation between two people from Good Will Hunting. 2017 01:29:13,850 --> 01:29:16,282 So we have two people sitting in a room and talking. 2018 01:29:16,282 --> 01:29:21,030 2019 01:29:21,030 --> 01:29:22,780 We've got this kind of shot, reverse shot, 2020 01:29:22,780 --> 01:29:24,490 where we're seeing one half of the conversation, 2021 01:29:24,490 --> 01:29:26,050 and then we flip over the other person's shoulder 2022 01:29:26,050 --> 01:29:28,037 and see the other half of the conversation. 2023 01:29:28,037 --> 01:29:33,310 2024 01:29:33,310 --> 01:29:36,160 We're kind of going in closer, we're punching out wider, 2025 01:29:36,160 --> 01:29:38,500 depending on what's happening. 2026 01:29:38,500 --> 01:29:40,460 But this feels very natural, right? 2027 01:29:40,460 --> 01:29:42,902 Everybody's looking in the right direction. 2028 01:29:42,902 --> 01:29:47,222 2029 01:29:47,222 --> 01:29:49,680 So where would we put the cameras to actually capture this? 2030 01:29:49,680 --> 01:29:52,440 2031 01:29:52,440 --> 01:29:54,360 Think of this as a bird's eye plot. 2032 01:29:54,360 --> 01:29:56,966 Where would we put the camera? 2033 01:29:56,966 --> 01:29:59,023 AUDIENCE: Behind Matt Damon's right shoulder? 2034 01:29:59,023 --> 01:29:59,940 DAN COFFEY: All right. 2035 01:29:59,940 --> 01:30:02,910 So Ralph, you're saying here. 2036 01:30:02,910 --> 01:30:07,450 So where would you put the camera on the other side behind Robin Williams? 2037 01:30:07,450 --> 01:30:10,221 AUDIENCE: The same thing [INAUDIBLE]. 2038 01:30:10,221 --> 01:30:11,890 DAN COFFEY: So over his right shoulder? 2039 01:30:11,890 --> 01:30:12,690 So this is his right shoulder? 2040 01:30:12,690 --> 01:30:13,290 AUDIENCE: Well, left shoulder. 2041 01:30:13,290 --> 01:30:14,373 DAN COFFEY: Left shoulder. 2042 01:30:14,373 --> 01:30:16,590 And why would you choose one versus the other? 2043 01:30:16,590 --> 01:30:19,807 AUDIENCE: No, I would shoot it through the same shelving. 2044 01:30:19,807 --> 01:30:22,890 DAN COFFEY: I'm kind of being vague and asking confusing questions to kind 2045 01:30:22,890 --> 01:30:23,850 of tease this out. 2046 01:30:23,850 --> 01:30:28,950 But this is what the 180 degree rule defines for us. 2047 01:30:28,950 --> 01:30:33,090 So what it is is this line between two characters looking. 2048 01:30:33,090 --> 01:30:35,410 Sometimes it's called the line of action. 2049 01:30:35,410 --> 01:30:39,180 But it's established by this kind of direction of the character's gaze. 2050 01:30:39,180 --> 01:30:42,180 And we need to kind of pick a side of the line to be on. 2051 01:30:42,180 --> 01:30:44,390 So we can pick this side, and we can pick this side. 2052 01:30:44,390 --> 01:30:46,140 They will both feel different, but we need 2053 01:30:46,140 --> 01:30:48,616 to stay on the same side of this line. 2054 01:30:48,616 --> 01:30:50,668 AUDIENCE: So don't break the line ever. 2055 01:30:50,668 --> 01:30:52,710 DAN COFFEY: There is intention to break the line, 2056 01:30:52,710 --> 01:30:54,252 but we're getting ahead of ourselves. 2057 01:30:54,252 --> 01:30:58,140 So you might put your camera on this side of Robin Williams. 2058 01:30:58,140 --> 01:31:02,280 And if we're staying on this side of the line, that means our camera behind Matt 2059 01:31:02,280 --> 01:31:03,930 Damon needs to go over here. 2060 01:31:03,930 --> 01:31:07,670 2061 01:31:07,670 --> 01:31:08,845 So there are two cameras. 2062 01:31:08,845 --> 01:31:11,345 And if we want to have a wide shot, where would we put that? 2063 01:31:11,345 --> 01:31:16,300 2064 01:31:16,300 --> 01:31:19,090 Tonya is pointing this way, this side of the line, right? 2065 01:31:19,090 --> 01:31:19,590 Yes. 2066 01:31:19,590 --> 01:31:23,160 So we put our wide shot back here if we're going to get both characters. 2067 01:31:23,160 --> 01:31:26,265 What would happen if we put a camera over here? 2068 01:31:26,265 --> 01:31:31,500 2069 01:31:31,500 --> 01:31:33,300 Let's visualize it, OK? 2070 01:31:33,300 --> 01:31:36,960 So if our camera is over here, this is the image we get. 2071 01:31:36,960 --> 01:31:44,550 We get Matt Damon in our foreground looking screen right, Robin Williams 2072 01:31:44,550 --> 01:31:48,640 frame right looking screen left, as far as their gaze goes, 2073 01:31:48,640 --> 01:31:52,860 which is appropriate with this picture that we're looking at. 2074 01:31:52,860 --> 01:31:56,320 If we look at the reverse shot, we've got the camera 2075 01:31:56,320 --> 01:31:57,570 over Robin Williams' shoulder. 2076 01:31:57,570 --> 01:32:02,220 So his camera is in the foreground frame right with Matt Damon frame left, 2077 01:32:02,220 --> 01:32:08,250 or frame center, but looking opposite directions. 2078 01:32:08,250 --> 01:32:10,680 If we put it over the other shoulder, what happens 2079 01:32:10,680 --> 01:32:14,130 is that his gaze direction flips, and they are now 2080 01:32:14,130 --> 01:32:15,917 both looking in the same direction. 2081 01:32:15,917 --> 01:32:17,750 So if you were to cut back-to-back to these, 2082 01:32:17,750 --> 01:32:20,010 it no longer feels like they're looking at each other. 2083 01:32:20,010 --> 01:32:21,210 They're both looking in the same direction 2084 01:32:21,210 --> 01:32:24,120 like they're talking to somebody else, and it's just very unnatural. 