Advanced Interactive Media
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Advanced Interactive Media 1
A Definition For Interactive Media 4
The Future For Immersive Media 6
A New Challenge: Ethics and Morality for Future Media 9
Media in Video Games 13
Multisensory Media Is About To Explode 16
Virtual Experiences: Now More Like Our Real World 18
Emerging Technologies: Preparing For The Next Job Market 19
Interactive Media Versus Other Kinds Of Media 20
Creating an Interactive, Immersive, Multi-sensory, MultiMedia Project: A Student Log 21
Determining Project Pixel Size for Various Digital Medias 22
How We Did This: A Brief History for One Interactive Project 23
Designing Media -- Impacting Your Audience beyond the Eye 25
Hands-On Project Directors 26
Hands-On Interactive Team 26
Hands-On Design Team 27
Video Team 27
Using Wikibooks and Facebook As Tools In an Interactive Society 27
Presentation Photo Documentary 28
Learning Resources 29
Adobe Photoshop CS3 and Lightroom 31
Final Cut Pro 31
DVD Studio Pro 34
Newtek's 3-D & Animation with Lightwave 37
Canon Still Camera 38
Canon Digital Rebel XTi 10.1MP DSLR 38
Avid vs. FCP 39
After Effects vs. Motion 39
3-D Products 40
Article Sources and Contributors 41
Image Sources, Licenses and Contributors 42
Advanced Interactive Media 1
Advanced Interactive Media
Learning to create interactive media requires
conventional and traditional skills, as well
as tools mastered in interactive classes
(storyboarding, audio and video editing,
story telling, etc.). Interactive design
requires that you re-assess your assumptions
about media production and learn to think in
a non-linear ways. Interactive design
requires that components of a project
connect to each other, but also make sense
as a separate entity.
Things are developing so rapid that it is
necessary to have a positive attitude and
involve yourself with the tools and
techniques that will be used while learning
interactive design. There are, however, vital
interactive concepts important to know
about. You'll learn about the tools necessary
to make interactive projects come to life.
The creation of interactive projects requires
competency in many tools, so it's necessary
for studentsto learn from each other. You
can prove your knowledge through quizzes,
exams and hands-on tests.
Research and on-line content created in this
wiki can be used to learn advanced
interactive media in a variety of settings,
including classrooms, on-the-job training
and in one's own spare time. Interactive
learners should be required to use on-line
social interaction tools such as wiki
technology & blogs.
During your study of interactive media, you
can expect to
1. Use more software tools than normally
required for broadcast-type media.
2. Be amazed and sometimes overwhelmed
by what you can do with interactive
3. Learn in a way you’ve never experienced
4. Work with a team to create complex products;
During a study of interactive media, you can not expect to
Advanced Interactive Media 2
1. Work at a relaxed, normal pace.
2. Learn the way you have in past situations.
3. Master all of the software products you use.
4. Create an entire project alone.
• A Definition For Interactive Media
• The Future For Immersive Media
• A New Challenge: Ethics and Morality
for Future Media
• Media in Video Games
• Multisensory Media Is About To Explode
• Virtual Experiences: Now More Like Our
• Emerging Technologies: Preparing For
The Next Job Market
• Interactive Media Versus Other Kinds Of
• Creating an Interactive, Immersive,
Multi-sensory, MultiMedia Project: A
• Determining Project Pixel Size for
Various Digital Medias
• Other Topics
• How We Did This: A Brief History for
One Interactive Project
• Designing Media -- Impacting Your
Audience beyond the Eye
• External links
Advanced Interactive Media 3
Interactive Content Producers: Job Descriptions
• Interactive Design Project Graphics
• Interactive Team
• Design Team
• Audio/Video Team
Using Technology to Learn
• Using WIKIbooks.com and
Facebook.com As Tools In an Interactive
• Hypothetical Problems and Solutions for
an Interactive Project
• Presentation Photo Documentary
• Learning Resources
• Adobe Photoshop CS3 and Lightroom
• Final Cut Pro
• DVD Studio Pro
• Newtek's 3-D & Animation with Lightwave
• Canon Still Camera
• Panasonic HD Video Camera
• Canon Digital Rebel XTi 10.1MP DSLR
Software and Hardware Tool Comparisons
• Avid vs. FCP
• After Effects vs. Motion
• 3-D Products
A Definition For Interactive Media 4
A Definition For Interactive Media
The designers of interactive media, who are often information designers, rely on communication. User feedback is
apart of the interactive process. Interactive media can be defined as media that allows users to participate and edit the
content. Examples of interactive media are video games and websites that allow the user to post information. Not all
forms of interactive media are electronic. There are forms of interactive media that are printed such as magazines
that allow users to send in information and have it printed in another issue. Puzzle and game books are also
considered interactive. Participation and communication are the key elements in making media interactive.
An inclusive definition for interactive media is elusive, if not impossible to write. Perhaps interactivity can be
described by degree, but not by a single, all-encompassing definition. Interactive media (hereafter referred to as
"IM") has been called a "hybrid media technology", because it can combine any format (print, web, disc, video,
audio, etc.) that allow users to interact with content. Interactive Media is the power of relating media that responds to
the user's senses.
A primary characteristic that makes inteactive media difficult to define is the fact that this field is evolving at a faster
rate than most other aspects of new technology. For example, multisensory possibilities being developed by Japanese
researchers are bringing startling new considerations to the multimedia mix. Movies an audience can taste, touch,
see, hear and feel are not science fiction. User created content on YouTube is a manifestation of people's desire for
interactivity in the media they experience. Ultimate control over a movie is achieved when the auidence creates the
Turning the pages of a textbook in
order to read requires minimal
involvement, while blockbuster video
games can be described as much more
highly interactive multimedia. A book
might be defined as a multimedia
format in that it can include pictures,
maps, graphs, charts, or timelines, but
while it uses other media, it is not
interactive, because it is designed to be
navigated in a way that the author has
predetermined. A reader can use the
index at the back of a book, or flip
through pages, but the text itself has
only one hierarchy of topics and is
intended to be read from beginning to end. Writers can't include large volumes of additional information between the
covers of a book even though that content might be a vital part of the story.
Interactive Multimedia programs, on the other hand, bring the opportunity for extraordinary storage and delivery
capabilities of computerized material. This is especially important for schools, libraries and learning institutions
where books are difficult to obtain and update. Multimedia can provide access to other kinds of inaccessible
materials, such as hard to find historical films, rare sound recordings of famous speeches, illustrations from difficult
to obtain periodicals, and so on. Multimedia can put primary and secondary source materials at the fingertips of users
in even the remotest locations of the world.
It's not just access that makes multimedia powerful, but the control over content given to users. IM programs enable
the user to manipulate the materials through linking, sorting, searching and annotating activities.
A Definition For Interactive Media 5
Interaction with others gives our lives
meaning. In contrast, total isolation
from human contact or any stimuli is
considered one of the most effective
forms of torture. These facts help
define the significance of multimedia
that is designed to respond to user
interactions. Just as there seems to be a
craving for virtual experiences that
increasingly resemble the real world,
perhaps it is possible that the
requirement for interaction is at the
core of all human needs.
When human (person to person)
interaction is impractical, unlikely or
impossible, the next best experience
requires interactive, immersive,
multi-sensoral, IM. It follows that the
most effective interactive experience
should consider each of these issues.
Until now, the technology to generate
these kinds of experiences has been
restricted to the holodeck of the
starship Enterprise. With the advent of
powerful and affordable
personal-computer workstations and
the rapid development of user-friendly
multimedia software, almost anyone
can get into the game.
Among all the choices of hardware and software available to create IM, it is a challenge for students to identify the
most effective tools that are accessible for creating IM. Once identified, learning to use this hardware/software can
seem overwhelming, but this may be the least of all problems to be conquered. Judging by the general lack of
success of IM thus far, the greatest challenge seems to be that of creating a product of significance, that is, something
that makes a difference in people's lives.
Addictive blockbuster video games are the essence of IM, but what is their lasting significance? The power of
interactive, immersive, multi-sensoral, IM is unleashed by these games, but to what end?
The generation of people born between 1982-2000 have been brought up in a completely different world than ever
before. No longer does a young person spend their free time with their nose in a book, but rather, they express a need
to be completely immersed in multi-sensory interactive media. In order to keep the attention of this up and coming
generation of young people, companies are going to have to make their content more and more interactive. Teachers
can no longer stand in front of a class and lecture to their students. Instead, teachers are now compelled to learn how
to teach via interactive and immersive tools. Even three-year olds don't just sit and play with toy cars anymore, but
are completely immersed in video games. If today's 12 and 13 year olds can't pay attention in class now, then what is
it going to be like when today's 3 year olds are 13 and 14? Interactive, immersive media is taking over in every arena
A Definition For Interactive Media 6
of life and it something that needs to be dealt with by the older generations. However, the window of opportunity
available for those older generations to influence this change is a limited one. The pace of change in the IM world
dictates that only those who are constantly involved can keep up; otherwise, it will be the users themselves, most
notably the youngest of generations who are growing up under these new dictates that will be the shapers, reversing
millennia of human history, whence the older generations always used to shape the deveopment of those younger
The Future For Immersive Media
Media that engulfs people with interactive experiences has invaded education, entertainment, business and just about
every other aspect of life. Blockbuster video games lead the way in interactive development and some theaters are
engaging viewers by stimulating all of their senses - This is all a reflection of the evolution of immersive media.
Sub woofers placed under chairs vibrate viewers in order to influence the way they react to sound. Experiments with
the sense of smell are also becoming possible as an actor/baker performs within an expanded movie-environment
that can now generate the aroma of warm apple pie to the viewers; thus pulling them further into the story through
their sense of smell. These kinds of ideas are revolutionizing how people react to media as a new generation of
producers begin to realize that nothing is preventing them from impacting all of the human senses.
Here are a few great examples of
interactive media that were showcased
at the Siggraph conference in San
 Music Table
 Minority Report Becomes Reality
A Paradigm Shift
The stage is being set for a whole new
level of interactive media. Television
shows are involving audiences, and it's
not uncommon to let viewers decide
who wins on a show. Telling audiences
what they want is a thing of the past
and precedents are being set for immersive media in the immediate future. The success of reality shows is based on
the fact that audiences want to take part in the plot. On the web, Flash is gaining more and more popularity; it
enables users to merge more into the media scene and have more interactivty.
Society is capturing new thought patterns, realizing that they are in control and can dictate what they want to
consume. As a result, people are no longer willing to sit around and wait to be spoon fed. Instead they prefer to pick
and chose when, where and how they want to experience information.
How is this mindset infiltrating society? Consider the options: There are many sources of entertainment and
information; people have options that were not previously available. Back in the day, if the news started at 6:00 one
had to watch it at 6:00 or miss it altogether. Now, the consumer can see what they want, when they want and have
numerous alternatives as to how. Consider the choices available: Today, one can listen on the radio, watch on the
internet, keep up to day via 3G cellphone media, or possibly wait until a rerun. A new way of thinking is circulating
through society, and it is becoming noticeable. Reading has already been in the backseat, and now ordinary
television is starting to be pushed to the side by a new era of interactivity.
The Future For Immersive Media 7
An independent research company has discovered that 57% of all American teenagers create content for the internet.
Paul Saffo, director at the Institute for the Future in California, says that people no longer "consume" media; they
participate in it. Using personal creativity and allowing people to write their own newspaper will definitely
revolutionize the participation in media. According to The Economist website, the days of media moguls and huge
coorporate media giants have begun to come to an end. The days of individual person-to-person media are quickly
approaching. It will be a revolution of interactivity across the world one person at a time.
