Digital Video Production Research Articles

DIGITAL STORYTELLING IN MALAYSIA: A SYSTEMATIC LITERATURE REVIEW

Digital storytelling (DST), which utilizes digital media to craft narratives, has garnered significant attention as a promising educational tool. Despite the growing interest in its use, there is lack of systematic examination of how DST can be utilized as a pedagogical strategy in Malaysia education context. To address this gap, this systematic review undertakes a comprehensive analysis of current studies on the topic. Using the Preferred Reporting Items for Systematic Review and Meta-Analyses (PRISMA) guidelines, 14 relevant articles were reviewed, drawn from three major electronic databases: Scopus, ProQuest (Education Collection), and Google Scholar. The study aims to provide a deeper understanding of the potential of DST in Malaysia education by examining current trends, implementation strategies and challenges associated with its integration. The analysis indicates growing interest in DST as a pedagogical tool across different level of education throughout the years. DST has been applied in various ways, from student-created digital stories to ready-made digital narratives. However, challenges such as limited time, inadequate digital skills, insufficient infrastructure, and a lack of content knowledge in digital video production have restricted its full potential. This review underscores the importance of addressing these barriers to facilitate broader and more effective implementation of DST in Malaysia education.

Using Artificial Intelligence in Digital Video Production: A Systematic Review Study

Artificial Intelligence (AI) advancements have significantly enhanced computer systems to better cater to user needs, consequently improving user experiences. One area witnessing widespread adoption of AI technology is in the production of digital videos, which find application across various fields, including education. This study aims to delineate the emerging trends in research concerning the integration of AI technology in digital video production. To achieve this objective, we conducted a systematic literature review across several databases, including Web of Science, ERIC, Taylor & Francis, Education Full Text EBSCO, and Sciencedirect. Following the PRISMA flowchart, studies were meticulously screened and selected based on predefined inclusion criteria aligned with the study's purpose. Our analysis encompassed 14 international studies, revealing diverse digital content creations facilitated by AI support. These technologies, offering various interaction dimensions, serve multiple purposes such as providing general guidance, reinforcing knowledge, facilitating design or experimentation, and delivering personalized experiences through tailored technologies. Despite these advancements, the full potential of AI technology remains underutilized. Hence, future research should prioritize the development of digital content that accommodates individual differences, fosters social interaction, incorporates enriched features, and is adaptable to diverse environments. In conclusion, while AI-driven advancements in digital video production hold promise, there exists ample room for further exploration and optimization to fully leverage the capabilities of this technology.

A Study on Korean Language and Digital Education in the Age of AI: Effects of Digital Team Presentation Video Production Class on Middle School Students' Participation in Class and Learning Experience

A Study on Korean Language and Digital Education in the Age of AI: Effects of Digital Team Presentation Video Production Class on Middle School Students' Participation in Class and Learning Experience

Evaluation on Digital Online Videos-Project of Algebra Material

It's a challenges to learn algebra at the faculty of informatics in Sorong, Papua Barat, Indonesia. This suggested learning materials that were engaging and interactive and focused on practical skills. Algebra courses at times assign online digital video projects as a learning strategy. In this study, the skills of students in video-projects along with additional online, digital assignments pertaining to algebra were observed, examined, and determined. The ICSDR (Identify, Conceptualize/Connect, Storyboard, Develop, Review/Reflect, and Refine) methodology was utilized as the framework for a digital online video production. The ICSDR methodology makes algebraic content interactive for education and helps students in understanding the idea of online digital video projects. This study employed a hybrid approach, including project-based learning , descriptive theoretical-practical evaluation, and subjectively analysis. As a result, students are passionate about using applications for producing movies and working on assignments such as online digital video projects. This increased skills and experience in terms of video processing and video editing. Results from the subjective video evaluation were fairly good in terms of concepts, creativities, theories, and problem solving as practice questions. Keywords: e-learning, digital video, ICSDR, project-based learning

Integration techniques in digital video production

The aim of this paper is to present basic digital integration techniques that are applied in the television and film industry to create a final product that meets modern quality criteria. Emphasis is placed on applied methods of creating video content for various purposes, as well as on the main components of the technological equipment of a professional television studio. The scientific-applied contribution is expressed in a comparative analysis of software products for video processing (Adobe Premiere Pro and Openshot Video Editor), which is supported by step-by-step algorithms for the implementation of basic integration techniques in digital video production. The conclusions made regarding the characteristics, possibilities and advantages of the selected products are intended to support the interns in the process of their assimilation and effective use for the realization of creative projects.

