Handbook Of Data Visualization

Chun-houh Chen
Wolfgang Härdle
Antony Unwin

Table of Contents
I. Data Visualization
I.1 Introduction
Antony Unwin, Chun-houh Chen, Wolfgang K. Härdle . . . . . . . . . . . . . . . . . . . . . . . . . . 3
II. Principles
II.1 A Brief History of Data Visualization
Michael Friendly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
II.2 Good Graphics?
Antony Unwin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57
II.3 Static Graphics
Paul Murrell. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79
II.4 Data Visualization Through Their Graph Representations
George Michailidis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103
II.5 Graph-theoretic Graphics
Leland Wilkinson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
II.6 High-dimensional Data Visualization
Martin heus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151
II.7 Multivariate Data Glyphs: Principles and Practice
Matthew O. Ward . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179
II.8 Linked Views for Visual Exploration
Adalbert Wilhelm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
II.9 Linked Data Views
Graham Wills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217
II.10 Visualizing Trees and Forests
Simon Urbanek . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
III. Methodologies
III.1 Interactive Linked Micromap Plots for the Display
of Geographically Referenced Statistical Data
Jürgen Symanzik, Daniel B. Carr . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
III.2 Grand Tours, Projection Pursuit Guided Tours, and Manual Controls
Dianne Cook, Andreas Buja, Eun-Kyung Lee, Hadley Wickham . . . . . . . . . . . . . . . . 295
III.3 Multidimensional Scaling
Michael A.A. Cox, Trevor F. Cox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
III.4 Huge Multidimensional Data Visualization: Back to the Virtue
of Principal Coordinates and Dendrograms in the New Computer Age
Francesco Palumbo, Domenico Vistocco, Alain Morineau. . . . . . . . . . . . . . . . . . . . . .349
III.5 Multivariate Visualization by Density Estimation
Michael C. Minnotte, Stephan R. Sain, David W. Scott . . . . . . . . . . . . . . . . . . . . . . . . 389
III.6 Structured Sets of Graphs
Richard M. Heiberger, Burt Holland . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415
III.7 Regression by Parts:
Fitting Visually Interpretable Models with GUIDE
Wei-Yin Loh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447
III.8 Structural Adaptive Smoothing
by Propagation–Separation Methods
Jörg Polzehl, Vladimir Spokoiny . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471
III.9 Smoothing Techniques for Visualisation
Adrian W. Bowman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493
III.10 Data Visualization via Kernel Machines
Yuan-chin Ivan Chang, Yuh-Jye Lee, Hsing-Kuo Pao, Mei-Hsien Lee,
Su-Yun Huang. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .539
III.11 Visualizing Cluster Analysis and Finite Mixture Models
Friedrich Leisch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .561
III.12 Visualizing Contingency Tables
David Meyer, Achim Zeileis, Kurt Hornik . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 589
III.13 Mosaic Plots and Their Variants
Heike Hofmann. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .617
III.14 Parallel Coordinates: Visualization, Exploration
and Classiication of High-Dimensional Data
Alfred Inselberg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 643
III.15 Matrix Visualization
Han-Ming Wu, ShengLi Tzeng, Chun-Houh Chen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 681
III.16 Visualization in Bayesian Data Analysis
Jouni Kerman, Andrew Gelman, Tian Zheng, Yuejing Ding . . . . . . . . . . . . . . . . . . . . 709
III.17 Programming Statistical Data Visualization in the Java Language
Junji Nakano, Yoshikazu Yamamoto, Keisuke Honda . . . . . . . . . . . . . . . . . . . . . . . . . 725
III.18 Web-Based Statistical Graphics using XML Technologies
Yoshiro Yamamoto, Masaya Iizuka, Tomokazu Fujino . . . . . . . . . . . . . . . . . . . . . . . . 757
IV. Selected Applications
IV.1 Visualization for Genetic Network Reconstruction
Grace S. Shieh, Chin-Yuan Guo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 793
IV.2 Reconstruction, Visualization and Analysis of Medical Images
Henry Horng-Shing Lu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 813
IV.3 Exploratory Graphics of a Financial Dataset
Antony Unwin, Martin heus, Wolfgang K. Härdle . . . . . . . . . . . . . . . . . . . . . . . . . . . 831
IV.4 Graphical Data Representation in Bankruptcy Analysis
Wolfgang K. Härdle, Rouslan A. Moro, Dorothea Schäfer . . . . . . . . . . . . . . . . . . . . . . 853
IV.5 Visualizing Functional Data with an Application
to eBay’s Online Auctions
Wolfgang Jank, Galit Shmueli, Catherine Plaisant, Ben Shneiderman . . . . . . . . . . . 873
IV.6 Visualization Tools for Insurance Risk Processes
Krzysztof Burnecki, Rafał Weron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 899

