INDEX

“S”tory Development, 43–44
“I have a dream,” 76
1-point Perspective, 162
2-point Perspective, 162
3-point Lighting Scheme, 189
3-point perspective, 162
4D Depictions, 165
6 E’s of Info. Engagement, 104–105
7 Basic Plots, 44

A

Accumulated Experience, 78
Active Voice, 61
Additive Making, 159
Adjectives, 68, 69
Agent of Authenticity, 9
Ad-libbing, 176
Advantage-Disadvan. Sequence, 42
Adverbs, 68
Affective Primer, 4
Aiding Recall, 51
Alignment, 113
Ambiguity, 60
Analogous Palette, 120
Ancient Greece, 75, 89
Anecdote, 81
Annotation, 136
Antagonist, 14
Aperture, 203
Appositives, 69
Approaching Information, 132
Arbitrary Cues, 107
Archetype(s), 47
Aristotle, 27
Assets (Video), 185
Attentive Storyteller, 22
Attraction & Persuasion, 102
Attractiveness, Soundness, Utility, 102
Attributing Quotes, 69
Audience, 24
Change, 26, 38
Characteristics, 25
Contextual Information, 25
Demographics, 25
Engagement, 86
Motivations, 25
Psychographics, 25
Rewards, 26
Segmentation, 24
Audience-focused, 22
Audio Capture, 178
Augmented Reality, 160
Aural, Preference, 81, 83–85
Authoritative Arc, 88

B

Back Light, 189
Back Lighting, 187
Beliefs, 9
Berger, Jonah, 28
Bios, 66–67
Body Copy, 117
Booker, Christopher, 44
Booker’s Seven Basic Plots, 44
Brainstorming, 39
Brand Identity, 125
B-roll, 185
Buzz Words, 62

C

Camera Angle, 182
Camera Distance, 181
Camera Lens, 181
Camera Orientation, 182
Captain (Archetype), 47
Cast-in-place Making, 159
Causal Reasoning, 7
Cause-effect Sequence, 42
Changes to Time (Video), 183
Changing Camera Position, 183
Channel, 77
Character Checks, 50
Character Types, 46
Character, 14, 46
Fictionalized, 46
Prototypical, 46
Real, 46
Yourself, 46
Charisma, 88
Cheats, 14, 47
Chronological Sequence, 41
Churchill, Winston, 76
Cinevate Slider, 179
Clarity, 60, 88
Clichés, 62, 63
Close-up Shots, 180
CMYK, 121
Collaboration, 52
Colon, 68
Color, 119–121
Color Connotations, 119
Color Filters & Gels, 179
Color Management, 121
Color Palette Resources, 120
Color Palette, 120
Color Perceptions, 119
Color Temperature, 187
Color, Psychology of, 119
Colorblindness, 121
Columns, 112, 124
Comma, 69
Compare-contrast Sequence, 42
Complementary Palette, 120
Compositional Cues, 107
Compression (video), 186
ComScore, 169
Concept Model, 158
Conceptual Drawings, 154–155
Conflict, 12
Conger, Jay, 78
Contextual Labeling, 122
Continuity Editing, 195
Contractions, 69
Contrast, 41, 121
Conviction, 88
Coordinating Conjunctions, 69
Coping Strategies, 95
Copy, 118
Correlative Expressions, 49
Cortisol, 8
Crane (Camera), 183
Creative Brief, 29
Creative Process, 20
Cron, Lisa, 7, 12,
Cues, 90, 98, 107, 111
Cues (Arbitrary vs. Sensory), 107
Cuts, 193, 195

D

Dash, 68
Data, 134
Data of Magnitude, 138
Data Visualization, 116
Defender (Archetype), 47
Design Communication Tactics, 4
Design Concept Statements, 65
Design Criteria Diagram, 136, 142
Design Presentation Areas of Focus, 34
Designing the Story, 40
Desirable Sounds, 190
Details, Event Specific, 48
Details, Scenic, 48
Details, Sensory, 48
Developing, 106
Diagram(s) 136–145, 152–153
Diagram Creation, 145
Diagrams, Outcomes, 152–153
Dictation, 87
Digitize, 153
Directional Mics, 186
Discontinuity, 194
Display Type, 118
Distance, 76
Distorting Messages, 78
Doers (Audience), 24
Dolly, 179, 183
Dopamine, 8
Dress Rehearsal, 92, 94
Drones, 179
Dry Media, 164
Duarte, Nancy, 24, 38

E

Economy, 49
Editing (Story), 42–43
Editing (Writing), 70
Editing (Video), 193–198
Editing Video, Steps, 194
Elements of Good Writing, 59
Elevation Oblique, 161
Elevator Pitch, 80
Empowerment Marketing, 10
Environmental Information Design, 135
Ethos, 27
Euphemism, 71
Evolution of Speaking, 76
Exclamation Point, 68
Explanatory Sentence, 64
Exploded View, 161
Expressing Ideas, 150
External Noise Sources, 91
Extreme Close-up, 180

