curriculum insert

Stop-Motion Animation
Digital storytelling in
the classroom
B y D a n G ra n t

The challenge
I love movies and I love books. I have always
thought that movies were an excellent way to
engage students – particularly boys – in literacy.
I decided to use digital storytelling tools and
techniques to actively engage my students in
telling their stories.
As a result of work they did in media lit-
eracy classes, my students became excited by
stop- or slow-motion animation film. After
discussions, the class and I decided that a stop-
motion animation project was something that
everyone would enjoy and get a lot out of. That
this project would be new ground for all of us,
Setting the stage
me included, motivated and empowered my
students. Curriculum expectations
The students’ challenge was to create two As a homeroom teacher teaching my own core mathematics, literacy, sci-
stop-motion films, fiction and nonfiction, over ence, and social studies, I am able to develop lessons that combine the
the course of the school year. They also were to various subject areas. This project also cut across different curriculum
produce a 60-second public service announce- expectations, and by not restricting my students to isolated periods of
ment about the importance of healthy eating instruction I was able to use my classroom time much more effectively.
and a healthy lifestyle. (For specific curriculum expectations, see the sidebar on page 21.)
My challenge was to coordinate 28 students Although created for a grade 5 class, this project could be modified to
working in small groups on different stop- meet the expectations of other grades. I am currently using this strategy
motion projects at the same time and in the with two Intermediate classes and have received positive feedback on this
same place. approach from secondary school consultants.

Dan Grant is a grade 5 teacher with the York Region District School Board. He has shared his digital storytelling activities through ETFO’s Innoteach
project and took part in a Literacy and Numeracy Secretariat webcast on nonfiction writing.

etfo F EB R UA R Y 20 0 9 19
 Lesson sequence
1. Developing media literacy skills
Before we began, we spent a fair bit of time examining the and how they relate to real-world activities. Next, students
language and techniques of film. We also identified the three watched a Participaction commercial and drew a storyboard
stages of creating a film: preproduction, production, and based on it. (en.wikipedia.org/wiki/Participaction)
postproduction.
Initially, students estimated that 20 percent of their time 2. Using audio to express mood and emotion
would be spent in preproduction activities, 60 percent in We discussed the effective use of voice, music, sound, and
production, and 20 percent in postproduction. When they special effects. Students watched movies and television
were finished, they revised their assessment: preproduction shows to appreciate the importance of sound in establishing
took up 75 percent, production 10 percent, and postproduc- mood and atmosphere and took part in skits to demonstrate
tion 15 percent, which shows that students underwent a the use of sound and voice.
substantive change in their understanding of the importance To practise digital storytelling skills, students created an
of planning and preparation. audio recording that combined a short piece of narration
I scaffolded their learning in much the same way that I and music. They received a copy of “The Great Detective
did when they were learning how to write fiction and nonfic- Story” by Stephen Leacock and a handout (page 23) describ-
tion texts. I had started the year using 6+1 Writing Strategies ing the creation of an audio recording using Audacity, a
and I wanted this learning to be reflected in their project. I free, easy-to-use recording and editing software (available at
made connections between the filming process and literacy audacity.sourceforge.net).
throughout the year and found that students were better I modelled how to read the story with meaning and
able to relate to their literacy studies as a result. effect while recording it in Audacity. The software illustrates
Students learned how to analyze the techniques media the voice track, and students were very interested in seeing
professionals use to get across their ideas and influence what it looked like. I then imported a music track into the
consumers and spectators. When we spent time analyzing narration.
print advertisements and television commercials, students The Freeplay Music website (freeplaymusic.com) provides
became engaged. The commercials for Sony Bravia televi- music samples in .mp3 and .aac formats that educators and
sions featuring Plasticine bunnies in New York City and the students can download for free for educational purposes.
one with colourful balls were very popular (adsoftheworld. Students narrated and recorded their own version of
com/media/tv/sony_bravia_bunnies and adsoftheworld.com/ “The Great Detective” choosing appropriate music, a process
media/tv/sony_bravia_balls). What is great about these com- they really enjoyed.
mercials is that Sony provides interviews and a behind-the-
scenes look at the ideas behind the commercial and the 3. Stop-motion animation: preproduction
media messages. This commercial got students excited about Students created two stop-motion animation projects dur-
doing their own stop-motion piece. I happened to have quite ing the school year: a nonfiction project that explained the
a bit of Plasticine in the classroom, and I allowed the stu- concept of equivalent fractions (a curriculum unit they
dents to explore how to shape and create with it. had recently completed) and a sequel to the The Spiderwick
To help understand storyboards we looked at filmmakers’ Chronicles.
storyboard meetings. Movie DVDs often have storyboards Working in small groups, they brainstormed ideas and
as an additional feature and we looked at storyboards from created rough scripts and storyboards. They were instructed
Spirited Away, Shrek, The Incredibles, and Wallace & Gromit: to include as much information as possible in their first
The Curse of the Were Rabbit. storyboard, including group roles and responsibilities, props,
Students were able to see that professionals had to brain- and titles. Students pitched their ideas to me and I provided
storm and sell their ideas to their peers. This created an oppor- feedback and suggestions, which they incorporated. Students
tunity to discuss the importance of oral communication skills then pitched their stories to their classmates, who provided

