Educational Video and TV in Distance Education
- Production and Design Aspects -
Mechthild Hauff
(Centre for the Development of Distance Education (ZFE)
FernUniversität in Hagen, Germany
mechthild.hauff@fernuni-hagen.de) Wolfram Laaser
(Centre for the Development of Distance Education (ZFE)
FernUniversität in Hagen, Germany
wolfram.laaser@fernuni-hagen.de)
Abstract: Starting from some basic characteristics of
instructional video and TV steps in production and organization will
be described in detail. Then the scope is extended to discuss more
general design concepts in instructional filming. As video sequences
frequently form part of multimedia instructional software the
respective production and design concepts gain importance in software
development as well. Keywords: distance education, instructional film,
educational television, educational design Category: A.m
1 Introductory Remarks
Video and TV today form a valuable part of many distance teaching
programmes around the world. In some systems they are even the core
element in delivering the teaching load. In others they are only a
supplement to the voluminous printed course material. However we can
often observe that professional production and design of these
materials is still something that costs academics a lot to get
acquainted to. In this article we will refer to instructional video
and TV in a sense that differs from simply recording tele-classes. In
instructional video and TV we try to consciously apply the
characteristics of filming. The objective is to bring educational
events to the student that he would not be able to access
otherwise. Lecturing may form part of these instructional films but
usually is not the key element. In what follows we will give some very
basic hints about production and design aspects that may help to
improve audiovisual educational programmes. Some of the aspects
mentioned below may be rather technical and well known to a
professional media expert. Others may be obvious to an educationalist
or didactic expert but unfamiliar to an audiovisual engineer. As both
have to communicate adequately with each other they have to share some
common knowledge. To facilitate this communication is the purpose of
this article. Page 456
2 Video and TV - Differences and Common Characteristics
Of course both media are audiovisuals combining sound and images in a
dynamic interrelated way. However there are some important differences
which should always be remembered when talking about production and
design of audiovisuals. First TV is limited to fixed time slots so
that transmission hours and duration are fixed whereas in video
production duration is flexible and viewing time is up to the
student. Videos can be stopped any moment and be repeated whenever the
student wishes to do so. These characteristics allow to relate videos
much closer to other study materials such as print. TV standards
exceed high quality production whereas technical quality of video can
be determined by the educational institution although today
differences are fading due to improved standards of semiprofessional
equipment. According to its open dissemination TV reaches also
population segments outside the proper target group which leads to
continuous discussion about the adequate topics and the academic level
of the educational transmissions. Finally reception of video is
limited to equipment of videorecorders whereas TV sets today are
accessible to most private homes. In the description of production and
design we will talk about audiovisuals in general and point to
differences only when needed.
3 Scientific Films for University Courses - "From the Idea to the
Finished Video"
The specific structure of the FernUniversität (German equivalent of
the Open University) as a media-based university makes it necessary to
produce and use audiovisual media - in particular video films. The video films used in correspondence degree courses can be
classified in the genre of scientific films. According to (see
[Silbermann 1982]) there are four distinctive features which
characterize a scientific film:
- the subject matter originates from a scientific discipline,
- the target group is students at institutes of higher education,
- the level is tailored to the target group,
- production is the responsibility of suitably qualified producers.
As a rule, scientific films used at the FernUniversität are linked
to a study unit of the correspondence degree course. However, it is
also conceivable to have productions which assist the student in
mastering specific situations in the correspondence course
(e.g. examination situations) or which address current themes in the
particular discipline. Furthermore, owing to the specific situation in
the correspondence degree course, it may be useful to document
seminars or lectures in order to make them accessible to a large
number of students. Page 457
FernUniversität video productions have distinct characteristics of
the didactic film on account of the context in which they are
used. Didactic films can be regarded as fulfilling five functions:
- representative function for phenomena which cannot be experienced at
first hand,
- preparatory function for complex interrelationships pertaining in
reality,
- complementary function for experiencing reality,
- objectivizing function,
- information function (see [Silbermann 1982]).
