[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:06.00,0:00:07.00,Default,,0000,0000,0000,,In this short video,
Dialogue: 0,0:00:07.00,0:00:08.00,Default,,0000,0000,0000,,we're going to show you how we use
Dialogue: 0,0:00:08.00,0:00:10.00,Default,,0000,0000,0000,,two different animation techniques,
Dialogue: 0,0:00:10.00,0:00:11.00,Default,,0000,0000,0000,,both rotoscoping
Dialogue: 0,0:00:11.00,0:00:13.00,Default,,0000,0000,0000,,and traditional hand-drawn animation
Dialogue: 0,0:00:13.00,0:00:15.00,Default,,0000,0000,0000,,in the TED-Ed Lesson,
Dialogue: 0,0:00:15.00,0:00:18.00,Default,,0000,0000,0000,,"Miss Gayle's 5 Steps to Slam Poetry:
Dialogue: 0,0:00:18.00,0:00:21.00,Default,,0000,0000,0000,,A Lesson of Transformation."
Dialogue: 0,0:00:26.00,0:00:28.00,Default,,0000,0000,0000,,A poetry slam is a competition
Dialogue: 0,0:00:28.00,0:00:30.00,Default,,0000,0000,0000,,in which poets are judged on their poems,
Dialogue: 0,0:00:30.00,0:00:32.00,Default,,0000,0000,0000,,often for qualities of emotional power
Dialogue: 0,0:00:32.00,0:00:34.00,Default,,0000,0000,0000,,and lyrical resonance.
Dialogue: 0,0:00:34.00,0:00:36.00,Default,,0000,0000,0000,,Our Lesson was created by Gayle Danley,
Dialogue: 0,0:00:36.00,0:00:37.00,Default,,0000,0000,0000,,a veteran slam poet
Dialogue: 0,0:00:37.00,0:00:39.00,Default,,0000,0000,0000,,who spent decades teaching children
Dialogue: 0,0:00:39.00,0:00:42.00,Default,,0000,0000,0000,,to express themselves through spoken words,
Dialogue: 0,0:00:42.00,0:00:44.00,Default,,0000,0000,0000,,a Lesson, which offers a guide to creating poetry
Dialogue: 0,0:00:44.00,0:00:46.00,Default,,0000,0000,0000,,with immediacy and power,
Dialogue: 0,0:00:46.00,0:00:49.00,Default,,0000,0000,0000,,also serves as a great example of exactly that.
Dialogue: 0,0:00:49.00,0:00:50.00,Default,,0000,0000,0000,,It's a story told in the form of a poem
Dialogue: 0,0:00:50.00,0:00:53.00,Default,,0000,0000,0000,,that packs a real emotional punch.
Dialogue: 0,0:00:53.00,0:00:54.00,Default,,0000,0000,0000,,She introduces Tyler,
Dialogue: 0,0:00:54.00,0:00:57.00,Default,,0000,0000,0000,,who's sitting in an 11th grade writing class,
Dialogue: 0,0:00:57.00,0:00:59.00,Default,,0000,0000,0000,,struggling with the assignment of having to write a poem
Dialogue: 0,0:00:59.00,0:01:01.00,Default,,0000,0000,0000,,based on a personal experience.
Dialogue: 0,0:01:01.00,0:01:03.00,Default,,0000,0000,0000,,The story is told from two perspectives,
Dialogue: 0,0:01:03.00,0:01:04.00,Default,,0000,0000,0000,,one external
Dialogue: 0,0:01:04.00,0:01:06.00,Default,,0000,0000,0000,,and one internal.
Dialogue: 0,0:01:06.00,0:01:07.00,Default,,0000,0000,0000,,Miss Gayle's narration sets the stage
Dialogue: 0,0:01:07.00,0:01:09.00,Default,,0000,0000,0000,,of the outside world,
Dialogue: 0,0:01:09.00,0:01:11.00,Default,,0000,0000,0000,,and spoken word artist Pages D. Matan
Dialogue: 0,0:01:11.00,0:01:13.00,Default,,0000,0000,0000,,performs Tyler's inner voice.
Dialogue: 0,0:01:13.00,0:01:15.00,Default,,0000,0000,0000,,To set these two realms
Dialogue: 0,0:01:15.00,0:01:17.00,Default,,0000,0000,0000,,of inner- and outer-experience apart,
Dialogue: 0,0:01:17.00,0:01:18.00,Default,,0000,0000,0000,,a different animation technique was used
Dialogue: 0,0:01:18.00,0:01:20.00,Default,,0000,0000,0000,,to illustrate each.
