Cross-Institution & Cross-Sector Collaboration Long-Term Trend: Driving Ed Tech adoption in higher education for five or more years
Although a variety of collaborations between higher education and industry have emerged, more-explicit frameworks and guidelines are needed to define how these partnerships should proceed to have the greatest impact.
Proliferation of Open Educational Resources Mid-Term Trend: Driving Ed Tech adoption in higher education for the next three to five years
The United States lags on the policy front. In September 2017, the Affordable College Textbook Act was once again introduced in both the US House of Representatives and the Senate “to expand the use of open textbooks
It is unlikely that ACTA will pass, however, as it has been unsuccessfully introduced to two previous Congresses.
The Rise of New Forms of Interdisciplinary Studies
Faculty members, administrators, and instructional designers are creating innovative pathways to college completion through interdisciplinary experiences, nanodegrees, and other alternative credentials, such as digital badges. Researchers, along with academic technologists and developers, are breaking new ground with data structures, visualizations, geospatial applications, and innovative uses of opensource tools.
Growing Focus on Measuring Learning
As societal and economic factors redefine the skills needed in today’s workforce, colleges and universities must rethink how to define, measure, and demonstrate subject mastery and soft skills such as creativity and collaboration. The proliferation of data-mining software and developments in online education, mobile learning, and learning management systems are coalescing toward learning environments that leverage analytics and visualization software to portray learning data in a multidimensional and portable manner
Redesigning Learning Spaces
upgrading wireless bandwidth and installing large displays that allow for more natural collaboration on digital projects. Some are exploring how mixed-reality technologies can blend 3D holographic content into physical spaces for simulations, such as experiencing Mars by controlling rover vehicles, or how they can enable multifaceted interaction with objects, such as exploring the human body in anatomy labs through detailed visuals. As higher education continues to move away from traditional, lecture-based lessons toward more hands-on activities, classrooms are starting to resemble real-world work and social environments
Authentic Learning Experiences
An increasing number of institutions have begun bridging the gap between academic knowledge and concrete applications by establishing relationships with the broader community; through active partnerships with local organizations
Improving Digital Literacy Solvable Challenge: Those that we understand and know how to solve
Digital literacy transcends gaining discrete technological skills to generating a deeper understanding of the digital environment, enabling intuitive and discerning adaptation to new contexts and cocreation of content.107 Institutions are charged with developing students’ digital citizenship, promoting the responsible and appropriate use of technology, including online communication etiquette and digital rights and responsibilities in blended and online learning settings. This expanded concept of digital competence is influencing curriculum design, professional development, and student-facing services and resources. Due to the multitude of elements of digital literacy, higher education leaders must obtain institution-wide buy-in and provide support for all stakeholders in developing these competencies.
Despite its growing importance, it remains a complex topic that can be challenging to pin down. Vanderbilt University established an ad hoc group of faculty, administrators, and staff that created a working definition of digital literacy on campus and produced a white paper recommending how to implement digital literacy to advance the university’s mission: https://vanderbilt.edu/ed-tech/committees/digital-literacy-committee.php
Adapting Organizational Designs to the Future of Work
Technology, shifting information demands, and evolving faculty roles are forcing institutions to rethink the traditional functional hierarchy. Institutions must adopt more flexible, teambased, matrixed structures to remain innovative and responsive to campus and stakeholder needs.
Attempts to avoid bureaucracy also align with a streamlined workforce and cost elimination. Emphasis has been placed on designing better business models through a stronger focus on return on investment. This involves taking a strategic approach that connects financial practice (such as analyzing cost metrics and resource allocation) with institutional change models and goals.124
Faculty roles have been and continue to be impacted by organizational change, as well as by broader economic movements. Reflective of today’s “gig economy,” twothirds of faculty members are now non-tenure, with half working part-time, often in teaching roles at several institutions. This stands as a stark contrast to 1969, when almost 80 percent of faculty were tenured or tenuretrack; today’s figures are nearly inverted. Their wages are applying pressure to traditional organizational structures.Rethinking tenure programs represents another change to organizational designs that aligns with the future of work.
Organizational structures are continuing to evolve on the administrative side as well. With an emphasis on supporting student success, many institutions are rethinking their student services, which include financial aid, academic advising, and work-study programs. Much of this change is happening within the context of digital transformation, an umbrella term that denotes the transformation of an organization’s core business to better meet customer needs by leveraging technology and data.
