2006 0304 Digital Juice Magazine

INSIDE DVD INSIDE DVD INSIDE

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introducing our

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PUBLISHERS: David Hebel and Viv T. Beason EDITOR-IN-CHIEF: Chuck Peters

10

Talk Back: Reader Letters. . . . . . . . . . . . . . . 6 Juice News . . . . . . . . . . . . . . . . . . . . . . . . . 8 Bigger, Better, More Useful: Editor’s Toolkit 10: Multipurpose Tools III by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . 10

19 15 38

Work Made for Hire: Who owns the footage you shoot for your clients? by Mark Levy . . . . . . . . . . . . . . . . . . . . . . . . 15 Compositing 101:

17 40

A Motocross Madness spot comes alive by Brent Milby . . . . . . . . . . . . . . . . . . . . . . . . . . 17 SPECIAL PULL-OUT SECTION

ETK10: Multipurpose Tools III

Idea Book and Super Set Gallery . . . . . . . . . . 19

Audio for the 21st Century What you need to know about audio formats by Jeff Earley . . . . . . . . . . . . . . . . . . . . . . . . 36

Framing for Graphics The fundamentals of frame composition by Perry Jenkins . . . . . . . . . . . . . . . . . . . . . 38

SENIOR EDITOR: D. Eric Franks ART DIRECTOR: Jacqui Dawson CONTRIBUTING AUTHORS: Pat Bailey, Geetesh Bajaj, Viv Beason, Graham Cohen, Alessia Cowee, Jacqui Dawson, Jeff Earley, Michael Fitzer, D. Eric Franks, Rick Green, Dave Hebel, Perry Jenkins, Robert Leitch, Matt Janowsky, Jeb Johenning, Mark Levy, Brent Milby, Chuck Peters, Brian Pogue, Jeff Schell, Kevin Sherman and David Traube GRAPHIC DESIGNERS & ILLUSTRATORS: Saritha Sugunan, P. Gururaj, V. Sridhar PHOTOGRAPHY: Perry Jenkins

Screen Shots: Inside the Snow Globe ABC 13 shakes up their winter station IDs by Chuck Peters . . . . . . . . . . . . . . . . . . . . . 40

DIGITAL JUICE PRODUCT CATALOG . . . 41 Juice Box: We’re skipping NAB 2006! by David Hebel . . . . . . . . . . . . . . . . . . . . . . 50

ORDERING IS EASY! TO ORDER BY PHONE: Call one of our friendly customer service representatives Monday–Friday 8:00 AM to 8:00 PM EST

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DIGITAL JUICE MAGAZINE MARCH/APRIL 2006

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VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE

ON THE WEB @ www.digitaljuice.com

with Chuck Peters—Editor in Chief, Digital Juice Magazine

Your Chance To Make Your Voice Heard Got a question, comment or suggestion? We would love to hear it.

If you would like to ask a question, sing our praises, bend our ear, or just say ‘Hi,’ drop us an email at [email protected] and you could see it here in the magazine. You can also interact with Digital Juice and other users in our user forums @ www.digitaljuice.com/ community_forums

The sample images shown here are from Juice Drops Volume #26: paperCUTS

6

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TROPICAL JUICE

“ We love Digital Juice and you've helped

I

really enjoy your products; I use them in almost every production. I do a good bit of corporate incentive and award trip work. I would like to see a "travel" toolkit. Animations could include suitcases, passports, planes, cruise liners, trains, taxis, sunsets, beach and water toys, tropical drinks, tropical fish (would make for cool transitions)... the list is endless. Just a thought. —James Smith, Memory Lane Productions Those are great ideas, James! We’ll keep them in mind as we develop new volumes. In the meantime, you should check out our Juice Drops volumes. Juice Drops are high-res Photoshop still images that are delivered in layers, so a crafty editor can create his (or her) own animations. We have thousands of Juice Drops, including almost all of the stuff you mentioned. Brent Milby, Senior Animator here at Juice, created a cool example showing how to animate a Juice Drop for his article on page 17 of this issue of DJ Mag. Check out what Brent did, both here in print and online where we’ve posted the video. Then hit the Juice Drops section of the catalog in the back of this magazine to identify which

DIGITAL JUICE MAGAZINE MARCH/APRIL 2006

us create innovative, creative moments

”— Curtis Cruson

in our services.

volumes have the stuff you want. Of course, you can always surf over to digitaljuice.com to preview all of the images in each volume. I hope that Juice Drops can help you out until we can build those animations you’re after. Who knows, you might just fall in love with them, too. —CP

SNOW GLOBE SIGHTINGS

W

hile visiting family for Christmas, their TV was on their regular channel. I wasn't watching TV, but glanced up just in time to see the new Christmas Tools snow globe (Editor’s Toolkit 9) on "The View." They used it in the intro. I was surprised to see it! It is one of my favorites!—Mary Geil, Atlanta, GA Pretty cool, Mary. Thanks for telling us about it! Apparently the people at ABC 13 in Houston, TX liked that one, too. They put their on-air talent inside our snow globe animation and added Sound FX to create custom seasonal station IDs. You can read more about what they did in the Screen Shots article on page 40 of this magazine and you can see their video on our Website.—CP

ANGELS, ANGLES… WHATEVER.

H

ey, guys. Nice mag, but what are the “Blue Angles” mentioned at the bottom of page 12 of your December issue?

Now, I have heard of the Blue Angels!—Jim Hoffer, Maryland Hi Jim, We liek to make suer that we haev all of our angles covred here at Jucie. We luv Bleu angles as much as red or grene ones. In fact, with the Juicer, you can quickly and easely change the colour of any angel to meet the needs of anee productoin. -Oops. Did we publish a typo???? =)—CP

MEDIA IN MINISTRY

W

e love Digital Juice and you've helped us create innovative, creative moments in our services. Thousands of Churches across the world talk to us about how we do what we do in media (Creative Church Conference) and I just want to let you know we share your name with everyone. I think you guys have the most cost effective, creative, easy-to-use content available in the stock motion art industry.—Curtis Cruson, Media Pastor, Fellowship Church, Grapevine, TX I’ll make a deal with you, Curtis: we’ll keep making cool, cost-effective content if you keep using it. Thanks for choosing Digital Juice and keep up the good work. It’s an honor to be a small part of great productions like yours.—CP

ORDER ONLINE www.digitaljuice.com

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JUICER 3.0 UPDATE

THE LATEST UPDATE TO THE JUICER 3.0 IS READY FOR DOWNLOAD!

O

ffering our users more than 11,500 Sound FX in a very high-quality audio format at a reasonable price might be all you’d expect from a media company such as Digital Juice. But we’ve also been working very hard to make those effects easily accessible and completely compatible with your editing needs, and that’s where the Juicer 3.0 beta comes in.

ONLINE

FORUMS

ARE BACK

To access the Community Forums, just click the “Forums” link on our home page’s navigation bar or go to:

BESTSELLERS

http://www.digitaljuice.com/ community_forums/>

The Juicer 3.0 for our Sound FX Library lets you browse, search and preview your media quickly and conveniently. After you’ve found what you like, the Juicer 3.0 then automatically copies the files you have selected over to your computer’s hard drive from the source DVDs. Since not all editing solutions are compatible with the advanced 24-bit/96kHz audio source files, however, the Juicer 3.0 can also convert these files to, for example, the 16bit/48kHz audio standard of DVD-video discs and digital television. Our engineering team has made significant enhancements to the user interface and improved usability and functionality, based on customer feedback. In addition to supporting our Sound FX Library, upcoming Juicer 3 updates will support StackTraxx and Jump Backs. Soon all of our products will be completely supported in this latest and greatest incarnation. Let us know what you think! Download the latest version of Juicer 3 free at: http://www.digitaljuice.com/juicer3/

Juice Products* 10 Digital

TOP

JUMP BACKS LIBRARY

WINS AGAIN!

D

igital Juice basically invented the stock animation industry when it first started producing background animations some years ago. Jump Backs background animations are the gold standard in the stock animation industry, most recently winning a Religious Product News magazine “2005 Hot Products” award. From the explicitly religious Jump Backs 13: All Church to the more general-purpose Jump Backs 20: Subtle Impact, modern multimedia churches and temples sometimes use the background animations behind song lyrics and quotations from sacred texts.

THE NEXT BIG THING FOR

PRESENTERS!

W

hile Jump Backs animations were originally designed for videographers and television producers, churches and presenters have also found them to be attractive additions to projected song lyrics, bible quotations and otherwise dull seminar slides. The only problem is that one of the most popular presentation tools available (Microsoft’s PowerPoint) does not currently let users run moving video behind text. We think we have a solution. Keep checking our site, because we’re about to release the next “big thing” for presenters: full-motion animated backgrounds designed specifically for PowerPoint and other presentation applications. This will be one of our biggest libraries of animations to date and, best of all, it will work completely inside of PowerPoint. Stay tuned for more info on this hot new product!