Dialogue: 0,0:01:20.00,0:01:22.00,Default,,0000,0000,0000,,The real world was animated by rotoscoping,
Dialogue: 0,0:01:22.00,0:01:24.00,Default,,0000,0000,0000,,with a frame-by-frame tracing of live-action footage
Dialogue: 0,0:01:24.00,0:01:26.00,Default,,0000,0000,0000,,in black and white line art.
Dialogue: 0,0:01:26.00,0:01:28.00,Default,,0000,0000,0000,,The animation depicting the inner-stream
Dialogue: 0,0:01:28.00,0:01:30.00,Default,,0000,0000,0000,,of consciousness world of Tyler's memories
Dialogue: 0,0:01:30.00,0:01:32.00,Default,,0000,0000,0000,,was traditionally drawn on paper,
Dialogue: 0,0:01:32.00,0:01:33.00,Default,,0000,0000,0000,,featured watercolored backgrounds
Dialogue: 0,0:01:33.00,0:01:35.00,Default,,0000,0000,0000,,and a more expressionistic design.
Dialogue: 0,0:01:35.00,0:01:37.00,Default,,0000,0000,0000,,Once deciding on this general approach,
Dialogue: 0,0:01:37.00,0:01:39.00,Default,,0000,0000,0000,,the project went right into pre-production.
Dialogue: 0,0:01:44.00,0:01:47.00,Default,,0000,0000,0000,,In animation, pre-production is the planning stage.
Dialogue: 0,0:01:47.00,0:01:49.00,Default,,0000,0000,0000,,It's all the decisions that need to be made
Dialogue: 0,0:01:49.00,0:01:50.00,Default,,0000,0000,0000,,before going and actually making the thing
Dialogue: 0,0:01:50.00,0:01:52.00,Default,,0000,0000,0000,,in its final form.
Dialogue: 0,0:01:52.00,0:01:53.00,Default,,0000,0000,0000,,This can include developing
Dialogue: 0,0:01:53.00,0:01:55.00,Default,,0000,0000,0000,,the look or design of the piece,
Dialogue: 0,0:01:55.00,0:01:56.00,Default,,0000,0000,0000,,experimenting with colors and camera angles,
Dialogue: 0,0:01:56.00,0:01:58.00,Default,,0000,0000,0000,,revising the script,
Dialogue: 0,0:01:58.00,0:01:59.00,Default,,0000,0000,0000,,and so on.
Dialogue: 0,0:01:59.00,0:02:00.00,Default,,0000,0000,0000,,All these decisions are important
Dialogue: 0,0:02:00.00,0:02:02.00,Default,,0000,0000,0000,,because they determine how much work and time
Dialogue: 0,0:02:02.00,0:02:04.00,Default,,0000,0000,0000,,the production will take.
Dialogue: 0,0:02:04.00,0:02:06.00,Default,,0000,0000,0000,,Extra time spent here figuring things out
Dialogue: 0,0:02:06.00,0:02:08.00,Default,,0000,0000,0000,,can often save a lot of time down the road.
Dialogue: 0,0:02:08.00,0:02:11.00,Default,,0000,0000,0000,,For our project, a storyboard was first created,
Dialogue: 0,0:02:11.00,0:02:13.00,Default,,0000,0000,0000,,in which the framing, composition, and imagery
Dialogue: 0,0:02:13.00,0:02:14.00,Default,,0000,0000,0000,,for each shot was determined.
Dialogue: 0,0:02:14.00,0:02:16.00,Default,,0000,0000,0000,,Then an animatic was made,
Dialogue: 0,0:02:16.00,0:02:18.00,Default,,0000,0000,0000,,which is basically a movie of the storyboard.
Dialogue: 0,0:02:18.00,0:02:20.00,Default,,0000,0000,0000,,This helped us figure out the timing of each shot.
Dialogue: 0,0:02:20.00,0:02:21.00,Default,,0000,0000,0000,,It also helped us get an idea
Dialogue: 0,0:02:21.00,0:02:23.00,Default,,0000,0000,0000,,of how well everything would flow together visually
Dialogue: 0,0:02:23.00,0:02:24.00,Default,,0000,0000,0000,,between our rotoscoped
Dialogue: 0,0:02:24.00,0:02:26.00,Default,,0000,0000,0000,,and traditionally animated scenes
Dialogue: 0,0:02:26.00,0:02:27.00,Default,,0000,0000,0000,,once they were assembled.
