Add transcription for: frames_zips/SOM_IllustrationforMotion_DownloadPirate.com.part2_Perspective with a Purpose_frames.zip

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+  "text": " [♪ Music playing, end of video.] In the last lesson, we went over 1, 2, and isometric perspective. But perspective isn't limited to just these three points of view. There are tons of different methods out there for showing different perspectives, and here I'm going to introduce you to a few more. [♪ Music playing, end of video.] On a more important note, I want to point out that when you're using perspective, you should try to at least have a reason for it. and a reason for using the particular perspective that you plan on using. Are you drawing something in one point perspective because you want the viewer to have a very focused point of view? Or maybe you're using isometric perspective because you want to showcase an isometric exploded view of something. I always try to make sure there's a purpose to most of the elements in my illustrations, and that includes the type of perspective I'm using. Before I explain a couple new perspective topics, I want to look back at one point and isometric perspective a bit in animation. Here, I'll show you a few examples of those perspectives used in purposeful ways. I want to point out the meaning and concept behind each of them because I think it's important. Of course, perspective can be a stylistic choice, but it's best if there's some thought put into using it, just as with any other stylistic choice we've already discussed. One point perspective, especially, is usually used purposefully to draw focus to a certain point or to emphasize the unity and symmetry of a scene. So we especially see it here in the opening of this shot. Everything is pointing to this main character here, so we know we're about to see him walk on this path on a little journey here. And that's precisely what he's doing. We get a lot of views of that walk. And of course, there's more examples of that throughout the piece, is one of the most pointed examples. In United Health Group here, they're all working together to build a little city, to build something together, and then it all comes together at the end, where it's really emphasizing that movement where they've created everything together by using this one point perspective. We see these two characters looking out on what they built. With this short film by Art and Graft, Lost Hope, we see a little bit of one point perspective as well. And what I love about this here, in this moment especially, is that we're literally vanishing into the vanishing point because the viewer is looking out into the unknown. There's this lost hope that we can't see ahead of us, and I think that's really emphasized with this composition here. And the last example of one point perspective with a purpose here is this piece by Benji Gbroke, PowerHunery. And if you haven't seen this before, I highly recommend watching it. It's really good. It's really well animated. It's really fun. It's really visionary and playful at the same time. So this is gonna ruin the end for you. So if you wanna go and watch it all, there will be a link in the show notes. This part is really great. So we follow this one point perspective hose all the way to the main purpose there at the end to showcase what a crazy moment it is. And if you see the whole thing, you'll get it. But I love how the whole piece is building up to this one moment and then it ends right when the enemy basically gets the power. So that was a really cool use of one point perspective. And I've always kind of wondered like, what's the point of using isometric perspective? It really just feels like a stylistic choice. But I have found a couple of examples that seem very purposeful. And with this first one, I feel that it's used to emphasize that all of the items we see paired together here fit together. and that becomes very clear with the reveal at the end. And so I love that they're using isometric perspective to make everything work together perfectly. And that's because with isometric perspective you have that parallel grid system in which everything fits together with perfect lined up angles. A second example of that is here. So this one is similar in the fact that because they're using isometric perspective, no matter what gets added in, everything lines up perfectly because it's using isometric perspective. And finally, I want to talk about changing perspective. Changing perspective can also be very powerful. Switching from perspective to perspective can drastically help get a point across. And we see that one pretty evident here in this piece by Yu Sung Lee. literally flips an idea on its head to emphasize strength. Then soon, you'll have the power to lift the world. So in that one, he literally flips an idea on his head and shows that she goes from just doing an average handstand to holding the weight of the world above her and doing a bench press with it, which is pretty awesome. And in this piece with Jionette here, we go from a close-up to a first-person perspective to a side view. Transitioning between all these perspectives quickly emphasizes this woman's dynamic and quick movements. So because we can't really tell what this piece is for or what it's about, it's hard to say that the changing perspectives is really emphasizing their point, but it does really show off the fact that there's a lot of movement and playfulness in this piece and transitioning really quickly between those perspectives brings the viewer for a ride. And here's another similar example of what we just saw with the giant piece. So of course those two pieces we just saw were about transitions more than the perspective, But it is really neat to see how changing perspectives can really emphasize and point your attention towards something in a piece. But overall here, I really just wanted to show you that perspective should be used with purpose. And usually a