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| Acknowledgments | |
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| About the Companion CD-ROM | |
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| Introduction | |
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| What Makes a Producer | |
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| Why Digital Matters | |
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| Who Should Read This Book | |
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| How to Use This Book | |
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| Using the Companion CD-ROM | |
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| The Digital Landscape | |
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| The Future of Television | |
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| The Lay of the Land | |
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| Trends in Publicly Distributed Media | |
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| Acronym City | |
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| What Computers Can Do for You | |
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| The Producer's Missing Links | |
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| When Computers Aren't So Great | |
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| The Language of Digital Production | |
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| The Database as Lingua Franca | |
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| Introducing Advanced Project Templates | |
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| Requirements for Using the Advanced Project Templates | |
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| Producer's Checklist: Digital Production Vocabulary | |
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| Computer-Based Project Development | |
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| Setting Up a Project | |
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| Creating a Master Set of Folders | |
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| The Starting Point: Outlines and Proposals | |
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| Project Template Workshop: Preparing Proposals and Outlines | |
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| The Database Approach | |
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| Building a Proposal | |
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| Building an Outline | |
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| Storyboarding | |
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| Storyboard Quick | |
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| Storyboard Artist | |
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| Project Template Workshop: Preparing Storyboards | |
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| Entering Global Information | |
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| Manually Adding Project Name, Section, and Subsection | |
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| Importing Scenes from the Outline | |
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| Importing Images | |
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| Entering a Caption | |
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| Adding More Records | |
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| Printing a Basic Storyboard | |
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| Adding Information about Production Elements | |
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| Printing a Detailed Storyboard | |
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| Generating Lists | |
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| Customizing Layouts and Print Options | |
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| Scripting in Advance | |
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| Project Template Workshop: Preparing a Script | |
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| Entering Global Information in Script Entry | |
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| Importing Scenes from the Outline | |
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| Building the Script | |
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| Previewing and Printing Scripts | |
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| Additional Pre-Production Tasks | |
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| Producer's Checklist: Development Resources | |
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| Preparing to Shoot | |
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| The New Age of Digital Capture | |
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| New Formats to Consider | |
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| The Right Image | |
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| Digital News Gathering: The Death of Videotape? | |
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| Shoot Plans That Work | |
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| How Digital Changes Field Production | |
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| Project Template Workshop: Preparing Standups and Field Notes | |
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| Project Template Workshop: Preparing Shoot Plans and Schedules | |
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| Entering Global Information in Shoot Plan Entry | |
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| Importing Scenes from the Outline | |
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| Breaking Down Scenes | |
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| Building the Shoot Plan | |
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| Printing Shoot Plans and Schedules | |
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| Extending the Templates | |
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| Going Digital in the Field | |
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| Field Production Practices | |
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| Setting Field Timecode | |
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| Logging in the Field | |
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| Production Magic's Shot Logger | |
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| e-trim from Eidria, Inc. | |
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| The Executive Producer from Imagine Products | |
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| AutoLog from Pipeline Digital | |
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| Project Template Workshop: Logging in the Field | |
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| Entering Global Information | |
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| Importing Scenes from the Outline | |
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| Starting a Record | |
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| Customizing the Entry Form for Faster Logging | |
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| Using the Tab Key | |
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| Entering the Project Name | |
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| Entering Reel and Start Hour Information | |
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| Building the Shot Log | |
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| Project Tracking in the Field | |
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| Laptop Survival Tips | |
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| Preparing for Digital Post | |
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| Logging and Transcribing | |
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| Advantages of Logging Digitally | |
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| Logging on Paper Versus Digitally | |
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| Planning to Log | |
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| Approaches to Logging Footage | |
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| Logging with LogExpress from Alba Editorial | |
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| Logging with Scene Stealer from Dubner International | |
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| Logging with Avid MediaLog | |
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| Further Managing Bins and Clips | |
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| Project Template Workshop: Logging and Transcribing | |
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| Advanced Template Workflow | |
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| Logging and Transcribing with the Templates | |
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| Starting a Record | |
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| Customizing the Entry Form for Faster Logging | |
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| Using the Tab Key | |
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| Entering the Project Name | |
