Educational Resources
Cameras and the history of their portability as a classroom subject
Six educational toolkits to further develop the concepts of cameras and their portability in the classroom. The content is in line with the Québec Education Program. These toolkits are intended for teachers of Secondary 2 through 4.
Educational Toolkit: The Cinématographe
By exploring different movies shot with this camera, discover the Belle Époque period in Europe (1890-1914) and then create your own film.
Educational Toolkit: The Cinématographe
By exploring different movies shot with this camera, discover the Belle Époque period in Europe (1890-1914) and then create your own film.
My Camera and Me – Educational Toolkit – The Cinématographe Camera
With the Cinématographe camera, filmmakers could shoot a variety of scenes reflecting both everyday life and the industrialization of society. Drawing on competencies from the Secondary 3 Visual Arts curriculum, this activity aims to characterize the Belle Époque historical period in Europe (1890-1914) using examples shot by this camera. Students will be invited to produce a short, silent film to experience how cameras provide subjective ways of seeing the world.
This activity is based on the academic curriculum of the following subject:
- Visual Arts, Cycle Two (Secondary 3)
- Competency 1: Creates personal images
- Competency 2: Creates media images
- Competency 3: Appreciates images
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
The Belle Époque was characterized by a period of progress, industrial development, technological innovation (including movie cameras), scientific discovery and travel. During this period, the upper classes revelled in luxury and the working classes, which had secured certain employment benefits through trade unions, shared in the general sense of optimism. In France, posters conveying society’s enthusiasm for entertainment and leisure covered Morris columns, walls and fences, especially in the capital. The newly emerging art of cinema contributed to this quest for amusement by opening the doors to a world of wonders via animated views, as they were called at the time.
The Cinématographe, a portable, crank-powered camera (no electricity required), which was also reversible (it could record scenes, produce a positive image from a previously developed negative and project it), was able to film outdoor scenes of everyday life. However, once it was mounted on its tripod, it could no longer be moved. This meant that shots had to be carefully prepared (location, camera angle, framing) to ensure the entire scene fit into the 50 seconds of shooting time permitted by a reel of film in the camera’s magazine. Essentially, scenes from everyday life could be recorded, but this had to be done through organized shoots…providing an illusion of uncontrived action. Occasionally, short sketches or stories (such as L’Arroseur arrosé) were filmed, but for the most part, scenes were of a documentary nature and depicted France and the rest of the world at the turn of the 20th century (memoirs of Félix Mesguich).
In Europe, the Belle Époque was also a period of colonial expansion. In the West, the new movie-going public was curious about these animated views that had been filmed all over the world (Porte de Jaffa : Côté est) and that revealed “exotic” countries and cultures. Although these views aroused curiosity about the world, they also reinforced the colonialist belief that the people whose customs seemed so different and strange needed to be “civilized,” or that the distant lands providing new goods and materials to Europe had to be subjugated.
Learning Activity
For this activity, students are invited to read about the Cinématographe in the Discover the Cameras section of the website, and to watch the clips called Bains en mer, Course en sac and Porte de Jaffa : côté est. While watching, they should pay special attention to elements depicted in the film and consider the contexts within which the films were shot. Next, working alone or in small groups, they are invited to produce a short film inspired by the animated views of the Lumière brothers. Through this activity, students will become aware that point of view and subjectivity are inherent to documentary filmmaking.
For this project, students will shoot their film—in a single, long take—using a digital camera or cell phone. The film must be shot from a fixed point and cannot exceed 50 seconds. Students will have to prepare the scene before shooting it, since they will not be allowed to do any editing.
The project can be completed in three steps:
1.Synopsis
- To begin, students should determine whether they will present an everyday activity, introduce viewers to a new location or portray one or more characters (extras can be used).
- Next, they will select a location for their shoot. The location itself must be static, but ideally it should be a place of activity (hallway, library, cafeteria, schoolyard, etc.).
- They will then choose a fixed camera angle (frame the shot*) from which they will capture the images.