lot of the time when an artist is illustrating something in one point, there's a reason for it as well as with two point and the other stuff I'm going to teach you here. So let's move on to the next perspective. point perspective or three point perspective is the most rare form of linear perspective. It's used a lot less often than one point or two point perspective, which is kind of funny because in nature that's actually what we see most, most of the time what we're seeing with our human eye is more like three point perspective. But when we see multi point perspective in illustration, it's used most of the time to emphasize the extreme. For example, imagine looking up at a very tall skyscraper and your vision gets a bit distorted, making it look as if the building is bending up into the atmosphere. Or perhaps you're at the top of that skyscraper looking down. And if used purposefully, maybe it's used to emphasize how massive something is and how small the viewer feels looking at it, or vice versa. These vantage points would work best if illustrated in 3-point perspective. So of course, when speaking technically, I'm pretty sure it's obvious that 3-point perspective has three vanishing points, just as two point has two vanishing points and one point has one vanishing point. But instead of all three vanishing points sitting on the horizon line, the third point sits either below or above the horizon line. And this one you can tell it's below. So when the vanishing point is below the horizon line, it's as if you're looking down at something. And when the vanishing point is above the horizon line is the opposite as if you're looking up at something, which is pretty easy to remember. Since we're still working in linear perspective, If you can go about creating illustrations in 3-point perspective, pretty much the same way that you would do with 1-point and 2-point. You start by creating your horizon line and vanishing points. Then use orthogonal lines from there to illustrate your objects. And the best way to start is by drawing a line towards vanishing point 3, this one down here at the bottom or the top, whichever one you decide. And your line doesn't have to be vertical, you can make it any length you want. But just draw it as if it were to extend into vanishing point three if we kept drawing it. Then draw lines from both ends of this line, I just drew, towards both of the horizon vanishing point. So point one and two here, just as I would with a two-point perspective drawing. And these will be more like our orthogonal lines. And to figure out where your shape ends, draw lines from vanishing point three, this bottom vanishing point, through both sets of lines receding to the two horizon vanishing points. So what I mean by that is this. Wherever I want this one to end, my box to end, That's where I'll have it go. And now all I need to do is draw lines from each of these corners to the opposite horizon vanishing point. So for this right corner, I'm gonna draw to the left horizon vanishing point. And then just erase the parts of the orthogonal lines that you don't wanna see. And then you've got your shape. And that totally was a little bit more complicated than drawing with just one point or two point perspective. But you can see that if I did this throughout the entire piece, it would add a really interesting distorted look to my illustration. You can also go into Illustrator like I have here and use that perspective grid tool like we used last time where you go down to view perspective grid and then hide or view grid. And then you can of course, again, edit that using this defined perspective grid tool. You can change it to three point here and adjust all of these settings as you wish. Like I said before, screenshot, bring into Photoshop or you can create your illustration here. And having this grid here is actually really useful to me because three-point perspective is a little bit more confusing in my opinion, so it's really nice to have a starting point. First person perspective or point of view perspective is most often used to put the viewer in the shoes of the protagonist. The term first person perspective is most often referred to the narrative point of view in writing, where a novel or story is told from the perspective of the main character. Instead of writing he, she, or they, the perspective is writing an I or me perspective. That's basically what we're doing here, but instead of with writing, it's with visual art. The artist, or whoever's creating the animation or illustration, wants you to be able to directly relate to the person whose story we're following. Imagine you took a video wearing a GoPro and you illustrated it. It's easier when you can only see hands and feet because the character becomes super ambiguous. It's most commonly used in gaming because you as the person playing the game literally are the main character, choosing actions in a storyline for the protagonist. Now, this type of perspective can be more ambiguous because it doesn't necessarily follow perspective rules. It doesn't have to be one certain perspective. You don't necessarily have to use one point or two point perspective to create a first person perspective piece. But really, if you're thinking about it like in GoPro terms, a lot of times it just means that the camera is fixed to the person rather than to the environment. So when we see it in motion, we really feel like we are the person because our point of view is moving around with our body. So you don't have to specifically use one point or two point perspective to create a first person perspective piece. Really, the main way to portray a point of view is to include the presence of the protagonist. So it's more of a concept than a technique, but it's a wonderful tool to keep in your back pocket for if you intentionally want to depict the perspective of a certain character. And here's a really exaggerated example of that in animation where the scene really feels distorted around the character. Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! over motion graphics with the classic hand holding phone or holding anything in frame. Every day, people come to Twitter to connect to their passions. See that here? We see it here in this shot. And we even see it here. People who left you to come back and buy that special thing. When you combine retargeting ads with- So kind of almost anywhere you put a hand in a shot where it's coming from the front of the frame, It really just feels like it's a first person point of view there. So we do see that a ton in motion graphics. Just as with first person or POV perspective, Worms Eye View is not necessarily a method of perspective, but a way of narrative storytelling or narrative perspective. So with Worms Eye View, think of it as if you're a worm looking up at the world above you. to make the scene feel big and overwhelming, thus making the viewer feel dwarfed, small and weak. Or it could just make the world seem awe-inspiring and big and like you have a lot to explore. It just depends on the mood you're going for. So here's an example of Worms Eye View and I kind of had trouble finding a really good example of this emotion graphics, but this kind of gets a point across. We start with the first person view and one point perspective. And then we cut to this one point perspective shot in a Worms Eye view, where we're seeing the world from the perspective of this really small robot. It's from the POV perspective, or the Worms Eye POV perspective of this little robot following the skater here. So since he's lower than the character, he's looking up at the world as if from a Worms Eye view. And overall, if you watch this entire piece by Odd Fellows, it's a great example of all different types of perspective. it really utilizes almost everything that we've been talking about thus far. I'd really encourage you to go back and watch all of these shots and really get a good idea of how you can use them all together, how you can use all these different perspectives in one piece. And most commonly, a worm's eye view is depicted with three point perspective. In this case, it would be with the vanishing point on the top of the picture plane and the other two on the opposite ends of the horizon line. so it will be the opposite of what I was showing you earlier. And sometimes the vanishing point is even out of the shot because it's just so high up there, but I'll just put it here. So again, we'll start with that vertical line. And instead of using the bottom vanishing point, I'll be using the top vanishing point, so everything will be opposite of what I showed you when we were looking at three point perspective. And there's your perspective as if you were looking at it from Worm's Eye view, if you were looking up at the world, maybe this is a skyscraper, and maybe the bottom is covered by all these blades of grass that you're looking up through. Kind of however you wanna frame your scene, but basically it's a worm or a small being or the ground looking up at the world. That's what worms I view as made for and it kind of makes everything look very large and overwhelming. And finally, we have bird's eye view, which is basically the opposite of worm's eye view. So instead of pretending the observer is a worm, we're instead thinking of ourselves as birds, maybe flying over a city and looking down on it. So this can be an aerial view, which is basically like looking at the world from a distant map form, a flat lay of the land view. Or it could be as if a bird were sitting on the edge of a building, looking straight down, which might involve some three-point perspective. To me, the purpose of using bird's eye view is usually a lot less obvious. Most of the time, I think it's used to give the viewer a better idea of the scene and what's overall happening in the shot. So a lot of times I see it used to show traveling over a long distance, or as a cut to a transition between scenes, or even to show the passing of time on occasion. Or if it has an interesting or vast shape from above, a bird's eye view can become very useful. In this piece that we were just looking at with the worm's eye view, we also see some bird's eye view here and that's really to show the product from above and to show it moving across the land. So it's more of an aerial shot there. And then here, I feel that the bird's eye view, the overtop aerial view, is used to emphasize the shape of the snake because if we saw it from the side, it would be much less interesting looking. Also like to see the environments that everything's walking through and that's really clear from the bird's eye view. And then here with this Casper piece. I feel that this shot is really great and emphasizes that there's so much going on around this woman while she's sleeping in her bed. She's having this beautiful dream and she's still comfortable and she's very in the moment of her comfort on the Casper bed. Also really nicely showcases their product from above and really shows how someone can be kind of enveloped and encased in it. Bird's Eye View perspective is really great for this piece and for all three of these pieces and is really giving the viewer an aerial or kind of almost unnatural viewing point because I always find Bird's Eye Views really exciting because that's not something I normally see as a human. I'm not usually looking down on a shot and so it really kind of puts the viewer in this different world in this different place. All of the different types of perspective I just taught you here are great to have in your library of knowledge, but some of them are seen a lot less frequently in illustration, motion graphics, and the art world. But they can also give you an edge when you want to make something more unique and eye-catching, or tell a story or concept in a new and exciting way. I'll be diving deeper into playing with these eye-catching methods in the next lesson, where we'll be playing with and distorting different perspectives. Thanks guys, see you next time. Bye!",
