2006 10 Digital Juice Magazine

OCTOBER 2006 TOOLS, TIPS AND TECHNIQUES FOR USING CREATIVE CONTENT
introducing
DJTV what is it?
what’s on it?
why watch it?
INSPIRATION INSIDE!
VIDEOTRAXX
Gallery & Idea Book
PLUS:
Juice in Use at Daytona • DIY PowerPoint Templates • Church Media Solutions
How to Apply Mattes in Premiere, Vegas and FCP • In Use @ Juice: We Rate the Varicam
PUBLISHERS:
David Hebel, Viv T. Beason, Jr.
EDITOR-IN-CHIEF:
Chuck Peters
Juice Insider: A good name SENIOR EDITOR:

8 by Viv T. Beason Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . 5 D. Eric Franks
Talk Back: Reader letters . . . . . . . . . . . . . . . . . . . . 6
ART DIRECTOR:
Juice News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Jacqui Dawson
20
Introducing DJTV: On the “air” @ digitaljuice.com CONTRIBUTING
by The Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
AUTHORS:
26 Juice in Use: MRN Radio/Nextel Vision Geetesh Bajaj,
10 by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Viv T. Beason, Jr.,
Graham Cohen, Dave Cross,
Volume Spotlight
Juice Drops Vol. 45: halloweenHAUNTS . . . . . . . . . 23 Jacqui Dawson, Jeff Earley,
D. Eric Franks, Chris Gates,
In Use @ Juice: The Panasonic Varicam Rick Green, David Hebel,
by Perry Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Michael Hill, Perry Jenkins,
24 Juice Drops for TV: Juice media in a production cycle

by Rick Green . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Robert Leitch, Matt Leone,
Kevin Lerner, Matt Janowsky,
Brent Milby, Chuck Peters,
VideoTraxx Idea Book and Gallery: Brian Pogue, Jeff Schell,
34 Design ideas from our Film & Video library . . . . . . . 29
Kevin Sherman, David Slater
Webcasting DJTV and David Traube
by The Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
GRAPHIC DESIGNERS &
38 46 Simple Solutions to Church Media Mistakes ILLUSTRATORS:
by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Brent Milby,
DIY PowerPoint Templates with Juice Drops Saritha Sugunan,
by Michael Hill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 P. Gururaj, V. Sridhar
Education Nation: Teaching editing with VideoTraxx

PHOTOGRAPHY:
by Chris Gates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
Perry Jenkins
Surfin’ DigitalJuice.com
10 reasons to hang (ten) at digitaljuice.com
by Matt Janowsky . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Take 5: Five tips for lighting talent

by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . 44
Going to the Matte: How to apply ETK mattes in

Premiere, FCP and Vegas . . . . . . . . . . . . . . . . . . . . 46 DIGITAL JUICE, INC.
DIGITAL JUICE PRODUCT CATALOG . . . . . . . 47 1736 NE 25TH AVE.

OCALA, FL 34470
Juice Box: DJTV—Think big but grow slow 1.800.525.2203
by David Hebel . . . . . . . . . . . . . . . . . . . . . . . . . 58 352.369.0930
www.digitaljuice.com
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4 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

JUICEINSIDER
A GOOD NAME LETS A
COMPANY EXPAND ITS BRAND
by Viv T. Beason, Jr.
I still remember getting that phone call almost ten years

ago. It was Dave calling to tell me that he had come
up with the perfect company name: Digital Juice. At first
the words sounded strange to me. Saying them felt even
stranger. But you know, by the end of the conversation
the name had grown on me. What was really cool about
it was that it possessed the two qualities that are
essential in a good business name. The most important
thing is that it be easy to remember. A good name
should make a quick impression. The second most important thing is that it
should not restrict growth, but allow for future extension of the brand.
I believe it’s safe to assume that of those two points, we have the first one
covered. It’s tough to forget the name Digital Juice once you’ve heard it. So let’s
break down the name Digital Juice to see what exactly that does or does not
mean in terms of potential growth. For starters, on the face of it, the name
identifies very little about the core competency of the company. This is actually
a good thing. The name does suggest that digital data is involved, and it implies
that something in the high tech arena is likely. So far, so good. The word “juice”
suggests energizing or adding pizzazz to something. Now that we’ve broken
down it’s meaning, we can ask, “What can a company with that sort of name
provide?” A better question would be, “What CAN’T a company with this name
provide?” The answer is that as long as you identify with, and stick to, a broad,
basic category, which in our case is media production, the sky’s the limit. That
wouldn’t be true if the name of the company was Amazing Animations, Musical
Magic, or World Wide Stock Footage. Names like these, in my opinion, lack
imagination. And worse than that, they don’t allow expansion of the brand into
other areas of the industry. It wouldn’t be a logical leap for Amazing Animations
to all of a sudden sell music, would it?
Nothing at Digital Juice happens accidentally. Every move of the company
has been planned years in advance. Not necessarily planned to the smallest
detail. Believe me, we’re not quite that organized, but planned in a big picture
sense. Starting this journey as a background animation source only, we’ve
systematically branched out into many more areas of the content space.
Music, stock footage, and sound effects hopefully now come to mind when
you think of Digital Juice.
Looking to the future, the name Digital Juice will allow us to go well beyond
being just a content provider, and, in due time, we will. In the coming months
and years don’t be surprised to see Digital Juice serving more and more of your
needs. Evidence of this is our newly-launched Digital Juice Television (DJTV).
This is yet another bold move forward, extending the brand to include
information and training. So where does it all end? That’s a question I can’t
answer right now. If one day you own a video camera, projector or printer that
reads Digital Juice, I’d say we’re pretty close.
Viv T. Beason, Jr. is the President of Digital Juice and the co-publisher of
Digital Juice magazine.
1.800.525.2203 ORDER BY PHONE

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.
just non-circular geometric shapes the way As a matter of fact, you CAN get some new
the piece showed in the ideas library. Was threads for those old discs, Brent! Just like the
something more added that wasn’t mentioned? fashion trends, the style of our Toolkit cases
I am not a graphic designer and don’t pretend has changed over the years. We’ve had four
to be one, but I would like help to produce different case designs since our first Toolkit
nice coordinated marketing materials. came out. You can update your cases for a
—Tricia A. Allen, Training Program nominal fee (less than 15 bucks) so your
Manager, Polycom, Milpitas, CA shelves will look good and none of your
You may not be a graphic designer but Toolkits will feel self-conscious about their
you do have a sharp eye, Tricia. The wrong clothes. Bear in mind, our new ETKs have
Juice Drop background was indicated and fewer DVDs, so the new cases have fewer
shown as being the basis for this design in pockets. Give us a call at 800-525-2203 to
the Juice Drops Idea Book in our May/June make sure you get a proper fit.—CP
magazine. Although some inspiration was
STX IDEA
I
taken from JD #1217 for this design, the
’d like to encourage you to create a
basis, as can clearly be seen at left, was
classical masterpieces collection of
JD #1261 from the same Juice Drops
This Juice Drops sample design StackTraxx with harpsichord, strings, piano,
was created based on JD #1261 volume. To this background we added
(left) from JD12: retroFRESH and woodwinds, maybe some brass and timpani.
not #1217 (above) from the some external elements such as a pink
As a husband and wife production team, we
same volume, as was incorrectly horizontal color bar, the outline of a
indicated in the Juice Drops Idea Book from find your products to be extremely useful, easy
our May/June 2006 magazine. woman’s figure, the headline text and the
If you would like to ask a to use, and very pleasing to our limited
logo of the design school.—CP
clientele. Keep up the great work!—Margie
question, sing our praises,
JUICE DROPS MAKING A CASE Smith, rlsmith@cuonlinenow.com
bend our ear, or just say ‘Hi,’ MISTAKEN IDENTITY OUT OF IT Thanks for sharing your idea, Margie. We
A I
fter reviewing the Juice Drops DVD that ’ve been a long-time user of Digital Juice are now producing new StackTraxx
drop us an email at came with the last issue of DJ Mag, I products. So long, in fact, that my Editor's volumes at a blistering pace (with new
decided to purchase a 10 volume set of Juice Toolkit 1 is in ten large Alpha cases, not the volumes coming out every month, and
talkback@digitaljuice.com
Drops. I am responsible for e-learning for pretty, sleek wallets that your products come in hopes of making them even faster). We are
and you could see it here in the Polycom and I have my own photography now. Is it possible for me to purchase a case for always interested in hearing what our
business as well. The DVD with the interactive my old ETK1 discs so that it takes up less room customers would like us to produce. As a
magazine. You can also interact application was a GREAT idea! It provided the on my shelf, and so the other collections I own matter of fact, Classical, Orchestral and
with Digital Juice and other
impetus to purchase. will stop laughing and pointing at #1's outdated Romance Stacks are all ideas that we’re
I have a question about something I saw in wardrobe? I mean... come on... it's embarrassing considering now. While I can’t promise that
users in our user forums the Idea Book example on page JD04 of the for the big guy. It’s bad enough that he's getting we’ll drop everything to crank out Classical
May/June issue. The “Eight Fashion Days” a little older, he should at least be able to wear Stacks next month, rest assured that we’ll
@ www.digitaljuice.com/
design that used JD#1217 from JD12: the latest fashion!—Brent Altomare, Executive give the idea full consideration as we plan
community_forums retroFRESH. I didn’t see the same elements of Producer, Groovy Like a Movie, San Diego, CA upcoming music volumes.—CP

SEE COMPLETE PRODUCT GALLERIES
TRICK OR TREAT? DJTV BOOSTS

JUICE’S ALEXA RANK
J ust in time for your haunted
Halloween productions, we’re
W
e recently debuted the
unveiling four boo-tiful volumes of music,
animations and layered graphics. first episodes of
StackTraxx 16: Spooky Stacks, boasts a Digital Juice Television online. The response has been great. In fact, it was so
collection of 20 ominously awesome
successful that it catapulted our Alexa ranking, pushing digitaljuice.com into
compositions so you can create
the top 12,000 sites in THE WORLD! Alexa (owned by Amazon) ranks the top
supernatural soundtracks. Juice Drops 45:
halloweenHAUNTS, gives you a great sites on the Web. Yahoo, MSN, and Google take the top spots, followed by
selection of ghastly graphics. And Jump everyone else. This includes all sites from around the world. We've steadily
Backs 35 & HD 15: All Hallows Eve, give been rising in rank from about 100,000 in 2003 to 28,000 a few weeks ago.
you a magnificent mix of eerie animations.
The jump to a rank of 12,790 was a real surprise to us. It encourages us to
Don’t be afraid, this collection of creepy
content is guaranteed to help you scare up keep working hard to make more and more great episodes of DJTV and to
some business this October. keep enhancing our Website to keep you wanting to visit more often.
NEW
ORLANDO
OFFICE
Digital Juice has expanded by WHERE’S JUICER 3?
J
adding a new office in Orlando. ust a word about Juicer 3, it is coming along nicely. We've hit a flexible expandable Render Engine than we had in Juicer 2. What that
Our brand new O-Town team is few snags here and there that have slowed down our ability to get it means for you is that exciting new product lines are coming.
looking for a few talented staff released, but it won't be long now. Among the improvements are the The new version will also allow you to stream previews of Juice
members. If you’re a creative
ability to select an arbitrary angle of rotation (unlike Juicer 2 that only animations right from the Web without having to own the volumes or have
professional living in the Orlando
allowed rotation in 90-degree increments) and a much improved colorize them installed! Hat's off to our programmers and testers who are putting in
area, we’d like to get to know
you. Please email your resume effect where you can actually pick multiple colors instead of just one. some long hours so that Juicer 3 can ship and Digital Juice can get onto
and samples of your work to: These may seem like simple things, but what they represent is a more our next generation product lines.
orlando_jobs@digitaljuice.com
10 Jump Backs
10 StackTraxx 10 Juice Drops
BESTSELLERS
TOP Volumes* TOP Volumes* TOP Volumes*

01. JB32: Base Camp 01. STX15:
JB 25: Subtle Impact Stacks
All Music 01. JD42: highIMPACT IV
02. JB31: Maximum Impact 02. STX12:
JB 24: Corporate Stacks
Tunnel Vision 02. JD41: frescoVITA
03. JB30: Simply Useful 03. STX10:
JB 22: Broadcast
Global Impact
Stacks 03. JD27: glassEDGE
04. JB24: Tunnel Vision 04. STX14:
JB 15: Rock
Weather & the Elements
Stacks 04. JD36: naturalCUTS
05. JB28: Subtle Impact II 05.
05. STX11: Epic Stacks VIII
JB 21: High Impact 05. JD21: businessIMPACT
06. JB33: In the Round 06. JB 30: Serious
06. STX03: Simply Useful
Stacks 06. JD37: sportsCUTS
07. JB22: Global Impact 07. JB 12: Corp/Ind Time & Money
07. STX04: Smooth Stacks 07. JD10: ultra3D
08. JB 14: World
08. STX09: Med./Health,
Stacks Educ. & Science 08. JD24: geoIMPACT
08. JB25: All Music
09. JB 13: All Church
09. JB13: All Church 09. STX02: Power Stacks 09. JD23: cleanCUTS III
10. JB 20: Subtle Impact
10.June/July
* Data from JB21: High2006Impact
Sales VIII 10. STX13: High Impact Stacks 10. JD35: futureTECH
* Data from August 2006 Sales

DJTV ON THE WEB @ www.digitaljuice.com
INTRODUCING
ON THE “AIR” @
DigitalJuice.com
by The Editors
“ We want DJTV to be a
place where anyone can
instantly receive fresh
programming with an
emphasis on creativity. It’s
our people and their
knowledge that makes
these shows special.

