ANIMATIONS LEARNING OBJECTIVES B Digital Image « Analysis * Recognition * Transmission @ Video * Representation * Digitalization * Transmission @ Animations * Basic Concepts * Animation Languages + Animation Control * Transmissionrage | ae Qa Dicirat mace An image is a spatial representation of an object, a two-dimensional or dimensional scene or another image. It can be real or virtual. A recorded image may by photographic, analog video signal or digital format. In computer vision, an image is usually a recorded image such as a-video-image, di image or a picture. In computer graphics, an image is always a digital image. In multi, applications, all formats can be presented. An image might be thought of as a function with resulting values of the light intensit each point over a planar region. For digital computer operations, this function needs t sampled at discrete intervals. The sampling-quantizes the intensity values into disc levels. > Digital Image Representation: A digital image is represented by a matrix of numeric values each representin quantized intensity value. When I is a two-dimensional matrix, then I(r, c) is the inten value at the position corresponding to row r and column c of the matrix. ‘The points at which an image is sampled are known as picture elements, commonly abbreviated as pixels. The pixel values of intensity image, are called gray scale levels (we encode here the "color’ of the image). The intensity at each pixel is represented by an integer and is determined from the continuous image by averaging over a small neighborhood around the pixel location. If there are just two intensity values, for example, black and white, they are represented by the numbers 0 and 1; such images are called binary- valued images. When 8-bit integers are used to store each pixel value, the gray levels range from 0 (black) to 255 (white). An-example of such an image is shown follow. Ae lage with 256 gray levels It is common to use a square sampling grid with pixels equally spaced along the t sides of the grid. The distance between grid points obviously affects the accuracy Ww which the original image is represented and it determines how much detail can be resolv The resolution depends on the imaging system as well. Digital pictures are often very large. For example, suppose we want to sample @DIGITAL IMAGE AND ANIMATIONS Page | 2.3 ine) television picture (NTSC) with a VGA (Video Graphics quantize an ordinary Array) video controller, so # must use 2 matrix of 640 x 480 pixe This pixel representation allows gives an array of 307,200 $-bit numbers, and a total of 2,457,600 bits hat it can be redisplayed without noticeable degradation. We S-bit integer. . where each pivel is represented by an 6 discrete gray levels. Hence, this image specitication _ In many cases, even finer sampling is necessary. > Image Format There are different kinds of image formats in the literature. We shall consider the image format that comes out of an image frame grabber, ie., the captured image format that comes out of an image frame grabber, i.e., the captured image format, and the format when images are stored, ie, the stored image format. 1. Captured Image Format: The image format is specified by two main parameters: Spatial resolution, which is specified as pixels * pixels and color encoding, which is specified by bits per pixel. Both parameter values depend on hardware and software for input/output of images. 2. Stored Image Format: When we store an image, we are storin; array of values, in which each value represents the data associated with a pixel in the image. For a bitmap, this value is a binary digit. g a two-dimensional > Graphics Format Graphics image formats are specified through graphics primitives and their attributes. To the category of graphics primitives belong lines, rectangles, circles and ellipses, text strings specifying two-dimensional objects (2D) in a graphical image or, e.g, polyhedron, specifying three-dimensional objects (3D). A graphics package determines which primitives are supported. Attributes such as line style, line width and color affect the outcome of the graphical image. > Types of digital images: 1, JPEG (or JPG) - Joint Photographic Experts Group JPEGs may be the most widely common type of image which runs on the web and more likely used in organizations, project work. JPEG image files are bitmap images that can store bit color. JPEGs are known for their “lossy” compression, implying that got reduces.2. PNG - Portable Network Graphics PNGs are good for interactive files, for example, web pages. PNG is the widest in format that supports web browsers. PNG supports data that relies on 8, 24, 32, and 48 An 8-bit PNG image is similar to the GIF image. PNG images are most appropriate | JPEG and GIF. However, PNG images are not appropriate to take the print. PNGs "lossless" in nature it means ones it alters; its quality doesn’t highly affect. 3. GIF - Graphics Interchange Format GIFs are the most suitable images for animated form, which are extremely popular Tumblr pages and in standard banner ads. Due to its compact size feature, this im: format is popular on the internet, It is appropriate for sj I mall icons and simple diagran GIFs support up to 256 colors i a beredieeh coors the RGB color space. Due to limited colors, the file size ¢DIGITAL IMAGE AND ANIMATIONS Page | 2.5 4, TIFF- Tagged Image File A TIFF image file format was developed during the 1980s and then later supported by Microsoft. TIFF image formats most widely support bitmap format. TIFF is a larger raster file that doesn’t lose quality. This file is well known for utilizing a lossless compression feature which means the original images information can be kept during copy, re-save, or compress the original file. 2.1.1 Analysis Image analysis is concerned with techniques for extracting descriptions from images that are necessary for higher-level scene analysis methods. By itself, knowledge