Waching daily Feb 1 2018

♫ Music ♫

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Video: Short-term rentals affecting Florida's coastal communities - Duration: 2:01.

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Making a Vsauce3 Video - Duration: 9:03.

Hey your script!

Thank you sir, don't know if we will need it because we are actually going to use prompter

for this since it is on sticks but thank you still.

Hannah do you think that you could move that keylight back by a foot.

Yup, that is perfect thank you Hannah.

Ok, let's roll on camera.

Vsauce, I'm Jake and how do you make a Vsauce3 video?

Well, you first need a question.

For me, that usually comes from a video game, book, or movie.

In the case of my last video "Could You Be a Parasite?" it came from one of my favorite

movies, The Thing.

If you haven't seen that episode I would highly recommend watching it, there'll be

a link in the description, because that is the episode we will be focusing on today.

In order to create I need a problem to solve, what is it that I'm trying to answer and

how can I answer it in a way that is unique to me, is different?

But that doesn't mean the "idea" needs to be wholly original, I mean, everything

is an interpretation or retelling of something that has come before, consciously or not.

It's the presentation and, in the case of a Vsauce3 video, it's the way the story

is presented in particular, the journey you go on to find answers or uncover new questions.

You need to find that topic that burrows into your mind, nagging you to find out more, to

answer it.

(walks off frame into real world)

This video has one purpose to show you what goes into making a Vsauce video.

On Twitter I asked if you'd be interested in a video about actually making a video,

a kind of behind the scenes look, and a resounding amount of you said yes.

And I've already discussed the process of not making a video in my video about not making

a video, the weeks or months that go into reading and researching and the days that

go into condensing the information into a narrative script so we will pick up there.

Once we have the script...what happens?

Well, for me, I need music.

When that beat kicks in it motivates everything.

It sets the tone to let you know how to feel, it can enhance your expectations, and then

you use the camera and the script to emphasize that.

This frame is a canvas.

Everything in it: my voice, my movements, the camera's, the music, the script all

exist in this tiny rectangular world.

Nothing outside of it matters, forget about it and focus on what I show you, what I tell

you.

I write with music in mind so that the script and soundtrack feel like they were made to

be together.

I always create a playlist before I film anything...I've already made the movie in my head.

Now that you have your music and your script, the fun begins.

You decide how you use the camera to capture the narrative you want to tell.

For example, Jake says, "It's transient.

To continue it's life cycle it has to find

a new home."

The camera pans to reveal the house.

The Music comes up.

Jake walks into frame and towards the cabin.

We hear his voice from the next shot.

But then there are parasites that are more insidious.

Now everything is captured.

We have all of these individual pieces that need to be put together.

Side note: When I write, I've already found all the assets I want to include: archival

footage, stock footage, etc.

It isn't an afterthought, everything you show on screen has to have purpose.

Again, it has to be motivated.

See, this clip has no reason to be here...it detracts from the story.

Then comes my favorite part.

The lie.

Where, if we did our job well, you don't even notice that we were lying to you.

And for that we need the best liar on the planet, our cinematographer and VFX wizard,

Eric Langlay.

If you're interested in learning how to do those kind of visual effects, rotoscoping

and masking, there are lots of tutorials online but one of my favorites is VFX Rotoscoping

101 on Skillshare.com who we use a bunch and were nice enough to sponsor this episode and

support Vsauce.

If you want to try it out, we have a deal for 3 months for only $.99 that you can go

to with the link in the description.

I actually used their color grading course a few months ago which brings us to the next

part of making the video.

The way it looks.

This is how the camera captured it.

It looks like a really flat image, not much color, saturation, shadows, highlights or

contrast but that's because we use a camera, a RED, that records RAW images.

Your cellphone for example applies a color profile and such when you film which makes

it harder to adjust after whereas this camera captures a lot more information, metadata,

and then allows you to adjust all of those factors later.

So we can go from this to this with color correction and with much greater latitude.

And even how you color grade the footage is important - it allows you to set a visual

tone.

I purposefully oversaturated most of the footage and removed highlights and increased shadows

because I thought it was an interesting juxtaposition next to the dark and creepy subject matter.

