astra domain was triggered too early. This is usually an indicator for some code in the plugin or theme running too early. Translations should be loaded at the init action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /home/studyfoxx/public_html/proactivetraining.com.au/news/wp-includes/functions.php on line 6131\n\t\tOne of my recent projects has been to develop a Soft Skills 101 video-based training course for HR professionals to use to help employees improve their communication skills. In this process, I have tried to develop good content—content that is “engaging.” <\/p>\n
\n\t\tBest Practices for E-Learning<\/strong><\/p>\n \n\t\tYou’ll find several general recommendations in most analyses of e-learning courses. Good e-learning content typically is characterized by many of the following qualities: <\/p>\n<\/div>\n \n\tI don’t want to reiterate what others have said. What I’d like to offer is my story of how I used my documentary filmmaking techniques to think about engagement in a slightly different way. <\/p>\n \n\tAs a Ph.D. in communication, I have been trained to be accurate, to research, and to look at variables objectively, or if subjectively, then to do so systematically. But as a documentary filmmaker, I was trained by a different set of criteria. My mentor produced work for PBS for years and won multiple Emmy awards for television production. He tore my work to shreds. But it paid off in the end. What he taught me to focus on and what I’ve learned producing documentary films is what I’m going to focus on here. In short, I believe using a filmmaking approach to training videos will elevate their quality to the next level and can complement the best practices for e-learning. I hope that by telling this story, readers can steal one or two ideas for their own training videos. <\/p>\n \n\tCasting Participants<\/strong><\/p>\n \n\tWe hear about casting agencies testing out actors for a role for a new movie. We may think that doesn’t apply to training videos, but it does. I’ve been fortunate enough to get my documentary work on the Georgia PBS station here in the Atlanta area, and when I talk to people about the project, I often describe the process of selecting the participants. There are many considerations to think about, but the first one is recognizing that casting who will be in your video is a choice<\/em>. An important choice. And some people don’t make the cut. An engaging participant translates to a more engaging video. Casting also affects the editing process. In one of my recent documentaries, one of my participants was an expert. But I was hampered by his dry delivery style. It was not just boring; it had soporific effect. So I used as little of his interview as I could possibly get away with. I leaned on the more dynamic and energetic participants. <\/p>\n \n\tSo how do you cast someone? My first assessment is whether they’re comfortable on camera and talking about being on camera. If they’re nervous, look at my camera a lot, hesitate, and don’t smile, then I know I’m going to have a hard time getting smiles and expressions from them. I look for people who are not concerned about the camera, have experience being in front of a lens, and are passionate people who have something they love talking about. I look for people with energy. But I also ask myself, “Can they say their point in a clear and concise way?” Sometimes a person is too talkative and wordy. When I find that dynamic person, I will think to myself while the camera is rolling: “This is going straight into the final cut.” This is because the performance was so succinct and well said. There are other things to consider, but when in doubt, go with your gut instinct. If you<\/em> find the person interesting, chances are someone else will, as well. <\/p>\n \n\tLighting, Setting, and Sound<\/strong><\/p>\n \n\tTechnical aspects such as lighting, the setting, and the sound all must be good, if not great. But these qualities are just a basic threshold you must meet to make your video usable. This may be daunting for people without this training, and that is a legitimate but not insurmountable task. YouTube has great content for learning these techniques. Lighting techniques abound, and I admit I’ve made my share of mistakes. Typically, some external lights are necessary to fill in shaded areas on people’s faces. Sometimes a great window-lit area, plus some fancy three-quarter positioning and a great camera lens, can do the trick without additional lights. But the trickier the situation, the more expertise you need. <\/p>\n \n\tAudio quality is perhaps the most critical component. You can always cover up a bad visual moment with a text slide, but you cannot get good sound out of a bad microphone, and getting rid of external noise and hiss is near impossible. Attempting to remove echo is a nightmare—believe me, I’ve tried. Exceptional sound is worth a lot, and you must consider the room size, material, and external noise when filming. Don’t skimp out and use cheap microphones. <\/p>\n \n\tFinally, the visual setting is important. Sometimes I like a simple monochrome background to prevent distractions, while in other situations, I want to place subjects in their “element” to convey meta-information about their life and role. In sum, technical aspects need to be good to great, but they don’t have to be perfect. <\/p>\n\n