In addition to the above, a further characteristic of
FernUniversität scientific films is their use in the television
programme "FernUniversität im Dritten - Wissenschaft direkt"
broadcast by Westdeutscher Rundfunk (WDR). A video production begins with a planning discussion in which the
cooperating partners - who are usually the representatives of the
university faculty and the ZFE editor - draw up a rough concept. This
preliminary discussion is followed by further rounds of talks during
the course of the project. The conception of the film is based on the
objectives for the production which are set by the university faculty. The most important questions dealt with in the planning discussions
are:
What aspects of the subject matter are indispensable for translating
it into a film?
Which forms of representation, apart from the real image, are
necessary, e.g. graphics, illustrations, texts, photographs, archive
records?
What material cannot be presented in the form of a film?
Which cooperating partners are to be involved, and in which functions
(e.g. as interview partners)?
What locations are to be used for filming?
The role of the university faculty staff principally concerns the
question:
"WHAT message is the film required to convey?"
ZFE representatives are responsible for the question:
"HOW is the subject matter to be translated into a film, in the
didactic sense (Editor) and in the cinematographic sense (Producer)?"
The result of the first discussion phase, which may comprise one or
several sessions depending on the subject and structure, is the rough
draft or outline. "The rough draft - often called the "outline" - sets down the subject
in writing for the first time. In a few lines the author draws up an
orientation framework, formuates his wishes and message, outlines the
content and evaluates the relative importance of the different
aspects." (see [Schult and Buchholz 1990]). Page 458
This general definition of the rough draft has to be adapted to the
specific circumstances of FernUniversität productions.The outline
therefore also includes information about the persons involved, the
relevance to the course of study, the learning objectives and the
didactic structure (first contact, elaborating, reinforcing etc.) (see
[Laaser 1994]). Since the cooperating university teachers, who are generally authors
or co-authors of the productions, are burdened with other teaching
duties, it is principally the job of the editor to summarize the
objectives, points of emphasis and conceptional considerations that
have become apparent in the discussions. A television/video production is only possible by working as a
team. The complex technical and organisational structures of such a
project make it necessary for numerous experts to be involved (see
[Fig. 1]). For this reason a project team is formed. The participants are:
- Representatives of the university faculties as authors or
external authors commissioned by the faculties
- Editor from the ZFE (also acting as co-author in individual cases)
- Producer from the ZFE
- Camera team
- Sound mixer
- Vision mixer
- Video engineer
- Video-graphic designer
- Speaker for the commentary texts
In addition to these persons, each of whom makes a very specific and
indispensable contribution to the film, there are also all the people
who act as discussion participants or perform other roles in front of
the camera. If a large number of people who are also involved in other projects
take part in the film, early planning of schedules is an essential
prerequisite for the success of a video production. If the university faculty and editor are in agreement regarding a
joint objective and the fundamental conception, the producer must be
consulted at this point at the latest. Questions concerning the actual
picture composition and visualization of a particular subject matter
must be elaborated in collaboration with the producer. After the outline has been submitted, the rough production schedule
must be fixed in consultation with all the participants. Central questions affecting the latter are:
When does the university faculty wish to use the video?
Page 459
When are studio facilities for shooting and editing available?
When can graphics be produced?
When can sound recordings take place?
What broadcasting deadlines have to be met?
When will filming locations and cooperating partners (interview
partners) be available?
