Creating Digital Video In Your School: How To Shoot, Edit, by Ann Bell

By Ann Bell

Utilizing this advisor, lecturers and media experts will help their scholars elevate their visible literacy, fairly media literacy and data literacy. This paintings takes the beginner and intermediate consumer step by step during the components that make up a high quality video construction, utilizing the most up-tp-date details. It covers all points of video construction from the choice of and software program, realizing electronic compression, pre-production, construction and post-production counsel and sharing the video in numerous codecs. It describes themes in an easy, straight forward demeanour, whole with index, word list of phrases and extra assets, either on-line and print.

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Extra resources for Creating Digital Video In Your School: How To Shoot, Edit, Produce, Distribute And Incorporate Digital Media Into The Curriculum

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16: Tripod comfortably hold a steady shot for no more than a minute or two. Using tripods, videographers and photographers can improve the sharpness of their shots and increase the variety of conditions in which they shoot, such as night or low light. There are two types of head units on a tripod, fluid head and friction head. A friction head creates resistance by pushing metal against metal. A fluid head floats on a bed of oil or some other viscous fluid. Friction heads are not as smooth as fluid heads, but they are also cheaper.

Some software packages allow the user to drag the end of a video clip toward a specific time marker on the timeline. A timeline view is essential for managing multiple video and audio tracks. The user has individual control over each track to add special effects. Switching between storyboard and timeline view does not change the project, only the view of the project. The storyboard mode is used to view all the project clips at a glance, note the sequence, and drag clips to a new location within the project.

Variations of the basic configuration may vary according to the local budget and the audio/video needs of the school. Creativity can often over-compensate for minimal equipment, and students can prepare quality productions in spite of limited funding. An audience will be more forgiving of bad shots than they will be of faulty audio. While the on-camera microphone will suffice for minimal quality audio, an external microphone provides clarity and eliminates static from the camcorder motor. A cordless microphone, consisting of two transmitters and one receiver, is an affordable solution to this problem.

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