Index
In this index, f denotes figure and t denotes table.
A
accuracy, 180
active voice, 50, 171
“and period” rule, 172
animated videos, 8, 86
apps, 57–58, 65, 118
aspect ratio, 126–128
Atkinson, Richard, 15
Audacity, 63–64, 64f, 65, 77f
audience, 43–44, 92
audio
about, 31–32
adding, 140, 143–144
communication tools of, 35–36
digital mindset and, 37–38
distributing, 32–34
history, 31–32
length of, 37
manual, 113
setting, 125–126
strengths/weaknesses, 8
universal content principles, 36–37
using, 34–35
video and, 140, 143–144
work flow, 38–39
audio content, creating, 63–74
about, 63
digital audio, 63–64
interviews, 70–73
professional, sounding, 66–70
recording audio, 65–66, 66f
audio content, editing, 75–84
ethical issues, 76
history, 75
multitracking, 82–84, 81f
processing audio, 79–81, 79f
software, 65
technique, 76–78, 77f
work flow, 83–84
audio content, planning, 41–52
about, 41–42
administrative processes, 42
audience, 43–44
learning objective, 42–43, 44–45
script, 48–52
structuring content, 45–48
audio mixers, 59, 60f
audio toolkit, 53–61
essential tools, 53–58
optional tools, 59–61
augmented reality, 9
automatic level control (ALC), 64
AVI files, 136
B
background noise, 70
balanced microphones, 56
brain and digital content, 14–18, 16f
breathing, 68
brightness, 152
Budiu, Raluca, 11, 163
C
camera angles, 97–98, 98t
camera movement, 98–100, 99t
cameras
consumer-level, 112–113
DSLR, 110, 111t
embedded, 126–128
manual function, 120–126, 120f, 121f, 122f, 123f, 124f, 125f
professional, 110, 111t
prosumer, 110, 111t
Camtasia, 134, 139, 139f, 140f
captions, 143, 174, 181
cardioid microphones, 55
Century 21 Real Estate, 108
change, 2–3, 18
change principle, 20, 37, 92, 128, 160
clauses, 50–51, 171–172
close-ups, 97t
clutter, 16, 16f
coaching others, 69–70, 71
cognitive load, 17, 92
column width, 162
communication plans, 107
compressors, 80–81
condenser microphones, 54, 54f
consumer cameras/accessories, 110, 111t, 112–113, 113–115, 114f
content below the fold, 161–162
content management systems, 175
continuity, 131, 134
contrast, 152
convergence, 5–6
conversational chats, danger of, 73
copy editing, 181–183
copyright and permissions, 51–52
crabbing left/right, 99t
creating stage overview, 28–29
creative repetition principle, 19, 37, 92
cropping, 151
cutaways, 131
D
data stories, 9
dialogues, 47
digital content
brain and, 14–18, 16f
defined, 5
as multimodal, 5–6, 7–9
as multiplatform, 6, 9–11
as personalized, 6–7, 11–12
dissolves, 142
dollying in/out, 99t, 100
dots per inch (DPI), 152–153
drones, 118
DSLR cameras/accessories, 110, 111t, 116–117
dynamic microphones, 54, 54f
E
editing stage overview, 29
effects, adding video, 140
email, 32–33, 176, 176f
embedded cameras/accessories, 110, 111t, 115–116
embedded recording apps, 57–58
emotion principle, 19, 37, 91
enunciation, 68–69
Essmeier, Paula, 87
ethical issues, 76
exposure, 113, 123–124, 124f
expression, in vocal presence, 69
external microphones, 114, 114f, 115–116, 128
F
familiarity principle, 19, 37, 91, 160
field interviews, 70
file formats, 136–137
file size, 137
FLV files, 136
focus, 113, 125, 125f
folder structure, 42, 135–136
fonts, 162
framing shots, 128–130, 129f, 130f
F-shaped pattern for reading, 161, 161f
G
graphic equalizers, 79–80, 79f
graphics
benefits of, 145–146
editing, 151–153
placing, 153–156, 154f
