2006 11 digital juice magazine

TOOLS, TIPS AND TECHNIQUES FOR USING CREATIVE CONTENTNOVEMBER 2006

STOCKREPORTTHEthe futureof royalty-freecontentSTOCKREPORTTHEthe futureof royalty-freecontent

BOOKEXCERPT INSIDE!

101JUICEDROPSTIPS&TRICKS

BOOKEXCERPT INSIDE!

101JUICEDROPSTIPS&TRICKS

TOOLS, TIPS AND TECHNIQUES FOR USING CREATIVE CONTENTNOVEMBER 2006

SPECIAL PRINT ISSUE:10 Font Facts • Formatting Files for Print • Juice Drops:

Conception to Reality•Embedding Logos in Layered Designs

PLUS: Copyright Rights: Are you in Danger?5 Creative Tips for Using Stock Video in your Edits

Camtasia Studio: In Use @ Juice

SPECIAL PRINT ISSUE:10 Font Facts • Formatting Files for Print • Juice Drops:

Conception to Reality•Embedding Logos in Layered Designs

PLUS: Copyright Rights: Are you in Danger?5 Creative Tips for Using Stock Video in your Edits

Camtasia Studio: In Use @ Juice

PUBLISHERS:David Hebel, Viv T. Beason, Jr.

EDITOR-IN-CHIEF:Chuck Peters

SENIOR EDITOR:D. Eric Franks

ART DIRECTOR:Jacqui Dawson

CONTRIBUTINGAUTHORS:

Geetesh Bajaj, Viv T. Beason, Jr.,

Graham Cohen, Dave Cross,Jacqui Dawson, Jeff Earley,

D. Eric Franks, Chris Gates,Rick Green, David Hebel,

Michael Hill, Perry Jenkins,Robert Leitch, Matt Leone,Kevin Lerner, Mark Levy,

Matt Janowsky, Brent Milby,Billy Nendza, Chuck Peters,

Brian Pogue, Jeff Schell, Kevin Sherman, David Slater,

Dan Tolbertson and David Traube

GRAPHIC DESIGNERS &ILLUSTRATORS:

Brent Milby, SarithaSugunan, P. Gururaj,

V. Sridhar

PHOTOGRAPHY:Perry Jenkins

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DIGITAL JUICE, INC.

1736 NE 25TH AVE.OCALA, FL 344701.800.525.2203352.369.0930

www.digitaljuice.com

Juice Insider: Bringing good ideas to lifeby Viv T. Beason Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Talk Back: Reader letters . . . . . . . . . . . . . . . . . . . . 6

Juice News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

The Stock Report: The future of royalty-free contentby The Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

The Making of a Juice Drop: Concept to realityby Jacqui Dawson . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Hooray for Heroes: Using Juice Drop hero elements in your editsby Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

It’s in There: Embedding logos in your layered designsby Brent Milby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

10 Font Facts: A designer’s guide to text treatmentsby Michael Hill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Volume Spotlight Juice Drops Vol. 46: thanksGIVING . . . . . . . . . . . . . 26

101 Juice Drops Tips & Tricks (book excerpt)compiled and edited by Jacqui Dawson . . . . . . . . . 27

Prepping for Print: The fundamentals of formatting your files for printby Billy Nendza . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

In Use @ Juice: Camtasia Studioby Perry Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Take 5: Five useful VideoTraxx usesby Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Copyright Rights: Are You In Danger?A survey of music usage by event editorsby Mark Levy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

The Making of a Winner:The prizewinning Revealers contest video explainedby Dan Tolbertson . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Stuff I Can’t Live Withoutby Jeff Earley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

DIGITAL JUICE PRODUCT CATALOG . . . . . . . 47

Juice Box: Your Comments Unleashedby David Hebel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

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1-800-525-2203TO ORDER ONLINE 24 HOURS A DAY:


HAVING TROUBLE?Most problems can be solved

by visiting our extensiveonline support area at


or you can email the Digital Juice Tech Support Team at [email protected]

or the Tech Team is available by phone

Monday-Friday8:00 AM to 8:00 PM EST

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

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TO ORDER BY PHONE:Call one of our friendly

customer servicerepresentatives

Monday–Friday8:00 AM to 8:00 PM EST

26

Cover image adapted from JD #2772(included in Juice Drops Volume 27:

glassEDGE) by Senior Animator Brent Milby.

BRINGINGGOOD IDEAS TO LIFEby Viv T. Beason, Jr.

Ideas are great. Everything started with someone’s idea. Ideas are exciting. Wespend countless hours thinking to ourselves, or discussing with family and

friends how this will turn out or that will be so nice when finished. Most bigideas are very hard to see to completion, thus never getting past the idea stage.In business I’ve learned the lesson that it’s not all about the ideas, it’s reallyabout people. Some of the best ideas in the world lie dormant waiting for theproper person or team to pick up the ball and sprint.

Case in point: I’m hoping now I may be able to finally start on a product/projectI’ve been “just a few weeks away” from starting for the past year now. The ideais to produce a cool new sort of product. The product is a new sort of video clipart, if you will. Trust me, it’ll be cool and you’ll want it. Knowing that, to makeany idea a reality it takes a small single step forward. Thinking if a small step isgood, a large one must be better, I had a full-blown green screen studio builtand outfitted. I even labored over and made the decision of which camera andformat to shoot in. Obviously something innovative and new needs to beacquired in the most versatile, highest quality available.

So let’s see... we have a great idea, that I’m basically guaranteeing will be a hitwith the public... we have a state of the art green screen studio built and ready.We have the hardware to create the product. Seems like we could start theproject right away. Well, I guess we could, and other companies might. But atJuice there’s the added pressure that anything and everything has to be good,really good. To produce a good product you need talented craftsmen, real artists.People passionate about whatever it is they’re doing. The coolest part about my job is working with such a talented, dedicated, hardworking group of people.I marvel at each promotional video that’s produced. Every magazine that’spublished. Each episode of DJTV. Every tech support or sales call that is taken.

Getting back to the project, there are a few hundred thousand videographers andpresenters out there unknowingly in need of this new and cool series of productbased on this little idea I have. I’m happy to say that I’ve located one of theguys who will help make this new product idea a reality. By the time you readthis, he’ll be on staff learning the ropes creating new episodes of DJTV andpreparing to play a role in the creation of this new product line. I guess you’llknow in a few months how this all ends based on our video and presentationproduct line up. Stay tuned. Good ideas are about to come to life.

Viv T. Beason, Jr. is the President of Digital Juice and the co-publisher of DigitalJuice magazine.

JUICE INSIDER

1.800.525.2203 ORDER BY PHONE

THE BUZZ ABOUTDJTV

ILOVE DJTV! It gets better every week. Keep

it up!—Sasha Costa

I love the quick tip segments. I launched the

Juicer right after seeing this and started

playing with all kinds of new possibilities! 5

Stars for sure!—Daniel Tolbertson

I love that you guys always go the extra mile

by telling us little shortcuts like the save

feature for settings. It is also great that you

help us get the most out of your products

instead of just trying to sell more. Thank

you!—Valerie Saum

Great Job! Very useful tips and fun to watch.

I'm more often on DJTV nowadays than I am

on my company's Web site. lol. Thanks

again!—Jean-Francois Drolet

Production Notes is the best! It is entertaining

and so useful, cheers a mill from Ireland!

Thanks!—Donovan Delaney

Please keep these coming! Sooo helpful. I

can’t wait for next week.—Robert McDuff

Thanks for the great comments on DJTV,

gang! I’m glad that so many people are

finding the shows both informative and

entertaining. Our goal was to put our own

signature on “instructional” videos. In our

estimation, if it isn’t fun, it isn’t done. As

long as you keep watching, we’ll keep

making shows!—CP

JUICE IS “IT!”

Just a quick note to say thank you to the DJ

crew for the outstanding work done. Where

do I start with the kudos? The list is too long to

write. The bottom line is Digital Juice gets the all

encompassing "IT"! From quality products at

affordable prices to a company that provides a

wide array of services to help their clients, it is

one beautiful package. I have been receiving the

magazine since August of '05 and have found

myself really looking forward to the next

month's issue as each one seems to be more

informative and entertaining.—Ben Finch

Thanks for the compliments, Ben! It’s nice to

know we’ve made your “it” list. We work

very hard to put out our magazine every

month and DJTV episodes each week. We

really do want to equip people with

everything they need to build better video.

That includes making great graphics, music,

stock footage and sound fx, but it also

includes teaching techniques to help you

shoot, light and edit so your entire

production will be better.—CP

CUSTOMER CARESHOULDN’T BE RARE

Iwanted to send a note to tell you what an

amazing customer service experience I just

had with one of your representatives. We had

ordered a set of four StackTraxx volumes

(which are awesome by the way) on special

for $199 and were eagerly awaiting their

arrival. When we didn't see them, we inquired

about it and were told by a rep at Digital Juice

that someone at our location had indeed

signed for it. We asked everyone on staff here

and scoured the facility and could not turn up

the package. This morning I spoke to a rep

there named Mike Frederick. Mike graciously

arranged to have the package resent to us. I've

ordered a number of items from Digital Juice

and have been very pleased with the products,

but I am even more pleased with the level of

customer service your people have given us.

In today's business world that is noteworthy

and deserving of praise. You are running an

exceptional company and we feel lucky to

have found you guys. Please keep up the great

work. We'll try to do our part by buying as

much of your great stuff as we can

afford.—David Lee

I’m glad to hear you were treated well,

David, but I’m not at all surprised. We

know that our customers are working on

important projects and we want to do

everything we can to set them up for

success. We also want to make each of our

customers a customer for life. Occasionally,

that means going the extra mile by eating

the cost of a lost package. Your letter shows

that our efforts were worthwhile.—CP

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

with Chuck Peters—Editor in Chief, Digital Juice Magazine

VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com

If you would like to ask a

question, sing our praises,

bend our ear, or just say ‘Hi,’

drop us an email at

[email protected]

and you could see it here in the

magazine. You can also interact

with Digital Juice and other

users in our user forums

@ www.digitaljuice.com/

community_forums


SEE COMPLETE PRODUCT GALLERIESON THE WEB @ www.digitaljuice.com


BESTSELLERSJump BacksVolumes*TOP10

Juice DropsVolumes*TOP10

StackTraxxVolumes*TOP10

01. JD45: halloweenHAUNTS

02. JD42: highIMPACT IV

03. JD41: frescoVITA

04. JD43: popLIFE

05. JD44: frameCUTS II

06. JD10: ultra3D

07. JD27: glassEDGE

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09. JD24: geoIMPACT

10. JD21: businessIMPACT

01. STX16: Spooky Stacks

02. STX17: Light Touch Stacks

03. STX15: Subtle Impact Stacks

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01. JB34: All Hallow’s Eve

02. JB33: In the Round

03. JB32: Base Camp

04. JB30: Simply Useful

05. JB28: Subtle Impact II

06. JB24: Tunnel Vision

07. JB25: All Music

08. JB22: Global Impact

09. JB15: Weather & The Elements

10. JB13: All Church Hold it right there! There’s a new volume of Jump Backs animations that’s so

cool it ought to be illegal! Jump Backs volume 37: Law & Order contains 30

crime- and legal-themed, network quality animations. Whether you need animations

of guns, cops or courtrooms, you have the right to remain excited about these new

animations. Jump Backs volume 37 Law & Order is expected to ship in December

and will sell for $249.

PRODUCTIONNOTES TOPSTHE DJTV CHARTS

NEWO-TOWN

OFFICEDigital Juice has expanded by

adding a new office in Orlando.

Our brand new O-Town team

is looking for a few talented

staff members. If you're a

creative professional living in

the Orlando area, we'd like to

get to know you. Please

email your resume and

samples of your work to:

[email protected]

* based on Aug./Sept. sales figures

If you haven't checked out Perry

Jenkins Green Screens & Ham

episode of Production Notes you're really

missing out on one of the best and

certainly most popular episodes of

Digital Juice Television to date. We're

shooting to reach 10,000 unique viewers

of this episode in the next few weeks and

that will be a real milestone for DJTV.

Digital Juice Television is a long-term

vision for us. All we ask is that you check

out the episodes, and if moved to do so,

rate and comment. I guarantee this

episode will make you chuckle at least

once or your money-back.

NEW LAW &ORDER JUMP BACKS ANIMATIONS IN SD & HD

G raphic

Designers and

their holiday clients can

all give thanks for the

newly-released Juice

Drops volume 46:

thanksGIVING. The

volume includes 70 high-resolution, layered

Thanksgiving- and fall-themed PSD images

in awesome autumn hues to give your

designs the feel of fall. Because Juice Drops

are delivered as layered PSD files, you can

turn layers on or off to remix the designs

however you like. Juice Drops volume 46:

thanksGIVING is available now for $249, but

you can get it for as little as $49 when

bundled with other Juice Drops volumes.

