CONTENT

Introduction……………………………………………………………………
1. Multimedia concept. A short history of multimedia. The main directions of
multimedia………………………………………………………………………
2. Interactive multimedia. Virtual reality, the main application areas…………….
3. Computer information described in graphic terms……………………………...
4. Sound equipment of modern computers. A description of the computer and
processing of sound…………………………………………………………….
5. The concept of computer animation. Animation types…………………………
6. Video equipment of modern computers. Video codec…………………………
7. Working with mobile devices. Working with Web camera……………………
8. Hypermedia systems……………………………………………………………
9. Basic standards of CD and DVD. Classification of the programs working with
the CDs and DVDs, properties and opportunities………………………………

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References
1. IEEE Multimedia ( Volume: 23, Issue: 4, Oct.-Dec. 2016 )

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Introduction.

In the area of education also, the multimedia has a great importance. Talking
particularly about the schools, the education of multimedia is very important for
student also. Students from starting only are getting in touch with computers so
that they can be friendlier with them in their later stages. At the advanced level of
studies the knowledge of multimedia is in the form of various professional courses.
These professional courses can be in the area of animation, designing etc…
And last but not the least it is used in the field of mass media i.e. journalism, there
are many magazines and newspaper that are published periodically. The use of
multimedia is also very much as in a publishing house there are many works of
newspaper designing and other stuff also. And now days it's not only the text that
we can see in the newspaper, but we can also see photographs in newspaper, this
not only makes newspaper an example of multimedia but will also explains the
worthiness of multimedia.
Multimedia is the media that uses multiple forms of information content and
information processing (e.g. text, audio, graphics, animation, video, interactivity)
to inform or entertain the user. Multimedia also refers to the use of electronic
media to store and experience multimedia content. Multimedia is similar to
traditional mixed media in fine art, but with a broader scope. The term "rich
media" is synonymous for interactive multimedia. Multimedia means that
computer information can be represented through audio, graphics, image, video
and animation in addition to traditional media (text and graphics). Hypermedia can
be considered as one type of particular multimedia application.

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1. Multimedia concept. A short history of multimedia. The main directions of
multimedia
In the field of advertising the multimedia plays a great and a vital role. As
whatever it is whether print or electronic advertisement, they first are prepared on
the computer tables by using professionals' software's and then it is brought in
front of the ultimate audiences. Those software's are the birth of multimedia. In the
area of advertisement multimedia plays a great role as it is the thing which is
taking forward the advertising industry.
Multimedia may be broadly divided into linear and non-linear categories. Linear
active content progresses without any navigation control for the viewer such as a
cinema presentation. Non-linear content offers user interactivity to control progress
as used with a computer game or used in self-paced computer based training. Non-
linear content is also known as hypermedia content.
Benefits of multimedia:
Easy of use, intuitive interface, immersive experience, self-paced interaction, better
retention, better understanding of the concept, cost effectiveness, more fun =
greater efficiency, the dashboard philosophy.
Multimedia presentations can be lived or recorded. A recorded presentation may
allow interactivity via a navigation system. A live multimedia presentation may
allow interactivity via interaction with the presenter or performer.
Features of Multimedia
Multimedia presentations may be viewed in person on stage, projected,
transmitted, or played locally with a media player. A broadcast may be a live or
recorded multimedia presentation. Digital online multimedia may be downloaded
or streamed. Streaming multimedia may be live or on-demand.

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Multimedia games and simulations may be used in a physical environment with
special effects, with multiple users in an online network, or locally with an offline
computer, game system, or simulator.
2016: the year of multimedia convergence
It’s about that time of the year where digital marketing experts and industry
leaders pen their thoughts on what we can expect over the course of 2016.
Granted, the end of 2015 saw our screens layered with tab after tab of blogs and
articles, all opened in the hopes that we’d catch onto the trends before we rang in
the New Year. What we didn’t account for were the ideas and statistics that have
only come to light within the first month of 2016 and so, we’ve seen a number of
new predications, new ideas and new concepts emerge. Our question is – to
which ones do we pay attention? The answer, which is equally simple as it is
daunting, is that we’re required to pay attention to all of them!
When it comes to digital strategy, we’re required to sort through a collective of
resources that are flush with new ideas and concepts, all in an effort to ensure that
our strategy is hand-picked as the leader of the pack. This means that, in 2016,
award-winning strategies will be those that include something of everything, with
a heavy focus on the convergence of multimedia. While 2015 was the year of
‘mobile geddon’ with every second strategy including mobile optimization, 2016
will see an increase in smarter, more dynamic and assimilated strategies.
If content is king, multimedia is the playground of royalty. While younger
generations are becoming more aware of multimedia and how best to use it to
their advantage, the multimedia-related skillset of millennial has increased
tenfold, resulting in a massive hike in the popularity of video content, apps,
games and mobile-sites. Not only do we understand the growth rate of mobile
phone usage and access to content, but we also understand just how important it
is.
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After all, we can expect a growth projection of almost 9.2 billion mobile
subscribers worldwide by 2020, compared to the 2.6 billion estimated users at the
end of 2015. While we have a few years to perfect our multimedia convergence
within our strategies, we have a limited period of time in which to focus on the
implementation of a flawless multimedia merge. Here’s is what we need to know:
What is ‘multimedia convergence’?
We’re all familiar with the creative set up – a screen in the form of a laptop or
desktop, our smartphones to our side while our iPod or tablet sits comfortably in
our drawer or handbag.
Thanks to ‘Mobilegeddon’ and the revolution that brought it on, consumers are
engaging in second and third multimedia experiences, often at the same time.
While we have Facebook or YouTube open on our desktop, we engage in
Instagram, Vine, apps or games on our mobile device. We then have those whose
level of multitasking leaves us in awe – making use of their desktops, mobile
phones and tablets at the same time. Thanks to Cloud technology, engaging on
multiple devices has become simple.
Despite our awe at their dexterity, this is the example that we need to think about
when we talk about ‘mobile convergence’. On a daily basis, an estimated 25% of
consumers engage on two or three devices, interacting on multiple channels.
‘Multimedia convergence’ can be defined as the collection and consolidation of
data under one platform in an effort to establish which message to send, and at
what time, to reach a specific consumer demographic. When collecting the data, it
is imperative to look at the number of users for each subsection of multimedia.
These can include apps, online and mobile gaming, video content, email, and
social media to name but a few.
How does it fit into Strategy?

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It is important to keep things simple when trying to establish the connection
between multimedia convergence and digital strategy. While content marketing is
still firmly in the spotlight, multimedia convergence should be used as a tool with
which to create more dynamic consumer profiles. Not only will marketers better
understand the consumer with which they are conversing but a more dynamic
consumer profile guarantees elevated engagement and an increase in customer
loyalty. Marketers are also able to introduce new ideas that can be backed with
data – perhaps an app is the ideal product that will launch your brand into success
in 2016?
If you’re wondering about whether the concept of ‘multimedia convergence’ is
worth your time, think about the unique content that can be created when your
brand better understands the consumer – not only does it pave the way for more
personalized content, it also ensures that consumers are met where their needs are
most clear.
South Africa’s media landscape: what will 2020 hold?
A new PwC report has laid out predictions for the South African media and
entertainment landscape by 2020.
Entertainment and media (E&M) companies saw double digit growth of 10.6% in
the country in 2015, according to the 2016 Entertainment and Media
Outlook report. However, it predicts a compound annual growth rate of 6.6% to
2020 — still edging out the USA and Western Europe’s growth levels.
PwC cited two reasons for the slower rate of growth.
“First, with mobile internet penetration in particular now being more mature — at
44.8% in 2015, from just 14.6% in 2011 — internet access revenue growth will
slow. Second, less positive macroeconomic news for South Africa will have a
concomitant hit on those sectors most closely dependent on a sound economy,
particularly business-to-business revenues,” it explained.
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The report found that E&M companies could expect to earn revenues of R173.3-
billion in 2020, compared to R125.7-billion in 2015.
Despite internet access growth slowing, it will still be the biggest contributor to
E&M spend, with revenue set to increase from R39.4-billion in 2015 to R68.5-
billion in 2020. Mobile internet access is expected to make up roughly 90% of the
2020 spend (R61.6-billion).
Advertising to continue upwards tick, but… The advertising sector in general is
slated to increase in revenue too, from R43.4-billion last year to R53-billion in
2020. The report found that TV advertising would continue to dominate the sector.
However, internet advertising “is combining scale with a great pace of expansion,
and will become the second-largest contributor to revenue by 2020”, being the
fastest growing E&M segment as well. It noted that almost two-thirds of online ad
spend was devoted to paid search, but social media is expected to play a part in
driving future growth.
The Entertainment and Media Outlook report also shed light on the threat of ad
blocking and its possible ramifications.
“Although ad blocking [above picture via Ad Block Plus – ed] remains a concern,
it is also an opportunity to improve the format, design and content of ads so as to
discourage future adoption of ad blocking. Native advertising, for example,
blends into the style and content of the site and has been shown to generate higher
consumer engagement than traditional display ads.”
The report singled out the success of programmatic advertising globally, saying
that over half of all digital ads were being traded automatically. This, PwC said,
opened the door for “better targeting of premium ads”.
Digital subscriptions and the internet. Internet access is a massive driver of
entertainment and media content and this is expected to grow.

