Jason Wishnow:如何拍攝 TED演講

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http://dotsub.com/view/46f0d768-e2d7-4846-b390-a26dd59c7094
TEDx@TEDGlobal -- Jason Wishnow:如何拍攝 TED演講

我该站在这里
因为这里光线好
比较上镜头
嗯
我想向大家介绍我们是怎么为TED摄像的
算是为刚才约翰和布鲁诺讲的做一个扩展
很明显，最重要的是
要知道观众的口味
TED好就好在
在每个会场
你都有各种不同规模的观众
观众的种类也各不相同
不管是小小的学校教室
还是比我们在牛津有的歌剧院还大的剧场
我这里给大家的
是放之四海而皆准的方法
这里我要介绍的原则
关于摄影的
适用于大场面或者小场面
你不仅需要知道观众的口味
你也需要了解媒体
TED讲座多在网上播放
也在iPhone上播放
从前很多是在iPod上播
现在也还有
而且现在它们在电视上播了
TED讲座通过多种平台播放
它们也会在其他的TEDx上播
所以，第一要注意的是
它们多是在小屏幕上播
因为说到底
TED讲座多是在小屏幕上播的
想要为小屏幕摄像
两三英寸的小屏幕
你应该
想清楚怎么摄像
看起来最好
比如特写镜头
在小屏幕上播就特别合适
因为这种
片断的特写技术
让观众有种一对一
和演讲者交流的感觉
你能看进他们的眼睛里去，感觉他们在看回来
是一个充满互动的摄影角度
在电影里，这是非常有影响力的角度
这不是为学校小剧场摄像
像我常开的玩笑
在其他会议上
他们在后排
支一个摄像机，像是为小剧场摄像
我们在TED摄像像是在电影制片厂，
因为这是TED演讲
而且来参加TED的人
都在试图和观众交流
大家都知道
他们在试图和大家在
智力和感情层面上交流
我需要做的
是最有效地将其保存下来
以便向其他人分享
这是TED讲座在1984年的样子
这是尼古拉斯 尼哥彭特
在讲台上谈在1984年，在非洲
儿童学习使用计算机，非常激动人心
但这个片段
看起来像是现在TED讲座的一个古典版
（笑声）
这是2005年
当电影产值上升时
我也是差不多那时候加入队伍
为TED工作的
这是詹姆斯 沃尔森
DNA遗传密码的发现者之一
给他录像本可以
从更多的角度摄像，互动性更好些
更突出他的举止言谈
这是现在的摄像
现在在长滩的主会场
我们有六个摄像机
这不是光为了
有这么多摄像机
这是因为我们在很短时间内
有很多演讲者
你不知道这些人
会做什么
对不对？好比我们没想到
比尔 盖茨会在演讲中打开盒子
向听众放蚊子
来谈疟疾
但我们正好有个机位
在他的背后
这个摄像师跳上前
得到了镜头
其他的摄像师，事实上我们中没有人
想到他会做这些
这是个意外
如果不是有那个机位
我们就抓不到那个镜头了
而这正是他的演讲中
很有感染力的一刻
我想强调的是
我们需要做的
是给看我们的录像的观众
最好的画面
现场，每个人都有好座位
因为你们在TED现场
而TED是这样一个了不起的经历
当你在现场
在这个坏境中
乐趣无穷
我们希望能在媒体的另一端，和大众分享这些乐趣
另外，如果你在收看TED
看这个演讲，一个录下来的演讲
一个会议能提供的信息
很可能会很无聊
这并不是我们希望的
要知道在TED我们常说
演讲者都是明星
在他们的领域中他们确实是明星
我希望你和你们的摄像队
分享一个理念，就是摄像机永远不停转
即使你要现场剪辑，
我们的确这样做
或是你要后期剪辑
特别是如果你想在演讲之后再加工
你要做的是让所有的摄像师
明白他们在做的工作
是需要小心翼翼作的非常精确的
当摄像机位移动时，好比推近景
应该做得非常慢，非常小心
另一个是关于我们提到的特写镜头
你希望制造一个交流的机会
在演讲者和观众之间
特写镜头是最有互动性的
不管是在大屏幕上还是小屏幕上播
你第一个应该考虑怎么放的摄像机
就是用来做特写镜头的
要放在会场哪里
好比这个房间
我站在这里
在讲台的这一侧
大部分的观众，大多数人都散坐在这个方向
这里后面有个摄像机
这个摄像机，就是用来给我做特写的
也给其他的演讲者做特写
因为默认的是我会向这个方向看
第二个要紧的摄像机，是广角镜
有它的好处是你能在特写和广角间切换
要知道，演讲者常常
有幻灯片播放，就像这个
