“The reason we are inundated by culturally alien [kulturfremden] peoples such as Arabs, Sinti and Roma etc. is the systematic destruction of civil society as a possible counterweight to the enemies-of-the-constitution by whom we are ruled. These pigs are nothing other than puppets of the victor powers of the Second World War….” Thus begins a 2013 personal e-mail from Alice Weidel, who in this autumn’s pivotal German election was one of two designated “leading candidates” of the Alternative für Deutschland (hereafter AfD or the Alternative). The chief “pig” and “puppet” was, of course, Angela Merkel.
Xenophobic right-wing nationalism—in Germany of all places? The very fact that observers express surprise indicates how much Germany has changed since 1945. These days, we expect more of Germany than of ourselves. For, seen from one point of view, this is just Germany partaking in the populist normality of our time, as manifested in the Brexit vote in Britain, Marine le Pen’s Front National in France, Geert Wilders’s blond beastliness in the Netherlands, the right-wing nationalist-populist government in Poland, and Trumpery in the US.
Like all contemporary populisms, the German version exhibits both generic and specific features. In common with other populisms, it denounces the current elites (Alteliten in AfD-speak) and established parties (Altparteien) while speaking in the name of the Volk, a word that, with its double meaning of people and ethno-culturally defined nation, actually best captures what Trump and Le Pen mean when they say “the people.”
Like other populists, Germany’s attack the mainstream media (Lügenpresse, the “lying press”) while making effective use of social media. On the eve of the election, the Alternative had some 362,000 Facebook followers, compared with the Social Democrats’ 169,000 and just 154,000 for Merkel’s Christian Democratic Union (CDU).
Tiresomely familiar to any observer of Trump, Brexit, or Wilders is the demagogic appeal to emotions while playing fast and loose with facts. In Amann’s account, the predominant emotion here is Angst.
For eight of the last twelve years, Germany has been governed by a so-called Grand Coalition of Christian Democrats—Merkel’s CDU in a loveless parliamentary marriage with the more conservative Bavarian Christian Social Union (CSU)—and Social Democrats. This has impelled disgruntled voters toward the smaller parties and the extremes. The effect has been reinforced by Merkel’s woolly centrist version of Margaret Thatcher’s TINA (There Is No Alternative), perfectly captured in the German word alternativlos (without alternatives). It’s no accident that this protest party is called the Alternative.
this why metadata was entered in the post-processed MP4 file using the VLC player
export
H.264 . / iPAD 480p 29.9 fps
Shortcuts:
If you are using Premiere CC: 1. File/New/Sequence. 2. Ctrl M is the shortcut to export (M is for media)
Issues
the two Apple/Macs will deliver error messages with both the export to the MP4 format and for burning the CDs and DVDs.
e.g.
other issues
regular restart required for new capture
error messages e.g.
other issues:
audio. Audio synchronization during the digitization is off. Solution: possible solution is the last of this thread : https://forums.adobe.com/thread/2217377
open in in QT Pro copy an segment then past it into a new QT file and save. It then plays normally in Adobe products.
old Apple desktops. needed to be rebuild and reformatted.
Apple burner issues. issues with Premiere license (bigger organization, bigger bureaucracy – keep the licenses within the library, not with IT or the business department)
old VCRs – one of the VCRs was recording bad audio signal
old VHS tapes: the signal jump makes the digital recording stop, thus requiring a constant attendance of the digitization, instead of letting it be digitized and working on something else
the person who is uploading the digitized VHS movies can “Add Collaborator”
The collaborator can be “co-editor” and / or “co-publisher”
Thus, at the moment, Tom Hegert has been designated to a digitized VHS video as Co-:Publisher and Rhonda Huisman as “Co-Editor.”
Please DO log in into MediaSpace with your STAR ID and confirm that you can locate the video and you can, respectively edit its metadata.