It is important to use every tool available to you to create exactly what you want.

Every piece matters.

They all need to work together, to balance out, for me there should be a thoughtfulness

with what you make.

From the script, or the information given, or the cinematography, music, visual effects,

color, even the sound.

Sound design is successful when you don't notice it.

Let's use the intro shot as an example.

This is what it sounded like when we filmed it.

There's no sound because the drone we used doesn't record sound.

So we have to recreate it entirely.

Here is the same shot but with sound effects: the wind, trees swaying, footsteps in snow

matched up to me walking, and a nice sound effect for emphasis on the title.

Now here it is again with my voice dubbed over to sound like I'm talking through a

radio.

That was actually recorded a week later in my apartment on my cell phone.

And finally, here it is with the soundtrack.

One thing I've been really into exploring is match cuts, when the sound of one thing

is replaced by another.

Like when I slam the door in this scene but instead of hearing the door close, you hear

wood bursting from flame.

It's about playing with expectations.

Oh, also the fire crackling is from a campfire months early recorded in Alaska.

Here it is without the fire sound effect.

And all those adjustments we make are defined before we film.

It has to be exact to create the illusion of the world we are trying to present.

It doesn't matter what story you tell as long as you can tell it well.

And believe me, the hardest part of making a video is actually making it.

Not to get too meta but even this video took me awhile to make because I wanted it to have

purpose but maybe, sometimes, sharing is purpose enough.

And, as always, thanks for watching.

Last thing, we like to custom make the Vsauce outros to fit the topic of the video.

So for COuld You Be a Parasite, Eric 3D printed a Vsauce plate, put it on the back of a fish

tank, filled the fish tank with smoke, filmed through the fishtanks and smoke to the plate

and then lit a trash bag on fire to get this practical effect.

love u

For more infomation >> Making a Vsauce3 Video - Duration: 9:03.

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Why are so many video game characters HOT??? - The Halo Effect & Attractiveness - Game Design Theory - Duration: 6:49.

Why is it that so many characters and video games are, well, hot? This could be

the result of a psychological principle called the halo effect, where we think

attractive things are better than they actually are. Let's investigate this

further. Hi, my name is Gigity McD, here on the channel we talk about the ins and

outs of game design so that you are equipped to analyze, discuss and create...

great games. Simply put the halo effect is when we find something or someone

attractive and attribute qualities to that thing purely because we find it

attractive. It happens to us subconsciously so we can't control it.

The halo effect has been researched and observed in many different variations

including attractiveness, personality, education and branding. In all these

instances when someone was presented with a positive version of something

such as an attractive person, a good student or a known brand, it is common

for the perception of that thing to be more favorable than another standard or

possibly better alternative. This carries on to mean if a person is seen to be

more attractive, we may think a range of their other traits are better too. This

is a passage from Kathrine Isbister's book, Better Game Characters by Design.

"Studies have shown that many qualities are attributed to people with attractive

features. These qualities include being seen as warmer, kinder, stronger, more

sensitive, more outgoing, more socially persuasive and dominant and even smarter

than others." *end quote* And this behavior is something that we can tap into to

improve a character's first impression. Attractive people are psychologically

easier to like than unattractive people. By making the main character of our game

attractive, we can potentially adjust the opinion the player has of them initially.

Thinking about this in a more marketing sense, the main character is often seen

on the marketing materials like posters, in trailers and sometimes on the box art.

Hell... Lightning from Final Fantasy XIII was used as a model to sell designer

clothing and accessories for Louis Vuitton, and

the characters from Final Fantasy XIII have been used by different companies

also. The player will be spending a lot of time with this character so it's a

good idea to take all the opportunities possible to make the player like the

main character. So if the halo effect is applied in this situation, making the

main character attractive will prime the player to formulate a good first

impression, thus liking the player more and setting

off the game with a positive vibe. Let's also remember that the first time you

see the main character might be on a poster or a trailer months before you

buy the game. We've talked a bunch about the good, now let's talk about the bad.

