341 Chapter 10. Designing and Developing Resources: Video Materials

Transcription

1 Chapter 10 - Designing and Developing Resources: Video Materials 341 Chapter 10 Designing and Developing Resources: Video Materials I want to do a short video on lab safety. How do I get started? I don't know a pan from a dolly. The video terminology is confusing. Do I need to be a professional to produce a video? Can I create a quality video without any production or editing facilities? There are various types and levels of video production. Today, a digital video camera and video software allows anyone to make high quality video projects. You are undoubtedly familiar with slick professional productions as seen daily in our network television programming, the 30-second commercials that try to sell you everything from soap to sausage, and your favorite music videos. On the other end of the video production spectrum are amateur home videos that all-to-often move from scene to scene too rapidly, zoom in-and-out from the action to the point of producing vertigo and nausea effects, and contain wide extremes of lighting conditions and audio quality. In this chapter, you'll learn how to produce quality informational and instructional videos. Of course, they won't be perfect, but you aren't spending a million dollars to produce them either. If you use the techniques we discuss, your videos will be effective and appealing. After completing this chapter, you ll be able to: Video production is fun for both adults and children! Distinguish among levels and types of video production. Select video equipment. Define and apply video terminology. Apply video techniques and compose video scenes. Plan and shoot video productions. Conduct pre-production activities. Apply simple digital video editing techniques.

2 342 Types of Production studio production field production guerilla production Building Treehouses for Learning: Technology in Today's Classrooms Types of Video Production Video productions at the professional level can be categorized as studio or field production programs. The first type is recorded in specially-equipped studio rooms featuring multi-camera support that are usually integrated together with lighting and sound systems feeding into mixing and control board panels. These units are linked with an effects generator and connected to recorders and monitors housed in the studio control room. In these studio productions, most of the program is put together in real-time and recorded onto master tapes or broadcast live as the event unfolds. If the studio production is being recorded for future playback, post-production techniques can be used to add specific program elements such as voice-over narration and graphic elements, titling, and credits. Your favorite television shows and commercials are probably recorded in a studio. On the other hand, field production programming involves the raw video footage first being gathered on-location by single camera recording. This video footage is then brought to a video editing facility and assembled into its final playback version. In the editing facility it is possible to electronically add together music and audio voice-over effects, bring in varied video clips, and add graphics, titling, and effects. This editing is done in much the same way as post-production activities for studio productions. Many of the television news programs use this approach in their productions. Today's editing facilities often use a combination of traditional analog and newer digital editing equipment. Figure Video from a field trip.

3 Chapter 10 - Designing and Developing Resources: Video Materials 343 The type of video production that is most commonly available for the K-12 classroom is single-camera production without the support of any video editing or post-production facilities. Sometimes called guerrilla video production, such programming can still contain high-quality content and incorporate professional technical levels. Even though production is limited to a single video camera, programs can still be made that contain high quality visual and audio content. In addition, these productions have the added benefit of having been developed to meet specific local instructional needs, a strength that often carries the production above any lowered technical quality that the program contains. Guerrilla video productions require the producers to carefully plan, prepare, and produce their programs keeping the technical limitations of video production in mind. Although the final product won't have the glitz of a Hollywood production, single-camera productions can be both interesting and contain good instructional content quality. Figure 10-1 shows a still image from a guerrilla video created by a class during a Native American festival. Students took video of living history exhibits and interviewed people about their crafts and trades. Uses of Locally Produced Video Guerrilla video programs are completed in schools for varied purposes. The programs are usually produced by students, teachers, or student/teacher teams. Sometimes other groups, such as parents and school administrators, initiate or become involved in creating a video program. Most productions are the result of combined efforts. Some are thoughtful productions, while others are nothing more than spontaneous video shoots. Student productions are sometimes made for a classroom assignment, as part of a portfolio entry, to record an event, or as a segment of a video yearbook. Teacher productions are often created to deliver instruction, to record a class for an absent or homebound student, to facilitate individual or small-group instruction, to provide a video field-trip, to eliminate unnecessary repetition in demonstrating a procedure or completing an experiment, or just to record an event. The most common instructional videos are step-by-step instruction, instances of presenting procedures, and teaching a process. Figure 10-2 shows three shots from a field trip video to an aquarium where students and teachers created a marine life video. The goal of the video was to create a "virtual field trip" for those students who would be unable to go to the aquarium. Students narrated the video and explained the habitats of various marine creatures and where they would be found in nature. Student Productions class assignments portfolios special events yearbook Teacher Productions instruction record of teaching small group learning field trips demonstrations events step-by-step instruction procedures processes

4 344 Building Treehouses for Learning: Technology in Today's Classrooms Building the Treehouse Try It! Brainstorm some ways that video production might fit into your grade level and content area interest. Teacher Produced Informational Video Teacher Produced Instructional Video Student Produced Informational Video Student Produced Instructional Video Developing Ideas for Video

5 Chapter 10 - Designing and Developing Resources: Video Materials 345 Figure Shots from a marine life video. Video Production Equipment The equipment most often used for local production is a video camcorder unit that incorporates a color video camera integrated with a built-in microphone and videocassette recorder. Additional equipment might include a tripod for supporting the camcorder, a wired microphone, and an auxiliary lighting kit. For many, the basic camcorder unit is all that is available. The addition of a camera tripod is the easiest way to improve the quality of any video production. By stabilizing the image, your video becomes more crisp and sharp. Figure 10-3 shows an illustration of a video camera with the parts labelled. Video Production Terminology Video production has its own language and terminology. Some of the terms are shared or adopted from the field of photography. In order to speak alike, you need to understand the general meaning of these basic video production terms. hand grip video cassette microphone lens view finder battery pack control panel Figure Video camera for use in location production.

6 346 Scene location of subject Shot action being recorded Transitions cut fade mix dissolve wipe Building Treehouses for Learning: Technology in Today's Classrooms Scenes and Shots A number of terms are associated with the visual sequencing involved in video programs. Scene refers to the location of the subject. Shot means the action being recorded. Shots are further denoted as being either a long, medium, or close-up shot; all referring to the relative distance of the scene from the viewers or camera s perspective. When the video subject is a person, the shots can be further defined as being either a head shot, a head and shoulders shot, a waist shot (from the waist up), or a full shot. A sequence is a series of related shots that depict one idea. Figure 10-4 shows three shots from a field trip video to Dinosphere at The Children's Museum of Indianapolis. Developed by a teacher and her students, the video discusses safety issues, equipment, and procedures in digging for fossils. The first image shows a tight shot (closeup) of a child working. Next, the camera pulls out to show a medium shot of the child at work. The final shot shows the overall activities at the dig area. Transitions A transition is the term used for a number of video techniques that are used to connect, or join (hence the use of the word transition) separate shots or separate video sequences. The more commonly used transition techniques or types are cut, fade, mix/dissolve, and wipe. A cut is a direct, dynamic splice to another shot and scene. A fade involves fading out (from the scene to black) and then fading in (from black to the scene) on the next shot. Many camcorders have a fade button you can use. When one scene is blended into the next it's called a mix or dissolve. Finally, wipes are any of a number of decorative type transitions and are closely related to mix/dissolves. Some cameras and editing systems have sophisticated wipes that look like rain falling, an iris opening, a curtain closing, doors opening, or even toasters flying! When a particular shot ends one sequence and leads to another it's called a transition scene. Other terms define the physical movement of a camera during the recording of a scene. Pan means to swivel / turn the Figure Three shots in a series.

