Multimedia Systems

Module No. 3

Subject Matter: Multimedia Creation

Learning Objectives:

1. Understand what processes are included in multimedia creation;

2. Understand why it is necessary to plan for each process;
3. Understand how to plan for each process;
4. Be able to create a plan for your own process.

Concept Development:

Getting ready to take off for a trip requires advanced planning. You need to know
where you are going, why you are going, how you will get there, what you need to take
along and what you will do once you arrive. Imagine boarding an airplane without
knowing where it is going. Although this might be very exciting at the outset, you could
invest a great deal of time and money to get somewhere that you don’t really want to
be. Careful planning would prevent this from happening and would insure that the trip
was a success. For example, Manila might be your chosen destination. Having a
vacation might be the purpose. The choice of transportation might be an airplane.
Visiting relatives and friends, and shopping might be what you do in Manila. Planning
a multimedia presentation is in many ways similar to planning for a trip because the
same questions need to be asked and answered before takeoff.
Planning for multimedia is the process by which a potential author organizes his
or her thoughts, objectives, procedures and tools in such a way as to insure that the
quality of the end product is maximized, and that the time and resources required to
produce it are minimized. Remember, proper prior planning prevents poorly prepared
products! Planning needs to be done before the multimedia creation process takes
place and enough time should be allowed to create an effective plan. Planning should
be done over a period of several days and should be a cooperative effort by those most
closely involved in authoring, production, quality control and distribution. Allocating
several days is important because it provides the opportunity to develop and share
ideas, and permits the opportunity to think them over and refine them before
committing significant resources to the project.

This module defines a simple approach to planning which addresses the processes
of authoring, production, quality control, and distribution. It discusses these
processes in conjunction with the ten steps for creating multimedia. As in the airplane
example it identifies key “who, why, what, when and where” questions. It is important
to understand these processes and where the steps for creating multimedia fit in
because the road to creating effective s has many detours and it is very easy to get lost
on a side road and lose sight of the main purpose.

The Multimedia Creation Process

In order to plan for something it is necessary to understand exactly what is being

planned for. The most important ingredients in the planning process are people,
namely the senders and the receivers of information. Senders need to know what they
want sent, and receivers need to be able to understand the message clearly, quickly,
and without misinterpretation. This is especially important in today’s society where
people are very busy and are frequently caught up in a “time trap” where there never
seems to be enough time to do everything that needs to be done. Citizens of the 2000’s
will be “on the run”; will need more information; will need it more quickly, and will
therefore use multimedia as a more effective means of communication. The multimedia
creation processes and their corresponding steps are as follows:

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Exhibit 1 - Multimedia Authoring Process

Authoring

1. Identify the message to be conveyed.

2. Identify the learning characteristics of the intended receiver(s).

3. Design the title’s content to match receiver learning

characteristics.

4. Identify the channel(s) through which the message will be

broadcast, web cast or distributed.

5. Storyboard the message.

Exhibit 2 - Multimedia Production Process

Production

6. Creating and acquiring assets.

7. Obtaining Legal Permissions

8. Sequence elements into events.

Exhibit 3 - Multimedia Quality Control Process

Quality Control

9. Test run and fine tune the combined elements and events.

Exhibit 4 - Multimedia Distribution Process

Distribution

10. Copyright, package and distribute the title

Planning for the Authoring Process

The authoring process can be viewed as the creative stage of multimedia

development. It is where ideas for the title are given tangible form and where
decisions are made about its tone, physical form and methods of delivery. It is here
that the story is written and scripted in such a way that it can be delivered successfully.
A discussion of the first five steps is as follows:

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1. Identify the message to be conveyed. To plan for this it is necessary to know who
will craft the message, the purpose of the message (why), and what the message
content will be. As previously discussed the purpose can be to communicate, to
educate, to sell or to entertain, or more likely some combination. Knowing what you
wish to communicate is at the heart of communications and of multimedia and is like
knowing where you want to go on the airplane. It is a common occurrence for new
multimedia authors to start creating without first deciding exactly what it is that
they wish their title to communicate. Asking a few key questions can prevent this
lack of direction.

