Making a TED-Ed Lesson: Two ways to animate slam poetry

50,986 views ใƒป 2013-07-20

TED-Ed


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

ืžืชืจื’ื: Ido Dekkers ืžื‘ืงืจ: Sigal Tifferet
00:06
In this short video,
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ื‘ืกืจื˜ื•ืŸ ื”ืงืฆืจ ื”ื–ื”,
00:07
we're going to show you how we use
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ืื ื—ื ื• ืขื•ืžื“ื™ื ืœื”ืจืื•ืช ืœื›ื ืื™ืš ืœื”ืฉืชืžืฉ
00:08
two different animation techniques,
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ื‘ืฉืชื™ ืฉื™ื˜ื•ืช ืื ื™ืžืฆื™ื” ืฉื•ื ื•ืช,
00:10
both rotoscoping
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ื’ื ืจื•ื˜ื•ืกืงื•ืคื™ื ื’
00:11
and traditional hand-drawn animation
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ื•ื’ื ืฆื™ื•ืจ ืžืกื•ืจืชื™ ื™ื“ื ื™
00:13
in the TED-Ed Lesson,
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ื‘ืฉื™ืขื•ืจ TED-Ed ื–ื”,
00:15
"Miss Gayle's 5 Steps to Slam Poetry:
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"5 ื”ืฆืขื“ื™ื ืฉืœ ืžื™ืก ื’ื™ื™ืœ ืœืฉื™ืจืช ืกืœืื:
00:18
A Lesson of Transformation."
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ืฉื™ืขื•ืจ ืฉืœ ืฉื™ื ื•ื™."
00:26
A poetry slam is a competition
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ืฉื™ืจืช ืกืœืื ื”ื™ื ืชื—ืจื•ืช
00:28
in which poets are judged on their poems,
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ื‘ื” ืžืฉื•ืจืจื™ื ื ืฉืคื˜ื™ื ืขืœ ื”ืฉื™ืจื™ื ืฉืœื”ื,
00:30
often for qualities of emotional power
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ืœืจื•ื‘ ืขืœ ืื™ื›ื•ื™ื•ืช ืฉืœ ื›ื•ื— ืจื’ืฉื™
00:32
and lyrical resonance.
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ื•ืžื ืขื“ ืœื™ืจื™.
00:34
Our Lesson was created by Gayle Danley,
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ื”ืฉื™ืขื•ืจ ืฉืœื ื• ื ื•ืฆืจ ืขืœ ื™ื“ื™ ื’ื™ื™ืœ ื“ื ืœื™,
00:36
a veteran slam poet
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ืžืฉื•ืจืจืช ืกืœืื ื•ืชื™ืงื”
00:37
who spent decades teaching children
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ืฉืœื™ืžื“ื” ื™ืœื“ื™ื ื‘ืžืฉืš ืขืฉืจื•ืช ืฉื ื™ื
00:39
to express themselves through spoken words,
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ืื™ืš ืœื”ื‘ื™ืข ืืช ืขืฆืžื ื“ืจืš ืžื™ืœื™ื ืžื“ื•ื‘ืจื•ืช,
00:42
a Lesson, which offers a guide to creating poetry
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ืฉื™ืขื•ืจ ืฉืžืฆื™ืข ืžื“ืจื™ืš ืœื›ืชื™ื‘ื” ื™ืฆื™ืจืชื™ืช
00:44
with immediacy and power,
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ืขื ืžื™ื™ื“ื™ื•ืช ื•ื›ื•ื—,
00:46
also serves as a great example of exactly that.
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ื•ื’ื ืžืฉืžืฉ ื“ื•ื’ืžื” ืžืขื•ืœื” ืœื–ื”.
00:49
It's a story told in the form of a poem
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ื–ื” ืกื™ืคื•ืจ ืฉืกื•ืคืจ ื‘ืฆื•ืจื” ืฉืœ ืฉื™ืจ
ืฉื“ื•ื—ืก ืžื›ื” ืจื’ืฉื™ืช ื—ื–ืงื”.
00:51
that packs a real emotional punch.
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00:53
She introduces Tyler,
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ื”ื™ื ืžืฆื™ื’ื” ืืช ื˜ื™ื™ืœืจ,
00:54
who's sitting in an 11th grade writing class,
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ืฉื™ื•ืฉื‘ ื‘ืฉื™ืขื•ืจ ื›ืชื™ื‘ื” ืฉืœ ื›ื™ืชื” ื™"ื,
00:57
struggling with the assignment of having to write a poem
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ื ืื‘ืง ืขื ื”ืžืฉื™ืžื” ืฉืœ ืœื›ืชื•ื‘ ืฉื™ืจ
00:59
based on a personal experience.