7 Chapter 10 - Designing and Developing Resources: Video Materials 347 camera to the right or left (horizontally) from the camera-person s position. Tilt means to vertically tilt the camera either up or down. Dolly means to move the camera physically in closer to the subject or to back out away from the subject. Truck is to move parallel along-side the subject within the scene. Closely related to these camera movement terms is the zoom, which is afforded by lens technology that allows the camera to effect apparent movement by zooming into or away from the subject. When using any of these techniques, consider the purpose. Why is it necessary to zoom or pan? If you can't think of a good reason, don't do it! These techniques can easily be overused. Panning can make viewers dizzy. Zooming isn't a natural movement, so it can be distracting. It's like running toward someone at high speed. Movie producers can use these techniques to produce particular effects. For example, trucking makes it look like you're "following" someone and zooming is a way of "listening in" on a conversation. Camera Movements pan tilt dolly truck zoom Lighting Considerations When recording outside, make sure that the sun is behind you and the camera. Do not shoot directly into the light. For indoor shooting, remember that the brighter the subject, the more vivid the resulting video picture will be. Aim the camera away from windows and other bright lights. Direct the light onto the subject and onto the background, but not directly at the camera. In some instances, additional video lighting is needed to supplement inadequate indoor lighting. Uneven lighting can cause as many problems as low lighting when today s auto exposure cameras try to average the highlighted and shadowed areas within the same scene. In general, pick shooting locations that are as brightly and evenly lit as possible. Camcorder / Video Recording Techniques The effectiveness of your video production will depend on carefully setting up your camera for each shot. Read the materials that come with your camera and get to know it's features. Supporting the Camera Even with the high-tech "steadying" features available on many new video cameras, it's a good idea to use a tripod to ensure stable pictures. Figure 10-5 shows a still shot from a video of a historical re-enactment where a tripod was used. If a tripod is not available, the camera operator must adopt a stance that avoids excess shaking or movement. Some tips to improve handheld camera work include holding the camera securely against your head and eye so that it moves together with your Don't take chances. Use a hand or neck strap!

8 348 Building Treehouses for Learning: Technology in Today's Classrooms Use a tripod for a nice, steady shot. Figure Use of a tripod. body movement. Be sure that the camera is held in a level position. Keep your arms in close to your body with one hand on the camera body side for support and the other positioned near the start/stop button. The camera should be equipped with either a hand or neck strap; use one or both. Once a camera is dropped, extensive damage and its accompanying costly repair prices are almost a given. Both feet should be firmly planted. When video shooting conditions are favorable, adopt a stance that provides additional camera-steadying support. For instance, whenever possible lean against a wall or structural column for support. If the subject is on a counter or table surface, sit with your elbows on the flat surface. Sometimes a structural post, a railing, or even a stack of books can be used to firmly brace the camera. When shooting subjects low-to-the-ground, crouch down, balancing the camera on your knee. If your video subject is a small child, rather than shooting down from the on-high adult position, it is better to get the camera position down to a level even with your subject. For even lower shots, lie on the ground, propping yourself and the camera up with your elbows. Remember that the eyepiece on most cameras can be turned up or down for easier viewing angles, and that the eyecup can sometimes be turned aside. Avoid walking while operating the camera if at all possible; however if you must walk while shooting, be sure to keep both eyes open and pay attention to the surrounding terrain. Focusing the Camera Use the autofocus feature on your camera for most shots. Some cameras even have an auto tracking focus setting for moving

9 Chapter 10 - Designing and Developing Resources: Video Materials 349 subjects; the focus is automatically adjusted even if the subject moves from the center of the viewfinder screen. However, there are some subject situations which are difficult to shoot appropriately using the autofocus camera setting. In these cases, you will probably have to use the manual focus to shoot the subject properly: Overly dark subjects More than one subject in the viewfinder at different distances Shiny, bright subjects that reflect light (glass, coins, clean/ waxed new cars) Bright, shiny, high contrast objects in the background Slanted objects (ship at an angle) Rapidly moving subjects (racing car) Horizontally striped subjects (horizontal window blinds) Subjects behind glass (windows with water or dirt on them) Another related focus problem or error often occurs when a camera s zoom feature is used with a manual focus, and the camera is first focused on a subject while in the wide angle setting. Then as the camera is zoomed from the wide angle to the telephoto position, the subject s image becomes unfocused. To prevent this error, first make focus adjustments at the telephoto position, then return to the wide angle position for beginning the recording. Depth of field refers to the range of distance within a camera shot in which all objects appear focused. You will find that when focusing, the depth of field will be small or shallow in the telephoto position and larger or deeper when the lens is at the wide angle position. Also recognize that in brighter lighting conditions, your camera s depth of field will be larger, while in darker lighting it will be less or shallow. Manual focusing can sometimes be effectively used for scene transitions or scene endings. If carefully planned and rehearsed, a scene or sequence can be started by using manual focusing. Begin recording with the subject correctly framed, but out-of-focus as far as possible, and then bring the subject gradually into focus. Reversing this procedure can be used to end a scene, by gradually moving from a focused picture to a unfocused scene. Depth of field is the range of distance within a camera shot where objects appear focused. Image Exposure Most of today s cameras and camcorders have built-in auto exposure systems. As with the autofocus feature, the auto-exposure system is best for most shooting conditions; however, for a subject that is darker or brighter than its background, manual exposure adjustment will be needed. A bright background

10 350 Building Treehouses for Learning: Technology in Today's Classrooms can override your camera s auto exposure system, making the subject appear too dark in the picture. In such a case, zoom in the camera lens so that the subject fills the screen as much as possible and adjust the camera lens iris for a wider opening. Some cameras have a backlight compensation feature that can be switched on, automatically opening the iris to lighten the subject s image. These conditions suggest the use of a trial shot, that can then be viewed carefully to evaluate its exposure quality. When the subject is too bright, such as when it is spotlighted with a dark background, zoom in so that the subject fills the screen and adjust the lens iris for a smaller opening. Using the Zoom Lens A video camera with a zoom lens allows for coming close or moving away from the subject without changing the camera position. As mentioned previously, new or naive camera operators often overuse the zoom lens feature causing their audience discomfort as they repeatedly zoom in and out from one shot to another. Do not overuse the zoom feature; in fact, limit your use to shooting situations where the zoom is absolutely required. In cases where use of the zoom feature is required, use power zooming for a smooth effect. Zoom in or out slowly and use a tripod whenever possible. Be sure to test the zoom before the actual shooting, to ensure the desired framing and effect. In other words, zoom in close and get the closeup image framed as you desire, then zoom out until you reach the desired starting point. Now record the segment zooming in slowing. This technique will reduce the need to pan or tilt the camera while you zoom. Panning the Camera Panning the camera means moving the camera horizontally from one side to another. As with the camera s zoom feature, use of the panning technique should be avoided and used only in scenes where it is absolutely required. When required, panning should be completed using a tripod to firmly support the camera. Panning can be used to record a setting, a landscape, or to follow a moving subject. First, decide the area that you want to cover with the panning technique. Rehearse the shot by placing yourself at the end of the panning angle, then turning the camera on the tripod (Hand held camera: turning at the waist without shifting the feet) to the beginning position. Then, when recording the panned shot, allow at least 3 or 4 seconds hold time at the beginning and also at the end of the sequence, in order to establish the start and finish and to ensure more smooth results. In executing the pan, move slowly allowing ample time