2085 01:32:24,120 --> 01:32:26,037 But when you're going to do your first set up, 2086 01:32:26,037 --> 01:32:28,750 if you've got multiple people in the room, 2087 01:32:28,750 --> 01:32:30,750 it's really easy to kind of confuse this and not 2088 01:32:30,750 --> 01:32:32,460 know exactly where to place the camera. 2089 01:32:32,460 --> 01:32:34,410 So it's important to think about what you 2090 01:32:34,410 --> 01:32:39,420 want is them to obviously look towards each other in the same direction. 2091 01:32:39,420 --> 01:32:45,000 And so it's important to kind of think about what that would look like as far 2092 01:32:45,000 --> 01:32:48,660 as look direction and whatnot. 2093 01:32:48,660 --> 01:32:51,820 So let's actually draw a little bit and come up with a couple of scenarios 2094 01:32:51,820 --> 01:32:52,320 here. 2095 01:32:52,320 --> 01:32:55,270 2096 01:32:55,270 --> 01:32:58,977 So let's say we have two people-- 2097 01:32:58,977 --> 01:33:00,060 I'm drawing from overhead. 2098 01:33:00,060 --> 01:33:03,090 So that's someone's shoulders, that's their head, that's their nose. 2099 01:33:03,090 --> 01:33:06,300 2100 01:33:06,300 --> 01:33:10,740 Another person they're talking to, that's their head, that's their nose. 2101 01:33:10,740 --> 01:33:16,260 Where is our line of action, or 180 degree line? 2102 01:33:16,260 --> 01:33:18,185 Right through them, nose to nose? 2103 01:33:18,185 --> 01:33:19,560 Let's use a different color here. 2104 01:33:19,560 --> 01:33:21,690 We'll use red. 2105 01:33:21,690 --> 01:33:23,675 All right, great. 2106 01:33:23,675 --> 01:33:25,050 Where would we place our cameras? 2107 01:33:25,050 --> 01:33:27,535 2108 01:33:27,535 --> 01:33:29,410 AUDIENCE: The first one is our choice, right? 2109 01:33:29,410 --> 01:33:33,860 DAN COFFEY: Yeah one side or the other we should choose. 2110 01:33:33,860 --> 01:33:36,998 All right so we'll just say we'll put one here, we'll put one here, 2111 01:33:36,998 --> 01:33:38,540 and our wide shot would be over here. 2112 01:33:38,540 --> 01:33:44,570 Anything in this-- not hemisphere, this half of our area would be fine. 2113 01:33:44,570 --> 01:33:47,070 If we cross to the other side, it means that someone's going 2114 01:33:47,070 --> 01:33:49,050 to be looking in the wrong direction. 2115 01:33:49,050 --> 01:33:54,360 That is essentially what the 180 degree rule defines for us. 2116 01:33:54,360 --> 01:33:57,790 What happens if the setup gets a little bit more complicated? 2117 01:33:57,790 --> 01:34:01,752 Let's say here's our person. 2118 01:34:01,752 --> 01:34:06,722 2119 01:34:06,722 --> 01:34:07,695 And there's our person. 2120 01:34:07,695 --> 01:34:09,320 They're looking opposite of each other. 2121 01:34:09,320 --> 01:34:19,820 2122 01:34:19,820 --> 01:34:21,290 Go back to red. 2123 01:34:21,290 --> 01:34:23,125 AUDIENCE: The same line, I would assume. 2124 01:34:23,125 --> 01:34:23,750 DAN COFFEY: OK. 2125 01:34:23,750 --> 01:34:26,042 So I think that there are a couple of ways to cover it, 2126 01:34:26,042 --> 01:34:28,882 but yeah, I'd draw the same line as you. 2127 01:34:28,882 --> 01:34:30,590 AUDIENCE: Are they talking to each other? 2128 01:34:30,590 --> 01:34:31,010 DAN COFFEY: It depends. 2129 01:34:31,010 --> 01:34:33,860 Like, if they turn-- so this is what can affect our line. 2130 01:34:33,860 --> 01:34:37,250 If somebody looks in a different direction, that can change everything. 2131 01:34:37,250 --> 01:34:40,910 Or a glance-- like, if somebody else enters the scene, 2132 01:34:40,910 --> 01:34:42,728 and now you have three people talking. 2133 01:34:42,728 --> 01:34:45,020 IAN SEXTON: It's almost like if you and I were talking, 2134 01:34:45,020 --> 01:34:50,540 the line is between Dan and I. And then all of a sudden we turn to talk to you, 2135 01:34:50,540 --> 01:34:52,400 now there's another line here. 2136 01:34:52,400 --> 01:34:57,467 And so we basically have all of our cameras on this side of the line, 2137 01:34:57,467 --> 01:34:59,300 and now there's a line here, and we actually 2138 01:34:59,300 --> 01:35:01,383 have a bunch of cameras that are still over there. 2139 01:35:01,383 --> 01:35:03,216 So we're sort of maintaining our 180 degree, 2140 01:35:03,216 --> 01:35:06,050 but it would be really weird if we were talking, and all of a sudden 2141 01:35:06,050 --> 01:35:09,020 there was a camera flipped to the back here or something like that, 2142 01:35:09,020 --> 01:35:10,220 or this camera picked us up. 2143 01:35:10,220 --> 01:35:14,600 So it's really about the line of action, what's happening in the scene 2144 01:35:14,600 --> 01:35:16,360 and how are you covering it. 2145 01:35:16,360 --> 01:35:19,740 And the goal is to make coherent space. 2146 01:35:19,740 --> 01:35:24,530 Like, look direction and the direction people watch needs to be consistent, 2147 01:35:24,530 --> 01:35:28,760 or it's hard for us to understand actual volume 2148 01:35:28,760 --> 01:35:32,292 as represented as a sequence of shots, of two dimensional images 2149 01:35:32,292 --> 01:35:33,500 back to back to back to back. 2150 01:35:33,500 --> 01:35:35,790 2151 01:35:35,790 --> 01:35:37,790 DAN COFFEY: So I was going to draw three people, 2152 01:35:37,790 --> 01:35:40,280 but does that cover it enough for everybody? 2153 01:35:40,280 --> 01:35:41,780 Maybe we'll just draw it real quick. 