seeing ti{e big picture

SEEING TI{E BIG PICTURE
Audio-Visual Tectrrriqtre for hrterprreters
ByMarkE.Hrrn
Michael Gross and Ronald Zimmemarq Editore
rril-sP FOUNDATTON
PRESS, rNC.
UNT\MRSITY OF WISCONSIN
SMPOIhIf
smPoII{f,wI
5r{81
Approved by the Graduate Committee of:
r. Michael Gtoss, Committee Chairman
fessor of Environmental Interpretation
Dr. Randall Champeau
Professor of Environmental Education
Professor of
-
ki
,/Mr. Ron Zimmerrnan
rector of Schmeeckle Reserve
Pneface
This manual is for natural resource professionals interested in developing audio-visual
programs. It will provide useful information to everybody who wishes to use audio-visual programs
to enhance their interpretive efforts.
As the challenges of resource management became increasingly demanding, it is imperative
that interpreters have the ability to communicate with the public not only the intrigue of the natural
world, but the responsibilities of good land stewardship as well.
The more interpretive skills you have to share your knowledge of and enthusiasm for the
environment with others, the gteater our quality of livingwill become. Professionally prepared
audio-visual programs can inspire the general public to take a deeper interest in the environment.
The manual is organized to allow readers to select part or all of a chapter to meet their
audio-visual progrqrn needs. The first chapter reminds us that most people learn best when many
serrses are involved, especially seeing and hearing. Chapter 2 provides a framework for planning
audio-visual programs. This serves as a basis for all the other chaptens. Chapters 3 - 6 detail how to
produce an illustrated talk, an automated slide-sound program, a video, and how to use computers to
enhance your interpretive efforts.
The methods presented are geared primarily toward those with limited budgets who
"in-house" audio-visual proglams.
will produce
Aclarowledgements
firis manual is the result of many dedicated and persistent friends and colleagues who
believed in me and would not let the project go unfinished.
My parents; who first encouraged my education, have given me both roots and wings. My
graduate committee; Dr. Michael Gross, Mr. Ron Zimmeman, Dr. Randy Champeau, and Dr.
Larry Riggs, have patiently encouraged me to keep plugging on the manuscript. My follow
graduate students; whom I shared many good times with and who inspired me with their multitude
of talent. And to Marjorie; who has firmly encouraged me to believe in who I aur and pnrsue my
dreams to the fullest.
To these people, and many others,
I em forever
u
aa
indebted.
COI{TENTS
Preface
.......:........
.................i
Acknowledgements .............
Chapter One:
Interpreting Through Sound and Pictures
- Your Visitor Thinks Visually
......1
ChapterT\nro:
......3
Planning: A Creative Process
ChapterThree:
Illustrate Your Words
- Speaking With Slides
An Illustrated Talk Mount Saint Helens
I
Chapter Four:
Multimedia Showtime
-Automate It!
...................50
Rusty, The Red-Tailed Hawk
ChapterFive:
....70
Sound and Motion Together
Making the Video Tbansition
-
Teton Science School
Chapter Six: ........
.........,....92
The Control is in Your Hands
- Desktop Presentations
The Modern Alpinist
Appendices
.........
..............96
A. Ecological Concerns
B. Coppight Laws
C. Audio Visual Equipment Suppliers
...........
Bibliography
References
...........111
..114
iii
1
II{TERPRETING TTIROUGH
SOI]NDAI\DPICMS
YourVisitorThinks@
I
suspect that the child plucks its
first flower with
an insight into its beauty and significance which
the subsequent botanist never retains.
-
Henry David Thoreau
APicture is Worth aThousandWords
Effective interpretation involves peoples senses. For best communication, information should
time. Audio visual presentations are a powerfirl interpretive tool.
be seen and heard at the same
Good audio visual media involves and engages the audience, clarifies material and is
professional. It may also increase public program attendance.
The University of Minnesota and the 3M Oorporation evaluated the persuasive role of visual
support for speakers in a 1986 study. Presenters using visual aids were perceived by their audience
to be more concise, better prepared, more professional, more interesting, and to make better use of
supporting data. In fact, presentations supported with visual aids were found tobe 43Vo more
persausive than unaided presentations.
Imagine...
Dazzlingyour audience with a 12 projector nulti-image production of Ozark Mountain history;
inspiring visitors with a spectacular motion picture featuring the geologic story of Alaska's Portage
Glacier; retrieving and organizing any of the 54,000 slides stored on a laserdisk at Fountain Valley
School (CO); advertising the unique features of the Teton Science School with a videotape; orienting
visitors to the plight of grizzly bears in Yellowstone National Park with a slide-tape show; or,
presenting an illustrated slide talk to a local sportsmen's club. Each syample represents an
interpretive use ofaudio visual techniques.
tr'nharrce Visitor Perception
As an interpreter, your primary purpose is to enhance your visitors experience. Share colorful
stories of real places and true life characters. Every visitor should depart your program with
memories, infor:rration, and insight. The uniqueness of a site shonld come alive in your audiovisual progrqms.
Everybody receives information differently. Roughly 60Vo of yotx audience recalls visual
images most vividlyi SOVo are auditory learners, remembering the spoken word best; and 107o are
kinesthetic, preferring to physically touch something (Hooper, 1976). When plnnning audio visual
progranut, place the greatest emphasis on visuals and a lesser emphasis on the verbal. If possible,
incorporate objects and props. Viewer activated programs reiU be most attrastive to the ten percent
who like to push red buttons.
What Sound and Pictures Can Do forYou
Visuals aids communicate drnmatically. Research shows communication is largely
dependent on sight followed by sound, smell, touch, and taste.
Young children learn visually. They are stimulated by the motion of an overhangrng mobile.
When sitting on a parents'lap, they learn to "read" by first recognizing pictures, then words. Ask a
five year old to spell "happinessr" then ask her to draw it. The differences are significanL
Adults too, are visual learners. Hooper (1976) and Fazio (1986) believe we remember l0Vo of
whatwe read,20Vo ofwhatwe }nearnS0%o ofwhatwe see, and,60%o ofwhatwe see andhear
simultaneously.
Werememben
ra70a)
ZWo
/
Hearing\
Seeing \
30%/
50%
It's Up to Yorr
Natural resource professionals should have strong public speaking abilities, solid writing
skills, and proficienry in operating audio visual equipment. Each of these are integral components
of effective audio visual interpretation. Use audio visual programming in a variety of ways to
communicate more effectively with your audience. The three most popular uses of audio visual
programs for natural resource professionals are:
L.
Orientationto a specific site. The dramatic movie Voices in the Ice provides a vivid
history of Portage Glacier at the Chugach National Forest Begich-Boggs Visitor Center.
2. On site zse with interpretive programs. Daytime visitors to Death Valley National
Monument have a difficult time believing anything can survive in the scorching desert
heat. With an illustrated talk, you can visually describe the desert as a thriving
community at night.
3. Off sitezse for schools, fundraising, clubs, education, and public relations.
Audio vizual technology is rapidly evolving and revolutionizing the way we receive
information. The recent explosion of electronic media has produced a generation that expects and
demands polished audio visual programs. Quite simply, interpreters must meet audience
expectations with quality programrning.
ACoolftoolr,
Ttretr
Sort
of
This handbook offers some suggestions and recipes to help you produce audio visual programs.
Think of yourself as a chef. Blend these audio visual techniques with some creativity into new and
exciting offerings.
Much of this book focuses on helping those with a modest budget It will offer techniques for
producing "in-house" audio visual programs.
2
PI,AI\NING: A CREATT\M PROCESS
If you fail to plan, plan to fail.
-Terrie
Cooper
Success is a result of preparation. Poor preparation leads to poor performance. Too often, we
an interpretive program withsut doing our homework" Sweat beads up on our brow as it
into
launch
that we have gaps in our factual knowledge. The audience becomes restless knowing
obvious
becomes
things
to do. For you, the presenter, it is a sony moment in the public linelight. For the
have
better
they
it
is
disappointing
at best, expensive and time consuming at worst. Effective interpretation
audience,
requires planning, audience analysis, and research.
With audio visual progrrms, especially automated ones, each mistake can nagniff. Planning
minimizes costly, and potentially embarassing, miscues. Its not glamorous, but planning is the primary
ingredient for achieving quality results.
Before You Say'Yes"
Developing an audio visual program is a large undertaking. Next time you get a program request,
run through this checklist before.accepting the responsibility.
. What is the purpose?
o Who is the audience?
o
When is the program!
. What is the topic?
.
Is the theme clearly defined?
. What should I include?
o How cnn I organize the progrFm?
o
What type of media should I use?
. \trill this presentation be repeatedly
shown for varied groups or is
it
a special request?
What is the Purpose?
The decision has been made; you will produce an audio visual progrem. But how? To begin, ask
yourself "What do I want to accomplish?" Clearly define your purpose and write it down in one or two
sentences. Keep it in front of you as you plan. Anything that does not meet your purpose should be left
out.
Objectives should be specific and achievable. Do you want to provide information, reinforce or
change an attitude, elicit an emotional response, or train people in a new skill? Express your objectives
ssssydingly.
Who is the Audience?
Understand your audience before planning audio visual programs. Are they a group of natural
resource professionals? Children? Famrly groups? Offroad vehicle enthusiasts? Each group has special
needs, interests, and experience you should consider. Find the common bond holding your audience
together. I&nowing their educational background, sex, age and socio-economic characteristics will help
you to plan a program around their specific needs. How much do they already know about the topic?
What expectations, beliefs, or bias does the audience have? Are you trying to change attitudes or provide
information? Let them know that you have something important to ofer and care about the message you
are sending.
3
When is the Pnogram?
Do you have the necessary resources, time, and energy to do a first rate job? As a rule of thumb,
triple the estimated time (and double your estimated cost) required to develop a program.
What is the Topic?
Select a topic that is of interest to you and your audience, is relevant to t,l.e site, and can be
readily researched
Is the Theme ClearlyDefined?
Every suecessful interpretive program has a single theme. The theme provides the framework
for your presentation. Take time to narrow your theme. You should be able to state your theme in
one sentence. Be specific. For example, "The icy waters in the Gulf of Maine contribute directly to
the weather patterns of the state." Using this one sentence as the basis for your progr4m will keep
you focused as you research your program.
What Should I brclude?
Choosing na:rowing, and researching a topic can be an exciting process. \ilhy are you
developing this audio visual program? Who is the intended audience and what are their interests?
What are you interested in? What resources do we have available to complete the projec'lf Answer
these questions before wasting your efforts going down the wrong path.
Choose a topic you are familiar with that the audience will find interesting. Pick out an
unusual aspect of a well known story. Instead of talking about the climbing exploits of John Muir,
interpret his mechanical genius and inventions. Do not worry about being an expert. You will
gain knowledge as you research your progrtm.
When researching the topic, keep your audience in mind. What is of interest to them? If your
purpose is to provide fastual information, pour over the scientific literahrre and exbrapolate little
known tidbits of natural history. If you wish to orient visitors to a historic site, create an
atrrosphere which will allow them to relive days gone by. Try to develop something which has not
already been sreated.
Remember, keep
it simple!
How CanYou Organize the Prograrrr?
Brainstonning
First, generate lots of ideas by brainstorming with your staff. Approach the situation with
fresh eyes. Get opinions from people outside your organization, "If you were a visitor to this park
what would you like to see?" Write down everything.
Combine several "good" ideas into one "great" idea. Is it feasible? Does it rreet our purpose
and the needs of the audience? Come to a consensus on how you will work towards the finished
product.
Clust€riDg
Clustering helps to organize ideas visually. Distinct patterns will emerge as you bunch
similar ideas into groups. This method allows for infinite possibilities
We often take a "great idea" and mn wild with it before determining what we are trying to
accomplish. "Raptors of the Midwest" can be narrowed to "Owls of Central Wisconsin;" or bitter
yet, "Feeding Niches of Northern Harriers and Short Eared Owls". Before proceedingheadlong
into production, carefully focus your topic. Limit your topic to something that is site specific ind
relevant.
For additional ideas on pla"ning interpretive experiences, refer to Chapter 2 of The
Interpreten s Guidebook-
OqganizingYour Facts
one,
These three patterns are suggestions for organizing an audio visual
if any, fi.t the type of program you are developing.
L.
progra-.
Decide which
Partitioning - Partitioning patterns are the clearest form of organization.
. Introduction - Tell what you will tell them.
"
TV'e
will
discuss the impacts of the massive oil spill in Prince
. Body - Tell
William Sound."
them.
"fire thick, goopy oil has killed thousands of sea otters, birds, and 6sh."
"Fishinel, once the mainstay of the coastal economy, has been devastated."
. Conclusion - Tell them
what you told them.
"The Exxon Valdez spilled 10 million gallons of oil into a once pristine environment.
There will never be another Prince William Sound."
2. Unfolding 'lJnfolding patterns are helpful when dealing with a controversial issue"
They can be used to change attitudes or convince people ofa certain point ofview.
. Leave out the main idea - Create a rrystery.
"Conservation begins with the first cast."
. Provideexanples.
"Tlout require well oxygenated water."
"Only one percent of the original trout habitat remains in California."
. Build up to conchrsion.
.
"The Smith River, the last entirely free flowing river in the state of California, has a
tremendous steelhead run. Join California Tlout in protecting this valuable resource."
3. One Issue - One issue patterns work best with an audience that supports your thesis.
. Clroose one theme - Foctrs your topic.
"The potential impacts of the proposed dam on the Kennebec River are tremendous."
o
Provideexamples.
"The Atlantic salmon run, already threatened, DaY become further endangered."
"Hydroelectric power generated by the dam can be met better through conservation."
. Conclude with a call for action
'You decide. Is the trade offof short terrr economic gain worth the loss of this stretch of
the Kennebec?"
brtuitive or Logical? - Planning Styles
Essentially, there are two planning styles. One is a creative, visualizing method.
The other is
rational, organized method. Neither is right or lrrong. Choose the style w}ich *o"ks best foi you
and your situation.
a
L.Think Visually, Not Logically
' Thoroughly research tJre subject Find out everythingyou can.
' Daydreamfuisualize tJre progran t"brougb its entirety. Like an athlete before a sporting
event, mentally choreograph what you want to happen. Identifr 6ain idsss, select
visualsto illustrate each point, write the matching narrafion to complement visuals.
' Develop a storyIine. Ttrink of the finished product and the impact on your audience.
Include the following 4 stages in your progrem;
POW ' Grab your audiences'attention immediately with a provocative introduction.
Wake em up!
Bridge - Set the stage for why your prograrn is important to the visitor by linking your
topic to the audiences'interests.
Body ' Illushate the main message of your programs with examples. provide "for
instances."
Conclusion - Summarize your main points or have a call for action. Wrap up yogr
program with a final thought.
. Gathervisllsts.
. Edit and arrange visuals.
o
Develop a storyboard. Each visual is accompanied not by a fult script, but with acbion
words or phases that describe the essence ofthe idea.
' Develop outline and script. Audio visual programs are meant to be seen and heard, not
read. Write for the ear and emphasize the visual portion of the program. Do not write the
entire script, instead choose key words or phrases to highlight yoot to.io points.
. Revise and refine.
'
Evaluate the program. Edit poor visuals. Consider pacing, scripting, presentation style.
2. Let's Be Logical
. Thoroughly research the subjec't-
. &rtline the program including all 4 key elements.
POW
Bridge
Body
Conclusion
'
Create a storyboard using 3 X 5" cards. Each card should have one idea and
visual. Arrange the storyboard cards
to match your oufline.
. Write script with accompanylng visuals.
r Create the necessar5r visuals.
. Revise and refine.
r Evaluate.
a desired
I)raftPnoposal
The draft proposal is a one to two page written document which outlines the intended
production. Include a well developed concept, statement of objectives, outline of the script, preferred
visual style, selection of media, timetable, and estimated budget. Submit it to your steering
committee before proceeding into the production phases. Revise as directed.
Developing a detailed proposal is especially cmcial if you are applying for a grant from a
foundation to complete the audio visual program. The steering committee can make needed
revisions before your proposal is submitted in final form.
Formal Pnoposat
To pin down production specifics, a formal proposal can be submitted. Provide a detailed
budget including equipment purchase or rental, travel costs, salaries, and outside professional
assistance. Establish a wants and needs chart. Know the difference between the two. For example,
you may want a slick multi-media six projector show, but only have the time and resources to
produce a two projector dissolve progrzrm. Be realistic. Speciff thorough planning and
photography schedules. Determine who will do what and when it will be done. Only after the
formal proposal is approved should audio visual production begrn.
What TSrpe of Media ShouldYou Use?
Whether on the trail or in a visitor center, using visual aids will improve your interpretive
success. Several visual aids are introduced below.
Cbalkboard orl}qy Grease Board
I recall a superb geologt wallt where the interpreter masterfully explained the events leading
up to the formation of Lower Slide Lake in Wyoming. He illustrated the geologic sequence which
culminated in a massive landslide blocking the Gros Ventre River to form a lake.
Why not use a parking lot or sidewalk as a large chalkboard?
Postere and Bulletin Boards
Have you ever wanted to interpret a coral reef? Or, demonstrate prairie seed dispersal
strategies? Posters can assist you in presenting information about things that are hard for visitors
to see. They are helpful for interpreting potentially dangerous situations without disturbing
wildlife or endangering the public.
Ilandorrts
To insure the entire audience has uniform information, provide handouts for future reference.
For example, after a seminar oo msuaf,aineeringfirst aid, the audience would benefit by having
an accurate description ofthe first aid procedures you described.
Felt Boards and Magnetic
Twilliger Nature Guides, founded by the energetic Mrs. T, have a clever approach to teaching
about wildlife habitat. A natural landscape is painted on the side of a van. Students are asked to
match magnetic animals to their proper habitat. Teaching ecological concepts is easy with such a
large interactive visual aid.
Flip Cbart
Deb, a naturalist friend, presents the ffner points of tracking wildlife by using a flip chart.
Tracks, gaits, and patterns are clearly explained with the help of colorfirl diagrams. Since she
will give this program on several occasions, the initial time investment to draw the charts is well
justified. For quick reference to a specific chart, tabs and labels can be installed on the edge of the
paper.
Over{readhojector
As a chief naturalist at a metro park, you might get needed funds appropriated for your
interpretive needs by using overhead transparencies in budget meetings. AWharton Business
SchooVBM Corporation Report (1981) concluded that presenters using overheads in business
meetings had their recommendations acted upon with greater frequenry than those without visual
aids. Groups came to a consensus and made decisions more quickly when overheads were used.
Use overheads to make your points efficiently, not to ovenn'helm your audience with tons of
information. Put only key words (up to 15) on overheads. Make sure the lettere are at least V4"
tall. A smaller pointer (i.e. pen) can be placed on the projector to refer to something on the screen.
Slides
Want to be persuasive, dynamic, and professional? Due to their flexibility, ease of use, and
ability to capture and hold the audience's attention, slides are the medium of choice for most
interpreters. Beginners and experts alike can achieve a high degree ofaesthetic appeal with
slides. In fact, no other type of media can match the resolution quality of slides.
Slides are portable, cost effective and easily adapted for different interpretive needs. Slide
storage, organization, duplication, and retrieval is relatively simple.
Slide equipment is expensive. Carefully decide what you should buy before molring an
investment. Good quality projectors, screens, and photographic equipment will last years and
become trusted interpretive companions.
Films andVideotapes
Films and videotapes can be great catalyst if used as part of an environmental education
lesson. I use a National Geographic Society documentary ongizzly bear management as a
springboard for a land use simulation activity. The youngsters randomly choose pro and con
positions and testiff whether or not mining should be allowed just outside Yellowstone National
Park. After much heated discussion, they hammer out a suitable compromise.
Video has sex appeal. You get sound and motion together. Videotapes are easily transported
and can be used with large audiences. Commercially produced videos are readily available and
can be rented from private companies or university film bureaus at a low cost.
High quality video cameras and editing equipment are now within the budget of most
interpretive facilities. Videos about your site have a wide range of uses inqluding introductory
programs mailed to school before a visit, exhibits, or even as part of a live presentation.
Prop
Demonstrate how light pumice is by gently tossing a small piece of basalt and a larger piece of
pumice to the same person. People are always astounded to find the pumice is so lightweight. On a
*arm summer day, try this audience involving experiment! Choose a volunteer and a safe pool of
water. Have everybody in the group carefully lift up the volunteer and practice a human "Pumice
Toss!" The lighter they are, the further they go!!
Don't IIse a Picturc of aRiverWhen a RiverWill Ilo
No visual aid, no matter how effective, should substitute for personal experiences with the real
thing. As Thoreau wrote in Walden: "We need the tonic of wildness...We can never have enough
of nature..."
Evaluating Your Audio Visual Pnograms
Long range interpretive success depends on making program adjustments based on audience
response. Constantly strive for improvement. The story which had visitors rolling in the aisles in
June is stale in August. Stagnation is deadly. Improve program shengths, eliminate
weaknesses.
Fomative Eraluation
Formative evaluation is on-going during the presentation development. Review the proposal,
the script, visuds, music, special effects, naration. Seek feedback from people in your
organization. Law enforcement &ulgers have different insights into visitor needs than
interpreters do. Get opinions from the public as well. Decipher the suggestions you receive and
mahe revisions.
Summative Evaluation
Summative evaluation occurs at the end of a program, perhaps at the end of a season. Use a
focus group of staff interpreters to evaluate your programs. Have you delivered the intended
interpretive message? What areas could have be inproved upon? Even though the progrem is
"ove'" it can still get better. Take the suggestions and apply them to future programs you develop.
VisitorFeedback
You can get feedback from visitors in several ways. Obviously, you can observe the audience
throughout your presentation. Are they still involved and attentive? Are they genuinely interested
in what you have to share? You ean ask direct questions to get feedback from visitors. This gives
immediate feedback, but not all visitors are comfortable giving an honest evaluation of your
program. A stamped self-addressed postcard with specific questions ie effective for gathering
progrrm feedback. Visitors can fill in the postcard and are more open when evaluatingyour
presentations.
Laking Evaluation Meaningful
o
Ilecide what to evahrate.
Refer to the objectiveVpurpose of your program. Did we heighten visitor awareness?
What else did visitors gain from our interpretive program(s)?
. Determine the evaluation design and develop inskuments.
The evaluation tool should be reliable and valid. Desigu it to get specific information you
need. Will we ask for formal written evaluation from visitors? Seek verbal feedback?
Randomly select people in the visitor center for their impressions?
'
Collect nnnlJrz€, nnd interpret data.
Record information, note correlations of importance, visitor preferences. What does
mean?
this
. Reporttheresults.
Present the data to influential people in your organization. For extra interpretive funding,
the advisory board may just need to hear how successful your progr4rns have been all year.
Keep supen'isors posted of your efforts, successful or not.
. [npnovethe
program"
Listen to feedback and make changes.
PostE\aluation
Formal evaluation is only one step for improving audio visual progrqms. Much of the
responsibility rests with you. Be critical. Edit dl non-essential visuals. fighten everything up.
10
ILLUSTRATE YOUR WORDS
Speaking\ryith Slides
Do not try to satisfy your vanity by teaching a great many
things. Awaken people's curiosity. It is enough to open minds;
do not overload them. Put there just a spark. If there is some
good inflamable stuff, it will catch fire.
-Anatole
France
The IllustratedTalk
Illustrated slide talks are the foundation of audio visual interpretation. They combine the
spoken word and the photograph. Slide programs reward audiences with human contact and
visuals. They can be adapted for varied audiences, themes, and program needs. Familiarize
yourself with the techniques used in planniag and presenting a successful illuetrated talk. You
will use these strategies time and again.
Professor fmmer Gavin, portrayed by interpreter Denny Olson, held the audience spellbound
with a combination of a "loony" character and an illustrated slide talk. The character
interpretation prepared us for the message, the slides provided visual support to highlight key points.
f[sing the techniques in tandem, Denny unravelled the complex story of why loons are threatened in
a powerfirl and memorable manner.
Illustrated talks can be exciting and memorable, or, they can be an embarassing disaster.
Sow the seeds of zuccess now and reap the benefits later. Invest your time. Use the following
checklist to help you plan your illustrated talk.
11
Checklist for an mushat€d TaIk
Planning
.Obtoin generol infortnation Date, time, location.
.Objectives of talk. What is your purpose?
.Audi.ence characteristics. Size, age, education background, biases,life experiences.
'Subject of talh- Plan for your audience.
'IEnBlh of talk- Speak to the point.
.Select appropriate media. Consider handouts, props, music, real objects.
' Costl, tim,e, resources au ailabl.e.
Pnoduction
.Outlining
. Storyboarding
.Visuals
- PhotograPhs
- Illustrations
- fitle slides
.Sound Effects
- Music
- Background sound
Pnesenting
Practi,ce, Practice, Practice
ol(eep equipment with You
c
!
'r\rriue early
oSet uP equipment'Ltghts, sounds,
.Relax
.POW, Bridge, BodY, Period
oQuestion and answer time
'Stay on schedule
etc-
Equipment
.Projector(s)
Dissolue Unit
'Projection Stand
. Extension Cord
o
.
Slid.e
.Screen'4dvancer
.Slide
Ca,rousel(s)
'ToPe Recorder
oSPare Parts
.Troubl.e Shooting
Kit
.SoundlPArystem
oPointer
.Cholkboard lEasel
o Props
EValuation
.Audicnce Response
.BadlGood
. Add.itionol
.Timing
Sli.dcs
slid.e s needed I eliminated
TlaveVAccommodations
'Auto, air, ond motel reservotions
oContact person, hzYs
Miscellaneous?
12
h.oducing an Ilhrshated TaIk
Outfining
Summarize your program, then write a draft and a detailed outline of your program as if you
were not using slides. Highlight the main points you wish to make. Include a POW, Bridge, Body
and Period as described in chapter two.
StqfoarUing
Creative end.eavors are manifestations of several interwoven pieces. Storyboarding combines
the written (and eventually spoken) elements from your script with the desired visual components of
the finished product. Please refer to Chapter 4 for scripting details.
For your narration, choose active verbs and specifrc nouns to create descriptive images. Select
visuals which best match your nanation. Each slide should illustrate one point. Illustrate all
points you wish to make. Use several slides to express a complicated idea. Consider the
photographs, title slides, music, and special effects you need to deliver your message. Use either
3 X 5" cards or a three column script sheet to sequence slides.
SXSInderCards
Index cards can have a thumbnail sketch of the visual in the top right hand corner, special
instructions on the top left (i.e sound effects), and the corresponding narration on the bottom.
SpecialMions
Fade
{++
{
++
in sounds of geese.
Music ends.
++
+{{
Nanation
The sound of honking geese evokes the deepest emotions
within us all...
ul
Script Sheets
Script sheets can have special instructions noted in the left column, the
column, and the matching visual in the right column.
SpecialMions
Fade
in sounds of geese.
Music ends.
Narration
MSketch
The sound of honking
geese evokes the deepest
emotions within us all...
{
Geese Honking.
naration in the middle
+
{
-o+
++
+
+
Perhaps, it is a memory
of a misty mornirtg...
I prefer index cards because they are easier for me to arange visuals in the desired order.
Alter the script if you can not get all the desired visuals for your program. In addition to 3 X 5" cards
and script sheets, many conputer software programs enable you to organize and arrange slide
programs electronically.
You are now ready to sreate your slides.
CbeatingYourVisuals
Picture Yourself...
Traveling seven hours in an automobile, spending several days locating the best spot to
photograph raptors, building a rock blind, and then sitting and waiting in sub-zero weather for a
unique photographic opportunity. My heart raced as I heard the sound of wind whistJing past the
bald eagles'wings. With a loud gazump, the talons grippett onto the exposed branches. Seventy feet
away rested a majestic and powerful bird. Okay, steady yourself, move slowly. Any motion would
surely be detected in an instant. Check the lighting, compose, focus, shoot! Here comes another one.
Gazunp! Two bald eagles sitting sevent5r feet away. Settle down, relax, advance the film quietly,
check the lighting, compose, focus, wait. fire clouds are parting, maybe I'll get better light. The sun
breaks through and its snowing. The lighting is perfect. Check the light meter, compose, focus,
shoot! Advance the film quietly. Suddenly an eye is glaring at me. It does not like what it sees.
Spooked and gone, botb of them. Two bald eagles, two pictures. Never again.
To maximize your abrlity to develop audio visual presentations remember one rule above all
others: Take pictures!! How often do we "wish we had a picture of that?" It is much easier to edit
pictures than to get new ones. Build up your library of visual aids as completely as possible.
