http://videoplan.witness.org | This session introduces and reviews key principles of using storytelling for advocacy video.
WITNESS Training Curriculum - Part of module 5
Introduction to Filming Safely Securely and Using Informed ConsentWITNESS
http://videoplan.witness.org | The aim of this session is to have participants begin to apply what they have learned during the preceding sessions and to have them complete a portion of the Workbook – Video Action Plan.
WITNESS Training Curriculum - Part of module 7
Prepare a Synopsis and an Outline for Your Advocacy VideoWITNESS
The document provides guidance on writing a synopsis and outline for an advocacy video. It explains that a synopsis is a short summary that visually describes the story, while an outline lists the audiovisual elements in order to illustrate the storyline. Sample synopses and outlines are included, and considerations for different audiences are discussed. The purpose is to help video creators effectively plan what footage is needed to tell their story before beginning production.
Interactive documentaries utilize multimedia tools like photography, text, audio, video and animations to create non-linear productions unlike traditional linear documentaries. They allow scenes to be interactive by including responses to questions from those filmed or the public. However, this format can also manipulate interviews and opinions in a way that belittles or makes subjects look foolish. Interactive documentaries are commonly investigative in nature, talking directly to the audience to make them feel involved by addressing them through the camera. They typically use informal interviews with long takes and location shooting including handheld camera work.
An interactive documentary utilizes multimedia tools like photography, text, audio, video, animation and infographics to create a nonlinear production, different from traditional linear documentaries. Interactive documentaries often feature interviews where the filmmaker can include or remove questions, and the responses from interviewees can provide their perspective or opinion on the story. They commonly take an investigative form where the audience is directly engaged, with informal interviews in long takes and location shooting with handheld cameras alongside voiceovers.
This document discusses three styles of documentary filmmaking: observational, expository, and reflective. Observational documentaries use handheld cameras and long takes to film subjects without interfering as they go about their lives. Expository documentaries educate and inform audiences through verbal commentary, narration, and facts/statistics. Reflective documentaries feature the filmmaker as a prominent presence who directly addresses the audience and challenges conventions by focusing on the filmmaking process itself.
Documentaries aim to document and report factual information through footage, interviews, and observation. There are various types of documentaries including fully narrated, fly on the wall, verité, and cinema verité. Documentaries rely on human subjects and use exposition, which is the line of argument or narrative, to tell a story. Exposition can be plain, direct, indirect, or hidden. John Grierson coined the term "documentary" and defined it as the creative treatment of actuality for the purposes of education or persuasion.
Lights, Smartphone, Action: Telling Rotary’s Story on the Go WorksheetRotary International
If an image speaks a thousand words, a video can convey a million. What better way to show Rotary’s people of action than through video? Bring your smartphone or tablet and learn how to quickly shoot and edit great videos. We’ll review the different types of video you can create, what kinds of shots to capture, how to use the iMovie app to create an edited production, and other tips, tricks, and tools you can use to help your video shine.
Lights, Smartphone, Action: Telling Rotary’s Story on the Go PresentationRotary International
This document provides guidance on using smartphones to tell Rotary's story through video. It recommends downloading free video editing apps and practicing filming techniques like holding the phone horizontally. The session objectives are to examine video storytelling, sharing, and equipment. It offers tips on filming interviews, b-roll, and audio while practicing with a short filmed interview. Editing guidance in iMovie includes locking the narrative, adding b-roll, titles, and ending with Rotary branding. The document also provides examples of video content and ideas for sharing finished videos.
Introduction to Filming Safely Securely and Using Informed ConsentWITNESS
http://videoplan.witness.org | The aim of this session is to have participants begin to apply what they have learned during the preceding sessions and to have them complete a portion of the Workbook – Video Action Plan.
WITNESS Training Curriculum - Part of module 7
Prepare a Synopsis and an Outline for Your Advocacy VideoWITNESS
The document provides guidance on writing a synopsis and outline for an advocacy video. It explains that a synopsis is a short summary that visually describes the story, while an outline lists the audiovisual elements in order to illustrate the storyline. Sample synopses and outlines are included, and considerations for different audiences are discussed. The purpose is to help video creators effectively plan what footage is needed to tell their story before beginning production.