planning process, 147–150, 150t
screen text, editing, 182
selecting, 150–151
strengths/weaknesses, 8
video and, 103, 143
green screens, 117
H
headings, 173, 181
headphones, 58, 58f, 114, 116
headroom, 129, 129f
headset microphones, 55
hypertext markup language (HTML), 174–175, 175f
I
icons, 149
illustrations, 149
images. See graphics
information graphics, 149–150
instructional structure, 45–46
Internet, 2, 7
Internet of Things, 10
interviews, 47, 70–73
inverted pyramid structure, 168, 169
J
Johns, Jesse, 102
jump cuts, 141
justification, 162
K
Kipling Method, 44–45
L
lavalier microphones, 114, 114f
layout, 103, 103f, 153–155, 154f
learning management systems, 34, 176
learning objectives, 42–43, 44–45, 95, 150, 150t
lede, 168, 169, 170
lenses, 116–117
light, 123–124, 124f
lighting kits, 114
links, web, 33, 182
lists, 173–174
location plans, 105
long-term memory, 17–18
looking space, 130, 130f
M
media, defined, 2
memory model, 15–18
mental models, 14–15, 18
microphone input, 113
microphone selection, 66
microphone stands, 56
microphone technique, 67
microphones, 53–57, 54f, 114, 114f, 115–116, 128
mindsets, digital media, 20–21, 37–38, 92, 159
mixers, audio, 59, 60f
mobile platforms, 177, 177f
modality sensitivity, 20, 38, 92
monologues, 47
MOV files, 136
MP3 files, 64
MP4 files, 136
multimedia, as term, 8
Multi-Store Memory Model, 15–18
multitracking, 82–84, 81f
music, 36, 52, 102–103, 143
N
naming conventions, 135, 138
Nielsen, Jakob, 11, 161–162, 163, 168
noise removal effect, 81
O
omnidirectional microphones, 55
ordering pictures, 100–101
P
pace, in vocal presence, 69
panel discussions, 47
panning left/right, 99t
paragraphs, 172
pause, in vocal presence, 69
peak program meters, 64
permissions, 51–52
personal computers, as recording devices, 57
personalization, 21, 38
phone stands, 116
photographs, 148
pickup pattern, microphone, 55
pitch, 69
Pitney Bowes, 102
Plain English conventions, 163
planning stage overview, 13, 27–28
platform sensitivity, 20, 38, 92, 159, 163
plosives, 67
podcasts, 33. See also audio
power, in vocal presence, 69
production planning, video, 104–105, 104–105f
professional cameras, 110, 111t
project administration, 106–107, 106f
prosumer cameras, 110, 111t
Proximity Effect, 67
Q
questions, asking, 71–72
R
rapid media technique overview, 25–29. See also work flow
reading, 160, 161–162, 161f
recording devices, 57–58, 59, 116. See also cameras
recording environment, 60–61
rehearsal, 17–18
release plates, 121, 121f
repetition, in vocal presence, 69
resizing graphics, 152
resolution, 152–153
responsibility charts, 106, 106f
role play, 48
roll for 10, 130–131
ROPES/ROPS model, 45–46
S
safety, 132
saving work, 136
screen capture videos, 86, 93
screen text, 159–165
about, 159–160
linguistic issues, 163
platform considerations, 163
reading behaviors, 160
strengths/weaknesses, 8
universal content principles, 160
using, 164
visual impact of reading, 161–162, 161f
work flow, 164–165
screen text, editing, 179–184
about, 179–180
copy editing, 181–183
editing process, 183
substantive editing, 180–181
screen text, planning and creating, 167–177
creating, 169–174
email, 176, 176f
mobile platforms, 177, 177f
planning, 167–168
structuring, 168–169
writing tools, 174–176
scripts, 48–52, 103, 103f
SD cards/recording media, 114
sensory register, 16, 16f
sentences, 50–51, 171–172