Photography Equipment - The Essentials
35mn SLR (Single Lens Reflex) Camera
35mm SLR cameras enable you to change lenses for different needs. Small, portable
automatic 35mm cameras take wonderful landscape pictures. But, for close-ups or wildlife they are
limited. Select a quality 35mm camera with an interchangable lens.
Tkipod
A tripod stabilizes the camera givingyou a noticable improvement in detail resolution. Get
is sturdy enough to hold a camera and larger lens (300mm to 400mm) steady in a stiff
wind. The tripod should come up to your eye level without any centerpost extension and be able to
stretch out flat for ground level closeups.
one which
CableRelease
Cable releases reduce vibration by keepingyour hand away from the camera when shooting.
Pay the extra couple of dollars for a good one.
Fitm
Most nature photography is done vdth either ISO 64 or ISO 25
film.
Choose the slowest possible
film you can. The slower the speed, the sharper the film. Faster films appear grainy. Definitely
use slide film. It's cheaper, sharper, and reproduces easier than print fikn.
Lenses
Photography can become very specialized, if you let it. Pick lenses which are versatile. If you
it, choose a24mm or 28mm lens for closeups, a short telephoto (105 macro) for medium
distance landscape shots, a 200mm for long distance landscapes, and a 300mm (or longer) lens for
wildlife. A 500mm lens is the maximum most people would ever need.
can manage
Always keep the lens clean. A lens hood provides protection and reduces solar flare. Many
people ad.d a clear glass lens cover to protect the lens. Be sure they are also kept free of dust and
fingerprints.
Filters
Use filters selectively. Consider using a polarizing filter to reduce glare on bright days. Blue
skys and green meadows will appear more vibrant with a polarizing filter. Use a warming filter to
make yellows, reds, and orzrnges richer. Faint colors can be enhanced by using color
compensating gelatin filters.
Carrying Case
Protect your investrrent. For fieldwork use a quality softpack to carry gear in. When
traveling, use a rugged old small suitcase witJr customized accessory cutouts into three or four inch
foam padding.
15
ItlakingE
Decisions
Select equipment which matches your needs and fits your budget. I strongly recommend
buying the best geax you can afford. The initial cost will be higher, but long range durability pays
for itself. Start $'ith a basic set-up and add accessories as you see fit. Do not try to keep up with t,Le
Jones'. Shop around and buy only what you need.
Check the wamanty agreement before purchasing equipment. Can the equipment be repaired
quickly? Properly train anybody who will use equipment. Insure and secure your equipment.
TheSeeingEle
Capture good images to illustrate your words. Slides should be well composed, properly
in sharp focus. Plan your photographs and illustrations for madmum visual appeal.
Well designed visuals begin with a basic understanding of lighting and composition. You have an
active role in how these elements are combined for best visual effect.
exposed, and
People
will remember
bad visuals. Poor quality pichrres are unprofessional.
Elininate them!
Lighting
Photographic light comes in three forms;
L.
Front lighting is when the sun is behind you and the light is usually flat with minimum
shadowing;
2. Back
lighting is when the sun is behind your subject; and,
lighting is when the light source is at a right angle to your subject creating shadows,
which give the picture texture and form. The way we choose to organize patteras,
textures, and forms will give us a pleasing composition.
3. Sid.e
Composition
The most basic guideline for photographic composition is to use "Tbe Rule of Thirds." Brealc
the picture frame into thirds both horizontally and vertically. The resulting grld will give you four
intersecting "focal points" in which to place your subjects for more visual appeal. Use the other
suggestions to improve your photographie composition.
X-X
16
Be aware sf viewers eye movement. Does the composition lead your eye where you want
go? Or do your eyes fall offthe edges of the picture? Provide a strong center of interest.
it to
ffi
Leave something to viewers imagination,
\r-.
,El
!-t
Use
\rE
if
possible.
\-
1-
.ar_-
natural framing for simple composition.
L7
\'A\-
aF
1r-
When shooting down, put the zubject
near the bottom ofthe frame.
When shooting up, put the subject
near the top ofthe frame.
Fill the frame. IJse the total photograph.
\
Have the subject face into the picture.
If showing motion, allow the object to flow into the frame.
h#
H
q,/
I
r.{
fr
r.{
N
IN
,\l
N
ul
Have your subject doing something. Action is exciting.
Avoid strong horizontal lines. Intersecting lines are more interesting than straight lines.
-tV-\--.
.-zrb
Avoid mergers. Be aware of the total picture, from edge to edge. Avoid "detractors."
Make J/our picture horizontal or verticle corresponding with the
direction of the strong lines in the picture
Don'tlethorizons or other strong horizontal lines divide the picture in half.
aqD
213
--t
el/3
-\--
e
\J
\_
Be aware of the background. Do you want
-
it in focus or out of focus?
IVhyTaIre Chances?
To ensure your pictures are properly exposed, always bracket pictures one F-stop up and one
F-stop down from where the lightmeter tells you to. Nothing is more frustrating than getting back
important pictures only to find they are too dark or washed out. Take more slides than needed.
Photograph the same topic from different angles. You are the final editor of all visuals before using
them in a public progtam. Any that do not meet your standards should be eliminated.
n
Tllhat'sYour Secnet?
Why do some people seem to have better photographs then the rest of us? Sure, quality
equipment is important. But, overwhelmingly top notch photographers and cinematographers
believe the key to success is being at the right spot at the right time.
naturalist. Olaus Murie romped about North America learning
wildlife. His sketches are the result of years living with the animals he
Spend time in the field being a
as much as possible about
studied. Capturing unique landscapes or wildlife on film requires patience and preserverance.
Find out when and where your subject is most active. Locate them before setting up a blind.
Consider lighting conditions when choosing your site. Early morning and late aftemoon light are
best. Build your blind at a time when you will not alarm what you intend to photograph. Be
especially considerate qf minimi2ing disturbance (nesting, denning, feeding) of wild residents.
After a blind is constructed, leave it alone for two or three days.
Camoullage yourself before entering the blind area. A compenisa (helpful for carrying gear)
right behind you to the blind, and then leave. Animals perceive only one percon entered
the area and one left the area. Camera lenses can also be fixed with camouflage material or painted
to avoid reflecbions.
can walk
Go out,
often. Do not be satisfied with average visuals. Upgrade the visuals you present in
programs.
One Person's clunk is Anothet's Tbeasure
Build a positive working relationship with professional photographers. Many photographers
purge
will
their fiIes of slides which do not sell. "What, you are going to throw out those goshawk
pictures? Would you mind if our nature center purchased them from you at a reduced rate?" "Naw,
go ahead, take them, you can have them." Check periodically with these people to see if they have
obsoletes or duplicates. Offer them something in return. A scholarship to summer camp for their
children? A lifetime membership?
Limit€d Edition tr\mdraising
Need to raise some money? Consider contracting with a professional photographer or artist for
the exclusive rights to a limited edition print. The understanding is that the print is developed for a
fee and all copyright and legal rights are granted to the non-profit organization. The print can be
donated to major contributors or sold with the intention of generating income.
2T
SlideCataloging
Select slides from your organizations' slide file if you do not have many of your own pictures.
I recommend that interpretive agencies use duplicates for general prograrnming. Keep o"igio.l,
in a dust proofand fire protected area to replace lost or damaged duplicates.
Get Your Shots Togetlrer
Develop a filing and retrieval system. How many times have you looked for a specific slide
only to find it's not where you thought it was? As an interpreter, you should be able to find all the
slides you have of spring peepers in a manner of minutes. One suggestion for organizingyour
visuals is to break your slides into logical divisions.
Group slides by subject area (i.e. Birds, Mammals, wildflowers, Insects).
.' Use a capital letter for each subject area.
. Attach tlu first letter for each specizs within a subject area.
. Use o second
btter to idnntifu the specics.
. Numbers can be used for each slide of specific specics.
' Record your Erstem on a chart. Cross reference slides which can be used for dual
purposes. If using a computer database make back up disk copies and have an updated
printout in case your system suddenly crashes.
So you
want to find your slides of Murres?
",,a,^= ,
BMU
l. ,.'I^;:lt":fi:Tln"a". with Letter,,M,,
3rd Slide of Murres
IanBoyd
Murres, Coastal Maine
SlideFiles
Slides can be stored in a variety of ways. Three f recommend are:
l. Srnall mctal or plastic
sli.de sarters
with labels.
2. Large sli.de organizer cobi.nets. The old metal
ones (Multiplex is one brand) have pull
out trays and a backlight to preview slides. Separate each tray by zubject area.
3. Hangtng
stide files. Make sure the cross piece is rigid enough to support the weight of
your filled plastic slide sheets. A word of caution: The old plastic sheets react
chemically with slides and will cause discoloration. Use only polyproprelene plastic
cover sheets. They apparently do not react with slides.
2,
AHomemade Illuminator
Rather than purchase a lightbox, build a simple table yourself. The light surfaee should be
fairly large to allow you to edit lots of slides. Use 1/4" thick frosted Lucite mounted flush with the
table top. The light source should be good quality fluorescent tubes mounted a couple inches below the
table. A maguiSing scope allows you to critically review the quality of your slides.
Illushations
I-et's Be Graphic
Generating your own graphic arhvork will add a personal touch to your interpretive slide
cost and readily available art supplies, professional results can be achieved.
Consider the following design elements as you plan your layout of graphics.
talks. With low
o Keep
it Simple.
. Formal Design- A symmetrical pattern with both sides being the
same.
. Inforrnal
Design - The left and right sides are different. People will look at informal
designs longer as they tend to be more visually appealing.
. Bunch your White Spuce.
Fragmented white space makes graphics harder to read and does
not lend itself to visual unity.
Layit Out
Design your graphics for slides with a 2:3 aspect
(22.9 mm X 34.2mm).
ratio.
Slides have roughly a 2:3 format
To ensure you have a 2:3 aspect ratio, draw a
diagonal line across a 2:3 inch box. Any intersecting
straight lines will also have a 2:3 aspect ratio.
I
2"
I
I
B
Using a Template
For best results, start with standard artboard (available from good stationary stores)
measuring 10" X 12". Place a 6" X 9"(2:3 ratio) template over the artboard. Arrange all your
artwork and lettering within the 6" X 9" working area. By using the same aspect ratio as a standard
size slide you can easily go to the copystand with a camera ready copy. Standardize all your
artwork in this fashion. 10" r 12" artboard can be easily stored in standard filing cabinets for
future retrieval.
12"
6Xg"
Working Area
Ilrawings
Line drawings should be simple and bold. Take a lesson from cartoonists. Reduce your
drawings to the bare minimum to get your message across. For the less artistically inclined, there
are many commercially available sources of clip art. Clip art can be photocopied, reduced or
enlarged and placed within the 6 X 9" working area.
Computer graphic programs allow you to produce precision graphics on a computer. Laser
printouts can be photographed on a copystand. Computer clip art and drawings are also available.
Irttering
In most cases, choose a stzns serif style of lettering. That means pick a t;rpe style which does
not have lots of little appendages attached to each letter. When in doubt, use helvetica. It is
straightforward, no extras. However, it is important to note you should choose a type style which
matches your needs and is legible.
A fancy letter style is not appropriate for most situations but will work with historical
interpretation. Thick letters are better than thin letters. Letters with two adjoining vertical strokes
(i.e IIE) are placed further apart. Letters with two rounded strokes adjoining (OO) are placed closer
together. Mix upper and lower case letters. Use one type style throughout the presentation.
Emphasize main points with bold, italic or underlined letters. Select larger point sizes (or capital
letters) for main fossdings, smaller point sizes gel su!fumdings.
fitle
Slides
Use speaker supported
title slides in a variet5r
of ways.
. To open and close interpretive slide talks (not always the first and last slides).
. Give credit where credit is due.
. Break up segments of your program at natural divisions.
.
Progressively disclose
dilncdt
concepts.
By following a few basic guidelines you will have more appealing
title slides.
Grab TheirAttention
'
captions- use catchy titles. which
of the following entices you more?
FALLING STARS
An Astronomical Phenomena
How and why meteorites enter the atmosphere.
Presented by Dr. Nebula
for the
American Society of Astronomy Observers
January 23, L994
. Lines - Lead the eye to the eenter of interest.
.
Shape - Curved visuals are more pleasing to the eye.
'
Terture- Provides the illusion of three dimensions. Adds interest and detail to the graphic.
'
Surfaee - Select matte surfaces for meking
glossy surfaces when photographed.
'
Value - Darker values make things seem narrower and smaller. They are heavier and
should be placed at theAottom of the graphic. Lighter values appeax to make graphics wider
and larger. Surround the center of attention with lightest value.
.
Volumc - The largest section attracts the eye.
'
Color - Use color for emphasis. For title slides, ehoose two or three colors for the entire
presentation. Do not use two shades of the same color. Choose colors to match your
message. Use white or yellow letters with a dark background. Light, bright colored
backgrounds are best. The eye is attracted to lighter colors. Avoid usingied and green
together, people who are red/green color blind cannot differentiate the colors well.
title slides because they have less glare than
-Use the following combination of colors for best
a. Black on yellow (Most visible)
b. Green on white
c. Red on white
d. Blue on white
visibility on title sfdes.
h. White on red
i. White on green
j. White on black
k. Red on yellow
e. White on blue
f. Black on white
g. Yellow on black
l.
Green on red
m. Red on green
n. Blue on red
25
cl""tirrsl'fiu."
There are dozens of ways to produce your own title slides. They range in method from the
quick and dirty to the glossy high tech computer generated.
Use What Comes
Naturally
For simplicity, take photographs of existing entrance signs, emblems, or labels for
introductory title slides. Use natural materials to create a rustic affect. Scratch credits in the sand,
arrange branches into words, flatten down letters in a grassy field. Look around you. Be
ingenious. Do not limit yourself to how "you are supposed to do it.',
Writeon Slides
It happened again. Your title slides for tonight's campfire talk were deshoyed by Bob's One
Hour Photo Factory. For a quick title slide, use a perrnanent rnarker to write your tities onto special
write on slides. These will work in a pinch, but are not something to be used when you can ger
something better.
&D L€tt€rs
Plastic or ceramic three dimensional letters are easy to arange on top of a photograph for a
title slide. Use a tripod or copystand to steady the camera when taking the picture. Because the
letters are raised, slight shadows will appear. Ceramic letters are great for creating unusual tiges
such as uneven and crooked letters spelling out the word "lE rg&Qurke".
Dqf n€nsferLetters
For true professional quality titles dry transfer (press on) letters can be used. Purchased from
any office supply or stationary store, dr5r transfer letters come in numerous styles and sizes. you
get background textures, lines, arrows, curves, different colors,just about anythingyou need.
9an
With care they can they will give you very nice results.
Lay out your guidelines with light blue pencil (it does not photocopy). use the tick marks on the
side of the sheets to align letters. A dental tool or the cap of a pen is used to thoroughly rub the letters
on. Carefully peel offthe backing to avoid flaking the letters. If the letters do flakle, use an X-act@
knife or single edged razor blade to remove from the paper. Reapply a new letter. Iiry transfer
letters look professional when applied patiently. But, they are Jhassle.
VinylI-etters
Vinyl letters can be purchased in sheets. They are available in a variety ofcolors, sizes, and
font styles. simply peel offthe letters and arrange them the way you want.
Vinyl letters are expensive and have only a limited number of letters on each sheet.
Inevitably, you will run out of letters needed to complete a project. If you need a title slide for a
program called "Mississippi Sassa-&as" you may be out of luck. If your name is Ross Issersons you
may go broke. Besides, what are you going to do with the extra "qi," and. "x's" found. on all the
sheets you purchased?
%
Imlrrcve Your Overhead
A very simple technique for creating titles is to place an overhead transparency with your
text
ofa photograph and take a picture at the copystand.
on top
Place the transparency on-the background material, cover with glass and shoot.
Using
transparencies reduees the need to use two different slides (more time) to "bum in', text
ooti
slides. Another advantage ofoverheads is you can use variable colors for titles.
titt"
There has Got tobe a BetterWay
Fortunately, there is. New ad.vances in electronie devices remove most of the headaches
involved in making title slides. One favorite of mine is a lettering machine called a Merlin
Express.
It operates like a mili-c6*nrr,er allowingyou to select the typestyle and size of your letters.
Turn the power on, push "font" until you
F{ !n" typestyle you want, press "ent" (entlr), type in the
words needed, "cut" the tape, peel offthe backing stick theietters on a picture or inside'yitir
6" X 9"
working area, and, presto! you are ready for the copystand. It's that simple.
'IIow did You do lhat?
I love to answer that question. "On a computer. In five minutes." No more painstaking
cutting and pasting.
fea;ching fol T-Squares, rulers, X-acto knifes, and compass'es is no lonier
necessary. It's all right there, built into the software. Computer generated slide. are slick
Feople
are amazed at what is possible and how easy it is to produce titles on a computer. Many p"og".o.
-1i.e.
enable you to set up a template master so anything which will appear on seieral s6aes
yL"
nature center's logo) can be created once. The 2:3 aspect ratio, or auy other you want, is
arrtomatically set up for you. Add borders, boxes, drop shadows, line!, g"rpli., circles, electronic
clip art, whatever you need. Text can be enlarged, tilied, distoried, ootio"a, iotatea. It can follow
a
curved path that you determine. You want B-D? No problem.
Laser print your title slides and take them to the copystand. Ifyou do not have access to
a laser
printer,local computer stores or print shops usually charge between .ZSA ura$1.00 for each printout.
It is well worth it.
FiIm Recorder:s
The choice for many organizations will be to send title slides via a modem (or you can
also
send a floppy disk) to commercial slide services. They have the high resoluUon equipment
needed
to create all the special effects you can imagine. Cost per slide ranges from
$S.00i; $tOnO
th"
cost of the telephone call. You should get your slides blck within Z2 hours. Check the
compltibility
of several software packages with slide services before purchasing.
;i;;
Film recorders can
!ak9 images from a screen and record them electronically onto film. you
truely can do everything "in-house": Create the slide, expose the film, mount the slide. No more
relying on others to be sure you have the title slides you need. Film record"." i"rrg" in price from
roughly $2,500 to well over $10,000. Ask yourself, do we produce enough slides aniua1v justift
to
the
cost?
Refer to chapter 6 for specific details about computer graphic applications.
n
The Darm Thingis Crooked
Occasionally, your completed title slides will be askew in the slide mount. No problem. Take
a soft cotton glove or a sock and gently grab the slide and twist it in the mount unUfthe slide
is
straight. If that
and place
it
does not correct the problem, take either silver photographic tape or
electricallape
across the slide horizontally to give the illusion of a level s6d;. If ail else fails,
Vo"
even cut offan angled portion of the slide mount at the bottom so the slide will appear horizontal
.ii
when projected in the slide projector.
Too Much Text is Boring
When using title slides or bullet charts keep your words on the slide to a minimurn(lb words or
less). Which of the following examples are you likely to remember?
Deueloping the ldea
o IJse examples
illustrating a projection
of the idea
in operation (i.e.flow charts, anecdotes)
' Reiteration of the main idea in snme words or in different words to help summarize, to
drive the idea home, and to ensure the listeners will remember the point.
r Statistics
'
presented as simply as possible.
Comparisons with similar or dissimilar types of operations, ideas and so forth.
' Testimony of experts, witnesses to events, users of the product of procedure - such evidence
should not be ovgrusgd; the expert's reputation must be justified; and the credibility of the
witness of user should be firmly established.
Deueloping the ldea
. hramples
. Reiteration
o
Statistics
.Co@
o
Te*imony
n
UsingACopystand
ft's the Law
Copyright laws cover most audio and visual materials. T-heyare designed to encourage
creative expression,and legally protect the artists' work from pirating. OUtli"
periission
from the copgight holder before using theirmaterial in any poUu. piogr".. Often,
",titt"n
fees must be
paid to the recording company or publisher for permission io use their material.
cover Jitu" i"s"l
bases completely before using somebody else's *ork.
Most photographs and illustrations older than ?5 years are no longer copy protected.
Be careful
though, John James Audubon paintings done in the 19tL centur5r ar" not consiaerea p"rt
domain Laws protecting audio recordings (music), are especially sticlry. you can not use
copyrighted recordings during a public program without *ritten permission.
"f;ilt"bli;
To be safe, always use your own illustrations, original slides, and non-cop5nighted
music.
Always credit material you include in a progrn"t.
Cop5atand pquipment
.
Carnera. Uge a single lens reflex cameraTo establish the proper exposure.
your
Lenses.
If
flat copy is at least 6"X 0," choose a standard b0 mm or bb mm lens. For
'
smaller graphics, use a closeup lens.
o copystand. Hold the camera steady
with either a copystand or tripod.
' Non-glaregloss. Reduces glare and reflections. Place over the material.
' Lamps. Use tungsten_lamps if possible. Photofloods or fluorescent lamps
can also be used.
Two lamps work well, but four lamps will ensure more even lighting. 'When one lamp
burns out, replace all lamps at the same time. otherwise, thJnewiight *iu l" brighter
than
old lamps and the light balance will be out of skew.
' Film. The film you use for copystand work should be balanced to your light source. (i.e.
T\rngsten Filn is balanced for T\rngsten lamps)
. Light Meter.
CopptandPnocess
- Flatcopy work will provide some visuals you could not otherwise get. Select appropriate photos
from magazines. Place m_aterial to be photographed onto a copystand.-Make the picture
vertical or
horizontal, whichever looks best.
photogr?p!with non'glare glass. Minimize the magazine fold as much as possible.
(Use an X-acto@ knife or single edged razor blade to cut the picture
out of the magazine if
possible.) A mask made of black mat board can be used to biock out unwanted pafts
of the
photograph.
' Tyrn on tungsten lights. A{ust at 45o angles and equal distance from the photo. The
lamps should be 30 to 45 inches away from the cenfer of copystand. Lamps which
are too
' close to the flat copy may
cause reflections on the photograph edge.
o Load, the camera with Tungsten
Film.
. Raise or lower the camcra to ft.tt the
frame.
. Chech the exposure setting on the camera.
. Ad,just the shutter speed to I /60 second.
' Set the aperature Aens opening) at F-8. Focus, shoot, advance the film. Bracket one F-stop up
(F-11) and one F-stop down(F-8.6) to ensure properexposure.
Make
sure the. film is aduancing on tlrc spool.-Otherwise you will be frustrated to find you
'
have none of the pictures you need for tomorrow's presentation.
' Record your sources of pictures for crediting. If you iet back photographs with unsightly
glare streaks or shadows on the edge-, usJelectricJtap" o"
ittotoir"ihi. t"p" to cover up
blemishes. Reshoot again as time allows.
'
Couer
C!'eating Special Etrects for
fitle
Slides
Reverse text slides can be created by using Kodak \IERICOLOR@ or KODALITH@ Film.
Essentially, you are lsgslding negative igagesly using these films. The advantages of using
reverse text slides include: increased slide legibility, greater visual appeal, and prifessional
appearance.
Reveree T€xt Slides
WRICOLOR@ Fitm
VERICOLOR@ will give you a color background with light letters. Anything which is black
on your camera ready copy will be light colored when photographed with TERICOLOR@. All white
areas will take on the background color. Place your black and white cemera ready copy on ttre
copystand. Depending on the type of filter and exposure you use, you can modiff the colors of the
finished product. By adjustingthe f-stops (bracketing) up and down, the color richness will change.
f recommend shooting a whole roll using different filters, exposures, and lighting. Record each
combination. Once you detemine the desired color baekground you want, use tlie same method.
each time you use IfudakrmRICOLOR@film for slides.
This chart serves as an aid for using Kodak rruRlcol,oR@ (slide Film b0z2) and Filters.
M
Filter
(Kodak Wratten Gelatin Filter #)
ColorBackgrnund
Dark Blue
Yellow (L2)
Yellow (L2) & Amber (80A)
Royal Blue
-Of-
Yellow (15) & Amber (SbB)
Cyan
Red (29)
Green
Deep Magenta (34A)
Red
Light Blue (38)
Orange
Cyan (44)
Yellow
Deep blue-green (45)
Magenta
Deep green (61)
Yellow-Brown
Deep Blue (47)
Dark Red
No
30
filter
KODALITH@ Film
KODALITH@ will produce white letters on a black background. Letter colors can be modified
later with dyes or acetate gels.
For high contrast titles, use black and white negative film (Kodak KODALITH@ Ortho Film
6556 Type 3 [100' strips] or Kodak EIffAGRAPHIC HC@ Slide Film [36 exposures]. Everything
which is black on your camera ready copy will appear white on the slide, and vice versa.
(Model not exact.)
EO
Adding Color to fitle Slides
Color softens the harshness of white on the screen and enables you to add emphasis exactly
where you want it. Use one of the following techniques to add color to KODALITH@ slides.
. Felt Tip Markers - Write directly on the slide
(both sides) with transparency markers.
Try to avoid uneven application.
o
Acetate Gels -Cut out a small square of the preferred color. Either place it next to the slide
and sandwich between a glass mount; or, carefully slide the acetate piece under the
inside corners of the slide mount to ensure it will not jam when projected.
. Dyes - Dip the entire dry
transparencV (before mounting) into a water soluable dye such
as Dr. Ph Martin's Sychromatic Transparent Water Color@, Kodak Matrix Dy@, or
regular food coloring. Cotton swabs can be used to apply dyes directly onto parts ofthe
title slide (i.e. for progxessive disclosure). Duplicates of colored reversre text slides
may change color slightly .
Masks
Masks can easily be made with KODALITH@ Film by using a solid black design on white
paper. Make stars, clouds, footprints, whatever you need. Follow the procedures for "burn ins" to
add a mask to your titles.
31
Bum Ins (Qpticaf $ides)
Text, maps, or labels can be "bur:ned in" to a title slide by combining a reverse text
KODALITH@ slide with a background slide. Layout your text and graphics with the background
slide in mind. Do you want the title to be tucked under
biS oak tree or go through it?
fhe
After you have both the KODALITII@ slide and the background slide you are ready for the
slide duplicator. Insert the background slide first. Follow the instmctions. Take a picture of the
slide, but DO NOT advance the film. (Check special camera instnrctions.) Insert the reverse text
slide and take another picture. fire resulting double exposure adds esthetic quality.
Background Slide
Reverse Text Slide
The
Hooke,r
Oak
Burn In
p,
Graphs, Charts, and Maps
When you use numerical data in your programs keep in mind you are presenting an
interpretiue program. It is a lot different than presenting a scientific or research seminar.
Visually presenting data makes it more understandable. Your data should be simple to
understand, easy to interpret, and clearly presented.
oGraphs
- Horizontal and vertical bar graphs can be used to show comparisons of data from
similar units. Use a maximum of eight data columns. Different shading emphasizes one
element.
.Pi.e Charts - Pie charts show fractions of a whole. Place the largest slice on top. Bring out one
section to emphasize your key point.
.Lhte Charts - Line charts show trends over time. Use no more than three different data
points. Different line widths should be included. The heaviest line is for data, medium weight
lines are for the chart frame, light lines are used for the grid if necessarlr.
cMaps - Pinpoint exactly where you are with simplified maps. Include only the main features
to show visitors the location of unique features. Trace over existing maps with ink and take
the new map to the copystand. Do not use topographic maps or other detailed maps.
Special Cop5stand Considerations
Large pictures which do not fit completely on the copystand will present problems getting the
entire picture in the viewfinder. You can make slides of larger pictures by removing the nasks
and plexiglass. Move the stage up close to the lens so it will not show in the finished slide. Aim
lights at the photograph on the floor. Compose, focus, and shoot.
Translucent materials (i.e. transparancies) are best when back lit. Put the image on the
plexiglass and lights underneath.
Slide Iluplication
-
Double Your Pleasure
Slide duplication is another method for acquiring visuals. Again, copyrighted material
requires publisher perrrission to be used in public programs. A naturalisUphotographer friend of
mine has taught me a few tricks about his trade. Most of his photographs are striking, but a couple
stand out as real eyecatchers. One has a V of sandhill cranes surounding a3l4 moon. The other
has ducks raising offa marsh with a spectacular full moon in the background. Both are excellent
sellers. EverytJring in both photos is in perfect focus. Impossible in real life. How did he create
these images? With a slide duplicator.
Background lighting for both the crane and the duck pictures was flat. The 3/4 moon shot had
brilliant sky blue background, while the fuIImoon photo filled the frome and was intensely orange.
