La production vidéo nigériane

2011 ◽  
Vol 238 (2) ◽  
pp. 107
Author(s):  
Pierre Barrot
Keyword(s):  
Production Vidéo

scholarly journals Pengembangan video pembelajaran bumbu dan rempah pada mata pelajaranpengolahan makanan kontinental

2018 ◽  
Vol 5 (1) ◽  
pp. 91-102
Author(s):  
Febria Demayanti ◽  
Sunaryo Soenarto
Keyword(s):  
Small Scale ◽  
Vocational High School ◽  
Learning Achievement ◽  
Analysis Techniques ◽  
Program Testing ◽  
Interview Technique ◽  
Before And After ◽  
The Subject ◽  
Production Vidéo ◽  
Video Program

Penelitian ini bertujuan: (1) menghasilkan materi video yang layak digunakan sebagai media pembelajaran bagi siswa SMK Jurusan Tata Boga secara umum, dan secara khusus untuk SMK Ma’Arif 2 Sleman. Materi video lebih menekankan pada pengenalan bumbu dan rempah kontinental (continental spice) pada mata pelajaran Pengolahan Makanan Kontinental; (2) mendokumentasikan beberapa bumbu dan rempah kontinental (continental spice) secara detail, meliputi: bentuk, sifat, karakter dan kegunaan bahan tersebut; (3) mengetahui manfaat penggunaan media video pembelajaran dalam meningkatkan hasil belajar siswa. Penelitian pengembangan ini merujuk 3 langkah yang dikembangkan antara lain: (a) praproduksi; (b) produksi; dan (c) pascaproduksi. Uji coba program video dilakukan 2 tahap yaitu skala kecil dan besar. Produk video yang telah direvisi digunakanuntuk pembelajaran PMK. Subjek tes sebelum dan sesudah pembelajaran menggunakan media video untuk mengetahui peningkatan hasil belajar. Pengumpulan data menggunakan teknik wawancara, observasi, dan angket. Teknik analisis menggunakan deskriptif. Validasi ahli materi dan ahli media hasilnya layak digunakan. Penilaian siswa tentang media video pembelajaran bumbu dan rempah kontinental rata-rata siswa memberi tanggapan “sangat layak” serta terdapat peningkatan hasil belajar siswa sesudah menggunakan program video pembelajaran.Kata kunci: video pembelajaran, bumbu dan rempah kontinental, hasil belajar DEVELOPING A VIDEO FOR THE LEARNING OF INGREDIENTS AND SPICES IN THE SUBJECT OF CONTINENTAL CUISINE PROCESSINGAbstractThis study aims to: (1) produce video materials appropriate to be used as learning media for students of Gastronomy in the vocational high school in general and in SMK Ma’arif 2 Sleman in particular; the video materials emphasize the introduction to continental ingredients and spices in the subject of Continental Cuisine Processing; (2) document several continental ingredients and spices in detail including their forms, nature, characters, and uses; and (3) investigate the benefits of the use of the learning video to improve students’ learning achievement. This was a research and development pouting 3 to the steps developed i.e.: (a) preproduction, (b) production, and (c) post-production. Video program testing is done in 2 to the steps; large & small scale. Revised video products are used for PMK learning. Tes subjects before and after learning using video media to the know the improvement of learning outcomes. The data were collected by interview technique, observation, and questioner. The analysis techniques were use descriptive. The results of the validation by the materials and media experts of the results is feasible to be used. The students’ assessment of the video for the learning of continental ingredients and spices show very appropriate responses on the average and there is an increase on the learning outcome after using the learning video program.Keywords: learning video, continental ingredients and spices, learning achievement

scholarly journals Course Design using an Authentic Studio Model / Restructuration de cours au moyen d’un authentique modèle de studio de design

2013 ◽  
Vol 39 (1) ◽  
Author(s):  
Jay R Wilson
Keyword(s):  
Educational Technology ◽  
Course Design ◽  
Learning Experience ◽  
Design Studio ◽  
Graduate Course ◽  
Face To Face ◽  
Shared Space ◽  
En Face ◽  
Production Vidéo ◽  
Technology And Design

Educational Technology and Design 879 is a graduate course that introduces students to the basics of video design and production. In an attempt to improve the learning experience for students a redesign of the course was implemented for the summer of 2011 that incorporated an authentic design studio model. The design studio approach is based on the idea of working and learning in a shared space. Offering a course that employs a studio design model provides the opportunity for exchanging ideas, sharing artifacts, and developing community more deeply and more quickly. What makes this course offering different is the combination of authentic tasks incorporating both online and face-to-face design studio environments. This paper will describe how a studio design approach combined with an authentic learning design was implemented and what was learned. Educational Technology and Design 879 est un cours d'études supérieures initiant les étudiants aux rudiments de la conception et de la production vidéo. Pour améliorer l’expérience d'apprentissage, une refonte du cours a été entreprise à l'été 2011 en intégrant un authentique modèle de studio de design. L'approche « studio de design » repose sur l'idée d’un travail et d'un apprentissage réalisés dans un espace partagé. Un cours utilisant un modèle de studio de design offre la possibilité d'échanger des idées, de partager des artefacts et de développer une communauté plus en profondeur et plus rapidement. Ce qui rend ce cours unique est la combinaison de tâches authentiques qui incorporent des environnements de studio de design à la fois en ligne et en face à face. Cet article décrit comment une approche « studio de design » combinée à une conception d'apprentissage authentique a été mise en œuvre et ce qu’on en a appris.

