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Tables of Contents for The Digital Producer
Chapter/Section Title
Page #
Page Count
Acknowledgments
vii
About the Companion CD-ROM
viii
Introduction
What Makes a Producer
2
1
Why Digital Matters
3
1
Who Should Read This Book
4
1
How to Use This Book
5
5
Using the Companion CD-ROM
6
4
The Digital Landscape
The Future of Television
10
2
The Lay of the Land
12
3
Trends in Publicly Distributed Media
13
1
Acronym City
14
1
The Big D's
14
1
What Computers Can Do for You
15
4
The Producer's Missing Links
16
3
When Computers Aren't So Great
19
1
The Language of Digital Production
20
3
The Database as Lingua Franca
23
1
Introducing Advanced Project Templates
24
3
Requirements for Using the Advanced Project Templates
26
1
Producer's Checklist: Digital Production Vocabulary
27
3
Computer-Based Project Development
Setting Up a Project
30
4
Creating a Master Set of Folders
30
4
The Starting Point: Outlines and Proposals
34
1
Project Template Workshop: Preparing Proposals and Outlines
34
14
The Database Approach
35
1
Building a Proposal
36
5
Building an Outline
41
7
Storyboarding
48
3
Storyboard Quick
49
1
Storyboard Artist
50
1
Project Template Workshop: Preparing Storyboards
51
15
Entering Global Information
53
1
Manually Adding Project Name, Section, and Subsection
53
1
Importing Scenes from the Outline
54
1
Importing Images
55
1
Entering a Caption
56
1
Adding More Records
56
1
Printing a Basic Storyboard
56
4
Adding Information about Production Elements
60
2
Printing a Detailed Storyboard
62
2
Generating Lists
64
1
Customizing Layouts and Print Options
65
1
Scripting in Advance
66
1
Project Template Workshop: Preparing a Script
66
4
Entering Global Information in Script Entry
67
1
Importing Scenes from the Outline
68
1
Building the Script
68
1
Previewing and Printing Scripts
69
1
Additional Pre-Production Tasks
70
1
Producer's Checklist: Development Resources
71
3
Create Project Folders
71
1
Creating the Project Proposal
71
1
Creating an Outline
71
1
Creating a Storyboard
71
1
Writing the Script
71
1
Preparing for the Shoot
72
2
Preparing to Shoot
The New Age of Digital Capture
74
10
New Formats to Consider
74
1
DV, Digital-S, and Digital Betacam: New Life for Videotape.
74
1
DVCAM Versus MiniDV: What's the Difference?
75
1
The Digital Advantage
76
2
HDTV: Back to the Future
78
2
The Right Image
80
3
Digital News Gathering: The Death of Videotape?
83
1
Shoot Plans That Work
84
2
How Digital Changes Field Production
84
2
Project Template Workshop: Preparing Standups and Field Notes
86
2
Project Template Workshop: Preparing Shoot Plans and Schedules
88
8
Entering Global Information in Shoot Plan Entry
89
1
Importing Scenes from the Outline
89
1
Breaking Down Scenes
89
1
Building the Shoot Plan
90
2
Printing Shoot Plans and Schedules
92
1
Extending the Templates
93
3
Going Digital in the Field
Field Production Practices
96
3
Setting Field Timecode
97
1
Using Record Run Versus Free Run
97
1
Using Drop Frame Versus Non-Drop Frame
98
1
Recording Pre-roll and Post-roll
98
1
Naming Tapes
99
1
Shooting B-Roll Footage
99
1
Logging in the Field
99
6
Production Magic's Shot Logger™
100
2
e-trim™ from Eidria, Inc.
102
1
The Executive Producer™ from Imagine Products
103
1
AutoLog™ from Pipeline Digital
104
1
Project Template Workshop: Logging in the Field
105
6
Entering Global Information
106
1
Importing Scenes from the Outline
106
1
Starting a Record
107
1
Customizing the Entry Form for Faster Logging
107
2
Using the Tab Key
109
1
Entering the Project Name
109
1
Entering Reel and Start Hour Information
109
1
Building the Shot Log
110
1
Project Tracking in the Field
111
5
Laptop Survival Tips
111
5
Preparing for Digital Post
Logging and Transcribing
116
27
Advantage of Logging Digitally
116
1
Logging on Paper Versus Digitally
117
1
Planning to Log
118
1
Approaches to Logging Footage
118
1
Logging All or Selected Shots
119
1
Logging Individual or Groups of Shots
119
2
Logging with LogExpress® from Alba Editorial
121
1
Logging with Scene Stealer™ from Dubner International
121
1
Logging with Avid MediaLog™
122
1
Connecting a Deck
122
1
Preparing to Log Material
123
1
Configuring the Deck
124
1
Selecting the Source
124
1
Identifying the Source Tape
125
1
Selecting Tracks
126
1
Selecting the Target Bin
126
1
Organizing the Bins
127
1
Selecting Video Compression and Audio Rate
127
1
Logging Procedure
127
1
Method 1: Logging Timecode Manually
128
1
Method 2: Logging from a Source Tape
129
1
Marking the IN and OUT Points
129
2
Using Motion Controls
131
1
Organizing Your Clips
132
1
Statistical Columns
132
1
Modifying the Bin View
133
1
Creating Custom Columns
134
2
Adding Custom Columns to a Bin
136
1
Sorting and Sifting Clips
137
1
Sorting Clips
138
1
Sifting Clips
139
2
Showing Sifted and Unsifted Views of the Bin
141
1
Further Managing Bins and Clips
142
1
Project Template Workshop: Logging and Transcribing
