Making a TED-Ed Lesson: Synesthesia and playing cards

53,978 views ใƒป 2013-07-07

TED-Ed


ืื ื ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ืœืžื˜ื” ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ.

ืžืชืจื’ื: benyamin zinshtein ืžื‘ืงืจ: Ido Dekkers
00:13
In this short video,
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ื‘ื•ื™ื“ื™ืื• ื”ืงืฆืจ ื”ื–ื”,
00:14
we're going to show you how we used animation
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ืื ื—ื ื• ื”ื•ืœื›ื™ื ืœื”ืจืื•ืช ืœื›ื ืื™ืš ื”ืฉืชืžืฉื ื• ื‘ืื ื™ืžืฆื™ื”
00:17
to make custom playing cards to do magical tricks
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ืขืœ ืžื ืช ืœื™ืฆื•ืจ ืงืœืคื™ ืžืฉื—ืง ืžื™ื•ื—ื“ื™ื ืขืœ ืžื ืช ืœืขืฉื•ืช ืงืกืžื™ื
00:19
in TED-Ed's Lesson on synesthesia.
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ื‘ืฉื™ืขื•ืจ TED-Ed ืขืœ ืกื™ื ืกืชื–ื™ื”
00:27
Synesthesia is a neurological condition
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ืกื™ื ืกืชื–ื™ื” ื”ื•ื ืžืฆื‘ ื ื•ื™ืจื•ืœื•ื’ื™
00:29
in which two or more senses are paired together
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ื‘ื• ืฉื ื™ื™ื ืื• ื™ื•ืชืจ ืžื”ื—ื•ืฉื™ื ืฆื•ื•ืชื• ื™ื—ื“ื™ื•
00:31
to create a completely new experience.
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ืขืœ ืžื ืช ืœื™ืฆื•ืจ ื—ื•ื•ื™ื” ื—ื“ืฉื” ืœื—ืœื•ื˜ื™ืŸ.
00:34
For example, many synesthetes see letters
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ืœืžืฉืœ, ื”ืจื‘ื” ืื ืฉื™ื ื”ื—ื•ืœื™ื ื‘ืกื™ื ืกืชื–ื™ื” ืจื•ืื™ื ืื•ืชื™ื•ืช
00:36
and numbers in colors,
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ื•ืžืกืคืจื™ื ื‘ืฆื‘ืขื™ื,
00:38
even when they are printed in black.
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ืืคื™ืœื• ื›ืฉื”ื ืžื•ื“ืคืกื™ื ื‘ืฉื—ื•ืจ.
00:40
Or they can taste certain words.
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ืื• ืฉื”ื ื™ื›ื•ืœื™ื ืœื˜ืขื•ื ืžื™ืœื™ื ืžืกื•ื™ื™ืžื•ืช.
00:42
For instance, jail tastes like bacon.
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ืœืžืฉืœ, ืœ"ื›ืœื" ื™ืฉ ื˜ืขื ืฉืœ ื‘ื™ื™ืงื•ืŸ.
00:46
Because synesthesia generally involves
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ื‘ื’ืœืœ ืฉืกื™ื ืกืชื–ื™ื” ืœืจื•ื‘ ื›ื•ืœืœืช
00:48
the brain pairing up two or more senses,
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ืฆื™ื•ื•ืช ืฉืœ ืฉื ื™ ื—ื•ืฉื™ื ื™ื—ื“ื™ื• ืข"ื™ ื” ืžื•ื—,
00:50
we paired up playing cards
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ืฆื™ื•ื•ืชื ื• ื™ื—ื“ ืงืœืคื™ ืžืฉื—ืง
00:51
with unique,
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ืขื ืกืžืœื™ื ื™ื™ื—ื•ื“ื™ื™ื,
00:52
colorful,
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ืฆื‘ืขื•ื ื™ื™ื
00:53
and visceral symbols.
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ื•ืžื•ื—ืฉื™ื™ื.
00:54
We then used an animation technique
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ื•ืื– ื”ืฉืชืžืฉื ื• ื‘ื˜ื›ื ื™ืงืช ืื ื™ืžืฆื™ื”
00:56
called stop motion
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ืฉื ืงืจืืช ืกื˜ื•ืค ืžื•ืฉืŸ
00:58
to manipulate the cards in ways
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ืขืœ ืžื ืช ืœืชืžืจืŸ ืืช ื”ืงืœืคื™ื ื‘ืฆื•ืจื•ืช
00:59
that would be otherwise physically impossible.