”
—Viv T. Beason Jr., President
The DJTV Crew (left to right)

Billy Allan, Special Projects; Viv T. Beason Jr., President; Brent Milby, Senior
Animator; D. Eric Franks, Director of Technical Education; Chris “Ace” Gates,
Associate Producer; Jeff Earley, Director of Audio Products; Perry Jenkins,
Senior Producer/Director; and Chuck Peters, VP of Media and Publications

DJTV
ON THE WEB @ www.digitaljuice.com DJTV
I
MAGINE IF THERE WAS A TV
NETWORK DESIGNED JUST FOR YOU.
Now there is! It’s DJTV! DJTV is Digital
Juice’s new Web-based television network.
Don’t dismiss DJTV as just another poorly-
produced, talking-head, vidcast. DJTV is
built on a completely different model.
Just like HGTV and the Food Network,
DJTV is designed to reach a targeted
audience, in our case, creative professionals,
like you, with high quality, highly-produced,
programming that is interesting, informative,
instructional, inspiring and entertaining. DJTV
isn’t like anything you’ve ever seen on the
Web before. In this article the guys that make
DJTV will tell you what they’re thinking, what
they’re planning and why you should watch.
(continued on page 12)
1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 11

Introducing DJTV
(continued from page 11)
WHY MAKE DJTV?

“At Digital Juice we have a philosophy of doing whatever can be done internally. This includes everything from the
production of this magazine to the manufacturing of the boxes that hold our products. The by-product of this
thinking is an in-house pool of talent that is as versatile as it is deep. So, armed with people who possess skills and
knowledge ranging from audio mixing, to technical writing, to photography and on-camera presentation, to building
a complete production studio—and with Internet bandwidth sitting there for the taking—we decided to create an
industry-first Internet Network. The goal was to create a watering hole for media professionals and enthusiasts. We
want DJTV to be a place where anyone can instantly receive fresh programming with an emphasis on creativity.
While producing DJTV is no small task, it wasn’t all that difficult for us because what we’re really doing is sharing
the tips, tricks, techniques, rules and principles that we follow in order to complete our daily and weekly tasks here
at Juice.” —Viv T. Beason Jr., President
whatever it takes to get our shows done. video, we really shoot, light and edit, we
KEEPING IT FRESH & KEEPING THE PACE Chris Gates shoots and edits the shows, really do graphic design, and we really
Brent Milby builds the custom animated give presentations. We do it well, and we
“Our goal is to post at least three new opens and Jeff Earley oversees the final do it all out in the open. You can see our
episodes to DJTV every week, one of audio mixes. Our schedule has us work every week on DJTV.” —Chuck
each of our main shows. We also want to shooting 3 or 4 episodes a week on Peters, VP of Media and Publications
turn out special episodes as often as Thursdays and Fridays so
possible, so we’re running around like Chris can edit on Monday,
WHERE CAN AN UNCONVENTIONAL
I SEE DJTV? crazy around here. It’s not an easy pace Tuesday and Wednesday. He APPROACH
We’re posting at least three new to maintain. The biggest challenge is hands off the approved edits “Another goal that we have is for the experience
episodes of DJTV each and every maintaining the high level of production before he leaves Wednesday to be fun. In addition to being an innovative
week! You can check out the latest quality and creativity that we want. Just a night and we just keep going
company, we’re also proud of our reputation for
shows at www.digitaljuice.com/ handful of talented guys do all the and going. We have to
maintaining quality. So, high production value is
djtv/default.asp. You can also creative work to get these shows out manage our time really well to
key, along with talented and polished delivery
watch past episodes in our episode every week. We meet as a team every get it all done. We know what
from show hosts. I feel these things are absent or
archives, which you can search, Monday to brainstorm ideas and lay out a it’s like to have to be creative
severely lacking in most industry training today.
sort and filter to find shows on plan of attack for the week. Perry, Eric week after week on deadline.
and I write our own scripts, spec out our Unlike some other companies It’s our people and their knowledge that makes these
topics of special interest to you.
own B-roll, get our own props, iron our out there, believe me, the shows special.” —Viv T. Beason Jr., President
own shirts and do our own makeup; people at Juice really make

WHO IS PERRY JENKINS? ON THE WEB @ www.digitaljuice.com DJTV
PERRY’s desire to produce video came at age 14 studied every frame of some great
when his dad bought a VHS camcorder. He filmmakers like the Coen brothers, Sam Raimi
produced silly short ‘films’ and by the time high and Scorsese. I try to put this love of film into
school was over, he had either entertained or everything I produce. From stock footage, to
offended most of the students in his small, promotional videos, to my DJTV episodes; my
California hometown. What he really wanted to do approach is always cinematic. I also love
was shoot film, which is exactly what he did. After cooking and cooking shows. The style of a
producing a full-length 16mm feature and a Food Network show that I watch all the time
handful of short films, he concluded that he got me thinking one day that it might
couldn’t afford to shoot on that medium anymore. translate well to teaching people about
He spent two years shooting news at NBC affiliate making video. It’s my self-appointed job to try
KCPM, and then accepted a position at a national to create my show, Production Notes, in an
magazine that focuses on producing video. There entertaining manner. I’m not an Emmy award
he produced instructional videos and shot winning producer, and I haven’t received
photographs for the print magazine for seven props from any film festivals. My reward is
years before coming to Juice. hearing, ‘hey, that shot looks pretty cool’ or
just a plain old ‘Wow!’ ”—Perry Jenkins,
“I love movies. One of my first jobs was in a
Senior Producer/Director
video store. At one count, I had seen all but
about 200 films in the store’s 3500+ library. I
WHO IS CHUCK PETERS?

Having produced commercials, sports, TV talk shows, position as a magazine editor. While there, he produced
broadcast news, corporate, weddings, and instructional and appeared in instructional videos, lectured at Expos,
programs, CHUCK PETERS has made a lot of video. He taught hands-on Workshops and wrote numerous articles
started as a freelance cameraman for National Video about video and video production. He has been with Digital
Yearbooks and shooting weddings and events in New Juice since March 2004.
Jersey. From 1989-1995 he was head cameramen at
“I watched a lot of TV as a kid, and the idea that I could
Monmouth Park Racetrack where he shot horse racing. He
make a living making TV was just too cool to me. I was
did a short stint at the Meadowlands Racetrack and as a
one of those kids that made up radio shows on my tape
substitute cameraman for the jumbo screen at Giants
recorder when I was 8 years old and made funny music
Stadium. In 1992 he started TRICEP Productions with a
videos to Weird Al songs when I was in high school. I’m
Toaster Flyer system (the only NLE around at that time)
an energetic, fun, upbeat kind of guy with a lot to share,
and a $10,000 professional Hi8 camera. In 1995 he and
and my show Take 5 let’s me cover a lot of ground in a
his wife headed to California, where he took a job
short amount of time. For me, the only thing better than
producing cheesy infomercials about incredible golf-ball
getting paid to make cool videos is teaching someone
washing devices, magnetic earrings and advanced high-
else how to make cool videos. We’re not about becoming
tech snake oils. If you had insomnia in the mid-90s you
stars here. We’re just regular guys that love making TV.
may have seen one of them. He did time in broadcast as a
DJTV is hard work, but it’s a ton of fun.”—Chuck
Commercial/Promotions producer for NBC station, KCPM,
Peters, VP of Media and Publications
where he first worked with Perry Jenkins. Next he took a

TEAM TALK
It takes a team attack to turn out DJTV, and the production crew at Digital
Juice is a talented cast of characters.
WHO IS ERIC FRANKS?
BRENT MILBY is a master animator who

has been with Juice since its beginning.
Brent studied computer animation in
college and graduated with top honors. He
was one of just four animators who worked Audio engineer,
on the first Jump Backs volumes and JEFF EARLEY,
helped define that product line. He’s also has an ear for
the guy that created many of the Juice excellence. Jeff
product logos that you’re familiar with has a background
including the famous Digital Juice orb. in syndicated radio
production having
“We want DJTV to look like a TV network.
D. ERIC FRANKS is a professional writer, however, so I try to provide pragmatic worked on shows for ABC and FOX to
The animated opens that I create for our
technology journalist and multimedia ‘Why is this important’ and ‘How can I use name just two. A talented musician as
shows are about drawing people in, really.
maven. His most recent book is ACID Pro this information’ in every segment. I don’t well as an audio engineer, Jeff is the
Good shows need good packaging, just
6 Power!, although most of his work has want to shy away from hardcore details, driving force behind the concept and
like good products. I’ll be doing my own
been as the anonymous pen behind such but I also want to be completely accessible production of StackTraxx (Digital Juice’s
compositing show too, not every week,
exciting publications as The Vegas Video to complete novices. I assume my layered production music) and the
but periodically. I want to take advanced
User Manual and The Users Guide to audience is smart, but each segment massive Digital Juice Sound FX Library.
techniques and break them down to show
Ulead Media Studio Pro. Prior to Digital needs to be completely self-contained. He’s also the ‘voice of Juice,’ serving as
people simple tricks that are easy to
Juice, Eric was the Technical Editor for a There are no prerequisites for TechKnow. narrator for many DJ productions.
accomplish. A few simple tricks can go a
national video production magazine, There’s nothing intuitive about using digital long way to help even a novice achieve “I approach video in a way where the
where he also traveled around the media in the 21st century. We want to expert-looking results.”—Brent Milby, music (audio) comes first, like you’d
country leading seminars and teaching make sure beginners get a foundation and Senior Animator shoot a music video. This is the opposite
workshops. A world traveler who speaks experts learn something new. People often of how the average video producer looks
Chinese and can sing drinking songs in think that if they just bought this software at things. Most videographers just throw
Hakka, Eric enjoys nothing more than or that computer that all of their problems a mic on someone and hope for the best.
reading a trashy science fiction novel on would be solved. With TechKnow, we seek They don’t put a lot of thought into
a beach in southern Thailand. He also to show how technology can work for evaluating the quality of the audio they’re
has a fondness for monkeys, mimes, and everyone. I try to pepper the conversation recording. In reality, it’s just as important
talking like a Pirate. with plenty of examples and practical tips for a video to sound good as it is to look
“My show, TechKnow, covers modern to help creative professionals get the good. Bad audio will ruin a good shot,
multimedia technology, for video, audio highest quality results with their digital and may even force you to have to re-
and print. I love all of the arcane, obscure media, so they can concentrate on what shoot a scene. I want to help producers
and sometimes strange details behind the they do best: art.”—Eric Franks, Director get their audio right the first time, so
technology. I know not everyone does, of Technical Education they can look good, and sound good.”
—Jeff Earley, Director of Audio Products

