Presentation delivered by Patrick Doyle & Clare Gormley at ECEL 2015 on use of wearable technology in a laboratory context. Note that a short video demo of the wearable camera in action is available through a link within the presentation.
The document discusses principles of brain-based learning that can be effectively applied using low-fidelity video techniques. It outlines design principles like the picture superiority effect and von Restorff effect that show images and novelty aid recall. Simple production techniques are recommended like in-camera editing, slow pans and zooms. Recommended low-cost tools include internal phone mics, limited lighting sources, paper props, and free editing software. The workshop involves groups creating training videos on making a PB&J sandwich within 30 minutes using basic equipment.
Susan Grigsby will teach a class on broadcasting to provide students hands-on experience with video production. She has extensive experience in audio and video production. The class will cover setting up a broadcast team, news crew positions and rotations, basic equipment, shooting and editing videos, lighting, and how video production relates to literacy and learning standards. Students will gain skills in writing, speaking, critical thinking, and collaboration through completing a video project.
This document outlines steps for creating student video presentations, including pre-production, production, and post-production phases. It acknowledges limitations of school equipment and provides workarounds, such as editing in-camera, using found footage, or low-tech slideshows. It lists available equipment like mini DV camera kits and wireless mics, and envisions a future where every class has multiple cameras and editing stations to support innovative student video projects.
Predicted project Hatfield UK 2015 M GlynnMark Glynn
A copy of the slides produced to highlight the Predicted project that is mining data from our VLE and using it to predict academic success for students
The document provides information about camerawork, lighting, and pre-production tasks for a student yearbook video project. It discusses assigning project themes to different teams, completing a project timeline with phases for pre-production, production, and post-production. It also reviews basic camera shots, angles, movements, and 3-point lighting techniques as well as tasks to complete before storyboarding like scripting, choreography, and camera planning.
The document provides information about camerawork, lighting, and pre-production tasks for a yearbook video project. It discusses assigning project themes to different teams, and outlines the production timeline from pre-production in March through post-production in May/June. It also reviews basic camera shots, angles, movements, lighting techniques like 3-point lighting, and tasks to complete before storyboarding like scripting and planning camerawork.
The document discusses a research project that investigated using videos in teaching introductory sociology courses. The project explored creating a YouTube playlist as a shared resource for students and teachers. Focus groups with 24 students provided feedback on using online videos in the classroom. Students saw benefits like accessing expert lectures and demonstrations of difficult concepts. However, they also raised challenges like finding quality videos to match course objectives and dealing with unrelated advertising. The researchers concluded that videos can facilitate learning if carefully selected and integrated into lessons by teachers.
Katy Dillard and Meghan Smith are requesting $599.96-$899.94 to purchase 4-6 Flip Video cameras to allow students from K-5 to create video projects that enhance their learning. First grade students have already used borrowed cameras to film themselves presenting animal research. The cameras will be checked out from the library for a variety of video projects across grade levels and subjects. Teachers will be trained on using the cameras and downloading videos. Success will be measured by students regularly using the cameras to create educational videos and through end-of-year usage statistics.
The document discusses principles of brain-based learning that can be effectively applied using low-fidelity video techniques. It outlines design principles like the picture superiority effect and von Restorff effect that show images and novelty aid recall. Simple production techniques are recommended like in-camera editing, slow pans and zooms. Recommended low-cost tools include internal phone mics, limited lighting sources, paper props, and free editing software. The workshop involves groups creating training videos on making a PB&J sandwich within 30 minutes using basic equipment.
Susan Grigsby will teach a class on broadcasting to provide students hands-on experience with video production. She has extensive experience in audio and video production. The class will cover setting up a broadcast team, news crew positions and rotations, basic equipment, shooting and editing videos, lighting, and how video production relates to literacy and learning standards. Students will gain skills in writing, speaking, critical thinking, and collaboration through completing a video project.
This document outlines steps for creating student video presentations, including pre-production, production, and post-production phases. It acknowledges limitations of school equipment and provides workarounds, such as editing in-camera, using found footage, or low-tech slideshows. It lists available equipment like mini DV camera kits and wireless mics, and envisions a future where every class has multiple cameras and editing stations to support innovative student video projects.
