Video Production

Smartphones are regular classroom accessories. Educators should work with children to understand the capacity of smartphones for learning and civic engagement, rather than being a classroom distraction. This research supports a collaborative project the authors engaged in with students in two states to discover what the perception of smartphone use was by students and teachers. One element of this project included students producing YouTube style tutorials on the educational use of mobile apps. The authors explored smartphone use in the classroom. Student created products correlated to technology trends in K-12 education and their relationship with state by state demographic data.

This interview with ethnographic filmmaker and theorist David MacDougall focuses on his most recent collaborative research project: an ongoing, five-year enterprise entitled Childhood and Modernity: Indian Children's Perspectives. In the project, which emerged from his earlier work documenting the social worlds and experiences of children in diverse institutions across India, MacDougall directs a series of workshops that equip small cohorts of boys and girls between the ages of 10 and 13 with basic video skills. These young, first-time filmmakers produce short films based on their investigation of research topics they select and design themselves. The process recognizes and amplifies the perspectives of children at a time of transformation and change in India. In a conversation with filmmaker Rowena Potts, a doctoral student in cultural anthropology at New York University and facilitator of a Childhood and Modernity workshop in Kolkata, MacDougall describes the evolution and contours of this project and its implications for ethnographic film, visual anthropology, and global studies of childhood.

This textbook is about basic television production techniques. The book is written in simple language for graduate and postgraduate students covering topics related to photography, video camera handling, sound, lighting, television news writing, documentary, news production, television reporting, video editing, graphics, make-up, set designing and television presentation. This book was part of the national Textbook Writing Project commissioned by the university.
This book can be purchased from the sales counter of the university. Email: https://www.mcu.ac.in/
Page: 167
Price: Rs. 175/- (Paperback)
Publisher: Makhanlal Chaturvedi National University of Journalism and Communication, Bhopal, India

(Text in Portuguese) Based on two initiatives that bridge the gap between undergraduate and postgraduate educators in practice, this paper delves into the utilization of cinema as a semiotic instrument for educational activities. The first initiative, "CInÊNCIA", emphasizes the semiotic analysis of cultural representations crafted through audiovisual narratives of film productions, exploring their implications in educational contexts and pedagogical practices for teacher training. Characterized by its dynamic approach, CInÊNCIA bolsters the bond between cinema and education, endorsing cinema as a medium for fostering critical thinking and advancing social and audiovisual inclusivity. In its efforts to introduce cinema to underserved audiences or those with limited access to cultural resources, CInÊNCIA engages with scientific, cultural, and emerging educational technologies through unique expressions, facilitated by the showcasing and discussion of film and video content. The second initiative, the "LEGO Project", is rooted in the "maker culture". It examines the significance of audiovisual production as a foundational strategy, enabling transformative shifts in established practices within teacher education. This project employs stop-motion animation with Lego pieces to generate audiovisual materials that address subjects in chemistry, physics, and biology. Both endeavors foster collaboration between in-service and pre-service educators.

This is an introductory course on video production. You will learn the fundamentals of digital video making: pre-production process, camera and sound skills and digital editing. You will be expected to understand: camera operation, audio control, basic directing, lighting, and editing. The course intends to illustrate how to operate a video camera and sound device, how to capture, edit and export video using non-linear editing software, examine site environment for lighting, sound and surroundings to access technical qualities and production treatment and identify image and sounds that create impact, emotion and meaning. Sample student projects during the semester include short fiction films, documentaries, essay films, music videos and video art projects.

Smartphones are regular classroom accessories. Educators should work with children to understand the capacity of smartphones for learning and civic engagement, rather than being a classroom distraction. This research supports a collaborative project the authors engaged in with students in two states to discover what the perception of smartphone use was by students and teachers. One element of this project included students producing YouTube style tutorials on the educational use of mobile apps. The authors explored smartphone use in the classroom. Student created products correlated to technology trends in K-12 education and their relationship with state by state demographic data. Although the smartphone has become a constant fixture in American schools, it is seldom used for learning purposes. Since nearly 88% of high school students ages 13-17 have access to a mobile phone, schools are shifting their mobile phone use policies to adapt to today's learners (Horrigan 2015). Students bring their smartphones to school in order to socialize with their peers outside of the classroom. But digital devices can be a powerful resource for learning. How can educators leverage this technology in order to maximize learning? Today nearly 70% of schools who had banned the use of cellphones are now overturning these policies (Kiema 2015). Are schools accepting the use of cellphones in classrooms because of the high volume of users, or are educators

