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Cavanaugh (online) contends that ‘The use of images in teaching and learning has
benefits to support student comprehension, retention, and application’, while Feldman
(1982, p. 6) goes as far as to suggest ‘Increasingly (these) images affect our needs, our
daily behavior, our hopes, our opinions and our ultimate ideals.’
2.3.3 Digital Storytelling Skills
Digital storytellers must not only consider those technical aspects related to the
production of a digital story such as scripting, storyboarding, filming and audio
recording, editing, copyright and publication ((O’Donoghue (2010) and Robin (2008))
but also be capable of critical thinking, decision-making, problem-solving, collaboration
st
and communication in a 21 century technologically-oriented world (Czarnecki, 2009).
Rossiter & Garcia (2010), refer to the capacity to make meaning as essential in this new
age and also identify that what is critical before the actual production of a digital story is
‘careful consideration of the multimedia elements to be used’ (p.38).
Having outlined the origins and some key aspects of digital storytelling and the skills
required to produce a digital story, I will now look at those design considerations that
inform the production of an educational video.
2.4.0 Instructional Design in Video Production
‘It seems that perfection is attained not when there is nothing more to add, but when
there is nothing more to remove’
De Saint-Exupery, A
Supporting the constructivist approach and the belief that the learner is an ‘active
creator of knowledge’ Brame (2015) identifies cognitive load, features that promote
active learning, and non-cognitive elements that impact engagement as being necessary
considerations when designing and publishing video as an educational tool. In this
section I highlight the theory prescribing an optimisation of the visual /pictorial and
auditory/verbal information in educational video production as well as referring to
considerations to promote active learning.
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