Check out the full article at http://www.economist.com/surveys/displaystory.cfm?story_id=6794156
There is a vibe going around in the
media world that the Internet is soon
going to take over the TV. Meaning,
instead of watching programming from
the viewer's satellite or cable, the
viewer will download programming
from Internet sources and play it on
their TV. Making a head start into this
new way of watching media is
AxiomTV. AxiomTV is a Detroit
based company that is taking
family-friendly movies and DVD’s and
making them available for people to
download and play on their TV. The
website is www.Axiom.tv and is currently in beta-testing. Not only does AxiomTV provide movies to watch, they
are also selling channels to major networks where they can provide their own programming to AxiomTV and people
can watch it all day long. For example, Will Rogers films playing all day long on a Will Rogers channel, or MTV
streaming all day long off of AxiomTV. AxiomTV is created by Christians, so they are having a feature called
Mother, which watches everything that is downloaded on the viewer’s computer and protects children from seeing
inappropriate content. AxiomTV wants to be a family-safe website and Mother is making that possible. AxiomTV is
a great new technology that allows a person, sitting at their home computer, access to just about anything they want
to see whenever and wherever they want to see it.
IPTV- Internet Protocol Television'
In case you haven’t noticed, telecommunications companies like AT&T, Verizon, and others have been aggressively
creating miles of fiber-optic networks that can deliver digital media into the end users home through their TV. Telcos
have poured hundreds of billions of dollars and several years of R&D into implementing small broadcast units
(set-top boxes) that can stream media into user televisions. Telcos are making a bid to dominate how television and
all media (data, voice, ect,) is delivered to you home in the future. They will do this through a service called IPTV or
Internet Protocol Television.
In 2007 AT&T made a $400 million deal to purchase Microsoft's IPTV Edition software, and a US$1.7 billion deal
with hardware maker Alcate. The question is, “Why are they investing all this time and money to do something the
cable providers are already doing?” It is because they want to be the sole communications link for you’re your home,
increase revenue through selling blocks of airtime to broadcast networks and advertisers, and basically corner the
television market by being your home’s sole pipeline. IPTV is how they plan to do this. What is IPTV? Internet
Protocol Television delivers TV programming over a DSL connection from phone lines to homes through TV set-top
boxes and is typically bundled with Video-On Demand, VOIP (Voice Over Internet Protocol- see Skype),
The Future For Immersive Media 8
digital-telephone and Internet typically called a “Triple Play.” Video pulled from satellites enters the Telco’s main IP
servers. It is encoded into any necessary format (WMV MPEG H.264), then streamed to its core IP network which
handles data, voice, and video. The media is then broken into small containers of info and streamed to the users
home, where it is efficiently reassembled and decoded for viewing.
IPTV is much more efficient than cable. there is none of the annoying “pause” that cable users typically get when
they change a channel. Multiple users can record multiple programs from several TVs at the same time to a single
DVR without a significant price hike on the unit IPTV users will have full DVR functionality and be able to
remotely program their DVR to record programs with a personal phone while they are away! .
User customized view guides will make it easier for users to find their favorite programming. Picture-in-picture
viewing will be done multiple tuners. You will watch one show, and channel surf with the PIP!
All traditional cable services (such as Video-on Demand) will be featured
Viewers won’t be far from their information as well. They will receive webmail and text messaging along with Caller
ID on-screen. All this will be done at a vastly lower price for the end user compared to traditional cable.
IPTV’s killer app is will be interactive television. Similar to the scene in Fahrenheit 451, users will be able to
participate in real time with hosts and contestants on the television shows, and see live programs in multiple camera
And since the Telco owns the entire network, total quality is assured. The Telcos believe that this technology, its
reliability, and low cost will allow them to defeat the cable companies and corner the market.
Apple Inc released the Apple iPhone in the summer of 2007. This new device merges interactive media, music and
phone services together in one complete package. The iPhone is akin to a small personal laptop. It can take notes on
the go and then send them as an email. It has a full calendar, and access to email from the most notable websites
including Yahoo, Google and AOL. The phone also has YouTube built into the phone so users can access almost all
the videos offered at YouTube.com. Its biggest selling point is the touchscreen. It is also the only phone running a
software copy of Mac OSX.
Although this phone is not the greatest piece of equipment, it does allow the consumer many portable freedoms and
connectivity. Future phones are attempting to copy and add their own specal feature to the phone market. This type
of phone is inspiring other companies to allow users to do more with their phones. It is also forcing websites to
function with standard computer users and mobile phone users. Now websites like Yahoo and Google have their
classic website and a mobile website mode.
With the summer 2008 release of the iPhone 2.0 software update, the iPhone is beginning to differentiate itself from
most, if not all, current phones on the market. The iPhone now has to capability to download, and run various games
and applications built on Apple's iPhone Software Development Kit. While allowing users to run or develop any
conceivable application for the iPhone, Apple also assures their legendary penchant for control of its platform is
upheld by approving all applications that are placed within Apple's Application Store; Which can be accessed on an
iPhone, or iPod touch running the 2.0 software, or through the Application navigation option which was built into
iTunes beginning in version 7.7. The application store also allows for Apple to provide the seamless connection
experience that they build into much of their software that is not currently available, or executed as well by other
companies. Importantly, this is considered by many to be Apple's first foray into the extremely competitive market of
video gaming, and is one of the few current examples of interactive media that is multi-platform, and executed
without the use of conventional storage media. (i.e. DVDs, CDs, etc.)
The Future For Immersive Media 9
 http:/ / www. youtube. com/ watch?v=thA_Oox1Cfc
 http:/ / www. youtube. com/ watch?v=PLhMVNdplJc
A New Challenge: Ethics and Morality for Future
Copyright or Copy Wrong?
Applying copyright laws written 100 years ago to creative content produced today (or even laws created five years
ago, for that matter) is futile - no one during that time period was trying to protect content on their websites. There
was no "copy, paste" option on people's manual typewriters and the thought of "working around the computer
system" in order to download video clips or photos did not even exist. Who knows, "Bit Torrent" could have been
slang for a rambunctious, rebellious preadolescent than a term for illegal downloads.
Drawing the Line
I was sitting in a future media class and I listened to a discussion about sharing music and how long it will last.
Mixed with my own opinion and personal experience I wanted to type a few ideas down. First of all P2P sharing is
illegal. There is no way to argue that fact, the law forbids sharing of music without paying the artist.
Are Today's Challenges Tomorrow's Problems?
In order to go forward a person must "go backward" to fully understand where they came from. When one talks
about ethics and morality it hits the very core of a human being. In a sense, these words "ethics" and "morality"
almost form our existence because they help to form personal views, both culturally and as a society. While their
meanings never change, to each occupation the meanings are dissected in many different parts to fit that particular
Ethics and morality as it relates to the media industry seem to have taken a negative turn. Instead of forming its own
ethical values, the media industry often does what is accepted within society. When I think a few years back it seems
as if the media of today has evolved to something completely different to that of past generations. Before it was
unusual for a movie to have obscene language the exposure of private parts for the indulgence of a sexual scene.
However, nowadays this behavior seems to be common place. The media portrays this behavior as commonplace;
these things are no longer a taboo but have become culturally acceptable. But this very stigma has contaminated the
very fabric of our morals. Children now see this as being the norm and instead of allowing the teachings of their
parents to permeate them they instead turn to the media and in turn begin to experiment with the things that they are
seeing in the media. If this trend continues it has the potential to have an adverse impact on our future generations.
With these changes it is now up to society and to the media industry to accept the responsibility and take a stand by
restoring integrity and morale. We can take steps to preserve the future of the media industry now by reversing the
negative components that are presently acceptable and raise the standard so that anything does not go.
In today's culture, it is hard to anyone to define the words ethics and morality. In fact, dictionary.com states that
ethics are: a system of moral principals. It also defines morality as: conformity to the rules of right conduct. There is
a reason why no one can truly say without a shadow of a doubt what these two words mean, as shown by their
definitions. These words mean different things to different people. Some people may believe that cussing is not a
challenge to their morals while others may believe that is a dark sin. As religion is fading out and becoming less
conservative and more liberal, these words are becoming more and more vague, even to those who consider
A New Challenge: Ethics and Morality for Future Media 10
How then, with no concrete definition can we define this in terms to Media? The more advanced the media becomes,
people are choosing for themselves what is moral and what is ethical according to their own "right of conduct".
Those who consider themselves Christians should go back to the one source of ethics- the Bible. The Bible is the
ultimate "right of conduct". It defines what is moral and what is not. We should cling to those words when dilemmas
are presented to us that pull us in question of our morals.
When it comes to today’s technology and fancy software programs, people must be aware of the power that they
have at their fingertips. This is not in reference to the power of the program itself – surely that is understood to some
degree. Producers and editors must be careful to present the truth as it is – unedited and unchanged. There was an
article in the Houston Chronicle a while ago and it was talking about photojournalists using Photoshop to “touch up”
their pictures. They were not using Photoshop to just make their pictures look good, but to give a false reality to the
people that read their columns or saw their work. There have been a number of documentary movies whose
producers and editors have taken what a person has said, twisted it for their own end, and released it. Sure someone
may have said something, but anything can be taken and used inappropriately, thus creating a lie. The future
producers and editors and videographers must make sure that they present reality as it is played out. Even if
changing just one thing someone says can “help further the gospel,” it’s a lie and whoever changed it will be held
accountable for that in the end.
More than a decade ago MIT put all of the content for their classes online. It just didn't make sense that such an
expensive product should be made available to anyone with an internet connection. Of course, content is nearly
worthless without someone to explain the meaning of things - students still had to enroll in classes to make sense out
of MIT's content. Then MIT made all of their CLASSES available at no cost through online courses! More and more
businesses are discovering that giving away their most valuable information online can become a big moneymaker.
How can copyright laws be enforceable in such an inconsistent and confusing environment? Why does MIT seem to
be more successful than ever? If I published everything I know about how to become an iconic rock star, could my
website evolve into a great online university like MIT's?
Why Do Wierdos Use The Cool Tools First?
Exciting new emerging media technologies can be lucrative but some of the most perverted minds seem to realize
this before anyone else. How can video games and some of the most promising on-line features (streaming video,
social networking, immersive/virtual experiences, etc.) be encouraged, cultivated and promoted when the industry
leaders for these technologies seem to care about nothing more than profits, violence, sex, entertainment value and
MP3 Jail Terms?
In November of 2007, a marketing vice president for one of the major television networks said "My industry paid
attention to what just happened during the startling collapse of Tower Records. I predict that the music industry, as
we know it, will be completely unrecognizable within the next eighteen months." Whether I agree with his forecast
or not, no one can deny the middleman is almost gone. A talented musician in the right place at the right time can go
platinum after recording in their living room, being discovered on YouTube, forming their own record company and
distributing their albums on the net. But how can this same musician reap the rewards of success when one of her
songs is duplicated 50,000 times by people using the same technology that the artist used to bypass alhil of the
systems created by the music recording industry? Was it illegal, immoral and unfair for 50,000 people to rip off her
hit song? Were you one of them? What would be a reasonable jail term?
A New Challenge: Ethics and Morality for Future Media 11
In response to this I would like to quote something a rather prescient friend of mine wrote just over a year ago as his
new year's prediction: 'Caving in on itself, the MPAA will inevitably file a lawsuit over the RIAA’s violation of the
MPAA’s copyrighted ability to file lawsuits for misuse of copyrighted materials. Citing that the RIAA did it first, the
MPAA (and the courts of America) will not care, due to the fact that the RIAA did not copyright the act properly,
thus nullifying the copyright. The RIAA will file countersuit for royalties not paid on their “poor man’s copyright” of
mailing the idea to themselves in a USPS metered envelope.'