Dialogue: 0,0:02:32.00,0:02:35.00,Default,,0000,0000,0000,,For the rotoscoped shots, we first had to create
Dialogue: 0,0:02:35.00,0:02:37.00,Default,,0000,0000,0000,,the live action footage to be traced.
Dialogue: 0,0:02:38.00,0:02:40.00,Default,,0000,0000,0000,,Working with what we had in our humble office,
Dialogue: 0,0:02:40.00,0:02:41.00,Default,,0000,0000,0000,,we created a classroom of desks
Dialogue: 0,0:02:41.00,0:02:43.00,Default,,0000,0000,0000,,using only one small table.
Dialogue: 0,0:02:45.00,0:02:46.00,Default,,0000,0000,0000,,We shot this multiple times
Dialogue: 0,0:02:46.00,0:02:48.00,Default,,0000,0000,0000,,from each angle the storyboard called for,
Dialogue: 0,0:02:48.00,0:02:50.00,Default,,0000,0000,0000,,each time with a different volunteer
Dialogue: 0,0:02:50.00,0:02:51.00,Default,,0000,0000,0000,,from among our co-workers.
Dialogue: 0,0:02:52.00,0:02:54.00,Default,,0000,0000,0000,,Our source footage elements
Dialogue: 0,0:02:54.00,0:02:55.00,Default,,0000,0000,0000,,then needed to be composited,
Dialogue: 0,0:02:55.00,0:02:57.00,Default,,0000,0000,0000,,or assembled and arranged together,
Dialogue: 0,0:02:57.00,0:02:59.00,Default,,0000,0000,0000,,before we could rotoscope them.
Dialogue: 0,0:02:59.00,0:03:01.00,Default,,0000,0000,0000,,A composite is a special effects term
Dialogue: 0,0:03:01.00,0:03:03.00,Default,,0000,0000,0000,,for a shot that combines two or more elements in it
Dialogue: 0,0:03:03.00,0:03:05.00,Default,,0000,0000,0000,,that were created separately.
Dialogue: 0,0:03:05.00,0:03:07.00,Default,,0000,0000,0000,,To do this, we used After Effects,
Dialogue: 0,0:03:07.00,0:03:10.00,Default,,0000,0000,0000,,a digital compositing and motion graphics program.
Dialogue: 0,0:03:10.00,0:03:11.00,Default,,0000,0000,0000,,The first step was to isolate
Dialogue: 0,0:03:11.00,0:03:12.00,Default,,0000,0000,0000,,the part of the frame we needed
Dialogue: 0,0:03:12.00,0:03:15.00,Default,,0000,0000,0000,,by masking off the unnecessary negative space,
Dialogue: 0,0:03:15.00,0:03:17.00,Default,,0000,0000,0000,,or parts of the frame we didn't need.
Dialogue: 0,0:03:17.00,0:03:18.00,Default,,0000,0000,0000,,The individual shots were then each layered
Dialogue: 0,0:03:18.00,0:03:20.00,Default,,0000,0000,0000,,into one composite shot,
Dialogue: 0,0:03:20.00,0:03:22.00,Default,,0000,0000,0000,,resized and arranged appropriately
Dialogue: 0,0:03:22.00,0:03:23.00,Default,,0000,0000,0000,,to create the illusion of them
Dialogue: 0,0:03:23.00,0:03:26.00,Default,,0000,0000,0000,,all being there in perspective at the same time.
Dialogue: 0,0:03:26.00,0:03:28.00,Default,,0000,0000,0000,,Every third frame was then exported
Dialogue: 0,0:03:28.00,0:03:29.00,Default,,0000,0000,0000,,as an image sequence,
Dialogue: 0,0:03:29.00,0:03:31.00,Default,,0000,0000,0000,,ready to be rotoscoped.
Dialogue: 0,0:03:31.00,0:03:33.00,Default,,0000,0000,0000,,The tracing was done digitally,
Dialogue: 0,0:03:33.00,0:03:35.00,Default,,0000,0000,0000,,drawn directly on a Cintiq monitor.
Dialogue: 0,0:03:42.00,0:03:43.00,Default,,0000,0000,0000,,The rest of the animation
Dialogue: 0,0:03:43.00,0:03:45.00,Default,,0000,0000,0000,,was done by hand on paper.
Dialogue: 0,0:03:45.00,0:03:46.00,Default,,0000,0000,0000,,Unlike rotoscoping,
Dialogue: 0,0:03:46.00,0:03:48.00,Default,,0000,0000,0000,,here the timing and motion of the animation
Dialogue: 0,0:03:48.00,0:03:51.00,Default,,0000,0000,0000,,was all planned out by the animator ahead of time.
