1. DIGITAL STORYTELLING: CHAPTERS 13 & 14 PRESENTED BY: IMELDA VALDIVIESO, TERESA KOKKAS, MELANIE BIBLE, BRIAN BEGG, KUSUM BOODHUN-NUNKOO, CHRIS CATHLINE From: Digital Storytelling in the Classroom by Jason Ohler

2. AGENDA Chapter 13: VIDEO Hardware/Software required Chapter 14: Media Grammar Images Audio/Music Editing, transitions, and special effects Questions or Comments

4. Reasonably recent computer

5. Digital camera

6. Zoom capacity, removable memory, flash, view screen, usb capability

7. Flatbed scanner

8. Desktop microphone

9. Wireless microphone

10. Other microphones

11. Boom mike

12. Shotgun mike

13. Flat conference mike

14. A video camera

15. A music keyboard

18. “Bumps” in digital stories are similar to grammatical errors in essays. Readers stumble on bumps which hinder the smooth reading of an essay.

19. Examples of factors that can end up being media bumps if not used effectively

20. Images

21. Audio

22. Music

25. Make the audience feel dizzy

26. Be at odds with the story.

31. song does not relate to story

32. pace is too fast

33. song clutters narration

34. Music helps to set the mood or evoke an emotion

35. Music selection ought to be appropriate

36. Good Example:

37. No lyrics to overpower the narration

38. even pace

40. Effects are like transitions but happen only to a specific image rather than between images.

41. Variety of effects and transitions; from subtle (like soft focus) to the purposely obtrusive (pictures flipping end over end).

42. The goal in using effects is to make sure they are supportive and unobtrusive.

43. Seamless Transitions, Unobtrusive Effects

44. Viewers should not notice edition

45. When is an unsubtle effect okay? When it supports the story so well that you do not notice it.

46. Clear Titles

47. Titles need to be clear and stable long enough to read.

48. Clear Citations

50. Recommends that the teacher focus on two basic elements: structure and pacing.

51. Structure

52. “How did I get here?”

53. Non-supportive image or scene changes, extraneous information and sub-plots, and poorly edited narrative can also easily destabilize structure.

54. The most serious infraction of structure is simply a weak or poorly constructed story.

55. In terms of the story core, all problems and questions should be clearly connected and solved by the end of the piece.

56. Effective Pacing

57. Good organization doesn’t ensure flow. Instead, flow is primarily dependent upon good pacing.

58. A story’s pacing and rhythm often determine the audience’s interest and direct viewer’s sense of expectation.

59. Good pacing doesn’t mean consistent pacing. Changing pace is often an effective way to support the action of the story.

60. Infractions come in a number of varieties e.g. a digital story can spend too much time on one part of the narrative, leaving little time for the other parts. Goal is always effective communication!

61. QUESTIONS OR COMMENTS?? THE END