of the position and value of any particular pixel almost conveys no information related to the recognition of an object, the description of an object’s shape, its position or orientation, the measurement of any distance on the object or whether the object is defective. Hence, image analysis techniques include computation of perceived brightness and color, partial or complete recovery of three-dimensional data in the scene, location of discontinuities corresponding to objects in the scene and characterization of the properties of uniform regions in the image. Image analysis is important in ‘many arenas: aerial surveillance photographs, slow-scan television images of the moon or of planets gathered from space probes, television images taken from an industrial robot’s visual sensor, X-ray images and computerized axial tomography (CAT) scans. Subareas of image processing include image enhancement, pattern detection and recognition and scene analysis and computer vision. Image enhancement deals with improving image quality by eliminating noise (missing pixels) or by enhancing contrast. Pattern detection and recognition deal with detecting and Clarifying standard patterns and finding distortions from these patterns. A particularly important example is Optical Character Recognition (OCR) technology, which allows for the economical bulk input of pages of typeset, typewritten or even hand-printed characters. The degree of accuracy of handwriting recognition depends on the input device. stataeeamaanieaama,DIGITAL IMAGE AND ANIMAT Page | 2.6 with recognizing and reconstructing 3D moyD se vision deal an industrial robot sensing the rely h Scene analysis and compute ofa scene from several 21 images: An example is sand colors of objects. sizes, ;, shapes, positi 2.1.2 Recognition ‘To fully recognize an object in an image Means knowing that there is an agreeng between the sensory projection and the observed image. How the object appears ing image has to do with the spatial configuration of the pixel values. Agreement between | cted sensory projection requires the follow, observed spatial configuration and the expe capabilitis 1. Inier explicitly or implicitly an object’s position and orientation from the spat configuration. 2, Confirm that the inference is correct. ition, orientation and category or class from t s the capability to infer which pixels are part Js that are part of the object, it requires | ‘al markings, lines, curv To infer an object's (e.g a cup) Pos spatial configuration of gray levels requ the object. Further, from among, those pixel capability to distinguish observed object features, such as speci surfaces or boundaries (e.g, edges of the cup). These features themselves are organized i spatial relationship on the image and the object. position andl orientation depends on matching line segment or region) with correspond Analytic inference of object shape, distinguishing image features (in 2D, a point object features (in 3D, a point, ine segment, are segment, or a curved or planar surface). ‘The kind of object, background, imaging sensor and viewpoint of the sensor determine whether the recognition problem is easy or difficult, For example, suppose ! the object is a white planar square on a uniform black background, as shown below. d}oj;o|ojo jo jo [o |9 |ojojo0\0 dlolololo jo jo jo jo [ojololo 01 0{ 0/0 | 255 | 255 | 255 | 255 | 255| 0 | 0) 0] 0 0} 0 0| 0 | 255 | 255 | 255 | 255 | 255} 010] 010 0 | 0| 0 | 0 | 255 | 255 | 255 | 255 | 255 | 0| 0} 0) 0 0} 0| 0 | 0 | 255 | 255 | 255 | 255 | 255] 0} 0} 0} 0 0/0) 0 | 0 | 255 | 255 | 255 | 255 | 255|0 | 0) 0} 0 ojolojojo jo jo jo jo |ojojojo ofojojolo fo jo Jo Jo jojofojo ia . ‘intensity i ig: Numeric digital intensity image of a white square on a black backgroundDIGITAL IMAGE AND ANIMATIONS Page | 2.7 NIN|N|N|N JN |N |N |[N |N|N|N|N N|N|N|N|N [N [N [N [N [N[N[N[N IN|N|N|NIc [nw [N [nw [c [NIN|NIN NIN[N/NIN [N [N [N [N [N[NIN[N N|IN|N|IN|N |N |N |N [N |N|N|N|N N|N|N|N|N |N |N |N |N |N|IN|N|N N|IN|N|IN|C IN |N |N |C |N|N|N|N NIN|N|N|N [N [Nw [N [N [N[N[NIN N|N|N|N|N |N |N |N |N |N|N|N|N Fig: Numeric digital intensity image of image's comers (N=non-corner, C=corner) A simple comer feature extractor could identify the distinguishing corner points, as shown below. The match between the image corner features and the object corner features is direct. Just relate the corners of the image square to the cornels of the object square in clockwise order, starting from any arbitrary correspondence. Then, use the corresponding points to establish the sensor orientation relative to the plane of the square. If we know the size of the square, we can completely and analytically determine the position and orientation of the square relative to the position and orientation of the camera. In this simple instance, the unit of pixel is transformed to the unit of match between image corners and object corners. The unit of match is then transformed to the unit of object position and orientation relative to the natural coordinate system of the sensor. On the other hand, the transformation process may be difficult. There may be a variety of complex objects that need to be recognized. For example, some objects may include parts of other objects, shadows may occur or the object reflectance may be varied, and the background may be busy. Which kind of unit transformation must be employed depends on. the specific nature of the vision task, the complexity of the image and the kind of prior information available. Computer recognition and inspection of objects is, in general, a complex procedure, tequiring a variety of steps that successively transform the iconic data into recognition information. A recognition methodology must pay substantial attention to each of the following six steps: image formatting, conditioning, labeling, grouping, extracting and matching.Rv y Intermediate Images Source ot |__ Formatting — |__, [~“Onsorved Image ——_—___ 7} image g ea el 8 Conditioning — AO nation as Image es Labeling AC paar * Image Grouping I——~s Grouped Zo Sain ye _image gs xtracting gs ~~“ Eiiracted oe Target |e Matching __ J L_Imase = image Fig: Image recognition steps Formatting: Image formatting is capturing an image from a camera and bringi into a digital form. It means that we will have a digital representation of an in in the form of pixels. Conditioning: Conditioning is based on a model that suggests the observed im s composed of an informative pattern modified by uninteresting variations t typically add to or multiply the informative pattern. Conditioning estimates | informative pattern on the basis of the observed image. Thus, conditioni suppresses noise, which can be thought of as random unpatterned variati affecting all measurements. . Labeling: Labeling is based on a model that suggests the informative patent structure as a spatial arrangement of events, each spatial event being a set connected pixels. Labeling determines in what kinds of spatial events each pi participates. Grouping: The labeling operation labels the kinds of primitive spatial events which the pixel participates. The grouping operation identifies the events! collecting together or identifying maximal connected sets of pixels participating the same kind of event. Extracting: The grouping operation determines the new set of entities, but they’? left naked in the sense that the only thing they posses is their identity: 7 extracting operation computes for each group of pixels a list of properties. Exat properties might include its centroid, area, orientation, spatial moments, gray moments, spatial-gray tone moments, circumscribing circle, inscribing circle, * so onDIGITAL IMAGE AND ANIMATIONS Page | 2.9 6. Matching: After the completion of the extracting operation, the events occurring on the image have been identified and measured, but the events in and of themselves have no meaning. The meaning of the observed spatial events emerges when a perceptual organization has occurred such that a specific set of spatial events in the observed spatial organization clearly constitutes an imaged instance of some previously known object, such as a chair or the letter A. Once an object or set of object parts has been recognized, measurements (such as the distance between two parts, the angle between two lines or the area of an object part) can be made and related to the allowed tolerance, as may be the case in an inspection scenario. It is the matching operation that determines the interpretation of some related set of image events, associating these events with some given three-dimensional object or two-dimensional shape. 2.1.3 Transmission Image transmission takes into account transmission of digital images through computer networks, There are several requirements on the networks when images are transmitted: 1. The network must accommodate bursty data transport because image transmission is bursty (The burst is caused by the large size of the image.); 2. Image transmission requires reliable transport 3. Time-dependence is not a dominant characteristic of the image in contrast to audio/video transmission. Image size depends on the image representation format used for transmission. There are several possibilities: (@) Raw image data transmission: In this case, the image is generated through a video digitizer and transmitted in its digital format. The size can be computed in the following manner: size = spatial_resolution * pixel_quantization For example, the transmission of an image with a resolution of 640 x 480 pixels and pixel quantization of 8 bits per pixel requires transmission of 307,200 bytes through the network. (b) Compressed image data transmission: In this case, the image is generated through a video digitizer and compressed before transmission. Methods such as JPEC orPage | 2.10 DIGITAL IMAGE AND ANIMA MPEG, are used to downsize the image. The reduction of image size depen the compression method and compression rate. Symbolic image data transmission: In this case, the image is represented thy symbolic data representation as image primitives (e.g, 2D or 3D Seong representation). attributes and other control information. This image Tepresenty method is used in computer graphics. Image size is equal to the structure ¢ which carries the transmitted symbolic information of the image. 2.2 Bigtsyore) aoe i (o) The video consists of a number of frames. These frames are usually, and prefers} adjacent to each other on the storage media, but should definitely be played back in} correct order and speed to convey the recorded sequences of actions and/or motion. Inf, each single frame is a still image that consists of pixels, which are the smallest units from; physical point of view. These pixels are dealt with when analyzing the individual fran and the processing usually utilizes a lot of image processing techniques. However, the of most applications of analyzing the video is to identify the basic elements and contents the video. Hence, logical structure and elements are of more importance than the individ pixels, Video is usually played back with frequencies of 25 or 30 frames per second. Tk speeds are chosen so that the human eye does not detect the separation between the fran and to make sure that motion will be smooth and seems to be continuous. Hence, as fat we, the human beings, are concerned, we usually perceive and process the video ot higher-level structure. We can easily detect and identify objects, people, and locatit within the video. Some objects may change position on the Screen from one frame another, and recording locations could be changing between frames as well. These chang allow us to perceive the motion of objects and People. But more importantly, it allows w! detect higher level aspects such as behaviors and sequences, which we can put togethet! detect and understand a story or an ev ent that is recorded in