Deaf Lens | Wayne Betts Jr | TEDxIslay
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0:10 - 0:12I have to admit something.
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0:12 - 0:16My memory isn't very good.
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0:16 - 0:19I don't have much recollection
of my childhood. -
0:19 - 0:23I relied on a trick to help me
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0:23 - 0:26remember things while growing up.
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0:26 - 0:30What happened in what order,
and so on. What was it? -
0:30 - 0:32My mother would say,
"Remember when you were twelve -
0:32 - 0:36and threw up from food poisoning
at that restaurant. -
0:36 - 0:38Remember?" And I was like, "Twelve?"
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0:38 - 0:41And my mother would say,
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0:41 - 0:42"That was the day we saw
INDIANA JONES 3 -
0:42 - 0:44and you liked it so much."
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0:44 - 0:45"And after that, what did we do?"
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0:45 - 0:48And I'd be like
"Oh yeah! That restaurant. Yeah." -
0:48 - 0:50And so I relied on movies
to remember things. -
0:50 - 0:54So my timeline of memory relied on
when I had seen movies. -
0:54 - 0:56Why do I bring this up?
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0:56 - 0:58My mother always took me to the movies.
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0:58 - 1:02Always. Even without captions.
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1:02 - 1:04We would sit in the theater and
the images would appear before us. -
1:04 - 1:06Were we bored?
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1:06 - 1:08Even when I was a restless kid? Nope.
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1:08 - 1:10Why was I fascinated?
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1:10 - 1:12The camera. The lighting. The framing.
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1:12 - 1:14The camera was always moving.
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1:14 - 1:16It moved on the actors as they spoke,
then moved away. -
1:16 - 1:17I was transfixed.
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1:17 - 1:20The separate pictures, without words,
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1:20 - 1:22no dialogue at all. Just the pictures.
They came together -
1:22 - 1:25to tell a story.
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1:25 - 1:27And it was truly powerful. Wow.
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1:27 - 1:29Especially for one movie.
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1:29 - 1:37It stuck in my mind.
To this day, it still stands out. -
1:37 - 1:40How many of you have seen it?
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1:40 - 1:43All of you, yeah.
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1:43 - 1:45This was probably the first movie
I'd seen in a theater. -
1:45 - 1:48That I remember seeing, at least.
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1:48 - 1:49I remember being a little kid and
sitting in the theater -
1:49 - 1:51with my mother, all excited.
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1:51 - 1:54We saw it all the way to the end.
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1:54 - 1:55And I was in tears.
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1:55 - 1:58I couldn't sleep that night, and
my mother tried to comfort me. -
1:58 - 2:01But E.T. was gone!
I was devastated by that. -
2:01 - 2:03But... I lingered on one part.
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2:03 - 2:07Remember the opening?
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2:07 - 2:09The movie opens at night, in the woods.
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2:09 - 2:11A UFO flashes its lights above.
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2:11 - 2:13The trees blow in its path as it lands.
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2:13 - 2:16And a creature... something...
scurries out of the craft. -
2:16 - 2:18The trees bristle as it moves through
the woods, and the camera moves -
2:18 - 2:20on to cars and trucks
arriving on the scene, -
2:20 - 2:22the high beams illuminating the trees.
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2:22 - 2:23One of the cars comes to a stop,
the car door opens, -
2:23 - 2:25and a pair of shoes
come out on the ground. -
2:25 - 2:26The camera stays on the feet.
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2:26 - 2:30Then it pans up to a set of keys
hanging off the man's belt. -
2:30 - 2:33They don't show this man's face at all.
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2:33 - 2:35The camera is focused on the keys.
I see this. -
2:35 - 2:38Who was this man? I didn't know.
Why was he there? I didn't know. -
2:38 - 2:40All I knew was that he was chasing
the creature and failed to get it. -
2:40 - 2:43And the alien escaped to the city.
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2:43 - 2:45The man goes back, and we fade out.
