Добірка наукової літератури з теми "Short-format videos"

This research develops a conceptual framework for telling visual stories about science using short-format videos, termed SciCommercial videos, that draw upon marketing communication. The framework is illustrated by an exemplar, the Good Whale Watching video, which is explained using a visual rhetoric keyframe analysis. Finally, the effectiveness of the video is evaluated as a science communication tool using an empirical online survey with 1698 respondents. The results highlight the benefits of using video for storytelling about science by using our framework formula, modified from marketing practices, to produce videos that are Simple, Unexpected, Concrete, Credible, Emotional, Science Storytelling (SUCCESS).

Videos have emerged as a dominant medium for educational purposes in many Massive Open Online Course (MOOC) platforms. Online learning videos are visual components of the online learning platforms. They are particularly interesting for students who are visual learners and who learn best by watching the short format engaging videos rather than by just reading or listening to course materials. The paper focuses on the categorization of factors that are responsible for the success/popularity of online learning videos. The research is based on the literature review and video observations of the MOOC platforms, in particular of the Khan Academy and Coursera. In this paper, we propose a tabular and a spider graph as a condensed overview of categories that should commonly be utilized by the online learning video production to make them successful.

As connected platforms such as Twitter, Instagram and TikTok rise in popular use, communication strategies are forced to grow more condensed and to be transmitted primarily across digital screens. Online short-form video has consequently become a primary format for environmental communication, though research on digital communication remains largely limited to frame analysis and discussions of print and still images. Filling a need in current scholarship on environmental media and aiming to further bridge humanities and communication research, this article offers a model for assessing environmentally themed short-form videos that complements communication studies’ focus on messaging rhetoric with humanities-based film and visual culture analytic tools for assessing the connotative aspect of aesthetic and narrative elements. Intending to offer an applicable framework for environmental messengers, we develop a genre system of short-form videos along cognitive and emotional axes that can be quantitatively identified according to formal practices, demonstrated through an examination of four environmental short-form videos.

ABSTRACTThis article describes the process of developing an educational whiteboard video for community trauma management and transport. Whiteboard videos have become widely used as educational resources for various medical subject matters. These short videos package information concisely through real-time illustration with an accompanying narration. Based on a needs assessment we created a free open access educational resource for community trauma management and transport. A group of interdisciplinary trauma providers partnered in content/script development, video design and dissemination. A third-party production company oversaw video animation and voice-over. The video was disseminated widely through stakeholders and various multimedia channels. We surveyed a sample of our intended audience and the majority of respondents perceived the video to be an effective educational resource. Although cost may represent a potential barrier for producing whiteboard videos, there appears to be a role in creating educational content using this multimedia format.

Over the past few years, the rise in popularity of a genre of You- Tube videos known as “reaction videos” has resulted in controversy for various reasons. The United States District Court in Hosseinzadeh v. Klein, a landmark case for the genre, described the “reaction videos” as “a large genre of YouTube videos . . . [that] vary widely in terms of purpose, structure, and the extent to which they rely on potentially copyrighted material.” According to the Hosseinzadeh opinion, “[s]ome reaction videos. . .intersperse short segments of another’s work with criticism and commentary, while others are more akin to a group viewing session without commentary.” Essentially, reaction videos are exactly what the name suggests: a video showing a person or group of people reacting to the work of another, which by nature requires the incorporation of the work being reacted to for the viewer’s reference. The first time that controversy arose out of the “reaction” genre was in 2015 when the Fine Brothers, the creators of a popular YouTube channel known for its “Kids React” series along with several other “reaction video” series, applied to trademark the term “react.” The brothers did so with the intention to create a program called “React World,” through which they would license out the “reaction video” format to other video creators. This endeavor came not long after the Fine Brothers criticized Ellen DeGeneres for allegedly using their “re- action” format in a segment on her television show, suggesting the brothers’ belief that they were the sole owners of what is, in reality, a widely-used format. As a result, YouTube viewers became distrustful of the Fine Brothers’ intentions in trademarking the format, and viewers criticized them to the point that they issued a public apology in February of 2016 in which they announced their decision to “[r]escind all. . .‘React’ trademarks and applications” and “[d]iscontinue the React World program.” Later in 2016, reaction videos would again become the subject of controversy when Ethan and Hila Klein, the husband-and-wife creators of the popular YouTube comedy channel H3H3 Productions, were sued by Matt Hosseinzadeh of the decidedly less popular You- Tube channel, Matt Hoss Zone, for copyright infringement. Hosseinzadeh alleged copyright infringement for the use of segments of his video, “Bold Guy vs. Parkour Girl,” in a humorous reaction video made by the Kleins.8 What resulted was the aforementioned Hosseinzadeh v. Klein opinion, which set a precedent that will hopefully allow future reaction video creators to produce and share content without their creativity being stifled by the looming risk of copyright infringement lawsuits. Hosseinzadeh alleged that a video, which was part of a series of videos, starring himself as “Bold Guy,” “in which the Bold Guy flirts with a woman and chases her through various sequences” was infringement. Hosseinzadeh alleged that the Kleins’ video entitled “The Big, The BOLD, The Beautiful,” infringed upon “Bold Guy vs. Parkour Girl,” as it featured the couple “comment[ing] on and criticiz[ing] [his] video, playing portions of it in the process.” Accepting the Kleins’ motion for summary judgment, which pleaded the fair use defense, the court held that its “review of the. . .videos makes it clear that [the claim] in which plaintiff alleges that defendants in- fringed plaintiff’s copyrights, must be decided in defendants’ favor.”