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added Nov 13, 2018
6 growing trends taking over academic libraries
BY MERIS STANSBURY
March 24th, 2017
Horizon Report details short-and long-term technologies, trends that will impact academic libraries worldwide in the next 5 years.
Research Data Management: The growing availability of research reports through online library databases is making it easier for students, faculty, and researchers to access and build upon existing ideas and work. “Archiving the observations that lead to new ideas has become a critical part of disseminating reports,” says the report.
Valuing the User Experience: Librarians are now favoring more user-centric approaches, leveraging data on patron touchpoints to identify needs and develop high-quality engaging experiences.
(Mid-Term, 3-5 years):
Patrons as Creators: Students, faculty, and researchers across disciplines are learning by making and creating rather than by simply consuming content. Creativity, as illustrated by the growth of user-generated videos, maker communities, and crowdfunded projects in the past few years, is increasingly the means for active, hands-on learning. People now look to libraries to assist them and provide tools for skill-building and making.
Rethinking Library Spaces: At a time when discovery can happen anywhere, students are relying less on libraries as the sole source for accessing information and more for finding a place to be productive. As a result, institutional leaders are starting to reflect on how the design of library spaces can better facilitate the face-to-face interactions.
(Long-Term, 5 or more years):
Cross-Institution Collaboration: Within the current climate of shrinking budgets and increased focus on digital collections, collaborations enable libraries to improve access to scholarly materials and engage in mission-driven cooperative projects.
Evolving Nature of the Scholarly Record: Once limited to print-based journals and monographic series, scholarly communications now reside in networked environments and can be accessed through an expansive array of publishing platforms. “As different kinds of scholarly communication are becoming more prevalent on the web, librarians are expected to discern the legitimacy of these innovative approaches and their impact in the greater research community through emerging altmetrics tools,” notes the report.
Improving digital literacy: According to the report, digital literacy transcends gaining isolated technological skills to “generate a deeper understanding of the digital environment, enabling intuitive adaptation to new contexts, co-creation of content with others, and an awareness of both the freedom and risks that digital interactions entail. Libraries are positioned to lead efforts to develop students’ digital citizenship, ensuring mastery of responsible and appropriate technology use, including online identity, communication etiquette, and rights and responsibilities.”
The children of these adult refugees don’t struggle as much with technical skills as their parents do because they attend American schools with access to technology.
Access can be a barrier to inclusion
Lack of digital access can hamper refugees in many ways. An Australian study found that the lack of tech skills and access to technology affected refugees’ ability to integrate into their new communities.
Communication comes in many varieties
There are many slang terms, acronyms, idioms and confusing words like “mouse” rapidly thrown at these new arrivals.
We found a universal language using memes. Often dismissed as trivial and silly, memes can communicate across cultures. The image paired with a caption can immediately convey a message or feeling.
Creating global collaborators
Many refugees have lived in multiple countries, speak many languages and have family members living overseas. A hallmark of being a global collaborator, as outlined in the ISTE Standards for Students, is using digital tools to connect with learners from a variety of backgrounds and cultures, engaging with them in ways that broaden mutual understanding and learning.
Resources for teaching refugees
If you have refugees in your classroom, here are some organizations that offer resources you can incorporate into classroom settings.
The Wonderment. This nonprofit connects students from all around the world in collaborative service projects.
UNICEF. This global organization has up-to-date reports on the refugee and migrant crisis as well as ways you can get involved.
International Rescue Committee. This nonprofit helps refugees resettle in their community as well as provide both international and local resources.
Carrie Rogers-Whitehead is an ISTE member and CEO of Digital Respons-Ability. Her company teaches digital citizenship to refugees and she plans to publish findings about this work
In April, a PLAYlive Nation lounge in Tracy, Calif., hosted its first Fortnite tournament and sold out. Hundreds of players bought tickets to play against one another and win prizes.
Joost van Dreunen, the CEO of Superdata Research, a video game analytics firm, says most shooter games are serious and simulate violence. Fortnite, he says, is more like a friendly game of tag.