Interactive documentaries utilize multimedia tools like photography, text, audio, video and animations to create non-linear productions unlike traditional linear documentaries. They allow scenes to be interactive by including responses to questions from those filmed or the public. However, this format can also manipulate interviews and opinions in a way that belittles or makes subjects look foolish. Interactive documentaries are commonly investigative in nature, talking directly to the audience to make them feel involved by addressing them through the camera. They typically use informal interviews with long takes and location shooting including handheld camera work.
An interactive documentary utilizes multimedia tools like photography, text, audio, video, animation and infographics to create a nonlinear production, different from traditional linear documentaries. Interactive documentaries often feature interviews where the filmmaker can include or remove questions, and the responses from interviewees can provide their perspective or opinion on the story. They commonly take an investigative form where the audience is directly engaged, with informal interviews in long takes and location shooting with handheld cameras alongside voiceovers.
This document discusses three styles of documentary filmmaking: observational, expository, and reflective. Observational documentaries use handheld cameras and long takes to film subjects without interfering as they go about their lives. Expository documentaries educate and inform audiences through verbal commentary, narration, and facts/statistics. Reflective documentaries feature the filmmaker as a prominent presence who directly addresses the audience and challenges conventions by focusing on the filmmaking process itself.
Documentaries aim to document and report factual information through footage, interviews, and observation. There are various types of documentaries including fully narrated, fly on the wall, verité, and cinema verité. Documentaries rely on human subjects and use exposition, which is the line of argument or narrative, to tell a story. Exposition can be plain, direct, indirect, or hidden. John Grierson coined the term "documentary" and defined it as the creative treatment of actuality for the purposes of education or persuasion.
Lights, Smartphone, Action: Telling Rotary’s Story on the Go WorksheetRotary International
If an image speaks a thousand words, a video can convey a million. What better way to show Rotary’s people of action than through video? Bring your smartphone or tablet and learn how to quickly shoot and edit great videos. We’ll review the different types of video you can create, what kinds of shots to capture, how to use the iMovie app to create an edited production, and other tips, tricks, and tools you can use to help your video shine.
Lights, Smartphone, Action: Telling Rotary’s Story on the Go PresentationRotary International
This document provides guidance on using smartphones to tell Rotary's story through video. It recommends downloading free video editing apps and practicing filming techniques like holding the phone horizontally. The session objectives are to examine video storytelling, sharing, and equipment. It offers tips on filming interviews, b-roll, and audio while practicing with a short filmed interview. Editing guidance in iMovie includes locking the narrative, adding b-roll, titles, and ending with Rotary branding. The document also provides examples of video content and ideas for sharing finished videos.
Presentation and Brainstorm - Voice and Point of ViewWITNESS
http://videoplan.witness.org | This session reviews different style and point-of-view considerations in advocacy video making.
WITNESS Training Curriculum - Part of module 5
WITNESS Video Advocacy Methodology - IntroductionChris Michael
This document provides guidance on using video for human rights advocacy. It is from WITNESS, an organization that trains and supports human rights defenders in using video. The document discusses WITNESS's methodology for effective video advocacy and reviews case studies. It emphasizes that the goal of video advocacy is to compel audiences to take action to create change through human rights footage and personal stories. It also covers topics like targeting the right audiences, crafting clear messages, and telling compelling stories that will motivate audiences to act.
The codes and conventions of documentariesjess carney
The document introduces the typical structure of documentaries, including an introduction that sets up ideas and arguments, a middle section that elaborates on these points, and an ending that summarizes the key points. It also discusses the purposes of documentaries, such as to entertain, inform, educate, or shock. Documentaries typically focus on a single topic, have a linear chronological structure, and shorter runtimes than films. They also use techniques like handheld camerawork, narration, interviews, archival footage, and lighting/editing styles to guide viewers and achieve their aims while maintaining engagement. However, documentaries are also inherently subjective and biased based on the filmmaker's perspective and choices of what to include or exclude.
The codes and conventions of documentariesjess carney
The document introduces the typical structure of documentaries, which includes an introduction that sets up the topic in the start, a middle section that elaborates on the points, and an end that summarizes the arguments. It also discusses the purposes of documentaries, such as to entertain, inform, educate, or shock audiences. Documentaries typically focus on a single topic, have a linear chronological structure, and shorter runtimes than films. They also use techniques like handheld camera footage, narration, interviews, and archived materials to guide viewers and sustain their interest.
