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CREATING AND USING MULTIMEDIA
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Creating and Using Multimedia
Dr. Gary Ackerman
Greenfield Community College
Director, Teaching and Learning Innovation
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Greenfield Community College (GCC) is a small open access institution in rural
Massachusetts. In 2021, during the pandemic, GCC leadership created the Teaching and
Learning Innovation Center (TLIC) which is the first office of its kind at the college. This decision
was motivated by actions they wanted to take because of a recently completed strategic
planning process, the recommendations made during an accreditation review which had been
concurrent with finalizing the strategic plan, and realities recognized during remote teaching.
For the college leaders, innovative teaching was multifarious, so they defined three areas of
responsibility for the founding director: online teaching and learning, audio visual (AV) support
in classroom and campus events, and faculty development.
This paper focuses on the efforts to integrate multimedia into the curriculum as part of
the work of the Teaching and Learning Innovation Center. Specifically, this paper describes the
work done by the TLIC leaders and staff to develop a Multimedia Studio, which is a space where
students and faculty can produce their own media. Early in this process, it became clear that
the design of the Multimedia Studio was going to require the bridging of gaps between the
expertise of audio-visual professionals, the novice producers, the faculty, and the curriculum
using the Multimedia Studio. Several frameworks or models were used to unite disparate
groups so that they could collaborate to create media to communicate powerful ideas to broad
audience. This paper describes how those models and how they influenced media-rich
instruction.
The Space
For several decades, the Educational Technology Center at Greenfield Community
College maintained a studio which was used by the college and the community to broadcast
events to local television viewers and to capture audio and video of events held on campus.
Over time, demand for broadcast and recording services had decreased due to the availability
of alternative broadcasting services in the community and the improved quality of microphones
and cameras integrated into the laptops and desktop devices provided by the college or
available on the consumer market.
The college leadership charged the founding director of the TLIC to repurpose the
television broadcasting studio into a space formally known as the Multimedia Studio. The intent
was to create a studio where faculty, staff, and students can create their own media in the
same space where only technicians had operated audio visual technology previously. The stated
goals included integrating new types of media into the curriculum, building internal capacity to
create media for both educational and marketing purposes, and providing students with
authentic content creation experience.
The old broadcast cameras were moved to the side and replaced with a podcasting
station with four microphones. Over time, additional devices and production stations were
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added. The list now includes four smaller cameras on movable tripods, a greenscreen with high-
quality lightening, augmented reality and virtual reality production stations, a video-capable
drone, and others some of which are in development. The Multimedia Studio can be quickly
reconfigured to support different types of media production.
One of the first tasks assigned to the AV professionals, who were hired soon after the
creation of the TLIC to fill positions vacated through retirement, was to identify the cameras,
microphones, cables, soundboards, switches, speakers, lights, and other hardware that could
be used in the Multimedia Studio as well as the existing software that could continue to provide
a useful function. An assessment of the extant technology indicated few of the devices were
compatible with digital protocols and the quality of the audio and video found was less than
what users could obtain with consumer grade recording devices, including smartphones. Also,
the intent was to create a flexible space where cameras and microphones could be used in
different areas of the studio rather than only in the stage area of the TV studio, so most of the
cameras and microphones were upgraded. An assessment of the extant software for recording
and editing media also led to the conclusion it also needed to be upgrades as well.
Our Motivation
One of the founding principles of the multimedia studio is that faculty, students, and
staff will be able to operate the technology to create media. This was motivated by several
factors. First, the TLIC leaders perceive the ability to create media to be a valuable skill for our
students. Video and audio have become an asset for many businesses and organizations, so
individuals with experience creating media may have a valuable skill for employment. Further,
media is an important venue for social and cultural expression. Through the multimedia studio,
students can gain skills that can be diversify their capacity to express themselves and contribute
to the media landscape for professional or personal purposes.