F

Familiars, 14, 47
Facial Expressions, 90
Feedback, 96
Fictional Stories, 6
File Type, 185
Fill Light, 187, 189
Filming an Interview, 184
Filming Equipment, 178–179
Finale, The, 82
Finding Your Confidence, 92
Flipping the Scene, 182
Flow Lines, 112
Font, 117–118
Font Considerations, 118
Font Sources, 118
Form Model, 158
Four-Dimensional Depictions, 165
Frame, 181
Frame Rate, 185
Frames of Reference, 78
Framing the Problem, 20
Freaks, 14, 47
Freud, Sigmund, 10, 11
Front Lighting, 188
Full Side Light, 188

G

Gestures, 76, 91
GIFs, 163
Glyph, 117
Golden Ratio, 112
Gossip, 6
Grid, 112

H

Haidt, Jonathan, 6, 9
Haptic, 160
Hardware, Digital Editing, 194
Hart, Kevin, 61
Haven, Kendall, 5, 17, 44, 46, 49, 50, 94
Haven’s Story Types, 44
Headphones, 179
Hedging, 61, 87
Heuristics, 132
Hook, 82
Humor, 61
Hunn, Ron, 29
Hyperbole, 71

I

Ibsen, Eric, 125, 166
Icon, 108
Idea Generation, 20
Idea Generators (Audience), 24
Ideas for Writing, 70
Idioms, 62, 63
If, Then, Therefore, 7
Imagining, 106, 108
Inadequacy Marketing, 10
Inbetweening, 192
Index (Semiotics), 108
Influence of Rendering Style, 151
Influencers (Audience), 24
Information Design, 132–133
Information Significance Sequence, 41
Interactive Media, 110, 135
Intercutting, 194
Internal Noise Sources, 91
Intimate Space, 89
Inverted Text, 121
Isometric(s), 161

J

Jargon, 62, 87
Jester (Archeytpe), 47
Jib Arm, 179
Job Interviews, 96
Jump Cuts, 194
Jung, Carl, 47

K

Kerning, 117
Key Light, 189
Keyframing, 192
Keywords, 63
Kinesthetic Preference, 81, 83–85

L

Landing, 13, 49, 58
Launch, 13, 45, 58
Lavalier Mics, 186
Leading Lines, 181
Leading, 115
Lighting, 177–178, 182, 187–189
Light, Direction, 188
Lighting Scheme, 3-point, 189
Lighting Scheme, Single Fixture, 188
Lighting, Color Temperature, 187
Lighting, Types, 187
Lincoln, Abraham, 76
Line Weights, 157
Linear Sequence (Video), 175
Live-action, 174, 177, 189
Load, 13, 48, 58
Location Diagram, 140
Logline, 173–174
Logo, 125–127
Logos (Appeal), 27
Long Shots, 180
Longitudinal, 141

M

Macro Reading, 134
Magician (Archetype), 47
Margins, 112
Marker, 160
Martin Luther King, 76
Malamed, Connie, 117
Maslow, Abraham, 11
Maslow’s Hierarchy of Needs, 10, 26
McKinnon, Kate, 61
Means of Making (Models), 159
Mechanics of Writing, 68
Media, 110
Medium Shots, 180
Micro Reading, 134
Mics, 186
Model(ing), 158–160
Modifiers, 60
Monochromatic Palette, 120
Morals, 10, 11
Morgan, Nicholas, 28, 76, 77, 79, 80, 82, 84, 86, 87, 88, 89, 91, 93, 199
Motion Graphic, 174, 191–192
Motion Graphic, Production 191
Murch, Walter, 189, 190, 193–195
Muse (Archeytpe), 47

N

Negative Facial Expressions, 90
Negative Space, 114
Nicholas Morgan, 28
NLE Programs, 195
Noise, 77, 91
Bias, 91
Environmental, 91
Graphic, 113
Inattentive, 91
Semantic, 91
Non-linear Sequence (Video), 175
Non-Restrictive Clauses, 69
Norman, Donald, 103

O

Olson, Randy, 27
Open Type, 118
Organizational Info. Diagram, 136, 140
Organizing Graphic Real Estate, 111
Orientating the Audience, 123
Orthographic Drawings, 156–157
Orthographic Views, 156
Oxytocin, 8

P

Pan (Camera), 183
Pantone, 121
Paper, 164
Parable, 81
Paragraph Linking Strategies, 64
Paragraphs, 64
Parallel Construction, 60
Parallel Projection, 161
Parenthetical Expressions, 69
Parti Model, 159
Passive Voice, 61
Pathos, 27
Period, 68
Personal Space, 89
Perspectives, 162
Persuasion, 78–79
Persuasive Appeals, 27–28
Physical Models, 110
Picture Superiority Effect, 103
Pioneer (Archetype), 47
Pitch, 88
Plan Oblique, 161
Plot, 12
Podium, 89
Pogue McClaurin, Janet, 15
Point of View, 34–35
Positive Facial Expressions, 90
Positive Tone, 49
Post-production, 172, 193–197
Posture, 90
Preparation, 92
Preparing for an Interview, 184
Prepping Talent, 184
Pre-production, 172–184
Presentation Design, 34
Presentation Goals, 77
Presentation Stages, 82
Presenter-focused, 22
Pre-television vs. Post-television, 76
Print Media, 110, 135
Prior Knowledge, 45
Problem, The, 82
Problem-solution Sequence, 41
Process Diagram, 136–137
Production (Video), 172, 185–193
Progressive Disclosure, 12
Project Summary, 34, 36
Project/Position Pitch, 34, 37
Pronouns, 60
Protagonist, 14
Prototype, 159
Proxemics, 89
Public Space, 89
Public Speaking, 75, 77
Pull-out Quote, 117
Pull-out Text, 117
Punctuation, 63, 68

