Common Essential Learnings Foundational Objectives

Learning Objectives	Notes
5.1 To become familiar with basic video production processes and equipment.	This module consists of hands-on exercises and labs to prepare students for Module 8. Review with students the roles and responsibilities of the video crew members researched in Module 4. Discuss how their roles within the class project will be similar or different from that of a professional. Each classroom video project will require as a minimum: a director a production manager a camera person an audio person a video editor. Students might share some of the above responsibilities. During the lab activities students should have an opportunity to try out each role within the production team. The production stage of video production includes the following activities: selecting equipment gathering props identifying and travelling to locations setting the scenes rehearsal and blocking shooting or taping on-site evaluation of the footage equipment operation and maintenance. Review the processes involved in the production phase, including scheduling of equipment usage, organizing location shoots, gaining permissions, and planning shooting schedules. Have students record this information in their notebooks.
5.2 To relate, compare, and evaluate what is being read, heard, or viewed. (CCT)	Gather examples of equipment logs, shot lists, location lists, and scripts that have been used in a professional situation, and discuss them with students. If these are not available, use students' work from previous CPT classes. Inform students that their production logs and lists will be included in their working portfolios.
5.3 To understand the role and practise the skills of a director.     5.4 To apply conclusions and generalizations to new situations. (CCT)	Director's Lab The director: plans each scene of the production shot by shot, based on the storyboard sequences casts the characters and works with the cast on developing characters works with various departments to develop the look of the production works with the camera person to plan camera moves signals the crew when taping is to begin with the cue "Action" signals the end of a taping segment with the cue "Cut" watches continuity from scene to scene. Have students execute some short storyboard sequences, taking turns in the role of director. Have them give direction to the cast and camera person, signaling action and cut cues as appropriate. (Note: Students were introduced to storyboarding in Module 2.)
5.5 To understand the basic components and functions of a video camera and examine the role and responsibilities of a camera person.	Camera Lab Demonstrate to students the basic components of a video camera. Have students practise inserting tapes, white-balancing, focusing, fastening to tripod, etc. Discuss rules regarding the use, care, and storage of camera equipment. (Note: The cameras should have manual focus and lens iris. Basic camera technique should not be learned on a camera with automatic focus or iris. These are for convenience only and can severely restrict important aspects of composition, depth of field, and lighting.) Have students examine and learn to use operating manuals. Reinforce the importance of using and referring to the manuals. Review sections on trouble shooting. Keep manuals accessible. Draft a schedule for students to practise using the equipment. Check for basic competencies including operation, maintenance, handling, storage, and use of basic terminology. Review the important functions of the camera: to frame the action to follow the action to emphasize part of the scene by showing a selected view of the action.
5.6 To understand the effects of camera positioning.	Camera Positioning Activities By changing the camera position, the relationship between the audience and the character is changed. Have students take turns experimenting with camera positions: eye level high angle low angle point of view. Eye level is how a scene would look to someone who was in a standing position. During a sit-down interview the camera is lowered to the subject's eye level. When writing shot descriptions, the camera position is assumed to be at eye level unless otherwise written. The high angle shot is achieved when the camera is raised above the eye level of the subject then tilted down. A low angle shot is when the camera is lowered below the eye level of the subject and tilted upward. The point of view shot is used to show the scene from the eyes of the character. The camera sees what the character sees in exactly the same way. Have students discuss the effects of varying camera angles. If they wanted to make a character look vulnerable which angle would they use? Menacing?
5.7 To reflect on their own work and critique the results of their efforts.	View the results of students' experiments and have them critique the effects they have achieved. Have students include these critiques in their working portfolios.
5.8 To understand and apply framing shot techniques.     5.9 To apply conclusions and generalizations to new situations. (CCT)	Framing Shots Activities Review with students some standard methods of framing shots. Each has a stylistic purpose or creates a particular effect. View and discuss video excerpts that demonstrate basic framing shots. Have students record their observations in their notebooks. Have the students experiment with some of the following framing shots that will be practised and refined in the upcoming production modules: wide shot (WS) full shot (FS) medium shot (MS) three quarter shot (3/4) long shot (LS) head and shoulders (H&S) close-up (CU) extreme close-up (ECU) two shot (2-SHOT) medium two shot (MED 2-SHOT). Wide shots are used to establish the location or setting, and can also be used to introduce the action. Full shots frame a person from head to toe or completely frame an object. A full shot is used either to establish or follow a character. Medium shots frame a person from the waist up. A medium shot is used to provide new visual information or show a closer view of the action. It also adds visual variety in editing. Three quarter shots frame a person from the knees up. This shot is a variation between the medium and full shot and provides visual variety. Long shots are full shots, but show the person at a greater distance. The head and shoulder shot frames a person from the chest up. The head and shoulders shot provides a closer view of a character and can be used as a listening or reaction shot. This is the standard framing for most interviews where there are two subjects engaged in conversation. A close-up is framed as a head shot, just above the shoulders. This shot is used to provide a more intimate view of a character or participant. The close-up can also be used as a listening or reaction shot, or to show the details of an object. The extreme close-up frames a head shot from the tip of the chin to the middle of the forehead, or any other equivalent space on an object, animal, etc. This shot shows drama or tension in a character's face or allows the viewer to see specific details on an object. A two shot frames two people in a full shot. This can be expanded to include however many people are framed in the shot (three shot, four shot, etc.). A medium two shot frames two people in a medium shot and can be expanded to a medium three shot, four shot, etc.
