Design and Applied Technology (Secondary 4 – 6)

Transcription

Module 2
1
Module 2
Design and Applied Technology
(Secondary 4 – 6)
Elective Module 2
Creative Digital Media
[ Teachers’ Guide ]
Resource Materials Series
In Support of the Design and Applied Technology Curriculum
(S4 – 6)
Technology Education Section
Curriculum Development Institute
Education Bureau
The Government of the HKSAR
Developed by
Institute of Professional Education
And Knowledge (PEAK), Vocational
Training Council
2
Module 2
Education Bureau
The Government of the Hong Kong Special Administrative Region
Room W101, 1/F, West Block, Kowloon Tong Education Service Centre,
19 Suffolk Road, Kowloon Tong, Hong Kong
2009
Project Advisor:
Ms. Cheng Kar Wai, Joanna
(Head, Department of Printing & Digital Media, IVE/ Kwun Tong, VTC)
Authors:
Mr. Chan Kam Kong
Mr. Hui Ka Man, Kaman
Mr. Hung Shiu Chau, Autumn
Mr. Li Pak Kei
Ms. Wong Cheuk Yan, Cherine
(Lecturer, Department of Printing & Digital Media, IVE/ Kwun Tong, VTC)
(Lecturer, Department of Multimedia and Internet Technology, IVE/ Tsing Yi, VTC)
Associate author:
Ms. Shum Wing Man, Viola
Mr. Tsang Hin Pang
(Teaching Associate, Department of Printing & Digital Media, IVE/ Kwun Tong, VTC)
(Workshop Instructor, Department of Printing & Digital Media, IVE/ Kwun Tong, VTC)
Project Coordinator:
Mr. Li Yat Chuen
Mr. Tsang Siu Wah
(Senior Training Consultant, PEAK/VTC)
(Training Consultant, PEAK/VTC)
The copyright of the materials in this package, other than those listed in the Acknowledgments
section and the photographs mentioned there, belongs to the Education Bureau of
the Government of the Hong Kong Special Administrative Region.
© Copyright 2009
Duplication of materials in this package other than those listed in the Acknowledgements section
may be used freely for non-profit making educational purposes only. In all cases, proper
acknowledgements should be made. Otherwise, all rights are reserved, and no part of these
materials may be reproduced, stored in a retrieval system or transmitted in any form or by any
means without the prior permission of the Education Bureau of
the Government of the Hong Kong Special Administrative Region.
3
Module 2
Preface
A set of curriculum resource materials is developed by the Technology Education Section of
Curriculum Development Institute, Education Bureau for the implementation of the Design
and Applied Technology (Secondary 4-6) curriculum in schools.
The aim of the resource materials is to provide information on the Compulsory and Elective
Part of the DAT (Secondary 4-6) to support the implementation of the curriculum. The
resource materials consist of teacher’s guides and student’s learning resource materials of
each Strand and Module of the DAT (Secondary 4-6) arranged in eight folders.
All comments and suggestions related to the resource materials may be sent to:
Chief Curriculum Development Officer (Technology Education)
Education Bureau
Room W101, West Block, 19 Suffolk Road
Kowloon Tong
Hong Kong
4
Module 2
Contents*
Section
1 Principles
1.1 Developing Learning and Teaching Materials
1.2 Curriculum Planning
1.3 Learning and Teaching
1
2
5
2
Concept Map
3
3
Key Concepts
4
4
Teaching Schemes
4.1 Overall arrangement
4.2 Detailed schemes
7
9
5
Sample Lesson Plans
17
6
Teaching Notes
6.1 Chapter 1 - Media Literacy
6.2 Chapter 2 - Digital Media Design
6.3 Chapter 3 - Digital Media Production
24
47
62
Activity Guide
7.1 Design Project – A Poster for the Awareness of Global Warning
86
8
Assessment
92
9
Design Project Topics
7
104
10 References
106
11 Acknowledgements
113
* Chapters refer to the chapters in the Learning Resource Materials of this Module.
5
Module 2
SECTION 1. PRINCIPLES
1.1
DEVELOPMENT OF LEARNING AND TEACHING MATERIALS
This module is composed of three chapters, including Media Literacy, Digital Media Design
and Digital Media Production according to the Design and Applied Technology Curriculum
and Assessment Guide (Secondary 4 – 6). The total lesson time for DAT is 270 hours with not
less than 80 hours dedicated to coursework. Hence about 65 hours will be allocated to each
optional module, including Creative Digital Media.
Coursework refers to the learning activities provided in the Theme-based Learning Tasks and
Assessment Tasks in the Resource Materials booklet. Coursework is essential constituent in
learning which enable students to apply their knowledge and skills to solve authentic
problems. It involves extensive readings of relevant information in and outside the classroom.
Students are expected to have more independent learning in addition to the scheduled hours of
coursework in school.
It is recommended to use basic digital media equipment and software to demonstrate concepts
in some of the topics, such as Principle of Communication Design and Presentation Methods.
Any hardware, software, and information technology equipment available in the market
which have similar functions can be used. DAT teachers are free to adopt any teaching aids in
their lessons in accordance to their professional knowledge and their students’ needs as long
as the key concepts and the learning objectives are met.
Examples of local contexts, which are supposed to be more familiar to our students, are
recommended to be used in classroom teaching. At the same time, students are encouraged to
keep their eyes open to the emerging of state-of-art technology in global sense.
1.2
CURRICULUM PLANNING
The arrangement of topics in the three chapters does not imply the teaching sequences,
however chapter 2 – Digital Media Design is recommended to be taught before chapter 3 –
Digital Media Production in order to build up a foundation of design concepts for media
production.
Students are recommended to complete one chapter before going to the next. It includes the
completion of all after chapter quizzes, the relevant theme-based learning tasks and
assessment tasks. The availability of teaching aids and the readiness of teachers/students can
be the factors affecting the sequences and teaching schedules.
1
S4
S5
S6
1.3
Module 2
Compulsory part
Coursework
Creative Digital Media: Topic 2 & 3
Creative Digital Media: Topic 1
Suggested teaching schedule for the Creative Digital Media module
LEARNING AND TEACHING
DAT is one of the subjects in the Technology Education Key Learning Area. Hands-on and
experiential learning activities are essential in learning. In each module, the theme-based
learning tasks are prepared which can be used to cater for learners’ diversity, as the learning
outcomes of each activity are open to meet students’ ability. Talented students can develop or
even invent a new product whilst mediocre or less-able students can make technological
artifacts under the guidance of teachers and the availability of resources.
The “Stop and Think” in the resource materials booklet can serve as a tool to assess how well
students are learning during the lessons (formative assessment) and also provide opportunities
to provoke classroom interaction. The “Stop and Think” is recommended for probing
questions to promote learning atmosphere.
2
Module 2
SECTION 2. CONCEPT MAP
Strand 3
2.3 New Technology
3.2 Design to meet market aspirations
Strand 1
1.3 Creativity in Design
1.3 Social, economic
and technological
factors
1.2 Digital media
products and
relevant business
Strand 1
2.3 Human and
Environmental Factors
3.1 Project planning and idea
presentation methods
Creative
Strand 1
1.1 Design Fundamentals
Chapter 3 –
Digital Media Production
2.1 Conceptual
development
Module 5:
3.1 “Virtual”
Prototypes
Module 5:
1.1 Visual Impact of Graphics
1.1 3D Modeling Concepts
Strand 3
3.3 Design strategies
Digital Media
Chapter 2 –
Digital Media Design
2.2 General rules of
visual
composition
Strand 1
1.4 Project Management and Teamwork
3.1 Project Presentation and Report
Chapter 1 –
Media Literacy
1.1 Communication via
digital media
Module 5:
1.2 Visual Impact of
Graphics
1.3 3D Modeling
Concepts
Strand 1
1.5 Roles of Designers and
Engineers
2.3 Basic principles of
communication
design in creating
digital media
Strand 1
3.3 Physical, Graphical,
Mathematical and
Computer Modeling
3
3.3 Application
software
3.2 Manipulation of
visual and audio
equipment
Audio and image processing techniques
can add up for application software
Strand 3
2.1 Evolution of craft and design
Module 5:
4.1 CAD and Visualisation
Module 2
SECTION 3. KEY CONCEPTS
This module provides students with a concrete foundation and conceptual ideas for creating
digital media works. Both theoretical and practical aspects will be addressed. Nowadays,
most traditional creative tasks in a production process have been digitalized; however the
objective of producing the best possible designs remains unchanged: good design is medium
independent.
Overview
Creative Digital Media consists of three chapters. The key concepts of each have been
summarized as follows.
Topic 1 – Media Literacy
This chapter shows various modes and stages of communication in different contexts. It also
introduces basic concepts of human computer interaction as well as ergonomics related to
digital media’s design and communication of user interfaces. In addition, it compares some
digital media products available in market. The pros and cons of a media-rich society in
terms of social, economic and technological factors will also be discussed.
Topic 2 – Digital Media Design
This chapter describes how text, sounds, static images/ graphics and animation/ video are
used in multimedia communication. Idea creation for effective and efficient communication
of messages and information will be discussed. Furthermore, the usability, readability and
interactivity of various digital media products will be evaluated against basic communication
design principles.
Topic 3 – Digital Media Production
The chapter shows the production of digital media, facilitating students’ identification of the
needs for digital media production. Besides, this chapter allows students to do simple digital
media production with visual and audio equipment and application software.
4
Module 2
The following list introduces some key concepts used in Module of Creative Digital Media.
Key Concept
Analogue
Animation
Compositing
Digital
Dissolve
Film editing
Frame
High Definition
(HD)
Image
Key frames
National Television
System Committee
(NTSC)
Phase Alternating
Line (PAL)
RGB
Semiotics
Sequence
Sign
Signified
Signifier
Storyboard
Synopsis
Explanation
An analogue medium carries signals or information by recording the
quantity changes of the signal or information.
Animation makes use of Persistence of Vision to ‘connect’ a series of
still images together, making human eyes perceive motion.
In the film industry, compositing refers to the artificial combination
of two images or more in the same frame.
A digital medium carries signals or information through keeping the
0’s and 1’s that are ‘readable’ to computers.
A dissolve is to transit one image to another gradually by controlling
the exposure of the two images.
Film or video editing is the activities of cutting, rearranging and
consolidating pictures of one source or more into one film or video.
It is a measurement unit of pictures.
High Definition (or ‘HD’) is newer digital video format than SD.
HD’s native aspect ratio is 16:9, with 1920 x 1080 pixels. HD’s
recording can be done at 24 or 60 FPS.
Images may be 2D (Two-dimensional) or 3D (Three-dimensional).
They can be a product of optical devices, natural objects or
phenomenon.
Key frames are the beginning and end frames of an action or change.
NTSC stands for National Television System Committee. It is a
popular analogue television broadcast system across North America,
Japan and most of Latin America.
PAL is the acronym for Phase Alternating Line. It is a common
analogue television broadcast systems used mainly in Europe and the
rest of the world.
RGB consists of three channels, namely red, green and blue. They
roughly align with the colour receptors of human eyes, and are used
in computer output (displays) and input (scanners).
Semiotics is the use of signs to deliver messages to the audience.
A sequence is a collection of continues images.
A sign is a mark with a certain meaning.
A signified is the item that a signifier refers to.
A signifier is an item that signifies (expresses) another item, i.e.
‘signified’. A signifier can be a graphical sign, a word or else.
A storyboard is a simple graphical presentation, by sketching for
example, of the script that shows the key actions of the story.
A synopsis is an in-depth summary of major points of a subject
matter. It often refers to the facts of a film.
5
Key Concept
The rule of third
Transitions
Video
World Wide Web
(WWW)
Module 2
Explanation
According to Rule of Third, each picture concerned should be
divided by four grid lines, namely two vertical and two horizontal.
Major elements should be placed at the intersection points of these
lines. It is a simplified version of Golden ratio.
Transition effects, through Cut, Dissolve, Wipe, etc, are a basic video
editing technique.
Video is a technology of capturing, recording, processing, storing,
transmitting, and reconstructing images in motion.
World Wide Web is an Internet application that presents text and
multimedia works.
6
Module 2
SECTION 4. TEACHING SCHEME
4.1 OVERALL ARRANGEMENT
Introduction
There are around 65 hours in total allocated to cover this module. Of the 65 hours, around 23
hours are used for coursework, enabling students to link theory with practice. Teachers can
decide on the lesson hours for coursework in different topics, and can use some of the 23
hours as time for students to carry out cross-modular/ integrated design project(s) of a
relatively large scale. An estimate of the number of hours required for this module is shown
below:
Creative Digital Media (65 hours)
Topic 1
Topic 2
Topic 3
Media Literacy
1.1 Communication via digital media
1.2 Digital media products and relevant business
1.3 Social, economic and technological factors
* Coursework
Digital Media Design
2.1 Conceptual development
2.2 General rules of visual composition
2.3 Basic principles of communication design in
creating digital media
* Coursework
3.1 Project planning and idea presentation methods
3.2 Manipulation of visual and audio equipment
3.3 Application software
* Coursework
7
Suggested Lesson
Time (Hours)
(13)
5
4
4
(22)
8
8
6
(30)
8
14
8
Module 2
TEACHING SCHEME OF CREATIVE DIGITAL MEDIA
1st TERM
S4
2nd TERM
Compulsory Part + Coursework
Unit 1: Designing for the World (18h)
Unit 2: Channel ID (16h)
Unit 3: School Life (24h)
Topic 2.1 – Conceptual development
Topic 2.2 – General rules of visual composition
Topic 2.3 – Basic principles of communication design in
creating digital media
Topic 3.1 – Project planning and idea
S5
Topic 3.3 – Application software
DP: A poster for the warning of global
warming
DP: School logo animation
Unit 4: Promoting Hong Kong ( 12h)
S6
Topic 1.1 – Communication via digital media
Topic 1.2 – Digital media products and related business
Topic 1.3 – Social, economic and technological factors
CS: A promotion campaign for Hong Kong
CS: Case Study
DP: Design Project
8
Topic 3.1 – Project planning and idea presentation methods
Topic 3.2 – Manipulation of video and audio equipment
Topic 3.3 – Application software
DP: School life video
Module 2
4.2 DETAILED SCHEMES
Unit 1: Designing for the World
Introduction
The main focus of this unit is for students to learn about conceptual development (Topic 2.1),
general rules of visual composition (Topic 2.2), basic principles of communication design in
creating digital media (Topic 2.3), and manipulation of graphics software (Topic 3.3).
Students will find out the conceptual development in digital media design. They will also
apply their understanding of the general rules and the principles of design when creating
products. Moreover, they will gain knowledge of the processes, skills and techniques
required in graphical design.
This unit also aims at improving continuity and progression when students move along from
S4 to S5, i.e. from the compulsory part to the optional modules. This unit takes about 18
hours. It can be used in the first term of S5 for ensuring progression in understanding about
digital design. Besides, this unit can help teachers know their students’ abilities and give
students motivating insights into the whole production process.
In this unit, there is a design project that gives students opportunities to show how well
students can work independently and how much they are able to draw on knowledge of a
range of design or focus areas/ strands developed at S4. In this project, students tackle a
design and make activity on the theme of ‘A poster for the warming of global warming’. The
optimum of this project should reconcile the development, principles and rules in digital
media design, including the working with text, image and graphics, production methods,
proportion with golden ratio and rule of thirds, iconic, symbolic and aesthetics.
Expected Learning Outcomes
On completion of this unit, students should be able to:
♦ Access various sources to look for information on digital design, components and
processes
♦ Describe the relationship among text, sounds, static and dynamic images/ graphics and
animation/video in communication via digital media
♦ Create ideas for conveying messages and information efficiently, effectively and
meaningfully
♦ Apply the general rules of visual composition in digital media design
♦ Evaluate the usability, readability and interactivity of different digital media products
by referring to the basic principles of communication design
♦ Identify the need for digital media production
♦ Outline and distinguish different building blocks in digital media production
♦ Manage the activities of digital media production
9
Module 2
♦ Carry out simple digital media production with appropriate visual equipment and
application software
Some students will have progressed further and:
♦ Carry out their own research using sources other than those provided by teachers, and
use their findings about existing designs when developing their own ideas
♦ Build up their own ideas with appropriate visual equipment and application software
♦ Evaluate how they have achieved their original design proposals and make
recommendations for further development of the design
10
Creative Digital Media
Aims and Objectives:
Students will be able to
Research into a design task, analyse the findings and identify the design problem
Write up a design brief identifying appropriate constraints
Use appropriate creative thinking strategy to come up with a design solution
Realize the design to prototype stage
Present the design concept verbally and visually
Recognize the importance of teamwork, and communicate with teammates and clients
Teaching Strategies
Teachers act as consultants, facilitators, information and resources providers throughout the teaching and learning process.
