[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:10.30,0:00:12.83,Default,,0000,0000,0000,,Hi my name is Tony and\Nthis is Every Frame a Painting.
Dialogue: 0,0:00:12.83,0:00:16.21,Default,,0000,0000,0000,,Today I’m going to switch things up\Nand talk about problem-solving.
Dialogue: 0,0:00:16.21,0:00:19.27,Default,,0000,0000,0000,,One of the reasons I like filmmaking is\Nthat sometimes you have to design
Dialogue: 0,0:00:19.27,0:00:21.63,Default,,0000,0000,0000,,a solution to a particular\Nstumbling block.
Dialogue: 0,0:00:21.63,0:00:24.75,Default,,0000,0000,0000,,For example, how do you show\Na text message in a film?
Dialogue: 0,0:00:31.40,0:00:34.61,Default,,0000,0000,0000,,It’s an interesting conundrum.\NTexting is kinda visual, so in theory,
Dialogue: 0,0:00:34.61,0:00:36.23,Default,,0000,0000,0000,,this shouldn’t be hard.
Dialogue: 0,0:00:36.23,0:00:38.60,Default,,0000,0000,0000,,And yet every time a filmmaker\Ncuts to an insert of a phone
Dialogue: 0,0:00:41.60,0:00:45.43,Default,,0000,0000,0000,,you can hear the audience yawning. Many\Nfilms make it so characters don’t text
Dialogue: 0,0:00:45.43,0:00:47.68,Default,,0000,0000,0000,,or they read the messages\Nout loud like idiots.
Dialogue: 0,0:00:47.68,0:00:51.30,Default,,0000,0000,0000,,Or worse, they invent some reason\Nfor the phones not to work.
Dialogue: 0,0:00:51.30,0:00:54.07,Default,,0000,0000,0000,,{\i1}--97% nationwide coverage and we\Nfind ourselves in the three percent{\i0}
Dialogue: 0,0:00:54.07,0:00:57.12,Default,,0000,0000,0000,,But in the last four or five years,\Nsomething’s happened. Filmmakers have
Dialogue: 0,0:00:57.12,0:01:01.51,Default,,0000,0000,0000,,started adopting a new formal convention\Nthe onscreen text message.
Dialogue: 0,0:01:01.51,0:01:03.58,Default,,0000,0000,0000,,It has exploded in just a few years.
Dialogue: 0,0:01:03.58,0:01:05.50,Default,,0000,0000,0000,,I first noticed it on the\NBBC version of Sherlock.
Dialogue: 0,0:01:10.00,0:01:13.23,Default,,0000,0000,0000,,But after consulting Twitter, we found\Nearlier examples in soap operas
Dialogue: 0,0:01:13.70,0:01:15.67,Default,,0000,0000,0000,,teen movies
Dialogue: 0,0:01:16.50,0:01:19.48,Default,,0000,0000,0000,,and in films from South Korea and Japan.
Dialogue: 0,0:01:19.48,0:01:22.48,Default,,0000,0000,0000,,Regardless of where you first saw it,\Nthis is a great example of how
Dialogue: 0,0:01:22.48,0:01:24.14,Default,,0000,0000,0000,,film form is always evolving.
Dialogue: 0,0:01:24.14,0:01:26.90,Default,,0000,0000,0000,,So why are filmmakers adopting this?
Dialogue: 0,0:01:28.00,0:01:29.90,Default,,0000,0000,0000,,I think there’s 3 simple reasons.
Dialogue: 0,0:01:29.90,0:01:33.75,Default,,0000,0000,0000,,First off, it saves money. If you have\Na story where texting is important,
Dialogue: 0,0:01:33.75,0:01:37.05,Default,,0000,0000,0000,,the director can save a ton of money\Nby not shooting 60 close-ups of phones.
Dialogue: 0,0:01:37.05,0:01:39.25,Default,,0000,0000,0000,,All you need is AfterEffects & this guy:
Dialogue: 0,0:01:39.25,0:01:41.44,Default,,0000,0000,0000,,{\i1}--Andrew Kramer here\Nfor Video Copilot.net{\i0}
Dialogue: 0,0:01:42.00,0:01:45.95,Default,,0000,0000,0000,,Second, it’s artistically efficient.\NShot-reverse shot is slow
Dialogue: 0,0:01:45.95,0:01:48.82,Default,,0000,0000,0000,,because the phone has to be\Nonscreen long enough to read it.