Elicitation methods have been explored extensively in social science research, and in business contexts, to uncover unarticulated informant knowledge. This qualitative study investigates the use of an audiovisual elicitation interviewing technique, developed by a UK-based creative multimedia production social enterprise; Fifth Planet Productions CIC. The method employs a system of using audiovisual stimulus to elicit participant responses in the interview setting. This study, conducted in two parts, explores how the method improves solutions for eliciting client requirements. Part 1 explores the audiovisual elicitation interview within the business setting; how the techniques are effective at revealing tacit knowledge that would ordinarily remain unspoken in the standard interview. Part 2 tests the developed methods on a sample of 25 business owners seeking to improve communication within their respective organisations. This evidences how it is possible to elicit rich information that can be interpreted to determine clients’ requirements on professional commissions.

The study presents a working method of audiovisual elicitation that is regularly employed by Fifth Planet Productions CIC. The methods are used to elicit project requirements in professional commissions and to establish stronger client relationships.

Nigeria has witnessed an unprecedented boost in production, with feature films directly shot and released on video format. These Nollywood movies have met tremendous success not only in Nigeria, but also in most of black Africa. Video filmmaking has become the alternative solution par excellence to traditional African cinema on the continent. Yet, instead of being unanimously welcomed and appreciated by all creators, the video boom has caused a palpable schism in the African film environment, which sees the videastes (those who work on video/digital) competing with the cineastes (those who work on celluloid) in redefining African cinema. Labouba offers a survey of the disparities between the two entities, foregrounding their opposite takes on African cinema, their antagonistic modes of functioning, as well as their contrasting relationships with African audiences and international festivals. All these dichotomies reveal why video filmmaking has become so successful in creating an African cinema for African audiences.

As a supplement to its popular video editing program Premiere Pro, Adobe now automatically directs new users to its series Learn More tutorials. This move to have the tool teach itself not only has the potential to sideline in-person instructors, but, under the guise of ‘neutral’ technology, naturalizes the professionalization discourse in video production pedagogy. This discourse emphasizes technical, ‘job-ready’ skill building to the exclusion of critically-minded production activities aimed at analyzing texts or challenging hegemonic representations through alternate production. Via a walkthrough analysis, I track how the Learn More tutorials reproduce the professionalism discourse by navigating users toward specific production practices and outputs. Lessons on Premiere functions including color correction, sequencing, audio mixing tools consistently foreground a technical, ‘how-to’ approach to video production, ignoring valuable ‘why’ questions of meaning and representation. I conclude by calling for media production educators to interrogate seemingly neutral technologies like the Learn More tutorials. By locating these sites of reproduction and understanding the means through which they reproduce the professionalism discourse, instructors can work to negotiate or challenge production tools to better allow critically-oriented media production approaches to take root.

This study investigates the processes and products of multimodal and multi-authored digital media composition. Using ethnographic case study and Mediated Discourse Analysis (Norris & Jones, 2005), this study focuses specifically on the digital media composition of radio and film documentaries, examining struggle among students, media, and technology as vehicles for knowledge construction and social position.  (Erstad & Silseth, 2008; Holland, Skinner, Lachiotte, & Cain, 1998). Drawing on the work of Bakhtin (1981, 1986) and Nelson and Hull (2008), struggle is theorized as a diverse “heteroglossia” or “many-voiced-ness,” inherent in all acts of communication, in particular digital media texts.

Conducted in a diverse, urban high school, data was collected from a variety of sources including field notes, class work, final media projects, and several hours of audio and video footage of students’ collaborative process. Findings reveal intense engagement in the digital media composition process, often fueled by struggle surrounding media selections. Analysis of both the collaborative production process and final media products reveals a series of multimodal struggles in which students appropriate certain modes of communication within the documentary (e.g. sound, video, interviews, or voice over) in order to express nuanced views on the issue that may or may not be shared by the whole group. In gaining a deeper understanding of the struggles involved in the process of collaborative digital media composition, it becomes clear that literacy practices involve a continual negotiation among the various people, technology, and media involved.  Such nuanced depictions of literacy provide theoretical infrastructure and frameworks both for researchers, who seek to impact policy related to literacy instruction, and teachers who continually guide students in their search and appropriation of a media voice.

