UNIVERSITY OF CALOOCAN CITY

Biglang Awa St., Corner Catleya St., EDSA, Caloocan City

COLLEGE OF EDUCATION

INTRODUCTION TO ICT SPECIALIZATION 2

SUBJECT CODE: TLE 025

TOPIC OR LESSON: VIDEO LESSON PRODUCTION AND BASIC EDITING
WEEK: 10-11
SUB-TOPIC/S: 1. Theoretical, Philosophical, and Legal Basis of Instructional Design for
Television
2. Graphic Design Foundation
3. Stages of Video Production
4. Copyright Management
5. Criteria for Evaluation of Non-Print Materials

OVERVIEW OF THE TOPIC

This lesson talks about video lesson as part of instructional design. It also covers
a comprehensive discussion from theoretical, philosophical, and legal basis to
graphic design foundation, stages of video production, copyright management, and
criteria for evaluation of non-print materials.

You are expected to accomplish the content of this module within two weeks
and to achieve the desired learning outcomes.

LEARNING OBJECTIVES

At the end of the unit, the students should be able to:

a. gain better understanding of the video lesson production and basic editing;
b. create and edit clips for video lesson; and
c. appreciate the importance of video lesson production.
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ENGAGE

WORD CLOUD
DIRECTIONS: List all the keywords related to video lesson production. Describe
each during the class discussion.

EXPLORE

I- WATCH
DIRECTIONS: Watch the online video. Link:
https://www.youtube.com/watch?v=w0iQgStGND4

Process question:
1. What is instructional design?
2. What are the steps in instructional design process?

EXPLAIN

Instructional Design for Television

The Association for Educational Communications and Technology (AECT) defines

instructional design as “the theory and practice of design, development, utilization,
management, and evaluation of processes and resources for learning” (Reiser, 2002, p.

1). It is used to identify gaps in knowledge, skills, and attitudes of learners, analyzing
learning needs and developing learning material to close. Instructional design helps give
meaningful and effective instructions to learners in a way that will make learning easier
for them.
The ADDIE Model

For many years now, educators and instructional designers alike have used
the ADDIE Instructional Design (ID) method as a framework in designing and
developing educational and training programs. “ADDIE” stands for Analyze, Design,
Develop, Implement, and Evaluate. This sequence, however, does not impose a
strict linear progression through the steps. Educators, instructional designers and
training developers find this approach very useful because having stages clearly
defined facilitates implementation of effective training tools. As an ID model, Addie
Model has found wide acceptance and use.

Gagne’s Nine Events of Instruction

Robert Gagne (1916–2002) was an educational psychologist who pioneered the

science of instruction in the 1940s. His book "The Conditions of Learning," first published in
1965, identified the mental conditions that are necessary for effective learning.

Gagne created a nine-step process that detailed each element required for
effective learning. The model is useful for all types of learning. The nine instructional
events are: gaining attention of the students, informing the learner of the objective,
stimulating recall of prior learning, presenting the content, providing learning guidance,
eliciting the performance, providing feedback, assessing the performance, enhancing
retention and transfer.

Sousa’s Primacy/Recency Effect

The Primacy/Recency Effect is the observation that information presented at the

beginning (Primacy) and end (Recency) of a learning episode tends to be retained
better than information presented in the middle.

Dr. David Sousa gives a clear visual representation of this phenomenon over
the course of a 40-minute learning episode in his book How the Brain Learns.

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 Time based on attention span, primacy recency effect theory and working
memory capacity:

Prime time 1 (0:00 - 0:11 minutes). Introduction of teacher; establishing the classroom
(from the suspension of disbelief theory) or context setting, purpose. Objective setting,
Overview of expected outputs, Concept development (lesson) - Catching students'
attention and Lesson Presentation

Down time (0:12 - 0:14 minutes). Time for the students to practice the new
information; action, Practice and feedback - Game/Ice Breaker/connected to Prime
time 1

Prime time 2 (0:15 - 0:20 minutes). Reflection, Synthesis: what they learned and what they
applied, Assignment or agreement - Synthesis of activity/Summary of relation to Prime
time 1

Child-Friendly Content Standards

Section 2. Child-Friendly Content Standards Pursuant to Section 9 of Republic

Act No. 8370, otherwise known as the “Children’s Television Act of 1997,” issued by
the National Council for Children’s Television (NCCT) through Memorandum Circular
No. 2019-01:

1. Dialogue - The dialogue, whether in words or gestures, does not promote or

encourage children to speak or behave disrespectfully towards others 2. Language -
The language used must not be vulgar, profane, offensive, sexually suggestive,
derogatory, or demeaning of a person.
3. Nutrition - Portrayals, or references to food and beverages, do not promote
or condone unhealthy eating.
4. Sex and Nudity - The program does not portray or depict the sexual act, the
sexual organ and other sensitive parts of the body or depict acts and images
that are sexually-suggestive or appropriate only for adult audiences;
5. Violence - The program does not contain or depict any violent scenes or actions,
depict the use of force as routine, or imply that force or violence is or foster it as
a desirable means of resolving conflicts and problems, or show excessive, gory,
and bloody images.
6. Substance Use - The program does not depict images and messages with the
aim, effect or likely effect of promoting, directly or indirectly, a tobacco
company, tobacco brand, a tobacco product or tobacco use, heated tobacco
products (HTPs), Electronic Nicotine Delivery Systems (ENDS), Electronic Non-
Nicotine Delivery Systems (ENNDS), electronic cigarettes (e-cigarettes), electronic
shisha (e shisha) vapes, and other similar devices, alcohol, stimulants, narcotics,
inhalants, depressants, and hallucinogens and other prohibited drugs and
chemicals.
7. Gambling - The program does not contain scenes of gambling or betting nor
suggest that these activities are good or desirable.
8. Advertisements - The program does not advertise or promote products that
are not appropriate for children or that may cause harm to them.
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Broadcast Code of the Philippines 2007 (as amended 2011)

Article 11. Section 13. No material that might be physically, mentally,

psychologically, or morally harmful to children - including, but not limited to
advertisements of products or services or movie trailers which are not suitable for
children - shall be aired immediately before, during or immediately after a learning
program.

Article 22. Discrimination. A person’s race, religion, color, ethnicity, gender, and
physical or mental disability shall not be used in a way that would embarrass,
denigrate, or ridicule him.

Article 27. Sec. 1. Vulgar, obscene, or indecent language is prohibited.; Sec.