Backs Volumes* 10 Jump

TOP

Drops Volumes* 10 Juice

TOP

01. Digital Juice Sound FX Library

01. JB25: JB 25:AllAllMusic Music

01. JD23: cleanCUTS III

02. VideoTraxx 3

02. JB24: JB 24:Tunnel TunnelVision Vision

02. JD24: geoIMPACT

03. StackTraxx Layered Music Library

03. JB22: JB 22:Global GlobalImpact Impact 04. JB15: JB 15:Weather Weather&&the theElements Elements 05. JB 21: High Impact VIII 05. JB21: High Impact VIII

03. JD36: naturalCUTS

06. JB 30:Simply SimplyUseful Useful 06. JB30: 07. JB 12: Corp/Ind 07. JB12: Corp./Ind., Time Time & & Money Money 08. JB 14: Med./Health, Educ. & Science 08. JB14: Med./Health, Educ. & Science 09. JB 13: All Church 09. JB13: All Church 10. JB 20: Subtle Impact 10. JB20: Subtle Impact

06. JD29: flowerPOWER

04. VideoTraxx 2 05. VideoTraxx 1 06. Editor’s Toolkit 6: Corp. & Broadcast Tools 07. Editor’s Toolkit 2: Multipurpose Tools II 08. Jump Backs 25: All Music 09. Juice Drops 23: Clean Cuts III 10. Editor’s Toolkit 8: Sports Tools

04. JD35: futureTECH 05. JD01: highIMPACT 07. JD09: highIMPACT II 08. JD31: foodFUSION 09. JD15: highIMPACT III 10. JD21: businessIMPACT * Data from January 2006 Sales

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EDITOR’S TOOLKIT 10

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EDITOR’S TOOLKIT 10: MU

RIGHT T for every job

THE

by Chuck Peters

A

ny building contractor will tell you that there’s no substitute for working with good equipment. Whether

you’re building something as simple as a dog house or as huge as an office complex, you can’t do the job without quality tools. The same principle applies to video production; with our Editor’s Toolkits, Digital Juice gives you the tools you need to build better video. In this article, I’ll introduce you to each tool in our newest toolkit, the Editor’s Toolkit 10: Multipurpose Tools III. Grab your hardhat and lace up your boots, because you’re about to enter the Production Zone.

A contractor’s toolbox has every tool that he needs for almost every job he gets. He can build almost anything with the tools in that box. We designed the Editor’s Toolkit 10 (ETK10) to be that kind of resource for editors. It has more than 500 graphic elements in all, including Animated Backgrounds, Overlays, Lower Thirds, Fullscreen Wipes, Transitions, Motion Design Elements, Matte templates and more. The animated elements come in a wide range of styles, so you have the right tools for every job, no matter what kind of video you make, no matter how large or small the production. By adding a colorized version of one of the animated backgrounds from ETK10 Super Set #252, this DVD menu has been made much more dynamic and professional.

10

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Animated Backgrounds in Editor’s Toolkit 10 is seamlessly loopable, which means the first and last frames of the animation match up perfectly, so you can make them as long or as short as you like without a glitch. ETK10’s Backgrounds lay the perfect foundation for any of your productions.

OVERLAYS & LOWER THIRDS Our overlays and Lower Thirds are a fast and easy way to increase the production value of your projects and make you look more professional. They’re like the icing on the cake, or to extend our ANIMATED BACKGROUNDS construction analogy, the Stucco on the chicken wire. Each of the 62 Let’s start with a look at the foundations of ETK10: the nearly 100 Overlays and 60 Lower Third elements in Editor’s Toolkit 10 are Animated Backgrounds. Whether you need a soft and subtle color delivered with built-in alpha channel transparency, so your video wash, a high-energy background or a retro-styled texture, there’s automatically shows though the soft edges of our elements. You’re not a background in the Toolkit for you. Each of the 94 full-screen stuck with any rough edges here and you get a nice smooth finish.

DIGITAL JUICE MAGAZINE MARCH/APRIL 2006

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EDITOR’S TOOLKIT 10

0: MULTIPURPOSE TOOLS III

T TOOLS “

A contractor’s toolbox has every tool that he needs for almost every job he gets. He can build almost anything with the tools in that box. We designed ETK10 to be that kind of resource for video editors.

” The addition of this animated overlay from ETK10 Super Set #241 gives this station ID added punch and a polished high-end look.

The animated Lower Thirds in ETK10 make it easy for you to make your talent and location IDs ready for broadcast. And the animated Overlays are the perfect way to anchor bulleted lists or to add interest to your video or logo sequences. Need to add splash to your edits? Tap into the power of ETK10’s Overlays and Lower Thirds.

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WIPES & TRANSITIONS Whether you’re sawing a board or editing video, you need to keep your cuts clean and your joints invisible. The best edits are the ones that people don’t see. While most of your edits will be cuts and dissolves, occasionally you need something a little flashier to spice up a transition from one scene to another or to-

(continued on page 12

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The Right Tools...

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In order to keep the audience’s excitement level high between show segments, this local kid’s show uses one of the full screen animated wipes from ETK10 Super Set #240.

(continued from page 11)

This computer services company based its identity around one of the motion design elements from ETK10 Super Set #247 by incorporating the element into their animated logo sequences in their promotional video materials.

and-from a graphic. The 63 Wipes and 30 Transition effects in our new Editor’s Toolkit 10 give you what you need to get from here to there with little flare. Each of the 63 Full screen wipes in ETK10 are full-color effects that move in and out of the frame, masking the edit (cut) to create the illusion of a smooth transition. Like our other overlay elements, alpha channel transparency guarantees that the effect will be easy to use and will look fantastic. The Toolkit also includes 30 Transitional wipes delivered as grayscale mattes, which allow you to build your own textured transitions using your software’s matte key effects. MOTION DESIGN ELEMENTS Great architecture is about the details. It’s the little touches that set fine-quality craftsmanship apart from ordinary construction. Our Motion Design Elements (MDE) let you add that kind of elegance to your productions. ETK10 gives you 75 different MDEs, so you have what you need to impress any client. The Motion Design Elements in ETK10 are the perfect way to add pop to your projects. These unique

alpha elements can be scaled and positioned wherever you like, adding interest or drawing attention to graphics, logos or text treatments. Use them in combination with ETK10’s Backgrounds, Lower Thirds and Overlays or feature them as standalone elements. Adding excitement to your edits is easy with ETK10’s Motion Design Elements. SUPER SETS With more than 500 elements, including Backgrounds, Lower Thirds, Overlays, Wipes, Transition Effects and Motion Design Elements, the Editor’s Toolkit 10: Multipurpose Tools III gives you everything you need to build better video. But we’ve gone beyond just throwing a bunch of random animations together on a disc and leaving it at that. All of the animations in the Toolkit are grouped together into stylistic Super Sets, which makes mixing and matching extremely easy. Each Super Set gives you a collection of coordinated elements, including: multiple matching Backgrounds, Lower Thirds, Overlays, Wipes and Transitions, Motion Design Elements and Mattes. Whether you produce training videos, commercials, newscasts or broadcast television shows, the 30 Super Sets in Editor’s Toolkit 10 will make it easy for you to create a consistent look for every program you produce.

Because Super Sets are designed to work together perfectly, you can create coordinated looks for whole productions with just a few clicks of your mouse. With more than 500 graphic elements in 30 super sets, ETK10 really does give you everything you need for every video you produce. JUICER To help you organize all these tools, we give you our Juicer software. This powerful tool comes free with all Digital Juice products and lets you search, browse, preview, process & export each element in any file type you need. It’s like the toolbox that holds all the tools in your Editor’s Toolkits. Our 10th Toolkit is our largest Super Setbased toolkit yet, with 30 Super Sets containing more than 500 graphic elements. You need quality tools to make quality productions. No matter how big or small your projects, and no matter what type of video you produce, at the end of the day, you’ll find the elements in Editor’s Toolkit 10: Multipurpose Tools III to be everything you need to build better video. There’s never been a better time to fill your toolbox and start building better video.

Chuck Peters is General Manager of Digital Juice and the Editor-in-Chief of Digital Juice Magazine

Matching animated Super Set elements from ETK10 Super Set #253 allowed this small budget production to look network-ready because of its sophisticated unified look. 12

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Work Made for Hire

LEGAL

WHEN THE

GOVERNMENT OWNS YOUR

WORK

Who owns the footage you shoot for your clients? by Mark Levy

O

ne of the issues that I am frequently asked by clients who

make videos for a living relates to ownership of their video

work. As an intellectual property lawyer, I am surprised how often this legal principle arises and how it is often misinterpreted. The basic law of copyright, which extends to all countries that are members of the Berne Convention (i.e., all major, civilized countries - some 160 in all), is that whoever creates a work owns it. As I said, that is the basic law. Real-life situations can be more complex.

“

”

you are paid for it or not. Suppose that you are paid an exorbitant amount of money for Unless you work for the government (see a 30-second commercial spot. Even after the Sidebar), there are two situations delivering the finished video to your client, where you might not own the footage you without an agreement to the contrary, you shoot: (1) when you are an employee or own the work. Depending on what you (2) when you have a written contract that agreed to before you started production, says otherwise. Many customers, this might mean that your obligation to your corporate and otherwise, request a written client or customer is merely to deliver one agreement giving them the right to copy good copy of your video. The customer, on and display the work either for an the other hand, has no right to copy the additional fee or as part of the agreedvideo or even to display or broadcast it upon compensation. Therefore, it is in the without your permission, since you own the best interest of the customer to enter into copyright to your work. a written agreement, under which you or your production company grants copyright RETAINING YOUR RIGHTS As you may recall from pre-digital days, rights to your client. portrait photographers routinely held onto WHEN YOU DO... negatives and charged their customers for Without a written agreement, you, the copying photos, even though the moviemaker or production company, own customers had already paid the the copyright rights, regardless of whether photographer for taking the photos in the you are commissioned to create the work first place. That was standard practice. (e.g., a wedding video, a corporate PR Copyright confers the exclusive rights to piece or a commercial) or even whether

1.800.525.2203 ORDER BY PHONE

federal government, and you create a work in the course of your employment, not only do you not own the work, neither does the government.

