Streaming
media technology can make corporate communications more efficient and more
effective. Organization-wide broadcasts, training and education, and sales and
marketing presentations all benefit from using streaming media in both live and
on-demand applications. Using streaming media technology, organizations can reduce—or
in some cases eliminate—the costs associated with centralized events
and road shows, including travel and entertainment costs, lost productivity,
and venue-related expenses.
"Rich
media" takes digital media a step farther. Rich media is the product of
synchronizing digital audio or video with Microsoft PowerPoint slides, images,
and HTML content. Combining content into rich media presentations can deliver a more compelling and memorable experience.
Microsoft
Producer for PowerPoint 2002 makes it easy to capture and synchronize audio,
video, slides, HTML, and images, and then publish the finished presentation to
a CD, a Web server, or a Windows Media server on a corporate network or the
Internet. Producer is intended for use by both experienced knowledge workers
and by media specialists.
There
are a variety of techniques available for capturing audio and video for a
Producer presentation. These range from using a simple desktop microphone and a
Web camera to using a professional studio. Which technique you choose depends
on your target audience and your budget. Presentations directed at customers or
a similar public audience may benefit from the high-quality equipment of the
professional studio. For less formal presentations intended for a smaller audience,
a Web camera may be adequate.
A
level of quality somewhere between these extremes may be required for internal
communications intended for distribution across a large organization, such as
an executive presentation for the entire company or a training course viewed
on-demand by a large number of employees. This need for a mid-range quality
level leads to the concept of the Producer mini-studio.
A
Producer mini-studio is a room that you modify to serve as a dedicated space
for recording audio and video content that will be used in your presentations.
The mini-studio should be a permanent installation; it is a place where people
in your organization can go to record high-quality audio and video in a quiet,
comfortable environment. It should contain equipment that is easy to use, in
good working order, and that is configured to enable users to do their work
without being distracted by technical details.
Microsoft
has three Producer mini-studios on or near the Redmond, Washington, corporate campus. The rest of this document will
refer to these facilities as examples. You can use these details to guide you
in the setup of your own Producer mini-studio.
The
Microsoft mini-studios include:
·
Studio 50: A Producer mini-studio located within the Windows
Digital Media Division.
·
Studio 22: A facility operated by the Microsoft Global Learning
Services group.
·
Studio D: A mini-studio located in a building on the Sammamish
campus.
The
room you choose might be a former office, conference room, or storeroom, but in
any case you should select a space that can be used exclusively for this
purpose. The room will undoubtedly require some modifications, so don’t expect
the space to serve other functions. Pick a room that is large enough to
accommodate the equipment and one or two people. You should expect to use a
room that measures at least ten feet square.
The
mini-studio should be located in a quiet area of the building. Any background
noise will become part of the recorded content and may be distracting to
viewers and presenters. Try to select a windowless room that is located away
from the following:
·
Traffic
noise—from cars, trucks, trains, and airplanes—makes a poor background for
narration.
·
Labs,
data centers, demo rooms, training rooms, or similar spaces contain large
numbers of computers that create noise and require unusual ventilation
equipment, which also creates additional noise.
·
Machine
shops or other spaces containing machinery.
·
Elevator
shafts. Even if the elevator is rarely used, or not used at all, noise from
roof mounted equipment such as air conditioning and refrigeration systems can
travel down the shaft.
·
Auditoriums,
conference rooms, training rooms, and exhibition spaces—especially rooms that
use public address systems.
·
The
main ventilation system. Some buildings have ventilation fans placed along a
central shaft with smaller ducts connected that move air to various parts of
the building. Rooms near this central shaft will tend to be noisier than rooms
farther away.
It’s a
good idea to check the ambient sound pressure level (SPL) in the candidate
room. You can purchase an inexpensive SPL meter at your local electronics store
for this purpose, enlist the help of the audio expert in your company’s media
production group, or hire an audio consultant. Ideally, the ambient noise level
in the room should be around 40 decibels or lower, using the A weighting scale.
Be sure to take readings during the same time of day when users will typically
work in the mini-studio. If you perform your measurements at night when
everyone is at home, the numbers won’t be meaningful.
