BAB III KOMPONEN MULTIMEDIA 1. Multimedia Building Blocks • Komponen aplikasi multimedia terdiri dari : a. Graphics - Background - Organizational chart - Photographs - Line Art - Grafik 3 dimensi - Clip Art - Chart - Buttons - Flowchart b. Text - Tittles - Buttons - Bullets - Paragraphs - Scrolling Text c. Video - Digitized video - Video window menampilkan output dari video player - Video window menampilkan siaran TV d. Sound - Sound effect - Naration - Audio tracks - Background music - Background / ambient sounds e. Animasi - Path animation (mengubah posisi, gerak) - Animasi 2,5 D (bayangan, higklight, perspektif) - Animasi 3D Page 1 of 30
Transcript
BAB III KOMPONEN MULTIMEDIA
1. Multimedia Building Blocks
• Komponen aplikasi multimedia terdiri dari :
a. Graphics
- Background - Organizational chart
- Photographs - Line Art
- Grafik 3 dimensi - Clip Art
- Chart - Buttons
- Flowchart
b. Text
- Tittles
- Buttons
- Bullets
- Paragraphs
- Scrolling Text
c. Video
- Digitized video
- Video window menampilkan output dari video player
- Video window menampilkan siaran TV
d. Sound
- Sound effect
- Naration
- Audio tracks
- Background music
- Background / ambient sounds
e. Animasi
- Path animation (mengubah posisi, gerak)
- Animasi 2,5 D (bayangan, higklight, perspektif)
- Animasi 3D
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A. Graphics
• Komponen grafis merupakan unsur yang mendominasi sebuah presentasi
multimedia “a picture is worth a thousand words”
• Kegunaan grafis dalam aplikasi multimedia :
a. Sebagai ilustrasi untuk menjelaskan kosep-konsep
b. Chart untuk ilustrasi dan meringkas data-data numerik
c. Warna, bakground dan icon untuk menyediakan keseragaman dan
keberlanjutan dalam aplikasi
d. Integrasi dari text, photo, dan grafik untuk mengekspresikan
konsep, informasi atau suasana hati
e. Menunjukkan image dan budaya perusahaan
f. Simulasi dari lingkungan yang ada
g. Menjelaskan proses
h. Menjelaskan struktur organisasi
i. Ilustrasi dari lokasi
• Jenis-jenis graphics : a. Backgrounds
b. Photos
c. Grafik 3-dimensi
d. Charts (graphs)
e. Flow chart
f. Organizational charts
g. Buttons
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• Alur manipulasi graphics dalam pengembangan aplikasi multimedia
Content Specialist
Photos and Images
Logos, graphics, etc
Colors, backgrounds,
textures
Clipart and photo CD collection
Scan Image editing
Graphic development
Authoring
Graphic Artist
Multimedia Authoring Specialist
1. Backgrounds
• Merupakan tema dari aplikasi yang dibuat
• Juga menunjukkan kompleksitas produksi khususnya dalam penggunaan
grafik 3-dimensi
• Pemilihan disain background bergantung pada :
a. Tema aplikasi
b. Kapasitas resolusi warna proyektor atau monito yang digunakan
untuk menampilkan aplikasi
c. Kapasitas media penyimpan yang digunakan dalam distribusi
d. Jumlah text yang akan ditempatkan di depan background, contoh :
- Jika banyak text yang harus ditampilkan background
harus sederhana agar text dapat terbaca dengan jelas
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- Jika aplikasi akan ditampilkan di internet, maka semakin
banyak graphics akan memperlambat waktu download
2. Parameter dalam pemilihan gambar digital : a. Bit / color resolution
- Merupakan ukuran jumlah bit yang disimpan per pixel yang
menunjukkan jumlah warna yang dapat ditampilkan dalam
waktu bersamaan di layar
- Ukuran yang ada :
1. 1 bit (1 color, 1 black)
2. 2 bit (4 colors)
3. 4 bit (16 colors)
4. 8 bit (256 colors)
5. 16 bit (65.536 colors) hi-color
6. 24 bit (16.7 million colors) true color
b. Device / output resolution
- Menunjukkan jumlah dots per inch (dpi) yang dapat
dihasilkan oleh piranti keluaran seperti monitor, LCD panel,
atau video proyektor
- Contoh : 300-dpi (dots per inch) printer is one that is
capable of printing 300 distinct dots in a line 1 inch long.
This means it can print 90,000 dots per square inch.