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Contents
Introduction . . . . . . . . . . . . . . . . . . . . . . . . xiii
Chapter 1 Getting Started . . . . . . . . . . . . . . . . . 1
1.1 Files and Folders . . . . . . . . . . . . . . . . . . . . . . . . . 1
1.2 Modifying Shortcuts . . . . . . . . . . . . . . . . . . . . . . . 3
1.3 Configuring Modeler . . . . . . . . . . . . . . . . . . . . . . . 4
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
1.4 Configuring Layout. . . . . . . . . . . . . . . . . . . . . . . . 9
Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Part I Preparation
Chapter 2 Concept Stage . . . . . . . . . . . . . . . . . 18
2.1 Character Design . . . . . . . . . . . . . . . . . . . . . . . . 18
What and Who . . . . . . . . . . . . . . . . . . . . . . . . 18
Research . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
2.2 Analyzing the Concept . . . . . . . . . . . . . . . . . . . . . 21
2.3 Preparation . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
Read the Script . . . . . . . . . . . . . . . . . . . . . . . . 23
Size Counts . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Background Images. . . . . . . . . . . . . . . . . . . . . . 26
Part II Morfi
Chapter 3 Creating Morfi . . . . . . . . . . . . . . . . . 32
3.1 Modeler Setup. . . . . . . . . . . . . . . . . . . . . . . . . . 32
3.2 Modeling the Body . . . . . . . . . . . . . . . . . . . . . . . 34
Torso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34
Legs and Feet . . . . . . . . . . . . . . . . . . . . . . . . . 39
Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
3.3 Modeling the Head . . . . . . . . . . . . . . . . . . . . . . . 56
Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Teeth and Tongue. . . . . . . . . . . . . . . . . . . . . . . 62
Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Eyes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
3.4 Creating Surfaces . . . . . . . . . . . . . . . . . . . . . . . . 73
Weights and Gradients . . . . . . . . . . . . . . . . . . . . 75
Creating Weight Maps . . . . . . . . . . . . . . . . . . 76
Creating Gradients. . . . . . . . . . . . . . . . . . . . 77
3.5 Creating Morphs . . . . . . . . . . . . . . . . . . . . . . . . 79
Creating Mouth Expressions . . . . . . . . . . . . . . . . . 80
Opening the Jaw . . . . . . . . . . . . . . . . . . . . . . . 82
Creating Eyelid Morphs . . . . . . . . . . . . . . . . . . . 83
Chapter 4 Rigging Morfi . . . . . . . . . . . . . . . . . 85
4.1 Creating Skelegons . . . . . . . . . . . . . . . . . . . . . . . 85
Spine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Leg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Pelvis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Arm . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Hand and Fingers . . . . . . . . . . . . . . . . . . . . . . . 90
Eye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92
Ear and Antenna . . . . . . . . . . . . . . . . . . . . . . . 94
4.2 Weight Mapping . . . . . . . . . . . . . . . . . . . . . . . . . 96
Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96
Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Head . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98
Legs and Feet . . . . . . . . . . . . . . . . . . . . . . . . 100
Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102
Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Assigning Weights to Skelegons . . . . . . . . . . . . . . 106
Preparing for Layout . . . . . . . . . . . . . . . . . . . . 107
4.3 Layout . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
Object Properties . . . . . . . . . . . . . . . . . . . . . . 108
Converting Skelegons . . . . . . . . . . . . . . . . . . . . 110
Parenting the Bones . . . . . . . . . . . . . . . . . . 111
Adjusting the Leg Bones . . . . . . . . . . . . . . . . . . 114
Adjusting the Arm Bones . . . . . . . . . . . . . . . . . . 116
Creating Animation Controls . . . . . . . . . . . . . . . . 118
Creating Control Parents . . . . . . . . . . . . . . . . 121
Configuring the Controls . . . . . . . . . . . . . . . . 122
Bone Settings . . . . . . . . . . . . . . . . . . . . . . . . 124
Bone Strength . . . . . . . . . . . . . . . . . . . . . 129
Mirroring the Rig . . . . . . . . . . . . . . . . . . . . . . 130
Organizing the Rig. . . . . . . . . . . . . . . . . . . . . . 132
4.4 Advanced Rigging . . . . . . . . . . . . . . . . . . . . . . . 134
Eyes and Eyelids . . . . . . . . . . . . . . . . . . . . . . 134
Eye Stretching. . . . . . . . . . . . . . . . . . . . . . . . 135
Eyelid Automation. . . . . . . . . . . . . . . . . . . . . . 139
Adding More Eyelid Controls . . . . . . . . . . . . . . . . 143
Testing the Rig . . . . . . . . . . . . . . . . . . . . . . . 144
Chapter 5 Modeling . . . . . . . . . . . . . . . . . . . 148
5.1 Subpatch Modeling 101 . . . . . . . . . . . . . . . . . . . . 148
Subpatch Limitations . . . . . . . . . . . . . . . . . . . . 149
Subpatch Guidelines. . . . . . . . . . . . . . . . . . . . . 150
Subpatch Distortion . . . . . . . . . . . . . . . . . . . . . 152
5.2 Modeler Setup . . . . . . . . . . . . . . . . . . . . . . . . . 153
5.3 Modeling the Head. . . . . . . . . . . . . . . . . . . . . . . 154
Basic Shapes. . . . . . . . . . . . . . . . . . . . . . . . . 154
Eye Sockets. . . . . . . . . . . . . . . . . . . . . . . 157
Nose . . . . . . . . . . . . . . . . . . . . . . . . . . 159
Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . 166
Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Adjusting the Shapes . . . . . . . . . . . . . . . . . . 181
Creating the Details . . . . . . . . . . . . . . . . . . . . . 182
Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
Nostrils . . . . . . . . . . . . . . . . . . . . . . . . . 187
Nose Wrinkles . . . . . . . . . . . . . . . . . . . . . 190
Eyes and Eyelids . . . . . . . . . . . . . . . . . . . . 194
Eyebrows . . . . . . . . . . . . . . . . . . . . . . . . 197
Adjusting the Proportions . . . . . . . . . . . . . . . 201
Inner Mouth . . . . . . . . . . . . . . . . . . . . . . . . . 204
Gums . . . . . . . . . . . . . . . . . . . . . . . . . . 206
Tongue . . . . . . . . . . . . . . . . . . . . . . . . . 209
Teeth . . . . . . . . . . . . . . . . . . . . . . . . . . 211
Closing the Mouth . . . . . . . . . . . . . . . . . . . 216
Final Details . . . . . . . . . . . . . . . . . . . . . . . . . 218
Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Final Eyeballs . . . . . . . . . . . . . . . . . . . . . . 221
5.4 Modeling the Body. . . . . . . . . . . . . . . . . . . . . . . 224
Torso. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225
Arms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Groin. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230
Legs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232
Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236
Fingers . . . . . . . . . . . . . . . . . . . . . . . . . 241
Feet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Toes . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Detail . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254
5.5 Modeling Clothes . . . . . . . . . . . . . . . . . . . . . . . 256
Shoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Pants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263
Shirt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Detailing the Shirt . . . . . . . . . . . . . . . . . . . 271
Socks . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273
5.6 Creating Morphs . . . . . . . . . . . . . . . . . . . . . . . . 278
Eye Blink . . . . . . . . . . . . . . . . . . . . . . . . . . 278
Mouth Open . . . . . . . . . . . . . . . . . . . . . . . . . 280
Chapter 6 Texturing . . . . . . . . . . . . . . . . . . . 283
6.1 UV Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
UV Maps vs. Standard Projections . . . . . . . . . . . 284
Analyzing the Model . . . . . . . . . . . . . . . . . . 284
Surfaces and UV Maps . . . . . . . . . . . . . . . . . . . 286
Multiple Surfaces per UV Map . . . . . . . . . . . . . 286
Multiple UV Maps per Surface . . . . . . . . . . . . . 287
UV Mapping Part of a Surface . . . . . . . . . . . . . 288
Textures and UV Maps . . . . . . . . . . . . . . . . . . . 288
Aspect Ratio . . . . . . . . . . . . . . . . . . . . . . 289
Aligning Texture Size. . . . . . . . . . . . . . . . . . 290
UV Texture Distortion . . . . . . . . . . . . . . . . . . . 291
Mapping Faces vs. Subpatches . . . . . . . . . . . . . 291
Subpatch Distortion . . . . . . . . . . . . . . . . . . 291
UV Polygon Scale. . . . . . . . . . . . . . . . . . . . 292
Discontinuous UVs . . . . . . . . . . . . . . . . . . . . . 293
Unwelding Points . . . . . . . . . . . . . . . . . . . . 295
Cutting and Pasting . . . . . . . . . . . . . . . . . . . 295
UV Map Creation . . . . . . . . . . . . . . . . . . . . . . 296
Basic Projections . . . . . . . . . . . . . . . . . . . . 296
Automatic or Manual Settings . . . . . . . . . . . . . 300
Retaining Scale . . . . . . . . . . . . . . . . . . . . . 300
Internal Seams . . . . . . . . . . . . . . . . . . . . . 301
UV Morphs . . . . . . . . . . . . . . . . . . . . . . . 302
UV Map Editing . . . . . . . . . . . . . . . . . . . . . . . 303
Symmetrical Editing . . . . . . . . . . . . . . . . . . 303
Transform UV. . . . . . . . . . . . . . . . . . . . . . 303
Quantize UVs . . . . . . . . . . . . . . . . . . . . . . 304
Checkerboard Test . . . . . . . . . . . . . . . . . . . 304
6.2 Creating the UV Maps . . . . . . . . . . . . . . . . . . . . . 305
UV Mapping the Head. . . . . . . . . . . . . . . . . . . . 305
Creating a UV Morph. . . . . . . . . . . . . . . . . . 306
Creating the UV Map . . . . . . . . . . . . . . . . . . 306
Initial Editing . . . . . . . . . . . . . . . . . . . . . . 310
Checkerboard Test . . . . . . . . . . . . . . . . . . . 313
Editing the UV Map . . . . . . . . . . . . . . . . . . 316
Adjusting Texture Scale . . . . . . . . . . . . . . . . 318
UV Mapping the Nose. . . . . . . . . . . . . . . . . . . . 319
Editing the UV Map . . . . . . . . . . . . . . . . . . 321
Merging the Head . . . . . . . . . . . . . . . . . . . 323
UV Mapping the Ears . . . . . . . . . . . . . . . . . . . . 323
Creating the UV Morph . . . . . . . . . . . . . . . . 323
Creating the UV Map . . . . . . . . . . . . . . . . . . 325
Adjusting the UV Map . . . . . . . . . . . . . . . . . 327
Editing the UV Map . . . . . . . . . . . . . . . . . . 330
Creating the Body UVs . . . . . . . . . . . . . . . . . . . 332
UV Mapping the Torso . . . . . . . . . . . . . . . . . 332
UV Mapping the Arms . . . . . . . . . . . . . . . . . 334
UV Mapping the Legs . . . . . . . . . . . . . . . . . 336
Merging the Arms and Legs . . . . . . . . . . . . . . 339
UV Mapping the Hands. . . . . . . . . . . . . . . . . 340
Merging Discontinuous UVs . . . . . . . . . . . . . . 342
UV Mapping the Feet. . . . . . . . . . . . . . . . . . 342
Merging the Hands and Feet . . . . . . . . . . . . . . 344
Editing the Body UVs . . . . . . . . . . . . . . . . . . . . 344
Creating Surfaces. . . . . . . . . . . . . . . . . . . . 344
Applying Checkerboards . . . . . . . . . . . . . . . . 345
Adjusting the Checkerboards. . . . . . . . . . . . . . 346
Editing the Torso . . . . . . . . . . . . . . . . . . . . 348
Editing the Arms and Legs . . . . . . . . . . . . . . . 348
Editing the Hands and Feet. . . . . . . . . . . . . . . 349
UV Mapping the Clothes . . . . . . . . . . . . . . . . . . 350
Creating the Pants UVs. . . . . . . . . . . . . . . . . 350
Creating the Sock UVs . . . . . . . . . . . . . . . . . 355
Creating the Shoe UVs . . . . . . . . . . . . . . . . . 357
Applying Checkerboards . . . . . . . . . . . . . . . . 360
Adjusting the Checkerboards. . . . . . . . . . . . . . 361
Editing the Clothes UVs . . . . . . . . . . . . . . . . 362
Preparing for Surfacing . . . . . . . . . . . . . . . . . . . 363
Saving the Object . . . . . . . . . . . . . . . . . . . . 364
6.3 Surfacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Surfaces and Light. . . . . . . . . . . . . . . . . . . . . . 365
Shading Noise Reduction . . . . . . . . . . . . . . . . 365
Surface Preview . . . . . . . . . . . . . . . . . . . . . . . 366
Basic Surface Attributes. . . . . . . . . . . . . . . . . . . 366
Color, Luminosity, and Diffuse . . . . . . . . . . . . . 366
Specularity, Glossiness, and Reflection . . . . . . . . 367
Transparency, Refraction, and Translucency . . . . . . 367
Preparing the Scene . . . . . . . . . . . . . . . . . . . . . 367
Default Lighting Rig . . . . . . . . . . . . . . . . . . 368
Object Properties . . . . . . . . . . . . . . . . . . . . 368
Adjusting the Surfaces . . . . . . . . . . . . . . . . . . . 369
Surfacing the Skin . . . . . . . . . . . . . . . . . . . 370
Surfacing the Mouth . . . . . . . . . . . . . . . . . . 371
Surfacing the Teeth . . . . . . . . . . . . . . . . . . . 371
Surfacing the Eyes . . . . . . . . . . . . . . . . . . . 371
Surfacing the Hair . . . . . . . . . . . . . . . . . . . 374
Surfacing the Clothes. . . . . . . . . . . . . . . . . . 375
Surfacing the Shoes. . . . . . . . . . . . . . . . . . . 375
6.4 Gradients. . . . . . . . . . . . . . . . . . . . . . . . . . . . 376
Weight Maps and Gradients . . . . . . . . . . . . . . . . . 376
0% or Nothing . . . . . . . . . . . . . . . . . . . . . 376
Negative Values. . . . . . . . . . . . . . . . . . . . . 377
Other Input Parameters . . . . . . . . . . . . . . . . . . . 378
Previous Layer . . . . . . . . . . . . . . . . . . . . . 378
Bump . . . . . . . . . . . . . . . . . . . . . . . . . . 378
Incidence Angle. . . . . . . . . . . . . . . . . . . . . 378
Light Incidence . . . . . . . . . . . . . . . . . . . . . 378
Creating Gradient Weight Maps. . . . . . . . . . . . . . . 379
Dark Weight Map . . . . . . . . . . . . . . . . . . . . 379
Mouth Weight Maps . . . . . . . . . . . . . . . . . . 381
Hair Weight Map . . . . . . . . . . . . . . . . . . . . 382
Creating the Gradients . . . . . . . . . . . . . . . . . . . 382
Dark Gradient . . . . . . . . . . . . . . . . . . . . . 382
Other Mouth Gradients. . . . . . . . . . . . . . . . . 383
Hair Gradient . . . . . . . . . . . . . . . . . . . . . . 384
6.5 Procedural Textures . . . . . . . . . . . . . . . . . . . . . . 385
Viper Previews . . . . . . . . . . . . . . . . . . . . . . . 385
Applying Procedurals . . . . . . . . . . . . . . . . . . . . 385
Skin Procedurals . . . . . . . . . . . . . . . . . . . . 385
Mouth Procedurals . . . . . . . . . . . . . . . . . . . 389
Clothes Procedurals . . . . . . . . . . . . . . . . . . 392
Shoe Procedurals . . . . . . . . . . . . . . . . . . . . 393
6.6 Image Maps . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Image Editing Software . . . . . . . . . . . . . . . . . . . 396
Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Image Size . . . . . . . . . . . . . . . . . . . . . . . 396
Images vs. Other Textures . . . . . . . . . . . . . . . 396
Image Formats . . . . . . . . . . . . . . . . . . . . . 397
Color Resolution . . . . . . . . . . . . . . . . . . . . 397
Previewing Image Maps. . . . . . . . . . . . . . . . . . . 397
Creating the Images . . . . . . . . . . . . . . . . . . . . . 397
Preparing the Images . . . . . . . . . . . . . . . . . . . . 400
Final Resolution . . . . . . . . . . . . . . . . . . . . 400
Preparing the Layers . . . . . . . . . . . . . . . . . . 401
Painting Textures . . . . . . . . . . . . . . . . . . . . . . 401
Layers . . . . . . . . . . . . . . . . . . . . . . . . . 402
Maintaining Consistency . . . . . . . . . . . . . . . . 402
Dealing with Seams. . . . . . . . . . . . . . . . . . . 403
Creating the Head Textures. . . . . . . . . . . . . . . . . 403
Painting the Color Map . . . . . . . . . . . . . . . . . 403
Applying the Color Map . . . . . . . . . . . . . . . . 406
Creating the Bump Map . . . . . . . . . . . . . . . . 407
Creating the Diffuse Map. . . . . . . . . . . . . . . . 411
Creating the Specular Map . . . . . . . . . . . . . . . 413
Creating the Nose Textures . . . . . . . . . . . . . . . . . 415
Painting the Alpha Map. . . . . . . . . . . . . . . . . 415
Painting the Color Map . . . . . . . . . . . . . . . . . 416
Applying the Color Map . . . . . . . . . . . . . . . . 417
Creating the Bump Map . . . . . . . . . . . . . . . . 419
Creating the Diffuse Map. . . . . . . . . . . . . . . . 420
Creating the Specular Map . . . . . . . . . . . . . . . 420
Creating the Glossiness Map. . . . . . . . . . . . . . 421
Creating the Ear Textures. . . . . . . . . . . . . . . . . . 423
Creating the Color Map. . . . . . . . . . . . . . . . . 423
Creating the Other Maps . . . . . . . . . . . . . . . . 424
Creating the Body Textures. . . . . . . . . . . . . . . . . 425
Creating the Arm and Leg Textures . . . . . . . . . . . . 426
Creating the Color Map. . . . . . . . . . . . . . . . . 426
Creating the Bump Map . . . . . . . . . . . . . . . . 429
Creating the Other Maps . . . . . . . . . . . . . . . . 430
Creating Asymmetrical Maps . . . . . . . . . . . . . 431
Creating the Hand and Foot Textures. . . . . . . . . . . . 433
Adjusting the Procedural Bump . . . . . . . . . . . . 434
Clothes Textures . . . . . . . . . . . . . . . . . . . . . . 437
Sock Textures. . . . . . . . . . . . . . . . . . . . . . 437
Shoe Textures . . . . . . . . . . . . . . . . . . . . . 439
Pants Textures . . . . . . . . . . . . . . . . . . . . . 440
Eye Texture . . . . . . . . . . . . . . . . . . . . . . . . . 441
Projected Textures . . . . . . . . . . . . . . . . . . . . . 442
Creating the Images . . . . . . . . . . . . . . . . . . 443
Shoe Textures . . . . . . . . . . . . . . . . . . . . . 443
Shirt Textures . . . . . . . . . . . . . . . . . . . . . 444
6.7 Final Texturing. . . . . . . . . . . . . . . . . . . . . . . . . 447
Converting the Images . . . . . . . . . . . . . . . . . . . 447
Final Adjustments . . . . . . . . . . . . . . . . . . . . . . 448
Lighting Tests . . . . . . . . . . . . . . . . . . . . . . . . 449
Low Light Test . . . . . . . . . . . . . . . . . . . . . 449
Bright Light Test . . . . . . . . . . . . . . . . . . . . 450
6.8 Render Test . . . . . . . . . . . . . . . . . . . . . . . . . . 452
QuickTime VR. . . . . . . . . . . . . . . . . . . . . . . . 452
Creating a QuickTime VR . . . . . . . . . . . . . . . . . . 453
6.9 Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . 456
Appendix . . . . . . . . . . . . . . . . . . . . . . . . 459
A.1 Character Creation Plug-ins. . . . . . . . . . . . . . . . . . 459
Free Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . 459
Combine Weightmaps . . . . . . . . . . . . . . . . . 459
UV Imaginator . . . . . . . . . . . . . . . . . . . . . 460
MSort . . . . . . . . . . . . . . . . . . . . . . . . . . 460
Commercial Plug-ins . . . . . . . . . . . . . . . . . . . . 461
Relativity . . . . . . . . . . . . . . . . . . . . . . . . 461
FPrime . . . . . . . . . . . . . . . . . . . . . . . . . 461
A.2 Auto Rigging Plug-ins . . . . . . . . . . . . . . . . . . . . . 461
Free Plug-ins . . . . . . . . . . . . . . . . . . . . . . . . 462
Simple Rigger. . . . . . . . . . . . . . . . . . . . . . 462
J Auto Rig . . . . . . . . . . . . . . . . . . . . . . . . 462
Commercial Plug-ins . . . . . . . . . . . . . . . . . . . . 462
Auto Character Setup 4. . . . . . . . . . . . . . . . . 462
T4D Rigging Tools . . . . . . . . . . . . . . . . . . . 463
A.3 Internet Resources . . . . . . . . . . . . . . . . . . . . . . 463
Lightwave Resources . . . . . . . . . . . . . . . . . . . . 463
Official LightWave 3D Web Site . . . . . . . . . . . . 463
SpinQuad . . . . . . . . . . . . . . . . . . . . . . . . 463
Flay . . . . . . . . . . . . . . . . . . . . . . . . . . . 463
LightWave Tutorials on the Web . . . . . . . . . . . . 464
Communities . . . . . . . . . . . . . . . . . . . . . . . . 464
LightWave 3D Mailing List . . . . . . . . . . . . . . . 464
SpinQuad Forums. . . . . . . . . . . . . . . . . . . . 464
LightWave Group Forums . . . . . . . . . . . . . . . 464
CGTalk . . . . . . . . . . . . . . . . . . . . . . . . . 464
Friends of NewTek . . . . . . . . . . . . . . . . . . . 464
Index . . . . . . . . . . . . . . . . . . . . . . . . . . . 465