The Curricular Asset Warehouse at the University of Illinois: Case study of a digital archive’s sustainability

The production and stewardship of digital objects depends on devices and software with relatively short life cycles. As a result, when it is time to upgrade digital preservation environments and workflows, the devices that host digital objects — hard drives, monitors, computer peripherals, storage media, etc — flow out of digital repositories and contribute to the fastest growing waste stream of the 21st century: electronic waste. This paper discusses how the Center for Innovation in Teaching and Learning (CITL) at the University of Illinois at Urbana-Champaign is currently conducting a study into the sustainable management of its large volumes of digital video and image content production and preservation, within an analysis of its institutional purchasing and waste management paradigms. This analysis seeks to determine how device obsolescence at CITL can be mitigated to avoid future costs and to minimise the department’s contribution to the global e-waste problem. The first half of this paper describes how CITL employs a system called the Curricular Asset Warehouse (CAW), which is a suite of software that serves as the backbone of its media production and archival needs. CAW uses several open source software tools to be an all-in-one production, cataloguing, preservation and discovery tool. The second half of the paper discusses how CITL, which contains a high-throughput video production unit, is minimising its e-waste footprint by employing the CAW suite of tools to minimise its digital storage needs and, by extension, the amount of electronic waste produced by the department. This section also discusses the findings of an in-progress case study about the environmental impacts of CITL’s production tools and tape-based storage infrastructure.

Modeling Guided Inquiry and School Librarian Instructional Partnerships to Pre-Service Teachers Through Digital Video Production

The last ten years in school library research reflect an expanded definition of information literacy along with a stronger emphasis on in-depth information literacy development, concluding that a fundamental shift in instruction provided by school librarians is needed; one that not only helps students find information, but develops students’ abilities to interact with, and learn from information, engaging with it in critical ways. Collaboratively designed and implemented through an instructional partnership between the school librarian and a classroom teacher, Guided Inquiry instruction helps students gain meaningful understanding and develop a personal perspective by exploring, comparing, and contrasting multiple information sources. Despite the frequently touted benefits of instructional partnerships between school librarians and classroom teachers, these structures are rarely, if ever, modeled by school library and pre-service teacher educators. This study examined the process and challenges inherit in designing and modeling Guided Inquiry units of instruction, through a school librarian instructional partnership model, in pre-service teacher education, exploring its impact on teacher candidate willingness to identify school librarians as co-teachers. Findings from the present study indicate Guided Inquiry units co-taught by school library educators and teacher educators help teacher candidates both successfully navigate the research process and develop a mental model of the school librarian as a co-teacher.

대학 영상 교육을 위한 룩업 테이블 활용 및 아날로그 필름 룩 구현 워크플로우

Color grading in the analog film era and the early days of digital video production meant only a very narrow range of image reprocessing due to technical limitations. However, the development of technology and the advent of high-performance digital cameras to capture images in Log or RAW formats have made the color grading stage in modern film post-production no longer an artistic choice but an essential step. This study suggests an alternative solution given the fact that the completeness of video production practice work by student on their first or second-year in the field of university video education is often insufficient due to their lack of technical understanding. Currently, filmmaking practice is conducted gradually for students in all grades in the video-related department curriculums of most universities, while in-depth education and color correction education practice on the post-production stage are conducted only for students on their third or fourth-year. However, these environmental constraints are not the result of a lack of understanding by film industry workers or film educators regarding the importance of post-production technology. They arise due to a lack of understanding of earlier concepts in film production, such as principal photography, lighting, and sound design, which should be prioritized on top of theoretical knowledge of media in order to ensure a sound understanding of post-production technology. Therefore, this paper aims to present the use of a lookup table workflow as a realistic alternative that can be applied to the film production practice of students early in their college years who will later learn in the full-scale post-production stage. In addition, by utilizing the LUT workflow for the creation of an analog film look in digital images as a visual example necessary during the research process, we intend to contribute through this study to the expansion of the selection of student film works, such as by reviving the look of specific time periods.