Teachers are responsible for project management, and provide appropriate technologies and knowledge for students to tackle the design
challenge.
Learning Strategies
Diversified learning strategies: independent learning (research, analysis), teamwork and peer learning (tutorial, group discussion and
presentation), demonstrations (workshop) and enterprise activities (presenting a design) are interwoven throughout the learning tasks.
Students are provided with chances to develop their generic and specific skills in solving real life design problem. They are expected to
pursue their learning outside the classroom.
Period Allocation
No. of periods: 105 periods
No. of Periods per
cycle:
No. of hours: 65 hours.
Duration of each period: 40 mins.
1 single period, 2 double
periods
11
Teacher to students
ratio:
1 : 20
Place:
Classroom and/or CAD
room
Teaching Scheme
Period
Possible Learning & Teaching
Activities
Teaching Objectives
Teaching and learning
Resources
Assessment/
Competency Level
Unit 1: Designing for the World (16 hrs)
01-04
05-09
10-14
Conceptual development
Develop a conceptual idea that must
be conveyed and to organize them
into a unified message
Perform the development to help that
entity get its message out to its
audience
General rules of visual composition
create ideas for conveying messages
and information efficiently and
meaningfully
Establish what each image itself
seems to say by determining how the
image is composed
Basic principles of communication
design in creating digital media
Identify the basic principles of
communication design in digital
media
Describe the relationship among
text, sounds, static and dynamic
images/graphics and
animation/video in
communication via digital media
Search for and analyse example,
such as websites, magazines,
games, animation, movie and TV
broadcasting, to value the
interactions among graphics, text,
and sounds of the user interface
Conduct a study of an interesting
advertisement to interpret and
deduce the still images involved
with the basic concepts of
semiotics
Organize activities with the
application of general rules of
visual composition such as golden
ratio, framing, cross lines, laws of
grouping and shape-recognition in
12
Real life examples of the
conceptual development
Worksheet on the
conceptual development
general rules of visual
composition
Worksheet on the general
rules of visual
composition
basic principles of
communication design in
digital media
Worksheet on the basic
Worksheets
Mini-research
exercise
Worksheets
Mini-research
exercise
Worksheets
Mini-research
exercise
Assessment on
the creativity of
Period
Activities
Teaching Objectives
Apply the general rules of visual
composition in digital media design
Resources
digital media design
15-27
Application Software
Manage the activities of graphics
images production
Carry out a graphic production with
the use of appropriate visual
equipment and application 2D
software
Unit 2: Channel ID (14 hrs)
28-30 General rules of visual composition
Understand how the icon and symbol
can attract the attention.
31-33
Basic principles of communication
design in creating digital media
Explore 3D graphics with different
properties by a variety of basic
principles of graphics design
Evaluate the usability, readability and
interactivity of different digital media
products by referring to the basic
Organize a design project with the
application of general rules of
visual composition and basic
principles of communication
design in digital media design
Design and produce a poster using
graphical software
Conduct a study of an interesting
advertisement to interpret and
deduce the movies and dynamic
images involved with the basic
concepts of semiotics
Apply the general rules of visual
composition in dynamic design
Explore the usability, readability
and interactivity embodied in
common digital media products
13
principles of
digital media
Sketching paper or sketch
book
CAD room with the use
of appropriate visual
equipment and application
2D software
Assessment/
Competency Level
the idea
generation
general rules of visual
composition
Worksheet on the general
rules of visual
composition
basic principles of
digital media
Worksheet on the basic
principles of
digital media
Tutorial
recording the
progress of the
project
Design project
submitted
Presentation
Worksheets
Mini-research
exercise
Worksheets
Mini-research
exercise
Assessment on
the creativity of
the idea
generation
Period
Activities
Teaching Objectives
principles of communication design
34-38
39-51
Resources
Project
planning
and
idea
Identify the need for digital media
production
Outline and distinguish different
building blocks in digital media
production
Manage the activities of dynamic
images production
Carry out an animation production
with the use of appropriate visual
equipment and application 3D
software.
Managing the production process
of digital media production
Develop a digital media
production strategy and turn it
into an action plan
Produce 2D or 3D animation for
channel identification for school;
with virtual reality presentation
book
Hanging flow-charts
basic principles of project
planning and idea
Worksheet on the project
planning and idea
3D software
Assessment/
Competency Level
Worksheets
Role-playing
Assessment on
the ability of
analysis and
evaluating in
project planning
Tutorial
recording the
progress of the
project
Assessment on
collaboration in
group
Design project
submitted
Presentation
Unit 3: School Life (22 hrs)
52-57
Project
planning
and
idea
Develop a sense of scope with
content, letting the project take shape
before production.
Understand various methods
Deduce from production analysis
how digital media production are
produced
Conduct pre-production activities,
such as production timeline,
scriptwriting, storyboarding,
14
Hanging flow-charts
basic principles of project
planning and idea
Worksheet on the project
Worksheets
Role-playing
Assessment on
collaboration in
group
Assessment on
Period
Activities
Teaching Objectives
available to get the message across to
the audiences.
Resources
scene and props setup
58-87
Carry out a digital media production
with the use of appropriate visual and
audio equipment and application
software.
Organize learning activities such
as recording, photo taking and
video shooting
Practise audio and video
processing techniques, such as
video capturing, editing, special
effects and audio mixing
Design and produce a digital
media presentation to introduce
school life in an open day
Give some examples on the
modes of communication such as
human-computer interaction
(HCI) and communication among
people
Assessment/
Competency Level
planning and idea
book
Video shooting
equipments
video capturing, editing
and 3D software
storyboard
sketches ability
in project
planning
Tutorial
recording the
progress of the
project
Assessment on
collaboration in
group
Design project
submitted
Presentation
Unit 4: Promoting Hong Kong (12 hrs)
88-93
Communication via digital media
Understand various modes and stages
of communication in different
contexts
How the human, machine or system
interacts with each other
Real life examples of
communication process
between human, machine
and system
Worksheet on design
process
Worksheets
Mini-research
exercise
Quiz on the
understanding of
the topic
94-99
Digital media products and related
business
Identify the features of
communication via digital media
Use the possible communication,
Collect examples in websites,
magazines, advertisement, to
analyse the components and
stages of the communication
process employed
15
Worksheets on vertical
and lateral thinking
methods
Papers for students’
discussion
Worksheets on
vertical and
lateral thinking
Assessment on
the reporting the
Period
100105
Activities
Teaching Objectives
medium, channel and information
data processing methods to the source
and destination
Social, economic and technological
factors
Compare different digital media
products in the local and global
markets
Evaluate the pros and cons of a
media-rich society in terms of social
which including cultural and
historical, economic and
technological factors
Resources
Assessment/
Competency Level
lateral thinking
exercise
Research and analysis on the
properties of communication in
different media
Study the chronology of major
technological advances in digital
media
Conduct a case study – promoting
Hong Kong of the social issues
and impact of digital media
16
Hanging flow-charts
Worksheet
Papers for students’
discussion
Worksheets
Role-playing
Assessment on
collaboration in
group
Presentation
Module 2
SECTION 5. SAMPLE LESSON PLANS
5.1 Unit 1: Designing for the World
Lesson Plan –Understanding the basic principles of communication design
in creating digital media in our daily life
Lesson Plan 1
Suggested Time: 40 min. x 2
This lesson is planned in Unit 1 and over 2 40-min periods/ sessions. Ideally, students have
already acquired the knowledge of the object baseline drawing in correct proportion; basic
research, such as images and data collection in S4.
Learning Objectives / Outcomes
On completion of this lesson, students should be able to:
Identify the importance of the design principles in the digital media
Express the design elements used in a design found in their living environment and
their characteristics in visual and written forms
Express the design elements used in a design in visual and written forms
Express the importance of the design elements used in a design in written and verbal
forms
Learning and Teaching Activities
Generic Skills:
Collaboration skills
Introduction – whole class (20 min.)
Communication skills
Understand what basic principles of communication
Problem-solving skills
design elements are.
Arouse students’ interest in designs found in our
living environment
Showcase geometric and organic design elements
Investigative Activities – group work (20 min.)
Appreciate the application of design elements
Realize the aesthetic quality of using design elements
in a design
Realize that all designs are made up of basic design
elements
Practical Activities – group work (25 min.)
Identify the importance of design elements in
communication design
17
Module 2
Realize the consequence of using different design
elements in the previous masterpiece design provided
by the teacher
Produce line drawing that identify the design
elements
Ending Activities – whole class (15 min.)
Show outcomes and discuss results in practical
activities to whole class by each group.
Discuss and invite feedback.
Summarizes this lesson.
Assessment Opportunities
Peer criticism on the presentations of the other groups
Produce in written form the aesthetics qualities of the design elements used in the given
design
Notes
Teachers can show students a series of masterpiece designs and hand out photos to them
to the students. Discussion on the photos can be in group or with teacher.
Teachers should check the feasibility of students’ design in advance.
18
Module 2
5.2 Unit 2: Channel ID
Lesson Plan –Project planning and idea presentation methods
Lesson Plan 2
already acquired the basic knowledge of develop a digital media, from preproduction stage,
production stage to post-production stage in unit 1.
Understand a very specific work flow in digital media projects.
Understand the production pipeline.
Manage digital media production.
An overview of the production process
Get to know the production team in digital media
projects.
Generic Skills:
Practical Activities – group work (30 min.)
Simulate a design product and plan a whole project
with production schedule, budgets, production team
and casting and hiring.
Show outcome of practical activities by each group.
Ask students to go through the production process with a different media projects.
Ask students to do some research on job roles in digital media production. Make a list
of the experience if they want to apply for that position.
Notes
Teachers should check the feasibility of students’ discussion in advance.
Students can take this opportunity to plan their design production: School logo
animation in Unit 2.
19
Module 2
5.3 Unit 3: School Life
Lesson Plan – Video Shooting
Lesson Plan 3
already developed sense and concepts on producing and editing of various genres of videos.
Therefore, through such collaborative learning activities, they can provide knowledge on preproduction, production and postproduction with practical experience in shooting and editing.
Understand the workflow and equipments needed in the digital video production
processes.
Perform skills on digital video shooting.
Show students examples of simple items made by
video shooting.
Describe the camera used, what it does and how it
works.
Investigative Activities – group work (15 min.)^
Allow students time to explore the camera and watch
the simulation/ tryout/ dummy run of it.
Demonstration – whole class (10 min.)
Demonstrate how to shoot and consider the shooting
direction during shooting; e.g. zoom in, zoom out, pan
shot and close up shot.
Practical Activities – group work (25 min.)*
Develop initial shooting skill. Each group is given a
storyboard and script before shooting. Students
should be well prepared, such as following the
storyboard and script, before shooting.
Show video outcome of practical activities to whole
20
Equipment and Techniques: #
Video camera
DV tapes
Tri-pod
IEE 1394 cables / USB
cables for connecting the
camera to computer
Generic Skills:
Module 2
class by each group.
Mark work pieces and check for correct adoption of cautious working process.
Ask students to collect sample video shooting products, and analyse them with reference
to the factors of the storyboard and script.
Notes
# Since the equipment and techniques are different among schools, teachers should plan
their lessons/ activities subject to the availability of resources.
^ On such topics, students have already developed sense and concepts on producing and
editing of various genres of videos. It would be better to teach how to shoot those
various genres of videos.
* Equipment and techniques are usually limited resources in a school. It takes time to
process all students’ shooting using the equipment. Teachers may need to properly
arrange, such as scheduling some students to do after school, or dividing students into
groups.
Teachers should check the feasibility of students’ design in advance.
Prompt students to focus on the item(s) that is/ are appropriate for their “School life
video” (Design Project of Unit 3), and identify how to make it.
21
Module 2
5.4 Unit 4: Promoting Hong Kong
Lesson Plan – Lifting Up
Lesson Plan 4
This lesson is planned in Unit 4 and over two 40-min periods/sessions. Roughly, one period
is used for investigative activities and one for practical activities.
Know the input and output channels between the human and computer.
Understand the general concepts of human senses and effectors.
Equipment and Techniques:
Computer with internet for
researching
Show students examples of simple input and output
channels between computer and human.
Generic Skills:
Enable students to understand that human’s input
occurs mainly through the senses and output occurs
through the motor control of the effectors.
Creativity
Discuss with students:
Critical thinking skills
- How do the senses of human work?
- What is the difference between the senses and the
effectors?
- What is the difference if perception from seeing is
not the same?
Investigative Activities – individual work (20 min.)
Ask students to make their own labelled drawings on
worksheet of the input and output channels between
the human and computer.
Name the six senses of a human. Which ones are
commonly used in multimedia applications?
Practical Activities – whole class (25 min.)
Encourage them to learn and collect images in
difference visual perception – size and depth, visual
illusions, colour, etc.
Explain briefly what a sensor is and what an effecter
22
Module 2
is in the context of a human body. Include an example
for each to explain.
Reinforcement – whole class (10 min.)
Have a quiz to check understanding of the concepts.
Mark worksheets and check for correct of the general concepts of human senses and
effectors
Homework: Ask students to think how to use those human senses and effectors for “A
promotion campaign for Hong Kong” (Case Study Project of Unit 4).
Notes
It can be difficult to find familiar examples about the input and output channels between
the human and computer, and human senses and effectors during class. Try to allow
students to take photos or images at school area or research from the Internet.
Prompt students to focus on the topics that are suitable for “A promotion campaign for
Hong Kong” (Case Study Project of Unit 4), and identify what it does.
23
Module 2
SECTION 6. TEACHING NOTES
6.1 CHAPTER 1 – MEDIA LITERACY
Topic 1.1.1 Human Computer Interaction
S
T
O
P
A
N
D
T
H
I
N
K
Game Hardware Interfaces and Accessories
Suggested answer:
Wii control:
Wii is a home video game console. It is a radical change in the entertainment industry. The
ergonomic controller reflects players’ motion into game.
(Useful website: http://www.wii.com)
wave
Nintendo DS:
The Nintendo DS (NDS) has a dual screen design and
touch screen interaction. The touch screen technology
enables players to control the character’s action, draw
pictures, navigate menus, etc through fingers.
(Useful website: http://www.nintendo.com)
24
Module 2
Topic 1.1.2 Communication among peoples
T
E
A
C
H
I
N
G
G
U
I
D
E
Humans perceive things normally through looking with support from other factors. Other
things around the object are perceived at the same time, such as size, colour, distance and
clarity. Humans’ own feelings and emotions, common sense (which may be wrong
concepts sometimes), personal backgrounds (such as culture, education and family) as well
as previous knowledge and experience. All these form the conclusion of what the object is
or should be.
Generally speaking, humans conclude what they see with the following three ‘cues’:
By Judging:
Put judgment on the image of the object concerned and
conclude what it is
By Comparison:
Compare the object concerned with other objects and the
environment and make a conclusion by taking all these into
consideration
By Familiarity:
Draw a conclusion direct because of familiarity – saw the
object previously
Cue #1: by judging
(Which one is farther away from us, A or B?)
B
B
A
A
Cue #2: by comparison
(How big is the board?)
25
Module 2
Cue #3: by familiarity
(How big is the train?)
(How far away is the train?)
(Would we think that the man is taller and bigger
than the train?)
Conclusions could be correct or incorrect. Sometimes a
conclusion is hard to be made because of confusion. In
that case, the viewer is ‘fooled’ by the illusions.
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
(a)
(b)
‘Seeing’ is in fact an interpretation process called ‘perception’. When a person sees
something, her/ his eye(s) capture(s) the image of that ‘something’ in the form of a
message.
The message is subsequently transmitted to her/ his brain for
‘interpretation’. Interpretation by the person’s brain is a process of adding her/ his
own meanings to the message based on her/ his own background, such as
knowledge and experience.
By then, the person ‘understands’ what that
‘something’ is.
Group B appears to have cylinders that are the same size.