Another Multimedia Books
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Flash 5 Cartooning

Synopsis:

Flash 5 Cartooning is a stunning, full color book that reveals scores of tips and techniques for building great cartoons, regardless of your artistic experience. Everything from cartooning fundamentals to advanced Flash techniques like ActionScripting and selling your work online More...
is covered here, in this unique guide to creating exciting Flash cartoons. Author Mark Clarkson dives deep into the key topics cartooners need to know, with an emphasis on things like interactivity, special visual and audio effects, timing (it's critical to a good joke, you know), cartoon physics, and more! A free companion CD-ROM is packed with sample cartoons from the book, additional cartooning material, and product tryouts.

Review:

Finally someone has written a book on animating in Flash. It's a wonder there aren't more like it. Flash 5 Cartooning covers the cartoon production cycle from a Flash artist's standpoint--drawing, writing, storyboarding, animating, and keyframes. Sounds like a book on More...
traditional animation, doesn't it? But everything is examined from a Flash perspective. When the book talks about drawing, it means drawing with a tablet. When it talks on keyframes and in-betweens, it is within Flash and not on paper that these issues are covered.

The book has two outstanding features: first, it's about making cartoons, not Flash. It just so happens that the tool of choice is Flash and the mode of distribution is the Web. Topics like scripting (writing a cartoon story, not computer scripting), storyboarding, layout, camera moves, and basic animation technique are well covered, as well as the Flash interface, how Flash works, how to compress media for faster downloading, basic HTML, and other Flash- and Web-specific topics.

The second great feature is the CD-ROM, which includes samples and material used in the chapters, but above all contains a digital version of the book. Not a stripped-down, bare-bones text version, but a full-color, searchable version. Having a material like this at one's fingertips on CD-ROM raises its usability rating through the roof.

Written in a clear, concise, and lighthearted voice, the book spans 15 chapters. Every page has a handful of screen shots, and every page is in full color. There were no shortcuts taken in either content or production value.

It's remarkable that there aren't more books like this. Sure, Flash is a great tool for all kinds of dynamic graphics and interactivity, but the Flash cartoon sites get a disproportionately high number of hits. Flash cartoons download fast, are often wonderfully creative, and in most cases carry a strong sense of the artist who created them. This is what Flash and the Web have created--a venue for independent animators. Maybe cartoons still aren't taken seriously and that's why so little has been published on the topic; regardless, Flash 5 Cartooning excels in its class, not because the genre is so nichey, but because it is simply a terrific book. --Mike Caputo

Judul: Flash 5 Cartooning: Planning, Drawing and Animating Your Won Cartoons.
Pengarang: Mark Clarkson
Penerbit: Hungry Minds, Inc.
Tebal: 231 halaman, full color

Mengapa Yogi Bear menggunakan dasi? Berapa gambar yang dibutuhkan untuk membuat walk cycle? Bagaimana menyelaraskan suara dan ekspresi mulut? Ini adalah jenis-jenis pertanyaan yang akan terjawab di dalam buku ini. Tidak seperti buku-buku Flash lainnya, di dalam buku ini pemahaman artistik dan teknis membuat animasi dibahas sedalam pembahasan teknis penggunaan software Flash sebagai perangkat pembuat animasi.