The absurd lengths to which these two organisations have pursued copyright infringement is well captured by my
friend's satire! The result has been a developing public perception that they are no better than the greedy moguls their
products so often malign and warn us about. It's one thing to go after those who deliberately rip off stuff for their
own pecuniary gain and no reasonable person should begrudge such an effort; it is entirely another when we start
hearing of lawsuits against grandmothers, whose granddaughters may have used their PC's to download something or
other, and not relenting even after the facts become clear. That’s not justice; it’s greed. Attacking one’s own customer
base is a really dumb business move, but the entertainment industry has fallen prey to an entitlement mentality, that
by God, they're going to get back every last dime they’re due. It is also completely futile, as one of the other entries
so well points out, because they will never be able to keep up with the prolific growth of networks. So in their
frustration, rather than take a deep breath, they have attacked the creators of the software, and so the merry-go-round
continues! Additionally, when the same industry continues to pay out literally millions to its top stars, it’s cries of
lost revenue are liable to fall on deaf ears when it comes to working people who can only ever imagine such riches!
There is a case, as I noted above, for legitimate prosecution, but what about the new artist worried that all their
potential livelihood might be sucked away by the evil cybernet black hole? Contrary to the nightmare described
above, the reality has actually given cause for hope in that regard: When Death Cab for Cutie found that the record
label did not want to produce the record they had just been paid $500,000 to create, since they had the rights, they
posted it on their website to be downloaded for free! In just a short time, they were being inundated by email from
fans wanting to pay for the product! A far cry from the stereotypical legions of lecherous downloaders that we are
led to believe inhabit the internet and which the above writer clearly believes are dominant. Contrary to the paranoia
of the MPAA, RIAA and myriad others who take such a dim view of their fellow man, technology has always turned
out to be the friend of the entertainment industry. Particularly when their efforts are akin to the sticking of a finger in
a leaking dike, the industry should be embracing further progress rather than trying to stifle and tame it, simply
because some revenue is being lost. The sad fact, which they apparently are determined to not face, is that such
practices will always go on by people determined enough. They could however endear themselves to their
customers, and so ellict some help in that fight, rather than the current policy of alienation that treats us all as if we
are just a bunch of dirty thieves! The more the media industry resists the rampant technological progress in
distribution, the more it's simply going to get left behind.
To further expound on this, and to provide a brief example, the music entertainment industry has gone to great
lengths within the last decade to ensure that its music is copyright protected in a process known as digital rights
management (DRM). This effort at combating piracy has arguably done little to maintain the surmounting number of
illegal file sharing between computers and removable data copied from the CD format which files are DRM-free. In
an unprecedented move, Apple CEO Steve Jobs proposed a new initiative in early 2007 following the release of his
provocative essay entitled "Thoughts on Music," conditioning for the adoption of a DRM-free system, allowing users
interoperability and a greater freedom to distribute files without fear of retribution. Apple launched what became
iTunes Plus in May, featuring high quality 256 kbps AAC encoding music files indistinguishable from the original
recordings. Of the four major distribution companies: EMI, Universal, Sony BMG, and Time Warner, only EMI has
contracted to distribute its catalog through the iTunes DRM-free store, while Universal, Sony and Time Warner have
signed deals with competitors, hoping to loosen Apple's hold on the market. DRM-free music offered through such
competitors as Amazon mp3 and Wal-Mart however are encoded at a variable kbps rate, falling short of iTunes
consistent 256 kbps, which is unsettling to the listener and a dangerous business move for the three remaining
A New Challenge: Ethics and Morality for Future Media 12
companies who have found it still unnecessary to fully satisfy the wants of the consumer they are trying to reach.
Living in a Virtual World
In October 2007, comedy website Cracked.com published an article by David Wong and Steve Woyach called "The
Next 25 Years of Video Games."  The article, though humorous in tone, is a serious look at predicted
technological expansions in five-year increments from 2008-2033. Citing technology currently being constructed,
the article theorizes that by 2033, the cost of constructing a computer on level with the human brain will be about $1.
It concludes by predicting that, in less than thirty years, computers will directly interface with the human brain
without surgery, and living and interacting with a virtual world will become more commonplace than actually
leaving the house to interact with the actual "real" world.
Modern computing devices have only existed since the 1940s. If civilization has existed since roughly 10,000 BC as
suggested by most historical research, 60 years is .005% of the history of human civilization. To suggest that, in that
five thousandths of a percent, human life could change so dramatically, is fairly audacious. However, the changes
brought about in both technological advancement and social perspectives during the twentieth century are
astounding. For the first time in human history, information is available freely and readily to anyone all over the
planet without leaving the comforts home, the office or the schoolroom. Throughout the world, the Western
Hemisphere in particular, emphasis is being placed on the individual rather than a mass group. Government criticism
comes frequently and freely, and even a solitary individual with no connections or friends could have an online
readership numbering in the millions. Before 1908, the first, and perhaps only, mass media device was the printing
press. In 2008, mass media and instant access to new information can be acquired through devices smaller than any
Going back to the Wong/Woyach article, it is not particularly radical to suggest that human beings will be living in
completely virtual environments by the year 2033. The technological and social changes brought about in the past
150 years have proven that complete lifestyle change can be abrupt and severe. Is it so absurd, then, to suggest that
in twenty-five years human beings will shake hands with pixels instead of flesh and bone?
Assuming that the future of social interactions is a complete virtual world, does this change the way we should even
govern people? Could a parent send their child into the virtual world to avoid the responsibility of raising them?
Could said child construct their own ideal parents in their tiny, virtual world? If this child grows up into an angry,
hostile individual with violent tendencies, who could he hurt in a world made of ones and zeros?
Could we send people to prisons for real-world crimes, but let them roam free in a virtual world? Could a person be
prosecuted for stealing a virtual stereo?
Could there be a couple married forty years that have never met face-to-face? Is there anything wrong with that?
The Future of Commercials
It is becoming common to see a particular product strategically placed on TV shows, movies or online content.
Computers, cell phones, foods and even the weirdest of products have made "cameo appearances" with the help of
these mediums. The product’s manufacturer has usually paid a large sum of money to have their product displayed or
have arranged some type of agreement with the producer of the media. The placement may be very subtle like a bag
of chips on the table or as obvious as a logo cleverly integrated into the design of a website. The audience does not
realize that they are subconsciously being influenced by this growing form of marketing. Although it appears to be
an effective strategy for advertisers, ethical questions arise about its influence on children and others who may be
easily influenced by seeing their favorite stars using or talking about a particular product. With commercial-skipping
DVR technology and the rise of shows available online without ads, product placement may be the commercials of
the future. Is it fair to the audience the hide advertising inside their favorite shows? How much can advertisers place
in a show before the show just becomes one big ad itself? These questions remain to be answered as the future of
A New Challenge: Ethics and Morality for Future Media 13
advertising takes shape.
The New Interpersonal Interactive Ethic
One issue that arises with the advent of newer and more interactive media types is that of hospitable, interpersonal
communication and action. With technologies such as the Internet, which is fast approaching a stage where it will
become the source of all subsequent communications that were once relegated to other means, one can easily find
themselves mistreating or misjudging the other user due to the lack of personal interaction. Just as driving on a busy
highway causes many to lose their manners and treat other drivers as nuisances instead of fellow human beings, so
this new highway of interactive communication can become a place of selfishness and hostility, instead of
helpfulness and hospitality. The key is to discover ways to make these new emerging forms of communication more
natural and interpersonal so the average user will remain in the proper composure which ethics demand. This,
however, may become a natural side effect of increasing realism within the realm of Interactive Media.
 http:/ / www. cracked. com/ article_15243_next-25-years-video-games. html
Media in Video Games
Multimedia is not only prevalent in cinema, television and the internet. Video game developers and producers are
introducing new ways for people to interact with their games and game consoles. In the early years of video games,
the most interactivity involved hitting a button and the onscreen character would react to the button's command.
Today, however, media conglomerations, primarily Sony and Microsoft, are attempting new ways to bridge video
games and other forms of media.
Launched in the fourth quarter of 2005 around the world, the Xbox 360 is Microsoft's second foray into gaming
hardware production. The console has expanded the internet media capabilities of Microsoft's original Xbox console.
Launched in the summer of 2002 on the original Xbox, Xbox Live arguably set the standard for online console
gaming. Players were able to create one profile for Xbox live. This profile, in turn, could interact with any Xbox
Live equipped game.
Xbox Live Marketplace
In November 2005, Microsoft launched the Xbox Live Marketplace, an ancillary to their online gaming service.
Through this, Xbox owners can download smaller arcade games, view previews of upcoming games and download
demos for games still in development. Perhaps the most significant service provided in the Xbox Live Marketplace,
however, is the Video Store, allowing gamers with an Xbox 360 to download movies and television shows directly
to their computer. Though Microsoft is not the first company to offer downloadable content for television, they have
arguably been the most successful and appear to be in a prime position to establish market domination. By bundling
video downloads with games, it appears Microsoft is trying to create one central home theater peripheral by using
games as the bridge. Microsoft's two biggest competitors in the gaming market, Nintendo and Sony, have both
offered their own online services. Sony's, the PlayStation Network, currently offers many of the same online
functions as the Xbox, while the Nintendo is currently limited to gaming information. The 2008 Consumer
Electronics Show has released new features from Sony that will be a new point of interactivity for gamers.
Xbox & Windows Media Center
Media in Video Games 14
Xbox is breaking the mold by becoming the first game console to allow you to connect your pc to your gaming
system. Using the Windows Media Center Extender technology built into your Xbox 360, you can connect it to your
PC through your home network and enjoy all of the digital entertainment stored on your PC on the big screen from
the comfort of your couch. You can easily play you’re your favorite music, view photos as a slide show, watch
DVDs, download movies, and even watch and record TV shows. Xbox transforms you TV room into a digital media
room all with the touch a remote.
The PlayStation 3 is Sony's fourth home market console.
Still in prototype form, Home is a giant, free, massively multiplayer online community similar to the PC game
Second Life. Offered as a free application exclusive to the PlayStation 3, Home allows users to create an online
avatar and roam around a virtual world created by Sony. These worlds can include your PS3 and other PS3's. You
can create your own home with furniture, rooms and electronics. You can also visit your friend's homes inside their
PS3. It appears Home also features an online mall features shops like JCPenny, Gamestop, and American Eagle. This
software is expected to be released sometime in 2008.
Folding @ Home
A neat and "educational" free software program for the PS3 is folding @ home. What this little bit of code does is
simulate proteins folding. In a nutshell, folding is when a protein atom changes its form. Evolution is another way of
describing the process. The software was created for the Stanford Institute to help study folding. They are taking the
data from the PS3 owners and attempting to find cures for many diseases. A disease is formed when a protein folds
incorrectly and they hope to simulate correct and incorrect folding to find out how diseases are formed and can be
cured. This software is also offered free to PC users. However the PS3 can run the software approximately 20-30
times faster than a PC.
The Sony PSP or PlayStation Portable is the only handheld competition to Nintendo's DS system. The PSP boasts
graphics slightly stronger than the current PS2. But the game play and graphics are not the focus of this article. The
thing I want to address is the VOiP and output to televisions from the PSP. First of all, Sony and Skype set an
agreement to work together to create a VOiP network for PSP and PC users. VOiP or Voice Over Internet Protocol
allows Skype users to take advantage of a free software program that allows PC to PC calls. With the new PSP,
VOiP PSP users can make calls from PSP to PSP or PSP to PC for free. The software is free and only requires a
firmware update from Sony. The only thing people have to purchase is a headset, but this is subject to change. Sony
might charge a small fee for the Skype software to download into the PSP, but so far, this is still speculative. As of
January 2008, the Skype firmware should be released for free. To use the Skype program on your computer go to
Media in Video Games 15
Skype.com and sign up for their services.