Introducing DJTV
BILLY ALLAN is
a gifted and
talented man and
is an extremely
important part of
the DJTV team,
even though he
has no video,
audio or graphic
CHRIS “ACE” GATES is the newest
design experience
member of the team, having joined
at all. So what
Juice in July of 2006. “Coming to Juice
does Billy bring?
has been a ‘hit-the-ground-running’
Billy turns thoughts into things. He’s a
sort of thing. It’s intense; not a bad genius with a hammer, a saw and a
intense, a fun intense. My schedule is screwdriver. Billy can design and build just
packed every single day. I’m never about anything you can describe to him—
working on just one project. I’m whether you need soundproofing, a
simultaneously shooting, editing and custom set, a chromakey wall or a pop
planning multiple projects at a time. filter. (If you own any of our newer
I love the fast pace. There’s an products, you’re already familiar with Billy’s
expectation of quality here. Every day work. He’s the guy that designed and
I’m pushed to excel. One of the things made the wallets and boxes that our
volumes are packaged in.) This allows the
that I love is that the team that we
production team to be creative without
have makes this environment conducive
limitation and helps the DJTV team make
to creativity. And
the most of the production budget. Watch
right now we’re
for a new DJTV show featuring Billy’s
just scratching Blueprints in the months to come!
the surface. I
can’t wait to see "People spend a lot of money on
what we come production equipment and accessories. It
up with next.” can add up fast. But there’s almost
—Chris “Ace”
always more than one way to get where
you need to be. We don’t want to spend
Gates, Associate
lots of money buying what we can build
Producer
ourselves. I’d say 90 to 95% of the
things we use here were built with
materials from the Home hardware store.
We take what anyone could get and turn
it into what we need. The hard part isn’t
the building part, it's knowing what to do
and where to start. I like seeing other
people’s dreams and turning them into
something concrete. I’m not the guy with
the ideas, but I know what it takes to
make what the other guys need.”—Billy
Allan, Director of Special Projects

Introducing DJTV (continued from page 15)

WHAT’S ON DJTV?
DJTV isn’t merely a branded corporate Webcast, it’s a bona fide network with multiple
SHAKING THINGS UP
shows, hosted by expert producers, artists and presenters. The Season One line-up
“I’d like to believe that Digital Juice has gained a reputation for “shaking things up”,
includes three weekly programs and a few special episodes. Here’s what you can see
“thinking outside the box”, or “rewriting the rules of the game.” So, it only stands to
on DJTV right now: reason that we would take a different approach to training. Most of the professional
training out there today is a boring detailed rehash of the user’s manual, explaining
PRODUCTION NOTES
each and every button of a program’s interface in agonizing detail. Our take on training
In each episode of Production Notes, Producer/Editor Perry
is to give the viewer something he or she can quickly absorb then apply to a project.
Jenkins takes you behind the scenes on the set to share with
We’ve learned from personal experience that you don’t have to be familiar with every
you the secrets he has learned producing TV, film and video,
function or feature of a particular application to create something cool and useful.
so you too can produce like a pro. His cinematic style and
Sometimes you just need to have a few buttons explained and you can be reproducing
off-beat delivery are sure to make this series a favorite.
the latest special effects fad. So, quick concise, bite-sized programming is our
TAKE 5 mission.”—Viv T. Beason Jr., President
In each episode of Take 5, industry expert, Chuck Peters,
shares production tips, tricks, tools and techniques by the
DON’T JUST TAKE OUR WORD FOR IT...
DJTV is about giving you want you want; “Perry’s pieces, like Chuck Peters’, offer
handful in a fun and fast-paced style. Chuck draws on his
tips, tricks, techniques and creative ideas to an upbeat way to bring the topic to those
17 years of experience as a broadcast producer, writer,
inspire you to keep doing high level work. of us who lack the industry knowledge and
editor and instructor to share professional tips in a manner While we can tell you how good we think understanding that professionals possess.
that’s easy for anyone to understand. DJTV is, the comments that viewers have Digital Juice is clearly reaching out to every
written on the DJTV comments pages say it potential DJ consumer with a great degree
TECHKNOW
best. Here’s what they had to say: of attention being given to that large
What is it? How does it work? What do I need to know? These
number of novices and amateurs who seek
are the questions that veteran technical author and expert D. “Nice work. I’m learning new things and to professionalize their work with great
Eric Franks answers in each edition of TechKnow. Eric reinforcing stuff I already know. You guys products at the fraction of the costs of
articulates important intellectual insights and information about rock. Thanks for continuing to take care of others.” Posted by Samuel Davis
tools and technology to keep you up to speed and in the know your customers! ” Posted by Mark Moss “Great job picking then demonstrating easy
in terms of standards, settings and technical solutions.
“This is proving to be an awesome resource. to use tips. Thanks for your efforts—5
I'm a hobbiest morphing toward pro and I stars! ” Posted by Bill Channell
JUICE IN USE
need every tip I can get. BTW, good business “Love DJTV!! Great way to help us average
DJTV’s special Juice in Use episodes feature interviews with interesting and
model. Quality content produces quality Joe's. This way of teaching your customers
exciting high-profile producers who use Digital Juice media in their productions. In
users and quality users need quality is really a big help. It's all about bettering
each episode we’ll take you inside the edit bays, and into the minds of top Juice- resources, and Digital Juice stands ready to our industry. Thanks! ” Posted by Patricia
using pros to see how they put Juice to Use in their productions every day. supply them.” Posted by Locke Morgan Kondreck
TRY THIS
WHAT’S NEXT? Juice Television will depart only slightly
Looking for detailed step-by-step tips and techniques for editing with Digital
“Digital Juice was created after identifying from that model, in that it is totally free
Juice graphics, video and production music? That’s exactly what you’ll find in
an obvious hole in the industry. Some for the taking. And our current programs
each episode of Try This! Sit down with a variety of expert editors for an up-
years ago, when computers were clearly are only the beginning. With an initial
close click-by-click class showing how they create all kinds of effects. Tips will
taking over all tasks in the video bent towards video, the plan is to quickly
range from basic to advanced, and will be taught on a variety of platforms and
postproduction process, it was high time broaden the scope of the network to
programs. Looking for clear and creative instruction? Try This!
someone created affordable, quality, stock include all other areas of interest. This
animation. Since then we’ve identified will include, but not be limited to, print
COMING SOON
several other holes in the industry and design, presentation, compositing, sound
And that’s just the beginning! We have more shows currently in development. Stay
we’ve done our best to patch them. design and 3D. Our plan is not to ever
tuned for programs dedicated to the art of audio, step-by-step editing techniques,
Typically this involves offering an stop adding programming.”—Viv T.
graphic design, making more powerful presentations and DIY video props and
extremely high cost-to-value ratio. Digital Beason Jr., President ◗
production tools.

USER PROFILE ON THE WEB @ www.digitaljuice.com
JUICE
“ Nextel Vision is
in use
designed to give
everyone in the
complex a front row
seat and an up-close
look at the action on Editing in High Gear

the track.
” @ MRN Radio/Nextel Vision
by Chuck Peters
E
verything about NASCAR Nextel Cup stock car racing is big.
Every weekend big-name drivers race for big-time sponsors
on big tracks at big speeds in front of really, really big crowds. Over
the course of the year it’s estimated that more than six million
spectators will fill grandstands, suites and infields at NASCAR races
across the country. Super speedways like Daytona and Talladega have
seating to accommodate more than 150,000 fans. Attendance at the
2006 Daytona 500 alone was over 225,000 (by comparison, just 68,000
fans attended last year’s Super Bowl XL). In venues this big, the cars
can look awfully small, particularly when they’re racing down the
backstretch more than a half mile away. Fortunately, there are some
other big things at these big speedways; big screens.
BIG CROWDS/BIG SCREENS Nextel Vision monitors are alive with content for more
Nextel Vision is designed to give everyone in the than 10 hours; informing and entertaining the audience
complex a front row seat and an up-close look at the from the time the gates open, until the winner pops the
action on the track. Gigantic portable NASCAR Nextel champagne in Victory Lane. During that time, Nextel
Vision screens are erected around each of the race Vision monitors display a wide variety of pre-produced
tracks on the tour. On a typical race day, these massive and live programming.
Fred Armstrong, Director of Creative Services

at MRN Radio, looks to Digital Juice to help his
team create the network look they need in a
short amount of time.

ON THE WEB @ www.digitaljuice.com USER PROFILE
Jump Back 019, from Vol 1, High

Impact1, is used straight off the disc to
anchor the Nextel Vision logo.
Juice's Backgrounds,
Overlay Mattes, MDEs, and
Transitions combine to
give Nextel Vision a
cutting-edge look for
high-energy edits, and
driver IDs.
The content for this network of Nextel week. We sat down with Fred Armstrong, the beauty of Jump Backs is that you can
Vision jumbo-screens (and handheld Director of Creative Services for MRN, customize them. Change the color, use
“FanView” units) that entertain fans at this and Producer Josh Lieberman, tell find them as parts of composites. I’m always
year’s 36 Nextel Cup races (as well as out how they put Digital Juice to use. amazed at the work that my editor, Josh,
Busch and Craftsman Truck series “Our look has to be big, bold and visually does and the way he uses Jump Backs
events), is created by a small-but-talented stimulating,” says Armstrong. “Because we and Toolkit elements in his edits. Jump
MRN Radio production crew. MRN (Motor flow in and out of Network, our stuff has to Backs actually make him more creative.
Jump Back 267, from Vol 7 High Impact V, was
Racing Network) Radio has been known look as good as what the fans see on the We get a better, more creative production. colorized before being used as a foundation
as “The Voice of NASCAR” for years, with networks. There is an expectation of quality Digital Juice has revolutionized the way for the MRN logo.
broadcasts reaching millions of listeners that people have. Jump Backs enable us to we produce our segments.”
each week. A few years ago, they run our work side-by-side with the work “I use ETK mattes and overlays on pretty
expanded their offerings to reach the eyes being done by networks like ESPN and the much everything I do,” says MRN
of the fans, as well as their ears. Speed Channel, who both have huge Producer, Josh Lieberman. “A lot of times,
The MRN crew produces hours of content crews and big budgets. In my opinion, Jump Backs and Editor’s Toolkits are my
for Nextel Vision each and every race Network has nothing on Digital Juice. The creative inspiration for an edit. I’ll browse
week, including (but not limited to): best part is that Digital Juice has done the through the Juicer for a couple minutes
sponsor logo graphics, driver head-turns work and we get to take the credit.” and I’ll see something that creates
for driver introductions, short and long The speed and flexibility of Digital Juice inspiration.” Josh particularly likes using Digital Juice backgrounds are also used for
driver profiles, live interviews, recaps of Editor’s Toolkit’s mattes with his Jump driver graphics, seen here on one of the
graphics are key considerations for Fred Nextel Vision truck-top screens.
the previous week’s highlights, a and his team. “When you need to put a Backs. “I use mattes and overlays more
rundown of the week’s top 10 drivers in logo on the screen and dress it up for a than anything. And Motion Design
the point standings, and energetic music sponsor, Jump Backs provide great eye Elements are huge. I lay a matte over
videos designed to get the fans out of candy. They let us create a dynamic look some video, apply a texture from a Jump
their seats and onto their feet. in no time. Just snap your fingers and Back and I can have a high-end
drop it in, pop a logo on top and you’re broadcast look pretty quickly.”
SOUND BITES
done. Sometimes it’s just that easy. But (continued on page 22)
The guys at MRN use Digital Juice Jump
Nextel Vision monitors keep fans entertained
Backs and Editor’s Toolkit elements to and informed at NASCAR Nextel Cup races
create the compelling, high-energy, high- across the country.
quality content that they play for
hundreds of thousands of fans each