特别是当幻灯片非常生动
在后期制作的时候你不希望把这部分忽略掉
你用广角镜已经摄到了
再次强调，最重要的两个摄像机，就是特写镜和广角镜
另一个你能用的摄像机，是空中的
只是为了有另外的覆盖范围
比如有的人喜欢在台上来回走
你就可以
覆盖他们的活动范围，即使是当他们不断变换方向的时候
另一个需要考虑的是有时需要特殊的角度
这其实是为比尔 盖茨摄像的角度
从他的身后。 这个是汉斯 若斯林
一个瑞士统计学家，真正的健康专家
正在向台上走，拿着一个特别长的棍子
一个固定的激光教鞭
有特殊角度的机位好就好在
你希望演讲者面向观众，但是当他们转过身去时
为了某些原因，就像这里
你还是能有个机位得到图像
TED的特点是，当我们摄像时
并不是在会场后面放个摄像机就行了
事实上我们希望将
演讲者优美地展现出来
比演讲者更重要的是，他们的信息
将信息尽量清楚，简洁，有力地
向观众展现出来
有关摄像机你最后需要考虑的
是向观众展示我们在哪里
TED的好处就是他们在世界各地都有演讲
最好我们能够在演讲中
透漏一点信息
我们现在越来越注意这一点，特别是在TEDx
现在当你看TED演讲时，像刚才
我都尽量展示一点观众的画面
让大家得到一点现场感
看到观众们都是什么样的人
为什么这些观众会来
多少人在现场，等等
这使得网络观众
对现场经历感觉更清晰
我不需要给很多现场
因为我不愿意把观众的注意力
从演讲者上转移开，但是好处是
当你稍微给一点现场，观众的反应是有感染力的
笑声是有感染力的，掌声是有感染力的
当演讲结束时，你知道TED是很好的演讲
因为我们常常有站立鼓掌的情形
另一个你应该考虑的是加些戏剧性进去
像是剧场光线，来突出演讲者
和你的技术团队一起考虑好，怎么排演
怎么安排机位，你就能抓到演讲的细节
那些演讲者带到台上来的玩具啦，工具啦
有更多的摄像机的协助，特别是当台上有音乐时
你就能在更多不同的图象中找到平衡
好像是在乐器上的镜头，在演奏者脸上的镜头
你可以变换不同的角度
比你在一个站立演讲的演讲者上变化更多
涂过你有现场访谈，这里有个小提示
有个非常简单的三位摄像机设置大家可以使用
一个聚焦在被访问的人身上
一个在主持人身上，你可以不断切换
你在新闻，杂志上看到过这样的设置
另一件事要注意的是当你做这样的设置
每个摄像机必须相信别的摄像机
能够拿得到好的镜头
我现在要很快地提示大家什么不能做
因为这些都非常关键，而且我在团队里是出了名的过度小心
避免怪怪的镜头选择
聚焦在演讲者身上，最重要的是演讲者
我们不需要看幻灯片，尤其是你将来要剪掉的话
特别是我们不需要只带一个演讲者的脑袋
他们好不容易来TED一趟
避免剪掉屏幕
比如这是个非常好的幻灯
是劳伦 斯拉兹克的，只带到了寥寥几个字
如果这里用广角
我们就能看整个幻灯片了
避免摄像机被挡住
你希望一直聚焦在演讲者上
你希望很好的光线，这样你能一直把演讲者看得很清楚
我们希望看演讲者，我们希望一直和演讲者沟通
当你有多个摄像机，你不希望它们都得到同样的图像
所有的摄像师都喜欢从一个角度摄像
因为这是一个安全角度
从这里能够得到演讲者的身体活动
这就是为什么每个人都必须有信心他们在
同时得到广角，特写，不同样的角度
避免一直从一个地方摄影，你希望多少有点动感
避免过深的背景
以免演讲者不知不觉陷入背景中
TED的演讲者常常穿黑色
我们都爱这样做
避免太近的背景，因为你不容易打光线
比如看我后面，这是个非常近的背景
而强光正打向我
这就是为什么这个背景看起来更宽一些
比那边红色的宽
避免单独看起来不好看的背景
这个很明显
避免不自然的演讲者
这也很明显
你希望演讲者看起来，其实感觉也很舒服
同时，避免太小的锐角机位，和其他摄像机恐怕不好搭配
和你的摄影团队谈好
你希望所有的摄像机配起来都很好
因为一个单独的机位，像这个，看起来很好
但是它和别的机位都不合
所以不能用
最后提醒
在观众对不完美的音效比不完美的摄影更敏感
请确保你有个好的音响系统
当你组织TEDx活动时
到我们网站上来，联系我
联系TED的任何一个人
使用我们推荐的摄影参数，因为TEDx已经有大概700个活动了
有很多摄影带
这些数码摄影带不断寄来
如果它们能够有个特定的模式是最好
这样我们浏览这些片段的机率就大些
可能能够早点把它们在网页上公开
谢谢大家
请享受接下来TEDx的活动
（掌声）



