1
00:00:00,080 --> 00:00:02,430
The following content is
provided under a Creative

2
00:00:02,430 --> 00:00:03,810
Commons license.

3
00:00:03,810 --> 00:00:06,050
Your support will help
MIT OpenCourseWare

4
00:00:06,050 --> 00:00:10,160
continue to offer high quality
educational resources for free.

5
00:00:10,160 --> 00:00:12,690
To make a donation or to
view additional materials

6
00:00:12,690 --> 00:00:16,600
from hundreds of MIT courses,
visit MIT OpenCourseWare

7
00:00:16,600 --> 00:00:17,240
at ocw.mit.edu.

8
00:00:21,730 --> 00:00:24,350
ELIZABETH CHOE: So today
is the first screening

9
00:00:24,350 --> 00:00:26,270
of your rough cuts.

10
00:00:26,270 --> 00:00:30,610
And the way this will work is
I will show one of the videos,

11
00:00:30,610 --> 00:00:31,780
and we'll all watch it.

12
00:00:31,780 --> 00:00:35,300
You guys can take notes
on it while you watch.

13
00:00:35,300 --> 00:00:37,220
And after each
screening we will give

14
00:00:37,220 --> 00:00:41,440
general high-level
feedback to the creator.

15
00:00:41,440 --> 00:00:43,829
And that's what-- we'll just
go through the whole class

16
00:00:43,829 --> 00:00:45,120
and do that for the first half.

17
00:00:45,120 --> 00:00:48,220
Now for the second half,
there are a couple options

18
00:00:48,220 --> 00:00:49,510
that we could proceed.

19
00:00:49,510 --> 00:00:51,950
The first being
what I usually do

20
00:00:51,950 --> 00:00:57,090
with Science Out Loud, which
is to basically do Google

21
00:00:57,090 --> 00:00:59,187
Docs for detailed comments.

22
00:00:59,187 --> 00:01:00,770
And this is really
useful because it's

23
00:01:00,770 --> 00:01:02,860
sort of like a check
box when you're

24
00:01:02,860 --> 00:01:05,530
going back through and looking
at feedback from another person

25
00:01:05,530 --> 00:01:06,670
when you edit.

26
00:01:06,670 --> 00:01:10,030
So this was for
George's farts video.

27
00:01:10,030 --> 00:01:12,850
And I made some
notes about where

28
00:01:12,850 --> 00:01:17,170
we should add some animations,
where we should add overlays.

29
00:01:17,170 --> 00:01:18,810
So this is one option
that we could do.

30
00:01:18,810 --> 00:01:21,600
Basically break you guys
up to where you will end up

31
00:01:21,600 --> 00:01:24,320
commenting on at least
two people's videos,

32
00:01:24,320 --> 00:01:27,490
and we would know who
you would be assigned to.

33
00:01:27,490 --> 00:01:29,250
The other option is
that we could just

34
00:01:29,250 --> 00:01:32,290
go ahead and pair you guys
up or group you guys up,

35
00:01:32,290 --> 00:01:34,370
and instead of doing the
Google Docs feedback,

36
00:01:34,370 --> 00:01:36,930
you can just talk to
each other one on one.

37
00:01:36,930 --> 00:01:41,184
Do you people have
preferences on how we do this?

38
00:01:41,184 --> 00:01:42,100
AUDIENCE: Google Docs.

39
00:01:42,100 --> 00:01:43,266
ELIZABETH CHOE: Google Docs.

40
00:01:45,620 --> 00:01:48,451
Anyone else?

41
00:01:48,451 --> 00:01:48,950
All right.

42
00:01:48,950 --> 00:01:51,560
So we'll do Google Docs.

43
00:01:51,560 --> 00:01:53,940
And I will give you
the details on how

44
00:01:53,940 --> 00:01:57,580
that's going to happen during
the second half of class.

45
00:01:57,580 --> 00:01:59,210
Sounds good?

46
00:01:59,210 --> 00:02:02,810
So, as it was for
the table reads--

47
00:02:02,810 --> 00:02:05,860
remember that repetitive
comments are OK.

48
00:02:05,860 --> 00:02:08,759
It's OK if you feel the
same sort of feedback

49
00:02:08,759 --> 00:02:10,710
that another person
has already said

50
00:02:10,710 --> 00:02:12,980
because it'll draw
attention to the creator

51
00:02:12,980 --> 00:02:14,640
and what they need to work on.

52
00:02:14,640 --> 00:02:17,240
Also remember that at the end
of the day this is your video,

53
00:02:17,240 --> 00:02:22,690
so the feedback is for you to
take or leave-- hey, Nathan.

54
00:02:22,690 --> 00:02:26,180
And this is probably going
to be the most valuable class

55
00:02:26,180 --> 00:02:30,090
time the whole month because
this is where you're really

56
00:02:30,090 --> 00:02:33,320
going to have concrete advice
on implementing the stuff

57
00:02:33,320 --> 00:02:35,230
that we've talked about so far.

58
00:02:35,230 --> 00:02:37,010
So really take this
as an opportunity

59
00:02:37,010 --> 00:02:39,610
to give as constructive
and meaningful feedback as

60
00:02:39,610 --> 00:02:41,050
possible.

61
00:02:41,050 --> 00:02:42,087
All right?

62
00:02:42,087 --> 00:02:43,670
Does anyone have
questions or comments

63
00:02:43,670 --> 00:02:44,720
before we start watching?

64
00:02:46,920 --> 00:02:47,420
No?

65
00:02:47,420 --> 00:02:49,441
Are you excited?

66
00:02:49,441 --> 00:02:49,940
OK.

67
00:02:49,940 --> 00:02:51,024
AUDIENCE: We need popcorn.

68
00:02:51,024 --> 00:02:53,314
ELIZABETH CHOE: I thought
about making pop-- but then I

69
00:02:53,314 --> 00:02:55,840
thought that if people were
taking notes on their computers

70
00:02:55,840 --> 00:02:58,997
and they had, like,
butter on their fingers.

71
00:02:58,997 --> 00:03:00,330
We'll pop for another screening.

72
00:03:00,330 --> 00:03:01,310
AUDIENCE: --later for a snack.

73
00:03:01,310 --> 00:03:01,605
ELIZABETH CHOE: Yeah.

74
00:03:01,605 --> 00:03:01,900
AUDIENCE: That's fine.

75
00:03:01,900 --> 00:03:03,191
Maybe we should close the big--

76
00:03:03,191 --> 00:03:06,112
ELIZABETH CHOE: Yeah,
I'll close the door.

77
00:03:06,112 --> 00:03:07,320
Does anyone want to go first?

78
00:03:10,200 --> 00:03:10,700
No?

79
00:03:16,035 --> 00:03:19,480
Does that show up on screen
OK if I turn these lights off?

80
00:03:19,480 --> 00:03:21,470
OK.

81
00:03:21,470 --> 00:03:24,430
OK, well, then we will
just go down the line.

82
00:03:24,430 --> 00:03:26,480
How about that?

83
00:03:26,480 --> 00:03:28,355
So lucky you, Nathan.

84
00:03:28,355 --> 00:03:30,230
Do you want to say
anything before we screen,

85
00:03:30,230 --> 00:03:32,313
or do you want to just go
ahead and watch and then

86
00:03:32,313 --> 00:03:33,815
talk about your process?

87
00:03:33,815 --> 00:03:35,190
AUDIENCE: I'm
going to be honest,

88
00:03:35,190 --> 00:03:37,280
and I made a pretty
bad mistake in putting

89
00:03:37,280 --> 00:03:40,928
off filming until yesterday.

90
00:03:40,928 --> 00:03:45,035
And so I only got to get in
the editing this morning.

91
00:03:45,035 --> 00:03:47,410
And it really shows.

92
00:03:47,410 --> 00:03:49,530
ELIZABETH CHOE: Well,
let's see what you have.

93
00:03:49,530 --> 00:03:52,580
And there is time, that's
what tomorrow's for.

94
00:03:52,580 --> 00:03:55,210
AUDIENCE: I couldn't get
the animations to work.

95
00:03:55,210 --> 00:03:56,860
ELIZABETH CHOE: OK.

96
00:03:56,860 --> 00:04:00,300
And do keep in mind that
all day tomorrow and all day

97
00:04:00,300 --> 00:04:04,370
Thursday is open for you
to incorporate feedback.

98
00:04:04,370 --> 00:04:06,550
After today's class
ends, we're not

99
00:04:06,550 --> 00:04:09,770
meeting again until the
screening on Thursday at 6:30.

100
00:04:09,770 --> 00:04:12,127
So as long as we get
videos in by, like-- 6:00

101
00:04:12,127 --> 00:04:13,670
PM's the latest.

102
00:04:13,670 --> 00:04:16,029
Hopefully you're not
working up until 6:00 PM.

103
00:04:16,029 --> 00:04:17,570
You have the rest
of the day to work.

104
00:04:17,570 --> 00:04:19,805
PROFESSOR: But if you need
our help, then e-mail us.

105
00:04:19,805 --> 00:04:21,149
And we can meet up if you want.

106
00:04:21,149 --> 00:04:21,982
ELIZABETH CHOE: Yes.

107
00:04:21,982 --> 00:04:25,015
We will be in the classroom
tomorrow and Thursday

108
00:04:25,015 --> 00:04:25,848
if people need help.

109
00:04:29,434 --> 00:04:30,100
[VIDEO PLAYBACK]

110
00:04:30,100 --> 00:04:33,202
-Why does your-- why does
your fridge start to smell?

111
00:04:33,202 --> 00:04:34,407
[END PLAYBACK]

112
00:04:34,407 --> 00:04:35,990
ELIZABETH CHOE: The
sound sounds good.

113
00:04:40,354 --> 00:04:41,020
[VIDEO PLAYBACK]

114
00:04:41,020 --> 00:04:43,110
-Why does your fridge
start to smell?

115
00:04:43,110 --> 00:04:45,610
And where does that icky
black liquid come from?

116
00:04:45,610 --> 00:04:48,710
Wouldn't life just be
easier if things didn't rot,

117
00:04:48,710 --> 00:04:50,560
if things lasted forever?

118
00:04:50,560 --> 00:04:52,260
Well, maybe, but probably not.

119
00:04:52,260 --> 00:04:54,670
According to the USDA, the
average American household

120
00:04:54,670 --> 00:04:56,340
wastes 25% of its food.

121
00:04:56,340 --> 00:04:58,650
And a lot of restaurants
are even worse.

122
00:04:58,650 --> 00:05:00,630
So if we didn't
have decomposition,

123
00:05:00,630 --> 00:05:02,700
what would happen to
the food we throw away?

124
00:05:02,700 --> 00:05:05,560
Food in landfills normally gets
dealt with by bacteria, fungi,

125
00:05:05,560 --> 00:05:07,460
and protists that allow
the nutrients in food

126
00:05:07,460 --> 00:05:09,990
to return to the soil and,
eventually, other living

127
00:05:09,990 --> 00:05:11,140
things.

128
00:05:11,140 --> 00:05:13,960
These decomposers also
break down other dead stuff,

129
00:05:13,960 --> 00:05:15,100
like trees.

130
00:05:15,100 --> 00:05:19,060
In fact, they're pretty much the
only thing that can eat wood.

131
00:05:19,060 --> 00:05:22,087
So in a world without rot,
while your home may not

132
00:05:22,087 --> 00:05:23,920
have to worry about
being eaten by termites,

133
00:05:23,920 --> 00:05:25,536
who rely on protists
in their stomach,

134
00:05:25,536 --> 00:05:26,910
pretty soon forests
and landfills

135
00:05:26,910 --> 00:05:29,495
would be flooded with
a lot of dead stuff.

136
00:05:29,495 --> 00:05:31,740
So how do we avoid this problem?

137
00:05:31,740 --> 00:05:35,410
Well, basically, in your
fridge, on a forest floor,

138
00:05:35,410 --> 00:05:37,960
in a dumpster, almost
anywhere, there

139
00:05:37,960 --> 00:05:40,620
are fungi, bacteria, and
protists that live entirely

140
00:05:40,620 --> 00:05:41,506
by eating dead stuff.

141
00:05:41,506 --> 00:05:43,380
These dead things can
be more or less divided

142
00:05:43,380 --> 00:05:44,820
into three categories.

143
00:05:44,820 --> 00:05:47,060
Carbohydrates--
sugar and starches.

144
00:05:47,060 --> 00:05:48,530
Lipids-- think fats.

145
00:05:48,530 --> 00:05:50,077
And proteins, like meats.

146
00:05:50,077 --> 00:05:51,660
All of these are
chemically different,

147
00:05:51,660 --> 00:05:53,960
so they each get broken
down by different enzymes

148
00:05:53,960 --> 00:05:57,160
in different ways before
being absorbed by decomposers.

149
00:05:57,160 --> 00:06:00,160
For example, proteases
break down proteins

150
00:06:00,160 --> 00:06:02,710
into amino acids, the
cells building blocks.

151
00:06:02,710 --> 00:06:04,660
Lipids rely on lipases.

152
00:06:04,660 --> 00:06:08,870
And carbohydrates on things
like amylase and cellulases.

153
00:06:08,870 --> 00:06:11,010
So how does a perfectly
nice broccoli floret

154
00:06:11,010 --> 00:06:13,490
start giving off this
foul black liquid?

155
00:06:13,490 --> 00:06:15,849
Fruits and vegetables are
almost entirely made of water.

156
00:06:15,849 --> 00:06:17,390
So on the most basic
level, you could

157
00:06:17,390 --> 00:06:20,470
say their cells are like
extremely complex water

158
00:06:20,470 --> 00:06:21,270
balloons.

159
00:06:21,270 --> 00:06:23,220
The exterior-- a
cell wall-- is made

160
00:06:23,220 --> 00:06:25,230
of cellulose, a complex
carbohydrate that

161
00:06:25,230 --> 00:06:28,290
gets broken down by enzymes
into small sugars the cell can

162
00:06:28,290 --> 00:06:29,580
get energy from.

163
00:06:29,580 --> 00:06:32,080
When bacteria or fungi
uses cellulase to eat

164
00:06:32,080 --> 00:06:33,770
the exterior of
a cell, it's like

165
00:06:33,770 --> 00:06:35,890
if I were to pop the balloon.

166
00:06:35,890 --> 00:06:38,230
That's the muck you
see in your fridge.

167
00:06:38,230 --> 00:06:40,150
And that's how you get
that icky black liquid.

168
00:06:40,150 --> 00:06:43,256
What about that stink?

169
00:06:43,256 --> 00:06:44,880
For fruits and
vegetables a lot of time

170
00:06:44,880 --> 00:06:48,180
the smell happens after the
icky black liquid forms.

171
00:06:48,180 --> 00:06:49,900
Other bacteria that
weren't involved

172
00:06:49,900 --> 00:06:52,430
in the initial
colonization move in

173
00:06:52,430 --> 00:06:54,410
and start to stink
everything up.

174
00:06:54,410 --> 00:06:56,700
Meat gets smelly when
lipases break down

175
00:06:56,700 --> 00:06:59,500
fat in the meat into
glycerol and fatty acids--

176
00:06:59,500 --> 00:07:00,930
two energy sources.

177
00:07:00,930 --> 00:07:03,610
And fatty acids
are kind of gross.

178
00:07:03,610 --> 00:07:07,620
And so while your food rotting
may smell absolutely terrible,

179
00:07:07,620 --> 00:07:09,850
because of it the
environment's able to recycle

180
00:07:09,850 --> 00:07:11,680
crucial nutrients it needs.

181
00:07:11,680 --> 00:07:14,270
And, well, that's
why we have all this.

182
00:07:14,270 --> 00:07:18,770
[END PLAYBACK]

183
00:07:19,106 --> 00:07:20,231
PROFESSOR: Are you kidding?

184
00:07:20,231 --> 00:07:21,807
That was awesome.

185
00:07:21,807 --> 00:07:22,890
ELIZABETH CHOE: All right.

186
00:07:22,890 --> 00:07:23,870
General feedback?

187
00:07:23,870 --> 00:07:25,846
PROFESSOR: Well, I want
to hear what you think

188
00:07:25,846 --> 00:07:27,514
before we give you feedback.

189
00:07:27,514 --> 00:07:29,180
ELIZABETH CHOE: Like
what are the things

190
00:07:29,180 --> 00:07:30,594
that you like
about what you did,

191
00:07:30,594 --> 00:07:32,260
and what are the
things that you already

192
00:07:32,260 --> 00:07:36,050
know you want to change or add?

193
00:07:36,050 --> 00:07:37,259
AUDIENCE: The audio.

194
00:07:37,259 --> 00:07:37,758
ELIZABETH CHOE: The audio.

195
00:07:37,758 --> 00:07:39,091
AUDIENCE: The lack of animation.

196
00:07:41,750 --> 00:07:43,740
The main things.

197
00:07:43,740 --> 00:07:45,240
ELIZABETH CHOE:
What was the hardest

198
00:07:45,240 --> 00:07:49,220
part about making this video?

199
00:07:49,220 --> 00:07:53,390
AUDIENCE: Actually going
and doing the shooting.

200
00:07:53,390 --> 00:07:56,079
I kind of put that off as
long as I really feasibly

201
00:07:56,079 --> 00:08:00,795
could have because I really
didn't want to do it.

202
00:08:00,795 --> 00:08:02,170
ELIZABETH CHOE:
Was it as painful

203
00:08:02,170 --> 00:08:04,120
as you thought it would
be once you started?

204
00:08:04,120 --> 00:08:04,577
AUDIENCE: Yeah.

205
00:08:04,577 --> 00:08:05,452
ELIZABETH CHOE: Yeah.

206
00:08:08,000 --> 00:08:11,110
Well, I will say that
the script is very, very

207
00:08:11,110 --> 00:08:12,850
tight in this video.

208
00:08:12,850 --> 00:08:15,000
And it has come a
very long way from

209
00:08:15,000 --> 00:08:17,150
your initial brainstorming.

210
00:08:17,150 --> 00:08:18,930
And if you come
to the screening,

211
00:08:18,930 --> 00:08:21,690
you'll get to actually
see all the pictures.

212
00:08:21,690 --> 00:08:25,180
So, just a plug to come to
the screening if you want to.

213
00:08:25,180 --> 00:08:27,190
But the script is super tight.

214
00:08:27,190 --> 00:08:29,660
And I know that you spent
a long time honing that,

215
00:08:29,660 --> 00:08:33,840
and I think that
really paid off.

216
00:08:33,840 --> 00:08:38,150
It's two thirty-three,
which is a great time.

217
00:08:38,150 --> 00:08:41,329
So I think that as far
as the content goes

218
00:08:41,329 --> 00:08:43,370
it's really strong, and
I can tell that you spent

219
00:08:43,370 --> 00:08:44,750
a lot of time developing that.

220
00:08:47,390 --> 00:08:49,490
Does anyone want to
add some more feedback?

221
00:08:49,490 --> 00:08:52,082
I mean, I can talk
to-- yes, Yuliya.

222
00:08:52,082 --> 00:08:54,432
AUDIENCE: I like
the transitions.

223
00:08:54,432 --> 00:08:56,015
There weren't too
many of them, but it

224
00:08:56,015 --> 00:08:58,540
was nice to see a change
of background and scene.

225
00:08:58,540 --> 00:09:00,240
ELIZABETH CHOE: Yeah.

226
00:09:00,240 --> 00:09:01,290
And clean cuts.

227
00:09:01,290 --> 00:09:03,370
No funky swirls, no fades.

228
00:09:03,370 --> 00:09:03,870
It's nice.

229
00:09:03,870 --> 00:09:04,995
AUDIENCE: Yeah, definitely.

230
00:09:06,720 --> 00:09:08,720
I was going to say something
else, but I forgot.

231
00:09:08,720 --> 00:09:09,803
ELIZABETH CHOE: That's OK.

232
00:09:09,803 --> 00:09:12,980
We can come back
if you remember.

233
00:09:12,980 --> 00:09:13,480
Anyone else?

234
00:09:13,480 --> 00:09:15,030
Yes, Andrea.

235
00:09:15,030 --> 00:09:17,630
Sorry.

236
00:09:17,630 --> 00:09:19,950
AUDIENCE: I really
like the pacing of it.

237
00:09:19,950 --> 00:09:22,830
It's a little rushed
in a couple of places,

238
00:09:22,830 --> 00:09:24,750
but that's-- that happens.

239
00:09:24,750 --> 00:09:26,670
But I like the
pacing in general.

240
00:09:26,670 --> 00:09:30,990
And I also like the
water balloon example

241
00:09:30,990 --> 00:09:36,822
and the different
camera angles, and I

242
00:09:36,822 --> 00:09:40,581
thought it was just really
artistically very well done,

243
00:09:40,581 --> 00:09:43,350
very well composed.

244
00:09:43,350 --> 00:09:46,690
ELIZABETH CHOE: What was
so terrible about actually

245
00:09:46,690 --> 00:09:47,190
shooting?

246
00:09:47,190 --> 00:09:50,525
Was it being on camera?

247
00:09:50,525 --> 00:09:51,150
AUDIENCE: Yeah.

248
00:09:51,150 --> 00:09:52,025
ELIZABETH CHOE: Yeah.

249
00:09:52,025 --> 00:09:56,190
AUDIENCE: And also, each
one took a lot of takes.

250
00:09:56,190 --> 00:09:57,710
ELIZABETH CHOE: Yeah.

251
00:09:57,710 --> 00:09:59,700
I will say-- because I
know that a lot of you

252
00:09:59,700 --> 00:10:02,290
expressed sort of
concern and hesitation

253
00:10:02,290 --> 00:10:04,882
about being on camera, and I
feel like a lot of this class

254
00:10:04,882 --> 00:10:07,720
has been like actually no,
you're really great on camera.

255
00:10:07,720 --> 00:10:10,660
The opening shot is delivered
really, really well.

256
00:10:10,660 --> 00:10:13,176
And there are spots
where, like Andrea said,

257
00:10:13,176 --> 00:10:14,800
you're rushing your
words a little bit.

258
00:10:14,800 --> 00:10:17,130
And I'm sure you'll see it
when you go back through.

259
00:10:17,130 --> 00:10:20,350
And whenever you guys do
your Google Doc comments,

260
00:10:20,350 --> 00:10:24,570
point out spaces where
maybe his delivery changes.

261
00:10:24,570 --> 00:10:26,520
It is a little inconsistent
between scenes,

262
00:10:26,520 --> 00:10:28,040
but there are some
scenes where it

263
00:10:28,040 --> 00:10:30,750
is delivered so
perfectly and so clearly,

264
00:10:30,750 --> 00:10:35,210
and you seem really, really
comfortable on screen.

265
00:10:35,210 --> 00:10:35,850
Yeah.

266
00:10:35,850 --> 00:10:40,090
AUDIENCE: I will say-- did
you shoot it by yourself?

267
00:10:40,090 --> 00:10:44,640
AUDIENCE: I did shoot it mostly
by myself, since I put it off.

268
00:10:44,640 --> 00:10:47,420
AUDIENCE: Because I found that
it was a lot easier to have

269
00:10:47,420 --> 00:10:52,411
someone shoot it than,
like, when we were doing

270
00:10:52,411 --> 00:10:54,412
those first blogs and
stuff at the beginning,

271
00:10:54,412 --> 00:10:56,590
I thought that was a lot
harder doing it by myself

272
00:10:56,590 --> 00:10:58,080
than having someone there.

273
00:10:58,080 --> 00:11:02,310
I felt less comfortable being
alone than with someone.

274
00:11:02,310 --> 00:11:03,809
Which is kind of--
I thought it'd

275
00:11:03,809 --> 00:11:06,184
be the other way around when
I first started the project.

276
00:11:09,118 --> 00:11:11,563
Other than that, like,
how I think he used--

277
00:11:11,563 --> 00:11:12,541
went to Star Market.

278
00:11:12,541 --> 00:11:15,876
So representing a
local grocer too.

279
00:11:15,876 --> 00:11:16,750
AUDIENCE: Yeah, yeah.

280
00:11:16,750 --> 00:11:17,600
I agree.

281
00:11:17,600 --> 00:11:20,208
I like the part where he
talked about the smell.

282
00:11:20,208 --> 00:11:20,708
You know?

283
00:11:20,708 --> 00:11:21,134
ELIZABETH CHOE: Yeah.

284
00:11:21,134 --> 00:11:23,304
AUDIENCE: And I like
the cut on the fridge.

285
00:11:23,304 --> 00:11:24,627
AUDIENCE: The visual, yeah.

286
00:11:24,627 --> 00:11:26,210
ELIZABETH CHOE: What
do you guys think

287
00:11:26,210 --> 00:11:27,450
about the visuals in general?

288
00:11:27,450 --> 00:11:30,390
Because it's always hard to
do a chemistry or biology

289
00:11:30,390 --> 00:11:33,340
video because the
visualizations are always

290
00:11:33,340 --> 00:11:35,210
somewhat impossible to do.

291
00:11:35,210 --> 00:11:36,625
Yeah, Yuliya.

292
00:11:36,625 --> 00:11:39,810
AUDIENCE: I think it
would be nice to show some

293
00:11:39,810 --> 00:11:42,760
of the scientific vocabulary,
so we can see it and not

294
00:11:42,760 --> 00:11:43,320
just hear it.

295
00:11:43,320 --> 00:11:45,330
ELIZABETH CHOE: Yeah, like
a label on top or something.

296
00:11:45,330 --> 00:11:47,110
AUDIENCE: And then
for the backgrounds,

297
00:11:47,110 --> 00:11:49,450
like, the plants backgrounds
worked really well

298
00:11:49,450 --> 00:11:51,030
and, like, the
fridge and all that.

