Digital video: professional Books

Book SynopsisMaxim Jago is an Adobe Master Trainer, award-winning writer-director, consultant Futurist, and the author of several previous editions of this book and several editions of Adobe Premiere Pro Learn by Video. He speaks at film festivals and media technology events around the world, and has trained all types of editors from schoolchildren to university professors, from ABC's top editors in Australia to the BBC's tech gurus in the UK. Visit his website at http://maximjago.com.

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Book SynopsisRussell Chun earned his master's degree in medical illustration from the Johns Hopkins University School of Medicine, and used Flash for over eight years to develop interactive, instructional multimedia. He has taught Flash at the beginning through advanced levels at a number of institutions including the College of San Mateo, the Center for Electronic Art, the UC Berkeley Graduate School of Journalism, Cellspace, Columbia University Graduate School of Journalism, and City University of New York Graduate School of Journalism. He has also taught Flash at national conferences, regional user group meetings, and corporate workshops. He is the author of several advanced Flash books, Macromedia Flash Advanced Visual QuickPro Guide for versions 5, MX, MX2004, and 8. He has written several Flash articles for MacWorld and for SBS Digital Design.Table of ContentsGetting Acquainted Creating Graphics and Text Animating Symbols with Classic Tweens Layer Parenting and Character Animation Animating with Modern Rigging Animating Symbols with Motion Tweens Animating the Camera Animating Shapes and Using Masks Inverse Kinematics with Bones Creating Interactive Navigation

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Book SynopsisIn this indispensable guide to digital film-making, leading film-maker Mike Figgis offers the reader a step-by-step tutorial in how to use digital technology so as to get the best from it. Mike Figgis, with experience from films such as Miss Julie and Leaving Las Vegas - for which he received two Oscar nominations - is an authoritative and insightful guide through the details of film-making. He outlines the equipment and its uses, and provides an authoritative guide to the shooting process - from working with actors to lighting, framing, and camera movement. He further dispenses wisdom on the editing process and the use of sound and music, all the while establishing a sound aesthetic basis for the digital format. This handbook is essential whether your goal is to make no-budget movies, or simply to put your video camera to more use than just holidays and weddings.

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Book SynopsisRoll the dice to create your very own Minecraft story in this tabletop game?with dice, instructions, and an adventure book!When a village is raided by illagers, its poor inhabitants seek the aid of a mighty hero to track down the invaders. They need someone brave, clever, and determined. They need you!Make crucial decisions, craft powerful items, roll dice to battle mobs, and explore the Overworld on your epic journey to discover and destroy the mysterious Temple of the Charged Creeper. This book contains: A complete adventure book with a bestiary of wicked mobs and a collection of perilous adventure locations. Four dice to help?or hurt?you as you battle mysterious foes. A removable character sheet and rules reference to help you track your heroic progress (or to let you play with a friend as your narrator!). So sharpen your sword, prepare your pickaxe, and grab your green dice. Your epic Minecraft adventure begins now!

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Book SynopsisBillions of you have watched their videos and millions of you have followed them on social media.So here we go; it''s time to back up because YouTube superstars, The Sidemen, are finally here in book form and they''re dishing the dirt on each other as well as the YouTube universe. There''s nowhere to hide as KSI, Miniminter, Behzinga, Zerkaa,Vikkstar123, Wroetoshaw and Tobjizzle go in hard on their living habits, their football ability, and their dodgy clobber, while also talking Fifa, Vegas and superheroes. They''ll also give you their grand house tour, letting you in on a few secrets, before showing you their hall of fame, as well as revealing some of their greatest shames.Along the way you''ll learn how seven of the world''s biggest YouTube stars started off with nothing more than a computer console, a PC and a bad haircut before joining forces to crush the internet. And they''ll tell you just how they did it (because they''re nice like that) with their ulTrade ReviewIt's a brilliant read which is funny and informative all at once. * The Sun *

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Book SynopsisStep-by-step instruction and outlines of industry standard best practices for VFX productionTrade Review"The Visual Effects Producer is absolutely essential reading! Finance and Zwerman cover every aspect of producing visual effects in a clear and concise manner that will inform novices and industry veterans alike."- Gale Anne Hurd, Producer (The Incredible Hulk, Terminator, Terminator 2: Judgement Day, Aliens)"This indispensable resource for VFX producers (and would-be VFX producers) is not only user friendly but jam packed with the information and techniques you'd otherwise have to learn the hard, painful and expensive way!"- Jeffrey A. Okun, VFX Supervisor (The Day the Earth Stood Still, Blood Diamond, The Last Samurai)"A must read for all filmmakers and aspiring filmmakers. The authors have combined wisdom and practicality to produce an extraordinary book that explains the business of producing VFX without losing sight of the art and magic."- Yudi Bennett, Member of DGA and Academy of Motion Picture Arts & Sciences; Frank Capra Award Recipient(StarTrek Generations, Pleasantville)Table of ContentsDigital Effects: The 15 Minute Version; Basic VFX Technologies; Who You Gonna Call- The VFX Team; Breakdowns; Scheduling and Budgeting Production Support; Budgeting the Effects; The VFX Database; On-Set Operations; Production Calendars; Production; On-Set References; Operating Independently; Production Reports; Stage and VFX Photography Procedures; Models and Miniatures; The VFX Producer's Role During Post; VFX Editorial; Post-Production Scheduling Issues; Legal Matters; Working Overseas;

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Book SynopsisTechnology has spurred the growth of huge image and video libraries, many growing into the hundreds of terabytes. As a result there is a great demand among organizations for the design of databases that can effectively support the storage, search, retrieval, and transmission of video data. Engineers and researchers in the field demand a comprehensive reference that will help them design and implement the most complex video database projects.Handbook of Video Databases: Design and Applications presents a thorough overview in 45 chapters from more than 100 renowned experts in the field. This book provides the tools to help overcome the problems of storage, cataloging, and retrieval, by exploring content standardization and other content classification and analysis methods. The challenge of these complex problems make this book a must-have for video database practitioners in the fields of image and video processing, computer vision, multimedia systems, data mining, and many othTable of ContentsIntroduction. Video Modeling and Representation. Video Segmentation and Summarization. Designing and Interacting with Video Databases. Audio and Video Indexing and Retrieval. Video Communications. Video Processing. Case Studies and Applications. Panel of Experts: The Future of Video Databases.