the video, The video sequence can be logically tepresented as a hierarchical structure. It is wo” mentioning that as we go up in the hierarchy, more detailed sub-levels may be added! slighty Variations of interpretations may exist. This is mainly depended on the domait 4, ‘and. But at least the shot level, as in the definition below, seems to be comm! understood and agreed upon,DIGITAL IMAGE AND ANIMATIONS Page | 2.11 We) Seeneain ‘Segment Segment Scene | | Scene| | Scene Scene | | Scene i Fig: Illustration of the video logical structure The definition of each level in the hierarchy is given below, in the reverse order, ie, bottom-up: 1. Frame: The frame is simply a single still image. It is considered as the smallest logical unit in this hierarchy. It is important in the analysis of the other logical levels.2 DIGITAL IMAGE AND ANIMAn, age | 21 Shots The shot is a sequence of consectlive frames, temporally adjacent, y, DIGITAL ae sion and location, by the Freon recorded! continuionsly, within the same | Le ingle eamtera, and avithowt substantial change P the contents of the picture dogical c Depa shot is highly expected lo contain a continuous action in both space and finthat the i o Wi emantic ares f wha ol tously record, may be with a came” hot could be a result of what you continuously y “ivowe bil ‘classifi: the recording. But off course, if you drop the camera or the mobile, or someon, or even a mobile video camera, since You press the record button, until yoy ‘action. 4 ly passed in front of your camera, this would probably cause a sui oation qui ; change in the picture contents. If such change is significant, it may Test ains. | byeaking the continuity and may then not be considered as a single shot. sompor 3. Scene: The scene is a collection of related shots. Normally, those shots are reco, = Inc within the same session, at the same location, but can be recorded from diffeypes. cameras. An example could be a conversation scene between few people place. camera may be recording the wide location and have all people in the pit, 4 While another camera focuses on the person who is currently talking, and my another camera is focusing on the audience, Each camera is continuously recor its designated view, but the final output to the viewer is what the director st ideo from those different vie So, the director can switch between cameras at vty) yy times within the conversation based on the flow of the conversation, change d| talking person, reaction from the audience, and so on. Although the fin generated views are usually substantially different, for the viewer, the scene™"*" coaiis tobe Togicnlly elated) in tarms'of the location’ Grning, people and/or nas oe . Him i involved. In fact, we are cleverer than that. In some cases, the conversation. ee } el rate fr e i i plans elaborate from one point to another, and the director may inject some imagt, sub-videos relate: » diecues} fog ps sub-videos related to the discussion. This introduces huge changes in the pittyide shown to the viewer, but still the viewer can follow it up, identify that thejdiffe: related. This leads to the next level in the logical structure of the video. usua Segment: The video se} i segment is a group of s ifi PAL —— group of scenes related to a specific conte” to have been recorded in the same location or in the same time! I off course, i e re i j of cou ie it en be recorded with various cameras. However, they are log/ Spatial-Coding (Intra-Coding) The compression in the spatial dimension deals with reducing the redundancy witli Us the same image or frame. There is no need to refer to any other frame. Hence, itis a by called intra-coding, and the term “intra” here means “within the same image or frame". TF ®P° Discrete Cosine Transform (DCT) is widely used for intra-coding in the most comms 1" standards such a8 JPEG, MPEG-1, MPEG-2, and MPEG-4, although the wavelet transform? blo also incorporated in MPEG-4. One benefit of the intra-coding is that, as each individe! frame is compressed independently, any editing of individual frames or re-ordering of frames on the time axis can be done without affecting any other frames in the compres me video sequence. int > Temporal-Coding (Inter-Coding) Thi . F 7 : » bw é compression in the temporal dimension aims at reducing the redundancy bet™™ ¢ successiv i essii i su - sive frames. This type of compression is also known as the inter-coding, and the te fra re means “across or between frames”. Hence, the coding of each frame is #2!DIGITAL IMAGE AND ANIMATIONS Page | 2.15 te its neighboring ones, on the time axis. In fact, it is mainly based on the differences from ‘boring frames. This makes editing, inserting, or deleting individual frames not a tforward task, as the neighboring frames will be affected, if not also affecting the press. as it deals with changes between frames, motion plays a dominant factor. A simple translation of an object between two fr ‘ames, without any other changes such as deformation, would result in unnecessarily large differences. This is because of the noticeable differences in pixel values in the corresponding positions. These differences will require more bits to be coded, which increases the bit-rate. To achieve better compression rates, one of the factors is to reduce the bit-rate. This is done through motion compensation techniques. The motion compensation estimates the motion of an object, between successive frames, and takes that into account when calculating the differences. So, the differences are mainly representing the changes in the object's properties such as shape, color, and deformation, but not usually the motion. This reduces the differences and hence the bit-rate. The motion compensation process results in important parts of the motion information. That are the motion vectors, which indicate the motion of various parts of the image between the successive frames, and the residual, which are the errors