AN EVALUATION OF A MEDIATED INTRODUCTION. TO TELEVISION PRODUCTION Thesis for the Degree of Ph. D. MICHIGAN STATE UNIVERSITY THOMAS U. FOSTER 1972 ABSTRACT AN EVALUATION OF A.MEDIATED INTRODUCTION TO TELEVISION PRODUCTION BY Thomas U. Foster The purpose of the research reported in this study was to evaluate a mediated presentation to be used as a means of introducing students to televisiOn production at Michigan State University. The experimental introduction systemati- cally presented, via television and print, the basic tele- vision production information needed by the student in order to function in the studios of Instructional Television Services(ITV), Michigan State University. An instructional develOpment (ID) model was used as a guide for the systematic production of all materials for the ‘mediated instructional unit. The experimental treatment was evaluated using students enrolled in two of the Television and Radio Department's courses: basic radio production and basic television produc- tion. The evaluation of this experimental treatment had three main parts. '-' I .U. n I..'.‘; ..‘.CpcVU .- .- '9' a..- D... ‘ I _ z - ~-.-- _ ‘ V ..‘ .‘§. . o. k.. ~'~‘ .. ~.'~..‘ - I :“.1 ., s,.'- ‘ ‘9 ‘.. . Q .- ‘.- ' .‘.: '3- ‘“ ‘- . - . -.- a‘ v u A - .‘v.~. . ‘ u as § V. ~. '-:§‘.A . -‘. ‘v \ Q .I. . “W; A ‘0 .R. ‘ u "b ‘v . \.. . \..‘ s V‘ a” '. \- ' Thomas U. Foster For part one, students in the radio course were randomly assigned into two groups: control and experbmental. One-third of the students enrolled in the conventional television production course were randomly assigned to the television studio laboratory group which utilized the same equipment demonstrated in the experimental treatment. Two hypotheses were generated in order to compare the experimental group with the control group and the conventional group. Four additional hypotheses were generated in order to determine the effects of sex, class standing, experience, and status as a Department of Television and Radio major, within and between the experimental and conventional groups. All hypotheses were tested for significance at the .05 alpha level using analysis of variance. The second part of the evaluation utilized the post-tests of the experimental group and the conventional group. An item.analysis was performed on the tests for each group. The index of difficulty for each test item was then compared by group. For the third part of the evaluation, an attitude questionnaire was administered to both the experimental group and to the Television and Radio Department faculty after both groups had been exposed to the new instructional unit. The evaluation of the instructional unit supports the following conclusions: 1. Students in the experimental group learned from the instructional unit. 2. Thomas U. Foster Students in the experimental group scored as high on the post—test after two hours of mediated instruc- tion, plus home study, as did the students in the conventional group after more than two weeks (14 hours) of lectures and hands—on laboratory experience, plus home study of assigned readings in the required text. A student's sex, previous television experience, class standing, or status as a television—radio major did not affect the student's performance on the post-test. This was true regardless of the style of instruction (mediated or conventional) that the student received. Students receiving instruction via the mediated instructional unit had a higher degree of difficulty on questions concerned with the control room, the projection equipment, and the video switcher. The students who received instruction in the conventional manner experienced greater difficulty on the post-test with questions relating to camera mounts and studio lighting. Students in both groups had great diffi- culty with questions on the post-test relating to the television camera pick-up tube and the operation of a zoom lens. Hands—on experience or additional video taped material and increased study of the guidebook ‘may'be necessary to improve the scores of groups receiving the mediated instruction. 9. all... a. it Thomas U. Foster 5; The students and the Department of Television and Radio faculty both expressed positive attitudes toward the mediated instructional unit after their exposure to it. Instructional DeveloPment (LDL while a time—consuming process, increases the chances of producing a success- ful product. ID provides a systematic method for developing instruction. Because of this systematic approach, and the use of a model as a guide through the process, each of the functions in the process can be subjected to evaluation, as can the instructional development gestalt and the product it produces. AN EVALUATION OF AHMEDIATED INTRODUCTION TO TELEVISION PRODUCTION By I. a Thomas US Foster A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Secondary Education and Curriculum 1972 C5 4 9W (‘9 © Capyright by THOMAS, U. FOSTER 1972 I. ll! L. H ~o. 1.:- Fee. . In... 0 -~.- n-C.,~‘.H . 5“,: .._ o " Us. 3 e A '1 ~..!q h-. D‘ u '5- DEDICATION Aunt Bunnie She first introduced me to another world which was seen in a 3 x 4 ratio. She spurred my enthusiasm for flickering images in a magic land of Saturday afternoons. That was the ‘beginning, but to my deep regret, she diedeefore she could share this moment with me. My.Mother and Father Your love and generosity has always been greater than I expected or deserved. ...and... Virginia I look at you And know me better, For much of what I am Is made of you. —-Lois wyse ii ew- . 'OO.- . . - I. _.: '. o... Us u.‘ C .‘..' . 'u' - ‘I " ‘0. “r- H :- -a ACKNOWLEDGEM ENTS The classes you go to and the papers you write do not an education make! The heart of my graduate program and the source of my growth has been the example set by the people to ‘whom I was closest and who provided the inspiration and the sheer pleasure of learning. This dissertation signals the end of one phase of my life and the beginning of another. These acknowledgements, then, are for more than just this study. First, to my "all star" doctoral committee. Dr. Erling Jorgensen, chairman--Several of the faculty at San Diego State made a similar comment when they learned I ‘was going to Michigan State for graduate work. "That's ‘marvelous-ebecauseiof your interest in ITV you will get a chance to know Erling Jorgensen." Our association has indeed ‘been marvelous and he has paid me the supreme compliment by asking me to become his colleague at Instructional Television Services. Dr. Jorgensen has truly been a good friend and chairman. Dr. Dale Alam--Dr. Alam, through his unstructured struc— ture, forced me--without the slightest overt suggestion--to appraise continually my own value system and to look at and appreciate the many value systems of others. iii ‘ V r-" .u-vo' U - :2 ':e 2.. . '9 on. '. Q o ._. 9-4 (II a.- A ‘.'§» u”... Dr. Thomas Baldwin--With a sharp wit and a wry sense of humor, Dr. Baldwin proves that research and researchers need not be dull or humorless. Dr. Robert Schlater-—From my first days at MSU, Dr. Schlater has remained a close and valued friend. As Chairman of the Television and Radio Department, Dr. Schlater made possible the project reported in this study. As a friend, he ‘was always ready to boost my spirits when things went wrong and to encourage me to continue. Dr. Paul Witt--The relationship Ginny and I have had with Dr. Witt is something very special and its effects will last our entire lives. To me, Dr. Witt is synonymous with professional and personal ethics and he has inspired me to live up to the high standards he sets and lives by. When faced with a decision, I now find myself asking, "What would Dr. Witt do?" It's a hell of a standard to set for oneself, 'but I‘am going to try very hard to live up to it. The faculty and staff of both Instructional DevelOpment and Technology/IMC and the Department of Television and Radio *were very influential and supportive throughout my graduate education. I would also like to give special thanks to Dr. Kent Gustafson who has been very influential both in class and out. 1He encouraged me to explore, question and expound on our field so that I could arrive at a philOSOphy I am comfortable with iv . ‘ ... .v.‘ .- ... .o-Qw- "1.; L: ' -- no I.-- r - ban-ubgo . . u... .. :I ‘ ‘ I... ..- ‘I: '1‘ a Izv. I ...I. ".' ‘ . a... I 0A..- u 5-... D‘. " IQ”... . s in. ...‘. N' "Aa . - ‘but which continues to change. His personal and professional help in this study is greatly appreciated as well. The students in the ID&T graduate program were more in- fluential than they realize in making the doctoral program such a pleasurable and intellectually rewarding experience. Bonds have been formed which will last a long time. The special support and friendship of Harry Ackerman (and family) and.Marv Duncan was a rare thing indeed. And finally, to Harry and Dot Bunting--You gave me your finest possession and made my life richer and fuller than I thought possible. WILLARD For more than a year and a half, the project reported in this study was known as "Willard." The name was selected in order to avoid having to refer to the project as "it" or the rather cumbersome "Project to Design, Produce, and Evaluate Mediated Materials for an Introduction to Television Production at Michigan State University." In other words, I felt the project should have a name, and Willard had a little more pizzazz than Bill or John. The word is not an acronym and has no inherent meaning. In retrospect, this name may not have been the wisest choice: a movie bearing the same name was released about six months after the project was given its ggm g; plgm_. Its key promotional slogan admonished: "Where your nightmares end, Willard begins!" At time, there ‘was more than a little truth in that slogan for all of us connected with the Willard project. In attempting to transfer the research into "academic— ese" for the sake of this dissertation, the name was dropped. :However, considering that the peOple who worked hardest on the project and were closest to it have known the project by only one name, it is appropriate to recognize both them and ‘Willard at this time. vi .. -‘J “ ..R" t ..btl no. .- Lawrence Brown--Larry was the project co-developer. He wrote the major portion of the first script drafts and was a partner in all of the develoPmental activities. Paul Witkowski--Paul was the television director and ‘Willard's patron saint. Paul, like almost everyone who became associated with Willard, went way beyond the call of duty in his enthusiam and support of the project. If it weren't for Paul, I'm not sure the project would be completed yet. The entire staff at Instructional Television Services gave me this same kind of help and support and I am most grate— ful to them all. John Abel and Khm Peterson--Both John and Kim allowed us to disrupt their television and radio classes, provided the subjects used in the experimental part of the study, and rearranged class schedules on very short notice at timestto provide us with whatever help we needed from them and their classes. Dick and Louise Snoke--Dick polished the scripts and did the voice—over for the video tapes on his own time. He also appeared on camera as the host/narrator as a result of release time from his other duties given him by another of ‘Willard's friends,.M. Ali Issari, Head, IMC Film Division. jDick and Louise both gave generously of their time and talents during the develOpment of Willard and during the many drafts of this study. vii TABLE OF CONTENTS CHAPTER Page LIST OF TABLES . . . . . . . . . . . . . . . . xi LIST OF FIGURES. . . . . . . . . . . . . . . . xiii I. INTRODUCTION . . . . . . . . . . . . . . . . . 1 Statement of the Problem. . . . . . . . . . 2 Purpose of the Study. . . . . . . . . . . 3 General Statement of Hypotheses . . . . . . 4 ImportanCe of the Study . . . . . . . . . . 5 Background. . . . . . . . . . . . . . . . . 6 A Systems Approach. . . . . . . . . . . . . 9 Definitions . . . . . . . . . . . . . 9 Organization of the Study . . . . . . . . . 13 II. REVIEW OF SYSTEMS LITERATURE AND THE SYSTEMA- TIC DEVELOHMENT OF THE INSTRUCTIONAL UNIT . 15 Systems, The Systems Approach, and Instruc— tional Development . . . . . . . . . . . 15 The Instructional Deve10pment Process . . . 26 Function 1: Identify the Prdblem. . . . 26 Function 2: Analyze the Setting . . . . 30 Function 3: Organize the Management . . 32 Function 4: Identify the Objectives . . 35 Instructional Unit Objectives . . . . . . . 37 Function 5: Specify the Methods . . . . 41 Tape I: "Control Room" (Appendix B) . . 43 Tape II: "Television Studio" (Appen- dix C). . . . . . . . . . . . . . . . 44 Tape III: "Sarkes Tarzian Camera" (Appendix D). . . . . . . . . . . . 45 Tape IV: “Pan and Tilt Head" (Appendix E). . . . . . . . . . . . . . . . . . 46 Tape Vi "Crank-Type Pedestal Mount" (Appendix F). . . . . . . . . . . . . 46 Tape VI: "Counterbalanced Pedestal ’ Mount (Appendix C). . . . . . . . . . 47 The Guidebook (Appendix H) . . . . . . . 47 Function 6: Construct Prototypes. . . . 48 viii .‘." l O a-.. ' a" .-"‘ u ..v ' “n. 9-- 0.. ' ‘u TABLE OF CONTENTS—-Continued CHAPTER III. IV. V. VI. Function 7: Test Prototypes. . . . . . Function 8: Analyze Results. . . . . . Function 9: Implement/Recycle. . . . . REVIEW OF INSTRUCTIONAL TELEVISION LITERATURE Introduction . . . . . . . . . . . . . . . Instructional Film Research. . . . . . . . Instructional Television Research. . . . . DESIGN OF THE STUDY . . . . . . . . . . . . . Overview . . . . . . . . . . Sample . . . g . . . . . . . . . . . . . . Instrumentation. . . . . . . Pre- and Post—tests . . . . . . . . . Student Attitude Questionnaire. Faculty Attitude Questionnaire. Stimulus Material. . . . . Video Tape Segments The Guidebook . . . Facilities . . . . . . Procedures .‘. . . . . Testable Hypotheses. . . . Design and Analysis. . . . Limitations of the Study . ANALYSIS OF RESULTS . . . . . . . . . . . . . Results. . . . . . . . . . . . . . . . . . Further Analysis . . . . . . . . . . . . . POSt‘TeSt o o o o o o o o o o o o o o o Post-test Questions Isolated for Discussion . . . . . . . . Student and Faculty Attitudes Toward the Instructional Unit . . . . . . . Observations and Discussion'Regarding'the Use of Instructional Dévelbpmentl :t. . Summary. g . . . . . . . . . . . . . . . . SUMMARY AND CONCLUSIONS . . . . . . . . . . . Summary. . . . . . . . . . . . . . . . . . Conclusions. . . . . . . . . . . . . . . . Discussion of Results. . . . . . . . . . . Page 50 55 57 60 60 62. 65 80 80 82 84 84 88 89 90 90 91 92 93 95 96 100 100 108 108 109 120 124 128 130 130 135 137 -.- a—‘ v! NP-“ , . -- I“ ..i . . -!~ . .- . . . .. .. . .. . . .. . ... ‘3 .u- a s q a nu. a: A.» huh ua- -.~ n." ”P. TABLE OF CONTENTS--Continued CHAPTER Recommendations. . . . . . . . . Objectives for the Camera Unit. Objectives for the Switcher . Objectives for the Film Chain Objectives for Floor Director Implications for Future Research BIBLIOGRAPHY . . . . . . . . . . . . . . . APPENDIX A. ‘POST-TEST . . . . . . . . . . . . . B. SCRIPT: VIDEO TAPE SEGMENT ONE (”Control Room“). . . . . . . . . . C. SCRIPT: VIDEO TAPE SEGMENT TWO ("Television Studio") . . . . . . . D. SCRIPT: VIDEO TAPE SEGMENT THREE ("Sarkes Tarzian Camera") . . . . . E. SCRIPT: VIDEO TAPE SEGMENT FOUR ("Pan ado Tilt Head") . . . . . . . F. SCRIPT: VIDEO TAPE SEGMENT FIVE ("Crank-type Pedestal Mount") . . . G. SCRIPT: VIDEO TAPE SEGMENT SIX ("Counterbalanced Pedestal Mount"). H. GUIDEBOOK . . . . . . . . . . . . . I. STUDENT ATTITUDE QUESTIONNAIRE. . . J. FACULTY ATTITUDE QUESTIONNAIRE. . . K. INDEX OF DIFFICULTY COMPARISON FOR EXPERI- .MENTAL AND CONVENTIONAL GROUPS. . . E. INSTRUCTIONAL UNIT OBJECTIVES . . . Page 139 140 1421 142 143 143 145 154 173 184 198 217 227 238 247 287 290 294 300 TABLE 4.1 5.2 5.3 5.4 5.5 5.6 5.7 5.8 5.9 5.10 5.11 LIST OF TABLES Demographics of Experimental, Control and Conventional Groups. . . . . . . . . . . . . . Post—test Summary and Reliability Data . . . . Raw Pre-test and Post—test Scores of Control Group, Experimental Group, and Conventional Group 0 O O O O O O O O O O O O O O O O O O O 0 Mean Scores and Sample Size of the Experi- mental, Control, and Conventional Groups . . . Univariate Analysis of Post-test for the Experimental, Control, and Conventional Groups Results of Post Hoc Comparison of Three Group Mean Differences as Measured by the Post-test. Mean Scores and Sample Size by Sex for the Experimental Group and the Conventional Group. Univariate Analysis of Sex for the Experi- mental Group and the Conventional Group. . . . Mean Scores and Sample Size by Experience for the Experimental Group and Conventional Group. Univariate Analysis of Experience for the Experimental Group and the Conventional Group. Mean Scores and Sample Size by Class Standing for the Experimental Group and the Conven- tional Group . . . . . . . . . . . . . . . . . Univariate Analysis of Class Standing for the Experimental Group and the Conventional Group. Mean Scores and Sample Size by Department of Television and Radio Majors and Nonrmajors for the Experimental Group and the Conventional Group. . . . . . . . . . . . . . . . . . . . . xi Page 85 86 101 102 102 103 104 104 105 ms 106 106 107 LIST OF TABLES--Continued TABLE 5.12 5.13 5.14 Page Univariate Analysis of TR Majors and Non- majors for the Experimental Group and the Conventional Group. . . . . . . . . . . . . . . 107 .Mean Scores for Student and Instructor Ques— tionnaires. . . . . . . . . . . . . . . . . . . 121 Summary of Results of Tests of Hypotheses . . . 129 xii LIST OF FIGURES FIGURE Page 2.1 NSMI Nine-Step ID.Mode1. . . . . . . . . . . . 25 6.1 ;NSMI Nine-Step ID Model. . . . . . . . . . . . 131 xiii - ‘b... ' u to--. O ‘ V ' o ’ I . .0. ’ ...Q .‘ ‘Aa ‘V ‘5— o . -- 5" I. . n I I b :::h ~"~: I" ‘.‘ \‘g‘ ‘u . In CHAPTER I INTRODUCTION Students entering the only television production course offered by the Television and Radio Department at Michigan State University exhibit vast differences in cognitive knowl- edge regarding television production. The current structure of this course consists of lectures, hands—on laboratory experience in a television studio, and assigned readings in aarequired text. This structure gives no assurance that the introduction to television production allows each individual 1x>acquire the knowledge needed to make the actual produc- tion phase of the course most beneficial. Extremely large cflasses make this kind of instruction difficult, if not im- possible. The course introduction includes information on television subduction equipment and the responsibilities of the television production crew which is necessary before the student can benefit fully from participation in production exercises. Additionally, the student must understand the terminology com- mon to television production, the function and operation of the television control room and studio, and the necessity for teamdwork on a production crew. _ .....'. Inc'vfil v u 0‘" - bl «no-u .- c -.u.§d - Io...- .l\ Statement of the Problem The Department of Television and Radio at Michigan State University has limited resources available for teaching its high enrollment television production course, TR 202. Limitations in studio/laboratory time, people, and facilities cause the introduction to television production to be less effective and less efficient for student learning than is de— sired by the TR Department. The problem, therefore, consists of the following inadequacies: 1. 2. There is no standard measure of the Students' entry behavior. Mid-term and final examinations reveal that most stu— dents have a reasonable grasp of the cognitive knowl- edge necessary to function adequately in a television studio by the end of the course. However, there is no assurance that they have this knowledge by the time the production exercises begin in order to make these exercises most meaningful. There is no provision for the remedial help of slower learners once the production phases have begun. There is no standard measure of what the students learn during their introduction to television proé duction, which would provide data for course revision or longitudinal comparative studies. Purpose of the Study The purpose of the research reported in this study is to evaluate the instructional unit designed to alleviate the problem stated above. This instructional unit will be used as a means of introducing students to television pro- duction at Michigan State University. Television, Supple- mented by printed materials, will be used to present systematically the information needed by the student in order to function effectively in the studios of Instructional Television Services(ITV), Michigan State University. A series of six videotaped instructional segments, a guidebook and pre- and post-tests (all hereinafter referred to as the "instructional unit") provides information which includes; Function and Operation of the television control room. Function and Operation of the television studio. The members of a basic television production crew and the individual responsibilities of each crew member. Production tools and equipment used by the crew members. Basic terminology common to television production. Identification of basic television production equipment; components of that equipment; how the equipment is operated, and how it is used during a production. The mediated introduction should allow students to achieve post-test scores on a written test that are as hig -- or higher--than those of students receiving the cfirrent conventional method of introduction (lectures, handSeon '1 g. A. ‘OIOUs. 9:. o.— . . a... r..- OI. 5v D 1"" experience, and reading the required text) during the initial three—week segment of the term. This mediated instructional unit is intended to achieve these results outside of the tele- vision studio, and without using any of the instructors' time. General Statement of Hypotheses In order to evaluate the effectiveness of the mediated experimental instructional unit, two hypotheses were generated :for consideration in this study: Hypothesis 1. Subjects receiving the experimental treat- ment will have a higher mean score on the post-test than the subjects who did not receive that instruc- tional unit. ' Hypothesis 2. Subjects receiving the experimental treat- ment will have a higher mean score on the post-test than the subjects who received instruction via the conventional classroom/laboratory techniques. Hypotheses were also generated to determine if sex, previous experience, class standing, or status as a Television- Radio major would have an effect on the post—test scores of the experimental and the conventional groups: Hypothesis 3. In the experimental and conventional groups, male subjects will have a higher post-test mean score than female subjects. Hypothesis 4. In the experimental and conventional groups, subjects having previous television experi- ence will.have a higher post-test mean score than subjects with no previous television experience. Hypothesis 5. In the experimental and conventional groups, there will be a difference in post-test mean scores according to the class standing of the subjects. The post—test mean scores will increase as the class standing increases, with freshmen achieving the lowest scores and graduate students achieving the highest scores. Hypothesis 6. In the experimental and conventional groups, subjects who are majors in the Department of Television and Radio will achieve a higher post- test mean score than subjects who are not majors in the Department of Televisioneand Radio. Importance of the Study The amount of studio production time available to stu- tients for hands-on experience is limited and thus valuable. 'Ehe time spent in the studio by the student, therefore, must Tbe used as beneficially as possible. It is then necessary to detenmine which instructional objectives can be achieved outside the studio. If some objectives now being achieved as part of the hands—on experience in the studio can be achieved in a classroom, the limited available studio time can be used more effectively by the student. TR 202 is the only course offered by the Television and Radio Department which teaches basic production skills. The introductory portion of this course must present to its stu- dents the basic knowledge of television production equipment and the responsibilities of the production crew which are necessary for effective student participation in required subsequent studio productions. Also required is an under- standing of the terminology common to television produc- tion, the function and Operation of the television control room, and the necessity for team—work on a production crew. o-qa toU-o . I}; I I :0.--.. U 0'. . - ..... 50-... I n {—1- I U. . o O 1» . «I! I“ I, If‘ One of the intrinsic advantages of any mediated instruc- tion is that slower learners can be exposed to the material as often as necessary to bring their achievement level up to the group norm. This goal is difficult to achieve when in— struction is solely dependent on a live instructor and when limited practice time is available in the studio. Background The undertaking repOrted in this study is intended to evaluate mediated materials designed to give students a Specific but basic introduction to television production at Instructional Television Services(ITV), Michigan State Uni— versity. This introductory material is presently taught by lecture, hands-on experience in the television studio, and assigned readings in a required text and as part of the basic television production course (TR 202). Lack of time, person- nel and equipment hamper the adequate introduction of new students to the intricacies of the television studio, control room, equipment, and the many responsibilities relating to these facilities. The typical enrollment of the TR Department is close to 400 undergraduate majors, all of whom are required to take TR 202. This has resulted in an enrollment approach— ing sixty students per term for the course. The responsi- bility for teaching TR 202 has rotated primarily among three 0f the seven TR Department faculty members. The course was ..u-’ o yon-o4 . :I-Ov ...- b. ‘- fl.“ : ..._ ' fl » .. an. . ~~:‘ ~ I h u I C-. ‘-., i .. u. I Q . A ‘u u ‘5 l' :,_ . 1 I I -. “v- F - ‘u “‘e ‘ taught by a graduate assistant during the 1971-72 academic year, with three graduate assistants assigned as laboratory instructors to aid the principal instructor. Currently, the course is divided into three laboratory sections, each with its own laboratory instructor. The average group size is between sixteen and twenty students. l)uring the term, the laboratory sections receive four hours jpem week of practicum in two sessions in the television studios. (Once a week, the combined sections assemble in a classroom for a two-hour lecture period with the principal instructor. .As the term progresses, all students are required to produce a variety of productions. An example of the type of produc- tion asked for is a sixty-second commercial. The students are graded on this production in their capacity as producer, not on the skill with which they assume other crew positions. A.mid-term examination is also given to evaluate their cogni- tiveknowledge of television production. Assignments from a basic television production text are required reading during the course. The TR Department is powerless to determine which stu— dents-—or how many—-may enter the department as majors. This situation results in a high student-to-teacher ratio: 400 undergraduate students: 45 graduate students; 7 faculty. APrOposal has been presented to the University to allow the TR Department to limit its enrollment and to permit it to exercise control over which students may be admitted to the . IQO‘V’ .. - I.- IS. - o ’1‘ : - ~od - . :25 :5 he. s...- q a .0. .7 . I-.. 90—.. u "A u C . '1. 9', 5=> deparmment. By June 1972, the University had not acted on this preposal. Another obstacle faced by the TR Department is that it has neither production facilities nor equipment of its own. 'This lack necessitates borrowing studio time and space from ‘the University's Instructional Television Services(ITV) and ‘the University's television station, WMSB. Given the many tither requirements for the use of these two facilities, studio 'time available to the TR Department has been extremely limited. The chairman of the TR Department recognized that an instructional problem existed and decided that an alternative instructional model would have to be developed. The Depart— ment had demonstrated previous expertise in developing mediated instructional materials for use in its basic radio production course, materials which had proven to be highly successful. Based on this success, the Department chairman reasoned that materials might likewise be develOped which would be appropriate for the television course as well. On December 7, 1970, a pr0posal was submitted to Michigan State University's Educational DevelOpment Program (EDP). The pr0posal requested financial support and expertise for a Imbject to develOpinstructional materials to be used in the basic television production course (TR 202). This request was approved by EDP in a letter to the TR Department dated December 29, 1970. The materials to be evaluated in this study ‘were then developed between January, 1971, and May, 1972. (D .:o. .“-h I:.. ‘ u.. ":r ~ I A s- u‘- . “1?“. ~‘. N ‘S . - \: I 1.. , 9. \ e A Systems Approach The Department of TeleviSion and Radio was determined to deve10p an instructional product which would consistently tneet its instructional goals. A haphazard type of develOp- tnent would not achieve that end. Thus, the TR Department loegan to investigate the possibilities of using a "systems Tapproach" in the development of a new method of instruction. 'This approach is called "Instructional Development," and is frequently abbreviated to simply "ID." The systems approach is a series of steps--or functions--which lead from initial problem statement to final implementation of a solution. It is a means of systematically planning, organizing and develOping innovative instruction. After investigating this type of approach, the Depart- ment decided to use a systems approach for the development of a new instructional unit. The evaluation of that unit is the basis of this study. Definitions Several terms used in subsequent parts of this study require precise definition. SOme terms such as "functional factors" and ”instructional setting" have been given their own definitions by practitioners of the systems approach and are not necessarily part of the educator's standard vocabulary. All definitions marked with an asterisk (*) are derived from a '0 --uc ubcv' o I - ADU- ’U.... ‘- 10 the National Special Media Institutes' Glossary (1971, pp. 3-7). Other terms such as "project coordinator" and "project develOper" were defined by the author for the purpose of this study. lDefinitions--as used in this study 1. *Enabling Objectives (E.O,L Intermediate objectives, and the statements of those objectives, which lead to a particular terminal performance objective. These Objectives map out what the learner must accomplish in order to eventually exhibit the terminal behavior. *Entry Behavior Behavior that must have been mastered by the learner prior to instruction in order for him to respond apprOpriately to new instruction. [e.g., in order to enter into this program the student must be able to add and subtract two digit numbers without error.] *Function Major activities or characteristic actions of a particular sub-system which are required to achieve the goal of that sub-system. [e.g., the sub—system of record keeping in a school is made up of several functions or activities such as recording data on students and personnel.] *Functional Factors Physical, spatial, mechanical and/or structural factors which bear upon the harmonious Operation of a given system: such as classrooms, media, talent (i.e., types of abilities), or a policy which prescribes relationships. The theoretical relationship devoid of the‘human factor. *Human Factors The decision-making characteristics and life styles of individuals participating in a system which modify the inherent functional relationships of the system. 6. 11 *Instructional Development (ID) .A systematic way of analyzing learning activities and instructional problems and of developing validated, practical solutions to these prOblems. Instructional Television (ITV) (1) Any televised program whose major purpose is to instruct; (2) Instructional Television Services, Michigan State University. 8. *Ingtructional Package 9. 10. 11. 12, The validated finished instructional unit and all materials ready to be used for instructional purposes. *Instructional Prototype A "first or experimental or untried model“ of an instructional unit which is tested to determine what revisions are necessary for students to achieve the terminal objectives. The instructional prototype precedes wide scale use for instructional purposes. *Instructional Setting The specific environment and relevant variables influencing the environment in which instruction is taking place.. [e.g., characteristics of the learner, educational personnel, community, nature of the body of knowledge, school resources and their relationship.] Project Coordinator The person who coordinates all of the resources available to an instructional develOpment project. The coordinator must decide which resources-- both human and non-human--are to be used, how they are to be used, and in what way they are to be used. The coordinator should guide the subject matter expert andfor the instructional package author through the I.D. process. Project DevelOper(s) Person(s) actively involved in all phases of develOp- ing an instructional package from its early stages through final evaluation. In this study, the project developers were the Project Coordinator and one other person. 12 13. Project Director The person responsible for the entire instruc- tional develOpment project. The Project Director may delegate the responsibility for any of the aspects of the project. The Project Director of the project reported in this study was also the Chairman of the Department of Television and Radio, Michigan State University. 14. *Recyclp Returning at any specified time to a previous Instructional DevelOpment function or activity to revise or improve the Instructional Development product. [e.g., each revision of an instructional prototype package entails recycling through appro- priate stages and functions of the Instructional DevelOpment Process.] 15. Researcher The author of this study and alSo the coordinator of the Instructional DevelOpment project reported in this study. 16. *Sub—System Any entity or collection of entities which are de- fined as being a part of a larger system but which may be differentiated for purposes of observation. [e.g., an Instructional Development activity such as identifying objectives may be a sub-system of a total school district curriculum reform program.] 17. *System The total of separate parts working alone and with each other to achieve an accepted or agreed outcome or goal. [e.g., the various parts and sub-systems of a clock working together to achieve the telling of time.] 18. Television Director Coordinator of all production elements during the rehearsals and video taping of the mediated portion of the instructional package. .