INSTRUCTIONAL MATERIALS IN

INTE 30043 MULTIMEDIA

COMPILED BY:

PROF. DON LENARD E. PESCADERO

 OVERVIEW OF MULTIMEDIA

The course introduces to the student the fundamental concepts, principles, and practices of
Multimedia development, and tools that shall enable to develop it. Specific topics include an
introduction to Multimedia, Digital Design, Digital Music Creation, Basic Filmmaking and
Multimedia development. This course will train students in understanding the principles,
concepts, and practices in building a Multimedia System and shall aid the student to understand
how this is accomplished and use each technology properly. It shall introduce different software
for the development of Multimedia Systems.
Students are expected to learn and put into practice Multimedia principles and concepts by
creatively developing individual media and “mix” it altogether to develop a relevant Multimedia
System. At the end of the term, students shall understand the fundamental concepts of
Multimedia, how it works, the people involved, and its different types and approaches. The
students shall also understand the concept of various authoring tools. Students are required to
present their Multimedia title in a fun learning experience.
Table of Contents

OVERVIEW OF MULTIMEDIA................................................................................................................ii
COURSE OUTCOMES...........................................................................................................................iv
Lesson 1 Introduction To Multimedia................................................................................................1
Lesson 2 Multimedia Concepts...........................................................................................................1
Lesson 3 Digital Design........................................................................................................................6
Lesson 4 Sound Editing and Design..............................................................................................14
Lesson 5 Developing Multimedia Using Authoring Tools.........................................................22
Lesson 6 Developing Interactive Systems Using Authoring Tool Scripts............................31
GRADING SYSTEM...............................................................................................................................34
References:............................................................................................................................................34
COURSE OUTCOMES
1. Describe the key concepts in current multimedia technology.
2. Stimulate creativity, innovativeness, teamwork, honesty, integrity, and time management
in all projects presented.
3. Be familiar with various tools for designing and developing Multimedia titles.
4. Apply various tools in the design of multimedia titles.
5. Develop and deliver effective presentations and short film production.
6. Develop skills on effective delivery of message using a blend of various media.
 Lesson 1 Introduction To Multimedia

Learning Outcomes

At the end of the lesson, students will be able to:

1. Define the term multimedia

2. Discuss the multimedia systems

What is Multimedia?

Multimedia can have a many definition these include:

Multimedia means that computer information can be represented through audio, video, and
animation in addition to traditional media (i.e., text, graphics drawings, images).
A good general definition is:
coherent
Multimedia is the field concerned with the computer-controlled integration of text, graphics,
drawings, still and moving images (Video), animation, audio, and any other media where every
type of information can be represented, stored, transmitted and processed digitally.

A Multimedia Application is an Application which uses a collection of multiple media sources

e.g. text, graphics, images, sound/audio, animation and/or video.

Hypermedia can be considered as one of the multimedia applications.

People in multimedia Systems

Multimedia Systems Multimedia systems are designed by a team of people who specialize in a
particular field, For example: graphic designers, system designers, content authors, managers,
animators and a job for each media type. Each works on a different part of the project.
Multimedia systems require careful planning.

Key Job descriptions Content Providers System Designers Project Managers Technical Staff

Content Providers Provide material for the multimedia product (for example: text, graphics,
animations, audio tracks etc.) Generally skilled in their field, but may not have any technical
skills in hardware or software areas.

System Designers Plans and organizes the hardware and software required for the multimedia
project They may also work as the project manager or as technical support.

Project Manager Organizes the scheduling of the various components of a multimedia project,
by ensuring each component meets set deadlines.

Technical Staff Include artists and technicians who edit the graphic and video material into an
appropriate format for presentation. This may include layout designers, graphic artists &
designers, as well as design personnel who work to develop an overall aesthetic and theme to
the product. This group may also include content providers.
Major areas of Multimedia Use Education and Training Leisure and Entertainment Information
Virtual reality and simulation

Education and Training Maintains students interest Learning new skills from interactive media,
games etc. assists retention of knowledge Explanation of complex concepts can happen easily
due to video demonstration Training can happen at convenient times Accesses a wider range of
ability levels Cost effective

An Architecture for Multimedia Systems

The architecture of multimedia system may be described as a four-level hie

rarchy. In line with concepts developed in conventional layered systems such as the OSI and
Internet, each layer performs a specific function and supports the function performed in the layer
above. The four-layers (lowest (bottom) layer first) of the architecture, known as the RT
architecture (Real-time information handling), are:

Network Subsystem (Layer 1)

-- This layer takes care of the functionalities up layer 3 in the OSI model. Network specific
functions depend on the technology used in this layer. Essentially this level provides a possible
connection through a network with a specified bandwidth and error probability as supported by
the underlying technology.

End-to-End QoS Control (Layer 2)

-- This layer maintains the connection between the source and destination and can be
conceptually viewed as a single connection -- even though there may be physically many more.
Each connection is managed to ensure that a given Quality of Service (Qos) is maintained.

Media Management (layer 3)

- This layer provides generic services to applications in so far as media management is

concerned. A primary functions is synchronization across the media.

Application (Layer 4)

-- The direct interface with the user. The application will also interface with the operating
system, if required -- for example calls to storage media or specific library functions
(subroutines).

Basic Filmmaking Concepts

Composition Basics

• Composition deals with the arrangements of things in the frame.

• In film, everything the viewer sees needs to be arranged inside the
frame. This creates meaningful relationships between the subjects.
• The points is to achieve a balanced, aesthetically pleasing, unified,
harmonious whole.
Don’t put your subject in the middle.
• Everyone’s instinct is to put the subject of the in the center.

It is actually more pleasing to put the subject off to one side.

You see this in film and TV all the time.

The previous shots follow a guideline called the rule of thirds.

Don’t put your subject too low in the frame or you will have too much room above their head.

Don’t put your subject too high in the frame or you will have too little room above their head. It
will feel cramped.

Vary your shot types.

Shot types help tell a story.
Each has a purpose.
• Different types of shots give you more options when it comes to editing.
• It will give your documentary more visual interest
• Don’t shoot every shot in a long shot.
 In this extreme long shot (XLS), we know
where the people are, but nothing about
them.

This long shot (LS) provides context. We

know
this is a dancer and where she is; in the
studio.
We can also still see some details about
her.

Close ups (CU) are for emphasis.

Here we see the boys expression.
We don’t know anything about
where he is, but we see the
emotion on his face very clearly.
Look for parts of your documentary
that would help the viewer feel the
emotion of a subject and shoot that
in a close up.
When you compose a shot, make sure that
there is a clear subject.
• Don’t make the viewer guess what they
are supposed to be looking at. You should
direct their attention.
• This can be achieved via the use of
• Color • Contrast • Line
• Size • Placement in the frame • Shape

This shot has no focal point/dominant.

It is too busy and there is nothing that
is commanding our attention at the
expense of everything else. The
viewer doesn’t know what to look at.

Just making sure that one element sticks

out, here with color, you can ensure that
the viewer is not confused as to what to
look at.

Camera Angle

Camera angles influence how we interpret the material we see.

• Most shots are taken from eye level. This helps create empathy, since it is as though we are
there, seeing what someone would see if they were in the scene.
• However these are not always the most interesting or dramatic. Sometimes you should use a
high (camera low but looking up) angle, and sometimes a low (camera high but looking down)
angle.
• A high camera angle means that the camera itself is low but it is looking up
• This makes subjects look
dangerous, powerful, or imposing
• A low camera angle means that
the camera itself is high, but
looking down
• This makes subjects look weak,
powerless, unimportant, or
diminutive.

Subjects that are weak or vulnerable are

sometimes shot from a high camera
angle to emphasize their state.

Establishing shots

• It is a good idea to make

sure you let your audience
know where the action is
taking place. You do this via
an establishing shot. It let’s the
audience know where and
when the event is.
Here we know
that the action is
taking place
during the day at
a coffee shop.

Here we know
that the action is
taking place in a
large city at
night.

Technical Settings
• Unless you have done this
before and understand the
technical issues in film, use the
following settings on your
phone or camera
• Resolution: 1920x1080
• Frame rate: 30 (29.97) FPS
• Know that video files are big. Very big. You will need to copy them to a laptop or external hard
drive frequently.
Lighting
Lighting is one of—if not the most—important factor in film.
• There are two factors to consider when dealing with light:
• Practical and aesthetic
• You need enough light so that you can see your subject properly. This deals with what is
called exposure.

If there is not enough light, it is called

underexposed. You can’t see your
subject clearly.
Underexposed

If there is too much light,

it is called overexposed.
You can’t see your subject
clearly here either.

Overexposed

Don’t shoot your subject

against an open window. It
will likely be underexposed.

This is a tripod. Use

one. It is very
uncommon to
see an entire film
shot handheld. It is
visually
disconcerting.
Tripods and mounts
for cell
phones.

Camera movement
For your purposes, it is generally better to leave the camera still. If you have to move the
camera make your movements slow or they will be disconcerting to the viewer. Camera
movement can add a degree of visual interest, however, so if you need to do it here are some
guidelines.
• A pan moves the camera left and right. It is good for following action where you don’t want to
make an edit.
• Set up your action so that the camera follows the person from the front so you can see their
face(s).
• Zooms
• Don’t do it. It is extremely uncommon in film. It is a highly visible technique that draws attention
away from your subject.