SEE COMPLETE PRODUCT GALLERIES
USER PROFILE ON THE WEB @ www.digitaljuice.com
Juice in Use
“ Our biggest issue is time,” says

Lieberman. We just couldn’t do what
we do without Digital Juice.
”
“If you’re creative, you use Digital Juice’s single day. And Juice helps them create
elements as building blocks,” says great looking productions within budget
Armstrong. They’re like Bisquick. You and under pressing deadlines.
don’t just use Bisquick to make pancakes. “Our biggest issue is time,” says
You can make it into whatever you want. Lieberman. “We have more than 100,000
There’s no limit to what you can make of people to entertain every weekend. And
it. Digital Juice is like visual Bisquick. It’s we have to create a lot of new content for
Producer/Editor, Josh Lieberman,
a starting point that we build on, but it’s the show every week. We just couldn’t do
creates impressive composites by an important part of every recipe.” what we do without Digital Juice.”
combining Digital Juice's animations
and elements with race footage.
TIME TRIALS Chuck Peters is Vice President of Media
The MRN Radio/Nextel Vision crew is a and Publications at Digital Juice and
great example of a high-end team that Editor of Digital Juice Magazine.
puts Digital Juice media to use every
22 | DIGITAL JUICE MAGAZINE OCTOBER 2006

ORDER ONLINE www.digitaljuice.com
ON THE WEB @ www.digitaljuice.com INSPIRATION
Volume Spotlight
JD45:halloweenHAUNTS Volume 45 of the Juice Drops library, halloweenHAUNTS,
is devoted to the scary, fun, festive season of Halloween.
Witches, bats, mummies, monsters, jack-o’-lanterns and
trick-or-treaters are all represented in a variety of illustration
This is just a small
styles. There is something here for every type of Halloween
sampling of the 75
different layered design situation—whether it’s a children’s party, corporate
designs in this event or neighborhood get-together.
volume.
As with all Juice Drops volumes, these illustrations are provided
in layered Photoshop PSD format so you can isolate individual
elements from the
designs or rearrange the
existing art to suit your
purposes. Check out a
few examples of what’s in
the volume and how it can
be used at left and below.
SPOOKY DESIGN
halloweenHAUNTS illustrations in use in
everyday design projects—in a poster for
a model search with a twist (above, using
JD #4521 & JD #4528; on a series of
postcards for a real estate agency (top,
using JD #4502 and top left, using JD
#4507 & JD #4511); as the hero element
in a poster for a local theater troupe (left,
using JD #4524); and finally, as the main
illustration on the cover of a book about
wine (far left, using JD #4509).
In all of these designs some minor modifications were made to the

illustrations to customize them. For example, in the case of the realtor’s
postcards and the Bewitching Witches poster, elements from two
different Juice Drops designs were combined, and in the case of the
book cover the whole image was tinted a wine color.

REVIEW ON THE WEB @ www.digitaljuice.com
The Panasonic VariCam:

In Use @ Juice
TECHNICAL by Perry Jenkins
SPECIFICATIONS
I
Panasonic AJ-HDC27H VariCam® was really jazzed when we decided to purchase the HVX200 P2
Variable Frame Rate 16:9 HD CinemaTM
Camera with CineGammaTM Software camera from Panasonic a few months back, but when I got the
($65,900)
go ahead to buy the VariCam, I just about lost it. The camera caught
z Three 2/3-inch 1.1-Million Pixel CCDs
z Recording Format: DVCPRO HD

our interest for many reasons, one being its variable frame rate
(720/60P, 720P/59.94P)
ability. It can capture in frame rates from 4fps to 60fps with single
z Frame Rates: 4-60P (in single
frame increments) frame increments in between, and this is great, because now true fast- and slow-
Lens: Interchangeable, 2/3"
z
motion can be obtained straight from the lens. There’s nothing that screams cinema
bayonet mount
z Record Time: 33 Minutes on more than a cool shot in slow motion.

DVCPRO Cassette with 18 micron
“ Overall, this camera is phenomenal.”

recording format.
Viewfinder ($3,145)
FIRST IMPRESSIONS lens, the thing is heavy enough to wear film’s renowned ability to maintain smooth
Fujinon HA 18x7.6 HD Lens ($16,000)
The camera body itself is pretty you out quick. The controls are easily image tonality even when gently
lightweight, which is good, because by the accessible on the body. If you’ve shot with compressing extreme highlights.
time you attach a big battery and a hefty other professional cameras, you’ll have no Cinematographers are able through the
problem finding your way around the CineGamma feature to control the camera's
common controls like white balance and gamma transfer function to best optimize
so on. The in-camera menus, on the other control over tonality, from extreme
hand, are a bit more complex. This isn’t to highlights to the lowest of shadow areas.”
Panasonic’s fault, mind you, there are just
a lot of functions that this camera FRAME RATES & SUCH
performs, so there are several pages of Now, this next topic is where things can get
internal menus to get around. After a little confusing, but in the long run it’s
walking through a simple series of setup actually brilliant. The VTR portion of the
procedures I was ready to roll tape. camera operates at a constant 60fps,
meaning that it’s always capturing 60
CINEGAMMA frames every second. When you tell the
One of the things that make this camera camera portion to record at 30fps, a
special is that it features Panasonic’s duplicate frame is recorded to ensure
CineGammaTM software. CineGamma 60fps. When you shoot at 24fps it performs
increases the camera's dynamic range, a 3:2 type pull down where one frame gets
especially in the highlight areas. According recorded 3 times and the next frame twice.
to Panasonic, CineGamma “provides the This process results in redundant frames
user with a much closer approximation of adding up to 60fps. What this all means
Perry Jenkins behind the VariCam while
shooting a DJTV episode of Juice in Use at
Daytona Int'l speedway.

ON THE WEB @ www.digitaljuice.com REVIEW
is that in post you need a way to weed able to scratch the surface in terms of
out the redundant or duplicate frames for the abilities of this camera. At this point,
your 24fps projects. Fortunately, this I’ve shot some cool slow motion footage
process is simple with our Final Cut Pro of some silk fabric being blown by a fan
HD system. Because duplicate frames for use as an element in a Jump Backs
are flagged differently, Final Cut can read volume we’re working on, and a DJTV
those flags and pull out the correct ones show called Juice in Use @ Daytona.
The controls on the VariCam are
to create 24fps media. See, it’s brilliant. Look for it on DJTV to see the images well-placed and easy to access.
For off speed footage, slow motion or I’ve shot with this camera.
shot at 60fps, I simply downloaded a
frame rate converter, then applied it to I really look forward to taking
my captured footage and it performed all advantage of the CineGamma feature to
the necessary functions for my clips to create to establish a style and create
play back at slow motion. unique shots. For now, I just marvel in
the fact that my cinematic dreams are
SHOOTING WITH THE coming true.
VARICAM A matte box is an excellent accessory.
It not only shades the lens, it holds
Overall, this camera is phenomenal. At Perry Jenkins is Senior Producer/Director filters for in-camera effects.
the time of this writing, I’ve only been at Digital Juice

PRODUCTION ON THE WEB @ www.digitaljuice.com
Juice Drops for TV

Using Juice Media in a Production Cycle
by Rick Green
W
hen you run a small-to-medium sized broadcast
production facility, there are basically three steps to every
project: (1) Get the gig, (2) Create the project, and (3) Get paid.
This article will walk you through all three steps in the process,
using a recent example from my company, The PowerPlant. Digital
Figure 1
Juice was a great help through all three phases, from the initial bid
until ten days later, when the first spots aired on television.
“ We spent our valuable time producing and creating the motion

for the TV spots, instead of endless hours designing the elements.
”
Juice Drops 28: freshFORM #2806
Juice Drops 28: freshFORM #2820
GET THE GIG PowerPlant to help them market the CREATE THE PROJECT
We enjoy a wonderful working relationship relaunch. Before we began production, We created three pretty cool looking specs
Figure 2
with our loyal clients, but even our they wanted to see storyboards to make and our budget numbers were in the right
regulars want to know what they’re getting sure they liked our design and direction. ballpark, so we got the job. Next, we sat
into before they commit to a specific We use images and elements from Juice face-to-face with the client for a second
project. Along with a budget proposal, they Drops layered Photoshop graphics to time to discuss what they liked or did not
want to see specs and storyboards to storyboard projects all the time. We’ll pull like about each of the three spec
make sure we understand their vision for layers, graphic elements, segments, colors storyboards. As with most projects, we
the project, although many times we’re and backgrounds from a particular Juice found that the direction we’d take would be
actively creating that vision for them Drops image to help with our storyboard a combination of two of the ideas created in
through the storyboard process. process. Often times, just looking through the storyboard process. Juice Drops are
Sometimes this involves a budget-bid and the huge Juice Drops library gives us style wonderful for this, since it’s a snap to simply
sometimes the process involves a creative and design ideas for a project. pull graphic elements from one Juice Drops
pitch. More often than not, the process image and combine them with elements
Juice Drops 28: freshFORM #2894 involves both. Our recent “Columbus Alive” I started by grabbing three Juice Drops from another to build your own new project.
project was one of those “both” scenarios. images and used them to create three In this case, the “Columbus Alive” crew
completely different looks. I have talented loved the flat, 2D style and color breaks
Figure 3 The Columbus Dispatch, Ohio’s oldest and designers on staff, but it wasn’t necessary to from spec 1 (Figure 1), the geometric
most prestigious daily newspaper, is a take them away from more important work at shapes and curved graphic arcs from spec
client of The PowerPlant. We have created this phase. Although I’m not exactly a 2 (Figure 2), and the abstract city-like
dozens of television and radio spots for Photoshop expert, and I’m not a designer, I shapes from spec 3 (Figure 3). We had to
them in the past. We love working with was still able to quickly put together three work within the “Alive” color palette, which
their marketing department, because they professional-looking, distinctly different is kind of a ketchup-and-mustard scheme,
give us a lot of freedom and because they storyboard specs to help us pitch, and but changing palettes is trivial in our editing
like to have fun with their product. The ultimately get, this great high-profile television software. Thanks to Juice Drops, we spent
Dispatch recently purchased an edgy local gig. Having Juice Drops to create professional our valuable time producing and creating
weekly called “Columbus Alive.” They looking storyboards and high-quality design the motion for the TV spots, instead of
freshened it up and then asked The elements was a huge factor in getting the job. endless hours designing the elements.

