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By
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Phone :0187506044
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Trademark Ackiiowledgèments

\Vindosvs 3.1, Windows 95, Windows NI, Windows 2000, Windows XP and \X'iisdows Media Player are rcgisteiud
trademarks of Microsoft Iric, USA
31) Studio, 3D Studio Max and Aninutor Studio are registered trademarks of Kinutix Inc. USA
Alias \Vtvefroiit and Maya are registered t radeistaiks of Alias Systems Corporation USA
A\VE32, Sound Blaster, Wive Blaster and \'ido Blister are registered t radentuh i( Cre.nis'c Labs, Singapore
Patntshop Pro is a registered tradeiiiark ol .te Inc USA
Quicklime is registered trademark o Apple Computers USA
All other t r,ideniarks are ,ssncd and reitered by respective or nisJt II liv

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Acknowledgements

I fall short of words to pen down anything for the co-operation and encouragement extended by my wife throughout
the making of the second edition of this book. But for her support, this hook might not have taken shape. My
parents extended their warmth, support and co-operation as the hook was taking shape.
But for the efforts of Mr.R.Venkatachan, this book would not have come out at all. My sincere thanks go with him.
People at The DQ Week - Chennai' a Cyber media (I Ltd. publication stood by my side, as this project took
shape. I'd particularly like to thank the then editor - Mr. Syed Ibrahim Ahmed - for providing room for writing
articles on the same subject.
My deepest gratitude goes with Mr.Krishnaswami Balaji of Singapore who was always encouraging me to bring out
a second edition of this book.
I sincerely thank my publishers, BPB Publications, for taking up the second edition of this book.
AIu/t,,,,c(f,a It tii/c Ix

Foreword to Second Edition

As I sat one fine clay and started thinking about bringing out a second edition for my book Multimedia Magic, I
realised that significant volume of material had to be re-written revised and rephrased. Technology had grown sig-
nificantly over the years, requirements of students had changed and 1'ools had become drunatical1y simple or com-
plex.
Multimedia has been introduced as one of the subjects in most universities and colleges. This book takes into ac-
count the syllabus laid out by sonic of these universities and tries to cover most — if not all — topics in a simple and
lucid language.
I always believed that students as well as professionals should use this book. Though the majority of the material is
meant for a novice, professionals with reasonable experience in one media or other will find useful tips and hints
that were gained by experience on real world projects.
While maintaining the overall layout of first edition and even the chapter titles to some extent, the inner material has
been extensively revised to reflect the latest trends in technology and concepts. Windows 2000 has been taken as the
baseline Operating system throughout the hook. Sc) most of the examples and illustrations were developed on a
Windows 2000 system — unless explicitly stated. Useful tables have been added at appropriate places to give an
overview of different things that are being discussed.
Many examples have been added from Multimedia projects in which I was directly involved. I lence the advice and
notes I have provided oil examples are not merely theoretical.
Multimedia - like any other information technology stream - is a fast moving world. But I strongly believe that
there are fundamental concepts and nset!iodologics that stay for a longer period of time than the tools themselves.
1 lence I urge the readers to pay attention to the overall cmnderstancting of concept rather than how to do this tech
nidiucs for a specific tool. III respect, the treatnienO of this hook is significantly clillercilt Irommi mitamiy other hooks
Ott Multimedia tools and techimiologics.
I'd like to encourage the readers to svruc what they feel the hook - things Sinai ciii he addled, revised or
updated. They will help me to slI.tpc die future editions of this hook.
I thank the puhlisliers for giving m( all to shoe ntty ideas, thiotmghlt' md cx } )erienldes in time world of
niultinnicdi.n - it has been a greall\ n'warihiii; cxpc'riemmee fromli m y side

S.( ;OKtJI.
c-iii.iil:sc slIa(h:il'olsIllj-s-al1oo.coii1
x I Ii,Iiim0/i .1

Contents in Detail

PART I - INTRODUCING MULTIMEDIA 1

Chapter 1 - Components of M ultiniedia

1.1 Dawn of the Digital Age
12 ''hai. is Multimedia?
1.3 Scope of Multimedia - iii this book
1.4 Digit.il niedias i hat make up Muhiniedia
.3 Our app r )aeh 10 u nderst ai I ding NI ul ii nedia
1.6 \ ledi U ills for Delivers
1.7 Various types ui Niultimedia Applications
1.7.1 interactive App]icauons
1.7.2 Non-1 III cr.ictive A ppli(atioi is
1.8 Interactive OlUltillICLiM and nulilloeractive niultiniedia
1!) So mniary
1.10 Kcyword
PART II - SETTING UP A MLI;FIMEDIA STUDIO 9