Audio
• Audio is just as important as your video. If your audience can’t hear, they will likely lose
interest faster than if the video isn’t great.
• Without a microphone, stay under 6”
• Ambient noise is the naturally occurring noise that goes on in any given space. Pay attention
to ambient noise that might interfere with your recording. Common things are:
• Fans
• Ventilation
• Noisy rooms
• If any of these are present, move somewhere else.

Shooting tip
• When you start a shot, let the camera run for a few seconds (5-10) before you start the action,
and then a few seconds after the action is finished. This will make your editing a lot easier.
• If you are interviewing a person, ask them the question and then tell them to count silently to
themselves to 5 then answer. It allows you more time to make edits and include transitions.
Legal Issues
• If you are going to interview anyone, you need to have them sign a video release form for legal
purposes. They are available on the Ethics Institute site.
• Most music is owned by someone. They have the copyright to that music and you can only use
it with permission. You will need to use music that is not copyrighted. There are many sites that
you can find royalty free music on.
• The same thing applies to images you may find on the Internet. Make sure you are using
images that are not copyrighted.

Editing
• You can edit using any tool you are familiar with. This may include:
• Windows Moviemaker
• iMovie
• Adobe Premier
• Editing can be time consuming when done properly. Make sure you start early to allow for
feedback and revisions.

Activities/Assessment

Make a simple video presentation about topics below. Maximize your resources.

1. What is multimedia and what is the importance of multimedia?

2. Summarize the topics in this lesson.
 Lesson 2 Multimedia Concepts

Learning Outcomes

Discuss the concepts of multimedia.

Discuss multimedia tools used.

THE FIVE STEPS FOR MULTIMEDIA PROJECT MANAGEMENT SUCCESS

1) Initiating a multimedia project

Every project needs to start somewhere. We work with clients to discuss three important
elements for every project:
Project vision
Project budget
Project timeline
In order to provide accurate estimates, we start to gather the information we need to provide
options that fit these three criteria. This way we can set expectations while planning out a way to
deliver the results you need.

2) Pre-production of Your project

You can't just jump right into a project and expect that you'll be ready. The pre-production step
allows us to prepare for a project and lay the groundwork for production. Here's a list of some of
the things we need to do in order to be ready:
Decide on shot purpose and style
Plan and prepare the set design
Hire talent and decide on wardrobe
Set a production timeline
Create a shot list
Determine final details for asset delivery
It sounds like a lot, but planning these things out ends up saving a lot of time and helps ensure
that project shoots go as smoothly as possible.

3) Production of Your multimedia project

After plenty of planning and information gathering, it's time to make the proverbial magic
happen. Of course, production is more than just taking shots or working on CGI. There's an
element of adaptability that always comes into play, regardless of what the project is for. Our
detailed set lists and plans give us the structure we need to capture footage, but our team has
to be ready to expect the unexpected.
Things happen on shoot day. The lighting can change. The weather may not be in your favor.
You may like how certain images turn out and want to change focus to those. These are all
things that can alter the timeline. The key is to be adaptable to situations so that we can still
provide tremendous results. When it comes to client requests, we try to maintain
communication. That way there's an open dialogue about how changes can affect the scope of
the project. Plus, extra preparation back in the past two steps make it a lot easier to adapt to
changes.

4) project Post-Production
There's always more work to do after shoot day. Once we have all of our assets, we have a
specific step for post-production. This phase is critical for success and can take as much time or
more than the production step, so it's critical that everyone know how much time may need to
be invested in the process. Post-production is necessary to make sure that every asset is ready
for the world to see and shouldn't be rushed. However, our team can provide temporary
solutions if you need some results right away. The key is meeting both side's needs while giving
the project the time it needs to succeed.

5) End of Project
Even at the end of a project, the project isn't over. Whether or not there were any changes
throughout the project, we review finalized assets with the client to make sure that they're up to
their standards. Since changes to the project and budget can happen, our team frequently
communicates with you so that you are updated with the progress of the project. This way you
know what to expect and won't be surprised by unforeseen changes or differences in the cost.

What is an Authoring Tool?

An authoring tool assists you in creating digital content. The tool could be something as simple
as Google documents, or as complex as a video production suite.
In the context of learning and development, an authoring tool commonly refers to software that
helps to create elearning and other digital content. The main job of an authoring tool is to make
developing content more efficiently, and open up possibilities that would be infeasible, or too
time consuming to develop without a dedicated tool. A simple example would be adding
hotspots to an image. Most elearning authoring tools allow you to do this in a few clicks, but to
code this functionality on a case by case basis would take hours.

Different Types of Authoring Tools you May Come Across

It's useful to put authoring tools into broad categories. whilst not every tool will fit neatly into one
of these categories and, increasingly, the lines between authoring tools, learning management
systems and other applications are becoming blurry. In reality, these systems should be working
together to increase the overall efficiency. The information below will help to define the main
purpose of a tool compared to your requirements.

eLearning Authoring Tool

eLearning authoring tools have been popular for the last decade, and usually offer the ability to
develop slide based elearning with interactive elements. Generally these tools will allow you to
output your content to multiple formats like HTML5, SCORM and ePub.

Video Capture and Editing

These tools allow you quickly and easily capture and edit software simulations and other assets
into professional looking videos. You can add annotations and other cool looking features, and
even add internal assessments, quizzes, and knowledge checks. Often videos are created in
these tools and then embedded in a course developed in an eLearning authoring tool.

Integrated Learning Platforms

These platforms have become increasingly popular and allow courses to be authored very
quickly by creating a course structure and then building a course by adding images, slides,
audio, PDF’s, quizzes, and other assets. These platforms often allow some form of
collaboration, and host and deliver the created content to learners.There are a large number of
options in this market, some aimed at individual trainers and entrepreneurs, and others at the
organizational level.

Learning Management Systems

Traditionally Learning Management Systems worked hand in hand with e-Learning authoring
tools. The LMS would host the developed content and take care of tracking results, security,
enrollment and a myriad other tasks. We include LMS here because the current generation
often offer the ability to develop content in platform. The native authoring options in LMS can be
lacking compared to tools created specifically for the job, but, if your organization already
licenses an LMS it’s worth delving into what content authoring functionality is on offer.

Microlearning
Microlearning is the new buzzword in the industry and there is often confusion around what it
actually means. It can be defined as content delivered on demand, in bite size chunks of ten
seconds to one minute in length. A good microlearning authoring tool will allow you to create
these ‘learning chunks’ very quickly and easily. As a side note, one of the major criticisms of
‘microlearning’ is that simply splitting a bigger course into smaller pieces is not effective, and
may even reduce learner retention. So be careful that instructional design principles are not
thrown out of the window when designing microlearning.

Choosing the Right Tool for the Job

Now you know what types of authoring tools are out there, let's take a look at how you can
decide on the best tool for the job. This is a tough question, as the best tool, or mix of tools, will
depend on the requirements of your project. Here are seven great questions to ask yourself
when you start considering what types of authoring tools you may need.

1 Do you want to reuse existing content? Many organizations have a huge archive of legacy
training materials. A good authoring tool will allow you to leverage these without reinventing
the wheel.
2 Is Interactivity important? it should be! Interactivity is key to boosting learner engagement,
so the last thing you want to do is spend hours creating a boring presentation style course.
Adding interactivity seamlessly and easily is one of the key features to look out for in an
authoring tool.
3 Are you working with others e.g. SME’s? Sending endless emails and files for review and
losing track of changes is no fun, so look for a tool that allows collaboration and review
inside the platform if this applies to you.
4 Do you need to make awesome assessments? How will you be assessing your learners and
verifying that your learning efforts are achieving the ROI that you want? Most tools offer
standard quizzing and assessment tools such as multiple choice questions. This is great,
but how about engaging your learners by creating smart and interactive assessments with
matching and sorting activities, or mathematical calculations? The right tool can make these
type of assessments very easy to build.
5 How do you need to deliver your content? How you want to distribute your content may
seem like less of a consideration but it is vitally important. Are you planning to print hard
copies of your materials for participants? provide ebooks for your audience? Or deliver your
content via the web or a LMS? The answers to these questions should inform your choice of
authoring tool. A good authoring tool should cover all your deployment bases.
6 Do you need a fast and easy way to publish branded content? Do you want to make your
content available online on a secure website? Then look for a tool that offers a fast solution
to publish branded courseware.
7 Do you want to author content once and reuse it for multiple purposes? Next generation
authoring tools let you create your content once and transform it into print and digital content
products fast. How about creating a single project and simultaneously generating an export
to multiple print and digital file types, AND making the content available on web, mobile, and
tablet apps? Using a tool that supports simultaneous workflow can offer huge time and cost
savings.
What Is Cinematography?
Cinematography is the art of photography and visual storytelling in a motion picture or television
show. Cinematography comprises all on-screen visual elements, including lighting, framing,
composition, camera motion, camera angles, film selection, lens choices, depth of field, zoom,
focus, color, exposure, and filtration.

Why Is Cinematography Important to Filmmaking?

Cinematography sets and supports the overall look and mood of a film’s visual narrative. Each
visual element that appears on screen, a.k.a. the mise-en-scène of a film, can serve and
enhance the story—so it is the cinematographer’s responsibility to ensure that every element is
cohesive and support the story. Filmmakers often choose to spend the majority of their budget
on high-quality cinematography to guarantee that the film will look incredible on the big screen.

