SEEING THE BIG PICTURE Auclio-VISWU Techniques for Interpreters

By Mark E. Hundhammer Michael Gross and Ronald Zimmerman, Editors

UW-SP FOUNDATION PRESS, INC. UNIVERSITY OF WISCONSIN STEVENS POINT STEVENS POINT, WI 54481 Approved by the Graduate Committee of:

Professor of Environmental Interpretation

Professor of Environmental Education

r. Ron Zimmerman rector of Schmeeckle Reserve Preface

This manual is for natural resource_ professionals interested in developing audio-visual programs. It will provide useful information to everybody who wishes to use audio-visual programs to enhance their interpretive efforts.

As the challenges of resource management became increasingly demanding, it is imperative that interpreters have the ability to communicate with the public not only the intrigue of the natural world, but the responsibilities of good land stewardship as well.

The more interpretive skills you have to share your knowledge of and enthusiasm for the environment with others, the greater our quality ofliving will become. Professionally prepared audio-visual programs can inspire the general public to take a deeper interest in the environment.

The manual is organized to allow readers to select part or all of a chapter to meet their audio-visual program needs. The first chapter reminds us that most people learn best when many senses are involved, especially seeing and hearing. Chapter 2 provides a framework for planning audio-visual programs. This serves as a basis for all the other chapters. Chapters 3 - 6 detail how to produce an illustrated talk, an automated slide-sound program, a video, and how to use computers to enhance your interpretive efforts.

The methods presented are geared primarily toward those with limited budgets who will produce "in-house" audio-visual programs.

i Acknowledgements

This manual is the result of many dedicated and persistent friends and colleagues who believed in me and would not let the project go unfinished.

My parents; who first encouraged my education, have given me both roots and wings. My graduate committee; Dr. Michael Gross, Mr. Ron Zimmerman, Dr. Randy Champeau, and Dr. Larry Riggs, have patiently encouraged me to keep plugging on the manuscript. My follow graduate students; whom I shared many good times with and who inspired me with their multitude of talent. And to Marjorie; who has firmly encouraged me to believe in who I am and pursue my dreams to the fullest.

To these people, and many others, I am forever indebted.

ii CONTENTS

Preface ...... i

Acknowledgements ...... ii

Chapter One: ...... 1 Interpreting Through Sound and Pictures - Your Visitor Thinks Visually

Chapter Two: ...... 3 Planning: A Creative Process

Chapter Three: ...... 11 Illustrate Your Words - Speaking With Slides

An Illustrated Talk: Mount Saint Helens

Chapter Four: ...... 50 Multimedia Showtime -Automate It!

Rusty, The Red-Tailed Hawk

Chapter Five: ...... 70 Sound and Motion Together - Making the Video Transition

Teton Science School

Chapter Six: ...... 92 The Control is in Your Hands - Desktop Presentations

The Modern Alpinist

Appendices ...... 96 A. Ecological Concerns B. Copyright Laws C. Audio Visual Equipment Suppliers

References ...... 111

Bibliography ...... 114

iii 1 INTERPRETING THROUGH SOUND AND PICTURES Your Visitor Thinks Visually

I suspect that the child plucks its first flower with an insight into its beauty and significance which the subsequent botanist never retains.

- Henry David Thoreau

A Picture is Worth a Thousand Words

Effective interpretation involves peoples senses. For best communication, information should be seen and heard at the same time. Audio visual presentations are a powerful interpretive tool.

Good audio visual media involves and engages the audience, clarifies material and is professional. It may also increase public program attendance.

The University of Minnesota and the 3M Corporation evaluated the persuasive role of visual support for speakers in a 1986 study. Presenters using visual aids were perceived by their audience to be more concise, better prepared, more professional, more interesting, and to make better use of supporting data. In fact, presentations supported with visual aids were found to be 43% more persausive than unaided presentations.

Imagine...

Dazzling your audience with a 12 projector multi-image production of Ozark Mountain history; inspiring visitors with a spectacular motion picture featuring the geologic story of Alaska's Portage Glacier; retrieving and organizing any of the 54,000 slides stored on a laserdisk at Fountain Valley School (CO); advertising the unique features of the Teton Science School with a videotape; orienting visitors to the plight of grizzly bears in Yellowstone National Park with a slide-tape show; or, presenting an illustrated slide talk to a local sportsmen's club. Each example represents an interpretive use of audio visual techniques.

Enhance VISitor Perception

As an interpreter, your primary purpose is to enhance your visitors experience. Share colorful stories ofreal places and true life characters. Every visitor should depart your program with memories, information, and insight. The uniqueness of a site should come alive in your audio­ visual programs.

Everybody receives information differently. Roughly 60% of your audience recalls visual images most vividly; 30% are auditory learners, remembering the spoken word best; and 10% are kinesthetic, preferring to physically touch something (Hooper, 1976). When planning audio visual programs, place the greatest emphasis on visuals and a lesser emphasis on the verbal. If possible, incorporate objects and props. Viewer activated programs will be most attractive to the ten percent who like to push red buttons. · What Sound and Pictures Can Do for You

Visuals aids communicate dramatically. Research shows communication is largely dependent on sight followed by sound, smell, touch, and taste.

Young children learn visually. They are stimulated by the motion of an overhanging mobile. When sitting on a parents' lap, they learn to "read" by first recognizing pictures, then words. Ask a five year old to spell "happiness," then ask her to draw it. The differences are significant.

Adults too, are visual learners. Hooper (1976) and Fazio (1986) believe we remember 10% of what we read, 20% of what we hear, 30% of what we see, and 50% of what we see and hear simultaneously. We remember:

Hearing

Seeing

Seeing and Hearing

It's Up to You

Natural resource professionals should have strong public speaking abilities, solid writing skills, and proficiency in operating audio visual equipment. Each of these are integral components of effective audio visual interpretation. Use audio visual programming in a variety of ways to communicate more effectively with your audience. The three most popular uses of audio visual programs for natural resource professionals are:

1. Orientation to a specific site. The dramatic movie Voices in the Ice provides a vivid history of Portage Glacier at the Chugach National Forest Begich-Boggs Visitor Center.

2. On site use with interpretive programs. Daytime visitors to Death Valley National Monument have a difficult time believing anything can survive in the scorching desert heat. With an illustrated talk, you can visually describe the desert as a thriving community at night.

3. Off site use for schools, fundraising, clubs, education, and public relations.

Audio visual technology is rapidly evolving and revolutionizing the way we receive information. The recent explosion of electronic media has produced a generation that expects and demands polished audio visual programs. Quite simply, interpreters must meet audience expectations with quality programming.

A Cookbook, Well Sort of

This handbook offers some suggestions and recipes to help you produce audio visual programs. Think of yourself as a chef. Blend these audio visual techniques with some creativity into new and exciting offerings.

Much of this book focuses on helping those with a modest budget. It will offer techniques for producing "in-house" audio visual programs.

2 2 PLANNING: A CREATIVE PROCESS

If you fail to plan, plan to fail.

-Terrie Cooper

Success is a result of preparation. Poor preparation leads to poor performance. Too often, we launch into an interpretive program without doing our homework. Sweat beads up on our brow as it becomes obvious that we have gaps in our factual knowledge. The audience becomes restless knowing they have better things to do. For you, the presenter, it is a sorry moment in the public limelight. For the audience, it is disappointing at best, expensive and time consuming at worst. Effective interpretation requires planning, audience analysis, and research.

With audio visual programs, especially automated ones, each mistake can magnify. Planning minimizes costly, and potentially embarassing, miscues. Its not glamorous, but planning is the primary ingredient for achieving quality results.

Before You Say ''Yes"

Developing an audio visual program is a large undertaking. Next time you get a program request, run through this checklist before accepting the responsibility.

• What is the purpose? • Who is the audience? • When is the program? • What is the topic? • Is the theme clearly defined? • What should I include? • How can I organize the program? • What type of media should I use? • Will this presentation be repeatedly shown for varied groups or is it a special request?

What is the Purpose?

The decision has been made; you will produce an audio visual program. But how? To begin, ask yourself "What do I want to accomplish?" Clearly define your purpose and write it down in one or two sentences. Keep it in front of you as you plan. Anything that does not meet your purpose should be left out.

Objectives should be specific and achievable. Do you want to provide information, reinforce or change an attitude, elicit an emotional response, or train people in a new skill? Express your objectives accordingly. Who is the Audience?

Understand your audience before planning audio visual programs. Are they a group of natural resource professionals? Children? Family groups? Off road vehicle enthusiasts? Each group has special needs, interests, and experience you should consider. Find the common bond holding your audience together. Knowing their educational background, sex, age and socio-economic characteristics will help you to plan a program around their specific needs. How much do they already know about the topic? What expectations, beliefs, or bias does the audience have? Are you trying to change attitudes or provide information? Let them know that you have something important to offer and care about the message you are sending. 3 When is the Program?

Do you have the necessary resources, time, and energy to do a first rate job? As a rule of thumb, triple the estimated time (and double your estimated cost) required to develop a program.

What is the Topic?

Select a topic that is of interest to you and your audience, is relevant to the site, and can be readily researched.

Is the Theme Clearly Defined?

Every successful interpretive program has a single theme. The theme provides the framework for your presentation. Take time to narrow your theme. You should be able to state your theme in one sentence. Be specific. For example, "The icy waters in the Gulf of Maine contribute directly to the weather patterns of the state." Using this one sentence as the basis for your program will keep you focused as you research your program. What Should I Include?

Choosing, narrowing, and researching a topic can be an exciting process. Why are you developing this audio visual program? Who is the intended audience and what are their interests? What are you interested in? What resources do we have available to complete the project? Answer these questions before wasting your efforts going down the wrong path.

Choose a topic you are familiar with that the audience will find interesting. Pick out an unusual aspect of a well known story. Instead of talking about the climbing exploits of John Muir, interpret his mechanical genius and inventions. Do not worry about being an expert. You will gain knowledge as you research your program.

When researching the topic, keep your audience in mind. What is of interest to them? If your purpose is to provide factual information, pour over the scientific literature and extrapolate little known tidbits of natural history. If you wish to orient visitors to a historic site, create an atmosphere which will allow them to relive days gone by. Try to develop something which has not already been created.

Remember, keep it simple!

How Can You Organize the Program? I Brainstorming

First, generate lots of ideas by brainstorming with your staff. Approach the situation with fresh eyes. Get opinions from people outside your organization, "If you were a visitor to this park what would you like to see?" Write down everything.

Combine several "good" ideas into one "great" idea. Is it feasible? Does it meet our purpose and the needs of the audience? Come to a consensus on how you will work towards the finished product.

4 Clustering

Clustering helps to organize ideas visually. Distinct patterns will emerge as you bunch similar ideas into groups. This method allows for infinite possibilities.

We often take a "great idea" and run wild with it before determining what we are trying to accomplish. "Raptors of the Midwest" can be narrowed to "Owls of Central Wisconsin;" or better yet, "Feeding Niches of Northern Harriers and Short Eared Owls". Before proceeding headlong into production, carefully focus your topic. Limit your topic to something that is site specific and relevant.

For additional ideas on planning interpretive experiences, refer to Chapter 2 of The Interpreter's Guidebook

Organizing Your Facts

These three patterns are suggestions for organizing an audio visual program. Decide which one, if any, fit the type of program you are developing.

l. Partitioning - Partitioning patterns are the clearest form of organization. • Introduction -Tell what you will tell them. "We will discuss the impacts of the massive oil spill in Prince William Sound."

• Body - Tell them. "The thick, goopy oil has killed thousands of sea otters, birds, and fish." "Fishing, once the mainstay of the coastal economy, has been devastated."

• Conclusion - Tell them what you told them. "The Exxon Valdez spilled 10 million gallons ofoil into a once pristine environment. There will never be another Prince William Sound."

2. Unfolding - Unfolding patterns are helpful when dealing with a controversial issue. They can be used to change attitudes or convince people of a certain point of view. • Leave out the main idea - Create a mystery. "Conservation begins with the first cast."

• Provide examples. "Trout require well oxygenated water." "Only one percent of the original trout habitat remains in California."

• Build up to conclusion. "The Smith River, the last entirely free flowing river in the state of California, has a tremendous steelhead run. Join California Trout in protecting this valuable resource."

3. One Issue - One issue patterns work best with an audience that supports your thesis. • Choose one theme - Focus your topic. "The potential impacts of the proposed dam on the Kennebec River are tremendous."

• Provide examples. "The Atlantic salmon run, already threatened, may become further endangered." "Hydroelectric power generated by the dam can be met better through conservation."

• Conclude with a call for action. "You decide. Is the trade off of short term economic gain worth the loss of this stretch of the Kennebec?"

5 Intuitive or Logical? - Planning Styles

Essentially, there are two planning styles. One is a creative, visualizing method. The other is a rational, organized method. Neither is right or wrong. Choose the style which works best for you and your situation.

I.Think Visually, Not Logically • Thoroughly research the subject. Find out everything you can.

• Daydream/visualize the program through its entirety. Like an athlete before a sporting event, mentally choreograph what you want to happen. Identify main ideas, select visuals to illustrate each point, write the matching narration to complement visuals.

• Develop a storyline. Think of the finished product and the impact on your audience. Include the following 4 stages in your program: POW - Grab your audiences' attention immediately with a provocative introduction. Wake em up! Bridge - Set the stage for why your program is important to the visitor by linking your topic to the audiences' interests. Body- Illustrate the main message of your programs with examples. Provide "for instances." Conclusion - Summarize your main points or have a call for action. Wrap up your program with a final thought.

• Gather visuals.

• Edit and arrange visuals.

• Develop a storyboard. Each visual is accompanied not by a full script, but with action words or phases that describe the essence of the idea.

• Develop outline and script. Audio visual programs are meant to be seen and heard, not read. Write for the ear and emphasize the visual portion of the program. Do not write the entire script, instead choose key words or phrases to highlight your main points.

• Revise and refine.

• Evaluate the program. Edit poor visuals. Consider pacing, scripting, presentation style.

2. Let's Be Logical • Thoroughly research the subject.

• Outline the program including all 4 key elements. POW Bridge Body Conclusion

• Create a storyboard using 3 X 5" cards. Each card should have one idea and a desired visual. Arrange the storyboard cards to match your outline.

• Write script with accompanying visuals.

• Create the necessary visuals.

• Revise and refine.

• Evaluate.

6 Draft Proposal

The draft proposal is a one to two page written document which outlines the intended production. Include a well developed concept, statement of objectives, outline of the script, preferred visual style, selection of media, timetable, and estimated budget. Submit it to your steering committee before proceeding into the production phases. Revise as directed.

Developing a detailed proposal is especially crucial if you are applying for a grant from a foundation to complete the audio visual program. The steering committee can make needed revisions before your proposal is submitted in final form.

Formal Proposal

To pin down production specifics, a formal proposal can be submitted. Provide a detailed budget including equipment purchase or rental, travel costs, salaries, and outside professional assistance. Establish a wants and needs chart. Know the difference between the two. For example, you may want a slick multi-media six projector show, but only have the time and resources to produce a two projector dissolve program. Be realistic. Specify thorough planning and photography schedules. Determine who will do what and when it will be done. Only after the formal proposal is approved should audio visual production begin.

7 What Type of Media Should You Use?

Whether on the trail or in a visitor center, using visual aids will improve your interpretive success. Several visual aids are introduced below.

Chalkboard or Dry Grease Board

I recall a superb geology walk where the interpreter masterfully explained the events leading up to the formation of Lower Slide Lake in Wyoming. He illustrated the geologic sequence which culminated in a massive landslide blocking the Gros Ventre River to form a lake.

Why not use a parking lot or sidewalk as a large chalkboard?

Posters and Bulletin Boards

Have you ever wanted to interpret a coral reef? Or, demonstrate prairie seed dispersal strategies? Posters can assist you in presenting information about things that are hard for visitors to see. They are helpful for interpreting potentially dangerous situations without disturbing wildlife or endangering the public.

Handouts

To insure the entire audience has uniform information, provide handouts for future reference. For example, after a seminar on mountaineering first aid, the audience would benefit by having an accurate description of the first aid procedures you described.

Felt Boards and Magnetic Boards

Twilliger Nature Guides, founded by the energetic Mrs. T, have a clever approach to teaching about wildlife habitat. A natural landscape is painted on the side of a van. Students are asked to match magnetic animals to their proper habitat. Teaching ecological concepts is easy with such a large interactive visual aid.

Flip Chart

Deb, a naturalist friend, presents the finer points of tracking wildlife by using a flip chart. Tracks, gaits, and patterns are clearly explained with the help of colorful diagrams. Since she will give this program on several occasions, the initial time investment to draw the charts is well justified. For quick reference to a specific chart, tabs and labels can be installed on the edge of the paper.

Overhead Projector

As a chief naturalist at a metro park, you might get needed funds appropriated for your interpretive needs by using overhead transparencies in budget meetings. A Wharton Business School/3M Corporation Report (1981) concluded that presenters using overheads in business meetings had their recommendations acted upon with greater frequency than those without visual aids. Groups came to a consensus and made decisions more quickly when overheads were used.

Use overheads to make your points efficiently, not to overwhelm your audience with tons of information. Put only key words (up to 15) on overheads. Make sure the letters are at least 1/4" tall. A smaller pointer (i.e. pen) can be placed on the projector to refer to something on the screen.

8 Slides

Want to be persuasive, dynamic, and professional? Due to their flexibility, ease of use, and ability to capture and hold the audience's attention, slides are the medium of choice for most interpreters. Beginners and experts alike can achieve a high degree of aesthetic appeal with slides. In fact, no other type of media can match the resolution quality of slides.

Slides are portable, cost effective and easily adapted for different interpretive needs. Slide storage, organization, duplication, and retrieval is relatively simple.

Slide equipment is expensive. Carefully decide what you should buy before making an investment. Good quality projectors, screens, and photographic equipment will last years and become trusted interpretive companions.

Films and Videotapes

Films and videotapes can be great catalyst if used as part of an environmental education lesson. I use a National Geographic Society documentary on grizzly bear management as a springboard for a land use simulation activity. The youngsters randomly choose pro and con positions and testify whether or not mining should be allowed just outside Yellowstone National Park. After much heated discussion, they hammer out a suitable compromise.

Video has sex appeal. You get sound and motion together. Videotapes are easily transported and can be used with large audiences. Commercially produced videos are readily available and can be rented from private companies or university film bureaus at a low cost.

High quality video cameras and editing equipment are now within the budget of most interpretive facilities. Videos about your site have a wide range of uses including introductory programs mailed to school before a visit, exhibits, or even as part of a live presentation.

Props

Demonstrate how light pumice is by gently tossing a small piece of basalt and a larger piece of pumice to the same person. People are always astounded to find the pumice is so lightweight. On a warm summer day, try this audience involving experiment! Choose a volunteer and a safe pool of water. Have everybody in the group carefully lift up the volunteer and practice a human "Pumice Toss!" The lighter they are, the further they go!!

Don't Use a Picture of a River When a River Will Do

No visual aid, no matter how effective, should substitute for personal experiences with the real thing. As Thoreau wrote in Walden: "We need the tonic ofwildness... We can never have enough of nature ... "

9 Evaluating Your Audio VISUal Programs

Long range interpretive success depends on making program adjustments based on audience response. Constantly strive for improvement. The story which had visitors rolling in the aisles in June is stale in August. Stagnation is deadly. Improve program strengths, eliminate weaknesses. Formative Evaluation

Formative evaluation is on-going during the presentation development. Review the proposal, the script, visuals, music, special effects, narration. Seek feedback from people in your organization. Law enforcement rangers have different insights into visitor needs than interpreters do. Get opinions from the public as well. Decipher the suggestions you receive and make revisions. Summative Evaluation

Summative evaluation occurs at the end of a program, perhaps at the end of a season. Use a focus group of staff interpreters to evaluate your programs. Have you delivered the intended interpretive message? What areas could have be improved upon? Even though the program is "over" it can still get better. Take the suggestions and apply them to future programs you develop.

Visitor Feedback:

You can get feedback from visitors in several ways. Obviously, you can observe the audience throughout your presentation. Are they still involved and attentive? Are they genuinely interested in what you have to share? You can ask direct questions to get feedback from visitors. This gives immediate feedback, but not all visitors are comfortable giving an honest evaluation of your program. A stamped self-addressed postcard with specific questions is effective for gathering program feedback. Visitors can fill in the postcard and are more open when evaluating your presentations. Making Evaluation Meaningful • Decide what t.o evaluate. Refer to the objectives/purpose of your program. Did we heighten visitor awareness? What else did visitors gain from our interpretive program(s)?

• Determine the evaluation design and develop instruments. The evaluation tool should be reliable and valid. Design it to get specific information you need. Will we ask for formal written evaluation from visitors? Seek verbal feedback? Randomly select people in the visitor center for their impressions?

• Collect, analyze, and interpret data. Record information, note correlations of importance, visitor preferences. What does this mean?

• Report the results. Present the data to influential people in your organization. For extra interpretive funding, the advisory board may just need to hear how successful your programs have been all year. Keep supervisors posted of your efforts, successful or not.

• Improve the interpretive program. Listen to feedback and make changes. Post Evaluation

Formal evaluation is only one step for improving audio visual programs. Much of the responsibility rests with you. Be critical. Edit all non-essential visuals. Tighten everything up. 10 3 ILLUSTRATE YOUR WORDS Speaking With Slides

Do not try to satisfy your vanity by teaching a great many things. Awaken people's curiosity. It is enough to open minds; do not overload them. Put there just a spark. Ifthere is some good inflamable stuff, it will catch fire.

-Anatole France

The IDustrated Talk

Illustrated slide talks are the foundation of audio visual interpretation. They combine the spoken word and the photograph. Slide programs reward audiences with human contact and visuals. They can be adapted for varied audiences, themes, and program needs. Familiarize yourself with the techniques used in planning and presenting a successful illustrated talk. You will use these strategies time and again.

Professor Immer Gavin, portrayed by interpreter Denny Olson, held the audience spellbound with a combination of a "loony" character and an illustrated slide talk. The character interpretation prepared us for the message, the slides provided visual support to highlight key points. Using the techniques in tandem, Denny unravelled the complex story of why loons are threatened in a powerful and memorable manner.

Illustrated talks can be exciting and memorable, or, they can be an embarassing disaster. Sow the seeds of success now and reap the benefits later. Invest your time. Use the following checklist to help you plan your illustrated talk.

11 Checklist for an illustrated Talk

Planning •Obtain general information. Date, time, location. •Objectives of talk. What is your purpose? •Audience characteristics. Size, age, education background, biases, life experiences. •Subject oftalk. Plan for your audience. •Length of talk. Speak to the point. • Select appropriate media. Consider handouts, props, music, real objects. • Costs, time, resources available.

Production •Outlining • Storyboarding •Visuals - Photographs - Illustrations - Title slides • Sound Effects - Music - Background sound

Presenting • Practice, Practice, Practice! • Keep equipment with you •Arrive early •Set up equipment• Lights, sounds, etc. •Relax • POW, Bridge, Body, Period • Question and answer time • Stay on schedule Equipment • Projector(s) • Dissolve Unit • Projection Stand • Extension Cord • Slide Advancer •Screen •Slide Carousel(s) •Tape Recorder •Spare Parts •Trouble Shooting Kit • Sound I PA system •Pointer • Chalkboard I Easel • Props Evaluation • Audience Response • Bad I Good Slides • Additional slides needed I eliminated •Timing TraveJ/Accommodations • Auto, air, and motel reservations • Contact person, keys

Miscellaneous? 12 Producing an lliustrated Talk

Outlining

Summarize your program, then write a draft and a detailed outline of your program as if you were not using slides. Highlight the main points you wish to make. Include a POW, Bridge, Body and Period as described in chapter two.

Storyboarding

Creative endeavors are manifestations of several interwoven pieces. Storyboarding combines the written (and eventually spoken) elements from your script with the desired visual components of the finished product. Please refer to Chapter 4 for scripting details.

For your narration, choose active verbs and specific nouns to create descriptive images. Select visuals which best match your narration. Each slide should illustrate one point. Illustrate all points you wish to make. Use several slides to express a complicated idea. Consider the photographs, title slides, music, and special effects you need to deliver your message. Use either 3 X 5" cards or a three column script sheet to sequence slides.

3 X 5 Index Cards

Index cards can have a thumbnail sketch of the visual in the top right hand comer, special instructions on the top left (i.e sound effects), and the corresponding narration on the bottom.

Special lnstrnctions r Fade in sounds of geese. Music ends. ➔ .. _, -f ......

Nan-ation The sound of honking geese evokes the deepest emotions within us all ...

13 Script Sheets

Script sheets can have special instructions noted in the left column, the narration in the middle column, and the matching visual in the right column.

Special Instructions Narration Thumbnail Sketch Fade in sounds of geese. The sound of honking Music ends. geese evokes the deepest emotions within us all ...

Geese Honking. Perhaps, it is a memory of a misty morning...

I prefer index cards because they are easier for me to arrange visuals in the desired order. Alter the script if you can not get all the desired visuals for your program. In addition to 3 X 5" cards and script sheets, many computer software programs enable you to organize and arrange slide programs electronically.

You are now ready to create your slides.

Creating Your VJSUals

Picture Yourself...

Traveling seven hours in an automobile, spending several days locating the best spot to photograph raptors, building a rock blind, and then sitting and waiting in sub-zero weather for a unique photographic opportunity. My heart raced as I heard the sound of wind whistling past the bald eagles' wings. With a loud gazump, the talons gripped onto the exposed branches. Seventy feet away rested a majestic and powerful bird. Okay, steady yourself, move slowly. Any motion would surely be detected in an instant. Check the lighting, compose, focus, shoot! Here comes another one. Gazump! Two bald eagles sitting seventy feet away. Settle down, relax, advance the film quietly, check the lighting, compose, focus, wait. The clouds are parting, maybe I'll get better light. The sun breaks through and its snowing. The lighting is perfect. Check the light meter, compose, focus, shoot! Advance the film quietly. Suddenly an eye is glaring at me. It does not like what it sees. Spooked and gone, both of them. Two bald eagles, two pictures. Never again.