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ืฉืื—ืจืช ื™ื”ื™ื• ื‘ืœืชื™ ืืคืฉืจื™ื•ืช.
01:02
And as the cards were flipping,
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ื•ื‘ื–ืžืŸ ืฉื”ื›ืจื˜ื™ืกื™ื ื”ืชื”ืคื›ื•,
01:04
shuffling,
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01:04
and sliding,
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ืขื•ืจื‘ื‘ื•,
ื•ื”ื—ืœื™ืงื•,
01:05
we used a mixture of animation and reality
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ื”ืฉืชืžืฉื ื• ื‘ืชืขืจื•ื‘ืช ืฉืœ ืื ื™ืžืฆื™ื” ื•ืžืฆื™ืื•ืช
01:07
to ensure that the symbols on the cards
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ืขืœ ืžื ืช ืœื”ื‘ื˜ื™ื— ืฉื”ืกืžืœื™ื ืขืœ ื”ื›ืจื˜ื™ืกื™ื
01:09
did their part to explain the nuances of synesthesia.
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ืขืฉื• ืืช ืชืคืงื™ื“ื™ื ืขืœ ืžื ืช ืœื”ืกื‘ื™ืจ ืืช ื”ื ื™ื•ืื ืกื™ื ื‘ืกื™ื ืกืชื–ื™ื”
01:13
This type of animation is very difficult to pull off
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ืฆื•ืจื” ื–ืืช ืฉืœ ืื ื™ืžืฆื™ื” ืžืื•ื“ ืงืฉื” ืœื™ื™ืฆืจ
ื‘ืœื™ ืชื›ื ื•ืŸ ืงื•ื“ื.
01:16
without some planning first.
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01:21
A storyboard is a series of still images
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ืœื•ื— ืชื›ื ื•ืŸ ื”ื•ื ืกื“ืจื” ืฉืœ ืชืžื•ื ื•ืช
01:23
that basically serve as a road map
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ืฉื‘ืขื™ืงืจื•ืŸ ืžืฉืžืฉื•ืช ื›ืžืคืช ื“ืจื›ื™ื
01:25
for an animation from beginning to end.
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ืœืื ื™ืžืฆื™ื” ืžื”ื”ืชื—ืœื” ืœืกื•ืฃ.
01:28
An animatic is a storyboard in motion.
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ืื ื™ืžื˜ื™ืง ื–ื” ืœื•ื— ืชื›ื ื•ืŸ ืžื•ื ืคืฉ.
01:31
By making the animatic,
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ืข"ื™ ื™ืฆื™ืจืช ืื ื™ืžื˜ื™ืง,
01:32
we were able to review the digital motion for each shot,
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ื”ื™ื™ื ื• ืžืกื•ื’ืœื™ื ืœืขื‘ื•ืจ ืขืœ ื”ืชื ื•ืขื” ื”ื“ื™ื’ื™ื˜ืœื™ืช ื”ื“ืจื•ืฉื” ืขื‘ื•ืจ ืขืœ ืฆื™ืœื•ื,
01:35
which allowed us to progressively work out timing,
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ืžื” ืฉืื™ืคืฉืจ ืœื ื• ื‘ื”ื“ืจื’ื” ืœื”ื‘ื™ืŸ ืืช ื”ืชื–ืžื•ืŸ ื”ื“ืจื•ืฉ,
01:38
camera positioning,
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ืžื™ืงื•ื ื”ืžืฆืœืžื”,
01:39
and, most importantly,
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ื•ื—ืฉื•ื‘ ืžื›ืœ,
01:40
any challenges we anticipated
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ื™ื›ื•ืœื ื• ืœืฆืคื•ืช ืืชื’ืจื™ื
01:42
in the final animation process.
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ื‘ืชื”ืœื™ืš ืื ื™ืžืฆื™ื” ื”ืกื•ืคื™.
01:49
How many hands do you need to shuffle a deck of cards?
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ื›ืžื” ื™ื“ื™ื™ื ืืชื ืฆืจื™ื›ื™ื ืขืœ ืžื ืช ืœืขืจื‘ื‘ ื—ืคื™ืกืช ืงืœืคื™ื?
01:53
Here, we wanted to emphasize each nucleotide
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ื›ืืŸ, ืจืฆื™ื ื• ืœื”ื“ื’ื™ืฉ ื›ืœ ื ื•ืงืœืื•ื˜ื™ื“
01:56
in the DNA sequence
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ื‘ืจืฆืฃ ื”ื“ื™.ืื .ืื™ื™
01:57
and stop motion allows for more control.
