2011 - ed Online · 2011. ii Communication ... Animation Unleashed: 100 Principles Every Animator,...

2011Saskatchewan Core Learning Resources

CommunicationMedia

10, 20, 30

iCommunication Media 10, 20, 30

Communication Media 10, 20, 30

Core Learning Resources

Prepared by:

Student Achievement and Supports Branch

Ministry of Education

2011

ii Communication Media 10, 20, 30

Communication media 10, 20, 30: core learning resources ISBN 978-1-926841-30-4 1. Video recording – Production and direction – Bibliography. 2 Cinematography – Study and teaching (Secondary) – Bibliography. 3. Mass media – Vocational guidance.

I. Saskatchewan. Ministry of Education. Student Achievement and Supports Branch.

778.5016016.7785

All rights for images of books or other publications are reserved by the original copyright owners.

iiiCommunication Media 10, 20, 30

Table of ContentsForeword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v

Print, Audio-visual, and Other Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

vCommunication Media 10, 20, 30

Foreword

This list of learning resources identifies high-quality resources that have been recommended by the Ministry of Education to support the curriculum, Communication Media 10, 20, 30. This list will be updated as new resources are recommended and older ones are no longer available.

(CAN) indicates that a Canadian contributed to the development of the resource and/or that it includes Canadian content. (SK) indicates that a Saskatchewan person contributed to the development of the resource and/or that it includes Saskatchewan content. (FNMI) indicates that a First Nations, Métis, or Inuit person contributed to the development of the resource and/or that it includes First Nations, Métis, or Inuit content.

Recommended Online Video Education Resources (ROVER) offers video programs that have been purchased by the ministry for use in PreK-12 schools. Each recommended program contains a hyperlink directly to the program and accompanying resources (if provided).

Other resources beyond those recommended in this list may effectively support Communication Media 10, 20, 30. It remains the responsibility of educators to preview and select materials that best meet the needs of their school or community. Educators should choose resources in accordance with their school division’s learning resources selection policy.

Pricing of the learning resources in this document is subject to change without notice.

The Ministry of Education expresses its appreciation to publishers, producers, and distributors who have provided learning resources for evaluation, and gratefully acknowledges the contributions made by educators who served as evaluators.

1Communication Media 10, 20, 30

Print, Audio-visual, and Other Resources

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Animation in MultimediaAnnotation(CORE) The program takes students through the elements of creating a successful animation. Beginning with the various methods of creating an animation, the program then explores the stages and aspects of animations, including character development, backgrounds, adding sound and voice, and the use of wire frame in 3D work. Viewers look at the various roles in an animation team, including producers, directors, computer technicians, artists, and voice actors and some applications of animation such as computer games, advertisements, and film.

Brief animation samples are available.

Suggested UsesMultimedia ProductionStudent Resource

ProducerVideo Education Australasia

DistributorROVER(Recommended Online Video Education Resources) (866) 933-8333 (for technical inquiries or support)Email: [email protected]: http://rover.edonline.sk.ca/index.htm

Price: $Free (within Saskatchewan PreK-12 schools)Length: 29 min.ID Number: TBA

Copyright: 2007Year Recommended: 2011Expiry Date: July 1, 2016

http://rover.edonline.sk.ca/goToVideo.htm?filename=V2338.flv

2 Communication Media 10, 20, 30

Animation Unleashed: 100 Principles Every Animator, Comic Book Writer, Filmmaker, Video Artist, and Game Developer Should KnowAuthor: Besen EllenIllustrator: Hallett, Bryce

Annotation(CORE, CAN) Written and illustrated by accomplished Canadian animators, Animation Unleashed presents practical key principles that are useful for both animation beginners and professionals. The well-illustrated chapters offer valuable information on analogy, caricature, movement, fantasy, reality, control, ideas, scripts, storyboards, character, animation film structure, sound, animation technique, performance, timing, backgrounds, special effects, and more. Included are a table of contents, a glossary, a filmography, a bibliography, and an index.

Suggested UsesAudio ProductionMultimedia ProductionVideo ProductionStudent Resource

Publisher/DistributorMichael Wiese Productions3940 Laurel Canyon, BL #1111STUDIO CITY CA 91604(818) 379-8799Fax: (818) 986-3408Email: [email protected]: www.mwp.com

Price: $26.95 U.S.Pagination: 245 p.ISBN: 978-1-9329-0749-0

Copyright: 2008Year Recommended: 2011

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CaravanAnnotation(CORE) Caravan is a short drama about eight-year-old Saul who is abandoned by his mother at his grandmother’s caravan in a deserted caravan park. Through stories that his Gran tells Saul with her playing cards, Gran teaches Saul that he has the choice to change the hand that life has dealt him. Later, Saul uses the cards to make meaning of his current situation.

