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If you sign an initial deal with the sponsor for $1,000 a month, when your regular audience is 10,000 listeners per show, you certainly want to be paid more when your audience reaches 500,000 per show This is where the basic unit of advertising from the pre-interactive world comes into play: Cost-perthousand, or CPM ( M is from the Latin for 1,000), is how newspapers, radio, and television stations have characterized the cost of advertising for years CPM is a shorthand for exposures to the audience rather than a number of actual listeners, because there is no guaranteeing people will hear a specific part of a show, yet It s how to describe the reach of a show advertisers understand.

You also can create type masks using the regular Type tool. Simply type and format your text as usual. Then Ctrl-click ( -click on the Mac) the type layer in the Layers palette to generate the selection outlines. What s the advantage of this approach It s simple: Type on a layer is forever editable; a type mask is not. Therefore, it is hard to see any real advantage to using the Type Mask tools at all.

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For example, if you deliver 10,000 listeners each week for four weeks a total of 40,000 listeners for $1,000, the cost-per-thousand-listeners is figured this way: 40,000 listeners divided by 1,000 = 40 $1,000 (the sponsor fee) divided by 40 = $25 CPM Believe us when we say that a $25 CPM is pretty good money, better than almost any radio station has made in three decades, adjusted for inflation Some television shows do better, but the explosion of cable channels has created so much advertising inventory that the vast majority of television is sold for less than a $5 CPM..

The simplest font files are shape files or .shx files. True Type Fonts can be loaded as well. These are handy, but not always appropriate for drawing notation. They also use a lot of space on your file, so be careful when loading them.

The controls in this dialog work as follows: n Style: Use this option to pick a basic shape to warp the text into. n Horizontal and Vertical: This controls the orientation of the warp effect. The default is Horizontal; choose Vertical, and the warp shape gets flipped through 90 degrees. n Bend: Use this to control the amount of warping. Negative values bend the text in the opposite direction to positive values. A value of 0 produces no warp. n Horizontal and Vertical Distortion: Use these two options to apply a perspective distortion to the type. Positive Horizontal Distortion values make the right side of the text taller than the left side; negative values make the left side taller than the right. Meanwhile, positive Vertical Distortion values stretch the bottom of the text, while negative Vertical Distortion values stretch the top. A value of 0 produces no distortion. Once you re satisfied with your warp effect, click OK to apply it to your type layer. The warping effect is dynamic, so you can go back and change its settings at any time by selecting the type layer and redisplaying the Warp Text dialog. You can also continue to edit the text in your type layer; the text gets rewarped as you type.

Most cameras used for podcasting applications are camcorders, so they record the signal to tape. The video signal can also be recorded directly onto your computer via the FireWire output. It s always a good idea to record to tape as backup even if you re recording directly to your computer. If you re using multiple cameras and a video mixer, you also may want to consider recording the output of the mixer to a video tape recorder (VTR). Otherwise, you must digitize the tapes from all your cameras to recreate the live edit if something goes wrong. Of course, you can purchase a stand-alone video deck, or more interestingly, you can now record straight to an external drive such as Focus Enhancements FireStore (see Figure 8.4). These units record digital video from a FireWire cable so you don t have to digitize later. You just attach the FireStore to your video editing station, and it appears as an external drive.

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