What Does a Cinematographer Do?

A cinematographer, also known as a Director of Photography, is in charge of the camera and
the lighting crew. They’re the person responsible for creating the look, color, lighting, and for
framing of every single shot in a film. The film’s director and cinematographer work closely
together, as the main job of a cinematographer is to ensure that their choices support the
director’s overall vision for the film. The cinematographer may also act as the camera operator
on more low-budget productions. Cinematographers who work their way up in the film industry
can join the American Society of Cinematographers, which gives awards for the best
cinematography and allows members to put “ASC” after their name in credits.

6 Duties and Responsibilities of a Cinematographer

 Chooses a visual style for the film. A cinematographer determines the visual style and
approach of the film. For example, a cinematographer on a documentary film determines
whether to use re-enactments, or to rely heavily on photographs and found footage.
 Establishes the camera setup for every shot. A cinematographer decides which types of
cameras, camera lenses, camera angles, and camera techniques best bring the scene
to life. Additionally, a cinematographer works with the script supervisor and, if necessary,
the locations manager to scope out each scene and design what the most effective
vantage points for the camera will be. This helps preserve the intention and scale of the
film.
 Determines the lighting for every scene. A cinematographer uses lighting to create the
right visual mood the director aspires to achieve. They must know how to enhance an
image’s depth, contrast, and contour to support the story’s atmosphere.
 Explores the potential of every location. A good cinematographer understands what
visuals excite the director and can make recommendations about what shots to capture.
 Attends rehearsals. A cinematographer attends rehearsals with the actors since the
blocking for a scene will likely change and evolve. During rehearsals, cinematographers
adjust the camera in response to a particular gesture or action, and as actors adjust their
body positions and blocking, to better fit the framing of the shot.
 Elevates the vision of the director. A good cinematographer will introduce ideas and
concepts the director may not have considered.

21 Cinematic Technique Terms and Definitions

Cinematographers should think carefully about every shot, considering the angle, the light, and
the camera movement, because there is an infinite number of choices they can make. Common
cinematography techniques and terms include:
1 Close-up: a shot that closely crops in on a character’s face or on an object.
2 Extreme close-up: A tightly framed close-up shot.
3 Long shot: a shot showing a character in relation to their surroundings.
4 Extreme long shot: a shot so far away from the character, they are no longer visible within
their surroundings.
5 Establishing shot: a shot at the beginning of a scene that gives context for the setting.
6 Tracking shot: a sideways-moving shot that captures a landscape or that follows a character
as they move. Often used interchangeably with “dolly shot,” though they technically refer to
different motions.
7 Dolly shot: a shot where the camera moves toward or away from a character on a dolly
track. Technically, a dolly shot refers only refers to backwards and forwards camera motion,
though the term has come to mean any camera movement tracking a character.
8 Crane shot: an overhead shot where the camera is suspended in the air on a moving crane.
9 Steadicam: a lightweight camera stabilizer that captures smooth moving shots. A Steadicam
is either hand-held or attached to the camera operator’s body, giving them more freedom to
move while filming.
10 High-angle shot: a shot where the camera is placed higher than a character or object.
11 Low-angle shot: a shot where the camera is placed lower than a character or object.
12 Medium shot: a shot that shows an actor from the waist up.
13 Point of view shot: a shot that shows the action through the eyes of a specific character.
14 Panning: a shot where the camera turns left or right on its vertical axis
15 Tilting: a shot where the camera turns up or down on its horizontal axis
16 Cross-cutting: an editing technique that cuts between multiple events happening at the
same time.
17 Diegetic sound: sound that both the characters and the audience can hear, like dialogue, a
knock on the door, or a telephone ringing.
18 Non-diegetic sound: sound that only the audience hears, like a narrator or the film’s score,
placed into the film during post-production.
19 Key light: the main source of direct light shining on a character or object. High-key refers to
key light that is the main source of a scene’s light; low-key refers to key light that is not the
main source of light.
20 Side lighting: lighting used to illuminate the areas in a scene that aren’t lit by key light.
21 Backlighting: when the main light source comes from behind a character or object.

Activities/Assessment

Why it is important to have a project management in multimedia?

Make your own timeline of your multimedia project.
 Lesson 3 Digital Design
Learning Outcome

 Design Multimedia content based on theories learned.

The 8 Types of Graphic Design

Graphic design uses visual compositions to solve problems and communicate ideas through
typography, imagery, color and form. There’s no one way to do that, and that’s why there are
several types of graphic design, each with their own area of specialization.

Though they often overlap, each type of graphic design requires specific set of skills and design
techniques. Many designers specialize in a single type; others focus on a set of related, similar
types. But because the industry is constantly changing, designers must be adaptable and
lifelong learners so they can change or add specializations throughout their careers.

Whether you are an aspiring designer or seeking design services for your business,
understanding the eight types of graphic design will help you find the right skills for the job.

1. Visual identity graphic design

A brand is a relationship between a business or organization and its audience. A brand identity
is how the organization communicates its personality, tone and essence, as well as memories,
emotions and experiences. Visual identity graphic design is exactly that: the visual elements of
brand identity that act as the face of a brand to communicate those intangible qualities through
images, shapes and color.

Designers that specialize in visual identity graphic design collaborate with brand stakeholders to
create assets like logos, typography, color palettes and image libraries that represent a brand’s
personality. In addition to the standard business cards and corporate stationary, designers often
develop a set of visual brand guidelines (style guides) that describe best practices and provide
examples of visual branding applied across various media. These guidelines help to ensure
brand consistency throughout future applications.

Visual identity design is one of the most common types of design. Visual identity graphic
designers must possess a general knowledge of all types of graphic design in order to create
design elements that are suitable across all visual media. They also need excellent
communication, conceptual and creative skills, and a passion for researching industries,
organizations, trends and competitors.

2. Marketing & advertising graphic design

When most people think of graphic design, they think of designs created for marketing and
advertising.

Companies depend on successful marketing efforts to tap into their target audience’s decision-
making process. Great marketing engages people based on the wants, needs, awareness and
satisfaction they have about a product, service or brand. Since people will always find visual
content more engaging, graphic design helps organizations promote and communicate more
effectively.
Marketing designers work with company owners, directors, managers or marketing
professionals to create assets for marketing strategies. They might work alone or as part of an
in-house or creative team. Designers can specialize in a specific type of media (vehicle wraps or
magazine ads, for example) or create a broad assortment of collateral for print, digital, and
beyond. While traditionally print-centered, this type of design has grown to include more digital
assets, especially for use in content marketing and digital advertising.

Examples of marketing graphic design

 Postcards and flyers
 Magazine and newspaper ads
 Posters, banners and billboards
 Infographics
 Brochures (print and digital)
 Vehicle wraps
 Signage and trade show displays
 Email marketing templates
 PowerPoint presentations
 Menus
 Social media ads, banners and graphics
 Banner and retargeting ads
 Images for websites and blogs

Marketing designers need excellent communication, problem-solving and time management

skills. In addition to being proficient in several graphic design, layout and presentation apps,
they must also be familiar with production for print and online environments. Entry-level
positions in this area are a great way for new designers to learn processes and acquire valuable
skills and experience.

3. User interface graphic design

A user interface (UI) is how a user interacts with a device or application. UI design is the
process of designing interfaces to make them easy to use and provide a user-friendly
experience.
A UI includes all of the things a user interacts with—the screen, keyboard and mouse—but in
the context of graphic design, UI design focuses on the user’s visual experience and the design
of on-screen graphic elements like buttons, menus, micro-interactions, and more. It’s a UI
designer’s job to balance aesthetic appeal with technical functionality.
UI designers specialize in desktop apps, mobile apps, web apps and games. They work closely
with UX (user experience) designers (who determine how the app works) and UI developers
(who write code to make it work).

Examples of user interface graphic design

 Web page design
 Theme design (WordPress, Shopify, etc.)
 Game interfaces
 App design

UI designers must be team players backed by both serious graphic design skills and an
excellent understanding of UI/UX principles, responsive design and web development. In
addition to graphics apps, they need knowledge of programming languages like HTML, CSS
and JavaScript.

4. Publication graphic design

Publications are long-form pieces that communicate with an audience through public
distribution. They have traditionally been a print medium. Publication design is a classic type of
design—think books, newspapers, magazines and catalogs. However, there’s recently been a
significant rise in digital publishing.

Graphic designers that specialize in publications work with editors and publishers to create
layouts with carefully selected typography and accompanying artwork, which includes
photography, graphics and illustrations. Publication designers may work as freelancers, as
creative agency members or in-house as part of a publishing company.

Examples of publication graphic design

Books
Newspapers
Newsletters
Directories
Annual reports
Magazines
Catalogs

Publication designers must possess excellent communication, layout and organizational skills.
In addition to graphic design expertise, they need to understand color management, printing and
digital publishing.

5. Packaging graphic design

Most products require some form of packaging to protect and prepare them for storage,
distribution, and sale. But packaging design can also communicate directly to consumers, which
makes it an extremely valuable marketing tool. Every box, bottle and bag, every can, container,
or canister is a chance tell the story of a brand.
Packaging designers create concepts, develop mockups and create the print-ready files for a
product. This requires expert knowledge of print processes and a keen understanding of
industrial design and manufacturing. Because packaging design touches so many disciplines,
it’s not uncommon for designers to find themselves creating other assets for a product such as
photography, illustrations and visual identity.
Packaging designers may be a jack-of-all-trades or specialize in a specific type of packaging
(like labels or beverage cans) or a specific industry (like food or children’s toys). Their work
requires top-notch conceptual and problem-solving skills in addition to a strong working
knowledge of print and industrial design. They must be flexible to meet the demands of clients,
marketers and manufacturers and be aware of current trends.

