 I'm Dylan Gu, in case you guys don't already know. Welcome to school, I guess. So yeah, we're gonna start this lesson off, essentially, with an overview of what we're gonna be talking about. The main focus of this course is basically just to demonstrate camera work as a way of sort of emphasizing and really taking advantage of what you do have in your scene, usually it's animation. So a lot of animators, you know, I've seen a lot of people just do like wide angles and just like flat shots of their stuff and there's a lot of things that you can take advantage of once you learn how to do storytelling with cameras to really accentuate what you already have. So I think it's a really good opportunity to sort of demonstrate with the animation that we finished kind of today. And it's the animation that I sort of debuted in the theater, sort of have finished. And the animation itself already has camera work and we're gonna sort of go around and have a list of sort of different moods and different sort of auras that we wanna give off and see if we can achieve that without changing anything except for camera work. And that's the challenge. What we're gonna do is I'm gonna do a couple of them. We have a short list and then I'm gonna be taking a challenge or two from you guys to see if I can make something up that works. Sound good? Okay, excitement, all right, cool. Yeah, all right, there we go. There we go. Okay, so we're just gonna watch this back real quick. I don't know if there's sound. Let me check. It's on my laptop, but... I put the microphone into that. I could do that, that's true. Oh, we just took it through the sound setting, but no worries if not, that's okay. All right, so the sound's not super important. I'll just turn it up really high. All right, you guys ready? Spooky, happy Halloween. All right, so this is obviously unfinished still, but I just wanted to show you guys what it looks like. What we're gonna be working in is this file with the proxy character because the playback is just a little bit slower with the actual model. So we'll be doing a couple of tests here. The current sort of like vibe. Do you guys, does anybody wanna have a guess of what this current mood of this video is? Any takers? Sinister, okay, that's a good one. Yeah, yeah, yeah, pretty similar. I can agree with that. Any other guesses? Suspenseful? Suspenseful, oh, that's a good one. Yeah, something like upcoming that's gonna be, yeah, yeah, yeah, okay, fair enough. Anything else? Secrecy, something hidden, something to be revealed later. Okay, fair enough. Yes, yes, yes, so these are all true. I definitely wanted to feel mysterious. There's a lot of things that are not being fully revealed and things that are just sort of being verbally, not verbally, sorry, visually hinted at with the camera work. For example, there's a focus on the case file with it's blank right now. There's supposed to be text later, don't worry about it. Just pretend it's super interesting. But that sort of shot and like these sort of focuses on what she's doing are very important for getting that particular secrecy, sort of like suspenseful information reveal across. There's also a little bit of her as a person that's sort of being conveyed in that she is technically, she feels almost like she's in control, right? So she's got this sort of like she knows but we don't know kind of vibe. So that also helps a lot with getting this sort of almost authoritative vibe for her across all the secrecy and all the ominous stuff as well. So that is true. I definitely think that's true. I have, yes, ominous vibes right there. Look at that, perfect. So I'm gonna try one that is putting her in a more vulnerable state. So we're not gonna change anything about her animation but we're gonna make her feel less powerful. How can we do that? So I have this thing called, it's a note called Creeper POV. It's a type of shot that I, I mean, it's not the greatest name, I promise it's weird. But it is essentially something that makes her unaware of something that we're aware of. And that's something that you can do with just camera work. And so let's see what we can do to change that. At the beginning here, I think this is fine. We're still having her feel a bit more vulnerable with the actual eye twitching and stuff like that. Plus I didn't animate the rest of her face so we won't worry about it. But this shot right here, for example, this shot is a very neutral shot right now. But we can actually take advantage of this particular animation by moving it somewhere where you don't expect. Maybe right here in the corner. Looking upwards, right? And what we can do is we can actually have this particular shot be a bit more handheld. So when we have something like this, just something like that, let's get this a little faster. We can actually have sort of this feeling that she's being watched and she doesn't know it. Especially since she just woke up, she's feeling a little vulnerable from like the eye pain or whatever it is that is causing