299
00:11:51,030 --> 00:11:52,738
But there was a part
where there was just

300
00:11:52,738 --> 00:11:58,250
a random penguin or random
pictures on the wall that

301
00:11:58,250 --> 00:12:03,340
maybe could be overlaid
with animation.

302
00:12:03,340 --> 00:12:06,300
[VIDEO PLAYBACK]

303
00:12:14,220 --> 00:12:14,860
[END PLAYBACK]

304
00:12:14,860 --> 00:12:17,387
ELIZABETH CHOE: Like this shot.

305
00:12:17,387 --> 00:12:18,970
I like that you have
the kitchen space

306
00:12:18,970 --> 00:12:20,110
as sort of your home base.

307
00:12:20,110 --> 00:12:22,322
Because your centered on
the question of why things

308
00:12:22,322 --> 00:12:23,780
rot in your fridge,
and that's what

309
00:12:23,780 --> 00:12:25,530
allows you to
explore decomposition

310
00:12:25,530 --> 00:12:27,790
at greater length.

311
00:12:27,790 --> 00:12:33,060
But this is doing that whole
thing that a lot of web videos

312
00:12:33,060 --> 00:12:34,847
do, where you
center the subject.

313
00:12:34,847 --> 00:12:36,430
And I was talking
to Chris [INAUDIBLE]

314
00:12:36,430 --> 00:12:38,940
about why it's so common
that SciShow does it

315
00:12:38,940 --> 00:12:40,100
and Vsauce does it.

316
00:12:40,100 --> 00:12:47,060
And it sort of gives off an
air of it being not as formal.

317
00:12:47,060 --> 00:12:50,010
But it's also a little
bit comical, too.

318
00:12:50,010 --> 00:12:51,510
And I think that
if you just-- even

319
00:12:51,510 --> 00:12:53,259
if you zoomed in just
a little bit and got

320
00:12:53,259 --> 00:12:55,980
rid of, like, this
spray thing on the side

321
00:12:55,980 --> 00:12:58,920
and the cooking
things on that side,

322
00:12:58,920 --> 00:13:00,470
it might help with this one.

323
00:13:00,470 --> 00:13:05,920
Also remember to tuck your mic
in under your shirt if you can.

324
00:13:05,920 --> 00:13:06,420
Let's see.

325
00:13:06,420 --> 00:13:09,100
But you were talking about
this penguin here, right?

326
00:13:09,100 --> 00:13:11,090
Yeah, so this--
I mean, you could

327
00:13:11,090 --> 00:13:13,520
play around with keeping
this footage, if you like,

328
00:13:13,520 --> 00:13:14,780
and just zoom in a little bit.

329
00:13:14,780 --> 00:13:18,110
See if you can digitally zoom
in on the editing software.

330
00:13:18,110 --> 00:13:20,580
If the resolution
kind of goes kaput,

331
00:13:20,580 --> 00:13:22,160
you may have to
re-film that part.

332
00:13:22,160 --> 00:13:26,530
But again, I think
Yuliya is right in that

333
00:13:26,530 --> 00:13:29,040
be careful about having
visual distractors

334
00:13:29,040 --> 00:13:31,930
when you don't really
need them there.

335
00:13:31,930 --> 00:13:34,450
I do agree with-- was it Andrea?

336
00:13:34,450 --> 00:13:37,671
Who said something
about the pacing?

337
00:13:37,671 --> 00:13:39,920
Yeah, I think the pacing of
your cuts are pretty good.

338
00:13:39,920 --> 00:13:44,400
Like, nothing lasts a little
too long, nothing's too short.

339
00:13:44,400 --> 00:13:47,020
If you have B-roll,
it might give you

340
00:13:47,020 --> 00:13:49,640
a little bit of breathing
room in between shots

341
00:13:49,640 --> 00:13:52,265
where you're talking really fast
and you have a lot of content.

342
00:13:57,600 --> 00:13:59,330
But yeah, like
stuff like this-- I

343
00:13:59,330 --> 00:14:00,456
don't remember what
you're talking about here.

344
00:14:00,456 --> 00:14:00,880
[VIDEO PLAYBACK]

345
00:14:00,880 --> 00:14:03,255
- --while your home may not have
to worry about being eaten by--

346
00:14:03,255 --> 00:14:03,530
[END PLAYBACK]

347
00:14:03,530 --> 00:14:04,792
ELIZABETH CHOE: Yeah, so--

348
00:14:04,792 --> 00:14:06,167
AUDIENCE: Comical
note on that, I

349
00:14:06,167 --> 00:14:08,530
filmed in front of
someone's house,

350
00:14:08,530 --> 00:14:10,732
and they actually came
out and asked me to stop.

351
00:14:10,732 --> 00:14:11,531
And so I kind of--

352
00:14:11,531 --> 00:14:11,982
ELIZABETH CHOE: Oh, no.

353
00:14:11,982 --> 00:14:14,050
AUDIENCE: --gave up on
actually filming at home.

354
00:14:14,050 --> 00:14:17,360
ELIZABETH CHOE: Filming
in front of a house.

355
00:14:17,360 --> 00:14:18,835
I mean, is this
in your dorm room?

356
00:14:18,835 --> 00:14:19,460
AUDIENCE: Yeah.

357
00:14:19,460 --> 00:14:19,860
ELIZABETH CHOE: OK.

358
00:14:19,860 --> 00:14:22,380
AUDIENCE: That's what my backup
idea was, since it's my home.

359
00:14:22,380 --> 00:14:24,838
ELIZABETH CHOE: Yeah, actually,
I think that it works fine.

360
00:14:24,838 --> 00:14:29,100
And I would say for this one,
do a wider shot for this one

361
00:14:29,100 --> 00:14:31,980
because it doesn't
quite establish

362
00:14:31,980 --> 00:14:33,460
that you're in your own place.

363
00:14:33,460 --> 00:14:35,700
Like, if you can see you
sitting on your actual bed,

364
00:14:35,700 --> 00:14:38,860
that might help a
little bit more.

365
00:14:38,860 --> 00:14:41,230
So again, it's not a matter
of using wide or close-up

366
00:14:41,230 --> 00:14:45,340
shots for the sake of using
them on principle, but like what

367
00:14:45,340 --> 00:14:48,987
the background actually reveals
and sets for the audience.

368
00:14:48,987 --> 00:14:51,320
AUDIENCE: I was wondering,
can you go back a little bit?

369
00:14:51,320 --> 00:14:52,778
Because there was--
I was wondering

370
00:14:52,778 --> 00:14:56,804
what your vision was for this.

371
00:14:56,804 --> 00:14:57,720
AUDIENCE: Right there.

372
00:14:57,720 --> 00:14:59,760
Yes.

373
00:14:59,760 --> 00:15:02,165
I'm still missing stock footage.

374
00:15:02,165 --> 00:15:02,706
AUDIENCE: OK.

375
00:15:02,706 --> 00:15:04,747
ELIZABETH CHOE: Oh, so
this is like a placeholder

376
00:15:04,747 --> 00:15:05,526
for the rough cut.

377
00:15:05,526 --> 00:15:06,975
I figured that was the case.

378
00:15:06,975 --> 00:15:07,578
AUDIENCE: --what you
were planning to do here.

379
00:15:07,578 --> 00:15:10,339
I was like, I'm not sure
what I'm looking at.

380
00:15:10,339 --> 00:15:10,839
OK.

381
00:15:10,839 --> 00:15:11,714
ELIZABETH CHOE: Yeah.

382
00:15:14,600 --> 00:15:16,245
Oh, the dumpster shot.

383
00:15:16,245 --> 00:15:18,789
Yeah, I wanted to say
something about this, too.

384
00:15:18,789 --> 00:15:20,830
If this is something that
you decide to re-shoot,

385
00:15:20,830 --> 00:15:24,000
I would also maybe scoot
back a little bit as well.

386
00:15:24,000 --> 00:15:26,920
Because it's hard to tell
that it's really a dumpster

387
00:15:26,920 --> 00:15:28,330
until you actually say it.

388
00:15:28,330 --> 00:15:29,582
Where was this?

389
00:15:29,582 --> 00:15:31,290
AUDIENCE: It's down
at the loading docks.

390
00:15:31,290 --> 00:15:32,230
ELIZABETH CHOE: Oh, OK.

391
00:15:32,230 --> 00:15:34,355
AUDIENCE: I had a lot of
trouble with the dumpsters

392
00:15:34,355 --> 00:15:36,730
I'd planned on going to.

393
00:15:36,730 --> 00:15:39,970
By Walker is a bit
of a wind tunnel.

394
00:15:39,970 --> 00:15:46,627
And the Stata Center, out
behind W20 was really noisy.

395
00:15:46,627 --> 00:15:47,960
ELIZABETH CHOE: Which one's W20?

396
00:15:47,960 --> 00:15:49,168
AUDIENCE: The student center.

397
00:15:49,168 --> 00:15:50,310
ELIZABETH CHOE: Oh, OK.

398
00:15:50,310 --> 00:15:52,460
I mean, there is
an optimal dumps--

399
00:15:52,460 --> 00:15:55,050
if you guys are ever in
need of an optimal dumpster

400
00:15:55,050 --> 00:15:56,470
to fill up, let me tell you.

401
00:15:56,470 --> 00:15:59,910
Right behind the MIT
Museum-- by D-Lab actually--

402
00:15:59,910 --> 00:16:05,130
there are some prime
dumpster spots for shooting.

403
00:16:05,130 --> 00:16:07,730
And that's where we shot
George's farts one, too.

404
00:16:07,730 --> 00:16:09,317
So if you need to.

405
00:16:09,317 --> 00:16:11,150
But in this one, I mean,
I think it's really

406
00:16:11,150 --> 00:16:13,050
matter of the camera angle.

407
00:16:13,050 --> 00:16:15,385
Did you shoot this on a tripod?

408
00:16:15,385 --> 00:16:16,010
AUDIENCE: Yeah.

409
00:16:16,010 --> 00:16:16,830
ELIZABETH CHOE: OK.

410
00:16:16,830 --> 00:16:19,987
Were you limited by how far you
could let your mic cable go?

411
00:16:19,987 --> 00:16:20,612
AUDIENCE: Yeah.

412
00:16:20,612 --> 00:16:23,305
ELIZABETH CHOE: OK.

413
00:16:23,305 --> 00:16:26,500
Yeah, maybe think about this one
as a potential one to re-shoot.

414
00:16:26,500 --> 00:16:31,670
Because I think the visual
background makes a lot of sense

415
00:16:31,670 --> 00:16:35,040
and is a really
good transition--

416
00:16:35,040 --> 00:16:37,400
it's a really good change
from the kitchen setting.

417
00:16:37,400 --> 00:16:40,852
So I would really love to see
that it's actually a dumpster.

418
00:16:40,852 --> 00:16:42,390
AUDIENCE: And if
you are refilming--

419
00:16:42,390 --> 00:16:44,970
only if you are refilming--
something that I noticed

420
00:16:44,970 --> 00:16:48,060
is that when you're talking
you bounce a little.

421
00:16:48,060 --> 00:16:49,905
So just-- like in
some of the film

422
00:16:49,905 --> 00:16:51,350
when your up close we see that.

423
00:16:51,350 --> 00:16:52,755
And it's just maybe
something that if you

424
00:16:52,755 --> 00:16:54,575
can be aware of that
while you're filming.

425
00:16:54,575 --> 00:16:57,550
It was just one moment, I can't
remember exactly where it was.

426
00:16:57,550 --> 00:16:58,960
Where is it?

427
00:16:58,960 --> 00:17:01,780
When you were talking, a
little towards the end.

428
00:17:01,780 --> 00:17:06,500
And I noticed it a little
more, this sort of gentle

429
00:17:06,500 --> 00:17:08,759
bounce while you talk.

430
00:17:08,759 --> 00:17:10,050
That you don't do all the time.

431
00:17:10,050 --> 00:17:12,900
[VIDEO PLAYBACK]

432
00:17:26,187 --> 00:17:26,770
[END PLAYBACK]

433
00:17:26,770 --> 00:17:27,995
ELIZABETH CHOE: Maybe
we can find the--

434
00:17:27,995 --> 00:17:29,360
AUDIENCE: I'll look at it
more carefully, because there

435
00:17:29,360 --> 00:17:30,270
was a point where I was like--

436
00:17:30,270 --> 00:17:32,192
AUDIENCE: I think it was
the end of [INAUDIBLE].

437
00:17:32,192 --> 00:17:33,530
AUDIENCE: Do you know
what I'm talking about?

438
00:17:33,530 --> 00:17:34,314
OK.

439
00:17:34,314 --> 00:17:36,730
ELIZABETH CHOE: Maybe we can
note that in the Google Docs,

440
00:17:36,730 --> 00:17:39,210
whoever's commenting
on Nathan's.

441
00:17:39,210 --> 00:17:41,700
And again, stuff like this,
I think it's great, but maybe

442
00:17:41,700 --> 00:17:44,590
just like crop this
framing a little bit more

443
00:17:44,590 --> 00:17:47,940
so it's a little
more rule of thirds.

444
00:17:47,940 --> 00:17:50,620
Because the rule of thirds
works really well for this shot.

445
00:17:50,620 --> 00:17:53,680
And [INAUDIBLE] pointed
out a really good tip.

446
00:17:53,680 --> 00:17:55,650
When you do rule of
thirds, use the eyes

447
00:17:55,650 --> 00:17:58,860
as sort of the point
instead of, like, your face.

448
00:17:58,860 --> 00:18:00,670
Because there's just
a little too much room

449
00:18:00,670 --> 00:18:02,628
on the top and right-hand
side of this framing.

450
00:18:06,540 --> 00:18:08,640
How did you film the opening?

451
00:18:08,640 --> 00:18:09,930
Like, were you by yourself?

452
00:18:09,930 --> 00:18:11,555
Was it the first
thing that you filmed?

453
00:18:14,440 --> 00:18:24,030
AUDIENCE: I was by myself, and
that was the-- no, it wasn't.

454
00:18:24,030 --> 00:18:29,270
It was like second place I went.

455
00:18:29,270 --> 00:18:30,530
ELIZABETH CHOE: OK.

456
00:18:30,530 --> 00:18:32,220
Because whatever
conditions you were

457
00:18:32,220 --> 00:18:34,280
filming under for
this scene, I think

458
00:18:34,280 --> 00:18:36,590
you should really
try to remember

459
00:18:36,590 --> 00:18:37,774
what it was that you did.

460
00:18:37,774 --> 00:18:38,690
Because this opening--

461
00:18:38,690 --> 00:18:38,910
[VIDEO PLAYBACK]

462
00:18:38,910 --> 00:18:39,830
- --start to smell?

463
00:18:39,830 --> 00:18:42,230
And where does that icky
black liquid come from?

464
00:18:42,230 --> 00:18:45,037
Wouldn't life just be
easier if things didn't rot?

465
00:18:45,037 --> 00:18:45,620
[END PLAYBACK]

466
00:18:45,620 --> 00:18:46,290
ELIZABETH CHOE:
Like that question

467
00:18:46,290 --> 00:18:48,160
is posed actually
quite naturally.

468
00:18:48,160 --> 00:18:50,743
I think the tendency for a lot
of people when they're starting

469
00:18:50,743 --> 00:18:53,870
would be to sort of overly
cheese that question up.

470
00:18:53,870 --> 00:18:56,370
And that's sort of what
happened in early readings

471
00:18:56,370 --> 00:18:58,650
that a lot of you guys did.

472
00:18:58,650 --> 00:19:00,450
But this one just
sounds very natural,

473
00:19:00,450 --> 00:19:04,030
like how you would actually
pose that question in real life.

474
00:19:04,030 --> 00:19:07,390
So whatever conditions that you
were under filming this one,

475
00:19:07,390 --> 00:19:11,240
really try to apply that
to whatever you re-shoot.

476
00:19:11,240 --> 00:19:14,290
Were you there with him
for this one by chance?

477
00:19:14,290 --> 00:19:15,230
Hmm.

478
00:19:15,230 --> 00:19:16,950
Maybe it's an
energy level thing.

479
00:19:16,950 --> 00:19:17,798
Like--

480
00:19:17,798 --> 00:19:19,430
AUDIENCE: I think
it was I was inside.

481
00:19:19,430 --> 00:19:20,850
ELIZABETH CHOE: You were
inside, so you weren't as

482
00:19:20,850 --> 00:19:22,100
nervous about filming outside.

483
00:19:22,100 --> 00:19:25,682
Yeah, actually, that does a
lot to people's deliveries.

484
00:19:25,682 --> 00:19:27,390
But yeah, just something
to keep in mind.

485
00:19:27,390 --> 00:19:29,098
Does anyone have final
thoughts before we

486
00:19:29,098 --> 00:19:30,340
move on to the next video?

487
00:19:35,250 --> 00:19:38,400
Do you know who we had paired
up to comment on Nathan's?

488
00:19:47,116 --> 00:19:49,489
PROFESSOR: Andrea and Kenneth.

489
00:19:49,489 --> 00:19:50,280
ELIZABETH CHOE: OK.

490
00:19:50,280 --> 00:19:52,830
So basically, for
the rough cut thing,

491
00:19:52,830 --> 00:19:55,900
we will pair you
up with two people.

492
00:19:55,900 --> 00:19:58,840
One of those people is
going to be the person who

493
00:19:58,840 --> 00:20:01,370
helped film your video,
and the other person

494
00:20:01,370 --> 00:20:03,620
is just someone completely new.

495
00:20:03,620 --> 00:20:06,431
So Kenneth and Andrea are
commenting on Nathan's.

496
00:20:08,986 --> 00:20:11,360
Andrea, do you want to say
anything about yours before we

497
00:20:11,360 --> 00:20:14,225
screen?

498
00:20:14,225 --> 00:20:17,704
AUDIENCE: There are lots
of placeholders for stuff,

499
00:20:17,704 --> 00:20:18,698
like similar.

500
00:20:24,165 --> 00:20:25,159
It's really boring.

501
00:20:28,141 --> 00:20:31,550
ELIZABETH CHOE: We will
be the judge of that.

502
00:20:31,550 --> 00:20:32,050
All right.

503
00:20:32,050 --> 00:20:33,372
This is Andrea's.

504
00:20:33,372 --> 00:20:34,710
[VIDEO PLAYBACK]

505
00:20:34,710 --> 00:20:38,680
-Eating is one of the great
pleasures and necessities

506
00:20:38,680 --> 00:20:39,940
of life.

507
00:20:39,940 --> 00:20:45,180
And to enjoy everything
from energy bars to apples,

508
00:20:45,180 --> 00:20:47,180
we rely on one
part of our bodies

509
00:20:47,180 --> 00:20:49,640
to do an important
job-- our teeth.

510
00:20:52,660 --> 00:20:57,260
Teeth are the hardest
substances in our bodies.

511
00:20:57,260 --> 00:20:59,650
They're harder than
our bones, and they're

512
00:20:59,650 --> 00:21:02,550
even harder than iron or steel.

513
00:21:02,550 --> 00:21:04,800
While we chew our
teeth experience

514
00:21:04,800 --> 00:21:09,020
forces of up to 225 pounds.

515
00:21:09,020 --> 00:21:10,650
Hmm.

516
00:21:10,650 --> 00:21:13,610
So why doesn't our
jaw just crumble

517
00:21:13,610 --> 00:21:16,430
under all of those forces?

518
00:21:16,430 --> 00:21:18,750
Between your tooth
and your jawbone,

519
00:21:18,750 --> 00:21:20,570
there is a specialized
piece of tissue

520
00:21:20,570 --> 00:21:25,820
called the periodontal
ligament, or PDL for short.

521
00:21:25,820 --> 00:21:28,530
The PDL can easily
absorb the normal forces

522
00:21:28,530 --> 00:21:32,980
that a tooth experiences when we
chew, say, an apple, cushioning

523
00:21:32,980 --> 00:21:36,760
or protecting our
jawbone from our teeth.

524
00:21:36,760 --> 00:21:40,290
And inside the PDL there
are all kinds of cells.

525
00:21:40,290 --> 00:21:42,830
One type, called
mechanoreceptors,

526
00:21:42,830 --> 00:21:45,760
sense forces of movement or
pressure applied to the tooth.

527
00:21:48,850 --> 00:21:53,140
Teeth sound like they're
already perfectly designed.

528
00:21:53,140 --> 00:21:56,070
But sometimes we really
need to force them

529
00:21:56,070 --> 00:21:58,432
in a certain direction.

530
00:21:58,432 --> 00:21:59,140
Like with braces.

531
00:22:13,720 --> 00:22:17,710
As the braces slowly
force the teeth to move,

532
00:22:17,710 --> 00:22:21,070
the PDL gets squeezed
in one direction

533
00:22:21,070 --> 00:22:25,350
and stretched in the other,
kind of like a rubber band.

534
00:22:25,350 --> 00:22:27,180
Here's where it
gets interesting.

535
00:22:27,180 --> 00:22:29,460
To make room, the
mechanoreceptors

536
00:22:29,460 --> 00:22:33,570
in the PDL trigger
cells called osteoclasts

537
00:22:33,570 --> 00:22:36,020
that actually come
in and dissolve part

538
00:22:36,020 --> 00:22:38,690
of your jaw to make extra room.

539
00:22:38,690 --> 00:22:41,650
The mechanoreceptors also
trigger another kind of cell,

540
00:22:41,650 --> 00:22:43,980
called an osteoblast,
which comes in

541
00:22:43,980 --> 00:22:46,800
and builds up part
of the jawbone.

542
00:22:46,800 --> 00:22:50,270
This allows the PDL to get back
into its regular cushioning

543
00:22:50,270 --> 00:22:54,820
shape, thus holding the
tooth securely in position.

544
00:22:54,820 --> 00:22:59,220
So if braces use osteoblasts
to physically reposition teeth

545
00:22:59,220 --> 00:23:01,120
for cosmetic reasons,
what if we want

546
00:23:01,120 --> 00:23:04,680
to use them to replace
things in our bodies?

547
00:23:04,680 --> 00:23:06,910
Dental implants
replace teeth that

548
00:23:06,910 --> 00:23:10,820
are damaged or missing to
restore chewing function.

549
00:23:10,820 --> 00:23:13,460
And MIT engineers are
using the properties

550
00:23:13,460 --> 00:23:17,110
of osteoblasts and osteoclasts
that are already in our bodies

551
00:23:17,110 --> 00:23:20,180
to create a chemical
coding for these implants.

552
00:23:20,180 --> 00:23:22,310
Just like in a
mouth with braces,

553
00:23:22,310 --> 00:23:24,860
this coding helps
create natural bone

554
00:23:24,860 --> 00:23:27,870
to help lock the
implant into place.

555
00:23:27,870 --> 00:23:29,780
Your jaw isn't the
only place where

556
00:23:29,780 --> 00:23:31,800
these osteoblasts
and osteoclasts are

557
00:23:31,800 --> 00:23:33,640
altering your bone structure.

558
00:23:33,640 --> 00:23:36,530
In fact, this bony
remodeling process

559
00:23:36,530 --> 00:23:39,040
is happening throughout
your entire body.

560
00:23:39,040 --> 00:23:42,200
And these implants aren't
just limited to teeth.

561
00:23:42,200 --> 00:23:49,240
Doctors can replace knees,
hips, and even spinal disks.

562
00:23:49,240 --> 00:23:51,430
Right now, these
implants are designed

563
00:23:51,430 --> 00:23:54,040
to have the exact same
functionality as the parts

564
00:23:54,040 --> 00:23:55,510
that they're replacing.

565
00:23:55,510 --> 00:23:58,190
But in the future,
scientists may even

566
00:23:58,190 --> 00:24:01,260
use implants to
improve our brains.

567
00:24:01,260 --> 00:24:04,960
Just like with braces, we
could modify our bodies

568
00:24:04,960 --> 00:24:08,710
to be more perfect.

569
00:24:08,710 --> 00:24:12,260
Once we've tasted the
forbidden fruit of perfection,

570
00:24:12,260 --> 00:24:13,240
will we still be human?

571
00:24:18,440 --> 00:24:22,886
[END PLAYBACK]

572
00:24:24,197 --> 00:24:25,280
ELIZABETH CHOE: All right.

573
00:24:25,280 --> 00:24:28,479
So, Andrea, why do you
think your video is boring?

574
00:24:28,479 --> 00:24:30,354
AUDIENCE: It's really
dense with information.

575
00:24:36,198 --> 00:24:39,120
It also doesn't have
very good settings in it,

576
00:24:39,120 --> 00:24:40,094
except for the office.

577
00:24:40,094 --> 00:24:43,016
And even in the
office, the lighting--

578
00:24:43,016 --> 00:24:45,960
there was just nothing I
could do about the lighting.

579
00:24:45,960 --> 00:24:49,174
ELIZABETH CHOE: I think that one
of the quickest fixes that you

580
00:24:49,174 --> 00:24:51,340
can do, and one that'll
make the biggest difference,

581
00:24:51,340 --> 00:24:54,900
is that it's very slow moving.

582
00:24:54,900 --> 00:24:58,550
And I think it's because you
are so conscious of fighting

583
00:24:58,550 --> 00:25:01,170
the tendency that most people
have to deliver their lines too

584
00:25:01,170 --> 00:25:04,730
quickly that you're talking a
lot slower than you usually do

585
00:25:04,730 --> 00:25:08,860
in real life, in a way
that is clearly not you.

586
00:25:08,860 --> 00:25:12,270
And you could actually
just play with speeding up

587
00:25:12,270 --> 00:25:13,519
how fast the video plays.

588
00:25:13,519 --> 00:25:15,060
We did that for one
of the people who

589
00:25:15,060 --> 00:25:16,399
did Science Out Loud, actually.

590
00:25:16,399 --> 00:25:17,690
The same thing happened to her.