2154 01:35:41,780 --> 01:35:44,720 So if we have three people, let's say these two 2155 01:35:44,720 --> 01:35:48,290 people start talking to each other-- 2156 01:35:48,290 --> 01:35:50,030 forgive my poor drawing-- 2157 01:35:50,030 --> 01:35:52,760 our line is like this. 2158 01:35:52,760 --> 01:35:57,740 And then person number three walks in like this. 2159 01:35:57,740 --> 01:35:58,780 Where does the line go? 2160 01:35:58,780 --> 01:36:02,310 Part of this depends on where we put the cameras to begin. 2161 01:36:02,310 --> 01:36:11,520 So let's say we have a camera here, a camera here, and then we pivot. 2162 01:36:11,520 --> 01:36:13,850 This is our wide shot as the other person walks in. 2163 01:36:13,850 --> 01:36:18,089 2164 01:36:18,089 --> 01:36:24,272 It can depend on who we follow too, something like that. 2165 01:36:24,272 --> 01:36:28,920 2166 01:36:28,920 --> 01:36:32,480 It really kind of depends on the setup and which shot you're following. 2167 01:36:32,480 --> 01:36:33,458 But it will feel-- 2168 01:36:33,458 --> 01:36:34,750 you'll know it when you see it. 2169 01:36:34,750 --> 01:36:37,181 When you make your first cut that breaks this rule, 2170 01:36:37,181 --> 01:36:40,473 you will see it, because everybody will just be looking in the wrong direction. 2171 01:36:40,473 --> 01:36:44,340 2172 01:36:44,340 --> 01:36:45,300 All right. 2173 01:36:45,300 --> 01:36:47,730 Let's look at an example of this now. 2174 01:36:47,730 --> 01:36:49,800 Another clip from the same episode of Mr. Robot. 2175 01:36:49,800 --> 01:36:51,280 And they break this rule in here. 2176 01:36:51,280 --> 01:36:52,820 So see if you can spot it. 2177 01:36:52,820 --> 01:36:56,795 All right, maybe we can dim the lights for this one. 2178 01:36:56,795 --> 01:36:58,719 [VIDEO PLAYBACK] 2179 01:36:58,719 --> 01:37:02,050 - But I can't. 2180 01:37:02,050 --> 01:37:03,364 Really, this was you. 2181 01:37:03,364 --> 01:37:06,670 2182 01:37:06,670 --> 01:37:10,280 You are seriously the best person I know. 2183 01:37:10,280 --> 01:37:11,272 You know that. 2184 01:37:11,272 --> 01:37:16,728 2185 01:37:16,728 --> 01:37:18,712 I love you so much. 2186 01:37:18,712 --> 01:37:24,680 2187 01:37:24,680 --> 01:37:25,940 Oh, my god, Elliot. 2188 01:37:25,940 --> 01:37:28,620 What the fuck? 2189 01:37:28,620 --> 01:37:29,860 - I'm sorry. 2190 01:37:29,860 --> 01:37:32,982 - What the hell is wrong with you? 2191 01:37:32,982 --> 01:37:34,540 - I'm sorry. 2192 01:37:34,540 --> 01:37:35,560 I'm sorry. 2193 01:37:35,560 --> 01:37:37,960 I thought-- I just-- 2194 01:37:37,960 --> 01:37:40,785 I'm sorry. 2195 01:37:40,785 --> 01:37:43,236 - Oh, my god, Elliot. 2196 01:37:43,236 --> 01:37:46,498 Did you forget again? 2197 01:37:46,498 --> 01:37:50,434 Did you forget who I am? 2198 01:37:50,434 --> 01:37:51,430 [END VIDEO PLAYBACK] 2199 01:37:51,430 --> 01:37:54,970 DAN COFFEY: All right, so-- 2200 01:37:54,970 --> 01:37:57,880 so let's draw what we're seeing here. 2201 01:37:57,880 --> 01:38:07,500 So we got two people talking to each other, person one, person two, 2202 01:38:07,500 --> 01:38:10,620 sitting like this. 2203 01:38:10,620 --> 01:38:13,110 Where are the cameras placed? 2204 01:38:13,110 --> 01:38:15,060 Let me do this, keep this in my hand. 2205 01:38:15,060 --> 01:38:18,093 2206 01:38:18,093 --> 01:38:19,760 AUDIENCE: Kind of on the right shoulder. 2207 01:38:19,760 --> 01:38:20,468 DAN COFFEY: Yeah. 2208 01:38:20,468 --> 01:38:22,870 And how far over are we, like if we think about-- 2209 01:38:22,870 --> 01:38:25,450 2210 01:38:25,450 --> 01:38:29,380 we could get a shot from here, or we could get a shot from here. 2211 01:38:29,380 --> 01:38:30,430 Let's draw the line. 2212 01:38:30,430 --> 01:38:33,160 Where's the line between them? 2213 01:38:33,160 --> 01:38:33,910 Right there, yeah. 2214 01:38:33,910 --> 01:38:37,165 So when they turn to look all the way at each other, it's like this. 2215 01:38:37,165 --> 01:38:38,650 Let me draw this in red. 2216 01:38:38,650 --> 01:38:42,450 2217 01:38:42,450 --> 01:38:46,990 So at their most extreme when they're looking, that's our line. 2218 01:38:46,990 --> 01:38:48,870 And so we can go-- 2219 01:38:48,870 --> 01:38:50,620 what we're saying with the 180 degree rule 2220 01:38:50,620 --> 01:38:55,330 is that we can place our cameras anywhere in this part, 2221 01:38:55,330 --> 01:38:59,890 because if we look at what they did, we're on this side of them. 2222 01:38:59,890 --> 01:39:01,150 We're on this side. 2223 01:39:01,150 --> 01:39:04,450 So the first camera is probably here, because we 2224 01:39:04,450 --> 01:39:10,000 have a lot in our foreground of Elliot, our character, with the background. 2225 01:39:10,000 --> 01:39:13,530 And so how extreme is the other angle on the reverse side? 2226 01:39:13,530 --> 01:39:15,890 Let me skip forward a little bit. 2227 01:39:15,890 --> 01:39:19,507 2228 01:39:19,507 --> 01:39:20,590 AUDIENCE: Almost the same. 2229 01:39:20,590 --> 01:39:21,757 DAN COFFEY: Almost the same. 2230 01:39:21,757 --> 01:39:22,900 Yeah, exactly. 2231 01:39:22,900 --> 01:39:26,380 So we're probably something like that. 2232 01:39:26,380 --> 01:39:28,880 And so there's balance there. 2233 01:39:28,880 --> 01:39:32,260 It'll be interesting to maybe put the camera here. 2234 01:39:32,260 --> 01:39:33,880 Would this be OK to do? 2235 01:39:33,880 --> 01:39:37,180 Or would we lose this person entirely? 2236 01:39:37,180 --> 01:39:39,410 Yeah, right, there's no rule around that, 2237 01:39:39,410 --> 01:39:43,120 but that would be a clean shot instead of having this person in the foreground 2238 01:39:43,120 --> 01:39:44,770 kind of dirtying our frame. 