Course Profile Communications Technology (TGJ4M), Grade 12, University/College Preparation, Combined

Unit 2: Audio-Visual Production: Music Video

Time: 24 hours

Activity 2.1 | Activity 2.2 | Activity 2.3 | Activity 2.4 | Activity 2.5

Unit Description

In this unit students utilize the skills and concepts of audio/visual production to produce a music video in analogue and digital formats. Including and expanding upon design concepts and production skills developed in the Grade 11 Communications Technology Curriculum, students produce a promotional video for a band (either real or imaginary) enabling them also to develop and refine design and problem-solving skills associated with media production. Students employ a variety of skills, including designing and implementing a lighting plot and setting up audio recording/mixing equipment. In addition, students create a shooting script, plan camera locations and movements, videotape and edit a live performance. Throughout the unit cooperative work strategies and video content reflect the moral and ethical philosophy of the gospel values. This unit prepares students for post secondary education leading to careers in audio/visual production.

Unit Synopsis Chart

Activity	Time	Learning Expectations	Assessment Categories	Tasks
2.1 Setting Up of Lighting Equipment for the Recording of a Live Performance	4 hours	TFV.03, TF2.01, SPV.05, SP2.01, SP4.03, ICV.02, IC2.01 CGE 2a, 2b, 2c, 3b, 3c, 3d, 4b, 4f, 5a, 5e, 5f, 5g, 7b, 7j	Knowledge/ Understanding Application	Prepare lighting equipment for live performance and recording.
2.2 Setting Up of Audio Equipment for the Recording of a Live Performance	4 hours	TFV.05, TF2.05, SPV.03, SP2.03, SP2.05, SP2.06, IC2.01 CGE 2a, 2b, 2c; 3b, 3c, 3d, 4b, 4f; 5a, 5e, 5f, 5g, 7b, 7j	Knowledge/ Understanding Application	Set audio equipment in place for live performance and recording.
2.3 Setting Up of Video Equipment for the Recording of a Live Performance	4 hours	SPV.03, SPV.05, SP2.02, SP2.05, SP4.02, IC2.01 CGE 2a, 2b, 2c, 3b, 3c, 3d, 4b, 4f, 5a, 5e, 5f, 5g, 7b, 7j	Knowledge/ Understanding Application	Prepare video equipment for live performance and recording.
2.4 Production For the Recording of a Live Performance	4 hours	SPV.03, SPV.05, SP1.01, SP2.01, SP2.02, SP2.04, SP2.05, SP2.06, SP2.07, SP4.02, IC2.01 CGE1d, 2a, 2b, 2c, 2d, 3b, 3c, 3d, 3e, 4b, 4d, 4e, 4f, 5a, 5b, 5e, 5f, 5g, 7a, 7b, 7j	Application Communication	Audio/Video recording and titling of live performance.
2.5 Analogue or Digital Editing	8 hours	SP2.01, SP2.02, SP2.03, SP2.04, SP3.02, SP4.02, SPV.02 CGE1d, 2a, 2b, 2c, 2d, 2e, 3b, 3c, 3d, 3e 4b, 4d, 4e, 4f, 5a, 5b, 5e, 5f, 5g, 7a, 7b, 7j	Application Communication	Edit source material for final videotape.

Activity 2.1: Setting Up of Lighting Equipment for the Recording
of a Live Performance

Time: 4 hours

Description

Students research technical information concerning lighting instruments and their uses, and wiring and instrument placement for the recording of a live performance. Students complete the forms and information sheets included in Appendices 2.1.1 – Student Work Sheet - Lighting Instruments and their Applications, 2.1.2 – Samples of Lighting Forms and 2.1.3 – Working with Electricity Quiz, and use the information to document and set up the best possible lighting plot with the available equipment.

Strand(s) & Learning Expectations

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;

CGE3d - makes decisions in light of gospel values with an informed moral conscience;

CGE4b - demonstrates flexibility and adaptability;

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;

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.

Strand(s): Theory and Foundation, Skills and Processes, Impact and Consequences

Overall Expectations

TFV.03 - explain how to maximize the performance of electronic, live, recorded, or graphic communications systems;

SPV.05 - use mathematics and language skills and apply scientific principles to design and set up communications systems and production processes for electronic, live, recorded, or graphic communications projects;

ICV.02 - implement safe work practices when performing communications technology tasks.

Specific Expectations

TF2.01 - analyse colour theory and industry standards for colour manipulation and representation;

SP2.01 - operate and control devices effectively in communications technology projects;

SP4.03 - apply scientific principles related to light, colour, magnetism, and electricity;

IC2.01 - use safe work practices and model the most appropriate ways of accomplishing specific operations.

Prior Knowledge & Skills

· A basic understanding of lighting theory and instruments acquired in Grade 11, Communications Technology TGJ3M. Key concepts are:

· quality of light;

· colour temperature;

· intensity of light;

· lighting techniques.

Planning Notes

· All student work must contain positive images of race, gender, and religion. Stereotypes, acts of violence, sexual themes, or use of profanity in student work are unacceptable.

· If producing a music video is not possible, develop a similar activity with other areas of study across the curriculum. For example, the process of establishing the lighting plot can be applied to live performances put on by drama classes or music classes, or students can do audio/visual recordings of larger school functions.

· Requires a complete inventory of all available lighting instruments, e.g., dimmer equipment is necessary before students begin to plan their productions.

· The teacher may invite a guest speaker from a local audio/visual production company to lend insight into production processes and real world contexts.

· The teacher may acquire videos from equipment suppliers that demonstrate lighting situations and techniques.

· Preview and approve any materials to be viewed, as the content of some music videos and other recordings of live performances can be offensive to and disrespectful of the belief systems of some students. Also, exercise vigilance, care and sensitivity to ensure that material selected for use shows no bias towards gender or sexual orientation.

· Make copies of Appendix 2.1.1 and 2.1.2.

Teaching/Learning Strategies

· Throughout the activity encourage attitudes and values founded on Catholic social teachings, which promote social responsibility, human solidarity and the common good.

· Distribute relevant information on available equipment and assignment sheets as well as evaluation forms.

· Show students examples of music videos and other recordings of live performances illustrating the technical knowledge and skills necessary to meet the complex challenge that lighting a live performance presents.

· For further instruction invite a guest speaker to talk to students or show relevant sections of instructional videos (see Video Resources).

· Reviews camera controls and functions of the available equipment, as well as camera angles and composition principles covered in the Grade 11 Curriculum.

· Students investigate the location where they will be recording in order to plan for the sorts of situations that they will encounter.

· Students complete the research and theory assignments (see Appendices 2.1.1 – Student Work Sheet - Lighting Instruments and their Applications, 2.1.2 - Samples of Lighting Forms, and develop a lighting plot.