591
00:25:17,690 --> 00:25:19,273
As soon as the camera
started rolling,

592
00:25:19,273 --> 00:25:22,070
she would talk just way
slower than she normally does,

593
00:25:22,070 --> 00:25:25,630
and it just felt really
unnaturally paced.

594
00:25:25,630 --> 00:25:29,620
And once we bumped up
the speed to, like, 115%,

595
00:25:29,620 --> 00:25:34,000
it read a lot more normally
and flowed a lot better.

596
00:25:34,000 --> 00:25:36,580
And I think in
general, look at where

597
00:25:36,580 --> 00:25:40,120
you're cutting into new spaces.

598
00:25:40,120 --> 00:25:43,210
I think that you erred
on the right side

599
00:25:43,210 --> 00:25:45,370
for your rough cut, which
is to leave a little bit

600
00:25:45,370 --> 00:25:48,690
too much room at the beginning
of each of your clips.

601
00:25:48,690 --> 00:25:51,600
But when you go in,
really, you can shave off

602
00:25:51,600 --> 00:25:54,740
like a good second, half a
second off of some of the clips

603
00:25:54,740 --> 00:25:57,630
that you're cutting, too.

604
00:25:57,630 --> 00:26:00,980
Instead of having a beat and
then your action starting,

605
00:26:00,980 --> 00:26:04,510
just go straight into the
action already happening.

606
00:26:04,510 --> 00:26:08,661
So I think that
happen a couple times.

607
00:26:08,661 --> 00:26:09,660
[SKIPPING THROUGH VIDEO]

608
00:26:13,360 --> 00:26:15,300
For this opening
shot I mean, just

609
00:26:15,300 --> 00:26:17,420
start it like half a
beat before you say,

610
00:26:17,420 --> 00:26:20,190
eating is one of life's
great necessities.

611
00:26:20,190 --> 00:26:23,150
I think you take
these nice long pauses

612
00:26:23,150 --> 00:26:27,469
in between some of your thoughts
to really let the viewer gather

613
00:26:27,469 --> 00:26:28,760
or comprehend what you've said.

614
00:26:28,760 --> 00:26:31,620
But some of the gaps
are just really long.

615
00:26:31,620 --> 00:26:34,270
So you can either cut those
out and maybe cut to a close

616
00:26:34,270 --> 00:26:38,910
up of you talking, or cut
to B-roll in those cases.

617
00:26:38,910 --> 00:26:40,940
But I think that'll
help a lot with just

618
00:26:40,940 --> 00:26:44,260
the sense of the movement
of the overall video.

619
00:26:44,260 --> 00:26:47,420
Did anyone have other comments?

620
00:26:47,420 --> 00:26:48,800
Yeah, Kenneth.

621
00:26:48,800 --> 00:26:51,058
AUDIENCE: I remember in there
you were a little scared

622
00:26:51,058 --> 00:26:52,056
to start filming.

623
00:26:52,056 --> 00:26:56,444
But I thought you felt pretty
natural in front of us,

624
00:26:56,444 --> 00:27:00,539
and it didn't feel you
were nervous or anything.

625
00:27:03,533 --> 00:27:06,277
Apart from the slow speed,
I think actually you

626
00:27:06,277 --> 00:27:09,022
look quite natural.

627
00:27:09,022 --> 00:27:11,349
AUDIENCE: I was going
to say that too.

628
00:27:11,349 --> 00:27:12,515
ELIZABETH CHOE: Yeah, David?

629
00:27:12,515 --> 00:27:16,008
AUDIENCE: I was thinking
that one way to cut

630
00:27:16,008 --> 00:27:19,002
that down is when you look at
a clip or you look at a song,

631
00:27:19,002 --> 00:27:20,501
so you cut right
before the song.

632
00:27:20,501 --> 00:27:21,959
And then it's like
a straight line.

633
00:27:23,944 --> 00:27:25,110
ELIZABETH CHOE: Wait, sorry.

634
00:27:25,110 --> 00:27:26,200
I didn't hear that.

635
00:27:26,200 --> 00:27:29,823
AUDIENCE: Plus, when you put
the video as well as the sound.

636
00:27:29,823 --> 00:27:30,906
ELIZABETH CHOE: The sound?

637
00:27:30,906 --> 00:27:31,403
AUDIENCE: The sound wave.

638
00:27:31,403 --> 00:27:31,900
ELIZABETH CHOE: Oh, yeah.

639
00:27:31,900 --> 00:27:32,397
The sound wave.

640
00:27:32,397 --> 00:27:33,391
Yeah, the sound wave.

641
00:27:33,391 --> 00:27:34,385
That's a very good tip.

642
00:27:34,385 --> 00:27:37,864
AUDIENCE: Then I was thinking
that I like the transitions.

643
00:27:37,864 --> 00:27:39,852
I find the transition
very meaningful,

644
00:27:39,852 --> 00:27:42,337
and they help you
continue the story.

645
00:27:45,897 --> 00:27:47,730
ELIZABETH CHOE: What
were you having planned

646
00:27:47,730 --> 00:27:48,820
on this big section here?

647
00:27:48,820 --> 00:27:52,504
Was it supposed to be
an animated section?

648
00:27:52,504 --> 00:27:57,330
AUDIENCE: I've been
looking for images.

649
00:27:57,330 --> 00:27:59,850
FEMALE IN VIDEO: This is
when we chew, say, an apple.

650
00:28:03,315 --> 00:28:05,130
AUDIENCE: I think
one part that will

651
00:28:05,130 --> 00:28:08,265
help that felt really
slow-- but maybe you

652
00:28:08,265 --> 00:28:11,730
put in there for a visual
pause-- is the middle section

653
00:28:11,730 --> 00:28:14,974
when you were talking
about putting on braces,

654
00:28:14,974 --> 00:28:16,515
and you did the
whole sequence of you

655
00:28:16,515 --> 00:28:18,660
like putting on gloves
like an orthodontist would.

656
00:28:22,620 --> 00:28:25,104
And it's good for
comedic effect,

657
00:28:25,104 --> 00:28:28,422
but it kind of interrupted
the video for me.

658
00:28:28,422 --> 00:28:31,320
And I think this is an instance
of killing your darlings,

659
00:28:31,320 --> 00:28:34,701
where I don't know how
long it took to film this.

660
00:28:34,701 --> 00:28:37,599
AUDIENCE: So should cut out
everything in the office?

661
00:28:37,599 --> 00:28:41,730
AUDIENCE: No, I like--
like when we all laughed,

662
00:28:41,730 --> 00:28:43,175
that was a great reveal.

663
00:28:43,175 --> 00:28:45,050
And I think you can
almost cut from this shot

664
00:28:45,050 --> 00:28:46,550
to the one with
you with braces--

665
00:28:46,550 --> 00:28:48,313
like when you say, with braces.

666
00:28:48,313 --> 00:28:51,019
Because you don't even say
anything over this part.

667
00:28:51,019 --> 00:28:52,220
It was just kind of silent.

668
00:28:54,502 --> 00:28:55,960
AUDIENCE: I think
she could keep it

669
00:28:55,960 --> 00:28:59,040
if she tightened it
to like one second.

670
00:28:59,040 --> 00:29:00,420
We can get enough
out of you just

671
00:29:00,420 --> 00:29:02,590
putting on-- starting
to put on the glove

672
00:29:02,590 --> 00:29:04,410
and then transitioning
to the next one.

673
00:29:04,410 --> 00:29:06,080
I think it's fun.

674
00:29:06,080 --> 00:29:08,550
I think that I agree with
you that it's too long,

675
00:29:08,550 --> 00:29:10,810
but I think you could
tighten it, really,

676
00:29:10,810 --> 00:29:12,597
and it would still
get the impact.

677
00:29:12,597 --> 00:29:14,680
ELIZABETH CHOE: Comedy is
really hard to pull off,

678
00:29:14,680 --> 00:29:17,120
like George was saying
in the earlier workshop.

679
00:29:17,120 --> 00:29:20,700
But a lot of comedy that works
in these types of videos,

680
00:29:20,700 --> 00:29:23,950
and that you'll see in
SciShow or Veritasium

681
00:29:23,950 --> 00:29:26,070
or pretty much any
popular YouTube channel,

682
00:29:26,070 --> 00:29:27,260
is that they're very quick.

683
00:29:27,260 --> 00:29:31,570
They're quick insertions of
someone making a face or sort

684
00:29:31,570 --> 00:29:34,790
of an unexpected B-roll shot.

685
00:29:34,790 --> 00:29:37,490
And I think that I
agree with Jaime.

686
00:29:37,490 --> 00:29:39,260
And you can play
around with this.

687
00:29:39,260 --> 00:29:41,320
Play around with taking
this part out completely,

688
00:29:41,320 --> 00:29:42,900
play around with shortening it.

689
00:29:42,900 --> 00:29:48,719
But it has a funnier effect
when it's a lot shorter,

690
00:29:48,719 --> 00:29:51,010
because one, it doesn't
interrupt the flow of the video

691
00:29:51,010 --> 00:29:51,880
as much.

692
00:29:51,880 --> 00:29:53,920
And also just gives a
chance for the viewer

693
00:29:53,920 --> 00:29:56,150
to be like, wait, what
just actually happened?

694
00:29:56,150 --> 00:29:59,650
It keeps them on their
toes a little bit more.

695
00:29:59,650 --> 00:30:02,780
AUDIENCE: For that, I
really like that part.

696
00:30:02,780 --> 00:30:04,200
The only thing I
would suggest is

697
00:30:04,200 --> 00:30:08,360
that at the end when you reveal
the braces to kind of show them

698
00:30:08,360 --> 00:30:11,430
for half a second
longer so the viewers

699
00:30:11,430 --> 00:30:13,199
can notice that it's braces.

700
00:30:13,199 --> 00:30:15,365
AUDIENCE: Yeah, I think the
braces shot was actually

701
00:30:15,365 --> 00:30:16,850
a little too short.

702
00:30:22,886 --> 00:30:24,427
ELIZABETH CHOE: And
like right here--

703
00:30:24,427 --> 00:30:26,912
AUDIENCE: How did you do that?

704
00:30:26,912 --> 00:30:27,906
The braces shot?

705
00:30:27,906 --> 00:30:30,400
Did they just put pretend
braces on you for a minute?

706
00:30:30,400 --> 00:30:31,983
ELIZABETH CHOE: It
was like a denture.

707
00:30:31,983 --> 00:30:32,847
AUDIENCE: Oh, OK.

708
00:30:32,847 --> 00:30:34,430
ELIZABETH CHOE: And
this is an example

709
00:30:34,430 --> 00:30:37,510
of shaving off some of
the beginnings of a clip.

710
00:30:40,320 --> 00:30:44,000
That is exactly where it starts,
it's a good half a second.

711
00:30:44,000 --> 00:30:45,610
Which doesn't seem
like much, but when

712
00:30:45,610 --> 00:30:48,235
you're watching a video it seems
like an eternity-- half second

713
00:30:48,235 --> 00:30:51,128
that you can just
take out completely.

714
00:30:51,128 --> 00:30:55,046
AUDIENCE: So how close
to when the sound starts?

715
00:30:55,046 --> 00:30:58,700
Should you do it right there?

716
00:30:58,700 --> 00:31:02,150
ELIZABETH CHOE: I don't have a
best practice of do it like 0.2

717
00:31:02,150 --> 00:31:03,500
seconds before it starts.

718
00:31:03,500 --> 00:31:07,120
But I think that, in general,
having it as close to when

719
00:31:07,120 --> 00:31:09,120
you start talking is best.

720
00:31:09,120 --> 00:31:12,590
Because otherwise, it reads
a little bit newscastery.

721
00:31:12,590 --> 00:31:15,470
Because you'll notice that
on a Dateline special,

722
00:31:15,470 --> 00:31:18,880
the host will go, and
I'll start talking.

723
00:31:18,880 --> 00:31:22,620
And that's what gives it the
newscastery feel, versus a lot

724
00:31:22,620 --> 00:31:24,490
of YouTube channels
and SciShow, they just

725
00:31:24,490 --> 00:31:29,302
go immediately as close to the
soundwave starting as possible.

726
00:31:29,302 --> 00:31:31,266
AUDIENCE: Bring us
two frames back.

727
00:31:31,266 --> 00:31:31,757
ELIZABETH CHOE: Two frames back?

728
00:31:31,757 --> 00:31:33,721
AUDIENCE: I usually go like
two and three frames back.

729
00:31:33,721 --> 00:31:35,439
And then if that
doesn't sound good,

730
00:31:35,439 --> 00:31:36,667
then adjust it from there.

731
00:31:43,080 --> 00:31:48,014
ELIZABETH CHOE: And who's
doing Google Docs for Andrea?

732
00:31:48,014 --> 00:31:49,180
AUDIENCE: Nathan and Yuliya.

733
00:31:49,180 --> 00:31:52,720
ELIZABETH CHOE:
Nathan and Yuliya.

734
00:31:52,720 --> 00:31:54,060
Any last comments for Andrea?

735
00:31:56,650 --> 00:31:59,850
I do want to emphasize-- and
for the people who are just here

736
00:31:59,850 --> 00:32:02,880
for today-- it is a
crazy amount of work

737
00:32:02,880 --> 00:32:05,100
that they're doing in such
a small amount of time.

738
00:32:05,100 --> 00:32:07,820
We basically spent the
first week not really

739
00:32:07,820 --> 00:32:09,460
touching cameras whatsoever.

740
00:32:09,460 --> 00:32:11,440
I mean, they were
doing assignments them,

741
00:32:11,440 --> 00:32:13,860
but pre-production
takes up so much time.

742
00:32:13,860 --> 00:32:17,770
So I think that the
scripts that you guys have

743
00:32:17,770 --> 00:32:20,290
are really, really
tight and really good.

744
00:32:20,290 --> 00:32:23,270
And I know that you're working
under limited time and very,

745
00:32:23,270 --> 00:32:24,375
very limited resources.

746
00:32:24,375 --> 00:32:26,250
Like you were saying,
you didn't have lights.

747
00:32:26,250 --> 00:32:28,708
And that makes a huge difference
in what your final product

748
00:32:28,708 --> 00:32:30,350
looks like, so

749
00:32:30,350 --> 00:32:32,880
I'm really happy to see
that people can identify--

750
00:32:32,880 --> 00:32:35,387
this is what I think it's
off about this video,

751
00:32:35,387 --> 00:32:37,220
I think this is what
it would have improved.

752
00:32:37,220 --> 00:32:38,969
That's the stuff that
really is important.

753
00:32:38,969 --> 00:32:42,550
And I think the scripts, and
you guys really constructing

754
00:32:42,550 --> 00:32:44,350
compelling narratives
around the topics

755
00:32:44,350 --> 00:32:46,890
that you were talking about,
they've come such a long way

756
00:32:46,890 --> 00:32:47,860
from the first day.

757
00:32:47,860 --> 00:32:51,348
So I'm really happy to see that.

758
00:32:51,348 --> 00:32:52,794
AUDIENCE: It's
ready, but I think

759
00:32:52,794 --> 00:32:53,758
you have to refresh the page.

760
00:32:53,758 --> 00:32:54,722
ELIZABETH CHOE: Oh, OK.

761
00:32:59,070 --> 00:32:59,810
This one?

762
00:32:59,810 --> 00:33:00,700
All right.

763
00:33:00,700 --> 00:33:03,873
Any words before we screen?

764
00:33:03,873 --> 00:33:04,914
AUDIENCE: No disclaimers.

765
00:33:07,487 --> 00:33:08,570
AUDIENCE: Yeah, it's good.

766
00:33:08,570 --> 00:33:09,750
It's fine, I hope.

767
00:33:09,750 --> 00:33:13,220
I just didn't like
how I cut it, but I

768
00:33:13,220 --> 00:33:15,884
think it still is quite well.

769
00:33:15,884 --> 00:33:17,300
I haven't finished
the animations,

770
00:33:17,300 --> 00:33:19,560
but yeah, some of it's in.

771
00:33:30,830 --> 00:33:32,820
[VIDEO PLAYBACK]

772
00:33:32,820 --> 00:33:34,890
-Imagine holding
a party, and then

773
00:33:34,890 --> 00:33:38,410
sending out invitations
after the party.

774
00:33:38,410 --> 00:33:40,839
Wait a minute-- that
doesn't make any sense.

775
00:33:40,839 --> 00:33:42,630
Are my friends are
going to be able to time

776
00:33:42,630 --> 00:33:44,840
travel back just so
it's at my party?

777
00:33:44,840 --> 00:33:46,870
In 2009, Stephen
Hawking actually

778
00:33:46,870 --> 00:33:50,280
conducted such an experiment
to disprove time travel.

779
00:33:50,280 --> 00:33:53,760
What exactly is time travel,
and how does it work?

780
00:33:53,760 --> 00:33:56,655
It actually has a
lot to do with speed.

781
00:33:56,655 --> 00:33:58,780
A lot of what we know about
time traveling actually

782
00:33:58,780 --> 00:34:02,120
comes from Einstein's theory of
special and general relativity.

783
00:34:02,120 --> 00:34:04,340
We are actually time
traveling right now, but not

784
00:34:04,340 --> 00:34:07,020
in the manner that sci-fi
phi films have depicted them.

785
00:34:07,020 --> 00:34:11,199
We are, in fact, time traveling
at a pace of one hour per hour.

786
00:34:11,199 --> 00:34:14,350
In other words, every hour I
experience, the world around me

787
00:34:14,350 --> 00:34:16,600
experiences a singular hour too.

788
00:34:16,600 --> 00:34:19,709
Now, it may sound simple and
trivial, but stay with me.

789
00:34:19,709 --> 00:34:21,125
This is where it
gets interesting.

790
00:34:24,920 --> 00:34:28,260
Now, the lat part of Einstein's
theory of special relativity

791
00:34:28,260 --> 00:34:31,360
is actually a phenomenon
known as time dilation.

792
00:34:31,360 --> 00:34:33,679
Effectively, this means
that the faster you travel,

793
00:34:33,679 --> 00:34:35,870
the slower time
passes around you.

794
00:34:35,870 --> 00:34:37,510
It potentially
means that I could

795
00:34:37,510 --> 00:34:41,400
travel at maybe more
than one hour per hour.

796
00:34:41,400 --> 00:34:44,330
This phenomenon, however, is
only noticeable at really,

797
00:34:44,330 --> 00:34:47,690
really high speeds-- speeds
near the speed of light.

798
00:34:47,690 --> 00:34:51,810
This rocket here,
not even close.

799
00:34:51,810 --> 00:34:54,159
Say I do a spaceship
now that travels

800
00:34:54,159 --> 00:34:56,090
at 90% the speed of light.

801
00:34:56,090 --> 00:34:58,660
And I have a pair newborn twins.

802
00:34:58,660 --> 00:35:02,170
I bring one of them with me
on this journey for 10 years.

803
00:35:02,170 --> 00:35:05,980
When I return, one of them
will have turned 23 years old

804
00:35:05,980 --> 00:35:08,697
while the one with me will
have only turned 10 years old.

805
00:35:08,697 --> 00:35:10,780
While we have experienced
10 years on a spaceship,

806
00:35:10,780 --> 00:35:13,020
23 years have actually
passed on Earth.

807
00:35:13,020 --> 00:35:16,250
This amount of time actually
increases exponentially

808
00:35:16,250 --> 00:35:19,190
as you get closer to
the speed of light.

809
00:35:19,190 --> 00:35:23,613
So we could potentially
travel forward in time.

810
00:35:23,613 --> 00:35:26,571
But what about
backwards in time?

811
00:35:26,571 --> 00:35:28,543
That's a whole other issue.

812
00:35:31,501 --> 00:35:33,966
Now, remember our
previous graph.

813
00:35:33,966 --> 00:35:36,210
The time that
passed on Earth was

814
00:35:36,210 --> 00:35:38,341
asymptopic to the
speed of light.

815
00:35:38,341 --> 00:35:40,632
Looks like we're seeing maybe
the secret to time travel

816
00:35:40,632 --> 00:35:43,470
lies on the other
side of the line.

817
00:35:43,470 --> 00:35:45,620
In other words, we may
have to travel faster

818
00:35:45,620 --> 00:35:50,372
than the speed of light just to
be able to travel back in time.

819
00:35:50,372 --> 00:35:53,858
Now, when you do travel
near the speed of light,

820
00:35:53,858 --> 00:35:56,846
something called relativistic
mass comes into play.

821
00:35:56,846 --> 00:36:00,830
In other words, as your speed
goes up, your mass increases.

822
00:36:00,830 --> 00:36:03,316
As your mass increases,
you require more energy

823
00:36:03,316 --> 00:36:04,316
to move the same object.

824
00:36:04,316 --> 00:36:08,051
This might mean that you need
an infinite amount of energy

825
00:36:08,051 --> 00:36:10,790
just to move an object
beyond the speed of light.

826
00:36:10,790 --> 00:36:13,944
The more energy you put into
an object, the more likely

827
00:36:13,944 --> 00:36:16,019
you are to increase
its mass rather than

828
00:36:16,019 --> 00:36:17,762
to increase its speed.

829
00:36:17,762 --> 00:36:20,252
Therefore, to get an object
past the speed of light,

830
00:36:20,252 --> 00:36:23,830
quite impossible at
this point in time.

831
00:36:23,830 --> 00:36:27,790
So why are we still so
obsessed with time travel?

832
00:36:27,790 --> 00:36:32,040
Time travel does come with
its own set of problems.

833
00:36:32,040 --> 00:36:33,690
Take for example
my party before.

834
00:36:33,690 --> 00:36:36,964
If I were to send out my
invitations after the party,

835
00:36:36,964 --> 00:36:39,172
my friends would have come
back in time to attend it.

836
00:36:39,172 --> 00:36:41,450
And if they did come back
in time to attend it,

837
00:36:41,450 --> 00:36:43,733
I wouldn't have sent
out my invitations.

838
00:36:43,733 --> 00:36:46,150
And if I didn't send
out my invitations,

839
00:36:46,150 --> 00:36:48,002
they wouldn't be at my party.

840
00:36:48,002 --> 00:36:51,360
It doesn't make any sense at all
that they are both at my party

841
00:36:51,360 --> 00:36:52,750
and not at my party.

842
00:36:52,750 --> 00:36:55,370
This is what we call
the grandfather paradox.

843
00:36:55,370 --> 00:36:57,250
It's one of three
time travel problems

844
00:36:57,250 --> 00:36:59,250
that we currently have.

845
00:36:59,250 --> 00:37:02,000
So it seems that we may
not be able to time travel

846
00:37:02,000 --> 00:37:05,810
yet, based on what physics
tells us, at least.

847
00:37:05,810 --> 00:37:09,150
For now, if you are
planning a party,

848
00:37:09,150 --> 00:37:11,250
be sure to send out the invites.

849
00:37:11,250 --> 00:37:13,210
Your friends can't
time travel yet.

850
00:37:13,210 --> 00:37:15,162
[END PLAYBACK]

851
00:37:15,162 --> 00:37:18,090
[APPLAUSE]

852
00:37:20,050 --> 00:37:22,920
ELIZABETH CHOE: All right, any
comments from Kenneth first?

853
00:37:22,920 --> 00:37:25,545
AUDIENCE: OK, I didn't know that
the warp stabilizer on YouTube

854
00:37:25,545 --> 00:37:26,767
was like that.

855
00:37:26,767 --> 00:37:29,100
ELIZABETH CHOE: Oh, you tried
the stabilizer on YouTube.

856
00:37:29,100 --> 00:37:32,870
AUDIENCE: Because I new I had
to stabilize some of my footage,

857
00:37:32,870 --> 00:37:35,815
and they were taking a
very long time on Premier.

858
00:37:35,815 --> 00:37:37,190
So I just popped
it on to YouTube

859
00:37:37,190 --> 00:37:38,648
and just let YouTube
stabilized it.

860
00:37:38,648 --> 00:37:41,430
But I didn't know that
it did it very liberally.

861
00:37:44,066 --> 00:37:47,085
So I realize a lot of my shots
got like this warpy effect,

862
00:37:47,085 --> 00:37:50,270
and some of my text got
cut out, and what not.

863
00:37:50,270 --> 00:37:53,015
But yeah, and I'm sorry that
the audio for this whole chunk

864
00:37:53,015 --> 00:37:55,390
just kind of got
warped because I

865
00:37:55,390 --> 00:37:57,702
had to use my other camera,
which I didn't want to.

866
00:37:57,702 --> 00:38:00,160
ELIZABETH CHOE: Oh, you used
your DSLR for the middle part,

867
00:38:00,160 --> 00:38:00,660
right?

868
00:38:00,660 --> 00:38:02,250
I mean it's a
trade-off, because it

869
00:38:02,250 --> 00:38:05,060
looks way better than the
camcorders that we have.

870
00:38:05,060 --> 00:38:06,860
But the camera
that he has doesn't

871
00:38:06,860 --> 00:38:10,370
have an input for the mic.

872
00:38:10,370 --> 00:38:12,910
Yeah, it's really hard
to understand that part.

873
00:38:12,910 --> 00:38:13,410
Yeah, PJ?

874
00:38:13,410 --> 00:38:14,910
AUDIENCE: With these
scenes, though,

875
00:38:14,910 --> 00:38:16,912
we were talking about
doing this walking down.

876
00:38:16,912 --> 00:38:19,372
It was just tough to
have a ten foot tether

877
00:38:19,372 --> 00:38:20,848
to do some of these.

878
00:38:20,848 --> 00:38:25,276
And I thought that came out
really good-- that video part.

879
00:38:25,276 --> 00:38:28,570
AUDIENCE: Could you
try a voiceover?

880
00:38:28,570 --> 00:38:31,420
AUDIENCE: Yeah, I was thinking
about putting that in.

881
00:38:31,420 --> 00:38:33,189
AUDIENCE: Because
it's far away enough

882
00:38:33,189 --> 00:38:35,630
where I don't think it matters.