GIVES THANKSFOR NEW

JUICE DROPS


FEATURE

STOCKREPORTTHEthe futureof royalty-freecontentSTOCKREPORTTHEthe futureof royalty-freecontent

How Royalty-Free Photos, Animations and Musicare Changing to Meet Your Needs & Budgetby The Editors A DMITTEDLY DIGITAL JUICE IS MORE THAN A LITTLE

BIASED ABOUT THE FUTURE OF ROYALTY-FREE STOCK

CONTENT. After all, we spend most of our days developing and

creating it. Being a big-picture company, we realize that every now and

then it's a good idea to stop what you're doing, pick up your head, and

take a look around to assess the situation. This is the only way we can

know, as a company, whether we are heading in the right direction or if

we need to change our course. After recently assessing the current

state of stock, we wanted to give you our take on where things are

now, and postulate as to where they might be going in the future. The

state of stock is certainly an important consideration for creators of

media. So, for you owners of stock Digital Juice content, be it our

music, animations, graphic elements, or sound effects, here is our

November 2006 State of Stock report.

“We wanted to give you

our take on where things

are now, and postulate as

to where they might be

going in the future.”

MBER 2006 DIGITAL JUICE MAGAZINE | 111.800.525.2203 ORDER BY PHONE

VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com FEATURE

PHOTOS

The biggest segment of the royalty-freecontent market, stock photos never reallytook off until the Internet. Photo buyingwas a natural fit for the Internet becauseof the relatively low bandwidthrequirements. Even the highest resolutionimages are generally JPEGs, keeping thesize down to only a few megabytes. The“big boys” in the industry—Getty Images,Jupiter Media, and Corbis—are fighting itout for the top spot, acquiring companiesand building alliances. It’s a high stakesgame and there are many changes on thehorizon. Some smaller companies hope toput a dent in the big three’s market share.The rise of the ultra low cost photoproviders, where you can purchaseimages for as little as $1 or even yearlysubscriptions for a few hundred dollars, isputting extreme pressures on the royalty-free photo marketplace.

There will always be some who are willingto pay hundreds of dollars for the rightphoto, but there will be a lot more whowon’t and will opt instead for lower costalternatives. The best hope that the bigcompanies have is to compete on qualityand uniqueness. But they’d be smart toalso place side bets and create their ownlow cost solutions. In a way companieslike Jupiter and Getty already are bycreating professional subscriptionservices. Granted some of these run intothe thousands of dollars per year, but thatgets paid for quickly when you’re talkingabout a few hundred dollars per photo. Ofthe big three, Jupiter Media seems to bemost aggressive, going after both ends ofthe pricing game.

Many have asked us why Digital Juice hasnever really gotten into the professionalphoto market. We look at it very closelyevery six months or so, and I wouldn’t besurprised if we someday put our spin onit, but the costs are high and thecompetition is fierce and has deeppockets. So we’ll take our time and do iteventually, but likely with a twist so thatwe don’t have to compete head to headwith the big three right out of the gate.

MUSIC & SOUND FX

Music and Sound FX have been two areasthat have relatively mature royalty-freemarkets and acceptance. Every videoproduction facility in the world has a needfor music, and for 95% of them, royalty-free music works perfectly fine. Do youreally need a custom music bed or even aneedle-drop piece for every corporatevideo or commercial? Ofcourse not. The needle-dropand royalty based productionmusic companies alwaysblast the quality of royalty-free music, but buyersare waking up to therealization that this ismostly marketing speak. Thereality is that royalty-freemusic and sound effects havegotten just as good, and inmany cases better, than theirmore expensive counterparts.

Where royalty-free music isreally taking off is in the area ofcustomizable music. SmartSound, DigitalJuice, and Sony are all leaders in thisarea. Eventually the very definition of

“production music” will probably be ‘musicthat in some way adapts to the need ofthe editor.’ Editors, by the very nature oftheir jobs, need flexibility and choices.Simply turning the volume up or down isno longer enough. Digital Juice’s solutionto this problem was a simple one, wedecided about three years ago that all ournew music would be provided in layers.That way you could simply turn on or offthe parts of the music that you didn’twant. You can lower the volume of justcertain layers or drop everything but asingle layer for added emphasis andfocus. Both SmartSound and Sony arenow following suit, releasing their owntake on the layered music concept, andwe’re pretty sure it won’t be long beforeother companies will follow as well, it’sjust a good idea.

GRAPHICS

Graphics content is probably the oldestform of royalty-free content. We allremember buying huge collections of clipart at our local software stores. Most of itwas old, and even more of it was junk, butthere was usually enough useful, handystuff in there to make it worth the lowpurchase price. Digital Juice has alwaysbeen a big provider of graphics. Our stillgraphics business collections like DigitalJuice 2.0 and Presenter’s Toolkit, were thetwo biggest presentation libraries evercreated. Today Digital Juice is puttingmost of its energy and creativity intoprofessional packages like the layeredJuice Drops library.

“Eventually the very definition of production music will probably be music that in some way adapts to the need of the editor.”

(continued on page 12)

ORDER ONLINE www.digitaljuice.com

Like with layered music, layered graphics in the ubiquitousPhotoshop format give the user the most power and flexibility. Itis extremely difficult and time consuming to change non-layeredimagery. But with layered content you can simply turn off whatyou don’t want, colorize it, instantly mask it, or drag it to anothercomposition. The only problem with layered graphics is that thefiles are huge. One high resolution Juice Drop can be as big as500 megabytes. Now that Internet bandwidth is increasing andDVDs are the standard media for content delivery there seems tobe no reason why more companies shouldn’t be providinglayered imagery instead of flattened files. In the future we wouldlike to create layered graphics that get even easier to customizefor those who don’t have or use Photoshop.

ANIMATION

Digital Juice is lucky enough to currently be in the catbird seatwhen it comes to royalty-free broadcast animations. We’ve beendoing it the longest, have the most, and in our collective opinion,we have the best. But we aren’t going to sit back and wait forcompetition to strike. We like to take charge and lead the way.So being the leader in this area, where do we see it going? In

the production world there is a strongmove toward HD and anyone providing,creating or buying animations is likelyto be moving in that direction now orvery soon. Within 5 years almost allvideo production will likely be done inHD of some form, though there willprobably still be a big market forstandard definition animations for

the web and presentationmarket. More and morebusiness users are wanting to

add spice to their presentationsand move away from the boring blue

PowerPoint backgrounds to somethingmore visually interesting andtelevision-like that will keep theaudience attention.

But all of that is just an inevitable evolutionary step. The nextrevolution in professional animation and content in general willbe customizablility. Video production is a form of artisticexpression, and as art, everyone wants to put as much ofthemselves into it and make the end product as unique aspossible. Many customers take our animations into applicationslike After Effects and customize them in some way. But noteveryone has the time, creativity, or talent to become a motiondesign animator, and many don’t have the budget to hire oneeither. To this end we envision the development of smarter,easier-to-use tools and smart animated content to go along withthose tools. Animations that allow you to change more than justthe color, perhaps even allowing you to incorporate your ownvideo right into the animation. Perhaps if there was text floatingin an animation that you could change to match the subject ofyour video. Some form of layered animations will likely be oneof the first incarnations of this idea, the ability to turn on and offcertain aspects of an animation is appealing to many of ourcustomers and we are working on the software tools to do justthat and more.

FINAL THOUGHTS

So what does it all mean and where’s it going? The commontheme for the future seems to be, here’s that word again,customizable content. Content that bends to meet your specificneeds, rather than forcing you to adjust your vision to fit thecontent. Everything from shoes to cars are going in the directionof extreme customization, and we don’t think professionalcontent should be any different.

The current state of royalty-free stock content is good, and thefuture of stock is bright. And as more and more stock contentbecomes more and more customizable, the producer/presenter/designer will reap dividends of more freedom, more flexibility andmore control over the content, resulting in increased creativityand a high return on investment. The wise creative professionalwill invest in building his or her “stock portfolio.” ■

FEATURE

(continued from page 11)“The common themefor the future seems

to be content thatbends to meet your

specific needs, ratherthan forcing you to

adjust your vision tofit the content.”


VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com JUICE DROPS

14 | DIGITAL JUICE MAGAZINE NOVEMBER 2006

From conception to customerby Jacqui Dawson

VOLUME MATTERS

The first step is to figure out the theme of a volume.This decision depends on a variety of factors: customerdemand, time of year, R&D on new styles and speed ofexecution, for example. For the thanksGIVING volume,this decision was an easy one. We had customersdesperate for holiday and event imagery and this wastoo wide a subject area to cover in one volume. Westarted work on Halloween, Thanksgiving andChristmas volumes with the goal of releasing them wellahead of time for these holiday periods.

IDEATION

Before we set our illustrators loose on creatingThanksgiving-themed sketches, Dave Hebel and I metto plan out and develop Idea Pages for each of the 70illustrations. These Idea Pages contained detailed textdescriptions (see Anatomy of an Idea Page Sidebar)as well as photo, style and composition references foreach graphic. Since Dave is a busy man, and was inSingapore at the time, I flew there to spend a weekbrainstorming and collecting reference materials whilewe fleshed the volume out. As they were completed,

we posted our ideas, references and imagedescriptions on our company Collaborator for thedesign team to access back home.

This detailed planning process is something thatdoesn’t always have to happen on our more abstractvolumes where the artists have more control of whatthey create. However, because of the tight timeframeand specific nature of this volume, it was necessaryto clearly describe to the team what we expectedfrom them. We also found this to be a good way tokeep track of the status of the development of thevolume and to avoid duplication.

SKETCH AWAY

Once the team has the ideas laid out for them, it istime to start sketching. Any images we create thatare not largely abstract start out as hand-renderedpencil sketches in A4 size (Figure 1). Despite ourdependence on, and love of, technology, in just aboutevery other aspect of our product development, westill get the best results by letting our experiencedsketch artists work out the details of composition andstyle with pencil and paper first.

W ith so many possible subjects and styles

to choose from, people often wonder just

how the team at Digital Juice goes about creating a

volume of Juice Drops illustrations. While the exact

process can vary depending on the volume, we have

developed a set of steps that allow us to streamline

the creative process. In order to show you the basics of the workflow,

let's trace the development of one image from our upcoming Juice

Drops Volume 46: thanksGIVING from conception to customer.

themaking

Figure 3

Figure 2

Figure 1



Once the first sketch is drawn (Figure 2)the artist scans it into the computer at300dpi (Figure 3) and posts a low-resversion of it on our Web-accessibleCollaborator for approval. There are oftenseveral rounds of revisions (Figure 4) beforethe final sketch is approved (Figure 5).

COLOR ME

Next, the sketch is assigned to one ofour finishing artists to color and textureaccording to a prescribed style orpalette. In the case of our exampleimage, the suggested style is like that ofour pastelSKETCH volume. We decidedto go with colors and materials thatsuggest a chilly autumn day.

The finishing artist first brings thescanned sketch into Photoshop (Figure 6)on a canvas size of 11.25 x 17.25 at300dpi and in an RGB color space.Once the artist has determined how theimage will be framed in this canvassize, he enlarges the working area sothat there is room to extend objectsoutside the canvas boundaries. Thisgives users the flexibility to move andscale layers in the final graphic. Theartist then starts drawing paths for eachseparate object in the layout (Figure 7),so that separating elements out toindividual layers will be easier duringthe coloring and finishing process.

of a JuiceDrop

Figure 5

Figure 4

Anatomy of an Idea PageIdea #53: DescriptionHayride with a group of people sitting on pilesand bales of hay in the back of a wagonpulled by two draught horses. Horses shouldbe light brown, with pale blonde mane andtail. Wagon should be old-fashioned in style,with red spoke wheels and green panel orpost sides. Wagon is being pulled through a

field with rolls of hay scattered through it and a red barn in the distance. The wagon and horsesshould be seen from behind so that people in wagon are more visible. They should look likethey are having fun, bundled up in coats, waving and laughing.




FINISH UP

In the finishing stage, the backgroundlayers are built up first (Figure 8), followedby the foreground objects, people, subjectsand their shadows and effects, all on theirown layers (Figure 9). Each layer element isthen fine finished and the overall image isworked on as a whole, including the piecesof the image elements that extendedbeyond the canvas area (Figure 10). At thisstage, the progress of the illustration is alsotracked via posts and comments on ourCollaborator. There are lots of adjustmentsand revisions at this stage.

The completed image goes through tworounds of technical quality control to

make sure that the layers are complete,useful and in the proper sequence andthat effects and masks have not beenmerged unnecessarily.