This is done by comparison. The background tiles of Figure B1 give an impression that
‘smaller’ cylinders are farther away, though it is not true. The one at the front is of 2 tiles
high, identical to the one at the back.
T
E
A
C
H
I
N
G
G
U
I
D
E
The Sense of Touching
Touching is responsible for humans’ haptical perception, another sense for humans to
know their environments.
For example,
(a)
How hot or cold is a glass of water?
26
(b)
(c)
Module 2
How heavy is a box?
Braille is used for visually impaired people to ‘read’.
Unlike seeing and hearing, the organ that touching receives stimuli is skin, i.e. almost the
whole body. Seeing and hearing use eyes and ears respectively.
There are four types of sensory receptors for touching, namely
Type
Thermoreceptors
Nociceptors
Mechanoreceptors
Electro-receptors
Responding to
Heat and cold
Example
Drink hot water slowly
Pain
Cut by a knife
Mechanical pressure
Press buttons on a video game
controller
Electrical stimulation Feel numb when touching an
item carrying a small current –
don’t try with live current!
Vestibular Sense
The sense of changes in motion and body balancing is known as vestibular sense. The
vestibular system reacts to the magnitude and direction of accelerations, such as gravity
through utricles and saccules of the auditory system.
There are three directions of motions in a rotational system, namely tilt, roll and yaw. Each
of them has its axis of rotation as described by the right-hand screw rule.
+X
+Z
+W
+Y
+V
+U
+X
+U
Thumb: Point toward the +ve linear axis
Tilt:
fish nodding its head.
Roll:
fish rolling around its main
spine.
Fingers: rotation gives the +ve rotating axis
Yaw:
27
fish swaying its tail
Module 2
Illusionary Tilt and Row
The brain balances a body by comparing signals with a new spatial reference system and
new reference inputs from sensors. Sideway rotations, i.e. roll and yaw, initiate different
signals from the head’s two vestibular systems. They have to be consolidated to the brain.
Illusionary Tilt
The person each in Figures (a) and (b) below stands on a fixed ground, while the roof and
the four walls are movable. For (a), the roof and walls move towards the person. For (b),
they move away.
Things approaching the
Things leaving from the
viewer from a distant point
viewer to a distant point
Both persons will tilt as if their bodies are into motion.
Person (a) will have a push-back feeling. It seems to her/ him that things are coming
towards her/ him from a distant point, similar to what a car driver experiences when
s/he is driving.
Person (b) will have a push-forward feeling. Things are leaving her/ him away to a
distant point, similar to what a person standing in the last compartment of a train in
motion can see.
28
Module 2
Illusionary Row
A person standing inside a tunnel feels that the tunnel is rocking and rolling as in an
earthquake, making her/ him to hold the fence tightly for balancing.
Was there really an earthquake?
Visual perception again. The movement in the surrounding create illusion, misleading her/
his vestibular sense and brain.
Actual
Vestibular stimulation
We feel we are moving.
(We actually are moving.)
movement
Visual stimulation
Vestibular stimulation
We feel we are moving.
(We actually are NOT moving.)
If closing her/ his eyes, s/he will feel nothing at all.
29
Module 2
Topic 1.1.5 Message-carrier/ Channel/ Medium
T
E
A
C
H
I
N
G
G
U
I
D
E
Alpha Channel
In the context of computer graphics images (CGI), alpha compositing refers to the
combining process of an image and a background, resulting in partial transparency. It is a
common practice to render image elements separately and then combine them all into a
final image.
Background layer
Image in RGB channel
Image in Alpha Channel
Using Alpha Channel to extract image
Composted layer
30
Module 2
Topic 1.2.1 Computer and Video game
T
E
A
C
H
I
N
G
G
U
I
D
E
Game Culture and Marketing
Computer and video games have become an independent industry, and even have formed a
sub-culture, after 30-year development. The industry has its own jargons, expressions and
dialogues. Those gaming enthusiasts are termed ‘gamers’, differentiating from the neutral,
traditional game players. There are gamers-specific neologisms (new terms), fan fictions
and fan-made games.
Game marketing adopts fans clubs, media and press, exhibitions and shows, competition,
cosplay and proprietary media items, etc.
Media and Press
Similar to the film and TV industries, magazines, newspapers, etc have designated corners
for computer and video games related news.
Exhibitions and Shows
Exhibitions and shows enable game marketers to expose both their products and companies
to the public and fans. This is especially important for those start-ups to meet potential
game publishers.
The Hong Kong Asia Game Show
Competitions
Games playing supremacy is a form of competitions.
31
There are also other subtle
Module 2
competitions, such as booth design in an exhibition and game girl pageants. No matter in
what forms, the objectives of all these competitions are the same: to draw attention.
Game competition
Proprietary media items
In addition to the ‘core’ market, there are spin-off proprietary markets: games induced
products, such as model figures, toy weapons, clothing, souvenirs, posters and sticker. The
profits generated from these markets may even be more than the core market.
Game Model figures
Topic 1.2.2 Digital television
T
E
A
C
H
I
N
G
G
U
I
D
E
Projection screen for Digital television
HDTV can broadcast digitally since with sufficient video compression applied, its delivery
does not require much bandwidth. HDTV’s screens are thinner and bigger. Movies and
images can be shown in any screens supporting HDTV.
32
Module 2
A home theatre projection screen displaying an HDTV image
A special geometry projection screen used in a shopping mall for promotion
Digital images widely projected in the opening ceremony of Olympics Games, Beijing,
2008
33
Module 2
Sports images broadcast live widely in Summer Olympics Games, Beijing, 2008
Topic 1.2.3 Electronic book
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
There are some disadvantages of electronic book:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Electronic books cannot be read without an electronic device and possibly
peripheral software to display.
Electronic books cannot be read if the reading devices do not function normally.
For example, there may be hardware problems, such as hard-disk failure, or
software problems, such as system bugs.
Electronic devices do not work without electricity.
An electronic device may be more attractive to be thieves than a single book. A
device can carry any contents loaded by a user while the topic of a book is fixed and
may not be interesting to certain people.
Electronic devices are more fragile than paper books.
The owner of an e-book device will lose all e-books if the device is stolen, lost or
broken.
The resolution of device screens may be lower than that of books.
E-books can be hacked, or disseminated without authorization easily through
electronic means.
34
Module 2
Topic 1.3.1 Traditional media
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
In the old days, moments were captured with traditional cameras and films, developed in
darkrooms for development; and printed on the photo paper.
Today, digital cameras require no films but reusable memory cards. Unlike negatives,
images on memory cards require no development. In addition, images can be seen on
camera instantly or computers after uploading: photo paper becomes optional. In addition,
dissemination of photos can be done electronically. Managing photos can be done on
computers.
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
First, there should be a publisher accepting the book publishing project, and signing
a contract with the author.
Upon the establishment of the contract, a marketing plan should be drafted. The
author can provide her/ his ideas and any other relevant information to facilitate the
marketing exercise.
Upon its first submission, the manuscript should be evaluated against the original
proposal. Comments will also be sought from internal and external reviewers. The
authors should finalize the manuscripts with these comments taken into
consideration. The above takes about six months normally.
The finalized manuscript will be developed and copyedited. It takes about one to
two months.
At the same time, the book cover and preliminary marketing materials are compiled.
Next, prepress work, such as typesetting, proofreading and indexing, should be
done. It takes around three months.
Copies of the book can then be printed and bound.
35
Module 2
Topic 1.3.2 Digital media
T
E
A
C
H
I
N
G
G
U
I
D
E
From the born of the first personal computer to the mass world wide world network
The invention of modern computers can be dated to the mid20th century. Before that, basic concepts of electronic
calculating machines did exist but had not yet been
developed comprehensively. Early computers were huge in
size and electricity consumption. Compared with modern
computers in terms of processing power, these ancestors
were far behind.
EDSAC Computer
The US military’s SAGE system started using computers to manage information in multiple
venues in the 1950’s.
In the 1970’s, the US started linking computers together to facilitate
telecommunication, as the initial stage of the Internet. By that time,
networks were used mainly for military and academic purposes. The
connection initiative led to the modification of computer operating
systems and applications such that connection was enabled and
resources of networked computers could be shared.
Mac Pro System
In early 1990’s, the World Wide Web (or ‘WWW’) was invented. WWW acts as an
international string of computer databases that through the Internet, people from all around
the world can now read information in the graphic form. The first widely-available browser
example was ‘Mosaic’.
36
Module 2
Topic 1.3.3 (a) Traditional media face challenge from Digital media
T
E
A
C
H
I
N
G
G
U
I
D
E
The following article comes from ‘Hong Kong Trade Development Council’
(http://info.hktdc.com/report/indprof/indprof_050901.htm).
It discusses the challenge
between traditional media and new media.
Traditional media faces stiff challenge from new media (5 Sep 2005)
Due to the rapid rise of such new digital media as the Internet, mobile phones, portable TVs
and cable TV, traditional media such as newspapers, magazines and TV broadcasting is
facing increasing challenges. While the readership and viewers as well as advertisement
income kept decreasing; and the coverage, penetration and influence slipping, traditional
media faces diminishing profits and this phenomenon is especially striking in the
newspaper sector.
According to statistics provided by the China Newspaper Association, there were more than
1,900 kinds of newspapers in China in 2004, with total advertisement income reaching
RMB26.5 billion, over 360 times than that in 1983, and only second to TV stations. There
were more than 100 newspaper offices that reported an advertisement income of over
RMB100 million for the first time in 2004.
However, behind the impressive figures lies a crisis in the newspaper sector, which is
mainly presented in four aspects:
Homogeneity of the content and the operation mode of the newspaper sector has
brought with it the trend of duplication and meagre profits. The development of the
newspaper sector in China used to follow the road of increasing diversity through
different functions. From propaganda leaflets to sensational and professional
newspapers, they were diversified in terms of functions and roles they play. Then they
started imitating each other and are increasingly convergent in content and operation.
Single profit mode is curbing growth and leading to the problem of ‘transparent
ceiling’. Studies show that every kind of profit mode has a growth ceiling. For
example, for a weekly published on Mondays with advertisement as its main source of
profit, the ceiling on the volume of advertisement is usually RMB120-150 million. If
the ceiling is exceeded, the input and output will be out of proportion, and a
quantitative input would not produce a corresponding output. Thus the so-called
‘transparent ceiling’ is reached.
New media has attracted a share of the advertisement and audience markets.
The number of citizens in China has exceeded 100 million and the younger generation
37
Module 2
is increasingly dependent on such media as the Internet, while readers of newspapers
tend to be older. An investigation conducted by the People’s University of China in the
late 1990s shows that the influence of Internet on newspaper readers was only about 2
percent at the time, and could almost be ignored. However, by 2004, a survey in
Beijing showed that only one-third of Beijingers read newspapers. Of people under the
age of 35, 11 percent no longer read newspapers, and obtain news and information
from the Internet. Besides, the average age of readers of general newspapers in Beijing
is 41 ¡V so the trend of aging newspaper readers is becoming obvious.
The Internet and mobile phones are also attracting many advertisers. ACNielsen
statistics show that media ad income in China grew 6 percent year on year in 2004,
while ad income of newspapers and magazines dropped 5 percent and 10 percent
respectively. Almost all newspapers reported negative growth in ad income in the year.
Against the backdrop of mass media classified according to the audience and ads
stressing ‘precise input’ and ‘effective output’, newspapers, as a traditional ‘mass
media’, are vague in terms of target audience, there is no feedback and their influence
is vague. They are facing restrictions and bottlenecks created by their own
characteristics. For example, there are 340 million mobile phone users in China at
present, and mobile phone operators, including China Mobile and China Unicom,
earned RMB60 billion from short messages in 2004. However, for traditional media
that has developed over 28 years, their combined ad income was only RMB60 billion
in the year.
Due to competition and drifting away of profits, the value chain is being stretched by
exterior production units of newspapers. In the past, a newspaper was a complete value
chain with profit mainly coming from news coverage and editing. However, the chain
is expanded today, with the profit being shifted outward. The stories of newspapers are
relayed and re-developed by websites and search engines. With production and
transmission being expanded, the profit focus of newspapers is silently shifting
downward.
Besides, such digital media as IP TV, mobile phone TV, portable TV and commercial
TV networks are having a big impact on traditional TV and broadcasting stations. The
traditional operation mode of ‘toll free programs cum insertion of advertisements’ is
facing unprecedented challenges. It is learned that in order to reduce operating cost, TV
stations including CCTV are downsizing staff and reducing salaries.
According to experts, digital technology has broken the barriers of traditional media,
making it possible for broadcasting, TV, newspapers and magazines to be assembled
and unified on a digitized platform. Mutual penetration of the traditional media,
blending of the traditional and new media and trans- regional media are becoming an
inevitable trend of development.
38
S
T
O
P
A
Module 2
N
D
T
H
I
N
K
Suggested Answer 1:
1) Cost
Hand drawing animation
3D Animation
Higher
Lower
High fixed and variable costs
(a) Various equipment for
drawing, publishing, editing,
etc are required
(b) Drawing tools, such as paper
and ink, are not reusable
(c) Labours are high
High fixed costs, but very lower
variable costs:
The production cycle from
drawing to publishing through
the Internet can all be done with
a computer.
2) Equipment
More equipment needed
Less equipment needed
3) Time
consumption
Similar
Similar
4) Delivery
format
2D only
2D, 3D or even 4D (I-max 4D)
39
Module 2
Suggested answer 2:
Cost
Equipment
Time
consumption
Delivery
format
T
Hand drawing
For every 50 pages
of comics, about
HK$500 is required
for art tools.
Digital animation
A computer can be
used many times.
(a) Ink pen
(b) Paper
(c) Water colour
(d) Drawing desk
with light box
(e) Other stationery
About 2 days per 50frame animation
Computer
Only available in
hardcopy, which
occupies space and
can be sold only in
the bookshop or
through mail order
Available in formats
supporting iPod,
PSP, etc, and can be
distributed through
the Internet
E
A
C
H
About 1 day per 50frame animation
I
N
G
G
Comparison
Although the cost of
computer is higher than
the art tools, it can produce
almost unlimited number
of works.
A computer is already
sufficient for production of
digital animation.
Faster production may be
achievable for more
advanced software.
Digital animation is
easier to transfer and
reproduce;
(b) Lower cost for
consumers
U
I
D
E
The following news report comes from ‘Centre for Digital Government’, a leading resource
on
information
technology
in
State
and
Local
Government
(http://www.centerdigitalgov.com). It discusses the development of web educational
platform in China.
New Web-Based Education Resources Platform for China (News Report, May 2004)
China Ventures Inc. is testing a new Web-based education resources platform to provide a
variety of products and services aimed at the kindergarten to grade 12 market in China.
Initially the platform will be tested for six months in 542 schools in 3 Beijing districts, a
district in Tianjin City and in Hebei City, with an aggregate enrolment of 474,000 students
and 20,800 teachers. The education authorities in each of these areas have signed an
agreement with CVI's subsidiary, Today’s Teachers Technology and Culture Ltd. ("TTTC")
which designates the platform as the exclusive online distributor of educational content
developed by the research department of these authorities and will designate a number of
schools in each area to participate in the test. The objective of the test is to gauge market
acceptance of the platform and better estimate what the education sector will pay for the
40
Module 2
products and services offered by the platform.
The main functions of the platform include:
(a) Online Training and Resource Centre -- One of the most significant changes occurring
in the Chinese education system is the requirement by the Ministry of Education that all
textbooks must be rewritten by 2005. This has created a need to train all 10 million
teachers and 240 million students to use these new textbooks. Training all these people
in the traditional classroom setting requires a lot of resources and it is difficult to train
them within a short period of time. The platform will provide students and more
importantly, teachers with the training required to use these new textbooks more
effectively, thereby enhancing both their ability to do their current jobs and their career
advancement opportunities. The training content has been developed by the research
department of various provincial and municipal education commissions and is not
currently available at any bookstore.
(b) Forum -- The platform will provide an interactive forum in which students and teachers
will be able to share ideas and information.