6. Motion graphic design

Simply put, motion graphics are graphics that are in motion. This can include animation, audio,
typography, imagery, video and other effects that are used in online media, television and film.
The medium’s popularity has skyrocketed in recent years as technology improved and video
content became king.
“Motion graphics designer” is a somewhat new specialty for designers. Formally reserved for TV
and film, technological advances have reduced production time and costs, making the art form
more accessible and affordable. Now, motion graphics is one of the newest types of design and
can be found across all digital platforms, which has created all sorts of new areas and
opportunities.

Examples of motion graphic design

 Title sequences and end credits
 Advertisements
 Animated logos
 Trailers
 Presentations
 Promotional videos
 Tutorial videos
 Websites
 Apps
 Video games
 Banners
 GIFs
Motion graphics designers begin by developing storyboards and then bring their concepts to life
with animation, video and traditional art. Depending on the industry, a strong working knowledge
of marketing, coding and 3D modeling can be definite assets.

7. Environmental graphic design

Environmental graphic design visually connects people to places to improve their overall
experience by making spaces more memorable, interesting, informative or easier to navigate.

Environmental design is a broad type of design, here are some examples:

Examples of environmental graphic design

 Signage
 Wall murals
 Museum exhibitions
 Office branding
 Public transportation navigation
 Retail store interiors
 Stadium branding
 Event and conference spaces

Wayfinding is a specific type of environmental graphic design that consists of strategic signage,
landmarks and visual cues that help people identify where they are and where they need to go
so they can get there without confusion.

Environmental graphic design is a multidisciplinary practice that merges graphic, architectural,

interior, landscape and industrial design. Designers collaborate with people in any number of
these fields to plan and implement their designs. Because of that, designers typically have
education and experience in both graphic design and architecture. They must be familiar with
industrial design concepts and able to read and sketch architectural plans.
Traditionally, environmental graphic design has produced static print pieces, but digital
interactive displays continue to rise in popularity as a means of creating a more engaging
experience.

8. Art and illustration for graphic design

Graphic art and illustration are often seen as being the same as graphic design, however they’re
each very different. Designers create compositions to communicate and solve problems,
graphic artists and illustrators create original artwork. Their art takes a number of forms, from
fine art to decoration to storytelling illustrations.

Even though graphic art and illustration are not technically types of graphic design, so much is
created for commercial use within the context of graphic design that you can’t talk about one
without the others.

Examples of art and illustration for graphic design

 T-shirt design
 Graphic patterns for textiles
 Motion graphics
 Stock images
 Graphic novels
 Video games
 Websites
 Comic books
 Album art
 Book covers
 Picture books
 Infographics
 Technical illustration
 Concept art

Graphic artists use any combination of media and techniques to create their work as they
collaborate with writers, editors, managers, marketers and art directors across all graphic design
types. They’ll often have a foundation in fine arts, animation or architecture. Overlapping skills
and apps make it possible to find graphic designers who also work as graphic artists and
illustrators (and vice versa).

Use the right types of graphic design for the job

Graphic design is an ever-growing field, and the demand for specialized and skilled designers is
on the rise. When you’re looking for the right person to take on a design job, knowing the
different types of graphic design will help you identify the specialist you need.

12 Essential Tools for Graphic Designers

1. Photoshop
This incredible tool also offers basic features like channel mixing, perspective correction, and
even clone stamp tool. Photoshop is considered one of the best graphic design tools running on
both Mac and Windows. With Photoshop, you get other useful add-ons like one touch
adjustment, cropping, panoramic image option, and so much more.
Photoshop makes photo editing an interesting endeavor. Whether you are a seasoned graphic
designer or not, Photoshop has automatic photo editing options that infuse life to your images,
making you a pro in your field of graphic designing. The Business Print experts use Photoshop
to integrate multiple images and even filter out unwanted objects from the image.

2. Pixlr
A Pixlr editor is a very useful tool for graphic designers who use Photoshop. This amazing tool
not only opens .PSD files but also keeps hold of all the artistic layers.

Pixlr is a great alternative to Photoshop for clients who have straightforward image editing
prerequisites, including such things as crop and resize. This fine tool provides all the
functionalities you need without having to bother about an extra graphic design software license
to uphold.

3. GIMP
Also known as GNU Image Manipulation Program, GIMP graphic design tool is a perfect
alternative to Adobe Photoshop. It incorporates the photo manipulation feature for creating
crystal-clear graphics. The GIMP has a totally customizable interface along with the full-screen
mode that enables you to view and edit the image simultaneously.

This graphic design software has extensive features that provide a unique experience. It can run
on OS X, GNU/Linux, Windows, and other Operating Systems. It is hands down one of the most
excellent graphic design software whose cross-compatible platform provides a strong support.

4. ProofHub – Proofing Tool

ProofHub is a wonderful proofing tool that allows design teams to manage their tasks with zero
hassle. Clients can use this proofing tool to explain or request for minor changes to be made,
such as adding color and shifting texts to the required portion of the design.

ProofHub eliminates the need for using emails, approval or feedback while also reducing the
time the entire process consumes. This online proofing tool allows you to effect instant changes
to your file, add comments, and even highlight some flaws you might have noticed in the design.

5. DesignBold
DesignBold is another user-friendly graphic design tool for creating stunning images within a
specified number of drags-and-drops. It has plenty of design resources including an enormous
library of 12,080++ customizable layouts that will enable you to craft the design elements on
your own.

As an example, DesignBold allows you to create several types of visuals like a logo or a header
to your website content. It is a fast and cost-effective tool suitable for beginners and
professional designers.

6. Illustrator
Illustrator is a fantastic graphic design tool for creating topography, sketches, icons, and other
complex illustrations for videos or mobile. You can use it to create artwork with immaculate
configuration by sketching pixel-perfect shapes. The Illustrator makes designing faster than ever
before.
The Illustrator features numerous plugins for turning a blank page into a seamless looking one.
It has plugins designed for Ai versions as well as a host of features designed for new versions
like Creative Cloud. As an integral part of the Creative Cloud, you can use the Illustrator on both
Mac and desktop.

7. Marvel
Every experienced graphic designer will tell you that prototyping is a fundamental part of design
these days. Marvel is the best prototyping tool that allows you to create anything from scratch
as well as sync all designs directly from your cloud storage.

Marvel Canvas is a great tool for sketching the prototype and adding gestures and conversions
to your design. It has a simplified interface that works well for both advanced UX folks and non-
designers.

8. Inkscape
Inkscape is a specialized tool for vector art enthusiasts as well as graphic designers who utilize
SVG format. It is compatible with Mac, OS, Linux, and Windows.

It is capable of directly editing the source code for a blog, whether or not you are a professional
graphic designer. Inkscape is also simple to use when it comes to making illustrations, coloring
or sketching. The availability of the Ghostscript extension .eps makes it easily readable.

9. Pixelmator
From time to time, graphic designers have to showcase their innovation as far as image editing
is concerned. Pixelmator Pro is an excellent graphic design software featuring simplified editing
tools along with intelligent image editing features. It has an elegant single window interface that
allows you to build up multiple projects using intuitive tools like resizing, moving, and arranging
layers.

Pixelmator Pro also includes an assortment of handcrafted tools whose effect can bring out the
flawless painter in you. Due to the presence of dual textures, these brushes can give an
exceptional dynamic blend to your artwork. Using this image editor tool is a surefire way to
make your design look as beautiful as possible.

10. CorelDraw
Corel graphic design software is great for aspiring designers searching for a graphics editor with
the ability to generate infinite designs with no restrictions. CorelDraw can hone your design
skills because it has some cool productive functions, unlike many other vector editors available
out there.

CorelDraw gives you the utmost control so as to realize fast and dynamic results. This vector
object editing software is comprised of tools like Attract, Repel, Smear, and Twirl. Also available
is the Alignment Guide for positioning objects based on your requirement. It can support apps
like Duplexing wizard, Barcode Wizard, and Bitsream Font Navigator among others.

11. Palleton
We all know that colors can bring life to any design concept. Every designer needs a superior
color scheme to be able to create amazing color combinations that match their unique designs.
Palleton is a fantastic color scheme tool that helps you come up with perfect color combinations
for your artwork.
With Palleton, you will be able to create amazing combinations by choosing your desired colors
on a color wheel as well as selecting from some tried and tested color combinations. These
include Adjacent Colors, Monochromatic, Tetrad, Triad, and Freestyle.

12. Cheetah 3D
The 3D art is gaining immense traction and popularity in the world of design. With the Cheetah
3D hack design toolkit, you will be able to craft unique 3D artwork for your first animated
character or next iPhone game. This impeccable design toolkit is packed with a breath of
extraordinary features for carrying out a myriad of graphic design tasks.

Cheetah 3D design toolkit enables you to create models in 3D with absolute ease regardless of
whether you are new or experienced in the graphic design scope. It comes with a seamless
combination of a powerful UV editor and a node based materials system for creating amazing
pictures that can mesmerize clients, colleagues, and friends.