The basic law of copyright... is that whoever creates a work owns it.

WHEN YOU DON’T OWN YOUR WORK

If you are an employee of the

Works created by the federal government are not subject to copyright. Therefore, any

the maker of the work to reproduce it, prepare derivative works, distribute copies to the public by sale or rental, and to perform or display the work publicly. By the way, these exclusive copyright ownership rights also apply to whatever unused footage or sound you leave on the cutting room floor. You own it all.

work published by the

LAYING DOWN THE LAW

LOOK IT UP

In 1989, the U.S. Supreme Court heard an interesting case involving ownership of intellectual property. In this case, James Reid, a sculptor, was commissioned by The Community for Creative Non-Violence (CCNV) to create a modern Nativity scene, complete with a homeless couple and their baby huddled on a street-side steam grate. He was paid $15,000 for creating the sculpture by the CCNV. Unfortunately for the client, the agreement or understanding between the parties was not in writing. If a written agreement had been executed, however, and the magic words “work made (continued on page 16)

government (e.g., the Federal Register, U.S. patents, federal statutes and regulations) can be copied without permission and without liability.

For more information, see: z

17 U.S.C. 101, 105 (2005)

z

Matthew Bender & Co. v. West Publishing Co., 158 F.3d 674, 679 (2d Cir. 1998)

z

The Community for Creative Non-Violence (CCNV) v. Reid, 492 U.S. 730.

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Work Made for Hire

(continued from page 15)

for hire” had been used, then the client would have owned the copyright rights. But, since the understanding was not in writing, the client did not own copyright rights, but merely owned the one and only sculpture created and delivered by Mr. Reid. In other words, Mr. Reid retained his copyrights and could make, and sell, copies of the work to anyone he wanted to. Furthermore, the client did not have any right to make any copies of the sculpture that they owned. The Supreme Court outlined factors that should be considered when deciding whether an artist (e.g., a painter or videographer) is working as an employee (see the Sidebar). If a court decides that you are an employee, the person or organization that employs you owns the video. In other words, if (1) you are considered an employee or (2) you enter into a written contract that: (2a) specifically states that the video is a “work made for hire” or (2b) that you are assigning the copyright to your client

ARE YOU AN

(employer), your employer owns the copyright. Otherwise, since you created the video, you are an independent contractor and you own the copyright to your work, even if you were paid for it. PRECEDENT

A contract can be legally binding even though it may be relatively short. The magic words in these cases (“work made for hire”) establish the ownership of intellectual property. What does James Reid’s sculpture have to do with video? In our system of jurisprudence, precedent can be set in an identical or related field. Laws that have arisen based on one sort of intellectual property, such as sculpture or still photographs, can be applied to other areas of intellectual property, such as your video projects. When in doubt (repeat after me): see a lawyer!

Mark Levy is a New York-based Patent Attorney and video producer.

EMPLOYEE?

Here are the factors that the Supreme Court used in CCNV v. Reid to determine whether a person is an employee: • The hiring party’s right to control the manner and means by which the product is accomplished. • The skill required. • The source of the instrumentalities and tools. • The location of the work. • The duration of the relationship between the parties. • Whether the hiring party has the right to assign additional projects to the hired party. • The extent of the hired party’s discretion over when and how long to work. • The method of payment. • The hired party’s role in hiring and paying assistants. • Whether the work is part of the regular business of the hiring party. • Whether the hiring party is in business. • The provision of employee benefits. • The tax treatment of the hired party.

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COMPOSITING

Compositing 101

The fine line between genius and Motocross Madness by Brent Milby

S

tart with a high-energy video clip, maybe of a sporting event.

Imagine that your video rolls normally and then, suddenly,

everything stops. The “hero element” on the screen pops out from the background and the environment morphs into your ad message or template. The effect is striking, clean and fairly easy to create. I created a quick commercial sting in an afternoon (see the clip online at digitaljuice.com) using Photoshop, After Effects, VideoTraxx and Juice Drops. In this article, I’ll teach you how you can pull this effect off yourself.

“

Figure 2

Style, not technical muscle, makes the difference.

THE VIDEO

I started with clip #6285 from VideoTraxx Volume 3. In the clip, a motocross racer jumps over a ramp and does a quick trick before landing. The frame where he pulls the stunt is the perfect point to freeze the video and wipe in my graphic slate.

”

and hide the copy. You’ll use the background later. Using the lasso and eraser tools do a rough cutout of the motorcycle. Go back in with the eraser and background eraser tools for fine detailing around the edge of the motocross racer—take your time and get it as close as possible, because you’ll only have to do this once (Figure 2). Be careful (continued on page 18

Achieving the pause itself is simple. In After Effects, import the clip, drop it in a composition and shuttle through the timeline to find the frame where you want Video clip #6285 from VideoTraxx 3 to pause (Figure 1). At the pause frame, render out a still image by going to the Composite menu and selecting Save Frame As > File. Set all of your output settings to best and render the file to a PNG or other lossless format. If you import that file back into After Effects and place it on the timeline just after the frozen frame, you can use the still image to keep it frozen.

Figure 3

ISOLATE THE HERO— PHOTOSHOP

In order to change the background into something else, you’ll need to isolate and cut out the motocross racer. In Photoshop, open the still frame that you rendered out of After Effects. Duplicate the image layer Figure 1 1.800.525.2203 ORDER BY PHONE

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COMPOSITING

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Compositing 101

(continued from page 17)

Juice Drop #2637 from Vol. 26: paperCUTS

Figure 4

Juice Drop #2693 from Vol. 26: paperCUTS

Figure 5

not to manipulate the foreground image that you are isolating, if you do, the freeze frame will not work right.

TRANSFORM THE BACKGROUND

With the illusion complete, we can get creative with the background. This is where you can throw in a Jump Backs You’ll need to rebuild the background behind the loop or go nuts with an original style all your own. I wanted motocross racer, since you will want to move him around an old-school look with palm trees and a sun, so I searched once the action stops. If you didn’t remove the motocross through our Juice Drops still graphics collection and settled racer from the sky background you would have two on Volume 26 paperCUTS. I used the palm trees from motocross racers on screen, destroying the Illusion. Hide image #2637 and the sun from #2693 (Figure 4). The clean the cutout motocross racer that you created. Use the clone style of paperCUTS is perfect for the retro look I was going stamp tool in Photoshop to copy sections of the sky to for. I isolated just the palm trees in Photoshop, sized the cover the motocross racer. This is made pretty easy by the image down (to video resolutions) and named the layers fact that at this point in the sequence our motocross racer “tree1” and “tree2” before saving them as a new layered is in front of clear blue sky. More complex images will PSD file (Figure 5). For the new sky background, I moved require a bit more work in this step. You now have two some layers around, eliminated a few and merged some layers. Name one layer “motocross racer” and the other together leaving just two layers: “sky” and “clouds.” “sky” and save the file. BRING IT ALL TOGETHER

BUILD THE LAYERS— AFTER EFFECTS

Next, I imported the sky file as a composition in the Import dialogue box (Figure 6). This automatically created a new comp that I dropped into the other comp behind the original motocross racer footage. Back in the sky background comp, I animated the clouds for the duration of the animation by offsetting them on the x-axis. I then Next, create a wipe transition from your video to your graphic imported the two tree layers and arranged them on my background. Create a new solid (Layer menu > New > Solid) comp. To finish off the graphic I used 3D studio MAX named “wipe mask.” Draw a rectangular mask around the (Figure 7) to create a custom 3D logo for a show about solid with a little space around the edge. Drop a keyframe motocross called “Motocross Madness” and added the where you want to start the wipe with a totally visible solid. phrase “Weekdays—All Summer Long” (Figure 8). Over the course of about 10 frames, animate the left wall of Compositing in After Effects is easy once you understand the rectangle all the way to the right, completely hiding the the basic concepts of layers, compositions, transparency mask (Figure 3). This is the mask you will use to cut out the and a little keyframe animation. You don’t have to know a video background and reveal the graphic slate. ton of stuff about After Effects to achieve some really To cut out the background sky of the video, drag the wipe impressive effects. Just remember: Style, not technical mask layer to just above the original video clip and set muscle, makes the difference. the track matte of the video to alpha matte. The result Brent Milby is Senior Animator at Digital Juice. when you shuttle the timeline should be that the video plays from the beginning, pauses, and then the background wipes clears, leaving only the racer in suspended animation. Import the file twice into After Effects, once for each layer. In your Import dialogue, After Effects will give you the option to import individual Photoshop layers: do this for both layers. Drop each one into your comp at the pause frame.