Debate over conceptual definitions is prominent within the body of literature dealing with emerging patterns of civic engagement and political participation among youth ICTs-enabled politics. This article contends that advancing new knowledge in this field is also dependent upon fine-grained empirical analysis of digital traces of youth participation. Drawing on a close analysis of two youth-produced vlogs, we show that adolescents' commitment to social change can be creatively achieved through video-making. Informed by a socio-semiotic approach to multimodal analysis and by Peter Dahlgren's concept of online civic cultures, our qualitative analysis highlights two main patterns we found in young people's vlogs aimed at raising awareness about social issues. First, we found that to impact their intended audiences, vloggers presented themselves as creative choice-makers and as savvy insiders of youth civic cultures on YouTube. Second, we found that vloggers successfully managed the risk of being the target of online hostility by using rhetorical devices and tactics that smoothed counter-positions. Overall, our multimodal case study shows that contrary to traditional approaches to successful communication based on textual coherence, a mix of consistency, disruption and contradiction can be used purposefully in public speech in order to manage difficult, risky topics. As we demonstrate that visual-based communication on social network sites (SNS) such as vlogs posted on YouTube is not neat and tidy, we illuminate the vloggers' shifting identities, opinions and concerns. This evidence-based observation calls for more in-depth small case qualitative analyses for investigating the multiple affordances of civic talk online and its democratic potential. This article contributes to the ongoing conceptual redefinition of youth civic engagement and political participation in the face of fast-evolving socio-technical change.

Honeycomb is a Video Production Company in Bangalore, Mumbai, India. Honeycomb is a one stop solution for services related to Corporate films, Corporate videos, product videos, 2D Animation, Testimonial Videos. For more information visit www.honeycombindia.net. Or Contact us Noufel @ +91 9845128760

Commercial video production is a form of B2B communication to enable businesses to grow and target the right market segment. Unlike a regular video, a commercial video is made for corporate clients and others who provide business solutions to other small businesses. In a start-up culture commercial video product is a professional approach to communicate with people and organization for funding and sourcing products. Be it making agreements for logistics, carrying out research work, hiring or consulting, the purpose of commercial video production is not to deviate from its goal. The message in a commercial video production is for a business provider from another business which wants to showcase what it has to offer and what's the new value proposition. To make it appealing to the client, a commercial video must explain in detail about the product, the technology used, the serviceability and the life of the product. In terms of service, a commercial video production will look into the solutions a company is providing to its clients to leverage the latter's business and increase its efficiency and productivity. A commercial video is aimed at business communication for and by the business. The nature of commercial video production depends on the business of both the sender and the receiver. From a product explainer to service delivery, interview to training videos, videos on infrastructure to technology and company tour are intended for business integration and rapid expansion. Commercial video is fast becoming the trend among companies who wants to hire or give contract to other companies to achieve business targets. Moreover the need to be omnipresent makes video production the most sought after option for a vast social media reach and robust online presence on search engine pages. The target of a commercial video is a corporate professional or someone running a business. With the market going online now the demand for commercial video production is more than before. A company specializing in video production can target another player who is in the business of travel and tourism with an explainer video the services provided to ensure hassle-free traveling and packages for affordable travel including fooding and lodging. An apparel manufacturer can share a video of its manufacturing unit to a conglomerate looking to open a cloth store and a product wholesaler can share a video to a retailer showcasing the variety of products under one roof. There is always a reason for everything and for a Commercial video production, the reason is business. Integration enables existence and survival in the market and more value can be added when a video is incorporated linking both businesses to explore opportunities and innovate new ideas to come out with something new in the space. A video can help build a strong and sustainable business relation. AOC Production is a commercial video production company in Bangalore. Create potential business within seconds with our professional Ad films, TV Commercials, Video Ads etc.