All questions concerned with scheduling can only be answered in the
context of the overall volume of production work at the
ZFE. Timeframes can be in terms of weeks or even months. Once the rough structure of the film has been decided, the next step
is to research possible filming locations, find interview partners,
obtain and sort through archive material, and lots more besides. This research work takes a considerable time and is one of the
decisive factors affecting the final shape of the film. A few examples to illustrate the above:
There is little point in arranging a discussion with a key person if
it is not certain that this person will be available during the period
in question. It may be necessary to make a change to the film
conception. It makes no sense to plan to film specific production
machinery in a company if it is not possible to get the necessary
permission for filming. Furthermore, the research work described provides the opportunity to
deal with the film's subject matter in greater depth, which may in
turn be useful when implementing the idea into the treatment (see
[Fig. 3]). "The treatment develops the rough draft a stage further. As the
preliminary stage of the film plan, the shooting schedule and/or the
film script, the treatment describes the subject matter in greater
detail and states the message more precisely: What does the film aim
to achieve?(...) Initially approximate and non-binding statements are
now put into definite terms: How long will the film be? Where will it
be filmed? Who will make a statement? What interview partners are
planned?" (see [Schult and Buchholz 1990]). As a rule, the treatment is prepared by the editor with the
participation of the university faculty representative. Once the possible filming locations are fixed and interview partners
have been found, it is advisable to pay an advance visit to the
locations with the producer. This extra expenditure, which is always justifiable except if a very
long journey is involved, serves to analyze the locations from the
technical/cinematographic point of view (camera positions, light
conditions and acoustics). The preliminary visit makes it possible to
take into account any peculiarities of the location and prepare the
necessary equipment accordingly. Page 460
Furthermore, the plans drawn up on paper in the treatment can be
adapted to conditions on location. An example of the latter:
Planned interviews with employees at their places of work make little
sense if the noise level is so high that sound recordings are
impossible. An advance visit to the location avoids surprises which
lead to delays during shooting. The film script is a synthesis of what the film location permits, what
is scientifically necessary and what is cinematographically
desirable. It has to take into account the wishes of the university
faculty, the editor and the producer. The film script, as the basis for communication, facilitates
organisation of filming deadlines, work on location, provision of the
information required by the video-graphic designer in order to
translate the subject matter into graphic form. But, at the same time,
it serves to give the representatives of the university faculty an
impression of how the resulting film will actually look. In order to design graphic sequences of a film and to provide the
graphic designer with a basis for his work, it is necessary to prepare
a storyboard (see [Fig. 1]). "The storyboard anticipates the planned film in full or in part. With
a more or less comprehensive collection of sketches the author is able
to represent the scope of his contribution, or equally to single out
individual picture blocks or sequences which he considers particularly
important or difficult." (see [Schult and Buchholz 1990]). Out of the film script arises the shooting schedule, which contains
the time sequence and content structure of shooting on location. It
also provides all participants in the project with information about
the processes taking place on location at any point in time. The production phase, in which the shooting takes place on location or
in the studio, is organised by the editor with the participation of
the producer. In individual cases the involvement of the university
faculty staff may be desirable also at this stage. In addition to the
aforementioned persons, the group on location also comprises the
camera man and assistant, so that, as a rule, four or five people are
present during shooting. Work on location is recorded in the shooting
log. Interviews are conducted by the university faculty
representatives themselves or by the editor, and it is not unusual for
the faculty staff members to also make statements in front of the
camera. After shooting is completed, which may take days or even weeks, there
are numerous follow-up jobs to be done before editing of the material
can be contemplated. Page 461
Since the professional video format, BETACAM SP, is used for shooting,
the film first has to be re-recorded in the VHS format for the purpose
of sorting the material. During this copying process the time code is
recorded in a visible form on the VHS tape. The time code is recorded
on a separate track of the video tape and assigns unique time
information to each individual picture. Thus, it enables a video
picture to be precisely located on the original tape. On the basis of
these VHS tapes a sorting list is made, in which the picture content
of individual takes, their length and precise position is recorded by
means of the time code. Similarly, after shooting, and with the aid of
the shooting log and sorting list, the film's voice-over or OFF-screen
texts are prepared. Off-screen texts are the texts which are spoken by trained speakers
for the individual picture blocks. The name off-screen texts reflects
the fact that the person speaking - in contrast to an on-screen
narrator - does not appear in the picture. The editing plan is derived
from the sorting list and the off-screen texts. The editing plan and film script determine the length and sequence of
the picture blocks. They assign the definitive off-screen texts to the
picture blocks. In addition, they contain technical instructions and
information concerning insertion of captions and graphics. The editing
plan and the information it provides, especially the time information,