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2:45 - 2:47Later in the movie,
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2:47 - 2:50after the famous bicycle scene,
near the end, -
2:50 - 2:52E.T. is dying of disease.
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2:52 - 2:54They find him and bring him home.
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2:54 - 2:57They bring it into the bathroom and
hide it there as it dies. -
2:57 - 2:59The boy weeps over E.T.'s body.
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2:59 - 3:01And then the camera cuts to outside,
where the police, NASA, -
3:01 - 3:03and assorted officials are arriving.
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3:03 - 3:05One of the trucks pulls up, the door opens,
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3:05 - 3:07and out comes the same feet, again!
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3:07 - 3:12The camera pans up
to reveal the same keychain. -
3:12 - 3:14Do we see his face?
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3:14 - 3:16I don't know. What's his job? I don't know.
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3:16 - 3:18But that one detail from before--
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3:18 - 3:20the keychain-- matches up
with the keychain here. -
3:20 - 3:23That detail tells us right away that
is the bad guy! -
3:23 - 3:26He's ready to take E.T. and go.
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3:26 - 3:29We know this, all from the keychain.
That one detail. -
3:29 - 3:31And after that, I knew
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3:31 - 3:33I wanted to make movies
from that point on. -
3:33 - 3:36I wanted to make separate pictures
that came together to give us a story -
3:36 - 3:39without relying on a script,
spoken or signed. -
3:39 - 3:41It was those pictures!
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3:41 - 3:47And from there, my journey began.
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3:47 - 3:49Later, I entered Gallaudet University.
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3:49 - 3:51I took courses towards a film major.
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3:51 - 3:54In one of my classes,
there was this professor, Facundo. -
3:54 - 3:57He passed away recently.
He was hearing and couldn't sign. -
3:57 - 3:59He would brush away
the sign language interpreter -
3:59 - 4:00assigned to him and attempt to sign.
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4:00 - 4:02"I can do it," he said.
And so he signed slowly. -
4:02 - 4:05Eventually, over time in the class,
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4:05 - 4:10he assigned a project that stood out.
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4:10 - 4:13Visual expression?
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4:13 - 4:15Up until that point, we had learned
how to frame shots, -
4:16 - 4:18how to tell a story, and so on.
But this was different. -
4:18 - 4:21The teacher had
a hard time explaining this. -
4:21 - 4:23'Class, I want you to
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4:23 - 4:27express something about yourself.'
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4:27 - 4:29I could say something about myself.
But what? -
4:29 - 4:33Then he showed a work of his.
He was hearing, remember. -
4:33 - 4:35The work was from his university days.
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4:35 - 4:37It had an unusual opening.
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4:37 - 4:40The camera lingered on his face
as he faced the camera without a shirt. -
4:40 - 4:42Then the camera cut
to grass blowing in the wind. -
4:42 - 4:45Then to a lawn mower, then to a fire.
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4:45 - 4:48Then to a man running.
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4:48 - 4:51Then to clouds in the sky. I didn't
understand anything about it. -
4:51 - 4:53But it was odd-- his expression.
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4:53 - 4:57The teacher added that
it had music and sound. -
4:57 - 5:00"This is an abstraction on my life,"
he said. -
5:00 - 5:03'I want you, this deaf class,
to express yourself. -
5:03 - 5:05I don't want you to copy my movie.
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5:05 - 5:07This movie is mine. What's yours?
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5:07 - 5:11As he struggled to explain,
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5:11 - 5:13I could see that
he couldn't find the words -
5:13 - 5:15for what he wanted to see from us.
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5:15 - 5:18He didn't know how to say it.
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5:18 - 5:20And when the project was due,
we turned in our assignments. -
5:20 - 5:24The teacher told us we had done a good
job and we moved on to the next project. -
5:24 - 5:27But it stayed in my mind.
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5:27 - 5:29I transferred from Gallaudet to RIT.