Video for social change so just workshop by ali pinschmidtAliPinschmidt
This document provides information about using video for social change. It discusses the goals of the workshop which are to learn how to use video effectively for change, see successful models, and get practical filming tips. Reasons why individuals should create media are explained. Social change is defined as changes in beliefs, behaviors and societal structures over time. Video is a powerful tool as it can humanize issues, compress time/space, spread information widely and break barriers. The document outlines best practices for filming, types of videos for change like documentaries and how-to's, and provides examples. It stresses the importance of planning, distribution, and audience engagement strategies.
Unit 27 task 2 codes and conventions of factual programmesChelsie Brandrick
This document provides information on codes and conventions used in factual television programs. It discusses the different genres of factual programs like news, documentaries, and reality television. It explains that codes are systems of signs that create meaning, and conventions are generally accepted ways of doing things in a genre. Technical, symbolic, and written/audio codes are described. Examples of codes for news include studio news readers and report structure, while codes for documentaries include film, script, music and camera angles. Conventions for both genres are also outlined, such as expectations for on-location broadcasts and graphics in news, and use of interviews, narration and archive footage in documentaries. Different documentary styles like expository, observational, and interactive are also
Class lecture introducing basic Documentary Film concepts and setting up information to prepare students to write a simple treatment. Most information from Bill Nichols and Anthony Friedmann
This document defines key concepts for understanding audiences of media texts:
- Target audiences are identified by demographics like age, gender, location and psychographics like interests. Five main psychographic groups are described.
- Producers must understand their target audience to craft the "preferred reading" and ensure the audience understands the text as intended. Those not in the target group may have "oppositional readings."
- Modes of address refer to the tone used to make audiences feel a certain way, like comical, serious, or dramatic. Technical codes like cinematography, sound, and narrative structures are also discussed.
This document provides an agenda and overview for a video storytelling workshop. The workshop will cover using interviews for storytelling, best practices for interviewing, capturing interviews, basic editing, and uploading videos online. Participants will learn interview techniques like active listening and open-ended questions. They will also practice capturing interviews and basic editing during hands-on activities. The goal is to help participants hone their skills in using sound, images, and interviews to tell compelling stories through video.
The document provides feedback on a media production project that included a documentary, radio trailer, and magazine article. The summary analyzes how effectively the products worked together to promote the documentary and target their intended youth audience. While the products generally promoted the documentary's topic of stereotyping youth, the audience feedback revealed areas for improvement. The documentary sound quality was inconsistent at times, and the radio trailer and magazine lacked clear details about the air date. Overall, the combination of media promoted the topic well but could be strengthened by clearer scheduling information and consistent sound quality in the documentary.
The document discusses the purpose and conventions of film trailers. It lists common elements of trailers like release date, title, actors, scenes from the film and music. Students are asked to analyze trailers for conventions of action-adventure films and evaluate how effectively a selected trailer would attract its intended audience. Theories of audience needs and gratifications are discussed to explain the popularity of the action-adventure genre.
The documentary created by Eclipse Studios is about different types of bullying occurring in schools. It focuses on the borough of Redbridge in order to build community cohesion. Research involved distributing questionnaires and interviews were conducted at King Solomon High School. The documentary uses an observational approach by not intervening during interviews, and an expository approach with a narrator. It aims to educate audiences aged 14-19 and parents on the issue of bullying. The group believes addressing this important topic can help those being bullied to speak out or get help. Music and reenactments are used to emphasize emotions and situations. The documentary is posted on YouTube to reach a wide audience and allow feedback. The group feels they successfully followed the brief and guidelines.
This document provides guidance on creating engaging short videos through effective storytelling. It discusses key elements to consider in developing the story such as identifying the audience and message. It also outlines the important phases of video production: pre-production which involves developing the story, characters, shot list and logistics; production which is the filming; and post-production which is editing. The overall message is that an engaging video tells a clear, relatable story that moves the viewer to take a desired action.
Colorado college m4 mh - 9.25.19 - powerpointKalynSaylor
This document summarizes a workshop on mental health and movies held at Colorado College. It includes:
- An introduction by the facilitator Seth Pickens who is a spiritual leader and educator
- An overview of the workshop which will include watching short films about mental health, discussing them, and a panel on mental health resources
- Sections about mental health, stigma, and why people don't seek help
- Summaries of three short films shown at the workshop that address topics like sexual assault, racial oppression, and depression
- Discussion questions about the films and mental health in general
- Information on staying connected to the organizers of the event and their resources
1) The document discusses an evaluation of a group's advanced media production portfolio which included a short documentary film about eating disorders and supporting research and planning tasks.