If you
or your consultant has access to an audio spectrum analyzer, this device can
provide more detailed information about the frequency content of the ambient
noise. Some low-frequency noise can be filtered from recorded audio by using
equalization or high pass filters, but noise that is comprised of mid-range or
high frequencies will be difficult to eliminate because it occupies the same part of the sound spectrum as the
human voice. Constant low-frequency rumbling might be especially annoying for
users of the mini-studio. If you can feel a significant low-frequency vibration
in the structure, consider another location.
There
are plenty of physical changes you can make to your mini-studio to improve the
quality of the product your users create. How much effort—and money—you invest
is up to you. In general, your goal should be to create a quiet environment for
recording audio.
When
modifying Studio 50, the experts at Microsoft Studios provided the following
guidelines:
·
Minimize ventilation noise. In the case of Studio 50, there was a supplemental
ventilation fan located over an adjacent storeroom. This fan supplied air to a
conference room located next to the storeroom and mini-studio. The fan was
disabled and a new supply line was routed to the conference room from the main
ventilation system.
The
office space in which Studio 50 is located had an air supply port, which was
connected through a baffle box and ductwork to the ventilation backbone. It
also had a return port, which was essentially just a baffled opening into the
space above the acoustical tile ceiling. As with most commercial buildings,
that space contains the ventilation system along with cables and wiring for
power distribution, networking, and communications.
The
only modification made to the supply side of the ventilation system was to
remove the metal diffusion grill covering the air supply port. Diffusers direct
portions of the airflow to different parts of the room, but in the process
create turbulence and noise. For the return side, a contractor fabricated and
installed a baffle box over the return port and attached a 12-foot section of
special ducting that included a sound-dampening lining. This ducting was placed
in a circle and secured to attenuate internal reflections. The opposite end of
the ducting was left unconnected.
·
Apply treatments to the internal surfaces of the
room. The goal here is to
reduce sound reflections, especially between parallel surfaces, because these
reflections can create unwanted coloration or introduce acoustic artifacts that
might make a narrator’s voice sound unnatural. Surface treatments can also help
to quiet the ambient noise level in the room by helping to block intrusions
from outside, as well as preventing noises from reflecting off hard surfaces,
effectively stopping them in their tracks.
Flooring
is typically treated with carpeting. Commercial carpeting like that used in
offices is fine. Heavier piles provide more sound attenuation, but introduce
more dust, which is undesirable for most electronic equipment. Bare wood or
concrete floors are usually too reflective for use in small spaces.
The
acoustical ceiling tiles in Studio 50 were replaced with Sonex
brand sound panels, which were available as surplus stock from another project.
You might find standard acoustical ceiling tiles to be sufficient, and even a
painted drywall ceiling might be acceptable if the other room surfaces are
properly treated. A layer of construction grade rolled fiberglass insulation
(R11) was added above the suspended ceiling in Studio 50 to add a noise barrier
between the room and the overhead space.
The
walls are the most critical area to treat properly. There are a variety of
materials you can use for this job. At the more expensive end of the scale are professional acoustical foam panels such as those
manufactured by Sonex, and this type of treatment is
definitely the preferred method. Other options include hanging quilted
blankets, carpeting the walls, or some combination of fiberglass insulation
panels and fabric coverings. Your budget and sense of aesthetics will dictate
the method you choose.
The
arrangement of the wall treatments is largely a matter of trial and error, and
this is where an experienced audio consultant can be very helpful. You can
choose to completely cover all the wall surfaces, which will result in a very
quiet, but dead or dry sounding space. This is a common practice in booths used
for recording narration, and often yields the desired sound. If your budget
doesn’t permit this total coverage, you can achieve a nice effect by arranging
alternating panels of treated and untreated wall space, with the goal of eliminating untreated parallel surfaces that face each other.
The
wall surfaces in Microsoft Studio 50, including the back of the door and the
glass window adjacent to the entrance, are completely covered with Sonex acoustical foam panels. Sheets of half-inch thick
particle board were fastened to the drywall, and then the foam panels were
attached to boards using finishing nails inserted at random angles. This
technique allows the treatment to be removed from the walls in the future,
preserving the condition of both the drywall and the foam panels.
·
Reduce equipment noise. The mini-studio requires a computer to run Producer,
and this can be a source of background noise that you’ll want to reduce or eliminate. The best solution is to locate the computer in a closet or an
adjacent room. If the computer must be located in the mini-studio, you can
construct a baffle box to contain the equipment. Just be sure to provide adequate venting so the equipment doesn’t overheat.