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Book SynopsisWhen the filming stops, the real video production work begins Ever wonder how your favorite video creators regularly put out such slick content? They're probably using Adobe Premiere Pro CC, a go-to video production app for both professional and amateur video creators. Adobe Premiere Pro CC For Dummies walks you through each step of editing and producing slick and stylish videos that stand up to what the pros post. From transferring your digital movie files from your camera or phone to your computer all the way to uploading your latest creation to YouTube or the web, this book has the info you need to bring your ideas to life. If you're new to video production, you can begin at the beginning with the handbook's user-friendly guide to the basics of setting clips on the timeline and making them flow seamlessly. Or, if you've already got a few videos under your belt, you can skip right to the more advanced material, like special effects and handy tricks of the trade. You'll alsoTable of ContentsIntroduction 1 About this Book 1 How this book is organized 2 Icons Used in the Book 3 Beyond the book 4 Part 1: Getting Familiar with the Adobe Premiere Pro Universe 5 Chapter 1: Perusing the Premiere Pro Landscape 7 Understanding What Premiere Pro Can Do 8 Dissecting the Workspace 8 Breaking down the interface 9 Ingesting and Editing 9 Understanding the panels 10 Getting around the workspace 10 Having a Panel Discussion 11 Knowing the Project panel 11 Spending some time with the Timeline panel 13 Making the most of the Source and Program Monitors 14 Grasping the Effects and Effect Controls panels 15 Feeling out the other panels 16 Using the libraries 18 Tooling Around the Toolbar 18 Chapter 2: Understanding the Premiere Pro Workspace 21 Identifying Your Needs 22 Working with your computer platform 22 Are you a Mac? 22 Or are you a PC? 24 Naming PC models is a little harder 24 The systems are not that far apart 26 Look before you leap on your PC 26 Understanding Workstation Requirements 27 Determining if your computer is right 28 Breaking down the differences between Mac and PC 29 Respecting the graphics card 29 Needing GPU acceleration 30 Random access memory 30 More Hard Drive Space, Please 30 Solid-state drives 31 Conventional hard drives 31 Not all hard drives are created equal 32 Scratch disks 32 Managing other computer components 33 Keying into keyboard types 33 Eeek, a mouse! 33 USB-C is the new black 34 Looking at Capture Gear 34 Smartphone capture 34 Top-of-the-line video cameras 35 Broadcast video camera 36 Consumer-level camcorders 36 Digital single-lens reflex 37 Point-and-shoot video options 37 Mirrorless camera 38 Going GoPro 39 Card readers and capture devices 39 Audio recorders 40 Going to the videotape 40 Defining Users 41 Neophyte user 42 Intermediate 42 Professional photographer 42 Video enthusiast 43 Social media influencer 43 Chapter 3: Adjusting Premiere Pro to Suit Your Needs 45 Setting Up Your Workspace 45 Subscribing and installing software 46 Feeling welcome 46 Using workspace presets 46 Edit workspace order 49 Adding a clip description 49 Customizing and saving your workspace 49 Moving panels 50 Saving your workspace 50 Hiding workspace presets 51 Using a second monitor 51 Using your iPad as a second monitor 52 Set up your iPad monitor 53 Using a broadcast monitor 53 Breaking down keyboard shortcuts 54 Personalizing keyboard commands 55 Single Key shortcuts 56 Using a skin 56 Setting your scratch disk 56 Render files 57 Pointing in the right direction 57 Tweaking Program Settings 57 Setting preferences 58 Optimizing performance 60 Fine-tuning your setup 60 Customizing the Windows 61 Doing the panel dance 61 Sizing the monitor 61 What’s inside counts 62 Adjusting the timeline 63 Modifying the Project panel 63 Freestyling with Freeform 63 Understanding the Audio Mixers 64 Audio Clip Mixer 66 Part 2: Gathering Content 67 Chapter 4: Sorting Out the Elements of Video Production 69 Defining Digitized Video 69 Binary refinery 70 Digital Video 70 High Definition is the flavor of the day 71 Fawning over 4K 71 Vying with VHS 72 Explaining Digital Video Fundamentals 72 Understanding how video works 72 Dealing with aspect ratio 73 Frame rates 73 Understanding timecode 74 Understanding formats 74 Breaking down the best file types 74 Capturing Great Video 75 Controlling the camera 75 Arranging the scene 77 Understanding shot lingo 79 Lighting the scene 80 Waiting for the sun 80 Communicating through light 81 On-camera video lights 81 The French call it mise-en-scène 83 Chapter 5: Prepping Your Movie Projects 85 Starting Your Project 86 Creating a project 86 Opening an existing project 88 Tweaking the Settings 88 Project settings 88 Title safe margins 89 Getting those preferences right 89 Timeline preferences 91 Auto Save preferences 91 Playback preferences 92 Scratching the scratch drive surface 92 Making a Sequence 94 Setting each sequence 94 Making a custom setting 94 Adjusting the Timeline 96 Increasing the height of the video and audio tracks 97 Fill the screen with a panel 98 Chapter 6: Importing Media into a Project 101 Starting Your Project 102 Ingesting media 102 Adobe Bridge 103 Transferring from a card reader 103 Editing directly from a card 105 Capturing tape from a camcorder 105 Downloading clips 107 Importing media 107 Adding music and audio clips 108 Recording ADR 108 Sound effects 108 Adding a soundtrack 109 Finding the right music 109 Grabbing royalty-free music from the web 110 Prepping still images for the timeline 111 Organizing Media 112 Creating bins 113 Color coding your bins 113 Tagging with metadata 113 Understanding data types 115 Move it on over 115 Entering data 116 Bins versus tags 116 Part 3: Editing Your Masterpiece 117 Chapter 7: Preparing Your Video for Editing 119 Getting the Lowdown on Your Clips 120 Analyzing clip details 120 Keeping bins lean and clean 121 Playing clips smoothly 121 Altering playback resolution 122 Knowing how far can you go 122 Changing playback resolution 123 Working the In and Out Points 123 Setting In and Out points 123 Using markers 125 More than a bookmark 125 Types of markers 125 Making your mark 126 The Markers panel 127 Modifying Clips 128 Scrubbing through the clip 128 Using keys 128 Using the arrow keys 128 Marking the scrubbed clip 128 Adjusting clip duration 129 Changing speeds 129 Rate Stretch tool 130 Here’s how to use it 130 Reversing the action 130 Understanding Clip/Speed Duration 131 Rippling through the Ripple tools 131 Ripple Edit tool 132 The Rolling Edit tool 132 Chapter 8: Editing in the Timeline 133 Managing Your Sequence 134 Populating the timeline 134 Adding clips 134 Backing it up a bit 135 Moving clips 136 Dragging clips into the timeline 136 Adding clips through the Program panel 136 Source Patching and Targeting 137 What you drag isn’t always what you get 138 Fine Tuning Your Clips 139 Trimming clips 139 Handling enough clip frames to trim 140 Naming clips 140 Expanding to see waveforms 141 Freezing frames 141 Choosing Insert Frame Hold Segment 143 Advanced Timeline Tricks 143 More advanced clip movement 143 Using the Track Select tool 143 Overwrite a clip with an adjacent clip 143 Considering the three-point edit 144 Back-timing edits 145 Trying a four-point edit 146 Making the right choice 147 Chapter 9: Transitioning between Clips 149 Choosing Effective Transitions 150 Perusing the transition palette 151 Why do you need transitions? 151 Grasping Transition 101 153 Setting default transitions 155 Apply default transitions 156 Controlling transitions 156 Using clip handles 158 Advanced Transition Techniques 158 Planning for your transitions 159 The one-sided transition 159 Differentiating transitions in the timeline 159 Changing and deleting transitions 159 Copying and pasting transitions 160 Plug in to your transitions 160 Chapter 10: Finishing Your Edited Video 161 Exercising Video Correction 161 Fixing exposure issues 162 Tweaking those tones 162 Adjusting color 163 Cropping to fill the frame 163 What can you do about it? 164 Correcting Color and Tone 165 Grasping Lumetri Color 165 Understanding the Lumetri Color Landscape 166 Adjusting tone 167 Making a quick correction 169 Codec limits 170 Using color for style 170 Matching color in the scene 171 Using Video Scopes 171 Accessing the scopes 172 Different scopes for different folks 173 Defining the “scope” of terms 174 Exploring Some Advanced Techniques 175 Making adjustment layers 175 Making an informed decision 176 Using Comparison view 176 Removing a color cast 177 Adding punch to the clip 178 Quickly correct luminance 178 Color correction with an Adjustment Layer 179 Chapter 11: Constructing the Video Composite 181 Understanding Compositing 182 Layering clips 182 Adjusting opacity to reveal 183 Messing with opacity 183 Using the Opacity and Blend modes 184 Striking the right balance between clips 184 Let’s look at the Blend modes 187 Introducing the Blend modes 187 Applying a Blend mode to an adjustment layer 192 Transform effect and adjustment layers 192 Merging clips in a nest 192 Working with the nested clip 193 Understanding alpha channels 193 Creating an image mask 195 Working with Keyframes 195 How keyframes work 195 Keyframing in action 196 Compositing with Special Effects 199 Keen on green screen 199 Blue too for chroma 199 Shooting your very own chroma key 199 Putting your green-screen composite together 201 Fine-tuning your key 202 Layering video 202 Making clips side-by-side 204 Chapter 12: Choosing Cool Effects for Your Movie 207 Understanding Effects 207 Enhancing the look of your video 208 Improving the scene with Lighting Effects 208 Controlling Lighting Effects 209 Breaking down light types 210 Scaling video 212 Cropping video 214 Making Corrections 215 Dealing with shaky footage 215 Understanding Warp Stabilization 215 Warp Stabilization settings 216 Blurring video 217 Using Blur under a still image 217 Making video sharper 219 Creating a mosaic 219 Removing effects 220 Adding a timecode 221 Playing with Your Clips 222 Flipping video 222 Changing speeds 223 Time lapsing your video 224 Trying Turbulent Displace 224 Chapter 13: Working with Audio 227 Understanding Your Audio Needs 227 Sound matters 228 Defining great sound 228 Adjusting audio levels 229 Mixing audio 230 Get those levels right 230 Simplifying varying audio levels 231 Beginning with Recording the Audio 232 Considerations for capturing audio 233 Be aware of sound on the scene 233 Working with Audio in Your Movie 235 Linking and unlinking tracks 235 Working with separate tracks 237 Navigating the Essential Sound Panel 239 Using the Essential Sound panel 239 Working with audio tracks in the Essential Sound panel 240 Organization is key 241 Assigning audio track roles 241 Delving into the Dialogue presets 241 Looking into the Music option 243 Effecting the SFX track 244 Adjusting Ambience 245 Making voices sound better 246 Chapter 14: Dazzling with Titles and Graphics 249 Understanding Titles and Motion Graphics 250 Using the Text Tool 250 Navigating the Essential Graphics panel 250 Browsing the templates 250 Using Text to Speech 251 Creating a transcript 252 Creating Captions 253 Understanding Create Captions Controls 254 Editing text 255 Editing Graphics 255 Searching for a graphic is easy 256 The Browse section 256 The Edit section 257 Putting words on the screen 258 Breaking down text adjustments 258 Replacing fonts 258 Create graphics 260 Adjusting graphics 260 Making a text layer 260 Creating titles 261 Adding static titles 261 Title Safe and Action Safe 262 Making a graphic title 263 Smartening up your movie 263 Crediting your movie 263 Arranging your opening movie credits 264 Closing credits 265 Adding credits to your movie 266 Making your own rolling credits 266 Identifying a subject with a lower third 270 Tweaking fonts 270 Making a (simple) motion title 271 Part 4: Finishing Off Your Project 275 Chapter 15: Finalizing Your Project 277 Being Your Own QC Monitor 278 Watching and studying 278 Assuring clip continuity 278 Matching audio levels 280 Checking graphics and titles 280 Previewing the Timeline 280 Casting a critical eye 281 Having gap insurance 281 Watching on an external monitor 282 Viewing the meters 282 Listening on speakers 283 Being a good listener 283 Hearing with your eyes closed 283 Fine-Tuning Video for Export 284 Pre-export process 284 Being efficient 284 Bumping up the preview quality 285 Avoiding crashes 286 Checking the timeline closely 288 Dividing the export 288 Relinking media 289 Grabbing freeze frames 290 Here’s how to make a freeze frame 291 Exporting a JPEG sequence 292 Chapter 16: Kicking Out Your Movie 295 Exporting Your Movie 295 Familiarizing yourself with the Export panel 297 Choosing a format 297 Introducing the presets 298 Understand the top video file extensions 298 Popular file formats 299 Checking the Summary 300 The lower section of the Export panel 300 Bitrate Setting 300 Checking the right boxes 301 Knowing the difference between file containers and codecs 302 Setting output names for delivery 303 Choosing the Right File Format for Your Needs 304 Exporting uncompressed video as a master file 304 Pre-export checklist 305 Exporting a portion of the movie 306 Pointing the file to a folder 306 Saving settings for future exports 306 Converting outside Premiere Pro 307 Chapter 17: Spanning the Globe with Your Movie 309 Showing Your Movie 310 On your computer 310 Watching on a smartphone 310 Tablet viewing 311 Projecting on a screen 311 Playing on a home theater 312 Cast a movie on your iPhone or iPad 313 A warning about intellectual property 313 Using the World’s Largest Screening Room 314 Uploading your movie 314 Sharing videos on YouTube 315 Sharing video on Vimeo 317 Using Social Media 320 Showing your movie on Facebook 321 Instagram 321 Twitter video is meant to be short 323 Twitter video upload requirements 324 TikTok 324 Sharing your Movie 325 WeTransfer 325 iCloud 326 iCloud Drive 326 Dropbox 327 Hightail 327 Google Drive 327 Going Old School 328 Burning to DVD 328 DVD creation software 330 Export to tape 330 Color bars 331 Adding a good leader 332 Part 5: The Part of Tens 333 Chapter 18: Ten Ideas for Making Fantastic Movies 335 Making Your Own Brady Bunch Opening (Or Something Like It) 336 Exploiting Montage Editing 337 Showing Restraint While Using Plug-ins 338 Transforming Your Movie to Film Noir 339 Making Still Images Move (The Ken Burns Effect) 340 Adding a voiceover 340 Producing Your Own News Segment 341 Using Transitions to Help Tell the Story 342 Applying a Filter Over Your Movie 343 Having Fun by Reversing Motion 344 Chapter 19: Ten Essential Premiere Pro Plug-Ins 345 Knocking Out Your Movie with the Cine Punch Bundle 346 Roll with Motion Array Premiere Pro Transitions 346 Making Your Still Photo “Pop” Using Photo Montage 2 347 Producing the Look of Film Stock with Film Convert Nitrate 347 Emulating Star Wars Opening Titles with the Free Star Titler 347 Sweetening Up Audio with Accusonus ERA 5 Bundle 348 Prettying Up Your Subject’s Skin Tones with Make Up Artist 3 348 Adding Pizazz between Shots with Andy’s Swish Transitions 348 Making Seamless Time-Lapse and Slow-Motion Video with Flicker Free 349 Simulating Beams of Light Coming through Portals with Light Rays 349 Chapter 20: Ten Tips for Making Video Easier to Edit 351 Shooting Movies “Horizontally” with Your Smartphone 352 Producing Better Video to Edit by Keeping It Steady 353 Shooting to Edit for Quicker Turnaround 354 Taking Advantage of Natural Light 356 Handling Each Shot for Your Edit 357 Seeing True Video Quality with a Calibrated Monitor 358 Adding Drives for Scratch Space 358 Ditching the Pinhole for a Microphone 359 Using an Audio Recorder for Great Sound 360 Converting Master Files into the Right Format 360 Index 363