Figure 7

Figure 6

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DIGITAL JUICE MAGAZINE MARCH/APRIL 2006

Figure 8

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IDEA BOOK

&

S U P E R

S E T

G A L L E R Y

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EDITOR’S TOOLKIT 10 GIVES YOU

more…

O

ur newest Editor’s Toolkit gives you more of what you

need to create professional productions. You get more

ANATOMY OF A

SUPER SET

graphics—with more than 500 elements, it’s a full 62% larger than our typical Toolkit—making ETK10 our biggest and best Editor’s Toolkit

2 Animated Overlays

ever. But the size of Editor’s Toolkit 10 is only the beginning. We designed ETK10 to give you more 2 Motion Design Elements

of what you really need: solutions. With Editor’s Toolkit 10 you have more options, more freedom, more flexibility, more style, more selection, and more potential, so you have more power. No matter what kind of video you make, Editor’s Toolkit 10 gives you more of what you need.

3 Animated Backgrounds 2 Animated Lower Thirds

4 Alpha Channel Mattes

1 Transition Wipe 2 Full Screen Wipes

CONTENT • 90+ GB of royalty-free content on 11 DVD-ROMs • 30 animated graphically matching Super Sets • Each set in the package contains the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes,1 transition wipe, 2 motion design elements, 2 overlay mattes and 2 lower third mattes. (Most sets also have several extra elements.) • More than 500 animations in all

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MULTIPURPOSE TOOLS III

SUPER SET 237

more

freedom

This aerospace company needed to present an image of stability and confidence. Super Set #237 has plenty of elements that gave this marketing piece the range it needed to move from serious corporate segments to high-energy

3

montages to depict a company on the cutting edge.

BACKGROUNDS

OVERLAYS

1

2

1 2 LOWER THIRDS

FULL SCREEN WIPE 1

2

MOTION DESIGN ELEMENTS 1

FULL SCREEN WIPE 2

TRANSITION WIPE

2 z

OVERLAY/LOWER THIRD MATTES

1 . 8 0 0 . 5 2 5 . 2 2 0 3

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1

3 Backgrounds 2 Full Screen Wipes 2 Overlays 2 Lower Thirds 2 Motion Design Elements 1 Transition Wipe 2 Overlay Mattes 2 Lower Third Mattes

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SUPER SET 240

EDITOR’S TOOLKIT 10

more

excitement

The bright primary colors, clean shapes and energetic motion of Super Set #240 help to communicate the excitement and enthusiasm of the Kidzone Science Center staff for this project, which needs to appeal to children and adults.

BACKGROUNDS

3

OVERLAYS

1

2

1 2 LOWER THIRDS FULL SCREEN WIPE 1

2

MOTION DESIGN ELEMENTS 1 FULL SCREEN WIPE 2 FULL SCREEN WIPE 3 2 OVERLAY/LOWER THIRD MATTES FULL SCREEN WIPE 4

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glamour

more

SUPER SET 241

Entertainment programs are extremely popular, but are also a dime-a-dozen. By grabbing the viewers’ attention in the first few seconds and then holding it with the glitzy graphics of Super Set #241, the producers here have turned the montage of light news segments that are the core of the

BACKGROUNDS

show into a complete program.

OVERLAYS 2

1

1 3

LOWER THIRDS 1

2

FULL SCREEN WIPE 2 MOTION DESIGN ELEMENTS

OVERLAY/LOWER THIRD MATTES

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2

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2

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SUPER SET 246

EDITOR’S TOOLKIT 10

more

selection

While automotive manufacturers are responsible for marketing the brand, it’s up to the dealer to attract customers and close sales. Buyers are becoming increasingly sophisticated and dealer marketing needs to

BACKGROUNDS

2

reflect that. The variety of options in Super Set #246 let this dealer produce a full campaign of consistent ads.

3

1

OVERLAYS 1

2 LOWER THIRDS 1 2

FULL SCREEN WIPE 2 MOTION DESIGN ELEMENTS

1

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2

OVERLAY/LOWER THIRD MATTES

z

W W W . D I G I T A L J U I C E . C O M

z

FULL SCREEN WIPE 1

TRANSITION WIPE

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SUPER SET 247

more

energy

Highly kinetic animations and metallic textures convey a technological edge for this corporate client competing for market share in an extremely competitive industry of tech support services. In fact, the company’s corporate identity is

BACKGROUNDS

defined by the look of the Motion Design Elements in 2

Super Set #247.

3

OVERLAYS

1

1

FULL SCREEN WIPE 1

2

1

FULL SCREEN WIPE 2

2

MOTION DESIGN ELEMENTS

z

OVERLAY/LOWER THIRD MATTES

1 . 8 0 0 . 5 2 5 . 2 2 0 3

z

LOWER THIRDS

2 1 TRANSITION WIPE

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SUPER SET 248

EDITOR’S TOOLKIT 10

more

credibility

An aspiring new wire service, the IBN Network needs to attract attention with class, credibility and complete professionalism. Super Set #248, with its sleek globe animations and worldwide appeal allows the network to expand into broader markets with its promotional

BACKGROUNDS

advertising segments.

OVERLAYS 2 1

2

1 3

LOWER THIRDS 1

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2

FULL SCREEN WIPE 2

MOTION DESIGN ELEMENTS 1

2

FULL SCREEN WIPE 3

TRANSITION WIPE

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FULL SCREEN WIPE 1

3 Backgrounds 2 Full Screen Wipes 3 Overlays 2 Lower Thirds 2 Motion Design Elements 1 Transition Wipe 3 Overlay Mattes 2 Lower Third Mattes

OVERLAY/LOWER THIRD MATTES

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SUPER SET 249

more

style

Retro-pop is in, especially with hip young bands. Super Set #249’s clean lines and youthful exuberance match the band’s ironic style and upbeat attitude. The retro styling of Super Set #249 set the tone for the band’s music video and gave their

BACKGROUNDS

2

demo an MTV feel.

2

OVERLAYS

1

3 1 FULL SCREEN WIPE 1

2

MOTION DESIGN ELEMENTS 1

3

FULL SCREEN WIPE 2

OVERLAY/LOWER THIRD MATTES

z

2

1 . 8 0 0 . 5 2 5 . 2 2 0 3

1

z

LOWER THIRDS

TRANSITION WIPE

3 Backgrounds 2 Full Screen Wipes 2 Overlays 2 Lower Thirds 3 Motion Design Elements 1 Transition Wipe 2 Overlay Mattes 2 Lower Third Mattes

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SUPER SET 250

EDITOR’S TOOLKIT 10

more

potential

The clear, modern design of Super Set #250 let this historic campus remain relevant to the young adults it wants to attract, while at the same time keeping a serious professional air that emphasizes the academic traditions of the university.

BACKGROUNDS 1

3 2

OVERLAYS 1

2

LOWER THIRDS 1 2

FULL SCREEN WIPE 2

MOTION DESIGN ELEMENTS 1 2

OVERLAY/LOWER THIRD MATTES

z

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TRANSITION WIPE

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SUPER SET 253

power

more

3D graphics, geometric shapes and directional energy propel these segments for Torque Motor Sports forward. The various elements seamlessly integrate the show’s logo into a unified whole, but it is the powerful animated motion that really makes this Super Set work here.

BACKGROUNDS OVERLAYS

1

2

2 3

3

4 1

FULL SCREEN WIPE 1

z

2

LOWER THIRDS MOTION DESIGN ELEMENTS 2

1

FULL SCREEN WIPE 2 OVERLAY/LOWER THIRD MATTES 3 4

z

1 . 8 0 0 . 5 2 5 . 2 2 0 3

1

5

TRANSITION WIPE

4 Backgrounds 2 Full Screen Wipes 3 Overlays 2 Lower Thirds 5 Motion Design Elements 1 Transition Wipe 3 Overlay Mattes 2 Lower Third Mattes

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SUPER SET 264

EDITOR’S TOOLKIT 10

flexibility

more

The agile flexibility of the graphics in Super Set #264 are ideal for this health club’s annual membership drive. Combined with a pulse-pounding musical bed, the spot radiates youth and energy, with enough flare to catch and keep the audience’s attention.