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“Nearly 40% of total E&M revenue will be accounted for by internet access in
2020,” the report noted.
The report also labeled digital subscriptions as the “best model for consumer
growth” across sectors, specifically pointing to the success of services such as
Netflix and Apple Music.
Music, video and gaming subscriptions have also been singled out as big movers in
the Entertainment and Media Outlook report. “Subscription video-on-demand
(SVOD) revenue from the likes of Netflix saw year-on-year growth of 106.3% to
R46 million, and further growth of 53.7% CAGR is predicted to 2020,” the report
said of subscription-based video services.
“The launch of Apple Music provided a major boost to digital music streaming
revenue, both in terms of the company’s uptake and the wider sub-segment, with
all streamers thought to have seen a boost due to the enhanced awareness that
Apple’s launch seemed to create among consumers. Another year-on-year rise
above 100%, to R74-million, was the result.” Even subscription services such as
PlayStation Plus and Xbox Live were cited as examples by the PwC report.
“Within video games, too, online/micro transaction revenue is boosted by the
healthy recurring payments of the subscription models espoused by the likes of
PlayStation Plus, Xbox Live and Steam.”
Speaking of video games… Between the ever-increasing prize money and Super
sport’s coverage, the past year has seen eSports take huge strides in South Africa.
The report found that internet access was having a “positive, and at times
transformative” effect on several consumer sectors, including the “rapidly
developing” eSports sector. In fact, the rise of eSports and gaming as a whole
pushed SA online and micro transaction PC game revenue up 15.1% last year,
PwC reported.

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Competitive gaming has seen a boost around the world – South Africa is no
exception. “The continued rise of eSports had positive repercussions too: 2015’s
iteration of The International, a hugely popular tournament for the game Defense
of the Ancients 2 (Dota 2), saw players contributing more than US$16-million to
the prize pot through the purchase of an interactive compendium of in-game items
and characters,” the report added.
“The allure of such tournaments is a major reason why Dota 2 developer Valve is
thought to make more than US$18 million from the game each month. The lure of
games such as this in turn helped to push South African online/micro transaction
PC games revenue up by 15.1% in 2015.”
Interestingly enough, physical game sales aren’t expected to dip as severely as in
other markets, but the report found that it would account for 22% of the local
market by 2020 (from 51.9% in 2011).
Expressive Modulation of Neutral Visual Speech
Felix Shaw University of East Anglia, Norwich, UK
Felix Shaw is a post-doctoral researcher at The Earlham Institute, UK. His research
interests include signal processing, image processing, machine learning,
bioinformatics, and open source software engineering. Shaw received a PhD in
computer science from The University of East Anglia. Contact him at
felix.shaw@earlham.ac.uk.
Barry-John Theobald University of East Anglia, Norwich, UK
Barry-John Theobald is a senior lecturer at The University of East Anglia, UK. His
research interests include speech animation and audiovisual speech recognition.
Theobald received a PhD in computer science from The University of East Anglia.
Contact him at b.theobald@uea.ac.uk.
Expressive speech animation, or expressive visual speech, is the process by which
some representation of facial features (graphical, statistical, or otherwise) is
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smoothly changed over time to articulate verbal speech, convey emotion through
facial expression, or express other characteristics such as visual prosody. Used
extensively in the production of movies and computer games, current techniques
for visual speech animation are slow, laborious, and expensive. Therefore, efforts
to automate the complex processes involved are of great interest to these
multibillion-dollar industries. In this article, the authors describe a method for
transforming speech animation between different emotional expressions. When the
same sentence is spoken in two different expressive styles, a large proportion of
the two sentences is the same. Intuitively, then, after factoring out timing
differences, the residual is the expression. Based on earlier work showing two
general categories of facial movements in expressive speech--high-frequency
speech components (the content) and low-frequency expressive components (the
style)--the authors use independent component analysis (ICA) to factorize these
movements and show how the energy for different speaking styles is distributed in
this space. They transform speaking style by projecting novel animation curves
into the low-dimensional ICA space, redistributing the energy in the independent
components, and reconstructing the animation by inverting the projection. As they
describe, a single ICA model can be used for factoring multiple expressive styles,
and their method works on a variety of data types. Evaluations show that viewers
can identify the expressive style generated and have difficulty distinguishing
transformed animation from ground truth. Finally, they show how their technique
can be used to represent complex blends of expression.
Data Description
We recorded an audiovisual speech corpus of a single male performer speaking 15
sentences (averaging 10 words per sentence). The sentences were carefully chosen
to be emotionally agnostic and make contextual sense in any of five emotional
states: happy, angry, sad, surprised, and neutral. Eliciting real expression from
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actors is a difficult problem, particularly with emotions such as anger and fear,
where there are ethical considerations. Therefore, a compromise between ethics
and plausibility must be made. In this case, we used a technique in which the actor
was given a backstory to provide context for the expression to be portrayed, the
idea being that he would consider the scenario and act it out in his own style,
providing some naturalness [1].
At CES 2017, the tech industry was stunned by the latest internet of things (IoT),
mobile, and virtual reality products. At CES 2017, the tech industry was stunned
by the latest internet of things (IoT), mobile, and virtual reality products.
During the show this week in Las Vegas, companies showed off new virtual reality
headsets that enable users to feel and pick up objects in the virtual space,
personalized smart assistants to provide a vocal gateway to connected homes, and
an array of smart home gadgets – all in addition to array of new smartphones,
tablets and 2-in-1s. From Lenovo's new digital assistant, to Intel's Compute Card
platform, the following 20 products are CRN's picks for the best of the best
products from CES 2017. Hair Coach L'Oreal is jumping into the technology space
with a connected beauty product – a smart hairbrush, the Kerastase Hair Coach.
The Hair Coach is a brush equipped with sensors and technology powered by
Nokia-owned Witlings to measure the quality of hair and effects of different hair
routines.
This special brush features a microphone to identify patterns in brushing, as well as
an accelerometer and gyroscope. Users can look at a companion app to tell how
often their hair is being brushed – and whether it has been brushed too much. Hair
Coach will be available in the fall CES is a great show for unveiling smart products
that we didn’t think needed to be smart. Such as this smart hairbrush – the result of
a collaboration between L’Oreal and Witlings.

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If you’re worried that your hair-brushing technique is below par, then you’re in for
a treat. This £160 hairbrush is packed with sensors to stop you brushing too hard.
It’s got a microphone that listens out for the sounds of breaking hair, and it’ll
vibrate if you’re laying into your locks a little too energetically. Data then gets
shared with an app that monitors the effects of your brushing routine, assesses your
hair quality, and recommends which new hair care products you should be
investing in – presumably manufactured by L’Oreal.
The Tech Trends From CES 2017 That Will Actually Matter
TVs are Getting Super Thin, and There's a New Video Format War Brewing

In 2016, 4K TVs started to hit the mainstream. While they're cheap and common
enough tolook at if you're already upgrading, the real future of television (and
video) is HDR. HDR offers a better overall picture, a wider range of colours and
higher contrast than typical sets. This year, TV manufacturers switched their hype
machines from 4K to HDR.
Since the late 1970s, desktop computers used in the home and office have evolved
into sophisticated systems that help us get our jobs done, deliver information ,and
provide entertainment. Presents a timeline of some of the key technologies that
have contributed to the evolution of of multimedia computers. Do not worry if
some of these terms, especially the ones pertaining to hardware , seems unfamiliar
to you right now, because they will be discussed in detail later in this book. The
main point is multimedia technology did not happen overnight.
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Multimedia technology has changed the way we look at computers. The first
computers were seen as single-purpose machines that solved incredibly complex
mathematical problems. During the 1960s , mainframe computers were used to
manage large corporate databases and financial systems. The 1970s saw computer
terminals throughout an organization being used for
publishing and information management. The 1980s brought the desktop computer
so everyone could have a computer at his or desk for word processing,
spreadsheets, and even games. Bringing the computer to the individual in the
office, the home, and the classroom meant looking at the computer as more than
just a fancy typewriter or automated bookkeeper.
In the mid 1980s and into the 1990s, computer developers started looking at how
computers could be used a s never before. At the same time, advances in
technology brought about:
1. Faster desktop computers
2. Increased working memory capacity in computers
3. Higher data storage capacity in disk drives and CD-ROMs
4. Digital audio and video
5. Graphic operating systems that worked by pointing and clicking at objects on
the screen instead of having to remember cryptic command sequences such as
“dir .exe” to find a program
6. Local and wide area networks that connected users to the world
7. Thousands of applications ranging from word processors to a myriad of
multimedia products that have changed the workplace, classroom, and the home.
Computer developers started looking to multimedia – the delivery of information
using text, pictures, audio, and video—as a way to utilize computers in a uniquely
personal way. Multimedia computers could be used to increase efficiency and
productivity on the job, provide information at out fingertips in the home, and help
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students learn more effectively both in and out of the classroom. These personal
gains meant that people would see computers as practical and useful tools in their
everyday lives.
Since the late 1980s, multimedia technology and applications have found many
places in our lives:
At home where a wide variety of games and reference products such as
encyclopedias and cookbooks are put to use
At the office where marketing presentations and training are essential how to get a
new job done.
At school where interactive software programs assist students in learning
mathematics, science, and new languages.
In shopping malls where interactive computer terminals, called kiosks, help us to
design greeting cards or to find out where specific stores are located.
As you can see , the impact of multimedia technology on our daily lives is often
more than we realize. The bottom line is that if there is a need to inform, teach, or
entertain multimedia technology can play a key role.
In the year 2012, in the face of all the irresponsibility’s committed by a large
number of educators, a group of disillusioned students of the College of Education
started a plan to incite an uprising to overthrow the current corrupt administration.
These revolutionaries, through the use of multimedia technology and radical
ideology, vow to change Philippine education for the better and emancipate
students from the tyranny of traditional schooling and bureaucracy.
The revolutionaries have now spread to different commands throughout the nation,
from the islands of Luzon to the lands of Mindanao, using armed struggle and
multimedia education to liberate the Filipino youth."