- Resolusi monitor biasanya 72 dpi
c. Screen resolution
- Menunjukkan jumlah dpi dalam halftone yang digunakan
oleh layar untuk menampilkan gambar abu-abu atau
separasi warna
- Resolusi layar diukur dalam satuan lines per inch (lpi)
d. Image resolution
- Menunjukkan jumlah informasi yang tersimpan untuk
sebuah warna; diukur dalam satuan pixels per inc (ppi)
• Proses mengubah dari analog ke format digital disebut dengan Capturing
atau sampling. Proses capturing memerlukan alat yang berupa video capture board atau frame grabber yang dipasang dalam komputer, yang
berfungsi untuk merubah sinyal analog menjadi sinyal digital.
• Semakin lama durasi video analog semakin beasr RAM dan harddisk
yang dibutuhkan untuk menyimpannya dalam format digital. Sebagai
ilustrasi : 1 frame digital video dengan kualitas 24 bits membutuhkan
sekitar 1 Mb. 10 detik digital video – full screen – full motion memerlukan
300 Mb
• Video digital mengalami kompresi antara 1/50 hingga 1/200 dari ukuran
aslinya
JPEG Joint Photographic Experts Group
Rasio kompresi 20 : 1
Merupakan algoritma kompresi yang paling banyak dipakai
MPEG Moving Picture Experts Group
Rasio kompresi 50 : 1; mampu melakukan kompresi hingga
200 : 1 namun mengalami penurunan kualitas gambar
DVI Rasio kompresi 80 : 1 hingga 160 : 1
• Hal-hal yang perlu diperhatikan dalam mengolah video :
o Data transfer rate dari media penyimpan
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o Ukuran jendela
Merupakan jumlah pixel yang ditampilkan secara
horisontal dan vertikal. Ukuran jendela mempengaruhi
kualitas video dan kapasitas media penyimpan. Ukuran
standard : 160x120, 240x180, 320x240
o Frame rate
Menunjukkan jumlah frame per seconds (fps) selama
video dimainkan. Semakin endah frame rate maka
semakin cepat data dapat diproses dan semakin kecil
ukuran file video. Format standard 24 fps dan 30 fps
o Kualitas gambar dan resolusi
Merupakan kedalaman bit dari format digital yang akan
dicapture oleh encoder (codec). Nilai standarnya 8
hingga 24 bits. Semakin rendah angkanya maka jumlah
warna yang bisa ditampilkan semakin sedikit, tapi proses
transfer semakin cepat.
Ukuran yang normal : 240x180, 15 hingga 24 fps,
CDROM sbg distribusi
o Kapasitas media penyimpan
Video Compression Codecs (Compression decompressions device)
No. Codec Kegunaan
1. Apple Animation,
Apple None
Hemat media penyimpan, tidak efisien
2. Cinepak Kualitas CDROM, paling banyak dipakai
3. H.261 Low-quality video conferencing
4. H.263 Medium-quality video conferencing
5. Intel Indeo 3 Medium-quality CDROM video
6. Intel Indeo
Interactive
High-quality CDROM video
7. Motion JPEG General purpose
8. Photo JPEG Menghasilkan file yang kecil
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9. MPEG-1 High-quality CDROM video, butuh alat khusus
10. MPEG-2 High-quality DVDROM video, butuh alat khusus
11. MPEG-4 High-quality web-based video
12. Sorenson High-quality video untuk publikasi di internet &
CDROM
D. Animasi A simulation of movement created by displaying a series of pictures, or frames.
Cartoons on television is one example of animation.
What is Animation?
• 50 years ago Walt Disney created animated objects such as Mickey Mouse.
• Today the process used to create animated objects has had to change.
• In fact, it continues to change.
Definition
• The word “animation” is a form of “animate,” which means to bring to life.
• Animation is the use of computer to create movement on the screen
• Thus when a multimedia developer wants to bring an image to life,
animation is used.
• For example, a spinning globe is it better to film the motion on video, or is
animation a better solution.
There are four kinds of animation 1. Frame Animation
o Makes object by displaying a series of predrawn pictures, called frames,
in which the objects appear in different locations on the screen
o In a movie, a series of frames moves through the film projector at about
24 fps. Why 24 fps ? because that is the threshold beneath which you
would notice flicker or jerkiness on the screen
2. Vector Animation
o Vector is a line that has a beginning, a direction, an a length.
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o Vector animation makes objects move by varying these three
parameters for the line segments that define the object
o Software : macromedia flash
3. Computational Animation
o You move objects across the screen simply by varying their x
(horizontal position) and y (vertical position) coordinates.
