Preface |
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SECTION 1 PERSUASION FUNDAMENTALS |
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2 | (120) |
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1 The Power of Persuasion |
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5 | (18) |
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5 | (2) |
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How This Book Is Organized |
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7 | (1) |
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Why Is Persuasion Necessary? |
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8 | (2) |
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10 | (2) |
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What Is Visual Persuasion? |
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12 | (2) |
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14 | (1) |
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15 | (2) |
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17 | (1) |
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18 | (1) |
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18 | (1) |
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19 | (4) |
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23 | (32) |
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23 | (2) |
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25 | (2) |
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The Six Priorities Determine Where the Eye Looks First |
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27 | (4) |
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What Makes an Image Compelling |
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31 | (2) |
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Visual Composition Basics |
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33 | (4) |
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Changing Camera Angle: Wide vs. Close |
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33 | (2) |
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Changing Camera Position: High, Low, and Eye Level |
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35 | (2) |
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Blocking: Placing People and Cameras |
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37 | (4) |
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39 | (1) |
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Walking Toward the Camera |
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40 | (1) |
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Framing and the Rule of Thirds |
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41 | (5) |
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Eye Contact Is Nontrivial |
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43 | (1) |
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44 | (2) |
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The Weirdness of Right-Handedness |
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46 | (1) |
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46 | (1) |
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47 | (3) |
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50 | (1) |
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50 | (1) |
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51 | (4) |
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55 | (18) |
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55 | (1) |
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The Right Message Is the First Step |
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56 | (1) |
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57 | (2) |
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Get Organized with a Workflow |
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59 | (2) |
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The Essence of Persuasion |
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61 | (1) |
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Start with the Basics: An Elevator Pitch |
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62 | (2) |
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Focus, Then Focus Some More |
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64 | (1) |
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65 | (4) |
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66 | (2) |
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Meet the "Words of Power" |
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68 | (1) |
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See What's in Front of You! |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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71 | (2) |
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73 | (24) |
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73 | (2) |
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75 | (1) |
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76 | (3) |
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Serif Fonts: The Voice of Tradition |
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79 | (3) |
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Sans Serif: The Voice of the Future |
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82 | (2) |
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Script Fonts: Handwriting for Computers |
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84 | (1) |
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Blackletter: Extreme Script |
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85 | (1) |
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Monospace: Return of the Typewriter |
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86 | (2) |
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Specialty---Creativity Runs Amok |
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88 | (1) |
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89 | (4) |
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90 | (1) |
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90 | (1) |
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91 | (1) |
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Tighten Line Spacing for Titles |
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92 | (1) |
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Avoid Ransom Note Typography |
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93 | (1) |
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93 | (1) |
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94 | (1) |
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94 | (1) |
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94 | (3) |
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97 | (25) |
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97 | (1) |
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98 | (4) |
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99 | (1) |
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Then, Along Comes Isaac Newton |
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99 | (2) |
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Color Also Has Temperature |
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101 | (1) |
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102 | (3) |
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105 | (1) |
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105 | (3) |
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108 | (1) |
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109 | (4) |
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111 | (1) |
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The Special Case of Skin Color |
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112 | (1) |
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113 | (4) |
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117 | (1) |
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117 | (1) |
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117 | (5) |
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SECTION 2 PERSUASIVE STILL IMAGES |
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122 | (96) |
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6 Persuasive Presentations |
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125 | (20) |
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125 | (1) |
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126 | (3) |
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Planning Your Presentation |
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129 | (1) |
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130 | (4) |
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134 | (3) |
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Charts Make Your Points Visually |
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134 | (2) |
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Choose the Right Chart for Your Data |
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136 | (1) |
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137 | (1) |
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138 | (1) |
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More Thoughts on Drop Shadows |
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139 | (1) |
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140 | (1) |
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Transitions: Less Is More. Really |
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140 | (1) |
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141 | (1) |
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142 | (1) |
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143 | (1) |
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143 | (2) |
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145 | (24) |
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145 | (2) |
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147 | (2) |
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149 | (1) |
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150 | (6) |
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156 | (2) |
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158 | (2) |
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160 | (5) |
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165 | (1) |
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165 | (1) |
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165 | (4) |
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8 Edit and Repair Still Images |
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169 | (22) |
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169 | (1) |
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The Ethics of Image Editing |
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170 | (1) |
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Getting Started with Photoshop |
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171 | (3) |
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171 | (1) |
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172 | (1) |
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173 | (1) |
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174 | (5) |
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174 | (1) |
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175 | (1) |
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176 | (2) |
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178 | (1) |
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179 | (8) |
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179 | (1) |
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180 | (1) |
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181 | (1) |
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182 | (2) |
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184 | (2) |
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186 | (1) |
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187 | (1) |
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187 | (1) |
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187 | (4) |
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9 Create Composite Images |
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191 | (27) |
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191 | (1) |
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Creating a New Photoshop Document |
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192 | (1) |
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Adding and Formatting Text |
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192 | (3) |
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195 | (1) |