If you can edit the video, this means that the proposed system will work, since the Library can follow the same pattern to “distribute” the videos to the instructors, who these videos are used by; and, respectively these instructors can further control the distribution of the videos in their classes.
issues:
sharing the videos from the generic Library account for MediaSpace to the MediaSPace account of the faculty who had requested the digitization either through sending the link to the video or publish in channel (we called our channel “digitized VHS”)
issue: ripping off content from DVD.
Faculty (mostly teaching online / hybrid courses) want to place teaching material from DVD to MediaSpace. Most DVDs are DRM protected.
Handbreak (https://handbrake.fr/) does not allow ripping DRM-ed DVDs. to bypass this Handbreak issue, we use DVD Decrypter before we run the file through Handbreak
Solutions:
From: “Lanska, Jeremiah K” <Jeremiah.Lanska@ridgewater.edu> Date: Tuesday, September 11, 2018 at 10:03 AM
I use a software on a MAC called MacX DVD Video Converter Pro. https://www.macxdvd.com/
I convert videos to MP4 with this and it just works for just about any DVD. Then upload them to MediaSpace.
From: “Docken, Marti L” <Marti.Docken@saintpaul.edu> Date: Tuesday, September 11, 2018 at 8:17 AM
Good morning Plamen. Here at Saint Paul College, we are asked to get permission from owner when we are looking at making any alterations to a video, tape, etc. This is true of adding closed captioning as well. The attached are forms given by Minnesota State which they may have an updated form.
Thank you and have a wonderful day.
Marti Docken Instructional Technology Specialist 651.846.1339 marti.docken@saintpaul.edu
From: Geri Wilson Sent: Friday, September 14, 2018 3:23 PM
What I do with DVDs is give a warning to the faculty that the MediaSpace link with the captions I’ve created should not be widely shared and should be treated as if it were still a DVD that can be shown in the classroom, but not posted on D2L. Because even if we use those forms, I don’t believe it gives us the right to use the video in a broader way. However, a safer approach might be to burn a new DVD with captions, so that it’s still in the same format that can’t be misused as easily.
Just my 2 cents. Geri
From: “Hunter, Gary B” <Gary.Hunter@minnstate.edu> Date: Friday, September 14, 2018 at 2:55 PM To: Plamen Miltenoff_old <pmiltenoff@stcloudstate.edu> Subject: RE: Process of ripping DVD video to mount it on MediaSpace
I’ll assume the contents of the DVDs are movies/films unless I hear otherwise from you. There’s a lot we need to consider from a copyright perspective. Let me know a day and time that we can touch base via a phone call. Next week my schedule is flexible, so let me know what day and time work for you. Until we speak, here’s some of the information related to making copies of copyrighted works for nonprofit teaching purposes.
There are two sections of the Copyright Act that authorize “copying” of copyrighted works for nonprofit educational purposes. It doesn’t matter if the copyrighted works are being copied from DVDs, CDs, flash drives, a computer’s hard drive, etc., the same sections of the Copyright Act apply.
Section 110(2), also known as the TEACH Act, allows nonprofit educational institutions to make a digital copy of a nondramatic copyrighted work and save it to a server for online and hybrid teaching. I have a TEACH Act checklist on the IP Tools & Forms webpage at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/forms.html. The checklist identifies the few things that may not be copied under this section of the Copyright Act. If an instructor meets the various requirements on the checklist, than you can make a digital copy of the entire nondramatic copyrighted work and save it to MediaSpace. For nondramatic works, all MinnState instructors should be able to complete the TEACH Act checklist successfully, so I wouldn’t request a completed checklist from them.
Under the TEACH Act, nonprofit educational institutions are only permitted to make a digital copy of reasonable and limited portions of dramatic copyrighted works. Movies and films are usually dramatic works. Most people in higher education interpret “reasonable and limited portions” to mean something less than the whole and not the entire movie/film. There are several guidance documents on the TEACH Act on the IP Tools & Forms webpage that go into greater detail as to what is reasonable and limited portions. Unfortunately, this section only authorizes the copying of part of the movie/film and not the entire thing.