Activities/Assessment:
 Design Multimedia content based on theories learned
 Lesson 4
Sound Editing and Design
Learning Outcomes
 Apply sound editing to multimedia titles developed.
 Enhance design and incorporate sound and music to film production.

Sound and Music Authoring Tips and Strategies

7 Essential Audio Editing Tips

Whether you are a seasoned sound mixer or a humble beginner just learning how to use
looping
tracks, sound effects, and production music, here are some tips and tricks for putting together
the
perfect audio track.

1. Good Sound Editing Begins With Good Recording

Make sure to use a recording device you are familiar with. Include about a second of silence
both
before and after recording a sound. This will help with mixing later on. Record close to the
source
of the sound with a directional mic for best results.

2. Use Trusted, Intuitive Software

Free software for simple audio editing projects is out there. Many computers also come with
audio
editing software pre-installed. If you have a Mac, look for a program called GarageBand. If
you’re
using a video editing program, you can usually edit audio within that program, too.

3. Set Your Volume Levels Carefully

Import all new sounds into your project at the zero level. This is the baseline. Once a few
sounds
are imported, you can adjust the levels of different tracks to create a spectrum of high to low
level
sounds. Always listen to your project with your computer volume set to a medium level, both
with
headphones and speakers. If something sounds too quiet or too loud, it likely needs to be
adjusted.

4. Always Dissolve or Fade New Tracks

A new sound appearing out of nowhere is very jarring for the listener. Even a short fade-in can
make it seem like the sound is entering more naturally. Use dissolves when one sound is
leaving
at the same time another is entering.

5. Don’t Forget Room Tone and Background Noise

If you are creating an audio track for a scene, it won’t sound natural unless you include a
recording
from the space that the scene is taking place. It may seem silly to record what seems like
silence
in an empty space, but it is absolutely essential for setting a scene.

6. Apply Filters/Effects As Needed

In general, you should only add an effect to a sound when there is a clear source for the effect,
otherwise it may come off as cheesy or disorienting. For example, if a character is walking
through
a tunnel, you can add reverb to the footsteps. You can also add filters to recorded voices to
differentiate voice-over narration or a voice on the phone from regular dialogue.

7. Use Sound Databases for Royalty-Free Clips and Music

Online resources like Story blocks Audio are great places to find high-quality sounds that you
aren’t able to record yourself. Just subscribe and download all the sounds you could ever need

5 Effective Strategies to Make Your Music Sound Better

1. Begin with good writing and structure. ...

2. Know what a song that “sounds good” actually sounds like. ...
3. Take stock of your talents. ...
4. Collaborate. ...
5. Be clear on the genre you're working in and its main components. ...

TOOLS

7 Great Tools For Sound Designers

Sound design is a pretty broad subject in anyones books, in fact one person's definition of what
it involves may differ from another's. Sound design can range from the creation of single synth
presets to entire libraries of custom sound effects.

Whether you are creating bespoke sounds for moving picture, game sound effects or just
putting
together the perfect atmospheric pad patch for a track, there are a number of tools you'll need to
molding truly original sounds.

This list should give you an idea of some of the things that'll be useful to you. Obviously this is
not
a definitive list but represents the main plug-in and software categories you should be thinking
about when starting out.

1 - Spectrasonics Omnisphere
Omnisphere seems to feature in a few of the lists that I produce because it's just so flexible. It
also sounds pretty darn good. When it comes to sound design, synthesis is simply essential so
having a good collection of subtractive, additive, FM, granular and sample-based synths is key'¦
or simply buy Omnisphere.

2 - Fabfilter Timeless 2
Expansive spatial effects are an integral part of sculpting new and exciting sounds. Two tools
you
should have in your sonic toolbox are a solid delay processor and at least one great reverb. This
entry is obviously the former!

There are countless delay plug-ins on the market and many DAWs now include this sort of
effect.
All this said if you are after some truly mind-bending effects, you'll need something that has
some
serious modulation options. Fabfilter's Timeless 2 offers the complex routing you'll need.

3 - Lexicon PCM Reverbs

Arguably the most important part of creating convincing sound scales and effects is putting them
in realistic spaces. To get this part of the process right you'll need a high-quality reverb.

There once was a time when hardware was considered the only option but there are now plenty
of software-based processors that are more than capable of getting the job done. I've been
screaming and shouting about UVI's Sparkverb ever since I reviewed it and in my eyes this
probably remains the best software reverb at a reasonable price.

4 - UAD Moog Filter

'¨As I pointed out earlier, synthesis is one of the building blocks of sound design. A huge part of
this is a set of solid multi-mode filters. Obviously any synth worth its salt will have filters included
but if you plan to filter your audio, a separate filter plug-in is well worth the investment.

5 - Steinberg Wavelab
OK so this one is actually an app as opposed to a plug-in but a good stand-alone audio editor
can
be really useful when tweaking sounds. I believe that this sort of app still ultimately gives you
more control than editing audio in a DAW and gives you the ability to quickly get an accurate
overview of your audio.

6 - iZotope Trash 2
If you like to add some dirt and grit to your effects then you'll need a distortion unit. Your DAW
probably has one and it might be ok but by investing a little bit of cash you can get your hands
on
something much more capable.

7 - Native Instruments Kontakt

It's highly likely that you'll want to manipulate your own samples to achieve the perfect custom
sonic textures. Of course you can use raw audio to achieve this and use insert effects to apply
processing but some things are really only possible when using a sampler.

MUSIC AND SOUND

Music would not exist without sound. Everything musical is made from sound. And yet, the
reverse is not true - there are many sounds which are not musical.

Clearly there is a difference between musical sounds, and non-musical sounds.

We begin, in this first tutorial, by exploring the relationship between sound and music.
This lays the foundation for other tutorials, which introduce the Major scale, as well as all of the
other chords and scales used in music.

By the time you are finished, you will have a solid and practical understanding of how all types
of
music work.

You will also be off to a flying start with advanced activities like improvisation and songwriting.

File type

There are three major groups of audio file formats: Uncompressed audio formats, such as WAV,
AIFF, AU or raw header-less PCM; Formats with lossless compression, such as FLAC,
Monkey's
Audio (filename extension . ape ), WavPack (filename extension .

Frame Rate

Most indie films, music videos, and even commercials these days are shot at 24p, (or 23.976
progressive frames per second). You may or may not want to use this setting – that’s a whole
article in itself, but you absolutely need to be consistent with your frame rate throughout any
given
scene that you’re shooting. This may sound like a no-brainer, but it’s precisely because this
seems
so obvious that you may forget to double check before every take. Not to mention, some
cameras
can get buggy in certain modes and may change to a different frame rate if you’ve turned the
camera off and then on again, or stepped into a different shooting mode. The point is, taking 5
seconds to check this each time will be a lifesaver, as you’ll never get a perfect 24p image from
a 30i video clip that you’ve accidentally recorded, even when using advanced software to do a
clean pulldown (meaning you de-interlance, and re-compress to make it a 24p file).

Here’s an example of film-style motion blur that’s associated with shooting at 24p. As a still it
may
not look ideal, but it can make motion look much more organic:
Advanced Tip: Stay open to shooting more material in different frame rates other than 24p.
Personally speaking, about 90% of my work is shot at 24p, but some of my best looking shots
have been slow-motion (over cranked) or time-lapse (under cranked). If you’re shooting a scene
that is MOS (without sound) or an action sequence, don’t be afraid to try out a few takes at a
different speed – you may end up liking the results.

Shutter Speed

When editing footage that has been shot by another DP, the most most common issue that I’ve
come across is footage that was set to the wrong shutter speed. In fact I’ve had some extremely
good, professional DP’s deliver footage to me that was basically unusable because the shutter
speed was off. This is often because the setting for shutter speed (especially on DSLRs) is often
on a place on the camera that is easy to change accidentally. The other issue that can occur is
that the DP is changing frame rates, but forgetting to change the shutter speed to match (your
shutter speed is dependent on your frame rate). The easiest way to know what your shutter
speed should be is to use the 180 degree rule. In other words, your shutter speed should be
exactly double your frame rate. So for a 24p frame rate, you’ll want to have your shutter set at
1/48. Most DSLRs don’t have this setting so 1/40 or 1/50 will work. Some cameras have the
setting in degrees instead, so you can actually set it to 180 degrees rather than 1/48. This is
ideal if you’re changing frame rates a lot as your shutter speed will always be set properly no
matter what frame rate you’re at.
Shooting at a higher than normal shutter speed can be a great technique for high-action scenes.
All of the motorcycle chase shots in ‘Place Beyond The Pines’ were shot this way:

Advanced Tip: Remember when you were first experimenting with shooting and you would
shoot
at strange shutter speeds all the time? Why not consider experimenting with some more unique
settings on your next shoot. Shooting at a slower shutter speed can look great as an effect or to
simulate a dream-like state, and a high shutter speed is amazing for high action scenes, music
videos, and other scenarios. Personally speaking, there have been some great shots that I’ve
captured that I later wished I shot at a different shutter speed to get an in camera effect that
couldn’t be fully replicated in post.