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5:29 - 5:32There, I focused on technology and
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5:32 - 5:34I took various courses
that focused on cameras, lenses-- -
5:34 - 5:38the difference between
50mm and 35mm lenses, -
5:38 - 5:41how to light a scene with three lights and
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5:41 - 5:43why we couldn't remove
a third light, and so on. -
5:43 - 5:44You won't believe that there's
a particular course in film school. -
5:44 - 5:55There's such a thing as a course as...
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5:55 - 5:58Film language.
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5:58 - 6:02Wait a minute, there's a course
on language for film? -
6:02 - 6:05This wasn't like a teacher passing out
two stapled pieces of paper -
6:05 - 6:08that composed the entirety
of the course, Film Language. -
6:08 - 6:10There was a thick book!
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6:10 - 6:17There were countless terms.
To give you an idea... -
6:17 - 6:20Do you know these terms?
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6:20 - 6:23A closeup. A medium shot. A wide shot.
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6:23 - 6:25I'll sum it up for you.
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6:25 - 6:29A wide shot introduces
location into a story. -
6:29 - 6:31In the first frame, we see a landscape
with a tree and a house. -
6:31 - 6:34Then a cowboy with a hat,
chewing on hay. -
6:34 - 6:36That's a wide shot.
Then the frame tightens -
6:36 - 6:38to a medium shot. The framing
cuts the man off at the thighs. -
6:38 - 6:41He's standing by the tree,
chewing on the piece of hay. -
6:41 - 6:44Then the close up tightens the framing
even further, to the man's head. -
6:44 - 6:46This shot is used to indicate emotion.
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6:46 - 6:49The close up will emphasize what
we need to know in that moment. -
6:49 - 6:51So those are three kinds of framing.
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6:51 - 6:53There are even more kinds of shots.
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6:53 - 6:55In the dutch tilt, the framing
is tilted off to the side. -
6:55 - 6:58A dolly shot moves the camera
back and forth as it rolls. -
6:58 - 7:01A crane shot moves the camera up and down.
There are countless kinds of shots. -
7:01 - 7:09Another kind of technique that
seemed like a wrong fit for me: -
7:09 - 7:12In short, this is used by news shows,
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7:12 - 7:15movies... for example,
there's a poor little boy -
7:15 - 7:18crouched over, hungry.
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7:18 - 7:20But a voice narrator tells us
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7:20 - 7:22tells us that this boy doesn't have
any parents and that he's lost, and -
7:22 - 7:24statistics tell us that, in that country,
this is but one example and -
7:24 - 7:26that your support is needed.
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7:26 - 7:29Wait-- there are two different stories:
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7:29 - 7:31There's the hungry, sick boy
that arouses our sympathy -
7:31 - 7:35And we hear a parallel narration that
relates to the story being told on camera. -
7:35 - 7:40The two strands come together
to become one story. -
7:40 - 7:42In deaf film...
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7:42 - 7:48And there are countless elements...
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7:48 - 7:51I'm telling you-
this is just a small sampling -
7:51 - 7:53of what's in film language.
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7:53 - 7:55There are countless story-related
techniques in the script: -
7:55 - 7:59the opening of the story,
the character introductions, -
7:59 - 8:01the conflict, the upward
progression of the story, -
8:01 - 8:03conflict after conflict after conflict,
then earth crashes down -
8:03 - 8:06and the RV drives away in the nick
of time as it dodges flying boulders. -
8:06 - 8:08And then there are even more conflicts,
until the resolution. -
8:08 - 8:10Everyone is reunited,
and the action falls down. -
8:10 - 8:12Then there's the happy ending.
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8:12 - 8:14I'm talking about American films here...
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8:14 - 8:16they always end happily.
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8:16 - 8:18So, there are rules
for the progression of action. -
8:18 - 8:20We are supposed to follow them,
and school encourages us -
8:20 - 8:26to follow these rules.