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 2. Interactive multimedia. Virtual reality, the main application areas.

The term "rich media" is synonymous for interactive multimedia. Multimedia

applications that allow users to actively participate instead of just sitting by as
passive recipients of information are called Interactive Multimedia. Interactive
multimedia is multimedia which gives the user some navigational controls. A good
example is the Internet.
Interactive multimedia “allows two-way interaction with multimedia course
material, another computer, or another user with direct response to the input, as
opposed to one-way communication from TV, video, and other non-responsive
media. Interactive attributes commonly include data or text entry, mouse input,
touch screens, voice commands, video capture, and real-time interaction.
Interactive multimedia can also be interpreted as large subset of educational
technology, in particular CBT and CBL. Alessi and Trollop start from a general
definition of “the process of instruction [that] includes the presentation of
information to learners; guidance of leaners' first interaction with the material;
learners practicing the material to enhance fluency and retention; and, finally,
assessment of learns to determine how well they have learned the material and
what they should do next”.
Computers can be used for all these four phases (e.g. as combination of different
tools and face to face interactions), but all four phases do need to implemented in
either way. Based on this stance, the authors define eight methodologies
of Interactive Multimedia (IMM) in their textbook:
Tutorials
Hypermedia (see hypertext in this wiki]]
Drills
Simulations
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 Games
Tools and open-ended learning environments (see cognitive tool)
Computerized Test, both self-assessment and learner assessment]
Web-based learning (called Web-based training in this wiki)
Interactive multimedia is a multimedia system that lets the user do things.
Examples
 computer games.
 Micro worlds and Simulations
Virtual reality and the main application areas
At the convergence of technology and creative invention in multimedia is virtual
reality, or VR. VR requires terrific computing horsepower to be realistic. In VR,
your cyberspace is made up of many thousands of geometric objects plotted in
three-dimensional space: the more objects and the more points that describe the
objects, the higher resolution and the more realistic your view. As the user moves
about, each motion or action requires the computer to recalculate the position,
angle size, and shape of all the objects that make up your view, and many
thousands of computations must occur as fast as 30 times per second to seem
smooth. On the World Wide Web, standards for transmitting virtual reality worlds
or “scenes” in VRML (Virtual Reality Modeling Language) documents (with the
file name extension. wrl) have been developed.
Virtual Reality can be applied in many areas:
1) It can be used in medical studies to enable students to know the human body
structure.
2) It can be used in scientific research laboratories so that scientist can easily
research on a specific topic.
3) It can be used in entertainment like in games and movies to make the gaming
experience more real and to allow individual to experience adventures under
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extreme conditions.
4) It can be used in driving schools as it give a real look of roads and traffic.
5) It can be used in military training for the soldiers to get familiar with different
areas in the battlefield.
These are the thing about virtual reality. Now i am going to talk about its
advantages and disadvantages.
Advantages of Virtual Reality:
1) Virtual reality creates a realistic world
2) It enables user to explore places.
3) Through Virtual Reality user can experiment with an artificial environment.
4) Virtual Reality make the education more easily and comfort.
Disadvantages of Virtual Reality
1) The equipment used in virtual reality are very expensive.
2) It consists of complex technology.
3) In virtual reality environment we can’t move by our own like in the real world.
Managing applications and distribution becomes a typical task for IT departments.
Installation mechanism differs from application to application. Some programs
require certain helper applications or frameworks and these applications may have
conflict with existing applications.
Software virtualization is just like a virtualization but able to abstract the
software installation procedure and create virtual software installations.
Virtualized software is an application that will be "installed" into its own self-
contained unit.
Virtualization software allows a single host computer to create and run one or
more virtual environments.
Virtualization software is most often used to emulate a complete computer
system in order to allow a guest operating system to be run, for example
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allowing Linux to run as a guest on top of a PC that is natively running a Microsoft
Windows operating system.
Advantages of Software Virtualization
1) Client Deployments Become Easier:
Copying a file to a workstation or linking a file in a network then we can easily
install virtual software.
2) Easy to manage:
To manage updates becomes a simpler task. You need to update at one place and
deploy the updated virtual application to the all clients.
3) Software Migration:
Without software virtualization, moving from one software platform to another
platform takes much time for deploying and impact on end user systems. With the
help of virtualized software environment the migration becomes easier.

3. Computer information described in graphic terms.

Raster and vector graphic

There are two main type of image files: Raster and Vector. Raster images are
created with pixel-based programs or captured with a camera or scanner. They are
more common in general such as jpg, gif, png, and are widely used on the web.
Vector graphics are created with vector software and are common for images that
will be applied onto a physical product. Also used in CAD, engineering, and 3D
graphics which we do not provide information nor services for. Raster images are
made of pixels. A pixel is a single point or the smallest single element in a display
device. If you zoom in to a raster image you may start to see a lot of little tiny
squares.

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Vector images are mathematical calculations from one point to another that form
lines and shapes. If you zoom into a vector graphic it will always look the same. A
raster image has a specific number of pixels. When you enlarge the image file
without changing the number of pixels, the image will look blurry. When you
enlarge the file by adding more pixels, the pixels are added randomly throughout
the image, rarely producing good results.
When you enlarge a vector graphic, the math formulas stay the same, rendering the
same visual graphic no matter the size. Vector graphics can be scaled to any size
without losing quality.
In computer graphics, a raster graphics image or bitmap is a data structure
representing a generally rectangular grid of pixels, or points of color, viewable via
a monitor, paper, or other display medium. Raster images are stored in image files
with varying formats (see Comparison of graphics file formats). A bitmap
corresponds bit-for-bit with an image displayed on a screen, generally in the same
format used for storage in the display's video memory, or maybe as a device-
independent bitmap. A bitmap is technically characterized by the width and height
of the image in pixels and by the number of bits per pixel (a color depth, which
determines the number of colors it can represent). The printing and prepress
industries know raster graphics as connotes (from "continuous tones") and refer to
vector graphics as "line work". Vector graphics is the use of geometrical primitives
such as points, lines, curves, and shapes or polygon(s), which are all based on
mathematical equations, to represent images in computer graphics. Vector graphics
formats are complementary to raster graphics, which is the representation of
images as an array of pixels, as it is typically used for the representation of
photographic images. There are instances when working with vector tools and
formats is best practice, and instances when working with raster tools and formats
is best practice. There are times when both formats come together. An
20
understanding of the advantages and limitations of each technology and the
relationship between them is most likely to result in efficient and effective use of
tools.
Resolution
Raster graphics are resolution dependent. They cannot scale up to an arbitrary
resolution without loss of apparent quality. This property contrasts with the
capabilities of vector graphics, which easily scale up to the quality of the device
rendering them. Raster graphics deal more practically than vector graphics with
photographs and photo-realistic images, while vector graphics often serve better
for typesetting or for graphic design. Modern computer-monitors typically display
about 72 to 130 pixels per inch (PPI), and some modern consumer printers can
resolve 2400 dots per inch (DPI) or more; determining the most appropriate image
resolution for a given printer-resolution can pose difficulties, since printed output
may have a greater level of detail than a viewer can discern on a monitor.
Typically, a resolution of 150 to 300 pixel per inch works well for 4-color process
(CMYK) printing.
The definition is good, but I think we can't discuss the two with also discussing
Object graphics.
Both EPS and PDF are object graphics where there is a mix of both raster and
vector art. This is also true of applications like Photoshop, Illustrator and InDesign,
where Photoshop is traditionally known as raster editor, but has quite powerful
vector capabilities mainly in the form of clipping paths, and vector masks (text and
vector shapes are saved as clipped raster images if exported from Photoshop to
EPS or PDF). Also Illustrator, will often be referred to as vector, but can contain
both placed raster art, and have vector generated raster art (as when applying any
feathering effect) which can be deceptive. Also Illustrator can make a
transformation/distortion of a raster graphics with vector mesh.
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Depending on the scope of the review this may or may not be something to
consider.
A raster graphic is an image made of hundreds (or thousands or millions) of tiny
squares of color information, referred to as either pixels or dots.
(Technically pixels refer to color blocks viewed on an electronic monitor where as
dots refer to the ink dots on a printed piece. But even professional designers,
myself induced, often use these two terms interchangeably.)
The most common type of raster graphic? A photograph. The designer’s preferred
program for creating and editing raster files? You guessed it: Adobe Photoshop.
Popular raster file format extensions include: jpg/jpeg, psd, png, tiff, bmp and gif.
Pros of Raster Images
 Rich Detail: Ever wondered what the term “dpi” stands for? It means “dots
per inch,” a measurement of how much detailed color information a raster
image contains. Say you’ve got a 1” x 1” square image at 300 dpi—that’s
300 individual squares of color that provide precise shading and detail in
your photograph. The more dpi your image contains, the more subtle details
will be noticeable.
Precise Editing: All of those individual pixels of color information can also be
modified, one by one. So if you’re a true perfectionist, the level of editing and
customization available in a raster image is almost limitless.
Blurry When Enlarged: The biggest downfall to raster images is that they become
pixelated (aka grainy) when enlarged. Why is this? Well, there are a finite number
of pixels in all raster images; when you enlarge a photo, the computer takes its best
guess as to what specific colors should fill in the gaps. This interpolation of data
causes the image to appear blurry since the computer has no way of knowing the
exact shade of colors that should be inserted.