must correspond to the finished film to the greatest possible extent. Preparing the editing plan is the job of the editor and producer,
taking into account the requirements specified in the film script. The
editing plan with the off-screen texts and the selected picture blocks
anticipates on paper the way in which the film will subsequently be
produced on the editing table. Since it is the last written version before final production of the
film, it must be authorised by the university faculty. For this purpose the off-screen texts must be submitted by the author
in their final form. No changes to picture or text are possible after
editing. Before picture editing takes place the voice recordings are usually
made in the recording studio. Here exact timing of the texts is
critical. Both the length and content of the texts must match the
picture blocks perfectly in order to ensure picture-text
congruity. The coordination of picture and text is of central
importance for the comprehensibility and remembrance level of the
film's content. Therefore, the pictures are edited to fit the text. In exceptional cases where the text is made subordinate to the
pictures, the reverse procedure may be used, but that is conditional
upon the length of the picture blocks being fixed precisely, since the
text is not available as a "timer". Such a method of working may be
useful with self-explanatory pictures or test representations and the
like. Apart from the producer, editor and, if necessary, the author
(university faculty representative), it is above all the vision mixer
or video engineer and video-graphic designer who are involved in the
editing process. Page 462
The film is edited at the ZFE studio on the basis of the original
material in BETACAM SP format. Picture editing with addition of the off-screen texts is followed by
sound processing. The latter is the job of the recording engineer and
comprises mixing of the general ambient noises (wild track effects),
off-screen sounds, on-screen sounds and music, the latter mostly being
composed specially for the particular production. After the sound mixing the resulting original tape (master tape) is
reused in two respects. One copy - namely the copy of the video production in the form in
which it will later be used for teaching purposes - is sent to the
copying plant, where copies are made for a fee according to
requirement. Once editing has been completed more time elapses before
a video production is available as a VHS cassette. The second processing takes place for broadcasting the production as
part of the programme, "FernUniversität im Dritten - Wissenschaft
direkt" (see [Fig. 2]. For this purpose the video production is
integrated without any modification into the overall concept of the
FernUniversität broadcast. Presenter's texts are written, which are spoken by professional
presenters at the FernUniversität studio. These texts provide an
introduction to the subject matter of the film and the circumstances
in which it came to be made. Following the scientific film, which
usually lasts a maximum of 27 minutes out of the 30-minute broadcast,
information is given about other FernUniversität video productions
and about where the video cassettes can be purchased. Finally,
"Pictures from Hagen" (architectural history) or "Pictures from the
FernUniversität" (institutes of the university) are shown. The date
for broadcasting a production in the "FernUniversität im Dritten"
series is set far in advance, thus providing a framework for
scheduling a production. A certain amount of time elapses between the
video production and actual broadcast of the programme. It may be that
a video version is available before the broadcast or only
afterwards. That depends principally on the dates of production and
broadcast.
4 Some General Concepts Relevant for Design of Instructional Films
What makes instructional video and TV different from other TV
contributions such as magazines? In instructional TV we want students
to learn. Therefore it seems reasonable to look at some basic insights
that we can gain from the theory of perception. One of the paradigmata
is that learning happens only after perception. So we have to give
time to the learner to really perceive the message. If the subject
matter is difficult we have to slow down the speed of
presentation. Educational TV is not a commercial spot. Summaries,
advance organizers or other structuring devices are certainly here as
valuable as they are in print or other educational media. Page 463
Perception is also more relative than absolute. That means that we
have to vary the stimulus to attract the viewers interest. This does
not contradict with the prior statement. If we cope for a well planned
change of presentation techniques such as graphical illustrations,
group discussions, real life illustrations etc. and if we use these
different formats in a didactically structured way we usually can
provide enough stimulus for the interested learner. Furthermore advantage can be taken from the selectivity of human
perception. Video and TV techniques today offer a wide variety of
effects to direct student's interest to certain segments on the
screen. Complex diagrams can be developed stepwise, details can be
dropped and added according to their momentary relevance. Selectivity
of perception is also relevant for the combined effects of sound and
images. If audio information is dense and complex then the image
should not distract too much and vice versa. As academics are used to
lecture they often have difficulties to let the image "live" without a
spoken comment. On the other hand some "media experts" consider a
joint combination of background music, spoken comment and moving real
images all at the same time as extremely catchy without really caring
about what students may learn from such a sequence. Another important theoretical strain is the "Gestalt"-psychology which
claims that good forms should correspond to the laws of proximity,
equality, closeness, experience and exactitude. We can profit of these
findings especially in the design of graphical representations,
e.g. horizontal and vertical lines are more easily perceived than
other lines, or short visual symbols which represent a condensed form
of natural or real life images may be easier to perceive than
mathematical symbols.