11 Chapter 10 - Designing and Developing Resources: Video Materials 351 Just because you can zoom, doesn't mean you should zoom. Practice restraint! Figure Use of the panning technique. for the viewer to take in each new image. Sometimes it's not possible to practice a pan. For example, the duck in the video shown in Figure 10-6 wasn't going to wait for a rehearsal. Instead, the camera person kept the duck in the middle of the shot and followed the action. It's a good idea to provide extra space "head room" in the direction of travel so viewers can see where the object is moving. Using the Tilt Technique This type of shot is sometimes useful in recording buildings, trees, or other tall subjects. The tilt down can sometimes be used as an effective introductory shot, while the tilt up is used to accentuate the viewer s sense of height. Applying the Fade Technique Many video cameras and camcorders have an auto fade feature. Executing the auto fade feature usually is done by pressing a specific button switch. Pushing it before the shot starts will cause the image to automatically fade in from a dark image. Executing the auto fade while recording a scene will cause the image to automatically fade out to a dark image. This fade in and fade out technique can be used as a transition to start and stop scenes. Use camera movement, slowly! Audio Recording Techniques The audio portion of video production is often neglected, but this important program component must be given its fair share of attention in order to have clear and effective sound tracks. First, when using a camera with a built-in microphone, approach your subject as close as possible for the clearest possible

12 352 Microphones uni-directional super-directional non-directional Children tend to hold the microphone too close. Sit it on the table instead. Many libraries carry sound effects CDs. Building Treehouses for Learning: Technology in Today's Classrooms audio recording. External microphones are called for (1) when the subject is far from the camera, or (2) when the location is surrounded by unwanted noise. Let's define the microphone types: Uni-directional microphone - picks up sound mainly from direction that it is pointed, use to limit unwanted noise. Super-directional microphone (shotgun type) - record sounds from far away, such as chirping birds. Non-directional microphone - records sound from all directions, including group meetings and crowd cheers. Sit the microphone on a soft cloth or surface where it won t roll. Eliminate background and unnecessary noise such as table drumming, paper shuffling, and prop knocking. Before final recording, do trial runs to eliminate distortion, provide consistent sound levels from the varied sources, and insure that performers use good microphone skills. In strong wind conditions, good sound recording is difficult or impossible. At such times, try covering the microphone with a cloth or foam cover (a rubberbanded handkerchief) and shield the microphone from the wind as much as possible. A useful sound accessory is an audio mixer that allows the combining of live sounds with pre-recorded audio such as a music CD or cassette. In the absence of a mixer, pre-recorded music can be played live as the scene is videotaped. Some camcorder or videocassette recorder units allow for voice-over narration, music, and other audio effects to be added after the initial video recording is completed using an audio-dub feature. However, do not count on being able to complete such post-production work without first checking the equipment available for your use. There are a number of other audio considerations to keep in mind while producing video programs. First, develop a script. It does not have to be a word-for-word script to be memorized, but should outline all message content that is to be delivered by the on-camera performer(s) and off-camera narrator(s). Pace the message concepts, and control their rate of delivery by performers. Make sure that the listening audience can identify all sounds, and that they also identify the speakers. Have performers project their voices and enunciate clearly. Try to match the sound levels so that a strong audio track is recorded. Avoid moving or yelling into the microphone. Composing Video Scenes Video scenes are defined by the type of camera shot that is used. The relative length of a shot; whether it is a long, medium, or close-up shot, is dependent on how much of the screen is filled

13 Chapter 10 - Designing and Developing Resources: Video Materials 353 with the subject, how close the subject is, and how general or specific a view is given. Make sure that each scene is captured in sharpness and clarity. This is done by ensuring that the camera is focused on the subject and that the scene is bright and evenly lit. Make sure that the camera is held steady. You definitely need that tripod. Long Shot The long shot gives a full view of the scene s subject at a distance. Remember, long shot is a relative term. For one video, a long shot might be a whole body shot of the on-screen performer; in another, it might be a wide sweeping vista that takes in a broad view of the action or setting. Long shots are used to establish a setting, reveal the location, develop a mood, set the environment, or follow action. It can be used to show subjects interact and to connect scenes. The long shot provides lots of visual information, but does not focus on the detail. In fact, overly long shots can sometimes leave the audience wondering where the subject is hiding. The long shot should be used where needed, but as sparingly as possible. Medium Shot The medium shot assumes that the viewer already has an understanding of the setting and that they recognize the subject s location. The medium shot, like the long shot, can be used to connect scenes and to show interactions. It is often used to reestablish the setting after a series of close-ups. The medium shot gives a complete view of the subject. Close-up Shot Close-up shots are tight shots of the subject that focus the viewer s attention. They can show detail. Keep in mind that if you get too close, sometimes the viewer gets confused and cannot identify the subject. Technically, the close-up shot demands for tighter control of the camera and demands optimum lighting. Overuse of close-up shots can sometimes cause the viewer to lose their sense of the spatial relationships within the setting. The close-up shot is an excellent way of showing emotions and reactions. It is also the best way of illustrating motor skill procedures, like how to knot a tie. Students might start with a long shot showing the cattle coming in from the field at feeding time. A close-up then demonstrates how the cows eat. The close-up would not be meaningful to the audience without the earlier shots of the cattle coming in for lunch. Make sure viewers can identify the subject of your long shot. Provide a medium shot for orientation before going to a closeup.

14 354 Building Treehouses for Learning: Technology in Today's Classrooms Figure Two shots from at video titled "Civil War Mapping." Figure 10-7 shows a close up of a person working with a piece of equipment. This is an important shot to show what he is mapping, but the long shot illustrating the context is equally important to establish the Civil War re-enactment location. Other terms are applied to specific types of camera shots: a top shot that is from overhead, a high shot that is steeply inclined downward (sometimes used to reduce impact or importance), an eye-level or chest-level shot, a low shot that is inclined upward (a depressed shot used to dramatize situations), or a low-level shot along a floor or surface. When people are the subjects, the shot is often defined as a group shot. The shot can be identified by person (1st person, 3rd person, and so on), or as a subgroup such as a 2-shot or 3-shot, making sure that production team-members know which 2 or 3 people are designated. Watch some TV sitcoms. Notice how the actors move on stage. Setting Up Scenes and Shots Producing good video scenes is more than just pointing the camera toward the subject and pressing a button switch. First, use as many close-up and medium shots as possible, filling the screen with the subject. You need to know the focus limit of your lens. In other words, how close can you be to the object and still be able to sharply focus the lens on the subject? If you get too close with your camera, you ll lose sharpness. Don t forget to check this, using your zoom lens in the telephoto as well as the wide angle setting. Limit the number of objects in the frame, thereby focusing your viewers attention on what is important. Get up as close to the action as possible without cutting anything out. Remember to apply the rules for composition such as symmetry and balance. Select the best point of view for each shot and adjust the framing so that the subject is well placed. Make each shot as visually interesting as possible. Producing visually interesting video requires that subjects be placed or composed optimally in each shot. For instance, flat

15 Chapter 10 - Designing and Developing Resources: Video Materials 355 subjects are usually shot straight-on in order to avoid distortion. Shots of an isolated object still need to have border space around them. Solid objects are shot from an angle to show their dimensional quality. Scenes that are to be shown in depth are also shot at an angle, with objects within the scene placed and grouped for interest and unity. Television is often referred to as a flat medium referring to its characteristic loss of depth or lack of three-dimensional effects. Therefore, placement of grouped persons or objects within a scene takes careful consideration. Groups need to be placed closer together than they naturally would be. Avoid large central gaps within your scenes and empty space between people. This often means lining people or objects up at a slight angle, not perfectly parallel with the camera. For instance, if the scene calls for two persons talking to each other, they might be positioned in a V-formation, close-together with the open wedge to the camera. When the performers speak their dialog, they are actually angled frontward toward the camera. However, onscreen they appear to be facing each other. If a series of shots calls for the camera moving from one person to another, don t line them up causing them to be different distances from the camera. Rather, try lining them up in a arc that is equidistant from the lens as it pans to each performer. Care should be taken to avoid people or objects blocking other performers. Rehearse performers as they move to and from the camera rather than across the scene, and have them avoid making entrances from the side. Examine Figure Both shots are part of a Civil War re-enactment video. In the first shot, the actors are standing so far apart, they aren't both in view. Much of the screen is filled with background clutter. The second shot is better because the actors and their interaction are the focus of the scene. Figure In shot one it's impossible to tell to whom the person is speaking, while in shot two the people are standing in close proximity.

