E-Learning and E-content development Workshop

18-02-2017

E-Learning and E-content development By Prof. A. Balasubramanian University of Mysore Mysore

Workshop Themes • • • •

E-Learning and E-content development Use of Digital Audio-Video Editing tools Script Writing and recording Practical

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150 teaching methods • Link • Dozen kinds of evaluation methods

INVOLVEMENT OF ICT : . Education • • • • • • •

Information Resources Digital Libraries Virtual Class-rooms Multimedia applications for teaching E-learning CDROM based tutorials Web Based Education

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E-LEARNING • Is an environment in which ... • The lesson plans and lecture notes are deployed on CDs or Web Servers • Facilities are provided for interaction with the media and also to have direct discussion with masters ( through net meeting or chatting) • A complete Learning Management System

What is e-Learning? • Any learning that utilizes a network (LAN, WAN or Internet) for delivery, interaction, or facilitation. • This would include distributed learning , distance learning (other than pure correspondence ), Computer Based Training (CBT) delivered over a network, and Web Based Training (WBT). • E-learning can be synchronous , asynchronous , instructor-led or computerbased or a combination.

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E-Learning embodies many factors: • Providing Electronic Texts, data and Information and images for understanding • Mailing methods for interaction • Video conferencing for face to face discussion • Audio conferences and interaction • Web-Based Training ( WBT) • Computer Based Training using CDs

E-Learning embodies many factors: • Providing Electronic Texts, data and Information and images for understanding • Mailing methods for interaction • Video conferencing for face to face discussion • Audio conferences and interaction • Web-Based Training ( WBT) • Computer Based Training using CDs

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• E- learning is associated with the subject contents which are readily accessible on a computer. • On-line Education is associated with content that is made available on the Web

Instructional Design: • Is the method of delivering the knowledge and inducing the students to understand the concepts in a better way. • It involves a structured approach. • It is done for various target groups and using varieties of techniques. • The ultimate aim of all instructional designs is to provide effective learning environments.

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The seven ways instructional designers can facilitate flow in e-learning: • • • •

Focus on goals Eliminate Distractions Match the student skills and course levels Create a supportive environment for knowledge progression • Create order through rules • Let the students express themselves • Provide timely and consistent feedback

Web-based training (WBT) • Individualized instruction delivered over public or private computer networks and displayed by a Web browser. • WBT is not downloaded CBT, but rather ondemand training stored in a server and accessed across a network. • Web-based training can be updated very rapidly, and access to the training controlled by the training provider.

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Instructional Resources: • Contents as pages, texts, books, manuals, videos, lessons, lecture notes, articles, databases, mail-links to authors • organised information- key words based • related links, downloadable,printable • wide spectrum of information- historical data • all subjects- millions of authors/ creators

Digital Libraries: Compilations of materials published electronically or those converted into digital form Retrospectively converted materials, as well as newly published materials, which may be derivatives of print works or original electronic publications. A wide range of material types, including journals, reference works, monographs, visual materials, sound recordings, moving pictures. All types of digital formats, from bit-mapped page images to SGML-encoded texts to page images stored in proprietary format.

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Benefits of E-Learning • "Good teaching is good teaching, no matter how it's done.“ • How to Maximize Your Online Learning • Learning Styles • Broken down further, people learn by: • Reading (visual) • Listening (auditory) • Seeing (visual) • Speaking (auditory) • Doing (Tactile/Kinesthetic)

TWO MODELS OF CONTENT ARCHITECTURE

Model 1

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Env. HazardsMan-made

Course

Lesson-1

Lesson-2

Lesson-3

Lesson-4

Simulators animation

Cross-word puzzles

Learning module ( EG. Air Pollution)

Acid rain

P C smog

Lesson-5

SPM

Lesson-6

Quiz

Gh Gases

LEARNING OBJECTS- RESOURCES- CONTENT

E-content( WBT): • A comprehensive package containing a set of learning modules (of a lesson) • It Contains a complete lecture of a lesson with structured modules( with inbuilt visuals, text, quiz, FAQs, assignments, glossaries, case studies, references, discussion and download). • The output is deployable on the web or in CDs. • ( in CDs, discussion tags will not work unless connected through the net)

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Learning Objects: • May be a description about an item, a concept, an equipment, a property, characteristic feature, process, form, definition, activity, reaction, plan, cause and effect relations, causative factors of events, results of events, applications of a phenomena or a process, explanation of a component in a subject of learning and similar items. • Mini contents. ( short-form explanations)

Learning Object:

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LMS (Learning Management System): • Software that automates the administration of training events. • The LMS registers users, tracks courses in a catalog, records data from learners; • and provides reports to management. • An LMS is typically designed to handle courses by multiple publishers and providers. • A learner’s development plan and job-related training can be stored and personalized to the individual.

• Meta-data: • The information which describes other information and allows it to be stored, indexed, searched, and retrieved from a database or repository. • The purpose and usefulness of meta-data in eLearning is that it provides the ability to richly describe and identify learning content so that we can find, assemble, and deliver the right learning content to the right person at the right time.

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• Modularity: • Arranging learning content in a way to permit its recombination for use • within other learning contexts.

• Re-usability: • The flexibility to incorporate instructional components in multiple • applications and contexts.

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• Scalability: • The degree to which a computer application or component can be • expanded in size, volume, or number of users served. Durability: • The ability to withstand technology changes without redesign, reconfiguration, or recoding.

Course Management System This category of system is particularly prevalent in the education market where the focus of e-learning is on blending a range of different learning delivery methods in an instructor-led environment. Course Management Systems differ from LCMS and LMS products in that they are intended for the templatedriven assembly of entire courses and they integrate (although not always seamlessly) with student information or registrar systems.