883
00:38:35,630 --> 00:38:38,290
ELIZABETH CHOE: Yeah, you could
try lip dubbing basically.

884
00:38:38,290 --> 00:38:41,140
I have one pair
of wireless mics,

885
00:38:41,140 --> 00:38:45,090
if you do want to
try shooting it.

886
00:38:45,090 --> 00:38:47,312
I mean, it may be
a little too much

887
00:38:47,312 --> 00:38:49,020
to throw in at the
last minute, because I

888
00:38:49,020 --> 00:38:51,800
do agree that this part is--

889
00:38:51,800 --> 00:38:52,900
[SKIPPING THROUGH VIDEO]

890
00:38:53,400 --> 00:38:55,130
It's hard, but I
mean, I also think

891
00:38:55,130 --> 00:38:56,720
that having that
wide of an angle

892
00:38:56,720 --> 00:38:58,210
is important in that shot.

893
00:38:58,210 --> 00:39:00,540
So I understand using
the mic was sort

894
00:39:00,540 --> 00:39:03,320
of not really an option there.

895
00:39:03,320 --> 00:39:08,850
But I do think that
voiceover is a good option.

896
00:39:08,850 --> 00:39:10,120
And especially this part.

897
00:39:10,120 --> 00:39:11,980
It's a long walk and talk, and--

898
00:39:11,980 --> 00:39:13,730
MALE IN VIDEO: --example,
my party before.

899
00:39:13,730 --> 00:39:15,830
If I were to send
out my message--

900
00:39:15,830 --> 00:39:19,820
ELIZABETH CHOE: And the audio
is so distractingly unclear,

901
00:39:19,820 --> 00:39:22,964
and this is such a
crucial sort of inherently

902
00:39:22,964 --> 00:39:24,380
hard to understand
portion anyway,

903
00:39:24,380 --> 00:39:27,900
that I think that it's really
important to have clear audio.

904
00:39:27,900 --> 00:39:31,320
And I don't know if you can just
shoot B-roll to do voiceover

905
00:39:31,320 --> 00:39:33,170
for this.

906
00:39:33,170 --> 00:39:37,700
Because it's a little-- the
setting and what you're saying

907
00:39:37,700 --> 00:39:41,240
don't necessarily match
up to me right away.

908
00:39:41,240 --> 00:39:44,214
But I also like the
feel that you were going

909
00:39:44,214 --> 00:39:45,380
for with this walk and talk.

910
00:39:45,380 --> 00:39:49,040
I can tell that you were drawing
a lot of Veritasium influences

911
00:39:49,040 --> 00:39:52,240
with the beginning, and you
did the whole Michael Stevens

912
00:39:52,240 --> 00:39:55,300
Vsauce head up, which
I think are fun.

913
00:39:55,300 --> 00:39:57,680
Because you're taking
something that is typically

914
00:39:57,680 --> 00:40:03,550
a very robust science topic and
sort of presenting it in a very

915
00:40:03,550 --> 00:40:05,500
casual, like, I'm
just your friend

916
00:40:05,500 --> 00:40:07,646
talking about time travel
type of way that makes

917
00:40:07,646 --> 00:40:08,770
it a lot less intimidating.

918
00:40:08,770 --> 00:40:09,978
Which I think is really nice.

919
00:40:09,978 --> 00:40:11,490
It's a nice feel for the video.

920
00:40:14,610 --> 00:40:17,120
Any comments from anyone else?

921
00:40:17,120 --> 00:40:18,100
Yeah.

922
00:40:18,100 --> 00:40:21,390
AUDIENCE: It's sounded really
well in its complete form.

923
00:40:21,390 --> 00:40:23,550
Even though-- like
the script, there

924
00:40:23,550 --> 00:40:25,200
was a lot of technical detail.

925
00:40:25,200 --> 00:40:27,370
It didn't read like that at all.

926
00:40:27,370 --> 00:40:30,260
The only part here was that when
you were walking and describing

927
00:40:30,260 --> 00:40:34,260
the grandfather paradox, I
know we also shot the party.

928
00:40:34,260 --> 00:40:36,250
AUDIENCE: Yeah, I was
thinking of putting

929
00:40:36,250 --> 00:40:38,160
that in split screen, but I--

930
00:40:38,160 --> 00:40:40,340
ELIZABETH CHOE: Oh, you
actually shot a fake party?

931
00:40:40,340 --> 00:40:40,710
AUDIENCE: Yeah

932
00:40:40,710 --> 00:40:42,570
ELIZABETH CHOE: I think that it
would be a really good option

933
00:40:42,570 --> 00:40:44,195
to try playing around
with that footage

934
00:40:44,195 --> 00:40:45,762
and just using voiceover there.

935
00:40:45,762 --> 00:40:47,470
AUDIENCE: I only put
it at half a screen,

936
00:40:47,470 --> 00:40:49,579
because I'm keeping to
the left of the screen

937
00:40:49,579 --> 00:40:50,870
so I have it on the right side.

938
00:40:50,870 --> 00:40:51,870
ELIZABETH CHOE: Yeah.

939
00:40:51,870 --> 00:40:54,330
Is it super important
that you maintain

940
00:40:54,330 --> 00:40:56,050
this footage of you talking?

941
00:40:56,050 --> 00:40:58,640
Or can you just cut to
straight B-roll of the party?

942
00:40:58,640 --> 00:41:00,723
AUDIENCE: I thought it
would be a nice transitions

943
00:41:00,723 --> 00:41:02,079
to walk into the last scene.

944
00:41:02,079 --> 00:41:03,120
ELIZABETH CHOE: Oh, yeah.

945
00:41:03,120 --> 00:41:05,370
I mean, I can tell that you
were very conscious of how

946
00:41:05,370 --> 00:41:07,426
your cuts were being made.

947
00:41:07,426 --> 00:41:09,176
MALE IN VIDEO: --the
grandfather paradox--

948
00:41:12,031 --> 00:41:14,280
ELIZABETH CHOE: I think that
this opening one and some

949
00:41:14,280 --> 00:41:16,690
of your pans are really slow.

950
00:41:16,690 --> 00:41:19,950
So you could cut the clip
right before it lands on you

951
00:41:19,950 --> 00:41:21,570
and just speed up the pan.

952
00:41:24,640 --> 00:41:26,910
This part especially.

953
00:41:26,910 --> 00:41:28,149
It just feels very nice.

954
00:41:28,149 --> 00:41:30,190
MALE IN VIDEO: --sci-fi
films have depicted them.

955
00:41:30,190 --> 00:41:34,560
We are, in fact, time traveling
at a pace of one hour per hour.

956
00:41:34,560 --> 00:41:37,190
ELIZABETH CHOE: The script
is a lot better here.

957
00:41:37,190 --> 00:41:39,224
It's really good.

958
00:41:39,224 --> 00:41:40,640
MALE IN VIDEO:
--speeds near the--

959
00:41:40,640 --> 00:41:43,223
ELIZABETH CHOE: And this too is
a really good visual reference

960
00:41:43,223 --> 00:41:44,552
there.

961
00:41:44,552 --> 00:41:45,927
AUDIENCE: I really
liked whatever

962
00:41:45,927 --> 00:41:47,667
you did to animate the graph.

963
00:41:47,667 --> 00:41:49,655
I was like, mind blown.

964
00:41:49,655 --> 00:41:51,146
I don't know if I could do that.

965
00:41:51,146 --> 00:41:53,631
But it looked really nice
because it followed your finger

966
00:41:53,631 --> 00:41:54,630
and everything.

967
00:41:54,630 --> 00:41:56,990
ELIZABETH CHOE: Yeah,
how did you do that?

968
00:41:56,990 --> 00:41:59,365
AUDIENCE: I kept a
screenshot there,

969
00:41:59,365 --> 00:42:02,380
and I imported for the shot
that I drew everything over.

970
00:42:02,380 --> 00:42:04,512
This amount of time
actually increases--

971
00:42:04,512 --> 00:42:06,970
ELIZABETH CHOE: But YouTube
cut it off right at the bottom.

972
00:42:06,970 --> 00:42:07,720
OK, that's what I
figured what happened.

973
00:42:07,720 --> 00:42:08,730
AUDIENCE: Yeah, it was
supposed to be nice frame.

974
00:42:08,730 --> 00:42:10,972
I don't know why they
even warped this.

975
00:42:10,972 --> 00:42:13,180
ELIZABETH CHOE: Yeah, I
mean, take the stabilizer out

976
00:42:13,180 --> 00:42:15,900
and just do a
closeup shot of you.

977
00:42:15,900 --> 00:42:17,750
Because that's really nice.

978
00:42:17,750 --> 00:42:20,840
Are you going to do
it for this part too?

979
00:42:20,840 --> 00:42:22,600
AUDIENCE: I was
thinking that I should.

980
00:42:22,600 --> 00:42:23,320
ELIZABETH CHOE: I
think you should,

981
00:42:23,320 --> 00:42:25,340
just because like you're
throwing in the graph

982
00:42:25,340 --> 00:42:28,664
and you have the asymptote,
and it's just such a key part.

983
00:42:28,664 --> 00:42:31,080
Something that I didn't know
until you read the script out

984
00:42:31,080 --> 00:42:32,720
loud to us-- really
cool, the idea

985
00:42:32,720 --> 00:42:35,080
of looking at the other
side of the graph.

986
00:42:35,080 --> 00:42:37,680
So, I know it's
more work for you,

987
00:42:37,680 --> 00:42:39,030
but I think it would look cool.

988
00:42:42,140 --> 00:42:43,980
Who's commenting on Kennith's?

989
00:42:47,740 --> 00:42:49,630
AUDIENCE: Yuliya and Andrea.

990
00:42:49,630 --> 00:42:52,182
ELIZABETH CHOE: Yuliya
and Andrea, great.

991
00:42:52,182 --> 00:42:53,640
AUDIENCE: I really
like the ending.

992
00:42:53,640 --> 00:42:55,973
ELIZABETH CHOE: Yeah, the
beginning and ending, you book

993
00:42:55,973 --> 00:42:57,910
ended it very nicely.

994
00:42:57,910 --> 00:43:00,330
Very good.

995
00:43:00,330 --> 00:43:03,320
I'm very happy with how people
have taken their scripts

996
00:43:03,320 --> 00:43:05,980
and really created a point
and a story around it.

997
00:43:05,980 --> 00:43:08,300
I don't think any
of these drafts

998
00:43:08,300 --> 00:43:10,680
are instructional
videos whatsoever.

999
00:43:10,680 --> 00:43:12,730
You've taken all
these concepts--

1000
00:43:12,730 --> 00:43:14,230
and we talked a lot
at the beginning

1001
00:43:14,230 --> 00:43:18,400
about tying specific
examples and allowing

1002
00:43:18,400 --> 00:43:21,160
a specific instance to let
you hit these bigger points.

1003
00:43:21,160 --> 00:43:23,800
And I think everyone's really
done a nice job of doing that

1004
00:43:23,800 --> 00:43:24,591
with their scripts.

1005
00:43:27,680 --> 00:43:30,040
All right, next
up we have Joshua.

1006
00:43:30,040 --> 00:43:31,550
You ready?

1007
00:43:31,550 --> 00:43:32,790
AUDIENCE: Yeah.

1008
00:43:32,790 --> 00:43:34,106
ELIZABETH CHOE: Any comments?

1009
00:43:34,106 --> 00:43:36,310
AUDIENCE: I haven't put
in the animations yet,

1010
00:43:36,310 --> 00:43:38,782
so there will be a part
where there's a blank space.

1011
00:43:38,782 --> 00:43:40,990
But the blank table is
supposed to be the animations.

1012
00:43:43,884 --> 00:43:44,550
[VIDEO PLAYBACK]

1013
00:43:44,550 --> 00:43:46,690
-Hi, have you found it
particularly difficult

1014
00:43:46,690 --> 00:43:49,370
to find a specific
item in your house?

1015
00:43:49,370 --> 00:43:51,570
Let's say you're looking
for a pair of gloves,

1016
00:43:51,570 --> 00:43:54,890
but you just can't find it and
you spend your entire afternoon

1017
00:43:54,890 --> 00:43:56,400
looking for it.

1018
00:43:56,400 --> 00:43:58,790
Well, you've just
encountered the same problem

1019
00:43:58,790 --> 00:44:01,590
that companies like
Google or Microsoft

1020
00:44:01,590 --> 00:44:04,390
encounter every single day.

1021
00:44:04,390 --> 00:44:06,660
And that's the
problem of search.

1022
00:44:06,660 --> 00:44:09,500
Just like a house, which stores
thousands of different items,

1023
00:44:09,500 --> 00:44:13,870
Google stores 45 billion
index pages of information.

1024
00:44:13,870 --> 00:44:16,400
When if every page
was a sheet of paper

1025
00:44:16,400 --> 00:44:18,415
and we stick them
up real high, we

1026
00:44:18,415 --> 00:44:24,430
will create a tower 600 times
taller than Mount Everest.

1027
00:44:24,430 --> 00:44:27,000
Well can Google find
my results so quickly

1028
00:44:27,000 --> 00:44:31,240
when I find so difficult
to find a pair of gloves?

1029
00:44:31,240 --> 00:44:32,800
Well, searching
on Google is kind

1030
00:44:32,800 --> 00:44:37,220
of looking for a
person in a big school.

1031
00:44:37,220 --> 00:44:40,130
Let's say you're looking for
James in the row of classrooms.

1032
00:44:40,130 --> 00:44:41,850
One of the easiest
method would be

1033
00:44:41,850 --> 00:44:47,180
to go to every classroom nearest
to you until you find James.

1034
00:44:47,180 --> 00:44:50,310
There's a better method
known as binary search.

1035
00:44:50,310 --> 00:44:52,180
Let's say the
students were arranged

1036
00:44:52,180 --> 00:44:57,280
from A to Z in an increasing
number of the classrooms.

1037
00:44:57,280 --> 00:45:00,040
And let's say we head to
the middle room first,

1038
00:45:00,040 --> 00:45:02,880
and if the person in the
middle room isn't James,

1039
00:45:02,880 --> 00:45:05,600
but his name starts
with a letter before j,

1040
00:45:05,600 --> 00:45:06,890
we head to the right.

1041
00:45:06,890 --> 00:45:08,950
If not, we head to the left.

1042
00:45:08,950 --> 00:45:13,440
We then approach the middle room
in the newly sectioned area.

1043
00:45:13,440 --> 00:45:15,320
We rinse and repeat.

1044
00:45:15,320 --> 00:45:18,910
Eventually we will find James
just like the first method,

1045
00:45:18,910 --> 00:45:24,350
but we find him in a much faster
way with the second method.

1046
00:45:24,350 --> 00:45:26,560
How much faster would that be?

1047
00:45:26,560 --> 00:45:29,560
Well, that depends on the number
of students in the school.

1048
00:45:29,560 --> 00:45:32,700
Let's say there are 500 students
and we're looking for one,

1049
00:45:32,700 --> 00:45:35,350
it would take about 80
minutes in the first manner,

1050
00:45:35,350 --> 00:45:38,880
but one and a half minutes
with binary search.

1051
00:45:38,880 --> 00:45:41,510
But let's say they are 1,000
students in the school,

1052
00:45:41,510 --> 00:45:45,260
it would take 160 minutes
with the first method

1053
00:45:45,260 --> 00:45:49,310
but 1.6 minutes with
the second method.

1054
00:45:49,310 --> 00:45:52,390
Now, that's a whole
lot of difference.

1055
00:45:52,390 --> 00:45:54,050
So a name is just a word.

1056
00:45:54,050 --> 00:45:57,720
But Google searches a
combination of words,

1057
00:45:57,720 --> 00:46:00,770
making it a little
bit more complicated.

1058
00:46:00,770 --> 00:46:04,240
So just like how we identify the
first letter of each alphabet

1059
00:46:04,240 --> 00:46:08,970
of the name, Google identifies
200 unique factors making

1060
00:46:08,970 --> 00:46:11,840
your search terms faster.

1061
00:46:11,840 --> 00:46:14,480
If you recall, the
effectiveness of binary search

1062
00:46:14,480 --> 00:46:17,890
depends on the
prearrangement of data.

1063
00:46:17,890 --> 00:46:20,190
And that's why computer
scientist are actively

1064
00:46:20,190 --> 00:46:24,290
looking for ways to sort,
manage, and eventually retrieve

1065
00:46:24,290 --> 00:46:27,310
data fast and better.

1066
00:46:27,310 --> 00:46:31,090
In the same way, the TV
remote goes near the TV,

1067
00:46:31,090 --> 00:46:34,900
the shoes go to the shoe rack,
the coats go into the cupboard

1068
00:46:34,900 --> 00:46:38,300
and the winter gloves go
into the winter jacket.

1069
00:46:38,300 --> 00:46:39,260
Aha!

1070
00:46:39,260 --> 00:46:40,760
So that's where my gloves are.

1071
00:46:40,760 --> 00:46:42,656
[END PLAYBACK]

1072
00:46:42,656 --> 00:46:45,974
[APPLAUSE]

1073
00:46:48,109 --> 00:46:49,900
ELIZABETH CHOE: Joshua,
what are the things

1074
00:46:49,900 --> 00:46:52,108
that you like about your
cut, and what are the things

1075
00:46:52,108 --> 00:46:54,970
that you don't like about it?

1076
00:46:54,970 --> 00:46:56,880
AUDIENCE: I guess
I like the opening.

1077
00:46:56,880 --> 00:47:02,110
But I realize-- there
were times where

1078
00:47:02,110 --> 00:47:06,120
I realized I have a
better take, but it's

1079
00:47:06,120 --> 00:47:10,622
because they clicked it
but I started earlier.

1080
00:47:10,622 --> 00:47:12,080
ELIZABETH CHOE: So
there were takes

1081
00:47:12,080 --> 00:47:13,970
where you got cut off
just at the beginning

1082
00:47:13,970 --> 00:47:14,960
or something like that.

1083
00:47:14,960 --> 00:47:18,030
AUDIENCE: So I realize
I should have much,

1084
00:47:18,030 --> 00:47:20,680
much more takes, because
you never know what happens.

1085
00:47:20,680 --> 00:47:25,140
And I had to scrap
out an entire scene

1086
00:47:25,140 --> 00:47:27,430
because I was in a location
where they had just

1087
00:47:27,430 --> 00:47:29,350
started preparing
for some event,

1088
00:47:29,350 --> 00:47:31,152
and then everything
became very noisy.

1089
00:47:31,152 --> 00:47:33,610
ELIZABETH CHOE: Yeah, so there
were like last minute things

1090
00:47:33,610 --> 00:47:36,570
that came up in your locations.

1091
00:47:36,570 --> 00:47:38,930
AUDIENCE: I do recognize
that the one where

1092
00:47:38,930 --> 00:47:42,370
I'm supposed to do
animations the sound is off,

1093
00:47:42,370 --> 00:47:46,047
and the visuals are
not really there yet.

1094
00:47:46,047 --> 00:47:47,630
ELIZABETH CHOE: You
mean the one where

1095
00:47:47,630 --> 00:47:49,001
you're looking at the desk?

1096
00:47:49,001 --> 00:47:50,250
AUDIENCE: Yeah, at the black--

1097
00:47:50,250 --> 00:47:51,579
[SKIPPING THROUGH VIDEO]

1098
00:47:51,579 --> 00:47:53,870
AUDIENCE: Yeah, there's
supposed to be animations here,

1099
00:47:53,870 --> 00:47:56,670
but I guess this is not
probably the best one.

1100
00:47:56,670 --> 00:47:59,253
ELIZABETH CHOE: You were going
to have your animations come up

1101
00:47:59,253 --> 00:48:00,940
here with your hotel
room-- or your--

1102
00:48:00,940 --> 00:48:02,440
AUDIENCE: If I have
to redo a scene,

1103
00:48:02,440 --> 00:48:06,036
this scene is the most
inconsistent among the rest.

1104
00:48:06,036 --> 00:48:08,410
ELIZABETH CHOE: This was one
where you were filming later

1105
00:48:08,410 --> 00:48:09,070
in the day.

1106
00:48:09,070 --> 00:48:11,430
AUDIENCE: Yes, this
one was my first day,

1107
00:48:11,430 --> 00:48:13,070
but later in the evening.

1108
00:48:13,070 --> 00:48:14,960
And then the next day the rest.

1109
00:48:14,960 --> 00:48:18,389
Everything else in the
next day except this.

1110
00:48:18,389 --> 00:48:20,884
AUDIENCE: I think in
this piece, because A,

1111
00:48:20,884 --> 00:48:22,381
we don't have the
animation, but B,

1112
00:48:22,381 --> 00:48:25,305
your eyes are looking at
the animation as opposed

1113
00:48:25,305 --> 00:48:28,340
to still talking to
the screen-- and I

1114
00:48:28,340 --> 00:48:30,840
think, from my perspective, I
feel like there's a little bit

1115
00:48:30,840 --> 00:48:34,340
more of balance at play there
of connecting with the audience

1116
00:48:34,340 --> 00:48:35,549
a little with your eyes.

1117
00:48:35,549 --> 00:48:37,340
Like if you're going
to reshoot it, for me,

1118
00:48:37,340 --> 00:48:40,550
I think balancing looking
down and still looking back

1119
00:48:40,550 --> 00:48:42,710
instead of just looking
down during the animation

1120
00:48:42,710 --> 00:48:45,550
and then looking
back at the end.

1121
00:48:45,550 --> 00:48:47,722
ELIZABETH CHOE: Looking
at the animation is good.

1122
00:48:47,722 --> 00:48:48,930
It's kind of fun thing to do.

1123
00:48:48,930 --> 00:48:52,779
But again, look and acknowledge
the audience as well.

1124
00:48:52,779 --> 00:48:54,570
I think this one, it's
really just a matter

1125
00:48:54,570 --> 00:48:56,370
of energy level here.

1126
00:48:56,370 --> 00:48:59,220
Overall, your
delivery is very nice.

1127
00:48:59,220 --> 00:49:01,410
It's a very natural.

1128
00:49:01,410 --> 00:49:02,990
I love the script.

1129
00:49:02,990 --> 00:49:05,900
Again, you're taking something
that's very hard to visualize,

1130
00:49:05,900 --> 00:49:07,030
and that's why--

1131
00:49:07,030 --> 00:49:08,120
You know, we were
trying to figure out

1132
00:49:08,120 --> 00:49:09,994
what topic to do when
you were brainstorming,

1133
00:49:09,994 --> 00:49:14,060
and there were just no videos
on binary search, which

1134
00:49:14,060 --> 00:49:15,110
was shocking to me.

1135
00:49:15,110 --> 00:49:17,680
Or there aren't
very many good ones.

1136
00:49:17,680 --> 00:49:20,600
And there aren't very many
videos on how Google works,

1137
00:49:20,600 --> 00:49:21,426
period.

1138
00:49:21,426 --> 00:49:23,300
And it's because it's
very hard to visualize.

1139
00:49:23,300 --> 00:49:25,730
And I think you've
done a nice job.

1140
00:49:25,730 --> 00:49:29,226
The only thing is
this last scene.

1141
00:49:29,226 --> 00:49:32,470
The delivery is great.

1142
00:49:32,470 --> 00:49:35,180
But I almost would like to
see this done in a computer

1143
00:49:35,180 --> 00:49:38,170
lab or something instead of in
front of the Microsoft Office.

1144
00:49:38,170 --> 00:49:42,200
I know that you were trying to
work with sort of that Kendall

1145
00:49:42,200 --> 00:49:46,490
Tech area, but it reads
like a little maybe product

1146
00:49:46,490 --> 00:49:49,020
placement-y.

1147
00:49:49,020 --> 00:49:51,240
So if you want to reshoot
that one if you have time,

1148
00:49:51,240 --> 00:49:54,090
I would say there are
computer labs here that I can

1149
00:49:54,090 --> 00:49:55,770
help get you into if you want.

1150
00:49:59,000 --> 00:50:02,040
Were you going to have
animations in this scene?

1151
00:50:02,040 --> 00:50:05,580
AUDIENCE: This would be
just a number that pops up

1152
00:50:05,580 --> 00:50:07,290
and then a number below.

1153
00:50:07,290 --> 00:50:09,657
ELIZABETH CHOE: I think
that sparing use of labels

1154
00:50:09,657 --> 00:50:11,740
will also help this video
too, like when you first

1155
00:50:11,740 --> 00:50:14,390
introduce the term binary
search, have come up.

1156
00:50:14,390 --> 00:50:16,230
When you talk about the numbers.

1157
00:50:16,230 --> 00:50:18,190
Numbers are hard to keep
track of in a video,

1158
00:50:18,190 --> 00:50:20,310
so just having those pop up.

1159
00:50:20,310 --> 00:50:25,766
AUDIENCE: So it would just
be first measure 80 minutes

1160
00:50:25,766 --> 00:50:27,224
and binary search 1.5.

1161
00:50:27,224 --> 00:50:28,270
ELIZABETH CHOE: Yeah,
something like that.

1162
00:50:28,270 --> 00:50:29,270
Something really simple.

1163
00:50:29,270 --> 00:50:31,480
And you've got a good
background for it,

1164
00:50:31,480 --> 00:50:34,770
so I would go and
take advantage of it.

1165
00:50:34,770 --> 00:50:36,769
AUDIENCE: You have such
a smiley presence that's

1166
00:50:36,769 --> 00:50:38,650
so engaging on the camera.

1167
00:50:38,650 --> 00:50:40,640
You have such positive
energy up there.

1168
00:50:40,640 --> 00:50:43,182
It's like you kind of want to
smile while you're watching it.

