The Original PC, The Pre-PowerPoint “Electronic” Slide Show, and Physical vs. Digital Cut and Paste

The video below is a capture of the computer screen and interface for the programming language named “ProCall”, the name given to the software used to control multiple slide projectors in order to sync slides to sound and create a slide-show, or “Multi-image” show, as it and the industry built around it was known. What is seen here is the sequencing of a few speaker support slides, and then a “run”– a looping segment that will run onscreen for announcements, introduction, or to kill time until the loops is broken, and the slide projectors advanced by the next command.

Anywhere from 3 to 15 (or more) projectors were focused on a screen, timed to music, with sophisticated graphic effects, photo sequences, title animations all happening in a careful sequence. Timing was precise; manual operation was possible (next slide, please), and even infinite loop sequences for backgrounds or logo animations used during live speaker sequences were possible.

This was in effect a video-like immersive experience for audiences. Sound came off of multi-track magnetic tape recorders, so the sound was full fidelity. Film projectors could be controlled as well. In fact, all elements of a meeting could be controlled via these computer programs– speaker support, multi-image slide shows with sound; film rolls, lights, flash bulb effects, and more.

Why does an old guy like me know computers? Well, I had to program slide shows.

I also had to find a solution to the innumerable script changes I and my clients made.

Before computers, a-v scripts were written on “copy paper” cheap newspaper typing paper that was easy to cut with a ruler. Cutting and pasting was a matter of literally cutting and pasting. Cut the paragraph you wanted to move out of the paper, past it with a big glob of glue past underneath the paragraph were it was destined to go. Because the editing process is very important, my scripts were sometimes hundreds of paper paragraphs reordered and glued together.

But there were more miracles to come. The popular operating system at the time was CP/M. It was not meant for portable computers but AVL and others (Most notably, Adam Osborne) adopted it for portable and stationary computing. AVL’s computers were at first in a big desk hogging chassis, then reduced to a one piece screen, two drive, computer configuration, and finally, to a luggable portable.

People began putting word processing and accounting programs on their AVL’s, and the personal computer era began. And of course there was Apple. Put a CP/M card in an Apple, and you were able to use WordStar, the word processing giant of the day.

Soon we were using the computer to cut and paste, I was writing a “how to compute” column for A-V / Video magazine, and slides were big business.

But video was coming, and I jumped out of the slide apple cart and into the video fire before other slide producers and began adapting what I had learned producing slides to the art of video.

Pacing, strong soundtracks, good stories– those things never change.

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Thank you all for your recent purchases of the book. I promised you some tutorials here and they will be forthcoming shortly. I’ve been on a deadline, was interrupted by my annual Thanksgiving flu, and now have to deliver the project after all that by tomorrow. But we’ve got a lot to add in our Ken Burnsian tutorials, upcoming.

Getting Old Audio In to Your Project

Let’s say you’ve got to get audio into your computer, in order to get it into your video. Let’s say that audio is on some obsolete source, like an audio cassette, micro-cassette, 8-track tape, reel to reel tape, or even an old record. There are easy ways, chap ways expensive ways, and hard ways, not all mutually exclusive.

The trick is to convert your old analog signal to a digital signal. This is done via a device that will undoubtedly interface with a USB 2.0 port, or a firewire 400 or 800 port (1394a, or 1394b).

For simplicity, let’s leave it with USB– we’ve all got that, methinks.

If you are starting fron scratch, you can buy phonographs that are usb ready— just tape the usb connector that is attached to your shiny new record player and plug it in. Your computer detects a new usb input source and there you are. But you won’t be as lucky with tape recorders.

Now, I happen to have a lot of the old gear you need to play cassettes, or reel-to-reel tapes, or records. That’s not a problem. If it is for you, go to eBay… you can find lots of affordable used cassette, reel-to-reel, and phonograph gear.

The problem is the analog to digital conversion.

