NOVEMBER 2006 TOOLS, TIPS AND TECHNIQUES FOR USING CREATIVE CONTENT

THE
STOCK
the future of royalty-free content
REPORT

BOOK EXCERPT INSIDE!

101TIPS
JUICEDROPS
& TRICKS

SPECIAL PRINT ISSUE:

10 Font Facts • Formatting Files for Print • Juice Drops:
Conception to Reality • Embedding Logos in Layered Designs
PLUS: Copyright Rights: Are you in Danger?
5 Creative Tips for Using Stock Video in your Edits
Camtasia Studio: In Use @ Juice
 PUBLISHERS:
David Hebel, Viv T. Beason, Jr.

EDITOR-IN-CHIEF:
Chuck Peters

Juice Insider: Bringing good ideas to life SENIOR EDITOR:

by Viv T. Beason Jr. . . . . . . . . . . . . . . . . . . . . . . . . . . 5 D. Eric Franks
8 Talk Back: Reader letters . . . . . . . . . . . . . . . . . . . . 6 ART DIRECTOR:
Jacqui Dawson
Juice News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
18 The Stock Report: The future of royalty-free content
CONTRIBUTING
by The Editors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 AUTHORS:
Geetesh Bajaj,
The Making of a Juice Drop: Concept to reality
22 by Jacqui Dawson . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Viv T. Beason, Jr.,
Graham Cohen, Dave Cross,
14 Hooray for Heroes:
Using Juice Drop hero elements in your edits
Jacqui Dawson, Jeff Earley,
D. Eric Franks, Chris Gates,
by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
Rick Green, David Hebel,
It’s in There: Embedding logos in your layered designs Michael Hill, Perry Jenkins,
by Brent Milby. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Robert Leitch, Matt Leone,
Kevin Lerner, Mark Levy,
10 26
10 Font Facts: A designer’s guide to text treatments
by Michael Hill . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24 Matt Janowsky, Brent Milby,
Billy Nendza, Chuck Peters,
Volume Spotlight Brian Pogue, Jeff Schell,
Juice Drops Vol. 46: thanksGIVING . . . . . . . . . . . . . 26
Kevin Sherman, David Slater,
101 Juice Drops Tips & Tricks (book excerpt) Dan Tolbertson and
27 compiled and edited by Jacqui Dawson . . . . . . . . . 27 David Traube

40 Prepping for Print:

Cover image adapted from JD #2772
(included in Juice Drops Volume 27:
glassEDGE) by Senior Animator
Brent Milby.
The fundamentals of formatting your files for print
GRAPHIC DESIGNERS &
by Billy Nendza . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 ILLUSTRATORS:
Brent Milby, Saritha
In Use @ Juice: Camtasia Studio Sugunan, P. Gururaj,
by Perry Jenkins . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
V. Sridhar
Take 5: Five useful VideoTraxx uses
by Chuck Peters . . . . . . . . . . . . . . . . . . . . . . . . . . . 40 PHOTOGRAPHY:
Perry Jenkins
Copyright Rights: Are You In Danger?
A survey of music usage by event editors
by Mark Levy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
The Making of a Winner:
The prizewinning Revealers contest video explained
by Dan Tolbertson . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Stuff I Can’t Live Without DIGITAL JUICE, INC.

by Jeff Earley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
1736 NE 25TH AVE.
DIGITAL JUICE PRODUCT CATALOG . . . . . . . 47 OCALA, FL 34470
1.800.525.2203
Juice Box: Your Comments Unleashed 352.369.0930
by David Hebel . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58 www.digitaljuice.com

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

 JUICE INSIDER

BRINGING
GOOD IDEAS
TO LIFE
by Viv T. Beason, Jr.

I deas are great. Everything started with someone’s idea. Ideas are exciting. We
spend countless hours thinking to ourselves, or discussing with family and
friends how this will turn out or that will be so nice when finished. Most big
ideas are very hard to see to completion, thus never getting past the idea stage.
In business I’ve learned the lesson that it’s not all about the ideas, it’s really
about people. Some of the best ideas in the world lie dormant waiting for the
proper person or team to pick up the ball and sprint.

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

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

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

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

1.800.525.2203 ORDER BY PHONE


If you would like to ask a
question, sing our praises,
bend our ear, or just say ‘Hi,’
drop us an email at
talkback@digitaljuice.com
and you could see it here in the
magazine. You can also interact
with Digital Juice and other
users in our user forums
@ www.digitaljuice.com/
community_forums
6 | DIGITAL JUICE MAGAZINE NOVEMBER 2006
VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
ON THE WEB @ www.digitaljuice.com
with Chuck Peters—Editor in Chief, Digital Juice Magazine
Your Chance To Make Your Voice Heard
Got a question, comment or suggestion? We would love to hear it.
THE BUZZ ABOUT
DJTV
I
LOVE DJTV! It gets better every week. Keep
it up!—Sasha Costa
I love the quick tip segments. I launched the
Juicer right after seeing this and started
playing with all kinds of new possibilities! 5
Stars for sure!—Daniel Tolbertson
I love that you guys always go the extra mile
by telling us little shortcuts like the save
feature for settings. It is also great that you
help us get the most out of your products
instead of just trying to sell more. Thank
you!—Valerie Saum
Great Job! Very useful tips and fun to watch.
I'm more often on DJTV nowadays than I am
on my company's Web site. lol. Thanks
again!—Jean-Francois Drolet
Production Notes is the best! It is entertaining
and so useful, cheers a mill from Ireland!
Thanks!—Donovan Delaney
Please keep these coming! Sooo helpful. I
can’t wait for next week.—Robert McDuff
Thanks for the great comments on DJTV,
gang! I’m glad that so many people are
finding the shows both informative and
entertaining. Our goal was to put our own
signature on “instructional” videos. In our
estimation, if it isn’t fun, it isn’t done. As
long as you keep watching, we’ll keep
making shows!—CP
JUICE IS “IT!”
J
ust a quick note to say thank you to the DJ
crew for the outstanding work done. Where
do I start with the kudos? The list is too long to
write. The bottom line is Digital Juice gets the all
encompassing "IT"! From quality products at
affordable prices to a company that provides a
wide array of services to help their clients, it is
one beautiful package. I have been receiving the
magazine since August of '05 and have found
myself really looking forward to the next
month's issue as each one seems to be more
informative and entertaining.—Ben Finch
Thanks for the compliments, Ben! It’s nice to
know we’ve made your “it” list. We work
very hard to put out our magazine every
month and DJTV episodes each week. We
really do want to equip people with
everything they need to build better video.
That includes making great graphics, music,
stock footage and sound fx, but it also
includes teaching techniques to help you
shoot, light and edit so your entire
production will be better.—CP
ORDER ONLINE www.digitaljuice.com
CUSTOMER CARE
SHOULDN’T BE RARE
I
wanted to send a note to tell you what an
amazing customer service experience I just
had with one of your representatives. We had
ordered a set of four StackTraxx volumes
(which are awesome by the way) on special
for $199 and were eagerly awaiting their
arrival. When we didn't see them, we inquired
about it and were told by a rep at Digital Juice
that someone at our location had indeed
signed for it. We asked everyone on staff here
and scoured the facility and could not turn up
the package. This morning I spoke to a rep
there named Mike Frederick. Mike graciously
arranged to have the package resent to us. I've
ordered a number of items from Digital Juice
and have been very pleased with the products,
but I am even more pleased with the level of
customer service your people have given us.
In today's business world that is noteworthy
and deserving of praise. You are running an
exceptional company and we feel lucky to
have found you guys. Please keep up the great
work. We'll try to do our part by buying as
much of your great stuff as we can
afford.—David Lee
I’m glad to hear you were treated well,
David, but I’m not at all surprised. We
know that our customers are working on
important projects and we want to do
everything we can to set them up for
success. We also want to make each of our
customers a customer for life. Occasionally,
that means going the extra mile by eating
the cost of a lost package. Your letter shows
that our efforts were worthwhile.—CP
 SEE COMPLETE PRODUCT GALLERIES
ON THE WEB @ www.digitaljuice.com

BESTSELLERS NEW LAW & ORDER NEW

JUMP BACKS ANIMATIONS IN SD & HD O-TOWN
TOP 10 Jump Backs
Volumes* OFFICE
Digital Juice has expanded by
01. JB34: All Hallow’s Eve
adding a new office in Orlando.
02. JB33: In the Round
Our brand new O-Town team
03. JB32: Base Camp
is looking for a few talented
04. JB30: Simply Useful
05. JB28: Subtle Impact II staff members. If you're a
06. JB24: Tunnel Vision creative professional living in
07. JB25: All Music the Orlando area, we'd like to
08. JB22: Global Impact
get to know you. Please

H
09. JB15: Weather & The Elements old it right there! There’s a new volume of Jump Backs animations that’s so email your resume and
10. JB13: All Church
cool it ought to be illegal! Jump Backs volume 37: Law & Order contains 30 samples of your work to:

TOP 10 StackTraxx
Volumes*
crime- and legal-themed, network quality animations. Whether you need animations
of guns, cops or courtrooms, you have the right to remain excited about these new
orlando_jobs@digitaljuice.com

01. STX16: Spooky Stacks

animations. Jump Backs volume 37 Law & Order is expected to ship in December
02. STX17: Light Touch Stacks
and will sell for $249.
GIVES THANKS
03. STX15: Subtle Impact Stacks FOR NEW
04. STX12: Corporate Stacks
JUICE DROPS
05. STX10: Broadcast Stacks
PRODUCTION
06. STX03: Serious Stacks
NOTES TOPS
G
07. STX11: Epic Stacks raphic
08. STX04: Smooth Stacks
THE DJTV CHARTS Designers and

I
09. STX09: World Stacks f you haven't checked out Perry their holiday clients can
10. STX02: Power Stacks
Jenkins Green Screens & Ham all give thanks for the

10 Juice Drops episode of Production Notes you're really newly-released Juice

TOP Volumes* missing out on one of the best and Drops volume 46:
01. JD45: halloweenHAUNTS certainly most popular episodes of thanksGIVING. The
02. JD42: highIMPACT IV Digital Juice Television to date. We're volume includes 70 high-resolution, layered
03. JD41: frescoVITA
shooting to reach 10,000 unique viewers Thanksgiving- and fall-themed PSD images
04. JD43: popLIFE
of this episode in the next few weeks and in awesome autumn hues to give your
05. JD44: frameCUTS II
06. JD10: ultra3D that will be a real milestone for DJTV. designs the feel of fall. Because Juice Drops
07. JD27: glassEDGE Digital Juice Television is a long-term are delivered as layered PSD files, you can
08. JD37: sportsCUTS
vision for us. All we ask is that you check turn layers on or off to remix the designs
09. JD24: geoIMPACT
out the episodes, and if moved to do so, however you like. Juice Drops volume 46:
10. JD21: businessIMPACT
rate and comment. I guarantee this thanksGIVING is available now for $249, but
* based on Aug./Sept. sales figures
episode will make you chuckle at least you can get it for as little as $49 when
once or your money-back. bundled with other Juice Drops volumes.

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

FEATURE

THE
STOCK
the future of royalty-free content
REPORT

How Royalty-Free Photos, Animations and Music

are Changing to Meet Your Needs & Budget

A
by The Editors DMITTEDLY DIGITAL JUICE IS MORE THAN A LITTLE

BIASED ABOUT THE FUTURE OF ROYALTY-FREE STOCK

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

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

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

take a look around to assess the situation. This is the only way we can
“We wanted to give you know, as a company, whether we are heading in the right direction or if
our take on where things we need to change our course. After recently assessing the current

state of stock, we wanted to give you our take on where things are
are now, and postulate as
now, and postulate as to where they might be going in the future. The
to where they might be state of stock is certainly an important consideration for creators of

going in the future.” media. So, for you owners of stock Digital Juice content, be it our

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

November 2006 State of Stock report.