To maximize your ability to develop audio visual presentations remember one rule above all others: Take pictures!! How often do we "wish we had a picture of that?" It is much easier to edit pictures than to get new ones. Build up your library of visual aids as completely as possible.

14 Photography Equipment -The Essentials

35mm SLR (Single Lens Reflex) Camera

35mm SLR cameras enable you to change lenses for different needs. Small, portable automatic 35mm cameras take wonderful landscape pictures. But, for close-ups or wildlife they are limited. Select a quality 35mm camera with an interchangable lens.

Tripod

A tripod stabilizes the camera giving you a noticable improvement in detail resolution. Get one which is sturdy enough to hold a camera and larger lens (300mm to 400mm) steady in a stiff wind. The tripod should come up to your eye level without any centerpost extension and be able to stretch out flat for ground level closeups. Cable Release

Cable releases reduce vibration by keeping your hand away from the camera when shooting. Pay the extra couple of dollars for a good one.

Film

Most nature photography is done with either ISO 64 or ISO 25 film. Choose the slowest possible film you can. The slower the speed, the sharper the film. Faster films appear grainy. Definitely use slide film. It's cheaper, sharper, and reproduces easier than print film.

Lenses

Photography can become very specialized, if you let it. Pick lenses which are versatile. If you can manage it, choose a 24mm or 28mm lens for closeups, a short telephoto (105 macro) for medium distance landscape shots, a 200mm for long distance landscapes, and a 300mm (or longer) lens for wildlife. A 500mm lens is the maximum most people would ever need.

Always keep the lens clean. A lens hood provides protection and reduces solar flare. Many people add a clear glass lens cover to protect the lens. Be sure they are also kept free of dust and fingerprints. Filters

Use filters selectively. Consider using a polarizing filter to reduce glare on bright days. Blue skys and green meadows will appear more vibrant with a polarizing filter. Use a warming filter to make yellows, reds, and oranges richer. Faint colors can be enhanced by using color compensating gelatin filters.

Carrying Case

Protect your investment. For fieldwork use a quality softpack to carry gear in. When traveling, use a rugged old small suitcase with customized accessory cutouts into three or four inch foam padding.

15 Making Equipment Decisions

Select equipment which matches your needs and fits your budget. I strongly recommend buying the best gear you can afford. The initial cost will be higher, but long range durability pays for itself. Start with a basic set-up and add accessories as you see fit. Do not try to keep up with the Jones'. Shop around and buy only what you need.

Check the warranty agreement before purchasing equipment. Can the equipment be repaired quickly? Properly train anybody who will use equipment. Insure and secure your equipment.

The Seeing Eye

Capture good images to illustrate your words. Slides should be well composed, properly exposed, and in sharp focus. Plan your photographs and illustrations for maximum visual appeal. Well designed visuals begin with a basic understanding of lighting and composition. You have an active role in how these elements are combined for best visual effect.

People will remember bad visuals. Poor quality pictures are unprofessional. Eliminate them!

Lighting

Photographic light comes in three forms;

1. Front lighting is when the sun is behind you and the light is usually flat with minimum shadowing;

2. Back lighting is when the sun is behind your subject; and,

3. Side lighting is when the light source is at a right angle to your subject creating shadows, which give the picture texture and form. The way we choose to organize patterns, textures, and forms will give us a pleasing composition.

Composition

The most basic guideline for photographic composition is to use "The Rule of Thirds." Break the picture frame into thirds both horizontally and vertically. The resulting grid will give you four intersecting "focal points" in which to place your subjects for more visual appeal. Use the other suggestions to improve your photographic composition.

~

X X I XI X

II,.

16 Be aware of viewers eye movement. Does the composition lead your eye where you want it to go? Or do your eyes fall off the edges of the picture? Provide a strong center of interest.

Leave something to viewers imagination, if possible.

Use natural framing for simple composition.

17 When shooting up, put the subject When shooting down, put the subject near the top of the frame. near the bottom of the frame.

Fill the frame. Use the total photograph.

Have the subject face into the picture. If showing motion, allow the object to flow into the frame.

18 Have your subject doing something. Action is exciting.

A void strong horizontal lines. Intersecting lines are more interesting than straight lines.

- - -

Avoid mergers. Be aware of the total picture, from edge to edge. Avoid "detractors."

19 Make your picture horizontal or verticle corresponding with the direction ofthe strong lines in the picture

------

Don't let horizons or other strong horizontal lines divide the picture in half.

~ -- 1/2 X ------X 1/2X ------~~~--j-r~/----X 1---..L------i+-1/3-- l ~=-~ J

Be aware of the background. Do you want it in focus or out of focus?

Why Take Chances?

To ensure your pictures are properly exposed, always bracket pictures one F-stop up and one F-stop down from where the lightmeter tells you to. Nothing is more frustrating than getting back important pictures only to find they are too dark or washed out. Take more slides than needed. Photograph the same topic from different angles. You are the final editor of all visuals before using them in a public program. Any that do not meet your standards should be eliminated. What's Your Secret?

Why do some people seem to have better photographs then the rest ofus? Sure, quality equipment is important. But, overwhelmingly top notch photographers and cinematographers believe the key to success is being at the right spot at the right time.

Spend time in the field being a naturalist. Olaus Murie romped about North America learning as much as possible about wildlife. His sketches are the result of years living with the animals he studied. Capturing unique landscapes or wildlife on film requires patience and preserverance.

Find out when and where your subject is most active. Locate them before setting up a blind. Consider lighting conditions when choosing your site. Early morning and late afternoon light are best. Build your blind at a time when you will not alarm what you intend to photograph. Be especially considerate of minimizing disturbance (nesting, denning, feeding) of wild residents. After a blind is constructed, leave it alone for two or three days.

Camouflage yourself before entering the blind area. A companion (helpful for carrying gear) can walk right behind you to the blind, and then leave. Animals perceive only one person entered the area and one left the area. Camera lenses can also be fixed with camouflage material or painted to avoid reflections.

Go out, often. Do not be satisfied with average visuals. Upgrade the visuals you present in programs.

One Person's Junk is Another's Treasure

Build a positive working relationship with professional photographers. Many photographers will purge their files of slides which do not sell. "What, you are going to throw out those goshawk pictures? Would you mind if our nature center purchased them from you at a reduced rate?" "Naw, go ahead, take them, you can have them." Check periodically with these people to see if they have obsoletes or duplicates. Offer them something in return. A scholarship to summer camp for their children? A lifetime membership?

Limited Edition Funclraising

Need to raise some money? Consider contracting with a professional photographer or artist for the exclusive rights to a limited edition print. The understanding is that the print is developed for a fee and all copyright and legal rights are granted to the non-profit organization. The print can be donated to major contributors or sold with the intention of generating income.

21 Slide Cataloging

Select slides from your organizations' slide file if you do not have many of your own pictures. I recommend that interpretive agencies use duplicates for general programming. Keep originals in a dust proof and fire protected area to replace lost or damaged duplicates.

Get Your Shots Together

Develop a filing and retrieval system. How many times have you looked for a specific slide only to find it's not where you thought it was? As an interpreter, you should be able to find all the slides you have of spring peepers in a manner of minutes. One suggestion for organizing your visuals is to break your slides into logical divisions. • Group slides by subject area (i.e. Birds, Mammals, Wildflowers, Insects). • Use a capital letter for each subject area. • Attach the first letter for each species within a subject area. • Use a second letter to identify the species. • Numbers can be used for each slide ofspecific species. • Record your system on a chart. Cross reference slides which can be used for dual purposes. If using a computer database make back up disk copies and have an updated printout in case your system suddenly crashes.

So you want to find your slides of Murres? "M" Bird Species ...------B_i_rd_s_...... ,._-,,,.~ 2nd Letter of Bird Species with Letter "M" 3rd Slide of Murres

IanBoyd

Murres Coastal Maine

Slide Files

Slides can be stored in a variety of ways. Three I recommend are:

1. Small metal or plastic slide sorters with labels.

2. Large slide organizer cabinets. The old metal ones (Multiplex is one brand) have pull out trays and a backlight to preview slides. Separate each tray by subject area.

3. Hanging slide files. Make sure the cross piece is rigid enough to support the weight of your filled plastic slide sheets. A word of caution: The old plastic sheets react chemically with slides and will cause discoloration. Use only polyproprelene plastic cover sheets. They apparently do not react with slides. A Homemade filu.minator

Rather than purchase a lightbox, build a simple table yourself. The light surface should be fairly large to allow you to edit lots of slides. Use 1/4" thick frosted Lucite mounted flush with the table top. The light source should be good quality fluorescent tubes mounted a couple inches below the table. A magnifying scope allows you to critically review the quality of your slides. lliustrations

Let's Be Graphic

Generating your own graphic artwork will add a personal touch to your interpretive slide talks. With low cost and readily available art supplies, professional results can be achieved. Consider the following design elements as you plan your layout of graphics.

• Keep it Simple.

• Formal Design - A symmetrical pattern with both sides being the same.

• Informal Design - The left and right sides are different. People will look at informal designs longer as they tend to be more visually appealing.

• Bunch your White Space. Fragmented white space makes graphics harder to read and does not lend itself to visual unity.

LayitOut

Design your graphics for slides with a 2:3 aspect ratio. Slides have roughly a 2:3 format (22.9 mm X 34.2mm).

To ensure you have a 2:3 aspect ratio, draw a diagonal line across a 2:3 inch box. Any intersecting straight lines will also have a 2:3 aspect ratio.

T 2" 1 Using a Template

For best results, start with standard artboard (available from good stationary stores) measuring 10" X 12". Place a 6" X 9"(2:3 ratio) template over the artboard. Arrange all your artwork and lettering within the 6" X 9" working area. By using the same aspect ratio as a standard size slide you can easily go to the copystand with a camera ready copy. Standardize all your artwork in this fashion. 10" x 12" artboard can be easily stored in standard filing cabinets for future retrieval.

------12" ------4

6 X 9" 1 O" Working Area

Drawings

Line drawings should be simple and bold. Take a lesson from cartoonists. Reduce your drawings to the bare minimum to get your message across. For the less artistically inclined, there are many commercially available sources of clip art. Clip art can be photocopied, reduced or enlarged and placed within the 6 X 9" working area.

Computer graphic programs allow you to produce precision graphics on a computer. Laser printouts can be photographed on a copystand. Computer clip art and drawings are also available. Lettering

In most cases, choose a sans serif style of lettering. That means pick a type style which does not have lots oflittle appendages attached to each letter. When in doubt, use helvetica. It is straightforward, no extras. However, it is important to note you should choose a type style which matches your needs and is legible.

A fancy letter style is not appropriate for most situations but will work with historical interpretation. Thick letters are better than thin letters. Letters with two adjoining vertical strokes (i.e HE) are placed further apart. Letters with two rounded strokes adjoining (00) are placed closer together. Mix upper and lower case letters. Use one type style throughout the presentation. Emphasize main points with bold, italic or underlined letters. Select larger point sizes (or capital letters) for main headings, smaller point sizes for subheadings.

24 Title Slides Use speaker supported title slides in a variety of ways.

• To open and close interpretive slide talks (not always the first and last slides). • Give credit where credit is due. •Breakup segments of your program at natural divisions. • Progressively disclose difficult concepts.

By following a few basic guidelines you will have more appealing title slides.

Grab Their Attention

• Captions - Use catchy titles. Which of the following entices you more?

FALLING STARS An Astronomical Phenomena

How and why meteorites enter the atmosphere.

Presented by Dr. Nebula for the American Society of Astronomy Observers January 23, 1994

• Lines - Lead the eye to the center of interest.

• Shape - Curved visuals are more pleasing to the eye.

• Texture - Provides the illusion of three dimensions. Adds interest and detail to the graphic.

• Surface - Select matte surfaces for making title slides because they have less glare than glossy surfaces when photographed.

• Value - Darker values make things seem narrower and smaller. They are heavier and should be placed at the bottom of the graphic. Lighter values appear to make graphics wider and larger. Surround the center of attention with lightest value.

• Volume -The largest section attracts the eye.

• Color - Use color for emphasis. For title slides, choose two or three colors for the entire presentation. Do not use two shades of the same color. Choose colors to match your message. Use white or yellow letters with a dark background. Light, bright colored backgrounds are best. The eye is attracted to lighter colors. Avoid using red and green together, people who are red/green color blind cannot differentiate the colors well.

-Use the following combination of colors for best visibility on title slides.

a. Black on yellow (Most visible) h. White on red b. Green on white i. White on green c. Red on white j. White on black d. Blue on white k. Red on yellow e. White on blue 1. Green on red f. Black on white m. Red on green g. Yellow on black n. Blue on red

25 Creating Titles

There are dozens of ways to produce your own title slides. They range in method from the quick and dirty to the glossy high tech computer generated.

Use What Comes Naturally

For simplicity, take photographs of existing entrance signs, emblems, or labels for introductory title slides. Use natural materials to create a rustic affect. Scratch credits in the sand, arrange branches into words, flatten down letters in a grassy field. Look around you. Be ingenious. Do not limit yourself to how "you are supposed to do it."

Write-on Slides

It happened again. Your title slides for tonight's campfire talk were destroyed by Bob's One Hour Photo Factory. For a quick title slide, use a permanent marker to write your titles onto special write on slides. These will work in a pinch, but are not something to be used when you can get something better.

3-DLetters

Plastic or ceramic three dimensional letters are easy to arrange on top of a photograph for a title slide. Use a tripod or copystand to steady the camera when taking the picture. Because the letters are raised, slight shadows will appear. Ceramic letters are great for creating unusual titles such as uneven and crooked letters spelling out the word "JE:arthl!lJua~ie".

Dry Transfer Letters

For true professional quality titles dry transfer (press on) letters can be used. Purchased from any office supply or stationary store, dry transfer letters come in numerous styles and sizes. You can get background textures, lines, arrows, curves, different colors, just about anything you need. With care they can they will give you very nice results.

Lay out your guidelines with light blue pencil (it does not photocopy). Use the tick marks on the side of the sheets to align letters. A dental tool or the cap of a pen is used to thoroughly rub the letters on. Carefully peel off the backing to avoid flaking the letters. If the letters do flake, use an X-acto® knife or single edged razor blade to remove from the paper. Reapply a new letter. Dry transfer letters look professional when applied patiently. But, they are a hassle.

Vinyl Letters

Vinyl letters can be purchased in sheets. They are available in a variety of colors, sizes, and font styles. Simply peel off the letters and arrange them the way you want.

Vinyl letters are expensive and have only a limited number ofletters on each sheet. Inevitably, you will run out ofletters needed to complete a project. If you need a title slide for a program called "Mississippi Sassafras" you may be out ofluck. If your name is Ross Issersons you may go broke. Besides, what are you going to do with the extra "q's," and "x's" found on all the sheets you purchased? Improve Your Overhead

A very simple technique for creating titles is to place an overhead transparency with your text on top of a photograph and take a picture at the copystand.

Place the transparency on the background material, cover with glass and shoot. Using transparencies reduces the need to use two different slides (more time) to "burn in" text onto title slides. Another advantage of overheads is you can use variable colors for titles.

There has Got to be a Better Way

Fortunately, there is. New advances in electronic devices remove most of the headaches involved in making title slides. One favorite of mine is a lettering machine called a Merlin Express.

It operates like a mini-computer allowing you to select the typestyle and size of your letters. Turn the power on, push "font" until you find the typestyle you want, press "ent" (enter), type in the words needed, "cut" the tape, peel off the backing, stick the letters on a picture or inside your 6" X 9" working area, and, presto! you are ready for the copystand. It's that simple.

"How did You do That?'

I love to answer that question. "On a computer. In five minutes." No more painstaking cutting and pasting. Searching for T-Squares, rulers, X-acto knifes, and compasses is no longer necessary. It's all right there, built into the software. Computer generated slides are slick. People are amazed at what is possible and how easy it is to produce titles on a computer. Many programs enable you to set up a template master so anything which will appear on several slides (i.e. your nature center's logo) can be created once. The 2:3 aspect ratio, or any other you want, is automatically set up for you. Add borders, boxes, drop shadows, lines, graphs, circles, electronic clip art, whatever you need. Text can be enlarged, tilted, distorted, outlined, rotated. It can follow a curved path that you determine. You want 3-D? No problem.

Laser print your title slides and take them to the copystand. If you do not have access to a laser printer, local computer stores or print shops usually charge between .25¢ and $LOO for each printout. It is well worth it. Film Recorders

The choice for many organizations will be to send title slides via a modem (or you can also send a floppy disk) to commercial slide services. They have the high resolution equipment needed to create all the special effects you can imagine. Cost per slide ranges from $5.00 to $20.00 plus the cost of the telephone call. You should get your slides back within 72 hours. Check the compatibility of several software packages with slide services before purchasing.

Film recorders can take images from a screen and record them electronically onto film. You truely can do everything "in-house": Create the slide, expose the film, mount the slide. No more relying on others to be sure you have the title slides you need. Film recorders range in price from roughly $2,500 to well over $10,000. Ask yourself, do we produce enough slides annually to justify the cost?

Refer to chapter 6 for specific details about computer graphic applications.

27 The Darn Thing is Crooked

Occasionally, your completed title slides will be askew in the slide mount. No problem. Take a soft cotton glove or a sock and gently grab the slide and twist it in the mount until the slide is straight. If that does not correct the problem, take either silver photographic tape or electrical tape and place it across the slide horizontally to give the illusion of a level slide. If all else fails, you can even cut off an angled portion of the slide mount at the bottom so the slide will appear horizontal when projected in the slide projector.

Too Much Text is Boring

When using title slides or bullet charts keep your words on the slide to a minimum(15 words or less). Which of the following examples are you likely to remember?

Developing the Idea

• Use examples illustrating a projection of the idea in operation (Le.flow charts, anecdotes)

• Reiteration of the main idea in same words or in different words to help summarize, to drive the idea home, and to ensure the listeners will remember the point.

• Statistics presented as simply as possible.

• Comparisons with similar or dissimilar types of operations, ideas and so forth.

• Testimony of experts, witnesses to events, users of the product of procedure - such evidence should not be overused; the expert's reputation must be justified; and the credibility of the witness of user should be firmly established.

Developing the Idea • Examples

• Reiteration

• Statistics

• Comparisons

• Testimony

28 Using A Copystand

It's the Law

Copyright laws cover most audio and visual materials. They are designed to encourage creative expression and legally protect the artists' work from pirating. Obtain written permission from the copyright holder before using their material in any public program. Often, fees must be paid to the recording company or publisher for permission to use their material. Cover all the legal bases completely before using somebody else's work.

Most photographs and illustrations older than 75 years are no longer copy protected. Be careful though, John James Audubon paintings done in the 19th century are not considered part of the public domain. Laws protecting audio recordings (music), are especially sticky. You can not use copyrighted recordings during a public program without written permission.

To be safe, always use your own illustrations, original slides, and non-copyrighted music. Always credit material you include in a program. Copystand Equipment • Camera. Use a single lens reflex camera. • Light Meter. To establish the proper exposure. • Lenses. Ifyour flat copy is at least 6"X 9," choose a standard 50 mm or 55 mm lens. For smaller graphics, use a closeup lens. • Copystand. Hold the camera steady with either a copystand or tripod. • Non-glare glass. Reduces glare and reflections. Place over the material. • Lamps. Use tungsten lamps if possible. Photofloods or fluorescent lamps can also be used. Two lamps work well, but four lamps will ensure more even lighting. When one lamp bums out, replace all lamps at the same time. Otherwise, the new light will be brighter than old lamps and the light balance will be out of skew. • Film. The film you use for copystand work should be balanced to your light source. (i.e. Tungsten Film is balanced for Tungsten Lamps)

Copystand ~

Flatcopy work will provide some visuals you could not otherwise get. Select appropriate photos from magazines. Place material to be photographed onto a copystand. Make the picture vertical or horizontal, whichever looks best.

• Cover photograph with non-glare glass. Minimize the magazine fold as much as possible. (Use an X-acto® knife or single edged razor blade to cut the picture out of the magazine if possible.) A mask made of black mat board can be used to block out unwanted parts of the photograph. • Turn on tungsten lights. Adjust at 45° angles and equal distance from the photo. The lamps should be 30 to 45 inches away from the center of copystand. Lamps which are too · close to the flat copy may cause reflections on the photograph edge. • Load the camera with Tungsten Film. • Raise or lower the camera to fill the frame. • Check the exposure setting on the camera. • Adjust the shutter speed to 1 I 60 second. • Set the aperature aens opening) at F-8. Focus, shoot, advance the film. Bracket one F-stop up (F-11) and one F-stop down(F-5.6) to ensure proper exposure. • Make sure the film is advancing on the spool. Otherwise you will be frustrated to find you have none of the pictures you need for tomorrow's presentation. • Record your sources ofpictures for crediting. Ifyou get back photographs with unsightly glare streaks or shadows on the edge, use electrical tape or photographic tape to cover up blemishes. Reshoot again as time allows.

23 Creating Special Effects for Title Slides

Reverse text slides can be created by using Kodak VERICOLOR® or KODALITH® Film. Essentially, you are recording negative images by using these films. The advantages of using reverse text slides include: increased slide legibility, greater visual appeal, and professional appearance.

Reverse Text Slides VER/COLOR® Film

VERICOLOR® will give you a color background with light letters. Anything which is black on your camera ready copy will be light colored when photographed with VERICOLOR®. All white areas will take on the background color. Place your black and white camera ready copy on the copystand. Depending on the type of filter and exposure you use, you can modify the colors of the finished product. By adjusting the f-stops (bracketing) up and down, the color richness will change. I recommend shooting a whole roll using different filters, exposures, and lighting. Record each combination. Once you determine the desired color background you want, use the same method each time you use Kodak VERICOLOR® film for slides.

This chart serves as an aid for using Kodak VERICOLOR® (Slide Film 5072) and Filters.

Desired Filter Color Background (Kodak Wratten Gelatin Filter#)

Dark Blue Yellow (12)

Yellow (12) & Amber (80A) Royal Blue -or- Yellow (15) & Amber (85B)

Cyan Red (29)

Green Deep Magenta (34A)

Red Light Blue (38)

Orange Cyan (44)

Yellow Deep blue-green ( 45)

Magenta Deep green (61)

Yellow-Brown Deep Blue (4 7)

Dark Red No filter KODALITH® Film

KODALITH® will produce white letters on a black background. Letter colors can be modified later with dyes or acetate gels.

For high contrast titles, use black and white negative film (Kodak KODALITH® Ortho Film 6556 Type 3 (100' strips] or Kodak EKTAGRAPHIC HC® Slide Film (36 exposures]. Everything which is black on your camera ready copy will appear white on the slide, and vice versa. (Model not exact.)

. g- .

Adding Color to Title Slides

Color softens the harshness of white on the screen and enables you to add emphasis exactly where you want it. Use one of the following techniques to add color to KODALITH® slides.

• Felt Tip Markers - Write directly on the slide (both sides) with transparency markers. Try to avoid uneven application.

• Acetate Gels - Cut out a small square of the preferred color. Either place it next to the slide and sandwich between a glass mount; or, carefully slide the acetate piece under the inside corners of the slide mount to ensure it will not jam when projected.

• Dyes - Dip the entire dry transparency (before mounting) into a water soluable dye such as Dr. Ph Martin's Sychromatic Transparent Water Color®, Kodak Matrix Dye®, or regular food coloring. Cotton swabs can be used to apply dyes directly onto parts of the title slide (i.e. for progressive disclosure). Duplicates of colored reverse text slides may change color slightly .

Masks

Masks can easily be made with KODALITH® Film by using a solid black design on white paper. Make stars, clouds, footprints, whatever you need. Follow the procedures for "burn ins" to add a mask to your titles.

31 Burn Ins (Optical Slides)

Text, maps, or labels can be "burned in" to a title slide by combining a reverse text KODALITH® slide with a background slide. Layout your text and graphics with the background slide in mind. Do you want the title to be tucked under the big oak tree or go through it?

After you have both the KODALITH® slide and the background slide you are ready for the slide duplicator. Insert the background slide first. Follow the instructions. Take a picture of the slide, but DO NOT advance the film. (Check special camera instructions.) Insert the reverse text slide and take another picture. The resulting double exposure adds esthetic quality.

Background Slide Reverse Text Slide

+ The Hooker Oak

The Hooker Oak

Burn In

32 Graphs, Charts, and Maps

When you use numerical data in your programs keep in mind you are presenting an interpretive program. It is a lot different than presenting a scientific or research seminar. Visually presenting data makes it more understandable. Your data should be simple to understand, easy to interpret, and clearly presented.

•Graphs - Horizontal and vertical bar graphs can be used to show comparisons of data from similar units. Use a maximum of eight data columns. Different shading emphasizes one element.

• Pie Charts - Pie charts show fractions of a whole. Place the largest slice on top. Bring out one section to emphasize your key point.

• Line Charts - Line charts show trends over time. Use no more than three different data points. Different line widths should be included. The heaviest line is for data, medium weight lines are for the chart frame, light lines are used for the grid if necessary.

• Maps - Pinpoint exactly where you are with simplified maps. Include only the main features to show visitors the location of unique features. Trace over existing maps with ink and take the new map to the copystand. Do not use topographic maps or other detailed maps. Special Copystand Considerations

Large pictures which do not fit completely on the copystand will present problems getting the entire picture in the viewfinder. You can make slides oflarger pictures by removing the masks and plexiglass. Move the stage up close to the lens so it will not show in the finished slide. Aim lights at the photograph on the floor. Compose, focus, and shoot.

Translucent materials (i.e. transparancies) are best when back lit. Put the image on the plexiglass and lights underneath. Slide Duplication - Double Your Pleasure

Slide duplication is another method for acquiring visuals. Again, copyrighted material requires publisher permission to be used in public programs. A naturalist/photographer friend of mine has taught me a few tricks about his trade. Most of his photographs are striking, but a couple stand out as real eyecatchers. One has a Vof sandhill cranes surrounding a 3/4 moon. The other has ducks raising off a marsh with a spectacular full moon in the background. Both are excellent sellers. Everything in both photos is in perfect focus. Impossible in real life. How did he create these images? With a slide duplicator.