The second part of this article is the new ability for PSP slim owners to output UMD movies onto a television. The
new PSP slim allows users to take their games, music and movies and play them on their personal TV at home. You
have to purchase some component cables for around $20, depending on the location, but now people can play their
games and movies, even on the road, on a full size TV. This is a nice function if you forget your DVD player or are
in a hotel with nothing better to watch.
One of the newest games for the PSP takes cell-shaded art and music and melts them together to create Patapon. This
game is a very basic game. You are in charge of a small tribe of funny looking people who have been oppressed by
big bad guys and you are there to help them defeat their enemies. Where the meat of this game lies is within the
gameplay. You pound out beats on the square, circle, triangle and X button to create a beat that the soldiers will
respond to. Based on what beats you let out depends on their attacks and movement. This game doesn't require quick
shooting and reloading skills. It just takes a good sense of rhythm and beats per measure, In a sense it is teaching
non-musical people how to play a drum beat. It can be an underlying way of teaching people more about the science
of music through games.
The Nintendo DS has their best hand-held console on the market featuring local wi-fi multiplayer and online
gameplay. The Nintendo company has their own version of Xbox live called NFC. The NFC of Nintendo Wi-fi
Connection is a free online video game community through Nintendo. The players have to use friend codes that are
linked with either your Nintendo DS or Nintendo Wii. The games on the current market require players to have
friend codes in order to communicate over headsets. All the online games allow online gameplay, but
communication is limited only to friends. Future games will allow players to talk to complete strangers during an
online match. The Nintendo Wii has no availability for players to talk to each other currently. No future releases
feature interactive features for 2008, yet.
Random Nintendo DS Facts
1. The Nintendo President Satoru Iwata thought it a smart move to launch the DS system in the US a week before it
was launched in Japan.
2. The primary cost of the system was relatively cheap considering the technology built in.
The Nintendo Wii has taken interactivity to a whole new level. Games for the Wii have stopped focusing on button
mashing and forces players to be active. Games using swords, fists and weapons can be activated by waving the
WiiMote. The WiiMote and Nunchuk have motion sensors inside the controller and can sense even the slightest
change in balance of the controller. A new game coming out in 2008 called Wii Fit uses a "Balance Board" for the
game. Players must use the board for Yoga positions, balance positions, dance steps and many other features. Wii Fit
also uses the WiiMote and has the player jog in place to simulate a race. The length of the race can range from feet to
miles, but the approximate calories lost and similar stats are taken throughout the game.
Another feature the Wii has is the ability to send and receive emails to and from the Wii console. People, not
necessarily just gamers, can send a full email to a Wii console as long as the Wii is connected to the internet, and
sending emails from the Wii is also possible. This is not a new feature for a moblie game console, but the Wii is the
first to do it effectively and smoothly. One other small feature is that when Wii-mail is sent there is a very specific
identifier on the email.
Random Wii Facts
1. The Wii calendar shows dates from the year 2000 to the year 2035.
Media in Video Games 16
2. The Wii photo channel supports JPGs up to 8192×8192
3. The effect of direct sunlight and different light sources can make the WiiMote operation less responsive.
4. Classic Nintendo controllers can be used on SOME virtual console games.
Multisensory Media Is About To Explode
At the 2006 Boston SIGGRAPH
symposium (http:/ / www. siggraph.
org/ s2006/ main. php?f=boston), it
was possible to experience paintings
that responded to touch, movies that
could be taste and nasal canons that
triggered precise aromas at the instant
they were required to enhance a video
clip. Participants sat in a virtual kayaks
and paddled through a virtual version
of the west coast of Alaska while
feeling the pressure of salt water on a
Research proves that smell is, by far,
the most effective physical sense for triggering vivid memories, so why couldn't nasal cannons be used to help
students use smell to recall important information during an exam?
And why don’t more media
experiences take advantage of all
human senses, rather than just sign and
In the world of Theme parks, 4D
entertainment is becoming more and
more popular. For example Disney's
California Adventure offers Soarin'
Over California which is an experience
where you literally feel like you're
flying over California. The ride
triggers wind, water, and even the
scent of oranges as you fly over orange
In Las Vegas, at the Luxor, there is a
virtual reality ride which is 4D. Not
only do things come at you from the screen, but also from the floor, chair, and even from above.
The world is so close to reality that I believe we should be afraid of what is next. In my mind, I believe the next or
future of multisensory media is to be able to affect our emotions by somehow connecting us with the characters in
the story. We would feel what the character is feeling, If he is angry, our emotions will imitate that, if he was scared,
we would be able to feel the depth of the fear. This would make a lot of movies better than just viewing because we
will be placed in the character shoes, making us one with character and can understand why he did things in the
Multisensory Media Is About To Explode 17
movie. The Dark Knight, the recent Batman movie, created a dark and cynical atmosphere once Joker enters the
scene. The sound is gripping, making you pay attention to the seriousness of what is being shown on screen. Joker's
voice had the psycho-deranged touch to it, that many knew he wasn't playing around or just want money-he wanted
to destroy Gotham. You can tell by his voice, He didn't have any sympathy, no care in the world, he didn't care about
dying, He wanted to see Gotham burn, destroyed. All this was made just from sound. Sound affects the body in an
amazing way and if movie producers, game designers, commercials even, find a way to control their onlookers, then
effectiveness is boosted from a normal commercial to something memorable. Sound move us in such a way, where
we can find sleep music that puts our body at ease, or music that can have our adrenaline pumping at the thump of
rock. This is just a hair of what I believe is to come.
In Orlando Florida, at the amusement park Sea World; the ride Wild Arctic, gives adventure seekers a ride like none
other. People are placed in what look like a space ship that has a big screen in front of everybody on the inside. The
screen comes on and it appears that you are looking out the main window of an aircraft. The air craft takes off and all
the seats turn right and left, and lift forward and back to give the feeling of flying. This feeling is increased do to the
intense visual experience a person gets fro the screen in front of them. As the aircraft moves around the screen
begins to show pictures of Polar Bears and at one point it gets to close and the bears attack the aircraft. The pilot of
the aircraft looses control of the ship and it crashes. The door on the other side of the ride (directly across for the one
you entered) opens and allows you to walk off the aircraft. As you walk off it becomes obvious that this is not the
end of the ride. You are in a real life setting of the Arctic. As you follow the crowed, You are viewing real, living
Polar Bears and penguins in artificial settings that mimic their natural habitat. By adding this to the end of the ride
Sea World really took Interactive, Multisensory Media to the next level. You were not just seeing the world through
a screen and feeling the effects of the aircraft through the seats, but you were feeling the cold of the Arctic as you got
off the aircraft and walked into the artificial setting. This gives you the most real feeling of being there without
actually being there. I think more things like this are expected. Rides and media that will actually be able to fuel a
persons mind into believing they are really there.
Virtual Experiences: Now More Like Our Real World 18
Virtual Experiences: Now More Like Our Real
Have you seen or experienced Nintendo's Wii controllers? Get ready to enter the game - I mean really ENTER the
game when you become part of the action. Check these URL links for descriptions of this new controller technology
that may make gamers the most physically fit people in their neighborhoods.
Los Angeles Times: http:/ / www. latimes. com/ features/ health/ la-he-wii5mar05,1,1929371.
Canand.com: http:/ / www. canada. com/ topics/ bodyandhealth/ story.
mLive.com http:/ / www. mlive. com/ entertainment/ grpress/ index. ssf?/ base/ entertainment-2/
This website showed how AMD demonstrated and taught about their new chips that are coming out. They also
compared their chips to Intel's. Showing exactly why AMD is better. Its a "virtual tradeshow." I found it really
interesting that they used a virtual experience in order for the crowd to interact with software. It was pretty cool.
Check out the link.
Emerging Technologies: Preparing For The Next Job Market 19
Emerging Technologies: Preparing For The Next
According to some books now on the best seller list (The World is Flat, A New Kind of Thinking, The Tipping
Point, Freakanomics), the rules for career success have changed. Jobs that require systematic, repetitious, detailed
instruction sets or, that is to say, skills largely dictated by the analytical side of the human brain, have been, or soon
will be, outsourced to another country or a computer.
If these authors are forecasting trends to be reckoned with in the immediate future, then it seems that well established
and accepted rules for success have changed. The information age, as we knew it, rewarded systematic thinkers who
could program computer code, analyze business trends or understand complex processes. According to these authors,
the future belongs to those who have developed social skills and a creative approach to problem solving.
People entering the job market or new
to the job market need to be aware of
the current trends. It is very important
to develop social skills and make
connections with people that you meet
in the market. Connections are key to
your future success. If you lose your
job in the future, the connections you
made in the past could bring about
your new job. You never know who
you're sitting next to in a meeting, in a
seminar, or even at a bookstore. So,
develop the social skills early and be
friendly with people; it could set up
Another key to success in the job market is being flexible and wanting to learn new technologies. Because the
market is changing so rapidly, you may be asked to make something with a program you have never used before. So,
be open to teaching yourself new programs with online tutorials or books. If an employer asks you to make a flash
website and you never have before, say yes, and try as hard as you can to teach yourself the program and create an
excellent website. Even if you are not in the job market right now, it is wise to start learning different technologies
other than just the one that you specialize in. Be open, be flexible, and most of all be dependable.
Change in Motion
Film is on its way out the door and video will soon take its place. Film style shooting will never change, the rules
will still apply to the film medium, the technology of shooting will change. With advances in video like the RED
camera, studios should be changing gears and adopting high-end video equipment over film. The RED camera is not
as good as film, but the differences are so small that the average person will not know the difference. The beauty of
video equipment in the film business is the cost. The RED camera is a fraction of the cost of a film camera, plus the
RED does not require any type of film stock. With hard drive and VTR decks, studios can shoot straight from their
camera to a deck or hard drive and then edit from the deck or drive, no more waiting to process the film. This will
make productions take less time to finalize and less money will be spent to pay crews. The best of the film and video
worlds will collide in the future. When that date is, no one really knows but it is coming. George Lucas ordered some
RED cameras for his next production, and with more and more high-end video cameras and equipment coming
online, the faster and less expensive movies will cost.
Interactive Media Versus Other Kinds Of Media 20
Interactive Media Versus Other Kinds Of Media
I believe that Interactive Media is the most wide range type of media possible. There is no limit to what you can do
in interactive media. All types of avenues such as web design, web development World Wide Web, Internet forums,
computer games, online games, interactive television, e-Mail and electronic literature and many other sources of
media apply. One of the benefits of interactive media is that the technologies of it are always emerging. It does not
stay at a stand still because there is no definite measure of interactive media. Many times, clients have changing
views for what they want for their product and being the developer for the product as an interactive developer, this
makes it that much more difficult. I assume that in other forms of media it is more clear cut in the sense that you
have a need and without little trouble, the product is developed. In conclusion, if you crave to be creative in what
you do or want to pursue, then interactive is the way to go!
People will always crave media that will allow them to experience an environment that is more like the world as God
made it. In other words, the more media becomes like the "real" world, the more it will be accepted and embraced by
human beings. We are made in God's own image and this is why we can look at the beauty of the earth and say "it is
good," just as God said in the book of Genesis.
This is also why television overtook radio, color television overtook black and white and why high definition
television is overtaking standard definition television. Interactive, immersive, multi-sensoral, multimedia will
eventually be widely accepted and even demanded, because it is more like God's real world - never as good as His
world, but "like" His real world. When it's not possible to actually stand in a rain forest, virtual experiences will offer
the next best thing until you can get there.
Is interactive media something that is completely attainable? I view it as an immersive element of our world that few
will actually indulge in when the media becomes available. I am not doubting that the media will be attainable
(technology and creativity are at an all-time high), I am merely asking whether or not those ordinary people in
everyday life will be excited about the medium that is creating a huge buzz in this field.