2239 01:39:44,770 --> 01:39:46,570 It just feels very different. 2240 01:39:46,570 --> 01:39:49,330 So it's very natural to kind of match our coverage here. 2241 01:39:49,330 --> 01:39:51,940 2242 01:39:51,940 --> 01:39:54,310 All right. 2243 01:39:54,310 --> 01:39:57,190 Do we have any other shots happening here? 2244 01:39:57,190 --> 01:40:01,215 So back and forth, back and forth, shot, reverse shot. 2245 01:40:01,215 --> 01:40:02,090 Here's another angle. 2246 01:40:02,090 --> 01:40:04,933 Where's this camera? 2247 01:40:04,933 --> 01:40:05,850 AUDIENCE: Bottom left. 2248 01:40:05,850 --> 01:40:08,880 DAN COFFEY: Yeah, just down here somewhere, right? 2249 01:40:08,880 --> 01:40:13,040 So those are the setups we've seen so far. 2250 01:40:13,040 --> 01:40:17,550 AUDIENCE: [INAUDIBLE] 2251 01:40:17,550 --> 01:40:19,695 DAN COFFEY: So where do the cameras go here? 2252 01:40:19,695 --> 01:40:21,070 AUDIENCE: I didn't notice at all. 2253 01:40:21,070 --> 01:40:21,760 DAN COFFEY: You didn't notice it? 2254 01:40:21,760 --> 01:40:24,554 AUDIENCE: No, I was looking for it, and I missed it. 2255 01:40:24,554 --> 01:40:27,450 2256 01:40:27,450 --> 01:40:29,280 DAN COFFEY: So this camera is kind of-- 2257 01:40:29,280 --> 01:40:30,900 our subject here is her. 2258 01:40:30,900 --> 01:40:34,110 We're kind of over Elliot's shoulder slightly. 2259 01:40:34,110 --> 01:40:37,280 So let's just say this is Elliot. 2260 01:40:37,280 --> 01:40:41,780 That camera is like here, because they are flipped orientation wise. 2261 01:40:41,780 --> 01:40:44,470 And look at the background of what's going on. 2262 01:40:44,470 --> 01:40:46,020 That's the other tell for you. 2263 01:40:46,020 --> 01:40:49,710 We've been looking behind them as being kind of lights and city. 2264 01:40:49,710 --> 01:40:56,610 But as we flip here, there's this, and then bang. 2265 01:40:56,610 --> 01:40:57,660 There's the beach. 2266 01:40:57,660 --> 01:40:59,927 All of a sudden, totally different. 2267 01:40:59,927 --> 01:41:02,760 They're looking in opposite directions, the background is different, 2268 01:41:02,760 --> 01:41:04,635 everything about this was very jarring for us 2269 01:41:04,635 --> 01:41:07,017 as a viewer, which is kind of what's happening to him. 2270 01:41:07,017 --> 01:41:08,850 That might be the reason that they did this, 2271 01:41:08,850 --> 01:41:11,640 because this is a very kind of confusing moment. 2272 01:41:11,640 --> 01:41:13,050 And it's just this one shot. 2273 01:41:13,050 --> 01:41:15,600 After this, we go right back to where we were. 2274 01:41:15,600 --> 01:41:19,530 2275 01:41:19,530 --> 01:41:20,880 Now we're back to-- 2276 01:41:20,880 --> 01:41:22,890 she's no longer in the frame. 2277 01:41:22,890 --> 01:41:27,014 Now we have this shot here. 2278 01:41:27,014 --> 01:41:28,060 Does that make sense? 2279 01:41:28,060 --> 01:41:31,965 2280 01:41:31,965 --> 01:41:34,090 IAN SEXTON: So like all things, it's most effective 2281 01:41:34,090 --> 01:41:36,480 when used very judiciously. 2282 01:41:36,480 --> 01:41:38,620 DAN COFFEY: Yep, exactly. 2283 01:41:38,620 --> 01:41:43,660 I point this out more to say try not to break this because, again, 2284 01:41:43,660 --> 01:41:45,730 exactly, use it judiciously. 2285 01:41:45,730 --> 01:41:47,560 It is hard to execute well. 2286 01:41:47,560 --> 01:41:52,940 And just to close it out, the last camera shot was from that angle there. 2287 01:41:52,940 --> 01:41:56,830 So for all intents and purposes, preserve screen direction 2288 01:41:56,830 --> 01:41:57,925 and look direction. 2289 01:41:57,925 --> 01:41:59,800 Keep it on one side of the line or the other. 2290 01:41:59,800 --> 01:42:01,600 They could have totally shot in the other direction 2291 01:42:01,600 --> 01:42:03,480 and had the beach in the background the whole time. 2292 01:42:03,480 --> 01:42:04,897 That would have been totally fine. 2293 01:42:04,897 --> 01:42:06,773 2294 01:42:06,773 --> 01:42:08,190 What would it have done, actually? 2295 01:42:08,190 --> 01:42:08,800 I'm curious. 2296 01:42:08,800 --> 01:42:09,850 Let's look at this for a second. 2297 01:42:09,850 --> 01:42:12,420 AUDIENCE: You would have lost the kicker lights on the side of the face. 2298 01:42:12,420 --> 01:42:15,378 DAN COFFEY: You would have lost the lights on the side of the face, OK. 2299 01:42:15,378 --> 01:42:18,970 But if we had put the cameras on the other side of them, 2300 01:42:18,970 --> 01:42:23,730 over this shoulder over here, where Ian is, 2301 01:42:23,730 --> 01:42:27,247 as far as their bodies' position goes, how would it be different? 2302 01:42:27,247 --> 01:42:28,830 AUDIENCE: It wouldn't be on the front. 2303 01:42:28,830 --> 01:42:29,760 We'd be seeing it from the back. 2304 01:42:29,760 --> 01:42:30,468 DAN COFFEY: Yeah. 2305 01:42:30,468 --> 01:42:33,970 But we'd be kind of behind them, which also feels very different. 2306 01:42:33,970 --> 01:42:36,030 And I don't have a clip of it to show you. 2307 01:42:36,030 --> 01:42:39,028 But it's more closed off, potentially. 2308 01:42:39,028 --> 01:42:41,070 Their bodies are kind of open to the camera here. 2309 01:42:41,070 --> 01:42:44,940 Even though they're overlapping in the frame, 2310 01:42:44,940 --> 01:42:49,550 think about where you put your camera in position to the conversation as well. 2311 01:42:49,550 --> 01:42:53,730 We feel less a part of the conversation and more alienated from it. 2312 01:42:53,730 --> 01:42:56,748 AUDIENCE: And so are you saying this is a bad example? 