Chapter 2 - M tilt iiiwd Ia: The II aid ware Essentials

2.1 lot roduction
2.2 Multi med i a Ita rdsv an evol liii I 01
2.3 Basic t y pes of tim It i media I a rd\va ic
2.4 M 1ih iii ied i a ,mddon 1k rip ii e rals
2.5 Ext cr0.11 multi n icdia equip ii lent S
2.6 Flow to choose ilic right mumItimmnedia peripherals and equipments?
2.7 Installation lips
2.8 Finding the mntiltiniedia peripherals installed on your computer
2.9 Plug and play
2.10 A typical muhiniedia system con ligurauon
2.11 Multimedia upgrade kits
2.12 Sunni tary
2.13 Key words
Chapter 3 - Multimedia: Setting up the Software
3.1 Introduction
3.2 Multimedia software categories
3.3 Device drivers
3.4 Media players
3.5Nlcdia .,a .,-,, t..G S
3.6 Media editing tools
AI,i/ii,rnc/ja Ala'ie X1

3.7 VIu It i iiiedi .1 flit I li)!i I 'Io( )l S 25

3.8 Multimedia Applications 25
3.9 CD Premiere: A Meeting with the Professor 26
3.10 lheJourney 26
3.10.1 Eat the pizzazi 27
3.10.2 Ideineiits of IlIUItiIIlCdi,1 27
3.11 Sumnuty 2$
3.12 Keywords 28
Chapter 4 - Understanding Digital Data 2')
4.1 Introduction 29
4.2 Meeting the analog signal 29
4.3 The world of digits 30
4.4 Secrets of digital recording 31
4.4.1 Sampling Rate 3!
4.4.2 Sampling Size 32
4.5 Summary
4.6 Keywords
PART III - MULTIMEDIA AUDIO 35

Chapter 5 - Digital Audio 36

5.1 I utroduct ion 36
5.2 Digital audio definition 36
5.3 Why going digit.il? 37
5.4 Audio sampling
5.5 Audio sampling parameter.. .7
5.5.1 Audio Sanipliti. Rate:
5.5.2 Audio saluplilig she 3$
5.5.3 Mono and stereo audi, cliarutels -is
5.6 Digital audio rcc irding pitfalk 3$
1)
5.7 Digital audii life ..ie
5.8 1)igita1 ,iudu p!ayl.ik .1)

5.9 Digital audio file furiiut.. 1)

5.10 Sumin.iy 40
5.11 l\e ) W( ,id.. -IC
Chapter 6 - The Sound Cards -II
6.1 lilt ri),.l,hi.I ii iii -II
6.2 Basic conipo.it ion of .i si,,iiid cud If

6.3 Sound (.IRI (1 )hhhIe(tiVit)' .12

0.4 Sound (,h!d. is Cl) (III V( 1111(1 1.1,15 -I

6.5 NItisi. syni I -I
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Chapter 7 - Audio Recording and Editing Tecliniqucs 48

7.1 Introduction 48
7.2 Capabilities of a sound card 48
7.3 Digital audio playback 49
7.4 Windows media player 49
7.4.1 Downloading and installing media player 49
7.4.2 Using media player for digital audio 50
7.5 Apple's QuickTime 51
7.6 Media One+ player 52
7.7 Digital audio recording techniques 53
7.8 Audio recording software 53
7.9 Recording options 53
7.9.1 Mono vs. stereo recording 53
7.9.2 Sampling size 54
7.9.3 Sampling rate 54
7.9.4 Pile size requirements 55
7.10 Setting tip the recording environment 55
7.11 Various steps in audio recording process 56
7.12 Recording sounds with windows s mud recorder 57
7.13 Professional multi-track recording 57
7.14 Digital audio editing process 58
715 Need for audio editing 58
7.16 Audio editing terminology 59
7.17 Basic audio editing with windows sound recorder 59
7.18 Advanced audio editing with cool edit 60
7.19 Cool edit - core features 61
7.20 Audio playback 61
7.21 Audio recording 61
7.22 Audio analysis 61
7.23 Audio editing 62
7.24 Audio t ra usforination 64
7.25 Audio file format conversions 64
7.26 Summary 66
7.27 Keywords 66
Chapter 8 - The MP3 Revolution 67
8.1 Introduction 67
8.2 The birth of mp3 67
8.3 Need for audio encoding 68
8.4 Psyehoaec'itics 68
8.5 Mp3 encodeis 69
8.6 The mp3 encoding cycle 69
8.7 Encoding parameters 70
8.8 Summary 71
8.9 Keywc Is 71
Chapter 9 MIDI Fundamentals 72
9.1 arxiidion 72
9.2 The concept of MIDI /2
J Ia/i,rned,a \ faç',c XIII

