 All right. Well, thank you so much Kelly for that great introduction. And thank you especially for having us here. Especially having us here two weeks in a row. So we are here for our second round of environmental selling storytelling with virtual field trips. And I have a couple of new faces with us this week. So we have Jeffrey Bruce and we have Tom Roberto. And let me do a quick screen share. That's not what I meant to do it all whole place. It's the wrong share button. Yes, there we go. And I'm going to be looking for thumbs up from people that they are seeing the correct presentation screen. Outstanding Thank you so much. As we all know moving into this digital virtual world. Whenever as smooth as you want them to be. Anyway, welcome back for day two of creating virtual tours for environmental storytelling. And so what I want to do real quick is introduce you to Jeff Bruce and Tom Roberto. So Jeff won't you give everyone a quick shout out hello, who are you what do you do. Hey everybody, I'm Jeffrey Bruce on the manager immersive technologies at Arizona State University's PTX Center, and I build create evangelize promote virtual field trips I've been doing it for 25 years building these through NASA and ASU and all over the place so I'm happy to be here. I'm happy that we have Jess and seen at the helm, fantastic ambassadors to this and happy to be part of you. And I'm just going to say that Jeff is incredibly humble. He is he is the God of virtual field trips and virtual tours he is the sole reason that we have this incredible tour builder that is coming at you so kudos to Jeff, we wouldn't be here without him. I'm on to you Tom. Now that we've introduced God, your turn. I'm a little less. My name is Tom over there. I'm a PhD candidate studying geology and geoscience education. My research involves building designing virtual pitchers, and then testing their efficacy has a modality. So that's what I do. Thank you. Awesome. All right. And then if you were with us last week you also met two of our teachers within the network you met John DePly who is a high school educator out of Lafayette Louisiana and you also met Sarah Bowman who's a middle school educator based out of LA, California. So what we covered last week, whoops, what we covered last week was we did a quick introduction over what is this infinistope thing, where did it come from and what, what do we produce. We talked a little bit about these virtual field trips or virtual tours. We kind of did a quick overview of the types of virtual field trips and virtual tours that we create and really drew that distinction between what is considered a tour and then what is considered an adaptive field trip. And that ultimately our goal is right now we're going to help you build tours. But then looking into the future you'll be able to take those tours and embed them into an adaptive platform so that you can turn them into gated and instructionally relevant tours to use with your students moving forward. And then finally you also got to talk with our two teachers as I said and so they gave you stories from the trenches of creating their own virtual tours with us last year. And what they found to be beneficial with creating these tours and what they look forward to in the future, knowing what's coming down track with the virtual tour builder that Jeffrey has been working on. So our plan for today over the next hour ish together. We're going to talk just a little bit about give you kind of a preview about the process of building one of these virtual tours. So how do we facilitate virtual tour building with our educators. We're going to talk a little bit about the tools that we use for creating virtual tours and that's where Jeffrey and Tom specifically are going to come in. And Tom's also going to give you a little bit of flavor about place based education. Why it's important and a little bit about his research, in addition to showing you some of the 360 cameras that you can utilize on your cell phones you can utilize. And then finally we'll also cover how you guys can get involved in creating your own virtual tours. So with that overview, let's go ahead and get started. So let's talk a little bit about the process of creating this, this virtual tour. So we last summer as we spoke last last week, we talked a little bit about the professional development that we had put together with teachers and shared a little bit about that particular process. Jeffrey actually is in the midst of and Tom too they're both in the midst of putting together a new form of professional development with a group of educators out of Hawaii, using this virtual tour builder so not the, not the Google poly tour builder, but actually our tour builder, and working with them on how to create virtual tours. And so what we're doing is we're learning from the way that they're deploying this, this training and that we will be applying that the lessons learned from their training into our training this coming summer. So it's an evolution. So last year when we when we did ours what we really focused on we wanted to talk a lot about what is this place based education and why is place so important so as I mentioned Tom's going to talk a little bit about that here shortly. Then we talked about storytelling what is storytelling and how do you utilize digital tools to tell a story and draw people into the story that you're trying to tell. And then we talked about storyboarding. So how do you put together all of these these this digital media in order to facilitate the story that you want to tell, and also talked a little bit about creative Commons licensing so the difference between citation and acknowledgement of the media that you're already using that's out there on the internet. We talked about digital tools for assessment. So in addition to using the virtual tour builder what other tools can you use from around the, the digital world that we were really thrust into specifically last year. But what kind of digital tools could you use for assessment of these types of things. Generally we did a virtual tour showcase when we brought all of our educators together and they did a show and tell the tours that they created and we brought a whole host of people and we brought them from all over our issue ecosystem we invited people from our network it was, it was a good time to be able to kind of see how people built their tours. So that's kind of a baseline, and then we're going to modify for this coming year. So what I want to do right now is to give you just kind of a taste a teaser of a couple of these elements so you can kind of get a sense of where we're going and what we plan to do over this next year. So what I want to do is introduce you to Rita Hill, Rita Hill is here at Arizona State University and she's got a fantastic video for us she recorded a video for us so that we can utilize in these sort of webinars, talking about the importance of place and using place as a character. So I'm going to actually turn it over to her via video. It should be sharing sound. Hi, I'm Rita Hill. I've been a journalist for most of my life, although the tools I use now in my own work at the Walter Cronkite School of journalism are less likely to be a pen and reporters notebook and more likely to be AR or AR goggles. I spent the bulk of my career at the Washington Post as a reporter before launching the website in 1996. Then I became Vice President for BET interactive, where I launched that website. In 2007 I came to ASU to start the new media innovation and entrepreneurship lab. And one of the things I really enjoy is working with boundary pushing innovative students and colleagues at various departments around ASU, including here at the Center for Education through exploration. I'm here today to talk to you about the importance of place and storytelling. As a journalist, one of the first lessons you learn when it comes to writing is the importance of the five W's and the one H, the who, what, where, when, why and how. This is to tell pretty simple stories. It's a formula that it helps us to remember, never leave the scene of a story without answering those vital questions. That formula helps us with simple stories and complex stories. A simple story like reporting on a man who was killed out in an intersection, for example. We tell the who, that he was a 45 year old man, what was killed, when, Tuesday night, where at the main and Elm intersection near the courthouse, why, when he ran into the street, and how he was struck by a delivery truck. We know we have to each all of those to answer each of the answer each of those questions, or they'll be heck to pay by grumpy old editor back at the city desk. As the story goes on, we fill in the details, we tell a little bit more about the who, the man's name, where he worked to be was married or father. The what might add more of the particulars and the why and the how are the crux, answering for all of his neighbors the burning question of how it came to pass that a 45 year old man was killed. 