20 etfo FE BRUARY 2009

additional feedback that they also incorporated into their Curriculum Expectations
final storyboards.
Mathematics
4. Stop-motion animation: production • Read, represent, compare, and order whole
I wanted to give all of my students a chance to actively par- numbers to 100 000, decimal numbers to
ticipate in the stop-motion filming process. But how would hundredths, proper and improper fractions, and
I manage class time and resources? What software and hard- mixed numbers
ware would I need to create films for a web or video iPod? • Demonstrate and explain the concept of
I discussed these questions with the students, so that equivalent fractions, using concrete materials
they would get a sense that this was no small undertaking.
Writing
Ultimately I decided on webcams, which connect directly
• Generate, gather, and organize ideas and
to a computer’s USB port, and I bought six of them and 10
information to write for an intended purpose
microphones on eBay for about $100. This meant a number
and audience
of groups could work on their projects at the same time and
most importantly at their own pace. The webcams proved to Media Literacy
be pretty rugged and worked extremely well. • Create a variety of media texts for different
We chose to use MonkeyJam, a freeware application that purposes and audiences, using appropriate
allows users to capture images from a webcam, camcorder forms, conventions, and techniques
or scanner and assemble them as separate animation frames. • Reflect on and identify their strengths as media
(www.giantscreamingrobotmonkeys.com/monkeyjam/down- interpreters and creators, areas for improvement,
load.html). and the strategies they found most helpful in
I begged and borrowed computers from around the understanding and creating media texts.
school, set up the software, and showed students how to use
Arts – Drama
it. I gave them a lot of creative freedom and time to explore
• Solve problems through drama and dance,
their ideas.
working in large and small groups and using
various strategies
5. Stop-motion animation: postproduction
• Use different forms of available technology to
Students exported the completed film files to Microsoft
enhance work in drama and dance
Movie Maker and added titles, music, and special effects. Stu-
dents already knew how to use Movie Maker and completed
this stage in about two to three periods.

etfo F EB R UA R Y 20 0 9 21
 Accommodations and assessment Outcomes and student reflections
I created rubrics that I used to guide and assess the students. This activity effectively extended student learning. All of the
To meet the differing student needs in my class I made the software and hardware was easily accessible to students at
following accommodations: home. It was interesting and satisfying to see students bring
• Teacher-selected work groups paired students of dif- to class and share their own independent stop-motion films.
fering abilities to facilitate peer support . Students who typically were not fully engaged in classroom
• Direct teacher support and instruction was provided activities were among the most enthusiastic participants who
as needed. went off in their own filming directions.
• Support staff helped with storyboard clarity and time-
lines. Equipment and materials
• Colour-coded expectations were clearly visible in the
• Microsoft webcams
classroom.
• Windows-based HP notebook computers
• Project information, instructions, and assignment due
• microphones
dates were posted on the classroom blog.
• Microsoft Movie Maker
• Students received differing amounts of time to com-
• Audacity recording software
plete each stage.
• MonkeyJam digital pencil test program that is also
suitable for creating stop-motion movies
• storyboard planning sheets – see the sidebar
• variety of art materials – Plasticine, construction
paper, markers, etc.
• simple animation props – Lego bricks, small dolls, toy
Resources
cars, stuffed animals
Black, Holly and Tony DiTerlizzi. The Spiderwick Chronicles. New York,
New York: Simon & Schuster, 2004.
Culham, Ruth. 6+1 Traits of Writing: The Complete Guide. Scholastic Inc.
Available at shop.scholastic.com
Fryer, Wesley A. “Stories to Go” in TechEdge, Winter 2007, 24-26.
Généreux, Annie Prud´homme and William A. Thompson. “Lights, Camera,
Reflection! Digital Movies: A Tool for Reflective Learning.” Journal of
College Science Teaching, July 2008, 21-25.
Herrington, J., and L. Kervin. “Authentic Learning Supported by
Technology: Ten Suggestions and Cases of Integration in Classrooms.”
Education Media International 44(3), 217-36.
Kervin, Kristy. “Explaining the Use of Slow Motion Animation as a
Teaching Strategy to Develop Year 4 Students’ Understandings of
Equivalent Fractions.” Contemporary Issues in Technology and Teacher
Education 7(2), 100-106.