2.Shoot
The students will shoot their scene in a single 50-second take, without moving the camera, as per their previously determined synopsis.
3.Projection
The completed documentaries can be presented in class, without sound (since all animated views created with the Cinématographe were silent). They can then form the basis for a class discussion or a written report.
- Compare two documentaries filmed in the same location, but using different camera angles, etc.
- Formulate (or write) what you understood about one of the films you watched (again, for comparison purposes).
Educational toolkit: The Bell & Howell
Through the analysis of a written document, travel back in time to the beginning of the 20th century to learn about this camera, which was invented in the early heydays of cinema.
Educational toolkit: The Bell & Howell
Through the analysis of a written document, travel back in time to the beginning of the 20th century to learn about this camera, which was invented in the early heydays of cinema.
My Camera and Me – Educational Toolkit – The Bell & Howell Camera
Travel back in time to the early 20th century and the heydays of the film industry to learn about the invention of the Bell & Howell camera. Through the analysis of a written document and a reading comprehension exercise, students will discover this camera’s background. Drawing on technological concepts, this educational activity can be conducted in Secondary 3 Science and Technology or English Language Arts courses.
This activity is based on the academic curricula of the following subjects:
- Science and Technology, Cycle Two (Secondary 3)
- Competency 1: Seeks answers or solutions to scientific or technological problems
- English Language Arts, Cycle Two (Secondary 3)
- Competency 2: Reads and listens to written, spoken and media texts
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
In the early 1900s, the film industry was well-established in Chicago. As early as 1905, a large number of movie theatres, called nickelodeons, had opened in the city. For five cents, it was possible to watch short, silent films, which were usually accompanied by live tunes played by a pianist. The term “nickelodeon” combines the word “nickel” (five cents) with the Greek word “odeon,” which refers to the enclosed buildings where concerts were held in Ancient Greece (5th century BCE).[1]
Public enthusiasm for “animated views” prompted movie studios to acquire better equipment. To create a camera with higher image quality, and by the same token serve the growing film industry, Donald J. Bell and Albert S. Howell joined forces to form the Bell & Howell Company in Chicago. In 1911, Howell filed a patent for his “Motion Picture Machine,” which was the original wooden model of what would become his next camera, the 2709 Model B. In 1912, the new model, this time made of metal, was launched. It went on to be widely used by studio operators.
From the late 1910s to the late 1920s, the Bell & Howell was the most widely used camera in Hollywood. Considered the leading edge in professional cameras, it was also used in Canadian studios. It was large and heavy and had to be mounted on a tripod. It was recognized for the high quality and sharpness of its images, as well as for its ingenious focusing system. The features of the Bell & Howell that made it the studio camera of choice, and that influenced the practices and aesthetics of cinema as we know them today, began with a simple idea.
[1] Nowadays, the term “odeon” still appears in the names of movie theatres in Quebec and elsewhere.
Learning Activity
The invention of technological devices, including cameras, is directly linked to the development of science and industry. Meanwhile, the written documents that accompany or describe them are considered evidence of society’s evolution. A document containing a large amount of technical information was written in 1911 and updated in 1912. This information was highly relevant to the creation of the Bell & Howell 2709 Model B camera. In this activity, students will be invited to analyze this patent and its accompanying information, which can be found on the Bell & Howell page of the Discover the Cameras section, and then answer the following questions:
1.What was the author’s name?
2.What is the nature of this document?
3.Figures 1 and 2 show the camera in profile. What is the technical term for this type of drawing (students can find the answer on page 4, line 19)?
4.According to your knowledge, what was the purpose of drawing the cross-sections of the camera, as seen in figures 1 and 2?
5.Referring to the description of the document, explain why the author presents the camera’s drive mechanism in this way.
6.The author added numbers to the drawings. What purpose do they serve?
7.Are these technical drawings to scale?