2. Language tending to incite violence, sedition or rebellion is prohibited.; and Sec.
3. Name-calling and personal insults are prohibited.

Republic Act No. 11106 - “The Filipino Sign Language Act”

RA 11106 - An Act Declaring the Filipino Sign Language as The National Sign
Language of The Filipino Deaf and The Official Sign Language of Government in All
Transactions Involving the Deaf, and Mandating Its Use in Schools, Broadcast Media,
And Workplaces.

Section 10. Filipinos Sign Language in Media. – The FSL shall be the language of
broadcast media interpreting. To guarantee access to information and freedom of
expression of the Filipino deaf, the Kapisanan ng mga Brodkaster sa Pilipinas (KBP),
and the Movie and Television Review and Classification Board (MTRCB) shall, within one
(1) year from the effective date of this Act, require FSL interpreter insets, compliant
with accessibility standards for television, in news and public affairs programs.

Subsequently, the MTRCB shall take steps to promote progressive use of FSL in
all other broadcasts and programming, especially in educational television programs
designed for children, in conjunction with the National Council for Children’s Television
and the DepEd. The KBP and the MTRCB, the deaf community, and other
stakeholders are tasked to create a national system of standards, procedures and
accreditation for broadcast media interpreting in FSL. All videos published online,
including those on social media, shall also conform to Philippine web accessibility
standards.

Section 12. Instructional Materials for Schools and Child Development Centers. –
The DepEd Instructional Materials and Council Secretariat shall, in coordination with the
Bureau of Learning Resources and the Bureau of Learning Delivery, as well as the ECCD
Council, develop guidelines for the selection, production, procurement, and distribution
of print and video materials in FSL to all public schools, day care centers, and
national child development centers. Seventy-five percent (75%) of all procurement
contracts shall be reserved for deaf people’s organizations, including regional or
provincial enterprises and cooperatives run by the deaf and recognized by the LGUs.
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DepEd LR Social Content Guidelines

Social content refers to themes or topics for which DepEd prescribes certain
guidelines when these themes or topics are included or referred to in lessons in the
learning resources. These are concrete expression of the DepEd's core values. Among
the themes or topics are those on the Filipino Learner and Teacher, The Filipino Nation,
Philippine Society, Citizenship and Social Responsibility, Individuals and Social
Identities, Social Institutions, Gender, Media, Technology, and Communication, Health
and Safety, and Environment.

Graphic Design Foundations

Typography

It is everywhere we look. It's in

the books we read, on the websites
we visit, even in everyday life - on
street signs, bumper stickers, and
product packaging.

Typography is the style or

appearance of text. It can also refer
to the art of working with text -
something you probably do all the
time if you create documents or
other projects for work, school, or
yourself. Typography can be an intimidating subject, but it doesn't have to be. You only
need to know a little to make a big difference in the stuff you do every day. Some
common types of fonts and what you need to know about them.

Serif fonts

Serif fonts have little strokes called serifs attached to the main part of the letter.
Because of their classic look, they're a good choice for more traditional projects.
They're also common in print publications, like magazines and newspapers.

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Sans serif fonts
 Sans serif fonts don't have that extra stroke- hence the name, which is French
for without serif. This style is considered cleaner and more modern than serif fonts.
Also, it tends to be easier to read on computer screens, including smartphones and
tablets.

Display fonts

Display fonts come in many different styles, like script, blackletter, all caps, and
just plain fancy. Because of their decorative nature, display fonts are best for small
amounts of text, like titles and headers and more graphic-heavy designs.

Choosing a font

In a way, fonts have their own language. They all have something to say beyond
the words on the page. They can come across as casual or neutral, exotic or graphic.
That's why it's important to think about your message, then choose a font that fits.

Fonts to avoid

Some fonts come with extra baggage, including Comic Sans, Curlz, and
Papyrus. There's nothing particularly wrong with these fonts-they just have a certain
reputation for

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being outdated and overused. If you find yourself tempted by them, think twice and
consider using something else. There are many fonts with a similar look and feel that
are less likely to detract from your message.

Combining fonts

When deciding which fonts to use, less is more. It's best to limit yourself to one or
two per project. If you need more contrast, try repeating one of your fonts in a different
size, weight, or style. This trick is practically foolproof for creating interesting
combinations that work.

You've probably heard that opposites attract. The same is true for fonts.
Don't be afraid to combine font styles that are different but complementary, like sans
serif with serif, short with tall, or decorative with simple. This can be challenging at
first, but don't despair. Look to other designs for inspiration, and soon you'll get the
hang of it.

Other important terms

Maybe you've heard terms like kerning, leading, tracking, and hierarchy. For
those with more experience,these concepts are essential for creating professional-
looking designs.

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As a beginner, you don't need to know everything about these terms-just enough to
inform your work and help you talk about design with more confidence.
Hierarchy

Hierarchy is used to guide

the
reader's eye to whatever is most
important.
In other words, it shows them
where to
begin and where to go next using
different
levels of emphasis. Establishing
hierarchy is
simple: Just decide which elements you
want the reader to notice first, then make
them stand out. High-level items are usually
larger, bolder, or different in some way.
Remember to keep it simple and stick to
just a few complementary styles.

Leading

Leading (rhymes with

wedding) is
the space between lines of text,
also
known as line spacing. If you're
not sure
how much line spacing to use,
don't fret
the default is usually fine. The
goal is to
make your text as comfortable to read as
possible. Too much or too little spacing, as
in the example below, can make things
unpleasant for the reader.

Tracking

Tracking is the overall

space
between characters, sometimes
called
character spacing. Most programs
let you
condense or expand this
depending on
your needs.
 In some designs, you might adjust
your tracking to create a certain artistic
effect. It can also help you fix fonts that are
poorly spaced to begin with.

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Kerning

Kerning is the space

between
specific characters. Unlike
tracking, it
varies over the course of the
word
because each letter fits together
differently. Some fonts have what
we call
bad kerning, making certain letters look
improperly spaced. If a font you're using
has bad kerning, it's best to cut your losses
and choose something else.

Color

Color plays a vital role in

design
and everyday life. It can draw
your eye
to an image. Sometimes it can
trigger an
emotional response. It can even
communicate something
important
without using words at all. So
how do we
know which colors look good together
and which ones don't? The answer is
simple: Color theory.