Flash sendiri dimulai sebagai software untuk membuat animasi cel (baca: kartun) bernama Future Splash. Dengan perangkat ini, dimungkinkan untuk membuat animasi dengan ukuran kecil untuk didistribusikan melalui Internet. Macromedia melihat potensi perangkat ini dan mengakuisisinya. Dengan kemampuan Macromedia di bidang multimedia, Flash kini dikembangkan menjadi perangkat multimedia interaktif, khususnya dengan fungsi action scripting.

Dalam buku dibahas bagaimana kita perlu menonton dan mempelajari animasi kartun sebelum mulai membuatnya. Dengan tool yang memang didesain untuk para kartunis, Flash memudahkan proses sketsa, penggambaran ulang dan pewarnaan. Dilanjutkan dengan pembahasan pembuatan skrip dan storyboad, diskusi melaju pada penggunaan library yang menyimpan objek-objek yang bisa didaur ulang agar file bisa tetap kecil. Di sini dimungkinkan membuat animasi yang sederhana seperti karya Hanna Barbera dengan membagi karakter menjadi objek-objek yang bisa dianimasikan secara parsial.

Setelah belajar merekam suara, pembahasan berlanjut pada teknik keyframing dan tweening yang berguna untuk membuat animatics (storyboard yang bergerak). Melalui pemahaman walk cycle dan facial animation, kita diajarkan menggunakan teknik sinematografi untuk membuat tampilan kamera yang lebih menarik.

Sesuai judulnya, buku ini berorientasi bagi para artis yang ingin menggunakan Flash sebagai perangkat membuat animasi. ActionScript hanya dibahas sedikit sesuai relevansinya di dalam membuat animasi yang interaktif. Di bagian akhir, diskusi dikonsentrasikan pada pembuatan movie dan distribusi animasi melalui Internet.

Secara umum, buku ini adalah buku kartun yang menggunakan Flash sebagai perangkat dan sesuai untuk mereka yang ingin serius membuat animasi kartun dan mendistribusikannya melalui Internet.

Another Multimedia Books
Download

Adobe Premiere Elements 9 Classroom in a Book

Description

Adobe Premiere Elements 9 Classroom in a Book is the fastest, easiest, most comprehensive way to learn Adobe's consumer-targeted video editing software. Each of the 13 chapters in this step-by-step, project-based guide contains a project that builds on your growing knowledge of the program, while end-of-chapter review questions reinforce each lesson.

This new cross-platform (Mac and Windows) version of the book teaches the basics of video editing, along with complete coverage of all-new features in Premiere Elements 9 now with an enhanced workspace for increased efficiency and better user experience. In this new version you'll learn how to imprt media from a variety of devices including mobile phones, embed your movie clips within web pages, use the new Cartoon effect to create cartoon-like movies from your live-motion movie clips, add a variety of new audio effects, fix shaky footage and color and lighting problems with SmartFix, automatically remove unwanted footage with Smart Trim, add graphics that follow the action of your footage, and much more.

About the Authors

The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. They work closely with the Adobe product development teams and Adobe's Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and experienced users get up to speed quickly on Adobe software products.

CONTENTS
GETTING STARTED 1
About Classroom in a Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Prerequisites . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
Installing Premiere Elements 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
Copying the Classroom in a Book Files . . . . . . . . . . . . . . . . . . . . . . . 3
Additional Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4
1 THE WORLD OF DIGITAL VIDEO 6
How Adobe Premiere Elements Fits into
Video Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
The Adobe Premiere Elements Workspace . . . . . . . . . . . . . . . . . . . 8
Working in the Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
Working with Photoshop.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23
2 GETTING READY TO EDIT 24
Setting Up a New Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
Diagnosing Settings-related Issues . . . . . . . . . . . . . . . . . . . . . . . . . 27
Working with Project Preferences . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Customizing the Workspace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
3 VIDEO CAPTURE AND IMPRT 36
Capturing Video with Premiere Elements . . . . . . . . . . . . . . . . . . . 38
Capture Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Capturing Tape-based or Live Video . . . . . . . . . . . . . . . . . . . . . . . . 40
Capturing with the Capture Panel . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Using the Video Imprter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Imprting Content from Your Hard Drive . . . . . . . . . . . . . . . . . . . 53
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54
4 ORGANIZING YOUR CONTENT 56
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58
Viewing the Completed Movie Before You Start . . . . . . . . . . . . . 58
Working in the Organize Workspace . . . . . . . . . . . . . . . . . . . . . . . . 59
Finding Clips in Media View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Tagging in the Organizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64
Working with Project View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
5 EDITING VIDEO 84
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Viewing the Completed Movie Before You Start . . . . . . . . . . . . . 86
Working with the Monitor Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Working with the My Project Panel in the Sceneline . . . . . . . . . 90
Using the Split Clip Tool in the Sceneline. . . . . . . . . . . . . . . . . . . . 96
Working with the My Project Panel in the Timeline . . . . . . . . . . 97
Editing in the Timeline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100
Using the Split Clip Tool in the Timeline . . . . . . . . . . . . . . . . . . . . 103
Working in Smart Trim Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . .110
6 WORKING WITH EFFECTS 112




Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Viewing the Completed Movie Before You Start . . . . . . . . . . . .114
Using Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .114
Working with SmartFix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Perfecting Your Clips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Changing Playback Speed . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130
Working with Keyframes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Using Keyframes to Animate Effects . . . . . . . . . . . . . . . . . . . . . . . 137
Copying Effects from One Clip to Another . . . . . . . . . . . . . . . . .139
Creating a Picture-in-Picture Overlay . . . . . . . . . . . . . . . . . . . . . .140
Compositing Two Clips Using Videomerge . . . . . . . . . . . . . . . . . 141
Changing Speed Using the Time Stretch Tool . . . . . . . . . . . . . . 143
Working with Motion Tracking . . . . . . . . . . . . . . . . . . . . . . . . . . . .144
Working with Effect Masking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146
Exploring on Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . .148
7 CREATING TRANSITIONS 150
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Viewing the Completed Movie Before You Start . . . . . . . . . . . . 152
Working with Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152
Exploring on Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .168
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . .169
8 TITLES AND CREDITS 170
Working with Titles and Title-editing Mode . . . . . . . . . . . . . . . . 172
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172
Viewing the Completed Movie Before You Start . . . . . . . . . . . . 172
Creating a Simple Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173
Modifying Text. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175
Superimposing a Title over Video Clips . . . . . . . . . . . . . . . . . . . . 185
Creating a Rolling Credit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189
Using Title Templates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191
Exploring on Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193
9 WORKING WITH SOUND 194
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196
Viewing the Completed Movie for the First Exercise . . . . . . . . 196
Creating Background Music with SmartSound . . . . . . . . . . . . . 197
Adding Narration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200
Adjusting Project Volume with SmartMix . . . . . . . . . . . . . . . . . . 202
Adjusting the Volume of an Audio Track . . . . . . . . . . . . . . . . . . .204
Exploring on Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
10 WORKING WITH MOVIE THEMES 216
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .218
Viewing the Completed Movie Before You Start . . . . . . . . . . . .218
About Movie Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .218
Exploring on Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223
11 CREATING MENUS 224
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Understanding DVDs and Blu-ray Discs . . . . . . . . . . . . . . . . . . . . 227
Manually Adding Scene Markers . . . . . . . . . . . . . . . . . . . . . . . . . .229
Creating an Auto-play Disc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231
Automatically Generating Scene Markers . . . . . . . . . . . . . . . . . . 232
Creating a Disc with Menus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .234
Modifying Scene Marker Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . 237
Working with Submenus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
Customizing Menus in Properties View . . . . . . . . . . . . . . . . . . . .244
Customizing Menus with Video, Still Images,
and Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Animating Buttons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .249
Changing Menu Button Text Properties . . . . . . . . . . . . . . . . . . . . 252
Creating Web DVDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Burning DVDs or Blu-ray Discs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
12 SHARING MOVIES 262
Sharing and Exporting Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .264
Viewing the Completed Movie for the First Exercise . . . . . . . . 265
Uploading to YouTube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Uploading to Photoshop.com . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Sharing on Your Personal Computer . . . . . . . . . . . . . . . . . . . . . . . 271
Exporting to Mobile Phones and Players . . . . . . . . . . . . . . . . . . . 276
Preparing to Export to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277
Exporting to Tape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .279
Exporting a Frame of Video as a Still Image . . . . . . . . . . . . . . . . 281
Review questions and answers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
13 WORKING WITH PHOTOSHOP ELEMENTS 284
Viewing the Completed Movie Before You Start . . . . . . . . . . . . 286
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286
Using the Edit Videos Command in
Photoshop Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .288
Loading an Album from Photoshop Elements. ..........................291
Creating a New Photoshop File Optimized for Video . ............293
Customizing a Title in Photoshop Elements . ..............................294
Editing a Photoshop Image in Premiere Elements . ..................300
Review questions and answers . ......................................................303
INDEX 304

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Apple Pro Training Series: Shake 4: Professional Compositing and Visual Effects

By Marco Paolini
Publisher: Peachpit Press
Pub Date: October 25, 2005
ISBN: 0-321-25609-3
Pages: 480

Talk about making an impact: Apple's Shake compositing and visual effects software has been used in every Academy Award-winning film for visual effects since its debut. It's no wonder that trained Shake artists are in high demand, and there's nowhere better to begin getting that training than with this fully updated (for Shake 4) and comprehensive Apple-approved guide (which includes a free 30-day trial version of this multi-thousand dollar software) Using step-by-step, hands-on instruction, Hollywood effects wizard Marco Paolini takes you through Shake's interface and features, including its color correction tools, tracking and stabilization capabilities, integrated procedural paint, powerful new floating point technology, advanced keyframing, blue and green screen techniques, rotoscoping tools, and more. As with the other titles in the Apple Pro Training series each chapter in this guide represents a complete lesson, with a project to complete, a review section, and bonus exercises to help test what you've learned. The accompanying DVD includes the lesson files needed to complete the book's projects. You can work through the book from cover to cover to get an entire course or you can go straight to the lessons that interest you most. Either way, you'll find the coverage you need to confront even the most daunting compositing and effects tasks with Shake.