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


PHOTOS
The biggest segment of the royalty-free
content market, stock photos never really
took off until the Internet. Photo buying
was a natural fit for the Internet because
of the relatively low bandwidth
requirements. Even the highest resolution
images are generally JPEGs, keeping the
size down to only a few megabytes. The
“big boys” in the industry—Getty Images,
Jupiter Media, and Corbis—are fighting it
out for the top spot, acquiring companies
and building alliances. It’s a high stakes
game and there are many changes on the
horizon. Some smaller companies hope to
put a dent in the big three’s market share.
The rise of the ultra low cost photo
providers, where you can purchase
images for as little as $1 or even yearly
subscriptions for a few hundred dollars, is
putting extreme pressures on the royalty-
free photo marketplace.
There will always be some who are willing
to pay hundreds of dollars for the right
photo, but there will be a lot more who
won’t and will opt instead for lower cost
alternatives. The best hope that the big
companies have is to compete on quality
and uniqueness. But they’d be smart to
also place side bets and create their own
low cost solutions. In a way companies
like Jupiter and Getty already are by
creating professional subscription
services. Granted some of these run into
the thousands of dollars per year, but that
gets paid for quickly when you’re talking
about a few hundred dollars per photo. Of
the big three, Jupiter Media seems to be
most aggressive, going after both ends of
the pricing game.
1.800.525.2203 ORDER BY PHONE
VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
ON THE WEB @ www.digitaljuice.com FEATURE
“Eventually the very definition of production
music will probably be music that in some
way adapts to the need of the editor.”
Many have asked us why Digital Juice has “production music” will probably be ‘music GRAPHICS
never really gotten into the professional that in some way adapts to the need of Graphics content is probably the oldest
photo market. We look at it very closely the editor.’ Editors, by the very nature of form of royalty-free content. We all
every six months or so, and I wouldn’t be their jobs, need flexibility and choices. remember buying huge collections of clip
surprised if we someday put our spin on Simply turning the volume up or down is art at our local software stores. Most of it
it, but the costs are high and the no longer enough. Digital Juice’s solution was old, and even more of it was junk, but
competition is fierce and has deep to this problem was a simple one, we there was usually enough useful, handy
pockets. So we’ll take our time and do it decided about three years ago that all our stuff in there to make it worth the low
eventually, but likely with a twist so that new music would be provided in layers. purchase price. Digital Juice has always
we don’t have to compete head to head That way you could simply turn on or off been a big provider of graphics. Our still
with the big three right out of the gate. the parts of the music that you didn’t graphics business collections like Digital
want. You can lower the volume of just Juice 2.0 and Presenter’s Toolkit, were the
MUSIC & SOUND FX certain layers or drop everything but a two biggest presentation libraries ever
Music and Sound FX have been two areas single layer for added emphasis and created. Today Digital Juice is putting
that have relatively mature royalty-free focus. Both SmartSound and Sony are most of its energy and creativity into
markets and acceptance. Every video now following suit, releasing their own professional packages like the layered
production facility in the world has a need take on the layered music concept, and Juice Drops library.
for music, and for 95% of them, royalty- we’re pretty sure it won’t be long before (continued on page 12)
free music works perfectly fine. Do you other companies will follow as well, it’s
really need a custom music bed or even a just a good idea.
needle-drop piece for every corporate
video or commercial? Of
course not. The needle-drop
and royalty based production
music companies always
blast the quality of royalty-
free music, but buyers
are waking up to the
realization that this is
mostly marketing speak. The
reality is that royalty-free
music and sound effects have
gotten just as good, and in
many cases better, than their
more expensive counterparts.
Where royalty-free music is
really taking off is in the area of
customizable music. SmartSound, Digital
Juice, and Sony are all leaders in this
area. Eventually the very definition of
MBER 2006 DIGITAL JUICE MAGAZINE | 11
FEATURE
“The common theme
for the future seems Like with layered music, layered graphics in the ubiquitous
Photoshop format give the user the most power and flexibility. It
to be content that is extremely difficult and time consuming to change non-layered
imagery. But with layered content you can simply turn off what
bends to meet your you don’t want, colorize it, instantly mask it, or drag it to another
composition. The only problem with layered graphics is that the
specific needs, rather files are huge. One high resolution Juice Drop can be as big as
500 megabytes. Now that Internet bandwidth is increasing and
than forcing you to DVDs are the standard media for content delivery there seems to
be no reason why more companies shouldn’t be providing
adjust your vision to layered imagery instead of flattened files. In the future we would
like to create layered graphics that get even easier to customize
fit the content.” for those who don’t have or use Photoshop.
ANIMATION
Digital Juice is lucky enough to currently be in the catbird seat
when it comes to royalty-free broadcast animations. We’ve been
doing it the longest, have the most, and in our collective opinion,
we have the best. But we aren’t going to sit back and wait for
competition to strike. We like to take charge and lead the way.
So being the leader in this area, where do we see it going? In
the production world there is a strong
move toward HD and anyone providing,
creating or buying animations is likely
to be moving in that direction now or
very soon. Within 5 years almost all
video production will likely be done in
HD of some form, though there will
probably still be a big market for
standard definition animations for
the web and presentation
market. More and more
business users are wanting to
add spice to their presentations
and move away from the boring blue
PowerPoint backgrounds to something
more visually interesting and
television-like that will keep the
audience attention.
(continued from page 11)
But all of that is just an inevitable evolutionary step. The next
revolution in professional animation and content in general will
be customizablility. Video production is a form of artistic
expression, and as art, everyone wants to put as much of
themselves into it and make the end product as unique as
possible. Many customers take our animations into applications
like After Effects and customize them in some way. But not
everyone has the time, creativity, or talent to become a motion
design animator, and many don’t have the budget to hire one
either. To this end we envision the development of smarter,
easier-to-use tools and smart animated content to go along with
those tools. Animations that allow you to change more than just
the color, perhaps even allowing you to incorporate your own
video right into the animation. Perhaps if there was text floating
in an animation that you could change to match the subject of
your video. Some form of layered animations will likely be one
of the first incarnations of this idea, the ability to turn on and off
certain aspects of an animation is appealing to many of our
customers and we are working on the software tools to do just
that and more.
FINAL THOUGHTS
So what does it all mean and where’s it going? The common
theme for the future seems to be, here’s that word again,
customizable content. Content that bends to meet your specific
needs, rather than forcing you to adjust your vision to fit the
content. Everything from shoes to cars are going in the direction
of extreme customization, and we don’t think professional
content should be any different.
The current state of royalty-free stock content is good, and the
future of stock is bright. And as more and more stock content
becomes more and more customizable, the producer/presenter/
designer will reap dividends of more freedom, more flexibility and
more control over the content, resulting in increased creativity
and a high return on investment. The wise creative professional
will invest in building his or her “stock portfolio.” ■
ORDER ONLINE www.digitaljuice.com
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JUICE DROPS ON THE WEB @ www.digitaljuice.com

the
making
From conception to customer
by Jacqui Dawson

W
ith so many possible subjects and styles
to choose from, people often wonder just
Figure 1
how the team at Digital Juice goes about creating a
volume of Juice Drops illustrations. While the exact
process can vary depending on the volume, we have
developed a set of steps that allow us to streamline
the creative process. In order to show you the basics of the workflow,
let's trace the development of one image from our upcoming Juice
Drops Volume 46: thanksGIVING from conception to customer.

VOLUME MATTERS we posted our ideas, references and image

The first step is to figure out the theme of a volume.
This decision depends on a variety of factors: customer
demand, time of year, R&D on new styles and speed of
execution, for example. For the thanksGIVING volume,
this decision was an easy one. We had customers
desperate for holiday and event imagery and this was
too wide a subject area to cover in one volume. We
started work on Halloween, Thanksgiving and
Christmas volumes with the goal of releasing them well
ahead of time for these holiday periods.
IDEATION
Before we set our illustrators loose on creating
Thanksgiving-themed sketches, Dave Hebel and I met
to plan out and develop Idea Pages for each of the 70
Figure 2 illustrations. These Idea Pages contained detailed text
descriptions (see Anatomy of an Idea Page Sidebar)
as well as photo, style and composition references for
each graphic. Since Dave is a busy man, and was in
Singapore at the time, I flew there to spend a week
brainstorming and collecting reference materials while
we fleshed the volume out. As they were completed,
Figure 3
descriptions on our company Collaborator for the
design team to access back home.
This detailed planning process is something that
doesn’t always have to happen on our more abstract
volumes where the artists have more control of what
they create. However, because of the tight timeframe
and specific nature of this volume, it was necessary
to clearly describe to the team what we expected
from them. We also found this to be a good way to
keep track of the status of the development of the
volume and to avoid duplication.
SKETCH AWAY
Once the team has the ideas laid out for them, it is
time to start sketching. Any images we create that
are not largely abstract start out as hand-rendered
pencil sketches in A4 size (Figure 1). Despite our
dependence on, and love of, technology, in just about
every other aspect of our product development, we
still get the best results by letting our experienced
sketch artists work out the details of composition and
style with pencil and paper first.

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

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

of a Juice Drop
Figure 4

Figure 5

Once the first sketch is drawn (Figure 2)
the artist scans it into the computer at
300dpi (Figure 3) and posts a low-res
version of it on our Web-accessible
Collaborator for approval. There are often
several rounds of revisions (Figure 4) before
the final sketch is approved (Figure 5).
COLOR ME
Next, the sketch is assigned to one of
our finishing artists to color and texture
according to a prescribed style or
palette. In the case of our example
image, the suggested style is like that of
our pastelSKETCH volume. We decided
to go with colors and materials that
suggest a chilly autumn day.
The finishing artist first brings the
scanned sketch into Photoshop (Figure 6)
on a canvas size of 11.25 x 17.25 at
300dpi and in an RGB color space.
Once the artist has determined how the
image will be framed in this canvas
size, he enlarges the working area so
that there is room to extend objects
outside the canvas boundaries. This
gives users the flexibility to move and
scale layers in the final graphic. The
artist then starts drawing paths for each
separate object in the layout (Figure 7),
so that separating elements out to
individual layers will be easier during
the coloring and finishing process.
(continued on page 16)

Anatomy of an Idea Page

Idea #53: Description
Hayride with a group of people sitting on piles
and bales of hay in the back of a wagon
pulled by two draught horses. Horses should
be light brown, with pale blonde mane and
tail. Wagon should be old-fashioned in style,
with red spoke wheels and green panel or
post sides. Wagon is being pulled through a
field with rolls of hay scattered through it and a red barn in the distance. The wagon and horses
should be seen from behind so that people in wagon are more visible. They should look like
they are having fun, bundled up in coats, waving and laughing.

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Figure 6
Figure 8
Figure 10
(continued from page 15)
FINISH UP
In the finishing stage, the background
layers are built up first (Figure 8), followed
by the foreground objects, people, subjects
and their shadows and effects, all on their
own layers (Figure 9). Each layer element is
then fine finished and the overall image is
worked on as a whole, including the pieces
of the image elements that extended
beyond the canvas area (Figure 10). At this
stage, the progress of the illustration is also
tracked via posts and comments on our
Collaborator. There are lots of adjustments
and revisions at this stage.
The completed image goes through two
rounds of technical quality control to
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Figure 7
Figure 9
make sure that the layers are complete,
useful and in the proper sequence and
that effects and masks have not been
merged unnecessarily.
TO THE CUSTOMER
By using this streamlined process to
develop our illustration volumes, we can
easily produce more and better volumes
of graphics for our customers. Our in-
house Collaborator system keeps track
of progress at every stage and makes it
easy for managers and creative leads to
access all of our ongoing projects from a
distance (when necessary) and to
organize final products to prepare for
mastering and production.
Jacqui Dawson is Creative Director/
Product Manager for the Juice Drops
product line and is also the Art Director
of Digital Juice Magazine.
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Figure 1 Juice Drop Vol 31:

foodFUSION #3101
Hooray for Heroes!
Using Juice Drops Hero Elements in Your Edits
by Chuck Peters

D
on’t make the mistake of thinking that Juice Drops are only
for print design. Juice Drops can also be an extremely
valuable resource for video editors. In this article I’ll introduce you
Figure 2 to just one way that you might use Juice Drops elements in your
edits, but creative cutters will find that there are no limits for these
flexible files.

“ Because they are delivered as layered Photoshop files, you can

Figure 3a
easily extract a hero to use as a stand-alone object in a graphic.
”
flexible and highly valuable tool for
anyone that creates graphics, whether
the design is destined for distribution on
a printed page or on a television screen.
MY HERO
Here at Juice we refer to large, prominent
objects in Juice Drops graphics as “hero”
elements. Spotting cool hero elements in
Juice Drops isn’t difficult and there are
inspiring objects. The big burger featured
in Juice Drop #3101 from volume 31
foodFUSION (Figure 1) caught my eye
and struck me as the perfect icon in a
commercial for a new burger at Mike’s
Burger Barn. Remember, even though the
image shows other objects, it’s easy to
isolate an element to use as an
independent object.

