CS50 Video Player
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    • 0:00:00Introduction
    • 0:00:51Frame Rates
    • 0:01:55Human Perception
    • 0:04:54Determining Your Frame Rate
    • 0:07:18"Overcranking" and "Undercranking"
    • 0:19:50Exposure Triangle
    • 0:20:34Shutter Speed
    • 0:26:08What to Choose?
    • 0:36:33Shutter Angle to Shutter Speed
    • 0:50:03The Jello Effect
    • 0:58:51Rolling Shutter
    • 0:59:43Camera Movement
    • 1:00:23Pan
    • 1:01:33Tilt
    • 1:03:24Dolly
    • 1:08:13Truck
    • 1:09:21Pedestal
    • 1:10:55Arc
    • 1:14:52Camera Support
    • 1:15:07Tripod
    • 1:17:10Monopod
    • 1:19:21Handheld
    • 1:19:51Shoulder
    • 1:20:29Dolly
    • 1:20:57Slider
    • 1:21:22POV Action Cameras/Drones
    • 1:22:15Gimbal-Based Stabilizers
    • 1:25:37Practically Speaking
    • 1:27:22Continuity
    • 1:28:48180-Degree Rule
    • 1:45:1420% (30%) Rule
    • 1:46:43How to Cover a Scene
    • 1:46:52Master Shot/Coverage
    • 1:48:11Overlapping Method
    • 1:49:07Further Reading
    • 1:49:32Pre-Production
    • 0:00:00[MUSIC PLAYING]
    • 0:00:15DAN COFFEY: All right.
    • 0:00:16Hello, and welcome back to another week of exploring digital media.
    • 0:00:19This week we're going to talk about the basics of video production.
    • 0:00:22We have wrapped up our still photography component which has been a lot of fun.
    • 0:00:26It's been really fun to see what you guys have done.
    • 0:00:28We're excited to see your projects.
    • 0:00:31And so now we move into the world of video,
    • 0:00:33where we're talking about more than just one frame at a time.
    • 0:00:37So speaking of which, as I said, we've been focused on one frame.
    • 0:00:41But now our camera is literally capturing at high speed
    • 0:00:45multiple frames at a time.
    • 0:00:46So there's a lot more that we have to think about as we do this.
    • 0:00:50So we refer to how many times we see an image per second
    • 0:00:54as the frame rate for a video.
    • 0:00:56And what is the frame rate of film?
    • 0:00:59Like, you go see a movie in the theater, what
    • 0:01:00is the typical frame rate you'll see?
    • 0:01:03Anybody know?
    • 0:01:08IAN SEXTON: A few answers from online.
    • 0:01:10DAN COFFEY: Yeah?
    • 0:01:11IAN SEXTON: We'll see 24 frames per second.
    • 0:01:13DAN COFFEY: 24 frames per second.
    • 0:01:14Yes.
    • 0:01:14Yes, exactly.
    • 0:01:16And certainly this graphic shows 60 FPS, 60 frames per second.
    • 0:01:21What IS 60 frames per second?
    • 0:01:23Why choose one versus the other?
    • 0:01:24That's kind of some of what we're going to unpack a little bit tonight.
    • 0:01:28But how about broadcast television?
    • 0:01:30How many frames per second is that shown at?
    • 0:01:36AUDIENCE: 24.
    • 0:01:37DAN COFFEY: 24.
    • 0:01:38No, actually, it's not.
    • 0:01:40So it goes back to some old standards, but 60 frames per second
    • 0:01:44is what broadcast television is sent at.
    • 0:01:46And that doesn't mean that the content that you're viewing
    • 0:01:49was recorded at 60 frames per second necessarily.
    • 0:01:51But it has been conformed to 60 frames per second as you watch it back.
    • 0:01:56All right.
    • 0:01:56So as far as frame rate goes, this all kind of comes down to human perception.
    • 0:02:01And how do we determine that 24 frames per second is the--
    • 0:02:05how did that become the standard for film making?
    • 0:02:07So let's look at a couple of clips here, starting
    • 0:02:09with just three frames per second, as you see on the top right corner.
    • 0:02:12Let's watch this and see how this little clip feels.
    • 0:02:19And to be clear, this is a video that was shot at a higher frame rate
    • 0:02:21and has been conformed to three frames per second.
    • 0:02:24But the effect is the same.
    • 0:02:25How did this motion feel?
    • 0:02:29Very unnatural, right?
    • 0:02:30Very kind of not pleasant to watch.
    • 0:02:33You're noticing every single frame rather than watching
    • 0:02:36the motion of the people walking.
    • 0:02:38So let's jump ahead here.
    • 0:02:39Here's six frames per second.
    • 0:02:40How does this one feel?
    • 0:02:46We're getting there.
    • 0:02:47We're kind of still seeing quite a bit of judder,
    • 0:02:49as we refer to as a frame rate that is very low and kind of clunky like that.
    • 0:02:55Let's move ahead to 12 frames per second.
    • 0:03:02OK.
    • 0:03:03Is that starting to feel a bit more like a natural motion?
    • 0:03:06Yeah?
    • 0:03:07And let's double up one more time.
    • 0:03:08Let's go to 24 frames per second, as we've already discussed
    • 0:03:10as the standard frame rate for film.
    • 0:03:16And so this kind of comes down to what it is that we're looking at.
    • 0:03:19We're looking at a group of pictures in a rapid succession.
    • 0:03:22That's all video is.
    • 0:03:24It's encoded a bit more smartly than that, but at the end of the day,
    • 0:03:27you're really just looking at pictures being--
    • 0:03:29it's like a flip book you open and flip through very quickly,
    • 0:03:32the images move forward.
    • 0:03:33So 24 frames per second has kind of become the standard.
    • 0:03:36Does anybody know the reasoning for why that was initially the standard back--
    • 0:03:40I don't even know the year that it was established.
    • 0:03:42But--
    • 0:03:44IAN SEXTON: I actually don't know off the top of my head either.
    • 0:03:47So I should look into it.
    • 0:03:48DAN COFFEY: So we'll look that one up.
    • 0:03:49But 12 frames per second is kind of where
    • 0:03:52we start to not be able to distinguish the difference between the still images
    • 0:03:57being flashed before us.
    • 0:03:58But 24 frames per second is the standard.
    • 0:04:00So my question is why.
    • 0:04:07No?
    • 0:04:08Go ahead, Alec.
    • 0:04:10AUDIENCE: I was just saying, to save money for 24 frames--
    • 0:04:13DAN COFFEY: Yeah.
    • 0:04:13Well, that's actually interesting.
    • 0:04:14That's a part of it.
    • 0:04:15So on this film strip here, we had 24 frames per second.
    • 0:04:19I'm sorry, where you have your film, you've
    • 0:04:21got your picture encoded alongside your audio.
    • 0:04:24So the audio track actually ran alongside the picture.
    • 0:04:28And one of the reasons--
    • 0:04:30film is not cheap, so we wanted to find a way to use as little as possible.
    • 0:04:34But we also needed to have enough fidelity in the audio
    • 0:04:36that it sounded nice and clear and sharp and was not too muddy
    • 0:04:39and that you could actually understand it.
    • 0:04:40And 24 frames was a good frame rate for that-- didn't cost too much,
    • 0:04:45you had a good natural motion to it, and you had good audio fidelity.
    • 0:04:49So that's kind of where the standard was set.
    • 0:04:52So the audio, as I said.
    • 0:04:55And so as we define our frame rate, we can kind of pick and choose this.
    • 0:04:58If you open up Shotcut or Adobe Premiere, or whatever
    • 0:05:01nonlinear editing system you're using, you
    • 0:05:03can say, hey, I want my project to be at this frame rate.
    • 0:05:06And so you can also additionally set your camera and say,
    • 0:05:09I want to shoot at 24 frames per second.
    • 0:05:11I want to shoot at 30 frames per second.
    • 0:05:13I want to shoot at 60 frames per second.
    • 0:05:15It kind of depends on the hardware that you're actually using.
    • 0:05:19But common frame rates that we might see--
    • 0:05:2124 is equivalent to what we usually see for film.
    • 0:05:24A common video standard is actually 30 frames per second.
    • 0:05:28The soap opera effect where everything is very smooth,
    • 0:05:31that comes down to a 60 frames per second playback.
    • 0:05:34And then you've got some higher frame rates
    • 0:05:36at the other end that can be used for specialty things.
    • 0:05:40So you might have a camera where you're kind
    • 0:05:42of saying, hey, how do I actually set my frame rate in my camera?
    • 0:05:45And so if you've got a Canon, it might look like this.
    • 0:05:47If you've got a Nikon, like this, and a Sony, like this.
    • 0:05:50And the idea is that you're going to choose
    • 0:05:52your frame size, the actual width by height,
    • 0:05:56as well as how many frames per second.
    • 0:05:58And so looking here at top left with the Canon frame size,
    • 0:06:02we've got 1920, which is short for an HD frame, or 1920 by 1080
    • 0:06:06as the resolution, at 30 frames per second.
    • 0:06:09The "ALL-I" in this case just refers to how the frames are actually encoded
    • 0:06:12and means that it's easier for a non-linear editing system to actually
    • 0:06:16access every frame.
    • 0:06:17When you get these IPB frames, it's just a lighter weight
    • 0:06:20version of encoding where it's harder to decode is really what we need to know.
    • 0:06:25But it's much more space efficient.
    • 0:06:27So if you're given this option on a Canon camera, choose the ALL-I.
    • 0:06:31And so you can choose 30 frames per second, 24 frames per second,
    • 0:06:36or you can jump down to the next, the smaller resolution of HD video,
    • 0:06:39which is 1280 by 720, or 720p for short.
    • 0:06:44And so you can choose either of those as well.
    • 0:06:47You know, Nikon looks pretty much the same.
    • 0:06:49And with Sony, you actually need to choose your Kodak, what
    • 0:06:52the video is actually being stored as.
    • 0:06:54Kodak is simply that kind of container that holds all the frames together
    • 0:06:58and defines how it is actually encoded.
    • 0:07:00But we don't need to know those details.
    • 0:07:02We just need to know that you can actually choose on this camera.
    • 0:07:05And if you're using Sony, XAVC is just the newer video
    • 0:07:10codec that they are using.
    • 0:07:11So choose that.
    • 0:07:12And then you can choose what frame rate and frame size you want.
    • 0:07:19All right.
    • 0:07:20So overcranking and undercranking-- does anybody
    • 0:07:22know what these terms mean offhand?
    • 0:07:25We're talking about frame rates.
    • 0:07:26That's a little hint.
    • 0:07:27This "jif" here-- or GIF, however you want to say it-- is a hint as well.
    • 0:07:33Overcranking, what might this be?
    • 0:07:37Any guesses from online?
    • 0:07:42So what is this hand doing as it cranks?
    • 0:07:43What's happening?
    • 0:07:44What are we looking at?
    • 0:07:45We're looking at an antique camera.
    • 0:07:48But we're seeing two kind of things happen in the camera.
    • 0:07:50We're seeing this kind of wheel go around,
    • 0:07:52and we're seeing this bar here kind of slide up and down.
    • 0:07:55Any guesses?
    • 0:07:57AUDIENCE: Does it mean maybe that the [INAUDIBLE]
    • 0:08:02the succession of the images up and down?
    • 0:08:04DAN COFFEY: Yeah.
    • 0:08:05Benjamin is saying is this actually control
    • 0:08:06the speed, the images moving up and down.
    • 0:08:09So this is the shutter that we're seeing.
    • 0:08:11We're used to talking about shutter speed from still photography.
    • 0:08:14And then this is the--
    • 0:08:15I don't know what this is technically called,
    • 0:08:17but it advances the frames of film down through the camera as it moves.
    • 0:08:20And in the old school cameras, it literally
    • 0:08:22was a matter of kind of keeping a constant crank going
    • 0:08:25to determine your frame rate.
    • 0:08:27IAN SEXTON: It's called the claw.
    • 0:08:28DAN COFFEY: The what?
    • 0:08:29IAN SEXTON: The claw.
    • 0:08:29DAN COFFEY: The claw.
    • 0:08:30OK, yes.
    • 0:08:31So the claw hooks into the perforation on the film and pulls the frame down.
    • 0:08:36And so what happens if you start to crank this more quickly?
    • 0:08:39You overcrank.
    • 0:08:41The film advances faster.
    • 0:08:43And so what is the effect of that if you were to play it back?
    • 0:08:47AUDIENCE: Fast motion.
    • 0:08:49DAN COFFEY: Well, fast motion is what you would think.
    • 0:08:52You record a lot of frames very quickly.
    • 0:08:54But if you were to play them back at your normal frame
    • 0:08:57rate, the 24 frames per second, it's going to be slow motion.
    • 0:09:00So it's kind of counterintuitive in that sense.
    • 0:09:02But it's because you're cranking very quickly, recording a lot of data,
    • 0:09:05and then playing it back more slowly, you get slow motion.
    • 0:09:08So we thought to kind of show what this example
    • 0:09:11looked like, we'd set up in this beautiful Harvard Library and recruit
    • 0:09:14a boxer to kind of come in and show us what different frame rates can
    • 0:09:17look like.
    • 0:09:18So here we go.
    • 0:09:19We've got Conor Doyle here being a guest for us.
    • 0:09:22So yes, just a little hint as to what the setup looked like.
    • 0:09:28So the things we want to keep in mind here, I've kind of alluded to these,
    • 0:09:32are the captured frame rate-- this is the frame rate
    • 0:09:34that you set your camera to, how many frames per second you're
    • 0:09:37recording-- versus your project frame rate or your timeline frame rate--
    • 0:09:40how many frames per second are being played back over the sequence.
    • 0:09:44And they matter.
    • 0:09:45If they're the same thing--
    • 0:09:47so here, if you look at the top right of this frame,
    • 0:09:50we've got 24 frames per second being played back at 24 frames per second.
    • 0:09:54This is going to be a real time playback.
    • 0:09:56So as we watch this, Conor's punching the punching bag here.
    • 0:10:03All right, feels like normal time.
    • 0:10:05If you were standing there watching him, this is the speed at which it happened.
    • 0:10:09But if we look at--
    • 0:10:11we overcranked here, we cranked very quickly,
    • 0:10:14we recorded 250 frames per second.
    • 0:10:17And we play it back at 24 frames per second, roughly how--
    • 0:10:20what's the time delta here?
    • 0:10:22How many times slower is this going to be?
    • 0:10:2610 times?
    • 0:10:27Yeah.
    • 0:10:27Because 24 times 10 is 240.
    • 0:10:30We'll round up to 250.
    • 0:10:31So 250 frames per second, his punching should be about 1/10
    • 0:10:35of the speed of normal time when we play it back.
    • 0:10:38And here it is.
    • 0:10:45So it really matters here, what is it that we want to do?
    • 0:10:48Do we want to slow things down?
    • 0:10:49We need to shoot at a higher frame rate.
    • 0:10:50But how much higher do we need to shoot?
    • 0:10:52And that depends on how fast your sequence
    • 0:10:54is, how many frames per second you're going to playback
    • 0:10:57that your viewer is going to watch.
    • 0:10:59All right.
    • 0:11:00We'll go through a few different stops.
    • 0:11:01Here is 250 frames at 250 frames.
    • 0:11:04So what do we suspect that we'll see in this version?
    • 0:11:11AUDIENCE: Again, lifelike.
    • 0:11:13DAN COFFEY: Yeah, real time, lifelike.
    • 0:11:15Let's see, is this lifelike?
    • 0:11:17It feels very different, though, doesn't it?
    • 0:11:19AUDIENCE: Yeah, it does.
    • 0:11:20It feels faster.
    • 0:11:21DAN COFFEY: It feels faster, OK.
    • 0:11:22We'll unpack this a little bit.
    • 0:11:23IAN SEXTON: But the time it takes for him to punch
    • 0:11:25feels sort of the same amount.
    • 0:11:28But it has a different feeling.
    • 0:11:29That's really it.
    • 0:11:30DAN COFFEY: Exactly.
    • 0:11:31All right, how about 120 frames at 24 frames per second?
    • 0:11:35I don't need to keep beating this over and over again.
    • 0:11:37This is still slow, not quite as slow as it was before.
    • 0:11:40But you get different amounts of detail as we kind of do this as well, right?
    • 0:11:48Good job there, Conor.
    • 0:11:49If you don't know, Conor is one of our camera operators in this class,
    • 0:11:52so he very nicely volunteered to work with us on this.
    • 0:11:56All right, 60 frames per second.
    • 0:12:08All right, so we're getting faster.
    • 0:12:10We're getting a little bit more--
    • 0:12:12we're actually losing a little bit more detail.
    • 0:12:15All right, 30 frames per second.
    • 0:12:17So this is almost real time.
    • 0:12:19This is very slightly slowed down.
    • 0:12:34All right.
    • 0:12:34And then 12 frames per second.
    • 0:12:37What's going to happen here?
    • 0:12:41So we're not talking about--
    • 0:12:43this is going to be on the undercranking side,
    • 0:12:45so we're turning the frames per second more slowly
    • 0:12:48than what we're playing them back at, which
    • 0:12:51is going to result in-- we've just looked at slow motion.
    • 0:12:53This is going to be fast motion, right?
    • 0:12:57It's almost like an old-timey film.
    • 0:13:04All right.
    • 0:13:04So this is how fast compared to real time?
    • 0:13:06Because it's easy math to do.
    • 0:13:10AUDIENCE: Twice as fast?
    • 0:13:11DAN COFFEY: Yeah, twice as fast.