This program should be used in conjunction with Film as Text, The Mechanics of Film: Part One, and The Mechanics of Film: Part Two, which are also included on ROVER.

A teacher’s guide is available.

Suggested UsesVideo ProductionStudent Resource

ProducerClassroom Video


Price: $Free (within Saskatchewan PreK-12 schools)Length: 19 min.ID Number: V2338


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Crew SeriesAnnotation(CORE, CAN) This series explores the various technical positions that form a film production unit. The technicians discuss the job demands and the creative aspects of each position. They discuss the tools necessary to make an informed career choice, how to get started, the entry level skills required, the pay rates to expect, and the pros and cons of a career in this field.

Suggested UsesAudio ProductionVideo ProductionStudent Resource

ProducerLakeland Productions


Price: $Free (within Saskatchewan PreK-12 schools)Length: 22 min. each

Copyright: 2005Year Recommended: 2011Expiry Date: August 31, 2012

Title Annotation Order Number

Art, Set Decoration, and Lighting Departments

In the art department, the production manager is responsible for the entire look of a film. This person oversees the art, construction, set decorating, wardrobe, props, hair, and makeup departments. The art director and paint co-ordinator are also part of this department.

In the set decorating department, the set director is responsible for overseeing research and the acquisition and allocation of items required to dress the various sets. The buyer, set dresser, and on-set dresser support this department.

In the lighting department, the gaffer is head of the lighting and electrical departments on set. This person determines the electrical and power requirements and oversees all electrical aspects, particularly lighting. A best boy is in charge of acquiring equipment and personnel needed by the lighting department. A lamp operator and a generator operator also support the gaffer.

V3704

Costume, Camera, and Grip Departments

In the costume department, the staff includes a costume designer, an assistant costume designer, and a set (truck) costumer.

In the camera department, the camera operator tries to blend the work of the artist with the technology. Other positions include the director of photography, the camera operator, and the first and second assistant camera operators.

In the grip department, the staff includes a director of photography (or cinematographer) and a camera and lighting supervisor who supervises a key grip, a best boy grip, and other grips.

V3699

(continued)

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Crew Series (continued)

Title Annotation Order Number

Hair, Production Office, and Make-up Departments

In the hair department, there is the head (or key) stylist who styles the hair of all on-camera talent, supervises the fitting of wigs and moustaches, and does hair tinting. This person is often assisted by first and second hair stylists.

In the production office department, the production co-ordinator provides organizational, logistical, and clerical support to the production. This person works closely with the production manager, and is responsible for setting up and managing the office, arranging for travel and permits, creating and distributing paperwork (e.g., scripts, script changes, call sheets, schedules, and location maps). There is often also an assistant production co-ordinator and an office production assistant.

In the makeup department, the head makeup artist applies makeup to all on-camera talent and often has a first assistant. If there is a second assistant, this person is primarily responsible for the makeup of background performers and extras.

V3702

Paint, Sound, and FX Make-up Departments

In the paint department, the lead painter or lead scenic artist paints the sets and backdrops as needed. This person is assisted by the on-set painter.

In the sound department, the location sound mixer is responsible for sound recording, the selection and placement of microphones, and the recording and integrity of all sound. The boom operator is responsible for the microphone boom to record dialogue and sound effects.

In the special effects makeup department, the work is done by a prosthetic makeup designer and a special effects makeup artist. This involves everything from creating bruises and cuts to major changes such as animatronics.

V3701

Properties, Assistant Director, and Continuity Departments

In the props department, the props master is responsible for obtaining and providing all items that a performer picks up and uses during a production. The props master is assisted by the on-set props person. The armourer, another staff member, is responsible for providing and maintaining firearms during a production.

In the assistant director department, the first assistant director is in charge of creating the schedule, running the set, and keeping a certain pace during the shooting. This person is a conduit between the crew and the director. There may also be second, third, and trainee assistant directors in this department.

