7 Recommendations for Using the Flip (and other) Video Cameras in the (non-video) Classroom

This work was presented on March 10, 2010, at Rowan University, Glassboro, NJ. It is covered by a Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License (http://creativecommons.org/licenses/by-nc-sa/3.0/us/). Comments welcome. Th »
Bill Wolff

6  Recommendations for using 
flip   video cameras 
in the  classroom
7
(and other)
Let students take the cameras home; get them thinking about and using the cameras right away.
Ensure that students have the ability to edit video outside of class and from home.

Sequence your assignments so students learn more advanced editing
and sophisticated composition techniques over time.
Talk with students at length about best practices for working with video files, moving video files to and from USB drives, and backing up their work.
Provide options for file conversion and anticipate some problems.
Depending on goals of the assignment, require students to use only Creative Commons licensed and public domain texts (music, images, video, and so on).
Ensure that the cameras facilitate meeting course objectives and outcomes
rather than being the primary focus of the class.
Adapted from my 
Writing, Research, and Technology course description
In this class, we are going to be extending traditional conceptions of composition by applying it to the medium of video. Kevin Kelly (2008) recently described the emerging video movement as a cultural shift “from book fluency to screen fluency, from literacy to visuality.” As a means of engaging visuality our primary assignment will be to create an oral history video composition that will ask us to think critically about how writing, research, and technology are in evolving in digital age. We are going to read theory on oral histories, learn oral history research methodologies, determine an area of study, interview people, and compose idea-driven videos that mash together interview footage with still images, primary documents, sound, and other video footage. We will also jump headlong into remix culture by creating our own videos by remixing and building on the creativity of others.
Families of War: An Oral History
by Rebecca R. WRT Fall 2009
Final Cut 
Pro
vs
Windows Movie Maker 
&and/or
iMovie
Benefits:
Benefits:
students will be able to do
really cool stuff
WINNER!
comes installed on Windows PCs and Macs, meaning . . .
students can work from school and home
&(!!!)
students will able to do stuff that is effective (and cool) enough to meet course objectives and outcomes
with photostory 3
The One Change
by Shelle D.
music by TRYAD
submitted Oct 5, 2009
Cerebral Palsy Remix
by Shelle D.
music by Rascal Flatts
submitted Nov 9, 2009
2,343 views 
Recommended: Zamzar, which is free at http://zamzar.com.
(non-video)
What is Creative Commons? Wanna Work Together RG Remix
creative commons images
http://www.flickr.com/creativecommons/
creative commons music:
http://jamendo.com
public domain video
(moving images archive):
http://www.archive.org/details/movies
Migrant Working Oral History Remix
by Chris Cullen
music by Bob Dylan
WRT Fall 2009
for our purposes, 
watch up to 37 seconds
a workshop with 
bill wolff, writing arts
rowan university
10 March 2010
1st video responses
as of March 9, 2010
Thank you and happy videoing!
To see the presentation online go to http://j.mp/9KBk2H.
For more info, to bounce off ideas, or just to chat,
contact me at wolffw@rowan.edu.
Creative Commons Attribution-Noncommercial-Share Alike 3.0 United States License
http://creativecommons.org/licenses/by-nc-sa/3.0/us/

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