5.10 To reflect on their own work and critique the results of their efforts.	View the results of students' experiments and have them critique the effects they have achieved. Have students include these critiques in their working portfolios.
5.11 To understand and apply camera movement techniques.     5.12 To apply conclusions and generalizations to new situations. (CCT)	Camera Movements Activities View and discuss video excerpts that demonstrate basic and innovative use of camera movements. Have students record their observations in their notebooks. Explain to students that equally important to camera positions are camera movements. Camera movement heightens the interest and entertainment value of the visuals. Camera movement may be incorporated for the following purposes: functional - the camera moves to keep the subject well-framed practical - the camera moves to reveal information decorative - the camera moves to provide variety, interest, and style. There are several standard camera movements that will help students achieve a more interesting effect. Standard camera movements include: tilt - camera tilts in sync with a moving object pan - camera goes from one object or subject of interest to another zoom - camera pulls in or out to reveal information dolly - is a long continuous shot which requires the camera and operator to move physically on a cart to complete the full range of motion. Have the students experiment with tilt, pan, and zoom movements. These shots and movements will be practised and refined in upcoming production modules.
5.13 To reflect on their own work and critique the results of their efforts.	View the results of students' experiments and have them critique the effects they have achieved. Have students include these critiques in their working portfolios.
5.14 To understand the effects of lighting techniques.     5.15 To relate, compare, and evaluate what is viewed. (CCT)	Lighting Lab Ask students why they think lighting is important in video production. They should understand that in order to achieve the desired effects, it is essential to consider lighting along with camera work. View excerpts of videos that demonstrate basic and innovative lighting techniques. Have students critique and record observations in their notebooks. Students should consider lighting for the following reasons: for the clarity and visibility of images to connect the mood and content of a scene to help create atmosphere to make images more vibrant.
5.16 To identify hard and soft light sources and understand their applications.     5.17 To apply conclusions and generalizations to new situations. (CCT)	Light Sources Discuss the differences between hard and soft light. Inform students that hard light is direct light. Direct light from the sun or a small focused light source, such as a spotlight, casts well-defined hard shadows. Soft light is diffused or indirect light, sometimes called "bounced light". Soft light sources cast less-defined shadows. Examples include florescent light in an office building or natural light on an overcast day. Have students experiment with hard and soft light sources. Place a subject or object in the same location and position, then note the effect of the two different types of light with regard to colour, shadow, and overall effect. View and critique the examples and have students record their observations in their notebooks.
5.18 To understand the effects of light source direction.     5.19 To relate, compare, and evaluate what is viewed. (CCT)	Direction of Light Source The direction of the light source will determine where the shadows fall. This will influence the look or mood of the scene as well as the appearance of people and objects in a shot. Lighting directions include: front lighting - makes the subject appear flat and two-dimensional; colours are most saturated or vivid side lighting - brings out detail and texture in irregular surfaces back lighting - places the subject in silhouette; colours are least saturated or vivid. Experiment with different light sources and examine the effect on the shots. Place one member of the group in a stationary position and experiment with moving the light source from front to back to side. Discuss observable differences in the students' experiments. Have the students critique and record observations in their notebooks.
5.20 To develop an understanding of various types of production lists.     5.21 To relate, compare, and evaluate what is viewed. (CCT)	Shooting Critiques View and critique examples of various types of professional camera techniques. Have students list some technical goals for their own productions. Gather actual examples of professional production lists and discuss them with the students. Have students prepare lists of shots, scenes, etc. for their productions in Module 8. Have them review their lists with peers, and include the lists in their working portfolios
5.22 To develop an understanding of simple post-production techniques.	Visual Editing Lab Demonstrate basic editing techniques using the raw footage from the students' video production labs. For many simple productions, editing directly from the camera to the VCR, or from a VCR to a VCR is commonplace. Editing from the Camera to a VCR Connect a cable from the output of the camera to the input of the VCR. Push play on the camera. At the point where the student wants to record the action on camera, push record on the VCR. Continue methodically to piece each segment together until the completed product is pieced together in sequence. The VCR tape then becomes the "master". Editing from VCR to VCR Connect a cable from the output of the first VCR to the input of the VCR that will hold the master tape. Push play on the first VCR. At the point where the student wants to record the action playing on the first VCR, push record on the second VCR. Continue to piece together the master in this way. Using footage shot during production labs, create an example of the entrance cut, the exit cut, as well as the action cut. Have students prepare a film of various everyday actions such as going through a door, picking up books, or feeding a dog. Ask students to edit the actions together, and then do a self-assessment: How well do the video segments work together? Are there any jump cuts? Where do students need to cut an action?