Dialogue: 0,0:01:48.82,0:01:50.89,Default,,0000,0000,0000,,Sometimes in huge,\Nridiculous grandma font.
Dialogue: 0,0:01:50.89,0:01:54.67,Default,,0000,0000,0000,,Onscreen texting solves a lot of this.\NIt allows us to combine
Dialogue: 0,0:01:54.67,0:01:57.74,Default,,0000,0000,0000,,action and reaction in the same frame.\NBest of all,
Dialogue: 0,0:01:57.74,0:02:01.00,Default,,0000,0000,0000,,it gives us an uninterrupted view of the\Nactor’s performance which is always nice
Dialogue: 0,0:02:02.87,0:02:06.15,Default,,0000,0000,0000,,But there’s a third reason this has\Nbeen noticed: elegant design.
Dialogue: 0,0:02:06.15,0:02:10.67,Default,,0000,0000,0000,,And this is where Sherlock is definitive\NThis is beautiful, in and of itself.
Dialogue: 0,0:02:10.67,0:02:12.84,Default,,0000,0000,0000,,You’ll notice: there’s no bubble\Naround the text, because
Dialogue: 0,0:02:12.84,0:02:14.82,Default,,0000,0000,0000,,the bubble is the first thing\Nthat becomes outdated.
Dialogue: 0,0:02:14.82,0:02:18.38,Default,,0000,0000,0000,,The font has stayed consistent for each\Nseason of the show. The color is white
Dialogue: 0,0:02:18.38,0:02:20.37,Default,,0000,0000,0000,,instead of different colors for\Ndifferent characters.
Dialogue: 0,0:02:20.37,0:02:23.48,Default,,0000,0000,0000,,We arent told who’s sending or receiving\Nwhich is great because now the audience
Dialogue: 0,0:02:23.48,0:02:26.28,Default,,0000,0000,0000,,has to infer based on the message, which\Nincreases our involvement.
Dialogue: 0,0:02:26.28,0:02:29.36,Default,,0000,0000,0000,,The words appear next to the phone\Nbut they float independently.
Dialogue: 0,0:02:29.36,0:02:32.42,Default,,0000,0000,0000,,Compare that to this film, where the\Nmessages move as if they’re attached
Dialogue: 0,0:02:32.42,0:02:34.40,Default,,0000,0000,0000,,to the device.\NWait no, to the person.
Dialogue: 0,0:02:34.40,0:02:36.20,Default,,0000,0000,0000,,No, to the device.\NMake up your mind.
Dialogue: 0,0:02:36.20,0:02:38.24,Default,,0000,0000,0000,,So who knows? Maybe this\Nwill be a new convention,
Dialogue: 0,0:02:38.24,0:02:40.24,Default,,0000,0000,0000,,maybe it’s just a stepping stone.\N{\i1}--NO.{\i0}
Dialogue: 0,0:02:41.00,0:02:42.85,Default,,0000,0000,0000,,But while Sherlock seems to have\Nsolved how to do text messages,
Dialogue: 0,0:02:42.85,0:02:44.46,Default,,0000,0000,0000,,we have another issue.
Dialogue: 0,0:02:44.46,0:02:47.79,Default,,0000,0000,0000,,Many many people have tried,\Nbut we still don’t have
Dialogue: 0,0:02:47.79,0:02:50.00,Default,,0000,0000,0000,,that one really good way of\Ndepicting the internet.
Dialogue: 0,0:02:50.00,0:02:52.41,Default,,0000,0000,0000,,Some methods are not exactly cheap.
Dialogue: 0,0:02:53.50,0:02:55.01,Default,,0000,0000,0000,,Others are kinda inefficient.
Dialogue: 0,0:02:57.01,0:02:58.85,Default,,0000,0000,0000,,And others... well, you know.
Dialogue: 0,0:03:00.00,0:03:02.61,Default,,0000,0000,0000,,I am actually a big fan of one new\Ndevelopment: the desktop film
Dialogue: 0,0:03:02.61,0:03:05.61,Default,,0000,0000,0000,,where all of the action takes\Nplace directly on the screen.
Dialogue: 0,0:03:05.61,0:03:07.00,Default,,0000,0000,0000,,{\i1}--Let me show you.{\i0}
Dialogue: 0,0:03:07.00,0:03:09.71,Default,,0000,0000,0000,,I can’t speak for anyone else,\Nbut these films are actually pretty
Dialogue: 0,0:03:09.71,0:03:12.61,Default,,0000,0000,0000,,similar to how I receive information\Non a daily basis.