TO THE CUSTOMER

By using this streamlined process todevelop our illustration volumes, we caneasily produce more and better volumesof graphics for our customers. Our in-house Collaborator system keeps trackof progress at every stage and makes iteasy for managers and creative leads toaccess all of our ongoing projects from adistance (when necessary) and toorganize final products to prepare formastering and production.

Jacqui Dawson is Creative Director/Product Manager for the Juice Dropsproduct line and is also the Art Directorof Digital Juice Magazine.

Figure 6

Figure 7

Figure 8

Figure 9

Figure 10

(continued from page 15)


SEE COMPLETE PRODUCT GALLERIESON THE WEB @ www.digitaljuice.comJUICE DROPS

Hooray for Heroes!Using Juice Drops Hero Elements in Your Edits

by Chuck Peters

Don’t make the mistake of thinking that Juice Drops are only

for print design. Juice Drops can also be an extremely

valuable resource for video editors. In this article I’ll introduce you

to just one way that you might use Juice Drops elements in your

edits, but creative cutters will find that there are no limits for these

flexible files.

ART YOU TAKE APART

Anyone can see that Juice Drops arecool. Because a large team of talentedartists creates them, Juice Drops arefresh and interesting and there are awide variety of styles and looks to choosefrom. The secret is to look at a JuiceDrops graphic not as a flat image, but asa group of elements that can be brokenapart. Because Juice Drops are deliveredas layered Photoshop files, you can pulloff just a piece to use in your production.This makes Juice Drops an extremely

flexible and highly valuable tool foranyone that creates graphics, whetherthe design is destined for distribution ona printed page or on a television screen.

MY HERO

Here at Juice we refer to large, prominentobjects in Juice Drops graphics as “hero”elements. Spotting cool hero elements inJuice Drops isn’t difficult and there aretons of cool heroes to choose from.Here’s the secret that make Juice Dropsso cool for video editors: Because theyare delivered as layered Photoshop files,you can easily extract a hero to use as astand-alone object in a layout. Todemonstrate, I created a mockcommercial for a local burger joint’s newhamburger, featuring a hero element thatI extracted from a Juice Drop. Here’s howI did it, step-by-step.

HUNT DOWNYOUR HERO

First, I browsed through the Juice Dropscollection, looking at Juice Drops for

inspiring objects. The big burger featuredin Juice Drop #3101 from volume 31foodFUSION (Figure 1) caught my eyeand struck me as the perfect icon in acommercial for a new burger at Mike’sBurger Barn. Remember, even though theimage shows other objects, it’s easy toisolate an element to use as anindependent object.

POP IT INTOPHOTOSHOP

Launch Photoshop and open the layeredversion (PSD) of the Juice Drops graphic.Juice Drops are delivered as both flatTIFF files and as layered PSDs, so makesure you grab the disc with the PSDimages. To isolate your hero, you need towork with the layered file. Now that youhave the layered file open in Photoshop,look at the Layers window (Figure 2).This particular Juice Drops graphic ismade up of 16 separate layers. Onceyou have the file in Photoshop andyou’re looking at your Layers list,you’re ready for Step 3.

“Because they are delivered as layered Photoshop files, you caneasily extract a hero to use as a stand-alone object in a graphic.”

Juice Drop Vol 31:foodFUSION #3101

Figure 1

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ISOLATE THEELEMENT

Click the eyeball icon next to a layer toturn off the elements you don’t want.Because I’m just after the burger, I’veturned off layers 1-14 (Figure 3a), leavingjust my heroic hamburger (layer 16) andits shadow (layer 15). As you turn off alayer, you’ll see an updated version of theimage in the interface. Once you’ve turnedlayers off and on to isolate the elements toyour liking, hold the Shift key and click toselect the range of layers you don’t needand then right click and select DeleteLayers to dump them (Figure 3b & 3c).

MERGE THE LAYERS

Hold the Shift key and clickboth remaining layers, then right click andselect Merge Layers from the menu. Thiswill combine your remaining layers intoone easy-to-manipulate (flattened) object.If you would like to be able to manipulatethe layers separately when you edit inanother Adobe application, skip this step.Or you can output the layers individually towork in other apps.

SCALE IT DOWN

Because Juice Drops are sobig, you need to scale your hero downbefore taking it into your editing app. Myhamburger was absolutely huge at5175x3375 pixels (Figure 4a). This isawesome for print purposes, but a bit bigfor my 720x480 DV project. To shrink itdown to a workable size, select ImageSize from the drop down menu and type720 in the Width parameter (Figure 4b).

Because the Height and Width are linked,the Height will change automatically tokeep the image in perspective.

TRANSFORM ITTO FIT

Another cool thing about Juice Drops isthat many objects that fall out of the framein the original design are actually completeobjects that extend beyond the visible area.In the original design, my burger falls outof the frame (Figure 5a), but the wholething is still there. To pull it back into thevisible area, select Edit > Transform >Scale. Expand the window (if necessary) tosee the handles on the corner of the image(Figure 5b) and hold the Shift key while youclick and drag the handle to scale theimage in size, then click in the box anddrag the image into the visible area (Figure5c). Now that you can see the wholeobject, apply the Transformation and selectFile > Save As to save it before going toyour editing application. Save the image ina format that supports alpha channeltransparency, such as PNG, for applicationsthat do not open PSD layered files.

IMPORT INTOYOUR EDITOR

Run your editing software and importthe object:

IN ADOBE PREMIERE:Select File > Import, and browse to thefile. You will see an Import Layered Filewindow. Select Import As > Footage, and,to bring the layers as one combinedobject, check Merged Layers in the LayerOptions box (Figure 6). If you would like to

work with layers independently,check Choose Layer, and repeatthe process for each layer. Whenyou drag the clip to the timeline,Premiere will automatically keyout the alpha area.

IN VEGAS VIDEO:Use the built-in Explorer window in Vegasto browse to the location of the file andthen drag it to your timeline. There are twoways to work with your image: the clip-level Pan/Crop tool or the track-level TrackMotion tool. Personally, I find the TrackMotion tool to be more intuitive - justmake sure you watchyour keyframes so theydon’t mess up otherclips that are in thesame track.

IN FINAL CUT PRO:Select File > Import, andbrowse to the file. Selectthe file and press theChoose button. The filewill appear in the Bin in your Browserwindow. Drag the file directly into theSequence in your Timeline window. FCPwill automatically key out the alpha.

EDIT IT IN

Once I had the burger element, theedit was easy. I assembled thissimple spot in Adobe Premiere Pro.First I created a gradient backgroundby opening File > New > Title anddrawing a box using the Rectangle

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tool in Premiere’s Title Designer, andapplying a gradient fill from darkburgundy to red. I dropped my gradientbackground on the Video 1 track of mytimeline and returned to the project bin tograb that burger.

I put the burger on the Video 3 track(leaving track 2 open for my text, so itwould appear to be layered behind my bigbeefy hero element) and used Premiere’s

Effect Controls to center it in the frame.The “in” movement is just a simple Slidetransition effect out of Premiere’s Effectsbin. Once the burger hit the middle of thescreen at the end of the move, I wanted itto shrink back to make room for sometext. I used Premiere’s Effect Controls todrop in a couple of keyframes and scalethe burger back a bit, keeping mymovements quick and sharp.

Next I created my “Monster MegaBurger” text using the font AdLib BTRegular. A thick black outer stroke (with athickness of 32) gave the text a strongedge. I animated my text in from the rightwith another wipe: a Sliding Box effect.

HOORAY FOR HEROES…AND HAMBURGERS!

Thanks to my heroic hamburger I was ableto completely cut my commercial withouta video shoot. The entire edit was done in

Photoshop and Premiere (no After Effectsnecessary). Premiere’s Effect Controls andwipes provided all of the movement Ineeded. The end result is a fast pacedpiece that makes Mike’s Burger Barn looklike a million bucks - All thanks to a JuiceDrops hero element, and a dash ofcreativity. With 45 volumes of Juice Drops,most with 100 designs made up ofmultiple layers, the limitations are literallylimitless (ok, maybe not LITERALLY... butvery close!). So quit thinking of JuiceDrops as a product that’s not practical forproducers. Once you get your hands on ahero or two, you’ll be hungry for all theJuice Drops you can get.

Chuck Peters is VP of Media & Publicationsfor Digital Juice and the Editor of DigitalJuice Magazine.

Figure 6

Hooray for Heroes!(continued from page 19)


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22 | DIGITAL JUICE MAGAZINE NOVEMBER 2006

It’s in There!Embedding Logos in Your Layered Designs

by Brent Milby

TRANSFORMATIONS

One way to incorporate your logo into aJuice Drop is to use the Transformationfunctions to match the perspective of thelogo to the 3d perspective of a JuiceDrop. If you’re using a Juice Drop thathas perspective in it, for instance, like thecomputer screen in Juice Drop 2733(Figure 1), you’ll need to find parallel andperpendicular lines to use as references.Let’s look at how the DistortTransformation function allows you tocornerpin a layer to a rectangular shapein the image. If you can pinpoint any 4quadrilateral points in the perspective ofthe image, you can use those points as aguide for your cornerpins (Figure 2).

Transform menuQuadrilateral points in theperspective of the image can be used as guide for cornerpins

Figure 2

“Blending modes affect how a layer will appear

in relation to all of the layers beneath it. You

can use these blending modes to achieve all

kinds of special effects.”

Juice Drops are Digital Juice's high-res layered Photoshop® files

that allow you to create your own customized composite

graphics. Because Juice Drops are delivered as layered files, you

can layer your logos into your compositions, placing them

behind or in front of any other layers to incorporate them as

subtle textural elements within your designs. This allows you

to create a custom look and make your logo part of the art.

Figure 3

Juice Drops Vol 27:glassEDGE #2733

Figure 1



Ctrl+T will access the transformationbounding box for a layer. When you rightclick inside the bounding box you’ll find aselection of Transform functions — FreeTransform, Scale, Rotate, Skew, Distort andPerspective (Figure 3). These functionsgive you all the control you need to putyour logo into any perspective you like.

BLENDING MODES

An important detail for embedding yourlogo is to be mindful of Blending modes.Blending modes affect how a layer willappear in relation to all of the layersbeneath it. You can use these blendingmodes to achieve all kinds of specialeffects. Understanding how each blendingmode works and what it’s used for is veryhelpful in getting predictable results, butwhen you’re searching for something thatjumps out at you, I recommend trying

them all. Figures 4a–4c show how ourlogo looks before and after we apply theScreen blending mode. With it, our DigitalJuice logo blends more seamlessly intothe computer monitor. Now the reflectionfalls on top of the logo making it morevisually logical.

Your logo has the burden of clearlydefining your company or product withvery few words. It's not a simple task tosynthesize so many ideas into one easilyunderstandable symbol. Designing aniconic, enduring brand and correspondinglogo is not an easy task, but with a littlehelp from Digital Juice and a littleimagination, your logos can commandattention with grace and finesse.

Brent Milby is Senior Animator atDigital Juice.

Blending ModesFigure 4

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10 Font FactsA Designer’s Guide to Text Treatments

by Michael P. Hill

W ith so many options for stock images and backgrounds, it

is easy to overlook one of the most important tools

designers have for getting a message across: text. Fortunately,

there are some fast and easy ways to find fonts and formatting that

go beyond simply typing text. Understanding a few font factors will

allow you to create professional text treatments with the best of them.

FINDING YOUR FONT

There are thousands of fonts available,ranging in price from free, to a fewdollars, to hundreds of dollars.Whatever your budget, there aresome important points toremember when selecting a font:

Serif or Sans Serif?: Intypography, serifs are the little“hooks” or “feet” on the end ofletters. Times New Roman is anexample of a common serif font.Sans serif fonts, on the otherhand, lack the hooks on theends of the letters (“sans” isLatin for “without”): a good

example is Arial (Figure 1). It’s usuallybest to set large blocks of text, such asarticles or descriptions, in a serif font.Studies have shown that people can readand comprehend serif typefaces better.On the other hand, headline and displaytext can be set in either serif or sans seriffonts. It’s quite common, however, to use

a heavier, sans serif font for headlinesand a serif font in body copy.

Match the font to the message: Font’shave their own “feel” or “personality.” Thestyle of a given font may make it bettersuited for certain uses. Let’s say you’re

producing a logo for a day spa, you’llwant a font that matches the personalityof the spa. In this case, you might selecta script font for a clean, smooth typeface.Most likely you’ll want to avoid anythingtoo heavy. On the other hand, a heaviertypeface would work better for more

Serifs, indicated by the red circles,are the little “feet” or “hooks” on the edges of the letters. Fonts withserifs are typically used for largeblocks of body text. Sans serif fontsdo not have these hooks, and areoften used for titles and headlines.Times on top and Arial on bottom.