Artists and designers have

followed color theory for centuries, but anyone can learn more about it. It can help you
feel confident in many different situations, whether it's choosing colors for a design
or putting together the perfect outfit. With a little insight, you'll be looking at color in a
whole new way.
Color basics

Let's start at the beginning

with a
refresher on the basics.
Remember
learning about primary and
secondary
colors in school? Then you
already have
some knowledge of color theory.

Secondary colors are created by

combining two primary colors. Red and
yellow make orange; yellow and blue
make green; and blue and red make
purple. If we mix these colors together,
we get even more in-between shades, like red-orange and yellow-green. All
together, they form what's called a color wheel.

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Now that you know about the color wheel, let's take it one step further with hue,
saturation, and value. These are terms you might not encounter in daily life, but they're
the key to understanding more nuanced colors.

Hue

Hue is the easiest one; it's

basically just
another word for color. In the
example, you
might describe the hue as coral pink
or light
red, depending on your interpretation.

Saturation

Saturation refers to intensity - in

other
words, whether the color appears subtler
or
more vibrant. Highly saturated colors are
brighter or richer. Desaturated colors have
less pigment and therefore less oomph.

Value

Value has to do with how dark or light

the color is, ranging from black to white.
As
you can see below, this gives us many
different shades, from a deep reddish brown
to a light pastel pink.

Creating color schemes

So how do we put this all together to create professional-looking color schemes?

There are actually tried-and-true formulas based on something called color harmony
that can help. Color harmony uses the color wheel to illustrate time-tested color
combinations.

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Monochromatic

The easiest formula for harmony is

monochromatic because it only uses one
color or hue. To create a monochromatic
color scheme, pick a spot on the color
wheel, then use your knowledge of
saturation and value to create variations.

The best thing about monochromatic

color schemes is that they're guaranteed to
match. The colors suit each other
perfectly because they're all from the same
family.

Analogous

An analogous color scheme uses

colors that are next to each other on the
wheel, like reds and oranges or blues and
greens. Don't be afraid to play with the
palette and create your own unique
interpretation. That's what color harmony is
all about; the formulas are merely
starting points to help guide and inspire
you.

Complementary

Complementary colors are opposite

each other on the wheel; for instance,
blue and orange or the classic red and
green. To avoid complementary color
schemes that are too simplistic, add
some variety by introducing lighter,
darker, or desaturated tones.

Split-complementary

A split-complementary color scheme

uses the colors on either side of the
complement. This gives you the same level
of contrast as a complementary color
scheme but more colors to work with
(and potentially more interesting results).

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Triadic

A triadic color scheme uses

three
colors that are evenly spaced,
forming a
perfect triangle on the wheel.
These
combinations tend to be pretty
striking
especially when they include
primary or
secondary colors-so be mindful when using
them in your work.

Tetradic
 Tetradic color schemes form a
rectangle on the wheel, using not one but
two complementary color pairs. This formula
works best if you let one color dominate
while the others serve as an accent.

Avoiding common mistakes

There are a few classic dos and don'ts when it comes to color. For instance, have
you ever seen colors that seem to vibrate when they're placed next to each other? The
solution is to tone it down-literally-and there's a simple way do it. Start with one color,
and try adjusting its lightness, darkness, or saturation. Sometimes a little contrast is all
your color palette needs.

Readability is an important factor in any design. Your colors should be legible

and easy on the eyes, especially when working with text. Sometimes that means NOT
using color-at least not in every little detail. Neutral colors like black, white, and gray
can help you balance your design, so when you do use color, it really stands out.

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Choosing the right colors

Every color sends a message. It's important to consider the tone of your project,
and choose a color palette that fits.

For example, bright colors tend to have a fun or modern vibe. Desaturated
colors often appear more serious or businesslike.
 Sometimes it just depends on the context. With practice and creativity, there's
no limit to what you can do. You can find ideas for color schemes in all kinds of
interesting places, from advertising and branding to famous works of art. You can even
use a web resource to browse color palettes or generate your own. Experienced
designers often take inspiration from the world around them. There's nothing wrong
with finding something you like and making it your own.

Everywhere you look, there's color, color, and more color. It can be intimidating
to use it in your work, but it doesn't have to be. Just keep experimenting, and
remember what you've learned about color theory. Soon, choosing great-looking colors
will feel like second nature.

Layout and Composition

What is composition?

In many ways, layout and

composition are the building
blocks of
design. They give your work
structure and
make it easier to navigate, from
the
margins on the sides to the
content in
between.

Why is composition so important? In

short, it's the way your content is arranged.

It doesn't matter if you're working with text, images, or elements in a graphic;

without a thoughtful, well-composed layout, your work would basically fall apart.

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Five basic principles

The key to mastering layout and composition is to think like a designer. Luckily,
it's easier than it sounds. There are five basic principles that can help you transform
your work and sharpen your eye for design. Keep them in mind during your next
project, and look for ways to apply them.

1. Proximity

Proximity is all about using

visual
space to show relationships in your
content.
In practice, it's pretty simple-all you
have to
do is make sure related items are
grouped
together (for instance, blocks of
text or
elements in a graphic).

Groups that are NOT related to each

other should be separated to visually
emphasize their lack of a relationship. All in
all, this makes your work easier to understand at a glance, whether it's purely text
or something more visual.

2. White space

White space is an important

part of
every composition. Now, this
doesn't mean
literal white space; it just means
negative
space, like the spaces between
your
content, between lines, and even
the outer
margins.

There's no one way to use white

space correctly, but it's good to understand
its purpose. White space helps you define
and separate different sections; it gives your content room to breathe. If your work
ever starts to feel cluttered or uncomfortable, a little white space might be just
what the doctor ordered.

3. Alignment

Alignment is something you deal with all the time, even if you don't realize it.
Whenever you type an email or create a document, the text is aligned
automatically. When aligning objects by yourself (for instance, images or separate text
boxes), getting it right can be tricky. The most important thing is to be consistent.

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It might help to imagine your content arranged inside of a grid, just like the
example below. Notice how there's an invisible line centering each image to the
text? Each grouping is also evenly spaced and aligned, with equal-sized margins.

It's this attention to detail that makes the composition easier to navigate.
Without consistent alignment, your work could start to feel disorganized.

4. Contrast

Contrast simply means that one item is different from another. In layout and
composition, contrast can help you do many things, like catch the reader's eye, create
emphasis, or call attention to something important.

To create contrast in the example below, we've used color, more than one
style of text, and objects of differing sizes. This makes the design more dynamic and,
therefore, more effective at communicating its message.