    • 0:13:12Exactly, exactly.
    • 0:13:13AUDIENCE: [INAUDIBLE]
    • 0:13:16DAN COFFEY: Yeah.
    • 0:13:17And then 12 frames at 12 frames per second, how is this going to equate?
    • 0:13:23It's going to be real time still.
    • 0:13:25How is it going to look, though?
    • 0:13:26AUDIENCE: Slower?
    • 0:13:27DAN COFFEY: It's going to be--
    • 0:13:28well, defined slower.
    • 0:13:31AUDIENCE: It's gonna feel slower.
    • 0:13:33DAN COFFEY: It's going to feel slower.
    • 0:13:34OK, let's see if it feels slower.
    • 0:13:37It's just more choppy, right?
    • 0:13:39You got a lot more judder in this frame.
    • 0:13:42But the action is still happening at the same rate.
    • 0:13:48So very interesting the choices we make with how much we capture at
    • 0:13:51and how much we play back at.
    • 0:13:54And then four frames per second--
    • 0:13:57so this is going to be a quarter of real time, or four times real time.
    • 0:14:01I've got to invert my math.
    • 0:14:04Very quickly here.
    • 0:14:07So we're looking at a lot of extremes, but you
    • 0:14:08can see that there's certainly in between where things could be useful.
    • 0:14:11If you want to kind of have this dream-like fashion,
    • 0:14:14maybe you want to record at 60 frames per second
    • 0:14:16and play back at 24 frames per second.
    • 0:14:18Or if you really want to highlight something that happens quickly--
    • 0:14:22let's say, like, a whip hitting something--
    • 0:14:25you might want to shoot that even faster, 120 or 250 frames per second--
    • 0:14:29and then play it back at 24 frames per second.
    • 0:14:31AUDIENCE: Is this what's happening in the old Charlie Chaplin
    • 0:14:34films or [INAUDIBLE]?
    • 0:14:36IAN SEXTON: Yes.
    • 0:14:37So that really comes down to the fact that they were sort
    • 0:14:40of standardized in their frame rates.
    • 0:14:42The very early film was hand cranked.
    • 0:14:44And so you can imagine if you had to crank through 100 feet of film,
    • 0:14:47you would start fast and sort of slow down as you got more and more tired.
    • 0:14:51So there's a sort of a variable frame rate to those.
    • 0:14:53And then when it became mechanical, a lot of films
    • 0:14:57were shot at 18 frames per second, which is slower than 24,
    • 0:15:01and it has that sort of staccato feel to it,
    • 0:15:04where everything feels a little bit sped up because it was then--
    • 0:15:07we now watch it at 24 frames per second in playback.
    • 0:15:11So actually, that translation is happening there.
    • 0:15:13But that's exactly it, yeah.
    • 0:15:15DAN COFFEY: Yeah, absolutely.
    • 0:15:18All right.
    • 0:15:19So if you want to actually watch these examples, download the slides.
    • 0:15:22And this is just a link to a playlist where you can
    • 0:15:25watch these videos in your own time.
    • 0:15:27And so here's a more extreme video for you.
    • 0:15:30You can watch how much time passes here.
    • 0:15:32This is actually over the course of five days.
    • 0:15:35So this is an extreme version of undercranking,
    • 0:15:38where we get to watch some rain, watch these flowers kind of grow up
    • 0:15:43and bloom.
    • 0:15:53So kind of like not as pretty as an actual nature
    • 0:15:55show, but the idea is the same, where you're compressing time here,
    • 0:16:00which is a really interesting thing to do.
    • 0:16:02So, given that we know a little bit now about how different frame
    • 0:16:05rates play back and gives a little bit different feeling,
    • 0:16:09let's put this in context and actually watch a clip and discuss this together.
    • 0:16:12So this is a clip from Mr. Robot, season 8.
    • 0:16:15And they do a really interesting thing in this clip.
    • 0:16:17So we'll just take a look.
    • 0:16:19It's just a short clip, and then we'll talk about it.
    • 0:16:21If we can dim the lights, please.
    • 0:16:24[VIDEO PLAYBACK]
    • 0:16:25- I've got to do that now--
    • 0:16:27security token, Gideon's phone.
    • 0:16:30I need his phone.
    • 0:16:3150 hours and 19 minutes left.
    • 0:16:33Damn.
    • 0:16:34She infected me with her time paranoia.
    • 0:16:36We're all living in each other's paranoia.
    • 0:16:39You definitely can't argue that.
    • 0:16:41Is that why everyone tries to avoid each other?
    • 0:16:44I need to calm down.
    • 0:16:45I wish I could be an observer like you.
    • 0:16:47Then I could think more calmly.
    • 0:16:50[SOOTHING MUSIC]
    • 0:16:59This is comfortable, less stressful.
    • 0:17:04In fact, I feel like I can see everything, know everything this way.
    • 0:17:10Hm.
    • 0:17:11Do you know more than me?
    • 0:17:13That wouldn't be fair, my imaginary friend knowing more than me.
    • 0:17:18So what would you do now?
    • 0:17:20We need a distraction to get Gideon's phone.
    • 0:17:27[TRAFFIC AMBIENCE]
    • 0:17:31- Darlene?
    • 0:17:32I need you to do something for me.
    • 0:17:34- She can help.
    • 0:17:35[END VIDEO PLAYBACK]
    • 0:17:36DAN COFFEY: All right.
    • 0:17:37So let's talk about what we just saw for a second.
    • 0:17:39So just to give a little context, Elliot here, our computer hacker,
    • 0:17:42is under deadline.
    • 0:17:43There's something looming that's going to happen.
    • 0:17:46And so he starts off a little bit anxious about what's going on,
    • 0:17:50and he kind of takes a moment to talk to us--
    • 0:17:53his imaginary friend, the audience--
    • 0:17:56and put himself in our shoes for a second.
    • 0:17:58But visually, what do we see?
    • 0:17:59Let's talk about this.
    • 0:18:00Let's back up and actually look, if I can find my mouse.
    • 0:18:04There it is.
    • 0:18:06So at the beginning, describe the frame rate for me.
    • 0:18:09How does this part feel?
    • 0:18:11[VIDEO PLAYBACK]
    • 0:18:11- --now, security token, Gideon's phone.
    • 0:18:15I need his phone.
    • 0:18:17[END VIDEO PLAYBACK]
    • 0:18:17DAN COFFEY: I'm sorry, what was it?
    • 0:18:19AUDIENCE: Overcranked.
    • 0:18:20DAN COFFEY: Overcranked?
    • 0:18:21Why overcranked?
    • 0:18:22AUDIENCE: Or faster.
    • 0:18:23DAN COFFEY: Faster?
    • 0:18:24Potentially, but a relatively normal frame rate.
    • 0:18:27It felt a little bit frantic, I think, is the kind of description
    • 0:18:31that maybe fits the feeling of it.
    • 0:18:33And so we'll talk about that in just a second.
    • 0:18:35But it was probably pretty close to real time, right?
    • 0:18:37There was not-- we didn't feel like we lost a whole lot of data necessarily.
    • 0:18:42All right.
    • 0:18:42And then what happens?
    • 0:18:44There's a change.
    • 0:18:46[VIDEO PLAYBACK]
    • 0:18:47- She infected me with her time paranoia.
    • 0:18:49We're all living in each other's paranoia.
    • 0:18:52You definitely can't argue with that.
    • 0:18:54Is that why everyone tries to avoid each other?
    • 0:18:57I need to calm down.
    • 0:18:58I wish I could be an observer like you.
    • 0:19:00Then I could think more calmly.
    • 0:19:02[SOOTHING MUSIC]
    • 0:19:04[END VIDEO PLAYBACK]
    • 0:19:06DAN COFFEY: So there's actually a frame rate change
    • 0:19:09that's ramped up in the clip, right?
    • 0:19:10So we actually change the rate of playback,
    • 0:19:14which is done in post-production, over the same number of seconds,
    • 0:19:18because it's overcranking, where we see a slower playback.
    • 0:19:22And it gives us this kind of dreamlike effect, right?
    • 0:19:26AUDIENCE: It's very contemplative.
    • 0:19:28DAN COFFEY: Yeah.
    • 0:19:28And the effect for us, the audience, as we watch this,
    • 0:19:32is that the rest of the world literally slows down.
    • 0:19:35It's narrated still in real time, so it feels like we're kind of--
    • 0:19:40as Elliot takes a look around and kind of sees things, I think he says,
    • 0:19:44we kind of feel that with him.
    • 0:19:49All right, a fun example there.
    • 0:19:51So as far as what happens to us as we start
    • 0:19:54to shoot video and look at more than one frame at a time,
    • 0:19:57going back to our exposure triangle, where we are now controlling
    • 0:19:59our aperture, our ISO, and our shutter speed, what limitation rate
    • 0:20:03are we going to bump up against if we're shooting
    • 0:20:06some number of frames per second?
    • 0:20:09One of these is going to kind of get locked off on us.
    • 0:20:13Anybody know?
    • 0:20:17AUDIENCE: Shutter speed.
    • 0:20:18DAN COFFEY: Shutter speed?
    • 0:20:19Why?
    • 0:20:20AUDIENCE: I feel like what I've learned thus far that it is directly
    • 0:20:25tied to the frame rate.
    • 0:20:28DAN COFFEY: Yeah.
    • 0:20:29Well, if you think about what is actually happening with shutter speed--
    • 0:20:32so yes, the answer, shutter speed is kind of locked.
    • 0:20:34So the shutter of the camera--
    • 0:20:39in the old mechanical camera here, we've got this notch that's cut out
    • 0:20:42and that rotated around and exposed the film.
    • 0:20:45If we look at the modern equivalent of that, let's say with this shutter right
    • 0:20:52here, we've got time when the disk spins around
    • 0:20:55where the film plane or the central plane is exposed
    • 0:20:57and when it's closed off.
    • 0:20:59And so that represents how much time is exposed, how much time the film is
    • 0:21:04actually exposed for.
    • 0:21:05So if our frame rate is 24 frames per second,
    • 0:21:10that means that the film needs to advance past this thing here 24
    • 0:21:16times per second.
    • 0:21:18So what's the longest--
    • 0:21:19if we had no shutter covering this and it was just light coming through,
    • 0:21:23what's the longest exposure we could have, if it's 24 frames per second?
    • 0:21:28AUDIENCE: Is the answer on the bottom?
    • 0:21:30DAN COFFEY: No.
    • 0:21:32It's 1/24 of a second, because there's nothing to block any light.
    • 0:21:36So the answer is 1/24 of a second is the longest exposure that we could have.
    • 0:21:41And so just shooting your digital photography, 1/24 of a second,
    • 0:21:44is that a long shutter speed?
    • 0:21:46Is it fast?
    • 0:21:47What kind of motion would you get from that?
    • 0:21:49AUDIENCE: You're going to incorporate motion blur.
    • 0:21:51DAN COFFEY: You're going to get motion blur, right?
    • 0:21:53Yeah.
    • 0:21:53So what if you're shooting faster than 24 frames per second?
    • 0:21:56Let's say you're shooting, I don't know, 120 frames per second.
    • 0:22:01With no shutter involved, what is the most exposure
    • 0:22:05you can get from your shutter speed?
    • 0:22:06AUDIENCE: With no shutter involved?
    • 0:22:09DAN COFFEY: Yeah.
    • 0:22:09I mean, digital cameras don't actually have a physical shutter.
    • 0:22:12Some do, most don't.
    • 0:22:13So let's say we take the shutter out of the equation.
    • 0:22:16What is the longest exposure time we could have at 120 frames per second?
    • 0:22:20AUDIENCE: I don't know the answer to that question.
    • 0:22:23DAN COFFEY: It's 1 over the frame rate, right?
    • 0:22:25Because it's literally 1/120 of a second.
    • 0:22:28And so again, thinking back to when you're out shooting with your camera,
    • 0:22:33can you get motion blur from 1/120 of a second?
    • 0:22:37AUDIENCE: Depending on the subject.
    • 0:22:38If it's moving quickly--
    • 0:22:39DAN COFFEY: Sure, if it's moving very quickly, yes.
    • 0:22:41That's a good point.
    • 0:22:42I shouldn't say you can't, because you can.
    • 0:22:44But your kind of natural motion blur that we're
    • 0:22:47kind of used to seeing as humans, we're going to lose that.
    • 0:22:51Everything will be sharper.
    • 0:22:53And so if you think back to old film cameras,
    • 0:22:55we had to actually close the shutter for some period of time
    • 0:22:58so that the film could advance.
    • 0:22:59Otherwise everything would just be this kind of blur effect
    • 0:23:02as you advance the film through the camera.
    • 0:23:04And so at 24 frames per second, kind of a typical shutter
    • 0:23:09that gives us natural motion blur, is 1/2 of your time being exposed.
    • 0:23:14So the frame is covered for half of the time and then open for half the time.
    • 0:23:19So basically for 24 frames per second, that's
    • 0:23:23why we get a 1/48 shutter speed as kind of our natural shutter speed,
    • 0:23:30because we're exposing for half the time of the frame rate.
    • 0:23:35So if we were exposing for the whole time of the frame rate,
    • 0:23:38it would be 1 over 24.
    • 0:23:40But because we're exposing for half of that, we doubled that number,
    • 0:23:43and it goes 1 over 48.
    • 0:23:45Does that makes sense?
    • 0:23:47Did I bungle that?
    • 0:23:48IAN SEXTON: No.
    • 0:23:49DAN COFFEY: OK.
    • 0:23:50So if we spin these, we kind of get a sense of this.
    • 0:23:53So we've got the film advancing through, getting exposed.
    • 0:23:57But as we start to kind of close down the shutter,
    • 0:24:01as we talked about what happens when we shoot at faster shutter speeds--
    • 0:24:06like, again, these numbers at the bottom are all 24 frames per second
    • 0:24:09that relate to this, because 24 frames per second is what we're going to say
    • 0:24:13is the typical film frame rate, so we're going
    • 0:24:15to talk about that frame rate a lot.
    • 0:24:18So a normal shutter speed is going to be 1 over 48 per second.
    • 0:24:22And not all cameras can do that.
    • 0:24:25I know the Canon 5D, it's 1 over 50.
    • 0:24:27But that's close enough.
    • 0:24:28We're going to say we are in the ballpark for that.
    • 0:24:32So what is a 90 degree shutter angle going to do?
    • 0:24:35And it's literally because of the shape of this cut out here.
    • 0:24:38That's where the 90 degrees comes from.
    • 0:24:39That's where the 180 degrees comes from.
    • 0:24:43But if we think about what that actually means,
    • 0:24:46180 degrees means that our exposure time is half of our frame interval.
    • 0:24:50What's half of our frame interval of a 90 degree shutter?
    • 0:24:56Right.
    • 0:24:56Let's start down here.
    • 0:24:58So we know that 1 over 48--
    • 0:24:59AUDIENCE: A quarter.
    • 0:25:00DAN COFFEY: Is half, yeah.
    • 0:25:02So is a quarter, but we double the 48, and we get to 96.
    • 0:25:06So 1/96 is a 90 degree shutter.
    • 0:25:09But what is the visual effect for us?
    • 0:25:12Forget even knowing these numbers, because ultimately
    • 0:25:14at the end of the day you can look through your camera
    • 0:25:16and change your shutter speed and see what effect you get.
    • 0:25:20But what happens as we sharpen up our shutter and make it more quick?
    • 0:25:24Sharpen up our shutter is the key there.
    • 0:25:27AUDIENCE: Sharper?
    • 0:25:28DAN COFFEY: Yeah.
    • 0:25:28We lose our motion blur.
    • 0:25:29This is really what I'm trying to hammer home here, is the faster
    • 0:25:33the shutter speed, the less motion blur we have.
    • 0:25:35We know this from digital photography already.
    • 0:25:38And the same is true with video.
    • 0:25:40But with video, images move in sequence.
    • 0:25:42We kind of expect a certain amount of blur,
    • 0:25:44and that goes away when we shoot higher frame
    • 0:25:47rate because our shutter speed is maxed out, or if we change our shutter speed.
    • 0:25:53And that's why I put the lock on the exposure triangle.
    • 0:25:56Because if you want to have natural motion blur
    • 0:25:58and have video that we are used to seeing over
    • 0:26:00the years of watching movies and films, you want your shutter speed
    • 0:26:03to be roughly 1 over 48 at 24 frames per second.
    • 0:26:10And so here's the slide for that.
    • 0:26:13IAN SEXTON: So again, this is sort of conventional motion,
    • 0:26:15the natural feeling motion in video.
    • 0:26:19But you can definitely push and pull it in either direction.
    • 0:26:22You just can't go below the frame rate, the period of the frame
    • 0:26:25rate for your shutter speed.
    • 0:26:27So you can't get any blurrier than 1 over 24
    • 0:26:29if you're shooting at 24 frames per second.
    • 0:26:31AUDIENCE: But what would happen if you did?
    • 0:26:33DAN COFFEY: Well, you couldn't, because you
    • 0:26:35would ask the camera to record an image for longer than one frame.
    • 0:26:40So you'd be trying to record a single image for two frames, which you can't.
    • 0:26:44So you can't go any slower than 1 over 24th.
    • 0:26:48But you can go faster.
    • 0:26:49You can take a shorter image in that 1/24 of a second.
    • 0:26:51You just can't go longer than that, because then it
    • 0:26:54would be recording over two frames.
    • 0:26:55And your frame rate wouldn't be 24 frames per second.