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TEDx@TEDGlobal -- Jason Wishnow: How to shoot a TEDTalk
00:05 → 00:06 I am gonna stand here,

00:06 → 00:08 because the lighting is better,

00:08 → 00:10 and it will look much better on camera.

00:10 → 00:11 So,

00:11 → 00:13 I am going to show you how we shoot TED talks,

00:13 → 00:17 And this is really an extension of what June and Bruno were just talking about.

00:17 → 00:19 Obviously, the most important thing to think about is,

00:19 → 00:21 you know, knowing your audience.

00:21 → 00:24 And, the great thing about TEDx is

00:24 → 00:25 at every conference,

00:25 → 00:28 you have these like drastically different sized of the audiences

00:28 → 00:30 and these drastically different types of audiences

00:30 → 00:33 So you know, whether it is, you know, the small school room

00:33 → 00:37 or the auditorium that's potentially even bigger the the play house here in Oxford.

00:37 → 00:39 What I am going to talk to you about now

00:39 → 00:42 is something that will hold true for all of them.

00:42 → 00:44 So, all the principles I am really going to hit on

00:44 → 00:46 in turns of shooting, you know

00:46 → 00:49 are relevant whether you've got like a huge venue or a small venue.

00:49 → 00:51 Not only should you know your audience

00:51 → 00:52 you need to know your medium.

00:52 → 00:54 TED talks play on the web.

00:54 → 00:56 They play on iPhones.

00:56 → 00:58 They used to play on iPods.

00:58 → 00:59 Well, they still do.

00:59 → 01:01 And they play on TV now.

01:01 → 01:03 They are in all sorts of platforms.

01:03 → 01:06 They are gonna play at other TEDx events.

01:06 → 01:10 You know, so, one thing that is very important to think about

01:10 → 01:11 is the small screen,

01:11 → 01:12 because at the end of the day

01:12 → 01:15 the small screen is where TED talks are mostly viewed.

01:15 → 01:18 And, so when you are shooting for like this,

01:18 → 01:21 you know, like, you know, two, three inch screen,

01:21 → 01:23 what you really want to do

01:23 → 01:26 is keep in mind like what types of shots

01:26 → 01:27 work really well for that.

01:27 → 01:28 like, a close-up,

01:28 → 01:31 works incredibly well in a tiny screen,

01:31 → 01:33 because it is its very kind of intermit shot.

01:33 → 01:34 It's, you know,

01:34 → 01:36 you have this one on one relationship

01:36 → 01:38 with the person whom you are watching.

01:38 → 01:40 You know, you can kind of look into their eyes and see they look back at you.

01:40 → 01:42 It's, it's, it's a dynamic angle.

01:42 → 01:44 In film, it is a very powerful shot.

01:45 → 01:48 It is not a videotaped school play.

01:48 → 01:50 like I always joke about,

01:50 → 01:53 how, you know, at other conferences,

01:53 → 01:54 you know, they will stick a camera

01:54 → 01:56 at the back of the room like a high school stage play.

01:56 → 01:58 At TED, we treat it like cinema.

01:58 → 02:00 Because, it is a TED talk.

02:00 → 02:02 And the people who come to TED

02:02 → 02:04 reach out to you.

02:04 → 02:05 And you all know this.

02:05 → 02:08 They reach out to you on both intellectual

02:08 → 02:09 and emotional level.

02:09 → 02:12 And, so, all I want to do

02:12 → 02:15 is capture that as effectively as possible.