You might want to have a mixer for all your sources but let’s keep it simple. Let’s skip the mixer for now, until we make more money, sell  few projects, or save up some dough. I have a $20 solution.

Go to an audio gear retailer on-line or in person. A good example is Guitar Center.  Ask for the

Behringer U-CONTROL UCA202 USB-Audio Interface

which looks like this:

Behringer U-Control USB Audio to Digital Converter

Now this is really simple, an unlike a mixer or high end mixer / converter device, this will cost 30 bucks, not $300 or more.

You have two “RCA jack” inputs and outputs. Plud your cassette deck’s outputs into the input jacks. Plug the usb cable that is permantly attached to the U-Control into your usb port.

Your computer will recognize the new usb input, and you will now have an additional input choice to select from in your audio or video digitizing program. All that for 30 bucks. I’ve been using it on some recent audio digitizing projects and it works great, MAC or PC.

What about the Pictures?

The answer is pretty obvious– a photo scanner. But the wrinkle is, “What about slides?”

I have tussled with this one for years. I started out doing slide shows that featured two projectors and a dissolve unit… okay, suffice it to say I had complete shows with 280 slides in them I needed to digitize. And you may too. If Dad or Mom were slide happy, because they liked to entertain the family with pictures of your latest exploits or their trip to Aruba, well, slides it is.

There are lots of ways to get slides into the computer. You could set up a slide projector and a screen, point a camcorder toward the screen, and record until you’ve clicked through every slide. I’ve done it; don’t do it. The slides will look soft, there will be hotspots, and there won’t be enough quality to pan and zoom on later.

You could buy on of the many $69-$99 slide USB slide transfer units that are now on the market, from eBay to Hammacher-Schlemmer. Don’t so it. The early reports are you get what you pay for. You can only color correct a washed out digitization so much.

There are a number of consumer – prosumer devices made that scan slides one by one. They usually claim to be 1800 dpi and look kind of like large external hard drives or small George Foreman Grills. You’ll invest up to $200 for these. I’ve gone through two of these, and while the scan was okay, I always had to adjust the image, and both units blew their lighting element within a year or so and the manufacturer was no help.

So it comes down to this, for the quality conscious bargain producers that we are: invest in a good quality flatbed scanner that has a reasonable capacity slide and transparency scanning capability.

I’ll cut to the chase: the Answer is the

HP ScanJet G4050 Photo Scanner.

It scans paper, photos, and slides. But so do a lot of scanners.

Here’s why I like this one:

Unlike most consumer scanners that do slides, this scanner lets you fill up the entire platen with slides, not just 4 or 6. It’s software lets you preselect all the slides and batch digitize.

You’ll stick want to color correct, remove dirt, etc., but you will have created a little time to do thsat. And the scans are very decent quality.This scanner is about $160, maybe slightly less during some promotions, and you probably will have to order it online. HP Direct, plus almost any other computer supplier can get it for you.

These are real endorsements; no affinity or affiliate or distributor fees are hiding behind the post. Just my honest opinion. Thanks for your patience, the tutorials will be up soon.

Tribute Videos are videos that celebrate a person, couple, group, or institution. They can be engagement videos, anniversary videos, memorials, retirement videos, milestone birthday videos, company histories, leadership stories, school reunion stories, award-winner portraits, and more. They are at home in the living room, rec room, boardroom or ballroom.

Tribute videos are how I got my start. (See “AVSquad” in the links.) And they remain the most satisfying of the work that we do. There is nothing like telling a people story.

A lot of people are into video these days, some as a hobby, some as a potential profession, some as part of their job duties. There is a perception that video is easy, thanks to point and shoot miniature cameras, computer editing, and thousands of tipsters on-line telling you how easy it is and selling something– usually hardware.

But hardware is only part of the problem, and hardware and editing software are covered pretty readily via training web sites, DVD lessons, and more.