Cultivating critical consciousness through digital video inquiry

ABSTRACT As political participation across the globe grows increasingly contentious and accusations of “fake news” and “post-truth” politics rise, the how, where, and why of civic learning in schools are called into question. In contrast, multimodal practices such as digital video production continue to promote youth engagement and deliberation of social issues through dialogue, crowd-sourcing, and relationships. Herein we examine the classroom-based approaches to digital video inquiry as a problem-posing antidote to traditional banking approaches to civic education. To forward this claim, we describe 2 classroom uses of digital video production for critical social inquiry. In both cases, digital video inquiry invited students to move beyond banked knowledge about issues into a critical relationship with their topics of study and the communities affected — becoming a path of political participation not easily allowed in other pedagogical and social spaces.

Student engagement with digital video production

Abstract In many contexts of contemporary ELT, the L2 can be widely encountered beyond the classroom. In these settings, teachers need to maximize opportunities for meaningful participation. Digital video production (DVP) provides one such opportunity. Little, however, is known about the types of DVP common in particular contexts of ELT, the extent to which DVP functions as a motivational resource, or how engagement is generated. This mixed-methods study in a Swedish context addresses these questions. Results show that DVP takes place in genre-specific forms and has significant motivational potential. Analyses suggest that DVP can generate embodied forms of engagement. By creating appealing characters and storylines, and through the use of mobile devices and easy-to-use video-editing software, students can engage in authentic self-expression in meaningful and satisfying ways. Insights into the ways in which engagement is generated can provide teachers with valuable knowledge when designing learning activities that incorporate DVP.

Review of Recent Research on L2 Digital Multimodal Composing

This article reviews 26 empirical studies on digital multimodal composing (DMC) published in well-established journals between 2010 and 2020. It provides a holistic overview of these studies in terms of context and participants, multimodal tasks, technology, and research data. Research strands and themes are also identified. This review shows that most studies on DMC were conducted in tertiary ESL/EFL contexts. The research was informed by various theoretical/pedagogical frameworks across multiple disciplines. The multimodal writing tasks included digital storytelling, digital video production, and multimodal presentation. Data were analyzed to address three main strands: 1) L2 students' DMC process, 2) students' perceptions of DMC, and 3) effects of DMC. Of note, DMC practices were reported to have benefited L2 students, such as enhancing audience and genre awareness, learner autonomy, language learning investment, identity development, multimodal communicative competence, and L2 competence. This article ends with pedagogical recommendations and directions for future research.

“You’re the boss, yo!”: Role-Play in Digital Multimodal Composition of Newcomer Youth

This case study explores how two 16-year-old newcomer youth in a Canadian secondary school navigated the digital multimodal composition process through role-play in their first digital video production at school. Employing a qualitative, case-study design, the study shows how the youth playfully accentuated collaborative over coercive power relations, as well as repositioned and represented their imagined identities as they played different assigned roles in the filmmaking process. The implications of these findings are discussed for educators and researchers considering digital multimodal composition as a classroom literacy practice.

The uses of writing for digital video

ABSTRACT In this essay I view writing as a communicative practice, and ask how and in what ways teachers and students define the role of writing in relation to digital video composition. While there is much research on the importance of multimodal composition, and teachers are being encouraged to incorporate more digital making into their curricula, we need to more fully examine children’s classroom writing and meaning-making practices as they work in newer modes like video. I use a sketch of the work of one student to examine what I see as the continued primacy of paper-and-pencil or computer-screen writing even in a digital video making process. I also discuss the ways children saw writing along a continuum of utility, from more to less useful, depending on their own perspectives on writing in general and on writing’s role in the production of videos. I show how the boundaries that teachers maintain between writing and speaking matter less to some students than they do to teachers. I close with some suggestions for how we should approach the theoretical and pragmatic challenges of writing for digital video production in school.