resulting from the motion compensation process. In fact, one big advantage of the temporal-coding is the extraction of the motion information that are highly important in video segmentation, and shot detection. > MPEG MPEG stands for Moving Pictures Experts Group. In the MPEG standards, the frame is usually divided into blocks, 8x8 pixels each. The spatial-coding, or intra-coding, is achieved by using the Discrete Cosine Transform (DCT) on each block. The DCT is also used in encoding the differences between frames and the residual errors from the motion compensation. On the other hand, the temporal-coding, or inter-coding, is achieved by block-based motion compensation techniques. In MPEG, the unit area that is used for motion compensation is usually a block of 16x16 pixels called macro-blocks (MB). However, in MPEG-4, moving objects can be coded through arbitrary shapes rather than the fixed-size macto-blocks, There are various types of frames in the MPEG standards. The I-frames, which are the intra-coded frames, the P-frames and B-frames, which are the frames that are predicted through motion compensation and the calculated differences between original frames. Each ‘Wo successive I-frames will usually have a number of P-frames and B-frames in between them. The sequence of one I-frame followed by a number of P- and B-frames, till the next I- fr ime, is called a md of pictures (GOP,san Page | 2.16 Dihaiwetlonal Prediction Bi-directional Prediction peace Fore Shorr) f Forward-Prodictod, Fig: The sequence of the MPEG’s |-, P-, and B-framos The MPEG provides various useful information about the changes between {ra including motion vectors, residual errors, macro-blocks types, and group of pictures, | information is usually utilized by shot-detection techniques that works on the Mp compressed video data. Sourco Vidoo 2.2.2 Digitalization 1 ‘Analog Vidoo Video digitization is when an analog video vieoe apt signal from a source such as a video tape or rt video camera is captured on a computer so as to edit or manipulate the images within the ‘Computer (Editing Software) computer. T Steps of video digitization are as follows: aaa in 1. Capturing the source video . Editing the captured video 2. 3. Assembling of edited video Galistied ? 4. Special effects like titling, transition, etc. If, Yes 5. Sound effects, narration, speech, commentary, music insertion, etc. 6. Compression and final output. Fig: Flow chart representing video editing pro ‘The analog video signal is normally transferred through an $-Video (or comp® video) cable to the input of a digitizer board or to an AV machine with a built-in digit# The hard disk speed, whether the hard disk is internal or external (an internal hard © generally has a faster connection to the rest of the computer), and the speed of the mae and the digitizer board inside the machine will determine the possible number of frames? second and picture size of the movie.DIGITAL IMAGE AND ANIMATIONS Page | 2.17 ‘Shooting/Recording Capturing Hardware Editing Fig: Video editing setup Before starting digitization, the hard disk should preferably be defragmented and the machine should be booted in a minimal system configuration (in particular, network software should be off). There are software utilities, called disk optimizers or defragmenters that defragment a disk. For best system performance, one should defragment the hard disks periodically. The video capturing software chosen should provide at least few features, like start and stop recording during editing, style titling, sound effects, transitions, audio insertion, compression and output in required file formats. 1. Capturing Source Video The process of creating a movie starts with capturing source video clips. Before capturing, spend some time to decide which part of the video is to be digitized, better note down the approximate counter reading of the source player. Connect the source to the digitization machine, and establish the digitization parameters within the appropriate program. We can set the desired frame rate and picture size according to the desired output quality. If audio components are not required, one can turn off the audio component, so that any audio contained in the source video will not be digitized. To digitize the video, one starts recording in the capturing software program (for example, Pinnacle Studio MP10, Adobe Premiere, etc.). Once the source video frames are captured, these are ready for further video editing. Image quality of the captured video can be improved by changing the following parameters: Y Video bit rate Y Input filter/sharpness Y Using S-video out put. 2, Editing of Video There are two types of video editing: ¥ Linear editingPage | 4.15 DIGITAL IMAGE AND AmMan, In linear editing, the editing is performed directly from one tape to another, In this PC only controls the source and recorder. In non-linear editing, sequences to be e, cit transferted back to tape. Here the video capture card transfers the video to the PCs ; disk and the editing is then performed entirely within the PC. Normally, editing im few or all of the following steps: Y Working with video scene Opening the captured video Reviewing video scenes in the al bum Trimming scenes Split ting clips Combining and sub dividing scenes Re-detecting scenes, LNN NK 3. Assembling After opening the captured video, before placing them on the video track. within specific scenes. One can select unwanted frames. we may review the scenes and make adjustmeny we can decide to combine, split or detect new sceng and/or combine the best video frames or can drop 4. Special Effects Videos can be made more imp! vessive by using features like transitions, titles, sound effects, etc. 11 Titling ‘Titling’ is an integrated title edi and easy creation of professional shapes, background colors, and p feature offers a preset, professional d styles for quickly making titles, along with © modified by adding transitions for a wide , fading in sliding, and adjusting duration of the title appearing in ’ describing the contents of the movie and variety of effects, such as the movie. Overall, the ti tle should be informative awaken interest. 