ISO

If you’re shooting on any compressed format (in other words if you’re not shooting RAW), it’s
crucial that you get this setting right. The same could be said for the other items on this list, but
the reason I emphasize the point with ISO is because most compressed cameras will work
much
better at their base ISO than at settings that stray far from it. For instance my Canon C100 has
a
beautiful 12 stops of dynamic range, but to actually capture all 12 stops I need to be shooting at
the base ISO of 850. Even if I’m shooting a bright exterior shot, I’ll always stick with 850 and just
add ND filters or stop the lens down if I need to. It’s really important that you know your
cameras base ISO. Do your research and figure out what it is, and try to shoot using that ISO as
much as possible. That said, there are times when you’ll need to shoot at a lower or higher ISO
and that’s perfectly fine. Just be aware that it will have an affect on the performance of the
image,
especially as you get really far away from the base ISO.

This is a quick sample image from exposureguide.com showing how grain can start to sneak in
at high ISO’s:
Advanced Tip: Knowing your base ISO is great, but you should also know which ISO’s on your
camera are better than others. For example, on my Lumix GH2, certain ISO’s can be
ridiculously
grainy – far more than they should have been given their relatively low rating. ISO 640 was
particularly grainy and looked much worse than higher ISO’s like 1600. With the GH2 I needed
to
stick with ISO’s that were multiples of 200, otherwise I would have issues. Do some tests with
your camera – cover the lens with a lens cap and shoot a few seconds of black at every ISO.
The
results will tell you which ISO settings you should avoid at all costs!

White Balance

You should always be using manual white balance, and never go automatic. Auto white balance
will change from take to take and make matching your shots in post a nightmare. Even if
you haven’t moved your camera an inch, the lighting may change slightly in the background, or
an actor enters the scene with a shirt that throws off the cameras automatic sensor. The only
way to get reliable and consistent results is to always have your camera set manually. In
general
you’ll want to use the ‘Kelvin’ setting and dial in 5600 for exteriors (lit by sunlight) and 3200 for
interiors (lit by warm, orange artificial light sources). There are situations where you’ll have
mixed
lighting in the shot, so don’t feel like you need to either be at 5600 or 3200. Play with the
settings until they look right, but make sure whatever setting you land on, you maintain
throughout your scene. If you’re shooting on a DSLR or any format that shoots highly
compressed video, you need to be extra sure that you’re nailing your white balance. You can
change it around a bit in post, but unless you’re shooting RAW, this look will be baked into your
image. This image was taken from the film ‘Traffic’, where the white balance was intentionally
pushed to be very cold looking for stylistic effect:
Advanced tip: Next time you’re shooting a scene that’s well lit and technically set up correctly,
but just doesn’t ‘feel right’, try messing around with your white balance. It may or may not
change
your mind on the image, but just like how making a picture black and white can revitalize it,
making
your image warmer or cooler than it should be (in camera) can open a world of possibilities.
Sure
you can do this in post and typically you want the most balanced image to color grade with, but
if
you know you want to go for a really cool look for example, why not get it in camera? Your final
image will look that much better as you won’t have to stress the codec as much when color
grading.

Aperture

Like the shutter speed setting, Aperture is most often controlled by a dial on your camera and is
therefore at risk for getting knocked around and changed by accident. Some cameras have an
option to lock in your settings, but unfortunately most don’t – so be sure that you always double
check your aperture before every shot. Unlike some of the other settings on this list, your
aperture
(or F Stop) is regularly changed throughout your shoot, not just set at the beginning and left for
the entire scene. You might be shooting a closeup and are set to F2.8 to get a nice shallow
depth
of field, but then go to shoot the wide master shot and need to be at an F5.6 to get everything in
focus. The idea here isn’t to just make sure that you maintain the same F-stop, but rather
to be constantly checking it, making sure that your exposure is consistent through every
shot in the scene. You can shoot every shot in your scene at a different F-stop and it will look
great, as long as your lighting is adjusted to make sure the exposure is correct across all shots.
This is an example of a shallow DOF shot that I captured last year:
Advanced Tip: If you come from a DSLR or any other large sensor camera, you’re used to
having
the luxury of achieving shallow DOF whenever you’d like, and are probably shooting that way
more often than not. But shooting with a shallow DOF can sometimes make things too easy,
making the background, set design, and other elements less important. Try to challenge
yourself
by shooting some shots or scenes with a deep DOF and see how it makes you to develop your
eye in different ways. In most unplanned shooting situations, shallow DOF is going to look best,
but when you’re forced to make it look just as good when everything is in focus, you’ll start to
think
about designing and framing your shots in a whole different way.

Honorable Mention

The above 5 settings are the most important to have on your mental checklist. Before every shot
you should be double checking those settings to make sure you don’t run into major technical
issues with your camera once you get to the editing room. That said, there is an honorable
mention that I’d like to add to this list which is your picture profile. Almost every camera has
a picture profile setting – your camera might have a mix that looks something like the following:
standard, high contrast, cinematic, sepia, black and white, etc. Always make sure that you’re set
to the most neutral setting (usually called standard, natural, or something similar), and don’t opt
to use any other setting. To go a step further, you should always dial back specific settings
within
the picture profile to as low as possible. For example you may have your camera set to a
standard
or natural picture profile, but you still will want to fine tune the profile to reduce the amount of
contrast, saturation, noise reduction, and sharpness being applied in camera. Every camera is
different, but as a general rule you’ll probably want all of these settings turned down as low as
possible. While it may seem advantageous to have these settings working for you in camera,
you’re better off making these adjustments in post. The idea is to get an image off of your
camera
that is as ‘raw’ as possible. I can assure you that reducing noise in post for example, will always
give way better results than in camera.
The only reason picture profile wasn’t included in my list was because your camera should
always
be set this way and never changed. All of the other settings will change from scene to scene.

Taking It A Step Further

When you start shooting professionally it’s crucial to know the above settings like the back of
your
hand. But like I’ve been alluding to in the ‘Advanced Tip’ sections of this article, there is a time
and a place to break these rules. As with anything else though – you need to know the rules to
break them.

If you’re constantly shooting with the most technically perfect settings, you will always end up
with
useable footage. But sometimes falling into the trap of having your image look too perfect
can be a bad thing and cause your final image to look clinical and sterile. Each of these
settings should be thought of as an opportunity to set the look of your scene just the way you
want
it. Before you set your white balance, think about the mood of your scene. Do you want it feeling
warm and inviting, or cool and unsettling? Do you want the viewers attention on the face of your
actor (shallow DOF) or the entire environment (deep DOF). You get the picture – the idea is to
approach these settings creatively, making decisions that not only work on a basic level, but that
make your image consistent with the story being told.

Activities/Assesment:
1. Apply sound editing to your own short video clip.
2. Enhance design and incorporate sound and music to to your own clip.
 Lesson 5
Developing Multimedia Using Authoring Tools

Learning Outcomes

 Use Authoring tools to Develop a multimedia title.

Introduction to Flash

This week, you will be introduced to FLASH animation 101. Along with simple animation we will
be learning how to create buttons.

Flash Interface

Welcome to Flash. Flash is an incredibly powerful program that has seemingly endless
potential. Flash can be used for creating games, making presentations, animations,
visualizations, webpage components, and many other interactive applications. Some of the
Flash interface components will look familiar to you, as they have the same functionality as
other Adobe applications. However, Flash requires a certain mindset to work in it properly,
especially when animating with vector graphics and coding with actionscript 3.0.
Here is an overview of the Flash interface.
Stage: The stage is the main workspace of Flash, all your compositional elements
(movie clips, buttons, graphics, and etc.) will be arranged here.. Content that is within
the box in the middle of the stage will be visible when the Flash movie is output. The
grey background area outside the box in the middle is 'off-stage'. You can animate
content from off-stage onto the main stage area or use a background image that is
larger than the main stage to move around as if the camera is panning across a
background. The Stage has several context which are indicated along the top bar of
the stage. It can present content that is in a Scene or can present sub-content such as
objects from the library. You can show and hide the things that exceed the size of your
stage by turning off/on Pasteboard (View>>Pasteboard)

Timeline: The numbers across the bottom correspond to the frames that occur as time
progresses through the movie. You can navigate to any frame of your animation to
perform editing. Also, Flash has layers just like many other Adobe applications. These
appear along the left side of the Timeline.

Properties: The Properties tab changes depending on which tool on the toolbar you
have selected or which object you have selected on the stage. Each object or tool has
its own properties which can be adjusted in this tab.

When you have the Selection Tool selected and click the background of the stage, the
Properties tab shows the Document Properties. Here you can set the size of your
Flash file, background color, frame rate and exporting settings.

Library: The library tab will be your best friend in Flash. It holds all the symbol objects
of each Flash file. You can organize your library like you did in your windows/mac
directory. (i.e. created new folders for different types of elements, or nest one symbol
in another)

Drawings & Symbols

There are two primary types in Flash, Drawings and Symbols. Drawings are created
with the vector editing tools in Flash such as the Pencil, Brush, Oval, Rectangle, etc.
Drawings have stroke and fill which can be reshaped via the Selection and
Subselection tools as well as any other vector editing tools.

Symbols are a powerful feature of Flash in that you can draw an object once, save it in
your library, and use it over and over. Symbols can be created from a Drawing,
collections of Drawings and other Symbols, or external files (JPGs, PNGs for
instance). Basically, symbols are like container for your visual/auditory elements.
Instead of having hundreds of graphics, text, and other elements laying on the stage,
you can create a symbol and use wherever you need it. If you want to change the
appearance of every instance of that object throughout your movie you can directly
edit the Symbol in the library. You can also break apart Symbols into their original
objects to make derivatives of a Symbol.