45 year old men are not supposed to die, at least not that way. The where, the place, the room where it happens at as Hamilton and John Bolton has reminded us in recent days. It usually doesn't take center stage until it's in the hands of more skilled writers, or sometimes in the hands of hacks, who take six seven paragraphs to set up a scene. However, the where the place in a documentary and especially a 360 video such as a virtual field trip is probably the most important thing. At least it's an as is important as the what place you see should never be something that you rush through on your way to the who the when or even the why and the how. In 360 video and virtual field trips, the where is almost everything you have to draw the watcher in to get her to pay attention and to listen to all that comes along with it. To explore this a little bit more I wanted to talk about a master storyteller who elevated the where to an exalted position next to the quick. Anthony Bourdain. Anthony Bourdain that late great troubled chef and wanderer was a genius when it came to this for his show CNN parts unknown. Notice he tells you in the title of the show what he's doing focusing in on the parts, the places on the places that perhaps we thought we knew but did it, or the places that we chose not to know because of our own misconceptions. What he did was to treat the place is the central character of his 60 minute documentaries, and I bet you thought the food was the star. Of course, it was, but it was the place that the gap the people who made the food that made us want to come along with Anthony, each season. His documentary on the Mississippi, Sippy Delta is a case in point. Bourdain usually came up with a theme around place. He tried to come up with a question that he wanted to answer. In Mississippi, what I heard and saw in that show was the push pull of the Delta's horrifying past of racial intolerance and brutality. But also, the thick ties of the people to each other into the state that made Mississippi a place like no other in the United States, or even in the world. Anthony talked about the ghost of Mississippi's past, a past so terrible that it made him wonder why of all the places in the world that he traveled to, including Iran and Saudi Arabia and South Africa. He asked, why can't I love Mississippi? And that's what he set out to do, just see if he could try. And that's how he framed the piece. So he took us on a canoe ride with one of his guests in the early morning mist on the Mississippi to catch the fish that would later later become a breakfast for a bunch of African American city kids. It tastes what sustained their forefathers. And that's why he took us to Oxford, Mississippi, where younger white foodies who look like they'd be more at home in Portland than in Mississippi, had come back there to challenge the notion of what people thought about Mississippi, and what they thought about the food. And that's why he most famously took us to poh monkeys juke joint. The image of a shack in the woods where people were liquored up and folks like bat bat Leroy Brown would cut you as soon as look at you. It's what people typically think of when you think of a juke joint. So at poh monkeys, Bourdain's camera squeezed into the tight spaces of that juke joint. It was nestled in the back of a cornfield, but it was one of the few remaining spots on the old blues trail. That birthed rock and roll and R&B. Family night at poh monkeys Bourdain told us is mostly locals, a mixed bag. The music is R&B and pre disco soul, the attitude loose, just familiarize yourself with those rules, and there won't be any problems. Oh man, that line and looking at the people gathered there, heads bobbing to some old blues band hand dancing. That place, it made me someone who's always fiercely feared Mississippi want to go there and get a little bit of that place. Anthony talked about in that place, the complexity, the contradiction and the unexpectedness that lurk around every corner in Mississippi. That was masterful. It was a master storyteller, making you challenge your assumptions about a place that perhaps you thought you knew. I'd ask yourself, I'm no Anthony Bourdain, or my students aren't. What can students do a lot back in 2019 Thomas Roberto, one of the PhD students here in this program and I did a project on the community of Garfield Garfield is located just north of the issue downtown campus. In about 10 days, 20 or so high school students created a window onto Garfield that the locals are still talking about. We created a podcast, an animated motion book, a video game about the change based on all that was happening but also guided the complexity of what was going on. And we also created a high res virtual reality field trip that captured the change that was engulfing the community right then and there. Bourdain, we didn't just jump into it. We set out to know the place. We walked the streets, talked to the longtime residents and the recently arrived. We met the quirky people who live there and talked to the trendy. We admired the various housing styles from the old four squares to the bungalows to the modern alt dwellings. Those buildings marked in brick and stone and wood and stucco the city's evolution from a dusty old western town to the nation's fifth largest city. Garfield, you see was Phoenix's first suburb. It got that way because enterprising residents themselves put in an extension to the city streetcar line. So people wouldn't be afraid or reluctant to buy a plot of land so far out of town. That was in the 1880s and it worked. The fashionable and well connected move to Garfield, but was located, of course, just outside the city line that theme. The theme that emerged for us with Garfield's historic willingness to make its own destiny. Today, newbies moving into the relatively affordable, beautiful historic homes, or renovating reclaimed commercial buildings, find out pretty quickly that if you understand that simple rule in that history, there won't be any problems. For students who might be doing a virtual field trip on their own neighborhoods. Here are a few tips. Just respect the place. Do your research on the neighborhoods origins. Seek out the old timers who can tell you how things like really happened, who can tell you about those little gyms that might take you years otherwise to discover on your own. Talk to the historical society and the leaders at various churches and temples and recreation centers to find out how it really happened. Go out and soak it all in and then tell it not how you thought it was, but simply how it came to be. Look at it with your own fresh eyes. And most of all, just honor the place for what it is for all its beauty and all its warts. Just honor it, tell the truth. And if you do that one simple thing, there won't be any problems. Thank you for listening to me and I'll be more than happy to answer any questions in the live session. Thank you. Obviously, and unfortunately, Rita is not here with us today. But I do want to just kind of reiterate that I mean, even though she's talking about specifically neighborhoods, you can just sob out the word neighborhood for environmental story or ecological story. And everything she says still fits. You should immerse yourself into the environment that you're trying to tell the story about what is it specifically that you're wanting to share with your students. And that's one of the things that will work with you on during our professional development coming this summer is how can we, how can we dig into those stories, how do we connect with people and gain interviews from them and understand it from their perspective, you know, just