To better understand the context of this document, students are invited to read the Bell & Howell information sheet and then answer the following questions:
8. What job did the author have?
9. What was his partner’s name?
In what city was their company founded, and why?
Concerning the Bell & Howell 2709 Model B:
11. Name two features of this camera:
12. Name and describe two of its accessories:
For a demonstration of the quality of this invention, students may view clips from Carry on, Sergeant! and Back to God’s Country. The teacher can then invite them to share their feedback on these clips and discuss the differences between the two films (e.g., were they shot in a studio or outside? Are the films in colour or black and white? Does the camera move or are the shots static (locked off)? Are there any overlapping images?)
Answer key for the teacher
- Albert S. Howell.
- A patent of invention to protect the intellectual property of the inventors and guarantee the inventors’ exclusive rights to the invention.
- An elevation drawing.
- The cross-sections provide a view of the camera’s particular characteristics.
- The author provides a description of the motor, which was developed to allow greater image sharpness when filming.
- The numbers refer to additional information. The author explains certain ideas.
- No, these technical drawings do not feature a scale.
- An engineer in a projector parts factory.
- Donald J. Bell.
- In Chicago, because it was the epicentre of the film industry.
- Refer to the “Specifications” section of the camera info sheet.
- Refer to the “Components and Accessories” section of the camera info sheet.
Educational Toolkit: The Bolex
Through an auditory experience, discover a camera that was popular with amateur and experimental filmmakers alike.
Educational Toolkit: The Bolex
Through an auditory experience, discover a camera that was popular with amateur and experimental filmmakers alike.
My Camera and Me – Educational Toolkit – The Bolex Camera
Through an auditory experience, students will discover a camera that was popular with amateur and experimental filmmakers alike: the Bolex. This activity is based on Secondary 2 English as a Second Language and Visual Arts competencies. It aims to introduce the characteristics of this camera to students by having them organize information in an entertaining way.
This activity is based on the academic curricula of the following subjects:
- English as a Second Language, Cycle One (Secondary 2)
- Competency 1: Interacts orally in English
- Competency 2: Reinvests understanding of texts
- Visual Arts, Cycle One (Secondary 2)
- Competency 3: Appreciates works of art and cultural objects from the word’s artistic heritage, personal images and media images
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
In the late 1920s, the Paillard company, which until then had produced music boxes, gramophones and typewriters, decided to diversify its activities. It purchased the cameras, laboratories and numerous patents of engineer Jacques Bogopolsky. Bogopolsky was the inventor of transportable “automatic” cameras like the Auto Ciné Models A and B. Paillard wished to create a camera with multiple functions. In doing so, the company bucked the prevailing trend of designing simple cameras for inexperienced users.
After five years of development, the Bolex Model H16 was launched in 1935. The H16 was a commercial success in the 1960s, both in the USA and elsewhere. Its arrival on the market marked a turning point for the use of 16 mm film as a professional format. Until then, professionals had relied on 35 mm film for its superior quality. The Bolex H16’s versatility encouraged them to work with 16 mm film on a more regular basis.
This ingenious, easy-to-use camera was especially popular with amateur and experimental filmmakers, both for documenting everyday life and experimenting with effects while shooting. The Bolex’s small size and easy handling made it ideal for filming oneself and one’s friends and family, capturing everyday moments, creating intimate portraits, recording important memories and revealing a subject’s personality or emotions. Perhaps you do the same with the devices of today!
Learning Activity
To learn about the background of the Bolex H16 camera and discover its features, students are invited to listen to the Bolex H16 podcast in the Podcast Journeys section of the website, either in class or at home.
A. Listen to the podcast and pay close attention to what the narrator says, the elements of her explanation and her reasons for talking about it. Feel free to take notes as you listen. Then, answer the following questions:
- Who do you think is narrating this podcast?
- For whom is she creating a short film, and why?
- The narrator provides a lot of information to help contextualize the invention of this camera.
- 3.1. In what year did the Paillard company launch the Bolex camera?
- 3.2. What were this company’s initial activities?