There is research showing that not only do we apply the halo effect to people

who are attractive. Thinking of them more highly in other traits as a result but

there is an opposite effect we apply to someone that our initial impression of

is negative. The reverse halo effect or otherwise known as the horns effect is

the occurrence of giving negative traits to a person that are not warranted based

on a bad impression of them in the past. So for example an unattractive person

may be assumed to be less empathetic, less intelligent or less caring just

because they don't conform to what is considered attractive. This is a bad

thing for society but it is something we can utilize to take advantage of in our

game characters. In opposition to being attractive, an ugly character can be seen

as more difficult to like, or as it is more fun to think of, easier to hate. This

makes unattractive characters good candidates for antagonists in your game.

We can utilize the horns effect to craft the player's opinion of the character.

Unattractive characters should be used sparingly however as the less your

player feels negatively towards your game, the better. It might be possible to

overuse the horns effect and come off worse. How exactly do we make characters

attractive. This is a fair question given what we just discussed but there isn't a

one-size-fits-all correct answer. Health, the quality for a person to be

healthy and symmetry of features, where features on one side of the body match

features on the other side of the body are consistent benefits for

attractiveness across all cultures but it ends there as a solid answer. Maybe you

could lean on stereotypes a bit big, muscles and romantic for men and curvy

in all the right places for women and maybe that suits your needs just fine.

There isn't anything necessarily wrong with that, just don't expect to be taken

very seriously if you are using the most common tropes in society like those ones.

And also be conscious to not reinforce harmful stereotypes. But attractiveness

is different for every person and manifests itself in different ways

throughout different cultures or even subcultures. Do you find tattoos

attractive? How about facial piercings? Are you a long hair person or a short

hair person? To get this right you need to research the cultures and subcultures

in your game. Investigate what you are portraying in your game and who might be

involved. Do you research into the common and uncommon stereotypes of the theme

then think about whether that will gel with your target audience. Can you alter

something without changing the fundamental meaning of what you're

trying to get across? Will that insult someone? Also be aware that along with

conventional attractiveness, shows of affection vary from culture to culture

too. It isn't okay to kiss your partner in public in every country in the world.

While cultures are slowly changing over time and so are their displays of

affection, if your game needs to leverage affection as part of the use of

attractiveness it may also be appropriate for another trip to the

books if you really want to nail the realism or if you want to reflect a

certain time period. Why don't you guys tell me what your favorite attractive or

unattractive character is? Drop that character in the comment section. Or do

you have an example of the horns or halo effect in action in a game? If you stop

and reflect knowing what you know now, you'll probably be surprised at how

liberally the halo effect is applied. If you wanted to, drop this video a like. It

will help but get in front of more people and if you subscribe to the

channel you'll be in the firing line for a lot more game design content. Here on

the channel we talk about the ins and outs of game design so that you are

equipped to analyze discuss and create... great games.

For more infomation >> Why are so many video game characters HOT??? - The Halo Effect & Attractiveness - Game Design Theory - Duration: 6:49.

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Video Case Study: Service from the Heart - Duration: 2:01.

Our objectives for starting the service from the heart program was to make a

connection with our customers. We get to send customers cards in different

situations. It's really just an extra touch for customer service. And it

continues the experience that the customer has with SRP.

There was even a customer that sent a card back to one of our employees

because he was so touched. My favorite card to send is the cheer card because

there's different ways that we can spread cheer to our customers. We have

a lot of people who are veterans and we're thinking for their service. And hopefully,

this small card will be a small token of our gratitude that we can extend to them.

You have no idea what it means to just know that people do support our

military and care about them. And a simple card from us here at SRP can absolutely

help somebody get through their day that they're missing their loved one. Any time

that you're dealing with a customer that a family members passed away, you know

that's one that really sticks with you the next day and the following week. The

cards help with not only myself feeling a little bit better about it on the

drive home, but I know that they're feeling better about it as well. I was so

surprised to get my card in the mail. I'm going through a very difficult time. And

my card from Isaac was a great pick-me-up and a pleasant surprise. Oh,

that's awesome. Oh I'm glad that we work for a company

that is willing to invest resources and a product that will allow us to show

some sensitivity towards our customers. And I think that's what this did.

It was perfect, so thank you. Thanks for the opportunity.

To, you know work with Hallmark. That's awesome. I really liked it.