There is a significant rise in the use of videos. More and more people use videos not only as a source of information but also as learning tool. This article explores the future potential of explainer videos, a format that conveys complex facts to a target group within a very short time. The findings are based on an empirical study representative for the German and U.S. population (18+ years). In the first step, the status quo of the use of e-learning in general and explainer videos in particular is presented. Subsequently, the effectiveness and efficiency of five different explainer video formats are analyzed using an experimental test design for one topic (US presidential election). On one hand, all formats reach a favorable evaluation based on the perception of the respondents, with only a few differences between test groups. On the other hand, significant differences occur in terms of relative improvements in knowledge level as well as input/output-ratios. Thirdly, expectations of potential users regarding the design of explainer videos are determined.

e18505 Background: Previously, we showed that chemotherapy and precision medicine terminology are remarkably difficult for patients to understand. Therefore, we developed short, animated videos explaining key terminology and demonstrated that they significantly improved understanding. These videos, though effective and published, including freely downloadable, will only be helpful if appropriately disseminated. In the past, even after a video-based educational tool for prostate cancer was proven effective for improving patient comprehension, no dissemination plan was implemented due to copyright issues. Therefore, in order to propel these validated health literacy videos from the academic community into clinic workflow, we aimed to determine the best dissemination method at two different hospitals with disparate populations just six miles apart: an underserved, inner-city hospital and a higher SES hospital. Methods: The dissemination interview was developed in collaboration with an expert Intervention Development, Dissemination, and Implementation team. The draft was cognitively tested with physicians and staff who were not oncologists and finalized. With consent, interviews were conducted with both Winship Cancer Institute and Grady Memorial Hospital providers (GMH). All interviews were audio recorded, transcribed and analyzed using a semantic content analysis method. Results: Eleven providers at GMH and 22 providers at Winship were interviewed, reaching saturation of themes. 72% (n = 8) of the GMH providers felt that the best place for patients to view the videos was in the clinic, compared to 27% (n = 6) of the Winship providers. 68% (n = 15) of the Winship providers stated an app would be the most useful format, compared to 27% (n = 3) at GMH. All agreed that it would be useful for the patient’s family or caregiver to view the videos (GMH = 100%, Winship = 72%), that translation of the videos to Spanish would be beneficial (GMH = 90%, Winship = 63%), and that a nurse would be best to introduce the videos (GMH = 81%, Winship = 68%). Conclusions: Educational materials explaining complicated oncology treatment terminology enhance patient-centered care, yet without proper dissemination these crucial educational tools may never reach the intended patient population. The hospitals examined in this study served significantly different patient populations and the dissemination recommendations were quite different. Providers believed that the underserved patients needed the videos accessible in the clinic whereas providers serving higher SES patients thought that a web-based app, requiring a smart device or internet access, was more appropriate. Our study shows that it is crucial to ensure that educational materials are accessible to all populations, not just those with more means. Without a location-specific dissemination plan, educational tools may only further exacerbate disparities, rather than alleviate them.