Figure 1

It’s important to match your fontto your subject matter. The scripttypeface and light, airy font (top,Script is Shelley Allegro; lighterfont is Helios Light) make a greatlogo for a day spa. However, theheavy, bold font (middle) doesn’tseem appropriate for a relaxingspa. The blocky font is more athome for a body shop logo(bottom, font Letterman solid).

Figure 2

The typographical design of this poster uses the interesting and elegant font, Trajan,to emphasize the word “Shine.” The text is the dominant element of the project.Font Trajan (with Juice Drop 4240)

Figure 3

“Once you’ve selected your fonts, you need to format your type to create eye-catching design elements.”


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industrial applications, such as an autoshop (Figure 2).

Avoid too much of a good thing: As arule of thumb, it’s generally best to avoidusing more than two or three fonts in asingle project to maintain consistency. Ifyou’re looking for more variety, however,look for a font that has multiple weights orstyles, such as condensed or extended.You can get a good mix using variationswhile still maintaining the same basic look.

Readability first: It can be hard to resistusing the cool font you just discovered, butdon’t let that get in the way of thelegibility. After all, your project won’t doany good if the text is too hard to read.

Branch out: Avoid overused fonts such asTimes New Roman, Arial, Helvetica orComic Sans. There are plenty of greatalternates that have a similar look, but aredifferent enough to add some uniquenessto your project. For Times-like fonts, tryMinion, Garamond or Century Schoolbook.Arial look-alikes include Helios andFranklin Gothic.

TREATING YOUR TEXT

Once you’ve selected your fonts, youneed to format your type to create eye-catching design elements.

Text as a design element: Instead ofoverdoing it with art, try turning a few keywords into an eye-catching, stylizedtypographical component that becomes adominant artistic element of your project(Figure 3). This works great for budgets

that don’t allow for photography or whenyou’re looking for something a littledifferent. You can blow the text up fairlylarge and use fonts that have interestingserifs or flairs. This type of techniqueworks very well with a subtlebackground, such as those in the JuiceDrops library.

Picture perfect: If your design includesphotographs or illustrations, try layeringtext directly over the image in thenegative spaces of the photos (Figure 4).It’s usually best to avoid covering themain subject in the photo, but areas suchas grass, sky or water often make greatplaces to place text, especially whencombined with the next tip.

Add some glow: When placing text overphotos, add a drop shadow or outer gloweffect to the text to make it stand out(Figure 4). If the photo you are using islight, black shadows and glows usuallywork best. Over darker photos, you canuse white or gray instead. To add ashadow or outer glow in Photoshop,create a text layer and right-click on thelayer. Select Blending Options, thenselect either Drop Shadow or Outer Glowand then experiment with adjusting thevarious settings.

Tuck your text: When writing headlinesfor ads or other layouts, trying breakingthe words into two or three lines and tuckthe words into the spaces creatednaturally by some letters (Figure 5). Youcan also try varying type sizes or runningsome text in all capital letters. Maybe

take a key word or phrasefrom your headline and makeit bold, change the color orincrease the size. Another tipthat works well in multi-linelayouts is to let a shadow orglow overlap other textelements. This gives thelayout a unique senseof depth.

Hand style it: Try adjustingthe letter spacing of your textto crunch the characterscloser together or spreadthem out for interestingartistic effects. You can alsoadjust the space between thelines (leading) to createdifferent effects. Instead ofusing your layout or designprogram’s built-in small capsfeature, try adjusting thesmaller capital lettersyourself: preformatted small caps effectoften don’t have the optimal proportionbetween the large and small capitals.

Michael P. Hill is a marketingassistant and Web specialist atFX Group, a broadcast newsset design, fabrication andinstallation firm in Orlando.He also runs a small graphicdesign agency, ClearhillCreative.

Negative spaces in photos makegreat places to place text, especiallywhen combined with a dropshadow or glow effect. Headlineand body copy in Minion.

Figure 4

Tucking your text creates aprofessional look and feel. Thewords ‘the seas’ are tucked nicelyinto the space next to thedescender of the letter ‘g’.

Figure 5

INSPIRATION


Volume Spotlight JD46:thanksGIVING

Hidden under the empty plate and cutlery in JD #4606, are a number of beautifully drawn fall leaves. These leaves were duplicated and

used in this billboard for a jewelry store (above) where they serve to accent both

the jewelry and the model’s face.

This is just a smallsampling of the 100 different layereddesigns in this volume.

SEE COMPLETE PRODUCT GALLERIESON THE WEB @ www.digitaljuice.com

Volume 46 of the Juice Drops library, thanksGIVING, covers the holiday from A to Z. Turkey dinners, pilgrims and Indians,

pumpkin pie and thanksgiving prayers—these illustrationscome in a variety of styles from whimsical to ultra-realistic.

As with all Juice Drops volumes, these images are provided inlayered Photoshop PSD format so you can isolate individual

elements from the designs or rearrange the existing art to suityour purposes time and time again. Check out a few examples ofwhat’s in the volume and how it can be used at right and below.

The colorful rendition of a wild turkey in JD #4627 makes a perfect bold graphic for

this seasonal beer (right). The same campaign used the football-watching

scene in JD #4650 to promote the product in print ads and posters

(far right, top).

Taking the Thanksgiving elements out of JD #4606 and using just the empty plateand cutlery layers, the promotional ad forthis diet book (far right, bottom) makes a

strong impact with very little text.

JuiceDrops Tips & Tricks101

These pages are excerpted from the upcoming book 101 Juice Drops Tips & Tricks,the first in a new book series available next year from Digital Juice.

TT01

Digital Juice Design Series • Book 1

compiled and edited byJacqui Dawson

So, you have your honeymoon photo and you havea volume of Juice Drops frame illustrations. Nowwhat? How do you get that photo into a frame soit looks like it belongs there (Figure 1)? Here’s aquick trick using Photoshop Layer Masks.

1. Choose the frame you want to use (in thiscase, JD #4403 from Juice Drop Volume 44:frameCUTS II) and open it in Photoshop(Figure 2). Scale the layered image down tothe size you require for your project.

2. Open your photo in Phototshop and drag it intothe frame image as the top layer. Scale down tofit framed area with some overspill (Figure 3).

3. Find a layer in the Layers palette with a shapethat roughly corresponds to the framed area(Figure 4). In our case, the blue circle on Layer13 should fit the bill. Tip: If no layer like thisalready exists, create a new layer, make a selectionon it corresponding to the frame shape and fill thisselection with black. Turn off layer visibility.

4. Here’s where the magic begins: first CTRL-clickon the thumbnail of Layer 13 (or your owncustom frame layer) in the Layers palette (Step1 in Figure 5). You should see a marching antsselection on top of your image. Next, with thephoto layer selected in the Layers palette (Step2 in Figure 5), click the Layer Mask button at thebottom of the Layers palette (Step 3 in Figure5). This should automatically create a layer maskon your photo layer in the shape of Layer 13.

5. Not happy with the placement of your photo?No problem. In the Layers palette, click on thesmall link icon between the thumbnail of yourphoto and its mask to unlink them (Figure 6).Then click on the photo thumbnail to select it.In the image layout move the photo around toplace it properly, rescale, etc. It will only bevisible in the masked areas and mask will notscale or move if unlinked. Relink mask andphoto when done with modifications. Becausewe are masking the photo and not cropping it,the entire photo still exists and is editable inyour composition.

6. You could stop here but to truly make yourphoto part of the image, drag the photo layerdown within the Layers palette so that someof the transparent graphic layers lay on topof it to get the effect seen in Figure 1.

#06:

These pages are excerpted from the upcoming book 101 Juice Drops Tips & Tricks

tips & tricks

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masking a photo into a frame

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tips & tricks

...the first in a new book series available next year from Digital Juice.

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masking graphics into text

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It looks complicated but it’s not. Gettingtexture and imagery into text is simply amasking technique in Photoshop, but it can bea unique way to get across a powerful message.In this example (Figure 1), the backgroundimage matches the image masked into the textbut you can use the text layer anywhere, on anyother background also.

1. Load the image you want to use to coloryour text. In this example, the image usedis JD #3888 from Juice Drops Volume 38:pastelSKETCH (Figure 2). Flatten the imageto one background layer. Then duplicate thelayer so you have two layers with the samegraphics. Turn off the visibility of the topgraphics layer.

2. Select the bottom background graphics layerand change its coloring to shades of grey byadjusting the Saturation to 0 and Lightnessto -10 or more depending on image.

2. Next create your text. Large bold fonts arebest for this technique as they offer the mostfill area for the texture and the headline willbe more legible because of it. The color youuse for the type is not important as it willnot be seen, but white is a good choice sinceit shows up well on most busier graphics during the creation stage.

3. Once the layout of your type is complete,turn off the type layer’s visibility in theLayers palette. Turn back on the visibility ofthe upper color background graphics layer.

4. With the color graphics layer selected, CTRL-click on the Type layer thumbnail in theLayers palette. Then click on the small LayerMask icon at the bottom of the Layers palette(Figure 3). This will create a mask on thegraphics layer in the shape of the text.

5. To help the text stand out further from the grey background, you can also add adrop shadow and stroke to the mask (Figure 4). Any effects you add to thegraphics layer, will appear around the edgesof the mask, not the layer as a whole.

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#31:

These pages are excerpted from the upcoming book 101 Juice Drops Tips & Tricks,

tips & tricks

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focus attention with color

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One of the easiest ways to draw attention toanything is to add color. In the case of thistechnique using JD #4154 from Juice DropsVolume 41: frescoVITA, emphasis is added whencolor is taken away from the background of animage and the hero element is left alone incolor (Figure 1). Because of the layered natureof Juice Drops images, this is very simple to do.

1. To maintain maximum editing flexibility inthe design, first select the layer immediatelybelow the main hero element layers. Then adda Hue/Saturation Adjustment Layer to it byclicking on the Adjustment layer button at thebottom of the Layers palette (Figure 2). Lowerthe Saturation to 0 and the Lightness to -20or lower depending on the design.

This Adjustment Layer will affect any layerbelow it but will not hinder you frommoving or scaling any of the layers to editthe layout if required. You can also moveother layers above the adjustment layer inorder to return them to their original colorlook.

2. Finish the look off by adding a drop shadowto your bottom hero layer so that it standsout from the background even further.

What do you do when you have aphotograph with the right subjectbut a completely wrong background,and money and time are tight?Answer: Sub in a new backdrop.Instead of spending money on settingup a new photoshoot or findinganother stock photo that’s almostright, isolate your subject and placeher on a new background graphic.

Here we used just the scaled down background sky layers in JD #4165 from Juice DropsVolume 41: frescoVITA to brighten up an ad for a school.

#32:tips & tricks

build a new backdrop

tips & tricks

...the first in a new book series available next year from Digital Juice.

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make room for type

#55:tips & tricks

background as hero

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Not all Juice Drops are bornto be text templates. Some ofthe more illustrated imageswould seem to be so full ofgraphic elements that theycould never have room fortext headlines or logos. Suchis the case with JD #4338from Juice Drops Volume 38:popLIFE (Figure 1).

However with a little layerplay in Photoshop, you willfind that underneath thosegraphic elements are wideopen spaces just looking for a headline to host. Here’s whatwe did for the Spring FashionEvent at Leineman’s (Figure 2).

1. Select layers 5-14, 19 and21-28 (Figure 3). Scalethem down by 60% andmove to the lower left.

2. Mask out or erase theGarden flowers sign and theright hand vine elementson layers 2, 18, 20 and 21.

Voila! You now have a perfectplace in the center to placethe ad headline and perfectspot in the lower right cornerfor the store logo.

Inspiration for design can comefrom anywhere and sometimesthe simplest element can bethe most dramatic.

For this book cover, the background layers inJD #4461 from Juice Drops Volume 44:frameCUTS II were used as the main focus ofthe design. One single graphic water dropshape was left in light blue while the rest ofthe drops were tinted darker. Because thesedrops are all isolated elements, treating thisbackground element as a hero was easy andmade for an effective cover graphic.

#66:

These pages are excerpted from the upcoming book 101 Juice Drops Tips & Tricks,

tips & tricks

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heroic logo design

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Logo design is a tricky thing. Youhave to keep things simple butmeaningful in a very small space.In this example, you can see howinspiration for a strong graphicelement can come from the mostunexpected places.