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ืžื‘ื•ืกืก ืขืœ ื ื™ืกื™ื•ืŸ ืื™ืฉื™.
01:01
The story is told from two perspectives,
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ื”ืกื™ืคื•ืจ ืžืกื•ืคืจ ืžืฉืชื™ ื ืงื•ื“ื•ืช ืžื‘ื˜,
01:03
one external
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ืื—ืช ื—ื™ืฆื•ื ื™ืช
01:04
and one internal.
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ื•ื”ืฉื ื™ื” ืคื ื™ืžื™ืช.
01:06
Miss Gayle's narration sets the stage
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ื”ื”ื›ืชื‘ื” ืฉืœ ื’ื‘ืจืช ื’ื™ื™ืœ ืžื ื™ื—ื” ืืช ื”ื‘ืžื”
01:07
of the outside world,
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ืฉืœ ื”ืขื•ืœื ื”ืคื ื™ืžื™,
01:09
and spoken word artist Pages D. Matan
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ื•ืืžืŸ ื”ืžื™ืœื” ื”ืžื“ื•ื‘ืจืช ืคื™ื™ื’'ืก ืžืชืŸ
01:11
performs Tyler's inner voice.
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ืžื‘ืฆืข ืืช ื”ืงื•ืœ ื”ืคื ื™ืžื™ ืฉืœ ื˜ื™ื™ืœืจ.
01:13
To set these two realms
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ื›ื“ื™ ืœืงื‘ื•ืข ืืช ืฉืชื™ ื”ืžืžืœื›ื•ืช ื”ืืœื•
01:15
of inner- and outer-experience apart,
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ืฉืœ ื—ื•ื•ื™ื” ืคื ื™ืžื™ืช ื•ื—ื™ืฆื•ื ื™ืช,
01:17
a different animation technique was used
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ื”ืฉืชืžืฉื• ื‘ื˜ื›ื ื™ืงืช ืื ื™ืžืฆื™ื” ืฉื•ื ื”
01:18
to illustrate each.
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ื›ื“ื™ ืœืื™ื™ืจ ื›ืœ ืื—ืช ืžื”ืŸ.
01:20
The real world was animated by rotoscoping,
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ื”ืขื•ืœื ื”ืืžื™ืชื™ ืื•ื™ื™ืจ ื‘ืจื•ื˜ื•ืกืงื•ืคื™ื ื’,
01:22
with a frame-by-frame tracing of live-action footage
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ืขื ืขืงื™ื‘ื” ืžืคืจื™ื™ื ืœืคืจื™ื™ื ืฉืœ ืฆื™ืœื•ื ื‘ื–ืžืŸ ืืžืช
01:24
in black and white line art.
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ื‘ืฉื—ื•ืจ ืœื‘ืŸ ืืจื˜ืœื™ื™ื™ืŸ.
01:26
The animation depicting the inner-stream
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ื”ืื ื™ืžืฆื™ื” ืžืจืื” ืืช ืขื•ืœื ื”ื”ื›ืจื”
01:28
of consciousness world of Tyler's memories
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ื”ืคื ื™ืžื™ ืฉืœ ื”ื–ื›ืจื•ื ื•ืช ืฉืœ ื˜ื™ื™ืœืจ
01:30
was traditionally drawn on paper,
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ืฉืฆื•ื™ื™ืจ ื‘ืื•ืคืŸ ืžืกื•ืจืชื™ ืขืœ ื ื™ื™ืจ,
01:32
featured watercolored backgrounds
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ืขื ืฆื‘ืขื™ ืžื™ื ื‘ืจืงืข
01:33
and a more expressionistic design.
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ื•ืขื™ืฆื•ื‘ ื™ื•ืชืจ ืืงืกืคืจืกื™ื•ื ื™ืกื˜ื™.
01:35
Once deciding on this general approach,
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ื‘ืจื’ืข ืฉืžื—ืœื™ื˜ื™ื ืขืœ ื’ื™ืฉื” ื›ืœืœื™ืช,
01:37
the project went right into pre-production.
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ื”ืคืจื•ื™ื™ืงื˜ ื”ืœืš ื™ืฉืจ ืœืงื“ื ื”ืคืงื”.
01:44
In animation, pre-production is the planning stage.