Because one image had flat light the bright background of the other image is recorded onto the film.
By combiningthe images together he has made photography a true art form.
Just Buy It, WiIl Ya?
Commercial slide services are an excellent source of high qualif slides. You can order slides
you would not otherwise be able to get. Check Appendex A for addresses of some independent
businesses selling slides.
33
a
SelectingSound
Music and background sound effects should enhance your illustrated
fast paced and inspiring or slow paced and somber?
trlk.
Is your program
Music
Music influences the audiences' emotions, creates the desired atmosphere, and sets the pace.
Dramatic tension can be generated with the right kinrl of music. Select music which is appropiate
for your message, and for the audience. A group of elderhostels may not appreciate heavy metal, but
probably will e4joy the big band sound.
SoundEffec'ts
Background noises can add reality to your program. Choose sounds which complement what
appears on the screen.
Be familiar with the sound equipment. Be nonchalant when you make transitions to the tape
recorder for music or background sounds. All adjustments of volume, starting and stopping should
not dishact your audience. Check volume before the program begins.
Do not automate your sound track for an illustrated talk. Slides are speaker eontrolled, not
s5rnchronized. I once watched a program on timber wolves that had great potential. Good topic, lots
of interesting information, a captive audience, and personal experience with wolves. The talk
failed because the soundtrack was automated. Every story was out of s5mc with the slides.
@the
Pnesentation
Practice, h:actice, h:actice!
If you want to be good, you have to practice. Constantly
hone your interpretive skills.
Run through your program several times, preferably in the sarne room you will present in.
Use a tape recorder or video tape to eliminate distracting mannerisms. Do you shuffle your feet?
Are you prone to soften your voice at the end of sentences? Time yourself, most people take more
time during the live presentation. Do not let your program become "canned."
Figure at least a 10:L ratio of preparation time to presentation time. That is only for gathering
information and refining what you will say. Add extra time to assemble original slides, nake
titles, select music.
Know your material so well that your main concern is how you interact with the audience. Be
will get a good night's rest.
prepared and go to bed knowingyou
How Long Should the Talkbe?
A presentation should be long enough to do its job and no longer. Generally speaking, the total
length of a program should be less than an hour. This includes time for announcements, campfire
songs, and a question and answer period. Illustrated talks over 30 minutes may strain visitors.
The mind can only absorb what the rear can endure.
u
IhoubleShooting
Be prepared for repairs! Plan for what you want as well as what you do not want to have
happen. Ifpossible, bring your own projectors, dissolve unit, tape recorders. Your repair kit should
include exbra bulbs, pointers, flashlight, a lens slsaning kit, extra slide drum, pocket knife \Mith
multiple size screwdrivers, extension cords, 2-3 prong outlet adapter, duct tape to sesure extension
cords to the floor, coin to release a jemms6 slide carousel, remote control with extension, and a good
luck charm.
Murphy's Law
Murphy was an optomist, so am I. Label everything. Never check your slides, sychronized
tapes, film, software or recorded music through baggage. You end up in Salt Lake City and your
presentation arrives inAtlanta. Metal detectors wreck havoc on anything magnetic. Airport
attendents should hand check your carrJr-on gear. Have a friend be responsible for duplicates of
your progElm in case you accidently leave the whole package somewhere unbeknowst to you.
Day of tlre hesentation
I)ress tJre Part
Be a pro. Look sharp. Agency uniforms should look crisp. If in doubt, be more formal. Your
posture, your enthusiasm, your grooming all say something about you. First impressions do
matter. Put your best foot forward. The greatest freedom we have is to choose our o]\rrl attitude. Be
upbeat, it comes back to you tenfold.
Ever notice the room temperature is always 10o warmer when you are standing in froot? Wear
lightweight clothing. Remove that extra layer before you overheat and begrn to hyperventilate.
You're the One
You are the main attraction. Visitors attend an interpretive program to interact with a real
person. They want to receive information in an entertaining way. It is up to you to be enthusiastic,
d5mamic, and interesting.
Check all Equipment
Do you have everything? Slides, tape recorder, screen, projector, spare parts, remote extension,
trouble shooting kit. Just asking.
Anive Early
If something goes wrong during the presentation it is your problem, not the maintainence
supervisors'. Always familiarize yourself with all the equipment and the room you will be using.
How does the screen come down? Do you know where the dimmer switch is? Does the remote control
work? Where is the thermostat? Can the mike be heard in the back row? Check everything well
before visitors a:rive. Allow yourself time to replace broken equipment. Itrow how to operate the
light and sound system. Block out background noise and light entering the room. Carry all keys
you will need.
35
SetupF.quipment
Align image on screen. FilI the screen as much as possible. Use a verticle slide to set your
focal length. If using two projectors, match the edges of vertical and of horizontal slides perfectly.
Use several horizontals or verticals in a sequence to avoid shifting too often. Adjust the projector so
the images appear level when projected. Run through all slides to check if they are right side up and
forward. Are slides visible from the back of the room? Put the lockring on. It is not fun picking up
slides at a professional conference in front ofyour peers. Tape down all electrical cords. Check the
remote control. If necessary, appoint people to control lights and projector. You are all set. Well
almost.
Relax
Go outside ottd reconnect. Stretch, take a few deep breaths. Splash your face with cold water.
People do not have high expectations ofyour talk. The trick to interpretive success is to not take
yourself too seriously and have fun. The audience will react positively if you project confidence.
Greet yourAudience
Mingle with visitors. Find out where they are from, where they are going and let them know
you do care about them as individuals. Professional effort reflects positively on you and your
organization. "What brings you to this program tonight?" Overwhelmingly, people attend
interpretive programs for their own benefit. Gear your slide talk for them.
Speakingudth Slides
hrtnoduction
Warm visitors up to your topic before beginning. Establish credibility. Set the stage for things
to come. Tell a story related to the theme. Ask questions which involve everybody. Challenge the
audience to solve a riddle by program's end.
Use humor selectively. Many interpreters begin a program with a joke or a humorous tale.
This will work if you can deliver a punchline perfectly and the humor illustrates a point.
Offending somebody with inappropriate humor is worse than not even trying at all.
POW
Begrn with a bang. Wake your audienbe up, break through their apathy. Give them a reason to
listen. Is your progrtrn intended to be humorous, educational, or inspiring? You want to whet the
audiences' appetite to learn more about tJ:e site or topic on their own. The first slide should be
projected before the lights go off.
Bridge
Relate your theme to the audiences'interests and experiences. Convey the importance of your
message to them.
BoS'
Develop your theme
with supporting information, stories, and examples.
P€riod
Conclude your talk concisely. Do not trail offwith "Well, I guess that's all I have for you
tonight." Summarize your points and leave them with a final thought.
Create
hages
Rely on the outline, not the script. Create images which deeply touch the listener's own
experience. For exa-ple: " Thank you for visitingAlaska. We hope you will return" leaves
nothing to the audiences'inagination. Instead say "Once you have been to Alaska, you will never
come all the way back." The words are associated with a personal experience. Each person attaches
different memories to that statement. The narration complements, but does not duplicate, your
visuals. Paint pictures with descriptive words.
SpeakingDJmamics
o IJse a
small light to refer to your notes.
. Limit slides to the number of which fit in the slide carousel.
o Do not fiddle
with the remote control!
. Anticipate the next slide.
The slide should appear on the screen at the same time key words
are spoken.
. Vary time spent on each slide to avoid monotony.
. Avoid talking directly about the slide or leaving it up for too long.
. Mix long, rnedium, and close-up shots.
. Include differentraces, ages, and sexes.
. Do not use "filler" slides for missing ones. Minimize graphs, charts, and title slides.
o Extra "ums," "ahs," and "alsos" should be eliminated.
o Keep unrelatedinformafion out of the program.
r Use a blank slide at the end to avoid a white glaring screen.
. Never apologize for equipment malfunctions.
. Stayon schedule.
An IllustratedTalk
The following talk was presented by Tim Ries for an Environmental Interpretation course at
UW-Stevens Point.
*Suggestions for illustrations can be found in:"Mount Saint Helens - The Story Behind the
Scenery" (KC Publications, Inc), "The Mountain That Was - And Will Be Mount Saint Helens
Aftermathl" National Geogrophic Magazine (December 1981), and "St. Helens: Mountain With a
Death Wish" National Geographic Magazine (January 1981).
The MoUnt Saint Helens lXsaster
byTimRies
olduglyhagnamedTah-Onelat'Clahmade adealwith tlre spirit godandwas turned
intoabeautifulu/hiteviryin Neartywer.etwosupernaturalwarriorsnamedPahtoand
"An
WyEast - both handsome and eligible suitors. Since lYyEast lived across a Iarge river, the
spiritgodbuiltabridgeofstonesohecouldvisitthemaiden BothofthewarriorslovedtJre
whitebeautyrbutsbecouldnotdecidewhichshelovedbesrL Corpetingforheratterrtionnthetwo
endedupwagingawaroneachother. PahtoandWirEasthurledfirerHgbtningandhotrocks
ateachotlrerrthe sunwasblockedandthe earth slrooksobadfytbatthe stmebridge collapsed.
The brdians were so ftightened that they@ged the spirit god's heh. Angpre4 the god turned
h€ three into stone. WyEast became lsrown as Mt Hoo{ Pahto, ML Adams; and
Tah-One-Lat-Clah, Mount Saint Helens."
gI
t
Sfrecial Effects
Narration
Volcanic Rumbling
The]lountSai
ens Disaster
On a sunnymorning the l8th of May
199), the earth melte4 the mountains
nrmbledandshook
CEarly Stages of
volcanic eruption)
Mt
St. Helens came to a climax of
tremendotrs errplosion, oupled with
plumes of firey ash.
(Medium stages of
volcanic eruption)
3
The frrst volcarric event in the lower
48 states in tr| years slas a
rather
srnall enrplosion comlnred to two other
famous enrptions; IVIL Iftakotoa
1883 and Mt. Katmai in L9LZ.
in
(Huge eruption)
4
Mt
SL Helens is located in the Cascade
range of SIV Washington The red
dots represent aneas where the ash from
the volcano were fotrnd-
with red dots
showing ash fallout)
CUS map
5
The anea of destrtrction was
approximately ?A square miles,
which can be eerr by the anea colored
in browrl
(Iocalized Map of Mt.
St. Helens showing
area of impact)
6
38
Sr-cial Effects
Narr:ation
Image
Volcanoe emeqge berrse ofp}ate
tectonics The earth is orrcred with
armor like plates" These plates shift
and movebumping into each other.
Oneplate nrayslide above orbelow
theother.
In
the
ofML SL Helensi, the Juan
de F\rca plate is sliding under the
North America plate. Atl this
movemerrt thousands of feet beneath
the CascadeRange
causingabuildup of pressure. Just
lilre too much air in a tire, the pnessure
is
has to be released.
(Earth map showing
plates)
7
(North American plate
overriding Juan de
Fuca Plate - Refer to
page 22 ofMt. St. Helens
The Story Behind the
Scenery)
I
hesnuebuilds up in the forrn
of a
b,rlge at the cerrter of the mountain
I
Five minutes since the last pictrua
A landslide was biggeredby an
earthquake andmade up of rocks,
boulders, and ice.
10
aft€r the landslide there
blast spewingmelted rock
and debris.
14 seconds
sxas a huge
The view Susan Cbristian had of the
blast ft"om 35 miles away. The North
Face erplodesl
L2
39
Sf\ecial Efflects
Narratiqn
Imagg
10 seconds later a surge, an erfrlosion
with the de*trction of a l0 mqaton
bomb eq'al to the amo'ntofexplosi\reg
used in the war against Gerrnany.
This sulge completely blew awiay the
North Face of ML St Helens.
r3
The errplosion lmocked Susan down
It was so shong it literallyblew trees
out of the ground
17
miles away.
Aview of the motrntainbefore the
enrption ftom qpaoe using inftared
photography. The white rqresents
the snowcappedp€ak qlhile ther€d
represents vegetation
15
The deshrction is obvious.
Volcarric erup tion fades.
Heavy classical music
Eonomic costs of Mt. St Helens
was enormou,s. The total price is
impossible to predicf
but-
(Ash on tractor)
L7
in Yakima, lryA 85 miles to the
northeast, received overemr0m tons
of ash faIIouL It cost 9100,000 a day to
remove it.
(Ash falling on
Yakima)
18
N
Sr-citEftcts
Narratiog
Yakima, WA at 9:30 a.m. Street
lights had to go orr. Electicity unas
us€d in enormous amounts
overloadirrg genenatons and causing
blackouts.
Imase
CYakima with ash and
streets lights on)
19
Lighhing stuikes hocked out
transforrners and started fues.
(Lighting)
n
Enough timber to build nfffthrce
bedrcom homes was destnoyed.
Much of that is rrnsalvageable or
will become infested with insects.
(Fallen Trees)
2l
Mudslides wiped out residential
homes, cottages, and farms. These
wene causedby the melting srrow and
ice when the volcano enrpted
The mudflows hrd enough strenglh
to shafr€r rhis logging camp
throwhg bulldozers and semis
around like bobbers in water.
(Trucks & bulldozers
in mud)
B
This consrnete bridge explodes finom
behg pulverizd,bya log jam.
4L
SfcialEtrec'ts
Namtioq
Channels had to be dug to drain
new lakes formed ftom the frIlirrg
of volcanic debris.
(Lakes with logiam
of debris)
zt
Reconstruction of dams, leveeg and
bridges made this the costliest
emergency project ever taken over
by the Army Corps of Engineer$
(Huge tractors
removing ash)
n
Over 40 feet of mud dum@ on this
area- Livestock was killed- The
heifer was savedby a tow h"uck after
5 hours of digging.
(Cow
in mud)
n
The volcano wip€d out sununer
camps, cottages, cabins, and public
campgrounds. Spirit lake 6 dara
afttr the ertrptiorL The water
tempemttrre is OZioF.
(Lake with fallen logs)
a
The envircnmental mst q/as
derrastating. An estfinat€d 51000
black taileddeer, lF00 elk, ZDblack
bears, plus mountain goatq cougars,
bobcatq srnall rodenti ana ins€cts.
(Dead elk covered
with ash)
n
Over two million birds were ki[ed-
In most casesi, they wene killedby
wtrocation A whote population of
qpottedowls was loet
(Dead bird)
il
42
SrtecialEtrect
Narration
Complete destruction offlora and
fauna. This wasi onee a tree lined
valley.
(Downed Trees)
Although the lava and ash did not
touch this hr€e, the intens h€atbeing
released caused vqetation to flare up.
3s
Spirit T a]<e at the bas of a snoking
Mt SL Helensbefore the enrption
This anea was erfoyedby thousands
of people eaeh year.
4 months later, total desFuctionThe lal.e was frlled and the
landscape erased. A total of %ilakes
wene deshoyed alottg with 150 miles
of pristine trout streams.
a
An excellent example of prime elk
and deer counbq/.
Here it is four months laten It is
impcsible to put a price leEon the
destruction tbat ocsured.
s
43
SpecialEffect
Song " If the mountain goes,
then I'll go with it."
Namation
The volcano didnot spare anything
inits path. Ilarry R. ftrrman, one of
si:rty people Hlled is remembered wi
this cnoss. He livedbelow the moun
for fifrty yearsi and refused to leave.
Since his d€ath, posters, books, glng
and a movie have been made about
qpirit toward life.
hi
,fr
nA
{\
1r
g7
Cbristy Killiam died here l0 miles
away from the mountain, her
husbandhas never been found-
R€ed Blachnan, a National
Go$Ia1rhicphotogfapherrv!trls
forrnd in his car 8 miles ftom the
mountain.
G€ologists continue to monitor
Mt Sf Helens. Another
big blast
is highly unlikely but smailer
explosions may continue for
decades.
A geoi.gist records data
inside
r,he crr.ater.
4l
SuIfur dioxide emissions help to
rn€astrre stresses and frssure
gfoqrth-
a
&
SpecialEtrects
Upb€at, pleasarrt mtrsic.
Namation
Imagg
Massive salvage operations ane
occuring: It hrs been called the
worlds largest clearcut with mmiles
of timber laying in a big tangled
mess.
Simple forrns of life have started to
oomeback lhis algae feeds on
nrlfur and imn oxides found within
the sater ilself.
(Rust colored algae)
4
Aval;anche lillies have started to
emerge and heal the earth-
(Avalanche lillies)
6
Fireweed is another
su@essional species.
(Fireweed)
6
In areas where vegetation has not
started to comeback, ftst gowing
grass seedhas been spread, in
hopes of slowing down ercsion
(A helicoptor
spreading seed)
4T
The Earth is dynamiq with
constanttv being created
and destroyed- With time, ML St.
Helens wiil once again take on its
@
(Successional species)
pristine quality.
I
6
TakingAnotlrerLook
IrrvolveyourAudience
Mt. St' Helens relates to something within the experience of all of us. Immediately, you begin
to remember images cast upon your television screen for weeks before and after the blast. Recall
what touched you most when the mountain blew. Was it the sheer enormit5r of the problems created
by the eruption? A childhood fascination with volcanoes which suddenly had real6l:ning? The
deep empatlry you felt for those who lost loved ones? Pick out a statement which touches your
emotions. You are more likely to remember an overall feeling tone than actual facts.
hovocation
Was the introduction stimulating? Does the fslk provoke you to want to lea:rr more? Would
you be more or less inclined to visit Mt. St. Helens after viewing this program? What areas of the
slide talk are particularly strong? Notice the choice of active words (firey, boost, surge, pulverize).
Reveal
Infomation
Does the narration reveal the essense of the subject rather than simply provide infor:nation?
Good interpreters take a vast amount of information and boil it down to the essentials. Did you
lea:rr anything new?
Relate to YourAudience
Is the narration conversational? Mt. St. Helens is well worbh a visit. It truely is a fascinating
story. Almost unbelievable. Standing 11 miles from the peak amidst splintered Douglas Fir trees
is humbling. Tim was successful in conveying this feeling.
Developa\ilhole
Is the theme well defined and carried out for the entire program? Evaluate the flow. Was there
a d5memig opening to wake you up and grab your attention? Did Tim take time to relate to your own
interests? How about the use of supporting saemples? Did the conclusion summarize the talk aad
bringitfull
circle?
Interpretation is an Art
Is it obvious that Tim had researched the subject and practiced the presentation? Did the
nanation complement and support the visuals? How could Tim improve his talk? Could the talk
and the slide program stand by themselves or are they dependent on each other?
IUake It Bettertlre Next Time
Evaluate your program and think of ways to improve it. We usually remember the areas of
weakness rather than our successes. Pay attention to the audience response. Were they sitting on
the edge of their seats to the end? Were they bored and restless? Always leave them wanting more.
Are the visuals appropriate to illustrate each point? Eliminate unnecessary or similar slides.
Slides which are out of focus should be removed. The exception to that would be visuals you simply
can not replace such as California condors or tropical coral reeffish. Do you need any additional
slides? How about titles which would help deliver the interpretive message? Review trhs liming of
the program. Was the pace appropriate for the audience? Refine everything. It can always get
better.
Use the following evaluation sheet to evaluate and improve your illustrated talks.
6
Envircnmental hrterpretation Methods
Evaluation and Analysis Sheet
IllustoatedTalI$
Individu al Interpreting
Evaluator
Date
Talk theme or subject
Evaluators: Please comment on each of the following catagories. Include in your comments
examples of particularly effective techniques you obsened and also ways the interpreter could
change the presentation to make
ideas for your comments.
it
more effective. The items listed should be considered a source of
L Use of Principles
Did the interpreter relate to something within the experience of the audience and involve them?
...reveal the essense of the subject rather than simply provide information?
...develop a whole program or only parts and attributes?
...provoke (stimulate, inspire) or simply instruct?
...involve the participants'emotions as well as intellect (the whole person)?
tr. Organization
Did.the talk have a stimulating introduction?
Was there a well defined theme?
Was there a good flow (intro-bridge-body-conclusion)?
Were the illustrations appropriate?
III. Techniques
Did the interpreter use active language?
...use effective voice inflection and articulation?
...relax the audience and make the talk enjoyable uo6
"s\ilar..ting?
...have any annoying mannerisms?
...stand in front of the audience and face them rather than the screen?
...maintain contact with the audience?
...wann the audience up to the subject before beginning the presentation?
Did the talk and illustrations stand alone?
Was effective timing (neither too short nor too long) of the illustrations used?
Were you involved?
fV. Effort
Did the speaker display enthusiasm and care (good quality slides, innovative techniques)?
Were
Was
title slides
it
and black slides used?
obvious the interpreter had researched the subject and practiced the presentation?
MULTT.MEDIA SHOWTIME
Automatelt!
Simple things should be simple;
complex things should be possible.
-Alanl(ay
Slide-Sound Rrograms
Automated slide-sound productions are widely employed when non-personal interpretation is
appropriate. They can be repeatedly shown, thus, reaching large numbers of people with limited
resources. Adding sound s;mchronization to a slide presentation requires more sophisticated
equipment and an additional investment of time and money. The pay offmay be well worth it.
Slide-sound progrems often serve as an initial contact for visitors at an interpretive center.
Travelling westward through North Dakota on Highway 94, wear5r motorists are pleased to see the
sign welcomingthem to Theodore Roosevelt National Park. fire majority of visitors are hurried,
only staying long enough to stretch their legs, and, perhaps get a fleeting glimpse of why this area is
presenred as one of the nations'crown jewels. How tJren, do you capture the visitor's interest and
explain the story of this little known park? A ten minute viewer activated slide-sound program
provides the necessa4r appreciation for the landscape where Theodore Roosevelt rode horseback
through blizzards and blistering heat.
Multi-Media
Multi-media productions combine several media creating a potent presentation package. For
aesthetic impact, no other form of audio visual media can compete with multi-media. Media
possibilities might include high resolution slides, graphics, video, synchonized music, and a
programmed dissolver.
In addition to automated programs, you can manually control the pace of your multi-media
presentation to give visitors a lasting impression. With considerable plnnning and effort, you can
successfully provoke your audience with yolrr message. If you want to produce high qualrty audio
visual programs, and have the money and resources to do so, Multi-media productions should be
considered.
I was skeptical when I heard the featured presentation at a National Interpreters Conference
would be "The DisneyApproach to People Management." After all, what does fantasy and a mouse
have to do with being more productive? One and a half hours later I had experienced joy, sorrow,
laughter, and had been exposed to a proven management system. Granted the speaker was superb;
but, the media selected included computer generated titles, television clips, filmstrips, audio
recordings, and video. Multi-media productions can be quite convincing.
I
Planning Multi-Media Program^s
The following chart simplifies the planning process for multi-media progro-s.
Identify Topic
Audience:
Composition
Needs
Resources:
Time
Money
Scripting
AddingSound
Sychrcnization
There IsNo
RoomforEmr
Producing slide-sound and multi-media programs require an entirely new set of interpretive
skills. Unlike speaker supported programs which can be easily adapted for specific audiinces,
automated progrems must be designed with a broader audience in mind. Good speakers can ,wing
it" in'front of a group. You simply do not have the same luxury with slide-sound-programs. The key
to success, as always, rests in the planning stage. Production errors will be r"perted every time th6
program is shown.
As \Mith every audio visual program, define your purpose clearly before proceeding with any
phase of production. Determine specific objectives of what you will accompiish. Analyze the -
audience characteristics and needs. Survey resources available to compleie the project. Select your
topic, narrowing it down to something relevant and manageable.
Once you determi.l your topic, develop an outline of the m41'or points you wish to cover.
Ttroroughly research the subject. Gather information by talking to employees, locals, and resource
people (i.e. historians, librarians). If possible, get permission to tape
di iot"*i"ws. Direct
"".o"a
recordings can be use,d in the final product; or, you can rena:rate them
yowself. euotes from
"authorities" add credibility to your program.
I
Pic'ture Ever5rthing in Your Mind
Get comfortable. Take a few deep breaths. The creative process begins when you shut your eyes
and envision how you will communicate y_our
ldeas. Imagine the visual images, tire sound Lfects,
the narration, indeed everything you need to deliver your interpretive package. Be alert and open to
new possibilities. Ifyou see apromising photographic opportunity, or hear a piece of music which
might fit your program, jot it down. At this point you are only limited by youi own imagination.
Which Comes Firsq the Nanation or the Visuals?
Some people prefer to write the narration first, then select matching visuals. Others, arrange the
visuals first, then attach a narration. Ideally, you should plan the visual and audio portions
simultaneously. Both elements are symbiotic in nature, interdependent. They should complement
each other. The narration provides the general information while the visualsillustrate rp"Afi"
examples.
Scripting
Get
itllovm onPaper
Automated slide-sound productions need concise planning and scripting to be successful. Do not
try to satisff your vanity by including answers to every question in an introductory program.
Instead, whet your audiences' appetite to learn more about the site or topic on their own.
Refer back to the program purpose. Now, turn your imagination loose. Brainstorm! If you find
yourself getting mental blocks, take a walk, split wood, go for a run. Often the incubation process is
aided by seemingly unconnected physical activities. Return when you are refocused on the task.
Write down every idea you want to communicate on a 3 X 5" card. For each idea, scribble a quick
sequence of sketches which develop and clearly illustrate the idea. Drawings work better than
words at quickly conveying an idea. Plan visuals which show the idea. For example, if you want to
encourage participation in winter recreational activities in northern Mi''nesota, includepictures of
people cross country skiing, snowmobiling, ice fishing, and winter camping. Do not just iell
viewers what you offer, show them. Make a note of accompanying words for each visual. Later, a
more detailed narration can be written for each card.
Place the 3 X 5" cards on a table or tack them onto a piece of corkboard. Make additional sketches
of other visuals you want to include; you can always edit them later. Group and arrange images
into possible sequences. Organize the flow into major sections including an opening, th" body-,
transitions, and a closing. Remember to use pencil and number your cards incase your three year
old topples your planning board into the bathtub. Lead can be erased and will endure exposure to
unexpected weather conditions.
50
WritingfortJreEar
People do not listen well. We are trained to read, write, and speak in pubtc, but not listen. We
perceive and pmcess roughly one fourth of what we hear. The mind easily drifts because we can
listen at a much faster rate than others speak. You have your audiences' attention, now you have to
work hard to keep it. Choose your word.s carefully.
A good script is fundamental to success. It is your description for the entire show, both visually
and aurally. The script is the foundation for your finished product. It is a document which will
change several times before you are done. Base it on solid factual research. Integrate visual and
audio elements of the program when vrriting the saipt. The script should supplement the visuals.
Visuals will illustrate and support the scripting. If planned with care, the script and visual
presentation will blend perfectly together, neither element dominating the other.
Writing scripts for audio visual programs takes some practice. You are writing for the viewer
and the listener, not the reader. With the written word, you have the advantage of being able to make
sure your reader understands the material. Ideas can be developed slowly and completely. With
audio visual programs the idea is fleeting, and thengone. The audience has no time to review
anything which is missed.
An audio visual script must present concrete, specific images of your subject.
Use short, easily understood sentences. Ttre more difficult the material, the shorter the sentences
need to be. SimpliS complex ideas with many short phrases. Sentence length should be 15 words or
less. Vary the sentence length.
Choose descriptive and active language. "Saunter" and "Stroll" are more descriptive than
"Walk." Concrete nouns paint a clear picture
of whatyou are talking about. The term
"Mountains" is nebulous. However, 'Adirondack High Peaks" or "Alabama Hills" convey a
direct message about specific mountainous areas. Minimize your words and let the visuals speak
for you.
Rewrite and refine your script until all the extra fat is trimmed. Mark Twain said "I would
have written you a shorter letter, but didn't have the time." Find the time. Chop, chop, chop.
Be Conversational
Say out loud whatyou want to say, then write it down. Use words which sound natural. Include
contractions (she's, it's, hell) because they sound more casual. Minimize scientific or technical
words. If you must use unfamiliar words, explain them by paraphrasingin simple language. In
the same vein, avoid tongue twisters by using words which are easy to pronounce.
Do not use slang unless you are portraying a historic character who spoke with less than perfect
granmar.
51
Sequence
Your\ilriting
We were taught to write logically. Start v/ith a lead sentence to introduce an idea. Support the
main idea with specifis q(nmples. Conclude with a recap of your thesis.
Tbe traditional style of writing leads to wordy and boring scripts. Tlpically, we start with broad
statements and then narrow down to details. Writing in sequences requires that general ideas and
specifics be mixed at the same time. Cluster word.s and images to express each main point.