Module 5B: Intermediate Video Production (Core)

Module Overview
In this module students participate in hands-on labs to refine and further develop their knowledge of video production equipment, techniques, and processes.

Foundational Objectives

Common Essential Learnings Foundational Objectives

Learning Objectives	Notes
5.23 To refine their storyboarding techniques.     5.24 To focus attention on knowledge and gaps in knowledge regarding storyboarding. (CCT)	In Module 2 students were introduced to storyboards. In this module they will refine their storyboarding techniques. Students might want to plan their shots and record them on their storyboard or shooting scripts. The following are terms they may incorporate at the intermediate level. Script writing terms are used in conjunction with storyboards, production notes, and/or shooting scripts. These terms indicate the technical decisions for each scene or part of a scene. Terms include: Fade in: Fade from a black screen into video. Fade out: Fade from video into a black screen. Int.: Interior scene or audio situation. Ext.: Exterior scene or audio situation. Angle on: Indicates subject for camera focus. Close up: As above, close up shot. Another angle: Same subject, more than one camera shot. Various angles: A variety of shots. Reverse angle: Reverse focus of shots. Cut to: Move to another scene. Voice over: Dialogue over scene, narrator not seen. Music over: Music over scene. Point of view: Action or scene as viewed from the perspective of a character. Over the shoulder: Camera is positioned behind and on the other side of the subject. Moving shot: Camera follows action. Insert: Insert shot, action, music.
5.25 To develop equipment logs, shot lists, and location lists.	In Module 5 students were introduced to equipment logs, shot lists, and location lists. In this module they will actually prepare their own lists for production.
5.26 To refine composition techniques.     5.27 To strengthen perceptual abilities. (CCT)	Camera Lab Review basic camera skills from Module 5, and introduce students to the following techniques. Composition View and discuss video excerpts that demonstrate basic and innovative compositions. Things to look for: Find ways to add depth (3D) to a shot. Check the viewfinder for distractions such as strong horizontal and vertical elements (for example, a chimney growing out of someone's head). Do not frame important action close to the edge of the frame. Avoid straight on, square-in-the-middle compositions. Fill the frame if possible with interest and avoid large, empty, uninteresting spaces, unless this is the desired effect. Bright colours draw the viewer's eyes away from the main subject.
5.28 To refine techniques for framing faces.     5.29 To make careful observations during active construction of knowledge. (CCT)	Framing Faces The rules for framing head and face shots are important to remember and practise: Rule of thirds: position the eyes about one third of the way from the top of the frame. The eyes are the centre of attention in face shots. Headroom should be consistent for the same-sized shots (as in conversation and response). The closer the shot, the less headroom there will be; crop out the top of the head rather than the chin if cropping is necessary. Profile shots are flat on video. Always give space in the direction of people's looks and movement. Have students experiment with various face framing techniques. Have students critique their work and record their observations in their notebooks.
5.30 To understand and apply techniques for creating or simulating motivated light sources.     5.31 To strengthen perceptual abilities. (CCT)	Lighting Lab Motivated Light Sources The main light source, or what is known as the "motivated" light source, might not be visible in a shot. However, the main source must be established to make a scene more realistic and help the viewer imagine that the scene extends beyond the frame. Examples of motivational light sources include: the sun the moon a bedside lamp a naked bulb hanging from a cord an exit sign at the end of an apartment hallway a flashing neon sign from the bar across the street. Discuss various excerpts from videos to determine the motivated light sources. Attempt to create various motivated light sources. For example, does a red gel in front of a white light source simulate an exit sign? Ask students to try to create a blinking neon sign by turning the light source off and on in a rhythmical pattern. Have students create as many examples of motivated light sources as possible, and record their observations in their production logs. Additional Lighting Exercises Have students try a few more set-ups to practise creating the looks they might want for their Module 12 production projects. Have students try the following in small groups: Take a single light and focus it on one of the group members (the subject). Turn off any other sources of light. Observe the effect of the light on the subject. Begin with the light at eye level. Lower and raise the light and observe the shadow placement and appearance of the subject. Move the light around the subject and observe the differences. Note the effect on the face, the shadow, the clothing, the texture, and the colour saturation.