    • 0:26:58AUDIENCE: Because you wouldn't be able to use that in post, would you?
    • 0:27:01IAN SEXTON: You just couldn't do it, because if you
    • 0:27:03tried to record longer than 1 over 24, then
    • 0:27:06you're not shooting at 24 frames per second.
    • 0:27:08You're shooting at some smaller amount than that.
    • 0:27:11AUDIENCE: I want to try this.
    • 0:27:13DAN COFFEY: Your camera will not even let you do it,
    • 0:27:15because the laws of physics will not allow it.
    • 0:27:17AUDIENCE: Oh, yeah?
    • 0:27:17We'll see about that.
    • 0:27:18DAN COFFEY: All right, Ralph.
    • 0:27:19Let's see it.
    • 0:27:20And so I mentioned this already, but some cameras can't actually
    • 0:27:23do 1 over 48, so use 150 instead.
    • 0:27:24And this is really a guide.
    • 0:27:26If you're coming into this class and you have not touched video before
    • 0:27:29and you're not sure what to set your camera to,
    • 0:27:31if you want to have a traditional cinematic look,
    • 0:27:34set your camera to 24 frames per second.
    • 0:27:35Sometimes that is abbreviated as 23.98.
    • 0:27:39It is, for all intents and purposes, the same thing
    • 0:27:42with a shutter speed of 1 over 48, which is our 180 degree shutter angle--
    • 0:27:48potato, po-tah-to.
    • 0:27:49You know, we showed the graphic of what the shutter looked like back in the day
    • 0:27:53when there was a circle and you actually would open and close the angle of it.
    • 0:27:59And so now we typically talk about shutter speed as fractions,
    • 0:28:03and it's all about the exposure time.
    • 0:28:05So 1/48 of a second is equivalent to a 180 degree shutter.
    • 0:28:09And refer back to the graphic I just showed that kind of animated
    • 0:28:12to see why.
    • 0:28:14OK.
    • 0:28:15So what happens as we start to play with the shutter speed in the video?
    • 0:28:20Let's go back to our boxing example.
    • 0:28:22And so we're watching all 24 frames per second video here, played back at 24
    • 0:28:26frames per second.
    • 0:28:27And this is going to be just kind of a study of motion blur.
    • 0:28:29So I said before, what happens if we just
    • 0:28:31take the shutter out of the equation?
    • 0:28:33So a 360 degree shutter is literally no shutter at all.
    • 0:28:39So it's just constantly light hitting the sensor per frame.
    • 0:28:43We're on a tripod, so not everything in the frame is going to blur for us.
    • 0:28:47But let's take a look at what happens with our motion.
    • 0:28:56How fast is Conor punching here?
    • 0:29:00AUDIENCE: It looks really fast.
    • 0:29:01DAN COFFEY: So fast, right?
    • 0:29:03So here is a freeze frame of that motion blur, so an incredible amount of motion
    • 0:29:09blur because we're looking at 1/24 of a second
    • 0:29:13here in time, because there's no shutter closing.
    • 0:29:16It's just 1/24 of a second because our frame rate is 24 frames per second.
    • 0:29:19IAN SEXTON: And when we did our still photography,
    • 0:29:21it was really easy to capture human motion blur at 1/24 of a second.
    • 0:29:25Our suggestion was shoot at 1/68 or 1/50 or something
    • 0:29:28like that to sort of stop that normal human motion blur.
    • 0:29:31DAN COFFEY: Exactly.
    • 0:29:32All right, so we're going to halve this.
    • 0:29:34And I guess this is the other factor too.
    • 0:29:36As we think about exposure, as we change shutter speed--
    • 0:29:40so the same frame for the same amount of time is being exposed.
    • 0:29:48But if we halve the amount of time that the shutter is open for that frame,
    • 0:29:52how much light is being taken away?
    • 0:29:55AUDIENCE: [INAUDIBLE]
    • 0:29:57IAN SEXTON: No, no, you're good.
    • 0:29:58AUDIENCE: 1?
    • 0:29:58DAN COFFEY: Exactly.
    • 0:29:59So we need to compensate--
    • 0:30:01this is exactly the same thing as when we shot still photography.
    • 0:30:07When we changed the shutter speed, we had to compensate with ISO or aperture.
    • 0:30:10The same thing applies to video.
    • 0:30:11It's just confusing because there are more frames involved.
    • 0:30:15But the same principles apply.
    • 0:30:16If we cut the shutter speed in half, that's one stop of light
    • 0:30:19that we need to compensate for on the other end somewhere else.
    • 0:30:23All right.
    • 0:30:24So here's a 180 degree shutter.
    • 0:30:30So half as much motion blur--
    • 0:30:32can we qualify it that way?
    • 0:30:33I mean, it's half as much time, half as much light.
    • 0:30:37So does that equate visually?
    • 0:30:40Maybe not.
    • 0:30:41Here's what that motion blur looks like.
    • 0:30:43It looks pretty similar to me, to the 360 degree.
    • 0:30:46But let's keep going down this rabbit hole.
    • 0:30:48So this is a 90 degree shutter, or translated 1/96 of a second.
    • 0:30:53IAN SEXTON: So that's one more stop closed down, right?
    • 0:30:56DAN COFFEY: Yes.
    • 0:30:57We keep doing halves here.
    • 0:30:59So this is feeling a little bit different now, huh?
    • 0:31:02Just a little bit.
    • 0:31:07Does it feel faster or slower?
    • 0:31:11A little bit subjective, I'd say, using words like that.
    • 0:31:16Here's a freeze.
    • 0:31:17But we're starting to get more detail.
    • 0:31:20AUDIENCE: And choppy.
    • 0:31:21DAN COFFEY: It's feeling choppier.
    • 0:31:22AUDIENCE: It's less smooth for sure.
    • 0:31:23DAN COFFEY: Yeah, so less smooth because as the frames
    • 0:31:26kind of go by very quickly and our human eyes only
    • 0:31:28see kind of the combination of all of them
    • 0:31:30put together, we're losing this motion blur that we're used to seeing.
    • 0:31:35And we're starting to see more detail in every frame.
    • 0:31:38AUDIENCE: And the [INAUDIBLE] motion gets shorter and more realistic,
    • 0:31:43because before-- his glove was really long,
    • 0:31:47because the shutter speed was at 24, the same as the frames per second.
    • 0:31:50So it was definitely getting sharper, which makes it choppy, which
    • 0:31:54I'm starting to get more clearly.
    • 0:31:55DAN COFFEY: Yeah, exactly, because you literally are seeing it more clearly.
    • 0:31:59That's exactly why it's becoming more choppy,
    • 0:32:01is because you're actually seeing, his arm
    • 0:32:03is not extending anymore and bending with the light that
    • 0:32:06is hitting your sensor.
    • 0:32:07It's actually staying the same size as it moves because we're not
    • 0:32:10getting that motion blur.
    • 0:32:12AUDIENCE: Which is a little uncomfortable.
    • 0:32:13DAN COFFEY: Yeah, OK.
    • 0:32:14In this case it's a little uncomfortable maybe.
    • 0:32:16All right, Ralph.
    • 0:32:17Taking it to the next level here.
    • 0:32:18All right.
    • 0:32:19So let's look at a 45 degree shutter.
    • 0:32:20This makes our shutter speed 1 over 192, so a very small fraction of a second
    • 0:32:25now.
    • 0:32:31Looks cool.
    • 0:32:38Whereas before when he was punching really fast,
    • 0:32:40we saw just kind of a blur.
    • 0:32:42Now we're just kind of seeing fists flying,
    • 0:32:44the actual outline of the fists.
    • 0:32:47We actually went a couple more stops here, so let's keep looking.
    • 0:32:49So here's a freeze of the motion blur, just to compare apples to apples.
    • 0:32:53All right.
    • 0:32:53So let's go down to--
    • 0:32:55again, we're halving and halving and halving and halving.
    • 0:32:57So a 22.5 degree shutter, or 1/384 of a second.
    • 0:33:05It's kind of weird to watch.
    • 0:33:06We're just not used to seeing a whole lot of footage that
    • 0:33:09looks like this as humans.
    • 0:33:11AUDIENCE: I guess he was in a boxing movie, because it looks good still.
    • 0:33:14Like, the last one before we went here was usable for a fast fight scene.
    • 0:33:19DAN COFFEY: That's interesting.
    • 0:33:21So you're kind of saying that in your mind,
    • 0:33:23a fight scene might have some of this kind of fast, crisp motion.
    • 0:33:28But it doesn't have to.
    • 0:33:30You could certainly shoot a fight scene with no shutter at all,
    • 0:33:34or with 1/24 of a second.
    • 0:33:37But that's not what we're used to seeing,
    • 0:33:39because convention tells us that you have this kind of high--
    • 0:33:43this fast shutter.
    • 0:33:45And even if we think back to Mr. Robot, at the end of the scene
    • 0:33:49that we watched when--
    • 0:33:54we'll come back to that clip in a second.
    • 0:33:56I want to go back and look at that, though.
    • 0:33:58All right.
    • 0:33:58Let's just finish our iteration here.
    • 0:34:00So this is a freeze frame of the motion blur.
    • 0:34:02There's still a little bit of motion blur because he's moving very fast.
    • 0:34:05But any average thing that's happening, a person walking,
    • 0:34:09a car driving by slowly, would probably be fairly frozen in the freeze frame.
    • 0:34:14All right.
    • 0:34:14So our last stop here is an 11 degree shutter, which is 1/768 of a second.
    • 0:34:19We know our DSLRs can probably do 1/2000 of a second or 1/4000 or 1/8000
    • 0:34:24of a second.
    • 0:34:25It would just be pretty wild to see that with video.
    • 0:34:28But here we go.
    • 0:34:40So give me some adjectives that describes
    • 0:34:42this frame maybe versus the first frame that we looked at.
    • 0:34:50It's a stark difference.
    • 0:34:54OK.
    • 0:35:00Is it more comfortable to watch, less comfortable?
    • 0:35:03AUDIENCE: It's more unnatural.
    • 0:35:05DAN COFFEY: It's more natural?
    • 0:35:06AUDIENCE: More unnatural.
    • 0:35:06DAN COFFEY: Oh, more unnatural.
    • 0:35:08OK.
    • 0:35:09AUDIENCE: Kind of hard to read what's written on the video.
    • 0:35:12DAN COFFEY: Yeah.
    • 0:35:13Here's the freeze frame, right?
    • 0:35:15And so I try to grab all the freeze frames
    • 0:35:17in the middle of the punching action.
    • 0:35:19So in the first frame-- let's look at the comparison.
    • 0:35:21So in the first frame, it was just no clear delineation of his arm.
    • 0:35:26As we kind of get down there, we're starting
    • 0:35:28to get a bit more clear as we get to 1/96 of a second.
    • 0:35:32But once we get down to 1/768 or--
    • 0:35:36did I put these out of order?
    • 0:35:3992-- where's the highest one.
    • 0:35:40Yeah, it is.
    • 0:35:41So I'll rearrange these and repost it.
    • 0:35:43But this is our faster shutter speed, which just clearly has
    • 0:35:45the least amount of motion blur.
    • 0:35:47But again, we're talking about multiple frames per second as we watch this.
    • 0:35:51It's just a very different effect than what we see.
    • 0:35:53So if you're going out to shoot a video of somebody
    • 0:35:56just casually walking down the street and your subject is walking,
    • 0:36:00which would you choose?
    • 0:36:02Which are we kind of conditioned to seeing?
    • 0:36:03And I've already given the answer away, but--
    • 0:36:08this one, right?
    • 0:36:08The 1/48 of a second shutter speed, if we're shooting at 24 frames per second.
    • 0:36:15So this is the kind of natural motion blur we're used to seeing.
    • 0:36:19Of course, Conor is punching very fast, so we just get a whole lot of blur.
    • 0:36:23All right.
    • 0:36:24If you want to watch these examples on your own, click the link at the bottom.
    • 0:36:27AUDIENCE: That him punching?
    • 0:36:28DAN COFFEY: That's Conor, yep.
    • 0:36:29Give a wave, Conor.
    • 0:36:30AUDIENCE: Do not get into a fight with this guy.
    • 0:36:32DAN COFFEY: Yeah.
    • 0:36:33AUDIENCE: That's cool, man.
    • 0:36:34DAN COFFEY: If you're trying to do this conversion in your head,
    • 0:36:36we've made a chart here for you.
    • 0:36:37So at 24 frames per second, if you want achieve one of the effects
    • 0:36:42that we've looked at, like let's say you want to have that frozen motion, if you
    • 0:36:46want the 45 degree shutter angle look, you'd
    • 0:36:48set your camera to 192 frames per second.
    • 0:36:52And then we also do the higher frame rates for you as well.
    • 0:36:58All right.
    • 0:36:58So this is about a two minute clip.
    • 0:37:02It's shortened from the beginning of Saving Private Ryan.
    • 0:37:05I cut out some of the violence, and there's no sound,
    • 0:37:07just so we can watch visually what happens.
    • 0:37:10But let's watch this clip, and then let's talk about it.
    • 0:37:12But there are some interesting things that happen here
    • 0:37:14with both shutter speed and frame rate.
    • 0:37:17Yes?
    • 0:37:17AUDIENCE: Did you want to go back to Mr. Robot?
    • 0:37:18You did mention it before.
    • 0:37:20DAN COFFEY: I did.
    • 0:37:20OK, let's do that first, Ralph.
    • 0:37:21You're right.
    • 0:37:22So before we go to this, let me back up to Mr. Robot.
    • 0:37:26AUDIENCE: Because I would have forgotten if I were you,
    • 0:37:29so I wanted to say something--
    • 0:37:30DAN COFFEY: Yes, thank you.
    • 0:37:31You are so right.
    • 0:37:33All right.
    • 0:37:33So let's watch this again.
    • 0:37:35Maybe we can lose the audio on this one.
    • 0:37:40So what does the shutter speed feel like here to you?
    • 0:37:44And I don't mean tell me what the shutter speed is,
    • 0:37:47but is it fast or slow?
    • 0:37:48AUDIENCE: It seems like it's 192, so fast.
    • 0:37:50DAN COFFEY: It feels sharp, right?
    • 0:37:51There's not much motion blur in watching him walk.
    • 0:37:55So then it's almost like-- it's kind of hard to--
    • 0:38:03unless you're talking about it, it's kind of
    • 0:38:05hard to put your finger on it almost.
    • 0:38:07Because it's not so much that as the average viewer
    • 0:38:09sitting on your couch watching, it's going to jump out at you,
    • 0:38:11but it's going to subconsciously impact you.
    • 0:38:15And then we slow down here.
    • 0:38:16So how do you think that they actually capture this scene?
    • 0:38:20AUDIENCE: Actually, this is what I was thinking about the whole time.
    • 0:38:24Hm.
    • 0:38:25Is this one shot?
    • 0:38:27DAN COFFEY: I pose that to you.
    • 0:38:28Is it one shot?
    • 0:38:29AUDIENCE: It seems so.
    • 0:38:30DAN COFFEY: Because they do cut, right?
    • 0:38:31They do cut.
    • 0:38:32There are cuts in this scene.
    • 0:38:34We're next to him.
    • 0:38:36So let's see if we can find the point where it actually slows down.
    • 0:38:44And there it is right there, right?
    • 0:38:46You can almost see it in his step.
    • 0:38:48So it does ramp.
    • 0:38:49So it is one shot.
    • 0:38:50So what did they record this at?
    • 0:38:53AUDIENCE: 60 FPS.
    • 0:38:54DAN COFFEY: Well, we don't know the actual number.
    • 0:38:56We're not going to know that.
    • 0:38:57But we can say that they probably-- this is an overcranked shot.
    • 0:39:01They shot at a high frame rate, which meant that the most open
    • 0:39:04their shutter could be was still pretty fast.
    • 0:39:07It meant that the shutter speed was still fast,
    • 0:39:09which meant that there was very little motion blur.
    • 0:39:11And so then in post-production when they got back there,
    • 0:39:14the beginning of the clip is probably conformed to 24 frames per second
    • 0:39:18so that you're watching it and it feels like the normal time playback.
    • 0:39:22But then they ramp it.
    • 0:39:23They have all these extra frames.
    • 0:39:24Like, they're just kind of throwing away all these in between frames.
    • 0:39:27And then they stretch out.
    • 0:39:29They do that ramp when they get to this part here, and everything slows down.
    • 0:39:33And it's very beautiful and slow, and we no longer
    • 0:39:35notice the shutter speed as much, because everything
    • 0:39:38is moving more slowly.
    • 0:39:40But when we speed back up at the end, the motion blur--
    • 0:39:44sorry, not the motion blur.
    • 0:39:45When we speed back up at the end, the motion blur is gone.
    • 0:39:49It's back to being choppy.
    • 0:39:50So my guess is that they did this in one shot, the actual motion blur part.
    • 0:39:55AUDIENCE: It's impressive.
    • 0:39:59DAN COFFEY: All right.
    • 0:40:00So anyway, let's come back to Saving Private Ryan
    • 0:40:02and kind of put all these ideas together.
    • 0:40:05And this is, again, about a two minute clip.
    • 0:40:07And I'm sorry if I'm butchering this film for you,
    • 0:40:10because it is a wonderful film.
    • 0:40:11But I did trim it to reduce the violence and to kind of speed things along
    • 0:40:16for discussion's sake.
    • 0:40:17So if we can dim the lights, please.
    • 0:40:21[NO AUDIO]
    • 0:42:30All right.