Section 107 Fair Use of the Copyright Act is the second section that permits copying of copyrighted works for nonprofit educational purposes. Fair Use is used more than any other section to make copies of copyrighted works for nonprofit educational purposes. An instructor needs to complete a fair Use Checklist showing the proposed copying is authorized by fair use. An instructor who completes a Fair Use Checklist that ends up being 50/50 or more in support of fair use for their proposed copying of a copyrighted work, should be able to make the digital copy. Fair Use has some nuances in it for unique situations. Let’s set up a phone call to further discuss them. There is also a flow chart that may helpful at http://www.minnstate.edu/system/asa/academicaffairs/policy/copyright/docs/Flow%20Chart-Using%20video%20in%20Online%20-%20D2L%20Courses.pdf.
We also have to consider whether or not the movies/films were purchased with “personal use” rights or “public performance” rights. Or if an educational license or some similar type of license gives us permission to make copies or publicly perform the movie/film. More layers of the onion that need peeled back to address the copyright concerns.
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Issue: confidentiality
All digitized material is backedup on DVDs, whether faculty wants a DVD or not.
Some video content is confidential (e.g. interviews with patients) and faculty does not want any extra copies, but the DVD submitted to them. How do we archive / do we archive the content then?
Burning (Archiving)
where to store the burned DVDs? their shelf life is 12 years.
DVD’s must be labeled with soft tip perm marker, not labels. labels glue ages quickly.
all our desktops are outdated (5+ years and older). We used two Apple/Macs. OS El Captain, Version 10.11.6, 2.5 Gxz Intel Core i5. 8GB memory, 1333 MHz DDR3, Graphic Card AMD Radeon HD 6750 MD 512 MB
Question about the process of archiving the CDs and DVDs after burning. What is the best way to archive the digitized material? Store the CD and DVDs? Keep them in the “cloud?”
Question about the management of working files: 1. Premiere digitizes the original hi-quality file in .mov format and it is in GB. The export is in .mp4 format and it is in MB. Is it worth to store the GB-size .mov format and for how long, considering that the working station has a limited HDD of 200GB
we decided to export two types of files using Adobe Premiere: a) a low end .MP4 file about several hundred megabites, which respectively is uploaded in SCSU Media Space (AKA Kaltura) and b) one high-end (better quality) one the realm of several GBs, which was the archived copy
We placed a request for two 2TB HDD with the library dean and 10TB file space with the SCSU IT department. Idea being to have the files for MediaSpace readily available on the hardrives, if we have to make them available to faculty and the high-end files being stored on the SCSU file server.
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Nov. 2019: transfer of accounts. The generic SCSULibraryVideo account is discontinued because of the August 2019 transition to the minnstate.edu. Agreed to host the accumulated digitized videos under the private account of one of the team members, who will be assigning the other members and the requesting faculty as co-editors.
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2. correspondence among Greg J, Tom H and Plamen
email correspondence Greg, Tom, Plamen regarding Kaltura account:
From: Greg <gsjorgensen@stcloudstate.edu> Date: Friday, November 17, 2017 at 11:32 AM To: Plamen Miltenoff <pmiltenoff@stcloudstate.edu> Subject: RE: Question Kaltura
Plamen,
Channels are not required using this workflow. Just the collaboration change.
–g–
From: Miltenoff, Plamen Sent: Friday, November 17, 2017 11:31 AM To: Jorgensen, Greg S. <gsjorgensen@stcloudstate.edu>; Hergert, Thomas R. <trhergert@stcloudstate.edu> Subject: Question Kaltura
Greg,
About the channel:
Do I create one channel (videos)?
It seems to be a better idea to create separate channels for each of faculty, who’s videotapes are digitized.
******* any user you wish to collaborate with, will need to first sign in to mediaspace in order to provision their account.**** After they have signed in, you will be able to add them as collaborator.
Once they’ve been added, they will have access to the video in their MedisSpace account.