The
computer in Studio 50 is actually located in an adjacent room. The cabling is
fed through a simple wall plate system, using cable extensions for the mouse,
monitors, and keyboard.
·
Provide clean electrical power. The quality of the electrical power available in the
room can have a major impact on the sound and video quality level you achieve.
(The specific type of power available varies depending on the country or region
where your mini-studio is located.) Fluorescent lighting, electric motors, and
other devices can impose harmonics onto power and grounding systems, which can
ultimately appear as audible noise in your audio or visible artifacts in the
video. This can be difficult to anticipate, but you should check with your
company’s facilities department to explore what they know about the electrical
configuration in your building. They might have information about which
electrical supply panels are electrically isolated from noise-inducing
equipment, which would be useful to you in making your room choice.
Warning Electrical
shock can injure or kill. Don’t attempt to make alterations to your building’s
electrical power system. Consult an experienced and licensed electrician.
You
can invest in a professional-grade power conditioner to reduce noise caused by
the electrical power system.
The
equipment you’ll need for your Producer mini-studio falls into four categories:
video, audio, lighting, and computer equipment. The following sections discuss
each of these equipment types.
The
main piece of video equipment is, of course, the video camera. There are a wide
range of prices and quality levels available for video cameras, so you’ll need
to decide where your budget constraints and quality needs meet. You’ll want to
use a video camera that provides a higher-quality image than the one typically
available to your user in his or her office, but it probably isn’t necessary to
spend your resources on a professional studio-grade camera.
The
currently available mini-DV camcorders offer a combination of quality,
features, and affordability. Most models have S-Video or IEEE-1394 outputs
(which provide a high-quality connection to the computer capture device) and
have the added advantage of enabling you to provide a digital videotape of the
Producer recording session, without the added expense of a separate video
recorder. Such a tape can be useful as a backup in case the video captured on
the computer becomes lost or corrupted.
The
mini-DV camcorders in use at the Microsoft mini-studios include the Canon GL-1,
Canon XL-1, and Sony DSR-PD150.
Other
video equipment you should consider includes:
·
A tripod. You’ll need to support your camera with a sturdy base, so a
professional-quality video tripod is a must.
·
A teleprompter. Use of a teleprompter is highly recommended.
Teleprompters improve the quality of the finished presentation because they
permit the user to look into the camera while speaking. It can be quite obvious
if the speaker is staring even slightly away from the camera to view the
computer display, or if he or she constantly looks back and forth between the
camera and a set of notes. With a teleprompter, the camera lens is located
behind the display as if it were shooting through a window. When the speaker
looks at the display, he or she is looking directly at the camera lens.
·
A video monitor. You might want to provide a color video monitor so
that the user can see his or her position in the camera shot. This can give the
presenter excellent visual feedback that might help to catch problems in the
video image before a lot of time is wasted recording the content.
·
Video tape decks. Your users might have video content on tape that
they want to capture for use in a Producer presentation. Providing high-quality
equipment in your mini-studio will encourage them to use the studio and will
result in better content. There are many video tape formats on the market now,
so you need to consider which ones you’ll support.
·
A scan converter. This can be useful if you expect a variety of video
sources to be used in the studio. For instance, if users bring their own laptop
computers, the scan converter can match the laptop’s video output to the
studio’s monitors and teleprompter.
Studio
50 and Studio 22 each use a Mirror Image LC-160 teleprompter. All three
Microsoft mini-studios provide Sony color monitors. Each studio also provides
video tape machines for both recording and capturing video in various formats.
Producing
high-quality audio in a mini-studio requires the right equipment. The following
list details the types of audio gear you should consider using:
·
A microphone. Microphones come in a variety of shapes and sizes,
and different types of microphones are suited to different applications. For
your mini-studio, one useful choice is probably a lavalier
microphone, which is the small, clip-on style of mic
that you see newscasters wearing on television. Lavalier
microphones are designed specifically for voice applications, don’t look
objectionable in video presentations because of their small size, and are worn
close enough to the mouth of the speaker to provide an adequate sound level and
to attenuate background noise. Most lavalier
microphones are omni-directional, which means they pick up sound evenly from a
360 degree sphere around the microphone.
Lavalier
microphones are available from several manufacturers, including Shure, AKG, Audio-Technica,
and Sennheiser.