Predicted project Hatfield UK 2015 M GlynnMark Glynn
A copy of the slides produced to highlight the Predicted project that is mining data from our VLE and using it to predict academic success for students
The document provides information about camerawork, lighting, and pre-production tasks for a student yearbook video project. It discusses assigning project themes to different teams, completing a project timeline with phases for pre-production, production, and post-production. It also reviews basic camera shots, angles, movements, and 3-point lighting techniques as well as tasks to complete before storyboarding like scripting, choreography, and camera planning.
The document provides information about camerawork, lighting, and pre-production tasks for a yearbook video project. It discusses assigning project themes to different teams, and outlines the production timeline from pre-production in March through post-production in May/June. It also reviews basic camera shots, angles, movements, lighting techniques like 3-point lighting, and tasks to complete before storyboarding like scripting and planning camerawork.
The document discusses a research project that investigated using videos in teaching introductory sociology courses. The project explored creating a YouTube playlist as a shared resource for students and teachers. Focus groups with 24 students provided feedback on using online videos in the classroom. Students saw benefits like accessing expert lectures and demonstrations of difficult concepts. However, they also raised challenges like finding quality videos to match course objectives and dealing with unrelated advertising. The researchers concluded that videos can facilitate learning if carefully selected and integrated into lessons by teachers.
Katy Dillard and Meghan Smith are requesting $599.96-$899.94 to purchase 4-6 Flip Video cameras to allow students from K-5 to create video projects that enhance their learning. First grade students have already used borrowed cameras to film themselves presenting animal research. The cameras will be checked out from the library for a variety of video projects across grade levels and subjects. Teachers will be trained on using the cameras and downloading videos. Success will be measured by students regularly using the cameras to create educational videos and through end-of-year usage statistics.
Moving into movies - using video in E-Learning Aurion Learning
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The document provides guidance on using the Magic Lamp method for practical dramaturgy in filmmaking workshops. [1] It introduces the method, which was developed to help children and others create short films in a fun and engaging way. [2] The method emphasizes the learning process over technical quality, and uses improvisation, scriptwriting, and filming exercises to teach filmmaking skills in a hands-on manner over the course of a workshop. [3] The goal is to give participants a positive experience of the filmmaking process and help them express themselves creatively.
This slide show was produced for the PV workshop we organized in Wageningen with Otherwise in May 2011. We worked with representatives of local NGOs and the results were publicly screened.
We:
Patricia Santos
Margriet Goris
Tessa Steenbergen
Geke Kieft
So you want your students to produce digital video: some practical guidanceChris Willmott
These slides formed part of a workshop at the 3rd Science Learning and Teaching Conference organised by science subject centres of the Higher Education Academy (UK). The Conference took place at Heriot-Watt University, Edinburgh in June 2009.
The workshop was based on our experience organising two distinct projects in which students produce digital video. In one, students keep a video diary of their experience as an undergraduate. In the second, students produce short videos about a bioethical topic they have been assigned. The video content is not included as part of this presentation.
(c) Chris Willmott and Chris Cane, 2009
This document provides guidance for students on completing Activity 4 - The Treatment for their film studies course. It begins with learning objectives and success criteria for the activity. Students are then instructed to make a list of technical cinematic elements to include in annotating their storyboards. Examples are provided of technical aspects to justify in a storyboard, including setting, sounds, and visual elements. Students are guided to write frame-by-frame justifications for their storyboards explaining how it meets the brief and appeals to the target audience. Checks are made to ensure students have included all necessary labeling and details in their storyboards and justifications.
Documentary Filmmaking in the Classroom - Part Idanielsadicario
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A presentation delivered by Courtney Hermann at the 2012 University Film and Video Association meeting.
From 2008-2012, Courtney Hermann and her Documentary Production students participated in the International Documentary Challenge, a timed filmmaking competition where teams from across the world are given a documentary subgenre and a theme, and must create a 4-7 minute film from start to finish in just 5 days.