Like so:
From the My Media area:
Click ‘Filters’:
Then choose either media I can publish, or media I can edit:
If you want to simply change ownership to the requestor (for video available only to a single person), just choose change media owner on the collaboration tab.
The process above will allow for any number of collaborators, in a fashion similar to ‘on reserve’.
–g–
From: Miltenoff, Plamen Sent: Friday, November 17, 2017 11:19 AM To: Jorgensen, Greg S. <gsjorgensen@stcloudstate.edu>; Hergert, Thomas R. <trhergert@stcloudstate.edu> Subject: FW: Supplemental Account Request Status
Tom,
I submitted the request to Greg with the “SCSULibraryVideo” name
Greg, I submitted, Tom, Rachel W and Rhonda H (and you) as “owners.”
Pls, if possible, do not assigned to Tom ownership rights yet and add him later on.
I also received your approval, so I am starting to work on it
This message confirms your request for a new Supplemental Account with the requested username of SCSULibraryVideo. Please allow 2-3 business days for processing. You will be notified by email when your request is approved or denied. You may also check the status of your request by returning to the Supplemental Accounts Maintenance site.
Thank you for your request and please contact us with questions or concerns.
Once you’ve done that, just let me know the name of the account. (LibraryVideoDrop, SCSULibraryVideo, etc….)
I’ll then add it to the Mediaspace access list.
If there’s already an account to which you have access, we can use that, too. Remember, though, credentials will be shared at least between the two of you.
Well, that is a good question. Do we need a “STAR ID” type of account for the library?
If so, who will be the person to talk to. After Diane Schmitt, I do not know who to ask
Tom, can you ask the library dean’s office for any “generic” account?
Greg, for the time being, is it possible to have me as the “owner” of that account? Would that conflict with my current Kaltura account/content?
Can I participate for this project with my student account (as you helpled me several weeks ago restore it for D2L usage)?
Yes, except that there may be needs for multiple faculty to access the files. Think of it as analogous to DVDs on reserve or even in the general collection.
I think we’re hoping for an account from which we can share Library resources such as the digitized versions of VHS tapes that Plamen and I are creating. As I understand it, a closed channel is probably not the best answer. We need a common repository that can have open access to SCSU Kaltura users.
A single account can’t really be shared in the way you’re asking, but we can easily add a dept. supplemental account to Mediaspace. I just need the name of the account.
Depending on what you intend, maybe a closed channel? Create a closed channel and add individuals as needed?
Can you help me create a MediaSpace account for the library use.
How can it be tight up to the STAR ID login specifications?
Is it possible, let’s say Tom and I to use our STAR ID to login into such account?
Any info is welcome…
Plamen
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3. correspondence on the LITA listserv regarding “best practices for in house digital conversion”
From: <lita-l-request@lists.ala.org> on behalf of Sharona Ginsberg <lita-l@lists.ala.org> Reply-To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Date: Tuesday, November 21, 2017 at 10:07 AM To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Subject: Re: [lita-l] best practices for in house digital conversion
I’m at an academic rather than public library, but you can see what we offer for digital conversion here: https://www.oswego.edu/library/digital-conversion. We’ve been generally happy with our equipment, and I especially think the Elgato Video Capture device (VHS to digital) is a good tool.
– Sharona
From: <lita-l-request@lists.ala.org> on behalf of Molly Schwartz <mschwartz@metro.org> Reply-To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Date: Tuesday, November 21, 2017 at 10:03 AM To: “lita-l@lists.ala.org” <lita-l@lists.ala.org> Subject: Re: [lita-l] best practices for in house digital conversion
I would also definitely recommend DCPL’s Memory Lab and the project to build a Memory Lab Network, which is more applicable to public libraries.
best,
Molly
On Tue, Nov 21, 2017 at 10:49 AM, Stewart Wilson <SWilson@onlib.org> wrote:
Hi all,
I know there is a lot of information already out here, but is anyone up for a conversation about media conversion technologies for public library patrons?
