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Having to become a videographer in my own right or at college required me to kit up. All from 12 things a filmmaker must have
This is lot is recommended. Some I have.
- PC with video card, RAM and screens
- Full HD camera with Manual
- Memory – lots of cards
- Filters – for shallow depth of field
- Fluid head tripod e.g. Manproto 501
- Sound Recorder – Tascam or Zoom HR4N
- External microphone – shot mike AT83JB
- Mic stand boom pole
- Lighting & Disk Reflector
- Editing Software: hit film express
- External harddrive
1: Desktop Computer
I have always been a MAC person and run an iMac with two full on screens from home. I don’t have such luxury at work where I use a PC at whatever desk I land on, never a double screen and sometimes a challenge to upload and use the software.
2. Full HD Camera with Manual Setting
I got myself a Sony Alpha 7 four years ago and use this with a mixture of lenses supported by a lens adaptor for a zoom lens. I have a 50mm, a 40m prime lens, a short Sony zoom and longer 300m Minolta that must be 30 years old, ditto a fish eye.
3. Memory Cards
I need more to be safe!
I tend not to use anything more than a filter to protect the lens. How often is it so bright in the UK. But if it is advisory to have one then I’ll do so.
5. Fluid head tripod
Crucial, but who buys one, me or college? There’s also the opton of a steady-cam gimble.
6. Sound Recorder
This is vital. The sound quality we are producing at college is pants. It matters that we can hear the speaker and hear them clearly without background interuptions. Whether this means going the whole hog and having a second system and operator is another matter. I cannot direct, ask questions and hold and monitor the sound via a boom pole can I?
And then concentrate. Despite already doing the job of three people.
8. External Mic
To go with 6 & 7.
9. And to support it.
10. A disk reflector is a fine idea, but now we need a third or fourth pair of hands surely?
11. Edit Software. I edit on whatever is simplest. I’ve never managed with anything fancy. iMovies has been my starter, so I’ll take a look at Hitfilm Express. There are pros and cons.
12: External Hard Drive
Despite all the above I had a former editor/videographer showing off what can be done in camera on an iPhone. Beautiful smooth wide shots, dropped into a time line, butt-joined and GVs added even cutting to a single audio track to produce a pro looking cut almost in real time.
Would it be simpler to invest in a better iPhone?
Ditching Museum of Craft & Design is a gem. Its aesthetics, book choices and cake are amazing. It was worth joining simply to get the discount on all the books I bought.
As a budding local politician negotiating the slippery-slide of collaboration with other parties this is proving insightful. How do we get on as humans when our ideas might differ? How might we get on when our ideas overlap totally and we wish to avoid point-scoring and one up manship?
‘Cooperation is embedded in our genes, but cannot remain stuck in routine behaviour; it needs to be developed and deepened’ writes Richard Sennet in the Preface.
‘Cooperation is a craft.’ He continues, ‘It requires of people the skill and understanding and responding to another in order to act together, but this is a thorny process, full of difficulty and ambiguity and often leading to destructive consequences.’
He defines cooperation as ‘an exchange in which the participants benefit from the encounter’. He goes on to describe three types: cooperation in organise competition; cooperation in rituals spiritual and secular and cooperation that is both informal or formal.
Collusion is not cooperation.
The most important fact about cooperation is that is requires skill. Aristotle defined skill as techne, the technique of making something happen, doing it well.
Modern society, Sennett writes, is ‘de-skilling’ people in practising cooperation.
Sennett considers how the infant develops and learns to cooperate and to read its surroundings. These are life-lessons.
He uses music practice, rehearsal and performance as a metaphor. A talented musician he both played and conducted. He argues that homogeneity is dull.
Cooperation is built from the ground up.
Musicians with good rehearsal skills work forensically , investigating concrete problems.
The good listener detects common ground more in what another person assumes than says.