#2 POP IT INTO
tons of cool heroes to choose from.
STEP

Here’s the secret that make Juice Drops PHOTOSHOP

ART YOU TAKE APART
Anyone can see that Juice Drops are
cool. Because a large team of talented
artists creates them, Juice Drops are
fresh and interesting and there are a
wide variety of styles and looks to choose
from. The secret is to look at a Juice
Drops graphic not as a flat image, but as
a group of elements that can be broken
so cool for video editors: Because they
are delivered as layered Photoshop files,
you can easily extract a hero to use as a
stand-alone object in a layout. To
demonstrate, I created a mock
commercial for a local burger joint’s new
hamburger, featuring a hero element that
I extracted from a Juice Drop. Here’s how
I did it, step-by-step.
Launch Photoshop and open the layered
version (PSD) of the Juice Drops graphic.
Juice Drops are delivered as both flat
TIFF files and as layered PSDs, so make
sure you grab the disc with the PSD
images. To isolate your hero, you need to
work with the layered file. Now that you
have the layered file open in Photoshop,
look at the Layers window (Figure 2).
This particular Juice Drops graphic is

#1
apart. Because Juice Drops are delivered HUNT DOWN
made up of 16 separate layers. Once
STEP

Figure 3c as layered Photoshop files, you can pull YOUR HERO you have the file in Photoshop and
Figure 3b off just a piece to use in your production. First, I browsed through the Juice Drops you’re looking at your Layers list,
This makes Juice Drops an extremely collection, looking at Juice Drops for you’re ready for Step 3.

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#3 ISOLATE THE
STEP
ELEMENT
Click the eyeball icon next to a layer to
turn off the elements you don’t want.
Because I’m just after the burger, I’ve
turned off layers 1-14 (Figure 3a), leaving
just my heroic hamburger (layer 16) and
its shadow (layer 15). As you turn off a
layer, you’ll see an updated version of the
image in the interface. Once you’ve turned
layers off and on to isolate the elements to
your liking, hold the Shift key and click to
select the range of layers you don’t need
and then right click and select Delete
Layers to dump them (Figure 3b & 3c).
#4 Hold the Shift key and click
MERGE THE LAYERS
STEP
both remaining layers, then right click and
select Merge Layers from the menu. This
will combine your remaining layers into
one easy-to-manipulate (flattened) object.
If you would like to be able to manipulate
the layers separately when you edit in
another Adobe application, skip this step.
Or you can output the layers individually to
work in other apps.
#5
SCALE IT DOWN
STEP
Because Juice Drops are so
big, you need to scale your hero down
before taking it into your editing app. My
hamburger was absolutely huge at
5175x3375 pixels (Figure 4a). This is
awesome for print purposes, but a bit big
for my 720x480 DV project. To shrink it
down to a workable size, select Image
Size from the drop down menu and type
720 in the Width parameter (Figure 4b).
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Because the Height and Width are linked,
the Height will change automatically to
keep the image in perspective.
#6
TRANSFORM IT
STEP
TO FIT
Another cool thing about Juice Drops is
that many objects that fall out of the frame
in the original design are actually complete
objects that extend beyond the visible area.
In the original design, my burger falls out
of the frame (Figure 5a), but the whole
thing is still there. To pull it back into the
visible area, select Edit > Transform >
Scale. Expand the window (if necessary) to
see the handles on the corner of the image
(Figure 5b) and hold the Shift key while you
click and drag the handle to scale the
image in size, then click in the box and
drag the image into the visible area (Figure
5c). Now that you can see the whole
object, apply the Transformation and select
File > Save As to save it before going to
your editing application. Save the image in
a format that supports alpha channel
transparency, such as PNG, for applications
that do not open PSD layered files.
#7 IMPORT INTO
STEP
YOUR EDITOR
Run your editing software and import
the object:
IN ADOBE PREMIERE:
Select File > Import, and browse to the
file. You will see an Import Layered File
window. Select Import As > Footage, and,
to bring the layers as one combined
object, check Merged Layers in the Layer
Options box (Figure 6). If you would like to
JUICE DROPS
Figure 4a
work with layers independently,
check Choose Layer, and repeat
the process for each layer. When
you drag the clip to the timeline,
Premiere will automatically key
out the alpha area.
IN VEGAS VIDEO:
Use the built-in Explorer window in Vegas
to browse to the location of the file and
then drag it to your timeline. There are two
ways to work with your image: the clip-
level Pan/Crop tool or the track-level Track Figure 4b
Motion tool. Personally, I find the Track
Motion tool to be more intuitive - just
make sure you watch
Figure 5a
your keyframes so they
don’t mess up other
clips that are in the
same track.
Figure 5b
IN FINAL CUT PRO:
Select File > Import, and
browse to the file. Select
the file and press the
Choose button. The file
will appear in the Bin in your Browser
window. Drag the file directly into the
Sequence in your Timeline window. FCP
will automatically key out the alpha.
EDIT IT IN
Once I had the burger element, the
edit was easy. I assembled this
simple spot in Adobe Premiere Pro.
First I created a gradient background
by opening File > New > Title and
drawing a box using the Rectangle
(continued on page 24) Figure 5c
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Hooray for Heroes! tool in Premiere’s Title Designer, and
(continued from page 19) applying a gradient fill from dark
burgundy to red. I dropped my gradient
background on the Video 1 track of my
timeline and returned to the project bin to
grab that burger.
I put the burger on the Video 3 track
(leaving track 2 open for my text, so it
would appear to be layered behind my big
beefy hero element) and used Premiere’s
Figure 6
20 | DIGITAL JUICE MAGAZINE NOVEMBER 2006
Effect Controls to center it in the frame.
The “in” movement is just a simple Slide
transition effect out of Premiere’s Effects
bin. Once the burger hit the middle of the
screen at the end of the move, I wanted it
to shrink back to make room for some
text. I used Premiere’s Effect Controls to
drop in a couple of keyframes and scale
the burger back a bit, keeping my
movements quick and sharp.
Next I created my “Monster Mega
Burger” text using the font AdLib BT
Regular. A thick black outer stroke (with a
thickness of 32) gave the text a strong
edge. I animated my text in from the right
with another wipe: a Sliding Box effect.
HOORAY FOR HEROES…
AND HAMBURGERS!
Thanks to my heroic hamburger I was able
to completely cut my commercial without
a video shoot. The entire edit was done in
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Photoshop and Premiere (no After Effects
necessary). Premiere’s Effect Controls and
wipes provided all of the movement I
needed. The end result is a fast paced
piece that makes Mike’s Burger Barn look
like a million bucks - All thanks to a Juice
Drops hero element, and a dash of
creativity. With 45 volumes of Juice Drops,
most with 100 designs made up of
multiple layers, the limitations are literally
limitless (ok, maybe not LITERALLY... but
very close!). So quit thinking of Juice
Drops as a product that’s not practical for
producers. Once you get your hands on a
hero or two, you’ll be hungry for all the
Juice Drops you can get.
Chuck Peters is VP of Media & Publications
for Digital Juice and the Editor of Digital
Juice Magazine.
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It’s in There!
Embedding Logos in Your Layered Designs
by Brent Milby

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

that allow you to create your own customized composite

Figure 1 Juice Drops Vol 27: graphics. Because Juice Drops are delivered as layered files, you
glassEDGE #2733

can layer your logos into your compositions, placing them

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

subtle textural elements within your designs. This allows you

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

“ Blending modes affect how a layer will appear

Figure 2 Quadrilateral points in the
perspective of the image can be
used as guide for cornerpins
in relation to all of the layers beneath it. You
can use these blending modes to achieve all
kinds of special effects.
”
TRANSFORMATIONS
One way to incorporate your logo into a
Juice Drop is to use the Transformation
functions to match the perspective of the
logo to the 3d perspective of a Juice
Drop. If you’re using a Juice Drop that
has perspective in it, for instance, like the
computer screen in Juice Drop 2733
(Figure 1), you’ll need to find parallel and
perpendicular lines to use as references.
Let’s look at how the Distort
Transformation function allows you to
cornerpin a layer to a rectangular shape
in the image. If you can pinpoint any 4
quadrilateral points in the perspective of
the image, you can use those points as a
guide for your cornerpins (Figure 2).
Figure 3 Transform menu

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4a
Figure 4 Blending Modes
4c
Ctrl+T will access the transformation
bounding box for a layer. When you right
click inside the bounding box you’ll find a
selection of Transform functions — Free
Transform, Scale, Rotate, Skew, Distort and
Perspective (Figure 3). These functions
give you all the control you need to put
your logo into any perspective you like.
BLENDING MODES
An important detail for embedding your
logo is to be mindful of Blending modes.
Blending modes affect how a layer will
appear in relation to all of the layers
beneath it. You can use these blending
modes to achieve all kinds of special
effects. Understanding how each blending
mode works and what it’s used for is very
helpful in getting predictable results, but
when you’re searching for something that
jumps out at you, I recommend trying
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4b
them all. Figures 4a–4c show how our
logo looks before and after we apply the
Screen blending mode. With it, our Digital
Juice logo blends more seamlessly into
the computer monitor. Now the reflection
falls on top of the logo making it more
visually logical.
Your logo has the burden of clearly
defining your company or product with
very few words. It's not a simple task to
synthesize so many ideas into one easily
understandable symbol. Designing an
iconic, enduring brand and corresponding
logo is not an easy task, but with a little
help from Digital Juice and a little
imagination, your logos can command
attention with grace and finesse.
Brent Milby is Senior Animator at
Digital Juice.

FONTS
Serifs, indicated by the red circles,
are the little “feet” or “hooks” on
Figure 1 the edges of the letters. Fonts with
serifs are typically used for large
blocks of body text. Sans serif fonts
do not have these hooks, and are
often used for titles and headlines.
Times on top and Arial on bottom.
It’s important to match your font
to your subject matter. The script
typeface and light, airy font (top,
Script is Shelley Allegro; lighter
Figure 2 font is Helios Light) make a great
logo for a day spa. However, the
heavy, bold font (middle) doesn’t
seem appropriate for a relaxing
spa. The blocky font is more at
home for a body shop logo
(bottom, font Letterman solid).
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10 Font Facts
A Designer’s Guide to Text Treatments
by Michael P. Hill
W
ith so many options for stock images and backgrounds, it
is easy to overlook one of the most important tools
designers have for getting a message across: text. Fortunately,
there are some fast and easy ways to find fonts and formatting that
go beyond simply typing text. Understanding a few font factors will
allow you to create professional text treatments with the best of them.
“your
Once you’ve selected your fonts, you need to format
type to create eye-catching design elements.
”
FINDING YOUR FONT a heavier, sans serif font for headlines producing a logo for a day spa, you’ll
There are thousands of fonts available, and a serif font in body copy. want a font that matches the personality
ranging in price from free, to a few of the spa. In this case, you might select
dollars, to hundreds of dollars. Match the font to the message: Font’s a script font for a clean, smooth typeface.
Whatever your budget, there are have their own “feel” or “personality.” The Most likely you’ll want to avoid anything
some important points to style of a given font may make it better too heavy. On the other hand, a heavier
remember when selecting a font: suited for certain uses. Let’s say you’re typeface would work better for more
Serif or Sans Serif?: In
typography, serifs are the little
“hooks” or “feet” on the end of
letters. Times New Roman is an
example of a common serif font.
Sans serif fonts, on the other
hand, lack the hooks on the
ends of the letters (“sans” is
Latin for “without”): a good
example is Arial (Figure 1). It’s usually
best to set large blocks of text, such as
articles or descriptions, in a serif font.
Studies have shown that people can read
and comprehend serif typefaces better.
On the other hand, headline and display
text can be set in either serif or sans serif
fonts. It’s quite common, however, to use Figure 3 The typographical design of this poster uses the interesting and elegant font, Trajan,
to emphasize the word “Shine.” The text is the dominant element of the project.
Font Trajan (with Juice Drop 4240)
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industrial applications, such as an auto
shop (Figure 2).
Avoid too much of a good thing: As a
rule of thumb, it’s generally best to avoid
using more than two or three fonts in a
single project to maintain consistency. If
you’re looking for more variety, however,
look for a font that has multiple weights or
styles, such as condensed or extended.
You can get a good mix using variations
while still maintaining the same basic look.
Readability first: It can be hard to resist
using the cool font you just discovered, but
don’t let that get in the way of the
legibility. After all, your project won’t do
any good if the text is too hard to read.
Branch out: Avoid overused fonts such as
Times New Roman, Arial, Helvetica or
Comic Sans. There are plenty of great
alternates that have a similar look, but are
different enough to add some uniqueness
to your project. For Times-like fonts, try
Minion, Garamond or Century Schoolbook.
Arial look-alikes include Helios and
Franklin Gothic.
TREATING YOUR TEXT
Once you’ve selected your fonts, you
need to format your type to create eye-
catching design elements.
Text as a design element: Instead of
overdoing it with art, try turning a few key
words into an eye-catching, stylized
typographical component that becomes a
dominant artistic element of your project
(Figure 3). This works great for budgets
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that don’t allow for photography or when
you’re looking for something a little
different. You can blow the text up fairly
large and use fonts that have interesting
serifs or flairs. This type of technique
works very well with a subtle
background, such as those in the Juice
Drops library.
Picture perfect: If your design includes
photographs or illustrations, try layering
text directly over the image in the
negative spaces of the photos (Figure 4).
It’s usually best to avoid covering the
main subject in the photo, but areas such
as grass, sky or water often make great
places to place text, especially when
combined with the next tip.
Add some glow: When placing text over
photos, add a drop shadow or outer glow
effect to the text to make it stand out
(Figure 4). If the photo you are using is
light, black shadows and glows usually
work best. Over darker photos, you can
use white or gray instead. To add a
shadow or outer glow in Photoshop,
create a text layer and right-click on the
layer. Select Blending Options, then
select either Drop Shadow or Outer Glow
and then experiment with adjusting the
various settings.
Tuck your text: When writing headlines
for ads or other layouts, trying breaking
the words into two or three lines and tuck
the words into the spaces created
naturally by some letters (Figure 5). You
can also try varying type sizes or running
some text in all capital letters. Maybe
FONTS
take a key word or phrase
from your headline and make
it bold, change the color or
increase the size. Another tip
that works well in multi-line
layouts is to let a shadow or
glow overlap other text
elements. This gives the
layout a unique sense
of depth.
Hand style it: Try adjusting
the letter spacing of your text
to crunch the characters
closer together or spread
them out for interesting
artistic effects. You can also
adjust the space between the
lines (leading) to create
different effects. Instead of
using your layout or design
program’s built-in small caps
feature, try adjusting the
Negative spaces in photos make
smaller capital letters
Figure 4 great places to place text, especially
yourself: preformatted small caps effect when combined with a drop
shadow or glow effect. Headline
often don’t have the optimal proportion
and body copy in Minion.
between the large and small capitals.
Michael P. Hill is a marketing
assistant and Web specialist at
FX Group, a broadcast news
set design, fabrication and
installation firm in Orlando.
He also runs a small graphic
design agency, Clearhill
Creative.
Tucking your text creates a
Figure 5 professional look and feel. The
words ‘the seas’ are tucked nicely
into the space next to the
descender of the letter ‘g’.
NOVEMBER 2006 DIGITAL JUICE MAGAZINE | 25
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Volume Spotlight
Volume 46 of the Juice Drops library, thanksGIVING, covers
the holiday from A to Z. Turkey dinners, pilgrims and Indians,
JD46:thanksGIVING This is just a small
pumpkin pie and thanksgiving prayers—these illustrations
come in a variety of styles from whimsical to ultra-realistic. sampling of the
100 different layered
As with all Juice Drops volumes, these images are provided in designs in this volume.
layered Photoshop PSD format so you can isolate individual
elements from the designs or rearrange the existing art to suit
your purposes time and time again. Check out a few examples of
what’s in the volume and how it can be used at right and below.