· Offer students guidance and direct instruction in equipment use as they match lighting instruments, lighting plot and control devices to the technical set up.

· Using their research findings and previously-developed lighting plots as guidelines, students hang the necessary lighting instruments for the performance.

· Students focus and balance the lights.

· Students run a test of the equipment and engage in a performance rehearsal (if possible) to ensure that they are achieving the desired quality and control of the lighting.

· Students complete a cue sheet for the performance.

· During the performance students operate and troubleshoot the lighting equipment.

· Students complete a quiz on Working with Electricity (see Appendix 2.1.3).

Assessment & Evaluation of Student Achievement

Task/Product	Tool	Purpose	Assessment Categories
Research and Theory	Anecdotal comments Class Discussion	Formative	Knowledge/Understanding Communication
Quiz	Marking Scheme	Summative	Knowledge/Understanding Thinking/Inquiry Communication
Production Process	Checklist Rubric Conferencing	Formative and Summative	Communication Application

Accommodations

The teacher consults individual student IEPs for specific direction on accommodation and adapts the activity and teaching strategies to meet the needs of individual students. Students’ individual needs may be accommodated through an adaptation of the design and/or production stages of the activity.

Resources

The equipment and tools required to complete the activity include lighting instruments (e.g., dimmer equipment) and necessary cabling.

General

Samples of student work.

Manufacturer’s equipment manuals.

Software manuals.

Books

Bermingham, Alan, et al. The Video Studio. London: Focal Press, 1994.

Hitchcock, Peter. Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. ISBN 0-9696261-0-X

Hone, Rick and Liz Flynn. Video in Focus: A Guide to Viewing and Producing Video. Toronto: Globe/Modern Curriculum Press, 1992. ISBN 0-888996-344-4

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 0-888996-281-2

Kyker, Keith and Christopher Curchy. Television Production: A Classroom Approach. USA: Librairies Unlimited, 1993. ISBN 1-56308-101-6

Stanaway, Jim. A Beginner’s Guide to Video Communications. Chicago, NTC Publishing, 1997.
ISBN 0-8442-5998-5

Utz, Peter. Today’s Video, Equipment, Setup and Production. USA: Prentice-Hall, 1992.
ISBN 0-13925033-6

Wiese, Michael. The Independent Film & Videomaker’s Guide. USA: Michael Wiese Productions, 2000. ISBN 0-941188-57-4

Wurtzel, Alan. Television Production. Toronto: McGraw-Hill, 1989.

Zettl, Herbert. Video Basics. Toronto: Nelson Canada, 1995.

Videos

Various samples of instructional videos collected by the individual teacher.

Basic Shooting. USA: Videomaker, Inc., 1994. 42 minutes.

Video Editing. USA: Videomaker, Inc., 1994. 47 minutes.

Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. Eight 30-minute videos.

Magazines

Digital Imaging. New York: Cygnus Publishing.

Digital Video. USA: Miller Feeman Publications.

New Media.pro. Toronto: Southam Inc.

Video Systems. USA: Interac/Primedia Publication.

VideoMaker. USA: VideoMaker Inc.

Websites

Digital Imaging Magazine – http://www.digitalimagingmag.com
A good source of digital video/editing online articles, links to user groups, and equipment information.

New Media.pro Magazine – http://www.newmediapromagazine.com
A good Canadian source of digital video/editing online articles, links to user groups, and equipment information.

Videomaker Magazine – http://www.videomaker.com
A good source of video/editing online articles, links to user groups, and equipment information.

Videonics Systems – http://www.videonics.com
Articles on video/editing, links to user groups, industry information, and equipment information.

Video Systems Magazine – http://www.videosystems.com
A good source of video/editing online articles, links to user groups, and equipment information.

Appendix 2.1.1

Student Work Sheet – Lighting Instruments and their Applications

Using textbooks, equipment manuals, the Internet and any other available sources for information, research the necessary information on lighting instruments. Complete the following application chart and decide which lighting instruments are best suited to the performance space, performers and overall intention of their production. Lighting instruments are designated by using their generic names.
(Note: answers are in italics.)

Purpose	Instrument	Application	Positioning
Key Light	Fresnel	Main source of lighting. Other lights are placed with reference to the key light. Front placement reduces modeling of the subject. As light is angled it increases modeling and emphasizes texture.	30° to 40° vertical angle from the side of the camera.
Back Light	Fresnel	Enhances separation of foreground subject from the background. Increases perception of depth.	Directly behind or at a slight angle behind the foreground subject. 30° to 45° vertical angle.
Fill Light	Fresnel Scoop Broad	Fills in shadows cast by the key light. Intensity of this light is set relative to the key light.	Opposite side of the key light.
Background Light	Fresnel Scoop Ellipsoidal	Lights backgrounds, sets, etc. Balanced relative to the foreground lights. Used to model details or texture of backgrounds. Front position flattens background. Steep vertical and horizontal angle increases modeling.	Variable, depending on the desired effect.
Kicker and Side Light	Fresnel	Accents highlights and object form. Used to create nighttime effects.	90° angle to the side of the subject.
Cyclorama Light	Scoops Strip lights Cyc projection lights	Used to light a cyclorama. Used to create special effects and mood.	Hung from above or mounted on the floor.

Appendix 2.1.2

Samples of Lighting Forms

The Lighting Plot indicates the position of each lighting instrument that is used during the performance. To create a lighting plot for a formal studio setting or a stage, a detailed floor plan and a drawing of the lighting grid are necessary. Once the lighting plot is complete, instruments are assigned to dimmer circuits. An assortment of lights (e.g., all of the performer’s key lights) may be assigned to a single dimmer, allowing the operator to control a number of lights with one controller. The cue sheet indicates the sequences of light changes throughout the performance.

The Light Plot Key is used to indicate the lighting instrument from the lighting plot, the size, function and dimmer assignment number.

Light Plot Key

Instrument Number	Instrument	Function	Dimmer
1	2K Fresnel	Vocalist Key	1
2	IK Fresnel	Vocalist Fill	2
3	IK Fresnel	Vocalist Background	3

The dimmer sheet indicates which instruments are to be patched into which dimmers. This form is used when balancing the lights and creating the lighting cue sheet.

Dimmer/Patch Sheet

Dimmer #	Setting	Patch Number	Function	Presets
1	10	24	Vocalist Key	none
2	8	12	Vocalist Fill	none
3	6	14	Vocalist Back	3

The cue sheet indicates each lighting cue and the dimmer settings involved. The lighting board operator follows the cue sheet throughout the performance to change lighting levels and lighting areas.