His company estimates the game has made about $223 million across all platforms in March alone. In lifetime sales, it had made about $614 million. The game is free to play, but Epic Games, the company that owns Fortnite, makes money through microtransactions. Players can spend real money to make cosmetic changes to their characters in the game. They can buy things like skins, which are like costumes, for their characters or emotes, which are celebratory dance moves their characters can do after winning or killing another player in the game.
Ninja, the gamer name taken by 26-year-old Tyler Blevins, is now a legend in the Fortnite world. He is a master at the game and rocketed into popularity after playing in an online battle with rap artists Drake and Travis Scott on March 14. That battle has been watched more than 9 million times.
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Educators Battle ‘Fortnite’ for Students’ Attention
Many educators want to ban the game from their classrooms, but some are taking the opposite approach, attempting to weave students’ interest in Fortnite into class discussions and assignments.
Nick Fisher, a science teacher at Fort Zumwalt North High School in O’Fallon, Mo., said his students like to take screenshots of gameplay and send them to friends over Snapchat. Teenagers want to broadcast their victories, and because the game is on their phones, it’s easy to post updates to social media, making Fortnite “the perfect concoction of addiction,” said Fisher.
North High blocks all social media and gaming sites on its WiFi, said Fisher, but students tell him how they circumvent the restriction: They use virtual private networks, or VPNs, to establish independent internet connections. (Dozens of YouTube videos provide step-by-step tutorials for students looking to get around school WiFi controls.)
“Kids can’t multitask,” she said. “Even having a digital device within sight can cognitively distract the student enough that they can’t focus on the academics.”
Schools and teachers should be guiding parents when it comes to appropriate limits around screen time, said Kolb. Most parents will appreciate research-based recommendations, such as turning off all screens a set amount of time before bed, she said.
Games like Fortnite can even have social benefits, said John Velez, an assistant professor of journalism and electronic media at Texas Tech University. Velez, who studies the positive effects of video games, has found that playing violent games cooperatively with helpful teammates promotes pro-social behavior.
Chris Aviles, the coordinator of innovation, technology, and 21st century skills for the Fair Haven Public Schools in New Jersey, wrote “A Teacher’s Guide to Surviving Fortnite,” an exploration of ways the game can be used for instructional purposes. The guide, posted to his blog Teched Up Teacher, suggests how to integrate the game into writing prompts, math lessons on probability, and physics.
Aviles doesn’t advocate playing the game at school. There isn’t any educational value in letting students engage in virtual combat during a lesson, he said. Instead, teachers can build a lesson around one aspect of the game, such as having students calculate the best angle of approach as they jump from the “Battle Bus,” the floating bus that drops players onto the map at the beginning of each match.
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Instagram, Snapchat, Fortnite: The distractions are endless. Here’s how to help kids cope.
In January, two of Apple’s shareholder groups asked the company to look at the addictive effects of iPhones on children. Google’s recent developer conference highlighted tools to help users better control smartphone usage.
A 2015 survey of more than 1,800 teachers and 400 principals in Alberta, B.C., found that nearly three-fourths of teachers frequently or very frequently observed students multitasking with technology, and 67 percent of teachers believed that the number of students negatively distracted by digital technologies in the classroom was growing.
The best approach is to use empathy, compassion and collaboration to help the young people in your life find ways to manage their digital workflow.
Encourage visualization for inspiration and motivation. The first step is getting students to buy in and to want to make behavioral changes.
Focus on compartmentalization. A 2009 study from Stanford researchers found that people who juggled several streams of electronic information were not able to pay attention, remember key information or switch tasks as effectively as those who completed one task at a time.
Using the Pomodoro technique of spending 25 minutes focused on one task followed by a five-minute break can be an easy way to have students begin to shift from a multitasking to a monotasking mind-set.
Make focus fun. There are now numerous ways to use technology to help us be more productive with technology, and it doesn’t have to be arduous. Students in my office use apps such as Forest or Flipd to motivate them to stay off their phones during class or when doing homework. Forest has a simple interface that will build a digital tree for users who stay off their phones. Flipd allows users to hide certain apps, allot time off their phone based on their schedule and, for a premium, track their progress over time.
Provide structured support as needed. A middle school student with whom I worked recently was relieved when his mother used the Mac OS app SelfControl to block YouTube and ESPN while he was doing his homework (Cold Turkey is a similar PC-based app).