- 3.3. Why was this compact camera so important to the amateur and experimental film movements?
- 3.4.To what does the narrator compare the size and weight of this camera?
4.Taking as an example the film made by Joyce Wieland in Toronto, the narrator describes the Bolex’s features.
- 4.1. How long (in minutes) does it take to shoot a reel of 16 mm film?
- 4.2. Does Joyce Wieland have to go into a darkroom to switch film reels?
- 4.3. With the Bolex, it is possible to experiment with various in-camera visual effects. Name two of the examples provided.
- 4.4. When Wieland is hiding behind the parked car, what does she use to gradually move closer to her friend through the car window while remaining physically distant, and what is this effect called?
- 4.5. Given that the Bolex does not have a sound recording system, how did experimental filmmakers like Wieland and Frampton add music to their films?
- 4.6. Does this camera need to be plugged into an electrical outlet during use?
B. Would you like to see a clip from A and B in Ontario, which was directed by Joyce Wieland and Hollis Frampton in 1967? Head over to the Discover the Cameras section of the website and click to view the Bolex page. You’ll be able to explore the features of this camera and discuss them with your classmates.
- Where is the scene filmed (indoors or outdoors)?
- How many people does it take to operate this camera?
- How do Joyce Wieland and Hollis Frampton position their hands when holding the camera?
- Where is the operator’s eye placed?
- Is the camera connected to a power source?
- Where can the crank for winding up the spring-operated motor be found?
- Is the camera mounted on a tripod?
- At what moments is the zoom lens used (either for moving closer to the subject or for moving away)?
- Was the film’s soundtrack recorded at the same time as the video?
- Are the shots long or rather short (in other words, do we always see the same image in the film or do the views change)?
Answer key for the teacher
A. Listen to the podcast
- A young person who likes to shoot videos with her telephone.
- For her grandmother’s surprise birthday party.
- About the Bolex H16:
- 3.1. The Bolex camera was launched in 1935.
- 3.2. The production of objects, such as music boxes and typewriters.
- 3.3. The camera allows amateurs to shoot films (such as family portraits) and experimental filmmakers to push the boundaries of artistic creation.
- 3.4. She compares the size of the camera to a long novel and its weight to that of a Chihuahua.
4. Features of the Bolex:
- 4.1. A reel of 16 mm film lasts four minutes.
- 4.2. No, she does it outside, in the shade of a tree.
- 4.3. The Bolex is capable of adding overlays, dissolves, fast motion and slow motion.
- 4.4. She uses the zoom lens, and the effect is called a zoom movement.
- 4.5. They sometimes collaborated with sound artists to create soundtracks.
- 4.6. After about 40 seconds of shooting, the crank handle on the side of the camera must be used to wind up the spring-operated motor. Shooting can then continue.
B. Clip from A and B in Ontario, which was directed by Joyce Wieland and Hollis Frampton in 1967. The following are some possible answers for discussion with the class:
- It was filmed out of doors (the students may also recall that it was filmed in Toronto).
- The camera is operated by one person.
- The Bolex must be held with both hands. The operator’s right hand holds the underside of the camera and the left hand passes through the leather handle to grip the top of the camera.
- The operator’s eye is placed against the viewfinder to frame the shot while filming. The filmmaker can both see what is being filmed and move about freely.
- The spring-operated motor must be wound up every 40 seconds or so.
- On the side of the camera.
- Operators can easily move around while using this camera.
- Early in the clip, Wieland zooms in to get a close-up shot of When Frampton winds up the spring-operated motor, Wieland zooms out.
- Because the camera does not have a sound recording system, sound was produced separately and then added to the soundtrack.
- The camera can only hold 30 metres of film, so operators must contend with short shots.
Educational Toolkit: The Portapak
Discover a camera that witnessed big social and political changes in Quebec in the 1970s and learn about the role it played.
Educational Toolkit: The Portapak
Discover a camera that witnessed big social and political changes in Quebec in the 1970s and learn about the role it played.