16 356 Look for objects in the background that are distracting. You don't want to look like you have a telephone pole sticking out of your head! Clutter creates confusion in video production too! Building Treehouses for Learning: Technology in Today's Classrooms There are several other specific considerations for making camera shots of people. Many have to do with what is called headroom. Certainly avoid shots that visually cut-off part or all of a performers head; don t decapitate people. Likewise, don t use bodiless shots. Be sure that some space is shown above the performers head, but avoid excess headroom. Note that if you are unfamiliar with a camera, you should make a test recording and compare what is seen in the viewfinder monitor with what is actually recorded and shown on-screen. Provide enough headroom so that the shot isn t crammed to the top of the screen. In close-ups, frame performers eyes at about 1/3 space from the top of the screen (see Figure 10-9). Center a person on-screen unless there are other persons or objects that balance that scene. Take care that performers do not seemingly lean or rest on the side of the frame. Also avoid close-up shots that combine persons sitting and standing; such scenes distort the height differences. Look carefully at the sets and settings of your video programs. Avoid over-prominent set dressings that clutter and confuse the background and distract from the subject. Look for and eliminate any background lines that merge into your performer s bodies, causing distracting, confusing, and sometimes humorous visuals. Sequencing is the term for linking scenes together, forming the body of your video program. The standard form is to begin with an establishing shot (either a long or medium shot). Follow with a medium shot with dialog. Then, move into a closeup (maybe to show a reaction). Follow with another medium shot (more dialog) and so forth. It is important that continuity be maintained as the program proceeds in some logical fashion Figure Head and shoulder shot.

17 Chapter 10 - Designing and Developing Resources: Video Materials 357 that is discernible to the viewing audience. Sequences are tied to other video sequence strings by using a transition. In this fashion, the entire video program is connected together. Planning a Video Production First, decide on a topic or theme idea. The topic doesn t have to be anything dramatic or even special, just something that will be useful in your classroom. Choose something with instructional value. The video program should ideally provide content elements or messages that are not more easily or better provided by other instructional means. If you are going to invest all the time and effort needed to make a good instructional video, the finished program should add something of value to your teaching. The next planning step for completing a video production is to make an outline. Begin with just the rough ideas, then go back and fill in details. Decide on scenes, their order, and how you will record each scene. Consider creative and interesting possibilities for your scenes. Think about the coherence of your video program; make sure that your audience is not left anywhere in that what s going on here? state. At this point, you are ready to move your ideas from your outline to a more visual plan, a storyboard. Notice that the storyboard has a picture area for sketching in each scene (see Figure 10-10). Think about the camerawork needed for each scene. Consider what shots will be most effective and what camera techniques will be used. Figure shows a storyboard from a video on parallel parking. Normally the pictures would be sketches, but we wanted to show you sample shots of what it really looked like after production. On your storyboard, write in the technical directions that should accompany each scene. Also outline the script or narration for the audio portion of each scene. Consider balance in the audio and video portions of your planned shots. Decide how best to use audio with video to provide interest and information to your student viewers. Remember that this storyboard is a dynamic and changing planning document that will not exactly match the finished production. Your storyboard will probably be modified numerous times during the actual production process. This storyboard can be cut apart and rearranged to change the sequence of scenes or to make room for additional scenes to be inserted. Some people use 3" X 5" index cards for their storyboard outline to facilitate such changes. You could also create the storyboard on the computer. Make sure that your video is more than just talking heads. An advantage of video is that the picture can make things bigger-than-life, the viewer can have a front-row-seat to see the Video Planning Choose a topic. Create an outline. Develop a storyboard. Make it interesting.

18 358 Building Treehouses for Learning: Technology in Today's Classrooms Lesson Title: Page of Figure Storyboard.

19 Chapter 10 - Designing and Developing Resources: Video Materials 359 Lesson Title: Parallel Parking Page 2 of 4 Tech Note: CU from car interior toward traffic/parking area. (Students looking for parking space.) Student 1: There's not a parking spot anywhere. We'll be late! Student 2: What about on the side? Student 1: But I'd have to parallel park! No way! TECH note: MS at parking lot/space Student 2: I'll help! Turn on your turn signal to let other drivers know you re turning to the right. Check the traffic behind you to make sure it s clear before you doing anything. Pull up and stop when you re parallel to the other red car. Make sure it s safe to back up. Tech Note: MS car backing into spot. Student 1: What do I do now? Student 2: Put your foot on the brake and put the car in reverse. Back up slowly steering sharply to the right. Continue backing up slowly and straighten your front out. You re almost there. Tech note: LS of car properly parked. Student 1: What now? Student 2: Now put the car in drive and straighten it out. Student 1: Wow I did it! Student 2: Super job, We won't be late after all! Figure Parallel Parking Storyboard.

20 360 Building Treehouses for Learning: Technology in Today's Classrooms Building the Treehouse Try It! Select a topic from the list below: Bike safety Inventions Paper airplanes Shoe tying Magnetism Study skills Transportation Community Helpers/Careers Fractions Consumer Math Science Experiment Political Campaigning Circus Baseball Wellness Pasta Identify an objective that could be taught using an instructional video. Create a storyboard for an instructional video that addresses your objective. Creating Storyboards for Video

21 Chapter 10 - Designing and Developing Resources: Video Materials 361 Figure Image from First Aid: Bandaging. action. Video is for action, something should be happening on screen. Video can also be better-than-life. By that we mean that video can always work, it can be safe, it can be made to not forget or leave out an important detail. Video can model the correct way. Video programs can be designed to demonstrate, to inform, to instruct and yet still be interesting. Figure shows an image from a video titled First Aid: Bandaging. Notice that the viewer gets a close up view of bandaging procedures. One way of adding interest to a video is to incorporate graphics. Start out your program with an eye-catching title. You may have a camera with a built-in character generator or digital titler. Consider the color and size of digital titles. Decide if the title will be placed on a color background or overlay a scene being shot, and consider the contrast. Make sure that the title will be easy to see. Even if your camera does have the capability of making and recording titles, you may choose to make a professional-looking title by more traditional means, such as a graphic sign, a computer display, or some other creative form. Whenever possible, match the title and its look to your program s content. Of course, you can always wait and add graphics using your computer editing software too. Figure shows a shot from a video project on the wild horses of Chincoteague with computer generated titles. Incorporate other graphics into the program content, building them into the storyboard outline. Would the inclusion of a list, the steps of a procedure, a review outline, new terminology, a diagram or drawing, or some other graphic add interest and information to your video? In some instances, graphics can Use computer generated graphics for the most professional look.

22 362 Building Treehouses for Learning: Technology in Today's Classrooms Figure Title from wild horses video project. be used as transitions to move the video from one sequence to another, to chunk content into manageable segments, and to organize the information for the viewer. If you are making your own graphic materials, here are some production guidelines to remember for video graphics: Check copyright guidelines on any existing video before you use it. The paper you use should not reflect light Use a bold, wide line to outline your graphic/word Graphic and title boards should approximate the proportions of a television screen (3:4 height: width ratio) In addition, consider using short segments of existing video footage. If commercial footage or footage from any source other than locally produced video is to be used, then appropriate copyright considerations and procedures should be followed; i.e. meeting fair use guidelines, securing permission, citing the source, etc. Remember that electronic motion video clip art, QuickTime video clips, and graphic clip art can all be incorporated. Images from digital cameras, document cameras, and images shot off computer displays can also be used. Make your program interesting by incorporating realia, props, and examples. If you're teaching about rocks and rock art, have a variety of rocks on hand. Figure 10-14a shows painted rocks and Figure 10-14b shows art supplies. If you're talking about a particular country, show exports from the country. Consider adding excitement with the introduction of novel objects and actions such as songs, dance, color, and costume. Examples are an essential element in learning a new concept.