02:15 → 02:19 So that we can share that with the rest of the world.

02:19 → 02:22 This is what TED talks looks like in 1984.

02:22 → 02:24 This is Nicholas Negroponte on stage,

02:24 → 02:26 talking about kids, using computers

02:26 → 02:29 in Africa, in 1984, which is very exciting.

02:29 → 02:31 And it kind of looks like

02:31 → 02:33 the snuff film parity of a TED talk.

02:33 → 02:34 (laugh)

02:34 → 02:37 This is 2005,

02:37 → 02:39 where production value had increases (increased).

02:39 → 02:40 This is right before I got involved

02:40 → 02:42 and right before we launched TED talks.

02:42 → 02:44 And this is James Watson

02:44 → 02:48 one is the co-discovers of the genetic code of DNA

02:48 → 02:50 and he, en

02:50 → 02:53 probably could have been filmed with some more dynamic angles

02:53 → 02:55 for a manifest posture.

02:55 → 02:57 This is now.

02:57 → 02:59 Now we have six cameras

02:59 → 03:02 on the main stage in long beach.

03:02 → 03:04 And the purpose of this

03:04 → 03:06 it isn't for the point of having a lot of cameras.

03:06 → 03:09 It's because we have so many speakers

03:09 → 03:11 over this short window.

03:11 → 03:13 And you don't know what to expect

03:13 → 03:14 from all of them.

03:14 → 03:15 Right? Like, we didn't know

03:15 → 03:17 Bill Gates is going to open up a container

03:17 → 03:19 and release the mosquitoes onto the audience

03:19 → 03:21 and attempted to talk about malaria,

03:21 → 03:22 but we happened to have a carmera

03:22 → 03:23 right behind him.

03:23 → 03:25 And that guy jumped forward

03:25 → 03:27 got the shot.

03:27 → 03:29 The other camera operatives, in fact, none of us

03:29 → 03:30 knew he was going to do that.

03:30 → 03:31 It is a surprise.

03:31 → 03:32 And if it wasn't for that one operator,

03:32 → 03:33 we would have missed it.

03:33 → 03:35 And it was a really powerful part

03:35 → 03:36 of his talk.

03:36 → 03:37 So the point of all of this

03:37 → 03:39 is what we really want to do

03:39 → 03:42 is, give the subsequent viewing audience

03:42 → 03:43 the very best scene in the house.

03:43 → 03:47 Now, all of you will have great seats in the house

03:47 → 03:48 because you are at TED.

03:48 → 03:51 And TED is, is a phenomenal experience

03:51 → 03:53 when you are, when you are there,

03:53 → 03:54 when you are in this environment.

03:54 → 03:57 And you know, just so much fun to be here.

03:57 → 04:01 But we want to share that with a person on the other side

04:01 → 04:02 You know. Again, if you are watching

04:02 → 04:05 this lecture, you know, the notion of a taped lecture,

04:05 → 04:06 the notion of a conference really

04:06 → 04:08 can, (you) know (be) something kind of boring.

04:08 → 04:10 And that's not what we are all about.

04:10 → 04:12 You know in TED we always kind of talk about

04:12 → 04:15 how speakers are rock stars here.

04:15 → 04:16 And in their field, they are.

04:16 → 04:19 And this is one of the keynotes that I want you to share

04:19 → 04:22 with all of our camera crews, is the camera should always be on.

04:22 → 04:26 Even, if, you know you are doing a live cut while it's happening,

04:26 → 04:27 which we do here,

04:27 → 04:30 even if you are going to edit them subsequently,

04:30 → 04:33 and especially because there will be editing after the fact

04:33 → 04:35 you want all the camera operators

04:35 → 04:38 to think as if what they are doing, you know

04:38 → 04:41 is very deliberate,is very exact.

04:41 → 04:43 So camera moves, like a zoom in,

04:43 → 04:45 should happen slowly, deliberately.

04:45 → 04:48 The other thing, goes back to the close-up shot,

04:48 → 04:50 you want to make a personal connection

04:50 → 04:52 between the speaker and the viewer.

04:52 → 04:55 So again, the close-up, is just so dynamic.

04:55 → 04:58 Whether it is on a large screen, or on a small screen.

04:58 → 05:00 So the first camera you want to think about is,

05:00 → 05:02 what is that camera that will get the close-ups.

