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Animation

Animation. The Power of Motion Warning Overuse of animation and annoying visual effects can ruin a multimedia project. Principles of Animation. Animation is possible because of a biological phenomenon known as persistence of vision and a psychological phenomenon called phi .

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Animation

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  1. Animation

  2. The Power of Motion • Warning Overuse of animation and annoying visual effects can ruin a multimedia project.

  3. Principles of Animation • Animation is possible because of a biological phenomenon known as persistence of vision and a psychological phenomenon called phi.

  4. Animation by Computer • 2-D space, the visual changes that bring an image alive occur on the flat Cartesian x and y axes of the screen. • A blinking word • color-cyclinglogo

  5. 2½-D animation, an illusion of depth (the z axis) is added to an image through shadowing and highlighting, but the image itself still rests on the flat x and y axes in two dimensions. • Embossing, shadowing, beveling, and highlighting provide a sense of depth by raising an image or cutting it into a background.

  6. 3-D animation, software creates a virtual realm in three dimensions, and changes (motion) are calculated along all three axes (x, y, and z), • Allowing an image or object that itself is created with a front, back, sides, top, and bottom to move toward or away from the viewer, or, in this virtual space of light sources and points of view, • Allowing the viewer to wander around and get a look at all the object’s parts from all angles. Such animations are typically rendered frame by frame by high-end 3-D animation • programs such as NewTek’sLightwave or AutoDesk’s Maya.

  7. Animation Techniques CelAnimation • made famous by Disney • use a series of progressively different graphics or cels on each frame of movie film (which plays at 24 frames per second).

  8. Computer Animation • The primary difference among animation software programs is in how much must be drawn by the animator and how much is automatically generated by the software

  9. Animation File Formats • Some file formats are designed specifically to contain animations, so they can be ported among applications and platforms with the proper translators • Director (.dir and .dcr), AnimatorPro (.fli and .flc), 3D Studio Max (.max), GIF89a (.gif), and Flash (.fla and .swf)

  10. <svg width="8cm" height="3cm" viewBox="0 0 800 300" xmlns="http://www.w3.org/2000/svg" version="1.1"> <rect x="1" y="1" width="800" height="300" fill="none" stroke="rgb(255,0,255)" stroke-width="4" /> <rect id="RectElement" x="300" y="100" width="300" height="100" fill="rgb(255,0,0)" > <animate attributeName="x" attributeType="XML" begin="0s" dur="3s" fill="freeze" from="300" to="0" /> <animate attributeName="y" attributeType="XML" begin="0s" dur="3s" fill="freeze" from="100" to="0" /> <animate attributeName="width" attributeType="XML" begin="0s" dur="3s" fill="freeze" from="300" to="800" /> <animate attributeName="height" attributeType="XML" begin="0s" dur="3s" fill="freeze" from="100" to="300" /> </rect> </svg>

  11. Video

  12. Using Video • Carefully planned, well-executed video clips can make a dramatic difference in a multimedia project. • Before deciding whether to add video to your project, however, it is essential to have an understanding of the medium, its limitations, and its costs

  13. You would need at least 30 megabytes of storage to play your video for one second, more than 1.8 gigabytes of storage for a minute, and 108 gigabytes or more for an hour • Compression (and decompression), using special software called a codec, allows a massive amount of imagery to be squeezed into a comparatively small data file, which can still deliver a good viewing experience on the intended viewing platform during playback.

  14. Digital Video Containers • A digital video architecture is made up of an algorithm for compressing and encoding video and audio, a container in which to put the compressed data, and a player that can recognize and play back those files. • Ogg (.ogg, Theora for video, Vorbis for audio), Flash Video (.flv), MPEG (.mp4), QuickTime (.mov), Windows Media Format (.wmv), WebM (.webm), and RealMedia (.rm).

  15. MPEG • The MPEG standards were developed by the Moving Picture Experts Group (MPEG, www.mpeg.org) • Using MPEG-1 (specifications released in 1992), you could deliver 1.2 Mbps (megabits per second) of video and 250 Kbps (kilobits per second) of two-channel stereo audio using CD-ROM technology. • MPEG-2 (specifications released in 1994), a completely different system from MPEG-1, required higher data rates (3 to 15 Mbps) but also delivered higher image resolution, improved picture quality, interlaced video formats, multiresolution scalability, and multichannel audio features.

  16. MPEG-4 (specifications released • in 1998 and 1999) provides a content-based method for assimilating multimedia elements. It offers indexing, hyperlinking, querying, browsing, uploading, downloading, and deleting functions, as well as “hybrid natural and synthetic data coding,” which will enable harmonious integration of natural and synthetic audiovisual objects. • With MPEG-4, multiple views, layers, and multiple sound tracks of a scene, as well as stereoscopic and 3-D views, are available, making virtual reality workable. MPEG-4 can adjust to varied download speeds, making it an attractive option for delivery of video on the Web.