Cue Sheet

Cue #	Dimmers	Description
1	1, 2, 3	Lights up on vocalist only
2	1 through 10 and 24, 18, 7	Full band

Appendix 2.1.3

Working with Electricity Quiz

1. Use the space provided to match the term with the most appropriate definition.
(Note: answers are in italics.)

The origin of electrical potential (e)	a. electrical current
The unit of measurement of electrical potential (d)	b. ampere
The movement of electrons through a conductor (a)	c. potential
A device that converts electrical energy into another form of energy (f)	d. volts
The difference in electrical charge between two bodies (c)	e. source
The opposition to electron flow within a Conductor (g)	f. load
A device to protect a circuit from an overload (h)	g. resistance
The unit of measurement of electrical current (b)	h. circuit breaker

2. Describe the properties of effective conductors and insulators of electricity. Provide examples of each.

An effective conductor is any material with an abundance of free electrons, such as copper or water. An effective insulator is a material with few free electrons, such as rubber and most plastics.

3. Explain what is meant by a short circuit and how grounds and fuses can minimize the danger of a short circuit.

A short circuit is a low-resistance alternative to the primary circuit, resulting in a large and dangerous surge of current. In a grounded circuit, low resistance in the path to the earth provides a safe path for the current to follow. Fuses are sensitive to high current flow, so they cut the flow of electricity to shorted equipment.

4. Describe what you believe to be the most important safety rule when working with electrical devices. Justify your choice.

(e.g.,) I think the most important rule is to unplug the equipment if you are going to work on it. If you disconnect equipment from the source of electricity there is no chance of electrical shock.

5. Complete the following chart identifying the current-carrying capacity of standard AWG wire thickness.

Gauge of Wire	10	(12)	14	16	18
Capacity in Amps	(25)	20	(15)	(6)	(3)

6. Use the power formula to solve the following problems.

a) If the output voltage of a dimmer is 117 VAC and the dimmer can handle 15 amperes of current, what is the maximum safe load that can be placed on the dimmer?

W = VA

W = 117 X 15

W = 1755 watts

b) How many 500-watt lighting instruments can be safely connected to a 2.4KW dimmer using 14-gauge cable? The system voltage is 120VAC.

W = VA

W = 120 X 15 (maximum amps of 14-gauge wire)

W = 1800 watts

Maximum load of cable is 1800 watts

Maximum number of 500-watt instruments = 1800/500 = 3.6 (3 in practical terms)

Activity 2.2: Setting Up of Audio Equipment for the
Recording of a Live Performance

Time: 4 hours

Description

Students research technical information with respect to microphone types and uses, cables and microphone placement for the recording of the live performance. Students complete the forms and information sheets included in Appendices 2.2.1 – Student Research Sheet - Microphone Types and Applications, 2.2.2 – Audio Question and Answer Sheet, and 2.2.3 – Audio Evaluation, and use the information to record the best possible sound with the available equipment. 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 manipulation of audio.

Strand(s) & Learning Expectations

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;

CGE3d - makes decisions in light of gospel values with an informed moral conscience;

CGE4b - demonstrates flexibility and adaptability;

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;

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.

Strand(s): Theory and Foundation, Skills and Processes, Impact and Consequences

Overall Expectations

TFV.05 - describe the different forms of current communications systems and how they interface with one another;

SPV.03 - organize and maintain complex communications systems.

Specific Expectations

TF2.05 - describe the use of state-of-the-art technology (e.g., microwaves, fibre optics, wireless, streamed net casting, digital audio and infrared communications systems);

SP2.03 - integrate various current communications technologies in their solutions;

SP2.05 - connect digital and analog systems to process signals;

SP2.06 - troubleshoot components of communications systems;

IC2.01 - use safe work practices and model the most appropriate ways of accomplishing specific operations.

Prior Knowledge & Skills

· A basic understanding of audio theory and equipment acquired in Grade 11, Communications Technology TGJ3M Key concepts are:

· pickup and generation of sound;

· aesthetics of sound (perspective, energy, presence);

· storage of sound;

· control of sound properties through a mixer.

Planning Notes

· All student work must contain positive images of race, gender, and religion. Stereotypes, acts of violence, sexual themes, or use of profanity in student work are unacceptable.

· Preview and approve any materials to be viewed as the content of some music videos and other recordings of live performances can be offensive to and disrespectful of the belief systems of some students. Also, exercise vigilance, care, and sensitivity to ensure that material selected for use shows no bias towards gender or sexual orientation.

· If producing a music video is not possible, develop a similar activity with other areas of study across the curriculum. For example, the process of audio recording can be applied to live performances put on by drama classes or music classes, or students can do audio/visual recordings of larger school functions.

· Complete an inventory of all available audio equipment before students begin to plan their productions.

· Inspect audio equipment, power sources, and cabling to confirm they are safe and in operating condition.

· The teacher may invite a guest speaker from a local audio/visual production company to lend insight into production processes and real-world contexts.

· The teacher may acquire videos from equipment suppliers on the subject of audio principles and practices.

· Make copies of materials (Appendices 2.2.1, 2.2.2, and 2.2.4).

Teaching/Learning Strategies

· Throughout the activity, encourage attitudes and values founded on Catholic social teachings, which promote social responsibility, human solidarity, and the common good.

· Distribute relevant information and assignment sheets as well as evaluation forms.

· Students view examples of music videos and other recordings of live performances to appreciate the technical knowledge and skills necessary to meet the complex challenge that providing the sound for a live performance presents. For further instruction the teacher may invite a guest speaker to talk to the students or may show relevant sections of instructional videos (see Video Resources).

· Review controls and functions of the available audio equipment, as well as audio recording principles covered in the Grade 11 Curriculum.

· Students investigate the location where they will be recording in order to plan for the sorts of situations that they will encounter.

· Students complete the research and theory assignments (see Appendices 2.2.1 – Student Research Sheet - Microphone Types and Applications, and 2.2.2 – Audio Question and Answer Sheet) before attempting to set up the audio equipment for recording.

· After the research portion of the assignment is complete, students demonstrate their skills and knowledge by setting up the necessary equipment to record the audio portion of the performance. Note: refer to Appendix 2.2.4 – Production Tips for details on audio setup.

· The teacher offers guidance and direct instruction in equipment use as the students match microphones, cabling, and recording devices to various areas of the technical set up.

· Students run a test of the equipment and engage in a performance rehearsal (if possible) to ensure that they are achieving the desired signal control and quality.

· During the performance students monitor and troubleshoot the sound equipment.

· Students take a quiz on audio knowledge.