2313 01:42:56,748 --> 01:42:57,540 DAN COFFEY: No, no. 2314 01:42:57,540 --> 01:42:59,430 They did this intentionally, I think. 2315 01:42:59,430 --> 01:43:03,240 So it's more to show you how this can be used to effect. 2316 01:43:03,240 --> 01:43:07,080 But as you kind of get started, if it's your first time going out 2317 01:43:07,080 --> 01:43:11,520 to shoot a video, I find it's easier to kind of do this unintentionally. 2318 01:43:11,520 --> 01:43:12,260 And so it's-- 2319 01:43:12,260 --> 01:43:15,750 AUDIENCE: So what should I think [INAUDIBLE]?? 2320 01:43:15,750 --> 01:43:23,022 Like, if there was a time when maybe I realize it's not [INAUDIBLE]?? 2321 01:43:23,022 --> 01:43:24,120 And it feels very awkward. 2322 01:43:24,120 --> 01:43:25,620 DAN COFFEY: It feels very awkward? 2323 01:43:25,620 --> 01:43:26,580 Yeah. 2324 01:43:26,580 --> 01:43:27,760 But this is subjective. 2325 01:43:27,760 --> 01:43:29,760 Like, maybe you think, wow, what are they doing? 2326 01:43:29,760 --> 01:43:30,802 They totally messed up. 2327 01:43:30,802 --> 01:43:32,010 My guess is it's intentional. 2328 01:43:32,010 --> 01:43:34,500 IAN SEXTON: Well, I think we can look at-- 2329 01:43:34,500 --> 01:43:38,700 the moment is this matches the narrative intent of the scene, 2330 01:43:38,700 --> 01:43:42,480 sort of like a big psychological switch with this character. 2331 01:43:42,480 --> 01:43:44,790 And in doing so, to sort of see the confusion 2332 01:43:44,790 --> 01:43:47,490 and sort of make us sort of jump a little bit, 2333 01:43:47,490 --> 01:43:49,048 they broke the visual continuity. 2334 01:43:49,048 --> 01:43:51,840 And there's this sort of, something's different, something's wrong, 2335 01:43:51,840 --> 01:43:53,302 people flipped direction. 2336 01:43:53,302 --> 01:43:54,510 You're a little bit confused. 2337 01:43:54,510 --> 01:43:55,427 And then they go back. 2338 01:43:55,427 --> 01:43:58,990 And so in this instance, it matches the narrative intent, 2339 01:43:58,990 --> 01:44:01,740 which is what we're sort of talking about all through this course. 2340 01:44:01,740 --> 01:44:03,990 But when you're setting up a scene where it's just Dan 2341 01:44:03,990 --> 01:44:07,950 and I talking about what we had for breakfast, if you jumped the line, 2342 01:44:07,950 --> 01:44:11,550 there's no narrative to match that to. 2343 01:44:11,550 --> 01:44:13,200 Now it's a mistake. 2344 01:44:13,200 --> 01:44:17,100 And so just being aware of how to properly show 2345 01:44:17,100 --> 01:44:21,150 a scene that's coherent and then when you can change it to sort of 2346 01:44:21,150 --> 01:44:24,072 give your narrative some punch or something like that. 2347 01:44:24,072 --> 01:44:24,780 DAN COFFEY: Yeah. 2348 01:44:24,780 --> 01:44:25,405 Etienne, right? 2349 01:44:25,405 --> 01:44:28,350 2350 01:44:28,350 --> 01:44:30,300 The question, is it too much punch? 2351 01:44:30,300 --> 01:44:31,440 That is subjective. 2352 01:44:31,440 --> 01:44:33,450 And absolutely for you it might be too much. 2353 01:44:33,450 --> 01:44:34,442 For me it might not be. 2354 01:44:34,442 --> 01:44:36,900 But I think that is kind of where we come at it as viewers. 2355 01:44:36,900 --> 01:44:40,260 And at the end of the day, you need to go out and just make something and let 2356 01:44:40,260 --> 01:44:43,740 your audience decide if it works or not too. 2357 01:44:43,740 --> 01:44:45,840 But at the end of the day, make it for yourself. 2358 01:44:45,840 --> 01:44:51,030 And if you're happy with it, that's really the most important thing. 2359 01:44:51,030 --> 01:44:54,300 So it can be broken intentionally. 2360 01:44:54,300 --> 01:44:57,030 But it is foundational and fundamental to understand 2361 01:44:57,030 --> 01:44:59,760 for how you establish relationships between people, 2362 01:44:59,760 --> 01:45:02,880 and make sure that your viewer understands who's talking to who. 2363 01:45:02,880 --> 01:45:05,920 2364 01:45:05,920 --> 01:45:08,713 But know that it can be changed by somebody else walking in 2365 01:45:08,713 --> 01:45:10,630 or something else happening and your character 2366 01:45:10,630 --> 01:45:12,340 glancing in another direction. 2367 01:45:12,340 --> 01:45:14,790 So just be aware and give it some thought. 2368 01:45:14,790 --> 01:45:17,300 I'm going to blow through a few more slides here. 2369 01:45:17,300 --> 01:45:19,440 The 20% or 30% rule. 2370 01:45:19,440 --> 01:45:21,510 This basically says, when you're changing 2371 01:45:21,510 --> 01:45:24,330 from one shot to another, change things by more than 20%. 2372 01:45:24,330 --> 01:45:27,223 2373 01:45:27,223 --> 01:45:29,140 Let's see-- I think I have an example of this. 2374 01:45:29,140 --> 01:45:32,550 So you want to change either your focal length or your zoom level 2375 01:45:32,550 --> 01:45:34,160 or the access of your camera. 2376 01:45:34,160 --> 01:45:37,050 So don't cut to a shot from here to the same shot 2377 01:45:37,050 --> 01:45:40,288 size from the same position of something slightly different right. 2378 01:45:40,288 --> 01:45:42,330 So if you're covering this flying car taking off, 2379 01:45:42,330 --> 01:45:49,600 for example, what you don't want to do, once it starts moving, 2380 01:45:49,600 --> 01:45:51,930 is cut to the same size thing. 