Hidden under the empty plate and cutlery in

JD #4606, are a number of beautifully drawn
fall leaves. These leaves were duplicated and
used in this billboard for a jewelry store
(above) where they serve to accent both
the jewelry and the model’s face.

The colorful rendition of a wild turkey in

JD #4627 makes a perfect bold graphic for
this seasonal beer (right). The same
campaign used the football-watching
scene in JD #4650 to promote the
product in print ads and posters
(far right, top).

Taking the Thanksgiving elements out of

JD #4606 and using just the empty plate
and cutlery layers, the promotional ad for
this diet book (far right, bottom) makes a
strong impact with very little text.

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 Digital Juice Design Series • Book 1

101
Juice Drops Tips & Tricks

compiled and edited by

Jacqui Dawson

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

TT01
 tips & tricks masking a photo into a frame
#06: So, you have your honeymoon photo and you have
a volume of Juice Drops frame illustrations. Now
Fig. 1 what? How do you get that photo into a frame so
it looks like it belongs there (Figure 1)? Here’s a
quick trick using Photoshop Layer Masks.
1. Choose the frame you want to use (in this
case, JD #4403 from Juice Drop Volume 44:
frameCUTS II) and open it in Photoshop
(Figure 2). Scale the layered image down to
the size you require for your project.
2. Open your photo in Phototshop and drag it into
the frame image as the top layer. Scale down to
fit framed area with some overspill (Figure 3).
3. Find a layer in the Layers palette with a shape
that roughly corresponds to the framed area
(Figure 4). In our case, the blue circle on Layer
13 should fit the bill. Tip: If no layer like this
already exists, create a new layer, make a selection
on it corresponding to the frame shape and fill this
selection with black. Turn off layer visibility.
4. Here’s where the magic begins: first CTRL-click
on the thumbnail of Layer 13 (or your own
custom frame layer) in the Layers palette (Step
1 in Figure 5). You should see a marching ants
selection on top of your image. Next, with the
photo layer selected in the Layers palette (Step
2 in Figure 5), click the Layer Mask button at the
bottom of the Layers palette (Step 3 in Figure
5). This should automatically create a layer mask
on your photo layer in the shape of Layer 13.
5. Not happy with the placement of your photo?
Fig. 2 No problem. In the Layers palette, click on the
small link icon between the thumbnail of your
photo and its mask to unlink them (Figure 6).
Then click on the photo thumbnail to select it.
In the image layout move the photo around to
place it properly, rescale, etc. It will only be
visible in the masked areas and mask will not
scale or move if unlinked. Relink mask and
photo when done with modifications. Because
we are masking the photo and not cropping it,
the entire photo still exists and is editable in
Fig. 3 your composition.
Fig. 4 6. You could stop here but to truly make your
Fig. 5 photo part of the image, drag the photo layer
down within the Layers palette so that some
Fig. 6 of the transparent graphic layers lay on top
of it to get the effect seen in Figure 1.

TT02 These pages are excerpted from the upcoming book 101Juice Drops Tips & Tricks
 masking graphics into text tips & tricks
#12:
It looks complicated but it’s not. Getting
texture and imagery into text is simply a
masking technique in Photoshop, but it can be
a unique way to get across a powerful message.
In this example (Figure 1), the background
image matches the image masked into the text
but you can use the text layer anywhere, on any
other background also.
1. Load the image you want to use to color
your text. In this example, the image used
is JD #3888 from Juice Drops Volume 38:
pastelSKETCH (Figure 2). Flatten the image
to one background layer. Then duplicate the
layer so you have two layers with the same
graphics. Turn off the visibility of the top
graphics layer.
2. Select the bottom background graphics layer
and change its coloring to shades of grey by
adjusting the Saturation to 0 and Lightness
to -10 or more depending on image.
2. Next create your text. Large bold fonts are
Fig. 1
best for this technique as they offer the most
fill area for the texture and the headline will
be more legible because of it. The color you
use for the type is not important as it will
not be seen, but white is a good choice since
it shows up well on most busier graphics
during the creation stage.
3. Once the layout of your type is complete,
turn off the type layer’s visibility in the
Layers palette. Turn back on the visibility of
the upper color background graphics layer. Fig. 2

4. With the color graphics layer selected, CTRL-

click on the Type layer thumbnail in the
Layers palette. Then click on the small Layer
Mask icon at the bottom of the Layers palette Fig. 3
(Figure 3). This will create a mask on the
graphics layer in the shape of the text.
5. To help the text stand out further from
the grey background, you can also add a
drop shadow and stroke to the mask
(Figure 4). Any effects you add to the Fig. 4

graphics layer, will appear around the edges

of the mask, not the layer as a whole.

...the first in a new book series available next year from Digital Juice.
TT03
 tips & tricks focus attention with color
#31: One of the easiest ways to draw attention to
anything is to add color. In the case of this
technique using JD #4154 from Juice Drops
Fig. 1
Volume 41: frescoVITA, emphasis is added when
color is taken away from the background of an
image and the hero element is left alone in
color (Figure 1). Because of the layered nature
of Juice Drops images, this is very simple to do.
1. To maintain maximum editing flexibility in
the design, first select the layer immediately
below the main hero element layers. Then add
a Hue/Saturation Adjustment Layer to it by
clicking on the Adjustment layer button at the
bottom of the Layers palette (Figure 2). Lower
the Saturation to 0 and the Lightness to -20
or lower depending on the design.
This Adjustment Layer will affect any layer
below it but will not hinder you from
moving or scaling any of the layers to edit
the layout if required. You can also move
other layers above the adjustment layer in
order to return them to their original color
look.
2. Finish the look off by adding a drop shadow
to your bottom hero layer so that it stands
out from the background even further.

tips & tricks

build a new backdrop
#32:
What do you do when you have a
photograph with the right subject
but a completely wrong background,
and money and time are tight?
Answer: Sub in a new backdrop.
Instead of spending money on setting
up a new photoshoot or finding
another stock photo that’s almost
right, isolate your subject and place
her on a new background graphic.
Here we used just the scaled
down background sky layers in
JD #4165 from Juice Drops
Volume 41: frescoVITA to
brighten up an ad for a school.
Fig. 2

TT04 These pages are excerpted from the upcoming book 101Juice Drops Tips & Tricks,
 make room for type tips & tricks
Fig. 2
tips & tricks
background as hero
#55:
Inspiration for design can come
from anywhere and sometimes
the simplest element can be
the most dramatic.
For this book cover, the background layers in
JD #4461 from Juice Drops Volume 44:
frameCUTS II were used as the main focus of
the design. One single graphic water drop
shape was left in light blue while the rest of
the drops were tinted darker. Because these
drops are all isolated elements, treating this
background element as a hero was easy and
made for an effective cover graphic.
...the first in a new book series available next year from Digital Juice.
#54:
Fig. 1
Not all Juice Drops are born
to be text templates. Some of
the more illustrated images
would seem to be so full of
graphic elements that they
could never have room for
text headlines or logos. Such
is the case with JD #4338
from Juice Drops Volume 38:
popLIFE (Figure 1).
However with a little layer
play in Photoshop, you will
find that underneath those
graphic elements are wide
open spaces just looking for a
headline to host. Here’s what
we did for the Spring Fashion
Event at Leineman’s (Figure 2).
1. Select layers 5-14, 19 and
21-28 (Figure 3). Scale
them down by 60% and
move to the lower left.
2. Mask out or erase the
Garden flowers sign and the
right hand vine elements
on layers 2, 18, 20 and 21.
Fig. 3
Voila! You now have a perfect
place in the center to place
the ad headline and perfect
spot in the lower right corner
for the store logo.
TT05
 tips & tricks heroic logo design
#66:
Fig. 1
Fig. 3

Logo design is a tricky thing. You

have to keep things simple but
meaningful in a very small space.
In this example, you can see how
inspiration for a strong graphic
element can come from the most
unexpected places.
This clean simple logo design
(Figure 1) is a clear case of less
is more. No fancy textures or
effects, no complex symbology—
just a plain black outline of a
hero element derived from a
much more complex illustration—
JD #4176 from Juice Drops
Volume 41: frescoVITA
(Figure 2). Of the 31 available
layers (Figure 3), only the
uppermost 31st layer was pulled
from this illustration to serve as
the basis for a corporate identity.
Because all layers are separate in
Juice Drop illustrations, the
Fig. 2 outline of this hero element is
contained on its own layer
separate from the body of the
frog, ready to use.
The Leap Frog corporate identity,
established with the logo,was
then carried on to other
promotional materials. In this
strong graphic magazine ad
(Figure 4),a repetition of the logo
graphic in a tiled background
relates both to the corporate logo
and to the message,thus reinforcing the
company’s name and identiity in the viewer’s

Fig. 4

TT06 These pages are excerpted from the upcoming book 101Juice Drops Tips & Tricks,
 repeat after me tips & tricks
#87:
Fig. 1

Repeat after me: Juice Drop Layered Fig. 2

images give you more flexible design options.
Good. Now let’s put that statement in action.
JD #4055 from Juice Drops Volume 40:
frameCUTS (Figure 1) has a great look and
a wide open framed area, ready for text.
But let’s make it even better for this DVD
packaging project by using a little layer
repetition along with the addition of some of
our own photography (Figure 2).
1. Select the main layers that make up the
film frame shape—layers 4 & 12 (Step 1
in Figure 3).
2. Duplicate both layers 3 times so that you
have 4 copies total (Step 2 in Figure 3).
3. Leaving the original two layers in the same
position, move each of the Layer 4 copies
so that it lies underneath the corresponding Fig. 3
Layer 12 copy in the Photoshop Layers
palette. Link each set of copies—Layer 4 Fig. 4
copy 1 linked with Layer 12 copy 1, etc.
Adapting the DVD box design to the
Then select each of these layer pairs DVD face is a simple matter of scaling
individually and move them to various and rotating the main headline to
positions in the composition until the make it fit the smaller space. If more
headline area is framed with film frame space was required, we could also turn
edges (Step 3 in Figure 3). off one or more sets of the copied
frames to provide it.
4. Bring in a photo to add more interest
and finish DVD box design (Figure 4).

the first in a new book series available next year from Digital Juice.
TT07
 tips & tricks blending a boring photo
#96: Your client provides the art. It’s less than stellar,
not as dramatic as you had hoped. Here’s how
you fix it to create the ad with impact you
have envisioned (Figure 1):
Fig. 1
1. Load a Juice Drop layered background into
Photoshop and flatten it. Scale to the size you need
in your layout. Figure 2 shows the one we chose—
JD #4244 from Juice Drops Vol. 42: highIMPACT.
2. Duplicate this graphic layer and colorize red.
3. Create a layer mask on the first graphic layer that
cuts the graphic in half with a diagonal in the
middle. Create the corresponding opposite layer
mask on the red tinted graphic layer so that the
two layers now comprise two halves of a rectangle.
4. Bring in the photo and scale it to around the
size needed to fit in the left side of the layout,
on top of the color background. With the photo
layer selected, click on the layer mask
thumbnail for the color graphic layer in the
Layers palette. Then click the small Layer Mask
icon at the bottom of the Layers palette to
create an identical layer mask on the photo
layer.
5. Change the Layer blending mode of the photo
layer to Overlay. Duplicate the photo layer and
change the copy’s blending mode to Soft Light
Fig. 3 (Figure 3). Complete the layout with your text.

tips & tricks

photo outside the frame
#99:
Don’t be afraid to color outside
the lines. Frames work great for
containing pictures but they are
also very effective when a
photo is only partly held in by
them. In this example, JD
#4459 from Juice Drops Volume
44: frameCUTS II is colorized
and used as a backdrop for this
fashion photo spread. It is the
headline text which ends up
being framed by the Juice Drop
layers but the overall effect is
Fig. 2 of a woman breaking out of the
frame that contained her.