Consider how to sequence visuals in telling your story. Bunch similar images into logical
groups to provide continuity. Seasonal cycles or historical changes will naturally benefit &om good
sequencing. Smooth color transitions are also important. Going from bright autumn colors to dull
grays found on a winter day is too abrupt for the viewer.
Transitions between program sections should be subtle, yet clear. Use short pauses, music, or
unnanated visuals to move smoothly from idea to another. Be sure to bring ever5rthing full circle
with a conclusion which ties the progrrm together.
TIre ShootingScript
Plan for maximum visual interest when writing the script. Include specifics on subject,
location, artwork and graphics. Know exactly what shots you need before going into the field.
Deter:nine the desired camera angle and type of shot. Look for images which share a unique
perspective on the subject. Create the desired mood by using warm (yellows, slang€s, reds) or cool
(greens, blues, whites) colors.
Write out direcbions for the photographer to ensure you get the visuals you need to tell the story
completely. Refer to planning cards for specifics. Place a check mark on the planning cards after
the picture is taken. Make photographic notes on cards to help remember details of each picture.
Remember the visuals should enhance the words, not the other way around!
Pacing
your program relative to the complexity of the message and the target audience. Load your
slides and read the script as you manually advance slides. Remove or add words and slides as
needed to tighten up the flow.
Pace
Like all progtams that are well crafted, varJr the pace of the presentation. Include some quick
sequences as well as those that develop complex ideas. Plan to keep slides on the screen for an
average of &10 seconds, but not longer than 20 seconds. Project images only as long as it takes to get
the information across. Balance is important. If the image or idea is more complex, give them
some meat in your words and allow more time for comprehension. Likewise, if the image is
straightforward, don't drag out the narration.
Generally speaking keep the pace brisk. Do not get so wrapped up in technical jargon that you
lose the audiences'interest with a gnnding pace. We have all sat through the excrrrciatingly dull
automated slide programs in junior high science classes.
Edit all unnecessary visuals. Once you pick the exact images you will use, hone the script to its
final forrr. Double check to see that sequences are well developed and are linked by smooth
transitions.
Tlpe and double space yonr finished script. Leave wide margins for notes. Number all pages.
Highlight words which should be emphasized by the namatods). Indicate where you want pauses
and how long they should be. Remember to allow one to two second.s for the slide to advance.
Therefore, place a dot slightly before the corresponding narration to indicate slide changes. Images
seen on the screen should matdr the spoken word. Do not always change the slide at the end of a
sentence. Again, vary when the slides ad.vance.
FinalWords on Seipting
/
A panel of experts (11 youngsters ranging in age from eight to twelve) brainstormed what makes
a script appealing to them. fire following are their recommendations:
. Begin with a catchy title.
o Make your script interesting and exciting.
. Match the music to the scene and create a desired mood.
. Plan different crmera angles for visual contrast.
. The theme or plot should be well defined and have continuity.
. Make transitions smooth and logical.
o VarX ttre pace.
o Provide elements of surprise.
. Include lots of action, mystery, humor, and romance.
. Sprinkle in blood, sex, and violence.
Realistic special effests are best. Include both men and women
voices should be distinct and appropriate for the role.
narrators. Mix their ages. The
For a final test of your script, read it aloud. If you have diffisulty reading the words, reamange
and simpliff them. Tape record your script. If it sounds good and has a nice flow, use it. If you
stumble over words or sequences, revise yow script until you are statisfied. Each word counts.
Remove extras.
AddingSound
Poor sound quahf wrecks presentations. Visitors tolerate marginal visuals, but not distorted
sound. Automated programs cannot have mistakes in the soundtrack. I spent painstaking hours
developing promotional slide-sound programs inadequate for public viewing because of audio
flaws.
Ctreate tJre Desired Mood
The primary purpose of adding sound to audio visual programs is to create a mood.. Your
narration, music and special effects should blend with the visuals to build a memorable package for
your audience. Touch their emotions, challenge their intellect.
UseRealistic Sounds
Choose sound effects that accurately match your visual scenes. Contrary to what the
inexperienced Hollywood naturalists would have you believe, a screeching red-tailed hawk or the
hoo hoo ofa great horned owl is not appropriate for all natural settings.
Music
Match your music to the pace of your program. Dramatic music heightens a scene of wolves
circling a moose in deep snow. Soft, flutelike music best fits the movement of a flitting butterfly.
Choose a variety of music for the different moods of your progpm. Consider geographically
specific music for a program with a regional emphasis.
Music should enter at natural breaks (i.e narration pauses). Only one component of the sound
track should dominate. Narration always takes priority over special effects or music. Do not use
naration over music with lyrics. It is distracting to the listener.
Allow enough time (30-60 seconds) for different music pieces to become established. Avoid using
one piece of music for too long. Use dramatic pauses with short periods of silence. Avoid popular
(top 40) music in your program as it becomes dated quickly. Remember copyright laws when
selectingyour
music.
*,
Narration
when your script has been completelyrevised,
people whose voices fit the message
of your
-sel9ct
program' The statue of Libgrtr interpretivecomplex
has recordings orrctoJim-igrants and their
impressions of first seeing the "Lady of Freedpm'ias they entered frew york
ft"rUor. The idea of
'A Great Melting Pot" takes on greater nssning here th-an in history
uoot. asCJ"-an, Irish, and
Italian decendents speak directly to you.
Mix men and women nanators, people of different ages and voice qualities
if available. If
possible, use direct quotes from resource people to enhaice the program's
credibility. Do not feel a
need to have on-going nanation. The audience will appreciate uninternrpted
silence, background
music, and sound effects. No need to mention things *fti"ft can not be seen
on the screen. Avoid
redundanry when choosingwords. "This is a picture of a I\rrkey vulture..."
W"
Give information about Turkey vultures instead.
"*
see
that.
Plan on multiple takes when you record your na:ration. It is critical to get perfect
a
recording of
the narration from start to finish before mixing in music or special effects.
SpecialEtrects
The emotional impact you have on the audience with be larsely
dependent on how you mix in
special effects throughout the program. My fascination with eusi"ariin
birds remains shong long
after I saw a presentation with masterfully integrated recorded bird songs.
irt"
of elk
=fr*
!3elins og 1fr9str morning is a stronger impreJsion than a discussion olth"
the sound of volcanoes erupting, wina ulowing birds singrng, axes chopping.
*,-a
."*;;;;
i"
Brainstonn ideas to create your own special effects. For example, you may want
to depict the
sound of hail by dropping rice into into a metal pan. or, imitate tire sounds
of n by cmmpling
cellophane. The possibilities are endless.
"
Using a Recording Shrdio
Use the best available equipment whe,n recording your soundtrack. For
top results, contact a
professional or urriversity studio to record yor" n*iiioo, special
effects and iusic. They have the
sound proof rooms, microphones, non-copSrrighted music, *ix"g and tapinf
to produce
--r--E -:--r
flawless
soundtracks.
"fJp."rrt
All public radio and television stations are required by law to allow citizens to have
access to
their equipment if requested. Schedule an appointment with an equipment
technician to ensure
proper recording techniques are followed.
If your location or budget limit you to strict "in-house" AV prodrrction, build your
own recording
rogm' Curtains, sheets or even egg cartons can be used to line walls and mufle
sounds. Sounds
rebound offwall or corDers. Face the narrator away from these areas.
Hang blankets, towels,
whatever to reduce sounds. Use a form pad to cover the table your microphine
sits on.
An important point to be aware of when recording the narration is something
known as the ,,cone
^
of reception." Essentially, the cone of reception is a iarrow angle in
front of a m-icrophone which
receives sound waves. When you are recording_a script be surJthe narrator(sy
speaks directly into
the mierophone' otherwise, the sound level.lill or"y'.""rtirg an inconsistent
r6cording. If using
two or more nErrrators, either provide one tricrophonl per p"".oo, or, have
the namators consciously
move in front of the mictophone before speaking.
&
SoundEquipment
Microphone
Use a good one. A heart shaped mike picks up sounds from in front but reduces incoming sound
from the rear or sides. These are preferrable because they pick up primarily the sounds you desire.
An omnidirectional mike will pick up sounds equally from the front, back, and sides of the mike.
Bidirectional mikes pick up sounds from the front and back, but not from the sides.
Reel-to-Reel Tape Recorder
The standard and accepted low cost method for recording music, nanation and special effects is
to use a reel-to-reel tape player. The reel-to-reel tape format mi4imizes background static noise.
Rewinding and mixingyour audio elements will be much easier with a reel-to-reel format than
with a cassette format. Once a reel-to-reel master is cut and sychronized, cassette tapes can be
copied and used to drive your multi-media presentation.
Cassette Tape Record,er
Cassette tape recorders can be used for the soundtrack
ifa reel-to-reel system cannot
be obtained.
firere is lots of readily available equipment which will provide adequate sound quality. Many
home stereo systems have dual tape players which enable you to directly record from one tape player
to another. Be forewarned that getting a professional quality soundtrack with cassette equipment
will be an elusive proposition.
Compact Disc Player
Compact discs provide the highest audio quahff of any mediurd. Unwanted background noise
can be removed from the disc with precise elestronic editing. Unfortunately, compact discs cannot
record material, yet. Certainly you can use naration and special effects from a reel-to-reel or
cassette tape and mix it with music from a compact disc (with permission) onto another tape.
Digital Audio Tape Player
For the techniophiles
'mongus, the arival of digital audio tape (D.A.T) brings a new level of
audio quality to our lives. They have every bit the sound quality of compact discs, but will allow
users to record and edit professional quality audio material at home.
Mixer
A mixer enables you to superimpose sound from two (or more) tape recorders onto a single tape.
One tape recorder feeds the music into the mixer, one tape record.er provides the nanation. A third
tape recorder can be used to receive the output from the mixer. You can softly play background
music to complement the narration, fade in special effects over dramatic music, or blend two pieces
of music together and then add your naration and special effects. You are limited only by your
imagination and patience.
Ttre best type ofunit is a multitrack recorder. These cassette recorders have four stereo tracks
and internal mixing. You can record nanation on one track, music on another, and combine all
sound elements onto yet another track on the same machine. These machines cost about $600.
Creating a mixed soundtrack takes a lot of hard work and attention. Take your time and keep
your spirits high.
55
I
I
l_
MixingYour Soundhrack
AIter your nalration, music and sound effects have been recorded, it is time to mix them
together. firis can be a painstaking process. Record the narration completely first. Remember,
must be timed to the desired pace ofyour program. Now you have several options:
it
You can leave your narration by itse$ sychronize the words to matching slides, plug in a slide
projector and a tape recorder and show your program.
Secondly, you can t'nkls in background music and play it continuously throughout your
slide-sound program. For a single projector or a simple two projector program this is an acceptable
option. Nothing fancy, but it does add a nice touch.
Thirdly, you can carefully mix and sychronize your namation, sound effects and music into a
potent communication package.
.
Check the output and input Ievels of your recorders and mixer.
.
Connect all patch cords.
'
Be sure your nanation and music tapes are edited and timed to perfection.
. Make
a cue sheet to indicate where music fades
in or out.
. Put the narration tape in one record.er. When the leader of the tape
reaches the playback head, stop the tape with the "pause" botton. Set the counter at "000."
Play the narration and note the numbers where you will mix music. You may need to
rewind the tape and repeat this process a couple of times to be sure.
'
Record your number sues on the cue sheet. Remember to mark your cues slightly before the
desired effect.
'
Check all volume controls on the recording equipment for proper adjustment. I
recommend several practice runs before you do any mixing. Are you satisfied with the
sound level? If not, make the needed adjustments before proceeding.
. Rewind the tapes. Start
the tape record.ers one at a time.
'
Start the recording machine (push "record"), when the leader crosses the recording head,
release the "pause" botton on your narration and music tape recorders.
'
Watch the counter on the narration tape recorder. Raise and lower the volume on the
music tape recorder at the desired cues.
'
Rewind the nixed tape. Is it flawless? If your timing is off, rewind both original tapes to
where the eror occured, and record again. It may take several runs to match all the
elements of your soundtrack to perfection. Allow many hours to produce a high quality
soundtrack.
o Next, rewind your completed mixed tape and set the counter
. Play the tape
at "000."
and make a note of cue numbers for special effects.
o Repeat the whole mixing process for special effects.
56
S5mchrcnization
After your soundtrack is completed and the script is marked for slide ad.vances, you
are ready to
synchronize the pulses which automate the final package. Run through the slide program
several
times to be sure the cues are exactly where they shouldie. Recall that the cue to advance
a slide
sfrould appear on your gipt sheet slightly before the slide will appear on the screen.
T1.e narration
should match the visuals
The most commonly available s5m.chronizer is Wolensak@ made by the 3M
Corporation. It
allows you to record inaudible pulses on the master tape. Connect the synchronizer
to the projector.
Put the synchronizer on the "record"
-o99. _Individuai synchronize", *uy read. "program,,,
"s5mch," or something other than "record." Push the "play" button
and the tape witt begin.
Follow along with thescript and push the pulse button at the appropriate cues. This will advance
the slide. You will hear the pulse tone, but it will be silent when the tape is ptayea back. If you
miss a
sue or place one in th9 w"ong place, relax, you can correct it later. Make . t otein the
scripfwhere
you made mistakes. Continue the tape and record your cues throughout the rest
of the prolgram.
Rewind the tape to just slightly before where you miscued. Again, put the s5rnchronizer into
record mode. All pr-evigusly recorded pulses will be erased when the record moie is on. play
the
tape and repulse only the cues which are not correct. When the conections are made replay
the
entire tape with slides to be sure everything is synched just as you want it. Repeat the
if you
still have errors in the cueing. If you really messed op,ltutt the tape tom theblginningiroiess
and do ii
again.
lVlake lhrplicates!
My first slide-sound production proved to be a valuable lesson in what not to do. Two partners
I compiled sJides, music, sound effects, narration, and quotes into a reasonably solid
irogram
on John Mrrir. We presented the slide-tape program as a final project for a class and
then made a
serious mistake. In our haste to return things, the program was dismantled! All that
hard work
and nothing to show for it.
and
Duplicate all your slides, titles, soundtracks, master tapes! The couple extra dollars is well
worth it.
57
Multi-Media Pnesentation Equipment
Pla),backEqui'ment
For the most basic slide-sound programs, s5mchronizers can be used to play the master tape to
drive a single projector automated show. The primary advantages of this arrangement include:
less equipment investment, ease of travel and set up, and fewer equipment variables. A major
drawback of a single projector show is that the transitions between visuals is not smooth.
Most of the hard work is already done and it would benefit your presentation to add another
projector and a dissolve unit.
UsiagaDissolve
Dissolve units enable you to hook up two (or more) projectors to your slm.chronizer. The pulses on
your master tape are sent to alternate projectors creating a pleasing transition between slides. The
illusion of animation is possible as you fuse together similar slides. For en unsophisticated
audience, they perceive the effect created by a dissolve unit as sheer magrc. Tbue, it can be a hassle
setting up multiple projectors and a dissolve unit; but, if given the option of available equipment, I
would never use only a single projector for an illustrated talk or an automated slide-sound
program.
Most dissolve units come with a fixed rate of dissolve. Perhaps you can select one, tilro, three, or
five seconds. Maybe "slow," "medium," and "fast." Compromise and generally select a middle
speed.
Ideally, a dissolve unit should enable you to advance slides automatically or manually.
Manual advancement gives you the option of variable dissolves found on higher priced equipment.
Computer Pnogrammers
So you want more creative options than a fixed rate dissolve unit offers you? Computer
progrem6gls open up the world of high powered Multi-media productions to the common person, if
you can secure access to the equipment. This stuffis not cheap, but if you are really in the business
of producing and presenting the highest quallf audio visual programs possible, then make the
investment.
fire options and sophistication are almost too numerous to list. You can get programmable
dissolve control with variable dissolve rates. Maybe you want a four projector snappy montage
a slide series of river rafters at rapid pace, then desire to slow down the pace showing a moon
raising over a ridge, and finally, taking 15 seconds to fade your final slide of a sunset offthe
with
screen.
Perhaps it is a nins plsj6gtor animated program with 64 rates of fade as the cartoon characters
play out a melodrama about solid waste disposal. How about spreading the people and the places of
the Ozark Mountains across 300 square feet of projection surface? Mix in sterophonic sound, 12
projectors and nine hundred slides and you have a memorable event.
Computer programmers simpliS the process of complex programming. If your budget allelpg,
and your objectives desire, purchase a programmer with memory, playback capabilities, stereo
sound and variable dissolve rates.
58
The Day of tlre Slrow
Check all equipment. A:rive early. Set up equipment well in advance of the starting time. Run
showing. Have backup equipment, slides and tapes ready to go. You have invested a lot of
time and money to get to this point.
a practice
Make sure the projected slides are aligned properly and the edges match up, both vertically and
horizontally. Adjust projectors and lenses as needed. I recommend stacking projectors on a
commercial or homemade rack. If a vertical rack is not available, then place your projectors as
physically close as possible.
Is your audio tape loud enough to be heard throughout the room? Are your slides properly
synchronized with the audio tape? Be sure you know which slide projector the first pulse will be sent
to. Otherwise, you are sure to be embarassed when each and every slide is out of sync throughout
your entire program.
If the program does start on the wrong slide, stop immediately. Your audience will understand a
restart, but not a program with mismatched audio and visual portions.
Non Automated Mutti-Media
Slide-sound programs do not have to be automated to communicate the desired message. In fact, I
have seen some powerful presenters use multiple projectors, dissolves, video clips, music, and live
naration to present their information. Bill Hammond, Environmental Education Specialist for
Lee County Schools (FL), presented a multi-media program with an unusual format. Instead of
matching his slides perfectly on the screen one at a time, he projected two contrasting images at the
same time in different parts of the screen. The two images would be polar opposites. For example he
might project a picture of a newborn baby and a staving child at the same time. Or, a lush forest and
a recent clearcut. His point was to get us to think wholistically about the environment.
Usinglive Music
The two most memorable programs I have seen were s5rnchronized to live music. One was on
whales, the other about raptors. The slides were manually advanced to match live background
music. Each image illustrated the lyrics. The impression of these two presentations stays with me
to this day.
The following slide-sound program was used as a closing at Woodleaf Outdoor School. Rusty, a
red-tailed hawk wounded by a gunshot, had been visited by students during the week. The songis
written by John Hendrickson, Program Director.
59
Special
Ef f ects
Slow f ade
ter
starts
af
Lyrics
Visual
muslc
She slts In the
morn
lng and
preens
Rusty
on
slrt Ing
perch,
preening
1
She sits In the evening and dreams
Rusty with
ouds
supet- lmposed
In backg ro un
cf
2
Of the days long gone by
Hawk f lylng
su p€t- lm
posed
on
over hawk
nest
3
Of the days
when
she could fly
Top vlew
of hawk
flylng
4
On mighty wings she flew
Hawk flying
5
Hig
h above the clouds and trees
Cloud and tree
sup€t-impose
Leave #6 on screen
Slow f ade #7 on top
Slow f ade #6 ofl
6
Llke a feather, she played
ln the morning breeze
Feather in
the
sky
7
But, that was long ago my f rlends
in tree
sunset
Hawk
at
8
60
Special
Lyrics
Ef f ects
Rusty slttlng
For now she can not lly
on
perch
I
And the questlon she's asklng
you
Closeup of
Rusty's
head
(sldevlew)
ls can you tell her why?
M
usic
low
Rusty
Rusty
perch
on
and stares In to
Closeup of
Rusty looking
up
the deep blue
blue
lade
sky
Far above where famify llys
61
I
stra lg ht
ahead
Closeup of
on ly
She sits
S
Husty
staring
Clouds and
sky
Bald
eagle
wlth ctouds
and blue
sky
Special
Lyrics
Ef f ects
On mighty legs she
Visuaf
stands
understand
Her
t and genile
But that
was
For
she can not
"Can
you
cu
ways
long ago my f riends
And ths question
she's asking you
talon
Rusty with
Just wondering if
you'lf
now
Rusty's
ViEw of Rusty
wlth her head
prof e cted out
Tall and proud
sof
Closeup of
f
ly
ls
teff her why?"
rlous look
Rusty ruffling
her
feathers
Rusty on
perc
Closeup of
Rusty
Rusty with
kids In
background
Closeup of
Rusty
24
Special
Etfects
Lyrics
Visuaf
Closeup of
Music only
Rusty
(sldevlew)
25
I
hope there'lf always
Roug h-legged
hawk ln tield
26
Hawks
Red-ta lled
up In the sky
hawk f lying
27
And you
ch
ildren will
see
Bald eagte
catching fish
28
The eagle ftying
Bald eagle
by
flight
In
29
And,
M
hope
er
lin
mantling
30
u
ndersta n d
Hawk tied on
barbed wire
fence,
sunset
31
Hawk
sillouetted
tree
32
in
Special
Lyrics
Ef f ects
SIow fade #32
of f
Visual
And live wlth the birds
Baf d eagle
tree
as planned
Then, t'm sure we
There's a better
And, the question
she's asklng you
will
way
ls
"Vl/hat can you do?"
see
In
Closeup of
Rusty
Bald eagle
ralnbow
Rusty and
awK w
"VVildlife
an
kld
Need
You"
super-lmposed
in backqroud
Slow f ade
#37
lnto
#38
Yes,
Slow fade #38
lt
depends
on
you
Hawk with
blue and gree
clouds ln
background
of f
ft all depends on
u
you
BIack slide
Evalrrate the Progpam
Always review your efforts. Can it get better? The following evaluation sheet will give some
ideas for improving your multi-media presentations.
Multi-Media Evaluation Guide
Title:
Presenter:
Evaluator:
1.
GOALS: Are the goals clearly evident during the production?
of having carefully analyzed the audience?
Does the production show evidence
Comment:
2. PI{OTOGRAPI{Y: fn general, do the elements in the pictures convey the intended message
without distraction? Are they sharply focused and properly exposed?
Comment:
3.
COMPOSIIION:
Do the pictures effectively "deliver the message"? Is there appropriate use
camera angles,long-shots, medium shots, and close-ups?
Comment:
4.
of
VISUAL MESSAGE; Do the visuals give evidence of careful planning? Do they logically and
smoothly unfold the message as stated in the goals and tie in closely with the script?
Comment:
5.
TITLE SLIDES: Are the title slides appropriate to both the audience and goals? Are they legible?
Interesting? Readable? Colorful?
Comment:
6. SOttND TR.ACK: Does the narration add to the production so as to tie the visual message together
and round out the story? Is music or sound effects effectively used?
Comment:
7.
SCRIPIING:
Is the script active, varied, interesting, and appropriate to both the audience and the
goals? Are the word choices appropriate and visualizable? Were effective communication
techniques used (i.e. reviews, active involvement, etc.)?
Comment:
8. ORGAI.IIZATION: Is the development clear and logical? Are the transitions smooth? Is the
sequencing and continuity strong?
Comment:
9-
PACING: Is the production
paced appropriately? Does it avoid boredom? Too much speed? Too
much sameness? Are both the infornration and the moods allowed to develop fully and be
maintained?
Comment:
r0. COMMUNICATION: Does the presentation effectivety fulfill its communicative purpose?
Comment:
Multi-Media Planning Checklist
Planning
.
Deft.ne the purpose and objectiues. Use three or four objectives.
What do you want the audience to {9 after seeing the presentation?
. Audience choracteristies
.
Age groups?
How much do they already know about the subject?
Beliefs and prejudices?
What does the audience need to know?
Select the medium
Pnehcoductim
. Determine how to best present content
.
Outline the content
Script outline: narrow the focus
. Develop a storyboard
Shots, graphs, titles, alongside script outline
Estimate number of slides
Deterrnine the length of show
DMde by an average length of time (8-12 seconds) that each inage will be on screen
Estimate number of slides to shoot (Approximately 4 shots taken:l selected ratio)
hoduction
.
.
.
Reseorch subject
Cornplete writing script
Check eristing sli.des
Make a list of slides needed
Order arbwork and graphics
a shooting script
. Scoutlocations
. Shoot photos on shooting script
. .4ssemble presentation on light table
. Produce soundtrack
Narration, Music, Special Effects
Production/lVlixing
. Sychronize
.Deadline
. Distribution?
. Eualuation
Revise, upgrade as needed
. Prepare
'Tfhat Will This Cost Me?'
A lot of time if you do everything yourself. Money if you hire professionals.
Consider the following examples:
r
.
Bruce Thompson of the Teton Science School produced his own Grand Canyon Odessey, a 60
minute synchronized slide-sound production with music and personal quotes. Bruce figures
he has spent roughly one hour of production per minute of finished time. That estimates
conservatively to 60 hours of work.
John Veverka and Associates of Lansing, Michigan charge approximately $1,000 per minute
of production. That includes scripting, photography, narration, mixing the soundtrack,
and synchronization. Do you have $15,000 for a 15 minute production?
. Chuck Morkin Enterprises of Green Bay, Wisconsin developed a slide-sound program for
a historical fort museum. The cost was $fSOO for a seven minute program.
The more you cau produce "in-house" the cheaper your final cost will be. Kodak@ provides a
handy sheet to budget your estimated expenses. An abbreviated version appears below.
Multi-Media Budget Sheet
Program Title:
Coordinator:
Script
Planning Meetings
Research
Materials
Writing Fee(s)
Approval Meetings
Duplication
Travel (include transportation & lodging)
Photograe\y
Photographer
Assistants
Artist
Film
Film Processing
Studio
Models
Location/Travel
Equipment (rental & purchase)
Props
Art
Planning Meetings
Finished Art
kroduction
Editing
MountingMasking
Slide Preparation
fitle
SUde
Slide Trays
Recording
Namator(s)
Select Music
EditingMixing
hogramming/Cueing
Studio Rental
Music/sound Effects
Master Tape
PreviewdApprovalslPnesentation
Meetings
Sehrp
Teardown
Equipment (rental & purchase)
Travel Expenses
PostProduction
Filing
Mailing/Shipping Costs
Distribution (duplicate tapes, slide sets, slide trays, packing materials)
67
SOUND AhID MOTION,
TOGETTIER
nfiakingtheVideoffiion
Video does not lie or distort. Everything is in plain view.
The beauty of video rests in its tmth.
-Jim
Presbury
\lideo
Motion and sound are dramatic. Video is the medium of choice for many interpretive centers.
Video is used for public relations, employee training, recording special events, and evaluating
interpretive programs. The initial production cost for a professional quality progrern is higher
than a slide/sound progrem, but shipping costs and the ease of operation makes video an a-ttractive
option for interpreters. Improvement in equipment quality and more competitive pricing are
encouraging signs for the video market.
The Miami (Ohio) River Area Ar:rry Corps of Engineers staffuses video to train seasonal
in properly handling a variety ofinforrration duties. Interpretive naturalists are first
shown an improper way to handle a public contact scenario. The staff is then taught a more
appropriate way to respond to the hypothetical situation. Because the video is locally produced by
Corps personnel, it is quite spontaneous and humorous. Costs of training seasonal staff are
reduced. However, the level of employee motivation increases as the video breaks up the inservice
regimen.
employees
How do you convey the essence of all your public educational programs while also capturing the
unique features of your site? Start with participants ranging in age from eight to eighty, mix in a
six week high school field ecologr course, school programs, college level natural history workshops,
and nestle them under the spectacular scenery ofthe Grand Tetons and voila! you have a video
produced by the Teton Science School. Face it, your audience (especially kids) is hooked on video.
Simultaneous motion and sound has appeal. Interpreters can not afford to be left behind.
You're an Expert!
That's right. You already are an expert on video. We have all spent many hours watching
documentaries, news progtams and sporting events. You know what you like in video. More
importantly, you have a good sense of what you don't like. Poorly produced, low budget
commercials stick out like a sore thumb. You know when something is just not right. It might be the
scripting, the sound or the qualif of the footage.
Remember those semiannual festive visits with neighbors who subjected you to their brutal home
videos? Everything was poorly done and you were too polite to say so. T'he only saving grace was
that these videos were a sure fire cure for insomnia. Remember these lessons as you begrn your own
video productions.
68
Watch andleamfrnom tlre Best
Every time you watch television you leam about video production. Pay attention; be alert for
subtle techniques that make something appealing to you. Professionally produced shows will
definitely teach you right from wrong.