9.3 Comparing MIDI with digual audio

9.3.1 File Sizes
9.3.2 Quality of music
9.3.3 Editing and manipulation options
9.3.4 RAM / Proccssng power required
9.3.5 MIDI Playback
9.3.6 An experiment to try
9.3.7 Limitations of MIDI audio
9.3.8 I landling MIDI
9.4 The general MIDI standards
9.4.1 Base level MIDI devices
9.4.2 Extended level MIDI devices
9.5 Polyphony
9.6 General MIDI channel assignments
9.7 General MIDI instrument assignments
9.8 The piefel icd Mll)i device on your System
9.9 Summary
9.10 Keywords
Chapter 10 - Working with MIDI
10.1 Introduction
10.2 MIDI recording vs. MIDI gallery files
10.3 Setting up a MIDI music studio 79
10.3.1 A MIDI comp.utihlc synthesizer electronic keyboard go
10.3.2 MIDI plug- in cables 80
10.3.3 MIDI sequencer software 81
10.4 Recording MIDI music 81
10.5 Editing MIDI music (lIes 81
10.6 Music sculptor 82
10.7 Pitch correction 83
10.8 Summary 84
PART IV - MULTIMEDIA TEXTS
Chapter 11 - Designing Texts 86
11.1 Introduction 86
11.2 Texts as a part of iululliiiIedla 87
11.3 Text dcs l gu h,isies 88
11.4 Effects of o text coutRilt design 88
11.5 Effect of poor text d ispl.uy dsigi 8')
11.6 I',Iraiucters din control text dcsigii 8')
11.7 1 :u it s deliiuitiiui 8')
11.8 Typ5 of loin laituilies 90
11.9 true ty 1 s.• loots 90
11.10 Selecting the right loin 92
11.11 I)esigi icr's i 92
11.12 lot ii,tall,ii iOU issues 9.;
11.13 'liuliuig 1)5

11.1 .1 J.iggie.s and ,iiuii ,ilt.tsiuu 95

xi', \ Ii,/iimethri \I,ii

11.15 Anti-aliasing texts 96

11.16 Editing anti-aliased texts 97
11.17 Special effects for titles 98
11.18 Drop shadows 98
11.19 Bevel effects 99
11.20 Three dimensional texts 99
11.21 How to create three-dimensional titles? 99
11.22 lext animations 100
11.23 Content design 101
11.24 Qualitative aspects of content 101
11.25 Controlling quantitative aspects 101
11.26 Hypermedia 102
11.27 H)pertexls 103
11.28 How to embed hyperlinks in multimeuia projects? 104
11.29 Designing a hypermedia system 105
11.30 Text editing software tools 105
11.31 Summary 106
11.32 Keywords 106

PART V - MULTIMEDIA GRAPHICS

Chapter 12 -The World of Colours 108
12.1 Introduction 108
122 Basic concept of colour displays 108
12.3 Colour depth 109
12.4 Resolution 109
12.5 Monitor video modes 111
12.6 Impact of video modes on muhimedia applications 112
12.7 Switching to d ifercnt video modes 113
12.8 Colour monitors 114
12.9 Public information display systems (PIDS) 115
12.10 Multimedia kiosks 116
12.11 Touch screen technology 116
12.12 Composition of touch screen monitors 117
12.13 Presentation display systems (PDS) 117
12.14 LED technology 117
12.15 LCD projection panels 118
12.16 LCD panels - types and specifications 119
12.17 Summary 119
12.18 Keywords 119
Chapter 13 - Digital Imaging
13.1 Introduction 121
13.2 Graphics in multimedia projects 121
13.3 Graphics for interface design 122
13.4 Graphics for contents 123
13.5 Types of graphic imagery 124
1 h Photographic images 125
13.7 Clip arts 125
4\ 1a/tiins/ia A NY