her eye to twitch. And here we are with just a bit of a creeper POV as I like to call it. I really shouldn't call it. That's such a weird name. It's ominous. You say Minecraft? Does someone say Minecraft? Anyway. Yeah, so now we have this sort of like slightly ominous like handheld camera from a distance that isn't really supposed to be there. We could try a slightly different location depends on where you wanna put it. Another potential location is sort of like if you wanna also sort of get the focal length, we could also just take a look at that. Now, focal length is sort of interesting because not a lot of people think about it. If you guys don't know, focal length is basically zoom. It's another word for zoom. I mean, it's the same thing, but it's very fancy terminology. But focal length is essentially just how much you zoom in. And what that actually does for like a live action camera is it flattens the image. So I don't know if you guys have ever seen like a wide angle lens where you have the person really up close and then they're super distorted. And like all of their eyes are like fish eyes and like they do all these things. The opposite of that of course is being very far away and then zooming in. And their heads can fill in the same screen space. They can take up the same amount of space in the frame but they can look very different. And so that's where the difference is between like composition and like the focal length of the composition. They're actually separate because you can fill in the same space. You can get the rule thirds but you could have the wrong focal length and you give a different vibe. So this is something that's really important when you wanna do like certain moods and stuff. And you wanna think about it from a perspective of what is the purpose of a camera? That's how you sort of decide what a focal length you want. And the answer to that question is hopefully obvious after I tell you but maybe I should ask you guys what you think the purpose of cameras are first. And any takers on why cameras are useful in the animation? Yeah. Okay. Framing the story, having control over the story and how it's told, yeah, that's definitely true. Right. So for example, if you want someone to feel powerful you want them to be looked at from below or something like that, right? Yeah. That's true. Definitely some forced perspective there that could help a lot. That's a good point. That's definitely one use case. Any other sort of like bigger picture kind of ideas of why cameras are used? Yeah. Control with the audience's nose. Okay. That's definitely true as well. Yeah. Did you have an answer as well? Handheld. To sort of give an impression of who is the camera, right? Yeah, yeah, yeah. Okay. So I definitely think these are all true. The sort of idea that I'm getting at behind all of that these are all definitely valid but behind all of that is essentially you are controlling what the audience is doing in the scene. So not a lot of people think about it but the audience is actually part of your scene every time you film something they are there because in real life the only way we can see stuff is to actually be there. And so we perceive things subconsciously as if we are there and we perceive the emotion and the vibe of that particular scene based on how we would perceive it if we were there. So a good example of that is like if someone's taller than the camera then you will feel weaker and inferior because in real life that's what you would see. And so what you're doing is you're putting the audience in the situation. You're not making them a character in the story. That's nothing like that. But you're making them feel as if that subconscious reaction is real and it's relevant to what's happening on screen as well and they make that association. So in this particular case we have the handheld. We don't want the audience to feel like the creep but we want the audience to know that something creepy is going on. So when something is creeping on someone like this typically you would have a couple of things. So you could do something fun like for example you could start with a higher focal, sorry a lower focal length. This implies that they're further away. So because the character that they're looking at is smaller on the screen, the angle is wider. It's sort of like, oh this person's sneaking. They're not like super intimate with this person. So they're trying to stay, keep a distance. Okay, cool. So we have that at the beginning of this particular shot. It's a key frame right now so I'll just do that. So it stays. And then what we could do is if we wanna add some extra attention to make sure that we know she's a target we just do a quick little zoom in. Now this is kind of mimicking like actual handheld cameras with a cameraman zooming in or something to focus on something but also as the cameraman would probably say as well when he does that he's mimicking a psychological effect as well which is just someone focusing on someone else in the distance. So