to continue to so that we can interpret it and through our own eyes for our students and help them better understand the environment in which they live. Who's this. Oh, come on. Hi, I read the hill. We're gonna watch it. I've been a journalist for most of my life. Sorry, my screens are hidden and I cannot get this thing to shrink. Let's do this. Maybe. There we go. Okay. So once we've established some regarding storytelling. Last year we talked about story boarding. So how do you structure that story how what kind of sequence do you put it in what little side. Little side locations do you want to point out or take your students on in this adventure you know do you want to be a choose your own adventure sort of style. Do you want them to be able to kind of go out and back. Do you want them to be kind of a circular motion so what you'll see down here is there a variety of what we call excuse me what we call flow maps. So last year what last year what we talked about a story boarding has now morphed into this concept of creating these these flow maps. So thinking in terms of you know what is the what is that that 360 degree image. What is that place. What do you want to put images and where do you want to put sound clips and movie clips and where do you want to put web pages and do they link to another 360 degree view. And so thinking through how that storytelling may look you know maybe I go forward and then all the way back or I can just only go forward. So this is a variety of ideas on these different types of flow maps that you can apply with your students or even with your with your own storytelling. And then finally another little piece that I want to share with you is Creative Commons licensing. This one has been really huge. This one is has become a major emphasis for us as we get into building these virtual tours because as you can expect there's a lot of media that gets gets integrated, whether it's your own media or usually things that are already pulled from the internet. So helping our students and ourselves better understand how the site and how to acknowledge which are two very different things. And so we work with sharing Creative Commons licensing with our educators but also in the PBL unit that we're testing right now with middle school students. We have an entire section just helping them understand the difference between citation and Creative Commons licensing. So we have a taste here of Creative Commons licensing. This is just a three or four minutes just to kind of get a sense of what is this thing if you're not familiar with it. Let's kind of get you familiar with it and then you understand what will dig into a little bit more later. When we go on the internet it's common to scroll through other people's images, videos, writing and artwork. We might even want to use them for projects in school or at home. And we might think I found it online so it's mine. But that's not the case. We can't treat things we find online like a free for all. The good news is that there are legitimate ways to use material we find online. But first we need to be aware of three concepts. Copyright, public domain and fair use. Why is all of this so important? For one, there are legal reasons for protecting everyone's creative work. And there are also ethical reasons to give credit to the people who create the things we see and find online. Let's start with the legal reasons why we should think twice before copying and using someone's work. The first is copyright. Copyright is a legal protection that creators have over the things they create. Copyright requires people to get permission before they copy, paste, alter or share what someone else has made. Most things that we find, download and copy and paste from the internet are copyrighted. This means that the people who created them own the content and have a say in how they're used. But that doesn't mean that everything on the internet can't be used. Some creators indicate that their content is okay to be used by others. And other content might fall under what's called public domain. Let's look at what public domain means. When we search for content that's in the public domain, it means these creative works are not copyrighted and are free to use without permission by anyone, however they want. According to US law, some content becomes available as public domain after a certain number of years of past since its creation. There are also specific images and documents published by the government that are considered public domain. So, when in doubt, search public domain to find a ton of things that are totally free to use. Now, if we want to use a photo, a video, music or other content that's copyrighted, there are still a few things we can do. We can simply reach out and ask the creator for permission. Many creators are happy to give permission to reproduce their work, as long as they're given credit. The third concept to take advantage of is called Fair Use. Fair Use allows us to use copyrighted work without permission, but only in certain ways and in specific situations. These conditions involve four areas to consider. Amount, Purpose, Nature and Effect. First, we can only use a small amount of the original work. This means someone can't copy the whole copyrighted song in their dance video, but they can use a short clip of it. Second, there has to be a new purpose in the project, meaning that we transform the original work into something new and different. Next, it's easier to claim Fair Use if the nature of the original work is non-fiction or based in fact, rather than creative or fictional. And finally, we need to ask ourselves whether the effect of the new work negatively affects the creator or the value of the original content. For instance, are we charging for or making money off someone else's work? Claiming Fair Use is determined on a case-by-case basis, but it's more likely acceptable if it's one, for schoolwork and education. Two, for criticizing or commenting on something. Three, for news reporting. Or four, for comedy or as a parody of something. We can think of Fair Use kind of like a square and ask ourselves, is it fair and square? So that's the legal stuff, but let's not forget the ethical considerations when using content found online. Think about it, if you created something original and put it online, wouldn't you want others to give you credit for your work? What if they changed it or made money off it and no one knew you were the original creator? That's just not right. So remember, when we go online in search of things to use, keep these three concepts in mind. Copyright, Public Domain and Fair Use. We are all creative thinkers and creators and it's always important to give credit where credit is due. I'll watch me struggle again to try to get away from this video. Okay, so that's just a little about Creative Commons licensing. We dig just a little bit deeper in it in our summer training. So that's just a little taste of all of the things that will be coming at you and learning how to create these virtual tours. All things that are skills that are easily transferable to your students. But honestly, that's really enough talking from me. I think what you guys really need to hear is from Jeffrey because he's going to give you guys a tour, a demo of the actual tour builder. Jeff, you want me to run your slides for you? That would be fantastic. You want me to just say, next slide. Perfect. All right, take it away, Jeff. Next slide. So I don't have all this fun, fancy music with animations that even some of the videos we just asked. I hope you will bear with my voice and my very static slides, but we will get to a cool demo, which will be fun and interactive. But I just wanted to go over just a couple of things really quickly. I mean, there are a lot of components to building a virtual tour. But there's one that Jess really wanted me to talk about today, which is how to choose your location, kind of how to choose the where. So, you know, the cool thing about the where in virtual field trips and virtual tours is that they give you the opportunity to use this immersive media to combine three key elements. And those three combined elements can be a powerful form of communication. The sense of place. And as Rita said, kind of a character, you have this story, interesting narrative, and you've got content, this