Background lighting for both the crane and the duck pictures was flat. The 3/4 moon shot had a brilliant sky blue background, while the full moon photo filled the frame and was intensely orange. Because one image had flat light the bright background of the other image is recorded onto the film. By combining the images together he has made photography a true art form. Just Buy It, Will Ya?

Commercial slide services are an excellent source of high quality slides. You can order slides you would not otherwise be able to get. Check Appendex A for addresses of some independent businesses selling slides.

33 Selecting Sound

Music and background sound effects should enhance your illustrated talk. Is your program fast paced and inspiring or slow paced and somber?

Music

Music influences the audiences' emotions, creates the desired atmosphere, and sets the pace. Dramatic tension can be generated with the right kind of music. Select music which is appropiate for your message, and for the audience. A group of elderhostels may not appreciate heavy metal, but probably will enjoy the big band sound.

Sound Effects

Background noises can add reality to your program. Choose sounds which complement what appears on the screen.

Be familiar with the sound equipment. Be nonchalant when you make transitions to the tape recorder for music or background sounds. All adjustments of volume, starting and stopping should not distract your audience. Check volume before the program begins.

Do not automate your sound track for an illustrated talk. Slides are speaker controlled, not synchronized. I once watched a program on timber wolves that had great potential. Good topic, lots of interesting information, a captive audience, and personal experience with wolves. The talk failed because the soundtrack was automated. Every story was out of sync with the slides.

Making the Presentation

Practice, Practice, Practice!

If you want to be good, you have to practice. Constantly hone your interpretive skills.

Run through your program several times, preferably in the same room you will present in. Use a tape recorder or video tape to eliminate distracting mannerisms. Do you shuffle your feet? Are you prone to soften your voice at the end of sentences? Time yourself, most people take more time during the live presentation. Do not let your program become "canned."

Figure at least a 10:1 ratio of preparation time to presentation time. That is only for gathering information and refining what you will say. Add extra time to assemble original slides, make titles, select music.

Know your material so well that your main concern is how you interact with the audience. Be prepared and go to bed knowing you will get a good night's rest.

How Long Should the Talk be?

A presentation should be long enough to do its job and no longer. Generally speaking, the total length of a program should be less than an hour. This includes time for announcements, campfire songs, and a question and answer period. Illustrated talks over 30 minutes may strain visitors. The mind can only absorb what the rear can endure.

34 Trouble Shting

Be prepared for repairs! Plan for what you want as well as what you do not want to have happen. If possible, bring your own projectors, dissolve unit, tape recorders. Your repair kit should include extra bulbs, pointers, flashlight, a lens cleaning kit, extra slide drum, pocket knife with multiple size screwdrivers, extension cords, 2-3 prong outlet adapter, duct tape to secure extension cords to the floor, coin to release a jammed slide carousel, remote control with extension, and a good luck charm.

Murphy's Law

Murphy was an optomist, so am I. Label everything. Never check your slides, sychronized tapes, film, software or recorded music through baggage. You end up in Salt Lake City and your presentation arrives in Atlanta. Metal detectors wreck havoc on anything magnetic. Airport attendents should hand check your carry-on gear. Have a friend be responsible for duplicates of your program in case you accidently leave the whole package somewhere unbeknowst to you.

Day of the Presentation

Dress the Part

Be a pro. Look sharp. Agency uniforms should look crisp. Ifin doubt, be more formal. Your posture, your enthusiasm, your grooming all say something about you. First impressions do matter. Put your best foot forward. The greatest freedom we have is to choose our own attitude. Be upbeat, it comes back to you tenfold.

Ever notice the room temperature is always 10° warmer when you are standing in front? Wear lightweight clothing. Remove that extra layer before you overheat and begin to hyperventilate.

You're the One

You are the main attraction. Visitors attend an interpretive program to interact with a real person. They want to receive information in an entertaining way. It is up to you to be enthusiastic, dynamic, and interesting.

Check all Equipment

Do you have everything? Slides, tape recorder, screen, projector, spare parts, remote extension, trouble shooting kit. Just asking.

Arrive Early

If something goes wrong during the presentation it is your problem, not the maintainence supervisors'. Always familiarize yourself with all the equipment and the room you will be using. How does the screen come down? Do you know where the dimmer switch is? Does the remote control work? Where is the thermostat? Can the mike be heard in the back row? Check everything well before visitors arrive. Allow yourself time to replace broken equipment. Know how to operate the light and sound system. Block out background noise and light entering the room. Carry all keys you will need.

35 Set up Equipment

Align image on screen. Fill the screen as much as possible. Use a verticle slide to set your focal length. If using two projectors, match the edges of vertical and of horizontal slides perfectly. Use several horizontals or verticals in a sequence to avoid shifting too often. Adjust the projector so the images appear level when projected. Run through all slides to check if they are right side up and forward. Are slides visible from the back of the room? Put the lockring on. It is not fun picking up slides at a professional conference in front of your peers. Tape down all electrical cords. Check the remote control. If necessary, appoint people to control lights and projector. You are all set. Well almost.

Relax

Go outside and reconnect. Stretch, take a few deep breaths. Splash your face with cold water. People do not have high expectations of your talk. The trick to interpretive success is to not take yourself too seriously and have fun. The audience will react positively if you project confidence.

Greet your Audience

Mingle with visitors. Find out where they are from, where they are going and let them know you do care about them as individuals. Professional effort reflects positively on you and your organization. "What brings you to this program tonight?" Overwhelmingly, people attend interpretive programs for their own benefit. Gear your slide talk for them.

Speaking with Slides

Introduction

Warm visitors up to your topic before beginning. Establish credibility. Set the stage for things to come. Tell a story related to the theme. Ask questions which involve everybody. Challenge the audience to solve a riddle by program's end.

Use humor selectively. Many interpreters begin a program with a joke or a humorous tale. This will work if you can deliver a punchline perfectly and the humor illustrates a point. Offending somebody with inappropriate humor is worse than not even trying at all.

POW

Begin with a bang. Wake your audience up, break through their apathy. Give them a reason to listen. Is your program intended to be humorous, educational, or inspiring? You want to whet the audiences' appetite to learn more about the site or topic on their own. The first slide should be projected before the lights go off.

Bridge

Relate your theme to the audiences' interests and experiences. Convey the importance of your message to them.

Body

Develop your theme with supporting information, stories, and examples. Period

Conclude your talk concisely. Do not trail off with "Well, I guess that's all I have for you tonight." Summarize your points and leave them with a final thought. Create Images

Rely on the outline, not the script. Create images which deeply touch the listener's own experience. For example: "Thank you for visiting Alaska. We hope you will return" leaves nothing to the audiences' imagination. Instead say "Once you have been to Alaska, you will never come all the way back." The words are associated with a personal experience. Each person attaches different memories to that statement. The narration complements, but does not duplicate, your visuals. Paint pictures with descriptive words.

Speaking Dynamics

• Use a small light to refer to your notes. • Limit slides to the number of which fit in the slide carousel. • Do not fiddle with the remote control! • Anticipate the next slide. The slide should appear on the screen at the same time key words are spoken. • Vary time spent on each slide to avoid monotony. • Avoid talking directly about the slide or leaving it up for too long. • Mix long, medium, and close-up shots. • Include different races, ages, and sexes. • Do not use "filler" slides for missing ones. Minimize graphs, charts, and title slides. • Extra "urns," "ahs," and "alsos" should be eliminated. • Keep unrelated information out of the program. • Use a blank slide at the end to avoid a white glaring screen. • Never apologize for equipment malfunctions. • Stay on schedule.

An illustrated Talk

The following talk was presented by Tim Ries for an Environmental Interpretation course at UW-Stevens Point.

*Suggestions for illustrations can be found in:"Mount Saint Helens - The Story Behind the Scenery" (KC Publications, Inc), "The Mountain That Was -And Will Be [Mount Saint Helens Aftermath]" National Geographic Magazine (December 1981), and "St. Helens: Mountain With a Death Wish" National Geographic Magazine (January 1981).

The Mount Saint Helens Disaster byTimRies

'1\n old ugly hag named Tah-One-Lat-Clah made a deal with the spirit god and was turned into a beautiful white virgin. Nearby were two supernatural warriors named Pahto and Wy'East - both handsome and eligible suitors. Since Wy'East lived across a large river, the spirit god built a bridge of stone so he could visit the maideIL Both of the warriors loved the white beauty, but she could not decide which she loved best. Competing for her attention, the two ended up waging a war on each other. Pahto and Wy'East hurled fire, lightning and hot rocks at each other, the sun was blocked and the earth shook so badly that the stone bridge collapsed. The Indians were so frightened that they begged the spirit god's help. Angered, the god turned t he three into stone. Wy'East became known as Mt. Hood; Pahto, Mt. Adams; and Tah-One-Lat-Clah, Mount Saint Helens." Special Effects Narration

Volcanic Rumbling

On a sunny morning the 18th of May 1980, the earth melted. the molllltains rumbled and shook. (Early Stages of volcanic eruption)

2

Mt. St. Helens came to a climax of r tremendous explosion, coupled with plumes offirey ash. (Medium stages of volcanic eruption)

3

The first volcanic event in the lower r 48 states in 63 years was a rather small explosion compared to two other famous eruptions; Mt. Krakotoa in (Huge eruption) 1883 and Mt. Katmai in 1912.

4

Mt. St. Helens is located in the Cascade r------­ range of SW Washington. The red dots represent areas where the ash from the volcano were folllld. (US map with red dots showing ash fallout)

5

r The area of destruction was approximately 240 square miles, which can be seen by the area colored (Localized Map of Mt. in brown. St. Helens showing area of impact)

38 Special Effects Narration Imae:e Volcanoes emerge because of plate tectonics. The earth is covered with armor like plates. These plates shift and move bumping into each other. (Earth map showing One plate may slide above or below plates) the other.

7 In the case of Mt. St. Helens, the Juan de Fuca plate is sliding under the ,------" North America plate. All this (North American plate movement thousands offeet beneath overriding Juan de the Cascade Range Fuca Plate - Refer to iscausingabu.ildupofpressure. Just page 22 ofMt. St. Helens like too much air in a tire, the preswre The Story Behind the has to be released. Scenery)

8

Pressure builds up in the form of a bu1ge at the center of the mountain.

9

Five minutes since the last picture. A landslide was triggered by an earthquake and made up of rocks, boulders, and ice.

14 seconds after the landslide there was a huge blast spewing melted rock and debris.

11

The view Susan Christian had of the blast from 35 miles away. The North Face explodes. Special Effeds Narration 10 seconds later a surge, an explosion with the destruction of a 10 megaton bomb, equal to the amount ofexplosives used in the war against Germany. This surge completely blew away the North Face of Mt. St. Helens.

13

The explosion knocked Susan down. It was so strong it lit:erally blew trees out of the ground 17 miles away.

14

A view of the mountain before the eruption from space using infrared photography. The white represents the snow capped peak while the red represents vegetation.

The destruction is obvious.

Volcanic emption fades.

Heavy classical music Economic costs of Mt. St. Helens was enormous. The total price is impossible to predict, but... (Ash on tractor)

17

in Yakima, WA 85 miles to the northeast, received over 600,000 tons of ash fallout. It cost $100,000 a day to remove it. (Ash falling on Yakima)

18

40 Special E{fects Narration Irna2:e Yakima, WA at 9:30 a.m. Street lights had to go on. Electricity was used in enormous amounts overloading generators and causing (Yakima with ash and blackouts. streets lights on)

19

Lightning strikes knocked out r transformers and started fires.

(Lighting)

Enough timber to build 77 txXJ three r bedroom homes was destroyed. Much of that is unsalvageable or will become infested with insects. (Fallen Trees)

21

Mudslides wiped out residential homes, cottages, and farms. These were caused by the melting snow and ice when the volcano erupted.

22

The mudflows had enough strength r to shatter this logging camp throwing bulldozers and semis around like bobbers in water. (Trucks & bulldozers in mud)

This concrete bridge explodes from being pulverized bya log jam.

41 Special Effects Narration Ima@ Channels bad to be dug to drain r new lakes formed from the filling of volcanic debris. (Lakes with logjam of debris)

Reconstniction of dams, levees, and bridges made this the costliest emergency project ever taken over (Huge tractors by the Anny Corps of Engineers. removing ash)

\.

Over 40 feet of mud dumped on this area. Livestock was killed. The heifer was saved by a tow truck after 5 hours of digging. (Cow in mud)

The volcano wiped out summer r camps, cottages, cabins, and public campgrounds. Spirit lake 6 days after the eruption. The water (Lake with fallen logs) temperature is 626oF.

28

The environmental cost was devastating. An estimated 5,000 black tailed deer, 1,500 elk, 200 black bears, plus mountain goats, cougars, (Dead elk covered bobcats, small rodents, and insects. with ash)

Over two million birds were killed. r In most cases, they were killed by suffocation. A whole population of spotted owls was lost. (Dead bird)

42 Special Effects Narration Ima~ Complete destruction of flora and fauna. This was once a tree lined (Downed Trees) valley.

31

Although the lava and ash did not touch this tree, the intense heat being released caused vegetation to flare up.

Spirit Lake at the base of a smoking Mt. St. Helens before the eruption. This area was enjoyed by thousands of people each year.

4 months later, total destruction. The lake was filled and the landscape erased. A total of 26 lakes were destroyed along with 150 miles of pristine trout streams.

An excellent example of prime elk and deer country.

Here it is four months later. It is impossible to put a price tag on the destruction that occured. SJ>ecialEffects Narration Imae:e Song" H the mowitain goes, The volcano did not spare anything then I'll go with it." inits path. Harry R. Truman, one of sixty people killed is remembered wi this cross. He lived below the mowi for fifity years and refused to leave. Since his death, posters, books, song and a movie have been made about spirit toward life.

Christy Killiam died here 10 miles away from the mowitain. her husband has never been fowid.

Reed Blackman, a National Geographic photographer, was fowid in his c.ar 8 miles from the mountain.

Geologists continue to monitor Mt. St. Helens. Another big blast is highly unlikely but smaller explosions may continue for decades. LI

A geok ~ records data inside ~he crater.

41

Sulfur dioxide emissions help to measure stresses and fissure growth.

42

44 Special Effects Narration Image Upbeat, pleasant music. Massive salvage operations are occuring. It has been called the worlds largest clearcut with 230 miles of timber laying in a big tangled mess.

Simple fonns of life have started to r come back. This algae feeds on sulfur and iron oxides found within the crater itself. (Rust colored algae)

44

Avalanche lillies have started to r emerge and heal the earth. (Avalanche lillies)

Fireweed is another successional species.

(Fireweed)

In areas where vegetation bas not r started to come back. fast growing ~ seed has been spread, in (A helicoptor hopes of slowing down erosion. spreading seed)

The Earth is dynamic, with ==Y~~~~=~~~ ~(Successionalspecies) Helens will once again take on its pristine quality.

48

45 Taking Another Look

Involve your Audience

Mt. St. Helens relates to something within the experience of all of us. Immediately, you begin to remember images cast upon your television screen for weeks before and after the blast. Recall what touched you most when the mountain blew. Was it the sheer enormity of the problems created by the eruption? A childhood fascination with volcanoes which suddenly had real meaning? The deep empathy you felt for those who lost loved ones? Pick out a statement which touches your emotions. You are more likely to remember an overall feeling tone than actual facts.

Provocation

Was the introduction stimulating? Does the talk provoke you to want to learn more? Would you be more or less inclined to visit Mt. St. Helens after viewing this program? What areas of the slide talk are particularly strong? Notice the choice of active words (firey, boost, surge, pulverize).

Reveal Information

Does the narration reveal the essense of the subject rather than simply provide information? Good interpreters take a vast amount of information and boil it down to the essentials. Did you learn anything new?

Relate to Your Audience

Is the narration conversational? Mt. St. Helens is well worth a visit. It truely is a fascinating story. Almost unbelievable. Standing 11 miles from the peak amidst splintered Douglas Fir trees is humbling. Tim was successful in conveying this feeling.

Develop a Whole

Is the theme well defined and carried out for the entire program? Evaluate the flow. Was there a dynamic opening to wake you up and grab your attention? Did Tim take time to relate to your own interests? How about the use of supporting examples? Did the conclusion summarize the talk and bring it full circle?

Interpretation is an Art

Is it obvious that Tim had researched the subject and practiced the presentation? Did the narration complement and support the visuals? How could Tim improve his talk? Could the talk and the slide program stand by themselves or are they dependent on each other?

Make It Better the Next Time

Evaluate your program and think of ways to improve it. We usually remember the areas of weakness rather than our successes. Pay attention to the audience response. Were they sitting on the edge of their seats to the end? Were they bored and restless? Always leave them wanting more. Are the visuals appropriate to illustrate each point? Eliminate unnecessary or similar slides. Slides which are out of focus should be removed. The exception to that would be visuals you simply can not replace such as California condors or tropical coral reef fish. Do you need any additional slides? How about titles which would help deliver the interpretive message? Review the timing of the program. Was the pace appropriate for the audience? Refine everything. It can always get better.

Use the following evaluation sheet to evaluate and improve your illustrated talks.

46 Environmental Interpretation Methods Evaluation and Analysis Sheet illustrated Talks Individual Interpreting ______Date _____ Evaluator Talk theme or subject ______

Evaluators: Please comment on each of the following catagories. Include in your comments examples of particularly effective techniques you observed and also ways the interpreter could change the presentation to make it more effective. The items listed should be considered a source of ideas for your comments.

I. Use of Principles Did the interpreter relate to something within the experience of the audience and involve them?

... reveal the essense of the subject rather than simply provide information?

... develop a whole program or only parts and attributes?

... provoke (stimulate, inspire) or simply instruct?

.. .involve the participants' emotions as well as intellect (the whole person)?

Il. Organization Did- the talk have a stimulating introduction?

Was there a well defined theme?

Was there a good flow (intro-bridge-body-conclusion)?

Were the illustrations appropriate? m. Techniques Did the interpreter use active language?

... use effective voice inflection and articulation?

... relax the audience and make the talk enjoyable and rewarding?

... have any annoying mannerisms?

... stand in front of the audience and face them rather than the screen?

... maintain contact with the audience?

... warm the audience up to the subject before beginning the presentation?

Did the talk and illustrations stand alone?

Was effective timing (neither too short nor too long) of the illustrations used?

Were you involved?

IV.Effort Did the speaker display enthusiasm and care (good quality slides, innovative techniques)?

Were title slides and black slides used?

Was it obvious the interpreter had researched the subject and practiced the presentation?

47 4 MULTI-MEDIA SHOWTIME Automate It!

Simple things should be simple; complex things should be possible.

-Alan Kay

Slide-Sound Programs

Automated slide-sound productions are widely employed when non-personal interpretation is appropriate. They can be repeatedly shown, thus, reaching large numbers of people with limited resources. Adding sound synchronization to a slide presentation requires more sophisticated equipment and an additional investment of time and money. The pay off may be well worth it.

Slide-sound programs often serve as an initial contact for visitors at an interpretive center. Travelling westward through North Dakota on Highway 94, weary motorists are pleased to see the sign welcoming them to Theodore Roosevelt National Park. The majority of visitors are hurried, only staying long enough to stretch their legs, and, perhaps get a fleeting glimpse of why this area is preserved as one of the nations' crown jewels. How then, do you capture the visitor's interest and explain the story of this little known park? A ten minute viewer activated slide-sound program provides the necessary appreciation for the landscape where Theodore Roosevelt rode horseback through blizzards and blistering heat.

Multi-Media

Multi-media productions combine several media creating a potent presentation package. For aesthetic impact, no other form of audio visual media can compete with multi-media. Media possibilities might include high resolution slides, graphics, video, synchonized music, and a programmed dissolver.

In addition to automated programs, you can manually control the pace of your multi-media presentation to give visitors a lasting impression. With considerable planning and effort, you can successfully provoke your audience with your message. If you want to produce high quality audio visual programs, and have the money and resources to do so, Multi-media productions should be considered.

I was skeptical when I heard the featured presentation at a National Interpreters Conference would be "The Disney Approach to People Management." After all, what does fantasy and a mouse have to do with being more productive? One and a half hours later I had experienced joy, sorrow, laughter, and had been exposed to a proven management system. Granted the speaker was superb; but, the media selected included computer generated titles, television clips, filmstrips, audio recordings, and video. Multi-media productions can be quite convincing.

48 Planning Multi-Media Programs

The following chart simplifies the planning process for multi-media programs. ----.----ilPlanningl------

Identify Topic Audience: Resources: Objectives Composition Time Needs Money

Content Outline

Storyboard

Narration Sound Effects

-·~....------. Sychronization

Evaluation

There Is No Room for Error

Producing slide-sound and multi-media programs require an entirely new set of interpretive skills. Unlike speaker supported programs which can be easily adapted for specific audiences, automated programs must be designed with a broader audience in mind. Good speakers can "wing it" in·front of a group. You simply do not have the same luxury with slide-sound programs. The key to success, as always, rests in the planning stage. Production errors will be repeated every time the program is shown.

As with every audio visual program, define your purpose clearly before proceeding with any phase of production. Determine specific objectives of what you will accomplish. Analyze the audience characteristics and needs. Survey resources available to complete the project. Select your topic, narrowing it down to something relevant and manageable.

Once you determine your topic, develop an outline of the major points you wish to cover. Thoroughly research the subject. Gather information by talking to employees, locals, and resource people (i.e. historians, librarians). If possible, get permission to tape record all interviews. Direct recordings can be used in the final product; or, you can renarrate them yourself. Quotes from "authorities" add credibility to your program.

49 Picture Everything in Your Mind

Get comfortable. Take a few deep breaths. The creative process begins when you shut your eyes and envision how you will communicate your ideas. Imagine the visual images, the sound effects, the narration, indeed everything you need to deliver your interpretive package. Be alert and open to new possibilities. If you see a promising photographic opportunity, or hear a piece of music which might fit your program, jot it down. At this point you are only limited by your own imagination.

Which Comes First, the Narration or the VJSUals?

Some people prefer to write the narration first, then select matching visuals. Others, arrange the visuals first, then attach a narration. Ideally, you should plan the visual and audio portions simultaneously. Both elements are symbiotic in nature, interdependent. They should complement each other. The narration provides the general information while the visuals illustrate specific examples.

Scripting

Get it Down on Paper

Automated slide-sound productions need concise planning and scripting to be successful. Do not try to satisfy your vanity by including answers to every question in an introductory program. Instead, whet your audiences' appetite to learn more about the site or topic on their own.

Refer back to the program purpose. Now, turn your imagination loose. Brainstorm! If you find yourself getting mental blocks, take a walk, split wood, go for a run. Often the incubation process is aided by seemingly unconnected physical activities. Return when you are refocused on the task.

Write down every idea you want to communicate on a 3 X 5" card. For each idea, scribble a quick sequence of sketches which develop and clearly illustrate the idea. Drawings work better than words at quickly conveying an idea. Plan visuals which show the idea. For example, if you want to encourage participation in winter recreational activities in northern Minnesota, include pictures of people cross country skiing, snowmobiling, ice fishing, and winter camping. Do not just tell viewers what you offer, show them. Make a note of accompanying words for each visual. Later, a more detailed narration can be written for each card.

Place the 3 X 5" cards on a table or tack them onto a piece of corkboard. Make additional sketches of other visuals you want to include; you can always edit them later. Group and arrange images into possible sequences. Organize the flow into major sections including an opening, the body, transitions, and a closing. Remember to use pencil and number your cards in case your three year old topples your planning board into the bathtub. Lead can be erased and will endure exposure to unexpected weather conditions.

50 Writing for the Ear

People do not listen well. We are trained to read, write, and speak in public, but not listen. We perceive and process roughly one fourth of what we hear. The mind easily drifts because we can listen at a much faster rate than others speak. You have your audiences' attention, now you have to work hard to keep it. Choose your words carefully.

A good script is fundamental to success. It is your description for the entire show, both visually and aurally. The script is the foundation for your finished product. It is a document which will change several times before you are done. Base it on solid factual research. Integrate visual and audio elements of the program when writing the script. The script should supplement the visuals. Visuals will illustrate and support the scripting. If planned with care, the script and visual presentation will blend perfectly together, neither element dominating the other.

Writing scripts for audio visual programs takes some practice. You are writing for the viewer and the listener, not the reader. With the written word, you have the advantage of being able to make sure your reader understands the material. Ideas can be developed slowly and completely. With audio visual programs the idea is fleeting, and then gone. The audience has no time to review anything which is missed.

An audio visual script must present concrete, specific images of your subject. Use short, easily understood sentences. The more difficult the material, the shorter the sentences need to be. Simplify complex ideas with many short phrases. Sentence length should be 15 words or less. Vary the sentence length.

Choose descriptive and active language. "Saunter" and "Stroll" are more descriptive than "Walk." Concrete nouns paint a clear picture of what you are talking about. The term "Mountains" is nebulous. However, "Adirondack High Peaks" or "Alabama Hills" convey a direct message about specific mountainous areas. Minimize your words and let the visuals speak for you.

Rewrite and refine your script until all the extra fat is trimmed. Mark Twain said "I would have written you a shorter letter, but didn't have the time." Find the time. Chop, chop, chop.

Be Conversational

Say out loud what you want to say, then write it down. Use words which sound natural. Include contractions (she's, it's, he'll) because they sound more casual. Minimize scientific or technical words. If you must use unfamiliar words, explain them by paraphrasing in simple language. In the same vein, avoid tongue twisters by using words which are easy to pronounce.

Do not use slang unless you are portraying a historic character who spoke with less than perfect grammar.

51 Sequence Your Writing

We were taught to write logically. Start with a lead sentence to introduce an idea. Support the main idea with specific examples. Conclude with a recap of your thesis.

The traditional style of writing leads to wordy and boring scripts. Typically, we start with broad statements and then narrow down to details. Writing in sequences requires that general ideas and specifics be mixed at the same time. Cluster words and images to express each main point.