- Vt 13 19. *Terminal Performance Objective (T.P.O.) The kinds of behavior, and statements which define the behavior, students will exhibit after success- fully completing the instructional unit. Organization of the Study This study is organized into six main parts, or chapters. Chapter One presented a statement of the problem and explained the purpose of the study. It has provided a background of the problem.and pro- posed hypotheses. The chapter also included definitions to be used in subsequent parts of the study. Chapter Two provides a rationale for using the instruc- l tional development systems_approach. This chapter will then offer a step-by—step accounting of the develOpment of the instructional unit being evaluated in this study. Chapter Three is a review of the literature pertaining to instructional television. Chapter Four contains the design of the study and in- cludes a description of the instrumentation, stimulus 'materials, experimental procedures and design, and limita- tions of the study. Chapter Five is devoted to the results of the study with subsequent analysis and discussion of those findings. * Instructional DevelOpment Institute Glossary and jReference Materials, National Special.Media Institutes, 1971, pp. 3-7. 14 Observations regarding the use of Instructional DevelOpment to produce the instructional unit will also be found in this chapter. Chapter Six contains a summary of the study followed by conclusions. A discussion of the results with attendant recommendations and implications for further research con- clude this chapter and the study. .1.- ‘Ob- ‘ D- (I! In D“ “l.:. CHAPTER II REVIEW OF SYSTEMS LITERATURE AND THE SYSTEMATIC DEVELOPMENT OF THE INSTRUCTIONAL UNIT The purpose of this chapter is to provide a brief back- ground on systems, the systems approach, and Instructional Development. This background supplies the rationale for using Instructional DevelOpment to systematically produce the instructional unit, and for using an instructional develop- ment model as a guide throughout the process. The back- grOund is then followed by a step-by-step account of the design and production of the instructional unit. This account is presented according to the steps of the model used rather than in a strict chronological fashion. Systems, The Systems Approach, and Instructional DevelOpment When discussing systems, system design, and system research, most writers, such as Finn (1956), refer to weapons systems' design as a starting point. The word "system," derived from the Greek ”systema,“ means "to place together." Kaufman (1968, p. 416) defines a system as: ... the sum total of separate parts working indepen- dently and in interaction to achieve previously specified objectives. 15 nuv but A» a. :— .--~ ~ -..‘ u . ‘IA0 1‘- its is b \n 16 Bela Banathy injects more of man into his definition. Banathy (1968, p. 2) states: ... systems can be defined as deliberately designed pynthetic organipmsyicomprised of interreiated and interacting componentsL7which are employed to func- tion in an integrated fashion to attain predetermined purpoges. He concludes, then, that "... the best way to identify a system is to reveal its specific purpose." Another way to view or define a system is set forth by Finan (1962, p. 517). He states: A system is a way of conceptualizing experience, according to which the components of an organized grouping interact to achieve a designated purpose. Peach (1960, p. 15) feels that the definition of any system is, in a sense, arbitrary: [Systems' definitions] depend heavily on a priori definitions of a task or problem. A more detailed description is offered by Allport (1955),. p. 469) which he feels also defines an instructional system: [A system is] any recognizably delineated aggregate of dynamic elements that are in some way interconnected and interdependent and that continue to Operate to- gether according to certain laws and in such a way as to produce some characteristic total effect. A system, in other words, is something that is concerned with some kind of activity and preserves a kind of integration and unity: and a particular system can be recognized as distinct from other systems to which, however, it may be dynamically related. Systems may be complex: they may be made up of interdependent sub-systems, each of which, though less autonomous than the entire aggregate, is nevertheless fairly distinguishable in Operation. Beer (1961, p. 14), like Banathy, indicates that systems are inventions of man, created as a means to provide order to his world. He states: 1 I r (..I "I . n. . ‘ .__ ... ... 4 . . . g c s .. u u. n . .s» .h» . s .s s {e L .. .. .. ... . .. ... .. . e ... E c .. .. o I .l 2- .» .a. . eu~ ... ls \s 17 Systems are constructs of the human mind and an intui- tive method of looking at nature. Banathy (1968, p. I) categorizes the system in man's universe into three types: 1. Natural systems--such as the solar system. 2. Hybrid systems--Hydroelectric plants, for example. These kinds of systems are a combination of natural and man-made systems. 3. Man-made systems--These would include school systems or instructional systems. If man has created those systems ontside of nature (and those within nature are systems only by definition of man), it would seem logical or "systematic" that man would also devise a means to define, create, maintain and evaluate those sys- tems. Man has indeed done just that. The technique is called “the systems approach," and, as it applies to education, is designated "the systems approach to instructional develOpment.” The latter has been shortened to "instructional development" (ID), and its practitioners, "instructional developers.” Hamreus (1968, pp. I-6) defines it further when he states: The phrase ”systems approach to instructional develop— ment," when more completely stated, becomes ”systems approach to instructional systems development." There are several aspects common to most views or definitions of the systems approach. Banathy (1968, pp. 21— 22) has succinctly listed five aspects which incorporate the ideas or components that emerge most frequently in sys— tems approach literature: 1. An insistence upon a clear definition of the purpose of the system, and upon the formulation 18 of performance expectations stated specifically enough to enable the construction of criterion measures that will reveal evidence of the degree to which expected perfOrmance has been attained. 2. The examination of the characteristics of the input. 3. The consideration of alternatives and the identifi— cation of what has to be done and how, by whom or by what, when and where, so as to ensure that the predetermined performance will be attained. 4. The implementation of the system and the testing of its output for the purposes of measuring the degree to which performance expectations are being met and assessing the efficiency of systems opera— tion. 5. The identification and implementation of any adjust- ments needed in order to ensure the attainment of the purpose and optimize system output and system economy. The systems approach to solving prOblems is surely not a new concept. One can certainly imagine that the great ancient conquerors such as Cyrus or Darius or Alexander the (Great must have-had an awareness of their systems (the ‘worlds in which they lived), as each devised a plan or approach to conquer the system. The plans designed and develOped by the ancient architects of the Seven Wonders of the World Inust also have included a plan for evaluating the progress of their labors. The construction of the Great Pyramids of Egypt or the Hanging Gardens of Babylon or the Mausoleum at .Halicarnassus may not have been a systems approach, but the approach was most certainly systematic. Most modern authors feel that systems, systems analysis, and the systems approach came to be recognized as useful and 19 proven tools with the develOpment of missiles and missile guidance systems. A strong case could be made, however, by citing England as the creator of a modern—day systems approach to problem solving. During the Battle of Britain, when sheer survival was the objective, it was necessary to coordinate many efforts and allocate available resources in a very deliberate, specific and systematic manner. Despite England's success in these activities, it is only now, many years after the close of World War II, when the develOpment, use and evalua- tion of efforts and resources is referred to as "the systems approach." Banathy (1968, p. 16) claims: The success of the use of the systems approach has been clearly manifested in industry, business and govern— ment. The systems approach is neither a new invention nor is it a miraculous discovery. It is rooted in such diversified fields as logic, philOSOphy, communication theory, psychology, and others. It is a pragmatic application of the scientific method: it is a synthesis of successful methodologies in problem solving, planning and develOpment, used by many people in many fields over a long period of time. Briefly, the systemslapproach is common sense by design. Corrigan and Kaufman (1965, p. 71) define the systems ap- proach as ... ... formal analytical planning methods for progressing from the specifications of system mission objectives to the achievement of those objectives through the con- trolled and orderly specifications of parts making up the total system and the integration of parts according to functions to be performed into a total system that achieves stated mission objectives. . can. H--. o ‘n- I “0‘ 'Io. e..._ 20 1 Referring to the systems approach in education, Twelker, Urbach, and Buck (1971, p. 3) see it as an aid to management: Systems approaches are management techniques of seeking solutions to educational problems, or at least of making maximum use of every resource available to the improve- ment of education. Another educational facet is emphasized by Hamreus (1968, pp. I-16) who states that "the systems approach is a means of thoroughly planning and organizing for the systematic design and develOpment of instruction." Banathy (1968, p. 22) lists seven requirements which he feels are necessary in order to transform system strategies into the domain of education: 1.. Formulate specific learning Objectives, stating whatever the learner is expected to be able to do, know, and feel as an outcome of his learning experi- ences. DevelOp tests to measure the degree to which the learner has attained the objective. Examine the input characteristics and capabilities of the learners. -Identify whatever has to be learned so that the learner will be able to perform as expected. Consider alternatives from which to select learning content, learning experience, components, and resources needed to achieve the stated Objectives. Install the system and collect information from the findings of performance testing and systems evaluation. .Regulate the-system. The feedback from testing and evaluation will serve as a basis upon which the sys- tem will be changed—-by design-~in order to ensure ever-improving learning achievement and Optimum systems economy. ... .- .- 4". 5.4. - . Q I" .--‘ ..- I.-. . 'I..‘ 21 When these requirements are met and the transformation of system strategies into the domain of education takes place, the systems approach is called, by many authors, "instructional develOpment." As though he were emphasizing Banathy's seventh requirement to transform systems strategies into the domain of education Urbach (1970, p. 21) states that "feedback is the dynamic which keeps instructional development flexible and adopting." This is of course true in any systems approach. The systems approach is frequently illustrated by the popular academic exercise known as a model. This is particu- larly true in instructional develOpment. However, Urbach (1970, p. 2) warns: .Models always have reasonably clear rationales and the appearance of possessing very clear—cut approaches. Unfortunately, few instructional problems ever fit the model precisely. urbach also offers some insights into the role a model plays in the "common sense by design" theory: Instructional DevelOpment is based on a network of peOple--resources--and facilities. Local variations in time, energy and resources can make it impossible to follow the prOposed model. It is at this point that instructional development must depend on the judgment of the peOple involved. In a sense, instruc- tional develOpment is common sense by design, but to most people who have directed an instructional develop- ment effort, instructional develOpment models provide an 'un-common' approach. The model insures that all design elements are at least attended to. Many efforts in instructional improvement have been ultimately destroyed by lack of attention to some essential component. Five instructional development models, all develOped between 1965 and 1968, are most often mentioned in ID litera- ture and appear to have been used most often: 22 Name of.Model Author Date .l. M.S.U. Instructional Systems.DevelOpment Model Barson 1965 2. Systems Approach for Education (SAFE) Corrigan 1966 3. Project MINERVA Instructional Systems Design Tracey 1967 4. Banathy Instructional Development System Banathy 1968 5. Teaching Research 6-Step mini—model 22-8tep maxidmodel Hamreus 1968 The.M.S.U. Instructional Systems DevelOpment Model created by Barson has been used to develOp college—level courses at Michigan State University (BarsOn, 1967). It was develOped between 1963 and 1965, tried out at M.S.U. and three other universities, and then evaluated. Each of the participating universities ended up "adapting" rather than "adopting" the model. Thus, an individual variation of the Barson model is actually in use at each university, a model which applied to the particular institution's specific situa- tion. The SystemsrApproach"for Education (SAFE) model was de- veloped to be used for prOblem solving by educators. Twelker pp g1. (1971, p. 4), report that the model "... has been used at the public school, state department and educational research laboratories levels.” The Tracey or MINERVAMModel (Tracey, Flynn and Legere, 1967) was develOped by the U.S. Army as an instructional 23 systems model. It was successfully used by the U.S. Army Security Agency Training Center and School to analyze and renovate its entire training effort. The Banathy Instructional DevelOpment Model was intro- duced in 1968 and was designed specifically for instructional systems developers (Banathy, 1968). Banathy believes that his model structures the learner as the main component with the system organized around him. This model has also been used in higher education. Hamreus (1968) presents two models; or, more accurately, two versions of the same model. His three-stage, 22-step model was developed for the professional instructional develOper. His six-step minidmodel is a simplified version of the maxi- or 22-step model and is intended for a less sophisticated audience. In addition to these five models, one of the latest to emerge is the National Special Media Institutes' (NSMI) nine—step model (National Special Media Institute, 1971). This model was derived through an analysis of many different types of models, including the five discussed above. The NSMI model develOpers determined that all of the models were addressing themselves to the same task—-that of develop— ing instruction "... in similar ways, but with different descriptions and language" (Twelker pp gl., 1971, p. 18). The.NSMI model, then, is a synthesis of many systems approaches or instructional development models. "The [9-step] model is simple, yet complex enough to guide the develOper through the sags of 51:51: V. e 5.4 is is s ‘ Q. I Q can: ‘vpfifih ugh-v" .OOAE-a 90. 0"- - O U. in mane: “D to :1 .-e 5,5 I . ' 1 33's» 1" .. .:""‘ § 4‘ 5. e c 5 V' F ‘ba: '5' be b ‘ ‘3, as: I‘- e; ., A. 1368‘ PC. I ... Car York pk 13g t0}; It was :EQs 24 steps of systematically develOping instructional materials" (Twelker pp 3l., 1971, p. 18). It is this version, the three-stage, nine-step NSMI model, which was chosen to guide the systematic develOpment of the materials to be evaluated in this study (Figure 2.1). The systems approach to problem solving enjoys popular support in the academic community. As Mood (1964, p. 1) states: Almost everyone is in favor of the systems approach in the same sense that almost everyone is in favor of God, country and motherhood. For the Department of Television and Radio, however, there was a stronger rationale than p0pu1ar support for the use of a systems approach, i.e., instructional develOpment, in the solution of its problem: the project director wanted a systematic guide or "checklist" which would lead the pro— ject from problem identification to final evaluation, imple- mentation and recycling. Instructional develOpment and the NSMI model seemed to offer this kind of help. Hamreus (1968, pp. I-4) says that instructional develOpment ... ... can be regarded as an empirically derived frame- work which serves as a guide for systematically proceed- ing toward the solution of some defined problem in the educational industry. It was this "framework" which would answer the develOp- mental demands of the Department of Television and Radio. As though in additional response to those demands, Twelker .§p_§;, (1971, p. 2) offered further support for using the systems approach and an instructional develOpment model: Exam—Cu. . .-.u:.v.-.3< . .KwIIV..\:. IIIIII (- ' .H.Zuavfi.:d4m e moonuoz.e mm>flquon I mBADmmm mNNH¢24 m coauocom mama cowumsam>m HOOHHOO O ouSOMHB pooocou O mmmMBOBomm Bmflfi h cowuucom mamauoumz.cowumoao>m O mamauoumz deceauoouumcH c mmmMBOBOMQ BUDMBmZOU m Gawuooom MHOO2_O coeuoouumcH e ucaoumoq o mQOmBmZ.NhHUmmm m Goduocsm mcflanmsm O Hmcwsuma e mW>HBUmme NEHBZMDH e cowuocom moswaoswa c mowuaawnwocommom I mxmoa O BZMZHUoamm e mcoHuwocoo e OOdOflosd e OZHBBWm NNNR¢24 m cowuocom Swanson Oumum O mowuanoeum Amwanmumm o momma mmommm e smflmomm MWHBZHQH H coauocom mB¢DQ¢>M moflm>mfl MZHMMQ '.”r.e ea“. instr2: tio:.1 . . R: Q... \-.~" . V. sue .‘LI. ‘ 'O C. - a ‘we icgol‘ :‘uI,’ \ - .r‘.eu t: :O.:‘ ‘ ‘ . uln“a~e: “. = “no, "t \ 'GV“ “.= s ’3 C120! 5. ‘. I": 26 The end result of using a systematic development of instruction is an instructional system. An instruc— tional system is, therefore, a tried and tested combination of related materials and events that consistently achieve specified objectives. In more formal terms an instructional system is an empirically develOped set of learning experiences which bring about a given learning outcome for a given set of learners with a given degree of reliability. The Instructional DevelOpment Process The overview discussion of the instructional develOp- ment process which follows is, as ordained by the structure of the NSMI model, ppp a chronological listing of events. It is, rather, a report of strict adherence to the order of the model's functions and the activities required therein as applied to the develOpment of the instructional unit being evaluated in this study. Function 1: IDENTIFY THE PROBLEM Function 1 of the NSMI model requires that instruction- al developers identify the problem. This first step.involves activities such as assessing needs, establishing priorities and clearly stating a particular problem as agreed upon by all concerned. Thus, in following their "checklist," the Department of Television and Radio project developers defined what existed in the curriculum to introduce students to . television production, and determined what was ultimately desired for those students. What existed was a short period of time in an already over-crowded one-term television production course for an c ~ .....~ A “O.” ¢----e-‘ -.5‘. ;*-- . to Q.” In: ‘.. s-- ‘33-545 to 18'." ”A c.\_ -- A . a e,‘ on“ u ~e.er a‘ 1 a.- ~-:1. «flea . 2“? n H‘ in ‘Q 1. ~ N.‘ 1“ D 55E ‘h\ ‘ «gr: ‘4 ,. ‘ \ HF ‘ \,;1 two s‘ 2 ‘ s. .v- 27 introduction to television production. The students were greeted by instructors at the first two-hour meeting of the class, told in general terms what the course was about, divided into three laboratory sections, and finally intro- duced to the laboratory instructor for each section. Three campus television studios were used for these laboratory sections: one at WMSB, and two located at ITV. Each of these studios ”was equipped with slightly different equipment. Another two—hour lecture period ensued in which no visuals were employed. The students were given an introduc- tory reading assignment in the required text and told to meet in their respective laboratory sections. During this next two-hour class, the students got their firSt look at the inside of the studio. Each group--average size 18 to 20 students--was walked through their particular studio and given an introductory explanation and some brief demonstra- tions of how the various pieces of equipment were Operated. The general studio rules--or "do's—and-don't's"-—were also outlined. During the next two—hour assigned period, the students ‘began to participate in simple, two-man interview production exercises. These exercises continued until each person in the lab section had rotated through each crew position, and had acted out the on-camera roles. This entire introduction process took three weeks. It included one 2-hour lecture and two 2-hour laboratory periods per week. At the end of three weeks all laboratory groups rotated to another studio r: ‘ )o rt :1‘ m '13 '1 O ‘ . ,. 1. 535806.11. all groups a 312 I028. :I3:-Ce a f ...e St 23.81! cras ' U L Q I I | | | | m n! r) :Y ‘0 (U D K (b '. r :I W ...: . 0" A . .. . ,, 28 and the process started anew, with each studio group doing a subsequentlymore sephiSticated production exercise. After all groups had been through the three studios, they were again rotated to their original studios wherein they were to produce a final fifteeneminute production. The students were given a mid-term exam to determine their grasp of the cognitive knowledge required for tele- vision production. During the term, each student was asked to produce small productions, e.g., a sixty-second commercial, and each was graded on his overall capacity as producer. The final production was given a total grade and each member of the production group was given the same grade. In this way, the importance of group COOperation and active participa- tion in television production was reinforced. Some TR Depart— 'ment instructors also administered a final exam to test cognitive learning. The Department of Television and Radio perceived several prOblems with the existing system: 1. There was no standard measure of the student's entry behavior. 2. Previous mid-term and final examinations revealed that most students had a reasonable grasp.of the cog- nitive knowledge necessary to function adequately in a television studio by the end of the course. HOwever, there was no assurance that they had this knowledge by the time the production exercises began in order to make these exercises most meaningful. 0... “ y" 5““ ““‘ ‘m-LIOT, 0::‘C tele‘.’l v 0.0%. 29 3. There was no provision for the remedial help of slower learners once the production phases had begun. 4. There was no standard measure of what the students had learned during their introduction to television production, which would provide data for course revision or longitudinal comparative studies. What wag degired by the Department of Television and Radio was a more effective and more efficient method of introduction to television production for students in its basic television production course. The new method would include: 1. Measuring of entry behavior. 2. All students would acquire acceptable basic cognitive knowledge regarding television production before starting the production phase of the course. The intrOduction, therefore, should be capable of being used as a separate unit or incorporated as the primary sequence of the basic television production course (TR 202). 3. Provision for remedial help for students who (according to cognitive tests) either need or desire special attention. 4. A standardized, validated post-test of cognitive knowledge. The problem, then, as defined by the Department of Tele- vision and Radio—-or "what is" as compared to "what is desired"-- m4 :“OFO‘A‘ , - u...-.U-n 'u- -.A u... . . 3.8 17.521"; ‘-:Ap—:‘io'_ .- “vaxle: ‘90 III- A ‘ ‘ofl I :«u Ie‘e‘.’a :2 30 was that the introduction to television production was less effective and less efficient than desired by the department. Function 2: ANALYZE THE SETTING In Function 2 of the NSMI model (Analyze the Setting), the instructional develOpers locate and collect relevant information on the instructional setting as it relates to the prOblem stated in Function 1 in the audience, conditions and relevant resources. For the Department of Television and Radio, the above function required that the project develOpers identify their target audience; collect materials which would represent the previous method of instruction in the introduction to television production course; examine the available facili- ties for teaching that unit: and identify the resources for 'both the develOpment of a new instructional unit and its eventual implementation. Of all the steps in the project, "Analyzing the Setting" covered the longest span of time. This function was initiated in conjunction with the problem identification and management organization stages and was continued up to the implementation process. The target audience was generally defined as university students prior to their enrollment in a television produc- tion course. This definition was further refined to a state— ment of required entry behavior: "The learner will be a university student whose basic reading and comprehension skills have been deemed acceptable by the entrance examinations . ' o " :‘.':9.. :y .\.-c co:;leted, c .vfi;-~AO Q. a: ( huh-etu.‘ hull -\ fl.‘ 8.... fixau-Oo . . . 15 :eanea. 1 ' Q 15.8 lCZIOSJC IO dete 31 given by Michigan State University. The learners will have completed, or presently be enrolled in, the basic radio production course offered by the Department of Television and Radio. No previous knowledge of television production is required. The student will be pre-tested upon entry into the introduction to television production unit." To determine-how this unit had been taught, the project develOpers collected, reviewed and analyzed course syllabi, tests, handouts, bibliographies, and the required course text. The facilities available to teach the unit were those available to the existing television production course (TR 202): two studios at ITV, and one studio at WMSB. No addi- tional studios containing television equipment could be made available. The Department of Television and Radio had access to a large unequipped room located in the same building as the departmental offices which might be converted into an experi- mental television studio/classroom. During the develOpment of the project, the Instructional Television Services donated some discarded equipment to the TR Department. These new acquisitions created a possibility for including a student- paced, hands-on experience component into the new introduc- —tory unit. Unfortunately, the Department was unable to obtain the funds necessary to add additional required equipment or to pay for the shrvices of an engineer to make the donated equipment Operable. It was this possibility of additional note! I "‘ stubboo Aee\-e the ex; '- . ’ afar. ' :9: were rapes: ’U *1 O) 32 resources, however, which made a continual analyzing of the setting necessary. The expertise needed to help develOp and implement a new unit of instruction was located and individual commit— ments to participate were assured. These human resources included learning psychologists, television subject matter experts, media experts, and instructional develOpers. Funds were requested and subsequently granted from the University in order to.start the project. Additional funding for the purchase of new recording and playback equipment was denied. Thus, the project ultimately concluded with the same amount of physical resources available to the Department as when it started. Several times during the development of the project it appeared that additional resources might become available-- either immediately or in the near future. These possibili- ties necessitated continued reappraisal of both the setting and the developing unit. Function 3: ORGANIZE THE MANAGEMENT The third function of the NSMI model organizes the activ- ities necessary forthe solution of the Instructional DevelOp- ment problem. .During this step the project develOpers organized their tasks, responsibilities, and timelines. They also determined the staff andfmanagement controls which had a bearing on the defined prOblem. The chi. I. recognized 2 i: Grier to ‘- 5 L‘V‘ :JeCSOISAoL: '23:: receive. 715139. 8:11 3 33 The chairman of the Department of Television and Radio recognized that a prOblem existed; he applied for a grant in order to obtain help in solving the problem: he assumed directorship responsibilities for the project; and he appointed the researcher, a doctoral candidate in the area of Instructional Development and Technology at Michigan State University, to act as project coordinator. The coordinator had received his MasterfisDegree from the Department of Tele- vision and Radio at M.S.U. and was then a laboratory instructor for the basic television production course. As coordinator, he was made responsible for the progress and results of the project. A second appointed project developer was a Master's degree candidate in the Department of Television and Radio at M.S.U. who had served in the U.S. Army with American Forces Radio and Television Service as Chief of the Tele- vision Branch in Vietnam. As the project progressed, two instructional develOpers from the Instructional Media Center (IMC) were asked to participate. The project director approved the use of a systems approach to attack the prOblem and the coordinator recommended using the NSMI nine-step model as a guide. The IMC4Lnstructional develOpers helped establish timelines and presented a realistic allocation of total time to be spent on eaeh function in the model. As neophyte instructional developers, the TR Department project developers viewed the nine steps of the model as "seizg broke 'grafessior. 3:...“ ‘ .I:“‘O.‘ . :. .. ‘4 .mC»‘O:S ‘2 a s.’st€-at‘ 9'. ‘ B 34 being broken down into times of equal length. The IMC "professionals," however, indicated that such was not the case. The early functions of the model, they pointed out, required the greatest amount of time. This assertion proved, indeed, to be correct: the first four functions lasted approximately four school terms. (The word "approximately" is used deliberately here because instructional development functions overlap and do not develop in a strict, linear fashion. It is necessary, however, to perform the first five functions before the remaining four can be accomplished in a systematic manner.) In the early stages of develOpment, the project developers contacted the staff at the MSU Learn— ing Service and requested assistance in identifying objec- tives. A television director with knowledge of instructional develOpment methods assisted the project during the latter half of the total time span. Throughout the course of the project, the project de- velopers attempted to locate a skilled writer to create any television scripts that might be needed. Few peOple on the MSU campus possess a script-writing skill and the person most qualified for this task was unable to obtain release time» from his division to devote to the project. The writer, however, volunteered his nights and weekend time in order to aid the project. With the exception of the writer, all project partici- pants were identified early in the process by the project 35 developers--even though many talents were not used until the later steps in the total instructional development process. 'Function 4: IDENTIFY THE OBJECTIVES In this step of the NSMI model, the instructional developer must identify specific terminal and enabling Objec- tives which the learner is expected to perform. Using data collected during the previous three func- tions of the model, the project developers generated a state— ment of Objectives, and developed an instrument to measure achievement of these objectives. These activities were based upon data found in syllabi and tests for the basic television production course (TR 202) from the preceding three years. The project developers then synthesized the information which referred to the orientation or introduction to television production (including assigned readings and handout materials), and compiled test questions that related to that material. Objectives thus began to emerge. Learning Service experts helped the developers determine what the exact objec- tives should be, and assisted in writing the objectives in behavioral termsn Behavioral objectives had never been stated for TR 202. By compiling test questions designed by the three professors who had taught the course during the previous three years, the developers observed much consistency in what each pro- fessor wanted his students to learn. The develOpers ultimately identified over 300 objectives Which encompassed the broad Zettal la‘: a: .. ‘- bEincpers ;:::‘uce a 36 areas of TV studio, TV control room, the operation of three types of camera units, two types of pan and tilt heads, two types of camera mounts, the video switcher, television lighting, and television projection--for both still and motion pictures. After these objectives had been defined, and the avail- ability of physical facilities (minus and hoped-for experi- mental laboratory/classroom) had been determined, the project developers eliminated and/or combined many Objectives to produce a total of 71. Several broad areas were eliminated because they would be more appropriately included in a regu- lar course which involved hands-on experience. These areas were television lighting, and major portions of projection and of video switching. As determined by the objectives the final areas of instructional concentration were: television control room and studio, with an overview of their functions and Operation and the responsibilities of crew members in each area; the Sarkes Tarzian camera: one common type of cradle head; and two types of camera mounts of radically different design. The project developers were determined that the objec-‘ tives concerning equipment be quite specifically stated to employ the equipment which the-students would actually use during their laboratory work at ITV. Equipment not used inside the TR Department's instructional setting could be given general treatment during the regular course. 37 Ingtiuctional Unit Objectives All of the following Objectives will be accomplished according to the information provided to the student in the instructional unit (i.e., video tapes and guidebook). The student will accomplish the objectives on a "pencil and paper test with a ninety—minute time limit, without the aid of references. All Objectives refer to television production, and the equipment used for production, at the ITV studios, Michigan State University. 