Course Profile Communications Technology, Grade 11,
University/College Preparation, Catholic and Public
Unit
3: Digital Video Production
Time: 27.5 hours
Activity 1 | Activity 2
| Activity 3 | Activity 4
This unit
introduces students to the processes involved with digital image production.
Students examine fundamental digital concepts, basic equipment functions, and
their interface with computer technology. Students investigate the process of
digitization and the transfer of data through the use of still and moving
images in audio/video, recording, and photographic media. Emphasis is placed on
the set-up, testing, and maintenance of the systems, (i.e., hardware, software,
peripheral relationships, and connectivity), necessary to create digital
productions. Critical evaluation and problem solving help students make
decisions in light of gospel values with an informed moral conscience.
|
Activity |
Time |
Expectations |
Assessment |
Focus |
|
1:
Still Image Storyboarding |
5 hours |
TFV.01,
TFV.03, SPV.01, SPV.02, ICV.03 TF2.02,
TF2.05, TF2.07, TF3.03, SP1.01, SP1.02, SP1.03, SP1.04, SP1.05, SP1.06,
SP1.07, SP2.01, SP2.02, SP3.01, SP4.02, IC2.01 CGE:
2b, c, e; 3b, c, e; 4a, e, f; 5a, e, g; 7b, j |
Knowledge
and Understanding Thinking
and Inquiry Communication Application |
Digitization
techniques and manipulation of still images |
|
2: The
Power of Audio |
5 hours |
TFV.01,
TFV.03, TFV.04, SPV.02, ICV.03, ICV.04 TF2.02,
TF2.03, TF2.11, TF3.01, IC3.01 CGE:
2a, b, c; 3b, c; 4b, e, f; 5a, e, f; 7b, j |
Knowledge
and Understanding - Thinking and Inquiry Communication Application |
Digital
audio techniques |
|
3:
Community Service Announcement |
12.5 hours |
TFV.01,
TFV.02, TFV.03, TFV.04, SPV.01, SPV.02, SPV.04, ICV.03 TF2.02,
TF2.03, TF2.04, TF3.02, SP1.01, SP1.02, SP1.04, SP1.05, SP1.07, SP2.01,
SP2.02, SP2.07, SP3.01, SP4.01, SP4.02, SP4.03, IC1.02, IC3.01, IC3.04 CGE:
1d; 2c, e; 3b, c, d, e; 4b, c, d, f, g; 5a, c, f, g; 7b, e, j |
Knowledge
and Understanding Thinking
and Inquiry Communication Application |
Integration
and editing of digital images |
|
4:
“Re-purposing” Digital Video - Digital Editing Output Options |
5 hours |
TFV.02,
TFV.04, SPV.02, SPV.03, SPV.05, ICV.03 TF1.01,
TF2.02, TF2.04, TF2.05, TF2.06, TF3.02, TF3.03, SP1.06, SP1.07, SP2.02, SP4.03,
SP4.04, IC1.02, IC3.05 CGE:
2c, f; 3c, e; 4b, e, f; 5a, e, f; |
Knowledge
and Understanding Thinking
and Inquiry Communication Application |
The
process of digital output and output options |
Time: 300 minutes
Students
explore a fresh approach to storyboarding while being introduced to digital
video-editing software. Students engage in the pre-production of their video by
capturing still images on the set location with digital cameras, digital video
cameras, or traditional photographic methods. Images are imported to the
digital video-editing application, assembled, and annotated akin to traditional
storyboards. Exact imaging and playback methods provide a more precise document
for critical analysis and consequent revision.
Strand(s): Theory and Foundation, Skills and Processes, Impact
and Consequences
Overall
Expectations
TFV.01 -
apply the design process to develop solutions, products, processes, or services
in response to challenges or problems in electronic, live, recorded, or graphic
communications;
TFV.03 -
explain how basic communications systems function and describe the knowledge
required to manage a range of communications systems;
SPV.01 -
effectively plan, organize, direct, and control a variety of communications
activities;
SPV.02 -
use current technology and production skills to develop a process or a product
in response to a communications challenge or problem;
ICV.03 -
identify career opportunities in the communications technology sector and the
skills, education, and training required for each.
Specific
Expectations
TF2.02 -
describe the processes of analog-digital and digital-analog signal conversion;
TF2.05 -
identify the advantages of various formats for specific applications;
TF2.07 -
evaluate component properties and select the most appropriate components for a
particular process;
TF3.03 -
select the appropriate formats for electronic, live, recorded, and graphic
productions;
SP1.01 -
demonstrate the interpersonal skills required for effective teamwork;
SP1.02 -
function effectively as individuals and as members of a cooperative team to
produce a product or service;
SP1.03 - demonstrate
the time management and problem-solving skills required to complete projects;
SP1.04 -
accurately document planning and production processes;
SP1.05 -
effectively apply a variety of planning tools (e.g., storyboards, flow charts,
schematic diagrams);
SP1.06 -
select and use appropriate software to manage the production process;
SP1.07 -
use time management schemes to ensure that their productions meet client
deadlines;
SP2.01 -
set up and correctly operate the equipment and accessories required to create
and modify environments for communications productions (e.g., video and audio
editing suites, desktop publishing configurations, live and recorded
productions, electronic communication systems, websites);
SP2.02 -
select and use tools and equipment to solve a communications problem;
SP3.01 -
use a variety of methods to document the planning and production processes;
SP4.02 -
use appropriate language in flow charts, storyboards, operation charts,
scripts, and presentations;
IC2.01 -
apply safe work practices when performing communications processes.
Ontario
Catholic School Graduate Expectations
CGE2b - reads, understands, and uses written
materials effectively;
CGE2c - presents information and ideas clearly
and honestly and with sensitivity to others;
CGE2e - uses and integrates the Catholic faith
tradition, in the critical analysis of the arts, media, technology, and
information systems to enhance the quality of life;
CGE3b -
creates, adapts, and evaluates new ideas in light of the common good;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopts a holistic approach to life by integrating learning from various subject
areas and experience;
CGE4a -
demonstrates a confident and positive sense of self and respect for the dignity
and welfare of others;
CGE4e -
sets appropriate goals and priorities in school, work, and personal life;
CGE4f -
applies effective communication, decision-making, problem-solving, time, and
resource management skills;
CGE5a -
works effectively as an interdependent team member;
CGE5e -
respects the rights, responsibilities, and contributions of self and others;
CGE5g -
achieves excellence, originality, and integrity in one’s own work and supports
these qualities in the work of others;
CGE7b -
accepts accountability for one’s own actions;
CGE7j -
contributes to the common good.
Students have:
·
an
understanding of the basic principles of design (from Unit 1).
·
an
awareness of why a storyboard is used for video production (from Unit 2).
·
Investigate
the software, accessible and available at the school site or through the school
district’s system, that is suitable for the activity.
·
Collect
exemplar works of previous students to illustrate some of the techniques used
in storyboarding.
·
The
teacher encourages attitudes and values, founded on Catholic social teachings,
which promote social responsibility, human solidarity, and the common good.
·
Student-to-student
discussion and teacher-to-student conferencing should occur throughout the
project.
·
The
teacher should explain the correct use of the digital and video camera.
·
The
teacher demonstrates capturing still images from videotape.
·
The
teacher forms groups of two to four students.
·
The
teacher explains the purpose and layout of a storyboard.
·
Depending
on the type of video being created, students must understand that they will
communicate a message to their audience.
·
The
teacher explains the various types of shots that might be used in a movie
production (e.g., close up, extreme close up, medium shot, long shot, and
extreme long shot, etc.).
·
The
teacher also explains how transitions, special effects, and audio play an
important role in developing an effective storyboard/video and discusses
various types of transitions that might be used.