5.32 To develop understanding of titling that blends into the rest of the production.	Invite industry representatives or producers to discuss titling techniques and trends. Discuss with students the basic principles of titling (e.g., short, direct, implied, or explicit titles). Explain options for insertion (e.g., before a scene starts or overlaying the action of a scene).
5.33 To make careful observations during active construction of knowledge. (CCT)	Have students choose from a variety of print fonts and colours for titles. Transitions between scenes and titles might include "wipes" (a line that sweeps across the screen to change the screen) or "dissolves" (one scene blurs into the next). Investigate the variety of software options and Internet sites for titling. Provide students with a list of productions showing various types of titling. Have students review and be prepared to discuss the titling techniques used. A number of websites provide information on editing. The following are examples: www.videomaker.com www.matrox.com/mga www.videonics.com
5.34 To understand the role of the video editor.	Video Post-Production Lab Students should understand the role of the video editor. After shooting has wrapped, the editor assembles the images and tells the story in a way that makes sense for the production. The editor: assembles the images and sounds tells the story in a way that makes sense for the production creates rhythm in the story telling. The rhythm or pacing of a story is created in editing. For example, suspense is created by holding shots on screen for a long period, while intense action such as a car chase requires more frequent and shorter shots to create a sense of urgency.
5.35 To understand the difference between a jump cut and a motivated cut.     5.36 To strengthen perceptual abilities. (CCT)	Editing Cuts Every cut made by an editor must be motivated by new information. If the change between two shots is relatively insignificant this is known as a jump cut. Cuts are motivated if they provide new information. Properly motivated cuts allow a closer look and create a transition easily accepted by the audience. Insignificant changes between two shots are known as jump cuts. Show and discuss video excerpts that demonstrate the difference between a jump cut and a motivated cut.
5.37 To understand some conventions for selecting edit points.	Inform students there are no hard and fast rules about where to make a cut, but there are editing conventions. Choices about where to make a cut are influenced by: desired pacing shot content editor's objectives for creating emotion where in the frame the audience is looking. Basic editing cuts include: the entrance cut the exit cut the action cut.
5.38 To understand the differences between, and application of, the entrance cut, the exit cut, and the action cut.	The Entrance Cut: The subject or object is entering the frame. An entrance cut should hold an empty frame momentarily before the subject enters the frame. The Exit Cut: The subject or object is leaving the frame. The smoothest exit cut occurs as the subject is leaving the frame. The Action Cut The action begins on the outgoing shot and completes on the incoming shot. Two different views of the same action can be cut together to appear continuous. A good action cut is seamless and will not be seen as two shots. The action cut is one of the most powerful edits. View examples of each type of edit cut and discuss the effects of each. Look at good examples and poor examples to see how mistakes can disrupt the sequence. Have students create various edit cuts and discuss and critique their work.

Module 6A: Introductory Audio Production (Core)

Module Overview
This module introduces students to basic knowledge, skills, abilities, and processes required for audio production. Students will be involved in hands-on lab activities designed to prepare them for creating their own productions in Module 8.