Q

Q&A, 86
Qualifiers, 87
Qualitative Data, 136
Quantitative Data, 136
Questions about the Audience, 92

R

Raster, 108
Read/Write Preference, 81, 83–85
Rebel (Archetype), 47
Receiver, 77
Reciprocity, 6
Reflecting, 20
Rehearsals That Don’t Count, 94
Rehearsing, 92–94
Relevance, 79
Rendering, 164
Rendering Tools, 164
Repetition, 87
Representational Styles, 109
Residual Resolution Emotion, 49
Resolution/Size, 186
Rewriting, 70
RFID, 165
RGB, 121
Rhythm, 64
Roam, Daniel, 106
Role of Video in Design, 170
Room Quadrants, 89
Room Tone, 190
Rough Cut, 194, 196
Rule of Thirds, 112, 181

S

Sach’s Character Types, 47
Sachs, Jonah, 4, 9, 10, 13, 47
Sans Serif, 117
Scaffolding, 103
Scanning, 106–107
Scene Composition, 181
Score, 185
Scotto di Carlo, Giuseppina, 28
Scouting Locations, 177
Screen-based Presentations, 110, 135
Screening, Video, 197
Script, 176
Scrubbing, 194
Section Oblique, 163
Section Perspective, 163
Securing Attention, 79
Seeking Inspiration, 38
Semicolon, 68
Semiotics, 108
Sender, 77
Sensory Vs. Arbitrary Cues, 107
Sentences, 63
Sequence, 40–42
Sequence (Video), 175
Sequence with Contrast, 41
Sequential Sequence, 40
Serif, 117
Shannon, Claude, 77
Shared Understanding, 22
Site Model, 159
Slide Decks, 122
Social Space, 89
Software, Digital Video Editing, 194
Software, Motion Graphic, 193
Solution, 20, 82
Sound, Video, 190
Spatial Sequence, 41
Speaker Triggers, 122
Special Presentation Types, 96
Split Complementary Palette, 120
Stakeholder Criteria Diagram, 136, 139
Story for Organizing Information, 7
Story for Social Connections, 6
Story Starters, 15
Story Structure, 13
story vs. “S”troy, 34
Storyboarding, 174
Storyboards, 50
Study Model 159
Sub-themes, 40
Subtractive Making, 159
Suggestions Diagram, 136, 143
Suppliers (Audience), 24
Symbol, 108
Syntax, 62
Syntax, Simple, 63

T

Table Read, 176
Tannen, Deborah, 87
Technical Issues of Filming, 185–186
TED Talks, 28
Testing and Refining, 20
Things to Avoid in Storytelling, 51
Tilt (Camera), 183
Timeline, 194
Timing, 87
Tone & Timing, Rehearsal, 92, 93
Tone, 28, 29,
Tone (color), 121
Tone, in
Conceptual Imagery, 155
Speaking, 76, 85, 88, 92–93, 95
Typology, 116
Visual Messages, 150
Video 172–174, 192, 194
Writing, 58, 59, 61, 67
Tools & Transitions, Rehearsal, 92, 93
Tools of Emphasis, 111
Top Lighting, 188
Topic Sentence, 64
Tracking, 117
Transitions, Video, 197
Trends Diagram, 136, 141
Tripod, 178
Tufte, Edward, 69, 132–134
Tully, Annette, 198
Typeface, 117
Types of Audience change, 24
Typology, 116

U

Understanding, 105–107
Undesirable Sounds, 186
Universal Truths, 23, 76, 82, 97, 107, 173
Up Lighting, 188

V

Values Types, 11
Values, 10
Vanishing Point, 162
VARK, 81
Vector, 108
Venues for Design Writing, 65
Verbs, 68
Video Capture, 178
Video Conferencing, 97
Video Work Flow,
Video, 110, 135, 169–199
Virtual Modeling, 160
Virtual Reality, 160
Visual Brain Dumping, 39
Visual Hierarchy, 111
Visual Messages, 101–102
Visual Thinking, 106
Visual, Preference, 81, 83–85
Vitruvius, 102
Voice (Writing), 61
Voice, 88
Voice-over, 185
Volume, 76

W

Weaver, Warren, 77
Wet Media, 162
Wide Angles, 180
Wireless Mics, 186
Word Length, 62
Word Rhythm, 62
Word Selection, 62
Word to Image Relationship, 116
Words, 62
Cheap, 62
Empty, 62
Misused, 62

Z

Zinsser, William, 58, 59,60, 61, 64, 68,
Zoom (Camera), 183
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