Notice how how each idea is presented to you. Make notes of the types of shots used. Chart the
location of the co-era(s). How long is each shot used? Learn how slight movements of the camera
can enhance or detract from a shot. Be aware of timing and lighting. Sound is so essential to the
success ofvideo productions. Evaluate how sound effects are used to enhance the video.
Take some time to shoot your own video. Compare your work to the pros. Learr the lessons
offered by those who have the expertise, equipment, time and resources to make first rate pnogrAms.
Do not expect your productions to be at the same level. Rather, incorporate their techniques to make
your productions better.
IGep it Simple
Joseph Cornell, author of Sharing Nature With Child,ren,shares a delightful activity with
workshop participants called the "Human Camera." Workingin pairs, one person closes their
eyes and becomes the "camera." Ttle partner is the "photographer" end carefully guides the
"canera" in search of pictures. Once given a cue, the "canera" opens their eyes (shutter) and
records the image in front of them. To this day several images recorded years ago still are etched in
mymemory.
Your video camera is just like your eyes. It commits images to memory. Keep your video
projects simple. Most resource professionals are working with a limited production budget and will
benefit by using proven, effective techniques. Certainly strive for top quality in everything you do,
but not at the expense of overusing complicated techniques.
TellaStory
We all have a story to tell. It might be the geologic story of shifting sand dunes or migration
patterns of wintering elk. Focus on what you do best and what your visitors have come to learn
about.
What Steps ane Necessary?
First, have a vision of what your production will entail. Jot down rough ideas and visual images
you need to accomplish your goals. Evaluate and refine your outline, storyboard and script. Seei
feedback from others as you develop your video. Use the videotape evaluation sheet as a
pre-production tool to refine your entire production before you shoot the necessarlr footage. Take
some time to look through the Teton Science School video script sheet and evaluate if it meets its
desired purpose.
@
Teton Science SchoolVideo Ssipt
NMON
VISUAL
Jackson Hole, Wyoming.
Grand Teton National Park.
Yellowstone National Park.
Winter scene, Jackson (Pan)
Yellowstone River.
Teton Science School emblem
Extraordinarily beautiful
wild lands.
Home to one of north america's
richest wildlife populations.
Bison
Beaver
AIso home to Teton Science School.
Kids in field with instructor
Founded over 20 years 8go, TSS is
an independent, non-profit school
teaching natural and
environmental sciences in the
Greater Yellowstone ecosystem.
Ted Major
Roger Smith
High school grrl
Grand Teton National Park,
Yellowstone National Park
and the surrounding ten million
Snake River overview
Geyser
acres of wildlands is our classroom.
Fly fisherman
Through a lease agreement with
the National Park Service the
science school operates in Grand
Teton l.Iational Park on what was
once the Ram's Horn Ranch.
Teton Science School Sign
Pan the buildings
Today, ranch buildings are still in
Main lodge
use including the historical main
lodge which houses administrative
offices, a dining room and kitchen,
and a 2000 volume natural science
library.
Cabins
New Cabins
.
Comfortable new housing for staff
and students is conveniently located
across the ranch campus.
The science school is justifiably
proud of the new major field
labratory. Named for the school's
founders, the building houses a
fully equipped science labratory
as well as the Murie museum.
A unique asset to the science school,
the Murie museum contains over
three thousand remarkable natural
history specimens, and the highly
valued freld journals of noted
naturalists, Olaus and Adolf Murie.
The science school offers a variety
of stimulating program s.
Pan site with
Tetons in background
Woman approaching
lab/museum
Kid using microscope
pH test kit
Woman with bird mount
Kids studying specimens
Teacher showing feather to kids
Woman at chalkboard
70
AUDIO
Music
NARRA'TION
From one day to six weeks in length,
the courses are intended to be a
\rISUAL
Backpack group
Iearning adventure for students of
all ages.
All of our programs share two
Intern with student
common ch aracteristi cs.
They are taught by a highly
professional staff.
And they are conducted amidst some
of the rnost magnificent scenery on
this planet.
Instructor with notepad
Waterfall(pan)
Jackson Lake
Eagle in tree, Moose
Our youngest students begin in
Jtrnior Science School.
Students studying river meander
The Junior Science School is a day
program offering a different science
or art theme each week during the
summgr.
Young student
Be it nature photography or flowers,
animals or rivers, our junior science
students learn first hand that
knowledge of nature is fun.
Seed head
Geese
Group going toward bridge
"Get ready."
Three students in water
"That was about 8 feet."
Kid calling out surface flow
measurement
"3 fegt."
Another measurement
"Here's the bridge. This gives you
an idea of pretty rnuch where the
Instructor reviewing the activity
Instuctor in field with group
surface flow is."
"Lift it up like that."
Kids in water with seiner
'"Wow, w€ got a lot of stuff."
Kids looking at seine net
"Look at this one."
Kid pointing to bog
"That's something I'll have to look
up. I don't know..."
Beaver pond
Bison
Geyser Bubbling
Teton Science School invites
organizedgroups to stay at the
school in any season and learn the
natural science of this fascinating
People on broadwalk
Women with binoculars
Geyser
Black bear
arga.
7L
AIJDIO
NMON
\rISUAL
Elementary, Jtrnior High, High
Kid
School, or adult.
Women
We are eager to put together a
program that will suit each
groups' objectives and interests.
Two backpackers
Canoeists
Group in field
Circle of students
Each season in the Greater
Yellowstone Ecosystem offers unique
Winter Storm
The annual progression of plant
flowering.
Dead skunk cabbage & Mtns.
The migration of large mammals.
EIk in snow
Here, in Jackson Hole each season
is played out in magnificent detail.
tlo*
Clouds
possibilities for learning.
Grass stalk
Mtns.
No time of year is more beautiful
here winter.
Aerial winter shots of Tetons
At the Teton Science School we are
proud of our pioneering winter
ecolory programs.
G?oup skiing
Students of all ages put on their
cross cotrntry skis for an up close
look at a special environment.
Kids on skis in woods
Peaceful.
Backs of kids heads
Full of new challenges,
new understandings.
Snow cave
Skiers in aspens
Each season has its' special
phenomena.
Elk on crispy autumn morning
uphill
Your group can join us at Teton
Science School in exploring these
wonders.
But, perhaps you are not part of
a group.
Teton Science School invites
organized groups to stay at the
school in any season and learn the
natural science of this fascinating
area.
Teton Science School has several
very rewarding programs for the
individual who is looking for an
Woman with journal
People on broadwalk
Women with binoculars
Geyser
Black bear
In
structor teaching botany
unusual learnirg opportunity.
T2
AT]DIO
NMON
\ZTSUAL
An opportunity to live, and learn,
and earn academic credit in an
environment of unparalleled beauty.
Yellowstone scene
Our adult field seminars, many of
which are university accredited,
offer a special learning experience.
Elderhostelers
Several courses are intended for
teachers and provide an assortment
of new ideas and activities for the
classroom.
Many Teton Science School students
study with some of the most
respected scientists in the world.
Instructor and student in stream
Here, Dr. Luna Leopold teaches a
river channels.
Leopold at chalkboard
AII of our seminars are field
oriented with emphasis on direct
contact of the subject of study.
Group exploring stream
class on
it the Geysers of Yellowstone
or some of Jackson Holes' amazing
Be
Geysers
wildlife.
Bison
Eagle, antelope
Moon
During the summer we offer three
separate programs for junior high
and high school students.
Kids on bench
Junior high field ecology provides
the student aged Lz-L4the chance
to spend thirteen days exploring
Group of students in field
Jackson Hole.
will hike, backpack, canoe and
along the way, students learn about
geology, plants, animals, ecolory,
and how natural systems are
We
Closeup of backpackers
connected.
3 backpackers on trail
Fungus on log
Stream
this is hands on learning with
Ducks, trees
plenty of time for fun.
Kid overlooking lake
Field Biolory is for L4-16 year old
Students in field
students.
Field ecology, a similar but more
advanced program, is for 16-18 year
Head instnrctor with students
olds.
Kid cooking
Bolh programs are six weeks long,
and academic credit is available.
Instructors reading
Only 30 students are accepted.
3 lcids
B
in field
AUDIO
NARRATION
VISUAL
Each course is challenging and
interesting as students learn by
doing in our beautiful outdoor
AIJDIO
Student boring a tree
classroom.
With a 4 to 1 student to teacher ratio,
our teaching staff can offer a
thorough introduction to the field
sciences from geolory to ecologF.
Instructors
Kids in lab (Pan )
Students are encouraged to use
the lab and museum facilities to
explore ideas and try out new
Kid with microscope
Close-up at microscope
Recording notes
T\ro kids on bench
approaches.
We believe in using our most
trnique asset to its'fullest.
Artist painting Tetons
And that is our access to one of
north americas' most exciting
natural areas.
Hikers in Tetons
Kids on rocks
Students spend most of their time
in the field, including several
enjoyable backcountry and canoeing
trips.
Canoeing
A lot of work and cooperation is
needed to prepare for the
backcountry.
Kids in kitchen packing food
But, once you are on your way the
fun and challenge have just begun.
Unloading van
Kids hiking up trail, reading map
Instructors
Kids backpacking
Setting up tent
Group eating
An important part of our high
school summer programs is
student research.
Kids with gear
With help from the instructors,
participants conduct a unique
research project of their choice.
At the conclusion of the course
our students report their findings
to a gathering of scientists,
conservationists, friends, and
family.
When the time in the field,
backcountry, and lab has ended,
our graduates take away not only
a greater knowledge of the natural
sciences, but also many wonderful
memories.
Setting up a transect line
Student presentation
Audience clapping (pan)
Kids hugging
Gift exchange
74
Change of Music
NffiON
\rISUAL
Memories of time spent with new
friends, living and learning in
beautiful places.
Sayrng good-bye
Many of our students say their
science school course was the
highlight of their high school years.
Kids smiling in field
"I'd like to think of it though it is
ending tomorrow as it actually is
a beginning. It's completely positive.
I'm just really glad I came here.
Kid speaking
Writing in journal
I really appreciate it."
"I think I'll definitely think of it
as a great positirr" .*perience that
could shape my life."
Students lookin g at crane
Kid juggling
Teton Science School - People of all
the lower 48 states.
Kids in field
Parent and kid hiking
Waterfall
Snake River and Tetons
Join the science school community.
Group rafting
You will never view life the same
way again.
Cranes landing in marsh at strnset
Tetons and foliage (fade), credits
in all seasons learning science
in the most beautiful wild corner in
ages
Teton Science School aerial view
75
AI]DIO
Videotape Ehzahration Sheet
Evaltrator:
Date:
Evaluators:
Please comment on each of the following questions. Include examples of particularly
effective techniques and also ways the production might be more effective. Feel free to make
suggestions on this page (use the back if necessary.)
L
Orgarrization
Does the script have an appropriate,
stinulating opening? closing?
Are the transitions between sections smooth?
Is the sequencing logical and stmng? If not, how might
it
be reamanged?
II. Content
Do the visuals correspond well to the narration? Do they effectively "deliver the message?"
Are any sections too long? What should be removed?
Is the information presented clearly arrd accurately?
IIf.
Language
Does the narration use descriptive, active language?
Are the sentences short and easy to understand?
Does the language address the desired audience?
fV. Goals
Does
this production achieve its goals? If not, what is missing?
76
Eqrripment llfiattere
You will make some big decisions when purchasing video equipment.
do some research and get equipment that is compatible with your needs.
It is imperative that you
Do Yourllomeworik
Get information from several sources before purchasing any equipment. Ask video enthusiasts
want they like and dislike about their equipment. If given the option of "Knowing what I know
now," many people would opt for different equipment Make a checklist of features that are
important to you. Remember, your needs may become more sophisticated with time and you should
choose equipment that allows you to "grow into it."
Visit a few reputable dealers and gather infor:nation about your video needs. If you are diligent
about learning what is available you will be happier in the long run. Test several cameras for their
feel to be sure they are comfortable for you. Compare price. The primary cost factor depends on the
features you choose.
Check the Tbade Magazines
Video equipment has made significant progress and will continue to evolve. Many dealers are
more than wiiling to "dump" outdated equipment on unsuspecting consumers.
VideoEquipment
Purchase the best equipment you can afford. For professional quality results, select a cemera
which has 3/4" tape. Studio editing equipment is geared for 3/4" film. Larger film size has higher
optical quality. However, most VCR's use the U2" format Cnmcorders use L/2" film and are best
for organizations who opt to produce low cost "in-house" videos. It is best to use one film size, rather
than try to record the footage in one size and then convert it to another size.
Ask Questions!
What is the quality of pichrres recorded in low light? Does the camera have continuous automatic
white balance or do you have to re-balance each time you shoot in different light conditions? How
well does the autofocus work? Does the camera have a zoom lens? Can the camera be eoupled with
an edit controller and a second VCR to do electronic editing? Can you add an extension microphone
for picking up sound from a subject at a long distance from the camera? What other features does
the camera offer? Are you going to do professional productions? If so, consider buying a
higher-priced production quality camera (3/4" tape) rather than a consumer-quality model.
Find aVideo Camerayotr are Compatible With
Is it comfortable? Does it fit your hand? The camera should have comfortable access to the
start-stop button and your fingers should fall nahrrally on the zoom control. Is it the right weight for
you? Is it too heavy to carry comfortably for long periods of time? Is it too light to hold steady? Can
you hold it steady? Does it fit your eye naturally? Does your left hand feel natural when it supports
the camera? Can you see clearly through the viewfinder? Can you adjust the eyepiece to make the
picture clear and sharp? Can you adjust the viewfinder for your left eye?
n
Features to LookFor
When purchasing or renting video equipment, consider the following features in your decision:
Comfort - The camera should
be
just as comfortable
on your shoulder as on a tripod.
Ease of Operation - Point and shoot cameras are simple to use. Practice using all the controls
including the zoom and wide angle features.
Ability to Record in Low-light - You will be called upon to develop video in a variety of conditions
and your ctmera should be able to handle as many conditions as possible. Most naturalists need to
produce good video in low natural light condifions. Even if a camera has a low light capability (lux
rating), it may prove advantdgeous to use supplementary lighting in low light conditions. Foi best
results, shoot footage in good natural light conditions. Early morning lighting is the best.
Autornatic lris Control - The iris control sets the size of the lens opening electronically, based on
the lighting conditions. Some cameras allow you to adjust the automatic setting for different light
conditions.
Autornati'c White Balance - Automatic white balance enables the camera to record good quality
color images in any lighting. You should also be able to set the white balance manually.
Manual Focus ' Even though touted as a solution to all your needs (and inexperience), autofocus
is riddled with problems. For one, automatic focus will constantly readjust to whatever is closest to
the camera. Choose a camera that has a good manual focus.
Zoorn Lens - A zoom lens allows you to change the focal length without changing lenses. Be sure
you c€rn also add a wide angle or telephoto lens if desired.
Macro Lens - Macro lenses give you a larger image of closeups than a norural lens does.
Solid State Imaging - Be sure the camera uses solid state imaging and not an imaging tube.
Solid state imagrng gives you sharper definition, better color and greater low light capability.
Ad'iustabte Eye piece - You should be able to use either eye when shooting footage.
PlaybackViewing - This feature lets you find out what is on the tape.
Videocassettes
There are a lot of varieties available
.
Purchase only nnmebrand videotapes.
78
Accessories
Corrying Case - Your camera is expensive and it needs protection from dirt, dust, and
occasional knocks. Choose either a soft or hard cover depending on yonr preference and needs.
Tripod - Buy a sturdy tripod that will support the weigfht of your video camera ( most tripods
designed for a 35mm ctmera rvill b€ too small). The tripod should be stable with a camera on top
even in breezy conditions. Make sure the tripod head will pan and tilt the camera smoothly. It
should also have a quick release so you can quickly detach the camera to do handheld shots.
Spare Battery fur two) - Always take two fully charged extra batteries with you in the field. There
is nothing worse than arriving on location only to find you have no power. Avoid batteries that
require a cable hooked up to the camera.
Spare Vi.deocassette - tikewise, carrJr several blank tapes with you, it's easier to edit than
reshoot. You may run out of tape or have mechanical problems.
Rernote Mike Attachment - Microphones built into cameras pick up lots of
static. Use a filter box
to reduce background noise.
Lights - Use lights that are portable and battery operated.
Clamps can be used to help fasten lights to many objects.
If at all
possible, use photo floodlights.
JustDoIt
Don't delay your purchase. After you have done your homework and are familiar with current
eguipment, go ahead and make your purchase. You can wait forever for the latest technological
breakthroughs and will probably not be able to afford them anyway.
KrrowYour Equipment!
Let me tell you a funny story. One summer while working with a group of young junior
naturalists, we decided to produce our olvn natural history video. We spent many hours preparing
our storyboard and script. Finally, the day came when we would shoot the video. Ever5rthing was
set. We had our completed script and rehearsed lines, we had rented a video, and the day was
splendid. Nobody really knew how to shoot video, but we didn't care. Everybody assumed that
somebody would know how to operate the camera. We figured the red light indicated that the camera
was offand the green light meant that the c€rmera was running.
All the scenes were carefully recorded and the videographer always made sure the green light
was on. To save the battery, we were diligent to turn the camera "off'between scenes. Much to our
amazement, none of our prepared scenes were recorded! We did, however, create a memorable
collection of trailside conversations and enatic walking over rough tenain. The camera recorded
all of our "down time." After gettingover our initial frustrations, we enjoyed a hilarious video of
what really happens with a group of kids in the woods. Try it sometime.
w
SteadyYoureelf
Leam to doWithout aTlipod
There is no question that a tripod is the superior method to get steady pictures. However, it is not
always possible (or practical) to have a tripod and it is essential that you learn to do without one.
Tripods can be a hassle or downright liability when shooting film. Without a tripod you cFyr move
with the action and get more footage quickly. In high winds, even3 tripod will have problems
holding a c€rmera steady. With a zoom lens extended, pichrres can become shaky.
Standingfbee
You are in the middle of a marsh filmingkids collecting field data and there is no object to rest
the camera on. Try this method. Spread your feet shoulder width apart and face the target. Keep
your knees slightly bent. Grasp the handle of the crmera with your right hand. Use your left hand to
steady the camera and operate the controls. Tuck your elbows in toward your body to stabilize the
camera. Take a deep breath and relax. Start to roll the tape. Exhale slowly as you record the shot. It
will be awkward at first, but with practice you will improve.
Support Yourcself
Find something to lean against; a tree, a pole, a building. Use the shoulder not supporting the
camera. Once you are steady, you can adjust the picture in the frame or can pan the camera while
holding it steady.
'Get Your Elbows OffThe Table!'
For once it is better to ignore your mothers' scorning and put your elbows on a table, or any other
stable horizontal object. A park bench or a carhood make a good surface to stabilize the camera.
Place the Camera on a Fllat Surface
Find a sign, a rock, a gate post on which to rest the camera. Take some time to frame the picture
want it before shooting the fibn. Use a small book or a piece of cardboard to raise or lower the
as you
camera angle as needed.
Sometimes a T[ipod is Ideal
If you are going to shoot in one location for a long time a tripod may be perfect for your needs.
Work at a comfortable height. Position and fasten legs securely. Don't leave the camcorder
unattended.
80
Focus
ontheEdhduct
FocrrsFlrst
Focus the cemera before you shoot each shot. This will heighten your production quality and
eliminate wasted video editing in the long run.
Undenstanding D€pth of Field
Depth of field is the distance in front of the camera in which your subjects will be in focus. Depth
field is based on the focal length of the camera lens, the distance to the subject, and the size of the
aperture (lens opening) which is dependent on the amount of light present.
of
The greatest depth of field would be created under conditions with bright light (small lens
aperature), and when the zoom lens set at the maximum wide angle. Everything will be in focus
from a few feet away from the camera to infinity.
Poor depth of field is created when the subject is as close as the lens will focus and the lighting is
poor. This will create a depth of field of only a few inches.
Why Not Just Use Autofocus?
Cameras send out an infrared beam that hits an object and then is sent back to the camera lens.
The time it takes the beam to retura to camera determines the distance to the subject. Autofocus can
create problems that you may not be aware of until you see the videotape played.
Very dark objects absorb the infrared beam and do not allow distances to be accurately recorded.
An$rlar surfaces (or flat surfaces shot at an angle) deflect the infrared beam. Autofocus will have
difficulty keeping small objects away from the center of the frame in focus. The videographer does
not have a reference to what the autofocus is focusing on (like the split image of a 35mm camera).
Generally, the camera focuses on the center of the viewfinder and your subject may be out of focus.
With a predominant item in the foreground, a subject in back will be out of focus. If something
moves in front of subject, the camera w'ill automatically focus on that. When you have a shallow
depth of field, any slight movement will force the autofocus to go in and out of focus.
Do It tlre Old Fashioned Way
The advantages of manual focusing outweigh the minor hassles of concentratiug on your video
work. If done correctly, your images will always be in sharp focus. Take time to focus each shot
before rolling the camera. If you change the zoom setting, be sure to refocus again before shooting.
IWasBomReady
A naturalisVphotographer friend of mine has a simple motto: Always be ready to shoot! He is
forever on the lookout for new or unusual material to shoot. Keep your video camera focused on 10-1b
feet and be ready to make quick adjustments as needed.
81
Whatyou Shoot is WhatYou Get
Editing videotape is tedious and expensive. Make an effort to string together shots that are well
planned and properly sequenced as you shoot them. Proper framing is critical to making your
video work attractive. The following tips will help you frome your shots well.
. Make sure the horizon is level. The subjects and locations should not appear to lean.
r Ensure enough headroom for your subject. Likewise, do not leave too much space above
.
subjects.
Be sure the subject is the appropriate size, not appearing too large or too small.
The zoom lens should be set to the right focal length setting based on the distance the subject
is from from the camera.
Avoid distracting objects in the foreground and background. That includes stationary or
o
moving objects.
Ask yourself if you really want the picture. Does it fit into your desired finished product?
.
r
Being in the Right Place at the Right Time
Timing is everything. It is the key to success in most things. Anticipate what is going to happen
before the action begins. Keep the tape rolling until after the action has completely stopped. Always
think of the viewer and what they would enjoy. They need a couple of seconds of video before the
action starts to understand what is going on. Be ready for action before it happens. If filming
eagles on the Chigat River, you may want to show the eagles roosting, in flight, catching fish and
feeding to show the complete &ama. Highlight critical moments rather than showing boring action
continuously.
HowMuch Time is Enough?
Videotape is relatively inexpensive and it allows you to experiment with new ideas and
techniques while developing your talent. The time to learn what works is before you shoot
something for keeps. With practice, you will begin to establish a good foundation of filmmaking by
being selective with your shots. The amount of time needed on an action scene depends on how
complex the scene is. Simple scenes do not need much time to get the message across. Complex
scenes may need 8-10 seconds to be comprehended by your audience. If you do not allow enough
time, confirsion may result. Too much time devoted to one scene leads to audience boredom.
Generally speaking, the more action in a scene, the more time required. Pick and choose shots to
create lots of interesting segments (instead of one continuous event.) Think of creating a highlight
film instead of a documentary. The exception to this principle would be if you have an opportunity to
film a subject of particular interest or rarity such as an albino red-tailed hawk.
The question of how much time to use for each scene becomes critical when you consider how
(and who) will do the final editing of your video work. If you do not have access to sophisticated
editing equipment then you want to plan your shots carefully to reduce your editing to the absolute
minimum. Ifyou plan to use a professional studio for editingyou should allow a safe margin with
each shot so you can easily edit your film.
p,
mingAction
Only record motion, do not create it! The common mistake for amateur videographers is to
constantly move the camera to capture moving objects. Wrong! Hold the camera still and let the
action speak for itself. Moving the camera to record motion will make the audience nauseaus. To
illustrate this point, film your neighborhood by continually moving the camera. Now try to record. a
series of still and steady shots of the same scenes. The latter effect will be much more pleasing to
view.
Panning
panning is swinging the camera through a scene from side to side. It shows a wider angle than
the camera lens alone could show. Before panning, study the scene and know where you want to
start and where you want to finish. Start with a well composed frame in the viewfinder. Begin
rolling the tape, holding the first shot still for two or three seconds. Then, mahe a slow and steady
sweep with the camera from the left to right acnoss the scene. When you stop the pan, hold the shot for
two or three seconds before pausing the tape.
Try a "dry run" practice before rollingthe tape for the final recording. This will help eliminate
mistakes and perfect the timing of the complete pan.
Following a subject from one location to another is more justified than panning unnescessarily
through a stationary scene. You may remernber the classic lynx and snowshoe hare chase scene
from "The Predators." Ttrat is a perfect exomple of how to follow the action to completely show the
drama of a scene.
7frming
Zooming is changing the focal length of the lens to alter it's angle of view. A zoom gives
emphasis to a subject and adds detail. Zooms can also be used going from a tight shot to a general
scene to add perspective. Before zooming, find an attractive scene and deeide where you want to start
and end the zoom. Frame a wide shot in the viewfinder. Roll the tape and hold the shot for two or
three seconds before starting to zoom into the closeup. When you reach the end of the zoom, hold the
close-up shot for two or three seconds before pausing the tape. Avoid a pan or a zoom on the next shot
if possible.
Pan and Zoom OnIy When Needed
. It is better not to pan or zoom than to use these techniques too much. Too much panning creates a
feeling of motion sickness. Zooming too often is also irratating and wears down the battery more
quickly. You should have a good reason for using a pan or zoom. Use a pan if you can not get
everything in a shot (i.e Grand Canyon). It can also be used to create a mood. I have seen a pan
work very effectively to mimic motion with a still photograph of the Titanic. Remember; record
motion, do not create it!! It is more enjoyable if the majority of the shots are steady.
Edit asYou Shoot
Sophisticated video editing equipment is beyond most people's budget. Careful shot planning
and forethought will ease the process immensely.
Be Concise
With practice, you can learn to provide all the information your viewer needs while also holding
their interest. Say what you want to say, clearly and briefly. Use cutaways, neutral shots, and
match cuts to record events in a fraction of the time and create a smooth flowing video.
TakeYourBest Shot
WideShot
Capture as much of the scene as possible. The zoom lens is set at the widest setting. The wide shot
gives you the best perspective and tells a story about the whole scene.
Medium Shot
Move the zoom lens to a nalrower setting or move the camera closer to the subject. Use the
medium shot to highlight the msin subject while also showing some of the background.
Ifgbf Shot
For a tight shot, move close to the subject or set the lens on telephoto to show detail ofyour subject.
Mixing and Matching Shots
Junp Cuts
Jump suts axe two successive shots of the same scene made at different times. The scene remains
the same, but the subjects have changed or time has passed. Avoid jump cuts by using either a
cutaway or a neutral shot to soften the transition between shots.
Cutawa5re
Cutaways are shots of the same scene from different angles. They create the illusion that time
has passed between shots. Use cutaways between two sirnilar shots to avoid harsh transitions.
Neuhral Shot
A neutral shot is closely related to the subject but is not directly
if used between two similar shots.
a
part of the action. Very helpful
ThelVlatch C\rt
A match cut is the same subject filmed by using different shots. Follow a wide angle shot with ;
of the same subject. Make a concerted effort to have smooth transitionJbetween the
tight closeup
shots.
The SetUp Shot
a
The set up shot clarifies the context of the video. For example, it may include the entrance sign to
familiar park or natural area. The set up shot establishes the proper sequence for the rest ofyiur
footage.
Timing is EverXrthing
Anticipate action before it happens. Use proper timing at the beginning and end of every shot.
Conclusion
Shooting quahty video takes time and practice. With experience, you
editing while using your video camera.
will
become proficient
with
Shed Some Light on tlre Subject
Proper lighting is critical to good qudrty video. Use the automatic white balance whenever
possible. This takes many of the hassles out of using the manual white balance. With the manual
balance you are constantly readjusting before shooting and after any chance oflighting.
Ihe Color Pur1ile (and Other Colors
of
Light)
Natural daylight is created with direct s,,nlight and the reflection of light from a blue sky.
A.fternoon and morning light tends to be reddish (warm). Shaded areas have blue light (cool).
Overcast skies create a slight blue imbalance.
Indoor light is artificially created and varies depending the type of lighting used. Tungsten
lights cast a warm yellow-orange to a red tint. The lower the wattage of tungsten bulbs, the redder
the light. Fluroescent lights range from blueish white to green. Use only cool-white or daylight
florescent bulbs when filming video.
Mixed light is a mixture of sunlight and indoor light. Variations in color will occur depending
on how the camera sees the light.