1. When given a description (in the form of definition, function, use, special advantage or characteristic) of each of the following items, the student will supply the correct item for each description: - Camera mount - Dissolve —‘Dolly - Headset (intercom) — Lens turret - Lighting control board/Dimmers — Line monitor - Locking pin on counterbalanced pedestal mount - Locking ring on counterbalanced pedestal mount - Multiplexer ‘ - Panning - Panning handle and its adjustments Pedestal type camera mount -1Racking — Script - Set-up — Steer 1 function on camera mounts — Steer 3 function on camera mounts - Steering handle on the crank-type pedestal mount — Steering wheel on the counterbalanced pedestal mount - Strike " - Take - Talent - Tally lights - Tilting - Truck - Zoom lens mm<>¢t be displayed. Conrad (1952) reported on a special one- diaiy project involving thirteen public schools. Eight tele- xrjwsed lessons were broadcast between monring and mid- afternoon. Involved in the evaluation were participating teachers (60), participating students (1,650), other visiting educators, and the investigators' staff. Conrad claims that as rrumber of conclusions could be made from the evaluation: 1. Television is most effective when it brings experi- ence, materials, and demonstrations that are not otheu— wise readily available to the student. 2. The television host, teacher, or narrator must possess enthusiasm, a-knowledge of teaching principles, and “special qualities of voice and manner." 3. Teachers should be program planners. ‘4. The amount of infonmation in each program should be limited. 55. Preparation by the classroom teacher before a tele— xrised program is always desirable. ES. A twenty- to thirtydminute program fits into the ‘Iiormal class time and allows enough time for discussion. VVischner and Scheier (1955, p. 613) reviewed the avail- able ‘ literature and concluded that television pg teach. Imefi?’ Eilso stated that more research was needed in order to ans . . . ‘Kheiar questions about factors affecting the effectiveness of tel - , 3" :Lsed instructors . I." i252ruc Aw. ..arte: 1354;. teleVis 68 In order to compare the effectiveness of televised instruction to that of regular classroom instruction, the Quartermaster Training Command (1954) conducted research using ROTC students. When completed, the study concluded that the effectiveness of instruction by television seemed to be equal to classroom methods. This conclusion was based on immediate learning of facts. Another conclusion of this same study stresses the need for instructors to know the simple-but important techniques and differences in instructing by television. That is, instructors must learn to use the medium. .The question of whether or not television could teach a skill began receiving attention by 1954. A military research project reported by Kanner, Runyon, and Desiderato (1954) concluded that Army trainees receiving instruction by television did significantly better in performance tests of mac'hine gun operation and map reading than did trainees in a lecture-type class . Another study, reported by Pasewark in 1956, showed that television could teach psychomotor skills. One of the depet‘u'ient variables in this study was a timed typing test at the endof the course. The results Of this study revealed that students who received televised instruction for begin- ning typing demonstrated significantly faster typing speeds t ban those (receiving conventional instruction. At the end of the decade, Holmes (1959) made a review of tel - , . e":I.sion research. His research concluded that students contin; ‘1'“: .e.e.1- M of 3'33 20 '7 I'm:‘ "Ike‘s . ::e to: r F ”I “I I h 69 (gain develOp psychomotor skills as efficiently from television 23:3 from conventional instruction. Research by professional educators, and by the military, czcantinued throughout the fifties with results showing that television could teach as effectively as conventional methods. wbnt unnoticed because there In 1956, Much of the research, however, was no systematic compilation of the research data. Kumata produced just such a compendium. He concluded that the total research indicated no significant difference between the achievement of students taught by television and those taught by conventional means. Kumata said, however, that the lack of significant difference was usually found after short- term retention tests dealing with subject matter. The area of students' attitudes toward televised instru- tion received more attention late in the fifties. Macomber, Siegel, Hathaway, and Dome (1957) reported that most students tended to favor conventional instructors over instruction by tele‘fision. Carpenter and Greenhill (1958), and Macomber and Siegel (1960), also obtained results indicating students' Preference for conventional instruction. Evans (1956) re- ported that the students' Opinion of televised instruction became more positive after they had been exposed to it. That is, students had a more negative attitude toward tele- vis ed instruction before they actually experienced it° T annenbaum (1956) and Carpenter and Greenhill (1958) came to the . '3 ante conc lus ion . 70 As more and more research reported that television could teach only as effectively as conventional means (i.e., no significant difference), this very lack of difference was being questioned and examined. Greenhill (1959) prOposed that no significant difference was found in the majority of studies because most studies were single variable research. Greenhill stated (p. 253): ... the effects of most single variables are too small to have any marked influence in learning. In Holmes' 1959 compendium of research findings, the conclusions were much the same as those arrived at by Kumata three years earlier. HOlmes believed that much had been learned about televised instruction, but that there was a great deal yet to discover. Holmes (1959, p. 80) felt there were three needs of television research which had yet to be resolved: First, there is a need for an accepted system of corre- lating results based on common definitions and explicit terminology. Second, there is a need for more accurate and sensitive instruments and criteria for measuring learning. Third, there is a need for greater attention to and evaluation of learning from visual material. The decade of 1950 to 1959 ended with another overview of tel'evision researchby Kumata (1950: PP- 176‘199)' This review encompassed the last half of the decade, and was a c mparison of his own earlier findings in 1956. Kumata fou . . . 151d that an increaSing number of studies conducted at the elem eIltary and high school level resulted in a significant 71 difference in learning by students taught by television. The majority of research, however, continued to show no significant difference between conventional and televised instruction. Kumata suggested the research does show the following factors (among others) to be important to the success of instruction by television: 1. Motivation——Often television was judged superior over conventional instruction when the television sub— jects were volunteers, as Opposed to being conscripted. 2. subject matter preparation and integration-~In most cases, when television is reported as superior to con- ventional instruction, there has been subject-matter preparation, and the televised instruction has been well integrated into the teaching process. Both the military and the professional educators had completed and reported a vast amount of research concerning television in the teaching-learning process. Systematic reviews of the literature were now available, but there appears to have been little cross—pollination between military and civilian research groups. Allen (1958, p. 8), in reviewing and compiling military research on television, concluded that universities ignored the military research for the most part. Much of the early research pioneered by the military was, in many respects, more comprehensive and.more significant than that conducted 72 later by the universities. It was Allen's Opinion that edu- cators tended to avoid using military research because they were reluctant to equate military training with education. Schramm (1961, p. 216) nevertheless reported that, for both military and civilian research, findings of no significant difference still dominated the research. In 1960 Foshay (pp. 234-237) described research in instructional television as developing in three stages: Stage 1. The Exhortatory Stage (1945-50). Educators and broadcasters declared to all "the importance of television, the possibilities of the medium, the necessity for careful inquiry, and the need for fitting it into the existing educational scheme." Stage 2. The Promotional Stage During this stage research is conducted to demonstrate the effectiveness of television. "Research in this field will not come Of age until the special characteristics of this medium are examined closely." Stage 3. Unnamed and only beginning to emerge, Foshay described this stage as one where tele- vision research and communication theory are being applied to the problems being investigated. Research in the sixties continued as before, with the dependent variable being student achievement, and no sig- nificant difference being reported most often as a result. However, some of the research, demonstrations, and tryouts involved much larger samples than previously reported, with same taking place over a longer period of time. Some research also tried to determine the effect of certain production values within a televised lesson while others demonstrated unique applications Of television. 73 Still other research asked questions regarding tele— vision's ability to instruct students in problem solving and infonmation synthesizing. Macomber and Siegel (1960) reported the results of such a study conducted at Miami University over a period of four years. Here, the achievement of large television groups was as great as that of small conventional groups. The achievement measured was the ability to solve prOblems and to synthesize infOrmation. The Ford Foundation (1961) reported on a nationwide experiment which dealt with using television to teach. The program had started in I957 with nearly 40,000 students and .more than 200 elementary and secondary schools participating. By 1960, these figures had risen to nearly 200,000 students and almost 800 schools participating. During the first two years of the project, 251 comparisons that were thought to be legitimate were made between television students and con— ventional students. Of these comparisons, 165 favored tele— vision students, and 86 favored the conventional students. However, only 9050f these comparisons showed a difference that was statistically significant, with 69 favoring television students and 21 favoring conventionally taught students. (The lhrgest experiment in one particular area was the Hagerstown, Maryland project. This effort was started in 1956, and, by 1960, 16,500 students were receiving televised instruction (Hagerstown Board of Education, 1959) (Ford Foun- dation, 1961). Early comparisons favored the television students in several content areas. 74 Questions arose regarding the findings of all television research, particularly the number of studies indicating no significant difference between television groups and conven- tional groups. Williams (1962) questioned the advisability of accepting instructional television on the basis Of no significant difference. No significant difference could be due to other interrelated factors: First, the wide use of true-false or multiple choice tests: Williams claims these tests measure only the student's ability to recall specific information. Second, and related to the first: The tests used in most experiments do not evaluate the stu- concomitant learning. dent 's ability to apply new information to an entirely dif- fer ent situation. Third, the timing of the tests and the duration of most experimentation: most of the testing is done immediately f(ll—lowing the instruction, and comparisons are made on a 31'lozltt-term basis. These factors could hinder any judgments about the actual effects of televised instruction. An innovative and productive large—group use of tele- v18 ion was demonstrated by the Chicago City Junior College. :11 1956, partially financed by the Ford Foundation, the Chicago Board of Education established a TV College. The QQllege was intended to enable students to either complete an Associate of Arts degree entirely via television, or s upplement their on-campus course work. The television medium 75 would also offer courses to individuals not in a degree track. In 1964, the Chicago Board of Education issued a fourth report on the TV College, which contained the following statistics (p. 34): Over 80,000 individuals registered in over 120,000 course registrations (roughly 1.5 course registrations per individual). Over 34,000 students enrolled in over 53,000 courses for credit. An "unseen audience" soaring from 10,000 viewers per telecast in Fall 1956 to over 200,000 viewers per telecourse in 1964. Retention rate (number of students who complete a semester or trimester's work) now averaging 75%. Almost 60 different college courses offered for credit, plus 3 additional courses telecast not—for—credit. (Many of the credit courses were repeated in subsequent semesters, raising the total course Offerings to almost 150.) 95 students already awarded the Associate of Arts degree (60 hours of college work of "C" or better average) entirely by TV. Over 900 students graduated with the AA degree who took, on an average, one semester of their work by TV. Concurrent registrations (students taking TV and on- campus classes in the same semester) growing from.3% Vin Fall, 1956, to 40% in Fall, 1962. One of the most imaginative uses of television for this ((31: Einy) decade was that of the Midwest Program for Airborne I' EEJL€3\7ision Instruction,"MPATI. MPATI broadcast instructional Eil:‘3Ei e 0 O O . O . I I JLGExrision from an airplane transmitting over a six-state In a speech to the National Association of Educational 13 17¢)Eidicasters (NAEB), Jorgensen (1963, p. 20) reported t:}161i; a 76 ... regularly-scheduled broadcasts to schools in a 144,000 square mile area began in 1961. [During MPATI's first year of instruction] ... about 2,300 schools and colleges equipped themselves to receive MPATI broadcasts. Chmrggensen also stated that "... an estimated one million stu- dents participated in classes using MPATI lessons." Felsenthal (1971, p. 39) states that "Thirty percent of the original lessons were rejected and revisions of them were orcieared." He concludes that this insistence on high standards, anti revisions if the standards were not met, was a strong fa<:1:or in producing the high quality of MPATI's tele-lessons. However, despite the evidence that revision produces quality, in 1967, Chu and Schramm (p. 101) were still ques- ti<>r1ing ... ... whether television should not adopt as a standard practice, whenever possible, the pretesting and revising of television lessons. They concluded that . . . ... one Of the chief residues of the last ten years of activity with programmed instruction is a mountain of evidence that more effective learning experiences can be developed by testing materials on students, revis- ing, testing again, and so on. Despite the high quality of MPATI programs, the project liaiéi 'problems in attempting to become self-sufficient. IkéidiiLtional channels were requested in order to broaden their al‘léijLence and to make scheduling more flexible. The request was denied—~with the principal Opposition coming from the hi . . . . atlonal Associationof Educational Broadcasters (Felsenthal, JL 971, p. 42) . Although the NAEB does not qualify for the 77 tiesignation "Ace," they are somewhat unique for their record cxf having shot down two American planes during peacetime-- “nith an assist from the FCC. MPATI ceased transmission of airborne television. in May, 1968. The most ambitiouS'study ever made of the research on iristructional television was done by Chu and Schramm (1967). The study is extremely broad inscOpe as evidenced by a liiJoliography citing 303 titles. The evidence from this compendium supports the results of? most previous research, even as far back as the early .fjJLm research: PeOple Can learn from television; and, tele— Vision is most effective when the basic rules of good teach- ing are followed . Instructional television works best when it is made an integral part of instruction—-that is, when it is woven into a classroom context of learning activities: ... It works best when it is planned and introduced carefully as part of a teaching—learning system, rather than a branch grafted on to what is already there. (p. 100) The total research effort indicates that instructional television lessons should be systenatically developed, and t:1161t: television itself be systematically integrated into the teaaicihing-lparning process. .Hunter saw these indications in 1961 (pp. 21—22), as he Eva§£3 prOposing a "Learning and Instructional Resources Center." uEh‘jLss center (which would include instructional television) would serve as a focus for research in all techno- 1°gical development, and on the problems of more effective 78 learning and instruction. And, it would provide the crea— tive 'programming' required for the full realization and application of the total 'systems' concept or design." Chu and Schramm (1967, p. 98) say it is no longer neces— sary to ask if students can learn from television. Over— whelming evidence shows that they can. The questions now to be asked about television are: 1. Does the situation call for it? and, 2. How, in the given situation, can it be used effectively? As they pertain to the problem stated in Chapter One, these two questions are to be answered as part of this study. 1. Does the situation call for television? The instructional unit being evaluated was developed through use of the "systems approach" as espoused by Instruc— tional Development (ID). Function Five of the ID model ("Slpecify.Methods") was used to guide the development of the unit. Television was selected as the primary medium. That: medium was to be supplemented by printed material. The decision to use television was made on the basis of several needgg: a. to show movenent 13. to show subjective views of what a television camera 'sees' and, thus, what a student would see when Operating a camera 79 c. to superimpose titles d. to show various kinds of shots e. to synchronize sound and picture The motion picture medium could also fulfill the above- 1isted needs, but additional factors also had to be con- sidered in the decision to ultimately use television as the primary medium of the instructional unit: f. film resources not available g. television for television students h. inability of a film camera to accurately present what a television camera sees i. videotape (television) playback as opposed to projected film (motion pictures) While motion pictures and television give similar Visual results (i.e., camera angles, zooms, pans, tilts, dOl lying and trucking), the techniques involved in achieving each of these effects are quite different. 2. In the given situation can television be used effectively? The purpose of this study is to evaluate the effective— ness of a unit of instruction wherein television is both the subject of the instruction and the method by which the Bubj ect is tobe taught. CHAPTER IV DESIGN OF THE STUDY The purpose of Chapter IV is to present a description of the components of this new instructional unit. Also reported are the data collection instruments, the data collection procedures, and the type of data analysis used. -—- The experimental design is presented and several limita- tions of the present research are also considered. To aid the reader, an overview will now follow rather than the usual summary at the end of the chapter. Overview The evaluation reported in this study was accomplished us ing students enrolled during Spring, 1972. The students were enrolled in two of the Television and Radio Department's COurses: the basic radio production course (TR 201), and the basic television production course (TR 202) . TR 201 is a prerequisite for TR 202. To provide the data for Part One of the evaluation, shlflents enrolled in TR 201 (radio) were randomly assigned to two groups: control and experimental. The experimental 80 81 group received the complete instructional unit. The control group, however, received only the pre-test and post-test of the instructional unit at the same time as the experimental group, but they did not receive the rest of the unit. The Students which made up the conventional group con— sisted of one—third of the students enrolled in TR 202. The group designated as the conventional group was comprised of those students randomly assigned to the laboratory group which would receive instruction in the studio equipped with the same equipment demOnstrated in the instructional unit. The conventional group was pre—tested on the first day Of regular course instruction and post-tested at the end of their first studio assignment (3 weeks). The pre- and post- test instruments were the same ones used with the experimental and control groups . Two primary hypotheses were generated: 1. The experimental group will score significantly higher on the post-test than the control group. 2. The experimental group will score higher on the ' post-test than the group receiving the conventional instruction. fro determine if sex, previous experience, class stand- ing, or status as a Television/Radio major had an effect on P°St~test scores of the experimental and conventional groups. a hypothesis was generated for eachof those variables. All hypotheses were tested at .05 alpha level using analysis of Var iance . 82 The second part of the evaluation utilized the post- tests of both the experimental group and the-conventional group. An item analysis was performed on the post—tests for each group. The index of difficulty for each test item was then compared by group. For the third part of the evaluation, an attitude questionnaire was administered to both the experimental group and to the Department of Television and Radio faculty after both groups had been exposed to the new instructional unit. This questionnaire would help the project develOpers to determine the attitudes of each group toward the materials and also identify weaknesses and strengths Of the instructional unit as viewed by these groups. Sample The subjects within this study were selected from two Coursesoffered by the Department of Television and Radio at Michigan State University. These two courses were the basic radio production course, TR 201, and the basic television Proauction course, TR 202. The students enrolled in the radio courses were randomly assigned to two groups by using the Class - list and a table of random numbers. .One group was then r"=u’lmly designated the experimental group and the other the col'ltrol group by flipping a coin. After first arbitrarily Calling one group-heads and the other group tails, it was Stated that the side of the coin that landed face up after 83 the flip would be designated the experimental group. The entire TR 201 class was comprised of 48 members on the first day of the term when the random assignment was made. However, this number was reduced due to students dropping the course or absences during the time of the experi- ment. Thus, at the time of the testing, there were 19 sub- jects in the experimental group and 17 subjects in the control group. The TR 202 class received the introduction to television production through conventional instruction. The group used in this research project was one of three laboratory sections within the course. The conventional group was to be the laboratory section using Studio "A" at Instructional Tele- vision Services (ITV). Each laboratory group was assigned to a studio, each of which was equipped with different equip- ment, for approximately three weeks. The groups then rotated to a different studio. The conventional group was so speci- fied because their particular studio was equipped with the same equipment demonstrated in the experimental instructional unit. In order to assign students randomly to the conventional group and, therefore, to studio "A”, a sheet was passed around on the first meeting of the class and the students were asked to sign their names next to one of the numbers on it. Using a table of random numbers, the number preceding each name was then randomly assigned to one of three lists 84 which would correspond to one of the three television studios being used for the course. These three studios, two at ITV and one at the campus PBS station, WMSB, were arbitrarily designated as Studios 1, 2, and 3.’ Three sheets of paper, each with one group of randomly assigned numbers listed on it, were shuffled by the researcher and a naive person was asked to order them as l, 2, and 3. This order of lists was then matched with the corresponding studios. The makeup of the three groups is contained in Table 4.1. Instrumentation Pre— and Post—tests The pre-and post-tests (Appendix A) were exactly the same in content. Each had its own color cover sheet, however, and the pre—test was referred to on the cover sheet as "Test 1.“ The test was a "fill—in the blanks" type requiring 152 responses, each given a value of one point. The top score possible, then, was 152. Table 4.2 provides reliability, difficulty, and discrimination information on the test. These data were obtained from the post—test of both the ex— perimental group and the conventional group. Results are provided for each group separately and for the two groups combined. The achievement on this test by both groups, plus the third control group which received no instruction in television, provided the data used for the evaluation reported in this study. a-,__-~— ~,(§..._.An. a ...... r- 1..."- v guru—‘3... ‘ z u u. - m .---.. ”...—.- 4 v-,.mn-..p_-.~..~ aw i 1’- m~....~ ., -. ..., 85 finable 4.1. Demographics of Experimental, Control and Con— ventional Groups ' Experi- Conven- mental Control tional group group group N 19 N 17 N 16 Class: Freshman 3 0 Sophomore 7 8 Junior 7 10 7 Senior 1 0 0 Graduate 1 0 1 sex = Male 13 13 12 Female 6 4 4 Maj or: Television and Radio (TR) 13 ll 15 Non-TR Major 6 6 1 .Eerrience: Previous experience with any TV equip- ment: Yes 7 4' 3 NO 12 13 13 86 Table 4.2. Post-test Summary and Reliability Data ,0 Summary Data—-Post-test Experimental Group Mean Item Difficulty 36 Mean Item Discrimination 55 Kuder Richardson Reliability #20 .9114 Standard Error of Measurement 10.7527 Summary Data--Post-test Conventional Group -Mean Item Difficulty 41 Mean Item Discrimination ' 28 Kuder Richardson Reliability #20 .9446 Standard Error of Measurement 4.4997 Summary Data-—Post-test Combined Experimental and Conventional Groups Mean Item Difficulty 38 Mean Item Discrimination 47 Kuder Richardson Reliability #20 .9734 Standard Error of Measurement 4.8019 87 All tests were administered to the subjects by their regular course instructor. That is, the instructor for TR 201 administered the pre- and post-tests to the experimental and control groups, and the instructor for TR 202 adminis- tered the pre— and post-tests to the conventional group. Tr‘ The procedure of having the regular instructors admin- ister the tests to their respective classes was used in an attempt to minimize the antagonism undergraduates sometimes feel when a stranger enters a class and announces that the students are going to be used in a research experiment. This practice has become a common and sometimes irritating activity forsome undergraduates. The extra precaution of testing all the television class members was used in an attempt to minimize any "Hawthorne effect" to the one laboratory section which was participating in the experiment. The television production class was told that the pre-test was being used to measure their entry behavior (competence level at the beginning Of the course). When the post-test was given at the end of the first studio rotation, they were told it was a diagnostic test to allow them to judge how much they had achieved during the first segment of the course. However, in the radio course, TR 201, the entire class' was in either the experimental group or the control group. Thorstudents were told in advance that they would be given a special short unit on television production in order to better 88 prepare them for the next production course in the curriculum, TR 202. The only surpriSe, then, was when the control group received the post-test and had not yet received any instruc- tion. The pre-test was given to the conventional group of the television class on the first day of class, Spring Term, 1972, and the post-test administered three weeks later. The pro-test was given to the experimental and control groups (radio class) midway through the same term, and the post-test one week later. The index of difficulty for each post-test item was tabulated for both the conventional group and the experimental group. When there was a disparity in the index of difficulty of forty or more between the two groups on a given question, that question was isolated for possible discussion. If either group showed an index of difficulty of fifty or more on a question, that test item was also isolated for possible discussion. The indexes of difficulty used to determine which questions would be isolated for possible discussion were chosen arbitrarily by the researcher. Student Attitude QuestiOnnaire Following the completion of the new mediated instructional unit, the experimental group was asked to-respond to an atti- tude questionnaire (Appendix I). The questionnaire was. developed by Twelker (1970) and cited by Nord (1971, pp. Z—1.to Z-8). The questionnaire is designed to be used, "with minor 89 modifications,‘ as part of the "summative evaluation of almost any instructional system development project" (Nord, 1971, p. Z~l). The primary modifications made were to change the word "tape" to "videotape"; the word "manual" to "guidebook"; and "vocational-technical students" to 5* "beginning Television-Radio students." The 15 item question- naire was returned anonymously by the students. Faculty Attitude Questionnaire The faculty questionnaire (Appendix J), also developed :— by Twelker (1970) and cited by Nord (1971, pp. Z-l to Z-8), was used in this research for the same purpose as the student questionnaire. Six of the seven members of the Department of Television and Radio faculty previewed the videotapes before they were shown to the experimental group. The six included the three staff members who had most recently taught the basic tele— vision production course, TR 202; the person who was scheduled to teach TR 202 for the first time in the Fall Term, 1972; the person in the department who was most active in television research; and the chairman of the department. After viewing the tapes, the six faculty members were given a copy of the guidebook and a memo stating the project coordinator's perceptions Of what the project was intended”to accomplish. When sufficient time had passed for the faculty to consider the video tapes and printed material, the six previewers were asked to respond to the attitude questionnaire. 90 The questionnaire contained 22 items and was returned anonymously. Stimulus Material Video Tape Segmentp Six video tape segments were used as part of the experi- 'mental instructional unit. These segments contained the information to permit the students to achieve the predeter— mined terminal performance Objectives. Segment Segment Total Number Title Time Appendix 1. - Television Control Room 0: ‘9:20 B 2. Television Studio 0:. 5:48 C 3. Sarkes Tarzian Camera 0: 14:22 D 4. Pan and Tilt Head 0: 7:50 E 5. Crank-type ‘ Pedestal Mount 0: 7:50 F 6. Counterbalanced Pedestal Mount 0: 7:00 G Segment One, "The Television Control Room" provided an.overview of the activities in a television control room; Included were the basic crew positions and the primary responsibilities of the crew members filling those positions. Segment Two, ”The Television Studio," gave the same kind Of 91 overview of the operation‘of the studio. Segment Three, "Sarkes Tarzian Camera,"‘demonstrated how that camera is operated while showing and naming the various components Of the camera. The first part of the segment dealt with a camera equipped with four standard lenses while the latter part pertained to the same camera equipped with a zoom lens. The effects of the various lenses were also shown. The last three video tape segments, "Pan and Tilt Head“; "Crank-Type Pedestal Mount"; and "Counterbalanced Pedestal Mount," I I mug”: N -' l I illustrated how these pieces of equipment are operated. The compdnents of each were isolated and named, and the various camera movements possible with each were demonstrated. The video tapes were recorded on two-inch video tape and then dubbed down to half—inch video tape for playback. Copies of the tapes-are housed in the tape library of Instructional TeleViSion'Services, Michigan State University. The Guidebook The guidebook (Appendix H) was designed at the same time as the video tapes. The project developers felt that the two components together made up the heart Of the experi— mental instructional unit. 'Neither the video tapes nor the guidebook was intended to be used alone by students. Designed, therefore, as an integral part of the introductory (experimental) instructional unit, the guidebook contained information that would ... 92 l. Reinforce and clarify the material contained in the video tapes; and ... 2. Supplement the material provided in the video tapes. This included information that would be needed in the students' later production course work, but which was not included in the video tapes. The guidebook contained‘thirty-five pages and each section was printed in a different color for easier reference by the student. Facilities The pro-tests and post-tests were administered in the normal classrooms for all groups. A lounge was used for exposing the subjects to the mediated portion of the experi- mental instructional unit. The room was fully carpeted with large draped windows. Folding chairs with padded seats were provided for the subjects. The tapes were played back on a Sony 3650 portable video tape recorder (PVTR) and fed to two 23—inch classroom television receivers. Each receiver was placed near a corner of the room and canted slightly toward the center. The subjects' chairs were arranged facing the television receivers with ten chairs in front of receiver number one and nine in front of receiver number two. In front of receiver number one the-first row had four chairs and thenext two rows had three chairs each. The arrangement in front of receiver number two had three chairs in each row. The-students were permitted to sit in any chair they desired. 