1169
00:50:43,182 --> 00:50:44,556
ELIZABETH CHOE:
And again, you're

1170
00:50:44,556 --> 00:50:47,070
taking something that is a
seemingly intimidating subject,

1171
00:50:47,070 --> 00:50:50,340
which again is why it's very
hard to find videos on computer

1172
00:50:50,340 --> 00:50:54,930
science, and even more rare
to find a live hosted video

1173
00:50:54,930 --> 00:50:56,110
on computer science.

1174
00:50:56,110 --> 00:50:57,960
All the ones that are
out there are usually

1175
00:50:57,960 --> 00:51:01,000
some sort of voiceover
animated tutorial,

1176
00:51:01,000 --> 00:51:04,340
and I think that having
you on screen being

1177
00:51:04,340 --> 00:51:07,540
the guide for the audience
with this is very, very nice.

1178
00:51:07,540 --> 00:51:08,520
It's very powerful.

1179
00:51:08,520 --> 00:51:12,240
AUDIENCE: Could you go back to
the beginning of that, where

1180
00:51:12,240 --> 00:51:14,564
you're in front of the
desk and about to point

1181
00:51:14,564 --> 00:51:17,870
at the animation?

1182
00:51:17,870 --> 00:51:20,020
MALE IN VIDEO: --find James.

1183
00:51:20,020 --> 00:51:23,043
There's a better method
known as binary--

1184
00:51:23,043 --> 00:51:25,382
AUDIENCE: I feel like
someone just told you a joke

1185
00:51:25,382 --> 00:51:26,340
and we missed the joke.

1186
00:51:26,340 --> 00:51:29,420
And you're like kind of
about to die laughing.

1187
00:51:29,420 --> 00:51:32,360
I don't know if you guys felt
that same way when you saw it.

1188
00:51:32,360 --> 00:51:34,320
Did someone tell you
something really funny?

1189
00:51:34,320 --> 00:51:35,160
AUDIENCE: I couldn't
figure it out.

1190
00:51:35,160 --> 00:51:36,870
I don't know why I
behaved like that.

1191
00:51:36,870 --> 00:51:38,044
I do remember a joke.

1192
00:51:38,044 --> 00:51:38,960
I did remember a joke.

1193
00:51:41,920 --> 00:51:44,262
AUDIENCE: I wanted to be
like, what was so funny?

1194
00:51:44,262 --> 00:51:46,722
There's something
funny going on here?

1195
00:51:46,722 --> 00:51:49,430
AUDIENCE: I must have saw
something that he was doing.

1196
00:51:49,430 --> 00:51:51,175
Maybe he was in an
awkward position.

1197
00:51:53,999 --> 00:51:55,582
AUDIENCE: I mean, I
think you're going

1198
00:51:55,582 --> 00:51:57,860
to refilm this one
anyway, but if you

1199
00:51:57,860 --> 00:52:00,909
do-- it was funny because in
this moment I was thinking,

1200
00:52:00,909 --> 00:52:03,440
there was something funny
that must have just happened,

1201
00:52:03,440 --> 00:52:06,020
and I don't know what it is.

1202
00:52:06,020 --> 00:52:08,630
ELIZABETH CHOE: What
was I going to say?

1203
00:52:08,630 --> 00:52:11,780
For the shots that you
did at the Koch Institute,

1204
00:52:11,780 --> 00:52:14,580
I think you can
just center this.

1205
00:52:14,580 --> 00:52:16,119
Center it close enough.

1206
00:52:16,119 --> 00:52:18,160
Because I know you're
trying rule of thirds here,

1207
00:52:18,160 --> 00:52:23,200
but there's sort of like-- it's
non-homogeneous distribution

1208
00:52:23,200 --> 00:52:24,907
of this pattern
in the background,

1209
00:52:24,907 --> 00:52:27,240
so it looks a little weird
to have all this extra space.

1210
00:52:27,240 --> 00:52:29,040
So I would go ahead
and just center this.

1211
00:52:29,040 --> 00:52:31,955
What do you guys think about
the music in this video?

1212
00:52:31,955 --> 00:52:33,260
It's good?

1213
00:52:33,260 --> 00:52:35,020
It's a little light-hearted.

1214
00:52:35,020 --> 00:52:38,610
It doesn't play into the
whole computer science

1215
00:52:38,610 --> 00:52:39,830
trope, which is nice.

1216
00:52:39,830 --> 00:52:41,562
I would bring-- go ahead.

1217
00:52:41,562 --> 00:52:44,418
AUDIENCE: I thought it was like
1950s suburbia, middle America

1218
00:52:44,418 --> 00:52:46,165
thing.

1219
00:52:46,165 --> 00:52:48,040
ELIZABETH CHOE: I would
bring down the levels

1220
00:52:48,040 --> 00:52:49,280
just a little bit.

1221
00:52:49,280 --> 00:52:52,230
In the opening it's fine,
but as it progressed,

1222
00:52:52,230 --> 00:52:56,340
I would either up your recorded
levels for your own audio

1223
00:52:56,340 --> 00:52:59,120
or lower the music.

1224
00:52:59,120 --> 00:53:02,230
Once the bass starts driving,
it gets a little distracting.

1225
00:53:06,166 --> 00:53:07,150
Any final comments?

1226
00:53:07,150 --> 00:53:09,610
Who's doing the Google
Docs for Joshua?

1227
00:53:12,562 --> 00:53:15,514
AUDIENCE: David and Nathan.

1228
00:53:15,514 --> 00:53:18,220
Also, just as a
comment, I think you

1229
00:53:18,220 --> 00:53:20,434
did a really,
really excellent job

1230
00:53:20,434 --> 00:53:22,402
with the pacing of your cuts.

1231
00:53:22,402 --> 00:53:24,616
We never explicitly
stated it, but I

1232
00:53:24,616 --> 00:53:28,967
think Elizabeth and I said it
in the computer lab last week.

1233
00:53:28,967 --> 00:53:31,258
You did a really good job
leaving a little bit of space

1234
00:53:31,258 --> 00:53:33,770
at the end of something that
you said for people to absorb.

1235
00:53:33,770 --> 00:53:35,810
But then when you
starting your new scene,

1236
00:53:35,810 --> 00:53:37,490
you cut it right
before you dialog.

1237
00:53:37,490 --> 00:53:40,801
And so the video itself just
felt really, really well-paced

1238
00:53:40,801 --> 00:53:41,747
because of that.

1239
00:53:41,747 --> 00:53:43,810
There was never any
point of it where

1240
00:53:43,810 --> 00:53:45,660
I was waiting for
something to happen.

1241
00:53:45,660 --> 00:53:47,569
It was all just like--

1242
00:53:47,569 --> 00:53:49,110
AUDIENCE: If I were
to add, they have

1243
00:53:49,110 --> 00:53:52,350
that actually I didn't
feel-- I cut once,

1244
00:53:52,350 --> 00:53:53,620
and I felt it was awkward.

1245
00:53:53,620 --> 00:53:57,820
And then I cut again, until it
reached so near to the audio.

1246
00:53:57,820 --> 00:54:03,330
So it was a few times I had to
cut to realize that it awkward.

1247
00:54:03,330 --> 00:54:08,199
Like even for 0.3 seconds,
it would be awkward.

1248
00:54:08,199 --> 00:54:11,160
AUDIENCE: You have really
good instincts to do that.

1249
00:54:11,160 --> 00:54:13,670
ELIZABETH CHOE: And I know
that I have said this ad

1250
00:54:13,670 --> 00:54:16,470
nauseum in the emails,
but I feel like there's

1251
00:54:16,470 --> 00:54:18,850
this sense of fear.

1252
00:54:18,850 --> 00:54:20,690
And maybe it's just
the training that we

1253
00:54:20,690 --> 00:54:22,960
have in our traditional
educational system,

1254
00:54:22,960 --> 00:54:25,530
but we all want to
measure like 20 times

1255
00:54:25,530 --> 00:54:27,740
because heaven forbid we
cut more than once, right?

1256
00:54:27,740 --> 00:54:29,520
And here you're
literally cutting.

1257
00:54:29,520 --> 00:54:33,170
But it's through the process
of cutting and trying

1258
00:54:33,170 --> 00:54:36,970
different things that you
learn what feels right

1259
00:54:36,970 --> 00:54:38,400
and what makes
sense in the video.

1260
00:54:38,400 --> 00:54:41,770
And I don't know of
anyone who has ever made

1261
00:54:41,770 --> 00:54:44,110
a video on their first try.

1262
00:54:44,110 --> 00:54:47,370
Even if they've perfected the
shot list, gotten the best

1263
00:54:47,370 --> 00:54:51,960
script ever, have their
production date down

1264
00:54:51,960 --> 00:54:56,100
to the second, something
will ultimately

1265
00:54:56,100 --> 00:54:58,729
end up happening that
makes you reconsider

1266
00:54:58,729 --> 00:55:00,020
how you're going to cut things.

1267
00:55:00,020 --> 00:55:00,580
And it should.

1268
00:55:00,580 --> 00:55:01,288
It really should.

1269
00:55:01,288 --> 00:55:03,930
I mean, I am really
happy to hear that that's

1270
00:55:03,930 --> 00:55:08,230
what you discovered, because
I think that that goes maybe

1271
00:55:08,230 --> 00:55:10,450
a little against
how we traditionally

1272
00:55:10,450 --> 00:55:13,140
go through school.

1273
00:55:13,140 --> 00:55:16,370
So I'm glad to hear that
you try different things.

1274
00:55:16,370 --> 00:55:18,950
It's OK, do not be
discouraged by having

1275
00:55:18,950 --> 00:55:20,080
to try different cuts.

1276
00:55:20,080 --> 00:55:25,280
It's a productive process
that moves you forward.

1277
00:55:25,280 --> 00:55:29,420
OK, any thoughts from
PJ before we screen?

1278
00:55:29,420 --> 00:55:33,025
AUDIENCE: So there's parts
of the audio that I'm

1279
00:55:33,025 --> 00:55:34,830
moving so I can get the--

1280
00:55:34,830 --> 00:55:35,480
ELIZABETH CHOE: Oh,
you hear a little bit.

1281
00:55:35,480 --> 00:55:35,550
Yeah.

1282
00:55:35,550 --> 00:55:37,394
AUDIENCE: So yeah,
after we do that.

1283
00:55:37,394 --> 00:55:39,699
And then it was
really hard trying

1284
00:55:39,699 --> 00:55:44,136
to keep it-- there's
no-- after watching it,

1285
00:55:44,136 --> 00:55:46,630
it's like two videos.

1286
00:55:46,630 --> 00:55:48,559
It's hard because
it's in one setting,

1287
00:55:48,559 --> 00:55:50,874
and they complete their form.

1288
00:55:50,874 --> 00:55:53,540
And I couldn't find like--

1289
00:55:53,540 --> 00:55:54,790
ELIZABETH CHOE: Music is hard.

1290
00:55:54,790 --> 00:55:57,434
It's so much harder than you
initially think it will be.

1291
00:55:57,434 --> 00:56:00,100
You think, oh you just like slap
something on in the background,

1292
00:56:00,100 --> 00:56:00,750
it'll be fine.

1293
00:56:00,750 --> 00:56:02,920
But it's very time consuming.

1294
00:56:02,920 --> 00:56:05,100
So it's very like--
I don't know.

1295
00:56:05,100 --> 00:56:08,282
It seemed very inspirational
at the beginning.

1296
00:56:08,282 --> 00:56:10,406
ELIZABETH CHOE: Like
inappropriately inspirational.

1297
00:56:10,406 --> 00:56:13,072
AUDIENCE: Friday Night
Lights kind of thing.

1298
00:56:13,072 --> 00:56:14,155
ELIZABETH CHOE: All right.

1299
00:56:14,155 --> 00:56:15,360
Well, let's see.

1300
00:56:15,360 --> 00:56:16,026
[VIDEO PLAYBACK]

1301
00:56:16,026 --> 00:56:20,000
-When we take complex things and
break them into smaller pieces,

1302
00:56:20,000 --> 00:56:22,280
we find out that we know
a lot more about things

1303
00:56:22,280 --> 00:56:23,274
than we think.

1304
00:56:35,220 --> 00:56:37,302
Now let's take
this box-- ORCA I--

1305
00:56:37,302 --> 00:56:39,290
and create damage below
the water line, which

1306
00:56:39,290 --> 00:56:40,373
I've indicated right here.

1307
00:56:54,500 --> 00:56:57,845
As we can see, we've
damaged ORCA I right here.

1308
00:56:57,845 --> 00:57:00,136
Now let's put ORCA I on the
water and see what happens.

1309
00:57:19,976 --> 00:57:23,944
[GURGLING]

1310
00:57:26,430 --> 00:57:29,740
The ORCA I sank due to the
weight of the added water.

1311
00:57:29,740 --> 00:57:35,160
What if the ORCA I contained
cargo, or oil, or even people?

1312
00:57:35,160 --> 00:57:38,939
Now let's take ORCA II
and do the same thing.

1313
00:57:56,930 --> 00:57:58,950
So we can see that
ORCA II did not sink,

1314
00:57:58,950 --> 00:58:01,790
although it is sitting on
an angle towards the bow.

1315
00:58:01,790 --> 00:58:04,470
So why didn't ORCA II sink?

1316
00:58:04,470 --> 00:58:06,750
As easy as it sounds,
this simple demonstration

1317
00:58:06,750 --> 00:58:10,900
is essential to the design
of huge complex ships-- ships

1318
00:58:10,900 --> 00:58:13,430
that are responsible
for carrying about 90%

1319
00:58:13,430 --> 00:58:14,420
of all our stuff.

1320
00:58:14,420 --> 00:58:16,810
As naval architects,
how do we design

1321
00:58:16,810 --> 00:58:19,820
ships carrying our stuff to
make it into port safely and not

1322
00:58:19,820 --> 00:58:20,636
sink?

1323
00:58:20,636 --> 00:58:22,124
Well, why don't we find out?

1324
00:58:34,030 --> 00:58:37,050
Here we have ORCA I and
ORCA II from before.

1325
00:58:37,050 --> 00:58:39,740
Although ORCA I and ORCA II
don't engage in international

1326
00:58:39,740 --> 00:58:42,560
trade, they behave just as
a 1,000-foot container ship

1327
00:58:42,560 --> 00:58:43,990
would.

1328
00:58:43,990 --> 00:58:46,689
Now, let's take a
look in ORCA I. We can

1329
00:58:46,689 --> 00:58:47,980
see that there's nothing in it.

1330
00:58:47,980 --> 00:58:50,500
It's just a box.

1331
00:58:50,500 --> 00:58:53,910
But if we look at
ORCA II, we can

1332
00:58:53,910 --> 00:58:56,970
see that it's subdivided into
these watertight compartments

1333
00:58:56,970 --> 00:58:59,790
by these transverse
watertight bulkheads.

1334
00:58:59,790 --> 00:59:01,790
Now, what that
means is that if we

1335
00:59:01,790 --> 00:59:03,950
were to damage this
ship right here,

1336
00:59:03,950 --> 00:59:06,260
water would only flow
into this compartment.

1337
00:59:06,260 --> 00:59:09,390
It would not go into this
one, this one, or this one.

1338
00:59:09,390 --> 00:59:12,510
That would cause the ship to be
angled or trimmed in the water,

1339
00:59:12,510 --> 00:59:15,890
but it would not cause the
ship to sink completely.

1340
00:59:15,890 --> 00:59:18,490
We refer to ORCA II
as being subdivided,

1341
00:59:18,490 --> 00:59:21,726
and we can see subdivision in
many of these ship's plans.

1342
00:59:21,726 --> 00:59:23,780
It is unclear when
subdivision first

1343
00:59:23,780 --> 00:59:26,970
started being used in ships,
but accounts of 5th century

1344
00:59:26,970 --> 00:59:29,500
Chinese trade ships
indicate that water

1345
00:59:29,500 --> 00:59:31,920
would be able to enter the
vessel without sinking.

1346
00:59:31,920 --> 00:59:34,740
So let's find out
why this happens.

1347
00:59:34,740 --> 00:59:38,670
Let's imagine a barge divided
into 10 equal compartments.

1348
00:59:38,670 --> 00:59:41,360
One of them springs
a leak from damage.

1349
00:59:41,360 --> 00:59:44,180
Since the ship is subdivided,
only the first compartment

1350
00:59:44,180 --> 00:59:46,250
floods, and the
ship remains afloat,

1351
00:59:46,250 --> 00:59:48,710
protecting both its
people and cargo.

1352
00:59:48,710 --> 00:59:51,020
Although the added water
causes a ship to trim,

1353
00:59:51,020 --> 00:59:53,760
it still has enough buoyancy
to return to port for repairs.

1354
00:59:58,080 --> 00:59:59,680
Ships still sink, though.

1355
00:59:59,680 --> 01:00:01,460
It's both expensive
and impractical

1356
01:00:01,460 --> 01:00:03,377
to try to design
the unsinkable ship,

1357
01:00:03,377 --> 01:00:04,960
especially when these
ships will never

1358
01:00:04,960 --> 01:00:06,900
see that amount of damage.

1359
01:00:06,900 --> 01:00:08,570
That's why, as
naval architects, we

1360
01:00:08,570 --> 01:00:13,160
use computer programs to
help us out with subdivision.

1361
01:00:13,160 --> 01:00:15,650
Computers make it easy to
simulate certain damage

1362
01:00:15,650 --> 01:00:18,470
cases in practically no time.

1363
01:00:18,470 --> 01:00:21,770
With different software, we can
damage certain compartments,

1364
01:00:21,770 --> 01:00:24,190
and see how the
ship responds to it.

1365
01:00:24,190 --> 01:00:26,390
This gives the naval
architect a good idea

1366
01:00:26,390 --> 01:00:30,110
of what parts to improve
on the ship, if any.

1367
01:00:30,110 --> 01:00:33,710
So even though ships seem
like these intricate, complex

1368
01:00:33,710 --> 01:00:36,350
things, they're really
just based on principles

1369
01:00:36,350 --> 01:00:37,511
that we all already know.

1370
01:00:56,000 --> 01:00:59,360
[APPLAUSE]

1371
01:00:59,360 --> 01:01:00,330
[END PLAYBACK]

1372
01:01:00,330 --> 01:01:01,913
ELIZABETH CHOE: Just
out of curiosity,

1373
01:01:01,913 --> 01:01:03,502
did you shoot this
video in sequence?

1374
01:01:03,502 --> 01:01:05,460
Like, you shot the first
scenes first, second--

1375
01:01:05,460 --> 01:01:07,720
AUDIENCE: So the first
scenes were second.

1376
01:01:07,720 --> 01:01:08,929
The second scenes were first.

1377
01:01:08,929 --> 01:01:09,886
ELIZABETH CHOE: Really?

1378
01:01:09,886 --> 01:01:10,522
AUDIENCE: Yeah.

1379
01:01:10,522 --> 01:01:12,860
That wasn't out
of design, it was

1380
01:01:12,860 --> 01:01:16,330
just because the the only time
we could go there was day.

1381
01:01:16,330 --> 01:01:20,130
ELIZABETH CHOE: Yeah, it's a
location practicality there.

1382
01:01:20,130 --> 01:01:22,387
Any comments for PJ?

1383
01:01:22,387 --> 01:01:24,220
AUDIENCE: I didn't feel
the change of music,

1384
01:01:24,220 --> 01:01:25,895
as in, it was natural.

1385
01:01:25,895 --> 01:01:28,089
I didn't feel like there
was a sudden change.

1386
01:01:28,089 --> 01:01:28,630
AUDIENCE: OK.

1387
01:01:28,630 --> 01:01:30,296
ELIZABETH CHOE: I
liked the second song.

1388
01:01:30,296 --> 01:01:33,192
I agree that the first one is
a little Friday Night Lights.

1389
01:01:33,192 --> 01:01:40,920
[LAUGHTER]

1390
01:01:40,920 --> 01:01:43,460
ELIZABETH CHOE: The thing
with-- just like comedy,

1391
01:01:43,460 --> 01:01:47,150
pulling off drama is also really
hard to do in YouTube videos,

1392
01:01:47,150 --> 01:01:50,732
because you're not working
with, like, a sweeping epic

1393
01:01:50,732 --> 01:01:51,440
or a documentary.

1394
01:01:51,440 --> 01:01:53,520
It's like a little
YouTube blurb,

1395
01:01:53,520 --> 01:01:55,420
and we had trouble
with that with Farts

1396
01:01:55,420 --> 01:02:01,290
when he talks about how
Clostridium difficile kills

1397
01:02:01,290 --> 01:02:04,680
some thousand Americans a year.

1398
01:02:04,680 --> 01:02:08,220
We didn't want to have grandpa's
banjo playing in the background

1399
01:02:08,220 --> 01:02:11,510
when he says that, obviously.

1400
01:02:11,510 --> 01:02:16,380
But it's not like we were
going to insert music

1401
01:02:16,380 --> 01:02:20,710
from Gone with the Wind
in the background either.

1402
01:02:20,710 --> 01:02:24,225
AUDIENCE: Well, one thing
that I wanted to try music

1403
01:02:24,225 --> 01:02:28,085
because a lot of the places
I was in, there was-- you

1404
01:02:28,085 --> 01:02:30,956
can see there's a lot of
cuts, so where it goes to,

1405
01:02:30,956 --> 01:02:33,788
and if there's not
anything underneath,

1406
01:02:33,788 --> 01:02:35,680
it's very pronounced.

1407
01:02:35,680 --> 01:02:38,526
And I tried editing
a lot of it out.

1408
01:02:43,067 --> 01:02:44,150
ELIZABETH CHOE: Let's see.

1409
01:02:44,150 --> 01:02:46,005
So I know that you were
hesitant about being

1410
01:02:46,005 --> 01:02:47,150
in front of the camera too.

1411
01:02:47,150 --> 01:02:48,176
AUDIENCE: So natural.

1412
01:02:48,176 --> 01:02:49,550
ELIZABETH CHOE:
And I'm surprised

1413
01:02:49,550 --> 01:02:50,910
that you said you filmed
them in the rivers,

1414
01:02:50,910 --> 01:02:52,870
because I feel like the stuff
that you have in the end

1415
01:02:52,870 --> 01:02:55,220
is really, really natural,
and I thought that you would

1416
01:02:55,220 --> 01:02:57,380
have maybe done that second.

1417
01:02:57,380 --> 01:03:01,250
It's hard to host while
you're doing a demo.

1418
01:03:01,250 --> 01:03:03,360
You just have a million
things to think about.

1419
01:03:03,360 --> 01:03:06,380
But in general, the
hosting is really nice.

1420
01:03:06,380 --> 01:03:11,560
It's really, really natural,
especially this part.

1421
01:03:11,560 --> 01:03:15,370
I can tell that Yuliya
and-- who was it--

1422
01:03:15,370 --> 01:03:16,560
David was filming with you?

1423
01:03:16,560 --> 01:03:17,310
AUDIENCE: Kenneth.

1424
01:03:17,310 --> 01:03:19,270
ELIZABETH CHOE: Kenneth
was filming with you.

1425
01:03:19,270 --> 01:03:20,720
They probably tried to make
you laugh in some of them

1426
01:03:20,720 --> 01:03:20,874
and smile.

1427
01:03:20,874 --> 01:03:23,040
AUDIENCE: Yeah, they were
really good at doing that.

1428
01:03:23,040 --> 01:03:24,660
ELIZABETH CHOE: Yeah.

1429
01:03:24,660 --> 01:03:27,701
I think this scene is
your strongest hosting.

1430
01:03:27,701 --> 01:03:29,950
Just, like, going back and
forth between the computer,

1431
01:03:29,950 --> 01:03:32,630
this scene just plays
out very nicely.

1432
01:03:32,630 --> 01:03:35,290
And again, taking a seemingly
intimidating subject,

1433
01:03:35,290 --> 01:03:38,310
and welcoming and
inviting the viewers in.

1434
01:03:38,310 --> 01:03:40,230
It's very nice.

1435
01:03:40,230 --> 01:03:42,560
I would say, in general,
the cutting advice

1436
01:03:42,560 --> 01:03:44,880
that [INAUDIBLE] gave,
which is to leave

1437
01:03:44,880 --> 01:03:48,560
the room at the end of cuts--
or at the end of scenes--

1438
01:03:48,560 --> 01:03:50,590
and cut very close
to when you start

1439
01:03:50,590 --> 01:03:55,133
talking at the beginning of
scenes, might help with this.

1440
01:03:55,133 --> 01:03:55,758
There was one--

1441
01:03:58,926 --> 01:04:01,550
AUDIENCE: Is it the moment where
Yuliya's in the picture with--

1442
01:04:01,550 --> 01:04:01,890
ELIZABETH CHOE: Oh, yeah.

1443
01:04:01,890 --> 01:04:03,578
That's, like, a
weird insert thing.

1444
01:04:03,578 --> 01:04:04,994
AUDIENCE: I was,
like, who is she?

1445
01:04:04,994 --> 01:04:07,424
What is she doing here?

1446
01:04:07,424 --> 01:04:09,860
She needs to get cut out.

1447
01:04:09,860 --> 01:04:12,780
ELIZABETH CHOE: In general,
I love the speed up walk,

1448
01:04:12,780 --> 01:04:14,762
and how you open the
door into the lab.

1449
01:04:14,762 --> 01:04:15,970
I love seeing the background.

1450
01:04:15,970 --> 01:04:17,210
It's very cool.

1451
01:04:17,210 --> 01:04:19,855
I think you can speed
up you damaging ORCA I.

1452
01:04:19,855 --> 01:04:20,397
AUDIENCE: OK.

1453
01:04:20,397 --> 01:04:22,605
ELIZABETH CHOE: And I think,
you say something like--

1454
01:04:22,605 --> 01:04:25,030
AUDIENCE: Let's take this box--
ORCA I-- and create damage

1455
01:04:25,030 --> 01:04:27,520
below the water line, which
I've indicated right here.