Foundational Objectives

Common Essential Learnings Foundational Objectives

Learning Objectives	Notes
6.1 To develop an understanding of the importance of applying good audio techniques.     6.2 To relate, compare, and evaluate what is heard. (CCT)	Listen to examples of different types of audio applications, e.g., narration, voice-overs, TV advertisements, live action, or animation audio.   Discuss how good audio helps drive the story, increase the dramatic effect, and clarify the story line or message. Discuss the impact of audio and, conversely, the negative effect of badly produced audio. Discuss the importance of critically analyzing the various sound elements. Have students listen for similarities and differences. The students must learn to develop their sensitivity to the sound elements. View and discuss a video on audio production such as: Audio Awareness (Sound Effects) Making Grimm Movies: Locations, Sets, Sound, Storyboards.
6.3 To become aware of the wide range of applications of audio technologies.   6.4 To identify sources of information used to solve problems. (CCT)	Have students list the circumstances where audio production equipment is required including radio stations, stage productions, video and film productions, and multimedia presentations. Ask students to determine, through research or an Internet search, what tasks an audio technician must perform. For example, the audio technician must decide what type of microphone is to be used. The decision will be based on the task at hand and the range of equipment available.
6.5 To develop skills in audio recording.	Have students conduct a simple, 30-second radio interview with a peer, audio expert, or person from the community. At this level, the equipment could be as simple as one microphone connected into a tape recorder. The teacher might offer no further guidance other than making sure that the students have audio going to tape. Have students critique the interviews and discuss how they could be improved. The door will be opened to teach initial concepts related to microphone choice and placement, pick-up patterns, and room acoustics. After critiquing the interviews, the students will be more aware of the need to learn about technological concerns. Some interview activities could include: an interview with the captain or MVP after a recent sporting event an interview with someone of profile in the community an interview concerning controversial school policies from a teacher's and/or student's perspective an interview concerning student elections.
6.6 To become familiar with microphones and their use.	Microphones In this section of the module, students should: learn the different types and functions of microphones learn the key properties of microphones demonstrate the correct use of a microphone, showing proper placement to achieve maximum presence name the major components of dynamic and condenser microphones identify the correct placement of a microphone for use in and outside a studio to obtain the best possible presence from the human voice demonstrate the correct way to engage and disengage a microphone on an audio console. Introduce students to basic microphone concepts. Ensure that they know the following fundamental concept: a microphone is a transducer that has the ability to take acoustic energy (the sound wave) and convert it to electrical power. This electrical energy is routed and eventually turned back into amplified sound waves that the ear can receive. Explain to students that each microphone has two main characteristics: the way it converts the sound energy (this determines whether it is a "dynamic" or a "condenser" microphone) the type of pick-up pattern (omnidirectional, cardioid, or super-cardioid).
6.7 To identify the difference between dynamic and condenser microphones.	Even though there are many different types of microphones, at this stage the teacher will concentrate on the common types currently in use. Dynamic Microphones Make sure students understand that in the world of audio, the term "dynamic" refers to range of volume. A dynamic performance means an energetic, forceful performance to most people, but to an audio technician it means a performance that covers a wide dynamic range from very soft to very loud volumes. Dynamic microphones are capable of dealing with wide ranges of sound. They are generally less expensive, more rugged, and more practical to use in a wide variety of situations. Even though the sound reproduction is quite realistic, they are not as precise as condenser microphones. Students should understand that, unlike condensers, they do not require phantom power so they are easier to use in field situations. Inform students that a common example of the "industry standard" dynamic microphone is the Shure SM 58 at this time. Condenser Microphones Students should learn that condenser microphones reproduce sounds with incredible accuracy. Their main distinguishing feature is that they have an internal preamp requiring power. This additional power source could be any one of the following: an internal