I’m interested in best practices and recommended technologies or guides that you use in your system.
Anything that converts projector slides, 35mm, VHS, photographs, cassette, etc.
We are building a new PC for this and 3D rendering, so any recommendations for things like soundcards or video capture cards are also useful.
Thanks for your help; this group is the best.
Stew Wilson
Paralibrarian for Network Administration and Technology
meetings with Chief Learning Officers, talent management leaders, and vendors of next generation learning tools.
The corporate L&D industry is over $140 billion in size, and it crosses over into the $300 billion marketplace for college degrees, professional development, and secondary education around the world.
Digital Learning does not mean learning on your phone, it means “bringing learning to where employees are.” In other words, this new era is not only a shift in tools, it’s a shift toward employee-centric design. Shifting from “instructional design” to “experience design” and using design thinking are key here.
1) The traditional LMS is no longer the center of corporate learning, and it’s starting to go away.
LMS platforms were designed around the traditional content model, using a 17 year old standard called SCORM. SCORM is a technology developed in the 1980s, originally intended to help companies like track training records from their CD-ROM based training programs.
the paradigm that we built was focused on the idea of a “course catalog,” an artifact that makes sense for formal education, but no longer feels relevant for much of our learning today.
not saying the $4 billion LMS market is dead, but the center or action has moved (ie. their cheese has been moved). Today’s LMS is much more of a compliance management system, serving as a platform for record-keeping, and this function can now be replaced by new technologies.
We have come from a world of CD ROMs to online courseware (early 2000s) to an explosion of video and instructional content (YouTube and MOOCs in the last five years), to a new world of always-on, machine-curated content of all shapes and sizes. The LMS, which was largely architected in the early 2000s, simply has not kept up effectively.
2) The emergence of the X-API makes everything we do part of learning.
In the days of SCORM (the technology developed by Boeing in the 1980s to track CD Roms) we could only really track what you did in a traditional or e-learning course. Today all these other activities are trackable using the X-API (also called Tin Can or the Experience API). So just like Google and Facebook can track your activities on websites and your browser can track your clicks on your PC or phone, the X-API lets products like the learning record store keep track of all your digital activities at work.
3) As content grows in volume, it is falling into two categories: micro-learning and macro-learning.
4) Work Has Changed, Driving The Need for Continuous Learning
Why is all the micro learning content so important? Quite simply because the way we work has radically changed. We spend an inordinate amount of time looking for information at work, and we are constantly bombarded by distractions, messages, and emails.
5) Spaced Learning Has Arrived
If we consider the new world of content (micro and macro), how do we build an architecture that teaches people what to use when? Can we make it easier and avoid all this searching?
“spaced learning.”
Neurological research has proved that we don’t learn well through “binge education” like a course. We learn by being exposed to new skills and ideas over time, with spacing and questioning in between. Studies have shown that students who cram for final exams lose much of their memory within a few weeks, yet students who learn slowly with continuous reinforcement can capture skills and knowledge for decades.
6) A New Learning Architecture Has Emerged: With New Vendors To Consider
One of the keys to digital learning is building a new learning architecture. This means using the LMS as a “player” but not the “center,” and looking at a range of new tools and systems to bring content together.
On the upper left is a relatively new breed of vendors, including companies like Degreed, EdCast, Pathgather, Jam, Fuse, and others, that serve as “learning experience” platforms. They aggregate, curate, and add intelligence to content, without specifically storing content or authoring in any way. In a sense they develop a “learning experience,” and they are all modeled after magazine-like interfaces that enables users to browse, read, consume, and rate content.
The second category the “program experience platforms” or “learning delivery systems.” These companies, which include vendors like NovoEd, EdX, Intrepid, Everwise, and many others (including many LMS vendors), help you build a traditional learning “program” in an open and easy way. They offer pathways, chapters, social features, and features for assessment, scoring, and instructor interaction. While many of these features belong in an LMS, these systems are built in a modern cloud architecture, and they are effective for programs like sales training, executive development, onboarding, and more. In many ways you can consider them “open MOOC platforms” that let you build your own MOOCs.
