Walden University Assessment and Reflection on Multimedia Skills

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Assignment: Assessment and Reflection

You are approaching the end of your multimedia literacy experience. This Assignment provides you with an opportunity to reflect on the course and the multimedia production process. You have accessed, analyzed, and created digital instructional multimedia. Now you are ready to report your evaluation.


******* THIS ASSESSMENT IS ABOUT 6 PAGES. I WILL LET YOU KNOW HOW MANY PAGE BY HEADINGS*****

Collaboration

  • IN 1 PAGE: Collaboration: provide an analytical rationale how collaboration affected your creative process for the creation of your multimedia-based learning objects. Include examples and supporting documentation for each point.
  • IN 1 PAGE Collaboration: analyze the advantages and disadvantages of the feedback you received on your work, providing examples and supporting documentation from the feedback you received. Analyze how the feedback received from classmates, your instructor, and from the collaboration in your PLN helped you design and create your final multimedia learning object. Provide supporting evidence and examples. *****(FEEDBACK WAS NOT GOOD, TEACHER IS VERY VERY VERY STRICT. (I LOVE TO FINISH THIS CLASS TOMORROW!!!) HE TOOK POINTS FOR EVERYTHING: GRAMMAR, LO, LEARNING OBJECTIVES, PROTOCOLO CONVERSATION, LESSON PLANS, VIDEOS, MULTIMEDIA, IMAGES, ETC


IN 2 PAGES: provide a well-documented rationale for the instructional effectiveness of your LO including:

  • Development of Assessment: An analysis of the development of your assessment you used to field test your LO. Provide a rationale for the content of the assessment items based on the purpose and goals of the LO (e.g., the impact you expected the LO to have on student learning outcomes) and the feedback you received from your PLN.
  • Analysis of Assessment Data: Compare what you expected students to learn with what they actually demonstrated on your assessment tool and how this helped you interpret the instructional effectiveness of your LO on student learning, including an analysis of detailed statistics from your field test
  • Use of Assessment Data to Make Improvements: You explained how you would change your LO based on the assessment data.

Personal Growth

  • IN 1 PAGE: As Creator: , provide a synthesis of your development as a multimedia designer/creator throughout the course, integrating your collaborative work in your PLN, discussions, and course resources. Analyze how your comfort level creating digital media changed during this course including examples from the development of your LOs.
  • IN 1 PAGE: As Educational Technologist: synthesize your overall class experience. Provide an analysis of how your multimedia production and collaboration with your PLN may have an impact on your overall learning experience in the educational technology program going forward, providing examples and supporting documentation from your experience developing LOs. Provide a synthesis of your course experience developing LOs to share how being able to produce multimedia learning objects may have an impact on your career.

RESOURCES: (ALSO SEE ATTACHMENTS)*******

Ball, C. E. (2012). Assessing scholarly multimedia: A rhetorical genre studies approach. Technical Communication Quarterly, 21(1), 61–77.

Ostenson, J. W. (2012). Connecting assessment and instruction to help students become more critical producers of multimedia. Journal of Media Literacy Education, 4(2), 167–178.

Pittman, J. (2013). From theory to assessment: A modern instructional course. Journal of Applied Learning Technology, 3(2), 26–30.

Clark, R. C., & Mayer, R. E. (2016). E-Learning and the science of instruction: Proven guidelines for consumers and designers of multimedia learning (4th ed.). San Francisco: John Wiley & Sons, Inc.

  • Chapter 4, “Applying the Multimedia Principle: Use Words and Graphics Rather Than Words Alone” (pp. 67–89)
  • Chapter 6, “Applying the Modality Principle: Present Words as Audio Narration Rather Than On-Screen Text” (pp. 113-130)

Wills, G. B., Bailey, C. P., Davis, H. C., Gilbert, L., Howard, Y., Jeyes, S., & … Young, R. (2009). An e-learning framework for assessment (FREMA). Assessment & Evaluation in Higher Education, 34(3), 273–292.