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ื•ืกื˜ื•ืค ืžื•ืฉืŸ ืžืืคืฉืจืช ื™ื•ืชืจ ืฉืœื™ื˜ื”.
02:00
By shuffling between individual frames,
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ืข"ื™ ืขืจื‘ื•ื‘ ื‘ื™ืŸ ืคืจื™ื™ืžื™ื ื‘ื•ื“ื“ื™ื,
02:02
we could ensure that each card
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ื™ื›ื•ืœื ื• ืœื”ื‘ื˜ื™ื— ืฉืœื›ืœ ืงืœืฃ
02:03
had a controlled amount of screen time,
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ื”ื™ืชื” ื›ืžื•ืช ื–ืžืŸ ืžื‘ื•ืงืจืช ืฉืœ ื–ืžืŸ ืžืกืš,
02:06
in this case, three frames,
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ื‘ืžืงืจื” ื”ื–ื”, ืฉืœื•ืฉื” ืคืจื™ื™ืžื™ื,
02:08
and that the card's placement was consistent.
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ื•ื‘ื–ื” ืฉื”ืžื™ืงื•ื ืฉืœ ื”ืงืœืคื™ื ื”ื™ื” ืงื‘ื•ืข.
02:11
But sometimes four hands just isn't enough.
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ืื‘ืœ ืœืคืขืžื™ื ืืจื‘ืข ื™ื“ื™ื™ื ื–ื” ืคืฉื•ื˜ ืœื ืžืกืคื™ืง.
02:19
We use this trick a lot in this lesson,
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ื”ืฉืชืžืฉื ื• ื‘ื˜ืจื™ืง ื”ื–ื” ื”ืจื‘ื” ื‘ืฉื™ืขื•ืจ ื”ื–ื”,
02:20
all thanks to one secret ingredient:
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ื”ื›ืœ ื”ื•ื“ื•ืช ืœืžืจื›ื™ื‘ ืกื•ื“ื™ ืื—ื“:
02:23
Play-Doh!
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ื‘ืฆืง ืžืฉื—ืง!
02:24
By molding the Play-Doh into different sized pyramids,
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ืข"ื™ ืขื™ืฆื•ื‘ ื‘ืฆืง ื”ืžืฉื—ืง ืœืคื™ืจืžื™ื“ื•ืช ื‘ื’ื“ืœื™ื ืฉื•ื ื™ื,
02:27
the cards can be held in different positions,
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ื”ืงืœืคื™ื ื™ื›ื•ืœื™ื ืœื”ื™ื•ืช ืžื•ื—ื–ืงื™ื ื‘ืขืžื“ื•ืช ืฉื•ื ื•ืช,
02:29
always keeping the pyramid big enough
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ืชื•ืš ื›ื“ื™ ืฉืžื™ืจืช ื”ืคื™ืจืžื™ื“ื” ืžืกืคื™ืง ื’ื“ื•ืœื”
02:31
to support the card,
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ื›ื“ื™ ืœืชืžื•ืš ื‘ืงืœืฃ,
02:33
but small enough to not be seen
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ื•ืžืกืคื™ืง ืงื˜ื ื” ื›ื“ื™ ืฉืœื ืชื™ืจืื”
02:34
and to not cast its own revealing shadow.
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ื•ืฉืœื ื™ืชื’ืœื” ื”ืฆืœ ืฉืœื”.
03:10
Making an animated movie
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ื™ืฆื™ืจืช ืกืจื˜ ืžื•ื ืคืฉ
03:11
is like making a delicious layer cake.
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ื–ื” ื›ืžื• ื”ื›ื ืช ืขื•ื’ืช ืฉื›ื‘ื•ืช ื˜ืขื™ืžื”.
03:13
It's up to the animators
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ื–ื” ื ืชื•ืŸ ื‘ื™ื“ื™ ื”ืื ื™ืžื˜ื•ืจื™ื
03:14
to create the many planes, or layers.
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ืœื™ืฆื•ืจ ืžื™ืฉื•ืจื™ื ืจื‘ื™ื, ืื• ืฉื›ื‘ื•ืช.