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Course management systems, such as those from eCollege, Blackboard, and WebCT, provide the following types of functionality: • Assembly of course components into a curriculum with sequencing/navigation support, • Delivery of course content to the learner, • Electronic assignment management, submission, tracking, grading, and feedback

Creation and delivery of assessments, surveys, and tests, e-Learning Application Infrastructure 14 • Integration of asynchronous tools such as discussion threads, moderated discussion, email group management, and document exchange, •

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Integration of synchronous tools such as chat, whiteboard, screen sharing, audio conferencing, and video conferencing, • Support for instructor management of courses including capabilities such as: dynamic revision of materials, assignment management, grade book, control over who can access the course, etc. and • Automated tools to support integration with student administration systems for class scheduling, class enrollment, synchronizing student information, and results tracking.

Virtual Classroom/Collaboration Tools • There are a range of vendors who position their products as collaboration environments • suitable both for general conferencing and collaboration as well as for formal • e-learning. A number of these vendors have alliances with LMS and Course • Management System vendors to provide collaboration environments that are tightly • integrated with these products.

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• Synchronous collaboration tools can provide: audio and video conferencing, application/ screen sharing, synchronous Web browsing, shared white board, hand raising, and polling. • Asynchronous collaboration tools can provide: discussion groups, email group management, and audio/video replay. • For informal learning, a key feature of synchronous environments is the ability to record and store events for future access and playback.

What is Streaming Media"? • Streaming media is delivery of continuous audio, video, and/or text over the internet. • The media is fed to the user as the media is viewed. • In other words, it's a continuous transaction. • This is very different from the typical "stateless" internet transactions which require all data to be downloaded before the media file can be accessed.

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What Media Types Are Streamed? • Typically, audio files and video files are streamed • image files, animations and text to stream as well

What is Required to Play Streaming Media? • To play streaming media the browser on each client computer must have a streaming media player. The players can be downloaded free. If the streaming media contains sound (audio) then a sound card and speakers are also necessary. • If the streaming media files to be played are on a server on the Internet, then the client computer must also have an Internet connection, either a dialup connection, or a permanent connection from work or school.

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The Importance of Bandwidth • Bandwidth can be thought of as the size of the pipe through which data that flows to your computer passes. The fatter the pipe, the more data that can pass at one time. A fatter pipe corresponds to more bandwidth.

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LIST- 1 PHYSICAL GEOLOGY

SEDIMENTOLOGY

GEOMORPHOLOGY

ENGINEERING GEOLOGY

HISTORICAL GEOLOGY

MINING GEOLOGY

CRYSTALLOGRAPHY MINERALOGY PETROLOGY

PETROLEUM GEOLOGY LOGO

COAL GEOLOGY GEOPHYSICS

PALAEONTOLOGY

GEOCHEMISTRY

STRUCTURAL GEOLOGY

GEOCHRONOLOGY

STRATIGRAPHY

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ECONOMIC GEOLOGY LIST-2

PALYNOLOGY

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LIST- 2 PLANETARY GEOLOGY

HIMALAYAN GEOLOGY

INDIAN GEOLOGY

ENVIRON. GEOLOGY

PETROGENESIS

HYDROLOGY

ORE MINERALOGY GLACIOLOGY ISOTOPE GEOLOGY

MARINE GEOLOGY LOGO

PRECAMBRIAN GEOLOGY OCEANOGRAPHY

INDIAN MINERALS

PHOTOGEOLOGY

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GEOINFORMATICS

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PAPER- ENVIRONMENTAL GEOLOGY LIST OF TOPICS / LESSONS

TOPIC-2 ATMOSPHERE

TOPIC-1 TOPIC-2 ATMOSPHERE TOPIC-3 TOPIC-4 TOPIC-5 TOPIC-6 TOPIC-7 TOPIC-8 TOPIC-9

Brief outline: Atmosphere is one of the important environmental segment which controls most of the Biogeochemical processes on the earth. This programme gives a basic knowledge of atmosphere in five modules, namely : a) Introduction to the atmosphere b) Structure of the atmosphere c) Composition of the atmosphere d) Atmosphere and global climate e) Atmospheric chemical reactions

AUDIO

VIDEO

E-CONTENT

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PAPER- ENVIRONMENTAL GEOLOGY LIST OF TOPICS / LESSONS

TOPIC-8 Marine Pollution

TOPIC-1 TOPIC-2 TOPIC-3 TOPIC-4 TOPIC-5 TOPIC-6 TOPIC-7 TOP-8 Marine pollution TOPIC-9

Oceans occupy a place of paramount significance in man's life. They are a vast repository of food, mineral and energy resources. The oceans modulate global climate. Variety of human activities lead to marine pollution to oceanic waters. The following are the major impacts of marine pollution. The toxic chemicals cause devastating physiological and behavioural disorder responses to marine organisms. Man and wild life suffer from harmful health effects sometimes through reproductive failures. The programme on marine pollution depicts the following aspects: • Causes of Marine Pollution • Nature of Pollutants • Type of Marine Pollution • Impact of oil on marine Environment • Impact on Marine life

AUDIO

VIDEO

E-CONTENT

Model adopted for visual content development

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Visual learning resources

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MODEL 2: Example: Hyperphysics – Georgia State University Model

Audio : • Audio signals are continuous analog signals. • They are first captured by a microphones and then digitised and stored -- usually compressed as CD quality audio requires 16bit sampling at 44.1 KHz • So 1 Minute of Mono CD quality audio requires 60*44100*2 Bytes which is approximately 5 Mb.

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Sample format or sample size: • Essentially this is the number of digits in the digital representation of each sample. • Think of the sample rate as the horizontal precision of the digital waveform, and the sample format as the vertical precision. • An audio CD has a precision of 16 bits, which corresponds to about 5 decimal digits.