1456
01:04:27,520 --> 01:04:27,780
ELIZABETH CHOE: Yeah.

1457
01:04:27,780 --> 01:04:30,230
I think you can actually cut
that part out completely,

1458
01:04:30,230 --> 01:04:32,892
because after you cut it,
you say, as you can see,

1459
01:04:32,892 --> 01:04:35,350
we've damaged ORCA I, so I
think that's enough information.

1460
01:04:37,929 --> 01:04:39,970
And I get what you're
saying with the water line,

1461
01:04:39,970 --> 01:04:43,130
but I don't think it's
super relevant to the point

1462
01:04:43,130 --> 01:04:46,080
of the video, so I think it's
OK if you cut that out entirely.

1463
01:04:46,080 --> 01:04:47,935
Oh, yeah, when you
go from this scene--

1464
01:04:47,935 --> 01:04:50,025
AUDIENCE: --in the weight
of the added water.

1465
01:04:50,025 --> 01:04:54,075
What if the ORCA I contained
cargo, or oil, or even people?

1466
01:04:54,075 --> 01:04:54,950
ELIZABETH CHOE: Yeah.

1467
01:04:54,950 --> 01:04:58,910
The music here is,
like, it's like trying

1468
01:04:58,910 --> 01:05:02,400
to pull out my heartstrings.

1469
01:05:02,400 --> 01:05:06,034
AUDIENCE: Now let's take ORCA
II and do the same thing.

1470
01:05:10,390 --> 01:05:14,500
We can see that ORCA II did
not sink-- ORCA II sink.

1471
01:05:14,500 --> 01:05:16,750
As easy as it sounds,
this simple demonstration

1472
01:05:16,750 --> 01:05:20,860
is essential to the design
of huge complex ships.

1473
01:05:20,860 --> 01:05:22,755
So why didn't ORCA II sink?

1474
01:05:22,755 --> 01:05:24,380
ELIZABETH CHOE: So
this is an example--

1475
01:05:24,380 --> 01:05:28,435
it happened one other time where
you leave a gap in between some

1476
01:05:28,435 --> 01:05:31,070
of your sentences, and
the gap is a little long.

1477
01:05:31,070 --> 01:05:38,720
So you can cut to a digital
zoom of the same shot

1478
01:05:38,720 --> 01:05:41,220
to clean up the
gap a little bit.

1479
01:05:41,220 --> 01:05:43,640
Because I think that you were
doing it to help you host,

1480
01:05:43,640 --> 01:05:45,640
and, like, help you get
through the lines, which

1481
01:05:45,640 --> 01:05:48,020
is totally OK and
understandable,

1482
01:05:48,020 --> 01:05:50,340
but I would just hide
that gap a little.

1483
01:05:50,340 --> 01:05:53,975
AUDIENCE: I stuttered here,
and I kept looking back

1484
01:05:53,975 --> 01:05:55,987
to the boat, so it
was weird, like I

1485
01:05:55,987 --> 01:05:57,445
was using that
almost as my crutch,

1486
01:05:57,445 --> 01:05:59,890
that I had this prop that I
could kind of like square up.

1487
01:05:59,890 --> 01:06:01,130
ELIZABETH CHOE: I think
you actually were--

1488
01:06:01,130 --> 01:06:02,670
your delivery was fine here.

1489
01:06:02,670 --> 01:06:03,760
I wasn't distracted by it.

1490
01:06:03,760 --> 01:06:05,884
AUDIENCE: --II did not
sink, although it is sitting

1491
01:06:05,884 --> 01:06:07,620
an angle towards the bow.

1492
01:06:07,620 --> 01:06:08,914
So why didn't ORCA II sink?

1493
01:06:08,914 --> 01:06:11,080
ELIZABETH CHOE: I like the
way you ask the question.

1494
01:06:11,080 --> 01:06:13,127
That's, like, how
you would normally.

1495
01:06:13,127 --> 01:06:14,460
AUDIENCE: As easy as it sounds--

1496
01:06:14,460 --> 01:06:16,110
ELIZABETH CHOE: And see how
that gap feels just a little bit

1497
01:06:16,110 --> 01:06:16,610
too long.

1498
01:06:16,610 --> 01:06:18,790
AUDIENCE: --this simple
demonstration is essential

1499
01:06:18,790 --> 01:06:21,550
to the design of
huge complex ships--

1500
01:06:21,550 --> 01:06:24,545
ships that are responsible
for carrying about 90%--

1501
01:06:24,545 --> 01:06:26,700
ELIZABETH CHOE: Do you
have B-roll or pictures

1502
01:06:26,700 --> 01:06:27,800
of some of these ships?

1503
01:06:27,800 --> 01:06:29,110
That was the one
thing I was thinking

1504
01:06:29,110 --> 01:06:30,526
throughout this
video was, like, I

1505
01:06:30,526 --> 01:06:33,070
would love to see what the
things look like in real life.

1506
01:06:33,070 --> 01:06:35,170
AUDIENCE: I could probably
do something like that.

1507
01:06:35,170 --> 01:06:36,340
ELIZABETH CHOE: I think
this would be a great place

1508
01:06:36,340 --> 01:06:38,160
to cut to B-roll or pictures.

1509
01:06:38,160 --> 01:06:40,510
You can just keep the audio,
but that would help mix

1510
01:06:40,510 --> 01:06:42,610
up the visuals a lot too.

1511
01:06:42,610 --> 01:06:44,319
AUDIENCE: --of
all our stuff is--

1512
01:06:44,319 --> 01:06:45,110
ELIZABETH CHOE: OK.

1513
01:06:45,110 --> 01:06:47,160
So this cut was a
little-- this was

1514
01:06:47,160 --> 01:06:52,310
what I was talking about
with the line of sight

1515
01:06:52,310 --> 01:06:54,190
when I gave the editing lecture.

1516
01:06:54,190 --> 01:06:59,476
In the one scene, you're kind
of sitting like this, right?

1517
01:06:59,476 --> 01:07:03,576
And you have, like-- this
is a terrible drawing.

1518
01:07:03,576 --> 01:07:06,460
But you have your boat in the
water, and it's sort of, like,

1519
01:07:06,460 --> 01:07:07,600
a weird semi-bird's-eye.

1520
01:07:07,600 --> 01:07:11,110
And then you cut,
and you're not quite

1521
01:07:11,110 --> 01:07:13,132
in a different enough
position, so it feels

1522
01:07:13,132 --> 01:07:14,340
just, like, slightly jarring.

1523
01:07:14,340 --> 01:07:16,210
It feels like someone
just tipped the camera

1524
01:07:16,210 --> 01:07:17,410
over a little bit.

1525
01:07:17,410 --> 01:07:22,220
So either cut to a
closer shot of you

1526
01:07:22,220 --> 01:07:28,500
like that, to hide that a
little bit, or do B-roll there.

1527
01:07:28,500 --> 01:07:30,685
If you're coming
out of B-roll here,

1528
01:07:30,685 --> 01:07:32,310
then this transition
won't be as weird,

1529
01:07:32,310 --> 01:07:36,420
and my comment is totally
irrelevant, but just

1530
01:07:36,420 --> 01:07:39,471
something to think about.

1531
01:07:39,471 --> 01:07:41,544
AUDIENCE: I mean,
so-- sorry, I'm,

1532
01:07:41,544 --> 01:07:47,050
like, 10 steps ahead of my head,
where I am in actual reality.

1533
01:07:47,050 --> 01:07:49,960
You never put your
Coast Guard outfit on.

1534
01:07:49,960 --> 01:07:50,930
AUDIENCE: Yeah.

1535
01:07:50,930 --> 01:07:53,597
I felt like if I
wanted to try to make

1536
01:07:53,597 --> 01:07:58,390
it seem like less,
like, me talking,

1537
01:07:58,390 --> 01:08:01,283
that would have just put on
a whole different persona.

1538
01:08:01,283 --> 01:08:03,074
So I kind of, like,
I'm wearing boat shoes,

1539
01:08:03,074 --> 01:08:05,785
so that's hard to do.

1540
01:08:05,785 --> 01:08:06,326
AUDIENCE: OK.

1541
01:08:06,326 --> 01:08:10,260
I just wonder if at the
very, very last scene, where

1542
01:08:10,260 --> 01:08:14,048
you have your finale comment
about a very simple concept

1543
01:08:14,048 --> 01:08:17,229
as floating, if ever
there were a moment

1544
01:08:17,229 --> 01:08:21,100
to put that hat on, and have
your awesome Coast Guard

1545
01:08:21,100 --> 01:08:23,677
outfit on, that would be it.

1546
01:08:23,677 --> 01:08:25,760
ELIZABETH CHOE: If you
don't want to shoot it now,

1547
01:08:25,760 --> 01:08:27,593
we're going to make you
do it next week when

1548
01:08:27,593 --> 01:08:28,785
we shoot season 3, OK?

1549
01:08:28,785 --> 01:08:29,410
AUDIENCE: Yeah.

1550
01:08:29,410 --> 01:08:30,660
Got to go to the dry cleaners.

1551
01:08:32,207 --> 01:08:34,040
ELIZABETH CHOE: Yeah,
that's a good comment.

1552
01:08:34,040 --> 01:08:35,415
AUDIENCE: The
thing that you have

1553
01:08:35,415 --> 01:08:37,575
that's so cool is, I mean,
we talked about the fact

1554
01:08:37,575 --> 01:08:40,729
that you actually,
legitimately, are out there

1555
01:08:40,729 --> 01:08:41,895
in the Coast Guard.

1556
01:08:41,895 --> 01:08:45,364
And you say that, but
showing us that in your film

1557
01:08:45,364 --> 01:08:46,600
is really powerful.

1558
01:08:46,600 --> 01:08:48,680
And even if, at
just the very end,

1559
01:08:48,680 --> 01:08:51,693
you tie that real
life application back,

1560
01:08:51,693 --> 01:08:53,609
I think that would be
really, incredibly cool.

1561
01:08:53,609 --> 01:08:55,567
ELIZABETH CHOE: Just for
the last sentence too.

1562
01:08:55,567 --> 01:08:57,270
And again, like, time
permitting, right?

1563
01:08:57,270 --> 01:08:59,660
Because I know that you guys
don't have a ton of time

1564
01:08:59,660 --> 01:09:03,800
to incorporate all this stuff.

1565
01:09:03,800 --> 01:09:05,555
You've already gotten
plenty of footage

1566
01:09:05,555 --> 01:09:07,479
of you talking in
this setting, so it

1567
01:09:07,479 --> 01:09:09,189
wouldn't be very
jarring to have you

1568
01:09:09,189 --> 01:09:14,061
say the last sentence, like,
out by the sea, or by the boats.

1569
01:09:14,061 --> 01:09:15,727
AUDIENCE: Or even if
when you say, like,

1570
01:09:15,727 --> 01:09:19,136
I'm a Coast Guard, whatever,
even if you quickly

1571
01:09:19,136 --> 01:09:23,020
have a picture of even photos of
you in uniform, to just put-- I

1572
01:09:23,020 --> 01:09:23,520
don't know.

1573
01:09:23,520 --> 01:09:25,020
I don't know how
that would look.

1574
01:09:25,020 --> 01:09:27,662
But just something that
shows us, and doesn't tell us

1575
01:09:27,662 --> 01:09:31,466
this totally authentic side
to yourself would be cool.

1576
01:09:31,466 --> 01:09:35,714
AUDIENCE: So do you have
access to the base here?

1577
01:09:35,714 --> 01:09:37,130
AUDIENCE: To the
one in North End?

1578
01:09:37,130 --> 01:09:37,755
AUDIENCE: Yeah.

1579
01:09:37,755 --> 01:09:39,557
AUDIENCE: Yeah.

1580
01:09:39,557 --> 01:09:40,807
AUDIENCE: Because one of our--

1581
01:09:40,807 --> 01:09:42,667
AUDIENCE: They
have shirts there.

1582
01:09:42,667 --> 01:09:43,292
AUDIENCE: Yeah.

1583
01:09:43,292 --> 01:09:46,771
I mean, one of the Sloan
fellows is also an officer.

1584
01:09:46,771 --> 01:09:47,762
AUDIENCE: OK.

1585
01:09:47,762 --> 01:09:48,262
[INAUDIBLE]?

1586
01:09:48,262 --> 01:09:50,703
AUDIENCE: [INAUDIBLE].

1587
01:09:50,703 --> 01:09:51,244
AUDIENCE: No.

1588
01:09:51,244 --> 01:09:54,569
He's based in there.

1589
01:09:54,569 --> 01:09:56,110
ELIZABETH CHOE: So
again, I know it's

1590
01:09:56,110 --> 01:09:58,770
short notice-- you'd have to do
it between today and tomorrow,

1591
01:09:58,770 --> 01:10:00,650
basically, so it's OK
if you can't do it,

1592
01:10:00,650 --> 01:10:05,120
but something to think
about, if you want

1593
01:10:05,120 --> 01:10:07,100
to do it for Science Out Loud.

1594
01:10:07,100 --> 01:10:08,450
All right.

1595
01:10:08,450 --> 01:10:10,115
Yuliya, you ready?

1596
01:10:10,115 --> 01:10:10,740
AUDIENCE: Yeah.

1597
01:10:10,740 --> 01:10:13,559
So there are-- the beginning
and the end, we filmed outside.

1598
01:10:13,559 --> 01:10:15,850
There's a lot of wind, and
I couldn't connect the mike,

1599
01:10:15,850 --> 01:10:17,430
because I was standing far away.

1600
01:10:17,430 --> 01:10:19,020
So I tried to do voiceover.

1601
01:10:19,020 --> 01:10:21,335
I don't know how it
sounds, because honestly, I

1602
01:10:21,335 --> 01:10:24,400
was just tired of hearing
my voice at that point.

1603
01:10:24,400 --> 01:10:27,310
And then, there is this,
actually, like the thumbnail,

1604
01:10:27,310 --> 01:10:29,600
this is where the animation
is supposed to be.

1605
01:10:29,600 --> 01:10:33,583
So the white screen
is animations.

1606
01:10:33,583 --> 01:10:34,581
ELIZABETH CHOE: Yeah?

1607
01:10:34,581 --> 01:10:36,577
AUDIENCE: David and
Kenneth are the ones

1608
01:10:36,577 --> 01:10:40,070
who are Google Doc
commenting on this.

1609
01:10:40,070 --> 01:10:41,567
ELIZABETH CHOE: Thank you.

1610
01:10:41,567 --> 01:10:43,608
And we'll go through it
again if you guys forget.

1611
01:10:46,058 --> 01:10:47,056
[VIDEO PLAYBACK]

1612
01:10:47,056 --> 01:10:50,549
[MUSIC PLAYING]

1613
01:10:53,543 --> 01:10:54,560
-Hi.

1614
01:10:54,560 --> 01:10:58,400
What do snowflakes and
cellphones have in common?

1615
01:10:58,400 --> 01:11:01,590
Well, let me start by
drawing a snowflake first.

1616
01:11:01,590 --> 01:11:05,220
I draw an equilateral
triangle, divide each side

1617
01:11:05,220 --> 01:11:09,730
into three parts, and draw
another equilateral triangle

1618
01:11:09,730 --> 01:11:11,600
on top of each one.

1619
01:11:11,600 --> 01:11:13,900
Then take out the
middle, and repeat

1620
01:11:13,900 --> 01:11:17,520
the process, this time
with 1, 2, 3, 4 times

1621
01:11:17,520 --> 01:11:19,650
3, which is 12 sides.

1622
01:11:19,650 --> 01:11:22,970
Eventually, the shape will start
looking something like this.

1623
01:11:22,970 --> 01:11:26,010
In mathematics, this is
called a Koch snowflake.

1624
01:11:26,010 --> 01:11:28,820
If I repeated my
process again and again,

1625
01:11:28,820 --> 01:11:32,570
I would see this same
pattern anywhere I looked.

1626
01:11:32,570 --> 01:11:36,180
This is a Koch snowflake,
this time drawn on a computer.

1627
01:11:36,180 --> 01:11:38,720
Such neverending patterns,
that on any scale,

1628
01:11:38,720 --> 01:11:40,800
on any level of zoom,
look roughly the same,

1629
01:11:40,800 --> 01:11:42,780
are called fractals.

1630
01:11:42,780 --> 01:11:45,660
Computer scientists can
program these patterns

1631
01:11:45,660 --> 01:11:48,300
by repeating an often
simple mathematical process

1632
01:11:48,300 --> 01:11:49,810
over and over.

1633
01:11:49,810 --> 01:11:54,300
In the 1990s, a radio astronomer
by the name of Nathan Cohen

1634
01:11:54,300 --> 01:11:58,480
used fractals to revolutionize
wireless communications.

1635
01:11:58,480 --> 01:12:01,810
At the time, Cohen was having
troubles with his landlord.

1636
01:12:01,810 --> 01:12:04,230
The man wouldn't let him
put an antenna on his roof.

1637
01:12:04,230 --> 01:12:09,810
So Cohen designed a more compact
fractal radio antenna instead.

1638
01:12:09,810 --> 01:12:12,770
The landlord didn't notice
it, and it worked better

1639
01:12:12,770 --> 01:12:14,470
than the ones before.

1640
01:12:14,470 --> 01:12:18,010
Working further, Cohen
designed a new antenna,

1641
01:12:18,010 --> 01:12:22,016
this time using a fractal
called the Menger sponge.

1642
01:12:22,016 --> 01:12:24,234
The Menger sponge is
not really the sponge

1643
01:12:24,234 --> 01:12:25,650
you'd be scrubbing
your back with,

1644
01:12:25,650 --> 01:12:27,875
but you can still
think of it like that.

1645
01:12:27,875 --> 01:12:30,850
Imagine both water and soap
getting through your sponge's

1646
01:12:30,850 --> 01:12:34,660
holes, except the water
is Wi-Fi, and the soap is,

1647
01:12:34,660 --> 01:12:36,400
say, Bluetooth.

1648
01:12:36,400 --> 01:12:38,150
The fractal's
infinite sponginess

1649
01:12:38,150 --> 01:12:40,690
allows it to receive many
different frequencies

1650
01:12:40,690 --> 01:12:41,640
simultaneously.

1651
01:12:41,640 --> 01:12:44,150
Before Cohen's
invention, antennas

1652
01:12:44,150 --> 01:12:47,400
had to be cut for one frequency,
and that was the only frequency

1653
01:12:47,400 --> 01:12:48,590
they could operate at.

1654
01:12:48,590 --> 01:12:51,032
Without Cohen's
sponge, your cell phone

1655
01:12:51,032 --> 01:12:52,990
would have to look
something like a [INAUDIBLE]

1656
01:12:52,990 --> 01:12:55,480
to receive multiple
signals, including

1657
01:12:55,480 --> 01:12:58,260
the one your friends
use when they call.

1658
01:12:58,260 --> 01:13:00,740
Cohen later proved that
only fractal shapes

1659
01:13:00,740 --> 01:13:03,090
could work with such a
wide range of frequencies.

1660
01:13:03,090 --> 01:13:05,650
Today, millions of
wireless devices,

1661
01:13:05,650 --> 01:13:07,990
such as laptops and
bar code scanners,

1662
01:13:07,990 --> 01:13:10,680
use Cohen's fractal antenna.

1663
01:13:10,680 --> 01:13:12,730
Cohen's genius
invention, however,

1664
01:13:12,730 --> 01:13:15,520
was not the first application
of fractals in the world.

1665
01:13:15,520 --> 01:13:17,530
Nature has been doing
it the whole time,

1666
01:13:17,530 --> 01:13:19,100
and not just the snowflakes.

1667
01:13:19,100 --> 01:13:21,890
Natural selection favors
the most efficient systems

1668
01:13:21,890 --> 01:13:24,480
and organisms, often
of a fractal form.

1669
01:13:24,480 --> 01:13:26,120
The spiral fractal,
for example, is

1670
01:13:26,120 --> 01:13:30,100
present in seashells,
broccoli, and hurricanes.

1671
01:13:30,100 --> 01:13:32,850
The fractal tree is
relatively easy to program,

1672
01:13:32,850 --> 01:13:35,600
and can be used to study
river systems, blood

1673
01:13:35,600 --> 01:13:38,150
vessels, and lightning bolts.

1674
01:13:38,150 --> 01:13:40,770
So many natural systems
previously thought off limits

1675
01:13:40,770 --> 01:13:45,248
to mathematicians can now be
explained in terms of fractals.

1676
01:13:45,248 --> 01:13:48,375
Mathematics allows us to
learn nature's best practices

1677
01:13:48,375 --> 01:13:51,450
and then apply them to
solve real world problems.

1678
01:13:51,450 --> 01:13:54,616
Much like Cohen's antenna
revolutionized the field

1679
01:13:54,616 --> 01:13:58,186
of telecommunications,
other fractal research

1680
01:13:58,186 --> 01:14:00,310
is changing medicine,
weather prediction,

1681
01:14:00,310 --> 01:14:05,886
and building design here at MIT
and everywhere in the world.

1682
01:14:05,886 --> 01:14:06,878
Look around you.

1683
01:14:06,878 --> 01:14:09,358
What beautiful
patterns do you see?

1684
01:14:17,207 --> 01:14:17,790
[END PLAYBACK]

1685
01:14:17,790 --> 01:14:20,766
[APPLAUSE]

1686
01:14:21,667 --> 01:14:22,750
ELIZABETH CHOE: All right.

1687
01:14:27,730 --> 01:14:29,635
Any thoughts from anyone?

1688
01:14:29,635 --> 01:14:31,530
Should we dive right in?

1689
01:14:31,530 --> 01:14:35,555
Yuliya, what are your favorite
and least favorite parts

1690
01:14:35,555 --> 01:14:36,290
about this cut?

1691
01:14:42,807 --> 01:14:43,640
AUDIENCE: Let's see.

1692
01:14:43,640 --> 01:14:46,930
There was some scenes that
I liked better than others.

1693
01:14:46,930 --> 01:14:49,190
That's mostly because of
the lighting and the sound.

1694
01:14:49,190 --> 01:14:53,595
I think the one in
the classroom had

1695
01:14:53,595 --> 01:14:57,020
a nice sound and nice lighting.

1696
01:14:57,020 --> 01:15:01,595
So I guess the indoor scenes
were a lot easier to shoot.

1697
01:15:07,690 --> 01:15:12,680
ELIZABETH CHOE: So I
think, in general, again,

1698
01:15:12,680 --> 01:15:14,020
very nice script.

1699
01:15:14,020 --> 01:15:18,280
This came such a long way from
the initial ideation phase,

1700
01:15:18,280 --> 01:15:21,357
and I think it is, like
computer science-- I mean,

1701
01:15:21,357 --> 01:15:23,940
my favorite thing about all the
videos that you guys have done

1702
01:15:23,940 --> 01:15:27,190
is the topics are so unique,
and so different than what

1703
01:15:27,190 --> 01:15:28,569
people normally get in school.

1704
01:15:28,569 --> 01:15:30,110
And they're taking
all these concepts

1705
01:15:30,110 --> 01:15:32,235
that they've learned in
school, but just putting it

1706
01:15:32,235 --> 01:15:33,402
in a very different context.

1707
01:15:33,402 --> 01:15:35,818
And it's hopefully because
you're talking about the things

1708
01:15:35,818 --> 01:15:36,910
that you're excited about.

1709
01:15:36,910 --> 01:15:41,770
And so I'm really happy with
how you've transformed, like,

1710
01:15:41,770 --> 01:15:43,850
math, which is, again,
a very hard video

1711
01:15:43,850 --> 01:15:48,269
to do if you don't do it
in the style of Vi Hart,

1712
01:15:48,269 --> 01:15:49,810
and putting your
face and hosting it.

1713
01:15:49,810 --> 01:15:51,560
It's done nicely.

1714
01:15:51,560 --> 01:15:56,070
I think, in general, the video
has a very fast pace to it,

1715
01:15:56,070 --> 01:15:59,380
and I don't know if it's
because the cuts are happening

1716
01:15:59,380 --> 01:16:02,480
so frequently, or you're
naturally a very animated

1717
01:16:02,480 --> 01:16:06,860
person, which is nice, but
leave a little bit of room,

1718
01:16:06,860 --> 01:16:10,350
like, a little bit of breathing
space to compensate for that.

1719
01:16:10,350 --> 01:16:13,280
I think maybe the reason
why it was hard for me

1720
01:16:13,280 --> 01:16:15,800
to follow a little
bit was the opening

1721
01:16:15,800 --> 01:16:18,310
seemed a little too short.

1722
01:16:18,310 --> 01:16:20,970
And I know that you had edited
it from the last time I had

1723
01:16:20,970 --> 01:16:22,836
seen it, but let's--

1724
01:16:22,836 --> 01:16:23,502
[VIDEO PLAYBACK]

1725
01:16:23,502 --> 01:16:30,270
[MUSIC PLAYING]

1726
01:16:30,270 --> 01:16:30,770
-Hi.

1727
01:16:30,770 --> 01:16:34,564
What do snowflakes and
cell phones have in common?

1728
01:16:34,564 --> 01:16:37,637
Well, let me start by
drawing a snowflake first.

1729
01:16:37,637 --> 01:16:38,220
[END PLAYBACK]

1730
01:16:38,220 --> 01:16:39,095
ELIZABETH CHOE: Yeah.

1731
01:16:39,095 --> 01:16:41,620
It seems like it's
so overly condensed.

1732
01:16:41,620 --> 01:16:44,930
And I know you had brought
it down from something that

1733
01:16:44,930 --> 01:16:46,440
was a little bit
bigger, but I think

1734
01:16:46,440 --> 01:16:49,880
that it's just so, like, it
comes out of nowhere, like, hi.

1735
01:16:49,880 --> 01:16:51,335
What do these have in common?