Courtney and her students have produced 10 films in all--4 were selected as contest finalists and premiered at the Hot Docs International Film Festival in Toronto. One film garnered additional commendations as the winner of the POV/American Documentary award. Three were selected for inclusion in the "Best of Doc Challenge" DVD, distributed by Typecast Releasing and KDHX Community Media.
This Power Point document, created for a workshop Courtney was invited to present at the University Film and Video Association meeting in 2012, uses experiences with the International Documentary Chalenge as case studies to address how instructors might manufacture a scenario where there’s enough at stake to motivate students to commit themselves to the cause of a collaborative project, and in the process open up a wealth of opportunities to learn about filmmaking and about themselves as filmmakers.
Pea, R. (2011, June 28-30). Expanding horizons for digital video in research and education. Invited Keynote Address, DIVERSE Ireland Conference, Dublin.
This slide presentation explains the work created in virtual reality environments during a course conducted at Empire State College, SUNY. With the advent of open source islands, students were able to create virtual islands to meet their professional interests. The course design is highlighted and the students work itself is put forward in slides and in video links to the islands themselves.
This document discusses using YouTube videos in the classroom. It provides background on the history of using video in education. While videos can be effective, their educational value depends on how well they are tied to instructional objectives. The document then discusses how online videos are different from traditional media due to the massive amounts available for free online. It also notes challenges like dealing with the enormous number of videos, ensuring quality, and handling inappropriate content and advertising. The document goes on to describe a study exploring the use of videos in teaching sociology and issues that arose. It proposes a model for integrating curated video playlists and discusses opportunities for student engagement as well as remaining challenges.
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0091-9248678078
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amateurs and professionals
Objectives:• To initiate an aesthetic vision and composition skills required forbetter photography.• To clarify approach to handling of still photography camera andother related equipments.• To familiarize students with basic and intermediate techniques ofpractical photography (both studio & outdoor).• To provide an insight about the current scope of still photographyand various career options available in this field.
This document discusses lecture capture technologies and how they have evolved. It notes that while lecture capture has existed for a long time through methods like note-taking, modern technologies now allow for easy audio and video recording of lectures. However, the document argues that lecture capture should really be thought of more broadly as "class capture" and used to support blended learning models through capturing the entire classroom experience, including labs and discussions, and enabling students to access this content flexibly. It addresses both how lecture capture can help students and faculty concerns about its use.
Lights camera action orlando - october 2015 -slide uploadtsmeans
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Clinical photography 01 /certified fixed orthodontic courses by Indian dental...Indian dental academy
The Indian Dental Academy is the Leader in continuing dental education , training dentists in all aspects of dentistry and offering a wide range of dental certified courses in different formats.
Indian dental academy provides dental crown & Bridge,rotary endodontics,fixed orthodontics,
Dental implants courses.for details pls visit www.indiandentalacademy.com ,or call
0091-9248678078
This document outlines the process for planning video lessons, which includes identifying student objectives and assessments, determining the unit essential question and concepts to be taught, developing lesson essential questions, recording and developing the video lesson, and assessing student progress. The process emphasizes understanding the key topics and concepts students should understand, and developing lessons and assessments around those ideas.
Tom Johnson provides information about setting up and using Seesaw and Puppet Edu in the classroom. The document discusses setting up classrooms and student accounts, capturing student work through photos and videos, using the apps for blogging, differentiation, and engaging parents. It also covers the admin interface and getting started with the platforms.
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Wearable Technology in the Lab - a useful new perspective?
1. WEARABLE TECHNOLOGY IN THE LAB
A USEFUL NEW PERSPECTIVE?
A study conducted by Dr Tatyana Devine, Clare Gormley & Patrick Doyle
Twitter: @clare_gormley
@dyagetme
2. HOW DID THIS PROJECT
COME ABOUT?
Team member had purchased action camera
TEU & Biomedical Science faculty were working on an online
Immunology Module
ASU showcased use of wearable camera in their internal
projects
Sparked Idea for Our Wearable Camera Project
3. WHAT IS THE RESEARCH
QUESTION?
How is wearable camera-created
video perceived by students as a
learning tool?