2) They analyzed successful short films and documentaries to inform conventions and techniques for their own film, such as using personal interviews and statistics to raise awareness and prompt emotion.
3) Audience feedback indicated the film was effective at increasing awareness of eating disorders and forming an emotional connection through the personal interview style, though some noted issues with camerawork and sound quality.
The document analyzes the filmmaker's sports documentary project and how it develops conventions of real documentary forms. Research was conducted on documentaries like Blackfish and Coffee Shop Hot Shots to understand common themes like montage, interviews, cinematography, and editing techniques. The filmmaker aimed to explore issues in sports like drug abuse and discrimination using expository and reflexive modes inspired by films like Venus and Serena. Interviews were conducted with experts and structured narratively to discuss both positive and negative aspects of sports in a balanced way. Semiotic symbols like the Olympic rings and Team GB jersey were employed to impart ideologies about the power of sports.
Documentaries follow certain codes and conventions according to John Corner. They typically include observation footage showing an event as if the audience was present, interviews to provide different perspectives, and dramatization to further immerse the audience. During production, elements like music, interview techniques, and selective editing shape the overall message. Like other media, documentaries also have a beginning to introduce the topic, a middle to present evidence and conflict, and an end to resolve any doubts and leave the audience with a new perspective. However, they are not considered news programs and aim to explore issues in more depth through human experiences rather than opinions.
This document provides information about a GCSE music video study day being held at the BFI Southbank on March 6th, 2019. The study day will include sessions on music video language, context, and understanding audiences, as well as guest speakers. Tom Woodcock will be the presenter and will introduce the study day. The program details the schedule and sessions. Biographies of the presenter and guest speakers are also included.
The document summarizes an evaluation of a student's A2 media studies coursework where they produced the opening 5 minutes of a documentary about university fees. It discusses how the documentary and supplementary materials like a listings page and radio trailer utilized or challenged conventions of real media to engage their target audience of 17-18 year olds considering university. Codes and conventions from channel 4 documentaries like interviews, shots, transitions, sound, and listings pages were employed, while some elements like transitions and images on the listings page were challenged.
documentary research informing ideas B2.pptxChloeMeadows1
This document discusses various codes and conventions that are commonly used in documentary films. It explains that documentaries often feature interviews where the subject is the main focus in a medium close-up shot, known as a "talking head." Establishing shots are used to set the location and time of events. Documentaries may also include reenactments to help viewers understand the content. Sound is an important element, with voiceovers, non-diegetic music, and effects added to engage audiences.
Presentation and Brainstorm - Voice and Point of ViewWITNESS
http://videoplan.witness.org | This session reviews different style and point-of-view considerations in advocacy video making.
WITNESS Training Curriculum - Part of module 5
WITNESS Video Advocacy Methodology - IntroductionChris Michael
This document provides guidance on using video for human rights advocacy. It is from WITNESS, an organization that trains and supports human rights defenders in using video. The document discusses WITNESS's methodology for effective video advocacy and reviews case studies. It emphasizes that the goal of video advocacy is to compel audiences to take action to create change through human rights footage and personal stories. It also covers topics like targeting the right audiences, crafting clear messages, and telling compelling stories that will motivate audiences to act.
The codes and conventions of documentariesjess carney
The document introduces the typical structure of documentaries, including an introduction that sets up ideas and arguments, a middle section that elaborates on these points, and an ending that summarizes the key points. It also discusses the purposes of documentaries, such as to entertain, inform, educate, or shock. Documentaries typically focus on a single topic, have a linear chronological structure, and shorter runtimes than films. They also use techniques like handheld camerawork, narration, interviews, archival footage, and lighting/editing styles to guide viewers and achieve their aims while maintaining engagement. However, documentaries are also inherently subjective and biased based on the filmmaker's perspective and choices of what to include or exclude.