Assessment & Evaluation of Student Achievement

Task/Product	Tool	Purpose	Assessment Categories
Research Theory	Anecdotal Comments Class Discussion	Formative	Knowledge/Understanding Communication
Quiz	Marking Scheme	Summative	Knowledge/Understanding Thinking/Inquiry
Audio Setup	Checklist Rubric Observation Conferencing	Formative and summative	Thinking/Inquiry Application

Resources

The equipment and tools required to complete the activity include microphones, audio equipment and necessary cabling.

General

Samples of student work

Manufacturer’s equipment manuals

Software manuals

Books

Alkin, Glyn. Sound Recording and Reproduction. London: Focal Press, 1994.

Bermingham, Alan, et al. The Video Studio. London: Focal Press, 1994.

Hitchcock, Peter. Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. ISBN 0-9696261-0-X

Kyker, Keith and Christopher Curchy. Television Production: A Classroom Approach. USA: Librairies Unlimited, 1993. ISBN 1-56308-101-6

Millerson, Gerald. Video Camera Techniques. London: Focal Press, 1994.

Stanaway, Jim. A Beginner’s Guide to Video Communications. Chicago, NTC Publishing, 1997.
ISBN 0-8442-5998-5

Utz, Peter. Today’s Video, Equipment, Setup and Production. USA: Prentice-Hall, 1992.
ISBN 0-13925033-6

Utz, Peter. Recording Great Audio. USA: Quantum Publishing, Inc. 1989. ISBN 0-930633-15-6

Wiese, Michael. The Independent Film & Videomaker’s Guide. USA: Michael Wiese Productions, 2000. ISBN 0-941188-57-4

Wurtzel, Alan. Television Production. Toronto: McGraw-Hill, 1989.

Zettl, Herbert. Video Basics. Toronto: Nelson Canada, 1995.

Videos

Various samples of instructional videos collected by the individual teacher.

Commercial Mania: Highlights from the Weirdest, Wackiest, Wildest Commercials of the 50’s and 60’s. California: Rhino Video, 1987. 30 minutes. RNVD 902

Basic Shooting. USA: Videomaker, Inc., 1994. 42 minutes.

Video Editing. USA: Videomaker, Inc., 1994. 47 minutes.

Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. Eight 30-minute videos.

Magazines

New Media.pro. Toronto: Southam Inc.

Video Systems. USA: Interac/Primedia Publication.

VideoMaker. USA: VideoMaker Inc.

Websites

Digital Imaging Magazine – http://www.digitalimagingmag.com
A good source of digital video/editing online articles, links to user groups, and equipment information.

Digital Video Magazine – http://www.dv.com

New Media.pro Magazine – http://www.newmediapromagazine.com
A good Canadian source of digital video/editing online articles, links to user groups, and equipment information.

Videomaker Magazine – http://www.videomaker.com
A good source of video/editing online articles, links to user groups, and equipment information.

Videonics Systems – http://www.videonics.com
Articles on video/editing, links to user groups, industry information, and equipment information.

Video Systems Magazine – http://www.videosystems.com
A good source of video/editing online articles, links to user groups, and equipment information.

Appendix 2.2.1

Student Reference Sheet – Microphone Types and Applications

Using textbooks, local businesses or the Internet as sources for information, students complete the following chart and decide which types of microphones are best suited to the performance space, performers and available audio/video recording equipment being used in their production. Commercial examples for each type of microphone are available from a variety of retailers or manufactures. (Note: answers are in italics.)

Microphone Type	Pickup Pattern	Typical Use	Manufacture & Model Number
Wired Lavalier microphone	Omnidirectional	Tie-clip microphone used for interviews and talk shows.
Handheld or stand mounted condenser microphone	Cardioid	Good for live entertainment, instrumental, and vocal performances.
Handheld or stand mounted dynamic microphone #1	Cardioid	Emphasizes flat frequency response. Excellent for recording sessions and on stage performance.
Handheld or stand mounted dynamic microphone #2	Omnidirectional	Ideal for handheld use. Resistance to wind noise is very good. Good for remote location recordings.
Handheld or stand mounted dynamic microphone #3	Super Cardioid	Excellent response for vocalists. Good for close mike work with instruments and vocalists.
Shotgun	Super Cardioid	Good pickup at relatively long distances. Can be boom mounted or handheld.
Boundary microphone	Variable depending on make and model Typically hemispherical	Excellent for conference tables, hidden for stage use, some instrument miking.
Wireless microphone systems with receiver and transmitter	Variable depending on make and model	Good for remote newsgathering (ENG), remote productions, and where inconspicuous, wire-free microphones are required.

Appendix 2.2.2

Audio Question and Answer Sheet

Using textbooks, the Internet, equipment manuals, or other sources for information, students answer the following question with respect to audio production. (Note: answers are in italics.)

1. Define impedance. How is it measured?

The apparent resistance a circuit presents to an alternating current.

Measured in units called ohms.

2. What are the characteristics of Unbalanced Audio Cable?

· Single conductor and a grounded shield

· Used for “mic-in” jacks rated at 600 ohms and “line-in” or “auxiliary-in” jacks rated at
10 000 ohms or higher

· Subject to greater interference as distances increase

· Identified by “RCA” jacks, mini-plugs or phone jacks

3. What are the characteristics of Balanced Audio Cable?

· Two conductors and a grounded shield

· Conductors carry identical signals but one is inverted and opposite in polarity

· Interference picked up by the conductors will have the same polarity on both; however, when signals are recombined in a transformer, interference cancels itself out.

· Used for 60 ohm “line” or 50-250 ohm microphone inputs

· Identified by a cannon (XLR) connector

4. What is a VU meter?

· A VU meter visually displays (in volume units) the strength of the audio signal.

· Used to display control of various sound levels.

5. Define audio equalization.

· Equalization is a process used to correct deficiencies in sound by altering the amplitude of narrow bands within the audio frequency.

6. In what ways do Graphic and Parametric equalizers differ?

· Graphic equalizers divide the available audio frequency into a series of narrow bands.

· Parametric equalizers let you set the target frequency and set the amount of boost or attenuation.

· Graphic equalizers let you match sounds recorded with different microphones under varying conditions.

· Parametric equalizers are better at isolating and reducing the contribution of undesirable background sounds.

7. Define the following microphone pickup patterns:

a) Omnidirectional Pattern

· Picks up sound equally well from all directions.

b) Cardioid Pattern

· More sensitive to sounds from a heart shaped area in front of the microphone.

c) Shotgun or Supercardioid Pattern

· Pulls in a narrow range of sound from a distance in front of the microphone.

Appendix 2.2.3

Audio Checklist

Criteria	Yes	No
Setup
Power cables installed and secured.
Recording cables installed and secured.
All plugs and connectors fit equipment.
Impedances and levels on all connected devices match.
Sound Quality
Sound is audible.
Consistent amplitude.
Amplitude from different sources balanced.
Range of frequencies is balanced from each source.
Interference, hum, or squeal is eliminated.
Background noise is eliminated.
Microphone noise is eliminated.