5 Design of Single Elements
5.1 The Presenter
Normally at least part of instructional videos or TV transmissions is
presented by faculty members. The advantage is that students usually
studying in isolation can see their teacher on the screen. Another
advantage is that the academic staff is more familiar with the subject
matter and that there is normally no extra cost involved. However as
we have to deal within the university environment with more or less
TV-unexperienced faculty members even an uninterrupted take of five
minutes may pose a problem for the presenter. Therefore it is
recommendable to plan very short takes interrupted by other elements
such as graphical representations, real life illustrations or
animation parts. Takes for the speakers should be as short as one or
two minutes. Furthermore presenters should be asked not to read their
text or to learn it by heart beforehand. They should just note some
key words if necessary. If they present a programme for the first time
it may be useful to introduce them to the studio already some day
before actual recording. On this opportunity already simple Page 464
issues such as dress or lecturing habits can be discussed to prepare
an appropriate studio setting later on. Unprofessional presenters also
need some time to warm up so it can make sense to record the first
takes once more at the end of a studio session. To contrast the voice
of the presenter we often use a contrasting voice for the off-comments
e.g. if the presenter is male we use female voice for the
off-commentary.
5.2 The Interview
Interviews are frequently used to incorporate external expert
knowledge. However to make a good interview some simple rules should
be respected. First, the interviewee should play the important part
not the interviewer. Second, the interviewer should take the
perspective of the spectator or student who is watching the
programme. Third the interviewer has to react on the answers given by
the interviewee. Therefore it is not recommendable to prepare all
questions in detail beforehand and to limit the interview to one or
two central aspects only. The first and the closing questions should
be well planned to give the interview a clear message. To speed up an
interview the interviewer can use prior information that he gained
from preliminary talks with the interviewee. As a trainer once
remarked, the art of an interesting interview consists in bringing the
interviewee to talk about aspects that he normally would not reveal in
a simple statement.
5.3 Group Discussions
With respect to filming group discussions pose a greater challenge
than interviews or statements. Here the role of the facilitator is of
crucial importance as he has not only to direct the discussion but has
also to support by his gestures direction of cameras. Therefore he
should be placed always in the middle of the group. The opposing
parties should be placed on opposite sides of a half-circle
arrangement. Maximum size for group discussions should be less than
ten preferably five to six. For proper filming at least three camaras
are necessary. Zoom or panning should be used only exceptionally,
instead shots and reaction shots can be used. In general life
recordings are preferable. Camera operators can be directed via
headphones (Intercom).
5.4 Graphical Representations
Graphics are a common element of most instructional films. They
include cartoons, diagrams and illustrations. Some basics may be
mentioned when graphics are to be prepared. First, the screen format
(3 to 4) has to be respected and a security margen has to be left
because of different monitor sizes. Second, characters have to be
readable, which seems obvious but is often disregarded. A broad rule
is that minimum size should be no less than 3 cm given a visible
monitor diagonal of 64 cm. Lines Page 465
should have a minimum thickness of 0.5 cm and should not include more
than 30 letters. Third with respect to colours pastel tones and non
reflecting materials are recommendable. Finally as mostly various
graphical sequences form part of a single film, design for all
sequences should maintain some common characteristics, e.g.
background colours, characters, symbols, design style. This is in line
with the laws of equality and experience from "Gestalt"-psychology
mentioned above. It helps students to decode rapidly the graphical
message as by the time certain elements become familiar to them.