·
The
teacher explains how the information should flow from one scene to the next and
provide a story-line that can be followed. The story should be clear.
·
The
teacher should show how the storyboards sequence shots must be ordered together
correctly to communicate the proposed story-line.
·
Students
create an electronic storyboard by using a digital camera or video camera. They
assemble the shots electronically using a slideshow or presentation software
package (their work may also be printed and pasted on a layout board).
·
The
storyboard is presented to the teacher before proceeding with the video
production.
·
Perform
a final summative evaluation of the completed storyboard.
·
Formative
assessment: have roving conferences as students develop their story-lines with
the storyboards.
·
Meet
with students individually after asking them to set their own goals.
·
Provide
formal feedback on the image storyboards created by the students.
·
Presentations
to the class are evaluated.
·
Students
are given the opportunity to self-evaluate their work, along with the teacher’s
evaluation, to determine an appropriate mark for the activity.
·
Principles
of design and correct storyboarding are used to assess students’ work.
·
Teachers
should be acquainted with Individual Education Plans (IEPs) and their unique
learning characteristics in order to make the necessary accommodations.
Teachers should be aware of students who require modification to the mandated
expectations for this course. Ontario
Secondary Schools (p. 24) allows teachers to modify the learning
expectations for exceptional students in order to support the contents of the
student’s IEP. This applies also to students who have not been identified as
exceptional but are receiving Special Education programs and services.
·
Special
needs students can be given appropriate timelines for completion of this
activity.
·
Students
work with a partner or in small groups.
·
Help
students with special needs to develop their storyboards.
·
Provide
support as needed for those students who would benefit from direct one-to-one
teacher conferencing.
·
Provide
students with exemplar work to help them understand what a storyboard is and
how it might be created.
General
·
Teacher-developed
resources including handouts, worksheets, and activity sheets
·
Various
samples of instructional videos
·
Student
exemplars
·
Manufacturer’s
equipment manuals
·
Software
manuals and tutorial exercises
·
The
school Library/Resource Centre
Books
Andersen, Neil and John Punjente. Scanning Television: Videos for Media
Literacy in Class. Toronto: Harcourt Brace & Company, 1997. ISBN
0-7747-0173-0
Brenneis, Lisa. Final Cut Pro For Macintosh: Visual Quick-Pro Guide.
ISBN 0201354802
Grebler, Ron. Desktop Digital Video: How to Use Your Computer and Camcorder to Edit
and Create Videos and Digital Effects.
Hitchcock,
Peter. Videography: The Guide to Making
Videos.
Hoffer,
Avi. Digital Guerrilla Video: A
Grassroots Guide to the Revolution.
Hone,
Rick and Liz Flynn. Video in Focus: A
Guide to Viewing and Producing Video.
Hone,
Rick and Liz Flynn. Video in Focus: A
Guide to Viewing and Producing Video, Teacher’s Guide.
Kyker,
Keith and Christopher Curchy. Television
Production: A Classroom Approach.
Ohanian,
Thomas. Digital Filmmaking: The Changing
Art and Craft of Making Motion Pictures.
Ohanian,
Thomas. Digital Nonlinear Editing:
Editing Film and Video on the Desktop.
Utz,
Peter. Today’s Video, Equipment, Setup
and Production.
ISBN 0-1392-5033-6
Zettl,
Herbert. Video Basics.
Zettl,
Herbert. Video Basics Workbook.
Video
Basic Shooting.
Manufacturing Consent.
Video Editing.
Videography: The Guide to Making Videos.
Magazines
Digital Imaging.
Digital Video.
New Media.pro.
Video Systems.
VideoMaker.
Websites
2-Pop
— http://www.2-pop.com
Previews, forums, discussion groups, techniques, tutorials, and links to the
video industry.
Apple
DV — http://www.apple.com/education/dv/
Apple education page, Firewire-based products and technologies, links to other
related sites.
Digital
Imaging Magazine — http://www.digitalimagingmag.com
Digital video/editing on-line articles, links to user groups, and equipment
information.
Computer Video Magazine Online —
http://www.computervideo.net/
Digital Video curriculum ideas.
Digital
Video for Education — http://www.ncsa.uiuc.edu
This site manages a unique collection of virtual environments.
Digital
Video Magazine — http://www.dv.com
Digital video/editing on-line articles, links to user groups, and equipment information.
Digital
Video Professional Association — http://www.dvpa.com
On-line article’s, links to user groups, and equipment information.
National
Association of Broadcasters — http://www.nab.org
Information on Broadcasting and Digital video. Links to other related sites.
New
Mediapro Magazine — http://www.newmediapromagazine.com
A Canadian source of digital video/editing on-line articles, equipment and
links to user groups.
Videomaker
Magazine — http://www.videomaker.com
Digital video/editing on-line articles, links to user groups, and equipment
information.
Videonics
Systems — http://www.videonics.com
Articles on video/editing, links to user groups, industry, and equipment
information.
Video
Systems Magazine — http://www.videosystems.com
Video/editing
on-line articles, links to user groups, and equipment information.
A resource for courses in video production, software tutorials and CD
resources.
Worldwide
Users Groups Forum — http://www.wwug.com
A site to share information about software, computers, video, and multimedia.
Time: 300 minutes
This
activity gives students the opportunity to discover how the choice of audio for
the soundtrack can effect the overall message of a video production. Students
apply various audio types and styles to a generic video track to see how the
soundtrack serves to underscore and/or counterpoint the meaning of the visual
images in the project (video footage). Elements of rhythm, mood, and pace play
a critical role in the communication of a video’s message. Students also
explore and critique the pros and cons of a variety of digital audio
characteristics, including audio formats, conversion and compression
techniques, and audio editing software. Music, voice-over, and sound effects
are studied with respect to their appropriate methods of capture. Students are
made aware of the copyright laws that govern replay and reproduction of music.
Issues of Christian morality are discussed with respect to the media’s ability
to manipulate the public’s emotion and perception of truth through subtle
manipulations of audio.
Strand(s): Theory and Foundation, Skills and Processes, Impact
and Consequences
Overall
Expectations
TFV.01 -
apply the design process to develop solutions, products, processes, or services
in response to simple challenges or problems in electronic, live, recorded, or
graphic communications;
TFV.03 -
demonstrate an understanding of electronic, live, recorded, and graphic
communications systems;
TFV.04 - describe industry standards applicable
to communications technology;
SPV.02 - produce, assemble, connect, and
operate current equipment and components to perform specific functions related
to communications technology;
ICV.03 -
describe the career opportunities available in the communications technology
sector immediately on graduation from high school;
ICV.04 -
identify the employability skills required to be successful in the workplace.
Specific
Expectations
TF2.02 -
explain different methods of storing and retrieving information and the
advantages of each;
TF2.03 -
explain how digitization is used for print, audio, video, recording, and
photographic media and in the transfer of data;
TF2.11 -
explain how the concepts of encoding, storing, decoding, transmitting, and
receiving apply to electronic, live, recorded, and graphic projects in
communications technology;
TF3.01 -
define the terminology used in the areas of electronic, live, recorded, and
graphic communications;
IC3.01 -
identify career opportunities in the communications sector.
Ontario
Catholic School Graduate Expectations
CGE2a -
listens actively and critically to understand and learn in light of gospel
values;
CGE2b -
reads, understands, and uses written materials effectively;
CGE2c -
presents information and ideas clearly and honestly and with sensitivity to
others;
CGE3b -
creates, adapts, and evaluates new ideas in light of the common good;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE4b -
demonstrates flexibility and adaptability;
CGE4e -
sets appropriate goals and priorities in school, work, and personal life;
CGE4f -
applies effective communication, decision-making, problem-solving, time, and
resource management skills;
CGE5a -
works effectively as an interdependent team member;
CGE5e -
respects the rights, responsibilities, and contributions of self and others;
CGE5f -
exercises Christian leadership in the achievement of individual and group
goals;
CGE7b -
accepts accountability for one’s own actions;
CGE7j -
contributes to the common good.