4. Morphing
o Morphing means to transition one shape into another by displaying a
series of frames that creates a smooth movement as the first shape
transform itself into the other shape
o Software: Avid’s Elastic Reality, Black Belt’s WinImages, Gryphon
Software’s Morph, Human Software’s Squizz, MorphWizard, Unlead’s
MorphStudio
Models 1. Cel models
• early animators drew on transparent celluloid sheets or cels, different
sheets contained different parts of the scene, which was assembled by
overlaying the sheets
• in animation, cels are digital images with a transparency channel
• scenes are rendered by drawing the cels back to front, with movement
being added by changing the position of cels from one frame to the next
• a cel model is therefore a set of images, their back to front order, and their
relative position and orientation in each frame
2. Scene-based models
• simply a sequence of graphics models, each representing a complete scene
• highly redundant and do not support continuity of activities
3. Event-based models
• expresses the difference between successive scenes as events that
transform one scene to the next
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• still discrete rather than continuous, but permits the management of scenes
by input devices (i.e. mouse, tablet, etc.) rather than each scene having to
be entered manually
4. Key frames
• in essence, the animator models the beginning and end frames of a
sequence and lets the computer calculate the others by interpolation
5. Articulated objects & hierarchical models
• attempt to overcome the problems of key frames by developing articulated
objects, jointed assemblies where the configuration and movement of sub-
parts are constrained
• ensures proper relative positioning and constraint maintenance during
interpolation (will not allow solid objects to pass through other solid objects)
6. Scripting and procedural models
• current state-of-the-art animation modelling systems have tools allowing the
animator to specify key frames, preview sequences in real time and control
the interpolation of model parameters
• an additional feature in many such systems are scripting languages
• scripting languages offer the animator the opportunity to express sequences
in concise form, particularly useful for repetitive and structured motion and
also provide high-level operations intended specifically for animation
7. Physically-based models & empirical models
• this approach is used to produce sequences depicting evolving physical
systems
• a mathematical model of the system is derived from physical principles or
empirical data and the model is then solved, numerically or through
simulation, at a sequence of time points, each one resulting in a single
frame for the sequence
Animation Operation
• Graphics operations
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since animation models are graphics models extended in time, all the
graphics operations we have already covered are applicable here
• Motion and parameter control
since the essential difference between graphics and animation
operations is the addition of the temporal dimension, graphics objects
become animations through the assignment of complex trajectories or
behaviours over time
commercial 3D animation systems provide modelling tools and
animation tools, the modelling tools produce 3D graphic models and
the animation tools add temporal transformations to these objects
Principles of Animation
• Animation is possible because of a biological phenomenon known as
persistence of vision And The psychological phenomenon called phi .
• An object seen by the human eye remains chemically mapped on the eye’s
retina for a brief time after viewing.
• Combined with the human mind’s need to conceptually complete a
perceived action.
• This makes it possible for a series of images that are changed very slightly
and very rapidly, one after the other, seem like continuous motion .
Approaches to animation
• Straight ahead Draw/animate one frame at a time Can lead to spontaneity, but is hard to get exactly what you want
• Pose-to-pose Top-down process: Plan shots using storyboards -- Plan key poses first
-- Finally fill in the in-between frames
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Keyframe animation
• Keyframing is the technique used for pose-to-pose animation o Head animator draws key poses—just enough to indicate what the
motion is supposed to be o Assistants do “in-betweening” and draws the rest of the frames o In computer animation substitute “user” and “animation software” o Interpolation is the principal operation
Kinematics
• Kinematics is the study of the movement and motion of structures that have
joints, such as a walking man.
o Forward
o Inverse
• Software: Fractal Design’s Poser
• Sample : robotics
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Animation Principles
• Timing
• Ease in/Out
• Moving in arcs
• Anticipation
• Follow through
• Staging
• Weight
Animation Techniques
• Computers have taken a great deal of handwork out of the animation and
rendering process.
• And commercial films such as Jurassic Park, Beauty and the Beast, Toy
Story, and Shrek have utilized the power of the computers.
Motion Capture
• A method for creating complex motion quickly: measure it from the real world
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• Types :
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Motion capture data processing
• Marker identification: which marker is which
o Start with standard rest pose
o Track forward through time (but watch for markers dropping out due to
occlusion!)
• Calibration: match skeleton, find offsets to markers
o Use a short sequence that exercises all DOFs (degrees of freedom) of
the subject
o A nonlinear minimization problem
• Computing joint angles: explain data using skeleton DOFs
o A inverse kinematics problem per frame!