Dialogue: 0,0:03:13.50,0:03:15.19,Default,,0000,0000,0000,,Some have emotional resonance.
Dialogue: 0,0:03:16.00,0:03:17.19,Default,,0000,0000,0000,,Some are mysterious.
Dialogue: 0,0:03:18.19,0:03:20.00,Default,,0000,0000,0000,,And some are wonderfully experimental.
Dialogue: 0,0:03:25.63,0:03:28.45,Default,,0000,0000,0000,,But if you want to explore the cutting\Nedge, there’s only one place to go
Dialogue: 0,0:03:28.45,0:03:30.45,Default,,0000,0000,0000,,{\i1}--One ticket to Tokyo, please{\i0}
Dialogue: 0,0:03:35.92,0:03:39.42,Default,,0000,0000,0000,,Where for the last 2 decades, animation\Nhas been coming up with wild and crazy
Dialogue: 0,0:03:39.42,0:03:41.09,Default,,0000,0000,0000,,ways to show the world online,
Dialogue: 0,0:03:41.09,0:03:43.50,Default,,0000,0000,0000,,Whether they be Superflat and floating.
Dialogue: 0,0:03:44.50,0:03:46.97,Default,,0000,0000,0000,,Or message board posts as intertitles
Dialogue: 0,0:03:47.50,0:03:50.01,Default,,0000,0000,0000,,Or plugging into a separate\Ngreen online world
Dialogue: 0,0:03:51.01,0:03:53.38,Default,,0000,0000,0000,,And there's a bunch of other\Nfascinating possibilities that
Dialogue: 0,0:03:53.38,0:03:55.06,Default,,0000,0000,0000,,may or may not work in other films
Dialogue: 0,0:03:55.06,0:03:57.50,Default,,0000,0000,0000,,but are really interesting\Njust to consider.
Dialogue: 0,0:03:58.00,0:04:00.19,Default,,0000,0000,0000,,Even live-action films from\NAsian directors have tried this.
Dialogue: 0,0:04:00.19,0:04:02.00,Default,,0000,0000,0000,,Physical rooms where people chat.
Dialogue: 0,0:04:03.50,0:04:05.42,Default,,0000,0000,0000,,An animated world within the cell phone.
Dialogue: 0,0:04:07.42,0:04:10.30,Default,,0000,0000,0000,,All of these are experiments\Nand some are honestly failures.
Dialogue: 0,0:04:10.30,0:04:12.25,Default,,0000,0000,0000,,But that’s good,\Nbecause people are trying.
Dialogue: 0,0:04:12.25,0:04:15.15,Default,,0000,0000,0000,,And for once, this is a level playing\Nfield. You and I have
Dialogue: 0,0:04:15.15,0:04:17.46,Default,,0000,0000,0000,,as much of a chance of figuring\Nout the solution as the next
Dialogue: 0,0:04:17.46,0:04:21.65,Default,,0000,0000,0000,,Hollywood film. For something\Nlike this, lack of money is an advantage
Dialogue: 0,0:04:21.65,0:04:24.30,Default,,0000,0000,0000,,Remember: cheap, efficient, elegant.
Dialogue: 0,0:04:25.70,0:04:27.30,Default,,0000,0000,0000,,For all I know, the solution\Nis already out there.
Dialogue: 0,0:04:27.30,0:04:28.91,Default,,0000,0000,0000,,{\i1}--A hacker{\i0}
Dialogue: 0,0:04:29.91,0:04:31.50,Default,,0000,0000,0000,,Hell, Sherlock may have figured it out.
Dialogue: 0,0:04:32.50,0:04:35.91,Default,,0000,0000,0000,,But in the meantime I think it’s\Nnice to appreciate a small formal step
Dialogue: 0,0:04:35.91,0:04:39.51,Default,,0000,0000,0000,,in the right direction. This is proof \Nthat film form is not set in stone.
Dialogue: 0,0:04:39.51,0:04:43.17,Default,,0000,0000,0000,,People don’t stop inventing this stuff.\NAnd right now, at least,
Dialogue: 0,0:04:43.17,0:04:47.14,Default,,0000,0000,0000,,I see a big problem we haven’t solved\Nyet. And a very level playing field
Dialogue: 0,0:04:47.14,0:04:49.30,Default,,0000,0000,0000,,for anyone who wants to go for it.