The codes and conventions of documentariesjess carney
The document introduces the typical structure of documentaries, which includes an introduction that sets up the topic in the start, a middle section that elaborates on the points, and an end that summarizes the arguments. It also discusses the purposes of documentaries, such as to entertain, inform, educate, or shock audiences. Documentaries typically focus on a single topic, have a linear chronological structure, and shorter runtimes than films. They also use techniques like handheld camera footage, narration, interviews, and archived materials to guide viewers and sustain their interest.
Video for social change so just workshop by ali pinschmidtAliPinschmidt
This document provides information about using video for social change. It discusses the goals of the workshop which are to learn how to use video effectively for change, see successful models, and get practical filming tips. Reasons why individuals should create media are explained. Social change is defined as changes in beliefs, behaviors and societal structures over time. Video is a powerful tool as it can humanize issues, compress time/space, spread information widely and break barriers. The document outlines best practices for filming, types of videos for change like documentaries and how-to's, and provides examples. It stresses the importance of planning, distribution, and audience engagement strategies.
Unit 27 task 2 codes and conventions of factual programmesChelsie Brandrick
This document provides information on codes and conventions used in factual television programs. It discusses the different genres of factual programs like news, documentaries, and reality television. It explains that codes are systems of signs that create meaning, and conventions are generally accepted ways of doing things in a genre. Technical, symbolic, and written/audio codes are described. Examples of codes for news include studio news readers and report structure, while codes for documentaries include film, script, music and camera angles. Conventions for both genres are also outlined, such as expectations for on-location broadcasts and graphics in news, and use of interviews, narration and archive footage in documentaries. Different documentary styles like expository, observational, and interactive are also
Class lecture introducing basic Documentary Film concepts and setting up information to prepare students to write a simple treatment. Most information from Bill Nichols and Anthony Friedmann
This document defines key concepts for understanding audiences of media texts:
- Target audiences are identified by demographics like age, gender, location and psychographics like interests. Five main psychographic groups are described.
- Producers must understand their target audience to craft the "preferred reading" and ensure the audience understands the text as intended. Those not in the target group may have "oppositional readings."
- Modes of address refer to the tone used to make audiences feel a certain way, like comical, serious, or dramatic. Technical codes like cinematography, sound, and narrative structures are also discussed.
This document provides an agenda and overview for a video storytelling workshop. The workshop will cover using interviews for storytelling, best practices for interviewing, capturing interviews, basic editing, and uploading videos online. Participants will learn interview techniques like active listening and open-ended questions. They will also practice capturing interviews and basic editing during hands-on activities. The goal is to help participants hone their skills in using sound, images, and interviews to tell compelling stories through video.
The document provides feedback on a media production project that included a documentary, radio trailer, and magazine article. The summary analyzes how effectively the products worked together to promote the documentary and target their intended youth audience. While the products generally promoted the documentary's topic of stereotyping youth, the audience feedback revealed areas for improvement. The documentary sound quality was inconsistent at times, and the radio trailer and magazine lacked clear details about the air date. Overall, the combination of media promoted the topic well but could be strengthened by clearer scheduling information and consistent sound quality in the documentary.
The document discusses the purpose and conventions of film trailers. It lists common elements of trailers like release date, title, actors, scenes from the film and music. Students are asked to analyze trailers for conventions of action-adventure films and evaluate how effectively a selected trailer would attract its intended audience. Theories of audience needs and gratifications are discussed to explain the popularity of the action-adventure genre.
The documentary created by Eclipse Studios is about different types of bullying occurring in schools. It focuses on the borough of Redbridge in order to build community cohesion. Research involved distributing questionnaires and interviews were conducted at King Solomon High School. The documentary uses an observational approach by not intervening during interviews, and an expository approach with a narrator. It aims to educate audiences aged 14-19 and parents on the issue of bullying. The group believes addressing this important topic can help those being bullied to speak out or get help. Music and reenactments are used to emphasize emotions and situations. The documentary is posted on YouTube to reach a wide audience and allow feedback. The group feels they successfully followed the brief and guidelines.
This document provides guidance on creating engaging short videos through effective storytelling. It discusses key elements to consider in developing the story such as identifying the audience and message. It also outlines the important phases of video production: pre-production which involves developing the story, characters, shot list and logistics; production which is the filming; and post-production which is editing. The overall message is that an engaging video tells a clear, relatable story that moves the viewer to take a desired action.