13.8 3 1)inwusioii,il graphic images 126

13.9 Types of graphics storage 127
13.10 Kastor graphics 127
13.11 Vector graphics 129
13.12 rvtuhimedia graphic tools 130
13.13 Class - I :Image editing tools 130
13.14 Class - H: Digital artistry tools 131
13.15 Class - IIJ: 3 Dimensional graphic tools 131
13.16 Class - IV: Miscellaneous utilities 131
13.17 Summary 132
13.18 Keywords 132
Chapter 14.- Scanning and Digital Photography 133
14.1 Introduction 133
14.2 Scanners - an introduction 133
14.3 Sheet-fed scanners 134
14.4 Flat bed scanners 1m)

14.5 Hand held scanners 135

14.6 Basic principle behind flat bud scanning 136
14.7 Hooking the scanner on to your computer 136
14.8 Scanning process 137
14,9 Tips for scanning 137
14.10 Digital photography 137
14.11 Basic principle of digital photography 138
14.12 Camera specifications 139
14.13 Summary 140
14.14 Keywords 110
Chapter 15 - Graphics Editing 141
15.1 Introduction I-Il
15.2 Need for graphics editing and manipulation 141
15.3 Bic attributes of alt image -- si/u, resolution amid nimimihur of cl,urs 142
15.4 Number of colours ill an image 143
15.5 Graphics editing cuilccpts 113
15.6 Aiiti'aliasing 1411
15.7 Liycriug 145
15.8 Selections 1,16
15.9 Masking 149
15.10 Image Ii ltm.'rs 150
15.11 11jsiu editing operations 150
15.11.1 P..m.'-s.mnmpltii1' or lusi/itig 150
15.11.2 I)itliciiiig 151
15,11.3 l:lippi 151
15.11.4 Imi.itimig 152
15.11.5 /.0)IUli 151
15.11.6 (cmlotlr collect ioii' 11)11
15.12 Ailv.mmni'l litiii 1 and inmag 151
15.12.1 1)iop Shadows 151
15.12 .2 Revel I'liecis (lmmmi'i' Lt'V('l / outer level) 155
x 'i Mu/lime/ii A

15.12.3 Emboss effects 156

15.12.4 Deformations 156
15.13 Jasc Inc Paint shop Pro 157
15.13.1 File menu 157
15. 13.2 Edit and View menus 158
15.13.3 Image menu 160
15.13.4 Colours menu 162
15.13.5 Layers menu 163
15.13.6 Other menus 164
15.14 Summary 165
15.15 Keywords 165

PART VI - MULTIMEDIA ANIMATION 167

Chapter 16— Fundamentals of Computer Animation 168

16.1 Introduction 168
16.2 Animations in multimedia projects 168
16.3 Need for animations in multimedia projects 169
16.4 Computer animations - classification 171
16.5 Classification I 172
16.5.1 Ccl animation 172
16.5.2 Ob j ect animation 172
16.6 Classification II 173
16.6.1 Two-dimensional (21)) animation 173
16.6.2 Three-dimensional (31)) animations 174
16.7 Classification III 174
16.7.1 Animation for movies 174
16.7.2 Animation for television shows 174
16.7.3 Animations for multimedia applicauons and games 174
16.7.4 - Animations for the Internet 175
16.8 Classification - IV 175
168.1 Animation by programming 175
16.8.2 Morphing 176
16.8.3 Precompiled animations 176
16.9 Understanding two-dimensional animation planes 177
16.10 Understanding h ree-diniei ision,il worlds 178
16.11 Animation tools 179
16.11.1 Two-dimensional animation software 179
16.11.2 Threc-din ten sional aniillatiOfl software 181
16.12 Summary 181
1X2
16.13 Keyv ords
Chapter 17 - Developing Animations for Multimedia Projects 1g3