There are many of them. -
8:26 - 8:29In my class, there were
few deaf students-- this is at RIT. -
8:29 - 8:31I eagerly rolled up my sleeves
because I wanted-- -
8:31 - 8:34the various terms and rules--
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8:34 - 8:37everything-- I wanted to rearrange
them so I could make -
8:37 - 8:39a deaf film. The result is my first
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8:39 - 8:43film at RIT. The goal was to--
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8:43 - 8:45you know-- deaf, signed dialogue
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8:45 - 8:48on the movie screen-- if I signed
out of frame... it's always "Cut!" -
8:48 - 8:53'Cut!' Your hand is out of frame.
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8:53 - 8:55'Do it again.'
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8:55 - 8:57My friend and I wanted to challenge that.
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8:57 - 9:00I said, 'No, I think that the fear
of a hand out of frame -
9:00 - 9:02should not constrain us
to signing awkwardly within the frame. -
9:02 - 9:04They will still be able to understand me.
I believe that.' -
9:04 - 9:38And so we made this movie.
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9:38 - 9:40Two interesting things happened here.
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9:40 - 9:44I showed this to an audience and
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9:44 - 9:46I must have been a freshman.
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9:46 - 9:48I was working with a small camera,
and I was filled with ideas. -
9:48 - 9:51So we executed those ideas,
just to prove that we could do it. -
9:51 - 9:54The audience saw it,
and they said, 'Wow.' -
9:54 - 9:57But as I sat in the audience,
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9:57 - 9:59I felt something was missing.
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9:59 - 10:03It didn't feel natural. It didn't.
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10:03 - 10:05My deaf world-- the one that I saw--
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10:05 - 10:08this wasn't it.
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10:08 - 10:10This movie showed a different world.
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10:10 - 10:12I realized this.
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10:12 - 10:15The other thing: why was there a phone?
The man was deaf. -
10:15 - 10:20That was my mistake. I still don't know
why we had a phone. -
10:20 - 10:23And my struggle began
with this project. -
10:23 - 10:25In my following projects, I followed
all of the rules of film language. -
10:25 - 10:28I tried various ways
to rearrange the rules. -
10:28 - 10:30But I never got the feeling
that it was natural. -
10:30 - 10:32I wanted to watch something
on the screen and say -
10:32 - 10:35"That's my world!"
Right there, on the screen. -
10:35 - 10:41I had never experienced that.
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10:41 - 10:45Film language had a box around it,
and I felt trapped in this box. -
10:45 - 10:49I struggled to get out of the box
by rearranging the rules. -
10:49 - 10:57Then I realized
I should just put the box aside. -
10:57 - 10:59This box had a set of rules
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10:59 - 11:02developed over time. And everybody else
worked with sound. -
11:02 - 11:04It didn't matter which country
you came from-- -
11:04 - 11:07everybody was working with sound
as an essential part of their film. -
11:07 - 11:10This influenced the editing of the movie
-- sound was tied up in all of this. -
11:10 - 11:14I'm a deaf person. I'm very visual.
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11:14 - 11:16I didn't even think about sound at all.
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11:16 - 11:19This realization led me to look within.
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11:19 - 11:22My world, and how I perceived it.
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11:22 - 11:30And how I should apply
these principles to film. -
11:30 - 11:34You all know what a script is.
Writing on a paper. -
11:34 - 11:37It starts with 'INT: A TREEHOUSE...
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11:37 - 11:39So-and-so character... and so on.'
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11:39 - 11:41Words on pages.
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11:41 - 11:43My first thought: the language.
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11:43 - 11:46We use sign language.
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11:46 - 11:49Sure, I can write it down--
my English is OK. -
11:49 - 11:52But I struggled in writing on the page.
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11:52 - 11:55Sign language...
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11:55 - 11:57Bernard Bragg
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11:57 - 11:59and Ben Bahan,
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11:59 - 12:01the Gallaudet professor
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12:01 - 12:04always told us that ASL
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12:04 - 12:09has cinematic value.
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12:09 - 12:11They said that sign language is
just like the film screen. -
12:11 - 12:15A roving eye, closeups, and so on.
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12:15 - 12:17And that was true. But was it identical?
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12:17 - 12:19Not really.