My Camera and Me – Educational Toolkit – The Portapak Camera
The Portapak camera allowed independent videographers to document the social and political changes of the 1970s via video. This educational activity, which includes a characterization of this period of Quebec’s history and its social phenomena, and a demonstration of the links between a video made in 1975 and the sociocultural elements it addresses, can be carried out as part of a Secondary 4 History or Visual Arts class.
This activity is based on the academic curricula of the following subjects:
- History of Quebec and Canada, Cycle Two (Secondary 4)
- Competency 1: Characterizes a period in the history of Québec and Canada
- Competency 2: Interprets the social phenomenon “The modernization of Québec and the Quiet Revolution”
- Visual Arts, Cycle Two (Secondary 4)
- Competency 2: Creates media images
- Competency 3: Appreciates images
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
Starting in the 1960s, Quebec went through a period of modernization and economic prosperity characterized by political changes and a new sense of identity. The preceding period, called the Grande Noirceur, refers to the second mandate of Premier Maurice Duplessis (1944 to 1959), the leader of the Union Nationale political party. The Grande Noirceur ended with Duplessis’s death in 1959 and the election of Jean Lesage in 1960.
The Duplessis era was marked by the premier’s anti-communist stance (he opposed union demands), his adherence to tradition and his relationship with the Catholic Church (which was highly involved in the management of schools and hospitals). In the late 1950s, the people of Quebec began to seek more cultural and economic freedom. The moral authority of the clergy was called into question by artists, unions and the media. The election of Jean Lesage, leader of the Quebec Liberal Party, marked the beginning of the Quiet Revolution. Lesage introduced reforms to the education, health care and social services systems and invested in the modernization of Quebec society. His contributions included nationalizing the electricity service (1962), adopting the Hospital Insurance Act (1962), reforming the Quebec Labour Code (1964), creating the Quebec pension Plan (1965) an adopting the Social Aid Act (1969).
This period also gave rise to increased recognition of women’s rights. Starting in 1964, women gained greater access to higher education and could apply for jobs previously held by men. Spurred by their desire for equality and freedom of choice, women made their voices heard and secured legal gains, such as the ability to sign documents without their husband’s consent. They also obtained social recognition; one example of this was the holding of the 1967 Royal Commission of Inquiry on the Status of Women, which had been demanded by the Fédération des femmes du Québec.
Although certain gains were made during those years, the social pressures women faced nevertheless slowed their emancipation.
The 1970s were also rather turbulent. Of note were the nationalist movements (recognition of provincial jurisdictions, self-government in Quebec, the protection of the French language); the demands for recognition of the rights of Indigenous persons oppressed by the Indian Act; and the endeavours of trade unions (who sought to put an end to the inequalities engendered by capitalism).
In the 1960s and 1970s, Quebec society was in flux. Important changes were taking place, and groups of artists and independent filmmakers used the Portapak camera to bear witness to them. Video, which could be broadcast on community networks, became a tool for democratizing mass media. Its portability allowed its users to go out into the world, produce news reports and communicate their messages to society. It also gave rise to community television, favouring freedom of expression, civic engagement and involvement in social changes.
Learning Activity
After reading about the Portapak in the Discover the Cameras section, and by applying the knowledge they have acquired in the Secondary 4 History of Quebec and Canada course, students are invited to contextualize the creation and use of the Portapak camera by answering the following questions, and to view a clip from the film Philosophie de Boudoir.
A. Background
- In what year did the Sony Video Rover II Portapak become commercially available?
- What considerations led to its creation?
- When video emerged, what was taking place in Quebec?
- Following the election of Jean Lesage in 1960, a period of change took place in Quebec. What is this period called?
- Were Quebec’s social movements over by 1970? If not, what issues remained?
- Why did people choose to use the Portapak in this context?
- This camera does not use film. What breakthroughs were made possible by the portable recorder and magnetic tape, that were not possible with film?
