3 Literacy: OMG! Cameras Everywhere

       It is also easy to get excited and say that having created this fundamentally fun but “professionally” underwhelming short, the young directors achieved a new level of digital fluency.      This formal model obscures the most important parts of long-term learning—self-led questioning, experimenting, repetition, and retention. Not only are these kinds of informal processes important for kids’ learning, but they are exactly how we, as adults, come by our own limited proficiencies as everyday, functional users of the various technologies that propel us forward, from cars to computers to mobile phones. And yet these competencies suffice to earn us livings, keep roofs over our heads, and even occasionally afford us some degree of self-expression.      Instead the adults wanted to narrow in on the proactive core of simply having ideas and finding the means to convey them through the chosen medium.      “Our definition of ‘making’ became if we’re shooting ideas that we’ve fleshed out,

Whether peer and near-peer learning communities unite around, evidence a joint-undertaking process between learners and more experienced practitioners. OMG!’s fundamental language evoked this: both campers and counselors were called directors from the moment the camp began, a system that. On the first day of the camp, selections of the directors’ work were played, meant to provide fodder for ideas or curiosity about specific techniques.   The second day, the kids were like, ‘We did that special effect yesterday, I want to do this and that. The amount of response that we had to this method of working with kids was way different to anything I’d ever seen before in any tutoring or teaching situations,” he said. “It was because we had groups of five kids. By the third day everyone was on board, and it was literally collaboration rather than top-down instruction. They’re learning by doing as opposed to learning by teaching.” In its weeklong life span, OMG! displayed every facet of

With technology, people can have more opportunities to access different platforms. Some of the directors of OMG consider that it is very important to be able to stand out in something that people really like and something in which they feel truly comfortable, as it was mentioned in the New York Times magazine about each one being able to specialize in what likes and likewise create new products with a high demand, some of the mentions is that people do not do what they love or what they are very good at, for fear of not having a way to make a living, a clear example of this is Gross and what he says about his father “I understood very well my father's sympathetic comment that, although being involved in art was nice, he needed to understand that it was not possible to make a living from it (I was around seven in that time and not yet pressured to make a living). It is important to take into account the fact that wanting to learn something new requires a lot of time and dedication t

In August 2011, the cramped quarters of a central Los Angeles office had been converted, for one week, into a mini–movie studio. This was the fourth day of OMG! Cameras Everywhere, a nonprofit summer camp set up and run with as much improvisation as earnestness, conceived by a small, loose collective of young music video directors and realized by late August. The campers attended at no cost, and the counselors donated their time and equipment. Raised among friends, family, and industry acquaintances on Kickstarter, $4,500 provided food, a passenger van for outings and location shoots, and insurance. Hiro Murai was there, helping the actresses and instructing the young camera operator; also Benjamin Kutsko, a music video director who is part of the music video collective the Masses. As well as, Alex Pelly, another Masses director who, in addition to her technical role as a marshmallow wrangler, had been cast as the girls’ mother. Over the course of the week, the campers conceived,