·
A
basic understanding of computer operations and the use of audio/video equipment
would be beneficial, but is not necessary for completion of the activity.
·
Students
have cooperative teamwork skills.
·
Teachers
implement their school district’s policies on appropriate use and access to
Internet services.
·
Students
keep a daily log sheet, recording brief notes of their accomplishments each day
and outlining any future needs that this activity requires.
·
Collect
and provide examples of soundtracks and audio files that outline the steps
required for successful completion of the task.
·
Previous
student work can be edited and dubbed with different audio tracks for students
to experiment with.
·
Investigate
cross-curricular connections with other subject areas, especially the Music
department.
·
Provide
the opportunity for students to focus on specific career options and provide
insights into the skills required for related professions.
·
Teaching/Learning
Strategies that allow for career links should be investigated (e.g., job
shadowing, career and education research, field trips, and guest speakers).
Arrange for appropriate speakers, whose careers are related to the audio,
video, and digital video industry, to share their education and career paths
with students. Members of the community may provide students with some insights
into career opportunities and issues.
·
Teachers
encourage attitudes and values, founded on Catholic social teachings, which
promote social responsibility, human solidarity, and the common good.
Soundtracks
·
The
teacher facilitates a discussion on the topic of soundtracks by questioning the
class on:
·
The
importance of music and the “picture”;
·
Whether
creating animations or editing video, the audio soundtrack will help to inform
your visual decisions.
·
The
class discusses different types of music and develops a list of what they think
is best suited for different video situations.
·
Different
musical scores may be presented by the teacher to illustrate how music is used
to create elements of rhythm and pacing.
·
The
teacher provides students with pre-recorded video sequences (Quicktime, AVI, or
MOV formats). Each sequence should include three or four versions, each with a
different audio track, as well as one without any audio track added.
·
Students,
working in groups of four or five, play the video sequence that has no audio
and suggest what kind of sound track would best fit.
·
The
group then plays each of the sample sequences and decides which audio track
seems best suited to the visual message of each sequence.
·
The
process is repeated for three or four different video sequences.
·
The
teacher should facilitate a discussion on the importance of audio, and its
integration and effect on the “picture,” after completion of the exercise.
Digital
Audio Characteristics
·
The
teacher facilitates a discussion on digital audio characteristics, including:
sampling rate, bit depth and mode, compression, audio formats, and audio
streaming.
·
Students
brainstorm and develop a list of audio formats and terms.
·
The
teacher discusses the essential differences and advantages of each audio format
and its suitability for use in different digital video-editing software (see
Appendix 3.1 for reference).
·
Students
should be made aware of the copyright laws that govern replay and reproduction
of music. Research in this area can provide an extension to the activity.
·
Students
complete a series of tutorials that assist them in learning how to do basic
digital audio editing techniques, including: capturing, conversion to
appropriate formats, editing using digital audio software, and importing and
exporting audio files into digital video-editing software.
·
Summative
assessment of tutorial work
·
Summative
assessment of the concepts and techniques utilized in this activity
·
Paper
and pencil test
·
Performance
assessment of assigned tutorial exercises and worksheets
·
Personal
communication – teacher/student conferencing
·
Teachers
should be acquainted with exceptional students’ Individual Education Plans
(IEPs) and their unique learning characteristics in order to make the necessary
accommodations. Teachers should be aware of students who require modification
to the mandated expectations for this course. Ontario Secondary Schools (p. 24) allows teachers to modify the
learning expectations for exceptional students in order to support the contents
of the student’s IEP. This applies also to students who have not been
identified as exceptional but are receiving Special Education programs and
services.
·
Students
with special needs can be given appropriate timelines for completion of this
activity.
·
Peer
tutoring is given to those students who need extra help.
·
Student-to-student
discussion and teacher-to-student conferencing should occur throughout the
project.
·
Peer
tutors assist students with special needs when handling equipment.
General
·
Teacher-developed
resources including handouts, worksheets, and activity sheets
·
Various
samples of video sequences with edited audio tracks
·
Student
exemplars
·
Manufacturer’s
equipment manuals
·
Software
manuals and tutorial exercises
·
The
school Library/Resource Centre
Books
Ackenhusen,
John G. Real-Time Signal Processing:
Design and Implementation of Signal Processing Systems. USA: Prentice Hall,
1999. ISBN 0136317715
Albanese,
Steve and Colin MacQueen. Digital Audio
Dictionary (Book & CD edition).
USA: Prompt Publications, 2000. ISBN 0790612011
Baert,
L., Luc Theunissen, Guido Vergult, and Jan Maes. Digital Audio and Compact Disc Technology, 3rd ed. Great Britain: Books Britain, 1995. ISBN 0240513975
Coulter,
Doug. Digital Audio Processing. USA:
CMP Books, 2000. ISBN 0879305665
Lindley,
Craig A. Digital Audio with Java (Book & CD edition). USA:
Prentice Hall, 1999.
ISBN 0130876763
Lyons,
Richard G. Understanding Digital Signal
Processing. USA: Addison-Wesley, 1996.
ISBN 0201634678
Pohlmann,
Ken C. Principles of Digital Audio, 4th ed. USA: McGraw-Hill Professional
Publishing, 2000. ISBN 0071348190
Rose,
Jay. Producing Great Sound for Digital
Video (Book & CD edition).
USA: CMP Books, 2000.
ISBN 0879305975
Solari,
Stephen J. Digital Video and Audio
Compression. USA: McGraw Hill Text, 1999.
ISBN 0070595380
Steiglitz,
Ken. A DSP Primer: With Applications to
Digital Audio and Computer Music. USA: Addison-Wesley, 1996. ISBN
0805316841
Watkinson,
John. The Art of Digital Audio, 2nd ed. USA: Butterworth-Heinemann,
1994.
ISBN 0240513207
Watkinson,
John. Mpeg 2, 2nd ed. USA: Focal Press, 1999. ISBN 0240515102
White,
Paul. Desktop Digital Studio. USA:
Sanctuary Publishing, 2000. ISBN 1860743242
Magazines
Digital Imaging. New York: Cygnus Publishing.
Digital Video. USA: Miller Freeman Publications.
Keyboarding Magazine.
New Media.pro. Toronto: Southam Inc.
Websites
Apple
DV — http://www.apple.com/education/dv/
Apple education page, Firewire-based products and technologies, links to other
related sites.
Audio
Engineering Society — http://www.aes.org
Good source of audio information, industry standards, and links to other
audio-related sites.
Audio
Media On-Line — http://www.audiomedia.com
Articles, digital audio/video information, and links to other audio-related
sites.
Berklee
Press — http://www.berkleepress.com
Music sources, on-line articles and lessons. Links to other audio-related
sites.
Canadian
Musician — http://www.canadianmusician.com
Information on the Canadian music industry. Good links to other audio-related
sources.
Digital
DIY — http://www.symbiosis-music.com
Information on digital recording equipment, MIDI instruments, sound effects
units, editing, and CD mastering. Links to other related sources.
Electronic
Music Interactive — http://nmc.uoregon.edu/emi
Information on the nature of sound, synthesis, and MIDI. Links to other
audio-related sites.
MIDI-site
— http://www.midisites.com
A search engine for MIDI sources and files on the Internet. Great links to
other audio-related sites.