  17. The Codec Wars • The high bit rate requirements of video + (relatively) low bit rates available from CD-ROMs, and later from the Web, = long and occasionally confusing progression in the development of codecs. • Generally, the greater the compression, the more processing “horsepower” (and waiting time) is needed to compress and decompress the video.

  18. The Flash video container, which uses the older VP6 and a newer H.263codec (depending upon version), is used by YouTube and at many web sites but requires the Flash plug-in to be installed in the user’s browser • For playing WMV containers, Macintosh computers require installing the Silverlightplug-in, a Microsoft development framework similar to Flash. • The H.264 codec was developed by the Moving Picture Experts Group, is patented and proprietary, and is required on Blu-ray discs and used by YouTube, iTunes, and some broadcast services.

  19. Google’s open-source VP8 codec works within the WebM container (www.webmproject.org), and was launched as an effort to replace Flash and H.264 on the Web. Google is re-encoding all its Flash holdings at YouTube to work with WebMand VP8as well as with the H.264 codec. • Because of this codec and container war, for web developers wishing to place video elements onto their pages, programming with the HTML5<VIDEO> tag (which was supposed to simplify and standardize inclusion of video at web sites) remains as complicated as ever

  20. Video Format Converters • Be prepared to produce more than one version of your video (codecsin a container) to ensure that the video will play on all the devices and in all the browsers necessary for your project’s distribution. • DVD video uses MPEG-2 compression. Blu-ray video uses MPEG-4 AVC compression.

  21. Making Multimedia

  22. four basic stages in a multimedia project: • 1. Planning and costing • A project always begins with an idea or a need that you then refine by outlining its messages and objectives. • Before you begin developing, plan out the writing skills, graphic art, music, video, and other multimedia expertise that you will require. • Develop a creative “look and feel” (what a user sees on a screen and how he or she interacts with it), as well as a structure and a navigational system that will allow the viewer to visit the messages and content. • Estimate the time you’ll need to do all the elements, and then prepare a budget. • Work up a short prototype or proof-of-concept

  23. 2. Designing and producing. Perform each of the planned tasks to create a finished product. During this stage, there may be many Feedback cycles with a client until the client is happy. • 3. Testing. Test your programs to make sure that they meet the objectives of your project, work properly on the intended delivery platforms, and meet the needs of your client or end user. • 4. Delivering. Package and deliver the project to the end user. Be prepared to follow up over time with tweaks, repairs, and upgrades.

  24. What You Need: The Intangibles • Creativity • Before beginning a multimedia project, you must first develop a sense of its scope and content. • Good web site ideas and programming are easily cloned. • The better you know your medium, the better able you are to express your creativity • this means you need to know your hardware and software first.

  25. Organization • It’s essential that you develop an organized outline and a plan that rationally details the skills, time, budget, tools, and resources you will need for a project. • a protocol should be established for naming the files so you can organize them for quick retrieval when you need them

  26. Communication • Many multimedia applications are developed in workgroups comprising instructional designers, writers, graphic artists, programmers, and musicians located in the same office space or building. • local area network (LAN). • Communication among workgroup members and with the client is essential to the efficient and accurate completion of your project.

  27. What You Need: Hardware • Most multimedia will probably be made on a Macintosh or on a PC. • The basic principles for creating and editing multimedia elements are the same for all platforms • Selection of the proper platform for developing your multimedia project may be based on your personal preference of computer, your budget constraints, project delivery requirements, and the type of material and content in the project. • Many developers believe that multimedia project development is smoother and easier on the Macintosh than in Windows, even though projects destined to run in Windows must then be ported and tested across platforms.

  28. Windows vs. Macintosh • A Windows computer is not a computer per se, but rather a collection of parts that are tied together by the requirements of the Windows operating system. • it doesn’t matter where they come from or who makes them. Made in Texas, Taiwan, Indonesia, India, Ireland, Mexico, or Malaysia by widely known or little-known manufacturers, these components • If you are handy with a Phillips screwdriver and can read instructions, you can even order the parts and assemble your own computer “clone” to run Windows—at a considerable cost savings!

  29. Apple is a hardware manufacturing company that developed its own proprietary software to run the hardware. • In 2006, Apple adopted Intel’s processor architecture, an engineering decision that allows Macintoshes to run natively with any x86 operating system, same as Windows. • All recent models of Macintosh come with the latest Mac operating system, Macs can also run the Windows operating system.

  30. Memory and Storage Devices

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