1. Adding Transitions: Transitions are used according to the content of the video: Properly used transiti Plays without the audi one can see many ways to improv? m Overusing transitions that tend !0DIGITAL IMAGE AND ANIMATIONS Payo | 2.19 cause abrupt changes or otherwise draw attention to then There is a big, difference between a subtle dissolve from one clip to the next, and employing. a heart-shaped wipe, Working with Audio: While appropriate: music can add touch to a movie, a professional finishing and can do a lot to reinforce the message of a video. The niusic selected, however, should always be appropriate to the massage of the film. This effort is sometimes a time-consuming matter and a challenge, but it is worth the ince Well chosen music is usually greatly appreciated by the viewer. A great deal of polishing and depth can be generated by adding background music, recording Voie and inserting audio effects such as applause, bells, sea waves, ete, Such sound effects can be picked up from clip art gallery supplied with editing software. A huge number of pre-recorded or created sound effects are available as sound files in clip art CDs. Similarly, the music audio files stored in hard disk in sound file format can be inserted along with the videos or we can import audio directly from an audio CDs. In addition, the audio track of all video clips is captured along with the video, and is always available which can be manipulated according to the visual demand Voice-overs and other audio can be recorded into the movie directly from computer, (any length and type of background music can be inserted). Audio clips are selected and placed on their tracks in the same way as video clips. Once an audio clip is placed on its track, it can be edited in the same way as a video clip like play duration, volume adjustment, trimming, beginning or end, dissolve, fade-in, fade-out, etc. . Video Compression: Video compression is the process of reducing the file size of digitized video by removing the redundancy. To reduce the amount of space needed to record or transmit the information, compression is a must. Uncompressed video and audio data take a lot of memory. PAL (Phase Alteration by Line) has a resolution of 768X576 pixels and is transmitted at 25 (full) screens per second. Thus, one second of PAL video requires 768 X 576 X 25 X 2 bytes, that is approximately 22MB. This means that 30 seconds of uncompressed video will fill up a CD (650 MB). 30 seconds of CD-quality audio would amount to 176 KB. Reducing the video resolution to one-fourth (SIF) or even one-sixteenth of full resolution would still result ina data stream of more the 1 MB. The technology by which video compression is achieved is known as a ‘Codec’ an abbreviation of compression/decompression, ‘Codecs’ can be implemented in hardware and software or a combination of both, Hardware codecs are generallyPage | 2.20 DIGITAL IMAGE AND ANTM: a more powerful. They are used to compress multimedia files for reall storage and then to reverse the process for playback. Codecs are constantly 5 upgraded for higher compression without loosing quality during playbag plain terms codec is just another module of the multimedia control interface ty and the MCI makes it available to other software. ‘There are number of audio compression codecs and video compression codecs, compression, streams of symbols are transferred into codes. If the compressio, effective, the resulting stream of codes will be smaller than the original symby Video is compressed using a process called variable bit rates encoding which al, a changing number of dots to enhance resolution in a given scene. Scenes with ig of light or little action require less bits than dark scene or those with lots of actiq The case where information is relayed more efficiently and recovered exactly as, was before compression with no loss of fidelity is called ‘lossless compression’ opposed to lossy compression, in which same information is irretrievably lx during encoding, decoding process. Lossless compression discard only redunds information. The higher the compression ratio, the worse the resulting image. Some compression formats are; AVI, MPEG, CINEPAK, IVI, INDEO and RU Different compressors are capable to compress the data from 2:1 to 200:1. Commonly used formats are AVI and MPEG. The MPEG file format is supporté onall Windows 95, 98, NT. In some instances, one may wish to output the moviet AVI file format. Generally, AVI files are larger and not of as high quality as MPE files. There may be two reasons for using AVI format because one may requ importing the video into the application that doesn’t support MPEG files or som viewers will be running Windows 3.1. ° Despite its age and numerous problems, the AVI format is still used in sexe professional video editing cards. Many TV cards and graphic boards with a vid# input also use AVI format. These are able to grab video clips at lower resolutit (mostly 320 X 240 pixels). The compressed video files are ready for playing, svi on CD, sending via e-mail, using on web, inserting in multimedia presentation etc. 2.2.3 Transmission ‘The low bandwidth requirements of compressed digital video means that it a" ® stored and distributed on compact disc. It also means that significantly more channels be transmitted over airwaves or cable than analog video. Digital video can also g° P#® that analog video cannot. Digital video can be attached to e-mail, or accessed ove WWW. Video-conferencing will become a killer application once the transport cos — -pIGITAL IMAGE AND ANIMATIONS Page | 2.21 wap enough (curtently ecellent quality: video-confereneing, is possible only on ISDN and aster networks), or the internet bandwidth is regularized, Hven so, low-band video conterenteiny is possible even over HK modent connections, The ability to store once and transmit many tines has offered the opportunity for video-on-demand services, where itis possible to wateh what you want to, when you want to, and where you want lo. ES) ANIMATIONS The simulation of movement ct animation. Animation is a ‘ated by a series of pictur method of photographing su ive drawings, models, or even puppets, to create an itlusion of movement in a sequence. Because our eyes can only retain an image for approx. 