93 The PVTR and the sound source were placed next to the wall and mid-way between the two viewing receivers. The playback was controlled from this position. Procedures The subjects in the experimental group received the experimental treatment on two separate days. The first exposure was on a Friday morning, starting at 8:00. This segment lasted one hour and five minutes. The second exposure took place the following Monday night, starting at 7:00, and consumed forty—five minutes. These times were in addition to the normal requirements of the subjects' radio course. When the students arrived at the designated room they were asked to select any seat in the pre—arranged rows located in fiont of the television monitors. On "Day One" the subjects were given an informal welcome and thanked for their attendance. Afterrthe guidebooks were distributed to the subjects, they were asked to read the foreword and then glance through the rest of the book. When it appeared that each person had finished the foreword and was then leafing through the rest of the book for a minimum of two minutes, they were told that the next segment would commence. The first video tape segment (Appendix B) was played. At the conclusion of the segment the subjects' atten- tion was directed to the section of the guidebook which corre— sponded to the information provided in the video tape. 94 The subjects were asked to pay particular attention to any areas they didn't understand on the tape. The subjects were also asked to check the glossary for unfamiliar terms. Two minutes were allotted for this perusal. The next video tape Segment (Appendix C) was then played and the same procedure followed thereafter. After the third and longest segment of the six segments (Appendix D) was viewed by the subjects, five minutes was allotted to check the guidebook. At the end of the five minutes the subjects were told that the guide- book was an integral part of the unit of instruction, and they were asked to read it thoroughly at home. The students were asked to pay particular attention to the parts of the guidebook which covered material contained in the taped seg— ments they had just seen. The subjects were then told that the first session was concluded. On "Day Two" the same general procedure was followed with three remaining tape segments (Appendices E, F, G) shown and two minutes allotted after each showing for locating the apprOpriate information in the guidebook. The students were again told the importance of the guidebook to the total instructional unit and asked to read it thoroughly. They were also told they would be tested on the material during their regular radio class session on Wednesday (in two days). They were thanked for contributing their own time to partici- pate in this activity and told they could leave. 95 Testable Hypotheses In order to evaluate the effectiveness of the experi- mental instructional unit compared to the conventional instruction, two statistical hypotheses were generated and tested at the .05 alpha level using analysis of variance. Null Hypothesis 1. There will be no difference between the post-test mean scores of the experi- mental and control groups. Alternate Hypothesis 1. Subjects receiving the experimental”treatment will have a higher mean score on the post-test than subjects who did not receive the instructional unit. Null Hypothesis 2. There will be no différence between the post— —test mean scores of the experi- mental and conventional groups." Alternate Hypothesis 2. Subjects receiving the experi- mental' treatment Will have a higher mean score on the post- -test than subjects who received instruc- tion via conventional classroom/laboratory techniques. To determine if sex, previous experience, class stand- ing, or being a Television-Radio major had an effect on post— test scores of the experimental and conventional groups, a hypothesis was generated for each of those variables and each was tested at the .05 alpha level using analysis of variance. Null Hypothe§i§_;, In the experimental and conventional groups, there will be no difference between the post-test mean scores of male subjects and female subjects. Alternate Hypothesis 3. In the experimental and con- ” 'ventional groups, male subjeCts Will have a higher post-test mean score than female subjects. 96 Null Hypothesis 4. In the experimental and conven— tional groups, there will be no difference between the post-test mean scores of subjects with previous television experience and subjects with no previous television experience. Alternate Hypothesis 4. In the experimental and con- ventional groups, subjects with previous television experience will have a higher post-test mean score than subjects with no previous television experience. Null Hypothesis 5. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with class" standings of Freshman, Sophomore, Junior, Senior, and Graduate. ' .Alternate Hypothesis 5. In the experimental and conven- ‘ * tional groups, there will be a difference in post- test mean scores according to the class standing of the subjects. The post—test mean scores will increase as the class standing increases with Freshmen achieving the lowest scores and graduate students achieving the highest scores. Nullyfiypothesis 6. In the experimental and conventional groups, there will be no difference between the post-test mean score of subjects who are majors in the Department of Television and Radio and the post-test mean score of subjects who are not majors in the Department of Television and Radio. Alternate Hypothesis 6. In the experimental and conven- tional groups, subjects who are majors in the Department of Television and Radio will achieve a higher post-test mean score than subjects who are not majors in the Department of Television and Radio. Design and Analysis Each of the null hypotheses above was tested using an univariate analysis. An alpha level of .05 was selected for rejecting the null hypotheses. This analysis indicated when lflaere was a significant difference on at least one of the dependent variables being simultaneously analyzed. 97 When significance did occur, the Scheffé multiple comparison technique was used as a post hoc test to establish the loca- tion of the significant difference. The Scheffé test was selected because of its power in comparing differences in group means when the groups are unequal in size. Limitations of the Study This study is intended to evaluate the effectiveness of an experimental instructional unit. The results of this evaluation should be interpreted with several limitations in mind: 1. The results will be genbralizable only to pOpula— tions similar to these studied. This study will establish baseline data for future longitudinal comparisons. Inadequate motivation for the subjects in the experimental group to study the guidebook. The inde— pendent variable, or treatment, is actually three variables: the pre-test, the videotapes, and the guidebook. Exposing the subjects to the pre-test and the videotapes was accomplished without major difficulty. Motivating the subjects to study the guidebook at their own pace on their own time, however, was difficult and the success of such motivation, doubtful. The experimental group was drawn from a basic radio production course, and the time spent for 98 the experimental testing was outside of class and thus "on their own time." The guidebook reinforces the information provided in the tapes by providing redundancy that is missing in the tapes. Much redundancy was removed from the tapes in order to allow the material to move as quickly as possible and not bore the faster students. This information was placed in the guidebook so that students who did not grasp everything from a single viewing of the tapes could review at their own pace and as many times as necessary. Wilson (1951) obtained results that showed supplementary printed material to be very effective as an adjunct to televised lessons on teaching a skill. The motivation, however, is an important factor. Chu and Schramm (1967, p. 46) con— cluded that "students will learn more from instruc- tional television under motivated conditions than under unmotivated conditions." For the students in the experimental group, there was no immediate pay- off and this factor may have yielded little motiva- tion. The small sample size of 52. When the sample is assigned to three groups of l6, l7 and 19, the prOb- ability of a statistical test being significant is reduced. "The smaller sample size means any differ- ence between the two groups has to be larger than is 4. '99 needed for a larger sample, in order to obtain sig- nificant results" (Gustafson, 1969, p. 82). The sample size was determined by the size of the only two apprOpriate and available classes that could be used in the experiment. All of the materials contained in the instructional unit being evaluated were designed specifically to instruct in the use of equipment and procedures in use at Instructional Television Services, Michigan State University. The materials are intended to pro- vide the students with the necessary information regarding the environment in which they will function as part of their production course work. They are not necessarily intended to be generalizable to other locations. CHAPTER V ANALYSIS OF RESULTS A compilation of the findings of the study are reported in this chapter. Although the research findings, as well as observations on the use of the systems approach or the in- structional develOpment approach for the development of the project under study will be discussed here, conclusions based on the findings will be reported in Chapter V. Results The raw scores on the post-test were the dependent variable in the analysis. The raw scores were the total number of correct responses out of the 152 possible correct responses. All hypotheses were tested at the .05 alpha level using analysis of variance. The raw scores for all groups are presented in Table 5.1. Each testable hypothesis will be presented followed by two tables: one displaying the group means for each variable and the one presenting statistical analysis. Null Hypotheses l and 2 are treated together, however, since they were tested together in one statistical analysis. If the univariate 100 «v: ... ...-age I. ~ .. ...a:.. .H€.—Xr- \ «1..-3;... usury .... ...IU an . use ~«u-nv.u .- ... .33; >- Re.- ....v.... t...“- 1 : ... v. » l3: :0 u ...:eufl .u :3wa30 amigo - stans‘ h.--. ynhrb ul pt Hus 3-sVu ~ A~ : ~ .V It? 101 .coxmu no: umoyloum mouocwa k. mH * AmH mm be Ams mm x o m Aha mm 0H om ma s m Ava en om mm ma ma NH Ame as an as am as as red m em om am we we and mm 0 mm OH on as Ame pm as om . Hm mm Ass hm hm moa 5H Hm ma AOH mm me mos 0 am ma Am om om «NH ma mm Hm Am om me owe me mm mm As mm 5H mma cm mm om Aw Nos Hm mma mm mm on Am moa mm and . mm mm no woe e nma mo ov mm Am HHH mm mma « mm mm AN was mm was mm em on is ummuuumom umounoum umouuumom umouuosm umouuumom umwuuoum muooflasm ma muooflnsm ma muomwnsm ha moouo HmcoHuco>coo macho Hmycoeauomxm msouo Homecoo Aououm umoulumom an oncmmv macaw Hmcowuso>coo pom msouw HmucoeMHomxm .msouo Houucou mo mouoom ummuuumom pom amouloum 3mm .H.m manna 102 analysis reveals significance, the results of the post hoc test will then be included. A summary of the results is contained in Table 5.14 at the end of this chapter. .Null Hypothesis 1. There will be no difference between the post—test mean scores of the experimental and control groups. Null Hypothesis 2. There will be no difference between the post-test mean scores of the experimental and conventional groups. Table 5.2. Mean Scores and Sample Size of the Experimental, Control, and Conventional Groups N Mean Experimental 19 97.789 Control 17 28.941 Conventional 16 89.875 Table 5.3. Univariate Analysis of Post-Tests for the Experi- mental, Control, and Conventional Groups Sources of Degrees of. Mean Probability Variation Freedom Square F-Value less than Groups 2 24615.46 -33.90 0.0001* Error 49 726.08 Total 51 ‘ * . Denotes significant difference between groups at the 0.0001 level. 103 The univariate analysis yielded a significance at the 0.0001 level. This indicated a significant difference on at least one of the dependent variables being simultaneously analyzed. The Scheffé multiple comparison technique was used as a post hoc procedure to establish the location of the significant difference. The results of this analysis are contained in Table 5.4. Table 5.4. Results of Post Hoc Comparison of Three Group Mean Differences as Measured by the Post—Test Control Conventional group group Experimental group 68.85* 7.91 Control group -60.93* * Denotes significant difference between the post—test means at .05 alpha level using the Scheffé Multiple Comparison method. The post hoc comparison established that the significant difference was located between the mean post-test Scores of the experimental group and the control group. Since the range between these mean scores was significant beyond the' .05-alpha-level, Hypothesis 1 was rejected. No significant difference was found to exist between the mean post-test scores of the experimental group and the conventional group. Null Hypothesis 2, then, was not rejected 104 Null Hypothesis 3. In the experimental and conventional groups, there will be no difference between the post-test mean scores of male subjects and female subjects. Table 5.5. Mean Scores and Sample Size by Sex for the Experi— mental Group and the Conventional Group .44 Experimental Group,~ Conventional Group N Mean . N Mean Male 13 108 . 923 12 90 . 167 Female 6 73.667 4 89.000 Table 5.6. Univariate Analysis of Sex for the Experimental Group and the Conventional Group Sources of Degrees of Mean Probability Variation Freedom Square F—Value less than Groups 1 ' 544.06 0.706 0.407 Sex 1 3092.66 4.014 0.054 Interaction 1 2014.33 2.615 0.116 Error 31 770.38 Total 34 The univariate analysis yielded no significant difference at the .05 alpha level on all sources of variation. Therefore, Null Hypothesis 3 was not rejected. 105 Null Hypothesis 4. In the experimental and conventional groups, there will be no difference between the post—test mean scores of subjects with previous television experience and subjects with no previous television experience. Table 5.7. Mean Scores and Sample Size by Experience for the Experimental Group and Conventional Group. Experimental Group Conventional Group N .Mean N Mean Previous experience 7 ' 104.714 3 101.333 No previous experience 12 93.750 13 87.231 Table 5.8. Univariate Analysis of Experience for the Experimental Group and the Conventional Group Sources of Degrees of .Mean Probability Variation Freedom (Squares F—Value less than Groups 1 544.06 0.603 0.443 Experience 1 1000.78 1.109 0.301 Interaction l 15.48 0.017 0.897 Error 31 902.34 Total 34 The univariate analysis yielded no significant difference at the .05 alpha level on all sources of variation. Therefore, Null Hypothesis 4 was not rejected. 106 Null Hypothesis 5. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with class stand- ings of Freshman, Sephomore, Junior, Senior, and Graduate. Table 5.9. Mean Scores and Sample Size by Class Standing for the Experimental Group and the Conventional Group- _Experimental Group Conventional Group N Mean N .Mean Freshman 3 109.667 0 0.000 Sophomore 7 87.714 8 85.000 Junior 7 112.143 7 94.143 Senior 1 55.000 0 0.000 Graduate 1 75.000 1 99.000 Table 5.10. Univariate Analysis of Class Standing for the Experimental Group and the Conventional Group Sources of Degrees of Mean Probability Variation Freedom Square F-Value less than Groups 1 544.064 0.621 0.438 Class Standing 4 1090.216 1.244 0.316 Interaction 2 483.118 0.551 0.583 Error 27 876.363 Total 34 The univariate analysis yielded no significant differ- ence at the .05 alpha level on all sources of variation. Therefore, Null Hypothesis 5 was not rejected. 107 Null Hypothesis 5." In the experimental and conventional groups, there will be no difference between the post-test mean score of subjects who are majors in the Department of Television and Radio and the post-test mean score of subjects who are not majors in the Department of Television and Radio. Table 5.11. Mean Scores and Sample Size by Department of Television and Radio Majors and Nonemajors for the Experimental Group and the Conventional Group Experimental Group Conventional Group N Mean N Mean TR major 13 96.692 15 90.067 Non-major 6 100.167 1 87.000 Table 5.12. Univariate Analysis of TR Majors and Non-majors for the Experimental Group and the Conventional Group Sources of Degrees of Mean Probability Variation Freedom Square F-Value less than Groups 1 544.064 0.5830 0.4510 Majotfnon—major 1 25.718 0.0276 0.8693 Interaction 1 32.654 0.035 0.8529 Error 31 933.243 Total 34 The univariate analysis yielded no significant difference at the .05 alpha level on all sources of variation. Therefore, Null Hypothesis 6 was not rejected. Further Analysis Post-Test In addition to testing the six hypotheses, an item analysis was performed on the post—test for both the experi- mental group and the conventional group. The index of diffi— culty (i.e., percentage of subjects responding incorrectly) of each post—test item Was calculated for each group. The results of this analysis are contained in Appendix K. This appendix also specifies, by number, the terminal performance Objective to which each test item relates. Appendix L lists these terminal performance objectives. When the difference between the index of difficulty for each group on any test item exceeded the arbitrary figure of forty (41 to 100), that item was isolated for discussion. If either group exceeded the arbitrary index of difficulty of fifty (51 to 100), that question was also isolated and discussed. The arbitrary criteria used to single out certain test items appear to have isolated those questions which were most troublesome to either group; that is, questions which were. missed by over half the subjects in either or both groups and questions which were much more difficult or easy for one group than the other. Sixty questions were thus isolated and, of these items, the experimental group had a higher per- centage of the group answering correctly on forty—four, while the conventional group had a higher percentage on the 109 remaining sixteen. Many of the questions presented no clear- cut reason for their difficulty. However, in general, the questions relating to projection and the video switcher seemed to pose the biggest problems to the experimental group. Questions relating to the camera mounts and studio lighting appeared most difficult to the conventional group. Both groups showed a lack of knowledge regarding the tele- vision camera pick—up tube (image orthicon and Vidicon) and how to focus and Operate the zoom lens. Following are the post-test questions designated for discussion. Preceding the number of each test item, the following two or three symbols appear: * indicates that the percentage difference between the index of difficulty for the experimental group and that of the conventional group is greater than forty (41 to 100). # indicates that one or both of the two groups had an index of difficulty exceeding fifty (51 to 100). E indicates that the experimental group had a higher index of difficulty (that is, the experimental group had more incorrect responses to that test item). C indicates that the conventional group had a higher index of difficulty (that is, the conventional group had more incorrect responses to that test item). Post-test Questions Isolated for Discussion _A. In the following, provide the information asked for (e.g., question 1), provide the correct term(s) for the definitions (e.g., question 2), or fill in the blanks (e.g., question 3). A single blank or space (i.e., ) does not necessarily mean only one word or term is required. 110 C # 1. State the name of the device used to control the studio lights. . The experimental group was shown pictures of the light— ing control board and a super of the name over the picture. The conventional group received very little instruction in lighting and no practice. C # 3. To direct the pedestal to the right, the is turned to the . Close-ups and supers were used in the experimental unit to illustrate this function. E # 4. Raising the pedestal is called , and lowering it is called . This information was presented in the video tapes and in the guidebook. Perhaps additional study of the guidebook and/or specific hands-on experience with the component is necessary in order to internalize this information. C # 6. In the control room, the monitor shows the picture that is actually being sent to the transmitter or the videotape recorder. In the experimental unit, supers were used over pictures of the line monitor. E # 9. Motion picture film and slides are shown through projectors that are part of the unit called This information was presented in the videotapes and guidebook. Perhaps additional study of the guidebook is 111 necessary for the experimental group. C # 12. To pre—set the focus of a zoom lens on a black and white studio floor camera like those used at MSU's ITV, one first zooms and adjusts the focus, then zooms ahd adjusts the focus. Both groups did poorly but the conventional group had an index of difficulty of 94. This was fully demonstrated in the experimental unit and included in the guidebook. Hands-on experience may be necessary.’ C # 13. When not in use, the counterbalanced pedestal is locked down by the . The experimental unit used a demonstration, close-ups, and supers to convey this information. The conventional group received it from their text book. C # 15. The cameraman may feel free to adjust how many knobs on the pan and tilt head? The reason why only two knobs may be adjusted were given in the experimental unit. Close-ups and supers with the name and function of each knob were used. C #*16. By rotating the locking grip, it is possible to adjust the of the panning handle. Again, demonstration, close-ups, and supers were used .in the experimental unit. 112 C # 17. When a lens is improperly racked, you will have a(n) picture in your viewfinder. The incomplete picture resulting from an imprOperly racked camera was demonstrated in the experimental unit using a subjective camera view. E # 20. Maintaining the counterbalanced pedestal at any desired height is accomplished by using the . Both groups scored poorly on this item. The demonstra- tion may not have been clear enough in the experimental unit. C # 21. The cameraman controls the aim of the camera with the . Controlling the aim of the camera with the panning handle was demonstrated in the experimental unit using an objective camera view. E # 24. An instantaneous change from one TV picture to another is a(n) . Many subjects in both groups answered with the film term of "cut" rather than the television term of "take." Addi- tional reinforcement may be needed in the experimental unit. 11 E # 31. A multiplexer is a component of the unit called , This information was presented in the videotapes and in the guidebook. Additional study of the guidebook may be necessary for the experimental group. 113 C # 33. Before actual production in the studio can begin, the studiOInust be prepared, or in TV parlance, it must be . Set up was dramatized in the experimental unit. A super was used over the scene naming the activity. C # 35. What is different about the zoom lens mounting on a Sarkes Tarzian camera than on most cameras? Both groups did very poorly on this item. The fact that the camera has both a zoom lens and standard lenses may need additional reinforcement in the guidebook. C #*36. State the name and location of the apparatus on which the majority of the TV studio lights are mounted. (a) (name) A shot of the light grid, or tracks, with a super of its name was used in the experimental unit. a) C # 38. Identify the two basic lens configurations b) C # used in television. (a) (b) This is a poor question and related to a poor objective. This question and objective should be eliminated from future tests. Both groups did very badly on this item. C #*39. The type of camera mount that allows easy vertical movement, beyond just tilting, is the The pedestal mount was demonstrated and labeled with supers in the experimental unit. 114 C #*40. By engaging the position of the pedestal base may be changed in order to line it up in any desired direction. In the experimental unit, quite a thorough demonstra- tion was shown of this activity. The underside of the pedestal was also shown and the effects to the wheels by engaging Steer 1 and Steer 3 were demonstrated. All of the questions involving Steer 1 and Steer 3 were difficult for the conventional group. E #*42. One picture fades out as another picture fades in: . The experimental unit has what was thought to be a good demonstration of camera changes. However, additional rein- forcement in the guidebOok may be necessary. E #*46. The inform(s) everyone in the studio which camera is on the air. This question was confusing to many subjects, but more so to the experimental group. A number of subjects were looking for a person, e.g., floor director, camera man, instead of the tally lights. The questiontshould be changed“ to read "The on the camera informs everyone in the studio that camera.is on the air." C#*47. Synchronized steering of all three wheels on the pedestal mount is called . Another "Steer-3" question and difficult for the con- ventional group. 115 C,E # 50. The following calls for the direction the .zoom control ismanipulated. To zoom in the zoom control. To zoom out the zoom control. subjective and Objective camera views on a split screen were used to demonstrate the zoom in the experimental unit. The information is also contained in the guidebook. Hands-on experience may be necessary to internalize this information. B. Define the following terms: E #* E #* #1: #* #11: #2 #7: St =& :fi: Sh # # n r) (a a (3 ts m r) 0 r) n 2. Aspect ratio: 4. .Burn—in: 5. Close-up: 6. Cover shot: 7. Cut: 8. Dimmer: 9. Essential area: 10. Feed: 11. Follow focus: 13. Image-orthicon: 15. Pick—up tube: 21. Taking position: 22. Vidicon: These terms were fOund in the guidebook of the experi- mental group and in the text of the conventional group. The biggest problem areas for both groups were questions 13, 15, and 22. The pick-up tube concept did not seen to be learned 116 by either group. More reading on the part of both groups may be necessary. C. Answer the following by writing the enswer'in the space(s) provided. State the seven basic members or crew positions of a TV production crew and a primary responsi- bility of each. (Do not include assistants.) Crew Position A Primgry Responsibility C #* 4. a. (Projectionist) C #* b. C #* 7. a. (Lighting Director) C #* ‘b. Again, lighting receives little attention in the conventional group. .However, few people in either group missed the other five crew members. It is suggested that this question be revised in order to make clearer what is being asked for. Responses to parts "b." were very weak, even though correct in many cases from both groups (e.g-, something more than "run the camera" is desired fer the responsibility of the cameraman). The revised question should provide the crew position and ask for its responsibility, specifying the need for more depth in the answers. E. Identify these hand signals as used in television: (Questions are in the form of illustrations) C #* -2. (speed up) C #* ‘5. (Wrap up or 15 secondg) C #* 7. (30 secongg) The thirty-second hand signal used in the instructional unit and illustrated in the test was not demonstrated to the 117 conventional group. The three hand signals above probably have the greatest numbers of variations of those used in the television industry. F. In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. (Question refers to an illustration of a counter- balanced pedestal mount.) C #* 1. (Steering wheel or ring) C # 2. (Pedestal locking or tension ring) All parts of the counterbalanced pedestal mount were demon- strated in the experimental unit and supers were used to label these parts. G. In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. The camera and mount are the types used only at ITV. (Question refers to an illustration of a crank-type pedestal mount and a Sarkes-Tarzian Vidicon camera.) C #* 4. Trigger to engage Steer-l Another of the Steer-l, Steer-3 questions that continued to give the conventional group trouble. H. In the corresponding numbered spaces on the two drawings below, write the name of the numbered items indicated by the arrows. (Questions refers to two illustrations. Numbers 1-4 refer to a picture of a pan and tilt head. Number 5 refers to a picture of a counterbalanced pedestal mount base showing the buttons to engage Steer—l and Steer 3.) 9C #* ~l. (Entire pan and tilt head) C * 5. (Buttonsused to engage Steer-l and Steer—3) _118 Demonstration and supers were used in the experimental unit. 1. .111. The information was also contained in the guidebook. I. Identify the following: (Question refers to an illustration of a TV camera indicating the viewfinder hood and the lens on the outside; the viewfinder and pick-up tube on the inside.) C # l. (Viewfinder hood) C # 2. (Viewfinder) c # 3. (Pick-up tube) Neither group did particularly well on these questions. The illustration may have been confusing, although there were similar ones in both the textbbok of the conventional group and the guidebook of the experimental group. J. In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. (Question refers to an illustration of an RCA Model TK-60 image orthicon television camera.) c # 1. (Tally lights) E# 3. (Electronic capping switch) Again, this camera was illustrated in both the textbook and the guidebook. Both groups had problems on these two questions. M. What camera movements and their direction would be called for to center the head in the TV screen? (Question refers to an illustration showing a head framed too low in the screen.) C # 2. (Pedestal down) 119 This was demonstrated in the experimental unit by both objec- tive camera, to show how the move was accomplished, and with a subjective camera, to show the results. N. Which camera movements and their direction would be called for to center the head in the TV screen? (Question refers to an illustration showing a head framed too far to the left of the screen.) C # 2. (Truck left) The same techniques were used here as noted in the question above. 0. Using the spaces below the drawing, name the camera movements indicated by the numbered arrows. (Question refers to an illustration showing ten basic camera moves.) E # l. (Pedestal up) E # 2. (Pedestal down) This time the pedestal up/down gave the experimental group more trouble. P. In the following questions, you are to draw in the apprOpriate positions for the fader handles (see example at right), and put an X (X) on button(s) to be depressed. (There is a simple line drawing of a two bank switcher under each question. The subjects' responses for each question were made on the drawings.) [1. Put camera 1 on the air] E # 2. Starting with your answer above, take 2. The switcher was covered only in the guidebook in the experi- mental unit. Additional study of the guidebook may be 120 necessary, or actual hands-on experience may be required to fully understand this information. Student and Faculty_Attitudes Toward the Instructional Unit ,Attitudes of both the faculty and students toward the instructional unit were investigated as part of this study. Attitude questionnaires were administered to the experimental group (Appendix I) and to the Department of Television and Radio faculty (Appendix J) after each group had been exposed to the experimental instructional unit being evaluated in this study. Tabulation of the results of these questionnaires is present in Table 5.13. Both questionnaires are slightly modified versions of those presented by Twelker (1970), as an evaluation plan and cited by Nord (1971, pp. z-l to z—8). The plan is based on the concept of rating the instructional unit from the point of view of both the instructors and the students based upon certain criteria. Each item in the questionnaire relates to one of the three criterion factors. A. Design-—Does the resultant instructional unit match well the objectives or instruction as judged by instructors and learners? To answer this question, attention should be paid to the data for questions 1 and 5 through 17 on both questionnaires. (Note: Question 13 is different in the student and instructor questionnaires.) .pcomnou poo Geo HOQEOE muasomm moo x «uncommon manmuwmop once me A moumoech avaouwmccofluuoso so popaaoow no: oowumoso m nouwmooowumoso Houosuuncfl co manmuwmop unoe m.m novmueocH %.nouamcoowumoso unopoum co manmuflmop umoe m.m noumowpoHs 121 xoo.Nx & o>euoomwo soon was: amc0wuoouunca mH .mm» oo.m% & o>fluoommm umEHom mH .Hm» oo.m H¢.¢ vmmumucn use: new uunuuum 0» mundane .m sua>auoomm¢ .o om.m & Godumenomcw any hflmmm so was Op mane on pompsum Hafiz .om mm.m & unocsun mo ooooeuomxo ucooo Imogen ha poeuwucoo on cowumehomcfl Haw: .mH xoo.m & mumplounms acousou .ma xo¢.m & noeomusoumce has no ouomuuomEH .bH xom.m n oumuouom ooflumEHomcH .OH hm.m H¢.¢ madcapsm ummumu How mmocoumwumoumm¢,.¢ oo.¢ mh.m omUOHBOGx m50fl>oum ou ooHumaom .m huwawnepouo .m mm.¢ haem mec05\3 Hmoome mo coaumumouaH .ma mm.m h¢.m xomuu venom .ea om.¢ & nooomm mo Houses I .uanos .ooao> .mcapuoomn ommu oopa> .ma u os.¢ . . noumummz..ma wo.m oo.m Ho>oa Monsooa\3 nouns .wuaooamwap Hmnuo> .NH mm.m mm.m ooeumucomoum mo ooauoz_.aa om.m% mw.m oowufiuomom .OH% H¢.m% mm.m« Homemoaopwp mo oumm .m¥% mh.~% ¢~.m* . ucouoou mo unease .mau ha.m NH.m ponemmnmeo mMOOe usmuuomaH .5 hm.m h¢.m oeumeowmwm ooeumuconoum uoouooo .0 so.m H¢.m mo>auomflno suns pamucoo mo conumamm .m mm.