B. Philosophie de boudoir movie clip
- In what year was Philosophie de boudoir shot?
- What social phenomenon did directors Helen Doyle and Nicole Giguère wish to expose?
- In what social context did they undertake this project?
- Do the directors appear in the clip or did they film the scene from an outsider’s point of view?
- What method they did employ to collect their footage?
C. Produce a “vox pop.”
Today, nearly 50 years after the release of Philosophie de boudoir, what issues do you think women face in society?
This project can be completed in four steps.
1.Preparation of the interview:
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- Draft a series of questions that address the issues.
- Identify the people you would like to interview and obtain their permission to do so.
- Write down the location where you would like to hold the interview.
- Consider the impact your questions will have on your interviewees. Consider also the impact their responses could have on your viewers. What is your overall intention?
2.Recording:
-
- At your designated location, record a video using a video camera or your mobile phone, and incorporate transforming gestures to enhance your message (placement of the camera vs. placement of the subject, in-camera effects such as close-ups and/or camera movements).
3.Editing:
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- Edit your video (add visual or sound effects, if desired, in accordance with the purpose of your video).
4.Projection:
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- Share your vox pop with the class.
- Discuss the responses of your interviewees with the other students. Do all your interviewees share the same opinion? Did any of their responses surprise you? Discuss your creative experience (the challenges you faced, the creative choices you made to optimize your project).
Answer key for the teacher
A. Background
- In 1970.
- Ideas about the role of communications and a need for compatibility with the burgeoning medium of television.
- It became available in the era of woman’s liberation and the social movements of the 1960s and 1970s.
- The Quiet Revolution.
- No. Examples include nationalism, women’s liberation, Indigenous rights and trade unions.
- With this camera, filmmakers were able to participate in the social debates of the day by leaving the studios behind, recording subjects’ stories and sharing them on community networks.
- The portable recorder records signals from the camera; the video can be rewound and viewed immediately after the shoot. Magnetic tape can be erased and reused several times. The system produces a low-definition image that can easily be broadcast on television.
B. Philosophie de boudoir movie clip
- 1975
- The perception of feminism at the Women’s Show.
- In a context where women in Quebec were asserting their rights and claiming their place in society.
- They appear in the clip. They interviewed attendees on location at the Women’s Show.
- Through a vox pop. This term comes from the Latin expression “Vox populi,” which means “voice of the people.”
Educational Toolkit: The Aaton
Discover this camera and its contributions to documentary filmmaking by viewing and analyzing creative works from Quebec.
Educational Toolkit: The Aaton
Discover this camera and its contributions to documentary filmmaking by viewing and analyzing creative works from Quebec.
My Camera and Me – Educational Toolkit – The Aaton Camera
The Aaton camera, nicknamed “cat on the shoulder,” was created to meet a specific technical need of documentary filmmakers: portability! Drawing on competencies from the Visual Arts curriculum, this activity will encourage students to discover creative works through listening, appreciation and analysis. Students will be invited to pay particular attention to the reasons this camera was invented, as well as its contributions to documentary filmmaking.
This activity is based on the academic curriculum of the following subject:
- Visual Arts, Cycle Two (Secondary 3)
- Competency 3: Appreciates images
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
In the 1960s, documentary filmmakers had a specific desire in common: to record the candid words and actions of people in their own environments. To do so, they needed comfortable, lightweight equipment that remained stable while filming, allowed the camera operator to remain mobile and could record synchronized sound. To meet these needs, Jean-Pierre Beauviala invented the Aaton camera in 1972. Several technical aspects allowed the Aaton to stand out, notably its ability to synchronize sound and image without cables, the quick loading and unloading of its magazines (containing the film), and its precise framing. These features made it the camera of choice, not only for documentary cinema, but also for television reporting and fiction films.