Music
and Audio Connection — http://www.musicandaudio.com
Information on education, artists, associations, music, and audio
professionals. Good links to other audio-related sources.
Reelworld
— http://www.reelworld-online.com
Film music and related topics of interests for anyone interested in music for
pictures. Good links to other audio sites.
Shareware
Music Machine — http://www.hitsquad.com/smm
Audio shareware, freeware, and demos of MIDI sequencers, audio editors, and
samples. Links to other audio-related sites.
Sounds
Online — http://www.soundsonline.com
Free sounds as well as sample CDs and sound libraries. Links to other
audio-related sites.
Time: 750 minutes
Students develop digital
video-editing techniques and apply their prior production knowledge while
creating a video that brings awareness to a student-selected community or
social justice issue. Students select an issue, complete the background
research for their topic, and assemble the required media. Using digital
editing software, the final product incorporates full motion video, still
images, appropriate audio/music or narration, transitions, titles/graphic
screens, and special effects. Through cooperative learning strategies, students
utilize digital video technology to enhance the quality of life for all
community members.
Strand(s): Theory and Foundation, Skills and Processes, Impact
and Consequences
Overall
Expectations
TFV.01 -
apply the design process to develop solutions, products, processes, or services
in response to challenges or problems in electronic, live, recorded, or graphic
communications;
TFV.02 -
identify and describe the components and processes that make up each of the
following: electronic, live, recorded, and graphic communications;
TFV.03 -
explain how basic communications systems function and describe the knowledge
required to manage a range of communications systems;
TFV.04 -
describe industry standards, regulations, and formats that apply to
communications technology;
SPV.01 -
effectively plan, organize, direct, and control a variety of communications
activities;
SPV.02 -
use current technology and production skills to develop a process or a product
in response to a communications challenge or problem;
SPV.04 -
use effective techniques to carry out and document the steps in pre-production,
production, and post-production;
ICV.03 -
identify career opportunities in the communications technology sector and the
skills, education, and training required for each.
Specific
Expectations
TF2.02 -
describe the processes of analog-digital and digital-analog signal conversion;
TF2.03 -
explain how electricity and magnetism form the basis for audio and video
communications;
TF2.04 -
demonstrate a working knowledge of amplification and signal processing;
TF3.02 -
research appropriate production techniques and recommend processes that adhere
to industry standards;
SP1.01 -
demonstrate the interpersonal skills required for effective teamwork;
SP1.02 -
function effectively as individuals and as members of a cooperative team to
produce a product or service;
SP1.04 -
accurately document planning and production processes;
SP1.05 -
effectively apply a variety of planning tools (e.g., storyboards, flow charts,
schematic diagrams);
SP1.07 -
use time management schemes to ensure that their productions meet client
deadlines;
SP2.01 -
set up and correctly operate the equipment and accessories required to create
and modify environments for communications productions (e.g., video and audio
editing suites, desktop publishing configurations, live and recorded
productions, electronic communication systems, websites);
SP2.02 -
select and use tools and equipment to solve a communications problem;
SP2.07 -
design and set up a communications system (e.g., a computer network, audio and
video editing systems, lighting grids) to perform production and
post-production processes;
SP3.01 -
use a variety of methods to document the planning and production processes;
SP4.01 -
apply mathematical equations to solve simple problems (e.g., calculating
current loads and resistance, file sizes for bitmaps, or frame rates for
animation);
SP4.02 - use
appropriate language in flow charts, storyboards, operation charts, scripts,
and presentations;
SP4.03 -
use terminology that is recognized by the communications industry;
IC1.02 -
explain how communications technology has contributed to globalization and has
influenced economic and social issues;
IC3.01 -
explore communications programs offered by post-secondary institutions;
IC3.04 -
describe the roles of unions, guilds, and associations in the communications
sector.
Ontario
Catholic School Graduate Expectations
CGE1d -
develops attitudes and values founded on Catholic social teaching and acts to
promote social responsibility, human solidarity, and the common good;
CGE2c -
presents information and ideas clearly and honestly and with sensitivity to
others;
CGE2e - uses and integrates the Catholic faith
tradition, in the critical analysis of the arts, media, technology, and
information systems to enhance the quality of life;
CGE3b -
creates, adapts, and evaluates new ideas in light of the common good;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3d -
makes decisions in light of gospel values with an informed moral conscience;
CGE3e -
adopts a holistic approach to life by integrating learning from various subject
areas and experience;
CGE4b -
demonstrates flexibility and adaptability;
CGE4c -
takes initiative and demonstrates Christian leadership;
CGE4d -
responds to, manages and constructively influences change in a discerning
manner;
CGE4f -
applies effective communication, decision-making, problem-solving, time, and
resource management skills;
CGE4g -
examines and reflects on one’s personal values, abilities, and aspirations
influencing life’s choices and opportunities;
CGE5a -
works effectively as an interdependent team member;
CGE5c -
develops one’s God-given potential and makes a meaningful contribution to
society;
CGE5e -
respects the rights, responsibilities, and contributions of self and others;
CGE5f -
exercises Christian leadership in the achievement of individual and group
goals;
CGE5g -
achieves excellence, originality, and integrity in one’s own work and supports
these qualities in the work of others;
CGE7b -
accepts accountability for one’s own actions;
CGE7e -
witnesses Catholic social teaching by promoting equality, democracy, and
solidarity for a just, peaceful and compassionate society;
CGE7j -
contributes to the common good.
·
A
basic understanding of computer operations and the use of audio/video equipment
would be beneficial, but is not necessary for completion of the activity.
·
Students
have:
·
a
basic understanding of the principles of design (from Unit 1);
·
a
basic understanding of video and lighting concepts (from Unit 2);
·
cooperative
teamwork skills.
·
Students
keep a daily log sheet, recording brief notes of their accomplishments each day
and outlining any future needs that this activity requires.
·
Collect
and provide examples of community service announcement digital videos that
outline the steps required for successful completion of the task.
·
Investigate
cross-curricular connections with other subject areas, student services,
Special Education/resource, and administration.
·
Provide
the opportunity for students to focus on specific career options and provide
insights into the skills required for related professions.
·
Teaching/learning
strategies that allow for career links should be investigated (e.g., job
shadowing, career and education research, field trips, and guest speakers).
Arrange for appropriate speakers, whose careers are related to the video and
digital video industry, to share their education and career paths with
students. Members of the community may provide students with some insights into
career opportunities and issues.
Introduction
·
The
teacher encourages attitudes and values, founded on Catholic social teachings,
which promote social responsibility, human solidarity, and the common Good.
·
The
teacher facilitates a discussion by presenting statistics on the amount of time
the average person watches television and graphics. Students are prompted to
respond to the influence and morality of the media and the ultimate goal of
graphics. The teacher challenges the class, as media creators of the future, to
attempt to create work that has a positive meaningful message.
·
The
teacher introduces the project and presents professional and student samples of
public service announcements.
·
Students
brainstorm a list of social issues/problems that are misrepresented or ignored
by the media and discuss possible treatments that are either humorous or
serious.
·
The
teacher emphasizes that the public service announcement must engage the
audience and clearly communicate a message.
·
The
teacher distributes Appendix 3.2 – Community Service Criteria Checklist and has
students refer to it throughout the activity.
Pre-production
and Research
·
The
teacher reviews format for scripts, treatment, and storyboards and describes
the roles of the various members of the crew including the director,
screenwriter, graphics designer, art/set director, grip, sound director,
videographer, lighting technician, and DV editor.
·
Students
form groups and decide which topic they would like to deal with in their public
service announcement.
·
Groups
decide on roles/responsibilities of group members.
·
Students
research their topics using electronic databases.
·
Groups
develop their scripts, storyboards/shot lists, and roles of each group member
and present their final version to the class for review.