compelling media, and all three of those together can really be powerful. And I think that's what is really exciting about this type of media. So next slide. So there's some insight into why or how we have chosen the where. So, you know, in other words, how do I choose where to capture the tours that I've been creating over the last number of years. So what do I personally look for in a place and, you know, when the location is a character, as we heard from Rita, then we are looking for unique features on that character. And that means both the place that you see and find, but also in capturing the place. And so with 360 spirituals they make for a really good uses for that basis. As it evolves that character of the technology, the location and the story. So let me show you a couple examples of what I mean like that. So next slide. So, in looking at this, these are all 360. So if I flatten them out, you'll, you have, I'm sure you will learn about the equitangular image, which is a 360 flattened image. These are all what I'm going to show you these equitangular that are flattened out. So this is a 360 image. This is a, you know, I'm looking at it, it's a mountainous area with this road going through it, there's a little, you know, maybe old Roman area back there. So what's really compelling about that. And so at a high vantage point like this, it might not be that interesting but if you next go to a more close of you, what this is is this is one of the most studied geographic and geologic sites on the planet as it relates to the 66 million year old extinction of the dinosaurs. So we're a highlight of that little yellow line. And that's where gel just from all over the world go to really explore this one area that gave evidence to the asteroid that played a huge role in eliminating the dinosaurs. But what's really fascinating about this is when you look at it as a picture, really you can't tell the full scope of what's interesting about this site. Unless you're looking at 360 because as you can see, there's a road right behind it. There's nothing fancy about the site when you're driving by it you may not even notice it. So it's really fascinating when you look in 360 how to take what really appears in some works on paper to be super significant and very interesting to being somewhat uninteresting for users when they pass by and it's just an interesting example of what 360s that humans would do to that. So next slide. So something like for instance here, this is Croatia. That's the island of var. And if you look down in the right corner of the island, you really want to be able to understand, you know, what's so significant about this particular location. Well, if we jump to the next slide and I'll do a detailed shot into that. Geologically speaking, this is where it's one of the only evidence that we see on the planet where we see remains from the 66 million year old asteroid impact that caused a 100 meter 300 foot tsunami that raced across all the oceans, and it just so happened to run into this and we see evidence about here. So by getting up close. Now you can actually look at it if you're jealous you can study the different rock formations. And so it's kind of cool that area now comes to life a little bit better. When we're looking at. So other things when capturing a location, not only what makes the site important, but being able to show the most interesting parts, whether close or at scale and there's two different examples of that so next slide. So for example here this kind of this is actually initial loss though Argentina just kind of looks like an area kind of desert area, somewhat like the badlands, but in this case, I'm going to say next slide. What we do is we highlight the details now this is where I talked about the dinosaurs you know when they go extinct well this is a site that actually highlights the first times we start to see dinosaurs in the evolution of record, which is really cool. So by getting up close, the students were depending on where you put the camera, the spherical, they actually feel like they're there they can look they can see those fossils up close. And you have the ability to just label those. So now it becomes super interesting because now you have identified a little bit more about what look maybe some rocks, and when they, they zoom in a little closer they can see oh these are fossils this was a femur. And then you can have the sense of story that well this is one of the first dinosaurs that ever existed, which is kind of cool. So sometimes things don't look that close so for example next slide. Here is and some of you with the game of thrones fans. This is taken from a zoom I, which is where they shot game of thrones, one of the components. And this is also the 66 million year old boundary, but up close it's not as interesting because you don't really get a sense of kind of place or scope that the character you want doesn't really shout out what that boundary is so it depending on how you want to shoot this content so for example, next slide. Looking at it from a different perspective. Now we can see is where that little inlet is, and just the left. That's where that 60 million year old boundary is. The cool part about this is that you can it's very difficult to see but all the little iterations of rocks they go to the left and right are every 10,000 years. So now, geologically speaking and educationally speaking, this has a little more interesting part of its character it's got a history to it. You see to the left are millions of years into the past to the right or millions of years into the future. And so next slide. You can actually highlight that was simply adding a little bit of text to it. So now you've gone from an image that can tell a little bit of a story. That can tell a little bit of a story or allow them to allow a student to understand a little bit through a dialogue to actually explaining it with some sort of overlay. So what I wanted to do is just pretty much give you a brief insight into when we look for locations. We look for a scientifically significant unique. Let's get that slide. It was in there. Yep, it's all right. No, it's good. We don't have to go all the way back. So, you know what what really is fascinating to me is, you know, uniqueness. Interesting, scientifically significant locations and something that really tells a story. And so as read a cell, read a set that this is where the the location becomes a character it becomes something that can be talked about, like highlighted and you can add different elements of that. So, as I said, there's so many different components of virtual tours and virtual field trips and just want to be to highlight that aspect of location and place before I jumped into giving you guys a demo. So, I'm shared correct. Yep. Okay, good. So what I want to let you know I'm going to give you a tour I'm going to build a virtual tour for you guys going to try to make it quick I try not to go fast on the screen because I know we have bandwidth issues. But I want to let you know that what I'm doing is I'm placing media in the tool. So you can see how the tool works. Jess talked about, there's so many other elements of storytelling and you know how to bring that safe to life. What I'm doing is I'm just showing the technology part I'm not going into the story component of it. Clearly that's a lot more than we have time to do in this particular demo so I will share my screen right now. And the first thing I'm going to share. This is a I'm going to look over screen so I don't think I'm not looking at you all. So that's considered a flow map and as Jess alluded to we go from story telling to flow map but I want to let you this is how I'm going to build the tour in front of you today by using something that you all will become familiar with, or already have. And I'm going to use that as I put these together. So this is the tool that we came up with the virtual tour builder right now for a lack of a better name. We might actually name it better soon but we tried to make it as simple and easy use as possible, kind of in the democratization of allowing others to create this in a somewhat free fashion, and we tried to make it so again it was super simple and super informative intuitive. So, when you come to this tool you won't have these other projects you would just have a button, and I'm