¢ ¢N.m . muwumao o>fiu00nno .H daemon .d ououm some .muouosuuncH UHOUQ GNU:— .mucmoaum Henson pom swam Houomm.soeuouwuo mouwmooodunoso HouoouumcH one poopsum How monoum one: .ma.m manna 122 B. Credibility—~Is the content of the instructional unit credible and relevant? Questions 3 and 4 on both questionnaires plus 16 through 20 on the instructor questionnaire. C. Affectivity--Does the instructional unit create a positive affect toward its use by instructors and students? Question 2 on both questionnaires, plus 21 and 22 on the instructor questionnaire. For purposes of judging the adequacy of the instructional unit, Nord (1971, p. z—7) suggests the following guidelines be used: .Median (or Mean) Score Judgment l - 2.99 Clearly-inadequate: major revisions indicated 3 — 3.99 "Warning flag”; if score consistent across terms, revise system 4 - 4.99 Marginal adequacy: if score consistent across terms, pay particular attention to pos- sible revision of system 5 - 6 Clearly adequate; no revisions indicated These guidelines hdfld for the interpretation of all data except items 8 and 9 on the student questionnaire and items 8, 9, and 10 on the instructor questionnaire. On these five items 3.5 is most desirable. Also for items 21 and 22 on the instructor questionnaire, 1 is most desirable. The results of the student and instructor questionnaires indicate a positive attitude toward the experimental instruc- tional unit. 123 The mean scores of the questions related to design, including objectives, content, and rate and method of presentation, generally indicate that, in the judgment of the students and instructors, the design was clearly adequate and no revisions were indicated. The faculty, however, rated the clarity of the objectives (Item 1) as being slightly marginal. Although students and instructors were in close agreement that the material was presented at the best rate (Items 8 and 9), there appears to be some question on the amount of material presented. ~Both the students and the instructors rated the narrator on the videotape recording (Items 13) as being slightly less than clearly effective. The disparity of ratings between students and instructors as to the quality of the sound track may be the result of a substandard audio track playback heard by the faculty when they previewed the videotape. (The audio problem was recti- fied for the students' viewing.) The responses relating to credibility (Items 3 and 4) reflect the variety of student entry skills. For the most part, the tested students were beginning radio students who had little or no previous experience in the television medium. The mediated unit assumes no such prior student experience so it is possible that this question may have been confusing to both faculty and students. Under the category of affectivity,'the students rated the ability of the instructional unit to attract and hold 124 attention as slightly less than clearly adequate. The faculty, on the other hand, believed that the instructional unit probably wgglg attract and hold the student interest. In Item 21, however, the television faculty was less than posi— tive that the format of the instruction unit (i.e., via tele- vision and print media) was more effective than some other format (e.g-, lectures, demonstrations or text books). Nevertheless, the overall ratings by students and faculty indicate that the instructional unit is clearly adequate, and indicate further that few revisions are required. Observations and Digcussion Regarding the Use of Instructional Development Instructional development take§.time. .Bachrach's law states: “Things take longer than they do." This "law" was not conceived to describe instructional development (ID), but, as Gustafson remarks (1971, p. 13): "... ID is certainly under its jurisprudence." This description Was certainly true of the project being evaluated in this study. It was estimated that three quarter-terms would be needed to design, produce, and validate all of the project's components. The entire project actually took six terms--or approximately 15 months. One potential weakness of ID models (including the ‘model used to develOp this project), is that there is no indication of what percentage of the total project time should ‘be allotted toany one step or function. .The assumption was made by the project develOpers that 125 each of the steps would consume somewhat equal blocks of time. However, the first four steps --"Identify the Problem," "Analyze the Setting," "Organize the Management," and "Identify the Objectives"——actually required two-thirds of the total project time. Another misleading aspect of the model is that its processes appear to occur in a linear fashion. In the case of this instruCtional develOpment project, a linear approach was impossible. An example, Function Two--”Analyze the Setting,"--was initiated in the early stages and was con— tinued throughout the project. The analysis of the setting (or what the setting would be at the completion of the project), changed several times during the development. As the anticipated setting was changed, objectives relating to the facilities of the setting were changed as well. As a result, methods to achieve the objectives also had to be altered. A definite entry and exit point, as indicated on models, also seems inapprOpriate. It appears that ID could be ini- tiated at any point, and it does not necessarily stOp at the decision to implement. This study is intended to provide evaluation data upon which an implement or a do-not—implement .decision can.be made. .If the decision by the Department of Television and Radio is to implement the experimental instruc- tional unit, the instructional develOpment process should not stop at that point. Continued evaluation should be performed, 126 and, as required, information contained within the instruc- tional unit should be revised, eliminated, or supplemented. Another possible weakness of mddels is that they tend to concentrate on functional factors to the exclusion of human factors. Human factors are in fact the most important elements in the instructional development process. The most glaring mistake made during the project was in not more directly involving the faculty of the Department of Television and Radio in the develOpment of the instructional unit. The project developers felt that it would be more expeditious to make content decisions without involving the entire faculty. This omission may have resulted in a less desirable product and resistance on the part of the faculty to use the final product. Another instance of faulty judgment was related to time considerations: the develOpers waited too long to produce the prototype. More time than was prObably necessary was spent trying to perfect the prototype on paper. The script contents (plus the sequencing of those contents) were revised too often in the writing stage. Content problems would have Abecome‘more quickly evident had the script been committed sooner to video tape and tried out with students. Although ID can require a great deal of time, unnecessary additional time was spent on this particular project due to the inex- perience of the developers. .Despite these shortcomings, however, instructional de- velOpment is indeed an important and viable tool for improv: I: apnroac Althou; theprg produc: LTprOW, 127 improving instruction. In the final analysis, gay time used to employ a systems approach for improving instruction is a worthwhile investment. Although "flying by the seat of your pants" may complete a job more quickly, and, in some cases, do it quite effectively, the production of consistently high quality instructional products is not necessarily assured. By using a systems approach for the development of improved instruction, educators have an Opportunity to develOp more effective instruction, and they can analyze and evaluate shortcomings when their product fails. Thus, if the product does not completely achieve its desired goal, it does not necessarilyhave to be completely eliminated. Because of the systematic development of the product, certain questions can be asked: "Are the objectives sound and worthwhile?" "Were the most effective methods employed to arrive at those objectives?" These questions could lead the developers of a project to isolate weaknesses and propose alternate methods. Without a systematic "road map" that insists on determining objectives and specifying methods for learners to use to achieve those Objectives, and, finally, evaluation of both the process and the students' achievement, attempts to improve instruction will remain.haphazard and subject to luck. 128 Summary Six hypotheses were tested using analysis of variance. The .05 alpha level of confidence was used to test the hypotheses for significance. A summary of these results can be found in Table 5.14. An item analysis was used to investigate the post-test instrument. This was done to determine which test items were more difficult for each group--experimental and conven- tional. The questions relating to objectives involving control room projection and the video switcher were most difficult for the experimental group. The conventional group had lower scores on questions relating to Objectives on studio lighting and camera mounts. However, both groups indicated a lack of knowledge regarding the television camera pick-up tube and how to focus and operate a zoom lens. To determine the attitudes of the students and the Department of Television and Radio faculty who had been exposed to the experimental instructional unit, question- naires were administered to both groups. The results of both questionnaires indicated a positive attitude toward the instructional unit by both groups. 129 Table 5.14. Summary of Results of Tests of Hypotheses Rejected Not rejected Null Hypothesis N 1. There will be no difference between the post—test mean scores of the experi— mental and control groups. R 2. There will be no difference between the post-test mean scores of the experi- mental and conventional groups. N 3. In the experimental and conventional groups, there will be no difference between the post-test mean scores of male subjects and female subjects. N 4. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with previous television experience and subjects with no previous television experience. N 5. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with a class standing of Freshman, Sophomore, Junior, Senior, and Graduate. N 6. In the experimental and conventional groups, there will be no difference between the'pOst-test mean score of subjects who are majors in the Department of Television and Radio and the post-test mean score of subjects who are not majors in the Department of Television and Radio. N CHAPTER VI SUMMARY AND CONCLUSIONS Summary The purpose of the research reported in this study was to evaluate a mediated presentation to be used as a means of introducing students to television production at Michigan State University. The mediated introduction systematically presented the basic television productiOn information needed by the student in order to function in the studios of Instructional Television Service (ITV), Michigan State Uni- versity. An instructional development (ID) model was used as a guide to produce systematically all materials for the mediated instructional unit. This ID model contained nine steps or functions grouped in three stages (National Special Media Institutes, 1971, pp. 1-2). STAGE 1: DEFINE Function 1: IDENTIFY PROBLEM InvolVes activities such as assessing needs, establishing priorities and clearly stating a particular problem as agreed upon by all concerned.m 130 131 .Hoooa OH monoloowc Hsaz .a.o whomem pod o opeooo o 3mw>om o muosomm\szmxoqmen m cowuocom nooowcauufi cowumsam>m I noonuoz o no>w900nno o mBADmmm HNNR¢Z¢ m coauoosm mama coflumoam>m uooaaou o museums uooocou o mmmNBOBOMm BmfiB b sowuocom maneuoumz cowumoam>m o mamwnoumz HmcoauoouumcH O mmmMBOBQmm BUDMBmZOU o coeuooom meow: o acuunsnumcH o oceouooq o mQOmBm2.MhH0mmm m cowuocom mceanmam O .Hmceeume o MW>HBUWme WhHBZMQH c cowuocom moceaoeaa o mofluwaenemcommom o mxmme o Bzmzfio¢z¢2_MNHzoaom o ncoauwoooo o oosoeood o. OZHBBmm NNMQ¢Z¢ m oowuooom Quantum oumum o mmaunuoaum smaanmumm o woooz mmomud o Ewamomm MhHBZmQH H.cowuoosm mB€DA<>W moam>m0 mZHmmD Function 2: Function 3: 132 ANALYZE SETTING Collecting and locating relevant informa- tion on the instructional setting as it relates to the problem statement in Func- tion 1 on the audience, conditions and relevant resources. ORGANIZE MANAGEMENT All activities necessary for the solution of the Instructional Development problem are organized such as tasks, responsibili- ties and timelines. STAGE II: DEVELOP Function 4: Function 5: Function 6: IDENTIFY OBJECTIVES Identifying specific terminal and enabling objectives which the learner is expected to perform. SPECIFY’METHODS Determine which instructional strategies, materials and resources from those available will maximize learning of a specific objective for a particular content, learner and type of learning. CONSTRUCT PROTOTYPES Designing and producing or assembling all materials for an instructional package(s) and cOmpleting designs for their tryout and evaluation. ‘ STAGE III: EVALUATE Function 7: Function 8: Function 9: TEST PROTOTYPES Tryout of instructional prototypes with a representative sample of the student audience. Collecting and recording evaluation data. ANALYZE RESULTS Analyzing and interpreting data from the tryout and all previous Instructional Development functions such as the objec- tives, methods and evaluation techniques. IMPLEMENT/RECYCLE Review of the Instructional Development ProceSs resulting in a decision to implement on a full scale as designed or to return to previous functions for revision or modifi- cation purposes. _ .... if... 133 The experimental treatment was evaluated using students enrolled during Spring Term, 1972, in two of the Television and Radio Department's courses. These two courses were the basic radio production course (TR 201) and the basic tele- vision production course (TR 202). TR 201 is a prerequisite for TR 202. The evaluation of this experimental treatment had three main parts. For part one of the evaluation, the forty—eight students in TR 201 were randomly assigned into two groups: control and experimental. The experimental group received the entire treatment of pre— and post—tests, videotaped segments and the guidebook. The control group received the pre-test and the post-test at the same times as the experimental group, but they did not receive the rest of the treatment. Approximately one-third of the fifty—four students en- rolled in the television production course, TR 202, were randomly assigned to the laboratory group which utilized the same equipment demonstrated in the experimental treatment. (Each laboratory group was assigned to a different studio using different equipment for a period of time and then ro- tated to another studio. This rotation continued until all students had spent time in all three studios used in the course.) This group received instruction in the conventional method including lecture, hands-on experience and assignments in required textbooks, was pre-tested on the first day of class, Spring Term, 1972, and post-tested at the end of their 134 first studio rotation (3 weeks). The instruments used for the pre- and post-tests were the same as those used with the experimental and control groups. Six null hypotheses were generated and tested. Null Hypothesis 1. There will be no difference between the post-test mean scores of the experimental and control groups. (Rejected) Null Hypothesis 2. There will be no difference between the post-test mean scores of the experimental and conventional groups. (Not rejected) Null Hypothesis 3. In the experimental and conventional groups, there will be no difference between the- post-test mean scores of male subjects and female subjects. (Not rejected) Null Hypothesis 4. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with previous television experience and subjects with no previous television experience. (Not rejected) Null Hypothesis 5. In the experimental and conventional groups, there will be no difference between the post-test mean scores of subjects with a class standing of Freshmen, SOphomore, Junior, Senior, and Graduate. (Not rejected) Null Hypothesis 6. In the experimental and conventional groups, there will be no difference between the post—test mean score of subjects who are majors in the Department of Television and Radio and the post— test mean score of subjects who are not majors in the Department of Television and Radio. (Not rejected) All‘hypotheses were tested for significance at the .05 alpha.level using analysis of variance. The second part of the evaluation utilized the post-tests of the experimental group and the conventional group. An item analysis was performed on the tests for each group. The index of difficulty for each test item was then compared tion: and : groug was 6 tOWa Weak; 135 by group. When that comparison showed a difference between groups of over forty (41-100) that item was isolated and Any test item with an index of difficulty greater discussed. than fifty (51-100) for either group was also isolated and discussed. These criteria were arbitrarily determined by the researcher. an attitude ques- For the third part of the evaluation, tionnaire was administered to both the experimental group and to the Television and Radio Department faculty after both groups had been exposed to the new instructional unit. This was done to determine not only the attitudes of both groups toward the mediated introduction, but also to further identify weaknesses and strengths of the experimental treatment. Conclusions 1. Students in the experimental group learned from the instructional unit. 2. Students in the experimental group scored as high on the post-test after two hours of mediated instruction plus home study as did the students in the conventional group after more than two weeks (14 hours) of lectures and hands- on laboratory experience, plus home study of assigned read- ings in the required text, thus affecting an important efficiency in instructional time. 3. A student's sex, previoushtelevision experience, class standing, or status as a television-radio major did not 136 affect the.student's performance on the post-test. This was true regardless of the style of instruction (mediated or conventional) that the student received. Students receiving instruction via the mediated instruc- tional unit had a higher degree of difficulty on questions concerned with the control room, the projection equipment, and the video switcher. The students who received instruction in the conventional manner experienced greater difficulty on the post—test with questions relating to camera mounts and studio lighting. Students in both groups had great difficulty with questions on the post-test relating to the television camera pick—up tube and the Operation of a zoom lens. Hands-on experience or addi- tional video taped material and increased study of the guidebook may be necessary to improve the scores of groups receiving the mediated instruction. However, close—ups, superimposition of terms, and subjective camera views used in the video tapes all had a positive effect in bringing about information gain in the experimental group. The guidebook provided the necessary reinforcement to the material provided in the video tapes. The students and the Department of Television and Radio faculty both expressed positive attitudes toward the mediated instructional unit after their exposure to it. Instructional develOpment (ID) is a time-consuming pro- cess, but one which increases the chances of producing a * "7 137 successful product. ID provides a systematic method for developing instruction. Because of this systematic approach, and the use of a model as a guide through the process, each of the functions in the process can be subjected to evaluation, as can the instructional develop- ment gestalt and the product it produces. Discussion of Results The difference between the mean scores of the experi- .ental group and the conventional group were not different to significant degree. However, learning might increase for roups receiving the mediated instruction in a real situation. his suggestion is made for two reasons. First, the guide- ook is an integral part of the unit and the learning is apendent on the student's grasp of the information in it. re subjects who participated in the experimental group were :ing so on their own time at the request of their instructor. Le directions given them concerning the guidebook were to ke the guidebook home and study it thoroughly. This re— ired the students to spend more of their own time, and ere was perhaps little motivation to encourage them to do . Their scores on the post-test of the experimental unit 1 In) effect on their regular class grades. If the instructional unit is implemented as part of the sic:'television production course, the motivation provided a grade for their post-test score, plus the fact that they 138 m immediately put their new knowledge to use, possibly will :ovide the needed motivation. The second fact that leads to this suggestion is that though the difference between the means of each group 5 very small (7.9 greater for the experimental group), 42.10% the subjects in the experimental group achieved scores gher than the top score of the conventional group. Only e person in the experimental group scored lower than the vest score in the conventional group. The slower learners, an, could be exposed to the mediated program again in order increase their learning. May and Lumsdaine (1958) re— 'ted that a second showing of television material increased a original gain by almost one-half. The learning gain, rever, then slows down with additional exposure. Driscoll d.], Hirsch (1953), and Ketchum and Heath (1963) all showed ilar findings. A second exposure for students can be omplished quite easily with the mediated program. This :1 of second chance is extremely difficult to provide with Jentional instruction. Even with no significant difference in learning reported ween the experimental group and the conventional group, experimental treatment is a much more efficient way to 'ide students with an orientation to television. In two 3 students in the experimental group were able to achieve the conventional group took fourteen hours to achieve. hermore, all of the objectives for the experimental in- ctional unit should be acquired before any hands-on . “we-“ w.~, 139 experience in order to make that hands-on experience most beneficial. That is, students should-know the terminology, names of equipment, and how that equipment operates before they start using the equipment. On the job training to achieve these objectives makes the limited time available for hands-on experience less productive than need be. Since laboratory exercises are a team effort persons not achiev- ing the objectvies hinder the entire team. If some persons cannot respond to the director's commands or cannot make the correct adjustments to the studio equipment, the produc- :ion exercises suffer and thus the benefit of the exercises liminishes for all students. If students can learn in two hours what with conven- ional methods takes fourteen hours, the time saved is insiderable. This savings means the students, the course 1structor and the three laboratory instructors all have an tra twelve hours during the term which may be used in other ys. For a class of fifty and a staff of four the total vings amounts to 648 hours. Recommendations Based upon the conclusions of this study, it is recom— ded that the Department of Television and Radio implement experimental instructional unit as the introductory se of the basic television production course, TR 202. r, when the Department is able to establish an experi- al classroom/studio, the experimental unit should be 14o withdrawn from TR 202, revised, and established as a separate mini-course. The videotapes now contain the following demonstrations: Floor Director's hand signals, camera unit operation and basic movement, operation and results of focus for standard lenses and a zoom lens. The revisions men- tioned should include additional videotapes demonstrating the use of the video switcher and the control room projection equipment. Whenever possible, hands-on testing should re- place those items on the present post-test which are more appropriate to demonstrate than describe (e.g., camera move- ments). Videotapes should also be produced, then, which demonstrate these hands-on objectives. Corresponding infor- mation should be contained in the guidebook with a statement of the following recommended hands-on objectives. (All objectives listed below assume that a "given" will be what- ever piece of television equipment, e.g., a television camera, is needed to accomplish the Objective.) Objectivesgfor the Camera Unit 1. The student will demonstrate his ability to obtain a picture of a test graphic in focus and framed so the points of four arrows pointing outward on the test graphic just touch the four sides of the camera monitor or view- finder. The Student will obtain this picture on each of the four lenses on the camera starting with the longest lens and progressing by racking lenses with the next longest followed by the third longest and ending with the Shortest. This will require a dolly-in and re-framing after each new lens is racked into the taking position. The student will be given one minute to accomplish the task and it must be done with.lOO% accuracy according to the denonstration on the video tape and information pro- vided in the guidéboOk. 141 . The student will demonstrate his ability to adjust the zoom lens in order to zoom all the way in and out of a fixed target keeping the target in focus throughout the zoom. The student will then accomplish this zoom in and out. He will accomplish these objectives within thirty seconds. The student will demonstrate his ability to dolly with a 2-inch lens by: first, framing up the provided 3x4 ratio graphic, keeping the X located at the center of the graphic within a circle in the center of the camera viewfinder and with the framing symbols (C .3) nearest the center of the graphic at the edges of the four corners of the viewfinder. Second, the student will dolly back until the outside framing symbols, placed near the outer edges of the graphic, touch the four corners of the viewfinder keeping the camera focused well enough during the entire dolly so that any lettering on the graphic is always legible to the proctor via the camera monitor, and the X in the center of the graphic is always within the circle on the camera viewfinder. The third part of the objective is the reverse of the second. The same focus and framing criteria hold true- The stu- dent will accomplish these objectives within two minutes with no errors. Given a graphic twenty feet long by three feet high with an eighteen foot narrow line centered on the graphic, the Student will demonstrate his ability to truck the camera on a two-inch lens. The student will position his camera at either end of the graphic and focus the camera on the line with the end of the line within the circle on the center of the camera viewfinder. The student will then truck to the opposite end of the graphic without letting the line on the graphic move above or below the top or bottom of the circle on the viewfinder. The student will stop at the far end of the graphic when the end of the line is within the circle on his viewfinder. He will then truck to the opposite direction using the same criteria. The student will accomplish this objective within one minute. The student will demonstrate to the proctor that he can: a. Identify the tally lights. b. Adjust the panning handle. c. Adjust the contrast and brightness on viewfinder. d. Adjust position of pedestal base. e. Adjust cradle head for smooth pan and tilt f. Accomplish pan left and pan right. g. Accomplish tilt up and tilt down. h. Ready counterbalanced pedestal mount for Operation. (Unlock locking pin and adjust the tension ring.) 142 i. Accomplish pedestal up and pedestal down with a counterbalanced pedestal mount. j. Uhcap and cap the camera electronically and.manually. The proctor shall read each of the above numbered items aloud and the student must correctly accomplish the task according to the demonstrations in the video tapes and information provided in the guidebook. No time limit is prescribed for these objectives, but the student must start each task immediately after the proctor states it and completes it with no undue delay. ‘Objectives for Switcher The student will demonstrate his understanding of, and ability to use, the switcher by correctly responding on the switcher to oral cues given by the proctor. Prepa- ratory commands will be given followed by the command or cue itself. The proctor will give these cues from a prepared script and will include: a. Fade in from black to camera. b. Takes from camera to camera. c. Takes from camera to film chain and back to camera. d. Dissolves from camera to camera. e. Dissolves from camera to film chain and back to camera. f. Super of film chain over a camera and then back to camera. g. Fade to black. The student's response to all of the verbal cues must be immediate and correct according to the demonstrations on the video tape and information provided in the guidebook. )bjectives for the Film Chain .. Starting with the film chain set for "slide projection," the student will thread the film chain film projector and project, via the film chain monitor, a 30—second ‘motion picture film. There canvbe no loss of a loop (causing film flutter on the monitor), the sound must be in sync with the picture, the picture cannot show frame lines, and the film must not be projected upside down nor 'baCkWard. This must all be accomplished in 2 minutes. Starting with the film chain set for "film projection," the student must load the film chain slide projector and project via the film chain monitor, a series of ten slides. The slides must be projected in the predetenmined 143 order marked on the slides (e.g., A - J) and not be pro— jected upside down nor backward. This must be accomplished in. 1 minute 30 seconds. . Objectives for Floor Director The student will be able to identify and demonstrate the 12 basic hand signals employed by floor directors and state where (location in the studio) they should be given, as demonstrated in the video tapes and guidebook. Implications for Future Research The present study establishes baseline data in the form >f mean pre- and post-test scores, and their comparison, for :wo methods of instruction. If the mediated method of instruc- ;ion is implemented in the Department of Television and Radio urriculum (and expanded to include hands-on experience and ands-on testing), longitudinal studies should be conducted 0 determine effectiveness with many groups over a longer eriod of time. It is also important that other instructional units, >th in this field and others, be systematically developed Ld evaluated. These efforts will provide additional base- ne data for future comparisons. Instructional DevelOpment projects should be documented ing the case study research method. Case studies of this ad should enable future project develOpers to reduce the me needed for a systematically developed project. Although :h project will have its own unique characteristics, there ' 144 i ll undoubtedly be many common difficulties. It is these 1 fficulties which potential readers of documented case udies should then be able to avoid. f BIBLIOGRAPHY Abedor, A. J. “DevelOpment and validation of a model explicating the formative evaluation process for multi- media self-instructional learning systems." Unpub- lished doctoral dissertation, Michigan State University, 1971. Allen, M. R. Televisiony education, and the Armed Forces. Fort Lee, Va.: The Quartermaster Training Command, December 1, 1958. Allport, F. H. Theories of perceptiontjand the concept of structured. New York: John Wiley and SOns, Inc., 1955. Auer, J. J. An introduction to research. New York: Harper and Row, 1959. 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M., Jr. "Relative effectiveness of VErbal Introduction to Kinescope Recordings and Training Films." Technical Report SDC 20-TV-2 Instructional TV Research Reports. Port Washington, N.Y.: U. S. Naval Special Devices Center, 1955. Iackson, R. "Learning From Kinescope and Films." Teghnical Report SDC 20-TV-1. Instructional TV Research Reports. Port Washington, N Y.: U. S. Naval Special Devices Center, 1952. ' orgensen, E. 8. "Midwest project in airborne television instruction." NAEB Journal, XXII, March—April, 1963, pp. 19-23. Inner, J. H., Runyon, R. P., and Desiderato, 0. Television in army training: Evaluation of television in army basic training. Technical Report 14. Washington, D. C. : Human Resources Research Office, The George Washington University, November, 1954. ifman, R. A. "A system approach to education: Derivation and definition." AV Communication Review, Vol. 16, No. 4, Winter, 1968, pp. 415-425. nedy, J. L. "Psychology and system develOpment." 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Office of Education, Bureau of Libraries and Educational Technology, Division of Educational Technology, Media Specialists Program, 197 1 . Newsom, C. V. (Ed.) A television policy for education. Washington: American Council on Education, 1952. Nord, J; R. Communication skills project--Lane Community College, Eugene! Oregon. Education Coordinating Council, Final Report Project No. 54, Monmouth, Oregon: Teaching Research, Oregon State System of Higher Educa- tion, June, 1971. ’asewark, W. R. Teaching typewriting through televigion. Research Report No. 17, Bureau of Business and Public Service, Michigan State University, October, 1956. each, P. What is system analysis? SP-155, Santa Monica, California: System DevelOpment Corporation, March 4, 1960. ennsylvania State University. An investigation of cloped- circuit television for teaching university courses, Report Number Two. University Park: Author, 1958. iladelphia Board of Education, School District of Phila- delphia, School-Community Relations office. "Report of the television—radio activities." Philadelphia: The Board of Education Print ShOp, September, 1953. President' 8 Ad Hoc Committee on Television "Report of the all college committee on television courses for credit. " East Lansing: MiChigan State College, 1954. (mimeographed) :'termaster Training Command. "Quartermaster Training Command educational—television study." 2416-14-Jun- 54-400, Fort Lee, Virginia: Quartermaster School, 1954. 152 Rowe, R. C. "Development of television and its potential role in the State University of New York." Unpublished doctoral dissertation, Michigan State University, 1965. Sarason, S. B. The culture of the school and thmroblem of change. Boston: Allyn and Bacon, 1970. Sax, G. Empirical foundations of educational research. Englewood Cliffs, New Jersey: Prentice-Hall, 1968. Schafer, P. W. "Television at the University of Kansas Medical Center." The Journal of the American Medical Association, 152:78, May 2, 1953. Schramm, W. ”Mass media and educational policy," Social Forces Influencing American Education, The Sixtieth Yearbook of the National Society for the Study of Education, N. P. Henry (Ed.), Chicago: University of Chicago Press, 1961. Schuller, C. F. (Ed.), The school administrator and his audio-visual program. Washington: National Educa- tional Association, Department of Audio-Visual Instruc- tion, 1954. Stowe, R. A. "The critical issue in instructional develOp— ment," Audiovisual Instruction, Vol. XVI, No. 10, December, 1971, pp. 8—10. annenbaum, P. H. Instruction thgough televi_§ion: An experimental studgL. Urbana, Illinois: Institute of Communications Research, University of Illinois, 1956. L_r_m_e. 65:72, March 28, 1955. .roop, J. F., Assini, L. T., and Boguslavsky, G. W. The fifectiveness of laboratory instruction in strength g materials by closed-circuit television. Troy, New York: Rensselaer Polytechnic Institute, November 8. 1958. lcey, W. R., Flynn, E. B., Jr., and Legere, C. L. J. "Systems approach gets results," Training in Business and Indugtry, June, 1967, 17. ebiatowski, G. L.‘ "An evaluation of the instructional systems approach in higher education." Unpublished doctoral dissertation, Michigan State University, 1967. .ker, P. A. DevelOpment of low cost instructional simula- tion materials ffor teacher education. U. 8. Office of Education, Final Report Project No. 5-0916, Monmouth, Oregon: Teaching Research, Oregon State System of Higher Education, July, 1970. 153 Twelker, P. A., Urbach, F. D., and Buck, J. E. A basic reference shelf on the systematic development of instruction. Stanford: Erick at Stanford, December, 1971 (Appendix VII). U. S. Navy, Human Engineering. Training by television—— The cmarative effectiveness of instruction by tele— vision, television recordings, and conventional class— room procedures. Project ZO—E-Sa, SDC Report 476—02—2, Port Washington, L. I., New York: Special Devices Center [n.d.] (a). Training by television—— Project ZOnE—SZ, U. S. Navy, Human Engineering. A study in learning and retention. SDC Report 476-02-3, Port Washington, L. I., New York: Special Devices Center [n.d.] (b). Urbach, F. Insguctional development: An overview. An informal paper. Monmouth, Oregon, Teaching Research, 1970 . (mimeographed) ' Wessel, J. A. Report of the experimental procedures in closed circuit television for teaching university courses in physical education. Michigan State Univer— sity, East Lansing, Michigan, June, 1962. (mimeographed) Nigren, H. E. "Educational television——Some suggestions." Teachers College Record 54:23, October, 195 . 'igren, H. E. "Planning for the development of educational television in Houston, Texas." Unpublished doctoral dissertation, Teachers College, Columbia University, New York City, 1953. .lson, M. C., and Moe, E. 0. Effectiveness of television in teaching sowing practices. U. S. Department of Agriculture, Extension Service Circular, No. 466, Washington: U. S. Government Printing Office, 1951, .liams, C. M. "The examination of 'No significant dif— ferences' that ITV studies report," Audio Visual Com— munication Review, X, No. 4, July-August, 1962. :hner, G. J., and Scheier, I. H. "Some thoughts on television as an educational tool," The American 613. Psychologist, X, No. 10, October, 1955, '~«~am_ APPENDICES APPENDIX A POST-TEST 154 WILLARD TV TEST 1! (Last Tia—me) (First) (Middle) W Undergraduate __ (Yr.