PCM (Pulse Code Modulation) • is the most straightforward mechanism to store audio. • The analog audio is sampled in accordance with the Nyquest theorem and the individual samples are stored sequentially in binary format.

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• The wave file is the most common format for storing PCM data. • But, before you dig into the internals of wave files, it would help to get some insights to the Interchange Format Files that form the basis for the wave file format.

Interchange Format Files (IFF) • It is a "Meta" file format developed by a company named Electronic Arts. • The full name of this format is ElectronicArts Interchange File Format 1985 (EA IFF 85). • IFF lays down a top-level protocol on what the structure of IFF compliant files should look like. • It targets issues such as versioning, compatibility, portability, and so forth. • It helps specify standardized file formats that aren't tied to a particular product.

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PCM • PCM (Pulse Code Modulation) is a common method of storing and transmitting uncompressed digital audio. • Since it is a generic format, it can be read by most audio applications—similar to the way a plain text file can be read by any wordprocessing program.

• PCM is used by Audio CDs and digital audio tapes (DATs). • PCM is also a very common format for AIFF and WAV files.

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PCM : pulse code modulation • Method of recording digital high fidelity sound on 8mm and hi8 tapes. • The spinning video head places the PCM signal at the end of each diagonal video track. • PCM is uncompressed digital audio - the same format used on CDs. • Pulse Code Modulation, a second method of recording hi fi sound with 8mm and Hi 8 VCRs. • Unlike AFM, PCM audio can be edited without affecting the picture.

DPCM • DPCM (Differential Pulse Code Modulation) is a simple form of lossy compression that stores only the difference between consecutive samples. • DCPM uses 4 bits to store the difference, regardless of the resolution of the original file. With DCPM, an 8-bit file would be compressed 2=1, and a 16-bit file would be compressed 4=1.

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ADPCM • ADPCM (Adaptive Differential Pulse Code Modulation) is similar to DCPM except that the number of bits used to store the difference between samples is varied depending on the complexity of the signal.

• ADPCM works by analyzing a succession of samples and predicting the value of the next sample. • It then stores the difference between the calculated value and the actual value.

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u-law Compression • u-law (pronounced “mew-law”) is a common lossy compression scheme, similar to ADPCM, which can be used on AU, AIFF and WAV files.

MPEG Audio • MPEG Audio is a family of open standards for compressed audio that includes MP2, MP3 and AAC.

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MPEG-Based Proprietary Formats • Several proprietary formats are based on MPEG audio. • Some of these are used in special applications, such as voice mail systems, high definition TV and satellite radio.

• Others compete directly with MP3 and are based on AAC or MP3, with proprietary wrappers. • The sound quality of some of these is very good, but their proprietary nature makes them incompatible with many programs and portable players.

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Proprietary Formats • Even though MPEG Audio formats are based on open standards and widely used, many companies continue to develop proprietary digital audio formats. Proprietary formats can generate enormous profits for the developer if the format becomes a de facto standard. • The marketplace, which tends to favor open standards like MPEG, will ultimately decide which formats will prevail.

MP4 • Global Music Outlet uses the term MP4 to describe its proprietary music delivery system. • It’s based on an enhanced version of MPEG AAC and includes an embedded player (each song is an .EXE file). • Album graphics and links to the artist’s Web site can be embedded in the file.

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The WAVE File Format • The WAVE File Format supports a variety of bit resolutions, sample rates, and channels of audio. I would say that this is the most popular format for storing PCM audio on the PC and has become synonymous with the term "raw digital audio."

• The WAVE file format is based on Microsoft's version of the Electronic Arts Interchange File Format method for storing data. In keeping with the dictums of IFF, data in a Wave file is stored in many different "chunks." • So, if a vendor wants to store additional information in a Wave file, he just adds info to new chunks instead of trying to tweak the base file format or come up with his own proprietary file format. That is the primary goal of the IFF.

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WAV file • a WAV file is a collection of a number of different types of chunks. But, there are three chunks that are required to be present in a valid wave file: • 'RIFF', 'WAVE' chunk • "fmt" chunk • 'data' chunk

Audio data specifications

Linear PCM

Dolby AC-3

MPEG-2 audio

Sampling frequency

48 or 96 kHz

48 kHz

48 kHz

Number of bits per sample

16/20/24

compressed (16 bits)

compressed (16 bits)

Max transfer rate

6.144 Mbit/sec

448 kbits/sec

640 kbits/sec

Max Number of channels

8

5.1

5.1 or 7.1

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NTSC

PAL

Dolby AC-3 Mandatory and/or Linear PCM

MPEG-2 audio and/or Linear PCM

Optional

Dolby AC-3

MPEG-2 Audio

Dolby AC-3 parameters

Sampling frequency

48 kHz

bitrate

64 kbits/sec to 448 kbits/sec per stream

Audio coding mode

1/0, 2/0, 3/0, 2/1, 2/2, 3/1, and 3/2 (acmod)

Characteristics

•dialog normalization •dynamic range compression •downmixing (5.1 -> 2 channel) capability •Dolby Pro-Logic Encoding (5.1 -> 2 channel) •Karaoke mode (voice overlay)

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MPEG Audio parameters

Sampling frequency

48 kHz

MPEG-1:

Layer II only Mono (32 to 192 kb/s) and Stereo (64 to 384 kb/s)

MPEG-2

•main stream (same as MPEG-1) •extension stream (up to 528 kbit/sec) •sum of main and extension stream up to 912 kb/s •unmatrix mode excluded (always MPEG-1 compatible)

Sample rate: • The rate at which the samples are captured or played back, measured in Hertz (Hz), or samples per second. • An audio CD has a sample rate of 44,100 Hz, often written as 44 KHz for short. • This is also the default sample rate that Audacity uses, because audio CDs are so prevalent.