This article describes an experimental academic e-course during the Covid-19 pandemic, in which 178 undergraduate students were asked to become video creators and narrators through a specific methodology in order to become digitally literate and produce original content. This practical e-workshop took place in the context of the "Video, Image and Audio Editing" course of the Department of Communication, Media and Culture at Panteion University and was adapted to the needs of a distance learning course. Its main aim was the students' familiarization with literacy in digital tools and techniques that until now was only achieved in an actual laboratory setting. The research is divided into two phases. The first phase concerns this article and analyzes the methodology of video production as well as the students' acquisition of digital tools. In the second phase, specific factors will be studied, from the videos produced, through qualitative research so as to determine the audience's interaction with the narrative content, as well as with the factors that students believe contributed to the interaction of that content. Students gained knowledge of digital video tools which was upgraded to the capabilities and needs of each student. The final product from each group of students included two videos the first with a specific theme and the second with a theme of student's choice. Students increased their literacy skills in both digital media and video projection on social media and gained knowledge concerning the interaction that was encouraged through these mediums. In this laboratory course, a specific methodology was used that included pre-production, production and post-production. The results of the experiment showed a very positive response of students to distance learning and production of video content, with the results of the final videos showing that the journey to their literacy through a specific methodology and repeated practice in video production techniques and theories, could help them develop skills that previously didn't had.

Media literacy educators talk about the importance of developing essential social skills, such as collaboration, by using video production in the classroom. Video production with disadvantaged youth can also play a role of art therapy, as students use their creativity to come to terms with traumatizing pasts. This paper offers an account of a media literacy intervention that involved making videos with a class of foster youth. Using the methodology of portraiture, I describe highlights and pitfalls of collaboration that one of the teams experienced. I focus on moments of conflict, unleashed creativity and transformation brought by one video project.

This research tries to explore the popular TED talk video format by analysing the technical aspects of the visual production and discursive patterns in the verbal content in relation to the most popular ratings applied by the users. Our analysis shows how the visual production format uses direction and editing to convey information and emotion. The results also point towards an increasing trend favouring inspiring emotional human interest stories of personal experience, besides the informative academic treatment of science, technology or design.

Trent Cruz University of Western Ontario Abstract: The Community Engagement Model was developed as a tool for the production of health communication videos for broadcast on local television sta-tions. The model, a hybrid of participatory video design and social marketing ...

The purpose of this paper is to provide information on the multimedia production strategy specifically video production at the Namibian College of Open Learning (NAMCOL) and they reason why NAMCOL embarked on this journey. It has been established through institutional research that by adopting an appropriate strategy where ICTs are used more effectively, NAMCOL learners as well as learners and teachers from the formal education system could benefit tremendously from these programmes at secondary school level. Similarly, the broader Namibian public would be able to access and benefit from multimedia learning resources produced for NAMCOL’s professional programmes.

The proliferation of social networks through advancement of communication technologies havs also enhanced and diversified the educational content. Attractive rendering the educational content on social networks rests on the effective generation of this content. “Uzman TV” (Expert TV) which has been broadcasting since the year 2008, provides educational content to millions of viewers over the internet. “Uzman TV” does not target a specific audience for its productions. To the contrary, it offers educational content that is intended for audiences with diverse (ethic, linguistic, religious, racial, socio-economi cetc.) backgrounds. “Uzman TV” is the first and only web-site in Turkey which provides mass education content in audio-visual form along side formal education content. Educational content of the aired videos are narrated by subject matter experts at “Uzman TV” and also these educational videos are offered in a wide range of subjects. These distinctive features are the reason wh...