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ื‘ืื ื™ืžืฆื™ื”, ืงื“ื ื”ืคืงื” ื”ื•ื ืฉืœื‘ ื”ืชื›ื ื•ืŸ.
01:47
It's all the decisions that need to be made
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ื–ื” ื›ืœ ื”ื”ื—ืœื˜ื•ืช ืฉืฆืจื™ืš ืœื”ื—ืœื™ื˜
01:49
before going and actually making the thing
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ืœืคื ื™ ืฉืžืžืฉ ื”ื•ืœื›ื™ื ืœืขืฉื•ืช ืืช ื–ื”
ื‘ืฆื•ืจื” ื”ืกื•ืคื™ืช ืฉืœื•.
01:51
in its final form.
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01:52
This can include developing
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ื–ื” ื™ื›ื•ืœ ืœื›ืœื•ืœ ืคื™ืชื•ื—
01:53
the look or design of the piece,
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ืžืจืื” ืื• ืขื™ืฆื•ื‘ ืฉืœ ื”ืขื‘ื•ื“ื”,
01:55
experimenting with colors and camera angles,
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ื ื™ืกื•ื™ ืขื ืฆื‘ืขื™ื ื•ื–ื•ื•ื™ื•ืช ืžืฆืœืžื”,
ืœืชืงืŸ ืืช ื”ืชืกืจื™ื˜,
01:57
revising the script,
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01:58
and so on.
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ื•ืขื•ื“.
01:59
All these decisions are important
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ื›ืœ ื”ื”ื—ืœื˜ื•ืช ื—ืฉื•ื‘ื•ืช
02:00
because they determine how much work and time
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ืžืคื ื™ ืฉื”ืŸ ืงื•ื‘ืขื•ืช ื›ืžื” ืขื‘ื•ื“ื” ื•ื–ืžืŸ
02:02
the production will take.
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ื”ื”ืคืงื” ืชื™ืงื—.
02:04
Extra time spent here figuring things out
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ื”ืฉืงืขืช ื–ืžืŸ ื‘ื”ื‘ื ื” ืฉืœ ื”ื“ื‘ืจื™ื
02:06
can often save a lot of time down the road.
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ื™ื›ื•ืœื” ืœื—ืกื•ืš ื”ืจื‘ื” ื–ืžืŸ ื‘ื”ืžืฉืš.
02:08
For our project, a storyboard was first created,
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ืœืคืจื•ื™ื™ืงื˜, ื™ืฆืจื ื• ืชื—ื™ืœื” ืกื˜ื•ืจื™ื‘ื•ืจื“,
02:11
in which the framing, composition, and imagery
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ื‘ื• ื”ืคืจื™ื™ืžื™ื ื’, ื”ืงื•ืžืคื•ื–ื™ืฆื™ื”, ื•ื”ืชืžื•ื ื•ืช
02:13
for each shot was determined.
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ืœื›ืœ ืฆื™ืœื•ื ื ืงื‘ืขื™ื.
02:14
Then an animatic was made,
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ืื– ื™ื•ืฆืจื™ื ืื ื™ืžื˜ื™ืง,
02:16
which is basically a movie of the storyboard.
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ืฉื”ื•ื ื‘ืขื™ืงืจื•ืŸ ืกืจื˜ื•ืŸ ืฉืœ ื”ืกื˜ื•ืจื™ื‘ื•ืจื“.
02:18
This helped us figure out the timing of each shot.
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ื–ื” ืขื•ื–ืจ ืœื ื• ืœื”ื‘ื™ืŸ ืืช ื”ืชื–ืžื•ืŸ ืฉืœ ื›ืœ ืฆื™ืœื•ื.
02:20
It also helped us get an idea
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ื–ื” ื’ื ืขื•ื–ืจ ืœื ื• ืœืจืื•ืช
02:21
of how well everything would flow together visually
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ืื™ืš ื”ื›ืœ ื™ืชื—ื‘ืจ ื•ื™ื–ื•ืืœื™ืช
02:23
between our rotoscoped
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ื‘ื™ืŸ ื”ืจื•ื˜ื•ืกืงื•ืคื™ื ื’
02:24
and traditionally animated scenes
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ื•ืื ื™ืžืฆื™ื” ืžืกื•ืจืชื™ืช
02:26
once they were assembled.
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ื‘ืจื’ืข ืฉื”ื ืžื•ืจื›ื‘ื™ื.
