Understanding Multimedia: Definition, History, and Types, Schemes and Mind Maps of Information and Computer Technology

Download Understanding Multimedia: Definition, History, and Types and more Schemes and Mind Maps Information and Computer Technology in PDF only on Docsity! chapter ] Introduction to Multimedia In this chapter, you will become acquainted with the notion of multimedia and the technology behind it. Understanding the basic terms and concepts that relate to combining different types of media together is an important first step on our journey of exploring multimedia. So let’s get the proverbial ball rolling! Gate Qa ey In this chapter, you will: ¢ Learn the definition of multimedia and what it means to use it Discover the kinds of media used in multimedia and understand how to combine them Distinguish between linear presentations and user-controlled interactive environments « Find out about basic technical concepts and early desktop computers Learn a bit of multimedia history and understand the difference between older uses of media compared with current digital media uses 4 MULTIMEDIA DeMYSTiFieD What Is Multimedia? Multimedia is many things rolled into one. What do you think of when you hear the word multimedia? |s it merely a mashup of media elements? Or is it every- thing we see, hear, read, and touch in web sites, video games, phone apps, retail kiosks, and bank ATMs? These are all forms of multimedia, and the list of uses grows daily. We are drawn into multimedia at every turn, whether we like it or not. The goal of this book is to demystify the meaning and process of creating digital multimedia. The simplest explanation of multimedia is “the combination of two or more media.” However, multimedia is vastly more complex than the term implies. It intertwines a myriad of media elements and, as a result, makes for a more com- prehensive end product than when media components are experienced independently. The media in multimedia comes in different forms: graphics, photography, text, audio (sound effects, music, voice-over, and so on), video, and animation. Individually, each one serves as a powerful communication vehicle for both expressive and practical purposes. Melded together, they allow for a more dynamic and engaging experience. The final result is improved on even further when there is cooperation and coordination between the disparate media components. Marshall McLuhan was a leading and influential media communication theo- rist who coined the familiar phrase “The medium is the message” (Understand- ing Media: The Extensions of Man, NY, 1964). He believed that it is the “medium that shapes and controls the scale and form of human association and action.” To him, the focus should not be on the content or what is being said, but the medium by which it is delivered. The subject matter is by no means irrelevant, but the delivery format is a crucial factor in how the message comes across. This is where the immense power and influence of multimedia lie. Media, by definition, is the plural of medium. It has evolved to mean “facili- tating or linking communication’—be it via a phone, the Web, TV, or some other instrument. Speaking directly with a person one on one is immediate and does not require mediation. This is communication in its purest form. The purpose of a medium is to assist in the conveying of a message. When using more than one type of medium, we refer to it as multimedia, whether or not it is computer-based. At one time, media mainly applied to newspapers as a way to disseminate news and information to the masses. Now, media encom- passes many forms of communication. Chapter 1 INTRODUCTION TO MULTIMEDIA Get (WYSIWYG) technology. This allowed the users to view on their screen an approximate representation of what they would have in their printout, so it was possible to make edits and not need to guess what the final output would look like. Table 1-1 shows the timeline from the early days of PCs to the current mul- timedia computers. TIP Formore information about the history of computers, go to http:// oldcomputers.net/ and www.computerhope.com/history/index.htm. You might be wondering where the original concept of multimedia derived from. In the early 1900s, Vannevar Bush, an American computer scientist who TABLE 1-1 Timeline of Early Days of PCs That Led to Multimedia Computers Year Technology and Functionality 1975-1979 1980-1987 1988-1992 1993-2000 2001-2011 First portable computers and game systems; text input only First personal computers for word processing, spreadsheets, games, simple slide shows; basic interactivity; CD-ROM specification for releasing multimedia titles; better monitors with higher quality color graphics; increased storage Faster processors and more memory; sophisticated GUls; interactive environments grow; beginning of the World Wide Web (the Web) with HTML CD-quality audio and wide use of CDs and DVDs for data storage; 3D computer animation and virtual reality; enhanced presentation software; sophisticated authoring environments; cross-platform develop- ments; the Web becomes interactive with GUls; widespread Internet and web access Extensive Internet use with broadband Ethernet capabilities; all-in-one handheld devices for email, Internet, phone, music, video, and photos; game systems and smart phones with Wi-Fi and 3G access; vast search capabilities (such as Google); real-time videoconferencing and live news broadcasts; video on demand (Netflix, Hulu); TV recording devices; social