Dialogue: 0,0:03:51.00,0:03:53.00,Default,,0000,0000,0000,,An appropriate number of drawings were then done
Dialogue: 0,0:03:53.00,0:03:54.00,Default,,0000,0000,0000,,to accomplish the movement.
Dialogue: 0,0:03:56.00,0:03:58.00,Default,,0000,0000,0000,,Each animation drawing is then scanned,
Dialogue: 0,0:03:58.00,0:03:59.00,Default,,0000,0000,0000,,registered,
Dialogue: 0,0:03:59.00,0:04:01.00,Default,,0000,0000,0000,,and sequenced together in the computer.
Dialogue: 0,0:04:02.00,0:04:04.00,Default,,0000,0000,0000,,That animation sequence is then composited
Dialogue: 0,0:04:04.00,0:04:06.00,Default,,0000,0000,0000,,with the layered background art.
Dialogue: 0,0:04:06.00,0:04:09.00,Default,,0000,0000,0000,,Camera moves are then plotted out and executed.
Dialogue: 0,0:04:16.00,0:04:17.00,Default,,0000,0000,0000,,One way that poetry uses language
Dialogue: 0,0:04:17.00,0:04:19.00,Default,,0000,0000,0000,,to communicate emotions and ideas
Dialogue: 0,0:04:19.00,0:04:21.00,Default,,0000,0000,0000,,is through the use of metaphor.
Dialogue: 0,0:04:21.00,0:04:26.00,Default,,0000,0000,0000,,"Mama's lies are footsteps too many to count
Dialogue: 0,0:04:26.00,0:04:29.00,Default,,0000,0000,0000,,making excuses on black snow."
Dialogue: 0,0:04:29.00,0:04:32.00,Default,,0000,0000,0000,,Animation's a medium that's also uniquely well-suited
Dialogue: 0,0:04:32.00,0:04:34.00,Default,,0000,0000,0000,,to communicating emotions and ideas
Dialogue: 0,0:04:34.00,0:04:36.00,Default,,0000,0000,0000,,through visual metaphor.
Dialogue: 0,0:04:36.00,0:04:37.00,Default,,0000,0000,0000,,Applying the dual techniques
Dialogue: 0,0:04:37.00,0:04:39.00,Default,,0000,0000,0000,,of rotoscoped and traditional animation,
Dialogue: 0,0:04:39.00,0:04:41.00,Default,,0000,0000,0000,,each with their own inherent looks,
Dialogue: 0,0:04:41.00,0:04:42.00,Default,,0000,0000,0000,,allowed us to visually represent
Dialogue: 0,0:04:42.00,0:04:44.00,Default,,0000,0000,0000,,the dual nature of the creative process
Dialogue: 0,0:04:44.00,0:04:46.00,Default,,0000,0000,0000,,described in the Lesson.
Dialogue: 0,0:04:46.00,0:04:48.00,Default,,0000,0000,0000,,There's the internal aspect of experience and memory,
Dialogue: 0,0:04:48.00,0:04:50.00,Default,,0000,0000,0000,,which is mined for inspiration,
Dialogue: 0,0:04:50.00,0:04:52.00,Default,,0000,0000,0000,,and there's the external aspect
Dialogue: 0,0:04:52.00,0:04:53.00,Default,,0000,0000,0000,,of revealing it to the world
Dialogue: 0,0:04:53.00,0:04:55.00,Default,,0000,0000,0000,,through a structured presentation.
Dialogue: 0,0:04:55.00,0:04:57.00,Default,,0000,0000,0000,,We combined both techniques for the last shots
Dialogue: 0,0:04:57.00,0:04:59.00,Default,,0000,0000,0000,,of Tyler delivering his poem to the world,
Dialogue: 0,0:04:59.00,0:05:01.00,Default,,0000,0000,0000,,allowing us to convey in a direct, visual way
Dialogue: 0,0:05:01.00,0:05:03.00,Default,,0000,0000,0000,,the power of that moment of communication
Dialogue: 0,0:05:03.00,0:05:05.00,Default,,0000,0000,0000,,when internal becomes external,
Dialogue: 0,0:05:05.00,0:05:06.00,Default,,0000,0000,0000,,which, in both poetry and animation,
Dialogue: 0,0:05:06.00,0:05:08.00,Default,,0000,0000,0000,,is where the magic happens.