Basic surface deformation methods
• Mesh skinning: deform a mesh based on an underlying skeleton
• Blend shapes: make a mesh by combining several meshes
Both use simple linear algebra
• Easy to implement—first thing to try
• Fast to run—used in games
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2-D Animation 1. Cel animation
• Made famous by Disney
• 24 frames per second therefore a minute may require as many as 1,440
separate frames.
• Cel animation: is based on changes that occur from one frame to the next.
• Cel stands for celluloid which is a clear sheet with images drawn on them.
• The celluloid images are place on a background that is usually stationary.
• The background remain fixed as the images changes.
2. Path animation
• Moves an object along a predetermined path on the screen
• The path can be a straight line or have a number of curves.
• Starts with keyframes (the first and last frame of an action).
• The series of frames in between the keyframes are drawn in a process
called tweening.
• Tweening requires calculating the number of frames between keyframes
and the path the action takes, and then actually takes, and then sketches a
series of progressively different outlines.
Computer Animation
• Typically employees the same logic and procedural concepts as cel
animation
• You can usually set your own frame rate
• At 15 frames a second the animation may appear jerky and slow
• 2-D animation can be an acceptable alternative to the expense of creating
video
3-D Animation
• 3-D Animation involves three steps: modeling, animation, and rendering
o Modeling – the process of creating objects and scenes
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o Animation – the process of defining the object’s motion
o Rendering – the final step in creating 3-D animation.
2 basic forms:
real-time - model is rendered as frames are displayed, 10+
frames per second are required to avoid jerkiness, so only
appropriate for simple models or with special hardware
non-real-time -frames are pre-rendered, taking as long as
necessary to do so, provides higher visual quality and
consistency of frame-rate
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Animation File Formats Software File Format Director .dir & .dcr Animator Pro .fli Studio Max .max SuperCard and Director .pics Windows Audio Video Interleaved .avi Macintosh .qt & .mov Motion Video .mpeg CompuServe .gif Flash .swf Shockwave .dcr E. Digital audio
• Digital Audio Representation 2 main areas : o telecommunications
o entertainment (audio CD)
• Produced by sampling a continuous signal generated by a sound source.
An analog-to-digital converter (ADC) takes as input an electrical signal
corresponding to the sound and converts it into a digital data stream. The
reverse process, to generate the sound through an amplifier and speakers,
involves a digital-to-analog converter (DAC)
Sampling
• Sampling frequency (rate)
o sampling theory shows that a signal can be reproduced without error
from a set of samples, providing the sampling frequency is at least twice
the highest frequency present in the original signal
o telephone networks allocate a 3.4kHz bandwidth to voice-grade lines,
thus a sampling rate of 8kHz is used for digital telecommunications
o the human ear is sensitive to frequencies of up to about 20kHz, so to
digitise any perceivable sound a sampling rate of over 40kHz is
required
• Sample size and quantisation
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o during sampling, the continuously varying amplitude of the analog
signal is approximated by digital values, this introduces a quantisation
error, being the difference between the actual amplitude and the digital
approximation
o quantisation error is apparent when the signal is reconverted to analog
form as distortion, a loss in audio quality
o quantisation error can be reduced by increasing the sample size, as
allowing more bits per sample will improve the accuracy of the
approximation
Quantisation
• Quantisation refers to breaking the continuous range of the analog signal
into a number of unique digital intervals, based on one of a number of
schemes:
o linear quantisation - uses equally spaced intervals, so if the sample size
is 3 bits and the maximum signal variation is 5.0 then the quantisation
interval would be 0.625 units of signal amplitude
o nonlinear quantisation (especially logarithmic quantisation) - uses non-
equally spaced intervals, lower amplitude intervals are more closely
spaced than higher amplitude, results in greater sensitivity to lower
amplitude sound where the human ear is most sensitive
• Number of channels (tracks)
o speech quality audio is mono (1 track)
o stereo audio requires 2 tracks
o some consumer audio equipment use 4 tracks (quadrophonic)
o professional audio equipment uses 16, 32 or more
Digital audio format
• Interleaving
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o a multi-channel audio value can be encoded by interleaving channel
samples or by providing separate streams for each channel
o the advantage of interleaving is in synchronisation, and it also offers
some benefits in storage and transmission
o the disadvantages of interleaving are that it can be wasteful of space or
bandwidth if not all channels are needed, it freezes the synchronisation
between channels thus preventing temporal shifts, and it may not allow