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12:19 - 12:22I think sign language
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12:22 - 12:26is far more rich than what we have
to work with in cinema. -
12:26 - 12:31ASL goes far and beyond that.
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12:31 - 12:33So the written script should be discarded.
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12:33 - 12:36In its place, we could have an ASL script.
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12:36 - 12:39I sign the story in front of a camera.
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12:39 - 12:42Recently, I did that for a project.
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12:42 - 12:46Here's what it looked like.
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12:46 - 12:49The frame zooms in and
we go through a wall. -
12:49 - 12:51This is actually 6th Street.
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12:51 - 12:54Cars drive up and down,
and buildings line the road. -
12:54 - 12:56Clouds fly above our heads
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12:56 - 12:58and a pair of hands appear,
which make a brushing motion. -
12:58 - 13:02And for real, a row of buildings
disappear into the ground. -
13:02 - 13:04The hands make another gesture,
and a new building appears in its place. -
13:04 - 13:08Here, we see drawings turn into buildings,
and they now occupy the side of the road. -
13:08 - 13:11This was my first ASL script.
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13:11 - 13:13I wasn't the only one that used it.
We had an entire team, -
13:13 - 13:14a big team,
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13:14 - 13:18of deaf crew members.
There were prop artists, -
13:18 - 13:20actors and their coaches,
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13:20 - 13:24cameramen, editors,
special effects people, -
13:24 - 13:26a big team. And we all relied on this.
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13:26 - 13:28Sign language. No writing on paper.
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13:28 - 13:52And here's the result.
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13:52 - 13:54Thank you. And I felt
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13:54 - 13:57THIS was the future.
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13:57 - 13:58If I worked on the ASL, my world
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13:58 - 14:01would expand.
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14:01 - 14:03And I could easily translate
this vision because -
14:03 - 14:05we were all speaking the same language.
They saw this and understood it right away. -
14:05 - 14:09"The building pops up. I got it.
I'll take care of it." -
14:09 - 14:12So this is something we should pursue.
ASL scripts. -
14:12 - 14:16Here's another thing.
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14:16 - 14:18Camera flow.
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14:18 - 14:21You all know what editing is.
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14:21 - 14:23In a shot, a person talks.
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14:23 - 14:25Then we cut to the other side: "No, mom."
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14:25 - 14:27Back to the original frame. And so on.
That's editing. -
14:27 - 14:30Back and forth between two frames.
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14:30 - 14:32I looked at this uniform practice and
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14:32 - 14:34when we talk in ASL to another person,
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14:34 - 14:37do we carry on conversation
facing one another? -
14:37 - 14:39Is that how we talk in ASL?
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14:39 - 14:41Or do we wave our hands abruptly
in front of that person? -
14:41 - 14:43"Oh, OK. What?
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14:43 - 14:46Is there something on the floor?" Nah.
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14:46 - 14:48We normally maintain eye contact
throughout the conversation. -
14:48 - 14:50Even when we're walking, we maintain
eye contact in conversation. -
14:50 - 14:52Telephone poles come between us,
and we still maintain eye contact. -
14:52 - 14:54It doesn't matter which direction we go
or if there are obstacles. -
14:54 - 14:56We stay connected to each other.
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14:56 - 14:57We must be attuned to each other,
so we can maintain that connection. -
14:57 - 14:59Therefore, the camera should be fluid
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14:59 - 15:02and constant.
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15:02 - 15:04This will appeal to our inner values.
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15:04 - 15:06"Yes, this is just like my world."
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15:06 - 15:08I've started doing something more:
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15:08 - 15:10attaching the camera to a body rig
so that when I walk, -
15:10 - 15:12the camera bounces gently.
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15:12 - 15:15This is called a Steadicam.
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15:15 - 15:18Using this makes me feel more attuned
to the action. -
15:18 - 16:06Here's an example of a steadicam shot:
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16:06 - 16:08Another thing: did you see the captions?