networking; rich multimedia presentations; high-definition TV with Blu-ray technology; down- loadable music (iTunes, Pandora) 7 8 MULTIMEDIA DeMYSTiFieD developed patented devices, came up with inventive ideas about ways to link information. He saw the potential of storing information with built-in connec- tions to other data. Bush called his notion associative indexing, which would link information in a way that is more meaningful to the user, rather than the more traditional numerical and alphabetical classifications. He developed the Memex System in 1945, and although it was never implemented, it would have allowed the operator to input notes and drawings using an early method of photocopy- ing. Data was interconnected and could be stored for later recall. His theory led to the development of interlinked hypertext methods, similar to those that are used today. Douglas Engelbart was another computing pioneer who was way ahead of his time. He is credited with inventing office automation devices such as the mouse, multiple window screens, electronic mail, and videoconferencing during the 1960s. Engelbart was trying to find ways to create a synergy between the user and the computer with an emphasis on human-computer interaction. He worked on collaborative hypermedia systems, which paved the way for current interactive multimedia approaches. TIP Learn more by going to The History of Computing Project, at www.thocp.net, which has a vast amount of information about computers. For an interactive timeline of the Internet, go to http://historyoftheinternet.org/. Hypermedia and Hypertext Ted Nelson is a key figure in the evolution of multimedia. As an information technology pioneer who developed the hypertext system in the 1960s, Nelson researched the capability of browsing and searching information using a multi- directional, linked approach. He coined the term hypermedia, which is nonse- quential reading and writing. This coincided with a method he created called Project Xanadu, which was intended to deal with a nonhierarchical approach to storing, presenting, and manipulating data. It demonstrated a form of text that branched and allowed choices to the reader, so users could explore subjects from many different perspectives. Nelson’s explorations opened doors to the multimedia revolution, which ultimately led to the widespread use of the Hypertext Markup Language. HTML is the fundamental web site programming language, or markup language, necessary for web pages to be viewed on the Internet. Chapter 1 INTRODUCTION TO MULTIMEDIA TIP More information on Nelson’s hypertext Xanadu project can be found at http://xanadu.com/xuTheModel/index.html. The first practical use of hypermedia using hypertext was with a software program called HyperCard, which was introduced by Apple Computer in 1987, as shown in Figure 1-2. It was touted as an easy-to-use “software construction kit,” and anyone could be both the creator and user of multimedia. It included buttons, text fields, and menus, and used a metaphor of cards (like individual web pages) that made up stacks (like entire web sites). The programming lan- guage that was used with HyperCard was called HyperTalk, and it was appeal- ing to the masses due to its ease of use. HyperCard was used as a presentation program, like PowerPoint, as well as for designing games and learning tools. This paved the way for more sophisticated software programs that allowed the ama- teur to create and develop multimedia projects. Wikipedia ely A|\~| | ‘wikipedia Q|2| @|& The Fite Eney seligpecthar Welcome to HyperCard [a] Hypertard sy > Script du Langage de soript : (HyparTalk a on mouselp ansuer "Helle Wikipedians!" with "Cool" ask "What is your name?" ansuer "Vou claim to be"eeite” ." end mouselp FIGURE 1-2 - Early hypermedia application with HyperCard software 9 R MULTIMEDIA DeMYSTiFieD predefined starting point and conclude at a logical ending location. Linear pre- sentations may be automated so that each screen advances at a timed interval. The linear approach is intended strictly for display purposes and is typically a passive “receiving” experience by the viewer, with no expectation of participat- ing. It eliminates the need to take action (by pressing buttons or keys or touching ascreen), and the developer, as opposed to the program user, is in control. An example of linear multimedia is a PowerPoint presentation given by a town official during a meeting. The presentation is prepared, organized, and controlled by the presenter in a logical sequence. It is intended to present infor- mation in a straightforward manner for the purposes of education and discus- sion. Productions such as these can be as simple as text with bullet points, or multimedia elements—such as photographs, videos, and animation—may be embedded in the presentation. The presenter will press a button or key to begin, as you would do with a video, and play it for an audience to watch and learn without active involvement. Another example of a simple linear presentation with one primary type of media is a slide show of vacation photographs that are displayed in one direc- tion, with a distinct beginning and end. Additional media elements could be included that would bring it to the level of multimedia, such as active web links to the areas where the person traveled, videos shot on location, and music from the native culture playing in the background. A linear presentation may also be designed with some minimal control options for either the