Consider how to sequence visuals in telling your story. Bunch similar images into logical groups to provide continuity. Seasonal cycles or historical changes will naturally benefit from good sequencing. Smooth color transitions are also important. Going from bright autumn colors to dull grays found on a winter day is too abrupt for the viewer.

Transitions between program sections should be subtle, yet clear. Use short pauses, music, or unnarrated visuals to move smoothly from idea to another. Be sure to bring everything full circle with a conclusion which ties the program together.

The Shooting Script

Plan for maximum visual interest when writing the script. Include specifics on subject, location, artwork and graphics. Know exactly what shots you need before going into the field. Determine the desired camera angle and type of shot. Look for images which share a unique perspective on the subject. Create the desired mood by using warm (yellows, oranges, reds) or cool (greens, blues, whites) colors.

Write out directions for the photographer to ensure you get the visuals you need to tell the story completely. Refer to planning cards for specifics. Place a check mark on the planning cards after the picture is taken. Make photographic notes on cards to help remember details of each picture. Remember the visuals should enhance the words, not the other way around!

Pacing

Pace your program relative to the complexity of the message and the target audience. Load your slides and read the script as you manually advance slides. Remove or add words and slides as needed to tighten up the flow.

Like all programs that are well crafted, vary the pace of the presentation. Include some quick sequences as well as those that develop complex ideas. Plan to keep slides on the screen for an average of 6-10 seconds, but not longer than 20 seconds. Project images only as long as it takes to get the information across. Balance is important. If the image or idea is more complex, give them some meat in your words and allow more time for comprehension. Likewise, if the image is straightforward, don't drag out the narration.

Generally speaking, keep the pace brisk. Do not get so wrapped up in technical jargon that you lose the audiences' interest with a grinding pace. We have all sat through the excruciatingly dull automated slide programs in junior high science classes.

Edit all unnecessary visuals. Once you pick the exact images you will use, hone the script to its final form. Double check to see that sequences are well developed and are linked by smooth transitions.

Type and double space your finished script. Leave wide margins for notes. Number all pages. Highlight words which should be emphasized by the narrator(s). Indicate where you want pauses and how long they should be. Remember to allow one to two seconds for the slide to advance. Therefore, place a dot slightly before the corresponding narration to indicate slide changes. Images seen on the screen should match the spoken word. Do not always change the slide at the end of a sentence. Again, vary when the slides advance.

52 Final Words on Scripting

A panel of experts (11 youngsters ranging in age from eight to twelve) brainstormed what makes a script appealing to them. The following are their recommendations: • Begin with a catchy title. • Make your script interesting and exciting. • Match the music to the scene and create a desired mood. • Plan different camera angles for visual contrast. • The theme or plot should be well defined and have continuity. • Make transitions smooth and logical. • Vary the pace. • Provide elements of surprise. • Include lots of action, mystery, humor, and romance. • Sprinkle in blood, sex, and violence.

Realistic special effects are best. Include both men and women narrators. Mix their ages. The voices should be distinct and appropriate for the role.

For a final test of your script, read it aloud. If you have difficulty reading the words, rearrange and simplify them. Tape record your script. If it sounds good and has a nice flow, use it. If you stumble over words or sequences, revise your script until you are statisfied. Each word counts. Remove extras.

Adding Sound

Poor sound quality wrecks presentations. Visitors tolerate marginal visuals, but not distorted sound. Automated programs cannot have mistakes in the soundtrack. I spent painstaking hours developing promotional slide-sound programs inadequate for public viewing because of audio flaws. Create the Desired Mood

The primary purpose of adding sound to audio visual programs is to create a mood. Your narration, music and special effects should blend with the visuals to build a memorable package for your audience. Touch their emotions, challenge their intellect.

Use Realistic Sounds

Choose sound effects that accurately match your visual scenes. Contrary to what the inexperienced Hollywood naturalists would have you believe, a screeching red-tailed hawk or the hoo hoo of a great horned owl is not appropriate for all natural settings.

Music

Match your music to the pace of your program. Dramatic music heightens a scene of wolves circling a moose in deep snow. Soft, flutelike music best fits the movement of a flitting butterfly. Choose a variety of music for the different moods of your program. Consider geographically specific music for a program with a regional emphasis.

Music should enter at natural breaks (i.e narration pauses). Only one component of the sound track should dominate. Narration always takes priority over special effects or music. Do not use narration over music with lyrics. It is distracting to the listener.

Allow enough time (30-60 seconds) for different music pieces to become established. Avoid using one piece of music for too long. Use dramatic pauses with short periods of silence. Avoid popular (top 40) music in your program as it becomes dated quickly. Remember copyright laws when selecting your music. 5:3 Narration

When your script has been completely revised, select people whose voices fit the message of your program. The Statue of Liberty interpretive complex has recordings of actual immigrants and their impressions of first seeing the "Lady of Freedom" as they entered New York Harbor. The idea of "A Great Melting Pot" takes on greater meaning here than in history books as German, Irish, and Italian decendents speak directly to you.

Mix men and women narrators, people of different ages and voice qualities if available. If possible, use direct quotes from resource people to enhance the program's credibility. Do not feel a need to have on-going narration. The audience will appreciate uninterrupted silence, background music, and sound effects. No need to mention things which can not be seen on the screen. Avoid redundancy when choosing words. "This is a picture of a Turkey vulture ... " We can see that. Give information about Turkey vultures instead.

Plan on multiple takes when you record your narration. It is critical to get a perfect recording of the narration from start to finish before mixing in music or special effects.

Special Effects

The emotional impact you have on the audience with be largely dependent on how you mix in special effects throughout the program. My fascination with Australian birds remains strong long after I saw a presentation with masterfully integrated recorded bird songs. The sound of elk bugling on a frosty morning is a stronger impression than a discussion of the same thing. Mix in the sound of volcanoes erupting, wind blowing, birds singing, axes chopping.

Brainstorm ideas to create your own special effects. For example, you may want to depict the sound of hail by dropping rice into into a metal pan. Or, imitate the sounds of fire by crumpling cellophane. The possibilities are endless.

Using a Recording Studio

Use the best available equipment when recording your soundtrack. For top results, contact a professional or university studio to record your narration, special effects and music. They have the sound proof rooms, microphones, non-copyrighted music, mixing and taping equipment to produce flawless soundtracks.

All public radio and television stations are required by law to allow citizens to have access to their equipment ifrequested. Schedule an appointment with an equipment technician to ensure proper recording techniques are followed.

Ifyour location or budget limit you to strict "in-house" AV production, build your own recording room. Curtains, sheets or even egg cartons can be used to line walls and muffie sounds. Sounds rebound off wall or corners. Face the narrator away from these areas. Hang blankets, towels, whatever to reduce sounds. Use a form pad to cover the table your microphone sits on.

An important point to be aware of when recording the narration is something known as the "cone of reception." Essentially, the cone of reception is a narrow angle in front of a microphone which receives sound waves. When you are recording a script be sure the narrator(s) speaks directly into the microphone. Otherwise, the sound level will vary creating an inconsistent recording. If using two or more narrators, either provide one microphone per person, or, have the narrators consciously move in front of the microphone before speaking.

54 Sound Equipment

Microphone

Use a good one. A heart shaped mike picks up sounds from in front but reduces incoming sound from the rear or sides. These are preferrable because they pick up primarily the sounds you desire. An omnidirectional mike will pick up sounds equally from the front, back, and sides of the mike. Bidirectional mikes pick up sounds from the front and back, but not from the sides.

Reel-to-Reel Tape Recorder

The standard and accepted low cost method for recording music, narration and special effects is to use a reel-to-reel tape player. The reel-to-reel tape format minimizes background static noise. Rewinding and muting your audio elements will be much easier with a reel-to-reel format than with a cassette format. Once a reel-to-reel master is cut and sychronized, cassette tapes can be copied and used to drive your multi-media presentation.

Cassette Tape Recorder

Cassette tape recorders can be used for the soundtrack if a reel-to-reel system cannot be obtained. There is lots ofreadily available equipment which will provide adequate sound quality. Many home stereo systems have dual tape players which enable you to directly record from one tape player to another. Be forewarned that getting a professional quality soundtrack with cassette equipment will be an elusive proposition.

Compact Disc Player

Compact discs provide the highest audio quality of any medium. Unwanted background noise can be removed from the disc with precise electronic editing. Unfortunately, compact discs cannot record material, yet. Certainly you can use narration and special effects from a reel-to-reel or cassette tape and mix it with music from a compact disc (with permission) onto another tape.

Digital Audio Tape Player

For the techniophiles among us, the arrival of digital audio tape (D.A.T) brings a new level of audio quality to our lives. They have every bit the sound quality of compact discs, but will allow users to record and edit professional quality audio material at home. Mixer

A mixer enables you to superimpose sound from two (or more) tape recorders onto a single tape. One tape recorder feeds the music into the mixer, one tape recorder provides the narration. A third tape recorder can be used to receive the output from the mixer. You can softly play background music to complement the narration, fade in special effects over dramatic music, or blend two pieces of music together and then add your narration and special effects. You are limited only by your imagination and patience.

The best type of unit is a multitrack recorder. These cassette recorders have four stereo tracks and internal mixing. You can record narration on one track, music on another, and combine all sound elements onto yet another track on the same machine. These machines cost about $600.

Creating a mixed soundtrack takes a lot of hard work and attention. Take your time and keep your spirits high.

55 Mixing Your Soundtrack

After your narration, music and sound effects have been recorded, it is time to mix them together. This can be a painstaking process. Record the narration completely first. Remember, it must be timed to the desired pace of your program. Now you have several options:

You can leave your narration by itself, sychronize the words to matching slides, plug in a slide projector and a tape recorder and show your program.

Secondly, you can tinkle in background music and play it continuously throughout your slide-sound program. For a single projector or a simple two projector program this is an acceptable option. Nothing fancy, but it does add a nice touch.

Thirdly, you can carefully mix and sychronize your narration, sound effects and music into a potent communication package.

• Check the output and input levels of your recorders and mixer.

• Connect all patch cords.

• Be sure your narration and music tapes are edited and timed to perfection.

• Make a cue sheet to indicate where music fades in or out.

• Put the narration tape in one recorder. When the leader of the tape reaches the playback head, stop the tape with the "pause" botton. Set the counter at "000." Play the narration and note the numbers where you will mix music. You may need to rewind the tape and repeat this process a couple of times to be sure.

• Record your number cues on the cue sheet. Remember to mark your cues slightly before the desired effect.

• Check all volume controls on the recording equipment for proper adjustment. I recommend several practice runs before you do any mixing. Are you satisfied with the sound level? If not, make the needed adjustments before proceeding.

• Rewind the tapes. Start the tape recorders one at a time.

• Start the recording machine (push "record"), when the leader crosses the recording head, release the "pause" botton on your narration and music tape recorders.

• Watch the counter on the narration tape recorder. Raise and lower the volume on the music tape recorder at the desired cues.

• Rewind the mixed tape. Is it flawless? Ifyour timing is off, rewind both original tapes to where the error occured, and record again. It may take several runs to match all the elements of your soundtrack to perfection. Allow many hours to produce a high quality soundtrack.

• Next, rewind your completed mixed tape and set the counter at "000."

• Play the tape and make a note of cue numbers for special effects.

• Repeat the whole mixing process for special effects.

56 Synchronization

After your soundtrack is completed and the script is marked for slide advances, you are ready to synchronize the pulses which automate the final package. Run through the slide program several times to be sure the cues are exactly where they should be. Recall that the cue to advance a slide should appear on your script sheet slightly before the slide will appear on the screen. The narration should match the visuals.

The most commonly available synchronizer is Wolensak® made by the 3M Corporation. It allows you to record inaudible pulses on the master tape. Connect the synchronizer to the projector. Put the synchronizer on the "record" mode. Individual synchronizers may read "program," "synch," or something other than "record." Push the "play" button and the tape will begin.

Follow along with the script and push the pulse button at the appropriate cues. This will advance the slide. You will hear the pulse tone, but it will be silent when the tape is played back. If you miss a cue or place one in the wrong place, relax, you can correct it later. Make a note on the script where you made mistakes. Continue the tape and record your cues throughout the rest of the program.

Rewind the tape to just slightly before where you miscued. Again, put the synchronizer into record mode. All previously recorded pulses will be erased when the record mode is on. Play the tape and repulse only the cues which are not correct. When the corrections are made replay the entire tape with slides to be sure everything is synched just as you want it. Repeat the process if you still have errors in the cueing. If you really messed up, start the tape from the beginning and do it again. Make Duplicates!

My first slide-sound production proved to be a valuable lesson in what not to do. Two partners and I compiled slides, music, sound effects, narration, and quotes into a reasonably solid program on John Muir. We presented the slide-tape program as a final project for a class and then made a serious mistake. In our haste to return things, the program was dismantled! All that hard work and nothing to show for it.

Duplicate all your slides, titles, soundtracks, master tapes! The couple extra dollars is well worth it.

57 Multi-Media Presentation Equipment

Playback Equipment

For the most basic slide-sound programs, synchronizers can be used to play the master tape to drive a single projector automated show. The primary advantages of this arrangement include: less equipment investment, ease of travel and set up, and fewer equipment variables. A major drawback of a single projector show is that the transitions between visuals is not smooth.

Most of the hard work is already done and it would benefit your presentation to add another projector and a dissolve unit.

Using a Dissolve

Dissolve units enable you to hook up two (or more) projectors to your synchronizer. The pulses on your master tape are sent to alternate projectors creating a pleasing transition between slides. The illusion of animation is possible as you fuse together similar slides. For an unsophisticated audience, they perceive the effect created by a dissolve unit as sheer magic. True, it can be a hassle setting up multiple projectors and a dissolve unit; but, if given the option of available equipment, I would never use only a single projector for an illustrated talk or an automated slide-sound program.

Most dissolve units come with a fixed rate of dissolve. Perhaps you can select one, two, three, or five seconds. Maybe "slow," "medium," and "fast." Compromise and generally select a middle speed.

Ideally, a dissolve unit should enable you to advance slides automatically or manually. Manual advancement gives you the option of variable dissolves found on higher priced equipment. Computer Programmers

So you want more creative options than a fixed rate dissolve unit offers you? Computer programmers open up the world of high powered Multi-media productions to the common person, if you can secure access to the equipment. This stuff is not cheap, but if you are really in the business of producing and presenting the highest quality audio visual programs possible, then make the investment.

The options and sophistication are almost too numerous to list. You can get programmable dissolve control with variable dissolve rates. Maybe you want a four projector snappy montage with a slide series of river rafters at rapid pace, then desire to slow down the pace showing a moon raising over a ridge, and finally, taking 15 seconds to fade your final slide of a sunset off the screen.

Perhaps it is a nine projector animated program with 64 rates of fade as the cartoon characters play out a melodrama about solid waste disposal. How about spreading the people and the places of the Ozark Mountains across 300 square feet of projection surface? Mix in sterophonic sound, 12 projectors and nine hundred slides and you have a memorable event.

Computer programmers simplify the process of complex programming. If your budget allows, and your objectives desire, purchase a programmer with memory, playback capabilities, stereo sound and variable dissolve rates.

58 The Day of the Show

Check all equipment. Arrive early. Set up equipment well in advance of the starting time. Run a practice showing. Have backup equipment, slides and tapes ready to go. You have invested a lot of time and money to get to this point.

Make sure the projected slides are aligned properly and the edges match up, both vertically and horizontally. Adjust projectors and lenses as needed. I recommend stacking projectors on a commercial or homemade rack. If a vertical rack is not available, then place your projectors as physically close as possible.

Is your audio tape loud enough to be heard throughout the room? Are your slides properly synchronized with the audio tape? Be sure you know which slide projector the first pulse will be sent to. Otherwise, you are sure to be embarassed when each and every slide is out of sync throughout your entire program.

If the program does start on the wrong slide, stop immediately. Your audience will understand a restart, but not a program with mismatched audio and visual portions.

Non Automated Multi-Media

Slide-sound programs do not have to be automated to communicate the desired message. In fact, I have seen some powerful presenters use multiple projectors, dissolves, video clips, music, and live narration to present their information. Bill Hammond, Environmental Education Specialist for Lee County Schools (FL), presented a multi-media program with an unusual format. Instead of matching his slides perfectly on the screen one at a time, he projected two contrasting images at the same time in different parts of the screen. The two images would be polar opposites. For example he might project a picture of a newborn baby and a staving child at the same time. Or, a lush forest and a recent clearcut. His point was to get us to think wholistically about the environment.

Using Live Music

The two most memorable programs I have seen were synchronized to live music. One was on whales, the other about raptors. The slides were manually advanced to match live background music. Each image illustrated the lyrics. The impression of these two presentations stays with me to this day.

The following slide-sound program was used as a closing at Woodleaf Outdoor School. Rusty, a red-tailed hawk wounded by a gunshot, had been visited by students during the week. The song is written by John Hendrickson, Program Director. w Special Effects Lyrics Visual

Slow fade after music Rusty sitting starts She sits In the morning and preens on perch, preening

\. 1 , .., Rusty with She sits In the evening and dreams clouds super-Imposed In backgrounc 2 , Hawk flying Of the days long gone by super-Imposed over hawk on nest ... 3

Top view Of the days when she could fly of hawk f lyl n g

\. 4

On mighty wings she flew Hawk flying

5

Cloud and tree High above the clouds and trees super-impose

\. Leave #6 on screen 6 Slow fade #7 on top

Feather in Like a feather, she played the sky Slow fade #6 off in the morning breeze

7

Hawk in tree But, that was long ago my friends at sunset

8 Special Effects . Lyrics Visual

Rusty sitting For now she can not fly on perch

'- 9

Closeup of And the question she's asking you Rusty's head (sldevlew) '- 1 0 , Rusty Is can you tell her why? staring straight ahead '- 1 1

Music only Closeup of Rusty

1 2

Rusty on She sits perch

~ 1 3 , --- Closeup of and stares In to Rusty looking up

Slow fade 1 4

.... Clouds and the deep blue sky blue sky

'- . 1 5 , Bald eagle --- Far above where family flys with clouds and blue sky

1 6

61 Special Effects Lyrics Visual

Closeup of On mighty legs she stands Rusty's talon

\,. 1 7

r "' View of Rusty Tall and proud with her head projected out

~ 1 8

r "' Rusty With Just wondering if curious you'll understand look

' 1 9

r ' Rusty ruffling Her soft and gentle ways her feathers

~ 20

r '

But that was long ago my friends Rusty on perc,

2 1

r "' Closeup of For now she can not fly Rusty

2 2

r Rusty with And the question kids In she's asking you Is background

23

r ' Closeup of "Can you tell her why?" Rusty

24

62 Special Effects Lyrics Visual r " Closeup of Rusty Music only (sldevlew)

25

r --..,

I hope there'll always be Rough-legged hawk In field

' 2 6

r Red-tailed Hawks up In the sky hawk flying

27

r Bald eagle And you children will see catching fish

28

r Bald eagle In The eagle flying by flight

2 9

r

Merlin And, I hope the day will come mantling

3 0

r Hawk tied on When people will understand barbed wire fence, sunset

Slow fade #31 off 3 1

Hawk How to put down their guns sillouetted In tree

3 2

63 Special Effects Lyrics Visual r

And live with the birds Bald eagle In Slow fade #32 off as planned tree

" 33

r ' Closeup of Then, I'm sure we will see Rusty

" 34

r Bald eagle anc There's a better way rainbow

35

r

And, the question Rusty and kid J she's asking you Is

36

awK wItn , "Wildlife Needs "What can you do?" You" super-Imposed in backaroud 37

Slow fade #37 Into #38 r Hawk with Yes, It depends on you blue and gree1 clouds in background 38 Slow fade #38 off r

It all depends on you Black slide

39

64 Evaluate the Program

Always review your efforts. Can it get better? The following evaluation sheet will give some ideas for improving your multi-media presentations.

Multi-Media Evaluation Guide

Title:______Presenter:------Evaluator:------1. GOALS: Are the goals clearly evident during the production? Does the production show evidence of having carefully analyzed the audience? Comment:

2. PHOTOGRAPHY: In general, do the elements in the pictures convey the intended message without distraction? Are they sharply focused and properly exposed? Comment:

3. COMPOSITION: Do the pictures effectively "deliver the message"? Is there appropriate use of camera angles, long-shots, medium shots, and close-ups? Comment:

4. VISUAL MESSAGE: Do the visuals give evidence of careful planning? Do they logically and smoothly unfold the message as stated in the goals and tie in closely with the script? Comment:

5. TITLE SLIDES: Are the title slides appropriate to both the audience and goals? Are they legible? Interesting? Readable? Colorful? Comment:

6. SOUND TRACK: Does the narration add to the production so as to tie the visual message together and round out the story? Is music or sound effects effectively used? Comment:

7. SCRIPTING: Is the script active, varied, interesting, and appropriate to both the audience and the goals? Are the word choices appropriate and visualizable? Were effective communication techniques used (i.e. reviews, active involvement, etc.)? Comment:

8. ORGANIZATION: Is the development clear and logical? Are the transitions smooth? Is the sequencing and continuity strong? Comment:

9. PACING: Is the production paced appropriately? Does it avoid boredom? Too much speed? Too much sameness? Are both the information and the moods allowed to develop fully and be maintained? Comment:

10. COMMUNICATION: Does the presentation effectively fulfill its communicative purpose? Comment:

65 Multi-Media Planning Checklist

Planning • Define the purpose and objectives. Use three or four objectives. What do you want the audience to do after seeing the presentation? • Audience characteristics Age groups? How much do they already know about the subject? Beliefs and prejudices? What does the audience need to know? • Select the medium

Pre-Production • Determine how to best present content • Outline the content Script outline: narrow the focus • Develop a storyboard Shots, graphs, titles, alongside script outline Estimate number of slides Determine the length of show Divide by an average length of time (8-12 seconds) that each image will be on screen Estimate number of slides to shoot (Approximately 4 shots taken:1 selected ratio) Production • Research subject • Complete writing script • Check existing slides Make a list of slides needed Order artwork and graphics • Prepare a shooting script • Scout locations • Shoot photos on shooting script • Assemble presentation on light table • Produce soundtrack Narration, Music, Special Effects Production/Mixing • Sychronize •Deadline • Distribution? • Evaluation Revise, upgrade as needed

'What Will This Cost Me?' A lot of time if you do everything yourself. Money if you hire professionals. Consider the following examples:

• Bruce Thompson of the Teton Science School produced his own Grand Canyon Odessey, a 60 minute synchronized slide-sound production with music and personal quotes. Bruce figures he has spent roughly one hour of production per minute of finished time. That estimates conservatively to 60 hours of work. • John Veverka and Associates of Lansing, Michigan charge approximately $1,000 per minute of production. That includes scripting, photography, narration, mixing the soundtrack, and synchronization. Do you have $15,000 for a 15 minute production? • Chuck Morkin Enterprises of Green Bay, Wisconsin developed a slide-sound program for a historical fort museum. The cost was $1500 for a seven minute program. The more you can produce "in-house" the cheaper your final cost will be. Kodak® provides a handy sheet to budget your estimated expenses. An abbreviated version appears below.

00 Multi-Media Budget Sheet Program Title: ______Coordinator:------Script Planning Meetings Research Materials Writing Fee(s) Approval Meetings Duplication Travel (include transportation & lodging)

Photography Photographer Assistants Artist Film Film Processing Studio Models Location/Travel Equipment (rental & purchase) Props

Art Planning Meetings Finished Art

Production Editing Mounting/Masking Slide Preparation Title Slide Slide Trays

Recording Narrator(s) Select Music Editing/Mixing Programming/Cueing Studio Rental Music/sound Effects Master Tape

Previews/Approvals/Presentation Meetings Setup Teardown Equipment (rental & purchase) Travel Expenses

Post Production Filing Mailing/Shipping Costs Distribution (duplicate tapes, slide sets, slide trays, packing materials)

f5l 5 SOUND AND MOTION, TOGETHER Making the Video Transition Video does not lie or distort. Everything is in plain view. The beauty of video rests in its truth.

- Jim Presbury

Video

Motion and sound are dramatic. Video is the medium of choice for many interpretive centers. Video is used for public relations, employee training, recording special events, and evaluating interpretive programs. The initial production cost for a professional quality program is higher than a slide/sound program, but shipping costs and the ease of operation makes video an attractive option for interpreters. Improvement in equipment quality and more competitive pricing are encouraging signs for the video market.

The Miami (Ohio) River Area Army Corps of Engineers staff uses video to train seasonal employees in properly handling a variety of information duties. Interpretive naturalists are first shown an improper way to handle a public contact scenario. The staff is then taught a more appropriate way to respond to the hypothetical si~ation. Because the video is locally produced by Corps personnel, it is quite spontaneous and humorous. Costs of training seasonal staff are reduced. However, the level of employee motivation increases as the video breaks up the inservice regimen.

How do you convey the essence o( all your public educational programs while also capturing the unique features of your site? Start with participants ranging in age from eight to eighty, mix in a six week high school field ecology course, school programs, college level natural history workshops, and nestle them under the spectacular scenery of the Grand Tetons and voila! you have a video produced by the Teton Science School. Face it, your audience (especially kids) is hooked on video. Simultaneous motion and sound has appeal. Interpreters can not afford to be left behind.

You're an Expert!

That's right. You already are an expert on video. We have all spent many hours watching documentaries, news programs and sporting events. You know what you like in video. More importantly, you have a good sense of what you don't like. Poorly produced, low budget commercials stick out like a sore thumb. You know when something is just not right. It might be the scripting, the sound or the quality of the footage.

Remember those semiannual festive visits with neighbors who subjected you to their brutal home videos? Everything was poorly done and you were too polite to say so. The only saving grace was that these videos were a sure fire cure for insomnia. Remember these lessons as you begin your own video productions.

68 Watch and Learn from the Best

Every time you watch television you learn about video production. Pay attention; be alert for subtle techniques that make something appealing to you. Professionally produced shows will definitely teach you right from wrong.

Notice how how each idea is presented to you. Make notes of the types of shots used. Chart the location of the camera(s). How long is each shot used? Learn how slight movements of the camera can enhance or detract from a shot. Be aware of timing and lighting. Sound is so essential to the success of video productions. Evaluate how sound effects are used to enhance the video.