    • 0:42:32So did you catch some of the changes that we saw in the film?
    • 0:42:36Let's walk back through it together.
    • 0:42:39So let's set up--
    • 0:42:40how do we feel at the beginning, as far as frame rate and shutter speed go?
    • 0:42:45How does this part feel?
    • 0:42:52We can pause it for a second.
    • 0:42:55Is there motion blur?
    • 0:42:56I'm sorry, what did you say?
    • 0:42:58AUDIENCE: Is that a zoom?
    • 0:42:59DAN COFFEY: No.
    • 0:43:01Anybody else?
    • 0:43:05Does it feel natural, unnatural?
    • 0:43:12IAN SEXTON: How does the time it takes for the action to unfold onscreen feel?
    • 0:43:16Does that part feel natural?
    • 0:43:21AUDIENCE: It felt the normal speed for me until--
    • 0:43:24DAN COFFEY: Yeah, OK.
    • 0:43:25So this part we'll say roughly normal speed.
    • 0:43:27But I heard the word "until," which means there's a change, right?
    • 0:43:32So even in here, if we look at the actual water here, there's motion blur.
    • 0:43:36This is not frozen.
    • 0:43:38So OK.
    • 0:43:41Let's go ahead and move forward again.
    • 0:43:44Let's move forward to this part here.
    • 0:43:47There's a change that happens here.
    • 0:43:55This is interesting.
    • 0:43:56So Ralph, what did you say?
    • 0:43:57AUDIENCE: The shot of Tom Hanks was slowed down in post.
    • 0:44:01But this next shot could have shot at a completely different shutter
    • 0:44:04speed, because it just looks way more motion blurry.
    • 0:44:07DAN COFFEY: Sure.
    • 0:44:07So you were saying it was slowed down in post.
    • 0:44:09So unpack that for me a little bit.
    • 0:44:12Let's just hypothesize what frame rate they were shooting at.
    • 0:44:14AUDIENCE: If I were them, I would have been shooting at,
    • 0:44:17let's say, 24 frames per second at this quality, because it seems regular.
    • 0:44:20And then they slowed it down after the fact to give it more of a drama.
    • 0:44:25DAN COFFEY: So you're playing back, let's say, at 12 frames per second,
    • 0:44:2815 frames per second, something like that.
    • 0:44:30AUDIENCE: Some lesser number.
    • 0:44:31It's a bit more--
    • 0:44:32DAN COFFEY: And visually-- visually for us
    • 0:44:34to create this drama as you describe, it's
    • 0:44:36slowing it down so we're watching it in slower than real time.
    • 0:44:39But there's bigger chunks of time between each frame that we're seeing.
    • 0:44:43AUDIENCE: Yes, exactly.
    • 0:44:44So you can see him just sitting there looks really blurry.
    • 0:44:48So you're seeing him think a lot and observe what's happening.
    • 0:44:52So you're starting to feel what he feels.
    • 0:44:55Even though there's no audio, I was like, man, that sucks.
    • 0:44:57That's what I was thinking.
    • 0:44:59DAN COFFEY: So you're saying we're starting to identify with him
    • 0:45:02and feel how he feels, OK.
    • 0:45:04So all this chaos revolves around him.
    • 0:45:07But it changes back again.
    • 0:45:09Is there a trigger that changes it back?
    • 0:45:15Well, I made an edit there.
    • 0:45:17AUDIENCE: Well, that would be cut.
    • 0:45:19DAN COFFEY: OK.
    • 0:45:19So now we're back to the same kind of effect, the helmet goes back on.
    • 0:45:25And then there's this shot that comes up here, here.
    • 0:45:33AUDIENCE: So it cuts between him being--
    • 0:45:35I don't want to keep talking.
    • 0:45:36Does anyone else want to talk?
    • 0:45:38DAN COFFEY: Anybody else?
    • 0:45:39Yeah, Ralph's been saying a lot.
    • 0:45:40Anything from the internet, Ian?
    • 0:45:43IAN SEXTON: Yeah.
    • 0:45:44A lot of people are sort of mentioning that the early part is
    • 0:45:47reminiscent of war photography and that kind of aesthetic and things
    • 0:45:50like that, which you can imagine that there's some higher shutter speeds used
    • 0:45:54in that capture action.
    • 0:45:56DAN COFFEY: Absolutely.
    • 0:45:59So then there's this moment where he's kind
    • 0:46:01of shell shocked by this whole kind of hitting the beach.
    • 0:46:04And we've got these other soldiers yelling in his face for a second.
    • 0:46:07And totally, what feels much more normal and natural, especially juxtaposed
    • 0:46:12to the slow frame rate playback.
    • 0:46:16And then there's another shift.
    • 0:46:17So he gets back with it.
    • 0:46:19He runs up on the beach.
    • 0:46:20And there's another shift.
    • 0:46:23Where is it?
    • 0:46:25I think it's right after this.
    • 0:46:36So right here, watch all the explosions that happen now.
    • 0:46:44Let's see if I can pause on one.
    • 0:46:59Did I miss it?
    • 0:47:01There we go.
    • 0:47:03OK.
    • 0:47:03So if we look over here on the right side of the frame at the dirt that's
    • 0:47:07falling here, everything's very clear.
    • 0:47:08So what do we--
    • 0:47:10crisp.
    • 0:47:11Crisp, thank you.
    • 0:47:11So what do we hypothesize is happening now?
    • 0:47:16Was it faster or slower motion at all, or was it normal speed?
    • 0:47:24AUDIENCE: Probably a slightly higher speed.
    • 0:47:26DAN COFFEY: All right, possibly slightly higher speed.
    • 0:47:31How about motion blur?
    • 0:47:32Is there any motion blur going on?
    • 0:47:35Ignore the compression artifacts in the out of focus areas.
    • 0:47:37AUDIENCE: [INAUDIBLE]
    • 0:47:41DAN COFFEY: But for this whole-- from the moment that I kind of said here,
    • 0:47:48right here, this is where my eye starts to really notice it.
    • 0:47:51But just all the detail, you can see all of the bits of dirt,
    • 0:47:55and all the action is really happening.
    • 0:47:58So this is not traditional of your cinematic look.
    • 0:48:02But what is it that has changed most likely?
    • 0:48:04So it's possibly a slightly different frame rate.
    • 0:48:06But I would say the action happens similar to what
    • 0:48:09we see-- like, the time it takes them to run across the beach
    • 0:48:11is similar to what we expect a human to take to run across the beach.
    • 0:48:15But what is the visual artifact?
    • 0:48:17And again, we're looking at a bunch of compression here as I pause this.
    • 0:48:20But as you watch it in rapid succession--
    • 0:48:22AUDIENCE: Faster shutter speed.
    • 0:48:23DAN COFFEY: Faster shutter speed, right?
    • 0:48:25It's like you see all the detail and all the crispness.
    • 0:48:27And I think it adds to what Benjamin is saying here,
    • 0:48:31with you just get all the detail, all this detail that you're not
    • 0:48:36used to seeing.
    • 0:48:37You're used to seeing all this stuff hidden in the motion blur as you watch.
    • 0:48:41So this feels very sharp.
    • 0:48:43And even this kind of chaotic camera movement
    • 0:48:44is exaggerated because of the shutter speed.
    • 0:48:47And I think that is actually what could lead
    • 0:48:49to what feels like a slightly slower shutter speed, or a slightly
    • 0:48:52slower frame rate, is because the shutter speed is higher
    • 0:48:56and just you feel like there's bigger chunks of time cut out
    • 0:48:59because everything is sharper.
    • 0:49:00There's no blur, if that makes sense.
    • 0:49:03AUDIENCE: I would love to see the behind the scenes of that cameraman's
    • 0:49:06movement.
    • 0:49:08Because I want to see what he was doing.
    • 0:49:10DAN COFFEY: I think it was just like this.
    • 0:49:11You know, he dipped down at one point and then he came back up.
    • 0:49:14But the thing is--
    • 0:49:16no, I think it is, though.
    • 0:49:17The magic is that the exposure settings were changed.
    • 0:49:20That's really what it comes down to, is that shutter speed is what makes
    • 0:49:25this so impactful.
    • 0:49:26IAN SEXTON: We say simple, but operating a 40 pound camera on a beach as you run
    • 0:49:30is not--
    • 0:49:30DAN COFFEY: In a bunch of explosions.
    • 0:49:31IAN SEXTON: --simple, in any way, shape, or form.
    • 0:49:37DAN COFFEY: All right.
    • 0:49:40So in a nutshell, shutter speed matters a lot.
    • 0:49:44But if you want a typical cinematic look what is the number you want to target?
    • 0:49:50Somebody besides Ralph.
    • 0:49:53AUDIENCE: 24 FPS.
    • 0:49:54DAN COFFEY: 24 frames per second.
    • 0:49:55AUDIENCE: And 1/48.
    • 0:49:57DAN COFFEY: And 1/48 of a second shutter speed
    • 0:49:59is a good baseline for where you should start from.
    • 0:50:04All right, the Jell-O effect--
    • 0:50:07does anybody know what this is?
    • 0:50:09AUDIENCE: A delicious snack.
    • 0:50:10DAN COFFEY: I mean besides a delicious snack.
    • 0:50:11Thank you, Ralph.
    • 0:50:15Have you seen what I'm referring to?
    • 0:50:17You might not have.
    • 0:50:18AUDIENCE: I'll hop in on that one.
    • 0:50:20DAN COFFEY: OK, Alec.
    • 0:50:21Let's hear it.
    • 0:50:22AUDIENCE: It's from CCDs not having a specific shutter speed, the bucket
    • 0:50:31brigade, the lines, so you get a sliding effect instead of an even shutter look.
    • 0:50:38DAN COFFEY: OK, yeah.
    • 0:50:39I'm going to unpack that a little bit here.
    • 0:50:41So actually, you said CCD.
    • 0:50:42You're getting very technical in a sensor type.
    • 0:50:44It's actually a product of CMOS sensors, which
    • 0:50:47I wasn't even going to talk about.
    • 0:50:48But the idea is this.
    • 0:50:52So it's called rolling shutter.
    • 0:50:54But I want to be clear that this has nothing to do with the actual shutter
    • 0:50:57speed of the camera.
    • 0:50:59Watch the kind of warping that happens as the camera whips back and forth very
    • 0:51:02quickly.
    • 0:51:03This all has to do with sensor technology and nothing
    • 0:51:06to do with shutter speed, even though it's called rolling shutter.
    • 0:51:10So it's really pronounced as you wiggle a camera like this.
    • 0:51:13So this is a Canon 5D Mark IV.
    • 0:51:16Let's look at the same thing again on a Red Epic Dragon.
    • 0:51:27AUDIENCE: Is there any rolling shutter in this shot?
    • 0:51:29DAN COFFEY: Hold on.
    • 0:51:30Wait for the wiggle.
    • 0:51:36You tell me.
    • 0:51:37What do you think, Ralph?
    • 0:51:37AUDIENCE: Minimal.
    • 0:51:38DAN COFFEY: Minimal.
    • 0:51:40AUDIENCE: That's excellent rolling shutter.
    • 0:51:42DAN COFFEY: OK.
    • 0:51:42So we see a little bit of its effect.
    • 0:51:44But hopefully it's clear--
    • 0:51:45I'm not sure what the internet is doing to the video.
    • 0:51:48But if we look at the 5D Mark IV again, and let's
    • 0:51:52pause it in the middle of a wiggle here.
    • 0:52:02Let me pause it, yeah.
    • 0:52:03Oh my goodness.
    • 0:52:09AUDIENCE: You got it to stand.
    • 0:52:11DAN COFFEY: Thanks, Ralph.
    • 0:52:12OK.
    • 0:52:12So look how everything just kind of warps.
    • 0:52:16And it's more than just motion blur.
    • 0:52:18It's kind of bending the whole image.
    • 0:52:21And when you see this rapidly put together,
    • 0:52:24it gives us this Jell-O effect, for the whole frame kind of looks like jelly.
    • 0:52:27And you really notice it very much with vertical straight lines in particular.
    • 0:52:33Not all sensors are created equal.
    • 0:52:35I find that the 5D Mark IV is not very good.
    • 0:52:37The early versions of the Sony a7S camera, also not very good.
    • 0:52:42But the more money you kind of spend on a sensor, typically the more
    • 0:52:46reduced this effect is.
    • 0:52:47But why do we care?
    • 0:52:48This is an interesting thing.
    • 0:52:50It could be used for something.
    • 0:52:55AUDIENCE: Or it could ruin your shot.
    • 0:52:56DAN COFFEY: Or it could ruin your shot.
    • 0:52:57Thank you.
    • 0:52:57That's exactly it.
    • 0:52:58Like, if you are trying to follow somebody across the screen
    • 0:53:02and they start to bend on you, that's not something
    • 0:53:05that you might necessarily want.
    • 0:53:06Maybe it is, but it's a limitation that we need to be aware of.
    • 0:53:10IAN SEXTON: Or if something's moving even faster too,
    • 0:53:14you'll end up with more pronounced warpage based off the rolling shutter
    • 0:53:18effect.
    • 0:53:19DAN COFFEY: Yeah.
    • 0:53:19And so there are software tools to reduce this.
    • 0:53:22We're not going to talk about those too much in this class.
    • 0:53:24But really it's kind of a warning that you
    • 0:53:27should be aware of what the limitations of your camera are
    • 0:53:29and whatever camera you're using.
    • 0:53:31I encourage you to actually do this.
    • 0:53:32Set the camera up to 24 frames per second, 1 over 48 shutter speed,
    • 0:53:37and just wiggle it back and forth and see how much rolling shutter you have,
    • 0:53:42shutter roll.
    • 0:53:44Because on some cameras, they're kind of just egregious at this.
    • 0:53:47Like, the a7S Mark I was just horrendous if you were doing any kind of pan.
    • 0:53:52So it's just something to be aware of, and again, nothing to do with shutter.
    • 0:53:56Yes, Ralph?
    • 0:53:56AUDIENCE: What would happen if this was shot at 24 frames per second,
    • 0:54:01but at 192?
    • 0:54:04DAN COFFEY: Shutter speed?
    • 0:54:05AUDIENCE: Yeah, would there still be a Jell-O effect?
    • 0:54:07DAN COFFEY: Yes.
    • 0:54:08AUDIENCE: Really?
    • 0:54:08DAN COFFEY: Yes.
    • 0:54:09Because let me explain why.
    • 0:54:12AUDIENCE: I'm so curious.
    • 0:54:14DAN COFFEY: So what's actually happening here
    • 0:54:16is that a rolling shutter does this.
    • 0:54:19It kind of has this activation phase--
    • 0:54:21let's pretend this is your whole image.
    • 0:54:23And so it gets activated.
    • 0:54:25And then once the exposure is complete, we have this kind of deactivate
    • 0:54:30and save to disk that happens.
    • 0:54:32IAN SEXTON: So there's a pixel array on your sensor.
    • 0:54:36And it activates line by line.
    • 0:54:38And so it starts as the screen bar moves down, activating each line,
    • 0:54:42and then reads off as the red bar moves down.
    • 0:54:45AUDIENCE: And that's why the vertical lines show.
    • 0:54:47IAN SEXTON: Yeah, because during that time,
    • 0:54:49something can move, change position.
    • 0:54:51DAN COFFEY: You're literally watching time bend.
    • 0:54:53IAN SEXTON: Whereas this reads off--
    • 0:54:55lets everything fill in and then reads off.
    • 0:54:59AUDIENCE: Does the Red Epic Dragon, or the Red cameras, have global shutters?
    • 0:55:04DAN COFFEY: No, they have rolling shutters.
    • 0:55:05And you saw it a little bit.
    • 0:55:07You said, when we saw the camera wiggle, there's a little bit there
    • 0:55:09but it's much less pronounced.
    • 0:55:11So most cameras have this technology in them.
    • 0:55:17AUDIENCE: Is that just software that makes it more--
    • 0:55:21DAN COFFEY: It has to do with the actual physical sensor in the electronics
    • 0:55:24in the sensor itself.
    • 0:55:26But--
    • 0:55:26IAN SEXTON: Well, so it is hardware, but it also
    • 0:55:29is the circuitry in the software of the hardware components interacting
    • 0:55:33with each other.
    • 0:55:34So to answer your question.
    • 0:55:36AUDIENCE: So more expensive--
    • 0:55:37IAN SEXTON: Yeah, that's exactly.
    • 0:55:38AUDIENCE: --better quality.
    • 0:55:39DAN COFFEY: But let's go back to--
    • 0:55:40let's see.
    • 0:55:43Let's go back to this slide for a second.
    • 0:55:46This is an old--
    • 0:55:48what is the shutter called, the round one?
    • 0:55:55I'm just trying to remember what the circle shutter is called.
    • 0:55:58But did this have a rolling shutter effect too?
    • 0:56:02I mean, think about it, this disk spins around.
    • 0:56:05Let me go back to the graphic where it's actually spinning.
    • 0:56:13So as this spins, part of the frame--
    • 0:56:23notice the point here.
    • 0:56:25So part of the frame is exposed, and then part of it is covered up.
    • 0:56:28Would it have the same effect?
    • 0:56:29AUDIENCE: Yes?
    • 0:56:31IAN SEXTON: Well, so is the top right corner
    • 0:56:34and the bottom left corner exposed at the same time or at different times?
    • 0:56:39AUDIENCE: Well, it would depend where the shutter is.
    • 0:56:41So if the shutter is covering some of it, then no.
    • 0:56:45IAN SEXTON: Well, so which corner is exposed first?