variation in the number of channels
• Negative samples
o the voltages found in analog audio signals alternate between positive
and negative values
o negative values can be encoded successfully for processing in twos
complement, ones complement or sign-magnitude representation
Encoding
• Encoding audio data reduces storage and transmission costs, and
compressed audio also provides better quality when compared to
uncompressed audio at the same data rate
• 2 commonly-used methods:
o PCM (Pulse Code Modulation) - uses the fact that a digital signal can be formed from a series of pulses (see diagram). PCM values are simply sequences of uncompressed samples, so they provide a reference format for comparison with more complex coding methods
o ADPCM (Adaptive Delta Pulse Code Modulation) - reduces PCM data rate by encoding the differences between samples. ADPCM is widely used and is associated with some encoding standards, such as CCITT G.721
Digital Audio Operations
• Storage
o it is possible to record digital audio, even at the data rates of the high
quality formats, on general purpose magnetic storage
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o theoretically, a magnetic disk with a sustainable transfer rate of 5
Mbytes per second could playback 50 channels of CD-quality digital
audio. In practice this would not be possible without a highly optimised
layout, but one or two channels are easily within the reach of small
computer systems
o since an hour of stereo digital audio, at the CD data rate, requires over
half a Gigabyte of storage, tertiary storage in the form of DAT tapes, CD
discs or optical disks is normally adopted, with the information being
mounted onto the system manually or through a jukebox
Retrieval
• Need to support random access and ensure continuous flow of data to DAC
• portions of audio sequences, segments, are identified by their starting time
and duration, these can be located is by mapping the starting time to a
segment address, which the file system then maps to a physical address on
disk
o where there is no direct mapping to enable segment location by time
code, an index of segments must be separately maintained
o continuous flow of data is easy to maintain with a dedicated storage
system, but requires careful control where storage is scheduled for a
number of such tasks
Editing
• as with digital video, 2 types :
o tape-based
o disk-based
• to avoid audible clicks when inserting one sample into another, cross-fades
are used, where the amplitudes of the original segment and the inserted
segment are added and scaled about the insertion point
• digital audio also supports non-destructive editing, where the segments of
data are accessed through a data structure known as a play-list, which
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essentially contains a set of pointers to the data and details on ordering and
other forms of edit to be performed on the data when it is joined
Effects
• Effects and filtering
o digital filtering techniques permit a number of effects on audio :
- Delay
- Equalisation & Normalisation
- Noise reduction & Time compression and expansion
- Pitch shifting
- Stereoisation
- Acoustic environments
• Conversion
o one format to another (uncompressing ADPCM PCM)
o altering encoding parameters (i.e. resampling at lower frequency)
MIDI
• the Musical Instrument Digital Interface was developed in the early ‘80s by
musical equipment makers
Devices :
o electronic keyboards and synthesisers
o drum machines
o sequencers (to record and play back MIDI messages)
o music<->film and music<->video synchronisation equipment
• MIDI Concepts:
o Channel - a MIDI connection has 16 message channels, devices can be
set to respond to all channels or only to specific channels
o Key number - notes are identified by key number, 128 compared with a
standard keyboard of 88
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o Controller - 128 different controllers are available under the MIDI
protocol, though not all are currently defined, changing the value of a
controller typically alters sound production
o Patch/program - an audio palette is called a program or patch, a
synthesiser capable of having a number of patches active at the same
time is called multi-timbral
o Polyphony - the ability of a synthesiser to play many notes at a time
o Song - a recorded or preprogrammed MIDI sequence
o Timing clock - a MIDI sequencer timestamps messages using a
timebase measured in parts per quarter note (PPQ). Typical timebase
values are 24, 96 and 480 PPQ. To convert the timebase into actual
time you use the tempo, measured in beats per minute (BPM) where we
assume that one beat is equal to a quarter note. Thus if we have a
tempo of 180 BPM, a time base of 96PPQ = 1/3 x 1/96 = 3.47ms
o MIDI synchronisation - MIDI devices can be set to internal synch or
external synch, when set to internal synch a device is known as a
master and produces a timing clock message on its MIDI OUT at
24PPQ which slave devices use for external synch
o MTC - MIDI Time Code is used to synchronise MIDI with film or video,
used to trigger sound effects or musical sequences
• Limitations of MIDI :
o operates at 31250bps, allows 500 notes per second which may not be
enough for complex pieces
o limited number of channels, lack of device addressing and other flaws