02:32
For the rotoscoped shots, we first had to create
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ืขื‘ื•ืจ ืฆื™ืœื•ืžื™ ื”ืจื•ื˜ื•ืกืงื•ืคื™ื ื’ ื”ื™ื™ื ื• ืฆืจื™ื›ื™ื ืชื—ื™ืœื” ืœื™ืฆื•ืจ
02:35
the live action footage to be traced.
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ืืช ื”ืฆื™ืœื•ืžื™ื ื”ื—ื™ื™ื ื›ื“ื™ ืœืขืฉื•ืช ืœื”ื ื˜ืจื™ื™ืก.
02:38
Working with what we had in our humble office,
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ื‘ืขื‘ื•ื“ื” ืขื ืžื” ืฉื”ื™ื” ืœื ื• ื‘ืžืฉืจื“ ื”ืฆื ื•ืข,
02:40
we created a classroom of desks
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ื™ืฆืจื ื• ื›ื™ืชื” ืขื ืฉื•ืœื—ื ื•ืช
02:41
using only one small table.
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ื‘ืฉื™ืžื•ืฉ ื‘ืฉื•ืœื—ืŸ ืงื˜ืŸ ืื—ื“ ื‘ืœื‘ื“.
02:45
We shot this multiple times
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ืฆื™ืœืžื ื• ืืช ื–ื” ืคืขืžื™ื ืจื‘ื•ืช
02:46
from each angle the storyboard called for,
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ืžื›ืœ ื–ื•ื•ื™ืช ืฉื”ืกื˜ื•ืจื™ื‘ื•ืจื“ ื“ืจืฉ,
02:48
each time with a different volunteer
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ื›ืœ ืคืขื ืขื ืžืชื ื“ื‘ ืื—ืจ
02:50
from among our co-workers.
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ืžืฉื•ืชืคื™ื ื• ืœืขื‘ื•ื“ื”.
02:52
Our source footage elements
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ื”ืืœืžื ื˜ื™ื ืžืกืจื˜ื•ื ื™ ื”ืžืงื•ืจ ืฉืœื ื•
02:54
then needed to be composited,
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ืื– ืฆืจื™ื›ื™ื ืœื”ื™ื•ืช ืžื•ืจื›ื‘ื™ื,
02:55
or assembled and arranged together,
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ืื• ืžื—ื•ื‘ืจื™ื ื•ืžืกื•ื“ืจื™ื ื™ื—ื“,
02:57
before we could rotoscope them.
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ืœืคื ื™ ืฉื ื•ื›ืœ ืœื”ืคืขื™ืœ ืขืœื™ื”ื ืจื•ื˜ื•ืกืงื•ืคื™ื ื’.
02:59
A composite is a special effects term
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ื”ืจื›ื‘ื” ื”ื™ื ืžื•ืฉื’ ืฉืœ ืืคืงื˜ ืžื™ื•ื—ื“
03:01
for a shot that combines two or more elements in it
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ืœืฆื™ืœื•ื ืฉืžื—ื‘ืจ ืฉื ื™ ืืœืžื ื˜ื™ื ืื• ื™ื•ืชืจ ื‘ืชื•ื›ื•
03:03
that were created separately.
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ืฉื ื•ืฆืจื• ื‘ื ืคืจื“.
03:05
To do this, we used After Effects,
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ื›ื“ื™ ืœืขืฉื•ืช ืืช ื–ื”, ืื ื—ื ื• ืฆืจื™ื›ื™ื ืœื”ืฉืชืžืฉ ื‘ืืคื˜ืจ ืืคืงื˜ืก,
03:07
a digital compositing and motion graphics program.
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ืชื•ื›ื ืช ื”ืจื›ื‘ื” ื•ื’ืจืคื™ืงืช ืกืจื˜ื™ื ื“ื™ื’ื™ื˜ืœื™ืช.
03:10
The first step was to isolate
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ื”ืฉืœื‘ ื”ืจืืฉื•ืŸ ื”ื™ื” ืœื‘ื•ื“ื“
03:11
the part of the frame we needed
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ืืช ื”ื—ืœืง ืฉืœ ื”ืคืจื™ื™ื ืฉื”ื™ื™ื ื• ืฆืจื™ื›ื™ื
03:12
by masking off the unnecessary negative space,
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ืขืœ ื™ื“ื™ ื”ื•ืกืคืช ืžืกื›ื” ืขืœ ื—ืœืœ ืฉืœื™ืœื™ ืžื™ื•ืชืจ,
03:15
or parts of the frame we didn't need.
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ืื• ื—ืœืงื™ื ืžื”ืžืกื’ืจืช ืฉืœื ื”ื™ื™ื ื• ืฆืจื™ื›ื™ื.