BACKGROUNDS

OVERLAYS 2

1

1

2 FULL SCREEN WIPE 1 LOWER THIRDS 1

MOTION DESIGN ELEMENTS 1

2

TRANSITION WIPE

OVERLAY/LOWER THIRD MATTES

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FULL SCREEN WIPE 2

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z

3

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MULTIPURPOSE TOOLS III

SUPER SET GALLERY

3 Animated Backgrounds

2 Animated Overlays 4 Alpha Mattes

N

ow that you have seen 10 of the 30 Super Sets from Editor’s Toolkit 10: Multipurpose Tools III

in action, here on the next few pages, is a sneak peek at some of the animated elements in the remaining sets in the volume so you can plan your own future productions. If you want to see these elements in motion, check online at www.digitaljuice.com for our 1 Transition Wipe

complete product gallery. 2 Animated Lower Thirds

2 Full Screen Wipes

2 Motion Design Elements

SUPER SET #238

4 Alpha Mattes

2 Animated Lower Thirds 2 Full Screen Wipes

z 2 Full Screen Wipes 4 Alpha Mattes

1 Transition Wipe

2 Animated Overlays

SUPER SET #243

3 Animated Backgrounds

2 Motion Design Elements

4 Motion Design Elements

4 Alpha Mattes

4 Alpha Mattes

1 Transition Wipe

1 Transition Wipe

1 Transition Wipe

4 Animated Backgrounds

2 Animated Overlays

2 Animated Lower Thirds

4 Motion Design Elements

1 . 8 0 0 . 5 2 5 . 2 2 0 3

2 Full Screen Wipes

2 Animated Lower Thirds

z

2 Motion Design Elements

2 Animated Overlays

SUPER SET #244

2 Animated Lower Thirds

3 Animated Backgrounds

SUPER SET #242

2 Animated Overlays

SUPER SET #239

3 Animated Backgrounds

2 Full Screen Wipes

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SUPER SET GALLERY

2 Animated Overlays

SUPER SET #245

5 Animated Backgrounds

2 Animated Lower Thirds

EDITOR’S TOOLKIT 10

2 Motion Design Elements

4 Alpha Mattes

4 Alpha Mattes

1 Transition Wipe

1 Transition Wipe

3 Animated Backgrounds

2 Animated Overlays

2 Animated Lower Thirds

4 Motion Design Elements

SUPER SET #251

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2 Full Screen Wipes

2 Animated Overlays

2 Animated Lower Thirds

2 Motion Design Elements

3 Animated Backgrounds

2 Animated Overlays

2 Animated Lower Thirds

2 Motion Design Elements

SUPER SET #254

SUPER SET #252 2 Full Screen Wipes 4 Alpha Mattes

2 Full Screen Wipes 4 Alpha Mattes

1 Transition Wipe 3 Animated Backgrounds

1 Transition Wipe

2 Animated Overlays 4 Alpha Mattes

z

W W W . D I G I T A L J U I C E . C O M

z

3 Animated Backgrounds

1 Transition Wipe 2 Animated Lower Thirds

SUPER SET #255

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2 Motion Design Elements

2 Full Screen Wipes

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2 Animated Overlays

2 Animated Lower Thirds

4 Motion Design Elements

SUPER SET #256

3 Animated Backgrounds

SUPER SET GALLERY

2 Full Screen Wipes 4 Alpha Mattes

2 Animated Lower Thirds

4 Alpha Mattes

4 Alpha Mattes

1 Transition Wipe

1 Transition Wipe

2 Full Screen Wipes

3 Animated Backgrounds

2 Animated Lower Thirds

2 Motion Design Elements

4 Alpha Mattes

2 Animated Overlays

3 Motion Design Elements

2 Animated Overlays

2 Full Screen Wipes

1 Transition Wipe

SUPER SET #258

3 Animated Backgrounds

3 Animated Backgrounds

SUPER SET #257

MULTIPURPOSE TOOLS III

1 Transition Wipe

3 Animated Backgrounds

2 Animated Overlays

2 Animated Lower Thirds

3 Motion Design Elements 2 Full Screen Wipes

2 Animated Overlays

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SUPER SET #260

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2 Animated Overlays

2 Animated Lower Thirds

2 Motion Design Elements

SUPER SET #261

3 Animated Backgrounds

EDITOR’S TOOLKIT 10

2 Full Screen Wipes 4 Alpha Mattes

2 Animated Lower Thirds

2 Animated Lower Thirds

2 Motion Design Elements

4 Alpha Mattes

2 Animated Overlays

2 Motion Design Elements

2 Animated Overlays

2 Full Screen Wipes

1 Transition Wipe

SUPER SET #263

3 Animated Backgrounds

3 Animated Backgrounds

SUPER SET #262

SUPER SET GALLERY

4 Alpha Mattes

4 Alpha Mattes

1 Transition Wipe

1 Transition Wipe

3 Animated Backgrounds

2 Animated Overlays

2 Animated Lower Thirds

2 Motion Design Elements

2 Full Screen Wipes

2 Full Screen Wipes

3 Animated Backgrounds

2 Animated Overlays 4 Alpha Mattes

1 Transition Wipe 2 Animated Lower Thirds

3 Motion Design Elements

2 Full Screen Wipes

SUPER SET #266

For more information about Digital Juice Editor’s Toolkits, visit us online at www.digitaljuice.com or call 800.525.2203 and talk to one of our customer service representatives. E16

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SUPER SET #265

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AUDIO

ON THE WEB @ www.digitaljuice.com

Audio for the 21st Century

What you need to know about audio formats by Jeff Earley

ANALOG SOUND

AND THE

HUMAN EAR

M

anipulating and editing audio used to require an edit block, a grease pencil, a razor blade and a steady hand.

The frequency of a sound,

Modern digital audio technology has very different requirements.

high or low, is the number

Working in a computer environment means that you need to

of times a peak in a sound wave passes by in a

convert a continuously variable analog signal (i.e., sound waves)

second. The resulting

into discrete digital bits that can be stored as binary information.

frequency in cycles per second is named a Hertz (Hz), after physicist Heinrich Rudolf Hertz. A familiar sound that cycles 1,000 times per second would be the test tone that typically accompanies color bars (a 1,000Hz tone). The generally accepted range of human hearing is 20Hz to 20,000Hz.

Understanding a little bit about how this works is a necessity in this day and age.

Will anyone be able to hear the difference “ between a digital sample rate of 48kHz and 96kHz? Probably not... ” CONVERSION

Digital recording devices—such as DV camcorders, DAT recorders and computers—convert the continuous analog world into a digital approximation saved to tape or disk. The fidelity or accuracy depends on how often the analog signal is digitally sampled. More samples per second mean greater fidelity. This digital sample rate is expressed in cycles per second or Hertz. Sound waves of low and high frequencies are also measured in Hertz. Digital sampling happens in thousands of cycles per second (kHz), for example, DVDs and MiniDV camcorders use a sample rate of 48kHz. CD-audio music has a sample rate of 44.1kHz. Digital Juice’s Sound FX have a 96kHz sample rate. WHY SAMPLE RATE IS IMPORTANT

Of course, we all know that a higher sample rate means higher quality, but there are technical reasons why this can

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be important. Remember that both sound waves and digital samples are measured in hertz. If you had a sound wave that had a 50Hz cycle, it would be impossible to digitally record this sound with any accuracy at a 50Hz sample rate (one sample per cycle). Nyquist Theory states that the sample rate must be greater than twice the maximum frequency component of the signal sampled. A simple 50Hz sound wave would therefore need, at a minimum, a 100Hz sample rate. Humans (young humans at least) can hear sounds with frequencies of 20kHz, so a 40kHz sample rate should be enough, theoretically. You can already see that we are getting close to the 44kHz and 48kHz sample rate of many standard digital audio formats. In order to recover the original signal from the sampled signal without aliasing or artifacts, it’d be nice to have a little more room on top. Will anyone be able to hear the difference between a digital sample rate of 48kHz

and 96kHz? Probably not. But if it was available, why wouldn’t you use it? AUDIO ADVICE

If you are recording your own voiceover tracks, you should use the highest sample rate supported by your particular setup. This way, there is more information available to the computer application when you do processing on the recorded audio. This extra information is valuable and will give you higher quality results when running your audio through the complicated mathematical algorithms involved in most processing, such as equalization or noise reduction. Some editing software will allow you to mix audio of different formats right on the timeline while some older programs may require you to convert all audio to the same format before importing. The minimum audio recording capability of modern hardware aimed at the audio for video market is 48kHz, while high-end

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AUDIO

DIGITAL APPROXIMATION

T

he digitization of an analog sound wave into a discrete digital signal always results in some loss. Since the digital data only represents an approximation of a perfectly

smooth sound wave curve, the more digital samples that we take over time, the closer the systems are currently capable of recording up to 192kHz. Which hardware you choose for recording your audio depends largely on the format required for your final distribution and your budget. As technology improves, prices will go down, and higher sample rates and greater fidelity will become much more common.

Jeff Earley is Director of Digital Juice Audio Products.

approximation. Furthermore, higher frequency sounds require more samples-per-second to represent accurately than lower frequency sounds. In this Figure, we can see two hypothetical sound waves. The top sound wave is twice the frequency of the lower sound wave, but the digital sample rate (represented by the dots on the line) is the same for both. You can see at a glance that the curve on the lower frequency wave (bottom) is much more accurately (i.e., smoothly) represented by this sample rate.

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Framing for Graphics

Modern graphics and the fundamentals of frame composition by Perry Jenkins

B

ack in simpler times, you just needed to frame up your talent in whatever artistic way you wanted and roll tape.

Today, it seems like you can’t watch a television program without something else going on - stock tickers, station bugs, name plates and so on. These sorts of graphics, when used appropriately, can add information and value to a program, but they also require that

Figure 1

your shooters plan for them in the production stage. The next time you are faced with the challenge of shooting for a project, try and keep some of these tips in mind to ensure plenty of on screen real estate for your graphics.