Avoid
using microphones like the ones that are typically used with personal
computers, or other low-quality alternatives. Using the microphone that is
built into the camcorder is also not a good option. It will usually be located
too far away from the speaker to yield good results.
Standard
dynamic or condenser microphones are another possibility for your mini-studio.
These are mounted on a desk stand or a boom stand in front of the speaker, but
below the camera’s field of view. You can also use an overhead shotgun-type
microphone like those used in some television production studios. In fact, this
configuration is ideal for recording audio-only content. You should use a
low-impedance microphone that has a balanced audio output. Balanced outputs use
a three wire connection that is designed to eliminate electrical noise that can be induced on the microphone cable.
Microsoft
Studio 50 is equipped with a Shure MX183/BP lavalier microphone and a Shure
SM58 handheld microphone mounted on an Atlas boom stand. Studio 22 uses a Shure WL93 lavalier microphone
with a Shure UT14/93 UHF wireless microphone system,
an Audio-Technica shotgun microphone, and a Neumann
TLM-170 condenser microphone. Studio D uses four lavalier
microphones manufactured by Sony.
·
Processing. There is a wide range of audio and video processing
equipment available, but your budget and the level of expertise of your typical
user will probably dictate a simple approach for your mini-studio.
At
a minimum, it is a good idea to invest in some sort of dynamics control
processor. Dynamic compression, referred to simply as compression in the
professional audio industry, provides a sort of automatic volume control that
keeps loud sounds from becoming too loud. This is useful to help deal with the
range of speaking voices that will be recorded in your mini-studio, preventing
any one of them from over-driving the electronics, which might result in
distorted sound in the finished presentation. A processor that performs dynamic
compression is called a compressor/limiter.
The
next step up from a simple compressor/limiter would be a voice processor. Voice
processors usually include compression, but add additional controls like
microphone pre-amplification, high-pass and low-pass filtering, de-essing (which removes excessive “s” sounds from the voice),
noise gating, and equalization. Such processors can do much to help the quality
of a recorded narration, but require some expertise to operate.
Compressors
and voice processors are available in both analog and digital configurations.
Digital processors usually have the ability to store and recall presets, which
is a good feature for unattended mini-studios because it allows your audio
expert to set up the device for you and then to store the settings. That way,
even if someone using the studio changes things, you can recall the expert’s
preset at any time.
Microsoft
Studio 50 includes a Symetrix 628 digital voice
processor. Studio 22 provides a Symetrix 565E dual
compressor/limiter, which is an analog device. Studio D also uses an analog
compressor/limiter—a dbx model 166XL.
·
An audio mixer. If you plan to use multiple microphones at the same
time, you will probably want to install an audio mixing device. At a minimum,
audio mixers provide pre-amplification for microphones and permit several mics and line-level sources (like tape decks or CD players)
to be combined into a single audio output mix. This output mix can be stereo or
monaural.
Some
audio mixers are very simple devices that provide only a row of volume control
knobs; this type might be a good choice for your mini-studio because it won’t
require any special technical skill to operate. Other small mixers provide
additional features, like equalization, multiple output buses, and auxiliary
mixing buses. The flexibility offered by such devices can be very useful, but
will probably require that you supply an operator who understands how to use
the mixing device.
Studio
50 and Studio 22 each contain a Mackie 120 VL Pro 12 channel mixer. In Studio
50, the Mackie is connected in the audio path after the voice processor to
distribute the signal to the computer and the video camera while providing
level matching control for each device’s audio input.
·
Speakers and headphones. You’ll want to provide your users with a means of
reviewing audio content that they’ve recorded. If you choose to provide
speakers, consider studio-quality monitor speakers rather than desktop computer
speakers. Studio monitors will allow your users to quickly identify problems in
the sound that might be masked by a lower-quality system. If your budget
doesn’t allow for this, then use the highest-quality computer speakers
available with studio-quality headphones instead.
Studio
22 includes KRK V4 studio monitors and Sony MDR-V700 headphones. Studio D
supplies Altec Lansing ATP3 speakers.
Recording
quality video requires a lot of bright lighting. Studio lighting comes in
several forms, including incandescent, quartz halogen, and fluorescent.
Fluorescent lighting creates far less heat than the other types, which makes it
a good choice for a Producer mini-studio.