03:17
The use of green screen
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ื”ืฉื™ืžื•ืฉ ื‘ืžืกืš ื™ืจื•ืง
03:18
enables us to shoot individual elements moving,
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ืžืืคืฉืจ ืœื ื• ืœืฆืœื ืืœืžื ื˜ื™ื ื‘ื•ื“ื“ื™ื ื–ื–ื™ื,
03:21
and to later assemble those layers
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ื•ืœืื—ืจ ืžื›ืŸ ืœื”ืจื›ื™ื‘ ืฉื›ื‘ื•ืช ืืœื•
03:23
one on top of the other.
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ืื—ืช ืขืœ ื’ื‘ื™ ื”ืฉื ื™ื”.
03:25
Using software, we key out the green color,
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ื‘ืฉื™ืžื•ืฉ ื‘ืชื•ื›ื ื”, ืื ื—ื ื• ืžื•ืฆื™ืื™ื ืืช ื”ืฆื‘ืข ื”ื™ืจื•ืง,
03:28
both on the background
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ื‘ืจืงืข ืขืฆืžื•
03:29
and Play-Doh.
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ื•ื‘ื‘ืฆืง ื”ืžืฉื—ืง.
03:30
Layer the cards,
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ื”ื•ืกืคืช ื”ืงืœืคื™ื,
03:31
add the hands,
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ื”ื•ืกืคืช ื”ื™ื“ื™ื™ื,
03:32
insert a background,
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ื”ื›ื ืกืช ื”ืจืงืข,
03:34
and if you planned your ingredients carefully,
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ื•ืื ืชื›ื ื ืชื ืืช ื”ืžืจื›ื™ื‘ื™ื ื‘ื–ื”ื™ืจื•ืช,
03:36
everything should come together just right.
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ื”ื›ืœ ืฆืจื™ืš ืœื”ืชื—ื‘ืจ ื›ืžื• ืฉืฆืจื™ืš.
03:39
So, grab some fishing wire,
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ืื–, ื”ืฉื™ื’ื• ื—ื•ื˜ ื“ื™ื’,
03:41
glue,
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03:41
masking tape,
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ื“ื‘ืง,
ืกืœื•ื˜ื™ื™ืค,
03:42
chopsticks,
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ืžืงืœื•ืช ืื›ื™ืœื”,
03:43
and whatever else you can find.
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ื•ื›ืœ ืžื” ืฉืืชื ื™ื›ื•ืœื™ื ืœื—ืฉื•ื‘ ืขืœื™ื•.
03:45
We'd love to see you make some of your own
81
225544
2000
ืื ื—ื ื• ื ืฉืžื— ืœืจืื•ืช ืืชื›ื ืขื•ืฉื™ื
03:47
animated illusions.
82
227568
2008
ืืฉืœื™ื•ืช ืžื•ื ืคืฉื•ืช ืžืฉืœื›ื.
ืขืœ ืืชืจ ื–ื”

ืืชืจ ื–ื” ื™ืฆื™ื’ ื‘ืคื ื™ื›ื ืกืจื˜ื•ื ื™ YouTube ื”ืžื•ืขื™ืœื™ื ืœืœื™ืžื•ื“ ืื ื’ืœื™ืช. ืชื•ื›ืœื• ืœืจืื•ืช ืฉื™ืขื•ืจื™ ืื ื’ืœื™ืช ื”ืžื•ืขื‘ืจื™ื ืขืœ ื™ื“ื™ ืžื•ืจื™ื ืžื”ืฉื•ืจื” ื”ืจืืฉื•ื ื” ืžืจื—ื‘ื™ ื”ืขื•ืœื. ืœื—ืฅ ืคืขืžื™ื™ื ืขืœ ื”ื›ืชื•ื‘ื™ื•ืช ื‘ืื ื’ืœื™ืช ื”ืžื•ืฆื’ื•ืช ื‘ื›ืœ ื“ืฃ ื•ื™ื“ืื• ื›ื“ื™ ืœื”ืคืขื™ืœ ืืช ื”ืกืจื˜ื•ืŸ ืžืฉื. ื”ื›ืชื•ื‘ื™ื•ืช ื’ื•ืœืœื•ืช ื‘ืกื ื›ืจื•ืŸ ืขื ื”ืคืขืœืช ื”ื•ื•ื™ื“ืื•. ืื ื™ืฉ ืœืš ื”ืขืจื•ืช ืื• ื‘ืงืฉื•ืช, ืื ื ืฆื•ืจ ืื™ืชื ื• ืงืฉืจ ื‘ืืžืฆืขื•ืช ื˜ื•ืคืก ื™ืฆื™ืจืช ืงืฉืจ ื–ื”.

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