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Audio tools: • Recording – total recorder • Editing and effects- gold wave, sound forge, audio grabber, etc. • Text to speech tools • Speech recognition tools • Formats- WAV, Mp3, etc

Audio tools • Numerous

• • • •

Goldwave Soundforge Audiograbber Etc.

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Goldwave audio editor: • supports both direct-to-disk editing and RAM editing, along with a time saving flash feature. • In direct-to-disk editing, the entire sound is stored in a temporary file where it can be modified. This allows you to edit very large files (up to about 1 billion bytes in size) provided the required disk space is available. • Only a small amount of RAM is required for each opened sound. The drawback is that editing and effects processing take more time since audio data must be transferred to and from the disk.

Goldwave: • In RAM editing, the entire sound is stored in RAM. • This allows you to edit and process files very quickly. • It saves time and reduces the burden on your hard disk. • The drawback is that the size of the files must be small enough to fit in the available RAM (not including virtual RAM).

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Goldwave : • The flash feature allows large files to be opened instantly. • The entire file is not copied to temporary storage and only the first few seconds of the sound are graphed initially. • This can save a great deal of time if you only want to play a file and not modify it.

Audio Effects : • Doppler- Dynamically changes pitch. • Dynamics - Distorts, compresses or limits output levels. • Echo- Produces an echo. • Expand/Compress- Compresses, limits, or expands dynamic range. • Filter- Displays a submenu listing several filter related commands.

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• Flange= Creates a number of flanging related audio effects. • Interpolate= Uses linear interpolation to smooth out samples between the start and finish markers. Use this command on a tiny selection to remove a pop or click. • Invert=Turns the sound upside-down. • Mechanize=Adds a mechanical characteristic. • Offset=Changes the dc offset. • Pitch=Changes or transposes the pitch (frequency). • Reverse=Reverses the selection so that it plays backwards. • Silence=Silences (mutes) the selection.

• Stereo= Displays a submenu showing stereo related effects. • Time warp= Changes the speed and stretches or compresses the length of the selection. • Volume= Displays a submenu listing several volume related commands. • Playback rate= Changes the rate at which the entire sound is played. Resample= Changes the entire sound so that it can be played at a different sampling rate.

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Types of Audio in Multimedia Applications: • 1. Music - set the mood of the presentation, enhance the emotion, illustrate points • 2. Sound effects - to make specific points, e.g., squeaky doors, explosions, wind, ... • 3. Narration - most direct message, often effective

Attributes are as follows: • Mono versus stereo • Signed versus unsigned • Byte swap

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Mono versus stereo • Specifies that the file is either mono or stereo. Stereo data must be interleaved (i.e. left channel, right channel, left channel, ...). If you don't know, choose Mono.

Signed versus unsigned • Specifies that 8 bit, 12 bit, or 16 bit samples are signed. • Amiga and Apple systems use signed 8 bit (-128 to 127) or signed 16 bit (-32768 to 32767). • Wave and Sound Blaster files for PCs are usually unsigned 8 bit (0 to 255) or signed 16 bit (-32768 to 32767). • Generally, all 12 bit and 16 bit samples are signed.

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Byte swap • When more than one byte is required for each sample, the order in which the bytes are stored can vary from system to system. • Systems with Intel processors (0x86 & Pentium PCs) store bytes in a certain order (1, 2, 3, 4, 5, 6...). • Systems with Motorola processors (Macs) store the data in a different order (2, 1, 4, 3, 6, 5, ...) where each pair of numbers has been swapped. • If the file came from a non-Intel system, you should select this attribute.

Sampling rate • Specifies the rate at which the sound was recorded. • This value does not affect how the data is translated. • If you select the wrong rate, the sound will either play too slow or too fast. • You can fix this with the Effects | Playback rate command.

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• A CD audio recording has a sampling rate of 44100Hz. • A Dialogic VOX file can have a rate of 6000Hz or 8000Hz. • If you have no idea how the data should be interpreted, experiment with trial and error. • If the attributes are wrong, the sound will play distorted. • You will have to close the sound window and re-open it using different attributes.

Playback Rate • Changes the playback rate of the entire sound. • The sound will play faster (or slower) and its pitch will be higher (or lower). • Essentially, this just changes the first number in the information bar. • Values of 11025, 22050, and 44100 are recommended.

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Format and Attributes • The Format and Attributes lists specify how the audio data is to be interpreted. • The format must be selected first since the attributes vary from one format to the next.

• To associate .vox with A-law encoding: • 1) Enter the extension vox in the box. Do not enter the leading period. • 2) Select 8000 from the Rate drop down list. • 3) Select Telephony from the Format drop down list. • 4) Select A-law, mono from the Attributes drop down list. • 5) Choose the [+] button.

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Equalizer • The Equalizer, which is commonly found on stereo systems, boosts or reduces certain ranges of frequencies. • Center frequencies for each of the 7-bands are given at the top of each scroll bar. • The scroll bars can be adjusted to boost or reduce a band by +12dB to -24dB.

Parametric EQ • The Parametric Equalizer is a flexible tool for reducing or enhancing ranges of frequencies. • GoldWave presents an easy to use interface where all the parameters for up to 30 band can be quickly configured.

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Parametric EQ • Graph window • The graph shows frequency on the x-axis in Hertz and the gain on the y-axis in decibels. • Each enabled band is displayed in the graph as a diamond shaped box located at its center frequency and gain.

• The width of the box shows the bandwidth. • The currently selected band is shown in blue and its exact settings are given in edit box controls. • A short time frequency analysis graph is drawn with the left channel in green and the right channel in red. • The time of the analysis can be changed using the scroll bar located at the bottom of the window.