1736
01:16:51,335 --> 01:16:52,600
It's like, wait, what?

1737
01:16:52,600 --> 01:16:54,740
Like, I wouldn't have
had that question.

1738
01:16:54,740 --> 01:16:57,530
And even getting rid of
the hi helps with that.

1739
01:16:57,530 --> 01:16:58,800
It's a nice question.

1740
01:16:58,800 --> 01:17:03,660
What do snowflakes and cell
phone antennas have in common?

1741
01:17:03,660 --> 01:17:06,550
But there's not enough
of a lead into you

1742
01:17:06,550 --> 01:17:10,560
going into describing
what a fractal is, yet

1743
01:17:10,560 --> 01:17:13,100
fractals is on the title.

1744
01:17:13,100 --> 01:17:14,992
I think that maybe you
could do a little bit

1745
01:17:14,992 --> 01:17:16,450
with the transition
there, and I'll

1746
01:17:16,450 --> 01:17:18,680
brainstorm with you, because
I can't think of anything

1747
01:17:18,680 --> 01:17:19,513
off the top my head.

1748
01:17:19,513 --> 01:17:22,620
Do you guys have any
suggestions for that opening?

1749
01:17:22,620 --> 01:17:23,760
Yeah, Andrea.

1750
01:17:23,760 --> 01:17:27,030
AUDIENCE: Maybe like, I
don't know exactly how

1751
01:17:27,030 --> 01:17:31,610
you could do it, but almost like
the first shot, where you're

1752
01:17:31,610 --> 01:17:34,630
saying, what do snowflakes--
and then you see, like,

1753
01:17:34,630 --> 01:17:37,447
sort of an image of a
snowflake and cell phones,

1754
01:17:37,447 --> 01:17:39,030
and then it sort of
zooms out, and you

1755
01:17:39,030 --> 01:17:42,564
realize that the picture
is on the cell phone.

1756
01:17:42,564 --> 01:17:43,230
AUDIENCE: Maybe.

1757
01:17:43,230 --> 01:17:46,100
AUDIENCE: Sort of
have in common.

1758
01:17:46,100 --> 01:17:48,620
And then, you're-- and then you.

1759
01:17:48,620 --> 01:17:50,120
ELIZABETH CHOE: I
mean, I think it's

1760
01:17:50,120 --> 01:17:52,009
OK to introduce the
idea of fractals,

1761
01:17:52,009 --> 01:17:53,800
as long as you set it
up a little bit more.

1762
01:17:53,800 --> 01:17:56,300
So something like, what do
snowflakes and cell phones

1763
01:17:56,300 --> 01:17:57,810
have in common?

1764
01:17:57,810 --> 01:18:02,310
Neverending repeating
patterns called fractals.

1765
01:18:02,310 --> 01:18:05,400
And then do a little bit
of a slower transition

1766
01:18:05,400 --> 01:18:08,050
into you at the blackboard here.

1767
01:18:08,050 --> 01:18:09,800
Something a little
bit more like that.

1768
01:18:09,800 --> 01:18:12,130
I think the visuals help a lot.

1769
01:18:12,130 --> 01:18:15,290
I know that you had filmed up
in Stata, because eventually you

1770
01:18:15,290 --> 01:18:18,170
talk about how it
affects architecture,

1771
01:18:18,170 --> 01:18:20,520
but I don't think that
this location is super

1772
01:18:20,520 --> 01:18:22,750
vital to the
opening, and I think

1773
01:18:22,750 --> 01:18:26,010
you can get cleaner
audio if you do VO,

1774
01:18:26,010 --> 01:18:28,257
or if you just re-shoot
it with you on the table,

1775
01:18:28,257 --> 01:18:30,590
and then you have a picture
of a snowflake that comes up

1776
01:18:30,590 --> 01:18:34,680
in a picture of a cell phone,
or something like Andrea said.

1777
01:18:34,680 --> 01:18:38,640
But I think having the audience
onboard from the get-go

1778
01:18:38,640 --> 01:18:43,290
will help with the pacing of
the video as it continues.

1779
01:18:43,290 --> 01:18:47,700
I know that you had
struggled with the music too,

1780
01:18:47,700 --> 01:18:51,490
and I think-- I don't
know-- so much of music

1781
01:18:51,490 --> 01:18:53,120
is personal taste.

1782
01:18:53,120 --> 01:18:56,290
To me, all I can
think about when

1783
01:18:56,290 --> 01:19:00,520
I hear this music is, like,
old Korean soap operas.

1784
01:19:00,520 --> 01:19:02,860
And so I don't know
if it is, like,

1785
01:19:02,860 --> 01:19:06,350
the most appropriate
tone, and maybe I

1786
01:19:06,350 --> 01:19:10,040
feel that way because of
experiences of my parents

1787
01:19:10,040 --> 01:19:14,260
watching them, but I think
you could play around

1788
01:19:14,260 --> 01:19:15,230
with some other pieces.

1789
01:19:15,230 --> 01:19:18,750
I like the general
tempo of the music,

1790
01:19:18,750 --> 01:19:21,540
and how it's sort of
this same melody on loop

1791
01:19:21,540 --> 01:19:24,040
in the background, so it's
not super distracting,

1792
01:19:24,040 --> 01:19:25,020
and it's a good volume.

1793
01:19:25,020 --> 01:19:27,690
But I would play around
with a couple other songs,

1794
01:19:27,690 --> 01:19:29,750
and I can help you
with that, if you

1795
01:19:29,750 --> 01:19:32,056
want to run some options by me.

1796
01:19:32,056 --> 01:19:33,930
AUDIENCE: I wanted to
use this one because it

1797
01:19:33,930 --> 01:19:39,000
was kind of calming, so kind of
to offset the general fast pace

1798
01:19:39,000 --> 01:19:40,985
and animated
talking to something

1799
01:19:40,985 --> 01:19:42,110
soothing in the background.

1800
01:19:42,110 --> 01:19:45,970
ELIZABETH CHOE: Yeah So I think
it's a good tone to start with,

1801
01:19:45,970 --> 01:19:50,550
and again, maybe it's just
my personal preference,

1802
01:19:50,550 --> 01:19:54,770
but something about it
made me fixate on the music

1803
01:19:54,770 --> 01:19:56,450
more than on the text.

1804
01:19:56,450 --> 01:19:58,040
Did anyone else
have-- maybe it really

1805
01:19:58,040 --> 01:19:59,820
is, just, like I can't get
over how much it reminds

1806
01:19:59,820 --> 01:20:01,020
me of Korean soap operas.

1807
01:20:02,530 --> 01:20:04,440
AUDIENCE: It stood out
for me at the start,

1808
01:20:04,440 --> 01:20:07,270
like, especially
for this scene, it

1809
01:20:07,270 --> 01:20:11,770
gave me the feeling like it was
going to something romantic.

1810
01:20:11,770 --> 01:20:12,947
I don't know.

1811
01:20:12,947 --> 01:20:14,530
ELIZABETH CHOE: It's
very sentimental,

1812
01:20:14,530 --> 01:20:17,390
like the music evokes
something very sentimental,

1813
01:20:17,390 --> 01:20:21,510
just like the opening
of the ships one

1814
01:20:21,510 --> 01:20:24,700
evokes a mood that's
very different from what

1815
01:20:24,700 --> 01:20:25,700
you're about to go into.

1816
01:20:25,700 --> 01:20:28,120
And especially if you open
with something like that,

1817
01:20:28,120 --> 01:20:30,657
if you'd open with a banjo
thing-- or not the banjo--

1818
01:20:30,657 --> 01:20:32,240
whatever you had for
the second piece,

1819
01:20:32,240 --> 01:20:34,480
I think it would have been fine.

1820
01:20:34,480 --> 01:20:36,180
But something about
opening with music

1821
01:20:36,180 --> 01:20:38,550
that sets a tone that's very
different from what you're

1822
01:20:38,550 --> 01:20:42,880
intending to achieve, it
threw me off a little bit.

1823
01:20:42,880 --> 01:20:46,700
But luckily, it's something
that it's easily fixable.

1824
01:20:46,700 --> 01:20:49,130
You can easily play around
with different types of music.

1825
01:20:51,720 --> 01:20:54,660
AUDIENCE: Because
for me, you give us,

1826
01:20:54,660 --> 01:20:56,495
because there was
a Digicom video,

1827
01:20:56,495 --> 01:21:00,940
and there was the idea that you
could use something calming,

1828
01:21:00,940 --> 01:21:03,470
so I tried to use
something calming,

1829
01:21:03,470 --> 01:21:05,390
but as you see, I
didn't choose that,

1830
01:21:05,390 --> 01:21:08,470
because I realized the
calming one will make

1831
01:21:08,470 --> 01:21:12,320
my video feel very monotonous.

1832
01:21:12,320 --> 01:21:16,530
But when I observe the
Digicom audio closer,

1833
01:21:16,530 --> 01:21:19,490
I realized there was
some percussion notes,

1834
01:21:19,490 --> 01:21:20,196
so that helped.

1835
01:21:20,196 --> 01:21:21,570
So maybe you could
find something

1836
01:21:21,570 --> 01:21:24,920
similar to what you have right
now, but with a little bit--

1837
01:21:24,920 --> 01:21:31,282
not too much-- percussion here
would help with the pacing.

1838
01:21:31,282 --> 01:21:32,740
ELIZABETH CHOE:
That's really good.

1839
01:21:32,740 --> 01:21:36,424
And again, with music, there's
no hard and fast rules with

1840
01:21:36,424 --> 01:21:37,590
what works and what doesn't.

1841
01:21:37,590 --> 01:21:39,100
I mean, a lot of
it is just, like,

1842
01:21:39,100 --> 01:21:42,340
your gut feeling when you
hear it, if it makes sense,

1843
01:21:42,340 --> 01:21:44,780
or if it doesn't.

1844
01:21:44,780 --> 01:21:47,244
And obviously, my gut feeling
was very different from

1845
01:21:47,244 --> 01:21:47,910
everyone else's.

1846
01:21:47,910 --> 01:21:49,542
Yeah, Jamie?

1847
01:21:49,542 --> 01:21:53,218
AUDIENCE: First of all, compared
to where we started, this is

1848
01:21:53,218 --> 01:21:54,562
isn't, like, oh my goodness.

1849
01:21:54,562 --> 01:21:57,197
This is way, way more
awesome than I ever thought

1850
01:21:57,197 --> 01:21:59,590
was possible, with
our first conversation

1851
01:21:59,590 --> 01:22:02,330
about it's not real,
so this is like--

1852
01:22:02,330 --> 01:22:05,134
and what I loved with the
fractal piece at the beginning,

1853
01:22:05,134 --> 01:22:07,600
where you really explained,
because we gave you

1854
01:22:07,600 --> 01:22:09,485
that feedback in
the last time, was

1855
01:22:09,485 --> 01:22:12,319
you need to set us up for
success in explaining what

1856
01:22:12,319 --> 01:22:13,819
a fractal actually
is, and I thought

1857
01:22:13,819 --> 01:22:15,591
you did a really fantastic job.

1858
01:22:15,591 --> 01:22:17,090
One think that you
may want to think

1859
01:22:17,090 --> 01:22:22,030
about is you have a
very sing-songy voice.

1860
01:22:22,030 --> 01:22:25,240
Your voice is high, and
it's kind of sing-songy.

1861
01:22:25,240 --> 01:22:26,920
And at the beginning,
you set up this--

1862
01:22:26,920 --> 01:22:28,920
I don't know if you've
ever seen Mrs. Doubtfire,

1863
01:22:28,920 --> 01:22:31,810
but it's this movie where
Robin Williams is dressed up

1864
01:22:31,810 --> 01:22:33,745
as this old
grandmother, and is just

1865
01:22:33,745 --> 01:22:36,820
kind of this hilarious figure.

1866
01:22:36,820 --> 01:22:39,235
And I think there's
an unintended humor

1867
01:22:39,235 --> 01:22:42,135
to your sing-songy-ness
at the very beginning that

1868
01:22:42,135 --> 01:22:45,637
makes me feel less credible
wanting to watch you.

1869
01:22:45,637 --> 01:22:47,470
And I think there's a
very simple fix, which

1870
01:22:47,470 --> 01:22:50,810
is just grounding your
voice in a lower register.

1871
01:22:50,810 --> 01:22:53,455
When you talk with
your voice later on,

1872
01:22:53,455 --> 01:22:55,865
just listen to that
as you watch yourself.

1873
01:22:55,865 --> 01:22:59,980
I notice that the times when
your voice is a little lower

1874
01:22:59,980 --> 01:23:03,885
is when I don't notice that
as much, and so since you are

1875
01:23:03,885 --> 01:23:06,890
thinking of reworking
this first scene,

1876
01:23:06,890 --> 01:23:09,355
you may want to think
about consciously grounding

1877
01:23:09,355 --> 01:23:11,860
your voice a little
bit more in your chest,

1878
01:23:11,860 --> 01:23:14,275
so that we don't,
like, unintentionally

1879
01:23:14,275 --> 01:23:17,515
think it's funny when
it's not intended to be.

1880
01:23:17,515 --> 01:23:18,890
ELIZABETH CHOE:
And I know George

1881
01:23:18,890 --> 01:23:20,850
had said the camera
calms you down,

1882
01:23:20,850 --> 01:23:23,990
and in general it does, and you
compensate with higher energy,

1883
01:23:23,990 --> 01:23:26,769
but again, this is what I
saying before, and oftentimes,

1884
01:23:26,769 --> 01:23:28,810
hopefully, this stuff that
we were saying earlier

1885
01:23:28,810 --> 01:23:31,435
in the class makes a little more
sense after you guys have gone

1886
01:23:31,435 --> 01:23:34,070
through it, but sometimes
the tendency is to compensate

1887
01:23:34,070 --> 01:23:36,930
or equate higher energy
to higher pitch, higher

1888
01:23:36,930 --> 01:23:40,390
volume, like, higher
everything, and it's really not

1889
01:23:40,390 --> 01:23:40,910
that at all.

1890
01:23:40,910 --> 01:23:42,330
A lot of it is just
the mentality of,

1891
01:23:42,330 --> 01:23:44,538
like, I'm going to be really
present here, right now,

1892
01:23:44,538 --> 01:23:46,600
and really give it 100% here.

1893
01:23:46,600 --> 01:23:49,474
AUDIENCE: There's
actually a really good TED

1894
01:23:49,474 --> 01:23:54,875
Talk that's about how to
speak to be listened to.

1895
01:23:54,875 --> 01:23:59,300
And it's basically, you do
these little vocal exorcises,

1896
01:23:59,300 --> 01:24:01,985
and they both relax
you, and they'll

1897
01:24:01,985 --> 01:24:06,562
drop your register down,
like, just going through them.

1898
01:24:06,562 --> 01:24:10,418
And I had to do those
prior to doing--

1899
01:24:10,418 --> 01:24:13,212
I learned something
similar when I was first

1900
01:24:13,212 --> 01:24:14,254
learning public speaking.

1901
01:24:14,254 --> 01:24:15,670
ELIZABETH CHOE:
It's a great thing

1902
01:24:15,670 --> 01:24:17,920
to think about not just
with making these videos,

1903
01:24:17,920 --> 01:24:20,480
but when you're
giving talks later on.

1904
01:24:20,480 --> 01:24:22,952
Again, like, when you're
nervous or excited,

1905
01:24:22,952 --> 01:24:25,160
your tendency is to talk a
lot with your hands, which

1906
01:24:25,160 --> 01:24:28,282
I know I do, and talk
really high pitched.

1907
01:24:28,282 --> 01:24:30,490
So it's just a good thing
to think about, in general,

1908
01:24:30,490 --> 01:24:31,380
after this class.

1909
01:24:31,380 --> 01:24:32,325
AUDIENCE: Number two.

1910
01:24:32,325 --> 01:24:34,283
AUDIENCE: At the beginning
of those voiceovers,

1911
01:24:34,283 --> 01:24:37,660
I was trying to match
the video in my room.

1912
01:24:37,660 --> 01:24:40,015
And it did feel a
little bit off as well.

1913
01:24:40,015 --> 01:24:41,259
I wasn't sure how to--

1914
01:24:41,259 --> 01:24:43,300
ELIZABETH CHOE: I think
you could do the opening,

1915
01:24:43,300 --> 01:24:45,840
like, just you set up
a tripod, and sitting

1916
01:24:45,840 --> 01:24:48,379
in your room or something,
just something really simple.

1917
01:24:48,379 --> 01:24:49,920
What do this and
this have in common?

1918
01:24:49,920 --> 01:24:52,680
Well, it's actually
neverending repeating

1919
01:24:52,680 --> 01:24:56,550
patterns called fractals, and
then you go into fractals.

1920
01:24:56,550 --> 01:24:58,050
AUDIENCE: On a very
practical level,

1921
01:24:58,050 --> 01:25:00,814
like, I do a lot of helping
of people get ready for talks

1922
01:25:00,814 --> 01:25:04,170
in my lab, and just, like,
grounding your feet wherever

1923
01:25:04,170 --> 01:25:06,928
you are, feeling like you're
grounded to the earth,

1924
01:25:06,928 --> 01:25:11,437
and then getting a really deep
breath, like way from in here

1925
01:25:11,437 --> 01:25:14,450
before you speak, that will
help you fight that tendency

1926
01:25:14,450 --> 01:25:15,860
to go way up high.

1927
01:25:19,282 --> 01:25:21,240
ELIZABETH CHOE: And I
think the animations here

1928
01:25:21,240 --> 01:25:22,690
will look really good.

1929
01:25:22,690 --> 01:25:25,204
Again, like, visual
cues, anything

1930
01:25:25,204 --> 01:25:27,620
that you're going to add, even
if it's just still pictures

1931
01:25:27,620 --> 01:25:31,130
will make a big difference.

1932
01:25:31,130 --> 01:25:34,480
And I would play around
with the ending too.

1933
01:25:34,480 --> 01:25:38,170
I like that you do the review,
but again, the audio is hard

1934
01:25:38,170 --> 01:25:41,330
when you're that far away.

1935
01:25:41,330 --> 01:25:44,360
And you may be able to
shoot this in the same room

1936
01:25:44,360 --> 01:25:46,900
that you shoot the opening
in-- or you re-shoot it,

1937
01:25:46,900 --> 01:25:50,030
and then, I don't know,
have a picture of Stata

1938
01:25:50,030 --> 01:25:51,180
just pop up next to you.

1939
01:25:51,180 --> 01:25:54,050
I think that's a way to
compensate pretty easily.

1940
01:25:54,050 --> 01:25:57,722
What is the world
background for?

1941
01:25:57,722 --> 01:25:59,680
AUDIENCE: It matches the
world at the very end.

1942
01:25:59,680 --> 01:26:00,305
AUDIENCE: Yeah.

1943
01:26:00,305 --> 01:26:04,200
And it was just a nice
background for titles.

1944
01:26:04,200 --> 01:26:05,060
ELIZABETH CHOE: Oh.

1945
01:26:05,060 --> 01:26:07,060
I would just go black, honestly.

1946
01:26:07,060 --> 01:26:08,590
Just a black background.

1947
01:26:08,590 --> 01:26:14,182
In general, I think simple
reads more professional.

1948
01:26:14,182 --> 01:26:14,950
Oh, I don't know.

1949
01:26:14,950 --> 01:26:17,940
Professional's not the right
word, but simple is better,

1950
01:26:17,940 --> 01:26:19,690
I think.

1951
01:26:19,690 --> 01:26:22,366
And I didn't make the
connection of, like, look

1952
01:26:22,366 --> 01:26:23,990
at the world when I
saw the background.

1953
01:26:23,990 --> 01:26:25,380
It's such a minor thing, though.

1954
01:26:25,380 --> 01:26:29,260
I mean, it's just your
credit, so it's OK,

1955
01:26:29,260 --> 01:26:32,480
but just something
to think about.

1956
01:26:32,480 --> 01:26:36,084
Any final comments for Yuliya?

1957
01:26:36,084 --> 01:26:39,486
AUDIENCE: I thought that
one scene in the dorm

1958
01:26:39,486 --> 01:26:42,402
was really good, where
you inadvertently

1959
01:26:42,402 --> 01:26:44,215
had all the stuff behind us.

1960
01:26:44,215 --> 01:26:46,540
I didn't know that it was
going to turn out like that.

1961
01:26:46,540 --> 01:26:48,241
AUDIENCE: Oh, the
one in the lounge.

1962
01:26:48,241 --> 01:26:48,865
AUDIENCE: Yeah.

1963
01:26:48,865 --> 01:26:49,330
AUDIENCE: Yeah.

1964
01:26:49,330 --> 01:26:51,450
And I think it was the best
lighting, too, of all of them.

1965
01:26:51,450 --> 01:26:52,408
AUDIENCE: That's great.

1966
01:26:56,737 --> 01:26:57,820
ELIZABETH CHOE: All right.

1967
01:26:57,820 --> 01:26:59,403
So who's going to
comment on Yuliya's?

1968
01:27:02,720 --> 01:27:06,650
AUDIENCE: PJ and Josh.

1969
01:27:06,650 --> 01:27:07,840
ELIZABETH CHOE: All right.

1970
01:27:07,840 --> 01:27:10,609
Last one, and then
we'll take a break.

1971
01:27:10,609 --> 01:27:12,775
David, do you want to say
anything before we screen?

1972
01:27:15,497 --> 01:27:17,080
Your video will just
speak for itself.

1973
01:27:19,048 --> 01:27:21,016
[VIDEO PLAYBACK]

1974
01:27:21,016 --> 01:27:24,460
[MUSIC PLAYING]

1975
01:27:33,330 --> 01:27:35,430
-If I went out for a run
now, dressed like this,

1976
01:27:35,430 --> 01:27:37,860
you'd probably call
me nuts, right?

1977
01:27:37,860 --> 01:27:39,746
Because it's so
cold outside that

1978
01:27:39,746 --> 01:27:42,125
I'd probably die of hypothermia.

1979
01:27:42,125 --> 01:27:44,460
However, in 2009,
Wim Hof managed

1980
01:27:44,460 --> 01:27:47,026
to run a full marathon in
minus 20 degrees Celsius,

1981
01:27:47,026 --> 01:27:48,150
wearing nothing but shorts.

1982
01:27:48,150 --> 01:27:53,270
While most people would probably
die, Wim Hof has survived.

1983
01:27:53,270 --> 01:27:56,460
So what makes Wim Hof able to
survive where others can't?

1984
01:27:56,460 --> 01:27:58,040
The research team
were suggesting

1985
01:27:58,040 --> 01:28:01,687
that they subjected him to an
icy bath for almost two hours.

1986
01:28:01,687 --> 01:28:04,020
While most people would have
their core body temperature

1987
01:28:04,020 --> 01:28:07,117
drop to below 35 degrees,
causing hypothermia to kick in,

1988
01:28:07,117 --> 01:28:08,533
Wim Hof's body
temperature dropped

1989
01:28:08,533 --> 01:28:11,570
to a merely 37.4
degrees Celsius,

1990
01:28:11,570 --> 01:28:13,210
staying surprisingly warm.

1991
01:28:13,210 --> 01:28:15,500
And the funny thing is that
the researchers couldn't

1992
01:28:15,500 --> 01:28:17,880
find exactly what had happened.

1993
01:28:17,880 --> 01:28:20,379
Maybe it's his genetic
ancestry that saves him.

1994
01:28:20,379 --> 01:28:21,920
In a sample study,
studies have found

1995
01:28:21,920 --> 01:28:24,040
that individuals with
cold-climate ancestry,

1996
01:28:24,040 --> 01:28:26,050
have been found to
have mitochodria

1997
01:28:26,050 --> 01:28:28,560
that can produce more heat
and less chemical energy.

1998
01:28:28,560 --> 01:28:30,615
Mitochondria is
like a mini-furnace

1999
01:28:30,615 --> 01:28:33,200
that burns the sugars
from the food you eat

2000
01:28:33,200 --> 01:28:35,440
into chemical and heat energy.

2001
01:28:35,440 --> 01:28:38,052
Individuals like this are
better able to survive the cold,

2002
01:28:38,052 --> 01:28:41,620
however, scientists haven't
fully studied Wim Hof's genome,

2003
01:28:41,620 --> 01:28:44,030
so we don't really know.

2004
01:28:44,030 --> 01:28:46,410
Wim Hof practices
g-tummo, a Tibetan form

2005
01:28:46,410 --> 01:28:48,420
of meditation and
breathing, which allows

2006
01:28:48,420 --> 01:28:50,062
him to double his metabolism.

2007
01:28:50,062 --> 01:28:52,020
Remember those mitochondria
I mentioned before?

2008
01:28:52,020 --> 01:28:54,980
Wim Hop can produce enough
heat through these mitochondria

2009
01:28:54,980 --> 01:28:58,340
with special breathing, and
massive contractions that

2010
01:28:58,340 --> 01:29:02,032
can produce enough
heat to body warm.

2011
01:29:02,032 --> 01:29:03,990
Well, you might be tempted
to believe that this

2012
01:29:03,990 --> 01:29:06,680
is wishy-washy nonsense.

2013
01:29:06,680 --> 01:29:08,685
However, participants
in a study at NUS

2014
01:29:08,685 --> 01:29:10,476
have been shown to
increase their core body

2015
01:29:10,476 --> 01:29:14,290
temperature using g-tummo, and
they had no prior experience.

2016
01:29:14,290 --> 01:29:15,595
Now, why is it so?

2017
01:29:15,595 --> 01:29:17,470
Strong increases in
brain waves were noticed,

2018
01:29:17,470 --> 01:29:19,855
and many have theorized
that this enables the body

2019
01:29:19,855 --> 01:29:23,230
to effectively heat the center
as well as distribute it

2020
01:29:23,230 --> 01:29:24,940
to the extremities.