ON THE WEB @ www.digitaljuice.com PRESENTATIONS
Jump Backs Vol. 25: All Music #1025
Figure 4
To create the final product, we simply we certainly have the capability to shoot this
imported the layered Photoshop files from stuff ourselves, our time and budget often
the Juice Drops discs that we needed and don’t allow for it. I think one of the coolest
began to keyframe the movement in Adobe things about the finished spot is that it looks
After Effects. Tony Stewart, The nothing like any of the three original Juice
PowerPlant’s Graphic Designer and Drops we started with (Figure 4), even
Animator noted, “The high-quality Juice though it’s made from elements that came
Drops images [are] way beyond the from all of them.
resolution we need for television, even
beyond High Def resolution. We created GET PAID
dynamic and professional animations in a As a business-owner, the “Get Paid” phase
fraction of the time it would have taken if is certainly necessary. It’s important
we had to design and construct all those because it allows The PowerPlant Creative
elements ourselves.” Team to move on to the next project. The
role Digital Juice plays in this final step
Since “Columbus Alive” is “fresh, fun shouldn’t be overlooked. Whether clients
coverage of the music, arts, food and pay by the hour or per project, they are
nightlife,” we decided to add a couple of ultimately paying for a finished,
live-action elements to give the spot some professional production. The better the
energy. Once again, we turned to Digital product, the better they feel about paying
Juice to save our time and assets. We used for it and the more likely they are to hire
a garbage mask in After Effects to cut out a you again. Starting with Digital Juice media
dancer from Jump Backs animation #1025 allows The PowerPlant to deliver a high-
from Volume 25: All Music. For the sax quality, professional product in a timely
player, it was even easier: We grabbed our manner. That helps strengthen our
VideoTraxx 3 Film & Video Library and, in relationships, increases our margins and
the Music & Dance category, we found clip makes for a healthier bottom line. Digital
#8074. The clip is a saxophone player that Juice products allow us to be more
was shot over green screen, so we keyed creative, quicker, more efficient, and
out the background and then filled that with ultimately help us make more money.
the “Alive” red to get a live-action shot Rick Green is CCO of The PowerPlant
without shooting a single frame. Although Multimedia Studios in Columbus, Ohio.
COLUMBUS ALIVE!
The 30-second Alive TV finished product can be seen in the
Digital Juice magazine section of digitaljuice.com. You can
also check out the “Columbus Alive” magazine’s Website at
www.columbusalive.com

28 | DIGITAL JUICE MARCH 2005 ORDER ONLINE www.digitaljuice.com
Idea Book & Gallery
DIGITAL JUICE VIDEOTRAXX FILM & VIDEO LIBRARY
DIGITAL JUICE FILM & VIDEO LIBRARY
1.800.525.2203 ORDER BY PHONE MARCH 2005 DIGITAL JUICE | 29

VideoTraxx Film & Video Library Idea Book
VideoTraxx 1
MEDIA USED: VTX1–Fitness #00292,

JD35: futureTECH #3338
PROJECT NOTES: VideoTraxx clips

are professionally produced, so
action shots are ready to be used in
your high-end broadcast
composites, saving you time and MEDIA USED: VTX1–Business #01001 & JD44: frameCUTS II 4442
making you money. Here a VTX clip
is combined with a high-energy PROJECT NOTES: Commercials come alive with VideoTraxx. Whether you
Juice Drops background to create need smiling faces or interesting places, VideoTraxx has the shots you need
an edgey, artsy look. to kick out spectacular spots.
MEDIA USED: VTX1–Sports #00303,

JD37: sportsCUTS 3701 &
JD40: frameCUTS #4030
PROJECT NOTES: Adding video filters, color

effects and slow motion to VTX clips
makes them excellent resources for editors
who want to build better backgrounds for
their graphics. Elements
from Juice Drops were
used here to add a
broadcast look and feel to
this youth soccer video.
VTX 02 Digital Juice Magazine • October 2006

VideoTraxx 2
MEDIA USED: VTX2–Expressions
#04387 & JD44: frameCUTS II
#4464
PROJECT NOTES: The expressive

people shots in VideoTraxx give
you access to professional models
without the hassle of having to
work with an agency. Animated
and still “frame” graphics from
Juice Drops and MDE Frames
volumes add instant impact.
MEDIA USED: VTX2–People

#05766 & JD31: foodFUSION
#3165
PROJECT NOTES: VTX clips were

shot with editing in mind. Many
clips are framed to the side, so
you can simply add graphics.
MEDIA USED:
VTX2–People #05766, JD35:
futureTECH #3501 & JD37:
sportsCUTS #3791 (horse
shape in logo)
PROJECT NOTES: VideoTraxx

clips cover all kinds of topics.
Whether you need a shot of a
horse and rider, school children,
or international images,
VideoTraxx delivers.
www.digitaljuice.com • 800.525.2203 VTX 03

VideoTraxx 3
MEDIA USED: VTX3–Holidays #07695

& JD40: frameCUTS II #4427
PROJECT NOTES: Uses for VideoTraxx

are only limited by your creativity.
Here, a Holiday clip serves as the
inspiration for a jeweler’s
seasonal TV spot. MEDIA USED: VTX3–Drugs, Medicine & Emergency #07179 &
JD32: templateCUTS #3269
PROJECT NOTES: VideoTraxx made this important PSA powerful.

There’s no end to the concepts you can communicate with the
10,000+ clips in the VideoTraxx collection.
MEDIA USED: VTX3–Exercise #07331 &

JD42: highIMPACT IV #4282
PROJECT NOTES: VTX clips are professionally

produced, with great attention given to
lighting and shot composition, making
VideoTraxx the perfect complement to your
high-end edits.
VTX 04 Digital Juice Magazine • October 2006

1.800.525.2203 ORDER BY PHONE MARCH 2005 DIGITAL JUICE | 33
VIDEO FOR WEB ON THE WEB @ www.digitaljuice.com
WHAT THE
HECK IS Webcasting DJTV
H.264? by The Editors
Although the technical spec for
H
H.264 is as complex and detailed ere at Digital Juice we’ve been posting video to the Internet as long as
as it needs to be, it’s really just
we’ve had a Web presence. The play-in-place samples of our product
geeky jargon for MPEG-4. Born of
a partnership between the ITU-T galleries and our promotional videos illustrate two approaches that we’ve tried in
Video Coding Experts Group and the past. Our new DJTV project, however, required a complete rethinking of our
the ISO/IEC Moving Picture
video strategy, not only in terms of content, but also in terms of technical delivery.
Experts Group (MPEG), the H.264
standard and the MPEG-4, part In this article, we’re going to tell you how we prep our shows to get them on the
10 standard are technically virtual airwaves of the Web.
identical. And if you don’t like
“quality
For DJTV, we felt that it was important to deliver the highest
calling the standard H.264 or
”
MPEG-4, you can go ahead and
video at the lowest possible data rates. — J.P. Shook
call it Advanced Video Coding
(AVC): it’s all the same thing. PRODUCTION “All of our promo videos were compressed The one format that seemed to best meet
The mission of DJTV is to create short using Sorenson Squeeze 3 on a five PC our DJTV requirements was the QuickTime
APPLE COMPRESSOR & shows that effectively inform, instruct and farm,” explains Mike Mullings. “It’s a great implementation of the H.264 codec. While
SORENSON SQUEEZE (hopefully) entertain the production app. The Watch Folders feature was really not universally installed, the QuickTime
Want to find out more about the community on a wide variety of topics. convenient.” Five dedicated Windows player is on all Macs and has a very wide
encoding apps we use for DJTV? Because the video is primarily distributed computers were set up to perform the install base on Windows machines. While
z Apple Compressor is a on the Internet, we need small, highly renders, with the Sorenson utility watching QuickTime is very common, not everyone
part of the Final Cut Studio suite compressed clips, but one goal right from a particular folder that producers could has the latest (May 2005) version of
of applications for the Mac the start was to shoot in the highest drop their finished video into. The program QuickTime 7, which supports H.264. “To
and has an MSRP of $1,299. quality format that was practical. would then automatically convert the be honest,” J.P. admitted. “One of the
http://www.apple.com videos placed into that folder without any reasons why we went with QuickTime 7
“We went with our Panasonic HVX200 in
z The Sorenson Video 3 Pro additional intervention. H.264 was that many studios use it for
720p HD mode at 24fps,” explained Senior
codec has an MSRP of $299 their movie trailers.”
and works with your editing
Producer, Perry Jenkins. “The camera’s H.264 QUALITY
software, but is also included small size and convenient operation made The Sorenson Video 3 Pro codec produced ACCESSIBILITY
with the Sorenson Video 4 it possible for all of our producers to jump beautiful video for the Internet, but the Besides balancing quality against data
Compression Suite, which retails right in and start shooting.” Web/IT team decided to go with the next rate, DJTV needs to be viewable by the
for $449 and works on both generation of video for DJTV. A number of largest possible audience. So, for
The finished video that the production
Windows solutions were explored, including one example, while DivX produces very high
machines
department provides to the Web team is
very high quality, uncompressed, based on the H.264 standard, which has quality video, it is still a player that is not
and Macs.
progressive HD source. been implemented (with variations) by installed on as many computers as, say,
most of the big players, including Apple the Flash video player. Flash video, on the
COMPRESSION GURUS and Sorenson. Test renders using Apple other hand, although it does keep the
The task of getting DJTV onto the Compressor and Sorenson Squeeze 4 data rate very low, does not hit the same
digitaljuice.com Website falls to IT proved that the H.264 codecs yielded quality levels that Sorenson Video 3 Pro
Director, Michael Mullings, and Director better quality video than the older does. To keep DJTV accessible to largest
of Internet Development, J.P. Shook. Each Sorenson Video 3 Pro codec. “For DJTV, possible audience, the team chose to
wears many hats at the company, but we felt that it was important to deliver the encode the medium- and low-quality
both are well versed in the many highest quality video at the lowest possible versions of each show using Sorenson
challenges of Internet video. data rates,” J.P. Shook said. Video 3. Since this format is compatible

1. EACH EPISODE OF DJTV IS

OFFERED AT FOUR
QUALITY SETTINGS
(1) 480x288 - High Quality (H.264)
2. (2) 320x192 – Medium Quality (Sorenson)
(3) 320x192 – Low Quality (Sorenson)
(4) 320x240 – iPod (MPEG-4)
3.
4.
with QuickTime 5 and above, almost backbone, we have the capability to

everyone can play it back. And, not sustain over 200Mbps of concurrent
unimportantly, the quality is excellent. traffic.” J.P. noted. “We expected to
exceed 4TB of data transfer in the first
SOURCE AND SIZE month of the DJTV launch.”
Another consideration in the choice of a
file format and codec is scalability. At this Real-time streaming video was one option
time in Web video history, it’s important to that was considered and eventually
offer different versions of our videos, from rejected. “We decided to go with
small and highly compressed to very progressive download vs. real-time
large at high quality. H.264 encoding streaming servers to maintain the highest
works equally well on postage-stamp level of quality and user experience,” J.P.
sized video destined for portable players mused. “The performance is excellent
and on HD video for blue laser DVDs. and the videos begin playing almost
immediately.” Streaming technology can
The source for DJTV is 720p, which has also prevent people from downloading the
a frame size of 1440x720. A number of video to their computer, which is an
different versions of each program unnecessary limitation and an
segment are available to view or inconvenience for some viewers.
download, including 480x288, 320x192,
and 320x240 for iPod. “We wanted to READY FOR WEBCAST
reach the largest audience possible,” J.P. Even though the technology is readily
continued. “Encoding multiple formats is available, making a choice on how to
a real challenge, but definitely worth it.” distribute high-quality video on the Internet
Broadband Distribution and Streaming is not an easy one. Besides balancing
Broadband infrastructure in the United quality against data rate, compatibility and
States is getting better and better, but convenience are difficult quantities to
simply posting DJTV segments to a Web measure. Fortunately, given a fast enough
page is not enough. You also need the Internet pipeline, experimentation is
computers and Internet bandwidth to host relatively easy. Even better, the potential
and serve the content. “With multiple audience of Web viewers is huge and
dedicated load-balanced Web servers growing larger by the day.
connected to the global Internet The Editors

CHURCH MEDIA ON THE WEB @ www.digitaljuice.com
Simple Solutions to
Church Media Mistakes
by Chuck Peters
C
hurches of all shapes and sizes are making media a major
part if their ministries. Unfortunately, most people in ministry
have never “made” media. In a church setting, excellence has to
be at heart of everything you do. Anything that distracts people
from the focus of the church service is a major mistake. I’ve visited
a lot of modern multimedia churches and I’ve seen the good, the
bad and, sadly, the ugly. Along the way, I’ve identified some
common mistakes that are being made. Fortunately, you can learn
from these miserable mistakes and avoid making them yourself.
Hopefully this little list will help you keep your media ministry on the
straight and narrow.
#1 CRAZY
COLORS
The Goal: Treat each
much smoother. Save your creative
variations for special music numbers.
the service. The person running the slides
is as much a part of the music team as an
instrumentalist or vocalist. Your job is to
service as a continuous,
coordinated presentation. #2 MISLEADING LYRICS
The Goal: If you project lyrics
literally lead the singing. You need to know
the songs as well as anyone on the
for your songs, you need to time the platform. When I run graphics for lyrics, I
The Problem: A lot of churches
appearance of the text with the singing always work from a script. Before rehearsal, I
use different backgrounds or
carefully. For a smooth presentation, it is note every slide in order on paper and I write
video clips behind the lyrics of
essential that the slides lead, not follow, production notes like “musical interlude” or
Figure 1 each song. The first song’s lyrics
the singers. Timing is everything. The “repeat 3x.” A script gives you a roadmap so
might be projected over a blue animated
person running the slideshow has to be you never have to guess where the song
color wash, the second over a video of
intimately familiar with the songs so that leaders are going.
billowing clouds, the third on a red one and
he or she can anticipate slide changes
#3
the sermon notes over a still background BAD FONT
and lead the leaders and the
(Figure 1). When you do this, the CHOICES
congregation.
congregation is drawn to look for the The Goal: When it comes to selecting
changing background instead of The Problem: Improper and untimely fonts, the goal is always readability. And,
concentrating on the content of the slide. slide changes are a major distraction to remember, the words need be easy to
people trying to sing what you show. read from a distance. This means making
The Solution: Instead of using a Never attempt to follow what they do on good decisions in regard to size and style.
mishmash of backgrounds, choose a stage. This can trip-up your song leaders They should also be consistent from one
single color and style for each week, and your congregation. Lagging changes graphic to the next. The goal: keep it
month or sermon series. This will provide are just as bad as putting slides up in the clean, clear and simple.
continuity for all of the graphics (Figure wrong sequence.
2). Songs are often selected to tie into The Problem: Narrow or swirly fonts are
the message of the morning, so The Solution: Attend rehearsals and take hard to read from a distance and should be
consistent backgrounds also make the good notes. Meet with the music leader in avoided (Figure 3). Cartoonish fonts aren’t
Figure 2
entire service seem more connected. advance of the rehearsal so you have a appropriate for most church settings (Figure
You’ll find that the flow of the service is full understanding of the order and flow of 4). Their overly silly style can make your