Contrast is also closely tied to hierarchy, which is a visual technique that can
help the viewer navigate your work. In other words, it shows them where to begin and
where to go next using different levels of emphasis.
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Establishing hierarchy is simple: Just decide which elements you want the reader
to notice first, then make them stand out. High-level or important items are usually
larger, bolder, or more eye-catching in some way.

5. Repetition

Repetition is a reminder
that every
project should have a consistent
look and
feel. This means finding ways to
reinforce
your design by repeating or
echoing
certain elements.

For instance, if you have a specific

color palette, look for ways to carry it
through. If you've chosen a special
header style, use it every time. It's not just
for aesthetic reasons-being consistent can also make your work easier to read.
When viewers know what to expect, they can relax and focus on the content. You
might say layout and composition are the unsung heroes of design. It's easy to
overlook their role, but they're part of everything you do.

The principles you just learned can help you elevate any project. All it takes
is a little attention to detail and you can create beautiful, professional-looking
compositions.

Images

Images can be a powerful

force in
design. No matter what the
subject, we're
naturally drawn to them. From
beautiful,
high-definition photos to carefully
crafted
graphics, they're usually the first
thing we
see.

However, images aren't just for

decoration. In design, they're the hook
that draws the viewer in.
 Compelling visuals can help you connect with the audience-and make a
strong impression-before they've even read a single word.

You don't have to be an artist to use images in your work. All it takes is a
little creativity and a willingness to think outside the box. With the right resources,
you can learn to set your designs apart. First: finding high-quality images for almost
any type of project.

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Using Stock. Maybe you're handy with a camera or have some graphic design
experience-that's great! If not, don't panic. There are countless online sources that
offer images for exactly this purpose. The truth is, most people (including professionals)
rely on free or low-cost images called stock. Stock is perfect when you need something
specific. Most stock image sites let you browse or search their offerings. Look for results
that are relevant to your project, but also unique in some way.

As viewers, we're are naturally drawn to images that feel authentic, like distinct
but believable photos and graphics that tell a story. The best images are somewhat
open ended. They set the tone for your project but leave room for interpretation.

Some stock images are just too generic to be effective. For instance, how
many times have you seen a business presentation with something like the graphic
below?
 For a more modern, professional design, avoid images that lack context or are
too literal in meaning. Instead, look for imagery that's connected to your work, but in a
more subtle, relatable way.

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Image usage rights

Almost every stock image has a license that states how it can be used. Some are very
generous and ask for little or nothing in return. Others are more restrictive and can have
serious legal ramifications if disobeyed.

Before you use a stock image, make sure you understand the license associated with it
(you might need to do some research if it isn't clearly explained). If the license isn't listed
alongside the image, double check the stock provider's policies or FAQs.

The importance of quality

Of course, it's not just about content. There's also a technical side to images, which can
have a big impact on your design. It doesn't matter if the photo you've chosen is
absolutely perfect in every other way. If it's blurry or pixelated, it could give the wrong
impression.

Look for high-quality images that are sharp, clear, and free of distortion. In general,
bigger is better, because it gives you more to work with. A large, high-resolution image
can always be cropped or sized down, depending on the needs of the project.

Unfortunately, it doesn't work the other way around. If you enlarge a small image in other
words, make it bigger than its original size-there will be a noticeable loss in quality. The
image will become blurry and/or distorted, as in the example below.

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Raster vs. vector
 There's a reason small
images
lose quality when you enlarge
them. It's
because they're made up of
thousands-sometimes even
millions-of
tiny little pixels. The word for this
type of
image is raster.

When you view a raster

image
at its original size or smaller, the pixels
are invisible-they're just too small to see.
They only become apparent when you
zoom in or make the image larger.

Vector graphics are

quite
different from raster. You can
make
them any size, big or small,
without
losing quality. In the example
below,
the image has been enlarged,
but
there's no pixelation-not even a little bit.

That's because vectors are

made of something more complex
than pixels. They're rendered using a
special form of geometry. You're not
likely to find vector graphics outside of professional design settings, but it's good to
know what they are.

Editing images

Few stock images are perfect as is, even if they're technically high-quality ones.
Maybe the image is the wrong size or the colors could use some work. Fortunately,
even basic programs let you make simple adjustments. Look for these options the next
time you need to fix or enhance an image.
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Cropping

Cropping can be used to change the

size, shape, or focus of an image, making
it useful in many different situations.

Try this feature if your graphic is the

wrong dimensions, or if it includes something
you'd rather cut out.

Resizing

Resizing an image will ensure it's the

perfect fit for your project. Just remember
that you can't make an image bigger than
its original size without affecting its quality.

If the image you're working with simply

isn't big enough, it's best to choose
something else. You can also find a creative
way to work with the image size you have.
In the example below, we've added a
background image instead of enlarging the
portrait.
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Other adjustments

Cosmetic adjustments let you enhance certain image qualities, including

brightness, contrast, saturation, and color. If your favorite program offers filters or presets,
you can change your image dramatically with very little time and effort.

Adding photos, graphics, and other visuals to your work is a great way to make
it more engaging. Even a simple background image can transform your design into
something special.

Just remember what you've learned about image quality-both technical and
conceptual-and your work is sure to stand out for the right reasons.

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Video Production
 Video
production can be a
laborious process, but
the payoff is definitely
worth it. Video is the
most engaging type
of content people
consume these days.
And if you can work
out how to produce
videos for your
business in an
effective, sustainable
way, you will reap the
benefits a long time.

With that said, let’s walk through the steps of video production and get you
on your way to bringing your own videos to life.

The video production process consists of 3 main steps: pre-production, which is

the planning stage for mapping out your strategy and script for the video, production is
the phase in which the video is shot, and finally post-production, which involves editing
the video, adding music and other effects. Let’s walk through the process step by step.

1. Pre-Production Stage

The first phase in the process is pre-production. Essentially, pre-production is where

you will map out the plan for your video. You’ll figure out what you’re going to produce,
who you’ll be producing for, what resources you’ll need to get the video made and
how long the production period will be.

You’ll notice this is the longest phase of the video production process for the
simple reason that good preplanning will ensure your video is a success.

What are your objectives?

Before you even begin planning, you need to define the objectives behind
this video. Why are you making it? What do you want from it? Who’s the audience, and
what will they gain from it? Like any other type of content, a video needs a goal from
the very beginning to guide the project and measure whether or not it’s a success.

Use the SMART methodology to create your objectives—i.e., identify goals

that are: Specific, Measurable, Achievable, Relevant Time-bound.