2021
01:29:24,940 --> 01:29:26,880
We do not fully understand
Wim Hof's methods.

2022
01:29:26,880 --> 01:29:29,110
Although some have tried
to follow in his footsteps,

2023
01:29:29,110 --> 01:29:31,710
you would be unwise
to do the same.

2024
01:29:31,710 --> 01:29:34,030
And Wim Hof even claims
that he can control

2025
01:29:34,030 --> 01:29:35,430
other parts of his body.

2026
01:29:35,430 --> 01:29:38,130
Now, if this is true, and
scientifically a fact,

2027
01:29:38,130 --> 01:29:39,780
who knows what doors could open.

2028
01:29:39,780 --> 01:29:41,660
And since science hasn't
figured it out yet,

2029
01:29:41,660 --> 01:29:43,820
and I, myself, don't
practice these methods,

2030
01:29:43,820 --> 01:29:45,801
maybe I'd better be off
donning more jackets.

2031
01:29:58,723 --> 01:30:00,220
[END PLAYBACK]

2032
01:30:00,220 --> 01:30:02,470
ELIZABETH CHOE: David,
what was the hardest

2033
01:30:02,470 --> 01:30:03,780
part about filming this video?

2034
01:30:03,780 --> 01:30:05,979
AUDIENCE: I think it was
following the script.

2035
01:30:05,979 --> 01:30:07,520
ELIZABETH CHOE:
Following the script.

2036
01:30:07,520 --> 01:30:09,603
Just, like, remembering
it when you were shooting.

2037
01:30:11,911 --> 01:30:12,536
AUDIENCE: Yeah.

2038
01:30:12,536 --> 01:30:14,036
I really think that
was the hardest,

2039
01:30:14,036 --> 01:30:17,496
because trying to say everything
while looking at a camera

2040
01:30:17,496 --> 01:30:18,984
felt very, very real.

2041
01:30:21,987 --> 01:30:22,820
ELIZABETH CHOE: Yep.

2042
01:30:22,820 --> 01:30:24,010
That makes a lot of sense.

2043
01:30:24,010 --> 01:30:27,380
And again, like, using
your partner to the fullest

2044
01:30:27,380 --> 01:30:30,500
extent when you're
filming can really

2045
01:30:30,500 --> 01:30:32,600
help with that
sort of humanizing

2046
01:30:32,600 --> 01:30:35,590
the mechanical
element of production,

2047
01:30:35,590 --> 01:30:38,110
trying to talk to the
person behind the camera.

2048
01:30:38,110 --> 01:30:42,070
I think that you didn't look
uncomfortable on camera.

2049
01:30:42,070 --> 01:30:46,040
The only thing is, in
general, you talk really fast,

2050
01:30:46,040 --> 01:30:48,870
and with the music
that was in it,

2051
01:30:48,870 --> 01:30:50,750
I think that you can
take some of the music

2052
01:30:50,750 --> 01:30:53,710
out, or drop the volume a
ton, or play with, like,

2053
01:30:53,710 --> 01:30:55,720
less busy music.

2054
01:30:55,720 --> 01:30:59,210
But having someone who talks
naturally fast, and then, like,

2055
01:30:59,210 --> 01:31:00,670
very upbeat music
in the background

2056
01:31:00,670 --> 01:31:02,870
is just, like,
exacerbate, it's, like,

2057
01:31:02,870 --> 01:31:04,940
constructive interference.

2058
01:31:04,940 --> 01:31:10,220
AUDIENCE: [INAUDIBLE]
calm music,

2059
01:31:10,220 --> 01:31:14,540
but I felt like I
put calm music in.

2060
01:31:14,540 --> 01:31:15,500
ELIZABETH CHOE: Yeah.

2061
01:31:15,500 --> 01:31:19,450
I mean, you can also
experiment with not using music

2062
01:31:19,450 --> 01:31:20,737
in certain parts of the video.

2063
01:31:20,737 --> 01:31:23,070
You guys don't need to have
music the whole way through.

2064
01:31:23,070 --> 01:31:24,150
It's OK.

2065
01:31:24,150 --> 01:31:29,070
And I think because you
talk so fast naturally,

2066
01:31:29,070 --> 01:31:33,270
the music can be-- remember,
with music, first do no harm,

2067
01:31:33,270 --> 01:31:34,140
right?

2068
01:31:34,140 --> 01:31:39,300
It can be hard to understand
just the sheer amount

2069
01:31:39,300 --> 01:31:43,300
of content that you're
saying when the music is

2070
01:31:43,300 --> 01:31:45,312
so upbeat and so loud.

2071
01:31:45,312 --> 01:31:48,204
AUDIENCE: I think the music was,
at least for me, personally,

2072
01:31:48,204 --> 01:31:51,096
it had the same effect as
when Elizabeth was showing

2073
01:31:51,096 --> 01:31:53,640
the choices for the heart
video, where at the beginning,

2074
01:31:53,640 --> 01:31:57,664
it was a little bit too much
for me, and I got the giggles.

2075
01:31:57,664 --> 01:32:00,730
I don't know what about you
putting on running shoes,

2076
01:32:00,730 --> 01:32:02,540
and, like, just the
loudness of that music,

2077
01:32:02,540 --> 01:32:05,620
it just seemed a
little bit ridiculous,

2078
01:32:05,620 --> 01:32:09,090
that I wasn't mentally
ready for some serious facts

2079
01:32:09,090 --> 01:32:10,689
at that point.

2080
01:32:10,689 --> 01:32:12,230
AUDIENCE: I wanted
to make it upbeat.

2081
01:32:12,230 --> 01:32:15,974
I wanted it to be like I was
going to run in the cold.

2082
01:32:15,974 --> 01:32:16,640
[VIDEO PLAYBACK]

2083
01:32:16,640 --> 01:32:20,070
[MUSIC PLAYING]

2084
01:32:22,237 --> 01:32:22,820
[END PLAYBACK]

2085
01:32:22,820 --> 01:32:24,745
AUDIENCE: It's good,
like, until the point

2086
01:32:24,745 --> 01:32:27,782
where you ask the question.

2087
01:32:27,782 --> 01:32:30,199
From, like, instead of being,
like, oh, OK, it's OK to be,

2088
01:32:30,199 --> 01:32:32,282
like, oh, this is me when
I'm running in the cold.

2089
01:32:32,282 --> 01:32:34,546
But then as soon as you
switch to actual explanation--

2090
01:32:34,546 --> 01:32:35,420
ELIZABETH CHOE: Yeah.

2091
01:32:35,420 --> 01:32:39,874
I would just duck it out
after you ask the question.

2092
01:32:39,874 --> 01:32:42,160
[VIDEO PLAYBACK]

2093
01:32:42,160 --> 01:32:44,220
-If I went out for a run
now dressed like this,

2094
01:32:44,220 --> 01:32:46,690
you'd probably call
me nuts, right?

2095
01:32:46,690 --> 01:32:48,576
Because it's so
cold outside that

2096
01:32:48,576 --> 01:32:50,340
I'd probably die of hypothermia.

2097
01:32:50,340 --> 01:32:50,960
[END PLAYBACK]

2098
01:32:50,960 --> 01:32:52,335
ELIZABETH CHOE:
And also there, I

2099
01:32:52,335 --> 01:32:54,620
mean, everyone's done
this, where they take

2100
01:32:54,620 --> 01:33:00,220
pauses in weird parts of
their sentences-- I mean,

2101
01:33:00,220 --> 01:33:04,170
if you wanted to make it
funny, I don't know if you do.

2102
01:33:04,170 --> 01:33:06,066
AUDIENCE: She's making--

2103
01:33:06,066 --> 01:33:08,436
ELIZABETH CHOE: I am so sorry.

2104
01:33:08,436 --> 01:33:10,810
AUDIENCE: I think it's one
of my favorite things--

2105
01:33:10,810 --> 01:33:12,180
ELIZABETH CHOE: The last time
this happened, I was thinking,

2106
01:33:12,180 --> 01:33:14,360
oh my gosh, this
happens to be more

2107
01:33:14,360 --> 01:33:16,237
than I would like to
admit, but I was, like,

2108
01:33:16,237 --> 01:33:18,070
I hope this doesn't
happen during the class,

2109
01:33:18,070 --> 01:33:21,526
and it ends up on the internet,
but now it's going to anyway.

2110
01:33:21,526 --> 01:33:24,202
[LAUGHTER]

2111
01:33:30,030 --> 01:33:31,650
If you wanted to
make it funny, you

2112
01:33:31,650 --> 01:33:36,610
could zoom in-- as
you-- nevermind.

2113
01:33:36,610 --> 01:33:37,699
Don't make it funny.

2114
01:33:37,699 --> 01:33:39,115
AUDIENCE: So if
you wanted-- I was

2115
01:33:39,115 --> 01:33:42,731
going to say-- every time you
pause, cut out that pause,

2116
01:33:42,731 --> 01:33:44,980
and then maybe a little bit
closer to your face, like,

2117
01:33:44,980 --> 01:33:45,790
what if I die?

2118
01:33:45,790 --> 01:33:47,280
And then, like,
zoom in, I'm cold.

2119
01:33:50,400 --> 01:33:52,767
That's really comedic.

2120
01:33:52,767 --> 01:33:55,100
ELIZABETH CHOE: It's kind of
like the thing that we did,

2121
01:33:55,100 --> 01:33:58,450
and it's not very good,
like the extreme zoom,

2122
01:33:58,450 --> 01:34:01,440
and you could make it,
like-- with comedy,

2123
01:34:01,440 --> 01:34:03,912
going big or going home works
the best, because you really

2124
01:34:03,912 --> 01:34:05,870
have to commit to it, so
if you want it to have

2125
01:34:05,870 --> 01:34:07,830
a huge comedic effect,
you would, like,

2126
01:34:07,830 --> 01:34:13,710
zoom in really close,
and you would have, like,

2127
01:34:13,710 --> 01:34:16,948
a weird sound effect.

2128
01:34:16,948 --> 01:34:19,840
I'm so sorry, you guys.

2129
01:34:19,840 --> 01:34:22,859
AUDIENCE: I think it's
really funny to you.

2130
01:34:22,859 --> 01:34:25,150
ELIZABETH CHOE: But if you
don't want to make it funny,

2131
01:34:25,150 --> 01:34:33,710
which I would recommend, either
cut out the gaps and alternate

2132
01:34:33,710 --> 01:34:36,520
between zooming in and out like
Hank Green does on SciShow.

2133
01:34:36,520 --> 01:34:39,930
There's one other time that
happens, like, right here.

2134
01:34:39,930 --> 01:34:43,310
In general, like, if
your gaps are happening

2135
01:34:43,310 --> 01:34:47,790
in places that are not
at the ends of scenes,

2136
01:34:47,790 --> 01:34:50,340
really be conscious of
how long those last.

2137
01:34:50,340 --> 01:34:52,555
And having two other people
look at your video today

2138
01:34:52,555 --> 01:34:53,930
will help, because
sometimes it's

2139
01:34:53,930 --> 01:34:55,680
hard to tell when
you're watching yourself

2140
01:34:55,680 --> 01:34:58,929
if something looks like it's
lasting too long or not.

2141
01:34:58,929 --> 01:35:00,720
But if you have gaps
that are too long that

2142
01:35:00,720 --> 01:35:02,095
are in the middle
of your scenes,

2143
01:35:02,095 --> 01:35:04,910
you can use the trick
of digital zooming

2144
01:35:04,910 --> 01:35:09,470
in and out to hide the cuts.

2145
01:35:09,470 --> 01:35:13,490
Does anyone have
general comments?

2146
01:35:13,490 --> 01:35:14,751
Yes, Yuliya.

2147
01:35:14,751 --> 01:35:16,000
AUDIENCE: I like the delivery.

2148
01:35:16,000 --> 01:35:18,770
It was really natural.

2149
01:35:18,770 --> 01:35:21,660
And the music was
sometimes distracting.

2150
01:35:21,660 --> 01:35:23,824
Another thing that
had that effect

2151
01:35:23,824 --> 01:35:26,240
were some of the backgrounds,
so like the one where you're

2152
01:35:26,240 --> 01:35:28,280
holding a trashcan,
and there's a person,

2153
01:35:28,280 --> 01:35:29,870
and then there's a trashcan.

2154
01:35:29,870 --> 01:35:31,545
So I wasn't sure,
like, did that mean

2155
01:35:31,545 --> 01:35:34,930
the person was in the
trashcan, like, what happened,

2156
01:35:34,930 --> 01:35:38,970
and, like, yeah,
like, this scene.

2157
01:35:38,970 --> 01:35:41,430
And then there were some
others, like the lab.

2158
01:35:41,430 --> 01:35:46,700
I wasn't sure why
the lab was there.

2159
01:35:46,700 --> 01:35:48,640
Even though it was really cool.

2160
01:35:48,640 --> 01:35:49,580
ELIZABETH CHOE: I
know that you held up

2161
01:35:49,580 --> 01:35:51,413
the trashcan because
you were trying to say,

2162
01:35:51,413 --> 01:35:53,850
like, he was in a bucket.

2163
01:35:53,850 --> 01:35:56,720
But again, with the music,
it's hard to hear that you're

2164
01:35:56,720 --> 01:35:58,630
explaining the bucket
thing, so I would just

2165
01:35:58,630 --> 01:36:01,915
cut to the picture of him
before you hold up the trashcan.

2166
01:36:01,915 --> 01:36:02,640
[VIDEO PLAYBACK]

2167
01:36:02,640 --> 01:36:05,150
- --team were suggesting that
they subjected him to an icy

2168
01:36:05,150 --> 01:36:06,000
bath for almost two hours.

2169
01:36:06,000 --> 01:36:06,260
[END PLAYBACK]

2170
01:36:06,260 --> 01:36:07,245
ELIZABETH CHOE: Yeah.

2171
01:36:07,245 --> 01:36:08,870
I mean, in general,
that line is spoken

2172
01:36:08,870 --> 01:36:11,987
so quickly that it's hard
to follow what you're doing.

2173
01:36:11,987 --> 01:36:13,570
AUDIENCE: And it's
not just the speed.

2174
01:36:13,570 --> 01:36:15,444
I think you need to put
a little more diction

2175
01:36:15,444 --> 01:36:19,730
in between your words, so that,
like, what I hear happening

2176
01:36:19,730 --> 01:36:21,970
in they're kind of
slurring all together,

2177
01:36:21,970 --> 01:36:23,570
so it's not just
a matter of speed,

2178
01:36:23,570 --> 01:36:27,170
but it's that I'm having
trouble actually separating

2179
01:36:27,170 --> 01:36:30,177
this word from this word,
and therefore, there

2180
01:36:30,177 --> 01:36:32,010
are chunks that feel
like one big long word,

2181
01:36:32,010 --> 01:36:35,220
that they're actually made
up of four or five words.

2182
01:36:35,220 --> 01:36:38,430
I think there's a piece of
slowing down, but then also,

2183
01:36:38,430 --> 01:36:41,010
forcing yourself to use
over-diction to clarify

2184
01:36:41,010 --> 01:36:41,710
your words.

2185
01:36:41,710 --> 01:36:44,970
That'll help a lot
too, more so than you

2186
01:36:44,970 --> 01:36:49,689
think, because it will help
clean up those little spaces

2187
01:36:49,689 --> 01:36:53,030
in between the words to then
provide me with a little more,

2188
01:36:53,030 --> 01:36:56,414
like, OK, I'm with you every
single step of the way, if that

2189
01:36:56,414 --> 01:36:57,310
makes sense.

2190
01:36:57,310 --> 01:37:00,290
So if you are going to do
any retaking of videos,

2191
01:37:00,290 --> 01:37:03,824
try really hard to
really tighten up the way

2192
01:37:03,824 --> 01:37:05,282
that you say the
words, in addition

2193
01:37:05,282 --> 01:37:06,728
to slowing down a little bit.

2194
01:37:06,728 --> 01:37:07,919
I think that'll help people.

2195
01:37:07,919 --> 01:37:10,335
ELIZABETH CHOE: I think if you
do that, that'll inherently

2196
01:37:10,335 --> 01:37:12,420
help you slow down, because
you're going to think

2197
01:37:12,420 --> 01:37:16,080
about each word at a time.

2198
01:37:16,080 --> 01:37:18,085
I like the use of pictures here.

2199
01:37:18,085 --> 01:37:19,460
It's really helpful,
because this

2200
01:37:19,460 --> 01:37:21,540
is an instance where we
just don't have access

2201
01:37:21,540 --> 01:37:23,210
to shoot any of this.

2202
01:37:25,970 --> 01:37:29,360
I would play around with, in
general, zooming in and out,

2203
01:37:29,360 --> 01:37:31,010
when you're doing long takes.

2204
01:37:31,010 --> 01:37:32,850
I forgot to mention
this, but I thought

2205
01:37:32,850 --> 01:37:35,730
that was a really nice thing
that Yuliya did in her video,

2206
01:37:35,730 --> 01:37:39,454
was-- because we had talked
about this last week--

2207
01:37:39,454 --> 01:37:40,870
how to clean up
some of the gaps--

2208
01:37:40,870 --> 01:37:43,410
and she does some nice
work with cutting into,

2209
01:37:43,410 --> 01:37:45,560
just like her hand
drawing the fractals,

2210
01:37:45,560 --> 01:37:48,720
and I think that,
in general, people

2211
01:37:48,720 --> 01:37:50,620
can take more advantage
of that technique.

2212
01:37:54,810 --> 01:37:56,430
Oh.

2213
01:37:56,430 --> 01:37:59,120
So here you're cutting
in between closeups,

2214
01:37:59,120 --> 01:38:01,590
but this is another thing
with the iTrace, where

2215
01:38:01,590 --> 01:38:04,840
in the first scene you're on the
left, and on the second scene,

2216
01:38:04,840 --> 01:38:07,100
you're on the right,
and you're also not

2217
01:38:07,100 --> 01:38:11,430
in the same 3D plane of
field as you were before.

2218
01:38:11,430 --> 01:38:17,970
So in the previous scene,
you were close to the bench,

2219
01:38:17,970 --> 01:38:19,660
and here, did you
scoot up forward?

2220
01:38:22,900 --> 01:38:28,810
So it's not terrible-- it's
not like the end of the world

2221
01:38:28,810 --> 01:38:31,020
or anything, but it's,
like, a little jarring,

2222
01:38:31,020 --> 01:38:33,730
and I guess I'm
subconsciously taking time

2223
01:38:33,730 --> 01:38:36,850
to adjust my sense
of space and where

2224
01:38:36,850 --> 01:38:39,850
you are when that cut happens.

2225
01:38:39,850 --> 01:38:42,380
I don't necessarily think
you have to re-shoot it,

2226
01:38:42,380 --> 01:38:46,790
but I would either--
let's watch it.

2227
01:38:46,790 --> 01:38:48,980
AUDIENCE: And they had
no prior experience.

2228
01:38:48,980 --> 01:38:50,285
Now, why is it so?

2229
01:38:50,285 --> 01:38:52,160
Strong increases in
brain waves were noticed,

2230
01:38:52,160 --> 01:38:54,540
and many have theorized
that this enables the body

2231
01:38:54,540 --> 01:38:57,700
to effectively heat the center
as well as distribute it

2232
01:38:57,700 --> 01:38:59,465
to the extremities.

2233
01:38:59,465 --> 01:39:00,840
ELIZABETH CHOE:
Is there a B-roll

2234
01:39:00,840 --> 01:39:02,060
that you could use there?

2235
01:39:02,060 --> 01:39:04,680
Because I think that's a really
good opportunity to-- it's

2236
01:39:04,680 --> 01:39:07,470
a key point that
you're connecting

2237
01:39:07,470 --> 01:39:09,180
what someone is doing
with their mind,

2238
01:39:09,180 --> 01:39:10,910
and how that's
legitimately connecting

2239
01:39:10,910 --> 01:39:12,070
to the rest of their body.

2240
01:39:12,070 --> 01:39:12,986
AUDIENCE: [INAUDIBLE].

2241
01:39:17,307 --> 01:39:19,890
ELIZABETH CHOE: Could you even
just use pictures of the brain,

2242
01:39:19,890 --> 01:39:21,181
and then, like, the human body?

2243
01:39:24,040 --> 01:39:26,340
Again, this is a really
hard thing to visualize,

2244
01:39:26,340 --> 01:39:30,530
and I know you're not working
with a ton of resources,

2245
01:39:30,530 --> 01:39:32,060
but I think that's
an opportunity

2246
01:39:32,060 --> 01:39:35,020
to maybe try voiceover
with the technique

2247
01:39:35,020 --> 01:39:37,880
that Jamie was talking about,
because it's such a crucial bit

2248
01:39:37,880 --> 01:39:39,070
to the video, actually.

2249
01:39:39,070 --> 01:39:41,680
That's where you're
actually tying the science

2250
01:39:41,680 --> 01:39:45,126
into something that seems
a little pseudo science.

2251
01:39:45,126 --> 01:39:49,070
AUDIENCE: Keeping that in
mind, as you watch your video--

2252
01:39:49,070 --> 01:39:52,028
and whoever's talking
over with you,

2253
01:39:52,028 --> 01:39:54,164
really connecting
it and grounding it

2254
01:39:54,164 --> 01:39:55,479
in the real science too.

2255
01:39:55,479 --> 01:39:57,451
Because I liked your
furnace metaphor,

2256
01:39:57,451 --> 01:40:00,902
but then I was distracted by
the burning exploding boxes,

2257
01:40:00,902 --> 01:40:04,353
and if I've never heard
of mitochondria before,

2258
01:40:04,353 --> 01:40:07,804
or cellular respiration
type things,

2259
01:40:07,804 --> 01:40:09,810
that wouldn't be very distanced.

2260
01:40:09,810 --> 01:40:12,305
I would think explosions
rather than this is grounded

2261
01:40:12,305 --> 01:40:15,299
in my biology type things.

2262
01:40:15,299 --> 01:40:16,962
And so maybe think
of places, where

2263
01:40:16,962 --> 01:40:19,790
you can include images like
the circulatory system, things

2264
01:40:19,790 --> 01:40:21,287
like that.

2265
01:40:21,287 --> 01:40:23,283
Just, like, keep grounding it.

2266
01:40:27,774 --> 01:40:32,265
AUDIENCE: When you cut from
the guy doing meditation

2267
01:40:32,265 --> 01:40:35,758
to you sitting cross-legged,
was that purposeful?

2268
01:40:35,758 --> 01:40:36,756
AUDIENCE: Yes.

2269
01:40:36,756 --> 01:40:37,754
I'm supposed to be
doing meditation.

2270
01:40:37,754 --> 01:40:38,253
AUDIENCE: OK.

2271
01:40:38,253 --> 01:40:39,169
That's what I thought.

2272
01:40:39,169 --> 01:40:43,540
Because I was like, not 100%
sure, but I was pretty sure

2273
01:40:43,540 --> 01:40:46,325
that was a choice that you made.

2274
01:40:46,325 --> 01:40:47,810
There's no comment.

2275
01:40:47,810 --> 01:40:48,800
I just had a question.

2276
01:40:52,866 --> 01:40:54,740
ELIZABETH CHOE: Any
other thoughts for David?

2277
01:41:02,660 --> 01:41:05,810
So you guys want to do Google
Docs versus just talking one

2278
01:41:05,810 --> 01:41:07,420
on one with people?

2279
01:41:07,420 --> 01:41:10,180
Is that the consensus?

2280
01:41:10,180 --> 01:41:11,860
AUDIENCE: Could we do both?

2281
01:41:11,860 --> 01:41:12,180
ELIZABETH CHOE: Yeah.

2282
01:41:12,180 --> 01:41:13,570
You can totally do both.

2283
01:41:13,570 --> 01:41:17,600
So the rest of class time is
for feedback for each other,

2284
01:41:17,600 --> 01:41:20,677
and this is a super, super
crucial, critical part

2285
01:41:20,677 --> 01:41:21,760
of the production process.

2286
01:41:24,510 --> 01:41:26,770
During the break,
I will post a link

2287
01:41:26,770 --> 01:41:39,080
onto the Tumblr that has all
the Google Docs that I will

2288
01:41:39,080 --> 01:41:40,270
finish making for everyone.

2289
01:41:40,270 --> 01:41:44,530
So for example, Yuliya, your two
commenters are Joshua and PJ.

2290
01:41:44,530 --> 01:41:47,850
So Josh and PJ, just go into
your corresponding page,

2291
01:41:47,850 --> 01:41:49,870
and on the time code,
just leave your comments.

2292
01:41:49,870 --> 01:41:52,062
I will comment on everyone's
rough cuts as well.

2293
01:41:52,062 --> 01:41:54,520
And again, don't worry if you're
repeating the same remarks

2294
01:41:54,520 --> 01:41:56,890
as other people are doing.

2295
01:41:56,890 --> 01:42:00,580
How about we spend-- after the
break-- doing the Google Docs

2296
01:42:00,580 --> 01:42:04,110
stuff, and then whenever
you guys finish,

2297
01:42:04,110 --> 01:42:06,230
I guess, in the order
of people finishing,

2298
01:42:06,230 --> 01:42:09,280
group up, and give one
on one feedback as well.

2299
01:42:09,280 --> 01:42:11,302
And we can help
facilitate that too.

2300
01:42:11,302 --> 01:42:14,920
Does that sound
good to everyone?

2301
01:42:14,920 --> 01:42:16,440
The hardest part is over.

2302
01:42:16,440 --> 01:42:19,370
The hardest part is just
getting the first cut.

2303
01:42:19,370 --> 01:42:22,320
It's getting the first
script out there.

2304
01:42:22,320 --> 01:42:26,640
And hopefully, moving
forward, going to Thursday,

2305
01:42:26,640 --> 01:42:28,470
it'll be easier.