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Multimedia: Making It Work Eighth Edition Tay Vaughan New York Chicago San Francisco Lisbon London Madrid Mexico City Milan New Delhi San Juan Seoul Singapore Sydney Toronto Copyright © 2011 by Tay Vaughan. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. ISBN: 978-0-07-174850-6 MHID: 0-07-174850-4 The material in this eBook also appears in the print version of this title: ISBN: 978-0-07-174846-9, MHID: 0-07-174846-6. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. To contact a representative please e-mail us at bulksales@mcgraw-hill.com. Information has been obtained by McGraw-Hill from sources believed to be reliable. However, because of the possibility of human or mechanical error by our sources, McGraw-Hill, or others, McGraw-Hill does not guarantee the accuracy, adequacy, or completeness of any information and is not responsible for any errors or omissions or the results obtained from the use of such information. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGrawHill”) and its licensors reserve all rights in and to the work. Use of this work is subject to these terms. Except as permitted under the Copyright Act of 1976 and the right to store and retrieve one copy of the work, you may not decompile, disassemble, reverse engineer, reproduce, modify, create derivative works based upon, transmit, distribute, disseminate, sell, publish or sublicense the work or any part of it without McGraw-Hill’s prior consent. You may use the work for your own noncommercial and personal use; any other use of the work is strictly prohibited. Your right to use the work may be terminated if you fail to comply with these terms. THE WORK IS PROVIDED “AS IS.” McGRAW-HILL AND ITS LICENSORS MAKE NO GUARANTEES OR WARRANTIES AS TO THE ACCURACY, ADEQUACY OR COMPLETENESS OF OR RESULTS TO BE OBTAINED FROM USING THE WORK, INCLUDING ANY INFORMATION THAT CAN BE ACCESSED THROUGH THE WORK VIA HYPERLINK OR OTHERWISE, AND EXPRESSLY DISCLAIM ANY WARRANTY, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO IMPLIED WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE. McGraw-Hill and its licensors do not warrant or guarantee that the functions contained in the work will meet your requirements or that its operation will be uninterrupted or error free. Neither McGraw-Hill nor its licensors shall be liable to you or anyone else for any inaccuracy, error or omission, regardless of cause, in the work or for any damages resulting therefrom. McGraw-Hill has no responsibility for the content of any information accessed through the work. Under no circumstances shall McGraw-Hill and/ or its licensors be liable for any indirect, incidental, special, punitive, consequential or similar damages that result from the use of or inability to use the work, even if any of them has been advised of the possibility of such damages. This limitation of liability shall apply to any claim or cause whatsoever whether such claim or cause arises in contract, tort or otherwise. For Elizabeth Hunter Vaughan About the Author Tay Vaughan is a widely known multimedia authority. He has developed and produced projects for clients including Apple, Microsoft, Lotus, Novell, and Sun. He is president of Timestream, Inc., a multiformat design and publishing company. About the Technical Editor Brad Borch is an award-winning multimedia producer. He has a BA in Film (Penn State, 1986) and an MS in Instructional Technologies (Bloomsburg University, 1989). He started his interactive media career so long ago, the digital bits he used to craft his first project have long since retired. He has worked for various creative agencies and media companies; currently, he has his own interactive design consultancy, Activa Digital Media Design. He works primarily in Adobe Flash, producing games and interactive presentations. Brad resides in coastal Maine with his wife Elizabeth, two teen children, Christopher and Rachel, and a dog. When he’s not sculpting bits into presentations of one kind or ­another, he’s hiking, canoeing, or playing one of his guitars. Contents acknowledgments vii about this book x introduction xii 1 2 What Is Multimedia? 