23 Chapter 10 - Designing and Developing Resources: Video Materials 363 Figure Using props in a video. Students need to see both examples and nonexamples, good and bad, as well as appropriate and inappropriate. For example a video might show both examples and nonexamples of how to wrap a package. Don t forget about the setting. Is the program being shot indoors or outdoors, or both? What about the weather? Visit the setting, think about the visual composition, the visual background, background noise, and other interference. Look at the lighting; is the scene well lit, evenly lit? Will auxiliary lighting be needed; is such equipment available? Will the production need scenery or backdrops to be developed, collected, or assembled? Another way to add visual interest is to change or add movement to the video. Performers movement or physical movement of the camera or lens will change the view. Use psychological movement through the sequencing or editing of your video. Be sure that your program moves. In other words, performers should change from sitting to standing, from standing to walking, making sure something is happening on-screen. Change the viewpoint by varying the size of shots from medium shots to close-ups. Use a minimum number of long shots, only where the setting needs to be established for the viewer. Figure shows a closeup of the fire as well as the work of the forest service worker who is setting the managed fire. Another consideration is the angle of shots. In most cases, scenes are shot with the camera placed slightly above or about level with the subject for an objective point of view. Consider what a more subjective view of the subject does to the visual content. What about an extreme angle from the camera lens? Does a head and shoulders shot of a subject taken from a knee level angle flatter their image or make them more imposing, even sinister looking? However, variety in the angle of shots can be incorporated without changing the viewpoint from objective to subjective. Vary the angle of shots by moving to different Use: examples & nonexamples good & bad appropriate & inappropriate

24 364 Building Treehouses for Learning: Technology in Today's Classrooms Figure Shots from a video on fire management. Use children in videos designed for children! positions around the subject. Would an over-the-shoulder shot be appropriate? Figure 10-16a shows the singer from the view of an audience, while Figure 10-16b is shot over the shoulder of a child working on a science project. Some people write out a detailed, almost word-for-word script; while others incorporate enough script outline into the storyboard. Regardless of the detail that is contained in your planned script information, the following considerations for message design are needed: Match the message content with the audience level Match the channel(s) to be used with the messages Include an introduction, a body, and a conclusion Chunk information for understanding Organize and sequence the content in a logical pattern Design the presentation to be as interesting as possible Insure that the message is clearly understandable Make sure that the language used is correct and appropriate Figure 10-16a,b. View from audience and view over-the-shoulder.

25 Chapter 10 - Designing and Developing Resources: Video Materials 365 The audio portion of your program can also be developed to add interest. Appropriate music can be selected to match the content messages or set a mood. Sound effects recordings can be incorporated to bring in sounds of nature, industry, technology, etc. Sounds can be recorded at a remote location and brought into the video. The video can incorporate character voices, multiple narrators, and live sound effects. Figure 10-17a shows a shot from a video called "Signs in Our World." The video portion shows various signs, while three narrators provide interesting discussion and background sounds to go with the signs. Think about credits. At the very least, a credit graphic should list Produced By followed by the names of all persons involved in the production. The example in Figure 10-17b contains scrolling credits at the end of the video with the Dead End sign. The completed storyboard outline provides a step-by-step plan for completing the video production. It provides a rough visualization of the finished video product. It contains the technical instructions needed by the production team. At some point though, the planning process must be completed and the production team members must move on to the production process, the making of their videotape program. Remember that last minute changes can still be made while the video is being shot or even later, if the program is being edited or any post-production processes are completed. Narrating over your video can provide a high-quality result. Preparation Before the Shoot After planning for the video program is finished, several activities should be completed before beginning the actual video production. These activities are (1) equipment preparation, (2) materials preparation, and (3) performance rehearsal and preparation. These areas of readiness can have almost as much impact Figure 10-17a,b. Shot from video on signs.

26 366 Preparation equipment materials rehearsal A test video is critical. You'll be surprised at how many things you catch and revise. Building Treehouses for Learning: Technology in Today's Classrooms on reducing the time spent on actual production and improving the program s final quality as complete planning and a storyboard. First, make sure that the equipment is ready for production. Practice hooking up and running the equipment. In most cases, you will rely on powering the camera or camcorder unit from a nearby electrical outlet. Make sure that needed extension cords are arranged. If the shoot is to be made on a location without access to electrical current, make sure to check for batteries and recharge them if required. Don t forget that some microphones are battery-powered. Materials preparation usually means making sure that all the graphics, props, scenery, etc. are ready to go. If music effects are needed for the production, ready any recordings. All materials needed to complete the production, such as titles and signage, should be prepared and ready for the shoot. Secure a new videotape. Videotape is relatively cheap and you don t want to risk marring your production by using an old tape that may contain a drop-out area or some other damage. Be sure the production schedule allows reasonable amounts of time for this preparation segment. Finally, rehearse the entire production, first without videotaping. Stage and walk through each shot, finalizing the performers positions, the actions, camera positions, and lighting. Insure that on-camera performers maintain eye contact with the camera position, that they project their voices, that their narrative follows a logical pattern, that ideas are completed, and that the performers speak with enthusiasm and avoid the huhs, okays, and umms. Performers should work toward the delivery of natural speech and avoid reading their notes and scripts. Be careful that nothing hides the action, that bodies and hands do not block the view from the camera. Work toward the performers appearing comfortable in the setting. Check the program's continuity; that it contains an introduction, a main body, and a conclusion. The last preparation needed is to create a test video, a rough recording of the entire program. Then the entire production team should critically view the entire test video and examine the audio and video content. Look for ways that the quality of your video program could be improved. In audio content, check that the volume is high enough to be clearly understood, but not so high as to be distorted. Check that the performers speech rate is not too slow or too fast to be understood and that the message is delivered in a lively, enthusiastic fashion. Look for speech distractions or needed improvements in pronunciation and enunciation. Can the volume be varied to add emphasis and interest? In the same fashion, examine the visual quality of the test tape.

27 Chapter 10 - Designing and Developing Resources: Video Materials 367 Are the shots tightly framed and positioned to give optimum and interesting views? Are the visuals focused clearly? Examine the lighting of each scene and decide if changes or additions are needed. Overall, does this rough video program maintain continuity and interest throughout, or does it drag in some sections? Brainstorm possible ways for improvement and decide who will be responsible for each remedy. When all the equipment is available and prepared, conditions are ready at the setting, all materials are produced or secured, and the performers rehearsed, then you are set to complete the actual video shooting. Shooting the Video Program Today with remote controls available for cameras, it is possible to plan, prepare, and produce a guerrilla video solo; however, such attempts at creating quality instructional video programming are not recommended. When attempted alone, these programs are usually not optimum. The types of camera shots are usually limited, tightness of framing of scenes is lost, and critical attention to diverse aspects such as lighting, audio levels, and movement is generally lacking. Small-group productions work best with two to four production team members. With three team members, you can have one person operating the camera, one and sometimes two people performing on camera, and the third person serving as the director/setting manager. Larger production teams usually have about three team members doing most of the work, learning the equipment and processes, and the other persons not getting totally involved in the project and its inherent learning. Plan to shoot more than one take of your video program. Then you can choose the best shots to incorporate into your final video production. Coordinate an effective video production team! In-Camera Editing One possibility for some programs is to shoot the entire video in sequential order; thereby eliminating the need to do edit/duplicate for the final copy. In order to do this type of program shoot, a number of conditions have to be met. First, the video program that is planned must be such that it is feasible to make this type of production. If you're using analog or digital tape, the camcorder can only be briefly paused in the record mode, without doing damage to both the tape itself and the recording mechanism in the camera. A brief technical explanation of the process will help you to understand. While many of the new videocameras record directly to a CD or DVD, many cameras still use tapes. A blank video is first inserted into a camera or camcorder. When the camcorder be-