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Large File Size: Remember how a 1” x 1” square at 300 dpi will have 300
individual points of color information for the computer to remember? Well let’s
say you have an 18” x 24” photo— that’s 129,600 bits o’ info for a computer to
process which can quickly slow down even the faster machine.
Overview
A vector graphic uses math to draw shapes using points, lines and curves. So
whereas a raster image of a 1” x 1” square at 300 dpi will have 300 individuals
pieces of information, a vector image will only contain four points, one for each
corner; the computer will uses math to “connect the dots” and fill in all of the
missing information.
The most common types of vector graphics? Fonts and logos. The designer’s
preferred program for creating and editing vector files? Adobe Illustrator.
Popular vector file format extensions include: eps, ai and pdf.
Advantages of Vector Images
 Infinitely Scalable: Through the wonders of math (which I don’t claim to
understand), vector files can be scaled up or down as much as you want
without losing any image quality. Whereas a raster image must guess the
colors of missing pixels when sizing up, a vector image simply uses the
original mathematic equation to create a consistent shape every time.
 Smaller File Size: Using our previous 1” x 1” square example, a vector file
needs only four points of data to recreate a square versus 300 individual
pixels for a raster image. For simple graphics, like geometric shapes or
typography, this means a much smaller file size and faster processing speed.
 Edibility: Unlike popular raster-based formats, such as a jpg or png, vector
files are not “flattened.” When you open ‘em back up in a program such as
Adobe Illustrator, all of the original shapes exist separately on different

23
 layers; this means you can modify individual elements without affecting
other objects in the image.
Disadvantages of Vector Images
 Limited Details: Because of the mathematically way that a vector
remembers data, they are not practical for complex images that require exact
coloring. Sure, you can create basic color gradients, but you’ll never be able
to match the color detail available in a raster image where each individual
pixel can be its own individual shade.
 Limited Effects: By definition, vector graphics are created from simple
points and lines. This means they can’t handle certain styling effects, like
blurring or a drop shadow, that are available with raster images.
Yes, you read that right. While Adobe Illustrator is primarily a vector-based
program, it has some raster-only elements available, such as drop shadows or outer
glows. Likewise, Adobe Photoshop now allows you to work with vector-based
objects (called smart objects) within the traditionally raster-based program. Don’t
be confused…this added flexibility within design programs still doesn’t override
the traditional wisdom:
Raster = photographs = great color detail, but can’t enlarge without becoming
blurry.
Vector = fonts/logos = ability to enlarge without losing quality, but limited color
detail
Raster and vector graphic
There are two main type of image files: Raster and Vector. Raster images are
created with pixel-based programs or captured with a camera or scanner. They are
more common in general such as jpg, gif, png, and are widely used on the web.
Vector graphics are created with vector software and are common for images that
will be applied onto a physical product. Also used in CAD, engineering, and 3D
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graphics which we do not provide information nor services for. Raster images are
made of pixels. A pixel is a single point or the smallest single element in a display
device. If you zoom in to a raster image you may start to see a lot of little tiny
squares.
Vector images are mathematical calculations from one point to another that form
lines and shapes. If you zoom into a vector graphic it will always look the same. A
raster image has a specific number of pixels. When you enlarge the image file
without changing the number of pixels, the image will look blurry. When you
enlarge the file by adding more pixels, the pixels are added randomly throughout
the image, rarely producing good results.
When you enlarge a vector graphic, the math formulas stay the same, rendering the
same visual graphic no matter the size. Vector graphics can be scaled to any size
without losing quality.
Types of computer graphics-illustrative, presentation.
Illustration
An illustration is a visual representation such as a drawing, painting, photograph or
other work of art that stresses subject more than form. The aim of an illustration is
to elucidate or decorate a story, poem or piece of textual information (such as
a newspaper article), traditionally by providing a visual representation of
something described in the text. The editorial cartoon, also known as a political
cartoon, is an illustration containing a political or social message.
Illustrations can be used to display a wide range of subject matter and serve a
variety of functions, such as:
 giving faces to characters in a story
 displaying a number of examples of an item described in an academic textbook
(e.g. A Typology)
 visualizing step-wise sets of instructions in a technical manual
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 communicating subtle thematic tone in a narrative
 linking brands to the ideas of human expression, individuality and creativity
 making a reader laugh or smile
 for fun (to make laugh) funny
Presentations
A presentation is the process of presenting a topic to an audience. It is typically a
demonstration, introduction, lecture, or speech meant to inform, persuade, or build
good will. The term can also be used for a formal or ritualized introduction or
offering, as with the presentation of a debutante.
A presentation program is often used to generate the presentation content, some of
which also allow presentations to be developed collaboratively, e.g. using the
Internet by geographically disparate collaborators. Presentation viewers can be
used to combine content from different sources into one presentation.
The use of computer graphics in business appear to be extensive. Current
developments in the information systems field also indicate the potential of
business graphics as a support tool for task scheduling, group decision making,
decision and expert systems. It would appear, however, that advances in graphics
production and usage is proceeding at a relentless pace but without regard to the
large body of relevant research that is available. This paper proposes a taxonomy
of business graphics application based on an information systems classification. In
addition it reviews the existing inventory of research using a communication
psychology and information system orientation with particular reference to
memory capacity and preference and the factors contributing to graphics
effectiveness. In sum the paper attempts to integrate extant research with recent
developments in business graphics technology and to indicate directions for future
research.