    • 0:56:48AUDIENCE: The top.
    • 0:56:51IAN SEXTON: Yeah.
    • 0:56:52So what that means, it basically is exposing this part, and then
    • 0:56:56some amount of time later, it's exposing this part.
    • 0:56:59So it's just like the way the rolling shutter is rolling down.
    • 0:57:02It's sort of reading the data from the top of the frame
    • 0:57:05and then sometime later reading the data from the bottom.
    • 0:57:07AUDIENCE: [INAUDIBLE] top to bottom.
    • 0:57:08IAN SEXTON: Yeah.
    • 0:57:09Well, yeah, exactly.
    • 0:57:10The shape is different, but it's the same sort of effect
    • 0:57:13where one part of the frame is read before another part of the frame,
    • 0:57:17or exposed before another part of the frame.
    • 0:57:19DAN COFFEY: Still exposed for the same amount of time.
    • 0:57:21IAN SEXTON: Right, just at different times,
    • 0:57:23which is sort of the part where you get that--
    • 0:57:25you can introduce the Jell-O and sort of the motion blur
    • 0:57:27that comes from a rolling shutter.
    • 0:57:29DAN COFFEY: So you don't even avoid it with this.
    • 0:57:31So actually, the Red is probably a really good match to what old style
    • 0:57:36rolling shutter would look like.
    • 0:57:39AUDIENCE: So I saw--
    • 0:57:40OK, there's two sides or different shutters.
    • 0:57:44There was the old shutters and the global.
    • 0:57:46DAN COFFEY: Yep.
    • 0:57:47And so again, we're talking about different sets of technology.
    • 0:57:49And I don't want to spend too much time on this
    • 0:57:51because we're already into the weeds.
    • 0:57:52But it's kind of good to understand why this happens with your camera.
    • 0:57:57And so this is an explanation of why.
    • 0:57:58There is a technology called global shutters,
    • 0:58:01which are typically CCD based.
    • 0:58:03And Alec, if I did get that backwards I apologize,
    • 0:58:05because I think I chastised you on that one.
    • 0:58:08But with the global shutter, all the pixels activate at the same time.
    • 0:58:11And then it kind of takes longer to save.
    • 0:58:13But the exposures between these two are equivalent.
    • 0:58:17It's just that with the rolling shutter on the left,
    • 0:58:20as these pixels activate, you can see each row kind of gets brighter
    • 0:58:24over time, whereas it all happens at the same exact time on the global shutter.
    • 0:58:28But these are meant to be running in parallel so that this one is just
    • 0:58:33saving data during part of the time, where
    • 0:58:35this one is exposing different portions of the sensor, if that makes sense.
    • 0:58:39If this is confusing you, don't worry about it.
    • 0:58:42The key thing to know is that if you wiggle your camera back and forth
    • 0:58:45or you pan too quickly, you might get this bend effect.
    • 0:58:48That is really the heart of what this is all about.
    • 0:58:52And just to paint one more picture of what's happening here,
    • 0:58:54this is a nice image from Wikipedia.
    • 0:58:56So on the left is the action that's happening,
    • 0:58:58and on the right is the equivalent of the rolling shutter
    • 0:59:01actually writing the image out.
    • 0:59:02So as this kind of goes across, the car goes across, it just kind of bends.
    • 0:59:07So a helpful explanation.
    • 0:59:09And this is a graphic that animates if you click on this in the slides.
    • 0:59:13All right.
    • 0:59:14We are an hour in here.
    • 0:59:15I think this is a good place to take a little five minute break.
    • 0:59:18And we'll come back and we'll talk about the more practical things
    • 0:59:21about video production.
    • 0:59:23All right, guys.
    • 0:59:24Welcome back.
    • 0:59:25So we just finished our conversation about frame rates and shutter
    • 0:59:28speeds and rolling shutter and all that kind of stuff.
    • 0:59:31Hopefully you have some good takeaways.
    • 0:59:34What frame rate should you start with for a cinematic look?
    • 0:59:4024 frames per second.
    • 0:59:41Shutter speed of 1/48 of a second.
    • 0:59:43Great.
    • 0:59:43Let's move on to moving the camera.
    • 0:59:45We have this interesting thing that's happening
    • 0:59:47where we're now dealing with time.
    • 0:59:49It's no longer just one frame at a time.
    • 0:59:52We have to consider the movement of our camera.
    • 0:59:54Is it going to stay static?
    • 0:59:55Are we going to move it from place to place?
    • 0:59:57What does our starting frame look like?
    • 0:59:58And what does our ending frame look like?
    • 1:00:01And the in-between frames as well--
    • 1:00:04I didn't put up a graphic for that.
    • 1:00:06But in the same way that we kind of name our shot sizes,
    • 1:00:11we also name our camera movements so that we can all be on the same page
    • 1:00:14as we work with different crews and whatnot.
    • 1:00:18So we have some images here to kind of describe
    • 1:00:21the way that we move the camera.
    • 1:00:23So the first up, what is this one called?
    • 1:00:29One of the simplest camera movements, side to side.
    • 1:00:34Anybody?
    • 1:00:35We got any answers on the internet?
    • 1:00:37IAN SEXTON: No, but I'm sure someone out there knows.
    • 1:00:41Panning from Lindsay, yeah.
    • 1:00:42DAN COFFEY: Panning, yes.
    • 1:00:43So this is a camera pan, exactly.
    • 1:00:47From side to side.
    • 1:00:50All right, here's a clip from Ferris Bueller's Day Off.
    • 1:00:53We are panning across with his car, cut into the garage, we have another pan.
    • 1:01:04So along the horizontal axis, side to side.
    • 1:01:07And so with this clip, for example, why is
    • 1:01:10panning more interesting than just cutting from one
    • 1:01:13fixed shot to another shot?
    • 1:01:17Why pan?
    • 1:01:20AUDIENCE: To see the environment.
    • 1:01:22DAN COFFEY: We get more environment.
    • 1:01:23And it's also not given to us all at once necessarily.
    • 1:01:26We kind of follow the subject along in this case.
    • 1:01:30So one reason.
    • 1:01:34All right.
    • 1:01:35So if side to side is panning, what is up and down?
    • 1:01:43AUDIENCE: Tilt.
    • 1:01:44DAN COFFEY: Tilting.
    • 1:01:44Thank you, Max.
    • 1:01:45You're cheating.
    • 1:01:47All right, so this is tilting the camera.
    • 1:01:49And sometimes you'll hear somebody say pan up with your camera.
    • 1:01:53That's technically incorrect.
    • 1:01:54It's actually tilt up.
    • 1:01:55And again, if we're working with a crew and we say,
    • 1:01:57hey, your shot is a little bit low, I want you to tilt up a little bit,
    • 1:02:00everybody should know exactly what you mean by that.
    • 1:02:03All right, so up and down is tilt. So here's
    • 1:02:06an example from The Return of the Jedi.
    • 1:02:23All right.
    • 1:02:24And a short little clip.
    • 1:02:25But why did they tilt there, do you think?
    • 1:02:28What did it do for us as a viewer?
    • 1:02:30Yeah, let me play it back.
    • 1:02:35So we've got this kind of shot that establishes this carbonite being here.
    • 1:02:50Why make that choice versus something else?
    • 1:02:53AUDIENCE: Keeps you engaged, to see what's happening.
    • 1:02:55DAN COFFEY: It's more engaging.
    • 1:02:56In the same way a pan kind of brought us across our landscape,
    • 1:03:00this kind of unfolds how complicated this device is.
    • 1:03:03It's a bit more mysterious.
    • 1:03:04AUDIENCE: It would have been terrible if his hands went out of frame.
    • 1:03:07DAN COFFEY: It would've been terrible--
    • 1:03:08AUDIENCE: Because it's just what happened.
    • 1:03:09DAN COFFEY: In a wide shot, you wouldn't have all the detail of all this, right?
    • 1:03:13IAN SEXTON: So Olivia is saying that it sort of follows the motion,
    • 1:03:16but then it also gives you a perspective of the size of this object.
    • 1:03:19There's some revealing too.
    • 1:03:21DAN COFFEY: Yeah, absolutely.
    • 1:03:24All right, we'll get into some of the more fun camera
    • 1:03:28moves that are harder to do.
    • 1:03:30What is this one called, the camera literally moving in and moving out?
    • 1:03:35What is this called?
    • 1:03:36AUDIENCE: Oh, man.
    • 1:03:39DAN COFFEY: Ralph is shaking his head.
    • 1:03:41AUDIENCE: I got nothing.
    • 1:03:44DAN COFFEY: Anybody?
    • 1:03:45AUDIENCE: Dolly?
    • 1:03:45DAN COFFEY: Dolly, yes.
    • 1:03:47This is a camera dolly.
    • 1:03:48You either dolly in towards your subject or dolly out and widen out.
    • 1:03:54We looked at the dolly zoom last week, where you do this in combination
    • 1:03:58with zooming the lens of your camera out, which has a wild effect.
    • 1:04:00I don't have that in this week's slides, but go back
    • 1:04:03to Ian's lecture two weeks ago now, and you can see the dolly zoom.
    • 1:04:09All right, shall we look at an example?
    • 1:04:10This is from Alien.
    • 1:04:14AUDIENCE: 1979.
    • 1:04:19DAN COFFEY: A nice slow dolly in here.
    • 1:04:22AUDIENCE: It's very smooth, very nice.
    • 1:04:23DAN COFFEY: Very smooth.
    • 1:04:32Cool, so I'm seeing some oohs and ahs in the room here.
    • 1:04:35But why?
    • 1:04:38Why not just pan over and show us the room?
    • 1:04:42What is it that actually happens here?
    • 1:04:46What happens to our shot size?
    • 1:04:49What is this shot size?
    • 1:04:52AUDIENCE: Wide.
    • 1:04:52DAN COFFEY: Wide, right?
    • 1:04:53It give us a sense of--
    • 1:04:55AUDIENCE: Scale?
    • 1:04:56DAN COFFEY: Scale, but the environment.
    • 1:04:58We see the whole facade of this door.
    • 1:05:01We're seeing it out of context of the rest of the movie,
    • 1:05:03so I'm sure there's more information to see.
    • 1:05:06But in this case, then what happens?
    • 1:05:09What is our shot size here?
    • 1:05:13AUDIENCE: That's sneaky.
    • 1:05:14I didn't notice any of this.
    • 1:05:18This is a close up.
    • 1:05:19DAN COFFEY: Yeah.
    • 1:05:20I mean, it's closer.
    • 1:05:21It's kind of hard to say.
    • 1:05:23It's close up, a close shot.
    • 1:05:24And then we actually change again.
    • 1:05:27What are we back to here?
    • 1:05:29AUDIENCE: A wide--
    • 1:05:30DAN COFFEY: A wide frame, right?
    • 1:05:33AUDIENCE: Do they zoom at all?
    • 1:05:34Or is it set like that perfectly?
    • 1:05:36DAN COFFEY: Oh, my guess is there's no zoom here.
    • 1:05:38This is probably just a fixed lens.
    • 1:05:41But it's much more dramatic a reveal, right?
    • 1:05:44We're kind of creeping in as a viewer into this space, this bizarre space.
    • 1:05:51And actually physically moving in, we're now thinking about, instead of one
    • 1:05:58still image, it's our place over time, our position over time,
    • 1:06:01and our understanding of the space changes as we get closer to it.
    • 1:06:05And it's a very different feeling than if we were just to cut from a wide shot
    • 1:06:09to cut to a close up.
    • 1:06:11We've got this unpacking along the way.
    • 1:06:13So you have to think about over the course of your shot
    • 1:06:17what does your camera see?
    • 1:06:18You don't want to start on a strong frame and then end with whatever.
    • 1:06:21You want to go from strong frame to strong frame.
    • 1:06:27But that's not the only way to use a dolly shot, of course.
    • 1:06:31How about this example?
    • 1:06:33[VIDEO PLAYBACK]
    • 1:06:33- Pucker up, Buttercup.
    • 1:06:35- What?
    • 1:06:36- Ferris Bueller's on line two.
    • 1:06:41[END VIDEO PLAYBACK]
    • 1:06:42DAN COFFEY: All right.
    • 1:06:43So this is a comedic moment here from Ferris Bueller's Day Off.
    • 1:06:48And we don't need to unpack the rest of the movie to kind of understand
    • 1:06:51visually what happens here.
    • 1:06:52But we go from what shot size is this?
    • 1:06:58AUDIENCE: Medium close up.
    • 1:06:59DAN COFFEY: Medium close up right, we're from the chest up to the head.
    • 1:07:01I would say that's a medium close up.
    • 1:07:05We come to more of a close up shot as he sits up.
    • 1:07:09But then we get some news that changes something for our character,
    • 1:07:14and we go from close up to almost extreme close up.
    • 1:07:17We're now cropping the top of the head and the bottom of the chin.
    • 1:07:21And, I mean, we've talked about this before when we've
    • 1:07:23talked about different shot sizes.
    • 1:07:25But what does this do for us as a viewer?
    • 1:07:27AUDIENCE: Connect.
    • 1:07:28DAN COFFEY: It connects us with him, right?
    • 1:07:30His eyes are much larger, so we kind of get a better read on his emotion.
    • 1:07:33So in this case, dollying in has really brought us right up
    • 1:07:37to feel what he feels with this awkwardness,
    • 1:07:39and there's this silly element of sound design, the horn kind of going, wow!
    • 1:07:44But much more effective than just staying on--
    • 1:07:50sorry.
    • 1:07:53By the end of this lecture, I will be really good at using my keyboard.
    • 1:07:55AUDIENCE: No pressure.
    • 1:07:58DAN COFFEY: Much more effective than just staying on this shot
    • 1:08:01and having the same sound design trick.
    • 1:08:03Actually moving the camera in and being closer to our subject
    • 1:08:06has done something different for us.
    • 1:08:07So moving the camera in this case I think really helps this moment.
    • 1:08:14All right.
    • 1:08:17So instead of in and out, how about side to side?
    • 1:08:29It's called a truck.
    • 1:08:30AUDIENCE: No way.
    • 1:08:31DAN COFFEY: Yep, side to side.
    • 1:08:32AUDIENCE: I was thinking dolly left to dolly right.
    • 1:08:33That's so funny.
    • 1:08:34DAN COFFEY: So yeah.
    • 1:08:35But again, same thing, if you said dolly left,
    • 1:08:37we'd probably all know what you meant with that.
    • 1:08:40But for the sake of clarity, truck left means my left.
    • 1:08:43I'm going to move this way.
    • 1:08:45Or truck right means move this way.
    • 1:08:47So just terms--
    • 1:08:49Ian, do you have any history on this one?
    • 1:08:51I don't know where the term actually comes from.
    • 1:08:53AUDIENCE: I wasn't even going to ask.
    • 1:08:55DAN COFFEY: Yeah.
    • 1:08:56So that's trucking left, trucking right.
    • 1:08:58All right, so we'll get some more Ferris Bueller examples here.
    • 1:09:04AUDIENCE: This is common in movies.
    • 1:09:06DAN COFFEY: Yeah.
    • 1:09:07IAN SEXTON: Good tracking shot.
    • 1:09:09DAN COFFEY: Yeah, kind of following along.
    • 1:09:11But again, what is more interesting about this movement than, say, a pan?
    • 1:09:15AUDIENCE: You're part of it.
    • 1:09:16You're with it.
    • 1:09:17DAN COFFEY: Yeah, we stay with him.
    • 1:09:18That's a really good point.
    • 1:09:21So always consider the effect.
    • 1:09:25All right, this one, like this.
    • 1:09:28AUDIENCE: It's a ped.
    • 1:09:31DAN COFFEY: Yep, a ped or a pedestal.
    • 1:09:33AUDIENCE: Are you serious?
    • 1:09:34DAN COFFEY: Yep.
    • 1:09:35So that's physically moving the camera up and down like this.
    • 1:09:38Here's a shot, another Ferris Bueller's Day Off reference.
    • 1:09:45AUDIENCE: Oh, that's perfect.
    • 1:09:55DAN COFFEY: But, I mean, this one camera movement
    • 1:09:57has done so much for us in this moment.
    • 1:10:00The end is they just cut to the reverse shot of the car.
    • 1:10:04So talk me through this.
    • 1:10:07Why is this the right choice here?
    • 1:10:09Or is it the right choice here?
    • 1:10:11Why not do something else?
    • 1:10:14To that point, this is all subjective.
    • 1:10:16We're watching what somebody has done.
    • 1:10:18But you absolutely could have chosen something else.
    • 1:10:20You could have dollied into this shot and then pedded up.
    • 1:10:22You could have cut from a low shot to their faces.
    • 1:10:28Any thoughts on why this is more effective?
    • 1:10:32AUDIENCE: The timing of everything.
    • 1:10:33DAN COFFEY: Timing is a big part of it.
    • 1:10:35AUDIENCE: And then the doors opening--
    • 1:10:38come on, it was excellently executed.
    • 1:10:40DAN COFFEY: I think Ian hit it on the head.
    • 1:10:42You kind of anticipate this.
    • 1:10:44You're like, what's going on here, as you see this frame.
    • 1:10:46IAN SEXTON: That's Olivia.
    • 1:10:47DAN COFFEY: Olivia?
    • 1:10:48Yeah.
    • 1:10:49I think it's a really good insight there, Olivia.
    • 1:10:54All right, we have one more camera movement.
    • 1:10:59What is this direction?
    • 1:11:01And so this is a combination of both trucking left and right
    • 1:11:03and then dollying in and out.