Second, the college community continues to use principles included in Universal Design
for Learning (UDL) (Coffman & Draper, 2022) in instructional design decisions. While UDL is no
longer a primary focus of professional development activities at the college, many faculty have
found a deep connection to that model; UDL has become a grassroots initiative to improve
instruction at the college. By providing a supportive space in which to create alternatives to
traditional written work, the TLIC is supporting this instructional strategy which is intended to
expand access to higher education.
Third, TLIC staff and leaders believe students who make the decision to create media
deserve to use high quality equipment in a space where they can access expertise and support
as they plan, design, and capture audio and video. Most community college students have
access to a smartphone or a laptop with an integrated camera and microphone, and those can
be used to create media, but those who access the Multimedia Studio capture much higher
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quality media to edit. Much of the media produced in the Multimedia Studio finds its way to
external audiences either as originally intended or as a decision after the project is completed.
High quality products reflect well on the college and, more importantly, the producers whose
names are attached to the work.
On Design
Two distinct types of planning are necessary for the Multimedia Studio to operate to
provide the intended service. In traditional planning, a goal is established, experts articulate
and implement a plan to achieve it, and finally they assess the degree to which the goal was
accomplished. Depending on the results of the assessment, a new goal is established, and the
process begins again, or the goal was determined to have been met and attention can be
turned to different problems.
Design is a type of planning that follows a less linear process than traditional planning.
The goals and paths emerge during the process; it allows for more responsive planning in
situations that may not be fully understood at the start. Since the initial design, the Multimedia
Studio has undergone redesign, each time ensuring continuity with previous capacity while
expanding production capacity; we never want users to be unable to create something they
created previously. Planned stations have been abandoned when it was determined there
would be little demand and others have been added in response to suggestions from faculty
and requests from students. Further, the technology that supports media creation is in a state
of continuous improvement which is also a design process filling the gap between current
capacity and desired capacity.
The Multimedia Studio is a space that is emerging. The ability to produce different types
of media and to support various functions has been added to the space; new technology, both
hardware and software, has been added as new demand grew to produce different types of
media in the space. The team managing the studio is also dedicated to improving the operation
of the space to enhance users’ experience and expand the capacity to create with old,
transitional, and new devices. Traditional planning is necessary for these improvements to be
implemented. The AV team follows a typical proof of concept to alpha testing to beta testing
progression to deploy the technology needed to add capacity to the studio.
TLIC leaders have modeled the design process used to identify needed changes in the
Multimedia Studio after educational design research (EDR) (McKenny & Reeves, 2012). This
model of research has been adapted to planning, as well framing research, and it is particularly
well adapted to design processes as it integrates external advice and resources into unique
local settings (Ackerman, 2017).
When following educational design research, the initial planning ask questions such as
“What does the research tell us?” and “How is the problem instantiated in our community?”
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While the TLIC staff was not interested in research, they were interested in the hardware and
software available and they made decisions based on the existing system, the budget,
scheduled projects, and other circumstances that affected priorities and needs. Once plans are
made, those following education design will create systems and assess their performance in
local circumstances. In the Multimedia Studio, we primarily serve students, and the specific
needs of the students in an open access college serving a population with an age range that is
common to other similar schools, necessitated they revise plans and systems to accommodate
those needs. TLIC leaders also recognize factors internal to the college as well as external
(factors that are common to schools regardless of place or time) that affect decisions we make;
our planning processes must be adaptable to changing circumstances and EDR-based planning
allows this to happen.
Designing Technology
The Multimedia Studio is a device-rich space. Users can access cameras, microphones,
and other recording hardware that is not generally available elsewhere. In addition to having
many more devices than are typically available to them outside the studio, users access devices
that are of professional quality. For example, students who are capturing a two-person
interview on video in the Multimedia Studio can capture video on two cameras each on a tripod
and each capturing video through a specialized lens. Further, the scene will be lit with multiple
lights. In the Multimedia Studio users have access to a video kit that would cost several
thousand dollars; it is comparable to what a professional video recording team would set up for
a similar session.