As an example, for the demonstration project “Manila Zoo” the following questions
and answers help to identify the message:
 Who is sending the message? The Director of Marketing for the zoo.
 Why is the message being sent? To attract business to the zoo and make money.
 What is the purpose of the message? To inform people that visiting the zoo can be
fun and educational.
 What is the content of the message? The zoo is here. The zoo is fun. It easy to find
your way around in the zoo. The zoo has something for everyone in the family. The
zoo is inexpensive. Come to the zoo and bring your friends.

2. Identify the learning characteristics of the intended receiver(s). For “Manila Zoo”
the following questions and answers tell us about our target receivers:
 How old are they? Any age.
 What is their gender? Male and female.
 What is their educational background? Anyone interested in learning regardless
of background.
 What language do they speak? Some speak English and some speak Spanish.
 What is their economic status? Low, mid and high income people enjoy the zoo.
 How much time do they have to see and understand our message? Limited and not
more than a few minutes.
 What are their interests? Everyone who likes animals and a day off. Some prefer
“cute & cuddly” animals, and others prefer “dangerous and fierce” animals.
 How would they get to the zoo? By subway, car or on foot. Some will provide their
own transportation, or will use public transportation.
 How far away are they coming from? Many potential visitors live near the zoo and
others will be coming from surrounding communities. Because of the zoo’s
reputation, many visitors will come from nearby places. A few dedicated enthusiasts
will come from across the country and around the world.

3. Design the title’s content to match the receivers learning characteristics. Knowing
answers to the preceding questions helps to tailor the title to the audience. Because
the audience is diverse in age and background the title will need to have an
“attention grabber” with universal appeal such as lots of sound and images on the
first screen. Realizing that some viewers are too young to read, means that
minimizing the amount of text, and conveying important information with pictures
and sound is important. For the same reasons there needs to be an easy way for
people to move around in the title so that they can see what they want, and not be
forced to see things that bore or frighten them. Because people frequently have
limited attention spans, and limited free time, the title will need to be of limited
duration, not more than four or five minutes at most. As part of the matching
process there needs to be some vehicle such as a telephone number or web site
where those wishing more information and reservations can get the specific
information they need.
Matching content to receivers is both an art and a science. A good public speaker
measures his or her audience based on their response as the communication is made
and adjusts the “on the fly” to fit the audience. When a speaker and audience are
able to communicate orally and are able to see each other, the communication

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between audience and speaker is said to be synchronous. In the case of

multimedia, the communication is asynchronous because the sender creates and
delivers the content as a title for later viewing by the receiver. This is true even
when the title is interactive because even though the viewer can choose what to see
in the title, the sender cannot modify the message at the time it is being viewed.
Hence matching content to receivers is a science because there are ways as
described above to make the title more appealing to potential viewers. It is an art
because the sender needs to have a “sense” or “feeling” for the audience and needs
to be able to anticipate the audience’s reaction even though the communication will
be asynchronous in nature.

4. Identify the channel(s) through which the message will be broadcast, web cast, or
distributed. We have a good zoo and hope to gain visitors. We also want to increase
interest and tourism from around the country and world. In this case, the more
people the better because goals include increasing revenue for the zoo and
generating tourism business for the country. In other cases, however, attracting
more people may be counterproductive. For example if the goal of a title was to sell
stocks or securities over the web, attracting lots of visits (hits) to the site by casual
viewers could prevent real buyers from getting the quick service they expect.
In order to reach a large and geographically dispersed market such as that for the
zoo, at reasonable cost, the Web is our best option. We may also want to create a CD
ROM and distribute it to specific people, organizations or businesses where it is
likely to be seen by audiences with a special interest or probability of attending. The
size and geographical location of a target audience is the primary factor that
determines which distribution channel is best.

5. Storyboard the message. Writing the script and planning everything that will happen
on every screen in the title is clearly an authoring task. This process requires
imagination and will doubtless be done, then modified, then modified again as the
title takes on a life of its own. This is far and away the most detailed portion of the
planning process. Storyboarding involves researching the topic; writing a brief
scenario or description for the title; writing a detailed narrative; defining a standard
screen layout for things like text and navigational buttons; describing the contents
for each screen; and flowcharting the title’s navigation scheme. A storyboard can be
done by one person or by a team.