Take some time to shoot your own video. Compare your work to the pros. Learn the lessons offered by those who have the expertise, equipment, time and resources to make first rate programs. Do not expect your productions to be at the same level. Rather, incorporate their techniques to make your productions better. Keep it Simple

Joseph Cornell, author of Sharing Nature With Children, shares a delightful activity with workshop participants called the "Human Camera." Working in pairs, one person closes their eyes and becomes the "camera." The partner is the "photographer" and carefully guides the "camera" in search of pictures. Once given a cue, the "camera" opens their eyes (shutter) and records the image in front of them. To this day several images recorded years ago still are etched in my memory.

Your video camera is just like your eyes. It commits images to memory. Keep your video projects simple. Most resource professionals are working with a limited production budget and will benefit by using proven, effective techniques. Certainly strive for top quality in everything you do, but not at the expense of overusing complicated techniques.

TellaStory

We all have a story to tell. It might be the geologic story of shifting sand dunes or migration patterns of wintering elk. Focus on what you do best and what your visitors have come to learn about.

What Steps are Necessary?

First, have a vision of what your production will entail. Jot down rough ideas and visual images you need to accomplish your goals. Evaluate and refine your outline, storyboard and script. Seek feedback from others as you develop your video. Use the videotape evaluation sheet as a pre-production tool to refine your entire production before you shoot the necessary footage. Take some time to look through the Teton Science School video script sheet and evaluate if it meets its desired purpose. Teton Science School Video Script

NARRATION VISUAL AUDIO

Jackson Hole, Wyoming. Winter scene, Jackson (Pan) Music Grand Teton National Park. Yellowstone National Park. Yellowstone River. Teton Science School emblem Extraordinarily beautiful wild lands.

Home to one of north america's Bison richest wildlife populations. Beaver

Also home to Teton Science School. Kids in field with instructor

Founded over 20 years ago, TSS is Ted Major an independent, non-profit school teaching natural and Roger Smith environmental sciences in the Greater Yellowstone ecosystem. High school girl

Grand Teton National Park, Snake River overview Yellowstone National Park Geyser and the surrounding ten million acres of wildlands is our classroom. Fly fisherman

Through a lease agreement with Teton Science School Sign the National Park Service the Pan the buildings science school operates in Grand Teton National Park on what was Cabins once the Ram's Horn Ranch.

Today, ranch buildings are still in Main lodge use including the historical main lodge which houses administrative New Cabins offices, a dining room and kitchen, and a 2000 volume natural science library.

Comfortable new housing for staff Pan site with and students is conveniently located Tetons in background across the ranch campus.

The science school is justifiably Woman approaching proud of the new major field lab/museum labratory. Named for the school's founders, the building houses a Kid using microscope fully equipped science labratory pH test kit as well as the Murie museum.

A unique asset to the science school, Woman with bird mount the Murie museum contains over three thousand remarkable natural Kids studying specimens history specimens, and the highly valued field journals of noted Teacher showing feather to kids naturalists, Ola us and Adolf Murie.

The science school offers a variety Woman at chalkboard of stimulating programs. 70 NARRATION VISUAL AUDIO

From one day to six weeks in length, the courses are intended to be a Backpack group learning adventure for students of all ages.

All of our programs share two Intern with student common characteristics.

They are taught by a highly Instructor with notepad professional staff.

And they are conducted amidst some Waterfall(pan) of the most magnificent scenery on Jackson Lake this planet. Eagle in tree, Moose

Our youngest students begin in Students studying river meander Junior Science School.

The Junior Science School is a day Young student program offering a different science Instuctor in field with group or art theme each week during the summer.

Be it nature photography or flowers, Seed head animals or rivers, our junior science Geese students learn first hand that knowledge of nature is fun. Group going toward bridge

"Get ready." Three students in water

"That was about 8 feet." Kid calling out surface flow measurement

"3 feet." Another measurement

"Here's the bridge. This gives you Instructor reviewing the activity an idea of pretty much where the surface flow is."

"Lift it up like that." Kids in water with seiner

'Wow, we got a lot of stuff." Kids looking at seine net

"Look at this one." Kid pointing to bug

"That's something I'll have to look up. I don't know ... " Beaver pond Bison Geyser Bubbling

Teton Science School invites People on broadwalk organized groups to stay at the Women with binoculars school in any season and learn the Geyser natural science of this fascinating Black bear area. 71 NARRATION VISUAL AUDIO

Elementary, Junior High, High Kid School, or adult. Women

We are eager to put together a Two backpackers program that will suit each Canoeists groups' objectives and interests. Group in field Circle of students

Each season in the Greater Winter Storm Yellowstone Ecosystem offers unique Clouds possibilities for learning.

The annual progression of plant Dead skunk cabbage & Mtns. flowering.

The migration oflarge mammals. Elk in snow

Here, in Jackson Hole each season Grass stalk is played out in magnificent detail. Snowy Mtns.

No time of year is more beautiful Aerial winter shots of Tetons here winter.

At the Teton Science School we are G'roup skiing uphill proud of our pioneering winter ecology programs.

Students of all ages put on their Kids on skis in woods cross country skis for an up close look at a special environment.

Peaceful. Backs of kids heads

Full of new challenges, Snow cave new understandings. Skiers in aspens

Each season has its' special Elk on crispy autumn morning phenomena.

Your group can join us at Teton Science School in exploring these wonders.

But, perhaps you are not part of Woman with journal a group.

Teton Science School invites People on broadwalk organized groups to stay at the Women with binoculars school in any season and learn the Geyser natural science of this fascinating Black bear area.

Teton Science School has several Instructor teaching botany very rewarding programs for the individual who is looking for an unusual learning opportunity. 'i"2 NARRATION VISUAL AUDIO An opportunity to live, and learn, Yellowstone scene and earn academic credit in an environment of unparalleled beauty.

Our adult field seminars, many of Elderhostelers which are university accredited, offer a special learning experience.

Several courses are intended for teachers and provide an assortment of new ideas and activities for the classroom.

Many Teton Science School students Instructor and student in stream study with some of the most respected scientists in the world.

Here, Dr. Luna Leopold teaches a Leopold at chalkboard class on river channels.

All of our seminars are field Group exploring stream oriented with emphasis on direct contact of the subject of study.

Be it the Geysers of Yellowstone Geysers or some of Jackson Holes' amazing Bison wildlife. Eagle, antelope Moon

During the summer we offer three Kids on bench separate programs for junior high and high school students.

Junior high field ecology provides Group of students in field the student aged 12-14 the chance to spend thirteen days exploring Jackson Hole.

We will hike, backpack, canoe and Closeup of backpackers along the way, students learn about geology, plants, animals, ecology, 3 backpackers on trail and how natural systems are Fungus on log connected. Stream

This is hands on learning with Ducks, trees plenty of time for fun. Kid overlooking lake

Field Biology is for 14-16 year old Students in field students.

Field ecology, a similar but more Head instructor with students advanced program, is for 16-18 year olds. Kid cooking

Both programs are six weeks long, Instructors reading and academic credit is available.

Only 30 students are accepted. 3 kids in field 73 NARRATION VISUAL AUDIO

Each course is challenging and Student boring a tree interesting as students learn by doing in our beautiful outdoor classroom.

With a 4 to 1 student to teacher ratio, Instructors our teaching staff can offer a thorough introduction to the field Kids in lab (Pan ) sciences from geology to ecology.

Students are encouraged to use Kid with microscope the lab and museum facilities to Close-up at microscope explore ideas and try out new Recording notes approaches. Two kids on bench Change of Music

We believe in using our most Artist painting Tetons unique asset to its' fullest.

And that is our access to one of Hikers in Tetons north americas' most exciting Kids on rocks natural areas.

Students spend most of their time Canoeing in the field, including several enjoyable backcountry and canoeing trips.

A lot of work and cooperation is Kids in kitchen packing food needed to prepare for the backcountry.

But, once you are on your way the Unloading van fun and challenge have just begun. Kids hiking up trail, reading map Instructors Kids backpacking Setting up tent Group eating

An important part of our high Kids with gear school summer programs is student research.

With help from the instructors, participants conduct a unique Setting up a transect line research project of their choice.

At the conclusion of the course our students report their findings Student presentation to a gathering of scientists, conservationists, friends, and Audience clapping (pan) family.

When the time in the field, backcountry, and lab has ended, Kids hugging our graduates take away not only a greater knowledge of the natural sciences, but also many wonderful Gift exchange memories. 74 NARRATION VISUAL AUDIO

Memories of time spent with new Saying good-bye friends, living and learning in beautiful places.

Many of our students say their Kids smiling in field science school course was the highlight of their high school years.

''I'd like to think of it though it is ending tomorrow as it actually is Kid speaking a beginning. It's completely positive. Writing in journal I'm just really glad I came here. I really appreciate it."

"I think I'll definitely think of it Students looking at crane as a great positive experience that Kid juggling could shape my life."

Teton Science School - People of all Kids in field ages in all seasons learning science Parent and kid hiking in the most beautiful wild corner in Waterfall the lower 48 states. Snake River and Tetons

Join the science school community. Group rafting

You will never view life the same Cranes landing in marsh at sunset way again. Tetons and foliage (fade), credits Teton Science School aerial view

75 Videotape Evaluation Sheet Evaluator:------Date: ------Evaluators: Please comment on each of the following questions. Include examples of particularly effective techniques and also ways the production might be more effective. Feel free to make suggestions on this page (use the back if necessary.)

I. Organization

Does the script have an appropriate, stimulating opening? closing?

Are the transitions between sections smooth?

Is the sequencing logical and strong? If not, how might it be rearranged?

IT. Content

Do the visuals correspond well to the narration? Do they effectively "deliver the message?"

Are any sections too long? What should be removed?

Is the information presented clearly and accurately?

III. Language

Does the narration use descriptive, active language?

Are the sentences short and easy to understand?

Does the language address the desired audience?

IV. Goals

Does this production achieve its goals? If not, what is missing?

76 Equipment Matters

You will make some big decisions when purchasing video equipment. It is imperative that you do some research and get equipment that is compatible with your needs.

Do Your Homework

Get information from several sources before purchasing any equipment. Ask video enthusiasts want they like and dislike about their equipment. If given the option of "Knowing what I know now," many people would opt for different equipment. Make a checklist offeatures that are important to you. Remember, your needs may become more sophisticated with time and you should choose equipment that allows you to "grow into it."

Visit a few reputable dealers and gather information about your video needs. If you are diligent about learning what is available you will be happier in the long run. Test several cameras for their feel to be sure they are comfortable for you. Compare price. The primary cost factor depends on the features you choose. Check the Trade Magazines

Video equipment has made significant progress and will continue to evolve. Many dealers are more than willing to "dump" outdated equipment on unsuspecting consumers.

Video Equipment

Purchase the best equipment you can afford. For professional quality results, select a camera which has 3/4" tape. Studio editing equipment is geared for 3/4" film. Larger film size has higher optical quality. However, most VCR's use the 1/2" format. Camcorders use 1/2" film and are best for organizations who opt to produce low cost "in-house" videos. It is best to use one film size, r_ather than try to record the footage in one size and then convert it to another size.

Ask Questions!

What is the quality of pictures recorded in low light? Does the camera have continuous automatic white balance or do you have to re-balance each time you shoot in different light conditions? How well does the autofocus work? Does the camera have a zoom lens? Can the camera be coupled with an edit controller and a second VCR to do electronic editing? Can you add an extension microphone for picking up sound from a subject at a long distance from the camera? What other features does the camera offer? A:re you going to do professional productions? If so, consider buying a higher-priced production quality camera (3/4" tape) rather than a consumer-quality model.

Find a Video Camera you are Compatible With

Is it comfortable? Does it fit your hand? The camera should have comfortable access to the start-stop button and your fingers should fall naturally on the zoom control. Is it the right weight for you? Is it too heavy to carry comfortably for long periods of time? Is it too light to hold steady? Can you hold it steady? Does it fit your eye naturally? Does your left hand feel natural when it supports the camera? Can you see clearly through the viewfinder? Can you adjust the eyepiece to make the picture clear and sharp? Can you adjust the viewfinder for your left eye?

77 Features to Look For

When purchasing or renting video equipment, consider the following features in your decision:

Comfort - The camera should be just as comfortable on your shoulder as on a tripod.

Ease of Operation - Point and shoot cameras are simple to use. Practice using all the controls including the zoom and wide angle features.

Ability to Record in Low-light · You will be called upon to develop video in a variety of conditions and your camera should be able to handle as many conditions as possible. Most naturalists need to produce good video in low natural light conditions. Even if a camera has a low light capability (lux rating), it may prove advantageous to use supplementary lighting in low light conditions. For best results, shoot footage in good natural light conditions. Early morning lighting is the best.

Automatic Iris Control - The iris control sets the size of the lens opening electronically, based on the lighting conditions. Some cameras allow you to adjust the automatic setting for different light conditions.

Automatic White Balance - Automatic white balance enables the camera to record good quality color images in any lighting. You should also be able to set the white balance manually.

Manual Focus - Even though touted as a solution to all your needs (and inexperience), autofocus is riddled with problems. For one, automatic focus will constantly readjust to whatever is closest to the camera. Choose a camera that has a good manual focus.

Zoom Lens - A zoom lens allows you to change the focal length without changing lenses. Be sure you can also add a wide angle or telephoto lens if desired.

Macro Lens - Macro lenses give you a larger image of closeups than a normal lens does.

Solid State Imaging - Be sure the camera uses solid state imaging and not an imaging tube. Solid state imaging gives you sharper definition, better color and greater low light capability.

Adjustable Eye piece - You should be able to use either eye when shooting footage.

Playback Viewing - This feature lets you find out what is on the tape.

Videocassettes

There are a lot of varieties available . Purchase only namebrand videotapes.

78 Accessories

Carrying Case - Your camera is expensive and it needs protection from dirt, dust, and occasional knocks. Choose either a soft or hard cover depending on your preference and needs.

Tripod - Buy a sturdy tripod that will support the weight of your video camera ( most tripods designed for a 35mm camera will be too small). The tripod should be stable with a camera on top even in breezy conditions. Make sure the tripod head will pan and tilt the camera smoothly. It should also have a quick release so you can quickly detach the camera to do handheld shots.

Spare Battery (or two) - Always take two fully charged extra batteries with you in the field. There is nothing worse than arriving on location only to find you have no power. Avoid batteries that require a cable hooked up to the camera.

Spare Videocassette - Likewise, carry several blank tapes with you, it's easier to edit than reshoot. You may run out of tape or have mechanical problems.

Remote Mike Attachment - Microphones built into cameras pick up lots of static. Use a filter box to reduce background noise.

Lights - Use lights that are portable and battery operated. If at all possible, use photo floodlights. Clamps can be used to help fasten lights to many objects.

Just Dolt

Don't delay your purchase. After you have done your homework and are familiar with current equipment, go ahead and make your purchase. You can wait forever for the latest technological breakthroughs and will probably not be able to afford them anyway.

Know Your Equipment!

Let me tell you a funny story. One summer while working with a group of young junior naturalists, we decided to produce our own natural history video. We spent many hours preparing our storyboard and script. Finally, the day came when we would shoot the video. Everything was set. We had our completed script and rehearsed lines, we had rented a video, and the day was splendid. Nobody really knew how to shoot video, but we didn't care. Everybody assumed that somebody would know how to operate the camera. We figured the red light indicated that the camera was off and the green light meant that the camera was running.

All the scenes were carefully recorded and the videographer always made sure the green light was on. To save the battery, we were diligent to turn the camera "off' between scenes. Much to our amazement, none of our prepared scenes were recorded! We did, however, create a memorable collection of trailside conversations and erratic walking over rough terrain. The camera recorded all of our "down time." After getting over our initial frustrations, we enjoyed a hilarious video of what really happens with a group of kids in the woods. Try it sometime.

79 Steady Yourself

Learn to do Without a Tripod

There is no question that a tripod is the superior method to get steady pictures. However, it is not always possible (or practical) to have a tripod and it is essential that you learn to do without one. Tripods can be a hassle or downright liability when shooting film. Without a tripod you can move with the action and get more footage quickly. In high winds, even_a tripod will have problems holding a camera steady. With a zoom lens extended, pictures can become shaky.

Standing Free

You are in the middle of a marsh filming kids collecting field data and there is no object to rest the camera on. Try this method. Spread your feet shoulder width apart and face the target. Keep your knees slightly bent. Grasp the handle of the camera with your right hand. Use your left hand to steady the camera and operate the controls. Tuck your elbows in toward your body to stabilize the camera. Take a deep breath and relax. Start to roll the tape. Exhale slowly as you record the shot. It will be awkward at first, but with practice you will improve.

Support Yourself

Find something to lean against; a tree, a pole, a building. Use the shoulder not supporting the camera. Once you are steady, you can adjust the picture in the frame or can pan the camera while holding it steady.

''Get Your Elbows Off The Tabler'

For once it is better to ignore your mothers' scorning and put your elbows on a table, or any other stable horizontal object. A park bench or a carhood make a good surface to stabilize the camera. Place the Camera on a Flat Surface

Find a sign, a rock, a gate post on which to rest the camera. Take some time to frame the picture as you want it before shooting the film. Use a small book or a piece of cardboard to raise or lower the camera angle as needed.

Sometimes a Tripod is Ideal

If you are going to shoot in one location for a long time a tripod may be perfect for your needs. Work at a comfortable height. Position and fasten legs securely. Don't leave the camcorder unattended. Focus on the End Product

Focus First

Focus the camera before you shoot each shot. This will heighten your production quality and eliminate wasted video editing in the long run. Understanding Depth of Field

Depth of field is the distance in front of the camera in which your subjects will be in focus. Depth of field is based on the focal length of the camera lens, the distance to the subject, and the size of the aperture (lens opening) which is dependent on the amount oflight present.

The greatest depth of field would be created under conditions with bright light (small lens aperature), and when the zoom lens set at the maximum wide angle. Everything will be in focus from a few feet away from the camera to infinity.

Poor depth of field is created when the subject is as close as the lens will focus and the lighting is poor. This will create a depth of field of only a few inches.

Why Not Just Use Autofocus?

Cameras send out an infrared beam that hits an object and then is sent back to the camera lens. The time it takes the beam to return to camera determines the distance to the subject. Autofocus can create problems that you may not be aware of until you see the videotape played.

Very dark objects absorb the infrared beam and do not allow distances to be accurately recorded. Angular surfaces (or flat surfaces shot at an angle) deflect the infrared beam. Autofocus will have difficulty keeping small objects away from the center of the frame in focus. The videographer does not have a reference to what the autofocus is focusing on (like the split image of a 35mm camera). Generally, the camera focuses on the center of the viewfinder and your subject may be out of focus. With a predominant item in the foreground, a subject in back will be out of focus. If something moves in front of subject, the camera will automatically focus on that. When you have a shallow depth of field, any slight movement will force the autofocus to go in and out of focus. Do It the Old Fashioned Way

The advantages of manual focusing outweigh the minor hassles of concentrating on your video work. If done correctly, your images will always be in sharp focus. Take time to focus each shot before rolling the camera. If you change the zoom setting, be sure to refocus again before shooting. I Was Born Ready

A naturalist/photographer friend of mine has a simple motto: Always be ready to shoot! He is forever on the lookout for new or unusual material to shoot. Keep your video camera focused on 10-15 feet and be ready to make quick adjustments as needed.

81 What you Shoot is What You Get

Editing videotape is tedious and expensive. Make an effort to string together shots that are well planned and properly sequenced as you shoot them. Proper framing is critical to making your video work attractive. The following tips will help you frame your shots well.

• Make sure the horizon is level. The subjects and locations should not appear to lean. • Ensure enough headroom for your subject. Likewise, do not leave too much space above subjects. • Be sure the subject is the appropriate size, not appearing too large or too small. • The zoom lens should be set to the right focal length setting based on the distance the subject is from from the camera. • Avoid distracting objects in the foreground and background. That includes stationary or moving objects. • Ask yourself if you really want the picture. Does it fit into your desired finished product?

Being in the Right Place at the Right Time

Timing is everything. It is the key to success in most things. Anticipate what is going to happen before the action begins. Keep the tape rolling until after the action has completely stopped. Always think of the viewer and what they would enjoy. They need a couple of seconds of video before the action starts to understand what is going on. Be ready for action before it happens. If filming eagles on the Chigat River, you may want to show the eagles roosting, in flight, catching fish and feeding to show the complete drama. Highlight critical moments rather than showing boring action continuously.

How Much Time is Enough?

Videotape is relatively inexpensive and it allows you to experiment with new ideas and techniques while developing your talent. The time to learn what works is before you shoot something for keeps. With practice, you will begin to establish a good foundation offilmmaking by being selective with your shots. The amount of time needed on an action scene depends on how complex the scene is. Simple scenes do not need much time to get the message across. Complex scenes may need 8-10 seconds to be comprehended by your audience. If you do not allow enough time, confusion may result. Too much time devoted to one scene leads to audience boredom.

Generally speaking, the more action in a scene, the more time required. Pick and choose shots to create lots of interesting segments (instead of one continuous event.) Think of creating a highlight film instead of a documentary. The exception to this principle would be if you have an opportunity to film a subject of particular interest or rarity such as an albino red-tailed hawk.

The question of how much time to use for each scene becomes critical when you consider how (and who) will do the final editing of your video work. If you do not have access to sophisticated editing equipment then you want to plan your shots carefully to reduce your editing to the absolute minimum. If you plan to use a professional studio for editing you should allow a safe margin with each shot so you can easily edit your film.

82 Recording Action

Only record motion, do not create it! The common mistake for amateur videographers is to constantly move the camera to capture moving objects. Wrong! Hold the camera still and let the action speak for itself. Moving the camera to record motion will make the audience nauseaus. To illustrate this point, film your neighborhood by continually moving the camera. Now try to record a series of still and steady shots of the same scenes. The latter effect will be much more pleasing to view. Panning

Panning is swinging the camera through a scene from side to side. It shows a wider angle than the camera lens alone could show. Before panning, study the scene and know where you want to start and where you want to finish. Start with a well composed frame in the viewfinder. Begin rolling the tape, holding the first shot still for two or three seconds. Then, make a slow and steady sweep with the camera from the left to right across the scene. When you stop the pan, hold the shot for two or three seconds before pausing the tape.

Try a "dry run" practice before rolling the tape for the final recording. This will help eliminate mistakes and perfect the timing of the complete pan.

Following a subject from one location to another is more justified than panning unnescessarily through a stationary scene. You may remember the classic lynx and snowshoe hare chase scene from "The Predators." That is a perfect example of how to follow the action to completely show the drama of a scene.

7.ooming

Zooming is changing the focal length of the lens to alter it's angle of view. A zoom gives emphasis to a subject and adds detail. Zooms can also be used going from a tight shot to a general scene to add perspective. Before zooming, find an attractive scene and decide where you want to start and end the zoom. Frame a wide shot in the viewfinder. Roll the tape and hold the shot for two or three seconds before starting to zoom into the closeup. When you reach the end of the zoom, hold the close-up shot for two or three seconds before pausing the tape. Avoid a pan or a zoom on the next shot if possible.

Pan and Zoom Only When Needed

. It is better not to pan or zoom than to use these techniques too much. Too much panning creates a feeling of motion sickness. Zooming too often is also irratating and wears down the battery more quickly. You should have a good reason for using a pan or zoom. Use a pan if you can not get everything in a shot (i.e Grand Canyon). It can also be used to create a mood. I have seen a pan work very effectively to mimic motion with a still photograph of the Titanic. Remember; record motion, do not create it!! It is more enjoyable if the majority of the shots are steady.

Edit as You Shoot

Sophisticated video editing equipment is beyond most people's budget. Careful shot planning and forethought will ease the process immensely.

Be Concise

With practice, you can learn to provide all the information your viewer needs while also holding their interest. Say what you want to say, clearly and briefly. Use cutaways, neutral shots, and match cuts to record events in a fraction of the time and create a smooth flowing video.

83 Take Your Best Shot

Wide Shot

Capture as much of the scene as possible. The zoom lens is set at the widest setting. The wide shot gives you the best perspective and tells a story about the whole scene.

Medium.Shot

Move the zoom lens to a narrower setting or move the camera closer to the subject. Use the medium shot to highlight the main subject while also showing some of the background.

'light Shot

For a tight shot, move close to the subject or set the lens on telephoto to show detail of your subject.

Mixing and Matching Shots

Jump Cuts

Jump cuts are two successive shots of the same scene made at different times. The scene remains the same, but the subjects have changed or time has passed. Avoid jump cuts by using either a cutaway or a neutral shot to soften the transition between shots.

Cutaways

Cutaways are shots of the same scene from different angles. They create the illusion that time has passed between shots. Use cutaways between two similar shots to avoid harsh transitions.

Neutral Shot

A neutral shot is closely related to the subject but is not directly a part of the action. Very helpful if used between two similar shots.

The Match Cut

A match cut is the same subject filmed by using different shots. Follow a wide angle shot with a tight closeup of the same subject. Make a concerted effort to have smooth transitions between the shots.

The Set Up Shot

The set up shot clarifies the context of the video. For example, it may include the entrance sign to a familiar park or natural area. The set up shot establishes the proper sequence for the rest of your footage.

Timing is Everything

Anticipate action before it happens. Use proper timing at the beginning and end of every shot.

Conclusion

Shooting quality video takes time and practice. With experience, you will become proficient with editing while using your video camera.

84 Shed Some Light on the Subject

Proper lighting is critical to good quality video. Use the automatic white balance whenever possible. This takes many of the hassles out of using the manual white balance. With the manual balance you are constantly readjusting before shooting and after any chance oflighting.

The Color Purple (and Other Colors of Light)

Natural daylight is created with direct sunlight and the reflection of light from a blue sky. Afternoon and morning light tends to be reddish (warm). Shaded areas have blue light (cool). Overcast skies create a slight blue imbalance.