Rule of Thirds is certainly a good, “ The solid place to start, but don’t let it completely restrict your shooting style. ” TIP 1: LOWER THIRDS

Even though this may seem obvious, it’s important to remember that you may want some space at the bottom of your screen reserved for a graphic treatment. Whether it’s an ID or a place to lay some facts or tidbits, you’ll be sorry in post if you’ve left yourself with no room. For lower third ID’s, make sure your subject is framed in a medium close-up or a wide shot, with their eyes on the top third of the frame (Figure 1). The good old “Rule of Thirds” can really help to ensure that you’ve got plenty of room for a graphic, while still framing your subject in a pleasing manner. The Rule of Thirds is certainly a good, solid place to start, but don’t let it completely restrict your

shooting style. Be creative and have fun, as long as you are shooting in a style that’s appropriate for your production. TIP 2: SIDEBARS

Sidebars are an excellent way to deliver a lot of information. From detailed descriptions to bulleted lists and even to closing credits, sidebars are an effective and stylish way to communicate your message. But only if you’ve left enough room for it. I like to develop a shot list in pre-production to outline for myself when I need to frame a subject for such graphics like sidebars. In the example pictured here, our spokesperson is framed to the left, because we knew we wanted to reinforce his key points with text (Figure 2).

Figure 2

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Figure 3

TIP 3: OVERLAYS

Figure 4 As you can see, the shot would have been fine without a sidebar. The point is, your shots should look good whether you’ll use the real estate for a graphic or not. If you’ve got some empty space next to your talent, make sure it doesn’t distract your viewer. Make sure your composition always draws the viewer’s eye to your subject. If you are shooting objects or products to use along with a sidebar, you should apply the same theories (Figure 3). Frame your object to the left or right to allow enough room for some fancy graphic treatment. Or, take it a step further and add a Jump Back or other Editor’s Toolkit element for a customized touch.

Overlays are graphics that anchor some other element in the composition, perhaps some text or even a picture-inpicture video window. Framing for an overlay can be tricky. It’s often best to know exactly what you are going to use before you set out on your production. Digital Juice’s Editor’s Toolkits have custom overlays that are explicitly designed to act as templates and frames (Figure 4). During pre-production, run the Juicer software and spec yourself out a Super Set that will suit your production. Then, during shooting, frame your compositions so that they will be complemented by the overlay that you intend to use. Keep in mind that the framing of your subject doesn’t need to be perfect. It’s OK if elements of the overlay interact with parts of your subject, perhaps even adding a little depth to enhance the produced piece.

Perry Jenkins is Senior Video Producer and Director at Digital Juice.

1.800.525.2203 ORDER BY PHONE

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ON THE WEB @ www.digitaljuice.com

Inside the Snow Globe

ABC 13 shakes up their winter station IDs by Chuck Peters

W

ho is using Digital Juice media? Who isn’t! Our animated graphics, stock footage, music and sound effects can be

seen (or heard) anytime you turn on your TV. We get letters and e-mails every month from excited Juice users sharing Digital Juice sightings with us. From time to time we like share our favorites with you in print. This one was just so cool that we had to show it to you.

“ Your artists

”

made it easy and beautiful...

Our recently released Editor’s Toolkit 9: Christmas Tools, was a big seller this holiday season. The folks at KTRK ABC 13 in Houston, TX used one of the elements in ETK9 as the foundation for some sweet seasonal station IDs. If you live in the Houston area, you may have seen them! Those of you who don’t live in Houston can see the clip in the magazine section at digitaljuice.com.

The KTRK ABC 13 crew used the Background 4 animation from Super Set #234 (above) for their composite. Further customization for similar spots could be achieved using two other set elements—the alpha channeled Motion Design Element 1 globe (right) and the plain snow Background 3 (above right).

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Scott Morrow, Assistant Creative Services Director at KTRK, told us about the idea. “I've always wanted to make snow globe anchor IDs for the holidays. Your artists made it easy and beautiful,” wrote Morrow. Creating your own animated snow globe from scratch is much more difficult than keying your talent into our pre-built template. The element they chose to use as the foundation of their composite was our

animated snow globe background, from Super Set #234 on Editor’s Toolkit 9: Christmas Tools. How’d they do it? “Steve Henry of Video Perspective in Houston shot the green screen footage and 3D artist, Paul McKenna, matched your 3D quite nicely and added some chilling graphic touches,” Morrow explained. The sound of the talent knocking on the glass inside the globe rounds out the illusion and adds a feeling of realism. The new Digital Juice Sound FX Library has more than 11,000 sounds, including all sorts of knocking sounds, to help you sell just such an illusion. Great work, Scott. You and your team did a great job. We’re proud to have you as members of the Digital Juice family.

Chuck Peters is General Manager of Digital Juice and Editor in Chief of Digital Juice Magazine.

ORDER ONLINE www.digitaljuice.com

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NOW SHIPPING! Editor’s Toolkit 10: Multipurpose Tools III

2 ANIMATED LOWER THIRDS 2 MOTION DESIGN ELEMENTS

ETK10 SUPER SET #246 3 ANIMATED BACKGROUNDS

2 ANIMATED OVERLAYS 4 ALPHA MATTES

2 FULL SCREEN ANIMATED WIPES 1 TRANSITIONAL WIPE

SEE COMPLETE ANIMATION GALLERIES ONLINE!

Editor’s Toolkit

Network Quality Animation Library Digital Juice’s Editor’s Toolkits keep getting better and better, and Editor’s Toolkit 10, Multipurpose Tools III is our BIGGEST and BEST TOOLKIT EVER! With more than 500 elements, it is 62% BIGGER than our average toolkit! ETK10 gives you more of what you need, whether you produce training videos, commercials, a newscast, church video or a broadcast television show!

$399 Reg. Price

or add to any order for only

$199*

*Special Limited Time Pricing! (valid until April 30th, 2006)

1.800.525.2203 ORDER BY PHONE

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D I G I T A L

J U I C E

C A T A L O G

The revolutionary production collection that puts you in control! Just $249 per volume or as low as $49 per volume in a 12-PAK Bundle. VOLUMES AVAILABLE: Vol. 1: Extreme Stacks Vol. 2: Power Stacks Vol. 3: Serious Stacks Vol. 4: Smooth Stacks

• 20-40 original full length songs per volume • 1 DVD with proprietary digital layered files, 2-4 CDs per volume (CDs contain Standard Compact Disc Audio)

Vol. 5: Holiday Stacks Vol. 6: Street Stacks

• 4-7 separate editable layers per song

Vol. 7: Groovy Stacks Vol. 8: Fifties Stacks Vol. 9: World Stacks Vol. 10: Broadcast Stacks Vol. 11: Epic Stacks NEW! Vol. 12: Corporate Stacks

$249

per volume

• 4 broadcast cuts per song—:10, :15, :30, & :60 • Now 12 volumes to choose from! • NEW! JUICER 3.0 COMPATIBILITY makes working with StackTraxx even easier! or Get ALL 12 VOLUMES for

Limited $599 Special Time Pricing! Taking production music a step further, StackTraxx allows you to turn layers on or off creating original mixes or isolating individual tracks, using our free Juicer software.

S T A C K T R A X X

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ORDER ONLINE www.digitaljuice.com

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Digital Juice

SOUND FX Library Break the sound barrier!

he Digital Juice Sound FX Library is the most comprehensive collection of audio effects ever collected together into a single package. Produced by renowned industry-veteran sound designers and distributed at 24-bit/96kHz resolutions, the artistic and technical quality is state of the art. The keyword searchable index makes the over 10,000 clips eminently usable, like no other media library anywhere else. Divided into more than 170 categories, the library goes beyond simple Foley effects and explosions with new categories that include musical logos and professional voice work. The Digital Juice Sound FX Library is designed to give audio and video professionals the tools they need to enhance, exaggerate and create a completely immersive audio soundscape for any production.

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SOME OF THE CATEGORIES INCLUDE: NOISE FX—Alarms • Beds • Bells • Bumpers • Buttons • Descends • Feedbacks Flashes • Growls • Phasers • Ricochets • Stingers • Thumps • Transitions • Whooshes GENERAL FX—Animals • Crashes • Explosions • Foley • Household • Impacts • Liquids Machines • Sports • Technology • Transportation • Weapons • Weather MUSICAL FX—Musical Logos • Musical Transitions • Musical Textures • Musical Elements HUMAN FX—Attitudes • Business • Children • Commercial • Common Greetings Law Enforcement • News • Numbers • Occasions • OnTheSet • Questions • Responses Sports plus many more.

$699 Reg. Price

$599

LIMITED TIME INTRODUCTORY PRICING!

Using the included Juicer 3.0 software you can convert to virtually any sample depth and bit resolution you might need. Compatible with both Mac and PC, the software also make searches and previews a snap.