2381 01:45:51,930 --> 01:45:54,070 This feels like a jump cut. 2382 01:45:54,070 --> 01:45:59,000 What you want to do is cut from a car taking off 2383 01:45:59,000 --> 01:46:01,530 to something that's 20% or 30% different, whether it's 2384 01:46:01,530 --> 01:46:04,815 the size of the car, whether it's the angle of view, 2385 01:46:04,815 --> 01:46:05,940 the position of the camera. 2386 01:46:05,940 --> 01:46:08,820 You want to cut to something that's just very different so that it doesn't 2387 01:46:08,820 --> 01:46:10,403 feel like a jump cut and feel awkward. 2388 01:46:10,403 --> 01:46:14,010 You can feel in the first version of this just how awkward the cut was. 2389 01:46:14,010 --> 01:46:18,315 So I think it's kind of a stretch here with the flying car. 2390 01:46:18,315 --> 01:46:20,190 But if you're shooting people, you don't want 2391 01:46:20,190 --> 01:46:24,090 to cut from a medium shot to a medium shot of the same person 2392 01:46:24,090 --> 01:46:25,170 from a different angle. 2393 01:46:25,170 --> 01:46:27,560 You want to change that shot, or you want to change the position, 2394 01:46:27,560 --> 01:46:29,040 or cut to the reverse shot first. 2395 01:46:29,040 --> 01:46:33,845 2396 01:46:33,845 --> 01:46:37,390 All right, let's talk about actually covering a scene. 2397 01:46:37,390 --> 01:46:38,920 How do you go about-- 2398 01:46:38,920 --> 01:46:41,980 let's say you're going to work with an actor and a camera operator, 2399 01:46:41,980 --> 01:46:44,960 and you've got a crew at your disposal. 2400 01:46:44,960 --> 01:46:46,210 How might you cover the scene? 2401 01:46:46,210 --> 01:46:48,390 You know you want to shoot it a few different ways, 2402 01:46:48,390 --> 01:46:49,830 get a few different angles. 2403 01:46:49,830 --> 01:46:52,710 2404 01:46:52,710 --> 01:46:56,710 You might use something called the master shot and coverage approach. 2405 01:46:56,710 --> 01:46:59,760 And that is where you know you're going to shoot this several times. 2406 01:46:59,760 --> 01:47:03,392 So you shoot a wide shot of the scene, and shooting the wide shot first 2407 01:47:03,392 --> 01:47:05,100 is helpful versus shooting the close ups, 2408 01:47:05,100 --> 01:47:08,940 because it gives your actors a chance to kind of practice the movement. 2409 01:47:08,940 --> 01:47:11,465 You're not going to notice the discrepancies in performance 2410 01:47:11,465 --> 01:47:15,780 as they kind of work it out if you're on the wide shot. 2411 01:47:15,780 --> 01:47:18,990 And then you want to work your way in on each side of the scene. 2412 01:47:18,990 --> 01:47:20,820 So this is your coverage of the scene. 2413 01:47:20,820 --> 01:47:23,070 So you've got your master shot or your wide shot. 2414 01:47:23,070 --> 01:47:25,980 And then let's say you've got two people talking next to each other. 2415 01:47:25,980 --> 01:47:27,900 You want the coverage of person one. 2416 01:47:27,900 --> 01:47:30,690 And then you're going to get, let's say, the medium shot of them 2417 01:47:30,690 --> 01:47:32,940 doing the same action, repeating the same scene. 2418 01:47:32,940 --> 01:47:35,520 And then maybe you go in for the close up of the same thing. 2419 01:47:35,520 --> 01:47:38,370 And think back to our super coverage homework that you did, 2420 01:47:38,370 --> 01:47:41,250 when you had multiple shot sizes to choose from. 2421 01:47:41,250 --> 01:47:44,158 We shot this in the same way. 2422 01:47:44,158 --> 01:47:46,950 And then after you get person one, you might flip to the other side 2423 01:47:46,950 --> 01:47:48,180 and shoot person two. 2424 01:47:48,180 --> 01:47:50,230 So you start with your medium shot of them 2425 01:47:50,230 --> 01:47:52,230 and then you move to your close up shot of them. 2426 01:47:52,230 --> 01:47:57,210 That is the master shot and coverage approach to covering a scene. 2427 01:47:57,210 --> 01:48:00,000 You work your way in from one side, then the other. 2428 01:48:00,000 --> 01:48:03,840 This is where you have control, and you can do it multiple times. 2429 01:48:03,840 --> 01:48:09,000 What if you're going to get a building blowing up being demolished? 2430 01:48:09,000 --> 01:48:11,890 You can't really do that multiple times, right? 2431 01:48:11,890 --> 01:48:14,850 So there's another method called the overlapping method. 2432 01:48:14,850 --> 01:48:18,660 And this is much more akin to documentary or something 2433 01:48:18,660 --> 01:48:20,907 where you just have much less control. 2434 01:48:20,907 --> 01:48:23,490 And so the idea is that you start with your establishing shot, 2435 01:48:23,490 --> 01:48:24,720 but you don't go through the whole scene. 2436 01:48:24,720 --> 01:48:27,270 So maybe this is where you have a wide shot of the building. 2437 01:48:27,270 --> 01:48:30,412 You've got your construction vehicles pulling up. 2438 01:48:30,412 --> 01:48:31,620 You kind of pause the action. 2439 01:48:31,620 --> 01:48:33,570 You say, hold on a second, construction crew. 2440 01:48:33,570 --> 01:48:37,410 You go up, you get the guy coming out of the bulldozer and the wrecking ball. 2441 01:48:37,410 --> 01:48:40,980 You get a close up shot of him kind of coming out of the truck. 2442 01:48:40,980 --> 01:48:42,810 Action progresses a little bit. 2443 01:48:42,810 --> 01:48:46,170 And then you back up to your super wide shot for the actual building dropping. 2444 01:48:46,170 --> 01:48:49,200 You're kind of shooting this all sequentially, where 2445 01:48:49,200 --> 01:48:51,330 you leave padding between where you can actually 2446 01:48:51,330 --> 01:48:54,840 overlap the action that you're seeing so that you 2447 01:48:54,840 --> 01:48:57,210 have room to actually make an edit. 2448 01:48:57,210 --> 01:49:00,090 So two different kind of styles for covering scenes. 