Planning for the Production Process

The production process can be viewed as the construction stage. It is during this
process that assets are acquired, edited and bound together by an authoring program
to create a title. This is where good hardware and software selection decisions pay off.
For example having the correct software toolset makes it possible to acquire and edit
assets called for in the storyboarding process. Having an appropriate computer and
peripheral devices supports asset acquisition and editing tasks, and insures that these
tasks can be done quickly enough to prevent unnecessary time delays waiting for the
computer to create screen images and special effects. In other words having
appropriate hardware and software enables the author to do everything that needs to
be done, and minimizes the time it takes to get it done.

Production is a time consuming process wherein one minute of final product can take
60 or more minutes of construction time to create. This means that a fifteen-minute
can easily take 15 hours to produce. It is where the multimedia author’s, and/or
producer’s, “creative juices” flow. It is important to realize that the person or persons
actually doing the production may or may not be “authors”. If the author has clearly
and completely defined the storyboard down to the last detail, the person who actually
acquires the assets and puts everything together may be called a producer or when
there is more than one person, production team. In practice, the distinction between

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author and producer is seldom clear because both invariably end up doing both
authoring and production tasks.

Planning tasks for production include the following:

 selecting hardware and software; setting up an appropriate work area;

 organizing directories on the computer(s) being used; deciding who will do what in
the production process;

 planning for the creation and acquisition of assets; planning for obtaining legal
permission;

 planning for the sequencing of assets into events; planning for quality control; and
planning for final product distribution.

Production planning - selecting hardware and software.

Guidelines provided in module 2 should be followed to insure that appropriate

computer(s) and peripheral devices are available. Likewise module 2 provides key
information for software selection.

Production Planning - setting up an appropriate work area.

The next task is to identify a work area where you will not be disturbed and where you
are not likely to disturb others while taking pictures and working with sound. Because
most multimedia titles are created by teams, it should be an area where you can meet
comfortably; where more than one person at a time can see the computer’s screen and
where there is enough table space to lay out materials. These include headsets,
speakers, microphones, CD Players, and perhaps a stereo amplifier in addition to
photos and CD ROM disks. A chalkboard, or better yet a whiteboard with color markers
is also helpful. Combining these elements into a studio atmosphere can help to set the
stage for the creative thinking and experimentation that is an integral part of the
multimedia planning and construction process.

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Production Planning - Organizing directories on the computer(s) being used.

Even more important than setting up a work area, is the task of organizing the file
structure of your computer to handle the very large programs, assets and titles that you
will encounter in the process of creating multimedia. At the very least you should plan
for and put in place a directory structure similar to that shown in Exhibit 5.

This structure provides a place to store assets by category and opens the door for
you to create your own sub categories such as animals under images. It also provides a
means of building an organized library of assets that can be added to over time and can
be used in future projects.

It also provides a place to load various multimedia sourcing, editing and

authoring software programs. Caution should be used when installing such programs
because their setup routines frequently specify a particular location in the directory
structure where they are to be loaded. Although some programs “force” loading to a
particular location, others provide the option to load where you like. It is these
programs that should be loaded in your Multimedia/Programs directory.

As shown in Exhibit 5, the titles directory can be divided into Completed and In-
Process subdirectories and further subdirectories for specific titles such as “\Manila
Zoo” can be set up. To save space it is suggested that when a title is completed it
should be moved from the In-Process directory to the Completed directory.

Exhibit - 5 Suggested Directory Structure for Multimedia

Although organizing one’s hard drive is largely a matter of personal preference,

building multimedia requires the frequent and sometimes simultaneous use of several
programs. It also requires rapid access to recently sourced assets, edited assets and
requires convenient places to store what amounts to raw materials, finished goods and
goods in process. This is true both for assets and for titles in various stages of
completion.

Multimedia “Mis en place”

The process of creating multimedia can be confusing to beginning authors. This is not
because the task itself is difficult, but because many tools need to be used and the
availability and features of these tools are changing rapidly. In this environment it is
necessary to have a consistent physical structure that makes it easy to find things when
they are needed and makes it easy to add new tools and assets as they become
available. The French have an expression for this called “mise en place” which means
“everything in its place”. Computers and GUIs (Graphical User Interfaces) such as that
provided by the Windows operating system make the task of organizing programs and

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files easy. The time spent setting up a logical structure will be repaid many times over
as the authoring process continues and evolves.