Indoor light is artificially created and varies depending the type of lighting used. Tungsten lights cast a warm yellow-orange to a red tint. The lower the wattage of tungsten bulbs, the redder the light. Fluroescent lights range from blueish white to green. Use only cool-white or daylight florescent bulbs when filming video.

Mixed light is a mixture of sunlight and indoor light. Variations in color will occur depending on how the camera sees the light.

Mercury and sodium vapor lights are used in brightly lit areas such as downtown business districts and sporting arenas. Mercury lights have a greenish tint while sodium vapor lights cast a brown/yellow glow. Increasingly, athletic complexes are using lights which are daylight balanced and will not create color balancing problems.

Cameras with only automatic white balancing have a setting for either sunlight or indoor light. They read the type of light available, not the location of the light. For example, if you are indoors and the only light available is sunlight, then the camera will read sunlight.

Light Intensity

Without light, your camera can not see. For technocrats, cameras come with a rating (Lux) which is a standard measure of the amount of light available. The lower the Lux Rating, the better a camera records images in low light. Your camera may record images in low light, but getting quality recordings in low light is not guaranteed. You may still need supplemental lighting to help bring out details in poorly lit areas.

Automatic vs. Manual Exposure

The automatic exposure on the camera records light and electronically controls the lens opening. Extreme contrasts in light can create recording problems as it is difficult to get good detail in extremely dark or light conditions. Manual control of the lens opening enables you to handle extreme lighting conditions. Be sure to use a camera that has a backlight control.

Outdoor Lighting

Most of your footage will be filmed in natural outdoor settings. Be aware of the lighting conditions and plan your shooting accordingly. Generally speaking, the best light is found in the early morning and will be coming from behind you. When setting up a blind be aware of the lighting conditions during different times of day for optimum shooting.

Underexposure is caused by a bright background which cues the camera to shut down the lens, and hence, the subject does not have enough light on it to record clearly. Overexposure, on the other hand, is caused when the background is dark causing the camera lens to open up and the subject becomes "washed out." Exposure problems may also occur when the subject is shadowed and the background is bright sunlight. Highly reflective surfaces like sand and snow also throw the light reading off. If possible, film in conditions with similar lighting cast on the background and subject. 8.5 Indoor Lighting

Sunlight entering a room may create high contrast lighting conditions. Supplementary lighting is helpful to balance out these extremes in lighting. Check your local camera store for supplemental indoor lighting. In a pinch, worklights with clamps and 150-200 watt bulbs will work fine. Try to mount the lights behind you before shooting indoors. If the walls are dark (wood paneled), you may need higher wattage bulbs.

Project Yourself in the Best Light

Set two lights equal-distant and angle from your subject. Do not shine the lights directly into your subject's eyes. The lighting from fixed lamps will be consistant. Lights mounted on cameras will distract (and blind) your subject. Uneven exposure and shadows behind the subject also result from a camera mounted light. If a cord is required to operate the light it can be difficult to maneuver the camera around. If shooting indoors use mounted lights fixed to a stand and avoid lights attached to the camera. Other Indoor Tips

The larger the room, or the higher the ceiling, or the darker the walls, the more supplemental light you will need. Avoid shooting toward an outside source oflight (sunlight). Always try to keep your lighting source behind you.

Putting Words to Your Video

Forget the Script

I knew that would get a reaction. It is probably contrary to everything you have read or heard about video production. At first, yes, it is helpful to have a detailed script. However, script writing is tedious and loses its novelty after one or two productions. A script is rigid and does not allow for unexpected events.

Use an Outline Instead

Start with a general plan you want the production to follow. Be flexible and open to events as they unfold. As you gain production experience, wean yourself of a script and work more from a clear mental outline. You can not control all events and outlines can be adapted as needed throughout the process. Besides, it is much easier to mold your final script to footage you actually have, instead of getting required footage for a completed script.

Sounds Good to Me

Camcorders record video and sound. Most camcorders are equipped with directional mikes which pick up sounds mostly from the front. They may also pick up unwanted sounds from the sides or the back. We hear in stereo sound and can distinguish isolated sounds from a noisy din (hearing one person speak in loud room.) Camcorder mikes record sounds in monotone and will have problems with a lot of background noise.

Automatic Mike

Ifyou set the automatic mike at 100%, it records everything with the loudest sound being predominant. Be careful of the background noise and remember that an automatic mike picks up every sound. 00 Using an Auxiliary Mike

An auxiliary mike can be used if you are working with a lot of background noise. The auxiliary mike can be placed close to the subject to better record the sounds you actually want. They can be of different design depending on your needs. For example, an omnidirectional mike picks up sounds equally from all directions (i.e. tropical bird recordings). For the truely sophisticated, a mike mixer can be used with more than one mike.

Listen. ' Learn to listen; to your mother, to your spouse, and to nature. Pay attention to sound to avoid problems with unwanted noise.

TalktoaPro

There are a lot of different types auxillery mikes each with a specific purpose. Get advice from somebody "in the know" before making unnescessary mistakes.

Taking the Past Into the Future

Converting Slides to Tape

For the sake of convenience and modernization, you may want to transfer your slides to videotape. Professional services are available and they are expensive. With the proper equipment (some can be rented) and commitment on your part, you can transfer current slides to videotape. You will need a slide projector, a camcorder, and a slide/film converter (also called a tele-cine).

Set the projector on a table or stand, and the camcorder on a tripod at the same height. Project slides onto a screen or a white illumination board on the wall. Adjust the projector so the image nearly fills the illumination board (20" X 24"). Keep the camcorder as close as possible to the projector to avoid "keystoning," where the top and bottom of the image are different sizes. Darken the room so the projector will give as bright an image as possible. Before recording, turn on the projector's light and white balance the camcorder. Project image, and begin recording with the camcorder.

After a few slides, check how well everything is recording. Check the framing, the focus, the brightness to be sure you will have quality results.

For best results, load and focus the slide while the camcorder waits on "pause" mode. Roll the tape for the desired amount of time and then pause the tape. Reload another slide, then tape again. With stills, the illusion of motion can be created on the videotape by using either a pan or zoom when recording.

Adding Sound to Your Video

If you want to narrate your video (i.e. If you are using slide to tape transfer to record historic or important information) you need a VCR with audio input capability. After recording the video, write an outline or script and narrate as you play back the video. Ifyou wish to mix music and narration, then you need an audio mixer. Smooth Transitions are the Key

Avoid starting and stopping a background tape because it breaks up the flow of your video. Think in terms of smooth transitions in both your footage and soundtrack. Video as an Interpretive Aid

The best way to improve your presentations is to film yourself in action and then sit down with other naturalists and review what your strengths and weaknesses are. Do you lack eye contact with the audience? What about voice inflection? Do you have any distracting mannerisms? Are you stiff and boring or nervous and jittery? Help yourself get better by actively seeking to improve.

History is Best Preserved in Pictures

What better way to record evolutionally natural changes than to record historical events in video. Imagine the intrigue of showing the regeneration of Mt. St. Helens, documenting fire ecology inYellowstone or the recovery of south Florida after Hurricane Andrew. Video has impact and is a dramatic way to see changes over time.

Teaching with Video

To reduce your training costs with repetitive tasks (i.e. inservice on fire safety) instructional video can be used. It is not the most personal approach, but efficient nonetheless. Write an outline of your key points indicating your purpose, capture the essence of the necessary material, and then summarize your keys points.

Enjoy Yourself

Live by a simple motto: We don't cease to play because we grow old, we grow old because we cease to play. Have fun! Enjoy your video productions as you would any other outdoor activity. If you want to get good and have more fun, then practice, practice, practice.

88 6 THE CONTROL IS IN YOURHANDS Desktop Presentations

The ultimate fate of the computer is to fade into the background - to be everywhere.

- Lawrence Tesler

A Sequel to Desktop Publishing

Creating slides, graphics, overheads and videos on a personal computer will likely be the next big wave of computer applications. It is quite possible to create all of your audio visual materials on a computer at a fraction of the production costs and time. It is estimated that 10 million people frequently make presentations and over 1 billion original presentation slides are generated annually. Hope Reports, Inc. tells us that by 1995, the number of 35mm slides will grow by 300%, the number of overheads will grow by 800%, and the desktop presentation market will grow by almost 2000%! Interpreters who have discovered the benefits of "in-house" desktop publishing will be equally enthused with the possibilities of desktop presentations.

Is It Worth It?

Are you forever frustrated with making high quality titles slides and visual aids? Or, tired of scratching out and rewriting the narration on your storyboard cards? Admit it, how many of you truely enjoy using rub on letters, x-acto knifes, t-squares, rulers, specialized film and a copystand to produce your credit slides? Organizations or individuals producing visual material will benefit by using computer graphic systems. Computer systems will increase your speed in producing visual aids, ease the process ofrevision should you make a mistake or wish to change something, give you greater design options, and reduce the storage space required for your visuals.

If you are like most resource professionals you seek ways to simplify the production of audio visual materials. Remember the enthusiasm you exhibited when you first realized the potential of desktop publishing? You could do all of your editing, page layout, typesetting and mailing labels · from your office. Desktop publishing has redefined how we view printed material. Desktop presentations will do the same for audio visual programming.

Do I Really Need a Computer?

No and yes. You have gotten by just fine without one for years, why do you need one now? All the tried and true methods will continue to be effective for creating your visuals. You can type up your outline and script, write out your storyboard cards and arrange them manually on a piece of corkboard, use dry transfer letters and clip art to make camera ready title slides. and preview your slide program in a darkened room. As you know, these methods work just fine.

89 Personal computers are revolutionizing the way we work. With the right combination of software and hardware you can produce high quality visuals without leaving your office. Use an outliner to organize your thoughts, select professionally designed templates (or create your own), type your script, spell check it, create or import graphics, resize them, enter and manipulate data to generate charts, preview the entire presentation, revise it, produce your slides, print audience handouts, and then show your program. You control the entire process from start to finish. Computers are becoming ever more entrenched in the working environment. Check out any newspaper office or television station. They are using computers to present information graphically. Whatever you have a need for, whether it be slide cataloging, title slides, bulk mailing, annual reports, or automated multi-image programming, computers will fill a niche. Once you are computer proficient you will wonder how you ever did things the old way.

Computer Slide Generation

Let's be realistic. Even though the technology certainly exists to produce everything you need for an audio visual program, you will probably use a computer to assist with part of the production.

Desktop presentation programs eliminate many of the frustrating tasks associated with traditional graphic production. The computer and software are simply tools enabling you to be more productive and creative.

Desktop Presentation Software

The presentation software you choose depends largely on your needs. Look for presentation software which can chart data, edit text, draw freehand, manage a slide show, import video clips and support color. Be certain it is compatible with your other software such as word processors, spreadsheets, drawing and paint programs. Presentation software should work with the laser printer, color ink jet, slide maker and film recorder you will be using.

Title slides, animated video, interactive exhibits, and digital retouching of historic photos are all possible with the right software. Always shop around and get the best software package you can afford. The key in selecting a software program is to make sure it is completely compatible with all the computer hardware you will use.

Software developers are fast moving to fill the niche of true desktop audio visual production with the ability to create full blown video and multi-media programs without leaving your desk.

Computer Equipment

The primary considerations when selecting computer equipment for audio visual programming are compatibility and the upgrade potential of computer equipment. Computers have different operating systems and will not work smoothly with other systems. Before purchasing a computer, check its compatibility with laser printers, slide makers, film recorders, hard disk drives and other accessories. If you will be using a professional company for production of your final audio visual materials, be especially sure of what is compatible with their equipment.

The upgrade potential (both RAM and ROM) of computers is a critical consideration because software packages are becoming more powerful and require more memory. When you decide to invest in computer equipment for audio visual programming, buy as much machine as you can reasonably afford. Computers have a way of being quickly replaced by something better and faster. Above all, get a computer with graphic capabilities.

The Entrepreneurial Spirit

Natural resource professionals will continue to be on the short end of budget cutbacks. It is entirely possible for your nature center or park to generate revenue by offering your specialized audio visual production skills to others. For a fee, of course. I have seen the Schmeeckle Reserve fill a niche and contract with other nature centers to produce high quality entrance signs. Why not use your special talents and equipment to produce audio visuals for others in need?

00 What's Next?

Seeing the Big Picture

Recent trends indicate many currently used audio visual techniques will be replaced by emerging technologies. Compact discs, laservideos, and interactive video can give you a candy store mentality. Just as computer generated graphics will replace 100 year old photography emulsion technology, digital audio recording and laser enhanced visuals will radically change the audio visual field.

For the immediate future the cost of these electronic innovations will be too expensive for many interpretive agencies and nature centers. But, alas, what was considered unreasonably futuristic just five years ago is now readily available. The seamless integration of interactive video into our lives will be so complete that the role of educators and interpreters will be quite different than it is today.

Interactive Multi-Media

Isn't that the point of education or interpretation? To inspire people to interact with the learning resource? The potential for heightened student/visitor environmental knowledge and awareness is enormous. Let me provide some examples.

On-Demand Video

Suppose you want instantaneous information about current meterological conditions at the coast or avalanche conditions in the mountains and do not want to sort through a bunch of unrelated data. Specific on-demand video information will someday be delivered immediately to you via phone lines (or satellites). Whatever your needs or interests, on-demand video will provide unlimited access to infinite information resources.

The Electric Cadaver

We all have dissected dead things in our pursuit of "biology" (The Study of Life.) After several weeks of sliding a well preserved specimen in and out of a plastic bag in a refrigerated chamber, our enthusiasm for "Hermon" or "Murtle" lessens. Finding some obscure vein or muscle proved nearly impossible when it came time to review for an exam. Our lab partners skill with a scalpel was bad enough that we encouraged them to pursue a career as a botanist instead of a surgeon. I don't care how much you enjoy learning, working on a cadaver is not my idea of fun.

What if you could have access to a complete anatomy and physiology course on one laserdisc? You could review and study as much as you needed to. All the components could be clearly examined and you have a wealth of research information at your fingertips. And next week, or next month, or next year you could review the same material without breathing carcinogenic fumes. It's happening in medical schools all over the country right now.

Think of the Possibilities

Nature is a heck of a lot more exciting than dissecting some rigormortis. You could have schoolkids so excited about the geology of Rocky Mountain National Park or the life cycle of a Monarch Butterfly that you would have to shoo them out the door. Interactive video will enable participants to determine how much information they want (different complexities of material), and let them determine what direction their interests will take them.

Not all visitors will have the opportunity to raft the Colorado River, but could experience the forces of nature through an interactive exhibit. Our brains laterally feel like they will explode with all this access to compressed information. As Sigurd Olson mentioned; "the larger the island of knowledge, the greater the shore of wonder." 91 The Modern Alpinist

Imagine the old style mountaineer. With a pair of woolen pants, a climbing rope, ice axe, and shoes with nails in the sole they could go virtually anywhere their desire and skill took them.

Mountaineers of the 1970's came with a full range of sherpas, expanding bolts, pitons, and harnesses to take them to challenging places of altitude. The available technology has enabled mountaineers to climb higher and faster than previous generations of adventurers, not necessarily with equivalent skill level. With little concern beyond their egos, these high tech mountaineers left mounds of garbage as a reminder of their climbing exploits.

The modern alpinist travels light and fast, combining the advantages of high tech, light weight equipment and a reliance on their own skill and finesse. I'm not asking you to rely on the old style audio-visual programming complete with typewriters, t-squares, and pasteup sheets. Nor do I believe you should fully embrace the latest, greatest technologies (even if you could afford it) to get you through all your audio-visual programming needs. Become the modern alpinist of audio-visual communication. Develop all the skills and finesse of your forefathers and selectively choose high tech which will enable you to present your information and better accomplish your interpretive mission. AppendixA

ECOLOGICAL CONCERNS Is the Information Age Killing The Horn of Africa? The frog does not drink up the pond in which he lives. - Indian Proverb

We are rapidly making a transition from an industrial economy to an information economy largely dependent on electronic technology. Before we blindly embrace these new tools of communication, we must ask ourselves "What are the effects of the information age upon relationships between people and the environment?"

Without question, emerging technologies have helped us monitor and assess environmental quality. We have a greater understanding of source points of surface water pollution, the effects of acid precipitation, and urban energy inefficiencies. Environmental information enables us to make better resource management decisions.

Environmental interpreters have been criticized for mainly focusing on physical and biological processes while ignoring socio-economic, political, and cultural interactions with the environment. Ifwe inadequately addressed these concerns during the industrial era, how will we fare in the information age?

The Haves and the Have Nots

Information and service economies (interpretation) may widen the gap between rich and poor. Those individuals and countries with access to information technology have a distinct competitive advantage over those who do not. The implication is that developed countries will dominate the new economy while third world developing nations languish behind in a continuing cycle of poverty, mounting debt, and resource degradation. Natural resources are exploited to generate revenue and pay debts placing an even greater strain on the environment. The result will be a spiraling decline of sustainability for developing countries.

Take a look at what is happening in many areas of the world. Population growth has accelerated deforestation, desertification, soil salinization, and solid waste generation. Land carrying capacity is lessened and the quality oflife we all desire vanishes. Intense competition for resources and space undermines cultural stability, and thus, the ability to address long range solutions.

Are we compiling the problem? Satillite technology has given us access to more information, more insight into global problems. We see the despair of decades of famine in Africa. With all good intentions, we unknowingly perpetuate the tragedy by providing emergency assistance instead of aggressively changing entrenched systemic problems.

The Paradox

Technological innovations and marketplace realities have enabled us to produce more with reduced energy consumption, fewer capital resources, and less waste. To be economically viable, you have to maximize energy and resource efficiency. From a resource point of view, we can be optimistic that information technologies will promote a better communication and management matrix.

The irony is that third world countries must minimize energy and resource inefficiencies but do not have the technology to do so. If they supply the industrial diet with raw materials they are caught in the dilema of meeting immediate needs at the expense oflasting security. Are developing countries exploiting their resource base to feed the last gasp of the industrial era while also providing the necessary capital to make the transition to the information age possible for developed countries? The gap widens. 93 Double Edged Sword

With new technology comes new advances, new problems. Are we sacrificing one resource to enhance another? We use high tech audio visual materials to share our enthusiasm for the Appalachian Mountains while dumping photographic chemicals into the Susquehanna River.

Audio visual technology, indeed most of what is described in this handbook, require electrical power. Trace your outlet to its source.

As a kid, my family and I rafted the Stanislaus River. It was one of the most popular whitewater stretches in the country. Mark Dubois had courage to chain himself to a rock to stop the damming. The river is gone now. A product of our perceived need for more and cheaper electricity.

Think of the pristine beauty of a lake in the Adirondacks. The morning air is crisp. It is eerie somehow. Something is amiss. The silence is freightening. With very few exceptions, nothing moves. Acid precipitation is caused in part from emissions from coal fired power plants.

Waupaca County (WI) was targeted as a possible site for a high level nuclear waste repository. It makes no sense to me to store radioactive materials in highly fractured granite within 80 miles of the Great Lakes, fully 20% of the worlds freshwater. How many more Three Mile Islands or Chernobyls must we have before we get off the toxic treadmill?

Promoting Perception

How then do we use information technologies and strategies to heighten awareness, increase knowledge, and nuture positive attitudes toward the earth? Jacques Cousteau, the National Geographic Society, and the British Broadcasting Company have unravelled many a mystery with their nature programs. Not everybody will be able to see the Arctic National Wildlife Refuge firsthand. Your illustrated talk may provide insight into this remote landscape. We can harness audio visual technologies to develop a deep land ethic based on sound scientific information, understanding and acceptance of cultural diversity, and facilitating a closer relationship between people and the environment.

"You must teach your children that the ground beneath their feet is the ashes of our grandfathers. So that they will respect the land, tell your children that the earth is rich with the lives in our kin. Teach your children what we have taught our children - that the earth is our mother. Whatever befalls the earth, befalls the sons of the earth. If men spit upon the ground, they spit upon themselves. This we know. The earth does not belong to man; man belongs to the earth. This we know. All things are connected like the blood which unites one family. All things are connected. Whatever befalls the earth befalls the sons of the earth. Man did not weave the web of life; he is merely a strand of it. Whatever he does to the web, he does to himself.. .. "

-Chief Seattle

94 AppendixB

THE COPYRIGHT LAW: What it Means for Environmental Interpreters and Educators.

Most of the following guidelines are directed toward use of printed copyright material by classroom educators. For interpreters using audio-visual materials it is wise not to use any copyrighted photographs, video clips or music unless you have the publisher's permission. This is especially true if you plan to charge an admission fee to your programs.

Often, the terms "environmental interpreter" and "environmental educator" are used synonymously and interchangeably. The title and professional responsibilities you have will make the implications of copyright law distinctly different. If you work on-site with non-formal groups pay attention to how the law affects interpreters. Ifyou work in a classroom or school setting, you fall under the guidelines for educators. Those who freely mix both roles will have to adjust how to use copyrighted materials depending on where they are presenting. As a general guideline, obtain permission to use copyrighted materials before using them in a public program.

The law allows fair use of materials for teaching (including multiple copies for classroom use, but not for public distribution), research, criticism, and other purposes. Four factors must be weighed as you try to establish fair use: (1) the purpose and character of the use; (2) the nature of the copyrighted work; (3) the ratio of the portion used to the overall size of the work; and, (4) the effect your use may have upon the market for the work. That is why a claim of "fair use" is a judgement call every time, for the factors differ in each case.

To give you some guidance to figures and frequencies which will be recognized as permissible numbers allowed under fair use, committees of publishers, authors, instructors, librarians, and music publishers have agreed upon permission to carry out the following minimum activities:

• Make a single copy of a chapter from a book, an article from a magazine or newpaper, a short story or poem, or a diagram or picture from a book or newspaper, if you plan to use the copied material for research or for teaching, including preparation to teach.

• Make a copy for each student in one of your courses to use in classroom discussion if you include notice of copyright, if you are selective and sparing in choosing brief passages of poetry or prose and illustrations, if the time available to seek permission from the owner is short, and if the overall effect of your photocopying is minimal.

Please note that you are never allowed to photocopy "consumable" materials (i.e workbooks, pond study sheets) for student use. Naturally, you may continue to use any appropriate material as source or background information when working directly from the original copy.

Generally Permitted Under Fair Use Generally NOT Permitted

Spontaneous Planned Ahead Nonprofit, Noncommercial For Profit Classroom Use Public Performance or Display (Interpretation) Single Copy (For instructors own use) Single Copy (For use other than instructor) Multiple Copies (for classroom) Multiple Copies (beyond classroom) excerpts entire book/chapter one class several classes or courses non-consumable consumable one-time-only use repeat use supplement to purchased materials substitute for purchased materials separate use anthologizing recoup cost from student charge to student above cost 93 Representatives of the affected interests have agreed that you may copy the following:

Poetry: A complete poem ifless than 250 words and if printed on not more than two pages; or from a longer poem, an excerpt of not more than 250 words.

~: Either a complete article, story, or essay ofless than 2,500 words; or an excerpt from any prose work of not more than 1,000 words or 10% of the work, whichever is less, but you may copy at least 500 words.

You may copy beyond these numerical limits to complete an unfinished line in poem or an unfinished paragraph of prose.

Illustration: One chart, graph, diagram, drawing, cartoon, or picture per book or per issue of a periodical.

You Cannot: • Make multiple copies of a work for classroom use if it has already been copied for another class in the same institution (i.e. doing classrooms presentations on solid waste disposal for 3rd graders and 8th graders).

• Make multiple copies of a short poem, article, story, or essay from the same author more than once in a class term, or make multiple copies from the same collective work or periodical issue more than three times in a term.

• Make multiple copies of works more than nine times in the same class term.

• Make a copy of works to take the place of an anthology.

• Make a copy of "consumable" materials, such as workbooks.

• Use copyrighted music, illustrations or photographs without prior written permission from the copyright holder.

You Can: • Make a single copy, for use in scholarly research, or in teaching, or in preparation for teaching a class of the following:

-A chapter from a book.

- An article from a periodical or newspaper.

-A short story, short esay, or short poem, whether of not from a collected work.

- A chart, graph, diagram, drawing, cartoon, or picture from a book, periodical, newspaper.

• Make multiple copies for classroom use only, and not to exceed one per student in a class, of the following:

-A complete poem, ifit is less than 250 words and printed on not more than two pages.

- An excerpt from a longer poem, if it is less than 250 words.

-A complete article, story, or essay, if it is less than 2500 words.

-An excerpt from a prose work, ifless than 1000 words or 10 percent of the work, whichever is less.

- One chart, graph, diagram, drawing, cartoon, or picture per book or periodical.