Set-up
and Rehearsal
·
Students
rehearse the script, go through a dry run of the various scenes, and discuss
any necessary changes for production.
·
Set
and costume designs are completed and any graphics or live audio sounds are
created.
·
During
this stage, the teacher reviews the basic set-up and correct, safe handling
procedures for the equipment.
Production
·
Students
ensure that all staging is complete, that all equipment is ready, and that any
appointments necessary to use specific areas for various scenes are booked.
·
Students
shoot their scenes, remembering to shoot more footage then is apparently
needed.
Post-production
·
The
teacher discusses the essential differences and advantages of digital video
non-linear editing in comparison to traditional analog linear editing, while
using a computer projection system to demonstrate the basics of the digital
editing software.
·
Students
complete a series of tutorials that assist them in learning how to do basic
editing, titling, transitions, audio effects, special video effects, and
importing and exporting of digital video.
·
Students
edit their public service announcements and present them to the class for
critiquing. (Final outputting solutions are discussed in Activity 4.)
Students
assess the contribution of the individual group members by completing daily log
sheets, personal communication, and self-/peer assessments.
Self-,
peer, and group evaluation sheets are filled out at the end of the project.
Summative
assessment of equipment worksheets and quizzes:
·
paper-and-pencil
test.
Summative
assessment of completed worksheets (proposal sheets, scripts, and storyboards):
·
personal
communication – teacher/student conferencing.
Summative
assessment of finished instructional video.
Summative
assessment of project presentation and class discussion of student work.
·
performance
assessment of finished presentation;
·
personal
communication through self-/peer and group assessment and critique.
The
teacher also assesses students’ productions based on their creativity and
detail, the understanding they demonstrate of the concepts and process of
creating film, and the overall clarity and organization of the final product.
·
Teachers
should be acquainted with exceptional students’ Individual Education Plans
(IEPs) and their unique learning characteristics in order to make the necessary
accommodations. Teachers should be aware of students who require modification
to the mandated expectations for this course. Ontario Secondary Schools (p. 24) allows teachers to modify the
learning expectations for exceptional students in order to support the contents
of the student’s IEP. This applies also to students who have not been
identified as exceptional but are receiving Special Education programs and
services.
·
Students
with special needs can be given appropriate timelines for completion of this
activity.
·
Peer
tutoring is given to those students who need extra help.
·
Student-to-student
discussion and teacher-to-student conferencing should occur throughout the
project.
·
Peer
tutors assist students with special needs when handling equipment.
·
For
enrichment, students may use this technology to propose an entrepreneurial
opportunity for the community, another subject area, or for the school.
General
·
Teacher-developed
resources including handouts, worksheets, and activity sheets
·
Various
samples of instructional videos
·
Student
exemplars
·
Manufacturer’s
equipment manuals
·
Software
manuals and tutorial exercises
·
The
school Library/Resource Centre
Books
Andersen,
Neil and John Punjente. Scanning
Television: Videos for Media Literacy in Class. Toronto: Harcourt Brace
& Company, 1997. ISBN 0-7747-0173-0
Grebler,
Ron. Desktop Digital Video. USA:
Prompt, 1997. ISBN 0-7906-1095-7
Hitchcock,
Peter. Videography: The Guide to Making
Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992.
ISBN 0-9696-2610-X
Hone,
Rick and Liz Flynn. Video in Focus: A
Guide to Viewing and Producing Video. Toronto: Globe/Modern Curriculum
Press, 1992. ISBN 0-8899-6344-4
Hone, Rick and Liz Flynn. Video in Focus: A Guide to Viewing and Producing Video, Teacher’s Guide.
Toronto: Globe/Modern Curriculum Press, 1992. ISBN 0-8899-6281-2
Kyker,
Keith and Christopher Curchy. Television
Production: A Classroom Approach. USA: Libraries Unlimited, 1993. ISBN
1-5630-8101-6
Ohanian,
Thomas and Michael Phillips. Digital
Filmmaking: The Changing Art and Craft of Making Motion Pictures. USA: Butterworth-Heinemann,
1996. ISBN 0240802195
Ohanian,
Thomas. Digital Nonlinear Editing:
Editing Film and Video on the Desktop. USA: Butterworth-Heinemann, 1992.
ISBN 024080175X
Rose,
Jay. Producing Great Soundtracks for
Digital Video. USA: Miller Freeman, 1999.
ISBN 0879305975
Video
Adbusters Culture Jammer’s Video. Vancouver: The Media Foundation,
1997. 16 min.
Graphic Mania: Highlights from the
Weirdest, Wackiest, Wildest Graphics of the 50’s and 60’s. California: Rhino Video, 1987. 30
min. RNVD 902
Basic Shooting. USA: Videomaker, Inc., 1994. 42
min.
Manufacturing Consent: Noam Chomsky
and the Media.
Canada: National Film Board of Canada, 1995. 169 min. ISBN 0-7722-0464-0
Video Editing. USA: Videomaker, Inc., 1994. 47
min.
Videography: The Guide to Making Videos. Toronto: Peter Hitchcock
Productions Inc. and TV Ontario, 1992. Eight 30-minute videos.
Magazines
Adbusters: Journal of the Mental
Environment.
Vancouver: Lasn and Schmalz.
Digital Imaging. New York: Cygnus Publishing.
Digital Video. USA: Miller Freeman Publications.
New Media.pro. Toronto: Southam Inc.
Video Systems. USA: Interac/Primedia Publication.
VideoMaker. USA: VideoMaker Inc.
Websites
2-Pop
— http://www.2-pop.com/
Digital video/editing articles, tutorials, links to user groups, and equipment
information.
Apple
DV — http://www.apple.com/education/dv/
Desktop Movies in Apple Education, links to curriculum, firewire information.
Digital
Imaging Magazine — http://www.digitalimagingmag.com
Digital video/editing on-line articles, links to user groups, and equipment
information.
Challenge
2000 Multimedia Project Video Guide
http://pblmm.k12.ca.us/TechHelp/VideoHelp/VideoGuide.html
Student and teacher resource including glossaries and activities for video
production.
Computer
Video Magazine Online — http://www.computervideo.net/
DV curriculum ideas.
Digital
Image — http://www.digitalimage.ca/
DV curriculum ideas.
Digital
Video for Education — http://www.ncsa.uiuc.edu/Cyberia/DVE/FusionDVE/
DV curriculum ideas.
Digital
Video Magazine — http://www.dv.com
Digital video/editing on-line articles, links to user groups, and equipment
information.
Digital Video Professional Association —
http://www.dvpa.com/
Variety of professional tips and reviews.
New
Media.pro Magazine — http://www.newmediapromagazine.com
Canadian source of DV/editing, articles, links to user groups, and equipment
information.
Videomaker
Magazine — http://www.videomaker.com
Video/editing on-line articles, links to user groups, and equipment
information.
Videonics
Systems — http://www.videonics.com
Articles on video/editing, links to user groups, industry, and equipment
information.
Video
Systems Magazine — http://www.videosystems.com
Video/editing on-line articles, links to user groups, and equipment
information.
Time: 300 minutes
Students acquire theoretical knowledge of new
media, output possibilities, transfer rates, and concepts of re-purposing digital
media with a focus on digital video. Digital videos produced in Activity 3 are
rendered with a compression software application. Students output their
Community Service Announcement to the Web, compact disc, and VHS tape.
Appropriate compression rates are learned in relation to methods of delivery.
Re-purposing, a term coined by Nickolas
Negroponte, professor of Media Technology at MIT and author of Being Digital, is maintained in their
presentation.