143
17
Advanced Template Workflow
143
1
Logging and Transcribing with the Templates
144
1
Starting a Record
145
1
Customizing the Entry Form for Faster Logging
146
2
Using the Tab Key
148
1
Entering the Project Name
148
1
Entering Reel, Start Hour, and Talent Information
148
1
Building the Shot Log
149
2
Sorting and Printing Logs and Transcripts
151
3
Exporting to a Nonlinear Editor
154
1
Exporting to an Avid System
155
3
Exporting to Adobe Premiere
158
2
Scripting Tips and Tricks
160
1
Script Integration: Discovering Avid's Hidden Jewel
161
6
Building the Virtual Rough Cut
162
2
Completing the Paradigm
164
3
Project Template Workshop: Preparing Final Edit Scripts
167
12
Before You Prepare a Final Script
168
1
Using the Script Entry Form
168
2
Entering Global Information in Script Entry
170
1
Importing Scenes from the Outline
170
1
Preparing the Topic Sequence
170
1
Adding Records from the Shot Logs
171
1
Adding Voice-Overs
172
1
Adding Transcript Information
173
1
Adding B-Roll to Accompany Voice-Over
173
1
Adding Sound and Visual Effects to the Script
174
1
Previewing and Printing Scripts
174
5
Making Digital Post Decisions
179
10
Scheduling
179
1
Determining Your Offline/Online Strategy
180
1
Onlining on a Nonlinear Editing System
181
1
Planning for Audio
182
1
Calculating Media Storage Requirements
183
1
Selecting the Video Resolution
184
2
Planning for Effects
186
1
Planning with the Editor
187
2
Project Template Workshop: Generating Edit Plans and Facilities Requests
189
5
Entering Global Information in Edit Plan Entry
190
1
Importing Scenes from the Outline
191
1
Building the Edit Plan
191
2
Printing Edit Plans and Schedules
193
1
Extending the Templates
194
1
Producer's Checklist: Preparing for Post
194
1
During/After the Shoot
194
4
Meet with the Editor to
194
1
Prepare to Log
194
1
Logging Checklist
194
1
Do Yourself or Hand Off to the Editor
195
1
Use Script Integration to Prepare for the Edit
195
1
Plan for a Smooth Edit
195
3
The Edit Room
Editing in the Nonlinear Universe
198
11
Nonlinear Editing System's User Interface
198
1
Understanding File Hierarchy
199
3
Comparing Linear and Nonlinear Processes
202
2
The Nonlinear Approach
204
1
Editing in Multiple Passes
205
2
Editing Nonsequentially
207
1
Using a Picture-Driven Process
208
1
Collaborating with the Editor
208
1
Digitizing Video Footage
209
7
Digitizing Quality Audio
211
1
Running Out of Storage
212
1
Communicating with the Editor
213
2
The Digitizing Process
215
1
Organizing Shots After Digitizing
216
3
Managing Bins
218
1
Creating a Rough Cut
219
5
The Editing Interface
219
2
Adding Footage to a Sequence
221
1
Removing Footage from a Sequence
222
1
Changing Your Mind
223
1
Keeping Track of Timecode
223
1
Working on Program Structure
224
7
Trimming and Timeline Editing: The Power of Nonlinear Editing
224
1
Walking Through the Timeline
224
1
Helpful Hints for Understanding Timeline Editing
225
1
Editing in the Timeline
225
2
Trimming Edits to Create a Fine Cut
227
1
Trim Mode
227
2
Duplicating a Sequence
229
1
Editing Audio
229
1
Editing Audio Quickly
229
1
Creating Split Edits
229
1
Editing Narration
230
1
Using Multiple Audio Tracks
230
1
Ending the Session
231
1
Optimizing the Effects Session
231
12
Learning Your System's and Your Editor's Capabilities
231
1
Communicating with the Editor
232
1
Choosing the Right System
233
1
Types of Effects
234
1
Transition Effects
234
1
Segment Effects
235
1
Multilayer (Layered or Composited) Effects
236
2
Motion Effects
238
1
Creating Your Own Effects Library
238
1
Creating Titles
238
1
Changing Effects over Time
239
1
Performing Real-Time Versus Rendered Effects
239
1
Working with Third-Party Graphics Applications
240
3
Output
243
11
Selecting the Output
243
1
Finishing the Audio
244
1
Conforming on the Nonlinear System
245
1
Digitizing Media at a Higher Resolution
245
2
Benefits of Onlining on a Nonlinear Editing System
247
1
Performing the Digital Cut
248
1
Revising the Master
248
1
Creating an EDL for a Linear Online Edit
249
1
Checklist for Online Editing
249
3
Exporting the Program as a Digital Movie
252
1
Choosing a Movie Format
253
1
Choosing a Codec
253
1
Ending the Edit Session
254
1
Cleaning Up
254
1
Producer's Checklist: Nonlinear Post-production
255
3
New Directions for Your Video Output
Digital Distribution
258
2
Compression Revisited
260
8
All Things MPEG
260
2
DVD: The Perfect Medium?
262
1
QuickTime and AVI Codecs: Whither (or Wither) CD-ROM?
263
4
Streaming Media Codecs
267
1
The Age of Repurposing
268
2
Asset Management
269
1
Collaborative Environments
269
1
24p: The Next Big Thing
270
2
Producer's Checklist: Trends to Watch
272
2
Appendix A Interviews
Barbara Holecek
274
5
Yolanda Parks
279
4
Steve Stone
283
7
Rebecca Miller
290
4
Vanessa Boris
294
4
Tim Mangini
298
12
Arnie Harchik
310
5
Tom Hayes
315
4
Wes Plate
319
5
Larry Young
324
6
Richard Bock
330
Index