This clean simple logo design(Figure 1) is a clear case of lessis more. No fancy textures oreffects, no complex symbology—just a plain black outline of ahero element derived from amuch more complex illustration—JD #4176 from Juice DropsVolume 41: frescoVITA (Figure 2). Of the 31 availablelayers (Figure 3), only theuppermost 31st layer was pulledfrom this illustration to serve asthe basis for a corporate identity.Because all layers are separate inJuice Drop illustrations, the outline of this hero element iscontained on its own layer separate from the body of thefrog, ready to use.

The Leap Frog corporate identity,established with the logo,wasthen carried on to otherpromotional materials. In thisstrong graphic magazine ad(Figure 4),a repetition of the logographic in a tiled backgroundrelates both to the corporate logo

and to the message,thus reinforcing thecompany’s name and identiity in the viewer’s

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tips & tricks

the first in a new book series available next year from Digital Juice.

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repeat after me

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Repeat after me: Juice Drop Layered images give you more flexible design options.Good. Now let’s put that statement in action.

JD #4055 from Juice Drops Volume 40:frameCUTS (Figure 1) has a great look anda wide open framed area, ready for text.But let’s make it even better for this DVDpackaging project by using a little layerrepetition along with the addition of some ofour own photography (Figure 2).

1. Select the main layers that make up thefilm frame shape—layers 4 & 12 (Step 1in Figure 3).

2. Duplicate both layers 3 times so that youhave 4 copies total (Step 2 in Figure 3).

3. Leaving the original two layers in the sameposition, move each of the Layer 4 copiesso that it lies underneath the correspondingLayer 12 copy in the Photoshop Layerspalette. Link each set of copies—Layer 4copy 1 linked with Layer 12 copy 1, etc.Then select each of these layer pairs individually and move them to variouspositions in the composition until theheadline area is framed with film frameedges (Step 3 in Figure 3).

4. Bring in a photo to add more interestand finish DVD box design (Figure 4).

Adapting the DVD box design to theDVD face is a simple matter of scalingand rotating the main headline tomake it fit the smaller space. If morespace was required, we could also turnoff one or more sets of the copiedframes to provide it.

Your client provides the art. It’s less than stellar,not as dramatic as you had hoped. Here’s howyou fix it to create the ad with impact youhave envisioned (Figure 1):

1. Load a Juice Drop layered background intoPhotoshop and flatten it. Scale to the size you needin your layout. Figure 2 shows the one we chose—JD #4244 from Juice Drops Vol. 42: highIMPACT.

2. Duplicate this graphic layer and colorize red.

3. Create a layer mask on the first graphic layer thatcuts the graphic in half with a diagonal in themiddle. Create the corresponding opposite layermask on the red tinted graphic layer so that thetwo layers now comprise two halves of a rectangle.

4. Bring in the photo and scale it to around thesize needed to fit in the left side of the layout,on top of the color background. With the photolayer selected, click on the layer maskthumbnail for the color graphic layer in theLayers palette. Then click the small Layer Maskicon at the bottom of the Layers palette tocreate an identical layer mask on the photolayer.

5. Change the Layer blending mode of the photolayer to Overlay. Duplicate the photo layer andchange the copy’s blending mode to Soft Light(Figure 3). Complete the layout with your text.

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blending a boring photo

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photo outside the frame

1Fig.

2Fig.

Don’t be afraid to color outsidethe lines. Frames work great forcontaining pictures but they arealso very effective when aphoto is only partly held in bythem. In this example, JD#4459 from Juice Drops Volume44: frameCUTS II is colorizedand used as a backdrop for thisfashion photo spread. It is theheadline text which ends upbeing framed by the Juice Droplayers but the overall effect isof a woman breaking out of theframe that contained her.

These pages are excerpted from the upcoming book 101 Juice Drops Tips & Tricks,the first in a new book series available next year from Digital Juice.

PRE-PRINTVIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


Prepping for PrintThe Fundamentals of Formatting your Files for the Press

by Billy Nendza

W hen Chuck Peters asked me to write about taking a design

from the computer to the press, I was more than happy to

contribute. Having been the go-between of designers and pressman

for many years, I’ve learned what to do and more importantly, what

NOT to do to get the results you desire. If you are new to publishing,

this article will be invaluable to you; I’ll explain a few key things you’ll

need to know to communicate well with your printer. If you’re an old

pro, it never hurts to be reminded of a few of those steps we all inevitably forget.

Unfortunately, there’s not enough space to explain everything. After all, this is an

article, not a novel, so I’ll just touch on a few of the biggest points.

COMMUNICATION IS KEY

There are many wrong turns one can makealong the way to the printing press thatcan negatively affect your final product. Soto save time and money, first andforemost, you need to communicate clearlyand often with your printer. Even beforeyou start a design that’s intended for print,contact your print shop and give them asmuch information as you can about yourimpending project and get as muchinformation as you can from them on howto set it up. Every printer is different, so it’simportant to find out exactly what yourprinter needs to handle your job.

RGB VS. CMYK

This one is probably my biggest petpeeve as a prepress technician.

Beautiful artwork,stunning layout…and RGB everything!

It’s enough to makethe best technician cry.

RGB stands for the red,

green, and blue light that is emitted froma monitor to form the millions of colorsyou seen on your screen. The key wordsin that sentence are “on your screen.”

Traditional printing uses process and spotcolors to reproduce color, and the range ofcolors that can be produced is not nearlyas many as can be produced on acomputer monitor. So the millions of colorsyou see on your screen will not bereproduced on paper exactly as you seethem. They can get close, but they won’tbe exact. A lot of designers (amateur andpro alike) are not as aware of this conceptas we in the printing business would like. Aspectacular design on the screen caneasily be ruined if it’s not in the correctcolor space. So to avoid any problems,make sure all submitted artwork is either inCMYK (Cyan, Magenta, Yellow and blacK)and/or the correct spot colors. And pleaseavoid using registration black for any type,lining up four plates of small type can be anightmare for your pressman.

PHOTO RESOLUTION

How to handle this tends to vary fromprinter to printer, but as a general rule allgraphics used in your layout should beeither TIFF or EPS files with no imagecompression. Many pressman prefer thatyou not send JPGs, GIFs, or any othertype of graphic file. Talk to your specificprinting press to know what they prefer.The resolution settings of the picturesshould also be at least twice thelinescreen you desire for the final product.So if you are printing at 150 line screen,then your image should be at least300dpi (Figure 1). Also do not enlarge a300dpi image in your document biggerthan its original size, because that will cutdown on its resolution.

Whatever you do, avoid using lowresolution artwork that you have pulled offthe Web (Figure 2). I know it’s tempting touse a multitude of “free” art, but theimages are normally very low resolution inorder to conserve bandwidth and


Figure 1

“The millions of colors you see on your screen will not bereproduced on paper exactly as you see them.”

PRE-PRINTVIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


downloading time, and they don’t printwell. On top of that many images on theWeb are copyrighted and you shouldn’t beusing them anyway. (BTW, the CopyrightAct, as discussed by Mark Levy on page50 of this issue, applies to artwork as wellas music. Make sure you have the properpermission to use all of the images andelements in your designs. —cp)

FONTS

Make sure to send your fonts to your printer.In every file you pack up and send to a

printer, remember toinclude copies of thefonts that you used in

the design, or makesure the fonts are

embedded into the files. It

wouldn’t hurt to convert all fonts to paths ifpossible. Font blowouts and missing fontsare one of the biggest hassles in printing sodon’t forget to include a copy.

PAPER STOCK

Paper selection is often a matter ofpersonal preference, but if you’d like tokeep costs down, while at the same timeselecting the best paper for your project,there are a few things to keep in mind.First off, determine what your customer islooking for in the final product, but remindthem that it must also remain functional.A 60 pound paper may be cheap but youcan’t use it to mail as a postcard. Whatabout choosing a glossy coat versus anon-glossy coat? Glossy coated papermay look sharper, but it is more expensive

and can be overkill. If your particularpiece doesn’t showcase any white areas,a glossy shine can become meaningless,since inks give off their own shineanyways. Also keep in mind that a fullcolor image printed on a colored piece ofpaper could alter the appearance of thecolors in that image when printed, sosometimes plain white is best.

These points are just a few of the biggies.Don’t be afraid to communicate with yourprinter, in other words bug them! If you’retrying to make life easier on everyone andproduce an accurate and sharp lookingproduct, it’s the best thing you can do.

Billy Nendza is the Pre-press Manager atCMI (Computer Marketing Innovations) inCentral Florida.

Figure 2

VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com IN USE @ JUICE


Camtasia Studio Screen Recording and PresentationSoftware: In Use @ Juice

by Chris “Ace” Gates

I f you produce corporate, educational, or training videos chances

are you’ll one day need to show a computer application’s

interface in your productions. The best way to understand a visual

interface is to see it. There are several ways to do this, including

shooting your screen with the camera, but the best solution we have

found is to use screen-recording software. Here at Digital Juice, my role has kept

me busy producing and editing DJTV programs, many of which require me to show

computer interfaces to our viewing audience. If Chuck or Eric is talking about finding

or selecting an item in the Juicer, for instance, we need to show the Juicer’s

interface so the viewer can follow along and reproduce the steps.

FULL SCREEN CAPTURE

The product that I rely on daily for screencapture is Camtasia Studio fromTechSmith. What I like about Camtasia ishow it addresses some of the specificneeds I have for editing DJTV. The firstissue I encounter is in terms of workflow. Ineed to produce at least three episodes ofDJTV per week. There isn’t much time forerrors or long work around solutions.Camtasia allows me to record my entirescreen with a single keystroke. I just tap akey to start recording, click and mousearound the interface to demonstratewhatever I need to demonstrate, and tapa key again to stop recording. Camtasia

saves this recording as a proprietary filetype that saves me disk space, which is agood thing because multiple one-minutevideos at 1280x1024 can easily consumesome major hard drive space. I’m thenable to take the proprietary Camtasia file,trim it to select the portions that I want touse as B-roll and render them out asuncompressed AVI files at 1280x1024that I can drop directly into my NLE.

HI-RES RECORDINGS

There are several reasons I want thevideo at 1280x1024, even though itcreates a tremendous file size. Onereason for preferring big, uncompressed

files is because down the pipeline myfinished production is going to becompressed by our Web guys fordistribution. If any of my footage,especially those that are rendered CG,goes through multiple compressions, I runthe risk of some ugly artifacts. Unless it’sa shriveled up monkey paw that grantsme wishes, I don’t want any ugly artifacts.

The second reason that I prefer big filesis that I have to be constantly concernedwith our means of presentation whencreating content for DJTV. DJTV isbroadcast on the Web, which translatesto a small image. I need to be able to

“Camtasia easily does the job that I ask it to and has provided me with a workable solution in my workflow.

Am I pleased with Camtasia? Absolutely.”

TECHSPECSCamtasia Studio ScreenRecording and PresentationSoftware

Price: $299 (single user license)

System Requirements:

• Microsoft Windows 2000 orWindows XP

• Microsoft DirectX 9 or later

• 1.0 GHz processor minimumRecommended: 2.5 GHz*

• 256 MB RAM minimumRecommended: 1 GB

• Windows-compatible soundcard, microphone andspeakers (recommended)

• 40 MB of hard-disk space forprogram installation

• Camtasia Studio Add-in forPowerPoint requires Office2000, Office XP or later


create legible recordings of what’shappening on screen so our viewers canunderstand what’s going on. Simplytaking the whole screen shot andsqueezing it down is not going to work. Iwant to draw the viewers’ attention tospecific portions of the screen. Camtasiaallows me to record the entire screen at1280x1024, which is a lot bigger thanmy 720x480 workflow. By having a filewith a screen size that is larger than myproduction’s screen size, I’m able toisolate sections of the interface anddisplay them as “enlarged” withoutdistorting the image by having to blow itup. Camtasia’s big images are a big plus.

ROOM TO GROW

There are only slight changes I wouldmake to this software. One would berender times (don’t we all wanteverything to be real time?), but truth betold, the size of the files that I export fromCamtasia move pretty quick on mysystem. The other issue is that Camtasia

is platform specific, I can use my outputon either my Windows machine or myMac, but Camtasia doesn’t allow you torecord any Mac software. This is adefinite drawback since I do most of myediting with Final Cut Pro on a Mac.

FINAL THOUGHTS

Camtasia easily does the job that I ask it to and has provided me with a workablesolution in my workflow. Am I pleased with Camtasia? Absolutely. I used it forsome much-needed B-roll in last week’sproductions, and I’ll continue to count onit to provide me with footage so I canhave three more shows in the can thisweek. Most importantly, our audience atDJTV will be able to see what’s happeningon screen because Camtasia allowed usto show it clearly. I only wish I could use it to record the interface of my Mac.

Chris “Ace” Gates is an AssociateProducer at Digital Juice.