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Parametric EQ • Controls • A band can be configured by selecting its number from the Select band box and adjusting the Gain, Center, and Width controls. A quicker way is to drag-and-drop its diamond box to a new location on the graph. Note that because of the logarithmic frequency scale, the width of a diamond changes as you move it left or right. The bandwidth, however, remains constant. • Any bands that are not needed can be disabled by unchecking the Enabled box. Disabling unused bands will speed up processing.

Noise Reduction •

Noise reduction helps eliminate unwanted noise within a sound, such as a background hiss, a power hum, or random interference. It cannot be used to separate or remove complex sounds, such as removing vocals from music.

•

You are presented with a spectral analysis window, with a shape line, and several other controls. The Coordinates group show the x and y coordinates when you click-and-drag a shape point. The x coordinate is the frequency in Hertz and the y coordinate is the magnitude in decibels. The time of the spectral analysis is given as T, in seconds. If you move the time scroll bar, located below the analysis window, the time can be changed to show the spectral analysis of a different part of the sound.

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Noise Reduction • Use shape • Lets you manually create an envelope shape or select a preset shape. See Shape Controls for information about creating shapes. By setting a horizontal line at about 75 dB, you can remove a hiss from a sound. The Preset shapes • group allow you to store or recall a shape. Preset shapes do not apply to any of the other envelope settings.

FFT processing • When performing FFT processing, the sound is processed one block at a time. • The FFT size value controls the size of the these blocks. • The number of samples to process is calculated by taking the value as a power of 2. • A value of 10 gives 2 to the 10th power, or 1024.

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Overlap • When performing FFT processing, the sound is processed one block at a time. • To smooth out transitions from one block to the next, it is necessary to overlap blocks. • The Overlap value controls what percentage the FFT analysis of one block overlaps the next. • A high percentage makes the transition between each block more smooth. • It also requires more processing time since overlapping samples are recalculated several times. • A low percentage results in rougher transitions, but processes much faster. • A value of 88% or higher is recommended.

Bandpass/stop • Bandpass filters block all frequencies outside the specified range, keeping only frequencies within the range. • Bandstop filters block all frequencies within the specified range, keeping all other frequencies outside the range.

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Frequency range • The From and To boxes specify the frequency range of the filter. If the Dynamic option is selected, then a final frequency range can be given in the other From and To boxes.

Filter options • Select Bandpass if you want to keep only the frequencies within the range. Select Bandstop if you want to keep only the frequencies outside the range. • The remaining options are explained under the Low/Highpass command.

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Low/Highpass • Lowpass filters block high pitched frequencies (treble), but allow low pitched frequencies (bass) to pass. • They can be used to reduce high end hiss noise or remove unwanted sounds above the given cutoff frequency. • If you were to apply a lowpass filter with a cutoff frequency of 1000Hz on speech, it would make it sound mumbled and deep. • Lowpass filters can also be used to eliminate aliasing when used before downsampling.

• Highpass filters block low pitch frequencies, but allow high pitched frequencies to pass. They can remove deep rumbling noise or remove unwanted sounds below the given cutoff frequency. If you were to apply a highpass filter with a cutoff frequency of 1000Hz on speech, it would make it sound thin and hollow.

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• Cutoff frequency • The Initial box specifies the constant cutoff frequency for static filtering. If the Dynamic option is selected (see below), then a final cutoff frequency can be given in the Final box.

Filter options • Select Lowpass if you want to keep only the frequencies below the cutoff frequency. Select Highpass if you want to keep only the frequencies above the cutoff frequency. • If you want the cutoff frequency to remain constant throughout the selection during processing, select the Static option. If you want the cutoff frequency to change from the initial value to the final value, select the Dynamic option. Note that dynamic filtering will take more processing time.

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• The Steepness value specifies how sharply the filter cuts off frequencies outside the cutoff frequency. • A higher steepness makes the filter sharper, but it also increases processing time. • In technical terms, the steepness specifies the number of second order cascade filters used.

Flange • Flange uses variable delays and mixing to create some unusual audio effects. Parameters can be saved to or read from presets. • Input volume- Specifies the volume of the unmodified sound to send to the output. • Mix volume-Specifies the volume of the delayed sound to mix with the output.

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• Feedback-Specifies the volume of the feedback to mix with the output. • Depth-Specifies in milliseconds how much the delay should vary. A value of 40 will let the delay vary from 0 to 40 milliseconds.

• Frequency-Specifies how fast to vary the delay. • A value of 2 will vary the delay over its depth twice a second. • For a value of 0.2, the full delay depth is reached every 5 seconds. • Fixed delay-The fixed delay is added to the depth to change the minimum delay. • If the depth is 40 and the fixed delay is 10, the delay will vary from 10 to 50 milliseconds.

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Doppler • Doppler dynamically alters or bends the pitch of the selection. • Shape Controls are presented where the pitch can be varied over the length of the selection from half to 1.5 times normal.

• A Doppler effect can be heard at race tracks when a fast car passes in front of you. • The pitch of the engine appears to drop slowly as the car speeds away. • You can use Effects | Volume | Shape to dynamically alter the volume as well.

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Dynamics • Dynamics alters the amplitude mapping (dynamic range) of the selection. • It can limit, compress, or expand a range of amplitudes. • The amplitude mapping is set using Shape Controls, where x-axis and y-axis both have a range of -1 to 1.

• When the line stretches diagonally from the lower left corner to the upper right corner, the input amplitude (x) and output amplitude (y) are the same for every point on the line. • By changing the line, the output will be different from the input.

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Echo • Create an echo or reverb in the selection. The echo delay and volume can be entered after choosing this command. You may want to try the default values first. • Delay-The longer the delay, the longer it takes for the echo to bounce back. Try values less than 0.1 for a large room, 0.3 for a baseball stadium, above 0.3 for a canyon echo. • Volume-The lower the volume, the quieter the echo will be. Values less than 50 give good results. • Reverb-The Reverb check box enables or disables regeneration of the echo. This makes the echo deeper. • To make the echo sound correct, the effect extends slightly outside the end of the selection. This may increase the length of the sound.