(c) Online Distribution of Library Books -- An agreement has been signed by TTTC and
ANHUI GUOXUN Education, Science and Technology Limited, (‘AGE’) a
government-owned company that operates the China Education Equipment Web site,
which is the Web site used by all primary and secondary schools in China to order
school supplies. This agreement designates TTTC as the only company allowed to sell
library books through the China Education Equipment Website. The primary customers
for this service are the school libraries in each of the 700,000 schools. In addition, the
platform will offer school libraries help on purchasing books, with a view to get school
libraries to conform with new Ministry of Education standards.
(d) Online Distribution of Non-Education Publications -- An agreement has been signed
with Beijing Zhongshang Xinhua Book Network Ltd. (BZXBN), an organization set up
by the Chinese government to promote the interest of all Chinese publishers. The
agreement designates www.csoll.com as BZXBN's exclusive online provider of
information on these publications to the education sector and gives TTTC the right to act
as a distributor for all such publications to the education sector.
S
T
O
P
A
N
D
T
H
I
N
K
Is traditional media outdated?
Suggested answer:
Traditional media have not been outdated. For example, newspaper advertisements as well
as radio and TV commercials are still part of our lives. It is because
41
Module 2
1) People are traditionalists or have inertia. People not on the web for any reason still need
traditional media.
2) People need variety. Traditional media are still a good alternative even for the ‘Netgeneration’. That’s why Microsoft provides a cable TV channel.
3) People need reinforcement. People percept that advertisements in traditional media as
public announcements, and thus are more trustworthy.
Topic 1.3.3(b) Chronology of major technological advances in digital media
T
E
A
C
H
I
N
G
G
U
I
D
E
The
following
news
report
comes
from
‘Fujitsu
e-paper’
(http://www.fujitsu.com/global/about/rd/200509epaper.html). It discusses the concept and
development of e-paper.
Fujitsu e-paper: Changing the Way We Read (September 2005)
Imagine going to your local train station to commute to the office in the morning. Instead of
large paper posters, the train time tables are shown on large electronic paper displays that
wrap around the columns of the platform. Before getting on the train, you download the
day’s news from a vending machine and read it on your ultra-thin, film substrate-based enewspaper. It's much like a traditional newspaper except that instead of throwing it away
after reading it you simply update the content the next day. In the carriages, advertisements
hanging from the ceiling are also based on e-paper, as is your PDA. Fujitsu is at the forefront
of this exciting new display medium that will change the way people read and access
information.
“We’re developing e-paper similar to an electronic newspaper,” says Tomohisa Shingai of
Fujitsu's Storage & Intelligent Systems Laboratories. (Interview date: June 7th, 2005). “The
format is like a paper sheet but can display memory contents and allow the user to be online
anywhere and anytime.”
E-paper holds the promise of becoming a truly versatile medium that is lightweight, portable
and low-power. It is easier on the eyes than regular LCD or CRT screens because it is
viewed with reflected light and not backlighting or light emissions. Since it is bi-stable,
power is used only to change the display content. The image is preserved when the power is
off, so the device is very energy-efficient.
But despite recent advances in e-paper technology, business applications remain limited.
Fujitsu aims to change that with the introduction of film panel-based, rewritable e-paper
42
Module 2
incorporating liquid crystals. Fujitsu’s e-paper boasts flexibility, low weight and energy
consumption and colour displays. “E-paper is now in living colour,” says Shingai. “Using no
power, our e-paper can display sharp colour, and even if you bend it, the image doesn’t
disappear and doesn’t blot. As such, it's unique in the world.”
Fujitsu's rewritable colour e-paper is based on highly reflective cholesteric selective
reflection technology. Cholesteric refers to the mesomorphic phase of a liquid crystal in
which the molecules are aligned in a specific manner, in this case, a spiral configuration. Up
to 50% of incident light in specific wavelengths and colours is reflected.
Key advantages of our e-paper include the semi-permanent memory display system, which
maintains the image even without power, and colour that is three times as bright as other
products by e-paper developers. It is not susceptible to flicker, the visible fading of an image
displayed on a screen. It uses about one-hundredth the power of LCD’s and plasma display
panels when the image is changed, while being far lighter and thinner, as slim as 0.8 mm. Its
flexibility also allows for greater freedom in applications, and excellent temperature
variation tolerance enables use in different environments.
The potential commercial applications of Fujitsu e-paper are manifold. Aside from largescale advertising such as wraparound posters, e-paper pricing sign systems for retail goods
would be wirelessly linked to in-store central databases that could change prices instantly,
saving vendors time as well as printing and labour costs. Integrated circuit cards could also
benefit from e-paper technology, for instance displaying the amount of cash left in an emoney card or the value remaining on a commuter pass. E-paper date displays could also be
incorporated into conventional wristwatches.
Even though advances in IT have provided us with more and more tools to manage
information, we are using more and more paper to print out all that data and make sense of it.
Regardless of whether the elusive ‘paperless office’ of the future ever comes into being, the
way we use paper will likely change. Fujitsu's e-paper is setting a new standard in the
evolution and digitization of this essential medium.
43
T
E
A
C
H
I
Module 2
N
G
G
U
I
D
E
The usage of Map
A map, in the form of a book or a large piece of paper, is the sole choice when people check
a location.
The new media provide an alternative: on-line map. People simply need to input the
destination or some key words, the target locations can be displayed and, if required, zoomed
in.
Reference :Google Map (http://maps.google.com/)
Another alternative that the new media provide is the Global Positioning System (GPS). A
driver needs only input the target location address, or even the telephone number of the target
location if applicable, into the client-end device, such as a PDA, mobile phone and watch.
The device will transmit a request to the GPS, which will return the information requested.
In addition, many large shopping malls have installed interactive direction guides. Shoppers
can find their own shops inside a mall without even speaking a word.
44
Module 2
Topic 1.3.4 Usability in media
T
E
A
C
H
I
N
G
G
U
I
D
E
Is artistic expression an outcome of pure personality ambition or society?
In reality, artists’ ideas come not only personal background, such as philosophy, technique
and feeling, but also their environment, such as culture, peers and references.
Mr Kenji Ko is a digital artist. He produced DIGITI, an interactive artwork that stand for
digital graffiti, in 2006. DIGITI results from various digital technologies, such as computer
vision analysis, motion tracking and live video output. It was a transformation of the
traditional graffiti culture into a new medium with the help of simple codes and electronics.
A laptop computer, digital camcorder, projector and some custom-made electronic spray
cans were used. Each can was installed with a coloured LED at the nozzle. When used,
DIGITI produces painting sounds. Upon completion of painting, artists can either save or
erase the works.
Kenji Ko, DIGITI in Takeaway Festival (London, UK) 2006
45
Module 2
Kenji Ko, DIGITI in FILE Festival (Sao Paulo, Brazil) 2007
http://www.kenjiko.com/
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
Before any development, visitors’ backgrounds,
travelling purposes, activities, difficulties, etc have to
be investigated.
Nationalities, first language,
accents, etc all make a difference.
Interactive guides like those in shopping malls may
help. Tourists can themselves with such equipment.
Alternatively, a pocket-size device can be developed to provide tourists with useful
information about Hong Kong in their own languages. The device can also teach some
simple Cantonese for fun and basic communication.
46
Module 2
6.2 CHAPTER 2 – DIGITAL MEDIA DESIGN
S
T
O
P
A
N
D
T
H
I
N
K
Semiotics helps you understand issues of communication with others
Suggested answer:
First of all, the meaning of purple should be investigated. Purple is
a colour of royalty, connoting luxury, wealth and sophistication. It
is also feminine and romantic. It appears artificial however, since it
is rare in nature. Those companies are to sell the fresh and bright
image to teenagers, giving them a wealthy and sophistication
perception.
Topic 2.1.3 Symbols, Icons and Indexes
T
E
A
C
H
I
N
G
G
U
I
D
E
Why using icon?
The following discussion comes from Section 5 (‘Why icons?’), ‘Media streams: an iconic
visual
language
for
video
annotation’,
Marc
Davis,
(http://www.w3.org/People/howcome/p/telektronikk-4-93/Davis_M.html#KREF10).
There have been serious efforts to create iconic languages to facilitate global
communication and provide international standard symbols for specific domains. It seeks
to enable:
(a) quick recognition and browsing of content annotations;
(b) visualization of the dense, multi-layered temporal structure of media content;
(c) an accurate and readable time-indexed representation of simultaneous, sequential,
overlapping and contained actions (natural languages are not very good at this task);
(d) articulation of the boundaries between consensual and idiosyncratic annotations
(icons can have attached textual annotations and can thus function as the explicit
consensual tokens of various idiosyncratic textual descriptions);
47
Module 2
(e) global, international use of annotations;
(f) Visual similarities between instances or subclasses of a class (visual resonances in
the iconic language).
A dragon graphic design using the iconic
theory, the picture seems to be combined
by text.
T
E
A
C
H
I
The iconic world in the computer
interface.
N
G
G
U
I
D
E
Semiotics - Icons, indexes, symbols
In the context of semiotics, icons, indexes, symbols can be mutually exclusive. A sign can
play all three roles however. For example, a shot of Jackie Chan’s action is iconic; the
words he uses are symbolic; and the effect of his films are indexical.
Reference: www.jackiechan.com/gallery
Another example is road signs. The triangular boundary is
a symbolic sign meaning ‘watch out’ and ‘careful’. The
icon inside is an iconic sign, such as a plane. Therefore,
the complete meaning is there is an airport around; in
other words, it is an indexical sign.
48
Module 2
Topic 2.1.4 Signifier and Signified
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
The following discussion comes from the book of ‘Communicating Hong Kong’, Hong
Kong Overseas Public Relations of Information Services Department.
Consistency is the key to establishing, defining and reinforcing Hong Kong’s identity. A
consistent presentation that reflects the brand positioning and platform, as well as core
values and personality attributes, can succeed in making Hong Kong more visible and
widely understood.
The Hong Kong visual identity – a powerful and energetic dragon – is a modern design
which communicates Hong Kong’s link to an historical and cultural icon. The body of the
dragon includes both the Chinese characters for ‘Hong Kong’ (香港) and the letters ‘H’ and
‘K’.
This dual expression symbolizes a blend of East and West that characterizes Hong Kong.
The dragon’s smooth, fluid shape imparts a sense of movement and speed, communicating
that Hong Kong is forever changing.
The visual identity’s dynamic and contemporary rendering captures Hong Kong’s passion
to be daring and innovative and a can – do approach towards bringing visionary ideas to
life.
Linked to the distinctive icon is the tagline, ‘Asia’s world city’, which communicates Hong
Kong’s role as a regional business hub, a natural gateway to new economic opportunities in
the mainland of China and the rest of Asia and as an international centre for arts and
culture.
Hong Kong’s visual identity is more than a graphic symbol. It is a new asset that must be
treated carefully. The symbol cannot be altered, repositioned or artistically presented in any
other way.
49
Module 2
Topic 2.1.5 Denotation and Connotation
T
E
A
C
H
I
N
G
G
U
I
D
E
Denotation and Connotation Colour
Colour can denote and connote messages. For
example, green is the most popular decorating colour.
It represents nature, and is a calming and refreshing
colour. People relax in a ‘green rooms’; and
hospitals use it to calm down patients. Dark green is
masculine and conservative. It implies wealth.
Green colour
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
Denotation: Cross
Connotation: Religious or Christian symbol
Denotation: Cartoon heart
Connotation: Love and affection
50
Module 2
Topic 2.2.1 Proportion - Golden Ratio
T
E
A
C
H
I
N
G
G
U
I
D
E
Golden Ratio in aesthetics
The Golden ratio can be applied to digital images and many other aesthetics.
Golden Ratio is used in Construction
Golden Ratio can be used in constructions.
For example, the Parthenon’s facade can be fit by golden rectangles. Some people believe
that this observation reflects the long history of using the Golden ratio. Some people think
however that the ancient architects might not know the ratio, but simply applied what they
considered beautiful; and it happened that it shared the modern point of view.
Golden Ratio is used in Painting
Some people think that Leonardo da Vinci has applied the Golden ration to his paintings,
including Mona Lisa.
Application of the Golden ration to a
human face by Leonardo Da Vinci
Mona Lisa, a 16th century oil painting that
might have been applied with the golden
ratio
51
Module 2
Topic 2.2.4 Cross lines
T
E
A
C
H
I
N
G
G
U
I
D
E
Horizontal and vertical lines
The travelling direction of a line affects the strength of the composition. Horizontal lines
give a peaceful and easy feeling. Vertical lines give a more active impression, creating
tension in a picture.
Diagonal lines
Diagonals are very powerful lines. They lead viewers’ eyes across the picture from bottom
left to top right as people naturally do in looking.
Converging lines
Converging lines give a powerful feeling of distance
and scale. Best results can be achieved by using a
wide-angle lens and including the vanishing point.
VTC website (www.vtc.edu.hk)
Curved shapes
Line can form curve shapes. A curve shape can
form a diagonal leading line to the viewers. Best
results can be achieved by using lines to lead the
viewers’ eyes to the focal point of the scene.
52
Module 2
Topic 2.2.5 Laws of grouping
S
T
O
P
A
N
D
T
H
I
N
K
G
U
I
D
E
Business card design
Suggested answer:
The business card is too crowded. A better design
can be achieved by leaving more white space.
Information overflow discourages the card
recipient to read.
T
E
A
C
H
I
N
G
In the context of grouping and typesetting, alignment refers to how text flow or image
placement is set in a page or any predefined boundary.
There are four basic variations alignments:
Flush left or ragged right: the text is aligned along the left
margin;
Flush right or ragged left: the text is aligned along the right
margin;
53
Module 2
Justified or full justification: the text is aligned along the left
margin with letter- and word-spacing adjusted to fall flush with
the right margin;
Centred: the text is aligned around a virtual middle line
Topic 2.2.6 Shape recognition
T
E
A
C
H
I
N
G
Tetris
Tetris is a very popular puzzle game. What a player
has to do is to place the blocks provided by the game
into appropriate positions, avoiding the blocks stacked
too high.
Tetris’s shape recognition is simple. It makes use of
seven blocks, each of which is formed by four squares.
In fact, these seven blocks are already all possible
permutation of four squares and each one of the blocks
are critical to Tetris’ balance.
54
G
U
I
D
E
Module 2
Topic 2.2.7 Colour
T
E
A
C
H
I
N
G
G
U
I
D
E
Colour modes
(a) RGB Colour mode
The RGB colour model can be used to colours on a cathode ray tube, liquid crystal
display or plasma display.
(b) CMYK mode
CMYK, or ‘process colour’ or ‘four colours’, are used in colour printing. In many
cases, inks are applied in the order of the acronym when used.
(c) CIE L*a*b* colour model
The CIE 1931 XYZ colour space, or ‘CIE 1931 colour space’, is one of the first colour
spaces defined mathematically. It was, created by the International Commission on
Illumination (CIE) in 1931.
Lab colour space, or ‘CIE L*a*b*’, is developed on the human perception of colour.
Lab describes all colours that normal human can see in numeric terms.
(d) Gray scale mode
The value of each pixel in a greyscale digital image is a single sample representing
information of its gray intensity.
(e) Bitmap mode
It uses black and white to represent the pixels of an image.
(f) Duotone mode
Duotone, or ‘multi-tone printing’, can be done with two to four inks.
55
Module 2
Colour spaces
A colour model is to describe how
colours can be represented in a
mathematical way.
Typically, a
model consists of three or four
components, such as RGB and
CMYK. A model is different from
another by the method (numeric
values in many cases). A colour
space is a form of a colour model
that has a designated gamut or range
of colours.
When moved from one device to
another, an image’s colours may
change. It is because each device
has its own colour space for colour
interpretation.
(a) Choose web-safe colours
There are 216 web-safe colours that can be used in browsers regardless of the
operating systems. Browsers change all colours of an image to these colours for
displaying on 8-bit screens.
(b) Choose a CMYK-equivalent for a non-printable colour
Some colours in the RGB, HSB, and Lab colour models are non-printable since they
are out-of-CMYK’s gamut and have no CMYK-equivalent.
(c) Choose a spot colour
A spot colour in offset printing is a colour generated by an ink (either pure or mixed)
that is printed using a single run.
56
S
T
O
P
A
Module 2
N
D
T
H
I
N
K
Digital images combined with channel
Suggested answer:
RGB are widely used in showing digital images in TV, movies and webs. Data of a 24-bit
RGB image can be divided into three grayscales or channels, namely R, G and B. Channels
can be manipulated independently. Combining manipulated colours forms another colour.