اﺣﺘﻠﺖ اﻟﺒﺮاﻣﺞ اﻟﺤﻮارﻳﺔ ﻓﻰ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﻘﻨﻮات اﻟﻌﺮﺑﻴﺔ ﻣﻮﻗﻌﺎ ﻣﻮﺿﻮﻋﺎت ﺗﻤﺲ ﺣﻴﺎﺗﻬﻢ، ﻓﺄﺻﺒﺤﺖ ﻗﺎﻋﺪة  ﻋﺮﻳﻀﺔ ﻣﻦ اﻟﻤﺸﺎﻫﺪﻳﻦ ﺗﺘﺎﺑﻊ ﻫﺬﻩ اﻟﺒﺮاﻣﺞ ورﺑﻤﺎ ﻻ ﺗﺘﺮك اﻟﺸﺎﺷﺔ لحظة حتى لا تفقد جزءاً
ﻣﻦ اﻟﺤﻮار اﻟﻘﺎﺋﻢ، وارﺗﺒﻂ ﻫﺬا اﻟﻨﻮع ﻣﻦ اﻟﺒﺮاﻣﺞ اﻟﺤﻮارﻳﺔ ﺑﺎﻟﺘﺰام اﻟﻤﺘﻠﻘﻰ  ﺑﺎﻟﻤﺸﺎﻫﺪة ﺑﺎﻫﺘﻤﺎم ﻟﺸﺎﺷﺔ اﻟﺒﺮﻧﺎﻣﺞ وﻟﻴﺲ ﺑﺎﻻﻛﺘﻔﺎء ﺑﺎﻻﺳﺘﻤﺎع ﻟﻠﺤﻮار ﻟﻤﺘﺎﺑﻌﺔ اﻟﺸﺨﻮص وﺗﻌﺒﻴﺮاﺗﻬﻢ واﻧﻔﻌﺎﻻﺗﻬﻢ واﻟﻘﺎﺋﻢ ﺑﺎﻻﺗﺼﺎل وﻛﻴﻔﻴﺔ إدارﺗﻪ ﻟﻠﺤﻮار وأداؤﻩ وﺗﻌﺒﻴﺮاﺗﻪ ﻓﻰ ﻣﺤﺎوﻟﺔ ﻹدراك ﻣﺘﻜﺎﻣﻞ ﻟﻠﺤﻮار
أى أن المشاهد يتابع صياغات بصرية معينة ولوقت لا يقل عن نصف الساعة وهو أقل توقيت لبرنامج حوارى
فما هى الكيفية التى يعمل عليها القائمون بإنتاج هذه البرامج فى صياغة مخرجاتهم البصرية؟
وهل هناك فكر وقواعد ما تسبق هذه الصياغة؟ هذه التساؤلات هى ما يلقى البحث عليه الضوء فى  تحليل  بصرى لعينة لبعض شاشات البرامج الحوارية التليفزيونية فى قنوات تليفزيونية عربية

In den späten 80ern wurde von Seiten der Entwickler von Lehrmaterialien und der Sprachmethodiker
die Integration von Videotechnik in die Sprachlehre unterstützt (siehe zum Beispiel, [1] und [2]) und im
Zuge dessen wurden viele Arbeiten, Lehr(er)bücher und Videoserien zu diesem Zweck
herausgegeben. Im Rückblick können wir jedoch feststellen, dass das Video beim praktischen
Spracherwerb im Unterricht nie eine bedeutende Rolle einnahm und es, obwohl es eingesetzt
wurde, oft als ein Mittel aufgefasst wurde, mit dem man zeitintensive Tätigkeiten einbauen konnte,
was es unmöglich machte, das Betrachten oder das Schaffen von Videos als Stimulus für echte
Kommunikation im Unterricht zu nutzen.
Heute stellt die digitale Technik einen neuen Rahmen zur Verfügung, da (a) sie zugänglich und
erschwinglich ist, (b) sie das Produktionsverfahren vereinfacht und (c) sie Schülern hilft, ein
Publikum für ihre Videoproduktionen zu finden, besonders wenn sie ins Internet [3] eingestellt
werden. In einem solchen Kontext kommt es sich selten vor, dass innerhalb von Projekten das
Schaffen von Videos das Betrachten von Videos beim schulischen Spracherwerb ersetzt,
besonders wenn Lehrer eine konstruktivistische Lernmethode im Sprachunterricht wählen. Forschung
über das Potenzial der Schaffung von digitalen Videos sollte also nicht auf die Analyse aktueller
Literatur zu dem Thema beschränkt sein (siehe [4]; [5]; [6] u. a.) und sollte untersuchen, was
Lehrer und ihre Schüler hervorbringen (wie z. B. in [7]). Diese Arbeit zielt darauf ab, einen Beitrag
zu einem solchen Ansatz zu leisten.
Die vorliegende Studie, die im Rahmens eines europäischen Projektes erstellt wurde, wird - DIVIS
(Digitales VIdeo Streaming und Mehrsprachigkeit; 141759-LLP-1-2008-1-DE-COMENIUS-CMP) -
zielt auf die Erforschung der Frage ab, wie digitale Videogeräte und aktuelle Methoden zur
Produktion von Videos als Werkzeuge im Spracherwerb dienen können. Unsere Ausführungen
verfolgen ein doppeltes Ziel. Einerseits werden wir darstellen, was aktuelle Literatur über den
Spracherwerb durch das Schaffen von Videos aussagt. Andererseits werden wir Beispiele für
Videoarbeiten, die von Sprachschülern geschaffen wurden, kategorisieren und analysieren. Dieses
zweite Ziel wiederum wird uns die Diskussion darüber ermöglichen (a), welche Art von
Videoprojekten und Aufgaben Schüler mit höherer Wahrscheinlichkeit helfen, sowohl ihre
linguistische als auch digitale kommunikative Kompetenz zu entwickeln, und (b) mit welchen neuen
Herausforderungen sich Lehrer beschäftigen sollten.