Everyone has a different way of organizing themselves and their information. Some
students for example keep a separate spiral notebook for each course. Others use a
single loose-leaf binder that has a section for each course. Computers offer an infinite
array of ways to organize things. Fortunately these are easy to do, and easy to change
if later on a better method is discovered. There is no single best way to organize for
multimedia, and the structure presented in this module is intended as a guideline.
Steps for organizing include the following:

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1. Identify the authoring program that you intend to use;

2. Identify the sourcing programs that you intend to use;

3. Identify the editing programs that you intend to use;

4. Identify the peripheral devices such as digital cameras, stereo amplifiers, CD ROM players, CD ROM disks,
and optical scanners from which you intend to acquire assets;

5. Identify utility tools such as screen capture programs, data compression programs and internet access
programs that you intend to use;

6. Create on a piece of paper a model of the hard disk directory tree structure that embodies your approach to
organizing (See Exhibit 6)

7. Use the GUI to create this structure on your computer (See Exhibit 7)

8. Populate each directory and sub-directory with programs and assets (See Exhibit 7)

Exhibit 6 - The paper model directory tree structure

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Exhibit 7 - The GUI incarnation of the “paper model” Directory Tree Structure

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Exhibit 7 - The GUI incarnation of the “paper model” Directory Tree Structure (cont…)

As you can see, Exhibit 7 is very similar but not identical to the paper model. The
differences are caused by the fact that the Windows Explorer Program rearranges
directories and files in alphabetical order.

Production Planning - Deciding who will do what in the production process.

The next planning task is to determine who does what in the production process. For a
one person team the answer is easy. You do it all. When more people are available
there are more choices and the relevant questions become “who knows how to do
what”, “who likes to do what”, and “who has the time to do what”? Some activities
such as scanning images are best done by one person, but others such as taking digital
pictures and selecting sound clips are better done with a companion. In a professional
setting, tasks and job titles for a limited production can include titles such as audio
technician, video technician, animator, and story editor. For a more extensive
production titles can be numerous as that of the following:

art director film editor supervising

animator sound designer production supervisor music
producer
story supervisor story coordinators story artists
directing animators animation managers animators
associate technical director technical department manager modeling team
modeling & shading coordinator shadow & visual effects supervisor visual effects team
shadow team lighting supervisor lighting team
illumination engineer art manager designer illustrator
lead cg painter cg painter/designer cg painters
sculptors character designers concept artwork
layout manager supervisory layout artist lead layout artist
layout artist set drafters editorial manager
assistant editors editorial coordinator editorial
production
editorial music writer camera manager camera supervisor
camera engineer camera technician production
controller

Team members can be assigned to duties based on elements such as photo specialist,
video specialist, and sound specialist, and these can be “mixed and matched” by team
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members who have their own criteria for deciding who does what. I recommend a
“relaxed” approach to deciding who does what on each team because when teams work
it out for themselves, they “take ownership” of the entire process and results are better.
As long as everyone on the team realizes that time deadlines are important, and that
later activities are dependent upon the completion of earlier ones, team results are
good.

Production Planning - Creating and Acquiring Assets.

This task is the “meat and potatoes” of production and is step six of our ten step
multimedia creation program. The text, image, sound, animation and video assets
created and acquired in this step will be the substance of the title. Even though the
storyboard spells out in detail what assets are to be acquired for each slide of the title,
there is a great deal of latitude for judgment in selecting assets. It is important that the
“tone” or “feel” of the title be understood when acquiring assets. For example the tone
of “Manila Zoo” should be bright, upbeat and fun. Hence images selected should try to
capture that feeling and should seek out bright images with sharp contrasts. Given the
upbeat tone for the title, Exhibit 8 would be a better selection than Exhibit 9 because
flamingos are more exotic and therefore more interesting than geese, and because the
flamingos are not behaving like ostriches with their heads in the sand as are the geese.

Exhibit 8 - Upbeat Birds (Good Choice) Exhibit 9 - Downbeat Birds (Bad

Choice)

Selections of sounds, animations and videos should also seek to be bright, upbeat and
fun.