26
Scientific. Scientific visualization using computer graphics gained in popularity as
graphics matured. Primary applications were scalar fields and vector fields from
computer simulations and also measured data. The primary methods for visualizing
two-dimensional (2D) scalar fields are color mapping and drawing contour lines.
2D vector fields are visualized using glyphs and streamlines or line integral
convolution methods. 2D tensor fields are often resolved to a vector field by using
one of the two eigenvectors to represent the tensor each point in the field and then
visualized using vector field visualization methods.
Technical. Technical illustration is the use of illustration to visually communicate
information of a technical nature. Technical illustrations can be component
technical drawings or diagrams. The aim of technical illustration is "to generate
expressive images that effectively convey certain information via the visual
channel to the human observer".
The main purpose of technical illustration is to describe or explain these items to a
more or less nontechnical audience. The visual image should be accurate in terms
of dimensions and proportions, and should provide "an overall impression of what
an object is or does, to enhance the viewer’s interest and understanding"
According to Viola (2005), "illustrative techniques are often designed in a way that
even a person with no technical understanding clearly understands the piece of art.
The use of varying line widths to emphasize mass, proximity, and scale helped to
make a simple line drawing more understandable to the lay person. Cross hatching,
stippling, and other low abstraction techniques gave greater depth and dimension
to the subject matter"
Classification of graphic programs
In computer graphics, graphics software refers to a program or collection of
programs that enable a person to manipulate images or models visually on
a computer.
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Computer graphics can be classified into distinct categories: raster
graphics and vector graphics, with further 2D and 3d variants. Many graphics
programs focus exclusively on either vector or raster graphics, but there are a few
that combine them in interesting ways. It is simple to convert from vector graphics
to raster graphics, but going the other way is harder. Some software attempts to do
this. In addition to static graphics, there are animation and video editing software.
Different types of software are often designed to edit different types of graphics
such as video, photos, and drawings. The exact sources of graphics may vary for
different tasks, but most can read and write files.
Most graphics programs have the ability to import and export one or more graphics
file formats, including those formats written for a particular computer graphics
program. Examples of such programs include GIMP, Adobe Photoshop, Microsoft
Publisher, Picasa, etc.
The use of a swatch is a palette of active colors that are selected and rearranged by
the preference of the user. A swatch may be used in a program or be part of the
universal palette on an operating system. It is used to change the color of a text or
image and in video editing. Vector graphics animation can be described as a series
of mathematical transformations that are applied in sequence to one or more shapes
in a scene. Raster graphics animation works in a similar fashion to film-based
animation, where a series of still images produces the illusion of continuous
movement.
Properties and opportunities of basic graphic applications
In computer graphics, graphics software refers to a program or collection of
programs that enable a person to manipulate images or models visually on
a computer.
Computer graphics can be classified into distinct categories: raster
graphics and vector graphics, with further 2D and 3d variants. Many graphics
28
programs focus exclusively on either vector or raster graphics, but there are a few
that combine them in interesting ways. It is simple to convert from vector graphics
to raster graphics, but going the other way is harder. Some software attempts to do
this.
In addition to static graphics, there are animation and video editing software.
Different types of software are often designed to edit different types of graphics
such as video, photos, and drawings. The exact sources of graphics may vary for
different tasks, but most can read and write files.
Most graphics programs have the ability to import and export one or more graphics
file formats, including those formats written for a particular computer graphics
program. Examples of such programs include GIMP, Adobe Photoshop, Microsoft
Publisher, Picasa, etc.
The use of a swatch is a palette of active colors that are selected and rearranged by
the preference of the user. A swatch may be used in a program or be part of the
universal palette on an operating system. It is used to change the color of a text or
image and in video editing. Vector graphics animation can be described as a series
of mathematical transformations that are applied in sequence to one or more shapes
in a scene. Raster graphics animation works in a similar fashion to film-based
animation, where a series of still images produces the illusion of continuous
movement.
Super Paint (1973) was one of the earliest graphics software applications.
Fauve Matisse (later Macromedia press) was a pioneering program of the early
1990s, notably introducing layers in customer software
Currently Adobe Photoshop is one of the most used and best-known graphics
programs in the Americas, having created more custom hardware solutions in the
early 1990s, but was initially subject to various litigation. CorelDraw holds a

29
 stronger user base in Europe than Adobe. GIMP is a popular open source
alternative to Adobe Photoshop.
Formats of graphic fails : BMP,GIF,PNG,TIFF,JPEG,WMF,EPS,SVG,CDR.
Ensuring that your images are best suited for web display is a truly crucial process.
Before we dive into the image types, here’s a quick recap of the last post’s core
principles:
 A raster image is comprised of a series of pixels, each which contains its own
RGBA color make-up. Raster images are generally used in conjunction with
photographs or image types with a high level of detail. Upon magnifying a raster
image, the individual pixels will become exposed, creating a blurry or jagged
appearance, particularly around the edges.
 A vector image is comprised of a series shapes or elements created with points,
paths and curves that follow mathematical principles. Most commonly, vector
images are created through Adobe Illustrator. Vectors can be scaled, and even at
levels of extreme magnification, will retain visual clarity and crispness.
 A lossy compression is a form of data compression that sees the loss of pixel data.
 A lossless compression is a form of data compression where no data is lost, only
compressed.
Possibly the most widely used graphic design software available is the Adobe
Suite. Two of the most popular programs are Photoshop and Illustrator, which
make use of .psd and .ai files respectively. Files saved in these formats can be
either raster or vector, and are raw and editable. To become web ready, they’ll
need to be saved in an appropriate file type (JPEG, PNG, GIF or SVG).
There are a number of other file formats that are used during the creation, design or
edit phase. The most common of these file formats are described below.
TIFF

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Sometimes also referred to as a TIF, the TIFF (Tagged Image File Format) is one
of the earliest raster image file formats that sports a wide range of functions. Still
regularly used to date by image editing software applications, TIFF files are able to
hold a large among of color data, making it a popular file type for photographers or
graphic designers during the design or image editing and manipulation stages.
TIFF files commonly make use of lossless compression. With this, TIFF files
produce great results for monochromatic images and are widely used by scanners
and fax machines (what are thooooose?). During compression, a TIFF won’t lose
its image quality, but as they are generally large-sized image files, they will need
to undergo a format conversion in order to become usable for the web.
EPS
Used during the design or creation stage, the EPS (Encapsulated PostScript) file
can store both bitmap (raster) and vector data. As the EPS is a PostScript file, the
file itself is flexible and can be read by various software applications that make use
of PostScript technology (both between computer processing technologies such as
Adobe and Office applications, as well as external software devices such as
printers equipped with PostScript interfaces). With this, various applications will
be able to import EPS files and allow you to edit them from within the program.
Despite its flexibility in the creation phase, the EPS format is largely being
replaced by other, more contemporary file formats during the design phase. For
web display, EPS is not supported and will need to be converted into one of the
universal web image formats (JPG, GIF, PNG).
RAW
Most cameras will include a setting which allows the photographer to shoot
pictures and save them in the original camera RAW image file format (Canon
uses .CRW or .CR2, Pentax uses .PEF, and Nikon uses .NEF). Quite simply, the
RAW file format saves the image in a format that has not undergone any
31
processing or compression. It contains all of the image data as recorded by the
camera itself, thus giving the photographer the ability to use the highest quality
original file ( with higher levels of brightness, more detail etc.) during post
production. When shooting in and saving to JPEG format, a series of automatic
compression processes run, thus decreasing or completely removing certain
editable characteristics. When opening a RAW file on a computer, the file size is
ginormous, and typically are converted to TIFF files for editing and post
production.
There are a number of image formats that are readily available but the most
common, universally recognized and safe for all web browsers are JPEG, GIF,
PNG (raster) and SVG (vector).
SVGs are pretty much in a class of their own as the file format is the only one that
can display vector based images on the web. The other file formats – JPEG, GIF
and PNG – have quite stark differences between them.
JPEG
Possibly the single most commonly used image format, JPEG (Joint Photographic
Experts Group) images are widely used across all disciplines of design, print,
publishing, processing, and web display. Sometimes referred to as JPG (merely an
appended file extension name that dates back to the DOS era when extensions were
required to be three characters), JPEGs also come in other formats (.jpe .jif .jfif .jfi)
but are essentially the same file types.
Designed for the exact purpose of removing slight graphic detail from an image
that the human eye wouldn’t really notice, the JPEG generally makes use of lossy
compression, meaning that the image will lose data and thus quality as it is
compressed. As the JPEG form is good at handling a number of colors (supporting
over 16 million colors), it’s great for photographic imagery, but as lossy