if you had something like this suddenly she doesn't look all that in control anymore. I mean she looks like she's about to get pounced on by someone behind her, right? Hopefully anyway. So yeah, I know what I'm talking about. But yeah, so this is sort of just an example of that sort of creeper POV with exactly the same animation and this is just such a neutral pose that we have that leeway and which is why I think this is a great example to work in this scene. But yeah, hopefully that makes sense and while putting the audience in this situation you're making the audience feel more powerful than her as well because the person in this situation is creeping on her has information that she doesn't have now we sort of feel like we're in that position so we're okay so she's in danger and she doesn't know it but we know it and that makes her feel a little bit less powerful as well. So even if we play this back with everything else the same let's see if we feel a little different about her situation. Okay, so this is interesting because I don't know if you guys felt it I'm feeling it that creeper POV was great it felt like okay there's something ominous going on here where she doesn't know something's going on but then we have a cut that goes directly outside. Now this is a problem because when you're outside you're not in the action anymore you're not in danger you're separate from the subject and so all the danger all the ominous feeling that we felt here gone it's just gone we don't know exactly who's behind her it's no longer relevant because we can't even see them. So this is actually a bad camera angle to follow up with if we want to continue with this sort of vulnerability state. So how could we potentially have this camera feel more dangerous while still focusing on the window? Let's see. I feel like we would have to be indoors for sure and if we are indoors what would we focus on first? Well there's a couple things that I know that you guys probably don't know which is that I did not animate her actually getting up off the couch so she just sort of teleports. So if anybody recommends oh we should show her getting up off the couch you guys can go home and animate that first and come back. But this is essentially all we have to work with so let's see if we can work within those limitations. Any animator who hasn't seen the film will have the same limitations no doubt. So I would recommend something like this. So I would actually go and start to hide more information for the viewer to increase suspense. So we're going for more close-ups here. This is gonna be a close-up where the feet essentially come out around the corner. So now we know that she, okay the feet are sliding I wasn't planning on showing this but it's fine. But yeah so the feet are coming up around the corner and we sort of get the idea that she's gotten up and is now walking towards the window. Okay let's see. Yeah so we're gonna do that but we're also gonna create a higher focal length. Now this focal length punches in a bit and essentially lets it feel just a bit more sort of like I don't wanna say neutral but it's more of an informational type of shot. So we're gonna flatten it a bit so it doesn't have too much intimacy if that makes sense. So there she goes. She's off. Now at the same time we do have the window opening so we still wanna accent that. We wanna make sure that's visible. So what we'll probably do is we'll cut right here and just sort of bring it right around. Here. Seems like a good shot. So we're gonna stick with that oh someone's creeping on her kind of vibe so we're actually gonna get lower on here because they're hidden and we're gonna have her walk up to the windows like so. There we go. Yeah that's great. We'll have it animated, a little bit more handheld and then we'll just have this right here with a slight interpolation. There we go. So that works pretty well. I'd say her framing is a little unfortunate because of the couch but it's not a big deal. So then, or I could just move the camera now it's okay. So then let's watch this back and see if it works. See what else we need to change to make her feel a bit more vulnerable. Okay so now that we've moved on to our next shot I think so far everything is feeling pretty good. This shot feels pretty nice and ominous. There's nothing sort of safe about this shot which I like. It's no longer outdoors, it's no longer at a very high distance and high focal length so we've sort of mitigated that particular issue. This shot on the other hand is still a little bit too neutral, a bit too safe and that's because it is at basically eye level with a medium focal length. That's a very neutral sort of like camera I think like generally speaking it's sort of like default or the default eye line and stuff like that. So if we want to elicit something specific we should play around with it a bit more. So let's think about exactly what our audience would want to feel if we want to focus on the city and her at the same time. Do you guys have any