scholarly journals La production vidéo : une pratique multimodale pour tisser des liens entre l’école et les littératies hors scolaires

2015 ◽  
Vol 17 (2) ◽  
pp. 8-31 ◽  
Author(s):  
Diane Dagenais ◽  
Kelleen Toohey
Keyword(s):  
Nous Examinons ◽  
Production Vidéo ◽  
Milieu Scolaire

Nous examinons, dans cet article, deux projets de littératie permettant de faire le pont entre les sphères d’activité scolaires, familiales et communautaires. Le premier projet portait sur l’échange international de vidéos produits par des jeunes bilingues et plurilingues du primaire et du secondaire. Le deuxième projet impliquait des apprenants de l’anglais inscrits au primaire dans la création de vidéos documentaires. Le cadre théorique unissant ces deux projets permet de concevoir la production vidéo comme une forme de littératie multimodale mobilisant plusieurs moyens d’expression et ressources du répertoire linguistique. Nous présentons un récit interprétatif pour décrire les interactions entre les enfants et la technologie ainsi que les liens qu’ils tissent entre les apprentissages et les expériences vécues dans différents domaines de leur vie. Nous nous attardons aux conditions matérielles et aux discours institutionnels pour identifier comment ils influencent l’ouverture du milieu scolaire aux littératies multimodales.

Video Art

2018 ◽  
Author(s):  
Francesco Spampinato
Keyword(s):  
Digital Media ◽  
Video Art ◽  
Video Technology ◽  
The Public ◽  
Moving Images ◽  
Society Of The Spectacle ◽  
French Writer ◽  
Experimental Cinema ◽  
The Public Sphere ◽  
Production Vidéo

The term "video art" is used to describe art made using video technology. Not to be confused with experimental cinema or art film, video art is based on a specific type of electronic image consisting of a two-dimensional composition of pixels. The main feature of video, both in technical and conceptual terms, is its instant playback capability, which is not possible with film, but which allows the creation of an instantaneous mirror-like replica of reality that is available to be manipulated, either live or in post-production. Video art was born in the mid-1960s and has developed in tandem with the evolution of video technology and its increasing availability. Video has become a major tool for artists over the past fifty years, and a quintessential postmodernist medium, which has allowed critical and meta-linguistic responses to be made to what Guy Debord (1931–1994), French writer and leader of Situationism, has called "the society of the spectacle," referring to mainstream forms of media entertainment such as television, cinema, and advertising. Video is employed to document scripted performances and improvised actions, to appropriate preexisting moving images or to create new narratives. Artists’ videos display live or prerecorded images in single- or multichannel settings or as part of multimedia installations shown in exhibition spaces or in the public sphere, broadcast by television or distributed as videotapes, CDs, DVDs and recently as digital media files.

Rendering cartoon-style motion cues in post-production video

2005 ◽  
Vol 67 (6) ◽  
pp. 549-564 ◽  
Author(s):  
J.P. Collomosse ◽  
D. Rowntree ◽  
P.M. Hall
Keyword(s):  
Motion Cues ◽  
Post Production ◽  
Production Vidéo

Emergence in video game production: Video game engines as technical individuals

2016 ◽  
Vol 55 (3) ◽  
pp. 337-356
Author(s):  
Damien Charrieras ◽  
Nevena Ivanova
Keyword(s):  
Cultural Production ◽  
Video Game ◽  
Object Oriented ◽  
Hierarchical Design ◽  
Programming Paradigm ◽  
Game Engines ◽  
Production Vidéo ◽  
Programming Paradigms ◽  
Gilbert Simondon ◽  
Mode Of Production

This article is interested in the creative practices in video game production. More specifically, the research focuses on the ways in which the use of game engines – a toolkit that offers a set of functionalities to automatize the handling of a range of processes (graphics, sound, game physics, networks, artificial Intelligence) – make possible or impossible certain forms of emergences in video games production. The manipulation of objects in these game engines is done according to a certain programming paradigm. Two main programming paradigms currently govern the internal design of game engines: object-oriented/inheritance-based deep-class hierarchical design and component-based data-driven design. We will describe how different programming paradigms lend themselves to certain affordances to explore the ways in which game workers can interface with game engines. We will use the framework developed by Gilbert Simondon on the artisanal and industrial stage or mode of production. This will enable a better understanding of the technogenesis of different kinds of game engines and the ways in which they can be conceptualized as technical individuals enduring through their associated milieus. This way of describing game engines emphasizes non-anthropocentric forms of creativity and specific modalities of emergent techno-human processes that are too often underestimated in various accounts of cultural production processes.

scholarly journals AI IN PRODUCTION: VIDEO ANALYSIS AND MACHINE LEARNING FOR EXPANDED LIVE EVENTS COVERAGE

2020 ◽  
Vol 129 (2) ◽  
pp. 36-45
Author(s):  
Craig Wright ◽  
Jack Allnutt ◽  
Rosie Campbell ◽  
Michael Evans ◽  
Ronan Forman ◽  
...  
Keyword(s):  
Machine Learning ◽  
Video Analysis ◽  
Production Vidéo
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