Strand(s): Theory and Foundation, Skills and Processes, Impact
and Consequences
Overall
Expectations
TFV.02 - identify and describe the components
and processes that make up each of the following: electronic, live, recorded,
and graphic communications;
TFV.04 - describe industry standards,
regulations, and formats that apply to communications technology;
SPV.02 -
use current technology and production skills to develop a process or a product
in response to a communications challenge or problem;
SPV.03 -
set up, operate, and maintain a communications system and analyse its
efficiency;
SPV.05 -
use mathematical and language skills effectively and apply scientific
principles in the design of electronic, live, recorded, and graphic
communications systems;
ICV.03 -
identify career opportunities in the communications technology sector and the
skills, education, and training required for each.
Specific
Expectations
TF1.01 -
explain how a human need or want can be met through a new or improved product;
TF2.02 -
describe the processes of analog-digital and digital-analog signal conversion;
TF2.04 -
demonstrate a working knowledge of amplification and signal processing;
TF2.05 -
identify the advantages of various formats for specific applications;
TF2.06 -
summarize the configurations for a variety of electronic, live, recorded, and
graphic systems, and develop a plan to set up and manage the systems;
TF3.02 -
research appropriate production techniques and recommend processes that adhere
to industry standards;
TF3.03 - select the appropriate formats for
electronic, live, recorded, and graphic productions;
SP1.06 - select and use appropriate software to
manage the production process;
SP1.07 - use time management schemes to ensure
that their productions meet client deadlines;
SP2.02 -
select and use tools and equipment to solve a communications problem;
SP4.03 -
use terminology that is recognized by the communications industry;
SP4.04 -
apply scientific principles related to light, magnetism, and basic digital fundamentals;
IC1.02 -
explain how communications technology has contributed to globalization and has
influenced economic and social issues;
IC3.05 -
explain the importance of lifelong learning for individuals in the
communications technology sector.
Ontario
Catholic School Graduate Expectations
CGE2c -
presents information and ideas clearly and honestly and with sensitivity to
others;
CGE2f -
uses and integrates the Catholic faith tradition, in the critical analysis of
the arts, media, technology, and information systems to enhance the quality of
life;
CGE3c -
thinks reflectively and creatively to evaluate situations and solve problems;
CGE3e -
adopts a holistic approach to life by integrating learning from various subject
areas and experience;
CGE4b -
demonstrates flexibility and adaptability;
CGE4e -
sets appropriate goals and priorities in school, work, and personal life;
CGE4f -
applies effective communication, decision-making, problem-solving, time, and
resource management skills;
CGE5a -
works effectively as an interdependent team member;
CGE5e -
respects the rights, responsibilities and contributions of self and others;
CGE5f -
exercises Christian leadership in the achievement of individual and group
goals;
CGE7b -
accepts accountability for one’s own actions;
CGE7j -
contributes to the common good.
·
A
basic understanding of computer operations and the use of audio/video equipment
would be beneficial, but is not necessary for completion of the activity.
·
Students
have:
·
a
basic understanding of video concepts (Unit 2);
·
a
basic understanding of digital video concepts (Unit 3, previous activities);
·
cooperative
teamwork skills.
·
Students
keep a daily log sheet, recording brief notes of their accomplishments each day
and outlining any future needs that this activity requires.
·
Collect
and provide examples of community service announcement digital videos that
outline the steps required for successful completion of the task.
·
Investigate
cross-curricular connections with other subject areas, student services,
Special Education/resource, and administration.
·
Provide
the opportunity for students to focus on specific career options and provide
insights into the skills required for related professions.
·
Teaching/learning
strategies that allow for career links should be investigated (e.g., job
shadowing, career and education research, field trips, and guest speakers).
Arrange for appropriate speakers, whose careers are related to the video and
digital Video industry, to share their education and career paths with
students. Members of the community may provide students with some insights into
career opportunities and issues.
·
The
teacher encourages attitudes and values, founded on Catholic social teachings,
which promote social responsibility, human solidarity, and the common Good.
·
Students
brainstorm all the possible venues and formats for presenting their video; the
class discusses the pros and cons of each.
·
The
teacher presents samples of the same digital video that have been created for
on-line viewing but have been created/output with a variety of compression
Codecs and formats (Quicktime, AVI, or MOV). The teacher also presents the same
video directly from the DV camera (Firewire/IEE1394) and from a copy on VHS
tape.
·
Students
take note of the variations of image quality, time to compress and decompress
the digital video, interactive response time, and the file size of the
compressed digital video.
·
The
teacher uses a computer projection system to demonstrate the basics of the
video, audio, and streaming options/compressors of the DV editing software or
of a separate DV compression software.
·
Students
output their Community Service Announcement to the Web, compact disc, and VHS
tape using appropriate compression Codecs.
·
Final
videos are viewed and critiqued by the class.
Formative assessment of each student’s ability
to work cooperatively in group situations:
·
self-,
peer, and group evaluation sheets are filled out at the end of the project .
Summative assessment of equipment worksheets and quizzes:
·
paper-and-pencil
test.
Summative assessment of the concepts and techniques
utilized in this activity.
Summative assessment of project presentation and class
discussion of student work:
·
performance
assessment of finished presentation – presentation rubric personal
communication through self-, peer, and group assessment and critique;
·
reflection
through self-, peer, and group assessment.
·
Teachers
should be acquainted with exceptional students’ Individual Education Plans
(IEPs) and their unique learning characteristics in order to make the necessary
accommodations. Teachers should be aware of students who require modification
to the mandated expectations for this course. Ontario Secondary Schools (p. 24) allows teachers to modify the
learning expectations for exceptional students in order to support the contents
of the student’s IEP. This applies also to students who have not been
identified as exceptional but are receiving Special Education programs and
services.
·
Students
with special needs can be given appropriate timelines for completion of this
activity.
·
Peer
tutoring is given to those students who need extra help.
·
Student-to-student
discussion and teacher-to-student conferencing should occur throughout the
project.
·
Peer
tutors assist students with special needs when handling equipment.
·
For
enrichment, students may use this technology to propose an entrepreneurial
opportunity for the community, another subject area, or for the school.
·
For
enrichment, students may enter their videos in a film festival or organize
their own film festival or video night.
·
For
enrichment, students may upload the group’s video to the school website or to
an appropriate organization’s website.
General
·
Teacher-developed
resources including handouts, worksheets, and activity sheets
·
Student
exemplars
·
Manufacturer’s
equipment manuals
·
Software
manuals and tutorial exercises
·
The
school Library/Resource Centre
Books
Bell,
Timothy. Text Compression. Canada:
Prentice-Hall Canada Inc., 1990. ISBN 0139119914
Bell,
Timothy, Jan Witten, and Alistair Cleary. Managing
Gigabytes: Compressing and Indexing Documents and Images. Canada: Morgan
Kaufmann, 1999. ISBN 1558605703
Brenneis,
Lisa. Final Cut Pro For Macintosh: Visual
QuickPro Guide. USA: Peachpit Press, 1999.
ISBN 0201354802
Grebler,
Ron. Desktop Digital Video. USA:
Prompt, 1997. ISBN 0-7906-1095-7
Negroponte,
Nickolas. Being Digital. Canada:
Random House Canada, 1996. ISBN 0679762906
Ohanian,
Thomas and Michael Phillips. Digital
Filmmaking: The Changing Art and Craft of Making Motion Pictures. USA:
Butterworth-Heinemann, 1996. ISBN 0240802195
Ohanian,
Thomas. Digital Nonlinear Editing:
Editing Film and Video on the Desktop. USA: Butterworth-Heinemann, 1992.
ISBN 024080175X
Rose,
Jay. Producing Great Soundtracks for
Digital Video. USA: Miller Freeman, 1999.