sequence videos, 86
Shiffrin, Richard, 15
shockmounts, 56
short principle, 19, 36, 91, 160
short-term memory, 16–17
shot formulas, 101
shot plans, 104–105f
shot sizes, 96, 97t
shotgun microphones, 55, 114, 114f
shots
action, 131, 141–142
eye-level, 97, 98t
high-angle, 97, 98t
landscape, 127, 127f
low-angle, 97, 98t
mid, 97t
planning, 100
portrait, 127, 127f
trimming, 139, 140f
wide, 97t
words as, 88
silhouettes, 149
simple principle, 19, 36, 91, 160
Singh, Stephanie, 108
software, 65, 133–134
sound effects, 36, 103
speakers, 58
spirit level, 120, 120f
stability control, 116, 120–121, 120f, 121f
stakeholders, agreements with, 107
standard cuts, 142
storyboard process/tools, 100, 118, 133–134
streaming, online, 33
subject matter experts, 28, 107
substantive editing, 180–181
survival instincts, 18
T
talking head videos, 86, 93
telephone recorders, 60
teleprompters, 117–118
text graphics, 143
thirds, rule of, 128–129, 129f, 143, 151
3-D graphics, 148–149
tilting up/down, 99t
timeline, positioning audio elements along, 83
timeline editors, 133, 134
tone, 49, 170
transitions, 142
tripods, 114, 116, 120–121, 120f, 121f
U
unbalanced microphones, 56
United Airlines, 87
universal content principles, 19–20, 36–37, 91–92, 160
USB microphones, 54–55
USB mixers, 59, 60f
V
video
about, 85–86
digital mindset and, 92
equipment, inexpensive, 26
exporting, 141
forms, 86–87, 93
history, 85
importing, 137
as learning modality, 87–88
as message layers, 88–90
platform considerations, 9–10
screen text, editing, 182
shots and sequences, 88
strengths/weaknesses, 7
universal content principles, 91–92
work flow, 90–91
video accessories
consumer camera, 113–115, 114f
DSLR camera, 116–117
embedded camera, 115–116
production, 117–118
video cameras. See cameras
video content, creating, 119–132
cameras, embedded, 126–128
cameras, manual function, 120–126, 120f, 121f, 122f, 123f, 124f, 125f
framing shots, 128–130, 129f, 130f
shooting, 119, 130–132
work flow, 90–91
video content, editing, 133–144
audio, adding, 140, 143–144
cutting video, 141–142
graphics, inserting, 143
organizing edit, 134–137
software, 133–134
transitioning between cuts, 142
work flow, 91, 137–141, 139f, 140f
video content, planning, 95–108
learning objective and structure, 95–96
picture message layer, 97t, 98t, 99t
production planning, 104–105, 104–105f
project administration, 106–107, 106f
supporting message layers, 101–103, 103f
work flow, 90
video toolkit, 109–118
accessories, consumer camera, 113–115, 114f
accessories, DSLR camera, 116–117
accessories, embedded camera, 115–116
accessories, production, 117–118
cameras, consumer-level, 112–113
principles for selecting video equipment, 109–110
video camera types, 110–112, 111t
visual cues, 156
visual hierarchy, 155–156
vocal presence, 67–70
voice-overs, 47
volume, 83
vox pops, 48
W
WAV files, 64
waveforms, 63–64, 64f, 77f
web, 7
white balance, 113, 121–123, 122f, 123f
white space, 155
windscreens, 56
winging it, 27, 41
wipes, 142
WMV files, 136
words, 35, 50, 102, 170–171, 172, 181
work flow
audio, 38–39
audio content, editing, 83–84
benefits of, 23–25
limitations of, 29
rapid media technique overview, 25–29
screen text, 164–165
video, 90–91
video content, editing, 137–141, 139f, 140f
working memory, 16–17
writing tools, 174–176
Z
zooming in/out, 99t, 100, 125, 125f, 128