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Book SynopsisH.264 Advanced Video Coding or MPEG-4 Part 10 is fundamental to a growing range of markets such as high definition broadcasting, internet video sharing, mobile video and digital surveillance. This book reflects the growing importance and implementation of H.264 video technology. Offering a detailed overview of the system, it explains the syntax, tools and features of H.264 and equips readers with practical advice on how to get the most out of the standard. Packed with clear examples and illustrations to explain H.264 technology in an accessible and practical way. Covers basic video coding concepts, video formats and visual quality. Explains how to measure and optimise the performance of H.264 and how to balance bitrate, computation and video quality. Analyses recent work on scalable and multi-view versions of H.264, case studies of H.264 codecs and new technological developments such as the popular High Profile extensions. AnTable of Contents About the Author. Preface. Glossary. List of figures. List of tables. 1 Chapter 1: Introduction. 1.1 A change of scene. 1.2 Driving the change. 1.3 The role of standards. 1.4 Why H.264 Advanced Video Coding is important. 1.5 About this book. 2 Chapter 2: Video Formats and Quality. 2.1 Introduction. 2.2 Natural video scenes. 2.3 Capture. 2.4 Colour spaces. 2.5 Video Formats. 2.6 Quality. 2.7 Summary. 2.8 References. 3 Chapter 3: Video Coding Concepts. 3.1 Introduction. 3.2 Video CODEC. 3.3 Prediction model. 3.4 Image model. 3.5 Entropy coder. 3.6 The hybrid DPCM/DCT video CODEC model. 3.7 Summary. 3.8 References. 4 Chapter 4: What is H.264? 4.1 Introduction. 4.2 What is H.264? 4.3 How does an H.264 codec work? 4.4 The H.264/AVC Standard. 4.5 H.264 Profiles and Levels. 4.6 The H.264 Syntax. 4.7 H.264 in practice. 4.8 Summary. 4.9 References. 5 H.264 syntax. 5.1 Introduction. 5.2 H.264 syntax. 5.3 Frames, fields and pictures. 5.4 NAL unit. 5.5 Parameter Sets 5.6 Slice Layer. 5.7 Macroblock Layer. 5.8 Summary. 5.9 References. 6 Chapter 6: H.264 Prediction. 6.1 Introduction. 6.2 Macroblock Prediction. 6.3 Intra Prediction. 6.4 Inter Prediction. 6.5 Loop filter. 6.6 Summary. 6.7 References. 7 Chapter 7: H.264 transform and coding. 7.1 Introduction. 7.2 Transform and quantization. 7.3 Block scan orders. 7.4 Coding. 7.5 Summary. 7.6 References. 8 H.264 conformance, transport and licensing. 8.1 Introduction. 8.2 Conforming to the Standard. 8.3 H.264 coding tools for transport support. 8.4 Transport of H.264 data. 8.5 Supplemental Information. 8.6 Licensing H.264/AVC. 8.7 Summary. 8.8 References. 9 Chapter 9: H.264 performance. 9.1 Introduction. 9.2 Experimenting with H.264. 9.3 Performance comparisons. 9.4 Rate control. 9.5 Mode selection. 9.6 Low complexity coding. 9.7 Summary. 9.8 References. 10 Chapter 10: Extensions and directions. 10.1 Introduction. 10.2 Scalable Video Coding. 10.3 Multiview Video Coding. 10.4 Configurable Video Coding. 10.5 Beyond H.264/AVC. 10.6 Summary. 10.7 References. Index.