Even the podcasting studio, which is much more modest, provides novice producers
with professional quality microphones and headphones in a space is more controlled to
minimize noise than spaces outside the studio. The result is the captured media is of much
higher quality than the media captured on consumer devices in an everyday setting. Many
users comment on the quality of the media they create and appreciate the devices they access
in the Multimedia Studio and recognize the difference between what they create with their
own devices and what they create in the studio.
The Multimedia Studio is also a software rich space. Users can access software not
normally available on consumer devices or without extra installation; further most users of the
studio would have little need for these software titles except for the media production project
that led them to the space. Because these devices and the software are not familiar to most
novice media producers, the systems have been designed in a purposeful way to provide novice
users with professional systems that they can operate.
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Scaffolding
Scaffolding has a long history as a strategy that can help novices learn how to complete
complex tasks, especially when they have an idea of what the final project or solution will look
like and when the learners are attempting to bridge the gap between observing experts and
becoming experts (Wood, Bruner, & Ross, 1976). It is reasoned that any systems that allow
learners to share the work of undertaking a task with another agent (which may be another
person, a tool, or a system) they can focus on those components of the task that are essential
to their learning (Reiser & Tabek, 2014). The leadership of the TLIC recognized the need for
scaffolds to ensure the novice media producers can plan a reasonable project, capture the
media they need, and edit the final project while building media production skills.
By including scaffolds as part of the production process in the Multimedia Studio, the
TLIC leaders and staff accomplish several goals. They better understand the project and usually
get a sense of the capacity of the team making the project and their willingness and capacity to
be independent. They also take some of the planning and operational tasks off the media
producers. When explaining the role of TLIC staff in preparing a recording session and capturing
the media, the director often says, “We want students focusing on what they are going to say
and communicating clearly, then we help them learn to capture what they say and do.” While
this may seem contrary to the goal of having the users operate the devices, the intent of the
scaffold is to determine the degree to which the users want to and can be involved. Ultimately,
we want the project to be a product worth sharing, so we see scaffolds as ensuring that goal
while affording users an active role in the work.
The production process includes several scaffolds for media producers. First, every
project begins with an initial production meeting. This is often a brief meeting done in the
Multimedia Studio and focuses on the producers describing the product they intend to create,
and the AV team suggesting strategies and technologies that will meet their needs. At the end
of the first production meeting, the AV team makes it clear to the production team that the
best thing they can do is to return they have their presentation prepared. We recommend
writing scripts, preparing visuals, and practicing their lines. The AV team notes what they need
and assumes responsibility of having the technology ready when the production team returns.
The TLIC also maintains a classroom on the college’s learning management system
which contains a variety of tutorials on using the studio. That classroom also contains directions
and advice on other aspects of the production for which that team is responsible. For example,
producers can find sources of open media where they can find music to use as intro or outro
transitions as well as mood music or other supplementary media. These resources help the
production team to be ready for their recording session.
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The staff of the TLIC has also created several templates and other files to facilitate the
configuration of software to prepare for recording. For example, the podcasting station has four
microphones connected to allow for multiple speakers to participate and create a multitrack
recording. So that users do not have to configure a project file that includes the correct number
of tracks for the number of speakers, the TLIC staff have created four different project
templates. The preconfigured project files include all the settings that make for the best
recordings under most conditions, so the production team member who is operating the
recording station can be ready to record in less time than if they had to configure the project
form the beginning.
Technology Acceptance
The technology acceptance model (Davis, 1989) was first elucidated to explain and
predict the factors that affect individuals’ intention and decision to use technology. In 2003,
Venkkatesh, Morris, Davis and Davis, consolidated eight models that were in use at the time to
predict the decision to use technology into the Unified Theory of Acceptance and Use of
Technology (UTAUT) ) which identified four factors that are positively associated with the
intention to use technology: a) effort expectancy, b) performance expectancy, c) social
influences, and d) facilitating conditions. We can summarize technology acceptance as: User are
more likely to use technology they find easy to use, they find effective in their work, that is like
what other use, and that is well-supported.