Mercury and sodium vapor lights are used in brightly lit areas such as downtown business
districts and sporting arenas. Mercury lights have a greenish tint while sodium vapor lights cast a
brown/yellow glow. Increasingly, athletic complexes are using lights which are daylight balanced
and will not create color balancing problems.
Cameras with only automatic white balancing have a setting for either sunlight or indoor light.
They read the type of light available, not the location of the light. For example, if you are indoors
and the only light available is sunlight, then the camera will read sunlight.
Lighttrtensity
Without light, your c€rmera can not see. For technocrats, cameras come with a rating (Lux)
which is a standard measure of the amount of light available. The lower the Lux Rating, the better a
camera records images in low light. Your carnera may record images in low light, but getting
quality r"soldings in low light is not guaranteed. You may still need supplemental lighting to help
bring out details in poorly lit areas.
Automatic vs. Manual Exposure
The automatic exposure on the camera records light and electronically controls the lens
opening. Extreme contrasts in light can create recording problems as it is difficult to get good detail
in extremely dark or light conditions. Manual control of the lens opening enables you to handle
extreme lighting conditions. Be sure to use a camera that has a backlight control.
OutdoorLighting
Most of your footage will be filmed in natural outdoor settings. Be aware of the lighting
conditions and plan your shooting accordingly. Generally speaking, the best light is found in the
early morning and will be coming from behind you. When setting up a blind be aware of the
lighting conditions during different times of day for optimum shooting.
Underexposure is caused by a bright background which cues the camera to shut down the lens,
and hence, the subject does not have enough light on it to record clearly. Overexposure, on the other
hand, is caused when the background is dark causing the camera lens to open up and the subject
becomes "washed out." Exposure problems may also occur when the subject is shadowed and the
background is bright zunlight. Highly reflective surfaces like sand and snow also throw the light
reading off. If possible, film in conditions with similar lighting cast on the background and
subject.
85
Lrdoor Lighting
$t'nlight entering a room may create high contrast lighting conditions. Supplementary
lighting
is helpful to balance out these extremes inlighting. Check your local camera sto"" fo"
indoor liebtine. In a pinch, worklights with clamps and 150-200 watt bulbs will work ""ripf"?""fif
fine. Try to mount the lights behind you before shooting indoors. If the walls are dark (wood paneled),
vo.i *.y
need higher wattage bulbs.
Pnoject Youreelf in the Best
Light
Set two lights
a1d anqle from your subject. Do not shine the lights direcdy into
"qg-q.tf"j
you: subject's eyes.
The lighting from fixed lamps will be consistant. Lights moirnted on cameras
will distract (and blind) your subject. Uneven exposure and shadows teiind the subject also result
from a camera mounted light. If a cord is required to operate the light it can be dif6cult to meneuver
the camera around. If shooting indoors use mounted lights fixed to a stand and avoid tigtrts
attached to the camera.-
Otlrerlndoor fitrls
- ,The larger the room, or the higher the ceiling, or the darker the walls, the more supplemental
light you will need. Avoid shooting toward an outside source of light (sunlight). Always try to keep
your lighting source behind you.
Prrtting Words to Your Video
ForgettheScript
I knew that would get a reaction. It is probably contrarlr to ever5rthing you have read or heard
about video production. At first, yes, it is helpful to have a detailed scrip|-However, script writing
is
tedious and loses its novelty after one or two productions. A script is rigid and does not allow for
unexpected events.
Use an Outline Instead
S-tart with a general plan you want the production to follow. Be flexible and open to events as they
unfold. As you gain production experience, wean yourself of a script and work more from a clear
mental outline' You can not control all events and outlines can bJadapted as needed throughout the
process. Besides, it is much easier to mold your final script to footage you actually have, ins--tead
of
getting required footage for a completed script.
Sounds GoodtoMe
Camcorders record video and sound. Most camcorders are equipped with directional mikes
which pick up sounds mostly from the front. They may also pick ui-unwanted soinds from the sides
or the back. We hear in stereo sound and can distinguish isolated sounds from a noisy rtin
(hearing one person speak in loud room.) Camcordei mikes record, sounds in monotone
and will
have problems with a lot of background noise.
Automatic Mike
If you set the automatic mike at l\|vo,it records everythingwith the loudest sound being
predominant. Be careful of the background noise and rememblr that an automatic mike picis
every sound.
86
up
Using anAuxiliaryMike
An auxiliary mike can be used if you are working with a lot of background noise. The auxiliary
mike can be placed close to the subject to better record the sounds_ you actually want. They
U" of
different design depending on your needs. For example, an ornnidirectional niike picks
".o -,o""J,
equally from all directions (i.e. tropical bird recordings). For the truely sophisticaied, a "p
mike
mixer can be used with more than one mike.
Listen!
Learn to listen; to your mother, to your spouse, and to nature. Pay attention to sound to avoid
problems with unwanted noise.
Talkto aPro
There are a lot of different types auxillery mikes each with a specific purpose. Get advice from
somebody "in the know" before making unnescessary mistakes.
Taking tlre Past hrto the F\rture
Converting Slides to Tape
For the sake of convenience and modernization, you may want to transfer your slides to
videotape. Professional services are available and they are expensive. With dh" p"op"" equipment
(some can be rented) and commitrrent on your part, you can tr.ansfer current slides
to videotape.
You will need a slide projector, a camcorder, and a slide/film converter (also called a tele_cine).
Set the projector on a table or stand, and the camcorder on a tripod at the same height. project
slides onto a screen or a white illumination board on the wall. Adjust the projecto" rolh" imafe
nearly fiIls the illumination board (20" X 24"). Keep the camcordei as close ai possible to the
projector to avoid "keystoning," where the top and bottom of the image are diffLrent sizes. Darken
the room so the projeclor will grve as bright an image as possible. Before ssgslding, tun on the
projector's light and white balance the camcorder. Project image, and begin reco"a-g with the
CarnC6rder.
After a few slides, check how well everything is reeording. Check the framing, the focus, the
brightness to be sure you will have quality results.
For best results, load and focus the slide while the camcorder waits on "pause" mode. Roll the
tape for the desired amount of time and then pause the tape. Reload another slide, then tape again.
With stills, the illusion of motion can be created on the videotape by using either a pan o" zoo- *he'
recording.
Adding Sormd to YourVideo
If you want to na:rate your video (i.e. If you are using slide to tape transfer to record. historic or
important inforrration) you need a VCR with audio input capability. A.fter recorrting the video,
write an outline or script and nanate as you play back the video. if yorr wish to mix music and
narration, then you need an audio mixer.
Smooth T[arrsitions are the Key
Avoid starting and stopping a background tape because it breaks up the flow of your video. Think
in terms of smooth transitions in both your footage and soundtrack.
Video
asr
rm
hrterpnetiveAid
The best way to improve your presentations is to film yourself in action and then sit down with
other naturalists and review what your strengths and weaknesses are. Do you lack eye contact with
the audience? What about voice inflectign-? Do you have any distracting manneri.-r? A"" yoo
stiff and boring or nerrous and jittery? Help yourself get better by actively seeki.g to improie.
Ilistory is Best hreserved in Picturcs
What better way to record evolutionally natural changes than to record historical events in
video. Imagine the intrigue of showing the regeneration of Mt. St. Helens, documenting fire
ecology inYellowstone or the recovery of south Florida after Hurricane Arrdrew. Video las impact
and is a dramatic way to see changes over time.
Teaching withVideo
To reduce your training costs with repetitive tasks (i.e. inservice on fire safety) instructional
video can be used. It is not the most personal approach, but efficient nonetheless. Write an outline
your key points indicating your purpose, caphrre the essence of the necessary material, and then
of
summarize your keys points.
EqioyYourself
Live by a simple motto: We don't cease to play because we grow old, we grow old because we cease
to play. Have fun! Enjoy your video productions as you would any other outdoor activity. If you
want to get good and have more fun, then practice, practice, practice.
88
TI{E COI{TROLIS IN
YOURNS
DelrtopMions
The ultimate fate of the computer is to fade into the background
- to be eve4rurhere.
-
Lawrence Tesler
Asequelto@Ribtishing
Creating slides, graphics, overheads and videos on a personal computer will likely be the next
big wave of computer applications. It is quite possible to create all of your audio visual materials on
a computer at a fraction of the production costs and time. It is esfimated that 10 million people
frequently make presentations and over 1 billion original presentation slides are generated
annually. Hope Reports,Inc. tells us that by 1995, the number of 35mm slides will grow by 300Vo,the
number of overheads will grow by 800Vo, and the desktop presentation market will grow by almost
200OVot, Interpreters who have discovered the benefits of "in-house" deslitop publishing will be
equally enthused with the possibilities of desktop presentations.
Is
ItWorth It?
Are you forever frustrated with making high quality titles slides and visual aids? Or, tired of
scratching out and rewriting the namation on your storyboard cards? Admit it, how maay of you
truely enjoy using rub on letters, x-acto knifes, t-squares, mlers, specialized film and a copystand
to produce your credit slides? Organizations or individuals producing visual material will benefit
by using computer graphic systems. Computer systems will increase your speed in producing
visual aids, ease the process of revision should you make a mistake or wish to change something,
give you greater design options, and reduce the storage space required for your visuals.
If you are like most resource professionals you seek ways to simpliff the production of audio
visual materials. Remember the enthusiasm you exhibited when you first realized the potential of
desktop publishing? You could do all of your editing, page layout, typesetting and mailing labels
from your olfice. Desktop publishing has redefined how we view printed material. Desktop
presentations will do the same for audio visual programming.
Do I Really Need a Computer?
No and yes. You have gotten by just fine without one for years, why do you need one now? All the
tried and tnre methods will continue to be effective for creating your visuals. You can type up your
outline and script, write out your storyboard cards and arrange them manually on a piece of
corkboard, use dry transfer letters and clip art to make camera ready title slides. and preview your
slide program in a darkened room. As you know, these methods work just fine.
89
Personal computers are revolutionizing the way we work. With the right combination of
software and hardware you can produce high quality visuals without leaving your office. Use an
outliner to organize your thoughts, select professionally designed templates (or create your own),
type your script, spell check it, create or import graphics, resize them, enter and manipulate data to
generate charts, preview the entire presentation, revise it, produce your slides, print audience
handouts, and then show your progrem. You control the entire process from start to finish.
Computers are becoming ever more entrenched in the working environment. Check out any
newspaper office or television station. They are usirg computers to present inforrration
graphically. Whatever you have a need for, whether it be slide cataloging title slides, bulk
mailing an"ual reports, or automated multi-image programming, computers will fill a niche.
Once you are computer proficient you will wonder how you ever did things the old way.
Comtrnrter Slide Generation
Let's be realistic. Even though the technology certainly exists to produce everything you need for
an audio visual progro"', you will probably use a computer to assist with part of the production.
Desktop presentation programs eliminalg many of the firrstrating tasks associated with
traditional graphic production. The computer and software are simply tools enabling you to be more
productive and creative.
nesfstop Pneseldation Softqrare
The presentation software you choose depends largely on your needs. Look for presentation
software which can chart data, edit text, draw freehand, manage a slide show, import video clips
and support color. Be certain it is compatible with your other software such as word processors,
spreadsheets, drawing and paint programs. Presentation software should work with the laser
printer, color ink jet, slide maker and film recorder you will be using.
fitle slides, animated video, interactive exhibits, and digital retouching of historic photos are
all possible with the right software. Always shop around and get the best software package you can
afford. The key in selecting a software program is to make sure it is completely compatible with all
the computer hardware you will use.
Software developers are fast moving to fill the niche of true desktop audio visual production with
the ability to create full blown video and multi-media programs without leaving your desk.
ComputerEquipment
The primary considerations when selecting computer equipment for audio visual programming
are compatibility and the upgrade potential of computer equipment. Computers have different
operating systems and will not work smoothly with other systems. Before purchasing a computer,
check its compatibility with laser printers, slide makers, film recorders, hard disk drives and other
accessories. If you will be using a professional company for production of yor:r final audio visual
materials, be especially sure of what is conpatible with their equipment.
The upgrade potential (both RAM and ROM) of computers is a critical consideration because
software packages are becoming more powerfirl and require more memory. When you decide to
invest in computer equipment for audio visual programming, buy as much machine as you can
reasonably afford. Computers have a way of being quickly replaced by something better and faster.
Above all, get a computer with graphic capabilities.
Ihe Entneprcleurial Spirit
Natural resource professionals will continue to be on the short end of budget cutbacks. It is
entirely possible for your nature center or park to generate revenue by offering your specialized
audio visual production skills to others. For a fee, of course. I have seen the Schmeeckle Reserve
fi.ll a niche and contract with other nature centers to produce high quality entrance signs. Why not
use your special talents and equipment to produce audio visuals for others in need?
What's Next?
Seeingthe BigPicture
Recent trends indicate many crurently used audio visual techniques will be replaced by
emerging technologies. Compact discs, lasenrideos, and interactive video can give you a candy
store mentality. Just as computer generated graphics will replace 100 year old photography
emulsion technolory, digital audio recording and laser enhanced visuals will radically change the
audio visual field.
For the immediate future the cost of these electronic innovations will be too expensive for many
interpretive agencies and nature centers. But, alas, what was considered unreasonably futuristic
just five years ago is now readily available. The seamless integration of interactive video into our
lives will be so complete that the role of educators and interpreters will be quite different than it is
today.
hrteractive Multi-Media
Isn't that the point of education or interpretation? To inspire people to interact with the learning
resource? The potential for heightened studenUvisitor environmental knowledge and awareness is
enormous. Let me provide some examples.
On-IlemandVideo
Suppose you want instantaneous information about curent meterological conditions at the coast
or avalanche conditions in the mountains and do not want to sort through a bunch of unrelated data.
Specific on-demand video information will someday be delivered immediately to you via phone
lines (or satellites). Whatever your needs or interests, on-demand video will provide unlimited
access to infinite information resources.
TheEectlric Cadaver
We all have dissected dead things in our pursuit of "biology" (The Study of Life.) After several
weeks of sliding a well preserved specimen in and out of a plastic bag in a refrigerated chamber,
our enthusiasm for "Hemon" or "Murtle" lessens. Finding some obssure vein or muscle proved
nearly impossible when it carne time to review for an exam. Our lab partners skill with a scalpel
was bad enough that we encouraged them to pursue a career as a botanist instead of a surgeon. I
don't care how much you enjoy learning, working on a cadaver is not my idea of fun,
What if you could have access to a complete anatomy and physiology course on one laserdisc?
You could review and study as much as you needed to. All the components could be clearly
examined and you have a wealth of research inforrration at your fingertips. And next week, or next
month, or next year you could review the same material without breathing careinogenic fumes. It's
happening in medical schools all over the country right now.
Ibinh
of the Possibilities
Nature is a heck of a lot more exciting than dissecting some rigormortis. You could have
schoolkids so excited about the geolory of Rocky Mountain National Park or the life cycle of a
Monarch Butterfly that you would have to shoo them out the door. Interactive video will enable
participants to deternine how much information they want (different complexities of material),
and let them determine what direction their interests will take them.
Not all visitors will have the opportunity to raft the Colorado River, but could experience the forces
of nature through an interactive exhibit. Our brains laterally feel like they will explode with all
this access to compressed information. As Sigurd Olson mentioned; "the larger the island of
knowledge, the greater the shore of wonder."
91
The
ModemAlpinist
Imagine the old style mountaineer. With a pair of woolen pants, a climbing rope, ice axe, and
with nails in the sole they could go virtuatly anywhere their desire ana snU took them.
shoes
Mountaineers of the 1970's came with a full range of sherpas, expanding bolts, pitons, and
harnesses to take them to challenging places ofaltitude. The available technolory has enabled
mountaineers to climb higher and faster than previous generations of adventurers, not necessarily
with equivalent skill level. tJVith little concern beyond their egos, these high tech mountainssls l;ft
mounds of garbage as a reminder of their climbing exploits.
The moder:n alpinisl tiavels light and fast, combining the advantages of high tech, light weight
equipment and a reliance on their own skill and finesse. I'm not asking you to rely on the old style
audio-visual progranrming complete with typewriters, t-squares, aad, pasteup sheets. Nor do I
believe you should fully embrace the latest, greatest technologies (even if you could alford it) to get
you through all your audio-visual programming needs. Become the modern alpinist of
audio-visual communication. Develop all the skills and finesse of your forefathers and selectively
choose high tech which will enable you to present your information and better accomplish your
interpretive mission.
92
ApperdixA
ECOI,OGICAL CONCERNSI
Is the InfomationAge KillingThe
Ilorn ofAfrica?
The frog does not drink up the pond in which he lives.
Indian Proverb
-
We are rapidly making a transition from an industrial economy to an infor:rration economy
largely dependent on electronic technology. Before we blindly embrace these new tools of
communication, we must ask ourselves "What are the effects of the information age upon
relationships between people and the environment?"
Without question, emerging technologies have helped us monitor a'd assess environmental
quahty. We have a greater understanding of source points of surface water pollution, the effects of
acid precipitation, and urban energy inefficiencies. Environmental information enables us to
make better resource management decisions.
Environmental interpreters have been criticized for mainly focusing on physical and
biological processes while ignoring socio-economic, political, and cultural interactions with the
environment. If we inadequately addressed these concerns during the industrial era, how will we
fare in the information age?
The llaves and tJre Have Nots
Information and senrice economies (interpretation) may widen the gap between rich and poor.
Those individuals and countries with access to information technolory have a distinct competitive
advantage over those who do not. The implication is that developed countries will dominate the new
economy while third world developing nations languish behind in a continuing cycle of poverty,
mounting debt, and resource degradation. Natural resources are exploited to generate revenue and
pay debts placing rn even greater strain on the environment. The result will be a spiraling decline
of sustainability for developing countries.
Take a look at what is happening in many areas of the world. Population growth has
accelerated deforestation, desertification, soil salinization, and solid waste generation. Land
carrying capacity is lessened and the quality of life we all desire vanishes. Intense competition for
resources and space undermines cultural stability, and thus, the ability to address long range
solutions.
Are we compiling the problem? Satillite technolory has given us access to more infor:rnation,
more insight into global problems. We see the despair of decades of famine in Africa. With all
good intentions, we unknowingly perpetuate the tragedy by providing emergency assistance
instead of aggressively changing entrenched systemic problems.
The Par:adox
Technological innovations and marketplace realities have enabled us to produce more with
reduced energy consumption, fewer capital resources, and less waste. To be economically viable,
you have to maximize energy and resource ef,Ecienry. From a resource point of view, we can be
optimistic that information technologies will promote a better communication and management
matrix.
The irony is that third world countries must minimize energy and resource inefficiencies but
do not have the technology to do so. If they supply the industrial diet with raw materials they are
caught in the dilema of meeting immediate needs at the expense of lasting security. Are developing
countries exploiting their resource base to feed the last gasp ofthe industrial era while also
providing the necessary capital to make the transition to the information age possible for developed
countries? The gap widens.
93
Double&lged S$lord
With new-technologi comes new advances, new problems. Are we sacrificing one resource to
enhance another? We use high tech audio visual materials to share our enthusiasm for the
Appalachian Mountains while dumping photographic chemicals into the Susquehanna River.
Audio visual technolory, indeed most of what is described in this handbook, require electrical
power. Trace your outlet to its source.
As a kid, my family and I rafted the Stanislaus River. It was one of the most popular whitewater
stretches in the country. Mark Dubois had courage to chein himself to a rock to stop the damming.
The river is gone now. A product of our'perceived need for more and cheaper electricity
Tllink of the pristine beauty of a lake in the Adirondacks. The morning air is crisp. It is eerie
somehow. Something is amiss. The silence is freightening. With very few exceptions, nothing
moves. Acid preeipitation is caused in part from emissions from coal fired power plants.
Waupaca County (WI) was targeted as a possible site for a high level nuclear waste repository.
makes no sense to me to store radioactive materials in highly fractured granite rrithin 8b miles of
the Great Lakes, fully 20Vo of the worlds freshwater. How many more Three Mile Islands or
Chernobyls must we have before we get offthe toxic treadmill?
It
PnomotingPerception
How then do we use inforrration technologies and strategies to heighten awareness, increase
knowledge, and nuture positive attitudes toward the earth? Jacques Cousteau, the National
Geographic Society, and the British Broadcasting Company have unravelled many a mystery with
their nature programs. Not everybody will be able to see the Arctic National Witdlife Refuge
firsthand. Your illustrated talk may provide insight into this remote landscape. We can harness
audio visual technologies to develop a deep land ethic based on sound scientific information,
understanding and acceptance of cultural diversity, and facilitating a closer relationship between
people and the environnent.
"You must teach your children that the ground beneath their feet is the ashes of our
grandfathers. So that they will respect the land, tell your children that the earth is rich with
the lives in our kin. Teach your children what we have taught our children - that the earth is
our mother. Whatever befalls the earth, befalls the sons of tUe earth. If men spit upon the
ground, they spit upon themselves.
This we know. The earth does not belong to man; man belongs to the earth. This we
know. All things are connected like the blood which unites one family. All things are
connected.
Whatever befalls the earth befalls the sons of the earth. Man did not weave the web of
life; he is merely a strand of it. Whatever he does to the web, he does to himself...."
-Chief
Seattle
gL
AppendixB
TIIE COPYRIGIIT I,AIV:
What it Means forEnvironmental
hrterpreters and Educators.
Most of the following guidelines are directed towarrd use of printed cop5nigbt material by
classoomeducators. Forinterlrnetenusingaudio-visualnaterialsitiswisenottouseany
copyrigbtcdphotogfaphsrvideoclilxormusicunlessyouhavethepublisher'sp€mission Thisis
especidly hrre if you plan to charge an admission fee to yorr programs.
Often, the terrrs "environmental interpreter" and "environrnental educator" are used
synonymously and interchangeably. The title and professional responsibilities you have will
make the implications of copyright law distinctly different. If you work on-site with non-for:mal
groups pay attention to how the law affects interpreters. Ifyou work in a classroom or school setting,
you fall under the guidelines for educators. Those who freely mix both roles will have to adjust how
to use copyrighted materials depending on where they are presenting. As a general guideline,
obtain permission to use copyrighted materials before using them in a public program.
The law allows fair use of materials for teaching (including multiple copies for classroom
use, but not for public dishibution), research, criticism, and other purposes. Four factors must be
weighed as you bT' to establish fair use: (1) the purpose and character ofthe use; (2) the nature ofthe
copyrighted work; (3) the ratio of the portion used to the overall size of the work; and, (4) the effect
your use may have upon the market for the work. That is why a claim of "fair use" is a judgement
call every time, for the factors differ in each case.
To give you some guidance to figures and frequencies which will be recognized as permissible
numbers allowed under fair use, committees of publishers, authors, instmctors, librarians, and
music publishers have agreed upon permission to carry out the following mininum activities:
o Make a single copy of a chapter from a book, an article from a magazine or newpaper, a
short story or poem, or a diagram or picture from a book or newspaper, ifyou plan to use the
copied material for research or for teachizg, including preparation to teach.
o Make a copy for each student in one of your courses to use in classroom discussion if you
include notice of copyright, if you are selective and sparing in choosing brief pabsages of
poetry or prose and illustrations, if the time available to seek permission from the owner is
short, and if the overall effect of your photocopying is minirna|
Please note that you are never allowed to photocopy "consumable" materials (i.e workbooks,
pond study sheets) for student use. Naturally, you may continue to use any appropriate material as
source or background information when working directly from the original copy.
Ggnerally Permitted Un(delr Eair Use
GenerallJr NOT. Perrnitted
Spontaneous
Nonprofit, Noncommercial
Classroom Use
Single Copy (For instmctors own use)
Multiple Copies (for classroom)
excerpts
Planned Ahead
one class
non-consumable
one-time-only use
supplement to purchased materials
separate use
recoup cost from student
For Profit
Public Performance or Display (Interpretation)
Single Copy (For use other than instructor)
Multiple Copies (beyond classroom)
entire book/chapter
several classes or courses
consumable
repeat use
substitute for purchased materials
anthologizing
charge to student above cost
95
Representatives of the affected interests have agreed that you may copy the following:
Poetry: A complete poem if less than 250 words and if printed on not more than two pages; or
from a longer poem, an excerpt of not more than 250 words.
Prose: Either a complete article, story, or essay of less than 2,596 words; or an excerpt from any
prose work of not more than 1,000 words or L0Vo of the work, whichever is less, but yju
-"y "ojy
at least 500 words.
You may copy beyond these numerical limits to complete an unfinished line in poem or an
unfinished paragraph of prose.
Illustration:
periodical.
One chart, graph, diagram, drawing, cartoon, or picture per book or per issue of a
You Cannot:
o Make
multiple copies of a work for classroom use if it has already been copied for another
institution (i.e. doing classrooms presentations on solid waste disposal for
3rd graders and 8th graders).
class in the same
' Make multiple copies of a short poem, article, story, or essay from the same author more than
once in a class term, or make multiple copies from the same collective work or periodical issue
more than three times in a term.
'
Make multiple copies of works more than nine times in the same class ter.1n.
.
Make a copy of works to take the place of an anthology.
o
Make a copy of "consumable" materials, such as workbooks.
'Usecoplzrigbtedmusigillustrationsorphotographswithoutpriorwrittcnpemissionftom
the copSrigltholder.
You Can:
' Make a single copy, for use in scholarly research, or in teaching, or in preparation for
teaching a class of the following:
- A chapter from a book.
-
An article from a periodical or newspaper.
A short story, short esay, or short poem, whether of not from a collected work.
- A chart, graph, diagram, drawing, cartoon, or picture from a book, periodical, newspaper.
' Make multiple copies for classroom use only, and not to exceed one per student in a class, of
the following:
-
A complete poem, if it is less than 250 words and printed on not more than two pages.
-
An excerpt from a longer poem, if it is less than 250 words.
- A complete article, story, or essay,
if it is less than 2500 words.
- An excerpt from a prose work, if less than 1000 words or 10 percent of the work,
whichever is less.
- One chart, Saph, diagram, drawing, cartoon, or picture per book or periodical.
AppendixC
AvEquipment Sources
Apple Computer
Autotronics Co{p.
Education News
20525 Mariani Avenue
Cupertino, CA 95014
(F ree new sletter, Curciculum Softw are
reference guide on Science - 300 soft-
7428 Bellaire Avenue
N. Hollywood, CA 91609
(Disso ule controls, prograrnmers, tape
recorders, utith built in sychronizers)
Aerial rtnage Tbansfer
ua,re packag
Audio Visual Labratories
875 Avenue of the Americas
10001
New York,
Applied Research fnstitute
Acid Rain Foundation,
1630 Blackhawk Hills
St. Paul,
MN
Tng.
55L22
IfY
es [$20.
00J)
Center for Information Communication
(Slide to videotape transfer)
56 Park Road
Tinton Falls, NJ 07724
(Programmers)
Science
Ball State University
Muncie, IN 47306
AIIUS Media
6901 Woodley Avenue
Van Nuys, CA 91406-4878
Audio-Visual Market Place
Argraph Corp.
R.R. Bowker Company
1180 Avenue of the Americas
New York, NfY 10036
(Video lights)
l-11 Asia Place
Carlstadt, NJ 07072
(Projectors, slide duplicators, slide
rnounts, w ireless projector controls)
Autogfaphix, Tnc.
100 Fifth Avenue
Walthail, MA 02L54
Ambico
Arion
Aluma-Lite
24242 Spanow
El Toro, CA 92630
50 Maple Street
P.O. Box 427
Norwood,
NJ
07648 -0427
(Video bags, batteries, cables, chargers,
filters, Ienses, Iights, and tripods)
(Computer slide seruice)
Cor1r.
70L S. Seventh Street
Delano, MN 55328
(Disso lue controls, prograrnmers, tape
recorders with built in synchronizers)
Arthur Mokin koductions, fnc.
Azden
L47 New Hyde Park Road
Frankling Square, I.fY 11010
(Video mitophones)
Aztek
American Educational Films, Ine.
2900 McBridge Lane
17 Thomas
3807 Dickerson road
P.O. Box 8188
Nashville, TN 37207
Santa Rosa, CA 9540L
(Amazon rainfore st u ideo)
Irvine, CA 927L8
(PC slides)
Asahi
Bat Consenration fntemational
36 Reservoir Road
Brackenridge Field Laboratory
University of Texas
Austin, TX 787L2
American Interactive Media, Inc.
11-111 Santa Monica Blvd.