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Book SynopsisThe compression schemes applied for the storage and transmission of digital video data leave content sensitive to transmission errors, information loss and quality degradation. Recent developments in error resilience techniques allow improved quality of service of video communication over a range of network platforms. Digital video communications, supported by the Internet, ATM networks and Broadband ISDN, have undergone significant development over the past few years. Emerging applications include videoconferencing, tele-medicine and distance learning. This leading edge text addresses the problems associated with the delivery and design of video communication services. * Presents a comprehensive overview of the principles and techniques employed in the improvement of the performance of video codecs in error prone environments * Provides a performance evaluation and comparison of video coding standards, MPEG-4, H.261 and H.263 * Outlines methods of video communication oTrade Review"...offers an overview of the basic technologies and applications of digital video compression." (SciTech Book News, Vol. 26, No. 2, June 2002)Table of ContentsPreface. Acknowledgements. About the Author. Introduction. Overview of Digital Video Compression Algorithms. Flow Control in Compressed Video Communications. Error Resilience in Compressed Video Communications. Video Communications Over Mobile IP Networks. Video Transcoding for Inter-network Communications. Appendix A: Layering syntax of ITU-T H.263 Video Coding Standard. Appendix B: Description of the Video Clips on the Supplementary CD. Glossary of Terms. Index.

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Book SynopsisThe Moving Pictures Expert Group recently produced the MPEG--4 International Standard. One of the more revolutionary parts of the new standard is the Face and Body Animation, or FBA: the specification for efficient coding of shape and animation of human faces and bodies. This book concentrates on the animation of faces.Table of ContentsList of Contributors. Author Biographies. Foreword. Preface. PART 1: BACKGROUND. The Origins of the MPEG-4 Facial Animation Standard (Igor S. Pandzic and Robert Forchheimer). PART 2: THE STANDARD. Face Animation in MPEG-4 (Jörn Ostermann). MPEG-4 Face Animation Conformance (Eric Petajan). PART 3: IMPLEMENTATIONS. MPEG-4 Facial Animation Framework for the Web and Mobile Applications (Igor S. Pandzic). The Facial Animation Engine (Fabio Lavagetto and Roberto Pockaj). Extracting MPEG-4 FAPS from Video (Jörgen Ahlberg). Real-Time Speech-Driven Face Animation (Pengyu Hong, Zhen Wen and Thomas S. Huang). Visual Text-to-Speech (Catherine Pelachaud). Emotion Recognition and Synthesis Based on MPEG-4 FAPs (Nicolas Tsapatsoulis, Amaryllis Raouzaiou, Stefanos Kollias, Roddy Cowie and Ellen Douglas-Cowie). The InterFace Software Platform for Interactive Virtual Characters (Igor S. Pandzic, Michele Cannella, Franck Davoine, Robert Forchheimer, Fabio Lavagetto, Haibo Li, Andrew Marriott, Sotiris Malassiotis, Montse Pardas, Roberto Pockaj and Gael Sannier). PART 4: APPLICATIONS. Model-based Coding: The Complete System (Haibo Li and Robert Forchheimer). A Facial Animation Case Study for HCI: The VHML-Based Mentor System (Andrew Marriott). PlayMail ? Put Words into Other People?s Mouth (Jörn Ostermann). E-Cogent: An Electronic Convincing aGENT (Jörn Ostermann). alterEGO: Video Analysis for Facial Animation (Eric Petajan). EPTAMEDIA: Virtual Guides and Other Applications (Fabio Lavagetto and Roberto Pockaj). Appendix 1: Evaluating MPEG-4 Facial Animation Players (Jörgen Ahlberg, Igor S. Pandzic and Liwen You). Appendix 2: Web Resources. Index.