suggestions for this shot? This is an interesting one because it's sort of like a focus shot on the city but we still want to have her feel vulnerable. Any ideas? From top. A top view? Who said that? Oh yeah, yeah, yeah. That's an interesting idea for sure. Any other options before we go? Yeah, go ahead. You're talking about a dolly zoom? Yeah, those dolly zooms are nice. Yeah, that's a good trick. Yeah, so dolly zooms are pretty interesting. That's actually a pretty cool idea. We could try that for sure. I also like the idea of a top view. I think that's a pretty interesting idea because it sort of symbolizes something sort of crushing her from above or something like that. So we could try that as well. In fact, I'd like to combine them because I think they would work quite well together. Oh, that's interesting. Okay, a POV shot of for her, that could definitely work as well because it hides what she sees behind her. So it definitely obscures information and makes us feel a bit more anxious. That's very interesting. I like it. Okay, let's see if we can do all three. Easy, easy, easy. These are all great ideas though. So this is fantastic. And I think what we wanna do here is start with, well, what's a good order for this? We'll start with the top one. The top is probably gonna be the best one and the POV is gonna be the last one. Because the top one to start with is gonna give a nice transition. Where is she? There she is. Hello. Let's lower that focal length a bit because there's a ceiling. Oh, it's just a light. We're gonna do this. So this focal length should actually be pretty high but I have a ceiling in the way so it's a little annoying. But what we'll do is we'll have, actually, do do do do do. This would be a great zoom in shot while she's walking because you do want some motion here. So I'll do a quick cut here. It's very easy. So once we have a cut here, we can zoom in slightly as she's walking up and we have that sort of ominous feel. That feels pretty good. Something sort of like she's clearly unaware of it. She's also focused on something else. Where did my camera go? There it is. And we're closing in on her. And also this stupid hardware appliance in my way. Oh my God, you're a genius. You're actually a genius. Oh wait, this is not the right one. Sorry. Yeah, right, you're right. Oh God, I've been exposed. Okay, so I'm just gonna find a good number. Let's see. 5.5.5. Oh yeah! Round of applause. Perfect. You're right. Now I'll take my chances. What's the worst that could happen? It's not like her, oh, her head's gonna be missing, huh? Yeah, her head's gone. Her head's totally gone. I'll fix that in two seconds. But yeah, so the top view is looking great. I think once we get that going, we'll do the other two real quick. And then we should be able to watch it back. And I think that'll be mostly it. The rest of it I think will be pretty much standard and we can move on to the next one most likely. Because I still wanna get to the other challenges. Oh, that's a great shot. Look at that. So we also had the POV shot and we also had, what was the middle one? Can you guys remind me real quick? Always zoom. That's the one, that's my favorite. It's a good one. This is like, this is like the camera move that everybody sort of knows. Because you just know when you see it and you're like, oh wow, that's a neat trick. Even as a kid, you're like, how do they do it? And you never know what it's called until you're 30 and it's like, oh, I guess people do it all the time. Not just me, okay. All right, let's move in. Oh, the clipping, oh, the clipping. All right. So once we have this down, we'll just have the POV shot left. Always zoom, always zoom, I love always zooms. So once we get here, we just turn this down and we're good to go. I'm gonna do a quick linear interp and we should be golden. Yeah, let's exaggerate that a bit. Boom. Look at that. That's great. That's great. Cool, cool. Looks like we don't have enough frames for a POV. All right, well, unfortunately we couldn't get the POV in, but that's okay. I think it's a great idea. But we'll just move on for now because let's watch this back real quick. Oh yeah, that's ominous. We have a weird interpolation issue on this one shot, but that's fine. It gets the point across here. There we go, much smoother. So this feels great. I think in general, she's feeling a lot less powerful now. We're gonna watch the other one just to compare. And this makes her feel like she's almost out of control. Especially the dolly zoom at the end, which does a great job with that. It feels like her world is sort of spinning or moving past her and she's not able to control that at all. So that's a really cool effect. And the top down also, again, like we mentioned, kind of feels like someone's coming down on top of her like Spider-Man. So that's obviously a dangerous situation to be in. Okay, so let's watch this back real quick. This is the old one. I'm gonna turn off the sound just to make it fair. And this is the one that we feel