The third category at the top I call “micro-learning platforms” or “adaptive learning platforms.” These are systems that operate more like intelligent, learning-centric content management systems that help you take lots of content, arrange it into micro-learning pathways and programs, and serve it up to learners at just the right time. Qstream, for example, has focused initially on sales training – and clients tell me it is useful at using spaced learning to help sales people stay up to speed (they are also entering the market for management development). Axonify is a fast-growing vendor that serves many markets, including safety training and compliance training, where people are reminded of important practices on a regular basis, and learning is assessed and tracked. Vendors in this category, again, offer LMS-like functionality, but in a way that tends to be far more useful and modern than traditional LMS systems. And I expect many others to enter this space.
Perhaps the most exciting part of tools today is the growth of AI and machine-learning systems, as well as the huge potential for virtual reality.
7) Traditional Coaching, Training, and Culture of Learning Has Not Gone Away
8) A New Business Model for Learning
he days of spending millions of dollars on learning platforms is starting to come to an end. We do have to make strategic decisions about what vendors to select, but given the rapid and immature state of the market, I would warn against spending too much money on any one vendor at a time. The market has yet to shake out, and many of these vendors could go out of business, be acquired, or simply become irrelevant in 3-5 years.
9) The Impact of Microsoft, Google, Facebook, and Slack Is Coming
The newest versions of Microsoft Teams, Google Hangouts and Google Drive, Workplace by Facebook, Slack, and other enterprise IT products now give employees the opportunity to share content, view videos, and find context-relevant documents in the flow of their daily work.
We can imagine that Microsoft’s acquisition of LinkedIn will result in some integration of Lynda.com content in the flow of work. (Imagine if you are trying to build a spreadsheet and a relevant Lynda course opens up). This is an example of “delivering learning to where people are.”
10) A new set of skills and capabilities in L&D
It’s no longer enough to consider yourself a “trainer” or “instructional designer” by career. While instructional design continues to play a role, we now need L&D to focus on “experience design,” “design thinking,” the development of “employee journey maps,” and much more experimental, data-driven, solutions in the flow of work.
lmost all the companies are now teaching themselves design thinking, they are using MVP (minimal viable product) approaches to new solutions, and they are focusing on understanding and addressing the “employee experience,” rather than just injecting new training programs into the company.
Adobe Spark is a suite of free tools for creating images, videos, and simple web pages. Key features of Adobe Spark’s web app include an integrated Creative Commons image search tool, the option to download images as JPEGs, and the option to download your videos as MP4 files
Sharalike is a good option to consider when you want to create an audio slideshow. To create an audio slideshow on Sharalike simply import some images from your computer, your Android device or from your iPad, drag them into the sequence in which you want them to appear, and then add some music. Sharalike offers a small collection of stock music that you can use or you can upload your own music.
PowToon is a popular tool for creating animated videos online. PowToon provides a drag-and-drop editor for creating animated videos. The videos that you create feature digital paper cut-outs on a colorful background. Think of PowToon as an online tool for creating videos in the style made popular by Common Craft. PowToon provides drawings of people and objects that you can arrange on blank canvas. After adding your narration to the arrangement you can publish your video.
Magisto is a video creation tool that allows you to quickly drag videos and images from your desktop and or Google Drive account to your Magisto account. After you’ve uploaded the media that you want mixed, select a theme and music for your video.From the video clips and images that you upload, Magisto will select the best portions to remix and blend together. Magisto creates your video after you’ve completed the steps of uploading media, selecting a theme, and choosing music. The final video is emailed to you. In addition to the web-based service Magisto offers a Chrome app, an Android app, and an iPad app.