S O U N D

F X

L I B R A R Y

TECH SPECS Superior 24-bit, 96kHz stereo WAV format lossless quality audio 4 main classes: General FX, Noise FX, Human FX, Musical FX More than 170 categories Keyword searchable Over 55 gigabytes of content

1.800.525.2203 ORDER BY PHONE

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C A T A L O G

Editor’s Toolkit 1: Multipurpose Tools • 40+ GB, 6 DVD-ROMs

Editor’s Toolkits Complete Animated Graphics Packages for

• 50 Animated Jump Sets with matching animated background, template, overlay, and lower third • 50 Additional animated overlays and 50 additional animated lower thirds • 200 static lower thirds, 250 static mattes

Every Video Producer or Editor

• Thousands of stills in over 20 categories

Create a coordinated and professional look effortlessly with animations organized into matched sets. 10 Volumes • 100s of Animations per Volume • Backgrounds, Overlays, Lower Thirds, Wipes and Motion Design Elements Editor’s Toolkit 2: Multipurpose Tools 2 • 55+ GB, 10 DVD-ROMs • 15 Animated Jump Sets with matching animated background, template, overlay, lower third, full screen wipe & transition • 100+ Motion design elements • 100 Wipes and transitions to match ETK1 plus 50 additional wipes & transitions • 15 Additional lower thirds and overlays • Thousands of photos & photo objects

Editor’s Toolkit 3: Wedding Tools

Editor’s Toolkit 4: High Tech Tools

Editor’s Toolkit 5: Soft & Subtle Tools

• 70+ GB, 10 DVD-ROMs

• 80+ GB, 10 DVD-ROMs

• 80+ GB, 10 DVD-ROMs

• 20 Animated Jump Sets with matching animated background, template, overlay, lower third, full screen wipe & transition

• 20 Animated Super Sets with a High Tech edge, each with the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes,2 motion design elements, 1 transition wipe as well as 4 alpha channel mattes.

• 20 Animated Super Sets with a Soft & Subtle look, each with the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes,2 motion design elements, 1 transition wipe as well as 4 alpha channel mattes.

• More than 320 Animations in all

• More than 320 Animations in all

(formerly Wedding Editor’s Toolkit)

• 100+ Motion design elements • 20+ Additional animated backgrounds • 50+ Additional full screen animated wipes • 25 Bitstream™ Fonts

$399

Editor’s Toolkit 6: Corporate & Broadcast Tools

$399

$399

Editor’s Toolkit 7: Wedding Tools II

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• 80+ GB, 10 DVD-ROMs • 20 Animated Super Sets with a Corporate & Broadcast feel, each with the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes,2 motion design elements, 1 transition wipe as well as 4 alpha channel mattes. • More than 320 Animations in all

• 63+ GB, 8 DVD-ROMs • 15 Animated Super Sets with a Wedding theme, each with the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes, 2 motion design elements, 1 transition wipe as well as 4 alpha channel mattes. • More than 260 Animations in all

$399

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ORDER ONLINE www.digitaljuice.com

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Editor’s Toolkit 8: Sports Tools • 70+ GB,10 DVD-ROMs • 54 Animated Jump Sets with a network sports feel, including individual animations for Basketball, Football, Baseball, Soccer, Golf, Hockey & Tennis. • Package also includes globe and multipurpose animated backgrounds for a wider appeal. • Each set in the package contains the following matching animated elements (at a minimum): 2 backgrounds, 1 overlay, 1 lower third, 1 full screen wipe and 1 motion design element

Editor’s Toolkit 10: Multipurpose Tools III Our BIGGEST and BEST Yet! 62% More Content for the Same Low Price.

• More than 320 Animations in all

$399 • 90+ GB of royalty-free content on 11 DVD-ROMs • 30 animated graphically matching Super Sets

Editor’s Toolkit 9: Christmas Tools • 90+ GB, 12 DVD-ROMs • 16 animated graphically matching Super Sets with a seasonal theme. • Each set in the package contains the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes, 1 transition wipe, 2 motion design elements and 4 animated alpha channel mattes. (Most sets also have several extra elements.) • Bonus holiday animated text elements. • Bonus video design elements with Santa Claus.

• Each set in the package contains the following matching animated elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds, 2 full screen wipes, 1 transition wipe, 2 motion design elements and 4 animated alpha channel mattes. (Most sets also have several extra elements.) • More than 500 Animations in all

$399 OR ADD TO ANY ORDER

199

FOR JUST $

EDITOR’S TOOLKIT HOT TIP:

AUTO TRANSPARENCY

• More than 350 Animations in all

ne of the great features of the Editor's Toolkits animated graphics is the automatic transparency built into the native format of the files. Most professional video editing applications will automatically detect this industry-standard alpha channel, making our lower thirds, overlays, motion design elements and full screen animated wipes drag-and-drop easy to use, which means that you can hit your deadline and still have a great looking show.

O

$399

1.800.525.2203 ORDER BY PHONE

Overlay 2 (left) and Lower Third 2 (above) from Editor’s Toolkit 10 Super Set #238

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C A T A L O G JB01: High Impact I The high impact volumes include dozens of different styles, ensuring you’ll find the perfect animation for any production.

Jump Backs

DVD 40 ANIMATIONS $249

Network Quality Animation Library The royalty-free collection that just keeps growing— more variety and more innovation all the time. 30 Volumes • 40+ Animations per Volume 15-30 Seconds per Animation • Seamlessly Loopable

JB02: High Impact II Subtle or bold, retro or high tech, our high impact volumes have a sampling of many styles to suit every project. DVD 40 ANIMATIONS $249

JB03: High Impact III

JB04: Wedding

JB05: Sports

JB06: High Impact IV

When you want your next project to stand above the rest, but you don’t need a specific theme, then you want a High Impact Jump Back.

Not just for weddings! If you are looking for super soft and subtle animations you’ll definitely want to add this volume to your library.

Back by popular demand, High Impact IV continues the signature Jump Back style and takes it to a whole new level.

DVD 40 ANIMATIONS $249

DVD 56 ANIMATIONS $249

Shoot and score with this impressive collection of sports-related animations. Covers football, baseball, basketball, tennis, golf, hockey, soccer, and more! DVD 49 ANIMATIONS $249

JB07: High Impact V

JB08: High Impact VI

JB09: High Tech & Internet

JB10: All American

With its mix of high tech looks and energetic style this volume stands out as one of our all-time best sellers.

Not intimidated by the success of Volume 7, this volume once again shows why Digital Juice leads the way in royalty-free animations.

Computers, binary numbers, world wide web, internet, networking, satellites, circuitry, global communication, and more.

The perfect mix of patriotism, history, politics, independence, government, military, the heartland and holidays.

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB13: All Church

JB14: Medical/Health, Education & Science

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB11: Retro Clean Need the latest cutting-edge look? Volume 11 animations have simple clean lines and a crisp neo-retro feel—hip and stylish without being extreme.

JB12: Corporate/Industrial, Time & Money The title says it all, anything and everything related to industry, business, finance and time.

Subtle, tasteful animations that are a musthave for any church-related video project. Also includes soft theme-free graphics perfect for any job.

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB15: Weather&The Elements

JB16: High Impact VII

JB17: Extreme I

JB18: Extreme II

These animations convey the mood of the seasons—animated fall leaves, lightning storms, clouds, snowflakes, and much more.

Taking up where Volume 8 left off, this newest High Impact volume features sophisticated animations designed for any production.

An explosion of color, light and movement— your productions will say “Look at me, NOW!” when you add this volume to your animation arsenal.

Abstract colors and radical themes—from extreme road trips to crazy roller coaster rides—move your productions from point A to B in a hurry!

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

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This broad collection has a variety of animations which fit perfectly together. So many themes and looks—so many uses! DVD 40 ANIMATIONS $249

ORDER ONLINE www.digitaljuice.com

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JB19: Extreme III

JB20: Subtle Impact

So much action, so much intensity—you can almost hear the beat thumpin’ or the guitar grindin’ under these cool backgrounds.

The title says it all—soft styles with impact, visually interesting animated backgrounds with a variety of subtle themes. DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB21: High Impact VIII

JB22: Global Impact

High Impact VIII takes up where its popular predecessors left off, bringing you highenergy animations in a variety of styles and colors.

Go global with your next production— you can literally have the world at your fingertips—and in motion. DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB23: Clean Streak

JB24: Tunnel Vision

Clean Streak is clean, cool, and structured— animations with sharp edges, bright colors and lots of attitude in motion.

Tunnel Vision takes you for a ride down dimly lit passageways, around hairpin curves, through tubes of light—buy a ticket and get on now.

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB25: All Music

JB26: Future Tech

Music-themed backgrounds that will make your productions shake, rattle and roll— get your audience out of their seats and onto their feet.

A surreal journey to the future and new dimensions—highly stylized elements and motion not found anywhere else in the Jump Backs series.

DVD 40 ANIMATIONS $249

DVD 40 ANIMATIONS $249

JB27: International Flags

JB28: Subtle Impact II

Beautifully rendered, rippling, waving, full-screen animated flags from countries around the world.

This sequel won’t fail at the box office— soft, sleek energy boxed up for your next low-key production.

DVD 58 ANIMATIONS $249

DVD 40 ANIMATIONS $249

Jump Backs HD High Definition, Network Quality Animation Library • • • •

10 volumes, 20 animations per volume Full 1,920x1,080, 16:9 Resolution 15-30 seconds per animation Seamlessly loopable

VOLUMES AVAILABLE: JB HD 01: High Tech & Internet JB HD 02: Corporate/Industrial, Time & Money JB HD 03: Medical/Health, Education & Science JB HD 04: High Impact VI JB HD 05: Retro Clean JB HD 06: Extreme I JB HD 07: Extreme II JB HD 08: Subtle Impact JB HD 09: All Music JB HD 10: Simply Useful

$249

PER VOLUME

OR BUNDLE

ALL 10

VOLUMES FOR JUST

$699

(samples shown at right)

JB29: US State Flags

JB30: Simply Useful

Accurately rendered and textured full-screen animated flags from the 50 U.S. states, as well as the District of Columbia and 5 U.S. territories.