like she feels more in control, more sort of like she's the authority here. She knows what she's doing. She just had a little bit of a nightmare and she wakes up and gets back to business. Yeah, I mean, she feels pretty distant, cold, ominously understanding. Okay, so that's just the first half. We'll watch the first half of the other one again real quick and we'll see if it feels different. So these first two shots are the same, but then we cut to this one. It's feeling a bit more Halloweeny for sure. The constantly zooming shots, actually, with the shots constantly being in motion, I think really adds to the urgency of the situation. So it feels like she has something that is gonna happen soon, even more soon than the other one. And there's someone close by or something close by that's gonna get her and she has to solve the riddle before that happens. So I think this is a success. I don't know what do you guys think? Did it feel different? Did it feel good? Yeah? Okay. Awesome, awesome. Cool, so we have a couple other ones. I'm thinking about exactly how much time we have because that was a little longer than just 10 minutes. But I'm kind of curious what you guys think. We have a couple here, but we also wanna take a random challenge from the audience. So we'll do one more of these and we'll do one more of your guys's. So out of these three, which one do you guys wanna see? Pondering, sad, daily routine, or intense studying? What do you guys think? I hear sad, daily routine? Okay, daily routine, all right, fair enough. We got quite a few of those. So we'll do daily routine. That is pretty interesting because I think it feels a lot different than what she already has. So we'll see what we can do. At the beginning, I would say that, because again, I haven't animated the rest of her face, she's gonna wake up every day like this. So that's fine. And we've cracked the code. We're done, all right. No, the rest of it, I think we can definitely get this to feel a bit more neutral. Daily routines are great because the exercise, as a camera work exercise, specifically is about making it feel as non-threatening as possible. This is the most normal thing that could happen to this character. So everything you do with the camera work should feel exactly like that. You should feel like nothing's out of the ordinary. It's the exact opposite of what we have now. So let's see what we can do with that. I believe this is all extraneous keys, so let's see what we can do here. I'll save a new version because that's a smart thing to do. All right, so the first thing that we do is this shot here. Now, this is a very neutral shot already in the original, if you guys remember. It's just a shot of her back, but it's still not quite daily routine. Why is that? Do you guys happen to know why this shot doesn't feel like a daily routine shot? Off-center is a good one. Yes, that is definitely true. From the back? Yes, I would say that's also true. Yeah, for sure. And all these things sort of imply a specific feeling of sort of like isolation and like something's a little weird today. And so when you have those two things put together, it doesn't feel like a daily routine anymore. So we can't use that shot, but we do want a still shot. So how do we do this? I would say one of the things that I found works really well for daily routine shots is not showing the face. So if you're coming from the front and you don't show the face, you're sort of telling the audience it's not really important how they're reacting. It's not really that important in this particular instance. Now, of course, it's combined with a couple other aspects like high focal length and make it feel non-threatening and stuff like that. But what you ultimately want to do is just make this feel normal. So we're just gonna focus on her arms here and we're gonna focus on them as they drop down. This will sort of make it feel like, oh yeah, just another day. See if we can do that right there. And we're not even gonna look at that arm. It's so normal for it to fall down. So normal daily, every day. All right, that's pretty good. I think the centering could be a little different. Maybe we could put it here. I don't wanna put too much pressure or too much focus on the hand itself because it's a little pain related. So we don't wanna draw too much attention to that. So I'm kind of putting that off the side of the screen a bit. But other than that, I would say that works pretty well. We also have, of course, the shades that are opening. So because she actually is supposed to have a little bit of dialogue here, I'm probably gonna have her mouth just barely in view so that we can get that minimal information from her that she is saying the thing that she says every morning. Yes, every morning. I feel like I'm just programming you guys to like this. Yes, and then she gets up and she jogs and it's great. But here we go. We're gonna do a quick cut here so we actually see the shades opening up. The shades opening up I think could be from the