00 AppendixC AV Equipment Sources Apple Computer Autotronics Corp. Education News 7428 Bellaire Avenue Acid Rain Foundation, Inc. 20525 Mariani Avenue N. Hollywood, CA 91609 1630 Blackhawk Hills Cupertino, CA 95014 (Dissovle controls, programmers, tape St. Paul, MN 55122 (Free newsletter, Curriculum Software recorders, with built in sychronizers) reference guide on Science - 300 soft­ Aerial Image Transfer ware packages[$20.00]) Audio Visual Labratories 875 Avenue of the Americas 56 Park Road New York, NY 10001 Applied Research Institute Tinton Falls, NJ 07724 (Slide to videotape transfer) Center for Information Communication (Programmers) Science AIMS Media Ball State University Audio-Visual Market Place 6901 Woodley Avenue Muncie, IN 4 7306 R.R. Bowker Company Van Nuys, CA 91406-4878 1180 Avenue of the Americas Argraph Corp. New York, NY 10036 Aluma-Lite 111 Asia Place 24242 Sparrow Carlstadt, NJ 07072 Autographix, Inc. El Toro, CA 92630 (Projectors, slide duplicators, slide 100 Fifth Avenue (Video lights) mounts, wireless projector controls) Waltham, MA 02154 (Computer slide service) Ambico Arion Corp. 50 Maple Street 701 S. Seventh Street Azden P.O. Box 427 Delano, MN 55328 14 7 New Hyde Park Road Norwood, NJ 07648-0427 (Dissolve controls, programmers, tape Frankling Square, NY 11010 (Video bags, batteries, cables, chargers, recorders with built in synchronizers) (Video microphones) filters, lenses, lights, and tripods) Arthur Mokin Productions, Inc. Aztek American Educational Films, Inc. 2900 McBridge Lane 17 Thomas 3807 Dickerson road Santa Rosa, CA 95401 Irvine, CA 92718 P.O. Box 8188 (Amazon rainforest video) (PC slides) Nashville, TN 37207 Asahi Bat Conservation International American Interactive Media, Inc. 36 Reservoir Road Brackenridge Field Laboratory 11-111 Santa Monica Blvd. N. White Plains, NY 10603 University of Texas Suite 700 (Video lights) Austin, TX 78712 Los Angeles, CA 90025 Association Films, Inc. Bell and Howell Company American Professional Equipment 866 Third Avenue 411 Arnapola Avenue Company New York, NY 10022 Torrance, CA 90501 : 4243 Henderson Blvd. (Color Digital Imager IV - Slide film

1 Tampa, Fl 33629 Association for Multi-Image recorder) (Projector racks) 8019 N. Hines Avenue, Suite 401 Tampa, Fl 33614 Bell and Howell Company American Society of Mammalogists (Alignment slides) 7100 McCormick Road Mammal Slide Library Chicago, IL 60645 1907 Monument Canyon Drive Astronomical Society of the Pacific (Rear and front screen projectors) Grand Junction, CO 81503 1290 24th Avenue (Slides) San Franciso, CA 94122 Bencher, Inc. 333 W. Lake Street AMXCorp. Atmospheric Sciences Program Chicago, IL 60606 11999 Plano Road University of North Carolina (Copy stands) Dallas, TX 75243 Asheville, NC 28814 (Wireless projector controls) (Weather films) Benchmark Films, Inc. P.O. Box 315 Apollo Audio-Visual Audio-Technica Franklin Lakes, NJ 07417 60 Trade Zone Court 1221 Commerce Drive Ronkonoma,NY 11779 Stow, OH 44224 Berlet Films (Photographic fl,uorescent lamps, (Video cables, microphones) 1646 Kimmel Road screens) Jackson, MI 49201 97 Beseler Photo Marketing Cos. Carolina Biogical Supply Co. Cokin/Minolta 8 Fernwood Road 2700 York Road 101 Williams Drive Florham Park, NJ 07932 Burlington, NC 27215 Ramsey, NJ 07446 (Slide duplicators) (Slides, films) (Video filters)

BFA Educational Media Cartwood Products, Inc. Comcorps 467 Severna Drive 714 Highland Avenue 711 Fourth Street Severna Park, MD 21146 Charlottsville, VA 22903 Washington, DC 20001 (Lite-A-Page lightbox) (Slide-duplication labratories, word Bib slides) P.O. Box 27682 Carvin Corporation Denver, CO 80227 1155 Industrial Avenue, Dept. CE 87 CompuFilm (Video bags, cables, lens care kits) Escondido, CA 92025 Koala Technologies (Digital recorders) PTI - Industries Bogen Photo Corp. 269 Mt. Hermon Road 17-20 Willow Street CBC Enterprises Scotts Valley, CA 95066 P.O. Box 712 Box 500 (Modem slide service) Fair Lawn, NJ 07410 Station A (Copystands, slide duplicators) Toronto, ON M5W lEG Conservation Education Associa­ tion Brauer Productions CBC Enterprises The Interstate 402 Cass Street 245 Park Avenue 19-27 N. Jackson Street Traverse City, MI 49684 New York, NY 10167 Danville, IL 61832 (Filmstrips) Bretford/Knox Mfg. Co. Centre Publications, Inc. 9715 Soreng Avenue 1800 30th Street Conservation Film Service Schiller Park, IL 60176 Suite 207 404 E. Main Street (Lightboxes and light tables, screens) Boulder, CO 80301 P.O. Box 776 (Videos) League City, TX 77573-0076 Brilliant Image 141 West 28th Street Chief Mfg. Contemporary Films/McGraw Hill New York, NY 10001 14310 Ewing Avenue South Eastern Region (Computer slide service) Burnsville, MN 55337 Princeston-Hightstown Road (Projector racks) Hightstown, NJ 08520 Brumberger Co., Inc. 1948 Troutman Street Clear Light Mid-Continent Flushing,NY 11385 123 Second Avenue Manchester Road (Slide storage boxes) Waltham, MA 02154 Manchester, MO 63011 (Dissolve controls, programmers) Buhl Optical Co. Western Region 1009 Beech Avenue Challenger 8171 Redwood Highway Pittsburg, PA 15233 202 W. Third Street Nova to, CA 9494 7 (Projector lenses, projector racks) Mt. Vernon, NY 10550 (Video bags) Cool-Lux Bullfrog Films, Inc. 5723 Auckland Avenue Oley, PA 19547 Churchill Films N. Hollywood, CA 91601-2207 (Filmstrips, rental) 662 N. Robertson Blvd. (Video lights) Los Angeles, CA 90069 Bureau of Sport Fisheries and (Time lapsed photograghy, Jacques Corelli-Jacobs Film Music Wildlife Crosteau) 25 W. 45th Street Film Library New York, NY 10036 Federal Building, Fort Snelling CNN Video Sales (Copyright free music and sound effects) Twin Cities, MN 55111 P.O. Box 105366 Atlanta, GA 30348-5366 Cornell University Califone International, Inc. (Videos) Photograghy Department 21300 Superior Street Lab of Ornithology Chatsworth, Ca 91311 Coast Photo Mfg. Co. 254 Sapsucker Woods Road (Tape-recorders with built in synchro­ 118 Pearl Street Ithaca, NY 14850 nizers) Mt. Vernon, NY 10550 (Slide-storage boxes) 00 Cornell University Dicomed Corp. Edmund Scientific Co. AV Research Center 1200 Portland Avenue, South 101 E. Gloucester Pike 8 Research Park Minneapolis, MN 55440 Barrington, NJ 08007 Ithaca, NY 14850 (PC slides) (accessories, screens)

Coronet/MT! Film and Video Do Dreams Music Educational Activities, Inc. 108 Wilmot Road P.O. Box 5623 P.O. Box 392 Deerfield, IL 60015 Takoma Park, MD 20912 Free Port, NY. 11520 (Bill Brennan cassette) (Apple software) Creative Media P.O. Box 582 D.O. Industries Educational Dimensions Group Glen Rock, NJ 07452 317 E. Chestnut Street Box 126 (Title slide making kits) East Rochester, NY 14445 Stamford, CT 06904 (Projector lenses, wireless projector Creatron Inc. controls) Educational Images Ltd. 504 Cherry Lane Order Department Floral Park, NY 11001 Double M Industries P.O. Box 3456 (Programmers, projection and slide P.O. Box 14465 West Side Station making accessories, rear and front Austin, TX 78761 Elmira, Ny 14905 screen projectors, sound projectors) (Copystands, slide duplicators) -or- P.O. Box 367 Crestron Electronics Inc. Dover Publications Lyons Falls, NY 13368 101 Broadway 180 Varick Street Cresskill, NJ 07626 NewYork,NY 10014 Educators for Social Responsibility (Dissolve controls, wireless projector (Clip art) 23 Garden Street controls) Cambridge, MA 02138 DSC Labratories Cricket Software 3610 Nashua, Drive Educators Guide to Free Science 30 Valley Stream Parkway Mississauga, Ontario L4V 1L2 Can­ Materials Malvern, PA 19355 ada Educators Progress Service (Desktop presentation software) (Shaped masks) Randolph, WI 53956

Cross Educational Software Dukane Corp. Elden Enterprises P.O. Box 1536 2900 Dukane Drive P.O. Box 3201 Ruston, LA 71270 St. Charles, IL 60174 Charleston, WV 25332 (IBM software) (Projectors, rear and front screen (Lightboxes and light tables) projectors, tape recorders with built in :Ja-Lite Screen Co. sychronizers, wireless projector con­ Electronic Designers, Inc. State Road 15 N., Box 137 trols) 372 Vanderbilt Motor Parkway Warsaw, IN 46580 Hauppauge, NY 11787 (Projector Racks) Duracell (Sychronizers) Berkshire Industrial Park Data Color Graphics Bethel, CT 06801 Electrosonic Systems 9645 Webb Chapel Road (Video batteries) 6505 City West Parkway Dallas, TX 75220 Minneapolis, MN 55344 (PC slides) DW Viewpacks, Inc. (AV tape recorders, dissolve controls, 113 W. 85th Street programmers, projector lenses, tape Department of Commerce NOAA New York, NY 10024 recorders with built in synchronizers) Motion Picture Services (Slide-filing pages) 12231 Wilkins Avenue E. Leitz, Inc. Rockville, MD 20852 Eastman Kodak Company Link Drive 343 State Street Rockleigh, NJ 0764 7 Department of Navy Rochester, NY 14650 (Projector lenses) Naval Education and Support Center (Bland slides, masks, programmers, Atlantic Commanding Officer accessories, projector lenses, projectors, Elmo Mfg. Co. Naval Station Building 2-86 rear and front screen projectors, slide 70 New Hyde Park Road Norfolk, VA 23511 duplication, slide mounts, special New Hyde Park, NY 11106 purpose film, sychronizers, references (Projector lenses, projectors) iamond/Beseler books) ight Fernwood Road lorham Park, NJ 00 Video bags) Emde Products Films, Incorporated G?~e~al Electric, Lamp Business P.O. Box 10041 Leaming Materials Division D1v1s1on Torrance, CA 90505 50 Ridge Avenue Extension Nels Park (Slide mounts) Cambridge, MA 02140 Cleveland, OH 44112 (Photographic fluorescent lamps) Emil Ascher Music, Inc. Films Incorporated 630 Fifth Avenue 554 7 N. Ravenswood Avenue General Parametrics Corporation New York, NY 10020 Chicago, IL 60640-1199 1250 Ninth Street (Copyright free music and sound Berkeley, CA 94 710 effects) Films on Oceanography (Photometric 200 PC film recorder) U.S. Department of Commerce Encyclopedia ~ritannica Educa­ National Oceanic and Atmospheric Genigraphics tional Corp. Administration 4806 W. Taft Road 425 North Michigan Avenue Environmental Data Service Liverpool, NY 13088 Chicago, IL 60611 National Oceanographic Data Center (PC slides) (Films and videos) Rockville, MD 20852 Georgia Department of Natural Environmental Images, Inc. Focus Media, Inc. Resources 1346 Connecticut Avenue, NW 839 Stewart Avenue Film Unit Suite 325 P.O. Box 392 270 Washington Street Washington, DC 20036 Freeport,NY 11530 Atlanta, GA 30334 (Films, slides, videotapes) (Apple software) (Films)

Environmental Film Service Forethought "Powerpoint" Georgia Pacific Educational Film National Association of Conservation Library Districts 250 Sobrante Way 900 SW 5th Avenue 408 E. Main Sunnyvale, CA 940?? Portland, OR 97204 P.O. Box 855 (Desktop presentation software) League City, TX 77573 GEPE, Inc. Fostex Corp. Of America 216 Little Falls Road Environment Film Review 15431 Blackbum Avenue Cedar Grove, NJ 07009 Environment Information Center, Inc. Norwalk, CA 90650 (Slide duplicators, slide mounts) Film Reference Department (AV tape recorders) 292 Madison Avenue Gitzo New York, NY 10017 Franklin Distributors P.O. Box 427 Box 320 34-11 62nd Street EPA Region V Office Denville, NJ 07009 Woodside,NY 11377 230 South Dearborn (Slide filing pages) (Video bags) Chicago, IL 60604 Frank Woolley and Co., Inc. Gloria Montero and David Fulton ERIE Color Slide Club 529 Franklin Street 63 Pears Avenue P.O. Box 672 Reading, PA 19602 Toronto, ON M5R 1S9 Erie, PA 16512 (Polarized animation equipment) (Slides) GTI Graphic Technology Freestyle Sales 211 Dupont Avenue Federation of Ontario Naturalists 126 Sunsey Blvd. Box 3138 355 Lesmill Road Hollywood, CA 90027 Newburgh, NY 12550 Don Mills, Ontario M3B 2W8 (Special purpose film) (Lightboxes and light tables) Canada (Wetlands video) Froelich Foto Video Hama 6 Depot way 7200 Huron River Street Fen wick Films Larchmount, NY 10538 Dexter, MI 48130 14799 Chestnut (Slide to videotape transfer) (Auxilary mounts) Westminster, CA 92683 General Audio-Visual Hansen Planetarium Publications Films and Research for an Endan­ 333 W. Merrick Road 15 S. State Street gered Environment, Ltd. Valley Stream, NY 11580 Department 0 201 N. Wells (Projector racks, rear and front screen Salt Lake City, UT 84111 Suite 1735 projectors, tape recorders with built in Chicago, IL 60606 sychronizers) · (Film presentation on request) 100 Harper and Row Publishers, Inc. Index to Environmental Studies­ Ki.mac Co. 10 East 53rd Street Multimedia 4 78 Long Hill Road New York, NY 10020 National Information Center for Guilford, CT 06437 Educational Media (Blank slides) Hawkhill Association, Inc. University of Southern California 125 Gilman Street University Park, Los Angeles, CA Kimchuk Inc., AV Division Madison, WI 53703 90007 Corporate Drive Danbury,CT 06810 Heindl and Son Indiana University (Dissolve controls, wireless projector P.O. Box 150 Audio Visual Center controls) Hancock, VT 057 48 Bloomington, IN 41401 (Lightboxes and light tables, masks, Kinex Corp. slide mounts) Instant Image Films, Inc. 34 Elton Street 4350 Artesia Avenue Rochester, NY 14607 Hewlett Packard Fullerton, CA 92633 (Copy stands) 16399 W. Bernado Drive (Bubble film) San Diego, CA 92127 Kinney Co., Inc. (Color film recorder) International Film Bureau, Inc. P.O. Box 1229 332 S. Michigan Avenue Mt. Vernon, WA 98273 Holt, Rinehart, and Winston Chicago, IL 60604 (Shaped masks) 383 Madison Avenue NewYork,NY 10017 Jabro Kintek (Software) . 5003 Chase Drive 4123 Rowland Avenue Downers Grove, IL 60515 El Monte, CA 91731 HP Marketing Corp. (Video batteries) (Video battery chargers) 216 Little Falls Road Cedar Grove, NJ 07009 Jasco Kiwi (Copystands, lightboxes and light P.O. Box 466 6721 N.W. 36th Avenue tables, projectors, slideduplicators, slide Oklahoma City, OK 73101 Miami, FL 33147 mounts) (Video cables, headphones, lens care (Video bags) kits) Hudson Photographic Industries Kleer-Vu Plastics Corp. 2 S. Bukhout Street Joshua Meier Corp. lGeer-Vu Drive Irvington-on-Hudson, NY 10533 7401 West Side Avenue Brownsville, TN 38012 (Blank slides, screens) North Bergen, NJ 07047 (Slide filing pages) (Slide filing pages) I Idea Art Kluge Communications , 740 Broadway Karl Heitz, Inc. 5350 West Clinton Avenue I New York, NY 10003 P.O. Box427 Milwaukee, WI 53223 (Clip art) Woodside,NY 11377 (Copystands, slide duplicators, slide Kodak Image Center, Inc. mounts) Corporate Headquarters 15 Park Row Rochester, NY 14650 New York, NY 10038 Karol Media (Desktop video adapter, film, reference (Computer slides) 933 Pacific Avenue materials, slide presentation equip­ Kansas City, KS 66101 ment) Image Concepts 2575 N.E. Kathryn Sreet, #16 Kenco Lantis-Trailwood Production Hillsboro, OR 97124 909 Milwaukee Avenue 3026 Stinson Avenue (Special effects slides) Burlington, WI 53105 Billings, MT 59010 (Video lights) Impact Communications Laser Color Labratories 9202 Markville Drive Kent State University Fairfield Drive Dallas, TX 75243 Audio Visual Services West Palm Beach, FL 33407 (Copystands, slide duplicators, sychron­ Kent, Ohio 44242 (Special effects slides) izers) Keystone Ferrule and Nut Corp. Lasergraphics, Inc. 909 Milwaukee Avenue 1761 Cowan Avenue Burlington, WI 53105 Irvine, CA 92714 (Slide storage boxes) (Rascol 11 I Personal Film Recorder) 101 ~bo Marty Stouffer Productions Milner Fenwick, Inc. 60 West Street P.O. Box 15057 3800 Liberty Heights Avenue Bloomfield, NJ 07003-4998 Aspen, CO 81611 Baltimore, MD 21245 (Video bags) Mast Development Co. Milwaukee Audubon Society Leedal, Inc. Matrix Division 2212 E. 12th Street 12259 Underwood Parkway 1918 S. Prairie Avenue Davenport, IA 52803 Wauwatosa, WI 53226 Chicago, IL 60616 (Wireless projector controls) (Leopold videos) (Copystands, lightboxes and light tables, slide duplicators, slide filing Matrix Instruments, Inc. Milwaukee Public Museum pages) 1 Ramland Road Audio-Visual Center Orangeburg,NY 10962 815 N. 7th Street Lenmar (Matrix QCR,PCR film recorders: Milwaukee, WI 53233 13626 S. Normandie Avenue Slidewriter for Macintosh) (Laser Video) Gardena, CA 90249 (Video lenses, lights, tripods) Maximilian Kerr Associates Minnesota DNR 2040 Highway 35 Loan Film Service Living Videotext Wall, NJ 07719 Box46 117 Easy Street (Background slides, copystands, projec­ 500 Lafayette Road Mountain View, CA 94303 tion and slide-making accessories, St. Paul, MN 53146 (Desktop presentation software) shaped masks, slide duplicators) Mirus Lowel McGraw Hill 445 S. San Antonio Road 475 10th Avenue 330 West 42nd Street Los Altos, CA 92127 New York, NY 10018-1197 New York, NY 10036 (Digital film recorder) (Video lights) Media Design Associates, Inc. Missouri Department of Conserva­ Luminous Productions P.O. Box 3189 tion 19 W. 21st Street Boulder, CO 80307 Film Librarian New York, NY 10010 (Interactive video) P.O. Box 180 (Panorama masks, shaped masks) Jefferson City, MO 65102 Media Equipment Inc. LuxorCorp. 7326 E. 59th Place Modern Talking Picture Service 2245 Delanu Road Tulsa, OK 74145 2323 New Hyde Park Road Waukegan,IL 60085 (Projector racks) New Hyde Park, NY 11040 (Lightboxes and light tables) Michigan Media Monadrock Media, Inc. Macro mind University of Michigan Media Re­ Steve Bressler 1028 W. Wolfram sources W. Pelham Road Chicago, IL 60657 416 4th Street Shutesbury, MA 01072 (Desktop presentation software) Ann Arbor, MI 48105 Montana Department of Fish and MAGICorp. Michigan Department of Natural Game Motion Picture Production 50 Executive Blvd. Resources Conservation Education Bureau Elmsford, NY 10523 Box 30034 Montana Outdoors Building (Computer slide service) Lansing, MI 48909 930 Custer Avenue Helena, MT 59601 Management Graphics Michigan State University 1401 E. 79th Street Instructional Media Center Mountain West Films Minneapolis, MN 55420 East Lansing, MI 48824 Warland, WY (PC Slides) (Elk) Microsoft Mammal Slide Library 250 Sobrante Way NASA Photos and Motion Pictures Department of Zoology Sunnyvale, CA 94086 LFD-2 SUNY (Desktop presentation software) Washington, DC 20546 Oswego,NY 13126 Millers/Sountage National Audio-Visual Center Martin Moyer Productions 1896 Maywood Road National Archives and Records Service 900 Federal Avenue South Euclid, OH 44121 General Services Administration Seattle, WA 98102 (Dissolve controls) Washington, DC 20409 10'2 (US Government A-V Materials) National Audubon Society New Jersey Network ORA/Alliance Research Educational Services 1573 Parkside Avenue 20120 Plummer Street 950 Third Avenue Trenton, NJ 08638 P.O. Box 4029 New York, NY 10022 Chatsworth, CA 91313 New York Department of (Video cables, filters, lenses) National Geographic Society Transportation 17th and M Streets NW 125 Main Street Oregon State University Department 85 Buffalo, NY Sea Grant Communications Educational Services (Freshwater Wetlands Mitigation) Ads 402 Washington, DC 20036 Corvallis, OR 97331 Network Production Music To rent films or videos: 4439 Morena Blvd. Osram Karol Media San Diego, CA 92117 Jeanne Drive 22 Riverview Drive (Copyright free music and sound effects) Newburgh, NY 12550 Wayne, NJ 07470-3191 (Rear and front screen projectors) NISE, Inc. National Film Board of Canada 20018 State Road Pacific Micro Systems 16th Floor Cerritos, CA 90701 160 Gate 5 Road 1251 Avenue of the Americas (Mac film recorder) Sausalito, CA 94965 New York, NY 10020 (Programmers) Northeast Audio-Visual, Inc. National Film Board of Canada 548 Donald Street Packtronics P.O. Box 6100 Bedford, NH 03102 7200 Huron River Drive Montreal, PQ H3L 3H5 Dexter, MI 48130 Northwest Film Study Center (Video cases, lights, light meters) National Public Radio 1219 S.W. Park Avenue 2025 M. Street Portland, OR 97205 Pakon Inc. Washington, DC 20036 106 Baker Technology Plaza Oklahoma State University Minnetonka, MN 55345 National Science Teachers Audio-Visual Center (Slide mounts) sociation Stillwater, OK 74074 1742 Connecticut Avenue, NW Paramount Oxford Films Washington, DC 20009 Omega/Berkey 8451 Marathon Street 75 Holly Hill Lane Los Angeles, CA 90038 National Slidemakers Greenwich, CT. 06830-4560 1130 Rt. 22 West (Tripods) Paul I. Mann Mountainside, NJ 07092 137 Temple Street (PC slides) Omnimusic W. Newton, MA 02165 52 Main Street (Slide storage boxes) National Wildlife Federation Port Washington, NY 11050 1412 16thStreet,NW (Copyright free music and sound effects) Penn Communications ashington, DC 20036-2266 Life on Earth Seris Optical Radiation Corp. 8425 Peach Street ature Conservancy Library 1300 Optical Drive Erie, PA 16509 ox 315 Azusa, CA 91702 ranklin Lakes, NJ 07417 (Projector lenses) Perfect Pan Masks 369 Seventh Avenue egafile Systems Optimage Interactive Services Co. New York, NY 10001 dison-Furlong Road, Box 78 300 West Adams Street (Masks) urlong, PA 18925 Suite 601 Slide filing pages, slide storage boxes) Chicago, IL 60606 Photo and Video Electronics (Interactive video) 1620 Hillside Avenue ew Media Systems Information New Hyde Park, NY 11040 enter Optisonics Hee Corp. (Projectors, sound projectors) hillips lnternatinal B.V. 1802 W. Grant Road, #101 orporate Group - Home Interactive Tucson, AZ 85745 Photofile ystems (Dissolve controls, programmers, tape Box 123 uilding HWD - 2 recorders with built in synchronizers) Zion, IL 60099 !.0. Box 218 (Slide mounts) r600 MD Eindhoven he Netherlands 103 J>hoto Plastics Plastics, Inc. Quickshow Schlitz Audubon Center P.O. Box 17638 P.O. Box 1983 111 East Browndeer Road Orlando, FL 32860 Santa Monica, CA 90406 Milwaukee, WI 53217 (Slide filing pages) (Slide viewing devices) Schneider Corp. of America Photo Systems Inc. Radmar, Inc. 400 Crossways Park drive 7200 Huron River Drive 1263-B Rand Road Woodbury,NY 11797 Dexter, MI 48130 Des Plains, IL 60016 (Projector lenses) (Copystands, projector lenses, slide (Copystands, slide duplicators) duplicators) Science Graphics RCA Special Products Division P.O. Box 17871 Pie-Mount Corp. 2000 Clements Bridge Road Tucson, AZ 85731 40-20 22nd Street Deptford, NJ 08096 Long Island City, NY 11101 (Video bags, batteries, cables, character Screenscope, Inc. (Slide mounts, slide storage boxes) generators, filters, lenses, lights, tri­ Suite 204 pods, etc.) 3600 M. Street NW Plastic Sealing Corp. Washington, DC 20007 1507 N. Gardner Street Recordex Corp. Hollywood, CA 90046 1935 Delk Industrial Blvd. Sharp Electronic Corp. (Slide filing pages) Marietta, GA 30067 10 Keystone Plaza, P.O. Box 588 (Tape recorders with built in synchro­ Paramus, NJ 07652 Polaroid Corp. nizers) (AV tape recorders, dissolve controls, 549 Technology Square sound projectors) Cambridge, MA 02139 Recoton (Copystands, slide mounts, special 46-23 Crane Street Shell Oil Company Film Library purpose film) Long Island City, NY 11101 450 North Meridian Street (Video cables, chargers, lens care kits, Indianapolis, IN 46204 Population Reference Bureau, Inc. tripods) 1337 Connecticut Avenue NW Sierra Club Washington, DC 20036 Reel 3-D Enterprises Information Service P.O. Box 2368 530 Bush Street Porter's Camera Store Culver City, CA 90231 San Francisco, CA 94108 Box 623 (Stereo slide-making equipment) (Films) Cedar Falls, IA 50613 (Copystands, lightboxes and light Reynolds/Leteron Co. Sigma tables, masks, projection and slide 13425 Wyandotte Street 175 Commerce Drive making accessories, projectors, rear and N. Hollywood, CA 91605 Hauppauge, NY 11788 front projectors, screens, slide-editing (Title making equipment) (Video lenses) equipment, slide filing pages, slide mounts, slide storage boxes, special RMF Products Sigurd Olson Environmental purpose film, wireless projector con­ 1275 Paramount Parkway, Box 413 Institute trols) Batavia, IL 60510 Northland College (Dissolve controls, programmers, Ashland, WI 54806 Presentation Technologies projector racks, tape recorders with 743 North Pastoria Avenue built in sychronizers) Sima Sunnyvale, CA 94086 4001 W. Devon Avenue (/magemaker film recorder for PC and Rolev Chicago, IL 60646 Mac) 16 Secatoag Avenue (Video auxiliary mounts, lights, micro­ Port Washington, NY 11050 phones) Print File, Inc. (Video filters) Box 100 Simon and Schuster Communica­ Schenectady,NY 12304 Rosco Labratories, Inc. tions (Slide filing pages) 36 Bush Avenue Film Service Center Port Chester, NY 10573 429 Academy Drive PSI (Colored filtering material) Northbrook, IL 60062 7200 Hron River Drive Dexter, MI 48130 Saft Simon Associates (Video accessories) P.O. Box 1886 20 Sunnyvale Avenue 711 Industrial Blvd. Mill Valley, CA 94941 Valdosta, GA 31603-1886 (Sychron izers) (Video batteries) 104 Slidescan Stokes Slides Services, Inc. Testrite Instrument Co. 1820 Briarwood Industrial Court 7000 Cameron Road 135 Monroe Street Atlanta, GA 30329 P.O. Box 14277 Newark, NJ 07105 (Slide-to-videotape transfer) Austin, TX 78761 (Copystands, slide duplicators) (Slide duplication labratories, masks, Slide Shooters projection and slide-making accessories, The Computing Teacher 512 Nicollet Mall computer graphics, special effects International Council for Computers in Minneapolis, MN 55402 slides) Education (Slide duplication labratories) University of Oregon Sunpackffocad 1787 Agate Street Slik Tower One, Continental Plaza Eugene, OR 97403 Three Winchester Plaza 401 Hackensack Avenue Elmsford, NY 10523 Hackensack, NJ 07601 The New Film Company, Inc. (Video tripods) (Video lights) 7 Mystic Street Arlington, MA 02174 Smith-Victor Corp. Supermac 301 N. Colfax 295 N. Bernardo Avenue Tiffen Mfg. Corp. Griffith, IN 46319 Mountain View, CA 94043 90 Oser Avenue (lightboxes and light tables, slide (Desktop presentation software) Hauppauge, NY 11788 storage boxes) (Programmers, tape recorders with Survival Guide to Environmental built in synchronizers) Society for Visual Education Education Department BJ Scholastic Teacher Time-Life Film 1345 Diversey Parkway 902 Sylan Avenue 43 West 16th Street Chicago, IL 60614-1299 Englewood Cliffs, NJ 07632 New York, NY 10010

