0229836_9011C_jack_koumi_designing_educational_video_and_multimedia_for_op-1

C h a p t e r 2

Video that adds experiential value

D o m a i n 2 o f Ta b l e 0 . 1 ; p r o v i d i n g v i c a r i o u s e x p e r i e n c e s

Vicarious experiences can be achieved by showing/documenting phenomena that would otherwise be inaccessible.

2 . 1 . Dynamic change or movement

This is the fundamental reason for video – when movement is necessary for the learning task, for example, to appreciate

•oscillations of a bridge in a high wind

•speed of reaction in mechanical or chemical processes

•the consistency of clay (or other material) when it is being kneaded; e.g. (Figure 2.1), a video clip can show a lump of semi-solid metal as it is sliced and distorted and squashed

ÎThis clip also illustrates categories 2.5, three dimensions, and 2.9, duration, as explained later in this chapter.

Figure 2.1 Semi-molten metal, sliced and distorted (LDMU)

Video that adds experiential value 35

Video can also portray complex motion of mechanical parts. For example in Figure 2.2 an engineer demonstrates a borehole drill that has rotating teeth to crush rock; seeing the teeth rotating against the ground enables viewers to appreciate the drill’s crushing action.

ÎThis clip also illustrates category 2.5, three dimensions, as explained later in this chapter.

Another example of complex motion (Figure 2.3) is in a 30 sec video clip in which an engineering student demonstrates a control mechanism that balances a 12 inch (30 cm) ruler on its end. When the top of the ruler is manually deflected from the vertical, the control mechanism moves just enough in the opposite direction to keep the ruler balanced. Without seeing the complex movements, it is impossible to appreciate the control mechanism.

Figure 2.2 Bore-hole drill with rotating teeth (LDMU)

Figure 2.3 Control mechanism, balancing a ruler (LDMU)

36 Techniques and teaching functions that exploit video’s strengths

In contrast to the above examples, if your information can be conveyed with still pictures, you have to question the need for video. Mind you, there are exceptions when still pictures are acceptable on video, e.g. a sequence of stills as snapshots of a dynamic process which is shown in full movement just before or after the stills.

2 . 2 . Inaccessible places

There are many information-rich locations that are inaccessible because of the danger involved, or the expense, or the distance; video can take viewers on virtual field trips, giving them the vicarious experience of

•deep undersea locations

•overseas locations

•seeing molten metal being poured into a mould in a foundry, as in the 1 minute video clip shown in Figure 2.4. It would be dangerous to take a large group of students into the foundry.

ÎThis clip also illustrates category 2.3, inaccessible viewpoints, as explained later in this chapter.

2 . 3 . Otherwise inaccessible viewpoints

For example, aerial views, big close-ups, microscopy, objects of study isolated from their surroundings:

Figure 2.4 Molten metal in a foundry (LDMU)

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•A shot of the Alps can be taken from a helicopter flying around a particular geological feature, such as a glacier.

•A 30 sec clip demonstrates a microscope that relays the image to a TV screen. This image is of motile sperm. A video recording can make use of highquality, expensive microscopes which very few educational establishments possess. Even fewer would possess the facility to project the image onto a video screen, hence enabling group viewing.

•A video about the construction of Bronze Age axes includes (Figure 2.5) a big close-up (BCU) of molten metal being poured into a mould – the view is impossibly dangerous in real life because it would need viewers to stand only 10 cm away from the molten metal.

ÎThis clip also illustrates category 2.2, inaccessible places, as explained earlier in this chapter.

An 80 sec clip shows the fitting of the striking plate of a mortice lock to a doorjamb. The BCU shots and the good lighting are impossible to achieve without specialist equipment. In fact the biggest close-up views could not be experienced by direct observation: they would need trainees to stand dangerously close – only 10 cm (too close to focus anyway). See Figures 1.22a, 1.22b and 1.22c.

ÎThis clip also illustrates categories 1.6, condensing time, and 1.9, demonstration of a physical skill, as explained in Chapter 1; also 2.11, staged event, as explained later in this chapter.

A 30 sec clip, all shot in BCU, illustrates anastomosis, a surgical procedure on the bowel: a slit is made in the wall of the bowel and a new piece of intestine is sutured onto the slit. The BCU allows students to see the details much more clearly than if they attended the demonstration in person. See Figure 1.29.

ÎThis clip also illustrates category 1.9, demonstration by an expert, as explained in Chapter 1.

Another kind of inaccessibility is the purposely restricted view, in which the object of study is carefully positioned so that surrounding items do not distract the viewer. Such meticulous preparation is typical in video recording and would take exorbitant effort to remount for each cohort of students. For example, a 90 sec video clip could show a complicated chemical process with many pieces of equipment, carefully positioned to exclude irrelevant surroundings.