    • 1:11:05So you kind of move in this shape here.
    • 1:11:07AUDIENCE: I'm sure it has a silly name.
    • 1:11:09DAN COFFEY: It doesn't.
    • 1:11:09It's kind of self-descriptive, actually.
    • 1:11:11IAN SEXTON: Yeah, it's the one that doesn't.
    • 1:11:12DAN COFFEY: It's called an arc.
    • 1:11:14This is arc left, arc right.
    • 1:11:16And you typically kind of see these go in a more full circle,
    • 1:11:19or at least 180 degrees, typically slightly longer shots.
    • 1:11:22So let's look at an example.
    • 1:11:24This is from Interstellar.
    • 1:11:33Here's another arcing shot, which comes right after that.
    • 1:11:42And yet another arc.
    • 1:11:46So I think it's interesting.
    • 1:11:47Because I think that those two arcing shots we just saw do different things.
    • 1:11:52I guess I left the whole clip in here, so we'll back up.
    • 1:11:55What does this one do?
    • 1:12:05AUDIENCE: It makes you want to-- it makes you see or feel
    • 1:12:09that there's so much more around.
    • 1:12:11DAN COFFEY: Yeah, it kind of reveals the expanse of the environment,
    • 1:12:14makes you feel it's kind of endless, in a way that just a wide shot wouldn't
    • 1:12:19have done for us, right?
    • 1:12:20AUDIENCE: It would be pretty bland.
    • 1:12:21DAN COFFEY: Yeah.
    • 1:12:23And then once we've kind of come into this conversation that's happening
    • 1:12:26inside the room here, what is it--
    • 1:12:33how does this kind of keep the shot, keep the conversation moving for us?
    • 1:12:37We can't even hear them, but--
    • 1:12:39AUDIENCE: It kind of makes you feel involved.
    • 1:12:41DAN COFFEY: Yeah, so it kind of makes you feel involved.
    • 1:12:43IAN SEXTON: What does it do to the space?
    • 1:12:45It's the same exact camera movement, but it's done--
    • 1:12:48AUDIENCE: Tight.
    • 1:12:49IAN SEXTON: Yeah, it sort of collapses the space
    • 1:12:51and makes it much more intimate, this sort
    • 1:12:53of conversation and claustrophobic.
    • 1:12:54And we're in between people as we arc around.
    • 1:12:57Whereas the first one, it showed how big everything was.
    • 1:13:00And then the same camera movement just collapses everything.
    • 1:13:02So context matters a little bit.
    • 1:13:05DAN COFFEY: Absolutely.
    • 1:13:08AUDIENCE: I hope our final projects don't have to look at this.
    • 1:13:12DAN COFFEY: And you'll notice too, oftentimes you'll see--
    • 1:13:16if they're going to cut together arcing shots like this,
    • 1:13:19you're working in the same direction.
    • 1:13:21So you very rarely will reverse the direction.
    • 1:13:23And the same thing goes for pans.
    • 1:13:25I don't have any slides about this, but you don't typically
    • 1:13:27pan in one direction and then pan back.
    • 1:13:29Because what's the point of that?
    • 1:13:30You've already shown us this information.
    • 1:13:32Why are we seeing it again?
    • 1:13:33So when you pan, start at your starting point, end at your ending
    • 1:13:37point, and there's no reason to then double back.
    • 1:13:39Like, my mom does this for example.
    • 1:13:41If she watches this video, I'm sorry, Mom.
    • 1:13:43But she'll want to show this beautiful landscape,
    • 1:13:47so she'll show it to you once and then show it to you again.
    • 1:13:50And you're not really getting anything new.
    • 1:13:55IAN SEXTON: You're in trouble.
    • 1:13:57DAN COFFEY: Probably.
    • 1:13:58All right, quiz time.
    • 1:14:02What's the first one here?
    • 1:14:03Not Ralph.
    • 1:14:07Say it louder.
    • 1:14:08I just can't here.
    • 1:14:10AUDIENCE: Pan.
    • 1:14:10DAN COFFEY: Pan.
    • 1:14:13AUDIENCE: Tilt.
    • 1:14:14DAN COFFEY: Tilt.
    • 1:14:15AUDIENCE: Dolly.
    • 1:14:16DAN COFFEY: Dolly.
    • 1:14:19AUDIENCE: Ped.
    • 1:14:19DAN COFFEY: Ped, pedestal.
    • 1:14:22No, I didn't actually--
    • 1:14:23I don't think we did this one.
    • 1:14:24I skipped one.
    • 1:14:25AUDIENCE: Roll.
    • 1:14:26DAN COFFEY: Roll, yeah.
    • 1:14:27So I'll update the slides and put this in.
    • 1:14:29But it literally is when you tilt the camera like this.
    • 1:14:33It's just called a roll.
    • 1:14:35I don't have a clip.
    • 1:14:36I missed it.
    • 1:14:36I'm sorry, Ralph.
    • 1:14:38All right, moving physically side to side.
    • 1:14:40AUDIENCE: Truck.
    • 1:14:40DAN COFFEY: Truck.
    • 1:14:41And then the last one that we just saw at the end
    • 1:14:43where we kind of made this fun motion.
    • 1:14:46AUDIENCE: Arc.
    • 1:14:47DAN COFFEY: Arc, all right.
    • 1:14:51So let's talk about camera support now.
    • 1:14:53We've seen all these kind of fun moves that you can do.
    • 1:14:55You've seen some very expensive technology actually
    • 1:14:58move the camera around.
    • 1:14:59But do you need to have that expensive technology to do these camera moves?
    • 1:15:04That's a question for the ages.
    • 1:15:06So one of the most basic camera supports that you're going to use is a tripod.
    • 1:15:11And you may or may not have access to these.
    • 1:15:14But we see a tripod in a couple of different configurations.
    • 1:15:19But it comes down to the actual legs of the tripod.
    • 1:15:21This is called the tripod head.
    • 1:15:23If you're shooting video, there are different heads
    • 1:15:25than what you might use for photos.
    • 1:15:27And actually, give me one second.
    • 1:15:29Let me just grab an example of this.
    • 1:15:39So this is a nice lightweight portable tripod.
    • 1:15:45And it's got a quick release head so that you can easily
    • 1:15:48change your angle very quickly.
    • 1:15:50But if I wanted to pan on this, would this be a good tripod for this?
    • 1:15:55No, not really.
    • 1:15:56This is a still photo tripod head, and it's meant for one frame at a time.
    • 1:16:01IAN SEXTON: Setting your frame and then changing your frame
    • 1:16:03and setting your frame for single shots.
    • 1:16:06DAN COFFEY: This is a fluid head tripod head which is really
    • 1:16:10what you want if you're doing video.
    • 1:16:12They get very expensive, but on the low end side of things,
    • 1:16:16it will still make a world of difference compared to trying to do it handheld
    • 1:16:20or without a head that doesn't have any kind of fluid motion to it.
    • 1:16:26So on the top of this, we have a quick release plate.
    • 1:16:28This comes off very quickly so that you can change your camera out.
    • 1:16:35This attaches to the bottom of your camera.
    • 1:16:37Slide it in.
    • 1:16:41I'm gonna check this one out later.
    • 1:16:43I probably put it in backwards, but I'm going
    • 1:16:45to pretend I didn't for the sake of the class.
    • 1:16:47So this would swap out.
    • 1:16:48I take this head off of this tripod, these tripod legs,
    • 1:16:50and then put this on.
    • 1:16:51And then we have a tripod head that is made for video.
    • 1:16:57And I don't have the pan bar, but usually you often have a bar hanging
    • 1:17:00off the side of it-- it's called a pan bar, pan arm--
    • 1:17:02so that you can turn the tripod head as well
    • 1:17:05without having to touch your camera.
    • 1:17:08Those are your basic tripods.
    • 1:17:13All right.
    • 1:17:13When you want to travel more lightweight--
    • 1:17:17let me back up for a second.
    • 1:17:18When you're shooting on a camera that's very small,
    • 1:17:20like a DSLR or a mirrorless camera, they're just so typically lightweight,
    • 1:17:24which is really nice if you're carrying them around.
    • 1:17:26But when your hands shake from holding it, you see it in the footage often.
    • 1:17:32And there is certainly a camera stabilization
    • 1:17:34that exists in sensors and lenses and whatnot
    • 1:17:36that will produce this vibration.
    • 1:17:39But oftentimes with a small light camera,
    • 1:17:42it just becomes harder to actually hold it and shoot video
    • 1:17:45because everything shakes so much.
    • 1:17:46So that's why we're talking about camera support.
    • 1:17:50IAN SEXTON: So it's different from the concept of motion blur.
    • 1:17:53It's just that because you have frame after frame
    • 1:17:56you can see the actual movement of the camera,
    • 1:17:58and it just sort of bounces around there.
    • 1:18:00AUDIENCE: Like the first shot in Saving Private Ryan.
    • 1:18:03IAN SEXTON: Yeah, that was very--
    • 1:18:04and on purpose, right, to make it handheld
    • 1:18:07and feel really frenetic and crazy.
    • 1:18:09So you can use it to your advantage if you want to.
    • 1:18:12DAN COFFEY: But I would say what I'm describing is kind of hard to pinpoint.
    • 1:18:15And I should have put a clip of it in.
    • 1:18:16I'm sorry I didn't.
    • 1:18:17But it's simply just holding a very lightweight camera in your hands
    • 1:18:20and trying to move with it, everything shakes
    • 1:18:22in a way that is not the same as what you saw from Saving Private Ryan.
    • 1:18:26Because that camera was probably a giant camera that was on someone's shoulder
    • 1:18:29and is stable because it's got a body actually stabilizing it.
    • 1:18:32But there's something different about holding it
    • 1:18:34in your hands and just the shake of your hands as you hold it,
    • 1:18:36and something that's so lightweight.
    • 1:18:38So as you go shoot, you might see this if you're
    • 1:18:40shooting handheld, which is fine but just something to be aware of.
    • 1:18:43So easy ways to kind of prevent the camera shake, use a tripod,
    • 1:18:47use a monopod.
    • 1:18:48This is one leg of a tripod that you can kind of pivot around on too,
    • 1:18:52so it's kind of nice because you can get a little bit more of a handheld feeling
    • 1:18:55with it, but not as much as just holding the camera on its own.
    • 1:19:02But what's the downside to a tripod and a monopod, though,
    • 1:19:05if we think back to our list of camera moves?
    • 1:19:08It keeps us pretty static.
    • 1:19:10It's hard to take this tripod and do a trucking shot.
    • 1:19:13Like, if I try to pull this along the stage,
    • 1:19:15you can see how much this tripod head vibrates.
    • 1:19:18That's not the right tool for the job.
    • 1:19:19AUDIENCE: That's a fail.
    • 1:19:20DAN COFFEY: Yeah, exactly.
    • 1:19:22All right, handheld-- this is if you actually
    • 1:19:24hold your camera as we describe.
    • 1:19:26But this is the kind of shake I'm describing.
    • 1:19:29So I will say, if you're going to hand-hold your camera,
    • 1:19:31use yourself as a tripod as much as possible.
    • 1:19:33Take your elbows, suck them right into your body,
    • 1:19:36and try to have as much contact as you can
    • 1:19:38so that your camera moves as little as possible.
    • 1:19:40Don't try to hold it out.
    • 1:19:42Like, you can't really see with their elbows are doing,
    • 1:19:43but don't try to hold it out like this, because then
    • 1:19:45the entire extension of your arms is going to shake your frame.
    • 1:19:47So bring your elbows in, and hold the camera as close to your body
    • 1:19:50as possible.
    • 1:19:53A shoulder rig-- if you've got a little bit more money to spend,
    • 1:19:57you might get something like this.
    • 1:19:58You might rent something like this.
    • 1:20:00But at its most basic, there's a platform for a camera
    • 1:20:03to sit on, some rods to kind of put it along and have
    • 1:20:06a shoulder pad for your shoulder, and some handles to hold onto it.
    • 1:20:09It's most basic.
    • 1:20:10And then you kind of get the stability of a much larger camera
    • 1:20:14rig but with your much smaller camera.
    • 1:20:17These tend to be low hundreds of dollars,
    • 1:20:21so not achievable for everybody.
    • 1:20:24But the next step up in stability from just holding it in your hands.
    • 1:20:30A dolly, what shot do we probably get with a dolly?
    • 1:20:34AUDIENCE: Truck?
    • 1:20:35DAN COFFEY: That's not the first one.
    • 1:20:37Dolly, right?
    • 1:20:38That's the first one you would think.
    • 1:20:39And so dollies take different forms, but their anatomy at its most basic
    • 1:20:45is some kind of track and some kind of wheel system
    • 1:20:47that rides along the track.
    • 1:20:48This is a very fancy advanced dolly with a very big camera on it
    • 1:20:51that has another arm that kind of booms up and down,
    • 1:20:54or gives us the head movement up and down.
    • 1:20:57But it doesn't have to be this fancy.
    • 1:21:00There are tabletop sliders like this which are also fairly inexpensive,
    • 1:21:04or things that you can rent.
    • 1:21:05And the idea is the same, right?
    • 1:21:06So you've got your video tripod head on it, and it slides side to side,
    • 1:21:10or you can have it go in and out so you can get a dolly or a truck shot
    • 1:21:13from something like this as well.
    • 1:21:16And much more stable than trying to hold it in your hand
    • 1:21:19and move along like this.
    • 1:21:24So related but unrelated, action cameras and drones are kind of all the rage
    • 1:21:30these days.
    • 1:21:31What's nice about drones in particular is that they tend to be stabilized.
    • 1:21:35They have this electronic gimbal on them that adds stability and gives you
    • 1:21:39a beautiful, smooth shot.
    • 1:21:42We also have, for getting more interesting shots
    • 1:21:44like this, the camera that can actually attach to your forehead,
    • 1:21:47an action camera called GoPro.
    • 1:21:50What might be the downside of a little tiny camera like this?
    • 1:21:54AUDIENCE: Tiny sensor.
    • 1:21:55DAN COFFEY: Tiny sensor, exactly.
    • 1:21:56That's one thing.
    • 1:21:59GoPros have 4K resolution, but what good is 4K resolution
    • 1:22:05if your sensor is that small?
    • 1:22:06You need to have what to make it look good?
    • 1:22:08AUDIENCE: [INAUDIBLE]
    • 1:22:09DAN COFFEY: A lot of light.
    • 1:22:10Exactly, Ralph.
    • 1:22:11So if you don't have daylight, it's going
    • 1:22:13to be hard to get good low light performance.
    • 1:22:18One of the newer things that's come out is the electronic gimbal.
    • 1:22:22The one on the left here is called the Movi.
    • 1:22:23It was one of the first to market.
    • 1:22:25But there are all kinds now like this that can hold your camera.
    • 1:22:28And they're usually-- this kind is usually sub $1,000.
    • 1:22:32But really, it's very interesting to see what it does.
    • 1:22:35And I think this is really some of the breakthrough technology
    • 1:22:37that we're seeing in our time for actually moving a camera around,
    • 1:22:41because you can get so much versatility out of it.
    • 1:22:44This is my fun analogy to a movie.
    • 1:22:49All right.
    • 1:22:49So let's take a look at a side-by-side comparison
    • 1:22:51of a shot that is stabilized with a gimbal and a shot that is handheld,
    • 1:22:54just to get a sense of how much smoother it can be.
    • 1:23:00It's kind of crazy.
    • 1:23:00The right feels more like The West Wing.
    • 1:23:03The left kind of feels like your cousin picked up a camera
    • 1:23:06and followed somebody down the stairs.
    • 1:23:11All right.
    • 1:23:12Let's look at this shot and see if we can guess how this was done.
    • 1:23:56All right.
    • 1:23:56So we'll call this the end of the shot.
    • 1:23:57Any guesses as to how this was pulled off?
    • 1:24:02What piece of hardware or pieces of hardware might have been involved?
    • 1:24:06AUDIENCE: Maybe a drone.
    • 1:24:07DAN COFFEY: Maybe a drone.
    • 1:24:08IAN SEXTON: Drone.
    • 1:24:09DAN COFFEY: OK, hearing a drone from the internet.
    • 1:24:11AUDIENCE: [INAUDIBLE]
    • 1:24:12DAN COFFEY: OK, we'll ignore that one for a moment.
    • 1:24:15Somebody knows the answer.
    • 1:24:17All right, let's watch a behind the scenes
    • 1:24:18of how this was actually captured.
    • 1:24:26AUDIENCE: No way.
    • 1:24:29One guy?
    • 1:24:32DAN COFFEY: I mean, it's kind of amazing how this technology has just changed
    • 1:24:38the game, for lack of a better word.
    • 1:24:40This has kind of revolutionized how easy it is to stay--
    • 1:24:44I mean, not everybody could ride a bike and hold a Movi at the same time.
    • 1:24:47Let's be honest.
    • 1:24:48But just the fact that you can change terrain like this.
    • 1:24:52Like, what would have taken--
    • 1:24:53like, how would you have even done this before?
    • 1:24:55You would have rented a helicopter and done it
    • 1:24:57that way, before drones existed.
    • 1:25:00You would have had a crazy dolly track setup.
    • 1:25:02And even then, the differential of terrain that you're going down,
    • 1:25:05I don't even know that you could have done it.
    • 1:25:06IAN SEXTON: Well, they've done lots of stuff
    • 1:25:08before with steady cams where they run onto lifts and get lifted up
    • 1:25:11so you can change floors and things like that.