Academic created an authentic video of a procedure using
wearable camera
We asked 29 undergrad and 9 postgrad students to review
this video
We issued questionnaires to each cohort
We analysed their feedback according to comment frequency
4. HOW AND WHAT WAS
CREATED?
Demo Link: https://db.tt/qdnLchQZ
5. WHY A POV STYLE?
“POV shot occurs when the
camera assumes the spatial
position of a character in order
to show us what the character
sees; the camera lens is, so to
speak, the eye of the
character (hence the metaphor
“camera eye”), with the result
that our sensory perception is
restricted to that of the
character.”
Brannigan (1984, p.6)
Point of View in the Cinema: a Theory of
Narration and Subjectivity in Classical Film
6. WHY A POV STYLE?
TRADITIONAL METHODS
• Expensive
• up to £5000 per day
• Time consuming
• Cast, crew, equipment, set
up, reshoots, academic in
front of cameras which leads
to anxiety
• Storytelling
• Narrative convention
(Establishing shot, medium
shot, close up)
7. WHY A POV STYLE?
POV METHOD
• Expensive?
• One camera – up to £400
• Time consuming?
• Equipment and crew not
needed – Lights / microphone
operator / camera operator.
• Easy set up - academic
concentrates upon task at
hand
• Storytelling?
• Narrative convention is not
needed. Just film the learning
task – the context is provided
in supplementary learning
material
11. WHAT ARE THE
BENEFITS FOR THE
ACADEMIC?
Ability to record under normal lights anywhere
Ability to concentrate on the subject
Academic’s voice is accepted as expert
NOTE
Academic needs to practice with the camera and app
Slow head movements
Review and begin filming
The idea for this project came about through a fortunate series of events:
TEU were engaged with faculty from Biomedical Science to develop a fully online module in Immunology as part of an International MSc in Biomedical Diagnostics
Patrick, then Learning Technologist with the TEU, had purchased a wearable actionable camera (in a personal capacity) with the intention of trying it out and using it in teaching, potentially
Our partners, Arizona State University, were in Ireland on a visit and were showcasing some of their innovative projects. One that caught our eye in particular used a wearable camera in a geography teaching context.
It was the combination of these events that led us to think about creating a video (using this technology) in a laboratory context. It could be said that the professional relationships and the technology was in place – our next task was to try it out and see if it had value as a teaching and learning tool.
TRADITIONAL METHODS
Expensive – up to £5000 per day
Time consuming – Cast, crew, equipment, set up, reshoots, SME in front of cameras which leads to performance anxieties
Storytelling – Narrative convention (Establishing shot, medium shot, close up)
POV METHOD
Expensive? One camera – up to £400.
Time consuming? Equipment and crew not needed - lights / microphone operator / camera operator. Easy set up. SME concentrates upon the task at hand
Storytelling? Narrative convention is not
CAMERA EYE
A benefit of the POV style is the delivery via the “camera eye”
TRADITIONAL METHODS
Expensive – up to £5000 per day
Time consuming – Cast, crew, equipment, set up, reshoots, SME in front of cameras which leads to performance anxieties
Storytelling – Narrative convention (Establishing shot, medium shot, close up)
POV METHOD
Expensive? One camera – up to £400.
Time consuming? Equipment and crew not needed - lights / microphone operator / camera operator. Easy set up. SME concentrates upon the task at hand
Storytelling? Narrative convention is not
CAMERA EYE
A benefit of the POV style is the delivery via the “camera eye”
TRADITIONAL METHODS
Expensive – up to £5000 per day
Time consuming – Cast, crew, equipment, set up, reshoots, SME in front of cameras which leads to performance anxieties
Storytelling – Narrative convention (Establishing shot, medium shot, close up)
POV METHOD
Expensive? One camera – up to £400.