In the continuity department, the script supervisor is in charge of ensuring continuity throughout the filmmaking process. This involves making certain that the background, props, and actors (hair, makeup, etc.) are in the same state as in previous shoots for a logical progression in the film.

V3703

Special Effects, Construction, and Location Departments

In the special effects department, the special effects supervisor supervises, designs, and directs all the special effects. This person may be assisted by a special effects assistant and a stunt co-ordinator.

In the construction department, the production designer, assisted by the construction co-ordinator and the scenic carpenter, is responsible for the entire visual look of the film. This person oversees the art, construction, set decoration, wardrobe, props, hair, and makeup departments.

In the locations department, the locations manager is responsible for scouting locations, securing permits, making sure each location is ready for the film crew and that it is left in good condition. This person is assisted by an assistant location manager, a locations production assistant, and a transportation co-ordinator.

V3700

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Digital Art: Painting with PixelsAuthor: Miller, Ron

Annotation(CORE) This appealing resource offers an interesting look at how computer-generated images can be considered art, but are often closely connected to business. The chapter topics include computer-aided drawing (CAD), graphic arts, 3-D modelling, animation, and movie effects. Numerous attractive colour illustrations enhance the text. Included are a table of contents, a glossary, a bibliography of books and websites for further information, and an index.

Note: The Ministry of Education has not evaluated the books and websites listed in this resource.


PublisherTwenty-First Century Books, Inc.

DistributorSaunders Book CompanyPO Box 308COLLINGWOOD ON L9Y 3Z7(800) 461-9120Fax: (800) 561-1763Email: [email protected]: www.librarybooks.com

Price: $28.75 hdc.Pagination: 128 p.ISBN: 978-0-8225-7516-0



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ProducerShopware Educational Systems


Price: $Free (within Saskatchewan PreK-12 schools)Length: 68 min.ID Number: N119


Digital Movie Maker: Guidance from an ExpertAnnotation(CORE) This guide to producing professional-quality videos helps students with their shooting, lighting, and recording skills. It focuses on the real-world techniques of producer Bill Cote, a 25-year veteran of the television industry, who uses footage from a recently wrapped film to demonstrate proper equipment operation. Divided into four main chapters covering preproduction, camera work, lighting, and audio recording, the video explains shooting schedules, shot lists, storyboards, camera exposure, shutter speed, lenses, filters, three-point lighting, time code and logs, shotgun microphones, lapel microphones, microphone levels, audio ambience, and much more.

http://rover.edonline.sk.ca/goToVideo.htm?filename=N119.flv



Film as TextAnnotation(CORE) This program explores the cinematic techniques used by filmmakers to express the narrative conventions essential to telling a story. Using the film Caravan as a reference, this program serves as an introduction to the textual characteristics of a dramatic film, exploring the elements that film as a medium and text as a medium share. Viewers learn that film as a medium can be very relevant to today’s society, and not just escapism, but a carefully designed piece that brings the filmmaker’s message to the audience in an aesthetically pleasing manner. Film and text are similar – each essential convention found in text is expressed in film: narration, plot, theme, characters, editing, setting, and resolution.

This program should be used in conjunction with Caravan, The Mechanics of Film: Part One, and The Mechanics of Film: Part Two, which are also included on ROVER.


Suggested UsesVideo ProductionStudent Resource





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PublisherGlencoe/McGraw-Hill

DistributorMcGraw-Hill Ryerson Limited300 Water StWHITBY ON L1N 9B6(800) 565-5758Fax: (800) 463-5885Email: [email protected]: www.mcgrawhill.ca



Glencoe Introduction to MultimediaAuthor: Solomon, Anna Weston

Annotation(CORE) This comprehensive resource offers guidance for students who are planning and creating multimedia projects. The student edition offers core multimedia concepts, supported by online student activities that provide the flexibility to teach applications across the Adobe Creative Suite. The major unit topics include understanding multimedia, design of multimedia, components of multimedia, and working with a creative project team. Numerous colour graphics, charts, and photographs enhance the text. Included are a table of contents, a math handbook, a career skills handbook, a glossary, and an index.

Note: The American origin makes some of the legal references invalid for Saskatchewan students, but overall this is a very thorough and engaging resource.