____) Graduate __ (Yr.__) Special (Wain on back) Major Minor Course Number Term/Year Have you had any previous television Production courses? Yes __ No If yes. briefly state what skills were taught. Have you worked with television equipment before? Yes __ No If yes, please state what kind and where. .. ,-\ I . a . ... . hi the fbllowing, provide the information asked for (e.g., question 1), irovide the correct term(s) for the definitions (e.g. , question 2), or “ill in the blanks (e.g., question 3). A single blank or space (i.e., ) does not necessarily mean only one word or term is “equired. State the name of the device used to control the studio lights. love the entire camera unit in a direction perpendicular to that in which the lens is pointing: To direct the pedestal to the right. the is turned to the Raising the pedestal is called . and lowering it is called . The is the tool or aid that specifies what words, pic; tures, sounds and actions should occur in a program, and how long each individual part of the program should last. In the control room. the monitor show the picture that is actually being sent to the transmitter or the video tape recorder. State what a television camera viewfinder is (technically) and where it is located. (a) (b) The television synonym for rotating lenses on a camera is Motion picture film and slides are shown through projectors that are part of the unit called With too little drag or tension on the moving parts of the pan and tilt head, the camera body has a tendency to Ll . 4 -.. ..- O a. . fit \I. in. .l,‘ C 0| aawv ’ IL A. o). .a I .. . o- \I :71 . . E. u . .) r .. p ..JHL -v...~-—.-—- . . ....w~.-. m..- 3 u‘ . :4. ..‘i'J . . ... .—-. .~ . ...«-.~-..--..- —.....-. .. ,.. .- ., ; ,_~ J.,}: 3 fr 1:J) f i; .-.—“o.— -- .....n.... -..o- zil; (\ "sun 1 . .l.. . I ..... s .. ..2. a H‘.‘ . .. yi \' L. 401 r . i y. - . a. I. . ..i a.» I an, A. fi 0. ,0! ii . . c l. \. ... .I. r. in . ...---- n i a a .v‘ I I v appear .iii l3. 14. 15. 16. l7. l8. 19. 20. 21. 22 -2- The brightness and contrast controls on a TV camera affect only the picture on the To pre-set the focus of a zoom lens on a black and white studio floor camera like those used at MSU's Closed Circuit Television, one first zooms and adjusts the focus, then zooms and adjusts the focus. When not in use, the counterbalanced pedestal is locked down by the After the desired lens is racked into position, the cameraman must it to get it ready for the director to use. _ The cameraman may feel free to adjust how many knobs on the pan and tilt head? By rotating the locking grip, it is possible to adjust the of the panning handle. When a lens is improperly racked, you will have a(n) picture in your viewfinder. How many size lenses will a lens cap fit? Arrangement of mirrors or prisms, used to direct the beams from several projectors (film or slide) into a single TV camera: Maintaining the counterbalanced pedestal at any desired height is accomplished by using the The cameraman controls the aim of the camera with the One of the advantages of a zoom lens is that it allows the cameraman to vary the image size without it ...... 'r .« f .. u a ‘1' u I ...-.... ii- 5.33 if,” {15.15: ink O “\w \3 . (i . ... i _ . S . i 1‘. J x i l . . .I. \i l, .s, r .s ! \ . . . 1|! \ i 1 roll: .... ,3 \' f ‘n . 0. 4 a o. . . I ,.| (I \. . u . . I ... .. vi ,‘ H.324 .. .-. ...... ...—...... 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. -3- The cameras that students will be using in TR courses should never be aimed at a light in order to avoid An instantaneous change from one TV picture to another is a(n) Why keep the lens capped when the camera is not in use? When a camera is left unattended the lens must be (a) and the pan and tilt head left in the Cb) position. All performers appearing in a television productin are referred to as To maintain control of the camera body when moving the entire unit, always keep a hand on the Aiming the camera from side to side: By turning the crank on the crank type pedestal mount, the camera body may be or A multiplexer is a component of the unit called The purpose of the pedestal mount is to enable the cameraman to Before actual production in the studio can begin, the studio must be prepared, or in TV parlance, it must be The common slide size used in TV production is (a) mm. or (b) " X ". [Answer one: (a) or (b).] im‘l 35. 36. 37. 38. 39. 40. 4i. 42. 43. 44. -4- What is different about the zoom lens mounting on a Sarkes Tarzian camera than on most cameras? State the name and location of the apparatus on which the majority of the TV studio lights are mounted. (a) (b) All the equipment and props which were used in the studio must be properly disconnected, dismantled, and put away after the production is finished. This activity in television is called a(n) or ing the studio. Identify the two basic lens configurations used in television. (a) (b) The type of camera mount that allows easy vertical movement, beyond just tilting, is the By engaging the position of the pedestal base may be changed in order t6’line it up in any desired direction. A lens that can make a "far" object appear to move continuously closer and a "close" object continuously farther away is a(n) lens. One picture fades out as another picture fades in: Name the primary means of communicating to the crew in the studio that is available to the director while a program is being taped or aired. To re-focus a TV camera on an object that has moved farther away from the camera, turn the focus knob in a(n) direction; if the object moves closer, turn the focus knob in a(n) direction. La 'hr; ‘! ‘i :.‘"x’ ' 4" 3 "it, ...; ' 2' ’1.‘ ,. ,' ' vi‘ '1 i 'x ‘ “33.7." iii." = . i ' H i ; ., . ' II .:-... ‘11.“; ( \.,. :- ... 1" '.)‘|..' {i (“:'j'h i \ }‘ ’1 ' ‘1 i I ‘jlj ~ '4‘} (c): is“: i r r r. ., K. 2 ‘ U .‘ .':‘,,' 3 '- \ i ") . up {L - a . - .w L - - r-l .. . I Hi.:ic.f».'...z. ! t'ii, :« ' - ~-u~x ,I- .IFM- ‘7'" , I I ‘. - - . .. . . L . . 'l u ‘ - . . . .. , . . _. ,' 39(1 (3.1!; "711 ir‘ :1 j, 1"“, ( f I‘, vi} i M ;'r" {I 'i') 3,;\‘ (I l ,‘ . t.‘ ' .., ‘ . r.‘ ’,).g .F ¢‘.'l'f ’5"? ’33C.‘; 1- i " '0 'H .‘i ".13' an . if . (,1 \ -. .,~ A. n ' Or I i . p. . F - ."‘ \~ f a . , ., , , , . i ..J ... - " [\r) \.'i ."‘! f‘ii' nr‘ )1 ' i ' r i‘ ‘f‘l'l f‘l i \ . _ . ,\ .. ‘ u .. '1": ; .; if» :{I (1‘ JT ‘1‘ \ ‘ v 1, ';~ ' i s. f \l . 1" I| ‘ .... ' ' ‘ " ') ~ ' | 1" 5 '. rz‘ixr 4: i ( z 1' \i“ ‘ l " ‘ - .2.) - lfi‘i‘ ' ‘ 'L‘ I! if V' " .; “.j , ,1} I- ,‘ §-H.. ,1.‘ w~ "’ii‘ ‘.. if! . i .i 1, : .,- {J ‘(v I l . h. It: ‘L if) i-s' ,.' , , .9 . .. ’ g -‘ . ~ .. ‘»?Il'|‘,'! 3“ r”‘ l ‘ri\"'i: i ‘i'. i“ _r " ° ‘ ._.__,_--. - ,11.-- ._ - '\ z I I " .9 .. n- . , ‘r . w ..'\ «_‘L ‘A 3.01? y "' ' Kit?!“ 1 i . -. o : 7,. . _ . i. .t if ,' quit}: .[ .y’l'li,‘ V. ~ if)". i ' i{' 13".. ~v l ' I" iii 45. 46. 47. 48. 49. 50. 5]. 52. 53. 54. 55. 56. 57. -5- Coordination and control of all elements of the production when taping or broadcasting live is the responsibility of the The inform(s) everyone in the studio which camera is on the air. Syncronized steering of all three wheels on the pedestal mount is called The common size film used in TV production: Move the entire camera unit in the same direction as the lens is pointed: The following calls for the direction the zoom control is manipulated. To zoom in the zoom control. To zoom out the zoom control. The purpose of the is to enable the cameraman to re-position the entire camera unit. Aiming the camera up or down: When moving the camera closer to a stationary subject, in order to maintain sharp focus the cameraman must turn the focus knob in a direction. Standard lenses are mounted on a which can be rotated. Too much drag or tension on the moving parts of the pan and tilt head may produce a type of picture when panning or tilting. The two, and only two, controls the student cameraman is allowed to use to adjust his viewfinder are the and controls. When giving cues as a floor director during camera rehearsal and performance, you should always station yourself where is facing or locking; ‘_ .1 .- i ' 3. Define the 2. Aspect -3.\i f" "f ”x ‘t; 7 .ii‘" 3. BideZ v . . , . , . . . . ?i*;ii r€~ .at. {it"s 7:22; : Lilia; 2‘. -. ... '. :“' -‘ 3'} 'I .1 . I)? 3T.- , 7 . Essent 'l‘. -I‘| '., 3; ‘ ‘-a .' i I‘:- :-_ a 10' Feed: '1 ;; 2; Hf. .1 'l 'r' f‘. x...l ft :F:“ .'.A!l‘» .f‘iz'. EL’)‘:’ .1” ', .f) h.‘ .. in“. r .., 'Jzii.1,.Ui .. 53LC:UC' F"Ffifi1:’i. , * ('14-: :Litk‘ ”i , :.%-.3;: ‘; {1 .Ft' 11' FOiiOW ... i . ‘. .. .‘ ‘- ., j _ 3 . , "’7 TI" “i"? ii- .'2';.' ;.; _i.‘,i' film“? i-‘ 13- Image- *' ' ‘ W " h" f H 14. Light :T“: 2:." ~. W;’ '. '1'" A» ':~ 5. I." f“! ..j-I 'l‘v‘ i, :r““j\tJ..> 11"" i . ‘1‘ 15' PiCk-“ ‘Ffil‘ '1‘ "fill? arc? ' iii)" I. 8. Define the following terms: 1. \J 03 U! h OJ C O . . . 0m 10. ll. 12. 13. 14. 15. 16. 17. 18. 19. 20. 2]. 22. Ann. or Anncr.: Aspect ratio: Black: Burn-in: Close-up: Cover shot: Cut: Dimmer: Essential area: Feed: Follow focus: Group shot: Image-orthicon: Light level: Pick-up tube: POT: Producer: Set: Super: Take-up reel: Taking position: Vidicon: a... v“- ... ...- -.w. ,_ . .--...u- L huwer Sute' amia; 4 (a) -7- C. Answer the following by writing the answer in the space(s) provided. State the seven basic members or crew positions of a TV production crew and a primary responsibility of each. (Do not include assistants.) Crew Position A Primary Responsibility 1. (a) (b) 2. (a) (b) 3. (a) (b) 4. (a) (b) 5. (99 (b) 5 (a) (b) 7. (a) (b) Note: If you need additional space, use the back of this page. “...-c- -..c .....- _. ...— .1... ...... -- - ...“ -- .. .... ‘ _.. .- .- ..‘hi. .... _ -.. . ~....--._ .. .- g, In this tion for the host L.) E. Identif; ' I i 4 u '-.‘ i \ ‘ ”MXZOWZM‘U D. In this interview set-up, select the number that indicates the best posi- tion for the Floor Director at the opening of the show in order to cue the host: (“CK 507.7}; 3’ _ // Tm (if! . t’.\ ’ i ‘2" , .. r .v I, ,7 ' :7 p / .. i ....) .y /,I\\' {‘i ' \r ‘K r? \ 1 ‘t! \‘T// .‘ 3"??? E. Identify these hand signals as used in television: .. 'i‘a“ .7 f“. ;' 1:118 1'45; 1'? i . :21 31 F. In the c . .‘J ~ T n03"? Titus it .i :'r» .i! ‘Jl: i S! -9- F. In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. If!‘ 'I ' 2.’ I IVA-1“ I I I4“ (IE I I 6' In the cor I used only . , 5‘ 6. G. -10- In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. The camera and mount are the types used only at CCTV. Nmmth L. H. h the C0: the name UT -1]- In the corresponding numbered spaces on the two drawings below, write the name of the numbered items indicated by the arrows. l. { ! ‘ ‘J'h- - ~.vy,_.11-.J . . . , . . ’ ,, .l.”"‘ r; ' 1‘ ' “. \ I, - 1‘ ‘1‘! ' w i .r. - "a ’ ~ " M" '1 3‘ '.' ‘11..".- V? .I' .-‘ -!'.,~ ,1. in». H‘..- I m".._“......_..... -M.......,_-....—_~.-.-.n._.....-.. ......“ . .... .. . .- . .-. . .- .--..... ..-—-... . . .. .. - -. . . - -..... a _._ . \ . _. “...—...“--M.-- .— il -..... 1....-.» .. . .4 .. -..“-.- .4... ... .... . ..4 .~ .... -. . --.. .. , . . ..-. .... - . . - - . . -.--.- . ..-... _.--..._.. _.--.‘._._-_..s-..__.....--. -.-. - .. . . . 1“... ... . - ”.-.—... .-.. . - . . .. .. n ......s.-. . -. .. . . . . ..-.. ... fl- . r' ...- ...-.-.--..~. _.---- ..-__.-.---._ ,_ .. . -. -.-... -. - ...... .- ...... - . - .. . ._ -.. .. . .. .. --. ....w- ..— .d ..--..N..- ..... ....-- .--... _.._ ..-.-. .. .-...- . -- .. I “yuan—-.. ... .. .-.. . . ..- ~ - .. . ~- ...... W... o— .... \ rang-.1 , ’ - ' I _ , ‘ ... .. , ...-t--. e, ....--. h 1 . -. _ . ... -' . o ‘ _ “ %.. ~ . l- . s ' ". ' s . ‘ -.‘ . ‘1 . ‘ .. '. _ . I" e ' u... - -fi' . ...o' - ,_, . . 1 .’ . f- . r . l ‘ . ‘. , I i ... \ —... , .... v-wfi--hooo.--0- .-.—«a «o.- H» ...... -. , .....- ...... J... - “o... ... .- - . . .... . . . .a-awa-u-‘QN -‘-m‘M—.~. _ ... .. ... -- - .. . - . _ ...- . .. . ~ ~ . - a u i- . », 4 _. ' , u a, . . x. \ -12- 1. Identify the following: “..., :'IB {2. ...“, l 3. 2. 4. ........ u' J. In the corresponding numbered spaces, write the name of the numbered items indicated by the arrows. l. 01th is .D- I i . K. Put an X on the taking position of the Sarkes l Tarzian camera. \ ,=“(.“\ ,l ' f3, , ...I 1 ‘ l Nile). II "\ ..- «v -‘. in; If) . O L} D‘ .4 u .. -l ...... .. ...-.-.....__...-., . ..--.n..- -. . .,..l . - .. .. . . -- -. .. ....M. . ‘ ‘J . .-- r- .----. .. -.. ...... ..- ... . .1— o — » ~ ..-. ~»---o -.. “J—‘wls -.. ... . .. r. - .- .. .-. ..._.-- . a . .«._ _mA'u .- -.. 'Q..- o . . ". |l~a _ L . _ . - . \ ~.I ‘. l .u I r ._ . .; ‘ , 0,. . : L f ‘ ‘ f . i .---. ...-... -...- .- . . .- ---~~——— .- ,, --._ -... ,. —- ~ — —...- q..- . r . . _w.-....,.....- _ .1-.. - ...-.- ...... .. . _ , . _ . . ..- . .-.-....-. .-. ..- r ................... .-.- .-...._.........-.....-_-.. . . 1 ... . . .. . .. . . .... , .- ...... .-._....-....... .1. . . _. .... ”...“... .......... .. ...._..............,...- . . , , . .-. . .- 1.. . . . _ .. . . .-... .-.. ......1.....- N... . .L . ...-......— ......, ...~....-.... , - . .--..... . .. ...- ., _ .- .. ....-. mm ...-...... ., . Io , . ”In . 0...”.— ~ .w I v I- ‘§ - o. . ‘o , '..; I_.;.-,.* s -, . ,7” ‘l . , , . . '.I.. .~ ‘ .V ' ' I II (fl.- ij'f " W I '«‘I .j. '; \r1 a.)- . . . . . --o I’ 1 ‘ ' A 1.,“ ,I.: "'l.\!:{ -13- L. Assume the following pictures of the same subject were taken with the same TV Circle the type’gfrlens used for each ‘ “m... ._\ ...-w‘. _, K .w, .' . 4 - ' camera from the same position. . _\ i -\_____ ¥_"(,,//// LONG — SHORT (circle one) :4. What camera movements and their directiOn would be called for to f center the head in the TV screen? -or- N. Which camera movements and their direction would be called for to center the head in the TV screen? 1. LONG - SHORT (circle one) a—u—nvdl l... iflu—w— _- ' ;._. - ... I . ' " a ... . s- . . I I . S qw- ls '; _h I - m. n I; .;r q 5! id .53“ I 0 ,7) 0. 01 uh u N -’ u o o o I -14- Using the spaces below the drawing, name the camera movements indicated by the numbered arrows. iv- ins» 'r in. ‘ 4’ o .. as- .- .-. A . . . w ¢., P. In the following questions, you are to draw 0 a in the appropriate positions for the fader handles (see example at right), and put an X ( X ) on button(s) to be depressed. fiEQ‘ (L) 1. Put camera 1 on the air. 0 O O O O 0 Film 1 2 3 4 Chain Black 0 O O O O O 2. Starting with your answer above, take 2. O OO O 00 l 2 3 4 Chi}: Black 0 00 o 00L ' l W ‘ 3. Super camera l and camera 2. r-‘i 0 O o O o o ' 1 2 a 4 oil}: “a“ r O O O O O O L not. 1.3“ V -15- In the following questions, draw the initial 0. position of the fader handles and the—TTEET' position, with arrows showing the direction of' (:) Ezgy movement, and put an X on button(s) to be depressed. (See example at right.) EQO l. Produce a dissolve from camera 2 to camera l. r—-—-i O OO O 00$ Film Black Chain 0 O O O O O 2. Produce a fade from camera 1 to black. _____ o o o o o 01' 1 2 a 2.1;?" o o o o o o l Produce a fade from black to camera 2. 1 ' C o o o o 0 Film Black l 2 4 Chain 0 O O O O O ~‘11,, L3 WILLARD II A. How long did it take you to complete the test? hrs. min. 8. During the preceding test, were you sure of your answers, unsure, or somewhere in between? Please indicate with an X on the following scale how you felt on the majority of those questionsgyou answered. SURE UNSURE COMMENTS: If you did not understand any of the directions or questions please note that in the space below and on the back of this sheet. If you have any comments or suggestions about a test of this kind, please write those down as well. APPENDIX B >, SCRIPT: VIDEO TAPE SEGMENT ONE ("Control Room") 1" 173 i CONTROL noon - Tape l VIDEO FADE IN SLIDE. DISSOLVE THROUGH SERIES OF SIX SLIDES TAKEN DURING THE PRODUCTION OF THESE PROGRAMS. ROLL CREDITS OVER SLIDES. WHEN CREDITS FINISH... FADE TO BLACK TEST/SHADING BARS CU - SLATE BLACK FADE IN COVER SHOT - T.V. STUDIO - WITH SUPER "CONTROL ROOM” OVER ANNOUNCER walks into SHOT. FADE SUPER ANNCR. ON CAMERA ANNCR: AUDIO (FADE IN MUSIC WHILE STILL IN BLACK) (FADE MUSIC OUT) DIRECTOR: Ready test and tone. ...Test and tone. (TONE) Ready camera one on the slate. Take one! Ready to take black...ready tone out. Take biack - Tone out. (TONE OUT) Give him a stand-by. Pre-set effects cameras two and four. Ready to fade up on effects. ...Up on effects. Ready mic. Ready to cue him Agady to dissolve to camera two. Hic...cue...dissolve. The purpose of this program and those which follow is to enable you to become sufficiently knowledgeable of certain aspects of television productibn. You will be able to identify and define the important components of television production, and have an understanding of the -MORE; .- .‘ PAN T0 CONTROL ROOM SLIDE: SUPER: SLIDE: SUPER: SLIDE: SLIDE: COVER - CONTROL ROOM DIRECTOR, SWITCHER PROJECTIONIST AUDIO MAN cu OF DIRECTOR "DIRECTOR” DIRECTOR 8 CONTROL RM. DIRECTOR 5 CONTROL RH. AUDIO basic television crew and their responsibilities. You will have a working knowledge of television terminology, and you will be able to identify and operate some of the production equipment. Additionally, you will see the various crew members at work and observe their equipment in operation. First, the basic control room crew. They are: the director, the switcher... the projectionist... and the audio man. (PAUSE) During a television production, the director is the boss because he coordinates the activities and efforts of all the other crew members. In fact, the coordination and control of all elements of the production, either when taping -MORE- -3- ANNCR: or broadcasting live, is the primary responsibility of the director. SLIDE: CU - DIRECTOR TALKING As you will soon see, the director ON HEADSET and certain other crew members SUPER: HEADSET (INTERCOM) wear headsets. This intercom r system is the director's most important communication aid. L SLIDE: cu - DIRECTOR LOOKING Another important tool used by A AT SCRIPT the director is his script. SLIDE: CU - SCRIPT The correct form for script SUPER: ”SCRIPT" writing is shown in your guidebook, and you will be responsible for knowing this form. The script specifies what words, pictures, sounds and actions I should occur in the program. It indicates when they should occur, and how long each individual part of the program should last. -MORE- I SLIDE: SLIDE: SUPER: SLIDE: SLIDE: SLIDE: SUPER: SLIDE: SLIDE: VIDEO 2 SHOT - DIRECTOR AND CLOCK CU - CLOCK ELAPSED TIME CLOCK COVER - DIRECTOR AND MONITORS MONITORS CU - LINE MONITOR LINE MONITOR PATCH FIELD TONER video source. AUDIO This special clock lets the director keep track of elapsed time. By using the script and the clock together, the director can give instructions when necessary to speed things up or slow them down. Here in the control room, the director has a bank of television sets called monitors. There is a monitor connected to each The video source monitors allow the director to see what pictures are available to him so he can select the one he wants to go over the air next. I In addition to the source monitors, there is a line monitor which shows the director the picture that is actually being sent down the line, either to the transmitter if the program is -MORE- 04} ANNCR: SLIDE: TAPE MACHINE ANNCR. 0N CAMERA ANNCR. POINTS DOWN AT SUPER SUPER: SUPER SUPER: MS - ANNCR. AND LS - ANNCR. MS - ANNCR. TAKE LS ANNCR. TAKE MS ANNCR. DISSOLVE TO LS ANNCR DISSOLVE TO MS ANNCR AUDIO being broadcast live, or to the videotape machine, if the program is being taped ahead of time. Either a single source, or a mixture of sources can be fed to the line at one time. A mixture is called superimposition or super. (POINTS T0 SUPER) That's what these are. (PAUSE) The picture you are now looking at is also a super. The instantaneous changing from one picture to another is called i a ”take” - such as you're now seeing. A smoother transition from one shot to another-~where one picture disappears as another appears to take its place--as is now being demonstrated--is called a dissolve. A one-sided dissolve, where a second picture -NORE_ ANNCR: FADE TO BLACK FADE IN MS 0F ANNCR. MS - ANNCR. SLIDE: SUPER: SLIDE: SLIDE: SUPER: CU - SWITCHER VIDEO SWITCHER 3 SHOT - DIRECTOR, T.D., VIDEO SWITCHER CU - T.D.‘s HANDS OPERATING SWITCHER T.D. OR SWITCHER AUDIO does not appear is called a fade --or fade to black. ...Hey, bring me back!! It gets dark in there: (PAUSE) You are now able to see me because I was faded-in--or dissolved from black to picture. To accomplish this, the television control room has a piece of equipment called a video switcher or mixer. (PAUSE) Your guidebook has instructions and examples to show you how the video switcher operates. Be sure you absorb that information. The crew member responsible for operating the video switcher is sometimes called the technical director or T.D., but usually he is simply referred to as the ”switcher.“ His primary responsibility is to Operate the electronic switcher on command from the director. ~MORE‘ SLIDE: SLIDE: SUPER: SLIDE: SLIDE: SLIDE: SLIDE: VIDEO CU - FILM MONITOR NI LABEL COVER - FILM CHAIN FILM CHAIN TV CAMERA FILM PROJECTOR SLIDE PROJECTOR MULTIPLEXER run—- 0 O O O MULTIPLEXER FILM PROJECTOR SLIDE PROJECTOR TELEVISION CAMERA AUDIO There is also a separate monitor labeled ”film” which is short for film and slide chain monitor. The equipment which allows motion picture film as well as slides to be projected on television is called a film/slide chain, commonly referred to as the ”film chain.” This film chain consists of A pieces of equipment---or components: a small television camera, a projector for showing motion picture film, a slide projector, and a system of mirror and prisms, called a multiplexer. The multiplexer aims the picture coming either from the motion picture projector (PAUSE) or the slide projector (PAUSE) directly into the lens of the small television camera. (PAUSE). -MDRE- VIDEO ANNCR: SLIDE: FILM CHAIN MONITOR SLIDE: REEL OF FILM AND COLLECTION OF SLIDES SUPER: FILM: I6mm CS - FILM AND SLIDES SUPER: 35mm - 2” x 2” SLIDE - COVER - PROJECTIONIST AT WORK SUPER: PROJECTIONIST SLIDE: CU - PROJECTIONIST LOADING FILM AND SLIDES BATCH OF UPSIDEDONN OR SIDENAVS SLIDES FILM RUNNING BACKNARDS SLIDES RIGHT SIDE UP FILM RUNNING CORRECTLV AUDIO The picture then appears on the film chain monitor and it can be switched into the line. The common size motion picture film used in TV is l6mm, while the common slide used is 35mm or 2 inch by 2 inch. The person in charge of the film chain during production is called the projectionlst. The primary responsibility of the projectionist is to make sure that the correct film and slides are loaded into the projectors properly and are ready for use when the director wants them, or when the script calls for them. Not like this... Or this... But like this... Or this... -MORE- VIDEO SLIDE: FS - PROJECTIONIST RENINDING FILM SLIDE: AUDIO MAN AT WORK SUPER: AUDIO MAN SLIDE - CU - AUDIO MAN'S HANDS ADJUSTING POTS SLIDE: CU - AUDIO BOARD SLIDE: AUDIO MAM SETTING UP CU - AUDIO PLUG AND SOCKET SLIDE: AUDIO When the production is completed, the projectionist must rewind the motion picture film and unload the slides. The remaining control room crew member is the audio man. The audio man controls the sound portion of the program. It's his primary responsibility to see that the right sound at the prOper level accompanies whatever picture is being fed to the line. You have already learned how to operate an audio board in your radio course. Therefore, you will be required to exhibit that knowledge during your course work. Before the production begins, the audio man is responsible for setting up the studio microphones and testing them. -MORE- -10.. VIDEO AUDIO SLIDE: CU - SCRIPT W/AUDIO During an actual production, one CUES of the audio man's most SLIDE: ECU - DETAIL 0F important tools is the script. SCRIPT In some productions, the audio man will take all of his cues and instructions from the director. SLIDE: 2 SHOT - AUDIO MAN AND However, in other cases, the DIRECTOR CONFERRING audio man will be expected to take all of his cues directly from his copy of the script. In either case, the director must Specify ahead of time which procedure the audio man should follow. SLIDE: COVER - STRIKING MICS When the production is completed, A the audio man is reSponsible for disconnecting the microphones and their cables and returning them to the storage area. ANNCR. 0N CAMERA These, then, are the key peOple who work in the television control SUPER: DIRECTOR, SWITCHER room: the director, the switcher, PROJECTIOMIST, AUDIO MAN .the projectionist and the audio man. BLACK FADE To END - PART ONE TIME: 9:20 .Ii APPENDIX C SCRIPT: VIDEO TAPE SEGMENT TWO ("Television Studio " ) TELEVISION STUDIO - Tape ll VIDEO SUPER: "TELEVISION STUDIO” OVER... CS - ANNCR., CAMERA, FLOOR DIRECTOR - TV STUDIO IN 8.6. Floor director is adjusting Anncr's mic and explaining hand signals. Floor director steps back to camera and cues Anncr. MS ' ANNCR. ANNCR: CS - ANNCR/STUDIO MS - PAN - AS ANNCR. WALKS TO ”BACKSTAGE” AREA COVERSHOT: CREW, TALENT IN STUDIO SUPER: LIGHTING DIRECTOR CAMERAMAN FLOOR DIRECTOR The television studio is where all the live action portion of a television program takes place. The performers appearing in a television production are all referred to as talent. Obviously, the talent is an important factor in determining the success or failure of a television program, but for our purposes here, they are not considered to be members of the actual production crew. The basic studio crew is made up of: the lighting director, the cameraman, and the floor director. i -MORE- )9 . I ,3 I 'r '21 i (I ".1 .I H ’ I ) i “ I . r1 's . I . av ”HIGH-- :‘.T , "‘3le I." I "IIIT '2' s-‘sm' 33:1 I (I :I'" VIDEO ANNCR. ON CAMERA ANNCR: SUPER: SET UP MCU - CAMERA AND CAMERAMAN SLIDE: COVER OF GRID W/LIGHTS SUPER: GRID MAN ON LADDER HANGING LIGHTS SUPER: LIGHTING DIRECTOR 'AUDIO Before actual production in the studio can begin, the studio must be prepared, or, In TV parlance, ”set up.” This means the placing of lights and microphones, erecting flats and dressing the set. (PAUSE) To enable a camera to obtain any sort of picture, there has to be light. A metal frame-~or tracks-~called the lighting grid, is attached to the studio ceiling on which the studio lights are mounted. In a television studio, the person responsible for seeing that there is the right amount and type of light is the lighting director. Often, he may also be the floor director, a cameraman, or even the director. -MORE- I !\ I51)”: 1'- . I: IIDIII‘ (’IIII .43 I .t i :..~=? .~s.3,i'li":.t'\.2 "3 ,m-Im .‘IrII.‘I:‘.7‘ : :“T..If-III3 while-“T t a ,o - e ... VIDEO AUDIO SLIDE: COVER OF LIGHT BOARD The lights in this studio are operated from within the control SUPER: LIGHTING CONTROL room by means of a lighting BOARD control board. You will learn ANNCR: ON CAMERA much more about lighting in your course work, but for now, you should know that the ~31;- iighting director's job is to a I select the specific lighting instruments needed for the show u - ‘7' raw-newt- view-‘9 .. Ls . ...—......— and arrange them properly on the grid. ; COVER SHOT: CAMERMAN AND The television cameraman's STUDIO w/TALENT DOING BITS 0F basic reSponsibility is to get BUSINESS whatever picture or shot the ' SUPER: CAMERAMAN director wants, and to have I the picture ready when the director needs it. The cameramen receive their instructions from the director over their headsets. Good camera work, of course, ; takes practice. It requires knowing what constitutes good -MORE- ANNCR: ANNCR. ON CAMERA FLOOR DIRECTOR TALKING W/TALENT FLOOR DIRECTOR COVER - SUPER: FLOOR DIRECTOR W/TALENT -MORE- AUDIO picture composition, and above all, plenty of careful, alert thinking. Your production course work will teach you the basics of camera operation and picture composition, but the careful thinking must come from you. Although the floor director does not actually operate any specific piece of equipment, it is important for you to recognize in a television that his role production is vital. The floor director is the director's representative in the studio. The floor director must explain I to the talent what is happening and what is expected of them. If there are delays or technical problems, the floor director should keep the talent carefully informed so they won't 1‘. I'D }: .‘ , \ I I. ' _ ' _., ri " 7' ‘ I! i I . . .. ,m .,. ,win .I i A: . I" i I"! VIDEO AUDIO ANNCR: become confused or worried. In relaying the director's instructions to the talent, the floor director must be both precise and diplomatic. HEADSHOT: FLOOR DIRECTOR DIRECTOR: (WITH HARSH, SHARP TONE) 2 SHOT: W/HEADSET ”Floor director, tell superstar he's rustling those goddamn papers again. I'm not about to put up with that noise again tonight!" FLOOR DIRECTOR AND FLOOR DIRECTOR: (TO NEWSMAN) TALENT ”Gary, the control room is picking up noise on your mike when you flip the copy pages. It might be better if you slide them off to one side. Would that cause you any problems?" CU- TALENT NEWSMAN: (TO FLOOR DIRECTOR) ”Oh, yeah, I'm sorry. No, that'll work out fine. Thanks for reminding me.” -MORE- '-"*"‘-"" ' V'“—‘-L VIDEO AUDIO ANNCR: ON CAMERA W/SET, ANNCR: When the program is ready to FLOOR DIRECTOR, ETC., IN B.G. begin and while it is in progress, the floor director's main duty is to relay the director's specific instructions to the talent. Since the floor director can't speak out loud once the studio mikes are on, he has to A I communicate to the talent by means of a carefully devised system of hand signals or cues. With some minor variations and exceptions at individual stations, the cues you'll see in a minute are used throughout the television industry and are the cues you will be expected to learn and use in your production work here. PUSH IN TO 3 SHOT - TALENT, All hand cues should be made with F.D. 6 CAMERA broad, precise movements so the talent will know exactly what the instruction is. ~MORE- VIDEO F.D. WALKS BACK TO ANNCR: CAMERA WAIST SHOT - FLOOR DIRECTOR W/CAMERA TALENT'S P BESIDE HIM - OINT OF VIEW F.D. DEMONSTRATES ACCORDING TO AUDIO ANNCR. ON CAMERA ANNCR: AUDIO Also, the floor director should stand in a spot where the talent can easily see the cue without having to interrupt what he is doing, or otherwise make a noticeable effort to see the cue. Let's see the cues from the talent's point of view. When the program is about to begin, the director over his headset will give the command ...“Stand by.” Here in the studio, the floor director will repeat that command loud enough for everyone to hear. (PAUSE) F.D.: "Stand by.” Stand by is the cue that alerts everyone that the production is about to begin, which means that the studio is about to go live. -MORE- -.._____- VIDEO AUDIO ANNCR: At the same time, the floor director raises one arm over his head with his finger pointing towards the ceiling. With his other hand, he points to the camera that will be going on the air. II malt—J; WAIST SHOT F.D. FROM TALENT'S When the director says, ”Cue POINT OF VIEW him,” the floor director swings his arm down sharply and points directly at the talent. SUPER: ACTION CUE This is called the ”action cue“ which signals the talent to begin. F.D. DEMONSTRATES ACCORDING If, during the program, time is To AUDIO running out or the talent is (ALL DEMOS FROM TALENT'S POINT OF VIEW) speaking too slowly, the floor director can give him the SUPER: SPEED UP speed-up cue. Like this... The speed of the floor director's rotating hand indicates to the talent how fast he should increase his speed. -MORE- ANNCR: SUPER: STRETCH ANNCR. ON CAMERA ANNCR. HOLDS UP CARDS W/TIME CUES AUDIO If, on the other hand, the talent is going too fast, or for some reason has to fill extra time, the floor director gives him the slow-down, or It might help stretch, cue. to imagine you're pulling a piece of taffy or stretching a rubber band. The floor director also gives time cues which tell the talent how much time is left before he must stOp. Depending on the length of the program, various time cues will be given to indicate the time remaining. Normally, the first time cue is , given at five minutes before the end, and from then on at one minute intervals. Some stations use cue cards with a time number written on each one. -MORE- -‘0- ANNCR: WAIST SHOT - F.D. F.D. DEMONSTRATES ACCORDING TO AUDIO ANNCR. ON CAMERA F.D. DEMONSTRATES ACCORDING TO AUDIO SUPER: 30 SECONDS AUDIO For this course, however, hand cues will be used. Here are the cues; again, from the talent's point of view. minutes... L‘U'I minutes... 3 minutes... 