1 Definitions 1 Where to Use Multimedia 2 Multimedia in Business 2 Multimedia in Schools 3 Multimedia at Home 5 Multimedia in Public Places 7 Virtual Reality 9 Delivering Multimedia 9 CD-ROM, DVD, Flash Drives 10 The Broadband Internet 10 4 Text 18 The Power of Meaning 20 The Power and Irregularity of English 21 About Fonts and Faces 22 Cases 24 Serif vs. Sans Serif 24 Using Text in Multimedia 25 Designing with Text 26 Fields for Reading 36 HTML Documents 39 Computers and Text 40 The Font Wars Are Over 40 Character Sets and Alphabets 42 Mapping Text Across Platforms 45 Languages in the World of Computers 46 Font Editing and Design Tools 50 Fontlab 51 Making Pretty Text 52 Hypermedia and Hypertext 53 The Power of Hypertext 55 Using Hypertext 56 Searching for Words 57 Hypermedia Structures 58 Hypertext Tools 60 iv 3 5 Images 68 Before You Start to Create 68 Plan Your Approach 69 Organize Your Tools 69 Configure Your Computer Workspace 69 Making Still Images 70 Bitmaps 71 Vector Drawing 80 Vector-Drawn Objects vs. Bitmaps 81 3-D Drawing and Rendering 83 Color 88 Understanding Natural Light and Color 88 Computerized Color 91 Color Palettes 94 Image File Formats 97 Sound 104 The Power of Sound 104 Digital Audio 106 Making Digital Audio Files 108 MIDI Audio 113 MIDI vs. Digital Audio 118 Multimedia System Sounds 120 Audio File Formats 121 Vaughan’s Law of Multimedia ­Minimums 123 Adding Sound to Your Multimedia Project 124 Space Considerations 125 Audio Recording 126 Keeping Track of Your Sounds 128 Audio CDs 128 Sound for Your Mobile 129 Sound for the Internet 130 Testing and Evaluation 131 Copyright Issues 131 Animation 140 The Power of Motion 140 Principles of Animation 141 Animation by Computer 142 Animation Techniques 143 Animation File Formats 149 Making Animations That Work 150 A Rolling Ball 151 A Bouncing Ball 152 Creating an Animated Scene 155 Contents 6 7 Video 164 Using Video 164 How Video Works and Is Displayed 165 Analog Video 166 Digital Video 168 Displays 170 Digital Video Containers 173 Codecs 174 Video Format Converters 178 Obtaining Video Clips 179 Shooting and Editing Video 180 The Shooting Platform 181 Storyboarding 183 Lighting 183 Chroma Keys 184 Composition 185 Titles and Text 186 Nonlinear Editing (NLE) 188 8 9 Making Multimedia 196 The Stages of a Multimedia Project 196 What You Need: The Intangibles 197 Creativity 197 Organization 198 Communication 200 What You Need: Hardware 200 Windows vs. Macintosh 201 Connections 203 Memory and Storage Devices 205 Input Devices 209 Output Devices 210 What You Need: Software 212 Text Editing and Word Processing Tools 214 OCR Software 215 Painting and Drawing Tools 216 3-D Modeling and Animation Tools 218 Image-Editing Tools 220 Sound-Editing Tools 221 Animation, Video, and Digital Movie Tools 221 Helpful Accessories 222 What You Need: Authoring Systems 222 Helpful Ways to Get Started 223 Making Instant Multimedia 224 Types of Authoring Tools 227 Objects 230 Choosing an Authoring Tool 231 10 Multimedia Skills 240 The Team 241 Project Manager 241 Multimedia Designer 243 Interface Designer 245 Writer 246 Video Specialist 248 Audio Specialist 250 Multimedia Programmer 251 Producer of Multimedia for the Web 253 The Sum of Parts 254 Planning and Costing 260 The Process of Making Multimedia 260 Idea Analysis 262 Pretesting 266 Task Planning 266 Prototype Development 268 Alpha Development 271 Beta Development 271 Delivery 271 Scheduling 273 Estimating 274 Billing Rates 277 RFPs and Bid Proposals 280 The Cover and Package 286 Table of Contents 286 Needs Analysis and Description 286 Target Audience 287 Creative Strategy 287 Project Implementation 287 Budget 287 Designing and Producing 294 Designing 295 Designing the Structure 296 Designing the User Interface 308 A Multimedia Design Case History 314 Producing 318 Starting Up 319 Working with Clients 320 Tracking 321 Copyrights 321 Hazards and Annoyances 322 v vi 11 Multimedia: Making It Work Content and Talent 330 Acquiring Content 331 Using Content Created by Others 332 Ownership of ContentCreated ­ for a Project 343 Acquiring Talent 347 Locating the Professionals You Need 348 Working with Union Contracts 349 Acquiring Releases 351 12 The Internet and Multimedia 358 Internet History 359 Internetworking 360 Internet Addresses 361 Connections 365 The Bandwidth Bottleneck 365 Internet Services 367 MIME-Types 369 The World Wide Web and HTML 372 Multimedia on the Web 374 Tools for the World Wide Web 374 Web Servers 375 Web Browsers 376 Search Engines 377 Web Page Makers and Site Builders 377 Plug-ins and Delivery Vehicles 381 Beyond HTML 383 13 Designing for the World Wide Web 392 Developing for the Web 392 HTML Is a Markup Language 393 The Desktop Workspace 396 The Small-Device Workspace 396 Nibbling 397 Text for the Web 398 Making Columns of Text 398 Flowing Text Around I­ mages 400 14 Images for the Web 402 GIF and PNG Images 402 JPEG Images 403 Using Photoshop 405 Backgrounds 409 Clickable Buttons 411 Client-Side Image Maps 411 Sound for the Web 413 Animation for the Web 413 GIF89a 413 Video for the Web 414 Plug-ins and Players 415 Delivering 422 Testing 423 Alpha Testing 423 Beta Testing 423 Polishing to Gold 425 Preparing for Delivery 425 File Archives 427 Delivering on CD-ROM 429 Compact Disc Technology 429 Compact Disc Standards 431 Delivering on DVD 434 DVD Standards 436 Wrapping It Up 436 Delivering on the World Wide Web 438 Appendix 446 System Requirements 446 Installing and Running CD ­Software and ­Features 448 Help 