Pitch • Changes the pitch of the selection. This is useful for converting instrument samples from one note to another. The pitch can be changed by using a scale factor or by specifying semitone and fine tune values. • Scale-This option scales the pitch by the value you specify. If you set the scale to 0.5, that will be equivalent to a downward shift by one octave. A value of 2.0 is the same as an upward shift of one octave and would make a voice sound like a chipmunk. A value of 0.75 would make a woman's voice sound like a man's.

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Pitch • Semitone-This option changes the pitch by semitones (notes). • If your sound is a note at middle C and the semitone value is 2, the note will be changed to D. • A value of -1 changes the note to B. • A value of 12 make the note one octave above middle C. • The Fine tune value lets you make a slight pitch adjustment in hundredths of a semitone. • For example, a value of 50 would let you change a note from C to halfway between C and C#.

Pitch • Preserve length-If this option is checked, a complex algorithm will be used to keep the length of the original note the same as the new note. • In other words, the tempo will not be changed. • In terms of a voice, this changes the pitch without speaking faster or slower. • This option requires a substantial amount of processing time. • In general, the FFT size should be set from 9 to 11 and the Overlap should be at least 88. • Values of 90 and 95 will give better results, but require more processing time.

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Stereo Menu • Presents a submenu containing stereo related commands. These command work only with stereo sounds. • Exchange channels-Exchanges the left and right channels of a stereo sound. • Pan-Dynamically sets internal balance and left/right channel panning.

Remove vocals• Removes vocals from music. • In some stereo recordings, it is possible to remove vocals by subtracting the left and right channels. • In order for this to work, vocals must be located in the exact center of the stereo image. • Unfortunately, any instruments located in the center will be removed as well. • Another side effect is that the stereo image is lost and the final sound will be monaural.

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Expression Evaluator • The Expression Evaluator is a versatile tool for manipulating and generating audio data. • Expressions can be entered by clicking on the buttons, using the keyboard, or selecting an expression from the Group and Expression name lists. • For more detailed information, refer to the goldwave.htm file. • For example, say you want to generate a sine wave. The mathematical equation is: • y = sin(2pft) where f is the frequency, t is the time and p = 3.14159...

• • • • • • • •

•

To generate this function in the current sound: 1) Choose Expression evaluator from the Tools menu 2) Type in the expression in the large Expression edit box: sin(2*pi*f*t) 3) Enter the desired frequency in the f edit box (500Hz, for example): 500 4) Choose the Start button. Evaluation can be stopped at any time with the Cancel button. Choosing Cancel a second time closes the Expression Evaluator. You can also use the expression evaluator to implement new effects.

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• • • • •

To create a tremolo effect: 1) Choose Expression evaluator from the Tools menu 2) Type in the following expression: wave(n)*(0.6+0.4*sin(2*pi*f*t)) 3) Enter the tremolo rate in the "f" edit box (4 per second, for example): • 4 • 4) Choose the Start button. • You can alter the depth of tremolo by changing the values 0.6 and 0.4 (to 0.8 and 0.2, for example).

Device Controls Volume Properties •

The Device Controls Volume Properties page lets you adjust recording volumes and select or unselect recording sources.

•

A volume fader and checkbox is shown for each source. To select a source, check the appropriate checkbox. If your sound card has a master control, make sure that the Mute all option is turned off and that the master volume is not zero.

•

You can use the Monitor option under the Record Properties tab to activate the LED meters and real-time graphs without recording. By moving the Properties window, you can see the levels as you adjust the volume faders.

•

Note that volumes are changed regardless of whether you choose OK or Cancel. Using Cancel will prevent the left and right graphs from being set the same.

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Digital video • Digital video stores information & bit by bit in a file (in contrast to analog storage media). • What is SDTV? • Standard Definition Television (SDTV) is the base-level format for digital or • analog TV. Digital SDTV provides pictures and sound comparable to the best • available analog TV.

Video : • Analog Video is usually captured by a video camera and then digitised. There are a variety of video (analog and digital) formats • Raw video can be regarded as being a series of single images. • There are typically 25, 30 or 50 frames per second. • Therefore a 512x512 size monochrome video images take 25*0.25 = 6.25Mb for a minute to store uncompressed. Digital video clearly needs to be compressed.

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VIDEO PRODUCTION Video Basics – NTSC: • - NTSC - National Television Standards Committee --states that color video should be transmitted at almost, but not exactly 30 frames per second. • --- states that the transmission be interlaced • --- states that the video must be over-scanned • --- states that the colors must fall with-in certain limits and that brightness and color information be • sent in one signal

• - Video frames are split into two interlaced fields (odd / even) - this creates 60 fields (a pair of • fields = 1 frame) • - A full-frame NTSC picture consists of 525 horizontal scan lines • - Over-scanning means the image is drawn passed the edges of the visible frame so the picture fills • the screen (Safe Area)

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VIDEO SIGNALS (Cables): • - Composite Video • --- the lowest-quality video format • --- Where the color and brightness of the picture is combined into one signal • --- Causes smearing of the the color and distortions in the picture • --- Used with the standard VCR

• - Super Video Signal (S-VHS) • --- sometimes referred to as Y/C (Luminance / Chroma - separates color and brightness) • --- Commonly found on Hi-8, S-VHS decks, and higher-quality machines. • --- does NOT Stand for “Super VHS Video” this is a video format not a cable

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• - Component Video • --- The highest-quality analog format • --- Found on Beta SP decks and other high-end editing machines • --- Color and brightness are broken down into three separate elements - each on it’s own wire • RGB (Red, Green and Blue) • --- Beyond Component video signal is a wide variety of digital video signals including Firewire

Video formats • 720p: A high-definition (HD) video format with a resolution of 1280x720 and progressive (non-interlaced) frames. • 1080i: A high-definition (HD) video format with a resolution of 1440x1080 and interlaced frames.