Copyright
Acknowledgments
Getting Started
About Apple Pro Training Series
System Requirements
Installing Shake
Copying the Shake Lesson Files
Resources
Apple Pro Certification
Lesson 1. The Shake Workflow
Interface Workflow
The Shake Interface
Imprting Images and Sequences
Using the Viewer
Lesson Review
Lesson 2. Basic Compositing
Understanding Process Trees
Creating a Simple Tree
Creating a Drop Shadow
Rendering Your Tree
Lesson Review
Lesson 3. Intermediate Compositing
From Robot to Robzilla
Creating a Drop Shadow from Scratch
Animating over Time
Applying the Finishing Touches
Lesson Review
Lesson 4. RotoShape
Add Shapes vs. Edit Shapes
Creating and Modifying Shapes
Knot Modes
Right Mouse Controls
Roto Tips
Creating a Rotoshape
Integrating Rotoshapes into the Composite
Miscellaneous RotoShape Viewer Controls
Lesson Review
Lesson 5. Color Correction
Basic Color-Correction Tools
Using PlotScanline to Understand Color Corrections
Concatenation
Color Matching Using Channel Isolation
Color Matching Using ColorMatch
The ColorCorrect Node
Lesson Review
Lesson 6. QuickPaint
Setting Resolution
Edit vs. Paint Mode
Using the Brushes
Choosing a Color
Modifying Strokes
Understanding Stroke Modes
Converting Strokes
Creating a Write-On Effect
Painting in Perspective
Dustbusting and Rotoscoping
Lesson Review
Lesson 7. Tracking
One-Point Tracking with MatchMove
One-Point Tracking with Stabilization
Applying Four-Point Tracking
Making Tracker Adjustments
Lesson Review
Lesson 8. Film Compositing
Film Resolution Files
Proxies
The Bullet Composite
Rendering Full Resolution
Lesson Review
Lesson 9. Video/Audio
Video Fields
Remastering Media in the FileIn Node
Miscellaneous Video Functions
Audio
Lesson Review
Lesson 10. Keying
Understanding Primatte
Adding a Reflection
Lesson Review
Lesson 11. MultiPlane Compositing
FileIn the Source Material
Preparing the Elements
Taking a Tour of MultiPlane
Hooking Up the MultiPlane Node
Creating the MultiPlane Composite
Lesson Review
Lesson 12. Advanced Compositing
FileIn the Source Material
Creating a Macro
Create a Flickering Neon Light
MultiPlane and 3D Tracking Data
Lesson Review
Lesson 13. Warping
FileIn the Source Material
The Old Stabilize/Destabilize Trick
Key the Scarf
Compositing Outside Keylight
Warping the Scarf
Color-Correcting the Scarf
Destabilizing the Composite
Lesson Review
Lesson 14. The Command Line
Shake in the Command Line
Command-Line Compositing, in Depth
Lesson Review
Final Cut Studio Workflows
Inside Back Cover
The Apple Pro Training Series
Glossary


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DVD Studio Pro 4 The Complete Guide to DVD Authoring with Macintosh