Chrome app called CaptureCast. CaptureCast, produced by Cattura Video, allows you to record the screen on your Chromebook as well as input from your webcam. To record a video with the webcam on your Chromebook open CaptureCast in your browser then allow it to access your webcam and microphone. You can specify how high of a resolution you would like to use to capture your video. You can also choose your audio quality. If you have an external microphone connected to your Chromebook, make sure that you have it enabled before you start recording. When you have finished recording in CaptureCast you can save your video on your Chromebook or upload it to YouTube, to Vimeo, or to Google Drive.
imbus Screenshot is a tool for creating screencast videos on Chromebooks. It is easy to install, includes customizable countdown timer, and offers multiple ways to save and share your videos. Screencasts recorded with Nimbus Screenshot can be saved to your local drive or to an online Nimbus account. I chose to save to my local drive then upload to my YouTube channel. You could also save to your local drive then share to Google Drive or another online storage service.
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more on video editing in this IMS blog https://blog.stcloudstate.edu/ims?s=video+editing
intelligent agent: dancing hamster
immediate gratification – certification, this is practically badges
story builder – D2L tool
D2L dropbox – look previous assignments and submissions within dropbox
time savers: 1. miss an assignment deadline – use agent. My note: how does it roll over? how much time and effort to condition it after it is rolled over?
text expanders: create codes in the browsers to evoke repetitions (;runon)
“Daylight Experience” is the D2L new look and feel put on D2L. nice clean modern looking.
Mobile First, API Access, Assessments, Advanced CBE (competency-based education programs), Predictive Analytics (recommendation system to pick right course, red flags, Dashboards,
Content:
interactive publisher material. Dates and Feeds on Mobile, Curriculum Planning
Capture: my note – how does it fit with MediaSpace
ePortfolio my note – how does it fit TK-20
Repository – open content, publishers, how to bring easier into a course
Adaptive learning
D2L purchased a module. publisher packets, adaptive textbooks. D2L looks at it as an engine where faculty feeds the idea and the engine is making the links and structuring the ideas into content. It also the engine checks what learners already know and based on results finds knowledge gaps.
need well defined learning objective, good content and ways to assess the material.
Start with creating support course delivery, test preparation.
Facebook gives priority to native videos (as opposed to video links to external sources) to encourage this type of content. Videos that are directly uploaded to Facebook perform better and provide a better experience. They receive 30% more video views than videos posted from other websites, and have images up to 11 times larger in the news feed.
TechSmith Fuse works with Camtasia Studio and Snagit. Capture the images and videos on your mobile device and send them to your desktop to use in your videos.
Reflector by Squirrels allows you to do wireless mirroring, so you can display your smartphone screen (Android or iOS) on your desktop.
Flipagram. You can record voice narration, choose from Flipagram’s music or upload 15 seconds of music you already have on your mobile device.
Diptic app is another video tool for making collages that has a newly added animation feature, which works with transitions
Boomerang is a new app from Instagram that takes a burst of photographs and stitches them together into a 1-second video and loops it forward and backward. It’s not an animated GIF, but it’s designed to look like one.
EASI Webinar part 1: Making Media Accessible by Adding Captions and Audio
Presenter: Susanne Van Dorpe Mistric, Instructor/Coordinator Distance Learning – Individualized Learning Center Wade Technical Community College
Monday Feb. 1 at 11 Pacific, noon Mountain, 1 Central and 2 PM Eastern
Susanne provides beginner-level training for WTCC staff on adding captions and audio description to Media. The goal is to take people with little technical skill in how to create descriptions of audio content and then synchronize it with the media. Students also need to be aware of how ane when to add audio descriptions as well
EASI Webinar part 2: Making Media Accessible by Adding Captions and Audio
Presenter: Susanne Van Dorpe Mistric, Instructor/Coordinator Distance Learning – Individualized Learning Center Wade Technical Community College
Monday Feb. 8 at 11 Pacific, noon Mountain, 1 Central and 2 PM Eastern
Susanne provides more advanced-level training for WTCC staff who already have the basic awareness of accessibility and familiarity with the tools to provide this. This will enhance their awareness of how and when to add accessible features especially to meet the requirements of content in more advanced courses.
