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Watch the video and then write a summary, compare your summary to your friends

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Edpuzzle assignment. Make video delivery an interactive experience. Students watch the lesson while answering the quizzes. The teacher gets the powerful hassle-free analytics.

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Go to Managebac, folder From the Outside looking in.
Work with a friend on the task called: OIS interview

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There are two resources on Managebac on how to create a newspaper article.
Format
OSSLT...
Look at them.
Turn to your friend.
Explain how to write a newspaper article.
Write down the advice using 5 -7 bullet pointsand show it to me

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Read an article

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Compare swimming rates of various animals.

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Select a topic about OIS
Prepare five questions
Interview at least ONE person
Follow the advice on how to write an article
Write a brief article

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Work with a friend.
Create a learning engagement (a task) that teaches students the difference between facts and opinions.
You need to include rules for how to identify facts and identify opinions
And examples of opinions and facts

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Watch the shows on the link page (see below).
Answer the questions:
1. How many parts are there in a news show?
2. Write down 3-5 sample interview questions
3. Identify 3 camera angles and explain how they are used.
4. Select ONE news show that you like and explain using PEE why it is good.
5. Select one news show that can be improved, argue using some of AFOREST how it can be improved.

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Latest Students news, comment and analysis from the Guardian, the world's leading liberal voice

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1.Read through the power point
2. Identify 3 -5 different camera angles.
3. Draw pictures that show the different camera angles but don´t label them.
4. Ask your friend to identify them

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Subjective,  objective and point of view

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Subjective,  objective and point of view

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Look up the words and write brief explanations.
Share your explanations with your friend

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Do you remember?
Write an instruction of how to argue effectively. If you don´t remember, look at Managebac unit 2: Novel Study - Skills
Your instructions should be 5 -7 bullet points.

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Your task is to find out who in the class likes horses and why.
Prepare 3 -5 interview questions. Show them to me. Then interview and take notes.

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Do you sometimes feel like your vision for a film is lost in translation? It can be a frustrating experience, but one that can be avoided (or at least minimised). Before delving into the intricate world of advanced video transitions or the finesse of animatics, it's essential to establish a strong foundation in the fundamentals of storyboarding. This solid groundwork serves as the bedrock upon which your cinematic aspirations can flourish.

Armed with a working knowledge of camera shots, angles, and perspective techniques, you'll be well on your way to creating easy-to-read storyboards. It's the key to unlocking your ability to draft storyboards that not only capture your original vision but also convey it to others with precision and impact.

To that end, we've pulled together 16 camera moves and camera shot types to give your storyboarding vocabulary a boost.

Basic Camera Moves

By incorporating a variety of different camera moves into your shots, you can add a deeper sense of visual interest. Combine this with a strategic approach to messaging and you'll be off to the races.

In the realm of camera movements, take particular care when selecting the most appropriate camera move. Remember that your choices here are integral to creating an experience that resonates deeply with your audience as each camera move has a distinct impact, influencing the viewer's emotional response and immersion into the scene.

Here are some well-loved camera moves to consider:

Zoom

Probably the most well-known camera move, zooming gives the impression of moving closer or further away from the subject. It can be used effectively to magnify a certain focus point in the camera frame, but other moves such as a dolly, are a more natural way to show movement. While a quick zoom can help add a sense of drama and energy when used correctly, avoid over-using a zoom shot as your default move.

Also if you're making a storyboard, Boords has pre-built indicators for Zooming (as well as a bunch of other common camera moves). Just click Insert Camera Movement in the Image Editor:

Pan

Panning is when the camera is moved horizontally from one side to another on a central axis. This is a rotating movement in which the camera's position remains in place, but the direction that it faces changes. It can be used to follow a moving character or to fit more into a frame, for example, panning across a landscape to create a sense of place.

Panning offers a practical way to guide the viewer's attention within a scene and can be particularly useful in action sequences, where maintaining focus on a rapidly moving subject might otherwise prove challenging.