In the 1980s, some of the pioneers of Direct Cinema used the Aaton camera because it met the objectives of this form of documentary film. In Quebec in the late 1950s and throughout the 1960s, young filmmakers employed by the National Film Board (NFB) developed a new approach to filming their subjects’ realities. Their goal was to capture them in their own environments, with no artificial lighting. Although their subjects were filmed “live,” a lot of work had to be done beforehand to prepare the shoot and, even more importantly, to develop a relationship of trust with the people being filmed.
It was generally not difficult for film crews to be accepted by these groups, given that they were normally made up of only two or three people, namely the sound mixer, the camera assistant (who was responsible for the camera’s technical aspects) and the camera operator. Because the camera’s placement on the operator’s shoulder made it so comfortable and stable, the camera operator was able to get much closer to the subjects being filmed…and even to circulate among them!
Learning Activity
Because it allows camera operators to circulate freely among their subjects, the Aaton camera is frequently used to make documentary films. Two examples of films made with the Aaton are Liberty Street Blues and Le roi du drum.
A.To learn certain key concepts related to the Aaton camera, students are invited to view clips from Quebec’s cinematographic heritage, alone or in groups. These clips can be found on the Aaton page of the Discover the Cameras section of the website. The students are then invited to answer the following questions:
1.Who is the subject of the film?
- Liberty Street Blues (first clip):
- Le Roi du drum:
2.Was the clip filmed indoors or out of doors?
- Liberty Street Blues (first clip):
- Le Roi du drum:
3. What is the physical position of the camera operator in relation to the subject(s)?
- Liberty Street Blues (first clip):
- Le Roi du drum:
4. Do the subjects seem aware of the camera operator’s presence?
- Liberty Street Blues (first clip):
- Le Roi du drum:
5. In these clips, are the shots static (i.e., the camera stays in one place)?
- Liberty Street Blues (first clip):
- Le Roi du drum:
6. In these clips, is the zoom feature used? If yes, specify the type of zoom movement.
- Liberty Street Blues (first clip):
- Le Roi du drum:
7.How did you feel as you watched these clips?
- Liberty Street Blues (first clip):
- Le Roi du drum:
8. Share your point of view with your classmates.
B. For additional background information on these films, students are invited to refer to the Aaton Camera page to pursue their research, and then answer the following questions:
- Who directed these films?
- Liberty Street Blues:
- Le Roi du drum:
- What is the weight of the camera on the operator’s shoulder?
- Which component is loaded into the camera, allowing it to record both indoor and outdoor scenes?
- In these clips, which of the camera’s features creates the effect of moving closer to or further away from the subjects?
C. Had these clips not been filmed with a portable camera, what would the final result have been? To conclude the activity, students are invited to share their understanding of how a camera such as the Aaton can be used to capture live footage of a given subject.
Answer key for the teacher
A. Film clips
1.1. The crowd waiting for the parade to start.
1.2. Drummer Guy Nadon and pianist Vic Vogel.
2.1. Indoors and out of doors.
2.2. Indoors.
3.1. Among the crowd.
3.2. Between the drummer and the pianist.
4.1. Some people notice his presence, but no one pays him much attention.
4.2. Yes, because they are performing for him.
5.1/5.2. No. The camera is not mounted on a tripod.
6.1. Zoom out
6.2. Zoom in
7.1/7.2. Open answer
B. Camera information sheet
1.1. André Gladu
1.2. Serge Giguère
2. 6 kg, including the batteries and magazines
3. Film
4. The zoom lens
C. Classroom discussion
Possible answers include: more distance from the subjects, impossible to take as many shots in a single sequence, certain actions could not have been filmed.
Educational Toolkit: The GoPro
Through a comprehension exercise, discover a small camera with big stories to tell.
Educational Toolkit: The GoPro
Through a comprehension exercise, discover a small camera with big stories to tell.
My Camera and Me – Educational Toolkit – The GoPro Camera
This little camera has big stories to tell! Through a listening comprehension exercise, students are encouraged to identify meaningful elements, organize information, highlight salient features of the language and make judgements about a variety of content. Through questions and answers, this comprehension activity integrates language skills and allows the students to discover the GoPro in an entertaining way.