battery in the microphone itself an external battery pack phantom power from the mixer. Inform students that some microphones have the ability to change their pick-up pattern to suit the task at hand, so the user must take into account microphone placement as well as the choice of pick-up pattern to achieve the best result. The fact that these types of microphones are highly sensitive allows them to reproduce sounds with a high degree of accuracy. They are also sensitive to wind pressure, so even moving one too fast will produce unwanted noise. This sensitivity makes it essential that the microphone is used in conjunction with an additional wind screen, as even the human voice can cause wind pops, especially with words that begin with p or b. (Note: Condenser microphones are usually more expensive than dynamic microphones and are used by professional studios in controlled settings.)
6.8 To understand the pick-up patterns and positioning of microphones.	Pick-up Patterns of Microphones Understanding pick-up patterns or directionality of microphones is essential to knowing the capabilities of particular microphones. Directionality refers to how a microphone "hears" sound arriving from different directions. Cardioid Microphones These microphones pick up sounds in a heart-shaped pattern. They pick up sounds from the front and reject sounds from the rear. A lapel microphone clipped to the collar of a subject is one of the most common cardioid microphones used in production. Super-Cardioid or Hyper-Cardioid Microphones These microphones pick up a narrow pattern of sound from the front of the microphone while rejecting sounds from the rear or sides. A shotgun microphone is an example of a super or hyper-cardioid microphone. Omnidirectional Microphones These microphones pick up sound from all directions. A microphone built into a video camera is an example. Audio Lab for Pick-up Patterns Collect one of each type of microphone and note the pick-up patterns of each. Record audio from the front, back, and sides of each and listen for differences. Note the optional pick-up area for each. Have students determine positioning of microphones for optimum performance in various situations. Have the class create a bank of sound effects, both interior and exterior. These sound effects may be used in radio plays or video productions in the future. Perhaps the local music store or sound company would let the teacher borrow a variety of microphones for demonstration. Or, perhaps an audio technician could do an in-class demonstration using "industry standard" gear. Areas of concentration could be: microphone and wind screen characteristics achieving the optimum amount of input audio technician training.
6.9 To become familiar with tape recorders and their use.	Tape Recording Demonstrate the correct use and care of tape recorders. Students should learn about the following: the composition of audio tape the function of the component parts of tape recorders the uses of tape recorders in production heads, tracking, and alignment the correct operation of a tape recorder the controls of a tape recorder and their function various industry uses for tape recorders tape machine recording and playback.
6.10 To become familiar with heads on tape recorders, and tape speeds.	Review the three functions of the heads on tape recorders. Erase: produce a magnetic field that scrambles the pattern of iron oxide particles and obliterates any information previously stored on them. Record: produce a magnetic field that arranges the iron oxide particles in a particular order, storing information on the tape. Playback: read the patterns formed by the arrangement of the iron oxide particles and produce an electrical signal carrying the sound information. Inform students that the two most used broadcast tape speeds are 7.5 ips and 15 ips (inches per second).
6.11 To understand the concepts of tracking and monitoring.	Inform students about basic tracking concepts. They should learn that half-track allows the operator to record a monaural signal on both tracks, one at a time, usually by flipping the tape, with no opportunity for reversing the tape or using other tracks. Full track is strictly a monaural configuration where the audio signal is placed across the entire width of the tape, with no opportunity for reversing the tape or using other tracks. The Monitor/Tape buttons allow the tape recorder to monitor the signals coming from the playback head, guaranteeing that something is on the tape. The Monitor/Source buttons allow the tape recorder to monitor the signals coming to the record head, with no guarantee that the signals have been recorded on the tape. The recommended position for these combination buttons is in the "Monitor/Tape" mode (pushed in), so you always have confirmation that something is on the tape (either during playback or recording).
6.12 To practise basic recording skills.	If students have access to a 1/4 inch reel to reel tape machine, they should use this to mixdown their recording projects. Each student can demonstrate his or her ability to: thread the tape through the heads to the takeup reel set proper record levels using the input controls and VU meters use the auto location controls.