Symbols: Movie Clips vs Graphic vs Button

There are three types of Symbols: a Movie Clip, a Graphic symbol, or a Button
symbol. These symbols can have actions applied to them to dynamically load,
disappear, trigger other events, and many other things (in actionscript). The
fundamental distinction between Movie Clips and Graphic are that the former has it
own independent timeline whereas the latter shares
the same timeline with the stage‘s timeline. Button symbols are simplified objects with
special frames for a mouseover appearance, and a click appearance.

Library Structure
Once you start to work on a flash project, most likely you will have a lots different
types of files(text, graphics, video, imported stock images), you want to have your
library organized in a way that files of the same type should be placed together and
give your folder recognizable names so when you need to find some elements you
know where to look for it. It will save your time and hassle, also it will make your work
flow better. This is very critical if you are working in a team, because when you pass
the file you have worked on to other people; if the library is not well-structuralized;
your co-workers will have hard time to simply start it.

Flash Project Properties

When you first create a new Flash project you are presented with the default
properties page on the right side of the screen. These properties all have a significant
impact on the movie and should only be adjusted at the beginning of a project or a
significant amount of work may be required to correct the issues that arise.

FPS stands for Frames Per Second and is the frame rate of your movie which
determines the smoothness of your animation. For fluid motion the frame rate should
be left at 24-30 fps. If your animation doesn't have much movement or doesn't require
this level of quality, reducing the
 frame rate can significantly the file size of your resulting movie. Note that while
changing the frame rate does have an overall impact on the speed at which your
frames play, you should never use the frame rate as a means to adjust the speed of
your movie.

This property page also allows the adjustment of the size and color of the stage. The
stage determines the output size of the movie, while the size can be adjusted in the
player, you achieve your best quality setting your stage to the maximum size you
expect for your final output.

Timeline & Frames

In Flash we place all content in layers just like in Photoshop. The same tools exist to
create a new layer, delete a layer, and create folders for layers. The primary difference
is that content must be placed into a Keyframe on the timeline. Keyframes are frames
in the timeline that contain information (content or script). Keyframes without content
are denoted by an empty circle, keyframes with content have a filled circle. You can
right-click on the timeline for a specific layer and select 'Insert Blank Keyframe' to
begin adding content (when you create a new layer there is always a blank keyframe
at frame 1). Click a blank or empty keyframe in the timeline to add content to that
frame. A keyframe only lasts for one frame (if your movie is 30 frames per second a
single keyframe is 1/30 of a second). To extend the length of a keyframe, right-click
onto a frame further down the timeline and select 'Insert Frame'. You can also select,
drag, copy and paste frames. Note that in order to perform any operation on a frame
you must select it first.

Step 1: Opening Flash

When you first open up Flash you will want to create a new ActionScript 3.0 or 2.0, it
doesn't matter what one you choose.
Step 2: Changing Your Layout
If you do not like the way your layout is you can change the positioning of where your
tools are located by clicking and dragging on the grey area above the box to where
you feel it fits the most.

Step 3: The Stage

This white box is called your stage. This is where you are going to be drawing all your
animations. It acts as the screen, what ever you draw on the stage will appear in your
film. If you so happen to draw outside of your stage (on the grey area) it will not show
up in the finished product.

If you do not want see your drawings outside of your stage you can disable that
feature by going to View>Pasteboard or by pushing Ctrl+Shift+W. Disabling this will
only allow you to draw inside the confines of your stage.

Step 4: Making Your Film HD

Before you want to start animating I would recommend you making your stage
1920x1080. Changing your settings to 1920x1080 by going up to Modify>Document
then a new window will pop up where you can type in your dimensions. For the height
you want it to be 1920 and for the width you want it to be 1080. Once you click okay
Your stage will become much bigger.

You will want to zoom out so your stage will fit your screen. You can do this by clicking
on the zoom tool (this tool will allow you to zoom in and out), then reduce, then click
on the stage or grey area. Alternatively you can use the drop down menu and choose
what percentage you like.

Step 5: The Timeline

The bar at the top is called your timeline. This is where all your frames are kept. You
can add more frames by hitting F6 on your keyboard. You wont see anything because
there isn't any animation there, but you can draw into your stage then move to the next
frame by using the red bar to scroll back and forth. Alternatively you can use the <
(Less than) or > (greater than) sign on your keyboard to move back and forth through
frames. Once you make a basic animation you can push ENTER to preview your
animation

Step 6: Animating With Ones, Twos or Threes

You can drag your frames out by right clicking the frame you want and choosing the
option "Insert frame". This will double the length of the frame making you animate in
twos. If you drag it out by three frames you are animating in threes.

Benefits of animating in twos/ threes:

Animating in twos/ threes provides a longer frame making slower movements benefit
from this the most.
It allows you to animate in 12 frames per second because it is stretching the frame out
to be twice as long, even though you are technically animating in 24 frames per
second.
Cons of animating in twos/ threes:
It will cause the animation to look a little bit choppy.

Step 7: Tools: Selection Tool (V)

When you have the selection tool on you can highlight your art. From this point you
can do a lot of things, like delete the art you have selected by hitting the
DEL/BACKSPACE button on your keyboard, Or you can right click and go to "Free
Transform". Now you can resize your art, rotate, or scale (Hold shift whilst rescaling it
so it wont stretch or distort your art). Envelope is also a useful tool and you can get to
it by selecting your art, right click, and clicking on "Envelope". Using envelope will
allow you to warp your art in any way you wish.

Step 8: Tools: Line Tool (N)

By using the line tool you are going about a more mathematical approach. Once you
have the line tool selected you can click and drag making a line. Then you can use
your selection tool to click on the line and warp them.

Step 9: Tool: Brush (B), Pencil (Y)

You can draw with two
tools:
The pencil (Y): The pencil tool gives you thin and dull looking lines.
The brush (B): The brush tool gives you more clean and finished lines.
Use the brush tool over the pencil tool seeing as it goes give you cleaner lines. But the
pencil tool is still there for you to use.
You can change the color of the brush by clicking on the box underneath the bucket
tool (underneath the pencil to change the color of your pencil). To change the size of
the brush is in the same spot as the eraser (refer to step 11).

Step 10: Tool: Paint Bucket (L)

The paint bucket tool will allow you to fill in your lines adding color to your art. You can
change the color of the paint bucket by clicking the box underneath the paint bucket. If
your lines are not closed all the way Flash has a feature where you can change the
gap size and it will fill in the lines. You can turn this feature on if you go to gap size>
Close large gaps.

Step 11: Tool: Eraser (E)

The eraser tool can be use to erase your art if you made a mistake. You can also use
the "Lasso Tool" to draw an outline and delete the part of art you wish by pushing DEL
or BACKSPACE on your keyboard.

Step 12: Creating Animation in Flash: Frame by Frame

Frame by frame: This is a type of animation where you draw the frames one by one, a
useful tool to use is the onion skin feature. It will show your previous frame as a ghost
showing you where your previous art was so you wont go off model to much.

How to animate frame by frame:

Animating frame by frame is really easy all you have to do is draw each frame one at a
time changing its position every time.
Step 13: Creating Animation in Flash: Tweening
Tweening: This is a type of animation that makes the computer generate your frames
in between two other
frames.
Instead of drawing out the art every single time, animators will cut their piece of art
into sections and tween it making the art move. This is a really advanced way to
animate and I wont go into to much detail about it.

How to animate tweening:

You want to insert a frame by pushing F6, then draw what you want to tween (I will
use a circle for this demonstration). Right click the frame and click "Create Classic
Tween", then you want to highlight right click and insert more frames, Then you want
to choose a frame (lets say frame 10 for example) right click and choose "Insert
Keyframe". It will create a line from the first keyframe to the second keyframe. Now
you can drag the circle from one point to another point. Now you have successfully
tweened an animation!

Tools
The Tools menu is probably the most used panel in Flash. In it are the tools needed to
manipulate items on the stage. It can also be used to do actions on the timeline.

Here are the main tools and their uses;

 Selection Tool (v) - Selecting whole objects and moving them.
 Subselection Tool - Selecting partial objects.
 Line Tool - Drawing straight lines.
 Lasso Tool - Selecting irregular shaped pieces of an object
 Pen Tool - Drawing non-straight and curved lines.
 Text Tool (t) - Inputting a text box onto the stage.
 Oval Tool - Drawing oval and circle shapes. (Drag + Holding Shift = Circles)
 Shape Tool - By default draws rectangles. (Drag + Holding Shift = Squares)
 Pencil Tool - Free drawing thin lines.
 Brush Tool- Free drawing brush shapes.
 Free Transform - Scale, rotate, and skew an object.
 Fill Transform - Distort the gradient fill of an object.
 Stroke Tool - Change the color and size of a stroke.
 Fill Tool - Change the color of a fill.
 Eyedropper - Sample a color from the stage.
 Eraser - Use a brush to erase parts of an object.
 Hand Tool - Used to drag the stage around to see not visible parts of it.
 Zoom - Zoom in or out.
Properties Panel
The properties panel is used to modify the characteristics of pre-existing objects on stage.