These pages are excerpted from the upcoming book 101Juice Drops Tips & Tricks,
TT08 the first in a new book series available next year from Digital Juice.
 VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
PRE-PRINT ON THE WEB @ www.digitaljuice.com

Prepping for Print

The Fundamentals of Formatting your Files for the Press
by Billy Nendza

W
hen Chuck Peters asked me to write about taking a design
from the computer to the press, I was more than happy to
contribute. Having been the go-between of designers and pressman
for many years, I’ve learned what to do and more importantly, what
NOT to do to get the results you desire. If you are new to publishing,
this article will be invaluable to you; I’ll explain a few key things you’ll
need to know to communicate well with your printer. If you’re an old
pro, it never hurts to be reminded of a few of those steps we all inevitably forget.
Unfortunately, there’s not enough space to explain everything. After all, this is an
article, not a novel, so I’ll just touch on a few of the biggest points.

“ Thereproduced
millions of colors you see on your screen will not be
on paper exactly as you see them.
COMMUNICATION IS KEY
There are many wrong turns one can make
along the way to the printing press that
can negatively affect your final product. So
to save time and money, first and
foremost, you need to communicate clearly
and often with your printer. Even before
you start a design that’s intended for print,
contact your print shop and give them as
much information as you can about your
impending project and get as much
information as you can from them on how
to set it up. Every printer is different, so it’s
important to find out exactly what your
printer needs to handle your job.
RGB VS. CMYK
This one is probably my biggest pet
peeve as a prepress technician.
Beautiful artwork,
stunning layout…
and RGB everything!
It’s enough to make
the best technician cry.
RGB stands for the red,
”
green, and blue light that is emitted from
a monitor to form the millions of colors
you seen on your screen. The key words
in that sentence are “on your screen.”
Traditional printing uses process and spot
colors to reproduce color, and the range of
colors that can be produced is not nearly
as many as can be produced on a
computer monitor. So the millions of colors
you see on your screen will not be
reproduced on paper exactly as you see
them. They can get close, but they won’t
be exact. A lot of designers (amateur and
pro alike) are not as aware of this concept
as we in the printing business would like. A
spectacular design on the screen can
easily be ruined if it’s not in the correct
color space. So to avoid any problems,
make sure all submitted artwork is either in
CMYK (Cyan, Magenta, Yellow and blacK)
and/or the correct spot colors. And please
avoid using registration black for any type,
lining up four plates of small type can be a
nightmare for your pressman.
PHOTO RESOLUTION
How to handle this tends to vary from
printer to printer, but as a general rule all
graphics used in your layout should be
either TIFF or EPS files with no image
compression. Many pressman prefer that
you not send JPGs, GIFs, or any other
type of graphic file. Talk to your specific
printing press to know what they prefer.
The resolution settings of the pictures
should also be at least twice the
linescreen you desire for the final product.
So if you are printing at 150 line screen,
then your image should be at least
300dpi (Figure 1). Also do not enlarge a
300dpi image in your document bigger
than its original size, because that will cut
down on its resolution.
Whatever you do, avoid using low
resolution artwork that you have pulled off
the Web (Figure 2). I know it’s tempting to
use a multitude of “free” art, but the
images are normally very low resolution in
order to conserve bandwidth and

Figure 1

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 VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
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downloading time, and they don’t print
well. On top of that many images on the
Web are copyrighted and you shouldn’t be
using them anyway. (BTW, the Copyright
Act, as discussed by Mark Levy on page
50 of this issue, applies to artwork as well
as music. Make sure you have the proper
permission to use all of the images and
elements in your designs. —cp)
FONTS
Make sure to send your fonts to your printer.
In every file you pack up and send to a
printer, remember to
include copies of the
fonts that you used in
the design, or make
sure the fonts are
embedded into the files. It
Figure 2
wouldn’t hurt to convert all fonts to paths if
possible. Font blowouts and missing fonts
are one of the biggest hassles in printing so
don’t forget to include a copy.
PAPER STOCK
Paper selection is often a matter of
personal preference, but if you’d like to
keep costs down, while at the same time
selecting the best paper for your project,
there are a few things to keep in mind.
First off, determine what your customer is
looking for in the final product, but remind
them that it must also remain functional.
A 60 pound paper may be cheap but you
can’t use it to mail as a postcard. What
about choosing a glossy coat versus a
non-glossy coat? Glossy coated paper
may look sharper, but it is more expensive
PRE-PRINT
and can be overkill. If your particular
piece doesn’t showcase any white areas,
a glossy shine can become meaningless,
since inks give off their own shine
anyways. Also keep in mind that a full
color image printed on a colored piece of
paper could alter the appearance of the
colors in that image when printed, so
sometimes plain white is best.
These points are just a few of the biggies.
Don’t be afraid to communicate with your
printer, in other words bug them! If you’re
trying to make life easier on everyone and
produce an accurate and sharp looking
product, it’s the best thing you can do.
Billy Nendza is the Pre-press Manager at
CMI (Computer Marketing Innovations) in
Central Florida.
 VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
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Camtasia Studio Screen

Recording and Presentation
Software: In Use @ Juice
by Chris “Ace” Gates

TECHSPECS
Camtasia Studio Screen
Recording and Presentation
Software
Price: $299 (single user license)
System Requirements:
• Microsoft Windows 2000 or
Windows XP
I
f you produce corporate, educational, or training videos chances
are you’ll one day need to show a computer application’s
interface in your productions. The best way to understand a visual
interface is to see it. There are several ways to do this, including
shooting your screen with the camera, but the best solution we have
found is to use screen-recording software. Here at Digital Juice, my role has kept
me busy producing and editing DJTV programs, many of which require me to show
computer interfaces to our viewing audience. If Chuck or Eric is talking about finding
or selecting an item in the Juicer, for instance, we need to show the Juicer’s
interface so the viewer can follow along and reproduce the steps.

• Microsoft DirectX 9 or later

“provided
Camtasia easily does the job that I ask it to and has
me with a workable solution in my workflow.
• 1.0 GHz processor minimum
Recommended: 2.5 GHz*

• 256 MB RAM minimum

Recommended: 1 GB
• Windows-compatible sound
card, microphone and
speakers (recommended)
• 40 MB of hard-disk space for
program installation
• Camtasia Studio Add-in for
PowerPoint requires Office
2000, Office XP or later
Am I pleased with Camtasia? Absolutely.
FULL SCREEN CAPTURE
The product that I rely on daily for screen
capture is Camtasia Studio from
TechSmith. What I like about Camtasia is
how it addresses some of the specific
needs I have for editing DJTV. The first
issue I encounter is in terms of workflow. I
need to produce at least three episodes of
DJTV per week. There isn’t much time for
errors or long work around solutions.
Camtasia allows me to record my entire
screen with a single keystroke. I just tap a
key to start recording, click and mouse
around the interface to demonstrate
whatever I need to demonstrate, and tap
a key again to stop recording. Camtasia
”
saves this recording as a proprietary file
type that saves me disk space, which is a
good thing because multiple one-minute
videos at 1280x1024 can easily consume
some major hard drive space. I’m then
able to take the proprietary Camtasia file,
trim it to select the portions that I want to
use as B-roll and render them out as
uncompressed AVI files at 1280x1024
that I can drop directly into my NLE.
HI-RES RECORDINGS
There are several reasons I want the
video at 1280x1024, even though it
creates a tremendous file size. One
reason for preferring big, uncompressed
files is because down the pipeline my
finished production is going to be
compressed by our Web guys for
distribution. If any of my footage,
especially those that are rendered CG,
goes through multiple compressions, I run
the risk of some ugly artifacts. Unless it’s
a shriveled up monkey paw that grants
me wishes, I don’t want any ugly artifacts.
The second reason that I prefer big files
is that I have to be constantly concerned
with our means of presentation when
creating content for DJTV. DJTV is
broadcast on the Web, which translates
to a small image. I need to be able to

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Camtasia allows us to record high-resolution screen shots
like these, which can be seen in episodes of DJTV.
create legible recordings of what’s
happening on screen so our viewers can
understand what’s going on. Simply
taking the whole screen shot and
squeezing it down is not going to work. I
want to draw the viewers’ attention to
specific portions of the screen. Camtasia
allows me to record the entire screen at
1280x1024, which is a lot bigger than
my 720x480 workflow. By having a file
with a screen size that is larger than my
production’s screen size, I’m able to
isolate sections of the interface and
display them as “enlarged” without
distorting the image by having to blow it
up. Camtasia’s big images are a big plus.
ROOM TO GROW
There are only slight changes I would
make to this software. One would be
render times (don’t we all want
everything to be real time?), but truth be
told, the size of the files that I export from
Camtasia move pretty quick on my
system. The other issue is that Camtasia
1.800.525.2203 ORDER BY PHONE
is platform specific, I can use my output
on either my Windows machine or my
Mac, but Camtasia doesn’t allow you to
record any Mac software. This is a
definite drawback since I do most of my
editing with Final Cut Pro on a Mac.
FINAL THOUGHTS
Camtasia easily does the job that I ask
it to and has provided me with a workable
solution in my workflow. Am I pleased
with Camtasia? Absolutely. I used it for
some much-needed B-roll in last week’s
productions, and I’ll continue to count on
it to provide me with footage so I can
have three more shows in the can this
week. Most importantly, our audience at
DJTV will be able to see what’s happening
on screen because Camtasia allowed us
to show it clearly. I only wish I could use
it to record the interface of my Mac.
Chris “Ace” Gates is an Associate
Producer at Digital Juice.