Time consuming? Equipment and crew not needed - lights / microphone operator / camera operator. Easy set up. SME concentrates upon the task at hand
Storytelling? Narrative convention is not
CAMERA EYE
A benefit of the POV style is the delivery via the “camera eye”
The most popular reason stated by students (mentioned in 14 comments) was that the video explained what was happening during the ELISA process and why. As one student stated:
“I found the video extremely useful. Sometimes in the laboratory when you are carrying out these practicals yourself it can be confusing and often you are unsure as to the reason behind the steps you are carrying out. “
Almost as many (13) comments referred to the video showing/modelling how the steps should be performed and how useful this was. Together, these were the most frequent comments made. Seven comments were made in relation to the clarity and conciseness of the video and how that contributed to understanding. The staged, step-by-step structure of the video also received positive feedback, with students valuing the fact that each separate step was clearly explained. Six comments were made about how the demonstration made it easier to understand the theory and principles underpinning the procedure being demonstrated. Four students described how valuable it was having a visual alternative to a text-based manual and how the visuals significantly enhanced understanding of the text. Three comments each referred to the usefulness of seeing the apparatus in use and the time-saving aspects of having repetitive steps deleted from the final film.
In addition to the comments summarised above, individual comments were made to the effect that the video was ‘not boring’ (1), provided a useful insight into alternative ways of doing things (1), provided a useful overview/refresher of the ELISA process (1), and showed what results to expect (1). Providing constructive criticism, some comments were made that written descriptions would be better (1), diagrams would be helpful (1) and it would be better to view the video not having attempted ELISA ever before (1).
Most of the suggestions for improving the video were to add subtitles and include more interactive questions (5 comments each). Regarding the inclusion of subtitles/annotations, students requested:
“If you could subtitle exactly what was being added at each stage, just so it’s really clear why you’re adding each thing at each point.”
“One suggestion I might make is having annotations of volumes added, chemicals used etc. It can sometimes be hard to hear or see first time round watching the video.”
The requests for more interactive questions refers to a multiple choice question which was embedded within the video and which is discussed further in Devine, Gormley & Doyle (2015), currently in review. Other production-oriented feedback (4) requested slight improvements to the sound and stability of the camerawork, mentioning the slight ‘shakiness’ of the video at times. Three comments were also made requesting ‘zooming in’ to the specific equipment being used in order to see details of what is happening. For example:
“Zoom clearly on the reagents, plates used when witnessing a change of colour to make it clearer for the viewer. For example, when Bovine Serum Albumin (BSA) was mentioned in the video, it would be more helpful if it was clearly zoomed in on without shaking of the video camera.”
It should also be noted that although students generally welcomed the fact that unnecessary/repetitive steps were not shown, one student expressed the view that more detail should be provided about the washing steps in particular. Also two comments were made that different equipment was used compared with the equipment used by the students in their own lab so “it would have been nice to see it done with the equipment we use”.
In addition to the suggestions made, five comments referred to the viewing angle, all of them positive about the fact that the video mirrored what they would see if attempting the experiment themselves: “The video was shot well as it shows exactly the way a person would see it if they were performing the experiment.”
Again the clarity of the explanations was particularly noted by students (13 comments) with some specifically mentioning the value of the verbal commentary (2). “I liked how clear the video was, it was very easy to follow what was going on. The fact you were being talked through each step I felt was very helpful.”
A point that came up several times in response to this question was the angle employed for filming (7 comments). Several respondents found the fact that filming from the point of view of the person performing the experiment kept the viewer focused on what was going on and encouraged them to pay attention to the finer details of the technique.
“I liked the view angle from which the video was recorded. It feels like the viewer is performing the technique and everything was shown from the way we would see it if we were performing it. I believe every demonstration video should be recorded this way.”
“I liked the way/point of view it was filmed from, as if we were performing the ELISA It was performed at a steady rate so it was easy to follow.”
“I liked the perspective it was filmed at and seeing each step while it was being talked through.”
However one student commented that s/he would prefer to see the person performing the demonstration.
WHAT IS NEEDED?
SME needs to practice with the camera. Slow head movements. Review and implement steps.
Projects within DCU
SNHS + A&E dept in Beaumont Hospital, Dublin – “Surgical Skills for Healthcare Practitioners” commences in February 2016
“Preparation for Clinical Nursing Practice” Assessment comprised of six components that run concurently. 200 students are split into 6 groups. The camera is used as part of an orientation videos for each component. Students are informed before they begin each component.