In order to make appropriate selections it is necessary to plan for easy access to

hundreds of assets. The larger the available selection, the higher will be the probability
of finding just the right asset to convey the desired information and feeling. When
assets cannot be found they need to be created, hence the classic “make or buy”
decision. A good rule of thumb is that if you can acquire a pre-made asset without
incurring undue cost or delay, it is wise to do so because creating assets can be a time
consuming process.
Planning for asset creation and acquisition means finding sources such as CD ROMs
and web sites for the libraries you need. Frequently used assets that you find can be
installed directly on your hard drive and others may be kept on CD ROM. In this case
very large hard drives can save time because it is much faster to search for assets on a
hard disk than on a CD ROM.

Production Planning - Obtaining Legal Permissions.

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This task is the “legal insurance policy” of production and is step seven of our ten step
multimedia creation program. Most assets found on CD ROM, the Web or in print are
proprietary, copyrighted material owned by others. It is therefore necessary to obtain
formal legal permission to use these in a multimedia title, especially if the title is to be
resold or shown to others. Failure to do this can result in legal actions by an asset’s
rightful owners that will very likely be supported by the legal system.

Key considerations relative to obtaining permissions include the following:

 Recognize that obtaining permissions is a necessary part of the production

process;

 Allow time for permissions to be obtained. In terms of time required to obtain a

permission for an individual’s title, any one that requires more than two weeks
to obtain may be considered too time consuming. However commercial
projects may need to allot more time, possibly even weeks or months,
depending upon the nature and importance of an asset.

 Have a financial budget or reserve for permissions. This is especially

important for commercial titles; for students, any cost at all may be too great.

 Have a “Plan B” or an alternate asset if obtaining permission becomes too

costly or time consuming.

 Have a standard permission request form so that it is not necessary to “re-

invent the wheel” every time a permission is requested. It may be useful to
have three separate forms because there are three primary types of
permissions. These are assignments, licenses and releases.

Production Planning - Sequencing Assets Into Events.

This task is the “assembly room” of production and is step eight of our ten step
multimedia creation program. Some of the planning for this step is done in the
storyboard because that is where the sequence of slides is determined and the type of
transition between slides can be coordinated. Slide transitioning should be planned so
that it appears in the completed title as a consistent and logical flow. That is not to say
that the transition between all slides needs to be the same, but rather that they need to
be complimentary and should be selected accordingly.

In addition to between-slide sequencing and slide transitioning, planning for

event sequencing must also address what happens on each slide. This is because action
takes place both between and within slides. Many things can be going on in a slide and
these things must be sequenced and choreographed in order to create the desired
impact for each screen. This is where asset pathing and timelines come to bear on the
production process.

Planning for the Quality Control Process

Quality control in multimedia means making certain that the finished title runs; that it
is easy to use; that its hypertext navigation system is effective; that it conveys the
message it was intended for; that all legal permissions are in place; that proper
copyright notices are in place and that the title looks and feels as it was intended.
Quality control is the “taste test” of production and is step nine of our ten-step
multimedia creation program.

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Quality Control - Test run and fine tune the combined elements and events.
This task actually overlaps both the production and quality control processes because it
is not possible to complete a title without running and subsequently making at least
minor adjustments to a title. After production is complete time should be allotted for
people having no connection with the title to try it out. They will invariably do (or try to
do) things that were never anticipated in the authoring and production process and will
turn up errors of operation, errors of inclusion and errors of exclusion. The length of
time allotted to this process varies depending upon how quickly feedback can be
obtained. It is a good practice to arrange reviewers for the quality control process long
before the process begins. Review cycles can be done as quickly as within a single day
or as long as the author permits. A workable review cycle target is ten days and the
number of cycles depends on how good original planning for the title was and how
effectively the plan was implemented the production team.

Errors of operation such as “go to” navigation buttons not working or having excess
on-screen time for some slides and not enough time for other slides are easy to detect
and fix. Errors of inclusion (having things in the title that don’t need to be there or that
serve to cloud the message of the title) are harder to detect and may well be a matter of
opinion. The same is true for errors of exclusion where some essential topic or
ingredient is missed. The best way to evaluate such quality control issues is to have
numerous people test run the title, review the results, then have a team recommend
and implement any necessary changes. The key issue with quality control is to
recognize it as an integral part of the multimedia creation process and to allow enough
to do it properly.