05:02 → 05:04 Where are you gonna put that camera in the room,

05:04 → 05:07 like in this room, for example,

05:07 → 05:09 I am standing over here,

05:09 → 05:10 on this side of the stage,

05:10 → 05:14 Most of the audience, most of you, are kind of spread out this way.

05:15 → 05:16 This a a camera back over there,

05:16 → 05:20 That camera, is the camera that is getting the close-ups of me,

05:20 → 05:22 and, all of other speakers.

05:22 → 05:25 Just because by default, this is where I am looking.

05:25 → 05:28 The second most important camera you use, is wide shot.

05:28 → 05:31 And the great thing about that is you can juggle back and forth between the two.

05:31 → 05:33 You know, often, presenters will have, en,

05:33 → 05:36 have slides up, like this, and

05:36 → 05:38 especially when they are really graphic

05:38 → 05:41 you don't even have to cut away to the slide when you are working in post (-production).

05:41 → 05:43 You've got it, right there.

05:43 → 05:46 This most important two cameras, again, are the close-up and the wide.

05:46 → 05:51 And the other camera is you bring to, en, into the space,

05:51 → 05:53 are really meant to just, provide additional coverage.

05:53 → 05:55 So that someone is a pacer, you know

05:55 → 05:57 maybe you can, maybe you can, en,

05:57 → 06:00 catch that as they are, as they are changing directions all the time.

06:00 → 06:04 The other thing to think about is unexpected angles can really work too.

06:04 → 06:06 This is actually that same angle to cut Bill Gates,

06:06 → 06:08 from the back, and here is Hans Rosling,

06:08 → 06:11 the Swedish statistician, and real health expert.

06:11 → 06:15 who's approaching the stage, with a giant stick.

06:15 → 06:18 This is solidified, laser pointer.

06:18 → 06:20 The great thing is often, you know,

06:20 → 06:24 you want speakers to look to the audience,but if they do turn around,

06:24 → 06:26 for a reason, like in this case, you know,

06:26 → 06:29 you have, we have a camera for it.

06:29 → 06:31 The thing about TED is, when we film it,

06:31 → 06:36 it's not so much about, just kind of, again, filming a taped lecture at the back of the room

06:36 → 06:39 It's the fact that we want the presenter to be

06:39 → 06:42 shown, as elegantly as possible.

06:42 → 06:45 And their message, more important than the presenter,

06:45 → 06:48 is the message, that must go out to the audience

06:48 → 06:51 as clearly, as lucidly, and impactfully as possible.

06:51 → 06:54 One final thing you should do when you think about cameras, is

06:54 → 06:55 show us where you are.

06:55 → 07:01 The great thing about TEDx, is they happen in so many different vibrant arenas.

07:01 → 07:04 And it's great to just get a little touch of that

07:04 → 07:05 at some point in the talk.

07:05 → 07:10 It's something we've started doing more and more of in part because of TEDx.

07:10 → 07:12 Now when you watch TED talks, like early on,

07:12 → 07:16 I want to just throw a little clip of an audience shot

07:16 → 07:18 to just, just give a sense of the room,

07:18 → 07:21 and give a sense of "who is this crowd?"

07:21 → 07:22 "why are these people here?"

07:22 → 07:23 "How many people are here?"

07:23 → 07:26 It's, it makes, the experience feel a little bit more

07:26 → 07:29 clear to the on-line viewer.

07:29 → 07:32 And I don't do too much of it, because

07:32 → 07:34 I also don't want to take you away

07:34 → 07:37 from the speaker. But the great thing about it is

07:37 → 07:41 when you do it, and when you have this kind of shot, audience response is contagious.

07:41 → 07:43 And laughter is contagious, applause is contagious.

07:43 → 07:47 At the end the talk, you know TED is a great form because you always got this, en,

07:47 → 07:49 standing ovations.

07:49 → 07:53 The other thing that you want to think about is adding drama,

07:53 → 07:55 like cinematic lighting to emphasize the speaker.

07:55 → 07:59 Thinking about with Tech Demos, how you will rehearse and how you might

07:59 → 08:03 set up a camera so you can really just capture some of the nuances.

08:03 → 08:06 and the toys, and the tools that the presenters bring to the stage.

08:06 → 08:09 Again, with more cameras, especially for music,

08:09 → 08:12 you can balance out a lot of vibrant shots,

08:12 → 08:15 like shots on instruments shots on singer's faces

08:15 → 08:18 And you can play around with different angles

08:18 → 08:20 than you might normally do when that is a standard presenter.