Colorado college m4 mh - 9.25.19 - powerpointKalynSaylor
This document summarizes a workshop on mental health and movies held at Colorado College. It includes:
- An introduction by the facilitator Seth Pickens who is a spiritual leader and educator
- An overview of the workshop which will include watching short films about mental health, discussing them, and a panel on mental health resources
- Sections about mental health, stigma, and why people don't seek help
- Summaries of three short films shown at the workshop that address topics like sexual assault, racial oppression, and depression
- Discussion questions about the films and mental health in general
- Information on staying connected to the organizers of the event and their resources
1) The document discusses an evaluation of a group's advanced media production portfolio which included a short documentary film about eating disorders and supporting research and planning tasks.
2) They analyzed successful short films and documentaries to inform conventions and techniques for their own film, such as using personal interviews and statistics to raise awareness and prompt emotion.
3) Audience feedback indicated the film was effective at increasing awareness of eating disorders and forming an emotional connection through the personal interview style, though some noted issues with camerawork and sound quality.
The document analyzes the filmmaker's sports documentary project and how it develops conventions of real documentary forms. Research was conducted on documentaries like Blackfish and Coffee Shop Hot Shots to understand common themes like montage, interviews, cinematography, and editing techniques. The filmmaker aimed to explore issues in sports like drug abuse and discrimination using expository and reflexive modes inspired by films like Venus and Serena. Interviews were conducted with experts and structured narratively to discuss both positive and negative aspects of sports in a balanced way. Semiotic symbols like the Olympic rings and Team GB jersey were employed to impart ideologies about the power of sports.
Documentaries follow certain codes and conventions according to John Corner. They typically include observation footage showing an event as if the audience was present, interviews to provide different perspectives, and dramatization to further immerse the audience. During production, elements like music, interview techniques, and selective editing shape the overall message. Like other media, documentaries also have a beginning to introduce the topic, a middle to present evidence and conflict, and an end to resolve any doubts and leave the audience with a new perspective. However, they are not considered news programs and aim to explore issues in more depth through human experiences rather than opinions.
This document provides information about a GCSE music video study day being held at the BFI Southbank on March 6th, 2019. The study day will include sessions on music video language, context, and understanding audiences, as well as guest speakers. Tom Woodcock will be the presenter and will introduce the study day. The program details the schedule and sessions. Biographies of the presenter and guest speakers are also included.
The document summarizes an evaluation of a student's A2 media studies coursework where they produced the opening 5 minutes of a documentary about university fees. It discusses how the documentary and supplementary materials like a listings page and radio trailer utilized or challenged conventions of real media to engage their target audience of 17-18 year olds considering university. Codes and conventions from channel 4 documentaries like interviews, shots, transitions, sound, and listings pages were employed, while some elements like transitions and images on the listings page were challenged.
documentary research informing ideas B2.pptxChloeMeadows1
This document discusses various codes and conventions that are commonly used in documentary films. It explains that documentaries often feature interviews where the subject is the main focus in a medium close-up shot, known as a "talking head." Establishing shots are used to set the location and time of events. Documentaries may also include reenactments to help viewers understand the content. Sound is an important element, with voiceovers, non-diegetic music, and effects added to engage audiences.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Walmart Business+ and Spark Good for Nonprofits.pdfTechSoup
"Learn about all the ways Walmart supports nonprofit organizations.
You will hear from Liz Willett, the Head of Nonprofits, and hear about what Walmart is doing to help nonprofits, including Walmart Business and Spark Good. Walmart Business+ is a new offer for nonprofits that offers discounts and also streamlines nonprofits order and expense tracking, saving time and money.
The webinar may also give some examples on how nonprofits can best leverage Walmart Business+.
The event will cover the following::
Walmart Business + (https://business.walmart.com/plus) is a new shopping experience for nonprofits, schools, and local business customers that connects an exclusive online shopping experience to stores. Benefits include free delivery and shipping, a 'Spend Analytics” feature, special discounts, deals and tax-exempt shopping.
Special TechSoup offer for a free 180 days membership, and up to $150 in discounts on eligible orders.
Spark Good (walmart.com/sparkgood) is a charitable platform that enables nonprofits to receive donations directly from customers and associates.
Answers about how you can do more with Walmart!"
Communicating effectively and consistently with students can help them feel at ease during their learning experience and provide the instructor with a communication trail to track the course's progress. This workshop will take you through constructing an engaging course container to facilitate effective communication.