Appendix 2.2.4

Production Tips

Production tips are provided to help teachers and students recognize areas that may require particular attention.

· Ensure cables, plugs and connectors fit the equipment to be used. Match impedances and levels on each piece of equipment.

· Estimate equipment and microphone placements and the required lengths of audio cable (leaving some room for error). Microphones should be positioned 15 to 30 centimetres from the performer’s mouth.

· Lay out cables and secure them to the ground with tape.

· If possible, monitor all sound levels using a Volume Units (VU) meter.

· If possible, monitor the sound being recorded. Listen for high levels of background noise, hum, distortion or interference in the lines.

· Monitor the performers during rehearsals for movements or habits that adversely affect sound quality.

· Clearly label all equipment lines and sliders on any mixers or other equipment.

Activity 2.3: Setting Up of Video Equipment for the
Recording of a Live Performance

Time: 4 hours

Description

Students review technical information with respect to the available video equipment. They review camera operations and connections in preparation for the recording of the live performance, then complete a short video assignment that concentrates on focusing and camera movements. Students also complete the research and information sheets included in Appendices 2.3.1 – Inside the Video Camera Research Assignment, and 2.3.2 – Video Recording Methods, and use the information to determine the best possible strategies to employ in order to videotape the performance with the available video equipment.

Strand(s) & Learning Expectations

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;

CGE3d - makes decisions in light of gospel values with an informed moral conscience;

CGE4b - demonstrates flexibility and adaptability;

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;

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.

Strand(s): Theory and Foundation, Skills and Processes, Impact and Consequences

Overall Expectations

SPV.03 - organize and maintain complex communications systems;

Specific Expectations

SP2.02 - use industry standard specific gauges and meters to monitor, test, and modify project requirements;

SP2.05 - connect digital and analog systems to process signals;

SP4.02 - develop the technical vocabulary used in electronic, live, recorded, or graphic communications;

IC2.01 - develop and conduct safety audits and inspections of the school communications technology facility and implement a plan to address any deficiencies.

Prior Knowledge & Skills

· A basic understanding of the principles and equipment of video recording acquired in Grade 11 Communications Technology TGJ3M. Key concepts are:

· camera controls and functions;

· visual composition;

· camera movement;

· camera angles.

Planning Notes

· Complete an inventory of all available camera/video equipment before students begin to plan their productions.

· Inspect cameras, VTRs, switching equipment, power sources, and cabling to confirm they are safe and in operating condition.

· The teacher may invite a guest speaker from a local audio/visual production company to lend insight into production processes and real-world contexts.

· The teacher may acquire videos from equipment suppliers on the subject of video recording principles and practices.

· Make copies of assignments and information handouts (Appendices 2.3.1, 2.3.2, and 2.3.3).

Teaching/Learning Strategies

· Throughout the activity, encourage attitudes and values founded on Catholic social teachings, which promote social responsibility, human solidarity, and the common good.

· Distribute relevant information and assignment sheets as well as evaluation forms.

· Students keep a daily log sheet, recording brief notes of their accomplishments each day and outlining any future needs that this activity may require.

· For further instruction, invite a guest speaker to talk to the students or show relevant sections of instructional videos (see Video Resources).

· Review camera controls and functions, as well as camera angles and composition principles covered in the Grade 11 Curriculum.

· Students investigate the location where they will be recording in order to plan for the sorts of situations that they will encounter as they videotape the performance.

· Students complete a research assignment (see Appendix 2.3.1 – Inside the Video Camera Research Assignment) and are given information about video recording (see Appendix 2.3.2 – Video Recording Methods).

· Students complete a short video assignment to practise camera operation, moves, and focusing skills, using a tripod and a hand-held camera.

· After the research and the practice assignments are complete, students demonstrate their skills and knowledge by setting up the necessary video equipment to record the music performance. Note: refer to Appendix 2.3.3 – Production Tips for details on video setup.

· Offer students guidance and direct instruction in equipment use as they match compositional or thematic concerns with camera operations and cabling requirements.

· Students run a test of the equipment and videotape a performance rehearsal (if possible) to ensure that they are achieving the desired quality of the video signals.

· Students review the videotape to identify those areas of the videotaping that need improvement or alterations with respect to camera positions, movements, and focusing.

Assessment & Evaluation of Student Achievement

Task/Product	Tool	Purpose	Assessment Categories
Research and Theory	Anecdotal Comments Class Discussion	Formative	Knowledge/Understanding Communication
Quiz	Marking Scheme	Summative	Knowledge/Understanding Thinking/Inquiry
Video Setup	Checklist Rating Scale Observation Conferencing	Formative and summative	Thinking/Inquiry Communication Application

Resources

The equipment and tools required to complete the activity include cameras, VTRs, switching equipment, power sources, and cabling.

General

Samples of student work

Manufacturer’s equipment manuals

Software manuals

Books

Andersen, Neil and John J. Punjente, SJ. Scanning Television: Videos for Media Literacy in Class. Toronto: Harcourt Brace & Company, 1997. ISBN 0774701730

Bermingham, Alan [et al.]. The Video Studio. London: Focal Press, 1994.

Hitchcock, Peter. Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. ISBN 0-9696261-0-X

Hone, Rick and Liz Flynn. Video in Focus: A Guide to Viewing and Producing Video. Toronto: Globe/Modern Curriculum Press, 1992. ISBN 0-888996-344-4

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 0-888996-281-2

Katz, Steven. Film Directing – Shot by Shot. USA: Michael Wiese Productions, 2000.
ISBN 0-941188-10-8

Kyker, Keith and Christopher Curchy. Television Production: A Classroom Approach. USA: Libraries Unlimited, 1993. ISBN 1-56308-101-6

Millerson, Gerald. Video Camera Techniques. London: Focal Press, 1994.

Stanaway, Jim. A Beginner’s Guide to Video Communications. Chicago, NTC Publishing, 1997.
ISBN 0-8442-5998-5

Utz, Peter. Today’s Video, Equipment, Setup and Production. USA: Prentice-Hall, 1992.
ISBN 0-13925033-6

Vineyard, Jeremy. Setting Up Your Shots. USA: Michael Wiese Productions, 2000. ISBN 0-941188-74-4

Ward, Peter. Basic Betacam Camera work. London: Focal Press, 1994.

Wiese, Michael. The Independent Film & Videomaker’s Guide. USA: Michael Wiese Productions, 2000. ISBN 0-941188-57-4

Wurtzel, Alan. Television Production. Toronto: McGraw-Hill, 1989.