CONTENTS
Foreword xxxv
Preface xxxvii
Acknowledgments xxxvix
DVD Studio Pro 4 xli
Introduction xliii
Chapter 1 What Is a DVD? 1
Goals 2
What Is a DVD, Anyway? 2
What Is an HD DVD?—What Is a Blu-ray Disc? 2
What Makes Up a DVD? 2
How DVDs Work 3
One Finite Limit to Your DVD’s Size 4
Making a DVD Play Back 4
The Remote Control Is the Key to DVD Navigation 4
Transport Controls 4
Presentation Options 4
Menu Navigation Arrows, and Enter Key 5
Navigating to and from Menus: Using
TITLE, MENU; RETURN 5
Using the Remote Control or Mouse for DVD
Navigation 6
DVD Disc Sizes (How Much Video Will My
Disc Hold?) 7
Single-Sided Discs 7
Double-Sided Discs 8
Mini-DVDs 8
A Quick Note about Recording Your Own DVDs 8
Making DVD Discs with Data—DVD-ROM,
DVD-Hybrids 8
What DVD Formats Are Available? 9
DVD’s Logical Formats 9
DVD’s Physical Formats 9
Burning to DVD-R (A) 10
DVD-R (A) 11
DVD-R (G) 11
DVD-RW 11
DVD+R 11
DVD+RW 11
DVD+R DL 11
DVD-RAM 12
Disc Size—Gigabytes (GB) versus Billions (BB) 12
DVD Workflow 13
1—Plan the Project, then Acquire the
Assets You Need 14
2—Encode the Video 14
3—Author the Project 15
4—Build the Project 15
5—Deliver the Project—Burn a DVD
or Write a DLT 15
Today’s Workflow Is Different 16
OK, I’m Going to Replicate—What Now? 16
How Do I Plan My DVD? 17
Helpful Data for Use While Calculating
a Bit Budget 17
Significance of Encode Rates 18
What Is HD DVD and Blu-ray Disc? 18
First on the Block for HD DVD Authoring 19
NTSC for HD DVD 19
PAL for HD DVD 19
Some Notes on How This Book Is Arranged 20
Summary 21
Chapter 2 What Is DVD Studio Pro 4? 23
Goals 24
Using Earlier DVD Studio Pro Projects in DVD
Studio Pro 4 24
What Is DVD Studio Pro 4? 24
What’s New in DVD Studio Pro 4? 25
New!—HD DVD Authoring—First in the World! 25
New!—24P Compatibility 25
New!—VTS Editor in the User Interface 26
New!—Templates for HD 26
New!—Integrated Encoding for HD MPEG2 26
New!—Integrated Encoding for AC3 in
Compressor 2 26
New!—Dual-Layer Burning Support (Sans
Hassles) 26
New!—Support for Blue Laser Burners 26
New!—Simulation to Digital Cinema Desktop 26
New!—Simulation to an External Video
Monitor 26
New!—Support for the DTS 6.1 Audio Format 27
New!—Simulation to an External Audio
Monitor 27
New!—GPRM Partitioning for Scripting 27
New!—Dual-Layer Breakpoints Can Be
Set in the DVD-ROM Zone 27
New!—Better Access to Menu Loop Points 27
Getting Started with DVD Studio Pro 4 27
Which Applications Are Installed 28
Documentation Files Installed 28
Extras Installed 28
Templates, Shapes, Patches, Fonts 28
Launching DVD Studio Pro 4 for the First Time 29
Setting the Default Configuration 29
Getting Acquainted with Your Options 29
Establishing Project Basics 30
DVD Studio Pro 4 Preferences 32
Project Preferences 32
General Preferences 33
Menu Preferences 35
Track Preferences 36
Alignment Preferences 38
Text Preferences 39
Colors Preferences 40
Simulator Preferences 41
Destinations Preferences 42
Encoding Preferences 44
Summary 46
Chapter 3 The Workspace 47
Goals 48
The DVD Studio Pro 4 Workspace 49
Using the Interface Configurations 49
Sizing the Main Window for Best Effectiveness 49
The Basic Configuration 50
The Extended Configuration 50
The Advanced Configuration 51
The Inspector 52
Showing and Hiding the Inspector 52
The Palette 53
Showing and Hiding the Palette 53
Using Windows, Quadrants, and Tabs 54
Reducing or Enlarging the Main Window Size 54
Quadrants Divide the Main Window 54
Resizing Window Halves 54
Resizing All Quadrants Simultaneously 55
Resizing Quadrants Independently of
Each Other 55
Unlinking the Quadrants from Each Other 55
Dragging an “Unlinked” Quadrant Boundary 56
Hiding and Revealing Quadrants 56
Dragging to Hide a Visible Quadrant 56
Dragging to Reveal a Hidden Quadrant 57
Unlinking One Boundary Doesn’t Unlink
the Other! 58
Dragging “Linked” Quadrants 58
Re-Linking the “Unlinked” Boundaries—
Returning to Normal 59
Moving Tabs around in the Workspace 59
Moving Tabs between Quadrants
by Dragging 59
Moving Tabs between Quadrants
Using Control-Click 60
Turning Tabs into Freestanding Windows 60
Tearing Off Tabs to Become Windows 60
Restoring a Torn-Off Tab to a Quadrant 60
Using Keyboard Shortcuts to Select/Display
Tabs/Windows 61
Using the Window Buttons—Close, Minimize,
Maximize 61
Using Workspace Configurations 62
Managing Configurations 62
Recalling Workspace Configurations Quickly 62
The Palette—A Virtual Media Browser 63
Templates, Styles, and Shapes 63
Video, Audio, and Stills 64
Palette Default Entries Are Tied to
the Current User 65
Adding Your Own Elements in the Palette,
or Removing Them 65
Changing the Size of the Thumbnail Images 66
Palette Entries Stay in the Palette 66
The Video Tab 66
Using Movie Files in Your DVD 67
The Audio Tab 67
Using Music and Sound Files in Your DVD 67
Creating Dolby Digital (AC3) Files 67
The Stills Tab 68
What Kind of Graphics Stills Can You Use? 68
Organizing Assets Using the Palette 68
Configurations 68
The Basic Configuration Close-Up 68
The Menu Editor Window 69
The Toolbar 70
More about The Toolbar 71
Customizing the Toolbar 72
Adding Tools to the Toolbar (or Removing
Them) 72
Moving Tools around in the Toolbar 73
Saving the Toolbar Configuration 74
Extra Menu Editor Tools 75
Context-Sensitive Drop Palettes 76
Hey! The Graphical View Window Is BACK! 76
Workspace Tabs Close-Up 78
The Outline Tab 79
Adding New Elements to the Outline 79
The Story Tab 80
Adding a New Story 81
The Menu Tab 81
The Connections Tab 81
The Viewer Tab 82
The Assets Tab 83
The Log Tab 84
The Track Tab 84
The Slideshow Tab 84
The Script Tab 85
About the Inspectors 86
To Select a Project Element for Inspection 87
To Select a Project Asset for Inspection 88
Summary 89
Chapter 4 Assets 91
Goals 92
What Are Assets? 92
What Kind of Assets Are There? 92
Video Assets 92
Using Video Files as DVD Assets 93
Audio Assets 94
About Audio Files 94
Still Assets 94
Subtitle Assets 95
Other Assets—Hybrid (DVD-ROM)
Deliverable Files 95
Organizing Your Assets 96
Organizing Assets in Folders before
Imprting 96
Organizing Assets Using the Palette 96
The Assets Tab 96
Where Do the Assets Go? 97
Creating a New Folder within the Assets Tab 98
Adding Assets to the Assets Tab 98
To Add Assets Using an Imort Command 98
Initiating the Asset Imort 99
Adding Assets by Drag and Drop 99
Iporting Files or Folders by Drag-and-Drop 99
How DVD Studio Pro Organizes Assets 100
Checking mported Asset Files for Usability 100
What Does Imorting Really Do? 100
Locating an Asset File in the Finder 100
Seeing More Details in the Assets Tab 101
Displaying More Data in the Assets Tab 101
Missing Assets… 102
Fixing Missing Assets 102
Relinking One Missing Asset File 103
Relinking an Entire Folder, or More
than One File 103
Asset File Properties 103
Removing a File or Folder 104
To Remove a Folder or File from
the Assets Tab 104
Adding Assets by Dragging Directly
into Elements 104
Dragging an Asset into the Track Editor 105
Dragging an Asset into the Slideshow Editor 105
Summary 106
Chapter 5 Making Video 107
Goals 108
Before You Author, You Need Video Content 109
Before You Author, Do You Have to Encode? 109
MPEG-1, MPEG-2, MPEG-4—What Video
Can I Use? 109
Elementary Streams, My Dear Watson 110
About Encoding 110
Hardware Encoders 110
Which Encoding Approach to Use? 110
Software Encoders 111
Software Encoding Options 111
Compressor 2 112
NTSC-to-PAL and PAL-to-NTSC Conversions
Now Possible 113
Qmaster for Distributed Encoding 113
DVD Studio Pro 4 Onboard MPEG-2 Encoder 115
Final Cut Pro—Export to MPEG-2 115
QuickTime Pro Player 115
Hardware Encoder Options 116
About MPEG-2 117
There’s a Lot of Data in That Tiny MPEG File 118
Image Enhancement before or during Encoding 119
Some Hints for Successful MPEG Encoding 119
Encoding for DVD in Apple’s World 121
Prepping for Export from Final Cut Pro 121
Choice of Video Resolution 122
Rendering 122
Setting In and Out Times 122
Setting DVD Markers in Final Cut Pro 122
Know Your Marker Types 122
Compression Markers 123
Chapter Markers 123
Exporting into MPEG-2 from Final Cut
Pro Using Compressor 124
Using Compressor to Encode (Quick Start) 124
Encoding Using DVD Studio Pro’s Onboard
MPEG Encoder 127
Creating an MPEG-2 File Using DVD
Studio Pro’s Encoder 127
Encode Status Indicators 128
Exporting from Final Cut Pro Using QuickTime 128
Exporting Requires QuickTime “Export
Components” 128
MPEG Encoding in the QuickTime Player 129
Setting up the QuickTime MPEG Encoder
“Video” Options 130
What Happens during MPEG Encoding 132
Face to Face with GOPs—the MPEG
“Group Of Pictures” 133
GOP? 133
Results of the MPEG Encode 133
QuickTime MPEG-2 Encoder Performance
Benchmarks 133
Using QuickTime MPEG-2 Encoding in OS 9 134
Alternative Encoders 135
Using a DVD Recorder as an Encoder 135
Summary 137
Chapter 6 Preparing Audio Assets 139
Goals 140
What Audio Formats Can I Use with
DVD Studio Pro? 140
PCM FILES 140
AIFF FILES (Audio Interchange File Format) 140
.WAV FILES 141
Dolby Digital (AC-3) 141
Dolby Surround (4-ch L, C, R, S)
[AC-3-encoded] 142
MPEG Audio (“.MPA”) 143
DTS (supported since DVD Studio Pro 3.02) 143
Audio Formats Upcoming for HD DVD and BD 144
What Audio Format Should I Use for My DVD? 144
How to Create AIFF Audio Files (in General) 145
How to Create an AIFF File Using
Final Cut Pro 145
How to Create an AIFF File Using iMovie 146
Encoding AC-3 Audio Streams Using A.Pack 147
About the A.Pack Batch List 148
What Is A.Pack? 148
Why Use Dolby Digital? 148
A.Pack Quick Encode Guide for Stereo Files 148
Preparing to use A.Pack 149
Using the A.Pack Instant Encoder 149
In the Audio Tab 149
In the Bitstream Tab 150
In the Preprocessing Tab 150
The File Grid (Input Channels) 150
Loading the File Grid 150
Settings Preferences in the Audio Tab
(in Detail) 150
Setting the Target System 150
Setting the Audio Coding Mode 151
Setting the Data Rate (the All-Imortant
Encode Rate) 151
Setting the Dialog Normalization Setting 152
Setting the Bit Stream Mode Parameter 152
Settings in the Bitstream Tab (in Detail) 153
Settings in the Preprocessing Tab 155
Setting the Compression Factor 155
Setting the RF Overmodulation Protection 155
Setting the Digital Deemphasis Parameter 156
Setting the Low-Pass Filter (for Full
Bandwidth Channels) 156
Setting the DC Filter (for Full BW Channels) 157
Setting the Low-Pass Filter (for
LFE Channel) 157
Setting the Surround Phase Shift 157
Setting the 3 dB Attenuation in Surround
Channels 158
Using the A.Pack Batch List 158
Setting the A.Pack Batch List Encode
Job Settings 161
Monitoring Your Dolby Digital Encodes 161
The Log Window 162
Encoding AC-3 Audio Streams Using
Compressor 2 163
What Is Compressor 2? 163
Why Use Compressor 2 and Dolby Digital? 163
About the Compressor 2 Batch List 163
Launching Compressor 2 163
Using Compressor 2 for Encoding Stereo Files 164
Loading Stereo Files 164
Selecting an Encode Format Preset 164
Set Destination and Output Filename 165