2 minutes... I minute... As the end of the program nears, time cues become more critical. The floor director will also therefore give a thirty second and a fifteen second cue. The thirty second time cue is given by crossing the arms at the wrists, with the fingers extended straight out. At precisely thirty seconds, the arms in this position are moved sharply towards the talent. -MORE' _l]- WDEO SUPER: I5 SECONDS ANNCR: SUPER: CUT ICR: “BACKSTAGE” WITH STRIKE ACTIVITIES STRIKE STRIKING AUDIO At fifteen seconds, the floor director makes a broad grasping motion with one fist in the direction of the talent. If necessary, a ”cut“ cue can be given to tell the talent to stop immediately. This cue is given by pulling the index finger across the throat in a knife-like motion. Sometimes this movement is accompanied by an appropriate grimace or look of panic. Once the production is completed the floor director must see that all the equipment and props which were used in the studio are properly disconnected and put away. The common television term for this cleaning-up activity is called “striking“ the studio. -MORE- VHEO ANNCR: NNCR. ON CAMERA N TO CONTROL ROOM PER: DIRECTOR SWITCHER PROJECTIONIST AUDIO MAN MAIN LIGHTS - EQUIPMENT ILHOUETTE R: LIGHTING DIRECTOR CAMERAMAN FLOOR DIRECTOR -12- AUDIO All crew members help to strike the studio, but it is the floor director's responsibility to see that the studio has, in fact, been left in proper shape for the next production crew to use. You have now seen the key peOple who make up a television production crew, and you've seen the pieces of equipment they use. In the control room the basic crew is comprised of: the director, the switcher, the projectionist, and the audio man. (PAUSE) In the studio, the crew members are: the lighting director, the cameraman, and the floor director. -MORE- -13- VIDEO AUDIO ANNCR: Equally important are the talent and the various technical engineers whose functions will be explored during your production course work. It is the combined efforts and coordinated skills of these people, then, whose ultimate product is a television program. E TD BLACK END - PART II TIME: 5:“8 APPENDIX D SCRIPT: VIDEO TAPE SEGMENT THREE (" Sarkes Tarzian Camera ") 198 -JLJ. .1 .. i- In. Ll -I_l_-I.l-. I.4J.l . SARKES TARZIAN CAMERA - Tape III \IIIJECD AMERA AND STUDIO FLOOR OVER: SARKES TARZIAN ISAwAERA ' ICER ENTERS D.C. and :s to the camera. SLOW ZOOM IN AS: ANNCR: SHOT is now MC PAN as ANNCR walks to the “BACKSTAGE" area. Obviously, this is a television camera. For the next few minutes, we'd like to describe the various parts of a typical camera and demonstrate a particular type which you will be using in your course work. During your instruction, you will have the Opportunity to Operate several camera models, and from this experience you will make an interesting discovery: each camera will have a few specific technical and operational differences, but all are remarkably similar. Once you've become proficient In Operating one television camera, most others will pose very little difficulty for you. -MDRE- 1L». In VIDEO AUDIO CS - CAMERA UNIT ANNCR: A camera is actually made up of three main parts. This boxy- iooking top part is called the SUPER: CAMERA BODY camera body. In simple terms, it makes the electronic television picture. FS - TILTING DOWN from camera The camera body is attached to body to head. a swivel which is called a SUPER: PAN AND TILT HEAD pan and tilt head which allows the camera body to be panned from side to side, or tilted up and down. ZOOM OUT TO MS Finally, there is the SUPER: CAMERA MOUNT camera mount which enables the cameraman to actually move the whole unit around from one part of the studio to another. There CU- CAMERA MOUNT are many types of camera mounts. This particular one is called a SUPER: CRANK-TYPE PEDESTAL crank-type pedestal mount. MOUNT We'll learn more about this type of mount later. -MDRE- VIDEO AUDIO :AMERA ANNCR: Again, the three main parts of a television camera are: : CAMERA BODY the camera body... PAN AND TILT HEAD the pan and tilt head, and... CAMERA MOUNT the camera mount. I I ANNOUNCER Now, what _i__§_ television? It's the transmission of scenes or moving pictures by conversion of light rays to electrical waves, which are reconverted to reproduce the original image. This means that there are certain components on the camera which the cameraman uses to capture the Image. III - CAMERA BODY The television camera has a SUPER OVER: OUTLINES OF LENS, PICK-UP TUBE, VIEWFINDER, sensitive electronic tube inside and VIENFINDER HOOD of it called the pick-up tube. I This tube picks up whatever picture the lens is seeing and converts that image into electronic signals which appear instantaneously as a picture on the viewfinder. -MORE' \IIIDEID INNCR. ANNCR: PE IN SUPERS AS THEY ARE NTIDNED IPER: AVOID BURN-IN SUPER: DON'T SHOOT LIGHTS SUPER: GET PERMISSION TO UNCAP NS - FROM IN FRONT OF CAMERA CAMERAMAN walks in. CU ‘ TURRET S LENSES SUPER: 90'CLOCK (OVER THE TAKING LENS) AUDIO To protect the pick‘up tube, there are three important things to remember when using the cameras available to you during your lab and course work. £1;g£,never aim a camera too long at a stationary object-- especially something with high contrast-~because electronic damage, commonly referred to as burn-in.can occur. Second, never aim a camera at a light as this could permanently damage the sensitive and expensive pick-up tube. Finally, always obtain permission from the studio engineer before uncapping your camera a To protect the pick-up tube from light when the camera is not being used, this lens is always capped. ~MORE- \IIIJECJ NS ASSEMBLY - showing capped lam IRS RAMAN DEMONSTRATES - TOP OF PAN/TILT HEAD - VIEWFINDER OPER: VIEWFINDER TILT DOWN TO BRIGHTNESS/ CONTRAST KNOBS AUDIO The lens cap will only fit one of the lenses. You'll learn more about that later. For now, it will be sufficient to say that, in order Phfié to obtain a picture, the camera must be uncapped. .'-YV' "‘4 ‘ . a . Remove the cap from the lens-- (PAUSE)--and store it here--in the Pan and Tilt Head. (AFTER A PAUSE) The viewfinder on a television camera is located here on the back of the camera. The viewfinder is actually a small television screen which shows the cameraman the exact picture his lens is taking. The two-~and only two--controls 7 which the cameraman uses to adjust his viewfinder picture on this Sarkes camera are located here on the back of the camera body. .i; -MORE- VIDEO AUDIO THE KNOBS ANNCR: As you can see, the knob on the right is labeled ”8" for brightness, and the other is marked "C” which is short for contrast. CAM. VIEWFINDER Adjusting the brightness and :l enters SHOT, manipulates contrast knobs will affect only knobs the picture on the viewfinder. These two controls operate in the same way as the contrast and brightness knobs on a home TV receiver and the cameraman can make adjustments to suit his own particular liking. CU - VIEWFINDER This metal frame is the viewfinder SUPER: VIEWFINDER HOOD hood. It acts as a shade to prevent the studio lights from casting a glare On the viewfinder screen. i CU - CAMERAMAN with headset One Of the cameraman's most Important tools is his headset. It is necessary to wear the headset at all times when Operating a camera. -MORE- VIDEO SLIDE: ECU - GUIDE BOOK in announcer's hands. CU - FRONT OF CAMERA CS - CAMERA ONLY SUPER: TALLV LIGHTS CAMERA is turned lBO degrees. ZOOM TO ECU - REAR TALLV LIGHT Cameraman points to it ZOOM OUT - TO INCLUDE ENTIRE CAMERA - Tally lights come on. TALLY LIGHTS OUT - FADE TO BLACK FADE IN ON... CU" - FOCUS KNOB Cameraman's hand ENTERS SHOT, points to knob. SUPER : FOCUS KNOB AUDIO Instructions in your guide book will illustrate where and how to plug your headset in. Since many programs use more than one camera, each is equipped with what are known as tally lights. On this camera, the tally lights are two red bulbs located at each end Of the rod on top of the camera. A third, smaller tally light is located here--directly under the viewfinder. The tally lights on a camera Come on automatically telling everyone in the studio when that particular camera is on the air. (PAUSE) To focus a picture, the cameraman uses this focus knob located on the right side Of the camera. (PAUSE) -MORE* VIDEO 0T5 SHOT - Cameraman, camera, IIAII and "BI! SUBJECTIVE SHOT - "A” out of focus SPLIT SCREEN Wipe in focus knob TILT UP TO "B” Cameraman's hand turns knob; "8” comes into focus. Camer man's hand turns knob; ”A" comes into focus. CU - FOCUS KNOB - and cameraman's hand Cameraman demonstrates AUDIO When a cameraman first lines up his camera on a subject, in this case the letter ”A“, he has to set his initial focus by turning the focus knob until he finds the point of sharpest focus. The cameraman focuses the more distant "B” by rotating the focus knob clockwise. Obviously, to bring the closer letter ”A” back into focus,_ things work in the opposite direction. By turning the focus knob counterclockwise, "A“ now has the sharper focus. A good way to remember which way to turn the focus knob is to think in terms of waving goodbye to a distant subject, and beckoning closer for a subject that's nearer to the camera. -MORE- ,4: VIDEO MS - CAMERA/CAMERAMAN ANNCR: Cameraman turns camera. CU - LENS ASSEMBLY Cameraman points out lenses. Rack to one-inch lens. SUBJECTIUE LS - SET SUPER: SHORT LENS - WIDE CU - LENSES - Rack to long lens 'SUBJECTIVE CU - Set SUPER: Long Lens - Close LENS ASSEMBLY BEGIN ZOOM IN MS - AUDIO Now, let's take a look at the television camera lenses. (POINTING) This camera has a group of individual lenses mounted on the front of it. Each of these lenses has a different length, and it is in terms of length in inches that we will refer to these lenses. For instance, the longest lens in this grouping is called a six-inch lens. (PAUSE) The shortest one--here--is known as a one-inch lens. A shorter lens will give the cameraman a wider shot of the subject-~(PAUSE)--and a longer lens will give the cameraman a 1 closer shot of the same subject without having to move either the'camera or the subject. All four lenses are mounted on this platform which is called a turret. [ -MORE- -10- VIDEO AUDIO ANNCR: This type of lens configuration SUPER: TURRET LENS ASSEMBLY is called a turret lens assembly. Because only one lens can be used at a time, the cameraman must rotate the entire turret lens A_. assembly--which means that the I position of this turret determines which lens is actually taking the picture. As you may already have fathomed, this position is called the SUPER: TAKING POSITION taking position. (9 O'CLOCK) CU - FRONT OF CAMERA On this particular model, the taking position is located in the left-center of the turret as you face the camera. In this case. the six-inch lens is in MS - FROM REAR OF CAMERA the taking position. As I said before, if the cameraman has to use a lens other than the one already in the taking position, he'll have to rotate the turret. -MORE' -I'- VIDEO AUDIO ANNCR: He does this by means of a grip handle located here on the rear of the camera below the viewfinder. CU - RACKING HANDLE This handle is called the turret SUPER: TURRET OR RACKING handle or racking handle, and the HANDLE action of rotating the turret from one lens to another is called-~you'll be happy to know-- racking. CU OF NUMBERS Each of these numbers represents a different lens on the front of the camera. The numbers represent --in inches--the size of the lenses mounted on the front of the camera. This small mark on the rear panel tells the cameraman which lens is in the taking position. In this case, the number six is lined up with the indicator mark, telling us the six-inch lens is in the taking position. -MORE- . Viv “mm ~..._.. -gz- VIDEO AUDIO CU - RACKING HANDLE ANNCR: To rack to a different lens, the cameraman will grip the turret handle like this, squeeze the Cameraman demonstrates. release bar on the inside of the handle gently towards him, and, . continuing to squeeze on the r~4 release bar, rotate the entire turret handle until the desired SUBJECTIVE cu - showing an number is lined up with the . ‘9 improperly racked image. indicator mark. If the lens has not been fully racked, you will have an incomplete picture in your viewfinder. CU - RACKING HANDLE/ The cameraman will also be able CAMERAMAN'S HAND to feel that the release bar has Demonstrating not come all the way back out. A slight rotating pressure on the turret handle will tell the cameraman if the lens has been fully racked and correctly locked into place. MCU - RACKING HANDLE] It's extremely important, when CAMERAMAN'S HAND racking from one lens to another, Demonstrating { -MORE- -13- VIDEO AUDIO ANNCR: to rotate the turret handle gently and to loosen your grip on the release bar slowly and smoothly when the new lens is lined up. A jerky movement which ”snaps" the lens into position may do damage to both the turret mechanism and the lens. Racking must be controlled, careful and deliberate. SUBJECTIVE CS - Out of focus, After the cameraman has racked then focus. to the desired lens, he must re-focus the picture to get it ready for the director to use CS - CAMERA UNIT - Cameraman on the air. This, then, is what strikes camera and walks out of picture. a camera equipped with a turret lens assembly can do. FADE TO BLACK FADE IN AND ESTABLISH CAMERA, This camera is identical to the THEN ZOOM T0 ECU OF ZOOM LENS. one we've just been looking at, except that it is equipped with a special type of lens called SUPER: ZOOM LENS a zoom. -MORE‘ -.q- VIDEO AUDIO CU - LENS ASSEMBLY ANNCR: This particular camera is somewhat unique in that it can be set up with a zoom lens and other standard lenses at the CS - ANNOUNCER NICAMERA same time. With most cameras, it's an “either-or” situation; either a zoom lens or a set of PAN - as Announcer walks turret-mounted lenses--but not "Backstage" both. The Sarkes camera is an exception. Although you'll be Operating both types of lenses in your course work, the zoom lens has become more and more .‘ prevalent through the television industry. OTS - COVER SHOT The main advantage of a zoom lens is that it lets us vary the image-size without racking lenses; a distant object can be ' made to appear to move SUBJECTIVE ZOOM IN DURING PAUSE continuously closer (PAUSE) and, contrariwise, a close object made to move continuously SUBJECTIVE ZOOM OUT farther away (PAUSE). DURING PAUSE -MORE- VIDEO CU - BACK OF CAMERA ANNCR: SUPER: ZOOM CONTROL ZOOM TO ECU OF P-P ROD SPLIT SCREEN SUBJECTIVE CU - "A” and cameraman's hand on zoom control. ’A' ZOOM AWAY Reverse action: 'A' ZOOMS lN Demonstrating MS - ANNCR. -15- AUDIO (POINTING) Like the other turret lens camera, this particular camera has a racking handle. The zoom control is this push-pull rod-- or plunger-~here on the racking handle. Using again the letter ”A” as our subject, notice what happens when the zoom control --or push-pull rod-- is manipulated. Pushing in on the zoom control rod ”pushes” the subject away. Pulling out on the rod ”pulls" the subject in closer. The speed of the zoom will depend on how fast... or how slow...the cameraman manipulates the zoom control rod. Did you notice that throughout the entire zoom range from widc shot to close-up the letter "A” was always in focus? -MORE- __-M_ fl... 4 (...-.4 -16- ANNCR: MS - CAMERA FOCUS KNOB Cameraman points to camera focus knob. CU - ZOOM CONTROL Cameraman points SUPER: ZOOM FOCUS ZOOM CONTROL AUDIO This was no accident. Here is how that was achieved. Just as with the turret-mounted lens configuration, the cameraman focuses his picture by means of the camera-focusing knob here on the side of the camera. With the zoom lens, however, he must use an additional focusing control. On the Sarkes Tarzian camera, the round knob used to control the zoom is also the focus control. Thus, we actually refer to this as the zoom focus and zoom control. Why two focus controls? Because we are thus able to focus on a subject and have it stay in focus whether we zoom in on it or away from it. -MORE- -‘7- VIDEO MS ' ANNCR. ANNCR: SUPERS: (WIPE IN AS CALLED FOR) I. ZOOM OUT 2. CAMERA FOCUS 3. ZOOM IN A. ZOOM FOCUS SPLIT SCREEN SUBJECTIVE CU - 'A' WIPE IN CU - CAMERA FOCUS KNOB AND ZOOM CONTROL - Cameraman's hand adjusts control Cameraman demonstrates. Demonstrates In-FOcus5ZOOm AUDIO There are four steps to remember: First, zoom out. Second, set the camera focus. Third, zoom in; and Fourth, set the zoom focus. To set the camera focus, zoom all the way out to the lens' widest shot...and then rotate the camera focus knob until the subject--the letter ”A"--comes to into sharp focus. Then, set the zoom focus, zoom all the way in to the tightest shot possible of the ”A" and then, with the zoom focus control this time, focus again, turning both clockwise and counterclockwise f until sharp focus is obtained. Once you've set both the camera focus and the zoom focus, your subject will be sharply defined throughout the entire zoom range. -MORE‘ ‘4‘..-““1‘3 _ "M’ ’ . I» I i.‘ . I i‘ i ,. _ .7. t ; 3. , I -.i . , l . If I l V .' i 9 n't. . I t ., . . - . a ‘,. I .' 1’ , . I ' \ , . VI. , . ‘ ' V . I I t ' .1 ' 'I .l COVER.- CAMERAMAN/ CAMERA Cameraman demos. Cameraman strikes the camera and walks out of picture. Announcer walks into picture. CS - ANNOUNCER/CAMERA Announcer points out the components as he mentions them. SUPER: CAMERA BODY Announcer moves o.s. PAN TO CS - CAMERA BODY, and FADE TO BLACK ANNCR: ~l8- (PAUSE) When striking the camera --which means shutting it down-- rack the apprOpriate lens into the taking position and replace its cap. (PAUSE) So far, we've seen the viewfinder, the tally lights, the headset, the focusing controls--as well as the different types of lenses and how they operate. All this relates to what we call the camera body. END PART III TIME:‘]‘I:22 APPENDIX-E SCRIPT: VIDEO TAPE SEGVIENT FOUR ("Pan and Tilt Head") 217 FT“ '1 11:11.1. nel_1I_ ‘ T PAN AND TILT HEAD - Tape IV VIDEO FADE IN ECU OF PAN AND TILT HEAD with SUPER OVER - SUPER: "PAN AND TILT HEAD” ESTABLISH AND... FADE TO BLACK FADE IN CU of cartoon-Strled rustic SIGN reading "Wicked Mitch's Castle" with arrow pointing left. ZOOM OUT AND ESTABLISH that sign is tacked to a tree - with other trees nearby. ANNOUNCER, wearing pith helmet, sunglasses, sneaks INTO SHOT, looks furtively around. Then, at taking camera... ANNCR: Announcer takes a couple slides from his pocket. He gestures ”crocodile jaws." Announcer reacts, looks fearfully around; then breaks character, takes off helmet and hangs it on a tree branch. He moves away from the tree. FADE IN JUNGLE SOUNDS AND MUSIC (British Accent) Hello! I say, you wouldn't be interested, would you in some lovely shots which I took of my native boys being devoured by crocodiles as we crossed the Nairobi Riverl? Got some beautiful color shots as the crocodiles... (LION ROAR) (Minus accent) Sorry about that. They made me do it--owing to my strong resemblance to Stewart Granger. *MORE- VIDEO MS - ANNOUNCER ANNCR: SUPER: PAN AND TILT HEAD PAN WITH ANNOUNCER as he takes a step one way, then the other. He steps. TILT UP AND DOHN slightly. PAN as announcer walks LEFT to a sign reading "PAN LEFTu” Cartoon-style sign is attached to a tree. Announcer walks RIGHT. PAN with him as he goes to--and stOps at another tree with attached sign reading "PAN RIGHT." TILT UP to sign hung in branches which reads: "TILT UP" AUDIO When working as a television cameraman, you'll find there will be many times when you'll have to aim your camera in various directions. (WALKING) Aiming the camera from side to side is called panning. (PAUSE) Aiming the camera up and down is called tilting. (PAUSE) If the director should say...”Pan Left”, this is what happens. (WALKING) If the director says ...“Pan Right", the camera is swiveled back to the right. If the director wants to center something on the screen that's, say, higher than my head, he'll say...”tilt Up." -MORE- lily. a ANNCR: TILT DOWN - SIGN at Anncr's feet reads: "TILT DOWN” TILT UP TO ANNCR. CAMERA ROTATES CAMERA STOPS ROTATING CU - PAN 8 TILT HEAD SUPER: PAN S TILT HEAD (CRADLE HEAD) CS - PANNING HANDLE SUPER: PANNING HANDLE AUDIO Now, what will the director say if he wants a shot of my feet?... (BRITISH ACCENT) Right! By jove, I think you've got it! (NO ACCENT) By combining the panning and tilting motions together, it's possible even to rotate the camera in a circular motion. (PAUSE; THEN FEIGNINGwDIZZINESSI' ...Okay. Okay, you guys. I think you made your point! (PAUSE) The piece of equipment on a televisioncamera which permits these up-and-down and side-to- side movements is called the pan and tilt head. (POINTING) This particular type is called a cradle head. This handle extending from the rear of the pan and tilt head is called the panning handle. -MORE- ‘X'JC (Av. 9“. .w- 1 - .r‘un 9v. ._-.. - .—_. u."— VIDEO AUDIO ANNCR: The cameraman uses the panning handle to control the camera's aim. MS - ANOTHER ANGLE When you first approach the CS - CAMERA camera, it should be in the locked down position. Therefore, CAMERAMAN DEMONSTRATES before you can operate it, you will have to uncap the lens. Then unlock and adjust the pan and tilt head so that the camera can be aimed smoothly and easily. There are two important adjustments the cameraman must make to unlock and adjust the CU - PAN/TILT CONTROL KNOBS pan and tilt head. You'll notice that on this side of the ‘ i cradle head there are three knobs. (POINTING) These knobs control the amount of tension, or, as we'll be calling It..drag, which is being applied to the moving sections of the cradle head. ‘MORE- VIDEO AUDIO ECU - KNOBS ANNCR: (POINTING) The large single knob located farthest away from the cameraman has been pre-set by the studio engineers and, for our purposes in this course, it should never be turned or adjusted by the cameraman. To do so could cause damage to the cradle head's drag mechanism. (POINTING) However, you will have to adjust these two concentric knobs located closest to the cameraman. ANOTHER ANGLE - CU This large knob nearest to the cradle head is called the SUPERJ 'TILT BRAKE KNOB tilt brake knob, and it controls the amount of vertical drag, or, in other words, the ease with which the tilt-up/tilt-down movement can be made. SUPER: PAN BRAKE KNOB (POINTING) This small protruding (Protrudes) knob is called the pan brake knob and adjusts to set the amount of horizontal or panning drag. -MORE- VIDEO Cameraman demonstrates clockwise-counterclockwise movements. Cameraman moves to rear of camera. CU - PAN BRAKE KNOB RESUME MS - Cameraman swivels camera. CU - TILT KNOB RESUME MS - Cameraman tilts camera. Demonstrating AUDIO On both knobs, a clockwise turn will increase its drag, and a counterclockwise turn will decrease it. Stand in the cameraman's position behind the camera and grasp the k“ pan handle with your left hand. With your right hand, rotate the pan brake knob-~the small _ r protruding knob--about one-half turn counterclockwise. The cameraman should now be able to pan the camera from side to side. Now turn the large inner knob-- the tilt brake knob-~a half-turn in the same counterclockwise direction. This releases the the tilt lock. You should now be able to easily move the camera body up and down. Once both knobs have been loosened approximately a half-turn, pan the camera left and right with the panning handle I -MORE- ' i VIBEB ANNCR: Demonstrating. cs - SUBJECTIVE SHOT of set. (JERKY CAMERA MOVEMENTS) CS - SUBJECTIVE - AS ABOVE (CAMERA FLOATS) AUDIO (PAUSE)--and adjust the pan brake knob until a slight drag is felt. Then, tilt up and down--(PAUSE)--and adjust the tilt brake knob until a slight drag is felt during this motion. Next, rotate the panning handle in a circular motion. (PAUSE) If the pan and tilt head is prOperly set, the camera body should rotate smoothly and you should feel a slight drag throughout the motion. With too much drag, you won't be able to aim the camera body smoothly and the picture will appear jerky. (PAUSE) If there is too little drag, control of the camera movements is extremely difficult because the slightest pressure on the panning handle can cause the picture to sway...like this! (PAUSE) -MORE- k: x _r‘ V ‘1 VIDEO l6 - CAMERA/CAMERAMAN SUPER: LOCKED-DOWN POSITION MS - CAMERAMAN/CAMERA - Cameraman turns camera l80~ degrees so that pan handle is nearest TAKING CAMERA. AUDIO Whenever a camera is left unattended, it must be capped and the pan and tilt head locked into what is called the locked- down position. That is, the , >_£ camera body is aimed so that I it's parallel with the floor, and the pan and tilt brake knobs '2‘ are turned clockwise, without forcing them, until‘the camera body no longer swings freely. Never force the knobs. This could strip the drag mechanism. (PAUSE) The panning handle itself is adjustable to suit different- sized cameraman, making it easier to control the camera body when it is in different positions. When making an adjustment to the panning handle, be sure to have locked down the pan and tilt head. -MORE- ; .1. III! ‘T j l \III)E() CU - HANDLE AND LATCH Cameraman demonstrates. “CU - PAN HANDLE Cameraman demonstrates . MS - ANNOUNCER in the ”woods.‘ BEGIN SLOW ZOOM IN... TILT UP and ZOOM INTO ECU of pith helmet hung on the tree. Then... SUPER: PAN AND TILT HEAD FADE T0 BLACK AUDIO The handle can be angled up or down by releasing this latch, (PAUSE)--setting the handle into the desired position, (PAUSE)-- then relocking the latch. The handle can also be adjusted for length. This is done by twisting the locking grip counterclockwise like this to release the extension section of the handle, moving the handle in or out to the length best for you, and then twisting the locking grip clockwise to relock the handle. That, then, is the pan and tilt head-~the device which permits the cameraman to aim the camera body in a variety of directions in order to follow the subject's action, and to get many different shots from a single position in the studio. (LION'S ROAR) END PART IV TIME: 7:50 APPENDIX F SCRIPT: VIDEO TAPE SEGMENT FIVE ("Crank—type Pedestal Mount ") -227 CRANK-TYPE PEDESTAL MOUNT - Tape v VIDEO AUDIO FADE INTO SUPER: "CRANK-TYPE PEDESTAL MOUNT" CS - ANNOUNCER - standing next to the camera unit. ANNCR: Let's now look at that part of a studio television camera which lets the cameraman moves the entire camera from one part of the studio to another. WIDEN 8 TILT ON. TO PEDESTAL (PAUSE) The unit Upon which the camera body and the cradle head SUPER: CAMERA MOUNT rest is called the camera mount. This particular television camera mount is called a crank-type pedestal mount. Announcer walks left and out of picture. Cameraman walks up to camera. 'Let's see how the cameraman CU - PEDESTAL Operates it and what it can do. The pedestal mount derives its name from this center column Points to the crank. or pedestal. The entire camera body can be raised or lowered with relatively little effort by turning this crank. -MORE- .n... ...... my?" . . r I , v. VIIDEBO CU - CRANK - As cameraman demonstrates. ZOOWQ BA£HR TCIIMS as... He demonstrates parts, movements. SUPER: STEERING HANDLE FS - ANOTHER ANGLE AUDIO A clockwise turn raises the pedestal--(PAUSE)--and a counterclockwise turn lowers it. (PAUSE) As you can see, this allows the camera body to be positioned at a variety of heights. In order to be moved around the studio floor, the pedestal has a wheel located in each corner of this triangular base. This handle, called the steering handle, is used to control the direction of the wheels to steer the pedestal in any direction. If the cameraman wants to steer the pedestal to the left, he turns the handle to the left. To steer to the right, the handle is turned to the right. (PAUSE) “MOREr . ..\, I=S Vioeg - Announcer "backstage" with a camera base tilted on its side. SUPER: STEER 3 COVER - CAMERAMAN/CAMERA Cameraman demonstrates. FS . ANNCR/BASE SUPER: STEER 1 AUDIO When the steering handle is turned to aim the pedestal in a desired direction, all three wheels here in the base of the pedestal turn to point in that direction. This synchronized steering of all three wheels is called steer three. Steer three gives us mobility and flexibility in changing the camera's direction. When the pedestal mount is set for ”Steer Three,” the pedestal will keep its same relative position no matter which way the wheels are turned. This relative position, however, can be changed by disengaging ”Steer Three” and going instead to what is called Steer One. ’MORE- \II[)E() Announcer demos. AMKR: COVER - CAMERAMAN/CAMERA He demonstrates. NS - ANNOUNCER \, CU - STEERING HANDLE - as \ cameraman demos. \, ECU - TRIGGER on HANDLE \ lie squeezes trigger. AUDIO (POINTING) In ”Steer One," only the rear wheel turns when we turn the steering handle. The other two wheels stay pointed in a single direction just like the rear wheels on a tricycle, and the whole pedestal base is steered very much llkg a tricycle. With ”Steer One,” the position of the base can be changed to line it up in any desired . direction. That's all wonderful, you say. Right? But, how do you go from ”Steer Three“ to ”Steer One?" (PAUSE) To do this, line up the handle, as you See here, so that the forward end points directly at the center of the pedestal-- (PAUSE)--then squeeze this trigger under the steering handle. -MDRE- i! 1 F5 VIDEO " CAMERAMAN/CAMERA Demonstrate. ANNCR: AUDIO (PAUSE) If you later want to return to ”Steer Three,” you simply line the handle up again and release the trigger. When moving_any pedestal mount, there are a number of important things to be kept in mind: For example, always keep one hand on the panning handle so that the camera body is under control and not inadvertently aimed at the studio lights or bumped into something. Also, before moving the camera, the cameraman must make sure he has enough cable to reach the new position, and he should arrange the cable in such a way that one: it won't be in his way when he's actually making the camera movement, and two: it won't be seen in your picture or get in another camera's shot. -MORE- m 1 m I -.u.i.c .‘llr '1‘ I‘l. _m VIDEO SUBJECTIVE SHOT - of a girl who moves according to AUDIO. DOLLY IN Then... DOLLY BACK SUPER: DOLLY (IN OR OUT) REPEAT DOLLY IN DOLLY OUT FS - DEMO CAMERA/CAMERAMAN Sets handle direction. AUDIO There are two basic camera movements that you should know for now. The one you're seeing right now-~where the camera moves directly to the subject'- or away ELSE the subject-~is a move called a Dolly. When the director says ”Dolly in,” the camera is moved forward and the subject grows larger on the screen. When the direction is ”Dolly Out” or "Dolly Back,” the camera moves away from the subject, which gets smaller. To perform a dolly, the cameraman, keeping his left hand on the panning handle to control the camera body, places his right hand on the steering handle and positions the handle for the direction in which he plans to go. -MORE' VIDEO Pushes camera forward. ANNCR: Hand on focus knob. Cameraman demos dolly back. AUDIO He then gives a push to set the pedestal in motion. Once the camera is moving, the cameraman switches his right hand back to the focus knob in order to keep the subject in focus as the distance between it and the subject changes. Because the cameraman is dollying in, he'll have to turn the focus knob counterclockwise. To dolly-back, or dolly-out, the cameraman pulls on the steering handle with his right hand and, once the mount is moving, switches back to the focus knob--this time turning it clockwise to keep the subject in focus. -MORE- ' "rat—J..- VIIDEEO Dolly-back stops MS - TRUCKING withnyrl SUPER: TRUCK(ING) (Left or Rig-ht) TRUCK BACK WITH GIRL CS - STEERING HANDLE-'85 cameraman's hand ENTERS SHOT, turns handle PULL BACK TO MS as cameraman begins trucking ANNCR: AUDIO The other basic camera maneuver you must know is called a truck...or trucking...which, as is a sideward you now see, movement of the camera in relation to the subject. To truck right, the cameraman aims the handle in the direction he wants the camera to go. To initiate the move, the cameraman pulls on the handle with his right hand. As with the dolly movement, the cameraman must keep his left hand on the panning handle to control the camera's aim and to prevent bouncing and jerking while the camera is trucking. -MORE- VIDEO Cameraman stOps, then trucks left OTS - CAMERAMAN/CAMERA, MODEL DOLLY TO CU DOLLY TO CS TRUCK RIGHT TRUCK LEFT AUDIO To truck left, simply move the pedestal in that direction. (AS HE TRUCKS) If the camera remains the same distance away from the subject as when it started, the cameraman should not have to worry about setting focus during the trucking move. (PAUSE) Again, the two basic camera moves you should know for now are the dolly and the truck. The director's instruction to "Dolly In” means a movement closer to the subject. "Dolly Out” or ”Dolly Back” indicates a movement away from the subject. For trucking, the director's commands are either ”Truck Right”... ...or ”Truck Left." -MORE- . -1; ' = ‘ ‘-'r"-"'ti-:~':zxszr.-7‘¢r.:~s .—. ...... I , _fi . -10- VIDEO AUDIO : Backstage, Pedestal This, then, is the crank-type pedestal mount and the basic moves that can be accomplished with it. icer turns crank as... ’0 ECU of crank. OVER: CRANK-TYPE PEDESTAL MOUNT 0 BLACK END - Part V TIME: 7:50 fl‘. a... J. latel'rr ahikj. APPENDIX G SCRIPT: VIDEO TAPE SEGMENT SIX ( " Count erbalanced Pedestal Mount ") 238 COUNTERBALANCE PEDESTAL - Tape VI lHDEO CS ANNOUNCER WITH PEDESTAL in FOREGROUND - Cameraman at pedestal with weights exposed. SUPER: COUNTERBALANCED PEDESTAL ZOOM OUT to MS Cameraman adds a weight. Cameraman demos RESUME AS ABOVE FADE TO BLACK FADE IN ON cu of LOCKING PIN SUPER: LOCKING PHD AUDIO This is another type of camera mount you'll be using both in your course work and in the television industry. It's called a counterbalanced pedestal mount. (OPENING SIDE TO REVEAL WEIGHTS) The pedestal on this type of mount is counterbalanced with lead weights so that the cameraman can raise or lower the entire camera body smoothly and with relatively little effort... thereby permitting a variety of camera heights. When not being used, the pedestal mount is kept in a locked-down position by means of (POINTING) this spring-loaded locking pin. -MORE- .l..