32
 compression process will eliminate a number of pixels, the JPEG form is not
exactly the best format for logo graphics or other core branded assets.
The real strength of the JPEG file format is that the level of lossy compression can
be adjusted, giving the user the highest level of control in determining final image
file properties, as opposed to other file formats.
Probably the easiest way to understand the quality vs file size trade-off when using
the lossy format is the JPEG image compressor’s quality slider, as provided during
Save in the Adobe Suite applications. Here, the user is able to see the adjustments
in image quality and note the changes in file size. For example, the lower the
quality, the greater the compression, the smaller the file size, and vice versa.
Remember, portions of data are lost each time the JPEG file is saved, so repeat
compressions will result in irreversible loss of image data and quality.
JPEGs in a nutshell:
 Safe to use on all web browsers
 Can’t support animation
 Use for web display images or photographs
 Do not use for logos or branded assets
 When optimizing for the web, test out a combination of quality settings for
determining the best trade-off between picture quality and file size
GIF
Initially copyright protected, GIFs no longer require permission and are widely
used for web display as small graphics. A GIF (Graphics Interchange Format) can
only store a maximum of 256 different colors within one file. With this low
number of colors available in the palette, the GIF image will compress really well
and will produce a relatively small file size, but for a big trade off on quality. Due
to the small number of available colors, GIFs are typically grainy (fuzzy or blurry)
in appearance, but the core of the image will still be communicated.
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Making use of lossless compression, if your original image contains a higher color
value than suitable for GIF properties, the image data will automatically be
recoded and reduced to fit the GIFs maximum of 256 color requirement. Despite
this, images that fall within the set color constraints, a GIF will never lose data or
quality during repeat saves.
GIFs are best used for graphic assets that don’t require high levels of image quality
but do require a rapid load speed. If your website needs to include an image that is
not as detailed as a photograph, a GIF might be a good file format option for you,
and would be suitable for simple diagrams, possibly infographics, logos, or similar.
Another popular use for the GIF file format lies in its animation ability (supported
by all browsers). Here, designers can interlace a series of images to form a looping
animation. In this regard, GIF assets are great to include with content marketing or
blog pieces, particularly as powerful visuals that communicate a series of
messages, instructions or similar.
Finally, GIFs are also optimized to include transparency on the RGBA Alpha
channel, although PNGs export with slightly better quality in this regard
A PNG-8 file can only support a maximum color palette of 256 colors – just like a
GIF. PNG-8 formats can be used for graphics with areas of either few colors or
small variations in color, such as logos, icons or any graphic that do not include
extensive detailing. The difference between GIFs and PNG-8s is that PNG-8s
cannot support animation but will have better transparency results on the RGBA
Alpha channel.
A PNG-24 file supports a wide range of colors (over 16 million) and can be used
for photographic images. Saving a file in a PNG-24 format will make use of
lossless compression, seeing it as a good alternative to a JPEG as no data will be
lost. This, however, could result in a larger final file size so be sure to test both
JPEG and PNG-24 formats when bargaining with file size and quality.
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 PNGs in a nutshell:
 Safe to use on all web browsers
 Cannot support animation
 Great for images with transparent backgrounds
 Use PNG-8 for logos, branded assets or graphics with very few colors
 Use PNG-24 for photographs but stay conscious of the final file size (if too large,
test a JPEG format)
SVG
A Scalable Vector Graphic (SVG) is pretty much exactly what the name describes:
an image in a vector form that can be scaled up or down without the threat of loss
of quality. As a vector graphic, an SVG is not made up of pixels, but rather a series
of points, paths and curves that all follow mathematical principles to ensure
optimal scalability.
SVGs are XML images. Most commonly, SVGs are created by designing an item
in Adobe Illustrator and exported as an SVG file type. Alternately, they can be
scripted into direct XML markup language by a text editor. The great thing about
SVGs being in XML form, is that each of the image’s elements are rendered as
objects and can be easily edited through the use of JavaScript.
As the SVG’s properties are essentially coded, each individual vector shape within
the full image can easily be edited using code. Say, for example, your logo was
comprised of a graphic of a house, where the roof element of the logo was brown.
By using code, you could simply assign different color properties to the parameter
to change the color of the roof as opposed to saving and exporting a series of
individual files that ultimately would take up server space.
As SVGs are great for scalability, the benefit of using this file format for logos,
icons and other design assets is that the actual file can save with a small size, but
still display at a large size. All modern web browsers support SVG and SVGZ
35
 (compressed SVG) files so these are definitely the way forward in terms of
ensuring that your brand assets will display correctly and with perfect crispness,
particularly on high resolution and retina display screens.
There are two things to keep in mind with SVGs:
1. Complexity of design, and
2. Metadata
If for example, your vector design is extremely complex and makes use of a
number of elements, this might have an effect on the final size of the exported file.
As the mathematical calculations of a vector image require more legwork in
computing than raster images, a complicated and heavily layered SVG might end
up creating a large file, ultimately having a larger effect on file size. With this, it’s
advised to simplify and refine your design to its core elements to ensure that the
final combination of shapes has the lowest level of complexity. So, be really clever
with your design from the start when working with the elements on the artboard.
Secondly, as SVGs make use of XML markup language, they will contain a series
of scripted properties, including metadata. These properties are superfluous and
don’t have any effect on the display of your image, instead, they’ll push up the file
size. So, if possibly be sure to strip away this metadata from your SVG file.
CDR files can also be opened by Corel Paint Shop Pro, but for best compatibility,
Corel recommends saving the CDR file as version 9.0 or earlier in CorelDraw.
Interactive Computer Graphics: Interactive Computer Graphics involves a two
way communication between computer and user. Here the observer is given some
control over the image by providing him with an input device for example the
video game controller of the ping pong game. This helps him to signal his request
to the computer.
The computer on receiving signals from the input device can modify the displayed
picture appropriately. To the user it appears that the picture is changing
36
instantaneously in response to his commands. He can give a series of commands,
each one generating a graphical response from the computer. In this way he
maintains a conversation, or dialogue, with the computer.
Interactive computer graphics affects our lives in a number of indirect ways. For
example, it helps to train the pilots of our airplanes. We can create a flight
simulator which may help the pilots to get trained not in a real aircraft but on the
grounds at the control of the flight simulator. The flight simulator is a mock up of
an aircraft flight deck, containing all the usual controls and surrounded by screens
on which we have the projected computer generated views of the terrain visible on
take off and landing.
Flight simulators have many advantages over the real aircrafts for training
purposes, including fuel savings, safety, and the ability to familiarize the trainee
with a large number of the world’s airports.
Presentation programs, key features and opportunities.
An illustration is a visual representation such as a drawing, painting, photograph or
other work of art that stresses subject more than form. The aim of an illustration is
to elucidate or decorate a story, poem or piece of textual information (such as
a newspaper article), traditionally by providing a visual representation of
something described in the text. The editorial cartoon, also known as a political
cartoon, is an illustration containing a political or social message.
Illustrations can be used to display a wide range of subject matter and serve a
variety of functions, such as:
 giving faces to characters in a story
 displaying a number of examples of an item described in an academic textbook
visualizing step-wise sets of instructions in a technical manual
 communicating subtle thematic tone in a narrative
 linking brands to the ideas of human expression, individuality and creativity
37
 making a reader laugh or smile
 for fun (to make laugh) funny
A presentation is the process of presenting a topic to an audience. It is typically a
demonstration, introduction, lecture, or speech meant to inform, persuade, or build
good will. The term can also be used for a formal or ritualized introduction or
offering, as with the presentation of a debutante.
A presentation program is often used to generate the presentation content, some of
which also allow presentations to be developed collaboratively, e.g. using the
Internet by geographically disparate collaborators. Presentation viewers can be
used to combine content from different sources into one presentation.

4. Sound equipment of modern computers. A description of the computer

and processing of sound
A sound card (also known as an audio card) is an internal expansion card that
provides input and output of audio signals to and from a computer under control
of computer programs. The term sound card is also applied to external audio
interfaces used for professional audio applications. Typical uses of sound cards
include providing the audio component for multimedia applications such as music
composition, editing video or audio, presentation, education and entertainment
(games) and video projection.
Sound functionality can also be integrated onto the motherboard, using
components similar to those found on plug-in cards. The integrated sound system
is often still referred to as a sound card. Sound processing hardware is also present
on modern video cards with HDMI to output sound along with the video using that
connector; previously they used a SPDIF connection to the motherboard or sound
card.

38
Most sound cards use a digital-to-analog converter (DAC), which converts
recorded or generated digital data into an analog format. The output signal is
connected to an amplifier, headphones, or external device using standard
interconnects, such as a TRS phone connector or an RCA connector. If the number
and size of connectors is too large for the space on the backplate the connectors
will be off-board, typically using a breakout box, an auxiliary backplate, or a panel
mounted at the front. More advanced cards usually include more than one sound
chip to support higher data rates and multiple simultaneous functionality, for
example digital production of synthesized sounds, usually for real-time generation
of music and sound effects using minimal data and CPU time.
Digital sound reproduction is usually done with multichannel DACs, which are
capable of simultaneous and digital samples at different pitches and volumes, and
application of real-time effects such as filtering or deliberate distortion.
Multichannel digital sound playback can also be used for music synthesis, when
used with a compliance,[1] and even multiple-channel emulation. This approach has
become common as manufacturers seek simpler and lower-cost sound cards.
Most sound cards have a line in connector for an input signal from a cassette
tape or other sound source that has higher voltage levels than a microphone. The
sound card digitizes this signal. The DMAC transfers the samples to the main
memory, from where a recording software may write it to the hard disk for storage,
editing, or further processing. Another common external connector is
the microphone connector, for signals from a microphone or other low-level input
device. Input through a microphone jack can be used, for example, by speech
recognition or voice over IP applications.

39
 5. The concept of computer animation. Animation types
The concept of computer animation. Animation types
Computer animation is the process used for generating animated images. The
more general term computer-generated imagery (CGI) encompasses both static
scenes and dynamic images, while computer animation only refers to the moving
images. Modern computer animation usually uses 3D computer graphics,
although 2D computer graphics are still used for stylistic, low bandwidth, and
faster real-time rendering. Sometimes, the target of the animation is the computer
itself, but sometimes film as well.
Traditional animation (or classical animation, cell animation or hand-drawn
animation) is an animation technique where each frame is drawn by hand. The
technique was the dominant form of animation in cinema until the advent
of computer animation.
2D animation creates movement in a two-dimensional artistic space. Work in the
field of 2D animation requires both creativity and technological skills. 2D
animation uses bitmap and vector graphics to create and edit the animated images
and is created using computers and software programs, such as Adobe Photoshop,
Flash, After Effects, and Encore. These animations may be used in advertisements,
films, television shows, computer games, or websites.
3D animation. It is the process of generating three-dimensional moving images in a
digital environment. 3D animation is digitally modeled and manipulated by an
animator. The animator usually starts by creating a 3D polygon mesh to
manipulate. A mesh typically includes many vertices that are connected by edges
and faces, which give the visual appearance of form to a 3D object or 3D
environment. Sometimes, the mesh is given an internal digital skeletal structure
called an armature that can be used to control the mesh by weighting the vertices.