23 | P a g e
Who is this video for?
 A successful video knows who it’s speaking to. You may already have a firm
understanding of who your audience is, what they like, and how they think. If that’s the
case then articulate it here.

What is your core message?

Now that you know who you’re making this video for it’s time to reflect on
that data, combine it with your objectives and come up with your core message.

Think about what your audience should want to do after watching your video and
work backwards from there. Is it to click on a link, purchase your product or simply
subscribe to your YouTube channel? What is the direct next step you expect them to
take after watching your video? Once you’ve got that, figure out what your audience
needs to see in your video in order to take that action. This will become your core
message.

Build a video strategy

A video strategy is critical for injecting each decision you make with a long-term
view. In this phase, you need to think about the logistics around how your video will be
produced.

Write a video production brief

A production brief is a summary of the information you’ve compiled so far

and should serve as a guide throughout the production process to keep everyone
on track. It should cover your video objectives, target audience, core message,
budget and deadline.

What’s your creative approach?

It’s time to get into

the
content of your video by
coming
up with the concept. Draw
insights
from your brief and
brainstorm
what your video should
include,
including how things need
to be
presented and what it needs to
stand out.
 Look for inspiration from
other videos around the web that
have tackled what you’re

24 | P a g e
covering. Look at your competitors and what they’ve done. And draw inspiration
from videos you’ve found really effective and memorable. Distill what makes them
work.

Stitch all of this together into a plan for your video content, and you will have
the creative approach of your video.

Write your script

With your strategy and creative

approach
developed, it’s time to write a script. Your
creative
approach should heavily influence your
script and
your research should ground the message
behind it.

Think ahead to the talent (actors or

presenters) you’ll be using to read this
script.
Assuming you’ve already hired them, try to
write to
their style and tone of voice. Maybe get them
involved to ensure the script is a good match.

Make your script natural and engaging, using

easy to understand language that’s targeted to your
audience. Where possible, be concise so that the
video isn’t unnecessarily long.

And if you’ve already mapped out ideas about locations and actions, you can
work these into the script as well.

Create your storyboard

Storyboards enable
you to
visualize how your video will
be shot,
and what you’ll need to
animate or
source footage for. It will
help you
translate the ideas in your head into
tangible, visual goals that are closely
aligned with parts of the script.

Detail what you’re imagining

for each shot as much as you can.
What subjects need to be where?
What’s the lighting like? How about
the coloring and framing? Pinch
screenshots and visual references
from other videos, movies and images on the web as references. Or create a scamp - a
roughly sketched storyboard that will indicate what kinds of shots you need where.

25 | P a g e
The level of sophistication of this storyboard will be dependent on the kind of
video you’re making. But ultimately, you’re the creator, so do whatever work for you.
The main goal is to have a plan of the shots to ensure you get them on the day.

Scout locations to film in

Assuming your video is

live action
(that is, not an animated or
motion
graphics video), you’ll need to
source
locations for the shoot.

For a simple video where

the
talent needs to present to the
camera,
office space or a quiet room
with a plain
background should suffice.

If you need to shoot outside or at

specific locations, you’ll need to get
permission ahead of time.

What video equipment do you need?

You’ll most likely need a camera, a microphone and lights as a starting point.
Depending on where you’re filming, you may need to consider extra lighting, heating, a
generator and a computer to power any monitors you’re using for graphics in the
background. Refer to your shot list and storyboard to make the final decision on
what equipment you need.

Cast talent

By this stage, you should have a fair idea of what type of video you’re making
and whether or not you need to cast talent.

If your video needs

a
voiceover, think about what
kind of
personality and tone the
audience
you’re targeting will
respond to. Is
there someone you know
or work
with that has the
appropriate voice
for it? Do you have the voice for it?
Or is this something you’re going to
need to outsource? There are
many sites that can provide you
with options to connect with
freelance voiceover artists.

26 | P a g e
Next, consider how much of your video requires information to be presented (or
acted) on screen. Do you know people who can fill these roles, or do you need to
cast a professional? If so, you may need to put out ads and host auditions for talent.

Schedule the shoot

Your plan is all laid out. All that’s left now is to make a schedule for the day of
the shoot. Organize the schedule around how much you need to shoot, the distance
between locations and your talent’s availability.

Locations, crew, equipment, talent, makeup, wardrobe and permissions should

all be locked in in advance. If your video is turning into a big production that requires a
lot of these elements, you may want to consider hiring an experienced producer to
help manage the shoot. Otherwise, make sure that you are extremely prepared on the
day.

2. Production Stage

The production phase spans the actual filming of your video. Because you’ve
mapped out a schedule, you should have a reliable estimation of how long this
phase will take. And as a producer or stakeholder, your job is to ensure things run as
close to that schedule as possible.

This part of the process usually requires someone to fill the role of director. That
may be you or depending on how elaborate your production is, may require you to hire
a professional. Directors are important for ensuring that your talent gives the
desired performance, that you get through all the shots you need, that they’re
framed and lit correctly and that the
script and storyboard are followed
through.

Set up the lights

Make sure you have more

than enough time beforehand for
you and your crew to light each
setting. Your schedule should factor
in setup time, and the amount of
setup will depend on how many
locations you’re shooting in and
how many types of shots you need.

Set up the camera

Your storyboarded and shot list will tell you ahead of time what kind of
camera setup you’ll need. Depending on how elaborate your shoot is going to be,
setting up the camera may be as simple as using a tripod or building a crane. You may
be shooting this

27 | P a g e
video yourself with one camera or you may require a professional cinematographer
whose setup could be complex. Make sure you’ve scheduled enough time in either
case.

Direct the talent

Directing the talent is a critical part of

the process. The way that they deliver the
script
influences your video’s speed, dynamics, style
and audience appeal.

Even when you’re working with

experienced presenters or actors, it’s up to
you
(or your director) to keep your goals in mind
and get the performance you need out of
them.
Get B-roll footage

While you should closely follow your shot list and storyboard, take the initiative
to shoot B-roll (extra footage to cut away to during the editing process). This may be
shots of your location(s) from different angles, shots of the crew and talent setting
up— anything that catches your eye and fits the theme of your video.

3. Post-Production

The post-production process involves taking your best takes and shots, stitching
them together, cutting everything down to fit your desired length, recording a
voiceover, coloring the video, and adding music and special effects.

Edit your video

The first step in

editing is to
compile your best takes
and
import them into your
video
editing software.