Purpose Marketers use e-mail in new, potentially more informative, entertaining and lucrative ways – such as embedding video. The purpose of this paper is to examine consumer responses to audiovisual (i.e. text along with a short video) versus text-only messages in brand communication. Specifically, authors seek to uncover the efficacy of marketer-embedded video (vs text-only) in e-mail on the consumer's product interest, informativeness, perceived prestige, electronic word-of-mouth (e-WOM) intentions and willingness to pass the electronic message along digitally or on social media. With the dual coding theory and selective visual attention as theoretical guideposts, the intended contribution is a framework that can explain and predict advantages for multi-modal e-mail marketing communications. Design/methodology/approach Five hypotheses are tested experimentally with a one-factor experiment with two conditions (text-only vs audiovisual). The sample was 240 adult participants. Real brands (Audi and Apple) were used. For both brands, participants were randomly assigned to one of two conditions of the e-mail (i.e. audiovisual vs text-only). The stimuli are identical, with the exception of embedded video in the e-mail body. The videos are authentic brand videos, are approximately 50 s and use a product feature appeal. Participants’ pre-existing brand attitude was measured. Then, five dependent variables (product interest, informativeness, perceived prestige, e-WOM intentions and willingness to pass the electronic message along digitally or on social media) were considered with respect to consumer exposure to e-mail with video and text in the e-mail from the brand versus text-only e-mail from the brand. Findings The results supported the hypotheses that audiovisual messages (i.e. those with text and video) heighten informativeness, product interest, perceived prestige, intentions to spread e-WOM for a brand and willingness to pass along the e-mail along to friends and family when compared to text-only messages. These experimental findings from a one-factor experiment with two conditions (text-only vs audiovisual) are generally consistent for an American consumer technology brand Apple (iPhone) and a German luxury automobile brand Audi (S4). Hypotheses are supported for both brands (Apple and Audi), with the exception of product interest for Audi, which may be explained by the high price of a luxury automobile. Research limitations/implications An implication here for the dual coding theory is that the theory may be extended to consider what happens after the consumer codes the information with both the verbal and the non-verbal subsystem. The finding of interest to information processing scholars is that a video accompanying text communication from a brand to a consumer has an advantage over text-only communication. Brands that communicate with multi-modal marketing communication have better outcomes in informativeness, brand prestige perceptions and intentions of online consumer behaviors, including positive e-WOM for the brand in general and willingness to pass the specific content along in digital and social media platforms. Consumers can become brand advocates by being more inclined to forward the e-mails with the product short video as well as the e-mail text. Practical implications Brand marketers should consider e-mail in an integrated brand promotion (IBP) campaign as a cost advantage; one of the reasons e-mail should have a solid place in the IBP toolkit is due to e-mail's relatively low cost. The main cost comes with administration and production of the video. As a managerial implication for advertisers, embedding ads of a short video format in e-mails is a way to be more effective than plain-text e-mails. Short videos in e-mails are a reasonable idea to include in an integrated marketing communications effort (plausibly due to information processing with both a verbal and a non-verbal system). Brands can use videos in e-mails to enhance informativeness regarding products to enhance product differentiation from competitors. Yet, it is important to raise caution with some concerning disadvantages potentially associated with e-mail marketing and video. The three areas of caution include potential issues of privacy, clutter and technical inhibitors. Originality/value Despite the fact that e-mail is one of the most heavily used communication tools in marketing, there is scarce literature on e-mail and branding. By brands evoking a degree of prestige with embedded videos, consumer willingness to become part of the marketing communications is enhanced, as their e-WOM and willingness to share the branded content increase.