back and that would be fine. And in fact, I'm gonna center it. Someone mentioned earlier that off center is bad. Well, center is good, that's true. So if we center this shot in particular, get it to be a little bit more even, here we go. We can get something that feels pretty normal. That's a great shot right there. So we'll just do that and push it here. We could zoom out a little bit. Talking about the focal length here, it could work. I don't want it to be too small, that's the only thing. Because if we're too far away from her, she'll feel isolated, she'll feel like she's not where she's supposed to be. We wanted to feel very neutral, very middle of the screen, very sort of like middle distance as well. So I would probably, if we were to zoom out, we could come in a little bit, but that brings in sort of like, oh, she's a little too close to the camera. Something important's gonna happen. So we don't want that either. I would probably keep it here, but maybe make the shades a bit more in view so that way we can actually see them opening so that might be a little bit better. So we can try that. Yeah, so that works pretty well. So that is the shades opening shot. The next shot is actually her walking with a closeup, which I actually think works pretty well for a daily routine. I actually mentioned this earlier, where this is a relatively neutral shot, and I think it still works for this. So we're gonna keep that one. This one is definitely not, so we could try something else here, but let's actually watch this back real quick before we get too into it. Ah, not again, every morning. Oh no. I should see an eye doctor tomorrow. Yeah. So yeah, so far, now we're starting to get ominous again, but the shots at the beginning felt, I think pretty neutral. Those were feeling like, yeah, she's just waking up. This happens sort of all the time. I actually realized that I was using the wrong sort of top end of the camera here, so her eyes are visible. But other than that, I think that works pretty well, and we could probably move on to the next shot real quick. Give that a twirl, and then we'll be good to try the last one for today. So that looks great. So let's see, for this one in particular, she's walking towards the window. Yes, she's walking towards the window. You know what's a great neutral angle for walking towards the window? Sideways, right? Sideways movement. It's the most neutral way you could move across the screen. This is actually something that I've seen done improperly. It's very important to know when things don't work as well. Sometimes someone who is going through a lot is very sad in sort of a similar pose as this. Maybe they're hugging themselves because they just went through a bad breakup or something, and I've seen some shows and some directors work on these kinds of shots, and they do a very neutral side angle, and it sort of kills the tension a little bit. That's my personal opinion, and I think it's very neutral and should be used in a neutral way. You could do it in a comedy if they're crying, if you want the viewer to feel distant from the pain. So that is what I think. So let's see, let's do a quick... I do wonder if we want the camera to actually move because that feels a bit more active than we probably need. So we're actually going to reduce the movement of the camera to make the audience feel more lazy, right? Because it's a daily routine. This is the morning routine. The audience doesn't want to run and jog alongside this person with like a dolly cam. So we're just gonna do something like this. A little bit more neutral. Could be eye level, yeah, I agree with that as well. That's a slight adjustment. Certainly no harm in that. Something like that, especially because her hair will actually... It's actually supposed to be slightly taller, so that makes sense. Yeah, and what we'll actually do is we'll keep that shot alive a bit longer because we cut it a little earlier last time for the ominous shot. Okay, let's see. Whoa, where are you going? That's not a morning routine. Wah! Okay, let's cut to this angle now because we'll cut that a little later. All right, wanna simmer on this a bit longer. And then do the reveal. So this is so normal that we're not even looking at the shades. So that's an important thing that you can do with cameras where you're sort of like something that you were calling attention to before that seemed significant. If you want it to feel like a normal day, don't pay attention to it. Just make it sort of a side thing on the edge of frame. Use sound design instead of visual design, that kind of stuff. You have a lot at your disposal, but that's a cool little trick here. And then we have this shot. So this shot is our last shot before we move on because I don't wanna skip to the next one. That's too much work. But this shot I feel like is already pretty neutral. We have, of course, the city skate focus. This would be great to do actually, I think, something similar to the POV shot that was recommended earlier, but instead