2449 01:49:00,090 --> 01:49:05,100 Change the position in the next segment, and then repeat. 2450 01:49:05,100 --> 01:49:08,840 So two different styles depending on what you're covering. 2451 01:49:08,840 --> 01:49:11,160 For further reading on all of this kind of thing, 2452 01:49:11,160 --> 01:49:14,300 this is a great resource, the DSLR Cinematography Guide. 2453 01:49:14,300 --> 01:49:15,000 It is free. 2454 01:49:15,000 --> 01:49:16,920 You just have to sign up for their newsletter. 2455 01:49:16,920 --> 01:49:18,712 There's a link at the bottom of this slide. 2456 01:49:18,712 --> 01:49:22,170 But it covers everything about getting started in video production. 2457 01:49:22,170 --> 01:49:24,810 And it's a really easy read. 2458 01:49:24,810 --> 01:49:28,710 They cover everything that we've kind of covered in this course so far as well. 2459 01:49:28,710 --> 01:49:32,620 But they specifically are good for video. 2460 01:49:32,620 --> 01:49:34,920 All right, we are pretty much out of time. 2461 01:49:34,920 --> 01:49:37,262 I have some slides on here for doing some production. 2462 01:49:37,262 --> 01:49:38,970 I just want to touch on a couple of them. 2463 01:49:38,970 --> 01:49:41,303 And then the rest of them are really just assets for you 2464 01:49:41,303 --> 01:49:45,680 to have as you go out and start doing actually shooting. 2465 01:49:45,680 --> 01:49:49,410 Budget we're just going to wave our hand at for now, because at this point 2466 01:49:49,410 --> 01:49:51,450 your budget can be $0 for this class. 2467 01:49:51,450 --> 01:49:54,390 We don't expect that you are spending much on anything. 2468 01:49:54,390 --> 01:49:57,070 All right, shot list and visual translations. 2469 01:49:57,070 --> 01:49:59,730 A shot list is really important, I think, 2470 01:49:59,730 --> 01:50:03,210 because it'll make sure that you don't miss anything when you go out to shoot. 2471 01:50:03,210 --> 01:50:06,252 So there's a link to this example here, if you want to use this template. 2472 01:50:06,252 --> 01:50:10,110 But you number your shots, you list what the subject is going to be, 2473 01:50:10,110 --> 01:50:12,240 what shot size you want it to be. 2474 01:50:12,240 --> 01:50:15,180 You know, you can figure out-- put as much detail or as little detail 2475 01:50:15,180 --> 01:50:15,960 as you want. 2476 01:50:15,960 --> 01:50:18,043 But the idea is that this is a spreadsheet that'll 2477 01:50:18,043 --> 01:50:20,550 kind of help you understand what it is you need to get, 2478 01:50:20,550 --> 01:50:23,010 so when you get to your location and you're ready to shoot, 2479 01:50:23,010 --> 01:50:25,510 you can literally go down and say, OK, did we get this shot, 2480 01:50:25,510 --> 01:50:27,540 did we get this shot, did we get this shot? 2481 01:50:27,540 --> 01:50:29,790 And in production, when you're planning your shoot, 2482 01:50:29,790 --> 01:50:33,390 you can think about what kind of shots it is that you want to get. 2483 01:50:33,390 --> 01:50:35,500 I realize this is a really fast overview, 2484 01:50:35,500 --> 01:50:38,550 but I want to get to storyboards in particular. 2485 01:50:38,550 --> 01:50:40,350 The other thing that I recommend as you're 2486 01:50:40,350 --> 01:50:44,010 starting to piece together what it is you're going to do is make storyboards. 2487 01:50:44,010 --> 01:50:49,830 And that is literally where you draw the key frame of each shot 2488 01:50:49,830 --> 01:50:52,770 as you go through your sequence. 2489 01:50:52,770 --> 01:50:55,320 You can add arrows to kind of show, hey, I 2490 01:50:55,320 --> 01:50:58,020 want the camera to kind of move in and get closer here. 2491 01:50:58,020 --> 01:51:01,188 So you get a sense of the scale and position of the characters. 2492 01:51:01,188 --> 01:51:03,480 And if you're working with a crew, this is really handy 2493 01:51:03,480 --> 01:51:05,460 to show your camera operator and say, hey, 2494 01:51:05,460 --> 01:51:09,000 this is kind of what I'm imagining for the shot. 2495 01:51:09,000 --> 01:51:09,750 So really handy. 2496 01:51:09,750 --> 01:51:12,060 I think it's pretty straightforward to describe. 2497 01:51:12,060 --> 01:51:15,510 But then your shot numbers can match your shot list 2498 01:51:15,510 --> 01:51:19,950 so that you can have a very quick translation between your shots. 2499 01:51:19,950 --> 01:51:22,200 So some good examples here from our friend, Dean. 2500 01:51:22,200 --> 01:51:24,850 2501 01:51:24,850 --> 01:51:25,500 A camera plot. 2502 01:51:25,500 --> 01:51:27,570 We kind of did this on the big whiteboard 2503 01:51:27,570 --> 01:51:30,278 here, as we kind of figured out where we wanted to place cameras. 2504 01:51:30,278 --> 01:51:33,347 But it's helpful to figure out where your line of action is going to be. 2505 01:51:33,347 --> 01:51:36,180 And so if, again, you're shooting a scene, let's say, for this class 2506 01:51:36,180 --> 01:51:40,230 or for your first narrative piece that you want to go do, 2507 01:51:40,230 --> 01:51:43,230 helpful to do this for each kind of setup that you're going to do. 2508 01:51:43,230 --> 01:51:45,253 Just draw it out. 2509 01:51:45,253 --> 01:51:47,670 Locations again-- I'm going to wave my hand at this stuff. 2510 01:51:47,670 --> 01:51:49,320 This is more to have some resources. 