Tilt

Tilting is similar to panning in that the camera is kept in a stationary position, but unlike panning (which looks from side to side) tilting focuses on upwards & downwards movements. Using a tilting motion helps to fit more into a single frame. A slow upwards tilt can be very effective in making a subject appear bigger or more significant while a downwards tilt has the opposite effect.

When the camera tilts upwards, it can convey a sense of aspiration or grandeur. For example, capturing a towering skyscraper from a low angle through an upward tilt emphasizes its height and dominance in an urban landscape. This technique is often used to emphasize power, authority, or the awe-inspiring nature of a subject.

On the other hand, a downward tilt can evoke vulnerability, oppression, or a shift in power dynamics. It's used frequently to create a feeling of unease or to place the viewer in a position of overlooking a subject. For example, tilting the camera downward to reveal a character lying injured on the ground can intensify the emotional impact of the scene and encourage empathy from the audience.

Dolly

A dolly shot is when the entire camera is mounted on a track and is moved towards or away from a subject. Unlike a zoom shot, the world around the subject moves with the camera. A dolly zoom gives the illusion that the viewer is walking towards the subject. By bringing the subject into sharp focus, it can be a great way of creating a sense of intimacy between them.

The controlled movement of the camera on a track allows for smooth and dynamic transitions, allowing the audience to feel like they are truly part of the scene. This technique is often employed to establish a connection between characters and their surroundings, as it can simulate the experience of physically moving through the environment.

Truck

Similar to dollying, trucking involves moving the entire camera along a fixed point, but the motion goes from side to side, rather than in and out. It's often used to follow characters in action. Mounting the camera on a fluid motion track will help to stamp out any jerking camera movements.

Trucking shots are especially powerful in conveying the dynamics of a scene, immersing viewers into the environment or revealing important elements piece by piece. For instance, in a suspenseful thriller, trucking can subtly shift the audience's attention from a character to a looming threat in the periphery. This side-to-side movement can also simulate a character's perspective, allowing the viewer to 'walk' beside them, thereby building a deeper connection or empathy.

To add a truck indicator in Boords, just select Pan right from the Camera Movements menu in the Image Editor:

Pedestal

A pedestal (AKA Boom up/down or Jib up/down) requires the camera operator to move the camera upwards or downwards in relation to a subject. It's different from tilting in that the entire camera ascends or descends, rather than just the camera angle.

It's a distinctive way to control the viewer's perspective and engagement within a scene. By vertically adjusting the camera's position while maintaining its angle, filmmakers can draw attention to specific elements within a composition. A pedestal shot can be used to frame a tall or high subject (such as a building) while keeping the framing at eye level view for the viewer.

Pedestal shots can add a sense of dynamism to a scene by altering the spatial relationship between subjects and their surroundings. By gradually moving the camera upwards or downwards, filmmakers can emphasize changes in perspective and revealing new details. This can be especially effective in environments with significant vertical elements, such as cityscapes, forests, or architectural marvels.

Storyboarding Shot Types

There are many different camera shot angles that can be used to frame a subject within a shot, ranging from showing their entire body to fixating on a finer detail, such as their eyes.

In choosing the most fitting camera shot angle, you'll need to bear in mind the message that you're trying to communicate to your audience as different angle shots can elicit different reactions from the viewer. Each shot has its own distinct impact, allowing you to craft a narrative that engages, informs, and resonates with your audience on multiple levels.

Here are some of the most common types of shots and how you can go about using them:

Establishing shot

Often included at the beginning of a scene, establishing shots help to build ambiance and may give a nod towards the context of what's to come. It generally comes in the form of a long and wide shot and indicates where (and sometimes when) the scene is taking place. As a long shot, it can frame the subject, while also building an understanding of the effect that their environment is having on the character's current situation.

As an essential tool in a filmmaker's arsenal, the establishing shot sets the tone for the unfolding narrative, enhancing the audience's engagement and understanding.

Full shot

The full shot is just as the name implies and shows the entire body of the subject from head to toe. This camera shot tends to emphasize the character's physical presence, showcasing their movements, body language, and gestures as the focal points. By providing a comprehensive view of the character within their surroundings, the full shot offers a contextual understanding of their actions and interactions.