As a result of Snapchat, Instagram, Twitter and Facebook, the way the audi-ence experiences the written word has completely changed. New genera-tions of readers are facing multimedia interaction as a part of the long format narrative. These technologies represent burgeoning strategies to spark and capture readers’ interests. Partnerships between tech companies and tradi-tional publishers are yielding breakthroughs in trans-media storytelling, and, as a consequence, offering new avenues for filmmakers. For example, romance novels read on smart phones now include videos and photos of the hunky love interest, voice messages amongst characters, and even short films accompanying the reading experience. As publishers and authors forge these new avenues for long form storytelling, do these multimedia elements dumb down fiction for readers with already shrinking attention spans? Will saving books undermine reading in general? Or, are the bonds readers feel with fictional characters so strong, that they will thrive in the digital realm. The future of the immersive narrative might not be just the massive specta-cle of IMAX, but, more likely, an intimate experience in the palm of your hand.

AbstractObjectiveTo understand low-income adults’ expectations and experiences using an innovative smartphone and theory-based eLearning nutrition education programme, entitled Food eTalk.DesignLongitudinal mixed-methods single case study including a series of focus group and individual interviews, demographic and Internet habits surveys, and user-tracking data. Interviews were transcribed verbatim, analysed using the constant comparative method and digitalized using Atlas.ti. Descriptive statistics were analysed for demographics and user-tracking data.SettingCommunity-based locations including libraries, public housing complexes, schools, safety-net clinics and food pantries.SubjectsLow-income Georgian adults aged ≥18 years (n64), USA.ResultsParticipants found Food eTalk easy to navigate and better designed than expected. Primary themes were twofold: (i) motivation to engage in eLearning may be a formidable barrier to Food eTalk’s success but improved programme content, format and external incentives could mitigate this barrier; and (ii) applying knowledge to change nutrition-related behaviour is challenging. To encourage engagement in eLearning nutrition education, programme format should highlight interactive games, videos, be short in length, and feature content that is relevant and important from the perspective of the priority audience. Examples of these topics include quick and easy recipes, chronic disease-specific diet information and tips to feed ‘picky’ children. Additionally, external incentives may help mitigate barriers to healthful eating behaviour and increase engagement in the programme.ConclusionsThe findings suggest eLearning nutrition education programmes are best designed to match low-income adults’ typical smartphone habits, include content considered particularly relevant by the intended audience and highlight solutions to barriers to healthful eating.

Communication about biodiversity loss is insufficient and audiovisual stories can help to effectively communicate the problem. This research developed the optimum communication criteria for communicating effectively about biodiversity loss through audiovisual stories. We created our theoretical framework by combining contemporary research about audiovisual stories concerning science and studies on effective communication about biodiversity loss and conservation. Based on this framework and using relevant multimodal critical discourse analysis tools, we built an analytical model. We applied the model to the analysis of three contemporary audiovisual stories concerning biodiversity loss: Rang-tan: the story of dirty palm oil (Greenpeace International, 2018), “Dream” (Wildlife Conservation Film Festival, 2016, original quotation marks), and The Birdman (Fordesman, 2020). The research findings demonstrate that current audiovisual stories lack aspects of the optimum communication criteria and that conservation communicators have not yet made use of the medium's full potential. Ideally, this thesis has the potential to encourage further research on how to communicate more effectively about biodiversity loss.

In 1996, with the advent of video game franchises like Pokemon (Game Freak, 1996-), the concept of media mix (originally a Japanese concept that refers to the communicative strategies in which media content is spread across multiple platforms) began to take off. However, media mix is not exclusively limited to Japanese productions. In 2009, Novarama, in collaboration with Sony Computer Entertainment Europe, launched the Spanish Augmented Reality video game Invizimals. A decade later, this universe has notably expanded across different platforms, evolving considerably from its original format: but falling short of integrating the entire universe. In this chapter, we examine hybridation between transmedia strategies and media mix through the Invizimals universe to demonstrate how the franchise has expanded a decade later to the point where it has consolidated its own strategic model for developing content.

In a short span of three years, the Nanyang Technological University (NTU) in Singapore witnessed significant growth in the adoption of e-learning. With the use of professors-friendly e-learning applications, NTU has been able to achieve critical mass buy-in by the academic staff when the e-learning take-up rate achieved 85% of the existing NTU course curriculum. As NTU moves on to celebrate the third year of e-learning, measures were taken with the careful design considerations that aimed to “humanize” e-learning, (i.e., make e-learning interactive and engaging with active collaborations and student learning involvement). This includes the proliferation in the use of the video talking head format synchronized with the lecture presentation, live audio-video delivery, text chat and document annotations of a lecture presentation and delivery. This chapter reviews the processes NTU adopted in adding the human touch to traditional e-learning projects and serves as a good case study for other institutions with a similar aim to achieve interactive and engaged online learning.