To make things
easier for
yourself, cut each clip
down to
their most essential parts. Now,
dump them into a rough timeline.
Group and organize your B-roll
footage. Then, start working
through the script and
storyboard, ordering your
footage correctly.

28 | P a g e
Record a voiceover

If your video needs a voiceover, you may need to do it yourself, or cast talent to
do it for you (see the talent section of the pre-production process). Just like with
onscreen talent, voiceover actors need direction. Make sure that they’re appealing to
your target audience and that the way they deliver the script reinforces your core
message. Once the voiceover is recorded and edited, insert it into your video
timeline in your editing software, and sync it to the appropriate footage.

Add graphics, animated text and special effects

 Graphics, animation, and animated text can help bring your script to life
further by visualizing ideas and emphasizing important points.

For
example,
you
might want to
show an
animated graph to
illustrate a key
figure. Or
you might want to
show
an animated
mockup of a
product you’re explaining.
Maybe you just want a
screen-recording of you
scrolling through your
product’s website as you
talk through it.

These effects can really take your video to the next level and achieve results
plain filming sometimes can’t.

Coloring

Coloring footage can

be as
easy as using th e auto-
coloring
feature on Adobe Premiere
Pro or as
sophisticated as getting a
professional colorist to go
through
your video shot by shot. This
depends
on your goals and budget.
But keep
in mind that coloring can be
important for reinforcing your visual
brand in your videos. Whatever you
do, try to keep your coloring
consistent with any future videos you
choose to make.

29 | P a g e
Add music

Good music is the final element that can take your video to a whole new
level. Not every video needs music running all the way through it. But background
music can fill up space, cover up any audio snips and keep people engaged.

Using multiple tracks to evoke the mood of different parts of the video can
help the audience feel like they’re progressing through the content, which helps
with completion rates, unlike using the same track on an endless loop. Just make sure
your video is long enough to use multiple tracks - cutting between music in a short
amount of time can be distracting.

The music should complement your video’s tone and mood, help
communicate your core message, be appropriate for your target audience, and
match the pace of the edit. There are a ton of stock music sites I suggest you check
out, some of which are listed in my video tools article.

Render the video

Once your edit is complete, it’s time to render out the video in the
appropriate format. For most platforms, mp4 format is best.

When creating a video, remember to be organized, do your research, and

preempt as much of the complications as you can in the pre-production process. If
you’re too overwhelmed, consider outsourcing parts of the process to professionals,
especially when it comes to producing, presenting, shooting, directing and editing.

Video can be a lot to produce. But if you organize yourself well, and have a
focused strategy behind it, you’ll end up with a standout product that your viewers will
be compelled to share.

Copyright Management

Republic Act No. 8293 [An Act Prescribing the Intellectual Property Code and
Establishing the Intellectual Property Office, Providing for Its Powers and Functions, and
for Other Purposes] otherwise known as the Intellectual Property Code of the
Philippines. State policy declaration:

The State recognizes that an effective intellectual and industrial property system
is vital to the development of domestic and creative activity, facilitates transfer of
technology, attracts foreign investments, and ensures market access for our products.
It shall protect and secure the exclusive rights of scientists, inventors, artists and other
gifted citizens to their intellectual property and creations, particularly when
beneficial to the people, for such periods as provided in this Act.

30 | P a g e
 The use of intellectual property bears a social function. To this end, the State
shall promote the diffusion of knowledge and information for the promotion of
national development and progress and the common good.

It is also the policy of the State to streamline administrative procedures of

registering patents, trademarks and copyright, to liberalize the registration on the
transfer of technology, and to enhance the enforcement of intellectual property
rights in the Philippines.

The intellectual property rights under the Intellectual Property Code are as follows:

1. Copyright and related rights;

2. Trademarks and service marks;
3. Geographic indications;
4. Industrial designs;
5. Patents;
6. Layout designs [topographies] of integrated circuits; and
7. Protection of undisclosed information.

What is copyright?

Copyright is a collection of all rights enjoyed by the owner of an artistic or

literary work.

What are considered copyrightable works in the Philippines?

Under Philippine law, original intellectual creations in the literary and artistic
domain are copyrightable. These include books, pamphlets, articles and other writings;
periodicals and newspapers; lectures, sermons, addresses, dissertations prepared for
oral delivery; letters; dramatic or dramatico-musical compositions; choreographic
works or entertainment in dumb shows; musical compositions; drawing, painting,
architecture, sculpture, engraving, lithography; models or designs for works of art;
original ornamental designs or models for articles of manufacture; illustrations, maps,
plans, sketches, charts and three-dimensional works relative to geography,
topography, architecture or science; drawings or plastic works of a scientific or
technical character; photographic works including works produced by a process
analogous to photography; lantern slides; audiovisual works and cinematographic
works and works produced by a process analogous to cinematography or any
process for making audio-visual recordings; pictorial illustrations and advertisements
and computer programs.

Derivative works are also protected as new works, provided that it does not
affect the existing copyright on original works. Derivative works may include:
dramatizations, translations, adaptations, abridgements, arrangements, and other
alterations of literary music work; collections of literary, scholarly or artistic works, and
compilations of data and other materials which are original by reason of the selection
or coordination or arrangement of their contents.
31 | P a g e
What works are not protected by copyright under Philippine law?

Copyright protection does not cover:

1. Idea, procedure, system method or operation, concept, principle, discovery or
mere data as such, even if they are expressed, explained, illustrated or
embodied in a work;
2. News of the day and other miscellaneous facts having the character of mere
items of press information;
3. Official text of a legislative, administrative or legal nature, as well as any official
translation thereof;
4. Work of the Philippine Government, unless there was a prior approval by the
appropriate government agency; and
5. Statutes, rules and regulations, and speeches, lectures, sermons, addresses, and
dissertations, pronounced, read or rendered in courts of justice, before
administrative agencies, in deliberative assemblies and in meetings of public
character.

Is a copyright registration necessary to protect artistic or literary works? No,

copyrightable works are protected from the moment of their creation.

Who can apply for a copyright registration?

The owner of the work or his/her assignees or successors-in-interest has the right to
apply for a copyright registration.

Who are considered owners of the copyrightable works?