Suite 7A0
Los Angeles, CA 90025
N. White Plains, l.fY 10603
(Video lights)
Americarr Professional Equipment
Co-rpany
Association Films, Tre.
866 Third Avenue
New York, I\fY L0022
4243 Henderson Blvd.
Tampa, Fl 33629
(Projector racks)
Association for Multi-Image
8019 N. Hines Avenue, Suite 401
American SocieW of lVla'"tmalogists
Mammal Slide Library
1907 Monument Canyon Drive
Grand Junction, CO 81503
$Iides)
Tampa, Fl 33614
(Alignment slides)
Astronomical Society of the Pacific
1290 24th Avenue
San Franciso, CA 94L22
Bell and flowell corrpany
4LL Amapola Avenue
Torrance, CA 90501
(Color Digital Imager IV - Slide film
recorder)
Bell and flowell Company
7100 McCormick Road
Chicago, IL 60645
(Rear and front screen projectors)
Bencher, Tnc.
333 W. Lake Street
Chicago, IL 60606
(Copystands)
AnD( Corp.
11999 Plano Road
Dallas, TX 75243
(W ireless proj ector cont rols)
Atmospheric Sciences Program
University of North Carolina
Asheville, NC 28814
(Weather films)
Benchmark Films, fnc.
Apollo Audio-Visual
Audio-Technica
Franklin Lakes, NJ 074L7
60 Tra de Zone Court
Ronkonoma, hfY LL779
(P hotograp hic fluorescent lamp
L221 Commerce Drive
Stow, OH 44224
(Video cable s, mic rop hones)
Berlet Films
P.O. Box 315
screens)
s,
w
1646 Kimmel Road
Jacksor, MI 492AL
Beseler Photo Marketing Cos.
Carplina Biogical Supply Co.
8 Fernwood Road
2700 York Road
NJ
Florham Park,
07932
(Slide duplicators)
Burlington, NC 27215
Cartwood Products, Inc.
467 Severna Drive
714 Highland Avenue
MD
2LL46
Bib
P.O. Box 27682
Denver, CO 80227
(Video bags, cables, Iens care kits)
P.O. Box 7Lz
Fair Lawn, NJ 07410
(Copy stands, slide duplicators)
Caryin Corporation
llSS Industrial Avenue, Dept. CE
Escondido, CA 92025
CBC Enterprises
245 Park Avenue
New Yorh, NY 10167
Bretford/Ifuox Mfg. Co.
Centre Publications, Tng.
97L5 Soreng Avenue
1800 30th Street
Bnrnberger
Buhl Optical Co.
1009 Beech Avenue
Pittsbtrrg, PA 15233
(Projector lenses, projector racks)
Bullfrog Films, Inc.
Oley, PA L9547
(Filmstrips, rental)
Bureau of Sport Fisheries and
Wildlife
Film Library
Federal Building, Fort Snelling
Twin Cities, MN 55111
Califone Intemational, Inc.
21300 Superior Street
lChatsworth, Ca 91311
(Tape-recorders with built in synchronizers)
Conseryation Education Associa-
The Interstate
L9-27 N. Jackson Street
Danville, IL 61832
(Filmstrips)
P.O. Box 776
League City, TX 77573-00?0
Chief Mfg.
14310 Ewing Avenue South
Burnsville, MN 55337
(Projector racks)
Co., Ine.
1948 Troutman Street
Flushirg, I\-Y 11385
(Slide storage boxes)
Mt. Hermon Road
Scotts Valley, CA 95066
(Modem slide seruice)
Conseryation Film Senrice
4A4 E. Main Street
Suite 207
Boulder, CO 80301
(Videos)
Brilliant Image
L4L West 28th Street
New York, I\fY 10001
(Computer slide sens ice)
Con'puFilm
Koala Technologies
PTI - Industries
tion
402 Cass Street
Schiller Park, IL 60176
(Lightboxes and light tables, screens)
8?
269
CBC Enterprises
Box 500
Station A
Toronto, ON M5W lEG
Brauer Productions
MI 49684
Comcoqps
LL Fourth Street
Washington, DC 20001
6lide- duplication lab rat ories, w ord,
slides)
7
Charlottsville, VA 22903
(Lit e - A- P age I ig ht b ox)
(Digital recorders)
Bogen Photo Cor1r.
I7-2A Willow Street
Traverse City,
Ramsey, NJ 07446
(Video filters)
(Slides, ft,lms)
BFAEducational Media
Severna Park,
Cokin/lWinolta
101 Williams Drive
Clear Light
123 Second Avenue
Waltham, MA 02154
(Dissolu e controls, prograrnmers)
Challenger
202W. Third Street
Mt. Vemon, NY 10550
Contemporary Films/lVlcGraw
Eastern Regron
Prin ce ston-Hightstown Road
Hightstown, NJ 08520
Mid-Continent
Manchester Road
Manchester, MO 63011
Western Reglon
8171 Redwood Highway
Novato, CA 94947
(Vid,eo bags)
Cool-Lux
Chrrrchill Fil,,rs
5723 Auckland Avenue
N. Hollyvood, CA 9160L-2207
(Video lights)
662 N. Robertson Blvd.
LosAngeles, CA 90069
(Tbne lnpsed photograghy, Jacques
Crosteau)
CNNVideo Sales
P.O. Box 105366
Atlanta, GA 30348-5366
(Videos)
Coast Photo lrlfg. Co.
118 Pearl Street
Mt. Vernon,IfY 10550
(Slide-storage boxes)
s
llill
Corelli-Jacobs Film Music
25 W. 45th Street
New York, l.fY 10036
(Copyright free music ond sound effects)
Comell University
Photograghy D epartm ent
Lab of Ornithology
254 Sapsucker Woods Road
Ithaca, NfY 14850
Comell University
Dicomed Cor?.
AV Research Center
8 Research Park
Ithaca, I{Y 14850
Minneapolis, MN 55440
(PC slides)
Coronet/IYITI Film and Video
108 Wilmot Road
Deerfield, IL 60015
Creative Media
P.O. Box 582
Glen Rock, NJ 07452
(Title slide making hits)
Creatrgn
TtrC.
504 Cherry Lane
Floral Park,
NY 1100L
1200 Portland Avenue, South
Educational Activities, Ine.
P.O. Box 5623
P.O. Box 3gz
Free Port, lflf 11520
(Apple software)
Takoma Park, MD 209L2
(BilII Brennan cassette)
D.O. Industries
3L7 E. Chestnut Street
East Rochester, NY L4445
(Projector lense s, w ireless projector
controls)
fndustries
IYI
(P rograTnmers,
proj ection and slide
making accessories, rea,r and front
screen projectors, sound projecfors)
P.O. Box 14465
Austin, TX 7876L
(Copy stands, slide duplicators)
Crestron Electronics fnc.
Dover Publications
180 Varick Street
101 Broadway
Cresskill, NJ 07626
(Dfsso lue controls, wireless projector
controls)
Cricket Software
30 Valley Stream Parkway
Malverrr,
PA
19355
New York,
tfY
ada
Cross Educational Softwanrc
P.O. Box 1536
Ruston, LA 7L270
(IBM software)
Dukane Cor1r.
Data Color Graphics
9645 Webb Chapel Road
DaIIas, TX 75220
(PC slides)
Department of Cotttttterce NOAA
2900 Dukane Drive
St. Charles, IL 60 L74
(Projectors, rear and front screen
projectors, tape recorders with built in
sychronizers, utireless projector con-
trols)
Dtrracell
Berkshire Industrial Park
Bethel, CT 06801
(Video batteries)
orham Park, NJ
Video bogs)
Educatore Guide to Fbee Science
IVlaterials
WI
53956
Elden Enterprises
P.O. .Bo* 3201
Charleston, WV 25332
light tables)
(Lishtboxes and
Electronic Designers,
Tne.
Electrosonic Systems
6505 City West Parkway
Minneapolis, Ml.I 55344
(AV tape recorders, dissolue controls,
programmers, projector lenses, tope
recorders with built in synchronizers)
DW Viewpacks, fnc.
113 W. 85th Street
New York, NfY L0024
(Slide-filing
pages)
film, sychronizers,
books)
s
E. Leitzr lnc.
Link Drive
Rockleigh,
(Bland slides, mos ks, progra,rnmers,
accessories, projector lenses, proj ectors,
rear and front screen projectors, slide
duplication, slide mounts, special
purpose
iamondlBeseler
ight Fernwood Road
23 Garden Street
Cambridge, MA 02138
372 Vanderbilt Motor Parkway
343 State Street
Rochester, l{Y 14650
23511
Images Ltd.
Order Department
P.O. Box 3456
West Side Station
Elmira, Ny 14905
-orP.O. Box 367
Lyons Falls, NY 13368
Hauppauge, NY LL787
(Sychronizers)
Department of Narr;7
VA
E ducational
Educators Progress Service
Eastman Kodak Company
orfolk,
Box L26
Stamford, CT 06904
Randolph,
Motion Picture Services
L2231 Wilkins Avenue
Rockville, MD 20852
Naval Education and Support Center
Atlantic Commanding Officer
Naval Station Building 2-86
Educational Dimensions Group
Educators for Social Responsibility
DSC Labratories
3610 Nashua, Drive
Mississau9t, Ontario L4V LLz Can(Shaped mas&s)
?a-Lite Screen Co.
State Road 15 N., Box 137
Warsaw, IN 46580
(Projector Racks)
10014
Glip art)
sktop present ation softw are)
(De
101 E. Gloucester pike
Barrington, NJ 0900?
(acce ssorles, screens)
Do Dreams IVIusic
Double
Ed'"'und Scientific Co.
references
NJ
07647
(Projector lenses)
Elmo Mfg. Co.
70 New Hyde Park Road
New Hyde Park, NfY 11106
(P roj ector len se s, p roj ecfors)
Films, hrco{porated
Emde Products
P.O. Box 10041
Torrance, CA 90505
6lide
Learning Materials Division
50 Ridge Avenue Extension
Cambridge, MA 02L40
mounts)
Films Incorporated
Emil Ascher lVlusic, Tns.
630 Fifth Avenue
New York, NfY 10020
5547 N. Ravenswood Avenue
IL 60640-1199
Chicago,
(Copyright free music and sound
effects)
General Electric, Lamp Business
Division
Nels Parh
Cleveland, OH 44LLz
(P hotographic
fluore scent lamp s)
General Parametrics Co4loration
L250 Ninth Street
Berkel.y, CA 94?10
Films on Oceanography
Ilepartment of Cornqence
(Photometric 200 PC
National Oceanic and Atmospheric
Administration
Environmental Data Service
National Oceanographic Data Center
Rockville, MD 20852
4806 W. Taft Road
Liverpool, l{Y 13088
IJ.S.
Encyclopedia Britannica Educational Corp.
425 North Michiglln Avenue
Chicago,
IL
60611
(Filrns and uideos)
Environmental Imag€s,
Tne.
Environmental Filn Senrice
Forethought "Power?ointt'
Environment Film R.eview
Environment Information Center, Inc.
Film Reference Department
292 Madison Avenue
l.{ew York, NfY 10017
EPARegron V Office
230 South Dearborn
Chicago, IL 60604
ERIE Color Stide Club
P.O. Box 672
Erie, PA 16512
250 Sobrante Way
Sunnlruale, CA 940??
Fenwick Films
L4799 Chestnut
Westminster, CA 92683
Films and Research for an Endangered, Envircnment, Ltd.
N. Wells
Suite 1735
zAL
Chicago,
IL
60606
(FiIm presentation on request)
Georgia Pacifrc Educational FiIm
Library
presentation software)
Fostex Corp. Of America
GEPE, Ine.
2L6 Little Falls Road
15431 Blackburn Avenue
Norwalk, CA 90650
Cedar Grove, NJ 07009
6lide duplicotors, slide mounts)
(AV tape recorders)
Gitzo
Franklin Distributors
P.O. Box 427
34-11 62nd Street
Woodside, NY LI377
Box 32A
Denville, NJ 07009
(Slide filine pages)
(Video bags)
Frank Woolley and Co.,
529 Franklin Street
Readitrg, PA 19602
(Polarized animation
Tne.
q
uip ment)
GTI Graphic Technology
L26 Sunsey Blvd.
Hollywood, CA 90027
(Special purpose
Gloria Monter:o and David Fulton
63 Pears Avenue
Toronto, ON M5R 1S9
e
Freestyle Sales
Canada
(Wetlands uideo)
(PC slides)
900 SW 5th Avenue
Portlatrd, OR 97204
(S/ides)
Federation of Ontario Naturalists
355 Lesmill Road
Don Mills, Ontario M3B 2W8
Genigraphics
R.esources
Film Unit
270 Washington Street
Atlanta, GA 30334
(Films)
(Apple software)
(De sktop
recorder)
Georgia Department of Nattrral
Focus Media, fnc.
839 Stewart Avenue
P.O. Box 392
Freepod, I{Y 11530
1346 Connecticut Avenue, NW
Suite 325
Washington, DC 20036
(F ilms, slides, u ideotape s)
National Association of Conservation
Districts
408 E. Main
P.O. Box 855
League City, TX 77573
film
film)
zLL Dupont Avenue
Box 3138
Newburgh, NY 12550
(Lightboxes and light tables)
Froelich Foto Video
Hama
6 Depot way
72A0 Huron River Street
Dexter, MI 48130
(Auxilary mounts)
Larchmount, l{Y 10538
(Slide to uideotape transfer)
General Audio-Visual
333 W. Merrick Road
Valley Stream, M 11580
(Projector racks, rear and front screen
projectors, tape recorders with built in
sychronizers)
100
Hansen Planetari trm Publication
15 S. State Street
Department O
Salt Lake City, UT 84111
s
Ilarper nnd Row Publishers, fnc.
10 East 53rd Street
New York,
hfY
10020
Ilawkhill Association, fnc.
L25 Gilman Street
Madison,
WI
53703
Index to Environmental StudiesMultimedia
National Information Center for
Educational Media
University of Southern California
University Park, Los Angeles, CA
90007
Heindl and Son
Indiana University
P.O. Box 150
Hancock, VI A5748
Audio Visual Center
(Lightboxes and. light tables, rnasks,
slide mounts)
Hewlett Packard
16399 W. Bernado Drive
Ttttage Filns,
4350 Artesia Avenue
Fullerton, CA 92633
(Bubble film)
Kimchuk fnc., AV Division
Corporate Drive
Danbury, CT 06810
(Drsso Iu e controls, wirele
controls)
Bloomington,IN 41401
Instant
Kirnac Co.
478 Long Hill Road
Guilford, CT 0649?
(Blank slid,es)
fnc.
34 Elton Street
Rochester, l.fY L4607
(Copystands)
Intematioual Film Buneau, Inc.
Holt, Rinehart, and Winston
332 S. Michigan Avenue
Chicago, IL 60604
P.O. Box L229
Mt. Vernon, WA 98273
Ehaped mos&s)
Jabro
Kintek
5003 Chase Drive
Downers Grove,IL 60515
(Video batteries)
4L23 Rowland Avenue
El Monte, CA 91731
(Video battery chargers)
383 Madison Avenue
l.fy
10017
(Software)
HP Marketing Cor1r.
2L6 Little Falls Road
NJ
Kinney Co., Ine.
Jasco
(Copy stands, lightbox,es and, Iig
Kiwi
P.O. Box 466
mounts)
Oklahoma City, OK 73101
(Video cables, headphones, lens care
h,its)
6721 N.W. 36th Avenue
Miami, FL 33147
(Video bags)
Cedar Grove,
07009
ht
tables, p rojectors, slideduplicators, slide
Iludson Photographic Industries
2 S. Bukhout Street
Joshua Meier Corp.
Irvington-on-Hudson, lrIY 10533
(Blank slides, screens)
7401West Side Avenue
North Bergen, NJ 07047
Idea Art
740 Broadway
New York, l{Y 10003
(Clip art)
Image Center, fne.
15 Park Row
New York, NfY 10038
(Computer slid.es)
Image Concepts
2575 N.E. IGthryn Sreet, #16
Hillsboro, OR 97L24
(Sp ecial effect s slides)
6lide filing
pages)
Dallas,
TX
75243
(Copystands, slide duplicators, sychronizers)
Kleer-Vu Drive
Brownsville, TN 38012
6lide filing
pages)
s
5350 West Clinton Avenue
P.O.Box427
Milwaukee,
Woodside, NY 11377
(Copy stands, slide duplicators, slide
Kodak
mounts)
WI
53223
Corporate Headquarters
933 Pacific Avenue
Kansas City, KS 66101
Rochester, lfY 14650
(Desktop uideo adapter, film, reference
materinls, slide presentation equipment)
Kenco
Lantis -Trailwood Pro ductio n
909 Milwaukee Avenue
Burlington, WI 53105
3026 Stinson Avenue
Billings, MT 59010
Karol Media
(Video lights)
Impact Cornrnrrnications
92A2 Markville Drive
Kleer-Vu Plastics Cor?.
Kluge Cornrn unication
Karl Heitz,Inc.
p rojector
Kinex Cor1r.
San Diego, CA 92L27
(Color film recorder)
New York,
ss
Kent State Universit5r
Laser Color Labratories
Audio Visual Services
Kent, Ohio 41242
Fairfield Drive
West Palm Beach, FL 33407
(Speci al effects slid,es)
Keystone Ferrule and Nut Corp.
Lasergraphics, fttc.
909 Milwaukee Avenue
Burlington, WI 53105
(Slide storage boxes)
101
L761 Cowan Avenue
Irvine, CA 927L4
(Rascol II lPerson&I Film Recorder)
Marty Stouffer Productions
I.,ebO
60 West Street
Bloomfield,
NJ
07003-4998
P.O. Box 15057
Aspen, CO 81611
3800 Liberty Heights Avenue
Baltimore, tutO itz+S
(Video Dogs)
Leedal, Ttc. Igatrix Division
1918 S. Prairie Avenue
Chicago, IL 60616
(Copystands, lightboxes and light
tables, slide duplicators, slid.e fiIing
pages)
Lenmar
Mast Development Co.
22L2F..12th Street
Davenport,
IA 52803
(W ir ele s s p r oj e ct o r c ont r ol s)
Matrix Instnrments, fnc.
l
Ramland Road
Orangeburg, IfY 10962
Matris
13626 S. Normandie Avenue
GardeDO, CA 90249
(Video lenses, lights, tripods)
Living Videotext
S lid,ew
Milner Fenwiclg Inc.
QCR,PCR fibn recorders:
rite r for M acint o sh)
Maximilian Kerr Associates
2040 Highway 35
Milwaukee Audubon Society
12259 Underwood parkway
Wauwatosa, WI b8226
(Leopold uid,eos)
Illilwaukee Public Museum,
Audio-Visual Center
815 N. 7th Street
Milwaukee, WI 53233
(Laser Video)
Minnesota DNR
Loan Film Service
Mountain View, CA 94303
(Desktop presentation soft ware)
Wall, NJ 077L9
(Background slides, copystands, projecti.on and slide-making accessories,
shaped rnasks, slide duplicators)
Lowel
McGraw
47510th Avenue
330 West 42nd Street
New York, IIY 10036
Los Altos, CA 92127
(Digital film recorder)
Media Desigu Associates, fnc.
Missouri Department of Conserya-
LL7 Easy Street
New York, NfY 10018-1 L97
(Video lights)
Minrs
Hill
445 S. San Antonio Road
Luminous Productions
P.O. Box 3189
19 W. 21st
Street
New York, NfY 10010
(Panorama masks, shaped masks)
Boulder, CO 80307
(Interactive uideo)
Luxor Cor?.
Media Equipment Inc.
7326E.59th Place
Tulsa, OK 74L45
2245 Delanu Road
Waukegan, IL 60085
(Lishtboxes and lieht tables)
Macromind
tion
Film Librarian
Michigan Media
Monadrock Media,Inc.
Chicago, IL 60657
sktop presentotion soft w are)
sources
416 4th Street
(De
Ann Arbor,
MAGICoqp.
Michigan Department of Natural
Management Graphics
1401 E. ?gth Street
Minneapolis, IVIhI 55420
(PC Slrdes)
Marn'nal Slide Library
MI
Resources
Box 30034
Lansing,
MI
48909
Michigan State University
Instructional Media Center
East Lansing,Ml 48824
(De sktop p re s ent ation soft w ar e)
L3L26
900 Federal Avenue
Seattle, WA 98102
Conservation Education Bureau
Montana Outdoors Building
930 Custer Avenue
Helena, MT 59601
Mountain West Films
Warland, WY
(ETK)
SU}TY
Martin Moyer Productions
itlontana Department of Fish and
Game Motion Picture Production
Microsoft
250 Sobrante Way
Sunnlrvale, CA 94086
hIY
Steve Bressler
W. Pelham Road
Shutesbury,ldA 01072
48105
Department of Zoolory
Oswego,
Modem Talking Picture Senrice
2323 New Hyde Park Road
New Hyde Park,l{Y 11040
1028 W. Wolfram
Elmsford, I.IY 10523
(Computer slide sensice)
P.O. Box 180
Jefferson City, MO 65Jo2
(Projector racks)
University of Michigan Media Re-
50 Executive Blvd.
Box 46
500 Lafayette Road
St. Paul, MN 53146
Millers/Sountage
1896 Maywood Road
South Euclid, OH 4412L
(Dissoluecontrols)
LV2
NA.SA Photos and
Motion Pictures
LFD.2
Washington, DC 20546
National Audio-Visual Center
National Archives and Records Service
Gen eral Services Administration
Washington, DC 20409
(US Gouernment A-V Materials)
National Audubon Society
Educational Services
950 Third Avenue
New York, IfY L0022
National Geographic Society
17th and M Streets NW
Department 85
Educational Services
Washington, DC 20036
L25 Main Street
Buffalo, NY
(F re sh w at er Wet land s M it igat ion)
Sea Grant Communications
Chatsworth, CA
Tbansportation
National Film Board of Canada
P.O. Box 6100
Montreal, PQ H3L 3H5
National Public Radio
2025 M. Street
Washington, DC 20036
ational Science Teachers
ociation
NW
ashington, DC 20009
ational Slidemakers
1130 Rt. 22 West
ountainside, NJ 07092
(PC slides)
ational Wildlife Federation
L4L2 16th Street, NW
ashington, DC 20036 -2266
ature Conseryancy Library
315
NJ 074L7
egafrle Systems
dison-Furlong Road, Box 78
long, PA 18925
Slide filing pa,ges, slide storage boxes)
Infomation
nter
llips Intematinal B.V.
ew Media Systems
orporate Group - Home Interactive
NISE, Ine.
20018 State Road
Cerritos, CA 90701
(Mac
g 19 1g
Oregon State University
Ads 402
Corvallis, OR g?gg1
Osram
(Copyright free music and sound effects)
16th Floor
L251 Avenue of the Americas
New York, NfY 10020
uilding HWD - 2
.0. Box 218
600 MD Eindhoven
he Netherlands
(Video cables, filters, /enses)
4439 Morena Blvd.
CA 92LL7
National Film Board of Canada
ysterns
New York Department of
San Diego,
Wayne, NJ 07470-3191
ranklin Lakes,
20L20 Plummer Street
P.O. Box 40Zg
ORA/Alliance Research
Network Production Music
fiIms or uideos:
Karol Media
22 Rivenriew Drive
To rent
L742 Connecticut Avenue,
New Jersey Network
1573 Parkside Avenue
Trentoo, NJ 08638
Jeanne Drive
Newburgh, NY 12550
(Rear and front screen projectors)
Pacific Micro Systems
160 Gate 5 Road
Sausalito, CA 94965
(Progra,mmers)
film recorder)
Northeast Aud.io-Visual,
Tn
s.
548 Donald Street
Bedford, NH 03102
Packtrcnics
Northwest Film Study Center
7200 Huron River Drive
Dexter, MI 48130
(Video cases, lights, light meters)
1219 S.'W. Park Avenue
Portland, OR 97205
Pakon Tnc.
Okfahoma State University
Audio-Visual Center
Stillwater, OK 74074
106 Baker Technology Plaza
Minnetonka, MN 55345
6lide mounts)
Paramount Oxford Films
OmegarBerkey
75 Holly Hill Lane
Greenwich, CT . 06830-4560
(Tripods)
Paul I. Mann
Otttnimusic
52 Main Street
L37 Temple Street
W. Newton, I\iIA 02165
(Slide storage boxes)
Porb Washington, IIY 1L050
(Copyright free music and sound efficts)
Optical Radiation Cor1r.
1300 Optical Drive
8451 Marathon Street
Los Angeles, CA 90038
Penn Communications
Life on Earth Seris
8425 Peach Street
Erie, PA 16509
CA 9L702
(Projector lenses)
Perfect Pan lVlasks
Optimage Interactive Seryices Co.
369 Seventh Avenue
New York, I\fY 10001
Azusa,
300 West Adams Street
Suite 601
Chicago, IL 60606
(Interactiue uideo)
Optisonics I{ec Cor1r.
1802 W. Grant Road, #101
Tucson,
AZ 85745
Photo and Video Electronics
1620 Hillside Avenue
New Hyde Park, l.fY 11040
(Proj ectors, sound p roj ectors)
Photofile
(Disso lue controls, programrners, tape
recorders
(Masks)
uith built in synchronizers)
Box L23
Zion,
IL 60099
(Slide mounts)
103
^Photo Plastics Plastics, rFc.
P.O. Box 17638
Orlando, FL 32860
(Slide filing pages)
P.O. Box 1983
Santa Monica, CA 90406
Photo SysteYns Inc.
Badmarr lnc.
Huron River Drive
Dexter, MI 48130
(Copy stands, projector lenses, slide
duplicators)
1263-8 Rand Road
Plains,IL 60016
(C op y st an d. s, sI idz d uplic at or s)
Quickshow
(Slide v iew ing deu ices)
72AA
Pic-Mount Corp.
4A-20 22nd Street
Long Island City, IfY 11101
(Slide mounts, slide storage boxes)
L507 N. Gardner Street
(Projector lenses)
RGA Special Pnoducts Division
2000 Clements Bridge Road
Deptford, NJ 08096
(Video bags, batteries, cables, character
generators, filters, lenses, Iights, tri-
P.O. Box L787L
Tucson, AZ 8b?41
Polaroid Cor1r.
nizers)
549 Technology Square
Cambridge, MA 02139
(Copystands, slide mounts, special
Recoton
46-23 Crane Street
Long Island City, NY 11101
(Video cables, chargers, lens core kits,
purpose fi,Im)
Population R.eferenee Bruesu,
Tn
c.
1337 Connecticut Avenue NnM
Washington, DC 20036
Box 623
Cedar Falls,
IA 50613
(Copystands, lightboxes and
light
tables, masks, projection and slide
making occess ories, projectors, rea,r and
front projectors, screens, slide-editing
equipment, slide filing pages, slide
mounts, slide storage boxes, special
film, wireless projector
purpose
con-
trols)
Presentation Technologres
743 North Pastoria Avenue
Sunnlruale, CA 94086
(Imagemaker fiIm recorder for PC and
Mac)
Print File, Inc.
Box 100
Schenectady, l.fY L2304
(Slide filing pages)
PSI
72A0
Hron River Drive
Dexter,
(Video
MI
48130
ories)
@ccess
tripods)
Reel S-D Enterprises
Portet's Camera Store
400 Crossways Park drive
Woodbtrry, NfY LL7g7
Des
Recordex Corp,
1935 Delk Industrial Blvd.
Marietta, GA 30067
(Tope recorders with built in synchro-
Hollywood, CA 90046
(Slide fiIing pages)
111 East Browndeer Road
Milwaukee, WI 5gZL7
Schneider Cor?. of America
pods, etc.)
Plastic Sealing Cor1r.
Schlitz Audubon Center
Science Graphics
Screenscop€, fns.
Suite 204
3600 M. Street NW
Washington, DC 2000?
Sharp Electronic Corp.
10 Keyston e Plaza, P.O. Box b88
Paramus, NJ 07652
6V tape recorders, dissolue controls,
sound projecfors)
Shell Oil Company Film Library
450 North Meridian Street
Indianapolis, IN 46204
Siena Club
Information Service
530 Bush Street
P.O. Box 2368
Culver City, CA 9O23L
(S te re o s lide -m aking e quipme nt)
(Films)
ReyroldslLetenon Co.
sigua
L3425 Wyandotte Street
N. Hollywood, CA 91605
(T it Ie making eq uip me nt)
L75 Commerce Drive
Hauppauge, I\fY 11788
RMF Products
San Francisco,
CA
94108
(Video lenses)
Sigurd Olson Environmental
7275 Paramount Parkway, Box 413
Batavia, IL 60510
(Dissolue controls, progromtners,
projector racks, tape recorders with
fnstitute
Northland College
Ashlaod, WI 54806
built in sychronizers)
Sima
Rolev
4001 W. Devon Avenue
Chicago, IL 60646
(Video auxiliary mounts, lights, micro-
16 Secatoag Avenue
Port Washington, IfY 11050
(Video filters)
Rosco Labratories, Inc.