Then my second question - is it healthy
to have such interactive media in
today's lifestyles? According to
www.healthgood.com, One in three
people in this world are obese.
According to the National Institutes of
Health, obesity and being overweight,
together, are the second leading cause
of preventable death in the United
States, close behind tobacco use. An
estimated 300,000 deaths per year are
due to the obesity epidemic.  My
question then: is it going to be a
problem as more and more interactive
types of media are surfacing; is it
going to take away from user physical interactivity or will it add to it.
In my personal opinion I believe that it is our job as the initiators and developers of this medium to make it add to
the amount of physical activity. I believe Nintendo hit the mark when they released the Wii to the consumer. It is
completely interactive and it makes the user become physically involved in the interactive pursuit. If our media,
which up until now has been engaged in by sitting back and watching or by clicking a mouse here or there, can
physically involve its user in the process, I think that we can help better our future.
Interactive Media Versus Other Kinds Of Media 21
So how can media logically be used to improve our future? One answer is social networking, and many websites are
created just for that!
Getting the Word Out
How can you create a buzz without a budget? Use what you have - which just might be one of the many free tools
now available to you.
Interactive media can address a vast audience with little to no budget simply by creating a buzz about your message.
Post a video on You Tube with links to your Myspace and Facebook accounts and e-mail friends in your address
book to view your project. If they like it and mail it on to their friends you just might have some highly contagious,
viral media on your hands.
Friends in your Facebook and Myspace accounts view the video and may decide to link it to their pages, adding
more exposure. Other free online sources such as Xanga or online blogging can branch to different audiences and
multiply your audience exponentially. The only cost to you is your own creativity along with friends who help you
get your message linked up to the world.
People are grabbing hold of this concept and bypassing the traditional avenues of marketing. Several people have
created a buzz about themselves, bypassing Hollywood and, as a result, it opened the door to a job. If you get a large
enough audience, people will listen. Television executives are lost and disarrayed over the power of this medium.
Creating an Interactive, Immersive,
Multi-sensory, MultiMedia Project: A Student
Team leaders and other class members have encountered new problems and challenges while creating their group
project. This chapter describes some of the activities and processes unique to interactive design.
A multimedia project, in any field –
corporate, educational, private, or
otherwise – is one of the hardest to
define or manage. While a standard
project, such as construction, have a
set time, resources, cost and goals, all
these points are interdependent and
overlap in a multimedia project. This
overlapping of the different project
elements is precisely what makes it so
hard to manage. In this chapter we will
discuss a hypothetical project scenario,
and walk it through from beginning to
end. It is our goal to have you, the
reader, come away with a healthy
respect for this type of work, and to understand what goes into it.
To begin any project, it must first be mapped out. This includes identifying the client, the target audience or who the
product is being made for, what type of multisensory experience will be created, project goals, costs, resources,
manpower, and of course, the deadline or when it needs to be finished.
Creating an Interactive, Immersive, Multi-sensory, MultiMedia Project: A Student Log 22
IN MULTI-MEDIA... “Quality" is difficult to define
One difficulty in the process of multimedia management and production that is rarely, if ever, addressed is the
difficulty in defining “quality” in meaningful terms. When one begins to identify the obstacles concerning a given
project, it is logical to begin by screening the list of tasks and procedures for “hang-ups” in reference to time, money,
client relations, team work, communication, and the like. However, these are really all contingent upon the prior
definition of quality. The project is only finished when it has passed the client’s vision of quality. This client-based,
relative, subjectively defined standard of “quality” is difficult to establish. It must be devised anew for each new
project, with each new client.
Authors Elaine England and Andy Finney have attempted to defining “quality” in their book Managing Multimedia:
Project Management for Interactive Media. They write the following:
“Design quality for media projects = Content and treatment agreement.”
"Looking at the future of Interactive Multi-sensory Media" :Aiwink824.
The future of Interactive technology is already here and it is only going to get better. Today when have “ I-Phones”
that allow friends to e-mail each other in real time, search for information, directions and get your pin point locations
with google maps. Right now the only way today’s technology interacts, is if you interact with it first. The best we
can get now is proactive interactivity, like video games with complex tasks or complex websites. Gamers are
pushing the envelope with social gaming, playing each other over the internet. The future is mutual interactivity or
virtual reality with connections to the central nervous system. With people who are playing games to get away from
realty this is the next best thing. Virtual reality might be able to give people in comas new life and help with medical
research. Other examples are the "Nintendo Wii" and militaries using simulators to train soldiers.
Determining Project Pixel Size for Various
How big should it be? Pixel frame sizes for various media formats
When producing digital visual media (stills or video) one of the first perplexing, yet relatively simple problems
encountered is related to the question of pixel size dimensions. "How big should my project frames be for computer
screens, the web, DVD, Podcasting, HD DVD, etc.?
Below are three URL links that provide good explanations. Be sure to notice the squeezing effect that occurs when
projects move from screens with square pixels to those with rectangular pixels.
15" - 640x480
19" - 1024-768
Newer, wide screen 22" monitors becoming common around 2007: 1440x900
Standard Definition Video
350×240 (260 lines): Video CD
330×480 (250 lines): Umatic, Betamax, VHS, Video8
400×480 (300 lines): Super Betamax, Betacam (pro)
440×480 (330 lines): analog broadcast
Determining Project Pixel Size for Various Digital Medias 23
560×480 (420 lines): LaserDisc, Super VHS, Hi8
670×480 (500 lines): Enhanced Definition Betamax
720×480 (520 lines): D-VHS, DVD, miniDV, Digital8, Digital Betacam (pro)
720×480 (400 lines): Widescreen DVD (anamorphic)
1280×720 (720 lines): D-VHS, HD DVD, Blu-ray, HDV (miniDV)
1440×1080 (810 lines): HDV (miniDV)
1920×1080 (1080 lines): D-VHS, HD DVD, Blu-ray, HDCAM SR (pro)
10,000×7000 (7000 lines): IMAX, IMAX HD, OMNIMAX
More Information About Screen Sizes and Pixel Dimensions
How We Did This: A Brief History for One
The Advanced Interactive Media class of Spring 2008 laid out the foundations of a proposed immersive interactive
project for the Elsing geological museum. This will detail that process and the reasoning for the decisions made:
- Why did we focus on the age-group that we did?
> The Elsing Museum’s primary clientele are 3rd graders (ten to twelve years old), so that naturally became this
project’s primary focus. However for the website, it was decided to focus on the older age-group that would
encompass the teachers and parents, since they were considered more likely to be the ones to consult that as part of
their research and decision whether to include the museum as part of their children’s education.
- Colour Palette / Design layouts / Branding / Look & Feel:
> The final colour pallette was chosen due to its earth-tone like look that reflects the project’s subject, namely a
geological museum. Nonetheless, that was also balanced by a desire to keep some element of saturated, advanced
colours that more naturally appeal to children. In addition, while the somewhat more dull look of the pallette may not
be so appealing to children of the focus age-group, we think the media interactivity offered by the Surround-Screen
Video (hereafter: SSV) elements, such as the Wii-controllers, the chroma-keying and the touchscreen experience, as
well as the use of high-energy, child-friendly fonts (developed in LiveType) will more than compensate.
> Similarly, there was an understood need to balance what could otherwise be opposing requirements in the look and
feel to the VR environments, which would naturally be set within the context of a cave (designed in Lightwave).
Normally, the interior of a VR cave might not be considered particularly appealing to children looking for an
interactive experience, but the museum’s own artifacts come to the rescue in this with their amazing variety in
colours and even picturesque, natural designs. Combining the two, with specimens interspersed throughout the VR
cave, will more than resolve any balancing issues.
> These first two items gave rise to a natural branding of the museum, and therefore this project, by showcasing the
most aesthetic of the museum’s artifacts on an interactive lazy-susan display. This would be used on the website to
give interested parties a taste of what’s available without the complexities of the more extensive VR cave
How We Did This: A Brief History for One Interactive Project 24
- Scripting and Games:
> The tone of any story to accompany the VR environments was naturally set from the beginning by the clientele, as
well as any proposed length, taking into their attention spans. Initially, it was thought that competition would be a
worthwhile interactive experience, with the children split into two or more groups which would then have a certain
length of time to complete the challenges/games put before them. Eventually, this was relinquished in favour of
merely running the games as separate entities which would nonetheless still fit into the context of the story intro
presented at the beginning of the SSV experience.
> The story itself was developed along the ideas of a villain who steals and/or breaks certain artifacts leaving the
children, directly as well as through their VR alter-egos to solve the clues and repair the damage, etc. It is a standard
format that easily lends itself to all kinds of permutations but is also simple enough to be a format that children are
> Both the story and the games were kept simple enough so that they would not become time consuming, but still
retained the potential of fully engaging the children in the VR experience with the Wii-controllers. The story was
consequently created with characters that the children could relate to, and the games broken down into two
quickly-understood, self-explanatory categories:
1) The jigsaw puzzle
2) Identify the piece/item that doesn’t belong, and
Breakdown of the project:
> Phase 1:
Colour palette, look & feel of layout, fonts, livetype templates, motion backgrounds, basic
navigation mind map & buttons
> Phase 2:
Detailed navigation including all globals, plus applying branding to all screen formats
> Phase 3:
To create at least one working prototype for every format (VR, touch screen, video
projection, brochure, touchscreen, etc.) and finally the client demonstration
Creation of the 3 teams:
o Development of the Colour Palette, Design layouts, Branding and overall Look & Feel that
will be the confines within which the other teams will develop their products.
o Creation of PR materials such as non-standard brochures, etc. that can be disseminated to
schools in the effort to bring the SSV experience to those places.
o Creation of the game concept, including the Wii-controller interface, and attendant story
script and characters.
o To create the navigational user-interface and apply it to the touchscreen and website
templates produced by the Design Team, primarily using Director software.
o Naturally, the filming and recording of elements such as the real-life, curator character
as well the lazy-susan display.
o Creation of a mini-documentary about the museum, done in coordination with the curator. This
documentary would then be featured on the website and be part of the promotional material
for the museum and the SSV.
How We Did This: A Brief History for One Interactive Project 25
In keeping with the developing media world that is the focus of this class, communication was conducted primarily
through Facebook (http:/ / www. facebook. com/ group. php?gid=2248278720)and a job/task list in Google docs
As the weeks in this Spring 2008 semester began to pass by, a better understanding was gained about how far this
current class could be expected to go in completing the concepts being developed. As a consequence, the last two
weeks were focused on developing prototypes of all the material and concepts that will serve as the foundation for
the completed project. Those prototypes were then presented to the curator and Grants coordinator who will then
take those prototypes and use them in grant applications for the funds necessary to continue. Further development
and the final completion will now be passed to future Ai Classes!
Designing Media -- Impacting Your Audience
beyond the Eye
When designing a concept for a media project, there are many things to be aware of. As it is important to keep the
audience interested in the product visually and as it relates to sound, the color palette and the choice of soundtrack
will be affecting the audience in other ways as well. For example, color can easily suppress appetites, make the body
physically weaker, and help in creating a positive or negative impression of a product. Colormaters.com reported that
the human eye can see 7,000,000 colors, some of which can strain the eyes. Certain colors and color relationships
can also be eye irritants, cause headaches, and cause mayhem with human vision. Other colors and color
combinations are soothing. Consequently, the appropriate use of color can maximize productivity, minimize visual
fatigue, and relax the whole body.
As interactivity develops, greater demands are made on different facets of the whole that were never made before.