Allow opportunities for regrouping. Even the best plans can go awry (for adults and kids alike). It’s important to focus on progress rather than perfection. Create time daily or weekly for students to think about what went well in terms of managing distractions and improving productivity, and what they would like to do better. Ask open-ended questions without judgment or expectation
Digital storytelling uses video, audio, social media, blogging and other tools to convey ideas and information effectively. The emphasis is on empowering students to create authentic products that they can share with others beyond the classroom walls, and to allow for audience interaction and feedback.
why should we inspire students to be digital storytellers?
Requires critical thinking: Creating an interdisciplinary product from scratch requires high level thinking skills like evaluating evidence, editing and curation, and production timelines. Digital stories often use multiple skills like writing, public speaking, photography, design and collaboration in a single project which makes them ideal for practicing skills learned other units or classes.
Authentic projects have impact: Creating real-world, impactful products that students share with an audience beyond the classroom is one of the best ways to enhance motivation and increase quality.
Places focus on writing: A picture is worth a thousand words, and video is 30 photos a second. It has its own grammar and style, but concepts of content, structure, tone and audience impact are just as important in multimedia as they are for an essay. Scripts, voiceovers and interview questions emphasize traditional writing skills and are the backbone of all multimedia projects.
Develops digital citizens: What to post online, when and how are all important questions for our students to learn to answer. Require them to comment on others’ work and develop etiquette for online posts and feedback. Rather than being afraid of the internet, embrace it to teach digital citizenship.
Students can add to digital portfolios: All student work can be compiled into a digital portfolio that they can use to promote themselves for jobs/internships
How to Educate Digital Storytellers
1. Focus on content, not the tools
2. Take it to the next “SAMR level.” The SAMR model is a way to gauge how deeply and effectively you use technology (Salvador Dali)
Additional question related: why not use already existing solutions, as used across the world. Alex response: open source. Tim: content available across institutions. text banks and other data can be grouped by disciplines. Follow up q/n: MLNC, OER Commons. Solution already exists and why don’t we use existing accumulated work. Answer by Karen: pulling many resources, promoting collaboration btw 2 and 4 year institutions. Bigger then just having a repository, collaborative effort on different levels
Access to a “sandbox” to test Islandora: who to contact when and how.
Alex response to “estimated date for faculty upload” – August 2018 approximately
Transferability/ compatible: how east it is to migrate Islandora content to a different platform (e.g. the Minnesota Library Publishing Project) shall other platform is chosen as MN OER platform?
How will this structure ensure that the OER initiative (Islandora in particular) is not “owned” by one branch on campus (e.g. librarians) but it is a mutual effort by faculty and staff (e.g. ATT) in terms of access, e.g. access to different admin levels in Islandora?
From the Adobe COnnect online attendees:
Barbara Sandarin: Regarding “Admin. Rights,” does this restrict who may upload items?
Maintenance: weeding out old materials
the history of Islandora: who when developed. 2009, U of Rhode Island
Branding (Tim)
Stephen Kelly: how does Inslandora integrate video. microsite solutions
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structure of repository:
Islandora only stores, but the actual creation is outside of Islandora adoption scope
how do the individual teams are built, communicate with
open pedagogy: students creating open textbooks. creating of D2L courseroom. Karen: learning circles. Gary Hunter’s form regarding copyright issues etc.
storage: unlimited yet, but might be if file size are big.
Robert Bilyk: Look at OpenStax on how they handle derivative content
Tim: what do we want to be able to search for: 1. Title 2. subject 3. Format 4. type 5. permission to modify or not 6. keywords 7. author 8. home institution of author 9. peer revieewd 10. author info (advanced feature) 11. Robert Bilyk: Assurance of accessibility — tables, images, etc. 12. course 13. hashtags
Robert Bilyk: Curriki allows any submission — but their editorial board eventually gets around to review — and then this is indicated
Howard, H. A. (2018). Academic Libraries on Social Media: Finding the Students and the Information They Want. Information Technology and Libraries, 37(1), 8–18. https://doi.org/10.6017/ital.v37i1.10160
In his book Tell Everyone: Why We Share and Why It Matters, Alfred Hermida states, “People are not hooked on YouTube, Twitter or Facebook but on each other. Tools and services come and go; what is constant is our human urge to share.”1 Libraries are places of connection, where people connect with information, technologies, ideas, and each other. As such, libraries look for ways to increase this connection through communication.