of that, we'll do an over-the-shoulder shot. So an over-the-shoulder shot feels like, oh yeah, she's looking at the place she always looks at. We're sort of very intimate with her and we know her very well. Yeah, that's the place. That's where she always stares at the office building where Jim works across the street. Maybe she's the creeper POV, I don't know. But yeah, so we'll do a slight handheld just because I think it feels a little too still right now. Yeah, there we go. All right, so let's see how this feels from the beginning. This should be all the shots that we need to do for the daily routine. Yeah, I think that works pretty well. I think there's actually one thing that worked in our favor here was this quick cut between her sitting down and her standing up that feels like a cut that sort of signifies all the stuff that happened between them, that's not important. It happens every day, right? So that actually worked in our favor in this particular instance because I was lazy and didn't animate her getting out of the couch. Yay, all right. So what do you guys think? Did that feel normal and non-threatening? Felt pretty good? Yeah. Yeah? Awesome, awesome. Yep. Which POV here? Which one, the last one? This one right here. Oh, the other shoulder over here. Oh, interesting. Are you talking about a full POV shot? Cause this isn't over the shoulder shot. This one? Oh, we're not working on these shots. Yeah. Oh, I see. So you're saying that in order to cut right to this one you would want the left shoulder instead? Hmm, maybe. It just depends on what this next shot it really is. I think for me I've just ignored it pretty much for continuity sake. So like we could, but I think generally speaking because the camera's already on her right side on this shot, keeping on her right shoulder for this shot just is a bit smoother. But you're right. I am ignoring the next shot completely. So yeah, yeah. That's a good point though. I mean, that's something that goes into like not exactly related but the 180 degree rule. Which I think if you guys aren't familiar with the 180 degree rule it is a very important foundational rule for cameras. This is not exactly the same, but it's sort of the same. Where you essentially want to keep the camera on sort of the same side of the character as much as possible to avoid confusion. Ideally you have that obvious to the audience exactly where the character is standing at all times. So that is a good point. And I think it's worth mentioning. So okay. Now that we've done that we have time for one more. And I'm kind of curious if you guys can mess me up. So do you have any suggestions from the chat? Yes. Level up. So like she's at a party or something. Is that what you want? Like a psychotic break, right? A psychotic break. Oh, interesting. Okay. That's an interesting idea. Any other suggestions we can sort of weigh them amongst each other? Panic. Panic. That's kind of similar actually. Fair enough. I see a pattern. You guys are trying to like, I feel like you guys are telling me something. Like, oh God, what do I do? Any other ideas? We'll take one more and we'll see what we can do. Super happy. Super happy. And she has like, she's just walking to the window. I mean. I mean that is a challenge that you're right. Man, I think, could I do super happy? Oh man. She's in love. Oh, that's an interesting one for sure. Yeah. It's a coffee commercial? Oh my God. Okay. All right. It's a coffee commercial guys. We're gonna do it. We're gonna do a coffee commercial. So a coffee commercial is great because that has a mood, right? I mean, we're selling coffee. So let's see what we can do. Of course, the standard practice we're gonna leave the first two shots alone. All right, so a coffee commercial. What mood do we want to listen? We want to have someone who's sort of like, not super happy in the morning and then drinks coffee and it's great, right? That's sort of what we want. Yeah, okay. Yeah, yeah, that's true. I think the coffee shot comes a little later. So we'll see if we can work our way there properly or maybe we'll skip a couple scenes. We'll see what we can do. But okay, so if we wanna do a coffee commercial, do a coffee commercial, I would focus on her pain a bit more. So you gotta sell those coffees. Is this you? Yeah, so we actually wanna sell it a bit more. So I'm actually gonna just get a front view. So we're actually more intimate with her. We're actually in her face. So we know that feeling. Oh God, that feeling in the morning where you don't have your coffee. Oh, I hate that. So we're gonna have a bit of a handheld sort of slightly dizzy camera so that we have that sort of feeling of groggyness built into the movement itself. She's not drunk. Or maybe she is and she needs coffee. Never know. All right, so now we have the shoulder drop should also be sort of animated here with the camera. Yeah, there we go. There we go. And we'll have, yeah, yeah. Man, I wish I had my coffee. So that's a great first shot actually. I think that's