1/10 of a second, when multiple images appear in fast succession, the brain blends them into a single moving image. In traditional animation, pictures are drawn or painted on transparent celluloid sheets to be photographed. Early cartoons are examples of this, but today, most animated movies are made with computer-generated imagery or CGI. 2.3.1 Basic Concepts To create the appearance of smooth motion from drawn, painted, or computer- generated images, frame rate, or the number of consecutive images that are displayed each second, is considered. Moving characters are usually shot “on twos” which just means one image is shown for two frames, totaling in at 12 drawings per second. 12 frames per second allows for motion but may look choppy. In the film, a frame rate of 24 frames per second is often used for smooth motion. Different Types of Animation: 1. Traditional Animation wv 2D Animation (Vector-based) wo 3D Animation 4. Motion Graphics er Stop Motion * Traditional: This is one of the oldest forms of animation in film. It’s sometimes called cel animation. AS mentioned above, in traditional animation, objects are drawn on celluloid transparent Paper. In or + to create the animated sequence, the animator must draw every frame. It’s ton a grander scale.Page | 2.22 DIGITAL IMAGE AND ANIMa; 6" T the Lion King, and othe, Traditional is most often amples of t 2D animation: Aladdin, his. Though, not all 2D is traditional. the animator would draw ona table that had a light inside oi, mation. While the traditional style is NOt neg tablets. And manual coloring ha, cartoons are the best ex In the earlier years, ator could see his or her previous ani the creal alent today, drawings are generally done on as prev Little Mermaid in 1989. been used by Disney since The > 2D (Vector): 2D animation can fall under traditional animé Pinocchio, Beauty and the Beast, etc. But there is s that can be 2D without being traditional. With Vector-based, the motion here can be controlled by vectors rather than pire Images with familiar formats like JPG, GIF, BMP, are pixel images. These images cannot enlarged or shrunk without affecting image quality. Vector graphics don’t need to wory about resolution. Vectors are characterized by pathways with various start and end point lines connecting these points to build the graphic. Shapes can be created to form a charade ation like most early Disney movies. omething called Vector-based animate, or other image. Vector-based animation uses mathematical values to resize images, so motion is smooth They can re-use these creations so the animator doesn’t need to keep drawing the same characters over and over again. You can move around these vectors and animate that way. ' > 3D: Today, 3D or computer animation is the most common type. But just because computes have stepped in instead of actual drawings, it’s not necessarily easier. The computer is jus another tool, and 3D animation is still a long, intense process. In 3D animated movies, the animator uses a program to move the character's body pa"® around. They set their digital frames when all of the parts of the character are in the rig" position. They do this for each frame, and the computer calculates the motion from each frame. Animators adjust and tweak the curvatures and movements their characters mag throughout. From Toy Story in 1995 to today’s Coco, 3D animation has become the dominant style in animated films. . ae . woe § ic Smatoal i also unique in that, unlike 2D or other traditional methods, #* r’s enti ii 7 isil y sas a ey is always visible. Ifa character turns to the side, the animator only profile in 2D animation, but in 3D, the entire body still needs to ED inDIGITAL IMAGE AND ANIMATIONS Page | 2.23 visible. So again, even though computers are being used, with new technology comes with way more considerations, / Whether Yau * using drawing in 2D or computing in 3D, animators and filmmakers alike look to storyboards to plan out each frame. Unlike live- action, animation movies can’t rely on camera tricks in a shot. Storyboards are the lifeline for creating animation. > Motion Graphics: Motion Graphics are pieces are digital graphics that create the illusion of motion usually for ads, title sequences in films, but ultimately exist to communicate something to the viewer. They're often combined with sound for multimedia projects. They're a type of animation used mostly in business, usually with text as a main player. > Stop Motion: Stop motion encompasses Claymation, pixelation, object-motion, cutout animation, and more. But the basic mechanics are similar to the traditional style like a flipbook. However, instead of drawings, stop motion adjusts physical objects in each frame. If moved in small increments, captured one frame at a time, the illusion of motion is produced. Whether puppets, clay, or even real people, these manual adjustments can make ita long, arduous process. Wallace and Gromit, Chicken Run, and The Nightmare Before Christmas are all great examples of stop motion films. otion is definitely an older form of animated storytelling, especially compared to Stop mi nimating pictures dates back way before 3D computer animation. But the process of ai Disney or Pixar. 