Academic libraries have been slow to accept social media as a venue for either promoting their services or academic purposes. A 2007 study of 126 academic librarians found that only 12 percent of those surveyed “identified academic potential or possible benefits” of Facebook while 54 percent saw absolutely no value in social media.2 However, the mission of academic libraries has shifted in the last decade from being a repository of knowledge to being a conduit for information literacy; new roles include being a catalyst for on-campus collaboration and a facilitator for scholarly publication within contemporary academic librarianship.3 Academic librarians have responded to this change, with many now believing that “social media, which empowers libraries to connect with and engage its diverse stakeholder groups, has a vital role to play in moving academic libraries beyond their traditional borders and helping them engage new stakeholder groups.”4
The project focused on three research questions: 1. What social media platforms are students using? 2. What social media platforms do students want the library to use? 3. What kind of content do students want from the library on each of these platforms?
survey using the web-based Qualtrics
The social media platforms included were Facebook, Flickr, G+, Instagram, LinkedIn, Pinterest, Qzone, Renren, Snapchat, Tumblr, Twitter, YouTube, and Yik Yak
The second survey also lasted for three weeks starting in mid-April of the spring 2017 semester. As a participation incentive, students who completed the initial survey and the second survey had an opportunity to enter a drawing for a $25 Visa gift card.
we intend to develop better communication channels, a clear social media presence, and a more cohesive message across the Purdue libraries. Under the direction of our new director of strategic communication, a social media committee was formed with representatives from each of the libraries to contribute content for social media. The committee will consider expanding the Purdue Libraries’ social media presence to communication channels where students have said they are and would like us to be.
A new report from the Learning House and Aslanian Market Research measures the opinions of 1,500 online students regarding everything from course satisfaction to study methods
institutions need to more clearly share the positive outcomes that come with completing degree and certificate programs online.”
online courses would be better if there was more contact and engagement.
Guardtime – This company is creating “keyless” signature systems using blockchain which is currently used to secure the health records of one million Estonian citizens.
REMME is a decentralized authentication system which aims to replace logins and passwords with SSL certificates stored on a blockchain.
Healthcare
Gem – This startup is working with the Centre for Disease Control to put disease outbreak data onto a blockchain which it says will increase the effectiveness of disaster relief and response.
SimplyVital Health – Has two health-related blockchain products in development, ConnectingCare which tracks the progress of patients after they leave the hospital, and Health Nexus, which aims to provide decentralized blockchain patient records.
MedRec – An MIT project involving blockchain electronic medical records designed to manage authentication, confidentiality and data sharing.
Financial services
ABRA – A cryptocurrency wallet which uses the Bitcoin blockchain to hold and track balances stored in different currencies.
Bank Hapoalim – A collaboration between the Israeli bank and Microsoft to create a blockchain system for managing bank guarantees.
Barclays – Barclays has launched a number of blockchain initiatives involving tracking financial transactions, compliance and combating fraud. It states that “Our belief …is that blockchain is a fundamental part of the new operating system for the planet.”
Maersk – The shipping and transport consortium has unveiled plans for a blockchain solution for streamlining marine insurance.
Aeternity – Allows the creation of smart contracts which become active when network consensus agrees that conditions have been met – allowing for automated payments to be made when parties agree that conditions have been met, for example.
Augur – Allows the creation of blockchain-based predictions markets for the trading of derivatives and other financial instruments in a decentralized ecosystem.
Manufacturing and industrial
Provenance – This project aims to provide a blockchain-based provenance record of transparency within supply chains.
Jiocoin – India’s biggest conglomerate, Reliance Industries, has said that it is developing a blockchain-based supply chain logistics platform along with its own cryptocurrency, Jiocoin.
Hijro – Previously known as Fluent, aims to create a blockchain framework for collaborating on prototyping and proof-of-concept.
SKUChain – Another blockchain system for allowing tracking and tracing of goods as they pass through a supply chain.
Blockverify – A blockchain platform which focuses on anti-counterfeit measures, with initial use cases in the diamond, pharmaceuticals and luxury goods markets.
Transactivgrid – A business-led community project based in Brooklyn allowing members to locally produce and cell energy, with the goal of reducing costs involved in energy distribution.