ISBN 0879305975
Watkinshaw,
John. MPEG 2. USA: Focal Press, 1999.
ISBN 0240515102
Magazines
Digital Imaging. New York: Cygnus Publishing.
Digital Video. USA: Miller Freeman Publications.
New Media.pro. Toronto: Southam Inc.
Video Systems. USA: Interac/Primedia Publication.
Websites
2-Pop
— http://www.2-pop.com/
Information on digital video, articles, and tutorials. Links to user groups and
equipment information.
Apple
DV — http://www.apple.com/education/dv/
Desktop Movies in Apple Education, links to curriculum, and firewire
information.
Computer
Video Magazine Online — http://www.computervideo.net/
DV curriculum ideas
Digital
Image — http://www.digitalimage.ca/
Digital video/editing articles, tutorials, links to user groups, and equipment
information.
Digital
Video Magazine — http://www.dv.com
Digital video/editing on-line articles, links to user groups, and equipment
information.
Digital
Video Professional Association — http://www.dvpa.com/
Variety of professional tips and reviews
New
Media.pro Magazine — http://www.newmediapromagazine.com
Canadian source of DV/editing, articles, links to user groups, and equipment
information.
Videomaker
Magazine — http://www.videomaker.com
Video/editing on-line articles, links to user groups, and equipment
information.
Videonics Systems — http://www.videonics.com
Articles on video/editing, links to user groups, industry, and equipment
information.
Video
Systems Magazine — http://www.videosystems.com
Video/editing on-line articles, links to user groups, and equipment
information.
Video
University — http://www.videouniversity.com/
Video/editing on-line articles, links to user groups, and equipment
information.
Worldwide
Users Groups Forum — http://www.wwug.com/forums/index.htm
A good source of video/editing on-line articles, links to user groups, and
equipment information.
(Answers
in italic)
1. State the difference between directional
light and diffused light.
Directional light has a focused beam
creating distinct shadows. Diffused light has a wide, indistinct beam that
lights a wide area and softens shadows.
2. In what unit is light intensity measured?
Foot-candles (ft-c)
3. Explain the concept of falloff.
Falloff is the speed (fast or slow)
at which the illuminated area of an object or area turns into a shadow area.
4. Identify the colours used and explain additive
colour mixing.
Red, green, and blue are the primary
additive colours. Adding the primary additive colours together in varying
proportions produces different colours of light.
5. What is Colour Temperature? What is a low colour
temperature and what is a high colour temperature?
Colour Temperature is the relative
degree to which light is red or blue. Reddish light has a low colour
temperature and bluish light has a high colour temperature.
6. Identify the components for the three-point,
or triangle, lighting principle.
Three-point lighting uses a key
light, a fill light, and a back light.
7. Explain the function of the lights used in a
three-point lighting set-up.
Key light illuminates the basic
shape, a fill light fills or softens shadow areas, and a back light provides
separation of the object from its background.
8. What are the two categories of lighting
instruments?
Spotlights and floodlights
9. What type of falloff does a spotlight create?
A spotlight creates fast falloff.
10. List the four basic objectives of studio
lighting.
Provide a sufficient level of
illumination for the available camera equipment.
Create a three-dimensional
perspective.
Use light and shadow to direct
attention in a scene.
Establish mood.
Adapted
from: Zettl, Herbert. Video Basics.
Toronto: Nelson Canada, 1995.
Wurtzel,
Alan. Television Production. Toronto:
McGraw-Hill, 1989.
Preparation
of Equipment
Choose
and test the correct microphone for the job:
|
Omni-directional |
|
_____ |
|
|
Bi-directional |
|
_____ |
|
|
Cardioid |
|
_____ |
|
|
|
Hand-held |
_____ |
|
|
|
Lavaliere |
_____ |
|
|
|
Boom |
_____ |
|
|
|
Windscreens
if necessary |
_____ |
|
Necessary
cables: make sure your connectors fit the outputs and inputs of the recording
equipment to be used.
|
XLR |
_____ |
|
Ľ”
phono plug |
_____ |
|
RCA
phono plug |
_____ |
|
Mini
plug |
_____ |
|
Audio
Mixing board |
|
|
|
|
Recording
cables |
_____ |
|
|
Power
source cables |
_____ |
|
|
Headphones
(with adapters) |
_____ |
|
|
Storage
medium (audio tape or videotape) |
_____ |
Sound
Quality Check
|
Audible |
_____ |
|
Consistent
overall volume level |
_____ |
|
Volume
levels balanced from different sources |
_____ |
|
High,
mid, and low frequencies balanced for each source |
_____ |
|
No line
interference, hum, or squeal |
_____ |
|
No
unwanted background or microphone noise |
_____ |
|
Separation
in main (figure) and ambient sounds (ground) |
_____ |
|
Sound
perspective corresponds to visual image |
_____ |
Adapted
from: Zettl, Herbert. Video Basics.
Toronto: Nelson Canada, 1995.
Wurtzel,
Alan. Television Production. Toronto:
McGraw-Hill, 1989.
Alkin,
Glyn. Sound Recording and Reproduction.
London: Focal Press, 1987.
Utz,
Peter. Recording Great Audio. USA:
Quantum Publishing, Inc., 1989. ISBN 0-930633-15-6
(Answers
in italic)
1. On the supplied diagram (teacher should
supply a diagram for available cameras), label all of the function controls for
the camera. (The teacher needs the operations manual for their specific
camera.)
2. Explain “field of view”.
Field of view is that portion of a
scene visible through a particular lens.
3. Explain “depth of field”.
The area in which all objects,
located at different distances from the camera appear in focus.
4. With respect to video recording what are
“vectors”?
A vector is a directional screen
force. There are graphic, index, and motion vectors.
5. What term is used to define the process of
filling in missing visual information in a video frame?
Psychological Closure
6. What is the difference between a dolly in
shot and a zoom in shot?
A dolly in moves the camera toward
the subject. A zoom in brings the object to the camera.
7. How do you “white balance” a video camera?
Why is it important to white balance your camera?
To white balance your camera, focus
and fill the frame with a white object and press the white balance button. It
is important to white balance your camera because your camera’s colour
calibration is based on this reading of true white. Different types of lighting
demand that you white balance in order to maintain a constant colour balance.
8. Define the term “switching”.
Switching means instant editing from
simultaneously available video sources.
9. What is the device called that allows for
superimpositions, dissolves, fades, keys, and wipes on the video switcher?
Fader bar
10. What is a “cutaway shot”?
A cutaway is a brief shot with
neutral vectors that helps improve or establish visual continuity between two
shots
Adapted
from: Zettl, Herbert. Video Basics.
Toronto: Nelson Canada, 1995.
Wurtzel,
Alan. Television Production. Toronto:
McGraw-Hill, 1989.
|
Expectations/Criteria |
Level 1 (50-59%) |
Level 2 (60-69%) |
Level 3 (70-79%) |
Level 4 (80-100%) |
|
Application SPV.01 Uses
knowledge of video equipment, procedures, and techniques to organize, direct,
and control the production process |
-
participates in the organization, direction, and control of the production
process to a limited extent |
-
participates in the organization, direction, and control of the production
process to some extent |
-
participates in the organization, direction, and control of the production
process to a considerable extent |
-
participates in the organization, direction, and control of the production
process to a thorough extent |
|
SPV.02 Uses
knowledge of video equipment, procedures, and techniques to create meaningful
video content |
- uses
knowledge to create video content with limited meaning |
- uses
knowledge to create video content with some meaning |
- uses
knowledge to create video content with considerable meaning |
- uses
knowledge to create video content with high level of meaning |
|
SP1.02 Uses
knowledge of video equipment, procedures, and techniques to effectively
perform assigned production role |
-
performs assigned production role with limited effectiveness |
-
performs assigned production role with some effectiveness |
-
performs assigned production role with considerable effectiveness |
-
performs assigned production role with high level of effectiveness |
|
SP1.03 Uses
time-management and problem-solving skills in production and post-production
situations |
-
limited |
- some |
-
considerable use of time-management and problem-solving skills |
-
thorough |
|
SP2.03,
SP2.07 Sets
up, uses, and stores the necessary video, audio, and lighting components of a
studio production system |
-
limited contribution to set-up of production system |
- some
contribution to set-up of production system |
-
considerable contribution to set-up of production system |
- high
level of contribution to set-up of production system |
|
IC2.01 Applies
safe work practices when handling equipment |
-
minimal application of safe work practices |
- some
application of safe work practices |
-
considerable application of safe work practices |
-
thorough application of safe work practices |
Note: A student whose achievement is below level 1
(50%) has not met the expectations for this assignment or activity.