This camera shot helps to establish the spatial relationship between characters and their environment, allowing the audience to grasp the character's physical actions and interactions while placing less emphasis on their inner emotions or mental state.

The full shot can be particularly effective in scenes that require the viewer to observe a character's demeanor, physical reactions, or interactions with other elements in the scene. Whether capturing a character's confident stride down a bustling city street or their hesitant movements in a tense confrontation, the full shot plays a key role in presenting a holistic visual narrative.

Medium shot

Also known as the ¾ shot, the medium shot typically shows the subject from the knees up. This camera angle allows the viewer to see the background environment and the character's gestures, while still being close enough to capture their emotions.

It strikes a balance between intimacy and context, providing the viewer with a clear view of the character's upper body and facial expressions while also encompassing elements of the background environment. By maintaining a proximity that captures both the character's physical actions and their emotional nuances, the medium shot effectively bridges the gap between the purely physical and the internal realms of the character.

Close shot

With a close up shot, the subject's head/face takes up the majority of the frame and therefore, allows their reactions and emotions to dictate the scene. As an eye level shot, it thrusts the subject into the forefront, making them the focal point and unequivocal center of attention. This emphasis creates a sense of connection between the viewer and the subject, with minimal distractions from background elements that might otherwise dilute the emotional impact.

A furrowed brow, a subtle smile, or a tear-filled gaze - these are intimate details that allow the audience to resonate deeply with the character's emotional journey. Directors and cinematographers use the close-up shot to intensify climaxes of scenes, heightening the viewer's emotional engagement and empathy.

The close up shot becomes a window into the soul of the character, allowing viewers to partake in their joys, struggles, and transformations with a level of intimacy that goes beyond the visual medium.

Extreme close shot

With an extreme close shot, the camera position is so close that only one specific detail, such as a person's eyes or mouth, can be seen. Because of the unnaturally close nature of the shot, it should be used sparingly, but when used appropriately, an extreme close up can have a remarkable effect, infusing scenes with heightened tension, emotion, and significance.

This unconventional shot acts as a magnifying glass for the narrative, drawing attention to the smallest aspects that might have otherwise slipped past the viewer's notice.

Up shot

An up shot (also known as a low angle shot) is taken from a low angle, below the eye-level of the subject. As the camera points upwards, it creates the perception that the viewer is looking at them from a lower perspective. The low angle shot can alter the power dynamics within the scene, giving the impression that the subject is in some way powerful, heroic or even dangerous

The upward perspective can elevate characters to iconic status, emphasizing their purpose or the magnitude of their actions. This low angle shot has been employed in scenes where protagonists face insurmountable odds, stand tall in the face of adversity, or when antagonists rise to positions of power, projecting an aura of authority.

Down shot

A down shot (also known as a high angle shot), in contrast to an up shot, is taken from a high angle, above the eye-level of the subject.

Camera shots like this impart a sense of dominance over the subject, while also rendering them smaller and less imposing within the frame. The down shot can be used to evoke emotions of vulnerability, powerlessness, or insignificance. This camera angle can cast characters as pawns in a larger scheme, overshadowed by external forces or trapped in situations beyond their control. It's a tool that can be harnessed to create empathy, sympathy, or even pity for the character's predicament.

The down shot is particularly effective when crafting moments of tension, illustrating characters caught in compromising situations, or highlighting the consequences of their actions.

Over the shoulder shot

An over the shoulder shot, a common technique in filmmaking and photography, involves positioning the camera behind the shoulder of one character while framing the subject in a close or medium shot. A shoulder level shot typically takes the form of an over the shoulder shot as it can effortlessly capture the interactions between two characters within the same frame.

These types of camera shots are particularly effective in group conversation scenes and help to establish which characters are speaking to each other. By revealing both the speaker's expressions and reactions from the listener's perspective, the over the shoulder shot provides a complete view of the interaction. It helps viewers connect the verbal communication with the non-verbal cues and emotional responses of both characters, enriching the audience's understanding of the scene's dynamics.