You’ll
want to purchase at least two professional studio lights with barndoors (which allow you to control the direction of the
lighting), a reflector or a third light for filling in shadows, three lighting
stands and appropriate fixture mounting hardware, a power supply, and spare
lamps. This equipment will provide the tools to create a portrait lighting
arrangement that is appropriate for recording a head-and-shoulders video shot.
If your mini-studio is larger and you will record sessions with two or more
people, you may require additional lighting.
As
part of your lighting package, you should consider the type of background you
want to provide for your users. Backgrounds are available in many colors,
sizes, styles, and materials. For Producer presentations, you’ll probably want
to choose something that isn’t distracting to the viewer—something not too
light or dark with no busy pattern. You might want to have a blue or green chroma key backdrop available in case your users want the
ability to superimpose a background later. Be sure your backgrounds are large
enough to fill the frame of your video shot.
Studio
50 uses Lowel FLS-250DM Fluo-Tek
lighting fixtures with barndoors, and collapsible
backgrounds from F.J. Westcott. Studio 22 and Studio D use quartz halogen
lighting fixtures from Lowel and ARRI with rolled
paper backdrops.
Your
mini-studio requires at least one computer that meets the minimum system
requirements for Microsoft Producer for PowerPoint 2002. You should consult
your Producer documentation for the current system requirements. In addition to
the computer, consider the following equipment:
·
Displays. You should think about the type of computer display
you want to provide for your users. Flat panel displays are affordable, use
less space than a conventional monitor, and are easier to place among the
equipment in the studio. Also, if you’re using a teleprompter, you’ll want to
make sure your computer has at least two video display adapters, or a
dual-output display adapter, installed.
·
Capture devices. Use a professional-quality audio/video capture
device. Professional devices typically include inputs for balanced audio and
various video connections, such as S-Video and IEEE-1394 for digital video (DV)
input. Using such a device will help to ensure that the image and sound quality
are retained during the capture process.
· IEEE-1394 hubs. If your computer is located at some distance from
your video camera, you may need to use a hub to extend the digital video cable.
·
Laptops. Some of your users might bring their own laptop computers to the
mini-studio to play their PowerPoint slide shows, using the studio’s computer
only to record their presentation. You might want to provide easy access to the
teleprompter input cable for these users. If your computer is in an adjacent
room, you’ll need to provide a splitter to do this. You might even consider
providing a laptop for this purpose. Laptop computers typically are configured
to allow you to display output on both the laptop display and an external
display (in this case, the teleprompter) simultaneously.
·
An uninterruptible power supply. These units provide the user an opportunity to save
his or her work during a power outage and protect the computer from power
surges.
Be
sure to provide a comfortable chair with an adjustable seat height for each
presenter. Also, you’ll need to provide a table or a desk for the speaker’s
notes or laptop computer.
Studio
22 also provides a small sofa for guests and a desk and chair for the media
specialist.
There
are several other items you’ll want to think about obtaining for your
mini-studio. These include:
·
An "On Air" light. You should place an indicator of some kind outside
the studio door so that people know not to disturb the recording session while
it is in progress. A professional On Air light is a nice touch.
·
Wiring. A significant part of any studio budget is cabling. Don’t forget to
include funds to purchase video, microphone, power, and computer cables to
connect your equipment.
·
An equipment rack. Professional equipment usually is designed to be
mounted in a 19-inch wide metal rack. You might want to purchase such a cabinet
to organize your gear.
·
Cases. Often storage cases for equipment like video cameras and lighting are
considered an optional accessory. If you think you might want some of this
equipment to be portable on occasion, invest in a protective case.
As you
shop for equipment, start to formulate a plan for how the equipment and
furniture will be arranged in the room you’ve allocated. You’ll want to think
about how to use the space efficiently so you create a comfortable work
environment. You don’t want your users to have to trip over wiring or tripods
to get to the equipment they need. Think about how users will enter the room,
how they will get to the chair and table where they deliver the presentation, and how they’ll operate each piece of equipment.
Once
you’ve selected the room for your Producer mini-studio, modified it, and
purchased your equipment, it’s time to set up the mini-studio for business. You
can use the following steps to guide you when positioning the furniture and
equipment:
1. If the computer will be located outside
the room, install it first and run the cabling for the connections.
2. Place the presenter’s desk and chair in
the location you’ve chosen. Usually this will be centered on one side of the
room, a few feet from the wall.
3. Place any power cabling and outlet
strips into positions near where they’ll be needed.