presenter or another user, by employing computer-programming techniques. If the program is set up to be interactive, it would need to have navi- gational devices on the screen to click or touch, such as arrows, or a key press option on the keyboard, in order to move forward to the next screen. Linear presentations are used in place of nonlinear ones when there is no requirement for interactivity. For instance, movies are presented in a linear format, which allows for greater submersion in the experience. You can absorb the information without the distraction of needing to make decisions about what to learn or where to go next. Someone is delivering the content to the audience in the order that it was intended with a predictable conclusion. This method provides a rich experience, yet it eliminates choices and relinquishes control to the presenter. When the goal is to simply be entertained, gain knowledge about a subject, or become familiar with others’ viewpoints, a linear multimedia presentation is preferential. A person or group would be more apt to concentrate on the content of the topic being presented without the possibility of diversions. Interactivity, Chapter1 INTRODUCTIONTO MULTIMEDIA = 13 on the other hand, forces users to make decisions and move through the content at their own pace. Both linear and nonlinear multimedia have their benefits and drawbacks. Nonlinear Interactive Multimedia Nonlinear, nonsequential multimedia implies that a person will in some way interact with a computer program. By doing so, they control the experience and dictate their unique journey to their final destination. Interactivity results when there is some kind of interface, or connection between a user and a medium. A range of options or pathways is available to the user by way of menu selections or buttons that will lead to different categories and ulti- mately provide new information. This results in variable outcomes, which depend on the choices made by the user. The program has predetermined informational hierarchies established by the developer, but the user is free to explore, due to the elimination of path restrictions and time constraints. In this vein, acquiring knowledge by pursuing a random order of routes is encouraged. An example of interactive multimedia is an educational museum kiosk with a touchscreen that allows visitors to learn more about an exhibit, as shown in Figure 1-5. They can explore historical information by reading text on the subject, viewing images and diagrams, watching videos, and listening to sound recordings. DSS Rh/Al OOS 0(e)e LS tp Ti la a told (Ss Lindy wah ried Chinese punting. car do incorporced Wenn, seciiqus sch ar coe pole opeceve snd heng le played am importa: tale in lncratnl ined Ca ya 2 tha ll ise in these a oes FIGURE 1-5 - Peabody Essex Museum's multimedia program 14 MULTIMEDIA DeMYSTiFieD avvuiexerelt [oe Le New Both, ile The 56th Presidential Inauguration d Watch Now & Luncheon Prohibited Inaugural “A New Birth Information Items 24 | Weather Ea of Freedom’ fad the men, Review the Ist visitthe Learn how: FIGURE 1-6 - A multimedia program for the 56th Presidential Inauguration Such a program supplements other physical displays to allow for further educa- tional opportunities. Another example of linear vs. nonlinear multimedia is viewing a video. By its very nature, video is a type of single, independent medium that is typically played and viewed from point A to point B. If presented to an audience, such as in a theater, it is linear, sequential, and noninteractive. There is no viewer participation other than sitting back and watching. The content is presented in a straightforward manner, and it is completely in the hands of the video pro- ducer and the person who is controlling the display device. However, if a video is viewed on a DVD player or streamed via the Internet on a computer or TV, as shown in the example in Figure 1-6, there are many ways to interact with it and control the experience. The video can be paused, rewound, or advanced; different scenes can be selected at random; closed- captioning can be displayed; audio can be adjusted; and the list goes on. This is undeniably a much more lively way to view a movie, even though the video medium itself is inherently designed for passive observation. Kinds of Multimedia The following are some examples of different kinds of multimedia programs: ¢ Educational children’s spelling program for use in schools in conjunction with handwriting on the board or on paper Chapter 1 INTRODUCTION TO MULTIMEDIA hee Peete leon olaselu tea it ieiutes entrar Media Element File Size Approximation Typed word 10 bytes or 80 bits Typed page 2KB or 2,000 bytes Low-quality image 100KB or 100,000 bytes Thirty seconds of broadcast-quality video 5MB or 5,000KB So, the pictures, text, and sounds used in multimedia are essentially just a bunch of numerical digits. Depending on the combination of electronic switches and quantity of Os and 1s, the results are unlimited as long as there is enough memory to handle all the multimedia components. When referring to memory in relation to computers, two types are available: active memory, called random-access memory (RAM), and memory needed for the software that starts up the computer, called read-only memory (ROM). Computers also have internal storage, which is required to save programs and files on the hard drive. Computers are manufactured with memory chips installed, and more can be added to accommodate an increase in software and