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16:08 - 16:12Notice the captions? They weren't fixed
to the bottom of the screen. -
16:12 - 16:14Those captions feel just like
an abrupt break in the edit. -
16:14 - 16:15My eyes are drawn
to the bottom of the screen. -
16:15 - 16:16Just as I'm making eye contact
with the actor, -
16:16 - 16:18I have to look away to read the captions.
I want that eye contact! -
16:18 - 16:20I wanted to maintain eye contact, so I had
the captions appear around the actors. -
16:20 - 16:22Now my eyes are able to follow
the captions as they appear. -
16:22 - 16:24My eyes can still feel the flow
in the sequence. -
16:24 - 16:26I feel connected to what's going on.
And that's my world. -
16:26 - 16:29That's it.
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16:29 - 16:34Here's another element:
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16:34 - 16:37Recall the voiceover.
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16:37 - 16:39For us, the sound doesn't jibe
with what's going on. -
16:39 - 16:41We're a visual people.
We don't hear anything. -
16:41 - 16:44So, how do we work around this?
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16:44 - 16:47Let's go back to the first element:
the ASL script. -
16:47 - 16:49When it's signed, we can see the story.
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16:49 - 16:52And the second element is flow.
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16:52 - 16:56Combining these two elements led me
to make a film, VITAL SIGNS. -
16:56 - 16:58A person tells a story as vignettes
appear around him. -
16:58 - 17:03And the vignettes
match up with the story. -
17:03 - 17:07The car backs out of the garage
and speeds away. -
17:07 - 17:09'Gotta get in the car!'
-
17:09 - 17:11Keys in the ignition,
the roar of the engine! -
17:11 - 17:13The RPM needle rises and falls,
the gears shift, the tires spin! -
17:13 - 17:15The car drives in reverse,
then spins around, the gears shift again, -
17:15 - 17:16and the engine roars!
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17:16 - 17:17The roar of the engine...
and the car speeds away, -
17:17 - 17:20... and away. "Oh! A red light."
The car passes under it. -
17:20 - 17:22The other cars slam on their brakes
as the car speeds away. -
17:22 - 17:24The car veers around a curve,
into traffic. -
17:24 - 17:26Weaving into traffic behind another car,
the car speeds up and -
17:26 - 17:32overtakes it... but oh!
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17:32 - 17:34He spots what he's looking for
and fishtails, -
17:34 - 17:37nearly hitting another car
in front of him. -
17:37 - 17:40He comes to a stop and gets out of the car.
He walks: "Where's my wife?" -
17:40 - 17:42Here's the narrator.
So the three elements -
17:42 - 17:44combined,
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17:44 - 17:46make me go back to my teacher
at Gallaudet, Facundo. -
17:46 - 17:49He didn't find the words at the time,
-
17:49 - 17:56but I think I know
what he was trying to say. -
17:56 - 18:00It would be like we had holes
in the back of our heads. -
18:00 - 18:03And the camera would capture
what my eyes saw. -
18:03 - 18:05Through this perspective, you'd say,
"Ah, so that's their world! -
18:05 - 18:07That's how they see-- fluidly."
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18:07 - 18:09So this is something new.
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18:09 - 18:11And this leads us to...
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18:11 - 18:13Deaf Lens
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18:13 - 18:16There are no limits anymore. None.
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18:16 - 18:19And I want to pursue this further.
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18:19 - 18:21Thank you.
- Title:
- Deaf Lens | Wayne Betts Jr | TEDxIslay
- Description:
-
For more information about this event, please go to www.tedxislay.com.
This speech was made at TEDxIslay in Austin, Texas on May 15, 2010.
All of the speakers were deaf.
Wayne Betts walks us through the beginnings of his passion for films, his film language studies, and how to make films that are true to what a deaf filmmaker would see through his own eyes.
In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized. (Subject to certain rules and regulations.)
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDxTalks
- Duration:
- 18:29
Elisabeth Buffard approved English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard accepted English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Elisabeth Buffard edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay | ||
Amara Bot edited English subtitles for Deaf Lens | Wayne Betts Jr | TEDxIslay |