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PublisherGlencoe/McGraw-Hill

DistributorMcGraw-Hill Ryerson Limited300 Water StWHITBY ON L1N 9B6(800) 565-5758Fax: (800) 463-5885Email: [email protected]: www.mcgrawhill.ca



Glencoe Introduction to Web DesignAuthors: Evans, Mark A. and Hamm, Michael

Annotation(CORE) This comprehensive resource offers information on designing a website through to developing and maintaining it. The 14 chapters offer features such as previews, summaries, activities, and online portfolio projects. Numerous attractive colour photographs, graphs, and charts enhance the text. Included are a table of contents, a glossary, a math handbook, a career skills handbook, and an index.

A teacher resource on DVD is available.

Note: Because this resource is American, the legal information may not be relevant in Saskatchewan.

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How to Make Digital StoriesAnnotation(CORE, SK) A digital story is a form of media that allows students to share their creative writing in a way that can be expressed through audio files, digital photos, and imagery. It can be shared via email or a downloadable link, and can be stored on a CD, DVD, website, computer hard drive, or other storage devices. Creating a digital story is one way in which technology is re-shaping the way that students learn and relate to each other by allowing them to share their thoughts, ideas, images, and music digitally with the world.


ProducerVideo Education America







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Suggested UsesAudio ProductionStudent Resource

ProducerVideo Education Australasia


Price: $Free (within Saskatchewan PreK-12 schools)Length: 26 min.ID Number: TBA


Inside a Recording StudioAnnotation(CORE) When it comes to creating music, one of the most important and intriguing aspects of the whole process takes place inside the recording studio itself. This program is a valuable resource for all students interested in pursuing music and sound recording as a future career. It covers a wide range of useful information, including understanding the nature and acoustics of sound, the layout of a recording studio, main steps in a recording process, and producing a finished product from your recording. The program features insightful interviews with professional sound recorders, mixers, and musicians. It introduces viewers to the whole range of recording equipment and computer software used in the industry today.




Mechanics of Film: Part OneAnnotation(CORE) The making of a film is a process that requires a lot of preparation, planning, and research. This program goes behind the scenes during the making of the award-winning short film Caravan that was written, directed, and produced by Jennifer Ussi. Through interviews, and footage shot of the working crew, the program examines the different crew members and their role in making a film, from preproduction to the end credits. Roles of the producer and director, casting and crewing, and the production process are discussed.

This program should be used in conjunction with Caravan, Film as Text, and The Mechanics of Film: Part Two, which are also included on ROVER.







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Mechanics of Film: Part TwoAnnotation(CORE) This program explores the postproduction phase of the making of the film Caravan. In this phase, all the elements created in the preproduction and production phases come together. Postproduction and marketing, editing, postproduction sound, music composition, and end credits are part of this phase of the project. Through interviews with the crew members viewers learn about the various roles involved in the final stages of filmmaking.

This program should be used in conjunction with Caravan, Film as Text, and The Mechanics of Film: Part One, which are also included on ROVER.







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ProducerLand Season II, Inc.



Copyright: 2009Year Recommended: 2011Expiry Date: August 31, 2015

RayAnnotation(CORE, SK, FNMI) In 1967, Ray Ramayya arrived from India with his wife and son. Educated as a teacher in his homeland, Ray taught, then re-entered school where he gained his PhD as an educational psychologist. Settling in La Ronge in 1979 with his family, Ray began his career as the Regional Superintendent of Education for Northern Saskatchewan. During this period, Ray also began to cultivate his love for film. Beginning in 1981, Ray has made six feature films in his own unique way. His motto is, “If you can dream it, you can do it”. This video from the Landing: Stories from the Cultural Divide Series follows Ray as he works on his latest film.

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ProducerUrban Rez Productions


Price: $Free (within Saskatchewan PreK-12 schools)Length: 24 min. each


Storytellers in Motion SeriesAnnotation(CORE, CAN, FNMI) This series focuses on the careers of various First Nations and Métis filmmakers. These videos provide valuable information for high school students who are interested in a filmmaking career.

Title Annotation ID NumberDanis Goulet (SK) In Danis Goulet, Métis filmmaker Goulet discusses her life and

career. Through her roles as executive director and artistic director of the ImagineNATIVE Film and Arts Festival, she has gained much experience in the field of filmmaking. Goulet’s short film Spin has screened at several festivals, and she has recently completed another short film Divided by Zero.

TBA

Dennis & Melanie Jackson (SK) In Dennis & Melanie Jackson, award-winning producers, writers, and directors Dennis (Cree) and Melanie (Métis) discuss their work and go behind the scenes of their well-known animated production Wapos Bay. Wapos Bay is filmed at Dark Theatre Productions in Saskatoon.