28 368 If you're planning to do the entire video at once, consider buying three tapes. Then make three recordings and choose the best. Building Treehouses for Learning: Technology in Today's Classrooms gins recording, the actual tape is pulled outside its cassette case, wrapped around, and moves over a high-speed, rotating circular drum that contains two or four-moving recording heads. If the record stop control is hit, then the tape stops moving and is pulled back into its cassette case. This accounts for the three or four second delay between pushing the record control to start or stop a recording and the camera actually completing that process. The camera is forming or un-forming the tape loop around the recording drum and also starting or stopping the tape moving. Starting and stopping the record control also does not give a smooth cut between shots. Formation of the tape loop around the head takes a few seconds of time, and the exact positioning of the tape from one shot to another is not duplicated and the recording heads do not exactly synchronize position from one shot to another. Therefore, the smoothest possible in-camera transitions from shot-to-shot are made by simply pushing the pause button, while still leaving the record control ON. In this instance, the tape is held around the recording drum and the recording heads are revolving against that tape at a high speed. This is where the potential for damage comes into play. Leaving the camera in this record/pause state for any length of time does cause irreparable damage to the recording tape (there have been extreme cases of actually wearing a hole or tearing the tape) and even more seriously, damage is done to the more expensive recording heads. However, the camera can be paused very briefly, 60 seconds or less, and then taken off pause to record the next scene. Such video shooting requires for careful planning, thorough preparation, and adequate rehearsal. When the camera is paused between shots, the camera operator and production team must rapidly prepare and move to the next shot. You can see why this type of shooting is not possible in many or most productions and probably will not be possible for your production. In cases where this type of shooting is attempted, you will still need to shoot the entire production at least two or three times in order to select the best possible final product. Assemble Editing The more likely method for shooting a single-camera video is to record the scenes in the best pattern possible, utilizing the record/pause technique (described above) wherever possible but also planning to assemble a final edit/duplicated version from your original footage. In this case, you do not have to always shoot scenes in the exact order because they can later be assembled into the needed finished sequence. If editing is to be completed, leave seven to ten seconds extra recording before and after each shot. This will make editing much easier. Don t

29 Chapter 10 - Designing and Developing Resources: Video Materials 369 forget to have someone keep a log of each video shot; identifying the content, it s approximate length, and the order in which it was recorded. This also will save your production team valuable time in completing the post-production editing. Also, make sure to shoot more than one take of each scene. One pattern for shooting a production is to first shoot a medium shot of each scene or sequence for the entire production, making sure that each is as tightly framed on the entire setting as possible. In most cases, this should be repeated at least once or until a best choice is given for editing. Re-shoots of a scene allow both performers and the camera operator to improve the product. The medium shots are followed by shooting all needed close-ups and other special shots or scenes other than a medium shot. Care should be taken to again record the complete audio portion of the program that accompanies each shot. Sometimes you don't have control over your shooting environment and might have to try many shots before getting the ones you need. Figure 10-18a,b shows images from a video on the topic of sea planes. The video footage was taken at an air show. It was important to get both long shots showing the planes in context over the town, as well as good closeup shots in the air. If a video production has been adequately planned and prepared, the actual shooting takes the least amount of time. The video shoot is considered by most people to be the fun part, but it usually can be completed relatively quickly. Many people get nervous in front of the camera. Don't worry, be happy. Digital Post Production In guerrilla video production, editing is usually the only postproduction step. Although some schools still use traditional video editing equipment, digital video production has become a popular alternative. With a digital camera, a firewire or USB ca- Figure Long shots and closeup shots during an air show.

30 370 Internet Connection Video Editing Apple Final Cut Pro apple.com/finalcutstudio/ Apple IMovie apple.com/ilife/imovie/ Adobe Premiere adobe.com/products/ premiere Avid Xpress Pro Microsoft Movie Maker windowsxp/using/ moviemaker/default.mspx Building Treehouses for Learning: Technology in Today's Classrooms ble, and a digital video compatible computer, you can produce high-quality videos without many of the hassles of traditional video editing. If you don't have a digital video camera, you can still import video from an older camera or VCR into your computer with a special video digitizing card. The only other thing you need is some software. If you use a Macintosh computer, it's easy. imovie is a simple, effective package that can do full video editing including titles and transitions. If you want to get fancy, consider Apple's Final Cut Pro. If you have Windows XP, simple video editing software is included called Windows Movie Maker. Other packages include Adobe Premiere and Avid Xpress Pro. Often, a software package will come with your video digitizing card. Before editing, view and identify the best scenes from the raw footage that was shot. Some people like to create a paper log sheet like the one shown in Figure 10-19, in addition to the log systems available in the editing software. Recognize those scenes that you select and note their exact location on your log, using the counter numbers on the editing software or time/ counter measures available on your camera. Most video editing software provides tools for importing sound, still images, as well as video. They also include tools for adding titles and special effects such as transitions and titles. Figure shows a screen from an older version of imovie software project featuring a bear. Figure shows a seaplane project in a newer version of imovie. Notice that although the Video Production - Log Sheet 3 Video Title: Parallel Parking Audience: Driver's education students ages 15+ Video Objectives: Given a car and parking space, the student will parallel park. Date: 10/10/05 Time: 3:30 PM Location: APARTMENT COMPLEX parking lot Props: Three cars Human Resources: Two students, camera person, director Tape Starting Point: 8 minutes 20 seconds into tape 1 Scene Take Camera Settings Length Conditions Remarks 3 1 automatic 8:20-8:50 cloudy dog barks 3 2 automatic 8:50-8:24 cloudy car out position 3 2 Automatic 8:24-8:56 cloudy thunder Figure Log sheet for parallel parking video.

31 Chapter 10 - Designing and Developing Resources: Video Materials 371 Figure imovie video editing project. screens are slightly different the features remain similar. Be careful not to get caught up in the glitz of fancy fonts and spinning photos. Instead, focus on the story you want to tell. When the movie is complete, you can export it to a videotape, CD, or DVD. Before exporting the video, you need to decide how it will be used. For example, will the video be streamed or downloaded from the web? Do you want the video Figure imovie video editing project.

32 372 Building Treehouses for Learning: Technology in Today's Classrooms Figure imovie video project saved as QuickTime movie. to play in a small, medium, or large window? Each of these decisions will impact the quality and file size of your video. The "Women and the Civil War" project is a QuickTime movie that combines still pictures, titles, and Civil War era music into a show movie (Figure 10-22). The window is large enough to read the text, but still small enough to download quickly from the web. You don't need a computer to play a digital video. They can be saved and played on a regular DVD player or even saved on videotape. The video image in Figure 10-23a is from a video created using Apple's idvd software (see Figure 10-23b). This software allows you to set up chapters just like a commercial DVD. In addition, titles and music can be added. The example below features natural areas of the United States. Figure 10-23a,b. idvd produced video.