449 Removing MasterExam 449 McGraw-Hill Technical Support 449 LearnKey Technical Support 449 Trial Software Technical Support 449 Index 450 Acknowledgments This eighth edition of Multimedia: Making It Work includes the cumulated input and advice of many colleagues and friends over a twenty-year period. Each time I revise and update this book, I am pleased to see that the acknowledgments section grows. Indeed, it is difficult to delete people from this (huge) list because, like the stones of a medieval castle still occupied, new and revised material relies upon the older foundation. I will continue accumulating the names of the good people who have helped me build this edifice and list them here, at least until my publisher cries “Enough!” and provides substantial reason to press the delete key. At McGraw-Hill, Meghan Riley was instrumental in producing this eighth edition. Molly Sharp from ­ContentWorks did the layout, Melinda Lytle oversaw graphic quality, and Bob Campbell and Paul Tyler copyedited and proofread, respectively. As technical editor for this edition, Brad Borch helped to bring current the detailed descriptions of the many elements of multimedia that are discussed in the book. In past editions, Tim Green, Jennifer Housh, Jody McKenzie, Julie Smith, Jimmie Young from Tolman Creek Design, Joe Silverthorn, Chris Johnson, Jennie Yates, John and Kathryn Ross, Madhu Prasher, Frank Zurbano, Judith Brown, Athena Honore, Roger Stewart, Alissa Larson, Cindy Wathen, Eileen Corcoran, Megg Bonar, Robin Small, Lyssa Wald, Scott Rogers, Stephane Thomas, Bob Myren, Heidi Poulin, Mark Karmendy, Joanne Cuthbertson, Bill Pollock, Jeff Pepper, Kathy Hashimoto, Marla Shelasky, Linda Medoff, Valerie Robbins, Cindy Brown, Larry Levitsky, Frances Stack, Jill Pisoni, Carol Henry, and Linda Beatty went out of their way to keep me on track. Chip Harris, Donna Booher, Takis Metaxas, Dan Hilgert, Helayne Waldman, Hank ­Duderstadt, Dina Medina, Joyce Edwards, Theo Posselt, Ann Stewart, Graham Arlen, Kathy Gardner, Steve Goeckler, Steve Peha, Christine Perey, Pam Sansbury, Terry Schussler, Alden Trull, Eric Butler, and Michael Allen have contributed to making the work more complete since its first edition. Since the fifth edition, peer reviewers Sandi Watkins, Dana Bass, David Williams, Joseph Parente, Elaine Winston, Wes Baker, Celina Byers, Nancy Doubleday, Tom Duff, Chris Hand, Scott Herd, Kenneth Hoffman, Sherry Hutson, Judith Junger, Ari Kissiloff, Peter Korovessis, Sallie Kravetz, Jeff Kushner, Theresa McHugh, Ken Messersmith, Marianne Nilsson, Lyn Pemberton, Samuel Shiffman, and Dennis Woytek have added significant structure to the book’s foundation. I would also like to acknowledge many friends in the computer and publishing industries who continue to make this book possible. They send me quotes and multimedia anecdotes to enliven the book; many arranged for me to review and test software and hardware; many have been there when I needed them. Some from editions past have changed companies or left the industry; my friend Dana Atchley, the well-known digital storyteller, has died. Whole companies in the list below have died, too, since the first edition of this book, but their discorporation is mourned differently from the heartfelt loss of the real people and real creators who launched the information age. I would like to thank them all for the time and courtesy they have afforded me on this long-legged project: Grace Abbett, Adobe Systems Jennifer Ackman, Edelman Worldwide Eric Alderman, HyperMedia Group Heather Alexander, Waggener Edstrom Laura Ames, Elgin/Syferd PR Kurt Andersen, Andersen Design Ines Anderson, Claris Travis Anton, BoxTop Software David Antoniuk, Live Oak Multimedia Yasemin Argun, Corel Systems Cornelia Atchley, Comprehensive ­Technologies Dana Atchley, Network Productions Pamela Atkinson, Pioneer Software Paul Babb, Maxon Computer Ann Bagley, Asymetrix Patricia Baird, Hypermedia Journal Gary Baker, Technology Solutions Richard Bangs, Mountain Travel-Sobek Sean Barger, Equilibrium Jon Barrett, Dycam Kathryn Barrett, O’Reilly & Associates Heinz Bartesch, The Search Firm Bob Bauld, Bob Bauld Productions Thomas Beinar, Add-On America/Rohm Bob Bell, SFSU Multimedia Studies Program George Bell, Ocron Mike Bellefeuille, Corel Systems Andrew Bergstein, Altec Lansing Kathy Berlan, Borland International Camarero Bernard, mFactory Brian Berson, Diamondsoft Bren Besser, Unlimited Access Time Bigoness, Equilibrium Ken Birge, Weber Shandwick Nancy Blachman, Variable Symbols Dana Blankenhorn, Have Modem Will Travel Brian Blum, The Software Toolworks Sharon Bodenschatz, International Typeface Michele Boeding, ICOM Simulations Donna Booher, Timestream Gail Bower, TMS Kellie Bowman, Adobe Systems Susan Boyer, Blue Sky Software Deborah Brown, Technology Solutions vii viii Multimedia: Making It Work Eric Brown, NewMedia Magazine Russell Brown, Adobe Systems Tiffany Brown, Network Associates Stephanie Bryan, SuperMac Ann Marie Buddrus, Digital Media Design David Bunnell, NewMedia Magazine Jeff Burger, Creative Technologies Steven Burger, Ricoh Bridget Burke, Gryphon Software Dominique Busso, OpenMind Ben Calica, Tools for the Mind Doug Campbell, Spinnaker Software Teri Campbell, MetaCreations Doug Camplejohn, Apple Computer Norman Cardella, Best-Seller Tim Carrigan, Multimedia Magazine Mike Childs, Global Mapper Software Herman Chin, Computer Associates International Curtis Christiansen, Deneba Software Jane Chuey, Macromedia Angie Ciarloni, Hayes Kevin Clark, Strata Cathy Clarke, DXM Productions Regina Coffman, Smith Micro Frank Colin, Equilibrium David Collier, decode communications Kelly Anne Connors, Alien Skin David Conti, AimTech Freda Cook, Aldus Renee Cooper, Miramar Systems Wendy Cornish, Vividus Patrick Crisp, Caere Michelle Cunningham, Symantec Lee Curtis, CE Software Eric Dahlinger, Newer Technology Kirsten Davidson, Autodesk John deLorimier, Kallisto Productions John Derryberry, A&R Partners/Adobe Systems Jeff Dewey, Luminaria Jennifer Doettling, Delta Point Sarah Duckett, Sonic Solutions Hank Duderstadt, Timestream Mike Duffy, The Software Toolworks Eileen Ebner, McLean Public Relations Dawn Echols, Oracle Dorothy Eckel, Specular International Joyce Edwards, Timestream Kevin Edwards, c|net Mark Edwards, Independent Multimedia Developer Dan Elenbaas, Amaze! Ellen Elias, O’Reilly & Associates Shelly Ellison, Tektronix Heidi Elmer, Sonic Foundry Kathy Englar, RayDream Jonathan Epstein, MPC World Jeff Essex, Audio Synchrosy Sharron Evans, Graphic Directions Kiko Fagan, Attorney at Law Joe Fantuzzi, Macromedia Lee Feldman, Voxware Laura Finkelman, S & S Communications Holly Fisher, MetaTools Sean Flaherty, Nemetschek/VectorWorks Terry Fleming, Timeworks Patrick Ford, Microsoft Marty Fortier, Prosonus Robin Galipeau, Mutual/Hadwen Imaging Kathy Gardner, Gardner Associates Peter Gariepy, Zedcor Bill Gates, Microsoft Petra Gerwin, Mathematica John Geyer, Terran Interactive Jonathan Gibson, Form and Function Brittany Gidican, Edelman Karen Giles, Borland Amanda Goodenough, AmandaStories Danny Goodman, Concentrics Technology Howard Gordon, Xing Technology Jessica Gould, Corel Jonathan Graham, Iomega Catherine Greene, LightSource Fred Greguras, Fenwick & West Maralyn Guarino, Blue Sky Software Cari Gushiken, Copithorne & Bellows Kim Haas, McLean Public Relations Marc Hall, Deneba Software Johan Hamberg, Timestream Lynda Hardman, CWI - Netherlands Tom Hargadon, Conference Communications Chip Harris, InHouse Productions Scott Harris, Chief Architect Sue Hart, FileMaker Robin Harwood, Maritime Energy Trip Hawkins, 3DO/Electronic Arts Randy Haykin, Apple Computer Jodi Hazzan, SoftQuad Ray Heizer, Heizer Software Dave Heller, Salient Software Josh Hendrix, CoSA Maria Hermanussen, Gold Disk Allan Hessenflow, HandMade Software Lars Hidde, The HyperMedia Group Erica Hill, Nuance Dave Hobbs, LickThis Petra Hodges, Mathematica Kerry Hodgins, Corel John Holder, John V. Holder Software Elena Holland, Traveling Software Mike Holm, Apple Computer Robert Hone, Red Hill Studios Kevin Howat, MacMillan Digital Joy Hsu, Sonnet Technologies Tom Hughes, PhotoDisc Claudia Husemann, Cunningham Communications Les Inanchy, Sony CD-ROM Division Tom Inglesby, Manufacturing Systems Carl Jaffe, Yale University School of Medicine Farrah Jinha, Vertigo 3D Cynthia Johnson, BoxTop Software Scott Johnson, NTERGAID JoAnn Johnston, Regis McKenna Neele Johnston, Autodesk Jedidah Karanja, Genealogy.com Dave Kaufer, Waggener Edstrom David Kazanjian, AFTRA Actor Jenna Keller, Alexander Communications Helen Kendrick, Software Publishing Benita Kenn, Creative Labs Duncan Kennedy, Tribeworks Trudy Kerr, Alexander Communications Gary Kevorkian, ULead Systems Deirdre Kidd, Nemetschek David Kleinberg, NetObjects Jeff Kleindinst, Turtle Beach Systems Kevin Klingler, Sonic Desktop Software Sharon Klocek, Visual In-Seitz Christina Knighton, Play Incorporated Lewis Kraus, InfoUse Katrina Krebs, Micrografx Kevin Krejci, Pop Rocket Bob Kremers, Waggoner Edstrom Larry Kubo, Ocron Jennifer Kuhl, Peppercom Howard Kwak, Multimedia SourceBook Irving Kwong, Waggener Edstrom Craig LaGrow, Morph’s Outpost Lisa Lance, Vectorworks Kimberly Larkin, Alexander Communications Kevin LaRue, Allegiant Technologies Mark Law, Extensis Nicole Lazzaro, ONYX Productions Dick Lehr, Boston University Alan Levine, Maricopa Community Colleges Bob LeVitus, LeVitus Productions Steven Levy, MacWorld Kitten Linderma ...
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Outline: Assessment and reflection on multimedia skills
Thesis: This paper aims at analysing and discussing assessment and reflection on multimedia
skills.