ON THE WEB @ www.digitaljuice.com CHURCH MEDIA
Figure 4
Figure 3
graphics seem immature and can rob your

content of the respect it is due. If your fonts
size type you use
change from slide to slide or song to song,
depends completely
you may cause your parishioners to pay
on the size of your
more attention to your crazy presentation
screen and the size
than the content of the message.
of your room. The
The Solution: Simple, bold fonts are quickly and smoothly. This
best bet is to preview your slides from the
always the easiest to read from a back of the auditorium to make sure the may mean scheduling a
distance. Thick sans serif fonts are often text is large enough to easily read. practice time to train your
best for on-screen readability (Figure 5). team. Think of your team like
While you may think serifs look classier, CLUNKY a NASCAR pit crew. See how
the primary goal is for the text to be
legible from the back of the room. Avoid
#5 TRANSITIONS
The Goal: The primary goal of
quick and clean you can make your
transitions. Rather than figuring it out
multiple fonts by finding a font family that anything that goes up on the screen during during the service, preparing in advance
you like and sticking with it. To keep a church service is to enhance the worship will help ensure that all goes smoothly.
continuity, use the same typeface for experience. The images that you project One of the best “covers” that I’ve found is
every graphic you create. Keep font onto your screens—whether edited videos to lead schedule the video after a prayer.
variations subtle, changing only the style or simple slides—have to be presented Lower the screen and dim the lights while Figure 5
(regular, bold or italics) to create emphasis smoothly, and transitions to and from your heads are bowed and eyes are closed. Figure 6
when necessary. Use a dark drop shadow segments must be quick and smooth so as Cue the start of your clips on the “Amen.”
or outline to help separate light text from to not distract those in attendance.
Ironically, the ultimate goal of using media
light-colored backgrounds. The Problem: If transitioning to or from a in a church setting is for the media itself to
#4
video clip or presentation involves a drawn be invisible: no one should realize you are
TMI (TOO MUCH out process of closing window blinds,
INFORMATION) there and no one should notice your work.
dimming lights, raising and lowering If folks are squinting at poorly designed
The Goal: Don’t put too much information
screens or fumbling through startup graphics or gaping in amazement at the
on a single slide. Putting too much
menus or video inputs on your projector, stunning 3D animations you are projecting,
information on the screen at once can
you will surely disrupted the flow of the you are not doing your job. With your life Figure 7
overwhelm your audience.
service. Blasts of video snow and audio and your service, a job well done should be
The Problem: If you have a long chorus or feedback are simply not acceptable. Those its own reward. In a church setting, if you
scripture verse to put on the screen, it can long, painful delays and awkward lulls of can’t do it with excellence, you need to
be tempting to use small text to get it all silence while everyone waits for the decide whether you should be using
on one slide (Figure 6). But, small type can screen to come down and the video to multimedia at all.
be difficult to read from the back of the come up should be avoided at all costs.
auditorium, especially if there’s a lot of it. Ultimately, a disruptive presentation may
do more to harm a service than the video Chuck Peters is Vice President of
The Solution: Break long pieces of text Media and Promotions at Digital
does to help it. Juice and is the Editor of Digital
into a series of slides so you can increase
The Solution: Take time to prepare your Juice Magazine.
the font size and make it easier for the
congregation to follow along (Figure 7). equipment and your people so you can
There’s no rule for setting font size. What transition to and from media segments

PRESENTATIONS ON THE WEB @ www.digitaljuice.com
DIY PowerPoint Templates

with Juice Drops
by Michael Hill
W
Title slides can generally be more
Figure 1 complex since they don’t display hile originally developed for print design, Juice Drops are
as much text. This sample was
created by using all layers of also flexible enough to be used to create custom eye-
Juice Drops image #1511 from
JD15: highIMPACT III.
catching, PowerPoint templates.
“ Some volumes, such as templateCUTS, are an

obvious choice for slides.
”
READABILITY Content slides should have two key areas: the parts of the layers that are outside the
The most important a header area and text area. The header image layer into the image for rescaling or
consideration when creating a area is used to present the slide’s title adjustments. Experiment with adjusting
custom PowerPoint template is while the text area will be used for your the layers while trying to picture what the
readability. Some Juice Drops content. These slides should generally image would look like with text over it.
have intricate designs that can have a simple, subtle background to
clutter your slides and make ensure legibility (Figure 2). REARRANGE
your text very hard to read. Because they are layered files, Juice
ADJUSTING THE IMAGE
Some volumes, such as Drops have elements that can be moved
Before you start designing, you’ll need to
templateCUTS, are an obvious around to create spaces for text. In this
make some adjustments to the image’s
choice for slides; the ability to example, the filmstrip was moved, resized,
size and proportions. Because Juice Drops
adjust individual layers means rotated and adjusted to allow for the
weren’t designed for screen use, they
you can easily create clear slide’s header to fit neatly into it (Figure 5).
aren’t the correct dimensions for screen
copy areas. The shaded curves found in the
use. Select an image and opened the
layered version in Photoshop. Next, select shadedEDGE volume can also be used to
TWO TYPES OF Image Size from the Image menu and create a header area (Figure 6). Don’t
SLIDES forget to experiment with mixing layers
make the height 768 pixels. Be sure the
I recommend creating at least from other Juice Drops.
Constrain Proportions box is checked.
two different backgrounds for
Don’t worry about the width for now (it Another trick is to create a new layer with
each presentation: one for your
should automatically change). Click OK a colored box (usually white) that overlays
Title slides and another for your
and wait for Photoshop to rescale your file the part of the slide where you plan to
Content slides. Title slides
(Figure 3). Now, select Canvas Size from place text. Adjust the layer’s opacity to
generally have only a few lines
the Image menu. Be sure the Relative allow parts of the background to show
of text on them: the title of the
Figure 2 Content slides need to be simpler checkbox is off, and enter 1024 pixels for through while still making sure the text
to allow the emphasis to be on overall presentation or section, and
text. In this sample, some of the
the width. You’ll get a warning message; remains legible (Figure 7). If you like, you
perhaps the date and presenter’s name.
layers were removed to create a click Proceed (Figure 4). can further customize your slides by
simpler background while Also, the text used on these slides tends
keeping the same look as the to be larger and bolder. Because of this, You’ll notice that the sides of the image adding a logo, URL or slogan. Once you’ve
title slide.
these backgrounds can be more complex have been chopped off — it’s important to finalized the design, export the file as a
(Figure 1). remember, however, that you can still drag TIFF or PNG.

ON THE WEB @ www.digitaljuice.com PRESENTATIONS
Figure 3 Figure 4
WANT
MORE?
For more presentation tips and
techniques check out these
IMPORT TO POWERPOINT Figure 5 This sample was created
using elements from Juice articles in the DJ Mag archives at
Now you’ll need to import the file into a Drops illustration #2786 from JD27:
PowerPoint template. To do this, open glassEDGE. digitaljuice.com.
PowerPoint and start a new, blank z September 2006: Cutting-
presentation. From the View menu, select Edge PowerPoint Techniques:
Master/Slide Master, then select
Revealing images and video within
Image/From File from the Insert menu and
a single slide by Geetesh Bajaj
locate the background you created for
your Content slides. Once you have the z May/June 2006: Killer
image in PowerPoint, adjust it to fit the Presentations in 4 Hours or Less:
slide and then right click and select Send Streamlining your PowerPoint
to Back from the Order option. Next, Workflow by Kevin Lerner
select New Title Master from the Insert
menu. Repeat the process, this time z October 2005: Scores for
inserting the Title slide background. PowerPoint®: How to Add Music
Figure 6 This sample was created to Your PowerPoint® Presentations
Now you can adjust the fonts, text size, using Juice Drops illustration
#2543 from JD25: shadedEDGE. It features by Geetesh Bajaj
colors and other elements on the title and a header area created by rotating and
slide masters. When you’re satisfied, scaling one of the shaded curves. z April 2005: How to be a
select Save As from the File menu. Bad Presenter: 9 Vile Violations
Change the Save As Type option to Design by Chuck Peters
Template. PowerPoint will automatically
navigate to the templates folder. Give your z March 2005: Revealing
template a name and save the file. Secrets: Tips for Revealing Text
in PowerPoint by Chuck Peters
THAT’S ALL FOLKS
z February 2005: Visionary
To create your presentation, select
Presentations: PTK Basics for
File/New. In the right-hand toolbar, select
Advanced Presentations
General Templates and your template
should now appear under the General tab. by D. Eric Franks
You can now type your text into the slides
as you normally would.
Michael P. Hill is president and creative Figure 7 This Juice Drop
background, #1510
director of Clearhill Creative, a small from JD15: highIMPACT III, is too
graphic design agency. He also works in complex to be used as a slide
marketing and Web development for an background. By adding a white,
Orlando-based company. semi-transparent layer over it, you
can create an area for text.

TEACHING TIPS ON THE WEB @ www.digitaljuice.com
Education Nation
Teaching Editing with VideoTraxx
by Chris Gates
T
he first school computer lab that I stepped into as a kid was
a converted janitor's closet. An A/V cart was placed into the
floor basin, and on that cart sat a lone Apple II connected to a
television set, complete with separate VHF and UHF dials. I could
just imagine the green hued ASCII images that were now possible
for me to create. Ahh, 1981 did have its charm.
“forI found Digital Juice to be an excellent resource

teaching kids to make video, especially the
VideoTraxx collection.
”
Computer technology has lounge) is keeping lessons focused and familiarize my students with basic video
changed the classroom over simple. With all the tools, techniques, and editing could become an epic nightmare.
the last twenty-five years. trivialities, it doesn't take much for My goal was simple enough: give the
Now educators are faced student projects to grow out of control students a hands-on opportunity to use
with the challenges of and become unmanageable. the school's edit bays so they would have
developing curriculum to introductory knowledge of our NLE. The
instruct their students in the I found Digital Juice to be an excellent students saw this as opportunity to make
creation of quality digital resource for teaching kids to make video, their cinematic proclamations. What
media. The art room is no especially the VideoTraxx collection. Stock started as an editing exercise soon
longer limited to big tables footage is an excellent resource for became a full scale production involving
covered in paper, and the teaching the fundamentals of editing. everything from lighting and videography,
technology classroom is no Before VideoTraxx, stock clips were far to sound engineering and animation. All I
longer earmarked by the drill too expensive for most schools to was hoping for was a few simple cuts,
press. Computer savvy consider, but because of its low price it is what I got was the next D.W. Griffith.
students are working in actually accessible to educators, who
Photoshop, cutting video on have notoriously low budgets. If you The lesson I learned can be summed up
various NLEs, and animating teach video production, at any level, in one word, simplicity. My desire was for
their imaginations into VideoTraxx is a resource that is well the students to not worry about their
existence. What can be most worth the investment. content at this point, but to understand
frustrating for educators who the basics of utilizing content. Without
teach media and video KEEPING IT SIMPLE even trying, I had successfully distracted
production, (other than the Early in my teaching career I discovered them right from the start of the project by
bad coffee in the teachers' how a simple project that was meant to having them create their own content.