In everyday conversation, which is less easy to achieve online, ‘bouncing ideas off other people’; is where ‘these verbal balls land may surprise everyone’.
Curiosity figures strongly in empathy.
I recently took a class of 12 PGCE Level Two Teacher Trainees on a tour of Planet eStream.
It was a class on elearning tools, so they got some mind mapping with SimpleMinds, the 360 tour creator ThingLink and WordPress blogging too. They were jsut as insterested in these so more sessions are needed.
Becoming a champion for this TV, Video, multi-media educational platform I found I could introduce, demonstrate, elaborate, answer problems and queries and even get them signed in. The hope is to achieve the same with current tutors and educators so that the amount of elearning were provide increases greatly.
A number of things have got me here:
- Having the time to push the boundaries of the different parts of the Planet eStream platform with close to authentic learning challenges, rather than some random ‘giving it a go’.
- Having colleagues and friendly teachers to practice on in small groups until I was ready for something bigger.
- Taking ownership of the class. Therefore having my own ‘session plan’ and the means to follow this.
There is a lot to get through simply to promote the variety of things the platform can do to support teaching, in particular to create a ‘flipped classroom’.
I began with a story. How I got out of corporate training and information films and started at a web agency trying and failing to get broadcast TV content online for Ragdoll.
Finding out what subjects the trainee teachers would be teaching I also wondered where they saw themselves on this spectrum and explained a little about ‘Diffusion of Innovation Theory’ in relation to constant change and attitudes to new technology, software, applications and upgrades and how this manifests itself in the classroom as people who embrace the new and others who reject it all.
I like these simple, bold images, charts or mindmaps to cue an item I want to talk about. In the shorter lesson I skipped much of my introduction and this and got straight into Planet eStream. I think it works better with the context.
The demos I have created included taking an episode of Sheldon, lifting out the long commercial break in the middle and ‘topping and tailing’ either end. I then ‘cut’ it into 7 ‘chapters’ that isolated Sheldon’s story from the other characters. Each ‘sketch’ runs for less than a minute. I find these micro-experiences are ideal tasters rather than dissecting a 48 minute Horizon documentary.
I also used a less than 2 minute long clip from a 1981 edition of Tomorrow’s World where the Carry On comedian Kenneth Williams presented. Once again, the demonstration is short and memorable. I ought to find others for a younger audience. Does Oli Murs do a demonstration? What about a clip from Blue Peter 2019?
Other examples of how Planet eStream works included ‘grabbing’ the radio series ‘The Secret History of a School’ in ten parts. each under 15 minutes. Here I created an added a suitable ‘Thumbnail’ for each episode to distinguish each visually.
What I could not do in either session. This we need a morning, afternoon or evening workshop, was to do something in real time, not just find a programme or upload from YouTube, but then edit this piece, create a playlist or make an interactive quiz. These are all straightforward to learn skills.
I’m writing this is part of my habitual reflection. Just as I kept a diary here almost every day of my MAODE plus the two further modules that I did, I have now kept a diary for most working days of the 12 months I have been here are GB MET.
Taking these classes I finally feel a ‘change career’ I began in 2000 is going in the right direction. Back then it was from corporate training and information films to online. Then with my MAODE 2010 to 2013 it temporarily went into tertiary education with the OU but in a communications rather than a learning role. Since then there has been more corporate e-learning, even a further history degree and a digital editor’s role, but it is this., however modest, like a private in the army, like a private in the Labour Corps even, I am working with students and teachers.
Sitting in a class assessing where technology has a role is interesting too. More on this in my next post.
A third MA completed and within a month I am taking two MOOCs with FutureLearn, giving an hour a day to fixing my inadequate written French, once again contemplating a PhD and progressing with an MEd module through Coursera on Instructional Design.
If my day jobs were suitably stimulating I suppose I’d need none of the above.
Asked by my wife if I could be doing any paid job in the world right now what would it be I said directing a musical featuring kids or teeanagers. A sort of Cirque de Soleil science-fantasy set to music.