The owners of original literary and artistic works are:

1. The author of the work;
2. If the work is of joint ownership:
a. The co-authors are the original owners and in the absence of
agreement, their rights shall be governed by the rules on co-ownership.
b. The author of each part is the owner of such part he/she created, if the
work consists of parts that can be used separately and the author of each
part can be identified.
3. If the work is created in the course of employment:
a. Employee is the owner, if the work created is not part of employee’s regular
duties even if he uses the time, facilities and materials of the employer; b. Employer
is the owner, if the work created is the result of the performance of employee’s
regularly-assigned duties, unless otherwise agreed upon. 4. If the work was
commissioned, the one who commissioned the work jointly owns it with the
author/creator – but the copyright of the work remains with author/creator,
unless otherwise agreed upon;
32 | P a g e
5. In the case of audio-visual work, the copyright belongs to the producer, the
author of the scenario, the music composer, the film director, and the author of
the work adapted. However, unless otherwise agreed upon among the
creators, the producer has the right to exercise copyright to the extent
required for the exhibition of the work in any manner, except for the right to
collect license fees for the performance of musical compositions, with or
without words, which are incorporated into the work.
6. With respect to letters, the copyright belongs to the writer subject to the
following: a. Letters and other private communications in writing are owned by
the person to whom they are addressed and delivered, but the same cannot
be published or disseminated without the consent of the writer or his
heirs. b. However, the court may authorize the publication or
dissemination if the public goods or the interest of justice so requires.

Can the author or creator waive or transfer copyright?

Yes, the author/creator of any work can waive or transfer copyright on

his/her work in favor of a corporation or another individual.

What is the duration of copyright protection?

In the Philippines, copyright protection for artistic, literary and derivative works lasts
during the lifetime of the author plus 50 years after the author’s death. This term of
protection also applies to posthumous works. In the case of joint authorship, the
economic rights shall be protected during the lifetime of the last surviving author plus
50 years after such author’s death.

What is the duration or term of protection for works with anonymous owner/creator?

In case of anonymous or pseudonymous works, copyright protection shall last for

50 years from the date on which the work was first lawfully published. If the work was
not published, it shall be protected for 50 years counted from the creation of the work.

What is the duration or term protection for works of applied art?

Works of applied art shall be protected for 25 years from the date of its creation.

What is the duration or term of protection for audio-visual works?

Audio-visual works shall be protected for 50 years from the date of publication.
If it is unpublished, it is protected for 50 years from the date of creation.
33 | P a g e
What is the duration or term of protection for performers and producers of sound
recordings?

Performances not incorporated in recordings shall be protected for 50 years from

the end of the year in which the performance took place. Sound or image and
sound recordings and performances incorporated therein shall be protected for 50
years from the end of the year in which the recording took place.

What is the duration or term of protection for broadcasts?

Broadcasts shall be protected for 20 years from the date the broadcast took
place.

What are the rights conferred to the author of a work?

The author of a work has copy or economic rights, as well as moral rights over
the work.

The author has the exclusive right to carry out, authorize or prevent
the: 1. Reproduction of the work or substantial portion of the work;
2. Dramatization, translation, adaptation, abridgment, arrangement or other
transformation of the work;
3. The first public distribution of the original and each copy of the work by sale
or other forms of transfer of ownership;
4. Rental of the original or a copy of an audio-visual or cinematographic work, a
work embodied in a sound recording, a computer program, a compilation of
data and other materials or a musical work in graphic form, irrespective of
the ownership of the original or the copy which is the subject of the rental;
5. Public display of the original or a copy of the work;
6. Public performance of the work; and
7. Other communication to the public of the work.

Moral rights confer the following on the author of a work:

1. To require that the authorship of the works be attributed to him, in particular; the
right that his name, as far as practicable, be indicated in a prominent way on the
copies, and in connection with the public use of his work;
2. To make any alterations of his work prior to, or to withhold it from publication; 3.
To object to any distortion, mutilation or other modification of, or other derogatory
action in relation to, his work which would be prejudicial to his honor or reputation;
and
4. To restrain the use of his name with respect to any work not of his own creation
or in a distorted version of his work.
34 | P a g e
Can a copyright be transferred or assigned?

Yes. Copyright can be transferred or assigned in whole or in part.

Is the sale of an original work, for example a painting, equivalent to the transfer of the
copyright therein?

No. The copyright is distinct from the object or property subject to it.
Consequently, the transfer or assignment of the copyright does not necessarily
constitute a transfer of the object. Nor shall a transfer or assignment of the copy or
several copies of the work imply a transfer or assignment of the copyright.

What is the extent of authority granted to the publisher of newspapers, periodicals or

magazines when a work is submitted for publication?

The authority constitutes only a license to make a single publication unless

expressly stated otherwise. If the copyright is owned by more than 1 person, neither of
the owners shall be entitled to grant a license without the prior written consent of
the other owner or owners.

What is the extent of copyright protection in works of architecture?

Copyright in a work of architecture includes the right to control the erection of

any building, which reproduces the whole or substantial part of the work either in its
original form or in any form recognizably derived from the original. It shall not include
the right to control the reconstruction or rehabilitation in the same style as the original
of the building to which the copyright relates.

Can a computer program be reproduced without violating the author’s copyright?

Yes, in cases of fair use. Decompilation, which is the reproduction of the code
and translation of the forms of the computer program to achieve the inter-operability of
an independently created computer program with other programs constitutes fair use
and is allowed.

Reproduction in one (1) back-up copy or adaptation of a computer program

or adaptation of a computer program is permitted, without the authorization of the
author or owner of the copyright, provided that the copy or adaptation is necessary for:
a. the use of the computer program in conjunction with a computer for the
purpose, and to the extent, for which the computer program has been
obtained; and
b. archival purposes and for the replacement of the lawfully owned copy of
the computer program in the event that the lawfully obtained copy of the
computer program is lost, destroyed or rendered unusable.

35 | P a g e
Other than the Intellectual Property Code of the Philippines, is there any special law
that ensures the protection to copyright owners of audio-visual works?

Yes, the Optical Media Act of 2003. This Act regulates the manufacture,
mastering, replication, importation and exportation of optical media in which
information, including sounds and/or images, or software code, has been stored,
either by mastering and/or replication.

Under the Optical Media Act, any person, establishment or entity shall, prior
to engaging in one or more of the following business or activities, register with and
secure the appropriate licenses from the Optical Media Board (OMB):
1. Importation, exportation, acquisition, sale or distribution of optical media,
manufacturing equipment, parts and accessories and manufacturing
materials used or intended for use in the mastering, manufacture or
replication of optical media;
2. Possession or operation of manufacturing equipment, parts and accessories,
or the possession acquisition, sale or use of manufacturing materials for the
mastering, manufacture or replication of optical media; and
3. The mastering, manufacture, replication, importation or exportation of optical
media.