17.1 Introduction 183

17.2 Animation process workflow 183
17.3 Conceptualizing 185
17.4 Story boarding 185
17.5 Identifying key frames 186
17.6 Decision between two dii eusional and three dimensional aflifliat ions 186
 XyII

17.6.1 3D may sometimes be a simpler option! 186

17.6.2 Character animation is a complex business in 3D! 187
17.6.3 31) effects with 21) tools 188
17.6.4 Consider the relevance of the situation 188
17.7 Process planning 189
17.8 Animation development 189
17.9 21) Animation development 189
17.10 3D animation development 190
17. 10.1 Modelling 191
17.10.2 Materials and texture mapping 192
17.10.3 Lighting 193
17.10.4 Cameras 194
17. 10.5 Key framing and animation 195
17.10.6 Rendering 195
17.11 Cyclic animations 196
17.12 Summary 198
17.13 Keywords 198
PART VII - MULTIMEDIA VIDEOS 199
Chapter 18 - Introducing Digital Video 200
18.1 Introduction 200
18.2 Role of digital videos in multimedia projects 200
18.3 Video Playback 201
18.4 Quarter screen and full screen videos 202
18.5 Full motion video 203
18.6 Video compression algorithms or CODECs 203
18.7 The MPEG revolution 206
18.8 Surnncuy 206
18.9 Keywords 206
Chapter 19 - Digital Video Production Techniques 207
19.1 Introduction 207
19.2 Video production for multimedia projects 07
19.3 Video shooting 207
19.3.1 Equipments 208
19.3.2 Backgrounds & landscapes 209
19.3.3 Controlling camera movements 210
19.3.4 Lighting 210
19.4 Video capture process 211
19.4.1 Video capture cards / equipments 211
19.4.2 Different steps in video capture process 213
19.4.3 Video capttlre file f0 4 111,1L 21•-
19.5 lips for optimization and in.lnitciLlliCC 214
19.6 Digital video post -prod Oct 215
19.7 lkst .product ion COm icepis 215
19.7.1 Understanding video clippings 215
19.7.2 Concept of video and audio tricks 210
19,7.3 Video special effects 217
xviii
Vu/timed' \l,i'
218
19.7.4 Image pans
Mixing videos with animation 220
19.7.5
Adobe premiere video post-production suite 220
19.8
Project options 220
19.8.1
Timeline & assets 223
19.8.2
225
19.9 Summary
226
19.10 . Keywords
PART VIII - MULTIMEDIA PROJECTS 227

Chapter 20 - Project Conceptualization, Design and Development 228

228
20.1 Introduction
Multimedia projects - definition 228
20.2
229
20.3 Project conceptualization
230
20.4 Project development - various stages
230
20.5 Data gathering
Information collection 231
20.5.1
Information analysis and filtering 231
20.5.2
Organization 231
20.5.3
Data verification and authentication 232
20.5.4
232
20.6 Navigation maps
Linear structure 233
20.6.1
234
20.6.2 Hierarchical structure
236
20.6.3 Non-linear structure
Feature: how we provided a navigation structure for Tourist's India CD-ROM? 236
20.6.4
Composite or compound structure 237
20.6.5
237
20.7 Developing media contents
238
20.8 Designing interfaces
239
20.8.1 Backgrounds
240
20.8.2 Buttons and Icons
241
20.8.3 Background music
241
20.9 Storyboarding
20.10 Multimedia programming (authoring) 244
244
20.11 Delivery
244
20.12 Summary
244
20.13 Keywords
245
Chapter 21 - Multimedia Authoring
245
21.1 Introduction
245
21.2 Multimedia authoring - definition
Multimedia programming versus Multimedia authoring 245
21.3
When to go for multimedia programming? 246
21.3.1
246
21.4 Authoring methodologies
246
21.4.1 Frame or page based tools
247
21.4.2 Time based tools
Icon based authoring tools 248
21.4.3
248
21.5 Characteristics of authoring tools
Ability to handle different types of media 249
21.5.1
249
21.5.2 Bundled multimedia library
249
21.5.3 Mapping featnrcs
 A lu/iva&ij, /ii,.uie
Ax