Would it surprise readers to learn that in 2002 I was diagnosed as ADHD?
I don’t resist it, I run with it. Result? A jack of all trades? Though evidentially I am a Master of some, though never enough. An MA in Fine Art calls my name still, as does playing the guitar and sailing well enough to be in the top three in a race rather than the final three or DNC.
How and why educators and learning institutions need to move more rapidly towards putting the student, not their practices and egos, first.
(These reflections are based on a re-reading of a 2008 article by Grainne Conole)
There is an inherent tension between the rhetoric of Web 2.0 and current educational practices.
Expectations in the first decade of the 21st century have barely been realised in the second decade, despite educational tools and platforms vying for space. The surprise is the consolidation evidenced by the likes of G Suite for Education and Google Classroom, the rise of the educator as celebrity, for example the presenter and co-creator of the Coursera MOOC Barbara Oakley and the slow transcendence from the dross of some highly effective learning Apps, such as the very different LingVist and Tandem for language learning.
The human brain and how we learn must be better understood and applied in e-learning design. Speed, immediacy, volume and complementarity which make up much of what is digital needs to accommodate a human learning process that is slow, cumulative, experimental, experiential and organic.
At a time when educators (teachers, lectures, coaches and tutors) require more time to consider the opportunities and challenges of education 2.0 their hours are being curtailed. Instead of participating in the choice of platforms, tools and pedagogies, teachers are being told what tools and platforms to use, with decisions taken by non-teaching IT and managers. If mismanaged, the autonomy and choices which give the teacher ownership of their teaching environment is being eroded especially if they find themselves leaning on IT and learning technologist. This relationship and approach to the creation of course content needs to become a collaborative rather than an individual one. However across education this requires a significant culture shift.
Whilst a decade ago there was a plethora of newly emerging tools and platforms these are consolidating through ownership and a tendency towards duplication of best practices. Certain platforms have come to dominate, what is more, to keep things simple, manageable and affordable, institutions pick and choose between a consolidating field of tools and platforms. In turn, the student experience far from being expansive is limited, albeit with platforms and tools that share familiar and transferable digital methods.
It is sensationalist to suggest there is any ‘peril’, rather there are lost opportunities that other cultures and societies may be quicker to adopt and take advantage of such as in South Korea, Singapore and even India, rather than in the West, in Britain in particular, where the educational models and institutions are wedded to the Victorian era.
The greatest challenge is not a digital one, but a human one. New roles for teachers and new roles entirely and how these morph and coalesce into a new more collaborative working environment is the challenge. Just as disruptive technologies in retail and music put the client experience first, so too must the student/client experience be put first and systems created and adjusted around their needs, rather than both students and teachers having to accommodate themselves to the systems they are told to adopt.
These interactive images look appealing as a learning tool. They pull together a series of short, quirky videos and animations that provide the low down on a collection of human organs. To what end? To some degree a Dorling Kindersley annotated book did this in the past. Stick it on an interactive screen and click on each in front of a class to fill 45 minutes. What is really required as a learning experience is to have students learn the skills to create these themselves, then research and add the links (or to shoot their own pieces). All of the above came from YouTube.
Here’s the link: https://www.thinglink.com/scene/880832510185963521
We use ThingLink.
The difference is that I am using 360 images that can be viewed through a VR headset, or desktop or touchscreen.
Here is my ThingLink VR Tour of Northbrook Theatre: https://www.thinglink.com/mediacard/1073243716732321794
I am working with the College team here to create an immersive experience for induction. Do we add multiple hotspots of information, like this Human Body above, and follow this up with a detailed quiz, or do we clone the tour and get students to add the information themselves? Should we give them the skills to use the 360 camera and get them to annotate it? OFSTED would like us to be developing their Digital Skills and using English.