Media literacy educators talk about the importance of developing essential social skills, such as collaboration, by using video production in the classroom. Through media production students acquire types of literacy that are still considered problematic in traditional classrooms but that are crucial for young people’s lives in the twenty-first century. Video production with disadvantaged youth can also play a role of art therapy, where students use their creativity to come to terms with traumatizing pasts. This paper offers an account of a media literacy intervention that involved making videos with a class of foster youth. Using the methodology of portraiture, I describe highlights and pitfalls of collaboration that one of the teams experienced. I focus on moments of conflict, unleashed creativity and transformation that were brought by one video project.

This paper depicts the Portuguese interactive television (iTV) market focusing on the novel applications produced in that market between the years 2001 and 2003. Particular focus is given to two applications, “Noites Interactivas” and “VEMiTV-PANDA”, not only from a technological ...

Kassaveti, U.-H. (2016). Audio-visual Consumption in the Greek VHS Era: Social Mobility, Privatization and the VCR Audiences in the 1980s. In K. Kornetis, E. Kotsovili & N. Papadogiannis (eds), Consumption and Gender in Southern Europe since the Long 1960s (pp. 241-256). London, New Delhi & New York: Bloomsbury.

I have assigned reflections in multiple classes over the past ten years.  This document details a final examination assignment that I have been using in all production and non-productions classes for the past two years, and the rubric that accompanies that assignment.

Le souhait d'une majeure partie des clients est de fortifier les intérêts et de valoriser une entente de carrière vers un tournage de qualité rare et de valeur d'entente pour réussir un projet et garder une estime très recommandée pour être un atout et un grand talent pour du progrès et des valeurs de grande entente.

The ability to transmit video and support related real-time multimedia applications is considered important in mobile networks. Video streaming, video conferencing, online interactive gaming, and mobile TV are only a few of the applications expected to support the viability, and survival, of next generation mobile wireless networks. It is, therefore, significant to analyze the interaction of the particular media and applications. This paper presents the characteristics of mobile wireless networks and relates these characteristics to the requirements of video transmission. The relationship derived is based not only on the objective QoS metrics measured in the network, but also on the subjective quality measures obtained by video viewers at end hosts. Through this work we establish guidelines for the transmission of video based on the limits of mobile and wireless networks. We believe that the results help researchers and professionals in the fields of video production and encoding to create videos of high efficiency, in terms of resource utilization, and of high performance, in terms of end-user satisfaction.

As traditional media outlets converge towards a fully integrated digital platform on the Internet, the need to address these changes in an audio production curriculum is essential. Capitalizing on the myriad of web-based portals to simulate broadcast environments is both cost-effective and an excellent tool for building a comprehensive portfolio as students near graduation. By creating class projects that teach the essential aspects of simple web design, video blogging, podcasting and audio production, students are exposed to a well-rounded set of course competencies that foster creative thinking, entrepreneurship, and effective promotion.

This study was influenced by key notes speeches of known educators. As implied, teachers have to prepare in the advent of education 4.0. Learners are seen to be gadget dependent. They are acquiring informal educations in many forms through smartphones via net. The social media has shown its power to influence our young ones and even professionals. The general problem is focused on the attitude, skills and knowledge of teachers in digital technology towards education 4.0 through adaptation on lecture videos. This study used KSA model of business, Bloom's domain of learning and structured functional theory. This has conceptualized the 4C-shells of mind, structured functional model of sub-educational elements and Input-Process-Output model. The respondents came from different legislative district of province of Cavite conducted using random sampling methods via google forms. Descriptive and inferential statistics such as z-test, ANOVA, HSD Tukey's test, and Levene's test of...