2.3.2 Animation Languages imation languages. All of them can be categories under three There are several ai groups: 1. Linear list notations language! nimation supporting lan e number and an SCEFO (scene format). A guage. Each event in the animation is peer pa gation that is to take place (event). The described by start and ending fram‘ example of this type of languages is For example: , 42, 53, B, rotate, “palm”, ae in ca eisai,Page | 2.24 DIGITAL IMAGE AND ANnigay Here, 42 => start frame no. 53 => ending frame no. B=> table. Rotate => action. Palm => object. 1 => start angle. 30 => end angle. 2. General purpose languages: The high-level computer languages which are developed for the normal applicy software development also have the animation supporting features along with grapi; drawing, For example QBASIC, C, C++, java ete. 3. Graphical language: it is also computer high level language and especially develop for graphics drawingat animation has been already developed for e.g., AutoCAD. > Display of animation: To display the animation on video motivator as a series of horizontal scan lines from to bottom in pixels (raster system). The animated object must be scan, converted into th pixmap image in the frame buffer. The conversion must be done at least ten times f second (preferably 15 to 20 times), for smooth animations effects. Hence a new imagem be created in no more than 100 milliseconds, from these 100 milliseconds scan convers# should take only a small portion of time, so that redraw and erase of the object on display can be done fast enough. 2.3.3 Animation Control Controlling animation is independent of the language used for describing it. Animal! control mechanisms can employ different techniques. 1. Full Explicit Control: Explicit control is the simplest type of animation cont Here, the animator provides a description of everything that occurs animation, either by specifying simple changes, such as scaling, translatio™ rotation, or by providing key frame information and interpolation methods '° between key frames. pmGiTA’ 2. 2.3.4 The methox eeDIGITAL IMAGE AND ANIMATIONS Page | 2.25 2. Procedural Control: Procedural control is based on communication between various objects to determine their properties. Procedural control is a significant part of several other control mechanisms. In particular, in physically-based systems, the position of one object may influence the motion of another (e.g., balls cannot pass through walls). 2 . Constraint-based Systems: Some objects in the physical world move in straight lines, but many objects move in a manner determined by other objects with which they are in contact, and this compound motion may not be linear at all. Such motion can be modeled by constraints. Specifying an animated sequence using constraints is often much easier to do than using explicit control. 4. Tracking Live Action: Trajectories of objects in the course of an animation can also be generated by tracking live action. Traditional animation uses rotoscoping. A film is made in which people/animals act out the parts of the characters in the animation, then animators draw over the film, enhancing the background and replacing the human actors with their animated equivalents. gt . Kinematics and Dynamics: Kinematics refers to the position and velocity of points. A kinematic description of a scene, for example, might say, "The cube is at the origin at time f = 0. It moves with a constant acceleration in the direction (1,1,5) thereafter". By contrast, dynamics takes into account the physical laws that govem kinematics (e.g., Newton’s laws of motion for large bodies, the Euler-Lagrange equations for fluids, etc.). A particle moves with an acceleration proportional to the forces acting on it, and the proportionality constant is the mass of the particle. Thus, a dynamic description of a scene might be, "At time t = 0 seconds, the cube is at position (0 meters, 100 meters, 0 meters). The cube has a mass of 100 grams. The force of gravity acts on the cube.” Naturally, the result of a dynamic simulation of such a model is that the cube falls. 2.3.4 Transmission The transmission of animation over computer network may be using any one of two methods: 1. The symbolic representation (eg. circle) of animation objects (e.g., ball) is transmitted together with the operation commands (e.g,, roll the bail) performed on the object, and at the receiver side the animation is displayed. In this case, the transmission time is short because the symbolic representation of an animated object is smaller in byte size than its pixmap representation, but the display time at1 AEA aaaennees saan EMMA rage | eeu the receiver takes longer because the scan-converting operation has toy performed at the receiver side. In this approach, the transmission rate (bits/second or bytes/second) of aniny objects depends on- (a) The size of the symbolic representation structure, where the animated Object encoded. (b) On the size of the structure, where the operation command is encoded. (©) On the number of animated objects and operation commands sent per secong 2. The pixmap representation of the animated objects is transmitted and displayed the receiver side. In this case, the transmission time is longer in comparison to th Previous approach because of the size of the pixmap representation, but the display time is shorter because the scan-conversion of the animated objects is avoided ; the receiver side. It is performed at the sender side where animation objects an: operation commands are generated. In this approach, the transmission rate of the animation is equal to the size of th: ject (graphical image) multiplied by the pixmap representation of an animated obj number of graphical images per second. CTS 1. What is Digital Image? * Refer to topic 2.1, Unit-2 2. What is Digital Image Analysis? Refer to topic 2.1.1, Unit-2 3. What is Digital Image Recognition? Refer to topic 2.1.2, Unit-2 4. What is Digital Image Transmission? Refer to topic 2.1.3, Unit-2 5. What is a Video? Refer to topic 2.2, Unit-2 6. What is Video Representation? ease