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Book SynopsisOffers information on how to edit regular digital or high definition video like a pro. This book covers the basics of capturing, importing, and editing digital videos. It provides information about rendering, customizing the interface, and managing media.Table of ContentsIntroduction 1 About This Book 1 How to Use This Book 3 Foolish Assumptions 3 How This Book Is Organized 4 Part I: First Things First 4 Part II: Importing and Organizing Your Media 4 Part III: Editing Your Media 5 Part IV: Adding Pizzazz 5 Part V: Outputting Your Masterpiece 6 Part VI: The Part of Tens 6 Icons Used in This Book 6 Contacting the Author 7 Part I: First Things First 9 Chapter 1: Introducing Final Cut Pro 11 Understanding the Purpose of Editing 11 Exploring the Capabilities of Final Cut Pro 12 Appreciating nondestructive editing 13 Final Cut Pro versus the competition 13 New in Final Cut Pro HD (and the earlier version 4) 14 Going with the Final Cut (Work) Flow 16 Taking a Grand Tour of the Interface 17 The Browser 18 The Viewer 19 The Timeline 20 The Tool palette 21 The Canvas 21 Chapter 2: Getting Started 23 Hardware Requirements 23 Selecting and Configuring a Mac 24 CPU speed 26 Memory (RAM) 26 Disk storage for DV video 27 Monitors and LCDs 28 Doing DV? You need a FireWire port 29 DV videocameras and playback decks 30 Other optional hardware 30 Getting Started 32 Connecting and preparing all your hardware 32 Launching Final Cut Pro 34 Choosing an initial setup 35 Working with Projects and Sequences 37 Saving and autosaving projects 38 Setting up the Autosave feature 39 Managing projects 40 Adjusting Your Project and Sequence Settings 42 Choosing a different Easy Setup 44 Choosing a different preset 44 Creating new presets 44 Chapter 3: All About HD (High Definition) 47 What Is HD? 48 Supersharp image quality 48 Wide-screen aspect ratio 49 The many flavors of HD 49 How Final Cut Works with HD 51 The way things were 51 Final Cut Pro HD makes HD easy 51 Creating DVCPRO HD Video 53 Affordable HD Cameras — the Good and the Bad News 53 Part II: Importing and Organizing Your Media 57 Chapter 4: Capturing Media from Tape 59 Connecting a DV Camera or Deck 60 Understanding Timecode 61 Capturing in the Log and Capture Window 61 Navigating through a DV tape 62 Describing and capturing video — the long way 64 Logging clips 66 Changing your logging bin 67 Capturing the video — the short way 68 Locating captured clips 70 Letting Final Cut Pro Find Scenes for You 72 Capturing over Timecode Breaks 73 Batch-Capturing Clips 75 Chapter 5: Importing Media That’s Already on Your Mac 77 Your Media Files Are Welcome Here 77 Some Media May Need Rendering 78 Importing Your Media into Final Cut Pro 79 Importing one or more files at a time 80 Importing a folder full of files (or other folders) 81 Importing files by dragging them from the Finder 82 Importing music tracks directly from a CD 83 Importing Photoshop files (layers and all) 84 Converting MP3 (and Other Kinds of Audio) with QuickTime Pro 86 Chapter 6: Organizing Your Media 91 Working in the Browser 91 Using bins 93 Viewing clips as icons or in lists 93 Figuring Out the Browser Icons 95 Using Browser Columns 96 Understanding the column headings 97 Sorting clips by column 98 Working with column headings 98 Changing names and settings in a column 99 Making Copies of Clips 100 Adding Transitions and Effects to the Favorites Bin 101 Finding Clips Fast 102 Searching by clip name 102 More-powerful searches 103 Dealing with Offline Media 104 Recapturing deleted clips 106 Reconnecting an offline clip 106 Part III: Editing Your Media 109 Chapter 7: Editing Basics 111 Understanding the Editing Process 111 Getting to know the Timeline 113 Playing back video: The Viewer and Canvas windows 114 Looking at timecode data in the Viewer and Canvas 116 Moving Clips to the Timeline 117 Inserting and overwriting 117 Choosing the right track on the Timeline 119 Using a shortcut to insert and overwrite 120 Setting a clip’s In and Out points in the Viewer 120 Recycling a clip by changing its In and Out points 122 Selecting Clips on the Timeline 122 Moving a Clip That’s Already on the Timeline 125 Overwriting a moved clip 125 Swapping a moved clip 125 Inserting or overwriting a copied clip 126 Speeding Editing with Snapping 127 Resizing Clips That Are Already on the Timeline 127 Resizing clips directly on the Timeline 128 Resizing clips in the Viewer window 129 Understanding the limitations of resizing clips 131 Cutting a Clip in Two 132 Deleting Clips from the Timeline 134 Using lift edits and ripple deletes 135 Deleting a range of frames on multiple tracks 136 Chapter 8: Getting to Know the Timeline 137 Investigating Timeline Tracks 137 Locking tracks so that they can’t be changed 138 Muting and soloing audio tracks 140 Hiding video tracks so that they don’t play 141 Setting up destination tracks on the Timeline 141 Adding and deleting tracks from the Timeline 144 Customizing Your View of the Timeline 147 Making Timeline tracks big and small 148 Customizing other Timeline stuff 149 Navigating the Timeline 154 Moving the playhead anywhere on the Timeline 154 Moving the playhead linearly through the Timeline 155 Zooming In and Out of the Timeline 156 Some Timeline Details 158 Chapter 9: Editing Wizardry 161 Going Beyond Insert and Overwrite Edits 161 Replace edits 161 The Match Frame feature 163 Fit-to-fill edits 165 Superimpose edits 166 Splitting Video and Audio Edits 167 Splitting edits from the Viewer 168 Splitting edits on the Timeline 169 Using Advanced Editing Tools 170 Resizing clips with roll and ripple edits 171 Slip-slidin’ clips 175 Using Markers to Highlight Important Moments 179 Setting markers 179 Renaming, deleting, and designating markers 182 Searching for markers 183 Playing a Clip Backward 184 Changing a Clip’s Speed 185 Setting a constant speed 186 Setting a variable speed 187 Stopping Action with a Freeze Frame 191 Nesting a Sequence into Another Sequence 192 Adding a Voice-Over to a Sequence 193 Part IV: Adding Pizzazz 197 Chapter 10: Audio Excellence 199 Some Audio Basics 200 Capturing and maintaining high-quality audio 200 Understanding stereo and mono audio 201 Rendering audio 202 Three Ways to Set Volume Levels 204 Changing the volume of audio clips in the Viewer 205 Adjusting the volume of clips on the Timeline 210 Mixing with the Audio Mixer 212 Panning an Audio Clip 217 Creating Audio Transitions 219 Working with Audio Filters 221 Applying an audio filter and changing its parameters 221 Changing filter parameters over time with keyframes 223 Disabling and deleting filters 226 Getting quick access to your favorite filters 226 Exploring Audio Filters 226 Equalization filters 227 Echoes and reverberations 227 Compression and expansion filters 228 Noise-reduction filters 229 Copying and Removing Audio Attributes 229 Chapter 11: Composing a Soundtrack 231 Getting Started 232 Installing and launching 232 A quick overview of the interface 233 Creating Your Soundtrack 235 Getting video into soundtrack 235 Establishing your score’s master settings 238 Finding the right loops 239 Editing loops on the Timeline 241 Looking at your Timeline options 244 Changing volume, pan, and key 245 Other Stuff 249 Markers mark important moments 249 Applying effects 251 Making your own loops and one-shots 252 Exporting Your Score 252 Chapter 12: Creating Transitions 255 Exploring the Types of Transitions in Final Cut Pro 255 Applying Your First Transition 257 Looking at the Many Ways to Apply Transitions 259 Dragging transitions from the Browser to the edit point on the Timeline 260 Using the keyboard shortcut 260 Copying and pasting a transition 261 Editing Clips and Adding Transitions 261 Rendering Transitions 263 Rendering a single transition 263 Rendering all transitions in a range 264 Modifying Transitions 264 Changing the duration of a transition 264 Changing the alignment of a transition 266 Moving transitions 267 Replacing and removing transitions 267 Fading In and Out 267 Saving and Organizing Custom Transitions 268 Using the Transition Editor to Customize a Transition 269 Chapter 13: Adding Text to Your Videos 271 Formatting Text for Display on a TV 271 Selecting the right font size 272 Avoiding thick and thin 272 Using textures and colors sparingly 273 Getting Started with a Text Generator 274 Creating Text with Final Cut Pro 275 Creating text and adding it to a video 275 Understanding the options on the Controls tab 279 Touring the text generators 282 Creating titles on colored backgrounds 285 Creating Titles with LiveType 286 Exporting a movie from Final Cut Pro to use with LiveType 287 Using LiveType to create a new title 288 Using Titles and Text Created Outside Final Cut Pro 291 Working with Photoshop and Final Cut Pro 291 Preparing Photoshop Text for Final Cut Pro 292 Chapter 14: Special Effects with Filters and Color Correction 295 Shooting Video with Effects in Mind 296 Making a Colored Clip Black and White 296 Getting That Old, Grainy Video Look 298 Changing Colors 300 Using mattes 300 Using the RGB Balance tool 302 Working with Color-Correction Tools 304 Selecting and changing the color of an object 307 Copying color-correction settings to other clips 309 Fixing or Adjusting Exposures 309 Comparing Results with the Frame Viewer 312 Checking Out More Handy Filters 313 Blurring the Action 315 Saving and Applying Customized Filters 316 Chapter 15: Motion Effects 319 Manipulating Images in Wireframe Mode 319 Scaling, rotating, and moving images 321 Cropping or distorting an image 322 Working in Wireframe mode in the Viewer 323 Changing Images with the Motion Tab 324 Using Keyframes to Change Motion Settings over Time 326 Using keyframes to set clip opacity 327 Editing existing keyframes 329 Using keyframes to set other motion values 329 Editing motion keyframes 332 Creating a Multiple-Screen Effect 333 Chapter 16: Compositing 337 Choosing a Composite Mode 338 Applying a Composite Mode 340 Understanding Alpha Channels 342 Compositing with Mattes and Keys 342 Creating a simple matte 343 Compositing with keys 347 Tips for getting clean keys 350 Part V: Outputting Your Masterpiece 353 Chapter 17: Recording to Tape 355 Setting Up for Recording 355 Looking out for dropped frames! 357 Recording to DV tape with a camera or deck 358 Recording to VHS 358 Recording to Tape 361 Recording directly from the Timeline 361 Printing to video 363 Editing to tape 365 Editing Online versus Offline 369 Chapter 18: Exporting Your Movie to a Digital File 371 Working with QuickTime Video 372 Getting to Know Codecs 373 Looking at the Video Codecs 374 Looking at the Audio Codecs 376 Knowing Your Data Rates 377 Export Away! 378 Exporting a Batch of Movies 381 Easy Exporting with the Compressor Application 383 Exporting video from Final Cut Pro using Compressor 384 Batch-exporting sequences with Compressor 386 Part VI: The Part of Tens 389 Chapter 19: Ten Tips for Becoming a Better Editor 391 Try Out the Final Cut Pro Tutorials 391 Study (Don’t Just Watch) Movies and Commercials 392 Practice on Someone Else’s Real-World Footage 392 Go Online and Find a Community 392 Join a Final Cut Pro User Group 393 Upgrade Your Hardware 393 Upgrade Your Software 394 Curl Up with a Good Book 395 Chapter 20: Almost Ten Tips for Managing Big Projects 397 Keep Your Media Files Organized 398 Use Bins — Lotsa Bins! 398 Keep Your Clip Names Informative 399 Document Your Clips 400 Use the Find Feature 401 Stay Oriented with Markers 401 Break Scenes into Sequences and Nest ’em Together 403 Save on Hard Drive Space 403 Index 407