+  "segments": [
+    {
+      "text": " [♪ Music playing, end of video.] In the last lesson, we went over 1, 2, and isometric perspective. But perspective isn't limited to just these three points of view. There are tons of different methods out there for showing different perspectives, and here I'm going to introduce you to a few more. [♪ Music playing, end of video.] On a more important note, I want to point out that when you're using perspective, you should try to at least have a reason for it. and a reason for using the particular perspective that you plan on using. Are you drawing something in one point perspective because you want the viewer to have a very focused point of view? Or maybe you're using isometric perspective because you want to showcase an isometric exploded view of something. I always try to make sure there's a purpose to most of the elements in my illustrations, and that includes the type of perspective I'm using. Before I explain a couple new perspective topics, I want to look back at one point and isometric perspective a bit in animation. Here, I'll show you a few examples of those perspectives used in purposeful ways. I want to point out the meaning and concept behind each of them because I think it's important. Of course, perspective can be a stylistic choice, but it's best if there's some thought put into using it, just as with any other stylistic choice we've already discussed. One point perspective, especially, is usually used purposefully to draw focus to a certain point or to emphasize the unity and symmetry of a scene. So we especially see it here in the opening of this shot. Everything is pointing to this main character here, so we know we're about to see him walk on this path on a little journey here. And that's precisely what he's doing. We get a lot of views of that walk. And of course, there's more examples of that throughout the piece, is one of the most pointed examples. In United Health Group here, they're all working together to build a little city, to build something together, and then it all comes together at the end, where it's really emphasizing that movement where they've created everything together by using this one point perspective. We see these two characters looking out on what they built. With this short film by Art and Graft, Lost Hope, we see a little bit of one point perspective as well. And what I love about this here, in this moment especially, is that we're literally vanishing into the vanishing point because the viewer is looking out into the unknown. There's this lost hope that we can't see ahead of us, and I think that's really emphasized with this composition here. And the last example of one point perspective with a purpose here is this piece by Benji Gbroke, PowerHunery. And if you haven't seen this before, I highly recommend watching it. It's really good. It's really well animated. It's really fun. It's really visionary and playful at the same time. So this is gonna ruin the end for you. So if you wanna go and watch it all, there will be a link in the show notes. This part is really great. So we follow this one point perspective hose all the way to the main purpose there at the end to showcase what a crazy moment it is. And if you see the whole thing, you'll get it. But I love how the whole piece is building up to this one moment and then it ends right when the enemy basically gets the power. So that was a really cool use of one point perspective. And I've always kind of wondered like, what's the point of using isometric perspective? It really just feels like a stylistic choice. But I have found a couple of examples that seem very purposeful. And with this first one, I feel that it's used to emphasize that all of the items we see paired together here fit together. and that becomes very clear with the reveal at the end. And so I love that they're using isometric perspective to make everything work together perfectly. And that's because with isometric perspective you have that parallel grid system in which everything fits together with perfect lined up angles. A second example of that is here. So this one is similar in the fact that because they're using isometric perspective, no matter what gets added in, everything lines up perfectly because it's using isometric perspective. And finally, I want to talk about changing perspective. Changing perspective can also be very powerful. Switching from perspective to perspective can drastically help get a point across. And we see that one pretty evident here in this piece by Yu Sung Lee. literally flips an idea on its head to emphasize strength. Then soon, you'll have the power to lift the world. So in that one, he literally flips an idea on his head and shows that she goes from just doing an average handstand to holding the weight of the world above her and doing a bench press with it, which is pretty awesome. And in this piece with Jionette here, we go from a close-up to a first-person perspective to a side view. Transitioning between all these perspectives quickly emphasizes this woman's dynamic and quick movements. So because we can't really tell what this piece is for or what it's about, it's hard to say that the changing perspectives is really emphasizing their point, but it does really show off the fact that there's a lot of movement and playfulness in this piece and transitioning really quickly between those perspectives brings the viewer for a ride. And here's another similar example of what we just saw with the giant piece. So of course those two pieces we just saw were about transitions more than the perspective, But it is really neat to see how changing perspectives can really emphasize and point your attention towards something in a piece. But overall here, I really just wanted to show you that perspective should be used with purpose. And usually a lot of the time when an artist is illustrating something in one point, there's a reason