Zettl, Herbert. Video Basics. Toronto: Nelson Canada, 1995.

Videos

Various samples of instructional videos collected by the individual teacher.

Basic Shooting. USA: Videomaker, Inc., 1994. 42 minutes.

Commercial Mania: Highlights from the Weirdest, Wackiest, Wildest Commercials of the 50’s and 60’s. California: Rhino Video, 1987. 30 minutes. RNVD 902

Video Editing. USA: Videomaker, Inc., 1994. 47 minutes.

Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. Eight 30-minute videos.

Magazines

Digital Imaging. New York: Cygnus Publishing.

Digital Video. USA: Miller Feeman Publications.

New Media.pro. Toronto: Southam Inc.

Video Systems. USA: Interac/Primedia Publication.

VideoMaker. USA: VideoMaker Inc.

Websites

Digital Imaging Magazine – http://www.digitalimagingmag.com
A good source of digital video/editing online articles, links to user groups, and equipment information.

Digital Video Magazine – http://www.dv.com

New Media.pro Magazine – http://www.newmediapromagazine.com
A good Canadian source of digital video/editing online articles, links to user groups, and equipment information.

Videomaker Magazine – http://www.videomaker.com
A good source of video/editing online articles, links to user groups, and equipment information.

Videonics Systems – http://www.videonics.com
Articles on video/editing, links to user groups, industry information, and equipment information.

Video Systems Magazine – http://www.videosystems.com
A good source of video/editing online articles, links to user groups, and equipment information.

Appendix 2.3.1

Inside the Video Camera Research Assignment

Using all available resources, students research the basic technical aspects of how a video camera operates. (Answers in italics)

1. What is the main function of the video camera?

· The camera converts an optical image into electrical signals that are reconverted by a receiver into visible screen images.

2. What are the three basic elements of the video camera? Explain the function of each element.

· The lens determines what the camera sees.

· The camera contains a beam splitter and an imaging device that converts the image into an electrical signal.

· The viewfinder reconverts the electrical signals into video images of what the lens sees.

3. Explain the function of the Beam Splitter.

· The beam splitter consists of a series of prisms and filters that separate the incoming white light into three primary colours: red, green and blue. The three colours are then directed into their corresponding imaging devices for processing.

4. Explain the function of the Imaging Device.

· The imaging device changes light into electrical energy. This device is a CCD or charged-coupled device. The device is a silicon chip that contains rows of light-sensing pixels. Each pixel translates the light energy it receives into a corresponding electric current. The final electrical currents are processed into a video signal that can be seen in the viewfinder and exported to videotape or other recording medium.

5. Define a standard Camera Chain found in a production studio.

· A camera chain consists of the camera, the power supply, the sync generator and the camera control unit. The power supply provides electrical power for the camera. The sync generator produces uniform electrical pluses that are necessary to synchronize the scanning of the video pictures. The camera control unit contains controls that allow an operator to monitor and adjust the quality of the video images.

6. What is an ENG/EFP Camera?

· The ENG/EFP camera or electronic news gathering/electronic field production camera is portable and designed to be operated by a single operator. This camera contains the whole camera chain in the camera itself.

Appendix 2.3.2

Storage Mediums

Video Recording Methods

Videotape is like audiotape in its makeup. It consists of a plastic backing coated with a permanent layer of metal particles embedded in a resin base. These particles are capable of holding a magnetic charge. All videotape formats use heads that travel across the surface of the tape and leave magnetic tracks in the tape’s coating corresponding to the video signal.

In order to record the high frequencies present with video, the tape must be moving and the heads themselves must spin over the surface of the tape. In a Video Cassette Recorder (VCR) this spins at high-speeds while the videotape moves across the spinning surface.

The scanning process is reversed when the tape is played back. The magnetic tracks left on the tape bring magnetic changes in the video heads, which are then converted into voltages. These are amplified before being passed on to various pieces of video equipment.

Disc-Based Recording

DVD

Although Digital Video Discs (DVDs) resemble an audio Compact Disc (CD), they are capable of holding up to 17 gigabyte (GB) of data. To achieve capacities up to this level, two innovations have been added to the approach used in making standard audio CDs: data is recorded on two surface levels and both sides of the disc are used. The chart below compares standard audio CD’s with several versions of DVDs.

Recording Technique	Audio CD	DVD
Single-sided, single layer	0.74GB	4.7GB
Single-sided, double layer	—	8.5GB
Double-sided, single layer	—	9.4GB
Double-sided, double layer	—	17GB

To create the greater data capacity associated with DVDs, a shorter wavelength laser is used with Moving Picture Expert Group-2 (MPEG-2), compression designed for full-motion video. Audio can be recorded with any one of three formats. For most films the Dolby 5.1 system associated with Digital Television/High Definition Television (DTV/HDTV) is utilized.

Compressed video is almost as good as the original signal. By compressing signals more data can be recorded in the same space and transmitted quicker. The data compression techniques used mean that more than two hours of video is stored on a DVD and CD-quality audio. Video resolution runs to 450 lines, which is better than Video Home System (VHS) tapes or laserdiscs.

Both the spiral tracks on the disc’s surface and the digital notches are microscopic and DVD equipment requires a high level of precision.

Consumer DVDs offer two versions of a movie, one in a 4:3 ratio and one in a wide-screen ratio. They also include multiple-languages, menus, and interactive features. All this is possible because of data compression.

DVDs are cheaper than VHS tapes. DVDs allow for random-access while VHS tapes are totally linear. On a DVD it is possible to forward to any spot in a video. No rewinding process is involved. DVDs are compatible with standard audio CDs, allowing audio CDs to be played on a DVD player. Most DVD devices are not recordable; however some of the newest devices, e.g., Digital Video Disc-Rewritable (DVD-RW), are rewritable.

Appendix 2.3.2 (Continued)

Disc-Based Camcorders

Once video and audio segments are recorded the segments can be played back instantly and in any order. By programming the order and duration of segments, basic editing can take place right in the camera and the images can be played back or broadcast right from the camcorder.

Video Servers

Video servers (called media servers and file servers) store audio and video information on high-capacity disks.

Material that has been digitized and stored in this form can be accessed almost instantly. A final-edited product can be electronically assembled directly from raw video footage. Video servers are useful in news gathering when segments can be edited and broadcast from the server. The footage stored on the server can later be edited for a completely different newscast. The video server is a high-capacity cache of audio and video pieces that are easily accessed and edited in the production facility.

Appendix 2.3.3

Production Tips

Production tips are provided to help teachers and students recognize areas that may require particular attention.

· All cameras need to be white balanced under common conditions.

· Use the best available tape medium for the equipment being used.

· Ensure all cameras on tripods are level and secure.