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Book SynopsisA rare look at the role of special effects in creating fictional worlds and transmedia franchises From comic book universes crowded with soaring superheroes and shattering skyscrapers to cosmic empires set in far-off galaxies, today's fantasy blockbusters depend on visual effects. Bringing science fiction from the studio to your screen, through film, television, or video games, these special effects power our entertainment industry. More Than Meets the Eye delves into the world of fantastic media franchises to trace the ways in which special effects over the last 50 years have become central not just to transmedia storytelling but to worldbuilding, performance, and genre in contemporary blockbuster entertainment. More Than Meets the Eye maps the ways in which special effects build consistent storyworlds and transform genres while traveling from one media platform to the next. Examining high-profile franchises in which special effects have played a constitutiTrade ReviewElegantly written and extensively researched, More Than Meets the Eye makes an impressive contribution to digital and special effects studies. Bob Rehak moves beyond critical perspectives that have dominated this area of inquiry, exploring how special effects have a life of their own beyond momentary appearances in films and television programs. Studying both analog and digital effects and their continuing interface, he finds that they create vast narrative networks across media, platforms, and time, speaking to a variety of concerns in media studies from authorship and convergence culture to performance and fan labor. That he is able to bring exciting new concepts to bear on canonical media franchises like Star Wars, Star Trek, and Lord of the Rings is a testament to the provocative originality of this book. -- Barbara Klinger,author of Beyond the Multiplex: Cinema, New Technologies, and the HomeRehak has produced the kind of history that film and media studies needsrightnow, and his book displays elegance and serious intellectual chops in equal measure. Hes unafraid of theory or his predecessors, hes alert to both the big picture and nuances of form, and his scholarshipin numerous areasis thorough. More Than Meets the Eye is hugely original and a pleasure to read. -- Scott Bukatman,author of Hellboy’s World: Comics and Monsters on the Margins