No one is training people on how to tell a compelling story. How to interview, how to move pictures, how to choose music, how to pace videos, how to get a visceral reaction from an audience!

That’s where “Tribute Videos for Love & Money” comes in.

Tribute Videos for Love & Money

It’s an ebook that details my communications beliefs and systems. If you like samples of my work, and you want to know how and why certain creative decisions were made, this is the place to start. It concentrates on the “Tribute” people story type of video, but frankly, if you can tell that kind of story, there isn’t much you won’t be able to do as you grow your capability or career.

For more information, go to videostoryschool.com.

I hope you like it and find it valuable.

At some point in your communications career, you will be faced with writing a video script. It comes with the territory. How you respond to this distraught pleasure will say a lot about you and your understanding of visual media.

What makes writing an av script hard is not knowing how easy it can be. By the very nature of the written word for a visual medium, the key to success is less, not more.

For one thing, you’re writing to be heard, not seen. For another, the medium is a visual one, which means it prefers the pictures to do the talking. Finally, a script for video needs a lot more than just words. It has to provide visual direction, audio direction, and the essential creative blueprint that leads to the success of the project.

Let me give you an example.

Let’s say that your goal is to write a short script about a new software program that helps people track their spending. Let’s call it “Fast Money”.

It’s a simple, easy to use program which can help people budget, save, an ultimately have the money they need to fulfill their dreams.

The success of all video or audio-visual products is to engage the audience by appealing to their desires. You could talk about how “Fast Money” has been written by coders certified in C++, how it is delightful in its use of a user-friendly GUI, and how it automatically sends back error messages to “Fast Money” HQ so that the program can be constantly improved.

But you’d be talking to yourself, because the potential buyer doesn’t care about any of that. They care about money. Their money. Their life. Their future.

SO you need to create a hook. A way to start the script that talks right to them and their needs.

SO you begin writing:

ANNOUNCER: You want to make Money!    VISUAL: Picture of Dollar Bill. SOUND EFFECT: Ka-Ching. MUSIC: Money, by Pink Floyd.

Well, it’s a start, if you want to hit your audience with a sledgehammer.

But hitting audiences with sledgehammers doesn’t create intrigue. But this is often the approach an unseasoned writer will take– they’ll cover all the bases.

The good news is, luckily, you don’t need to know or present all those technical facts. What you need is a way to engage the audience on their terms.

Instead, try writing without using words– ie, skip the narrator for now and create a scene instead.

SCENE: Slow zoom in on man working at kitchen table, He has a yellow legal pad, a checkbook, and a calculator. He looks worried and is wiping imaginary sweat from his brow. A woman, his wife, walks in behind him and looks over his shoulder.

SHE: Well?

HE: It doesnt look good.

ANNOUNCER: Too familiar? It’s hard to save a buck these days.

VISUAL: Alternating closeups of Husband and Wife faces, cutaway to their checkbook showing small negative balance, cutaway to pile of bills.

Now, that was fun! Instead of a litany of facts and figures, suitable only for the engineer that developed the product, we’ve now created an emotional scenario almst anyone running a household can identify with. They’re ready to hear more.

And we didn’t use corny music, jangling cash registers, overblown prose, or dollars marching off a cliff.
Now you’re on your way to being a scriptwriter. Yes, you have to know the facts. But no, the audience doesn’t need all of them. They need reasons to care. And you’ve just given that to them.

Now, they’ll listen to more– even if there are a few facts thrown in.

For more information on this and other create techniques to make your video production life easier, see my book, “Tribute Videos for Fun and Profit”, elsewhere on this site.

This family history DVD  was created as a Christmas gift from parents to their sons and daughter and their childrens’ children. What an amazing and thoughtful gift. While it preserves photos and especially 8mm films that had not been seen in decades, the larger story is the interviews from the parents that pepper the story. This excerpt hopefully will give you the flavor of a compelling, lasting keepsake not possible in any other way.