The concept of technology acceptance continues to be developed and refined
(Tamilmani, Rana, Wamba, & Dwivedi, 2021), but the four factors associated with the intention
to use technology identified in UTAUT, which were modified versions of the factors as
described in the original technology acceptance model (Davis, 1989), have consistently been
include in technology acceptance research for decades. In addition to serving as a theory for
research, technology acceptance has been used to facilitate technology design projects for
decades.
Together, UTAUT (Venkkatesh, Morris, Davis, & Davis, 2003) and EDR (McKenny &
Reeves, 2012) provide the framework within which hardware and software is selected,
configured, and used to support media production in the Multimedia Studio. The AV team seeks
to improve the factors associated with the choice to use technology, specifically perceived ease
of use and perceived effectiveness, by negotiating the best available tools with the capacity of
producers to function independently. These models have allowed us to bridge the gap between
novice producers and high-quality media which is produced efficiently.
Technology acceptance continues to be a framework used by the team developing the
Multimedia Studio, including the scaffolds described in the previous section. One of the
important aspects of this model that makes it particularly useful in those design project is that
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users’ perceptions of the systems is emphasized (Davis, 1989). This serves as a reminder that
when making decisions about what to install or how to configure it, the end users are the
essential clients. This helps bridge the gaps between the novice users and the technology they
will use, and it also bridge the gaps between the technicians who have greater expertise and
the capabilities and resources of the students and faculty using the space. It helps remind the
experts that not all share their experience and not all want to learn how to use sophisticated
software. Our producers do, however, have an important message to convey.
Creating for Teaching
If the popularity of websites is accepted as a proxy for use of media, then video is the
dominant media among student populations (Zhang et al., 2023). Most of the video content
consumed is for entertainment purposes and it is designed to hold viewer’s attention, but not
necessarily for instructional or informational purposes which necessitates viewers remember
the content. While there are similarities in how video designed for entertainment and
information keep viewers’ attention, producers of educational media need not be concerned if
viewers do not learn because of viewing the video (Kustyarini, Utami, & Koesmijati, 2020).
Because almost all of the media created in the Multimedia Studio is for instructional or
informational purposes, the leaders and staff are prepared to support creators who have much
experience with consuming media but may never had thought about it critically or designed a
project to convey information through it.
The focus on understanding media design for instructional purposes began with
clarifying that work for the studio staff. Both the audio-visual (AV) technician and the
instruction media specialist employed at the college were hired at about the same time the
Multimedia Studio was initiated had significant experience creating media for entertainment
purposes, and both were very skilled at operating cameras and microphones and using
professional editing software. This experience was vital in assessing the technology from the
broadcasting studio that was to be useful in the multimedia studio and in updating the
equipment for diverse media production capacity in the redesigned studio. It also prepared
them to quickly create high-quality audio and video files using the devices and software in the
Multimedia Studio. Their experience was not in creating audio and video for communication in
educational settings.
Multimedia Principles
Mayer’s (2014) multimedia learning principles have been widely used by those who
design media for educational purposes. This framework identifies steps that producers can take
to ensure the media they create is aligned with what cognitive science has discovered about
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how humans process information. When media has been designed to align with the principles,
consumers of the media experience reduced extraneous cognitive load, so they have greater
capacity for generative processing; and the information is presented in a manner that makes it
easier to attend to the information and make sense of the material being presented. All of this
leads to the improved learning for the consumer compared to media that is not aligned with
the principles. By introducing the principles of multimedia learning to the new AV staff, the TLIC
director clarified these principles and also prepared the staff to support novice producers of
instructional and information media to be more efficient in their work.
Part of the media production process in the studio is to meet with someone from the
TLIC to discuss the planned project. At that meeting, the students or faculty who are planning
to produce video especially are pointed to a brief video explaining these design principles and
the media creators are encouraged to review it as they plan their project. Although is less
important for those creating strictly audio projects, they are pointed to the summary of
Mayer’s principles to facilitate planning. It is worth noting, as well, that this meeting is the first
opportunity for the TLIC staff to discuss the need for media to be accessible and to discuss
options for ensuring accessibility, especially if the media is intended to be shared publicly.