How to Setup Warehouse & Location in Odoo 17 InventoryCeline George
In this slide, we'll explore how to set up warehouses and locations in Odoo 17 Inventory. This will help us manage our stock effectively, track inventory levels, and streamline warehouse operations.
Leveraging Generative AI to Drive Nonprofit InnovationTechSoup
In this webinar, participants learned how to utilize Generative AI to streamline operations and elevate member engagement. Amazon Web Service experts provided a customer specific use cases and dived into low/no-code tools that are quick and easy to deploy through Amazon Web Service (AWS.)
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
How to Make a Field Mandatory in Odoo 17Celine George
In Odoo, making a field required can be done through both Python code and XML views. When you set the required attribute to True in Python code, it makes the field required across all views where it's used. Conversely, when you set the required attribute in XML views, it makes the field required only in the context of that particular view.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
1. Introduction to Storytelling WITNESS invites you to use, remix and share this curriculum. All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License. You can also find more video advocacy training materials at www.witness.org.
4. What is visual storytelling for human rights? DEFINED: The strategic use of images, pictures, and sounds to tell stories that can pressure, shame, move or compel key audiences to take action that will protect, defend and uphold human rights. GOAL: The story inspires the action you want from the audience.
32. Introduction to Storytelling WITNESS invites you to use, remix and share this curriculum. All materials are under Creative Commons Attribution-Non-Commercial ShareAlike 3.0 License. You can also find more video advocacy training materials at www.witness.org.
Editor's Notes
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy Is there one way to tell a story…. No! But the most effective stories often have Dramatic momentum Tension or ‘conflict’ Powerful characters and Telling details
WITNESS: Strategies for using video as a tool in human rights advocacy Point-of –view -- Point of View : Who provides the guiding information in the film? Who orientates us and explains what is happening? Who frames what we are seeing? Who gives you credibility ? VOICES: What story will be persuasive, compelling, or motivating for this audience? Whose story do you want to tell? What will resonate with the target audience? What will make them feel compelled to do something? Should tell both sides of the story and give a balanced view for credibility sake? For a powerful story sake? To ensure there’s not deception? CN 4 TYPES OF CREDIBILITY: What voices is it important to have in the video in order to have emotional, political, and ethical credibility and impact?
WITNESS: Strategies for using video as a tool in human rights advocacy Point-of –view -- Point of View : Who provides the guiding information in the film? Who orientates us and explains what is happening? Who frames what we are seeing? Who gives you credibility ? VOICES: What story will be persuasive, compelling, or motivating for this audience? Whose story do you want to tell? What will resonate with the target audience? What will make them feel compelled to do something? Should tell both sides of the story and give a balanced view for credibility sake? For a powerful story sake? To ensure there’s not deception? CN 4 TYPES OF CREDIBILITY: What voices is it important to have in the video in order to have emotional, political, and ethical credibility and impact?
WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
WITNESS: Strategies for using video as a tool in human rights advocacy Possible to screen Shoot on Sight rights alert
Rightful place: http://hub.witness.org/node/5093 Pro: exact structure of legal case & evidence Screened at African Commission alongside legal submission and in-person advocacy WITNESS: Strategies for using video as a tool in human rights advocacy
WITNESS: Strategies for using video as a tool in human rights advocacy The Gathering Storm - Africa (play without sound / subtitles) (TRT 2:32) The Gathering Storm – Asia (play with eyes close, just listening) (TRT 3:33) Other options include: (can either juxapose two videos, one with sound, one without or just play one video to show how audio and visual complement each other. For just visuals first then add audio: http://www.youtube.com/watch?v=ndTIIPgEu0w (nao partam a minha cassia) (TRT 1:21) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/freda_degannes (TRT 2:03) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/maurice_decaul (TRT 2:34) http://www.nytimes.com/packages/html/nyregion/1-in-8-million/index.html#/mark_mocha (TRT 2:45)
WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
WITNESS: Strategies for using video as a tool in human rights advocacy One-minute clip / one scene of XXX . Consider XXX or external example of just audio and then just video and then the marriage of them both, www.url.org Testimony, overheard conversations, narration music, silence, wild sound, sound effects.
WITNESS: Strategies for using video as a tool in human rights advocacy Emotional credibility: Who speaks to our heart , and to our storytelling instincts? Analytical credibility: Who speaks to our head ? Ethical credibility: Whose voices must be in for ethical reasons? I.e. Are those most victimized/marginalized given space to speak out? Political credibility: Who speaks to the audience? Who needs to be in to satisfy them?