Two shot

A two shot presents two characters sharing the frame, often side by side or in close proximity. This simple arrangement is a natural means of introducing both characters, providing an immediate visual context for their connection. By positioning characters in a two shot, filmmakers can convey a wealth of information about their relationship and interactions without relying solely on dialogue.

Different variations of this shot can be applied to communicate different messages about the characters and their dynamic. When characters are placed side by side within the frame, it can suggest a sense of equality and mutual significance within the scene. This positioning implies that both characters have equal prominence and roles to play in the narrative's unfolding.

Alternatively, when characters are framed with one slightly in front of the other, the composition can imply a power imbalance or hierarchical relationship between them. This technique can visually highlight dominance, submission, or even a mentor-protégé dynamic, where one character takes the lead while the other follows. Such nuanced placement within the camera frame contributes to the visual storytelling, enhancing the audience's perception of the characters' roles and the underlying tensions or connections between them.

Point of view shot

The point of view shot, also known as the POV shot, depicts an angle that shows what a character is looking at. This unique cinematic technique places the audience directly within the character's visual perspective, allowing them to witness the world through the character's eyes. By immersing viewers in the character's viewpoint, the POV shot provides a window into their thoughts, emotions, and reactions, forging a deeply personal connection between the audience and the narrative.

This shot is particularly effective at conveying a character's state of mind and their subjective experience of the environment. It enables the audience to share in their excitement, fear, wonder, or any other emotion relevant to the scene.

Applying this to your storyboards

While a picture often speaks a thousand words, being precise with your language relating to camera shots, angles and perspectives can really make the world of difference when it comes to storyboarding.

These elements possess the power to convey emotions, relationships, and narratives in ways that words alone cannot capture. Mastering the art of communicating through visuals requires a delicate balance of simplicity and precision. Every shot is a brushstroke on the canvas of your story, and with mindful attention to detail, you're primed to craft a masterpiece that captivates and resonates with viewers.

Keep it simple yet specific, and you'll be on track to a brilliant animatic.

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The 16 Types of Camera Shots & Angles | Boords

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Do you sometimes feel like your vision for a film is lost in translation? It can be a frustrating experience, but one that can be avoided (or at least minimised) by understanding and implementing some storyboarding fundamentals.

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Read the document below.
Then read and do the tasks for the two opinion pieces on homework

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Read the article below.
Identify at least THREE argument for homework and at least TWO argument against

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Amedee Martella

For years I have never fully understood my parents' celebrations of or concerns about my education. They have strong opinions about everything from the curricula used in my classes to how instruction is provided. My parents are both professors in the educational psychology and special education fields, so I have heard their views on education all my life.

One area that has prompted much discussion in our household surrounds the use of homework, particularly since I entered high school. Based on my own experiences, listening to my parents in their classes, and my research, I have come to the conclusion that homework could use some serious modification.

First, mastery can only be achieved by correct practice over time. My parents are advocates of explicit instruction; that is, teachers should show us what to do, give us opportunities to do it, and then give us a chance to show that we can do it on our own. Homework was designed to build on skills covered extensively in class. I should be able to complete an assignment with little to no confusion at home as long as it involves previously learned skills. I read Harris Cooper's 1989 article " Synthesis of Research on Homework" (PDF), published in Educational Leadership, which is cited by many of the researchers who have studied homework and its effects. Two recommendations stood out for me:

"Homework will not be used to teach complex skills. It will generally focus on simple skills and material or on the integration of skills already possessed by the student" (p. 90).

"Parents will rarely be asked to play a formal instructional role in homework. Instead, they should be asked to create a home environment that facilitates student self-study" (p. 90).

Many of the homework assignments I have received throughout my years of schooling have involved activities not previously practiced. When a teacher assigns homework incorporating information that was just recently taught or not taught at all, it puts a tremendous amount of stress on students. Worse yet, I think, it puts a great deal of stress on our parents. We rely on our parents to help us be successful. Our parents have to figure out how to do the assignment and then teach it to us. Many of the projects and activities are too difficult to be done without our parents' help. Students who have no help at home, therefore, are at a total disadvantage and their grades might falter because of this lack of assistance.