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• NTSC: National Television Standards Committee, and the color TV standard created by them in 1953. • NTSC video has 525 lines per frame and 60 image fields per second. • It is used in North and Central America, Japan and other countries. & PAL, SECAM

• PAL: • “Phase Alternation Line”, a color TV standard developed in Germany and used throughout most of Europe. • PAL video has 625 lines per frame and 50 image fields per second for NTSC & SECAM

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• S-VHS: • Improved version of VHS using S-Video and metal particle tape to deliver higher luminance resolution, resulting in sharper pictures than VHS & S-Video

• S-Video: • With S-Video (Y/C) signals, the brightness (luminance or “Y”) and the color (chrominance or “C”) information are transferred separately using multiple wires, avoiding modulating and demodulating the video and the resulting loss of picture quality.

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Frame: • A single image in a video or animation sequence. • If using full NTSC or PAL resolution, one frame consists of two interlaced fields. & NTSC, PAL, field, resolution

Frame rate: • The frame rate defines how many frames of a video sequence are played in one second. • The frame rate for & NTSC video is 30 frames per second. • The frame rate for & PAL video is 25 frames per second.

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Frame size: • The maximum size for displaying image data in a video or animation sequence. • If an image intended for the sequence is larger than the frame size, it must be cropped or scaled to fit.

• AVI: Audio Video Interleaved, a standard format for digital video (and & Video for Windows). • Composite video: Composite video encodes luminance and chrominance information into one signal. & VHS and 8mm are formats that record and play back composite video.

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• Digital8: • Digital videotape format that records & DVcoded audio and video data on & Hi8 tapes. • Currently sold only by Sony, Digital8 camcorders and VCRs can play both Hi8 and 8mm cassettes. • Digital video: • Digital video stores information & bit by bit in a file (in contrast to analog storage media).

• DV: Digital videotape format for recording digital audio and video on ¼”-wide metal evaporated tape. • Mini-DV tapes hold up to 60 minutes of content, while standard DV tapes can hold up to 270 minutes.

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• HD: High Definition video. Most HD formats in use have a resolution of either 1920x1080 resolution or 1280x720 resolution. • A substantial difference exists between the 1080 and 720 standards: the larger format uses 2.25 more pixels per frame. • This difference substantially increases requirements for processing 1080 content in terms of encoding time, decoding speed, and storage. The 720 formats are all progressive. • The 1080 format has a mixture of progressive and interlaced frame types. • Computers and their displays are inherently progressive, whereas television broadcasting has been based on interlaced techniques and standards. • For HD terminology, we indicate progressive with the letter "p" and interlaced with the letter "i"

• HDV: A format for the recording and playback of high-definition video on a DV cassette tape, has been established as the "HDV" format". • Instead of the "DV" codec, HDV uses a flavor of MPEG-2 . • There are two varieties of HDV: HDV1 and HDV2. HDV1 is 1280x720 resolution with progressive frames (720p). • The MPEG transport stream is 19.7 Mbps/s. HDV2 is 1440x1080 resolution with interlaced frames (1080i). • The MPEG transport stream is 25 Mbps/s.

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• Hi8: Improved version of & Video8 using & SVideo recorded on metal particle or metal evaporated tape. • Because of higher luminance resolution and wider bandwidth, the result is sharper pictures than Video8.

• Interlaced: The screen refresh method used by television systems. • The PAL TV image consists of two interleaved image halves (& fields) of 312½ lines each. • The & NTSC TV image consists of two image halves of 242½ lines each. The fields are displayed alternately to produce a blended image. • Interleave: • An arrangement of audio and video to promote smoother playback and synchronization or compression. • The standard & AVI format equally spaces audio and video.

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• Non-interlaced: • Describes an image refresh method in which the complete image is generated as a single field without skipping lines. • A non-interlaced image (most computer monitors) flickers much less than an interlaced image (most TVs).

VIDEO EDITORS: • - Media 100 - PC / Mac Media 100 Link • - Avid - Mac • - DPS Reality / Velocity - PC (used here in Troy State in the Broadcast Dept.) - FinalCut • - Fast Studio – • - Video Toaster - PC Video Toaster Link • - Discreet Logic Edit! (They have many versions look for the Eidting Section) – • Adobe Premier • - RT 2000 by Matrox - Mac • - Canopus • - DV Rex (the most popular of the Canopus Editors) -

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Video tools: • • • • • •

Ulead video studio Ms XP movie maker Main actor Adobe Premiere Director Flash

• Formats: MOV. MPEG, etc

• • • •

POPULAR COMPRESSION FORMATS - Quicktime - AVI - MPEG

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• - CODEC - CO = “Compress” and DEC = “Decompress” - CODEC - a mathematical algorithm used to compress and decompress still or motion graphic files. • ---Animation - No compression - Large in Size; very good quality - Mac and PC • ---Cinepak - Very compressed - Very small in size; very low quality; Mac and PC • ---Indio - Compressed; maintains good quality; Mac and PC

• CODECs used in closed systems • - Many manufacturers created CODECs for specialized systems by using additional software or hardware to interpret data. • - These include: AVID / Media 100 / Adobe Premier and Bundles including Targa Cards

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• The Active Learning Modes Given a good learning environment (be it online or traditional), most people tend to remember best that which they do - practicing the real thing. Next, a combination of doing and speaking about what we learn produces a high retention rate, followed by speaking alone. These levels of involvement are all active learning modes. • The Passive Learning Modes The passive learning modes - seeing and reading - fall just below the active learning modes on the retention ladder. After speaking, the combination of listening and seeing produces the next best retention results, then listening, then seeing, and then reading.

e-Learning is comes in many variations and often a combination of the following: • • • • • • • • • •

Purely online - no face-to-face meetings Blended Learning - combination of online and face-to-face Synchronous Asynchronous Instructor-led group Self-study Self-study with subject matter expert Web-based Computer-based (CD-ROM) Video/audio tape

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PowerPoint • At the simplest level, you can use Microsoft PowerPoint or a similar presentation application to author eLearning. • Although a PowerPoint slideshow is usually linear, you can include hyperlinks to jump to other sections. This allows the user to get more detail on a subject of interest. • You can also include audio and video clips in a PowerPoint presentation. Testing and scoring is not easy in PowerPoint. • A PowerPoint presentation can be distributed as a CBT or WBT. Delivery on the Web can be viewed either graphically or as text-only.