Achieving widespread access by all European citizens to new services and advanced applications of the information society is one of the crucial goals of the European Union’s (EU) strategic framework for the future. Towards realizing this primary target, multiple access platforms are expected to become available, using different access methods for delivery of services (and of related digital content) to a wide variety of end-user terminals, thus creating an “always-on” and properly “converged” technological and business environment, all able to support and to promote innovation and growth (Commission of the European Communities, 2005). The result will be a “complementarity” of services and markets in an increasingly sophisticated way. Economic and technology choices imply certain networks for certain service options. As these networks become more powerful, the temptation is to adapt certain characteristics of the network technology to make it suitable for modern services. The challenge is to build “bridges” or “links” between the different convergent technologies without undermining the business models on which they are built. In such a context, converging technology means that innovative systems and services are under development with inputs, contributions, and traditions from multiple industries, including telecommunications, broadcasting, Internet service provision, computer and software industries, and media and publishing industries, where the significance of standardization and interoperability can be fundamental. In any case, digital technology can offer the potential for realizing the future electronic information highways or integrated broadband communications. However, for the multiplatform environment to proliferate in liberalized markets and for the platforms themselves to complement each other, the related prerequisites and the governing regulatory environment must favor technologically neutral conditions for competition, without giving preference to one platform over others (Chochliouros & Spiliopoulou, 2005a). Among the latest European priorities for further development of the information society sector as described above were several efforts for extending the role of digital television based on a multiplatform approach (European Commission, 2002a). If widely implemented, digital (interactive) television may complement existing PC- and Internet-based access, thus offering a potential alternative for market evolution (Chochliouros, Spiliopoulou, Chochliouros, & Kaloxylos, 2006). In particular, following current market trends, digital television and third generation (3G) mobile systems driven by commonly adopted standards can open up significant possibilities for a variety of platform access to services, offering great features of substitution and complementarity. The same option holds for the supporting networks as well (European Commission, 2003a). Within the above fast developing and fully evolutionary context, the thematic objective of digital video broadcasting (DVB) applications (including both the underlying network infrastructures and corresponding services offered) can influence a great variety of areas (http://www.dvb.org). In particular, DVB stands as a suite of internationally accepted open standards, mainly related to digital television- and data-oriented applications. These standards (in most cases already tested and adopted in the global marketplace) are maintained by the so-called DVB Project, an industry-driven consortium with more than 300 distinct members, and they are officially published by a joint technical committee (JTC) of the European Telecommunications Standards Institute (ETSI), the European Committee for Electrotechnical Standardization (CENELEC), and the European Broadcasting Union (EBU). The existing DVB standards cover all aspects of digital television, that is, from transmission through interfacing, conditional access, and interactivity for digital video, audio, and data. In particular, DVB not only includes the transmission and distribution of television program material in digital format over various media, but also a choice of associated features (considered for exploiting capabilities of all underlying technologies). However, market benefits can be best achieved if a “harmonized” approach, based on a longterm perspective, is adopted since the beginning of all corresponding efforts, intending to facilitate a progressive development towards new (and more advanced) services in a smooth and compatible manner (Oxera, 2003). An essential precondition for this progress is the adoption, in the market sector, of common standards which, while providing necessary clarity for both producers and consumers in the short term for early introduction of digital television facilities, also supply the potential for subsequent smooth upgrading to new and higher grades of service. Thus, in the framework of competitive and liberalized environments DVB can support major efforts for the penetration (and the effective adoption) of enhanced multimedia-based services (Fenger & Elwood-Smith, 2000) independently of the type and/or format of the content offered while simultaneously promoting broadband opportunities. Furthermore, being fully conformant to the requirements imposed by convergence’s aspect, DVB can advance optimized solutions for different technical communications platforms. The European market has been widely developed in the area of (interactive) digital television (Chochliouros et al., 2006; European Commission, 2003b) and the EU is now leading further deployment through DVB procedures. The focus provided by a common set of technical standards and specifications has given a market advantage and spurred the appearance of innovation perspectives. Baseband: 1) In radio communications systems, the range of frequencies, starting at 0 Hz (DC) and extending up to an upper frequency as required to carry information in electronic form, such as a bitstream, before it is modulated onto a carrier in transmission or after it is demodulated from a carrier in reception. 2) In cable communications, such as those of a local area network (LAN), a method whereby signals are transmitted without prior frequency conversion.