· Lay out cables and tape them securely to the ground (if using a fixed camera position in the production).

· If possible, monitor each video camera with a separate monitor.

· If possible, monitor the video signal during the recording for aesthetic qualities. Look for colour balance, balanced composition, sharp focus where applicable, camera movements that are smooth and appropriate to the audio portion of the performance, camera angles that enhance the audio and add interest and visual experience.

· Check all video signals for electrical interference, distortions, etc.

· Monitor the performers during rehearsals for movements or habits that adversely influence the videotaping possibilities or final quality of the video.

· Clearly label all video equipment lines and controls on any mixers or other switching equipment.

Activity 2.4: Production for the Recording of a Live Performance

Time: 4 hours

Description

This activity applies specifically to those locations that have access to equipment that will allow them to employ a multiple-camera and multiple video tape recorder (VTR) approach to recording the live performance. Three different approaches are discussed in Appendix 2.4.1 – Three Approaches to Videotape Production. Students review technical information with respect to the available recording equipment, its use, and power and signal cables. Students complete planning forms and information sheets and use the information to determine the best possible strategies to employ in order to videotape the performance with the available equipment. Throughout the activity, cooperative work strategies and video content reflect the moral and ethical philosophy of the gospel values.

Strand(s) & Learning Expectations

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;

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;

CGE2d - writes and speaks fluently one or both of Canada’s official languages;

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;

CGE4d - responds to, manages, and constructively influences change in a discerning manner;

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;

CGE5b - thinks critically about the meaning and purpose of work;

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;

CGE7a - acts morally and legally as a person formed in Catholic traditions;

CGE7b - accepts accountability for one’s own actions;

CGE7j - contributes to the common good.

Strand(s): Theory and Foundation, Skills and Processes, Impact and Consequences

Overall Expectations

SPV.03 - organize and maintain complex communications systems;

Specific Expectations

SP1.01 - analyse and demonstrate the interpersonal and group skills required to work as part of a team;

SP2.01 - operate and control devices effectively in communications technology projects;

SP2.02 - use industry standard specific gauges and meters to monitor, test, and modify project requirements;

SP2.04 - select appropriate computer software and production techniques to complete projects;

SP2.05 - connect digital and analog systems to process signals;

SP2.06 - troubleshoot components of communications systems;

SP2.07 - set up and operate the components and systems required to create and modify environments for communications productions (e.g., a live production studio, desktop publishing configurations, websites, test labs);

SP4.02 - develop the technical vocabulary used in electronic, live, recorded, or graphic communications;

IC2.01 - use safe work practices and model the most appropriate ways of accomplishing specific operations.

Prior Knowledge & Skills

· A basic understanding of video editing equipment and its functions acquired in Grade 11 Communications Technology TGJ3M.

Planning Notes

· All student work must contain positive images of race, gender, and religion. Stereotypes, acts of violence, sexual themes or use of profanity in student work are unacceptable.

· Complete an inventory of all available camera/video equipment is necessary before students begin to record the production.

· Inspect cameras, VTRs, switching equipment, power sources and cabling to confirm their safe and efficient operating state.

· The teacher may invite a guest speaker from a local audio/visual production company to lend insight into production processes and real-world contexts.

· The teacher may acquire videos from equipment suppliers on the subject of video recording principles and practices.

Teaching/Learning Strategies

· Throughout the activity encourage attitudes and values founded on Catholic social teachings, which promote social responsibility, human solidarity and the common good.

· Distribute relevant background material and assignment sheets as well as evaluation forms.

· During production rehearsals students keep a daily log sheet, recording brief notes of their accomplishments each day and outlining any future needs that this activity may require.

· Conduct lessons on video recording media.

· Review equipment controls and functions of the available equipment.

· For further instruction, invite a guest speaker to talk to the students or show relevant sections of instructional videos (see Video Resources).

· Students investigate and write a report on the multiple-camera and multiple-VTR approach to recording the live performance.

· Students identify the different roles of control room personnel in order to videotape the performance.

· Students investigate the location where they will be recording in order to plan for the sorts of situations that they will encounter as they videotape the performance.

· The students rehearse camera operations, audio setup and lighting cues for the performance.

· After the research and the practice assignments are complete, students demonstrate their skills and knowledge by recording the musical performance to videotape.

· Offer students guidance and direct instruction in equipment use as they match compositional or thematic concerns with recording operations.

Assessment & Evaluation of Student Achievement

Task/Product	Tool	Purpose	Assessment Categories
Research and Theory	Anecdotal Comments Class Discussion	Formative	Knowledge/Understanding Communication
Quiz	Marking Scheme	Summative	Knowledge/Understanding Thinking/Inquiry
Video Production	Checklist Conferencing Marking Scheme	Formative and Summative	Knowledge/Understanding Thinking/Inquiry Communication Application

Resources

The equipment and tools required to complete the activity include cameras, VTRs, switching equipment, power sources, and necessary cabling.

General

Samples of student work

Manufacturer’s equipment manuals

Software manuals

Books

Alkin, Glyn. Sound Recording and Reproduction. London: Focal Press, 1994.

Bermingham, Alan, et al. The Video Studio. London: Focal Press, 1994.

Hitchcock, Peter. Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. ISBN 0-9696261-0-X

Hone, Rick and Liz Flynn. Video in Focus: A Guide to Viewing and Producing Video. Toronto: Globe/Modern Curriculum Press, 1992. ISBN 0-888996-344-4

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 0-888996-281-2

Katz, Steven. Film Directing – Shot by Shot. USA: Michael Wiese Productions, 2000.
ISBN 0-941188-10-8

Kyker, Keith and Christopher Curchy. Television Production: A Classroom Approach. USA: Librairies Unlimited, 1993. ISBN 1-56308-101-6

Millerson, Gerald. Video Camera Techniques. London: Focal Press, 1994.

Stanaway, Jim. A Beginner’s Guide to Video Communications. Chicago, NTC Publishing, 1997.
ISBN 0-8442-5998-5

Utz, Peter. Today’s Video, Equipment, Setup and Production. USA: Prentice-Hall, 1992.
ISBN 0-13925033-6

Vineyard, Jeremy. Setting Up Your Shots. USA: Michael Wiese Productions, 2000.
ISBN 0-941188-74-4

Wiese, Michael. The Independent Film & Videomaker’s Guide. USA: Michael Wiese Productions, 2000.
ISBN 0-941188-57-4

Wurtzel, Alan. Television Production. Toronto: McGraw-Hill, 1989.

Zettl, Herbert. Video Basics. Toronto: Nelson Canada, 1995.

Videos

Various samples of instructional videos collected by the individual teacher.