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| Entering Reel, Start Hour, and Talent Information | |
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| Building the Shot Log | |
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| Sorting and Printing Logs and Transcripts | |
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| Exporting to a Nonlinear Editor | |
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| Scripting Tips and Tricks | |
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| Script Integration: Discovering Avid's Hidden Jewel | |
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| Building the Virtual Rough Cut | |
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| Completing the Paradigm | |
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| Project Template Workshop: Preparing Final Edit Scripts | |
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| Before You Prepare a Final Script | |
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| Using the Script Entry Form | |
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| Entering Global Information in Script Entry | |
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| Importing Scenes from the Outline | |
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| Preparing the Topic Sequence | |
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| Adding Records from the Shot Logs | |
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| Adding Voice-Overs | |
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| Adding Transcript Information | |
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| Adding B-Roll to Accompany Voice-Over | |
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| Adding Sound and Visual Effects to the Script | |
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| Previewing and Printing Scripts | |
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| Making Digital Post Decisions | |
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| Scheduling | |
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| Determining Your Offline/Online Strategy | |
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| Planning for Audio | |
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| Calculating Media Storage Requirements | |
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| Planning for Effects | |
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| Planning with the Editor | |
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| Project Template Workshop: Generating Edit Plans and Facilities Requests | |
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| Entering Global Information in Edit Plan Entry | |
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| Importing Scenes from the Outline | |
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| Building the Edit Plan | |
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| Printing Edit Plans and Schedules | |
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| Extending the Templates | |
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| Producer's Checklist: Preparing for Post | |
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| The Edit Room | |
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| Editing in the Nonlinear Universe | |
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| Nonlinear Editing System's User Interface | |
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| Understanding File Hierarchy | |
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| Comparing Linear and Nonlinear Processes | |
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| Digitizing Video Footage | |
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| Digitizing Quality Audio | |
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| Communicating with the Editor | |
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| The Digitizing Process | |
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| Organizing Shots After Digitizing | |
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| Managing Bins | |
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| Creating a Rough Cut | |
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| The Editing Interface | |
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| Adding Footage to a Sequence | |
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| Removing Footage from a Sequence | |
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| Changing Your Mind | |
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| Keeping Track of Timecode | |
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| Working on Program Structure | |
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| Trimming and Timeline Editing: The Power of Nonlinear Editing | |
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| Walking Through the Timeline | |
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| Editing in the Timeline | |
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| Trimming Edits to Create a Fine Cut | |
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| Duplicating a Sequence | |
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| Editing Audio | |
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| Ending the Session | |
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| Optimizing the Effects Session | |
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| Learning Your System's and Your Editor's Capabilities | |
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| Communicating with the Editor | |
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| Choosing the Right System | |
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| Types of Effects | |
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| Creating Your Own Effects Library | |
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| Creating Titles | |
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| Changing Effects over Time | |
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| Performing Real-Time Versus Rendered Effects | |
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| Working with Third-Party Graphics Applications | |
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| Output | |
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| Selecting the Output | |
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| Finishing the Audio | |
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| Conforming on the Nonlinear System | |
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| Digitizing Media at a Higher Resolution | |
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| Performing the Digital Cut | |
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| Creating an EDL for a Linear Online Edit | |
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| Exporting the Program as a Digital Movie | |
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| Ending the Edit Session | |
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| Cleaning Up | |
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| Producer's Checklist: Nonlinear Post-production | |
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| New Directions for Your Video Output | |
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| Digital Distribution | |
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| Compression Revisited | |
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| All Things MPEG | |
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| DVD: The Perfect Medium? | |
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| QuickTime and AVI Codecs: Whither (or Wither) CD-ROM? | |
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| Streaming Media Codecs | |
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| The Age of Repurposing | |
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| Asset Management | |
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| Collaborative Environments | |
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| 24p: The Next Big Thing | |
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| Producer's Checklist: Trends to Watch | |
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| Interviews | |
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| Barbara Holecek | |
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| Yolanda Parks | |
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| Steve Stone | |
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| Rebecca Miller | |
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| Vanessa Boris | |
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| Tim Mangini | |
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| Arnie Harchik | |
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| Tom Hayes | |
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| Wes Plate | |
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| Larry Young | |
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| Richard Bock | |
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| Index | |