Such manipulation can rectify the deficiencies of scanners and cameras.
CMYK is another colour channel for image display, especially printing. CMYK can be
mapped to 4-colour channels as well. In addition to RGB and CMYK, Alpha channel can
be composite layers of images.
57
Module 2
Topic 2.3.1 Text
T
E
A
C
H
I
N
G
G
U
I
D
The face, size and case of text should be considered when text is used in media.
Text - Face
There are three groups of type, namely humanist, geometric
and hybrid. Each group has unlimited variations. Each
visual character of a typeface can give a word a particular
personality, differing from that of others.
Text - Size
Changing the size of words or letters is an easy way to build
visual hierarchy. Small words emphasize their ‘nothingness’.
Larger words emphasize their importance. The size of a word
is a relative, but not absolute, measurement against the word’s
neighbours. The size affects the spatial relationship between
letters and words as well.
Text – Case
Capital letters are traditionally used to start sentences. A
word in all capital letters gives emphasis effect. Lowercase
letters enhances legibility by using different lettershapes,
ascenders and descenders.
58
E
Module 2
Topic 2.3.3 Image and Graphics
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
Adidas is a famous brand. In addition to the shapes of its logos, the colours used in the
logos matter. The ‘sports colours’ chosen should make customers comfortable to wear in a
sporty environment.
Topic 2.3.4 Video
T
E
A
C
H
I
N
G
G
U
I
D
E
Pixel aspect ratio 4:3 vs. 16:9
Most computer monitors use square pixels. However, many video encoding devices use
non-square pixels. A pixel aspect ratio is the ratio of the width to the height of a pixel.
For normal standard, the ratio is 1.1
For PAL video standard, the ratio is 1.067,
NTSC is 0.9. Widescreen is 1.2 to 1.4.
59
Module 2
Topic 2.3.5 Animation
T
E
A
C
H
I
N
G
G
U
I
D
E
Animation History
Ancient
Human beings started capturing scenes
of motion long ago. It can be evident
in ancient cave paintings that animals
in motion have been drawn with
multiple
legs
in
superimposed
positions.
Cave painting of auroches (Bos primigenius
primigenius) in Lascaux, France
In 19 Century
True animation is developed based on the
persistence of vision. Its first appearance
was in the form of a thaumatrope in early
19th century. A thaumatrope is a play
that a string is attached to along the
diameter of a disc. One face of the disc
was drawn a bird, while another an empty
cage. The bird appears in the cage when
the thaumatrope is rotating around the
string.
Thaumatrope
Computer Era
Computers with their visual capabilities have changed the creation of images. The
development of computer graphic technology can be dated to the early 1950’s. It was
mainly for military, manufacturing and applied sciences, but not artistic work.
60
Module 2
The 1970’s marked a significant change. In the decade, 3D computer animation developed
rapidly: many computer graphic rendering techniques were formulated, such as polygonal,
Gouraud and Phong shading; image and bump texture mapping; z-buffering and alpha
channel. Also, Industrial Light & Magic (ILM) was established. It was famous for the
visual effects it created for George Lucas’ Star Wars, 1977.
The first feature film having a computer animation-live action composite of over 20
minutes is Disney’s TRON, 1982. The composite was produced by Robert Abel and
Associates, III, MAGI and Digital Effects. In the late 1980’s and 1990’s, several successful
blockbuster movies encouraged more companies to join the development and production of
computer animation. Abyss (1989) and Terminator II (1991) are two of these successful
movies.
Another milestone is 1995’s Toy Story. This first fully computer generated 3D animation
film was produced by Pixar Animation Studios.
Reference: The first feature film with over 20 minutes of computer animation – TRON
(1982)
Reference: The first fully computer generated 3D animation film – Toy Story (1995)
61
Module 2
6.3 CHAPTER 3– DIGITAL MEDIA PRODUCTION
T
E
A
C
H
I
N
G
G
U
I
D
E
H
I
N
G
G
U
I
D
E
Scriptwriting Structure
(a) Act 1 :Beginning
(i) Capture Attention
(ii) Introduce Problem
(b) Act 2 :Middle
(i) Provide Tension
(ii) Present Obstacles
(c) Act 3 :Ending
(i) Provide Closure
(ii) Resolve Problem
Topic 3.1.3 Storyboarding
T
E
A
C
Storyboarding
Storyboarding is a visual plan of production organization and planning. It expresses the
designer’s ideas of how visual elements progress through pictures and words. It may also
detail the sound effects, colours, etc. Storyboarding is a communication tool for the design
team to build prototypes and later final product.
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
Instead of drawing, students can take photos for attachment to the storyboard template.
Details, such as camera movement, can be added with markers.
62
Module 2
Topic 3.1.4 Scenic Design
T
E
A
C
H
I
N
G
G
U
I
D
E
Differentiate scenic design from interior design
Scenic design and interior design can be compared as follows:
Interior Design
Necessary
Necessary
Aesthetics
Functionality
And Comfort
Eye level furnishings
Roof Decoration
Necessary
Necessary
Floor Decoration
Necessary
Camera angle
Furnishings mobility
Optional
Optional
Lighting instalment
Built-in lighting
People
Design target
S
T
O
P
A
N
D
Sets Design
Necessary
Optional: depends on the
script
Necessary
Optional: seldom to have
close-up shot on roof
Optional: depends on the
script
Necessary
Necessary: for layering
composition
Detachable lighting
equipment
Specific to script, crew
members and shooting
equipment
T
H
I
N
K
Suggested answer:
A:
B:
C:
D:
fast and versatile; but the source of contents may not be reliable.
direct and first-hand; but expensive and time consuming
because of its reportage nature, and videos provide rich visual clues than stills do
reliable but the expected findings are confined to text and image.
S
T
O
P
A
N
D
T
H
I
N
K
Suggested answer:
Night gives a cold feeling and thus a blue tone is used. It can be changed, however, if other
dramatic effects are needed.
63
Module 2
Topic 3.1.5 Props set-up
T
E
A
C
H
I
N
G
G
U
I
D
E
Ergonomics is the primary factor prop a designer has to consider. For example, the coffin
bed in the film of Twins has is exaggerated in proportion to show the protagonist’s unusual
social status of being a member of the vampire family.
T
E
A
C
H
I
N
G
G
U
I
D
E
There is no formula or conclusion to tell what is right and what is wrong in managing
colour and texture for prop design. The most important point is to give the props harmony
and sense of reality.
Colour and texture can be considered a bridge among the scenes, costumes, props,
cosmetics and actors concerned.
Topic 3.2.1 Sound Recording
T
E
A
C
H
I
N
G
Some professional audio equipment is shown as follows:
Directional
Microphone
Ideal for sounds from single
direction.
A shotgun mic is an example with
narrower angles of acceptance.
Handheld
Microphone
Ideal for conducting an interview in
which only one mic is available
Clip
Microphone
Ideal for conducting an interview in
which each participant has her/ his
own mic
64
G
U
I
D
E
Module 2
Fish pole /Boom
pole
Ideal for situations that mic’s should
not be seen inside the shots
Headphone
Ideal for monitoring sound level
Connectors
Mic’s need connectors for
connection to the recording
equipment. Some connectors are
shown as follows (from top to
bottom):
(a) 3.5 mm Minijack
(b) ¼” Jack- can be stereo or mono
(c) RCA-type connector –
commonly used in home
entertainment equipment
(d) Canon or XLR connector three-pin connectors are used in
professional audio applications
(e) Optical connector
For stopping plosives and protecting
mic’s
Pop Filter
Condenser Mic
Produce a high-quality audio signal
and is popular choice in laboratory
and studio recording applications
65
Shock mount
S
Module 2
Helps to eliminate noises and
vibrations by isolating the mic on a
stand
T
O
P
A
N
D
T
H
I
N
K
Sound Recording
Suggested answer:
Both clip microphone and handheld microphone are used in news production.
T
E
A
C
H
I
N
G
G
U
I
D
E
Everyone’s first recording may have pops, clicks or hum. The sound level recorded may be
too high or too low. The following reminders may facilitate the recording:
(a) Talk across, but not in front of, a mic, in order to avoid exaggerating any plosives;
(b) Hold a mic on a stand but not hand, in order to avoid annoying rubbing noises as the
microphone shifts in hand;
(c) Keep a mic away from fluorescent-light fixtures, computer air vents and any other
sources of noise; and
(d) Take care of any vibration of the mic stand, where noise may come from – a cushion
may help
66
Module 2
Microphone receiving pattern
Omni-directional
Omni-directional mic’s or “non-directional mic’s”, are sensitive
to sounds from all directions. These mic’s are suitable for radio
stations but not video production.
Unidirectional
These mic’s are sensitive to sounds coming mainly from one
direction.
Shotgun mic’s
A shotgun mic is an example with narrower angles of acceptance.
It is suitable for on-location video work, especially for a distance
of 2 to 4 meters.
Topic 3.2.2 Photograph
T
E
A
C
H
I
N
G
G
U
I
D
E
In an SLR, light passing through the lens
assembly is reflected by the mirror and projected
on the matte focusing screen. After going
through a condensing lens experiencing several
internal reflections in the roof pentaprism, the
image is shown in the viewfinder.
In a DSLR, after taking an image, the mirror
moves upward as shown, opening the focal plane
shutter. As such, the image is projected on the
digital image sensor (CCD/CMOS) in exactly the
same manner as on the focusing screen.
SLR/ DSLR Camera [(Digital) Single-lens
Reflex Camera]
67
T
E
A
C
H
I
Module 2
N
G
G
U
I
D
E
Auto - Flash and exposure will be controlled by the camera automatically.
Portrait - The fastest available lens setting (aperture) will be used to blur
out the background.
Landscape - High f-stop (aperture) settings will be used to capture details
in foreground and background.
Macro/Close-Up – It is for taking close-ups.
Sports - The highest shutter speed will be used for taking a frozen image
of motions.
Party/Night - Longer exposures will be used to capture darker scenes,
usually, with flash. Some motion effects can be created.
Program – Semi-automatic mode for ‘point and shoot’ with manually
controlled flash and some other settings.
Aperture Priority - The aperture (f-stop) is set manually and the
exposure is set automatically. Sometimes ‘A’ instead of ‘Av’ is used.
Shutter Priority - The shutter is set manually, and the exposure is set
automatically. Sometimes ‘S’ instead of ‘Tv’ is used.
Manual – All settings are done manually.
T
E
A
C
H
I
N
G
G
U
I
D
Relationship between Aperture & Depth of field
Larger apertures (smaller F-stop number) produce a shallow depth of field.
Smaller apertures (larger F-stop number) produce a deeper depth of field.
f/8
f/5.6
68
f/2.8
E
T
E
A
C
H
I
Module 2
N
G
G
U
I
D
E
Film Speed (ISO - International Organization for Standardization)
Film speed is to measure a photographic film’s sensitivity to light. Stock with lower
sensitivity, i.e. lower ISO speed rating, requires more time to expose, and is thus called a
slow film. On the other hand, a fast film requires shorter exposure because of its higher
ISO speed rating.
Comparison of both images. The photo on the left was shot at 100 ISO, while the
right one was shot at 1600 ISO.
ISO100
ISO1600
Aperture
Greater lens apertures allow more light to come, and thus produce greater exposures.
Shutter Speed
Slower shutter speeds expose the medium for a longer period of time, and produce greater
exposures.
T
Lens
(a)
(b)
(c)
(d)
(e)
(f)
E
A
C
H
I
N
G
G
U
I
D
E
Standard Lens (50mm) - The angle of view close to the human eye.
Telephotos (>85mm)
Wide-angle Lens (<35mm)
Zoom Lens (vary ranges)
Macro Lens
Fisheye Lenses - Distort the perspective to create a circular "fisheye" 180° image.
69
Module 2
The following table shows the colour temperature of some light sources
Light Sources
Colour Temperature in K
Clear Blue Sky
10,000 to 15,000
Overcast Sky
6,000 to 8,000
Noon Sun and Clear Sky
6,500
Sunlight Average
5,400 to 6,000
Electronic Flash
5,400 to 6,000
Household Lighting
2,500 to 3,000
200-watt Bulb
2,980
100-watt Bulb
2,900
75-watt Bulb
2,820
60-watt Bulb
2,800
40-watt Bulb
2,650
Candle Flame
1,200 to 1,500
T
E
A
C
H
I
N
G
G
U
I
D
E
Photography Framing
The following show how images are taken by camera or video.
Look at the subject in their eyes
Capture direct eye contact by
holding the camera at the
person’s eye level
Need not always ask the subject
to stare at the camera. Leave it
naturally to create a personal and
inviting feeling
Too high
70
Better
Module 2
Use a plain background
Use a plain background to stand
out the subject
Study the surrounding of the
subject through the viewfinder
Distracting background
Better
Use flash outdoors
Use flash outdoors to lighten deep shadows created by bright sun
Better
Subject is dark
Move it from the middle
Move the subject from the middle
to an intersection point by Rule
of Third
Boring
71
Better
Module 2
Know your flash's range
Know the flash’s maximum distance before using it
Many cameras’ flashes support up to fifteen feet, i.e. about five steps away
Without flash
With flash
Be a picture director
Be a picture director, instead of a picture taker, to design desired pictures
Boring
Interesting
Topic 3.2.3 Video Shooting
T
E
A
C
H
I
N
G
G
U
I
D
E
Framing – On the screen
The space of the screen should be considered during the production of motion graphics,
such as video, animation and web graphics. The space for active composition in a screen is
‘frame’.
72
Module 2
In film, the meaning of a frame is double-fold, referring to images on a film and the
projection area of a screen. In video, it means video monitors. In digital media, it refers to
the boundary that confirms the sequence.
A frame aspect ratio is the ratio of the width to the height of a frame. There are three
common frame aspect ratios, namely 1:33 or 4:3, 1.66:1 and 1.85:1 or 16:9. The ratio for
films is larger, allowing a wider, closer-to-reality eyesight.
These ratios were originally developed to address the camera and film stock limitations.
The then designers had to design images within a frame in one of these ratios.
TV safe
‘TV cut-off’ refers to the effect that the
outer edges of a signals cannot be shown.
In order to prevent important information
from cut-off, ‘field guides’, which are
some lines and grids, are added in the
upper part of a frame through a video
editing device. The area of a frame that is
safe from cut-off is called ‘TV safe’.
There is an area inside a TV safe called
‘title safe’. Text inside this area can be
shown neatly. The whole TV safe is also
called ‘action safe’, meaning that actions
can be shown correctly inside this area..
A field guide for determination of ‘TV safe’.
T
E
A
C
H
I
N
Tips for video shooting:
1. Avoid excessive zooming
73
G
G
U
I
D
E
(a)
(b)
Module 2
Use zoom functions on a need basis
Use it slowly as what professionals do
2. Minimize vibration
Minimize the vibration, excess of which adversely affect the quality of a video, by
(a) Use a tripod stand
(b) Fix the position of the cameraman with the help of a wall, for example
(c) Fix the position of the cameraman by bending her/ his knees
3. Show where it is
Use a landmark, a sign or natural monument that can tell where it is
4. Use appropriate lighting
Place the light source behind the cameraman
5. Shoot from different angles
Shoot the subject from any possible angles
6. Take care of sound
Take care of the mic’s and sound, which are critical to the quality of the video
Topic 3.2.4 Lighting Equipments
T
E
A
C
H
I
N
G
G
Some professional lighting equipment is shown as follows:
Fresnel
It is named after the inventor of the lens used in focused
tungsten lights. The wattages of Fresnel range from 250 to
20,000 watts.
HMI
Hydrargyrum medium-arc iodine, ‘HMI’, is a type of
daylight balanced, incandescent lamps. It uses with
hydrargyrum medium-arc iodine gas inside. Of the same
wattage, HMI lights glow brighter than halogen lights do.
74
U
I
D
E
Module 2
Fluorescent/ Kino Flos
Fluorescents make use of the gaseous metals inside to glow.
Fluorescent tubes are best when low and soft light is
required.
Red Head
Red Head can be used as key flood lights, fill and backlights.
Its wattage ranges from 650 to 1000 watts.
Light Reflector
A light reflector makes use of reflection to act as a
secondary light source. Though any reflective objects can
be a light reflector, polystyrene sheets, tin-foil covered
cardboard, etc are commonly used.