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Book SynopsisIndie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture.Trade Review"Indie cinema has been moving increasingly online and Sarah Sinwell's book is the first to offer a comprehensive mapping of this new and exciting terrain. Paying attention to the key players in the field and offering a host of interesting examples, the book is an extremely welcome addition to the blossoming field of independent cinema studies." -- Yannis Tzioumakis * author of American Independent Cinema *"Sarah Sinwell's Indie Cinema Online is an engaging and provocative examination of independent cinema in the past two decades. Through detailed case studies, Sinwell captures the promise and the challenge to independent cinema with the current array of release windows and the drastically changed distribution and marketing mechanisms. Sinwell's project opens new avenues to shape our understanding and appreciation of independent cinema in the 21st century." -- Justin Wyatt * author of High Concept: Movies and Marketing in Hollywood *"Sarah E. S. Sinwell’s excellent investigation into American independent cinema in the digital age is, above all things, extremely timely....Indie Cinema Online is therefore a vital contribution to a historiography of American independent cinema: aware of its past, revealing about its present, and preparing us for the challenges and issues that will shape its future." * New Review of Film and Television Studies *"Indie cinema has been moving increasingly online and Sarah Sinwell's book is the first to offer a comprehensive mapping of this new and exciting terrain. Paying attention to the key players in the field and offering a host of interesting examples, the book is an extremely welcome addition to the blossoming field of independent cinema studies." -- Yannis Tzioumakis * author of American Independent Cinema *"Sarah Sinwell's Indie Cinema Online is an engaging and provocative examination of independent cinema in the past two decades. Through detailed case studies, Sinwell captures the promise and the challenge to independent cinema with the current array of release windows and the drastically changed distribution and marketing mechanisms. Sinwell's project opens new avenues to shape our understanding and appreciation of independent cinema in the 21st century." -- Justin Wyatt * author of High Concept: Movies and Marketing in Hollywood *"Sarah E. S. Sinwell’s excellent investigation into American independent cinema in the digital age is, above all things, extremely timely....Indie Cinema Online is therefore a vital contribution to a historiography of American independent cinema: aware of its past, revealing about its present, and preparing us for the challenges and issues that will shape its future." * New Review of Film and Television Studies *Table of ContentsContents Introduction 1 Indie Via Instant Viewing: Now Streaming on Netflix and Hulu 2 Simultaneous Release Strategies: Soderbergh and the Screening Room 3 DIY Distribution: YouTube, Four Eyed Monsters, and Girl Walks Into A Bar 4 The Fourth Screen: Sundance, Shorts, and Cell Phones Conclusion Acknowledgments About the Author Bibliography Mediagraphy Index

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Book SynopsisIndie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture.Trade Review"Indie cinema has been moving increasingly online and Sarah Sinwell's book is the first to offer a comprehensive mapping of this new and exciting terrain. Paying attention to the key players in the field and offering a host of interesting examples, the book is an extremely welcome addition to the blossoming field of independent cinema studies." -- Yannis Tzioumakis * author of American Independent Cinema *"Sarah Sinwell's Indie Cinema Online is an engaging and provocative examination of independent cinema in the past two decades. Through detailed case studies, Sinwell captures the promise and the challenge to independent cinema with the current array of release windows and the drastically changed distribution and marketing mechanisms. Sinwell's project opens new avenues to shape our understanding and appreciation of independent cinema in the 21st century." -- Justin Wyatt * author of High Concept: Movies and Marketing in Hollywood *"Sarah E. S. Sinwell’s excellent investigation into American independent cinema in the digital age is, above all things, extremely timely....Indie Cinema Online is therefore a vital contribution to a historiography of American independent cinema: aware of its past, revealing about its present, and preparing us for the challenges and issues that will shape its future." * New Review of Film and Television Studies *"Indie cinema has been moving increasingly online and Sarah Sinwell's book is the first to offer a comprehensive mapping of this new and exciting terrain. Paying attention to the key players in the field and offering a host of interesting examples, the book is an extremely welcome addition to the blossoming field of independent cinema studies." -- Yannis Tzioumakis * author of American Independent Cinema *"Sarah Sinwell's Indie Cinema Online is an engaging and provocative examination of independent cinema in the past two decades. Through detailed case studies, Sinwell captures the promise and the challenge to independent cinema with the current array of release windows and the drastically changed distribution and marketing mechanisms. Sinwell's project opens new avenues to shape our understanding and appreciation of independent cinema in the 21st century." -- Justin Wyatt * author of High Concept: Movies and Marketing in Hollywood *"Sarah E. S. Sinwell’s excellent investigation into American independent cinema in the digital age is, above all things, extremely timely....Indie Cinema Online is therefore a vital contribution to a historiography of American independent cinema: aware of its past, revealing about its present, and preparing us for the challenges and issues that will shape its future." * New Review of Film and Television Studies *Table of ContentsContents Introduction 1 Indie Via Instant Viewing: Now Streaming on Netflix and Hulu 2 Simultaneous Release Strategies: Soderbergh and the Screening Room 3 DIY Distribution: YouTube, Four Eyed Monsters, and Girl Walks Into A Bar 4 The Fourth Screen: Sundance, Shorts, and Cell Phones Conclusion Acknowledgments About the Author Bibliography Mediagraphy Index

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Book SynopsisJoseph Labrecque is a creative developer, designer, and educator with nearly two decades of experience creating expressive web, desktop, and mobile solutions. He joined the University of Colorado Boulder College of Media, Communication and Information as faculty with the Department of Advertising, Public Relations and Media Design in Autumn 2019. His teaching focuses on creative software, digital workflows, user interaction, and design principles and concepts. Before joining the faculty at CU Boulder, he was associated with the University of Denver as adjunct faculty and as a senior interactive software engineer, user interface developer, and digital media designer. Labrecque has authored a number of books and video course publications on design and development technologies, tools, and concepts through publishers which include LinkedIn Learning (Lynda.com), Peachpit Press, and Adobe. He has spoken at large design and technology conferences such as Adobe MAX aTable of ContentsGetting Started 1 Creative Cloud Desktop and Mobile Applications 2 Cloud-Based Photography with Lightroom 3 Raster Image Compositing with Photoshop 4 Designing Vector Graphics with Illustrator 5 Managing Page Layout with InDesign 6 Prototyping for Screens with Adobe XD 7 3d Rendering with Dimension 8 Producing Audio Content with Audition 9 Sequencing Video Content with Premiere Pro 10 Compositing Motion Graphics with After Effects 11 Animating Interactive Content with Animate Bonus Lesson 1 Fundamentals of Design with Adobe Express Bonus Lesson 2 Live Performance Capture with Character Animator