Using the Inspector for a Closer Look 166
Verifying the Encode Preset Settings 166
Submitting the Job for Encoding 167
Using Compressor 2 for Surround Sound
Encoding 167
Loading a Surround Sound Group 168
Loading the File Grid 171
Dolby Encoding Preferences Outlined in Detail 171
Dolby Preferences in the Audio Tab 171
Setting the Target System 171
Setting the Audio Coding Mode 172
Verify the Sample Rate of the Source File(s) 173
Setting the Data Rate (the All-mportant
Encode Rate) 17
Setting the Dialog Normalization Setting 173
Setting the Bit Stream Mode Parameter 174
Settings in the Bitstream Tab (in Detail) 174
Settings in the Preprocessing Tab (in Detail) 176
Setting the Compression Factor 176
Setting the RF Overmodulation Protection 177
Setting the Digital Deemphasis Parameter 177
Setting the Low-Pass Filter
(for LFE Channel) 178
Setting the Low-Pass Filter (for Full
Bandwidth Channels) 178
Setting the DC Filter (for Full Bandwidth
Channels) 178
Setting the Surround Phase Shift 179
Setting the 3 dB Attenuation in Surround
Channels 179
Encoding DTS Streams for DVD 179
A Simple Overview of the DTS Process 180
Preparing Files for Packing 180
Encoding a DTS Packed File into a DTS
Bitstream 180
Summary 182
Chapter 7 Authoring Tracks 183
Goals 184
Authoring Tracks 184
What Is a Track? 184
Track Structure and Limits 185
How Many Tracks Do I Need for My DVD? 185
I’m Not Sure How to Structure My DVD (Yet) 186
Playing Video Clips Individually 186
Playing Video Clips Sequentially 186
Playing Video Clips Sequentially and
Individually 187
When Can a “Nonseamless” Transition Look
“Seamless”? 188
Tracks and Chapters and Stories 188
Working with Tracks 189
The Track Editor 189
The Track Inspector 189
You Need Separate Video and Audio
for DVD Authoring 189
Creating a Track—(Track Editor Basics) 189
What Do I Need to Create a Track? 189
Creating a Track without an Asset 189
Adding a Video Asset to an Empty Track 190
Find Matching Audio for a Video Asset
Automatically 192
Adding Audio Streams by Hand 193
Adding AC-3 Audio Streams 193
Some Assets to Practice With 193
What about Markers? 193
Can I Still Use the Track Inspector to
Set the Video Asset? 194
Creating a Track with an Asset Automatically 194
Adding Additional Clips to a Track 196
Duplicating Clips in a Track 196
You Can Author with Movie Files as
Well as MPEG Streams 197
Creating a Track Using the Menu Editor 197
You Don’t Need a Menu to Make a DVD… 198
Using the Track Editor 198
About the Track Tab Controls 198
Stream Areas 199
Organizing the Stream Display 200
Customizing the Stream Area Display 200
More Track Display Selection Tools 202
How the Timeline Works—Zero-Based versus
Asset-Based TC 204
Trimming Assets in the Timeline 204
Why Trim an Asset Stream? 205
Trimming Streams Using the Asset Inspector 205
Track Inspectors 206
The Track Inspector General Tab 207
Playback Options 207
The Track Inspector Other Tab 208
The Track Inspector User Operations Tab 208
The Transition Inspector 209
The Clip Inspector—Viewing Clip Properties 210
Clip Conflicts 211
About DVD Data Rates 212
About Multi-Angle Tracks (and Mixed-Angle
Tracks, Too) 213
About Mixed-Angle Tracks 214
Previewing a Track in the Viewer 214
Controlling the Viewer 215
Keyboard Commands for Viewer Controls 215
Configuring Streams for Preview 215
Previewing Angles 216
How Angle Playback Works in Viewer 216
How the Playhead Works 216
The Viewer Is for Quick Checks Only… 217
How to Make Your Tracks Do More 217
Summary 218
Chapter 8 Creating Markers and Stories 219
Goals 220
About Markers 220
What Is a Marker? 220
Markers as Chapters 220
Markers for Buttons over Video 220
Marker for a Dual-Layer Breakpoint 221
Markers for DVD@ccess Functions 221
Markers to Define Story Segments 221
Creating Markers in Tracks 221
About Marker Locations 221
Defining Markers in Tracks with
Multiple Clips 223
mporting Markers 224
Impoting Markers from a Text File 224
About Marker Types 225
Chapter Markers (Purple) 225
Button Highlight Markers (Orange) 225
Dual-Layer Break Markers (the Black Dot) 225
Cell Markers (Green) 226
About the Marker Inspector 226
Top Area 226
More about Marker Names 226
Marker Inspector General Tab 226
Marker Inspector User Operations Tab 228
Previewing Markers 228
Some Imortant Marker Do’s and Don’ts 228
Interactive Markers (Buttons over Video) 229
About Stories 229
How Do Stories Work? 229
Creating Stories 230
The Story Editor Tab 231
Using the Story Editor to Define the Story
Segments 231
To Add a Story Marker 231
To Move an Existing Story Marker 232
To Delete a Story Marker 232
To Reassign the Track Marker Assigned
to a Story Marker 232
To Complete the Story Definition 232
Defining the Story by Defining the
Marker Order 233
About the Story Inspector 233
Top Area 233
To Rename the New Story 233
To Redefine the Story’s End Jump Action 233
General Tab 233
The User Operations Tab 234
Setting Story Marker Properties 234
Summary 236
Markers 236
Stories 236
Chapter 9 Authoring Menus 237
Goals 238
About DVD Menus 238
About DVD Studio Pro’s Menu Editor 239
Menu Creative Functions Are Built-in 239
What the New Menu Editor Can Do 239
Round-Trip Links to Outside Editors 239
DVD Menu Basics 240
Understanding Menus in General 240
Understanding Button “States” in Menus 241
What Constitutes a “Standard Method” Menu? 241
Stillframe Menus 242
Stillframe Menus with Audio 242
Motion Menus 243
Adding a Subpicture Overlay 243
About the Subpicture Overlay File 243
About Color Settings 243
Layered Menus 244
Pros and Cons of Layered Menus 244
Common Factors 244
About the Menu Editor 244
Menu Editor Pop-Up Menus 245
Menu Editor Settings: Pop-Up 245
Menu Editor Bottom Tools 245
Getting Started with Menus 247
Adding a Standard Menu 247
Adding a Layered Menu 247
Adding Submenus 248
Renaming Menus 248
Editing a Menu 248
Adding Assets to Menus 249
Drop Palettes for Drag-and-Drop Menu Editing 249
How the Drop Palettes Work 249
Adding a Menu Template from the Palette 250
About the Menu Inspector 250
The Menu Inspector Top Area 250
The Menu Inspector General Tab 250
Standard Menu Inspector General Tab
Settings 251
Layered Menu Inspector General Tab
Settings 252
Layered Menu Inspector Settings 253
Background and Overlay Layer Settings
(for PSDs) 254
The Menu Inspector Menu Tab 254
Menu Tab Functions 254
Background Layers 255
Drop Shadow Settings 255
The Menu Inspector Transition Tab 255
The Menu Inspector Color Settings Tab 255
Simple Overlay Colors versus Advanced
Overlay Colors 256
Simple Overlay Colors 256
Advanced Colors (Grayscale) 257
Advanced Colors (Chroma) 258
The Menu Inspector Advanced Tab 259
The Simple Steps to a Standard Menu
(Still or Motion Menu) 260
The Simple Steps to a Layered Menu 261
Adding a Background Picture to a
Standard Menu 261
Using the Menu Editor to Create Buttons 262
Creating a Button 262
Moving and Aligning a Button 262
Resizing a Button 263
Adding More Menu Buttons by
Drawing Them 264
Adding More Menu Buttons by
Duplicating Them 264
Naming and Renaming Menu Buttons 265
Creating Simple Menu Highlights without
Subpicture Overlays 265
Setting the Button’s Highlights Using
“Overlay Colors: Simple” 265
Help! I Can’t See the Selected and
Activated Highlights 266
Using Color Set 2 and 3 267
Creating Menu Highlights with Subpicture
Overlays 267
Defining the “Subpicture Overlay” 267
How Does the Subpicture Overlay Work? 267
Assembling a Menu with a Subpicture
Overlay 268
Specifying the Subpicture Overlay File
in the Inspector 269
Specifying the Background Picture by
Dragging 269
Specifying the Subpicture Overlay File
by Dragging 269
Summary of Simple Menu Subpicture
Highlights 270
Creating Layered Menu Highlights with
Photoshop Layers 271
Displaying the Normal State Using the
Menu Background 271
Displaying the Normal State Using Layers 271
Displaying the Selected State Using Layers 272
Displaying the Activated State Using Layers 272
Assigning Highlight States Using Layers 273
Previewing Button Highlight States 273
Examples of Stillframe DVD Menus 273
Making Connections to Buttons 274
Making Connections Using the Button
Inspector 274
Working with Templates 275
Summaries of Dragging Assets and Elements
into a Menu 275
Dragging Assets and Elements into a
Standard Menu 276
Dragging Assets to a Standard Menu’s
Empty Area 276
Dragging a Video Asset to the Empty Area 276
Dragging Multiple Video Assets to the
Empty Area 276
Dragging a Still Asset to the Empty Area 277
Dragging Multiple Stills (or a Folder) to
the Empty Area 277
Dragging a Layered Still Image (.PSD) to
the Empty Area 277
Dragging an Audio Asset to the
Empty Area 278
Dragging a Video Asset with Audio to
the Empty Area 278
Dragging Assets to a Standard Menu Button 279
Dragging a Video Asset to a Standard
Menu Button 279
Dragging a Still Image to a Standard
Menu Button 279
Dragging Multiple Stills (or a Folder) to a
Standard Menu Button 280
Dragging a Video Asset with Audio to a
Standard Menu Button 280
Dragging Assets to a Standard Menu’s
Drop Zone 280
Dragging a Video Asset to a Drop Zone 280
Dragging a Still Image to a Drop Zone 281
Dragging Project Elements to Standard
Menus 281
Dragging a Track to the Empty Area 281
Dragging Multiple Tracks to the Empty Area 281
Dragging a Story to the Empty Area 281
Dragging Multiple Stories to the Empty Area 282
Dragging a Slideshow to the Empty Area 282
Dragging Multiple Slideshows to the
Empty Area 282
Dragging a Menu to the Empty Area 282
Dragging a Script to the Empty Area 282
Dragging Project Elements to a Standard
Menu Button 283
Dragging a Track to a Button 283
Dragging a Story to a Button 283
Dragging a Slideshow to a Button 283
Dragging a Menu to a Button 284
Dragging a Script to a Button 284
Dragging Templates and Styles to
Standard Menus 284
Dragging a Shape to the Empty Area 284
Dragging a Shape to a Button or Drop Zone 284
Dragging a Template to the Empty Area 285
Dragging a Template to a Button 285
Dragging a Button Style to the Empty Area 285
Dragging a Button Style to a Button 286
Dragging a Text Style to the Empty Area 286
Dragging a Text Style to a Text Object 286
Dragging a Drop Zone Style to the
Empty Area 286
Dragging a Drop Zone Style to a Drop Zone 287
Dragging a Layout Style to the Menu Editor 287
Dragging Assets to Layered Menus 287
Dragging a Video Asset with Audio to a
Layered Menu’s Empty Area 288
Dragging a Single-Layer Still Image to
a Layered Menu’s Empty Area 288
Dragging a Layered Still Image (.PSD)
to a Layered Menu’s Empty Area 288
Dragging Multiple Stills (or a Folder)
to a Layered Menu’s Empty Area 289
Dragging a Track to a Layered Menu’s
Empty Area 289
Dragging a Story to a Layered Menu’s
Empty Area 289
Dragging a Slideshow to a Layered
Menu’s Empty Area 289
Dragging a Menu to a Layered Menu’s
Empty Area 290
Dragging a Script to a Layered Menu’s
Empty Area 290
Dragging Assets to a Layered Menu Button 290
Dragging a Video Asset to a Layered
