creating barcodes in excel 2003 Copyright 2002 by The McGraw-Hill Companies, Inc Click Here for Terms of Use in Software

Creating QR Code JIS X 0510 in Software Copyright 2002 by The McGraw-Hill Companies, Inc Click Here for Terms of Use

Copyright 2002 by The McGraw-Hill Companies, Inc Click Here for Terms of Use
Painting QR-Code In None
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QR Code Reader In None
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CONTENTS
QR-Code Generation In C#.NET
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CHAPTER 10: THE CASE FOR PROFESSIONAL COMMUNICATORS IN A DIGITAL AGE Cameron Sanders CHAPTER 11: THE PRACTITIONER S VIEW George Avgerakis CHAPTER 12: OPENING ONLINE DOORS FOR RICH MEDIA Jon Leland CHAPTER 13: RICH MEDIA AND LIVE STREAMING MEDIA Al Kovalick CHAPTER 14: THE IMPORTANCE OF WEB-SITE DESIGN Nicola Godwin CHAPTER 15: DATACASTING Rick Ducey, SpectraRep, Inc CHAPTER 16: THE VIDEO PRINTING PRESS Larry Jaffee CHAPTER 17: THE DTV TRANSITION Michael Grotticelli CHAPTER 18: FORGET HDTV; GET HDTV! Mark Schubin CHAPTER 19: THE PROMISE OF DIGITAL INTERACTIVE TELEVISION Jerry C Whitaker, Editor CHAPTER 20: 2000: INTERACTIVE ENHANCED TELEVISION A HISTORICAL AND CRITICAL PERSPECTIVE Tracy Swedlow, Interactive TV Today, American Film Institute Intel Enhanced Television Workshop
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CONTENTS
Encoding UCC-128 In None
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Drawing UPC Code In None
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CHAPTER 21: DIGITAL CENTRALCASTING
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Lowell Moulton, Senior Technology Consultant Systems Integration, Sony Electronics Inc
Encode Data Matrix In None
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CHAPTER 22: PRODUCTION AND POSTPRODUCTION FOR 4:3 AND 16:9
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Reading GS1 - 13 In .NET Framework
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John Rice
Decoding Code-128 In .NET Framework
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CHAPTER 23: TELEVISION: THE HIGH DEFINITION
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Paint Barcode In None
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335 347
ANSI/AIM Code 39 Recognizer In Visual C#
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Barcode Generation In .NET Framework
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Bob Allen and Duncan Kennedy
CHAPTER 24: IN SEARCH OF THE NEW VIEWING EXPERIENCE
Jerry Whitaker
CHAPTER 25: COMING TO A THEATRE NEAR YOU: DIGITAL CINEMA
Brian McKernan
CHAPTER 26: USING 1080/24P OR 1080/60I FOR DIVERSE PRODUCTION APPLICATIONS
Laurence Thorpe
CHAPTER 27: LOW-REZ
377 391
Scott Billups
CHAPTER 28: INTERVIEW WITH GEORGE LUCAS: BREAKING THE CELLULOID CEILING
John Rice and Brian McKernan
CHAPTER 29: INTERVIEW WITH JAMES CAMERON: 3D DIGITAL HD
Brian McKernan, Editor Glossary Index
417 433 475
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INTRODUCTION
umans have been making pictures for millennia Roughly a century ago they learned how to make them move As the decades progressed, movies, television, and more recently home video and the Internet have enhanced communication and defined human experience as never before Color, sound, and other innovations continually improved the moving image, and today it is a global lingua franca that transcends international borders, cultures, and traditional languages by being visual As the twenty-first century begins, humankind s other major information technology the computer is revolutionizing the moving image The technologies of computers and television have been on a collision course for some time, sharing a purpose that includes the precise capture, storage, manipulation, transmission, and presentation of information Both even use cathode-ray tubes (CRTs) for display Computers, however, process information digitally as a series of 0s and 1s an efficiency that provides many advantages when applied to movingimage technology And as computer microprocessors and related components become ubiquitous in everything from cars to toasters to toys, they grow in power and decrease in price The digitization of moving-image technology is by no means complete; broadcast television s transition to digital is moving slowly, but it is already having a major impact Video and film production are going digital, and in the process gaining improved tools for creative expression and affordability New computer-based storage, playback, and display devices are expanding uses for moving-image content And the Internet is providing an instant, global means of content distribution In such a digital environment, distinctions between specific forms of moving-image media begin to blur or disappear altogether A stream of digital data comprising moving images and their accompanying audio can be scaled for multiple uses, depending on how much picture and sound information is necessary Movies, TV shows, videos, and even simple computer
Copyright 2002 by The McGraw-Hill Companies, Inc Click Here for Terms of Use
viii
INTRODUCTION
presentations become, in truth, a quantity of data existing as binary digits, or bits The moving images that have traditionally been defined according to the technologies used to create and display them are now liberated for multipurposing; they have become, in reality, digital content This new world that moving-image creatives find themselves in at the dawn of the twenty-first century is what this collection, Creating Digital Content, is all about The impact of the digital content creation age is only just starting to be felt This book is intended to introduce the reader to a broad range of existing areas that are being affected, and, in so doing, enhance understanding of this fundamental industrial transition, business opportunity, and communications revolution Although we do not anticipate that the many areas encompassed by digital content creation will see overnight change (eg, feature filmmakers won t suddenly become indistinguishable from corporate video professionals), we do feel it s imperative that those in the video, motion-picture, broadcast, news, entertainment, Internet, and education sectors understand the nature of the changes wrought by digital content creation revolution First and foremost is that program production is being democratized, with increasingly more affordable and yet powerful technologies And whether for entertainment, education, business, or other purposes, digital content can be consumed via a growing array of devices This situation opens up potentially rich new possibilities for content creators, but it also increases competitive pressures Ultimately, it will be creative talent and innovative thinking that will determine success Digital is a great equalizer that reduces the cost of entry, but we should remember that Shakespeare did quite well without a laptop Digital content creation technology has many intriguing possibilities Assuming there is sufficient data, content can be repurposed for multiple displays: theatrical movie screens, consumer televisions, small computer windows, or even hand-held devices and cell phones As data, moving and still images are assets that can be managed stored, cataloged, indexed, and repurposed with minimal or no loss in quality Archived news footage can be retrieved instantly for broadcast Images or por-
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