40
This process is called rigging and can be used in conjunction with key frames to
create movement.
Other techniques can be applied, mathematical functions (e.g., gravity, particle
simulations), simulated fur or hair, and effects, fire and water simulations. These
techniques fall under the category of 3D dynamics.
Motion graphics. It’s the art of creatively moving graphic elements or texts,
usually for commercial or promotional purposes. Think animated logos, explainer
videos, app commercials, television promos or even film opening titles.
Motion Graphics are simply flat-based images or 3D objects that are given the
illusion of motion, accompanied with music or sound effects. This technique is
often used for multimedia projects.
Stop motion. Stop motion is a way of animation which makes it look like still
objects are moving. Clay animation is a good example of how stop motion is used.
Stop-motion requires any camera that can make single frames (or photos). It works
by shooting a single frame, moving the object a little bit, and capturing a frame
again. Cartoons use a similar way; one of the main differences is that stop motion
uses real objects instead of drawn.
GIF and Flash animations.
The Graphics Interchange Format (often shortened to GIF) is a file
format for images. It is a raster graphics format; that is the image has a fixed
size. CompuServe developed and introduced the format in 1987. Today, it is
widely used on the World Wide Web. The format supports up to 8 bits per pixel, or
256 colors. It also supports animations. Each frame of an animation can have its
own set of 256 colors. GIF is not used to show photographs very much, because
having only 256 colors is limiting for such a task.
Animated GIFs have some advantages:
1) They are simple to make using an animation program and a series of images
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2) They do not require your web browser to have a plug-in
3) They have lossless compression so that the file size can be reduced without too
much distortion
4) Animated GIFs have a relatively small file size,
5) GIFs are easy to use when creating a webpage
6) And they are supported by all web browsers,
But they do have disadvantages:
1) They have a maximum color depth of 256 bits.
2) They can slow a webpage down.
3) The often have a ‘Blocky’ or ‘Pixels’ appearance.
4) Their use of ‘Dithering’ to prevent harsh color contrast restricts how much
the file can be compressed.
5) Of few frames in the animation results in a jerky animation.
6) if not done well they can make a website visually unappealing.

A Flash animation or Flash cartoon is an animated video that is created

by Adobe Flash or a similar animation software. The video is usually distributed in
the .swf file format. They are often distributed on the World Wide Web, in which
case they are often referred to as Internet cartoons, online cartoons, or webtoons.
Flash is able to integrate bitmaps and other raster-based art, as well as video,
though most Flash films are created using only vector-based drawings, which often
result in a somewhat clean graphic appearance. Some hallmarks of poorly
produced Flash animation are jerky natural movements (seen in walk-cycles and
gestures), auto-twinned character movements, lip-sync without interpolation, and
abrupt changes from front to profile view.
Flash animations are typically distributed by way of the World Wide Web, in
which case they are often referred to as Internet cartoons, online cartoons, or web-
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toons. Web Flash animations may be interactive and are often created in a series. A
Flash animation is distinguished from a Web comic, which is a comic
strip distributed via the Web, rather than an animated cartoon. Flash animation is
now taught in schools throughout the UK and can be taken as a GCSE and A-level.

6. Video equipment of modern computers. Video codec

Analog versus Digital. Digital video has supplanted analog video as the method of
choice for making video for multimedia use. While broadcast stations and
professional production and postproduction houses remain greatly invested in
analog video hardware (according to Sony, there are more than 350,000 Betacam
SP devices in use today), digital video gear produces excellent finished products at
a fraction of the cost of analog. A digital camcorder directly connected to a
computer workstation eliminates the image-degrading analog-to-digital conversion
step typically performed by expensive video capture cards, and brings the power of
nonlinear video editing and production to everyday users.
Broadcast Video Standards
Four broadcast and video standards and recording formats are commonly in use
around the world: NTSC, PAL, SECAM, and HDTV. Because these standards and
formats are not easily interchangeable, it is important to know where your
multimedia project will be used.
NTSC The United States, Japan, and many other countries use a system for
broadcasting and displaying video that is based upon the specifications set forth by
the 1952 National Television Standards Committee. These standards define a
method for encoding information into the electronic signal that ultimately creates a
television picture. As specified by the NTSC standard, a single frame of video is

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made up of 525 horizontal scan lines drawn onto the inside face of a phosphor-
coated picture tube every 1/30th of a second by a fast-moving electron beam.
PAL The Phase Alternate Line (PAL) system is used in the United Kingdom,
Europe, Australia, and South Africa. PAL is an integrated method of adding color
to a black-and-white television signal that paints 625 lines at a frame rate 25
frames per second.
SECAM The Sequential Color and Memory (SECAM) system is used in France,
Russia, and few other countries. Although SECAM is a 625-line, 50 Hz system, it
differs greatly from both the NTSC and the PAL color systems in its basic
technology and broadcast method.
Multimedia Systems- M.Sc(IT)
HDTV High Definition Television (HDTV) provides high resolution in a 16:9
aspect ratio (see following Figure). This aspect ratio allows the viewing of
Cinemascope and Panavision movies. There is contention between the broadcast
and computer industries about whether to use interlacing or progressive-scan
technologies.
Video Compression
To digitize and store a 10-second clip of full-motion video in your computer
requires transfer of an enormous amount of data in a very short amount of time.
Reproducing just one frame of digital video component video at 24 bits requires
almost 1MB of computer data; 30 seconds of video will fill a gigabyte hard disk.
Full-size, full-motion video requires that the computer deliver data at about 30MB
per second. This overwhelming technological bottleneck is overcome using digital
video compression schemes or codecs (coders/decoders). A codec is the algorithm
used to compress a video for delivery and then decode it in real-time for fast
playback. Real-time video compression algorithms such as MPEG, P*64, DVI/
Video, JPEG, Cinepak, Sorenson, Clear Video, Real Video, and VDO wave are
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available to compress digital video information. Compression schemes use
Discrete Cosine Transform (DCT), an encoding algorithm that quantifies the
human eye’s ability to detect color and image distortion. All of these codecs
employ loss compression algorithms.
In addition to compressing video data, streaming technologies are being
implemented to provide reasonable quality low-bandwidth video on the Web.
Microsoft, Real Networks, Extreme, VDOnet, Xing, Precept, Cubic, Motorola,
Viva, Vocalic, and Oracle are actively pursuing the commercialization of
streaming technology on the Web.
QuickTime, Apple’s software-based architecture for seamlessly integrating sound,
animation, text, and video (data that changes over time), is often thought of as a
compression standard, but it is really much more than that.
MPEG The MPEG standard has been developed by the Moving Picture Experts
Group, a working group convened by the International Standards Organization
(ISO) and the International Electro-technical Commission (IEC) to create standards
for digital representation of moving pictures and associated audio and other data.
MPEG1 and MPEG2 are the current standards. Using MPEG1, you can deliver 1.2
Mbps of video and 250 Kbps of two-channel stereo audio using CD-ROM
technology. MPEG2, a completely different system from MPEG1, requires higher
data rates (3 to 15 Mbps) but delivers higher image resolution, picture quality,
interlaced video formats, multi resolution scalability, and multichannel audio
features.
DVI/Video DVI is a property, programmable compression/decompression
technology based on the Intel i750 chip set. This hardware consists of two VLSI
(Very Large Scale Integrated) chips to separate the image processing and display
functions.

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Two levels of compression and decompression are provided by DVI: Production
Level Video (PLV) and Real Time Video (RTV). PLV and RTV both use variable
compression Multimedia Systems- M.Sc(IT) rates. DVI’s algorithms can compress
video images at ratios between 80:1 and 160:1. DVI will play back video in full-
frame size and in full color at 30 frames per second.
Optimizing Video Files for CD-ROM
CD-ROMs provide an excellent distribution medium for computer-based video:
they are inexpensive to mass produce, and they can store great quantities of
information. CDROM players offer slow data transfer rates, but adequate video
transfer can be achieved by taking care to properly prepare your digital video files.
 Limit the amount of synchronization required between the video and audio.
With Microsoft’s AVI files, the audio and video data are already
interleaved, so this is not a necessity, but with QuickTime files, you should
“flatten” your movie.
Flattening means you interleave the audio and video segments together.
 Use regularly spaced key frames, 10 to 15 frames apart, and temporal
compression can correct for seek time delays. Seek time is how long it takes the
CD-ROM player to locate specific data on the CD-ROM disc. Even fast 56x
drives must spin up, causing some delay (and occasionally substantial noise).
 The size of the video window and the frame rate you specify dramatically
affect performance. In QuickTime, 20 frames per second played in a
160X120-pixel window is equivalent to playing 10 frames per second in a
320X240 window.
The more data that has to be decompressed and transferred from the CD-ROM to
the screen, the slower the playback.