Planning for the Distribution Process

Planning for final product distribution is the “delivery room” of multimedia and is the
final step of our ten step multimedia creation program. The distribution process
includes copyrighting the title and any supporting items such as manuals and logos;
packaging the title; shipping the title; and providing for users to register the title after
they have received it. Planning for this process varies depending upon the distribution
channel selected. Primary channels are CD ROM, the Web and Local Area Networks
(LAN).

Considerations for selecting one delivery method over another include the
following:

 CD ROMs are the most expensive because this distribution method requires
that disks be created and physically transported. Facilities are required to
create the disks, to package them and to mail them. Advantages of CD ROM
distribution is that the receiver gets special attention (a CD ROM disk) and
that he or she can pass it along to others. This method is best when the
audience to be reached is relatively small.

 Web distribution is best when the audience to be reached is large and

geographically dispersed and in instances where the multimedia title can be
compressed to compensate for the relatively slow data transfer rate that
characterizes web operations.

 Local Area Network distribution is similar in many ways to web distribution,

but is used primarily to reach people within a single company or location.
Because data transfer is faster over a LAN than over the web, title size is not
as big an issue.

Another key determinant of distribution channel is the anticipated hardware and

software capability available to end users who will ultimately view the title. If web or
LAN access is not available, the only remaining choice is CD ROM. If authors of
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multimedia titles use high-end equipment for development and create titles that require
sophisticated communications, sound and video equipment the end product may be far
beyond the ability of the end users’ equipment to run the programs. It is safest to
target the lowest common denominator for end user machines and peripherals.

Copyright, package and distribute the title.

Packaging for the Web or Network includes creating an automatic install program,
using appropriate compression tools such as WinZip; providing appropriate title name
and copyright notices on screens; and making arrangements for a host location to post
the title. It is also helpful for marketing and design reasons to plan for the tracking of
“hits” or “visits” to the site. Monitoring traffic can help to tell when the title or site
needs to be changed. Packaging for Web distribution includes designing a home page
and acquiring a website.

Preparation for CD ROM distribution includes the following tasks:

 Deciding who will “burn” or create the CD ROM disks. This can be done by the
author, by the distributor, or when large quantities are required can be
subcontracted to a firm that specializes in creating disks and their associated
packaging such as “jewel cases” which are the plastic containers frequently used to
store and distribute CD ROM disks. Planning for the purchase of blank CD ROM
disks;

 Making or buying CD ROM disk labels (For small quantities of 50 to 100 labels it is
possible to buy custom labeling kits via mail-order and at computer superstores.
These kits make it easy to make professional looking labels.);

 Placing the labels on the disks;

 Printing appropriate installation, marketing and registration materials to be included

in the package as printed material, as a readme file, or as an automatic setup
program;

 planning for and contracting with distributors when the titles are created for
commercial purposes.

Exhibit 10 demonstrates the relationship between the authoring, production, quality

control and distribution processes and shows where each of the previously described
ten steps fits in.

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Exhibit 10 - Multimedia Creation Processes

Selected Readings:

http://ettu618.edu.polyu.edu.hk/Umbrella/Marticles/Articles/Article4.html
http://ettu618.edu.polyu.edu.hk/Umbrella/Marticles/Articles/Article1.html
http://ettu618.edu.polyu.edu.hk/Umbrella/Marticles/Articles/Article12.html
http://earthvision.asu.edu/~sandy/shock/screens/
http://ettu618.edu.polyu.edu.hk/Umbrella/Marticles/articles/eval.doc
http://www.ncrel.org/sdrs/areas/issues/students/learning/lr2oks.htm
http://www.mcli.dist.maricopa.edu/authoring/studio/guidebook/storyboard_example.htm
l

References:

NewMedia Magazine. 1993. Multimedia tools guide. NewMedia Vol. 3 (Special issue,
November 1993): 1-88.
http://www-users.cs.umn.edu/~konstan/BRS97-MM.html#references
http://www.abiogenesis.com/AbioDocs/Products.html
http://info.med.yale.edu/caim/manual/
http://www.uth.tmc.edu/scriptorium/textbook/workshops.html
http://ettu618.edu.polyu.edu.hk/Umbrella/Marticles/Articles/Article9.html

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