ON THE WEB @ www.digitaljuice.com TEACHING TIPS
The students became so concerned with First we focused on the foundation of the week, I had a compilation of some of the
their imagery and how it looked that the montage, we sat down and dissected the most absurd, creative, thought provoking,
class didn't focus on the edit at all. Odessa steps sequence from Sergei and interesting videos I have ever seen
Eisenstein's Battleship Potemkin. We from first time editors. The lesson was a
The issues at hand brought me to rethink
moved forward and watched Godfrey huge success.
the project and come at it from a new
Reggio's Powaqqatsi, another fine
approach. It’s a good rule of thumb to Simplicity, in and of itself was the most
example of the montage. The students
stay tightly focused on each specific task direct solution. Things may have been
had now seen and talked enough about
in any production. This is especially true simple with the old Apple II in the
editing that they were ready to sit down
for any project in the classroom. Since I janitor's closet. Truth is, amidst today's
and start cutting.
wanted my students to learn to cut, myriad applications and diverse
editing would have to be all that we THE STOCK SOLUTION possibilities they bring, things are still
focused on for that lesson. Understanding Instead of having my pupils shoot their simple. All it takes is a little focus and the
how a montage works in the editing room own footage, I handed them the implementation of some good resources
is beneficial to anyone wanting to create VideoTraxx library and the criteria that to bring out success.
great video. It is a tool that revolutionized they could use any VideoTraxx clips they
Former high school teacher, Chris “Ace”
the way we communicate through the wanted to, as long as their individual Gates, is an Associate Producer at
moving image. It was time for the class pieces were exactly one minute in length Digital Juice.
to learn the secret art of the montage. and set to a single music bed. Later that
MY DJ ON THE WEB @ www.digitaljuice.com
Surfin’ DigitalJuice.com
10 Reasons to Hang (Ten) at digitaljuice.com
SURFER by Matt Janowsky
SLANG
N
ext time you’re surfing the Web, catch the wave to
HANG TEN: Riding a long board

DigitalJuice.com and sign up for your free account.
with both feet on the nose of the
Registering is easy, just click the create account link at the top of
board.
STICK: Slang word for surfboard. the Home Page and type in your info, it only takes a minute and
BARREL: Where the wave is
hollow when it is breaking. you'll be riding the waves in no time. Here are 10 totally cool things
CARVE/CARVING: Classic surfing you can do at DigitalJuice.com.
move, turning on a wave.
PIPELINE: Classic Hawaiian
wave.
“inspiration
The Customer Showcase is a great place to get feedback, ideas,
SWELL: Waves, swell or
groundswell, refers to real solid
waves.
and even carve out a little recognition for yourself.
”
TUBE: Where all surfers want to
be, where the wave is hollow (the
9 Community Forums: This
is a great place to ask
barrel). questions, get answers, meet
DROP IN: When a surfer
some cool people, share your
catches a wave they didn't have knowledge, and maybe even learn
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also a classic surf song by the
8
Ventures. Customer Showcase:
STOKED: Means very happy. When you register you can
LAYBACK: Extreme surfing trick upload your videos or images to
where a surfer literally lays Figure 1
the Customer Showcase (Figure 2).
10
backwards on a wave.
Digital Juice Magazine: Each It's a great place to get feedback, ideas,
BOARD: The thing you stand on. month Juice publishes a great inspiration, and even CARVE out a little
ENDLESS SUMMER: A classic magazine (like the one you’re reading recognition for yourself. You can even give
surf movie.
now) flooded with tips and tricks, your clients a free link to your own
interesting articles, info on all of your showcase page.
favorite juice products and much,
much more (Figure 1). At
DigitalJuice.com you can sign up for 7 Email Offers: The CEO’s weekly
email is your ticket to the
your free subscription, so you can PIPELINE of deals that Digital Juice has
STICK Digital Juice magazine on to offer. Email members not only get the
your shelf. You can also browse all inside scoop on the latest deals, they get
the back issues in the DJ Mag customer profiles, and top-secret inside
online archives. info from David Hebel himself.
Figure 2
Figure 3

Figure 4
Figure 5
6 Product Galleries: Digital Juice’s

online product galleries make it
easy for you to preview all of the SWELL
products Juice has to offer (Figure 3).
5 DJTV: Nothing on the TUBE? Head

on over to DigitalJuice.com and
check out DJTV (Figure 4). Here you’ll
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with tips and tricks. Look for new
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4 Chat: DigitalJuice.com is the place

to chat online with your new
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known to DROP IN and give the skinny on
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3 Account Access: Once you

register you can get access to your Figure 6
online order history, and with the pre-fill
function your info won't be WIPED OUT What’s the catch? There is no catch. All
next time you order online (Figure 5). you have to do is register for your free
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2 Killer Deals: Check the Home

Page for all the latest deals and
register for an ENDLESS SUMMER of fun
surfin’ at DigitalJuice.com. Well, what are
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Matt Janowsky is a Video Production
1 Free Downloads: That’s Right! Specialist and a staff team member at

FREE DOWNLOADS! LAY BACK and our newest location, Digital Juice Orlando.
enjoy as Digital Juice gives you royalty-
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LIGHTING TIPS ON THE WEB @ www.digitaljuice.com
WATCH IT
ON DJTV! Take 5
THIS ARTICLE IS
ALSO A SHOW! Five Tips for Lighting Talent
You can see all of the tips in this by Chuck Peters
article demonstrated in full
T
motion on DJTV! Check out the here’s no substitute for good lighting. I’m always surprised at
Sept 11th episode of Take 5, Five how many producers count on software to fix poor lighting in
Tips for Lighting Talent, and other
post. The GIGO principle certainly applies to lighting. The fact is, if
Take 5 episodes in the DJTV
section of digitaljuice.com.
you start with grainy, poorly-lit footage, your end result will be
compromised. No matter what people tell you, it doesn’t matter
how good your camera and editing software may be, if you are a
lazy lighter, your productions will suffer. Knowing this, the best thing you can do to
increase the production quality of your videos is NOT to buy a better camera or a
MONITOR
MATTERS new color-corrector. The first thing you should do is learn to light. While these five
tips can’t possibly cover all there is to know about lighting, my hope is that they will
When setting lights, it’s important
to remember that your eye sees inspire you to learn to light like the pro that you are.
things differently than your
“may
It doesn’t matter how good your camera and editing software
camera does. You should always
”
use a monitor (not your naked
be, if you are a lazy lighter, your productions will suffer.
eye) when adjusting your lights.
#1 — SHOOT A depth and separates him from the

THREE-POINTER
background. Learning and using three-point
Three-point lighting is the time-tested lighting isn’t difficult. It will make a huge
standard for lighting talent for TV and film difference in the look of your footage and in
(Figure 1). A three-point setup consists of a the overall professionalism of your
key, a fill and a back light. The key light is productions. If you’re not using it, it’s time
typically positioned to the front of the to start.
subject, slightly to one side. It provides the
primary source of illumination in this setup
#2 — SET THE MOOD
and its quality and characteristics help to WITH SHADOWS
establish the mood of the scene. The fill When a bright key light is positioned close
light is less powerful than the key light. It is to the camera, the result is “flat” lighting
positioned on the side opposite the key and (Figure 2a). Flat lighting is emotionally
serves to soften (or fill-in) the shadows neutral. If you’re doing news, this may be
created by the key light. The back light (or fine. But if you want to add emotion, merely
hair light) is positioned above and behind flooding your subject with bright, flat, light
the subject so that it casts light on the isn’t enough. Lighting can be used to move
subject’s head and shoulders. This adds and manipulate shadows to create the
Figure 1 Three-point lighting consists of
Key, Fill and Back lights.

ON THE WEB @ www.digitaljuice.com LIGHTING TIPS
A key light at the 6:00 A key light positioned at the 4:30

Figure 2a Figure 2b (or 7:30) position adds the illusion
position creates a flat,
“ordinary” look that is absent of of depth without being overly dramatic. This is
emotion. This look is often used for the preferred position for the key in most
lighting news setups. three-point lighting setups.
illusion of depth on a two-dimensional and specular highlights that create

screen. To add depth, position the key light unattractive, glowing, hot-spots. When
so that it strikes your subject at an angle lighting a person with glasses, lights placed
(Figure 2b). The size, angle and intensity of anywhere near the camera create specular
the shadows cast by the key help set the highlights on the lenses of the subject’s
mood of the scene. As you move the key specs (Figure 4a). Bald heads are less of
farther to the side, the mood becomes a problem, but you’ll still get small hard
A key light at the 3:00 (or 9:00)
more and more dramatic (Figure 2c). Once light spots across the cranium. When you Figure 2c position creates a very dramatic
the key is positioned appropriately, use the expose subjects with dark complexions look and feel.
fill light to soften its shadows to your liking. properly, you often end up with hot spots
on the tip of the nose, forehead, cheeks
#3 — SOFTEN UP Hard light has a narrow shadow
and chin. Figure 3a edge transfer and a dark, dramatic
The hardness or softness of a light can
shadow
be determined by examining the shadows For glasses, the solution is to go up and out.
that it casts on your subject. A hard light Raise your lights higher and position them
casts a dark shadow with a sharp edge as far to the sides as possible until the
transfer ((Figure 3a). Soft light casts Figure 4a Lights positioned
reflections are gone (Figure 4b). People with anywhere near the
lighter shadows with a wide gradient bald heads or dark skin need to be lit with camera will create ugly, distracting
shadow-edge transfer (Figure 3b). Soft reflections on the lenses of glasses.
very large, very soft lights positioned very
light is more flattering to the face than close. The goal is to make the specular
hard light and is preferred in most highlight larger than the subject’s face,
setups. Hard light can make a subject bathing them in soft light.
look intense and even wicked. Small,
#5 — LIGHT THE WHOLE
focused lamps cast hard light and SHOT, NOT JUST THE
shadows. Larger and more diffused SUBJECT
lamps cast softer light and shadows. You The job doesn’t end when your subject is
can soften the effect of a light by lit. You’re not done until you’ve lit the whole
adjusting its distance from the subject or shot. Save a light or two for your
by adding diffusion to spread the light. background. Pinch your barndoors down to
create a shaft of light across the
#4 — HANDLE HARD-TO- Figure 3b Soft light has a wide
LIGHT PEOPLE background or add a gel for a splash of shadow edge transfer and
Some people are inherently more difficult to color. Taking a little extra time to dress your a softer, lighter shadow. Soft light is
typically preferred for lighting faces
light than others. The top three problems set with light will greatly improve the look
you’ll run into are: people wearing glasses, and feel of your shots.
bald heads and dark skin. While the Chuck Peters is Vice President of Media Figure 4b Eliminate specular
solutions are slightly different, the problem highlights in spectacles
and Publications at Digital Juice and by moving lights out to the sides and
is essentially the same: bright reflections Editor of Digital Juice Magazine. raising them higher on their stands.