Running head: ASSESSMENT AND REFLECTION

Assessment and Reflection on Multimedia Skills
Name
Institutional affiliation

1

ASSESSMENT AND REFLECTION

2

Collaboration in Multimedia Learning Objects
Collaborative learning covered a variety of methods in multimedia learning where a joint
intellectual effort by trainers and we were involved. Multimedia-based involved being trained on
acquiring knowledge as well as skills in designing, planning, and creation of a learning object. In
my project, we were working on developing learning objects for the mobile phone. We did this
by adapting the learning objects in the referencing books. Collaboration affected the process of
the creation of multimedia learning objects in a positive way.
Through collaboration, we worked in small groups in coming up with three prototypes for
the objects. Through group work, I was able to maximize my learning as well as the learning
ability of my friends. The collaboration worked as a means of shared creation where I interacted
with other peers to create a shared understanding of the concept that I could not have done on my
own. I worked in a group of six people, and I aimed at being active in making a personal
contribution to the final product. Collaboration not only involved many aspects of the typical
cooperative process of learning methods but also it rose above focusing on synergy and creation
of the mutually produced multimedia product. In this case, the product was the learning object
for mobile phones.
The collaborative process was involved for instance in the modeling of the prototypes
and coaching to help us be aware of our learning. Through the process, I was able to develop a
deeper understanding of the creation process of the learning objects. Through collaboration, I
learned that the learning object design involved the methods of remembering, comprehending,
application, analysis, evaluation, and creation. From the experience I had, I propose that
collaboration is a way of interactivity including not only human-human collaboration but also

ASSESSMENT AND REFLEC...

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