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Book SynopsisChris Meigh-Andrews is Professor of Electronic & Digital Art and Director of the Electronic and Digital Art Unit at the University of Central Lancashire. He studied Fine Art at Goldsmiths and has a PhD from the Royal College of Art. A practising artist specialising in electronic & digital media, he has been exhibiting his videotapes, projections and installations internationally since 1978. His most recently completed work, The Monument Project (2009-2011) which produces a continuously updated time-lapse panoramic view from the top of the Monument in the City of London was commissioned by Julian Harrap Architects. In 2010 Meigh-Andrews was awarded a Diawa Foundation grant to research early artists' video in Japan.Trade ReviewMeigh-Andrews views his history through the lens of technological development, whilst never losing sight of the many artists' creative and subjective visions, which he covers through representative case studies of significant works. The extensive new picture research offers resonant images that evoke memories for some and discovery for new readers. This book is essential reading for all students, scholars, artists and curators who are interested in the subject. -- Professor Stephen Partridge, artist and Principal Investigator for REWIND | Artists' Video in the 1970s & 80s, Duncan of Jordanstone College of Art and Design, University of Dundee, UKNo other writer on video has Meigh-Andrews' grasp of the feeling of working with electronic media, in all their forms since the 1960s: the artist's perspective on making and showing. With new material expanding the temporal and geographic reach of the book, A History of Video Art is the essential guide to the art form that more than any other defines seeing over the last half century. -- Sean Cubitt, Professor of Film and Television, Goldsmiths, University of London, UKCovering both video art many other related media technologies and art forms of the second part of the 20th century, this book is a fantastic and unique resource. I highly recommend to anybody interested in the history, aesthetics, and social context of media art. -- Lev Manovich, Professor, The Graduate Center, City University of New York, USA and Director, Software Studies LabMeigh-Andrews’ own significant contribution to video practice and his obvious familiarity with the British video art scene has resulted in an insightful guide to the development of the medium and the surrounding discourses. The book is an ideal introduction to video for the student or general reader while providing for the historian of contemporary art an effective key for opening up the complexities of the historical and technological nuances of the medium. -- Samantha Lackey, “Screen Studies”, The Art Book, Vol. 14, Issue 3, August 2007, Blackwell Synergy, pp 63-64. * First Edition review *An excellent and welcome addition to contemporary writing on video art. It has what a lot of the other books are missing: it has much more detail on the technology behind the cameras, editing systems and installations; it situates video art in relation to the other art movements; and it offers an in-depth discussion of video art's links to experimental music. If you (or your students) have access to the Video Data Bank "Surveying the First Decade," this book is a great compliment to many of the videos featured in this collection. It provides detailed accounts of many key works and is particularly strong on figures like Woody and Steina Vasulka, British video art and European video art which a lot of books ignore entirely. I would recommend this in tandem with Illuminated Video. -- Andrew Dimirjian, NYC, US * First edition review *Table of ContentsPreface to the 2nd edition Part 1. The Origins of Video Art: The Historical and Cultural Context Chapter 1. In The Beginning: The Origins of Video Art Chapter 2. Crossing Boundaries: International Tendencies and Influences in Early Artists’ Video Chapter 3. Technology, Access and Context: Social and Political Activists and Their Role in the Development of Video Art Chapter 4. Expanded Cinema: The Influence of Experimental, Avant-Garde and “Underground” Film Chapter 5. Musique Concrete, Fluxus and Tape Loops: The Influence of Sound Recording and Experimental Music on Artists’ Video Chapter 6. Theory and Practice: The Impact of Theoretical Ideas on Early Technology-Based Practice in the 1970s Chapter 7. Beyond the Lens: Abstract Video Imagery and Image Processing Part 2: A Discussion of Some Representative and Influential Video Art Works Set in Relation to Their Technological and Critical Context Chapter 8. In and Out of the Studio: The Advent of Inexpensive Non-Broadcast Video Chapter 9. Cutting It: Accessible Video Editing Chapter 10. Mixing it: Electronic/Digital Image Manipulation Chapter 11. The Gallery Opens its Doors: Video Installation and Projection Chapter 12. The Ubiquity of the Video Image: Artists’ Video as an International Phenomenon Part 3: The Development of Artists’ Video and Installation in Response to Technological Change and Accessibility Chapter 13. Fields, Lines & Frames: Video as an Electronic Medium Chapter 14. The Means of Production: Feminism, Race, Gender, Technology and Access Chapter 15. Off the Wall: Video Sculpture and Installation Chapter 16. Going Digital: The Emergence of Digital Video Editing, Processing and Effects Chapter 17.Video Art in the New Millennium: New Developments in Artists’ Video since 2000 Part 4. References • Technical Glossary • Bibliography • Index

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Book SynopsisDiscover the top tricks and techniques to make the most of Adobe After Effects and elevate your graphics design skills by creating real-world projects with this comprehensive illustrated guide Key Features Master After Effects through hands-on engagement with small projects, following the best practices Leverage the settings and uncover hidden options in After Effects to optimize your workflow Acquire skills and techniques that will set you apart from other graphic designers Purchase of the print or Kindle book includes a free PDF eBook Book DescriptionVisual effects and motion graphics are everywhere, shaping the film, TV, games, websites, and application landscape. Navigating a field this complex and ever-expanding demands more than mere familiarity with tools; you need to stand out to get ahead. Creative Motion Mastery with Adobe After Effects is the definitive guide that not only equips you with the essential skills to distinguish yourself, but also takes you through real projects that you can add to your portfolio. Guided by a hands-on learning approach, you'll master the UI, workflow, and diverse projects such as text animation, shape layers, and rotoscoping. With this newfound knowledge, you’ll take your graphic design and post-production skills to the next level using chroma keying, particle simulations, and 2D and 3D tracking. You’ll progress faster than someone taking a formal course in Adobe After Effects! And it’s not all about creating; you’ll import graphics from Illustrator and Photoshop and apply post-production effects to give them a new life. Finally, you’ll discover how seamlessly you can export and manage your projects, ensuring end-to-end coverage of all you need. By the end of the book, you’ll have a thorough understanding of Adobe After Effects, equipped with the skills and practice you need to propel your career in graphic design.What you will learn Create and customize text layers, including text animations, using shape layers Enhance projects with audio elements and apply audio effects to shape layers Develop editable motion graphics templates for Premiere Pro Implement color correction and grading techniques to enhance footage in projects Use rotoscoping to remove and mask objects seamlessly Generate realistic effects such as rain, fire, and smoke using particle simulations Master the art of compositing through Chroma Keying Get to grips with 2D and 3D tracking for seamless element integration Who this book is forThis book is for graphic designers, UX and UI designers, e-learning designers, motion graphics artists, video editors, and VFX artists. A fundamental grasp and minimal experience with After Effects will help you follow long the concepts covered in this book. Additionally, familiarity with Illustrator and Photoshop will provide an added advantage.Table of ContentsTable of Contents Getting to Know the User Interface and Workflow Applying Effects and Presets to Create Animated Graphics Deep-Dive into Text Animations Animating Shape Layers Adding Motion to Photoshop and Illustrator Graphics Creating Motion Graphic Templates for Premiere Pro Color Correction and Color Grading Rotoscoping and Mask Tracking Techniques Chroma Keying Working with Particle simulations Working with 2D and 3D Tracking Exporting and Managing Projects

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