Soper Sound Music Library Tamrac Time-Life Video P.O. Box 498 6709 Independence Avenue 100 Eisnhower Drive Palo Alto, CA 94301 Canoga Park, CA 91303 Paramus, NJ 07652 (Copyright free music and sound effects) (Video bags) Tim Simon, Inc. Sountage Enterprises, Inc. Tamron Industries 20 Sunnyside Avenue 1896 Maywood Road, 24 Valley Road, box 388 Mill Valley, CA 94941 South Euclid, OR 44121 Port Washington, NY 11050 (AV tape recorders, programmers, tape (Sychronizers) (Projector lenses) recorders with built in synchronizers)

South Carolina Wildlife and Ma­ Tascam T/Maker rine Resources Department 7733 Telegraph Road 1973 Landings Drive F'ilm Department Montebello, CA 90640 Mountain View, CA 94043 P.O. Box 167 (AV tape recorders) (Computer clip art) Columbia, SC 29202 Telegraphies TRF Music, Inc. Spiratone, Inc. 1025 Arch Street 40 E. 49th Street Philadelphia, PA 19107 1 l35-06 Northern Blvd. New York, NY 10017 rlushing, NY 11354 (Masks) (Copyright free music and sound effects) '.Complete catalog of video products, . ilignment slides, copystands, dissolve Telex Communications, Inc. Twentieth Century Plastics 1ontrols, lightboxes and light tables, 9600 Aldrich Avenue South 3628 Crenshaw Blvd. )rogrammers, projection and slide­ Minneapolis, MN 55420 Los Angeles, CA 90016 ttaking accessories, projector lenses, (Projector lenses, projectors, rear and (Slide filing pages) irojector racks, screens, slide duplica­ front screen projectors, sound projec­ lors, slide filing pages, slide mounts, tors, tape recorders with built in syn­ Thomas Valentino Inc. !ape recorders with built in synchroniz- chronizers) 151 W. 46th Street 1rs) New York, NY 10036 Tennessee Department of Conser­ (Copyright free music and sound effects) ltanton Films vation l417 Artesia Blvd. Division of Information and Education Umbrella Films ~edondo Beach, CA 90278 2611 West End Avenue 60 Blake Road Nashville, TN 37203 Brookline, MA 02146 (Film catalog) 105 (Environmental issue related) University of California Northern Region Volk Art Studio Extension Media Center Federal Building Box 4098 2176 Shattuck Avenue Missoula, MT 59801 Rockford, IL 61110 Berkeley, CA 94704 (Clip art) Pacific Northwest Region University of Illinois 319 S.W. Pine Street Walt Disney University Film Center P.O. Box 3623 Educational Media Co. 1325 South Oak Street Portland, OR 97208 500 S. Buena Vista Street Champaign, IL 61820 Burbank, CA 91521 Rocky Mountain Region (Educational film-video catalog) University of Wisconsin Cromars Bureau of Audio-Visual Instruction 1200 Stout Street Washington Department of Natural 1327 University Avenue Denver, CO 80204 Resources P.O. Box 2093 Public Information Office Madison, WI 53701-2093 Southern Region Public Lands Building 1720 Peachtree Road, NW Olympia, WA 98504 Upper Midwest Filmstrips Atlanta, GA 30309 409 Lakewood Road Washington Sea Grant Duluth, MN 55604 Southwestern Region 1919 N.E. 78th Street Federal Building Vancouver, WA 98665 U.S. Department of .Agriculture 517 Gold Avenue, SW Films Albuquerque, NM 87102 Welts/Safe-Lock, Inc. (Catalog from University film libraries) 2400 W. 8th Lane Verilux Hialeah, FL 33010 U.S. Department of the Interior 35 Mason Street (Copystands, slide duplicators) films Greenwich, CT 06830 Office of Public Affairs (Photographic fluorescent lamps) Wess Plastics, Inc. U.S. Department of the Interior 50 Schmitt Blvd. 18th and C Street, NW Vestron Video Farmington, NY 11735-1484 Washington, DC 20240 P.O. Box 4000 (Alignment slides, masks, projection Stamford, CT 06907 and slide-making accessories, slide USFS duplicators, slide-editing equipment, Department of Agriculture Visirule slide mounts) P.O. Box 3623 P.O. Box 398 Portland, OR 97202 Maitland, FL 32751 Westinghouse Corp., Lamp Divi­ (Slide legibility slide rule) sion USFS Westinghouse Plaza Film Library Visual Education Centre Bloomfield, NJ 07003 Federal Building Unit 1 (Photographic fluorescent lamps) Fort Snelling, Twin Cities, MN 55111 75 Horner Avenue Toronto, ON M82 4X5 West Wind Productions, Inc. U.S. Forest Service Films: P.O. Box 3532 Alaska Region Visual Horizons Boulder, CO 80307 Federal Office Building 180 Metro Park P.O. Box 1628 Rochester, NY 14623 WETA Juneau, AK 99802 (Alignment slides, background slides, Educational Activities Department blank slides, copyright free music and P.O. Box 2626 California Region sound effects, lightboxes and light Washington, DC 20013 630 Sansome Street tables, projection and slide-making San Francisco, CA 94111 accessories, projection lenses, projector Wildlife Unlimited Foundation, racks, projectors, rear and front screen Inc. Eastern Region projectors, screens, masks, slide-editing Box 312 633 W. Wisconsin Avenue equipment, slide filing pages, slide Vesper, WI 54489 Milwaukee, WI 53203 mounts, slide storage boxes, sound (Wildlife videos) projectors, special effect slides, word Intermountain Region slides, Kodak AV notes) Wilson and Lund 324 25th Street 1533 Seventh Avenue Ogden, UT 84401 Visuals Plus, Inc. Moline, IL 61265 810 N. Plankinton (Backgound slides, word slides) Milwaukee, WI (Slide duplication equipment) 106 Wisconsin DNR Box 7921 Madison, WI 53707

Wisconsin Public Television and Radio Network 3329 W. Beltline Hwy. Madison, WI 53713-2899

Wolfgang Bauer Productions, Inc. Jackson, WY

World Wildlife Fund 1255 23rd Street, NW Washington, DC 20037

WQED/Pittsburg 4802 5th Avenue Pittsburg, PA 15213

WTICorp. 22951 Alcalde Drive Laguna Hills, CA 92653 (Alignment slides, masks)

Wyoming Game and Fish Depart­ ment Attn: Film librarian Cheyenne,WY 82002

Yaker Environmental Systems, Inc. P.O. Box 18 Stanton, NJ 08885 (Environmental software)

Yamaha Music Corporation, USA Digital Musical Instrument Division P.O. Box 6600 Buena Park, CA 90622 (Digital sequence recorders)

ZMSquared 903 Edgewood Lane, P.O. Box C-30 Cinnaminson, NJ 08077 (Background slides, copyright free music and sound effects, word slides)

107 References

Chapter 1: Interpreting Through Sound and Pictures

Cherem, Gabriel J. "The Professional Interpreter: Agent for an Awakening Giant." Journal of Interpretation, 2 (1).

Fazio, James R.; and Gilbert, Douglas L. Public Relations and Communications for Natural Resource Managers. 2nd Edition. Dubuque, IA: Kendall/Hall Publishing Company, 1986.

Mahaffey, Ben D. "Curricular Guidelines for Environmental Interpreter Training Programs." The Journal of Environmental Education, 1973, 5(1):25-30.

Vogel, Douglas R.; Dickson, Gary W.; and Lehman, John A. Persausion and the Role of Visual Presentation Support: The UM/3M Study. Minneapolis, MN: The University of Minnesota Management Informations System Research Center and The 3M Corporation, 1986.

Chapter 2: Planning: A Creative Process

Bennett, Dean B. " Guidelines for Evaluating Student Outcomes in Environmental Education." Maine Environmental Education Project. Yarmouth, ME. 1973

Bishop, Ann. Slides - Planning and Producing Slide Programs. Rochester, NY: Eastman Kodak Company (Publication # S-30), 1984.

Heinich, Robert; Molenda, Michael; and Russell, James D. Instructional Media and the New Technologies of Instruction. •2nd edition. New York, NY: James Wiley and Sons, Inc., Publishers, 1985.

Hunter, Madeline. Mastery Teaching. El Segundo, CA: TIP Publications, 1982.

Regnier, Kathleen H. The Nature Fakir's Handbook. Stevens Point, WI: University of Wisconsin, Stevens Point Foundation Press, 1981.

Sharpe, Grant W., editor. Interpreting the Environment. New York, NY: Wiley and Sons, Inc., 1976.

Tilden, Freeman. Interpreting Our Heritage. Third Edition. Chapel Hill, NC: The University of North Carolina Press, 1977.

Wharton Applied Research Center, University of Pennsylvania. A Study of the Effects of the Use of Overhead Transparencies on Business Meetings. Philadelphia, PE: Wharton Applied Research Center and The 3M Corporation, 1981.

108 Chapter 3: filustrate Your Words

Bishop, Ann. Slides - Planning and Producing Slide Programs. Rochester, NY: Eastman Kodak Company (Publication #S-30), 1984. 159pp.

Clymer, E.W. "Title Slides Made Easy." Audiovisual Communications, January 1975 :15-16.

Cromwell, Wallace. "Homemade Slide Dissolve Unit." Western Interpreter's Association, Vol. 1, No. 2, February, 1976.

Eastman Kodak Company. Reverse Text Slides (Publication #S-26). Rochester, NY: Eastman Kodak Company, 1983.

Hakala, D.R. Suggestions for Conducting Illustrated Lecture Programs. USDA Forest Service Publication. No publication data.

Hooper, Dr. Jon K. "Effective Slide Presentation." Western Interpreter's Association, Vol. 1, No. 1, January, 1976.

Horn, Elizabeth L. Talk Tips. USDA Forest Service Publication. Portland, OR: US Department of Agriculture, no publication date.

Kenny, Michael F. for Eastman Kodak Company. Presenting Yourself. New York, NY: John Wiley and Sons, Inc., Publishers, 1982.

Podracky, John R. Creating Slide Presentations, A Basic Guide. Englewood Cliffs (NJ): Prentice-Hall, Inc., 1983.

Shaw, John. The Nature Photographer's Complete Guide to Professional Field Techniques. New York: Amphoto, 1984.

Toops, Connie. "Building a Better Slide File." Journal of Interpretation, 1978 3(2): 20-25.

Chapter 4: Multi-Media

Arizona State University Media Research and Development. Producing Effective Audiovisual Presentations. Tempe, AZ: Arizona State University, 1975.

Eastman Kodak Company. "Visualizing Your Way to a Script." Rochester, NY; Eastman Kodak Company.

Edmonds, Robert. Scriptwriting for the Audiovisual Media. Second Edition. New York, NY: Teachers College Press, 1984.

Heintzman, James. Making the Right Connections. Stevens Point, WI: University of Wisconsin-Stevens Point Foundation Press, 1988.

Kenny, Michael F.; and Schmitt, Raymond F. Images, Images, Images -The Book of Programmed Multi-Image Production. Third Edition. Eastman Kodak Publication S-12. Rochester: Eastman Kodak Company, 1983.

109 Stecker, Elinor H. "Add Sound to Your Slides." Popular Photography, February, 1983: 72, 92-4.

Sunier, John. Slide Sound and Filmstrip production. London: Focal Press Ltd., 1981.

USDA Forest Service. "Writing for the Ear." Forest Naturalist Handbook, Alaska Region. Anchorage: USDA Forest Service.

Wadzinski, Lester A. A Multi-Media Cookbook. Rock Island (IL): U.S. Army Corps of Engineers Publication. No publication data.

Woolman, Robert S. "See Your Way Clear." Audio Visual Directions. May/June 1981.

Chapter 5: Making the Video Transition

Beatty, Lamond F. Filmstrips. The Instructional Media Library, Vol. 8. Englewood Cliffs, NJ: Educational Technology Publications, Inc., 1981.

Weiner, Peter. Making the Media Revolution. A Handbook for Video-Tape Production. New York, NY: Macmillian Publishing Co., Inc., 1973.

Winston, Brian; and Keydel, Julia. Working With Video. London: Mobius International, Ltd., 1986.

Chapter 6: Desktop Presentations

Meilach, Dona Z. Dynamics of Presentation Graphics. Homewood, IL: Dow Jones-Irwin, 1986.

Lambert, Steve. Presentation Graphics on the Apple Macintosh. Bellevue, WA: Microsoft Press, 1984.

Sandler, Corey. Desktop Graphics for the IBM PC. Morris Plains, NJ: Creative Computer Press, 1984.

Brand, Stewart. The Media Lab: Inventing the Future at MIT. New York, NY Viking Penquin, Inc., 1987.

110 Bibliography

Arizona State University Media Research and Development. Producing Effective Audiovisual Presentations. Tempe (AZ): Arizona state University, 1975.

Ashbaugh, Byron. "Nature Center Purposes and Values." Journal of Environmental Education, 1974, 6( 4).

Association for Educational Communications and Technolgy. Producing Slide and Tape Presentations. Reading from Audiovisual Instruction-4. Washington DC: Asscoiation for Educational Communications and Technology, 1980. 70 pp.

Association for Educational Communications and Technology. Selecting Media for Learning. Readings from Audiovisual Instruction. Washington DC: Association for Education Communications and Technology, 1974. 96 pp.

Bates, A. W. "Learning from Audio-Visual Media: The Open University Experience." JET Papers on Broadcasting, Open University, Walton, Bletchley, Bucks(England), Institute of Educational Technology, No. 183, 1981. 28 pp. ED 268 985

Battaion, Scott. "Media and Environmental Education." Unpublished Master's Thesis, California State University, Chico, 1986.

Beatty, Lamond F. Motion Pictures. The Instructional Media Library, Volume Number 8. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981. 100 pp.

Beatty, Lamond F. Filmstrips. The Instructional Media Library, Volume Number 4. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981. 95 pp.

Bennett, Dean B. "Guidelines for Evaluating Student Outcomes in Environmental Education." Maine Environmental Education Project, Yarmouth, ME. 1973. 71 pp. ED 101927

Borg, Walter R.; and Gall, Meredith D. Educational Research, An Introduction. 4th Edition. New York and London: Longman Inc., 1983. 936pp.

Boulanger, David F.; and Smith, John P. Educational Principles and Techniques for Interpreters. USDA Forest Service Publication. Portland: US Department of Agriculture, 1973. 24 pp.

Brand, Stewart. The Media Lab: Inventing the Future at MIT. New York: Viking Penquin, Inc., 1987. 285 pp.

Bullough, Robert V. Multi-Image Media The Instructional Media Library, Volume Number 9. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981. 114 pp.

111 Cherem, Gabriel J. "The Professional Interpreter: Agent for an Awakening Giant." Journal of Interpretation, 2(1).

Close, Burt E. " Beware of These 7 Seven Errors in Planning Slide-sound Productions." Unpublished paper. No publication data.

Clymer, E.W. "Title Slides Made Easy." Audiovisual Communications, January 1975 :15-16.

Copeland, Peter. Interactive Video in Training, Computers in Personel -­ Making Management Profitable. 1984. 7 pp. ED 252 184

Covert, Douglas C.; Johnson, David I. "A Learning and Communications Profile of Teachers Entering an Environmental Education Experience." Current Issues in Environmental Education VI, 1980 : 362-383. ED 197 947 Cromwell, Wallace. "Homemade Slide Dissolve Unit." Western Interpreter's Association, Vol. 1, No. 2, February, 1976.

Dale, Edgar. Audio Visual Methods in Teaching. New York: The Dryden Press; Holt, Rinehart, and Winston, Inc., 1969. 719 pp. Daynes, Rod; and Butler, Beverly. The Videodisc Book: A Guide and Directory. New York: John Wiley and Sons, 1984. Dieterich, Dan. "Some Popular Visual Aids." Unpublished Paper, University of Wisconsin, Stevens Point. 1984.

Dillman, Don A. Mail and Telephone Surveys: The Total Design Method. New York: Wiley and Sons, Inc., 1978. 318 pp.

Eastman Kodak Company. Slides: Planning and Producing Slide Programs. Kodak Publication No. S-30. Rochester: Eastman Kodak Company,1986. 159 pp.

Eastman Kodak Company. Reverse Text Slides. Kodak Publication S-26. Rochester: Eastman Kodak Company, 1983.

Eastman Kodak Company. "Visualizing Your Way to a Script." Rochester: Eastman Kodak Company.

Edmonds, Robert. Scriptwriting for the Audiovisual Media. 2nd edition. New York: Teachers College Press, 1984. 216 pp.

Fazio, James R.; and Gilbert, Douglas L. Public Relations and Communications for Natural Resource Managers. Dubuque (IA): Kendall/Hunt Publishing Company, 1986. 397 pp.

Fortner, Rosanne W.; Lyon, Anne E. "Effects of a Cousteau Television Special on Viewer Knowledge and Attitudes." Journal of Environmental Education, 1985, 16(3) : 12-20.

Hakala, D.R. Suggestions for Conducting Illustrated Lecture Programs. USDA Forest Service Publication. No publication data.

112 Heinich, Robert; Molenda, Michael; and Russell, James D. Instructional Media and the New Technologies of Instruction. 2nd Edition. New York: John Wiley and Sons, Inc., 1985. 414 pp.

Hendrickson, John. "Composition." Unpublished paper, Woodleaf Outdoor School, Challenge, CA. 4 pp.

Hooper, Dr. Jon K. "Checklist for Planning a Slide Talk." Unpublished paper, California State University, Chico. 1978.

Hooper, Dr. Jon K. "Effective Slide Presentation." Western Interpreter's Association. Vol. 1, No. 1, January, 1976.

Hope Reports, Inc. 1600 Lyell Avenue, Rochester, New York 14606, Thomas W. Hope, President and Publisher.

Horn, Elizabeth L. Talk Tips. USDA Forest Service Publication. Portland: US Department of Agriculture, no publication date. 31 pp.

Rusley, Edward Wendell. "A Comparison of Two Methods of Instruction In Environmental Education." Ph. D Dissertation, University of Maryland, 1974. 97p. ED 106098

Lewis, William J. Interpreting for Park Visitors. Washington DC: Eastern Acorn Press, 1980. 159 pp.

Kefford, Colin W. "A Multimedia Programmed Approach to Environmental Studies." Nufield Foundation Resources for Learning Project, 1968. ED049986

Kenny, Michael F.; and Schmitt, Raymond F. Images, Images. Images -The Book of Programmed Multi-Image Production. Third Edition. Eastman Kodak Publication S-12. Rochester: Eastman Kodak Company, 1983. 264 pp. Kenny, Michael F. Presenting Yourself. Eastman Kodak Company. New York: John Wiley and Sons, Inc., 1982. 175pp.

Kemp, Jerrold E., and Dayton, Deane K Planning and Producing Instructional Media. Fifth Edition. New York: Harper and Row, Publishers, 1985. 292 pp.

Kirby, Lynn. "Pointers for Making Slide/rape Presentations." Unpublished Paper, University of Wisconsin, Stevens Point. 1981.

Kueter, Roger A.; and Miller, Janeen. Slides. The Instructional Media Library, Volume Number 13. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981. 99 pp.

Mahaffey, Ben D. "Curricular Guidelines for Environmental Interpreter Training Programs." The Journal of Environmental Education, 1973, 5(1): 23-30.

113 Mcinnes, James. Video in Education and Training. New York, London: Focal Press LTD, 1980. 176 pp.

Meilach, Dona Z. Dynamics of Presentation Graphics. Homewood, IL: Dow Jones- Irwin, 1986. 259 pp.

Morkin, Chuck. "Elements of Effective Audiovisual." Unpublished paper, Morkin Enterprises, Green Bay, 1986.

National Audubon Society. Directory of Nature Centers and Related Environmental Education Facilities. New York: National Audubon Society, 1975. 124 pp.

Peace Corps, Washington DC Information Collection and Exchange Division. Audio Visual Communications Teaching Aids Packet. Supplementary Materials, Packet P-8. Sept. 1982. 94 pp. ED 257 435

Pett, Dennis W. Audio-Visual Communications Handbook. Indiana University, Bloomington: Audio-Visual Center. Peace Corps, Wash. D.C. 1969. 251 pp. ED 257 434

Podracky, John R. Creating Slide Presentations, A Basic Guide. Englewood Cliffs (NJ): Prentice-Hall, Inc., 1983. 198 pp.

Rehm, Karl M. Producing a Sound/Slide Program. Huntsville (TX): Educational Filmstrips, 1977. 18 pp.

Riggs, Dr. Larry. "Elements in Designing an Effective Slidetrape Production." Unpublished paper, University of Wisconsin, Stevens Point, 1986.

Riggs, Dr. Larry. "Slide Sound Production." Unpublished paper, University of Wisconsin, Stevens Point, 1986. 12 pp.

Riggs, Dr. Larry. "Using Media to Increase Learning." Unpublished paper, University of Wisconsin, Stevens Point, 1986. 3pp.

Schneider, Edward W. Videodiscs. The Instructional Media Library, Volume Number 16. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981.

Sharpe, Grant W., ed. Interpreting the Environment. New York: Wiley and Sons, Inc., 1976. 556 pp.

Shaw, John. The Nature Photographer's Complete Guide to Professional Field Techniques. New York: Amphoto, 1984. 144 pp.

Sparks, Jerry D. Overhead Projection. The Instructional Media Library, Volume Number 10. Englewood Cliffs (NJ): Educational Technology Publications, Inc., 1981. 95 pp.

Stecker, Elinor H. "Add Sound to Your Slides." Popular Photographv, February, 1983:72,92-4.

114 Stokes, David W. "Production of an AV Module." Milwaukee: Schlitz Audubon Center, 1984. 4pp.

Strung, Norman. Communicating the Outdoor Experience. Milwaukee: Outdoor Writers Association of America, Inc., 1975. 317 pp.

Sunier, John. Slide Sound and Filmstrip Production. London: Focal Press LTD., 1981. 160 pp.

Thompson, Anthony Hugh. "Handling and Preservation of Audio-Visual Materials." AV in Action 3. N ederlands Bibliotheek en Lekturer Centrum, The Hague: Netherlands, 1983. 31 pp. ED 269 009

Tilden, Freeman. Interpreting Our Heritage. Third Edition. Chapel Hill(NC): The University of North Carolina Press, 1977. 119 pp.

Toops, Connie. "Building a Better Slide File." Journal of Interpretation. 1978 3(2): 20-25.

USDA Forest Service. "Writing for the Ear." Forest Naturalist Handbook, Alaska Region. Anchorage: USDA Forest Service.

Wadzinski, Lester A. A Multi-Media Cookbook. Rock Island (IL): U.S. Army Corps of Engineers Publication. No publication data.

Weiner, Peter. Making the Media Revolution. A Handbook for Video-Tape Production. New York: Macmillian Publishing Co., Inc., 1973. 217 pp.

Western Curriculum Project on Canadien Studies. Project Canada West Interim Report. Edmonton, Alberta, Canada: ,1971. ED 049 105

White, John T. "The 10 Commandments of Slide Presentations." Ann Arbor: Environmental Protection Agency. No publication data. Whiting, Ralph; Hagaman, Joseph; and Mallory, Dale. Audiovisual Equipment Security. Manitowoc (WI): Wisconsin Audiovisual Association, 1979. 28 pp. Wiley, Ann L. Trends in Instructional Technology: An Instructional Module. Rochester: Rochester Institute of Technology, 30 June 1982. 23 pp. ED 252 200

Winston, Brian; and Keydel, Julia. Working with Video. London: Mobius International, Ltd. 1986. 256 pp. Wolfe, Glenn M. Audiovisual Scriptwriting Kit. La Crosse (WI): Haas-Haus Productions, 1981. 25 pp. Woolman, Robert S. "See Your Way Clear." Audio Visual Directions. May/June 1981.

115