4. Set up the video camera and tripod
directly opposite the presenter’s chair. Position the camera at a comfortable
distance from the presenter. If you have a teleprompter, you’ll need to leave
enough space in front of the camera for that. Connect the camera to the
computer’s capture device.
5. Set up the teleprompter in front of the
camera. Connect the teleprompter to one of the computer’s video display adapters.
6. Position the video monitor, if you have
one, so that it faces the presenter’s chair. Connect it to the composite video
output of the video camera.
7. Position the monitor beneath the
teleprompter. Connect it to the computer’s other video display adapter.
8. Set up the lighting. The next section
provides more details.
9. Hang your backdrop behind the
presenter’s chair.
10. Install the audio equipment. This
varies depending on the configuration you’ve chosen. Typically, you’ll position
at least one microphone at the presenter’s desk, which will ultimately feed the
audio input on your computer’s capture device. In between, you might need to
insert a mixer, processing, and so forth.
The
following figure shows a block diagram for the Studio 50 audio wiring:
The
following block diagram illustrates the connections between the various pieces
of equipment in Microsoft Studio 50:
Studio
22 employs a full time media specialist to operate the equipment in the studio
and to assist presenters. This allows for a slightly more complex setup. The
following diagram illustrates the equipment connections in Studio 22:
It’s
important to position your lighting to provide a professional appearance for
your users. You should start by positioning your main light, called the key
light, to one side of the video camera so that it is mounted up high and points
down and forward toward your subject. Think of this as imitating natural
sunlight.
Next,
position your reflector, or fill light, on the other side of the camera on a
lower stand so that it points towards the presenter in a more direct fashion.
This light helps to fill in the shadows created by the key light.
Position
a light behind and to one side of your subject so that it points downward and
lights the presenter’s head. This light adds highlights to the subject’s hair
and helps to separate the subject from the background, flattering the subject
and adding a sense of depth to the image.
The
following figure illustrates this recommended lighting configuration:
It
helps to have a test subject sit in the presenter’s chair while you and a
helper position the lighting. Check the presenter's appearance on the video
monitor or on the camera’s viewfinder display as you adjust the lights. Don’t
be afraid to experiment a little bit with the positions of the light fixtures
until you get a good looking image. Use the barndoors,
if you have them, to direct the light only onto the subject so it doesn’t spill
around the studio causing unwanted reflections and glare.
You
should provide some means of introducing users to your Producer mini-studio and
educating them about best practices for creating Producer content. You can do
this through a text document, a Web site, or, even better, a Producer
presentation. Give potential users an idea of what to expect in your studio.
You can tell them:
·
How
to reserve studio time.
·
Where
to learn how to use Producer.
·
The
features your mini-studio offers.
·
The
processes they need to know to use the equipment. Don’t forget to educate your
users about microphone placement and how to avoid mechanical noises when using
a lavalier microphone, such as the friction sounds
that can occur when the microphone element rubs against clothing.
·
Your
policies are about using the studio’s computer for publishing content. For
instance, tell them whether they are permitted to leave files on the local hard
drive, whether they can publish to the Internet or your corporate network, and
whether they can publish using publishing e-services.
·
How
to dress for best results. Presenters should avoid wearing white or very light
colors because these can cause the video camera to underexpose the image. Also,
users should wear only solid colors. Patterned clothing can cause undesirable
visual effects.
·
Your
policies about using the studio to edit and assemble content. You’ll probably
want to require your users to do their post-production work at their desk, not
in the mini-studio.
·
Their
choices for the content creation process. If they are very familiar with the
material, they might want to record their presentation while stepping through
the PowerPoint slides, thus finishing with a synchronized set of content.
Alternatively, they can record their content using a text script that they display
on the teleprompter, and then synchronize their audio or video content with
their slides at a later time.
A
well-equipped Producer mini-studio can be a valuable asset to your
organization. For a relatively small investment, you can provide employees with
a comfortable place to create high quality audio and video content for their
Producer presentations.
To learn more about Microsoft Producer for PowerPoint
2002, see Microsoft Producer for PowerPoint 2002 Help. Producer can be
downloaded from the Windows Media Technologies page at the Microsoft Web site
(http://www.microsoft.com/windows/windowsmedia/).
Additional information about using Producer is available
in the book Creating
Dynamic Presentations with Streaming Media, by Matt Lichtenberg and Jim Travis (Microsoft Press, 2002).