going to just make it very clear you click a new project. I'm going to just call this will just make it called grand canyon. And then what I'm going to do now there's a couple ways to upload a panorama. The technology of a 360 image that I just showed you is what I'm going to load into here. I'm going to drag and drop one, and it will show up as it's queued up, and we're going to label that. So I'm going to put my labels on it. So let's just label that the granaries. And then I'm going to add another one. In this case I'll add one right here. And again I just got off screen I just got a folder of a file that I'm just going to drag and drop that in. And I will type this, the confluence. And for the sake of fun I'm going to add one more, just because Jess did point out the flow map and navigation. So I'll just show you a way that we can hop to one hop to another one and hop all the way back. And this one we're going to call the narrows. And there we go the nose. Now, interestingly enough they are all here in our panoramas file in our project. The simple thing that we've made is all you do is click on the panorama and it opens up. And now we are in a 360 degree environment simply from it does all the compiling on the back end for you. And we're ready to go. So the first thing I'm going to do is I'm going to add in the panorama properties. I'm going to add just a title, or a little explanation that you'll see where it pops up. I'm going to add a little description on a super fast type as you can tell. And there we go. And I click, save the changes. Now you're going to see some of these go in and you'll see where they appear when we, when we preview the panorama. But the first thing we want to do is let's add a picked. So I'm going to come right up here to the granaries. And I'm simply going to double click. I'm going to click on the properties window and we can select the type of hotspot we want to add. So I'm going to add an image right here. And that image I'm going to title it. Let's title it Granary bins. And we're just going to give a little text on those bins. And put it right here. And we're going to upload a pic. And I'm just going to drop that picture right there. Now I will say that the panos and the pics and the PDFs all have a 10 megabyte limit right now. We did that for bandwidth issues and whatnot and we're exploring we want to go a little more a little less on that but just know that when you're putting your files together if they're not uploading check the file size. So we're going to hit accept. And there it is so it's in there. Now what we're going to do is we'll add a couple more images so we can go the process again one. We'll put down here and we'll put this as a image as well. And we're just going to call this one boats on the river. And we'll call that what it's like. We're going to put it on the river and we'll just drag this little boat picture in here very simple and up it goes. Now one other way to add a hotspot is you can come here to this little tour here you click here and it will have hotspot and you can move that hotspot around. So I'm going to put one right here I'm going to change it to an image. And we're going to call this one. This is where a little humor comes in maybe necessities. And we'll put that one right down here. It's going to be important I'm not just putting in there for a reason there's important not for travel reason but you'll see what I do when I input another piece of technology. So now we have three pics in our in our panorama and we want to add a video. So the types of video that we add we'll put one right here. And we will make this a YouTube video. You can use YouTube or Vimeo we stream those in. We're just going to make a title we're going to call this Dr. Simkin. And we're just going to call it an overview of the Grand Canyon and I'm going to take a regular HTTP YouTube link and paste it in right there. That's all we need to do. And we're good to go. So the last thing I'm going to put on this particular panorama is I'm just going to show you that we can click here and add a PDF. So I'm going to take a PDF. And we're just going to call it river guide notes. And I'm going to upload our PDF. I can drop that in there. Again, 10 megabyte limit. There we go. While I'm saying that we do have features up here that you can delete the hotspot. You can revert it in case of any changes. And you can accept it. And it does have an auto save which is kind of nice. I just thought I'd point that out. Now what we want to do is we want to jump to the next panorama. We have to be able to get there. So we double click again for a hotspot. And in this case, we're going to use the panorama hotspot. We want to have a title for that. So we're going to go to the confluence first. And what we do is we select our dropdown to the confluence, which is already loaded. We already had that as one of our panos. And there it goes. And we're good to go. Now, how do we edit that we can go back to the panoramas and open the confluence panorama, as if we did, as we did with the main one, or we have a set up here to be able to cycle through our panoramas. And here for the sake of time, I'm just going to add one little image here. All this data image here, as we did before, and we're just going to call this the mixing point. And let's add some text in there. And we'll bring the mixing point right on in here. And there we go. We also want to add a little title here. Just like we did the other one for the confluence. We'll just say these are the sacred waters of the Grand Canyon. There we go. Now we have two options here we can go back we want to have our navigation is just showed about our flow map we can go back to the granaries. So we can click here and make a simple panorama that takes us back to the granaries. And we'll just put that right in here and give a little hotspot back to it and we're all done. Or maybe we want to go one more path down the river. In this case we simply change it to panorama, call this the narrows, and we're good to go. Now we can't just be done because we just made a link to the narrows so let's go to the narrows which is an actually interesting site, because it's a place where you see piano rock. We can have an image there but there's what piano rock looks like, which is kind of cool. And let's say we want to start this view when we get here. Well we have spots up here that can do that. So we want to set the default view for the current panorama to this. So we do that. So that means when we jump into this panorama, we'll see this particular image first of this view. We'll be able to jump back and instead of jumping back to the confluence, let's jump all the way back to the granaries. So we put that in here, and we jump back to the granaries, and we're good to go. Now, when we come back to the granaries, this is where we are going to start. Well this isn't that appealing. We maybe want to look at this down river view right here. This is the same thing here. We can set this as the default. But maybe we've started with a different panorama. We can also set this as the start panorama for the project. So we can change that depending. So we'll just make sure this one's set. Now I told you about our little spot with the loo. What I'm going to add here, and this is a slightly more advanced element, but it is something that I just wanted to show you that's a possibility and you have the ability to do that. That is we're going to add a URL, which gives you access to a web page or any other kind of HTTPS. It has to be, that site has to be able to allow you to share it. But I'm going to add a URL of a gigapan, one of the gigapans that we have. So I'm just going to call this zoom in. There we go. And I'm going to hit OK. So now let's say we're done with our panorama or our project. I can preview it right here so I can click here. And I can preview our project. And here it is. We see the title and the opening text I put in up here. We see links down here to our other panoramas. If I wanted to, I can close those down. I can view the pics. Here are boats on the river. What's like on the river? I go a little slower. Here is a picture of the Granary Vins that I put in there with some text in there. Here's our video of Dr. Simkin. We're sitting at about 600 feet above the level of the river. All works. I can look back down here. Here's the PDF