On such area is that of audio. As technology has developed, the ear of the audience has become more and more
critical. From the days of “Vitaphone” in the first “talkies” to today’s Dolby 7.1 Surround Sound, creating believable
audio to go along with the visual aspect has been a top priority. For the cinematic pioneers, the goal was keeping the
audio in sync with the film. Now, the goal is proper recording and mixing of ADR, Foley, music, and other audio
elements. As interactivity develops, realism becomes more and more the chief goal. It is very likely that audio
recording and playback will begin to focus on binaural quality as media becomes more immersive. We desire to hear
audio in media just as we hear audio in the world around us. And why not? If media becomes more like the real
world, shouldn’t audio be at least equivalent to that? Our focus in research and development in years to come should
be on making sound design modeled after the real world, because media is becoming a very real, very integrated part
of our world.
Hands-On Project Directors 26
Hands-On Project Directors
The Director's responsibilities can be summarized as follows:
• Keep all group members up to date on deadlines by creating a project calendar. The calendar doesn't have to be
completed right way, and in most situations it would be impossible to do so because of the unpredictable nature of
interactive projects. However, there are general objectives (such as the completion of the project) for which dates
should be set and posted early. Other details can be filled in as the project progresses.
• Together with the team leaders, analyze any ideas that team members or the client have for the project. If the
ideas are worth implementing, the Director is responsible for rearranging the team's assignments to include the
new ideas. If the ideas are impractical or impossible to include in the project, the Director must make and
communicate that decision.
• Post current tasks for each team (Interactive, Graphics, and Audio-Visual) so that each team knows what they
should be working on at any point in time.
• Stay up to date with the latest developments in the project's general direction to ensure that each team's work is
directed properly and efficiently.
• Communicate with the client and any other involved vendors throughout the development and production process.
The Director must serve as a liaison between the client, any outside vendors, and the development teams. It is
essential for the Director to receive timely and complete reports from the team leaders so that communication
errors are minimized.
• Ensure that project is completed as agreed upon by the team and the client.
Hands-On Interactive Team
The Interactive Team is responsible for creating and integrating a user-controlled interface into the final project as
well as understand the client and end user profile. The team will take the content generated by the Design and
Audio/Video Teams and, utilizing an interactive authoring program such as Adobe Director or Adobe Flash, link it
all together to form a fully interactive presentation or program. The team is also responsible for developing
interactive content and functionality such as games, navigation, and button layout that will be part of the project. The
team is highly dependent on the work of the other teams as the majority of their work is content driven. Although
filler material can be used to build menus and basic navigation, the team must have the overall look and feel from the
design team before final authoring can really begin. The team must also have the content from the Audio/Video team
to place in the project to complete it. Interactive team's work load is mostly focus in phase one and three. Phase one
the interactive team should be obtaining end user information and profiling it and building a basic framework for the
project. In Phase two the interactive team will be focused on building prototypes of the project. In Phase three the
workload picks back up as the team is focused on disc authoring and finalization of the project.
Hands-On Design Team 27
Hands-On Design Team
The Design Team is a vital part of a production and is in charge of creating designs to express a concept. The team
provides a variety of color palettes, fonts, designs, and ways to complete a solid idea. The team creates innovative
designs to help express the main idea given by the director and/or team. The Design Team works side by side with
other teams to deliver an excellent project/production.
The Audio/Video Team is in charged of projecting what the Design and Interactive team delivers through audio and
video. The Audio/Video Team is really dependant of other teams, but it's also independent when it comes to working
together as a team. It is necessary to be familiar with video and audio equipment to be effective and useful to a
greater scale. The team uses a variation of software to accomplish the final product such as, Avid, Final Cut, Motion,
Livetype, After effects, Director, DVD Studio Pro, Newtek's 3-D & Animation with Lightwave. The team must be in
constant communication with the design team to know how the project can improve in order to demonstrate and
deliver an excellent product.
Using Wikibooks and Facebook As Tools In an
Using Wikibooks.com and Facebook.com as tools in an interactive society is a great way of connecting people with
similar interests, not only all over the country, but all over the world. Using them in the classroom creates a new
availability for student and teacher communication. Assignments that are online bring a convenience to the student
because of the accessibility of being able to study or contribute at home or wherever they may choose. These
networks creates a new way of communicating, far different from cell phones, business meetings, or even email.
With tools such as these you can search people, things, subjects, and groups that you want or are interested in. You
can become members of different networks that are interested in the same things as you such as an art group or a
Christian Music group. You can also connect with old classmates, or friends from a long time ago. It is a great way
to emerge yourself in the ever growing Interactive Media.
Presentation Photo Documentary 28
Presentation Photo Documentary
Learning Resources 29
There is no specific text book for this class; however, software posted below is available to students in the AI Class
A listing of software
relevant to the production
of interactive multimedia
(listed in approximate
order of relevance to this
• "Director" 
• "Facebook" 
• "Profcast for Podcasting" 
• Inspiration Project Planner
• "Flash" 
• "InDesign" 
• "DVD Studio Pro" 
• "Youtube" 
• "Flickr.com" 
• "Garage Band" 
• "Light Room" 
• "Lightwave 3-D" 
• "Motion" 
• " Photoshop" 
• Xti 10.1 megpix Still Camera
• "Aperture" 
• "Stitcher with hotlinks" 
• "Technorati" 
• "Visual Composer Pro" 
• "WIKIbook" 
• "Compressor" 
• "Final Cut Pro" 
• "LiveType" 
• "Automator" 
• Blue Screen Keyer - Ultra 2
• Boris Red 4
• Design Resource.com
Learning Resources 30
• Imatronics Interactive
• Live Stage
• Panoramio - Satellite map photos
• Sethgodin - Alexaholic leads
• Vue 5
• Balloon Cam
• Zip Cam
An excellent website that provides online tutorials is www.creativecow.com. Adobe After Effects tutorials are
exceptional at this site.
 http:/ / www. adobe. com/ products/ director
 http:/ / www. facebook. com
 http:/ / www. profcast. com
 http:/ / www. adobe. com/ products/ flash
 http:/ / www. adobe. com/ products/ indesign
 http:/ / www. apple. com/ finalcutstudio/ dvdstudiopro
 http:/ / www. youtube. com
 http:/ / www. flickr. com
 http:/ / www. apple. com/ ilife/ garageband
 http:/ / www. adobe. com/ products/ photoshoplightroom
 http:/ / www. newtek. com/ lightwave
 http:/ / www. apple. com/ finalcutstudio/ motion
 http:/ / www. adobe. com/ products/ photoshop/ index. html
 http:/ / www. apple. com/ aperture
 http:/ / stitcher. realviz. com/
 http:/ / www. technorati. com
 http:/ / www. pixelpops. com/ products/ vcpro. shtml
 http:/ / www. wikibooks. com
 http:/ / www. apple. com/ finalcutstudio/ compressor/
 http:/ / www. apple. com/ finalcutstudio/ finalcutpro/
 http:/ / www. apple. com/ finalcutstudio/ finalcutpro/ livetype. html
 http:/ / www. apple. com/ macosx/ features/ automator/
Adobe Photoshop CS3 and Lightroom 31
Adobe Photoshop CS3 and Lightroom
The gurus at Adobe have been making a lot of changes for their latest Photoshop release. Adobe's acquisition of
Macromedia is sure to give them even more of the market share. One of the more recent additions to the Adobe suite
is Adobe Lightroom. Lightroom was released a few weeks ago, and is great for photography pros. Lightroom offers
features that are found in Photoshop, but focuses on the features that a photographer uses most commonly. The
power of Lightroom is in its ability to "import, select, develop, and showcase large volumes of digital images".
Lightroom is a great Photoshop alternative for those not needing all the features Photoshop offers, has a reasonable
price tag of around $200. The biggest news in the Adobe world is the release of the CS3 suite. Photoshop is the
industry standard in photo editing and manipulation, with Corel coming in as a distant second. New with the release
of Photoshop CS3 there are two distinct versions. Adobe now offers the standard and extended version. According to
Amazon.ca the price of Photoshop CS3 (for Mac) is 772.94 US dollars, whereas CS2 is available now for $599.95.
The added features of the extended version sound amazing. From the Adobe website: CS3 offers "3D and motion
support with the ability to edit 3D content and incorporate it into 2D compositions, paint and clone over multiple
video frames, and more. Comprehensive image analysis with new image measurement and counting tools".
Photoshop CS3 adds the extra edge for professionals in the medical, film, scientific, and engineering fields. For more
info on the release specs see []Adobe Photoshop CS3
 http:/ / www. adobe. com/ products/ photoshop/ ps_psext_info. html
Final Cut Pro
Final Cut is a user friendly non-linear editing software for video and audio. It allows you to edit both HD and SD
formats. Inclusive of this editing tool, it has different video transitions, video filters, video generators, audio
transitions and audio filters. All of these can be found in the effects panel. Another great feature that the designers
added was the Master Templates. The user would be able to explore pre structured templates in the form of text,
backgrounds, shapes in SD and HD. This tool also give the user the option to batch capture and log the various
projects. The user can also export the finish edited products to different sources.
The Adobe Flash platform (formerly part of Macromedia until acquired by Adobe in 2005) was initially known as
Shockwave Flash and is often called simply Flash. Flash refers to both the Adobe Flash Player and to the Adobe
Flash authoring software. The Flash Player is a client application or plug-in available in most common web
browsers. There are also versions of the Flash Player for mobile phones and other devices. Since its introduction in
1996, Flash technology has become a popular method for adding animation and interactivity to web pages. Flash is
commonly used to create animated advertisements, various web page components, to integrate video into web pages,
and more recently, to develop Internet applications.
According to a Millward Brown survey, conducted June 2007, Adobe claims Flash reaches 99.3% of desktop
Flash Video Technology
Flash is increasingly used as a way to display video on web pages. Flash video technology is used as the basis for
many popular video sites, including YouTube and Google Video. One major flaw with multimedia embedded
through Flash, however, is the considerable performance penalty placed on playback hardware as compared with
other video playback systems such as Apple’s QuickTime or Windows Media Video. Many files that drop frames
and skip audio when embedded within Flash may play without any issues using other formats on the same hardware.
However the next version of the Flash player will include MPEG-4 support which could significantly increase video
Motion is a Apple software application that is used to create and to edit motion graphics. The latest version is Motion
3 and it comes with the Final Cut Studio 2.
- Double Click on Motion Icon - Welcome screen appears - Select Start a New Project - Select NTSC DV - in the
project preset Menu Setup
- File Browser
All media is access here
Import files, drag drop, file import
Search for various files
Preview all images (gives you all the relevant information about the project.)
For tutorials on motion you can access it through http://www.motionsmarts.com/tutorials.html
Macromedia Director is the proven multimedia authoring tool for professionals. Director combines broad media
support for media types, ease of use, high-performance, and an infinitely extendible development environment to
deliver rich content and applications for CDs, DVDs, kiosks, and the Internet. Director MX 2004 offers powerful
new features, including two scripting languages, DVD-Video support, cross-platform publishing, and Flash MX
2004 integration. []
4.5 out of 5: "Macromedia Director is the King Kong of interactive multimedia authoring programs! You'd have to
search a lot of jungles to find any other authoring program that has as many features as Macromedia Director." -
Merrily Miller and David Rosenblatt. MacDesign.
