Ψηφιακά Μέσα

Bellantoni, P. (2005). If it's purple, someone's gonna die: The power of color in visual storytelling. Oxford, UK: Focal Press.

Block, B. (2008). The visual story: creating the visual structure of film, tv, and digital media (2nd ed). Oxfort, UK: Focal Press.

Bordwell, D. & Thompson, K. (2008). Film art: an introduction (8th ed). NY: McGraw-Hill.

Bosi, M., & Goldberg, R. E. (2003). Introduction to digital audio coding and standards. Springer.

Bratt, B. (2011). Rotoscoping. Techniques and tools for the aspiring artist. Focal Press.

Brinkman, R. (2008). The art and science of digital compositing: techniques for visual effects, animation, and motion graphics (2nd ed). Burlington, MA: Morgan Kaufmann.

Browne, S. E. (2007). High Definition Postproduction: Editing and Delivering HD Video. MA: Focal Press.

Clark, R. C., & Lyons, C. (2010). Graphics for learning: Proven guidelines for planning, designing, and evaluating visuals in training materials. John Wiley & Sons.

Clark, R. C., & Mayer, R. E. (2011). E-learning and the science of instruction: Proven guidelines for consumers and designers of multimedia learning. John Wiley & Sons.

Comenius, J. A. (1999). Orbis pictus. Kessinger Publishing.

Dancyger, K. (2011). The technique of film and video editing (5th ed). Amsterdam: Elsevier.

De Koning, B. B., Tabbers, H. K., Rikers, R. M., & Paas, F. (2009). Towards a framework for attention cueing in instructional animations: Guidelines for research and design. Educational Psychology Review, 21(2), 113-140.

Dobbert, T. (2012). Matchmoving: the invisible art of camera tracking (2nd ed). San Francisco: Sybex.

Eckstein, M. P. (2011). Visual search: A retrospective. Journal of Vision, 11(5), 14.

Fisher, W. (2008). Digital video and audio broadcasting technology (2nd ed). Berlin: Springer-Verlag.

Foster, J. (2010). The green screen handbook. Real-world production techniques. Indiana: Willey.

Fries, B. & Fries, M. (2005). Digital audio essentials. O'Reilly Media.

Goldman, R., Pea, R. Barron, B. & Derry, S.J. (2007). (Eds.), Video Research in the Learning Sciences. Mahwah, NJ: Lawrence Erlbaum Associates.

Gress, J. (2014). [Digital] Visual Effects and Compositing. New Riders.

Hiitola, B. (2010). Getting started with Audacity 1.3. Create your own podcasts, edit music, and more with this open source audio editor. Birmingham, UK: Packt.

Hornung, E. (2013). The art and technique of matchmoving: solutions for the VFX artist. Focal Press.

Hull, G. A. & Nelson, M. E. (2005). Locating the Semiotic Power of Multimodality. Written Communication, 22(2), 224-261.

Hullfish, S. (2008). The art and technique of digital color correction. Oxford, UK: Focal Press.

Hullfish, S. & Fowler, J. (2009). Color correction for video. Using desktop tools to perfect your image (2nd ed). Elsevier.

Ito, M., Antin, J., Finn, M., Law, A., Manion, A., Mitnick, S., Schlossberg, D, ... & Horst, H. A. (2009). Hanging out, messing around, and geeking out: Kids living and learning with new media. MIT press.

James, J. (2009). Fix It in post. Solutions for postproduction problems. MA: Focal Press.

Jenkins, H. (2006). Convergence culture: Where old and new media collide. NY: New York University Press.

Jewitt, C. & Oyama, R. (2001). Visual meaning: a social semiotic approach. In T. van Leeuwen & C. Jewitt (Eds). Handbook of visual analysis (pp. 134-156). London: Sage.

Jones, S.B. (2003). Video color correction for nonlinear editors. A step by step guide. Focal Press.

Kelly, D. (2000). Digital compositing in depth. Coriolis Group Books.

Koumi, J. (2006). Designing Video & Multimedia for Open & Flexible Learning. London: Routledge.

Kress, G. (2003). Literacy in the New Media Age. London: Routledge.

Kress, G. & Van Leeuwen, T. (2002). Colour as a semiotic mode: notes for a grammar of colour. Visual Communication, vol. 1(3) 343-368.

Lanier, L. (2010). Professional digital compositing: essential tools and techniques. John Wiley & Sons.

Lowood, H., & Nitsche, M. (2011). The machinima reader. MIT Press.

Mayer, R. E. (2008). Applying the Science of Learning: Evidence-Based Principles for the Design of Multimedia Instruction. American Psychologist, 63(8), 760-769.

Mayer, R.E. (2009). Multimedia learning (2nd edition). Cambridge, UK: Cambridge University Press.

Mayer, R.E. (2011). Applying the Science of Learning to Multimedia Instruction. In Jose P. Mestre & Brian H. Ross (Eds.). Psychology of Learning and Motivation-Advances in Research and Theory, 55 (pp. 77-108). San Diego, CA: Academic Press.