‘ .L* 'mi) .0 VIDEO Cameraman demos ECU LOCKING RING SUPER: LOCKING RING MS - CAMERAMAN/PEDESTAL Cameraman demos ZOOM OUT TO FS SUPER: PEDESTALLING UP/DOWN Cameraman demos ANNCR: AUDIO Before the pedestal mount can be used, the cameraman must first unlock it. (DEMO) This is done by pulling the locking pin out about an inch, then rotating it 8 quarter turn in either direction and releasing it. This small inner ring also acts as a locking device and must be tightened down when the camera is not in use. (DEMO) To loosen--or unlock--the ring, turn it counterclockwise. The pedestal column can now be raised. When the pedestal is at the desired height, a clockwise turn of the ring will tighten it and lock the pedestal at that height. Raising and lowering the pedestal column is called pedestalling up and pedestalling down. -MORE- . -d’ VIDEO MCU - STEERING WHEEL - Cameraman demonstrates raising and lowering MS - CAMERAMAN - Puts foot on corner CU - STEERING WHEEL SUPER: STEERING WHEEL ECU - ARROW WIDEN TO INCLUDE PEDESTAL ARROW AUDIO When making these moves, the right hand should remain on this steering wheel in order to bring the pedestal to a smooth, controlled stop--thus preventing a jerky halt when the desired height has been reached. This mount also has wheels located in each corner of the base so that it can be moved around on the studio floor. (RISING) This large outer ring is called the steering wheel and is used to control the direction of the wheels. A triangle here shows the cameraman which way the wheels are turned. To go from ”steer three” to “steer one” on this type of mount, the wheel- direction triangle on the steering wheel must be lined up with Ehl2_ triangle located on the side of the pedestal itself. -MORE- VIDEO CS - PEDESTAL BASE SUPER: STEER l/STEER 3 CU - BUTTONS Cameraman's foot depresses left button ZOOM BACK TO MS Cameraman indicates corner Demonstrates returning to "Steer Three" CU - TRIANGLE CU - BUTTONS BEGIN ZOOM IN TO CS OF STEERING WHEEL ANNCR: AUDIO The cameraman then uses these two buttons on the base of the pedestal mount. The button on the left is labeled Steer One, and the one on the right is marked Steer Three. Because, in this case, the steer three button is depressed, all three wheels turn when the steering wheel is aimed. When the cameraman steps on the steer one button, only one wheel is now under control. That wheel is located on the corner of the base immediately to the left of the steer one button. The base will now steer like a tricycle. To get back into ”Steer Three," simply line up the triangles again and step down on the steer three button. The steering wheel operates much like the steering wheel on an automobile. The difference is that it is to the floor and never has parallel to be rotated more than half a turn. ~MORE' “u -.. . VIDEO AUDIO CS - ANOTHER ANGLE - WHEEL As with a car, you turn the steering wheel in the direction you want to go. MS - (HIGH ANGLE) - OTS For a dolly-in, aim the triangle on SUPER: DOLLY the steering wheel at the subject towards which you plan to move. Keep the left hand on the panning handle to control the camera's aim and, with the right hand, give a push on the steering wheel to set the pedestal in motion. Once the camera is moving, switch the right hand to the focus knob in order to keep the subject in focus as the distance between it and the camera changes. (STOPPING) To stop the pedestal, the cameraman eases up on his forward pressure so that the camera will halt at a desired distance from his subject. To dolly-back, or dolly-out, a pull on the steering wheel sets the pedestal in motion and the right hand is again free to return to the focus knob. -MORE- VIDEO ucu - TRIANGLE/STEERING WHEEL SUPER: TRUCK OTS - FS Demo Cameraman stops truck right. Trucks left. MS - ANOTHER ANGLE AUDIO The other basic camera maneuver, you'll remember, is the truck. To perform this maneuver, move the directional triangle toward the direction you desire to go. In this case, the cameraman will truck right. A pull on the steering wheel with the right hand sets the pedestal mount in motion. During all movements, the left hand on the panning handle controls the camera's aim and makes sure the picture does not bounce or jerk. To truck left, from this position, simply reverse the direction by a push rather than a pull. The wheels are already lined up. (WHILE TRUCKING) If the camera remains the same distance away from the subject throughout the truck, the cameraman does not have to worry about setting focus as he performs this movement. -MORE- ANNCR: Demonstrate FADE TO BLACK FADE IN - Anncr. with studio in the background. Talent at desk, Floor Director talking to him. Model camera to camera left. CS Anncr. walks out of shot. Floor director walks back to model camera, gives stand-by hand signal - cues the talent. FADE TO BLACK FADE IN COVER Lights have been dimmed. Anncr. taking offifis mic. Director comes out of control room, shakes anncr's hand; they both get out cigarettes. Strike activfities going on In background the entire time. AUDIO Again, the two camera moves you should know for now are the dolly ...and the truck. Hands-on experience in the studio will assist your understanding of the terms and operation of the studio equipment you have seen in this brief introduction of television at MSU. FADE IN MUSIC WHILE STILL IN BLACK -MORE- VIDEO FADE IN CREDITS - SOFTEN FOCUS ON TAKING CAMERA. ROLL CREDITS: Narrator Dick Snoke Written By Lawrence W. Brown Thomas U. Foster Richard E. Snoke, Paul Witkowski Produced By Thomas U. Foster Directed By Paul Witkowski Produced for the Television-Radio Department In Cooperation With IMC/ITV Michigan State University HOLD ON LAST CREDIT FADE TO BLACK End Time -8- AUD IO (MUSIC CONTINUED) MUSIC OUT Part 6 7:00 APPENDIX H GUIDEBOOK 247 '1 GUIDEBOOK Equipment Operation /D A GUIDEBOOK TO BASIC TELEVISION EQUIPMENT OPERAUON Prepared for the Television and Radio Department Michigan State University by Thomas U. Foster Illustrated by Wilfred Veenendaal Associate Professor Instructional Media Center East Lansing, Michigan 1972 FORWARD Typically, students entering a basic television production course have many different levels Of knowledge and competence in television equipment Operation. Further, once the production phase of such a course begins, any initial knowledge gap between students almost always widens. Since television production is a highly interdependenteffort, weaknesses or difficulties experienced by any one member of the student crew reduces the quality Of the learning experience of all other crew members. In order to minimize this learning gap, as well as to ensure that all students have the basic minimum knowledge about the Operation Of equip- ment and the responsibilities of all crew members before the production phase begins, an instructional introductory unit has been developed. It consists of this guidebook, a series Of televised lessons ("Introduction to Television at MSU"), and several immediate feed-back diagnostic tests. In addition, the pre-test ambled both you and the Television/ Radio Depart- ment to determine your prior television knowledge; it also told you the kind Of information to be covered in this introductory unit. A post-test will also be given at the conclusion Of the unit in order to evaluate your knowledge at that time . This guidebook was not designed to replace a textbook or to be used by itself. Instead, it is an intregal part Of the introductory instructional unit and as such contains information that will: 1. Reinforce and clarify the material contained in the televised lessons; 2. Supplement the material provided in the televised lessons. This includes information you will need in your production exercises but which was not included in the televised lessons. After you have viewed one of the televised lessons, study carefully the corresponding section in the guidebook, as well as the glossary. This approach should provide you with sufficient basic information about tele- vision equipment and personnel responsibilities that your production ex- periences will be greatly enhanced. Once you have actually begun the production aspect of the course, this guidebook can then be used as a reference source. SECTION 1: (Yellow) SEC TION 11: (Green) SECTION 111: (Pink) SEC TION IV: (Blue) SECTION v: (Golden Rod) SECTION VI: (White) TABLE OF CONTENTS OVERVIEW Diagram Of Overall Television System Control Room Crew Members Studio Crew Members Hand Signals CAMERA AND CAMERA OPERATION Some Reminders for Cameramen Headset (Intercom) and Connectors Parts Of the Camera Lenses Pan and Tilt Head Crank Type Pedestal Mount Counter Balanced Pedestal Mount Basic Camera Movements RCA TK-OO SWITCHER Switching Panel at ITV Examples Of Switching Operation PROJECTION Studio A - Instructional Television Service Studio B - Instructional Television Service TELEVISION SCRIPT FORMAT GLOSSARY riszi-d 12 15 16 17 18 19 20 21 23 24 25 \Hl.,"|lll. I, ‘Illlllll. I'll" .‘ “_A#_“—hh-_-‘_—- h‘ _ 1.. Wm a “Lei 283858 N532 . . __ mm Scum 52o: . . - Amcozzm // «...... _, N lea. .N lea. / .../4r nuke. i as r/ / \sx \\ _ / / / . \\ \ \ .L. / / s .\ A // / 5:529: \ \ _ . \ / /. .\ / // / \ \ // \ /... \ I/ . Eécos. .. .. oz :5 Jr , Cm. 9%. . 146/. 0 85 KM», .f/ . =35 5.: , . /M /I r/ . Egan-u Emhm>m onmH>m._u.— ..._<~_m>o ...o .2555: RESPONSIBILITIES OF A TV PRODUCTION CREW Control Room DIRECTOR 1. Coordinate and control all production elements during taping or live broadcasting. 2.- Select apprOpriate picture (video) and sound (audio) to go out over the air at the right time. 3. Communicate with all other crew members during production via: a. Headset or intercom. b. Hand signals. c. Direct voice contact (control room only). 4. Utilize basic tools or aids (aside from production equipment): a. Script. , b. Special clock or stop watch. c. Monitors (for each video source as well as the line monitor). SWITCHER (Technical Director or ”T. D. ") 1. Operate the electronic switcher on command from the director. 2. Be alert to both the director's instructions and the actions of other crew members. 3. Know what is on all monitors--particularly what is on the line (i. e. , that which is being transmitted or taped). PROJ EC TIONIS T 1. Load correct film and slides into the projector properly and ready them for use. 2. Operate the projection equipment on command from the director or when called for in the script. 3. Rewind film and unload slides after production is finished. AU DIOMAN 1. Set up and test all microphones to be used in a production. Ask for audio check before the production begins. 3- Select the right sound, at the proper level, to accompany the picture being fed to the line. Ride gain on all audio sources during a production. Operate turntables and tape decks used during a production. Strike all audio equipment used during the production. N PM ' fl" RESPONSIBILITIES OF A TV PRODUCTION CREW Studio FLOOR DIRECTOR 1. Act as the link between thedirector and the studio talent. a. Establish a friendly, comfortable atmosphere for the talent before and during the production. b. Communicate to the talent exactly what is expected of him and how he can carry out these expectations. c. Keep talent informed Of what is going on in the studio and control room, including the reasons for delays, etc. 2. Communicate the director's instructions during production to the talent by means ‘Of hand signals or cues. 3. Coordinate the studio crew members during production so that the studio operates smoothly and efficiently. a. Be alert and anticipate potential difficulties or problems. b. Take necessary steps to alleviate potential problems. 4. Take charge of both set up and strike activities in the studio. a. Make certain all production elements are present and correctly placed for use by talent and/or crew members. b. Make certain all production elements are put away after production and that the studio is left clean and orderly. LIGHTING DIRECTOR (may also be one of the other crew members) 1. Plan out the amount and type of light needed for production. a. Select the specific lighting instruments needed for the production. b. Arrange them properly on the grid. c. Operate the lighting board during production if required. 2. Strike all lighting instruments following production. CAMERAMAN 1. Obtain well composed picture or shot according to the director's instructions and have it ready when needed. 2. Operate camera with care so as to avoid unnecessary damage. a. Avoid aiming camera at lights which can damage or "burn” the sensitive electronic components. b. Be aware of the presence of set pieces and camera cable, etc. _._ Am LAA-‘JAM ; *1 a r l 1' . J , 1 I . t. . ' . ' : ctlon . \ . [I | F P..-N...H- w . . ‘ t I 5 minutes ---“m ‘ 'w 'l'a"I-*- "II " 'I.'III 1y ‘ - ‘2 Lg? c . ~q.~-_--\- I —— . fii‘ w 'v vvw'w—w—w-’ w 4 minutes 3 minutes -2 minutes 1 minute .( W] E w ..--11 i 30 seconds 15 seconds-or CUT .' '. '. i wrap up = .... SOME REMINDERS FOR CAMERAMEN Always wear a headset when Operating a TV camera so that you are continuously in direct communication with the video engineer. Before uncapping a locked-down camera, get clearance from the video engineer. The only camera body controls to be adjusted by the student camera- man are the viewfinder brightness and contrast controls, the focus knobs, the intercom level, and the lens turret controls. (All others will be pre—set and/or adjusted by the video engineer.) Once you have unlocked the pan and tilt head, keep one hand on the panning handle so that the camera body is under control at all times. If you must leave the camera, re-lock the pan and tilt head. In order to avoid electronic damage (known as "burn-in") to the sensitive (and expensive) pick-up tube: a Do not aim a camera directly at a light source. b. Do not allow a focused camera to be left locked down on a scene for a long period of time (2 minutes or more). Be especially careful when the camera is focused on high con- trast mate rials, such as "supers. " Provided that your camera is not on the air, either defocus the lens until needed or rotate the camera body in a circular pattern with the panning handle. ‘ In order to change lenses: a. Squeeze the release bar on the racking handle so that the lens turret rotates freely. b. Turn the racking handle until the desired lens size, as indi- cated numerically on the back- plate, lines up with the indi- cator mark above the back-plate. c. Release the handle gently--do not allow the lens to ”snap" into place. HEADSET (INTERCOM) AND CONNECTORS (Sarkes Tarzian Camera) .13 , .2 THE SARKES TARZIAN CAMERA: 3 MAIN PARTS Pan and Tilt Head Camera Mount (Crank Type Pedestal Mount) BASIC CAMERA PARTS (Sarkes Tarzian Vidicon Camera mounted on . a crank-type pedestal and a cradle mount) ‘4 _.A A... -—-_A.A———-¢ — .- . Turret handle (or racking handle) . Zoom focus and zoom control . Tilt Brake Knob Pan Brake Knob . Pedele Steering Handle 6. Trigger to engage Steer 1 7. Tally Lights 8. Camera Focus Knob. " 9. Pedestal Elevation Crank 10. Panning Handle SARKES TARZIAN CAMERA BODY (Rear View) Tally Lights \ O , Turret (ROCki ) Handle \. Zoom Focus \ W / and Zoom Control ‘ ®‘\ 3 (D Egg?“ Contrast LLQ—gx Knob Brightness .I‘jiilk SARKES TARZIAN CAMERA BODY (Side View with Interior Components) _mn _l 1 T Viewfinder Hood Pick-up Tube Viewfinder (actually a small TV screen) f"*_1j' nses l (Vidicon or Image Orthicotr~—\___._ _4 l ET 1:: ___— SARKES TARZIAN CAMERA BODY (Front View) Turret mounted lens assembly with four "standard" lenses , Taking Position (9 o'clock) j 12 THE LONG AND THE SHORT OF LENSES (The Effect of Long and. Short Lenses on a Subject) A‘_ _A. I)! Thelongerthelens, the more magnification .......... i. e., the subject appears closer. viewfinder l The shorter the lens, viewfinder _4 N the less magnification ........... i. e., the subject appears w— farther away. ww-fi‘ '— CAMERA FOCUS (Standard Lenses) q—M \ .3 focus knob :3) 3 P :3 ..__._>. 6"" as camera and subject move closer together as camera and subject move further apart l4 SARKES TARZIAN ZOOM FOCUS AND ZOOM CONTROL zoom out > ,- Turret __.__._.___._.._.. r/«a’ Handle zoom in zoom focus and zoom‘ control I j I \- To Fodus I - (end view) O\_ .fi/f‘\\ ' \ / \ \ \ To , Camera focus mem on Sarkes Tarzian Zoom Lens: 1) Zoom out to widest (82 0t by pushing zoom plunger in as far as possible; adjust camera focus. ) 200m in to tightest shot by pulling zoom plunger all the way out; Wocus . [full ‘1' I‘ll! Till I'll III A "I' 15 22:3 8 8328.0 5:: 592 88.5 can. .m 8.2 885:: e 22:32 533 .m 22:33. 292 .2 :33 .N 225: @555 A CRANK-TYPE PEDESTAL MOUNT sgaQ Pedestal Elevation ‘00 Crank Steering Handle Tr igger to engage Steer 1 Steer 1 a?) c> COUNTER BALAN CED PEDESTAL MOUNT 17 ' Cm-.. “‘A‘M so" - now—.4...” a a «.1 "P \ Steering Wheel Q\~ ;\ ‘ Locking Ring To tighten - " '(O -+- Locking Pin F: M\ i Steer l i . “‘M -.'("" Wmmmwww W's-”m..."- -‘§U~O A ....“ H - - —‘ w _w — 1—.r~ u—vv-—-‘. r—vv 'I‘v—rr v ‘7— fi—w fi- . Lllvl’lr is . BASIC CAMERA MOVEMENTS 18 1. Pedestal Up 2. Pedestal Down 3. Pan Right I ' 5. Tilt Up 9. Truck Right 6. Tilt Down 10. Truck Left 7. Dolly In & Dollquut (or Back) i l' l 'I i i . switch 37 I - 1 9 RCA TK-60 CAMERA r—~—-‘. -- ~~ --...~ ......— .....m ...—... mi. . Front View _ l I l (:9 . . I Taklnngng -_l Tally Light Tally Lights Viewfinder Electronic capping Turret Handle When this type camera is fitted with a zoom lens, NEVER RACK THE LENS. 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Oognotom on. ado maoflouomo msfiofikm memn EOE £9,95me .efiso Mann :m: noon.“ ozone: :m: was .an Mano. :<: wows 023w: :4: .5235“; S ...m: no 39: 23 use :<: so “snow on”. .NO 3233 soflwmomfiwiuoma m 3269a Augean :m: use :5. 23 doogofl soflmuomivwfi .25. Jason :m: 05 cm magma .333 Moon :3. on» So woven Vanda :4: 2.8.3 3.23.3 oven 2: E... .... .. noom .osofisn No meson Nodenea 93 on: 333 one: when” 308.3 3 mosses cop? one 35333 scrub . O on”. SE»? venomooov manage mchfiBn Ommmm mogmmm ZOHmH>m4E ._ TITI.DII Ill EI’.‘ '3‘!‘O\I"$Iflfl' Jib!» IN“ | FILM PROJECTOR PATH STUDIO B 1.: .rx 0" o‘clnlf ,0. .0) -‘O‘ll- :‘-.. {HnI‘I'TOIJ -‘ ..- a- U D W‘tmmv-q' 1..-ow. ‘- - .-.--."- 25 TELEVISION SCRIPT FORMAT VIon CARD: "SCRIPT" MS NARRA TOR AT DESK SLIDE: "SLIDE IS. . . " C U NARRA TOR ANNCR: NARR: AUDIO ”Script, " a thrilling look at the words behind the scenes, begins with a card-- described under "video"--and these words of mine—-under "audio. " When I take over, capital letters introduce me. If you want to tell me something, use caps for that too. (PAUSE) But, let's see a slide. (SNAPS FINGERS) A slide is from the film chain, so you have to give the director a video cue--over on the left--that tells him where the next picture is from and what it is. When no other instructions are given, as in this case, it is assumed that studio cameras are being us ed. Back again! So far, all video cues are considered cuts because there's no other instruction. If you want the switcher to do something different, specify it on the left. -MORE- . J.,—“f" " $1 v41, F. .I.’ .1! VIDEO SUPER SLIDE: ”NEMO" NARR: ANNC R: SUPER OUT DISSOLVE CARD: "SC RIPT " FADE TO BLACK -END- 26 AU DIO That's the way to get a super. And have you noticed all along that the video is lined up with the audio that accompanies it? Now, here's your announc e 1‘ . Your narrator has been Mr. Nemo. Let's take the super out. . . dissolve to the title card and end the above. GLOSSARY I It..- III. I .III I’Ai IJJI..T Anncr. (or Ann. ): Aspect ratio: Audio: Bank (or Bus): Black: Burn-in: Bus (or Bank): Camera: CCTV: Close-up: Contrast: Control Room: C over shot: C radle head: CU: Cue: Abbreviation for Announcer. Height and width of a television picture: three units high and four units wide. Electronic reproduction of audible sound. Audio refers to the sound accompanying the "video" or visual portion of a television program. Rows of buttons on a video switching panel. Darkest part of the gray scale; ”to black" means to fade the television picture to black (i. e. , to no picture). Image retention of the camera pickup tube; if a camera is focused too long on an object with strong contrast, the picture tube retains a negative image of this object although other object is being photographed. See Bank. (1) TV camera body; (2) the entire camera unit (camera body, pan and tilt head, and camera mount) is also referred to as the camera. Lens cap; cap placed over the taking lens when the camera is not in use to keep light away from the pickup tube; also an electronic device that eliminates the picture from the camera pickup tube. Closed-circuit television. Camera shot in which object or any part of an object is seen at close range and framed tightly. Contrast between black and white in a TV picture. Room, adjacent to the television studio, from which the program is coordinated. Wide-angle shot giving basic orientation of place and action; covers a great area. Cradle-shaped pan and tilt head. Close-up. (1) Signal to start action; (2) White or black dots on film, indicating the end of the film. .— u.—.m_______ A“ ._ Dimmer: Director: Dissolve: Dolly: ECU: Es s ential area: Establishing shot: Fade: Feed: Film and Slide Chain: Floor: Floor director: Floor Men: Focus: Follow focus: Located on the lighting control board; controls the brightness of the studio lights. I Coordinat O of all production elements during the on-the-air telecast or taping. Gradual transition from one picture to another whereby the two pictures overlap briefly. Moving the camera toward (dolly in) or away (dolly out or back) from the object. Extreme close-up; same as XCU. Picture area that shows on a home receiver. Orientation shot, usually a long shot. (1) Video: picture either goes gradually to black (fade to black) or appears gradually on the screen from black (fade in). (2) Audio: decrease in volume. Signal transmission from one program source to another, such as a network feed or a remote feed. (Usually shortened to Film Chain. ) Entire unit through which motion picture film and slides are shown. Usually consists of motion picture projector, slide projector, small TV camera and a system of mirrors. (See Multiplexer. ) Studio, or studio floor. In charge in the studio during production; a vital link between the director and talent; cues talent, and supervises all floor activities during telecast; also called floor manager or stage manager. Studio production crew in charge of setup, set dressing, and other important production jobs during the telecast; also called stage hands, facilities men, or grips. Picture is in focus when it appears sharp and clear on the screen. Rotating the camera focus control to maintain a sharp image while following a moving subject. VP. katv¥l..rfl<flw§hulf¢fi .1... .C! .II .. .JII....PM.\...: . .. . . ,. \w (13‘ ..fim. “9....UE}..I 1),}. ”IN . .HerJJ a .I‘ )1 n5..tm\..\.r.i. ...»I. ...I 1. 31.IIO|AIHNI.J..IIIIII.J n IIIIII |.IIIVI.I-. I .L.. .. I: . in. .sl! ) ..kuitwumunflrm .... VIII .-IIIII IFIII!IIW§P).IIII IONIIJI7 ‘v.. 0' . ,UIL Gain: Go to black: Grid: Group shot: Image-orthicon: Intercom: l-O: ITV: Lens: Lens turret: Level: Lighting C ontrol Board: Light level: Line monitor: Maste r monitor: Monitor: Level of amplified sound; ”riding gain" means to keep the volume at a proper level. Picture is gradually faded out; same as fade to black. A metal frame or tracks hung from the studio ceiling on which the majority of the studio lights are mounted. Camera framing to include a group of peOple. Very sensitive type of camera pickup tube used in the RCA cameras on campus. Intercommunication system among studio and control room personnel. Headsets are part of intercom system. Image-orthicon. Instructional television. Optical lens, essential for projecting an image on the television pickup tube; lenses come in different sizes. Round plate mounted on the front of a camera holding up to five lenses. The turret rotates so each lens can be moved into the "taking position. " (1) Audio: voice level (volume). (2) Video: white and black picture level, measured in volts. Consists of dimmers, switches and patch panel and is used to Operate and control the studio lights. Light intensity or amount of light. (sometimes called Master monitor.) Monitor that shows only the picture that is going out on the air or to the video tape machine. See Line monitor. (1) Television receivers connected to each video source and used in the television control room; (2) Loud speakers used in TV control room for program sound; (3) TV receiver in the studio showing the same picture as the line monitor. Multi plexe r: Pan: Pan and tilt head: Pedestal: Pickup Tube: POT: Producer: Ra cking: Racking handle: (Tur ret handle) Script: Set: Set up: 1 6mm motion picture film: Stretch: System of movable mirrors or prisms that directs images from several projection sources into one stationary television camera. Part of the film and slide chain. Horizontal turning of the camera body. Swivel base upon which the camera body is mounted. Allows the cameraman to move the camera body from side to side (pan) to aim it up or down (tilt). Type of camera mount that permits a raising and lowering of the camera. Sensitive electronic tube inside the television camera body which receives the image seen by the camera's lens and converts it instantaneously into electronic signals which reappear as a picture on a TV screen (e. g. , Image-orthicon (1-0) and Vidicon). Potentiometer; volume control knob or fader lever on audio control consoles. Creator and organizer of television shows; usually in charge of all financial matters. Rotating one of several TV camera lenses into the taking position. Squeeze-grip handle on a turret camera, located on the rear of the camera body. Used by the cameraman to rotate or rack desired lens into the taking position. Specifies what words, pictures, sounds and actions should occur in a program, and how long each indi- vidual part of the program should last. Arrangement of scenery and prOperties (props) in a television studio. Preparation of the studio before the actual production begins. The common size film used in film and slide chains. Slow down. Strike: Super: Switcher: Take: Take-up Reel: Taking position: Talent: Tally light: Tape: 35mm (or 2" x 2") slides: Tilt: Truck: Turret i 1 Disconnect, dismantle, and put away all equipment and props used in the studio after the production is finished. Superimposition; simultaneous showing of two or more full pictures on the same screen. Same as mid-point of a dissolve. (l) A panel with certain buttons that allows switching from one video source to another. (2) Crew member who is Operating this piece of equipment. Instantaneous switch from one TV picture to another. Reel that takes up film or tape from the supply reel. Must be the same size as the supply reel in order to maintain prOper film or tape tension. The position on the front of the camera body which determines which lens is actually taking the picture. Sometimes called "on-the-air lens" position. Collective name for all television performers and actors appearing in a TV production. Small red light or lights on the camera, indicating when the camera is on the air. Plastic ribbon, approximately 1/1000 inch thick, varying in width from % inch to '2 inches; one side is coated with iron oxide (dull side); it is used to record magnetic impulses from video or audio sources. Technical director; in charge of technical studio crew. Usually does the switching during a telecast. Also called switcher. The common size slide used in film and slide chains. Pointing the camera up or down. Lateral movement of the camera dolly and camera. A rotatable metal plate located on the front of a camera body to which the camera lenses are attached. Commonly, four different size lenses are mounted on it. One of the two basic lens configurations used in television. The other is a zoom lens. Video: Video tape recorder (VTR): Vidic on: Viewfinder: VU meter: Zoom: Zoom lens: Picture portion of a telecast. Electronic recording machine that. records and plays back television programs or portions of programs. Special camera pickup tube that is less sensitive but more durable than the LO tube; frequently used in closed-circuit operation and in television film chain cameras. Used in Sarkes-Tarzian as well as Sony and other small TV cameras on campus. Small television set on the back of the camera in which the cameraman can see the picture he is photographing. Volume Unit meter; audio meter indicating the volume level of sound. To operate a zoOm lens. Single lens which can be used to make a subject farther away from the camera appear to come continuously closer and, conversely, a close object more continuously farther away. One of the two basic lens configurations used in television. The other is the turret mounted lens assembly. ...I.|l|||. APPENDIX I STUDENT ATTITUDE QUESTIONNAIRE 287 Instructional Unit Analysis Questionnaire (Instructional unit" refers to the entire package of pre and post-test. video tapes, and the guidebook.) Were the objectives of the instructional unit clear to you? F l 2 g 3 f 4 5 6 - Ambiguous Clear Did the instructional unit attract and hold your interest? 1 2 3 4 5 ' 6 , Dull Interesting Did the instructional unit build on your previous knowledge, skills or experience? I Z 3 4 5 6 U nrelated Related Was the subject matter presented in this instructional unit appropriate for your present level of training? 1 2 3 4 5 6* _fi Inappropriate Appropriate Did the content of the video tapes and the guidebook relate directly to the main objectives of the instructional unit? I 2 3 4 5 6 U nrelated Re latéd Was the content presented in a well organized, systematic pattern? 1 Z 3 4 5 6 Disorganized Organized Were the important ideas or procedures clearly emphasized? l 2 3 4 5 6 Vague Clear Did the instructional unit attempt to present too much material to be learned at one time? 1 Z 3 4 5 6 Too much material Too little material 10. ll. 12. 13. 14. 15. Were new facts, ideas, terminology, or procedures introduced at a rate which permitted you to learn them? 1 Z 3 4 S 6 Too slow Too fast Did the instructional unit provide for adequate repetition of the important content? (e. g. , repetition with variation, exact repetition, summaries, outlines, etc.) I Z 3 4 5 6 Inadequate Adequate Was the method of presentation (video tapes and guidebook) suitable to the subject matter? 1 2 3 4 5 6 Inappropriate A ppropriate Was the verbal difficulty of the materials appropriate considering your educational level and previous experience? v 1 Z 3 4 5 6 Inappropriate Appropriate Did the narrator contribute to the effectiveness of this instruc- tional unit? (i. e. . tone of voice, manner of speech, or speed of delivery, etc. ) l 2 3 4 5 w6 W De tracted Contributed Was the sound track clearly audible? 1 Z 3 4 5 6 Inaudible Audible Was the information presented in the guidebook well integrated with that presented on the tapes? 1 Z - 3 4 5 6 , No integration Integration If you have any additional comments concerning the instructional unit. we would greatly appreciate having them. Please use the back of this page. Thank you for your coOperation. APPENDIX J FACULTY ATTITUDE QUESTIONNAIRE 290 INSTRUCTIONAL UNIT ANALYSIS QUESTIONNAIRE Instructor Form Please complete the following questionnaire. circling the number between the two descriptors which most closely reflects your response to each question. Your answer is correct if it expresses your own idea. Be sure to answer every question. The term, "instructional unit. " refers to the entire package of pre and post-tests, video tapes, and the guidebook. I. Are the objectives of the instructional unit clear? I 2 3 4 5 6 Ambiguous Clear 2. Will the instructional unit attract and hold the interest of the target audience (beginning Television-Radio students)? I Z 3 4 5 6 fl Dull and Very Boring Interesting 3. Does the instructional unit build on previous knowledges, skills, or experience of the target audience? l 2 fl 3 4 5 6 No Relation Integrative 4. Is the subject matter presented in this instructional unit appro- priate for the Television-Radio student? 1 2 3 4 5 6 Not A ppro- Appropriate priate 5. Does the content of the video tapes and the guidebook relate directly to the main objectives of the instructional unit? l g 2 3 4 5 6 Unrelated Appropriate 6. Is the content presented in a well-organized, systematic pattern? I Z 3 4 5 6 Confused Organized 10. ll. 12. l3. 14. Are the important ideas or procedures clearly emphasised? l 2 3 4 5 6 w Vague Clear Does the instructional unit attempt to present too much material for the student to learn? l 2 3 4 5 g 6 Too Much Too Little Material Material Are new facts, ideas, terminology or procedures introduced at a. rate which will permit learning by the students? mt l 2 3 4 S 6 Too Slow Too Fast Does the instructional unit provide adequate repetition of the important points? (e. g. , repetition with variation, exact repetition, summaries, outlines, etc.) l 2 3 4 5 T 6 Too Little Too Much Repetition Re petition Is the method of presentation (video tapes and guidebook) suitable for the objectives? 1 Z 3 4 5 6 Inappropriate Appropriate Is the verbal difficulty of the materials appropriate to the age, educational level, and previous experience of the students? __ l 2 - 3 4 5 6 InapprOpriate ApprOpriate Does the video tape recording (tone of voice, music, manner of speech, etc.) contribute to the effectiveness of the system? 1 2 . 3 4 5 6 De tracts C ontributes Is the sound clearly audible, easy to hear? 1 Z 3 4 5 6 Inaudible Audible 15. l6. 17. 18. 19. 20. 21. 22. Is the information presented in the guidebook well integrated with that presented on the video tapes? l 2 3 4 W 5 w 6 W f No Inte- Closely gration Integrated Is the information in the instructional unit technically accurate? l 2 3w 4 5 fl 6 h Contains Contains Many Errors No Errors What is the relative importance of any inaccuracies in the instructional unit? l 2 3 4 5 6 C rucial Little hportance Importance Is the content of the instructional unit up-to-date? l 2 3 4 5 6 OuTor Dice" “' Up to Date Is it highly probable that the information or procedures presented in the instructional unit will be confirmed or rewarded by - subsequent experience of the student? I 1 2 c ..3 1 5 6 _ v No Confirmation Rewards Is it highly probable that the students will be able to use or apply the information or procedures presented by the instructional unit? 1 Z 3 4 5 6 w 7' am Not useful U seful Could the subject matter be treated more effectively through some other format? (e.g. , lecture, demonstration, textbook, etc.) i Z 3 4 S 6 mm- Less Effectively More Effectively Could the subject matter be taught as effectively but more economi- cally by some other means? v 1 z 3 4 5 6 w Less Economically .... More Economically APPENDIX K INDEX OF DIFFICULTY COMPARISON FOR EXPERIMENTAL AND CONVENTIONAL GROUPS 294 295 ... ‘33. Index of Difficulty ° 3 q;3 main .QH4C= O mom 0 084-3 ms O'U-H > | | #0:: +100) "44-10) mic-i Cir-l GHQ) 4J0) 4J-r-IO H601 0001 (DOG) mm: 0 u (DJ-’23 >C21 Oil-l3 3H0 one see soo emu ow an Test 62:. 8'36. 22°52 :34; 86:: item .3 A 1 42 81 34 # I-f 2 21 38 .17 21,1-z 3 53 88 35 # I—t 4 58 38 20 # 21 5 21 25 4 I-0 e 42 56 14 # 1-9 7a 37 50 13 16 7b 21 6 15 16 8 37 13 24 1—n 9 53 19 34 # 7 10 16 50 34 22 11 26 19 7 V 24 12 58 94 36 # 12 13 47 75 28 # I-h 14 21 6 15 20 15 32 56 24 # 22 16 .32 88 56 * # 1-L 17 42 56 14 # 20 18 11 -0- 11 8 19 42 25 17 1-j. 7 20 84 75 9 # 1-1 21 32 63 31 # 1-L 22 —0- 25 25 3"b 23 37 6 31 17 24 63 50 13 # 1-v 25 47 44 3 17 26a —0— 6 6 8 26b 32 50 18 8 27 11 13 2 ~ I-w 28 26 50 24 1—L 29 11 6 5 1-K. 21 30 16 -O- 16 3-a 31 58 31 27 # 7 32 21 50 29 3-a 33 58 .69 11 # 1-9 34 37 50 13 . 6 35 74 94 20 # 3-c 36a 32 69 37 # 9 36b 21 31 10 ‘ 9 37 4 32 50 18 l—u continued 296 APPENDIX K--continued to Index of D1ff1cu1t1 “a g. u o so u 014 1241: o mom 0 084; ms ore-.4 > I l «HOG #00) «44-30) wit-l CH CHO 4J0) «Ha-IO use. one. moo mm: o u OUD >515 Oil-(3 SH!) 04-)!!! auzo C(JO 44H 0:0 ¢nmrq Test x014 O-HH III-Hm umu-i new item W991 out» anon H-H'U oun 38a 68 88 20 # 15 38b 84 94 10 # 15 39 32 75 43 * # I—m 40 58 100 42 * # I-q 41 11 6 5 I—aa 42 63 13 50 * # I-b 43 5 44 39 I-d, 8 44 21 38 17 14 45 5 13' 8 S 46 74 31 43 * # 1-x 47 21 81 60 * # l-r 48 21 38 17 6 49 26 6 20 l—c, 21 50 63 63 30- # 13 51 42 50 8 I-a 52 5 6 1 I-y, 21 53 42 19 23 14 54 37 31 6 l—e 55 26 19 7 22 56 37 19 18 24 57 26 13 13 11 B. 1 5 -O- 5 _ 2 63 19 44 * # 4-a 3 37 6 31 4-b 4 63 19 44 * # 4-c 5 26 69 43 * # - 6 21 88 67 * # - 7 74 ' 94 20 # 4-d 8 47 56 9 # — 9 79 31 48 * 4—e 10 89 88“ 1 # - 11 47 63 16 # 4—f 12 47 44 3 - 13 74 - 100 26 # 4-g 14 47 31 16 4-h 15 58 75 17 # 4-i continued APPE H APPENDIX K--continued 297 Index of Difficulty m N {L O :3 H O 00 m 014 .nuac o U\Utfi o a1544 m c owrd > I l 446’s +:mzn -H+Jm -HF1 Cri c H0) +1m .unqw Lamch ninth 0 ma) Ulm:3 U u w“: >GD 0H3 F40 mum Test 0.60 coo Lats-:44 om nan-c . §fluuoflne coflmmsomflv How woumaomfl mg 6» mswuH masoum coo3uon mocmummmwc mo mmmucmoumm Index of Difficulty mooum Hmcofiu Icm>coo msoum Hmucwe Iwummxm 1 Test item aaaaaaa ......— 2222222 * 2.: 8115339 0140935 5340112 1 2227166 4334211 1234.567 G 22 22 I, CCCCB ...._ 22222 79 19 49 19 48 75 50 56 56 69 26 26 37 37 21 12345 11 28 26 69 75 94 6 58 47 68 11 1234 20 18 6 18 75 6 56 31 19 74 26 74 37 37 12345 19 26 22,23 18 25 32 19 19 # 19 75 26 68 I9 19 # 31 75 32 47 21 21 27 27 31 31 58 58 continued violj 299 APPENDIX K--continued Index of Difficulty U) 'H 04 o :1 H (D 3 .83: to O UHJU‘ O 0844 (Of: O'U'I-‘l :> I l 449:: “(Pm w-IJJU) «40-! CH CHO) 4J0) u-Hfl Hm 0:69. 000 mm: D +3 0“ >CS 09-13 8H0 mum Oat-7 GOO H‘HU om 'HNH Test 6‘2 83%.: 336'" “a“ M” itan In '4'” Op“ 3 16 13 3 21 4 16 13 3 21 5 16 19 3 21 6 16 19 3 21 7 26 19 7 21 8 26 19 7 21 9 21 25 4 21 10 21 25 4 21 p. 1 42 13 29 10 2 63 25 3s # 10 3 47 25 22 10 Q 1 42 13 29 10 2 37 6 31 1o 3 37 6 31 10 * Difference in index of difficulty between groups greater than 40 (41 to 100) # One or both groups have an index of difficulty to over 50 (51 to 100). . 1%111 1131163141.]! 1h.» a.lt LA. ‘ J 1 . O ‘r‘éluolltfil. , n'Jl 1 . 1.3-. o¢.I’.'...!IlI . if v, APPENDIX L INSTRUCTIONAL UNIT OBJECTIVES 300 I'll ll.‘llual. 301 Instructional Unit Objectives All of the following objectives will be accomplished accord- ing to the information provided to the student in the in- structional unit (i.e., video tapes and guidebook). The student will accomplish the objectives on a "pencil and paper" test with‘a ninety-minute time limit, without the aid of references. All objectives refer to television production, and the equipment used for production, at the ITV studios, Michigan State University. 1. When given a description (in the form of definition, function, use, special advantage or characteristic) of each of the following items, the student will supply the correct item for each description: - Camera mount - Dissolve — Dolly - Headset (intercom) - Lens turret - Lighting control boardiDimmers - Line monitor - Locking pin on counterbalanced pedestal mount - Locking ring on counterbalanced pedestal mount - Multiplexer - Panning - Panning handle and its adjustments - Pedestal type camera mount Racking — Script - Set-up - Steer 1 function on camera mounts - Steer 3 function on camera mounts - Steering handle on the crank-type pedestal mount - Steering wheel on the counterbalanced pedestal mount - Strike - Take - Talent — Tally lights - Tilting - Truck - Zoom lens mm<><£