Video As Method

'Video as Method' provides researchers with a guide to understanding, designing, conducting, and disseminating video-based research and the rapid proliferation of approaches, uses, and designs now available. In the face of large data sets, and the great range of types and uses of video as an effective research tool, many researchers struggle to know how best to represent both video-based methodologies and research findings.

This interdisciplinary collection provides a set of innovative and inventive approaches to the use of video as a research method. Building on the development of visual methods across the social sciences, it highlights a range of possibilities for making and working with video data. The collection showcases different video methods, including video diaries, video go-alongs, time-lapse video, mobile devices, multi-angle video recording, video ethnography, and ethnographic documentary. Each method is presented through a case study, showing how it can be used in practice. The authors offer pragmatic advice and discuss practical issues, including equipment, techniques and skills, analysis, and presentation. They also show how video methods can be used in a range of different contexts – at train stations, on bicycles, in schools, outdoors, and in museums – to investigate worlds that are visible, audible, tangible, and in motion. In doing so, they illuminate the theoretical possibilities that video methods offer for researching the body, identity, everyday life, affect, time, and space.

Creative research methods can help to answer complex contemporary questions which are hard to answer using conventional methods alone. Creative methods can also be more ethical, helping researchers to address social injustice. This bestselling book, now in its second edition, is the first to identify and examine the five areas of creative research methods: • arts-based research • embodied research • research using technology • multi-modal research • transformative research frameworks. Written in an accessible, practical and jargon-free style, with reflective questions, boxed text and a companion website to guide student learning, it offers numerous examples of creative methods in practice from around the world. This new edition includes a wealth of new material, with five extra chapters and over 200 new references. Spanning the gulf between academia and practice, this useful book will inform and inspire researchers by showing readers why, when, and how to use creative methods in their research. Creative Research Methods has been cited over 500 times.

Video provides unprecedented opportunities for social science research, enabling fine-grained analysis of social organisation, culture and communication. Video in Qualitative Research provides practical guidance for students and academics on how to use video in qualitative research, how to address the problems and issues that arise in undertaking video-based field studies and how to subject video recordings to detailed scrutiny and analysis. Heath, Hindmarsh and Luff consider the ethical and practical issues that arise in recording and gathering data as well as how video enables new and distinctive ways of presenting insights, observations and findings to both academic and practitioner audiences. The book is illustrated throughout with a wide range of case material drawn from the authors own research projects, and these cases serve to situate the practical and methodological guidance offered by the book into real research scenarios. Video in Qualitative Research is an invaluable guide for students and researchers across the social sciences thinking of using video as part of their research. Christian Heath is Professor of Work and Organisation, Kings College London Jon Hindmarsh is Reader in Work Practice and Technology, Kings College London Paul Luff is Professor in Organisations and Technology, Kings College London

Digital Video Concepts, Methods, and Metrics: Quality, Compression, Performance, and Power Trade-off Analysis is a concise reference for professionals in a wide range of applications and vocations. It focuses on giving the reader mastery over the concepts, methods and metrics of digital video coding, so that readers have sufficient understanding to choose and tune coding parameters for optimum results that would suit their particular needs for quality, compression, speed and power. The practical aspects are many: Uploading video to the Internet is only the beginning of a trend where a consumer controls video quality and speed by trading off various other factors. Open source and proprietary applications such as video e-mail, private party content generation, editing and archiving, and cloud asset management would give further control to the end-user. Digital video is frequently compressed and coded for easier storage and transmission. This process involves visual quality loss due to typical data compression techniques and requires use of high performance computing systems. A careful balance between the amount of compression, the visual quality loss and the coding speed is necessary to keep the total system cost down, while delivering a good user experience for various video applications. At the same time, power consumption optimizations are also essential to get the job done on inexpensive consumer platforms. Trade-offs can be made among these factors, and relevant considerations are particularly important in resource-constrained low power devices. To better understand the trade-offs this book discusses a comprehensive set of engineering principles, strategies, methods and metrics. It also exposes readers to approaches on how to differentiate and rank video coding solutions.

The Story Behind THE LEGEND OF BAGGER VANCE If you've read his books THE WAR OF ART and TURNING PRO, you know that for thirty years Steven Pressfield (GATES OF FIRE, THE AFGHAN CAMPAIGN etc.) wrote spec novel after spec novel before any publisher took him seriously. How did he finally break through? Ignoring just about every rule of commercial book publishing, Pressfield's "first" novel not only became a major bestseller (over 250,000 copies sold), it was adapted into a feature film directed by Robert Redford and starring Matt Damon, Will Smith, and Charlize Theron. Where did he get the idea? What magical something did THE LEGEND OF BAGGER VANCE have that his previous manuscripts lacked? Why did Pressfield decide to write a novel when he already had a well established screenwriting career? How does writing a publishable novel really work? Taking a page from John Steinbeck's classic JOURNAL OF A NOVEL, Steven Pressfield offers answers for these and scores of other practical writing questions in THE AUTHENTIC SWING.

(Instructional). The Hal Leonard Bagpipe Method is designed for anyone just learning to play the Great Highland bagpipes. This comprehensive and easy-to-use beginner's guide serves as an introduction to the bagpipe chanter. Video lessons of demonstrations of all the examples in the book are included! Lessons include: the practice chanter, the Great Highland Bagpipe scale, bagpipe notation, proper technique, grace-noting, embellishments, playing and practice tips, traditional tunes, buying a bagpipe, and much more!

This interdisciplinary collection provides a set of innovative and inventive approaches to the use of video as a research method. Building on the development of visual methods across the social sciences, it highlights a range of possibilities for making and working with video data. The collection showcases different video methods, including video diaries, video go-alongs, time-lapse video, mobile devices, multi-angle video recording, video ethnography, and ethnographic documentary. Each method is presented through a case study, showing how it can be used in practice. The authors offer pragmatic advice and discuss practical issues, including equipment, techniques and skills, analysis, and presentation. They also show how video methods can be used in a range of different contexts – at train stations, on bicycles, in schools, outdoors, and in museums – to investigate worlds that are visible, audible, tangible, and in motion. In doing so, they illuminate the theoretical possibilities that video methods offer for researching the body, identity, everyday life, affect, time, and space.