Menu Button 290
Dragging a Video Asset with Audio to a
Layered Menu’s Button 290
Dragging a Single-Layer Still Image to a
Layered Menu’s Button 291
Dragging a Layered Still Image to a
Layered Menu’s Button 291
Dragging Multiple Stills (or a Folder) to
a Layered Menu’s Button 291
Dragging Project Elements to a Layered
Menu Button 291
Dragging a Track to a Layered Menu Button 291
Dragging a Story to a Layered Menu Button 292
Dragging a Slideshow to a Layered Menu
Button 292
Dragging a Menu to a Layered Menu Button 292
Dragging a Script to a Layered Menu Button 292
Summary 293
Chapter 10 Authoring Slideshows 295
Goals 296
Slideshow Basics 296
Creative Issues 296
Graphics Formats Usable for Slides 297
Slide Sizes and Aspect Ratios 297
Creating a Slideshow 298
Meet the Slideshow Editor 299
Selecting Slideshow Assets 300
Adding Slides to the Slideshow 301
Need More Slides for the Slideshow? 301
Setting Manual Advance 304
Adding Sound to Your Slideshow 304
Adding an Individual Audio File to a Slide 304
Using an Overall Audio File in the Slideshow 305
Using Fit to Audio 307
Using Fit to Slides 307
Adding Transitions to a Slideshow 307
The Slideshow Inspector 308
The Slide Inspector 310
Some Precautions about Audio for Slideshows 310
Convert to Track 311
Viewing and Simulating Slideshows 312
Simulating a Slideshow 313
Keyboard Shortcuts (Slideshow Editor) 314
Summary 315
Chapter 11 Making Connections 317
Goals 318
Making Connections 318
Making Connections through Inspectors 319
Making Connections from Menu Buttons 319
The Connections Tab 320
Meet the Connections Tab 320
The Connections Tab Tools 321
Connections Tab Layout 321
Using the Connections Tab 323
Basic, Standard, Advanced—the View:
Pop-up 323
Next, Previous Jumps—Special Cases 324
All, Connected, Unconnected—the Filter
Pop-up 324
The Recipe4DVD Sample Projects 324
Making Connections 324
Breaking or Modifying Connections 327
Setting the First Play (IMORTANT!) 328
What Is the First Play? 328
Checking the Connections 328
Avoiding Remote Control Key Problems 329
Understanding Sources and Their Connections 329
Basic Sources in Detail 330
Standard Sources in Detail 331
Advanced Sources in Detail 332
Understanding Targets and How They Work 334
Summary 336
Chapter 12 Creating Subtitles 337
Goals 338
Some Subtitle Basics 338
Uses for Subtitles 339
Video Commentaries 339
Buttons over Video 339
Some Demonstrations 339
Naming Conventions 339
What Are DVD Subtitles? 339
Closed Captions versus Subtitles 340
How DVD Subtitles Work 341
Subtitling Options in DVD Studio Pro 341
Iporting SPUs from DVD Studio Pro 1
Projects 342
Subtitle Tools in DVD Studio Pro 4 342
Checking Subtitles 343
Switching Subtitle Streams in Preview 343
Setting Subtitle Preferences 344
Applying Settings Globally to an Entire Stream 345
About the Subtitle Inspector 345
Top Area 345
General Tab 345
Button Tab 347
Colors Tab 348
Creating a Subtitle 350
Creating the Subtitle Event 350
Working with Text in Subtitles 351
Positioning of the Subtitle Text 353
Using a Graphic File for a Subtitle 353
Advanced Subtitling 353
Summary 354
Chapter 13 Basic Scripting for DVD
Studio Pro 4 355
Goals 356
Scripting = Enhanced Interactivity 356
What Is Scripting, Exactly? 356
General and System Parameters—Scripting
Tools 357
Understanding General Parameters—GPRMs 357
GPRM Issues to Be Aware Of 357
Overflow and Underflow 357
GPRM Volatility 357
Understanding System Parameters—SPRMs 357
Other SPRMs 358
How Do I Use a Script? 359
When to Use Scripting 360
What Kinds of Scripts Are There? 360
Inline Scripts 360
Pre-Scripts 361
Why Use a Pre-Script? 362
General Notes on Using Scripts 362
Making a New Script 362
Renaming a Script 363
Duplicating a Script 363
Saving a Script 364
Loading a Script or Script Description 364
Using the Script Editor 364
Reordering Command Lines 365
Script Command Syntax 365
Using the Script Inspector 365
Editing in the Script Command Inspector 367
The First Pane—Command Selection 367
The Second Pane—Command Options 367
The Third Pane—Compare Command 367
The Fourth Pane—the Comments Field 367
Conditional versus Unconditional Commands 367
Thinking Logically about Comparisons 370
Scripting Commands in Detail 370
The NOP Command 371
The JUMP Command 371
The Set GPRM Command 372
The Goto Command 373
The Set System Stream Command 374
Resume Command 374
GPRM Mode 374
Exit Command 375
Exit Pre-Script 375
Jump Indirect 375
New Scripting Tool in DVD Studio Pro 4 375
What’s a GPRM Partition? 375
Why Use a Partition? 376
Practical Uses of Scripting 377
Anatomy of a “Play All” Script 377
What Does a “Play All” Script Do? 377
The Logic of It 377
Setting up the Script Conditions 378
The “Play All” Script Logic Diagram 378
Summary 381
Chapter 14 Building and Formatting 383
Goals 384
Check Your Project Thoroughly before Output 384
Testing the DVD before Output 385
Using the Viewer 385
Using the Simulator 385
Setting the Simulator Preferences 386
The Simulator Window 387
The Display Window 387
The Remote Control Panel 387
Resolution and Display Mode Selectors 390
Information Drawer 391
The Simulator Display Is “Live” and Active 391
Emulating a Project with Apple DVD Player 391
Build before Emulation 392
Emulating with DVD@ccess Links 392
Setting Disc Properties before Building or
Formatting 393
Top Area Settings 394
The Disc Inspector General Tab 394
The Disc Inspector Disc/Volume Tab 395
The Disc Inspector Region/Copyright Tab 396
The Disc Inspector Advanced Tab 397
Outputting a Finished DVD Project 398
Building 398
A Video-only DVD volume 398
A Hybrid DVD—(Video + ROM Data) 399
Formatting 399
Burn, Build, Format, or Build and Format? 400
Burn 400
To Initiate a Burn 400
Build 401
Build Messages 403
Format 403
Format Options in the Disc/Volume Tab 405
Format Options in the Region/Copyright Tab 405
Build and Format 406
Re-Using a Build Folder 406
Creating a DVD Hybrid Disc 408
Making a DVD Hybrid Disc in DVD
Studio Pro 4 408
Making a Hybrid Disc Using DVDSP V1.5 408
Creating a DVD-Hybrid in DVD
Studio Pro 1.2 409
Making a Hybrid Disc Using DVDSP
V1.0-1.2 and Toast Titanium 409
Making a Hybrid Disc Using DVDSP
V1.0-1.2 without Toast 409
DVD Hybrid Pitfalls! 410
Joliet Files 410
DVD@ccess Installers 410
DVD@ccess on Windows 410
Hybrid Discs Viewed on Settop Boxes 411
Iportant Limit on DVD-R Disc Size! 411
Roxio Toast Titanium—the Swiss Army
Knife of Optical Media 411
Summary 412
Chapter 15 Graphics Issues for DVD Images 413
Goals 414
Basic DVD Image Concepts (Imprtant Stuff!) 414
Image Size 414
DVD Image Size Basics 415
DVD Image Issues 415
Easy DVD Image Rules 416
Alternate Image Sizes 417
Yet a Third Approach to Image Dimensions! 418
Image Composition Limitations (“Safe Zones”) 418
DVD Image Color Rules—RGB versus Video 419
A Global Method to Control Black/White Levels 420
How to Reveal Graphic Image Flaws and
Limitations 421
Image Size And Shape Limitations 422
Font Size and Style Issues 422
Using Layer Styles (Layer Effects) with
DVD Studio Pro 422
Rendering Layer Styles for Layered DVD
Menus 423
Keeping the Colors within Video Standards 424
Using the NTSC Color Filter 424
Completing the Photoshop DVD Graphic Image 425
Motion Menu Basics 425
Motion Image Sizes—720 x 486, 720 x 480 426
Creating Motion Menus in Adobe After Effects 427
To Create and Export a DVD Motion
Composition with After Effects 427
About Transitions 428
About Transitions in DVD Studio Pro 428
Creating Motion Menus in Nonlinear Edit Tools 428
Assembling a Motion Menu Sequence in
Final Cut Pro 429
Customizing This Simple Menu Sequence 430
Encoding Motion Menus into MPEG Once
Completed 430
Motion Menu Overlay Pictures 431
Capturing a Menu Image from a Screen Image 431
Trimming the Screen Capture in Photoshop 432
De-Interlacing 433
Creating the Highlights in the Overlay File 434
Summary 435
Chapter 16 Duplication and Replication 437
Goals 438
Duplication and Replication 438
“One-offs”—Burning One Disc, or
Perhaps a Dozen or Two 439
Duplication—Making More than 10,
Less than 100 439
Replication—When You Need More
than a Few Hundred 439
Duplication versus Replication—How
Do I Decide? 440
Cost Issues for Replication 440
Cost Issues for Duplication 440
Compatibility 441
Complexity 441
Duplicators Galore! 441
One-to-One Burner—One Drive 441
One-to-One Burners—Two Drives 442
Single-Burner Automated Duplicators 442
Multiple-Burner Straight Duplicators 442
Single-Burner Robotic System
with Printers 443
Multi-Burner Robotic Systems
with Printers 443
Replication by the Numbers 443
1—Delivering the DVD Master—Physical
Formatting 444
2—Preparing the “Glass Master” 444
3—Metallizing the “Glass Master” 445
4—Plating—Growing the “Stamper” 445
5—Molding—The “Stamper” Goes to Work 445
6—Sputtering—The DVD Gets a Reflective
Layer 446
7—Bonding 446
8—Labeling 446
9—Packaging 447
Distribution 447
Traditional Distribution 447
Direct-to-Customer 447
Distribution on Demand 448
Summary 449
Chapter 17 Advanced Authoring 451
Goals 452
DVD@ccess—Interactivity Beyond DVD-Video 452
What Does DVD@ccess Do? 452
What Do I Need to Use DVD@ccess? 452
Setting the DVD@ccess Property 453
Track Markers 453
Menus 454
Slides 454
Setting the DVD@ccess Property 454
Proper DVD@ccess Syntax Is Imortant 454
Testing Your DVD@ccess Links 456
Testing Using the Apple DVD Player 456
Testing Using Simulation 456
Mounting a .img File on the Mac Desktop 456
Demo Files and Projects for You to Use
in Testing DVD@ccess 456
Creating DVD Hybrid Discs in DVD Studio Pro 457
Closed Captioning 457
User Operations (UOPs) 458
About User Operations Properties 459
Playback Control 459
Stream Selection 460
Display Conditions 460
Setting a Display Condition 461
An Example Display Condition: Setting a
Language-Based Element 462
Conditional Elements and Their States 462
Conditional Relationships 463
Display Condition versus Pre-Scripts 464
About Next and Previous Remote Control
Buttons 464
Chapter 18 Future Developments 465
So Where Do We Go from Here? 466
Appendix A Command Reference 467
Appendix B Alternative Encoders 469
BitVice from Innobits 470
System Requirements for BitVice 470
Summary of BitVice MPEG2 Encoder
Features 471
Heuris MPEG Power Professional 471
About MPEG Power Professional—DVD 471
Cleaner 6 from Autodesk 472
Cleaner 6 Features 472
MegaPEG.X Pro HD and MegaPEG.X Pro
HD-QT from Digigami 474
MegaPEG.X Pro SD and HD Features 474
Main Concept 476
Compression Master from Popwire 479
Look on the DVD for More Information 480
Appendix C DVD Media Reference Guide 481
Appendix D DVD Glossary 485
Appendix E DVD Studio Pro Install/Upgrade 501
Before You Install—Check Your Current
System Configuration 502
Hardware Requirements 502
Software Requirements 502
Configuring DVD Studio Pro Software 509
Appendix F QuickTime™ Installation Guide 513
Checking the Current QuickTime™
Version in OS X 514
Yes, It’s That Simple! 515
Index 517

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