TAKE 5
WATCH IT
ON DJTV!
THIS ARTICLE IS
ALSO A SHOW!
To see and hear this article in
action (and see other Take 5
episodes with Chuck Peters),
check online in the DJTV section
of DigitalJuice.com.
TAKE 5: Season 1, Episode 106
Episode Title: Make Editing
Easier with Stock Footage
Release Date: Sept. 18, 2006
Half-dissolve a general purpose textured
animation with a VideoTraxx clip to create a
cool textured background that's perfect for text.
VideoTraxx lets you assemble entire edits
without shooting a frame.With more 10,000 clips
in the collection, there are oodles of options.
40 | DIGITAL JUICE MAGAZINE NOVEMBER 200A6
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Take 5: 5 Useful VTX Uses
by Chuck Peters
J
ust a few years ago stock footage was too expensive for
most independent producers. You had to drop big bucks to
use just a few clips, so very few people did. Digital Juice’s
VideoTraxx library changed that. Now anyone (including you) can
afford to have thousands of clips on their shelf to use however they
like. You don’t you’d use stock footage? Well don’t go anywhere. In
this episode I’ll share five cool ways that VideoTraxx can make your life easier, and
your productions better. Don’t believe me? Let’s Take 5!
“ Stock footage isn’t the rare commodity it used to be.
In fact it’s something that you can use in every one of your
productions in lots of different ways.
”
USE #1 The best edits you’ll that ever make will Walter’s special on national network TV, it
COVER YOUR CUTS: be invisible to your viewers. Any edit that doesn’t belong in your productions either.
VideoTraxx gives you lots of options draws too much attention to itself, and There’s no reason that their editing
to cover up awkward edits. We’ve all been distracts the viewer from the message of should be held to a higher standard than
there... you’re editing a the program, has to go. Editing isn’t yours. Alright, back to the tips…
speech or an interview about the editing, it’s about the message.
The better bet in situations like this is to
that was shot with a
Having your subjects jump around the cover those junky jump cuts with
single camera and,
screen like Max Headroom falls under cutaways. But... uh oh, you didn’t shoot
after editing the audio,
this heading… it’s just not acceptable. I any! That’s where Videotraxx comes in! –
you’re left with a
know what you’re thinking… but, Trust Whether your speaker’s talking about
series of jarring jump
me throwing in dissolves to try to smooth fitness, flamingos, flowers or foreign
cuts. What do you do?
those edits out isn’t any better… really, countries, VTX has the footage you need
Let me start by saying
it’s not. I look at it like this: If you to cover your cuts. You can use the
that—for you, from now on—leaving them
wouldn’t see it on a primetime Barbara Juicer’s search tool to find clips on
in is NOT an option.
ORDER ONLINE www.digitaljuice.com

whatever topic you need, then drop them
onto your timeline to mask the offending
edits. Let’s watch that sequence now…
VTX won’t just keep you from looking like
an amateur… it’ll actually make you look
like even more of a pro.
USE #2
CREATE NO-SHOOT
PRODUCTIONS
With VTX, you can create entire
programs without touching a camera!
Because the VTX library has so many
clips – more than 10,000 in the entire
collection – you can assemble entire
edits without shooting a single frame! A
lot of clips were shot as sequences at
the same set, so you don’t have to work
with just a single clip, you have a whole
series of shots. I know for a fact that
there are a quite a few commercial,
church and corporate producers who are
making some pretty killer videos without
ever getting out of their seats or leaving
their suites.
USE #3
MAKE GREAT
GRAPHICS
VideoTraxx clips aren’t just for B-
roll, they’re also a fantastic foundation
for great graphics. Sometimes it takes
more than just text and texture to make
a great graphic. If you’re looking for fresh
ideas for your titles, reach for VTX. Some
VTX clips were shot specifically with
graphics in mind. Just look for a clip like
this one that’s framed to the side, add
your text or logo in the empty area... and
you’re graphic is good to go. Pretty
sweet huh?
HOW ABOUT THIS…
You can turn a general purpose Jump
Backs animation, like this one from vol
32, Base Camp, into a themed
background by dropping your video on
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one track, the animation on another and
adjusting the transparency of the
background just enough to let your
footage fade through to the front… for a
one-of-a-kind custom text template.
Or, colorize the clip, add a blur, and pick
out an overlay from an ETK to plop on
top… now just type your text and you’ve
got yourself a pretty great graphic. If you
need a fresh face for your graphics, look
to VideoTraxx.
USE #4
INTRO YOUR SHOW
Even if you don’t use VTX clips in
your episodes, they can definitely help
you add interest to your open. Let’s say
we need an open for a travel show we’re
working on for a travel agency. A
sequence of shots like these - taken
straight from VTX - add an instant look of
quality. Thanks to VTX, this show has an
open that grabs the viewers attention
and has them expecting something
great. You don’t have to have a network
budget to have a slick open for your
show. All you need is VideoTraxx.
USE #5
COMMUNICATE
CONCEPTS
Some shots work best when they’re
not taken literally. Videotraxx clips are a
great resource for communicating hard-
to-communicate concepts. Use them to
TAKE 5
Customize a VideoTraxx clip by
colorizing it, adding a blur, and
overlaying an Editor's Toolkit
graphic element before typing
your text.
Even if you don’t use VideoTraxx clips in your
productions, VTX clips can help you make
impressive opens for your videos or TV shows.
illustrate stress, or to talk about
teamwork, wastefulness, sadness, or
success. If you need to impart ideas with
images, VideoTraxx is a resource you’ll
reach for again and again.
Stock footage isn’t the rare commodity it
used to be. In fact it’s something that you
can use in every one of your productions
in lots of different ways. The trick is to
keep finding creative ways to use your
collection so you can make the most of
your media. It’s time to stop thinking of
stock footage as a last resort and start
reaching for it every time you edit.
Chuck Peters is Vice President of Media
You can communicate complex
& Publications and the Editor of Digital concepts clearly with VideoTraxx clips.
Juice Magazine.
NOVEMBER 2006 DIGITAL JUICE MAGAZINE | 41

COPYRIGHT
UNDERSTANDING
INDEMNIFICATION
Indemnification is a very old
principle of law. It does not imply
that a party knew in advance
there was, is, or will be wrong-
doing. Almost every agreement —
intellectual property or otherwise—
includes an indemnification
provision, even if it’s a statement
that no indemnification will apply.
There is no presumption, merely
by using a clause in a contract,
that a party is violating, or
intends to violate, the law.
Most indemnification clauses are
upheld in court. If these clauses
were not defensible why would so
many agreements include them?
There is no guarantee that all of
them will be held valid, but then
again, no one can guarantee that
a favored horse will win any given
horse race either.
GETTING
PERMISSION
Obtaining permission to use
copyrighted music may be easier
than you think. For information
about requesting permission to
use copyrighted music in your
productions, contact:
z ASCAP—www.ascap.com or
email licensing@ascap.com
z BMI—www.bmi.com or email
licensing@bmi.com
42 | DIGITAL JUICE MAGAZINE NOVEMBER 2006
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Copyright Rights:
Are you in Danger ?
A Survey of Music Usage by Event Editors
by Mark Levy
A
t the gentle insistence of the wonderful folks at Digital Juice, I
recently conducted a survey to determine what percentage of
videographers use replacement music, rather than run the risk of a
very expensive and time-consuming law suit for copyright
infringement. The Copyright Act is a Federal statute (title 17 of the
United States Code) and it carries both civil and criminal penalties for
those who copy, prepare derivative works (i.e., works that modify and are based upon
the copyrighted work), distribute copies, or display another person’s copyrighted work
without permission. As a practical matter, our video images are most often original
works, so no claim of copyright infringement can be brought against us.
“ourselves
Without obtaining the right to use copyrighted music, we open
up to the possibility of getting sued by the copyright
owner or even getting arrested by local or federal authorities.
”
THE SOUND OF MUSIC videos, professionally or otherwise, since Almost 45% of the respondents use
The greatest exposure for media makers that group represents the greatest number written agreements with their principals
under copyright laws relates to the use of of people who are likely to use music (customers) to indemnify them, in case
music and sound effects. Some of us, and performed and recorded by others. anyone brings a legal action against them
I’m not naming names, insert commercial (See Understanding Indemnification sidebar).
SURVEY SAYS…
recordings onto our soundtracks with no This is a technique that I advise everyone
Only about 25% of the respondents
regard for the consequences. Others to use, as the customer’s pockets may be
regularly seek and obtain permission from
simply record live sound along with the deeper than yours, if legal issues arise.
the copyright holder(s) to use the music.
images—most often in weddings and One of the respondents stated that she
This procedure can be difficult, since the
documentaries. Either way, without obtaining videotaped different bands at a nightclub,
copyright holder can be one or more of the
the right to use such copyrighted music, we but eventually the nightclub stopped
following: the composer, the publisher, the
open ourselves up to the possibility of scheduling live performances, since musical
arranger, and the performer(s). But if a
getting sued by the copyright owner or even unions like ASCAP and BMI refused to grant
certain piece of music is used repeatedly,
getting arrested by local or federal authorities. the nightclub a license to perform such
such as Kenny Rogers’ Through the Years,
music without a rather steep license fee.
As unscientific as the survey was, I can as one of the respondents reported, it may
still infer certain trends. I limited the be possible to clear the copyright rights for More than 40% of the respondents stated
survey to those who make wedding a series of works. that they used royalty free music to replace
ORDER ONLINE www.digitaljuice.com
 VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
ON THE WEB @ www.digitaljuice.com

the live or recorded music at the event
that was videotaped. One of the
respondents specifically stated that the
BackTraxx 2 music library provided just
the right mixture of music to replace a
piece for a comedic scene in the finished
product. Using royalty-free music (like
BackTraxx or StackTraxx) is the most
logical and most foolproof method of
avoiding copyright infringement issues in
the first place, regardless of whether the
media maker can be indemnified by
his customer.
Less than 30% of the respondents
routinely hired a composer to provide
replacement music. With this option, the
video producer may have to audition a
number of musicians before finding the
right one. Moreover, there is always a
chance that the composer is intentionally
or inadvertently copying a piece of music
that was copyrighted by another, which
could lead to problems.
Some respondents were students and
believed (rightly) that for purposes of
education, the use of copyrighted material
without permission was permitted under
the “fair use” provision of the Copyright
Act. That is true. Fair use applies to
anyone who uses a portion of someone
else’s copyrighted work, without
permission, for the purpose of criticism,
comment, news reporting, teaching,
scholarship, or research. Look for an
article on fair use in a future issue of
Digital Juice magazine.
IGNORANCE IS NO EXCUSE
Finally, one of the respondents stated:
“Never gave it much thought. We think
of music as free.” Famous last words!
Copyright law does not require intent to
prove infringement, but merely proof
that an act of copying occurred without
permission by the owner. In other
words, let's assume you do not have an
agreement, or your agreement does not
include an indemnification clause. If you
copy a protected work, you are still
violating the law. Ignorance is no excuse
when it comes to copyright infringement
actions. See the case of George
Harrison who subconsciously copied
"He's So Fine" and turned it into "My
Sweet Lord." Just because he didn't
know he was violating the original
copyright didn't get him off the hook.
RIGHTS AND WRONGS
Using copyrighted music without
permission is illegal, whether you get
caught or not. What you choose to do
with this knowledge goes to ethics, not
necessarily law, which is what my article
was limited to. To address what's right
and ethical I recommend consulting a
clergyman or philosopher.
Mark Levy is a New York-based Patent
Attorney and video producer.

CASE STUDY
You can read more about the Bright Tunes
Music v. Harrisongs Music case here:
http://www.columbia.edu/ccnmtl/projects/law/
library/cases/case_brightharrisongs.html

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

The Making of a Winner:

MORE
CONTESTS!
Think you have what it takes to
be a winner? Go to our Online
Community Forums to learn
about current contests! Who
knows, the next article like this
might be about you!
Dan Tolbertson explains how he created his
winning Revealers contest video.
H
ere at Juice we think contests are pretty cool. We also happen to think that our
customers are pretty cool. So, from time to time, we like to run contests to see
what our cool customers can do with a new cool product; be it a song, video clip,
graphic element or animation. We recently invited our users to take part in a “win it
before you can buy it” contest based on our brand new Revealers, Motion Design
Element Tools. For these contests we like to offer a free downloadable element(s) and
ask you to use them in a production. The best submission wins some free
product. Fun, right? Dan Tolbertson thinks so! His video of his sons beaming one
another (and the family dog) in and out with our Revealer was the winner of one
of our recent contests, so Dan is pretty jazzed about Juice. We caught up with
him to find out how he produced his winning entry.—cp

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

a few toys in the backyard and that quickly was replaced with
them using it on each other and the dog.
DJ: Your video looks like it was fun to
make. You involved your whole family
in your production. How did you come
up with the idea?
Dan: It was almost the last day of my
vacation, I was still thinking of different
ideas for the Revealer contest. I knew that
it was going to be hard to submit an entry
since I had promised my wife I would not
be working on any projects that week.
That’s when it hit me to do a submission
that the whole family could participate in
and have fun doing together. I threw out
the idea of us all doing a short
video and everyone was up for it.
We kicked around different ideas
while spending a day on the
beach on Thursday and by Friday
I had a solid plan of attack.
DJ: You used the Revealer to
create sort of a Star Trek style
”
“beam me up” effect. How did you
come up with that?
Dan: My original idea was for the kids to
use the Revealer on a few toys in the
backyard and that quickly was replaced
with them using it on each other and the
dog. I wanted the revealer to have its
own identity and personality so I made a
box that I could keep the revealer in. You
may even notice that I took the “S” off
the end of Revealers since only one
Revealer is kept in the box.
DJ: How long did it take to produce
from start to finish?
Dan: We shot everything in a little over an
hour. The goal was to have fun doing it so
everyone needed to have a part in the
production. It didn’t work well with all 3
of my boys so my oldest son volunteered
to work behind the scenes as the set
director and prop master. He always helps
with “back seat editing” also—ha. After
shooting the footage we ate lunch and
spent a couple of hours swimming. I
couldn’t relax; I knew that all the contest
entries needed to be in by midnight.
Fortunately, editing went pretty quick and
I finished faster than I thought I would.
DJ: What did you shoot and edit with?
Dan: I use a Sony PD-150 camera,
Adobe Premiere Pro 2.0 for editing
and Adobe After Effects 7 (for all the
Revealer effects).
DJ: How did you create the Revealer
effects you used? Looks like you did
some rotoscoping.
Dan: I just used a loose mask in AE7.
Since it was a locked down tripod shot
I didn’t have to spend too much time
getting in tight and doing “real”
rotoscoping. I shot the boys separately.