Create accessible content for people with disabilities. Deploy on CD, DVD, or corporate intranets—or to over 300
million web users with Adobe Shockwave Player. Expand your creative possibilities by incorporating new, powerful
DVD functionality, which lets you embed, control, and play back DVD-video within multimedia projects. Extend in
any direction with Director's powerful Xtras plug-in architecture. Xtras let you extend the authoring environment and
playback engine in nearly limitless ways. Use third-party Xtras or write your own to control external devices, such as
joysticks and cameras, and perform sophisticated operating system-level tasks. Make content more engaging by
incorporating most major media formats including DVD-Video, Windows Media, RealMedia, QuickTime, and
Macromedia Flash, as well as audio, bitmap, and 3D formats. http:/ / www. adobe. com/ products/ director/
 http:/ / www. adobe. com/ products/ director/
DVD Studio Pro 34
DVD Studio Pro
• 1. Desktop publishing: 1980s - Pagemaker – Reliable/affordable, personal computers
• 2. MIDI & sequencing1990s – Studio Vision/Personal Composer, Finale
• 3. Desktop audio: 1996 – Protools, 100 MHz processors
• 4. Desktop video: 2003 – Premiere, 2 GHz processors, cheap hard drives & RAM, consumer DVD cameras,
affordable/reliable/easy DVD burning
• 5. Desktop virtual reality – multiprocessor PCs, the end of the information age
• 1. ROM: Read only, like CD but much more storage.
• 2. -R: 2 kinds (General/Super drive & Authoring/Professional drive Pineer DVR-S201)
• 3. -RW: Same as -r but read/write.
• 4. RAM: Multisession, but won't play in most drives so is not recommended
• 5. +R & +RW: Won't record in a superdrive, but plays in most drives AFTER recorded.
• 6. Double sided
• 7. Double sided double density Vrs Blueray
• 8. DVD Hybrids: Video and Data
• 9. DVD audio: much greater capacity AND higher quality audio. DVD Pro - No
Things to Know:
• 1. Tracks - 99 maximum
• 2. Angles - 8 maximum
• 3. Menus - still or motion - a total file size of no more than 1 gig.
• 4. Buttons - 36 total on 4x3, only 18 on 16x9 video
• 5. Slideshow - maximum of 100 images in one show
• 6. Audio: AIFF, WAV, SDII, MPEG-1, AC3 - all OK in Studio Pro
• 7. Subtitltes: up to 32 streams with a maximum of 4 colors
• 8. Scripting: DVD can make decisions (loop x times, play random, create a random button, passcode protect a
• 9. Region coding: 9 total. Don't use them. Not on DVD -R. 1=US, 2=Europe, 3=Orient, . 8=special purpose
DVD Studio Pro 35
Help info you won’t find in Books:
• 1. A one-off disc is NOT the same as one pressed from a glass master.
• 2. No longer necessary to use digital tape masters.
• 3. There is no such thing as a one-off disc that is 100% reliable. The combination of blank media brand, playback
drives, and authoring software produces more than 20,000 permutations.
• 4. Copy protection: CSS or Macrovision (APS) prevents copy to VHS tape.
• 5. Info Source: DiscDoctor.com
• 6. Double sided duplication is now cost effective
• 7. DVD/CD ROM double format discs duplication can be located with difficulty.
• 8. Don't create a track, slideshow or menu that you may not require - can't be deleted consistently.
• 9. Improve reliability by playing a 1 second video track, rather than a menu, first.
• 10. 3. Be sure your content will fit. Encoding quality determines maximum size. Don't plan on more than 80
minutes (not including slideshows, menus, ROM data, etc.) on a 4.7 gig DVD.
Terminology to Impress Your Friends:
• 1. GOP: MPEG group of pictures is 15 frames. Markers go ONLY on GOPs.
• 2. VOBU: Video group of objects - usually 2 GOPs - .4 to 1.2 seconds long. Most common source of burn errors.
• 3. One chapter = A program
• 4. A story = a chain of programs (chapters)
• 5. VTS" video title set: maximum of 99 on any single video DVD
• 1. 4.7 gigs
• 2. 8.5 gigs Sony DRX 820UL-T $90, $3 per disc for under 50 in quantity.
• 3. 100 gigs
Three steps in production (plus three more they don’t’ tell you about)
• 1. Plan
• 2. Author
• 3. Encode
• 4. Duplicate
• 5. Label
• 6. Packaging
Still Image Formats:
• Photoshop, Tif, JPG or TGA at 72 DPI (plus 6 other formats, if you care)
• Multiplexed into MPEG-2 stills
• To avoid square pixel, rectangular pixel distortion:
Create at 720x540, resize to 720x480 (don't bother to crop 6 pixels from 486)
• An exception for Pros: Create at 640x480 and stretch up to 720x540 to accommodate thin lines that stretch
horiznontally, but not vertically)
DVD Studio Pro 36
Use VRB Variable Bit Rate 2 pass of higher
• 1. DVD@ccess
• 2. Widescreen 16x9
• 3. Multilanguage discs
• 4. Subtitles
Issues That Matter:
• 1. Assets
• 2. Tracks, markers
• 3. Layered Menus
• 4. Overlay Menus
• 5. Slideshows
• 6. Finishing: first play, hybrids, burn/format
LiveType is text creator in the following paragraphs the basics of this program will be explained. Start out by typing
in the Inspector window in the upper left hand box. After typing in a word, it appears on the Canvas. The Blue Bar
under the text moves the text around, or by just clicking on a letter that letter will move by itself. The start and end
points on blue bar moves the text vertically. A person can create a control point on the blue bar to skew the text by
holding down control then click on the blue bar and choose ‘add control point’. To curve the text hold control then
click on the control point and choose add a curve point. Attributes and text settings are similar to that in Photoshop.
There is two different font types Regular and LiveFonts. In the media browser window on the far right choose the
font tab and choose a font and click apply to change it. To style the regular font a viewer can go back to the inspector
window and change the text in any way that they wish with attributes, effects, style and text. Under the style tab
there are four ways to style the text shadow, outline, glow and extrude. LiveFonts are pre made animated texts that a
user can choose from in the media browser under Livefonts. To change the color of the Livefont the user can simply
go to attributes in the inspector window and change the color where it says color. The texture tab in the media
browser allows the user to put an animated background to the text. When adding textures the texture gets put onto
the timeline below the separated bar, this is so that the user can choose whether or not they want to include it in final
render. The viewer can drag the background on the timeline above the separation bar and that would make the
background automatically render out in final output with the text. The timeline in LiveType isn’t like a normal
editing system timeline. This is because when an animated text or background is dragged out or shortened it makes it
faster and longer in speed. In the inspector window under the tab timing it displays the speed of the layer and the
user can notice as they shorten or lengthen the speed changes. But, this doesn’t apply to anything static. The user can
also slide the layer up and down the timeline horizontally to make it appear earlier or later in the animation. One
very good feature about LifeType is that the preset textures can loop seamlessly. Another cool feature about
LiveFont is that it can have multiple projects open at a time and be able to switch between them with tabs right
above the timeline. The user can also hold down control and click on a track to copy and then paste it on another
project. One more handy feature is that the user can hold down control and click on a track and choose reveal media
browser to find the original source of that track quickly. Some really good free tutorials on LiveType can be found
Product Link: http://www.apple.com/finalcutpro2/livetype.html
Newtek's 3-D & Animation with Lightwave
One of the industry leading software for motion graphics is Lightwave. Maya monopolized character animation (for
film, cartoon, etc.), but most professionals agree that Lightwave is a superior tools for motion graphics like the kind
you see on sports shows and openers for TV programming.
3-D software can be overwhelming on first encounter because the professional tools are more complex than
video/audio editing software and other multimedia software products. The learning curve is well-worth it when you
realize how 3-D expertise can set apart your work in a very competitive job market.
Wikipedia tells us, "LightWave gained fame as the program used to create special effects for the Babylon 5, Star
Trek Voyager and seaQuest DSV science fiction television series; the program was also utilized in the production of
Titanic as well as the recent Battlestar Galactica TV-series, Sin City and Star Wars movies." Most recently though,
Lightwave was used for the special effects and environmental effects in the film, "300."
Quote reference: http://en.wikipedia.org/wiki/Lightwave
External link: http://www.newtek.com/lightwave/profiles/300/index.php
Lightwave is not only used for motion graphics however. It, like Maya, is used to create still images of 3d renders
for use in graphic designs. Graphic artists have been known to utilize the imported image data from Lightwave as
focus points for artwork or for complimentary geometry within a design.
The actual Lightwave program consists of two separate programs that were designed for specific tasks.
Modeler Modeler is the application within the Lightwave package that allows the user to create or manipulate 3D models within a limitless
Layout Layout is the application within the Lightwave package that allows lighting and animation to be added to models that were created within
Canon Still Camera 38
Canon Still Camera
The Canon PowerShot A640 is one of the still cameras that are made available for the MMI students to use for their
(See below link for photograph and product details)
Product Link: http:/ / www. usa. canon. com/ consumer/ controller?act=ModelDetailAct& fcategoryid=145&
Canon Digital Rebel XTi 10.1MP DSLR
The Canon EOS 400D / Rebel XTi digital SLR is the successor to the
best-selling EOS 350D / Rebel XT. Announced in August 2006, it
combines a number of anticipated improvements along with a few
Most people won’t be surprised to learn the 400D / XTi now features a
larger 2.5in screen and Canon’s Picture Styles, but following the earlier
EOS 30D, many equally expected the new entry-level body to employ
the same sensor as its predecessor.
Canon Digital Rebel XTi
But instead of re-using the 350D / XT’s 8 Megapixel sensor, Canon’s
developed a brand new 10.1 Megapixel CMOS sensor for the 400D / XTi. This makes it Canon’s highest resolution
digital SLR with an EF-S lens mount to date.
In addition the EOS 400D / Rebel XTi is the first Canon digital SLR to feature a self-cleaning sensor which shakes
off dust particles. Reference frames can also be tagged to images for automatic removal of more stubborn dust
particles later using supplied software.
Following the design of the Canon 350D, the Canon 400D (Digital Rebel XTi) is very compact, relatively
lightweight, and compromises little on manual controls and in-use performance.
Summary of chages (compared to the EOS 350D / Digital Rebel XT)
- 10.1 megapixel CMOS sensor with improved microlens array, fill factor and lower noise
- EOS Integrated Cleaning System
- Anti-static coatings on sensor surfaces plus anti-dust materials in the camera body
- Separate low pass filter with ultra-sonic vibration
- Software based dust mapping / removal
- Nine point Auto Focus sensor (same as EOS 30D) with F2.8 support
- Continuous shooting burst up to 27 JPEG and 10 RAW images
- Single large, bright, 2.5" LCD monitor with 160° viewing angles (horizontal and vertical)
- Camera settings and adjustment on LCD monitor
- Proximity sensor below viewfinder eyepiece to disable the LCD during composition
- New viewfinder view includes 9 AF points as well as EOS 30D style status bar
- Picture Styles, larger range of image parameter adjustment (same as EOS 30D)
- Improved user interface
- Image magnification available in record review
Canon Digital Rebel XTi 10.1MP DSLR 39
- Histogram available as brightness (Luminance) or RGB (Red, Green, Blue)
- Three settings for long exposure noise reduction (adds Auto option)
- Auto rotation with three options (not recorded, record don't rotate, record and rotate)
- Additional custom functions (magnified view in record review, LCD display at power on)
- Up to 9999 images per folder on storage card
- Automatic storage of setting adjustments (no longer requires a press of the SET button)
- Improved print / share / direct print features
- Lower introductory list price ($100 lower)
Avid vs. FCP
In the world of cinematography and film, two giants have emerged at the threshold of the industry. Founded in 1987,
the nonlinear editing software called AVID, that would soon take hollywood by storm. By the mid 1990's the many
films and dozens of TV shows had switched to AVID, marking the end of cutting celluloid. The program allows
editors to handle their film with greater ease. With the emergence of Apple, Final Cut Pro (part of Final Cut Studio)
has become quite popular with its easier navigation and interface. Most professionals in Hollywood are still doubtful
about the upstart Apple software. However, experts agree, that to choose your editing software, depends upon the
type of project to be produced. There is no right or wrong.