    • 1:25:13But yeah, I don't really think--
    • 1:25:15not on this terrain, you couldn't do it.
    • 1:25:18AUDIENCE: And it's so uneven.
    • 1:25:20That's impressive.
    • 1:25:22It's simple.
    • 1:25:23DAN COFFEY: All this to say, there are cameras
    • 1:25:25you can buy now that are fairly inexpensive, too,
    • 1:25:27that are gimbals with a lens on them and a sensor.
    • 1:25:31So you don't even need something that you can put your camera into.
    • 1:25:33You can buy one of these that already exists in this format.
    • 1:25:38All right.
    • 1:25:38So for time's sake, let's move on.
    • 1:25:40Practically speaking, you're not going to go buy all this hardware right away.
    • 1:25:44Renting it might be out of reach too, potentially.
    • 1:25:47So what do we do?
    • 1:25:52AUDIENCE: Cry.
    • 1:25:53DAN COFFEY: No, I mean, I think that you do the best you can.
    • 1:25:57We talked about how to take a camera and hold it stably.
    • 1:26:01You know, tripods are pretty easy to come across.
    • 1:26:03But if you don't have a tripod, you can certainly set your camera down
    • 1:26:06on a table or something at the right height.
    • 1:26:08It just then becomes difficult to maybe pan or tilt.
    • 1:26:12But I think the thing is, you do the best you can.
    • 1:26:14You'll get an opportunity to use a nicer piece of equipment.
    • 1:26:16You take it, and you experience it.
    • 1:26:18And then you decide you can never go back.
    • 1:26:22Practically speaking, I think that you do the best you can.
    • 1:26:25IAN SEXTON: So I owned a wheelchair for a long time
    • 1:26:28that I got from a nursing home that was selling them off
    • 1:26:31that I would use on smooth floors like the stage or something like that.
    • 1:26:34And I would just sort of put the camera in my lap,
    • 1:26:36and we can dolly in and out really nicely.
    • 1:26:38DAN COFFEY: Yeah.
    • 1:26:38If you work in an office, even an office chair.
    • 1:26:40IAN SEXTON: So there are creative solutions.
    • 1:26:42There's been lots of shopping cart dollies over the years,
    • 1:26:46I'm sure, in a lot of student films and stuff like that.
    • 1:26:49It's hard to get rid of the bounce, though.
    • 1:26:51AUDIENCE: Yeah, and the noise.
    • 1:26:52How do you get rid of the noise?
    • 1:26:54IAN SEXTON: Yeah, so with shopping carts it's not easy.
    • 1:26:55You need a really smooth floor.
    • 1:26:57You could do it in--
    • 1:26:59you can't do it on concrete.
    • 1:27:01And then there's other dollies too, skateboard
    • 1:27:03dollies, that run on PVC pipe and things like that,
    • 1:27:05that are very low tech solutions to give you some movement.
    • 1:27:10AUDIENCE: So DIY, basically.
    • 1:27:11IAN SEXTON: Yeah.
    • 1:27:12There are some definite DIY solutions.
    • 1:27:14And then it gets as sophisticated as some of the stuff
    • 1:27:16that we saw there, with hydraulic booming arms and things like that.
    • 1:27:22DAN COFFEY: All right.
    • 1:27:23So we have two more pivots tonight before the class ends,
    • 1:27:25so we're going to keep moving on.
    • 1:27:27So let's talk about continuity, which is really the representation of time
    • 1:27:32through space.
    • 1:27:34The goal, typically, is smooth flow of time,
    • 1:27:37from moving a person across the screen, transitioning from one scene
    • 1:27:42to another.
    • 1:27:43We want to start to think about what direction people are entering
    • 1:27:45our frames from and maybe where they're going, the direction that they're
    • 1:27:48looking, and how do they exit as well.
    • 1:27:52Let's see.
    • 1:27:53Let me make sure I'm not going to lose anything here.
    • 1:27:56All right, so a few tips.
    • 1:27:57Just always be aware of that kind of thing as you're shooting.
    • 1:28:01If somebody comes in to your scene entering left to right,
    • 1:28:05you want to preserve that probably as they continue walking.
    • 1:28:07You don't want to cut to a shot where they're then immediately walking
    • 1:28:09the other direction.
    • 1:28:10We'll look at some examples of this.
    • 1:28:14Yeah, think about the transitions.
    • 1:28:16If you're going to have somebody come into your scene,
    • 1:28:17do they walk through a door?
    • 1:28:19Do they just walk in from out of frame?
    • 1:28:22What is their actual transition?
    • 1:28:23And then how do you transition from that scene to the next scene?
    • 1:28:26Does a person walk out of frame?
    • 1:28:29Does the person just stay standing there and you cut to the next scene?
    • 1:28:32Things to just start to consider as you put your scene together.
    • 1:28:35And I think one of the best ways to actually determine
    • 1:28:38what feels good for you is to just watch films, watch TV, and see what is done
    • 1:28:42and see what you like.
    • 1:28:44And if you break continuity, do so intentionally.
    • 1:28:47So we talked a little bit about preserving screen direction.
    • 1:28:52So one handy rule that is kind of the baseline for preserving continuity
    • 1:28:56is called the 180 degree rule.
    • 1:28:58Does anybody have a quick definition of what this is offhand?
    • 1:29:06All right.
    • 1:29:06Well, let's unpack it.
    • 1:29:07Let's first watch this scene with no sound
    • 1:29:10of a conversation between two people from Good Will Hunting.
    • 1:29:13So we have two people sitting in a room and talking.
    • 1:29:21We've got this kind of shot, reverse shot,
    • 1:29:22where we're seeing one half of the conversation,
    • 1:29:24and then we flip over the other person's shoulder
    • 1:29:26and see the other half of the conversation.
    • 1:29:33We're kind of going in closer, we're punching out wider,
    • 1:29:36depending on what's happening.
    • 1:29:38But this feels very natural, right?
    • 1:29:40Everybody's looking in the right direction.
    • 1:29:47So where would we put the cameras to actually capture this?
    • 1:29:52Think of this as a bird's eye plot.
    • 1:29:54Where would we put the camera?
    • 1:29:56AUDIENCE: Behind Matt Damon's right shoulder?
    • 1:29:59DAN COFFEY: All right.
    • 1:29:59So Ralph, you're saying here.
    • 1:30:02So where would you put the camera on the other side behind Robin Williams?
    • 1:30:07AUDIENCE: The same thing [INAUDIBLE].
    • 1:30:10DAN COFFEY: So over his right shoulder?
    • 1:30:11So this is his right shoulder?
    • 1:30:12AUDIENCE: Well, left shoulder.
    • 1:30:13DAN COFFEY: Left shoulder.
    • 1:30:14And why would you choose one versus the other?
    • 1:30:16AUDIENCE: No, I would shoot it through the same shelving.
    • 1:30:19DAN COFFEY: I'm kind of being vague and asking confusing questions to kind
    • 1:30:22of tease this out.
    • 1:30:23But this is what the 180 degree rule defines for us.
    • 1:30:28So what it is is this line between two characters looking.
    • 1:30:33Sometimes it's called the line of action.
    • 1:30:35But it's established by this kind of direction of the character's gaze.
    • 1:30:39And we need to kind of pick a side of the line to be on.
    • 1:30:42So we can pick this side, and we can pick this side.
    • 1:30:44They will both feel different, but we need
    • 1:30:46to stay on the same side of this line.
    • 1:30:48AUDIENCE: So don't break the line ever.
    • 1:30:50DAN COFFEY: There is intention to break the line,
    • 1:30:52but we're getting ahead of ourselves.
    • 1:30:54So you might put your camera on this side of Robin Williams.
    • 1:30:58And if we're staying on this side of the line, that means our camera behind Matt
    • 1:31:02Damon needs to go over here.
    • 1:31:07So there are two cameras.
    • 1:31:08And if we want to have a wide shot, where would we put that?
    • 1:31:16Tonya is pointing this way, this side of the line, right?
    • 1:31:19Yes.
    • 1:31:19So we put our wide shot back here if we're going to get both characters.
    • 1:31:23What would happen if we put a camera over here?
    • 1:31:31Let's visualize it, OK?
    • 1:31:33So if our camera is over here, this is the image we get.
    • 1:31:36We get Matt Damon in our foreground looking screen right, Robin Williams
    • 1:31:44frame right looking screen left, as far as their gaze goes,
    • 1:31:48which is appropriate with this picture that we're looking at.
    • 1:31:52If we look at the reverse shot, we've got the camera
    • 1:31:56over Robin Williams' shoulder.
    • 1:31:57So his camera is in the foreground frame right with Matt Damon frame left,
    • 1:32:02or frame center, but looking opposite directions.
    • 1:32:08If we put it over the other shoulder, what happens
    • 1:32:10is that his gaze direction flips, and they are now
    • 1:32:14both looking in the same direction.
    • 1:32:15So if you were to cut back-to-back to these,
    • 1:32:17it no longer feels like they're looking at each other.
    • 1:32:20They're both looking in the same direction
    • 1:32:21like they're talking to somebody else, and it's just very unnatural.
    • 1:32:24But when you're going to do your first set up,
    • 1:32:26if you've got multiple people in the room,
    • 1:32:28it's really easy to kind of confuse this and not
    • 1:32:30know exactly where to place the camera.
    • 1:32:32So it's important to think about what you
    • 1:32:34want is them to obviously look towards each other in the same direction.
    • 1:32:39And so it's important to kind of think about what that would look like as far
    • 1:32:45as look direction and whatnot.
    • 1:32:48So let's actually draw a little bit and come up with a couple of scenarios
    • 1:32:51here.
    • 1:32:55So let's say we have two people--
    • 1:32:58I'm drawing from overhead.
    • 1:33:00So that's someone's shoulders, that's their head, that's their nose.
    • 1:33:06Another person they're talking to, that's their head, that's their nose.
    • 1:33:10Where is our line of action, or 180 degree line?
    • 1:33:16Right through them, nose to nose?
    • 1:33:18Let's use a different color here.
    • 1:33:19We'll use red.
    • 1:33:21All right, great.
    • 1:33:23Where would we place our cameras?
    • 1:33:27AUDIENCE: The first one is our choice, right?
    • 1:33:29DAN COFFEY: Yeah one side or the other we should choose.
    • 1:33:33All right so we'll just say we'll put one here, we'll put one here,
    • 1:33:36and our wide shot would be over here.
    • 1:33:38Anything in this-- not hemisphere, this half of our area would be fine.
    • 1:33:44If we cross to the other side, it means that someone's going
    • 1:33:47to be looking in the wrong direction.
    • 1:33:49That is essentially what the 180 degree rule defines for us.
    • 1:33:54What happens if the setup gets a little bit more complicated?
    • 1:33:57Let's say here's our person.
    • 1:34:06And there's our person.
    • 1:34:07They're looking opposite of each other.
    • 1:34:19Go back to red.
    • 1:34:21AUDIENCE: The same line, I would assume.
    • 1:34:23DAN COFFEY: OK.
    • 1:34:23So I think that there are a couple of ways to cover it,
    • 1:34:26but yeah, I'd draw the same line as you.
    • 1:34:28AUDIENCE: Are they talking to each other?
    • 1:34:30DAN COFFEY: It depends.
    • 1:34:31Like, if they turn-- so this is what can affect our line.
    • 1:34:33If somebody looks in a different direction, that can change everything.
    • 1:34:37Or a glance-- like, if somebody else enters the scene,
    • 1:34:40and now you have three people talking.
    • 1:34:42IAN SEXTON: It's almost like if you and I were talking,
    • 1:34:45the line is between Dan and I. And then all of a sudden we turn to talk to you,
    • 1:34:50now there's another line here.
    • 1:34:52And so we basically have all of our cameras on this side of the line,
    • 1:34:57and now there's a line here, and we actually
    • 1:34:59have a bunch of cameras that are still over there.
    • 1:35:01So we're sort of maintaining our 180 degree,
    • 1:35:03but it would be really weird if we were talking, and all of a sudden
    • 1:35:06there was a camera flipped to the back here or something like that,
    • 1:35:09or this camera picked us up.
    • 1:35:10So it's really about the line of action, what's happening in the scene
    • 1:35:14and how are you covering it.
    • 1:35:16And the goal is to make coherent space.
    • 1:35:19Like, look direction and the direction people watch needs to be consistent,
    • 1:35:24or it's hard for us to understand actual volume
    • 1:35:28as represented as a sequence of shots, of two dimensional images
    • 1:35:32back to back to back to back.
    • 1:35:35DAN COFFEY: So I was going to draw three people,
    • 1:35:37but does that cover it enough for everybody?
    • 1:35:40Maybe we'll just draw it real quick.
    • 1:35:41So if we have three people, let's say these two
    • 1:35:44people start talking to each other--
    • 1:35:48forgive my poor drawing--
    • 1:35:50our line is like this.
    • 1:35:52And then person number three walks in like this.
    • 1:35:57Where does the line go?
    • 1:35:58Part of this depends on where we put the cameras to begin.
    • 1:36:02So let's say we have a camera here, a camera here, and then we pivot.
    • 1:36:11This is our wide shot as the other person walks in.
    • 1:36:18It can depend on who we follow too, something like that.
    • 1:36:28It really kind of depends on the setup and which shot you're following.
    • 1:36:32But it will feel--
    • 1:36:33you'll know it when you see it.
    • 1:36:34When you make your first cut that breaks this rule,
    • 1:36:37you will see it, because everybody will just be looking in the wrong direction.
    • 1:36:44All right.
    • 1:36:45Let's look at an example of this now.
    • 1:36:47Another clip from the same episode of Mr. Robot.
    • 1:36:49And they break this rule in here.
    • 1:36:51So see if you can spot it.
    • 1:36:52All right, maybe we can dim the lights for this one.
    • 1:36:56[VIDEO PLAYBACK]
    • 1:36:58- But I can't.
    • 1:37:02Really, this was you.
    • 1:37:06You are seriously the best person I know.
    • 1:37:10You know that.
    • 1:37:16I love you so much.
    • 1:37:24Oh, my god, Elliot.
    • 1:37:25What the fuck?
    • 1:37:28- I'm sorry.
    • 1:37:29- What the hell is wrong with you?
    • 1:37:32- I'm sorry.
    • 1:37:34I'm sorry.
    • 1:37:35I thought-- I just--
    • 1:37:37I'm sorry.
    • 1:37:40- Oh, my god, Elliot.
    • 1:37:43Did you forget again?
    • 1:37:46Did you forget who I am?
    • 1:37:50[END VIDEO PLAYBACK]
    • 1:37:51DAN COFFEY: All right, so--
    • 1:37:54so let's draw what we're seeing here.
    • 1:37:57So we got two people talking to each other, person one, person two,
    • 1:38:07sitting like this.
    • 1:38:10Where are the cameras placed?
    • 1:38:13Let me do this, keep this in my hand.
    • 1:38:18AUDIENCE: Kind of on the right shoulder.
    • 1:38:19DAN COFFEY: Yeah.
    • 1:38:20And how far over are we, like if we think about--
    • 1:38:25we could get a shot from here, or we could get a shot from here.
    • 1:38:29Let's draw the line.
    • 1:38:30Where's the line between them?
    • 1:38:33Right there, yeah.
    • 1:38:33So when they turn to look all the way at each other, it's like this.
    • 1:38:37Let me draw this in red.
    • 1:38:42So at their most extreme when they're looking, that's our line.
    • 1:38:46And so we can go--
    • 1:38:48what we're saying with the 180 degree rule
    • 1:38:50is that we can place our cameras anywhere in this part,
    • 1:38:55because if we look at what they did, we're on this side of them.
    • 1:38:59We're on this side.
    • 1:39:01So the first camera is probably here, because we
    • 1:39:04have a lot in our foreground of Elliot, our character, with the background.
    • 1:39:10And so how extreme is the other angle on the reverse side?
    • 1:39:13Let me skip forward a little bit.
    • 1:39:19AUDIENCE: Almost the same.
    • 1:39:20DAN COFFEY: Almost the same.
    • 1:39:21Yeah, exactly.
    • 1:39:22So we're probably something like that.
    • 1:39:26And so there's balance there.
    • 1:39:28It'll be interesting to maybe put the camera here.
    • 1:39:32Would this be OK to do?
    • 1:39:33Or would we lose this person entirely?
    • 1:39:37Yeah, right, there's no rule around that,
    • 1:39:39but that would be a clean shot instead of having this person in the foreground
    • 1:39:43kind of dirtying our frame.
    • 1:39:44It just feels very different.
    • 1:39:46So it's very natural to kind of match our coverage here.
    • 1:39:51All right.
    • 1:39:54Do we have any other shots happening here?
    • 1:39:57So back and forth, back and forth, shot, reverse shot.
    • 1:40:01Here's another angle.
    • 1:40:02Where's this camera?
    • 1:40:04AUDIENCE: Bottom left.
    • 1:40:05DAN COFFEY: Yeah, just down here somewhere, right?
    • 1:40:08So those are the setups we've seen so far.
    • 1:40:13AUDIENCE: [INAUDIBLE]
    • 1:40:17DAN COFFEY: So where do the cameras go here?
    • 1:40:19AUDIENCE: I didn't notice at all.
    • 1:40:21DAN COFFEY: You didn't notice it?
    • 1:40:21AUDIENCE: No, I was looking for it, and I missed it.
    • 1:40:27DAN COFFEY: So this camera is kind of--
    • 1:40:29our subject here is her.