STORJ.io – Distributed and encrypted cloud storage, which allows users to share unused hard drive space.
Government
Dubai – Dubai has set sights on becoming the world’s first blockchain-powered state. In 2016 representatives of 30 government departments formed a committee dedicated to investigating opportunities across health records, shipping, business registration and preventing the spread of conflict diamonds.
Estonia – The Estonian government has partnered with Ericsson on an initiative involving creating a new data center to move public records onto the blockchain. 20
South Korea – Samsung is creating blockchain solutions for the South Korean government which will be put to use in public safety and transport applications.
Govcoin – The UK Department of Work and Pensions is investigating using blockchain technology to record and administer benefit payments.
Democracy.earth – This is an open-source project aiming to enable the creation of democratically structured organizations, and potentially even states or nations, using blockchain tools.
Followmyvote.com – Allows the creation of secure, transparent voting systems, reducing opportunities for voter fraud and increasing turnout through improved accessibility to democracy.
Charity
Bitgive – This service aims to provide greater transparency to charity donations and clearer links between giving and project outcomes. It is working with established charities including Save The Children, The Water Project and Medic Mobile.
Retail
OpenBazaar – OpenBazaar is an attempt to build a decentralized market where goods and services can be traded with no middle-man.
Loyyal – This is a blockchain-based universal loyalty framework, which aims to allow consumers to combine and trade loyalty rewards in new ways, and retailers to offer more sophisticated loyalty packages.
Blockpoint.io – Allows retailers to build payment systems around blockchain currencies such as Bitcoin, as well as blockchain derived gift cards and loyalty schemes.
Real Estate
Ubiquity – This startup is creating a blockchain-driven system for tracking the complicated legal process which creates friction and expense in real estate transfer.
Transport and Tourism
IBM Blockchain Solutions – IBM has said it will go public with a number of non-finance related blockchain initiatives with global partners in 2018. This video envisages how efficiencies could be driven in the vehicle leasing industry.
Arcade City – An application which aims to beat Uber at their own game by moving ride sharing and car hiring onto the blockchain.
La’Zooz – A community-owned platform for synchronizing empty seats with passengers in need of a lift in real-time.
Webjet – The online travel portal is developing a blockchain solution to allow stock of empty hotel rooms to be efficiently tracked and traded, with payment fairly routed to the network of middle-men sites involved in filling last-minute vacancies.
Media
Kodak – Kodak recently sent its stock soaring after announcing that it is developing a blockchain system for tracking intellectual property rights and payments to photographers.
Ujomusic – Founded by singer-songwriter Imogen Heap to record and track royalties for musicians, as well as allowing them to create a record of ownership of their work.
It is exciting to see all these developments. I am sure not all of these will make it into successful long-term ventures but if they indicate one thing, then it is the vast potential the blockchain technology is offering.
By creating engaging 360° tours, students are not only learning these new tools for themselves but are also helping local organizations see the possibility of VR for marketing and public relations.
some key takeaways from the projects that we have seen:
Let the students lead: In all of these projects, students are taking the initiative. The institutions are providing the technology, the space, organizational vision, and in some cases, academic credit. At NYU Tandon, students organized the entire conference, doing publicity, registration, catering, and scheduling (see figure 4). They brought in a diverse group of speakers from academic, tech, and startup backgrounds. The event included TED-style spotlights, talks, workshops, and demos.
Don’t compromise on space: Brown University’s Granoff Center for the Creative Arts is designed to encourage cross-discipline collaboration. The Tandon event used the main auditorium and the flagship NYU MakerSpace. Space influences behavior and is crucial in driving collaboration and active participation. In addition, to produce VR and AR/MR experiences students need access to high-end technology and, in some cases, motion-capture studios and 360° cameras.
Create opportunities for social impact: Many of these programs are open to the local community or have been designed to have an impact outside higher education. At Emporia State, students are using VR and 360° video to help local businesses. The Gaspee Affair VR experience at Brown University will become a resource for teaching middle and high school students.
Showcase student work: So often in education, the work students do in a course is only seen by others in the same class. Like the example at Texas A&M, all of these experiences have a connection with their campus or larger community. VR and AR engender a level of excitement that gets students engaged with each other and encourage peer learning. It’s worth it to seek out opportunities to bring this work to community events.
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more on VR in education in this IMS blog
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