22 etfo FE BRUARY 2009

Student Handout
Document à remettre aux élèves
Recording Your Audio Tracks Enregistrement de vos pistes audio
Audacity software allows you to create audio recordings with Le logiciel Audacity vous permet de réaliser des enregistrements multipistes
multiple soundtracks that could include narration, music, pouvant comprendre de la narration, de la musique et des effets sonores. Le
and audio effects. Audacity merges these tracks into a sin- logiciel Audacity fusionne ensuite les différentes pistes en une seule pouvant
gle file that can be played on an MP3 player or on Microsoft être écoutée à l’aide d’un lecteur MP3 ou du Lecteur Windows Media de
Media Player. The free Audacity software and MP3 utility Microsoft. Vous pouvez télécharger gratuitement le logiciel Audacity et des
download can be found at audacity.sourceforge.net. utilitaires MP3 depuis le site http ://audacity.sourceforge.net.
You should create your own audio recording indepen- Vous devez entièrement créer votre propre enregistrement sonore par
dently. Work with Audacity to record a short piece of text. It vous-même. À l’aide d’Audacity, enregistrez la narration d’un court texte. Il
is important to rehearse reading the text with inflection and est important de vous exercer à lire le texte avec l’intonation et l’emphase
meaning before recording it. voulues avant de l’enregistrer.
Your recording is saved as an .aup file that must be Votre enregistrement est sauvegardé sous forme d’un fichier .aup qui
exported as either a .wav or .mp3 file before it can be doit être ensuite exporté en tant que fichier .wav ou .mp3 avant de pouvoir
opened in a media or MP3 player. être lu par un lecteur MP3 ou multimédia.
The next step is to select a music track from Freeplay La prochaine étape consiste à choisir une pièce musicale de Freeplay
Music that reflects the mood and feel of the passage you Music qui reflète l’atmosphère et l’émotion du texte choisi. Vous pouvez
have chosen. Add special sound effects to your recording to ajouter des effets sonores particuliers pour rendre votre enregistrement plus
make it even more interesting and engaging. intéressant et plus vivant.

1. Rehearse reading the passage. 1. Exercez-vous à lire le texte choisi.

2. Record passage using Audacity. 2. Enregistrez-le à l’aide du logiciel Audacity.
3. Under File pull down menu Save project as… record- 3. Sous l’onglet File, enregistrez votre pièce avec la fonction Save project
ing in My Documents using a name that is unique, for as… dans le répertoire My Documents avec un titre particulier, par
example, mr grant passage 1. It is highly recommended exemple, « m. granger passage 1 ». Il est fortement recommandé de
that you save the project onto a memory stick. sauvegarder une copie de l’enregistrement sur une clé USB.
4. Locate mood music on Freeplay Music – freeplaymusic. 4. Recherchez une musique d’ambiance sur le site Web de Freeplay Music –
com. freeplaymusic.com.
Do not use copyrighted materials (music or videos from N’utilisez pas de pièces musicales protégées par droit d’auteur (musique
established artists such as Usher or the Jonas Brothers). ou vidéos d’artistes populaires comme Usher ou les Jonas Brothers).
5. Select and save a track that roughly equals the length 5. Choisissez une pièce qui a environ la même durée que votre narration
of the narrated passage. et sauvegardez-la.
6. Under the Project pull-down menu, click on Import 6. Dans le menu déroulant Project, cliquez sur Import Audio Track pour la
Audio Track to import it into your narrated passage. transférer dans votre enregistrement.
7. Check your sound levels to make sure one part doesn’t 7. Vérifiez les niveaux sonores pour éviter qu’une des pistes ne masque
drown out the other. You can also make changes to the l’autre entièrement. À cette étape, vous pouvez aussi modifier la piste.
track at this time. 8. Étape optionnelle : ajoutez d’autres pistes audio, comme des effets
8. Optional: add other audio tracks, such as sound effects. sonores.
9. Save Project. It wouldn’t hurt to save it on a memory 9. Sauvegardez votre projet. Il est conseillé de sauvegarder votre projet à
stick as well as on the computer. la fois sur l’ordinateur et sur une clé USB.
10. Export as a .wav file. This will merge your recording 10. Exportez votre piste en tant que fichier .wav. Ceci fusionnera vos
into a single audio track. You could export this as an différentes pistes sonores en une seule. Il est possible de l’exporter en
.mp3 file but it takes an extra step and will require a tant que fichier .mp3 mais cela nécessite une étape supplémentaire et
utility. un utilitaire.
11. Your recording is complete. Your file can now be 11 Votre enregistrement est terminé. Votre enregistrement peut dès
opened using Windows Media Player and can be maintenant être lu à l’aide du logiciel Lecteur Windows Media et peut
imported into other programs such as Microsoft Movie être ensuite exporté dans d’autres logiciels comme Movie Maker ou
Maker or PowerPoint. PowerPoint de Microsoft.

etfo F EB R UA R Y 20 0 9 23
Dan Grant has shared his digital storytelling activities through ETFO’s Innoteach Project. For more
information see the Voice – February 2009 article, Innoteach: Using technology for professional
learning.