that we put in. We still have to go through the loading of that particular file. And there we go. So here's our river guide that we put in there. We have the ability to zoom in as a regular PDF functions. We have our Lou, our necessities down here. And I'm going to skip the gigapan for just one second and we're going to jump down river. So I can jump down river to the confluence. You can see that that's where we're going. It's a little highlight. The confluence pops up. We can look around. I can look at the mixing point. Of course we can jump back over here. And it shows we've already been there to the granaries. Or we can jump to the narrows. So I will jump to the narrows. There's the piano location that we set. And now we can jump back to the granaries. Now the other part that I wanted to highlight was this spot I put in here. This is a little more advanced, but it allows us to load things like gigapans. Gigapans are very large as a term giga image, but it gives us the ability to completely zoom in to different features. This might not stream as quickly as it's happening, but it will zoom down to looking at different features. You can see that there's a full capability of moving around as well as using the thumbnails on the bottom if they were created. And as I scroll over here, you could actually zoom right down in here to the loop. And so you can see that down there where that would be as it relates to a campsite. That's something you were to highlight. So Jeff, there's a couple of questions that are over in chat for you. Sure. One is what is the recommended amount of details to add in a panoramic view? So like, should there be limits or are there limits? Yep, so let me, yes, perfect. So one thing, so one more thing to do if that's okay. This was where we finished and we did a preview. So I don't want you all to miss this section. You saw some of the features up here. This is where you can see all your hotspots and jump around to them directly. But your panorama isn't published at this point. You have to come back to your projects, your panorama or your panorama section. And here's your share button. When you click the share button, it tells you you're now making a public you should own the rights as Jess said about the copyrights that they're yours and you confirm it. And it gives you a shared link and this is an external link that now is can be shared and is it publicly viewable by everyone. And it's, it's that simple. So I'm going to stop sharing and then answer the questions. So what is the amount of text that is completely dependent on you. We've seen over time that sometimes when you put a whole bunch of information in the spherical and panorama. A student could get lost and where they've been where they're going. What's what, but also it's covering up your character. So you want to be sensitive about how you use that type of media. And there are ways that maybe you combine images into one image that pops up. Or one of the questions that we heard yesterday in a different workshop was, how do you navigate a user through multiple images if you want them to progress. So an idea there is that you could have the same panorama since it's going to be already cash and you link from maybe the granaries to the granaries but the second granaries has more images and the next one maybe has more images. And so you can take the user on a guided tour that way if you'd like to do that. So just yeah anymore. So the answer is completely up to you. You just don't want to overwhelm your user. Are there limits to how many panoramas you can upload. No. And then do you want me to address the one about where the tool can be accessed. Sure. So currently we are in beta testing with this tool so we have just a clutch of people that are teachers that are working with this and a clutch of students that are working with it. And so once we have all of our feedback in from those those beta testers we can make some subtle modifications. And actually that does lead to something Sina is going to share real quick. Let me do my quick screen share here. So a little bit about summer professional development. Okay, so as you may recall from last week the two teachers who shared their virtual tours, Sarah Bowman and John DePuis had both created them during our summer professional development. And many of you had asked if we would be offering that again this year and here it is. So we will have a workshop July 19 through 20 second. So it's over four days but it's about an hour and a half, maybe two hours each day with some assignments kind of in between asynchronously. And if you do the workshop you will get early access to this tool. So we, we haven't released it sort of in mass yet. So we have a certain number of accounts that we're giving out at the moment and so anyone who attends the workshop will get early access to the tool. And we'll cover all of the things that we've identified throughout our experience or years of experience creating virtual tours about what is it that makes a virtual tour walk you through that process of storytelling, creating your flow map, all the tools and resources that you need and have access to, as well as curating your multimedia. As Jessica mentioned before we talked about Creative Commons licensing and then virtual tour builder. And so that is July 19 through 22. And it will be limited to a small group of participants. So if you're interested, we will be sending out a post event survey. And in that survey you'll have an opportunity to reserve your spot and get on the mailing list to get future updates. Absolutely. So basically if you want to early access to the tool you got to sign up for the PD this summer. We have our slow roll out program to get this thing out into the hands of educators. So let me take a moment and thank you Jeff for taking us on a demo tour of the virtual tour builder. I am super excited about where we're going in the future with it. And specifically regarding all of the cool storytelling and place based education and research, and also some of the cool tools that you can use to make your tours, which is my transition to Tom. It's a terrible, terrible transition to Tom, but there it is. So Tom I'll go ahead and turn it over to you. Oh, and Tom, you were a little quiet earlier so maybe speak just a little louder. Yeah, nobody's ever told me that awesome. Right one. So are you seeing my slides or are you seeing my presentation. Can't hear you. I am seeing. Okay. All right, so I have a lot to cover so my apology. I'm sorry, my bad. I see what you meant. We see the slides on the side. Yes. Let me try sharing and you should be able to go to I think it's view and swap displays I think that's where it is, or we can do it this way too. I'm just going to blow through this really quick. So my motivation. I'm really interested in the promises and perils of the Anthropocene so I'm interested in building virtual field trips for those challenges climate change population. That is the motivation for going back to school at this age. I want to touch on place real quick because place has been centered to this presentation. So a place can be any size or scale, and it's any location that we give meaning to, and a place can be real remote virtual or imaginary. And places when we talk about place based education places populate a cultural landscape that's interwoven with a natural landscape. And that cultural landscape is the piece that makes something a place based experience. That makes a virtual field trip place based instead of something that doesn't tout the cultural element that is just a field trip. You have a meaningful place to you and why it's meaningful and how you feel when you think about that place. And that could be these are good guiding questions to choose what you want to feature in your BFT. As far as place based education in the in the field it means a certain thing so field learning occurs in places and it's by its nature place based. So by focusing on global concepts of place based teaching technique lets the natural and cultural meanings of a place dictate the curriculum. So if we are going to go up to the South Rim of the Grand Canyon, you could teach your students in the classroom about stratigraphy geology fossils biodiversity, all that. When you do a place based on education experience, the place dictates what you teach so you can pick