Gels
Coloured lighting, diffusion and daylight correction can be
achieved by using heat-proof gels.
T
E
A
C
H
I
N
Light Source
Candle
Sunlight at sunset
Domestic tungsten light bulbs
Tungsten lamp
G
G
U
I
D
E
Colour temperature (Kelvins)
1,930
1,900 – 2,400
2,600 – 2,900
about 3,200
75
Module 2
TV studio tungsten lighting (2,000 Watts)
TV studio tungsten lighting (5,000 Watts)
Sunrise, Sunset
Fluorescent tube
Sun (Direct at noon)
Daylight (Sun + Sky)
HMI and MSR lights
In shade (light only from hazy sky)
In shade (light only from Blue sky)
3,275
3,380
2,000 – 3,000
4,800
5,500 – 5,400
5,500 – 6,500
5,600
7,500 – 8,400
12,000 – 20,000
Topic 3.2.5 Storage and formats
T
E
A
C
H
I
N
G
G
U
I
D
E
Among the many image storage formats, the following are some commonly used:
TIFF
Tagged Information File Format, or ‘TIFF’, files use ‘.tif’ (older) or ‘.tiff’ as file extension.
In terms of image quality and retention period, TIFF files are better than JPEG ones.
RAW
‘Raw’ format is a generic term. Each camera manufacturer has named its own file
extension. For example, Canon uses ‘.CRW’ or ‘.CR2’. Nikon uses ‘.NEF’.
JPEG
Joint Photographic Experts Group, or ‘JPEG’, is the most commonly used image file format
nowadays. By compression technology, the file sizes of JPEG images are smaller than
those raw. Its file extensions are mainly ‘.JPEG’ and ‘.JPG’.
PSD
PhotoShop Document format, or ‘.PSD’, is a lossless format. It is used for data
manipulation in image editing software. However, for final permanent archiving, ‘.DNG’
should be considered – even Adobe, PhotoShop’s manufacturer, encourages so.
76
Module 2
Topic 3.3.3 Video Software
T
E
A
C
H
I
N
G
G
U
I
D
E
Editing Technology
The following are some terms related to video editing with software:
Timeline graphically represents all the editing decisions. It is workbench area for
users to manipulate materials.
A sequence is an edited, continuous collection of audio and video clips. There may be
special effects or transitions between the clips.
Capturing refers to the process that a video is downloaded from a camera to a
computer.
Marking Clips refers to the process that a clip segment, identified by starting and
stopping points, is marked. The segment is marked for later manipulation.
Importing refers to the process that a video is loaded from hard-disk or other storage
devices into an image editing software package.
Inserting Clips refers to the process that a clip is inserted into a sequence.
Overwrite Edits refers to the process that a clip is placed into a sequence, replacing
the clip, if any, originally in that position.
Trimming refers to the process of removing an unwanted part of a clip.
77
Module 2
A Ripple Edit tool helps close the gaps between the In or Out point of a trimmed clip.
Three-point editing is a technique to fit a clip into a gap which is shorter in length.
For example, there is a 10-second source clip, and a 5-second gap in a sequence.
Fitting the source clip into the gap can be done in any one of the following manner:
1.
2.
3.
4.
78
Module 2
Transition is to join two clips together smoothly.
Ripple Editing is to trim clips with a Ripple tool.
Rolling an edit point is to trim both the Out point of a clip and the In point of the clip
follows at the same time. The overall duration remains unchanged after edit point
rolling since clips nearby compensate each other.
Rolling edit point left
Rolling edit point right
Slipping adjusts both the In and Out points in a clip simultaneously. The contents of a
clip can be slipped left or right of its edit points. While the contents become different,
the clip and sequence durations remain unchanged.
Sliding adjusts two edit points and three consecutive clips. The clip in the middle (the
second) can be slid to the first. The first becomes shorter. At the same time, the In
point of the third is adjusted automatically, lengthening the third’s duration.
Slide centre clip left
Slide centre clip right
79
Module 2
The Motion properties of a clip are adjustable. The clip can thus be cropped,
distorted, resized, rotated and repositioned.
Exporting Finished Sequence is to package the final product, or finished sequence, as
a media file for distribution.
Outputting Finished Sequence is to save the finish sequence in a medium, such as a
tape.
T
E
A
C
H
I
N
G
G
U
I
D
E
Volume
Volume measures the sound level or loudness of a clip. The measurement unit is decibels
(dB). The larger the decibel, the louder the sound.
80
Module 2
Volume indicator
Audio transitions
Similar to videos, there is audio transition. It is to introduce or fade out a sound smoothly.
Topic 3.3.4 Animation Software
T
E
A
C
H
I
N
G
G
U
Animation – 3D Workflow
A typical workflow of 3D animation production is shown as follows:
General animation process
81
I
D
E
Module 2
Step 1: Create geometric models
Step 2: Create 3D animation
Step 3: Apply materials and textures to models and environments.
Step 4: Render animation
82
Module 2
Step 5: Save rendering images
T
E
A
C
H
I
N
G
G
U
I
D
E
NURBs Modelling
Non Uniform Rational B-Spline, or
‘NURBS’, is another common modelling
method. A surface (two-dimensional) is
extended from NURBS curves (onedimensional). The first set of points form
a row or the first dimension, denoted by
‘U’. Another set is perpendicular to U,
called ‘V’. The shape of a surface can be
changed simply by adjusting U or V.
Mathematically speaking, a surface is a
function of U and V.
UV points
UV curve
NUBRS modelling – A surface is a
mathematical function of U and V.
T
E
A
C
H
I
N
G
G
U
I
D
E
Keyframe Animation
Animation is the process of change. The change can be in terms of position, rotation, scale,
colour, light intensity, or any other. Animation makes use of Persistence of Vision, which
is a physiological phenomenon ‘connecting’ a series of still images together. Each
individual image is called a frame.
83
Module 2
A keyframe is either the beginning or the end frame of an action or change. With the help
of animation software, an animation can be created by first creating the keyframes, and then
leaving the software to generate the in-betweens, i.e. to handle the transition between two
keyframes.
Keyframe animation
Refer to Appendix – 3D animation for a production tutorial.
T
E
A
C
H
I
N
G
G
U
I
D
E
Transformation in 3D - Squashing and stretching
To either digital or traditional animation, squash and stretch is a complex motion. It is used
when exaggerating the deformation of a non-rigid object is required.
Squash and stretch has been Toy Story, for example, when toys are landing.
Reference: Toy Story
84
T
E
A
C
H
I
Module 2
N
G
G
U
I
D
E
Omni light
An omni light source shines to all directions. It can simulate a resulting situation of
combining direct light (e.g. the sun and a bulb) and indirect light (e.g. sunlight diffused by
the atmosphere, and bulb light reflected from walls).
Directional light
A directional light source shines mainly to one direction. Its light rays are parallel. It can
simulate a point light source in a very far away location, such as the sun.
Spot light
A spot light covers a designated, small area, evenly. The light source and the area covered
form a cone. It can create a light beam with increasing coverage. Flashlight and car
headlight are of this type.
85
Module 2
SECTION 7. ACTIVITY GUIDE
7.1 DESIGN PROJECT - A poster for the awareness of global warming
Introduction
This learning task is a design project which focuses on the designing of a poster. Students
have to go through the whole design process. As this is a huge task to be completed, students
will have to complete it stage by stage. It is also
suggested that the project be started in a group
of 4 students, and that they start working
individually after the first idea generation stage.
This project provides a situation for them to
apply the knowledge that they have learnt in
Topic 2.1, Topic 2.2, Topic 2.3 and Topic 3.3 in
an authentic context. Teachers should design
the details with time constraints, students’
abilities, and availability of resources and
facilities taken into consideration.
Undergoing this large-scale project, students
will gain more experience in how to handle an
authentic project by themselves. DAT modules
are inter-related to each other.
Through
collaboration and integration, students could
have an overview on how to apply their
knowledge in real situation. This project and
the extended activities will be discussed in the
following sections.
Students are required to study a poster as an example, so that they can produce a poster by the
multimedia software they have learnt in the class. The theme of the poster is to bring out the
globe warming message to the viewers.
The above poster was done by designer Andrew Lee, who is working in England now. This
poster was for promoting the 2005 Asia Game Show. During the class, teachers can go
through part of the designer creation process, and also entrust student’s design project at the
same time.
Research - Collaborative Work
During the design, Andrew was thinking of turning Hong Kong into a future city in order to
present the high technology show to be held in Hong Kong. Therefore he chose Central as the
background of the design for its fullness of modern city tall buildings. Furthermore, he
86
Module 2
planned to add some cyber and game elements into the design for dominance of the centre
idea of game. For a clearer picture about what style and tone of the poster will be, Andrew
has done research about the human perception for future city and game development.
Moreover he has decided to use Photoshop and Maya as the production software.
Co-operation is a key element in first two stages. First of all, students have to work in pairs
or small groups. This arrangement is to enable them to develop new solutions which may not
be considered when working in isolation. Collaborative work, apart from stimulating creative
ideas, inventiveness and the development of manipulative skills, involves students in
activities that require co-operation, which fosters their social and communication skills.
Working with others provides opportunities for students to appreciate the capabilities of
others.
While developing solutions to problems, students work individually to identify and clarify the
problems and produce their own poster designs. They must address certain problems in order
to find appropriate solutions. All students can appreciate the need to share materials and ideas
in preparing the poster for global warming. This arrangement is to help students develop the
communication skills required to explain their concepts and approaches.
The chart below shows the changes of grouping throughout the whole project.
Stage
Activity
Research and Analysis
Problem Identification
Conceptualization
Design Evaluation
Design Refinement
Final Visualization
Group (3 students)
Individual student
Project Scope
The suggested project is to develop a poster for global warming. The poster should be able to
delivery an easy and direct message to the viewers. The poster should be developed with the
multimedia software students have learnt in class.
The suggested scope covers pre-production, production and post-production. At teachers’
discretion, the scope can be modified to ‘design-and-make’, ‘problem-solving; or ‘creative’ in
nature. Although this individual project may vary considerably from one to another, they
usually possess certain common aspects or tasks as listed below:
(a)
(b)
(c)
(d)
Literature survey, data collection and analysis
Project planning
Investigation, design, development and implementation
Deliverables
87
Module 2
Emphasis will be given on the application of
knowledge and skills that the students have
learnt, in order to achieve the best possible
solution with the constraints and time frame
imposed.
A suggestion for students’ posters to feature the
theme of global warming can be to design a
cartoon character. Students may refer to some
past examples, such as the family of the Dragon
of Cleanliness. Students can draw out the
character using graphic software.
Critique
There must be a critique session at each stage for students to see what their classmates have
done. A critique session is an important activity, through which students can learn faster by
judging others. The following are the benefits that students can acquire in a critique session:
(a)
(b)
(c)
(d)
(e)
Understand the deliverables of each design stages
Develop critical thinking
Develop analysis ability
Develop and practise presentation and communication skills
Develop cooperation skills
Sparing more time for critique sessions will pay off in the end. During a critique session,
teachers have to encourage the class to:
(a)
(b)
Be open to new ideas
Be positive and constructive: giving both comments and suggestions
Every critique session is a presentation. The training of presentation skills should start in the
beginning of the project, so that students get used to present in font of the class. Drawing is
required in the preparation of presentation. It is necessary to assist students in building
confidence. With the art training in junior forms, students should be able to sketch simple
ideas and make visual analysis.
Sketches and analysis
In each stage of the design project, students should record and analyse with sketches.
Teachers have to encourage students to keep all sketches. Here is an example of sketches for
a design project.
88
Module 2
Modification and retouch
Designs always need to be modified or retouched. The 2005 Asia Game Show was designed
to develop a fantasy world of future city. Andrew needed to fine turn the picture of Central.
This step could turn Central into a really different look.
The designs depend very much on the support of the workshop and lab at the school.
Teachers should be aware of this support before directing students to the design problem they
are facing. Students may try to add different digital filters to their photos, or change the Hue
and Saturation. Students should use different layers for different image component in order to
facilitate their further editing.
Assessment Guidelines
Assessment will be based on four designated areas as follows:
Criteria
1.
2.
3.
4.
Weighting of Marks
Literature Survey
(a) Background information
(b) References
(c) Ability to work in a group through the researching
stage
Innovation and Creativity
(a) Project plan – idea and layout design
(b) Design and development
(c) Testing
Knowledge and Skills
(a) Best use of software
(b) Problem solving
(c) Employed solutions for problem solving
Quality of Work
(a) Results and final design
(b) Quality of the presentation
89
20%
30%
30%
20%
Module 2
7.2 HANDS-ON ASSIGNMENT – Planning a production schedule for a Product
Introduction
This hand-on assignment is going to assess what students have learned in Topic 3. In this
activity, each student needs to go through the production process with a project s/he intends to
pursue. Besides, s/he has to write down the theme with sketches, storyboard and flowchart.
And all subjects will be put together as a production schedule for her/ his final project. The
main objective of this assignment is to enable students to learn cooperation and
communication through the group discussion process. The skills and knowledge that students
acquire in this task could be transferrable to the design project production in different media.
Concepts to be assessed
(a)
(b)
(c)
Main theme what students want to do
Production management
Understanding of the production pipeline
Equipment
(a)
(b)
Production pipeline forms
Projection screen
Procedures
(a)
(b)
(c)
(d)
(e)
(f)
The class is divided into groups of 4-5 students
Each group is given A3 paper, pens or colour pencils to record the discussion
results
Students should decide what theme they are going to do
Students should analyse the production pipeline in the assignment brief
All analyses should be recorded on A3 paper
Each group should present its planning and problem findings to the class in critique
sessions
90
Module 2
Assessment Guidelines
Assessment will be based on four designated areas as follows:
Criteria
Weighting of Marks
Analysis ability:
(a) Able to describe the process of the production pipeline
(b) Able to find problems through the process
Documentation ability:
(a) Able to record the analysis in both drawing and
writing on production pipeline forms
Presentation ability:
(a) Able to present the planning and problem found
visually
(b) Able to present the finding verbally
Cooperation:
(a) Able to work in a group throughout the assignment
91
40%
25%
15%
10%
Module 2
SECTION 8. ASSESSMENT
Introduction
Assessment in DAT should be an integral part of learning and teaching. The purpose and
means of assessment should be clearly explained to the students. The forms of assessment
and reporting to parents and students will vary from one school to another. In spite of this,
formative and summative assessment should:
(a)
(b)
(c)
(d)
(e)
(f)
(g)
(h)
Allow both students and teachers to assess what students can do, and how they can
use knowledge, concepts and skills
Measure the application of knowledge, concepts and skills rather than the mere recall
of facts
Reflect achievement against the criteria for the course
Involve students in participation and reflection
Provide students with opportunities to analyse their own learning and to recognize
what areas need improvements
Be informative for students, parents and teachers
Provide direction for future instruction
Not assume that the results of a group of students being assessed will follow any
particular distribution plan
Assessment Tasks
In general, teachers are free to devise the contexts and challenges of the assessment tasks and
units of work they use. However, the tasks set should stem from learning activities, and
ideally will be learning experiences themselves. Tasks can be designed to allow the
assessment of different objectives against relevant criteria. There are various types of
assessment task used in this module:
(a) Hand-on assignment
(b) Design project
(c) Quiz
Weighting of the Assessment Tasks
When assessing students on different tasks, teachers can assign different weighting factors to
individual tasks for different emphases. However, it must be noted that ALL parts should be
assessed to disturb the balance of the three tasks. The following is suggested:
(a)
(b)
(c)
Hand-on assignment
Design project
Quiz
30%
40%
30%
92
Module 2
8.1 ASSESSMENT RUBRICS
Introduction
Consider this area carefully, especially when you implement design and make activities. For
example, what outcomes in terms of skills, knowledge and attitudes must be developed? As
you know, assessment is ideally an on-going process that provides continual feedback to
students to enhance their learning. In today’s dynamic classroom environment, teachers are
looking for a variety of authentic ways to assess students’ learning and achievement.
Teachers want tools that can help acquire specific information about students’ performance.
Students also want to know the assessment criteria for the final products they develop and the
tasks they perform.
Rubrics (Assessment Grid) are one of many methods used to collect data for teachers to make
judgments about students’ performance. Rubrics can be developed by teachers and students
alike. We will discuss this issue in the following sections.