2511 01:51:49,320 --> 01:51:51,920 But there are certain things you want to think about when you go and actually 2512 01:51:51,920 --> 01:51:55,190 are trying to get a location, and you're going to bring a crew to it 2513 01:51:55,190 --> 01:51:59,350 in particular, like where are the bathrooms, is it close to an airport, 2514 01:51:59,350 --> 01:52:03,680 is there air traffic going by overhead for sound, how much power is there, 2515 01:52:03,680 --> 01:52:04,700 is there Wi-Fi-- 2516 01:52:04,700 --> 01:52:07,130 all those kinds of questions you want to ask. 2517 01:52:07,130 --> 01:52:10,213 This checklist is just something to take with you so that you can remember 2518 01:52:10,213 --> 01:52:13,430 to check off all the boxes as you go. 2519 01:52:13,430 --> 01:52:16,220 If you are working with more than one or two other people, 2520 01:52:16,220 --> 01:52:17,990 it's helpful to have a call sheet. 2521 01:52:17,990 --> 01:52:20,210 This is just one page of information that you 2522 01:52:20,210 --> 01:52:23,290 would send out to the crew about the details of your shoot. 2523 01:52:23,290 --> 01:52:26,540 So you've got a sound guy, you've got a makeup person, you've got your actors, 2524 01:52:26,540 --> 01:52:28,903 you've got a camera crew. 2525 01:52:28,903 --> 01:52:31,820 It starts to become helpful to have all this information in one place. 2526 01:52:31,820 --> 01:52:35,840 So again, just a template that you can download and look at a little bit 2527 01:52:35,840 --> 01:52:38,092 beyond the scope of this class, but just to know 2528 01:52:38,092 --> 01:52:40,550 what happens when you get with slightly bigger productions. 2529 01:52:40,550 --> 01:52:44,090 This is the bottom half of the same sheet. 2530 01:52:44,090 --> 01:52:45,740 And a contact sheet. 2531 01:52:45,740 --> 01:52:46,940 Any old spreadsheet will do. 2532 01:52:46,940 --> 01:52:51,965 But again, just giving you some template resources for this kind of thing. 2533 01:52:51,965 --> 01:52:54,840 We got asked about this early on in the class, a talent release form. 2534 01:52:54,840 --> 01:52:57,560 Here's kind of a generic one to use. 2535 01:52:57,560 --> 01:53:00,620 Depending on the needs of your production, you may or not need this. 2536 01:53:00,620 --> 01:53:02,510 It's basically getting someone's permission 2537 01:53:02,510 --> 01:53:04,882 to use them if you're going to publish your media. 2538 01:53:04,882 --> 01:53:06,590 For the sake of this class, everything is 2539 01:53:06,590 --> 01:53:08,720 going to stay private and just within this class. 2540 01:53:08,720 --> 01:53:11,733 But after this, you might want to release your project to the world. 2541 01:53:11,733 --> 01:53:13,400 And you should have permission for that. 2542 01:53:13,400 --> 01:53:15,400 And so this is kind of a generic release form 2543 01:53:15,400 --> 01:53:16,858 that will kind of grant permission. 2544 01:53:16,858 --> 01:53:20,520 Again, you can download this-- it's from a website-- 2545 01:53:20,520 --> 01:53:23,720 and use it as you see fit. 2546 01:53:23,720 --> 01:53:26,730 And this, this is really helpful. 2547 01:53:26,730 --> 01:53:29,232 So I think that if nothing else for this class, 2548 01:53:29,232 --> 01:53:31,190 you should print this out and take it with you. 2549 01:53:31,190 --> 01:53:33,290 And you may not need everything on this list, 2550 01:53:33,290 --> 01:53:36,040 but it will at least make you think about what you're going to do. 2551 01:53:36,040 --> 01:53:39,393 Because the worst thing to do is to get ready for a shoot, get your actor, 2552 01:53:39,393 --> 01:53:41,810 whoever you're working with there, and not have something. 2553 01:53:41,810 --> 01:53:44,310 Or you forgot your batteries, or you forgot your media card. 2554 01:53:44,310 --> 01:53:47,510 And it happens to all of us, but it is totally preventable. 2555 01:53:47,510 --> 01:53:49,400 And make a checklist. 2556 01:53:49,400 --> 01:53:51,370 This is like Gear List Bingo. 2557 01:53:51,370 --> 01:53:53,120 Make sure that you can at least go through 2558 01:53:53,120 --> 01:53:55,803 and say, OK, I have all the pieces that I need out of this, 2559 01:53:55,803 --> 01:53:56,720 or the related pieces. 2560 01:53:56,720 --> 01:54:01,670 So again, another downloadable form that you can take and borrow 2561 01:54:01,670 --> 01:54:03,570 with you as you shoot. 2562 01:54:03,570 --> 01:54:07,178 So a few summarizing thoughts on the next slide, 2563 01:54:07,178 --> 01:54:08,970 but I'm not even going to read them to you. 2564 01:54:08,970 --> 01:54:10,790 You can read them off the slides. 2565 01:54:10,790 --> 01:54:15,050 And that concludes our intro to video production in this class. 2566 01:54:15,050 --> 01:54:16,650 The next assignment has been posted. 2567 01:54:16,650 --> 01:54:19,190 So if you want to take a look at that, feel free. 2568 01:54:19,190 --> 01:54:22,270 Are there any questions before we wrap things up tonight? 2569 01:54:22,270 --> 01:54:24,322 That was a speedy end to this. 2570 01:54:24,322 --> 01:54:25,530 I'm sorry to rush through it. 2571 01:54:25,530 --> 01:54:27,238 I just don't want to keep everybody late. 2572 01:54:27,238 --> 01:54:30,698 And we're happy to stick around and answer questions. 2573 01:54:30,698 --> 01:54:33,240 All right, if there's nothing, thanks for joining us tonight. 2574 01:54:33,240 --> 01:54:35,362 And we'll see you next week. 2575 01:54:35,362 --> 01:54:35,862