Camtasia allows us to record high-resolution screen shotslike these, which can be seen in episodes of DJTV.

40 | DIGITAL JUICE MAGAZINE NOVEMBER 200A6 ORDER ONLINE www.digitaljuice.com

TAKE 5VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


Take5: 5 Useful VTX Usesby Chuck Peters

Just a few years ago stock footage was too expensive for

most independent producers. You had to drop big bucks to

use just a few clips, so very few people did. Digital Juice’s

VideoTraxx library changed that. Now anyone (including you) can

afford to have thousands of clips on their shelf to use however they

like. You don’t you’d use stock footage? Well don’t go anywhere. In

this episode I’ll share five cool ways that VideoTraxx can make your life easier, and

your productions better. Don’t believe me? Let’s Take 5!

“Stock footage isn’t the rare commodity it used to be.In fact it’s something that you can use in every one of your

productions in lots of different ways.”USE #1COVER YOUR CUTS:

VideoTraxx gives you lots of optionsto cover up awkward edits. We’ve all been

there... you’re editing aspeech or an interviewthat was shot with asingle camera and,after editing the audio,you’re left with aseries of jarring jumpcuts. What do you do?Let me start by saying

that—for you, from now on—leaving themin is NOT an option.

The best edits you’ll that ever make willbe invisible to your viewers. Any edit thatdraws too much attention to itself, anddistracts the viewer from the message ofthe program, has to go. Editing isn’tabout the editing, it’s about the message.

Having your subjects jump around thescreen like Max Headroom falls underthis heading… it’s just not acceptable. Iknow what you’re thinking… but, Trustme throwing in dissolves to try to smooththose edits out isn’t any better… really,it’s not. I look at it like this: If youwouldn’t see it on a primetime Barbara

Walter’s special on national network TV, itdoesn’t belong in your productions either.There’s no reason that their editingshould be held to a higher standard thanyours. Alright, back to the tips…

The better bet in situations like this is tocover those junky jump cuts withcutaways. But... uh oh, you didn’t shootany! That’s where Videotraxx comes in! –Whether your speaker’s talking aboutfitness, flamingos, flowers or foreigncountries, VTX has the footage you needto cover your cuts. You can use theJuicer’s search tool to find clips on

WATCH ITON DJTV!

THIS ARTICLE ISALSO A SHOW!

To see and hear this article inaction (and see other Take 5episodes with Chuck Peters),check online in the DJTV sectionof DigitalJuice.com.

TAKE 5: Season 1, Episode 106

Episode Title: Make EditingEasier with Stock Footage

Release Date: Sept. 18, 2006

VideoTraxx lets you assemble entire editswithout shooting a frame.With more 10,000 clipsin the collection, there are oodles of options.

Half-dissolve a general purpose texturedanimation with a VideoTraxx clip to create acool textured background that's perfect for text.


TAKE 5VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


whatever topic you need, then drop themonto your timeline to mask the offendingedits. Let’s watch that sequence now…VTX won’t just keep you from looking likean amateur… it’ll actually make you looklike even more of a pro.

USE #2CREATE NO-SHOOTPRODUCTIONS

With VTX, you can create entireprograms without touching a camera!Because the VTX library has so manyclips – more than 10,000 in the entirecollection – you can assemble entireedits without shooting a single frame! Alot of clips were shot as sequences atthe same set, so you don’t have to workwith just a single clip, you have a wholeseries of shots. I know for a fact thatthere are a quite a few commercial,church and corporate producers who aremaking some pretty killer videos withoutever getting out of their seats or leavingtheir suites.

USE #3MAKE GREATGRAPHICS

VideoTraxx clips aren’t just for B-roll, they’re also a fantastic foundationfor great graphics. Sometimes it takesmore than just text and texture to makea great graphic. If you’re looking for freshideas for your titles, reach for VTX. SomeVTX clips were shot specifically withgraphics in mind. Just look for a clip likethis one that’s framed to the side, addyour text or logo in the empty area... andyou’re graphic is good to go. Prettysweet huh?

HOW ABOUT THIS…

You can turn a general purpose JumpBacks animation, like this one from vol32, Base Camp, into a themedbackground by dropping your video on

one track, the animation on another andadjusting the transparency of thebackground just enough to let yourfootage fade through to the front… for aone-of-a-kind custom text template.

Or, colorize the clip, add a blur, and pickout an overlay from an ETK to plop ontop… now just type your text and you’vegot yourself a pretty great graphic. If youneed a fresh face for your graphics, lookto VideoTraxx.

USE #4INTRO YOUR SHOW

Even if you don’t use VTX clips inyour episodes, they can definitely helpyou add interest to your open. Let’s saywe need an open for a travel show we’reworking on for a travel agency. Asequence of shots like these - takenstraight from VTX - add an instant look ofquality. Thanks to VTX, this show has anopen that grabs the viewers attentionand has them expecting somethinggreat. You don’t have to have a networkbudget to have a slick open for yourshow. All you need is VideoTraxx.

USE #5COMMUNICATECONCEPTS

Some shots work best when they’renot taken literally. Videotraxx clips are agreat resource for communicating hard-to-communicate concepts. Use them to

illustrate stress, or to talk aboutteamwork, wastefulness, sadness, orsuccess. If you need to impart ideas withimages, VideoTraxx is a resource you’llreach for again and again.

Stock footage isn’t the rare commodity itused to be. In fact it’s something that youcan use in every one of your productionsin lots of different ways. The trick is tokeep finding creative ways to use yourcollection so you can make the most ofyour media. It’s time to stop thinking ofstock footage as a last resort and startreaching for it every time you edit.

Chuck Peters is Vice President of Media& Publications and the Editor of DigitalJuice Magazine.

Even if you don’t use VideoTraxx clips in yourproductions, VTX clips can help you makeimpressive opens for your videos or TV shows.

You can communicate complexconcepts clearly with VideoTraxx clips.

Customize a VideoTraxx clip bycolorizing it, adding a blur, andoverlaying an Editor's Toolkitgraphic element before typingyour text.


COPYRIGHTVIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


Copyright Rights:Are you in Danger?A Survey of Music Usage by Event Editors

by Mark Levy

A t the gentle insistence of the wonderful folks at Digital Juice, I

recently conducted a survey to determine what percentage of

videographers use replacement music, rather than run the risk of a

very expensive and time-consuming law suit for copyright

infringement. The Copyright Act is a Federal statute (title 17 of the

United States Code) and it carries both civil and criminal penalties for

those who copy, prepare derivative works (i.e., works that modify and are based upon

the copyrighted work), distribute copies, or display another person’s copyrighted work

without permission. As a practical matter, our video images are most often original

works, so no claim of copyright infringement can be brought against us.

THE SOUND OF MUSIC

The greatest exposure for media makersunder copyright laws relates to the use ofmusic and sound effects. Some of us, andI’m not naming names, insert commercialrecordings onto our soundtracks with noregard for the consequences. Otherssimply record live sound along with theimages—most often in weddings anddocumentaries. Either way, without obtainingthe right to use such copyrighted music, weopen ourselves up to the possibility ofgetting sued by the copyright owner or evengetting arrested by local or federal authorities.

As unscientific as the survey was, I canstill infer certain trends. I limited thesurvey to those who make wedding

videos, professionally or otherwise, sincethat group represents the greatest numberof people who are likely to use musicperformed and recorded by others.

SURVEY SAYS…

Only about 25% of the respondentsregularly seek and obtain permission fromthe copyright holder(s) to use the music.This procedure can be difficult, since thecopyright holder can be one or more of thefollowing: the composer, the publisher, thearranger, and the performer(s). But if acertain piece of music is used repeatedly,such as Kenny Rogers’ Through the Years,as one of the respondents reported, it maybe possible to clear the copyright rights fora series of works.

Almost 45% of the respondents use written agreements with their principals(customers) to indemnify them, in caseanyone brings a legal action against them(See Understanding Indemnification sidebar).This is a technique that I advise everyone to use, as the customer’s pockets may bedeeper than yours, if legal issues arise.One of the respondents stated that shevideotaped different bands at a nightclub,but eventually the nightclub stoppedscheduling live performances, since musicalunions like ASCAP and BMI refused to grantthe nightclub a license to perform suchmusic without a rather steep license fee.

More than 40% of the respondents statedthat they used royalty free music to replace

UNDERSTANDINGINDEMNIFICATION

Indemnification is a very old

principle of law. It does not imply

that a party knew in advance

there was, is, or will be wrong-

doing. Almost every agreement —

intellectual property or otherwise—

includes an indemnification

provision, even if it’s a statement

that no indemnification will apply.

There is no presumption, merely

by using a clause in a contract,

that a party is violating, or

intends to violate, the law.

Most indemnification clauses are

upheld in court. If these clauses

were not defensible why would so

many agreements include them?

There is no guarantee that all of

them will be held valid, but then

again, no one can guarantee that

a favored horse will win any given

horse race either.

GETTINGPERMISSIONObtaining permission to use

copyrighted music may be easier

than you think. For information

about requesting permission to

use copyrighted music in your

productions, contact:

ASCAP—www.ascap.com or

email [email protected]

BMI—www.bmi.com or email

[email protected]

“Without obtaining the right to use copyrighted music, we openourselves up to the possibility of getting sued by the copyright

owner or even getting arrested by local or federal authorities.”


the live or recorded music at the eventthat was videotaped. One of therespondents specifically stated that theBackTraxx 2 music library provided justthe right mixture of music to replace apiece for a comedic scene in the finishedproduct. Using royalty-free music (likeBackTraxx or StackTraxx) is the mostlogical and most foolproof method ofavoiding copyright infringement issues inthe first place, regardless of whether themedia maker can be indemnified by his customer.

Less than 30% of the respondentsroutinely hired a composer to providereplacement music. With this option, thevideo producer may have to audition anumber of musicians before finding theright one. Moreover, there is always achance that the composer is intentionallyor inadvertently copying a piece of musicthat was copyrighted by another, whichcould lead to problems.

Some respondents were students andbelieved (rightly) that for purposes ofeducation, the use of copyrighted materialwithout permission was permitted underthe “fair use” provision of the CopyrightAct. That is true. Fair use applies toanyone who uses a portion of someoneelse’s copyrighted work, withoutpermission, for the purpose of criticism,comment, news reporting, teaching,scholarship, or research. Look for an

article on fair use in a future issue ofDigital Juice magazine.

IGNORANCE IS NO EXCUSE

Finally, one of the respondents stated:“Never gave it much thought. We think of music as free.” Famous last words!Copyright law does not require intent toprove infringement, but merely proof that an act of copying occurred withoutpermission by the owner. In other words, let's assume you do not have anagreement, or your agreement does notinclude an indemnification clause. If youcopy a protected work, you are stillviolating the law. Ignorance is no excusewhen it comes to copyright infringementactions. See the case of George Harrison who subconsciously copied"He's So Fine" and turned it into "MySweet Lord." Just because he didn'tknow he was violating the originalcopyright didn't get him off the hook.

RIGHTS AND WRONGS

Using copyrighted music withoutpermission is illegal, whether you getcaught or not. What you choose to dowith this knowledge goes to ethics, notnecessarily law, which is what my articlewas limited to. To address what's rightand ethical I recommend consulting aclergyman or philosopher.

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


CASE STUDYYou can read more about the Bright Tunes

Music v. Harrisongs Music case here:http://www.columbia.edu/ccnmtl/projects/law/

library/cases/case_brightharrisongs.html

“My original idea was for the kids to use the Revealer on

a few toys in the backyard and that quickly was replaced with

them using it on each other and the dog.”


CONTEST VIDEOVIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com

The Making of a Winner:Dan Tolbertson explains how he created hiswinning Revealers contest video.

Here at Juice we think contests are pretty cool. We also happen to think that our

customers are pretty cool. So, from time to time, we like to run contests to see

what our cool customers can do with a new cool product; be it a song, video clip,

graphic element or animation. We recently invited our users to take part in a “win it

before you can buy it” contest based on our brand new Revealers, Motion Design

Element Tools. For these contests we like to offer a free downloadable element(s) and

ask you to use them in a production. The best submission wins some free

product. Fun, right? Dan Tolbertson thinks so! His video of his sons beaming one

another (and the family dog) in and out with our Revealer was the winner of one

of our recent contests, so Dan is pretty jazzed about Juice. We caught up with

him to find out how he produced his winning entry.—cp

DJ: Your video looks like it was fun tomake. You involved your whole familyin your production. How did you comeup with the idea?