33 Chapter 10 - Designing and Developing Resources: Video Materials 373 Classroom Applications of Video Production There are many uses for video production in the classroom. Students love to develop informational, instructional, and persuasive videos. Warm-Up Activities Before students create a serious video based on a subject area of interest, allow students to explore the video medium through a series of warm-up activities. Try some of the activities suggested on the following pages. Far And Near. Set the camera at a wide angle focal length and place it on a table or tripod. The camera should be connected to a TV so students can watch the screen as they do this activity. Ask a student to fill the screen with his face by moving toward the camera. Next, have the child fit his whole body into the screen by moving away from the camera. Ask the next student to do the same. When he or she moves away from the camera it is to join the first child who remains standing so his entire body fills the screen. Ask a third child to participate and so on until no more bodies can fit within the viewing screen. Students will find they must continue moving backward as more bodies try to fit into the screen. How many whole bodies can fit into the screen? If the room were longer would more bodies fit it? If the room were shorter what would happen? Mirror Mirror. Two people take their places in front of the camera which is on a tripod. The players will be filmed in profile which eliminates the need to stare into the camera s eye. The two players face each other. Player A initiates a movement and Player B must exactly follow that action as if he or she were a mirror reflecting the actions of Player A. Simple procedures like raising your arm, putting the arm back down, or placing the palm against an imaginary surface are all examples of concise body movements suitable for the mirror exercise. Player A initiates the movement three times and then it is Player B s turn to initiate the movement. Each player should take two turns and then view the replay. Evaluate the activity using the questions from below. Students should be comfortable in this activity because they have a point of concentration and are busy enough following the leader s movements that they can forget the camera. Did the players concentrate on their partners and not on the camera? Is there accuracy of movement and observation? Are the movements slow enough to follow? Hand Jive. Students stand in a circle. One person pretends to mold an object into a shape, uses it, and passes it on to the Don't be afraid to let young children use the camera. They'll have a great time!

34 374 Encourage students to develop their own video activities. Building Treehouses for Learning: Technology in Today's Classrooms next person who also uses the object. He or she then remolds the thing into another object of their own choosing, uses it, and passes it on, etc. For example, Player A might pantomime the molding, squeezing, and manipulating of a mass of air into an imaginary bowling ball. When the player is finished, he or she would roll the ball down an imaginary alley. Students should not guess at the pantomimes. The time for this will come when viewing the activity after it is taped. Suggest to the participants that they plan several possibilities for pantomimes before filming begins or give students cards listing an object. There are objects listed on the next page which can be used. Planning specific movements is vital to the communication process. Remind students to remember size, texture, weight, and shape while molding. Everyone should have a turn to create and mold an object with their hands. Students should take turns operating the camera as they finish their pantomime. They will have to follow the movements as play proceeds around the circle and should focus in on the detailing executed by the hands during the molding. The students should be busy creating and concentrating so that they forget the camera. Can the object being molded be guessed? Why are some people easier to understand than others? What clues did people use? Did the camera person focus in on the right movements to aid in guessing the pantomime? Video Charades. This activity closely resembles Hand Jive, except the pantomime includes the entire body and not just the hands. Also, the object is not created by the participants, but the object is there to be used in such a way that the audience should be able to guess what it is. Again, the student should be asked to plan a pantomime or the teacher can give the students cards with the object. Time should be allotted for students to jot down specific clues for pantomiming their object. These notes are not to be carried on the set. Students take turns filming the pantomimes. Students can use close-up, medium, or long shots to include all the action. The students walk onto the set as the participant in front of them exits. Participants enter from one direction and exit from the opposite. The camera keeps rolling. Students should not try and guess the pantomimes. Again, this should be saved until viewing the film. Can you guess the object being used? Why are some people easier to understand than others? What clues did people use? Did the camera person focus on the right movements to aid in guessing the object being used?

35 Chapter 10 - Designing and Developing Resources: Video Materials 375 Building the Treehouse Try It! Evaluate an informational or instructional video that might be used in the classroom. Answer the following questions. Would you use this video in your classroom? Why or why not? What are the strengths of the video? What are the weaknesses of the video? What would you change in the video? Use the following criteria to evaluate another video. Presentation Aspects Did the introduction gain audience attention? Was the objective of the video discussed? Was the audience asked to recall prior knowledge? Was information presented in a logical format with concise segments? Was the information accurate? Was the pacing appropriate for the audience? Was the sequence of events easy to follow? Were examples (and nonexamples) provided? Did the video call for action or request participation? Was the conclusion effective? Technical Aspects Were props and realia effective used? Did the video maintain interest? Were camera techniques such as pan, dolly, truck, and zoom used effectively? Were closeup views used effectively? Were long shots used effectively? Was the audio clear? Was the video in focus? Did the audio match the video? Were transitions smooth? Evaluating a Video

36 376 Building Treehouses for Learning: Technology in Today's Classrooms Objects To Be Pantomimed (For Hand Jive or Video Charades) 1. ice cube 18. sand box 35. toothbrush 2. alarm clock 19. jump rope 36. umbrella 3. apple 20. kangaroo 37. vase 4. baby bottle 21. leprechaun 38. mask 5. garbage 22. walkman 39. wallet 6. book 23. necktie 40. zebra 7. can of pop 24. onion 41. airplane 8. chewing gum 25. pepper 42. banana 9. computer 26. piano 43. harmonica 10. donut 27. queen 44. horse 11. egg 28. roller skates 45. golf club 12. elephant 29. rose 46. balloon 13. fish 30. rug 47. skateboard 14. flag 31. soccer ball 48. thermometer 15. gate 32. nail file 49. peanuts 16. matches 33. sandwich 50. coffee 17. guitar 34. vase Where In The World. This pantomime experience involves students acting out their exact location. Actors must provide clues for the audience which will help them to understand their particular surroundings. The same procedures are used as in Video Charades except students think of clues and translate them into actions that will evoke a particular setting or location in the mind of the audience. Can the location of the actor be guessed? Why are some people easier to understand than others? What clues did people use? Did the camera person focus in on the right clues to aid in guessing the actor s location? Places To Be Pantomimed 1. roof 16. bank 31. airplane 2. boat 17. desert 32. helicopter 3. ski lift 18. space shuttle 33. mountain top 4. bball court 19. fire station 34. iceberg 5. drive-thru 20. rain forest 35. igloo 6. kitchen 21. church 36. forest 7. classroom 22. rock concert 37. pool 8. canoe 23. restaurant 38. train 9. museum 24. doctor office 39. library 10. taxi 25. school bus 40. window ledge 11. zoo 26. baseball 41. cloud 12. principal office 27. roller coaster 42. tennis court 13. courtroom 28. church 43. high dive 14. haunted house 29. movies 44. rodeo 15. jewelry store 30. race car 45. jail

37 Chapter 10 - Designing and Developing Resources: Video Materials 377 Howdy Partner. For an initial speaking experience on camera, students might be more comfortable introducing a classmate instead of facing the camera to talk about their own lives. Participants could choose a partner and find some facts to share with the class. The presenter should take notes that he or she could refer to as the camera rolls. Another student should film the introduction using a twoshot (both people in the camera range) angle. This allows the viewer to see the person talking and the person they are talking about. It might also eliminate some of the tension felt when only one person is on camera. However, the camera person could try focusing in on a person as they are talking. When the first introduction is done, partners reverse roles. Did the presenter make eye contact with the audience by looking at the camera? Did the presenter look at the person being interviewed? Could you hear both people during the interview? Did they use expression? How was the camera work? Possible Topics For Introductions Name, Age, Birthdate, Hobbies, Interests, Family, Pets Favorites: food, movie, TV program, book, musician, sport, subject in school, etc. The Robbery. This exercise demonstrates how varied camera shots taken at different times can be put together to create the illusion that an event occurred in one time period. Students start and stop using the record button. The quality of the edits may not be the best, but students will get the idea of editing. To make the edits as tight as possible, rewind the tape about 5 seconds beyond the starting point of each shot. Some cameras have an edit button that assists in shooting from one scene to another. If the camera has a fade button, students may use this to fade into and out of the shots. 1. Two children are walking down the street on their way home from school. The camera watches them as they happily chit chat. (10-15 seconds) 2. Two robbers crouch behind a trash can waiting for victims. They are anxious and whisper among themselves. (10-15 seconds) 3. The two victims look toward the camera, scream and attempt to run away. (5 seconds) 4. The robbers advance towards the camera looking mean and nasty. (5 seconds) 5. A scuffle involving both groups takes place. The victims finally beat the robbers and escape.

