Welcome to Scribd, the world's digital library. Read, publish, and share books and documents. See more
Standard view
Full view
of .
Look up keyword
Like this
0 of .
Results for:
No results containing your search query
P. 1
Digital Video

Digital Video



|Views: 154|Likes:

More info:

Published by: dwianto agung siwitomo on Mar 22, 2009
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less





 Adobe Digital Video Curriculum Guide Module 11-1
Digital Video
Module 1
Digital Video Workflow, Project Planning and Writing Tips
Your students probably want to dive right into Adobe® Premiere® Pro and Adobe’s other Windows® –based digital video(DV) products. You can’t blame them. If they’ve had any experience editing videos with earlier versions of Adobe Premiereor other PC nonlinear video editors they might be able to do a lot with Adobe Premiere Pro right off the bat. However,formal, hands-on work with Adobe Premiere Pro doesn’t begin until Module 4. This first module diagrams the DV workflow. Adobe now offers a full suite of tightly integrated, professional DV software:tools for any kind of DV work your students can imagine. To start this module, we diagram where they fit in the productionworkflow.How to visualize a project before shooting the first clip is the next course objective. A practical guide to multi-cameraproduction follows, and finally, we offer a how-to guide to writing in the “active voice” and some scriptwriting advice fromtwo Hollywood veterans.At the end of this lesson students will be able to:
Diagram the digital video workflow
Incorporate Bob Dotson’s story creation tips into their productions
Understand how to setup multi-camera remote productions
Write in the active voice
Use proven scriptwriting techniques
Diagramming the digital video workflow 
Premiere Pro is the hub of a newly expanded, five-product suite of tools geared to digital video production. All five featuretight integration and complement and enhance one another. Here’s a brief rundown of Adobe Premiere Pro’s fourteammates:
Adobe Photoshop® CS (Creative Suite)—the latest update to this industry-standard graphic creation and editingproduct.
Adobe After Effects® 6.0—the tool-of-choice for video editors looking to animate graphics and text.
Adobe Encore™ DVD—a new DVD authoring product built from the ground up to work closely with AdobePremiere Pro, After Effects 6.0 and Photoshop.
Adobe Audition™— a professional-level audio editing and sweetening product. Adobe purchased it (Cool EditPro) from Syntrillium Software in the summer of 2003 and supplemented it with 5,000
—music snippets thateditors can use to create entire musical selections. Taken individually and collectively, nothing can come close to the power, productivity and creativity these Adobe productswill bring to your student’s video projects.
 Adobe Digital Video Curriculum Guide Module 11-2
Digital Video
 The focus of the Adobe DV curriculum is Adobe Premiere Pro. It’s the engine that drivesyour production. But each of the other four products in the collection has one or moresignificant roles to play.We will offer modules on those supporting products throughout the Adobe DVcurriculum. To see how they fit into that workflow, take a look at Figure 1.1.
Figure 1.1:
The digital video workflow using the Adobe Video Collection.
Your workflow may vary depending on your production needs. Basically, your students will use Adobe Premiere Pro toassemble raw and finished parts into a completed whole. Here are a few mini-workflow scenarios:
 Adobe Digital Video Curriculum Guide Module 11-3
Digital Video
Photoshop captures and touches up photos from a digital camera or a scanner. It then exports them to AdobePremiere Pro.
Photoshop creates images from scratch or edits still images created in Adobe Premiere Pro, then sends them on toAdobe Premiere Pro.
Adobe Audition enables you to create custom music and edit existing music and sounds either to an existingvideo clip or production, or as a separate audio file. That audio might come from digital video captured by AdobePremiere Pro. Do fine-tuning in Adobe Audition and send it back to Adobe Premiere Pro.
Adobe Premiere Pro captures raw video from a camcorder or VCR. You then edit it and can record it to tape using acamcorder or VCR.
Send sequences created in Adobe Premiere Pro to After Effects 6.0 to apply complex motion and animation, thensend those updated motion sequences back to Adobe Premiere Pro.
Use After Effects 6.0 to create and animate text in ways far beyond the capabilities of Adobe Premiere Pro.
Import Adobe Premiere Pro-created video projects into Adobe Encore DVD to use in DVD projects. You can usethose videos as the foundation of a project or as motion menus.
Create menus and menu buttons for Adobe Encore DVD in Photoshop, or use Photoshop to edit menus createdusing Adobe Encore DVD templates.
Use After Effects 6.0 to build motion menus for Adobe Encore DVD using Photoshop- or Adobe Encore DVD-created static menus.
Video Production Planning
Many video production courses hammer on planning, frequently down to the most minute details. Those admonitionsmake sense for higher-budget productions with crews, actors, and caterers.For most high school and college DV productions, much of the “planning” takes place on the fly, in the field. Unexpectedthings come up frequently: lighting changes, wind, missing actors, burned out light bulbs, crowds, and no crowds. If youknow some basic story creation fundamentals, you can overcome most of these hiccups.We think your students will stand to benefit more from these upcoming tips than from any elaborate, production planning.NBC-TV
Today Show 
correspondent Bob Dotson is the source for this collection of tips. He is one of thebest human-interest feature-story TV reporters today. He is a rare artist who both understands his craftand can explain his methodology. He has conducted numerous seminars on his video productionconcepts and leaves his students with what he calls his “Story Checklist.”
Bob Dotson, NBC-TV reporter.
Although your students may not aspire to be TV producers or reporters, they will create human-interest stories: Dotson'sforte. If there‘s a storyteller out there you should emulate, I think he's the one.Here are Dotson’s three principal messages:
Give viewers a reason to remember the story.
When interviewing people, try not to ask questions. Merely make observations. That loosens people up, lettingthem reveal their emotional, human side to you.
Make sure you get a closing shot. Most video producers look for dramatic opening shots or sequences (and that'sstill a good thing), but your viewers are more likely to remember the closing shot.

Activity (8)

You've already reviewed this. Edit your review.
1 thousand reads
1 hundred reads
sandipprmar007 liked this
sandipprmar007 liked this
scribemaura liked this
MediaReader liked this
Jan liked this
Karen liked this

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->