8- & 16-bit Audio — A unit of measure that indicates
the resolution of a digitized sound sample. The higher the resolution, the
better the audio fidelity. Audio that is digitized using 8 bits of resolution
is slightly better in fidelity than normal AM radio. 16-bit audio is the
standard used for standard audio CDs.
AIFF — Audio Interchange format, developed by Apple
Macintosh for music and high-quality sound.
AU — Sun Audio format, originally designed for
use on Sun UNIX systems.
AVI — Audio-Video Interleaved is the file format
that Microsoft specifies for video for Windows. Blocks of video and audio data
are interspersed together in this format.
CD-Audio — Sounds that have been digitized at a
sampling rate almost high enough to duplicate reality. CD-audio is the same
format and quality as the discs played on a CD player.
CODEC — An acronym for Compressor/Decompressor, an
algorithm or scheme used when recording digital video. Many CODEC schemes are
available, depending on image quality and file size.
Compact Disc Digital Audio, or CD-DA — Musical or audio information that is encoded digitally.
CD-DA is the standard format used by the music industry.
Compression — A process that allows data to be
stored or transmitted using less than the normal number of bits.
DAT/Digital Audio Tape — This is a method of recording
digital audio information on tape at a high density and high quality.
Decode — In multimedia, this term refers to
decompressing a compressed (encoded) file so that it may be displayed. Codecs
do this decoding while the video/audio is played.
Digital — The method in which data (usually computer
data or audio CDs) is recorded. A digital signal is an electronic signal that
is defined by a series of binary numbers (0s and 1s). Common digital devices
are the audio CD player and the computer.
Digitize — The process of converting analog data to
digital data.
Dynamic Range — The span of volume between the
loudest and softest sounds in audio recording. Sample size affects dynamic
range. 16-bit audio yields a dynamic range of 96 dB, and 8-bit audio yields 48
dB.
MIDI — Acronym for Musical Instrument Digital
Interface. It is a standard communications protocol, used by electronic music
equipment, allowing device control from personal computers.
MIDI time code — A time code system allowing timed
device control through MIDI protocols.
MPEG — Moving Picture Experts Group: Often used to
refer to the standard file format and set of compression algorithms jointly
developed by the Moving Picture Experts Group to handle video and audio. The
various forms of MPEG are used for a wide range of video and audio
applications, from desktop computer presentations and games to consumer DVD
players and satellite video systems.
MPEG-1 — The format which produces high-quality video
and audio streams at approximately 2x CD-ROM data rates. Standard MPEG-1 is
full frame rate (24 to 30 fps, depending on the source) with a quarter size
image (352 x 240), and is useful for playback on most new desktop computers.
MPEG-2 — The format which produces high data rate,
full broadcast quality files. MPEG-2 playback requires an extremely fast
computer and video card, or a hardware accelerator card. MPEG-2 is the format
for DVD-video and many home satellite dish systems. Standard MPEG-2 is full
frame rate (24 to 30 fps) and full screen resolution (720 x 480).
MPEG Layer-2 Audio — Generally used for high bandwidth
MPEG audio at near-CD quality. Used for audio with both MPEG-1 and MPEG-2.
MPEG Layer-3 Audio (MP3) — MPEG audio format which is very
popular on the Internet. Generally used in audio-only files (.mp3 files), this
is a lower-bandwidth format than MPEG Layer-2 audio, but still not ideal for
modem streaming.
RA — Real Audio is a format for supplying
streaming audio over the Web. This means that the user's computer can begin
playing the sound file as soon as the first few packets of information are
received. The user does not have to wait for the entire sound file to be
downloaded before it can be played. This makes Real Audio suitable for
supplying very long pieces of sound information over the Web.
Streaming — Refers to network delivery of
media. It may refer to technologies that match the bandwidth of the media
signal to the viewer’s connection, so that the media is always seen in realtime
“true streaming.” Also used to mean media which can be viewed over a network
prior to being fully downloaded “http streaming.”
WAV — Waveform sound was developed for use with
Microsoft Windows. If you have a Windows PC with a sound card, you will
probably already have software that enables you to record sounds and store them
on your hard disk in .wav format.
Concept/Content/Target
Audience
·
Does
the project communicate its concept?
·
Does
the project exhibit depth and insight about the topic?
·
Is
the information factual and is it researched from several relevant sources?
·
Does
the project deal with the subject matter in a novel, innovative way?
·
Does
the project address the needs and/or interests of the target audience?
Composition
·
Is
each sequence staged with a centre of interest?
·
Is
contrast used to direct the attention of the viewer?
·
Are
any of the sequences cluttered?
·
Does
the composition create a suitable mood or enhance the strength of the
story/message?
Narrative
Structure/Sequencing
·
Are
the sequences properly structured?
·
Are
montages used in the project to show characters’ reactions or influences on the
behaviours/attitudes of the characters?
·
Are
the action shots properly sequenced?
·
Is
there an appropriate pacing of shots and a variety of shot lengths?
·
Does
the structure create a suitable mood or enhance the strength of the
story/message?
Art and
Set Design/Direction
·
Is
the set realistic? If not, why?
·
Is
there sufficient and appropriate lighting?
·
Do
the set, costume design, and lighting create a suitable mood or enhance the
strength of the story/message?
Shot
Selection
·
Is
one type of shot dominant in the project?
·
Is
a traditional sequencing of shots used in the project (ES-XLS-LS-MS-CU-ECU)?
·
Does
each shot have a definite purpose?
·
Is
there a variety of shots?
·
Does
the shot selection create a suitable mood or enhance the strength of the
story/message?
Camera
Technique
·
Are
POV shots used appropriately?
·
Does
each frame contain adequate lead/look room?
·
Is
the rule of thirds adhered to?
·
Are
the camera angles appropriate? Interesting?
·
Does
the camera tilt to establish power relationships when appropriate?
·
Are
camera movements appropriately used?
·
Are
camera movements smooth and fluid?
·
Do
the camera techniques create a suitable mood or enhance the strength of the
story/message?
Audio
Technique
·
Does
the soundtrack serve to underscore and/or counterpoint the meaning of the
visual images in the project?
·
Is
the VO/dialogue appropriate?
·
Is
the split edit technique used when appropriate?
·
Does
the audio create a suitable mood or enhance the strength of the story/message?
Editing
·
Are
digital video effects (e.g., filters) used to enhance the meaning?
·
Is
montage used? Does it serve a definite purpose?
·
Are
the transitions appropriate for the project?
·
Are
jump cuts used for dramatic effect?
·
Are
cross-dissolves used to link sequences?
·
Is
one type of transition dominant? If so, why?
·
Does
the editing create a suitable mood or enhance the strength of the
story/message?
Course Overview
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