The Optical Media Act also requires that Source Identification (SID) Codes,
prescribed by the OMB to, be applied to each and every optical media mastered,
manufactured or replicated including glass masters, stampers or other parts used for
the manufacture of optical discs.

What is “fair use”?

The fair use of a copyrighted work for criticism, comment, news, reporting,
teaching including multiple copies for classroom use, scholarship, research and similar
purposes is not an infringement of copyright.

Decompilation, which is the reproduction of the code and translation of the forms
of the computer programs to achieve the inter-operability of an independently created
computer program with other programs, may also constitute fair use.

To determine whether use of a work constitutes fair use, the following factors
are considered:
1. The purpose and character of the use, including whether such use is of a
commercial nature or is for non-profit educational purposes;
2. The nature of the copyrighted work;
3. The amount and substantiality of the portion used in relation to the
copyrighted work as a whole; and
4. The effect of the use upon the potential market for or value of the copyrighted
work.

36 | P a g e
What constitutes copyright infringement in the Philippines?

Under Philippine law, copyright infringement occurs when there is a violation

of any of the exclusive economic or moral rights granted to the copyright owner. It
may also consist in aiding or abetting such infringement. The IP Code also provides
for the liability of a person who at the time when copyright subsists in a work has in his
possession an article which he knows, or ought to know, to be an infringing copy of the
work for the following purposes: (a) selling or letting for hire, or by way of trade
offering or exposing for sale or hire, the article; (b) distributing the article for the
purpose of trade, or for any other purpose to an extent that will prejudice the rights
of the copyright owner in the work; or (c) trade exhibit of the article in public.

What are the remedies available to an owner of a copyright against an infringer?

The copyright owner can file a criminal, civil or administrative action for
copyright infringement. A criminal case for copyright infringement must be filed in the
court situated in the place where the violation occurred. The administrative suit is filed
at the Bureau of Legal Affairs at the Intellectual Property Office of the Philippines. A
civil infringement lawsuit is filed in the appropriate court located at the place where
the defendant resides/is located, or where the plaintiff resides/is located, at the option
of the plaintiff.

What are the penalties provided by Philippine law for copyright infringement?

Under Philippine law, copyright infringement is punishable by the

following:

1. Imprisonment of between 1 to 3 years and a fine of between 50,000 to

150,000 pesos for the first offense.
2. Imprisonment of 3 years and 1 day to six years plus a fine of between 150,000 to
500,000 pesos for the second offense.
3. Imprisonment of 6 years and 1 day to 9 years plus a fine ranging from 500,000
to 1,500,000 pesos for the third and subsequent offenses.

The offending party may also be ordered to pay civil damages. Injunction and
destruction of the infringing goods or products can also be obtained, as well as seizure
and impounding of any article which may serve as evidence in the court proceedings.

Criteria for Evaluation of Non-Print Materials

Factor A. Content Quality

1. Content is consistent with topics or skills found in the DepED Learning

Competencies for the subject and grade or year level it was intended.
37 | P a g e
2. Concepts developed contribute to enrichment, reinforcement, or mastery of the
identified learning objectives.
3. Content is accurate.
4. Content is up-to-date.
5. Content is logically developed and organized.
6. Content is free from cultural, gender, racial, or ethnic bias.
7. Content stimulates and promotes critical thinking.
8. Content is relevant to real-life situations.
9. Language (including vocabulary) is appropriate to the target user level.
10. Content promotes positive values that support formative growth.

Factor B. Instructional Quality

1. Purpose of the material is well defined.

2. Material achieves its defined purpose.
3. Learning objectives are clearly stated and measurable.
4. Level of difficulty is appropriate for the intended target user.
5. Graphics/colors/sounds are used for appropriate instructional reasons.
6. Material is enjoyable, stimulating, challenging, and engaging.
7. Material effectively stimulates creativity of target user
8. Feedback on target user’s responses is effectively employed.

Factor C. Technical Quality

1. Speech and narration (correct pacing, intonation, and pronunciation) is clear and
can be easily understood.
2. There is complete synchronization of audio with the visuals, if any. 4. Music and
sound effects are appropriate and effective for instructional purposes. 5. Screen
displays (text) are uncluttered, easy to read, and aesthetically pleasing. 6. Visual
presentations (non-text) are clear and easy to interpret.
7. Visuals sustain interest and do not distract user’s attention.
8. Visuals provide accurate representation of the concept discussed.
9. The user support materials (if any) are effective.
10. The design allows the target user to navigate freely through the
material. 11. The material can easily and independently be used.
12. The material will run using minimum system requirements.
13. The program is free from technical problems.

Factor D. Other Findings

1. Conceptual errors.
2. Factual errors.
3. Grammatical and/ or typographical errors.
4. Other errors (i.e., computational errors, obsolete information, errors in the
visuals, etc.)
38 | P a g e
TUTS TIME

ELABORATE

DIRECTIONS: Go the following sites and learn basic video editing using different
softwares: https://www.youtube.com/playlist?list=PLv7pvvp-
xVAoGcAc4AjEbQtGaiE7AUHCq https://helpx.adobe.com/support/premiere-pro.html

VIDEO LESSON
DIRECTIONS: Create a 20-minute video lesson based on Technology and Livelihood
Education (TLE) Most Essential Learning Competencies (MELCs).

Output will be evaluated using the Criteria for Evaluation of Non-Print Materials set by
the Department of Education.

https://edu.gcfglobal.org/en/beginning-graphic-design/
https://helpx.adobe.com/support/premiere-pro.html
http://www.federislaw.com.ph/faqs-resources/copyright/
https://www.youtube.com/playlist?list=PLv7pvvp-xVAoGcAc4AjEbQtGaiE7AUHCq

Platform: Google Meet; PPT

39 | P a g e

ADDITIONAL
 MATERIALS

Platform: Google Meet; PPT

Prepared by:

ANTHONY C. CANDELARIO, LPT, MA. Ed

Instructor

Reviewed:

DECINA M. FRANCISCO ROSELL P. CULTIVO BTLEd, Coordinator, North

Campus BTLEd, Coordinator, South Campus

Recommending Approval:

DR. RAMONA A. PRADO

College of Education, Dean

Approved:

Atty. RODERICK P. VERA, LLM

Vice President, Academic

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