03:17
The individual shots were then each layered
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ื”ืชืžื•ื ื•ืช ื”ื‘ื•ื“ื“ื•ืช ื”ื•ืขืจืžื• ืื– ืื—ืช ืื—ืช
ืœืชื•ืš ื”ืชืžื•ื ื” ื”ืžื•ืจื›ื‘ืช,
03:19
into one composite shot,
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03:20
resized and arranged appropriately
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ืขื ืฉื™ื ื•ื™ ื’ื•ื“ืœ ื•ืกื™ื“ื•ืจ ื‘ื”ืชืื
03:22
to create the illusion of them
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ื›ื“ื™ ืœื™ืฆื•ืจ ืืช ื”ืืฉืœื™ื” ื›ืื™ืœื•
03:23
all being there in perspective at the same time.
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ื›ื•ืœืŸ ื‘ืคืจืกืคืงื˜ื™ื‘ื” ื‘ืื•ืชื• ื”ื–ืžืŸ.
03:26
Every third frame was then exported
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ื›ืœ ืคืจื™ื™ื ืฉืœื™ืฉื™ ื”ื•ืขื‘ืจ ืื–
03:28
as an image sequence,
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ื›ืจืฆืฃ ืฉืœ ืชืžื•ื ื•ืช,
03:29
ready to be rotoscoped.
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ืžื•ื›ืŸ ืœืขื‘ื•ืจ ืจื•ื˜ื•ืกืงื•ืคื™ื ื’.
03:31
The tracing was done digitally,
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ื”ื˜ืจื™ื™ืก ื ืขืฉื” ื“ื™ื’ื™ื˜ืœื™ืช,
03:33
drawn directly on a Cintiq monitor.
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ื•ืื•ื™ื™ืจ ื™ืฉื™ืจื•ืช ืขืœ ืžืกืš ืกื™ื ื˜ื™ืง.
03:42
The rest of the animation
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ืฉืืจ ื”ืื ื™ืžืฆื™ื”
03:43
was done by hand on paper.
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ื ืขืฉืชื” ื‘ื™ื“ ืขืœ ื ื™ื™ืจ.
03:45
Unlike rotoscoping,
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ื‘ื ื™ื’ื•ื“ ืœืจื•ื˜ื•ืกืงื•ืคื™ื ื’,
03:46
here the timing and motion of the animation
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ื›ืืŸ ื”ืชื–ืžื•ืŸ ืฉืœ ื”ืชื ื•ืขื•ืช ืฉืœ ื”ืื ื™ืžืฆื™ื”
03:48
was all planned out by the animator ahead of time.
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ืชื•ื›ื ืŸ ืขืœ ื™ื“ื™ ืžืื™ื™ืจ ืžืจืืฉ.
03:51
An appropriate number of drawings were then done
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ืžืกืคืจ ืื™ื•ืจื™ื ืžืชืื™ื ื ืขืฉื”
03:53
to accomplish the movement.
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ื›ื“ื™ ืœื™ื™ืฆืจ ืืช ื”ืชื ื•ืขื”.
03:56
Each animation drawing is then scanned,
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ื›ืœ ืื™ื•ืจ ืื ื™ืžืฆื™ื” ื ืกืจืง,
03:58
registered,
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ื ืจืฉื,
03:59
and sequenced together in the computer.
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ื•ื”ื•ืชืื ื™ื—ื“ ื‘ืžื—ืฉื‘.
04:02
That animation sequence is then composited
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ืจืฆืฃ ื”ืื ื™ืžืฆื™ื” ื”ื–ื” ืžื•ืจื›ื‘ ืื–
04:04
with the layered background art.
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ืขื ืฉื›ื‘ื•ืช ืฉืœ ืจืงืข ืžืื—ื•ืจ.
04:06
Camera moves are then plotted out and executed.
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ืชื ื•ืขื•ืช ืžืฆืœืžื” ืื– ืžืฉื•ืจื˜ื˜ื•ืช ื•ืžื‘ื•ืฆืขื•ืช.
04:16
One way that poetry uses language
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ืฆื•ืจื” ืื—ืช ื‘ื” ืฉื™ืจื” ืžืฉืชืžืฉืช ื‘ืฉืคื”
04:17
to communicate emotions and ideas
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ื›ื“ื™ ืœืชืงืฉืจ ืจื’ืฉื•ืช ื•ืจืขื™ื•ื ื•ืช
04:19
is through the use of metaphor.