08:20 → 08:22 Here is a tip for interviews if you ever have them,

08:22 → 08:25 There is a very simple basic three camera setup

08:25 → 08:28 that you can use. One on each person being interviewed, and

08:28 → 08:32 one on the duo. And you can cut back and forth.

08:32 → 08:34 You've seen this in news, magazines before.

08:34 → 08:37 And the other thing that is important when you are doing something like that,

08:37 → 08:40 is each camera has to trust the other camera

08:40 → 08:43 will get the appropriate shot.

08:43 → 08:46 I am gonna just super quickly run through what not to do.

08:46 → 08:52 En, because this is very key and I am known around the office for being a little cynical.

08:52 → 08:54 So avoid awkward frame composition.

08:54 → 08:57 Shoot the speaker. Again it is all about the presenter.

08:57 → 09:00 We don't need to see the screen if you are gonna cut away to the screen.

09:00 → 09:03 And especially we don't need to decapitate the presenter.

09:03 → 09:05 I mean they've come all the way up to a TED event.

09:05 → 09:07 Avoid awkward screen cropping --

09:07 → 09:09 Again like, this is a great slide

09:09 → 09:11 by Lorn Slezak (?) with like two words on it,

09:11 → 09:13 And if it was just a wider shot

09:13 → 09:14 we can actually read it.

09:15 → 09:16 Avoid kind of obstructing the camera.

09:16 → 09:19 You want to keep the speaker in focus.

09:19 → 09:22 You want to make sure that the lighting is set so you can see the speaker.

09:22 → 09:25 We want to see the speaker. We want to have that connection with the speaker.

09:25 → 09:28 When you've got multiple cameras, you don't want them all shooting the same shot

09:28 → 09:33 it is really easy for camera operators to default to doing the exactly same shot.

09:33 → 09:34 This is the a comfortable shot to film.

09:34 → 09:36 Because they can get my body movement,

09:36 → 09:40 And that is why everyone has to trust they are all getting

09:40 → 09:43 the respective wide, close, you know, different type of shots.

09:43 → 09:46 Avoid shots that kind of feel static, you want to have a little dynamism

09:46 → 09:49 to it, avoid background that are too dark,

09:49 → 09:51 so that the speakers drift into them,

09:51 → 09:53 Often, the speakers in TED wear black.

09:53 → 09:54 This is what we do.

09:54 → 09:56 Avoid background that are too close. Because you can't really light them.

09:56 → 09:59 Like even when you look behind me, this is a really close background,

09:59 → 10:01 And, en, there is a spotlight on me.

10:01 → 10:05 That's why this is, this is wider, than, the background over there,

10:05 → 10:06 which is red.

10:06 → 10:09 Avoid backgrounds that only look good in the room.

10:09 → 10:10 That's self-explanatory.

10:10 → 10:16 And, avoid uncomfortable, awkward looking speakers.

10:16 → 10:18 This is also kind of self-explanatory.

10:18 → 10:21 En you want the speakers to look and feel comfortable.

10:22 → 10:26 Also, avoid acute angles that might not cut in well with your other cameras.

10:26 → 10:28 And again talk with your tech crews about this.

10:28 → 10:30 You want all the cameras to cut well together.

10:30 → 10:34 Because a shot like this actually does look good,

10:34 → 10:36 but it doesn't fit with the other types of shots that I've shown you.

10:36 → 10:37 So it kind of get lost.

10:37 → 10:39 A final note,

10:39 → 10:42 People notice bad audio before they notice bad video.

10:43 → 10:46 Please, make sure you've got a good sound system.

10:46 → 10:49 And when you are going to do a TEDx event,

10:49 → 10:52 look on our website, feel free to contact me,

10:52 → 10:55 feel free to contact any of us, at TED.

10:55 → 11:00 Use the video settings that we recommend, because if there are 700 TEDx events,

11:00 → 11:02 And tons of video tapes and tons of, you know,

11:02 → 11:04 digitized video files are coming in,

11:04 → 11:07 it will be great if they all are, kind of matched in a similar format,

11:07 → 11:11 And that will increase the opportunities for us to look at them faster,

11:11 → 11:14 and potentially get them on the site sooner.

11:14 → 11:15 So, thank you all.

11:15 → 11:18 And, en, enjoy your upcoming TEDx events.

11:18 → 11:26 (applause)