21.5.4 Programming features and environment 250

21.5.5 Segmentation functionality 250
215.6 Compilation features and runtirne players 250
21,5.7 Media crnledditi1; feature 251
21.6 Tips for selecting the right authoring tool 252
21.7 Commercial authoring tools - a curtain raiser 253
21.7.1 Macromedja Director 253
21.7.2 Macromedia Flash 254
21.8 Suinnuxy
255
21.9 Keywords
255
Chapter 22 - Project Planning and Costing 256
22.1 Introduction 256
22.2 Multimedia project planning 256
22.3 Idea generation 257
22.4 Market definition and segmentation 258
22.5 I'lanning'skills and resources 260
22.6 Building the team 260
22.7 Project planning: Pert and CPM techniques 260
22.8 Network scheduling 261
22.9 Network representation 261
22.10 Critical path method (Cl'M) 262
22.11 CPM computations 263
22.11.1 Early start time (ESI) 263
22.11.2 Early finish time(E11) 263
22.11.3 Latest start time (LS,1) 264
22.11.4 Latest finish time (IFI) 264
22.11.5 Critical path 264
22.11.6 Slacks 264
22.12 Program evaluation and review technique 265
22.12.1 Expected time 266
22.12.2 Total duration of the project 266
22.13 Time estimates and cost estimates 266
22.13.1 Types of costs 266
22. 13.2 Crash cost 267
22.13.3 Normal cost 267
22.13.4 Opti niutu project Li fl(' 267
22.13.5 Project crashing technique 267
22.14 Pilot projects and prowtypiiig 267
22.15 Project design and &kvelopiicnt 267
22.16 Alpha and bct .1 tcst itig
267
22.16.1 Alpha testing 267
22. 16.2 Beta testing 268
22.17 1)elivery
28
22.18 Sot tot I.uy
268
22.19 Keywords 268
Chapter 23 - Multimedia Skill Sets and Career Opportunities 269
23.1 Ititrixlsictioti
269
 Multimedia Mazc
xx
269
23.2 Multimedia companies 270
23.3 Multimedia skill sets and careers 270
23.4 Careers in digital imaging 271
23.5 Careers in digital audio 271
23.6 Careers in animation 272
23.7 Careers with video post-production 273
23.8 Careers in multimedia authoring 273
23.9 Careers in multimedia web design 273
23.10 The multimedia team and its responsibilities 273
23.11 The project manager 274
23.12 Content experts 274
23.13 Copywriters 274
23.14 Media content designers 274
23.15 Graphic designers and artists 275
23.16 Audio developers and artists 275
23.17 Animators 275
23.18 Video professionals 275
23.19 Launching a career in multimedia 277
23.20 Summary 279
PART IX - DELIVERY MEDIUMS
280
Chapter 24 - Compact Discs 280
24.1 Introduction 280
24.2 CD-ROM discs 282
24.3 Why laser? 282
24.4 l'he CD reading technique 283
24.5 The colour book standards 283
24.6 CD-ROM drives 284
24.7 The interface cards 284
24.8 Data tracking 284
24.9 Data transfer rate 284
24.10 Seek-time 285
24.11 CD Recordable discs (CD-R) 285
24.12 CD Recorders 286
24.13 CD Rcwritable discs (CD-RW) 287
24.14 Data organization 287
24.14.1 System use area 288
24. 14.2 Information area 288
24.15 Summary 289
24.16 Keywords
Chapter 25 - CD Replication Process 290
25.1 Introduction 290
25.2 CD production and replication process 291
25.2.1 Preparing the application for distribution 292
25.2.2 Pie-mastering 292
25.2.3 Deciding upon the minimum system requirements 292
-./4 Testing
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Ali.,/Iimedia I1aic
293
25.2.5 Mastering 293
25.2.6 Locating the right replicator 293
25.2.7 Signing the agreement 293
25.2.8 Replication 293
25.3 Packaging 294
25.3.1 CD face - design and printing 295
25.3.2 CD Inner lay and outer lay covers - design and printing 297
25.4 Summary 297
25.5 Keywords 298
Chapter 26 - Digital Versatile Discs 298
26.1 Introduction 299
26.2 Digital versatile discs (DVI)) 300
26.3 The DVD Formats 301
26.4 Universal Disc Format (UDF) 301
26.5 Summary 301
26.6 Keywords 302
APPENDICES 302
Appendix A - Multimedia File Formats 304
Appendix B - II'R Laws in the Indian Context