for it as well as with two point and the other stuff I'm going to teach you here. So let's move on to the next perspective. point perspective or three point perspective is the most rare form of linear perspective. It's used a lot less often than one point or two point perspective, which is kind of funny because in nature that's actually what we see most, most of the time what we're seeing with our human eye is more like three point perspective. But when we see multi point perspective in illustration, it's used most of the time to emphasize the extreme. For example, imagine looking up at a very tall skyscraper and your vision gets a bit distorted, making it look as if the building is bending up into the atmosphere. Or perhaps you're at the top of that skyscraper looking down. And if used purposefully, maybe it's used to emphasize how massive something is and how small the viewer feels looking at it, or vice versa. These vantage points would work best if illustrated in 3-point perspective. So of course, when speaking technically, I'm pretty sure it's obvious that 3-point perspective has three vanishing points, just as two point has two vanishing points and one point has one vanishing point. But instead of all three vanishing points sitting on the horizon line, the third point sits either below or above the horizon line. And this one you can tell it's below. So when the vanishing point is below the horizon line, it's as if you're looking down at something. And when the vanishing point is above the horizon line is the opposite as if you're looking up at something, which is pretty easy to remember. Since we're still working in linear perspective, If you can go about creating illustrations in 3-point perspective, pretty much the same way that you would do with 1-point and 2-point. You start by creating your horizon line and vanishing points. Then use orthogonal lines from there to illustrate your objects. And the best way to start is by drawing a line towards vanishing point 3, this one down here at the bottom or the top, whichever one you decide. And your line doesn't have to be vertical, you can make it any length you want. But just draw it as if it were to extend into vanishing point three if we kept drawing it. Then draw lines from both ends of this line, I just drew, towards both of the horizon vanishing point. So point one and two here, just as I would with a two-point perspective drawing. And these will be more like our orthogonal lines. And to figure out where your shape ends, draw lines from vanishing point three, this bottom vanishing point, through both sets of lines receding to the two horizon vanishing points. So what I mean by that is this. Wherever I want this one to end, my box to end, That's where I'll have it go. And now all I need to do is draw lines from each of these corners to the opposite horizon vanishing point. So for this right corner, I'm gonna draw to the left horizon vanishing point. And then just erase the parts of the orthogonal lines that you don't wanna see. And then you've got your shape. And that totally was a little bit more complicated than drawing with just one point or two point perspective. But you can see that if I did this throughout the entire piece, it would add a really interesting distorted look to my illustration. You can also go into Illustrator like I have here and use that perspective grid tool like we used last time where you go down to view perspective grid and then hide or view grid. And then you can of course, again, edit that using this defined perspective grid tool. You can change it to three point here and adjust all of these settings as you wish. Like I said before, screenshot, bring into Photoshop or you can create your illustration here. And having this grid here is actually really useful to me because three-point perspective is a little bit more confusing in my opinion, so it's really nice to have a starting point. First person perspective or point of view perspective is most often used to put the viewer in the shoes of the protagonist. The term first person perspective is most often referred to the narrative point of view in writing, where a novel or story is told from the perspective of the main character. Instead of writing he, she, or they, the perspective is writing an I or me perspective. That's basically what we're doing here, but instead of with writing, it's with visual art. The artist, or whoever's creating the animation or illustration, wants you to be able to directly relate to the person whose story we're following. Imagine you took a video wearing a GoPro and you illustrated it. It's easier when you can only see hands and feet because the character becomes super ambiguous. It's most commonly used in gaming because you as the person playing the game literally are the main character, choosing actions in a storyline for the protagonist. Now, this type of perspective can be more ambiguous because it doesn't necessarily follow perspective rules. It doesn't have to be one certain perspective. You don't necessarily have to use one point or two point perspective to create a first person perspective piece. But really, if you're thinking about it like in GoPro terms, a lot of times it just means that the camera is fixed to the person rather than to the environment. So when we see it in motion, we really feel like we are the person because our point of view is moving around with our body. So you don't have to specifically use one point or two point perspective to create a first person perspective piece. Really, the main way to portray a point of view is to include the presence of the protagonist. So it's more of a concept than a technique, but it's a wonderful tool to keep in your back pocket for if you intentionally want to depict the perspective of a certain character. And here's a really exaggerated example of that in animation where the scene really feels distorted around the character. Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! Yeah! over motion graphics with the classic hand holding phone or holding anything in frame. Every day, people come to Twitter to connect to their passions. See that here? We see it here in this shot. And we even see it here. People who left you to come back and buy that special thing. When you combine retargeting ads with- So kind of almost anywhere you put a hand in a shot where it's coming from the front of the frame, It really just feels like it's a first person point of view there. So we do see that a ton in motion graphics. Just as with first person or POV perspective, Worms Eye View is not necessarily a method of perspective, but a way of narrative storytelling or narrative perspective. So with Worms Eye View, think of it as if you're a worm looking up at the world above you. to make the scene feel big and overwhelming, thus making the viewer feel dwarfed, small and weak. Or it could just make the world seem awe-inspiring and big and like you have a lot to explore. It just depends on the mood you're going for. So here's an example of Worms Eye View and I kind of had trouble finding a really good example of this emotion graphics, but this kind of gets a point across. We start with the first person view and one point perspective. And then we cut to this one point perspective shot in a Worms Eye view, where we're seeing the world from the perspective of this really small robot. It's from the POV perspective, or the Worms Eye POV perspective of this little robot following the skater here. So since he's lower than the character, he's looking up at the world as if from a Worms Eye view. And overall, if you watch this entire piece by Odd Fellows, it's a great example of all different types of perspective. it really utilizes almost everything that we've been talking about thus far. I'd really encourage you to go back and watch all of these shots and really get a good idea of how you can use them all together, how you can use all these different perspectives in one piece. And most commonly, a worm's eye view is depicted with three point perspective. In this case, it would be with the vanishing point on the top of the picture plane and the other two on the opposite ends of the horizon line. so it will be the opposite of what I was showing you earlier. And sometimes the vanishing point is even out of the shot because it's just so high up there, but I'll just put it here. So again, we'll start with that vertical line. And instead of using the bottom vanishing point, I'll be using the top vanishing point, so everything will be opposite of what I showed you when we were looking at three point perspective. And there's your perspective as if you were looking at it from Worm's Eye view, if you were looking up at the world, maybe this is a skyscraper, and maybe the bottom is covered by all these blades of grass that you're looking up through. Kind of however you wanna frame your scene, but basically it's a worm or a small being or the ground looking up at the world. That's what worms I view as made for and it kind of makes everything look very large and overwhelming. And finally, we have bird's eye view, which is basically the opposite of worm's eye view. So instead of pretending the observer is a worm, we're instead thinking of ourselves as birds, maybe flying over a city and looking down on it. So this can be an aerial view, which is basically like looking at the world from a distant map form, a flat lay of the land view. Or it could be as if a bird were sitting on the edge of a building, looking straight down, which might involve some three-point perspective. To me, the purpose of using bird's eye view is usually a lot less obvious. Most of the time, I think it's used to give the viewer a better idea of the scene and what's overall happening in the shot. So a lot of times I see it used to show traveling over a long distance, or as a cut to a transition between scenes, or even to show the passing of time on occasion. Or if it has an interesting or vast shape from above, a bird's eye view can become very useful. In this piece that we were just looking at with the worm's eye view, we also see some bird's eye view here and that's really to show the product from above and to show it moving across the land. So it's more of an aerial shot there. And then here, I feel that the bird's eye view, the overtop aerial view, is used to emphasize the shape of the snake because if we saw it from the side, it would be much less interesting looking. Also like to see the environments that everything's walking through and that's really clear from the bird's eye view. And then here with this Casper piece. I feel that this shot is really great and emphasizes that there's so much going on around this woman while she's sleeping in her bed. She's having this beautiful dream and she's still comfortable and she's very in the moment of her comfort on the Casper bed. Also really nicely showcases their product from above and really shows how someone can be kind of enveloped and encased in it. Bird's Eye View perspective is really great for this piece and for all three of these pieces and is really giving the viewer an aerial or kind of almost unnatural viewing point because I always find Bird's Eye Views really exciting because that's not something I normally see as a human. I'm not usually looking down on a shot and so it really kind of puts the viewer in this different world in this different place. All of the different types of perspective I just taught you here are great to have in your library of knowledge, but some of them are seen a lot less frequently in illustration, motion graphics, and the art world. But they can also give you an edge when you want to make something more unique and eye-catching, or tell a story or concept in a new and exciting way. I'll be diving deeper into playing with these eye-catching methods in the next lesson, where we'll be playing with and distorting different perspectives. Thanks guys, see you next time. Bye!"
+    }
+  ]
+}