Commercial Mania: Highlights from the Weirdest, Wackiest, Wildest Commercials of the 50’s and 60’s. California: Rhino Video, 1987. 30 minutes. RNVD 902

Basic Shooting. USA: Videomaker, Inc., 1994. 42 minutes.

Video Editing. USA: Videomaker, Inc., 1994. 47 minutes.

Videography: The Guide to Making Videos. Toronto: Peter Hitchcock Productions Inc. and TV Ontario, 1992. Eight 30-minute videos.

Magazines

Digital Imaging. New York: Cygnus Publishing.

Digital Video. USA: Miller Feeman Publications.

New Media.pro. Toronto: Southam Inc.

Video Systems. USA: Interac/Primedia Publication.

VideoMaker. USA: VideoMaker Inc.

Websites

Digital Imaging Magazine – http://www.digitalimagingmag.com A good source of digital video/editing online articles, links to user groups, and equipment information.

Digital Video Magazine – http://www.dv.com

New Media.pro Magazine – http://www.newmediapromagazine.com
A good Canadian source of digital video/editing online articles, links to user groups, and equipment information.

Videomaker Magazine – http://www.videomaker.com
A good source of video/editing online articles, links to user groups, and equipment information.

Videonics Systems – http://www.videonics.com
Articles on video/editing, links to user groups, industry information, and equipment information.

Video Systems Magazine – http://www.videosystems.com
A good source of video/editing online articles, links to user groups, and equipment information

Appendix 2.4.1

Three Approaches to Videotape Production

Live-on-tape or Segments

In this approach, the entire program is broken down into relatively short scenes or segments. Each segment is recorded by multiple cameras and the director switches between cameras from the control room. There is usually very little postproduction editing in this type of production.

Recording with a Single Camera and Single VTR

A single camera shoots the performance from start to finish. The cameraperson shoots the performance in several different approaches, and then the various tapes are edited down to a final copy. This approach requires detailed planning and can cause difficulty in synchronizing sound (as is necessary in a music video). If synchronizing sound is not a concern (i.e., the videotape will have an audio track added later) this is not a problem. This approach works well for music videos without a performance component.

Recording with Multiple Camera and Multiple VTRs

This approach uses two or more cameras connected to their own VTRs. Each VTR records everything its camera sees. The result is simultaneous footage of the performance from a variety of camera angles and positions. With the addition of a master VTR, signals from the individual VTRs are switched during the performance to create a master tape. Using the master tape and the tapes from each camera, the sounds and images are edited into a final master that includes titles and other graphics.

Activity 2.5: Analogue or Digital Editing

Time: 8 hours

Description

This activity applies specifically to those locations that have access to either analogue or digital editing equipment. In this activity students edit the final recorded images and sound of the live performance. Different editing approaches are discussed in Appendix 2.5.1 – Methods of Editing. Students review technical information with respect to the available editing equipment and its use. Students complete the appropriate planning forms and information and use the information to determine the best possible strategies to employ in order to edit the videotaped performance with the available editing equipment. Critical evaluation and problem solving help students make decisions in light of gospel values with an informed moral conscience.

Strand(s) & Learning Expectations

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;

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;

CGE2d - writes and speaks fluently one or both of Canada’s official languages;

CGE2e - uses and integrates the Catholic faith tradition, in 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;

CGE4d - responds to, manages, and constructively influences change in a discerning manner;

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;

CGE5b - thinks critically about the meaning and purpose of work;

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;

CGE7a - acts morally and legally as a person formed in Catholic traditions;

CGE7b - accepts accountability for one’s own actions;

CGE7j - contributes to the common good.

Strand(s): Theory and Foundation, Skills and Processes, Impact and Consequences

Overall Expectations

SPV.02 - select and safely use the appropriate technologies and resources to solve problems in electronic, live, recorded, or graphic communications technology.

Specific Expectations

SP2.01 - operate and control devices effectively in communications technology projects;

SP2.02 - use industry standard specific gauges and meters to monitor, test and modify project requirements;

SP2.03 - integrate various current communications technologies in their solutions;

SP2.04 - select appropriate computer software and production techniques to complete projects;

SP3.02 - use software programs to document the project planning and production process;

SP4.02 - develop the technical vocabulary used in electronic, live, recorded or graphic communications.

Prior Knowledge & Skills

· A basic understanding of video editing equipment and its functions acquired in Grade 11 Communications Technology TGJ3M.

Planning Notes

· Complete an inventory of all available video-editing equipment before students begin to edit the production.

· Inspect all video-editing equipment and computer equipment to confirm they are safe and in operating condition.

· The teacher may invite a guest speaker from a local audio/visual production company to lend insight into production processes and real-world contexts.

· The teacher may acquire videos resources that deal more generally with postproduction techniques (see Video and Online Resources).

Teaching/Learning Strategies

· Throughout the activity, encourage attitudes and values founded on Catholic social teachings, which promote social responsibility, human solidarity, and the common good.

· During production students keep a daily log sheet, recording brief notes of their accomplishments each day and outlining any future needs that this activity may require.

· Distribute relevant background material and assignment sheets as well as evaluation forms.

· Conduct lessons on analogue and digital video editing, focusing on the techniques required for use of the available equipment.

· Review editing controls and functions of the available equipment and protocols for effective production (see Appendix 2.5.1 – Methods of Editing).

· For further instruction, invite a guest speaker to talk to the students or show relevant sections of instructional videos (see Video Resources). The teacher may also have students view selected portions of the instructional video/online resources that accompany editing equipment.

· Students visualize and plan for the finished editing process. They log the videotapes to be used, prepare tapes for editing, check for sound levels, setup titles and other graphics, create time code, book-editing time, etc.

· Students practise editing operations with respect to audio and video signals in either anologue or digital format.

· After the research portion of the activity and the practice segments are complete, students demonstrate their skills and knowledge by editing the musical performance in an analogue or digital format.

· Offer guidance and direct instruction in equipment use as students match compositional or thematic concerns with editing operations.

Assessment & Evaluation of Student Achievement

Task/Product	Tool	Purpose	Assessment Category
Research and Theory	Anecdotal Comments Class Discussion	Formative	Knowledge/Understanding Communication
Quiz	Marking Scheme	Formative	Knowledge/Understanding Thinking/Inquiry
Video Editing	Checklist Conferencing Marking Scheme	Summative	Knowledge/Understanding Thinking/Inquiry Communication Application

Resources

Resources required to produce the audio-video production unit may include video cameras, lighting equipment, microphones, editing hardware and software, sound mixing equipment and necessary cabling.

The equipment and tools required to complete the activity include video-editing equipment and computer equipment.

General

Samples of student work

Manufacturer’s equipment manuals

Software manuals and tutorial exercises