In a follow up to last years HD, 2D, 3D panel, it is clear that Production, Aesthetics and Technical skills are moving in an irreversible direction. How much longer can we teach traditional broadcasting without it becoming a "History" course? How much longer can we use analog and standard definition cameras and equipment to teach aesthetics and technical skills to ensure our graduates have up to date knowledge and experience? Moderator: Denise Belafonte-Young, Lynn University
Panelists: Wes Akers, Northern Kentucky University; To "B" or not to "B" - Keeping Broadcasting Alongside Electronic Media
Andrew Robinson, Syracuse University; To Students, ‘codec’ is a Four Letter Word
James Carter, California University of Pennsylvania; The Story’s The Thing
Denise Belafonte-Young, Lynn University; How Much Longer Can We Teach Traditional 'Broadcasting'?
Barry Braverman, Cinematographer & 3D Trainer/Consultant for Panasonic; Teach 3D Now
James M. Martin, University of North Texas
Traditional faculty have had mixed results adapting to new models of media education. The increasing need for currency and technical expertise in classrooms and labs has opened the door for hiring bright and energetic media professionals. This panel will address the benefits of looking beyond the conventional pool of teaching applicants to enhance the strength and breadth of media rich programs.
Moderator: Sandy Henry, Drake University
Panelists: Jeff Inman, Drake University; You Want Me to Do What?
Jill VanWyke, Drake University; Teaching an Old Dog New Tricks
Todd Evans, Drake University; Recruiting, Promoting and Tenuring: Tips and Tricks
Respondent: Michelle Van Maanen, University of South Dakota
During the Spring of 2011 the moderator directed a thirty minute narrative short completed though an upper level production course. Students in the class crewed all departments and served in key department head roles. The Red One Camera was production’s means of digital image acquisition. With the semester at an end, the challenges of picture editorial and sound post-production had yet to begin. And for this film post-production would be conducted outside the normal construct of the classroom environment over summer and fall of 2011. The panel will discuss the challenges of organizing and conducting picture edit and sound post production efforts for longer form narrative projects. Discussion will include working with student editors and the mentoring process in going first assembly to locked picture, recording and editing sound effects, completing ADR, and the composing of original underscore music on a minimal budget.
Moderator: James Goodman, High Point University
Panelists: Jason Balas, University of North Texas
Dean Yamada, Biola University
Michael Hoggan, California State University, Northridge
David Smeltzer, Kent State University; A Tale of Two Workflows, From Martial Arts to Musical Comedy, Final Cut Pro to Avid: The story of the Advanced Narrative Post-Production class for two feature-length movies
The 168 Film Project invites participants to compete for cash and prizes by producing a narrative or documentary film, based on a theme and a Judeo-Christian scripture. Films are produced in one week's time (168 hours), offering a crash course in real-world experience for both students and faculty competitors. In this panel, 168 Film Project Founder John David Ware and 168 Board Member Brian Bird (Evening Shade, Touched by An Angel, Gametime) explain the outstanding opportunities offered to competitors in the 168 Film Project. Recent 168 filmmakers and staff members will share their stories of struggle and miracles from the "168" trenches and show some of their outstanding work. Learn all you need to get your students involved in this competitive storytelling opportunity.
Moderator: Kara Jolliff Gould, John Brown University
Panelists: John David Ware, 168 Film Project
Brian Bird; Evening Shade, Touched by An Angel, Gametime
Paul Luebbers, 168 Filmmakers and former director, 168 Film Project
Amanda Llewellyn, 168 Filmmaker
Wes Llewellyn, 168 Filmmaker
Darren Gould, 168 Volunteer, former post-production supervisor, 168 Film Project
Summer studies abroad programs offer wonderful experiences and many potential rewards, but there can be several technology challenges you do not encounter on your home campus. Courses involving audio/video production or multimedia production require significant planning as well as the ability to adapt to unforeseen circumstances. This panel will focus on what works and what doesn't work for laptops, Internet access, video equipment, and other technologies when teaching on the road. Panelists will share their experiences and strategies to help you prepare for your study abroad program.
This session raises and addresses questions of choice during documentary production: how does one present history from sparse audio-visual evidence; how does one balance the need to convey an idea to the public without overstepping ethical boundaries; what has the increase in reality programming and cable-channel documentary productions done to complicate traditional documentary agreements between filmmaker and subject; what are the challenges of depicting the realities of Native Americans to wider audiences?
Moderator: Thomas Mascaro, Bowling Green University
Panelists: Leighton C. Peterson, Miami University (Ohio); Shooting Back: The Complexities of Representation in Native American Documentaries
Kathleen Ryan, University of Colorado; Lack of Evidence: Documenting the History of Women Accepted for Volunteer Emergency Service during WWII
Nancy Carlson, Ball State University; Faking the Shot vs. Public Awareness: Ethical Issues in Wildlife Conservation Films
Respondent: Evan Johnson, Normandale Community College
Exploration of aesthetic parameters of new media, social media, and mobil media. Investigation of perceptual conditions and aesthetic theories that guide the interpretation, analysis, and creation of visual and sound images in the electronic media.
Moderator: Miriam Smith, San Francisco State
Panelists: Vinay Shrivastava, San Francisco State University; Critical Analysis of Surround Sound
Elizabeth Reid, San Francisco State University; Slow and Low: An Aesthetic Reimagination of Doom Metal
Julia Bernstein, San Francisco State University; Aesthetic Colonization: Cross Cultural Production of Ugly Betty
Nick Pesto, San Francisco State University; Interactivity in Video Games: A New Aesthetic Dimension?
Peter Rollins, San Francisco State University; Aesthetic Considerations for Broadcast Television Programs Adapting Aspects of Transmedia Production and Distribution to Encourage Linear Appointment Viewing
Respondent: Jeff Jacoby, San Francisco State University
We all get the calls. An organization or agency has an “opportunity” for a student to work on a media project. But how do you decide what is a legitimate learning opportunity and not free labor? This panel will share ideas and success stories to get students engaged in learning opportunities that have unique value to both students and the community.
Moderator: Kevin Hager, Wichita State University
Panelists: Amy DeVault, Wichita State University
Gabe Juhnke, Production Manager and Visual Effects Artist, Integrated Media Group, Wichita, KS & Part-Time instructor at Wichita State