HTML and JavaScript • Standard HTML pages that include quizzes written in the JavaScript language is a simple way of developing eLeaning material for Internet delivery

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Dreamweaver and Flash • Dreamweaver offers the Coursebuilder extersion that allows the addition of testing to Web pages in an eLearning application. • Animations can be done in Flash, making for a very flexible and usable product that can be delivered via the Internet or on a CD-ROM. • Sometimes Director is used instead of Flash, because of its program language capabilities.

PowerPoint • At the simplest level, you can use Microsoft PowerPoint or a similar presentation application to author eLearning. • Although a PowerPoint slideshow is usually linear, you can include hyperlinks to jump to other sections. This allows the user to get more detail on a subject of interest. • You can also include audio and video clips in a PowerPoint presentation. Testing and scoring is not easy in PowerPoint. • A PowerPoint presentation can be distributed as a CBT or WBT. Delivery on the Web can be viewed either graphically or as text-only.

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HTML and JavaScript • Standard HTML pages that include quizzes written in the JavaScript language is a simple way of developing eLeaning material for Internet delivery

Dreamweaver and Flash • Dreamweaver offers the Coursebuilder extersion that allows the addition of testing to Web pages in an eLearning application. • Animations can be done in Flash, making for a very flexible and usable product that can be delivered via the Internet or on a CD-ROM. • Sometimes Director is used instead of Flash, because of its program language capabilities.

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Modern tools • Adobe suite • Adobe Captivate

Learning Object Repositories • Today we have learning content residing in virtual repositories, the corporate library of custom courseware and the extensive catalogs of courseware offered by commercial training vendors.

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Instructional Design: • Is the method of delivering the knowledge to the students to understand the concepts in a better way. • It involves a structured approach. • It is done for various target groups and using varieties of techniques. • The ultimate aim of all instructional designs is to provide effective learning environments.

Seven ways used by instructional designers in e-learning: • • • •

Focus on goals Eliminate Distractions Match the student skills and course levels Create a supportive environment for knowledge progression • Create order through rules • Let the students express themselves • Provide timely and consistent feedback

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• E-learning can be done in two different modes: • One of them is the asynchronous ‘self-study’ mode. • Another mode of web-based education is through a synchronous instructor-led process of ‘live, realtime’ learning.

• A proper blend of the synchronous and asynchronous modes is the hallmark of any successful courseware in higher education.

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Most SELF PACED web based training includes the following features: • COURSE OUTLINE AND OVERVIEW • BODY CONTENT: DEMONSTRATION OR PRACTICE. Demo, practice the lesson or simulate an environment • A SELF-CHECKING QUIZ • HELP DESK

Packaging Knowledge: • Learning Objects • CDROM based courseware • Customized E-content • Digital Libraries

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Learning Objects: • May be a description about an item, a concept, an equipment, a property, characteristic feature, process, form, definition, activity, reaction, plan, cause and effect relations, causative factors of events, results of events, applications of a phenomena or a process, explanation of a component in a subject of learning and similar items. • Mini contents. ( short-form explanations)

Let us see some of the short learning objects developed by college teachers. Sample-1 sample-2

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Learning Object when deployed over the internet will have to have the following features:

One minute content: • • • • • • •

Short answers to some questions. Frequently asked questions Seven to ten lines of answers Simple and clear explanation is needed. Ambiguity should be avoided Text should help an Audio Visual delivery The output video is shown at the centre of the Computer screen ( so it is very small) • Scrollable text.

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Steps involved: • Write a script • Correct it ( grammar, spelling, consistency, meaning, factual items, names, etc) • Collect all visuals and pictures needed • Prepare a storyboard( line by line show details) • Narration needs a style. Writing for reading • Audio also should convey the meaning • Shooting of video ( practice for camera) • Edit the video for including visuals

CBT: • CDROM based , structured learning material • Content covers a lesson or a part of the lesson in a paper • Contains text, video of the lecture and slides prepared to teach the lesson • Background music is avoided • Visual contents are used to explain the subject.

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E-content( WBT): • A comprehensive package containing a lesson • Contains lecture modules with inbuilt visuals, text, quiz, FAQs, assignments, glossaries, case studies, references, discussion and download. • This output is deployable on the web or CDs. • ( on CDs discussion will not work unless connected through the net)

Packaging knowledge resources involves the development of Econtents for courses. • 30 mins • 6 to 7 page scripts, FAQ, Quiz, case studies, assignments, etc.

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Let us see an example of e-content

MACKIE 1202-VLZ PRO 12 CHANNEL MIC/LINE MIXER WITH MIC PREAMPLIFIERS

• Adjust, boost, lower the audio inputs

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Sony ANYCAST PORTABLE ORKSTATION AWS – G500

Cutting across multiple camera shots with various effects

Rs.6,70,463/-

Studio LightingCool Lights

Rs.3,40,802

Canara Lighting System with 9 Channel LCD Controllers

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DVCAM Recorder

Rs.1,54,369/-

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