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ื”ื™ื ืขืœ ื™ื“ื™ ืžื˜ืืคื•ืจื•ืช.
04:21
"Mama's lies are footsteps too many to count
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"ื”ืฉืงืจื™ื ืฉืœ ืืžื ื”ื ืฆืขื“ื™ื ืจื‘ื™ื ืžืกืคื•ืจ
04:26
making excuses on black snow."
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ืขื•ืฉื” ืชืจื•ืฆื™ื ืขืœ ืฉืœื’ ืฉื—ื•ืจ."
04:29
Animation's a medium that's also uniquely well-suited
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ืื ื™ืžืฆื™ื” ื”ื™ื ืžื“ื™ื•ื ืฉื’ื ืžืชืื™ื ื‘ืฆื•ืจื” ืžื™ื•ื—ื“ืช
04:32
to communicating emotions and ideas
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ื›ื“ื™ ืœื”ืขื‘ื™ืจ ืจื’ืฉื•ืช ื•ืจืขื™ื•ื ื•ืช
04:34
through visual metaphor.
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ื“ืจืš ืžื˜ืืคื•ืจื” ื•ื™ื–ื•ืืœื™ืช.
04:36
Applying the dual techniques
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ื”ืฉื™ืžื•ืฉ ื‘ืฉืชื™ ื”ื˜ื›ื ื™ืงื•ืช
04:37
of rotoscoped and traditional animation,
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ืฉืœ ืจื•ื˜ื•ืกืงื•ืคื™ื ื’ ื•ืื ื™ืžืฆื™ื” ืžืกื•ืจืชื™ืช,
04:39
each with their own inherent looks,
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ื›ืœ ืื—ืช ืขื ื”ืžืจืื” ื”ืžื•ื‘ื ื” ืฉืœื”,
04:41
allowed us to visually represent
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ืื™ืคืฉืจ ืœื ื• ืœื™ื™ืฆื’ ื•ื™ื–ื•ืืœื™ืช
ืืช ื”ื˜ื‘ืข ื”ื›ืคื•ืœ ืฉืœ ื”ืชื”ืœื™ืš ื”ื™ืฆื™ืจืชื™
04:43
the dual nature of the creative process
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04:44
described in the Lesson.
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ืฉืžืชื•ืืจ ื‘ืฉื™ืขื•ืจ.
04:46
There's the internal aspect of experience and memory,
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ื™ืฉ ืคืŸ ืคื ื™ืžื™ ืฉืœ ื—ื•ื•ื™ื” ื•ื–ื™ื›ืจื•ืŸ.
ืฉื ื›ืจื” ืœื”ืฉืจืื”,
04:49
which is mined for inspiration,
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04:50
and there's the external aspect
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ื•ื™ืฉ ืคืŸ ื—ื™ืฆื•ื ื™
04:52
of revealing it to the world
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ืฉืœ ื’ื™ืœื•ื™ื• ืœืขื•ืœื
04:53
through a structured presentation.
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ื“ืจืš ืชืฆื•ื’ื” ืžื•ื‘ื ืช.
04:55
We combined both techniques for the last shots
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ืื ื—ื ื• ืฉื™ืœื‘ื ื• ืืช ืฉืชื™ ื”ื˜ื›ื ื™ืงื•ืช ืœืฉื•ื˜ื™ื ื”ืื—ืจื•ื ื™ื
04:57
of Tyler delivering his poem to the world,
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ืฉืœ ื˜ื™ื™ืœืจ ื”ืžืขื‘ื™ืจ ืืช ื”ืฉื™ืจ ืฉืœื• ืœืขื•ืœื,
04:59
allowing us to convey in a direct, visual way
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ืžื” ืฉืžืืคืฉืจ ืœื ื• ืœื”ืขื‘ื™ืจ ื‘ื“ืจืš ื™ืฉื™ืจื” ื•ื•ื™ื–ื•ืืœื™ืช
05:01
the power of that moment of communication
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ืืช ื”ื›ื•ื— ืืœ ื”ืจื’ืข ื”ื–ื” ืฉืœ ืชืงืฉื•ืจืช
05:03
when internal becomes external,
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ื›ืฉืคื ื™ืžื™ ื”ื•ืคืš ืœื—ื™ืฆื•ื ื™,
05:05
which, in both poetry and animation,
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ืฉื, ื’ื ื‘ืื ื™ืžืฆื™ื” ื•ื’ื ื‘ืฉื™ืจื”,
05:06
is where the magic happens.
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ื”ืงืกื ืงื•ืจื”.
ื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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