If teachers use homework as additional or extended practice, we should be able to do homework with few, if any, difficulties. Our parents can simply check over our homework. I often get calls from my friends asking me how to complete assignments, and I think about how lucky I am to have parents who can actually help me with my homework. I often see students copying other students' work. Maybe they copy because they simply didn't take the time to do the work-or maybe they didn't understand how to complete the work in the first place.

Second, homework should not exceed two hours per night. Again, Cooper provides recommendations about the length of homework. He says the following (p. 90):

Grades 1-3: 1-3 assignments a week, each lasting no more than 15 minutes.

Grades 4-6: 2-4 assignments a week, each lasting 15-45 minutes.

Grades 7-9: 3-5 assignments a week, each lasting 45-75 minutes.

Grades 10-12: 4-5 assignments a week, each lasting 75-120 minutes.

If we assume that we know how to do the homework we are assigned, we should be able to complete it in a reasonable amount of time. But consider the schedules of many high school students: we often wake up early in the morning; some of us have long bus rides; and many of us have sports practices, jobs, or other extracurricular activities before or after school. We have to make time to eat dinner and complete our chores. Now add on three or more hours of homework a night and you have instant stress, not only for students but also for their families. I have known my peers to stay up until midnight trying to finish their homework on top of everything else they have to do in their busy lives. These students are not always procrastinators-they just simply cannot do it all.

Additionally, some teachers assign homework before a test day. All I would like to focus on before a test is studying. I find it hard to put in the necessary hours of studying when I have to complete extra assignments. Before a test day, the only work that should be assigned for a particular class is to study. If students do not want to study, then they have no homework (although choosing not to study might jeopardize their grades). The research I read found benefits for homework. Students do better in school if they have homework assignments and actually complete them; they get better test scores too. However, teachers should think about how long assignments might take to complete and whether they involve previously learned skills, and assign them accordingly.

In summary, I enjoy school and appreciate the time my teachers take in providing feedback on homework assignments and in reviewing them in class. If teachers take the time to assign homework we can actually do within a reasonable amount of time, we will enjoy the experience much more, be less stressed, and have more time to spend with our families each evening.

Cooper, H. (1989, November). Synthesis of research on homework. Educational Leadership, 47(3), 85-91.

Amedee Martella is a high school sophomore. The article was submitted with parental assistance from Nancy Marchand-Martella, professor at Eastern Washington University.

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A High School Student's Perspective on Homework

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Amedee Martella For years I have never fully understood my parents' celebrations of or concerns about my education. They have strong opinions about everything from the curricula used in my classes to how instruction is provided. My parents are both professors in the educational psychology and special education fields, so I have heard their views on education all my life.

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Read the article below.
Identify at least TWO argument for homework and at least ONE argument against

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Some kids breeze through it. For others, it's a daily struggle. Where does your kid fit in?

By

Dana Villamagna, Toca Magazine Writer

When Jamie was in fourth grade in a Wyoming school, she sometimes stayed up until midnight to complete her homework, crying from frustration and exhaustion.

"No child should have to spend 12 hours a day working when adults are not expected to do that," said Jamie's mom. "They need rest and they need creative time."

Some parents think that homework takes an unnecessary toll on free time, while others think it's necessary for academic success. Whatever side you're on in the homework debate, chances are at some point your kid will have to do it.

Homework proponents suggest that it helps kids develop study skills and good work habits while reinforcing skills learned at school, and it keeps parents in the loop about what kids are learning. Homework opponents say that it's the equivalent of making kids work a second shift, and that there's no research that proves it benefits children academically until the high school level.

"The more one understands about learning, the less inclined one is to support homework," said Alfie Kohn, education advocate and author of "The Homework Myth: Why Our Kids Get Too Much of a Bad Thing."

What kids really think about homework

So what do the people who have to do the work in homework say about it? When Toca Magazine asked kids what they think about homework, kids candidly shared their views.

Rose: Third-grader gives up gymnastics because of homework stress

In third grade, Rose, age 9, typically completed about 30 minutes of language homework every evening, in addition to computer-based work and some math practice.

"I think they gave us a little too much," she said.

