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2003 | Buch

Flash Video Creativity

verfasst von: Kristian Besley, Erwan Bezie, Murat Bodur, Neal Boyd, Hoss Gifford, Tim Hawkins, Bruce Herbert, Diana Johnson, Ken Jokol, Leonhard Lass,  Lifaros, Doug Mcdermott, Anthony Onumonu, Jerome Turner

Verlag: Apress

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by Bruce Herbert and Diana Johnson ofSorenson Media Creative boundaries are being blown apart as Macromedia Flash MX ushers in a new era of moving images on the Internet. At its launch, analysts predicted that the Flash Player would transform itself from being a lightweight animation tool" to "the de facto technology for simple web interactivity5* (Randy Souza, Forrester). Since then though, Flash developers combining vector animation and video have proven that it's capable of much, much more than "simple web interactivity". We're still just beginning to scratch the surface of the possibilities it opens up to us, but already it looks like Flash MX is becoming the key technology for pushing video creativity on the Web to a new whole level. Understandably, many people look at Flash as just another way to deliver video on the Web, one more program for showing movies on your desktop. Well, it can certainly do that - but there's a whole lot more it can do besides! You can use ActionScript to add custom controls, determine a video playback sequence, or mask your video with a custom shape. You can use layering to create special effects, design custom templates for e-learning applications, and use lightweight video streams along with Flash animation in rich media e-mail campaigns.

Inhaltsverzeichnis

Frontmatter
1. Introduction
Abstract
The purpose of this chapter is to provide you with some simple grounding in the practical business of working with video in Flash MX. The rest of the chapters. as you might already have seen, will take the concepts a whole lot further. For now though, we’re just going to concentrate on getting up to speed.
Kristian Besley
2. Mixing vector animation with video
Abstract
I began drawing at the age of three, inspired and egged on by my immensely talented older brother Raymond. As a child, I tried to emulate his style and technique, while at the same time using what I learned to illustrate the things that interested a kid that age… namely Godzilla, Uttraman and various comic book characters.
Neal Boyd
3. Video masking
Abstract
Video on the Web undoubtedly has a nice, bright future ahead of itself, thanks to faster Internet connections every year. However, the majority of users are still on a dial-up connection, and this is where the abilrty to manipulate video with ActionScript comes in handy. At last, web designers have the opportunity to remain creative without forcing tens of megabytes of raw video data down a poor viewer’s modem connection. Adding ActionScript to video also opens up a whole new world of interactivity. By combining code with your own creativity, your video work will become richer and more noticeable.
Tim Hawkins
4. Focus
Abstract
I hate watching people doing magic tricks. It’s the most frustrating thing — I just can’t handle not knowing how it was done. We all know magicians rely on sleight of hand and clever props to fool their audience that one thing is happening when the reality lies elsewhere, but I’m not content with this. I can’t enjoy the trick without the closure of discovering the technique that’s been used.
Hoss Gifford
5. A moving video mannequin
Abstract
When the video object first arrived in Flash, I must confess I had a few niggling worries. I was pleased and excited of course, but I couldn’t help wondering if Flash was about to enter a bloat period where every SWF on the net would contain a couple of MB worth of video? I. had nightmares of the first CD games, where developers suddenly realized that even though their new game took up the equivalent of 40 floppies, there were still 600 MB free on their shiny disk. What did they do this space? Fill it with an hour’s worth of bad, slow-loading video of course. Ah, those were the days!
Ken Jokol
6. Cylindrical video component
Abstract
When I was invited to write this chapter, I wasn’t sure about my participation because I’m not primarily a video man. But then I thought about just how many Interesting effects I’ve created using static images — so why not develop and apply something similar to a moving image?
Lifaros
7. Video Wall
Abstract
Inspiration is around us all the time. The real challenge is finding it. I’ve often wondered if there are any differences in the type of inspiration that a graphic designer get compared with a developer. What I’ve found is that inspiration is the same. The only difference is in the way we interpret it.
Anthony Onumonu
8. clust — poesys
Abstract
We’re all interested in what possibilities the future hold for video, Linearity may still be the best solution for a lot of projects, but the analog videotape is all but dead. Now that Flash MX lets us put video into our movies, there’s no reason to force all our ideas into a inear structure. Nor do we need to be so rigid in combining visual and audio elements. In Flash, the individual media elements are all just entities in the system, so they can be treated equally and independently.
Leonhard Lass
Backmatter
Metadaten
Titel
Flash Video Creativity
verfasst von
Kristian Besley
Erwan Bezie
Murat Bodur
Neal Boyd
Hoss Gifford
Tim Hawkins
Bruce Herbert
Diana Johnson
Ken Jokol
Leonhard Lass
Lifaros
Doug Mcdermott
Anthony Onumonu
Jerome Turner
Copyright-Jahr
2003
Verlag
Apress
Electronic ISBN
978-1-4302-5129-3
Print ISBN
978-1-59059-159-8
DOI
https://doi.org/10.1007/978-1-4302-5129-3