Mayer, R.E. (2014). Multimedia instruction. In J.M. Spector, M.D. Merrill, J. Elen & M.J. Bishop (Eds.). Handbook of Research on Educational Communications and Technology (pp. 385-399), 4th Edition. NY: Springer.

Misek, R. (2010). Chromatic cinema: a history of screen color. John Wiley.

Mitchell, M. (2004). Visual effects for film and television. Focal Press.

Mitra, A. (2010). Digital Video: Moving Images and Computers. NY: Infobase Publishing.

Mullen, T. & Andaur, C. (2010). Blender Studio Projects: Digital Movie-Making. Sybex.

Okun, J.A. & Zwerman, S. (2010). The VES handbook of visual effects: industry standard VFX practices and procedures. Amsterdam: Elsevier.

Palfrey, J., & Gasser, U. (2013). Born digital: Understanding the first generation of digital natives (2nd ed). NY: Basic Books.

Poynton, C. (2012). Digital Video and HD: Algorithms and Interfaces (2nd ed). Elsevier.

Richardson, I.E.G. (2003). H.264 and MPEG-4 video compression. Video coding for next-generation multimedia. John Wiley & Sons.

Sawicki, M. (2007). Filming the fantastic. A guide to visual effects cinematography. Amsterdam: Elsevier.

Theeuwes, J. (2010). Top–down and bottom–up control of visual selection. Acta Psychologica, 135(2), 77-99.Alexander, B. (2011). New Digital Storytelling, The: Creating Narratives with New Media: Creating Narratives with New Media. ABC-CLIO.

Thomson, R. & Bowen, C. (2009). Grammar of the edit (2nd ed). Oxford, UK: Focal Press.

Thomson, R. & Bowen, C. (2009). Grammar of the shot (2nd ed). Oxford, UK: Focal Press.

van Hurkman, A. (2011). 
Color Correction Handbook: Professional Techniques for Video and Cinema. Berkeley, CA: Peachpit Press.

Vepakomma, M. (2014). Blender compositing and post processing. Pact Publishing.

Vepakomma, M. (2014). Blender compositing and post processing. Pact Publishing.

Vila, S. (2015). Blender for visual effects. NY: CRC Press.

Watkinson, J. (2002). An introduction to digital audio. Taylor & Francis.

Watkinson, J. (2008). The art of digital video (4th ed). Elsevier.

Watkinson, J. (2013). The art of digital audio. Taylor & Francis.

Wickes, R.D. (2009). Foundation Blender compositing. Berkeley, CA: Apress.

Wright, S. (2008). Compositing visual effects. Essentials for the aspiring artist. Elsevier.

Wright, S. (2010). Digital compositing for film and video (3rd ed). Oxford, UK: Focal Press.

Wyatt, H. & Amyes, T. (2005). Audio Post Production for Television and Film. An introduction to technology and techniques (3rd ed). Elsevier.

Κοκώνης, Μ. Πασχαλίδης, Γ. & Μπαντιμαρούδης, Φ. (2010). (επιμέλεια). Ψηφιακά μέσα. Ο πολιτισμός του ήχου και του θεάματος. Αθήνα: Εκδόσεις Κριτική.

Ξυλωμένος, Γ.Β. & Πολύζος, Γ.Κ. (2009). Τεχνολογία πολυμέσων και πολυμεσικές επικοινωνίες. Αθήνα: Κλειδάριθμος. Elsevier.

Κανένα

Το μάθημα αποσκοπεί στη θεωρητική και πρακτική μελέτη των ψηφιακών μέσων για εκπαιδευτικούς σκοπούς. Επιδιώκεται η απόκτηση γνώσεων και ανάπτυξη δεξιοτήτων που αφορούν την ψηφιακή αναπαράσταση εικόνας, ήχου και βίντεο καθώς και της επεξεργασίας τους για την υποστήριξη της διδακτικής-μαθησιακής διαδικασίας.

Μετά  την ολοκλήρωση του μαθήματος οι φοιτήτριες/ές θα είναι σε θέση να:

• σχεδιάζουν μια ψηφιακή σύνθεση χρησιμοποιώντας μαθησιακά κριτήρια
• προσδιορίζουν τα κυριότερα στοιχεία που απαρτίζουν τη γραμματική της εικόνας
• περιγράφουν τρόπους ελέγχου της προσοχής του θεατή μεταβάλλοντας φως και χρώμα
• κατανοούν την ψηφιακή αναπαράσταση εικόνας, ήχου και βίντεο
• χρησιμοποιούν εργαλεία λογισμικού για την επεξεργασία γραφικών, ήχου και βίντεο
• προσαρμόζουν φωτεινότητα και χρωμικότητα
• κατανοούν τις διαδικασίες δημιουργίας διαφάνειας, ανίχνευσης κίνησης και ψηφιακής σύνθεσης