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196 | (1) |
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Manipulating Images Using Free Transform |
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197 | (1) |
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198 | (1) |
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199 | (6) |
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205 | (2) |
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207 | (1) |
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Adding a Background Behind a Layer |
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208 | (1) |
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209 | (3) |
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212 | (1) |
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213 | (1) |
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214 | (1) |
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215 | (3) |
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SECTION 3 PERSUASIVE MOVING IMAGES |
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218 | (159) |
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221 | (18) |
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221 | (1) |
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222 | (1) |
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223 | (1) |
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224 | (2) |
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Storyboards Are a Tool for Thinking |
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224 | (1) |
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225 | (1) |
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Denning Basic Video Terms |
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226 | (3) |
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229 | (6) |
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Fast, Big Storage Is Essential |
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229 | (3) |
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There's Never Enough Storage |
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232 | (1) |
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233 | (1) |
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A Folder Naming Convention |
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234 | (1) |
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235 | (1) |
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236 | (1) |
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236 | (3) |
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11 Create Compelling Content with Interviews |
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239 | (12) |
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239 | (1) |
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240 | (2) |
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242 | (2) |
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244 | (2) |
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Ten Simple Rules to be a Good Interview Guest |
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246 | (2) |
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248 | (1) |
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248 | (1) |
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249 | (2) |
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12 Sound Improves the Picture |
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251 | (34) |
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251 | (1) |
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252 | (3) |
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252 | (1) |
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253 | (1) |
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253 | (2) |
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255 | (10) |
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256 | (3) |
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259 | (1) |
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Analog-to-Digital Converters |
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260 | (1) |
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Mixers and Multichannel Recorders |
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261 | (1) |
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262 | (3) |
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Pop Filters Keep Audio Clean |
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265 | (1) |
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265 | (5) |
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270 | (8) |
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270 | (3) |
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273 | (5) |
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278 | (2) |
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280 | (1) |
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281 | (1) |
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281 | (4) |
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285 | (20) |
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285 | (2) |
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287 | (1) |
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Help! I Need to Shoot a Video |
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287 | (1) |
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288 | (1) |
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288 | (6) |
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289 | (1) |
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289 | (1) |
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290 | (1) |
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291 | (1) |
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292 | (1) |
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293 | (1) |
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293 | (1) |
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293 | (1) |
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294 | (1) |
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294 | (1) |
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Renting: An Alternative to Buying |
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294 | (1) |
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295 | (4) |
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295 | (1) |
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Finding the Best Close-Ups |
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296 | (3) |
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Staging Entrances with Impact |
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299 | (1) |
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Props: Something for Talent to Work With |
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299 | (1) |
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Working with Inexperienced Talent |
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300 | (1) |
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301 | (1) |
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302 | (1) |
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302 | (3) |
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305 | (40) |
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305 | (1) |
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306 | (1) |
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307 | (1) |
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308 | (1) |
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309 | (1) |
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310 | (1) |
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310 | (1) |
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Step 3 Organize the Media |
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311 | (7) |
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311 | (4) |
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315 | (2) |
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317 | (1) |
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318 | (6) |
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318 | (1) |
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319 | (1) |
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320 | (3) |
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323 | (1) |
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Step 5 Organize the Story in the Timeline |
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324 | (1) |
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325 | (2) |
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325 | (1) |
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326 | (1) |
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327 | (1) |
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Step 8 Add Text and Effects |
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328 | (10) |
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329 | (2) |
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331 | (7) |
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Step 9 Create the Final Audio Mix |
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338 | (1) |
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Step 10 Finalize the Look and Colors |
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338 | (2) |
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338 | (1) |
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Color Grading -- Create a Look |
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339 | (1) |
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Step 11 Output the Project |
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340 | (1) |
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Step 12 Archive the Project |
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341 | (1) |
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342 | (1) |
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342 | (1) |
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343 | (2) |
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15 Motion Graphics: Make Things Move |
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345 | (32) |
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345 | (2) |
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Creating Something Simple |
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347 | (7) |
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347 | (3) |
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350 | (1) |
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The Playhead and the Mini-Timeline |
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350 | (2) |
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352 | (2) |
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354 | (1) |
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Creating a Simple Animated Composite |
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354 | (8) |
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355 | (1) |
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Organizing a Project Using Groups |
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356 | (1) |
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357 | (2) |
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359 | (2) |
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361 | (1) |
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362 | (2) |
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362 | (1) |
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363 | (1) |
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364 | (1) |
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364 | (4) |
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364 | (2) |
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366 | (2) |
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The Last Step: Saving and Exporting Your Work |
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368 | (1) |
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369 | (4) |
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373 | (1) |
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374 | (1) |
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374 | (3) |
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16 Advanced Motion: Particles, Paths, and Perspective |
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Online: www.peachpit.com/visualpersuasion Includes handy shortcuts for popular software |
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Closing Thoughts |
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377 | (1) |
Bibliography |
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378 | (3) |
Index |
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381 | |