In Flash animation can be done in four basic ways:

 Motion Tween
 Shape Tween
 Frame-by-Frame Animation
 Guided Motion Tween

A. Creating Motion Tween in Flash

1. Draw a vector using any of the drawing tools in Flash, say a small circle and
convert it into a symbol (F8) by selecting the Graphic option and name the
symbol say 'ball'.
2. Click the 20th frame in the Timeline and insert a frame (F5).
3. Now right-click the 20th frame in the Timeline and select Create Motion
Tween (or Motion option from the Tween panel of the Properties inspector)
and insert a Key Frame (F6).
4. Select the 10th frame and insert a Key frame (F6) and move the ball to a
different position say, above the current position to create a motion
sequence (automatically tweened by Flash).
5. Save your work and test the Movie (Ctrl + Enter). That's it you have created
simple animation using Motion Tween.
 Note: Use the Color Panel of the Properties inspector to reduce the Alpha value from
100 to 32 for the 1st and last frames to produce Simple Alpha Tweening as shown in
the Example.
B. Creating Shape Tween in Flash
1. You can create Shape Tweened animations using Shape option from the
Tween panel of the Properties inspector. Draw a vector using any of the
drawing tools in Flash, say a small circle and remove its border.
2. Click the 10th frame in the Timeline and insert a Key Frame (F6). Now draw
another shape say a diamond using the rectangle tool without a border.
3. Now right-click on any frame in between these two Key Frames and select
Shape option from the Tween panel of the Properties inspector.
4. Save your work and test the Movie (Ctrl + Enter). That's it you have learnt
how to create Shape Tween in Flash.

Note: Only vectors can be Shape Tweened (Not for Symbols). Note both the Tweens
have different colors along the Timeline as shown above. Make sure that the line is
smooth without being broken to ensure correct Tweening.

C. Frame-by-Frame Animation
1. Create a vector/plain text using any of the drawing tools in Flash, say a text
with 'Animation' typed as shown in the example and break it using Break
Apart (Ctrl + B) to separate the alphabets as shown below:
In Frame-by-Frame animation we create the object for each frame so as to
produce an animation sequence.
2. Insert Keyframe (F6) and move the alphabets so as to produce an animation
sequence.
3. Repeat the above step as far as desired to create Frame-by-Frame
animation as shown in the example.
4. Save your work and test the Movie (Ctrl + Enter). That's it you have created
an animation using Frame-by-Frame animation.

D. Creating a Guided Motion Tween in Flash

1. Create a vector/plain text using any of the drawing tools in Flash, say a text
with 'Flash' typed and break it using Break Apart (Ctrl + B) as done in the
previous example and put each alphabet in different layers and name the
layers as shown in the picture below.
2. Insert a guide layer by right-clicking the topmost layer and select 'Add
Guide Layer' (Insert-->Timeline-->Motion Guide), draw any path using the
pencil tool in the guide layer as shown in the example.
3. Now create Motion tween by selecting the object in the 1st frame and
snapping its registration point to one end of the path.
4. Snap the object in the last frame to the other end of the path in the guide layer.
5. Repeat the same for all the objects (alphabets) by snapping their registration
points to the path in the guide layer.
6. Save your work and test the Movie (Ctrl + Enter). That's it you have learnt how to
create motion along a guided path.
ASSESSMENT QUIZ/SEATWORK
1. Discuss the different animation in Flash.
2. Create a multimedia presentation of your chosen topic.
 Lesson 6
Developing Interactive Systems Using Authoring Tool Scripts

Learning Outcomes
 Enhance designed multimedia title by applying additional features of the authoring tools.

The actions frame

To add interactivity to your flash animations, you need to add little scripts. To create scripts
embedded in a FLA file, create a new layer called "Actions" then open the Actions panel (F9).
The Actions panel consists of three panes: the Actions toolbox, which groups ActionScript
elements by category; the Script navigator, which lets you move quickly between the scripts in
your Flash document; and the Script pane, where you type your ActionScript code.

Use context-sensitive help from the Actions panel

To select an item for reference, do any of the following:

•Select an ActionScript term in the Actions panel toolbox pane (on the left side of the Actions
panel).
•Select an ActionScript term in the Actions panel in the Script pane.
•Place the insertion point before an ActionScript term in the Actions panel in the Script pane.
To open the Help panel reference page for the selected item, do one of the following:
•Press F1.
•Right-click the item and select View Help.
•Click Help above the Script pane.

Using code snippets

The Code Snippets panel assists both non-programmers and programmers to produce
ActionScript code. The former may learn some code or at least will make less mistakes and
both can type less and work faster. This feature only became available in CS5.
Code snippets are ActionScript snippets for a variety of purposes:
•Write code that affects an object (i.e. a symbol) on the stage
•Write code for time line navigation
•Other

The menu of available snippets is grouped in five categories

•Actions: various stuff, most deal with manipulating movie clips
•Timeline Navigation: inserting "stop();", gotoAndStop(); etc. commands
•Animation: Same as actions, i.e. change properties of a clip on the stage
•Load and Unload:
•Audio and Video:
•Event handlers: Adding major event handling code to a symbol (both the event registration and
a dummy function)

Preliminary work
(1)Make sure that you have an Actions layer, else Flash will add it for you. In other words, if you
are used to another name like Script, rename it. This is annoying behavior, personnally I don't
like

Action at all, it's just confusing.

(2)If you plan to add behavior and interactivity to object on the stage:
•Make sure that they are symbol instances (preferably movie clips). Right-click on the object and
"Convert to symbol".
•Make sure that these symbol instances are named.

Else Adobe will do it for you and you should avoid this since Flash will select names in your
place...

Add code snippets to either an object or a frame

(1) Select an object on the stage if you want to add interactivity or behavior of the object.
Select a frame in the Timeline if you wish to add code that affects the frame as a whole (e.g.
timeline navigation)

If you select an object that is not a symbol instance or a TLF text object, Flash converts the
object to a movie clip symbol when you apply the snippet. If you select an object that does not
already have an instance name, Flashadds one when you apply the snippet.

(2) Open the Code Snippets panel (either by clicking on the icon on top of the actions panel
or directly Window->Code Snippets on the stage), then double-click the snippet you want to
apply. If you selected an object on the Stage, Flash adds the snippet to the Actions panel in the
frames containing the selected object and uses the object's instance name.
If you selected a Timeline frame, Flash also inserts code as above to the actions layer of the
selected frame.

(3) In the Actions panel, view the newly added code and replace any necessary items
according to the instructions at the top of the snippet.
ActionScript is what‘s known as an object-oriented programming language. Object-oriented
programming is simply an approach to programming. It‘s really nothing more than a way to
organize the code in a program, using objects.

Earlier the term ―computer program‖ was defined as a series of steps or instructions that the
computer performs. Conceptually, then, you can imagine a computer program as just a single
long list of instructions. However, in object-oriented programming, the program instructions are
divided among different objects. The code is grouped into chunks of functionality, so related
types of functionality or related pieces of information are grouped in one container.

Adobe Flash Professional

If you‘ve worked with symbols in Flash Professional, you‘re already used to working with
objects. Imagine you‘ve defined a movie clip symbol such as a drawing of a rectangle and
you‘ve placed a copy of it on the Stage. That movie clip symbol is also (literally) an object in
ActionScript; it‘s an instance of the MovieClip class.

There are various characteristics of the movie clip that you can modify. When it‘s selected you
can change values in the Property inspector like its x coordinate or its width. You can also make
various color adjustments like changing its alpha (transparency) or applying a drop-shadow filter
to it. Other Flash Professional tools let you make more changes, like using the Free Transform
tool to rotate the rectangle. All of these ways that you can modify a movie clip symbol in Flash
Professional are also available in ActionScript. You modify the movie clip in ActionScript by
changing the pieces of data that are all put together into a single bundle called a MovieClip
object.

ASSESSMENT QUIZ/SEATWORK

 Create any topic using multimedia authoring tool.

Watch
https://www.youtube.com/watch?v=d6GdZpjs8qw
https://www.youtube.com/watch?v=hR1_h_Rt4Eg
https://www.youtube.com/watch?v=Go8v4Bt3hQ0
GRADING SYSTEM

70 %– Class Standing (e-portfolio/portfolio, projects, case studies, long or summative test, etc.)
30 % – Major Examination
100 % - Total

References:
https://users.cs.cf.ac.uk/Dave.Marshall/Multimedia/node10.html
https://slideplayer.com/slide/6340845/
http://users.cs.cf.ac.uk/Dave.Marshall/Multimedia/node454.html#:~:text=The%20architecure
%20of%20multimedia%20system,performed%20in%20the%20layer%20above.
https://www.viterbo.edu/sites/default/files/2019-02/Basic%20Filmmaking%20Concepts_0.pdf
https://trgmultimedia.com/blog/the-five-steps-for-multimedia-project-management-success
https://blog.gutenberg-technology.com/en/authoring-tools#:~:text=An%20authoring%20tool
%20assists%20you,elearning%20and%20other%20digital%20content.
https://www.masterclass.com/articles/film-101-what-is-cinematography-and-what-does-a-
cinematographer-do#6-duties-and-responsibilities-of-a-cinematographer
https://99designs.com/blog/tips/types-of-graphic-design/
https://www.chilliprinting.com/Online-Printing-Blog/12-essential-tools-for-graphic-designers/
http://www.tutorialized.com
http://www.flash.com/
http://www.sonycreativesoftware.com/
http://www.michaelodonnelldesign.com
http://www.flashkit.com/
http://www.freeflashtutorials.com/
http://www.w3schools.com/