After Effects vs. Motion
After Effects is a variable, mathematic-based animation program that has the ability to make use of click and drag
animation. After Effects also has built in scripting abilities through its expressions language to allow for animation
without key frames. After Effects can also make use of many third party plug-ins to extend its abilities to include 3D
animation, advanced particle systems and much more. Although After Effects uses a similar interface to other Adobe
Creative Suite products it does have a significant learning curve; however there are many free training resources
available online to help a new user get started. Both PC and Mac platforms are supported by AE, and at the moment
it's the industry standard for motion graphics editing..
Motion is a loop-based animation program (can also be linear if desired) that primarily utilizes click and drag
animation. The platform is Mac only and it uses various particle systems and basic movement animation to bring
projects to life. Motion also allows keyframing in its simple key frame editor which lets you draw out your
animation curves. Like After Effects, Motion keyframing allows you to edit many different aspects of your
animation such as opacity, position, rotation, and many others. Motion has many time-saving features. Unlike After
Effects, Motion allows you to click and drag your animation into Final Cut without having to render, export, and
import. Motion is also able to send animations to After Effects 7 as a nested composition..
3-D Products 40
Below are links to a few unbiased reviews (is such a concept possible?) regarding a some of the leading 3D and
Animation software products. 3D requires such a commitment to master, that most users become religiously
committed to their product. It's rare to find someone who is qualified to make a fair comparison of competing
These gallery links might interest students considering a commitment to 3D learning http:/ / forums. cgsociety. org/
3D models can be viewed and downloaded from dozens of excellent sites: http:/ / www. 3d02-ae. com/
The Society of Digital Artists provides
an excellent technical comparison of
3D tools for those already using a
product. http:/ / wiki. cgsociety. org/
Article Sources and Contributors 41
Article Sources and Contributors
Advanced Interactive Media Source: http://en.wikibooks.org/w/index.php?oldid=2267168 Contributors: Adrignola, AiClassBurleson, AiClassEland, AiClassSaliga, AiClassShull, Aiclass,
Cybidude3, Dallas1278, Dapendleton, Derekdbutler, Dmurphree, ElandInteractive, EricD2001, GEisiminger, Herbythyme, Iamunknown, JDelao, Khupza, Mike.lifeguard, Mwilgoru.edu,
Panic2k4, Re-ton77, Stephens2745714Ai, Thereen, Youngbish, ZimmermanAiClass, 65 anonymous edits
A Definition For Interactive Media Source: http://en.wikibooks.org/w/index.php?oldid=2053142 Contributors: AiClassEland, AiClassSaliga, AiClassShull, AiClassSullivan,
Alexandriareynolds, Avicennasis, Brandon111, EricD2001, JDelao, Mwilgoru.edu, 2 anonymous edits
The Future For Immersive Media Source: http://en.wikibooks.org/w/index.php?oldid=1280108 Contributors: AIcraft, Ai Class M Walters, AiClassBeacham, AiClassBurleson,
AiClassCoussens, AiClassEland, AiClassSaliga, AiClassShull, Cybidude3, GEisiminger, Jennydalby, Mwilgoru.edu, Rojas AIclass, Stephens2745714Ai, 1 anonymous edits
A New Challenge: Ethics and Morality for Future Media Source: http://en.wikibooks.org/w/index.php?oldid=2031354 Contributors: Adrignola, Ai Class Brown, AiClassEland,
Amalilsweetchic, Broadwaymelodywise, Cybidude3, Derekapollardaiclass, Dmurphree, GEisiminger, Mwilgoru.edu, Stephens2745714Ai, Youngbish, 5 anonymous edits
Media in Video Games Source: http://en.wikibooks.org/w/index.php?oldid=2053149 Contributors: AIcraft, Adrignola, AiClassHurling, Avicennasis, CommonsDelinker, Cybidude3,
Dapendleton, Darklama, GEisiminger, Mike.lifeguard, Mwilgoru.edu, 2 anonymous edits
Multisensory Media Is About To Explode Source: http://en.wikibooks.org/w/index.php?oldid=2235506 Contributors: AiBurt, AiClassBurleson, AiClassEland, Avicennasis, Benlindsey,
Brandon111, ElandInteractive, GEisiminger, Mwilgoru.edu, 6 anonymous edits
Virtual Experiences: Now More Like Our Real World Source: http://en.wikibooks.org/w/index.php?oldid=2358505 Contributors: AiClassCoussens, AiClassEland, AiClassSaliga,
QuiteUnusual, 1 anonymous edits
Emerging Technologies: Preparing For The Next Job Market Source: http://en.wikibooks.org/w/index.php?oldid=1142740 Contributors: AiClassBeacham, AiClassEland, AiClassShull,
Cybidude3, GEisiminger, Mwilgoru.edu, Tibbular, 1 anonymous edits
Interactive Media Versus Other Kinds Of Media Source: http://en.wikibooks.org/w/index.php?oldid=1272555 Contributors: AiClassBeacham, AiClassEland, AiClassSaliga, AiDunlap13,
EricD2001, Jennydalby, Mwilgoru.edu, 1 anonymous edits
Creating an Interactive, Immersive, Multi-sensory, MultiMedia Project: A Student Log Source: http://en.wikibooks.org/w/index.php?oldid=1280117 Contributors: AiClassEland, AiOvel,
Determining Project Pixel Size for Various Digital Medias Source: http://en.wikibooks.org/w/index.php?oldid=1479492 Contributors: Adrignola, AiClassEland, 1 anonymous edits
How We Did This: A Brief History for One Interactive Project Source: http://en.wikibooks.org/w/index.php?oldid=1479511 Contributors: Adrignola, Mwilgoru.edu
Designing Media -- Impacting Your Audience beyond the Eye Source: http://en.wikibooks.org/w/index.php?oldid=1479491 Contributors: Adrignola, Re-ton77, Stephens2745714Ai
Hands-On Project Directors Source: http://en.wikibooks.org/w/index.php?oldid=1979619 Contributors: Adrignola, AiVincent, Fishpi, Mwilgoru.edu
Hands-On Interactive Team Source: http://en.wikibooks.org/w/index.php?oldid=1479509 Contributors: Adrignola, Aijackson, Dmurphree, GEisiminger
Hands-On Design Team Source: http://en.wikibooks.org/w/index.php?oldid=1979618 Contributors: Adrignola, Fishpi, JDelao
Video Team Source: http://en.wikibooks.org/w/index.php?oldid=2059736 Contributors: Adrignola, Avicennasis, JDelao
Using Wikibooks and Facebook As Tools In an Interactive Society Source: http://en.wikibooks.org/w/index.php?oldid=1479521 Contributors: Adrignola, Mike.lifeguard, Nataliegore
Presentation Photo Documentary Source: http://en.wikibooks.org/w/index.php?oldid=2159294 Contributors: AiClassEland, Xania
Learning Resources Source: http://en.wikibooks.org/w/index.php?oldid=1100570 Contributors: AiClassEland, AiClassSaliga, AiClassSullivan, Brandon111, EricD2001
Adobe Photoshop CS3 and Lightroom Source: http://en.wikibooks.org/w/index.php?oldid=2236830 Contributors: AiClassSaliga, ElandInteractive
Final Cut Pro Source: http://en.wikibooks.org/w/index.php?oldid=1479504 Contributors: Adrignola
Flash Source: http://en.wikibooks.org/w/index.php?oldid=1479505 Contributors: Adrignola, Dmurphree
Motion Source: http://en.wikibooks.org/w/index.php?oldid=2053150 Contributors: Adrignola, Avicennasis, Youngbish
Director Source: http://en.wikibooks.org/w/index.php?oldid=1100530 Contributors: AiClassSaliga, Brandon111, 3 anonymous edits
DVD Studio Pro Source: http://en.wikibooks.org/w/index.php?oldid=1751191 Contributors: AiClassEland, GEisiminger, 7 anonymous edits
LiveType Source: http://en.wikibooks.org/w/index.php?oldid=1100572 Contributors: AiClassShull, EricD2001
Newtek's 3-D & Animation with Lightwave Source: http://en.wikibooks.org/w/index.php?oldid=1472900 Contributors: AiClassEland, AiClassSaliga, Derbeth, EricD2001, QuiteUnusual, Van
Canon Still Camera Source: http://en.wikibooks.org/w/index.php?oldid=1100516 Contributors: EricD2001, Reece
Canon Digital Rebel XTi 10.1MP DSLR Source: http://en.wikibooks.org/w/index.php?oldid=1689318 Contributors: AiClassSaliga, QuiteUnusual, ZimmermanAiClass
Avid vs. FCP Source: http://en.wikibooks.org/w/index.php?oldid=1979611 Contributors: Adrignola, AiMuirhead, Fishpi
After Effects vs. Motion Source: http://en.wikibooks.org/w/index.php?oldid=2053143 Contributors: AiClassSaliga, Avicennasis, Dapendleton, Dmurphree, EricD2001, Reece
3-D Products Source: http://en.wikibooks.org/w/index.php?oldid=2053141 Contributors: AiClassEland, Avicennasis
Image Sources, Licenses and Contributors 42
Image Sources, Licenses and Contributors
Image:MGM01.jpg Source: http://en.wikibooks.org/w/index.php?title=File:MGM01.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMclass01.JPG Source: http://en.wikibooks.org/w/index.php?title=File:IMclass01.JPG License: Public Domain Contributors: AiClassEland
Image:Videographer.jpg Source: http://en.wikibooks.org/w/index.php?title=File:Videographer.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Original uploader was
AiClassEland at en.wikibooks
Image:Vegas02.jpg Source: http://en.wikibooks.org/w/index.php?title=File:Vegas02.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMclass02.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMclass02.jpg License: Public Domain Contributors: AiClassEland
Image:REDcamera.jpg Source: http://en.wikibooks.org/w/index.php?title=File:REDcamera.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:JonathanSlide.jpg Source: http://en.wikibooks.org/w/index.php?title=File:JonathanSlide.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola,
Image:IMG_o2661.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_o2661.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMG_0116.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_0116.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:Eland007.jpg Source: http://en.wikibooks.org/w/index.php?title=File:Eland007.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:0106.jpg Source: http://en.wikibooks.org/w/index.php?title=File:0106.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: AiClassEland, Koavf
File:Psp.svg Source: http://en.wikibooks.org/w/index.php?title=File:Psp.svg License: GNU Free Documentation License Contributors: Mistman123
Image:AmerFlag.jpg Source: http://en.wikibooks.org/w/index.php?title=File:AmerFlag.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:VideoCylinder__.jpg Source: http://en.wikibooks.org/w/index.php?title=File:VideoCylinder_.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola,
Image:0108.jpg Source: http://en.wikibooks.org/w/index.php?title=File:0108.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: AiClassEland
Image:IMG_00152.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_00152.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMG_00176.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_00176.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMG_02360.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_02360.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0686.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0686.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0569.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0569.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0684.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0684.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0586.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0586.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0601.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0601.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:ELA_0607.jpg Source: http://en.wikibooks.org/w/index.php?title=File:ELA_0607.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
Image:IMG_02588.jpg Source: http://en.wikibooks.org/w/index.php?title=File:IMG_02588.jpg License: Creative Commons Attribution-Sharealike 2.5 Contributors: Adrignola, AiClassEland
File:Canon Digital Rebel XTi.jpg Source: http://en.wikibooks.org/w/index.php?title=File:Canon_Digital_Rebel_XTi.jpg License: GNU Free Documentation License Contributors: Sujit kumar
Image:CGimage.jpg Source: http://en.wikibooks.org/w/index.php?title=File:CGimage.jpg License: unknown Contributors: Society of Digital Artists
Creative Commons Attribution-Share Alike 3.0 Unported