Authentic Assessment using Rubrics
Rubrics are an ideal learning and assessment tool that can also help clarify expectations for
students, teachers and parents. A rubric may look like a checklist but it does more than
merely identify work that needs to be done by the students. Rubrics clarify the expected
standards for doing a good job and encourage self-assessment by the students.
The checklist rubric
This type is usually used to define the standards of excellence for the students. Often a “yes”
or “no” can be checked off to indicate whether the standard has been met by a student or
group being evaluated. A sample is provided below:
Focus of Assessment: Teamwork
Criteria
1. I performed my assigned role.
2. I stayed on task.
3. I did my fair share of the work.
4. I listened to others’ ideas.
5. I helped the group solve problems.
6. I completed my work on time.
Student Name: _____________________
Names of Partners:__________________
Peer Assessors:_____________________
Self
Peer
Teacher
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
Yes / No
93
Module 2
The scored rubric
This type of rubric rates the level of performance of the students in working toward a high
standard of achievement. In other words, instead of simply checking off whether or not
students have met the criteria set out, a judgement is made about the quality of the product or
performance. A sample is shown below:
Student Names: _________________
Peer Assessors:__________________
Criteria
Group
Peer
Teacher
1. We developed a plan for our production.
012345
012345
012345
2. We aimed our product at a target group.
012345
012345
012345
3. We made our product function well.
012345
012345
012345
4. We made our product attractive.
012345
012345
012345
5. We made our product easy to use.
012345
012345
012345
6. We made our product safe to use.
012345
012345
012345
* Performance descriptors: 0 is incomplete; 3 is a good effort; 5 is an outstanding effort.
Focus of Assessment: Making a Gift
How rubrics are used?
Rubrics can be used to support outcome-based learning as an assessment tool and can be
aligned to essential learning outcomes. You may want to develop a rubric with your entire
class as part of the familiarisation process. This will allow students to have input on the
criteria being established and provide them with an opportunity to think about all the elements
of a particular task or performance. This is also an ideal way for them to gain insight into
how assessment and evaluation are conducted.
The benefits
Rubrics provide learners with specific feedback from a variety of sources. Teachers, students,
peers and parents may all use rubrics to assess learning and evaluate the quality of students’
products/performance. Students are often the best judge of their own performance, knowing
their personal strengths and weaknesses. Rubrics are a concrete way for students to identify
what they did well and what they need to improve on. Peers can also provide constructive
feedback, perhaps because they have gone through a similar learning process or experience.
Students always value their peers’ input and appreciate receiving positive reinforcement from
them. Teachers and parents are also essential in the assessment process using rubrics to assist
with areas of difficulty while guiding the students to higher levels of achievement.
94
Module 2
Developing Your Own Rubrics
When designing rubrics, teachers should keep in mind the following guidelines:
(a) Choose a specific learning focus for the rubrics, making sure all criteria support the
focus
(b) Write ideas in statement form with simple language
(c) Use “I” or “we” pronouns to personalise the criteria for students
(d) Use descriptive verbs in all rubric statements
(e) Choose criteria that reflect a high standard of achievement
(f) Select criteria that seem attainable to students
(g) Order the criteria in a logical sequence that reflects the learning process
(h) Use sub-headings throughout the rubrics if criteria can be grouped
Self- and Peer Assessment
An on-going self-assessment will help students monitor their own progress. They will be able
to recognize their own strengths and where they need to focus more effort. Here are some
suggestions to help teachers and students obtain the maximum benefit from self- and peer
assessment:
(a) Students who are not accustomed to self-assessment may be uncomfortable to give
themselves the “credit” that they are due. It can help if teachers suggest that students
complete the form as if a close friend or family member is assessing their work.
(b) Ensure that students appreciate the value of the assessment. One way is to review the
past few assessments on a regular basis. Discuss with students any changes or
patterns that may appear.
(c) Teachers could add a ranking system to the assessment and have students add up their
score over several projects.
(d) When students assess each other, there may at first be a tendency to be overly
generous. Assure them that honest criticism and assessment will be a greater benefit
in the long run. (Watch for discrepancies between self- and peer assessment. It can
help indicate when students do not quite grasp the importance of honest assessment.)
(e) Younger students can provide more detailed assessment with the help of an adult or
older student to record their responses.
95
Module 2
8.2 ASSESSMENT RUBRICS FOR THE DESIGN PROJECT
Introduction
Each student is required to build a portfolio to accompany the product designed in the design
project. The portfolio should include all investigatory work, the final working drawings,
evaluation and suggested modifications. The product should be able to be realized in a
combination of suitable materials and components in the DAT room for particular digital
media.
In order to ensure its reliability, assessment should be in quantitative terms as far as possible.
Therefore, it is necessary to establish criteria for the award of marks for each of the following
assessment categories, which are derived from the assessment objectives stated in the DAT
Guide. It is considered unrealistic to provide teachers with precise and detailed criteria for
differentiating student performance within each mark range. The assessment criteria
provided below, however, are intended to indicate the essential characteristics which should
be identifiable at the various levels of performance to be expected from senior secondary
students. The accompanying mark scales indicate the appropriate award of marks for the
various levels of performance.
Zero marks should be awarded where a student has failed to consider any one of the
assessment categories, unless it can be shown that such an omission is not an oversight but a
conscious act of design strategy. Zero marks may also be awarded to a student who has
produced work of such quality that it fails to meet the criteria for an award of a mark of one in
the category concerned.
Assessment categories
The DAT curriculum will assess students’ ability through design projects under the following
assessment categories:
(a)
(b)
(c)
(d)
(e)
(f)
Identification of a need or opportunity leading to a design brief
Research into design brief resulting in a specification
Generation of design solutions
Product development
Product planning and realisation
Evaluation and testing
These assessment categories and their presentation order are to reflect the situation in the
design industry. It is expected that the work of most students can be readily assessed on the
basis of these categories and in that presentation order. However, the assessment categories
are not prescriptive and they are not necessarily hierarchical. It is recognized that some
students might follow a design procedure which is quite acceptable but does not conform to
the categories given or to the mark allocations given for the various categories.
96
Module 2
Assessment criteria
The assessment criteria contain key words. Schools may wish to adopt these words for use as
sub-headings to design and make activities, so that when assessment takes place, it is clearly
evident where the marks have been awarded in relation to the assessment criteria.
Levels of performance
The four levels of performance in each of the six assessment categories are given as a guide to
the level of capability required of a student for the award of the marks indicated. Only whole
numbers should be recorded; partial levels, fractions and decimals are not acceptable.
The level attributed to the descriptors must not be considered as marks or percentage, nor
should it be assumed that there are arithmetical relationships between descriptors. For
example, a level-4 performance is not necessarily twice as good as a level-2 performance.
Amplification of the Rubrics
(I) Identification of a need or opportunity leading to a design brief
Students will need to:
(a) Provide a detailed description of the situation using various means of communication,
e.g. text, drawings, graphs, photographs
(b) Identify the range of users and the market for which the product is intended
(c) Write a design brief for a marketable product
A maximum of 5 marks are available from the performance description:
Level of Performance
Mark Scale
A statement of what is to be made.
Some consideration of the situation or the intended user(s) leading to a
design brief.
Consideration of both the situation and the intended user(s) leading to a
clear design brief of a marketable product.
Detailed description of both the situation and user(s) leading to a clear and
precise design brief of a marketable product.
0-2
Total =
97
3
4
5
5
Module 2
(II) Research into design brief resulting in a specification
(a) Examine the intended purpose of the product
(b) Identify and collect data relevant to the product and its users, e.g. dimensions
(c) Undertake appropriate surveys, identifying and how evaluating existing products fulfil
the needs of their intended users
(d) Write a design specification that includes the capability to manufacture the product in
quantity
Mark Scale
Limited research of intended use. Some recognition of existing products.
A specification identifying some basic requirements.
Intended use of product examined with some data identified or collected.
Existing products identified with some evaluation. A specification
identifying some key features including a suggestion of how more than
one could be made.
Intended use of product examined with data identified and collected.
Existing products identified and evaluated considering some of the needs of
the intended user(s). A detailed specification containing some reference to
a system required to manufacture in quantity.
Intended use of product fully examined, relevant data identified and
collected. Existing products identified and fully evaluated against the needs
of the intended user(s). Analysis of the research leading to a detailed design
specification that would provide a system to ensure control over the
production of the product in quantity.
Total =
0-6
8-12
13-16
17-20
20
(III) Generation of design solutions
(a)
(b)
(c)
(d)
(e)
Generate a range of design solutions
Evaluate their design solutions against the specifications
Consider whether their ideas meet the need and its fitness for purpose
Identify chosen design proposal for product development
Present design solutions using a combination of text, graphics, computer generated
images and 2-D and/or 3-D models
98
Module 2
Mark Scale
One or more solutions proposed. Little or no evaluation. The work
presented displays a low standard of communication techniques.
Several solutions proposed. A cursory evaluation. Unsupported choice of
design proposal. Communication will be of a reasonable standard using a
limited number of techniques.
A range of appropriate solutions proposed. Design proposal chosen,
supported by clear evaluation. Communication will be of a good standard,
well presented using a range of appropriate techniques.
A wide range of appropriate solutions proposed. Design proposal chosen as
a result of detailed evaluation and consideration of the need and fitness for
purpose. Communication will be of a high quality, well presented and
using a wide range of appropriate techniques.
Total =
0-6
7-12
13-18
19-25
25
(IV) Product development
(a)
(b)
(c)
(d)
Be judgmental on the creative approaches in different stages of design development
Be able to develop a reasonable range of design solution
Evaluate design proposals and make judgment on the functional and aesthetic qualities
Make critical analysis on the developing the design
Choose a variety of design solutions design development. Limited details
given for final solution. The work presented displays a low standard of
communication techniques.
As a result of investigations, some decisions made about production
methods and standard components. Has used modelling to check that the
product meets the design brief. Some important details given about the
final solutions and how more than one of the products could be made.
Communication will be of a reasonable standard using a limited number of
techniques.
Some tests resulting in decisions about materials, production methods and
standard components. Used modelling and testing to ensure that the
product meets the design brief. Most details given about final solution and
its relevant system of production. Communication will be of a good
standard, well presented, using a range of appropriate skill and techniques.
Choose a variety of design solutions for production development. Develop
99
Mark Scale
0-6
7-12
13-18
19-25
Module 2
the design to the next stage with reference to the need of the users and
evaluate the design proposals in terms of function and aesthetics. Make
critical judgments and be self-reflective on the appropriateness of the
design solution. Communication will be of a high quality, well presented
and using a wide range of appropriate techniques.
Total =
25
(V) Realization and communication
(a) Communicate key features of the design through sketches the design proposals
(b) Use relevant sketching/ rendering ability to communicate a design concept
(c) Produce a design model or prototype for client presentation with consideration of the
appropriate material
(d) Make verbal presentation to communicate with client
(e) Use concept board, storyboard and/ or digital media to aid the verbal presentation
Mark Scale
Sketches drawn on paper with key features of the design shown. The
sketches are clear enough and self explanatory in delivering the concept in
outlines.
Sketches drawn on paper with key features of the design shown. The
sketches are clear enough and self explanatory in delivering the concept in a
variety of qualities including outline and shading. A range of sketching/
rendering techniques used: markers, colour pencils, pastel, water colour
and/ or using 3D software.
Sketching abilities in the aforementioned levels, and carry out model
making using the appropriate material.
Sketching abilities and model making in the aforementioned levels, and
presentation skills verbally and visually with the appropriate visual aid in
exemplifying the design. Eloquent communications both verbally and
visually.
Total =
100
0-6
7-12
13-18
19-25
25
Module 2
Exemplar
Design a personal web site. Start with a site map and then use either HTML or application
like Adobe Dreamweaver or GoLive. Keep your first site simple, with a biography, contact
information and a small portfolio of your creative work. As the project progresses, expand
your site to include additional elements like sound, music, video and animation.
(I) Identification of a need leading to design brief
(a) An analysis of the types of personal web sites available. (Students could use text,
drawings, photographs, etc.)
(b) A consideration of the style and mood in your personal web site
(c) A clear statement of the problem and what the student intends to design and make.
(II) Research into design brief resulting in a specification
(a) An identification of the possible features of the product necessary to support the
design effectively.
(b) Survey and analysis of available types and designs of web sites.
(c) A specification that lists what pages and sites will become contents in the personal
web site. List out the flowchart and a site map before production.
(III) Generation of design solutions
(a) A collection of annotated sketches showing a range of appropriate solutions.
(b) The proposed ideas are evaluated against the specification and good/ bad points are
identified.
(c) The best ideas are chosen considering the need and their fitness for purpose.
(d) The final design proposal is presented using a combination of text, graphics and
computer generated images.
(IV) Product development
(a) Using your flowchart to develop the sites.
(b) The possibilities and implications for quality produced are considered and recorded.
(c) The investigation and testing should be considered. If necessary, modifications should
be made to the final outcome.
(d) Final details of materials, production methods and standard components required are
recorded using a combination of text, graphics and computer images.
(V) Realization and communication
(a) Present the key features of the design through sketches the design proposals; and
(b) Use clear verbal and visual aids for presentation. The design of the personal site
should be shown clearly on the concept board or digital media for explanation to the
class.
101
8.3 ASSESSMENT
ANALYSIS
RUBRICS
Module 2
FOR
CASE
STUDY/
PRODUCT
Criterion I: Background Information
Mark Scale
Some information on the background of the case is collected but does not
figure out why people originate such design idea.
Some information on the background of the case is collected and briefly
describes the content in such project.
Organized research on the background of the case, such as the origination of
ideas, is accomplished.
Thorough research on the background of the case, including the design
history, humanistic and cultural consideration, origination of ideas, etc is
accomplished.
Total =
0-1
2
3-4
5-6
6
Criterion II: Problem Analysis/ Design Considerations
Mark Scale
Some information on the design problem and solution is collected.
Some areas of the design problem, such as the technical consideration of
one of the possible solutions, are analysed.
Some areas of the design problem, such as the technical consideration of
some possible solutions, are analysed.
The design problem, including the technical, cultural, economical and social
considerations for various possible solutions, is thoroughly analysed.
0-1
Total =
2
3-4
5-6
6
Criterion III: Manufacturing Processes and Techniques
Mark Scale
The manufacturing processes and technique involved are briefly described.
The manufacturing processes and techniques involved are clearly described.
The related manufacturing processes and techniques, as well as the
materials and structures used in the solution are illustrated understandably.
The related manufacturing processes and technique, as well as the materials
and structures used in the solution are illustrated and explained thoroughly.
0-1
2
Total =
102
3-4
5-6
6
Module 2
Criterion IV: Impact to Society
Mark Scale
The future development of the product is briefly introduced in the research
materials.
The future development of the product and its possible impact to society are
shown in the research materials.
Some predictions on the future development of the product and its possible
impact to society are made.
Sensible and wide-ranging predictions on the future development of the
product and its possible impact to society are made.
Total =
103
0-1
2
3-4
5-6
6
Module 2
SECTION 9. DESIGN PROJECT TOPICS
Topics of design projects should be close to students’ immediate world and environment. The
following suggested situations and scenarios may help.
1.
Hong Kong is rich of culture and heritage with many festivals, museums and heritage
tours. Students are asked to use at least 3 photos to composite a Hong Kong culture or
heritage Postcard Design. The objective is to learn how to composite pixel images
with applying type, layer effect, colour adjustment and filters on the postcard.
2.
Take a look around the Internet and collect five samples of design and typography you
like. Look through several magazines and pick five examples of typography you like.
Look at some films and video and choose five samples of typography you like.
Compare all samples you have chosen and make a list of how the samples differ.
Your goal is to understand what different to makes choosing for the Internet, print film
and video.
3.
Choose a web site and redesign it. Use the Internet Explorer as the basis for your
designs. Make five to ten differences of the web site you have designed. Look at
them in a group critique and discuss what works and what does not with both the new
and original designs.
4.
Make a flip book. A flip book is a collection of 3 by 5 cards with a series of drawings
on them. When you put the cards together and flip them, the drawing take on motion
and life. Flip books are one of the classic learning tools for animation. Once you are
happy with your flip book, scan the images into software like Adobe Premiere, Flash
and Window Movie Maker to make a movie.
5.