Mayer’s multimedia design principles have helped us bridge several gaps in the
Multimedia Studio. AV professionals who were not familiar with the specifics of media for
instructional or information purposes now are, so a gap in their expertise was bridged. Novice
producers who have little been able to scaffold their designs and plans with sound advice, so
they tend to create satisfactory media more efficiently. In this way, the principles help bridge
the gap in expertise for novice producers as well.
Authentic Curriculum
The Multimedia Studio is a part of the Teaching and Learning Innovation Center; thus its
primary purpose is to support teaching and learning. Although the AV staff who support
production in the Multimedia Studio are skilled at training users and have an interest education
and are dedicated to supporting teaching, their experience is not in teaching. The TLIC leaders,
on the other hand, do have expertise in education, including curriculum and instruction. TLIC
leaders, do not, however, have any authority to impose curriculum or instruction decisions on
faculty, thus the decision to include the Multimedia Studio in their courses is completely with
the individual faculty member.
TLIC leaders do play an active role in encouraging faculty to integrate media production
activities into their courses. While no plan is rejected by the TLIC leadership, they do suggest
these activities be incorporated into parts of course that faculty want to improve or new units
or sections to minimize the perception that media creation activities are interfering with valued
lessons or units. They also recommend faculty use the Multimedia Studio as an opportunity to
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bridge the gap between the curriculum and the real world. Herrington, Oliver, and Reeves
(2014) proposed authentic curriculum as a model of integrating real-world problems into the
curriculum. The framework of authentic learning includes multiple elements. Although not all
are explicitly included in the design of the projects completed in the Multimedia Studio,
authentic curriculum informs the recommendations TLIC leaders make to faculty and informs
the scaffolding and other support decisions made as the Multimedia Studio is designed and
redesigned.
During the pandemic, many faculty at the college began integrating more audio and
video content into their courses. This was necessitated by the transition to remote teaching but
many faculty found both they and their students found it to be an effective tool for teaching.
The media included in their courses were largely media created for general audiences but that
had a deep connection to the curriculum. As a result, media became a part of the students’
experience at the college, and they came to understand it as a valuable medium.
There is a correlation between those faculty who have been incorporating media into
their courses for instruction and those who have been incorporating media into their course for
student projects. While this reflects those individual faculty member’s interest in these media,
it also reflects the students’ connection with these media. Individuals who use the Multimedia
Studio frequently state they are motivated by the desire to contribute to the media landscape.
This is also actively encouraged by those faculty as they use the podcast created by previous
students in their lessons and they encourage students to present podcasts at the student
symposium held by the college every year. In these ways, the students who are producing
media are creating it for an authentic audience, they know what they produce will be seen and
heard by those beyond their specific classroom.
Authentic curriculum affords students the opportunity to take a stance on a topic and
argue for their point of view. When designing authentic media projects into their curriculum,
the TLIC leaders encourage faculty to avoid topics or prompts that can be easily answered then
reported back. The topics students describe when creating media are typically sophisticated,
nuanced, and the students have analyzed the available information and are communicating
their understanding and arguing for a particular point of view.
When intellectual property is created outside of school, the creators often engage with
others, including those who have specific expertise over an extended time. Authentic
curriculum reflects that aspect of life outside of school. Successful media productions begin
months before the project is due with the faculty member scheduling time for groups to begin
outlining and drafting their presentation and getting feedback on the contents.
While the Multimedia Studio is intended to be a space where novice users can operate
the technology to create media, it is also a space where audio visual professionals are available
for advice and consultation. Typically, individuals or groups who are creating media will have
multiple consultations with the Multimedia Studio staff. They serve as experts on framing and
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capturing. In many cases, the AV professionals end up serving as directors. They help producers
become comfortable being recorded, adjust devices, and advice users on techniques.