WITNESS: Strategies for using video as a tool in human rights advocacy One-minute clip / one scene of XXX . Consider XXX or external example of just audio and then just video and then the marriage of them both, www.url.org Testimony, overheard conversations, narration music, silence, wild sound, sound effects.
WITNESS: Strategies for using video as a tool in human rights advocacy STYLE -- Audience, messages, stories and voices should help you define the style Ask: What is the style that will resonate / have most credibility with your target audience? Hand held v. tripod Fast-paced v. slow paced Glitzy or gritty Interviews or narration Music choice Looking directly into the camera v. your traditional interview set up v. intentionally using an awkward set up, including high or low angles of interviews Concealed identify / voice Etc. Stories from the same genre/approach draw on these filmic forms and share certain conventions of structure and story-telling: Personal point-of-view (Michael Moore – ‘Roger and Me’) News-journalistic (investigations on evening news – ‘Benny Farm’) Journey around a central character (Joey Lozano in ‘Seeing is Believing’) Location-centered film (Fred Wiseman – Titticut Follies) Survey/thesis film (‘Seeing is Believing’) Music video (Breakthrough TV – Mann Ke Manjeere) Public Service announcement (PSA) (concept-based) Viral videos on YouTube (humor, pop culture, celebrity)
WITNESS: Strategies for using video as a tool in human rights advocacy STYLE -- Audience, messages, stories and voices should help you define the style Ask: What is the style that will resonate / have most credibility with your target audience? Hand held v. tripod Fast-paced v. slow paced Glitzy or gritty Interviews or narration Music choice Looking directly into the camera v. your traditional interview set up v. intentionally using an awkward set up, including high or low angles of interviews Concealed identify / voice Etc. Stories from the same genre/approach draw on these filmic forms and share certain conventions of structure and story-telling: Personal point-of-view (Michael Moore – ‘Roger and Me’) News-journalistic (investigations on evening news – ‘Benny Farm’) Journey around a central character (Joey Lozano in ‘Seeing is Believing’) Location-centered film (Fred Wiseman – Titticut Follies) Survey/thesis film (‘Seeing is Believing’) Music video (Breakthrough TV – Mann Ke Manjeere) Public Service announcement (PSA) (concept-based) Viral videos on YouTube (humor, pop culture, celebrity)
WITNESS: Strategies for using video as a tool in human rights advocacy STRUCTURE -- - Audience, messages, stories and voices should help you define the style & structure Ask: What forms the spine of your video (testimonies, title cards, a single character, assemble of characters / interviewees, reenactments, verite footage) Simple compilation of testimonies and interviews, which can’t really stand alone for an audience that may be unfamiliar with the issue, but that could serve for animating a community discussion? A longer-form story-focused film about the issue, using one or two characters/cases as the narrative thread that draws empathy. Video report that offer visual evidence (images, testimonies, interviews, photos, etc) within an analytical framework Raw material for a news report Advertisement-sturcture 60 – 90 second Public Service Announcement (PSA) that will simply put the idea there by playing with images and music, but not allow any analysis etc. Four filmic approaches to point of view: Narration or titlecard-driven : We are guided by a named or anonymous narrator Interview-driven : We are guided through by a series of interviews Observational-verite : We see ‘life as it happens’ with no apparent intervention Character-led : We are led through by a person involved in the narrative
WITNESS: Strategies for using video as a tool in human rights advocacy Needs research and review by Sam as I did this off the top of my head with no research.
WITNESS: Strategies for using video as a tool in human rights advocacy Needs research and review by Sam as I did this off the top of my head with no research.
WITNESS: Strategies for using video as a tool in human rights advocacy Often an advocacy video includes/ends with: A direct request to viewers from a person in the video An individual in the video framing an analysis of why a situation is occurring and what audiences can do Highlighting key advocacy work already happening References to opportunities to learn more, and materials available for offline organizing and discussion at screenings Always make your request concrete, specific, and relevant to your audience Don’t just complain….
WITNESS: Strategies for using video as a tool in human rights advocacy Goes to PART D of the Facilitator’s notes in Modual 5.1.
WITNESS: Strategies for using video as a tool in human rights advocacy