STEP-BY-STEP ON THE WEB @ www.digitaljuice.com
Going to the Matte

How to Apply ETK Mattes in Premiere,
HELP FCP & Vegas
ME!
T
he mattes and transitional wipes in Digital Juice’s Editor's Toolkits are simply
If you have specific questions black and white gradient elements that are used to define transparency in
about how to apply mattes in composited video. These elements don’t have built-in alpha channel transparency
your editing application, check like ETKs overlays, lower thirds and transitions, so they’re a little more difficult to
out the online Support section of use. The way you apply an ETK matte is slightly different depending on what editing
digitaljuice.com, post a question app you use. Here’s how it’s done in three of the most popular editing applications.
in our Community Forums or
email techknow@digitaljuice.com.
IN ADOBE PREMIERE Step 4—Turn off the Track Step 4—Render the composite.
Step 1—Arrange your clips on Output. Back on the timeline, click the FCP NOTE: In most cases, you will need
the timeline. Place a video clip on Video eyeball icon at the far left of the Video 3 to render the effect to see the result.
1, a Jump Back animation on Video 2 track to turn the track off.
Video Source—VTX2: Autos &
Motor Sports, #03494 and an ETK matte on Video 3. Premiere NOTE: Turning a track off will IN VEGAS VIDEO
make any and all video clips on the track Step 1—Arrange your clips on
Step 2—Add a Track Matte Key invisible. You will need to dedicate a track the timeline. Place your overlay matte on
to the clip on Video 2. for matte effects. Track 1, your video clip on Track 2 and
Toggle to the Effects tab in the Project your animated background on Track 3.
IN FINAL CUT PRO
window, then select Video Effects and
expand the Keying effects. Find a Track
Step 1—Arrange your clips on Step 2—Click the Track FX button on
the timeline. Place you video clip on the Track 1 and select the Mask Generator tool.
Matte Key and drag it to the Jump Backs
V1 track, an overlay matte on the V2
animation on Video 2.
track and an animation on V3. Step 3—Click the Mask
Step 3—Set Up the Key. Select Step 2—Select the clip on V3
Generator dialog and select a Luminance
the animation on Video 2 and open the key from the Type dropdown. You may
(the new background texture). also need to click the Invert checkbox to
Effect Controls window for the clip, select
the Track Matte Key. Set the Matte to Step 3—Open the Modify menu. get the effect you want.
Video 3, and set the Composite Using
Animation—JB30 Simply Useful:#1229 (Above),
In the Modify menu, Select Composite
Step 4—Click the Compositing
Matte—Matte #299 from ETK2 (Below) mode to Matte Luma. Mode > Travel Matte – Luma
Mode button in Track 1 and select
"Multiply (Mask)" from the menu.
Step 5—Click the Make

Compositing Child button in Track 2.
Applying Matte effects isn’t difficult once
you know how to arrange the clips on your
editing application. You’ll find that a simple
understanding of how to set up a Matte
key will greatly expand the usefulness of
your Editor’s Toolkits, and offer you a vast
amount of creative options as you edit.
Best yet, the results are sure to amaze
your audiences and impress your clients.
Composite—Our video clip, animation and

matte combine to make a cool composite.

4 New Halloween-Themed
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Volume Spotlight Asmall sample of the
MDE 001: Revealers 100 Revealers in Volume

001 of the Motion
Design Element Library
With a flash of color and motion, draw the
viewer’s eyes and reveal a logo or text. Below is an example of
a revealer being used to
add some sparkle to a
he Revealers volume consists of 100 special Motion
T
corporate presentation
by wiping on the
Design Elements that are designed to cover and reveal company’s logo with a
text, logos, photos or video clips in an interesting way. revealer. For more
examples of Rebealers
Motion Design Elements (MDEs) are a special type of overlay. in use, check online.
They are isolated elements with alpha channel transparency

that work with other onscreen graphics and draw attention to
them. For example, MDEs are commonly used to add color,
motion and sparkle behind what would otherwise be a static
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What if we put that MDE on top of the logo, instead of behind

it? Of course it would obscure the logo, which defeats the FEATURES:
• 100 Animations on DVD-ROM
entire purpose of even having a logo on the screen in the first • Full printed index
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at 60 fps
the viewer’s eyes and then reveal the logo. In their simplest • Juicer resizes to NTSC D1, DV,
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• 15 Additional lower thirds and overlays animated background, template, overlay, Tech edge, each with the following Subtle look, each with the following
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2 lower thirds, 2 full 2 lower thirds, 2 full
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Editor’s Toolkit 6: Editor’s Toolkit 7: E D I T O R ’ S T O O L K I T S

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matching animated elements (at a • 63+ GB, 8 DVD-ROMs
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Wedding theme, each with the following
design elements, 1 transition wipe as
matching animated elements (at a
well as 4 alpha channel mattes.
minimum): 3 backgrounds, 2 overlays,
• More than 320 Animations in all 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
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Sports Tools
Multipurpose Tools III
• 70+ GB,10 DVD-ROMs
• 54 Animated Jump Sets with a network
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• Package also includes globe and Our BIGGEST and BEST Yet! 62% More Content
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$399
• 90+ GB of royalty-free content on 11 DVD-ROMs
• 30 animated graphically matching Super Sets
Editor’s Toolkit 9: • Each set in the package contains the following matching animated
Christmas Tools elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds,
• 90+ GB, 12 DVD-ROMs 2 full screen wipes, 1 transition wipe, 2 motion design elements
• 16 animated graphically matching and 4 animated alpha channel mattes. (Most sets also have several
Super Sets with a seasonal theme. extra elements.)
• Each set in the package contains the • More than 500 Animations in all
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(at a minimum): 3 backgrounds,
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TK Background animations (and Jump Backs) are ideal

E for DVD menu backgrounds. Most DVD authoring
applications will automatically set the duration of the
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background and loop it. Unfortunately, almost all DVD
players pause for a moment when the menu repeats: this is
unavoidable. One workaround is to make the menu longer
so that most people never see it repeat. Just lay down
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to create a menu of any duration. Your only limitation is
how much space you have on your DVD disc.
$399
Animated Background #2 from Super Set #247 in Editor’s Toolkit 10 (at right) was used
for this DVD menu for an annual report presentation. Easy matching buttons were also
created using the Super Set’s Motion Design Element #1 (right, top).

JUMP BACKS Standard Definition
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JB10: All American JB28: Subtle Impact II
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JB12: Corporate/Industrial, JB30: Simply Useful
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JB13: All Church
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Image elements from Juice Drops #4519

from one of our newest volumes,
Volume 45: halloweenHAUNTS.

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DJTV: Think Big but Grow Slow

by David Hebel
T
he ideas of Digital Juice Magazine and
Digital Juice Television were floated,
kicked around, and massaged for years
before we hit upon the right combinations to
make them doable, affordable, and above all
useful to our customers. In 2002 we made our
first ambitious attempts with both ideas but
quickly determined we weren’t ready to really
DON’T MISS make it work. We tried to do too much, too fast, with too few
ANOTHER ISSUE! resources and though I felt our pilot projects came out pretty
good we just didn’t have anything that was sustainable.
FREE After all, our core business was and remains TYING IT ALL TOGETHER
Magazine making professional royalty-free creative Now we’re extending this idea even further. We’re
Subscription content, not producing TV and Magazines. We not only talking about Digital Juice products, but
also felt that our initial efforts came off a bit about anything and everything that our
• Tips, tricks and tutorials customers and customers-to-be find engaging
over hyped, pretentious and self grandizing for a
• New product releases company that had been around so few years and helpful. The new Digital Juice Television
with so few products. So we went back to the really is taking this concept and running with it.
• Insider product information
drawing board. We decided to first concentrate As of this writing we’ve released 12 shows and
• Latest specials and pricing on creating great products. First we’d try to less than half of them focused on Digital Juice
strengthen our name as a product company and products. We feel Digital Juice is about more
Best of all, you can get Digital Juice extend the ideas we had for Digital Juice that than just products. It’s about thinking creatively
magazine ABSOLUTELY FREE were beyond our products later. and obtaining high quality affordably. These
every month! To subscribe, just are the two things that tie our customers and
visit www.digitaljuice.com and In December 2003 we relaunched the magazine
products together. Whether you create
click on the FREE MAGAZINE but this time as essentially a catalog with a few
PowerPoint presentations, design print ads, stage
link on the homepage. tips and tricks. It was only 16 pages but we felt
concerts, or produce network television, at the
it better represented who we were and what we
end of the day you want something that shows
were capable of consistently putting out. Slowly
off your company or your clients in the best light
but surely we expanded that catalog into the
NEXT ISSUE 60+ page magazine you see today. The vision
possible without breaking the bank.
in DIGITAL JUICE MAGAZINE remained steady throughout but we worked DJ Mag and DJTV will constantly evolve and grow
hard not to get ahead of who we were, and to keep up with the times, the company, and with
what we could do. It is bit like the philosophy of our customer’s needs. We can’t promise to get it
“under promise and over deliver” which is so right every time, but keeping our eye on these
SPECIAL PRINT ISSUE! prudent in business. goals will help us stay true to who we are and
• Choosing Text & Formatting Fonts Selling a product isn’t all that difficult. It’s easy
give the company a mission that is beyond selling
products; one of inspiring creativity.
• Getting Files Ready for Print to promise the sun and the moon and use a low
• How to Make Stock Elements price to move some units. But if the customer David Hebel
Look Like Your Own isn’t satisfied, he isn’t likely to come back and Founder/CEO, Digital Juice, Inc.
buy again. In the long run a company is better
• Extracting Heroes from Juice Drops David also writes the weekly Digital Juice
to first focus on creating quality and then eNewsletter, which is the place to find out
PLUS: educating the customer before and, even better, about the latest products, specials, and
• How to Loop Jump Backs for after the sale on how to extract the most value FREE weekly downloads. To subscribe go to
Projected Sets from their purchase. This is the whole idea http://www.digitaljuice.com/subscribe/.
• Capturing Interfaces for Editing behind both Digital Juice Magazine and DJTV.

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2006 10 Digital Juice Magazine

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OCTOBER 2006 TOOLS, TIPS AND TECHNIQUES FOR USING CREATIVE CONTENT

Juice Insider: A good name SENIOR EDITOR:

24 Juice Drops for TV: Juice media in a production cycle

Education Nation: Teaching editing with VideoTraxx

Take 5: Five tips for lighting talent

Going to the Matte: How to apply ETK mattes in

DIGITAL JUICE PRODUCT CATALOG . . . . . . . 47 1736 NE 25TH AVE.

ORDERING HAVING TROUBLE?

4 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

I still remember getting that phone call almost ten years

1.800.525.2203 ORDER BY PHONE

with Chuck Peters—Editor in Chief, Digital Juice Magazine

Your Chance To Make Your Voice Heard

6 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

TRICK OR TREAT? DJTV BOOSTS

TOP Volumes* TOP Volumes* TOP Volumes*

8 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

instantly receive fresh

emphasis on creativity. It’s

our people and their

knowledge that makes

these shows special.

The DJTV Crew (left to right)

10 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

(continued on page 12)

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 11

WHY MAKE DJTV?

12 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

WHO IS CHUCK PETERS?

(continued on page 14)

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 13

BRENT MILBY is a master animator who

14 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

1.800.525.2203 ORDER BY PHONE

Introducing DJTV (continued from page 15)

16 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

complex a front row

seat and an up-close

look at the action on Editing in High Gear

Fred Armstrong, Director of Creative Services

20 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

Jump Back 019, from Vol 1, High

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 21

“ Our biggest issue is time,” says

22 | DIGITAL JUICE MAGAZINE OCTOBER 2006

In all of these designs some minor modifications were made to the

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 23

The Panasonic VariCam:

z Recording Format: DVCPRO HD

z Record Time: 33 Minutes on more than a cool shot in slow motion.

“ Overall, this camera is phenomenal.”

24 | DIGITAL JUICE MAGAZINE OCTOBER 2006 ORDER ONLINE www.digitaljuice.com

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 25

Juice Drops for TV

“ We spent our valuable time producing and creating the motion

Juice Drops 28: freshFORM #2820

26 | DIGITAL JUICE MAGAZINE OCTOBER 2006

Jump Backs Vol. 25: All Music #1025

1.800.525.2203 ORDER BY PHONE OCTOBER 2006 DIGITAL JUICE MAGAZINE | 27

1.800.525.2203 ORDER BY PHONE MARCH 2005 DIGITAL JUICE | 29

MEDIA USED: VTX1–Fitness #00292,

PROJECT NOTES: VideoTraxx clips

MEDIA USED: VTX1–Sports #00303,