Role of Frameworks
The emergent design process that has been used to guide the decisions about the
creation and on-going changes to the Multimedia Studio have been informed by multiple
frameworks and models. As has been developed throughout this paper, those models have
helped fill the gaps between various participants in the Multimedia Studio and the concepts
that were necessary, and perhaps unfamiliar to the participants, for the effective and efficient
operation of the studio and production of media.
The successful design within and operation of the Multimedia Studio depends on
individuals with diverse expertise. As a result, the participants in planning meetings, design
sessions, production meetings, or any of the other formal or informal meetings at which faculty,
students, staff and TLIC professionals brainstorm potential projects or prepare for recording is
likely to comprise a group who may or may not be describing the same thing when they
converse. Frameworks serve to focus these diverse individuals on what matters in their plans,
and they can agree what each part of the framework will look like when they finish.
Bereiter (2002) proposed progressive discourse as a method of planning and design
well-suited to situations in which different people may hold different perspectives and in which
the goal was to create systems that demonstrate continuous improvement. For progressive
discourse to produce more and greater improvements than other methods of planning,
Bereiter argued, it must be focused on conceptual artifacts. These are definitions of conditions,
situations, and products upon which the participants can agree. When focusing on conceptual
artifacts, we avoid the situation in which different participants define important elements
differently. While that may lead to agreement, it does not result in improvement.
In designing and planning the Multimedia Studio, frameworks have been used to define
conceptual artifacts. For example, user perceptions of the ease of use, which is an important
design consideration according to the unified theory of acceptance and use of technology
(Venkatesh, Morris, Davis, & Davis, 2003) is a conceptual artifact that has focused our selection
and configuration of hardware and software. It further provides the important source of data to
support decision-making. We all agree that it is important to improve this measure and if a
change does not improve it, then it must be rethought.
Other frameworks or models play a less obvious roll in planning and design decision-
making. Educational design research (McKenney & Reeves, 2012), for example, informs that
TLIC leaders’ decisions about what are important considerations for changes. If it is judged the
team has an adequate understanding of the needs of the producers, then the staff can be
directed to evaluate extant technology then investigate other options to determine what will
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both meet the industry standards for production quality and meet the budgetary or other
limitations affecting local decisions. A production team entering the Multimedia Studio to
record a session may not be aware of the EDR-informed practices that went into the
configuration of the studio, but they benefit from it.
Multimedia principles (Mayer, 2014) have filled two gaps in expertise for different
participants in the media production work who may lack sophisticated knowledge of designing
media for information or instruction purposes. The AV professionals play a role in helping
producer design projects, but they may not have formal knowledge of the principles; the novice
media producers have focused on crafting the story they want to tell. By referring to these
principles when planning and editing the final products, the collaboration between these
disparate participants is more focused and the product is of higher quality than would be
without this framework.
Authentic curriculum (Herrington, Reeves, & Oliver, 2014) provides a model for
integrating media into the curriculum so that students perceive media as a valuable resource. It
further guides faculty in supporting students as they select appropriate topics and craft
important stories. These stories motivate students to collaborate with AV professionals to
create media they are willing to share with audiences beyond their classroom.
A final advantage of using frameworks or models for organizing and focusing decision-
making in the Multimedia Studio is improved efficiency. Leading and managing the Multimedia
Studio is one of several duties of the TLIC director. Facilitating production in the Multimedia
Studio is only one of the several other duties for the AV technician and instructional media
specialist as well. While all three enjoy the creative work that occurs there and are enthusiastic
supports of users in the studio, the improved efficiency of using models to focus their work in
that studio affords more time for other duties and for more focused work by production teams.
Conclusion
Media can serve several valuable roles in higher education classrooms; this is especially
true if students are engaged in creating familiar types of media that tells stories important and
relevant to their perceptions of themselves as educated individuals. Media production can be a
complicated process if it is done with professional grade devices, but the quality of the media is
worth the time and effort for many student producers. To support student producers, AV
professionals can gain the knowledge of the unique character of the media, and they can
improve the production facilities by using recognized frameworks to organize and focus their
work. Further, frameworks can facilitate communication across disciplines.
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