Dan: It was almost the last day of myvacation, I was still thinking of differentideas for the Revealer contest. I knew thatit was going to be hard to submit an entrysince I had promised my wife I would notbe working on any projects that week.That’s when it hit me to do a submissionthat the whole family could participate inand have fun doing together. I threw out

the idea of us all doing a shortvideo and everyone was up for it.We kicked around different ideaswhile spending a day on thebeach on Thursday and by FridayI had a solid plan of attack.

DJ: You used the Revealer tocreate sort of a Star Trek style

“beam me up” effect. How did youcome up with that?

Dan: My original idea was for the kids touse the Revealer on a few toys in thebackyard and that quickly was replacedwith them using it on each other and thedog. I wanted the revealer to have itsown identity and personality so I made abox that I could keep the revealer in. Youmay even notice that I took the “S” offthe end of Revealers since only oneRevealer is kept in the box.

DJ: How long did it take to producefrom start to finish?

Dan: We shot everything in a little over anhour. The goal was to have fun doing it soeveryone needed to have a part in theproduction. It didn’t work well with all 3 of my boys so my oldest son volunteeredto work behind the scenes as the setdirector and prop master. He always helps

with “back seat editing” also—ha. Aftershooting the footage we ate lunch andspent a couple of hours swimming. Icouldn’t relax; I knew that all the contestentries needed to be in by midnight.Fortunately, editing went pretty quick andI finished faster than I thought I would.

DJ: What did you shoot and edit with?

Dan: I use a Sony PD-150 camera,Adobe Premiere Pro 2.0 for editing and Adobe After Effects 7 (for all theRevealer effects).

DJ: How did you create the Revealereffects you used? Looks like you didsome rotoscoping.

Dan: I just used a loose mask in AE7.Since it was a locked down tripod shot I didn’t have to spend too much timegetting in tight and doing “real”rotoscoping. I shot the boys separately.

MORECONTESTS!Think you have what it takes to

be a winner? Go to our Online

Community Forums to learn

about current contests! Who

knows, the next article like this

might be about you!

Nothing from the two boys intersects theother at any time. Meaning an arm nevercomes over to the other boy’s side. WhenI put the tracks on my timeline I put thetrack with the little boy on the left on top.I loosely drew a mask around him whichallows anything not inside the mask toshow though. The mask allows thebottom track to show through, showingthe boy on the right. It is actually justloose points around the boy appearingand disappearing. I moved the mask inas tight to him as possible and everythingelse was the original shot. The best partis that these masks can be animated andcan move if need be to follow the action.

DJ: What was your biggest challenge?

Dan: The biggest challenge was audio. Ispent quite a bit of time going through allmy StackTraxx volumes looking for theperfect music. I thought I would need to

combine 2 or 3 different tracks to followthe mood of the video. After exporting afew tracks I dropped them onto thetimeline. The first track I tried was calledMagic from StackTraxx Vol. 3, SeriousStacks. To my amazement the track wasalmost perfect on the first pass. I nudgedmy in and out points around and wasblown away with how perfect the paceand tempo of the track matched myvideo. I grabbed my Sound FX library andfound the perfect sound for my Revealerand I was done. It was barely 5pm and Ihad the whole evening to goof off andspend time with the family.

DJ: You did a great job, Dan. Congrats onthe win, and thanks for keeping it fun!

Dan: Winning the Contest and all thepositive feedback was great but havingsomething that our family can watchyears from now that will bring back a

happy memory is priceless. ThanksDigital Juice for letting me play with thegood stuff!

Dan Tolbertson is involved with allaspects of the Video Production Ministryat the Orchard Christian Fellowship inTemecula, CA.

CONTEST VIDEOVIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE


WATCH ITYou can see Dan’s winning

video online in the DJ Magazinesection of digitaljuice.com,

or in the Digital JuiceCustomer Showcase.

Stuff I Can’t Live Withoutby Jeff Earley

J eff Earley oversees the production of Digital Juice’s

StackTraxx layered production music and the Digital Juice

Sound FX Library. There are some things that Jeff has to have to

get the job done. Here’s Jeff’s list of stuff he can’t live without.

VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE ON THE WEB @ www.digitaljuice.com AUDIO


■ MY BOXA GK Acoustics 8’x8’x8' isolation booth. The “box”reduces the sound level between me and theoutside world by an average of 38db, so I can mixwithout distraction and record audio without outside

noise. It also keeps me from driving the rest of thecreative team crazy when I listen to audio edits over andover and over.

■ MY MACKIE HR824 MONITORSI use these speakers every single day. They have aclear, ruler-flat response and broad stereo imaging witha wide sweet spot so I know that what I’m hearing isexactly what’s being recorded and that my mixes willsound good on a variety of playback systems.

■ MY ELECTRO-VOICE RE20 MICROPHONEThe RE20 is mounted in our isolation booth on a spring-arminside a shock-mount suspension system. This dynamic cardioid

has an internal pop filter anda patented Variable-D designthat reduces the bass-boosting proximity effect so Ican get right up on the micfor a better signal-to-noiseratio with no fear of distortionor the dreaded popping P’s.

■ DIET ROCKSTARNothing jumpstarts an earlymorning mix session like the16 ounces of “party” that arepacked into a Diet RockStar

energy drink. I think it was scientifically formulated for people thatlead active and exhausting lifestyles; from athletes to rock starsto audio engineers. It let’s me party like a RockStar... on a diet.

■ MY YAMAHA MOTIF ES7MUSIC WORKSTATIONHooked into Cakewalk’s SONAR 5via mLan. This system is capable ofproducing any number of new andinteresting sounds as well astraditional instrumentation. It’s

invaluable for roughing out new ideas leading to the creation ofnew music for StackTraxx.

■ SONY SOUNDFORGESoundForge is an absoluterequirement. It’s extremelypowerful and precise. I useSoundForge on a daily basis foreverything from post productionvoice track cleanup, to manglingrecorded audio to make soundeffects.

Jeff Earley is Director of AudioProducts at Digital Juice

“SoundForge is an absolute requirement. I use

SoundForge on a daily basis for everything from

post production voice track cleanup, to mangleing

recorded audio to make sound effects.”

FEATURED NEW PRODUCTS THIS MONTH:

$249PER VOLUME

$49OR BUNDLE THEMFOR AS LOW AS

PER VOLUME


• Juice Drops Vol. 46: thanksGIVING• Jump Backs Vol. 35:Tunnel Vision II• Jump Backs HD

Vol. 15:Tunnel Vision II


11/062 0 0 6 D I G I T A L J U I C E C A T A L O G


or BUNDLE ANY 10Juice Drops Volumes for just $699

BUNDLE ALL 46volumes for just

SAVE 80%, just$49 a volume!

Juice Drops Volumes can also beadded to any MIX & MATCH

BUNDLE

P R I N T / P R E S E N T A T I O N

VOLUMES AVAILABLE:JD01: highIMPACT

JD02: techXTREME

JD03: cleanCUTS

JD04: ultraGRUNGE

JD05: subtleIMPACT

JD06: ultraFRESH

JD07: hyperXTREME

JD08: techIMPACT

JD09: highIMPACT II

JD10: ultra3D

JD11: xtraGRUNGE

JD12: retroFRESH

JD13: peopleEDGE

JD14: subtleIMPACT II

JD15: highIMPACT III

JD16: ultraCUTS

JD17: scienceIMPACT

JD18: cleanCUTS II

JD19: medicalIMPACT

JD20: illustratedIMPACT

JD21: businessIMPACT

JD22: boundlessEDGE

JD23: cleanCUTS III

JD24: geoIMPACT

JD25: shadedEDGE

JD26: paperCUTS

JD27: glassEDGE

JD28: freshFORM

JD29: flowerPOWER

JD30: lifeSHADES

JD31: foodFUSION

JD32: templateCUTS

JD33: ethnicECHOES

JD34: fluidFORM

TECHNICAL SPECS:• 100 royalty-free layered

illustrations per volume

• 1-4 DVDs per volume

• 46 volumes available now

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

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

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

$249per volume

JUICE DROPS LayeredPhotoshop Design LibraryPrint Resolution Art You Take Apart

JD35: futureTECH

JD36: naturalCUTS

JD37: sportsCUTS

JD38: pastelSKETCH

JD39: allFLAGS

JD40: frameCUTS

JD41: frescoVITA

JD42: highIMPACT IV

JD43: popLIFE

JD44: frameCUTS II

JD45: halloweenHAUNTS

NEW! JD46: thanksGIVING

WE ACCEPT any of these major credit cardsas well as your check.

Volume SpotlightJD 46: thanksGIVINGGive thanks for layered content!

This is just a small samplingof the 75 different layereddesigns in this volume.

Volume 46 of the Juice Drops library,

thanksGIVING, covers the holiday and the

aurumn season from A to Z. whether it’s

cornucopias, turkey dinners, the Mayflower,

fall leaves or thanksgiving prayers—these

illustrations come in a variety of styles

from whimsical to ultra-realistic.

$2249

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

• 50 Animated Jump Sets withmatching animated background,template, overlay, and lower third

• 50 Additional animated overlays and 50 additional animated lower thirds

• 200 static lower thirds,250 static mattes

• Thousands of stills in over 20 categories

Editor’s Toolkit 2:Multipurpose Tools 2

• 80+ GB, 10 DVD-ROMs

• 20 Animated Super Sets with a HighTech edge, each with the followingmatching animated elements (at aminimum): 3 backgrounds, 2 overlays,2 lower thirds, 2 fullscreen wipes,2 motion design elements,1 transition wipe as well as 4 alpha channel mattes.

• More than 320 Animations in all

Editor’s Toolkit 4:High Tech Tools

Editor’s Toolkit 3:Wedding Tools(formerly Wedding Editor’s Toolkit)

Editor’s Toolkit 5:Soft & Subtle Tools

Editor’s Toolkit 6:Corporate & Broadcast Tools


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

• 100+ Motion design elements

• 100 Wipes and transitions to match ETK1 plus 50 additional wipes & transitions

• 15 Additional lower thirds and overlays

• Thousands of photos & photo objects


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

• 100+ Motion design elements

• 20+ Additionalanimated backgrounds

• 50+ Additional full screen animated wipes

• 25 Bitstream™ Fonts

$399 $399 $399


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


$399


• 20 Animated Super Sets with a Corporate& Broadcast feel, each with the followingmatching animated elements (at aminimum): 3 backgrounds, 2 overlays,2 lower thirds, 2 full screen wipes,2 motion design elements, 1 transition wipe as well as 4 alpha channel mattes.


$399 $399


• 15 Animated Super Sets with aWedding theme, each with the followingmatching animated elements (at aminimum): 3 backgrounds, 2 overlays,2 lower thirds, 2 full screen wipes,2 motion design elements, 1 transitionwipe as well as 4 alphachannel mattes.


Editor’s Toolkit 7:Wedding Tools II

E D I T O R ’ S T O O L K I T S


Editor’s ToolkitsComplete Animated Graphics Packages for Every Video Producer or EditorCreate a coordinated and professional look effortlesslywith animations organized into matched sets.10 Volumes • 100s of Animations per Volume • Backgrounds,Overlays, Lower Thirds, Wipes and Motion Design Elements $399


Editor’s Toolkit 8:Sports Tools

• 70+ GB,10 DVD-ROMs

• 54 Animated Jump Sets with a networksports feel, including individualanimations for Basketball, Football,Baseball, Soccer, Golf, Hockey & Tennis.

• Package also includes globe andmultipurpose animated backgroundsfor a wider appeal.

• Each set in the package contains thefollowing matching animated elements(at a minimum): 2 backgrounds,1 overlay, 1 lower third, 1 full screenwipe and 1 motion design element



• 16 animated graphically matchingSuper Sets with a seasonal theme.

• Each set in the package contains the following matching animated elements(at a minimum): 3 backgrounds,2 overlays, 2 lower thirds, 2 full screenwipes, 1 transition wipe, 2 motiondesign elements and 4 animated alphachannel mattes. (Most sets also haveseveral extra elements.)

• Bonus holiday animated text elements.

• Bonus video design elements with Santa Claus.


$399

Editor’s Toolkit 9:Christmas Tools

$399

Editor’s Toolkit 10:Multipurpose Tools IIIOur BIGGEST and BEST Yet! 62% More Contentfor the Same Low Price.

• 90+ GB of royalty-free content on 11 DVD-ROMs

• 30 animated graphically matching Super Sets

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


OR ADD TO ANY ORDERFOR JUST $199

$399



EDITOR’S TOOLKIT HOT TIP:

Flipping an Overlay

The free Juicer allows you to flip or rotate an ETK element

before you render it out. The Flip control is activated by

checking boxes labeled Horizontal and Vertical. Check them

in various combinations to flip an animation into any of four

different positions. With both boxes unchecked, the

animation is in its original position. Check the Horizontal

Flip box, and the image runs down the left side of the frame

instead of the right. Check the Vertical box as well and the

animation will flip to run across the bottom of the frame.