TBA

From the Edge In From the Edge, award-winning Métis filmmaker Gil Cardinal discusses his life and his work as a creator of dramas and documentaries. Cardinal’s documentaries include Foster Child, David with FAS, and Totem: The Return of the G_psgolox Pole, while his dramas include Big Bear and North of 60. Cardinal speaks of film as a vehicle for social change and a conduit for telling people’s stories.

TBA

Laura Milliken (SK) In Laura Milliken, experienced First Nations filmmaker Milliken discusses her personal challenges and successes in her field. Milliken is well known as co-creator of Moccasin Flats, a drama series that revolves around the lives of First Nations teenagers from North Central Regina.

TBA

Lisa Jackson: Starting Out In Lisa Jackson: Starting Out, Jackson, a young First Nations filmmaker, reflects on her relationship with her mother who was a victim of the residential school experience. Following her mother’s death, Lisa was inspired to make an eight-minute film about their relationship. Later, a Vancouver production company invited Jackson to direct Reservation Soldiers, a 60-minute television documentary that explores the relationship between the Canadian military and First Nations youth. Jackson discusses the challenges of moving from a small personal production to a longer more complex project.

TBA

(continued)

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Storytellers in Motion Series (continued)

Title Annotation ID NumberMi’kmaq Storyteller In Mi’kmaq Storyteller, filmmaker Catherine Martin tells viewers about her

experiences in making a short documentary on Maliseet artist Shirley Bear and a National Film Board documentary The Spirit of Annie Mae, which examines the execution-style murder of Annie Mae Pictou-Aquash in 1975. This program also shows Martin visiting Haida Gwaii where she is a featured guest at workshops designed to entice young First Nations students to become filmmakers.

TBA

Modern Indigenous Aboriginal Native Indian Type Dude

(SK) In Modern Indigenous Aboriginal Native Indian Type Dude, Métis Gemini Award winner Jordan Wheeler discusses his writing career, which includes screen writing for television. His behind-the-scenes tour of the making of the dramatic film series RenegadePress.com offers viewers a sense of the complex process involved in filmmaking.

TBA

Rodger Ross: It’s a Spiritual Thing (SK) In Rodger Ross: It’s a Spiritual Thing, Ross, an urban Cree, tells of his progression from a storyteller to a filmmaker. Ross explains that his company, Creerunner Communications, makes films for communication first, and it does not produce video for mainstream programming. Ross’ work over the past 26 years has focused on stories that celebrate the achievements of his people. Ross listens to his subjects respectfully and allows their stories to unfold naturally.

TBA

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PublisherWadsworth Publishers of Canada Ltd.

DistributorNelson Education1120 Birchmount RdTORONTO ON M1K 5G4(800) 668-2222Fax: (800) 430-4445Email: www.nelson.com/order/forms/orders.htmlWebsite: www.nelson.com



Video Basics 6. 6th ed.Author: Zettl, Herbert

Annotation(CORE) This extensive, detailed resource covers all aspects of video production including production roles, equipment, and editing. The chapters provide information on everything from operating a video camera to postproduction nonlinear editing to talent, clothing, and makeup. Numerous attractive colour photographs, graphs, and charts enhance the text. Included are a table of contents, a glossary, and an index.

From ZETTL. Video Basics, 6E. © 2010 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. www.cengage.com/permissions.

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PublisherThe Goodheart-Willcox Company, Inc.

DistributorNelson Education1120 Birchmount RdTORONTO ON M1K 5G4(800) 668-2222Fax: (800) 430-4445Email: www.nelson.com/order/forms/orders.htmlWebsite: www.nelson.com/

Pagination: 525 p.


Video: Digital Communication & Production. 2nd ed.Author: Stinson, Jim

Annotation(CORE) This comprehensive resource offers simple-to-read text and numerous high-quality photographs to provide clear information about all aspects of video production including preproduction, communication, directing, postproduction, and the major aspects of videography, lighting, and audio. The book includes a table of contents, a glossary, and an index.

An instructor’s guide is available.

Title ISBN PriceStudent Textbook 978-1-59070-767-8 $75.95 hdc.

Instructor’s Guide 978-1-59070-769-2 $33.95 pbk.

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2011 - ed Online · 2011. ii Communication ... Animation Unleashed: 100 Principles Every Animator,...

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