6.13 To become familiar with cassette machines and their use.	Students should: identify the cassette machine operational controls and describe their functions demonstrate correct cassette machine use and proper microphone technique demonstrate correct audio production procedure.
6.14 To understand the importance of maintaining equipment.	Students should: It is important for students to learn to take good care of their audio equipment. Dirty heads on the tape recorder can have a devastating effect on a recording. Professional audio people will clean the heads at least once per day, and usually more often if there is extensive use. Refer to the manual that comes with the tape deck for proper cleaning instructions. This is a task that every student must learn to do. Care and maintenance of the gear should be part of the overall responsibility of every class member. When magnetization builds up on the heads (caused by tape constantly moving across them), the result can be anywhere from a loss of high end frequencies to the partial erasing of a recording. Be sure to have students check the tape recorder's manual as well as the head demagnetizer's manual to ensure that demagnetizing is done properly. It is critical that the student give this job the undivided attention that it requires. Permanent damage to the heads, as well as other pieces of equipment in proximity, can result from improper procedures. The heads on a reel to reel should also be re-aligned periodically. This, however, should be done only by trained repair personnel.
6.15 To develop skills in using and maintaining a tape recorder.	Audio Lab for Using a Tape Recorder Have students practise recording and applying their knowledge of tape recorders. If more than one tape recorder is available, the teacher might set up work stations so that students can practise in small groups.
6.16 To understand factors that are required for good audio in video production.	Audio Lab for Video Production Making sure that the dialogue sounds consistently clear and even is the most important job of the location sound recordist. Good audio: is essential so the audience can clearly understand what performers are saying creates outdoor/indoor environments provides supplementary sound (cheering spectators at a sports event). Ensure that students know how to check an audio feed: plug headphones into the camera to monitor the feed do several test checks with the subject to determine whether the microphone is picking up the voice clearly and consistently listen for any undesirable background noise on set (e.g., hair or clothing brushing against a lavalier microphone) make sure that a shotgun microphone is centred on the subject make the necessary adjustments to ensure the best possible recording. Set up a situation in which students can practise recording audio for a video production.
6.17 To become familiar with manual tape editing.	Editing Audio Tape Explain basic manual tape editing. Ensure that students understand the various reasons for editing, and the difference between "rough" and "fine" techniques. Set up a situation in which students can practise correct rough and fine manual editing of an audio project. (Note: Mixers and equalizers are introduced at the intermediate and advanced level.)
6.18 To develop the ability to critique their own work and that of their peers.     6.19 To provide reasons for answers and responses in a critique. (CCT)	Critiquing and Assessment It is important that the students try to compare the differences from one audio recording experience to the next, in terms of these criteria: Overall warmth and presence of the voice (microphone choice and placement). Detection of any popped p's or b's (use of a windscreen). Level: Could it have been recorded "hotter" (better signal to noise)? Is there any detectable distortion? Choice of location: Was it conducive to achieving clarity? Was there unnecessary echo? Did the location add to the impact of the content? Was there consistency in level and tone from speaker to speaker? Was there anything that took away from the overall impact of the message? What was the most successful piece of audio the students heard and what made it the most successful?
6.20 To select suitable examples for inclusion in the working portfolio.	The students should maintain a portfolio of their work in this module. Encourage students to share ideas and to critique each other's work for the common goal of self-improvement. (The audio technician spends much of his or her time analyzing and comparing sounds.) The students' portfolios will be used as part of the evaluation process. Remind the students that, in the workplace, audio technicians are constantly adding to and updating their résumé or "demo reel" in much the same manner. Professional audio people compile their collective works in order to compete for new challenges that present themselves throughout their careers.