elements of that place and let the place lead you into what you want to share. We make intellectual and emotional connections to places, and this is the formal definition of sense of place. We form places with meanings and we form attachments, and that sense of place is the set of all of these meanings and attachments held by either yourself or group for any given place. So sense of place is a combo of the meanings and attachments we form to a place. So field trips are place based, and an increased sense of place is a learning outcome of place based experiences. So an increased sense of place has cognitive effective and behavioral components. By featuring a place, the natural and cultural landscape, you can create a VFT that deals with cognitive gains, effective behavior, or any combination of them. And there are specific tools and validated instruments that can measure pre to post changes or gains in sense of place. My PhD advisor, Steve Sinkin is well versed in this, and these are, there's a kind of a roadmap of how to create a place based educational experience. And it's to focus on the natural attributes of the place to meaningfully integrate the cultural attributes, teach with authentic experiences. Promote environmentally and cultural sustainable practices, and then encouraging guide students to form their own intellectual and emotional connections. And how do we do that. You know so we can do that in person or we can do it virtually. The biggest thing I would point out is listening right here model strong place attachment for your students, your passion, your identity, your attachment to a place comes through to the students and and your excitement becomes infectious. Well, Chris Mead led a group in ETFs our research group and he found that the VFTs led to statistically significant content knowledge gains for high school and undergraduate settings. And my master's thesis looked at in person virtual virtual field trips, and the virtual field trip students scored higher pre to post evaluation than in person. So armed with this evidence based research, we asked the question, can students and teachers be given the tools to produce VFTs using our principles. Keep in mind that when Jeff produces a BFT for ETFs, he leads a team, and there's significant time and resources. So we have this idea of can we democratize this process so we can get more quality content into the field. So we've launched studies to identify just that can we teach teachers and students to build these. So we've done this in a number of settings summer camps semester long courses professional development, but learners work in small groups and they get instruction and technical advice. They each choose a locally relevant science or sustainability topic, and then they go and capture the content. And much like Rita have that video earlier we bring in guest experts in all of the components. When I think about virtual field trips in terms of my research, I break them down into storyboarding and research as an element content acquisition as another element design and production as another element and then finally testing and implementation. There are a number of ways to break that up. But those are some ways that I look at them. And these are just a sampling of some of the student teacher produce VFTs this endeavor has produced. So we've got some quality content that is being then developed by teachers and students and then being used in other classes as a teaching tool. So this is a very exciting development. And the results quickly of this where students and teachers can definitely be taught and student produced VFTs can be used as a learning tool for other students. Students reported strong learning gains and VFTs are viewed positively. And more importantly, teachers indicated that of course whether students created their own VFTs would be educationally valuable. And that's the crux of my research and what I'm most interested in. It is one thing to consume a VFT. I'm studying the sense of place gains for students that consume a VFT. But my real interest is if we can teach teachers to be comfortable with this technology, let them build them so they assign the production of a VFT to students. Then I think the sense of place gains it makes sense to me will be significantly greater than simply consuming. So our goal is to both teach you how to do this, but to have you assign this over a period of time and let the students go and build these under your guidance. So let's just talk. We use the term IVFT. That's up in part of my research. It's what Jeff so do and it's married with an intelligent tutoring system. But their elements are high resolution 360 photos. They anchor the virtual field trips as Jeff showed you. And then we use overlays that can have gigapixel or traditional photos and 2D 360 video. You can have cartography 3D objects and text. So those are some of the elements. What we've used is smartphones with the students for photos and videos. Some have bridge mirrorless or DSLR cameras that they use. We recommend a smartphone microphone for audio. Sometimes you might need a lighting equipment, which can be as simple as the flashlight on the back of your smartphone. We recommend tripods and then computer hardware and software, mostly for photo and video editing. And I just want to jump into some of the 360 cameras you can spend as little or as much as you want. And I'm going to go through this quickly and turn my thing, my PowerPoint off, because I have a lot of these cameras that I'd like to show you. I'll just hold them up to my camera. 360 offers things from $15,000 down to $200. RICO has the theta and the two versions of that we have used both of these in BFT classes at ASU. Garmin offers something. And because it's Garmin and you think of GPS, it has all GPS sensors built into it so your videos can track your elevation, your speed, your temperature, your direction, and things like that. GoPro has a 360 camera. And then these has two different cameras. So a quick overview, all of the cameras that I just showed you capture both photos and videos, and they can be operated either directly from the camera, or many of them are operated via smartphone. So the advantage of a smartphone, you would link via wireless to the camera. There's a little app on your smartphone, and it lets you be out of the way. I spend most of my time trying to hide from my own 360 cameras, so I'm not in the photo. So being able to have an iPad or a phone to take that picture and be away from the camera is really helpful. And a lot of these cameras include editing software for both your smartphone and computer. And a couple of tips. It's always helpful to use a tripod if you can remember 360 camera captures everything. There's no place to hide. And also, most cameras and I'll show you have two lenses, and I'm going to give you a tip about how to place those lenses. And there's a number of sites you can just search for 360 photos where you can upload your 360 photos and view them as a 360 image. The last thing I want to touch on before I show you some cameras is that you can use your smartphone for the entire production process. In addition to taking photos and videos, there are free apps or very inexpensive apps that will turn your cell phone into a 360 camera. And they include Google Street View. I've listed a bunch of them here. But if you search 360 photos in either the app store or a play store, you'll find these. And you can shoot those handheld or with a tripod. Some will shoot spherical. So you're inside of a ball. Think of that. Others will shoot cylinders. So you're inside of a cylinder. And there's a number of inexpensive heads and I'm going to show you one that will work with your phone and actually spin it around and take those photos for you. So at this point, I'm going to stop sharing and I just want to bring up. I just want to show you a couple of these cameras. So, you know, on the very high end, you have something like this, which has six lenses and this can shoot 360 photos and videos and both 2D or 3D deliverable to a screen, a phone or a headset. On the other hand, you can have something like the Theta, which has two lenses. And what I was telling you about, if there's going to be a stitch line between these two lenses, if you want to use a 360 camera, you want to make sure that your subject is centered