38 378 Let students create their own storyboard, then provide suggestions. Let the ideas flow! Give students a chance to brainstorm. Building Treehouses for Learning: Technology in Today's Classrooms 6. The camera films the two children walking home while in the foreground are the unconscious or dazed bodies of the robbers. Did the film seem as if it had all occurred at once? What could have been filmed differently? Did the acting seem real? Why or why not? Ready, Set, Action. Have students take turns experimenting with different camera angles and shots by filming a still-life composition such as a bowl of fruit or a vase of flowers pleasingly arranged in front of a backdrop. The camera person must shoot the scene from five different angles or shots and it is up to the camera person as to whether they need to turn the camera off before a new shot or angle. The camera person could experiment with some of the shots discussed earlier. For example, (1) a student might first choose a high angle shot of the composition and then turn the camera off. (2) The camera is turned back on and the object is filmed from a low angle while slowly (3) panning to the right. (4) Then zoom in on a particular aspect of the object, and (5) finally slowly dolly out until a wide-angle shot of the whole composition is filmed. What angles were most pleasing? Which shots were most interesting? Were there any shots or angles which created confusion for the viewer as to what was being shot? Turn On The Tube. Two teams of four to five people engage in this assignment meant to exercise the actors ability to change characters. One team plays the television actors and the other team plays a family sitting in front of the television. The TV actors should be supported with various add-on pieces of clothing (hats, shawl, sweaters, purse, beard, etc.) and a prop table (phone, kitchen utensils, sports equipment, etc.). Each family member calls out his or her favorite television show, goes to the TV and turns on the set. The actors must improvise the show called for by the family. If the family tires of a performance, they simply change the channel or call for another program. Family members can select current, popular sitcoms, soap operas, news broadcasts, kiddy shows, cartoons, or even old reruns. The actors and the family then reverse roles. If a large shadow screen is available, the actors can play their roles behind it to create an interesting video effect. Again, a student is filming the events. Filming could take place over the head and shoulders of the family members. The camera should be turned off after a family member changes the channel". This gives the TV actors a chance to switch roles. This activity would be an excellent place for students to begin experimenting with camera position during filming. How well did the TV actors portray their characters? Were they able to improvise action and dialogue?

39 Chapter 10 - Designing and Developing Resources: Video Materials 379 Did the family act like a family watching TV? Did the camera keep up with the action and did the camera angles help you to understand what was going on? Student Produced Productions Many students have access to video cameras at home and love to create their own videos. Consider ways that you could put this talent to work on student video projects. Some ideas are provided in the next section. Wonderful Welcome. Begin taping the first day of school. Put that first day s discussion of school rules and expectations on tape. Now if a new student enters your classroom at any point in the year, you can bring a student up to date about dress code, discipline, and expectations without using valuable class time to do so. The tape can also be sent home to inform parents about the new school their child is attending. Video Yearbook. Film events throughout the year. This is a great tape to show parents at the end of the year and can also serve as a year-end activity if you have students help to edit and put together all the raw footage. Check into local TV stations or universities with editing equipment. It may be possible to have the tape professionally edited with graphics and music for a relatively low cost. A copy of the tape would be a neat keepsake for each student. What a great public relations tape to show at Open House the following year! Music Video. If your school has access to editing equipment, many educational objectives can be met with this fun project. Students must exercise creativity and cooperation to make a music video. Editing a music video is a great way to develop editing skills. Student Portfolio. Each student has their own personal video tape. At the beginning of the year students videotape each other to record their beginning communications skills, knowledge of content areas, etc. They film again at the end of the year to create a before and after record of the students progress throughout the year. Now each student has a personal student portfolio to take home to mom and dad at the end of the year. Could this replace the traditional grade card? In Figure a student is reading a book aloud for the camera. Speak Easy. Discuss the elements of speaking before an audience. Film students as they perform show and tell, book reports, poetry readings, etc. in front of an audience. Then let the students view the tape as a class or in private. Seeing is believing. Now when you tell the student they rocked back and forth or spoke too quickly, they will see it for themselves. Drama. Film a play complete with costumes, props, and scenery on video. If an actor truly flubs their lines, erase it Internet Connection Video in the Classroom Evaluating Student Videos Resources %7Emaui/EDUWEB/resources.html Video Guide pblmm.k12.ca.us/techhelp/ VideoHelp/VideoGuide.html

40 380 Building Treehouses for Learning: Technology in Today's Classrooms Figure Student portfolio entry. and do it again. It might be fun to save the mistakes. If your students don t mind, make a segment of bloopers to show at the end of the production just like some sitcoms do on TV. Puppet Shows. Just as with a drama production, put the puppet show on film. It might be easier to hide the puppeteers from the viewer this way. Literature Encounter. Perform choral readings, original writings, or literature on video. Share the tape with younger classes. Talent Show. Plan a video highlighting student talent, such as singing, piano playing, and magic acts. Interview. Students need practice writing interviews and conducting interviews (see Figure 10-25). Why not have them conduct an interview on tape while someone else films it? Parents or local residents with interesting occupations or hobbies could be brought right into the classroom through video. Video Field Trip. Take the video camera along on the class field trip. Use the tape to aid in a discussion of what was learned on the trip as well as to bring back fond memories. Video Vacation. Do you have a student who will be missing some school due to a vacation? Rather than have them keep a written journal about their vacation... how about a video. The trip to Mexico or the visit to Amish country would be a learning experience for all those students who were left behind. Teacher Produced Productions In addition to student productions, you can probably think of many ways to use video in the classroom yourself. If you still need some ideas, use the list below.

41 Chapter 10 - Designing and Developing Resources: Video Materials 381 Demonstrations. Just how do you demonstrate the dissection of a frog so everyone can see it? Through a video, that s how. Film difficult or dangerous demonstrations or experiments. Use the video to teach standardized procedures which must be performed in a specific way, such as first aid training. These recordings allow you to pause, speed up, slow down, or play it again until students understand. Figure shows a teacher produced video on creating an origami crane. Field Trip Alternative. Finances or logistics sometimes hinder the teacher from taking students on field trips, so why not bring the field trip to them? Use your camera to bring other cities, states, countries, or events into your classroom. The Substitute. If you re uneasy about a substitute following your lesson plan, feel more at ease by leaving them a video tape of the lesson. Class Act. By setting the video camera in an inconspicuous place in the classroom, you may learn how to improve your teaching and students may learn how to improve on their behavior. You may find that you don t allow students much time Consider those activities that take lots of time to explain and demonstrate. A video helps you become organized. Interview for An Engineer Figure Student produced video on interview skills.

42 382 Building Treehouses for Learning: Technology in Today's Classrooms Create an Origami Crane Figure Teacher produced video. to think after asking a question before you call on someone to answer. Disruptive students may see their actions from a new perspective and improve upon bad habits. Let students know that you are using the camera to improve the learning environment, not just to catch them doing something wrong. Faculty Workshops. Videotape especially good lessons or demonstrations and share successful lessons with each other. Parent Conferences: Make a video of difficult student problems. Use the video to elicit support for special school programs or to get ideas from the parents on how to resolve the problems. Conclusion With careful planning, video production can be lots of fun. Plan projects where you and your students can work together to plan and produce videos. For maximum enjoyment and benefit, emphasize fun and effective communications rather than "perfection".