Module 6B: Intermediate Audio Production (Core)

Module Overview
In this module students participate in hands-on labs to refine and increase their knowledge of video production equipment, techniques, and processes.

Foundational Objectives

Common Essential Learnings Foundational Objectives

Learning Objectives	Notes
6.21 To identify basic functions and operating procedures for audio equipment.	In the introductory level audio modules students learned about microphones and their use. Review with students basic functions and operating procedures. At the intermediate level students will be introduced to: audio mixing amplifiers acoustics multiple tracks and sources digital and analogue formats mixing different events (live and studio, sports events, ENG, bands, etc.). A Note About Manuals Professional audio people accept the fact that they will be reading manuals each and every day they are at work. Equipment can vary a great deal from product to product and from model to model, so the most accurate source of information is the manual that comes with the product. In today's world, these manuals are well written and very conclusive. For all situations that require the teacher and students to learn a new piece of gear, refer to the manual. It will usually not only tell you what to do, but also provide the theory or reasoning behind why you are doing it. Professional audio people are rarely intimidated by manuals, as manuals are a part of their lives.
6.22 To become familiar with mixing boards and their use.     6.23 To understand the benefits and limitations of technological tools used in communication production. (TL)	Audio Lab - Working with Mixing Boards Demonstrate and discuss mixing boards, and have students practise their uses. Throughout this exploration, ensure that students: have a basic understanding of the principles of multi-tracking have an understanding of the basic functions of a mixing board know how to set proper input levels on the mixer be able to patch outboard effects into the mixer understand the principles of parametric and graphic equalization have an ability to microphone properly and then mix multiple sources through a mixer in order to create a stereo live recording understand the various ways to trouble shoot in order to reduce extraneous or excessive noise levels in a live recording review how to handle and maintain analogue tape review the procedures involved in cleaning tape heads understand and apply standard recording terminology. If time permits, students might also learn how to add overdubs and punch-ins to a recording and learn to crossfade from one audio element to the next.
6.24 To gain knowledge about signal levels.     6.25 To practise working with a mixing board.   6.26 To use media techniques, devices, and technology. (TL)	Before beginning a discussion of signal levels it is important to address an issue that confuses even people who work with mixers every day. There are four main kinds of level: microphone level = -60 to -40 db instrument level = -30 to -20 db (electric guitar plugged straight in) line level = -10 db (semi-pro tape recorders, other playback units, mixers) or +4 db (pro gear) speaker level - designed to operate at the level of a power amplifier. Demonstrate mixing board concepts, controls, and procedures. Make sure that the board is plugged into a set of stereo speakers (or into a power amp, then to the speakers if it is an unpowered board). With the output levels turned all the way down, plug in a microphone and have students set the proper input level. Turn up the output volume to an appropriate level. This is a good time for the teacher to point out that critical listening happens at low volumes, where room acoustics are less of a factor. At this time, students should be interested in the sources only, not what the room does to these sources. Have students: Identify the overload indicator (it should be showing green) and the input "pad" if there is one. Illustrate what happens when the stereo pan control is used. Mute and unmute the channel to show this function. Route the signal, if the board has buses, a few different ways. Add some reverb, echo, or any other effect to see what it does to a voice. Try adding E.Q. (E.Q. refers to the loudness of each frequency) as someone speaks or narrates, to see how the tone of the voice changes. Try to determine if there is too much or not enough of any frequencies and work to improve the sound. Try E.Q.ing several people to see how everyone's tone has different characteristics and that there is no set E.Q. that applies to everyone. For example, a 100Hz boost will impact a man's voice more than a small child's. Put "programmed" music through two of the channels strips. (A compact disc will work best. Tape hiss, wow, and flutter from a cassette unit would add other variables not needed.) Make sure the two channels being used are panned hard left and right to achieve stereo. Try adding some E.Q. The relationship between the low sounding instruments and the high sounds should change as E.Q. is applied. Record solo instruments to demonstrate "active E.Q". Ask the students to give a brief explanation of what the following functions are: input trim and input pad; graphic E.Q. and parametric E.Q.; VU meters and LED indicators; pan pots; mute and solo switches; phantom power, 3 band E.Q., sunmaster buses. Have the students demonstrate their ability to plug a microphone into the mixer and achieve proper levels. Ask the students to alter sound in various ways using: the effects send(s); the E.Q. on the channel strip; stereo panning; the main E.Q. (if the mixer can do this).
6.27 To experiment with recording from multiple sources.	Audio Lab - Recording from Multiple Sources When recording with more than one source by microphones, students will encounter a whole new set of factors. Not only do the students need to be aware of capturing each source effectively, but they also need to see how each instrument, voice, or sound effect relates to others. Have students use a mixing board to capture each source, and then output this total sound to a stereo tape recorder. This project should be recorded to a regular cassette tape format. Even though students should cover basic techniques, they should also be encouraged to experiment. At this stage the goal is not to make a perfect recording, but rather to learn the process and to become aware that this type of recording takes time to develop. Audio engineers in the field are aware of how complicated this process is and that something new is learned every time they undertake a new recording. Have students spend time problem solving as the lab evolves.
6.28 To become familiar with mini disc decks and their use.   6.29 To explore innovations in media technology. (TL)	Audio Lab - Mini Disc Decks If equipment is available, demonstrate and discuss with students the use of mini disc decks. Have students learn about: the industry uses of mini disc decks differences between mini disc and reel-to-reel correct mini disc deck use in both the record and playback mode the major component parts of both mini discs and mini disc functions the correct uses for mini disc decks in broadcasting, and the advantages/disadvantages over other recording/playback devices.
6.30 To become familiar with digital audio work stations and their use.   6.31 To explore innovation in media technology. (TL)	Audio Lab - Digital Work Stations Have students demonstrate correct editing and saving of an audio project. Ask students to research and then discuss or write about their understanding of the theory of digital recording. They should be able to demonstrate an understanding of the terminology and similarities between analog equipment and a digital studio. Have students read the manuals and identify and describe how to record, playback, and edit with software such as Audio Workstation.