pretty good. She's clearly got a headache. And then we go to the next shot where she's calling for the blinds to open. She could also be calling for her coffee robot, to be fair. Which she does have, canonically. So what do we do here? This is sort of the isolation shot where she feels just a bit more lonely. We could actually just cut this. Yeah, you know what we're gonna do? We're actually gonna focus on the blinds alone. So this is sort of like, if we can get like just the corner if we had a nice little mechanism to focus on in the set design. But if we had that, we could focus on a little corner where the blinds open. And that is where we really blow out the exposure from the sun. Oh God, it's morning time. I hate mornings. Oh. So we're gonna really make that feel, just like the worst, right? So now we have this focus. Yeah, that's good. That's pretty good. Shut up. Yeah. But yeah, yeah, this is fine. It's fine. So then we have to make her walk towards the window. While she's walking towards the window, we need to make her feel, she's walking pretty calmly, but we kind of want her to feel very agitated, right? How can we make her feel agitated? Probably from a shakier camera for sure. And then the... Oh, that's a good point. News in the morning is definitely something that would make you upset. That's true. What, again? But yeah, I think, that might be an interesting idea. We could definitely have a shot of that. I'll see if we can stick that in because that would actually save us a few frames of having to look at her walking, which would be a little too long actually. So we'll do that real quick. Hello, Mr. Mann. In fact, I'm not even gonna focus on the dude. I'm gonna focus on specifically, actually, I don't know if that'll work. The reason why is because we're focusing on two inanimate objects in a row. So that might actually lower the tension a bit and sort of soften up the mood a bit, so the tension sort of dissolves and she feels a little bit more somber rather than agitated. So we're actually gonna go into her instead. So, what we're gonna do, is, oh, she looks way too peaceful. You know that. So what we're gonna do is we're gonna have the focal length actually pretty low. Just a bit of that sort of like, it's the last one, let's go crazy with it, right? So we're gonna go crazy with this focal length where it doesn't really make sense, but that's where this sort of falls apart in terms of like, oh yeah, she's not okay right now. She's feeling kind of bad. Just bring it back like that. Yeah, here we go. She's got a weird little animation, but that's fine, we ignore that. And then, and then, get that here, get that here. And then we'll probably have just a little bit of, yeah, right here. A focus on her face as the light hits her face, which we actually have a little bit of an animation for, which is perfect. So we'll just do that, there we go. And then, we'll probably do a quick cut actually. How do we get her to feel super agitated for a couple frames? You know what I'll probably do just for time's sake, this is a simple solution, but we'll just focus on her feet, and we'll do a foot tapping animation. And we'll just imagine it for now. And then, she's got her butler, her robot butler. So how do we make this feel like the happiest thing that happened to her? Yes, yes, I know, check this out. We're gonna do the commercial, this is the commercial shot. This is the part where the brand name comes up. All right, we have this. It's gonna be the most stationary shot in the video so far. Where it just sort of slides in the frame, we'll have a little bit of steam coming off of it, and she's gonna pick it up and she's gonna feel great. We're gonna skip these shots here. We could, but unfortunately, the pacing is just a bit slow because I wanna cut this out. Because if we did do that, it would give us too much time for her to feel calm. People aren't calm in the mornings, no, unless it's a morning routine. Yes, yes, this is the last bit. All right, oh. So good, the case files will fly off your table. But yeah, that's pretty much it. I mean, we have, the whole coffee brand is, this is the logo, as you can see. We're gonna just put that right at the top of there. Look at that logo, coffee, coffee, coffee. Coffee. Ta-da! Okay. Let's watch it one more time and I think that'll be it. Rough morning, yeah. I know, I know the feeling. Oh god, no, don't do that. Oh geez, oh yeah, make your way to the robot drone. Oh, what happened there? Ignore that, that's supposed to be a one frame transition. And there we go, look at that! The coffee's in view, all right. Very nice, very nice. Ideally, we'd have a little bit more time to finesse the timing there, but obviously you guys get the idea. And I hope you guys learned a little bit about camera work today. Obviously, there's so many different options to play around with and just seeing me go through them and sort of rule certain things out hopefully gives you guys some insight on how I think about things and I hope you enjoyed.