Fast Shot Boundary Detection Based on Separable Moments and Support Vector Machine

The large number of visual applications in multimedia sharing websites and social networks contribute to the increasing amounts of multimedia data in cyberspace. Video data is a rich source of information and considered the most demanding in terms of storage space. With the huge development of digital video production, video management becomes a challenging task. Video content analysis (VCA) aims to provide big data solutions by automating the video management. To this end, shot boundary detection (SBD) is considered an essential step in VCA. It aims to partition the video sequence into shots by detecting shot transitions. High computational cost in transition detection is considered a bottleneck for real-time applications. Thus, in this paper, a balance between detection accuracy and speed for SBD is addressed by presenting a new method for fast video processing. The proposed SBD framework is based on the concept of candidate segment selection with frame active area and separable moments. First, for each frame, the active area is selected such that only the informative content is considered. This leads to a reduction in the computational cost and disturbance factors. Second, for each active area, the moments are computed using orthogonal polynomials. Then, an adaptive threshold and inequality criteria are used to eliminate most of the non-transition frames and preserve candidate segments. For further elimination, two rounds of bisection comparisons are applied. As a result, the computational cost is reduced in the subsequent stages. Finally, machine learning statistics based on the support vector machine is implemented to detect the cut transitions. The enhancement of the proposed fast video processing method over existing methods in terms of computational complexity and accuracy is verified. The average improvements in terms of frame percentage and transition accuracy percentage are 1.63% and 2.05%, respectively. Moreover, for the proposed SBD algorithm, a comparative study is performed with state-of-the-art algorithms. The comparison results confirm the superiority of the proposed algorithm in computation time with improvement of over 38%.

BEYOND TRADITIONAL LITERACIES: A MULTIMODAL-BASED INSTRUCTION TO FOSTERING STUDENT DIGITAL LITERACY LEARNING

The fourth Industrial Revolution (IR 4.0) marked by artificial intelligence and cyber-physical systems has transformed the landscape of education including English literacy instruction. Some literacy educators claim that the success of students’ today as millennial kids (Gen-Zs) and future employees has been linked to digital literacy. This term is defined as the skills associated with using digital technology to enable users to locate, organize, understand, evaluate and create information and using those skills to solve problems in technology-rich environments. This study attempts to investigate the extent to which multimodal pedagogy helps improve students’ digital literacy skills in an English for Specific Purposes (ESP) setting in a vocational higher education. A theoretical multimodal semiotic approach along with multiliteracies pedagogy is served as the overarching guideline in the overall instructional procedures grounded specifically from the principles of learner-centeredness, constructivist learning, and social interaction. A qualitative case study approach was adopted to provide an in-depth explication and analysis of students’ literacy development. Data collection included classroom observations and students’ digital artefacts. In the course of the study, the students were engaged in the creation of two digital projects of different genres: digital information report in the form of text-image creation and digital persuasive talk in the form digital video production. The key findings of this study suggest that multimodal pedagogy is an effective instructional method for digital literacy learning in that several aspects of digital literacy had proven to be significantly improved.

Politics of race, gender, and visual representation in feminist media education

ABSTRACT This paper discusses technologies of power and technologies of self in relation to race and gender in youth digital media production. We query how girls of color use feminist filmmaking to tell the stories they want to tell, and ask where the political discourse shaping their media production is located throughout the process. Our analysis is based on research conducted from 2015 to 2017 exploring traditional and mobile digital video production practices in non-profit media education programs. We offer a view to the cultural politics of digital video production in educational settings and focus on two final productions – an exposé about girls’ empowerment and a horror genre inspired slasher film – each reproducing and subverting common themes of racial and gender-based oppression in and through digital media.