The Juicer puts the power to flip or rotate your Digital Juice

animations into your hands. You can even use the Flip and

Rotate controls together. With the Flip and Rotate controls,

you can position your animations in pretty much any way

you can dream of. Now that you know how to do it, the ball

is in your court. Go ahead and put some spin on it.

Overlay 1 fromSuper Set 251 inEditor’s Toolkit 10can be flipped androtated in the Juicerto give you moreflexibility in yourprojects.

Jump BacksNetwork Quality Animation LibraryThe royalty-free collection that just keeps growing—more variety and more innovation all the time.

35 Volumes • 20+ Animations per Volume15-30 Seconds per Animation • Seamlessly Loopable

11/06JB01: High Impact I

JB02: High Impact II

JB03: High Impact III

JB04: Wedding

JB05: Sports

JB06: High Impact IV

JB07: High Impact V

JB08: High Impact VI

JB09: High Tech & Internet

JB10: All American

JB11: Retro Clean

JB12: Corporate/Industrial,Time & Money

JB13: All Church

JB14: Medical/Health,Education & Science

JB15: Weather &The Elements

JB16: High Impact VII

JB17: Extreme I

JB18: Extreme II

JB19: Extreme III

JB20: Subtle Impact

JB21: High Impact VIII

JB22: Global Impact

JB23: Clean Streak

JB24: Tunnel Vision

JB25: All Music

JB26: Future Tech

JB27: International Flags

JB28: Subtle Impact II

JB29: US State Flags

JB30: Simply Useful

JB31: Maximum Impact

JB32: Base Camp

JB33: In The Round

JB34: All Hallow’s Eve

NEW!JB35: Tunnel Vision II


2 0 0 6 D I G I T A L J U I C E C A T A L O G

J U M P B A C K S A N I M A T I O N L I B R A R Y

JUMP BACKS Standard DefinitionNetwork Quality Animation Library

VOLUMES AVAILABLE:

$249per volume

BUY ANY 10 VOLUMES OFJUMP BACKS HD

FOR JUST$699

• 16 volumes, 20 or more animations per volume• Full 1920x1080, 16:9 res. • 15-30 seconds per animation• Seamlessly loopable

JUMP BACKS HDHigh Definition,Network Quality Animation Library

VOLUMES AVAILABLE:


$249PER VOLUME

JB HD 01: High Tech & Internet

JB HD 02: Corporate/Industrial,Time & Money

JB HD 03: Medical/Health,Education & Science

JB HD 04: High Impact VI

JB HD 05: Retro Clean

JB HD 06: Extreme I

JB HD 07: Extreme II

JB HD 08: Subtle Impact

JB HD 09: All Music

JB HD 10: Simply Useful

JB HD 11: MaximumImpact

JB HD 12: Base Camp

JB HD 13: In the Round

JB HD 14: All Hallow’s Eve

NEW Volume!JB HD 15: Tunnel Vision II


TAKE A WILD RIDE ON TUNNEL VISION II !

JB35: Tunnel Vision IITaking up where JB24: Tunnel Vision I left off,this sequel continues the wild ride of fastforward motion in animations ranging fromthe realism of a sleek looping roller coasterand a fast car chase through busy city streetsto more abstract water and light effects thattwist and turn as they propel you forward.

DVD 20 ANIMATIONS $249

OR ADD Jump Backs HD Volumes as selectionsin your10-PAK MIX & MATCH BUNDLES!


Volume SpotlightMDE 002 & MDE 003Animated Frames v1 & v2Frame the action, focus the attention

Each volume of animated graphics in the Motion Design

Element Library is a tightly focused collection of specialty

overlays that are particularly useful additions to your media

library. Each Animated Frames volume consists of 50 animated

overlay frames that you can use to frame video, photos or text.

A picture frame would have no reason to exist without a

picture and so it is with our new Frames library. All of our

Editor’s Toolkits have overlay graphics that can function as

frames, so this type of animation is not entirely new. What is

new is the specific focus on the form and function of the frame

as a part of the visual layout of the screen.

Frames can serve to focus attention on the center of the screen,

while at the same time simplifying and distinguishing the outer edge

so that it can serve as an anchor for textual elements.We commonly

see frames used for the closing credits on television programs, but

they also pop up during sporting events to show scores and on

the nightly news to list talking points and quotations. Frames are

also ideal for DVD menus and as backgrounds in presentations.

Wedding videos, school yearbooks, event video and other types

of productions that involve photomontage sequences are ideal

applications for frames. Simple, elegant and visually distinctive,

the Frames library makes modern video layout easier than ever.

• 50 Animations per volume onDVD-ROM

• Seamlessly Loopable

• Full printed index

• Average length 5-15 seconds

• QuickTime® format

• 1500 x 1500 to 2520 x 1645 at 30 fps

• Juicer resizes to NTSC D1,DV, PAL & more

• Juicer uses an advancedalgorithm to scale to PAL & NTSC

Features:

MDE 002 & MDE 003:Animated Frames v1 & v2NOW SHIPPING!


A small sample of the 100animated frames containedin MDE 002 and MDE 003,Animated Frames v1 & v2.

A U D I O P R O D U C T S

• 10,000+ SOUND EFFECTS in more than 170 categories and 4 main classes

• Superior 24-bit, 96kHz stereo • WAV format lossless quality audio • Keyword searchable • Over 55GB of content

SOME OF THE CATEGORIES INCLUDE:NOISE FX—Alarms • Beds • Bells • Bumpers • Buttons • DescendsFeedbacks • Flashes • Growls • Phasers & many more.

GENERAL FX—Animals • Crashes • Explosions • FoleyHousehold • Impacts • Liquids • Sports & many more.

MUSICAL FX—Musical Logos • Musical Transitions & many more.

HUMAN FX—Attitudes • Business • Children • CommercialCommon Greetings • News • Numbers & many more.

DIGITAL JUICESOUND FX

LIBRARY

REG. PRICE$699$599

• 1000+ tracks of royalty-free music on 28 CDs

• Full length tracks as well as :60, :30, and :15 broadcast cut versions

• 16-bit, 44.1 kHz, standard CDDA format

• Categories include: Atmospheric, Christmas,Classical, Corporate & Industrial, Country,Hi-Tech, Mellow, Nature, Piano, Rock, Sports,Suspense, Urban, Weddings and more.

BackTraxx 1 CD Music LibraryMusic to your ears and your budget!

$399

$399

The revolutionary production collection that putsyou in control! Just $249 per volume or as low as $49 per volume in a 17-PAK Bundle.

Taking production music a step further,StackTraxx allows you to turn layers on

or off creating original mixes or isolatingindividual tracks, using our free

Juicer 3.0 software.

Vol. 1: Extreme Stacks

Vol. 2: Power Stacks

Vol. 3: Serious Stacks

Vol. 4: Smooth Stacks

Vol. 5: Holiday Stacks

Vol. 6: Street Stacks

Vol. 7: Groovy Stacks

Vol. 8: Fifties Stacks

Vol. 9: World Stacks

Vol. 10: Broadcast Stacks

Vol. 11: Epic Stacks

Vol. 12: Corporate Stacks

Vol. 13: High Impact

Vol. 14: Rock Stacks

Vol. 15: Subtle Impact Stacks

Vol. 16: Spooky Stacks

NEW!Vol. 17: Light Touch Stacks

• Now 17 volumes to choose from!

• 20-40 original full length songs per volume

• 1 DVD with proprietary digital layered files plusup to 4 CDs per volume (CDs contain Standard Compact Disc Audio)

• 4-7 separate editable layers per song

• 4 broadcast cuts per song—:10, :15, :30, & :60

• NEW! JUICER 3.0 COMPATIBILITY

• One of our MIX & MATCH Products

VOLUMES AVAILABLE:

Special LimitedTime Pricing!

pervolume

$849Get ALL 17 VOLUMESfor just

$249

StackTraxxLayered Digital Music Library



• 1100+ tracks of royalty-free music on 33 CDs

• Full length tracks as well as :60 & :30 broadcast cut versions; most songs also include an Underscore Remix

• 16-bit, 44.1 kHz, standard CDDA format

• Categories include: Americana, Blues, Classical,Comedic, Entertainment, Film, Funkadelic Disco,GenXer, Island Flavor, News, and many more

• Free Juicer Software for track preview & ripping

BackTraxx 2 CD Music LibraryAll new tracks,categories & composers.

VideoTraxx 1Film & Video Library

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

CATEGORIES INCLUDE:

Aerial, Abstract, Agrictulture, Business, Children,

City Life, Eldelry, Extreme Sports, Family,

Farming, Fitness, Government, Health, Industry,

International, Landscapes, Leisure, Music,

Nature, People, Science, Sights, Sports,

Suburbia, Technology, Urban, Weather,

Work and more.

CATEGORIES INCLUDE:

Artisans and Crafts, Autos and Motor Sports,

Business & Office, Child’s Play, Cities &

Architecture, Creation, Expression, Fitness &

Medicine, Fun & Relaxation, Home & Garden,

Industry, International Life, Music, Night Life,

Old War, Religion, Romance, Teens,

What’s Cooking, Wildlife, Women’s Beauty,

Youth Sports and more.

VideoTraxx 3Film & Video Library• 3000+ Video Clips

• 34 DVDs • 220 GB

• 36 Categories

• Royalty-free

• NTSC/PAL

• Free Juicer Software

$599

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

V I D E O T R A X X



VideoTraxx 2Film & Video Library

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

$599 $599


DON’T MISSANOTHER ISSUE!

NEXT ISSUEin DIGITAL JUICE MAGAZINE

FREEMagazineSubscription

• White Balance & Color Temperature

• Mic Types & Uses

• Teleprompter Talk

• Compositing Clips into Jump Backs Animations

PLUS:• Stuff Sr. Producer Perry Jenkins

Can’t Live Without

• Tips, tricks and tutorials

• New product releases

• Insider product information

• Latest specials and pricing

Best of all, you can get Digital Juicemagazine ABSOLUTELY FREE every month! To subscribe, just visit www.digitaljuice.com and click on the FREE MAGAZINE link on the homepage.

Your Comments Unleashedby David Hebel

I n September we launched a new section onour website that is going to become more

and more important. It’s called DJ Commentsand it is where you can talk back to let othersknow what you think of Digital Juice, ourproduct lines, and even individual products.

You'll be able to rate everything and give honest feedbackabout the value you did or didn’t get from you purchases.

JUICE BOX

I must say it’s been fun to read your comments.I’m sure all of them won’t be as good as theones I’ve seen so far. There are literallyhundreds and hundreds of you who have leftsuch glowing remarks and comments over thepast few months that it almost makes me blush.Our specials and products seem to have strucka real chord with many of you and nothingmakes us happier than knowing that you arehappy. It’s really Business 101.

Here’s a few DJ Comments on StackTraxx:

Leave your own comments and ratings aboutDigital Juice or any of our products athttp://www.digitaljuice.com/dj_comments/.

DOES YOUR USER GROUPWANT US TO VISIT?

If you are a member or leader of a professionalvideo, print, presentation, or graphic user groupand you’d like Digital Juice to visit, let us knowbecause we want to come. Each month we arevisiting different groups spreading the wordabout Digital Juice and our products, magazine,

and DJTV. You’d be amazed how manyprofessionals don’t know about us and we areout to change that in the coming year. Usuallywe come and present for 20 to 60 minutesdepending on the venue and we try to makesure that everyone goes home with somethingcool. We can’t promise we can go to every groupbut we are trying to get to as many as possible.If you would like us to try to schedule a visit toyour group contact [email protected] give him more details.

TIPS ON SAVINGMONEY @ DIGITALJUICE

The number one way to savemoney at Digital Juice is tomake sure you get or readour email newsletters. It’slikely that if you have orderedonline with us in the past 6months you are alreadygetting our weekly emails butif you aren’t getting them,you need to sign up. Eachweek we send out aneNEWSLETTER and a DigitalJuice TV eGUIDE. Keeping an

eye on these two emails is the absolute best wayto save money at Digital Juice. In almost everyone we have limited-time unbelievable offers thatyou probably won’t hear about anywhere else.We’ve had Editor’s Toolkits on special for as lowas $99 at times but if you aren’t getting ouremails there probably is no way for you to know.

To sign-up for all the different email blasts thatwe offer go to www.digitaljuice.com/signup/.

David HebelFounder/CEO, Digital Juice, Inc.

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

TO ORDER: 1.800.525.2203www.digitaljuice.com

1736 NE 25th Ave.Ocala, FL 34470

352.369.0930Fax: 352.368.6091

2006 11 digital juice magazine

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