With newly extended school hours at her North Carolina school, Rose's days became so stressful that she decided to give up gymnastics in order to have more time to complete homework.

"I felt really nervous and wasn't really thinking as much as I usually do," she recalled.

Rose's mom said parents petitioned the school to reduce homework loads when the district extended the school day, but the request failed.

I felt really nervous and wasn't really thinking as much as I usually do.

Izzy: "Flipped" classroom changes homework time

Some schools are taking the "flipped" approach to homework, which means that kids watch their teacher's lessons at home via computer in the evening and then use classroom time to ask questions, practice skills and build on what they've learned.

"(Homework time) is almost like one-on-one time with my teacher," said Izzy, age 12, who attends a private school in New Jersey where math and science are taught via flipped classroom.

Will: Completes homework as soon as he can to get more play time

Whether in a flipped or traditional environment, pragmatic kids like Will, age 11, take a get-it-done approach to homework.

"I like everything about homework," says Will, who is entering sixth grade in a Texas public school. Will said his fifth-grade teacher only required students to take home work that they didn't complete during school, which helped him to stay on task. While he often finished his work at school and then had no homework, Will completed any homework as soon as he got home so that he was free to play.

I like everything about homework.

Stella: Sixth-grader tries to support struggling classmates

Yet even kids who don't mind homework know that today's typical workload doesn't suit many students' personal learning style or after-school schedule. As a sixth-grader, Stella always completed her homework, but she had classmates who struggled to do so, including one homework-averse kid that she advised often.

"I always say to him, you're really smart. You just need to be like me and get your homework done and then you can get better grades," she said.

Stella's teacher gave students a weekly homework plan that allows them to choose when to complete the homework, anytime before Friday. She chose to finish it all on Monday so she could have time for her own interests the rest of the week.

Kid-style wisdom

Indeed, most of the kids interviewed for this article spontaneously mentioned that they do homework as early and quickly as possible so they can have more time to play. Given enough time, kids will often make, create, pretend, read and invent their way into the most engaged learning.

"Homework persists in part because of adults' distrust of children and how they'll spend their time if given a choice," said Kohn.

The NEA suggests that schools include parents, teachers and kids when setting a school's homework policy, and practical, kid-style wisdom may be just what's needed to change the world of homework.

"Homework would be OK if we didn't have so much of it," says Stella.

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What Do Kids Have to Say About Homework? | The Power of Play | Toca Boca

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When Jamie was in fourth grade in a Wyoming school, she sometimes stayed up until midnight to complete her homework, crying from frustration and exhaustion. "No child should have to spend 12 hours a day working when adults are not expected to do that," said Jamie's mom.

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Decide if you are FOR or against homework.

Use information from the two articles on Padlet

Fill in the information needed. You can use AFOREST to add more details.

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Read the bullet points.
Select FIVE that you believe are significant for your news show

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From this discussion of news story elements, it becomes clear that you should have these guidelines in mind when you're deciding if your message is news or an announcement; whether it's a feature or an item of limited public interest.

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Watch the short video.
What similarities can you find between the previous text and the video? List THREE similarities.

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Work with a friend or two
Keep in mind what is newsworthy and then create a list of topics or subjects at OIS that are newsworthy.
Try to come up with at least FIVE.
For each item, explain HOW and for WHOM it is newsworthy.
Upload your answers on TEAM

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1. Review the definition of news
2. Share the definition with a friend
3. Get your team together

4. Use the attached presentation to structure your work

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Create an action and upload to Team.
Read another team's action plan and write a comment

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Analyze your sources
Fill in the attached document and upload to TEAM

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The News Chronicles
Isabella, Shreya, Aoi, Garance,
The Truth about News
Omjay, Zavair, Martim P, Noah
NOIS
Rafael, Joao, Bulut
All about OIS
Luna, Ines, Eduardo, Martim,

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Sesame Street: First Day of School with Cookie Monster | Kermit News

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John Herbert Sareen Jebejian Melissa Kasiarz TV Newscast Script Video SETTING: (Fade in, graphics: "Rider Nightly News- The Students' Source...