    • 1:40:30We're kind of over Elliot's shoulder slightly.
    • 1:40:34So let's just say this is Elliot.
    • 1:40:37That camera is like here, because they are flipped orientation wise.
    • 1:40:41And look at the background of what's going on.
    • 1:40:44That's the other tell for you.
    • 1:40:46We've been looking behind them as being kind of lights and city.
    • 1:40:49But as we flip here, there's this, and then bang.
    • 1:40:56There's the beach.
    • 1:40:57All of a sudden, totally different.
    • 1:40:59They're looking in opposite directions, the background is different,
    • 1:41:02everything about this was very jarring for us
    • 1:41:04as a viewer, which is kind of what's happening to him.
    • 1:41:07That might be the reason that they did this,
    • 1:41:08because this is a very kind of confusing moment.
    • 1:41:11And it's just this one shot.
    • 1:41:13After this, we go right back to where we were.
    • 1:41:19Now we're back to--
    • 1:41:20she's no longer in the frame.
    • 1:41:22Now we have this shot here.
    • 1:41:27Does that make sense?
    • 1:41:31IAN SEXTON: So like all things, it's most effective
    • 1:41:34when used very judiciously.
    • 1:41:36DAN COFFEY: Yep, exactly.
    • 1:41:38I point this out more to say try not to break this because, again,
    • 1:41:43exactly, use it judiciously.
    • 1:41:45It is hard to execute well.
    • 1:41:47And just to close it out, the last camera shot was from that angle there.
    • 1:41:52So for all intents and purposes, preserve screen direction
    • 1:41:56and look direction.
    • 1:41:57Keep it on one side of the line or the other.
    • 1:41:59They could have totally shot in the other direction
    • 1:42:01and had the beach in the background the whole time.
    • 1:42:03That would have been totally fine.
    • 1:42:06What would it have done, actually?
    • 1:42:08I'm curious.
    • 1:42:08Let's look at this for a second.
    • 1:42:09AUDIENCE: You would have lost the kicker lights on the side of the face.
    • 1:42:12DAN COFFEY: You would have lost the lights on the side of the face, OK.
    • 1:42:15But if we had put the cameras on the other side of them,
    • 1:42:18over this shoulder over here, where Ian is,
    • 1:42:23as far as their bodies' position goes, how would it be different?
    • 1:42:27AUDIENCE: It wouldn't be on the front.
    • 1:42:28We'd be seeing it from the back.
    • 1:42:29DAN COFFEY: Yeah.
    • 1:42:30But we'd be kind of behind them, which also feels very different.
    • 1:42:33And I don't have a clip of it to show you.
    • 1:42:36But it's more closed off, potentially.
    • 1:42:39Their bodies are kind of open to the camera here.
    • 1:42:41Even though they're overlapping in the frame,
    • 1:42:44think about where you put your camera in position to the conversation as well.
    • 1:42:49We feel less a part of the conversation and more alienated from it.
    • 1:42:53AUDIENCE: And so are you saying this is a bad example?
    • 1:42:56DAN COFFEY: No, no.
    • 1:42:57They did this intentionally, I think.
    • 1:42:59So it's more to show you how this can be used to effect.
    • 1:43:03But as you kind of get started, if it's your first time going out
    • 1:43:07to shoot a video, I find it's easier to kind of do this unintentionally.
    • 1:43:11And so it's--
    • 1:43:12AUDIENCE: So what should I think [INAUDIBLE]??
    • 1:43:15Like, if there was a time when maybe I realize it's not [INAUDIBLE]??
    • 1:43:23And it feels very awkward.
    • 1:43:24DAN COFFEY: It feels very awkward?
    • 1:43:25Yeah.
    • 1:43:26But this is subjective.
    • 1:43:27Like, maybe you think, wow, what are they doing?
    • 1:43:29They totally messed up.
    • 1:43:30My guess is it's intentional.
    • 1:43:32IAN SEXTON: Well, I think we can look at--
    • 1:43:34the moment is this matches the narrative intent of the scene,
    • 1:43:38sort of like a big psychological switch with this character.
    • 1:43:42And in doing so, to sort of see the confusion
    • 1:43:44and sort of make us sort of jump a little bit,
    • 1:43:47they broke the visual continuity.
    • 1:43:49And there's this sort of, something's different, something's wrong,
    • 1:43:51people flipped direction.
    • 1:43:53You're a little bit confused.
    • 1:43:54And then they go back.
    • 1:43:55And so in this instance, it matches the narrative intent,
    • 1:43:58which is what we're sort of talking about all through this course.
    • 1:44:01But when you're setting up a scene where it's just Dan
    • 1:44:03and I talking about what we had for breakfast, if you jumped the line,
    • 1:44:07there's no narrative to match that to.
    • 1:44:11Now it's a mistake.
    • 1:44:13And so just being aware of how to properly show
    • 1:44:17a scene that's coherent and then when you can change it to sort of
    • 1:44:21give your narrative some punch or something like that.
    • 1:44:24DAN COFFEY: Yeah.
    • 1:44:24Etienne, right?
    • 1:44:28The question, is it too much punch?
    • 1:44:30That is subjective.
    • 1:44:31And absolutely for you it might be too much.
    • 1:44:33For me it might not be.
    • 1:44:34But I think that is kind of where we come at it as viewers.
    • 1:44:36And at the end of the day, you need to go out and just make something and let
    • 1:44:40your audience decide if it works or not too.
    • 1:44:43But at the end of the day, make it for yourself.
    • 1:44:45And if you're happy with it, that's really the most important thing.
    • 1:44:51So it can be broken intentionally.
    • 1:44:54But it is foundational and fundamental to understand
    • 1:44:57for how you establish relationships between people,
    • 1:44:59and make sure that your viewer understands who's talking to who.
    • 1:45:05But know that it can be changed by somebody else walking in
    • 1:45:08or something else happening and your character
    • 1:45:10glancing in another direction.
    • 1:45:12So just be aware and give it some thought.
    • 1:45:14I'm going to blow through a few more slides here.
    • 1:45:17The 20% or 30% rule.
    • 1:45:19This basically says, when you're changing
    • 1:45:21from one shot to another, change things by more than 20%.
    • 1:45:27Let's see-- I think I have an example of this.
    • 1:45:29So you want to change either your focal length or your zoom level
    • 1:45:32or the access of your camera.
    • 1:45:34So don't cut to a shot from here to the same shot
    • 1:45:37size from the same position of something slightly different right.
    • 1:45:40So if you're covering this flying car taking off,
    • 1:45:42for example, what you don't want to do, once it starts moving,
    • 1:45:49is cut to the same size thing.
    • 1:45:51This feels like a jump cut.
    • 1:45:54What you want to do is cut from a car taking off
    • 1:45:59to something that's 20% or 30% different, whether it's
    • 1:46:01the size of the car, whether it's the angle of view,
    • 1:46:04the position of the camera.
    • 1:46:05You want to cut to something that's just very different so that it doesn't
    • 1:46:08feel like a jump cut and feel awkward.
    • 1:46:10You can feel in the first version of this just how awkward the cut was.
    • 1:46:14So I think it's kind of a stretch here with the flying car.
    • 1:46:18But if you're shooting people, you don't want
    • 1:46:20to cut from a medium shot to a medium shot of the same person
    • 1:46:24from a different angle.
    • 1:46:25You want to change that shot, or you want to change the position,
    • 1:46:27or cut to the reverse shot first.
    • 1:46:33All right, let's talk about actually covering a scene.
    • 1:46:37How do you go about--
    • 1:46:38let's say you're going to work with an actor and a camera operator,
    • 1:46:41and you've got a crew at your disposal.
    • 1:46:44How might you cover the scene?
    • 1:46:46You know you want to shoot it a few different ways,
    • 1:46:48get a few different angles.
    • 1:46:52You might use something called the master shot and coverage approach.
    • 1:46:56And that is where you know you're going to shoot this several times.
    • 1:46:59So you shoot a wide shot of the scene, and shooting the wide shot first
    • 1:47:03is helpful versus shooting the close ups,
    • 1:47:05because it gives your actors a chance to kind of practice the movement.
    • 1:47:08You're not going to notice the discrepancies in performance
    • 1:47:11as they kind of work it out if you're on the wide shot.
    • 1:47:15And then you want to work your way in on each side of the scene.
    • 1:47:18So this is your coverage of the scene.
    • 1:47:20So you've got your master shot or your wide shot.
    • 1:47:23And then let's say you've got two people talking next to each other.
    • 1:47:25You want the coverage of person one.
    • 1:47:27And then you're going to get, let's say, the medium shot of them
    • 1:47:30doing the same action, repeating the same scene.
    • 1:47:32And then maybe you go in for the close up of the same thing.
    • 1:47:35And think back to our super coverage homework that you did,
    • 1:47:38when you had multiple shot sizes to choose from.
    • 1:47:41We shot this in the same way.
    • 1:47:44And then after you get person one, you might flip to the other side
    • 1:47:46and shoot person two.
    • 1:47:48So you start with your medium shot of them
    • 1:47:50and then you move to your close up shot of them.
    • 1:47:52That is the master shot and coverage approach to covering a scene.
    • 1:47:57You work your way in from one side, then the other.
    • 1:48:00This is where you have control, and you can do it multiple times.
    • 1:48:03What if you're going to get a building blowing up being demolished?
    • 1:48:09You can't really do that multiple times, right?
    • 1:48:11So there's another method called the overlapping method.
    • 1:48:14And this is much more akin to documentary or something
    • 1:48:18where you just have much less control.
    • 1:48:20And so the idea is that you start with your establishing shot,
    • 1:48:23but you don't go through the whole scene.
    • 1:48:24So maybe this is where you have a wide shot of the building.
    • 1:48:27You've got your construction vehicles pulling up.
    • 1:48:30You kind of pause the action.
    • 1:48:31You say, hold on a second, construction crew.
    • 1:48:33You go up, you get the guy coming out of the bulldozer and the wrecking ball.
    • 1:48:37You get a close up shot of him kind of coming out of the truck.
    • 1:48:40Action progresses a little bit.
    • 1:48:42And then you back up to your super wide shot for the actual building dropping.
    • 1:48:46You're kind of shooting this all sequentially, where
    • 1:48:49you leave padding between where you can actually
    • 1:48:51overlap the action that you're seeing so that you
    • 1:48:54have room to actually make an edit.
    • 1:48:57So two different kind of styles for covering scenes.
    • 1:49:00Change the position in the next segment, and then repeat.
    • 1:49:05So two different styles depending on what you're covering.
    • 1:49:08For further reading on all of this kind of thing,
    • 1:49:11this is a great resource, the DSLR Cinematography Guide.
    • 1:49:14It is free.
    • 1:49:15You just have to sign up for their newsletter.
    • 1:49:16There's a link at the bottom of this slide.
    • 1:49:18But it covers everything about getting started in video production.
    • 1:49:22And it's a really easy read.
    • 1:49:24They cover everything that we've kind of covered in this course so far as well.
    • 1:49:28But they specifically are good for video.
    • 1:49:32All right, we are pretty much out of time.
    • 1:49:34I have some slides on here for doing some production.
    • 1:49:37I just want to touch on a couple of them.
    • 1:49:38And then the rest of them are really just assets for you
    • 1:49:41to have as you go out and start doing actually shooting.
    • 1:49:45Budget we're just going to wave our hand at for now, because at this point
    • 1:49:49your budget can be $0 for this class.
    • 1:49:51We don't expect that you are spending much on anything.
    • 1:49:54All right, shot list and visual translations.
    • 1:49:57A shot list is really important, I think,
    • 1:49:59because it'll make sure that you don't miss anything when you go out to shoot.
    • 1:50:03So there's a link to this example here, if you want to use this template.
    • 1:50:06But you number your shots, you list what the subject is going to be,
    • 1:50:10what shot size you want it to be.
    • 1:50:12You know, you can figure out-- put as much detail or as little detail
    • 1:50:15as you want.
    • 1:50:15But the idea is that this is a spreadsheet that'll
    • 1:50:18kind of help you understand what it is you need to get,
    • 1:50:20so when you get to your location and you're ready to shoot,
    • 1:50:23you can literally go down and say, OK, did we get this shot,
    • 1:50:25did we get this shot, did we get this shot?
    • 1:50:27And in production, when you're planning your shoot,
    • 1:50:29you can think about what kind of shots it is that you want to get.
    • 1:50:33I realize this is a really fast overview,
    • 1:50:35but I want to get to storyboards in particular.
    • 1:50:38The other thing that I recommend as you're
    • 1:50:40starting to piece together what it is you're going to do is make storyboards.
    • 1:50:44And that is literally where you draw the key frame of each shot
    • 1:50:49as you go through your sequence.
    • 1:50:52You can add arrows to kind of show, hey, I
    • 1:50:55want the camera to kind of move in and get closer here.
    • 1:50:58So you get a sense of the scale and position of the characters.
    • 1:51:01And if you're working with a crew, this is really handy
    • 1:51:03to show your camera operator and say, hey,
    • 1:51:05this is kind of what I'm imagining for the shot.
    • 1:51:09So really handy.
    • 1:51:09I think it's pretty straightforward to describe.
    • 1:51:12But then your shot numbers can match your shot list
    • 1:51:15so that you can have a very quick translation between your shots.
    • 1:51:19So some good examples here from our friend, Dean.
    • 1:51:24A camera plot.
    • 1:51:25We kind of did this on the big whiteboard
    • 1:51:27here, as we kind of figured out where we wanted to place cameras.
    • 1:51:30But it's helpful to figure out where your line of action is going to be.
    • 1:51:33And so if, again, you're shooting a scene, let's say, for this class
    • 1:51:36or for your first narrative piece that you want to go do,
    • 1:51:40helpful to do this for each kind of setup that you're going to do.
    • 1:51:43Just draw it out.
    • 1:51:45Locations again-- I'm going to wave my hand at this stuff.
    • 1:51:47This is more to have some resources.
    • 1:51:49But there are certain things you want to think about when you go and actually
    • 1:51:51are trying to get a location, and you're going to bring a crew to it
    • 1:51:55in particular, like where are the bathrooms, is it close to an airport,
    • 1:51:59is there air traffic going by overhead for sound, how much power is there,
    • 1:52:03is there Wi-Fi--
    • 1:52:04all those kinds of questions you want to ask.
    • 1:52:07This checklist is just something to take with you so that you can remember
    • 1:52:10to check off all the boxes as you go.
    • 1:52:13If you are working with more than one or two other people,
    • 1:52:16it's helpful to have a call sheet.
    • 1:52:17This is just one page of information that you
    • 1:52:20would send out to the crew about the details of your shoot.
    • 1:52:23So you've got a sound guy, you've got a makeup person, you've got your actors,
    • 1:52:26you've got a camera crew.
    • 1:52:28It starts to become helpful to have all this information in one place.
    • 1:52:31So again, just a template that you can download and look at a little bit
    • 1:52:35beyond the scope of this class, but just to know
    • 1:52:38what happens when you get with slightly bigger productions.
    • 1:52:40This is the bottom half of the same sheet.
    • 1:52:44And a contact sheet.
    • 1:52:45Any old spreadsheet will do.
    • 1:52:46But again, just giving you some template resources for this kind of thing.
    • 1:52:51We got asked about this early on in the class, a talent release form.
    • 1:52:54Here's kind of a generic one to use.
    • 1:52:57Depending on the needs of your production, you may or not need this.
    • 1:53:00It's basically getting someone's permission
    • 1:53:02to use them if you're going to publish your media.
    • 1:53:04For the sake of this class, everything is
    • 1:53:06going to stay private and just within this class.
    • 1:53:08But after this, you might want to release your project to the world.
    • 1:53:11And you should have permission for that.
    • 1:53:13And so this is kind of a generic release form
    • 1:53:15that will kind of grant permission.
    • 1:53:16Again, you can download this-- it's from a website--
    • 1:53:20and use it as you see fit.
    • 1:53:23And this, this is really helpful.
    • 1:53:26So I think that if nothing else for this class,
    • 1:53:29you should print this out and take it with you.
    • 1:53:31And you may not need everything on this list,
    • 1:53:33but it will at least make you think about what you're going to do.
    • 1:53:36Because the worst thing to do is to get ready for a shoot, get your actor,
    • 1:53:39whoever you're working with there, and not have something.
    • 1:53:41Or you forgot your batteries, or you forgot your media card.
    • 1:53:44And it happens to all of us, but it is totally preventable.
    • 1:53:47And make a checklist.
    • 1:53:49This is like Gear List Bingo.
    • 1:53:51Make sure that you can at least go through
    • 1:53:53and say, OK, I have all the pieces that I need out of this,
    • 1:53:55or the related pieces.
    • 1:53:56So again, another downloadable form that you can take and borrow
    • 1:54:01with you as you shoot.
    • 1:54:03So a few summarizing thoughts on the next slide,
    • 1:54:07but I'm not even going to read them to you.
    • 1:54:08You can read them off the slides.
    • 1:54:10And that concludes our intro to video production in this class.
    • 1:54:15The next assignment has been posted.
    • 1:54:16So if you want to take a look at that, feel free.
    • 1:54:19Are there any questions before we wrap things up tonight?
    • 1:54:22That was a speedy end to this.
    • 1:54:24I'm sorry to rush through it.
    • 1:54:25I just don't want to keep everybody late.
    • 1:54:27And we're happy to stick around and answer questions.
    • 1:54:30All right, if there's nothing, thanks for joining us tonight.
    • 1:54:33And we'll see you next week.
  • CS50.ai
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