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 7. Working with mobile devices. Working with Web camera.

A webcam is a video camera that feeds or streams its image in real time to or
through a computer to a computer network. Webcam features and performance can
vary by program, computer operating system, and also by the
computer's processor capabilities.
Webcam can be added to instant messaging, text chat services such as AOL Instant
Messenger, and VoIP services such as Skype, one-to-one live video
communication over the Internet has now reached millions of mainstream PC users
worldwide. Improved video quality has helped webcams encroach on traditional
video conferencing systems.
Webcams can be used as security cameras. Software is available to allow PC-
connected cameras to watch for movement and sound, recording both when they
are detected. These recordings can then be saved to the computer, e-mailed, or
uploaded to the Internet. In one well-publicized case, a computer e-mailed images
of the burglar during the theft of the computer, enabling the owner to give police a
clear picture of the burglar's face even after the computer had been stolen.
Special software can use the video stream from a webcam to assist or enhance a
user's control of applications and games. Video features, including faces, shapes,
models and colors can be observed and tracked to produce a corresponding form of
control. For example, the position of a single light source can be tracked and used
to emulate a mouse pointer, a head-mounted light would enable hands-free
computing and would greatly improve computer accessibility. This can be applied
to games, providing additional control, improved interactivity.
The Eye Toy for the PlayStation 2, PlayStation Eye for the PlayStation 3, and
the Xbox Live Vision camera and Kindest motion sensor for the Xbox 360 and are
color digital cameras that have been used as control input devices by some games.
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 8. Hypermedia systems.

Multimedia is content that uses a combination of different content forms such as

text, audio, images, animations, video and interactive content. Multimedia
contrasts with media that use only rudimentary computer displays such as text-only
or traditional forms of printed or hand-produced material.
Multimedia is gaining popularity on the Web with several technologies to support
use of animation, video, and audio to supplement the traditional media of text and
images.
Those who wish to use the World Wide Web must have a “browser.” Browser
software lets people visit web sites and see the words and images at those sites.
Currently, there are four major ways of adding animation to a web page: server
push, Shockwave, Java and GIF animation. Below is a discussion of the challenges
of delivering animation to web visitors and the pros and cons of the major choices.
Popular Multimedia Methods on the Web
Server Push: A process in which a single image is loaded onto the page, then the
web server quickly “pushes” another image or multiple images into the same
location. This is an ideal way to make small images change once or twice, but it is
too slow and cumbersome to produce quality animation for those using modem
lines.
Shockwave: Macromedia Director is a leading multimedia production program.
Those creating CD-ROMs love the program, and a new add-on called Shockwave
let animated images created in Director play in web pages.
There are two drawbacks to Shockwave. One, file sizes can get big, leading to long
download times for modem users. This problem is rectified by simply using
Shockwave wisely. The second, more serious, problem is that Shockwave is not

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“native” to Netscape 2.0. This means that those able to view Shockwave
animations will always be less than the total percentage of Netscape users.
Java: A programming language developed by Sun, a leading producer of computer
workstations and network equipment. Using Java, animations, interactive games
and much more can appear within a web page. Unlike Shockwave, Java is
completely programmable and has been licensed to many major browser
companies-ensuring widespread support. Java’s downside is that it can look
slightly less polished than Shockwave. Java’s big plus is that it is native to
Netscape 2.0. That means everyone using Netscape can see Java applications
without having to download a plug-in.
GIF Animation: This is an exciting technology that has been possible with GIF
images for a long time but has come into its own now that Netscape 2.0 supports it.
In a GIF animation, an ordinary image loads, then changes to an alternate image or
images. This rapid display of image produces animation. GIF images are native to
Netscape 2.0, making them an ideal way to deliver simple animations.

9. Basic standards of CD and DVD. Classification of the programs working

with the CDs and DVDs, properties and opportunities

It's amazing when you think about it: you can store a movie several hours long on a
shiny piece of plastic no bigger than your hand! Although compact discs
(CDs) have been around for more than 30 years, they are still one of the most
popular ways of storing music and computer data. In the mid-1990s, CDs evolved
into digital video/versatile discs (DVDs), which look and work in a similar way but
can store about seven times more. And now we have Blu-ray™, which can store
six times more than a DVD—or about 40 times more a than CD! Have you ever
wondered how CDs, DVDs, and Blue-rays actually work? Let's take a closer look!
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What is a CD?
A compact disc is a thin, circular disc of metal and plastic about 12cm (just over
4.5 inches) in diameter. It's actually made of three layers. Most of a CD is made
from a tough, brittle plastic called polycarbonate. Sandwiched in the middle there
is a thin layer of aluminum. Finally, on top of the aluminum, is a protective layer
of plastic and lacquer. The first thing you notice about a CD is that it is shiny on
one side and dull on the other. The dull side usually has a label on it telling you
what's on the CD; the shiny side is the important part. It's shiny so that
a laser beam can bounce off the disc and read the information stored on it.

A small portable compact disc player made by Technics. Gadgets like this have
now largely been superseded by MP3 players such as iPods, which are much
smaller and lighter and pack lots more music into the same space by compressing it
digitally.
How CDs use optical laser technology
Until CDs were invented, music was typically stored on plastic LP (long-playing)
records and cassette tapes. LPs scratched easily, while tapes could stretch and
distort and sometimes snapped or seized up entirely. Both of these ways of storing

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music were primitive compared to CDs. LPs were played on turntables with a
moving arm that bounced along a groove in the plastic, reading back the music as
it went. Record players (or gramophones, as they were sometimes known)
used mechanical technology for recording and playing back sound: the moving
arm turned the bumps in the plastic into sounds you could hear. Cassette tapes
(used in such things as the original Sony Walkman) worked a different way. They
stored sounds using magnetic technology. When you put a cassette into your
Walkman, a small electric motor dragged the tape past a little electromagnet. The
electromagnet detected the pattern of magnetism on the tape and
an electronic circuit changed this back into the sounds that fizzed and popped in
your headphones.

Photo: Great music, rotten CD.

CDs were billed as virtually indestructible, but some early ones have fallen victim
to a problem called disc rot: they gradually turn brown and bits of the reflective
surface disappear, eventually making them unplayable.
With the invention of CDs, people finally had a more reliable way of collecting
music. CD players are neither mechanical nor magnetic but optical: they use
flashing laser lights to record and read back information from the shiny metal
discs. One of the main problems with LPs and cassettes was the physical contact
between the player and the record or tape being played, which gradually wore out.
In a CD player, the only thing that touches the CD is a beam of light: the laser
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beam bounces harmlessly off the surface of the CD, so the disc itself should (in
theory) never wear out. Another advantage is that the CD player can move its laser
quickly to any part of the disc, so you can instantly flip from track to track or from
one part of a movie to another.
How CDs are recorded and played back
LP records stored music as bumps on the surface of plastic, while cassettes stored
it using patterns of magnetism. These are called analog technologies, because the
sound is stored as a continuously varying pattern (of bumps in the plastic of a
record or fluctuations in the magnetism on a cassette tape). In a CD, music (or
other information) is stored digitally (as a long string of numbers). After the music
has been recorded, it is converted into numbers by a process called sampling.
Almost 50,000 times a second (44,100 to be exact), a piece of electronic equipment
measures the sound, turns the measurement into a number, and stores it in binary
format (as a pattern of zeros and ones). The sampling process turns a CD track
lasting several minutes into a string of millions of zeros and ones. This is the
information stored on your CD. In other words, there is no music on a CD at all—
just a huge long list of numbers.

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Illustration: An ordinary CD is a sandwich of plastic (in which bumps have been
pressed by a master disc), reflective aluminum, and protective polycarbonate
plastic.
CDs are made from an original "master" disc. The master is "burned" with a laser
beam that etches bumps (called pits) into its surface. A bump represents the
number zero, so every time the laser burns a bump into the disc, a zero is stored
there. The lack of a bump (which is a flat, unburned area on the disc, called a land)
represents the number one. Thus, the laser can store all the information sampled
from the original track of music by burning some areas (to represent zeros) and
leaving other areas unburned (to represent ones). Although you can't see it, the disc
holds this information in a tight, continuous spiral of about 3–5 billion pits. If you
could unwrap the spiral and lay it in a straight line, it would stretch for about 6 km
(roughly 3.5 miles)! Each pit occupies an area about two millionths of a millionth
of a square meter. Once the master disc has been made, it is used to stamp out
millions of plastic duplicates—the CDs that you buy and put into your music
player or computer. Once each disc is pressed, it's coated with a
thin aluminum layer (so it will reflect laser light), covered with protective
polycarbonate and lacquer, and the label is printed on top.

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