Levels of Students’ Reflective Thinking Skills in a Collaborative Learning Environment Using Google Docs

The purpose of this study is to investigate the frequency and levels of reflective thinking skills that took place in a collaborative learning environment utilising Google Docs. Google Docs was used as a cloud-based collaborative and interactive learning platform for twenty-five undergraduate students from a faculty of education who enrolled for the Digital Audio and Video Production course. Based on the summary writings and peer interaction activities, the students’ reflective writings were coded based on three levels of reflection, namely low reflection (LR), medium reflection (MR), and high reflection (HR). The findings revealed the level of LR to be the dominant level of reflective thinking, followed by the HR level. This study indicated that although the patterns that emerged imply that the students’ reflective thinking skills level is still low, most of the pre-service teachers achieved at least a higher frequency of HR compared to MR.

Theorizing the Addressive Audience in Children’s Digital Video Production

In this article, we examine how children ages 8 to 10 characterized the audiences of digital videos they made in school. Children’s perceptions of their viewers reflected, and in many cases complicated, current theorizing about the vast potential audiences of digital texts. Our analysis of videos and interview data surfaces several findings pertaining to how children characterized their audiences. Children discussed their desire to inform viewers, their deliberate choices about language use vis-à-vis their viewers, ways they predicted and steered audience emotions, and the affective dimensions of sharing one’s video with different audiences. These findings suggest that educators and researchers ought to foreground issues of addressivity when theorizing the question of audience for children’s digital products. They also raise questions concerning authentic audience in an age of increasing concern about children’s safety and security in online worlds.

Enhancing Student Competencies Through Digital Video Production: A Project-based Learning Framework

Purpose: This study purposes to get a demonstration of students’ competencies enhancement through a production of digital video project as a consequence the application of technology through project-based learning (PBL) framework.
 Thus, PBL is a key to support students to be more competitive in an external environment.
 Design/Methodology/Approach: The respondents were given 4 weeks to plan and organized the video project. Likert-type questionnaire is developed to identify students’ viewpoint on the PBL method in enhancing student competencies. The data were collected through questionnaire from 63 respondents.
 Findings: There is a positive significant result in terms of student competencies through PBL framework which provides appropriate structure in determining the level of student competencies.
 Implications/Originality/Value: Students able to produce an educational based video on the topic they are learning. By integrating technology in Malaysia Education Curriculum through PBL, student competencies, which consist of communication, collaboration, creation and critical thinking was enhanced. PBL framework provides appropriate structure for determining the level of student competencies. This paper gives a framework which serves as a reference to facilitate the relevant policy- making in the secondary school education trend. This study adds to the comprehension on how PBL should be implemented in the classrooms to encourage students in to pursuing STEAM majors at the higher level.

Intercreating in the context of learner-generated DV production

In this article we define and conceptualize the notion of ‘intercreating’ and how the notion relates to interthinking. This new characterization of the processes of collective creativity emerges from an empirical study, reported here, examining how intercreating was constituted in interaction between primary-aged learners who were working in groups to create digital video (DV) stories. The study focuses on one group, comprising three girls and two boys. Whilst the context of DV production was motivating for the members, their differing ideas regarding ‘violent’ versus ‘soft’ themes (representing their different lifeworlds) appeared to provoke conflicts. Despite initially disputational and superficial interactions, the group was subsequently able to negotiate joint strategies, constraints and norms and to establish and sustain intersubjectivity – which in turn appeared to be a prerequisite for intercreating. In this open-ended fictive DV task, there was relatively little common ground that could provide an initial basis for discussion and the suggestions made were accepted or rejected according to implicit, tacitly shared criteria. There was little evidence of explicit reasoning in talk; the norms and constraints in play related to the school-based nature of the task and it was these that were used as justifications for ideas or possible solutions. As pedagogical solutions, sub-tasks with tangible goals and the requirement to establish consensus on ideas seemed to facilitate and enhance group discussion. We suggest that intercreating, in the context of divergent fictive content creation, can be defined as a process involving shared meaning-making and group flow.