on one of these. That's because your stitch line. If you did this this way, you'd stitch right in the middle of my face and my nose is big enough and it would distort my nose and you wouldn't like that. So you always want to face the lenses to your most important thing in your scene. And let me interrupt. Let me interrupt you there. That was the theta five. Yeah. That was the Z one. Yeah. So the theta five is discontinued. They have they replaced it with this theta SC two. So we have ordered 15 of these that are things available for on loan. So I want to let you all know that that is a possibility we are currently working on our checkout system for these and what that's going to look like. So just be aware that we have these we have tripods with them and we also have pickers so that if you want to use something like this with your students, they don't have to use a cell phone. Here's another example. This is a small 360 camera, but it opens up in case you want to do 180 degree work so you could do 3D in 180 degrees photos and videos. So, you know, you can immerse yourself as much as you want in this technology if you really want to capture three dimensional sound you can get a little mic like this that captures sound in all directions. So that when you spin in a video, the audio field matches what you're seeing. And what else do I have to shoot. I have mentioned. This is a little motorized. It takes two batteries. There's an app for my phone. You can put your phone in like this. You can put this on a tripod and it would literally spend the phone take all the pictures for you and build you a 360 photo. You can also buy an app for your phone. And if you buy an app that does cylinders, you are deaf just doing this. You're taking a picture where it tells you to. And if you do something that's spherical, in addition to going around, you're going to go up and down and that will create a spherical image for you. One of the things that we know we recommend, and I think Jess said that she's purchasing someone, but a simple, inexpensive VR tripod. The camera can go on here. See this. And now there's no part of the tripod obstructing the cameras view. So these are meant for 360 cameras. And very inexpensive for between $5 and $10 you can get yourself a little cell phone mount that would go on that. And now instead of hand holding for photos or videos, your phone can go on there. And the last piece that I'm going to share with you is people will tolerate semi bad video, but they typically do tolerate bad audio. So, you know, for $40 or $50 you can get what a smartphone like and they're made for Android or iOS, if you have a headphone jack or if you have a lightning. Basically, go on to your camera like that. And now when you're filming, you have a little directional mic, and the audio is infinitely better than what you would collect with your just built in microphones. So that is a very quick overview of kind of what places sense of place, and some of the cameras that are available or your smartphone alone. And I think, Jess and Sina would love me to say, we go into incredible detail in the summer professional development series, and actually teach you how to use these things. So, thank you for your time and Jess I'll turn it back over to you. Thank you, thank you so much. Thank you both. I know what we're asking of you was a whirlwind tour in a very short period of time. We found that at least the whirlwind tour was was incredibly helpful and getting you to kind of start to imagine what kind of stories you might be able to tell for your students. And if you're interested, signing up for the summer professional development. So Tom Jeff you guys are invaluable to this process so you know we're going to be calling on you again to help us out this summer. So you'll be able to see them again and get a little bit deeper. Just a quick plug. If you are not already a member of the network there at least nine of you. I know that they're not already the network I highly recommend to join everything that we talk about is completely free because we are NASA so just go to infiniscope.org, make your request and stay up to date on all of our new content releases, upcoming training opportunities and social events. Also don't forget to connect with us via social media so we are on Facebook, Twitter, Instagram, YouTube and Pinterest. We have a couple of different hive spaces we also have a high space in Slack that that's our community space. And of course you can reach out to Sina and I ads anytime. And as seen I had mentioned there will be a follow up survey so we are getting the attendee or the right attendee list of the conclusion of this so you'll be receiving an email from Chris Mead. So he works here in the Etx Center. It will have the survey for both of these sessions. There are questions in there for you and if you want us to save your spot make sure that you note that if you're just interested in hearing about it when we're ready, note that also. Other than that we have about seven minutes left so if there are any outstanding questions you have for us by outstanding I mean the best questions, let's see. Let's see questions. So there was a question about what is the mic and Tom said it is the road video mic or ODE and he is 100% correct audio people just never forgive that audio. We have experienced that time and time and time again. Will the recordings be available I think that is a Kelly question. Yes, they will be available and hopefully sooner than later. We will be sharing that link out to you all and it'll also be available on our website at sustainability festival.asu.ubu. Awesome. Thank you so much, Kelly. Any other questions Katrina is spellbound by all of the amazing creations. I'm super excited to see what people create, to be honest. It's a maker in the virtual world. That way, it's a totally different type of maker movement. I hope it's not lost on anyone that we teach how to build virtual field trips, virtually, virtually. So clever. And then there's another question in the chat for you Kelly when is the sustainability sustainability will help this year. The sustainability solutions festival this year this is our last event at the 2021 sustainability solutions festival. However, we do have teacher resources available for bear central news. We have a fund book every year that talks about environmental issues and sustainability issues at a third grade level with some activities we also were planning next year and next year we're you know, alternatively a hybrid model for next year going in person and some online. And we're planning to host that during February of 2022. So we'll have some in person stuff in the works with Arizona Science Center and some awesome teacher opportunities with them as well. Awesome. And you know in celebration or I guess in recognition of this is the final part of the event there we go. Let's see Bridget great question when we're out of testing phase will this be available for teachers to use through a membership slash fee. For the next four and a half years, it is definitely 100% free with an R no fee with the E. At the conclusion of that we're not sure we continue to seek additional grant funding to make sure that these kind of tools will be made available to you for free. And if this one is not then there are definitely pieces and parts that maybe it'll be more of a premium model as opposed to a free model. But definitely for the next four and a half years, but honestly anything that you publish is money, it's published it's, it's out there in the world. See will the summer PD be available for other teachers. Yes, Chandra. We will make that openly available but we are limiting the number of seats available. I don't know how many seats were limiting to get all the conversation with Jeffrey as we continue to move forward. He's the keeper of all of my little number of little licenses. Any other final questions in our last few minutes together. Oh good I'm glad you found it informative what we appreciate all of you being here and meeting all of our new new people. It's been an absolute pleasure sharing with you all of the cool things that are coming to the infinite scope network and again a huge thank you to our presenters Jeff and Tom and Sina do the stuff without you. Well thank you all. We will be seeing you in the high space. See what you think.