36 Bush Avenue
Port Chester, NY 10573
(C olore d ftlte ring m at e rial)
phones)
Simon and Schuster Cot"ttttunications
Film Service Center
429 Academy Drive
Northbrook, IL 60062
Saft
Simon Associates
P.O. Box 1886
20 Sunn)^/ale Avenue
Mill Valley, CA 9494L
Tll Industrial Blvd.
Valdosta, GA 31603-1886
(Video batterie$
104
6ychronizers)
Slidescan
1820 Briarwood Industrial Court
Atlanta, GA 30329
(S I ide -t o - u id eot ap e t r ansfe r)
Slide Shooters
512 Nicollet Mall
Stokes Slides Senices, Inc.
7000 Cameron Road
P.O. Box t4277
Austin, TX ?8?61
(Slide duplicotion lab ratories, rnasks,
p roj ection
Minneapolis, MN 55402
lide d up licat ion lab rat orie s)
and slid,e-rnaking acc e s so ries,
computer graphics, specinl effects
slides)
(S
Sunpack/Iocad
slik
Three Winchester Plaza
Elmsford,l{Y
10523
(Video tripods)
Tower One, Continental Plaza
401 Hackensack Avenue
Hackensack, NJ 07601
(Video lights)
Smith-Victor Corp.
Supermac
301N. Colfax
295 N. Bernardo Avenue
Mountain View, CA 94043
(Desktop presentation soft ware)
Griffrth,IN
46319
(lightboxes and light tables, slide
storage boxes)
Society for Visual Education
Department &I
1345 Diversey Parkway
Chicago,
IL
60614-1299
Soper Sound Music
Library
P.O. Box 498
Palo Alto, CA 94301
(Copyright free music and sound effects)
Sountage Enterprises, fnc.
1896 Maywood Road,
South Euclid, OR 44L2L
lSychronizers)
South Carolina Wildlife and Marine R.esources Departnent
Film Department
P.O. Box 167
Columbia, SC 29202
Spiratone,Inc.
i t35-06 Northern Blvd.
ilushing, bfY 11354
t,Complete
catalog of vid,eo products,
tlignment sli.des, copy stands, dissolv e
rontrols, lightbores and light tables,
lrogramtners, p rojection and, sliden aking accessories, proj ector lense s,
lrojector racks, screens, slide duplicalors, slide filing pages, slide mounts,
bpe recorders with built in synchroniz-
Sunrival Guide to Environmental
Edueation
$tanton Fil-rns
Artesia Blvd.
[edondo Beach, CA 90228
135 Monroe Street
Newark, NJ 0?105
(Copy st ands, s I ide d,upl icators)
The Computing Teacher
International Council for Computers in
Education
University of Oregon
1787 Agate Street
Eugene, OR 9?408
The New Filn Company, fnc.
7 Mystic Street
Arlington, MA 02L74
Tiffen Mfg. Corp.
90 Oser Avenue
Hauppauge,l.fY L1788
(Programmers, tape recorders with
built in synchronizers)
Scholastic Teacher
902 Sylan Avenue
Englewood Cliffs, NJ 07632
43 West 16th Street
New York, IVY 10010
Tamrac
Time-Life Video
6709 Independence Avenue
Canoga Park, CA 91303
(Video bags)
Tamron fndustries
24 Valley Road, box 388
Port Washington, IfY 11050
(Projector lenses)
Tascam
7733 Telegraph Road
Montebello, CA 90640
(AV tape recorders)
Telegraphics
Time-Life Film
100 Eisnhower Drive
Paramus, NJ 07652
Tim Simon, fnc.
20 Sunnyside Avenue
Mill Valley, CA
94941
(AV tape recorders, programnlers, tape
recorders with built in synchronizers)
T/IVIaker
1973 Landings Drive
Mountain View, CA 94043
(Computer clip art)
TRF Music,Inc.
1025 Arch Street
40 E. 49th Street
Philadelphia, PA 1910?
(Masks)
New York,IIY 10017
(Copyright free music and sound effects)
Telex Cornrnunications, Inc.
9600 Aldrich Avenue South
Tbentieth Century Plasties
Minneapolis, MN 55420
(Projector lenses, projectors, rear and
front screen projectors, sound projectors, tape recorders with built in synchronizers)
rrs)
t41?
Testritc Instrument Co.
Tennessee Department of Conser-
vation
Division of Information and Education
2611West End Avenue
Nashville, TN 3?203
(FiIm catalog)
roS
3628 Crenshaw Blvd.
Los Angeles, CA 90016
6lide filing
pages)
firomas Valentino Inc.
151W.46th Street
New York,
I.fY
10036
(Copyright free music and sound effects)
Umbrella Films
60 Blake Road
Brookline, MA 02146
(E nu i ronmental is s ue relat e d)
University of California
Extension Media Center
2L76 Shattuck Avenue
Berkeley, CA 94704
University Film Center
L325 South Oak Street
IL
Volk Art Studio
Federal Building
Missoula, MT 59801
Box 4098
Rockford,
(CIip art)
Pacifr c Northwest Region
319 S.W. Pine Street
University of trlinois
Champaign,
Northem Region
Walt Disney
Educational Media Co.
Portland, OR 97208
500 S. Buena Vista Street
Burbatrk, CA 91521
(Educational film-u ideo c atalog)
Rocky Mountain Region
Bureau of Audio-Visual In struction
1327 University Avenue
Cromars
1200 Stout Street
Denver, CO 80204
P.O. Box 2093
MadisoD, WI 53701-2093
Souther:r Begion
Upper Midwest Filmstrips
Atlanta, GA 30309
\tashington Department of Natural
Resounces
Public Information Oftice
Public Lands Building
Olympia, WA 98504
1720 Peachtree Road, NW
409 Lakewood Road
Duluth, MN 55604
IJ.S. Department of
Agrieulture
(Catalog from University film libraries)
IJ.S. Department of the
Interior
frlns
Office of Public Affairs
IJ.S. Department of the
18th and C Street, NW
Washington,
DC
Washington Sea Grant
Southwestern Region
Federal Building
Films
Interior
20240
1919 N.E. 78th Street
Vancouver, \ryA 98665
517 Gold Avenue, SW
Albuquerque, NM 87L02
Welts/Safe-Loclq Tnc.
2400 W. 8th L,ane
Hialeah, FL 33010
(Copy st ands, slide duplicators)
Verilux
35 Mason Street
Greenwich, CT 06830
(P lntog rap hic fl uo re sc e nt lam
p
s)
Vestron Video
P.O. Box 4000
Stamford, CT 06907
USFS
Department of Agri culture
P.O. Box 3623
Portlatrd, OR 97202
USFS
Film Library
Federal Building
Fort Snelliog, Twin Cities, MI.I 55111
Ir.S. Forest Senrice Fihns:
Alaska Region
Federal Office Building
P.O. Box L628
Juneau, AK 99802
Califoraia R.egion
630 Sansome Street
San Francisco,
CA 94111
Eastem lt€etron
633 W. Wisconsin Avenue
Milwaukee,
WI
53203
Intemrountain Regron
324 25th Street
Ogden,
UT
8440L
01110
P.O. Box 3623
61820
University of ltisconsin
IL
Visinrle
Wess Plastics, Inc.
50 Schmitt Blvd.
Farmington, I{Y 11735-1484
(Alignment sli^des, masks, p rojection
ond slide-making accessories, slide
duplicators, slide - editing equipment,
slide mounts)
P.O. Box 398
Maitland, FL 3275L
6lide legibility slide rule)
Visual Education Centre
Unit 1
75 Horner Avenue
Toronto, ON M82 4X5
Visual Horizons
180 Metro Park
Rochester,l.IY 14623
(Alignment slid.es, background slide s,
blank slides, copyright free music and
sound effects, lightbores and light
tables, p roj ect ion and slide-rnaking
accessories, p rojection lenses, p rojector
7acks, projectors, rear and front screen
p rojectors, screens, rnasks, slide-editing
equipment, slide filing pages, slide
mounts, slide storage boxes, sound
projectors, special effect slides, word
slides, Kodok AV notes)
Visuals Plus,Inc.
810 N. Plankinton
Milwaukee, WI
6 lide duplicat ion equip ment\
Westinghouse Cor?., Lamp Division
Westinghouse Plaza
Bloomfield, NJ 07003
hic fl uore sc ent lamp s)
(P hotog rap
West Wind Productiors, Tnc.
P.O. Box 3532
Boulder, CO 80307
WETA
Education al Activitie s Dep artment
P.O. Box 2626
Washington, DC 20013
Wildlife Unlimited Foundation,
Inc.
Box 3L2
Vesper, WI 54489
(Wildlife uideos)
Wilson and Lund
1533 Seventh Avenue
Moline, IL 61265
(Backgound slides, word slides)
Wisconsin DNR
Box 792L
Madison, WI 53707
Wisconsin Public Television and.
Radio Network
3329 W. Beltline Htqf.
MadisoD,
WI
53713-2899
Wolfgang Bauer Productions, Inc.
Jackson, WY
WorldWildlife Fund
L255 23rd Street, NfW
Washington,
DC
20037
WQED/Pittsburg
4802 5th Avenue
Pittsburg, PA 15213
WTI Corp.
22951 Alcalde Drive
Laguna Hills, CA 92653
(Alignrnent slides, masks)
Wyoming Gat"e and Fish Depart
ment
Attn: Film librarian
Cheyenne,
WY 82002
Yaker Environmental SysteES, fnc.
P.O. Box 18
Stanton, NJ 08885
(E nu
ironmental soft w are)
Yamaha lVlusic Coqloration, USA
Digital Musical Instrument Division
P.O. Box 6600
Buena Park, CA 9A622
(Digital sequence recorders)
ZNlSquared
903 Edgewood Lane, P.O. Box C-30
Cinnaminson, NJ 08077
(Background slide s, copyright free
music and sound efficts, word slides)
LW
References
Chapter
1:
Interpneting Thrcugh Sound and Pictures
Cherem, Gabriel J. "The Professional
Agent for an Awakening
(L).
Giant." Journal of Interpretation ,2^Interpreter:
Fazio,_James_R; and Gilhert, Douglas It. Eubllc Relations an
fofNalur* nesource
Znd Edition. Dubuque, IA:
Publishing Company, 1986.
lvtan
Ke;adffi1]-
Mahaffey, Ben D. "Curricular Guidelines for Environmental fnterpreter
Training Programs." The Journal of Environmental Education , L973,5(1):2b-80.
vog-el, _Douglqg_R.; Dickson, Gary w.; and Lehman, John A. persausion and
the Role of Vi
upDorf,: -I ne
Minneapolis, MN:
The Universitty of Minnesota Management fnformations System Reselrch
Center and The 3M Corporatior, 1986.
Chapter 2: Planrring:A Creative Process
Bennett, Dean B. " Guidelines for Evaluating Student Outcomes in Environmental
Education." Maine Environmental Education Project. Yarmouth, ME. 1g?3
Bi$op, Ann. Sli4es - Plannine and Producing Slide Programs. Rochester, NY:
Eastman Kodak Company (Publication # S-30), 1984.
Heinich, Robert; Molenda, Michael; and Russell, James D. Instructional Media
and the New Technologies of Instruction..2nd edition. New York, I.fY: James
Wiley and Sons, fnc., Publishers, 1985.
Hunter, Madeline. Mastery Teachins. El Segundo, CA: TIP Publications, 1982.
Regnier, Kathleen H. The Nature Fakir's Handbook. Stevens Point,
University of Wisconsin, Stevens Point Foundation Press, 198L.
Sharp-e, Graqt W., editor.
and Sons, Inc., L976.
wI:
Interpreting the Environment. New York, IrIY: Wiley
Til49n,_{reeman. Internretine Our Heritage. Third Edition. Chapel Hill, NC:
The University of North Carolina Press, L977.
Wharton Apn]ied Research Center, University of Pennsylvania. A Study of the
Effects of the Use of Overhead Transnarencies on Business M-eetines.
Philadelphia, PE: Wharton Applied Research Center and The 3M Corporation,
1981.
Chapter 3: Illustrate Your Words
Bi*op, Anq SF4es; Planning alr4 Prg
.
Eastman Kodak Company (Publication #S-30), 1984. 15gpp.
Rochester, lrfy:
ClJmer, E.w. "Title Slides Made Easy." Audiovisual Communications,
January 1975 :15-16.
Cromwell, Wallace. "Homemade Slide Dissolve lJnit." Western fnterpreter's
Association, Vol. 1, No.2, February,L976.
Eastman Kodak Company. Reverse Text Slides (Publication #5-26). Rochester,
I{Y: Eastman Kodak Company 1983.
Hakala, D.R.
USDA Forest Senrice Publication. No publication data.
Hooper, Dr. JonIC "Effective Slide Presentation." Western fnterpreter's
Association, Vol. 1, No. 1, January, L976.
Elizabeth L. Talk Tips. USDA Forest Service Publication. Portland, OR:
US Department ofAgriculture, no publication date.
Ho_r_n_,
Kenny, Michael F. for Eastman Kodak Qernpan/. Presenting Yourself. New York,
IrIY: John Wiley and Sons, Inc., Publishers, 1982.
Podracky, John R. Creatine Slide Presentations. A Basic Guide. Englewood
Cliffs (NJ): Prentice-Hal, fnc., 1983.
Shaw, John. The Nature Photoerapher's Complete Guide to Professional
Field Techniques. New York: Amphoto, L984.
Toops, Connie. "Building a Better Slide
1978 3(2): 20-25.
File." Journal of Interpretation.
Chapter 4: Multi-Media
Arizona State University Media Research and Development. Producing Effective
Audiovisual Presentations. Temp€, AZ: Artzona State University ,1575.
Eastman Kodak Company. "Visualizing Your Way to a Script." Rochester, IrfY;
Eastman Kodak Qsmpan].
Edmonds, Robert. Scriptwriting for the Audiovisual Media. Second Edition. New
York,IrfY: Teachers College Press, 1984.
Heiltzpan, James. Makine the Right Connections. Stevens Point, WL University
of Wisconsin-Stevens Point Foundation Press, 1988.
Kenny, Michael F.; and Schmitt, Raymond F. Imaees. Imaees. Irlages - The
Book of Proerammed Multi-Image Froduction. Third Edition. Eistman
Kodak Publication s-12. Rochester: Eastman Kodak company, 1988.
1.09
Sunier, John. Slide Sound and Filmstrip production. London: Focal press Ltd.,
1981.
USDA Forest Senrice. ''Writing{or the Ear." Forest Naturalist Handbook,
Alaska Region. Anchorage: USDA Forest Service.
Wadzinski, Lester A. 4 Vglti-Medig=Cool_cbook. Rock Island (IL): U.S. Army
Corps of Engineers Publication. No publication data.
wqoJmag, Robert s. "see Your way clear." Audio visual Directions.
May/June 1981.
Chapter
5:
lVlaking the Video Transition
Beatty, Lamgn-d {, E
The Instructional Media Library, vol. g.
=l+S+pr.
Englewood Cliffs, NJ:
Educational rechnology publicatiottr, I'n"., 1 gg 1.
Weiner, Peter. Maki
ia Revoluti
Production. New York, IrIY: Macmillian Publishing
r v loeo-
Co.ln%
1g?A
Winston, Brian; and Keydel, Julia. Working With Video. London: Mobius
International, Ltd., 1986.
Chapter
6:
Deslrtop Pnesentations
Meilach, Dona Z.
-D]'namics of Presentation Graphics. Homewood, IL: Dow
Jones-Irwin, 1986.
Lambert, Ste1e. Pregeqtation Graphics on the Apple Macintosh. Bellevue, WA:
Microsoft Press, 1984.
Sandler, Corey. Desktop Graphics for the IBM PC. Morris Plains, NJ: Creative
Computer Press, 1984.
Stewart. TlLe Mediq Lab: Inventine the Future at MIT. New york, IrIy
Viking Penquin, Inc., 1987.
Bra_nd,
110
Bibliography
Arizona State Ur-riversity IVIedia Research and Development. Producine
Effective Audiovisual Presentations. Tempe (AZ11 gtitona state
University, L975.
Ashbaugh, BJrron. "Nature center Purposes and values." Journal of
Environmental Education, L97 4, 6(4).
Association for Educational Communications and Technolry. Producing
Shae ana fape Pre
igrc Reading from Audiovisilt tnstruction-+.
Washington DC: Asscoiation for Educational Communications and
Technology, 1980. 70 pp.
Association for Educational Communications and Technology. Selecting
tvt9dt+ for Le?rm+s.-ryeadings from Audiovisual Instruciion. Washington
DC: Association for Education communications and rechnology,
L974.96 pp.
Bates, A.
w.
from Audio-visual Media: The open university
pynelence. " IFlPapers.on BroadcastinE, Open University, Waltoir,
p_letclJey, Bucks(England), Institute of Educitional Technology,
No. 183, 1981.28 pp. ED 268 985
"Le11ni_n_g
Battaion, Scott. "Media and Environmental Education." Irnpublished
Master's Thesis, California State University, Chico, 198G.
Beatty, Lamo_nd F. Motlon Fctures. The Instructional Media Library,
volume Number 8. Englewood cliffs (NJ): Educational rechnology
Publications, Inc., 1981. 100 pp.
F. Filmstrips. The Instructional Media Library,
volume Number 4. Englewood cliffs (NJ): Educational rechnology
Publications, Inc., 1981. 95 pp.
Bea_tty, Lamond
Bennett, Dean B. "Guidelines for Evaluating student outcomes in
Environmental Education. " Maine Environmental Education Project,
Yarmouth, ME. 1973. 71pp. ED 101 927
Borg, Walter R.; and Gall, Meredith D. Educational Research. An
Introduction. 4th Edition. New York and London: Longman fnc., 1983. 936pp.
Boulanger, David F.; and Smith, John P. Educational Principles and
Techniques for Interpreters. USDA Forest Service Publication.
Portland: US Department offuriculture, 19?3. 24pp.
Brold, Stewart. The Media Lab: Inventing the Future at MIT. New York: Viking
Penquin, Inc., 1987. 285 pp.
Bu{gugh, Rglert v. MqJti-Image Media The Instructional Media Library,
volume Number 9. Englewood cliffs (NJ): Educational rechnology
Publications, Inc., 1981. 114 pp.
111
'-
Cherem, Gabriel J._ "The Professional I',tterpreter: Agent for an Awakening
Giant." Journal of Interpretation,2(L).
Close, Burt E. " Beware of These 7 Seven Errors in Planning Slide-sound
Productions." Lfnpublished paper. No publication data.
Clymer, E.W. "Title Slides Made Easy." Audiovisual Communications.
January t975:15-16.
Copeland, Peter. Interactive Video in Training. Computers in Personel -Makine Management Profitable. 1984. 7 pp. ED 252 L84
Covert, Douglas C.; Johnson, David I. "A Learning and Communications
Profile of Teachers Entering an Environmental Education Experience."
Current Iqsues in Environmental Education VI, 1980 : 362-383. ED L97 947
Cromwell, Wallace. "Homemade Slide Dissolve tInit." Western
Interoreter's Association. Vol. 1, No. 2, February, L976.
Dale, Edgar. Audio Visual Methods in Teaching. New York: The Dryden
Press; Holt, Rinehart, and Winston, Inc., 1969. 719 pp.
Da;mes, Rod; and Butler, Beverly. The Videodisc Book A Guide and
Directory. New York: John Wiley and Sons, 1984.
Dieterich, Dan. "Some Popular Visual Aids." Unpublished Paper,
University of Wisconsin, Stevens Point. 1984.
Dillman, Don A. Mail and Telephone Survelvs: The Total Desierr Method.
New
York: Wiley and Sons, Inc., 1978.
318 pp.
Eastman Kodak Company. Slides: Plannine and Producing Slide Prosrams.
Kodak Publication No. S-30. Rochester: Eastman Kodak Company,1986. 159 pp.
Eastman Kodak Company. Reverse Text Slides. Kodak Publication 5-26.
Rochester: Eastman Kodak Company, 1983.
Eastman Kodak Company. 'Visualizing Your Way to a Script." Rochester:
Eastman Kodak Company.
Edmonds, Robert. Scriptwriting for the Audiovisual Media. 2nd edition.
New York Teachers College Press, 1984. 216 pp.
Fazio, James R.; and Gilbert, Douglas L. Public Relations and
Communications for Natural Resource Manaeers. Dubuque (IA):
KendalL/Ilunt Publishing Company, 1986. 397 pp.
Fortner, Rosanne W.; Lyon, Anne E. "Effects of a Cousteau Television
Special on Viewer Knowledge and Attitudes."
Education, 1985, 16(3) : L2-20.
Hakala, D.R. Sugeestions for Conducting Illustrated Lecture Prosrams.
USDA Forest Service Publication. No publication data.
L12
Heinich, Robert; Molenda, Michael; and Russell, James D. Instmctional
Media and the New Technologies of Instruction. 2nd Edition. New York:
John Wiley and Sons, Inc., 1985. 4L4 pp.
Hendrickson, John. "Composition." Unpublished paper, Woodleaf Outdoor
School, Challenge, CA. 4 pp.
Hooper, Dr. Jon Ii "Checklist for Planning a Slide Talk." Unpublished paper,
California State University, Chico. 1978.
Hooper, Dr. Jon Ii "Effective Slide Presentation." Western Interpreter's
Association. Vol. 1, No. 1, Janua4r, 1976.
Hope Reports, Inc. 1600 Lyell Avenue, Rochester, New York 14606,
Thomas W. Hope, President and Publisher.
Horn, Elizabeth L. Talk fips. USDA Forest Service Publication. Portland:
US Department ofAgriculture, no publication date. 31pp.
Husley, Edward Wendell. 'A Comparison of TVo Methods of Instruction In
Environmental Education." Ph. D Dissertation, University of Maryland,
L974.97p. ED 106098
Lewis, William J. Interpretine for Park Visitors. Washington DC: Eastern
Acorn Press, 1980. 159 pp.
Kefford, Colin W. "A Multimedia Programmed Approach to Environmental
Studies." Nufield Foundation Resources for Learning Project, 1968.
ED 049 986
Kenny, Michael F.; and Schmitt, Raymond F. Imaees. Imaees. Imaees - The
Book of Programmed Multi-Image Production. Third Edition. Eastman
Kodak Publication S-12. Rochester: Eastman Kodak Company, 1983.
2MppKenny, Michael F. Presenting Yourself. Eastman Kodak Company. New York:
John Wiley and Sons, Inc., 1982. 175pp.
I(" Planningand Producine
InFtructional Media. Fifth Edition. New York Harper and Row,
Publishers, 1985. 292 pp.
Kemp, Jerrold E., and Dayton, Deane
Kirby, Lynn. "Pointers for Making Slideffape Presentations."
Unpublished Paper, University of Wisconsin, Stevens Point. 1981.
Kueter, Roger A.; and Miller, Janeen. Slides. The Instructional Media
Library, Volume Number 13. Englewood Cliffs (NJ): Educational
Technology Publications, Inc., 1981. 99 pp.
Mahaffey, Ben D. "Curricular Guidelines for Environmental Interpreter
Training
Programs."
, 1973,
5(1):23-30.
113
Mcfnnes, James. Video in Education and TraininE. New York, London: Focal
Press LTD, 1980. 176 pp.
Meilach, Dona Z. Dlrnamics of Presentation Graphics. Homewood, IL: Dow
Jones- frwin, 1986. 259 pp.
Morkin, Chuck. "Elements of Effective Audiovisual." Unpublished paper,
Morkin Enterprises, Green Bay, 1986.
National Audubon Society. Directorv of Nature Centers and Related
Environmental Education Facilities. New York National Audubon
Society, L975. L24pp.
Peace Corps, Washington DC Information Collection and Exchange Division.
Audio Visual Communications Teaching Aids Packet. Supplementary
Materials, Packet P-8. Sept. L982. 94 pp. ED 257 435
I
I
I
I
Pett, Dennis W. Audio-Visual Communications Handbook. Indiana
University, Bloomington: Audio-Visual Center. Peace Corps, Wash. D.C.
1969.251pp. 8D257 434
Podracky, John R. Creating Slide Presentations, A Basic Guide. Englewood
Cliffs (NJ): Prentice-Hal, fnc., 1983. 198 pp.
I
I
Rehm, Karl M. Producine a Sound/Slide Prosram. Huntsville (T)0:
Educational Filmstrips, 1977. 18 pp.
Riggs, Dr. Larry. "Elements in Designrng an Effective Slide/Tape
Production." IJnpublished paper, University of Wisconsin, Stevens Point, 1986.
Larry. "Slide Sound Production." IJnpublished paper,
University of Wisconsin, Stevens Point, 1986. 12 pp.
Riggs, Dr.
Larry. "IJsing Media to Increase Learning." Unpublished paper,
University of Wisconsin, Stevens Point, 1986. 3pp.
Riggs, Dr.
Schneider, Edward W. Videodiscs. The Instructional Media Library,
Volume Number 16. Englewood Cliffs (NJ): Educational Technology
Publications, fnc., 1981.
Sharpe, Grant W., ed. Interpreting the Environment. New York: Wiley and
Sons, Inc., 1976. 556 pp.
Shaw, John. The Nature Photoerapher's Complete Guide to Professional
Field Techniques. New York: Amphoto, 1984. 144 pp.
Sparks, Jerry D. Overhead Projection. The Instructional Media Library,
Volume Number 10. Englewood Cliffs (NJ): Educational Technology
Publications,Inc., 198L. 95 pp.
Stecker, Elinor H. "Add Sound to Your Slides." Popular PhotoeraBhy.
Febmary, 1983: 72,92-4.
114
Stokes, David
W. "Production
Center,1984. 4pp.
of an AV Module." Milwaukee: Schlitz Audubon
Strung, Nornan. CommunicatinE the Outdoor Experience. Milwaukee:
Outdoor Writers Association of America, Inc., 1975. 317 pp.
Sunier, John. Slide Sound and Filmstrip Production. London: Focal Press
LTD., 1981. 160 pp.
Thompson, Anthony Hugh. "Handling and Preservation of Audio-Visual
Materials." AbA&g-3,. Nederlands Bibliotheek en Lekturer
Centrum, The Hague: Netherlands, 1983. 31pp. ED 269 009
Tilden, Freeman. Interpretine Our Heritage. Third Edition. Chapel Hill(NC):
The University of North Carolina Press, L977. 119 pp.
Toops, Connie. "Build.ing a Better Slide
1978 3(2): 20-25.
File." Journal of Interpretation.
USDA Forest Senrice. "Writing for the Ear." Forest Naturalist Handbook,
Alaska Region. Anchorage: USDA Forest Service.
Wadzinski, Lester A. A Multi-Media Cookbook. Rock Island (IL): U.S. Army
Corps of Engineers Publication. No publication data.
Weiner, Peter. Makine the Media Revolution. A Handbook for Video-Tape
Production. New York Macmillian Publishing Co., Inc., 1973. 2L7 pp.
Western Curriculum Project on Canadien Studies. Project Canada West
Interim Report. Edmonton, Alberta, Canada: ,797L. ED 049 105
White, John T. "The 10 Commandments of Slide Presentations." Ann Arbor:
Environmental Protection Agency. No publication data.
Whiting, Ralph; Hagaman, Joseph; and Mallory, Dale. Audiovisual EquiLment
Securitv. Manitowoc (WI): Wisconsin Audiovisual Association, 1979. 28 pp.
L. Trends in Instructional Technology: An Instructional
Module. Rochester: Rochester Institute of Technology, 30 June 1982.
nn. ED 252200
Wiley, Ann
?3
Winston, Brian; and Keydel, Julia. Working with Video. London: Mobius
International, Ltd. 1986. 256 pp.
Wolfe, Glenn M. Audiovisual Scriptwriting
Productions, 1981. 25 pp.
Woolman, Robert S. "SeeYourWay Clear."
May/June 1981.
115
Kit. La Crosse (tfrIl): Haas-Haus
@