data requirements. = Still Struggling RAM is called random access because it is readily available and becomes acti- vated as the computer needs it. RAM is the main memory of the computer, and itis needed to run software programs efficiently. As demand for more memory increases, the greater the need for more RAM, which can be expanded by installing computer chips in the computer. You can do this yourself, but it is recommended that a professional install memory to avoid damage to your motherboard (the primary electronic panel or circuit board inside the computer). The amount of RAM needed depends on what you use the computer for. If it is mostly for word processing and Internet access, then a minimal amount is needed, and the native RAM is more than adequate. Ifit is for graphics and video, where multiple programs are open at the same time, then you might need to increase your RAM. If you do not have a sufficient amount of RAM, the programs (continued) 17 8 MULTIMEDIA DeMYSTiFieD may not function or could freeze, or files could become corrupted or not open correctly. The major difference between the data storage on a computer hard drive and RAM storage is that the former is considered more permanent and the latter is only temporary. Anything in RAM will get lost when the computer shuts down. Hard drive memory remains stored in the computer until it is deleted by placing it in the trash (or the recycle bin) and then emptying it. It is easier to understand this concept if you equate it with the desktop metaphor of the filing cabinet (for memory stored in the hard drive) and the desktop workspace (for the active memory). Analog-to-Digital Evolution As previously mentioned, media elements must either be converted to a digital format or derive from a digital source in order to be used on the computer. Visual images—such as photos, drawings, and paintings—must be digitized, either by scanning with a flatbed scanner or photographing with a digital camera. Photographic images can also be acquired digitally in their original form by using a digital camera from the start. Either way, they will end up in a computer- friendly format that can be included in a multimedia presentation. Video and audio are similar in that they need to be converted using analog-to-digital tech- nology or captured using a digital video camera in its native format. The term analog generally refers to traditional, physical media, such as video and cassette tapes. This technology was used before the advent of computers that transmitted continuous TV and radio signals resulting in a linear represen- tation. Videotapes were originally developed as a means of recording and play- ing back analog signals transmitted wirelessly or by cable. Later, they were designed for the home market to record live action for family movies. These days, most video is shot using a portable digital video camera so that the need to use an analog-to-digital converter is eliminated. This process saves steps and is also preferred when producing multimedia, as the screen dimensions and file size requirements are typically small and do not require high-end equipment. A photograph that derives from a film negative and is printed on light- sensitive paper in a darkroom (or commercially printed) is also an analog source. Music recorded onto vinyl records and movies produced on celluloid filmstrips are other examples. Chapter1 INTRODUCTION TO MULTIMEDIA 19 The analog-to-digital evolution is still occurring as we speak, but much of what is used for multimedia today is digital to begin with. This makes the devel- opment of a project easier and quicker, and ultimately cheaper to produce. The arrival of digital cameras in the early 1990s, for instance, allowed photographers to generate average-quality digital images. Over time, lower costs and improve- ments in technology have spawned numerous brands and models of digital still cameras, and now higher-quality results are commonplace and expected. In the early days, relatively affordable cameras were very limited. They had a maximum resolution of 72 pixels per inch. The dimensions were limited to 640-by-480 (equal to 6-by-8 inches, or the average dimensions of a 13-inch computer monitor, which was standard at the time), with a 256-color palette, and the image yielded a 900KB file. Average photos taken with a digital camera today are at least 9MB, sporting millions of colors, which is ten times as large with a much higher-quality result. When scanning or digitizing photographic images for multimedia, the end product and file size are very important. In other words, your goal is to have the highest quality image or sound file possible, but one that is also small enough to play seamlessly on a multimedia CD or the Web. Another factor in the quality of digital media is that it is dependent on the equipment and technique used to acquire or convert it. A multimedia devel- oper must establish in advance what the delivery format will be, as this will determine how the media files will be treated and prepared. More in-depth information on this topic will be discussed later in the book. = Still Struggling The quality of a photographic image depends on the number of pixels it con- tains. Simply put, the more pixels that are present in an image, the finer the level of detail and color gradations. Inversely, if the image results in a low quality, the photo will have fewer pixels and the file size will be smaller. Graphics and images will be covered in detail in Chapter 3.