What is it? Massive Open Online Language Courses, also commonly known as Language MOOCs or LMOOCs, are online courses offered for a limited period of time by higher education institutions worldwide for anybody wishing to learn a foreign language. The average duration of these courses is between four and six weeks, and approximately three to five weekly study hours are required. Because of their duration, LMOOCs often focus on specific aspects of the target language, e.g. academic writing, improving pronunciation, written communication for the workplace, preparation for specific language examinations, survival language skills, etc. There are also abundant introductory courses focusing on basic language performance. Enrolment is free but these courses are usually not eligible for credit; however, learners may purchase a certification, which is normally moderately priced. Enrolment is not restricted by age, qualifications, or geographic location, conditions that nurture their ‘massiveness’. MOOCs are delivered through online platforms which are based on the template approach to software authoring, that is, multimedia content is inserted into templates by materials writers. MOOCs that follow a course format are known as xMOOCs (x stands for eXtended). They include a syllabus and are organised according to a set schedule; moreover, learners usually have access to some instructor guidance. On occasions, after the first edition of the scheduled course, some LMOOCs are made available on a self-access basis. This means that learners are free to set their own pace and organise their study at will. The onus of learning is therefore on the student. Most MOOCs are based on micro-lessons delivered through short audio or video clips followed by exercises, activities, and reading material. Most LMOOCs also include assignments, tests, or quizzes that are either automatically assessed or peer-assessed by means of rubrics. Grading is also provided, and students can oversee their performance through an automatic scoring system.

The use of multimedia in education has become a basic tool for educators. As Millennials and Generation Z use technology in their everyday life, the educational model has been shifting towards the use of multimedia and technology to enhance the active learning process. The objective of this project was to design, produce and implement short educational or instructional videos to present content with a more active approach and measure the impact on their understanding and preference. A video with the content of graduation requirements was produced, shared with 240 seniors of Engineering Academic Programs. The results show that 97% of the students liked the video and the way the content was shared and 91.6% of the students find the video format useful. The results show that the learning process was active and effective. The exit poll also shows that 97% of the students think that there should be more educational videos on some other processes. This project included the design, production and implementation of 18 videos. This research describes the approach and impact of using short videos in engineering and transition from a traditional method of sharing content to students to a more active learning environment.Keywords:Educational Videos; Active and Collaborative Learning; Student Engagement; Educational Innovation; Higher Education.

The first edition of the Master's Degree in "Color Technology for the Automotive Sector" was held during the last academic year. The academic results in terms of qualifications, achievement and learning were good. In spite of the good sensations, there are aspects to be improved, both in methodology and the development of the subjects, timing of the contents, organization or communication channels. Following this line, the Academic, agreed on a plan of continuous improvement based on the feedback provided by the graduate surveys. A specific survey was carried out to gather their specific experience of the course in order to be able to modify the general strategy of the master's degree at the teaching and organisational level. The objectives were to adapt the teaching methodology to facilitate a more reflexive, participative and autonomous learning with a high degree of involvement and motivation of the students, to improve the academic results in terms of learning and satisfaction, to simplify and improve the logistic management of the course, etc. Thus, the survey included questions relating to the usefulness of the master's degree, methodology, organisation and planning of teaching, as well as a final question relating to the overall satisfaction of the course. A short survey was chosen with only 10 questions that the student rated from 1 to 5 on a scale from "strongly disagree" to "strongly agree". From the analysis of the responses, some important weaknesses were detected, such as the lack of content developed in video format, and the slowness of feedback on the results obtained in the proposed tasks. Based on these results, it was proposed an improvement plan that included the incorporation of videos to teaching materials, flexibility in the deadlines for activities, and the periodic monitoring of student learning and concerns through "Adobe Connect".