6 The Language of Filming
As we do not intend to lecture about filming we just give some
practical hints that also an instructional designer may keep in mind
when producing some audiovisual material. We have a variety of
elements and techniques that have to be used and combined effectively
e.g. composition of the image, shooting angles and position (long
shot., medium shot, close-up), camera perspective and movement, cuts
and fades, sound, light and editing. There are no fixed rules how to
use each element but for the "non artist" and "non professional"
educational designer it may be useful to respect some guiding
principles. First let us deal with the composition of the image. Normally if a
face is to be shown on the screen we should leave some space at the
margins. If the speaker looks to the left we will place him to the
right side and vice versa. Persons should look directly at the camera
and the camera should be at eye level. Groups have to be arranged with
different distance to the camera to generate some space effect. Second, to relate different takes we usually have to cut. As shooting
formats and angles have their proper meaning and impact it is already
important while shooting to think about the next take that
follows. Cutting within the same frame or angle is mostly
inadequate. Cuts can be made less obvious if e.g. a movement continues
in the next frame, if some basic visual structure prevails or if some
sort of symbolic analogy can be used to hide the cut. Of course there
are also other means to relate different takes such as fades,
superimposition or blurring but these are usually less frequent. One of the typical settings in a semi-professional environment is the
filming with just one camera. Here we should choose primarily relative
"quiet" images, fixed frames and camera angles instead of zoom or
camera movement. Also filming from a tripod is most
recommended. Bright objects should be placed against dark back-grounds
and vice versa. Also reverse lighting has to be evited. In editing we basically have two types of post-production. The first
one is simply to paste one element to the next according to their
final order. This way of editing is called assemble edition and is
used if the film script is not very detailed and if the Page 466
main work is left to the editing. In instructional films where the
sound track often is the leading element post-production by
insertation is often more relevant. Sound tracks for off-commentaries
are prerecorded and lacking graphical illustrations or real life
images are inserted later on to those parts of the master tape left in
black before. This allows to determine the exact duration of the
production before completing all editing and gives more flexibility to
organize post-production. However in reality both types of
post-production are used jointly. With these brief remarks we will end our discussion of the more
technical aspects and stress that there is certainly no rule in
filming that has not been broken. In the next paragraph we will
summarize the various aspects of instructional films dealt with before
and list some of the most relevant criteria to rate and compare
quality of instructional audiovisuals.
7 Guiding Principles to Analyse Instructional Films
First we should check wether the content is relevant for the target
group and wether style and density of information are
corresponding. The subject matter has to be presented in a logical
sequencing. Relation to other existing course material has to be
considered. With respect to the didactic structure we should look if an initial
motivation is given, if the problem is well presented and if learning
is supported by structuring devices. Visualization should cater for changing presentation formats, good
composition of single images as well as for expressive images that
really support the audio. The montage should be technically correct
and adequate. Audio information should be recorded clearly and
language style has to be adapted for listening. Finally we should check whether time for investigations and script
writing has been not excessive, whether organization of external shots
and shooting ratios are justifiable, whether utilization of studio
capacity has been as planned and whether graphics have been well
prepared in time. We can see that analysis of an instructional production is a rather
complex issue. But it is indispensable, although sometimes harmful
for team members, when we want to improve our products. Page 467
8 Future Perspectives of Instructional Video and TV in a Changing
Environment
Audiovisuals have been frequently under attack. Some were critizising
the high production costs others were questioning accessibility of
audiovisuals for students at home. Also the efficiency of audiovisuals
to deliver effectively teaching content has not always been accepted. More recently challenges came from technological revolutions in
telecommunications. Teleclasses popular in the US claim to be a low
cost approach to deliver expert knowledge without use of special
design patterns known from instructional TV. The other attack comes
from integrated multimedia software for personal computers
incorporating animation, sound and video on a single compact disk. Having all this critique in mind it may be useful to remember some of