The VR Tours I have so far initiated include the following. These are being used for marketing purposes so are in the public domain. If you get sent down a ‘blind alley’ or a link is missing or obscure please let me know and I’ll fix it 🙂
To get the education right I need to go back through some of the MAODE modules I did, for example, H818 ‘The Networked Practitioner’.
With my MA in British History of the First World War complete (the dissertation went off on 9 July) I am seriously contemplating the next piece of learning which includes adding to two 30 credit ‘spare’ modules I did having completed the MAODE in 2013 that I could potentially build into an MEd.
That or hunker down and specialise on Augmented Reality & Virtual Reality in learning.
A morning spent taking some 80 VR 360 shots across Northbrook Theatre and an afternoon beginning to stitch them together. I relax with a trip down to Hope Gap to take further shots under the chalk cliffs looking east down the coast to the Seven Sisters, Birling Gap and Beechy Head.
18 years regularly taking shots along here and plenty to show the way the cliffs erode and collapse.
The number of 360 images I have shot over the last six weeks approaches 500. On top of this add 200 mid and extreme close ups and 100 video clips.
360s on a Ricoh Theta SC.
Stills on a Sony Alpha 7 that delivers the most delicious results..
These being stitched together into some 12 interactive VR tours.
Production practices and workflow of any production company or agency with the 21st century digital bonus of being able to overshoot and experiment extensively.
All content transferred to a Google Photo account as soon as shot. Unless I resist the temptation these are further colour corrected in Adobe Lightroom (stills) before labelling and uploading to ThingLink. Then the tapestry takes form. There can be 12 to 50 360 images in a set and however many links and ‘hot spots’ I care to add.
All to create engaging promotion, immersive learning and ‘spaced’ and ‘just in time’ learning.
Continuing coverage of the summer at GB MET show at Durrington.
The pattern that is emerging is to cover the ground, each exhibition room and some corridors with a 360 still image, then return to take mid-shots and extreme close-ups. As I find the language for covering an exhibition I also use 360 video.
The pattern is to cover a room, on the self-timer at 5 to 10 seconds, then return first with a standard lens and then using a close-up lens for fine detail. Everything is manually set to try and negotiate very different lighting conditions. Much of the lighting is mixed source, between bright, low or no sunlight, with neon or other artificial lighting. The 360 camera offers various White Balance settings. Shutter speeds are generally kept low so that if someone wanders into a shot (rare) they will be out of focus in any case. Exposure is therefore adjusted by the ISO.
All the images using the standard digital camera are RAW.
All the 360 images are transferred to an iPad mini which operates the 360 camera remotely. All the images on the iPad are backed up in Google Photos. All these images, those chosen to use at least, will then be colour corrected in Adobe Lightroom, then uploaded into ThingLink and stitched together into a Virtual Reality Tour.
Some ‘establishing shots’ or just reminders of the rooms or corridors I am in are shot on my iPhone. It might be better to use the iPad for these and keep the images saved on a college device and in my college Google Gallery.
‘Hotspots’ will feature a random mixture of mid-shots and close-ups. The issue with VR is that the ability to zoom is lost as soon as you overlay ‘tags’ and ‘hot spots’ and the definition is reduced with the zoom too which counters the way we step in to take a closer look to see greater detail, not to have it obscured.
The coverage is somewhat random as I am not in position either to be comprehensive (cover all items in all sizes) or to be selective (I don’t know the student, the tutor or the department).
The simplest guidance I get is to cover the Degree graduate programme. Armed with a plan of the site I pick all of these off over two days. The Richoh Theta 360 camera runs for around 6 hours, but can overheat and shut down. It takes 4 hours to charge. At times a second 360 camera would be handy. With the self-timer I can get well-out of shot though I have learnt to leave the iPad within a 4m range so that the link is not lost. Once activates the camera will still take a picture however once lost the signal has to be reset via the WiFi connection, or sometimes by turning the camera on and off again.