Produce a short video documentary about a typical day in your life. Get a video
camera or even a mobile with camera to bring it everywhere you go for one day.
Shoot scenes that have meaning to you. Do not edit the tape and try to shoot it
between 5 to 10 minutes in length. Look at the final video and critiques it by both
yourself and your classmates.
How well did your storytelling skills come through? Did you use a variety of
techniques, such as long shots, medium shots and close up? What did the in-camera
editing look like? Capture the video into computer and edit it for improvement. This
will train how to think in terms of narrative storytelling and video production.
6.
A music video is a short film or video that accompanies a complete piece of music,
most commonly a song. Modern music videos are primarily made and used as a
marketing device intended to promote the sale of music recordings. Music videos can
accommodate all styles of filmmaking, including animation, live action films,
documentaries, and non-narrative, abstract film.
104
Module 2
You are required to shoot a live action and edit your own music video based on your
school song. In this project, students would experience the techniques of location
sound recording, shooting with correct direction and continuity. Students would try to
handle a complex conversation with a group of people around four to five students per
group.
7.
Make a sound track for a short video of about 30 seconds with Adobe Premiere,
ProTools or other similar tools. The focus this time is the contents, instead of the
sound’s quality. Use pre-recorded music from a CD and digital microphones you can
get to record voices, sound effects and location sounds. Digitize the sound and mix it
in the computer.
8.
Try to deconstruct a logo of your choice through decomposition and re-composition to
produce 4 different compositions which bear the following characteristics:
1st piece – need to retain the original association of the logo.
2nd piece – need to strengthen a positive association of the logo.
3rd piece – need to give an opposite association of the logo.
4th piece – need to give new meaning of the logo.
Understand the logo - Try to gather as much information about the logo you choose as
possible.
Define the problem – What (Company/ product)? Who (TA)? Why (Rationale)?
Where (context)? What (message/ image/ identity)?
Decomposition and re-composition - Do visual research and gather references of
effective compositions. Decompose the logo in terms of basic elements of design.
How would you re-compose it with attention to basic principles of design?
Visual manipulation and communication - Explore your compositions by pushing the
limit of communication while maintaining effective use of design elements and
aesthetics. Develop additional elements to enhance your communication.
This project introduces you to the basic design principles. It enables you to
experiment with basic elements of design and to explore compositional aesthetics in
visual communication.
105
Module 2
SECTION 10. REFERENCES
10.1 Useful Websites
Title
Websites
媒體教育資源網
http://www.hkedcity.net
香港數碼港數碼媒體中心
http://www.cyberport.hk
數位學園
http://www.ulead.com.tw/learning/video4/page1.htm
淺談數碼影像(一) - 何謂數碼
影像
http://big5.cgan.net/science/publish/others/FIGURE1.HT
M
網上短片 DIY
http://www.hkedcity.net/article/mediaed_learning/03061
2-003/note.phtml?type=
http://res.hkedcity.net/general/0003/46/88/1307625114.ht
m#IIa
香港需要怎樣的媒體(藝術)教
育
透視媒體威力
推動傳媒教育
人機介面與互動入門
http://www.hkedcity.net/article/mediaed_learning/03012
3-009/index.phtml?type=mediaed
http://swik.socialnet.org.hk/swikportal/DesktopDefault.as
px?tabIndex=3&tabid=50&ItemID=545
http://proton.phys.tku.edu.tw/UNIX/Dm/rdh02.html
人機互動 /工業設計的另一個
發展點
http://xocial.free.fr/research/hci.htm
人機互動
http://www.nsc.gov.tw/_newfiles/popular_science.asp?ad
d_year=2003&popsc_aid=267
http://www.cauaqua.net/index.php?option=com_content
&task=view&id=17&Itemid=38
http://www.creativelife.org.tw/creative/creat_artist.php?a
rticle_id=46
攝影造景- 實戰篇
文化符碼在創意生活產業上
的應用
黃金比例
黃金數 0.618
商業三維動畫短片製作揭秘
Amazon.com
Animation Production
Department of Multimedia and
Internet Technology (MIT),
IVE(TY)
Digital Media news & Views
http://ihome.cuhk.edu.hk/%7Eb105713/article/goldenrati
o.html?s2
http://www.lktmc.edu.hk/%7Emathematics/history/golde
n.htm
http://www.pconline.com.cn/pcedu/sj/media/maya/0505/
629882.html
http://www.amazon.com/
http://www.pconline.com.cn/pcedu/sj/media/maya/0505/
629882.html
http://mit.vtc.edu.hk/
http://www.digitalmediathoughts.com/
106
Module 2
Title
CAD 3D rendering
CAD 3D rendering
CG visual
Composition & the elements of
visual design
Cross line
Digital Storytelling, Basic
Thoughts about Visual
Composition
e-paper
Framing
Framing
Hong Kong Education City
Human Computer Interaction
Recourses
Inside digital media
iPhone technologies
Lode's Computer Graphics
The answer .com
The Digital Media Association
The Golden Ration
The Hong Kong Observatory
Microsoft Surface
Media Influence
Photo Contest
Planning a multimedia project
Professional Communication
Ray's Introduction to Literature
Recording History
Semiotics
Semiotics and Signified
Websites
http://www.mtsd.k12.wi.us/MTSD/tips/dig-vid/media10-ideas.htm
http://www.rhino3d.com/
http://www.tutorialized.com/tutorials/3DS-MAX/1
http://www.cgvisual.com/
http://www.scienceandart.org/
http://www.photozone.de/4Technique/compose/cross.htm
http://www.hippasus.com/resources/viscomp/index.html
http://www.fujitsu.com/global/about/rd/200509epaper.ht
ml
http://www.mediacollege.com/video/camera/tutorial/01framing.html
http://www.photozone.de/4Technique/compose/frame.ht
m
http://www.hkedcity.net/
http://www.hcibib.org/
http://www.insidedigitalmedia.com/index.php
http://www.apple.com/iphone/
http://student.kuleuven.be/~m0216922/CG/index.html
http://www.answers.com/
http://www.digmedia.org/
http://www.geom.uiuc.edu/~demo5337/s97b/art.htm
http://www.hko.gov.hk/contentc.htm
http://www.microsoft.com/surface/index.html
http://www.aber.ac.uk/media/Documents/S4B/sem06.htm
l
http://www.alpineclubofcanada.ca/rockymountain/photo_
contest.htm
http://alex.eled.duth.gr/ipml/multi/project/project.html
http://www.leedstrinity.ac.uk/depart/MEDIA/staff/ls/Mo
dules/MED1140/adv.html
http://www.eng.fju.edu.tw/English_Literature/terms/deno
tation.htm
http://www.recording-history.org/HTML/tech.php
http://www.cultsock.ndirect.co.uk/MUHome/cshtml/inde
x.html
http://web.aiweb.cn/info/1/246.html
107
Module 2
Title
Signifier and Signified
Story from Start to Finish
Taking digital pictures
Video Shooting
Visualization Game System
VTC 25th Anniversary
Wii system
Wikipedia
Websites
http://changingminds.org/explanations/critical_theory/co
ncepts/signifier_signified.htm
http://multimedia.journalism.berkeley.edu/tutorials/report
ing/starttofinish/
http://www.imphotorepair.com/digitalcameratips.html
http://www.medialab.tv/services/production/vidshoot.htm
http://mit.vtc.edu.hk/game_centre.htm
http://www.vtc.edu.hk/25th/
http://www.wii.com
http://en.wikipedia.org/
10.2 Reference Books
Adobe Creative Team (2007). Adobe Illustrator CS3 Classroom in a Book. Adobe Press.
Adobe Creative Team (2007). Adobe Photoshop CS3 Classroom in a Book. Adobe Press.
Bethke E. (2003). Game Development and Production. Wordware Publishing.
Davis G. (2000). The Sound Reinforcement Handbook. Hal Leonard: Yamaha Product Series.
Dix A., Finlay J., Abowd G., and Beale R. (1997). Human-Computer Interaction. Europe:
Prentice-Hall.
Eric D. Grebler (2007). Flash animation for teens. Boston, Mass.: Thomson/Course
Technology PTR.
Fernando Ferri (2007). Visual Languages for Interactive Computing: Definitions and
Formalizations. IGI Global August 10, 2007.
Georges G. (2003). Digital Photography: Top 100 Simplified Tips & Tricks. John Wiley &
Sons.
Harry N. Abrams (2002). Blue Sky: The Art of Computer Animation. Peter Weishar.
J.P Telotte (1995). The Seductive Text of Metropolis. University of Illinois Press.
Jim Krause (2001). Idea Index. How Design Books.
Jim Krause (2001). Layout index. How Design Books.
John Wiley (2007). Adobe Flash CS3 professional bible. Adobe Press.
Kerlow I. (2002). The Art of 3D Computer Animation and Effects. John Wiley & Sons.
Krishnamurthy N. (2002). Introduction to Computer Graphics. McGraw-Hill.
Marc Davis (2000). Readings in Human-Computer Interaction: Toward the Year 2000. Media Streams: An Iconic Visual Language for Video Representation. Interactive
Technologies.
108
Module 2
Mike Mattesi (2006). Force: Dynamic Life Drawing for Animators. Focal Press.
Miller W. (1998). Screenwriting for Film and Television. Allyn and Bacon.
Millerson G. (2001). Video Production Handbook. Focal Press.
Rayport, Jeffrey F., Bernard J. Jaworski (2002) Cases in e-commerce. Boston: McGrawHill.
Roger Fidler (1997). Mediamorphosis: Understanding New Media (Journalism and
Communication for a New Century Ser). Pine Forge Press.
Slater M. (2002). Computer Graphics and Virtual Environment: from Realism to Real-Time.
Addison-Wesley.
Steve Curran (2000). Motion Graphics, Graphics Design for Broadcast and Film. Rockport
Publishers.
Sybex (2007). Learning Autodesk Maya 2008: The Modelling & Animation Handbook.
Autodesk Maya Press.
Timothy Samara (2007). Design Elements – A Graphics Style Manual. Pageone.
Vaughan, Tay (2001). Multimedia: Making It Work. Osborne: McGraw-Hill.
Watt A., and Watt M. (1993). Advanced Animation and Rendering Techniques Theory and
Practice, Addison-Wesley.
Wen-Ching Su (蘇文清
蘇文清),
嚴貞);
李傳房)
蘇文清 Jen Yen (嚴貞
嚴貞 Chang-Franw Lee (李傳房
李傳房 (2007). Application
of Semiotics and Cognitive Psychology to Visual Design.人文暨社會科學期刊.
109
Module 2
10.3 Learning Objectives of Creative Digital Media
Module 2 Creative Digital Media (Extracted from the Design and Applied Technology
Curriculum and Assessment Guide (4-6))
This module enables students to explore ways to convey messages and information in a
media-rich society. It focuses on the development of communications for the digital age, and
the basic techniques of digital media design and production.
Topics
Students should
learn
Media literacy
• Communicati
on via digital
media
• Digital media
products and
related
business
• Social,
economic and
technological
factors
Outcomes
Students should be able to
Explanatory notes
1. Understand various modes • Give some examples on the modes of
and stages of
communication such as humancommunication in different
computer interaction (HCI) and
contexts
communication among people
2. Identify the features of
• Collect examples (e.g. magazines or
communication via digital
TV commercials) to analyse the
media
components and stages of the
3. Compare different digital
communication processes employed,
media products in the local
e.g.:
and global markets
- source vs destination
4. Evaluate the pros and cons
- sender vs receiver
of a media-rich society in
- message-carrier/channel/medium
terms of social (including
- encoding vs decoding
cultural and historical),
• Research and analysis on the properties
economic and technological of communication in different media,
factors
e.g. the sequential presentation of
messages and information in printed
books (i.e. traditional media), and the
non-sequential/ hyper-linked
presentation of messages and
information in interactive compact disc
read-only-memory (CD-ROM)/
electronic books (i.e. digital media)
• Conduct a case study of the social
issues/ impact of digital media
• Study the chronology of major
technological advances in digital media
110
Module 2
5. Describe the relationship
Digital media
among text, sounds, static
design
and dynamic
• Conceptual
images/graphics and
development
animation/video in
• General rules of
communication via digital
visual
media
composition
• Basic principles 6. Create ideas for conveying
messages and information
of
efficiently and
communication
effectively/meaningfully
design in
7.
Apply
the general rules of
creating digital
visual composition in
media
8. Evaluate the usability,
readability and interactivity
of different digital media
products by referring to the
basic principles of
communication design
• Search for and analyse examples, such as
3G mobile phones and websites, to value
the interactions among graphics, text, and
sounds of the user interface
• Conduct a study of an interesting
advertisement to interpret/deduce the
signification of the movies or
still/dynamic images involved with the
basic concepts of semiotics, e.g.:
- iconic, indexical and symbolic signs
- ‘signifier’ and ‘signified’ of a sign
- denotation and connotation
• Organise activities with the application of
general rules of visual composition (e.g.
golden ratio, framing, cross lines, laws of
grouping and shape-recognition) in
• Explore the usability, readability and
interactivity embodied in common digital
media products such as
computers/mobiles/online games
9. Identify the need for digital • Conduct the following pre-production
Digital media
media production
production
activities:
• Project planning 10. Outline and distinguish
- production timeline
different
building
blocks
in
and idea
- scriptwriting
digital media production
presentation
- storyboarding
11. Manage the activities of
methods
- scene and props set-up
digital media production
• Manipulation of
• Organise learning activities such as
visual and audio 12. Carry out a simple digital
sound recording, photo taking and video
media production with the
equipment
shooting
use
of
appropriate
visual
• Application
• Practise audio and image processing
and audio equipment and
software
techniques such as:
application software
- image capture and editing
- special effects and audio mixing
- video capture and editing
• Produce 2D and 3D animation, and
virtual reality presentation
• Design and produce a digital media
presentation to introduce school life in an
open day
• Conduct a case study of the National
Aeronautics and Space Administration’s
(NASA) ‘Pioneer Project’, focusing on
the conceptual development of using
different media to present the Earth to
other creatures in space
111
Module 2
10.4 Teaching Aids
The teaching aids required to complete this module are basically available in classroom or
school-based workshops, such as CAD workshop and video lab. However, it is strongly
recommended that teachers should arrange the use of workshops from other available sources
if it is not available at their school. Slimming down the curriculum to fit for the facilities
should be avoided.
Classroom teaching aids
(a)
(b)
(c)
(d)
(e)
Projection screen
Projector
DVD/ CD player with speakers
Large drawing pad on stand display
Drawing paper
CAD Workshop
(a)
(b)
(c)
(d)
(e)
Projection screen
Projector
Computers
Printer and scanner
Laser pointer
Video lab teaching aids
(a)
(b)
(c)
(d)
(e)
(f)
Projection screen
Projector
DVD / CD player with speakers
Work bench
All safety equipments
Necessary material with storage
Standard workshop consumable materials and safety devices required are not mentioned in
the above lists as they are assumed to be available.
112
Module 2
11. ACKNOWLEDGEMENTS
The authors wish to thank the following organisations/companies for permission to use their
photographs in this resource package:
Copyright Computer Laboratory, University of Cambridge (P. 36)
Kebes at en.wikipedia (P. 39)
Gabriel de Andrade Fernandes (P.39)
OiMax (P. 75)
KeepOnTruckin (P.75)
Photographs used on pages 36, 39, 46, 74 and 75 under the GNU Free Documentation
License.
Every effort has been made to trace the copyright for the photographs and images as needed.
We apologize for any accidental infringement and shall be pleased to come to a suitable
arrangement with the rightful owner if such accidental infringement occurs.
113
Module 2
Education Bureau
The Government of the HKSAR
114
Developed by
Institute of Professional Education
And Knowledge (PEAK), Vocational
Training Council

Design and Applied Technology (Secondary 4 – 6)

Transcription

Similar documents

modern designs - Resene Paints

Reverse Logistic - [email protected]

China 2006 July 7 - 18 Beijing, Xi`an, Shanghai and Hong Kong

`Tyci Tavoli series of tables` product card

PENINSULA HOTEL, HONG KONG, 1928

Please contact our Global Event Associate, Thu Thao Nguyen: E

East by Southeast: Encounters with Thailand in Contemporary East

Toopy and Binoo`s Cubic Puzzles Set up the game… Ask a grown

May-June 2011 - Arts of Asia