the essential media attributes that made audiovisuals survive in a
sometimes unfavourable environment. When we started videoproduction at
the German FernUniversität around 1978 only about 8 p.c. of private
housholds possessed a videorecorder at home. Today this percentage in
Germany is around 70 p.c., in Great Britain around 90 p.c. and in
Holland about the same as in Germany. Distribution of video and TV via
cable and satellites extended enormously the coverage of
spectators. In the future also "video on demand" may offer additional
prospects in distribution. Costs of production can be reduced by
sharing some of the development and investment costs with either
public TV companies or in case of video with private editors that are
interested to market attractive productions outside the distance
education system. With respect to integrated multi-media software we know that
accessibility at the moment even in countries such as Germany or
Britain is still very low. To play multimedia software at home
relatively high powered personal computers equipped with sound cards
and CD-ROM drive are indispensable. Also development costs are
comparatively high as not only sound, video and text have to be
combined but individualized access and interaction has to be provided
as well. Finally software development to make it a powerful tool
usually is conceptualized in relatively large bits. However within the
university environment only short term dedications of faculty staff to
develop such programmes can be achieved. These are clearly some
restrictions for a large scale development of integrated multi-media
software. On the other hand the storage of print, audio or audiovisual
materials on a single medium such as a CD will offer another promising
distribution channel for video productions. Switching now to teleconferencing we found the technology may be
adequate to extend some on-campus lectures to remote sites, especially
local centres, but fixed time schedules, high costs for lecturing
hours, expensive investment in necessary infrastructure as well as
high line costs impeded the rapid introduction of such systems to
large scale distance teaching institutions so far. However, more
recently ISDN-based low cost conferencing systems may change this
perspective in part. In any case teleconferences are a unique event
and are restricted to a selected group of participants that have
excess to the equipment needed for reception. So teleconferences Page 467
provide an additional service to support distance learning but will
not be able replace core teaching materials such as carefully designed
instructional video tapes. To
conclude this point we think that there is still a case to develop
good educational video and TV material. Furthermore organizational
structures, strategic options and design patterns that guide the
production of audiovisuals can serve as an excellent experience to
incorporate later on audiovisuals and sound into integrated multi-
media software. However as part of multimedia software audiovisuals
probably will be reduced to small bits of source material and dynamic
linkages will be replaced by individualized access facilities. Page 468
Figure 1: Organizational Chart of Video and TV-Production
Page 469
Time
(1) Trailer "FernUniversität" 15 sec.
(2) Presenter (Introduction to main topic) 30 sec.
(3) Instructional film 27 min.
(4) Presenter (links to next topic) 15 sec.
(5) Report on actual research and academic events 60 sec.
(6) Promotion of videos 30 sec.
(7) Presenter (concluding remarks) 15 sec.
(8) Trailer (Production team) 15 sec.
______
30 min.
======
Figure 2: Structure of TV-Transmissions at
FernUniversität Hagen
Page 470
time (minutes)
(1) Title 0.15
(shots at car factory)
(2) Short statements about the concept of just-in time 2
(managers of Ferrostahl, Krupp and Opel)
(3) short summary given by Prof. Fandel 2
just in time in production
just in time in delivery
(4) graphical illustration of KANBAN-loops 2
(5) shots at car factory to illustrate production loops 2
(6) comment by manager about merits and problems 2
(7) must in time in delivery 6
two different suppliers (Statement and real life
illustrations)
(8) provider of decentralized stock (Interview) 4
(9) Comment by Prof. Fandel about economic benefits of 3
just in time delivery
Total duration 23
==
Figure 3: Treatment "Just in time logistics"
Page 471
Figure 4: Storyboard "European Personnel Management"
References
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[Laaser 1984] Laaser, W.: "Didactic Design of Video Instruction in
Distance Education"; in: Epistolodidaktika 1984, 1/2, P. 4-15
[Laaser 1990] Laaser, W.: "Teaching Economics by Video and
Television"; in: Media and Technology, A.W. Bates (Ed.), Milton Keynes
1990, P. 121-125
[Schult and Buchholz 1990] Schult, G., Buchholz A. (Ed.):
"Fernsehjournalismus. Ein Handbuch für Ausbildung und Praxis";
München 1990.
[Silbermann 1982] Silbermann, A.: "Handwörterbuch der
Massenkommunikation unde Medienforschung"; Vol. 1 u. 2., Berlin 1982.
[Taylor 1992] Taylor, J.: "Access to New Technologies Survey 1991";
Plum Paper No. 19, Open University, June 1992
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