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


Nothing from the two boys intersects the
other at any time. Meaning an arm never
comes over to the other boy’s side. When
I put the tracks on my timeline I put the
track with the little boy on the left on top.
I loosely drew a mask around him which
allows anything not inside the mask to
show though. The mask allows the
bottom track to show through, showing
the boy on the right. It is actually just
loose points around the boy appearing
and disappearing. I moved the mask in
as tight to him as possible and everything
else was the original shot. The best part
is that these masks can be animated and
can move if need be to follow the action.
DJ: What was your biggest challenge?
Dan: The biggest challenge was audio. I
spent quite a bit of time going through all
my StackTraxx volumes looking for the
perfect music. I thought I would need to
VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
ON THE WEB @ www.digitaljuice.com CONTEST VIDEO
combine 2 or 3 different tracks to follow
the mood of the video. After exporting a
happy memory is priceless. Thanks
Digital Juice for letting me play with the WATCH IT
few tracks I dropped them onto the good stuff! You can see Dan’s winning
timeline. The first track I tried was called video online in the DJ Magazine
Dan Tolbertson is involved with all
Magic from StackTraxx Vol. 3, Serious section of digitaljuice.com,
aspects of the Video Production Ministry
Stacks. To my amazement the track was at the Orchard Christian Fellowship in or in the Digital Juice
almost perfect on the first pass. I nudged Temecula, CA. Customer Showcase.
my in and out points around and was
blown away with how perfect the pace
and tempo of the track matched my
video. I grabbed my Sound FX library and
found the perfect sound for my Revealer
and I was done. It was barely 5pm and I
had the whole evening to goof off and
spend time with the family.
DJ: You did a great job, Dan. Congrats on
the win, and thanks for keeping it fun!
Dan: Winning the Contest and all the
positive feedback was great but having
something that our family can watch
years from now that will bring back a
 VIEW THIS AND PREVIOUS ISSUES OF THE MAGAZINE
AUDIO ON THE WEB @ www.digitaljuice.com

Stuff I Can’t Live Without

by Jeff Earley

J
eff Earley oversees the production of Digital Juice’s
StackTraxx layered production music and the Digital Juice
Sound FX Library. There are some things that Jeff has to have to
get the job done. Here’s Jeff’s list of stuff he can’t live without.

“ SoundForge is an absolute requirement. I use

SoundForge on a daily basis for everything from
post production voice track cleanup, to mangleing
recorded audio to make sound effects.
”
■ MY BOX energy drink. I think it was scientifically formulated for people that
A GK Acoustics 8’x8’x8' isolation booth. The “box” lead active and exhausting lifestyles; from athletes to rock stars
reduces the sound level between me and the to audio engineers. It let’s me party like a RockStar... on a diet.
outside world by an average of 38db, so I can mix
■ MY YAMAHA MOTIF ES7
without distraction and record audio without outside MUSIC WORKSTATION
noise. It also keeps me from driving the rest of the Hooked into Cakewalk’s SONAR 5
creative team crazy when I listen to audio edits over and via mLan. This system is capable of
over and over. producing any number of new and
■ MY MACKIE HR824 MONITORS interesting sounds as well as
I use these speakers every single day. They have a traditional instrumentation. It’s
clear, ruler-flat response and broad stereo imaging with
a wide sweet spot so I know that what I’m hearing is
exactly what’s being recorded and that my mixes will
sound good on a variety of playback systems.

■ MY ELECTRO-VOICE RE20 MICROPHONE

The RE20 is mounted in our isolation booth on a spring-arm
inside a shock-mount suspension system. This dynamic cardioid
has an internal pop filter and
a patented Variable-D design
that reduces the bass-
boosting proximity effect so I
can get right up on the mic
for a better signal-to-noise
ratio with no fear of distortion
or the dreaded popping P’s.
■ DIET ROCKSTAR
Nothing jumpstarts an early
morning mix session like the
16 ounces of “party” that are
packed into a Diet RockStar
invaluable for roughing out new ideas leading to the creation of
new music for StackTraxx.
■ SONY SOUNDFORGE
SoundForge is an absolute
requirement. It’s extremely
powerful and precise. I use
SoundForge on a daily basis for
everything from post production
voice track cleanup, to mangling
recorded audio to make sound
effects.
Jeff Earley is Director of Audio
Products at Digital Juice

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

 FEATURED NEW
PRODUCTS THIS MONTH:

• Juice Drops Vol. 46: thanksGIVING

• Jump Backs Vol. 35:Tunnel Vision II
• Jump Backs HD
Vol. 15:Tunnel Vision II
$249 ORFOR AS LOW AS $49
BUNDLE THEM PER VOLUME

PER VOLUME

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11/06 2 0 0 6 D I G I TA L J U I C E C ATA L O G

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

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

JUICE DROPS Layered

Photoshop Design Library
Print Resolution Art You Take Apart Volume Spotlight
VOLUMES AVAILABLE:
JD01: highIMPACT JD35: futureTECH
JD 46: thanksGIVING
JD02: techXTREME JD36: naturalCUTS Give thanks for layered content!
JD03: cleanCUTS JD37: sportsCUTS
JD04: ultraGRUNGE JD38: pastelSKETCH
JD05: subtleIMPACT JD39: allFLAGS
JD06: ultraFRESH JD40: frameCUTS
JD07: hyperXTREME JD41: frescoVITA
JD08: techIMPACT JD42: highIMPACT IV
JD09: highIMPACT II JD43: popLIFE
JD10: ultra3D JD44: frameCUTS II This is just a small sampling
of the 75 different layered
JD11: xtraGRUNGE JD45: halloweenHAUNTS
designs in this volume.
JD12: retroFRESH NEW! JD46: thanksGIVING
JD13: peopleEDGE Volume 46 of the Juice Drops library,
JD14: subtleIMPACT II TECHNICAL SPECS: thanksGIVING, covers the holiday and the
JD15: highIMPACT III • 100 royalty-free layered aurumn season from A to Z. whether it’s
JD16: ultraCUTS illustrations per volume cornucopias, turkey dinners, the Mayflower,
JD17: scienceIMPACT fall leaves or thanksgiving prayers—these
• 1-4 DVDs per volume
JD18: cleanCUTS II illustrations come in a variety of styles
JD19: medicalIMPACT • 46 volumes available now from whimsical to ultra-realistic.
JD20: illustratedIMPACT • Unlimited possibilities—
JD21: businessIMPACT turn layers on and off in
JD22: boundlessEDGE Photoshop, customize the
JD23: cleanCUTS III design for every project
JD24: geoIMPACT
JD25: shadedEDGE • All images are 17.25" x 11.25"
JD26: paperCUTS at 300 DPI for a pixel
JD27: glassEDGE resolution of 5175x3375.
JD28: freshFORM • Files are delivered in layered
JD29: flowerPOWER
Photoshop .psd & flattened
JD30: lifeSHADES
RGB & CMYK .tif formats
JD31: foodFUSION P R I N T / P R E S E N T A T I O N
JD32: templateCUTS
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11/06 2 0 0 6 D I G I TA L J U I C E C ATA L O G

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

Editor’s Toolkits
Complete Animated Graphics Packages for
• 50 Animated Jump Sets with
matching animated background,
template, overlay, and lower third
• 50 Additional animated overlays and
50 additional animated lower thirds
• 200 static lower thirds, 250 static mattes

Every Video Producer or Editor • Thousands of stills in over 20 categories

Create a coordinated and professional look effortlessly

with animations organized into matched sets.
10 Volumes • 100s of Animations per Volume • Backgrounds,
Overlays, Lower Thirds, Wipes and Motion Design Elements $399

Editor’s Toolkit 2: Editor’s Toolkit 3: Editor’s Toolkit 4: Editor’s Toolkit 5:

Multipurpose Tools 2 Wedding Tools High Tech Tools Soft & Subtle Tools
• 55+ GB, 10 DVD-ROMs
(formerly Wedding Editor’s Toolkit)
• 15 Animated Jump Sets with matching
animated background, template, overlay,
lower third, full screen wipe & transition
• 100+ Motion design elements
• 70+ GB, 10 DVD-ROMs • 80+ GB, 10 DVD-ROMs • 80+ GB, 10 DVD-ROMs
• 100 Wipes and transitions to match ETK1
plus 50 additional wipes & transitions • 20 Animated Jump Sets with matching • 20 Animated Super Sets with a High • 20 Animated Super Sets with a Soft &
• 15 Additional lower thirds and overlays animated background, template, overlay, Tech edge, each with the following Subtle look, each with the following
lower third, full screen wipe & transition matching animated elements (at a matching animated elements (at a
• Thousands of photos minimum): 3 backgrounds, 2 overlays, minimum): 3 backgrounds, 2 overlays,
& photo objects • 100+ Motion design elements
2 lower thirds, 2 full 2 lower thirds, 2 full
• 20+ Additional screen wipes,2 motion screen wipes,2 motion
animated backgrounds design elements, design elements,
• 50+ Additional full 1 transition wipe as 1 transition wipe as
screen animated wipes well as 4 alpha well as 4 alpha
channel mattes. channel mattes.
• 25 Bitstream™ Fonts
• More than 320 • More than 320
Animations in all Animations in all

$399 $399 $399 $399

Editor’s Toolkit 6: Editor’s Toolkit 7: E D I T O R ’ S T O O L K I T S

Corporate & Wedding Tools II
Broadcast Tools
• 80+ GB, 10 DVD-ROMs
• 20 Animated Super Sets with a Corporate
& Broadcast feel, each with the following
matching animated elements (at a • 63+ GB, 8 DVD-ROMs
minimum): 3 backgrounds, 2 overlays,
• 15 Animated Super Sets with a
2 lower thirds, 2 full screen wipes,2 motion
Wedding theme, each with the following
design elements, 1 transition wipe as
matching animated elements (at a
well as 4 alpha channel mattes.
minimum): 3 backgrounds, 2 overlays,
• More than 320 Animations in all 2 lower thirds, 2 full screen wipes,
2 motion design
elements, 1 transition
wipe as well as 4 alpha
channel mattes.
• More than 260
Animations in all

$399 $399

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


Editor’s Toolkit 8:
Sports Tools
• 70+ GB,10 DVD-ROMs
• 54 Animated Jump Sets with a network
sports feel, including individual
animations for Basketball, Football,
Baseball, Soccer, Golf, Hockey & Tennis.
• Package also includes globe and
multipurpose animated backgrounds
for a wider appeal.
• Each set in the package contains the
following matching animated elements
(at a minimum): 2 backgrounds,
1 overlay, 1 lower third, 1 full screen
wipe and 1 motion design element
• More than 320 Animations in all
$399
Editor’s Toolkit 9:
Christmas Tools
• 90+ GB, 12 DVD-ROMs
• 16 animated graphically matching
Super Sets with a seasonal theme.
• Each set in the package contains the
following matching animated elements
(at a minimum): 3 backgrounds,
2 overlays, 2 lower thirds, 2 full screen
wipes, 1 transition wipe, 2 motion
design elements and 4 animated alpha
channel mattes. (Most sets also have
several extra elements.)
• Bonus holiday animated text elements.
• Bonus video design elements with
Santa Claus.
• More than 350 Animations in all
$399
1.800.525.2203 ORDER BY PHONE
WE ACCEPT any of these major credit cards
as well as your check.
Editor’s Toolkit 10:
Multipurpose Tools III
Our BIGGEST and BEST Yet! 62% More Content
for the Same Low Price.
• 90+ GB of royalty-free content on 11 DVD-ROMs
• 30 animated graphically matching Super Sets
• Each set in the package contains the following matching animated
elements (at a minimum): 3 backgrounds, 2 overlays, 2 lower thirds,
2 full screen wipes, 1 transition wipe, 2 motion design elements
and 4 animated alpha channel mattes. (Most sets also have several
extra elements.)
• More than 500 Animations in all
$399 OR ADD TO ANY ORDER
FOR JUST $
199
EDITOR’S TOOLKIT HOT TIP:
Flipping an Overlay
he free Juicer allows you to flip or rotate an ETK element
T before you render it out. The Flip control is activated by
checking boxes labeled Horizontal and Vertical. Check them
in various combinations to flip an animation into any of four
different positions. With both boxes unchecked, the
animation is in its original position. Check the Horizontal
Flip box, and the image runs down the left side of the frame
instead of the right. Check the Vertical box as well and the
animation will flip to run across the bottom of the frame.
The Juicer puts the power to flip or rotate your Digital Juice Overlay 1 from
animations into your hands. You can even use the Flip and Super Set 251 in
Editor’s Toolkit 10
Rotate controls together. With the Flip and Rotate controls, can be flipped and
you can position your animations in pretty much any way rotated in the Juicer
to give you more
you can dream of. Now that you know how to do it, the ball flexibility in your
is in your court. Go ahead and put some spin on it. projects.
NOVEMBER 2006 DIGITAL JUICE MAGAZINE | 51
11/06 2 0 0 6 D I G I TA L J U I C E C ATA L O G