This activity is based on the academic curriculum of the following subject:
- English as a Second Language, Cycle One (Secondary 2)
- Competency 1: Interacts orally in English
- Competency 2: Reinvests understanding of texts
Background of the creation of this camera – This content may be shared by the teacher to introduce the activity.
The GoPro was born of amateur surfer Nick Woodman’s wish to shoot videos while surfing. However, Woodman was not the first person to attempt to attach a camera to his body so that his movements could be experienced and felt by viewers. Throughout much of cinematic history, filmmakers have designed many types of accessories for this purpose. The GoPro stands out for its small size, as well as for its components and features. It is considered an “action camera,” meaning that its primary function is to serve as an extension of a body in motion and record the operator’s exploits without getting in the way. It can be mounted on the body using accessories suited to the sport or activity being practiced, enabling it to record footage in extreme conditions. And thanks to its large storage capacity, it can record long sequences without interruption.
Although the initial target market for the GoPro was sports-minded photography aficionados, it has been adopted by many types of users. Its versatility makes it especially popular with adventurous tourists in search of extraordinary landscapes, filmmakers wishing to film dangerous scenes, and documentary filmmakers and ethnologists who appreciate its small size. The GoPro appeals to a wide range of users! Let’s hear about what makes it so practical.
Learning Activity
To learn about the background of the GoPro and discover its features, students are invited to listen to the GoPro podcast in the Podcast Journeys section of the website, either in class or at home.
A. Listen to the podcast and pay close attention to what the narrator says (where she is, what she is doing, what inspires her), the elements of her explanation and her reasons for talking about it. Feel free to take notes as you listen. Then, answer the following questions:
1. Who do you think is narrating this podcast?
2.What sport is she playing?
3.Where is she?
4.What would she like to be able to do while playing her sport?
5.The narrator provides a lot of information about the GoPro to help contextualize its invention and explain its features.
- 5.1. How is this camera mounted on the body or equipment (hockey stick, helmet, chest, skates) of the person playing?
- 5.2. When the camera is mounted on the operator’s body, what effect does this have on the viewer?
- 5.3. What is the name of the surfer who invented the GoPro Hero in 2002?
- 5.4. To what does the narrator compare the weight of this camera?
- 5.5. The camera’s housing contains several components. Name two.
- 5.6. What effects is this camera capable of?
6. In a few sentences, explain how the GoPro meets the narrator’s needs.
B. Would you like to see some videos shot with a GoPro? Head over to the Discover the Cameras section of the website and watch the three short videos that were filmed with this camera (Workout at Laurier Park, Bike Ride and Winter Workout).
After you watch the clips, share your impressions of one or more of them with your classmates.
Workout at Laurier Park
- In this video, where is the camera mounted? For the teacher: On his chest while he is running and on his forehead when he is on the exercise equipment.
- When the runner moves, is the image static or does it move around? Be specific and describe what you saw. For the teacher: It sways from side to side; the runner’s arm appears in the frame.
Bike Ride
- In this video, where is the camera mounted? For the teacher: At first it is on his chest; later, it is on his forehead.
- What could you see, depending on the position of the camera? What did you experience?
Winter Workout
- In this video, where is the camera mounted?
- When it is mounted on the athlete’s body, the camera captures unusual images and provides different points of view. Did anything in this video surprise you (e.g., seeing the runner’s hands, seeing the inside of the playground equipment)?
Answer key for the teacher
1.It’s a young person.
2.She is playing hockey.
3.She is in an arena.
4.She is trying to film herself playing hockey.
5.1. With accessories.
5.2. Feel a body in motion and be part of the action.
5.3. Nick Woodman
5.4. A deck of cards.
5.5. The wide-angle fisheye lens, digital sensor, memory card, battery, touch screen and microphones.
5.6. Fast motion and slow motion.
6. Possible answers: This small camera allows her to film herself in action for several hours at a time, to add effects and to easily share her videos.