2 . 4 . Showing technical processes or equipment (especially complex or large - scale)

A 30 sec video clip shows a factory process with several stages in which metal is heated to a semi-solid state and cast into a complicated shape using a very fast compression into a die.

38 Techniques and teaching functions that exploit video’s strengths

Figure 2.5 BCU molten metal poured into a mould (LDMU)

An 18 minute video shows UK Open University students learning from the medium of audiovision, audiocassette guiding learners through visual materials. Several students are seen listening and stopping to carry out activities, e.g. drawing diagrams, manipulating a home experiment kit. See Figure 1.27.

ÎThis clip also illustrates category 1.9, demonstrating a skill (by non-experts)

2 . 5 . Showing three - dimensional objects

This is done by moving the object or the camera and/or by exploring the space with the presenter’s hand. True, the TV picture is two-dimensional; however, it can realistically convey three-dimensional objects because it can present some (although not all) of the many cues in a real-life scene that enable the viewer to experience 3D

1 binocular vision

2 eyes focusing

3 grain (grain getting smaller in the distance)

4 mistiness in the distance

5 differentiated reflection of light from different planes of the object 6 shadows of protrusions

7when another object, such as the presenter’s hand, explores the outlines of the object

8parallax: if you move past an object, the nearer parts of the object pass through your field of view faster than the further parts, similarly if the object is moving past you or rotating

The last four, items 5 to 8, and especially 7 and 8, are essentially the ways video can show the realistic three-dimensionality of objects. Hence, to convey three-

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dimensionality, the best technique is to move the object or camera. Additionally, the three-dimensionality can be enhanced by interposing the presenter’s hand, sliding over the object. Appropriate lighting is also effective – to sculpture the object by creating differentiated light and shade and also shadows of protrusions.

In Figure 2.1 a lump of semi-solid metal is sliced and distorted and squashed; the movement and the lighting bring out the three-dimensionality.

ÎThe clip in Figure 2.1 also illustrates categories 2.1, dynamic change, as explained earlier in this chapter, and 2.9, duration as explained later in this chapter.

A video clip shows an engineer demonstrating a type of borehole drilling bit that has rotating teeth; the engineer rotates the teeth and runs his hands over the whole drill. The three-dimensionality of the object is made realistic by moving the object and having the presenter’s hand move over the object. See Figure 2.2.

ÎThe clip in Figure 2.2 also illustrates category 2.1, dynamic change or movement, as explained earlier in this chapter.

In a 30 sec video clip, Figure 2.6, various types of ore are displayed; the rotation of the samples (plus the careful lighting) provides good appreciation of their three-dimensionality. This is difficult to appreciate from a static picture (as you can witness here).

2 . 6 . Slow/fast motion

Slow motion

By recording at a fast rate (say 50 frames per second) and playing the recording at the standard rate of 25 frames per second, the motion is seen at slower than normal speed (half speed in this case). Examples:

Figure 2.6 Rotating ore sample (LDMU)

Figure 2.7 (A) Assembling a stool: two men not following instructions correctly, (B) The bored assembler, speeded up (EBS)

2 . 7 . People, animals interacting, real - life or drama

Several sequences can show the stance/demeanour of subordinate animals in dominance/subordinacy relationships. The subtleties of the phenomenon of ‘dominance’ cannot be appreciated in real life without weeks of careful, skilful observation. A carefully structured 25 minute video can enable the learner to achieve such appreciation.

Important people can be shown being interviewed or interacting with their public: e.g. a week in the life of a government minister (to which an individual student could not gain personal access) or an interview with the author of the course text, who gives further insights into the topic. An individual student cannot access the activities, the interactions, the demeanour of such people, whereas a prestigious teaching institution such as the UK OU might be permitted to trail government officials in their daily work. This can create a sense of importance for the students – they come to know that they are part of a prestigious organization.

A video can demonstrate the tone of voice and body posture of a sympathetic counsellor or of a doctor breaking bad news. For example, in a video of a bereavement counselling session (see Figure 1.30) in which the interviewee lost his wife only a few weeks earlier and is extremely emotional. This shows an experienced counsellor who asks questions, listens and summarizes, acknowledges what the interviewee says. A sympathetic tone and an open body posture encourage the interviewee to speak freely. The combination of all these aspects is very difficult to communicate without using video. Similarly, the interviewee’s body language cannot be appreciated without video.

ÎThis clip also illustrates categories 1.9, demonstration of skill, as explained in Chapter 1 and 3.5, create empathy, as explained in Chapter 3.

A 10 sec clip shows a baby with breathing problems, as experienced in the disorder called croup – narrowing of the extra-thoracic airway, causing difficulty