JUMP BACKS Standard Definition

Network Quality Animation Library

Jump Backs VOLUMES AVAILABLE:

JB01: High Impact I
JB02: High Impact II
JB21: High Impact VIII
JB22: Global Impact
Network Quality Animation Library JB03: High Impact III JB23: Clean Streak
The royalty-free collection that just keeps growing JB04: Wedding JB24: Tunnel Vision
—more variety and more innovation all the time. JB05: Sports JB25: All Music
JB06: High Impact IV JB26: Future Tech
35 Volumes • 20+ Animations per Volume JB07: High Impact V
JB27: International Flags
15-30 Seconds per Animation • Seamlessly Loopable JB08: High Impact VI
JB28: Subtle Impact II
JB09: High Tech & Internet
JB29: US State Flags
JB10: All American
JB30: Simply Useful
JB11: Retro Clean
JB31: Maximum Impact
JB12: Corporate/Industrial,
Time & Money JB32: Base Camp
JB13: All Church JB33: In The Round
JB14: Medical/Health, JB34: All Hallow’s Eve
Education & Science
NEW!
JB15: Weather & JB35: Tunnel Vision II
The Elements
JB16: High Impact VII
JB17: Extreme I
JB18: Extreme II
$249
JB19: Extreme III per volume
JB20: Subtle Impact

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

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

JUMP BACKS HD
High Definition,Network Quality Animation Library
• 16 volumes, 20 or more animations per volume
• Full 1920x1080, 16:9 res. • 15-30 seconds per animation
• Seamlessly loopable

TAKE A WILD RIDE ON TUNNEL VISION II ! VOLUMES AVAILABLE:

JB HD 01: High Tech & Internet
JB HD 02: Corporate/Industrial,
Time & Money
JB35: Tunnel Vision II JB HD 03: Medical/Health,
Taking up where JB24: Tunnel Vision I left off, Education & Science
this sequel continues the wild ride of fast JB HD 04: High Impact VI
forward motion in animations ranging from JB HD 05: Retro Clean
the realism of a sleek looping roller coaster JB HD 06: Extreme I
and a fast car chase through busy city streets JB HD 07: Extreme II
to more abstract water and light effects that
JB HD 08: Subtle Impact
twist and turn as they propel you forward.
JB HD 09: All Music
DVD 20 ANIMATIONS $249 JB HD 10: Simply Useful
JB HD 11: Maximum
Impact
JB HD 12: Base Camp
JB HD 13: In the Round
JB HD 14: All Hallow’s Eve
NEW Volume!
JB HD 15: Tunnel Vision II

$249 PER VOLUME

BUY ANY 10 VOLUMES OF

JUMP BACKS HD
FOR JUST
$699
OR ADD Jump Backs HD Volumes as selections
in your10-PAK MIX & MATCH BUNDLES!

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11/06 2 0 0 6 D I G I TA L J U I C E C ATA L O G

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

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

Volume Spotlight
MDE 002 & MDE 003 A small sample of the 100

Animated Frames v1 & v2 animated frames contained

in MDE 002 and MDE 003,
Animated Frames v1 & v2.
Frame the action, focus the attention
Each volume of animated graphics in the Motion Design
Element Library is a tightly focused collection of specialty
overlays that are particularly useful additions to your media
library. Each Animated Frames volume consists of 50 animated
overlay frames that you can use to frame video, photos or text.

A picture frame would have no reason to exist without a

picture and so it is with our new Frames library. All of our
Editor’s Toolkits have overlay graphics that can function as
frames, so this type of animation is not entirely new. What is
new is the specific focus on the form and function of the frame
as a part of the visual layout of the screen.

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

while at the same time simplifying and distinguishing the outer edge
so that it can serve as an anchor for textual elements.We commonly
see frames used for the closing credits on television programs, but
they also pop up during sporting events to show scores and on
the nightly news to list talking points and quotations. Frames are
also ideal for DVD menus and as backgrounds in presentations.
Wedding videos, school yearbooks, event video and other types
of productions that involve photomontage sequences are ideal
applications for frames. Simple, elegant and visually distinctive,
the Frames library makes modern video layout easier than ever.

MDE 002 & MDE 003:

Animated Frames v1 & v2
NOW SHIPPING!
Features:
• 50 Animations per volume on
DVD-ROM
• Seamlessly Loopable
• Full printed index
• Average length 5-15 seconds
• QuickTime® format
• 1500 x 1500 to 2520 x 1645
at 30 fps
• Juicer resizes to NTSC D1,
DV, PAL & more
• Juicer uses an advanced
algorithm to scale to PAL & NTSC

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11/06 2 0 0 6 D I G I TA L

DIGITAL JUICE
J U I C E C ATA L O G

StackTraxx
Layered Digital Music Library
SOUND
LIBRARY
FX The revolutionary production collection that puts
you in control! Just $249 per volume or as low as
$49 per volume in a 17-PAK Bundle.
• 10,000+ SOUND EFFECTS in more than VOLUMES AVAILABLE: • Now 17 volumes to choose from!
170 categories and 4 main classes Vol. 1: Extreme Stacks
• Superior 24-bit, 96kHz stereo • 20-40 original full length songs per volume
Vol. 2: Power Stacks
• WAV format lossless quality audio Vol. 3: Serious Stacks • 1 DVD with proprietary digital layered files plus
• Keyword searchable Vol. 4: Smooth Stacks up to 4 CDs per volume (CDs contain Standard
• Over 55GB of content Vol. 5: Holiday Stacks Compact Disc Audio)
Vol. 6: Street Stacks • 4-7 separate editable layers per song
SOME OF THE CATEGORIES INCLUDE: Vol. 7: Groovy Stacks
NOISE FX—Alarms • Beds • Bells • Bumpers • Buttons • Descends • 4 broadcast cuts per song—:10, :15, :30, & :60
Vol. 8: Fifties Stacks
Feedbacks • Flashes • Growls • Phasers & many more. • NEW! JUICER 3.0 COMPATIBILITY
Vol. 9: World Stacks
GENERAL FX—Animals • Crashes • Explosions • Foley Vol. 10: Broadcast Stacks
Household • Impacts • Liquids • Sports & many more.
• One of our MIX & MATCH Products
Vol. 11: Epic Stacks
MUSICAL FX—Musical Logos • Musical Transitions & many more. Vol. 12: Corporate Stacks
HUMAN FX—Attitudes • Business • Children • Commercial Vol. 13: High Impact
Common Greetings • News • Numbers & many more. Vol. 14: Rock Stacks
Vol. 15: Subtle Impact Stacks

$599 $699
REG. PRICE
Vol. 16: Spooky Stacks
NEW!
Vol. 17: Light Touch Stacks

$249 per
volume

Taking production music a step further,

$399 BackTraxx 1 CD Music Library
Music to your ears and your budget!
StackTraxx allows you to turn layers on
or off creating original mixes or isolating
individual tracks, using our free
Juicer 3.0 software.
• 1000+ tracks of royalty-free music on 28 CDs
• Full length tracks as well as :60, :30, and :15
broadcast cut versions
• 16-bit, 44.1 kHz, standard CDDA format
• Categories include: Atmospheric, Christmas,
Classical, Corporate & Industrial, Country,
A U D I Hi-Tech,
O Mellow,
P RNature, O Piano,
D Rock, U Sports,
C T S
Suspense, Urban, Weddings and more. Get ALL 17 VOLUMES
for just $849 Special Limited
Time Pricing!

$399 BackTraxx 2 CD Music Library

All new tracks,categories & composers.
• 1100+ tracks of royalty-free music on 33 CDs
• Full length tracks as well as :60 & :30 broadcast cut
versions; most songs also include an Underscore Remix
• 16-bit, 44.1 kHz, standard CDDA format
• Categories include: Americana, Blues, Classical,
Comedic, Entertainment, Film, Funkadelic Disco,
GenXer, Island Flavor, News, and many more
• Free Juicer Software for track preview & ripping

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

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

VideoTraxx 1 VideoTraxx 2
Film & Video Library Film & Video Library

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

CATEGORIES INCLUDE: CATEGORIES INCLUDE:

Aerial, Abstract, Agrictulture, Business, Children,
City Life, Eldelry, Extreme Sports, Family,
Farming, Fitness, Government, Health, Industry,
International, Landscapes, Leisure, Music,
Nature, People, Science, Sights, Sports,
Suburbia, Technology, Urban, Weather,
Work and more.
$599
Artisans and Crafts, Autos and Motor Sports,
Business & Office, Child’s Play, Cities &
Architecture, Creation, Expression, Fitness &
Medicine, Fun & Relaxation, Home & Garden,
Industry, International Life, Music, Night Life,
Old War, Religion, Romance, Teens,
What’s Cooking, Wildlife, Women’s Beauty,
Youth Sports and more.
$599

V I D E O T R A X X

VideoTraxx 3
Film & Video
Library
• 3000+ Video Clips
• 34 DVDs • 220 GB
• 36 Categories
• Royalty-free
• NTSC/PAL CATEGORIES INCLUDE: Adrenaline, All In The Family, Animal Kingdom, Around
• Free Juicer Software the House, At The Park, Body Shots, Business & Economics, Casino, Couples, Drugs,
Medicine & Emergency, Film, Photo & Video, Good Eats, Hands, International Culture,

$599 Music & Dance, New War, Scenics, Space, Team Sports & Athletics, Workshop &
Garage and more.

1.800.525.2203 ORDER BY PHONE NOVEMBER 2006 DIGITAL JUICE MAGAZINE | 57

 JUICE BOX

Your Comments Unleashed

by David Hebel

I
n September we launched a new section on
our website that is going to become more
and more important. It’s called DJ Comments
and it is where you can talk back to let others
know what you think of Digital Juice, our
product lines, and even individual products.
You'll be able to rate everything and give honest feedback
about the value you did or didn’t get from you purchases.
DON’T MISS I must say it’s been fun to read your comments. and DJTV. You’d be amazed how many
ANOTHER ISSUE! I’m sure all of them won’t be as good as the professionals don’t know about us and we are
ones I’ve seen so far. There are literally out to change that in the coming year. Usually
FREE hundreds and hundreds of you who have left we come and present for 20 to 60 minutes
Magazine such glowing remarks and comments over the depending on the venue and we try to make
Subscription past few months that it almost makes me blush. sure that everyone goes home with something
Our specials and products seem to have struck cool. We can’t promise we can go to every group
• Tips, tricks and tutorials a real chord with many of you and nothing but we are trying to get to as many as possible.
• New product releases makes us happier than knowing that you are If you would like us to try to schedule a visit to
happy. It’s really Business 101. your group contact graham@digitaljuice.com
• Insider product information and give him more details.
Here’s a few DJ Comments on StackTraxx:
• Latest specials and pricing TIPS ON SAVING
MONEY @ DIGITAL
Best of all, you can get Digital Juice JUICE
magazine ABSOLUTELY FREE The number one way to save
every month! To subscribe, just money at Digital Juice is to
visit www.digitaljuice.com and make sure you get or read
click on the FREE MAGAZINE our email newsletters. It’s
link on the homepage. likely that if you have ordered
online with us in the past 6
months you are already
getting our weekly emails but
NEXT ISSUE if you aren’t getting them,
you need to sign up. Each
in DIGITAL JUICE MAGAZINE week we send out an
eNEWSLETTER and a Digital
Juice TV eGUIDE. Keeping an
• White Balance & Color Temperature eye on these two emails is the absolute best way
Leave your own comments and ratings about
• Mic Types & Uses Digital Juice or any of our products at to save money at Digital Juice. In almost every
• Teleprompter Talk http://www.digitaljuice.com/dj_comments/. one we have limited-time unbelievable offers that
you probably won’t hear about anywhere else.
• Compositing Clips into
DOES YOUR USER GROUP We’ve had Editor’s Toolkits on special for as low
Jump Backs Animations WANT US TO VISIT? as $99 at times but if you aren’t getting our
PLUS: If you are a member or leader of a professional emails there probably is no way for you to know.
• Stuff Sr. Producer Perry Jenkins video, print, presentation, or graphic user group
To sign-up for all the different email blasts that
Can’t Live Without and you’d like Digital Juice to visit, let us know
we offer go to www.digitaljuice.com/signup/.
because we want to come. Each month we are
visiting different groups spreading the word David Hebel
about Digital Juice and our products, magazine, Founder/CEO, Digital Juice, Inc.

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

 1736 NE 25th Ave.
Ocala, FL 34470
352.369.0930
Fax: 352.368.6091

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