The original animations in our latest volume luminously draw the viewer right into the scene with an aesthetic palette that is just right.

DVD 56 ANIMATIONS $249

DVD 40 ANIMATIONS $249

1.800.525.2203 ORDER BY PHONE

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D I G I T A L

J U I C E

C A T A L O G

VideoTraxx 1 Film & Video Library • • • • • •

3000+ Video Clips 34 DVDs • 220 GB 36 Categories Royalty-free NTSC/PAL Free Juicer Software

CATEGORIES INCLUDE: Aerials, Abstract, Agriculture, Business, Children, City Life, Elderly, Extreme Sports, Family, Farming, Fitness, Government, Health, Industry, International, Landscapes, Leisure, Music, Nature, People, Science, Sights, Sports, Suburbia, Technology, Urban, Weather, Work and more.

$599

VideoTraxx 2 Film & Video Library

CATEGORIES INCLUDE: Artisans & Crafts, Autos & Motor Sports, Cities & Architecture, Creation, Fitness & Medicine, International Life, Music, Night Life, Old War, Religion, Romance, Teens, What’s Cooking, Wildlife, Women’s Beauty, Youth Sports and more.

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• • • • • •

3000+ Video Clips 34 DVDs • 220 GB 32 Categories Royalty-free NTSC/PAL Free Juicer Software

$599

X

VideoTraxx 3 Film & Video Library • • • • • •

3000+ Video Clips 34 DVDs • 220 GB 36 Categories Royalty-free NTSC/PAL Free Juicer Software

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CATEGORIES INCLUDE: Adrenaline, All In The Family, Animal Kingdom, Around the House, At The Park, Body Shots, Business & Economics, Casino, Couples, Drugs, Medicine & Emergency, Film, Photo & Video, Good Eats, Hands, International Culture, Music & Dance, New War, Scenics, Space, Team Sports & Athletics, Workshop & Garage and more.

ORDER ONLINE www.digitaljuice.com

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Juice Drops Library Print Resolution Layered Backgrounds JD01: highIMPACT JD02: techXTREME JD03: cleanCUTS JD04: ultraGRUNGE JD05: subtleIMPACT JD06: ultraFRESH, JD07: hyperXTREME JD08: techIMPACT JD09: highIMPACT II JD10: ultra3D JD11: xtraGRUNGE JD12: retroFRESH JD13: peopleEDGE JD14: subtleIMPACT II JD15: highIMPACT III JD16: ultraCUTS JD17: scienceIMPACT JD18: cleanCUTS II JD19: medicalIMPACT JD20: illustratedIMPACT JD21: businessIMPACT JD22: boundlessEDGE JD23: cleanCUTS III JD24: geoIMPACT JD25: shadedEDGE JD26: paperCUTS JD27: glassEDGE JD28: freshFORM JD29: flowerPOWER JD30: lifeSHADES JD31: foodFUSION JD32: templateCUTS JD33: ethnicECHOES JD34: fluidFORM JD35: futureTECH JD36: naturalCUTS NEW! JD37: sportsCUTS NEW! JD38: pastelSKETCH

Presenter’s Toolkit The Ultimate Presentation Graphics Library

• 100 royalty-free layered illustrations per volume • 2-4 DVDs per volume

$299

• 36 Volumes available now • Unlimited possibilities—turn layers on and off in Photoshop, customize the design for every project

• 900+ music clips (128 kbps MP3) • 6700+ PowerToonZ illustrations • Free Juicer software for browsing, copying and adding special effects.

• Files are delivered in layered Photoshop .psd & flattened RGB & CMYK .tif formats

JD37: sportsCUTS Template style and high energy sports connect in this useful themed volume. Realistic 3D elements blend with tone on tone color backgrounds for a look that will enhance any print or multimedia project. Illustrated sports include everything from football to lacrosse, basketball to luge. DVD 100 LAYERED PSD IMAGES $249

JD38: pastelSKETCH Abstract concepts and realistic situations rendered in a wild, painterly pastel sketch style. Bright colors and energetic strokes jump off the page to evoke a mood, illustrate a point or add impact. DVD 100 LAYERED PSD IMAGES $249

• 4900+ graphic backgrounds (1600x1024, 300 dpi PNG) • 3200+ video clips (320x240 MPEG1 Video 30 FPS)

• All images are 17.25" x 11.25" at 300 DPI for a pixel resolution of 5175x3375.

INTRODUCING OUR TWO NEWEST VOLUMES!

• 6 DVDs with 40+ GB of royalty-free content • 2000 photos and 2500 photo objects

• Compatible with PowerPoint, Keynote, MediaShout, SongShowPlus, Sunday Plus as well as other presentation and worship software. Sample images from two brand new Juice Drops volumes: JD37: sportsCUTS and JD38: pastelSKETCH

VOLUMES AVAILABLE:

GET BOTH PTK & DJ 2.0 FOR JUST $399 Digital Juice 2.0 for PowerPoint and Multimedia The Best Selling Professional Presentation Graphics Library on 1 DVD! • 2600 graphic backgrounds • 1100+ photos and photo objects

$199

• 50 video clips (320x240, MPEG1) • 60 animated elements (320x240, MPEG1) • 54,600 photo and background remixes • Compatible with PowerPoint, Keynote, MediaShout, SongShowPlus, Sunday Plus as well as other presentation and worship software.

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per volume

BUNDLE ALL 38

volumes for just

$1599

SAVE 83% just $42 a volume!

or BUNDLE ANY 10 Juice Drops Volumes for just $699 Juice Drops Volumes can also be added to any MIX & MATCH

BUNDLE

1.800.525.2203 ORDER BY PHONE

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JUICE BOX

We’re Skipping NAB 2006! The real show for Digital Juice this year isn’t in Las Vegas by Dave Hebel

I

f you've attended the National Association of Broadcasters Show (NAB) in Las Vegas in the

past six years you've probably seen (or at the very least heard) the Digital Juice booth. It's our favorite

DON’T MISS ANOTHER ISSUE!

tradeshow and we usually go all out with a big stage show, lots of video monitors showing off our products, and free giveaways. It typically takes

FREE Magazine Subscription • Tips, tricks and tutorials • New product releases • Insider product information • Latest specials and pricing Best of all, you can get Digital Juice magazine ABSOLUTELY FREE every month! To subscribe, just visit www.digitaljuice.com and click on the FREE MAGAZINE link on the homepage.

NEXT MONTH

in DIGITAL JUICE MAGAZINE

SPECIAL PRESENTATION ISSUE: • Animated backgrounds in PowerPoint • Effective presentations, slide layout and text • Keep your audience awake

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nearly forty people to run our booth. The past few years we've taken our entire Florida staff and then some! While we’ve loved every minute of past NAB shows, we decided last year that we would sit out NAB 2006. Why? Mainly because we knew that the three months of preparation for the show, and the subsequent weeks of recovery and refocusing after were going to be too much for us in 2006. We have big and exciting plans for the year and it’s going to take every waking moment from our entire staff to do everything we intend. OUR BIGGEST & BEST TOOLKIT YET

Over the past four years, we’ve released nine Editor’s Toolkits, most of which came out last year. Because of their versatile nature, the non-themed Multipurpose Tools I and II have always been hot sellers. Even in 2005, with the release of six new Toolkits, Editor’s Toolkit 2: Multipurpose II was still our best selling Toolkit! Our animators began work on our 10th Toolkit about six months ago and, early on, they decided that they wanted this to be the biggest and best in the series. Talking about the “best” Toolkit is somewhat like picking your favorite child, but I have to say that, animation-foranimation, set-for-set and dollar-for-dollar, this is absolutely our best Toolkit yet. If you’re new to Digital Juice products and you’re looking for a good first purchase, I recommend Editor’s Toolkit 10: Multipurpose III. With 500 animations (62% more than usual!), including lower thirds, overlays, wipes, and motion design elements, it’s sure to be our definitive starter package and a must-have for

Toolkit collectors. Don’t just take my word for it, check out our online gallery (which has fulllength previews of every single animation in the collection) and watch the DVD that came with this magazine to see for yourself! GET FREE STUFF

Last month I posted a special offer in our Community Forums:

• Upload one (1) image or video to our Customer Showcase and get a $25 Juice Coupon (limit one coupon per customer). • Upload ten (10) images or videos to our Customer Showcase and get a FREE volume of Jump Backs, StackTraxx or Juice Drops (limit one per customer). You must have used Digital Juice products in the samples that you submit, you must provide a list of the products you used, and I must approve the submissions. I reserve the right to reject any submission for any reason, but I only reserve that right to prevent abuse. The objective is to encourage people to post actual examples of projects they’ve used Digital Juice in. Your submissions give us insights so we can make even better products that are even more useful in the future. After you’ve uploaded your samples, email me at [email protected] so I can screen your submissions.

David Hebel, Founder/CEO [email protected]

ORDER ONLINE www.digitaljuice.com

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CATALOG CODE: DJMAG030406

1736 NE 25th Ave. Ocala, FL 34470 352.369.0930 Fax: 352.368.6091

TO ORDER: 1.800.525.2203

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ALL PRICES IN US DOLLARS. PRINTED IN THE USA Att MAILROOM: Please route to Audio Visual or Art Department if undeliverable to addressee.